Department for Preventive Conservation � National Museum Belgrade Odeljenje Za Preventivnu Zaštitu � Narodni Muzej Beograd

DEPARTMENT FOR PREVENTIVE CONSERVATION NATIONAL MUSEUM BELGRADE ODELJENJE ZA PREVENTIVNU ZAŠTITU NARODNI MUZEJ BEOGRAD

NUMBER 10 * 2004/2005 * BROJ 10 Uvodna reč Foreword U zemljama koje prolaze teške ekonomske, In countries going through difficult economic, društvene, socijalne krize kulturno nasleđe i in- social and cultural crises, cultural heritage and stitucije zaštite ostale su dobrim delom tradicio- institutions in charge of protection remain to a nalne i neosetljive na savremeni razvoj muzeologi- great extent traditional and not responsive to the je i zaštite. Neophodno je sprovesti radikalne re- modern development of museology and protection. forme i ceo sistem zaštite i brige za kulturno nas- It is necessary to introduce radical reforms and to leđe postaviti na nove osnove. Jedan od najvažni- build the complete system of protection and care of jih zadataka će biti zalaganje da naša država us- cultural heritage on new foundations. One of the most important tasks for our country is to establish postavi pravni sistem, koji će uključiti preventiv- a legal system with preventive conservation as one nu zaštitu kao jednu od osnovnih strategija oču- of the basic strategies in preservation of cultural vanja kulturnog nasleđa. heritage. Reforme treba da obuhvate sve akcije koje se Reforms are to include all actions related to pro- odnose na profesionalace i institucije, ali i u široj fessionals and institutions, but also to broader pub- javnosti, državnim organima i organizacijama, fi- lic, state authorities, organisations, financial and nansijskim i komercijalnim centrima. commercial establishments. U devastiranim i zapuštenim sredinama kakva In devastated and neglected environments, like je naša, sistem mera preventivne zaštite mora da ours, the system of preventive conservation meas- se postavi vrlo široko i da obuhvati sve ono što di- ures has to be developed broadly and include all rektno ili indirektno utiče na sudbinu kulturnog that has a direct or indirect impact on the future of dobra. cultural property. Više je nego jasna odgovornost za očuvanje The responsibility of the entire society and pro- kulturne baštine i nacionalnog identiteta jedne fessionals in charge of culture and heritage for nacije kako celog društva tako i profesionalaca u preservation of cultural heritage and national iden- kulturi i zaštiti. Preventivna zaštita je jedan od tity of a nation is more than obvious. Preventive osnovnih teorijskih i praktičnih odgovora na conservation is one of the basic theoretical and ovaj izazov danas, i jedan od osnovnih elemena- practical answers to the current challenges and one ta svake zdrave strategije zaštite kulturnih doba- of the fundamental elements of every sound strate- ra. gy for protection of cultural property. When safekeeping conditions for cultural prop- Kada se radi o uslovima čuvanja kulturnih do- erty are concerned, the situation in our museology bara, situacija u našoj muzeologiji je posebno kri- is particularly critical but in the same time it offers tična, ali takođe i dobra polazna osnova za orga- a good starting point for organization and imple- nizovanje i primenu preventivne zaštite. mentation of preventive conservation. Nadamo se da će razvoj preventivne zaštite u We do hope that development of preventive con- DIJANA Centru i proširivanje njegovih aktivnosti servation policy in DIANA Centre and expansion of na celu regiju, uticati da neadekvatno upravlja- its activities throughout the region will help the nje kulturnim dobrima pripadne prošlosti. Prvi inadequate management of cultural property to go znak promena biće implementacija preventivne to the history finally. First sign of changes would be zaštite kao jednog od fundamentalnih, metodo- the implementation of protection as one of funda- loških principa opšte kulturne politike i strategije mental, methodological principles of general cul- uz novo zakonodavstvo u oblasti kulture i zaštite tural policy and strategy followed by new legisla- baštine. tion regarding culture and heritage protection. Organizovanjem DIJANA Centra za preven- The National Museum in Belgrade has become tivnu zaštitu, Narodni muzej u Beogradu i na na- both nationally and internationally a peer among cionalnom i na međunarodnom planu izbija u pr- those who officially accepted preventive conserva- vi red onih koji su preventivnu zaštitu zvanično tion as a new strategy of development by organising usvojili kao novu strategiju svog razvoja. DIANA Centre for Preventive Conservation. DIJANA Centar potvrđuje da kulturno dobro DIANA Centre is a proof that cultural property and preventive conservation are of universal signif- i preventivna zaštita imaju univerzalno značenje, icance by bringing together all those caring about čvrsto povezujući sve one koji se brinu o buduć- the future and survival of cultural heritage. This nosti i opstanku kulturnog nasleđa. To znači da also means that protection of cultural property zaštita kulturnih dobara ne sme da ima lokalni must not be of local character, but must unite and karakter, već treba da objedinjuje i obuhvata include complete cultural heritage and that protec- kompletno kulturno nasleđe i da se sistemi zaš- tion systems have to be built in a unique manner for tite moraju graditi jedinstveno za širu regiju. the entire region. This approach of DIANA Centre Ovakav pristup DIJANA Centra već su prepoz- has already been recognized by significant national nale značajne domaće i međunarodne organiza- and international organisations in charge of culture cije kulture i zaštite (UNESCO, ICCROM) , ali i and protection (UNESCO, ICCROM) as well as our kolege i institucije u okolnim zemljama našeg re- colleagues and institutions in the neighbouring giona. countries. dr Tatjana Cvjetićanin Reč urednika

Unapređujući aktivnosti na jednom od svojih osnovnih poslova - konzervaciji, Narodni muzej veliku pažnju posvetio je razvijanju svesti o Editor in chief/Glavni urednik značaju nasleđa, obavezi da se ono dr Tatjana Cvjetićanin sačuva, potrebi za obukom i obrazovanjem novih kadrova posebno u Editor/Urednik oblasti zaštiti pokretne arheološke Mila Popović-Živančević građe. Rezultat je bila napredna, ak- še sveobuhvatnu zaštitu kulturnog Editorial Board/Uređivački odbor tivna, aktuelna Letnja škola konzer- nasleđa, kako čitamo i u 10 broju. Jim Black Jubileji su prilika da se ocene rezul- vacije Dijana, osnovana prepoznava- Helena Jaescke jući nužnosti promene dotadašnjeg tati: iskorak iz osnovnog koncepta i grananje i raznorodnost do koje se Mila Popović-Živančević sistema, vođena i razvijana prime- Malena Stojčev njujući, gotovo instinktivno, koncept skokovito razvio bilten, prepoznato je ne samo kao uspešan rezultat, već Pamela Warner koji je tek bio prepoznavan kao os- i kao potreba da se osnuje novi stru- novni, postavljajući temelje sveobuh- Language Editors/Lektori čan časopis, u kojem će naći mesto vatne zaštite kulturnog nasleđa. Sa- Engleski studije i prilozi koji uveliko preras- Malena Stojčev da je ovaj pionirski projekat u oblas- taju osnovni informativni nivo i izla- Aleksandra Džikić Nikolić ti edukacije u konzervaciji postao ze iz uskog okvira škole za konzerva- jezgro aktivnosti u oblasti preventiv- ciju i uskog okvira struke konzerva- Srpski ne zaštite u Srbiji i primene koncep- tora. Nadamo se da ćemo od sledeće Zvezdana Popović ta celovite, integrisane zaštite, insti- godine imati i bilten i naučno-struč- Aleksandra Džikić Nikolić tucionalizovan u Odeljenje za pre- nu publikaciju, koja će biti prepoz- Francuski ventivnu zaštitu Narodnog muzeja. nata kao jedno od osnovnih aktera u Zvezdana Popović daljem razvoju preventivne zaštite Translated by/Prevodioci Jednako kao se škola Dijana razne samo u Srbiji već i u regionu. vila u novog aktera na polju zaštite, Ujedno, na ovaj način Narodni mu- Engleski tako je i glasilo Dijana, zamišljeno zej dobiće novu priliku da što uspeš- Malena Stojčev kao bilten koji nudi osnovne infor- nije realizuje i drugu svoju osnovnu Aleksandra Džikić Nikolić macije o aktivnostima Škole, preras- ulogu - stalnog susreta sa publikom i dr Tatjana Cvjetićanin tao u časopis koji i aktivno promovi- stalne promocije baštine. Mira Ovanin Irena Vujčić-Pavlović dr Tatjana Cvjetićanin Ana Glišić Jana Šubic Prislan A word from the editor Gojka Pajagič Bregar The National Museum in Belgra- Diana, created as an information po- Maja Franković de, fostering activities in a range of ol about Diana school activities, de- Gorazd Lemajič one of its main areas of responsibili- veloped into a periodical that pro- Vesna Živković ty - conservation, has paid a great at- motes actively comprehensive pre- Tatjana Nedeljković tention to the rising awareness about ventive heritage protection, as it the value of heritage, obligation to could be seen as well in the 10th is- Francuski preserve it, need to train and educate sue. Jubilees create ideal opportuni- Maja Franković new professionals, especially in the ties for evaluation: a shift from ori- Design and typesetting/ field of an archaeological conserva- ginal concept, growth and diversity Dizajn i priprema tion. The result was forward-thin- into which newsletter progressively Veljko Džikić king, active and fresh Summer school evolved, has been recognized not on- of conservation Diana, established ly as a successful result but also as a Circulation/Tiraž with recognition of a necessity to need to establish a new specialized 1800 change an existing system, and direc- journal. There, studies and contribu- Published by/Izdavač ted and developed by almost instinc- tions that are reaching out from an National Museum Belgrade tive usage of a concept of a preventi- elemental information level and go ve conservation, yet to be recognized beyond narrow frame of the School Narodni muzej Beograd as basic, laying foundations for wide- of conservation and limited range of UDK 7.025.4+902/904 ranging, whole heritage protection. conservation should find place. We ISSN 1451-1800 Nowadays this pioneer project in the hope that from the next year, both field of education has grown up to a bulletin and specialized academic core of activities in the field of pre- journal will be published, the one ventive protection and conservation that would be appreciated as among in Serbia, and implementation of the chief contributors in the further de- concept of overall, integrated protec- velopment of preventive protection tion, institutionalized into the De- not only in Serbia but also in the re- partment for preventive conservation gion. Furthermore, in this way the of the National Museum. National Museum will gain additional opportunity to fulfill its second Same as the Diana school has basic role – permanent encounter matured into a new subject in the with public and permanent promo- field of conservation, a newsletter tion of the cultural heritage. 3 Foreword/Uvod Educational Role of Museums/ 2 77 Mila Popović-Živančević Edukativna funkcija muzeja Simonida Miljković From The Editor/Reč urednika 3 Bulgarian Living TownMuseums/ dr Tatjana Cvjetićanin 80 Bugarski gradovimuzeji Gabriela Petkova Ethics And Culture/Etika i kultura 6 dr Kiril Temkov The Depot of Goriški muzej/ 88 Identity In Culture/Identitet u kulturi Depo Goriškog muzeja 10 Borka Božović Jana Šubic Prislan

Preventive Conservation Workshop DIANA Centre Has Started With 14 95 Implementation Of Preventive “How To Protect One’s Own Heritage”, Kosovo i Metohija/Radionica iz preventivne Conservation In Practice/Kako je zaštite “Kako zaštititi sopstvenu baštinu”, preventivna zaštita počela da se Kosovo i Metohija primenjuje u muzejskoj praksi Srbije Mila Popović-Živančević Mila Popović-Živančević The New Methodology Of Protection Value Dimension Of Traditional 102 42 Of Fragments And Burnt Frescoes In The Architecture/Vrednosna dimenzija Hilandar Monastery And In Prizren/Nova tradicionalne arhitekture metodologija zaštite fragmenata i spaljenih Rasa Bertasiute fresaka u manastiru Hilandaru i u Prizrenu Radomir Petrović Glassware Of The Belarusian Castles 46 At The End Of 15th The First Half Of The Museums and Intangible Heritage – 20th 108 17th Centuries/Staklene posude General Conference And 21th General beloruskih zamkova krajem XV Assembly Of ICOM, Seul, South Corea, i u prvoj polovini XVII veka 28 October 2004/Muzeji i nematerijalna Alla Stashkevich baština – 20. generalna konferencija i 21. generalna skupština IKOMa, Seul, Art Museums’ Responses To The 21st Južna Koreja, 28. oktobra 2004 51 Century/Odgovori muzeja umetnosti Mila Popović-Živančević na izazove XXI veka Intangible Cultural Heritage And Barry Lord 116 Museums/Nematerijalna kulturna Universal Museums – Pros and Cons or baština i muzeji 60 Vesna Bižić-Omčikus All For One And One For All/Univerzalni muzeji – za ili protiv ili svi za jednog, Experimental Archaeology– Traditional 123 jedan za sve Production Of Ceramics, Presentation Irena Vujčić-Pavlović Of The Phase I/Eksperimentalna arheologija – tradicionalne proizvodnje Some Thoughts on Canadian Museum/ 64 keramike, prikaz realizacije I faze projekta O promenama s kojima se muzeji u Vesna Svoboda, Jasna Vuković, Slobodan Kanadi danas susreću Knežević, Dušan Izvonar, Dušan Kićević Mira Ovanin Conservation And Restoration Of 132 Digital Depot Of The Museum Boijmans Mediaeval Bowl From St. Peter’s Church 67 Van Beuningen In Rotterdam/Digitalni Near Novi Pazar/Konzervacija i restauracija depo muzeja Boijmans van Beuningen u srednjovekovne zdele iz crkve Roterdamu Svetog Petra kod Novog Pazara Ana Glišić Maja Živković

Planning Of A Museum/Planiranje muzeja Conservation Of A Glazed Skyphos From 69 138 Ana Živković Dunjić Collection, National Museum Belgrade/Konzervacija gleosanog Museum As An Educational Centre/ 73 skifosa iz zbirke Dunjić Narodnog muzeja Muzej kao edukativni centar u Beogradu Danijela Korolija-Crkvenjakov, Tijana Palkovljević Ana Kocjan 4 Conservation And Restoration Of A Seminars, Specialist Courses, Bronze Age Beaker From Konopište/ 140 Workshops/Seminari, specijalistički 163 Konzervacija i restauracija kursevi, radionice bronzanodobskog pehara sa Konopišta Mila Popović-Živančević Tatjana Nedeljković Serbia Revisited 20040816/ 167 Conservation And Restoration Of 144 Povratak u Srbiju Glass Objects/Konzervacija i Pamela Warner restauracija staklenih predmeta Sandra Davison The Course “Archaeological Conservation” 169 Held At DIANA Centre/Uvodni kurs PIXE Method For Analyzing Ancient 146 “Konzervacija na arheološkom terenu” Textile From Tombs/PIXE metoda za Vesna Živković analiziranje drevnog tekstila iz grobnica Gojka Pajagič Bregar A Visit To The Major Heritage Protection Institution In France/Poseta najznačajnijoj 174 Analysis Of The Textile Fragments By 147 instituciji zaštite baštine u Francuskoj The PIXE Method/Analiza fragmenata Aleksandra Džikić Nikolić tkanina metodom PIXE Žiga Šmit A Study Visit To Germany/ 176 Studijsko putovanje u Nemačku Investigation Of Cavitation Phenomena Tatjana Nedeljković In Conservation Of Archaeological 148 Objects/Istraživanje kavitacionih Metamorphosis Of Tradition/ 179 fenomena u ciklusu konzervacije Metamorfoza tradicije arheoloških predmeta Đurđinka Bogdanović Marina Dojčinović, Dejan Trifunović Corea Has Become A Land Of My 183 Collaboration of the National Museum Dreams/Koreja je postala zemlja Belgrade – Diana Centre For Preventive 150 mojih snova Conservation With The Atelier For Sonja Franklin Conservation And Restoration Of Mosaics From the Museum Of DIANA Calendar 2005/ 194 Antiquities Of Arles And Provance/ DIJANA Kalendar 2005 Saradnja Narodnog muzeja u Beogradu – Dijana centra za preventivnu zaštitu sa Photographs in this issue are property of its authors Ateljeom za konzervaciju i restauraciju and are protected by copyright. mozaika Muzeja antičkog Arla i Provanse Sve fotografije u ovom časopisu su vlasništvo autora Maja Franković koji zadržavaju svoja autorska prava.

Conservation And Restoration Of A 152 Ceramic Beaker/Konzervacija i restauracija keramičkog pehara Ksenija Đurišić

Advantages Of Using Transparent 154 PVC Moulds In The Process Of Replacing Missing Pieces On Hollow Glass Objects/Prednosti upotrebe transparentnih PVC kalupa u procesu kod dopunjavanja delova koji nedostaju na šupljem staklu Gorazd Lemajič ï La conservation des mosa ques 159 antiques: collaboration de l’Atelier de Conservation et de Restauration du Musée de l’Arles et de la Provence antiques avec le centre de conservation préventive DIANA/Konzervacija antičkih mozaika: saradnja izmeu Ateljea za konzervaciju i restauraciju Muzeja antičkog Arla i Provanse i DIJANA Centra za preventivnu zaštitu Narodnog muzeja u Beogradu Patrick Blanc, Marie-Laure Courboulès Naslovna: Fragment mozaika iz Narodnog muzeja u Beogradu, lokalitet Guberevac (Foto: V. Vukadinović) Prof. dr Kiril Temkov, Filozofski fakultet Skoplje Etika i kultura anas cveta etika - a istovreme- ta, i to sve više, i prirodne osnove i razvitak saznajnih moći i proširiva- Dno je kultura postigla savršen- funkcije na način koji znači njihovu nje saznajnih metoda i sadržina; stvo svojim potencijalima, suštinom promenu i razvitak ka njihovoj kul- međusobno prožimanje različitih svojih aktivnosti, kvalitetom delâ, turaciji - ka poboljšanju njihovih oblasti saznanja; upotreba sazna- širinom i dubinom zahvata sveta i funkcija i stvaranju novih načina nja-saznatog...). svega ljudskog, sveprisutnošću, upotrebe i sl. (razne vrste disanja, U osnovne oblike kulture spada opštim obuhvatanjem ljudi, univer- koje naročito razvija indijska misao i način delovanja čoveka - kao vrste zalnošću vrednostî i važenja, huma- i jogistička praksa, čak zaustavlja- i kao jedinke (odnos ka delovanju; nošću i drugim kvalitetima. Pored nje disanja na duži period itd.; razvitak vrsta delovanja; delovanje toga što hvali ove nove tendencije i vežbanje za postizanje boljih rezul- kao stvaralaštvo - što se ponekad u dostignuća, ovaj diskurs izražava tata; razvitak oblikâ života i čula tesnijem značenju naziva “kultura”; poziciju holizma (jedinstven obuka novom i širem doživljavanju; učenje o delovanju i obuka za delo- hvat sveta i njegovih elemenata), za- različite vrste seksualnog čina; usa- vanje; međusobno prožimanje ob- brinutosti kao opšteg odnosa ljudi vršavanje, sublimisanje ishrane i likâ delovanja; univerzalizacija de- prema svetu i životu i angažmana dr.). lovanja...). kao duha razvijenog čoveka. Ovako široko shvaćena kultura Kultura ima jednu od osnovnih Kultura je izuzetna, bitna ljud- odnosi se na različite forme ljudske manifestacija u vrednovanju - kao ska pojava. To je način življenja, ali egzistencije. kvalitativnoj dimenziji odnosa ka ne onog koje sledi prirodnu osnovu Pre svega, radi se o načinu spro- svetu (stvaranje vrednosti; izbor čoveka, već onog kojeg su stvorili vođenja življenja i prirodnih funk- osnovnih, dominantnih, najviših ljudi. Kultura obuhvata sve ljudske cija (odnos prema suštini i ciljevi- vrednosti; stepenovanje i pravljenje pojave koje nisu neposredno prirod- ma života; vođenje računa o njego- vrednosnih skala; sudar-kolizija ne - fizičke i psihičke (telesna osno- vim fazama; način iskorišćavanja vrednostî i njegovo rešavanje; pro- va, disanje, rad njegovih organa, snage i čula; rast i usavršavanje po- žimanje vrednostî, realno manife- kretanje i delovanje kao manifesto- treba i način njihovog zadovoljava- stovanje različitih vrednosti; život- vanje fizičke snage, čula i psiha u nja...). na etika kao izraz i sprovođđenje svojim osnovama, elementarne psi- Kultura naročito obuhvata sa- moralnih vrednosti...). hičke reakcije i dejstva, nagoni i znanje čoveka (zasnivanje i uve- Jedna od osnovnih ideja, podsti- sl.). Sa razvitkom čoveka, kod njega ćavanje čovekove svesnosti; otkri- caja i oblika kulture jeste razvitak je sve veći kulturni deo nasuprot vanje smisla saznanja i njegov raz- čoveka, života i sveta (stvaranje onom prirodnom. Čovek čak zahva- vitak; afirmisanje suštine saznanja, ideje o razvitku i saznanje njegovih

Prof. Kiril Temkov, Ph.D. University of Skopje Ethics and culture thics is flourishing nowadays -simultaneously cul- kinds of sexual act; improvement, sublimation of food, Eture has also achieved perfection through its poten- etc.). tials, by the essence of its activities, quality of its works, This comprehensive concept of culture refers to var- by the width and depth of encompassing the world and ious forms of human existence. all humane, by its omnipresence, total involvement of In the first place, it is the way the living and natural people, by universality of its values and validity, by com- functions are carried out (relation to the essence and passion and other qualities. Along with praising these goals of life; caring about its phases; ways of using pow- new trends and achievements, this discourse stands for ers and senses; growth and enhancement of needs and the holism (integral approach to the world and its phe- ways to meet them…). nomena), concern as general relation of people to the Culture particularly includes the cognition of man world and life and engagement as spiritual value of an (founding and enhancing man's awareness; revealing accomplished person. the meaning of cognition and its development; affirma- Culture is an extraordinary, fundamental human tion of the essence of cognition, development of cogni- phenomenon. It is a way of life, however not the one fol- tive abilities and expanding cognitive methods and lowing natural disposition of man but the one made by contents; intertwining of various fields of cognition; use man. Culture includes all human phenomena which are of the knowledge - the comprehended…). not directly of natural character - physical and mental Fundamental forms of culture include also the ways ones (body basis, breathing, operation of organs, moving a man acts - as species and as individual (relation to act- and acting as manifestation of physical powers, the ing; development of forms of acting; acting as creating - basics of senses and psyche, elementary mental reac- which is sometimes closely referred to as "culture" ; tions and activities, instincts and the like). With the evo- learning about acting and teaching for acting; inter- lution man's cultural segment kept increasing in rela- twining of forms of acting; universalisation of acting…). tion to the natural one.The man even intervenes into the One of the basic manifestations of culture is evalua- natural foundations and functions bringing changes and tion - as qualitative dimension of relation to the world developments towards culturation - towards enhancing (creation of values; choice of fundamental, dominant, their functions and creating new modes of use and the highest values; gradation and creating of value sys- like (different methods of breathing, particularly devel- tems/scales???; collision of values and its solving; inter- oped by Indian philosophy and yoga practice, even hold- twining of values, realistic manifestation of various val- ing one's breath for longer periods, etc.; exercises for ues; life ethics as expression and implementation of achieving better results; developing ways of life and moral values…). senses towards new and broader sensations; various One of the basic ideas, stimulus and forms of culture 6 mogućnosti; afirmisanje razvitka; druga bića): biće saznanja, umne nim pojavama ujedinjuju se indivi- vizija razvitka; sagledavanje i akti- svetlosti (ens rationalis); biće stra- dualno i zajedničko. Kod obeju se viranje potencijala i snaga razvit- danja i samilosti (čije bitno svoj- radi o jedinstvu misli, namera i de- ka; izbor smernica i polaženje iza- stvo jeste samilost, empatičnost, tj. la svakog čoveka i svih ljudi. Etika branim putem; držanje kursa na li- odnošenje u duhu parole na san- jeste i srž, centralna osovina kultu- niji razvitka; ocena razvitka i ko- skritu tat tvam asi = to si ti!); biće re, ne samo zbog značenja Dobrog rekcija vizija, stavova i izabranog koje živi sa drugim ljudima, s koji- za čovekov opstanak i napredova- puta...). ma deluje zajedno da bi unapredio nje, već i zbog prisutnosti etičkog u Krajnja forma kulture jeste zajednički život (zoon politikon); središtu svih oblikâ kulture. I kul- imanje perspektive - sagledavanje biće rada (homo faber); stvaralačko turu i etiku ljudi afirmišu kao nešto udaljenih ciljeva, stanjâ, potreba, biće (koje u sebi ima snagu i duh najvrednije i najpotrebnije, i jedna i okolnostî (imanje svesti o budućno- kreacije); biće koja stvara alatke da druga ih prate u životu, obe su smi- sti; afirmisanje futurističkog usme- bi delovalo (tool-making animal); sao njihovog postojanja, i kultura i renja ljudi i života; sagledavanje biće igre (homo ludens); biće etika unapređuju čovekovu egzi- očekivanih pozitivnih i negativnih smeška, morala, vrednostî, vaspita- stenciju. Kultura je suština ljud- strana života i budućih okolnosti; nja-nege, religioznog osećanja, sti- skog življenja, a etika je najznačaj- ukazivanje i pokušaj obezbeđivanja da, vizija, komunikacije..., biće ni oblik kulture i njen najviši izraz budućih pozitivnih i izbegavanje umetnosti. i domet. budućih negativnih aspekata živo- Za celinu postojanja ovakvog Ova dva ljudska entiteta - kulta...). Čoveka kao kulturnog bića bitna je tura i etika - nisu samo povezani i Kako što se može videti iz ob- upravo etička dimenzija života - jednako značajni, oni se i međusob- likâ u kojima se pojavljuje, kultu- upitnost o vrednostima i o smislu no izražavaju i izgrađuju. Kultura ra je put, široka staza kojom ide života, izbor vrednostî, podrška i života i čoveka označava i njihovu čovek kao vrsta i pojedinac. Na tom pridržavanje pozitivnih, kreativnih odgovarajuću etiku. Kultura daje stalnom putovanju čovek se reali- vrednosti (onih koje stvaraju i gra- etici nivo svog dostignuća. Kroz zuje kao specifično biće, koje je de) - nasuprot negativnim, nekrea- svoju univerzalnost ona širi etiku prevazišlo samo prirodne osnove tivnim, destruktivnim vrednostima nad svim prostorima ljudskog po- svoje egzistencije i postoji kroz (koje izražavaju mržnju i vode stojanja - od života, preko važnosti svoje mnogobrojne i mnogostrane uništavanju). Dobro traži svoje do- i razvitka saznanja, kroz domene kvalitete, koji su istovremeno nje- minantno mesto nad Zlim - i ima to delovanja, preko univerzalizacije gove glavne moći. Tako ga i od- mesto u životu ljudi. Individualni i vrednovanja, sve do postavljanja ređuju i nazivaju (ističući neku nje- istovremeno opšti put Kulture po- progresa kao najznačajnije vizije govu karakteristiku, koju nemaju klapa se sa Etikom. U obema život- ljudske egzistencije. is the evolution of man, of the life and the world (creat- For the completeness of existence of such a man as ing the concept of evolution and understanding its pos- cultural being, it is the ethical dimension of living that sibilities; affirmation of evolution; vision of the evolu- is essential - questioning the values and the life's mis- tion; perception and activation of potentials and forces sion, choice of values, support and abiding by positive, of evolution; choice of guidelines and following of the creative values (by those that create and build) - con- chosen path; keeping the course of evolution lines; eval- trary to the negative, uncreative, destructive values uation of the evolution and correction of visions, stand- (expressing hate and leading to destruction).The Good is points and chosen paths…). searching for dominant place over the Evil - and in the The final form of culture is to have perspective - to life of people it occupies that place. Individual and occa- envisage distant goals, conditions, needs, circumstances sionally general road of Culture coincides with that of (awareness about the future; affirmation of futuristic the Ethics. In both phenomena the individual and com- guidance of people and life; conceiving the expected munal are united. Both express the unity of thoughts, positive and negative sides of life and of future circum- intentions and acts of every man and of all people. stances; indication and attempts to provide future posi- Ethics does mean the core, central axis of culture, not tive and avoiding future negative aspects of life…). only for the importance of Good for the survival of man As the forms of culture indicate, culture is a road, a and his progress, but also for the position of the ethics as broad way the man as species and individual walks by. central to all forms of culture. Both culture and ethics During this permanent travel man becomes accom- are enhanced as something most valuable and most plished as a specific being, who overcame the very natu- needed, both accompany people throughout their lives, ral foundations of his existence and exists through his both represent the essence of their existence, and both many and various qualities, which are his main powers culture and ethics enhance the man's existence. Culture in the same time. This is how man is determined and is the essence of human living and ethics is the most named (pointing out some of his characteristics that important form of culture and its supreme expression other beings lack): the being of cognition, mental light and achievement. (ens rationalis); being of suffering and mercy (whose These two human entities - culture and ethics - are crucial quality is mercy, empathy. i.e. acting in the sense not only interconnected and equally important, they of the Sanskrit words tat tvam asi - that is you!); being mutually express and build themselves. The culture of who lives in company with other beings and improves the life and of the man denotes their appropriate ethics. with them their common life (zoon politikon), working Culture offers the level of its achievements to the ethics. being (homo faber); creative being (having the power It is through its universality that the culture promotes and spirit of creation); being producing tools in order to ethics in all segments of human existence - from the life act (tool-making animal); playing being (homo ludens); itself, through the importance and development of cog- being of smiling, morals, values, education - caring, reli- nition, domains of its activities, by universalisation of gious feelings, shame, vision, communication …, being of evaluation up to progress as the most important vision art. of human existence. 7 S druge strane, etika nudi kultu- kulture, koje povezuje smisao čove- dimenzije kulture i njenih formi, ri istinsku samosvest i brigu o nje- kovog postojanja i neumitnost, mesto etičkih pitanja u raznim nom postojanju i razvitku, osmišlja- nužnost njihovog duhovnog i delat- oblastima života i u kulturi, hije- vanje njenog agapizma (načelo lju- nog uticaja na ljudski život. Zato su rarhiju vrednosti u domenu kulture bavi i dobrote), inspiraciju i podsti- Etika i Kultura jedinstveni i jedno. itd. - sve do oblikâ i načela ove caj da se deluje prema cilju koji uz- Ovo je važno saznanje u sadašnjem etičke oblasti (koje ovde izlažemo višuje i prema jednom višem cilju, trenutku sveta, koji je jedan od veli- sistematizovano), koji su istovreme- najvišem cilju, koji daje svrsishod- kih prelomnih momenata u istoriji no i načela same etike. nost celom ljudskom postojanju. ljudi, u kome se rešava kojim će pu- Etika kulture odnosi se na Etika predstavlja čvrstu osnovu za tem ići čovečanstvo - radi se suštinski doživljavanje sveta, njen prvi prin- osnovni kulturni put, ona je njegova o mestu i ulozi kulture i etike u ljud- cip je okrenutost ka prirodi, životu i čvrsta podloga, ona omogućuje ba- skom životu. čoveku kao bitnim formama egzi- lans svih formi kulture prema jedin- stencije, otvoreni odnos ka njima i stvenom načelu Dobra, koje treba da NAČELA ETIKE KULTURE ka svim drugim pojavama u životu. bude ugrađeno u nju, u svaki njen I za kulturu i za etiku su bitni Za etiku kulture je najvažnije segmenat i elemenat, da bi bili do- razgledanje, sagledavanje, razotkri- udubiti se u svet, njeno načelo je voljno snažni i vredni agensi kultu- vanje i sprovođenje vrednosnih ci- proniknuti u njegove fenomene i u re. ljeva i ostvarivanje odgovarajućih njegovu suštinu, njena ambicija je Etika je poziv za pravilno učes- dostignuća. Zato je za njih veoma da se otkriju unutrašnje veze među tvovanje čoveka u građenju sveta, ko- važan aspekt “odgajanja” (cultiva- fenomenima, njen imperativ je do- ji se dugo gradio bez njega, ali se sa- re), upravo nega i razvoj - sebe, du- hvatiti suštinu stvari, celog života i da neizostavno gradi sa njim, sa ha, interesovanja i znatiželje, zna- kosmosa. bićem koje je značajno napredovalo nja, volje za komunikaciju, otkriva- Etiku kulture interesuje naročito na putu evolucije i koje je dobilo svu nja i primene dobrog, dobrih ten- prožimanje među stvarima. Ona in- odgovornost za opstanak i progres dencija i napora da se dobiju sistira da ništa na svetu nije usa- sveta. Etika odgovara za kvalitetnu uspešni rezultati. Suštinska vred- mljeno, bez veza sa drugim, nepove- organizaciju čovekovog življenja, kao nosna dimenzija kulture, njena zano u celini postojanja. Zato se po- i za održavanje mogućnostî za egzi- imanentna, unutrašnja veza sa sebno zalaže za duhovni stav i akci- stenciju uopšte u ovom ogromnom a načelom Dobra i neotklonjiva funk- ju povezivanja ljudi, za prožimanje sićušnom svetu, u koji se čovek cija etike u svim njenim oblastima i među ljudima kao savršeni način umešao da bi ga pokretao, gradio i formama opravdavaju izgradnju odnošenja u saglasnosti za prirodom popravljao svojim umom i delat- posebne Etike kulture. Ova ispituje sveta. nošću. To je suštinska veza etike i interakciju etike i kulture, etičke Etika kulture jeste etika duhov-

On the other hand, ethics offers to the culture the the person in scanning, beholding, disclosing, and imple- true self-awareness and care about its existence and menting the notable accomplishments of the people in a development, makes meaningful its agapism (the princi- particular historical period. This substantial relation of ple of love and goodness), inspiration and stimulus for human is expressed by the term “nurture” (cultivare) aspiring to goals that sublimate and to those higher because here, the most important thing is nurturing our- goals, to the highest one, which gives the purpose to the selves, as well as the spirit, the interest and curiosity, the entire human existence. Ethics is the solid base for the knowledge, the will for communications, the discovering fundamental cultural way, its foundation, providing the and the usage of good, the good drifts and the efforts for balance of all forms of culture in a unique principle of derivation of successful results. Good, which must be installed in it, in every its segment Because of this essential notable dimension of cul- and element, so as to make them sufficiently strong and ture - its intrinsic, interior connection with the principle valuable agents of culture. of Good and cause of the unrenounced function of ethics Ethics calls for adequate participation of man in in all its fields and forms, it can build special Ethics of building of the world, which was built without him for culture. This ethics examines the interaction of ethics long, but now is built together with him, with that being and the culture, the ethical dimension of culture and its who made significant progress in its evolution and is forms, the place of ethical questions in diverse fields of now completely responsible for survival and progress of life and in culture itself, the hierarchy of values in the the world. Ethics is responsible for good organization of field of culture, etc., up to mood and the principles of man's living, and for sustaining existence in general in this ethical field. The primary principles of ethics of cul- this huge, still tiny world, which the man interfered with ture are: to set it in motion, to build and improve it by his mind - experiencing the world - which means the orienta- and activity. This is the fundamental connection tion toward nature, the life and the human as substan- between the ethics and culture which connects the mis- tial forms of existence; the open relation toward them sion of man's existence and inevitability, necessity of and toward all other appearances in life; their spiritual and active impact on human living. That - diving into the world - entering and plumbing in its is why Culture and ethics are unique and one. This is phenomena and in its essence; the ambition to discover important understanding in the actual moment in the the interior relations between phenomena; the attempt world, which is one of great crucial moments in the his- for reaching the essence of things and of the whole life tory of mankind when the issue of future road mankind and endless space; should take is to be solved - basically it is about the - insighting between things – the culture insists that place and the role of culture and ethics in man's life. nothing in the world is and stays alone, without connections with the other/others, like discontinuity in the THE PRINCIPLES OF ETHICS OF CULTURE complex of the existence; that is why culture especially The culture is important, constructive, unavoidable engages in spiritual state and action for connection the segment of life which is correlated with the activity of people, for insighting between the human as a perfect 8 nog, ličnog, slobodne misli, ona je mistično priklanjanja svemu, uno- šenja svoje duše u sve druge pojave, fantastično zamišljanje neposto- jećeg, angažovanje svih psihičkih moći za razumevanje i za buđenje i pokretanje svih drugih snaga za uz- dizanje iznad običnosti i samo realnosti. Etika kulture jeste etika razumevanja. Čovek nije biće posedovanja kao imanje ograničenog broja nečeg, već posednik svega što postoji zato što ispoljava duhovni kapacitet za prikupljanje svega u svoj duh i prema svemu pokazuje moć spajanja sa njim u jednu celinu onog koji razume i onog što je shvaćeno. Organsko načelo etike kulture Prof. Temkov na predavanju u Galeriji fresaka, septembar 2004. jeste neposrednost, nepredstavnička Prof. Temkov giving a lecture at Gallery of Frescoes, Septembar 2004. egzistencija, lično angažovanje u životu i u duhovnim stvarima, di- već da se pokreće ka širenju sa- Etika kulture izražava duh uni- rektno dohvatanje fenomena i njiho- znanjâ i delovanjâ, snaga i stvarosti, verzalnosti kao uverenost i izvesnost vo duhovno zahvatanje, intimno posve do ovuhvata vaseljene. da je sve što postoji istog korena i vezivanje sa njima u osećanjima, Etika kulture je etika uzdizanja, ima isti smisao, da sve ima isto biće strasti i saznajnom agonu, lično kao želja za višim, uvek ka višem, i strukturu, pa da time svi imaju isto predstavljanje i zastupanje svojih kao načinom življenja i stilom po- pravo na pojavljivanje, na učestvo- ideja i namera. našanja. Ove želje ne zastaju, već vanje u čovekovom duhu i u svetu, Etika kulture je etika širenja. stalno teže najvišim vrednosnim ste- kako i na gospodarenje svetom. Ona ukazuje čoveku da se ne zado- penicama za sve - najviše za sam Opštost egzistencije manifestuje se voljava postojećim, standardnim, život, za etiku ličnosti i za njenu kroz parcijalnost množine pojava ograničenim, da ne teži zastajanju, stvaralačku dimenziju. različite vrste i karaktera, koje sve way of human behavior according to the nature of the tion the spirit of humans and world, as well as to ruling world; the world. The universality of existence is manifested - characteristic of culture is spiritual, personal, free through partiality of plural appearances of different thinking, the mystical attaching of the soul to every- kinds and character, which all participates in existence thing, the fantastic imagination of nothing, the engage- by its relevance and interest as well as by creativity, ment of all psychic potentials for understanding and for authenticity and the moral virtue. But, everything and exciting of all others powers for raising above ordinary everybody participates in life and in building the faith in and simply reality; regularity on existence; - understanding - the human is not a creature of pos- - communication, as a form of mutually informing session, like having limited number of things, but he is about the existence as states of being, as a form of the owner of everything that exists because he reveals a retrieving the values, of steering our cognitions and mental capacity for collecting everything in his spirit messages to others, of opening the senses and the mind and demonstrates a power of linking with them in a for words and for different statements of others. Culture complex, which contains the one who understands and exposes the dramatics on revealing the other/others and something what is understood; the pleasure of the possibility for retrieving the contact - proximity - the un-representative existence, the and the understanding between things in the world; personal engagement in life and in spiritual things, the - sharing beauty and joy - the unity of aesthetical touching of phenomena and its direct overtake, the inti- and ethical, the nearest connection between that exist- mate connection with them through senses, passion and ing beyond us and our passion for it, our concern for the recognized impulse; the personal expression of our revealing, reaching, emotional reaction, for approaching ideas and notions; the world and the people to us in unique fact of beauti- - spreading - this ethical dimension indicates people ful (harmonic, aesthetic) experience; not to be satisfied with the constancy, standard, limited, - overrun - the principal displeasure with the stagnation, but to set forth toward outspreading the cog- achieved and persistence, steering the mind, intentions, nitions and actions, toward forces and reality up to clo- will and forces for realizing something better; sure of space; - un-possession, as interest for anyone’s existence - levitation, like a desire for higher, always higher, as regardless of who actually owns it, because the meaning way of living and the style of behavior; these desires of culture is in the existence of notable values by itself never stop, but always tend to supreme value stairs for and in realizing of world which will have countless everything - the most for our life, for personal ethics and opportunities for cultural expressing and experiencing; for human creative dimension; - setting and achieving of human aims, as humanis- - universality, as security and safety that all existing tic orientation in consciousness and in acting, towards has the same roots and the same meaning, the same improving the life and all people, the whole human being and structure, and according to this, that every- species, always and everywhere; thing has the same rights to appearance, on participa- - upkeeping of living, as the most beautiful result of 9 učestvuju u zgradi postojanja prema postignutim i postojećim i usmera- stencije. Cilj je stvaranje i čuvanje, svojoj važnosti i zanimljivosti, pre- vanje uma, namera, volje i snaga ka čuvanje i stvaranje. ma svojoj kreativnost i autentično- ostvarivanju nečeg boljeg. Moć etike kulture je u blagona- sti, kako i vrlinom svog morala. No, Etika kulture je etika neposedo- klonom odnosu ka svetu kao izrazu svi i svako učestvuju u sveopštosti vanja kao zainteresovanost za vredne ljudske etike, koja je razot- života i u izgradnji vere u egzistenci- nečije postojanje bez obzira da li mi krila dobre elemente čovekove du- ju i u postizanju njene pravilnosti ili neko drugi to poseduje lično, hovne i vitalne egzistencija i traži ih, (kako nečeg objektivnog i kako izra- pošto je smisao kulture u postoja- podržava ih i širi ih za dobro ljud- za ljudske vizije o tome). nju značajnih vrednosti po sebi i u skog postojanja i postojanja sveta u Etika kulture je u suštini komu- ostvarivanju sveta koji će imati celini. nikacija, koja je univerzalna svetska bezbroj mogućnosti za kulturno iz- Najprospektivnija etička dimen- pojava, ali se ističe kao međusobno ražavanje i doživljavanje. zija jedinke u kulturi je rad, koncen- informisanje o postojanju i o pozici- Etika kulture je postavljanje i trisanje, delovanje, krajnje samoula- jama, kao suprotstavljanje i postizanje ljudskih ciljeva kao hu- ganje - jer se u kulturi rezultati ne manistička orijentacija u svesta i u prožimanje vrednostî, kao usmera- gledaju direktno, veoma retko su na vanje svojih saznanja i poruka ka delovanju, usmerena ka unapređiva- vidiku odmah, već se rađaju ili se ot- drugima, kao otvaranje čula i uma nju života, i svih ljudi i celog ljud- krivaju mnogo, mnogo kasnije, tada za reči i za druge iskaze drugih. Ona skog roda, uvek i svuda. kada drugi ljudi dođu da žive svoj izlaže dramatičnost otkrivanja dru- Etika kulture je okrenuta čuva- život i da grade svoj svet. Ovi koriste gog i lepotu zadovoljstva mogućno- nju živog-života kao najlepšeg re- kulturne tekovine kao normalni stima za uspostavljanje odnosa i zultata razvitka sveta, koji opravda- razumevanja među bićima u svetu. va njegovu egzistenciju, a uzrok je uslov svog življenja, a naprežu se da Etika kulture oslanja se na našeg ličnog postojanja i u nama bu- stvore druge, koji će zračiti kasnije - učestvovanje u lepoti i radosti, na je- di snage za povezanost sa svetom i kao izraz etike kulture, koja ništa ne dinstvo estetskog i etičkog, na naj- životom. želi da prisvoji za sebe, nego sve svo- bližu vezu između onog što postoji Etika kulture ima duh neuništa- je želi da podeli sa svim ljudima, sa izvan nas i naše strasti za njim, na vanja, što je suprotno kreativnoj di- rođenim i naročito sa onim budućim, našu zainteresovanost za otkrivanje, menziji sveta i čoveka. Time jedin- još nerođenim. dohvatanje, emocionalnu reakciju, stveni izvor postojanja nije nadvla- Zato su izuzetno bitni etičko za približavanje nama sveta, ljudi i davanje drugog i njegovo razaranje, načelo i moralna norma Etike kultu- ljudskih dela u jedinstvenu činjeni- njegovo detruiranje, da bi poslužio re: samosvest o vremenskoj ogra- cu lepog doživljaja. kao građa za neidentifikovano stva- ničenost i o nužnosti delovanja i za- Duh etike kulture jeste prevazi- ralaštvo ili kao opšti materijal u ha- laganje da se pravi dobro svakome i laženje, principijelno nezadovoljstvo osu esencije, bez oblikovane egzi- uvek. the development of the world, which justifies our exis- Borka Božović, “Haos” Gallery tence and who probokes forces in us for connecting with the world and the life; Cultural identity - non-destruction (ahimsa) - destruction, annihila- tion is opposite to the creative dimension of the world Its origin, foundations, reflections, deformities, and the human. Thereby, the unique source in existence forms, sources is not overmatching the other and its extermination, so earing in mind that identity makes one of the it could be material for unidentified creation or general Bbasic elements of transition, and culture is the element in the chaos of essence without shaped exis- essence of identity of every individual and nation, tence. The general aim of human is procreation and pre- defining and differring a man, every effort to follow vention, prevention and procreation; and defend true cultural values must include con- - gracious respect toward world, as an expression of sciousness, education, knowledge of one’s own origin, virtue of human ethics which revealed all elements of one’s relying on cultural heritage. Culture, as a matter human spiritual and vital existence and which seeks, of fact, defends the dignity of an individual and of the maintains and spreads it for the good of human pres- entire society. And our society has been in a deep cri- ence; - working, acting, concentrating, extreme self- investment - which is the most important ethical dimension in culture – because inside culture the results are not directly visible, they are most rarely instantly to be seen. They are rising or uncovering much later, when other people came to live their life and to build their own world. They are using cultural achievements as a normal clause of their life and straining to create another which will radiate much later - as an expression of the ethics of culture which does not want to possess anything for itself, but wants all that it owns to share with all people, with newborns and particularly with the next, still unborn people.

That’s why the most important ethical principle and rule in Ethics of culture is the self-consciousness for time limitation as well as the concentration for doing good to everyone and forever. 10 Borka Božović, galerija “Haos” Identitet u kulturi Njegovi koreni, utemeljenja, refleksije, deformiteti, oblici, ishodišta ošto je identitet jedan od osnovnih činilaca tranzici- u ruci, šeta Cetinjskim manastirom ili da se tegle sa tur- Pje, a kultura, složićete se, bit identiteta svakog poje- šijom mogu videti u Sopoćanima? dinca i naroda, zapravo ono što određuje i razlikuje čo- Bojim se da smo danas, znatno više nego u neposred- veka, svaki napor da sledimo ili branimo prave kulturnoj prošlosti, pred takvim kulturnim obrascem. Strah ne vrednosti podrazumeva svest, obrazovanje, poznava- me je od poniranja u retrogradne procese. Paljenje dža- nje sopstvenih korena, oslanjanje na kulturnu baštinu. mija i rušenje muslimanskih spomenika su uzroci tome Kultura, zapravo, predstavlja odbranu dostojanstva in- strahu i svakako naša velika sramota. Bez obzira što je dividue i celog društva. A naše društvo je već decenija- to odgovor na isti takav necivilizacijski čin (paljenje i ma unazad u dubokoj krizi. Sve ove godine mi, zapravo, sistematsko rušenje naših crkava i manastira na Koso- preživljavamo s neotklonjivom gorčinom. Zbog raznih vu), nikada se neću pomiriti sa samoodbranom takve razloga. vrste. Gde je tu svest o kulturnoj baštini i da li uopšte Raspadom Jugoslavije i cepanjem kulturnog prosto- možemo govoriti o bilo kakvoj svesti i savesti? ra stvoreni su uslovi za pojavu i bujanje različitih nacio- Postavlja se pitanje: da li je koncept otvorene nacio- nalističkih koncepata, primitivnih, prostačkih, neople- nalne kulture moguć, s obzirom na moralno nasleđe menjenih kulturnim sadržajima ili pak ispunjenih oni- prošlosti? Ne bih baš mogla da budem sasvim sigurna. ma sumnjivih vrednosti. Sveprisutna je bila samouvere- Zapravo sumnjam. Odmah dodajem - naravno da je nost osrednjosti, neverovatna površnost, kičerska raz- moguć, ukoliko se oslobodimo naopakih shvatanja, po- metljivost i arogancija vlasti. Kultura je bila i ostala oz- raznih predrasuda, stereotipa, anahronih manira i uči- biljno ugrožena, kulturna baština ponajviše, a mnogi nimo veliki napor da uspostavimo kulturne standarde identiteti dovedeni su u pitanje. Ceo kulturni prostor je kao preduslove poštovanja ljudskog dostojanstva i na- bio dugi niz godina prosto zagađen. Agresivnost šunda i ročito izbegavanja sukoba koji to dostojanstvo dovode banalne pojave kiča postepeno su dovodile do r?staka- u pitanje. Posledice gotovo poluvekovnog autoritarnog nja kriterijuma i vrednosnog sistema. Uz to su išle ne- i totalitarnog režima osećamo i danas, ali težnja ka de- minovno i druge pojave, poput krize morala, brutalnos- mokratskom društvu ne sme da bude zaustavljena ili ti i vulgarnosti, koju sa sobom nosi novokomponovana usporena. To je istovremeno i borba za kulturni preo- klasa, ali i neopatrijarhalni, nacionalistički i tradicio- bražaj i eventualno preporod. Ukoliko budemo insisti- nalistički oblici kulture – u suštini zatvoreni i ksenofo- rali na afirmaciji i bogaćenju kulturnog identiteta sva- bični. Kako drugačije da protumačite pojave skrnavlje- kog naroda, svake većinske i manjinske kulture – a mi nja svetih mesta, rušenja, ponižavanja? Zar je normalna pojava da neko u maskirnoj uniformi, sa kalašnjikovom sis for decades. All these years we survive with unavoidable bitterness. For many reasons. After Yugoslavia collapsed and culturally disinte- grated, in this region emerged various nationalistic concepts, primitive, vulgar, either without cultural content, or full of questionable values. Self-assured medi- ocrity, unbelievable superficiality, boastfulness, and arrogance of the ruling party were omnipresent. Culture was and still is seriously endangered, especially cultural heritage, and many issues became questionable. Complete cultural space was polluted for a long time. The aggressive attitude of trash and banality of kitsch gradually led to the decline both of criteria and the system of values. Some other phenomena came hand in hand with it – crisis of morality, followed by brutality and vulgar behaviour of the newly formed social class, but also by neo-patriarchal, nationalistic can we speak about any awareness or consciousness in and traditionalistic forms of culture, closed and xeno- this matter? phobic in their essence. How else desecration of sacred places, destruction and humiliation can be explained? The question is: is the concept of open national cul- Is it normal to see a person in uniform, with a ture possible, having in mind ethical heritage of the Kalashnikov in his hands, walking around the past? I am not very convinced. As a matter of fact I have Monastery of Cetinje, or jars of pickles in the Sopo?ani doubts. However, I would say – of course it is possible if Monastery? we only set ourselves free from wrong attitudes, disastrous prejudices, stereotypes, anachronous approaches I am afraid that we are today, much more than in the and if we make a huge effort in establishing cultural recent past, faced with such a cultural model. I am standards as the basis of respect of human dignity and afraid of our falling into retrogression. Setting mosques especially of avoiding conflicts that put this dignity in on fire and destruction of Muslim monuments are our danger. Even today we experience the consequences of great shame and they feed my fear. Regardless of being half a century long totalitarian rule, but tendency a response to the same sort of uncivilized act (systemat- towards democratic society must not be stopped or ic destruction of our churches and monasteries in slowed down. At the same time, it is a tendency toward Kosovo), I will never agree with this kind of self- cultural transformation and a possible renaissance.With defense. What about cultural heritage awareness and insisting on affirmation and enriching cultural identity 11 smo, pre svega, višenacionalna zajednica, dakle, multi- nekih vrednosti. Globalna, masovna kultura postaje kulturalno društvo – utoliko ćemo biti bogatiji, a za jedna hibridna tvorevina, istovremeno nacionalna i in- tranzicione procese neuporedivo spremniji. Veoma je ternacionalna i ni jedno ni drugo. Na našoj kulturnoj važno svaku razliku shvatati kao bogatstvo, a ne kao sceni, naročito likovnoj i muzičkoj, bilo je više takvih antagonističku premisu ili razlog za sukob i netrpelji- primera. Balkan treba da usvoji standarde civilizacije vost. Ja sam, na primer, ponosna na oba naša pisma kojoj teži i da se ponaša evropski u svakom svom seg- podjednako i nemam problem identiteta zbog toga. Po- mentu. jedine sredine imaju u svom biću ugrađene uticaje dru- Ako kultura podrazumeva više različitih vrednosti gih sredina tako da je neophodna velika tolerancija, ra- onda određeni kulturni prostor u kome živimo podrazu- zumevanje, razvijen osećaj za uvažavanje različitosti, meva istoriju i tradiciju toga prostora, verovanje i običa- kako bi se sve te raznolikosti objedinile u okviru jedin- je, institucije, manire, njegove nosioce, njegove složene stvene – naše kulture. Jedna od slika mog detinjstva, odnose, brojne specifičnosti koje označavamo kao pot- provedenog u Herceg Novom, je zajednička prva jutar- kulture. Otvorena nacionalna kultura, po mom mišljenu, nja kafa, na terasi bifea koji se zvao »Beograd«, pravo- treba da sadrži više različitih kulturnih modela, varija- slavnog sveštenika, popa Marića iz manastira Savine i cija pojedinih kulturnih obrazaca, potkultura. Ako svi don Viktora, katoličkog sveštenika iz crkve Sv. Jeroni- imaju slobodu da se izraze na svoj način, obilje samo ma. Boka je oduvek negovala konfesijsku i nacionalnu obogaćuje izraz i čini doživljaj kompleksnijim. Za tu toleranciju i na to sam takođe ponosna. I ona je zagađi- kompleksnost se tek treba izboriti. vana u protekloj deceniji, demografski izmenjena, ali se Velikim osiromašenjem društva u celini i naročito odupirala i još to čini, svojim mediteranskim i evrop- marginalizovanjem i pauperizovanjem inteligencije, zatim skim duhom. degradiranjem institucija kulture i umetnika, nestaju kul- U kulturi nema i ne sme biti zatvorenih granica. Ne- turni stilovi na ovim našim prostorima i negovanje dobrog ophodna je živa komunikacija, najpre sa susedima (što ukusa publike, a umesto njih – novi, agresivni bogataši i opet podrazumeva međunacionalno pomirenje) a onda kriminogeni slojevi donose sa sobom primitivni provinci- sa Evropom i svetom. Mi možemo da pripadamo evrop- jalizam i napadno skorojevićstvo. skoj kulturi samo ako u zajedničku riznicu unesemo Uprkos svemu – to treba istaći – uprkos krizi, rato- blago svoga duha, svoje kulture i svojih moralnih vred- vima, sankcijama, izolaciji, zatvorenim nacionalistič- nosti. »Ne možemo ući u evropski orkestar ako nemamo kim konceptima – kultura je uspevala da živi i preživi, svojih instrumenata ni svoje partiture«, mišljenje je ko- da odbrani identitet sasvim posrnulog naciona, kroz je se moglo čuti od jednog našeg Evropejca. S druge jednu zdravu matricu koja postoji u ovoj sredini, kroz strane, bledo oponašanje svetskih trendova i moda u bi- neku vrstu paralelnog sistema, kroz raznovrsne mani- lo kojoj umetnosti, bez unošenja sopstvenih autentičnih festacije čudesnog sveta alternative i pokazala je zadiv- elemenata i energija, ne znači usvajanje ili postizanje ljujuću energiju, nove potencijale, kroz niz značajnih of every nation, every majority or minority culture – fashions in any form of art, without one’s own authen- since we are, after all, multicultural community, that is tic elements and energy, do not mean accepting or multicultural society – we will become richer and achieving certain values. Global, mass culture becomes incomparably more prepared for transitional processes. a hybrid creation, national and international, but in the It is of utmost importance to understand every difference same time none of it. There were quite a number of such as richness, and not as an antagonistic premise or a rea- examples on our cultural scene, especially in fine arts son for conflict and animosity. I am, for instance, proud and music. The Balkan region should implement those of both of our writings (Cyrillic and Latin), and I do not civilisational standards it gravitates to and it should have a problem of identity because of that. Some com- accept European manner in its every segment. munities have influences from other communities built If culture refers to numerous values, then this cultur- in their essence, so great tolerance, understanding and al space we live in refers to history and tradition of this acceptance of diversity is needed to unite all these dif- space, beliefs and costumes, institutions, manners, its ferences into one culture – our culture. One of the most holders, its complex relations, numerous specific quali- impressive images of my childhood spent in Herceg-Novi ties that we refer to as subcultures. Open national cul- (Montenegro), is the Orthodox priest Mari?, from the ture, in my opinion, should contain diversity of cultural monastery Savina, and the Catholic priest from the models, variations of individual cultural forms, subcul- church of St. Jeronim, don Viktor, having their first tures. If each individual has the freedom of expressing morning coffee together, on the terrace of the cafe called oneself in his/her own way, this abundance really “Belgrade”. The bay of Boka Kotorska (a part of the enriches the expression and makes an experience more Montenegrin coast) was always famous for its confes- complex. This complexity is yetl to be fought for. sional and national tolerance, which also makes me Great impoverishment of society on whole, and proud. It was also contaminated in the last decade, especially marginalisation and pauperization of intelli- demographically changed, but it its Mediterranean and gence, degradation of cultural institutions and artists, European spirit that helped its resisting and it still lead to the loss of cultural styles and decrease of public does. taste, and instead new, aggressive rich class and crimi- There is no, and there should not be, closed frontiers nous groups bring primitive provincialism and forward in culture. Live communication is necessary, first of all “nouveau riche” behaviour into society. with neighbouring nations (which implies national rec- It should be emphasized that in spite of all, in spite onciliation), and then also with Europe and the world. of crises, wars, sanctions, isolation, introvert national We can be a part of European culture only if bring into concepts, culture has lived and survived, it succeeded in the common treasury our own precious spirit, culture defending the identity of a fallen nation, through a and moral values. One of our pro-Europe oriented healthy matrix that exists in this community, through a scholar said: ”We cannot enter the European orchestra form of a parallel system, through diverse manifesta- if we do not have our own instruments and scores”. On tions of magical world of alternative and it showed fas- the other hand, faint imitations of world trends and cinating energy, new potentials, through a series of sig- 12 kulturnih inicijativa koje su dolazile od pojedinaca, Zaostalom i osiromašenom narodu, poput našeg, privatnog sektora. Bilo da je reč o filmu, pozorištu, iz- zavađenom i nesložnom narodu, poput našeg ili kako ložbenim galerijama, izdavačkoj delatnosti, muzičkim bi Cvijić rekao »budžačkom narodu« u Evropi, neop- ili autorskim agencijama. Oficijelna kulturna politika hodno je mnogo toga – najpre ozdravljenje, što je, boje, međutim, uradila malo, naročito u poreskim olakši- jim se, dugotrajan proces, zatim suočavanje sa istina- cama, da se potpomogne ovaj sektor značajne kulturne ma i stvarnošću (za koje smo verovali 5. oktobra da se produkcije. desilo, što je opet bila kratkotrajna obmana) i na kra- Ono na čemu još treba insistirati, a što doprinosi ju – neophodno nam je - utočište. Ono je jedino mogu- ugledu države i društva pa samim tim i poimanju zdra- će naći u kulturi, kroz prave vrednosti, velike poduh- vog identiteta, jeste bolji status kulturnih institucija, vate i dobre primere, pripremu brojnih zakona, izgrad- manifestacija od značaja, umetnika, očuvanje celokup- nju institucija, pripremu za adaptacije zgrada za mu- ne kulturne materijalne i nematerijalne baštine, bezus- zeje, legate itd. Takođe je neophodno uvođenje načela lovna zaštita svih spomenika kulture, predstavljanje odgovornosti pred kulturom i strukom, a ne pred poli- naše umetnosti u svetu, saradnja sa međunarodnim tikom. stručnim organizacijama, prihvatanje standarda koji Za državnu zajednicu, poput naše, preko je potreban vladaju svetom, usvajanje novih mišljenja i iskustava u jasan program prioriteta u kulturnoj politici. Naravno vezi sa prezentacijama raznih oblika kulturne baštine, da se ne može sve odjednom, ali ima preče od prečeg. Sa redovna i složena komunikacija sa svima, a posebno sa jasnim nacionalnim ali ne i nacionalističkim interesima stručnim službama, kolegama. Znatno zaostajemo u – to uvek treba naglasiti – ili retro postupcima, već vi- modernizaciji muzeja, arhiva, dokumentacionih centa- šim društvenim ciljevima, sa idejama o budućnosti, ide- ra. jama novog veka i milenijuma, sa htenjima da se odupre Zatim treba – nužno odbacivati nacionalističko i svakom sunovratu društva moralno i kulturno dezorije- povlačiti nacionalno, kada je to neophodno, u domen nitisanog. Nadajmo se, ipak, da se uspostavlja sistem privatnog identiteta, obuzdavati još uvek prisutan govor koji neće dozvoliti povratak na staro i prevaziđeno. Na- mržnje i verbalnog nasilja u javnom diskursu, pogotovo dajmo se da će i ovoga puta ona »druga«, evropejska Sr- u medijima i u nastupima političara. bija i Crna Gora naći snage za pravac koji je odavno Da bi naš kulturni prostor funkcionisao neophodna određen, jedino smislen, istorijski opravdan, spasono- je politička i ekonomska stabilnost - celog regiona - san. I ne zaboravimo: kultura je identitet svakog poje- uređena država, svest o značaju i presudnoj ulozi kultu- dinca i svakog naroda a očuvanje kulturne baštine, pre- re kao nosioca suštine identiteta. Neophodni su normal- ventivna briga i stručna obrada, svakako su preduslov ni preduslovi za slobodu izražavanja, stvaranja, kritič- da budemo svoji, da budemo sastavni deo sveta i ove ci- kog osvrta, osmišljavanja života, a ne samo preživljava- vilizacije i ostanemo sa dokazanim i respektabilnim nja, čega smo svedoci već dugo i umorni od svega toga. kulturnim identitetom. nificant cultural initiatives, coming from individuals People that were left behind and destitute, like and private sector. It concerns film, theatre, galleries, ours, set against each other and divided like ours, or publishing, musical and copyrights agencies. The official as Jovan Cviji? (famous Serbian geographer) said - cultural policy, on the other hand, did too little, especial- ”people from the corner” of Europe, need many dif- ly in the field of tax exemptions, to help this sector of ferent things. First of all they need to heal themselves, significant cultural production. which is, I am afraid, a long lasting process. Then What also deserves attention and contributes to the comes facing with truth and reality, and in the end – reputation of the country and the society, and in the we do need a sanctuary. It is only to be find in culture, same way to comprehension of identity as it should be, through real values, great ventures and good exam- is a better position of cultural institution, significant ples, preparation of numerous laws, establishment of cultural events, artists, preservation of the totalitarity of institutions, preparing adaptations of museum build- cultural tangible and intangible heritage, unconditioned ings, legacies, etc. It is also necessary to introduce the protection of all cultural monuments, presentation of principle of responsibility for culture and profession, our art production abroad, cooperation with interna- and not for politics. tional professional organisations, accepting of interna- For federation of states, like ours, a clear program of tional standards, accepting of new approaches and priorities in cultural policy is of utmost importance. Of experiences in presentation of various forms of cultural course, nothing can be done at once, but there are things heritage, regular and complex communication with all that are more important than others. With clear nation- instances, especially with professional services and col- al, but not nationalistic interests or retrograde actions, leagues.We do significantly lag behind other parts of the with higher social objectives, with ideas of future, ideas world in modernization of museums, archives, documen- of new century and millenium, with willingness to resist tation centres. It is also necessary to reject the nationalistic, and every fall of ethically and culturally disoriented socie- keep the national, when needed, in the individual iden- ty. Hopefully, a new system, which would prevent us tity domain, to restrain expressions of hatred and verbal from returning to old values, is being established. There aggression in public speeches, especially in media and is a hope that the “other”, European Serbia and political presentations. Montenegro would find strength to follow the right way, In order to have a functional cultural space, we need tha was set long ago, the only meaningful, historically political and economical stability of the whole region – justified and a safe way. Let us not forget: culture is organized country, awareness of significance and identity of every individual and every people, and pre- important role of culture as bearer of the essence of serving cultural heritage, preventive care and profes- identity. There is also need for common basic conditions sional treatment are certainly the basic condition for us in freedom of speech, creation, critical view, organiza- to be ourselves, to be constitutive part of the world and tion of everyday life, not only surviving, which we have this civilization, and to keep our proved and respectable been witnessing for such a long time. cultural identity. 13 Mila PopovićŽivančević, muzejski savetnik konzervator, Rukovodilac DIJANA Centra Kako je Dijana centar počeo da primenjuje preventivnu zaštitu u praksi

Osam godina razvoja – Šta je obeležilo 2004. đenju struke i konzervatorske profesije u našoj zem- arodni muzej je, u skladu sa evropskim strategi- lji. Da ovo već ozbiljno utiče na razvoj zaštite baštine, Njama u oblasti zaštite kulturnih dobara, na vre- pa i muzeologije, jasno se vidi po načinu na koji se me počeo sa formiranjem centra preventivne zaštite, naše kolege iz muzeja i institucija zaštite SCG i regio- kakav je DIJANA Centar. Zato je, u ovim važnim mona okupljaju oko ideja i aktivnosti DIJANA Centra. mentima, kada predstoji dugotrajan i kompleksan Sada je već očigledno da definisanje DIJANA rad na revitalizaciji muzeologije i zaštite, srećna Centra kao novog sistema zaštite kulturnih dobara, okolnost da DIJANA Centar već radi na poslovima i ima značajnu ulogu u muzejskoj mreži Srbije i Crne zadacima preventivne zaštite, kako u Narodnom mu- Gore. Ideja preventivne zaštite se iz DIJANA Centra zeju tako i u muzejskoj mreži SCG. širi u regionalnom i međunarodnom smislu. Razvoj Predstojeća rekonstrukcija i reorganizacija Na- naše ideje o preventivnoj zaštiti učinio je da značaj- rodnog muzeja, koja je već počela da se priprema, nije institucije zaštite u svetu prepoznaju DIJANA upravo sada postavlja poslove preventivne zaštite kao Centar kao jedan od regionalnih lidera primene no- aktuelne i urgentne. Ovi poslovi će Narodnom muze- vog teorijskog i praktičnog pristupa brizi za kultur- ju omogućiti primenu odgovarajućih muzeoloških nu baštinu. standarda brige za kulturno nasleđe i eliminisanje Ono što je obeležilo 2004. godinu u DIJANA Cen- potencijalnih rizika po bezbednost muzejskih pred- tru jeste sazrevanje mlade generacije, koja je sada u meta, u procesima rekonstrukcije koji slede. stanju da nosi organizaciju brige za baštinu, koja se Predstojeći važni zadaci Narodnog muzeja moći stalno usavršava i kvalitetno i naporno radi. će da se organizuju i uspešno realizuju zahvaljujući, Godina 2004-ta će svakako ostati zabeležena i kao jednim delom, i činjenici da se oko DIJANA Centra početak usmerenih i sistematskih specijalizacija u okuplja značajan broj mladih i talentovanih ljudi, već renomiranim muzejskim institucijama, pre svega u posvećenih zaštiti baštine. Kroz duži niz godina, for- Francuskoj. Na ovaj način smo postigli da se, pored mirana je i definisana grupa, tim koji predstavlja jez- savladavanja znanja iz nekih deficitarnih oblasti gro novog pristupa u organizovanju sistema brige za konzervatorskog tretmana, pre svega sagledaju sav- baštinu. Svi oni su doprineli da ideja o preventivnoj remeni problemi brige za kulturno nasleđe, usvoji na- zaštiti, kao kompleksne i kompletne brige za kultur- čin promovisanja i primene principa preventivne zaš- no nasleđe i kao interdisciplinarni metodološki pos- tite u muzeologiji i zaštiti baštite uopšte. tupak zaštite, predstavlja istinski doprinos unapre- Ova godina će ostati zabeležena i po seriji strateš-

Mila PopovićŽivančević, museum councillorconservator, head of DIANA Centre Diana centre has started with implementation of preventive conservation in practice Eight Years of Development – What Marked the promotion of the profession and conservation as the Year 2004 complex and complete care about cultural heritage and n compliance with European strategies related to cul- as interdisciplinary methodological approach to protec- Itural heritage protection, the National Museum in tion. The eagerness of our colleagues from museums and Belgrade had started in time the preparations for found- protection institutions from Serbia and Montenegro and ing a centre for preventive conservation as DIANA from the region to gather around concepts and activities Centre is. It is by happy combination of circumstances of DIANA Centre are a positive sign of the influence that when the museums are facing a long-term and com- exerted on the development of heritage protection and plex task to revitalize our museology and protection, even museology. DIANA Centre has already been engaged in implementa- It is obvious now that the establishing of DIANA tion of preventive conservation both in the National Centre as a new system of cultural heritage protection Museum in Belgrade and in the museum network of has played an important role in the museum network in Serbia and Montenegro. Serbia and Montenegro. The concept of preventive con- The forthcoming reconstruction and revitalisation of servation has been spreading regionally and internation- the National Museum in Belgrade, already under prepa- ally. Our concept of preventive conservation made ration, makes solving of the preventive conservation DIANA Centre internationally recognized as one of the tasks urgent and increasingly important. It will help the leaders in implementing theoretical and practical National Museum in Belgrade to implement adequate approach to the care for cultural heritage. museological standards in care of cultural heritage in The maturing of the young generation at DIANA the reconstruction and eliminate potential risks when Centre marked the year 2004. They are now able to deal security and safety of museum objects are concerned. with organisation of care for heritage and continue their The success of the tasks of the National Museum in development. Belgrade will partly rely on the fact that DIANA Centre This year will also be remembered for the beginning gathers around itself significant number of young and of targeted and systematic specialisations of our stu- talented people already dedicated to the heritage protec- dents in renown museum institutions, of France in the tion. In the past years the group was created and defined, first place. Together with covering some deficient areas making the core of the new approach to organisation of in conservation treatments knowledge, this enabled us the heritage care system. They helped the concept of to “get”a comprehensive insight into modern issues of preventive conservation to become true contribution to care for cultural heritage, and promote and implement 14 ki važnih seminara, specijalističkih kurseva i radio- Generacija mladih stručnjaka u DIJANA Centru nioca, koje smo partnerski realizovali sa istaknutim Sada možemo slobodno da kažemo da se već for- ekspertima i institucijama iz naše zemlje i evropskog miralo jezgro mladih stručnjaka, koji su kreirali sveta zaštite. Posebno treba istaći saradnju sa svoju profesionalnu ličnost u skladu sa etikom, usme- ICCROM-om, Muzejom antike u Arlu, Laboratorijom reni na bezbednost i brigu za kulturno dobro, kao na za konzervaciju iz Draginjana. opšti cilj i zadatak. U skladu sa tim, ovi mladi ljudi su Ovi događaji su počeli da okupljaju oko DIJANA usmeravali sve svoje aktivnosti u DIJANA Centru i Centra i Narodnog muzeja značajne stručnjake iz van njega na: disciplinovano sprovođenje svih stan- muzeja i institucija zaštite. Ali, ono što je još važnije, darda profesije, sposobnost usmeravanja ličnih ambi- ovi događaji su izazvali i samoorganizovanje profe- cija ka opštim strategijama i interesima, timski rad, sionalaca, u pokušaju da sami započnu sa revitaliza- razvoj inicijative i učešće u kreiranju različitih proje- cijom svojih institucija. kata, pisanje i objavljivanje stručnih radova, negovanje partnerskih odnosa sa pojedincima i institucija- Razvijanje matične i centralne uloge Narod ma, skladan odnos sa medijima i posebno sa širokom nog muzeja Beograd na uvoenju prventivne publikom, doprinos u svim edukativnim programima zaštite u muzejskoj mreži SCG i aktivnostima, učešće u neophodnim pratećim delat- U skladu sa matičnom i centralnom ulogom Na- nostima i svakodnevnom radu i dr. rodnog muzeja u Beogradu, DIJANA Centar počinje Sadašnje jezgro predstavlja prvu generaciju u DI- veoma dinamično da radi na implementaciji preven- JANA Centru, koja je formirana na ovim idejama i sa tivne zaštite u muzejskoj mreži Srbije i Crne Gore: ovim ambicijama. Oni danas poseduju višegodišnje sve izrazitija savetodavna i konsultativna uloga iskustvo u kompleksnom pristupu brige za baštinu, DIJANA Centra na teorijskim i praktičnim aspekti- koja se sastoji od primene teorije i prakse preventiv- ma primene preventivne zaštite u muzejskoj mreži ne zaštite. Sveobuhvatna interdisciplinarna teorijska Srbije i Crne Gore i praktična znanja koja su ovi mladi ljudi sticali kroz stalna pomoć konzervatorima u drugim muzeji- svoje dugogodišnje aktivnosti u DIJANA Centru, dama, na poslovima praktične zaštite i primene konzer- nas čini novu generaciju zaštitara, kreiranu na kom- vatorskih tretmana pletnoj brizi za baštinu i konstantnom sticanju i odr- Uključivanje stručnjaka iz muzejske mreže Srbije žavanju profesionalnih znanja. Nova generacija ne- i Crne Gore u specijalizovane edukativne programe, guje sve pasivne i aktivne, direktne i indirektne mere seminare i specijalističke kurseve, iz oblasti preven- zaštite; samo kulturno dobro posmatra u njegovom tivne zaštite okruženju, koje funkcioniše kao prostor životne sre- Analiza stanja kulturne baštine na Kosovu i Meto- dine, sa kulturnim, ekonomskim, društvenim i obra- hiji, i organizovanje edukativnih programa iz zaštite i zovnim sadržajima. To su danas zreli timovi mladih konzervacije za Veliku Hoču, pripremanje projekta stručnjaka, koji mogu da se bave i vrlo složenim pos-

preventive conservation principles in museology and protection of heritage in general. This year will also be remembered for strategically important seminars, specialist courses and workshops realised in partnership with eminent experts and institutions in charge of protection from our country and the European Union. The cooperation with ICCROM, Museum of Antiquities in Arles, Laboratory for Conservation in Draguignan should be pointed out. These events started gathering distinguished experts from museums and institutions of protection to gather around DIANA Centre and the National Museum in Belgrade. However, the most important is that these events inspired professionals to organise themselves and start revitalization of their own institutions.

Development of the central role of the National Museum in Belgrade related to intro duction of preventive conservation into the museum network of Serbia and Montenegro In accordance with the parent and central role of the National Museum in Belgrade , DIANA Centre is actively working on implementation of preventive conservation in museum network of Serbia and Montenegro evi- denced by : - increasingly present counselling and consultancy role of DIANA Centre in theoretical and practical aspects of preventive conservation; - permanent help assistance to conservators in other museums in practical protection and application of conservation treatments; - Participation of experts from the museum network of Serbia and Montenegro in specialized educative programmes, seminars, and specialist courses in preventive conservation; 15 lovima zaštite i konzervacije kulturnih dobara. Njihov i institucionalno ulaze u razvoj zaštite u našoj zemlji. uticaj na muzeologiju u našoj zemlji se već oseća i oni u Što se tiče drugih lica angažovanih u DIJANA Cen- velikoj meri već doprinose razvoju efikasnije brige za tru, proteklih nekoliko godina već se napravio prirodan muzejske predmete. odabir najpogodnijih kandidata, tako da sada imamo Grupa mladih stručnjaka iz DIJANA Centra je imala grupu od oko 35-40 saradnika i polaznika, za koje može- i svoja prva zapažena učešća i nastupe na važnim struč- mo pretpostaviti da će se ozbiljno baviti zaštitom. Na- nim konferencijama i forumima u zemlji i svetu, što je u rednih godina njihovo školovanje, obuka i specijalizaci- velikoj meri doprinelopromovisanju ideje DIJANA Cen- je će se nastaviti.Oni intezivno učestvuju u svim aktiv- tra i Narodnog muzeja. Oni su postigli da se na tradicio- nostima DIJANA Centra u Galeriji fresaka. nalnu ustanovu kakav je Narodni muzej, zahvaljujući Proces formiranja novih kadrova je, zbog problema novoj energiji koju nose i kojom neodoljivo zrače, u sve- tranzicije, bio i još uvek je mukotrpan, i zahteva uporan tu danas baci drugačije svetlo. Ovome u prilog ide za- i dosledan rad na ostvarivanju definisanih ciljeva. Sre- nimljivo zapažanje Nikolasa Stenlija Prajsa, generalnog ćom, nova generacija će biti kvalitetna baza u sistemu direktoa ICCROM-a, tokom posete u decembru 2004: DIJANA Centra, koja će pomoći da se dalje nastavi sa “Bila je velika hrabrost da se započne razvijanje sistema kreiranjem novih generacija na istim principima i stra- kakav je DIJANA, u okviru nacionalne institucije. Ali is- teškim ciljevima. to tako, treba istinski odati priznanje i Narodnom muzeju što je to uopšte i dozvolio“. Očigledno, skriveni po- Uloga DIJANA Centra u rekonstrukciji tencijali institucije kakav je Narodni muzej su ogromni Narodnog muzeja i iznenađujući, samo ih treba otkriti i prepoznati. DIJA- Predstojeće akcije revitalizacije i rekonstrukcije NA Centar je izgleda uspeo da te potencijale i otkrije i Narodnog muzeja zahtevaju aktivnu ulogu DIJANA prepozna. Centra i njenog već obučenog tima na sledećim poslovi- Nova generacija danas uspešno završava stručne is- ma: pripremanje muzejskih zbirki za izmeštanje u priv- pite i počinje da se zapošljava u stručnim službama zaš- remeni depo, pripremanje privremenog depoa za odgo- tite u raznim muzejima u zemlji. Zahvaljujuići njima, varajuće čuvanje muzejskog materijala, tesna saradnja uticaj DIJANA Centra u muzejskoj mreži naše zemlje je sa projektantima za rekonstrukciju zgrade Narodnog evidentan i efikasan. muzeja i Galerije fresaka, tesna saradnja sa drugim Za pet volonter-apripravnika, koji su pripravnički stručnim službama, organizovanje muzejskog prostora staž, posle petogodišnjeg iskustva u DIJANA Centru, us- i muzejskih službi u skladu sa zahtevima preventivne pešno okončali krajem 2004. godine, završene su pripre- zaštite, u rekontruisanim objektima Narodnog muzeja; me za zasnivanje stalnog radnog odnosa u Narodnom zatim, neophodna saradnja na kreiranju i formiranju muzeju - u DIJANA Centru, već tokom 2005. To će biti novog Centra za zaštitu, koji bi imao nacionalni, odnos- prvi stručnjaci specijalizovani za primenu teorije i prak- no regionalni karakter i dr. se preventivne zaštite u muzejima naše zemlje, koji sada Kako je reč o poslovima i odgovornostima preventiv-

- Surveys of cultural heritage condition in Kosovo the cultural, economic, social and educational contents. and Metohija and organisation of educative programmes Today these young people are mature members of teams, in protection and conservation for Velika Hoča, prepara- able to deal with very complex tasks in conservation and tion of the project. protection of cultural property. Their impact on museology in our country is already visible and they have active A generation of young experts of DIANA role in providing efficient care about museum objects. Centre has been raised The group of young professionals at DIANA Centre A group of young professionals was created and they made their first noteworthy contributions at important developed in compliance with professional ethics and professional conferences and meetings in the country behaviour targeted at safety and care of cultural her- and abroad, which in turn significantly and specifically itage as general objective and task. In accordance with contributed to the promotion of the ideas represented by this, our young staff directed their activities at DIANA DIANA Centre and the National Museum in Belgrade. Centre and beyond it at: strictly implementing all pro- With their overpowering and radiating energy they con- fessional standards, developing their personal ambitions towards general strategies and interests, team working, fostering initiative and participation in creating projects, writing and publishing papers, cherishing partnership relations with individuals and institutions, establishing good relations with media and particularly with broader audience, contributing to educational programmes and activities, participating in daily duties, etc. This group is the first generation of students formed on the basis of these concepts and with these ambitions. They have become broadly experienced in providing complex approach to care about heritage consisting of preventive conservation theory and practice application. Young people gained complex interdisciplinary theoretical and practical knowledge during their years in DIANA Centre which made them a new generation in charge of conservation, built through fostering complex and complete care about the heritage and permanent upgrading of their knowledge. They now implement all passive and active, direct and indirect protection measures; for them the cultural property exists in its surroundings that functions as the living environment with 16 normalan rad i kako bi se otvorio prostor za primenu odgovarajućih muzeoloških standarda, kod kreiranja i ustanovljavanja novog Narodnog muzeja. Negovanjem profesionalno usmerenih mladih ljudi iz DIJANA Centra, Narodni muzej može unaprediti kadrovsku strukturu u svojim stručnim službama koje se brinu za muzejske predmete. Na taj način ćemo postići da se energija novog pristupa zaštiti i muzeologiji re- flektuje i na muzejsku kadrovsku sliku. Naravno, kadrovska revitalizacija u Narodnom muzeju, imajući u vidu mlade ljude iz DIJANA Centra, mnogo jednostavnije će se sprovoditi usvajanjem nove sistematizacije i osnivanjem jedinstvenog Centra za zaš- titu. U tom slučaju, sve aktivnosti i službe novog Cen- tra će biti čvrsto povezane, na istom zadatku očuvanja muzejskih kulturnih dobara. Ovako objedinjena služba zaštite obuhvatiće sve mere brige za kulturno nasleđe, uključujući, kao direktne, osnovne poslove pasivne i aktivne konzervacije i istraživačkog rada, a kao indirektne npr. razvoj specijalizovanih službi edukacije ili PR- a. Na ovaj način, stručna kadrovska osnova u novom Centru za zaštitu moći će jednostavnije i efikasnije da se organizuje.

METODOLOGIJA RADA Svoju ulogu u uspostavljanju jedinstvenog sistema preventivne zaštite, u Narodnom muzeju, našoj zemlji i šire, DIJANA Centar već ostvaruje kroz definisane razvojne strategije, utvrđene Strateškim planom Narodnog ne zaštite, tim DIJANA Centra već uveliko radi na re- muzeja iz avgusta 2002. godine. Ove strategije usklađene šavanju ovih problema.Energija novih ljudi i nova mu- su sa Evropskom strategijom preventivne zaštite (usvo- zeološka saznanja koja iz toga proističu, na vreme će se jena u Vanti, 2000.), ali prilagođene našim lokalnim, nastaviti u službu revitalizacije Narodnog muzeja kako bi cionalnim i regionalnim uslovima i prilikama. Svoje se ostalim službama i stručnjacima u Muzeju omogućio kratkoročne i dugoročne ciljeve razvojne strategije DI- tributed to positive changes in understanding a tradi- ent and consistent work on carrying our set goals. tional institution as the National Museum in Belgrade Luckily enough this generation will build a quality basis was. Dr. Nicholas Stanley Price, Director General of within the DIANA Centre system and they will help cre- ICCROM made an interesting remark during his visit in ating new generations in accordance with the same prin- December 2004: “It was very courageous to start devel- ciples and strategic goals. oping a system like DIANA within a national institution. However, one should give credit to the National Museum The role of DIANA Centre in the reconstruction in Belgrade for allowing this in the first place”. of the National Museum in Belgrade Obviously inherent potentials of an institution like the The forthcoming reconstruction and revitalisation of National Museum in Belgrade are huge and surprising, the National Museum in Belgrade require from DIANA and only waiting to be revealed and recognized. It seems Centre and its already trained team an active role in: that DIANA Centre was successful in discovering and preparation of museum collections for evacuation and recognizing these potentials. temporary storing in provisional storages; preparation of The new generation now pass their professional exams with success and get employment in museum provisional storages for adequate storing of museum services of conservation and protection in the country. It material; close cooperation with designers in charge of is thanks to them that the influence of DIANA Centre in reconstruction of the buildings of the National Museum museum network of our country is visible and efficient. in Belgrade and the Gallery of Frescoes; close coopera- Five young women, who in 2004 successfully accom- tion with other professional services; organisation of plished their trainee year at the National Museum, hav- museum space and museum services in the reconstructing worked for five years at DIANA Centre, are expected objects of the National Museum in Belgrade in com- ed to get employment in the National Museum in pliance with preventive conservation requirements; nec- Belgrade at the beginning of 2005 as all official require- essary cooperation in creation and formation of the new ments are met. They will be the first professionals spe- Centre for Protection which would be of national, i.e. cialised in theory and practice of preventive conserva- regional character, etc. tion and engaged in heritage protection in the country. The team of DIANA Centre has already been very Regarding other young people engaged in DIANA active in solving the tasks and responsibilities related to Centre, in the past few years the best candidates passed preventive conservation issues; energy of new people and selection tests and now we have some 35-40 collabora- new museological knowledge will be promptly and in the tors and students who are supposed to become future right time used in revitalisation of the National Museum professionals dealing with protection and conservation. in Belgrade enabling services and experts in the Museum They will continue their upgrading and specialize their to function and apply adequate museological standards knowledge in the coming years, and they take part in all in establishing the new National Museum. activities of DIANA Centre in the Gallery of Frescoes. The National Museum in Belgrade can improve the The process though, due to the transition we are structure of its staff in charge of museum objects by fos- going through, was and still is hard and requires persist- tering young professionals from DIANA Centre; this will 17 JANA Centar sprovodi preko devet različitih oblika rada, međusobno tesno povezanih u jedinstven organiza- Struktura DIJANA Centra cioni sistem aktivnosti. Stalno zaposleni I EDUKACIJA Mila Popović-Živančević, savetnik-konzervator II PRIMENA PASIVNE KONZERVACIJE Vesna Živković, kustos, Aleksandra Džikić Nikolić, III PRIMENA AKTIVNE KONZERVACIJE konzervator, Maja Franković, konzervator IV ISTRAŽIVAČKI RAD Saradnici -konzervatori: Tatjana Nedeljković, Maja V DOKUMENTACIJA VI STRUČNA PUBLICISTIKA I IZDAVAŠTVO Živković i Ana Kocjan (u periodu oktobar 2003.-oktobar VII PARTNERSTVO 2004. bili su volonteri-pripravnici) VIII PREZENTACIJA I PROMOCIJA Spoljni saradnici: Malena Stojčev, Ivana Stojković, IX MARKETING Ana Vujić, Slađana Novković, Zvezdana Popović, Tamara Lujak, Vesna Svoboda, Jelena Tucaković, Đurđinka Bog- EDUKACIJA danović, Srđan Radosavljević, Veljko Džikić, Danijela Sto- Edukacija koju sprovodi DIJANA Centar bazira se jiljković, Igor Jonić, Marija Matejčić, Dejan Milovanović, na sledećoj strategiji: Bojan Georgijevski, Nemanja Mrđić, Lazar Rančić i dr. Stari polaznici : Aleksandar Joksimović, Marija Radin, - osnovno poznavanje preventivne zaštite Dušan Maksimović, Stanoje Davidović, Petar Vujošević, - integrisanje preventivne zaštite u sve programe Branka Belošević, Miroslav Ristić, Senka Jovanović, Tijana studija koji se tiču kulturne baštine Pavlica, Tanja Minić, Tijana Aćimov. - obezbeđivanje programa studija preventivne zašti- Novi polaznici (koji su nastavili sa aktivnostima u DI- te za sve institucije koje su nadležne za poslove zaštite i konzervacije JANA Centru nakon završetka Letnje škole): Ana Živković, - stvaranje mogućnosti za specijalizacije u preventiv- Biljana Stamenić, Tamara Vasić, Suzana Konsulovski, Svet- noj zaštiti; magistarske i doktorske studije lana Hadži-Tonić, Nataša Krstić, Bojana Đonić, Nina Ste- - organizovanje stručnih skupova radi osavremenji- fanović, Sonja Đuričić (Velika Hoča), Vesna Stanimirović. vanja preventivne zaštite (redovni seminari, radionice, Stalno zaposlenih ...... 4 okrugli stolovi i sl.) Saradnika - konzervatora...... 3 - stimulisanje istraživanja u preventivnoj zaštiti i Spoljnih saradnika...... 18 konzervaciji Starih polaznika...... 11 u cilju: Novih polaznika...... 10 - stvaranja široke baze profesionalnih mladih kadrova, koji će se zaštitom baviti na sveobuhvatan i interdis- UKUPNO...... 46 ciplinaran način, prema principima specijalizovane obu- help the energy stored in the new approach to protection III APPLICATION OF ACTIVE CONSERVATION and museology to have bearing on museum staff struc- IV RESEARCH ture. V DOCUMENTATION Staff revitalisation of the National Museum in VI PUBLICATIONS AND PUBLISHING Belgrade will be carried out in a much simpler way if the VII PARTNERSHIP new professional positions scheme and establishment of VIII PRESENTATION AND PROMOTION a single Centre for Protection if based on young people IX MARKETING from DIANA Centre. This means that all services and activities of the new Centre would be closely connected EDUCATION and focused on the one and same task of safeguarding Education pursued by DIANA Centre has the follow- museum cultural property.The unified protection servic- ing strategic tasks: es would encompass as direct basic tasks all measures - developing basic knowledge about preventive con- aimed at care for cultural heritage including passive and servation, active conservation and research and as indirect ones - integration of preventive conservation into cultural they would enhance development of specialist education heritage studies, services and PR. This would further help the profession- - providing preventive conservation study pro- al staff in the new Centre for Protection to be organised grammes for all institutions in charge of protection and in a simple and efficient way. conservation, - opening possibilities for specialisations in preven- METHODOLOGY OF WORK tive conservation, including MA and PhD,, DIANA Centre carries out its tasks in establishing a - organisation of professional meetings in order to unique system of preventive conservation in the modernize preventive conservation (permanent, regular National Museum, our country and beyond it through seminars, workshops, round tables, etc.), defined development strategies set by the Strategic Plan - encouraging research in preventive conservation of the National Museum in Belgrade in August 2002. and conservation. These strategies are brought into line with the European strategy of preventive conservation (adopted in Vantaa in with the aim to: 2000), adjusted however to our local, national and - create a broad basis of young professional staff who regional conditions and situations. DIANA Centre car- will engage in protection in a comprehensive and inter- ries out its strategic, short and long term goals and disciplinary manner and in compliance with the princi- development strategies through the methodology of ples of specialist training in preventive conservation; work for nine different segments, mutually closely con- - Introduce team work and persist on application of nected within a unique system of activities. professional ethics and behaviour; - build affirmation of the profession: a coherent con- I EDUCATION servation strategy encompassing the entire care about II APPLICATION OF PASSIVE CONSERVATION cultural heritage leads to general change in understand- 18 ke iz preventivne zaštite predmeta - opreme za odlaganje, čuvanje i transport - uspostavljanja timskog rada i insistiranje na prime- - Organizovanju i kontroli mikroklime u depoima, iz- ni profesionalne etike ložbenim salama i u transportu - afirmacije struke: koherentna konzervatorska stra- - Organizovanju i kontroli zaštite muzejskih predme- tegija, koja obuhvata kompletnu brigu za kulturna dota od zagađenja iz okoline bra i predstavlja generalnu promenu u shvatanju zašti- - Organizovanju i kontroli zaštite pri radu u konzer- te, ali i konzervacije kao profesije vatorskim radionicama - edukacije kadrova iz Srbije i Crne Gore, susednih zemalja Balkana i jugoistočne Evrope. 1. Organizovanje, praćenje i kontrola uslova okruže- nja - čuvanja, izlaganja i transporta Tri nivoa obrazovanja: - osnovni nivo, za nove polaznike Praktična primena preventivne zaštite u ovoj oblasti - viši nivo, za stare polaznike tokom 2004. godine je počela sve dinamičnije da se ost- - specijalizacije i usavršavanja varuje u muzejskoj mreži naše zemlje. Sve više muzeja počinje da shvata značaj obezbeđivanja odgovarajućeg Edukacija u DIJANA Centru podrazumeva: okruženja za muzejske zbirke. I zaista, rezultat naše Teorijsku obuku - opšta teorijska nastava, specijali- uporne aktivnosti je neka vrsta „samoorganizovanja“ i zovana teorijska nastava, posebna predavanja (pojedi- „okupljanja“ muzejskih profesionalca, koji žele svoje in- načno ili u ciklusima), specijalizovani i masters kursevi. stitucije da usmere na kompletnu brigu za muzejske Praktičnu obuku na neorganskom, organskom i kom- predmete i zgrade oko DIJANA Centra. Sve više muzeja pozitnom arheološkom materijalu - primena aktivnih u zemlji traži profesionalne usluge i pomoć od DIJANA konzervatorskih tretmana, specijalizovanih znanja, um- Centra na implementaciji mera preventivne zaštite u etničkih veština i zanatskog umeća. svojim sredinama. Mora se primetiti da se prvi znaci pre- duzimanja prioritetnih mera i poboljšanja u tretiranim PASIVNA KONZERVACIJA muzejima skoro uvek primećuju vrlo brzo nakon naših Pasivna konzervacija ustanovljava optimalno okru- misija. Opširni izveštaji i elaborati, koje pripremamo ženje za muzejske zbirke u Narodnom muzeju i muzej- nakon obilaska nekog muzeja, sadrže analizu stanja i skoj mreži SCG i to sprovode timovi saradnika i polazni- predlog mera sanacije sa procenom rizika i određiva- ka DIJANA Centra. Ovi poslovi se realizuju u saradnji njem prioriteta. Sve više se pokazuje da su ova doku- sa drugim muzejskim službama i ekspertima. Ova meto- menta ključan elemenat kod „ubeđivanja“ nadležnih za dologija treba da pomogne: pomoć u revitalizaciji muzejske institucije. - Ustanovljavanju optimalnih uslova čuvanja, izlaganja i transporta muzejskih predmeta Snimanje, analiza stanja i procena rizika čuvanja i izla - Ustanovljavanju metoda pohranjivanja muzejskih ganja muzejskih predmeta i kulturnih dobara uopšte

ing protection but also in conservation as profession; The Structure of DIANA Centre - educate staff from Serbia and Montenegro, from the Employees: neighbouring countries of the Balkans and south-east Mila Popović-Živančević, councillor-conservator Europe. Vesna Živković, curator, Aleksandra Džikić NIkolić, Three levels of education: conservator, Maja Franković, conservator - basic level for beginners Conservators/collaborators: - higher level for seniors Tatjana Nedeljković, Maja Živković and Ana Kocjan - specialisations and upgrading (until December 2004 they all volunteered as trainees) Part-time collaborators: Malena Stojčev, Ivana Education in DIANA Centre involves: Stojković, Ana Vujić, Sladjana Novković, Zvezdana Theoretical education: general and specialised theo- Popović, Tamara Lujak, Vesna Svoboda, Jelena Tucaković, retical lectures, specific lectures (either as series of lec- Đurđinka Bogdanović, Srđan Radosavljević, Veljko Džikić, tures or separate ones), specialised and master courses Practical training: on inorganic, organic and com- Danijela Stojković, Igor Jonić, Marija Matejčić, Dejan posite archaeological materials; application of active Milovanović, Bojan Georgijevski, Nemanja Mrdžić, Lazar conservation treatments, specialised know-how, artistic Rančić skills and crafts. Senior students: Aleksandar Joksimović, Marija Radin, Dušan Maksimović, Stanoje Davidović, Petar Vujošević, PASSIVE CONSERVATION Branka Belošević, Miroslav Ristić, Senka Jovanović, Tijana Passive conservation should provide the best envi- Pavlica, Tanja Minić, Tijana Aćimov ronment for museum collections in the National Museum Junior students (who continued to work at DIANA in Belgrade and in the museum network of Serbia and Centre after the Summer School): Ana Živković, Biljana Montenegro and it is carried out by the teams of collab- Stamenić, Tamara Vasić, Suzana Konsulovski, Svetlana orators and students of DIANA Centre. These programmes are realized in cooperation with other museum Hadzi-Tonić, Bojana Djonić, Nina Stefanović, Sonja services and specialised experts. This methodology is to Đuričić (Velika Hoča), Vesna Stanimirović help in: - establishing optimum conditions for keeping, dis- Employees………………………………………………….…4 playing and transporting of museum objects; Collaborators-conservators…………………………....3 - establishing methods for storing museum objects - Part-time collaborators...………………………………..18 adequate equipment for storing, keeping and transport; Senior students……………………………………………..11 - monitoring microclimate in storages, display rooms Junior students……..………………………………………10 and during transport; - managing protection of museum objects against TOTAL………………...………………………………….…....46 environmental pollution; 19 Narodni muzej u Beogradu, analiza stanja i procena b) Organizovanje odgovarajućih uslova čuvanja, od- rizika uslova čuvanja u arheološkim depoima. laganja i pakovanja Galerija Fresaka, Narodni muzej u Beogradu, analiza Odlaganje muzejskih predmeta u depoima stanja i uslova čuvanja antičkih mozaika, kopija stećaka Pakovanje muzejskog materijala i arhitektonske plastike u depoima. Nabavka opreme za preventivnu zaštitu Gradski muzej Vršac, analiza stanja i uslova čuvanja Pripremanje elaborata i detaljnih izveštaja budućeg izložbenog prostora. Osim elaborata i izveštaja o stanju i uslovima čuva- Zavičajni muzej u Aleksincu, analiza i procena stanja nja u pomenutim muzejima i sredinama u Srbiji, završen zgrade muzeja. je i predlog Elaborata o jedinstvenom centru zaštite u Narodni muzej u Vranju, analiza stanja uslova čuva- Narodnom muzeju u Beogradu, koji bi bio odgovoran za nja i izlaganja u objektu amana. celu zemlju. Ovaj predlog je predat Ministarstvu kultu- Narodni muzej u Leskovcu, analiza stanja uslova ču- re kao nacrt sadržaja budućeg Centra. Dokument poku- vanja i izlaganja, posebno novoadaptiranih depoa. šava da definiše organizaciju nacionalnog Centra zašti- Muzej Staro selo u Sirogojnu, analiza uslova čuvanja te, predlaže njegove programske sadržaje i ciljeve. i izlaganja kulturnih dobara, posebno primene aktivnih Takođe je završen je elaborat o DIJANA Centru kao konzervatorskih tretmana, stanja nepokretnog, pokret- sistemu preventivne zaštite, rađen za Nacionalnu komi- nog i dela nematerijalnog nasleđa. siju UNESKO-a, za postojeće i buduće partnere. Velika Hoča, Kosovo i Metohija, urađena analiza U prethodnom periodu je kompletiran i novi tekst stanja sa stanovišta integrisane zaštite baštine i održi- projekta o DIJANA Centru kao regionalnom sistemu vog razvoja: osnovno snimanje stanja nepokretnog, preventivne zaštite, za regionalnu kancelariju UNESKO pokretnog i nematerijalnog nasleđa, unutrašnjeg ambi- – ROSTE -a, UNESKO-Pariz i dr. jenta i atmosfere, neposrednog i šireg okruženja, posebno sadašnje lokalne zajednice, kao i uslova njenih eko- AKTIVNA KONZERVACIJA nomskih mogućnosti i društvenog razvoja. Urađen je Jasno je da osnovne mere preventivne zaštite koje di- izveštaj i poseban projekat za uključivanje UNESKO- rektno i neposredno utiču na stanje kulturnog dobra je- a. su interventne mere pasivne i aktivne konzervacije. Muzej Nikole Tesle, u toku je rad na analizi stanja i Aktivna konzervacija u DIJANA Centru sve više teži organizovanju odgovarajućih uslova čuvanja muzejskih osnovnom pravilu preventivne zaštite: da se konzerva- predmeta. torske intervencije na kulturnom dobru ograniče na prihvatljiv minimum. Praćenje i kontrola stanja muzejskih predmeta Primena aktivne konzervacije u zaštiti kulturnih dobara danas ima više različitih pristupa i izaziva dosta a) Saniranje stanja muzejskih zbirki - kontrola i dilema. Međutim, ono što je evidentno to je da se u naj- uništavanje štetočina većem broju institucija zaštite, pa i u DIJANA Centru, u

complete care about museum objects and buildings. The number of museums engaging DIANA Centre and its professional help and services in implementation of preventive conservation measures in their institutions is constantly increasing. Soon after our surveys, priority measures are taken and improvements in museums treated become visible. Surveys and proposals for salvaging measures, with risk assessment and setting priorities are based on detailed reports and feasibility studies done. These documents are gaining in importance when “convincing”the authorities that their support is needed in revitalisation of museum institutions. Surveying, analysis and risk assessment of keeping and displaying conditions related to museum object and cultural property in general:

National Museum in Belgrade - survey and risk assessment of keeping conditions in archaeological Praćenje klime u depou Galerije fresaka depots; Monitoring of climate in the depot of Gallery of Frescoes Gallery of Frescoes - National Museum in Belgrade, - organizing and controlling of safety at work condi- analysis of keeping conditions for antique mosaics and tions in conservation workshops. copies of tombstones and architectural plastic in depots; City Museum Vršac - survey and future exhibition Organisation, monitoring and management space; Museum in Aleksinac - survey of the museum; of environmental conditions – safekeeping, National Museum in Vranje - survey in the Turkish displaying and transport bath; The implementation of preventive conservation in National Museum in Leskovac - survey of the muse- practice in 2004 was dynamically developing through- um, particularly of the newly adapted storages; out the museum network of the country.This awareness “Old Village” Museum in Sirogojno – survey of the of the importance adequate environmental conditions museum, particularly regarding the application of active have for museum collections is fast transforming into conservation treatments, condition of movable and attitude by most of museums. It may be rightfully said immovable heritage as well as part of the intangible one; that our persistency in the issue provoked a kind of Velika Hoča, Kosovo and Metohija - survey from the “self-organising” and “gathering” around DIANA point of view of integrated heritage protection and sus- Centre of those wishing their institutions to establish tainable development done: basic surveys of immovable, 20 principu primenjuju dva osnovna oblika aktivne konzer- nog muzeja, danas raspada; keramika se «vraća» u ma- vacije: terijal od kog je nastala - u zemlju. Naravno, ovi destruktivni procesi na nezaštićenim Preventivna aktivna konzervacija – predmetima, u lošim uslovima sredine, još su izrazitiji i preventivni konzervatorski tretman tragičniji po stanje organskog ili kompozitnog materija- Kurativna aktivna konzervacija – la. Ovo, s druge strane, usled fragilne prirode ove vrste kurativni konzervatorski tretman arheoloških predmeta, otežava na njima primenu preventivnog konzervatorskog tretmana, čini ga veoma 1. Preventivna aktivna konzervacija podrazumeva kompleksnim, osetljivim, često neizvesnim i u potpunos- preventivne aktivne konzervatorske tretmane koji, kao ti multidisciplinarnim. osnovni cilj, imaju sledeće: Izolovanje arheoloških predmeta od potencijalno 2. Kurativna aktivna konzervacija podrazumeva štetnih dejstava okoline kurativni konzervatorski tretman, odnosno tretman koji Sprečavanje uticaja štetnih spoljnih faktora (tempe- leči. ratura, vlaga, svetlost, mehanički udari i dr.) na arheo- loške predmete Kada je arheološki materijal već oštećen, usled ne- Usporavanje, zaustavljanje ili sprečavanje destruk- primenjivanja pasivnih mera zaštite i preventivnih aktivnih procesa, odnosno propadanja predmeta. tivnih konzervatorskih tretmana, onda postoji velika Čvrsto polazimo od stanovišta da je najbolja preven- opasnost da zauvek nestane. U takvim slučajevima mo- tivna mera zaštite muzejskih predmeta njihovo čuvanje i ramo da primenjujemo kurativnu konzervaciju, kako bi izlaganje u odgovarajućim uslovima. Ali nažalost, kako smo pokušali da „izlečimo“ predmet i sprečimo njegovo najčešće nemamo obezbeđene te uslove, moramo da pre- definitivno propadanje. duzimamo preventivne konzervatorske tretmane, koji Kurativna konzervacija bi trebalo da bude poslednja treba, pre svega, da spreče štetne uticaje spoljnih fak- mera zaštite jednog arheološkog predmeta. Ona danas tora. izaziva brojne dileme i kontradiktornosti, uglavnom Praksa dokazuje da, ako se predmeti čuvaju u neod- zbog brojnih intervencija na suštini kulturnog dobra. govarajućim uslovima sredine i ako nisu preventivno Mnogi smatraju da primena kurativne konzervacije konzervirani, destruktivni procesi se ne mogu sprečiti i ugrožava integritet predmeta, menja njegovu prirodu, propadanje arheološkog predmeta je neumitno. U sva- poreklo materijala od koga je sačinjen. Ove dileme su ve- kodnevnom radu imamo dosta primera propadanja, čak likim delom postoje zahvaljujući problematičnoj rever- i tradicionalno otpornog neorganskog materijala. Tako zibilnosti, neizvesnosti reakcije između originalne struk- su, na primer, česti primerci nekonzervirane keramike ture muzejskog predmeta i konzervatorskog materijala. nedovoljno pečene, koja se, pod dejstvom dugogodišnjih Kurativna konzervacija traži izuzetan i istančan osećaj nepovoljnih uslova - spoljnih faktora, u depoima Narod- profesionalca za istorijsku, kulturnu i estetsku vrednost movable and intangible heritage made, of the interior ACTIVE CONSERVATION ambience and atmosphere, surroundings, bearing in Basic measures of preventive conservation with mind the local community and its economic situation direct impact on heritage condition are those interven- and social development. A project was submitted to tive measures applied in active and passive conserva- UNESCO. tion. Nikola Tesla Museum - ongoing work on preparing Active conservation in DIANA Centre is done in adequate conditions for keeping museum objects. full compliance with the fundamental rule of preven- - Monitoring and controlling of museum objects con- tive conservation: to limit conservation interventions dition on cultural property to acceptable minimum. - Salvaging museum collections – Pest management Application of active conservation in protection of - Providing adequate keeping, displaying and pack- cultural property implies various approaches and raises ing conditions many dilemmas. It is however obvious that the greatest - Storing museum objects in depots number of institutions in charge of protection, including - Packing of museum material DIANA Centre, apply two basic forms of active conser- - Acquisition of equipment for preventive conserva- vation: tion Preventive active conservation – preventive conservation treatment Preparing feasibility studies and detailed reports Curative active conservation – curative conservation Besides feasibility studies and reports on surveys and treatment keeping conditions in the mentioned museums and areas in Serbia, the Feasibility Study on a unique Centre for Preventive active conservation implies preventive Protection within the National Museum Belgrade which active conservation treatments application with the would be in charge of the entire heritage preventive con- basic aim to: servation has been prepared. The proposal was submit- - isolate archaeological objects from potentially ted to the Ministry of Culture as draft of the framework harmful impacts of the environment; of the future Centre. The document is designed to define - prevent influence of harmful exterior factors (tem- the organisation of a national Centre for Protection and perature, humidity, light, mechanical shocks, etc.) on proposes programmes and goals of such a Centre. The archaeological objects; designed document on DIANA Centre as preventive con- - slow down, stop or prevent destructive processes servation system was also finalized. It was prepared for causing decay of objects. the National Commission for UNESCO and for present It is our firm belief that the best preventive measure and possible future partners. The revised project on for protection of museum objects is to keep and display DIANA Centre as regional system of preventive conser- them in adequate conditions. It is only to regret that vation was prepared for UNESCO Regional Office these requirements are rarely met which in turn requires ROSTE, UNESCO, etc. preventive conservation treatments to be applied in 21 Tabelarni pregled konzervacija urađenih u 2004. Vrsta materijala Gotove Konzervacije Vlasnik Konzervacije u toku 1 Konzervacija keramike 96 25 Narodni muzej u Beogradu

2 Konzervacija stakla 13 26 Narodni muzej Beograd 10 10 Muzej grada Beograda 30 Belgijska ambasada 3 Konzervacija kamena 5 Narodni muzej Beograd 3 Muzej savremene umetnosti u Beogradu 4 Konzervacija mozaika 50 Narodni muzej Beograd

5 Sanacija kopija steæaka 21 4 Narodni muzej Beograd

6 Restauracija 26 15 Privatne zbirke porcelana, fajansa i majolike 7 Izrada kalupa, kopija i Narodni muzej Beograd replika 478 204 konz. 140 konz. UKUPNO + 478 kopije order to prevent harmful effects of exterior factors in the very nature that is the origin of its material.These dilem- first place. mas are mainly due to the reversibility issues, uncertain- Practice proves it that if objects are kept in inade- ty of nature of future reaction between the original quate environmental conditions and if not preventively structure of museum object and conservation material conserved, it is not possible to stop destructive processes used. Curative conservation requires most subtle profes- and decay of archaeological objects. Daily work abounds sional understanding of the historical, cultural and with examples of decaying of even otherwise resistant esthetic values and messages of the archaeological inorganic materials. In the storages of the National objects and works of art. Museum in Belgrade there are items of unconserved less Another issue raised is that the curative conservation fired ceramics that suffered long exposing to inadequate requires a long-term treatment thus “keeping” the dam- conditions – outdoor agents; such ceramics is turning aged object for long time in work and possibly causing into its original form – into earth. its additional decay. Finally, curative conservation treat- It is only understandable that these destructive ments are costly, require significant financial means and processes are even more detrimental if the objects of time, a complex approach involving researching, inter- organic and composite material are unprotected and disciplinarity and multidisciplinarity. kept in inadequate conditions. On the other hand, the We could even say that curative active conservation fragile nature of these archaeological objects makes is the one of the most sensitive departments in protec- application of preventive conservation treatments diffi- tion that often makes the professionals test the limits of cult; it makes it a very complex, sensitive, often uncer- their professional ethics and behaviour. This is the part tain and a fully multidisciplinary endeavour. of cultural heritage protection where the division line In curative active conservation the curative conser- between the correct and incorrect, between the ethical vation treatment is applied i.e. a treatment that and unethical becomes very thin and not always clear cures/heals. or well defined. In case of already damaged archaeological material The basic approach implemented in DIANA Centre since the passive measures of protection and preventive both in preventive and curative active conservation active conservation treatments were not applied, the understands: chances are that cultural property will be lost forever. In - Temporary conservation treatments such cases, it is necessary to apply curative conservation - Reversible methods and thus try to “heal”the object and prevent its complete - Use of undestructive methods only decaying. However, curative conservation should be the last Methodologically, both the preventive and curative measure taken in protection of an archaeological object. conservation treatments, as may be needed, should It raises many dilemmas and contradictions mainly due observe the following phases in the process: to interventions on the substance of cultural property. There are those who advocate that the curative conser- - Conservation documentation vation endangers the integrity of the object, changes its - Conservation investigation 22 i poruku arheološkog i umetničkog predmeta. Takođe, kurativnu konzervaciju treba izbegavati i zbog primene dugotrajnog postupka, koji „drži“ ošteće- ni predmet dugo u tretmanu i povećava rizike od dodatnih degradacija. Konačno, kurativni konzervatorski tretmani su skupi, jer zahtevaju dosta finasijskih sredstava i vremena, kompleksan pristup, koji mora da uključi ozbiljna istraživanja, interdisciplinarnost i mul- tidisciplinarnost. Skoro da bi moglo da se kaže da je jedna od najoset- ljivijih oblasti zaštite, koja najčešće svakog profesionalca dovodi do same ivice primene profesionalne etike i morala, upravo kurativna aktivna konzervacija. Veoma često, dileme kurativnog tretmana dovode konzervatora i do same ivice poštovanja profesionalnih pravila pona- šanja. Ovo je oblast zaštite kulturnih dobara gde je linija razgraničenja između pravilnog i nepravilnog, između Konzervacija stakla u DIJANA Centru etičkog i neetičkog često veoma tanka i nedovoljno izra- Conservation of glass in DIANA Centre žena i definisana. - Stabilizacija-konsolidacija strukture i površine U svakom slučaju, osnovni pristup koji DIJANA is- - Spajanje fragmenata ključivo primenjuje u aktivnoj konzervaciji, bilo da je - Restauracija i rekonstrukcija reč o preventivnoj ili kurativnoj, obavezno podrazume- - Završna zaštita va: - Smeštaj u odgovarajuće uslove okoline

- privremene konzervatorske tretmane Neki od ovih postupaka su identični i za preventivnu - reverzibilne materijale i za kurativnu aktivnu konzervaciju, kao npr. dokumen- - nedestruktivne metode tacija i ispitivanja. Drugi opet, kao čišćenje i konsolida- Metodološki postupak i preventivnog i kurativnog cija strukture, mogu da se primene, ali i ne moraju, i kod konzervatorskog tretmana, u zavisnosti od potreba, mo- preventivnog i kod kurativnog tretmana, u zavisnosti od ra da prati sledeće procesne faze: potreba i stanja arheološkog predmeta. Neki delovi postupka su opet problematični i nije u - Konzervatorska dokumentacija potpunosti jasno da li pripadaju preventivnoj ili kurativ- - Konzervatorska ispitivanja noj konzervaciji. Tako, na primer, restauracija i rekon- - Čišćenje strukture i površine strukcija kod preventivnog konzervatorskog tretmana

Conservation done in 2004. Kind of Conservations On-going Owner material done Conservations 1 Conservation 96 25 National Museum in Belgrade of ceramics 2 Conservation 13 26 National Museum in Belgrade of glass 10 10 Museum of City of Belgrade 30 Belgian Embassy 3 Conservation 5 National Museum in Belgrade of stone 3 Museum of Contemporary Art in Belgrade 4 Conservation 50 National Museum in Belgrade of mosaics 5 Salvaging 21 4 National Museum in Belgrade copies of frescoes 6 Restoration of 26 15 Private collections porcelain, faience and majolica 7 Making 478 National Museum in Belgrade moulds, copies and replicas TOTAL 204 140 conservations conservations + 478 copies 23 Predavači i saradnici z Jana Šubic Prislan, Goriški muzej, Slovenija z Janja Slabe i Gojka Pajagič-Bregar, Narodni muzej Od samog početka smo se trudili da se teorijska i prak- Slovenije, Slovenija tična obuka u DIJANA Centru sprovodi sa najboljim eksper- z Sandra Dejvison, UKIC, Dejvison studio, V.Britanija tima iz oblasti muzeologije, preventivne zaštite, tehnologi- z Pamela Vorner, UKIC, Adington studio, V.Britanija je, hemije, konzervacije, arheologije i dr, iz naše zemlje i iz z Robin Sajmonds, Muzej grada Londona, Velika Britanija inostranstva. z Bent Ešhoj, ICCROM, Danska Kraljevska Akademija, Oni direktno doprinose da se obezbedi najbolji mogući Danska nivo teorijske i praktične obuke, pomažu da se poboljša rad z Morten Ril Svendsen, ICCROM, Nacionalni muzej i unapredi struka, doprinose teorijskoj i praktičnoj primeni Danske najsavremenijih i najboljih materijala i metoda, i dr. Nikolas Stenli Prajs, Valeri Magar i Korado Pedeli, DIJANA Centar je oko sebe okupio stalni tim predavača z ICCROM i eksperata. Na naše zadovoljstvo, ovaj krug se stalno širi. Ideju zaštite baštine, koja se kreira i praktično sprovodi u z Žak Ribier, Laboratorija za konzervaciju u Draginjanu, DIJANA Centru, prepoznaje veći broj uglednih stručnjaka iz Francuska zemlje i inostranstva. Zato oni sve više žele da direktno z Patrik Blan i Mari-Lor Kurbules, Muzej Antike u Arlu, učestvuju u razvoju naših teorijskih i praktičnih edukativnih Francuska programa zaštite baštine. z Milovan Vidaković, Društvo inžinjera i tehničara Srbije To su profesori i eksperti sa univerziteta, specijalizovanih z Živojin Perišić, Društvo za grejanje i hlađenje, Beograd institucija i privatnih studija, iz naše zemlje i sveta. Ovom pri- z Dušan Drndarević, Vojno-medicinska akademija, Beograd likom navodimo samo one koji su doprineli realizaciji naših z Nenad Tasić, Filozofski fakultet u Beogradu edukativnih programa u 2004. godini: z Aleksandar Palavestra, Filozofski fakultet u Beogradu z Milena Šešić-Dragičević, Univerzitet Umetnosti u z Dušan Trifunović, Metalurško-tehnološki fakultet Beogradu z Ubavka Mioč, Silvio Kečkeš i Jelena Petrović, Fizičko- z Franc Curk, Narodni muzej u Nišu, Likovna akademija u hemijski fakultet Nišu z Dragan Milovanović, Rudarsko-geološki fakultet z Tatjana Cvjetićanin, Narodni muzej u Beogradu z Vanja Jovanović, Škola umetničkih zanata z Ranko Savić, Narodni muzej u Beogradu z Ljuba Dragičević, Konzervatorska Akademija SPC z Neda Jevremović, Narodni muzej u Beogradu z Filip Fidanovski i Simonida Miljković, Muzej Makedonije, z Milorad Živković, Narodni muzej u Beogradu Makedonija z Malena Stojčev, DIJANA Centar z Kiril Temkov, Filozofski fakultet u Skoplju, Makedonija z Mila Popović-Živančević, Narodni muzej u Beogradu, z Martina Blečić, Zavod za zaštitu iz Rijeke, Hrvatska DIJANA Centar

- Cleaning of structure and surface PARTNERSHIP - Stabilization – consolidation of the structure and Development of partnership relations contributes to the surface exchange of experience, knowledge and information - Bonding of fragments related to preventive conservation and conservation in - Restoration and reconstruction the country and abroad. Our partnership relations - Final protection develop dynamically and DIANA Centre is consequent- - Storing in adequate environmental conditions ly recognized as an interesting, flexible, open and strategic partner for many institutions in the world and Some of these treatments are identical both for pre- in our neighbourhood, Balkan region and south east ventive and curative active conservation, e.g. documen- Europe. Even in some far away countries such as South tation and investigation. Others, such as cleaning and Korea, Canada, South Africa, Iran and Nepal there are consolidation of structure can be applied, but are not institutions in charge of protection that show interest in compulsory and depend on the needs and condition of establishing partnership relations through joint projects the archaeological object. There are parts of treatments and programmes. that raise the dilemma whether they should belong to preventive or curative conservation. For example, Partnership relations are carried out through: restoration and reconstruction as part of the preventive - professional networking; partnership projects and conservation treatment may save or prevent loss or dam- common activities with museums and institutions of age of fragments of a vessel. When curative conservation protection treatment is concerned this can be understood as “heal- - partnership projects and common activities with ing/curing” i.e. re-assembling of the archaeological NGOs and professional organisations object, partially reconstructing its former shape and - expanding cooperation through partnership proj- look. Active conservation treatments in DIANA Centre are ects and common activities with eminent scientists and carried out as part of practical training. They are coordi- experts nated by trainees and experienced seniors and permanently supervised by the experts and collaborators in International cooperation charge. Cooperation on joint projects and initiatives with In conservation workshops of DIANA Centre the experts and officials includes ICCROM, Studio Art existing conditions allow for only part of archaeologi- Center International (SACI)) Florence, United Kingdom cal material of inorganic, organic and composite origin Institute for Conservation of Historic and Artistic Works to be treated. During 2004 this referred mainly to (UKIC), UNESCO and UNESCO ROSTE, Museum of ceramics, glass, stone, mosaics. This archaeological Macedonia, National Museum of Slovenia, Gorice material comes mainly from collections of the National Museum Slovenia, University Paris I, Centre for Museum in Belgrade, as well as from other museums in Conservation and Research of the Direction of Museums Serbia. of France (C2RMF-DMF), Museum of Antiquities in 24 mogu da znače način da se sačuvaju i ne izgube ili ošte- stručnim umrežavanjem, partnerskim projektima i te svi odvojeni fragmenti jednog suda. A kod kurativ- zajedničkim aktivnostima sa muzejima i institucijama nog konzervatorskog postupka to se može tumačiti kao zaštite, „lečenje“, tj. ponovno povezivanje celine arheološkog kroz partnerske projekte i zajedničke aktivnosti sa predmeta, delimično vraćanje njegovog nekadašnjeg nevladinim i strukovnim organizacijama, oblika i izgleda. širenjem saradnje, partnerskih projekata i zajednič- Aktivna konzervacija u DIJANA centru se sprovodi kih aktivnosti sa istaknutim naučnim radnicima. kao sastavni deo praktične obuke. Realizaciju svih poslova aktivne konzervacije koordinirali su volonteri-pri- a) Međunarodna saradnja pravnici i stariji saradnici sa višegodišnjim iskustvom i to pod stalnim nadzorom odgovorng stručnjaka i sarad- Saradnja na zajedničkim projekatima i inicijativama nika. sa stručnjacima i odgovornim licima iz ICCROM-a, Stu- U Konzervatorskim radionicama DIJANA Centra dio Art Center Internacional (SACI) iz Firenze, UKIC-a imamo uslove za tretiranje samo jednog dela arheološ- iz Velike Britanije, UNESCO-a iz Pariza i ROSTE iz Ve- kog materijala neorganskog, organskog i kompozitnog necije, Muzeja Makedonije, Narodnog muzeja Slovenije, sastava. Tokom 2004. godine, to su pretežno bili kerami- Goriškog muzeja u Sloveniji, Univerziteta u Parizu (Pa- ka, staklo, kamen, mozaik, gips.Ovaj arheološki materi- riz I), Centra za konzervaciju i istraživanja muzeja Fran- jal je uglavnom iz zbirki Narodnog muzeja, ali i iz dru- cuske (C2RMF), Muzeja antike u Arlu, Metropoliten mu- gih muzeja iz Srbije. zeja u Njujorku - Sherman Fairchild Centra za konzervaciju, Francuskog kulturnog centra u Beogradu, Doku- PARTNERSTVO mentacionog centra u Zagrebu i dr. Razvoj partnerskih odnosa treba da doprinese raz- ICCROM, Rim, na organizovanju edukativnih promeni iskustava, znanja i informacija iz preventivne zaš- grama u DIJANA Centru iz teorijskih osnova konzerva- tite i konzervacije u zemlji i inostranstvu. Naša partner- cije na arheološkom terenu. ska saradnja se dinamično širi i DIJANA Centar se defi- ICCROM, Rim, sa Nikolasom Stenli Prajsom i Kata- nitivno prepoznaje kao zanimljiv, elastičan, otvoren rinom Antomarki, na programima dugoročne saradnje iz partner, za mnoge institucije u svetu i našem okruženju, preventivne zaštite i podrške razvoju DIJANA Centra u regionu Balkana i Jugoistočne Evrope. Čak i u nekim regionalni centar preventivne zaštite. udaljenim zemljama, kao što su Južna Koreja, Kanada, Studio Art Center Internacional (SACI) iz Firence, Južna Afrika, Iran, Nepal, postoje institucije zaštite ko- oko razmene edukativnih programa i stručnjaka i stude- je se ozbiljno interesuju za uspostavljanje partnerskih nata. odnosa, kroz zajedničke projekte i programe. Sa Francuskim kulturnim centrom u Beogradu u Realizaciju partnerskih veza sprovodimo na sledeći potpunosti je realizovan program saradnje za 2004. godi- način: nu, koji se sastojao od 3 specijalizacije za saradnike DI-

Lecturers and Collaborators z Kiril Temkov, Faculty of Philosophy, Skopje, Macedonia z Martina Blečić, Institute from Protection, Rijeka, Croatia The best foreign and national experts in museology, z Jana Prislan-Šubić, Gorice Museum, Slovenia preventive conservation, technology, chemistry, conser- z Janja Slabe and Gojka Pajagić-Bregar, National Museum vation, archaeology, etc. have been invited to carry out Ljubljana, Slovenia the theoretical and practical training ever since DIANA z Sandra Davison, Davison Studio, UK Centre started working. They provide the highest level z Pamela Warner, Addington Studio, UK possible both in theoretical and practical education, help z Robin Symonds, Museum of London, UK the work and profession to be enhanced and updated, z Bent Eshoj, ICCROM, Danish Royal Academy, Denmark and contribute to theoretical and practical application of z Morten Ryhl-Svendsen, ICCROM, National Museum of the best and newest materials. Denmark DIANA Centre gathered a permanent team of lecturers z Nicholas Stanley Price, Valerie Magar and Corrado and experts and the team is constantly expanding. The Pedeli, ICCROM concept of heritage as created and practically implement- z Jacques Rebiere, Laboratory for Conservation of ed by DIANA Centre is recognized by majority of eminent Archaeological Objects in Draguignan, France. foreign and national experts. This is the main reason for z Patrick Blanc and Marie Laure Courbules, Museum of their engagement in development of our theoretical and Antiquities, Arles, France practical educative programmes for heritage protection. z Milovan Vidaković, Society of Engineers and Technicians These were the lecturers and experts from universi- of Serbia ties, specialised institutions and private studies in the z Živojin Perišić, Society for Cooling and Heating, Belgrade country and abroad who contributed to the realisation of z Dušan Drndarević, Military Medical Academy, Belgrade our educative programmes in 2004: z Nenad Tasić, Faculty of Philosophy, Belgrade z Dušan Trifunović, Faculty of Metallurgy and Technology, z Aleksandar Palavestra, Faculty of Philosophy Belgrade Belgrade z Milena Dragičević-Šešić, University of Arts, Belgrade z Ubavka Mioč, Silvio Kečkeš and Jelena Petrović, z Franc Curk, National Museum in Niš, Academy of Visual Department for Physical Chemistry, Belgrade Arts, Niš z Dragan Milovanović, Faculty of Mining and Geology, z Malena Stojčev, DIANA Centre, Belgrade Belgrade z Tatjana Cvjetićanin, National Museum in Belgrade z Vanja Jovanović, School of Artistic Crafts, Šabac z Ranko Savić, National Museum in Belgrade z Ljuba Dragićević, Conservation Academy of the Serbian z Neda Jevremović, National Museum in Belgrade Orthodox Church, Belgrade z Milorad Živković, National Museum in Belgrade z Filip Fidanovski and Simonida Miljković, Museum of z Mila Popović-Živančević, National Museum in Belgrade, Macedonia, Macedonia DIANA Centre

25 JANA Centra, 2 radionice sa francuskim ekspertima u v) Lokalna saradnja DIJANA Centru i kurseva francuskog jezika u DIJANA Centru. Od domaćih institucija sarađuje se na projektima i Sa Francuskim kulturnim centrom u Beogradu i La- inicijativama sa Rudarsko-geološkim, Metalurško-teh- boratorijom za konzervaciju u Draginjanu - Arheološ- nološkim i Fizičko-hemijskim fakultetom, zatim Filo- kim Centrom Vara, na programima preventivne zaštite i zofskim fakultetom - Odeljenjem za arheologiju Biološ- konzervacije arheoloških predmeta kim institutom, Zavodom za zaštitu zdravlja Beograda, ROSTE iz Venecije, Regionalna kancelarija UNES- Regionalnim zavodom za zaštitu spomenika kulture u KO-a za Balkan i Jugoistočnu Evropu, oko daljeg regio- Kotoru, Arheološkim institutom, Zavodom za zaštitu nalnog razvoja preventivne zaštite u DIJANA Centru. spomenika kulture Srbije. Sa Komitetom za svetsku kulturnu baštinu, UNES- Redovno se sarađuje na zajedničkim projektima i ini- KO-Pariz, UNESCO-MAB, oko daljeg razvoja preventiv- cijativama iz preventivne zaštite i konzervacije sa Muze- ne zaštite i DIJANA Centra. jom u Majdanpeku, Narodnim muzejom u Kruševcu, Muzejom grada Vršca, Muzejom grada Beograda, Muze- b) Regionalna saradnja jom Staro selo u Sirogojnu, Muzejom Nikole Tesle, Mu- zejom u Zaječaru i dr. Kreiranje programa dugoročne saradnje sa Narod- Takođe učestvujemo u pripremanju projekta nove nim muzejem u Ljubljani, Mesnim muzejem u Ljubljani, postavke Muzeja Nikole Tesle, u projektu revitalizacije kulturnog i prirodnog nasleđa Mojsinjske Gore, Narod- Muzejom u Gorici, oko zajedničkih edukativnih progra- nog muzeja iz Kruševca. ma iz preventivne zaštite i konzervacije, razmene struč- njaka i izložbi. Učešće u projektima drugih institucija Razrada programa saradnje sa Muzejom Makedoni- ART FORUM Velika Hoča, sa programom edukacije je, Prirodnjačkim muzejom u Skoplju i NC ICOM-a Ma- “Kako zaštiti sopstvenu baštinu“ kedonije na zajedničkim projektima o tradicionalnim Naučno-istraživački projekat Vinča, sa projektom proizvodnjama keramike, edukativnim programima i Eksperimentalna arheologija - tradicionalne proizvod- zajedničkim seminarima, primeni preventivne zaštite i nje keramike dr. Pripremanje programa saradnje na edukaciji i primeni preventivne zaštite, sa muzejskim institucijama i stručnjacima iz Češke, Litvanije, Belorusije, Bugarske i Rumunije. Pripremanje saradnje na zajedničkim edukativnim programima iz preventivne zaštite i konzervacije sa Do- kumentacionim centrom u Zagrebu

Arles, Metropolitan Museum New York – Sherman Fairchild Conservation Center for Objects Conservation, French Cultural Centre in Belgrade, Documentation Center in Zagreb, etc. ICCROM, Rome – organisation of educative programmes on theoretical foundations of conservation on archaeological sites, in DIANA Centre; ICCROM, Rome, Nicholas Stanley-Price and Catharine Antomarchi –long-term cooperation pro- Mila Popović-Živančević sa kolegama iz Slovenije grammes in preventive cooperation and support to the Mila Popović-Živančević with Slovenian colleagues development of DIANA Centre into a regional centre for tions with the National Museum in Ljubljana, City preventive conservation; Museum in Ljubljana, Museum in Gorice; Studio Art Center International (SACI)) Florence – Programmes of cooperation with Museum of exchange of educative programmes, experts and stu- Macedonia, Natural History Museum in Skopje, and dents; National Committee of ICOM Macedonia regarding French Cultural Centre in Belgrade – realisation of common projects on Traditional Production of Ceramics, the 2004 programme: 3 specialisations of collaborators educative programmes and joint seminars, implementa- of DIANA Centre in France, 2 workshops with French tion of preventive conservation, etc.; experts in DIANA Centre, teaching French in DIANA Preparation of cooperation in educative programmes Centre; French Cultural Centre in Belgrade and Laboratory and implementation of preventive cooperation with for Conservation of Archaeological Objects in museum institutions and experts from the Czech Draguignan – Archaeological Centre in Var: programmes Republic, Lithuania, Belarus, Bulgaria and Rumania; in preventive conservation and conservation of archaeo- Preparation of cooperation in educative pro- logical objects; grammes and implementation of preventive cooperation Regional Office of UNESCO for the Balkans and and conservation with the Documentation Center in south-east Europe (ROSTE) – further regional develop- Zagreb. ment of preventive cooperation in DIANA Centre; Committee for World Heritage, UNESCO Paris, Local cooperation UNESCO – MAB: further regional development of pre- Cooperation includes common projects and initia- ventive cooperation in DIANA Centre. tives with the faculties of Mining and Geology, Metallurgy and Technology, Physics and Chemistry, Regional cooperation Faculty of Philosophy – Department for Archaeology, Creating programmes of long-term cooperation on Biological Institute, Institute for Health Protection in common educative programmes in preventive conserva- Belgrade, Regional Institute for Protection of tion and conservation, exchange of experts and exhibi- Monuments of Culture in Kotor, Archaeological Institute 26 PROMOCIJA, PREZENTACIJA među medija i zaštite, treba da pomogne da se i na taj Prezentacija treba da pomogne promociji principa način širi svest o značaju kulturnog nasleđa i njegovoj preventivne zaštite u javnosti, na animiranju javnosti za ugroženosti, da se razvija ideja o brizi za očuvanje baš- brigu o kulturnom nasleđu, i za to koristimo: tine, kao zajedničkom cilju i zadatku profesionalaca iz institucija zaštite i svih slojeva društva. Konkretno, u - Medije ovom momentu smo želeli da ukažemo, preko medija, ši- - Multimedijalne prezentacije u zemlji i inostranstvu rokoj javnosti na teško stanje muzeja i muzejske profesi- - internet prezentacije je u našoj zemlji, i na aktivnosti Narodnog muzeja i DI- - prezentacije publikacija svojih izdanja JANA Centra, kako bi se ovi problemi prevazišli. - konzervatorsko izložbe Pokazalo se da su mnogi mediji prepoznali strateški - javne radionice značaj naših ciljeva i aktivnosti i da zbog toga sa zanima- - specijalaizovana predavanja njem prate razvoj DIJANA Centra. Takođe, dinamičnost i - učešće na domaćim i međunarodnim konferencija- energija DIJANA Centra, sa neprestalnim aktivnostima i ma, seminarima, forumima i sl. kontinuiranim realizacijama različitih programa zašti- - organizovanje konferencija, seminara, specijalistič- te, pružaju dobar materijal i medijima da sa kvalitetnim kih kurseva, okruglih stolova, radionica prilozima iz kulture budu stalno prisutni u javnosti. - učestvovanje u radijskim i TV emisijama, priprema Može se slobodno reči da je svaka značajna aktivnost članaka za štampu u DIJANA Centru bila ispraćena u različitim medijima. Sa nekim uglednim novinarima smo formirali bliske ve- Mediji ze i „prijateljske“ kontakte i sada znaju da kod nas uvek Tokom 2004. godine u potpunosti je došao do izraža- mogu da nađu zanimljiv i kvalitetan novinarski sadržaj ja jedan od strateških postulata sistema preventivne i uvek spremne i ljubazne sagovornike i saradnike. Krei- zaštite, koji razvija DIJANA Centar - mediji su nam ne- rana je atmosfera u medijima «da je u DIJANA Centru ophodni da dopremo do široke javnosti, a mi smo medi- uzbudljivo i uvek se nešto događa». jima potrebni da i oni dođu do svoje publike. Ovaj stav Važno je napomenuti da se i u samom DIJANA Cen- DIJANA Centra o važnosti međusobne aktivne veze iz- tru iskristalisala dinamična služba PR-a koja se, iako uključuje veliki broj mladih ljudi, ipak najviše ogleda u jasnom profilisanju i talentu Ane Kocjan za ove poslove. Takođe, tokom ove godine je tesno povezana delatnost PR-a u DIJANA Centru sa odgovornima u Narodnom muzeju. Zahvaljujući tome, na primer, aktivnosti Letnje škole DIJANA 2004, tokom celog leta bile su skoro svakodnevno medijski pokrivene. Ovo pojačano interesovanje medija je sigurno rezultat dugogodišnjeg uspešnog

- media - multimedia presentations in the country and aboard - internet presentations - presentations of our publications - conservation exhibitions - open workshops - specific lectures Mila Popović-Živančević sa koleginicom iz Belorusije u Koreji - participation at national and international confer- Mila Popović-Živančević with colleague from Belarus in Korea ences, seminars, meetings, etc. in Belgrade, Institute for the Protection of Cultural - conferences, seminars, specialist courses, round Monuments of Serbia tables, workshops that we organise There is established cooperation on projects and ini- - participation in broadcasts, writing for press tiatives in preventive conservation and conservation with Museum in Majdanpek, National Museum in Media One of the strategic requirements of the preventive Kruševac, Town Museum in Vršac, Museum of City of conservation system as developed by DIANA Centre was Belgrade, Museum Old Village in Sirogojno, Nikola Tesla fully voiced in 2004: we do need media in order to reach Museum, Museum in Zaječar, etc. the broadest public, and media need us in order to reach DIANA Centre participates in the project designs for theirs. The understanding of the importance of mutual the new permanent display in Nikola Tesla Museum, for connection between the media and the heritage protec- revitalisation of cultural and natural heritage of tion that DIANA Centre fosters should help spreading Mojsinjska Gora, and of National Museum in Kruševac and raising the awareness about the importance of cultural heritage and its endangerment, developing the con- Participation in projects of other institutions cept of care for cultural heritage as common objective ART FORUM Velika Hoča, with the educative pro- and assignment both of professionals from institutions gramme “How to protect one’s own heritage”, in charge of protection and from all levels of society. Scientific-research programme Vinča with the pro- Media are supposed to help us inform the broad public gramme Experimental archaeology – Traditional pro- about the difficult situation in museums and in museum duction of ceramics. profession in the country and about the activities which the National Museum in Belgrade and DIANA Centre PROMOTION, PRESENTATION take to overcome these problems. Presentation supports the promotion of preventive Media recognize the strategic significance of our conservation principles in the public, stimulates the objectives and activities and cover the activities of public to care about cultural heritage and to this aim we DIANA Centre. Dynamics and energy of DIANA Centre, use: its actions and realisation of various programmes in pro- 27 rada Letnje Škole DIJANA, određivanja posebno odgo- dincima za najbolju TV ili radio emisiju, novinski članak vornog lica u DIJANA Centru za PR, ali i tesne saradnje i slično, posvećen muzeologiji i zaštiti; Prezentacija pro- koja je ostvarena i koja se uspešno realizuje sa mladim jekta SIKULT – Projekat za razvoj kulture i umetnosti u PR-om Narodnog muzeja Aleksandrom Šojić. Jugoistočnoj Evropi, Kuća Đure Jakšića u Beogradu Razvijen je sistem stalnog obaveštavanja medija o 18. maj, Udruženje «ŠLOS» u Golubincima, Etno-ce- predstojećim događajima, e-mejlom, faksom, telefonom. lina u Vojvodini: Vanredna Skupština NK IKOM-a, obra- Uvedeno je direktno uključivanje novinara u aktivnosti i da glavne teme «Muzeji i nematerijalno kulturno nasle- svakodnevni život DIJANA Centra na terenu, npr. na ar- đe«, dodela muzejske nagrade godine NK IKOM-a, pre- heološkim lokalitetima, zatim pripremanje pisanih infor- zentacija IKOM Biltena 5 - Golubinci macija za medije, u više različitih varijanti, pripremanje 19. maj, otvoreni Okrugli sto o društvenom i strateš- gotovog video materijala, CD-ova, fotografija i sl. Usta- kom značaju nematerijalnog kulturnog nasleđa - Etno- novljeno je svakodnevno „živo“ najavljivanje programa grafski muzej koji su u toku, novinari su obavezno pozivani na koktele i 20. maj, filmski i TV dokumentarni i igrani filmovi sa druge svečanosti, krug mladih ljudi iz DIJANA Centra se sadržajem nematerijalnog kulturnog nasleđa; Videopre- priprema za komuniciranje sa medijima, itd. Ovaj sponta- zentacija Art Foruma Velika Hoča - Muzej Kinoteke no razvijen sistem komuniciranja između institucije zašti- 21. maj, radionice, praktično muzeološko korišćenje te i medija rezultiraće uskoro odgovarajućim elaboratom, nematerijalnog kulturnog nasleđa; Otvaranje izložbe koji već pripremaju Ana Kocjan i Aleksandra Šojić. «Priroda na dečijem licu» - Galerija Prirodnjačkog mu- Poseban intentenzitet u praćenju aktivnosti DIJANA zeja na Kalemegdanu. Centra pokazale su sledeće TV i radio stanice: RTS – Dnevnik i emisije iz kulture, Jutarnji program TV BK, Dani Evropske baštine Radio Beograd II program, Radio Novosti, Radio B92,YU U okviru ove akcije, DIJANA Centar je učestvovao Radio, Radio Stara Pazova. sa programom: Među dnevnim novinama i časopisima – Politika,Ve- Dečija radionica «Kopije i replike» černje novosti, Borba, Glas, Dan, Danas, Bazar i dr. Mala izložba posuda za vodu u Galeriji fresaka, na temu «Voda kao smisao života» Manifestacije i akcije Međunarodni dan muzeja, 18. maj 2004 - sa glavnom Posetioci temom «Muzeji i nematerijalna baština» Karakter Letnje škole DIJANA 2004, sa predavanjima Svi članovi NK IKOM-a SCG iz DIJANA Centra su i praktičnim radom, bio je javan i otvoren za publiku. aktivno učestvovali u pripremanju i uspešnoj realizaciji Radionice, koje se jednim delom odvijau u izložbenom obeležavanja nedeljnog programa Međunarodnog dana prostoru Galerije Fresaka, imaju izrazito javni karakter muzeja, 18. maja: i izazivaju veliko interesovanje publike. To je imalo kao 17. maj, dodela priznanja medijskim kućama i poje- rezultat veći broj posetilaca tokom celog leta u Galeriji tection offer useful material to media for quality cover- is expected to yield results soon in a Project study being age of culture and thereby are permanently interesting prepared by Ana Kocjan and Aleksandra Šoić. for their audience. Particularly intensive cooperation was developed with We can also say that media cover every activity at informative programmes of the RTS (often in the prime DIANA Centre that is important. With certain renown time News), cultural programmes of the RTS I and II, BK journalists we established close and “friendly” relations TV, Radio Belgrade II, Radio Novosti, Radio B92, YU and they now regularly come for interesting and high Radio, Internet news of ICCROM, Radio Stara Pazova, quality journalistic topic, knowing that we are always etc.. As far as press is concerned we should mention there for them. Media became aware that there was dailies Politika, Večernje Novosti, Borba, Glas, Dan, “always something new and exciting going on in DIANA Danas, magazine Bazar, etc. Centre”. On the other hand there is an enterprising PR serv- Manifestations and actions ice developed at DIANA Centre itself and although International Museum Day, 18th May, on Museums the service engages many young people, it is best rep- and Intangible Heritage – all ICOM members from resented by Ana Kocjan who shows great talent for the DIANA Centre actively participated in the seven-days job. During this year the PR service of DIANA Centre programme of this event. became closely connected with that of the National 17th May – awards to media and individuals for the Museum. This was the reason for the activities of the best TV or radio broadcast, newspaper articles on muse- 2004 Summer school to get almost daily coverage. This ology and protection; presentation of the SIKULT proj- increased interest of media is result of the previous ect – For development of culture and art in southeast successful work of the DIANA Summer School, spe- Europe, Belgrade cially assigned PR officer at DIANA Centre but also of 18th May – Association Šlos in Golubinci the close and successful cooperation with Aleksandra (Voyvodina). This ethno site hosted the Extraordinary Šoić, the young PR officer at the National Museum in Assembly of National Committee of ICOM on “Museum Belgrade. A permanent system of keeping media informed on and Intangible Heritage”, and the presentation of the oncoming events is efficient; journalists are directly National Committee of ICOM Bulletin No 5 included in the activities and daily life be they in 19th May – Round table open to public on social and DIANA Centre, or on archaeological sites. Written and strategic importance of intangible heritage, other information for media are prepared, as well as Ethnographic Museum, Belgrade videos, CDs, photographs, daily announcing of ongoing 20th May – film and TV documentary programme programmes. Journalists are invited to all social events, covering intangible heritage, Video presentation of the friendly and open relationship with journalists is ART FORUM Velika Hoča, Film Museum, Belgrade enhanced; young people from DIANA Centre are 21st May – workshops, intangible heritage in museo- coached to communicating with media, etc. The sponta- logical practice; exhibition “Nature on a Child’s face” neously developed system of communication with media Gallery of the Museum of Natural History, Belgrade 28 Profesionalna udruženja Mila Popović-Živančević, kao predsednik nacionalnog komiteta IKOM-a Srbije i Crne Gore i članovi IKOM-a iz DIJANA Centra redovno rade na svim zna- čajnijim međunarodnim, regionalnim i domaćim aktivnostima, aktivno obavljajući deo redovnih aktivnosti Nacionalnog komiteta IKOM-a SCG. Trebalo bi posebno naglasiti da su članovi DIJANA Centra oduševljeno dočekali priliku da postanu članovi IKOM-a, kao što je to i ponuđeno studentima u odluci donesenoj na Generalnoj skupštini IKOM-a 2001. godine u Barseloni. Tako je Nacionalni komitet IKOM-a obo- gaćen sa 25 aktivnih mladih članova iz DIJANA Centra. Prezentacija za medije Presentation for the media Marketing Fresaka. Posetioci su istovremeno učestvovali u više in- Razvoj marketinga treba da osigura šire i redovnije terdisciplinarnih muzejskih sadržaja, od razgledanja ko- izvore finansiranja projekata i aktivnosti DIJANA Cen- pija fresaka i javnih koncerata, do zanimljivih predava- tra. Marketing, kao važan segment preventivne zaštite nja Letnje škole DIJANA 2004, uz direktno ili indirekt- treba, u finansijskim centrima, komercijalnim izvorima no uključivanje u neke aspekte praktičnog rada Letnje finansija, odgovornim institucijama vlasti u zemlji, orga- škole, družili se sa polaznicima i saradnicima DIJANA nizacijama i liderima zaštite u svetu, da inicira podiza- Centra, sa zanimanjem posmatrali i pratili njihov rad. nje svesti o značaju nasleđa u očuvanju i razvijanju kul- Posetioci su po pravilu vrlo pažljivi i nema nikakvih turnog identiteta, da pokaže bazičnu i ključnu ulogu ko- opasnosti od nenamernih ili namernih oštećenja muzej- ju baština treba da dobije u kulturnoj i društvenoj stra- skih predmeta, koji su im na ovaj način dostupni, na pri- tegiji naše zemlje i regiona. Pored toga, pristup koji raz- mer u radionicama za konzervaciju mozaika i sanaciju vijamo treba da ukaže komercijalnom svetu finansija, da kopija stećaka i arhitektonske plastike. je moralna i patriotska obaveza da pomognu očuvanju i Pokazalo se da prostor Galerije fresaka može da bu- razvoju kulturnih dobara i da i oni moraju da se uključe de živ i otvoren muzejski organizam, koji posetiocima u zaštitu baštine. Želimo da kreiramo stav da profesio- često pruža zanimljive i kvalitetne interdisciplinarane nalci iz oblasti zaštite i komercijalni izvori finansija bu- muzejske sadržaje. du na istom zajedničkom zadatku - na brizi za valoriza- Treba primetiti da je povećan broj posetilaca zasluga ciju i očuvanje kulturnog nasleđa. i pojačanih aktivnosti PR službe u Narodnom muzeju i dobre koordinacije sa odgovornima za ove poslove u DI- Dakle, DIJANA Centar počinje ozbiljno da funkcio- JANA Centru (Ana Kocjan). niše na pricipu projekata, zaokruženih posebnih progra-

European Heritage Days and ICOM members from DIANA Centre take active part DIANA Centre participated in the event with: in all necessary international, regional and national “Copies and Replicas” workshop for children actions of the National Committee of ICOM as well as in small exhibition of water vessels covering “Water as its daily tasks, international, regional and local contacts, Essence of Life” topic in the Gallery of Frescoes preparation of seminars, etc. It should be particularly noted that the young peo- Visitors ple in DIANA Centre availed themselves of the oppor- The 2004 DIANA Summer School was open to the tunity to become members of ICOM, as offered to stu- public including all the lectures and work. Some of the dents by decisions taken at the General Assembly of workshops were held in the exhibition space of the ICOM in 2001 in Barcelona. That enriched our National Gallery of Frescoes and were fully open to public and Committee of ICOM with over 25 young and active provoking their interest testified by the number of visi- members from DIANA Centre. tors during the Summer School. Visitors availed themselves of the opportunity to participate in various muse- MARKETING um interdisciplinary programmes from watching fres- Marketing is supposed to provide more regular and coes, attending concerts and interesting lectures, partic- sound funding of projects and activities of DIANA ipating more or less actively in the events up to social- Centre. As an important part of preventive conserva- izing with students and collaborators of DIANA Centre tion, marketing should initiate the raising of awareness during their work. about the importance of heritage for preservation and Generally speaking, our visitors are most careful and development of cultural identity among the financial there was no risk of any deliberate or accidental damage bodies, commercial sources of funds, relevant authori- done to museum objects while watching the process in ties in the country, organisations and world leading the workshops for conservation of mosaics or salvaging institutions when protection is concerned, to make copies of tombstones and architectural plastics. them aware about the crucial role heritage should have The space of the Gallery of Frescoes proved to be a in cultural and social strategy of our country and the live and open museum organism that could offer inter- region. Our approach should also convince the commer- esting and good interdisciplinary museum programmes cial milieu that it is their ethical and patriotic duty to for visitors. help saving cultural heritage – they simply have to get It is certain that the increased number of visitors is involved in the heritage safeguarding. We want to build also due to the intensified National Museum PR efforts among the professionals concerned with protection and and good coordination with the PR officer in DIANA commercial funds feeling of a common objective – care Centre (Ana Kocjan). about preservation of cultural heritage.

Professional associations This means that DIANA Centre is beginning to func- Mila Popović-Živančević as chairperson of the tion on the basis of its projects, specific programmes and National Committee of ICOM of Serbia and Montenegro actions which all raise their own funds from various 29 ma i akcija, koje se svaka za sebe posebno finansiraju iz Učešće na stručnim skupovima različitih izvora. Sem u jednom delu svakodnevnih te- kućih aktivnosti i u delu poslova preventivne zaštite u Mila Popović-Živančević je na Godišnjoj konferenci- muzejskoj mreži, DIJANA Centar funkcioniše skoro kao ji UKIC-a, (Grupa za keramiku i staklo, u Dadliju, Veli- nezavistan sistem u okviru Narodnog muzeja. Ovaj sis- ka Britanija, od 24. do 27. marta), učestvovala u progra- tem finansiranja podrazumeva: mu konferencije sa sadržajima iz oblasti zaštite i proiz- - stalnu mrežu donatora i sponzora vodnje stakla - realizovana je poster izložba o stanju - učestvovanje na konkursima i u programima parti- zgrade Narodnog muzeja i Galerije fresaka, uslovima ču- cipacije vanja kulturnih dobara u muzejima SCG, aktivnostima - učešće u zajedničkim projektima sa drugim institu- DIJANA Centra i radu na zaštiti i konzervaciji stakla u cijama DIJANA Centru, kao i prezentacija publikacije DIJANA - rad za druge institucije zaštite na tržišnoj osnovi 9. - razvoj komercijalnih programa (pružanje stručnih Maja Živković i Tatjana Nedeljković, su od 13. do 16. usluga privatnim licima, pravljenje kopija i replika, maja učestvovale na regionalnoj konferenciji NK IKOM- informativnog i propagandnog materijala i sl.) a Makedonije u Mavrovu, čija je glavna tema bila «Mu- zeji i etika»: Treba primetiti da je DIJANA Centar, tokom godina, Tatjana Nedeljković, «Briga za muzejske predmete i funkcionisanjem kao alternativni centar u okviru zva- profesionalno ponašanje», ničnog sistema zaštite, morao „silom prilika“ da razvija Maja Živković, «Zaštita u muzejima i profesionalno marketinški princip finansiranja svoje delatnosti. Ovaj ponašanje» sistem se vremenom spontano razvijao, tražeći rešenja Koautor tekstova je bila Mila Popović-Živančević. za probleme svog opstanka i razvoja. Uostalom, na sličan, „spontani“ način se definisalo i Aleksandra Džikić Nikolić i Maja Franković su u razvijalo svih devet segmenata sistema preventivne zaš- septembru učestvovale na Godišnjoj skupštini Restaura- tite u DIJANA Centru. Oni su funkcionalni i primenljivi torskog društva i Muzejskog udruženja Slovenije. Pri- u praksi, upravo zbog činjenice da su se racionalno, na premile su izložbeni poster i predavanje uz video prezen- principu „zdrave pameti“ i „domaćinskog ponašanja“ taciju, o aktivnostima DIJANA Centra u 2004. godini. razvijali, korak po korak, tražeći izlaz iz problema po- moću realnih rešenja. Svih devet segmenata čine čvrsto i Maja Franković i Ana Kocjan su, kao predstavnici međusobno povezan interdisciplinarni sistem preventiv- DIJANA Centra, učestvovale na naučnom skupu u No- ne zaštite, metodologiju koja obuhvata teoriju i praksu vom Sadu, od 21. do 22. oktobra 2004. godine, koji je kao zaštite baštine. A preventivna zaštita kao osnovna meto- glavnu temu imao „Metode utvrđivanja i otklanjanja dologija zaštite kulturnih dobara treba da pomogne da posledica dejstva vlage na kulturna dobra.“ se definiše i realizuje strategija intregrisane zaštite baš- M.Franković i A. Kocjan su predstavile radove DIJA- tine u našoj zemlji i regionu. NA Centra, koji su i objavljeni u Zborniku radova skupa: resources. But for a part of daily activities and of preven- Participation in professional and tive conservation tasks related to museum network, DIANA Centre functions as an almost independent sys- scientific meetings tem within the National Museum in Belgrade. This system implies: Mila Popović-Živančević - Annual Meeting of United Kingdom Institute for Conservation of Historic and - constant network of donors Artistic Works (UKIC), Committee for Ceramics and - application for public funds and participation pro- Glass, Dudley, UK, 24-27 March 2004, participated in the grammes Conference programme with contribution on preserva- - participation with other institutions in joint proj- tion and production of glass; poster exhibition on the ects condition of the National Museum in Belgrade and - work for other institution of protection on market- Gallery of Frescoes buildings, keeping conditions of cul- ing principles tural property in museums of Serbia and Montenegro, - developing commercial programmes (professional activities of DIANA Centre and conservation of glass in services to individuals, making copies and replicas, the Centre, presentation of DIANA No 9 publication information and other promotion material, etc.) Maja Živković and Tatjana Nedeljković – regional conference of the National Committee of ICOM It should be noted that DIANA Centre has been func- Macedonia on “Museums and ethics”in Mavrovo: tioning as an alternative centre within the official sys- Tatjana Nedeljković: Care for museum objects and tem of protection and was forced to develop its market- professional behaviour ing approach in providing budget for the activities. This Maja Živković: Conservation in museums and profes- system spontaneously grew with time while searching sional ethics solutions for survival and development. It can also be Co-author was Mila Popović-Živančević. said of a similar “spontaneous” development of all the Aleksandra Džikić-Nikolić and Maja Franković – nine segments of preventive conservation in DIANA participated in September 2004 in the annual assembly Centre.This model is operational and applicable because of the Restorers’ Society of Slovenia and Museum every segment was being developed in a rational way, Community of Slovenia with exhibition posters and lec- based on common sense and step by step practice of ture with video presentation on activities in 2004 of solving problems. All nine segments form a solid and DIANA Centre in preventive conservation inter-related interdisciplinary system of preventive con- Maja Franković and Ana Kocjan represented DIANA servation, methodology comprising theory and practice Centre at the scientific meeting in Novi Sad (21-22 of heritage protection. Preventive conservation as funda- October) on “Methods for establishing causes and fight mental methodology of cultural property protection consequences of relative humidity on cultural property”. should help defining and carrying out the strategy of They presented the contributions of DIANA Centre, integrated protection of heritage in the country and in afterwards published in the Proceedings of the scientific the region. meeting: 30 MilaPopović-Živančević, „Uticaj relativne vlažnosti Partneri: Filozofski fakultet - odeljenje arheologije, na muzejske zbirke i načini zaštite Institut za nuklearna istraživanja Vinča, Institut za ispi- Ana Kocjan, „Metode uticaja na relativnu vlažnost“ tivanje materijala, Rudarsko-geološki fakultet, FPUD, Maja Franković, „Metode merenja relativne vlažnos- Skupština grada Beograda. ti“ (Vesna Svoboda, Tatjana Nedeljković, Maja Živković, Tatjana Nedeljković, „Uticaj relativne vlage na ma- Ivana Stojković, Đurđinka Bogdanović, Mila Popović- terijale“ Živančević). Aleksandra Džikić Nikolić, „Odnos relativne vlaž- nosti i temperature u muzejskim zbirkama“ «Deca u Muzeju», Vesna Živković, „Metode kontrole relativne vlažnos- Cilj projekta je „uvlačenje“ najmlađe publike u mu- ti“ zejske programe, jer je najednostavnije početi sa decom i omladinom. Projekat treba da afirmiše naš pristup da M. Popović-Živančević je učestvovala na 21. General- se već sa malom decom radi na formiranju svesti o važ- noj Konferenciji i 20. Generalnoj Skupštini IKOM-a u nosti kulturnog nasleđa, ukazivanju na to koliko ga je la- Seulu, Južna Koreja, sa osnovnom temom „Muzeji i neko oštetiti i koliko je značajno da se svi brinemo o nje- materijalna baština“. mu na odgovarajući način. (Ana Kocjan,Vesna Živković, Bojan Georgijevski) Za ovu priliku je pripremila informativni materijal, CD-romove sa videprezentacijama o: radu DIJANA Cen- «Muzej bez prepreka», tra na preventivnoj zaštiti, stanju dela kulturnih dobara Cilj projekta je uključivanje lica sa hendikepom u na Kosovu i Metohiji, požaru u Hilandaru, zaštiti nema- muzejske aktivnosti, u oblasti zaštite i konzervacije. Že- terijalne baštine - starim tehnologijama proizvodnje ke- limo da ovim projektom pomognemo razvoj programa, ramike. koji treba da odražavaju normalan život lica sa različi- tim hendikepima; razvoj „radosti življenja“ kroz njihovo Posebni projekti i programi direktno učešće u muzejskim sadržajima i akcijama zaš- tite i konzervacije. Eksperimentalna arheologija - Tradicionalne proiz- (Ana Kocjan,Vesna Živković, Bojan Georgijevski) vodnje keramike Projekat obuhvata fizičko-hemijska, minerološka i «Letnja škola zaštite baštine 2004. za mlade» petrografska istraživanja uzoraka originalne arheološ- Cilj projekta je uključivanje srednjoškolske omladine ke keramike sa lokaliteta Vinča i potencijalnih nalaziš- u muzejske sadržaje zaštite. Želimo da ukažemo mladi- ta gline sa više lokaliteta u okolini Vinče; pripremanje ma na vrednost kulturnog nasleđa, kao na značajnu ka- gline prema približno originalnoj recepturi i pečenje na tegoriju razvoja društva i da im pomognemo da se ospo- otvorenoj vatri, na lokalitetu Vinča. sobe da zajedno sa profesionalcima brinu o očuvanju

- Impact of RH on museum collections and protec- servation; condition of the part of cultural heritage in tion methods, Mila Popović-Živančević Kosovo and Metohija, fire in Hilandar Monastery, pro- - Methods of affecting relative humidity, Ana Kocjan tection of intangible heritage, old technologies for - Measuring methods for relative humidity, Maja ceramic production. Franković - Relative humidity influence on materials, Tatjana Specific projects and Nedeljković - Relation between RH and temperature in museum programmes collections, Aleksandra Džikić-Nikolić - Managing relative humidity,Vesna Živković Experimental archaeology - Traditional productions of ceramics: Project includes physical-chemical, miner- Mila Popović-Živančević took part in the 21st alogical and petrographic investigations of original General Conference and 20th General Assembly of archaeological ceramics from the site Vinča and of pre- ICOM in Seoul, South Korea on “Museum and Intangible sumed clay mines from various sites around Vinča; Heritage”and prepared information, CD ROMs with pre- preparation of clay after supposed recipes and clamp fir- sentations: the role of DIANA Centre in preventive con- ing on the Vinča site. Partners: Faculty of Philosophy - Department for Archaeology, Nuclear Research Institute Vinča, Institute for Testing Materials, Faculty of Mining and Geology, Faculty of Applied Arts and Design, Assembly of City of Belgrade (Vesna Svoboda, Tatjana Nedeljković, Maja Živković, Ivana Stojković, Đorđina Bogdanović, Mila Popović-Živančević)

“Kids in Museum”– The project is designed to “involve”the youngest public into museum programmes. It should prove correct our approach that it is best to start with children when building awareness about the importance of cultural heritage, how easy it can be damaged and how important it is that we all care about it in adequate way. (Ana Kocjan, Vesna Živković, Bojan Georgijevski)

“Museum without Obstacles” – The project is focused Mila Popović-Živančević na konferenciji IKOM-a on the persons with handicaps and their involvement in Mila Popović-Živančević at an ICOM conference museum activities on protection and conservation. We 31 nasleđa. Projekat predviđa savladavanje osnovne teorije (Danijela Stojiljković, Bojan Georgijevski, Tatjana i prakse brige za kulturna dobra, zajedno sa direktnim Velenik, Nemanja Mrđić, Ana Kocjan, Mila Popović-Ži- učešćem u konzervatorskom postupku, kako bi bolje vančević). shvatili koliko se kulturno dobro lako može oštetili i zaš- to ono mora da se konzervira i čuva na odgovarajući na- «Konzervacija stakla sa rimskog limesa» čin. Cilj projekta je da standardizuje konzervatorski tret- (Mila Popović-Živančević, Maja Živković). man rimskog stakla, na primerima sa rimskog limesa. Projekat predviđa ozbiljna istraživanja uzroka destruk- «Kodeks profesionalne etike za konzervatore» tivnih procesa površine i strukture stakla, metode spre- Cilj projekta je regulisanje profesionalnog ponašanja čavanja destruktivnih procesa i lečenja stakla, istraživa- prilikom kozervatorskog postupka sa muzejskim pred- nje materijala pogodnih za čišćenje, lepljenje, posebno metima. Želimo da ustanovimo i definišemo standarde za restauraciju. profesionalnog odnosa prema svakom segmentu konzer- (Igor Jonić, Danijela Stojiljković i Nemanja Mrđić). vatorskog posla. Sadržaj projekta se isključivo bavi ak- tivnim konzervatorskim tretmanom i uključuje iskustva “Kako napraviti plan preventivne zaštite “ svih značajnih organizacija zaštite u svetu. Cilj projekta je da pomogne muzejima oko imple- mentacije mera preventivne zaštite u praksi. Sadržaj projekta treba metodološki da obuhvati snimanje stanja muzejske zgrade, sa svim sadržajima i okruženjem, posebno depoa i izložbenog prostora, analizu stanja, procenu rizika, određivanje prioriteta, pripremanje planova za vanredne situacije, stalno praćenje stanja i evaluaciju, kontrolu svih aspekata uslova sredine muzejskih zbirki i predmeta. (Mila Popović-Živančević, Vesna Živković, Ivana Stojković)

“Konzervacija na arheološkom terenu” Cilj projekta je da pomogne profesionalcima, istraži- vačima i konzervatorima da sagledaju arheološki lokalitet u integrativnom smislu, sa stanovišta rukovođenja. Polazi se od teorije baštine i zaštite nepokretnih i pok- Radionica “Deca u muzeju” retnih dobara, do onoga što savremena nauka daje ar- “Children in a museum” workshop heološkom lokalitetu u kulturološkom, istorijskom, es- wish to help development of programmes that contribute How to Make a Preventive Conservation Plan – The to better quality of life of handicapped persons, to help project should help museums to implement preventive them “enjoy life”by direct participation in museum pro- conservation measures and offer methodology for sur- grammes and activities on preservation and conservation veys in museum buildings with all their contents and (Ana Kocjan,Vesna Živković, Bojan Georgijevski) environments, particularly storages and exhibition spaces, risk assessments, setting priorities, disaster pre- Summer School of Heritage Protection 2004 for the paredness plans, monitoring of the condition and evalu- Young – This project is focused on secondary school ation, management of all environmental aspects of children helping them to better understand the value of museum collections and objects (Mila Popović-Živanče- cultural heritage as an important category in society vić,Vesna Živković, Ivana Stojković) development and teach them how to care about the heritage together with professionals. The project should Conservation on Archaeological Site – aimed at help- enable mastering basics of theory and practice of cul- ing professionals, researchers and conservators to treat tural heritage care, and by participation in conservation the archaeological site integratively, from the manage- treatments make children understand how easy it is to ment point of view. The project is based on the theory of damage the cultural property and why it has to be con- heritage and protection of movable and immovable cul- served and adequately kept. (Mila Popović-Živančević, tural property and includes the achievements of contem- Maja Živković) porary science in sense of culturological, historic, esthetic, social, economic, commercial aspects of archaeologi- Code of Ethics for Conservators - The project should cal sites. (Mila Popović-Živančević, Vesna Živković, set standards for professional behaviour and conserva- Aleksandra Džikić-Nikolić, Tatjana Nedeljković, Maja tion treatment of museum objects. It should cover every Franković, Ivana Stojković) step in conservation treatment. The Code covers only active conservation treatment and is based on worldwide Organisation of Centre for Conservation and experience in the subject. (Danijela Stojković, Bojan Protection – One national centre for protection of Georgijevski, Tatjana Velenjek, Nemanja Mrdžić, Ana museum object, spreading over the Balkan region Kocjan, Mila Popović-Živančević) should be established. The organisational chart and Conservation of the Roman Limes Glass – The aim is methodological standards of work with all segments to set standards for conservation treatment of the Roman according to contemporary procedures in conserva- glass by working on samples from the Roman limes. tion, passive and active conservation treatment and Comprehensive research of causes is planned in order to research are given. (Mila Popović-Živančević, understand destruction processes of the surface and Aleksandra Džikić-Nikolić, Tatjana Nedeljković, Maja structure of glass, methods for preventing the process Živković, Maja Franković, Ana Vujić) and curing the glass, testing of adequate materials for cleaning, bonding, and particularly for restoration (Igor Conservation Dictionary – this is a project of funda- Jonjić, Danijela Stojković, Nemanja Mrdžić) mental importance as it has to fill in the empty space 32 tetskom, društvenom, ekonomskom, komercijalnom la. Projekat predviđa potpunu rekonstrukciju proizvod- smislu i sl. nje, u saradnji sa Srpskom fabrikom stakla u Paraćinu (Mila Popović-Živančević, Vesna Živković, Aleksan- (Prof.dr Dušan Trifunović, Aleksandar Portnoj, San- dra Džikić Nikolić, Tatjana Nedeljković, Maja Franko- dra Dejvison, Mila Popović-Živančević, Danijela Stojilj- vić, Ivana Stojković). ković).

„Organizacija Centra za zaštitu“ Human Creations and Preventive Conservation Im- Projekat treba da definiše jedinstven nacionalni cen- plementation tar zaštite muzejskih predmeta, na širem nivou regije Projekat postavlja preventivnu zaštitu kao metodo- Balkana. Sadržaj pruža organizacionu šemu i metodologiju i osnovni postupak zaštite kompleksne baštine, u loške standarde rada, sa precizno određenim segmenti- njenom okruženju i životnoj sredini. Stanovnici lokalne ma, u skladu sa savremenim procesima zaštite, pasivnog sredine, u tesnoj saradnji sa profesionalcima iz domena i aktivnog konzervatorskog tretmana i istraživačkog ra- zaštite, razvijaju sopstvene efikasne sisteme brige za da. kulturno nasleđe; kreiraju nove sadržaje, koji baštini da- (Mila Popović-Živančević, Aleksandra Džikić Niko- ju novu dimenziju i stavljaju je u službu opšteg razvoja, lić, Tatjana Nedeljković, Maja Živković, Maja Franković, ekonomskog i društvenog napretka njihove zajednice. Ana Vujić). Projekat ima preporuke UNESCO-MAB Komiteta i Na- cionalne komisije za UNESKO. «Konzervatorski rečnik» (Mila Popović-Živančević, Malena Stojčev) Projekat od fundamentalnog značaja, koji treba da popuni prazan prostor kada se radi o literaturi u dome- „Kako zaštiti sopstvenu baštinu“ nu zaštite i konzervacije. Priprema se ilustrovano izda- Projekat integrisane zaštite baštine u okviru održivog nje, u srpsko-engleskoj verziji. Ima predloga iz C2RMF razvoja u Velikoj Hoči, Kosovo i Metohija. Projekat da se priključe ovom projektu kao partneri i pripreme predstavlja integralnu analizu stanja kulturne baštine: francusku verziju, tako da Rečnik bude trojezičan. (Ma- nepokretne, pokretne, nematerijalne, okruženja, lokalne lena Stojčev, Mila Popović-Živančević, Dušan Trifuno- zajednice sa ekonomskim i društvenim stanjem i moguć- vić, Ubavka Mioč, Aleksandra Džikić Nikolić i dr.). nostima. Projekat treba da ukaže lokalnoj zajednici kako da se organizuje zaštita vekovne baštine i tradicije; kako Eksperimentalna arheologija - Stare tehnologije nasleđe racionalno postaviti i uključiti u savremeni eko- proizvodnje stakla nomski i društveni razvoj. S druge strane, ovaj projekat Cilj projekta je proučavanje i sagledavanje original- bi mogao da pomogne UNESKO-u i programima Evrop- nih tradicionalnih proizvodnji stakla. Sadržaj uključuje ske zajednice da se lakše i primerenije uključe i angažu- ozbiljna minerološka, petrografska, spektrografska i fi- ju na zaštiti baštine u Velikoj Hoči i Kosovu i Metohiji. zičko-hemijska istraživanja, kao i ispitivanja fuzije stak- (Mila Popović-Živančević) when literature on protection and conservation is con- provides integral survey of cultural heritage: immovable, cerned. It would be illustrated, English-Serbian. C2RMF movable, intangible, environmental, as well as of the has expressed interest to participate in the project as local community including economic and social aspect partner and prepare the French version, thus making the and development possibilities. It should guide the local dictionary a three-language one. (Malena Stojčev and community in better protecting their heritage and their collaborators) tradition; rational treating of the heritage and including it in the contemporary economic and social develop- Experimental Archaeology - Old technologies for ment. On the other hand, this project could help glass manufacturing. The project should investigate and UNESCO and European Union programmes in their solve issues related to original traditional methods for engagement on heritage protection in Velika Hoča and manufacturing glass. It includes mineralogical, petro- Kosovo and Metohija (Mila Popović-Živančević ) graphic, spectrographic and physical-chemical investigations as well as study of glass fusion. Full reconstruc- Environmental Education and Preventive Conser- tion of the production process should be reconstructed in vation of Cultural Heritage – The project deals with cooperation with the Serbian Glass Factory in Paraćin problems of disturbed museum surroundings and envi- (Dušan Trifunović, Aleksandar Portnoj, Sandra Davison, ronment as possible consequence of disturbed condition Mila Popović-Živančević, Danijela Stojković) of cultural property. On the other hand this condition can lead to pollution which may have adverse influence Human Creations and Preventive Conservation on humans and animals when in contact with such cul- Implementation with the sub-project How to Protect One’s Own Heritage – Velika Hoča. Preventive conserva- tural property. The project emphasizes the fundamental tion is established as methodology and basic approach in need to solve these problems by implementing system of protection of complex heritage in its environment and preventive conservation measures. The project was rec- surroundings. Local population in close cooperation ommended by UNESCO-MAB Committee and the with professionals in conservation should develop spe- National Commission for UNESCO (Mila Popović- cific and effective system of care about cultural heritage, Živančević, Malena Stojčev) create new programmes that offer a new dimension to the heritage so that it can serve development, economic Disintegration of Archaeological Stone – Study of and social welfare of their community. The project was biogenic factors causing disintegration of stone and recommended by UNESCO-MAB Committee and the biomineralisation. The aim is to help enhancing meth- National Commission for UNESCO (Mila Popović- ods of preventive conservation, particularly of conser- Živančević, Malena Stojčev) vation treatments so as to connect the condition of stone and its protection. The project is done in cooper- How to Protect One’s Own Heritage – integrated her- ation with the Faculty of Mining and Geology in Bel- itage conservation project within sustainable develop- grade. (Dragan Milovanović, Mila Popović-Živančević, ment of Velika Hoča, Kosovo and Metohija. The project Jelena Kondić, Maja Franković). 33 Environmental Education and Preventive Conserva- liko dokumenata koji treba da olakšaju organizovanje tion of Cultural Heritage premeštanja zbirki Narodnog muzeja u privremeni cen- Projekat obrađuje deo problema poremećenog mu- tralni depo: zejskog okruženja i životne sredine, koje može biti pos- z Procedura za čišćenje predmeta ledica poremećenog stanja kulturnih dobara. S druge z Procedura za rukovanje predmetima strane, ovako stanje kulturnih dobara može rezultirati z Plan zaštite privremenog depoa štetnim zagađenjima, što može opet biti potencijalno z Plan izmeštanja materijala po fazama: opasno po zdravlje i stanje ljudi i životinja koji dolaze u - procedura pakovanja prema zbirkama i kate- dodir sa takvim kulturnim dobrima. Projekat ukazuje na gorijama predmeta fundamentalan značaj rešavanja ovih problema u dome- - organizacija privremenog depoa nu kulturne baštine pomoću sistema mera preventivne z Uputstva za izradu dokumentacije koja će pratiti zaštite. Projekat ima preporuke UNESCO-MAB Komi- transport teta Nacionalne komisije za UNESKO. z Procedura zaštite materijala koji ostaje u Narod- (Mila Popović-Živančević, Malena Stojčev). nom Muzeju

„Raspadanje arheološkog kamena“ Na ovim poslovima su angažovani: Vesna Živković Projekat se bavi biogenim faktorima raspadanja ka- Aleksandra Džikić Nikolić, Maja Franković, Maja Živko- mena i biomineralizacijom. Cilj ovog projekta je da po- vić, Tatjana Nedeljković, Mila Popović-Živančević mogne usavršavanju dosadašnjih metoda preventivne zaštite, posebno konzervatorskih postupka, i da pomo- 2.Takođe su završeni procedura i uputstvo za prima- gne tesnom povezivanju stanja kamena i njegove zaštite. nje predmeta na konzervaciju i konzervatorski postu- Projekat se radi u saradnju sa Rudarsko-geološkim pak. fakultetom u Beogradu. 3. Pripremljena je Anketa - upitnik za preventivnu (Dragan Milovanović, Mila Popović-Živančević, Je- zaštitu namenjena muzejima, koja sadrži pitanja o stanju lena Kondić, Maja Franković) zgrade, okruženja, depoa, izložbenog prostora, konzervatorskih radionica, o zaštiti od vanrednih prilika, protivpo- Pripremanje pravilnika, žarnoj zaštiti i dr. Anketa je veoma detaljna i već je us- pešno korišćena tokom snimanja i analize stanja u Grad- uputstava i procedura skom muzeju u Vršcu i Muzeju Staro Selo u Sirogojnu. 4. Pripremljena je Anketa za autoevaluaciju stanja 1.Tim DIJANA Centra učestvuje u pripremama za muzejske delatnosti, koja je usmerena na stanje muzeo- pakovanje i premeštanje materijala u privremeni cen- logije i muzejske struke. Anketa je već uspešno korišće- tralni depo Narodnog muzeja, zbog predstojeće rekon- na u Muzeju grada Beograda i Narodnom muzeju u strukcije. U okviru ovog zadatka, u toku je rad na neko- Kruševcu.

Preparation of rule books, guide etc. The questionnaire is a very detailed one and it was successfully applied during the surveys in the Town books and procedures Museum in Vršac and Museum “Old Village”in Sirogojno. The questionnaire for evaluation of museum activi- DIANA Centre team participates in preparing for ties condition targeted to the situation of museology and packing and removal of material into a temporary cen- the profession has been prepared and successfully tral storage of the National Museum in Belgrade as part applied in the Museum of City of Belgrade and the of the reconstruction process. This work also includes National Museum in Kruševac. preparing several documents aimed at making easier the removal of collections from the National Museum in Education in DIANA Centre Belgrade into the temporary central storage: z Procedure for cleaning objects in 2004 z Plan of protection the temporary storage z Step by step plan of evacuation of the material: Education covered each programmatic segment in z packing procedures related to collections and cat- following cycles: egories of objects z handling procedure during transporting objects Theoretical Education z organisation of the temporary storage Preventive conservation cycle Guides for preparing documentation escorting the - Preventive conservation as strategy transport - System of preventive conservation measures in Procedure for protecting the material that is to museums remain in the National Museum - Theoretical approach to the surveys in museums and risk assessment Vesna Živković, Aleksandra Džikić-Nikolić, Maja - Museum building, advantages and disadvantages in Franković, Maja Živković, Tatjana Nedeljković, Mila museum activities, storages, exhibitions and trans- Popović-Živančević are engaged on these tasks. port - Handling, storing, environmental control, microcli- Procedure and guides for receiving objects for con- mate and collections, museum standards servation and conservation treatment have been pre- - Air pollution, deterioration agents pared. - Instrumental methods in microclimate measuring A survey – Questionnaire in preventive conservation and control, in particular humidity for museums has been prepared covering the buildings - Microbiology; microorganisms, fungi, moulds condition, surroundings, storages, exhibition spaces, - Pest management, rodent management, disinfestation conservation workshops, emergencies, fire prevention, - Disaster preparedness (fire, floods, thefts, vandalism, armed conflicts) 34 Obuka u Dijani u 2004. godini

U 2004. edukacija se sprovodila angažovanjem eksperata, iz zemlje i inostranstva, za svaku posebnu obrazovnu oblast, kroz sledeće metodološke cikluse:

Teorijska predavanja:

1. Ciklus iz preventivne zaštite - Preventivna zaštita kao strategija - Sistem mera preventivne zaštite u muzejima - Teorija analize stanja u muzejima i procena rizika - Muzejska zgrada, problemi i pogodnosti za muzejske delatnosti; depoi, izložbe i transport, - Rukovanje, deponovanje, kontrola sredine, mikroklima i zbirke, muzejski standardi - Aerozagađenja, faktori propadanja - Instrumentalne metode merenja i kontrole mikroklime, posebno vlage Teorijsko predavanje - Mikrobiologija - mikroorganizmi, gljivice, buđi, Theoretical education plesni baštine i zaštite - Dezinfekcija, deratizacija, dezinsekcija - Edukacija muzejske publike različitog profila - Zaštita od vanrednih prilika (požar, poplava, krađe, - Engleski za konzervatore i muzeologe vandalizam, rat); - Francuski, osnove jezika - Zakonodavstvo, pravna regulativa - Profesionalna etika i ponašanje (profesionalni kodeksi) 3. Ciklus o konzervatorskim tretmanima - aktivna - Zaštita na radu, zaštita od štetnih isparenja i česti- konzervacija ca - Tehnologija arheološkog materijala - Hemija arheološkog materijala i materijala za kon- 2. Opšti ciklus iz zaštite kulturnih dobara zervaciju - Teorija baštine i kulturnog dobra - Geologija sa petrografijom - Kultura i etika - Štetni agensi u konzervaciji - Kulturna politika, strateško planiranje, pozicija - Tehnologija arheološkog materijala

- Legislation - Paths of amber through history - Professional ethics and behaviour (codes of profes- - Prehistoric ceramics, production and typology sional ethics) - Roman ceramics, typology - Safety at work, protection against fumes and particles Specialist lectures Specialist courses and lectures were organised dur- General cycle related to protection of cultural prop- ing 2004 as integral part of the theoretical and practical erty education at DIANA Centre. They treated in a specific way certain and particular problems appearing in con- - Theory of heritage and cultural property servation, protection, archaeology and archaeological - Culture and ethics objects as well as some more general issues important for - Cultural policy, strategic planning, position of her- protection of cultural heritage. itage and protection Use of laser in conservation,Vanja Jovanović, restor- - Education of museum public er, School of Art Crafts, Šabac - English for conservators and museologists Interdisciplinarity in conservation, Raman spec- - French, basic course troscopy in museology and protection, Silvio Kečkeš and Jelena Petrović, Faculty of Physics and Chemistry, Cycle related to conservation treatments – active Belgrade conservation Causes of archaeological glass decay and prevention methods, Sandra Davison, United Kingdom Institute for - Technology of archaeological material Conservation of Historic and Artistic Works (UKIC), - Chemistry of archaeological material and conserva- Davison Studio, UK tion material Professional safety at work for conservators, Pamela - Geology with petrography Warner, Addington Studio, UK - Harmful agents in conservation Harmful agents in conservation, Franc Curk, - Technology of archaeological material National Museum in Niš - Materials used for conservation of ceramics and Roman ceramics in Europe, production, trade and glass, restoration of porcelain, faience and majolica cultural relations in Europe and the Balkans, Robin - Material used for taking prints, making moulds and Symonds, PhD, Museum of London, UK copies and replicas Traditional ceramics production in Serbia, Vesna - Synthetic materials in conservation of stone Svoboda, M.A., ceramists, Belgrade Museological aspects of professional ethics, Culture Cycle related to archaeology and Ethics, Prof. Kiril Temkov, PhD, Faculty of Philosophy, Skopje, Macedonia - Methodology of archaeological research with Educative programmes in the Museum of Macedonia, organisation of the system in Croatia Simonida Miljković, Museum of Macedonia 35 - Materijali za konzervaciju keramike i stakla, res- “Tradicionalne proizvodnje keramike u Srbiji”, Ves- tauraciju porcelana, fajansa i majolike na Svoboda, magistar keramike - Materijali za uzimanje otisaka, pravljenje kalupa i “Muzeološki aspekti profesionalne etike - kultura i kopija i replika etika”, prof.dr Kiril Temkov, Filozofski fakultet Skoplje - Sintetički materijali u konzervaciji kamena “Edukativni programi u Muzeju Makedonije”, Simo- nida Miljković, Muzej Makedonije 4. Ciklus o arheologiji “Organizacija zaštite u skladu sa novim zakonodav- stvom u Hrvatskoj”, Martina Blečić, Ministarstvo kultu- - Putevi ćilibara kroz istoriju re Hrvatske, Regionalni zavod za zaštitu, Rijeka - Praistorijska keramika - proizvodnja i tipologija “Kulturna politika, pozicija baštine i zaštite”, prof. - Rimska keramika - tipologija dr Milena Šešić-Dragičević, Univerzitet umetnosti u Beogradu 5. Specijalistička predavanja Kao sastavni deo teorijske i praktične obuke, DIJA- Praktična obuka NA Centar je tokom 2004. godine organizovao i specija- lističke kurseve i predavanja, koja na poseban način Tokom 2004. godine teorija preventivne zaštite poste- obrađuju pojedine i uže probleme zaštite, konzervacije, peno je uvođena u program praktične obuke, koji se sas- arheologije ili arheoloških predmeta, kao i neka opštija tojao od: pitanja bitna za zaštitu kulturne baštine: “Upotreba Lasera u konzervaciji”, Vanja Jovanović, 1. Savladavanje primene mera preventivne zaštite - restaurator, Škola umetničkih zanata funkcioniše preko specijalizovanih radionica i timova, a “Interdisciplinarnost u konzervaciji -ramanska cilj je da se teorija preventivne zaštite primeni u muzej- spektroskopija u muzeologiji i zaštiti”, Silvio Kečkeš i skoj praksi. Ovaj deo obuke se bavi analizom stanja mu- Jelena Petrović, Fizičko-hemijski fakultet zejskih zgrada, analizom uslova čuvanja, izlaganja i “Uzroci propadanja arheološkog stakla i metode za transporta muzejskih predmeta, procenom rizika, odre- sprečavanje propadanja”, Sandra Dejvison, UKIC, Dej- đivanjem prioriteta, predlaganjem odgovarajućih mera vison studio,Velika Britanija sanacije, organizovanjem i kontrolom mera preventivne “Profesionalna zaštita konzervatora na radu”, Pame- zaštite i dr. la Vorner, Adington studio,Velika Britanija “Štetni agensi u konzervaciji”, Franc Curk, Narodni 2. Savladavanje konzervatorskih veština predstavlja muzej u Nišu kombinaciju primene konzervatorskih praktičnih meto- “Rimska keramika u Evropi - proizvodnja, trgovina da i teorijskih objašnjenja tih metoda i materijala koji se i kulturne veze u Evropi i na Balkanu”, Robin Sajmonds, koriste. Sastoji se od izučavanja i primene: Muzej grada Londona,Velika Britanija - osnovnih aktivnih konzervatorskih tretmana i znanja

Organisation of protection pursuant to new legislation in Croatia, Martina Blečić, Ministry of Culture of Croatia, Regional Institute of Protection, Rijeka, Croatia Cultural policy, position of heritage and protection, Prof. Milena Šešić-Dragičević, PhD, Belgrade

Practical Training Theory of preventive conservation was adequately represented in the contents of practical training consisting of:

Mastering preventive conservation measures application through specialised workshops and teams with the aim to introduce the theory of preventive conservation into daily museum practice.This part of the training was dedicated to surveys in museum buildings; analysis of keeping conditions, of transporting and displaying of museum objects, risk assessment, setting priorities, decision-making related to salvaging actions, etc.

Mastering conservation skills is a combination of practical conservation methods applied and of theoretical explanations of methods and materials used. It consists of study and application of:

- basic active conservation treatments and know how - specialised knowledge, artistic skills and crafts

It is conducted in workshops depending on the level of previous theoretical education. It is applied to inorganic, organic and composite archaeological materials. At present the practical training is done on ceramics, glass, stone, plaster, synthetic materials, amber. At DIANA Centre other kinds of archaeological material are not being treated until the adequate work- Praktična konzervacija ing conditions and equipment shall have been provided. Practical conservation 36 - specijalizovanih znanja, umetničkih veština i zanatskog umeća.

Sprovodi se u okviru radionica, koje su usklađene sa nivoom teorijske obuke. Primenjuje se na neorganskom, organskom i kompozitnom arheološkom materijalu, za sada na keramici, staklu, kamenu, gipsu, sintetičkim materijalima, ćiliba- ru. Za druge vrste arheološkog materijala DIJANA Cen- tar još uvek nema uslova, dok se ne reše problemi odgo- varajućeg radnog prostora i opreme. Praktični deo programa se odnosi na izvođenje svih faza konzervatorskog tretmana: - Konzervatorska dokumentacija (tradicionalna i digitalna) - Konzervatorska ispitivanja (makroskopska, mikro- skopska, hemijska i dr.) - Čišćenje (mehaničko i hemijsko) Praktičan rad na kursu konzervacije stakla sa Sandrom Dejvison - Stabilizaciju strukture i površine (konsolidacija Practical training in glass conservation with Sandra Davison hemijskim putem) arheološki materijal potiče iz neolita, bronzanog i gvoz- - Spajanje fragmenata denog doba, grčkog i rimskog perioda, ranog i kasnog - Restauracija i rekonstrukcija srednjeg veka. - Završna zaštita Restauracija porcelana, fajansa i majolike - Savladavanje posebnih umetničkih veština - srednjovekovna majolika, poreklom iz Italije, porcelan 18. i 19. veka, iz manufaktura zapadne i srednje Ciklusi praktične obuke Evrope. Konzervacija stakla U toku 2004. godine praktična obuka se vršila na - iz rimskog i srednjovekovnog perioda. U obuku iz neorganskom i kompozitnom arheološkom materija- konzervacije stakla bili su uključeni isključivo stari po- lu. laznici (V,VI,VII sezona obuke), koji su prethodno uspeš- Konzervacija keramike no savladali osnove konzervacije keramike. - trošna i čvrsta keramika, sa bojenim i glačanim Konzervacija kamena premazima, glazurama i gleđosanim površinama. Ovaj - kameni artefakti od krečnjaka, peščara ili merme-

Practical training should enable application of all Conservation of stone stages of conservation treatments and artistic skills: Stone artefacts, from sandstone, lime or marble, such - Conservation documentation (traditional and digi- as sculptures, inscriptions , architectural parts originat- tal) ing from the Mesolithic and Roman periods. This train- - Conservation investigations (macroscopic, micro- ing was designed for seniors (5th,6th and 7th term of scopic, chemical, etc.) training) only - Cleaning (mechanical and chemical) - Stabilization of the structure and surfaces (consol- Making copies and replicas idation with chemicals) For the first time the students were expected to mas- - Bonding of fragments ter taking of prints and preparation of moulds with sili- - Restoration and reconstruction cone resins and polyester, as well as casting clay and fir- - Final protection ing clay casts. - Mastering special artistic skills This course was open to all interested students.

Practical training cycles Repair of old conservations Collections of the National Museum in Belgrade con- In 2004 practical training included inorganic and tain lots of archaeological material, particularly ceram- composite archaeological materials ics and glass. They represent a huge problem today, as the old conservation has not passed the time test and the Conservation of ceramics objects need new treatment. Soft body and solid ceramics, with painted and burnished coatings, glazes and glazed surfaces. This type of Conservation and salvaging action of copies made in archaeological material originates from the Neolithic, plaster, polyester and other materials Bronze and Iron ages, Greek and Roman periods, early The National Museum in Belgrade disposes with a and late Middle Ages. number of plaster copies of tombstones (stećci) and various stone plastic. These copies were done tens of years Restoration of porcelain, faience and majolica ago and show significant damages and signs of time th Medieval majolica originating from Italy, 18 and passed. 19th centuries porcelain from west and mid-European factories Team work Conservation of glass Roman and medieval glass. This training was de- The students are engaged in all segments of organi- signed for seniors (5th,6th and 7th term of training) only sation and work of DIANA Centre and are included in who have already successfully mastered basics of ceram- teams with senior and more experienced collaborators ics conservation. and students.This kind of team work proved to be a good 37 ra, iz mezolita i rimskog perioda, kao što su skulpture, da se čak i veoma obimne, kompleksne, strateške stvari natpisi, arhitektonska plastika. Na kursu konzervacije mogu uspešno sprovoditi i sa malim brojem stalno za- kamena učestvovala je isključivo grupa starih polaznika poslenih, pod uslovom da se na pozitivan način animira- (V,VI,VII sezone obuke) ju i angažuju saradnici na principu volonterskog rada ili Pravljenje kalupa i kopija sa honorarima iz poslova koje su sami realizovali. - po prvi put je organizovana obuka iz uzimanja oti- Znači, sve aktivnosti realizacije osnovnih programa i saka i pripremanja kalupa od silikonskih smola i polies- svakodnevnih radnih zadataka DIJANA Centra sprovo- tera, a zatim livenje gline i pečenje glinenih odlivaka. de kombinovani-zajednički timovi saradnika sa polazni- Na ovom kursu mogli su da učestvuju i novi i stari cima. Ove aktivnosti su sastavni deo edukativne metodo- polaznici. logije. Cilj im je kreiranje kompletne stručne ličnosti, ko- Popravka starih konzervacija ja ima krajnje odgovoran odnos prema savesnom oba- - u zbirkama Narodnog muzeja ima dosta arheološ- vljanju različitih potrebnih poslova. Takođe, ovaj način kog materijala, posebno keramike i stakla, koji danas rada treba da pomogne razvoju sposobnosti koncentra- prave velike probleme, jer stara konzervacija nije izdr- cije za kompleksne zadatke, kako bi se svi elementi jed- žala probu vremena i predmeti sada moraju ponovo da se nog radnog zadatka držali pod kontrolom i pomogli da tretiraju. se on uspešno okonča.Tako, ovi kombinovani timovi uče- Konzervacija i sanacija kopija od gipsa, poliestera i stvuju u: drugih materijala - ispitivanju i analizama stanja kulturnih dobara u - Narodni muzej poseduje značajnu kolekciju kopi- muzeju i pripremanja odgovarajućih elaborata i izveš- ja od gipsa - stećaka i različite kamene plastike. Ove ko- taja sa predlogom mera sanacije pije su pravljene pre više decenija i sada su primetna oz- - pripremanju projekata za konkurisanje biljna oštećenja i vidljive su posledice protoka vremena. - pripremanju planova organizacije rada institucija zaštite Timski rad - pripremanju stručnih tekstova i izveštaja - pripremanju i realizaciji programa teorijske i prak- Polaznici su uključeni u realizaciju svih aspekata or- tične edukacije ganizacije rada i aktivnosti DIJANA Centra. Podeljeni - izradi kompletne dokumentacije iz preventivne su i rade u okviru različitih timova, obavezno u timu za- zaštite, posebno aktivne konzervacije, fotodokumentaci- jedno sa iskusnijim i starijim polaznicima i saradnicima. je, dokumentacije o opremi i materijalima za rad i dr. Pokazalo se da ovakav timski rad, koji pokriva dobar deo - nadgledanju praktičnog rada novih polaznika delatnosti, rešava probleme DIJANA Centra i njegovog - brizi za očuvanje i razvoj biblioteke razvoja, formira prijatnu atmosferu, stvara osećaj zajed- ničkog cilja i zadataka. Svaki potreban posao se efikas- Svi organizacioni poslovi oko svakodnevnog funk- no organizuje na ovaj način. A to ukazuje na činjenicu cionisanja i realizacije programa i zadataka takođe se solution for covering activities of DIANA Centre, or ed to regular and daily routine in DIANA Centre and to solving problems that appear in the Centre and its devel- carrying out of programmes and tasks: opment. Team work breeds friendship relations among collaborators and inspires them to share the common - purchase of material, equipment, tools and instru- goal. Team work is the method used in every task. This is ments for work; also proof that even very complex and comprehensive - maintaining and caring about the equipment for strategic issues can be accomplished with smaller num- preventive conservation, particularly the active ber of employees if collaborators, either as volunteers or conservation, documentation (electronic and digital paid from the jobs they themselves carry out, are ade- equipment); quately stimulated and engaged. Thus all tasks on basic - translation of foreign technical literature and programme realisation and daily routine are done by adapting it to educative programmes needs; joint teams of collaborators and students. - maintaining contacts with the existing sponsors These team activities are an integral part of educa- and donors and help in establishing new ones; tional methodology and are focused on building accom- - participation in presentation of our activities to the plished professionals who would be fully responsible for public, fostering relations with media; carrying out their tasks. This kind of work should - editing the publications and information to be dis- enhance the concentration in complex tasks in order to seminated, multimedia and internet presentations, control all elements of a working assignment and end it CD ROMs; up successfully. These teams take part in: - preparing conservation exhibitions and posters; - investigation and surveys of cultural property in - organisation of professional meetings, seminars, museums and preparing and designing feasibility specialist courses, workshops, professional excur- studies and reports containing salvaging pro- sions, etc.; grammes; - participation in fostering international and nation- - preparing projects for fund raising; al contacts, with foreign experts and institutions - planning organisation of work in institutions of such as ICOM, UNESCO, ICCROM, United protection; Kingdom Institute for Conservation of Historic and - writing professional papers and reports; Artistic Works (UKIC), etc.; - preparing and carrying out programmes for theo- - interpreting during international educative pro- retical and practical education; grammes; - working out complete documentation for preven- - administration jobs, such as secretarial, financial, tive conservation regarding equipment and materi- messenger service, etc. als for work, etc.; - tutoring practical work of new students; This kind of organisation enables DIANA Centre to - caring about development of the library. function as independent and self-supporting system within the National Museum in Belgrade, able to accom- This method of work is also applied to all tasks relat- plish its basic and specific tasks. 38 sprovode na ovaj način, a to su: tra zasniva na striktnoj realizaciji tačno određenih pro- - nabavka materijala, opreme, alata i instrumenata grama i na strogoj radnoj i duhovnoj disciplini, na nego- za rad vanju profesionalne etike, pravila i morala, na timskom - kompletna briga o opremi za preventivnu zaštitu, radu i razvijanju odgovornosti za obavljanje poslova, posebno aktivnu konzervaciju, dokumentacij (kompju- kao i na negovanju zajedničkog cilja i duha, snažnog ose- terska i digitalna oprema) ćanja pripadnosti jedinstvenoj ideji. - prevođenje inostrane stručne literature i njeno pri- Kroz aktivnosti DIJANA Centra želimo da negujemo premanje za edukativne programe i razvijamo, pored stručnog praktičnog profesionalizma, - održavanje kontakata sa postojećim sponzorima i stroge etičke kriterijume i specifičnu duhovnu klimu o donatorima, kao i učestvovanje u pronalaženju novih istinskom značaju kulturnog nasleđa i njegove uloge u - direktno učešće u prezentovanju naših aktivnosti razvoju društva. široj javnosti, kreiranje i razvoj kontakata sa javim gla- Posebno treba istaći da su mladi ljudi iz DIJANA silima Centra posle Generalne skupštine IKOM-a u Barseloni - stalna tehnička redakcija za sve publikacije i drugi 2001. godine, skoro istovremeno iskoristili priliku, tada informativni materijal, multimedijalne i internet prezen- omogućenu i studentima, da mogu da budu redovni čla- tacije, pripremanje i izrada CD ROM-a novi IKOM-a. Tako danas u nacionalnom komitetu - priprema konzervatorskih izložbi i postera IKOM SCG aktivno radi 25 članova iz DIJANA Centra. - organizacija različitih stručnih skupova, seminara, specijalističkih kurseva, radionica, stručnih eksurzija, i Usavršavanje i sl. - direktno učestvovanje u razvoju međunarodnih i specijalističke studije domaćih kontakata sa inostranim stručnjacima i institucijama, kao što su IKOM, UNESKO, ICCROM, UKIC i dr. Specijalizacije u inostranstvu - prevođenje sa stranih jezika u svim međunarodnim Godinu 2004. su obeležile specijalizacije nekoliko programima edukacije mladih saradnika DIJANA Centra u eminentnim institu- - sprovođenje svih administrativnih tekućih poslova, cijama zaštite, pre svega u Francuskoj. Francuski kultu- kao što su sekretarski poslovi, finansije, kurirski poslovi rni centar u Beogradu očigledno je procenio da se radi o i dr. talentovanim, ambicioznim i vrednim mladim ljudima u koje vredi ulagati. Zahvaljujući ovom načinu organizacije aktivnosti, DIJANA Centar funkcioniše kao nezavistan i samosta- Aleksandra Džikić Nikolić, april/maj, u Centru za lan sistem u okviru Narodnog muzeja, sposoban da rea- konzervaciju i istraživanja Direkcije muzeja Francuske, lizuje samostalno sve osnovne i specifične poslove. C2RMF-DMF (sistem organizacije rada Centra i preven- Treba istaći da se ceo sistem delatnosti DIJANA Cen- tivna zaštita).

It should be pointed out that the entire system of strong feeling of being part of a unique idea and concept. DIANA Centre’s activities is based on strict realisation of The intent is that activities of DIANA Centre, besides approved programmes and strong working and intellectual building professional and practical attitude, help foster- discipline, on fostering professional ethics, rules and behav- ing and enhancing strict ethical criteria and specific iour, on team work and development of the sense of respon- intellectual atmosphere when importance of cultural sibility as well as on cherishing common goals and spirit, heritage and its role in society are concerned.

Kontrola relativne vlažnosti u depou Galerije fresaka Controlling of relative humidity in storage of Gallery of Frescoes

39 Veljko Džikić, u periodu april/maj takođe učestvo- Stručna zvanja vao u radu Centra za konzervaciju i istraživanja Direk- Volonteri-pripravnici Aleksandra Džikić Nikolić, cije muzeja Francuske (C2RMF-DMF), u Odeljenju za fo- Tatjana Nedeljković, Maja Franković, Maja Živković i todokumentaciju. Ana Kocjan završile su sa uspehom jednogodišnji pri- Maja Franković, juli/avgust, druga specijalizacija iz pravnički staž, početkom decembra položile stručni ispit konzervacije mozaika u Muzeju antike u Arlu. i dobile zvanje konzervatora. Između ostalog, za ovu pri- Maja Živković, oktobar/novembar, specijalizacija u liku su pripremile pisane stručne radove: Laboratoriji za konzervaciju arheoloških predmeta u Draginjanu, Francuska, iz konzervacije majolike i gleđo- Aleksandra Džikić Nikolić,“Konzervacija i restaura- sane keramike. cija srednjovekovnih staklenih posuda iz crkve Sv. Tri- Tatjana Nedeljković, oktobar, sa grupom mladih stručnjaka Narodnog muzeja boravila u Minhenu, na po- puna u Kotoru” ziv Bauerisches Staatsninisterium fur Wissenschft, For- Tatjana Nedeljković, “Konzervacija i restauracija schung und Kunst.Tom prilikom posetila je konzervator- bronzanodopskog pehara iz Konopišta” ske radionice u Minhenu, Restauratorski centar i restau- Maja Franković, “Konzervacija i restauracija frag- ratorske radionice Arheološke gradske zbirke, Zavoda mentovanog mozaika iz zbirke Muzeja antike u Arlu - za zaštitu spomenika i Nacionalnog muzeja. model za konzervaciju mozaika u Narodnom muzeju” Maja Živković,“Konzervacija i restauracija srednjovekovne zdele iz crkve sv. Petra u Novom Pazaru” Ana Kocjan, “Konzervacija gleđosanog skifosa iz zbirke Dunjić Narodnog muzeja u Beogradu”.

Stručne eksurzije Deset saradnika DIJANA Centra posetilo je Srpsku fabriku stakla u Paraćinu. Ekipa DIJANA Centra detaljno se upoznala sa tradicionalnom proizvodnjom stakla, koja je u potpunosti sačuvana i funkcioniše kao redovan proizvodni program, još od 19. veka. Tokom razgovora sa odgovornim ljudima iz fabrike, DIJANA Centar je izra- zio spremnost da stručno pomogne osnivanju Muzeja stakla u Paraćinu, sa tradicionalnim programom proizvodnje kao delom stalne postavke, u skladu sa novim Maja Franković na stručnoj praksi u Francuskoj (2nd from the left) muzejskim sadržajima koji se odnose na očuvanje nema- Maja Franković during her conservation training in France terijalnog kulturnog nasleđa.

Specialisations, upgrading and Professional careers Trainees: Aleksandra Džikić Nikolić, Tatjana specialist studies Nedeljković, Maja Franković, Maja Živković and Ana Kocjan successfully passed their one-year-trainee pro- Specialisations abroad grammes and took their professional knowledge exams The 2004 was marked by specialisations of several of in December thus becoming officially conservators. One young collaborators of DIANA Centre in eminent insti- of the requirements was to write a paper for the exam: tutions and institutions of protection in France in the Aleksandra Džikić-Nikolić: Conservation and first place. The French Cultural Centre in Belgrade evi- restoration of medieval glass vessels from the church of St. Tripun in Kotor dently recognized the talent, ambition and desire to Tatjana Nedeljković: Conservation and restoration of work in young people from DIANA Centre as being wor- the Late Bronze age beaker from Konopište site thy of investment. Maja Franković: Conservation and restoration of a Aleksandra Džikić-NIkolić, April/May, Centre for fragmented mosaic from the collection of Museum of Conservation and Research, Direction of Museums of Antiquities in Arles – a model for conservation of France (C2RMF-DMF) – organisation of work in the mosaics in the National Museum in Belgrade Centre and preventive conservation Maja Živković: Conservation and restoration of a Veljko Džikić, April/May, Centre for Conservation medieval bowl from the church of St. Petar in Novi Pazar and Research, Direction of Museums of France (C2RMF Ana Kocjan: Conservation of a glazed skyphos from -DMF) –Photo Documentation Department the Dunjić Collection at the National Museum in Maja Franković, July/August, second specialisation Belgrade in conservation of mosaics, Museum of Antiquities in Arles Professional excursions Maja Živković, October/November, Laboratory for Ten collaborators of DIANA Centre visited the Conservation of Archaeological Objects in Draguignan, Serbian Glass Factory in Paraćin where they learned France – conservation of majolica and glazed ceramics more about the old traditional glass manufacturing, and archaeological material in general which is still fully observed by the Factory and has Tatjana Nedeljković, October, upon the invitation of been a regular production programme since the 19th C. the Bayerisches Staatsministerium fur Wissenschaft, During the talks with their hosts, DIANA Centre rep- Forschung und Kunst with a group of young profession- resentatives expressed willingness to help professionals from the National Museum in Belgrade visited in ally the establishing of Museum of Glass in Paraćin. Munich conservation workshops, Centre for Restoration The traditional manufacture would be part of the per- and restoration workshops of the Archaeological City manent display in compliance with new museum con- Collection, Institute for Protection of Monuments and tents related to safeguarding intangible cultural her- National Museum. itage. 40 Program Letnje škole DIJANA 2005 obuhvata teorijsku i praktičnu obuku u sledećim oblastima:

OSNOVNI KURSEVI namenjeni novim polaznicima Konzervacija trošne i čvrste keramike, sa predavanjima iz muzeologije, tehnologije materijala, fizičke hemije, geologije s petrografijom, engleskog jezika za konzervatore Preventivna zaštita (faktori rizika, uslovi čuvanja, pakovanje, transport, vanredne situacije)

SPECIJALISTIČKI KURSEVI za polaznike sa konzervatorskim iskustvom Restauracija porcelana, fajansa i majolike Konzervacija i restauracija stakla Konzervacija mozaika

OPCIONI KURSEVI za sve polaznike i saradnike Sanacija kopija stećaka od gipsa i poliestera Tradicionalne proizvodnje keramike, izrada kopija i replika

JAVNE RADIONICE namenjene široj muzejskoj publici, deci i omladini Tajne konzervacije, Pravljenje kopija i replika Počeci keramike - kako se pravila keramika u prošlosti

Za sve dalje informacije možete se obratiti na: Mila Popović-Živančević DIJANA Centar za preventivnu zaštitu

Galerija fresaka, Cara Uroša 20 11000 Beograd Srbija i Crna Gora

Tel.: (381 11) 182 966, 183 655, 621 491 Fax: (381 11) 183 655

E-mail: [email protected] www.ccdiana.org.yu

41 dr Rasa Bertasiute Dr. Rasa Bertasiute Muzej na otvorenom Open Air Museum Litvanija Lithuania Vrednosna dimenzija Value dimension of tradicionalne arhitekture traditional architecture

hvatanje baštine je subjektivno i podložno promena- erception of heritage is changeable and subjective. Sma. Čak se i stavovi stručnjaka, arhitekata, majsto- PEven we specialists, architects, craftsmen, construc- ra, građvinara, istraživača i eksperata o baštini razliku- tors, researchers, experts have different view upon the ju. No, ukoliko želimo da je sačuvamo za budućnost ne- heritage value. And if we want to preserve it for the fu- ophodno je da se složimo oko toga šta za sve nas ture it is necessary to find and agree about valuable predstavlja vrednost. things common for all of us. Spoznaja vrednosti baštine može biti dvojaka: čulna Cognition of heritage value is possible in two ways: i pragmatična. Prva procena se zasniva na našem odno- sensual and pragmatic. The first is based on our relation su prema predmetu i ona je subjektivna. Druga zavisi od with the object and this estimation is subjective. The second depends on our personal knowledge about the pa- onoga što sami znamo o baštini. Ali, ako ne posedujemo trimony. But if we lose/miss knowledge and sensual re- znanje i čulni odnos prema predmetu, nećemo biti u sta- lation with the object we can not qualify it as valuable. nju da mu utvrdimo vrednost. To se upravo dogodilo i That is what has just happened and new objective is to sada imamo novi cilj – da pronađemo načine za prepoz- find other way to recognize and appreciate heritage as navanje baštine i ocenu njene vrednosti. Najvažnije je valuable. First of all one needs to restore knowledge and da se obnovi znanje, a za to je neophodno istraživanje. that is field of investigation. Istraživanje Investigation Raznovrsnost je najvredniji i glavni cilj održivog Most valuable thing and the main aim of sustainable razvoja. Ali, kako prepoznati ovu raznovrsnost (sa development is diversity. But how to recognize this di- određnom inherentnom pravilnošću) i kako utvrditi one versity (with certain inherent regularity) and to find so- originalne odlike naše arhitekture koje je čine vrednom? me distinctive original features of our architecture that Možemo sa više aspekata da istražujemo/ocenjujemo make our architecture valuable? Buildings having accu- zgrade koje sadrže mnogostruke informacije. Do sada su mulated multisided information can be investiga- uglavnom proučavani razvoj planske strukture, klasifi- ted/evaluated in many aspects. Up to now mostly the kacija i opšte karakteristike regionalne arhitekture. Sa- development of planning structure, classification and ma kuća je obično dobijala najvišu ocenu ako je krov general characteristics of regional architecture has been bio od slame ili trske ili je bila bogato ukrašena. Pa, ta- analyzed. Usually the house got the best valuation if it ko neke od zakonom zaštićenih kuća zapravo nisu had thatch/straw roof or rich decoration. Thus some of predstavljale posebnu vrednost, jer nisu svi aspekti bili listed/protected by law houses are not very valuable vrednovani. Sada je jasno da samo ocena spoljnog iz- because not all the aspects have been taken into ac- gleda nije dovoljna. count. Now it is evident that external estimation is not Da bi se uočile pojedinosti neophodno je tražiti ana- enough. logije sa drugim objektima. Nije moguće upoređvati To distinguish singularities we can only compare an kompletne zgrade, ali je jednostavno porediti delove/de- object with analogues. It is impossible to compare ove- talje. Na taj način objekat se svodi na elemente koji su rall buildings, but we can easely compare some zajednički u arhitekturi. Naprimer: parts/details of it. Thus the object should be reduced to - materijal, elements common to all architecture. Such are: - tehnologija, - material, - konstrukcija, - technology, - oblik, - construction, - funkcija, - form, - okruženje. - function, - environment. Oni su zajednički za svaki objekat arhitekture: za zamkove, crkve, kuće, ali i za detalje na ovim građevina- They are common to whole architecture: castles, ma kao što su temelji, zidovi, prozori, vrata, tremovi, churches, dwelling houses, also for details of these buil- krovovi itd. Iste vrednosne dimenzije mogu se primenji- dings such as foundation, walls, windows, doors, por- vati na građevine u različitim zemljama, ali i na stare ches, roofs and other.The same value dimension one can zgrade i savremenu arhitekturu. Prema tome, ovi aspek- apply to buildings in different countries - the same is ti su zajednički. Oni uključuju materijalni podatak, kao good for old/ancient houses as for present architecture. i nematerijalnu informaciju koja je takođe veoma zna- So these aspects are common. They include material da- čajna za arhitektonsko istraživanje. Svaki arhitektonski tum same as intangible information that is also very im- objekat može se proučavati, procenjivati ili identifiko- portant for architectural investigation. Thus every ar- vati, polazeći od ovih aspekata i hronoloških, tipoloških chitectural object can be investigated, evaluated or i regionalnih poređenja. identified by these aspects comparing them on chrono- Šta je pri tom najvažnije? logical, typological and regional sections. Arhitektura se razvija u okviru tehničkih mogućnos- What is most important for these dimensions? ti i funkcionalnih zahteva/potreba. Uvek postoji čvrsta Architecture is developing in a frame of technical veza između svih ovih elemenata. Na primer, okruženje potential and functional demand/requirement. It is al- sa specifičnom klimom i predelom određuje funkciju, ways tough connection between all these sides of object. oblik kao i način gradnje. Funkcija (bilo da se radi o ku- For example environment with specific climate and 42 ći za stanovanje ili o pomoćnoj zgradi) određuje oblik, landscape determine function, form as well as construc- konstrukciju, tehnologiju i materijal. Međuzavisnost i tioni. Function (subject to dwelling or outhouse) deter- interakcija između ovih delova je uzajamna/reverzibil- mine form, construction, technology and material. De- na. Dimenzije su tesno povezane i međusobno uslovlje- pendence and interaction among these parts of object is ne. mutual/reversible. The dimensions are closely coherent and bound up with each other. Commonly/usually we educe some typical traits of one element of building for particular region, period on one aspect. For example we evaluate houses comparing their plans functional types or building materials. In such way one can observe some differences, transformation and interaction of different traditions but it is pretty difficult to find their origins or to detect direction of their spreading. Thereby we can invoke other dimensions that help us to estimate/define general tendencies of traditional architecture. Evaluating object by all the aspects we notice one Prikaz arhitektonskih dimenzija logical structure. Changes of one dimension/element A graph showing architectural dimensions automatically raise other changes. That is why diversity has some regularity. Mi obično utvrđujemo odlike koje su tipične za je- Demand of new functional type of building together dan element gradnje u određenom regionu ili za određe- with technical progress made a revolution in architectu- ni period. Proučavamo kuće poredeći njihov funkcional- re during the Iron Age in North East Europe - log/block ni tip ili građevinski materijal koji je korišćen. Na taj construction was spreading. To get answer why exactly način mogu se uočiti neke razlike, promene i uzajamni this region and this period were most beneficial for log uticaj različitih tradicija, ali je prilično teško utvrditi construction we have to evaluate it on the next/subse- njihovo poreklo ili odrediti pravce njihovog širenja. quent aspects: Stoga možemo da pozovemo u pomoć druge dimenzije material - there were plenty of softwood - proper da procenimo /definišemo opšte tendencije tradicional- building material for log houses, ne arhitekture. technology - iron axe gave the main impulse and ra- Kada objekat procenjujemo sa svih aspekata, prime- pid progress in technology, tićemo određenu logičnu doslednost. Promene jedne dimenzije/elementa automatski dovode do drugih prome- form - there was a demand of small building for se- na. To dovodi do određene pravilnosti u okviru razno- parate family, vrsnosti. function - small log houses were most suitable for Potreba za novim funkcionalnim tipom građevine uz one family, tehnički napredak doveli su do revolucije u arhitekturi environment - log construction accorded with cli- Gvozdenog doba na jugoistoku Evrope – pojavila se mate conditions, was warm and resistant to weather drvena konstrukcija. Da bismo našli odgovor na pitanje conditions. zašto su upravo ovaj region i ovaj period bili najpogod- So the situation was beneficial for log houses on all niji za pojavu drvene konstrukcije, moramo da razmo- the aspects. trimo sledeće aspekte: Despite the same demand log houses were different materijal – bilo je dovoljno mekog drveta – odgova- in our countries.Why? If we measure all the components rajući građevinski materijal za brvnare we will notice some differences in material, environ- tehnologija – gvozdena sekira je dovela do brzog nament and function. Quality of pine-tree and spruce/fir pretka u tehnologiji differ in every region (different growth, thickness, den- forma – javila se potreba da svaka porodica dobije sity). Maybe that is why ancient buildings were bigger svoju malu kuću in northern countries than in southern regions. The size funkcija – male brvnare bile su najpogodnije za jed- of buildings was also under the influence of environ- nu porodicu ment, first of all weather conditions: rainfall, cold/free- okruženje - brvnare su odgovarale klimatskim uslo- ze, winds, landscape. Soil quality determined character vima, održavale su toplotu i čuvale su od vremenskih of farming, thus it meant different function, size, form of promena. houses. In other regions lacking in softwood other con- Prema tome, situacija je u potpunosti pogodovala structions prevailed. pojavi brvnara. Some changes are local derivation/origin, others get Iako su potrebe bile iste, brvnare su u našoj oblasti impact/influence from aside. Material and environment drugačije izgledale. Zašto? Ako bismo uporedili sve are most fixed or stable thus regional development of komponenete, videli bismo da postoje razlike u materi- building is always definite on these aspects. It is unrea- jalu, okruženju i funkciji. Kvalitet borovine i smrekovi- sonable to use flat roof or to build house without foun- ne/jelovine razlikuje se od regiona do regiona (različit dation in Lithuania, but that is quite rational in other rast, debljina, gustina). To može da bude razlog što su countries. There are houses in Gothland built in 17th- stare kuće na severu bile veće od onih na jugu. Veličina 18th centuries straight on the ground without any foun- kuće je zavisila i od okruženja, a pre svega od klimat- dation. There are houses with flat roofs across southern skih uslova: padavina, hladnoće/mraza, vetrova, samog countries. predela. Kvalitet zemljišta uticao je na način obrade Changes in technology, construction, form, function zemlje, a sve to je uticalo na razlike u funkciji, veličini, can be inspired by local demand or mode/fashion from obliku kuća. Tamo gde nije bilo dovoljno pogodnog aside. These changes were not always logical and cohe- drveta, prevladavali su drugačiji načini gradnje. rent being influenced by stylistic architecture or fa- Neke promene predstavljaju rezultat lokalnih utica- shion. They sometime became irrational trying to get ja, druge spoljnih. Materijal i okruženje su stalni ili sta- needful forms. Some elements in the stylistic wooden 43 bilni elementi, a regionalni razvoj gradnje uvek se bazi- houses were transferred from stone architecture and ra na njima. U Litvaniji nije pametno praviti ravan krov lost it logic. That is baroque cornice, circular/round ili kuću bez temelja, ali u drugim zemljama to može da windows, arched lintels and other decorative details. bude sasvim racionalni pristup. Na ostrvu Gotland pos- Despite the influence from aside architecture (including toje kuće izgrađene u XVII i XVIII veku, koje uopšte ne- both - stylistic and vernacular) obtained peculiar traits. maju temelje. Na jugu grade kuće sa ravnim krovovima. The houses were transformed in an individual way thro- Na promene u tehnologiji, konstrukciji, obliku ili ugh local material and environment. funkciji mogu da utiču lokalne potrebe ili moda. Ove In parallel with differences we can notice the same promene, pod uticajem stilske arhitekture ili mode, nisu architecture in different regions and periods. It could uvek i logične ili koherentne. Ponekad su i iracionalne u appear independently being under the same circum- pokušaju da zadovolje potrebnu formu. stances: same material, level of development, climate Neki elementi stilskih drvenih kuća predstavljaju and landscape. ostatke građevina u kamenu i nemaju vidljivu logiku. To All these aspects/elements are in the progress, chan- je slučaj sa baroknim vencem, okruglim prozorima, luč- ges and interaction. An interaction between cultures de- no izvedenim gredama nad ragastovima i drugim deko- signs new architecture very specific for a region.The ba- rativnim detaljima. I pored spoljašnjih uticaja, arhitek- lance and harmony between all the aspects are very sub- tura (i stilska i domaća) dobija specifične odlike. Kuće tle, individual and that is the reason for diversity and dobijaju lični pečat kroz lokalni materijal i okruženje. essence of traditional architecture. Our aim is to find Paralelno sa razlikama, istu arhitekturu primećuje- out these values in all aspects. The result/effect depends mo u različitim regionima i periodima. Ova pojava mo- on integrated investigations, it means – cooperation in že da bude nezavisna ili rezultat sličnih i istih okolnos- this field. ti: isti materijal, stepen razvoja, klima i predeo. Svi ovi aspekti/elementi razvijaju se, menjaju se i u Cooperation stalnoj su interakciji. Uzajamni uticaji kultura proizvo- Here are mentioned only architectural dimensions. de sasvim specifičnu arhitekturu u regionu. Ravnoteža i There are other aspects in parallel supporting for archi- sklad svih aspekata veoma su suptilni i individualni i tectural studies: linguistic, historical, archaeological, zbog toga dolazi do raznovrsnosti i suštinskih odlika chemical, physical and other. Linguistic aspect very of- tradicionalne arhitekture. Naš cilj je da pronađemo ove ten helps to separate layers, cultural territories and in- vrednosti u svakom od aspekata. Rezultat/efekat zavisi terfaces exploring genesis of the object. od integrisanih istraživanja, tj. saradnje u ovoj oblasti. There are six different words for a living house in Lithuania. From linguistic point of view they are asyn- Saradnja chronous. Some of them are foreign words. Surprising Ovde je reč o arhitektonskoj dimenziji. Ima i drugih is that the houses have both different construction and aspekata koji takođe pomažu arhitektonska proučava- different forms. At the same time these structures are nja: lingvistički, istorijski, arheološki, hemijski, fizički, i very similar to others with the same term/name in ad- drugi. jacent regions. In comparison of architectural and lin- Lingvistički aspekt veoma često pomaže da se odre- guistic facts we get the same conclusion: archaic con- de slojevi, kulturne teritorije i međuslojevi, pri istraži- structions and forms correspond with archaic linguistic vanju nastanka jednog objekta. terms. So trying to invoke additional historians and ar- U litvanskom postoji šest različitih izraza za ku- chaeologists from abroad we may get suitable right ću/dom. Sa jezičkog aspekta oni su asinhroni. Neki su i answer to our question about developing of living hou- strane reči. Iznenađuje to što kuće imaju i različitu kon- ses. strukciju i oblik. Istovremeno, ove strukture su veoma It is worth to work together with archaeologists, his- slične drugim objektima sa istim nazivom u susednim torians, linguists to know evolution of building. It is ne- regionima. Poredeći arhitektonske i lingvističke podat- cessary to cooperate with artisans who know material, ke dolazimo do istog zaključka: arhaične konstrukcije i technology and construction from other point of view, oblici se podudaraju sa arhaičnim lingvističkim termi- more than with architect or somebody else. Craftsmen nima. Ako konsultujemo inostrane istoričare i arheolo- take care of material, technology and construction, ar- ge možda možemo da dobijemo pravi odgovor koji ob- chitects mostly care about form, owners about planning jašnjava razvoj kuća za stanovanje. i.e. function of house, ordinary observers about the en- Korisna je saradnja sa arheolozima, istoričarima, vironment. Thus to estimate a quality of architecture lingvistima, da bi se shvatio razvoj graditeljstva.Važni- one needs cooperation or dialogue between many diffe- je je razgovarati sa majstorima, koji imaju praktična rent institutions: museums, universities, research labo- znanja o materijalu, tehnologiji i konstrukciji, nego sa ratories, entrepreneurs and other. arhitektom ili nekim drugim stručnjakom. Majstori vo- In soviet period not all the aspects of value were ta- de računa o materijalu, tehnologiji i konstrukciji, a ar- ken into account and we have bad results in restoration hitekte uglavnom o obliku, vlasnik o planiranju, tj. o field. Only form of building was regarded, thus much of funkciji kuće, a obični posmatrač o okruženju. Prema the information was lost. New standard material was tome, da bi se ocenio kvalitet arhitektonskog objekta used (boards, beams) that did not repeat authentic me- potrebno je sarađivati ili razgovarati sa različitim insti- asurements. There was no attention paid to ancient tucijama: muzejima, univerzitetima, istraživačkim labo- technology, tools, sometimes even construction. Only the ratorijama, preduzimačima i drugima. shape remained but not really valuable object. U sovjetskom periodu nije se vodilo računa o svim Cooperation with (the same or different) specialists elementima vrednosti i sada imamo loše rezultate u from other regions and countries is very important. It is oblasti restauracije. Čuvan je samo oblik građevine, či- an occasion to examine similarities and singularities of me je izgubljeno mnogo informacija. Korišćeni su novi our culture from all aspects. But to reach final agree- standardni materijali (ploče, grede) koji nisu pratili au- ment about value dimension one needs cooperation both tentične mere. Nije se vodilo računa o starim tehnologi- on professional and regional level. These six dimensions jama, alatkama, ponekad čak ni o samoj kontrukciji.Ta- are possible and workable for protection of heritage as ko je ostao samo oblik, ali ne i zaista vredan objekat. quite well, restoration and new building. 44 Posebno je značajna saradnja sa (istim ili različitim) stručnjacima iz drugih regiona i zemalja. To je i dobra Restoration and new building prilika da se prouče sve sličnosti i posebne odlike naše Very often we argue about authenticity.We are accu- kulture. No, da bi se doneo konačni sud o vrednosti- sed of demolishing/destroying authenticity if we mo- ma,neophodna je saradnja i na profesionalnom i regio- ve/transfer some house to the museum. Let us look on nalnom planu. Ovih šest aspekata postoji i može se pri- this problem from all aspects and take into account all meniti u zaštiti baštine i to kako u restauraciji tako i u circumstances. The best is to preserve all the features of novoj gradnji. authenticity - it means to preserve an object “in situ”. But very often there is no chance to save it because no- Restauracija i nova gradnja body uses it. In that case, there are two possibilities: Često se vode rasprave o autentičnosti. Optužuju nas da uništavamo/narušavamo autentičnost ako prenesemo neku zgradu u muzej. Ipak, razmotrimo ovaj problem sa svih strana uključujući i sve okolnosti. Najbolji način je očuvanje svih elemenata autentičnosti što znači sačuva- ti objekat “in situ”. Često. međutim, to nije moguće jer objekat niko ne koristi. Tada postoje dve mogućnosti: - ostavljajući objekat “in situ”čuvamo samo auten- tično okruženje, - prenoseći objekat u muzej gubimo okruženje, ali spasavamo materijal, tehnologiju, kontrukciju i formu (a to je, ipak, veća vrednost). Razgovarali smo o restauraciji jedne vršalice (Šved- ska) i postavilo se pitanje autentičnosti. Restauratori su zamenili ostatke mlatila. Pitanje je da li ovaj predmet možemo da smatramo originalnim. Pokušajmo da procenimo situaciju.Vršalica je izgubila funkciju i pre restauracije, jer je mlatilo propalo. Ona je izgubila svoju Restoran u Kaunasu prvobitnu funkciju zajedno sa mlatilom – koje je njena Restaurant in Kaunas city bitna komponenta. Samo mlatilo sadrži ostatke auten- tičnog materijala, tehnologije, konstrukcije, oblika i ok- - leaving “in situ”we can save/preserve only authen- ruženja. Posle restauracije, mlatilo je doduše izgubilo od tic environment, autentičnog materijala, ali je obnovljena funkcija celog - transferring it to the museum we lose environment predmeta (vršalice). Šta je bolje: funkcija ili materijal? but save material, technology, construction and Naravno da je bila dobra odluka da se jedna vrednost form (and that is a bigger value on the total amo- zameni drugom i da se obnovi ista (ili čak i kvalitetni- unt). ja) autentična funkcija. In the discourse we talked about restoration of thre- Koncept kulturne održivosti zasniva se na ideji kul- shing barn (Sweden) and that raised some doubts about turnog identiteta i kontinuiteta. Prema tome, nova grad- authenticity. The restorers have changed remains of nja prati iste konzistentne tipove promena ili vrednos- threshing wheel to a new one. The problem is if we can nih dimenzija. Evo i tri primera novoizgrađenih gostio- evaluate this object as original. Let us try to estimate nica u Litvaniji. this situation. Threshing barn has lost this function Sve ove savremene/moderne zgrade imaju istu na- through decayed wheel before the restoration. Together menu, koriste isti građevinski materijal (drvo), ali se with wheel - one rooted component - the threshing barn also lost function. The wheel itself had remains of authentic material, technology, construction, form and environment. After the restoration the wheel lost authentic material but returned function to the whole object (threshing barn). What is better: the function or the material? Sure it was right solution to change one value for another and to regain equally (or even more) authentic function. The concept of cultural sustainability is based on the idea of cultural identity and continuity. So new buildings follow the same consistent pattern of changes or value dimension. Here are three examples of new Restoran/gostionica pored puta Viljnus-Prienai pub/inn buildings in Lithuania. Tavern/restaurant near the road Vilnius – Prienai All these contemporary/modern houses have the same function, also the same building material (wood), but differ in technology, construction, form and environment. Restaurant in Kaunas (Fig. 2) is inorganic/strange for traditional architecture (it copies Russian architecture in form, construction, technology) in all the aspects and can not be estimated as good example. Other two (Fig. 3, Fig. 4) are built in traditional environment (near the road). Form or facade of tavern/restaurant near the highway (Fig. 3) is transferred from estate house of 18th century. That contradicts the environment because es- Restoran/gostionica pored autoputa Kaunas-Viljnus tate living houses always were built in natural ambien- Tavern/restaurant near the highway Kaunas - Vilnius ce, remoted from the roads. Old building material used 45 razlikuju po tehnologiji, konstrukciji, obliku i okruže- in this tavern/restaurant (taken from the old outhouses) nju. Restoran u Kaunasu (slika 2) ne uklapa se ni na ko- counterweigh/offset the imbalance (historical form with ji način u tradicionalnu arhitekturu (on predstavlja ko- environment) and make it well acceptable. The last piju ruske arhitekture po formi, konstrukciji, tehnologi- example (Fig. 4) does not copy/replicate anything. Tech- ji), pa se ne može smatrati dobrim primerom. Druge dve nology, construction and form continue/keep up local zgrade (slike 3 i 4) podignute su u tradicionalnom ok- building tradition so tavern, as example of new building ruženju (blizu puta). Forma ili fasada gostionice/resto- could be estimated pretty good. rana u blizini autoputa (sl. 3) preuzeta je od vlastelinskih kuća iz XVIII veka. Tu je došlo je do nesklada sa Conslusions okruženjem, jer su vlastelinske kuće uvek građene u pri- The 21st century requires to conserve cultural identi- rodnom ambijentu, daleko od puteva. Stari građevinski ty and diversity, which are in architecture based on con- materijal korišćen za ovu gostionicu/restoran (preuzet tinuity of a unique character of building. Architectural od starih pomoćnih zgrada) smanjuje nesklad (između heritage should be understood as resources for present istorijske forme i okruženja) i čini ceo objekat prihvat- and prospective/further development. The preservation ljivim. Poslednji primer (slika 4) ne predstavlja ni kopi- of those cultural resources require/claim to cooperate ju ni repliku. Tehnologija, konstrukcija i forma nastav- our endeavour/striving for an interdisciplinary overview ljaju lokalnu tradiciju gradnje, pa se gostionica može of the actual research and practical experiences. Only smatrati dobrim primerom novogradnje. cooperating our knowledge and sharing the ideas and experience we can perceive our oneness/distinction and Zaključak to enrich European culture by its diversity. Dvadeset prvi vek zahteva da se kulturni identitet i raznovrsnost očuvaju, a u arhitekturi oni se baziraju na Alla Stashkevich, Head of Laboratory of Museolo kontinuitetu jedinstvenog karaktera gradnje. Arhitek- gy and Museum Activity, Belarusian State Institute tonsko nasleđe treba shvatiti kao potencijal za trenutni of Culture Problems i mogući dalji razvoj. Očuvanje ovih kulturnih resursa zahteva saradnju da bi se ostvarila interdisplinarnost u Glassware of the Belarusian istraživanjima i praktičnim iskustvima. Samo sarad- njom i razmenom ideja i iskustava možemo da razume- Castles at the end of 15th- the mo jedinstvenost/distinkciju i da raznovrsnošću oboga- timo evropsku kulturu. first half of the 17th centuries

Ala Staškevič, Šef Laboratorije za muzeologiju i rcheological materials today are, perhaps, a unique muzejsku delatnost, Beloruski državni institut za Asource in the research of the material culture of the kulturna pitanja Belarusian castles of the early and late Middle Ages.The majority of the known feudal manors was deserted and Staklene posude beloruskih ruined during numerous wars and civil fights which were distinctive feature of the Belarusian history at all ti- zamkova krajem XV i u prvoj mes. The huge part of the former rich and magnificent collections of the Belarusian aristocracy was taken polovini XVII veka abroad by the owners of manors right after the Russian October revolution (1917) from the east Belarusian ter- rheološki predmeti su danas, možda, jedinstven iz- ritories, and after 19391 – from the western ones. As re- Avor za istraživanje materijalne kulture beloruskih sult, many cultural values have enriched collections of zamkova ranog i kasnog srednjeg veka.Većina poznatih the Polish and Russian museums. During the Second vlastelinskih domova je napuštena i uništena tokom World War a plenty of values also has been taken out of brojnih ratova i građanskih sukoba, koji predstavljaju the borders of Belarus. izrazito obeležje celokupne beloruske istorije. Veliki Everything, that we have today in the Belarusian deo, nekada bogatih i zadivljujućih zbirki beloruske museums and private collections is only a small part of aristokratije, preneli su u inostranstvo njihovi vlasnici the Belarusian national heritage. odmah nakon Ruske oktobarske revolucije (1917.), iz is- Due to intensive archeological excavations in the 1 točnih beloruskih oblasti, a nakon 1939. i iz zapadnih. 1980-1990 in the territory of ancient cities and castles Kao rezultat toga, zbirke poljskih i ruskih muzeja su by the expeditions of the Belarusian archeologists obogaćene velikim kulturnim vrednostima. Tokom Dru- O.Trusov, M.Tkachev, I.Chernyavsky,V.Sobol, etc., it was gog svetskog rata takođe je veliki broj vrednih predme- possible to restore a picture of household culture of no- ta iznet iz Belorusije. bles and townspeople by the end of 15-th and first half Sve ono što danas čuvamo u beloruskim muzejima i of the 17-th centuries. privatnim zbirkama predstavlja samo mali deo belorus- What was the position of glassmakers in the materi- kog kulturnog blaga. al culture of this period? What was the level of popula- Zahvaljujući obimnim arheološkim iskopavanjima, rity of imported glass products and what about the lo- 1980.-1990. godine, koja su na području starih gradova cal ones? What was the artistic and technological level i zamkova sprovodili beloruski arheolozi O. Trusov, M. of the local glass-making during this period? We shall Tkačev, I. Černiavski,V. Sobol i drugi, bilo je moguće re- try to answer these questions, using the archeological konstruisati predstavu o domaćoj kulturi plemstva i data and some analogies from the published Russian gradskog stanovništva krajem XV i u prvoj polovini and Polish sources. XVII veka. Kakav je bio položaj staklara u materijalnoj kulturi The mentioned period in the scientific literature is

1 Nakon Pakta u Rigi 1921, sklopljenog izme?u Poljske i Rusije, 1 After the Riga Pact in 1921 between Poland and Russia the zapadne beloruske oblasti došle su pod poljsku jurisdikciju. Godine western Belarusian lands have departed to Poland. In September, 1939, 17. septembra, teritorija Belorusije je vra?ena u svoje etni?ke 17, 1939 the territory of Belarus has been restored in its ethnic bor- granice. ders. 46 tog perioda? Koliko su bili traženi uvozni stakleni pred- depicted as an epoch of the “Belarusian” Renaissance. meti, a koliko lokalni? Kakav je bio umetnički i tehno- The expressive blossoming of the spiritual and material loški nivo lokalnog staklarstva u tom periodu? Pokuša- abbilities of the nation, formation of the ethnic conscio- ćemo da odgovorimo na ova pitanja koristeći arheološ- usness and cultural tradition, which have been develo- ke podatke, kao i neke analogije iz objavljenih ruskih i ping under the influence of the common European art poljskih radova. tendencies, but based on steady traditions of the old Pomenuti period je u naučnoj literaturi opisan kao Slavic and Byzantine culture, in connection with natio- epoha «beloruske renesanse». Tom periodu je svojstven nal (folklore) sources were inherent to this period. veliki procvat duhovne i materijalne kulture nacije, kao In the history of the Belarusian glass-making the i formiranje etničke svesti i kulturne tradicije, koje su se Renaissance should be understood not only as a system razvijale pod uticajem zajedničkih evropskih umetnič- of the certain aesthetic ideals or an art style, but also kih tendencija, ali zasnovane na čvrstoj tradiciji stare literally, because this period can be connected with the slovenske i vizantijske kulture, a u vezi sa etničkim (fol- real revival of the lost glass-making traditions which is klornim) izvorima. rooted in the times of the Polotsk Kingdom2. In essence, U istoriji beloruskog staklarstva, «renesansu» treba this revival became the second birth of the glass-making shvatiti ne samo kao sistem određenih estetskih ideala in the Belarusian lands because the connection between ili umetnički pokret, već i u literarnom glass-making of the 11-12th centuries smislu, jer taj period može da se poveže and glass production in the 16-17th sa istinskom obnovom zaboravljene centuries is shown, perhaps, only in so- staklarske tradicije, koja potiče iz vreme stylistic unity and morphology. 1 mena Polockog kraljevstva2. U suštini, Technological process was completely ta obnova se pretvorila u ponovno rađa- changed. nje beloruskog staklarstva, jer je veza The 16th century marks the begin- između staklarstva XI -XII veka i stak- ning of the Belarusian glassblowing. At larske proizvodnje u XVI-XVII veku that period the assortment of glasswa- vidljiva, možda, samo u izvesnom stil- re is not yet rich, but in its morphology skom jedinstvu i morfologiji. Tehnološki there is the strong influence of the proces se potpuno promenio. West-European glass. Početak tehnologije duvanja stakla u Materials of the archeological ex- Belorusiji obeležava XVI vek. U tom pe- cavations of the Belarusian castles re- riodu, staklarska proizvodnja još uvek flect exact picture of the Belarusian nije raznovrsna, ali se u morfološkom medieval glasswork. At that period smislu vidi jak uticaj zapadnoevropskog about 50 % of the revealed glass comes stakla. from the import. In the 15-16th centu- Materijal sa arheoloških iskopava- ries the share of the imported glass in nja beloruskih zamkova odražava pravu feudal manors exceeded quantity of lo- sliku srednjovekovnog beloruskog stak- cal glassware (approximately 2:1), but larstva. Oko 50% pronađenog stakla iz in the beginning of the 17th century tog perioda pripada importima. U XV- the situation changed (9). XVI veku, udeo importovanog stakla u The sources of the formation of the feudalnim domovima prevazilazi količi- glass collections in the Belarusian nu lokalnog stakla (oko 2:1), ali se situa- castles were different. There were a lot cija menja početkom XVII veka (9). of Venetian vessels, especially in the ar- Izvori stvaranja zbirki stakla u belo- chaeological layers of the 15th and the ruskim zamkovima bili su različiti. Bilo beginning of the 16th centuries. The je mnogo venecijanskog posuđa, poseb- finds of the German (including Bohe- no u arheološkim slojevima iz XV i sa mian) glass date from later times. So- početka XVI veka. Nalazi nemačkog, me fragments of the glass found during koji uključuju i češko staklo, datiraju iz “Sklianica” iz arheološke zbirke the excavation were reconstructed, nešto kasnijeg perioda. Neki fragmenti Krevo, XV-prva polovina XVI veka which allowed us to define art features stakla, pronađeni prilikom iskopavanja, "Sklyanitsa" from the Krevo arcaeo- of vessels and was the precondition for su rekonstruisani, što je omogućilo defi- logical collection, 15-first part 16 C. their attribution. nisanje umetničkih karakteristika posu- The most significant collection is da i stvorilo uslove za njihovo atribuisanje. the glass collection of the 15-17th centuries from Kre- Najznačajnija zbirka stakla je zbirka iz zamka Kre- vo castle3. It includes a set of glassware blown in diffe- vo3, iz XV-XVII veka. U njoj se nalazi grupa staklenih rent stylistic traditions. Especially interesting is the posuda duvana u različitim stilskim tradicijama. Poseb- glass from the end of the 15th and the beginning of the no je zanimljivo staklo sa kraja XV i početka XVI veka 16th centuries (4; 9). Among other vessels of this period (4, 9). Među drugim posudama ovog perioda, postoji i there is the small glass ( the local name is “sklyanitsa”4 mali stakleni sud (lokalni naziv je «sklianica4» - visina - height is 23cm, diameter 9,5cm), blown from thin mu je 23 cm, a dijametar 9,5 cm), duvan iz tankog pro- transparent glass of bluish color (picture 1). zirnog stakla plavkaste boje (slika 1). The bowl of the “sklyanitsa” has form of a bell. It 2 Stara beloruska država. 2 Polotsk Kingdom is the ancient Belarusian state. 3 Zamak Krevo je jedan od srednjovekovnih zamkova na teri- 3 Krevo castle – is one of the medieval castles in the territory of Belarus. In 1385 the Krevo Union between Polish Kingdom and The toriji Belorusije. Godine 1385. sklopljena je tzv. Krevska unija, iz- Great Lithuanian Principality was signed. među Poljskog Kraljevstva i Velike Litvanske Kneževine. 4 During the formation of the Belarusian glass-making the 4 U vreme stvaranja beloruskog staklarstva, većina staklenih majority of glass vessels was named “sklyanitsa “.With the devel- posuda je nosila naziv “sklianica”. Sa razvojem staklarstva i šire- opment of glass-making and expansions of assortment of glassware njem staklarskog asortimana, pojavili su se i drugi nazivi, a termin other names for the products from glass have appeared, and the “sklianica”je zadržan samo za neke tipove staklenih posuda, nasta- term “ sklyanitsa” was used only for the certain type of glass vessels le u nemačkoj tradiciji. made in German tradition 47 «Sklianica» ima zvonast oblik. Sužena je pri dnu, ot- is narrowed at the bottom and opened at its mouth, har- vorena na vrhu i harmonično uravnotežena niskom ot- moniously counterbalanced by the low opened pallet. vorenom bazom. Proporcije «sklianice» su uvećane, a Proportions of the “sklyanitsa” extended, the line of a vertikalnost dominira njenim oblikom. Prozirna stakle- vertical dominates in its architecture. Transparent we- na ispupčenja raspoređena su u pravilnim intervalima ights of glass are distributed in regular intervals on all po celoj površini, stvarajući podlogu za jednostavno iz- volume, creating a background for boldly made vertical vedene, vertikalne i horizontalne reljefne trake, koje se and horizontal modelled strips, consisting of the spiral sastoje od peskiranih spiralnih niti, kreiranih u tehnici matte strings, made in the technique of the Venetian fi- venecijanskog filigrana. ligree. Dekorativnost upotpunjuje postolje u obliku cveta, Decorative image supports sticks as a rose and wa- čiji je talasasti obod sačinjen takođe od filigranskih ni- vy belt from the same filigree strings in the bottom of ti. «Sklianica» je datovana u kraj XV i početak XVI the bowl. The “sklyanitsa” is dated by the end of the veka. Izuzetan kvalitet stakla, njegove tehnološke osobi- 15the - beginning of the 16th centuries. High quality of ne, kao koloristička skala, svedoče da je ovaj sud nastao glass, its technological advantages, color scale testify u venecijanskim radionicama. Oblik suda takođe odgovara navedenom vremenu i mestu izrade. 2 Još jedan sud iz zbirke Krevo, tanjir od zagasito mlečnog stakla, potiče iz istog vremena kao i «sklianica». Dekorisan je emajlom na hladno i pozlaćen. Ogle- dalo na tanjiru je bilo obojeno u crveno, u centru je ča- šica od osam latica, koja podseća na stilizovani cvet. La- tice su crvene i žute boje, a oivičene su crnim emajlom i pozlatom. Sa strane su naslikane glavice žutih lala i grančice sa svetlocrvenim bobicama. Na rubu je uska zlatna traka. Iz objavljenih radova, zna se da su slični tanjiri nastajali u Veneciji u drugoj polovini XVI veka (1). Još jedna «sklianica» iz arheološke zbirke Krevo ima izvestan značaj, s obzirom na morfologiju. Ona ima ci- lindrični oblik suda, postavljen na bazu od okruglastih reljefnih nabora. Proizvedena je od zagasitoplavkastog Pehar čaše, evolucioni razvoj stakla, dok je baza ljubičaste boje. Zidovi i baza posude Doublet glasses, the form evolution su oslikani žutim i ljubičastim emaljom. Oblik «sklianice» podseća na nemačke posude XV-XVI veka, poznate that given vessel was created in Venetian workshops. pod nazivom «hampen». Međutim, boja ovog suda (zaga- The form of the vessel also corresponds to the fixed ti- sitoplava i ljubičasta) karakteristična je za venecijansko me and place of manufacture . staklo kasne renesanse. Another vessel from the Krevo collection, the plate Stoga možemo da razmatramo mogućnost da se radi from muffled dairy color glass, dates the same time as o sudu koji je takođe nastao u Veneciji. Na primer, u Er- “sklyanitsa”. It was decorated by enamel painting, ma- mitažu (Petrograd, Rusija), postoje neki sudovi iz zbirke de in the cold way, and gilding. The mirror of the plate A. Bazilevskog, koji su definisani kao venecijanski, ali was painted in red color, in the center there is the eight- su nastali po nemačkim primerima. Autori kataloga ove petals socket, reminding stylistically of a flower.The co- zbirke slažu se da su «napredni ekonomski odnosi izme- lor of petals is red and yellow, contours were outlined by đu Mletačke Republike i Nemačke uticali i na razvoj black enamel and gilding. The side is painted by buds of kulturnih i umetničkih kontakata između te dve zemlje yellow tulips and branches with bright red berries. On i pospešili upotrebu nekih nemačkih formi u Veneciji» the edge of the side there is a small gilding strip. As it (5). Na žalost, nemoguće je ustanoviti karakter slikanog is known from the published sources, similar plates we- ukrasa na zidovima «sklianice» na osnovu sačuvanog re produced in Venice in the second half of the 16th cen- fragmenta. To bi, svakako, dovelo do bližeg određenja. tury (1). Tanke, fragilne čaše za liker od venecijanskog kris- Of certain interest from the point of view of mor- tala, čiji fragmenti predstavljaju prilično značajan udeo phology has another “sklyanitsa” from the Krevo ar- u arheološkoj zbirci Krevo (oko 20% celokupnog impor- chaeological collection. It has the cylindrical form of tovanog stakla), nastale su u venecijanskom stilu. Osta- the bowl established on the pallet from round modeled tak sličnog stakla iz ove zbirke, pripada istom tipu kao plait. It was blown from muffled bluish glass. Color of i arheološki materijal iz zamkova Mir5 i Galšsni6 (8, 9). the pallet is violet. The pallet and walls of the vessel are U arheološkim slojevima sa kraja XVI i početka painted by yellow and violet enamel. The form “sklya- XVII veka na teritorijama zamka Krevo i drugih zamko- nitsa” reminds of the German vessels of the 15-16th va, nađeni su i fragmenti nemačkog i poljskog stakla. centuries known as “Humpen”However, the color of the Radi se o komadima prozirnog zelenkastog stakla sa vessel ( muffled blue and violet) is the distinctive featu- bodljikavom dekoracijom, zatim fragmentima oslikanog re of the Venetian glass of the late Renaissance. stakla, fragmentima stopa i vinskih čaša, čije analogije Thus, we can consider, that the given vessel was al- srećemo u naučnim radovima nekih poljskih autora (11). so made in Venice. For example, in the Hermitage (Rus- Međutim, prilično je teško odrediti udeo poljskih i ne- sia, St. Petersburg), there are some vessels from A.Bazi- mačkih importa u tom periodu, jer se u to vreme belo- levskij’s collection, defined as Venetian, but made after the German samples. The authors of the catalogue of 5 Zamak Mir je najpoznatiji me?u srednjovekovnim beloruskim this collection agree that “ the advanced economic rela- zamkovima, a pripada bogatoj porodici Radzivila. Nalazi se na tions between the Venetian Republic and Germany pro- UNESCO-voj Listi svetske kulturne baštine. moted the development of the cultural and art contacts 6 Zamak Galšsni se nalazi u severozapadnom delu Belorusije, poti?e iz XVI-XVIII veka, a pripada bogatoj beloruskoj porodici Sa- between these two countries and use of some German pega. forms ” (5). Unfortunately, it is impossible to reveal the 48 rusko staklarstvo aktivno razvijalo. Beloruska proiz- character of painting on the walls of the “sklyanitsa”by vodnja stakla bila je pod snažnim uticajem poljske i ne- the found fragment. That would, certainly, lead to more mačke tradicije tog perioda i često se služila njihovim exact definition. oblicima u kreiranju domaćih modela. To deluje potpu- Thin fragile liqueur glasses from Venetian “cris- no prirodno za jednu zanatsku delatnost koja je tek po- tallo”, the fragments of which make a rather significant činjala da se razvija i još uvek nije posedovala sopstve- group in the Krevo archeological collection (about 20 % no tehnološko i umetničko iskustvo. from all import glass), were executed in the Venetian Prisustvo stakla iz poznatih evropskih staklarskih style. The rest of similar vessels are also found among radionica u ovim zamkovima, govori nam ne samo o archeological materials of castles in Mir5 and prosperitetu i materijalnim mogućnostima svojih vlas- Galshsny6 (8; 9). nika, nego i o njihovom kulturnom nivou i umetničkom In the archeological layers of the end of the 16th -the ukusu. Međutim, importovani sudovi nikada nisu kori- beginning of the 17th centuries in Krevo and in the ter- šćeni u svakodnevnom životu. Bili su veoma skupi, deli- ritory of other castles, fragments of German and Polish katni, lomljivi i smatrani su luksuznom robom. vessels are found. They are represented by slices of Većina beloruskih plemića se iz tog razloga više transparent greenish glass with spinous modeled decor, opredeljivala za zlato, srebro, kalaj (u zavisnosti od ma- painted fragments of glass, fragments of legs of glasses terijalne situacije), a upotrebljavali su i staklo iz doma- and wine-glasses, analogies of which we can meet in ćih radionica. Od kraja XVI veka, uloga domaćeg posu- science works of some Polish researchers (11). However, đa značajno raste u porodičnoj svakodnevici. Tokom tog it is rather hard to define the percent of the Polish and perioda, u beloruskom staklarstvu jasno se razlikuju German import at that period, because at that time the dve oprečne tendencije. S jedne strane, očigledna je tež- Belarusian glasswork developed actively. The Belaru- nja lokalnih zanatlija da se približe priznatoj zapadno- sian glass manufacture was under strong influence of evropskoj tradiciji, ali s druge strane – prisutna je i že- the Polish and German traditions of the time and often lja da stvore sopstvenu umetnost, kao što već postoji i used their forms for the modeling of their own vessels. industrijska tradicija. That seems quite natural for craft which was just star- Prvi pravac otelotvoruju sledeći aspekti: kopiranje ting to develop and still did not have its own technolo- izvesnih tehnoloških recepata, održavanje evropskih ka- gical and artistic experience. nona u morfološkom i stilističkom smislu, bar kad se ra- The presence of the glassware from the known Eu- di o kopiranju poznatih primeraka. ropean glass workshops in these castles, as a rule, tell us Od lokalnih proizvoda sa kraja XVI veka, postoje ci- not only about the prosperity and financial capability of lindrične «sklianice» od tankog stakla, sa bazom ili bez their owners, but also about their cultural level and ar- nje, nastale pod uticajem nemačkog posuđa, kao što su tistc taste. However, the imported vessels were never «keulenglass», zatim dvostruke čaše i čaše za liker, čija used in everyday life. They were very expensive, delica- su tela istog oblika kao i njihove baze, a spojene su uz te, fragile and were considered luxury goods. The majo- pomoć dve ili tri «jabučice» (Slika 2). rity of the Belarusian noblemen for this reason prefer- Slične posude su nalažene na celoj teritoriji Beloru- red gold, silver, tin (depending on their material prospe- sije.Važno je napomenuti da su dvostruki sudovi izuzet- rity) objects, and also used glassware of local manufac- no rašireni u beloruskoj umetnosti i zanatstvu. Prisutni ture. From the end of the 16th century the role of local su u keramici, kod metalnih tanjira, stakla u različitim vessels considerably grows in family life. During this interpretacijama, a to možda nije posledica samo tehno- period in the development of the Belarusian glasswork loške tradicije, nego i određenog beloruskog mitološkog there were expressively shown two opposite tendencies. shvatanja sveta (tzv. «dvojni mit»). On one hand, the aspiration of local handicraftsmen to «Sklianica», kao jedan od najraširenijih tipova lo- join the recognized West-European experience was ob- kalnog staklenog posuđa XVI i prve polovine XVII veka, vious, but on the other – their desire to create their own javlja se u dva oblika: 1.) cilindrična, na visokoj cilin- art - industrial tradition was also present. dričnoj bazi (dijametra od 5,5 cm The first direction finds the embodiment in the fol- do 9 cm), od prozirnog, bezboj- lowing aspects: copying of the certain technological re- nog do zelenkastog stakla i 2.) 3 cipes, the maintenance of the European canons in mor- cilindrična, na bazi od talasas- phology and stylistics of glass, at last, in usual copying te pletenice (dijametra 6-9 cm). of well-known samples. Ovi tipovi «sklianice» su naj- Among the local products of the end of the 16th cen- brojniji u arheološkoj zbirci tury, there are thin-walled cylindrical “sklyanitsas” on Mir (7; slika 3). pallets or without them, made under the influence of Oblik «sklianice», iako po- German vessels such as “keulenglass”, and also doublet zajmljen, bio je veoma popula- glasses and liqueur glasses, whose bowls were equiva- ran među lokalnim stanovništ- lent to their pallets and incorporated with the help of vom i preživeo je sve do XVIII two or three flattened “apples”(Figure 2). Similar ves- veka. Do tog vremena prome- sels are found throughout the territory of modern Bela- nila se samo veličina posuda, rus. It is necessary to notice, that the idea of doublet kao rezultat prelaska sa posu- vessels is extremely distributed in the Belarusian arts đa za masovnu upotrebu na su- and crafts. It is present in ceramics, metallic plate, glass dove za induvidualnu upotre- in different interpretation and it is caused, probably, not bu. «Sklianica» se lako prila- only by technological tradition, but also by some mytho- godila uslovima lokalnog živo- logical concept of Belarusian people about the world ta. To je bilo moguće zato što je postojalo saglasje sa tradicio- 5 Mir castle – is the most famous between the medieval castles in Belarus, the property of the magnate family Radzivils, the mon- nalnim oblicima metalnog i Fragmenti “sklianice”, keramičkog posuđa. Osim to- ument included in the World List of Cultural Heritage of UNESCO. prva polovina XVII veka 6 Galshsny castle is the castle of 16-18th centuries in the north- ga, takav oblik bio je uslov- Fragments of "sclyanitsa", western part of Belarus, the property of the Belarusian magnate ljen i najraširenijim vrstama first part of 17th century family Sapega. 49 pića među lokalnim stanovništvom – pivom i medovi- (so-called “twin myth”). nom. “Sklyanitsa”, as one of the most widespread type of Kada je započeta lokalna proizvodnja stakla u XVI local glassware of the 16th-first half of the 17th centu- veku, još uvek je bilo teško govoriti o bilo kakvom umet- ries, had two forms: 1. cylindrical on the high cylindri- ničkom stilu u osobinama staklenog posuđa. Moguće je, cal pallets (diameters from 5.5cm up to 9cm), blown međutim, pouzdano govoriti o renesansnim tradicijama from transparent colorless and greenish glass, and 2. cy- u beloruskom staklarstvu tog perioda, paralelno tragaju- lindrical on the pallets formed from wavy plait (diame- ći za organskom vezom između lokalnog staklenog posu- ters of 6-9 cm). These types of “sklyanitsa” prevailed in đa i nacionalne tradicije. Racionalizam, simetrija pojedi- Mir archeological collection (7) (Figure. 3). načnih detalja oblika, rafiniranost linija, plitak dekor – The form of “sklyanitsa”, though borrowed, was ve- tipično renesansne osobine, ali zna se da one karakteri- ry popular among local population and existed till the šu i belorusku umetnost, kao poseban fenomen. 18th century. By this time only the size of utensils chan- Epoha renesanse uvela je modu stakla slikanog ged as the result of transition from vessels of massive emajlom. Beloruski staklari veoma brzo su prihvatili use to vessels for individual use. “Sklyanitsa” easily ovakvu dekoraciju i postigli značajne rezultate. Mnogi adapted to the conditions of local life. It was possible zapisi u dokumentima XVI-XVII veka i arheološki po- because it did not contradict the traditional morpholo- daci svedoče o tome. Primerci posuda oslikanih vegeta- gical designs in metal and ceramics. Besides, such form bilnim i geometrijskim ornamentima prisutni su u ar- was caused also by character of the drinks most wides- heološkim zbirkama Mira i Golšanija (7, 8). pread among local people – beer and mead. U prvoj polovini XVII veka u beloruskom staklu su In the 16th century when the local glass manufac- vidljive neke stilske karakteristike baroka. Kao najde- ture started, it was still difficult to speak about the exis- mokratičniji stil po svojoj prirodi, on je vrlo brzo prih- tence of any art style in the characteristic of glassware. vaćen u umetnosti koja je već bila jako bliska narodnoj It is possible to speak with confidence about the Renais- tradiciji. Preciznije rečeno – desila se originalna «folklo- sance traditions in the Belarusian glass of this period, rizacija» baroknog stila. Asortiman staklenog posuđa se simultaneously finding the organic connection between veoma proširio, a u morfološkom smislu, pojavili su se local glassware and national tradition. Rationalism, pravi narodni figuralni i simbolistički motivi, koji su us- symmetry of separate formal details, delicate refine- pešno inkorporirani u barokni simbolizam (slika 4). ment of lines, low-key decor – typically Renaissance fe- Osim tradicionalne «sklianice», u tom periodu se po- atures, but it is known that these features characterize javilo mnogo novih naziva za stakleno posuđe: «sklinka» the Belarusian art as a phenomenon. (manja «sklianica»), «kelič» (čaša), «kilišak» (vinska ča- The epoch of the Renaissance has brought the fa- ša), «kvart» (tetraedralna boca), «kufal» (šolja) i dr. shion of painted enamel glass.The Belarusian craftsmen Barok je u značajnoj meri obogatio dekorativni sis- very soon accepted such decoration and reached signifi- tem beloruskog stakla. Poseban akcenat je stavljen na cant results in it. Many records in the documents of 16- plastičnu dekoraciju – modelovane baze, modelovane de- 17th centuries and the archaeological data confirms this. korativne trake i pletenice na zidovima sudova, medaljo- The examples of painted vessels by vegetative and geo- ni i pečati. Razvilo se i slikanje emajlom, posebno cenje- metrical ornaments are found in the archeological co- no zbog mogućnosti izvođenja figuralnih predstava i llections of glass in Mir and Golshany (7; 8). raznovrsnih kompozicionih mogućnosti. Prave linije u In the first half of the 17th century in the Belarusian ornamentici postepeno su zamenjene talasastim obodi- glass there are some stylistic features of the baroque. As ma, a ispupčena dekoracija (slika 4) dobija na značaju. the most democratic style in its nature, it was rather Renesansa je dala izvesne impulse širenju staklar- quickly embodied in art which had already been very stva u beloruskim zemljama. Kada je počela epoha ba- closely connected with folk tradition. More precisely - it roka, stvorili su se uslovi za formiranje beloruske proiz- became original “folklorization” of the baroque style. vodnje i umetničke škole. Ovi procesi se vezuju za XVII The assortment of glassware has considerably extended, i XVIII vek. Taj period je karakterisalo stvaranje stak- and in morphology of vessels there were truly national larskih centara, posebno na istoku Belorusije, zatim is- figurativeness and symbolism which were successfully traživanja u oblasti morfologije, tehnološka otkrića, incorporated in the typical baroque symbolism (pictu- stvaranje originalnog estetskog pristupa, kao i lokalna re 4). umetnička škola. Except for traditional “sklyanitsa” there were ma- Stakleni predmeti i prozorska okna postali su uobi- ny new names for the designation of glassware: “sklyn- čajena pojava u beloruskim gradovima u XVII veku, a ka” (small “sklyanitsa”), “kelich” (glass), “kilishak” (wi- stakleno posuđe nisu koristili samo vlasnici feudalnih ne-glass),“quart”(tetrahedral bottle),“kufal”(mug), etc. zamkova, već i niže plemstvo i gradsko stanovništvo. at that period. Na feudalnim posedima tog perioda, stakleno posu- Baroque has considerably enriched the decorative đe domaće proizvodnje postaje uobičajeno i predstavlja system of the Belarusian glass. Special value got the jedan od atributa svakodnevne kulture. plastic decoration: modeled pallets, modeled decorative Jednostavnost i tradicionalni karakter oblika, dija- strips and plaits on the walls of vessels, medallions and lektičko jedinstvo korisnog i lepog, izražajnost i istovre- stamps. The enamel painting on glass developed. At that meno uzdržanost i skromnost dekoracije – sve ove oso- time it was adored for its figurativeness and diversity of bine vezuju belorusko kasnosrednjovekovno staklo sa composite possibilities. The straight lines in the orna- narodnom umetnošću. To je prirodan fenomen, s obzi- ment of vessels are gradually replaced by wavy rims, the rom da je do XVIII veka većina staklarskih radionica na great value is given to the extruded decoration (Figure beloruskim teritorijama bila okrenuta lokalnim kupci- 4). ma i zavisila od njihovog ukusa. Međutim, sklonost ka The Renaissance gave certain impulse to the distri- tradicionalnog kulturi pružila je beloruskim staklar- bution of glass-making in the Belarusian lands. When skim proizvodima XVI i XVII veka stilističku i morfo- the baroque epoch started there were conditions for the lošku originalnost, koja se naknadno jasno očituje u ka- formation of the Belarusian manufacture and art rakteru staklenog posuđa čuvenih manufaktura porodi- school. These processes chronologically refer to 17-18th ce Radzivil, u XVIII i XIX veku. centuries. That period was characterized by the crea- 50 tion of new glass-making centers, especially in the East 4 of Belarus, searches in the field of morphology, technological discoveries, formation of the original aesthetic image and the own art school. Glass utensils and glass windows became the usual phenomenon in the Belarusian cities of the 17th century, and glassware was used not only by owners of the feudal castles, but also by the gentry and townspeople. In the feudal estates of that period the glassware of local manufacture becomes usual and one of the at- tributes of daily culture. Simplicity and traditional character of forms, dia- lectic unity of useful and beautiful, expressiveness and at the same time restraint and modesty of the decoration – all these features connect the Belarusian late medieval glass with folk art. It was the natural phenomenon because till the 18th century the majority of glass workshops in the Belarusian lands was focused on the local consumers and depended on their taste. However the affinity to traditional culture gave to the Belarusian glass products of the 16-17th centuries a stylistic and morphological originality which subsequently was brig- htly showed in the character of glassware of well- Oblici staklenog posuđa known glass manufactories of Radzivils family in 18- Forms of glassware 19th centuries.

Bari Lord, LORD Cultural Resources Planning & Management Barry Lord, LORD Cultural Resources Planning & Management Odgovori muzeja Art Museums’ umetnosti na Responses to the izazove XXI veka 21st Century Prezentacija na seminaru u Muzeju umetnosti Presentation to the Art Museum of Estonia Estonije, Novembar 2004. godine Seminar, November 2004

ada su kraljici Viktoriji prvi put po- hen Queen Victoria was first shown Kkazali novootvoreni Muzej Viktorija i Waround the newly opened Victoria Albert, kažu da je pitala zašto su umetnič- and Albert Museum, she is said to have as- ka dela i predmeti izloženi kao da se pro- ked why the works of art and artifacts daju u prodavnici. Kao osoba iz kraljevske were being shown as if they were for sale porodice, ona nije morala da ide u kupovi- in a shop. As royalty she didn’t have to nu tako da je mogla da vidi vezu jasnije shop, so she was able to see the link more nego ostali. Njena primedba ukazuje na clearly than others. Her observation osnovni princip: points to a basic principle:

Percepcija muzejskih zbirki i njihovo iz The perception of museum collections laganje u svakom istorijskom periodu u and their presentation in each historical skladu je sa načinom na koji se objekti period accords with the way in which opažaju u svetu izvan muzeja. Bari Lord na predavanju u objects are perceived in the world outsi Galeriji fresaka de the museum. Muzeji umetnosti su u svakom istorij- Barry Lord giving a lecture at skom periodu razmišljali o svojim zbirka- Gallery of Frescoes Art museums in each historical period ma i doživljaju koji nude o njima analogno načinu na conceive of their collections and of the experiences they koji su se objekti opažali u svetu oko njih a, kao što je offer of them in analogy to the way in which objects are kraljica Viktorija primetila, posebno kada su objekti iz- perceived in the world around them – and as Queen Vic- loženi u urbanom svetu trgovine. Tako da: toria observed, particularly as objects are presented in 1. U trgovačkim gradovima XVIII veka, muzeji su the urban world of commerce. Thus: razmišljali o svojim zbirkama primeraka i umetničkih 1. Museums in mercantile cities of the 18th century dela na isti način kao o robi ili proizvodima, kojima se conceived of their collections of specimens and works of trgovalo širom sveta, ili o sirovim materijalima, kao što art in the same way as the goods or products that were su riba i začini (primerci), koje su brodovi prevozili do being traded around the world, with raw materials like tržišta zajedno sa robom ili proizvodima koje su pravile fish or spices (specimens) being shipped to market along zanatlije; razvoj velikih univerzalnih muzeja (kao što je with goods or products made by artisans; the result was Britanski muzej) i sveobuhvatnih zbirki istorije umet- the development of the great universal museums (such 51 nosti (kao što je zbirka Luvra) je posledica toga. as the British Museum) and the comprehensive art his- 2. U XIX veku je prevladala analogija kraljice Vikto- tory collections (such as the Louvre). rije pošto su artikli napravljeni u fabrikama služili kao 2. In the 19th century Queen Victoria’s analogy pre- model za zbirke predmeta u muzejima umetnosti indus- vailed, as commodities manufactured in factories provi- trijskog doba, kao što je Viktorija i Albert u Londonu , i ded the model for collections of artifacts in industrial u muzejima nauke i industrije, kakav je Nemački nacio- arts museums like the V&A in London, and in museums nalni muzej u Minhenu. of science and industry such as the Deutschesmuseum in 3. Gradovi su se u XX veku pojavili kao centri ko- Munich. munikacija u kojima prevladjuju slike, podstičući raz- 3. And in the 20th century, cities have emerged as voj onih muzeja u kojima su objekti sekundarni u odno- communication centres where images prevail, giving ri- su na ideje i slike, kao u muzejima ideja, kakav je Urbis se to museums in which objects are secondary to ideas u Mančesteru (muzej o urbanoj civilizaciji), i u interak- and images, as in Idea Museums, such as Urbis in Man- tivnim muzejima kao što je Projekat slušanja muzike u chester (a museum about urban civilization) and Inter- Sijetlu. active Museums like the Experience Music Project in Sada, na početku XXI veka, rano je da pokušamo da Seattle. predvidimo novi uzorak. Ipak, nekoliko pojava je, sas- At the beginning of the 21st century, it is a bit early vim jasno, od velikog uticaja na način na koji muzeji for us to attempt to project a new paradigm. However, umetnosti odgovaraju našem sopstvenom vremenu: several phenomena are clearly of major importance af- - Gradovi su se ponovo utemeljili kao osnovni pok- fecting the way in which art museums are responding to retači ekonomije. Dok je nacionalna država uvidja- our own time: la da rast multinacionalnih korporacija prkosi - Cities have re-established themselves as the essen- njenoj ranije neospornoj moći, gradovi su sve više tial engines of the economy. While the nation state postajali stvarni izvor i centar ekonomskog razvo- has seen its formerly undisputed power challenged ja. by the growth of the multi-national corporation, - Postoji globalna potreba za doživotnim učenjem cities have become increasingly the real source and koje treba da bude neformalno da bi bilo delotvor- center of economic development. no, pošto se radi o učenju odraslih koji su već za- - There is a global need for lifelong learning that has posleni a ne o deci u školi. Muzeji su idealno mesto to be informal if it is to be effective, since it is a za takvu vrstu učenja. question of learning by adults who are already in - Svuda ljudi osećaju iskrenu potrebu da zastupaju the workplace, not by children at schools. Muse- svoje sopstvene lokalne ili nacionalne identitete ums are an ideal venue for such learning. uprkos sve većoj globalizaciji. Muzeji nude mesto - People everywhere are experiencing a heartfelt negde takvi identiteti mogu da se oblikuju, ogledaju i ed to assert their own local or national identities in kritikuju. the face of increasing globalization. Museums offer - Savremena umetnost više nije avangardna već je a place where such identities may be fashioned, postala dominantna u mnogim gradovima širom mirrored or criticized. sveta. Uz popularnu muziku, postala je važan na- - Contemporary art is no longer avant garde, but has čin izrazavanja individualnih vrednosti i kao tak- become mainstream in most cities throughout the vu je sve više prepoznaje sve veći broj ljudi širom world. Along with popular music, it has become an sveta. important means of expressing individual values, - Kulturni turizam je najdinamičniji deo onoga što and is increasingly recognized as such by ever-gro- je postalo najveća svetska industrija - turizma. wing numbers of people worldwide. Gradovi su najčešća destinacija kulturnih turista. - Cultural tourism is the most dynamic part of what - Svuda u svetu ljudi učestvuju u virtuelnim iskust- has become the world’s major industry, tourism. vima ne samo na internetu već i preko mobilnih te- Cities are the most common destinations of cultu- lefona, palm pilot-a i sličnih naprava. ral tourists. Odgovor muzeja umetnosti na ove promene bio je - Around the world people are participating in vir- period naporne aktivnosti koja moze da se sagleda kroz tual experiences, not only on the net but also on jedan ili nekoliko od ovih šest tokova: mobile phones, palm pilots and similar devices. - Puka fizička ekspanzija da bi se ispunili sve veći The response by art museums to these changes has zahtevi i da bi se išlo u korak sa rastom zbirke. been a period of intense activity, which may be seen as - Obnavljanje nacionalnih identiteta, ne u suprot one or more of six trends: globalizaciji, već kao načina učestvovanja u glo- - Sheer physical expansion to meet increased de- balizovanom svetu i kao protivteže homogeniza- mand, and to keep pace with the growth of collec- ciji iskustava svuda u svetu. tions - Decentralizacija pristupa zbirkama, posebno for- - Reassertion of national identities, not in opposi- miranjem ogranaka, onih muzeja koji imaju vo- tion to globalization, but as a means of participa- deće zbirke, širom sveta. ting in a globalized world, and as a balance against - Značajna uloga muzeja u isticanju muzejskih worldwide homogenization of experiences gradova kao destinacija u kulturnom turizmu. - Decentralization of access to collections, especia- - Razvoj novih tipova muzeja kao odgovor na iza- lly by the formation of branches of museums with zove sveta koji se ubrzano menja. major collections around the world - I, dolazak virtuelnih izložbi kao načina da se - Playing a significant role in the enhancement of omogući vizuelni pristup slikama iz muzejske the museums’ cities as cultural tourism destina- zbirke. tions Ovaj rad daje primere za svaku od ovih tendencija, - The development of new museum types in respon- izvučene iz nedavne prakse muzejskog planiranja u fir- se to a rapidly changing world mi LORD - planiranje i menadžment kulturnih dobara, - And the advent of virtual exhibitions as a means of najvećoj svetskoj firmi specijalizovanoj za muzejsko providing visual access to images of a museum’s planiranje. collection. 52 This paper presents examples of each of these ten- PROŠIRENJE dencies, drawn from the recent museum planning prac- Jedan od najpoznatijih projekata za koji smo pripre- tice of LORD Cultural Resources Planning & Manage- mali veoma složen radni program poslednjih godina je ment, the world’s largest specialized museum planning Muzej umetnosti okruga Los Andjeles (Los Angeles firm. County Museum of Art - LACMA), poznat po tome što je, pošto smo završili rad na planiranju koji je trajao Expansion preko dve godine, LACMA izabrao arhitektu Rema Kol- One of the best known projects for which we prepa- hasa, da bi se zatim ispostavilo da je nemoguće sakupi- red a highly complex Functional Program in recent yea- ti ogromne sume potrebne za veliki program izgradnje rs was the Los Angeles County Museum of Art – well koji je zamišljen i taj projekat je morao da se otkaže. known because after we had done our planning work Uprkos tome, LACMA je nastavio sa prvom fazom svog over a two-year period, LACMA selected an architect, programa koji je projektovao Renzo Piano. Dugoročni Rem Koolhaas, but then found it impossible to raise the projekat zahteva potpuno preispitivanje načina na koji enormous sums needed for the very large building proje zbirka LACMA predstavljena, zatim grupisanje rado- gram that had been conceived, and had to cancel that va prema kontinentima sa kojih potiču, povezivanje po project; nevertheless, LACMA is proceeding with the kulturama a ne samo po uskom kriterijumu istorije um- first phase of its program, being designed by Renzo Pi- etnosti. ano. The long-range project involves a complete rethin- Drugo proširenje za koje smo napravili radni pro- king of the way in which the LACMA collection is pre- gram bilo je za projekat severoistočnog proširenja sented, grouping works according to their continents of Instituta umetnosti iz Čikaga, koji je takodje projekto- origin, connecting them by cultures rather than a narro- vao Studio Renzo Piano. Ovo proširenje će omogućiti In- wer view of art history alone. stitutu ne samo više galerija Another expansion for which we produced a Func- već i da proširi svoj delokrug – osavremenjivanjem tional Program was the northeast expansion project of prezentacije na izložbama o arhitekturi, na primer, što the Art Institute of Chicago, also being designed by the je tema za koju smo shvatili da vlada veliko interesova- Renzo Piano Studio.This one also will allow the Institu- nje poslednjih godina. te not only to provide more galleries but also to expand U Muzeju umetnosti u Denveru, gde je Danijel Li- its range – improving its presentation of architecture beskind projektovao proširenje, pregledali smo i dali exhibitions, for example, which is a subject in which we preporuke za predvorje, sve važnije mesto u muzejima have found a great range of interest in recent years. XXI veka, kada funkcija zgrade kao mesta susreta u slo- At the Denver Art Museum, where Daniel Libeskind bodno vreme postaje još važnija. is designing the expansion, we reviewed and made re- U Umetničkoj galeriji Mančestera u Engleskoj raz- commendations for the lobby, an increasingly important vili smo radnu skicu za Majkla Hopkinsa i Partnere, ar- place in the museums of the early 21st century as the hitekte koji su renovirali postojeće istorijske zgrade functions of the building as a meeting place for leisure muzeja, osmislili atrijum izmedju njih i dodali elegant- activities become ever more important. no, novo krilo u kome se postavljaju izložbe savremene At the Manchester Art Gallery in England we deve- umetnosti kao i privremene izložbe. Drugi važan aspect loped the Functional Brief for Michael Hopkins and mančesterskog proširenja je galerija posvećena dekora- Partners architects, who renovated the Museum’s exis- tivnoj umetnosti i dizajnu, predstavljena na kreativan ting historic buildings, created an atrium between them, naćin u renoviranoj zgradi, izuzetnog kvaliteta, iz XIX and added an elegant new wing where contemporary art veka. and temporary exhibitions are featured. Another impor- Naravno da ima još mnogo proširenja koja su nedav- tant aspect of the Manchester expansion is a gallery de- no završena ili su u toku – Muzej moderne umetnosti je dicated to decorative arts and design, presented in an možda najpoznatiji primer. U najvećem broju slučajeva imaginative way in a renovated 19th-century building proširenje je delom prosto kvantitativni odgovor na iza- of great quality. zove novog veka jer omogućava više galerija za izložbe, Of course there are many more expansions recently veće mogućnosti i programe i slično. Ipak, u mnogim completed or underway – the Museum of Modern Art is slučajevima, proširenja su više kvalitativna jer muzeji perhaps the best known. In general, expansion is in part iskoriste priliku da poboljšaju svoje programe savreme- simply a quantitative response to the challenges of the nijim amfiteatrima, kafeima ili prodavnicama, kao i ga- new century, providing more exhibition galleries, more lerijama koje su bolje opremljene da prime multimedi- facilities and programs, and so on. However, in many ca- jalne izložbe, i dodatnim ili prostorom boljeg kvaliteta ses, expansions become much more qualitative, as muse- za izdavanje i ugostiteljstvo tako da prihodi od iznajm- ums seize the opportunity to enhance their programs ljivanja mogu da se uvećaju. with improved theaters, cafes or shops as well as galleries that are better equipped to handle multi-media ex- OBNAVLJANJE NACIONALNIH IDENTITETA U hibitions, and additional or better-quality rental and GLOBALNOM KONTEKSTU catering space so that revenue from rentals can be Obnavljanje identiteta koji može biti lokalni, ple- increased. menski ili nacionalni u mnogo slučajeva je bio kulturni odgovor globalizaciji. U Seulu smo radili na programu Reassertion of National Identities in za jedan od najvažnijih primera obnavljanja nacional- a Global Context nih identiteta, pošto su Korejci srušili muzejsku zgradu The cultural response to globalization in many cases koja je bila simbol ugnjetavanja - jer je stari Nacional- has been a reassertion of identity, which may be local, ni muzej bio smešten u glavnom štabu omražene 45- tribal or nation. In Seoul we worked on the program for ogodišnje japanske okupacije njihove zemlje – i zameni- one of the most important examples of the reassertion of li ga novim Nacionalnim muzejem, sada u izgradnji, national identities, as the Koreans tore down a Museum koji će biti jedan od najvećih muzeja na svetu sa 138 000 building that was a symbol of oppression, because their m2 i 400m dugom fasadom. Nedavno sam posetio muzej old National Museum had been situated in the headqua- 53 i bilo mi je drago kad sam video da je korejski arhitek- rters of the hated 45-year Japanese occupation of their ta doslovno sledio naš program a posebno preporuku da country — and are replacing it with a new National Mu- ujedini dva glavna odeljenja, arheologiju i istoriju, na seum now under construction, which will become one of svakoj strani centralnog hodnika, visokog tri sprata, ta- the largest museums in the world – 138,000 sq. m., with ko da posetioci mogu da vide neprekinutu hronologiju a 400 m. long facade. I visited the Museum recently and od praistorijskih vremena preko korejskih kraljevina i was delighted to see that the Korean architect had very dinastija do danas. literally followed our program, particularly the recom- Pre nekoliko godina bili smo još više uključeni u mendation to unify the two main departments – Archae- pravljenje programa za renoviranje zgrade, a posebno u ology and History – on either side of a central corridor, planiranje, projektovanje i postavljanje izlozbi u novom three floors high, so that visitors can experience one Nacionalnom muzeju Filipino naroda u Manili, pošto je continuous chronology from prehistoric times through Nacionalni muzej Filipina takodje odgovorio na ovu the kingdoms and dynasties of Korea to the present. čežnju za obnavljanjem nacionalnih identiteta. Ovde se A few years ago we were even more deeply involved radilo o muzeju koji bi mogao da ujedini brojne etnič- in programming the renovation of the building and es- ke identitete na Filipinima, gde se govori preko stotinu pecially in planning, designing and installing the exhi- jezika na hiljadama ostrva. Prilika za novi muzej bila je bits in the new National Museum of the Filipino People stogodišnjica deklaracije nezavisnosti od Španije iz in Manila, as the National Museum of the Philippines 1898. godine, tako da je obnavljanje nacionalnog identi- also responded to this desire for the reassertion of natio- teta koji predstavlja muzej bilo i političko i kulturno. nal identities. Here it was a question of a museum that Ova potreba da se obnovi nacionalni identitet nije could unite the many ethnic identities in the Philippi- povezana samo sa mogućnostima za kulturni turizam. nes, where over a hundred languages are spoken on Otkrili smo da je podjednako snažna i u Rijadu, gde smo thousands of islands. The occasion for the new Museum uradili glavni plan, praćen projektovanjem izložbe, da was the centennial of the declaration of independence bismo konačno preuzeli i menadžment nad celokupnim from Spain in 1898, so that the assertion of national projektom za novi Nacionalni muzej Saudijske Arabije, identity that the Museum represents was both political sve do dana otvaranja 1999. godine. Turizam je, u ovom and cultural. slučaju, mnogo manje podstrek nego jednostavno ob- This need to assert national identity is not related navljanje vrednosti i karakteristika baštine Arabije. Ov- only to the potential of cultural tourism, because we de, u Estoniji, bili ste pred izazovom kako predstaviti found it equally strong in Riyadh, where we did the umetničke forme iz nedavnih režima koji više nisu na Master Plan, followed through with exhibition design, vlasti - u Saudijskoj Arabiji izazov je bio kako predsta- and eventually undertook project management through viti kulturno nasledje koje je prethodilo islamu. Nacio- to opening day in 1999 for the new Saudi Arabian Na- nalni identitet se mora zasnivati na stvarnostima koje tional Museum, where tourism was much less of a moti- su ušle u njegovo formiranje a ponekad se te stvarnosti vation than simply asserting the value and character of razlikuju, nisu uskladjene ili su nedosledne. the heritage of Arabia. Here in Estonia you have had the U Singapuru smo, još 1990. godine, započeli glavni challenge of presenting art forms from fairly recent re- plan za reorganizaciju starog Nacionalnog muzeja u tri gimes that are no longer in power; in Saudi Arabia it ustanove – Muzej umetnosti Singapura, Muzej azijske was the challenge of how to present the cultural herita- civilizacije i Istorijski muzej Singapura – pre nego što ge that pre-dated Islam. National identity must be ba- smo prešli na pravljenje radnih programa izgradnje za sed on the realities that have gone into its formation, sva tri. Zbog snažnijeg uticaja kulturnog turizma ovde, and sometimes these realities are divergent, discordant prva dva – Muzej umetnosti i Muzej azijske civilizacije - or contradictory. su do sada završeni i uspešno otvoreni dok je Istorijski In Singapore we began as early as 1990 with a Mas- muzej Singapura još uvek pod izgradnjom. Muzej umet- ter Plan for the reorganization of the old National Mu- nosti je jedno od ostvarenja na koja smo najviše ponos- seum into three institutions – the Singapore Museum of ni, zato što je uspešno doveo u Singapur umetnička de- Art, the Asian Civilization Museum and the Singapore la iz Evrope i Amerike, time što je omogućio klimatske History Museum – before going on to prepare the Func- uslove za pozajmljene radove kao u umerenom klimat- tional Building Programs for all three. Because of the skom pojasu dok je istovremeno čuvao svoje zbirke stronger influence of cultural tourism there, the first tropskog porekla u mnogo vlažnijoj sredini. Muzeji za two – the Art Museum and the Asian Civilization Muse- koje smo pomogli da se naprave u Singapuru uspešno su um – have thus far been completed and successfully od grada-države stvorili još veću turističku destinaciju opened, while the Singapore History Museum is still un- a da razlog nije kupovina. der development. The Art Museum is one of our prou- I naravno, najvažniji primer obnavljanja nacionalnih dest achievements, because it has been successful in identiteta u globalnom kontekstu je ovde u Taljinu, veli- bringing to Singapore works of art from Europe and čanstven novi Muzej umetnosti Estonije, koji je projek- America, providing climate controls for those borrowed tovao finski arhitekta Peka Vapavuori. Novi muzej će po works at temperate zone levels, while at the same time prvi put predstaviti celokupnu istoriju estonske umet- preserving its own tropical-origin collections in a much nosti u kontekstu medjunarodnih izložbi savremene um- more humid environment. The museums we helped to etnosti, ilustrujući tako oba aspekta obnavljanja nacio- create in Singapore have been successful in making the nalnih identiteta u globalnom kontekstu. Slično kao u city-state more of a tourist destination for reasons other Muzeju umetnosti Singapura, poželećete da pozajmite than shopping. važna umetnička dela iz drugih muzeja, a istovremeno And of course the most important example of the re- ćete moći da koristite novu zgradu za izlaganje i pokazi- assertion of national identities in a global context is vanje estonske istorije umetnosti, u punom obimu, svim right here in Tallinn, the magnificent new Art Museum Estoncima a i ostalima. Najvažniji radovi u vašoj eston- of Estonia, designed by the Finnish architect Pekka Va- skoj galeriji formiraće ‘kanon’ estonske istorije umetnos- paavuori. The new museum will for the first time preti, javno priznatu grupu radova koji će se naširoko kopi- sent the entire history of Estonian art in the context of rati i proučavati kao odredjeni radovi estonske škole ili international contemporary art exhibitions – thereby il- tradicije. Očigledno da takodje morate obezbediti pros- lustrating both aspects of the reassertion of national 54 tor za promenu umetničkih dela svakoj galeriji tako da identities in a global context. Like the Singapore Art izlaganje ostane živo i privlačno, da odslikava stalno na- Museum, you will want to be able to borrow major predovanje, a ne da insistira na definiciji vaše nacional- works of art from museums elsewhere – yet at the same ne istorije umetnosti odredjenoj jednom i za uvek. time you will be able to use the new building to display Drugi aspekt novog Muzeja, podjedanako važan za and interpret to all Estonians and others the full sweep vas, je mogućnost da učestvujete u važnim izložbama u of Estonian art history.The most important works in yo- inostranstvu i da sami organizujete važne izložbe sa ra- ur Estonian galleries will form the ‘canon’ of Estonian dovima pozajmljenim sa strane. Na ovaj način možete art history, the officially recognized group of works that učestvovati u globalizovanom svetu umetnosti, posebno will be widely reproduced and studied as the definitive ako postavljate izložbe u saradnji sa drugim muzejima works of the Estonian school or tradition. Obviously you savremene i moderne umetnosti u blizini, kao što su oni must also ensure that in each gallery there will also be u Helsinkiju i Stokholmu. To što imate novu, veliku room for changing works of art, so that your presenta- zgradu je važan deo te saradnje – trebalo bi da možete tion remains lively and engaging, reflecting on-going da privučete kustose, umetnike i izložbe jednostavno za- scholarship, not insisting on a definitive once and for to što bi oni želeli da ih povezuju sa vašom velikom, no- ever definition of your nation’s art history. vom zgradom. Kako najbolje organizovati sprovodjenje The other aspect of the new Museum – its ability to ovih aktivnosti, to je izazov sam po sebi, pošto je potreb- allow you to participate in major exhibitions from no da se ta sposobnost razvije unutar organizacije koja abroad, and to organize major exhibitions yourselves je odgovorna za širok krug muzeja po celom gradu. Ako with works borrowed from elsewhere, is equally impor- uspete, medjutim, trebalo bi da budete zadovoljni što ste tant to you. In this way you can participate in the globa- omogućili Estoncima, posebno mladim ljudima, da igra- lized art world, especially if you mount exhibitions in ju direktnu i ispunjujuću ulogu u svetu medjunarodne collaboration with other nearby contemporary and mo- savremene umetnosti, koja se više ne posmatra kao dern art museums such as those in Helsinki and Stock- avangarda već kao dominantan pristup slobodnom izra- holm. Having a great new building is an important part zu. of this – you should be able to attract curators, artists and exhibitions simply because they will want to be as- DECENTRALIZACIJA PRISTUPA ZBIRKAMA sociated with your great new building. How best to or- Još jedan odgovor muzeja umetnosti na promene ko- ganize to undertake these activities is a challenge in it- je donosi rani XXI vek je da se olakša pristup zbirkama self, as it is necessary to develop that capability within osnivanjem ogranaka za posetioce na još nekim mesti- an organization that has responsibility for a wide range ma. of museums throughout the city. If you succeed, howe- Najpoznatiji primer je naravno njujorški Muzej Gu- ver, you should have the satisfaction of allowing Esto- genhajm koji ima dobro postavljene ogranke u Veneciji i nians, especially your young people, to play a direct and Bilbau. Gugenhajm Bilbao je najspektakularniji uspeh fulfilling role in the world of international contempora- medju ograncima, velikim delom zahvaljujući izuzetnoj ry art, which is no longer seen as an avant garde, but as zgradi koju je kanadski arhitekta Frank Geri projekto- a mainstream access to free expression. vao za muzej. Uspeh ovog muzeja je doveo do pojma ‘bil- baoifikacija’ kao primera uloge koju novi muzej umet- Decentralization of Access to Collections nosti može da igra u preobražaju ugleda i stvarnosti Another response by art museums to the changes of jednog industrijskog grada kao što je Bilbao. Naša fir- the early 21st century has been to make their collections ma sada radi na strateškom planu za Gugenhajm Bilbao more accessible by establishing branches for visitors el- koji treba da isplanira sledećih pet godina te institucije, sewhere. pošto je postavljen zahtev da se održi i, ako je moguće, The best-known example is of course New York’s nadmaši prošli uspeh. Izazov za takav ogranak muzeja Guggenheim Museum, which has well-established branches in Venice and Bilbao. The Guggenheim Bilbao has been the most spectacular success of these branches, due in large part to the remarkable building that Cana- dian architect Frank Gehry designed for it. The Muse- um’s success has led to the term “Bilbaoification”as an example of the role that a new art museum can play in transforming the image and the reality of an industrial city like Bilbao. Our firm is currently working on a Strategic Plan for the Guggenheim Bilbao which is intended to plan into the next five years for that institution, as it seeks to maintain and if possible build on its past success. The challenge for such a branch museum is to be responsive to its own public, and to develop its own capacity for generating exhibitions, publications and other programs – its own intellectual capital. It could be a possible partner for your new museum in exhibition development. A less happy example has been the Guggenheim’s experience in Las Vegas, where one of two related branch galleries has closed. Nevertheless Director Tho- mas Krens and his Board remain committed to the idea of establishing branches, as their current proposal to place another branch in Taichung, Taiwan, indicates. The impetus behind this development is the understan- Predavanje Barija Lorda na temu “Upravljanje muzejima” ding that massive collections are a liability as long as Barry Lord’s lecture on “Managing museums” they remain in storage, but can become an asset if they 55 je da se prilagodjava svojoj publici i da razvije sopstve- are exhibited in branches that make the works of art ni kapacitet za pravljenje izložbi, publikacija i drugih more accessible, and at the same time build the ‘brand’ programa – svoj sopstveni intelektualni kapital. To bi of the Guggenheim worldwide. mogao biti partner za vaš novi muzej u razvoju izložbi. Equally spectacular has been the success of the Tate Manje srećan primer je iskustvo Gugenhajma u Las in dividing its Museum in London into two branches – Vegasu, gde je zatvorena jedna od dve srodne galerije. Tate Britain and Tate Modern, both of which have been Uprkos tome, direktor Tomas Krens i njegov odbor osta- our clients. The Tate also has branches in Liverpool and li su posvećeni ideji osnivanja ogranaka, kako pokazu- St Ives, which allow it to make parts of its collection je njihov sadašnji predlog da se u Taičung na Tajvanu accessible to a wider audience within Britain, and at the smesti još jedan ogranak. Kao podsticaj za ovakav raz- same time to reinforce the appeal of its ‘brand.’ Most re- voj služi shvatanje da su masivne zbirke opterećenje sve markable here has been the success of Tate Modern in dok stoje u depou ali se mogu pretvoriti u prednost ako establishing contemporary art as a popular mainstream su izložene u ograncima koji umetnička dela čine dos- rather than an avant-garde phenomenon, drawing tupnim a istovremeno grade ‘brend’ Gugenhajma širom crowds that have far exceeded projections. Contempo- sveta. rary art now appears to many as a symbol of freedom of Podjednako spektakularan je primer Tejt koji je svoj expression, especially among young people, that may ri- muzej u Londonu podelio na dva ogranka – Tejt britan- val pop music. sku galeriju i Tejt galeriju moderne, od kojih su obe bi- The Hermitage has followed the example of the le naši klijenti. Tejt takodje ima ogranke u Liverpulu i Guggenheim with international branches, while the Sent Ivsu, koji mu omogućuju da delove svoje zbirke Pompidou Centre is currently following the example of učini dostupnim za širu publiku u Britaniji i da, u isto the Tate by planning a branch in the northern French ci- vreme, pojača privlačnost svog ‘brenda’. Najupečatljivi- ty of Metz. ji je uspeh Tejt galerije moderne u uspostavljanju savre- Another interesting example in Asia is the National mene umetnosti kao popularne dominantne struje a ne Palace Museum in Taipei, for which we are currently avangardne pojave, privlačeći tako masovnu publiku planning a new south-central branch at Taibao in the koja je daleko nadmašila očekivanja. Savremena umet- province of Chiayi. The Southern Branch of the NPM is nost sada mnogima izgleda kao simbol slobode izraza, to have a pan-Asian focus, relating Taiwan to the whole posebno medju mladim ljudima, koji može da se poredi of Asia, rather than just to China as in Taipei. Here one sa pop muzikom. can see a combination of the reassertion of national identities – in this case specifically relating Taiwan rat- Ermitaž je sledio primer Gugenhajma sa medjuna- her than the rest of China to all the other countries of rodnim ograncima, dok Centar Pompidu sada sledi pri- Asia – with the establishment of branches to make co- mer Tejt galerije planirajući ogranak u severnom fran- llections more accessible to more visitors. cuskom gradu Mecu. Još jedan zanimljiv primer u Aziji je Muzej nacional- Enhancing Cities as Cultural Tourism Destinations ne palate u Taipeju, za koji sada planiramo novi južno- Glasgow is the city that may be said to have pionee- centralni ogranak u Taibau, u provinciji Čiaji. Južni red the conscious development of its cultural resources ogranak Muzeja nacionalne palate imaće pan-azijski fo- as a means to stimulate cultural tourism. When I served cus i povezivaće Tajvan sa celom Azijom, a ne samo sa as Curator of Glasgow’s Glasgow, the large exhibition Kinom, kao što je u Tajpeju slučaj. Ovde se može videti that was at the heart of Glasgow’s year as European Ci- kombinacija obnavljanja nacionalnih identiteta – u ty of Culture in 1990, I was able to recognize that this ovom slučaju to je specifično povezivanje Tajvana sa was the beginning of a new relationship between cities drugim azijskim zemljama a ne sa ostatkom Kine- sa os- and their museums. In fact, our subsequent work in nivanjem ogranaka da bi zbirka bila dostupna većem planning the new national museums in Singapore broju posetilaca. sprang from the Singaporeans’ determination to emula- te the achievement of Glasgow, which has been sustai- ISTICANJE GRADOVA KAO DESTINACIJA ned with a series of new museums over the years, as the city has transformed its image from a 19th-century in- KULTURNOG TURIZMA dustrial giant to a 21st-century centre of cultural com- Glazgov je grad za koji se može reći da je bio pionir munications. u svesnom razvoju svojih kulturnih dobara kao načinu Within the United Kingdom the city that has most da se podstakne kulturni turizam. Kada sam bio kustos consciously followed the Glasgow example is Manches- Glazgovljevog Glazgova, velike izložbe postavljene sre- ter, where again our firm has worked extensively. We dinom 1990. godine, kada je Glazgov bio evropska pres- helped to develop the concept of a museum dedicated to tonica kulture, mogao sam da prepoznam da je to bio the works of L.S. Lowry, who painted his scenes of wor- početak novog odnosa izmedju gradova i njihovih muze- king life in the industrial suburb of Salford, and then ja. U stvari, naš kasniji rad na planiranju novog Nacio- went on to produce the Functional Brief for the drama- nalnog muzeja u Singapuru, proizašao je iz rešenosti tic new building designed by British architect Michael Singapuraca da se povedu za uspehom Glazgova koji je Wilford, which won the award as the best British buil- istrajao sa serijom novih muzeja tokom godina i za to ding of the Millenium Year 2000. The Lowry, which con- vreme promenio svoj lik od industrijskog džina XIX tains two outstanding theatres and a children’s gallery veka do centra kulturnih komunikacija XXI veka. as well as the permanent collection and temporary ex- Grad koji je u Ujedinjenom Kraljevstvu najsvesnije hibition galleries, is situated on the canals that first led sledio primer Glazgova je Mančester, gde je naša firma to Manchester’s prosperity, bringing ships to carry Man- radila u velikoj meri. Pomogli smo da se razvije koncept chester’s textile manufactures throughout the world in muzeja posvećenog radovima L. S. Lourija, koji je slikao the 19th century. Now the city has placed across a mag- scene iz svog radničkog života u industrijskom pred- nificent bridge over the canal another cultural tourist gradju Salford, a zatim smo nastavili sa pravljenjem attraction, the Imperial War Museum of the North, anot- radne skice za uzbudljivu novu zgradu tog muzeja, koju her example of decentralization, since it is a branch of je projektovao britanski arhitekta Majkl Vilford i dobi- the Imperial War Museum in London. 56 la je nagradu za najbolju britansku zgradu u milenijum- Meanwhile in downtown Manchester we produced skoj 2000. godini. Muzej Louri, koji sadrži dva izuzetna the Functional Brief for the expansion and renovation amfiteatra i galeriju za decu, a takodje i stalnu zbirku i of the Manchester Art Gallery that the architectural galerije za privremene izložbe, smešten je na kanalima firm of Michael Hopkins designed, and we helped to de- koji su prvi poveli napretku Mančestera, vodeći brodove velop the concept for Urbis, a very interesting 21st-cen- koji nose tekstilne proizvode Mančestera širom sveta u tury institution that is an idea museum about the expe- XIX veku. Sa druge strane sjajnog mosta preko kanala, rience of living in cities. The concept has been only par- još jedne kulturne atrakcije, grad je smestio Kraljevski tially realized, and it remains to be seen whether this ratni muzej severa, još jedan primer decentralizacije first iteration of the idea will succeed, but certainly the pošto je to ogranak Kraljevskog ratnog muzeja u Lon- potential for a museum that is about urban living itself donu. is promising. I would recommend that you give conside- U centru Mančestera smo, u medjuvremenu, napra- ration to mounting a series of ‘city’ exhibitions that you vili radnu skicu za proširenje i renoviranje Umetničke could develop on an urban government-to-government galerije Mančestera koju je projektovala arhitektonska basis – Tallinn/San Francisco, Tallinn/Dakar or Tal- firma Majkla Hopkinsa. Pomogli smo i da se razvije linn/Shanghai, for example, in which you invite each ci- koncept za Urbis, veoma zanimljivu instituciju XXI ty to put together a representative exhibition of its art veka a to je muzej ideja o životu u gradovima. Koncept history and contemporary art, to be exhibited in your je samo delimično realizovan, i ostaje da se vidi da li će great new art museum, in return for which you would prvo ponavljanje ideje uspeti, ali je sigurno da moguć- send them a show of Estonian past and current artists. nosti muzeja o urbanom životu same po sebi obećavaju. Many cities that are committed to developing cultural Preporučio bih da razmislite o postavljanju serija ‘grad- tourism would be interested to work out such an ex- skih’ izložbi koje možete razviti na gradskoj osnovi vla- change of short-term loans. da –vladi: Taljin/ San Francisko, Taljin/Dakar ili Ta- In Vienna the former royal stables across the road from ljin/Šangaj, na primer, za koju možete da pozovete sva- the famous Kunsthistorisches and Naturhistorisches Mu- ki grad da napravi reprezentativnu izložbu svoje istori- seums has been developed as a complex of museums and je umetnosti i savremene umetnosti pa da je izložite u other cultural attractions called collectively the Muse- vašem velikom novom muzeju, a za uzvrat možete da im umsquartier. Our firm’s work here was to assist the Aus- pošaljete da prikažu prošle i sadašnje estonske umetni- trian architects Ordner & Ordner with the transformation ke. Mnogi gradovi koji su posvećeni razvoju kulturnog of one of the former stable buildings into the new Kuns- turizma bili bi zainteresovani da razrade takvu razme- thalle Wien, and to help in the planning of Zoom!, the venu pozajmica na kratko vreme. ry successful children’s museum whose first director, Dr. U Beču je od nekadašnjih kraljevskih konjušnica, Claudia Haas, is now one of our senior consultants. preko puta čuvenog Muzeja umetnosti i Prirodnjačkog Among Asian cities, Hong Kong is especially conscio- muzeja, napravljen kompleks muzeja i drugih kulturnih us of its role as a cultural tourism destination, so it is not atrakcija, zajednički nazvan Muzejski kvart. Posao naše surprising that we have also been active there, helping to firme je bio da asistira austrijskim arhitektama Ord- plan a proposal for several of the museums and related ner&Ordner-u na pretvaranju jedne od nekadašnjih attractions that are proposed to be part of the West Ko- zgrada štala u novi Kunsthol Beč, kao i da pomogne pla- wloon development, including a major new Museum of niranje Zoom! - veoma uspešnog muzeja za decu čiji je Modern Art. The Hong Kong government is currently prvi direktor, Dr Klaudija Has, sada jedan od naših viš- considering the proposals, and is expected to announce ih savetnika. its determination of whether or how to proceed shortly. Medju azijskim gradovima, Hong Kong je posebno One of the options for which we have planned is that the svestan svog mesta kao destinacije u kulturnom turiz- Centre Pompidou in Paris would operate the new Muse- mu, tako da ne iznenadjuje što smo i tamo bili aktivni, um in Hong Kong, again an example of decentralization pomažući da se napravi predlog za nekoliko muzeja i of collections, since the Pompidou would rotate its collec- sličnih atrakcija koje su predložene da budu deo razvo- tion through Hong Kong in the same way that the Gug- ja zapadnog Kauluna, uključujući novi glavni Muzej genheim has done in Bilbao. In a gesture towards this fu- moderne umetnosti.Vlada Hong Konga trenutno razma- ture, the Pompidou recently displayed Picasso’s huge tra predloge i očekuje se da će objaviti svoju odluku da 1917 stage curtain for Parade in the three-storey-high li ili kako da se uskoro nastavi. Jedna od mogućnosti lobby of a Hong Kong shopping plaza – the first time it koju smo planirali je da Centar Pompidu u Parizu vodi had been seen in thirty years. novi Muzej u Hong Kongu, opet kao primer decentralizacije zbirki, pošto bi Pompidu rotirao zbirku kroz New Museum Types Hong Kong na isti način kao što je Gugenhajm radio u Since the previous three centuries of museum deve- Bilbau. Kao gest u susret ovakvoj budućnosti , Pompi- lopment led to new museum types, it is not surprising du je nedavno izložio Pikasovu ogromnu kulisu za Para- that the many changes occurring as we enter the 21st du iz 1917. godine u tri sprata visokom holu trgovačkog century are also leading to the generation of new types centra – to je prvi put da je taj rad bio vidjen za trideset of museums. godina. One interesting development is a tendency away from universal art museums like the Louvre towards NOVI TIPOVI MUZEJA more specialized art museums. We have recently been Pošto su prethodna tri veka muzejskog razvoja dove- involved in the planning of the Rubin Museum of Art in la do novih muzejskih tipova, ne čudi što će brojne pro- New York, a museum focused exclusively on Tibetan and mene, do kojih je došlo od kako smo ušli u XXI vek, ta- other Himalayan art that has just opened. And we are kodje dovesti do generacije novih tipova muzeja. currently working on a major one-artist museum in Phi- Jedan zanimljiv pravac predstavlja tendencija su- ladelphia, dedicated to presenting the work of Alexan- protna univerzalnim muzejima umetnosti, kao što je Lu- der Calder, who is best known for his mobile sculpture vr, a to je težnja ka specijalizovanim muzejima umet- suspended from the ceiling. nosti. Nedavno smo učestvovali u planiranju Muzeja Idea museums, where the focus is on ideas rather umetnosti Rubin u Njujorku, to je tek otvoren muzej us- than collections, began in the late 20th century but 57 meren isključivo na tibetansku i drugu himalajsku um- show signs of continuing to develop in the new millen- etnost.Trenutno radimo na vodećem muzeju jednog um- nium. Our firm has done extensive planning for a pro- etnika u Filadelfiji, posvećenom predstavljanju radova jected Museum of the African Diaspora in San Francis- Aleksandra Kaldera, najpoznatijeg po svojim pokretnim co, where the spread of Homo sapiens from Africa will skulpturama koje vise sa tavanice. begin the story, and for the projected National Museum Muzeji ideja, u kojima je fokus na idejama a ne na for Human Rights in Winnipeg, Canada. Like the Muse- zbirkama, pojavili su se u kasnom XX veku ali pokazu- um of Tolerance in Los Angeles or the Memorial, Musee ju znake da nastavljaju da se razvijaju i u novom mile- pour la Paix in Caen, France, the proposed Museum for nijumu. Naša firma je uradila opširno planiranje za Human Rights in Winnipeg is to be an institution that predloženi Muzej afričke dijaspore u San Francisku, gde will present exhibitions and other programs grouped će priča započeti sa širenjem homo sapiensa iz Afrike, i around a central inspiring idea, rather than any perma- za planirani Nacionalni muzej ljudskih prava u Vinipe- nent collections. Does this new museum type have rele- gu, u Kanadi. Slično Muzeju tolerancije u Los Andjele- vance for art museums? Will we be seeing still more spe- su ili memorijalnom Muzeju mira u Kanu, u severnoj cialized ideational art museums as the 21st century pro- Francuskoj, predloženi Muzej ljudskih prava u Vinipegu gresses? trebalo bi da bude ustanova koja će predstaviti izložbe i Museums that express what we call the first voice of druge programe grupisane oko središnje inspirativne the peoples whose culture they present are also impor- ideje, a ne oko stalne zbirke. Da li ovi novi tipovi muze- tant new developments in our time. The National Muse- ja imaju uticaja na muzeje umetnosti? Da li ćemo videti um of the American Indian had already established a re- još uže specijalizovane ideacionalne muzeje kako bude putation for such exhibitions at its original branch in odmicao XXI vek? New York, but is going to accomplish this goal much mo- Muzeji koji izražavaju ono što zovemo prvo lice na- re thoroughly at its new headquarters on the Mall in Wa- roda čiju kulturu predstavljaju su takodje važna nova shington, where it has just opened a major new building konstrukcija našeg vremena. Nacionalni muzej američ- designed by Canadian native architect Harold Cardinal. kih Indijanaca je već stekao reputaciju po takvim izlož- In Paris the Musee du Quai Branly has similarly been bama u svom izvornom ogranku u Njujorku ali će mno- conceived as a museum that will present the art of indi- go doslednije ispuniti ovaj cilj u svojoj novoj centrali na genous peoples around the world from their point of vi- Molu, u Vašingtonu, gde je tek otvorena glavna nova ew.Your new Museum here should look forward to pre- zgrada koju je dizajnirao rodjeni kanadski arhitekta senting such ‘first voice’ exhibitions, where the view- Harold Kardinal. U Parizu je, slično tome, Muzej na ke- point of the curator is less in evidence than that of the ju Branli zamišljen kao muzej koji će predstaviti umet- people from whom the exhibitions originate. nost urodjeničkih naroda sa njihove tačke gledišta. Vaš Still another development that has its roots in the novi muzej ovde bi trebalo da pozdravi predstavljanje 20th century but appears to be gathering strength and takvih izložbi ‘u prvom licu’ gde je tačka gledišta kusto- complexity in our time is the presentation of collections sa manje prisutna nego gledište naroda od kojih izložba as visible storage, thereby facilitating research from the potiče. most serious scholars researching theses and books to Još jedan razvoj ima svoje korene u XX veku, ali iz- the secondary school student trying to study an as- gleda da sakuplja snagu i delove u naše vreme, je signment. The Natural History Museum in London has predstavljanje zbirki kao vidljivog dostupnog depoa, recently opened the first phase of its Darwin Center, in koje tako olakšava istraživanje svima od najozbiljnih which hundreds of thousands of specimens will be vis- naučnika koji rade na tezama i knjigama pa do učenika ibly accessible to interested visitors, accompanied by srednje škole koji pokušavaju da urade domaći zadatak. knowledgeable guides.The vastly improved storage con- Prirodnjački muzej u Londonu je nedavno otvorio prvu ditions for your national collection of Estonian art in fazu svog Centra Darvin u kome će stotine hiljada pri- your new Museum will not be accessible by the general meraka biti dostupno zainteresovanim posetiocima da public, but certainly they should facilitate research into ih pogledaju u društvu obrazovanih vodiča. the subject, and therefore stimulate the publication of Izvanredno poboljšani uslovi u depou za vaše nacio- more monographs and comparative studies on the work nalne kolekcije estonske umetnosti u vašem novom mu- of Estonian artists. zeju neće biti dostupni publici ali bi svakako trebalo da olakšaju istraživanje predmeta i tako podstaknu publi- Virtual Exhibitions kovanje više monografija i uporednih studija o radu es- Perhaps the most predictable transformation of our tonskih umetnika. experiences in urban museums of the early 21st century is the advent of virtual exhibitions on line. Increasingly VIRTUELNE IZLOŽBE today, actual exhibitions in the museum building must Pojava virtuelnih izložbi na internetu je promena be accompanied by virtual counterparts on the web, but našeg iskustva sa urbanim muzejima ranog XXI veka in addition museums are finding ways to present infor- koja se mogla najlakše predvideti. Danas se sve više pra- mation and images on line as virtual exhibitions that re- ve izložbe u muzejskoj zgradi koje mora da prati virtu- ach many hundreds of thousands of users who may ne- elni pandan na mreži, i ne samo to, muzeji nalaze nači- ver get to the actual museum. ne da prikažu informacije i slike na internetu kao virtu- We may now see museum visitors as participants in elne izložbe koje dodju do više stotina hiljada korisnika a continuum of relationship with a museum, beginning koji možda nikada neće otići u pravi muzej. with their discovery of the institution’s programs on the Možemo sada videti muzejske posetioce kao učesni- web, followed by a visit to the museum itself (which may ke u nizu relacija sa muzejem, počinjući sa njihovim ot- be many years later if the web user is far away), and krićem programa institucije na mreži, praćenim pose- then sustained after the visit by continuing access to the tom samom muzeju ( koje može biti godinam kasnije museum’s web site and internet programs. Museums ako je korisnik veoma daleko) i zatim se relacija održa- must now plan their programming with this continuum va posle posete preko stalnog pristupa muzejskoj veb in mind. The Guggenheim’s virtual exhibition web site, stranici i programima na internetu. Muzeji sada moraju shown here, is just one example among hundreds that da planiraju svoje programe imajući u vidu ovaj niz.Veb have been developed in recent years. 58 sajt sa virtuelnom izložbom Gugenhajma , pokazan ov- The impact of these changes on the exhibition pro- de, je samo jedan od stotinu primera koji su nedavno cess that I have documented at length in my 545-page nastali. book, The Manual of Museum Exhibitions, has been a Uticaj ovih promena na proces izlaganja, koji sam u transformation in the way that exhibitions are made: potpunosti dokazao u svojoj knjizi od 545 stranica, Pri- - Only a few years ago – and still in some quarters – ručnik za muzejske izložbe, predstavlja transformaciju traditional museum exhibitions were conceived by načina na koji se prave izložbe: curators who chose the artifacts and wrote the text that was presented to a passive audience. The - Do pre samo nekoliko godina, i još uvek u nekim example shown here is the permanent collection delovima, tradicionalne muzejske izložbe su osmiš- display of ancient Greek ceramics at the Princeton ljavali kustosi koji su birali predmete i pisali tekst University Art Museum, where we have recently prezentovan pasivnoj publici. Primer koji se ovde planned an expansion. prikazuje je izlaganje stalne zbirke starogrčke ke- - Most contemporary exhibitions, however, are far ramike u Muzeju umetnosti na univerzitetu Prin- more complex, as curators have been joined not ston gde smo nedavno planirali proširenje. just by exhibition designers, but also by persons - Najveći broj savremenih izložbi ipak je daleko slo- responsible for the audio-visual productions, edu- ženiji, pošto se kustosima pridružuju ne samo di- cators, conservators, financial administrators and zajneri izložbe već i osobe odgovorne za audio-vi- security personnel, all of whom have to be creati- zuelnu produkciju, pedagozi, konzervatori, finan- vely involved in the exhibition in order for it to be sijski administratori i osoblje iz obezbedjenja od a success. These are two examples, a completed ex- kojih svi treba stvaralački da učestvuju u izložbi hibition on contemporary Hong Kong in the Heri- da bi ona bila uspešna. Ima dva primera, završena tage Museum that we planned and project-mana- izložba o savremenom Hong Kongu u Muzeju baš- ged for that city, and the other our design for an tine, koju smo planirali i bili menadžeri projekta u exhibition still to be built in St John’s, Newfoun- tom gradu, i drugi naš projekat za izložbu u Sent dland on the cultural history of that province. Džonsu, na Njufaundlendu, koja treba da se napra- - More demanding, but more satisfactory in its revi o kulturnoj istoriji te oblasti. sults, is the interactive exhibition that takes ac- - Mnogo zahtevnija ali više zadovoljavajuća po re- count of its audience before, during and after the zultatima je interaktivna izložba koja misli na svo- exhibition, and gives them a chance to participate ju publiku pre, za vreme i posle izložbe, i daje joj in the exhibition, either through selection of ob- priliku da učestvuje u izložbi, bilo da je to preko jects to study from a visible storage presentation, izbora objekata za proučavanje iz przentacije sa or from interactive computer programs on screen. dostupnim depoom ili preko interaktivnih kompju- Here is an excellent example, the exhibition cele- terskih programa na ekranu. Odličan primer je iz- brating the 2002 centennial of Peter Rabbit’s Gar- ložba kojom se slavila stogodišnjica knjige za decu den and its author and artist, Beatrix Potter, which Vrt zeke Pitera 2002. godine i njen pisac i umetnik combined a high-tech audio-visual of England’s Beatris Poter, i u kojoj se kombinuje audio-vizuel- Lake District where Potter lived with a lovely se- ni prikaz engleskog Lejk Distrikta gde je Poterova lection of her watercolours borrowed from the živela sa ljupkim izborom akvarela, pozajmljenih V&A Museum in London and her publisher, but iz Muzeja Viktorija i Albert u Londonu, i sa svojim most delightfully providing an indoor ‘story tree’ izdavačem. Na izložbi je najzabavnije bilo naprav- under which the famous children’s books could be ljeno sobno ‘drvo priča’ pod kojim se mogu čitati read to a fresh generation of rapt listeners – who čuvene knjige za decu novoj generaciji ushićenih also got to see the stories dramatized on a nearby slušalaca, koji takodje mogu da vide ekranizacije video theater in the gallery, of course. priča na videu u amfiteatru u galeriji, naravno. The real frontier today, however, is what I have cal- - Prava granica danas je ipak ono što sam nazvao in- led inter-creativity, an approach to exhibitions that ta- ter-kreativnost, pristup izložbi koji uzima opis iz kes account of the community of origin of the works of zajednice iz koje potiču umetnička dela, primerci, art, specimens, artifacts or ideas that are being shown in predmeti ili ideje koji su pokazani na izložbi. Za- the exhibition. Communities of origin might be the ar- jednice iz kojih potiču predmeti mogu biti umetni- tists of a conventional fine art exhibition, or the com- ci obične izložbe primenjene umetnosti ili zajedni- munity of scientists or historians concerned with the ca naučnika ili istoričara zaduženih za temu kojom exhibition’s subject matter, but they might also be the se izložba bavi, ali oni takodje mogu biti i etnička ethnic group who are the current practitioners or heirs grupa koja je trenutno aktivna ili je nasledila kul- of the culture or civilization that is being featured in the turu ili civilizaciju koja je odslikana na izlo1žbi. exhibition. This is a particularly powerful approach for Ovo je veoma moćan pristup za muzeje prvog lica first voice museums where the way in which those peo- gde je načinu na koji ovi ljudi vide svoju kulturu ple see their culture may be given equal expression with data jednaka pažnja kao i načinu na koji tu kultu- the way in which scientists or historians see it. These ru vide naučnici ili istoričari. Ovi primeri pokazu- examples show members of our firm at work on inter- ju članove naše firme kako rade na inter-kreativ- creative exhibition development at a cultural center in noj izložbi razvijenoj u kulturnom centru u Nok- Knoxville,Tennessee, and myself working with a similar svilu, u Tenesiju, i mene kako radim sa sličnom group in Seoul, Korea. grupom u Seulu, u Koreji. This is an exciting moment in the history of muse- Ovo je uzbudljivo vreme u istoriji muzeja i obećava ums, and promises to continue to be even moreso as the da će biti još uzbudljivije kako odmiče XXI vek. Muzeji 21st century continues. Museums in eastern Europe, led u istočnoj Evropi, predvodjeni vašim novim Muzejem by your new Art Museum here, can be in the forefront of umetnosti, mogu biti medju prvima u ovom razvoju a these developments, and undoubtedly will be among the nesumnjivo će biti medju izvorima još originalnijih ide- sources of even more original ideas and developments in ja i razvoja u godinama koje dolaze. the years ahead. 59 Irena VujčićPavlović, istoričar umetnosti, Slovenija Irena VujčićPavlović, art historian, Slovenia Univerzalni muzeji Universal museums - za i protiv – pros and cons ili svi za jednog jedan za sve or All for one and one for all

samnaest najvećih muzeja i galerija u svetu je, u de- ighteen of the lar- Ocembru 2002. godine, potpisalo deklaraciju, kojom Egest museums and se izjašnjavaju kao univerzalni muzeji. Donošenje de- galleries in the world klaracije je usledilo nakon konferencije na kojoj su di- signed a declaration rektori tih muzeja i galerija objasnili u čemu je suština in December 2002 univerzalnosti njihovih institucija. Njihova stanovišta proclaiming themsel- su objavljena u British Museum News. Deklaracija je ves universal muse- bila glavna tema i prvog izdanja ICOM Newsletter za ums. The signing of 2004. godinu. this Declaration follo- Muzeji su ovom deklaracijom želeli da naglase svoj wed the conference in značaj u uspostavljanju boljeg razumevanja različitih which the executives civilizacija i u promovisanju poštovanja među njima. of these museums and Povodom potpisivanja deklaracije, Nil MacGregor, di- galleries had explai- Partenonski ili Elginovi mermeri u rektor Britanskog muzeja izjavio je da su ovi muzeji ned the nature of the Britanskom muzeju u Londonu univerzalne institucije, koje omogućavaju posetiocima universality of their Parthenon or Elgin marbles in ”da vide svet kao jedinstvo” i da tako podstaknu veću institutions. Their vi- British museum, London društvenu toleranciju.“Svi potpisnici se temelje na ide- ews were published in ji da pripadaju svima” The British Museum News. This Declaration was also Koncept univerzalnosti se javlja još od začetaka mu- the main topic of the first ICOM Newsletter for 2004. zeja. Preteče muzeja, kabineti retkosti 17. i 18. veka, With this Declaration, the museums wanted to em- imali su spektakularne i egzotične predmete i uzorke iz phasize their own importance for achieving better un- celog sveta. Jedan od najpopularnijih muzeja 17. veka je derstanding of different civilizations and promoting bio svetski muzej Atanasiusa Kirhera, koji je otvoren u their mutual respect. On the signing of this Declaration, Rimu 1651. godine. O univerzalnoj viziji ovog “teatar Neil Macgregor, the director of The British Museum, sa- prirode i umetnosti” saznajemo iz njegovog kataloga, id that these museums were universal institutions ena- koji pominje skulpture iz Japana i Egipta, Američku na- bling their visitors “to see the world as one”and in this rodnu nošnju, kineske mape, umetnička dela iz Siera way support greater social tolerance.“All the signatories Leone, i rep morske sirene i kosti giganta. Ovakav način are predicated on the notion that they belong to every- zbiranja umetničkih kolekcija zadržao se i u vreme nas- body.” tanka muzeja u današnjem smislu reči, u osamnaestom The concept of universality appeared from the mo- veku, u enciklopedijskom pokretu tzv. evropskog pros- ment museums appeared. The forerunners of museums, the rarity cabinets of the seventeenth and eighteenth century, contained spectacular and exotic objects and specimens from all over the world. One of the most popular museums of the seventeenth century was The World Museum of Athanasius Kircher, opened in Rome in 1651. We learn about the universality of this “theatre of nature and art” from his catalogue mentioning the sculptures from Japan and Egypt, Native American clo- thing, Chinese maps, artworks from Sierra Leone , and a mermaid’s tail and bones of a giant. This way of gathering art collections was maintained even at the times of the outset of museums in modern meaning of the word in the eighteenth century encyclopedic movement of the so-called European Enlightenment. The British Museum and The Louvre are typical in that sense. As the Act on founding The British Museum from 1753 decla- res: “All arts and sciences have a connection with each other…”It is an important argument to call upon in preserving such collections from the time of their origin. The collecting became more rigorously scientifically oriented, so that the problem of original and legal ownership of artifacts became more subjected to public scrutiny. This problem was named “The Parthenon dilemma”, in relation to the long-lasting dispute between Great Britain and Greece over the legal and moral rights over the so-called “Elgin Marbles”,removed from Greece while under Turkish rule between 1801 and 1810, by Lord Elgin and brought to Great Britain. In 1816 an appointed Committee of the House of Commons Johan Zoffany, Antikvarijum Charles Townley- a 1782. ruled that the collection was the legitimate property of Johan Zoffany, Antiquarium of Charles Townley- a 1782. Lord Elgin as an individual. After the discussion in the 60 vetiteljstva. Britanski muzej i Luvr su, u tom smislu, ti- House of Commons, majority agreed and the collection pični. Kao što kaže Akt o osnivanju Britanskog muzeja was sold to The British Museum and entrusted as a per- iz 1753. godine: “ Sve umetnosti i nauke su povezane manent property to the Trustees of The British Museum. jedna sa drugom…” To je važan istorijski argument na The first demands for the return of the Parthenon sculp- koji bi se moglo pozvati za očuvanje takvih zbirki iz tures to Athens occured during discussion in The House vremena njihovog nastanka. of Commons in 1816. The individual demands appeared Sakupljanje je kroz vekove postalo strožije naučno in 1833. The official and legal demands started in 1965 orijentisano, pa je problem originalnog i pravnog vlas- when the Greek Ministry of Culture went so far as to de- ništva nad umetničkim predmetima došao pod veći jav- mand the return of all the Greek artifacts to Greece. ni nadzor. Ovaj problem je nazvan “Partenonska dile- One of the greatest fighters for the return of the arti- ma”, u vezi sa dugotrajnom raspravom između Engles- facts to Greece was Melina Mercouri, the Greek minis- ke i Grčke, oko pravnih i moralnih prava na tzv.“Elgi- ter of culture. To her demand, a resolution that calls nove mermere”, koje je iz Grčke, koja je bila pod Turs- upon the return of the Parthenon Marbles and their in- kom okupacijom sklonio Lord Elgin, između 1801. i corporation to the Parthenon was voted at the UNESCO 1810. godine i doneo ih u Britaniju. Godine 1816. Iza- World Conference on Cultural Policy in Mexico, in 1982. brani Komitet Donjeg Doma Engleskog parlamenta je In October 1983, the Greek government presented a for- ustanovio da je kolekcija legitimno vlasništvo Lorda El- mal bilateral request for return to the British govern- gina, kao privatnog lica. Nakon rasprave u Donjem Do- ment, which denied the request officially in April 1984. mu, većina se složila, i kolekciju je otkupio Britanski After that, a series of both official and individual re- muzej i poverena je, kao trajno vlasništvo, kustosima quests ensued. In November 2002, a delegation of the Britanskog muzeja. Prvi zahtevi za povratak Partenon- Greek Ministry of Culture, visiting the British Museum, skih skulptura u Atinu čuli su se još na raspravi u Do- presented their proposal to move the Parthenon sculp- njem Domu 1816. godine. Pozivi za povratak koje su ko- tures to Athens, to a new museum, built in the vicinity je su upućivali pojedinci, započeli su još 1833. godine. of the Acropolis, as a long-term loan or as the annex of Formalno-pravni zahtevi počinju od 1965. godine, kada the British Museum. This proposal was elaborated at je Grčko ministarstvo za kulturu otišlo tako daleko da je the UNESCO Conference in March 2003 and in relation zatražilo vraćanje Grčkoj svih grčkih antikviteta. Jedan to the upcoming Olympic Games in Athens in 2004. But od najvećih boraca za povratak predmeta koji vode po- this proposal was also rejected. The last request for the reklo iz Grčke, bila je Melina Merkuri, ministrica kultu- return was made by the Greek Prime Minister Kostas re Grčke. Na njeno insistiranje, na UNESCO-voj Svet- Simitis to the British Prime Minister Tony Blair in a te- skoj konferenciji o Kulturnoj politici, u Meksiku 1982. levision show. godine, izglasana je rezolucija koja poziva na povratak Beside the British Museum there are also other insti- Partenonskih mermera i njihovu ponovnu inkorporaciju tutions owning objects of disputed ownership and na Partenon. Oktobra 1983. godine, Grčka vlada je uru- which are facing the requests for returning these objects čila formalni bilateralni zahtev Britanskoj vladi za po- to the countries of their origin.There are, first of all, the vratak Partenonskih mermera, koji je ova zvanično od- Pergamon Altar at the Pergamon Museum in Berlin, cla- bila aprila 1984. Nakon toga usledilo je niz poziva na imed by Turkey, the Benin Bronze at the Royal Acade- povratak, kako onih zvaničnih, tako i individualnih. U my of Arts in London, claimed by Nigeria, the Egyptian novembru 2002. godine, delegacija Grčkog ministarstva sculptures at the Louvre and many others. za kulturu, koja je bila u poseti Britanskom muzeju, The eighteen museums and galleries, signatories to predstavila je svoj predlog da se Partenonska skulptura the Declaration, led by the British Museum, stated that prenese u Atinu u novi muzej, koji je sagrađen u blizini they would not return the objects seized during colonial Akropolja, kao dugoročna pozajmica ili kao aneks Bri- rule or during similar historical periods. Although the- tanskog muzeja. Ovaj predlog je razrađen na UNESCO- se institutions claim that they acknowledge and support ovom skupu u martu 2003. godine, a u vezi sa održava- recent international conventions against the illicite ac- vanjem Olimpijskih igara u Atini, u avgustu 2004. Ali i quisition of archaeological, artistic, and ethnic objects, ovaj predlog je odbijen. Poslednji zahtev za povratak they still state that “the objects acquired in earlier peri- Partenonskih mermera uputio je grčki premijer Kostas ods must be viewed in the light of the different sensiti- Simitis, britanskom premijeru Toniju Bleru, u jednoj te- vities and values, reflective of that earlier period. The levizijskoj emisiji. objects and monumental works that were installed de- Osim Britanskog muzeja, postoji još dosta instituci- cades and even centuries ago in museums throughout ja koje poseduju predmete čije vlasništvo je sporno i ko- Europe and America, were acquired under conditions je su se suočile sa zahtevom za povratak državama iz that are not comparable with current ones.” kojih ovi predmeti vode poreklo. To su pre svega Perga- In defense of such an attitude, the Declaration states monski oltar u Pergamonskom muzeju u Berlinu, na ko- that the objects acquired in earlier periods, whether je Turska polaže pravo, Beninske bronze u Kraljevskoj through purchase, as a gift or through the division of ter- akademiji umetnosti u Londonu, na koje Nigerija pola- ritory, have in time become part of the museums which že pravo, Egipatske skulpture u Luvru i još mnoge dru- took care of them and a part of the heritage of the na- ge. tions that preserve them. Today, when we are especially Osamnaest muzeja i galerija potpisnika deklaracije, sensitive to the subject of the original context of a work, na čelu sa Britanskim muzejem, izjavilo je da neće vra- we should keep in mind that the museums also provide a titi umetničke predmete, koji su zaplenjeni tokom kolo- valid and original context to the objects which had been nijalne vladavine ili tokom sličnih ranijih perioda u is- moved from their original environments much earlier. toriji. Iako ove institucije tvrde da priznaju i podržava- Through their special exhibitions and their permanent ju skorašnje međunarodne konvencije protiv ilegalne displays, they endow the great individual pieces in their nabavke arheoloških, umetničkih i etničkih predmeta, collections with a worldwide context within which their one ipak iznose da “predmete dobavljane u ranijim pe- full significance is graspable as nowhere else. riodima treba posmatrati u svetlu drugačijih uslova i It is said in the Declaration that “the universal ad- vrednosti koje je odražavalo to ranije doba. Predmeti i miration for the ancient civilizations would not be so monumentalna dela koja su smeštena u muzeje širom deeply established today were it not for the influence 61 Evrope i Amerike decenijama, pa i vekovima ranije, na- exercised by the artifacts of these cultures, widely avai- bavljana su pod uslovima koji se ne mogu uporediti sa lable to an international public in major museums.”An današnjim.” example of this is the sculpture of the classical Greece. U odbranu ovakvog stava, u deklaraciji se iznosi da The centuries’ long history of assessing the Greek art su predmeti pribavljeni u ranijim periodima, bilo kupo- started in the classical period, was renewed in the Re- vinom, poklonom ili podelom teritorije, vremenom pos- naissance Italy and later spread to the rest of Europe tali deo muzeja, koji su se brinuli o njima i deo baštine and America. Its presence in the collections of public nacija koje ga čuvaju. Danas kada smo naročito osetlji- museums throughout the world has denoted the signifi- vi na temu originalnog konteksta dela, ne treba da izgu- cance of the Greek sculpture for the entire mankind. bimo iz vida činjenicu da muzeji, takođe, obezbeđuju Furthermore, a markedly Greek aesthetics of these važeći i dragocen kontekst za predmete koji su mnogo works is more noticeable if they are observed and stu- ranije premešteni iz svojih originalnih okruženja. Kroz died in relation to the works of other great civilizations. svoje posebne i stalne izložbe oni daju vrhunskim poje- The proposal to return the objects belonging to the dinačnim komadima iz svojih kolekcija opšte poznati museum collections for many years has become a major kontekst, u okviru koga je njihov pun značaj razumljivi- problem for the museums. “We must admit that muse- ji nego bilo gde drugde. ums do not serve only to the people of one nation, but to U deklaraciji se kaže da “Sveopšte divljenje za antič- people of all nations.”The advocates of this Declaration ke civilizacije danas ne bi bilo toliko duboko ukorenje- communicate that the international role in promoting no da nije bilo uticaja koji su izvršili umetnički predme- culture overcomes narrow nationalist and proprietary ti iz ovih kultura, koji su dostupni međunarodnoj jav- interests. The museums are the advocates in the deve- nosti u velikim muzejima.”Kao primer se navodi skulp- lopment of culture, the mission of which is to advance tura klasične Grčke. Vekovima duga istorija vrednova- knowledge with a constant reinterpretation process. nja grčke umetnosti započeta je u antici, obnovljena u Each and every one of these objects contributes to this renesansnoj Italiji i kasnije raširena na ostatak Evrope i process. Limiting the focus of museums with diverse co- Amerike. Njena prisutnost u kolekcijama javnih muzeja llections, therefore, would be damaging to all the visi- širom sveta obeležila je značaj Grčke skulpture za čove- tors or as Neil Macgregor, the director of the British Mu- čanstvo u celini. Šta više, izrazito grčka estetika ovih seum says “diminishing of collections such as these dela je uočljivija ako se ona posmatraju i proučavaju u would be a great loss to the world’s cultural heritage.” vezi sa delima drugih velikih civilizacija. This Declaration provoked a storm of protests and Poziv na povratak predmeta koji pripadaju muzej- disapproval. The greatest number of protestors claimed skim kolekcijama dugi niz godina, postao je važan pro- that the museums used the term of a global museum in blem za muzeje. “Moramo priznati da muzeji ne služe order to support the argument against the repatriation samo pripadnicima jedne nacije, već ljudima svih naci- of certain chosen objects into the countries that lay cla- ja.” Zastupnici deklaracije poručuju da međunarodna ims of original ownership. uloga u promociji kulture prevazilazi uske nacionalne i The first criticisms of the Declaration are summed vlasničke interese. Muzeji su zastupnici u razvoju kultu- up in an article by the Art Newspaper entitled A Geor- re, čija je misija da ubrzaju znanje stalnim procesom re- ge Bush Approach to International Relations. The Art interpretacije. Svaki predmet doprinosi tom procesu. Newspaper reported that “the international group of di- Ograničiti fokus muzeja čije su kolekcije raznolike bi, rectors had wanted to spark off serious discussion.”An- prema tome, bilo na štetu svih posetilaca ili kako to ka- dreas Eshete from Ethiopia, the chairman of the Associ- že Neil MacGregor, direktor Britanskog muzeja “ Um- ation for the Return of the Ethiopian Magdala Treasure anjivanje kolekcija kao što su ove, bila bi ogromna šte- called it “no more than Eurocentric special pleading” ta za svetsku kulturnu baštinu”. and noted sarcastically that “few of Ethiopia’s 60 or so Ova deklaracija je izazvala buru protesta i negodo- million inhabitants can visit the great museums of Eu- vanja. Najviše je onih koji su tvrdili da muzeji koriste rope or the U.S. to take a look at their heritage.”In the pojam globalnog muzeja da bi podržali argument protiv USA, Tom Cremers, Web-site moderator for the Museum repatrijacije određenih izabranih predmeta u zemlje ko- Security Network’s listserv, is quoted in the Art New- je polažu pravo na prvobitno vlasništvo. spaper, calling this declaration “outright cultural colo- Prve kritike na deklaraciju su The Art Newspaper nialism.” Among the groups that openly criticized the sumirale pod naslovom “ Pristup međunarodnim odno- Declaration is the International Council of Museums sima koji podseća na Džordža Buša”. The Newspaper su which feels that it lacks “wise and thoughtful judg- izvestile da je ”međunarodna grupa direktora želela da ment.”Geoffrey Lewis, the chairman of the ICOM Ethi- onemogući bilo kakvu ozbiljnu raspravu.” Andreas Es- cal Committee, feels that the main purpose of the Decla- hete iz Etiopije, predsedavajući Asocijacije za povratak ration is “to establish a higher degree of immunity from Etiopljanskog Magdala blaga, to je nazvao “ nečim što je claims”for repatriation.“The presumption that museum samo eurocentrično posebno zalaganje” i primetio za- with universally defined objectives may be considered jedljivo da “ samo nekoliko od 60 miliona stanovnika exempt from such demands is specious. The Declaration Etopije može posetiti velike Evropske muzeje ili muzeje is a statement of self-interest, made by a group repre- USA i videti svoju baštinu”. U USA,Tom Kremers, web- senting some of the world’s richest museums; they do site moderator za listserv Museum Security Network, not, as they imply, speak for the »international muse- nazvao je ovu deklaraciju “jasnim kulturnim kolonija- um community«.” Australian museums which support lizmom”, citirale su The Art Newspaper. Među grupama the return of the Aboriginal bones, hair and other hu- koje su javno kritikovale deklaraciju je International man remains from the collections of the European natu- Council of Museum, koji smatra da njoj nedostaje “mu- ral history museums, also do not approve of this Decla- dro i promišljeno prosuđivanje”. Džefri Luis, predseda- ration. The general principle of the AAM Ethical Code vajući ICOM Etničkog komiteta smatra da je glavna for museums states that “competing claims of ownership svrha deklaracije da “obezbedi veći nivo imuniteta od that may be asserted in connection with objects in Ša zahteva za repatrijacijama.“ Pretpostavka da se muze- museum’sĆ custody should be handled openly, seriously, ji sa univerzalno definisanim predmetom mogu izuzeti responsively and with respect for the dignity of all par- od takvih zahteva je varljiva. Deklaracija je izjava o ties involved.” 62 sopstvenim interesima, koju je sastavila grupa koju Some feel that acceptance of this Declaration could predstavljaju neki od najbogatijih svetskih muzeja; oni cause serious consequences for solving the ownership ne govore, kao što nagoveštavaju, u ime međunarodne claims in future. The Iraqi cultural heritage destroyed muzejske zajednice”. Australijski muzeji, koji se zalažu by the war and the bombing of this country, over which za vraćanje aboridžinskih kostiju i kose i drugih ljud- Great Britain and America took control, and the British skih ostataka, iz kolekcija Evropskih prirodnjačkih mu- Museum already sent their experts to Baghdad, could zeja, takođe, ne odobravaju ovu deklaraciju. Opšti prin- have the same destiny as the seized objects from the co- cip AAM-ovog etičkog kodeksa za muzeje navodi da lonial times. Although their humanitarian intentions “različiti zahtevi za vlasništvo koji se polažu u vezi are indisputable, it is feared that, if this Declaration on predmeta koji su u (muzejskom) vlasništvu moraju biti universal museums was taken seriously, Iraqi cultural razmotreni otvoreno, ozbiljno, odgovorno i uz poštova- heritage could one day motivate a similar declaration nje dostojanstva svih zainteresovanih strana.” which denies its return to Iraq and confirms the British Neki smatraju da bi prihvatanje ove deklaracije mo- Museum as its owner, like in the case of Greece. glo da ima mnoge ozbiljne posledice za rešavanje pita- Beside the objections that the Declaration is the nja vlasništva u budućnosti. Iračko kulturno nasleđe consequence of fear of some museums’ managers that koje je stradalo u ratu i bombardovanju te zemlje, a za their buildings could be deprived of their most valuable koje su sebe nadležnima proglasile Britanija i Amerika, collections, there were several other criticisms to the a Britanski muzej već poslao svoje stručnjake u Bagdad, idea of the universal museum. George Abungu, the for- moglo bi da doživi istu sudbinu kao i kolonijalizovani mer general manager of the National Museum of Kenya, predmeti u prethodnim periodima. Iako su njihove hu- feels that every museum has something special that ma- manitarne namere neosporne, postoji strah da bi, ukoli- kes it universally valuable to the ko se ova deklaracija o univerzalnim muzeji- mankind, and then he wonders if ma ozbiljno shvati, jednog dana Iračka kul- a criterion for joining the group turna zaostavština mogla da bude povod of universal museums is that a za sličnu takvu deklaraciju, kojom se od- museum is located in Europe or bija njen povratak u Irak i potvrđuje Bri- North America. tanski muzej kao njen vlasnik, kao u slu- A large number of critics čaju Grčke. emphasize that the museum co- Osim zamerki da je deklaracija pos- llections provide a unilateral ledica straha direktora nekih muzeja da instead of a universal view of će njihove zgrade ostati bez svojih naj- the world. These criticisms are vrednijih kolekcija, bilo je još nekoliko the continuation of the dispu- kritika na ideju univerzalnog muzeja. te on the importance of the Džordž Abungu, bivši generalni direktor universal values, which star- Nacionalnog muzeja Kenije, smatra da ted in many disciplines from svaki muzej ima nešto naročito, što mu sociology to aesthetics, hu- daje univerzalnu vrednost za čovečanstvo, pa man rights and philosophy – se onda pita da nije možda kriterijum za pridru- to identify the universal that živanje grupi univerzalnih muzeja to da je muzej is more than just a projection smešten u Evropi ili Severnoj Americi. of the Western cultural va- Veliki broj kritičara ističe da muzejske kolekcije, lues. Mark O’Neill, the ma- umesto jedinstvenog, daju jednostrani pogled na svet. nager of the Glasgow Muse- Ove kritike su produžetak rasprave o važnosti univer- um thinks that museums not zalnih vrednosti, pokrenute u mnogim disciplinama od only do not emphasize uni- sociologije do estetike, ljudskih prava i filozofije - iden- versality, but they are direc- tifikovati univerzalno, koje nije samo projekcija Zapad- Beninske bronze u Kraljevskoj ted towards the particulari- nih kulturnih vrednosti. Mark O’Nil, upravnik muzeja akademiji umetnosti u Londonu ty and diversity among cul- u Glazgovu, misli da muzeji ne samo da ne naglašavaju Bronze from Benin from Royal tures. These museums that univerzalnost, već su usmereni na posebnost i razdvoje- art academy in London claim to have universal sta- nost među kulturama. Muzeji koji tvrde da imaju uni- tus, have galleries dedica- verzalni status, već decenijama ili vekovima imaju gale- ted to various world cultures within the same building rije, koje su posvećene različitim svetskim kulturama u for decades or even centuries. They are universal, or at okviru iste zgrade. Oni su univerzalni, ili bar globalni, u least global, in a geographical sense, from their early geografskom smislu još od svojih početaka, ali se ne mo- days, but one cannot claim that they promote a liberal že reći da oni promovišu liberalni pogleda na svet. Oni view of the world. They see the world as a unity, but a vide svet kao jedinstvo, ali jedinstvo kojim vlada Zapad unity governed by the West and where the Western va- i gde su Zapadne estetske vrednosti prihvaćene kao uni- lues are accepted as a universal value system. But these verzalni sistem vrednosti. Ali čak ni za sam “Zapad”ove collections do not have a universal scale even for the kolekcije nemaju univerzalni opseg.“Kako su one uglav- “West” itself. “As they are generally the product of nom proizvod bogatih muških kolekcionara, mnoge wealthy male collectors, many areas of life are absent, oblasti života nedostaju, kao što su predmeti povezani such as objects associated with the daily lives of women sa dnevnim životom žena i dece, dok neki drugi aspekti and children, while other aspects predominate, notably dominiraju, naročito oružje i materijal za koji se misli weaponry and material seen as having artistic merit. Al- da ima umetničku vrednost. Nedostaju, takođe, i pred- so missing are items that are confidential or sacred in meti koji su poverljivi ili sveti u Zapadnoj kulturi, kao Western culture, such as the bodily remains of recently što su telesni ostatci skoro preminulih Evropljana ili dead Europeans or modern pornography, while the who- moderna pornografija, dok je cela oblast nematerijalne le realm of non-material culture is also absent. We can- kulture, takođe, odsutna.”smatra Nil Kertis, viši kustos not pretend that museum collections have a universal Marischal muzeja Aberdeen univerziteta. scope”, says Neil Curtis, senior curator at Marischal Ovih 18 muzeja možda zaista imaju pravni argument Museum, University of Aberdeen. 63 da podrže svoje pravo da zadrže i izlažu umetničke These eighteen museums may indeed have a legal ar- predmete nabavljene u prethodnim vekovima, po druga- gument to support their right to keep and exhibit art čijim zakonima i standardima. Ali oni će ipak morati da objects obtained in previous centuries under different pregovaraju sa etničkim grupama i nacijama – država- laws and standards. But they will still have to negotiate ma, koje polažu pravo na umetnost i predmete koji with the ethnic groups and nations – the countries that odražavaju njihovu kulturnu baštinu. A ovaj složeni lay claims on the art and objects which reflect their cul- pravni i etički problem neće nestati. U stvari, zbog sve tural heritage. And this complex legal and moral issue češćih međunarodnih putovanja i sve veće dostupnosti will not simply go away. Actually, owing to the increase novih velikih količina istorijskih zapisa i podataka koji in international travel and greater accessibility of histo- se na njih odnose, on pokazuje sve znake da će postati rical records and the data related to them, it shows signs sve više javan i sve urgentniji. Još jedno važno pitanje je of becoming more public and more urgent. Another im- šta bi univerzalni muzeji mogli da budu i koju ulogu portant question is what universal museums could be igraju ili će u budućnost igrati u društvu. U vremenu and what role they lay or they will play in future. At a globalnog terora, ratova i glasova predaka koji predvi- time of global terror, wars and ancestral voices prophes- đaju ne samo rat, već katastrofalni sukob civilizacija, ying not just war but a catastrophic clash of civiliza- mogućnost postojanja univerzalne perspektive o kultur- tions, the possibility of coherent universal perspective nim razlikama, koja bi doprinela većem međusobnom on cultural difference, which would contribute to grea- razumevanju i poštovanju je izuzetno značajna. Ako bi ter mutual understanding and respect, is of the utmost muzeji bili u stanju da pomognu da se stvori i prenese importance. If museums were capable of helping to cre- univerzalni pogled na kulturne vrednosti koji bi imao ate and communicate a universal perspective on cultu- verodostojnost i vrednost i izvan zapadnjačkih kultur- ral values, that would achieve credibility and currency nih elita, oni bi zaista dali neprocenjiv doprinos global- outside western cultural elites, they would indeed make nom društvu. a precious contribution to global society.

Literatura: Literature: 1. G. Abungu, The Declaration: a Contested Issue, ICOM News 1. G. Abungu, The Declaration: a Contested Issue, ICOM News no1., 2004. no1., 2004. 2. N. Curtis, Repatriation: threat or opportunity?, The Newslet- 2. N. Curtis, Repatriation: threat or opportunity?, The Newsletter ter online, http://www.abdn.ac.uk/newsletter/issue_22/revi- on- line, http://www.abdn.ac.uk/newsletter/issue_22/review_a.shtml ew_a.shtml 3. Declaration on the Importance and Value of Universal Museums, 3. Declaration on the Importance and Value of Universal Museums, http://www.thebritishmuseum.ac.uk/newsroom/current2003/univer- http://www.thebritishmuseum.ac.uk/newsroom/current2003/uni- salmuseums.html, reprinted in ICOM News no1., 2004. versalmuseums.html, reprinted in ICOM News no1., 2004. 4. G. Lewis, The Universal Museum: a Special Case?, ICOM 4. G. Lewis, The Universal Museum: a Special Case?, ICOM News no1., 2004. News no1., 2004. 5. K. Muller, The Culture of Globalisation, Can Museums Offer 5. K. Muller, The Culture of Globalisation, Can Museums Offer New Version of Globalised Socety, Museum News, May/June 2003, New Version of Globalised Socety, Museum News, May/June 2003, American Association of Museum, 2003, reprinted in www. American Association of Museum, 2003, reprinted in www. kmlink.net kmlink.net 6. K. Muller, World Service, Museumsjournal, January 2004.Vol. 6. K. Muller, World Service, Museumsjournal, January 2004.Vol. 104, No.1, British Museum Association, reprinted in www. 104, No.1, British Museum Association, reprinted in www. kmlink.net kmlink.net 7. N. MacGregor, The Whole World in our Hands, The Guardian, th 7. . N. MacGregor,The Whole World in our Hands,The Guardian, Saturday 24 July, 2004. http: //books.guardian.co.uk/review/sto- Saturday 24th July, 2004. http: //books.guardian.co.uk/review/story/ ry/ 8. M. O’Neill, Enlightment museums: universal or merly global?, 8. M. O’Neill, Enlightment museums: universal or merly global?, http://www.le.ac.uk/uk/museumstudies/m&s/ONeill.pdf. http://www.le.ac.uk/uk/museumstudies/m&s/ONeill.pdf. 9. The Parthenon Sculptures: Facts and Figures, 9. The Parthenon Sculptures: Facts and Figures, http://www.thebritishmuseum.ac.uk/gr/debate.html http://www.thebritishmuseum.ac.uk/gr/debate.html 10. P.- K.Schuster,The Treasures of World Culture in the Public 10. P.- K.Schuster,The Treasures of World Culture in the Public Museum, ICOM News no1., 2004. Museum, ICOM News no1., 2004.

Mira Ovanin, LORD Cultural Resources Planning & Mira Ovanin, LORD Cultural Resources Planning & Management, Inc., Toronto, Canada Management, Inc., Toronto, Canada O promenama s kojima Some Thoughts on se muzeji u Kanadi Canadian Museums danas susreću Canadians have great knowledge, culture and history to share with others. Their presence is strongly felt Građani Kanade imaju na raspolaganju bogato zna- today in spheres of human rights, music, film, politics, to nje, kulturu i istoriju. Njihovo prisustvo u današnjem name a few. During the past four decades, Canadian svetu ima veliki uticaj u oblastima kao što su ljudska museums have been world leaders in the programming, prava, muzika, film i politika. Tokom poslednje četiri de- professionalism and quality of their facilities and servi- cenije, kanadski muzeji su, sa svojim programima, profe- ces. They have made an exceptional contribution to the sionalizmom i kvalitetom usluga, bili među vodećima u development of museums both locally and internatio- svetu, dajući izuzetan doprinos razvoju muzeja, kako lo- nally.There are over 2,500 museums and related institu- kalnih tako i širom sveta. U Kanadi danas postoji 2.500 tions in Canada.They employ around 25,000 people, and muzeja i srodnih institucija, s približno 25 hiljada stalno engage 44,000 volunteers. Annually, approximately 58 zaposlenih, kojima pomaže oko 40 hiljada volontera. million people visit museums and related institutions in Svake godine, kanadske muzeje poseti oko 58 miliona Canada. Museums contribute to the country’s economy, ljudi. Muzeji doprinose opštoj privredi zemlje, i jedan su and they drive and encourage cultural tourism, an in- od nosilaca kulturnog turizma, delatnosti koja ima brz dustry that is booming, especially in urban areas. razvoj, pogotovo u urbanim centrima. However, in the mid- and late nineties, all three le- Međutim, prilike su se značajno promenile sredinom vels of government - federal, provincial and municipal - i krajem devedesetih. Tada su, na sva tri nivoa, federal- significantly reduced their funding not only to museums 64 ne, provincijske i gradske vlasti značajno smanjile dota- but to other cultural and educational institutions as cije, ne samo muzejima, već i drugim kulturnim i obra- well. The impact of limited resources took a toll. Muse- zovnim institucijama. Rezultat je bio poražavajući, pa ums, especially small community ones, have struggled to mnogi muzeji, pogotovo oni manji i lokalni, moraju da survive, trying to find ways to finance their operation ulažu velike napore da opstanu, tražeći način kako da without relying on government. They cut back on pro- sami finansiraju svoj rad, bez većeg oslanjanja na dota- grams and research, downsized staff, and changed the cije, bilo federacije, provincije ili grada. Osim smanjiva- way they used to operate - some even closed their doo- nja sredstava za istraživanje, smanjili su broj zaposlenih rs. The encouraging news, not yet confirmed, is that the i promenili način poslovanja, a neki su morali da pres- federal government has decided to increase its funding tanu s radom i da zatvore vrata. Ohrabrujući su nago- to museums.Yet, regardless of the ongoing underinvest- veštaji da će federalna vlada povećati doprinos muzeji- ment, Canadian museums are doing better than many ma, ali zvanično to još nije potvrđeno. Pa ipak, i pored museums worldwide, which follow the achievements nedostatka sredstava, situacija u kanadskim muzejima that the Canadians have demonstrated so far. još uvek je bolja nego u mnogim drugim zemljama, koje nastoje da prate kanadska dostignuća u toj oblasti. Traditional Role of Museums Has Changed Canadian museums have always been managed with Tradicionalna uloga muzeja se menja great care. Within the context of limited resources, they Upravljanju kanadskim muzejima oduvek je posve- have developed their collections, preserved them, and ćivana velika pažnja. presented them at exhibitions. They have also strived to I pored toga što su im sredstava ograničena, muzeji achieve high quality research related to the collections, su obogaćivali svoje kolekcije, vodili računa o njihovoj and have educated the public. This traditional role has zaštiti i prezentirali ih na izložbama. Istovremeno su se rather altered lately. These days we see much focus and trudili da, održavajući visoki kvalitet u istraživanju svo- effort put on revenue generation and cost cutting. As a jih kolekcija, obrazuju javnost. Ali se u tom pogledu nji- result, museums have become rather entrepreneurial hova tradicionalna uloga u mnogo čemu promenila. Da- and have changed their cultural and business policies nas se mnogo više pažnje posvećuje ostvarivanju dohot- by undertaking to develop marketing approaches that ka, dok se istovremeno ograničavaju mnogi fondovi za exist in other types of businesses. Reduction in govern- pojedine delatnosti u okviru samih muzeja. Rezultat ment funding has made museums invest in increasing ovakvog trenda je da muzeji sve više dejstvuju kao pos- the number of visitors. In the process, the quality of mu- lovna preduzeća, pa su zbog toga morali da promene i seums’ service has suffered, as little was left for acquisi- svoju kulturnu i poslovnu politiku. Ograničavanje vla- tion and research. Many see this as a negative trend bec- dinih fondova nateralo je muzeje da više ulažu u pove- ause museums are being leveled with other lucrative en- ćanje broja posetilaca, što se odrazilo na kvalitet mu- tertainment institutions. Others think of this as positi- zejskih usluga, pošto manje sredstava ostaje za istraži- ve e.g. the link between schools and museums has beco- vački rad i akviziciju. Mnogi se sa tim ne slažu, jer u me stronger. ovakvoj situaciji vide negativan trend, pošto se muzeji izjednačavaju sa bilo kojim drugim lukrativnim institu- Focus on Marketing cijama za zabavu. Drugi, opet, u takvim strategijama za Today, in order to stay competitive, Canadian muse- privlačenje posetilaca vide i pozitivnu stranu, na primer, ums must offer programs and activities that are more sve više se razvija veza između muzeja i škola. interesting than much cheaper entertainment such as newspapers, magazines, sporting events, films, TV and Sve veća uloga marketinga similar. To attract and keep current visitors, they fol- U naporima da se održe na tržištu, kanadski muzeji low and examine demographic, political, economic, moraju da nude programe i aktivnosti koje su zanimlji- technological and organizational trends to find out vije od mnogih jevtinijih vrsta zabave, koje nude moder- what Canadians want to see. No wonder that marke- ni mediji, sportski događaji, da i ne pominjemo filmsku ting departments in many museums are stronger and i TV ponudu. U takvim uslovima, da bi svojim redovnim better equipped than their research teams! It is not i potencijalnim posetiocima ostali konkurentni i zanim- easy to figure out how to inspire such a diverse audien- ljivi, muzeji prate i analiziraju demografska kretanja ne ce – Canadian society has gone through an intensive bi li ustanovili šta je to što njihova publika očekuje da u inter-cultural exchange. Two official languages, En- njima vidi. Zato ne čudi činjenica da su marketinška glish and French, are in use, and immigrants from al- odeljenja u mnogim muzejima danas mnogo jača i bolje most every country in the world still use their mother opremljena od odeljenja za istraživački rad! Nije lako tongue in their everyday life, even in business. In To- ustanoviti šta je to što privlači tako raznorodno kanad- ronto alone, more than 130 languages are spoken. In sko društvo, u kome se odvija intenzivna šarolika kul- some quarters of the city, you can hear only Chinese, or turna razmena. Iako Kanada ima dva zvanična jezika, Arabic or Korean language. Signs and labels in stores engleski i francuski, njeni mnogobrojni doseljenici iz are sometimes in two or three languages. On the To- skoro svake zemlje na svetu i dalje vrlo živo koriste ma- ronto subway, one of the city’s main arteries, you often ternji jezik, kako u privatnom tako i u poslovnom živo- hear a language that does not belong to any of the ma- tu. Samo se u Torontu govori više od 130 jezika sveta. U jor language groups. No wonder that term ‘cultural di- nekim kvartovima grada, može se čuti, naprimer, isklju- versity’ is mentioned and promoted in museum policies čivo kineksi, korejski, ili arapski jezik. Natpisi u radnja- and other relevant documents, directing museums on ma često su dvojezični ili trojezični. U podzemnoj želez- how museums should be operated. Cultural diversity is nici Toronta, žili kucavici te milionske metropole, često absolutely the key element that demonstrates that muse čuje jezik koji ne pripada nijednoj od velikih jezičkih seums cannot afford to focus on strategies and models skupina. Zato i ne čudi što se u svim dokumentima, ko- of behavior that attract an audience who speak one ji inspirišu i prate razvoj kanadskih muzeja, neizostav- language only or come from a cultural heritage that is no pominje i promoviše poštovanje kulturnih razlika closely tied to exclusively one segment of population. (cultural diversity). Muzeji, po imperativu našeg vreme- To stay competitive, museums are increasing admis- 65 na, moraju da rade na razvoju strategije i modela pona- sion fees and annual memberships. They request inde- šanja koji privlače publiku koju više ne vezuje samo je- pendent donors to increase their gifts or donations.They dan jezik, odnosno kulturna baština karakteristična sa- become directly involved in licensing of products, publi- mo za određeni segment populacije. shing books and videos and DVDs. They rent museum Opredeljenje da posluju kao bilo koje drugo predu- facilities for birthdays, weddings or business gatherings zeće koje se samo izdržava, podrazumeva da muzeji sa- and meetings. They also generate revenues by hosting mi mogu da određuju visinu ulaznice, da od nezavisnih concerts or other performances; or organize classes or donatora ishoduju veći doprinos, povećavaju godišnju lectures offered to the public on a variety of museum-re- pretplatu članovima muzeja, ili nađu način kako da lated topics. Museums are working hard to encourage uvećaju prihod od prodaje proizvoda u svojoj kući (na visitors to come back. Museum gift shops have grown primer, uz davanje licenci za proizvodnju predmeta iz into prosperous businesses that focus on the importance muzejske kolekcije, objavljivanjem knjiga i video/DVD of knowing who museum visitors are. Information on vi- filmova). Prihode takođe ostvaruju iznajmljivanjem sitors’ habits and their purchasing potential is of great svojih prostorija za održavanje koncerata, za izvođenje value, as museums are in dire need to attract more visi- pozorišnih predstava, rođendanskih proslava, sastana- tors and encourage them to spend more. ka, svadbi i sl., ili organizovanjem predavanja. Muzeji ulažu mnogo truda i rada ne bi li posetioce inpirisali da Research ponovo dođu. Prodavnice u sklopu muzeja izrasle su u Museum professionals are trying to make museums posebne profitabilne jedinice. Na ceni su podaci o navi- the centres of education and knowledge. However, the kama i potrošačkom potencijalu posetilaca, pošto muze- activity that has suffered most from recent cutbacks is ji ulažu veliki napor da privuku što više posetilaca i oh- museum research. At a Museum Research Summit in Ot- rabre ih da više potroše. tawa this January, more than 200 museum directors, curators and researchers from across the country gathered Istraživački rad to discuss the role and importance of museum research. Profesionalci koji se bave muzejima, pokušavaju da They addressed three key challenges facing research in ih osposobe da budu centri za edukaciju i sakupljanje Canada’s museums: how to maintain and increase insti- znanja. Međutim, naučno-istraživački rad je muzejska tutional capacity to do research; how to generate and delatnost koja je zbog smanjenja fondova u poslednje integrate meaningful new knowledge; and, how to tran- vreme najviše pretrpela. Krajem januara, na skupu mu- slate research findings into collections and programs. zealaca, naučnih radnika istraživača, u Otavi,našlo se The participants left Ottawa in the hope that the fede- preko 200 direktora, kustosa i drugih naučnih istraživa- ral government will at least acknowledge their recom- ča iz cele Kanade. Tom prilikom, oni su razgovarali o mendations to advance research in Canadian museums. ulozi i važnosti naučno-istraživačkog rada u muzejima, s posebnim osvrtom na tri ključna problema: kako da se Canadian Museums & Cultural Diversity održi i poveća mogućnost muzeja da se bave naučno-is- Canadian communities have become increasingly di- traživačkim radom; kako doći do novih integralnih saz- versified, trying to reconcile cross-cultural differences nanja od značaja za širu zajednicu; i kako da se istraži- such as gender, ethnicity, race and creed. Museums in vački rad odrazi na programe i kolekcije muzeja. Učes- particular work on demonstrating that they are respon- nici skupa u Otavi izrazili su nadu da će federalne vlas- sive to the communities they serve. Diversity is reflected ti barem uvažiti njihove predloge da naučno-istraživač- in their programs and work force. There is a strong inte- ki rad u kanadskim muzejima treba unaprediti. rest in preservation of sites that have cultural and historical meaning to the neighboring communities, and Kanadski muzeji i kulturna raznolikost overall, the interest in diversified cultural heritage has Kako je raznolikost pojedinih društvenih zajednica intensified. Kanade sve bogatija, čine se napori čiji je cilj da se te razlike dovedu u ravnotežu, na nivou jednakoksti polo- Taking Advantage of Technological Innovations va, narodnosti, rase i vere. Muzeji se posebno trude ne bi Canadian museums use new information and com- li pokazali da za te razlike imaju sluha. Ta raznolikost munications technology to extend their reach into the se ogleda u njihovim programima, a i u sastavu zaposle- community. They offer different services and improve nih. Postoji veliko interesovanje za zaštitu pojedinih lo- overall efficiency. In this area, Canadian museums have kaliteta, koji imaju veliki značaj za društvene zajednice established a strong presence internationally. There are u njihovoj neposrednoj okolini, a raste i zainteresova- amazing changes taking place on the technological nost za kulturno nasleđe drugih zajednica i naroda. front: virtual reality is an everyday experience. Muse- ums have become virtual institutions, and they use new Prihvatanje tehnoloških inovacija technologies to disseminate museum messages, pro- Da bi proširili svoj uticaj na zajednicu u kojoj delu- grams and services beyond their walls. ju, kanadski muzeji koriste i najnoviju tehnologiju. Za- hvaljujući tehnologiji proširuju svoje usluge i poboljša- Museum Network vaju svoj opšti učinak. U ovoj oblasti, Kanađani uživaju A number of government associations and museum međunarodna priznanja. Virtualna stvarnost je postala professional organizations support museum work. They deo svakodnevnog iskustva. Muzeji su postali virtualne develop and update standards, ethical guidelines and institucije, koje koriste najnovija tehnološka sredstva legal structures that provide consistency across the radi širenja muzejskog znanja, programa i usluga izvan field. In addition to federal associations, each province zidova svojih zdanja. has its own organizations that deal with local issues and gather around joined programs. Author of this article Kanadski muzeji nisu prepušteni sami sebi has made a list of 32 leading museum associations that Muzealcima u Kanadi pomaže veliki broj profesio- are active at the federal level and in Ontario. Each of nalnih udruženja i vladinih institucija i agencija. Razra- them aims to start a dialogue, and build a feeling of be- đeni su, uz stalno ažuriranje, standardi, etičke smernice longing to the profession. They all have web sites where 66 i zakonska regulativa, koji obezbeđuju doslednost u you will be able to find a detailed description of their oblasti delovanja muzeja i srodnih ustanova. Pored fe- services and activities. deralnih, svaka provincija ima svoja udruženja, koja se bave lokalnim problemima i okupljaju muzeje oko za- Some of the Current Trends jedničkih programa. Autor ovih redova napravila je lis- To adjust the steady decline in government funding, tu sa 32 vodeće asocijacije, koje deluju na kanadskom museums in Canada have strived to become very entre- federalnom nivou i na nivou provincije Ontario. Cilj preneurial. They earn a considerable portion of their svake od njih je da započne i omogući dijalog, i izgrađu- funds through sales of services and related products. je osećaj pripadnosti profesiji. Svaka od njih ima svoje The museum community has become highly mobile. stranice na Internetu, na kojima je moguće naći detaljan There are many freelance workers. There are fewer ‘per- opis pojedinačnih aktivnosti kojima se one bave. manent’ jobs. Project teams bring together the best and the brightest in the profession, and then disband after Savremena kretanja u muzeološkoj profesiji the project is completed. Some museum professionals Što su doprinosi za muzeje manji, Kanadski muzeji provide specialized services to two or more museums. se sve više ponašaju kao samostalna preduzeća, koja Young people express a strong interest in a museum ca- preuzimaju odgovornost za prihod i troškove. Sami pok- reer. rivaju veći deo svojih rashoda putem prodaje usluga i The museum workforce engages in self-directed and drugih proizvoda. continuous learning. They acquire skills and competen- Profesionalci muzealci su postali izuzetno fleksibilni. cies that will help them in their career. Learning oppor- Sve je više profesionalaca «slobodnjaka», a sve manje ima tunities across the sector are very good. stalnih zaposlenja. Prema potrebi pojedinog projekta, People working in museums feel a strong sense of formiraju se timovi koji okupljaju najbolje u struci, da bi personal satisfaction that they are making a contribu- se, po završetku projekta, saradnici razišli. Mnogi profe- tion to projects.They hope that their success on one pro- sionalci obezbeđuju usko specijalizovane usluge za dva ili ject may lead to their next work. više muzeja. Istovremeno, u porastu je broj mlađih ljudi, Museums are recognized as playing a significant ro- koji imaju čvrstu želju da uspeju u takvoj sredini. le in the continuous development of their communities. Da bi održali korak sa najnovijim saznanjima i tren- They reflect and provide insight on areas of relevance to dovima u profesiji, muzealci se okreću permanentnom residents and visitors. Their economic significance is re- usavršavanju, što je deo opšteg trenda neprestanog usa- cognized. They are the centre of community cultural ac- vršavanja i obnavljanja znanja (lifelong relarning). Na tivities. raspolaganju su im veoma široke mogućnosti, pošto postoji odlična organizacija edukacije na nivou sektora In conclusion, it will be useful to visit the following pri lokalnim, provincijskim i federalnim asocijacijama i web sites for more information: univerzitetima. Canadian Museums Association: Zapaženoje da ljudi zaposleni u kanadskim muzeji- http://www.museums.ca/Cma1/About/AboutCMA.htm ma imaju jak osećaj ličnog zadovoljstva, koji proizilazi Canadian Heritage Information Network: iz uverenja da daju važan doprinos stvarima od značaja http://www.chin.gc.ca/English/index.html za sredinu u kojoj zive i rade. Svesni su da je uspeh na Ontario Museums Association: jednom poslu, najbolja preporuka za svaki sledeći. http://www.museumsontario.com/ Muzeji imaju vrlo važnu ulogu u životu kanadske ICOM Canada: zajednice. Oni predstavljaju odraz i omogućavaju uvid u http://www.chin.gc.ca/Resources/Icom/ pitanja i problematiku koja se tiče ljudi koji žive u ne- Selection from Museums of Canada: posrednoj okolini muzeja, i njegovih posetilaca. Njihova http://www.museumsofcanada.ca/ uloga u privredi zemlje je opštepoznata. Oni su centar kulturnih zbivanja u svojoj zajednici. Ana Glišić, art historian, Netherlands I na kraju, na sledećim web stranicama dostupno je obilje zanimljivog i korisnog materijala: Digital depot of the Canadian Museums Association: http://www.museums.ca/Cma1/About/AboutCMA.htm Museum Boijmans van Canadian Heritage Information Network: http://www.chin.gc.ca/English/index.html Beuningen in Rotterdam Ontario Museums Association: ince 2003, the Digital depot has been part of the http://www.museumsontario.com/ Spermanent exhibition of the Museum Boijmans van ICOM Canada: Beuningen in Rotterdam. At that time the museum had http://www.chin.gc.ca/Resources/Icom/ 161 232 works of art in its collections, acquired in the Selection from Museums of Canada: period of 150 years. The collection consists of the works http://www.museumsofcanada.ca/ of art from the Middle Ages to contemporary art. The concept of this depot was developed by architectural studio Kossman. De Jong from Amsterdam and the stu- Ana Glišić, istoričar umetnosti, Holandija dio LUST from Den Haag, in cooperation with the Mu- seum. Tejo Remy and Rene Veenhuizen designed the fur- Digitalni depo niture. Digital depot is dedicated to the collector Willem igitalni depo je od 2003. godine deo stalne postav- van der Vorm. Dke muzeja Boijmans van Beuningen, u Roterdamu. U tom trenutku Muzej je u svojim zbirkama posedovao The digital depot is one of the basic features of the 161.232 predmeta, sakupljena tokom 150 godina. Muzej- Museum Boijman van Beuningen in Rotterdam. It is a ski fond sadrži umetnička dela od srednjeg veka do sav- very spectacular and interesting way of presentation of remene umetnosti. Koncept ovog depoa razvili su, u sa- a collection and the accessibility of the depot to the vi- radnji sa Muzejem, arhitektonski studio Kossmann De sitors. Besides, digital depot is a unique strategy, which 67 Jong iz Amsterdama i studio LUST iz Den Haga. Na- places a visitor, information, and work of art in an inte- meštaj koji se nalazi u prostoru digitalnog depoa dizaj- ractive relation. Without any doubt, the designers achie- nirali su Tejo Remi (Tejo Remy) i Rene Vejnhauzen (Re- ved a visually very interesting project using contempo- ne Veenhuizen). Depo je posvećen kolekcionaru Willem rary art language, science fiction motifs and computer Van der Vorm-u. technology. A large, massive wall divides and articulates the Jedna od osnovnih karakteristika muzeja Boijmans dark space of the digital depot. Works of art are rando- van Beuningen je njegov digitalni depo, jedno veoma mly placed at both sides of the wall: “The Glass House” spektakularno i zanimljivo rešenje prezentacije muzej- by René Magritte, a Chinese porcelain pot from eighteen skih zbirki i otvaranja muzejskog depoa za posetioce. century,“The Geographer” by Johannes Vermeer, a chair Pored toga, digitalni depo predstav- by Mies van der Rohe,“He- lja jedinstvenu strategiju, kojom se u rcules” by Peter Paul Ru- interaktivnu relaciju postavljaju po- bens, “The Temptation of setilac muzeja, informacija i muzej- Saint Anthony” by Hiero- ski predmet. nymus Bosch, the sculptu- Nesumnjivo je da su projektanti res of Prudentia and Cari- uspeli da osmisle i izvedu vizelno za- tas by Nicholas Stone, a nimljiv projekat, koristeći jezik sav- baroque balustrade, “The remene umetnosti, motive naučne Vacuum Cleaner Cyclone” fantastike i kompjutersku tehnologi- by James Dyson,“The Doc- ju. tor’s Visit” by Jan Steen, Na masivnom zidu, koji deli tam- etc. ni prostor digitalnog depoa, nalaze se Glass screens (1x1.30 “random”postavljeni muzejski pred- m) are placed at the both meti, koji daju dobar presek kroz sides of the wall. The muzejske zbirke: Staklena kuća Rene screens react to touch and Magrita, kineska porcelanska posu- the objects actually exis- da iz XVIII veka,Vermerov Geografi- ting on the wall become čar, stolica Mis van der Roa, Ruben- visible. The visitor enters sov Herkul, Bošovo Iskušenje svetog the digital depot and thro- Antonija, skulpture Prudentia en Ca- ugh the means of the ritas Nikolasa Stona, barokna balus- transparent screen he tou- trada, Usisivač Ciklon Džejmsa Daj- ches the object of his inte- sona, Poseta doktora Jana Stejna, itd. rest. Consequently, magni- Sa obe strane zida postavljeni su fiable and movable picture stakleni ekrani, veličine 1 m x 1,30 of the object appears on m, koji reaguju na dodir i na kojima the screen, as well as the se odslikavaju predmeti koji realno basic information (audio- postoje na zidu. Posetilac ulazi u visual) about the object: prostor digitalnog depoa i preko the name of the work, the transparentnog ekrana “dodiruje” period, and the name of the predmet koji ga interesuje. Na ekra- author. It is also possible to nu se zatim pojavljuje slika predme- search for other informa- ta, koju je moguće uveličavati i po- tion about the object, its merati, i osnovne informacije (audio- history, and stories about vizuelne): naziv i period nastanka it, the interviews with the dela i ime umetnika. Potom se može artists and the movies. At tragati i za ostalim informacijama o any moment, one can shift predmetu, njegovoj istoriji i pričama o njemu, intervju- to other works of art from the same period, or to a dif- ima sa umetnicima ili filmovima. U svakom trenutku ferent work from the same artist, which belongs to the moguće je preći na druga dela iz istog perioda ili dela is- collection. In this way, the works tell stories: the stories tog umetnika, koja su deo zbirke. Na taj način, dela pri- of art, of the museum, of the collection. čaju priče: priče o umetnosti, muzeju, zbirci. Apart from the screens and the works of art, digital Pored ekrana i izloženih predmeta, digitalni depo čini depot contains so-called spatial data cloud, referring to i tzv. prostorni oblak podataka, koji obuhvata muzejsku the museums collection on the whole. This data cloud is, zbirku u celini. Oblak podataka je zapravo veliko platno, in fact, a huge screen visualised as an intergalactic spa- vizuelno rešeno u vidu intergalaktičkog prostora, u okvi- ce, with the names of all the works of art belonging to ru koga su projektovani nazivi svih predmeta koji čine the museum collection at a given moment. It is directly muzejsku kolekciju u određenom trenutku. On je direktno connected to the collection reports and data, providing povezan sa izveštajima i inventarom i obezbeđuje spekta- a spectacular insight into the collection. A control panel kularan pogled u kolekciju. Preko kontrolne table sa in front of the screen helps visitor to look around the de- upravljačima, ispred platna, posetilac je pozvan da se kre- pot and to literally enter the museum’s universe. će kroz depo i da bukvalno uđe u muzejski univerzum. The digital depot of Museum Boijmans van Beunin- Digitalni depo daje jedan novi pristup otvaranju gen offers a new approach for opening up of museum co- muzejskih zbirki, koji je jedan od primarnih zadataka llections, which is one of the museum’s primary tasks. It muzeja. Osmišljen je kao otvorena struktura, koja ni- is designed as an open structure, which will never be kada neće biti završena i kompletna. On će biti proši- complete and finished. With time, it will be updated and rivan tokom godina, kako bi obuhvatio nova dela i no- expanded in order to be able to house new works of art ve priče. and new stories. 68 Ana Živković, istoričar umetnosti Ana Živković, Art historian Planiranje muzeja Museum planing « Kada rešavamo teškoće - prvo treba krenuti od prostih stvari, “When dealing with difficulties, it is necessary to start kada planiramo velika dela - treba krenuti from simple things, od malih stvari.» when planning great deeds – one should start from lit- Lao Ce tle things.” laniranje, kao deo studija u cilju razvoja neke oblas- Lao-tse Pti, počelo je da se primenjuje u 20. veku. Zemlje sa socijalističkim sistemima prve su započele sa planira- lanning, as part of survey aimed at development of a njem, da bi 50-tih godina prošlog veka planiranje doži- Pcertain field, came into practice during 20th century. velo ekspanziju i u drugim državama. Planiranje muze- Countries with socialistic regimes were first to start it, ja razvilo se, kao samostalna studija, krajem prošlog but it expanded also in other countries during 1950s. veka, kao jedan od bitnih instrumenata za razvoj muze- Museum planning, as an independent domain, emerged ja. at the end of the last century, as one of the important in- Kao i u mnogim drugim kompleksnim institucijama struments of museum development. sadašnjice i muzeju treba planiranje. Muzejsko planira- Just like many other complex modern institutions, a nje je studija i praktična veština čuvanja i interpretaci- museum needs planning. Museum planning refers to je kulturnog materijala, određivanjem svih komponenti survey and practical skill of safekeeping and interpreta- koje sadrže muzej. Postupak donošenja plana je izuzet- tion of cultural objects, through definition of all the no dug i složen proces, urađen sa ciljem da se pronađu components of a museum. The process of making a plan moguća rešenja, koja će dovesti do razvoja muzeja. is a long-lasting and complex one, and its objective is to Da bi radio, svaki muzej treba da ima : search for possible solutions that would lead towards - osoblje museum development. - prostor - plan za unapređenje In order to function properly, every museum should have: Pri procesu planiranja potrebno je sastaviti : - staff - Plan osnivanja - space - Tekst o osnivanju - development plan - Procenu programa - Analizu kolekcije Within a planning process, it is necessary to make: - Analizu marketinga - Founding plan - Analizu posetilaca - Mission statement Naravno, ono što omogućuje adekvatno ostvarenje - Program assessment ovih ciljeva je budžet. - Collection assessment - Marketing assessment Plan osnivanja - Visitors assessment Muzej kao institucija mora da ima svoju zgradu, gde Of course, the element that enables fulfillment of all će čuvati i izlagati muzejske zbirke. To su građevine ko- this objectives is funding. je su još u projektu namenjene i specijalno građene za muzeje ili su to pak zgrade od istorijskog značaja, dode- Founding plan ljene muzejima. A museum, as an institution, has to have its own bui- U prvom slučaju, specijalno projektovana zgrada lding, a place for safekeeping and displaying museum odgovara potrebama muzeja, i zato je najčešće podvrg- collections. These are, right from the architectural pro- nuta jednostavnim i uprošćenim oblicima moderne ar- ject itself, buildings meant and specially built for muse- hitekture, čime se ispunjavaju uslovi korisnosti i funk- ums or they are buildings of historical significance that cionalnosti. museums are located in. Ali, veći problem za muzealce predstavlja adaptaci- In the first case, specially designed building answers ja postojeće zgrade u muzej. Nažalost, u našim prilika- the needs of a museum, and therefore it usually follows ma, u manjim mestima, muzeji su obično smešteni u ne- simple forms of modern architecture, fulfilling, in the funkcionalne i neodgovarajuće zgrade iz 18. i 19. veka, same way, conditions of usefulness and functionality. bezistane, konake i slično. Sama zgrada muzeja obično But a greater problem to museum workers poses a spada u red najreprezentativnijih objekata javne name- building adapted for museum use. Regretfully, in our ne, u okviru graditeljskog nasleđa jednog kraja. Među- country, particularly in small towns, museums are usua- tim takva zgrada, i sama spomenik istorije, ne odgovara lly located in inadequate buildings from the 18th and i funkcionalnim potrebama muzejskog prostora. 19th centuries, inns and covered market places from Pri izboru zgrade mora da se vodi računa o sle- Turkish times, and the like. The museum buildings dećem: themselves are commonly the most representative pu- - Muzej treba da bude daleko od vojnih i industrij- blic buildings within architectural heritage of a region. skih objekata. However, this kind of building, being historical monu- - Lokacija muzeja je važna, ali to nije jedini i pri- ment itself, does not correspond with museum needs. marni faktor u privlačenju posetilaca. Choice of a building has to rely on the following ele- - Neophodno je postojanje dobrih saobraćajnih ko- ments: munikacija sa muzejem (dobro bi bilo da se muzej - Museum should be away from military and indus- nalazi u blizini linija javnog gradskog saobraćaja). trial premises. - Location of the museum is important, but not the Pri adaptaciji zgrada, u cilju funkcionisanja muzeja, primary factor in attracting visitors. 69 treba voditi računa o čitavom nizu detalja. Plan muzej- - Good communications around museum are neces- skih zgrada, odnosno prostorni raspored veoma je va- sary – it would be useful to have the public traffic žan. close to the museum Svaki muzej bi trebalo da ima : Adapting a building for a museum, one should pay - izložbene prostorije attention to a whole range of factors. Museum building - prostorije za administraciju i stručne službe blueprint, or better say arrangement of space, is of ut- - direkciju – upravu muzeja most importance. Every museum should have: - kabinete stručnjaka, kustosa - Exhibition space - radionice - Space for administration and professional services - laboratorije - Management offices - arhivu - Curators’ offices - depoe za čuvanje neizložene muzejske građe - Workshops - sanitarne prostorije - Laboratories - mesto za prodaju ulaznica i suvenira - Archive - desk za informacije - Storages for safekeeping of undisplayed collec- - garderobu tions - prostorije za održavanje naučnih skupova - Toilets - biblioteku - Reception desk and souvenir shop - parking - Information desk - orijentire i oznake - Wardrobe - odgovarajući pod, boju zidova, osvetljenje, tempera- - Halls for professional meetings turu, miris, zvuke, stepenište, pristup galeriji, sobe. - Library - više ulaza (jedan za posetioce, drugi za osoblje, a - Car park treći za utovar, istovar izložbenog materijala, - Directions and indication ogreva i dr.) - adequate floors, walls, lighting, indoor temperatu- - pomoćna sredstva za tumačenje, prevode (npr. au- re, good airing, pleasant atmosphere avoiding dio-vodiči, tekstualni panoi, ture sa vodičima i harsh sounds - stairs, elevators, easy access to exhibition floors drugo). - Several entries, one for visitors, one for the staff, - stolice third for shipments, etc. - bife ili restoran - Additional informative equipment and services (for example audio-guides, various informative Muzejski planer treba da kreira prostor koji će omo- boards, guided tours, etc) gućiti posetiocima prijatan boravak. Ispunjavanjem na- - Café or restaurant vedenih uslova odgovorilo bi se na određene potrebe za udobnošču, jer kada posetilac napusti muzej vidno za- A museum planner should create a space that would dovoljan, poželeće da se vrati, i preporučiće posetu ro- provide a pleasant visit. By fulfilling demands mentio- đacima i prijateljima. ned above, needs for comfort would be satisfied, and a Važno je još istaći i da je pri adatapciji postojećih visitor that experienced a comfortable stay in museum objekata neophodna čvrsta saradnja muzejskog planera would wish to return and to recommend his friends and i arhitekte. Dužnost planera je da u konsultacijama sa relatives to come too. arhitektom, specijalistima za protiv-požarnu zaštitu i It is also important to mention the necessity for clo- obezbeđenje i specijalistima za svetlost, omogući maksi- se collaboration between the museum planner and the malni nivo bezbednosti u muzeju. architect. It is a museum planner’s duty to establish a Danas je, više nego ikad, dužnost planera, dizajnera maximum of security in museum, through consultations i muzealaca da prepoznaju potrebe svih potencijalnih with the architect, fire-protection experts, security ex- posetilca, a neki od njih mogu da imaju veoma specifič- perts and lighting specialists. ne potrebe. Specijalne potrebe imaju ljudi sa trajnim ili Today, more than ever before, one of duties of a mu- privremenim invaliditetom, oni sa lošim zdravljem i seum planner, designer and museum workers is to re- osobe koje prolaze kroz specifične faze životnog ciklusa, cognize every special need of a potential visitor, and so- kao što su detinjstvo, materinstvo i starost. Svetska me of them may have specific requirements. These refer zdrastvena organizacija (WHO) procenjuje da više od to, for example, disabled and people with health pro- 25% populacije ulazi u jednu od ovih kategorija. Pri blems, and to certain age such as childhood, maternity, planiranju muzeja neophodno je u potpunosti odgovori- and old age. The World Health Organisation (WHO) esti na potrebe i ovih grupa posetilaca. timates that more than 25% of population belongs to these categories. Needs of these groups of visitors shou- Formiranje muzejske zbirke ld be fully observed when planning a museum. Muzej se formira sa zadatkom da, kao kulturna us- Creating a museum collection tanova, prikupi, sačuva i prikaže svima kulturna i dru- A museum is established, as a cultural institution, in ga bogatstva, tekovine i dostignuća jednog kraja, u raz- order to collect, safekeep and present cultural and other nim etapama društvenog ekonomskog razvitka. heritage property, and achievements of a region, in va- Fundamentalne muzejske funkcije obično obuhva- rious phases of socio-economic development. Funda- taju: mental museum functions usually include: - sakupljanje - collecting - dokumentaciju - documentation - zaštitu - conservation - istraživanje - research - izlaganje - display - tumačenje - interpretation - edukacija - education 70 Tu možemo dodati i osmu funkciju, koja obuhvata i Collecting is the first and probably the most impor- izvršava prethodne funkcije. tant museum function. Curator is the one responsible Sakupljanje je prva i možda najvažnija muzejska for the concept of a collection. Before beginning with funkcija. Kustos je taj koji osmišlja kolekciju. Pre nego creation of a collection, it is very important for a cura- što se počne sa obrazovanjem kolekcije veoma je važno tor to pose himself following questions: da kustos postavi sledeća pitanja: What is the type of my museum? Is it an art museum or natural history museum, historical or a museum of - O kakvoj se vrsti muzeja radi ? Da li je to jedan science and technology? umetnički muzej ili je to pak prirodnjački, istorijski ili What disciplines will be presented in the museum? If muzej nauke i tehnologije? it is a historical museum, for instance, which specific - Koje discipline će predstavljati muzej? Ako je to is- disciplines will be presented in the collection? torijski muzej, na primer, koje specifične discipline će What will make a collection? Is it: biti predstavljene u kolekciji ? - Artifacts - Šta će biti sastavni deo kolekcije ? Da li su to : - Copies 1). artefakti - Devices 2). kopije - Samples 3). sprave - Works of art 4). uzorci - Documents 5). umetnički radovi - Photographs, films 6). dokumenti - Floppy disks 7). fotografije, film - Audio-recordings 8). diskete - What is time limit of the collection? 9). audio snimci - Is there a space limit and how to define it? - Koja je vremenska granica kolekcije ? - What is quality standard for artifacts to become - Da li postoji prostorna granica i kako je treba depart of the collection? finisati ? - What are the priorities in forming criteria? - Koji je kvalitativni standard za ulazak artefakta u zbirku ? It is also necessary, in creating collection, to pay at- - Koji su prioriteti pri stvaranju kriterijuma ? tention to: Takođe, pri stvaranju kolekcije, treba voditi računa o: - Size of the objects - veličini predmeta - Authenticity check - proveri originalnosti - Ownership documents - dokumentu o vlasništvu - Social significance - društvenoj važnosti - Value of objects - vrednosti dela i - Representative character of objects - reprezentativnom karakteru dela Preventive conservation Preventivna zaštita Preventive conservation starts already with establi- Sa preventivnom zaštitom počinje se još u toku os- shing a museum, through well-elaborated plans and me- nivanja muzeja, dobro razrađenim planovima i merama. asures.The aim of preventive conservation is preservation Cilj preventivne zaštite je očuvanje muzejskih dobara za of museum objects for future generations, and this basic buduće generacije, a iz te osnovne funkcije proističe i function results with constant care for museum objects. neprekidna briga za muzejsku građu. By introducing preventive conservation as primary Uvođenjem preventivne zaštite kao prioritetne museum activity, it is possible to preserve an object and muzejske aktivnosti, moguće je sačuvati predmet i odr- maintain its unchanged condition for a long period of žati ga u nepromenjenom stanju dugi niz godina. time. Predmetima u muzeju ne prete samo elementarne Museum objects are threatened not only by natural di- nepogode, požar, poplave i katastrofalna ratna razara- sasters, fire, floods and armed conflicts, but also by every- nja, tu su i svakodnevna dejstva vlage, svetlosti, prome- day activity of relative humidity, light, temperature chan- ne temperature, kao i mnogi drugi fizički i hemijski uti- ges, as well as many other physical and chemical factors. caji. For this reason, it is important to provide, from the Iz tog razloga važno je još u početku obezbediti very beginning, funding for equipment necessary for sredstva za kupovinu opreme neophodne za bolje uslo- better safekeeping conditions – climate monitoring deve čuvanja kulturnih dobara; istrumenata za merenje vices: termohygrographs, filters, adequate shelving, bo- mikroklime - termohigrografa, filtera za prečišćavanje, xes, etc. For instance, high temperatures encourage de- odgovarajućih polica, ambalaža i dr. Na primer, visoke veloping of moulds and fungi, and sudden changes of temperature omogućavaju bujanje buđi i gljivica, a na- temperature lead to relative humidity level changes. All gle promene temperature dovode do promene količine this contributes to deterioration of objects. Planning vlažnosti u vazduhu. Sve to doprinosi destrukciji pred- purpose is to take into account and prevent these pro- meta. Cilj planiranja je da se ti problemi još u začetku blems from evolving at the very beginning, through iso- uvide i iskorene dobrom izolacijom, nabavkom i upotre- lation, use of adequate equipment, etc. At the same time, bom odgovarajuće opreme, itd. Pri planiranju treba iz- use of electric heaters, reflectors and similar devices begavati nabavku električnih grejalica, reflektora i sl. should be avoided. Muzejski planer treba da ima u vidu i druge nedaće Museum planner should have in mind some other in- koje mogu da zadese muzej. Požari, zemljotresi, poplave, conveniences that could happen in a museum. Fire, krađe, vandalizami nanose ogromne štete muzejima. earthquakes, floods, thefts, vandalisms can seriously da- Smeštanjem muzeja u odgovarajuće lokacije izbe- mage a museum. gavaju se vibracije, poplave i druge neželjene pojave. Choosing an appropriate location for a museum, vi- Električne instalacije moraju da budu propisno iz- brations, inundations and other inconveniences can be vedene i da se redovno kontrolišu, čime se smanjuje avoided 71 opasnost od požara. Svaki muzej treba da ima odgova- Electrical utilities should be adequately installed and rajuću opremu za dojavu požara. regularly checked in order to diminish fire threat. Every Planiranje muzeja ne podrazumeva samo poznava- museum should have and adequate fire-alarm system. nje trenutne potrebe muzejskih institucija, već i vizio- Planning of a museum refers not only to understan- narske hipoteze o budućim potrebama. Moraju se pret- ding current needs of museum institutions, but also ha- postaviti i buduće potrebe društva, kao i budući načini ving vision of their future needs. Future needs of socie- ispunjavanja tih potreba. ty should also be presupposed, as well as future ways of Da bi planiranje bilo uspešno moraju se koristiti svi satisfying these needs. izvori saznanja, koji izražavaju potrebe i težnje društva. In order to conduct successful planning, all the sou- - Radovi stručnjaka, njihovi stavovi, debate i ostalo rces of knowledge, expressing needs and aspiration of - Ankete, kojima se ispituju posetioci muzeja, ali i society, should be used: javno mnjenje. - Works of experts, their attitudes, debates, etc. - Statistički podaci - Questionnaires for visitors and the public - Studije o životu (zaposlenost, slobodno vreme, ak- - Statistics tivnosti...) - Life studies (employment, leisure, activities...)

Saradnja muzeja sa drugim institucijama Partnership with other museums Postoji više vrsta institucija sa kojima muzej može There are several types of institutions that museum da ima veze, koje doprinose njegovom planiranju i raz- can collaborate with and that can contribute to its plan- voju : ning and development: - Vlade, na svim nivoima - Governments and authorities on all levels - Fondacije - Foundations - Naučne institucije - Scientific institutions - Drugi muzeji, i muzejske asocijacije - Other museums and museum associations - Specijalne organizacije (istorijske, naučne, arheo- - Special organisations (historicl, scientific, archeo- loške, itd. ) logical, etc) - Turističke organizacije - Tour operators - Školske i prosvetne organizacije - Schools and educative organisations - Privatni sektor - Private sector

Saradnja muzeja sa navedenim institucijama je veo- Collaboration between a museum and mentioned in- ma važna. Muzeji su u obavezi da održavaju veoma čvrs- stitutions is highly important. Museums should establish te veze sa turističkim organizacijama, jer su upravo oni good connections with tour operators, since they make a vitalni deo jedne od najvećih svetskih industrija - turiz- vital part of one of the largest industries – tourism. ma. Museums are institutions were culture is presented Muzeji su ustanove u kojima se kultura predstavlja to the public and popularized. Unfortunately, today the javnosti i populariše. Danas su, nažalost, masovni medi- media are the ones that influence creation of cultural ji ti koji utiču na formiranje kulturnih potreba. Dužnost needs. Museum’s task is to create cultural needs in a so- muzeja je da deluje na razvijanje kulturnih potreba u ciety and its aesthetic sense.Therefore, museums have to društvu i estetskog osećaja. Zato muzej mora da osmis- design programs that would make them attractive and li program koji će ga učiniti atraktivnim i intere- interesting to a wide range of visitors. No important santnim za široki krug posetilaca. Ni jedno značajnije presentation, with additional manifestations, no matter predstavljanje sa svim pratećim manifestacijama, o bilo which type of creativity it refers to and what is its ori- kom vidu umetnosti da je reč, bez obzira na poreklo i sa- gin and content, can be deprived of management and držaj, ne može biti lišeno menadžersko-markentiških marketing activities and profit-making logics. aktivnosti i zahteva profiterske logike. Museums have to collaborate with all the media (te- Muzeji moraju da ostvaruju saradnju sa svim levision, press, radio-stations, Internet...) to provide sredstvima javnog informisanja access to every level of population. Museum will be su- (televizijama, štampom, radio stanicama, interne- ccessfully established only if the individuals involved in tom...), čime će se omogućiti dostupnost svim slojevima collecting and safeguarding of collections belong to a stanovništva. Muzej će se sa uspehom osnovati isključi- wider group of people living and working in the region, vo ako se za prikupljanje i čuvanje kolekcije angažuje being familiar with it and being able to give at least the što širi krug ljudi koji žive i rade u tom kraju, ljudi koji smallest contribution to the realization of the idea. poznaju kraj i onih koji makar i najmanje mogu pomo- Apart from initiative board of a museum, it is of great ći realizaciju te ideje. Pored inicijativnog odbora muze- importance that every relevant organisation and levels ja važno je da sve relevantne organizacije i organi vlas- of authority in the region pay the attention to establi- ti na toj teritoriji posvete pažnju pitanju osnivanja mu- shing of a museum, and in that way help this establi- zeja, čime će najbolje pomoći toj važnoj kulturnoj insti- shing cultural institution the best they can. Further, it is tuciji u nastajanju. Zatim, potrebno je preko lokalnih necessary to start discussions through local media, ask medija razviti diskusiju, postavljati pitanja i rešavati questions and solve problems of museums, write about probleme muzeja, pisati o tome gde se šta može naći, što what can be found where, what could be taken into con- bi moglo da dođe u obzir za muzej, itd. sideration for a museum, and so on. Muzeji su kao i ljudi, imaju individualne odlike, za- Museums are like people, they have their individual vise od kolekcije, i od zgrade i od mnogo čega još. Mu- characteristics, they depend on collections, on a building, zeji mogu da budu mnogo više od interpretacije materi- on many other things.They can be much more than inter- jala koji izlažu. Oni mogu da budu rezervoari velike pretation of objects they display. They can be sources of svetlosti i lepote, indikatori ličnog i kolektivnog identi- great light and beauty, indicators of personal and collec- teta, mogu da stimulišu maštu i um, mogu da budu žiža tive identity, they can stimulate imagination and mind, socijalnih i umetničkih događaja, mogu da budu, onome they can be a focal point of social and artistic events, they ko to želi, sve. can be everything to the ones that want that. 72 Danijela Korolija – Crkvenjakov i Tijana Palkovljević, Danijela KorolijaCrkvenjakov i Tijana Palkovljević, Matica Srpska, Novi Sad Matica Srpska, Novi Sad Muzej kao Museum as an edukativni centar educational centre Aktivnosti realizovane u Galeriji Matice srpske u Activities realized during the year 2003 and 2004 Novom Sadu, tokom 2003. i 2004. godine in the GMS in Novi Sad

edan od osnovnih zadataka muzeja, kao institucije u ne of the primary goals of a museum, being an in- Jslužbi društva, je komunikacija sa publikom, ali i Ostitution in community service, is communication edukacija publike, što je istaknuto i u ICOM-ovoj defi- with the public, but also education of the public, which niciji muzeja. is pointed out in ICOM’s definition of museums. U dugoj istoriji muzeja, edukativni faktor je dobio The educational factor of museums was acknowled- na značaju tek kada su privatne, vladarske i crkvene ko- ged not before the private, royal and clerical collections lekcije prerasle u javno dobro, tačnije u nacionalne mu- became public property, more precisely when they bec- zeje. Otvaranje muzejskih kolekcija za javnost i publiku ame national museums. Opening museum collections for postavilo je pred muzeje novi zadatak: da aktivno ko- the public set a new task for museums: an active com- municiraju sa posetiocima, da pruže informaciju i da munication with the visitors, information and the parti- uzmu učešća u procesu obrazovanja. Još je, svojevreme- cipation in the educational processes. 1922. Jean Capart no, 1922. godine, Žan Kapar (Jean Capart) pisao o dvo- wrote about two functions of museums- scientific or in- strukoj funkciji muzeja: naučnoj i okrenutoj “prema troverted one and communicational or extroverted one. unutra” i komunikacijskoj ili okrenutoj “prema spolja”. The importance of educational role of museums is Koliki značaj se pridaje edukativnoj ulozi muzeja accentuated by the fact that CECA (Committee for Edu- naglašeno je i činjenicom da je CECA, Komitet za education and Cultural Action) is one of the most promi- kaciju i kulturnu akciju, jedan od najvećih komiteta nent committees of ICOM. ICOM-a. In the era of mass media, computerized communica- U eri masovnih medija, kompjuterske komunikacije tion and fast living, museums have to adjust, to lure vi- i brzog tempa života, muzeji moraju da se prilagode, da sitors with attractive programs and to fight for their ro- privuku posetioce atraktivnim programima i da izbore les as educational centres. In doing so, the thing that svoje mesto kao centri edukacije. Pri tome ne treba za- makes museums unique and irreplaceable by any medi- boraviti da ne postoji medij ili nova tehnologija, koja um or technological achievement must not be forgotten može da zameni i nadmaši ono što muzeje čini jedin- - direct contact with an exhibit. Modern technology is stvenim - direktni kontakt sa eksponatom. Moderna not an adversary to museum educators, but an instru- tehnologija nije konkurent muzejskim edukatorima, ment that can improve educational programs of a muse- već instrument koji može da unapredi i poboljša eduka- um. tivne programe muzeja. During the work on the Strategic plan for the Galle- U toku izrade Strateškog plana Galerije Matice srp- ry of Matica Srpska and the efforts to introduce modern ske i napora da se uvedu savremeni metodi rada, poseb- working methods, educational activities were given spe- na pažnja posvećena je edukativnim aktivnostima. One cial attention. These activities were divided into two ba- su bile postavljene u dve osnovne kategorije: rad orga- sic categories: the work organized for outer users, the nizovan prema spoljnim korisnicima, publici, i rad koji public, and the work organized for professional educa- je organizovan “prema unutra”, usmeren na profesional- tion of the museum employees themselves. nu edukaciju samih zaposlenih muzealaca. It has to be pointed out that the Gallery of Matica Treba napomenuti da Galerija Matice srpske nema Srpska does not include a specific educational depart- posebno edukativno odeljenje, sa kadrovima specijali- ment with experts specialized in this field, but only a zovanim za ovaj vid aktivnosti, već po sistematizaciji position of curator-pedagogue, an art historian. Being ima samo mesto kustosa-pedagoga, istoričara umetnos- aware of the importance of these programs, in the past ti. Svesni značaja ovakvih programa, u protekle dve go- two years we have initiated the realization of pilot pro- dine započeli smo realizaciju pilot projekata sa decom grams with children from kindergartens and first gra- predškolskog i nižeg školskog uzrasta, sopstvenim sna- des of elementary schools, with our own resources, rely- gama, oslanjajući se na saradnike i njihov entuzijazam i ing on our associates, their enthusiasm, as well as on the iskustvo stečeno na studijskim boravcima u inostran- experience gained during professional visits abroad. stvu. In the year 2003, on the occasion of The Museums Tokom 2003. godine, povodom Svetskog dana muze- Day dedicated to the topic entitled ‘Museums and buil- ja posvećenog temi Muzeji i građenje prijateljstva, rea- ding friendship’, a program intended for the youngest lizovan je program namenjen najmlađima, jer se upravo was realized, because the youngest are the most eligible na tom uzrasti pridobijaju budući prijatelji Galerije. to become friends of the Gallery. Four famous paintings Izabrane su četiri poznate slike iz fonda Galerije Mati- were selected and each painting was presented to one of ce srpske i po jedna grupa dece je upoznata sa po jed- the groups of children. Along with a story about a cer- nim delom. Uz priču o određenoj slici upoznali su se sa tain painting, the children were also introduced the osnovnim funkcijama i zadacima muzeja. Zatim su de- functions and the tasks of museums. Later, the children, ca sa svojim vaspitačicama i učiteljicama angažovana with the help from their nurses and teachers, were ani- oko teme viđenih slika, a njihove kreacije (likovne rado- mated with the subject of the paintings and their crea- ve, pesmice, igre) su izložene u Galeriji. tions (paintings, poems and songs, games) were exhibi- Tokom 2004. godine ponovo je realizovan program ted in the Gallery. povodom Svetskog dana muzeja, ovaj put posvećen ne- In the year 2004, a program on the occasion of The materijalnoj kulturnoj baštini. Odabrana je slika Paje Museums Day was realized again, this time dedicated to 73 Jovanovića “Borba petlova”, koja ukazuje na važnost the intangible cultural heritage. Paja Jovanovich’s pain- običaja i tradicije za inspiraciju u umetnosti. Nakon ting ‘Cock fight’ was selected because of its representa- priče o slici i prizoru koji je na njoj prikazan, deca su tion of the significance of customs and tradition in in- pozvana da kao poklon Galeriji nacrtaju svoje viđenje spiring art. After the story about the painting and the scene borbe petlova. Uz asistenciju slikara iz konzerva- scene represented, the children were asked to draw their torskog odeljenja i svojih vaspitača, deca su stvarala u own impression of the scene of a cockfight as their gift ambijentu Galerije, pred delom Paje Jovanovića, a naj- to the Gallery. With the assistance of the painters from bolji radovi su nagrađeni. the department of conservation and their teachers, the Osim ovih samostalnih programa vezanih za obele- children were creating in the halls of the Gallery, in žavanje svetskog Dana muzeja, bili smo domaćini završ- front of Jovanovich’s masterpiece and, afterwards, the nih druženja dečijeg časopisa “Maštalica”,koji tesno sa- best works were rewarded. rađuje sa predškolskim ustanovama u Novom Sadu. To- Beside these independent programs on the occasion kom ovih svečanosti upoznavali smo decu sa različitim of The Museums Day, the Gallery of Matica srpska hos- segmentima rada Galerije i omogućili im da prikažu ted the final gatherings of the ‘Mastalica’ children ma- svoje radove uz druženje. gazine, cooperating closely with several kindergartens Učenje u muzeju ima prednosti nad učenjem istog of Novi Sad. During these occasions we were introdu- gradiva u učionici, jer je neformalnije, podstiče motiva- cing the children the various segments of Gallery’s acti- ciju i usmerava na bitno u toj oblasti, a stručna tuma- vities and gave them and opportunity to present their čenja posvećena eksponatima upotpunjuju opšte obra- creations. zovanje i podstiču proces memorisanja. Teaching in a museum has its advantages to teaching Pozitivna iskustva ovih probnih projekata učvrstila the same subject in the classroom, as it is less formal, su nas u uverenju da edukativnom radu posvetimo zna- encourages motivation and focuses on the important is- čajno mesto u Strateškom planu 2004-2008. godine. Za sues within the subject, while experts’ interpretations of uspešnu realizaciju ovih programa potrebno je imati the exhibits fill the empty spaces in general education edukovan kadar, koji se može dobiti bilo popunjavanjem and encourage the process of memorizing. unutrašnje strukture zaposlenih pedagozima, bilo edu- Positive effects of these test projects strengthened kacijom zaposlenih koji su pokazali interes i entuzija- our beliefs that the educational work should play an im- zam za ovakve aktivnosti, kao i uspostavljanjem part- portant role in the 2004-2008. Strategic plan. In order to nerskog odnosa sa drugim institucijama koje se bave successfully realize these programs it is necessary to ha- obrazovanjem. Prvi kontakti napravljeni su sa Kate- ve an educated personnel, which can be formed either drom za pedagogiju Filozofskog fakulteta Univerziteta by complementing the inner structure of employed with u Novom Sadu, koja je pokazala izuzetno interesovanje educators, or by educating employees that already sho- za saradnju na realizaciji seminarskih i diplomskih ra- wed interest and enthusiasm for this kind of activities, dova studenata pedagogije. as well as by making partnerships with other educatio- Drugi segment edukativnih aktivnosti u Galeriji nal institutions. The first contact was made with the Pedagogy department of Philosophical faculty at the University of Novi Sad, which showed a great interest in cooperation and realization of seminar papers and final essays of pedagogy students. The other part of educational activities in the Galle- ry of Matica Srpska is related to the continuous professional education of the personnel. In the last 15 years, only a small number of curators had the opportunity professional visits to foreign institutions or professional training, while during the same period the museum activities expanded, thus creating a need for wider knowledge and new skills. In the year 2003 and 2004, Gallery of Matica Srpska used every opportunity, its financial resources meant for that purpose not being extensive, to organize and enable the employees to modernize their knowledge through organizing and participating in professional seminars and attending lectures. The employees of the Gallery thus participated in many seminars organized in Belgrade: a series of lectures and workshops within the project of aid to museums organized by the Ministry of Culture of the Republic of Serbia and Italian Embassy, seminar entitled ‘The situation and tendencies in packing the works of art’ organized by the National museum,Yugoslavian agency of authors and Kunsttrans, ‘Management and marketing in museums’ at the University of Arts in Belgrade, ‘Fire protection’ organized by ICOM National Committee, ‘Safety in museums’ organized by the Association of museums of Serbia, ‘Management in museums’ organized by the Ministry of Culture and American Embassy. In the year 2003 a seminar on management in museums was organized in the Gallery of Matica Srpska, for the museum employees in Vojvodina. It was entitled 74 Matice srpske odnosi se na permanentnu profesionalnu edukaciju zaposlenih. U proteklih petnaest godina veoma mali broj kustosa je imao priliku da ode na studijska putovanja i stručna usavršavanja, a za to vreme su se muzejske aktivnosti razvile, pa se javila potreba za usvajanjem novih znanja i veština. U toku 2003. i 2004. godine, Galerija Matice srpske je koristila sve mogućnosti da, u okviru skromnih sredstva koje su za tu svrhu mogla da se odvoje, organizuje ili omogući svojim zaposlenima da organizovanjem i učestvovanjem na stručnim seminarima i predavanjima osavremene svoja znanja. Tako su zaposleni Galerije Matice srpske prisustvovali brojnim seminarima, koji su bili organizovani u Beogradu: grupi predavanja i radionica u okviru projekta pomoći muzejima u Beogradu u organizaciji Minis- tarstva kulture Srbije i Italijanske ambasade, seminaru “Stanje i trendovi u pakovanju umetničkih dela”, u organizaciji Narodnog muzeja, Jugoslovenske autorske agencije i Kunsttrans-a, “Menadžment i marketing u muzejima”, na Univerzitetu umetnosti u Beogradu, “Protivpožarna zaštita”, u organizaciji Nacionalnog ko- ‘Museums in the age of heritage, or practical theory and miteta IKOM-a, “Bezbednost u muzejima”, u organiza- useful practice’. Professor Tomislav Šola, from the Uni- ciji Muzejskog društva Srbije, “Menadžment u muzeji- versity of Zagreb, conducted the seminar. As the Regio- ma”, u organizaciji Ministarstva kulture i Američke am- nal Office for Culture funded the seminar, all interested basade. museum workers in Vojvodina were present. A massive Tokom 2003. godine, u prostoru Galerije Matice srp- response justified the importance of this kind of initia- ske, organizovan je seminar iz muzejskog menadžmenta tives. namenjem zaposlenima u muzejima Vojvodine, na temu In May 2004 the director of the Gallery of Fine Arts “Muzeji u doba baštine” ili o praktičnoj teoriji i koris- in Bremen - Wulf Herzogenrat, gave a lecture. He spoke noj praksi. Seminar je vodio prof. dr Tomislav Šola, sa about the management of museum with the stress on the Univerziteta u Zagrebu. Kako je troškove organizacije implementation of modern media and video art to stan- snosio Pokrajinski sekretarijat za kulturu, prisustvovali dard collections of traditional fine arts museum. su mu svi zainteresovani muzealci Vojvodine, a veliki The education of painters-conservators has proved odziv ovom seminaru pokazao je opravdanost ovakvih to be a specific problem in continuous professional edu- inicijativa. cation, having in mind that Gallery of Matica Srpska in- U maju 2004. godine održano je predavanje direkto- corporates a respectable department of conservation ra umetničke galerije u Bremenu – Wulfa Herzogenrata. and restoration with more than fifty years long tradi- On je govorio o upravljanju u muzeju, sa posebnim ak- tion. However, the tradition is positive only if continuo- centom na uvođenju modernih medija i video umetnos- usly improved by new experience. For modern conserva- ti u stalne postavke tradicionalnih umetničkih muzeja. tion practice, knowledge gained at the Academy of arts Edukacija slikara-konzervatora pokazala se kao does not suffice, and that is the qualification possessed specifičan problem u stalnoj profesionalnoj edukaciji, s by the majority of painters-conservators. Beside being obzirom na to da u GMS postoji respektabilno odeljenje familiar with painting techniques and the materials and konzervacije i restauracije, sa tradicijom dužom od 50 having necessary skills, basics of sciences such as che- godina. Međutim, tradicija je dobra samo ako se stalno mistry, physics, biology and technology are needed. Last obogaćuje novim iskustvima. Za savremenu konzerva- but not the least, a good conservator has to have a clear torsku praksu nije dovoljno znanje koje se stiče na Aka- ethical attitude to be capable for any intervention on demiji umetnosti, što je kvalifikacija koju ima najveći original material of a work of art. broj zaposlenih na mestu slikara-konzervatora. Osim The lack of necessary knowledge and skills, and poznavanja umetničkih tehnika i materijala samog um- maybe, even more often, not being aware of those defi- etničkog dela i zanatske spretnosti, potrebno je pozna- ciencies, causes serious damage on works of art. It is vanje osnova prirodnih nauka, kao što su hemija, fizika, clearly stated in the ICOM’s Code of Ethics: ‘Members of biologija i tehnologija, i na kraju (ali ne i najmanje važ- the museum profession should not delegate important no) potrebno je imati jasno formulisan etički stav, nepo- curatorial, conservation or other professional responsi- hodan pri svakoj intervenciji na originalnoj materiji bilities to person who lack the appropriate knowledge umetničkog dela. and skill, or who re inadequately supervised, to assist in Neposedovanje potrebnih znanja i veština, i možda, the care of paintings.’ And further on: ‘Recognition and još češće, odsustvo svesti o tim nedostacima, najčešći su respect for the cultural and physical integrity and aut- uzrok ozbiljnih oštećenja na umetničkim delima. U henticity of individual objects, specimens and collec- etičkom statutu IKOM-a jasno je istaknuto: “Muzejski tions are fundamental values in conservation work.’ radnici ne bi trebalo da poveravaju važne kustoske, These principles must be incorporated in every prac- konzervatorske ili ostale profesionalne obaveze osoba- tical action performed by conservators, whose scope of ma kojima nedostaje potrebno znanje i veština, ili da work ranges from preventive conservation to active con- takvim osobama dozvole asistiranje u čuvanju zbirki servation and restoration treatments, and who must, bez adekvatne kontrole.” I dalje: “U konzervatorskom although primarily concerned with the physical aspects radu najznačajniji segment predstavlja prepoznavanje i of a piece of art, be aware of the influence of their work poštovanje kulturnog i fizičkog integriteta i autentič- on cultural, historical and aesthetical integrity of the nosti pojedinačnih premeta, primeraka ili zbirki.” artifact they treat. Development of a critical attitude to- Ovi principi moraju biti ugrađeni u svaku praktičnu wards a restoration treatment is a time-consuming pro- 75 akciju kojom se bave konzervatori, čiji opseg delatnosti cess, but it is also the essential difference between a ide od preventivne zaštite do aktivne konzervacije i res- simple, manual skill and conservation and restoration tauracije, i koji moraju, mada se pre svega bave fizičkim as a cultural act which unites art of the past with pre- aspektima umetničkog dela, biti u svakom trenutku sent times. svesni uticaja svoga rada na kulturno istorijski i estet- It is clear that a thorough interdisciplinary educa- ski integritet artefakta, koji im je u rukama. Razvijanje tion is the foundation of creating good personnel. Howe- kritičkog odnosa prema restauratorskom zahvatu dugo- ver, in the reality of museums, the conservation depart- trajan je proces, ali je on i suštinska razlika između ments, where existing, have very diversely trained per- obične, manuelne veštine i konzervacije i restauracije, sonnel. Structures differ and the formal education is ve- kao kulturološkog akta koji objedinjuje umetnost pro- ry often inadequate. So now there is a situation where šlosti sa vremenom sadašnjim. newly employed staff have their first contact with con- Jasno je da je temeljno interdisiplinarno obrazova- servation and restoration upon their arrival in the mu- nje osnova stvaranja kvalitetnog kadra. Ali u muzejskoj seum, only then getting acquainted with the technology realnosti konzervatorska odeljenja, tamo gde postoje, and methodology of the conservation processes and imaju veoma šaroliku kadrovsku i obrazovnu strukturu. ethical problems that might occur. Sistematizacije su različite, a formalno obrazovanje A system of professional training, evaluation of the često nije adekvatno. Tako je nastala situacija da novo- results or periodically ratified licenses does not exist. zaposleni tek dolaskom u muzej imaju prvi kontakt sa One of the elements for solving the problem is the konzervacijom i restauracijom, da se tek tu sreću sa teh- possibility that museums themselves start the process of nologijom i metodologijom konzervatorskog rada i etič- improvement and expansion of the knowledge posses- kim problemima koji se javljaju. Sistem stalne profesio- sed by the personnel inside their own institutions, in ac- nalne edukacije, evaluacije rezultata, licenci koje bi se cordance with the needs set by contemporary museum periodično obnavljale – za sada ne postoji. practice. Museums can and must be a part of protection Jedan od elemenata za prevazilaženje sadašnjeg sta- of cultural heritage education, acting in several direc- nja je i mogućnost koju imaju muzeji da iznutra pokre- tions, depending on the available personnel potential, nu proces podizanja i obogaćivanja znanja zaposlenih, u spatial and organizational abilities. skladu sa potrebama koje nameće savremena muzejska Three directions for education of painter-conserva- praksa. Muzeji mogu i moraju da budu deo obrazovanja tors were developed in the Gallery of Matica Srpska: u zaštiti kulturnog nasleđa, delujući na više načina, u A program for apprentice training, which combines zavisnosti od raspoloživog kadrovskog potencijala, theoretical knowledge with practice. The apprentices prostornih i organizacionih mogućnosti. work under constant supervision; they are introduced U GMS osmišljena su tri pravca rada na edukaciji into different working methods, new material and devi- slikara konzervatora: ces. The supervisors are expected to be constantly enga- Program obuke pripravnika, koji kombinuje teorij- ged, but this enables young associates to gradually be- ska produbljivanja sa praksom. come more and more independent, after having passed Pripravnici rade pod stalnim nadzorom, upućuju se the state exam, and obtain a permanent critical reeva- u različite metode rada, materijale i aparaturu. Ovo za- luation sense, which confirms well-adopted ethical hteva veliko angažovanje mentora, ali omogućuje da se, principles. This direction of training the young associa- nakon položenog državnog ispita, mladi saradnici pos- tes was undertaken in 2003 and 2004. tepeno osamostaljuju, uz stalnu kritičku distancu i pre- Continuous professional education of employees is ispitivanje urađenog, što potvrđuje ispravno postavljene conducted through professional meetings, discussions, etičke principe. Ovaj način je primenjivan u radu sa workshops, lectures by eminent experts and exhibitions mladim saradnicima u toku 2003. i 2004. godine. of restored works. These are all ways of exchanging ex- Permanentna profesionalna edukacija stalno zapos- perience, getting familiar with new materials and vario- lenih saradnika odvija se preko stručnih susreta, okru- us approaches. The goal is to expand and enhance the glih stolova, radionica, predavanja eminentnih ekspera- scope of methods and to choose the best one. Several se- ta i izložbi restauriranih dela. Sve su to načini za raz- minars were attended for that purpose: Methods of re- menu iskustava, za upoznavanje sa novim materijalima touching, Repair of wooden supports, New approach to i tradicijama drugih škola. Cilj je da se proširi i produ- cleaning of paintings (as a part of the project of muse- bi spektar metoda i među njima izabere najbolja. U tu um aid in Belgrade, the seminars were held by lecturers svrhu se prisustvovalo brojnim seminarima: Metode re- from a restoration school in Florence). Video presenta- tuša, Sanacija drvenih nosilaca, Novi pristup čišćenju tions on methods of cold lining of paintings and on met- slika (u okviru projekta pomoći muzejima u Beogradu hods of conservation by conservators from Denmark seminare su držali predavači italijanske restauratorske were also attended. škole iz Firence), a organizovane su i video prezentacije Cooperation with the Academy of Fine Arts in Novi o metodi podlepljivanja slika na hladno, kao i o metoda- Sad on education of conservation and restoration stu- ma rada konzervatora iz Danske. dents. Saradnja na edukaciji studenata Akademije umet- With good will and adequate organization, it is pos- nosti u Novom Sadu na izbornom predmetu Konzerva- sible for the students of conservation to participate in cija i restauracija slika. the work of atelier on the exhibition pieces that were se- Uz dobru volju i adekvatnu organizaciju, moguće je lected. The benefits are numerous: basic principles of uključiti studente konzervacije u rad ateljea na odabra- the profession are popularized, the groups that will ser- nim eksponatima. Korist je višestruka: šire se osnovni ve as the starting point for many future conservators are principi struke, kreiraju se “krugovi”koji postaju rasad- created, number of the friends of museums increases… nici budućih konzervatora, širi se krug prijatelja muze- Third year students who chose this subject come to the ja... Studenti treće godine koji su izabrali ovaj predmet workshop and once a week they work under the super- dolaze jednom nedeljno i rade pod nadzorom svog pro- vision of their professors and conservators from the fesora i konzervatora Galerije na slikama iz fonda GMS. Gallery, on the paintings of the Gallery of Matica Srp- U toku je rad druge grupe polaznika (zimski semestar), ska collections. At the moment, the second group of stu- a nakon treće grupe (letnji semestar 2004./2005.) biće dents (winter semester) works in the atelier, and after 76 priređena izložba restauriranih dela sa pratećom doku- the third group (summer semester 2004/2005), all the mentacijom. restored works will be exhibited with apropriate docu- Sve ove aktivnosti još su bazirane na inicijativi i en- mentation tuzijazmu pojedinaca, ali im je u Strateškom planu All these activities are based on the initiatives and određena uloga programiranih aktivnosti u okviru pro- enthusiasm of individuals, but the Strategic Plan has al- jekta Plan profesionalne edukacije. Teme su definisane so given them a role of programmed activities within a po godinama, u kojima se etapno realizuje ovaj strateš- project entitled ‘The Plan of Professional Education”. ki dokument. The subjects are organized by years planned for the rea- Muzeji na taj način dobijaju (i ostvaruju) šansu da lization of this document. razviju aktivnu stručnu i naučnu delatnost, da stvore Museums in this way gain (and use) the chance to optimalan tim koji će biti spreman da povuče napred, da develop an active professional and scientific activity, to podigne nivo struke i animira kolege. Ukoliko sve to bu- create a best possible team ready to make a step for- de dokumentovano i prezentovano, eto ‘primera dobre ward, to raise the level of competency and to animate prakse’ koju treba podržati i razvijati. colleagues. If all this can be documented and presented, there is an example of good practice that has to be supported and continuously developed. Miljković Simonida, Muzej Makedonije, Skoplje

Edukativna funkcija muzeja Simonida Miljković aziv muzej potiče od grčke reči (muzeion) što znači Museum of Macedonia, Skopje Nhram muza, odnosno naziv institucije u kojoj se ču- vao, proučavao i izlagao muzejski materijal, hronološki Educational role of museums ili tematski, različitih naučnih disciplina. Među najstarijim muzejima smatra se galerija slika Pinoteka u Ati- he word museum originates from the Greek word ni iz 5. veka p.n.e. U gradu Aleksandriji Ptolomej II iz- Tmuseion, meaning “temple of muses”, or an institu- gradio je veliku palatu od mermera «muzeion», gde su o tion that safekeeps, researches and exhibits museum državnom trošku živeli i radili naučnici i umetnici. Po- material, belonging to scientific disciplines varying in red prostorija za smeštaj i sale za predavanja nalazila se subject or chronological order. The Pinacotheca in At- i velika Aleksandrijska biblioteka. hens, the 5th century B.C. is considered one of the first U starom Rimu, Vizantiji i srednjem veku nisu pos- museums in the history. Ptolemy II built in Alexandria a tojali muzeji u današnjem smislu reči, već su to bile ar- huge marble palace called museion, where scientists heološke i umetničke zbirke, u vlasništvu vladara i vers- and artists lived sustained by the state. Beside the kih velikodostojnika. One su bile čuvane u crkvenim riz- apartments, it housed lecture rooms and the great Ale- nicama ili palatama vladara. xandrian Library. Posle Francuske buržoaske revolucije (1789.) muzeji In ancient Rome, Byzantium and Middle Ages, mu- počinju da se otvaraju za javnost, a u XX veku veći broj seums in the modern sense still did not exist. There we- njih dobija svoje zgrade, osposobljene za muzejsku na- re archaeological and art collections in possession of ru- menu. lers and clerics, kept in church treasuries and royal pa- Danas su muzeji institucije u službi društva i njego- laces. vog razvoja i otvorene za javnost. After the French Revolution (1789), museums started Njihove zadatke možemo podeliti i definisati kao: opening towards public and in the 20th century, many of - Skupljanje i zaštita predmeta materijalne i duhov- them got intended, modern buildings. ne kulture; Today, museums are institutions in service of society - Naučno muzeološka obrada i klasifikacija predme- and its progress, and are accessible to the public. ta; i Their tasks can be divided into: - Edukativna funkcija - Collecting and protection of tangible and intangi- Muzeji svoje zadatke skupljanja, zaštite, stručnog i ble cultural heritage; naučnog proučavanja predmeta završavaju i njihovom - Scientific-museological research and classification prezentacijom posetiocima muzeja. Tako smo i došli i do of objects; onog zadatka muzeja što je predmet našeg interesova- - Educational role nja, a to su njegove edukativne funkcije. Ukratko, muze- The tasks of collecting, protecting and scientific re- ji imaju zadatak da proširuju svoju edukativnu funkci- searches end in their presentation to museum visitors. ju, privlačeći što veći broj posetilaca raznih profila i uz- That is how we reached the very task we are interested rasta. Oni treba posetiocima da ponude mogućnost da in – museum education. Museums have a task of wide- budu na neki način uključeni u muzeje, dajući podršku ning their educational role through the means of attrac- njihovim ciljevima i aktivnostima. Interakcija sa svojom ting as many visitors of different categories and age as publikom je deo ostvarivanja edukativne uloge muzeja. they can. They should offer visitors a possibility of be- Za ostvarivanje ovog zadatka potrebni su specijalizira- ing, in a way, involved, giving support to museum’s ob- ni kadrovi. jectives and activities. Interaction with their public is Postavlja se pitanje: Kolike su edukativne moguć- part of museums educational role. For this role to be ac- nosti muzeja? complished, specialized personnel are necessary. Raznovrsnost muzejskog materijala poboljšava i za- The question is: What are the educational capabili- dovoljava znatiželju posetilaca, njihovih emocionalnih i ties of a museum? kulturnih doživljaja, takođe je edukacija u širem smislu Diversity of museum objects satisfies the curiosity of te reči. Široke su mogućnosti za primenu muzejskog ma- visitors, their emotional and cultural experience, and terijala. that is what we call education in broader sense. There Da bi realizovao edukativnu funkciju muzeji treba: are many possibilities for use of museum objects. - da budu, kao institucije, uredne i organizovane, po In order to accomplish educational role, a museum funkciji na relaciji eksponat-ambient, po hronološ- should: ki stručnoj preglednosti, jednostavnosti, estetič- - be organized and structured institution, achieving 77 nosti i dr; its function in relation between an exhibit and its - treba da imaju stalne izložbe koje će zadovoljavati setting, having clear chronological overview, sim- osnovne muzeološke principe, da su stručno-nauč- plicity, estheticism, etc.; no organizovane, autentične, jednostavne, pristu- - Have permanent exhibitions fulfilling basic mu- pačne i zanimljive; seological principles, scientifically organized, aut- - da organizuju tematske izložbe; hentic, simple, accessible and interesting; - da organizuju kontinuiranu saradnju sa posetioci- - Organize thematic exhibitions; ma; - Organize continuous collaboration with visitors; - da imaju dobro osmišljen edukativni program za - Have well-conceived educational program for eve- sve kategorije posetilaca i ry category of visitors and - da formiraju posebna Odeljenja za edukaciju. - Form special education departments. Muzeji su privilegovana mesta, u kojima može da se Museums are privileged places, where useful can be poveže korisno sa udobnim. U današnje vreme informa- combined with comfortable. In these modern times of tičkih i tehničkih mogućnosti, dešavaju se promene i u informatics and technical abilities, there are also chan- izložbenoj delatnosti. Uktatko, ako su neke izložbe pos- ges in exhibiting activities. If some of the exhibitions tavljene stereotipno, bez kreativnosti i neatraktivno, are set as a stereotype, without creativity and attracti- proći će nezapaženo i ostaće bez posetilaca. Ovakve pos- veness, they will be unnoticed and unvisited. This kind tavke mogu da učine da se prosečni posetilac oseća in- of exhibition can lead an average visitor to complete in- feriorno, ukoliko nema dovoljno predznanja o sadržaju, feriority, if their knowledge of exhibition content, mea- značaju i funkciji eksponata. ning and function is insufficient. Svaka izložba sa jasnom koncepcijom i preglednom Every exhibition with clear concept and organized postavkom eksponata zadovoljiće i edukativne kriteri- display of exhibits will satisfy educational criteria. For jume. Zato je važno da edukatori slede ceo tok postav- this reason, it is important for educators to be involved ljanja izložbi. Osim što utiču na krajnji rezultat, eduka- in the whole process of setting an exhibition. Apart from tori treba dobro da poznaju izložbu, da bi imali vreme- influencing the final result, educators should be famili- na da spreme edukativne aktivnosti, koje će realizovati ar enough with the exhibition in order to have time to posle postavljanja izložbe. prepare educational activities and carry them out after Danas je neophodna edukacija u muzejima i shvata- the exhibition is set. nje njene važnosti. Education in museums and understanding of its im- Opšti trend u svetu je da se preko raznih metoda i portance is today necessary. načina osmisle sadržaji koji su namenjeni posetiocima General tendency in the world today is to create va- svih uzrasta. Edukativna delatnost postaje integralni rious activities for visitors of different age, based on va- deo programske delatnosti muzeja. Muzeolozi sve više rious methodologies. Educational activity becomes an ističu potrebu za edukacijom, a misija svakog savreme- integral part of museum programs. Museologists em- nog muzeja postaje edukacija, prenošenja znanja i is- phasize more and more the need for education, and eve- kustva. ry modern museum has this mission of integrating edu- Muzeji imaju zadatak, da materijale kojima raspola- cation, passing on knowledge and experience, into their žu socijalizuju putem raznih formi. Zapravo, muzejske role. institucije su one koje na najneposrednii način, kratko, Museums are required to socialize objects they deal konkretno i autentično, prenose posetiocima vrednosti with in various forms. In fact, museum institutions are kulturne baštine. Ako vode računa o idealima opšteg the ones passing, in a direct, short, specific and authen- dobra, njihova društvena odgovornost biće još veća. On- tic way, cultural heritage values on to visitors. If they da će važniji od broja posetilaca biti kvalitet poseta, a pay attention to general ideals, their social responsibili- samim tim i promena svesti građana. Građanin koji je ty is even greater. In this way, the quality of visits beco- posetio muzej, u zavisnosti od dobro osmišljenog eduka- mes more important than the number of visitors and ge- tivnog programa, imaće želju da opet poseti muzej. Ti- neral public awareness increases. A person who visits a me, muzejske radionice ispunjavaju svoje obaveze pre- museum will feel the need to come again if educational ma društvu, odnosno obrazuju i vaspitavaju svoje koris- programs are well conceived.This is how museum work- nike. Poseta muzeju je jedan od oblika edukacije, koji shops fulfill their obligations towards society, training podstiče razvoj pojedinaca i formira njihov osnovni od- and educating their users. One of educational forms is a nos prema tradiciji. Samo poznavanjem i pravim vred- museum visit, which has an ability to encourage perso- novanjem kulturne baštine može da se razume fenomen nal development and form personal attitude towards kulture u celini. Odgovornu ulogu u tome svakako ima- tradition. The phenomenon of culture can be understo- ju muzeji, koji svojom edukativnom funkcijom nepos- od only through knowing and appreciating of cultural redno čine vezu između tradicije i javnosti. Muzeji širo- heritage. In this sense, museums are the responsible ko otvaraju svoja vrata, prenose simbole prošlosti.Vode ones, having in mind that thanks to their educational nas u daleka vremenska role, they connect tradition putovanja, a ipak tako bli- with the public. They take zu, gde prošlost živi, na us to long time travels, yet mesta naših spomenika ko- just a step away, where the ji nas okružuju. past dwells, the places Dinamična i na popu- where our monuments be- laran način realizovana long. kulturna akcija i edukativ- Dynamic and popularne aktivnosti, najvažnije su ly conducted cultural ac- komponente, koje omogu- tion, as well as educational ćavaju interakciju pri kojoj activities, make the most posetioci sami i bez kom- important components, pleksa dolaze do novih enabling interaction which saznanja. Na taj način us- leads visitors, independen- 78 postavlja se komunikacija kao protok informacija u vi- tly and without complexes, towards new experiences. še pravaca. Ne prenosi se poruka samo eksponatima, le- The communication established in this way, presents gendama ili usmenim izlaganjima vodiča posetiocima, multi-directional exchange of information. Not only ex- već i obratno. Na taj način, sami posetioci postaju ko- hibits, notes and verbal explanations by a guide give a munikatori - šaljući povratnu informaciju ka izvoru. message, it also goes the opposite direction. That is how Edukacija u muzejima danas znači uspeh za sutra, zato visitors themselves become communicators – providing što se čovek koji je kulturno obrazovan tretira drugači- feedback to the source. Education in museums today je od onog koji to nije! provides success of tomorrow, because culturally educated person is treated differently than the one who is not! MUZEJSKI EDUKATORI Muzejski edukatori su posrednici, interpretatori i MUSEUM EDUCATORS komunikatori, koji muzejsku delatnost povezuju sa pu- Museum educators are intermediaries, interpreters blikom. Oni inicijativno i samostalno preduzimaju raz- and communicators that connect museum practice with ne akcije da se kulturne i naučne informacije o izlože- audience. They independently take initiatives and steps nim materijalima ne prezentuju oskudno i statično, već to prevent poor and passive way of exhibiting items, and da njihovo izlaganje bude stručno, poučno, pa i intere- to make it professional, educative and interesting. santno (zabavno). The work and role of curator-educator should be Posao kustosa-edukatora i njegovu ulogu treba upo- compared with the museum professionals that have ot- ređivati sa onim muzejskim stručnim radnicima koji her working tasks. Museum educators are graduated imaju druge radne zadatke. Muzejski edukatori su professionals, fluent in at least one foreign language. stručna lica sa visokom stručnom spremom i sa aktiv- The work of an educator requires continuous activity. nim poznavanjem najmanje jednog stranog jezika. Rad They search for new ideas, new approaches to museum edukatora traži kontinuiranu aktivnost. Oni pronalaze objects, as well as new ways of attracting visitors. The nove ideje, nove pristupe muzejskim predmetima, kao i work of museum educators is, above all, teamwork re- nove načine privlačenja posetilaca. Rad muzejskih edu- quiring collaboration with curators of museum collec- katora, pre svega je timski rad, u kome je neophodna sations. radnja sa kustosima zbirki. Oni osmišljavaju i realizuju They create and conduct programs and projects. programe i projekte. Museum educators have the goal of inspiring the vi- Cilj muzejskih edukatora je da svojim angažmanom, sitors’ interest for the cultural heritage in an adjustable na prilagodljiv način, pobude kod posetilaca interesova- way. The high quality of education is also important, nje za kulturnu baštinuom.Važno je, isto tako, da edu- because in that way visitors can come to logical conclu- kacija bude kvalitetna, što je način da posetioci mogu sions about the time and events in the past. Introducing da donose logične zaključke o vremenu i događajima iz heritage to visitors is a challenge for creativity in aest- prošlosti. Upoznavanje posetilaca sa kulturnom bašti- hetic way as well, which directly influences improve- nom je izazov za kreativnost i u estetskom pogledu, či- ment of their artistic and visual literacy. me se neposredno utiče i na poboljšanje njihove likovne With the motivation of active experience in the past, i vizuelne pismenosti. the work of museum educator is expanded to some ot- Motivacijom aktivnog doživljaja prošlosti, rad mu- her activities. In the role of cultural intermediaries that zejskih edukatora proširuje se i na druge aktivnosti. U know and are willing to adjust themselves to various ca- ulozi kulturnih posrednika koji znaju i hoće da se prila- tegories of visitors, attention should be paid not only to gode različitim kategorijama posetilaca, ne treba pošto- the intellectual and age differences, but also to persons vati samo intelektualne i starosne razlike, već se treba that have special needs and interests. Forming of muse- posvetiti i onima koji imaju posebne potrebe i intereso- um educator profile in the Museum of Macedonia in vanja. Formiranje profila muzejskog edukatora u Muze- Skopje is now in the process of adjustment. There is alju Makedonije u Skoplju je u procesu usaglašavanja i so an idea of introducing higher professional titles for nastojanja da se u novom zakonu o muzejskoj delatnos- museum educators, such are different levels of curator- ti omogući unapređivanje muzejskih edukatora, isto kao ship, in the new Law on Museum Profession. Museum što je to predviđeno za kustose zbirki. Muzejski eduka- educators should educate themselves, to define very no- tori treba da se edukuju sami, da objasne značenje i sam tion of museum education, and then also introduce their pojam muzejske edukacije, pa onda da upoznaju i dru- colleagues into their practice.They have to be professio- ge kolege sa ovom delatnošću. Oni moraju da budu pro- nals, which implies that they have to be knowledgeable, fesionalci u svom poslu, što podrazumeva njihovo struč- capable of educating, being familiar with methodics, di- no znanje, njihovu sposobnost za edukaciju, njihovo dactics and pedagogy. znanje iz oblasti metodike, didaktike i pedagogije. Today we could justly say that museum educators Danas sa pravom možemo da konstatujemo da su present a bridge between museum and visitors. Owing muzejski edukatori most između muzeja i posetilaca. to the good cooperation and persistent work of museum Zahvaljujući dobroj saradnji i upornom radu muzejskih educators, visitors will keep coming to museums. edukatora posetioci će češć posećivati muzej. On the other hand, we could, unfortunately, also say Danas, nažalost, možemo da konstantujemo da su that museum educators and their work are not appreci- muzejski edukatori, odnosno njihov rad, nedovoljno ated enough, having in mind that they are, above all, vrednovani, uzimajući u obzir pre svega činjenicu da su promoters of their nation’s cultural heritage. Their task oni promoteri kulturne baštine svoga naroda. Njihov is to introduce visitors, especially the younger ones, to zadatak je da upoznaju posetioce sa muzejem, posebno the museum, to a new language, new images, new expla- one mlađe, koristeći novi jezik, nove slike, nova objaš- nations and a new approach. njenja i novi pristup. Museum educators, meaning the ones that work in Muzejski edukatori, mislimo na one koji rade u Mu- the Museum of Macedonia in Skopje, have the knowled- zeju Makedonije u Skoplju, imaju znanje, volju i entuzi- ge, willingness and enthusiasm, but they need more un- jazam, no treba im više razumevanja u finansiranju nji- derstanding from authorities for the issue of financing hovih projekata. their projects. 79 Gabriela Petkova, Bugarska Gabriela Petkova, Bulgaria Bugarski Bulgarian living gradovi-muzeji town-museums

sadašnjem kontekstu ujedinjene Evrope bivše ko- n the present context of united Europe ex-communist Umunističke zemlje pokušavaju da se integrišu prila- Icountries seek integration trying to adapt their poli- gođavanjem svojih politika, uključujući i kulturnih, ev- cies, including cultural related ones, to the European re- ropskim standardima i da se uključe u savremeni evrop- quirements and join contemporary European system. ski sistem. Ovaj proces ne odvija se istom brzinom u sva- The process however is not equally fast for all of them koj od njih (Dragicevic-Sesic, 2002: online). I dok je u (Dragicevic-Sesic, 2002: online). While in countries such zemljama kao što su Češka republika, Poljska, Sloveni- as Czech Republic, Poland, Slovenia, Hungary and the ja, Mađarska i Baltičke zemlje, proces tranzicije uveo Baltic states the transition process showed the intro- novi pravni sistem, funkcionisanje višepartijskog demo- duction of new legislative system, functioning multipar- kratskog sistema, privatizaciju i ekonomiju koja poku- ty democratic system, privatization and economy ma- šava da se okrene tržištu, u Bugarskoj su prethodne vla- king strides towards being market-driven, in Bulgaria de potrošile mnogo vremena na rat sa opozicijom po pi- previous governments spent much of their time fighting tanjima kao što je sudbina tajnih policijskih dosijea with the opposition over issues such as the fate of secret (Crampton 1997: 435), dok su pitanja kulture ostajala police files (Crampton 1997: 435) and purely culture re- van njihovog delokruga. Međutim, u Evropskoj uniji lated matters remained outside the work scope of these diskusija o zajedničkom evropskom nasleđu uveliko te- governments. However in the EU questions concerning če i Bugarska, kao pridruženi član, ne može da zanema- common European heritage are largely discussed and ri ovu temu. Bulgaria as associate country cannot neglect them. Ovaj tekst predstavlja jednu “studiju slučaja”i odno- The following is a case study and relates to the pre- si se na aktuelnu situaciju u jednom jedinstvenom bu- sent state of a unique Bulgarian kind of museum – li- garskom muzeju – gradu muzeju – koji je nastao 1969. ving-town museum – organized as such in 1969 and how godine i na njegov razvoj (odnosno nepostojanje razvo- it developed (or not) since 1989 in the attempt to find an ja) od 1989. godine i moj pokušaj da nađem odgovor na answer to the question: Is Bulgaria using all possibili- pitanje: da li Bugarska uspeva da iskoristi sve svoje po- ties for improvement in cultural area to be ready to join tencijale za unapređenje kulture kako bi se pripemila za the structures of the EU? uključivanje u strukture EU? The term of ‘living town-museum’ is not commonly Termin “grad-muzej” nije opštepoznat u evropskoj known in European museology and a possible way to com- muzeologiji i jedan od načina da se ovaj termin razume prehend its concept is to explore the terms ‘historic town’ je da se “grad-muzej” uporedi sa terminima “istorijski and ‘open-air museum’and to make a comparison with the grad”i “muzej na otvorenom”. Primer grada-muzeja Bo- term ‘living town – museum’. The example of Bojentsi jenci, koji ovde razmatramo, ilustruje ovu koncepciju. town-museum is chosen to illustrate this concept here. Na internet sajtu Asocijacije malih turističkih gra- The internet site of the Association of Small Historic dova i sela u Velikoj Britaniji možemo pročitati da: Towns and Villages in the UK notes the following state- Vlada ulaže velike napore da obnovi gradove i da ment: smanji pritisak na selo. Podržavamo ove napore, ali smo The Government is trying hard to regenerate the ci- svesni da će i dalje postojati velika potreba za ties and to reduce development pressure upon the coun- novim kućama i poslovima van većih gradova…Pitamo tryside. We commend this endeavour, but we are aware se da li će mali gradovi i sela biti u stanju da se prilago- that there will still be massive demand for new homes de promenama tako da sačuvaju svoj individualni ka- and more jobs outside the major cities. .. .We are concer- rakter i da nove građevine poboljšaju način života u nji- ned that small towns and villages should be able to ma.1 adapt to change in ways that recognise their individual Osnovna ideja je da će se promene javljati u istorij- character and that new building should make them bet- skim gradovima bez obzira da li se Asocijacijazalaže za ter places to live in. 1 uvođenje neke vrste kontrole nad tipovima i stilovima The main idea here is that changes will occur in his- nove gradnje. toric towns no matter whether the Association is anxio- Definicija istorijskih gradova na konferenciji u Vale- us to see some sort of control over the type and style of ti, Malta2 glasi: “….istorijski gradovi su mesta u kojima new buildings.The definition of a historic town given by su sačuvani značajni spomenici kulture…”Pa, ako je ne- the European association of historic towns in its confe- ophodno jednostavno opisati istorijski grad, mogli bis- rence held in Valletta, Malta2 is: ‘…historic towns and ci- mo da kažemo da je to grad u kome su zgrade ili deo ties are the ones where significant cultural monuments grada sačuvane u potpunosti, kakvi su bili u vreme iz- have been preserved…’.Therefore if a simple description gradnje u dalekoj prošlosti.Time se ne zaustavlja širenje of a historic town is required we could say it is a town grada u skladu sa aktuelnim potrebama urbanog razvo- where some buildings or part of the town are preserved ja. Takvih gradova ima po celom svetu i oni su deo svet- as they used to be at the time of their erection in the dis- skog kulturnog nasleđa. tant past. This does not stop the expansion of the town Primer istorijskog grada u Bugarskoj je Koprivštica taking into account the needs of urban development. (sl. 1), gradić iz vremena bugarske renesanse na obron- Such towns can be found all over the world and form cima Balkana, udaljen 111 km od Sofije. Ni u jednom part of the worlds’ cultural heritage. drugom bugarskom gradu nema toliko kuća-spomenika An example of a historic town in Bulgaria is Ko- – ukupno 383, a najveći deo je obnovljen i vraćen im je privshtitza (Fig. 1), a small Bulgarian Revival town si- originalni izgled. tuated in the Balkan mountain folds, 111 km east of So- 1 http://www.ashtav.org/home/welc.html 1 http://www.ashtav.org/home/welc.html 2 1.-3. oktobar 1998. godine 2 1.-3. october 1998. godine 80 Prema Tumangelovu (1972: 57) ovaj grad se održava fia. No other Bulgarian town boasts such a large num- kao istorijski spomenik od 1952. godine. Muzeji, mosto- ber of houses-monuments - 383 in all, most of which ha- vi na lukovima, kamene fontane, visoki kameni zidovi i ve been restored to their original appearance. zgrade tipičnih boja – sve ima odlike arhitekture bugarske renesanse. U Bugarskoj jedino Nacionalni institut za spomenike kulture može da proglasi jednu zgradu “istorijskom”. O takvim zgradama Institut je obavezan da brine, prema Normativnom propisu br. 5 (iz 1998.god.) i br. 6 (iz 1979.god.) Ministarstva kulture. Vlasnik može da bude i fizičko lice, ali ne sme da vrši nikakve promene u zgradi bez dozvole Nacionalnog instituta. Promene na fasadi nisu uopšte dozvoljene. Ipak, u Koprivštici nije zabranjena izgradnja novih kuća. Ovo se u izvesnoj meri odnosi i na zgrade u Velikoj Britaniji koje su na listi spomenika kulture i gde Komi- sija za istorijske zgrade i spomenike Engleske (ili En- glish Heritage) ‘savetuje državnog sekretara za kulturu, medije i sport u vezi sa predlozima “da se stave na listu” zgrade od posebnog istorijskog ili arhitektonskog inte- Slika 1 Koprivštica resa’3. Drugim rečima, ova organizacija je slična Nacio- Fig.1 Koprivshtitsa nalnom institutu za spomenike kulture, koji predlaže bugarskom Ministarstvu kulture zgrade i lokalitete ko- According to Tumangelov (1972:47) the town has je treba uključiti u listu zaštićenih dobara. been preserved in its entirety as a historical monument Ako pažljivije razmotrimo termin “muzej na otvore- since 1952. The museums, arched bridges, granite foun- nom”koji je veoma čest u zapadnoj Evropi, odmah ćemo tains, high stone walls and buildings in their typical co- uočiti razliku. Skansen, prvi muzej na otvorenom u sve- lours all have the features of Revival architecture. In tu i model za mnoge kasnije muzeje ove vrste, u suštini Bulgaria the only organization which can designate a podrazumeva veštački izgrađen obrazovni kompleks. building as ‘historic’ is the National Institute for Cultu- Artur Hazelius (1833-1901), osnivač Skansena, počeo je ral Monument. Once designated as such that same Insti- da prikuplja etnografsku građu, svestan da moderna tute must look after it according to Normative Acts No vremena menjaju tradiciju i da će ona uskoro prestati da 5 (from 1998) and No 6 (from 1979) of the Ministry of postoji za buduće generacije. Culture. The owner may be a private individual but he On je, 1873.godine, u Stokholmu otvorio “Skandi- or she is not allowed to make any internal changes wit- navsku entnografsku zbirku”, koja je bila veoma uspeš- hout the permission of the National Institute. No exter- na (Edenheim 1995: 7). nal changes are allowed at all. However the erection of No, još veći uspeh zbirka je doživela kada je Hazeli- new buildings in Koprivshtitsa is not prohibited. us u Pariz na Svetsku izložbu 1878. godine, umesto voš- To a certain extent this is also the case of listed bui- tanih figura u nošnjama, doveo Šveđanke obučene u ldings in the UK, where Historic Buildings and Monu- tradicionalne kostime. Međutim, on je smatrao da nije ments Commission for England (or the English heritage) dovoljno izložiti etnografske predmete da bi se održala is the body which ‘advises the Secretary of State for tradicija i da bismo je poznavali (Edenheim ibid: 8). Ha- Culture, Media and Sport on proposals to “list” buil- zelijus je uspeo, 1890. godine, da dobije zemljište u dings of special historic or architectural interest’3. In ot- Stokholmu, na Djurgarden-u (Kraljevski park jelena) i her words it is an organisation similar to National Insti- započeo je veće radove na izgradnji prvog muzeja na ot- tute for Cultural Monument which is the body, presen- vorenom u svetu. Na otvaranju, 11. oktobra 1891. godi- ting to the Bulgarian Ministry of Culture buildings and ne4, posetioci su mogli da vide kuću sa imanja Mora, ko- sites to be included in the list of protected by the State ju je Hazelius nabavio još 1885, zatim kuću iz Kirkhul- ones. ta (karakteristična zgrada iz provincije Blekinge u juž- If we take a closer look at the term ‘open-air muse- nom Jitlandu) ili kuću od rezane građe iz Orse. Do kra- ums’, quite a common phenomenon in Western Europe, ja života, 1901. godine, Hazelius je širio park prenoše- the difference is immediately noticeable. Skansen, the njem kuća iz različitih delova zemlje, kao što je kuća first open-air museum in the world and a model for ma- Bölnas preneta 1892. godine ili građenjem kopija, kao ny open-air museums afterwards, in its origin implies što je poslednji objekat koji je sagradio, zvonik iz Hĺsjö an artificially created educational facility.Artur Hazeli- u provincji Jamtland. Hazelius je želeo da prenese origi- us (1833-1901), the founder of Skansen, first started co- nal, ali je otpor bio veliki i morao je da se zadovolji ko- llecting ethnographic materials with the idea that mo- pijom (Edenheim, ibid: 11). Od otvaranja 1891. godine, dern times are changing peoples traditions and these lokalitet je proširen sa preko 150 istorijskih zgrada ko- will soon disappear for future generations. In 1873 he je su donete iz gotovo svih delova Švedske. Postavka do- opened the ‘Scandinavian ethnographical collections’ in kumentuje kako su ljudi različitih društvenih slojeva ži- Stockholm which was a great success (Edenheim veli, radili i stanovali. U kućama i na seoskim imanjima, 1995:7). Even greater was the success when Hazelius vodiči u odgovarajućim nošnjama pričaju o načinu živo- presented the exhibition in Paris at the World exhibition ta u kući koju posetilac razgleda5. Drugim rečima, mu- of 1878 when instead of using wax models to present zej na otvorenom u svom izvornom obliku predstavlja different costumes he used real Swedish women dressed veštački lokalitet. Ako bolje pogledamo neke novije pri- in traditional costumes. However he considered just mere videćemo da je osnovna ideja muzeja na otvore- showing ethnographic artefacts as not good enough for nom još uvek ista. Web sajt muzeja na otvorenom u Bi- his aims of maintaining tradition and providing education about it (Edenheim ibid: 8). In 1890 Hazelius succe- 3 http://www.ashtav.org/home/welc.html eded in obtaining land in Stockholm, on Djurgĺrden 4 Lindblom (1937: 3) smatra da je datum otvaranja bio 30. av- (The Royal Deer Park) and started a major work on the gust 1891. 5 http.//www.skansen.se 3 http://www.ashtav.org/home/welc.html 81 mišu, Velika Britanija, objašnjava da muzej priča o lju- first in the world open-air museum. When it opened on dima severoistočne Engleske tokom dva značajna datu- 11 October 18914 visitors could see the Mora farmhouse ma u njihovoj istoriji – 1825. i 1913.godine…Većina ku- which Hazelius had acquired as early as 1885, the Kyrk- ća, radnji i drugih zgrada je “razmontirana”na nekom hult farmhouse (a distinctive house from the province of mestu u regionu i ponovo sagrađena ovde6. Blekinge in southern Götaland) or the chipping house Izgradnja lokaliteta je zavisila od premeštanja zgra- from Orsa. Until the end of his life in 1901 Hazelius con- da da bi bile ponovo podignute u novom okruženju, či- tinued to expand the land and move in the park houses me je rekonstruisan određeni period britanske istorije. from different provinces such as the Bölnas house, Hazelijusova ideja se širila i otvoreni su mnogi muzeji which had been moved in 1892 or build copies such as na otvorenom, prvo u susednim zemljama – Danskoj, Ho- the last house he built, the belfry from Hĺsjö in the pro- landiji, Norveškoj, Nemačkoj, mada je u malo zemalja bi- vince of Jämtland. Hazelius had wanted to move the ori- lo odgovarajućih uslova za njihovo osnivanje (Czajkowski ginal but had met strong resistance and had to be con- 1981: 14). Do I svetskog rata osnovana su 44 muzeja na ot- tent with a copy (Edenheim ibid: 11). Since its opening vorenom, a Norveška je predvodila sa 16 muzeja osnova- in 1891 the site grew with more than 150 historic buil- nih do 1914. godine (Czajkowski ibid: 15). Period između dings moved there from nearly every part of Sweden. dva rata karakteriše pojačana aktivnost na ovom planu. The settings show how people in different social classes Pojavili su se novi muzeji na otvorenom u Austriji, lived, worked and were housed. In the houses and farm- Čehoslovačkoj, Letoniji i Ruskoj Sovjetskoj Republici, steads, hosts and hostesses in period costume tell about Rumuniji, Mađarskoj, Velikoj Britaniji i Nemačkoj. Tre- life as it used to be lived in the house one is visiting5.In ba pomenuti letonski muzej na otvorenom, koji je osno- other words the open-air museum in its pure form is an van 1924. godine u Rigi, pošto je to jedan od najstarijih artificially created site. A closer look to a more recent i najvećih takvih muzeja u Evropi. Grad predstavlja re- example will reveal that this is still the basis of the konstrukciju života u Letoniji od XVII do XIX veka. open-air museums idea. The web site of Beamish open- Imanja, crkve, mlinovi, ribarska sela i druge istorijske air museum in UK explains that the museum zgrade prenete su iz raznih delova zemlje. Danas muzej tells the story of the people of North East England at zauzima 100 ha i u njemu svoje veštine pokazuju struč- two important points of their history - 1825 and 1913. … njaci iz 18 različitih oblasti: drvodelje koji prave kašike, Most of the houses, shops and other buildings have been pčelari, grnčari i drugi. U Usma crkvi svake nedelje slu- “deconstructed”from elsewhere in the region and rebui- ži se služba. Tokom leta održavaju se koncerti na orgu- lt here.6 ljama i koncerti narodne muzike i sajmovi zanatstva. The construction of the site depended on moving Zbirka sadrži 100.000 predmeta. Posebno je zanimljiv buildings to erect a new settlement, recreating particu- Web sajt muzeja (http://www.virmus.com), projekat ko- lar period of British history. ji finansira Evropska unija, gde se mogu videti ne samo The idea of Hazelius spread and many open air mu- aktuelna postavka u muzeju već i dokumentacija i foto- seums were established, first in countries nearby Swe- grafije koje govore o izgradnji muzeja, ali i o svakoj ku- den - in Denmark, Holland, Norway, Germany although ći, mlinu, farmi ili drugoj zgradi u muzeju. Širenje i os- only a few countries provided proper conditions for nivanje novih muzeja nastavilo se i posle rata i zahvati- their establishment (Czajkowski 1981: 14). Until the lo je celu Evropu. Prema Čajkovskom (ibid: 18) 1980-tih First World War 44 such museums were established, je bilo oko 500 muzeja na otvorenom. Norway leading with 16 open-air museums by 1914 (Czajkowski ibid: 15). The period between the two wars is characterized by great activities in this direction. New open-air museums appeared in Austria, Czechoslovakia, Latvian and Russian Soviet Republics, Romania, Hun- gary, Great Britain and Germany. It is worth mentioning the Latvian open-air museum which opened in 1924 in Riga as it is one of the oldest and biggest in Europe. The town reconstructs the life of Latvia in the 17-19 centuries. Farmsteads, churches, windmills, fishing villages and other historic countryside buildings have been moved here from different parts of the country. Today the museums spreads on a territory of 100 hectares and masters of 18 different crafts demonstrate their work: spoon-carvers, bee-keepers, potters and others. Services are held at Usma Church every Sunday. The organ and folk music concerts and regular craft fairs that take place in the summer time. The collection contains 100 000 Slika 2 Etara items. Incredibly interesting is the web site devoted to Fig.2 Etara the museum (http://www.virmus.com), a project supported by the European Union, where one can see not only U Bugarskoj postoji samo jedan muzej na otvore- the present state of the museum but also documentaries nom, Etara (sl. 2). Osnovan je 1964.godine i za vreme and photographs testifying how it was built and these komunističkog perioda pojedini autori kao Konjarska are for every house, farm, mill or other building in the (Koniarska 1984: 5), smatrali su ih “strukturom nepo- museum. The movement of expansion and building up desnom i neprihvatljivom za Bugarsku”. Teško se može- of new museums continued after the war and spread mo složiti sa ovim preterivanjem, karakterističnim za throughout Europe. According to Czajkowski (ibid: 18) godine komunistričke cenzure, jer se u modernom društ- there were about 500 open-air museums by 1980s. vu danas ne dovodi u pitanje značaj muzeja na otvorenom kao specifičnog načina za predstavljanje i očuvanje 4 Lindblom (1937: 3) consider 30th of August 1891 as date of prošlosti, obrazovanje i zabavu. Etara se nalazi u sliko- inauguration 5 http.//www.skansen.se 6 http://www.beamish.co.uk 6http:// www.beamish.co. uk 82 vitom delu Balkanskih planina i predstavlja oblik There is only one open-air museum in Bulgaria, na- predstavljanja prošlosti, ekonomskog razvoja, načina ži- med Etara (Fig. 2). It was created in 1964 and during the vota i bugarske renesanse u arhitekturi i tehnici. communist period some authors such as Koniarska Aleksieva (1994) navodi da se muzej prostire na 7 ha (1984:5) considered it as structure ‘inexpedient and in- i uključuje originalne kuće, radionice, tehnička sredstva tolerable for Bulgaria’. It is difficult to agree with this na vodeni pogon, keramiku i ćilime, izuzetne rezbarije i overstatement, characteristic for the years of commu- prefinjen srebrni nakit. Sve kuće su u stilu bugarske re- nist censorship because the importance of open-air mu- nesanse (XVIII-XIX vek) i u svakoj postoji i mala pro- seums as a specific way of representing and preserving davnica sa bugarskim zanatskim proizvodima. the past for education and enjoyment is unquestionable Danas muzeji na otvorenom imaju značajnu ulogu u in modern society. Etara is situated in a picturesque re- svetskom muzejskom okruženju. U diskusijama i na gion of the Balkan Mountains and is a form of presen- konferencijama razmatraju se mogućnosti za poboljša- ting the historical past, economic development, the way nje njihovog stanja, za njihovo oživljavanje, da li su of life and Revival architecture and techniques. prihvatljive replike zgrada i drugih neoriginalnih struk- Aleksieva (1994) reveals that the museum covers an tura kao izložbenih objekata, kako uklopiti sakralne area of 7 hectares and includes genuine houses, craft- objekte u ove lokalitete7. Niko, ipak, ne dovodi u pitanje smen workshops, water driven technical facilities, pot- činjenicu da muzeji na otvorenom predstavljaju način tery and rugs, exquisite wood carvings and fine silver vizualizacije perioda istorijskog razvoja jedne zemlje ili jewellery. All houses are in Revival style (18th – 19th cen- regiona, koji je stvoren premeštanjem artefakata sa svo- turies) and in each one there is a small crafts shop whe- jih mesta ili pravljenjem replika zgrada kada premešta- re traditional Bulgarian crafts can be found. nje nije bilo moguće, jer je to osnovni koncept muzeja na Today open-air museums are an important part of otvorenom od vremena Artura Hazeliusa i njegovog the world museum environment. Discussions and confe- Skansena. rences are held about how to further improve their sta- Suprotan koncept predstavljaju Bojenci, već pome- te, how to enliven them, is it appropriate to use replica nuti grad-muzej. Selo Bojenci (sl. 3, 4 i 5) leži u central- buildings and other non-original structures as exhibits, nom delu Stare Planine. Po legendi, osnovano je prvih how the sacral building fit into these sites7. No one ho- godina Otomanske vlasti (1393) kada je jedna vlastelin- wever question the fact that open-air museums repre- ka, Bojana, iz sela Veliko Turnovo pobegla sa porodicom sent a way to visualise a period of the historical deve- i našla pribežište u planini i tu osnovala selo. Tokom pet lopment of a country or region but created after moving vekova turske vlasti osnovni izvor života sela bili su artefacts from other places or building replicas of exis- stočarstvo, zanati i trgovina. ting ones when moving was not possible as this is the Danas Nacionalni institut za spomenike kulture se- basis of the open-air museums idea from the time of Ar- lo Bojenci smatra arhitektonskim i istorijskim rezerva- tur Hazelius and his Skansen. tom na osnovu pomenutih propisa br 5 i 6 Ministarstva As opposed to this idea comes the example of Bo- kulture. Većina kuća, sagrađenih pre 200 godina ima jentsi, the above mentioned living town-museum. svoje vlasnike, ali nikakve promene nisu dozvoljene bez Bojentsi village (Fig. 3, 4 and 5) is situated in the saglasnosti Instituta. Za restauraciju i održavanje zadu- central part of Stara Planina Mountain. Legends say žen je Institut, što, prema dr. Lisicovu8, stručnjaku Na- that it was founded in the first years of the Ottoman cionalnog instituta za spomenike kulture, za vlasnike conquest (1393) when a noble woman named Bojana predstavlja “mač sa dve oštrice”. Vlasnik ne plaća po- from the town of Veliko Turnovo escaped with her family pravke, ali ako želi da proda kuću, mora državi da vrati and found refuge in the mountain and went on to found sredstva uložena u očuvanje zgrade. Jasno je da ni novi the village. During the 5 centuries Ottoman domination vlasnik ne sme da vrši nikakve izmene bez dozvole In- stock-breeding, different crafts and trade were the basic stituta. means of livelihood in the Pet kuća u rezervatu su village. muzeji9, a tu su i manastir- Today the whole village ska škola i crkva. Ostale of Bojentsi has been dee- kuće su biblioteka, voska- med an architectural and ra, gostionice, nekoliko historic reserve by the Na- krčmi i poslastičarnica, tional institute for Cultural gde se mogu videti stari Monuments under the abo- poslastičarski proizvodi. ve mentioned Acts No 5 Ovaj kompleks je u potpu- and 6 of the Ministry of the nosti očuvan, a mora takav Culture. Most of the hou- i da ostane, u skladu sa bu- ses, built 200 years ago are garskim zakonima. private but nobody can Procedura za proglaše- Slika 3 Bojenci - prodavnica slatkiša i kafedžinica make changes without the nje lokaliteta za istorijski i Fig.3 Bojentsi – the sweets shop and café permission of the Institute. arhitektonski rezervat All restoration and mainte- komplikovana je i utvrđena u odredbama Ministarstva nance is executed by the Institute, which according to kulture br 5 iz 1998. godine (koje derogiraju prethodni Dr. Lisitzov8, specialist in the National institute for Cul- propis br. 5 iz 1969.) i br 6 iz 1979. godine. Propis br 5 tural Monuments, is a ‘double-edged sword for the own- utvrđuje proceduru za proglašenje lokaliteta za izuzet- er’.The owner does not pay for repairs but if he wants to sell the house the state takes back the part from the mo- 7 Teme na XVII Godišnjoj konferenciji Asocijacije evropskih ney invested in preservation of the building. The new muzeja na otvorenom, 27. avgust-2. septembar, 1995, Belfast, v. Gailey, A. (ed.) 1997 XVII Godišnja konferencija evropskih owner is obviously again not allowed to do anything muzeja na otvorenom, XVII Godišnja konferencija evropskih 7 Matters discussed during the 17th annual conference of the muzeja na otvorenom, Severna Irska Association of European Open Air Museums, August 27th – Septem- 8 Intervju – Dr. Stefan Lisitzov – april 2003. godine ber 2nd, 1995, Belfast, see Gailey,A. (ed.) 1997 17th annual conferen- 9 Kuća Topalova, baba-Rajnina kuća, pop-Dončova kuća, kuća ce of the Association of European Open Air Museums, Association Ganke Kadijeve, kuća Cane Mihove of European Open Air Museums, Northern Ireland 8 Interview - Dr. Stefan Lisitzov – April 2003 83 without the approval of the Institute. Five of the houses in the reserve are museums9 and there is a monastery school and church. The other houses represent a library, wax workshop, inns, several taverns and a sweet shop where old sweet production techniques can be seen. This complex is preserved in its entirety and according to Bulgarian legislation it must stay as it is. The procedure of pronouncing a site as historical and architectural reserve is complicated and described in regulations No 5 from 1998 (which abrogate the previous regulations No 5 from 1969) and No 6 from 1979 of the Ministry of culture. Regulations No 5 describes the procedure to follow to declare a site an immovable masterpiece of culture. According to it …immovable property, comprising authentic materi- Slika 4 Bojenci - centralni trg al evidences of human existence and activities together Fig. 4 Bojentsi - the central place with their environment and all the movable valuables in this environment shall be pronounced as immovable cultural-historical heritage (Art. 2) According to the procedure the way to declare a site an immovable masterpiece of culture includes four steps: 1) identification, 2) declaration, 3) final complex valuation and 4) confirmation, publication and registra- tion. Identification is made by systematic field work and research, by scientific expeditions, aero and submarine study and other non-destructive methods. Once the immovable cultural masterpiece identified it has to be declared as such and is put under temporary protection until all its features are well defined. Then an expert valuation is needed to determine the authenticity and degree of preservation of the immovable cultural masterpiece, its scientific and aesthetic value, its interaction Slika 5 Bojenci - kafana with the environment and interaction with society. The Fig.5 Bojentsi- a tavern final proposal for inclusion in the list with cultural no nepokretno kulturno dobro. Prema njemu…nepok- masterpieces is made by the Minister of Culture and ap- retna dobra, koja sadrže autentične materijalne dokaze proved by the Council of Ministers, the decision is then ljudskog postojanja i aktivnosti, zajedno sa okruženjem published in the State Gazette and a certificate is issued i sa svim pokretnim dobrima u tom okruženju proglaša- by the National Institute for Cultural Monuments that vaju se za izuzetna dobra nepokretnog kulturno-istorij- the site or the monument is protected by the State. This skog nasleđa (član 2) is the way which had been followed to declare the villa- Postupak proglašenja uključuje četiri faze: 1) identi- ge of Bojentsi historical and archaeological reserve. fikacija, 2) proglašenje, 3) konačna komplesna evaluaci- Bojentsi should be one of the major tourist attrac- ja i 4) potvrđivanje, publikovanje i registracija. Identifi- tions in Central Bulgaria but unfortunately it is not part kacija podrazumeva sistematski terenski rad i istraživa- of most tourist itineraries. The number of visitors is al- nje, naučne ekspedicije, vazdušna i podmorska istraži- most the same every year, i.e. about 19 000 with no pos- vanja i druge nedestruktivne metode. Pošto se nepokret- sibilities for increase at this stage and this is disastrous no kulturno dobro identifikuje, mora se i proglasiti i for the village and its inhabitants, especially as the stavlja se pod prethodnu zaštitu, dok se sve činjenice ne whole reserve is in desperate need of money for mainte- utvrde. Tada je neophodna stručna procena njegove au- nance10. The only source of revenue for the people living tentičnosti i stepena očuvanosti kulturnog dobra, njego- there is the entrance fees for the museums and the tou- va naučna i estetska vrednost, interakcija sa okruže- rists, who are able to visit the different shops, cafes, tanjem i sa društvom. Konačni predlog na stavljanje na verns or just stay in the night at the inn. According to listu kulturnih dobara priprema Ministarstvo kulture, a Svetla Dimitrova, administrator and guide in the villa- odobrava ga Savet ministara, zatim se odluka objavlju- ge, Bojentsi has problems originating from the location je u Službenom listu, a sertifikat izdaje Nacionalni in- of the village itself. The idea when creating the village, stitut za spomenike kulture, kojim se potvrđuje da je lo- according to the above mentioned legend, is that it was kalitet pod zaštitom države. Na taj način je i selo Bojan- inaccessible for enemies. Today there are 8 kilometers of ci proglašeno za istorijski i arheološki rezervat. sharp turns in the road to it from the previous village Bojenci bi trebalo da predstavljaju važnu turističku and it is the only way to reach the settlement. The inte- atrakciju Centralne Bugarske, ali nažalost, većina turis- rest of the tour operators to bring foreign tourist, which tičkih programa ga izostavlja. Broj posetilaca je gotovo are only about 800-900 a year (out of 19 000), is not gre- isti svake godine, tj. oko 19.000 i u ovom momentu nema at. When they organize tours they usually do not chose ogućnosti da se njihov broj poveća, što donosi velike šte- Bojentsi because of its inaccessibility but prefer the te selu i seljanima, posebno zbog očajničke potrebe sa Etara open – air museum which is very easily accessible. finansijskim sredstvima celog rezervata10. On the other hand according to Mrs. Dimitrova this is Jedini izvor prihoda za ljude koji tamo žive potiče od maybe the reason why the village is so well preserved in ulaznica za muzeje i od turista koji posećuju prodavnice, kafiće, gostionice ili noće u selu. Kako kaže Svetla 9 Topalov house, Granny Raina’s House, Priest Doncho’s house, Ganka Kadieva’s House, Tsana Mihova’s House 10 Informacija – Svetlana Dimitrova, administrator i vodič u re- 10 Information - Svetla Dimitrova, administrator and guide in zervatu Bojenci, intervju – 15.04.2004. Ministarstva kulture Bojentsi reserve, interview – 15.04.2004 84 Dimitrova, administrator i vodič u selu, problem za Bo- its authenticity. At this stage it is not possible to attract jence predstavlja sama lokacija sela. Selo je, prema le- more tourists because of financial reasons. There is no gendi, osnovano zato da spreči nailazak neprijatelja. money for advertising but the most important is that Danas ga od susednog sela odvaja 8 km oštrih krivina, a there is no infrastructure built which is suitable for ma- to je jedini put. Strani tur-operatori nisu posebno zain- ny tourists. The place is not popular as other Bulgarian teresovani da dovode strane turiste, kojih ionako ima resorts also because it is far from the sea and is inappro- samo oko 800-900 godišnje (od ukupne posete od priate for skiing. At this stage what the management of 19.000). Prilikom organizacije poseta, obično izbegavaju Bojentsi would like to achieve is to include the settle- Bojence, jer je selo nepristupačno, a uključuju Etaru – ment in some program for cultural tourism. However it muzej na otvorenom, do kojeg je lako stići. S druge stra- is again very specific as what they can offer is only a de- ne, kaže gospođa Dimitrova, možda je zbog toga selo i monstration of ‘culture of living’. And also because sačuvalo svoju autentičnost. U vom momentu nije mo- ‘when creating this town-museum the idea was not to guće dovesti više turista iz finansijskih razloga. Nema make money from it’ (Dimitrova 2004) and because at para za oglašavanje, ali je još bitnije da nema infra- the present time there is no clear idea about the overall strukture, koja bi odgovarala većini turista. Mesto nije strategy for the future of the reserve. toliko popularno kao druga bugarska odmarališta jer je The situation of Bojentsi reserve is strange and it ori- udaljeno od mora, a nije pogodno ni za skijanje. Uprava ginates from the fact that there is no strategic plan for it. Bojenaca bi želela da mesto uključi u neke od programa On one side there is a resistance things to be changed. kulturnog turizma. Međutim, selo je veoma specifično From the other it is clear that funding is needed for pre- jer jedino može da ponudi demonstraciju “kulture servation of the site. At the present time however nobody življenja”. A, “prilikom osnivanja ovog grada-muzeja, will finance it if there won’t be increase in income. Accor- osnovna koncepcija nije bila profitabilnost” (Dimitrova ding to Mrs. Dimitrova foreign specialists on open-air mu- 2004), dok u ovom trenutku nema jasne celokupne stra- seums can not understand how such a museum exists wit- tegije za budućnost rezervata. hout sufficient income. Bojentsi and its whole territory Situacija sa rezervatom Bojenci je čudna i proizilazi was restored and declared as a reserve during the commu- iz činjenice da ne postoji strateški plan. S jedne strane, nist period when funding for culture came from the state. postoji otpor promenama. Sa druge, jasno je da je za However things have changed since that period and so- očuvanje rezervata potreban novac. U ovom momentu mething needs to be done for Bojentsi to preserve it. niko ne želi da uđe u finansiranje ako ne postoji moguć- On first instance comes the need to prepare a clear nost povećanja dohotka. Kako kaže gđa Dimitrova, stra- strategic plan.The vision of the Ministry of Culture and the ni stručnjaci za muzeje na otvorenom ne mogu da shva- National Institute for Cultural Monuments for such heri- te kako ovakav muzej uopšte opstaje bez dovoljnog pri- tage sites is not clear. If Bojentsi is kept in the situation it hoda. Bojenci sa okolinom su restaurisani i proglašeni is now, with no sufficient funding this imminently will le- rezervatom za vreme komunističkog perioda, kada je dr- ad to deterioration. If the conception is changed this will žava finansirala kulturu. No, stvari su se promenile od convert the town-museum into a historic town, i.e. one part tada i nešto se mora preduzeti da se Bojenci sačuvaju. will be preserved the way it was, while new building will be permitted on its borders thus provoking a completely Najvažnije je pripremiti jasan strateški plan. Vizija different effect. The first option requires finding funding Minsitarstva kulture i Nacionalnog instituta sa spome- for maintenance with the clear idea that major income nike kulture, kad se radi o ovakvim lokalitetima, nije increase is not a probability. The second one will destroy jasna. Ako Bojenci ostanu takvi kakvi su, bez adekvat- Bojentsi authenticity as town-museum and will make from nog finansiranja, neminovno će propadati. Ako se kon- it one of the many historic towns in Bulgaria. cepcija promeni, grad-muzej će se pretvoriti u istorijski The situation of Bulgarian internal affairs makes it grad, tj. jedan deo će se sačuvati u sadašnjem obliku, a lucid that sufficient funding coming from the state for oko njegovog jezgra biće dozvoljena nova gradnja, što će such heritage sites is not to be expected in foreseen fu- dovesti do sasvim drugačijeg izgleda mesta. Prva opcija ture. There are at least two major organizations which zahteva finansiranje namenjeno održavanju, uz prihva- resources, competence and know-how should be used, tanje činjenice da ne postoji mogućnost povećanja zara- i.e. UNESCO and EU. de. Druga će uništiti autentičnost Bojenaca kao grada - A possible action in this situation is the inclusion of muzeja i pretvoriće ga u još jedno od mnogih istorijskih the site in UNESCO World Heritage List which again gradova u Bugarskoj. however eminently means some actions from Bulgarian Situacija u Bugarskoj jasno pokazuje da se u bliskoj side. UNESCO does not choose the sites to be included; budućnosti ne može očekivati da država finansira ovak- the proposal has to come from Bulgarian side. va mesta značajna za kulturnu baštinu. Ali, postoje bar The UNESCO convention concerning the Protection dve veće organizacije, čije resurse, kompetencije i zna- of the World Cultural and Natural heritage includes nje treba koristiti, tj. UNESKO i EU. …groups of separate or connected buildings, which, UNESKO-va konvencija o Zaštiti svetske kulturne i because of their architecture, their homogeneity or their prirodne baštine uključuje – … grupe odvojenih ili pove- place in the landscape, are of outstanding universal va- zanih zgrada, koje, zbog svoje arhitekture, homogenosti lue from the point of view of history, art and science… ili mesta u okviru predela, predstavljaju izvanrednu uni- (Article 1 – Definition of the cultural and natural heri- verzalnu vrednost sa stanovišta istorije, umetnosti i nau- tage) ke… (član 1 – Definicija kulturne i prirodne baštine). Bulgaria ratified the convention on 7th of March 1974 Bugarska je ratifikovala ovu konvenciju 7. marta and it entered into force as of the 17th December 1975. 1974. godine, a stupila je na snagu 17. decembra 1975. Since then only 9 Bulgarian properties11 have been Od tada je samo devet bugarskih dobara11 uključeno u included in the UNESCO World Heritage List, yet Bojen- tsi, which has all the necessary features to be included in 11 Crkva Bojana (1979), Jahač iz Madare (1979), kamene crkve u Ivanovu (1979), Trački grob u Kazanluku (1979), stari grad Nese- the list, is not there. The last site inscribed to the list was bar (1983), prirodni rezervat Srebarna (1983), Nacionalni park Pirin (1983), Rilski manastir (1983), Trački grob u Sveštaru (1985) 11 Boyana church (1979), Madara Rider (1979), Rock-hewn churches 12 Stari Plovdiv, kosturnica u manastiru Bačkovo, crkva četrde- of Ivanovo (1979), Thracian tomb of Kazanluk (1979), Ancient city of set velikomučenika u Velikom Tarnovu, grob u selu Aleksandrovu- Nessebar (1983), Srebarna Nature reserve (1983), Pirin National park Haskovo (1983), Rila Monastery (1983), Thracian tomb of Sveshtari (1985) 85 UNESKO-vu listu kuturnih dobara, a Bojenci, iako su the Thracian tomb of Sveshtari in 1985. This year howe- imali sve kvalitete neophodne za to, ostali su van liste. ver the Director of UNESCO visited Bulgaria and four Poslednji lokalitet upisan u listu bio je Trački grob sites have been nominated for the list12. Unfortunately iz Sveštara 1985.godine. Ove godine direktor UNESKO- Bojentsi has still not been named. It is unclear why the a je posetio Bugarsku i četiri mesta su nominovana za Ministry of the Culture in Bulgaria did not take any me- listu12. Nažalost, Bojenci još uvek nisu nominovani. Ni- asures to ensure the adding of further sites to the list at je jasno zašto je Ministarstvo kulture Bugarske propus- an earlier time. According to article 4 of the above men- tilo da predloži i druga mesta za listu. Prema čl. 4 gore tioned Convention – National protection and internatio- pomenute Konvencije – Nacionalna zaštita i međuna- nal protection of the cultural and natural heritage – rodna zaštita kulturne i prirodne baštine – …svaka …each State party to this convention recognises that Zemlja članica ove konvencije prihvata da dužnost da the duty of ensuring the identification, protection, con- obezbedi identifikaciju, zaštitu, konzervaciju, prezenta- servation, presentation and transmission to future gene- ciju i prenošenje budućim generacijama kulturne i pri- rations of the cultural and natural heritage referred to rodne baštine iz članova 1 i 2, a koje se nalaze na njenoj in Article 1 and 2 and situated in its territory, belongs teritoriji, pripada u prvom redu toj zemlji. primarily to the that state. Čak je onima koji nisu stručnjaci jasno da uključiva- Even to non specialists it is clear that the inclusion of nje lokaliteta na listu znači dodatno finansiranje. To, na- a site in the list means extra funding. Not sufficient of ravno, nije dovoljno, ali je ipak određeno finansiranje. U course, but funding all the same. In this regard, a key be- ovom slučaju, osnovnu prednost ratifikacije, naročito za nefit of ratification, particularly for developing coun- zemlje u razvoju, predstavlja mogućnost pristupa Fondu tries, is access to the World Heritage Fund. Annually, za svetsku baštinu. Godišnje, oko tri miliona dolara sto- about three million US dollars are made available, mainly to Least Developed Countries and Low Income Coun- je na raspolaganju, uglavnom najnerazvijenim zemljama tries, to finance technical assistance and training pro- i zemljama sa niskim nacionalnim dohotkom, za finansi- jects, as well as for assistance to States Parties reques- ranje tehničke pomoći i obrazovnih projekata, kao i za ting help to prepare their nomination proposals or to de- pomoć zemljama-članicama za pripremu predloga za velop conservation projects. Emergency assistance may nominaciju ili za projekte konzervacije. Moguće je dobi- also be made available for urgent action to repair dama- ti i pomoć za hitnu popravku šteta nastalih prirodnim ge caused by human-made or natural disasters. Inscrip- katastrofama ili onim koje su posledica ljudskog fakto- tion of a property on the World Heritage List may also ra. Upis dobra na Svetsku listu baštine takođe otvara open the way for financial assistance from a variety of put ka finansijskoj podršci iz različitih izvora vezanih za sources in heritage conservation projects projekte zaštite baštine (http://www.unesco.org). Od (http://www.unseco.org). Since 1979 when the first pro- 1979. godine, kada je prvo dobro uključeno u Listu, Fond perty was included in the list, the World Heritage fund za svetsko nasleđe dao je pomoć za devet bugarskih do- has assisted the nine Bulgarian properties on the list bara sa Liste, u iznosu od 348.497 US $ za pripremu, with USD 348, 497 for preparatory assistance, training obuku i tehničku saradnju13 , što bi bilo idealno za Bo- assistance and technical cooperation13, which would be jence. tj, da se obezbede izvesna sredstva za održavanje, ideal for Bojentsi, i.e. having some funding for mainte- obuku stručnjaka i tehnologiju i na taj način se uključe nance, training of specialists and know-how and obvio- u programe kulturnog turizma. Države članice mogu tra- usly being included this way in itineraries for cultural žiti međunarodnu pomoć iz fonda sa misije eksperata, tourism. State parties can request international assistan- obuku specijalizovanog kadra, nabavku opreme, takođe ce under the fund for expert missions, training of specia- mogu tražiti višegodišnje pozajmice i nepovratne kredi- lized staff, supply of equipment; they can also apply for te. Grčka, Češka, Francuska, Nemačka, Španija i Velika long-term loans and non-repayable grants. Countries Britanija gotovo svake godine upisuju bar po jedno kul- such as Greece, the Czech Republic, France, Germany, turno dobro na Listu (http://www.unesco.org). Na taj na- Spain and the UK manage to get at least one site onto čin zemlja štiti svoja kulturna dobra. Samo idenitifiko- the list almost every year (http://www.unesco.org). It is a vanje lokaliteta nije dovoljno, jer je neophodna njihova way for a country to protect its cultural heritage. Just zaštita i održavanje. Zadivljujući je broj Internet sajtova identifying sites is not enough as they need maintenance koji nude turističke vodiče za mesta na UNESKO-voj and protection. The abundance of Internet sites offering listi baštine14. Ovo bi bila idealna situacija za bugarsku tourist guides to UNESCO Heritage sites is amazing14. vladu15. Bugarski mediji stalno pišu da “u Bugarskoj ne This would be an ideal opportunity for the Bulgarian go- postoji finansiranje kulture”, ali izgleda da nema ni po- vernment to take action15. It is widely reported by Bul- kušaja da se finansiranje obezbedi. Postavlja se i pitanje garian mass-media that “there is no funding for culture uticaja politike na kulturnu baštinu. Tek je poslednja in Bulgaria”, but it would appear that no efforts are be- vlada nominovala četiri lokaliteta za listu. Međutim, ing made to obtain funding. There is also some question kultura u velikoj meri zavisi od prioriteta Vlade. Zemlja over the influence of politics on heritage issues. It was je izgubila 18 godina, kada nije ni pokušala da uključi only the last government which nominated four sites to bar jedno kulturno dobro na UNESKO-vu listu. Neop- be included in the list. However what happens to the cul- hodno je da se učini napor da se više lokaliteta uključi na tural heritage of a country largely depends on the prio- ovu Listu. Proces nije brz. No, da bi se neko dobro uop- rities of its Government. The country has wasted 18 yea- šte unelo na listu, neophodan je proaktivni pristup, jer će rs without trying to include a single site in the UNESCO u suprotnom doći do daljeg propadanja i inače jadnog list. An attempt must be made to include more sites on stanja najvećeg broja bugarskih kulturnih dobara. the list. There are criteria and a procedure to follow of Drugu značajnu mogućnost u aktuelnoj kulturnoj course. The process is not quick. But for inclusion to ta- situaciji u ujedinjenoj Evropi predstavljaju resursi same 12 Old Plovdiv, Bachkovo monastery ossuary, the church of St. Forty mar- Evropske Unije. Tokom 2000-te Evropska Unija je lan- tyrs in Veliko Tarnovo, the tomb in the village of Aleksandrovo - Haskovo 13 Information http://www.unesco.org/whc/sp/bul.htm 13 Informacija: http://www.unesco.org/whc/sp/bul.htm 14 For example: www.worldheritagesite.org or www.travel-ima- 14 Napr.: www.worldheritagesite.org ili www.travel_ima- ges.com/unesco_world.html ges.com/unesco world.html 15 Only the Government of the State Party to the Convention 15 Samo vlada zemlje-članice može da podnese spisak dobara can submit an inventory of properties on its territory that may be na svojoj teritoriji za Svetsku listu baštine suitable for the World Heritage list. 86 sirala projekat Culture 2000 sa ciljem da “… ohrabri ke place a proactive approach is required otherwise the- kreativnost i motiviše umetnike, javni pristup kulturi, re will be further deterioration in the already deplorable širenje umetnosti i kulture, međukulturalni dijalog i state of the most of Bulgaria’s heritage sites. poznavanje istorije i kulturnog nasleđa naroda Evrope. The second major option in present situation of cul- Osnovni cilj je stvaranje zajedničkog kulturnog prosto- tural life in united Europe are the resources of the Euro- ra, približavanjem ljudi i očuvanjem njihove nacionalne pean Union itself. In 2000 the EU launched a project na- i regionalne raznovrsnosti”16. med Culture 2000, which ‘…aims to encourage creativi- Prioritet u 2004. godini ima kulturno nasleđe, koje ty and mobility of artists, public access to culture, the uključuje pokretno i nepokretno nasleđe, nematerijalnu dissemination of art and culture, inter-cultural dialogue baštinu, istorijske arhive, biblioteke, arheološku i pod- and knowledge of the history and cultural heritage of the vodnu baštinu, kulturne lokalitete i kulturne predele. peoples of Europe. Its general objective is to create a Od 2000-te godine samo jedna bugarska organizaci- shared cultural area bringing people together while pre- ja je uzela učešća u programu Culture 2000 - u Odeljku serving their national and regional diversity’16. za kulturnu baštinu, tj. bugarska Asocijacija za alterna- In 2004, the priority sector is cultural heritage, which tivni turizam – BAAT (BG), kao koorganizator programa includes movable and immovable heritage, immaterial he- ‘Expressions Graphiques sur l’Architecture Balkanique’ ritage, historical archives, libraries, archaeological and un- za APARE17 (Francuska) koja je rukovodilac projekta u derwater heritage, cultural sites and cultural landscapes. 2000-toj. Culture 2000 je otvorena samo za organizacije Since 2000 only one Bulgarian organization took u jednoj ili više zemalja članica Evropske unije. To zna- part in Culture 2000 in its cultural heritage section, i.e. či da Bugarska još uvek ne može direktno da učestvuje, the Bulgarian Association for alternative tourism - BA- ali to može da uradi u zajednici sa nekom drugom AT (BG) was co-organizer of ‘Expressions Graphiques zemljom, članicom Unije. Ovo je još jedna mogućnost sur l’Architecture Balkanique’ program with APARE17 koja nije proučena ili iskorišćena. (France) as Project leader in 2002. Culture 2000 is open Turisti većinom posećuju mesta koja se najviše hvale only to organizations established in one or more of the u velikim oglašivačkim kampanjama. Bugarska je zemlja Member States of the European Union. Which means sa bogatom istorijskom baštinom, koju svet treba da vidi. that Bulgaria still cannot participate directly but can do Nažalost, ova baština ima uglavnom teorijsko znače- it in conjunction with another country, member of EU. nje i predstavlja podatke u istorijskim knjigama, a ne Once again a possibility, which is not explored and used. praktično poznavanje bugarskih artefakata i lokaliteta. In many circumstances tourists visit places which ha- Bugarska, a verovatno i druge zemlje, može da ponudi i ve been at the centre of a big advertising campaign. Bul- nešto specifično i različito. Nephodno je privući pažnju garia is a land with rich historical heritage, deserving to mogućih posetilaca na tipične bugarske elemente: ono be seen by the human kind. Unfortunately this heritage što se ne može videti na nekom drugom mestu. has more of a theoretical meaning; information in the his- Mesta u Bugarskoj kao što su gradovi-muzeji koji ži- tory books rather than practically based on Bulgarian ar- ve – mesta u kojima je život zastao pre 200 godina. Mes- tefacts or sites. Bulgaria, like possibly every other coun- ta gde je moguće osetiti istorijsku atmosferu samo ako try, has something specific and distinctive to offer. To se mesto poseti. draw the attention of visitors it is necessary to draw their Očajnički su potrebna sredstva da bi se pormovisao attention to the typical Bulgarian elements; things that kulturni turizam, ali za ovo je neophodan proaktivni cannot be seen anywhere else. Such sites in Bulgaria are pristup. Mora se imati u vidu i da će povećanje broja po- living town-museums – places where time stopped 200 setilaca zahtevati stalno održavanje, zbog čega je neop- years ago. Places where it is only possible to feel the his- hodno i dugoročno finansiranje. Dobro osmišljene mar- toric atmosphere by actually visiting the site itself. Fun- ketinške kampanje mogu u tome da pomognu. Ali ako ding is desperately needed in order to promote cultural izostane odgovarajuća akcija, ovi lokaliteti će jedno- tourism but this requires a proactive approach. It must stavno nestati, a sa njima i jedina mogućnost da poseti- also be taken into account that increased visitor numbers lac doživi prošlost u njenom najčistijem, najstvarnijem can and will lead to the need for constant maintenance obliku. hence long term funding is required. Well considered marketing campaigns are one course of action that can Literatura: assist. But if proper action is not taken sites will simply Aleksandrov, E. 1980 Mejdunarodno pravna zakrila na kultur- disappear and with them the only possibility for the visi- nite cennosti I obekti, Nauka i izkustvo, Sofia Czajkowski, J. (ed.) 1981 Open-air museums in Poland, Poznan tor to experience the past in its purest, most real form. Edenheim, R. 1995 Skansen: traditional Swedish style, Scala books, Stockholm References: Kamenova, Tz. 1999 Praven rejim na kulturnite cennosti,BAN, Aleksandrov, E 1979 Mejdubarodno pravo na kulturata: Sach- Sofia nost I harakteristika, BAN, Sofia Lindblom, A. 1937 The Stockholm Skansen, Ahlen and Aker- Aleksandrov, E. 1980 Mejdunarodno pravna zakrila na kultur- lund, Stockholm nite cennosti I obekti, Nauka i izkustvo, Sofia Czajkowski, J. (ed.) 1981 Open-air museums in Poland, Poznan Penkova, Y. (ed.) 2003 Bulgarian museum towns, Touristrekla- Edenheim, R. 1995 Skansen: traditional Swedish style, Scala ma, Sofia books, Stockholm Pobornikov, ?. 1982 Praven rejim na pametnicite na culturata v Kamenova, Tz. 1999 Praven rejim na kulturnite cennosti, BAN, Sofia Balgaria, Sofia Lindblom, A. 1937 The Stockholm Skansen, Ahlen and Aker- UNESCO 1972 Convention concerning the protection of the lund, Stockholm world cultural an natural heritage, Adopted by the General confe- Penkova, Y. (ed.) 2003 Bulgarian museum towns, Touristrekla- rence at its 17th session (16.11.1972) ma, Sofia UNESCO 2002 World heritage archaeological sites and urban Pobornikov, ?. 1982 Praven rejim na pametnicite na kulturata v centres, Skira. Italy Balgaria, Sofia UNESCO 1972 Convention concerning the protection of the world cultural an natural heritage, Adopted by the General conference at its 17th session (16.11.1972) UNESCO 2002 World heritage archaeological sites and urban centres, Skira. Italy 16 http://www.europa.int.eu 16 http://www.europa.int.eu 17 Association for regional participation and action Association 17 Asocijacija za regionalnu participaciju i akciju for Regional Participation and Action 87 Jana Šubic Prislan, Goriški muzej, Slovenija Jana Šubic Prislan, Goriški museum, Slovenia Depo Goriškog muzeja The Depot of Goriški muzej ije moguće opovrgnuti tvrdnju da su za uređenje t cannot be denied that the arrangement of an appro- Nodgovarajućeg depoa, koji funkcioniše prema sav- Ipriate depot, which operates according to modern remenim muzeološkim principima, potrebna velika fi- museological principles, requires a substantiable amo- nansijska sredstva i određena znanja. Ali, na osnovu unt of financial means and certain expertise. However, primera uređenja depoa Goriškog muzeja u Novoj Gori- as the case of the Goriški muzej depots shows, inspite of ci možemo da tvrdimo, da je takođe moguće, pored veo- budgetary constraints much can be already done with ma ograničenih sredstava, mnogo toga uraditi dobrom good will, a sense of orderliness and nonetheless hard voljom, urođenim osećajem za red i takođe napornim ra- work. I would like to show those of you, who are dealing dom. Svima koji su se uhvatili u koštac sa problemati- with the problems of storage, how it is possible to slo- kom depoa, želela bih da pokažem, kako je moguće po- wly and satisfactorily arrange and fit out store rooms – lako, na zadovoljavajući način urediti i opremiti depo, with the condition that we refrain from doing harm to pod uslovom da ne činimo ono što šteti predmetima i da objects and that we carefully follow a plan, in order to radimo na osnovu plana, kako bi u budućnosti izbegli avoid unnecessary work and surprises in the future. nepotreban rad i iznenađenja. Doubtless to say that a good depot has to ensure a Bez dvoumljenja - dobar depo mora da obezbedi si- secure and suitable storage for objects – hence, an ap- gurno i primereno čuvanje predmeta, dakle odgovaraju- propriate level of security, suitable climatic conditions, ću bezbednost, odgovarajuća svojstva okoline, odgova- a proper storage system and an apropriate access to the rajuće sisteme čuvanja, kao i odgovarajući pristup zbir- collections. The setting-up and management of depots is ci. Sređivanje depoa danas je glavni zadatak slovenač- today the main task of Slovenian museum curators. This kih muzealaca i zato o tome dosta govorimo u poslednje is why the topic has sparkled much debate in the scien- vreme. Međunarodna načela njihovog uređenja i rešenja tific community. International standards and principles, iz inostranstva takođe su poznata našim stručnim kru- as well as solutions from abroad for the arrangement of govima, mada je korisno, da jedni drugima predstavlja- depots are not unfamiliar to Slovenian experts – howe- mo svoja iskustva u vezi uređenja depoa, jer jedni od ver, it would be useful to exchange practical experien- drugih možemo puno da naučimo. S obzirom na stanje u ces, since much can be learned from each other. In com- nekim drugim ustanovama, mislim da je Goriški muzej parison with some other Slovenian institutions, I dare to prilikom rešavanja problematike depoa bio uspešan, jer say that Goriški muzej successfully tackled the problem smo za to takođe dobili i javnu pohvalu od predstavni- regarding depots. This was nevertheless publicly ackno- ka ministarstva za kulturu, stoga mi se činilo da je još wledged by the representatives of the Ministry of Cultu- primerenije da pripremim ovaj članak. Kada sam nakon re, giving me an additional reason to prepare this con- toga, prošlog decembra, na seminaru u Dijana Centru u tribution. As I received positive feedback from my Ser- Beogradu, dobila još neke potvrde od svojih srpskih ko- bian colleagues and the representatives of ICCROM at lega i od predstavnika ICCROM-a, postala sam, naime, last december’s seminar that was organised by the Dia- svesna, da naši depoi i nisu tako loši, a u poređenju sa na centre in Belgrade, I realised that our depots are far nekim drugim čak i odlični, zato je ovo takođe prilika da from being bad – actually, they are excellent in compa- se malo pohvalimo. Naime, u Goriškom muzeju je za rison with some others. I will therefore use this oppor- uređenje depoa bila zadužena samo grupa saradnika, tunity to boast a bit. koja je, sa povremenim spoljnim pomoćnicima, obavila The task to arrange the depots of the Goriški muzej veći deo posla, a prilikom uređenja većina muzejskih was originally assigned to a smaller team of colleagues, radnika je učestvovala svojim idejama, zbog čega ga svi which – with the occasional help of external assistants smatramo svojim. – managed to do most of the work. However, from the Goriški muzej je pokrajinski kompleksni muzej, ko- “ideational”side most of the employees took part in the ji je od osnivanja 1952. godine na različite načine stekao project, that is why we all feel part of it. brojne zbirke, mada većinu materijala koji se čuva nije moguće videti, već je smešten u depoe. Sve do prošle godine razne vrste predmeta smo čuvali na više lokacija na području Gorice, ali danas već možemo da kažemo da je većina predmeta bezbedno smeštena u centralnoj zgradi depoa, u Ajdovščini, koja je auto-putem od sedišta Goriškog muzeja udaljena 35 kilometara. Kada smo odlučivali o adekvatnosti te zgrade, ustanovili smo da ako depoi ne mogu da budu u istoj zgradi u kojoj su zbirke i stručni radnici, dakle ako ih treba prevoziti, svejedno je da li je ta razdaljina 3 ili 35 kilometara. U svakom slučaju treba se pobrinuti za siguran prevoz. Posle dugogodišnjeg truda Goriški muzej je dobio prostorije za depoe od Ministarstva za odbranu u kasar- Sedište Goriškog muzeja na gradu Kromberk u Novoj Gorici ni nekadašnje JNA u Ajdovščini, početkom 1998. godi- The Seat of Goriški Muzej at the Kromberk Castle in Nova Gorica ne. Zgrada je bila sastavni deo kasarne «Srećko Koso- vel» u Ajdovščini i tada je, kao i neke druge zgrade u Goriški muzej is a regional museum. Since its foun- kompleksu, dobila novog vlasnika i namenu. Pored dation in 1952, in different ways the museum acquired zgrade je veliki parking i uopšte rečeno, zgrada ima do- numerous collections. However, most of the collected bar pristup. materials are not displayed, but kept in depots. Up un- Zgrada ima spoljašnje dimenzije 59m x 17m; ima vi- til last year, the many different objects were stored on soko prizemlje i jedan sprat kao i prolazno potkrovlje. various locations in the Goriška region. In contrast, to-

88 day most of the objects are safely stored in the central depot in Ajdovščina, located 35 km away by a highway from the seat of the museum. When deciding about the appropriateness of the location, we came to the conclusion that if the depots cannot be in the same building as the collections and the museum curators – hence, they need to be transported – then 3 or 35 km do not make a difference. In any case, a safe transport has to be provided for. After years of endavours, Goriški muzej was finally able to acquire the depot site from the Ministry of De- fence at the beginning of 1998. The building was part of the complex of the Srečko Kosovel army barracks of the former Jugoslav national army (JNA), which at that time were undergoing changes in ownership and purpose. The building has a big parking and is generally well accessed. It is 59 metres by 17 metres in size. It has a Zgrada za depoe Goriškog muzeja u Ajdovščini high ground floor, an upper floor and an attic. Each The Building of the Goriški muzej depots in Ajdovščina floor has approximately 860 sq. m of usable space, Svaki sprat ima oko 860 m˛ korisne površine, koja je po- which is divided into two parts. In the first part there is deljena otprilike na dva dela. U prvom delu je stepeniš- a staircase and some smaller rooms, whereas the other, te i nekoliko manjih prostorija, drugi, veći deo predstav- bigger part consists of a long corridor, with relatively lja dugačak hodnik, od koga se na obe strane otvaraju big rooms opening on each side (approx. 40 sq. m in si- relativno velike bočne prostorije (većinom imaju površi- ze). At the end of the corridor, there are amenities with nu oko 40 m˛). Na kraju su dovoljno velike sanitarne warm water (washroom). The same room order can be prostorije, sa tekućom vodom. Isti raspored je takođe i found in the upper floor. Since we were satisfied with na gornjem spratu. Pošto nam je takav raspored odgova- such a room disposition, we decided not to change it. rao zadržali smo ga. At the time the huge building was turned over to the Dobili smo ogromnu zgradu koja je bila u žalosnom museum it was in a gloomy state. The army left a havoc stanju, jer je vojska ostavila za sobom zdanje u derut- after its departure and later on refugees were settled in nom stanju, a kasnije su u nju bile useljene izbeglice. the building. Therefore the rooms were adapted for li- Za tu namenu, prostorije su bile prilagođene tako ving and were partitioned with mounted walls. The ini- što su podeljene montažnim pregradnim zidovima. Pri- tial situation was as follows: damaged parquett and ot- likom našeg preuzimanja zgrade, pokazalo se sledeće her flooring, walls were damaged and written all over, stanje: parket je bio oštećen, kao i druge podne obloge, the electrical wiring was grubbed up out of the wall, the zidovi su bili oštećeni i ispisani, električne instalacije lights were removed, the amenities had broken tiles and iščupane iz zida, svetlosna tela demontirana, u sanitar- appliances. Window panes and in some cases casements nom delu su bile razbijene pločice i sanitarna keramika. were missing from the windows and even the doors we- Na prozorima su nedostajala stakla ili cela prozorska re damaged. krila, oštećena su takođe bila i vrata. We also checked the status of the roof where we dis- Prilikom preuzimanja zgrade proverili smo krov i covered possible problems with the etrnite plates on the zaključili da, zbog bure, krovni materijal od eternitnih concrete roof in case of a stronger wind (bora). The pla- ploča na betonskom zidu predstavlja problem, jer je do- tes are old and until today we did not succeed to fully trajao i do danas nam nije uspelo da ga u celosti sanira- renovate the roof though we continually patch it up mo, tako da ga još uvek krpimo(na žalost ponekad pod- (and unfortunately sometimes use buckets and nylons as mećemo kofe i polivinile folije). Pregledali smo takođe i well). We checked the gutters which are now regularly oluke, koje redovno čistimo, tako da ne prokišnjavaju, a cleaned so that they do not wet and there are no pro- nemamo problema ni sa kanalizacijom. Zgrada se nala- blems with the sewage. The building is situated at the zi na obodu zanatskog kvarta. Taj deo grada je noću na- edge of the industrial part of the town. This area is de- pušten, tako da se s vremena na vreme srećemo sa van- serted by night so there were instances of vanadalism dalizmom. Pošto se u napuštene zgrade rado naseljava- from time to time. Empty buildings can host different ju glodari ili insekti, pregledali smo i zatvorili sve po- rodents and insects therefore we checked and closed all tencijalne kanale, kroz koje bi nepozvani mogli da dođu possible channels where these could access the building. u zgradu. In the years 1998 and 1999 we firstly provided for Godine 1998. i 1999. pobrinuli smo se za zaštitu i fi- the protection and physical security of the building and zičku bezbednost zgrade i za prve sanacione radove. commenced with the first reparation works. The outside Uređena je bila bliža okolina, popravljen prilaz i monti- of the building was put in order and the access road re- rana su ulazna vrata i gvozdene rešetke na prozorima. paired. The entrance door was mounted as well as the Na vrata je ugrađena rampa sa kliznim mehanizmom, za iron grids on the windows. On one side of the front door unošenje većih predmeta u zgradu i premošćenje ulaz- a ramp with a towing mechanism was set up that now nog stepeništa. Prostorije na oba sprata su bile očišćene, serves for the introduction of larger objects into the bui- uklonjene su pregrade, prozori zastakljeni i popravljeni lding and for bridging the entrance staircase. The rooms svi metalni delovi. Odstranjen je malter koji se ljuštio sa in both floors were cleaned, the partition walls were re- zidova, zidovi omalterisani, gletovani i okrečeni. Pod je moved, the windows were glazed and the casements re- popravljen, veće rupe popunjene, a zamenjene su i pod- paired. The roughcast that was falling off was removed ne obloge koje su nedostajale. Parket je ishoblovan i and the walls consequently mortared, luted and repain- prelakiran, nameštene su i parket-lajsne. Sva vrata su ted (whitewashed). The pavements were also fixed – la- popravljena i ofarbana, a zastakljen i ofarban je gornji rger holes were filled up and the missing floors were re- pojas prozora u hodniku. Ponovo su razvedene električ- placed. The parquett was wheted and varnished and ne instalacije, a delimično su nameštena i svetla. Tako- furnished with borders. The doors were fixed and repa- 89 đe je popravljena vodovodna instalacija, a u prostorija- inted, as were the fanlights in the corridor. The electric ma za pranje instalirani su bojler i kada. Takođe je bio installation was set up anew and the lights were partly probijen otvor za pristup potkrovlju, koje je ponovo poput in place. The water conduct was also repaired and a pločano. boiler and a trough were placed in the amenities. Access Zgrada je opremljena detektorima dima i protivpro- to the attic was enabled with a new opening and the valnim alarmima. Usput, što se tiče bezbednosti: pošto floor of the attic was set up. depo nije naše stalno radno mesto, ne bismo odmah pri- The building was equipped with fire and security metili ako nešto nedostaje. Zbog toga nam se činilo da je alarms. As regards security: since employees do not adekvatno da pored sistema za bezbednost (alarmi, ka- spend most of their working hours in the depots, any mere....) uspostavimo takođe i sistem unutrašnjeg nad- missing items would not be easily noticed. Therefore it zora, dakle proveru toga, pod kojim uslovima sme da se was necessary to set up a system of internal monitoring uđe u depo i u određene prostorije, ko i kada dolazi, ka- besides the alarm and camera systems, enabling us to kav je pristup ključevima, a sve to - uz vođenje računa have an insight into the access modalities – i.e. who and o tome da se obezbedi redovan i nesmetan rad. S tim je when accesses and leaves the premises, who accesses the takođe povezana ideja, da ako hoćemo da se napravi de- keys etc – taking into account that regular and unob- po koji može da se obilazi (što je i do sada bio slučaj za structed work of the employees should be enabled. In predviđene grupe kolega i posetilaca), moramo da dopu- this context, we have been thinking of setting up a visi- nimo pravila za ulaženje i ponašanje i da rešimo pro- ting depot – which so far already was for preannounced blem nedostatka kadra. Depo je takođe opremljen pro- groups of visitors and colleagues. However, we will ha- tivpožarnim sistemom, sa univerzalnim aparatima sa ve to further elaborate the rules of access and procedu- prahom i hidrantima. Cevi za vodu su razvučene tako da re, whereby also solve the problem of HR shortages. The ne ugrožavaju predmete direktno. Svi koji rade u depou depot has an inbuilt fire-safety system, with fire extin- moraju da polože ispit iz bezbednosti na radu, poznava- guishers and hydrants. The fireplugs are set up in such a nja rada sa opasnim hemikalijama i protiv požarne zaš- way that they do not pose a threat to the objects. Every- tite. one working in the depot has to pass a test on safety at Godine 2000. i 2001. bili su obavljeni i dodatni res- work, on handling dangerous chemicals and fire safety. tauratorski radovi i bili su montirani liftovi: veći tovar- In the years 2000 and 2001 further renovation work ni lift, kod stepeništa i manji lift, za potkrovlje. Inten- was done on the building. A larger hoist was mounted in zivno se počelo sa postavljanjem polica i prvi predmeti the staircase and a smaller lift leading to the attic. Shel- su počeli da dolaze u depo. ves were intesively being put in place and the first ob- Odmah pošto su prostorije bile zatvorene, želeli smo jects were transported to the depot. da proverimo kakvi su klimatski uslovi. Zbog toga smo As soon as the rooms were closed, we began measu- počeli sa merenjem: nabavili smo digitalni merač tem- ring the climatic conditions in the building.We acquired perature i vlage i pobrinuli smo se da se tokom cele go- a digital thermometer and hygrometer and we ensured dine svaki radni dan, u svim prostorijama, izmere vred- that temperature and relative humidity were measured nosti temperature i relativne vlažnosti, koje su nakon every working day in every room throughout the whole toga pažljivo beležene u poseban raspored. year. The measurements were carefully annotated in Pretpostavljali smo da, zbog debljine zidova (do 0,6 special worksheets/tables. m) i klasičnog načina gradnje, te zbog dvostruko zastak- Due to thick walls (0.6 m) and the classical construc- ljenih i dobro zaptivenih prozora, prostorije neće trpeti tion of the building, as well as the double-pane and tig- veće spoljašnje uticaje, što bi htened windows, we anticipa- prouzrokovalo kratkoročnu os- ted that the rooms will not be cilaciju temperature i vlage. subject to strong external cli- Nismo poznavali uticaj slavne matic interferences, which vipavske bure. Pred početak iz- would cause short-term varia- vođenja merenja bili smo u veli- tions in temperature and humi- kom strahu, da će klimatski us- dity. However, we were not fa- lovi biti toliko nepovoljni, da bi miliar with the effects of the za održavanje konstantne adek- notorious Bora wind of the Vi- vatne klime trošak za održava- pavska valley. Before commen- nje depoa u budućnosti bio veli- cing the measuring, we were ki. Merenja su pokazala da su afraid that due to unfavourable uslovi u zgradi prihvatljivi, ma- conditions, which would requi- da zimi malo suviše vlažni (oko re the mantainance of constant 65% RH), zbog čega smo morali climatic conditions, the opera- da preduzmemo mere. U zgradi tion of the depot will be too postoji sistem centralnog greja- costly. Though, the measure- nja, ali koji nije saniran i stoga ment results showed a satisfac- je neupotrebljiv. tory enough picture: the gene- Shvatili smo da bi svaki so- ral climatic conditions in the fisticiraniji sistem zahtevao ve- building were acceptable, but like početne troškove, a takođe i slightly too humid in winter skupo održavanje, što nama nije (approx. 65 % RH). Therefore dostupno. Zato smo se odlučili we had to take action. The in- za najjeftiniju varijantu - odvla- built central heating system živanje. Bez dvoumljenja smo was not fixed and was thus Tabela iz 2003. godine, sa unesenim vrednostima nabavili odvlaživače i pokušali, merenja i označavanje, ako je bio uključen sistem za useless. Since any sophistica- koliko je moguće uz njihovu po- odvlaživanje ted system would require high moć, da poboljšamo uslove. Na- Table for 2003 with appropriate measures, indicating initial and maintainance cost, mestili smo ih u hodnik u pri- whether dehumidification was turned on the budgetary constraints com- 90 zemlju i otvorili pelled us to adopt the cheapest solution – dehumidifica- vrata bočnih tion.We quickly acquired dehumidifiers and tried to im- prostorija, tako prove the general climatic conditions in the building.We da je vazduh cir- placed them in the corridor in the ground floor and ope- kulisao. ned the doors of the side rooms, enabling an unimpeded Dalji rezulta- circulation of air. The new tests proved that we can set ti merenja su po- up a satisfactory climatisation system with the periodi- kazali da perio- cal use of dehumidification devices. The yearly varia- dičnim uklapa- tions in humidity now are between 42 and 57 %, where- njem uređaja by the changes are gradual and the daily variations al- možemo da us- most negligible. On the other hand, we cannot influence postavimo sistem the temperature in the building, which varies between 6 «klimatizacije», °C in winter and 27 °C in summer. Thus, we can speak koji daje zadovo- about natural variations of RH also as a result of chan- ljavajuće rezul- ges in temperature. A slight difference in values can be tate. Tokom cele noticed between northernmost and southernmost rooms godine relativna (min. 1 % RH and up to °C in temperature), as well as vlažnost varira between both floors. To further limit the influences of od 42 do 57 %, sunlight – thus also limiting the overall amount of light pri čemu su pro- – shaders have been installed on windows. For those ob- mene veoma spo- jects that are supposed to be stored in the dark, comple- re, a dnevne pro- Pogled u unutrašnjost depoa s odvlaži- te darkening has been provided. mene su zane- vačima In the meanwhile, measurements have been unimpe- marljive. Na Insight into the interior of the depot dedly carried out and annotated the same way as befo- temperaturu u with dehumidifiers re. Later on, however, we would like to introduce a digi- prostorijama ne tal measurement system, which would allow remote moramo da utičemo i ona varira od 6°C zimi i 27°C u let- access from the conservation workshop in Solkan (Nova njem periodu. Tako, u suštini, govorimo o prirodnom va- Gorica), where data from the Castle of Kromberk are al- riranju RH u zavisnosti od temperature. Opaža se razli- ready being collected in the same way.We can claim that ka u vrednostima između prostorija koje su severnije i the temperature and relative humidity are under control južnije orjentisane (najmanje 1% RH i temperatura do and all measurements documented. However, we are 1°C), kao i između oba sprata. Da bismo što više umanji- still not able to ensure their proper regulation. li spoljašnje uticaje sunčeve svetlosti i samim tim um- Today we have 6 dehumidification devices at our anjili takođe i celokupnu količinu svetlosti, na prozore disposal, which are installed in the corridors, with the smo kasnije postavili zastore. Za one predmete, koji će doors open. In the next phase, where the separate stora- biti čuvani u mraku, predvideli smo potpuno zatamnje- ge of materials is foreseen (so far we keep together only nje. Merenja sada izvodimo redovno i beležimo na isti metal objects from the etnological department), which način kao ranije, a voleli bismo da postepeno prelazimo in turn requires a stricter climatic regime, we will have na digitalni sistem merenja s radijskim prenosom poda- to acquire more dehumidification devices, as well as hu- taka u restauratorsku radionicu u Solkanu, gde se na midifiers, which were not needed so far. ovaj način već sakupljaju podaci za zbirku na gradu Each of the rooms in the depot has its number and a Kromberk. system for the numbering of shelves is being set up. The Možemo, dakle, da tvrdimo, da su temperatura i re- rooms are divided according to the requirements of each lativna vlažnost pod kontrolom, a merenja dokumento- department – the etnological department has most vana, i da ne moramo u potpunosti da obezbedimo nji- rooms (it also has a special depot on a separate location hovo regulisanje. because the museum hosts a large collection of carriages Danas imamo šest odvlaživača i uređaje na hodnici- and coaches), followed by the historical department, ma i otvorena vrata između prostorija. U sledećoj fazi, with the cultural-, art-historical and archaeological de- ako bude moguće, preći ćemo na odvojeno čuvanje ma- parments having the fewest rooms, since special storage terijala koji zahtevaju strožiji režim (trenutno zajedno conditions are required. Each department has rooms in čuvamo samo predmete od metala etnološkog odelje- both floors, enabling us to keep the heavier and larger nja), moramo ćemo da nabavimo dodatne odvlaživače i objects in the ground floor. ovlaživače, koji nam do sada nisu bili potrebni. Prostorije u depou su označene brojevima i podeljene u odnosu na potrebe odeljenja, uspostavljamo takođe sistem obeležavanja metalnih regala. Na taj način najvi- še prostorija ima etnološko odeljenje (pošto takođe imamo veliku zbirku vozova imamo još i poseban depo, na odvojenoj lokaciji), sledi istorijsko odeljenje, najmanje je pripalo kulturnoj istoriji i istoriji umetnosti, kao i arheologiji, gde su predviđeni posebni uslovi čuvanja. Svako odeljenje ima prostorije na oba sprata, čime je omogućeno da se eventualni veći i teži predmeti čuvaju u prizemlju. Mada smo se mi, muzejski radnici, sve ove godine mnogo trudili, na žalost, zaista nismo mogli da se pohvalimo, da na dobar način brinemo o predmetima. Zato smo sada požurili i 2003. i 2004. godine, uz pomoć mlade radne snage, u depoe u Ajdovščini je preseljeno pu- Primer neadekvatnog načina čuvanja u starim prostorijama no predmeta, mada zbirke nisu do kraja postavljene i An example of unsuitable storage in an old storage room 91 uređene. Pojedini predmeti su bili samo premešteni, Inspite of our endavours in the past, we could not drugi, zanemareniji, bili su očišćeni i složeni na police, boast of all the times with proper care of the objects. In tako da kustosi mogu što pre da nastave sa radom -na- 2003 and 2004, therefore, we hurried up and with the ravno, kada uslovi budu primereniji. Ali, nije dovoljno help of young labour force moved a great number of ob- da predmeti u depou dobiju svoj dom, nego je takođe jects to the depots in Ajdovščina. However, the collec- potrebno da se pobrinemo, da stručni radnici dobiju tions are not completely set in place and ordered. Some prijatan radni prostor. Za tu namenu smo neke prosto- objects were only transported, others, which were in a rije opremili tako da imaju mogućnost grejanja, odgova- worse condition, were cleaned up and put on shelves, rajuće radne površine, koje su odgovarajuće osvetljene enabling the curators to continue their work – as soon za rad sa predmetima, pre svega za zaštitu, pakovanje, as the work conditions are favourable. Namely, it is not prenošenje i takođe proučavanje. Tako imamo poseban enough to provide a proper place for the objects in the prostor za dokumentaciju, sa posebnom kompjuterskom depot, but also ensure a friendly working space for the opremom, stolarsku radionicu, prostor za obradu teksti- curators. For this purpose, some rooms have been adap- la, prostor za potrebe restauratora za likovnu umetnost ted to provide for heating, suitable working surfaces i perionicu. Prilikom sređivanja depoa pokušali smo da and apropriate lighting for the work with objects – es- sve vreme poštujemo ne samo ono što je dobro za pred- pecially their protection, packing, moving and studying. met, nego takođe i za ljude, jer, ukoliko se ne bi u no- We have a special room for documentation purposes, vom radnom prostoru dobro osećali to bi se odrazilo i equiped with the necessary computer devices, a room na predmete u završnoj fazi rada. for the treatment of garments and textile, a room for the U depou je stalno zaposlen stručni radnik konzerva- restoration of artworks, a room for the joiner, and a tor-restaurator, koji je uvek prisutan. Zadužen je za laundry.While arranging the depots we tried to take in- kontrolisanje događanja i brine o normalnom toku rad, to account not only what is good for the objects, but al- kada kustosi nisu prisutni. Za studente i druge pomoć- so the needs of the persons who work with those objects. nike, kao i za sve one koji nisu vešti u radu sa predme- If they did not feel well in the new environment, this would sooner or later influence the state of the objects. A conservator-restorer is permanently employed at the depot. He is in charge of the monitoring of the premises and takes care of the regular working process, also when the curators are not present. For the students and other non-qualified assistants, who ar not familiar with the work with objects, the conservators prepared a set of rules of procedure, with detailed instructions on how to handle different types of objects, in order to avoid damages. According to the principle of good housekeeping, the objects have been protected and stored in such a way that enables quick access to them, when required. Eve- rything that has been done so far, allows improvements in the future, when hopefully more money and time will be available.To this purpose the museum has already set certain priorities. At the arrival in the depot, the objects are tempora- rily stored in a large reception (dirty) room, from where they are gradually moved to their proper shelves. In order to allow unimpeded movement of the object, the floors have to be flat and smooth, doors wide enough and the passages through shelves and corridors empty. Special handcarts were made for the movement of the objects, which also serve as depositories. Out of all the objects that come into the depot, after Prostorija za dokumentaciju Documentation room (PC and gum tree!) careful examination the ones that show signs of biologi- tima, mi konzervatori restauratori smo pripremili pisa- na uputstva kako treba da teče rad sa raznim vrstama predmeta, kako bi se izbegla oštećenja. Prema principu dobrog vođenja domaćinstva, do sada smo predmete zaštitili i smestili tako da budu spremni i da nam budu dostupni i, da ih uzmemo sa police, kada su nam potrebni. Do sada smo pokušali da sve uradi- mo tako da kasnije, kada bude više vremena i novca, stanje samo još popravimo. Za tu namenu imamo već određene prioritete. Predmeti su prilikom dolaska u depo smešteni u velikoj prijemnoj (prljavoj) prostoriji, odakle se polako sele prema svom mestu na polici. Za pomeranje predmeta je bitno da su podovi glatki i ravni, vrata dovoljno širo- ka, prelazi između polica i hodnika prazni. Za prevože- nje predmeta bila su napravljena posebna kolica, koja veoma dobro služe i za odlaganje predmeta. Kolica za prevoz predmeta Od svih predmeta, koji dolaze u depo, posle preciz- Handcarts for the transport of objects 92 nog pregleda, u posebnu cal attack are stored in a se- prostoriju smeštamo one ko- parate room where they ji su biološki zaraženi, gde wait for specialists for de- sačekaju stručnjake za dez- sinsection. Those particula- insekciju. Predmete koji su rly at risk are isolated in veoma zaraženi izolujemo u thick plastic bags. Dirty ob- tvrde plastične kese. Prljavi jects are cleaned in the was- predmeti se u perionici u hroom on the ground floor prizemlju očiste i operu i and then transported to a nakon toga prevoze u poseb- special room on the first nu prostoriju na spratu, gde floor, where they are let to se suše i, prema potrebi, zaš- dry and are eventually pro- tite. Ako je predmet veoma tected. If the object is very ugrožen, odmah se šalje u damaged it is immediately restauratorsku radionicu, a sent to the conservation ostali predmeti će se naći workshop, while the rest of tamo prilikom pripremanja the objects will go there be- za izložbu ili kada njihov fore being displayed or opstanak bude ugrožen. when their survival will be Očišćeni i konzervirani at risk. predmeti složeni su na me- So far the objects that talne police, koje su oblože- have been cleaned and con- ne polietilenskom penom, da served have been arranged se predmeti ne klizaju. Za on metal shelves, padded krhke i bezoblične predmete with sheets of polyethylene pobrinuli smo se za privre- (PE) foam to avoid scrat- meni oslonac, podmetanjem ches. Fragile and deformed ili punjenjem beskiselin- objects were supplied with skim papirom. Predmeti na Predmeti čekaju na čišćenje adequate support or stuffed policima su zaštićeni od Objects waiting to be cleaned with acid-free tissue. The prašine tanjom polietilen- objects on the shelves are skom folijom, geotekstilom (poliester) ili pamučnom protected from dust by thinner sheets of polyethylene tkaninom, koju po potrebi operemo. Za veće ili duže foam, geo-textile (polyester) or cotton fabric which can predmete, u koje spadaju uramljene slike, na zidove ili periodically be washed if necessary. For bigger and lon- šine namestili smo metalne mreže, na koje ćemo ih prič- ger objects, among which framed pictures, metal wiring vrstiti uz pomoć kukica, kao i raznim trakama (velkro). was set on interior walls or on movable tracks on which Veći predmeti nepravilnog oblika samostalno stoje u objects will be hung with the help of hooks and bands prostoriji, na namenski napravljenim postamentima. (velcro). Bigger objects of irregular dimensions are stan- Manje sitne predmete različitih oblika čuvamo na poli- ding independently on purpose built supports off the cama. Za njih smo dugo vremena tražili odgovarajuću floor. For the time being, smaller objects of different ambalažu, koja bi bila dostupna na tržištu, jevtina, traj- shapes are kept on shelves. For a long time we have been na, modularna i inertna. looking for suitable containers, that were available on Beskiselinski karton i papir kao materijali nisu doš- the market, inexpensive, durable, modular and inert. li u obzir, pre svega zbog visoke cene, jer ih u Sloveniji Because of high price, acid-free board and paper as ma- samo povremeno izrađuje Institut za celulozu i papir, pa terial were set aside. They are only occasionally produbi zato morali da ga uvozimo, a pored toga kao higros- ced by the Institute for Cellulose and Paper in Ljublja- kopni materijal nije bio odgovarajući. Tako smo odluči- na and therefore have to be imported. Besides being a li da nabavimo tipske polipropilenske sandučiće sa pu- hyghroscopical material they are also not the most sui- njenim zidovima i poklopcem, koji se modularno sastav- table.Therefore we decided to acquire standardized pol- ljaju i u koje ćemo moći da stavljamo raznovrsne pred- ypropylene boxes with full walls and cover that can be mete. Veće sandučiće ćemo moći da pregradimo, odnos- piled up and can hold different objects. Bigger boxes no u njih ćemo moći da stavimo ambalažu manjih di- will be partitioned or further filled with smaller contai- menzija. Kao punilac će poslužiti beskiselinski papir i ners made of the same material. Acid-free tissue will be razne vrste PE pena i folija, za koje ćemo pre nabavke used as a buffer and filler, as well as different polyethy- obezbediti specifikacije o hemijskom sastavu. Pošto du- lene foams and sheets for which we will request techni- bina polica nije svuda prilagođena spoljnim merama cal specifications prior to use. As the depth of the shel- sandučića, za optimalno iskorišćavanje prostorije samo ves does not always fit the dimensions of the containers te sandučiće ćemo slagati u dva ili više redova, jedan na we will try to optimize the use of space by piling them drugi, a uvid u sadržinu će nam omogućiti sistem obele- in two or more rows, while the insight into the contents žavanja (skice, crteži, fotokopije fotografija, ili sva ime- will be made possible by a system of labelling (sketches, na predmeta na sandučićima, a na policima brojevi). Uz drawings, photocopies of photos, or names of objects on to ćemo se pobrinuti za siguran i jednostavan pristup the containers, and numbers on shelves). We will also pomoću merdevinama. Za tekstil pripremamo posebne ensure simple and safe access by ladder. For textile ob- ormane, mada smo za odevne predmete i uniforme na- jects we have designed special wardrobes, while we ha- menili posebnu prostoriju, u kojoj će biti okačeni na ve- ve designated a special room for clothes and uniforms, šalice s podmetačima na ramenima i zaštićene od praši- where they will be hung on hangers with lined shoul- ne u vrećama od tyveka. ders and protected against dust by bags made of tyvek. Za predmete koji prilikom uzimanja zahtevaju For the objects that require special care in handling opreznost, napravićemo namenske kutije prema dimen- we will make purpose-made boxes using suitable mate- zijama od odgovarajućeg materijala (beskiselinski kar- rials (acid-free board and paper and inert adhesives) 93 ton i papir kao i inertna that will offer mechani- veziva), koje će istovre- cal support and protect meno obezbediti meha- against sudden changes ničku potporu i sigurnost in environment at the sa- od iznenadnih spoljašnjih me time (workshops for promena (radionice za iz- manifacturing of boxes radu kutija organizuje are organized by the con- restauratorska radionica servation laboratory of Arhiva Slovenije). Za ar- the Archives of Slovenia). heološki depo predviđa- For the needs of the ar- mo nabavku pokretnih chaeological depot, we metalnih regala, zbog če- plan to acquire movable ga arheološki predmeti metal shelving, therefore verovatno moraju da sa- the moving of objects čekaju selidbu ili konačni and their final placing smeštaj. will probably have to Za depoe je veoma wait. važno da su čisti i prove- It is very important treni. Važno je da pred- that the depots are clean mete i prostorije redovno and ventilated. The ob- pregledamo, te da održa- jects have to be checked vamo čistoću podova i regularly and a general predmeta. Zbog lakšeg level of cleanliness of ob- održavanja čistoće podo- jects and floors has to be va i kao i smanjenja mo- kept. To facilitate the gućnosti dodira sa pod- cleaning of the floors nom vlagom, primereno and to minimize the con- je da su police i predmeti tact with the humidity of odignuti od tla. U zaguš- the ground, the objects ljivim tamnim uglovima and shelves are best lif- lako mogu da se, uz viso- ted from the ground. In ku vlažnost, razgranaju dark and unventilated plesni (gljivice), a u prlja- corners in moulds can vim i pretrpanim uglovi- grow cases of high relati- ma i nepreglednim gomi- ve humidity. Dirty cor- lama materijala rado se ners and massy heaps of naseljavaju štetočine, ko- materials are favourable ji naravno dolaze s novim to growth of pests that predmetima, ali mogu da can be imported by visi- ih donesu i posetioci na tors on clothes and with odeći, sa hranom i sl. Za- food, and of course with to nije na odmet da po- newly acquired objects. vremeno, s baterijskom Therefore it is suggested lampom, pregledamo sve the occasional use of a uglove, da bismo mogli da torch-light for inspec- uočimo razne izmete, bution of corners and we be, dlake - takođe može- have to check for all mo da postavimo lepljive kinds of excretions, paste i dr. Moramo da pa- chrysalids, hairs and furs zimo takođe, da li iz iz- – we can also set sticky laznih rupica drvenih Pogled na složene predmete u policama traps. We also have to predmeta ispada crvoto- Objects stored on shelves pay attention to freshly čina. worm-eaten wood. Uz opšti nedostatak prostora u muzejima depo je Because of a general lack of space in museums, the naravno odgovarajući prostor za čuvanje i svih ostalih depot is of course a suitable place for storing all other predmeta i rekvizita, koji nisu muzealije, kao što je mu- kinds of objects and requisits, which are not museum zejska poslovna dokumentacija (arhiv), publikacije, objects, such as museum buisiness records (archives), oprema za izložbe, ambalaža itd. Zato je najbolje da publications, exhibition furniture, packing materials odredimo posebnu prostoriju za njihovo smeštanje, jer etc. Therefore the best thing to do is to designate a spa- se na kraju, u svakom slučaju, nađu u depou. Mi smo za re room for their keeping, because the depot will be smeštanje tog materijala odredili potkrovlje, koje zbog their final destination anyway.We keep all these meteri- loše toplotne izolacije i opasnosti od prokišnjavanja ni- als on the attic, since its bad thermal insulation and je adekvatno za smeštanje muzealija. danger of leakage makes it unsuitable for storage of Ovo je priča, kako možemo da se postupno, sa malo museum objects. sredstava i mnogo uloženog rada, pobrinemo za zadovo- This is a story how minimal standards for the stora- ljenje minimalnih standarda čuvanja muzejskih pred- ge of museum objects can be reached with little money meta. Dovde je priča srećna. Da bi imala takođe srećan and a lot of work done. Up to this point the story is hap- kraj, za obezbeđenje dovoljnih finansijskih sredstava py. But in order to reach a happy end, our founders and moraće da se pobrinu naši osnivači i finansijeri. financers will have to ensure more financial means. Fotografije: Goriški muzej Photos: Goriški muzej 94 Mila PopovićŽivančević, savetnikkonzervator Mila PopovićŽivančević, councillorconservator Narodni muzej u Beogradu Head of DIANA Centre for Preventive Conservation Rukovodilac DIJANA Centra National Museum in Belgrade Radionica iz preventivne zaštite Preventive Conservation Workshop Kako zaštiti How to Protect sopstvenu baštinu One’s Own Heritage Velika Hoča, Kosovo i Metohija, 2004. Velika Hoča, Kosovo i Metohija, 2004.

IJANA Centar za preventivnu zaštitu - Narodni IANA Centre for Preventive Conservation of the Dmuzej u Beogradu, u periodu od 27. jula do 3. av- DNational Museum in Belgrade participated in the gusta 2004. godine, priključio se aktivnostima Drugog activities of the Second Meeting of the Art Colony Art saziva likovne kolonije ART Foruma Velika Hoča. Bora- Forum Velika Hoča from 27th July to 3rd August 2004. vak DIJANA Centra u Velikoj Hoči bio je sastavni deo The stay of DIANA Centre team in Velika Hoča was an redovnih edukativnih programa Letnje škole DIJANA integral part of the regular educational programmes 2004, organizovan kao Radionica iz Preventivne zaštite, within the Summer School DIANA 2004 and organized pod nazivom «Kako zaštiti sopstvenu baštinu» as a preventive conservation workshop with the theme Tim DIJANA Centra koji je učestvovao u realizaciji “How to Protect One’s Own Heritage”. programa ove Radionce u Velikoj Hoči je bio: Mila Popo- The team of DIANA Centre participating in the rea- vić-Živančević, savetnik-konzervator; Malena Stojčev, lization of the programme of this Workshop in Velika lektor za engleski jezik; Vesna Živković, arheolog; Srđan Hoča made: Mila Popović-Živančević, councillor-con- Radosavljević, apsolvent istorije i Jelena Tucaković, ap- servator, Malena Stojčev, English language editor,Vesna solvent etnologije. Živković, archaeologist, Srdjan Radosavljević, senior Velika Hoča na Kosovu i Metohiji predstavlja danas undergraduate in archaeology and Jelena Tucaković, se- izolovanu srpsku enklavu, sa oko 750 stanovnika, i pri- nior undergraduate in ethnology. pada opštini Orahovac. Ima dosta mladog stanovništva Velika Hoča in Kosovo and Metohija today is an iso- koje je bez posla i ne školuje se. U sadašnjem okruženju lated Serbian enclave with some 750 inhabitants, admi- oni nemaju uslova za to. Imaju organizovane redovne nistratively included in the municipality of Orahovac. autobuske konvoje sa bezbednosnom pratnjom, dva pu- The name Velika Hoča is mentioned for the first time in ta nedeljno do Mitrovice, svake druge subote do Grača- history by the Great Iupannus Stefan Nemanja (1198- nice, do Orahovca..... U jednostranoj su informativnoj 1199) who presented Velika Hoča by a charter to Hilan- blokadi, mogu da koriste samo albanske medije; nema- dar monastery as its metochion. ju nikakvo organizovano dostavljanje novina, radio ili In Velika Hoča live quite a few young people who do TV programa na srpskom jeziku ili iz SCG. not have job or attend schools as the present circum- Ime Velika Hoča-Golema Oča se u istoriji prvi put stances offer no possibility for that. Twice a week there spominje kod velikog župana Srbije, Stefana Nemanje are organised regular bus convoys under escort going to (1198.-1199.), u pismu kojim Golemu Oču daruje ma- Kosovska Mitrovica (Orahovac included) and twice a nastiru Hilandaru kao metoh. month (on Saturdays) to Gračanica. In the sense of in- Velika Hoča danas predstavlja jedinstven kompleks formation they are also blocked out, as only Albanian materijalnog i nematerijalnog kulturnog nasleđa, sa sa- media are accessible; there is no organised distribution držajem koji čine: of newspapers or broadcasting of radio and TV pro- - Nepokretna kulturna baština grammes in Serbian or from Serbia and Montenegro. - Pokretna kulturna baština Velika Hoča is a unique complex of tangible and in- - Nematerijalna kulturna baština tangible cultural heritage, and its contents include: - Immovable cultural heritage - Movable cultural heritage - Intangible cultural heritage Velika Hoča is among rare places in Kosovo and Me- tohija with well preserved almost all heritage contents and forms of cultural property ranging from ancient times until present. Prehistoric and Roman periods material remains are found there as well as rich choice of samples of the medieval culture and of dynamic economic and civilian life in 18th,19th and 20th centuries.

Today Velika Hoča is distinctive for its: - thirteen churches still in service, and remains of three churches, ranging from the 14th to the 19th centuries - Valuable items of church movables and exquisite works of art such as icons, paintings, frescoes, books, icon lamps, candelabres, etc. - historical graveyards with tombstones, from 14th C.There are some indications that they are even ol- Manastir Dečani der than that Dečani monastery - Traditional architecture with the Balkan type of 95 Velika Hoča je, bez sumnje, jedno od retkih mesta na Kosovu i Metohiji, koje ima skoro u potpunosti sačuva- ne sve sadržaje baštine i sve oblike kulturnih dobara, od najstarijih vremena do danas. Tu se susreću evident- ni materijalni ostaci iz praistorijskih i rimskih perioda; razvijeno bogastvo kultura srednjeg veka, i dinamičnog privrednog i građanskog života 18, 19. pa 20 veka. Danas Velikom Hočom dominiraju: - 13 crkava, potpuno sačuvanih i u funkciji, i ostaci 3 crkve, od 14. do 19. veka; - vredni predmeti crkvenog mobilijara i izuzetna kulturno-umetnička dela u crkvama: slike, ikone, freske, knjige, kandila, svećnjaci i dr.; - istorijska groblja sa spomen pločama, od 14. veka, a prema nekim indicijama i starija; - tradicionalna arhitektura sa balkanskim tipom naselja: zgrade za stanovanje, poljoprivredni objekti, vinare, mlinovi, dvorišta, kapije i dr.; - elementi srednjovekovnog života, sa sačuvanom at- mosferom i ambijentom originalnog življenja; - vredno pokućstvo i enterijer, predmeti primenjene umetnosti i arhivski materijal u privatnim kućama; - raznovrsni etnografski predmeti; - tradicionalni poljoprivredni i vinarski alat i oprema; - tradicionalna muzika i pesme; - sačuvani stari zanati; - vekovna proizvodnja poznatog crnog vina, čije korene možemo tražiti u najstarijim vremenima. Očigledno da poziciju Velike Hoče i njene sadašnje padine istorija nije mnogo promenila; i da to i danas predstavlja, na neki način, pogodno prirodno okruženje, koje je sačuvalo skoro sve sadržaje tradicionalnog nači- Devički monah sa meštankom ispred oštećene manastirske kapije Devič monk with local woman in front of damaged monastery gate na života i stvaralaštva. Velika Hoča je danas izuzetna kulturološka enklava, settlements: houses, agricultural objects, wine cel- koja slojevito, hronološki i celovito prati, i još uvek vid- lars, mills, courtyards, gates, etc. ljivo živi, sve segmente svog dugog života, od 14. veka - elements belonging to the medieval way life, still do danas. A po prirodi stvari, i po ostacima materijal- keeping the original ambience nih dokaza koji se u Velikoj Hoči mogu naći, ova istorij- - valuable household objects and the interior of hou- ska i civilizacijska celina se sigurno proteže, na isti na- ses, applied arts items and archivalia kept by fami- čin, i u dublju prošlost. lies To je ono što se u Hoči oseća na svakom koraku i što - various ethnographic objects je čini izuzetnom, osećaj da je nasleđe ostalo skoro ne- - traditional agricultural and wine producing tools taknuto i nedirnuto, sve do današnjih dana. Danas iz- and equipment gleda kao jedan od retkih, preostalih modela gde se hro- - traditional music and songs nološki lanac življenja i razvoja sredine skoro u potpu- - old crafts still in use nosti sačuvao. Prostor gde se neosporno može pratiti, is- - centuries long production of famous red wine traživati i dalje razvijati ovaj istorijski niz. Evidently the geographical position and the hills of Velika Hoča have not been significantly changed through history and it is still natural environment that preserved and still keeps all the contents of traditional living and creativity. Velika Hoča is now a remarkable cultural enclave representing all layers and segments of its long life since the 14th century until present times in the sense of chronology and completeness. It is only understandable that this civilisation and historical whole reaches even deeper in the past, which is testified by material finds. It is the feeling that the heritage remained intact until present days in Velika Hoča that makes Velika Hoča so remarkable. It resembles one of the rare, preserved models of the living and development chain. The area certainly deserves to be researched and further developed. This heritage and its contents make Velika Hoča a unique and recognizable space and it must be a challen- Izgorela freska u crkvi manastira Devič ge for every professional researcher and conservator. Burnt frescoe from the church of Devič monastery Unfortunately, these days Velika Hoča offers a diffe- 96 Ovakav sadržaj baštine čini od Velike Hoče jedin- rent picture, dramatically endangering centuries’ long stveno i prepoznatljivo mesto i uzbudljiv prostor delo- life and historical balance of its heritage. vanja za svakog profesioanalca, istraživača i zaštitara. All what has been carefully cared for, kept and che- Nažalost, ovih dana u Velikoj Hoči može da se vidi rished by inhabitants of Velika Hoča during the past ti- jedna drugačija slika, koja alarmantno preti da naruši mes, now is seriously threatened and devalued. It seems vekovni kontinuitet i istorijsku ravnotežu baštine. there is no interest for the long tradition in high quali- Sve što je tako pomno vekovima negovano, održava- ty civilian and spiritual life in Velika Hoča. When every no i čuvano, pre svega domaćinskim ponašanjem samih third house is closed and deserted now, the rich old hou- žitelja Velike Hoče, danas ozbiljno počinje da se naruša- seholds are decrepit, and buildings dilapidate and de- va i obezvređuje. Za ono što je bila vekovne tradicija cay. The most beautiful examples of traditional archi- održavanja kvalitetnog građanskog i duhovnog života u tecture built with adobe and stone are left almost wit- Hoči, izgleda da više nema interesovanja. Danas, kada je hout any care and maintenance. If any remedying is ur- svaka treća kuća zatvorena i napuštena, bogata stara gent, it is done without much attention and care, main- domaćinstva su oronula, zgrade se urušavaju i propada- ly by cheap concrete blocks and cement. Almost none of ju. Najlepši primerci tradicionalne arhitekture, od nepe- the buildings have been repaired with building materi- čene cigle i kamena, skoro da se ne održavaju. Ako je i al available from the environs of the village. nužno neko hitno saniranje, ono se obavlja uglavnom One could say that all the objects and elements of nezainteresovano i neprimereno, najčešće sa jeftinim cultural and historical heritage are threatened and that betonskim blokovima i cementom. Skoro da se ne može they are not adequately cared for either by professional primetiti upotreba građevinskog materijala iz okruže- institutions of protection and research or state and local nja za popravku ovih drevnih zdanja. level authorities. Everywhere one can encounter exam- Moglo bi se reći da su ovih dana u Velikoj Hoči svi ples of negligence, oblivion and disinterestedness. objekti i elementi kulturne i istorijske baštine ugroženi DIANA Centre for Preventive Conservation survey- i da se o njima ne vodi odgovarajuća briga; ni kod ed the condition of the Velika Hoča heritage from the stručnih institucija zaštite i istraživanja, ni odgovornih point of view of integrative heritage protection: institiucija vlasti, a ni lokalne sredine. Na svakom ko- - churches with surroundings and graveyards raku, susreću se slike nebrige, zanemarivanja, zaborava - traditional architecture, wholes and particular i nezainteresovanosti. items; economy objects and equipment DIJANA Centar je stanje baštine u Velikoj Hoči pos- - possible archaeological sites matrao sa stanovišta koncepta integrisane zaštite baštine: - movable property in churches and church objects, - crkve sa okruženjem i grobljima; family houses - tradicionalna arhitektura, celine i pojedinačne ob- - traditional atmosphere, ambience and way of life jekte; poljoprivredni objekti i oprema; - heritage in function of local environment develop- - potencijalni arheološki lokaliteteti; ment, heritage as basis for contemporary life - pokretna kulturna dobra u crkvama i crkvenim ob- - immediate and broader surroundings jektima, porodičnim kućama; - tradicionalna atmosfera, ambijent i način života; The integrative concept of heritage protection in Ve- - baština u službi razvoja lokalne sredine i okruže- lika Hoča could offer solutions for: nja; baština kao os- - revitalisation of old nov za savremeni ži- churches and archi- vot; tectural cores in the - neposredno i šire ok- preserved heritage ruženje. and traditional at- Integrisani pristup zaš- mosphere titi baštine u Velikoj Hoči - involving the heritage mogao bi da reši: in modern life and - kako revitalizovati presentday circum- stara crkvena i arhi- stances tektonska jezgra, po- - guiding heritage to- moću sačuvane bašti- wards improving the ne i tradicionalne at- quality of life mosfere; - Helping recognition - kako uklopiti baštinu of manifold values of u savremeni život i the heritage first in današnje prilike; the local environment - kako usmeriti baštinu and then beyond it: ka poboljšanju kvali- educational, cultural, teta života; aesthetic, functional - kako omogućiti da se, and economic. prvo u lokalnoj sredi- The concept of integra- ni, a zatim šire, pre- tive preventive conserva- poznaju mnogostruke tion can help with organi- vrednosti baštine: sation of effective interdis- obrazovne, kulturne, ciplinary system of care estetske, funkcional- and protection in order to ne i ekonomske; reduce or even eliminate risks of devaluation and Koncept integrisane protection the heritage; to preventivne zaštite može Nagorele carske dveri iz manastira Zočište provide preserving its aut- pomoći da se organizova- Carske dveri from monastery Zočište partly burnt henticity and integrity 97 njem efikasnog interdisciplinarnog sistema brige i zaš- without making impediments to the current changes tite umanje, ili čak eliminišu rizici obezvređivanja baš- and development.These objectives can be reached by es- tine, obezbedi očuvanje njene autentičnosti i integrite- tablishing adequate protection measures, monitoring ta, a da se ne sprečavaju tekuće životne promene i raz- measures and conservation of the environment. voj. Kroz formiranje primerene zaštite, nadzornih mera i očuvanja okruženja, ove ciljeve možemo postići. Monitoring and condition analysis of cultural pro- Snimanje i analiza stanja kulturnih dobara u Veli- perty in Velika Hoča documented various risk situa- koj Hoči su pokazali više različitih rizičnih situacija: tions: Skoro svi crkveni objekti su ozbiljno ugroženi vla- Almost all church objects are seriously endangered gom, i njene posledice se primećuju na svakom zidu by humidity and dampness and the consequences can be crkve. Nijedna crkva, osim crkve sv. Nikole nema ura- seen on every wall in the churches.With exception of the đen drenažni sistem odvoda vode, i to je ujedno i jedini church of St. Nicholas no other church has a drainage crkveni objekat koji je suv i nema problema sa vlagom. system built. U crkvi sv. Jovana npr. vlaga je stigla do dobro oču- In the church of St. John, for example, the dampness vanih fresaka. Po zidovima skoro svih crkava su vidlji- reached the otherwise well preserved frescoes. Almost va agresivna dejstva vlage: lišajevi, gljivice, buđi, soli. every wall in churches shows visible traces of harmful Unutrašnji mobilijar i drugi predmeti velikim delom su activity of dampness: lichens, fungi, moulds, salts. The već oštećeni dejstvom in- interior movables and ot- sekata i vlage. Ikone puca- her objects have to the gre- ju, deformišu se, bojeni at extent already been da- slojevi i podloga se ljuspa- maged by pests and humi- ju i ljušte, a napadaju ih i dity. The icons crack, get insekti. Stare knjige ugro- deformed, painted layers žavaju insekti i vidljivi and the basis flake and peel tragovi mikroorganizama. off, and insects endanger Električne instalacije them. Old books are endan- u crkvama uglavnom su gered by insects and there neprimerene i u neskladu are visible traces of mi- sa pravilima zaštite od po- croorganisms on them. žara. Electrical installations Krovovi prokišnjavaju in churches are mainly ina- i po pravilu, padavine i dequately done and regard- ptice ulaze u unutrašnjost less of the fire protection crkava, voda i ptičiji izmet requirements. se slivaju niz unutrašnje Roofs are leaking and zidove, oštećujući freske, almost everywhere precipi- ikonostase, ikone i ostalo. tations and birds find their Čest je nedostatak bilo way to the church interior, kakve ventilacije. Neki water and birds’ droppings objekti, kao npr. crkva sv. run down the walls dama- Stefana, nije nikada bila ging frescoes, iconostases, konzervatorski tretirana; icons and the rest. freske su potamnele i teš- Lack of any kind of ko vidljive. ventilation is not rare. So- Ostaci crkava iz sred- me of the objects, for exam- njovekovnog perioda, gde ple the church of St. Step- su još uvek živi tradicija i Oštećena freska iz manastira Zočište hen, have never been con- rituali, nisu nikada arheo- Damaged frescoe from Zočište monastery served; frescoes are dark loški istraživani. and almost invisible. Istorijska groblja su zapuštena i devastirana. Neki Remains of medieval churches still in use have also primerci najstarijih grobova se obrušavaju, spomen obe- never been archaeologically researched. ležja i nadgrobni spomenici padaju, a nadgrobne ploče Historical graveyards are neglected and devastated. se otvaraju (groblje oko crkve sv. Nikole). Arheološka Certain specimens of the oldest graves are ruined, gra- istraživanja nisu nikada vršena, a srednjevekovni nad- vestones and memorial stones fallen down, and tombs grobni spomenici nisu nikada konzervatorski tretirani. are opened (graveyard at St. Nicholas church). No ar- Tradicionalna arhitektura je oronula, većinom bez chaeological investigation has ever been done, or me- odgovarajućih popravki i sanacije. Nekoliko izuzetnih dieval gravestones treated from conservation point of kompleksa gospodarskih kuća, vinara i arhitektonskih view. celina potpuno su se obrušili i nezaustavljivo nestaju. Traditional architecture dilapidated, without neces- Npr. kompleks gospodarske kuće Patrnogića, vinica Ste- sary repairs and remedies done. Several exquisite com- fana Dečanskog i dr. pounds of rich people houses, wine cellars and architec- Sadašnje popravke i sanacije starih stambenih tural wholes such as the house of Patrnogic family, the zgrada i pomoćnih objekata najčešće su u potpunom ne- wine cellar of Stephan Decanski and others, are totally skladu sa pravilima zaštite i revitalizacije. Popravke se demolished and their decay can not be stopped. vrše bez stručnih konsultacija sa profesionalcima i bez Current repairs of old houses and auxiliary objects nadzora odgovornih stručnih lica i institucija. Tako se are in most of the cases done contrary to any relevant prave neverovatne kombinacije tradicionalnog građe- requirement of protection and revitalization. Repairs vinskog materijala, nepečene cigle, kamena i ćerpića, sa are done without any consultation with experts or savremenim betonskim ili ciglarskim blokovima, beto- controlled by experts or institutions in charge of pro- nom i limenim krovnim prekrivačima. tection. This results with very odd combinations of 98 Pojedine arhitektonske celine, zbog nekorišćenja lo- traditional building material (bricks, stone and ado- kalnog tradicionalnog građevinskog materijala za po- be) with modern concrete blocks, concrete and tin roof pravke i sanaciju objekata u potpunosti su izgubile tra- covers. dicionalni ambijent i atmosferu. To su sada delovi arhi- Certain architectural wholes have completely lost tekture ili kompleksi koji su ispod svih standarda kul- their traditional look and ambience as the local and tra- ture, estetike i minimalnih pravila i zahteva zaštite. ditional building material was not used in repairing. So, Mnogi vredni predmeti pokućstva u napuštenim these objects do not meet any cultural or aesthetic stan- zdanjima, npr. kuća Patrnogića, kao što su ćilimi, ručni dard any more, including the minimum protection re- radovi, nameštaj, škrinje, posuđe i dr. propadaju od pra- quirements and rules. šine, vlage, insekata. Stari poljoprivredni alat i oprema Numerous valuable household items in the deserted su nezaštićeni, izloženi atmosferskim uticajima, trule i objects such as kilims, handwork, furniture, chests, kit- korodiraju. chen ware are decaying being covered with dust, attac- Već konzervirana zdanja kao što je kula Janka Koriš- ked by humidity and insects. Old agricultural tools and kog, propadaju zbog neodržavanja i nebrige. Tako, na equipment lay unprotected, exposed to weathering, and ovom objektu, staklo na otvorima ispod krova, koje je they rot and corrode. popucalo nakon bombardovanja 1999. godine, još nije Already conserved buildings, such as the tower of popravljeno. To izaziva stalan prodor atmosferskih pa- Lazar Kujundžić, decay due to neglect. The glass on the davima, ptičijeg izmeta i openings damaged during drugih prljavština. Krov je the 1999 bombing has not u lošem stanju i prokišnja- been repaired yet. Thus the va, što već ima za posledi- rainfalls, birds’ droppings cu ozbiljna oštećenja od and other dirt have an vlage i kiselina, na građe- open way to it. vinskim elementima u unu- The roof is in bad con- trašnjosti ove kule. Nad- dition too, leaking which grobna ploča grobnice iz already caused high level kule je oštećena i otvara se. of humidity and acids da- Sporedne ulice, a često i mage of the building ele- putevi ka crkvama su veo- ments inside the tower.The ma zapušteni, prljavi, puni gravestone in the tower is đubreta, plastičnog otpada, also damaged and can be kai i kanalizacionih voda moved. koje se slobodno slivaju. By-streets and often Privremeni depo u crk- the roads to churches are vi sv. Trifuna je neodgova- most neglected, full with rajući, pun vlage i bez ven- dirt, plastic waste, and se- tilacije vazduha. Nagorele i wage waters flowing. oštećene ikone već propa- A temporary depot in daju od vlage i insekata, the church of St. Trifun is delove drvenih dekorativ- inadequate, full with hu- nih oplata nagrizaju insek- midity and without air ti, fragmente kamene plas- ventilation. The charred tike ugrožavaju mikroorga- and damaged icons are nizmi i lišajevi, metalni ob- suffering from humidity jekti ili metalni delovi na and insects, parts of deco- kompozitnim predmetima rative wooden panelling ozbiljno i agresivno koro- Ruševine konaka u..... are attacked by insects, diraju i dr. Neophodno je Ruins of ...... dormitory fragments of stone plastic hitna sanacija ovog prosto- are endangered by microo- ra od dejstva vlage i konzervacija oštećenih predmeta. rganisms and lichen, metal objects or metal parts on Slična je situacija i sa prostorom, u neposrednoj bli- composite objects corrode, etc. Urgent remedying of this zini iste crkve Sv. Trifuna, gde je smeštena etnografska space is most necessary to protect objects from humidi- zbirka od organskog, neorganskog i kompozitnog mate- ty including conservation of damaged objects. rijala: delovi nošnji, ručni radovi, čilimi i prekrivači, ke- The situation is similar when the space in the vicini- ramika, bakarno posuđe, metalna i drvena oprema za ty of the church is concerned. There is an ethnographic domaćinstvo, mašine i sl. collection with organic, inorganic and composite mate- Masovnost ovih primera, ukazuje na profesionalnu, rial housed: parts of costumes, handwork, kilims and co- lokalnu i državnu nebrigu i neodržavanje, umanjuje vers, ceramics, copper dishes, metal and wooden equip- vrednosti i ugrožava elementarno stanje kulturnih do- ment for households, machines and the like. bara u Velikoj Hoči. The number of the issues given indicate the lack of Međutim, postoje i dobri primeri konzerviranog i caring and maintenance on the professional, local and dobro održavanog tradicionalnog nasleđa: Parohijski state level, they reduce the values and threaten the ba- dom i kompleks uz mesni trg, Crkveni Konak, Dečanska sic condition of cultural property in Velika Hoča. Vinica, nekoliko privatnih kuća. Ovde treba izdvojiti However, there are positive examples of conserved kuću Hadži-Spasića, sa jedinstvenom jerusalimskom and well-kept traditional heritage: the parochial house sobom, relikvijama donetim sa hadžiluka 1853 godine, and the complex around the local plaza, church Refec- dokumentima, ćilimima, tradicionalnim nošnjama i dr. tory, Dečani wine cellar, several family houses. Among Među porodičnim uspomenama ove porodice, koje se these we should mention the house of Hadji Spasić fa- čuvaju od početka 19. veka, može da se vidi vredan ar- mily with its unique Jerusalem room, containing the sa- hivski materijal, nažalost u veoma lošem stanju, sa isu- cred and religious objects brought from the pilgrimage 99 šenim i izlomljenim papirom, koji zahteva hitnu konzer- to Jerusalem in 1853, documents, kilims, traditional vatorsku intervenciju; nekoliko porcelanskih tanjira dress, etc. Among family memorabilia that are kept sin- stare engleske manifakture Staforšir, krčage od italijan- ce the beginning of the 19th century one can find valua- ske majolike, istambulske ibrikei sl. Ceo ambijent ovog ble archive material, unfortunately in very bad condi- porodičnog zdanja, iako često prepravljan prema zahte- tion, dried out and broken paper requiring urgent con- vima proteklih vremena, sa kućom, pomoćnim objekti- servation treatment; several Staffordshire porcelain ma, pokućstvom i dvorištem sa kapijama, govori o gene- plates, Italian majolica jugs, Istambul waterpots and the racijskoj brizi na očuvanju porodične tradicije i nasle- like. The entire ambience of this family building, though đa. Tako je i sa sadašnjom mladom generacijom nasled- reconstructed on several occasions according to require- nika ove stare porodice. ments of the time, including the house, household ob- Primer kuće Hadži-Spasića samo potvrđuje i dosa- jects, furniture and the courtyard with gates testifies dašnja pozitivna iskustva da je naprimerenije i najefi- the long care about the family tradition and heritage kasnije je organizovati da za očuvanje nasleđa brinu lo- preservation. This also refers to the current young gene- kalna sredina i stanovništvo, uz pomoć odgovornih ration – descendants of this old family. stručnih institucija zaštite i vlasti. Zbog toga je DIJA- The Hadji Spasić house example confirms the posi- NA Centar, tokom snimanja stanja baštine u Velikoj Ho- tive experience gained so far that it would be most ade- či, u prvom redu vodio računa o tome da treba: quate and effective that the care about the heritage is - ukazati lokalnom stanovništvu na civilizacijske organised by local population and authorities, with help vrednosti i realno stanje njihovog nasleđa; and support given by responsible professional institu- - ukazati na to koliko oni sami svakodnevnom bri- tions of protection and the authorities.That is why DIA- gom, i često bez velikih finansijskih ulaganja, mo- NA Centre during surveying the heritage condition in gu da urade da se zaustavi obezvređivanje, propa- Velika Hoča paid attention in the first place to the fol- danje i nestajanje nasleđa; lowing tasks that need to be done: - ukazati na zadatke i odgovornosti koji se odnose na - to inform the local people about the values and ac- lokalne zajednice, profesionalne institucije zaštite i tual condition of their heritage: odgovorne organe vlasti SCG i Kosova i Metohije; - inform them what can be done by everyday care - ukazati medijima i širokoj javnosti, u zemlji i u and often without financial costs to stop further inostranstvu, na opasnost od nestajanja drevne devaluation, decay and destruction of their herita- baštine i neophodnost organizovanja interdiscipli- ge: narnog i multidisciplinarnog sistema zaštite; - describe tasks and responsibilities of the local - ukazati na potrebu kreiranja zajedničkog cilja i community, professional institutions of protection zadataka, između profesionalaca, istraživača i zaš- and responsible authorities of Serbia and Monte- titara i svih slojeva društva i vlasti, domaćih i me- negro and Kosovo and Metohija: đunarodnih, o neophodnosti kreiranja efikasnog - share with media and broadest public the kno- sistema čuvanja i brige svih sadržaje baštine na wledge about the possibility for the ancient herita- Kosovu i Metohiji ge to become lost and the need to organise interdisciplinary and multidisciplinary system of protec- U skladu sa centralnom ulogom Narodnog muzeja u tion; muzejskoj mreži naše zemlje, DIJANA Centar radi na - explain the need for formulating a common goal primeni teorije i prakse preventivne zaštite. Zato pred- and list of tasks communal for professional resea- lažemo, da briga za baštinu u Velikoj Hoči započne or- rches and conservators and all layers of society ganizovanjem edukativnih programa, koji bi mogli da and authority, national and international inclu- pomognu lokalnom stanovništvu, lokalnoj zajednici i ding the need to create an effective system of safe- DIJANA Centru u rešavanju sledećih problema: guarding and care for all heritage contents in Ko- - Kako izbeći izvore oštećenja predmeta kulturnog sovo and Metohija. nasleđa. - Kako prepoznati i identifikovati faktore koji ugro- In accordance with the central role of the National žavaju predmete kulturnog nasleđa. Museum in Belgrade in the museum network of the - Kako blokirati i sprečiti uticaje nepoželjnih fakto- country, DIANA Centre is advocating the implementa- ra koji ugrožavaju predmete kulturnog nasleđa. tion of preventive conservation theory and practice. For - Kako definisati strategije delovanja kada se usta- that reason we suggest that the care about heritage in novi prisustvo faktora oštećenja ili uništenja. Velika Hoča should begin with organisation of educa- - Kako organizovati i pristupiti konzervatorskom tional programmes which could help the local people, tretmanu predmeta kulturnog nasleđa (ispitiva- local community and DIANA Centre to solve the follo- nja, čišćenje, stabilizacija i konsolidacija, restaura- wing problems: cija i rekonstrukcija). - avoiding damaging agents that attack the cultural - Kako organizovati konstantne odgovarajuće uslove heritage; čuvanja predmeta kulturnog nasleđa (vlaga, tempe- - recognizing and identifying the elements endange- ratura, svetlost, ventilacija, zagađenja, odlaganje). ring cultural heritage; - Kako organizovati odgovarajuću dokumentaciju - blocking and preventing impacts of undesirable za predmete kulturnog nasleđa, klasičnu i digital- factors endangering the cultural heritage; nu. - defining strategies for acting once the presence of - Kako organizovati odgovarajuća istraživanja, kori- damaging or destroying factors has been stated; šćenje i prezentaciju predmeta kulturnih dobara. - organising and undertaking conservation treat- Program DIJANA Centra, kada je reč o zaštiti kul- ments of cultural heritage objects (examination, turnih dobara u Velikoj Hoči, predstavlja istovremeno cleaning, stabilisation and consolidation, restora- njegovu teorijsku i praktičnu primenu i podrazumeva tion and reconstruction); obaveznu saradnju sa drugim institucijama zaštite. - organising permanent adequate storing conditions Ovaj program bi mogao da obuhvati praktične tretmane of cultural heritage objects (humidity, temperatu- zaštite i konzervacije dela pokretne i nematerijalne baš- re, light, ventilation, pollution, storing); 100 - organising the keeping of adequate records for cultural heritage objects, both standard and digital; - organising adequate research, use and presentation of cultural heritage property. The programme of DIANA Centre when the protection of cultural property in Velika Hoča is concerned implies both its theoretical and practical implementation and requires cooperation with other institutions of protection. This programme could involve practical protection and conservation treatments both for tangible and intangible heritage: movables in churches, households, handicraft workshops, provisional depots. It can cover care for icons, paintings, icon lamps, textile, movables and the like in churches; ethnographic ob- Porušena kula u... jects made of ceramics, wood, leather, textile, etc. as Destroyed turret from..... well as everyday life and traditional crafts objects such as: househols furniture, handworks, kilims, tools, tine: pokretne predmete u crkvama, domaćinstvima, za- equipment, etc. natskim radioncama, privremenim depoima. To mogu The programme should involve also: biti ikone, slike, kandila, tekstil, mobiliar i sl. u crkvama; zatim etnografski predmeti od keramike, drveta, kože, tekstila i dr., predmete svakodnevnog života i tra- - developing ethical attitude of the public, relevant dicionalnih zanata: pokućstvo, ručni radovi, ćilimi, alat, authorities and local community toward their own oprema i dr. heritage; Ovaj program bi uključio i: - legal protection and international conventions co- - etički odnos javnosti, odgovornih institucija vlasti vering heritage care; need for implementation of i lokalne sredine prema sopstvenom nasleđu; legal regulations and systematic protection measu- - pravnu zaštitu i međunarodne konvencije zaštite res; baštine; neophodnost delovanja zakonske regulati- - obligations and activities of international institu- ve i sistematskih mera zaštite; tions of protection; - obaveze i delovanje međunarodnih institucija zaš- - marketing; tite; - methodology for preparing projects and activities, - marketing; etc. - metodologija pripremanja projekata i aktivnosti i dr. Realisation of the programme would be done two- ways and in two places: Realizacija Programa bi išla dvosmerno i na dva - At DIANA Centre in Belgrade where the training mesta: and education with introductory and specialised - U DIJANA Centru u Beogradu, gde bi se mladi, professional training in Preventive Conservation nezaposleni ljudi iz Velike Hoče i okruženja, obu- and active conservation treatments would be orga- čavali i osposobljavali, sa uvodnom i specijalizova- nised for young unemployed people from Velika nom profesionalnom obukom iz Preventivne zašti- Hoča and the surroundings; te i aktivne konzervacije. - In Velika Hoča by organising introductory and spe- - U Velikoj Hoči, organizovanjem uvodnih i specija- cialist courses, workshops, summmer schools, mas- lističkih kurseva, Radionica, Letnjih škola, master ter courses, seminars and the like for the interested kurseva, seminara i sl. za zainteresovano lokalno local people with tutors and collaborators from stanovništvo, sa mentorima i saradnicima iz DIJA- DIANA Centre, from the country and abroad; NA Centra, iz naše zemlje i sveta. - In international institutions, at conferences, semi- - U međunarodnim institucijama, na konferencija- nars, forums, workshops, etc. by permament prema, seminarima, forumima, radionicama i sl. stal- senting and bringing into focus the heritage of Ko- nim prezentovanjem i ukazivanjem na baštinu Ko- sovo and Metohija as valuable civilisational part of sova i Metohije, kao na vredan civilizacijski deo the common European heritage, which is a consti- zajedničkog nasleđa Evrope, koja čini sastavni deo tuent part of the environs and which requires okruženja i kojoj je neophodno kombinovano de- complex action for its preservation. lovanje na njenom očuvanju. DIANA Centre proposes that at the level of the sta- DIJANA Centar predlaže, na nivou države, regional- te, regional and international communities an interdis- ne i međunarodne zajednice, pripremanje i realizaciju ciplinary and multidisciplinary project for integrated interdisciplinarnog i multidisciplinarnog projekta inte- protection of Velika Hoča heritage should be prepared. grisane zaštite baštine u Velikoj Hoči. DIJANA Centar bi DIANA Centre could carry out such a project. mogao da se ukljući u ovakav projekat. It might be possible for Velika Hoca with its envi- Možda bi sredina i okruženje Velike Hoče mogli da ronment to serve as an example and model for develop- predstavljaju primer i model razrade i unapređenja poz- ment and promotion of systemic protection of cultural navanja i organizovanja sistematske zaštite kulturnog heritage on the local, regional, national and internatio- nasleđa, na lokalnom, regionalnom, nacionalnom i među- nal level. The concept of communal cultural heritage, narodnom nivou. Koncept zajedničkog kulturnog nasleđa, proclaimed in numerous declarations and resolutions of proklamovan brojnim deklaracijama i rezolucijama Save- the Council of Europe, might be used here, in this un- ta Evrope, mogao bi ovde, u ovom nesretnom području, da happy region in the endeavour to make individuals and dovede do toga da pojedinci i sve odgovorne zajednice responsible communities to share responsibility for priznaju da dele odgovornost za njegovu zaštitu, bez obzi- their protectin regardless of the geographic location and ra na geografsku lokaciju i političku situaciju. political situation. 101 Dr Radomir Petrović, savetnik, slikarkonzervator Radomir Dr. Petrović, councillor, painterconserva Republički zavod za zaštitu spomenika kulture tor, Institute For Protection of Cultural Monuments Srbije, Beograd of Republic of Serbia, Belgrade Nova metodologija zaštite The new methodology of fragmenata i zapaljenih protection of fragments and freska u manastiru burnt frescoes in the Hilandar Hilandaru i u Prizrenu monastary and in Prizren Nova metodologija zaštite fragmenata New methodology of protection of fresco fresaka arheološki otkrivenih u manastirima fragments excavated in the monasteries of Studenica i Gradac Studenica and Gradac lužbe zaštite spomenika kulture u Srbiji postigle su ultural monuments protection services in Serbia ha- Srezultate na zaštiti fresaka, ikona i slika, tzv. „ne- Cve accomplished substantial results in protecting pokretnih”i „pokretnih”spomenika kulture vizantijske, frescoes, icons and paintings, that is movable and im- srednjovekovne i novije prošlosti. Ono što je nedostaja- movable cultural heritage of Byzantine, mediaeval and lo, to su tzv. interdisciplinarna istraživanja, kao pozna- more recent past. What lacked though was interdiscipli- vanje i korišćenje, pre svega, klasičnih slikarskih tehni- nary research, understanding and using classical pain- ka, kao i savremenih tehničkih mogućnosti. Određene ting techniques, as well as contemporary know-how. vrste individualnih „specijalnosti” po stručnim oblasti- Certain types of individual “specialties”by fields of ex- ma, nisu imale osnovnog sluha za zaštitu celovite sred- pertise did not show enough understanding for protec- njovekovne kulturne baštine, a posebno fragmenata fre- tion of complete mediaeval cultural heritage, especially saka sa porušenih crkava, koji su otkriveni na arheološ- of fresco fragments from destructed churches, discove- kim iskopavanjima. red during archaeological excavations. Konzervacija i restauracija fresaka, predstavlja „pi- Conservation and restoration of frescoes is a delica- pav” posao - mora da se obavi niz prethodnih zaštitnih te work, it is preceded by a range of protective and cu- radova na sanaciji zidnih platna, rative measures on wall-screens, fresko malteru i bojenom sloju. fresco mortar and painted layer. Ove poslove prati i ogromna doku- This work is accompanied by hu- mentacija, fotografska snimanja, ge documentation, photo-docu- fizičko-hemijske analize, konzer- mentation, physical-chemical vatorska deskripcija, iscrtavanje u analyses, conservation descrip- razmeri 1:10 ili 1:20, ikonografska tion, drawings in 1:10 or 1:20 pro- i stilska analiza, vreme nastanka, portion, iconographic and stylistic ktitorski natpisi, ugrebani zapisi - analysis, dating, founder’s in- sve ono što pripada stanju, pre ra- scriptions, carved inscriptions, dova, u toku radova i posle kon- everything considered with the zervatorsko-restauratorskih rado- state of a fresco before, during va; znanja iz istorije umetnosti itd. and after conservation and resto- 1) Fragmenti fresaka manasti- ration treatment, art history data, ra Studenica, Gradac, otkriveni u etc. toku arheoloških iskopavanja i 1. Fresco fragments of monas- njihova konzervacija-restauracija tery Studenica and Gradac, disco- A) Fragmenti portreta velikog vered during archaeological exca- župana Stefana i kneza Vukana, u vation, and their conservation- Studenici, iz XIII veka restoration Autor ovog rada, još kao stu- A) Fragments of the portrait of dent, saradnik Republičkog zavo- the Iupannus Stefan and prince da za zaštitu spomenika kulture Vukan in Studenica, from 13th Srbije, obavljao je slikarsko kon- century zervatorske poslove u vezi otkrive- Portret Velikog Župana Stefana The author of this article was nih, teže oštećenih fragmenata Portrait of the Iupannus Stefan engaged in restoration of heavily fresaka u Studenici, kada su u damaged fragments of frescoes in ulaznoj kuli, pod rukovodstvom Marije Jovin (arhitekta Studenica as a student and collaborator of Serbian In- konzervator), otkriveni fragmenti fresaka portreta Vu- stitute for Protection of Cultural Monuments. At the ti- kana i Nemanjića, sa zlatnim slovima, nastali oko 1208. me, with Marija Jovin as the head architect-conservator, godine. (1) fresco fragments including the portraits of Vukan and B) Fragmenti fresaka molitvenog teksta kraljice Je- Stefan Nemanjić with golden inscription, dating from lene Anžujske, iz XIV veka 1208, were discovered in the gate-tower1.

(1) Marija Radan-Jovin, Studenica, Saopštenja XII, Beograd, 1 Marija Radan-Jovin, Studenica, Saopštenja XII, Belgrade, 1979, str. 10, bel. 23; V. J. Đurić, Portreti na kapiji Studenice, (Les 1979, p. 10, note 23; V.J. Đurić, Portreti na kapiji Studenice (Les por- portrais sur la potre de Studenica), Zbornik Svetozara Radojčića, traits sur la Porte de Studenica), Zbornik Svetozara Radojčića, Fa- Filozofski fakultet. Odeljenje za Istoriju umetnost, Beograd, 1969, culty of Philosophy, Department of Art History, Belgrade, 1969, p. str. 105-111, sl. 1-2; M. Šakota, Novootkriveni natpis iz Studenice, 105-111, Fig. 1-2; M. Šakota, Novootkriveni natpis iz Studenice, Sa- Saopštenja VIII, Beograd, 1969, 87-91; R. Petrović, Otkriće fragme- opšenja VIII, Belgrade, 1969, p. 87-91; R. Petrović, Otkriće fragmena- nata fresaka u ulazu Radoslavljeve kule sa portretima Vukana i Ste- ta fresaka u ulazu Radoslavljeve kule sa portretima Vukana i Stefa- fana Nemanjića. Predavanje Galerija fresaka, Beograd (sreda, 03. 12. na Nemanjića, lecture in Gallery of Frescoes, Belgrade (3rd Decem- 2003, u 18 sati). ber 2003). 102 B) Fragments of frescoes presenting the words of prayer by queen Helen of Anjou from 14th century These fragments were found in the monastery of Gradac, during archaeological survey conducted by archaeologist Aleksandra Jurišić. Preventive painting conservation measures were carried out by Branislav Živković, paintings conservator in the Institute for Pro- tection of Cultural Monuments. On that occasion, only the larger parts of the frescoes were protected, while the smaller parts stayed in bags, cardboard boxes, with notes on trench numbers, etc. This preventive field protection, that is casting into a plaster support, had damaged the fresco mortar (it began drying out and crumbling) and the paint layer (loosing of pigment characteristics, getting a white film of saltpeter, detaching due to loss of the bonding material). During archaeological research in the monastery of Gradac, the author of this article was still a student at the Academy of Fine Arts in Bel- grade and could not participate in preventive conservation of newly found fragments on the site of the monas- 1. Nepoznati mladi Nemanjić, ulomak freske na sigi, oko 1209. tery. In the year 1978, being employed in the Serbian In- godine, manastir Gradac (u toku konzervatorskih radova). stitute for Protection of Cultural Monuments, I was of- Snimio: R. Petrović, 2000. god. fered an opportunity to attempt conservation treatment The unknown young man of the Nemanjić dynasty, fragment of of these fragments and at the same time, as an art histo- fresco, around 1209, the monastery Gradac (during the conser- rian, to interpret mysterious and heavily damaged text vation treatment). The photograph taken by R. Petrović, in 2000. made of white letters on a blue support (lapis lazuli). Fragmenti fresaka pronađeni su u manastiru Gra- By their original characteristics, these fragments, dac, u toku arheoloških istraživanja, koje je, od 1962. do excavated after several centuries, were a first-grade 1972. godine, obavila Aleksandra Jurišić, arheolog. Pre- challenge, not only for conservation, but also possibly as ventivnu slikarsko-konzervatorsku zaštitu nađenih an iconographic and stylistic research, having in mind a fragmenata, na terenu, obavio je Branislav Živković, sli- figure on a tufa support, presenting an unknown young kar-konzervator Zavoda. Tada su samo, zaštićeni otkri- man of the Nemanjić family, from the first half of 13th veni veći delovi fragmenata fresaka, dok su manji ko- century (Fig. 1) and the first half of 14th century. Conse- madi ostali i dalje u kesama, kartonskom kutijama, sa quently, the author of this article had to approach the arheološki obeleženim brojevima sondi, itd. Ova preven- work not only as a paintings conservator, but also as an tivna terenska zaštita, zalivanje ulomaka u gipsane pod- art historian, a sculptor and a graphic artist. Having in loge, loše se odrazila na fresko malter (počeo je da se su- mind that the work was published with an adequate ši, zrni i otpada) i slikani sloj (gubi svojstvo slikanih conservation procedure, we shall describe here only the pigmenata, dobija belu skramu šalitre, bojeni sloj se osi- segment referring to the presentation of the fragments pa, zbog gubitka veziva). U vreme arheološkog otkrića u from the Gradac monastery themselves: manastiru Gradac, autor ovog rada, bio je još student Classification of all the fragments by colours: green, Akademije za likovnu umetnost u Beogradu, i nije uče- blue,black,ochre,red; stvovao na preventivnoj konzervaciji novootkrivenih Arrangement by the thickness of fragments, bonding fragmenata na terenu u manastiru Gradac. Godine of original pieces; 1978, po zaposlenju u Republičkom zavodu za zaštitu Arrangement of segments of damaged figures of sa- spomenika kulture Srbije, ponuđeno mi je da pokušam ints – part of head, mouth, nose, eye, fingers and rest of da ulomke fresaka konzervatorski obradim, a kao isto- body; ričar umetnosti da pokušam da „iščitam” zagonetni i Analysis of forms and damaged fragments with whi- teško oštećeni tekst belih slova na plavoj pozadini (lapis te letters and joining into an adequate letter or word; lassuli)? Calking of all fragments in 1:1 proportion, recon- Po svojim izvornim svojstvima fragmenti fresaka is- struction by drawing morphology of the letters, writing kopani iz zemlje, posle nekoliko vekova, bili su prvoraz- a list of letters, drawing composition of the scene, head redni izazov, ne samo za konzervaciju, već i moguće iko- nografsko-stilsko istraživanje lika fragmenta freske na of the Christ Emanuel with halo, red border – these are sigi, nepoznatog mladog Nemanjića iz prve polovine XI- all very important details of the unknown ensemble. II veka (sl. 1) i prve polovine XIV veka. Pristupajući ovom neobičnom „arheološkom”poslu, autor ovog rada, Conclusion: morao da konzervatorske probleme sagledava i rešava i Fragments have, undoubtedly, great historic-artistic kao istoričar-umetnosti, vajar, grafičar. Imajući u vidu value, especially the joined segment: da je ovaj rad publikovan sa konzervatorskim odgovara- The composition of the Child Christ with the halo, jućim postupkom, opisaćemo samo deo koji se odnosi na half-length figure, blessing with both his arms; samu prezentaciju fragmenata iz manastira Gradac i to: The prayer of the queen and nun Helen of Anjou, the Klasifikacija svih fragmenata po bojama: zelena, wife of king Uroš I and the mother of kings Dragutin plava, crna, oker, crvena; and Milutin. The prayer begins with words:»Vladiko čo- Grupisanja po debljini fragmenata, lepljenje orgi- vekoljubče2...» (Fig. 2).The text and the composition we- nalnih komada; re painted after her death (1314). The nun Helen was Grupisanje delova oštećenih likova svetitelja - deo proclaimed a saint after «appearing in a dream of the glave, usta, nos, oko, prsti i ostalih delova inkarnata; bishop of Ras», so her body was taken out of the grave Ispitivanje oblika i oštećenih fragmenata sa belim slovima i spajanje u odgovarajuće slovo ili reč; 2 “Bishop, the man-loving...” 103 Kalkiranje svih frag- in the southern part of the menata fresaka u R. 1:1, re- naos and transferred to a konstrukcija crtežima mor- guilded wooden coffin and fološkog oblika slova, izra- placed in front of the ico- da zbučnika slova, kompo- nostasis, close to the pain- zicije scene, glava Hrista ted figure of Christ; Emanuela sa oreolom, bor- The analysis of the mys- dura crvena, svi su oni bili terious and heavily dama- veoma važni kao odrednica ged text was carried out buduće još nepoznate celi- having in mind that her ne? sons, kings Dragutin and Zaključak: Milutin, as well as their wi- 1. Fragmenti ulomaka ves, the queens Katelina imaju, nesumnjivo, veliko (Hungarian princess) and istorijsko umetničko zna- Simonida (Greek princess, čenje, naročito sklopljeni deo i to: daughter of Andronicus II, a) kompozicija Hristos Byzantine emperor) were Mladenac sa oreolom, do- co-founders of the monas- pojasna figura, blagosilja tery3. obema rukama; b) otkriven je molitveni Burnt frescoes of the tekst kraljice i monahinje Hilandar monastery Jelene Anžujske, žene kra- The ancient monastery lja Uroša Prvog, majke kra- of Hilandar “The home of ljeva Dragutina i Milutina. the Most Holy”, founded at Molitveni tekst počinje re- the end of 12th century, is čima: «Vladiko čovekoljub- situated in the territory of če..» (sl. 2). Tekst i kompo- Greece, on the Atos penin- zicija nastali su posle njene sula. The endowers of the smrti (+ 1314), Monahinja 2. Hristos Mladenac u medaljonu i molitveni tekst kraljice Jelene Hilandar monastery, aro- Jelena je, posle „javljanja u Anžujske, XIV vek. Manastir Gradac. Ulomci fresaka koji su pron- und 1198, were the Serbian snu raškom episkopu”, ađeni u zemlji prilikom arheoloških radova. Rekonstrukcija i Grand Iupannus Stefan postala svetiteljka, te je konzervacija ulomaka fresaka R. Petrović, 1987. god. Nemanja, Simeon as monk, njeno telo izađeno iz zemlje The Child Christ in medallion and the prayer of the queen and his son, young prince i iz groba na južnom delu Helen of Anjou, 14th century, the monastery Gradac. The fres- Rastko, who became a naosa prebačeno u drveni co fragments found in the ground during archaeological exca- monk after “leaving this pozlaćeni sanduk i izloženo vations. Reconstruction and conservation of the fragments by worldly realm”and was napred ikonostas, kod slikane R. Petrović in 1987. med Sava. After they died, figure Isusa Hrista; the main monastic church g) ceo posao oko iščitavanja zagonetnog i teško ošte- in Hilandar was named “Home of venerable Simeon and ćenog teksta, može da se poveže sa ktitorstvom njenih St. Sava”. Hilandar was the spiritual centre of Nemanjić sinova, kraljeva Dragutina i Milutina i kraljica (kraljice Jelene), i snaje Kateline (princeze Mađarice) i Simonide 3 Aleksandra Jurišić, Običaj sahranjivanja fragmenata živopisa (princeze Grkinje, ćerke Andronika Drugog, vizantij- i delovi arhitektonske plastike (Coutumes d’enterrement des frag- skog cara). (2) ments de peinture murale et des parties d’ornaments architectura- ux), Saopštenja, Republički zavod za zaštitu spomenika kulture Re- (2)Aleksandra Jurišić: Običaj sahranjivanja fragmenata živopi- publike Srbije (Communications. Institut pour la protection des mosa i delovi arhitektonske plastike (Coutumes d’ enterremnet des numents historiques, Republique Serbie), part XIII, Belgrade, 1981, fragments de peinturesmurale et des parties d’ornaments architec- p. 169-176. In her work, A. Jurišić mentions several other examples turaux), Saopštenja Republički zavod za zaštitu spomenika kulture of fresco fragments discoveries, namely in following locations: SR. Srbije (Communications, Instutut pour la protection des monu- Church of St. Peter and Paul in the Žiča monastery (p. 169-170); the ments historiques da la republique de Serbie), knj. XIII, Beograd, northern chapel of the older single-nave basilica in the Gradac Mo- 1981, str. 169-176. A. Jurišić u njenom radu, navodi i druge primere nastery (170-172); Church in Panik (172-173); Gate of the Studeni- otkrića ulomaka fresaka i to: Crkva sv. Petra i Pavla u Žiči (169- ca monastery (173); Studenica Dormitories from 1927 (173-175). Ra- 170); Severna kapela starije jednobrodne bazilike u Gracu (170- domir Petrović, Konzervacija i prezentacija fragmenata fresaka ma- 172); Crkva u Paniku (172-173); Porta manastira Studenice (173); nastira Gradca iz XIII veka, Glasnik Društva konzervatora Srbije, Studenički konak iz 1927. godine (173-175); Radomir Petrović: Kon- part 7, Belgrade, 1983, p. 7-82. Cf: Kulturno nasleđe Srbije 1947- zervacija i prezentacija fragmenata fresaka manastira Gradca iz XI- 1982. Trideset i pet godina rada i razvoja Republičkog zavoda za II veka, Glasnik društva konzervatora Srbije, knj. 7, Beograd, 1983, zaštitu spomenika kulture u Beogradu, Gallery of Serbian Accade- str. 7-82. Up.: Kulturno nasleđe Srbije 1947-1982. Trideset i pet go- my of Science and Arts, Belgrade, 1982, p. 50; Radomir Petrović, Ne- dina rada i razvoja Republičkog zavoda za zaštitu spomenika kultu- ka iskustva u konzervaciji, restauraciji, i prezentaciji zidnih slika, re u Beogradu, Galerija SANU, Beograd, 1982, str. 50; R. Petrović, the lecture given during the seminar Fresco painting protection met- Neka iskustva u konzervaciji, restauraciji i prezentaciji zidnih slika, hodology, Serbian Association of Conservators, Institute for protec- Savetovanje Metodologija rada na zaštiti zidnog slikarstva. Društvo tion of cultural monuments of Serbia, Belgrade, Institute for protec- konzervatora Srbije. Republički zavod za zaštitu spomenika kultu- tion of cultural monuments in Kraljevo; Sopoćanska Viđenja 26, 27 re, Beograd. Zavod za zaštitu spomenika kulture, Kraljevo. Sopo- and 28, 1982, following articles (not published): Konzervatorsko-res- ćanska viđenja, Novi Pazar, 26, 27 i 28. V 1982 (Zbornik nije objav- tauratorski rad u Crkolezu, Povodom restauracije priprate u manas- ljen). Rad je u rukopisu: 1. Konzervatorski-restauratorski rad u Crk- tiru Gračanici, Konzervatorska otkrića u Velikoj Hoči, Konzervator- olezu; 2. Povodom restauracije priprate u manastiru Gračanici; 3. ska istraživanja u Šatornji; R. Petrović, Konzervacija i prezentacija Konzervatorska otkrića u VelikojHoči; 4. Konzervatorska istraživa- fresaka manastira Gradac iz XI, XIII, XIV veka, lecture given in the nja u Šatornji; R. Petrović, Konzervacija i prezentacija fresaka ma- Gallery of Frescoes, Belgrade (3rd December 2003). On this occa- nastira Gradac iz XI, XIII, X1V veka. Predavanje Galerija fresaka, sion, the author talked about some new methodological research Beograd (03.12.2003.). Ovom prilikom izneo sam i novija metodološ- and conservation: Conservation and presentation of frescoes from ka istraživanja i konzervaciju: Konzervacija i prezentacija fresaka iz the church of St. Nicolas, from 14th-18th century.The author also crkve Sv. Nikole iz XIV-XVIII veka. Autor ovog rada, priprema rad prepared several other articles for publication: The fresco fragments za publikovanje: Ulomci fresaka molitvenog teksta za grob kraljice with the prayer for the grave of queen and nun Helen of Anjou, from i monahinje Jelene Anžujske iz XIV veka iz manastira Gradac. 14th century, in the Gradac monastery. 104 Zapaljene freske manastira Hilandara royal family lands and Serbian people. Na teritoriji Grčke, u Svetoj Gori Atoskoj, nalazi se The Hilandar monastery of Virgin Mary was recon- drevni manastir Hilandar, Dom Presvete Bogorodice”, structed and enlarged in the 14th century by the Serbian iz kraja XII veka. Ktitori manastira Hilandar, oko 1198. king Milutin. Serbian kings coming to the throne after godine, bili srpski veliki župan Stefan Nemanja, koji se Milutin were also generous, among them king Stefan zamonašio dobivši ime Simeon, i njegov sin, mladi princ Dečanski and his son, king and emperor Stefan Dušan Rastko, koji se, „ostavivši carstvo ovog sveta”, zamona- the Great, duke Lazar and his son despot Stefan Laza- šio pod imenom Sava; posle njihove smrti crkva manas- rević, despot Đurađ Branković, many Serbian aristo- tira Hilandara naziva se”Dom prepodobnog Simeona i crats and other donors. svetitelja Save”. Hilandar je duhovni centar Nemanjića In the night between 3rd and 4th March 2004, around i srpskog naroda. 1 a.m. a part of the dormitories, churches and chapels of U XIV veku, manastir svete Bogorodice, obnovio i the Hilandar monastery was set on fire4 . Fire attacked proširio srpski kralj Milutin. Potom su i ostali vladari northwestern part of the dormitories (built in 1821), the Nemanjići, bili darežljivi ktitori kao: srpski kralj Stefan home of the prior, cookhouse, the guesthouse close to the Dečanski i njegov sin kralj i car Stefan Dušan-Silni, monastery gate. It further attacked the “White Dormi- srpski knez Lazar i njegov sin despot Stefan Lazarević, tory” (built in 1598) and destroyed everything all the despot Đurađ Branković i mnogobrojna srpska vlastela way to the Tower of St. Sava (Fig 2, before fire). I will i obični priložnici. mention only several examples of the frescoes destroyed U noći oko jedan sat, između 3. i 4. marta, 2004. go- in the fire and deconstruction caused by the fire. These dine, požar je zahvatio je deo konaka i crkava i kapela are: manastira Hilandara. Vatrena stihija zahvatila je seve- rozapadni deo konaka (1821), igumenariju, dohiju, go- 1. The Church of St. Sava and St. Demetrios stoprimnicu ka glavnoj ulaznoj kapiji manastira. Po- The church was built together with monastic cells tom se raširio na „Beli konak” (1598) i uništio sve do after the fire of 1778/79, when the older dormitory, bui- velikog pirga svetog Save (sl. 2, pre požara). Navodim lt in 1639/40, was destroyed. The church is situated on samo nekoliko primera fresaka stradalih od požara i the west side of the monastery. Within the hard-built rušenja nastalog zbog izgorelih drevnih drvenih greda i dormitory to: there are two churches: the Church of St. Sava, with a dome, situated above the church of St. Demetrius, bui- 1. Crkva Svetog Save Srpskog i Svetog Dimitrija lt at the same time. There were several valuable fresco Crkva je sagrađena zajedno sa stambenim monaš- cycles presenting “The life of St. Sava” and the cycle of kim kelijama posle požara 1778.-1779. godine, u kome je “The life of St. Demetrius of Thessalonica”, the patrons bio izgoreo stariji konak iz 1639.-1640. godine. Nalazi se of these churches. Beside of the burnt frescoes, there we- na zapadnoj strani manastirske porte. U okviru zidanog re many frescoes destroyed in deconstruction, covered konaka postoje dve crkve i to: svetog Save Srpskog, ko- with mortar. Some of the frescoes just hang there half- ja ima kupolu i nalazi se iznad crkve svetog Dimi- detached from the wall, falling down, exposed to weat- trija, sa kojim je podignuta istovremeno. Postojalo je her conditions and climatic changes (high daily tempe- nekoliko dragocenih ciklusa iz “Života svetog Save Srp- ratures, cold winter nights, rain, wind, snow). I even skog” i ciklus iz “Života svetog Dimitrija Solunskog”, found some old books covered with mortar, once belon- patrona hramova. Pored izgorelih fresaka, mnoge freske ging to a monastic cell. su propale od rušenja, zatrpane u šutu. Neke freske vise At high temperatures, secco-mortar and the paint potklobučene u vidu „čaršava”, obrušavaju se i izložene layer (painted on dry mortar) resemble stone, become su atmosferalijama (velike dnevne temperature ili hlad- fragile and, due to fire, paint looses its original colour

3. Ulomak freske izgorele u crkvi u zapadnom delu konaka manastira Hilandara. Burnt fresco fragment from the church in the western part of the dormitories of the Hilandar monastery. 105 ne zimske noći, kiša, vetar i sneg). U šutu sam pronašao properties, becomes colourless, with grayish-white stare knjige iz jedne monaške kelije. stains (Fig. 3). Many frescoes are completely ruined, as, Zbog veoma velike toplote seko malter i bojeni sloj for example, those in the Tower and the Church of St. (slikano na suvom malteru), “okamenjen je”, trošan, a Nicholas. Paintings conservators-restorers are to face usled požara bojeni sloj je izgubio svoje orginalne kolo- saving of fresco fragments from the ruins and their res- rističke vrednosti, te je postao bezbojan, sa sivkasto-be- toration on the original support. There are still many lim flekama (sl. 3). Mnoge freske su potpuno uništene, problems to solve, depending on architectural conserva- kao u kuli i crkvi Sv. Nikole itd. Pred slikarima konzer- tion work, restoration of these churches, chapels and vatorima-restauratorima je spasavanje ulomaka fresaka dormitories they are situated in. There is also a new iz šuta i njihovo vaspostavljanje na prvobitna mesta. Os- methodology question referring to conservation-resto- taje još mnogo problema koji zavise od arhitektonskih ration: Is it possible, after re-attaching frescoes that ha- konzervatorskih radova, obnavljanja ovih požarom stra- ve completely lost their colouristic properties, to restore dalih crkava, kapela i konaka u kojima se nalaze. Osta- them with pigments, based on accurate colour photo- je nam novo metodološko konzervatorsko-restaurator- graphs? In my opinion, it would be unforgivable restora- sko pitanje: posle „povratka” fragmenata fresaka koje tion sin. su sasvim izbledele, da li je moguće restaurirati pigmentom, na osnovu fotografija u boji? Moj stav je da bi to Burnt monuments of Prizren bio veliki restauratorski greh! On 17th and 18th March 2004, Albanian terrorists set on fire and heavily damaged cultural monuments in an- Zapaljeni spomenici Prizrena cient town of Prizren. In last six years (since 1999), af- Godine 2004. 17. i 18. marta, šiptarski teroristi su za- ter the war, more than 150 orthodox churches and mo- palili i teško oštetili spomenike kulture u drevnom gra- nasteries in Kosovo and Metohija were destroyed. In du u Prizrenu. Na Kosovu i u Metohiji u toku poslednjih Prizren and its surroundings, many churches were built šest godina (od 1989.), posle ratnih sukoba, uništeno je by rich donors and, according to a story told by old citi- preko 150 pravoslavnih crkava i manastira. zens of Prizren, none of the eparchies was so rich with U Prizrenu i okolini tzv. prizrenskoj oblasti, u sred- churches as the Prizren Eparchy. It is said that “Prizren njem veku su sagrađene mnogobrojne vlastelinske crk- had as many churches as there are days in a year”. Priz- ve; prema jednom predanju starih prizrenaca ni jedna ren was famous eparchy centre during the rule of Nema- episkopija nije bila tako bogata crkvama kao prizren- njić family, in the Byzantine times. Ancient cathedral of ska. Po ovom pripovedanju, smatra se da je “u Prizrenu the Virgin Ljeviška, with well-known fresco paintings bilo onoliko crkava koliko dana u godini”. Grad Prizren from St. Sava times, dates from this period. St. Sava was bio je poznato episkopsko sedište u vreme Vizantije i the first Serbian archbishop (1219) and Prizren was im- Nemanjića. Iz tog vremena je i drevna katedrala Bogo- portant eparchial centre of newly found Serbian church. rodica Ljeviška, sa poznatim živopisom iz vremena sve- In recent events, a fresco painting called “miraculous tog Save, prvog srpskog arhiepiskopa (1219), od kada je Image of the Most Holy” was mentioned as being dama- Prizren postao značajno episkopsko mesto novoosnova- ged. It is probably the fresco-icon presenting the Mother ne srpske crkve. Pominje se ikona “čudotvorni obraz of God with the Child who is nourishing and protecting Prečiste”, najverovatnije je u pitanju fresko ikona sa the poor, dating from 1220. It was systematically destro- predstavom Bogorodice sa malim Detetom Krmiteljem yed and finally burnt on 17th March 2002. Hraniteljem siromašnih, oko 1220. godine, iz Bogorodi- The cathedral of the Virgin Ljeviška was restored ce Ljeviške; freska je nasilo uništavana i zapaljena 17. during the rule of Serbian king Milutin, in 14th century. marta 2004. godine. Katedralna crkva Bogorodice Lje- In the recent arson, the construction of the church was viške je obnovljena u vreme srpskog kralja Milutina, u heavily damaged, the stone bifore with capital was hea- XIV veku. vily damaged by heat, all the wooden parts of suppor- U namernom požaru, marta 2004.godine, crkva je ting pillars in the bell-tower were also damaged, toget- građevinski veoma oštećena, kamena bifora sa kapite- her with fresco paintings in them. The paint layer and lom je od velike jare teško oštećena, svi drveni delovi fresco mortar in the church are almost completely rui- nosača na kuli zvonika su stradali, a sa njima i fresko ži- ned with fire, and I will mention only some of the exam- vopis. Zbog velike vatre gotovo je sasvim uništen bojeni ples: the composition of the endowers from Nemanjić sloj i fresko malter u crkvi, kao primer navodimo samo dynasty, numerous standing figures of saints and marty- nekoliko: ktitorska dinastička Nemanjićka kompozicija, rs in the lower zone, presentations of the Virgin, holly mnogobrojne stojeće figure svetitelja i mučenika u prvoj women, the presentation of “The Christ of Prizren”,“The zoni, prikazi Bogorodice, svetih žena mučenica,“Hristos Story of Barlaam and the prince Josaphat” showing in- Prizrenski”,“Povest o Varlamu i kraljeviću Josifu” (uti- fluences of Buddhist art in Byzantine and catholic me- caj iz budističke umetnosti na vizantijsku i katoličku diaeval art, The Last Judgement, genealogy of Jesse, la- srednjovekovnu umetnost), Strašni sud, Loza Jesejeva, rge compositions – “St. Demetrius on horse”,“St. Geor- velike scene: „Sv. Dimitrije na konju”, „Sv. Đorđe na ko- ge on a horse”, “St. Daniel in lion cave”, the presenta- nju”, „Danilo među lavovima”, ktitorska kompozicija tion of the endowers, king Milutin and St. Simeon Ne- kralj Milutin i sv. Simeon Nemanja, sv. Sava prvi srpski manja, St. Sava the I Serbian archbishop, king Stefan arhiepiskop, kralj Stefan Prvovenčani i kralj Stefan De- Prvovenčani (the First Crowned) and king Stefan De- čanski itd. čanski, etc. Kao na freskama u Hilandaru, isto tako i u crkvama In the same way as on the frescoes of the monastery prizrenskim, usled vandalskog martovskog namernog Hilandar, due to intentional deconstruction, burning rušenja i paljenja i visoke temperature “jare”, pigmenti and heat, pigments in the churches of Prizren also chan- su promenili kolorit ili izgubili autentičnost kolorita, a ged their properties and lost the authenticity of colours. samim time je nestao izvorni kolorit, tj. Pretvoren je u The coloured areas turned into greyish-white stains in sivobele fleke u Bogorodici Ljeviškoj (XIII-XIV), crkvi the church of Virgin of Ljeviška (13th-14th centuries), Sv. Nikole Tutićeva (XIV), Sv. Spasa (XIV), Sv. Nikole - St. Nicolas of Tutić family (14th C), Christ the Saviour Koraćeva (XIV), Sabornoj crkvi Sv. Đorđa (XIX), crkvi (14th C), St. Nicolas of Korać family (14th C), cathedral Sv. Đorđa braće Runovića (XV) (sl. 18), crkvi Sv. Nikole of St. George (ž9yh C), church of St. George – church of 106 Manastir Hilandar stradao u požaru Monastary Hilandar devastated by fire

Foto “Pravoslavlje” Rajkova (XIV), crkvi Sv. Nikole Dragoslava i Bele Tutić (XIV), crkvi Sv. Nedelje kralja Marka Mrnjačevića (XIV), Isposnici Sv. Petra Koriškog (XIII-XIV), Sv. Ar- hanđelima Mihaila i Gavrila (XIV) i crkvi Sv. Nikole i MUZEJI I novim monaškim konakom sa kapelom, skulpture i mo- zaički pod zadužbine srpskog cara Dušana. U mnogo- Mila Popović-Živančević, Muzejski savetnik, brojnim crkvama u Prizrenu i okolini, zbog opasnosti po Narodni muzej u Beogradu život, nismo mogli da snimimo postojeće stanje! Rukovodilac DIJANA Centra za preventivnu zaštitu Kao da se ponavlja vreme kada su Turci osvojili Ca- Predsednik Nacionalnog komiteta IKOM-a SCG rigrad 1453. godine i od plena se toliko obogatili, da se kod njih dugo posle toga u poslovici za bogatog čoveka Ovo je prva Generalna Konferencija i Skupština odr- govorilo „plenio je u Carigradu”, u prenosnom smislu za žana u Aziji, a učestvovalo je oko 1500 delegata iz celo- krađu ikona i crkvenih bogoslužbenih i drugih predme- ga sveta. Učestvovala su tri predstavnika iz Srbije i Crne ta možemo reći za Šiptare da su „plenili”u carskom gra- Gore: Mila Popović-Živančević, predsednik Nacionalnog du Prizrenu. komiteta IKOM-a SCG, muzejski savetnik-konzervator, Nama zaštitarima ostaje, za sada, gorak ukus u grlu Narodni muzej u Beogradu; Deana Ratković, sekretar i duši, mnogobrojne pravoslavne svetinje i mošti svetite- Nacionalnog komiteta IKOM-a, kustos, Narodni muzej u lja, temeljito su porušeni. Pomenuću crkvu Sv. Vrača Beogradu; i Mladenko Kumović, muzejski savetnik, Kuzmana i Damjana u selu Zočištu (XIV), Sv. Joanikija član Nacionalnog komiteta IKOM-a, Muzej Vojvodine. Devičkog (XV), obnovljenu crkvu Bogorodičinog Vave- denja u Belom Polju (1868.), podignutu uz pomoć ruske snovna tema Konferencije u Seulu „MUZEJI I carice Marije Aleksandrove, itd. Materijal građevinski i ONEMATERIJALNO NASLEĐE“ treba da po- crkveni mobilijar, ulomci fresaka, ikona, raznose se bul- mogne da se unapredi kulturni identitet svih regiona dožerima, zemlja se ravna za parkove, garaže, stambene sveta i da se razumeju kulturne raznovrsnosti global- zgrade, servise zanatlijske, javne toalete itd. nog društva. U skladu sa osnovnom ulogom koju IKOM ima u (3) R. Petrović: Izveštaj o stanju crkava i živopisa manastira Hi- razvoju muzeja i muzejske profesije, ova tema je landara u Svetoj Gori, posle požara od 4. marta 2004. godine, predat Ministarstvu kulture i informacije i Republičkom zavodu za zaštitu određena još na predhodnoj, 19. Generalnoj konfe- spomenika kulture. Autor ovog članka, posetio je Hilandar u okviru renciji i 20. Generalnoj skupštini IKOM-a, u Barselo- državne posete, pod pokroviteljstvom Ministarstva kulture i informa- ni, juna 2001. godine. cija, koju je predvodio ministar Dragan Kojadinović, zamenik Mirol- jub Radosavljević, pomoćnik Miladin Lukić i pomoćnik Vlada Tomčić. Međunarodna zajednica muzejskih profesionala- Autor je obavio snimanja digitalnim fotoaparatom i konzervatorsku ca je tada imala u vidu da je za mnoge grupe, manji- deskripciju i to: od 29. juna do 19. jula 2004. godine, ukupno 21 dan. ne ili populacije, nematerijalno nasleđe vitalan izvor identiteta, duboko ukorenjenog u istoriji svakog naroda, grupe ili manjine. Runović brothers (15th C century; Fig. 18), church of St. Životna filozofija, vrednosti, moralni kodeksi, na- Nicolas of Rajko (14th C), St. Nicolas of Dragoslav and Bela Tutić (14th C), church of St. Cyriace of king Marko Mrnjavčević (14th C), the hermitage of St Peter Koriški (13th-14th C), Holy Archangels Michael and Gabriel (14th C) and church of St. Nicolas with new monastic MUSEUM dormitory and chapel, as well as sculptures and mosaic floor in the endowment of the Serbian king Dusan. Ma- 20th ICOM General Conference ny churches in Prizren and its surroundings could not be For the first time a General Conference and approached, entered and surveyed due to life danger. It reminds of the times when Turks conquered Con- General Assembly were held in Asia and they gath- stantinople in 1453 and got so rich, that long after that ered about 1500 delegates from all over the world. very rich man was said to have “pillaged as in Constan- From Serbia and Montenegro three participants took tinople”. In fact, it referred to the looting of icons and part in these meetings: Mila Popovic-Zivancevic, religious objects, so it can be also said for Albanians and chairperson of the ICOM National Committee of Germans that they pillaged in the royal town of Prizren. Serbia and Montenegro, museum councillor-conser- People dealing with preservation of heritage are left vator, National Museum in Belgrade; Deana Ratkovi}, in bitterness, since numerous orthodox monuments and secretary, ICOM National Committee of Serbia and relics are systematically ruined. I will also mention Montenegro, curator, National Museum in Belgrade; church of the Holy Healers Cosmas and Damian in the Mladenko Kumovi}, member of ICOM National village of Zočište (14th C), St. Joanikije of Devič (15th C), Committee of Serbia and Montenegro, museum restored church of the Entrance of the Virgin Mary into councillor, Museum of Vojvodina the Temple, in Bijelo Polje (1868), built with help of the Russian czarina Maria Alexandrovna, etc. Building material and church furniture, fresco and icon fragments are destroyed with bulldozers, church grounds are turned into parks, car parks, buildings, various public services, etc.

4 R. Petrović, Izveštaj o stanju crkava i živopisa manastira Hi- landara u Svetoj Gori, posle požara od 4. marta 2004. godine. This report was sent to the Ministry of Culture and Information and to the Institute for the protection of cultural monuments of Serbia.The author visited Hilandar within an official state visit, under the pa- tronage of the Ministry of Culture and Information, with the minister Dragan Kojadinović and his assistants Miladin Lukić and Vlada Tomčić. The author took photographs and did a conservation description/documentation. It lasted for 21 day, between 29th June and 19th July 2004. 108 nematerijalno nasleđe 20. Generalna konferencija i 21. Generalna skupština IKOMa, Seul, Južna Koreja, 2. 8. oktobra 2004.

čin mišljenja prenošen usmenom tradicijom, jezici i raz- ličiti oblici prihvaćeni u određenim kulturama, čine osnovu života zajednice. Kada je reč o ovom nasleđu, posebno se vodilo računa o činjenici da ga njegova efe- merna priroda čini veoma ranjivim. Imajući sve ovo u vidu, u trogodišnjem periodu izme- đu dve generalne konferencije i skupštine, između Bar- selone i Seula, IKOM je pokrenuo među svojim član- stvom u celom svetu široku diskusiju na temu nematerijalnog nasleđa i uloge muzeja u njegovom proučavanju, prezentovanju i zaštiti. Cilj ovih diskusija je bio da se prouče svi elementi koji nematerijalno nasleđe treba da uključe u definiciju i sadržaje muzeja. Osnovna tema Konferencije u Seulu „Muzeji i nematerijalno nasleđe“ imala je težište na ulozi muzeja i zajednice u promociji i zaštiti nematerijalnih kulturnih dobara. Svi događaji vezani za rad i aktivnosti u Seulu dali su priliku okupljenim delegatima iz celoga sveta da raspravljaju o ovom intrigantnom predmetu kulturnog nasleđa. Svaki muzejski profesionalac dobio je retku i dragocenu mogućnost da pronikne u dubinu duhovnog, psihološkog i mentalnog sveta raznih kultura i tradicija. Postojeći kulturni programi, koje su pojedine zemlje već pokrenule, ilustrovali su jedinstvene i raznovrsne tradicije različitih kulturnih grupa. Konferencija je istinski pružila veliku mogućnost muzejima iz celog sveta da ojačaju solidarnost i razmenu profesionalnog znanja i iskustava. and Intangible Heritage and 21st ICOM General Assembly, Seoul, Republic of Korea, 28 October 2004

he main theme of the Seoul Conference MUSEUMS Mila Popović-Živančević, Museum councillor, TAND INTANGIBLE HERITAGE was aimed at National Museum Belgrade enhancing cultural identity of every region in the world Head of DIANA Centre for preventive conservation and better understanding cultural diversity of the glob- Chairperson of NC ICOM Serbia and Montenegro alizing society. In compliance with the basic objectives of ICOM in studies of all elements that support the inclusion of the development of museums and museum profession, intangible heritage in the definition of museum and its the theme was chosen already at the 19th ICOM General programmes. Conference and the 20th ICOM General Assembly held Conference theme in Seoul “Museum and intangible in Barcelona, in June 2001. heritage” focused on the role of museums and the com- The international community of museum profes- munity in promotion and safeguarding of intangible sionals had in mind that intangible heritage was for cultural property.All related events in Seoul were open- many groups, minorities or populations the vital source ing possibilities for delegates to discuss this intriguing of their identity, deeply rooted into the history of every issue when heritage is concerned. Every museum pro- nation, group or minority. fessional was invited to use a rare and most valuable Philosophy of life, values, codes of ethics, mind-sets opportunity to get insight into the depths of the spiritu- transmitted by oral tradition, languages and various al, psychological and intellectual entity of various cul- forms distinctive for certain cultures make the basis of tures and traditions. The existing cultural programmes, community life. Special attention was paid to the fact already launched in some countries, highlighted unique that this heritage is very fragile due to its ephemeral and diverse traditions of different cultural groups. The nature. Conference was a genuine possibility for museums Having all this in mind, in the past three year peri- worldwide to strengthen their solidarity and exchange od between the two general conferences and assemblies, of professional knowledge and experience. between Barcelona and Seoul, ICOM initiated broad discussion among its membership about intangible her- Cultural property itage and the role of museum in its investigation, pres- Cultural assets are created in the process of man- entation and safeguarding. The aim was to encourage agement of human society along with the nature. They

109 Kulturno dobro include cultural values which are worth preserving as Kulturna dobra se formiraju u procesu upravljanja well as the natural heritage of outstanding beauty. životima ljudskog društva, uporedo sa prirodom. Oni Either tangible or intangible, cultural property is uključuju kulturne vrednosti koje zaslužuju da budu the essence, the foundation of the national culture. sačuvane, kao i prirodno nasleđe, koje poseduje inzva- Every national declaration on cultural heritage advo- rednu lepotu. cates the need for concentrated efforts in a society Kulturna dobra, bez obzira da li su materijalna ili aimed at safeguarding cultural heritage and its envi- nematerijalna, predstavljaju esenciju, suštinu, bazu na- ronment, at preventing its destruction; once cultural cionalne kulture. Svaka nacionalna deklaracija o kul- property becomes damaged it can never reverse into its turnom nasleđu kaže da u jednom društvu svi zajedno former state again. Every individual is bound by the treba da rade na zaštiti istorijkog nasleđa i njegovog national policy to accomplish the most important, orkuženja, na sprečavanju njegovog uništenja; jer, kada sacred objective – to transmit to the future generations je kulturno dobro jednom oštećeno ono nikada više ne their spiritual and material heritage, as they inherited it može biti vraćeno u njegovo prvobitno stanje. Nacio- from their forefathers. Therefore, every national strate- nalna politika obavezuje sve pojedince da obave svoj gy on cultural heritage should insist upon: najvažniji, najsvetiji zadatak i da budućim geneacijama Cultural property to be saved in their original form; prenesu sopstvena duhovna i materijalna dobra, kao što Cultural property and its environment to be protect- su ih njihovi preci ostavili njima u nasleđe. Zato, sva- ed against adverse, inappropriate development; ka nacionalna strategija o kulturnom nasleđu bi treba- Cultural property should never be destroyed, stolen la da nalaže da: or subject to illicit trafficking under any circumstances Kulturna dobra moraju biti sačuvana u njihovom as they are above all material values; originalnom obliku; Value of cultural property must be studied and Kulturna dobra, kao i njihovo okruženje moraju bi- awareness about it disseminated through education in ti zaštićeni od nepovoljnog, neodgovarajućeg razvoja; school, society and family; We should all contribute to protection, development, Kulturna dobra nikada ne smeju da budu uništena, presentation and interpreting of the national history ukradena ili predmet ilegalne trgovine, pod bilo kojim and culture. uslovima ili okolnostima, jer su ona iznad materijalnih vrednosti; Vrednost svakog kulturnog nasleđa mora da bude Definition of Intangible Heritage proučavana i širena kroz obrazovanje u školi, društvu i People create their tangible and intangible heritage porodici; in their natural surroundings thus recognizing the con- Svi mi moramo da doprinesemo zaštiti, razvoju, tinuity of life in all its diversity. prenošenju i prezentaciji nacionalne istorije i kulture Throughout the world the museums have been committed to collecting, preserving and safeguarding, Definicija nematerijalnog kulturnog naslea researching, exhibiting and exchanging material assets, U svom prirodnom i socijalnom okruženju ljudi both cultural and natural. And museums were estab- stvaraju materijalno i nematerijalno nasleđe, koje izra- lished as places where researching and enhancing of the žava kontinuitet života u svim njegovim raznovrsnosti- community, interpreting the heritage and educating the ma. public should be performed. Muzeji su do sada, u celom svetu, bili okrenuti pr- The culture, however, has not only the form of mate- venstveo prikupljanju, čuvanju i zaštiti, istraživanju, rial property but consists also of intangible elements. izlaganju i razmeni materijalnih dobara, kulturnih i They are transmitted from generation to generation prirodnih. A muzeji su ustanovljeni kao mesta za istra- through language, music, theather, life philosophy and živanje i razvoj zajednice, tumačenje nasledstva i edu- attitudes, ways and practices, rituals and many other kaciju javnosti. forms, mediations as well as objects and places where Ali, kultura se izražava i manifestuje ne samo u for- ideas of humanity are located. mi materijalnih dobara, već takođe i posredstvom ne- Museum communities around the world recognize materijalnih elemenata. Oni se prenose sa generacije na that in the future they will have to pay much more sub- generaciju, posredstvom jezika, muzike, pozorišta, ži- stantial attention to the intangible information as well votne filozofije i stavova, postupaka, prakse, običaja i as to material sources by developing interdisciplinary čitavog niza drugih formi, medijacija, kao i predmeta i approaches. mesta, u kojima su locirane ideje ljudskih bića. In order to safeguard heritage recourses museums Muzejske zajednice širom sveta sada priznaju da će are bound to constantly carry out their essential duty: ubuduće morati da poklone značajnu pažnju nemateri- collecting, safeguarding and protecting, researching, jalnoj informaciji, kao i materijalnim izvorima, i to kroz presenting, displaying, educating. jačanje interdisciplinarnih pristupa. Definition of intangible heritage at the Seoul Naravno, da bi sačuvali izvore ukupnog nasleđa, Conference relied on UNESCO Convention, adopted at muzeji moraju da nastave svoj dalji suštinski rad na the General Assembly in Paris in October 2003. And this prikupljanju, čuvanju i zaštiti, istraživanju, prezento- definition that was used for articulating UNESCO vanju, izlaganju, obrazovanju. Convention reads: “The intangible cultural heritage means the practices, representations, expressions, Definisanje sadržaja nematerijalne baštine, na kon- knowledge, skills – as well as the instruments, objects, ferenciji u Seulu, uglavnom je polazilo od UNESKO- artefacts and cultural spaces associated therwith – that ove Konvencije, usvojene na Generalnoj Skupštini u communities, groups and, in some cases, individuals rec- Parizu, oktobra 2003.godine. A definicija koja je pos- ognize as part of their cultural heritage. The intangible lužila za nacrt UNESKO-ove Konvencije glasi ”Nema- cultural heritage, transmitted from generation to gener- terijalno kulturno nasleđe podrazumeva praksu, ation, is constantly recreated by communities and predstavljanje, izražavanje, znanje, sposobnosti - kao i groups in response to their environment, their interac- instrumente, predmete, artefakta i kulturne prostore tion with nature and their history, and provides them povezane sa njima - koje zajednice, grupe i, u nekim with a sense of identity and continuity, thus promoting slučajevima, pojedinci prepoznaju kao deo svog kultur- respect for cultural diversity and human creativity”. 110 nog nasleđa. Ovo nematerijalno nasleđe, prenošeno iz generacije u generaciju, zajednice i grupe uvek iznova kreiraju kao odgovor na svoju okolinu, interakciju sa prirodom i istorijom, što im stvara osećaj identiteta i kontinuiteta i na taj način one promovišu poštovanje za kulturnu raznovrsnost i ljudsku kreativnost ”.

Nematerijalno kulturno nasleđe uključuje : z glasove z vrednosti z tradicije z jezike z usmenu istoriju z folklor i mitologiju z znanje o prirodi i univerzumu z kreativnost z prilagodljivost z raznovrsnost ljudi

Svi ovi sadržaji popularno se izražavaju kroz tradicionalne proizvode: z muziku z dramu i poeziju z folklorne igre z običaje z rituale z religiozne ceremonije z ratničke igre z ispričane priče z Intangible cultural heritage includes: z umetnost koja se stvara z sounds z tradicionalne veštine, zanate i tehnologije z values z kulinarske veštine -tradicionalne kuhinje z traditions z odevanje z languages z staništa - prostore za stanovanje z oral history z načine ponašanja z folklore and mythology itd. z knowledge and practice concerning nature and the universe Nematerijalna dobra imaju veliku istorijsku, aka- z creativity demsku i umetničku vrednost i odražavaju posebno lo- z adaptability kalne karakteristike. z human diversity „Nematerijalno“ u ovom slučaju znači umetničku aktivnost ili tehniku koja nema formu. Ona se označa- All these contents are expressed through traditional vaju kao kulturna dobra kada ih ovlašćeni pojedinci products: (označeni kao „čuvari znanja“) ili odgovarajuće organi- z music zacije sa umetničkim i tehničkim sposobnostima aktua- z drama and poetry lizuju. z folklore z customs Zaštita i razvoj nematerijalnih kulturnih dobara z rituals Nematerijalna kulturna dobra su duhovne vrednos- z religious events ti, koje predstavljaju identitet naroda kome pripadaju. z martial art Ona su nacionalna imovina, koja mora da bude preneta z storytelling na sledeću generaciju. z performing arts z traditional skills, crafts and know-how Sistem nasleivanja značajnih z culinary traditions and food preparation nematerijalnih dobara z clothes and body coverings Treba napomenuti da je UNESKO 1996. potvrdio z habitats – living spaces južno-korejski sistem definisanja i zaštite nematerijal- z gesture, movement nog nasleđa kao sistem koji može da posluži kao uzor. etc. Nematerijalna kulturna dobra uče, praktikuju i nas- Intangible property is of great historic, academic leđuju ovlašćeni pojedinci – „čuvari znanja“ i odgova- and artistic value and it represents local characteristics rajuće organizacije. Oni se ohrabruju i pomažu da nas- in particular. tave sa održavanjem i čuvanjem tradicionalne kulture. “Intangible” in this case denotes artistic activity or know-how that have no physical form. They are defined Da bi aktivnosti koje se odnose na sistem nemateri- as cultural property when they are realised by autho- jalnih kulturnih dobara bile stabilne i sistematske, ko- rised individuals (called :holders”) or relevant organisa- rejski sistem sugeriše da je potrebno održavati konzis- tions having artistic and technical capacities. tentnu proceduru nasleđivanja veštine, u kojoj učestvu- ju „čuvari znanja“, učesnici kurseva obuke i studenti, Protection and development of intangible kao i lica sa akademskim titulama. Osnovni zadatak cultural property „čuvara znanja“ predstavlja širenje kulture i da omogu- Intangible cultural assets are spiritual values repre- će da ih sledeće generacije naslede. senting identity of a nation they belong to. They are 111 Preporučuje se uspostavljanje edukativnih centara national property which must be transmitted to the gen- za kulturno nasleđe, kako bi se ljudi lakše upoznali sa erations to come. nematerijalnim kulturnim dobrima. Posebnu pomoć odraslima, u upoznavanju tradicionalne kulture, System of inheriting important predstavljaju turističke ture, koje organizuju lokalne intangible heritage uprave. Pri tome određenu korisnu ulogu imaju suve- It should be noted that UNESCO confirmed in 1996 niri, ali i lokalni folk festivali. Ovi festivali mogu da se the South Korean system of definition and safeguarding koriste i za kulturni turizam, čime se maksimalizuje intangible heritage as a reference system. mogućnost uživanja u lokalnim kulturnim dobrima. Intangible heritage is taught about, practiced and Brze promene u načinu življenja, kao i tendencije inherited by authorised individuals – holders and rele- globalizacije postepeno narušavaju, uništavaju kultur- vant organisations. They are encouraged and supported na dobra. Muzika i igra, koji su nekada bili javni sim- in maintaining and safeguarding the traditional culture. boli rafiniranosti, sada su predstave koje se izvode na In order to make activities related to system of scenama, zanati koji su bili bitni za život, sada su pos- intangible heritage stable and systematic , the Korean tali nekorisni, a veštine i folklorne igre, koje su stvara- system suggests it is necessary to maintain a consistent le atmosfere svečanosti i slavlja zajednice, nestaju jed- transmission procedure of skills with participation of ni za drugima. Danas razne organizacije, škole, društvo holders, participants in courses and students as well as i cela nacija, moraju sistematski da sarađuju i na efika- scholars. The basic task of holders is to disseminate cul- san način da štite i staraju se o nematerijalnim i mate- ture and enable its transmission to the next generations. rijalnim dobrima, koja sadrže nacionalni duh. It is recommended that cultural heritage educative Potrebno je usmerenim naporima stvarati uslove centres are established to help people learn about intan- da svako može da uživa u tradicionalnoj kulturi. gible cultural heritage. A particular help for grown-ups U svakom slučaju, procedura koja obavezuje muze- in learning about traditional culture is provided by organizing tourist tours by local authorities. Souvenirs je i odgovorne institucije vlasti, kada je reč o nemateri- and local folk festivals can also be of help. These festi- jalnom nasleđu, podrazumeva: vals can be included in cultural tourism programmes thus increasing opportunities to enjoy in local cultural Identifikaciju nematerijalnog kulturnog dobra ebents and property. Predloge za označavanje nematerijalnog kulturnog Fast changes of the way of living, as well as globali- dobra sation trends gradually damage and destroy cultural Određivanje procedure procesa obeležavanja i pro- property. Music and dance, once public symbols of refinement, now turned into shows, crafts once essential glašenja nematerijalnog kulturnog dobra for living became useless and skills and folklore dances Određivanje procesa zaštite i konzervacije nemate- once part of festivities and festive events in a communi- rijalnog kulturnog dobra ty disappear one after another. Today relevant organi- Određivanje načina finansiranja nematerijalnog sations, schools, society and the entire nation have to kulturnog dobra systematically cooperate and effectively safeguard and care about both the intangible and tangible assets Na Konferenciji u Seulu je prezentovan IHOT, novi expressing the spirit of the nation. It is necessary to make targeted efforts to enable all časopis za nematerijalno nasleđe i usmenu tradiciju. to freely enjoy in the traditional culture. IHOT izdaju Međunarodni institut za nematerijalno In any case, procedure binding museums and nasleđe i usmenu tradiciju i Muzej bajki/priča, u Polj- responsible authorities when intangible heritage is con- skoj. Obe institucije su uključene u brojne studije u ovoj cerned includes: oblasti, u kojoj je učinjen značajan napredak, naroči- - identification of intangible cultural property, to u korišćenju inovativnih primena novih tehnologija - proposals for designation of intangible cultural za medije u sakupljanju, deponovanju, izlaganju i čuva- property, nju materijala. IHOT je multidisciplinarna publikacija, - establishing procedures for the process of safeguarding and conservation of intangible heritage,

112 koja treba da obezbedi jednu vrstu foruma za razmenu - defining fund raising methods for intangible her- najnovijih teorijskih i empirijskih istraživanja, ideja i itage. metodologije, posvećenih analitičkim studijama, čuva- During the Seoul Conference the new magazine for nju i popularizaciji nematerijalnog nasleđa i usmene intangible heritage and oral tradition IHOT was presented. IHOT is being published by the International tradicije. Institute of Intangible Heritage and Oral and Časopis želi da privuče pažnju akademskih struč- Storyteller Museum in Poland. Both institutions partic- njaka, koji su već našli svoje mesto u ovoj oblasti, ali i ipate in various studies in the field and have made a sig- mladih istraživača, koji će doneti nove i izazovne ideje, nificant progress particularly when innovative i koji će postati njegovi čitaoci i saradnici. approach to collecting, storing, exhibiting and safeguarding the material is concerned by applying new Na kraju, posle višegodišnje diskusije u muzejskoj achievements of digital technology. IHOT is a multidis- svetskoj mreži, o civilizatorskom značaju nematerijal- ciplinary publication intended to provide a forum for nog kulturnog nasleđa, a u skladu sa razvojem društve- the exchange of up-to-date theoretical and empirical research, ideas and methodology, devoted to analytical ne uloge muzeja, 21. Generalna Konferencija i 20. Ge- study, preservation and popularisation of intangible neralna Skupština IKOM-a preporučuju muzejima, i heritage and oral tradition. odgovornim institucijama društva i vlasti da se nemate- The journal would like to attract attention of schol- rijalno nasleđe uključi u definiciju i sadržaje muzeja. U ars who have already been established in the field as well tom smislu, dalje se preporučuje da se za to odrede as that of young researchers with innovative and chal- smernice i metodologija profesionalnog muzejskog raz- lenging ideas, both as target readers and contributors. voja: Finally, pursuant to years-long discussions in world Odrediti definiciju i sadržaj nematerijalnog nasleđa museum network about the civilisational significance of u skladu sa lokalnim i nacionalnim tradicijama i prili- the intangible cultural heritage and in compliance with the development of the social role of museums, the 21st kama; ICOM General Conference and 20th ICOM General Odrediti značaj nematerijalnog nasleđa u lokalnoj i Assembly recommended that museums and responsible regionalnoj zajednici, kao i u odnosu na društva u sve- social institutions and authorities included intangible tu; heritage into the definition and mission of museum. To Odrediti znanje i kompetencije, neophodne za rad sa this end guidelines and methodology of professional nematerijalnim nasleđem; development of museums were also recommended: Dopuniti edukativne programe u osnovnom i uni- To establish definition and contents of intangible verzitetskom obrazovanju sa nematerijalnom baštinom; heritage in compliance with local and national traditions and circumstances; Dopunititi i aktuelizovani sadašnje programe mu- To define the importance of intangible heritage for zeološkog obrazovanja sa nematerijalnom baštinom local and regional community and in relation to the Odrediti kao potrebu da muzeji utvrde načine na ko- world society; je treba raditi sa materijalnim i nematerijalnim nasle- To define knowledge and competence required for đem; working with intangible heritage; Odrediti u muzeju i društvu metodologiju istraživa- To enrich the educative programmes in the primary nja, zaštite i prezentacije nematerijalne baštine; and university education with intangible heritage; Identifikovati druge institucije, koje su zaintereso- To complete and update the current programmes in vane za nematerijalno nasleđe. museum training with intangible heritage; Prateće aktivnosti To stress the need for museums to establish methods Kao sastavni deo rada mećunarodnih komiteta for work with tangible and intangible heritage; IKOM-a i razrade osnovne teme Konferenacija „Muzeji To establish in the society and in museums method- i nematerijalno nasleđe“, organizovan je veliki broj raz- ology required for research, protection and presentation ličitih manifestacija u Seulu i unutrašnjosti zemlje. of intangible heritage; Imali smo priliku da se upoznamo sa festivalskim mani- To identify other institutions having interest in festacijama posvećenim prezentaciji i zaštiti nemateri- intangible heritage. jalne baštine u Južnoj Koreji, i drugim zemljama Dale- kog istoka. Other activities Posetili smo i etno sela, koncipirana na primeni raz- Many events in Seoul and in other places were part ličitih sistema integrisane zaštite baštine. Pada u oči of the activities of the international ICOM committees izuzetno velika poseta i interesovanje svih slojeva jav- and of the basic Conference theme “Museums and nosti, za sva mesta sa sadržajima tradicionalne, ali i Intangible Heritage” discussions. We had the chance to moderne baštine. Ono što je evidentno i što smo poseb- attend festival events covering heritage presentation no uočili, to je ogroman broj školske dece koja dolazi or- and conservation methods in South Korea and other Far ganizovano i sistematski, i koje smo susretali prilikom East countries. svih poseta spomenicima kulture ili drugim manifesta- Visits to heritage sites illustrated the application of cijama baštine. various systems of integrated protection of heritage. Potrebno je naglasiti, da smo se u Južnoj Koreji Noteworthy was the number of visitors and great inter- susreli sa velikim brojem materijalnog i nemateri- est of all society layers for sites and spaces having con- jalnog nasleđa, koje je stavljeno pod zaštitu UNES- tents of the traditional as well as of contenporary her- KO-a. Vidljiva je strateška, sistematska i efikasna briga, odgovornih stručnih institucija i celog društva itage. Particularly notable was the great number of na negovanju i očuvanju baštine u Južnoj Koreji. Us- schoolchildren visiting these spaces in an organised and peh ove organizovane brige korejskog društva potvr- systematic manner.We saw them at every event and visit đuje se, između ostalog, i impresivnom listom kultur- to cultural monuments. nih dobara koja se nalazi na UNESKO-ovoj Svetskoj It should be also mentioned that in the Republic of listi kulturne baštine. Korea numerous items of tangible and intangible her- Imali smo prilike da posetimo veći broj muzeja, u itage are under UNESCO protection. Strategic, system- 113 starim tradicionalnim zdanjima, ali i u novim zgrada- atic and effective care of institutions in charge and the ma, specijalno pravljenim za muzejske potrebe. Uočili society as such about safeguarding and enhancing their smo snažnu tendenciju u južnokorejskoj muzeologiji heritage is visible everywhere.The success of this organ- da je primerenije, lakše i jeftinije organizovati muzeje ised care is proved also by the impressive list of cultur- u novim zgradama, nego u istorijskim zdanjima. A s al property on the UNESCO World Heritage List. druge strane, postoji izrazita težnja, kod profesionala- Participants paid visits to numerous museums ca i u javnosti, da se istorijska zdanja u kojima su se placed in old traditionally built facilities but also in a do sada nalazili muzeji, sačuvaju sa njihovim izvornim newly built ones designed for museum needs. There is a integritetom, kao posebna kulturna dobra - kao spo- strong orientation in South Korean museology to organ- menci kulture. ise museums in new buildings as being more appropri- Između ostalog, upoznali smo sa starim i novim ate, easy and less costly. On the other hand historic Narodnim muzejem u Seulu. Nova zgrada Narodnog building, that used to host museums, are nowadays kept muzeja je završena i nalazi se na periferiji Seula, a zva- nično treba da bude otvorena krajem 2005. godine. Mu- together with their original integrity as specific cultur- zejska zgrada u širokom potezu i potpuno integrisano al property – as monuments of culture. hvata okolinu i kompletne sadržaja okruženja, čiji ra- We also visited both the old and new National dovi su upravo u toku. Za nas je posebno bilo važno da Museum in Seoul. The new building has been built at vidimo novu Konzervatorsku laboratoriju, koja već the outskirts of the city and its official opening is funkcioniše u novoj zgradi Narodnog muzeja. Ova La- expected by the end of 2005. The museum building boratorija je programski formirana kao centralni sis- enters broadly and in a fully integrated way the envi- tem zaštite muzejskih predmeta u Južnoj Koreji, kao ronment and the contents thereof presently under con- centar teorijske i praktične primene savremene meto- struction. The visit to the new Conservation Laboratory dologije istraživačkog i edukativnog rada i zaštite kul- already in operation in the new building of the National turnih dobara. Museum was of particular importance for us. The laboratory is conceived as the central system for conserva- Usvojene rezolucije tion of museum objects in South Korea, as a centre of 21. Generalna Skupština IKOM-a 8. oktobra 2004. theoretical and practical implementation of modern u Seulu, prezentovala je učesnicima predlog 5 stra- methodology of research and education and safeguard- teških rezolucija, koje bi trebalo da obavezuju međuna- ing of cultural property. rodnu mrežu muzeja i muzejske profesionalce u radu. Resolutions adopted Rezolucija broj 1 There were 5 strategic resolutions submitted to the Imajući u vidu neosporni značaj nematerijalnog 20th ICOM General Assembly on October 8, 2004 in Seoul nasleđa i njegove uloge u očuvanju kulturne raznoli- which were to oblige the international museum network kosti, 21. generalna Skupština IKOM-a, održana 8. ok- and museum professionals worldwide in their work. tobra 2004. u Seulu, Podržava UNESKO-vu Konvenciju o zaštiti nema- Resolution No. 1 terijalnog kulturnog nasleđa iz 2003. Considering the undeniable importance of intangi- Poziva sve vlade da ratifikuju ovu Konvenciju; ble heritage and its role in the preservation of cultural Ohrabruje sve zemlje, a posebno zemlje u razvoju, diversity, koje imaju snažnu usmenu tradiciju, da ustanove Fond The 21st General Assembly za promociju nematerijalnog nasleđa; Endorses the 2003 UNESCO Convention on the Poziva sve one muzeje koji su angažovani na pri- Protection of Intangible Cultural Heritage; kupljnjanju, očuvanju i promociji nematerijalnog nas- Urges all governments to ratify this Convention; Encourages all countries, and especially developing leđa, da posebnu pažnju usmere na zaštitu svih zapisa countries where there is a strong oral tradition, to koji nisu trajni, pre svega elektronskih dokumenata. establish an Intangible Heritage Promotion Fund; Podstiče nacionalne i lokalne vlasti da usvoje i efi- Invites all relevant museums involved in the collec- kasno primenjuju odgovarajuće lokalne zakone i propi- tion, preservation and promotion of the intangible her- se za zaštitu nematerijalnog nasleđa; itage to give particular attention to the conservation Podstiče regionalne organizacije, nacionalne komi- of all perishable records, notably electronic and docu- tete i druga tela IKOM-a da tesno sarađuju sa lokalnim mentary heritage resources; agencijama, u razvoju i primeni takvih pravnih instru- Urges national and local authorities to adopt and menata i u neophodnom obučavanju kadrova nadležnih effectively implement appropriate local laws and regulations for the protection of intangible heritage; za efikasnu primenu; Recommends that museums give particular atten- Predlaže da muzeji obrate posebnu pažnju i da se tion and resist any attempt to misuse intangible her- odupru svim pokušajima neadekvatnog korišećenja ne- itage resources and particularly their commercializa- materijalnog nasleđa i posebno njegove komercijaliza- tion without benefits to the primary custodians; cije. Urges regional Organisations, National Committees Preporučuje da svi programi obuke za muzejske and other ICOM bodies to work closely with local agen- profesionalce ukazuju na značaj nematerijalnog nasle- cies in the development and the implementation of such đa i uključuju poznavanje nematerijalnog nasleđa, kao legal instruments and in the necessary training of staff uslova za kvalifikaciju; responsible for effective implementation; Preporučuje da izvršni savet u saradnji sa Međuna- Recommends that all training programmes for museum professionals stress the importance of intangi- rodnim komitetom za obuku kadrova (IKTOP) što pre ble heritage and include the understanding of intangi- izvrši neophodna prilagođavanja IKOM-ovih Smerni- ble heritage as a requirement for qualification; ca za obrazovne programe za muzejske profesionalce Recommends that the Executive Council, working (1981, najnovija revizija 1999.) with the International Committee for the Training of Odlučuje da se ubuduće ova Rezolucija naziva „Se- Personnel (ICTOP), introduce the necessary adjustments 114 ulska Deklaracija IKOM-a o nematerijalnom nasleđu“. as soon as possible into the ICOM Curricula Guidelines for Museum Professional Development (1971, latest Rezolucija broj 2 revision 1999); 10. Decides that this Resolution shall henceforth be Imajući u vidu ranije Rezolucije IKOM-a (1986, known as the “Seoul Declaration of ICOM on the 1989, 2001.) i preporuku E2 (5) Radne grupe za upotre- Intangible Heritage”. bu jezika od 9. februara 2004, kojim se objašnjava da «kada se radi o Generalnoj skupštini i plenarnim sedni- Resolution no. 2 cama Generalne Konferencije, bilo bi poželjno koristiti Considering earlier resolutions of ICOM (1986, 1989 jezik(e) zemlje domaćina, pored zvaničnih jezika and 2001) and the adoption of the recommendation E of IKOM-a», the report of the Working Group on the Use of Generalna Skupština IKOM-a održana u Seulu, Ko- Languages, dated 9 February 2004, specifying that “in reja, 8. oktobra 2004: the case of the General Assembly and plenary sessions Potvrđuje odluku Barselone 2001. da se usvoji špan- of the General Conference it would be desirable to use ski (kastiljanski) kao treći zvanični jezik IKOM-a, i the language(s) of the host country in addition to the official languages” of ICOM, Usvaja preporuku E 2(5) iz Izveštaja IKOM-ove Reinforces the Barcelona 2001 decision to adopt Radne grupe za korišćenje jezika od 9. februara 2004. Spanish (Castilian) as the third official language of ICOM, and Rezolucija broj 3 Adopts entirely the Recommendation E of the Report 21. Generalna skupština IKOMa održana u Seulu of the ICOM Working Group on the Use of Languages. 2004. Podstiče IKOM da arapski svet tretira kao prioritet- Resolution no. 3 ni region u svom programu; Urges ICOM to consider the Arab region as a prior- Podstiče IKOM da u arapskom svetu realizuje obra- ity region in its programme; Urges ICOM to carry out in the Arab region training zovne aktivnosti za muzejske profesionalce, obezbeđu- activities for museum professionals, providing all neces- jući svu neophodnu podršku; sary support; Poziva međunarodne komitete da izraze svoju soli- Invites International Committees to demonstrate darnost sa arapskim muzejima, u naporima da steknu their solidarity with Arab museums in efforts to gain da priznanje svoje uloge i da poboljšaju sliku o sebi. recognition of their role and importance in the promotion of cross-cultural understanding and cultural diver- Rezolucija broj 4 sity of the world. Zaštita kulturnog nasleđa za vreme i posle oružanih sukoba. Resolution no. 4 Imajući u vidu da je Rezolucijom broj 2 usvojenom Whereas Resolution No. 2 of the 18th General na 18. Generalnoj Skupštini IKOM-a, održanoj u Sta- Assembly of ICOM, held in Stavanger, Norway, on 7 July vangeru, Norveška, 7. jula 1995, osuđeno namerno uniš- 1995, condemned the deliberate destruction of cultural tavanje kulturnog nasleđa tokom oružanih sukoba; heritage during armed conflicts; Whereas the tangible Imajući u vidu da je materijalno i nematerijalno and intangible heritage is a crucial part of the cultural nasleđe bitan deo kulturnog identiteta; identity; Prepoznajući osetljivost- ranjivost ovog nasleđa i Recognizing the vulnerability of this heritage and našu moralnu obavezu da omogućimo sadašnjoj i budu- our moral duty to ensure that present and future gener- ćim generacijama da ono bude dostupno; ations have access to it; Emphasizes the necessity for all governments to rat- 21. Generalna skupština IKOM-a na sastanku u Se- ify the Hague Convention of 1954 on the protection of ulu, 8. oktobra 2004. cultural property in the event of armed conflict and its Naglašava neophodnost da sve vlade ratifikuju Haš- subsequent Protocols; ku Konvenciju, iz 1954. godine, o zaštiti kulturnih doba- Calls upon ICOM, governments, the International ra u slučaju oružanog sukoba. Committee of the Blue Shield (ICBS) and other con- Poziva IKOM, vlade i nadležne međunarodne orga- cerned international organisations to provide technical and financial support to countries that have suffered nizacije da obezbede tehničku i finansijsku podršku armed conflict, to help them to document and list their zemljama u kojima je došlo do oružanog sukoba, i da cultural heritage after a conflict; im pomognu u dokumentovanju i popisivanju njiho- Regrets and condemns the plunder and vandalism vog kulturnog nasleđa posle sukoba. suffered by all institutions responsible for the cultural Žali i osuđuje pljačku i vandalizme prema Nacional- heritage in their country, like in the recent past in Iraq nom muzeju u Bagdadu nakon invazije na tu zemlju. but unfortunately in other countries as well; Poziva međunarodnu muzejsku zajednicu da razra- Calls upon the international museum community to di mere zaštite i obezbedi svu neophodnu pomoć radi develop protective measures and provide all necessary rekonstrukcije Muzeja, restituciju izgubljenih zbirki i assistance for the reconstruction of museums, libraries, zaštitu i dokumentovanje preostalih zborki. monuments and sites, the restitution of lost collections and the conservation and documentation of the remain- Rezolucija broj 5 ing collections. Autonomija muzeja Ocenjujući da je Rezolucija br. 2, usvojena na 20. Ge- Resolution no. 5 neralnoj skupštini IKOM-a u Barseloni, Španija, 6. jula Recognizing that Resolution No. 2 of the 20[“ 2001, o autonomiji muzeja dobro zasnovana; General Assembly of ICOM, held in Barcelona, Spain, on 21. Generalna skupština IKOM-a, održana u Seulu, 6 July 2001, on museum autonomy is well founded; Koreja, 8. oktobra 2004. potvrđuje zahteve te rezolucije, Reaffirms the terms of that Resolution, in order to kako bi se omogućilo da muzeji steknu veću finansijsku ensure that museums achieve greater financial and i poslovnu autonomiju. operational autonomy. Vesna BižićOmčikus, kustos Vesna BižićOmčikus, Curator Etnografski muzej u Beogradu Museum of Ethnography, Belgrade Nematerijalna kulturna Intangible cultural baština i muzeji heritage and museums

d stvaranja prvih javnih muzeja u Evropi, krajem ince the establishment of the first public museums OXVIII veka, nacionalne kolekcije su smatrane izvo- Sin Europe, by the end of the18th century, national co- rom obrazovanja i kulturnog obogaćivanja javnosti. Os- llections were considered source of education and cultu- novni principi muzejske delatnosti bili su: skupljanje, ral enrichment of public. Basic principles of museum dokumentovanje, konzerviranje, publikovanje i izlaga- practice were: collecting, documenting, conserving, pu- nje predmeta. Tokom decenija XX veka muzeji su ostali blishing and exhibiting an object. During the decades of ujedinjeni oko koncepta privlačnosti, kreativnosti i pro- the 20th century, museums stayed joined in the concept gresa. of attraction, creativity and progress. Na početku trećeg milenijuma muzeji dobijaju druk- At the beginning of the third millennium, museums čiju ulogu od one u prošlosti. Danas su muzeji živa sna- get another role different from the ones from the past. ga, ali i kreatori evropske kulturne politike. Više nego Museums today are living force and also creators of Eu- ikad, evropsko jedinstvo teži zbližavanju. Nacionalne ropean cultural strategy. More than ever before, Europe- vlade odavno imaju sličnu politiku po pitanju baštine. an unity has a tendency towards closeness. National go- Zasnovani na društvenom i intelektualnom razvitku, vernments have similar strategies concerning heritage. muzeji Evrope takođe dele zajedničku filozofiju i prak- As the social and intellectual progress is essential to su. their existence, museums also share mutual philosophy “Muzeji su tu da nam osiguraju stvaralačku prisut- and practices. nost kolektivnog pamćenja – da nam pomognu živjeti “Museums are made to ensure creative presence of co- dalje s vlastitim identitetom po kojemu smo jednaki svi- llective memory – to help our living with our own identi- ma, ali i različiti od drugih. Kao takvi, oni su nepresta- ty which makes us equal to others, but different from eve- no promišljanje prošlih zbivanja i iskustava, pa stoga ryone else. Museums, as such, are ongoing reconsidera- predstavljaju i moguće korektive sadašnjosti i upotreb- tion of previous events and experiences, therefore might ljive projekcije budućnosti. Muzeji pridonose samospoz- represent possible corrections of present as well as useful navanju i djelotvorno su sredstvo preko kojeg upoznaje- reflections on future. Museums help build self-conscious- mo svijet oko sebe u njegovoj prostornoj i vremenskoj ness and are also a medium to acknowledge the world in dimenziji. U tom smislu muzeji su pokretačka sila sva- its space and time dimension. In that sense museums are kog društva ili bismo takve rado imali. Bez takvih i initial power of every society and we would be glad to ha- srodnih institucija bili bismo izloženi gubitku živih sila ve such in ours. Without such and akin institutions we identiteta koje oblikuju vlastiti proces te daju razloge i would be exposed to loss of living identity forces which omogućuju kvalitetan, odnosno održiv razvoj. Odsustvo shape their own process and therefore provide reasons muzeja i baštinskih institucija kao djelatne kolektivne and give qualitative or steady development. Absence of memorije, dovelo bi do gubitka identiteta sa svim kob- museums and heritage institutions as living collective nim posljedicama koje vode u dekadenciju i nestanak.”1 memory might direct to loss of identity with all of the fa- Na kraju XX veka evropski muzeji su počeli da rade tal effects leading to decadency and disappearance.”1 pod novim imperativima. Zahtevi koji se postavljaju mu- By the end of the 20th century museums started wor- zejima su upoznavanje potreba posetilaca istraživanjem king in accordance with new imperatives. Requests ma- njihovog mišljenja i, u odnosu na to, donošenje odluka de to the museum are to meet visitors’ needs by survey- prilikom kreiranja programa rada u muzejima. Muzeji se ing their opinion and to determine museum working po- bave svim članovima zajednice. Uvećanje broja posetila- licy accordingly. Museums deal with all of the social ca i njihove različite kulturne perspektive predstavljaju community members. Increasing number of visitors and promenu i proširenje koncepta nasleđa. Treba imati u vi- their different cultural perspectives represent heritage du i nove načine informisanja. Starim funkcijama muze- concept change and enlargement. Latest information ja: istraživanje, skupljanje, konzerviranje i izlaganje tre- media effect should be kept in mind, too. In addition to ba dodati i ove nove zahteve, a pre svega brigu o posetio- previous museum functions which are exploring, collec- cu, i to obećava uspeh muzeja u budućnosti2. ting, conserving and exhibiting, new requirements ap- Promenjena uloga muzeja ogleda se i u tome što, od peared - care about the visitor before others which pro- stubova nasleđa, nacionalnog ponosa, zbirki retkosti, mises success of the museum in future.2 kuća čuda i tvrđava nedodirljivog, postaju mesta zaba- Transformed role of museum reflects on its path ve i obrazovanja, (školska deca u većini muzeja aktivno from pillar of heritage, national proud, collection of ra- učestvuju u mnogim delatnostima muzeja), s izraženom rities, house of wonders and fortress of untouchable to sociološkom funkcijom (napuštena i problematična de- the place for entertainment and learning (schoolchil- ca se dovode u muzeje na obuku i rehabilitaciju), ali i dren take active part in numerous museum activities) političkom3. Savremeni muzej time pokazuje i humanu with prominent social function (abandoned and chil- stranu svoje delatnosti.4 Budućnost muzeja je u zrelom dren with behavior problems come to the museum to training and healing treatment) and also political func- 1 Tomislav Šola, Eseji o muzejima i njihovoj teoriji, Prema 3 kibernetičkom muzeju, Hrvatski nacionalni komitet ICOM, Zagreb tion. Contemporary museum shows its human side 2003, 18. 2 Keneth C. Gorbey, What Constitutes Success? Museum 2000 1 Tomislav Šola, Eseji o muzejima i njihovoj teoriji, Prema Confirmation or Challenge, Stockholm 2002, 132-137. kibernetičkom muzeju, Hrvatski nacionalni komitet ICOM, Zagreb 3 U nedavnim pretnjama ratom između afričkih naroda, 2003,18 Nacionalni muzej Kenije pripremio je anti ratni program kojim je 2 Keneth C. Gorbey, What Constitutes Success? Museum 2000 uspeo da zaustavi etničke sukobe. Confirmation or Challenge, Stockholm 2002, 132-137 4 George H.O. Abungu, Opening up New Frontiers: Museums of 3 In recent threats of war among African peoples, National the 21st Century, Museum 2000 Confirmation or Challenge, Museum of Kenya prepared anti-war programme and managed to Stockholm 2002, 37-43. stop ethnic conflict. 116 i promišljenom pridobijanju publike. To nisu samo stal- through those activities.4 Future of the museum lies in ni i verni posetioci muzeja, već oni koji to tek treba da mature and reconsidered gaining public appreciation. It postanu. does not mean to rely on regular and loyal visitors but Delatnost koju muzeji već sprovode, i koja je u ne- to those who are to become ones. posrednoj vezi sa novim zahtevima muzejske prakse, je Action which is already taken by museums and is zaštita nematerijalne kulturne baštine. closely related to the new tasks of museum practice is Nacionalni muzej Filipina je pionirski započeo inte- protection of intangible cultural heritage. grativnu zaštitu materijalne i nematerijalne baštine, da As a pioneer in this field, National Museum of the bi sačuvao Hadhad pevanje Ifugao naroda. Pod njego- Philippines started with integrated protection of both vim pokroviteljstvom se održavaju domorodački festi- tangible and intangible heritage in order to safeguard vali i podučavanje mladih ljudi ovom pevanju preko pu- Hadhad singing of Ifugao people. This museum also blikacija, priručnika, audio i video materijala.5 supports native festivities and education of young peo- Kustosi Britanskog muzeja već petnaest godina rade ple in this way of singing through publication, manuals, sa Kulturnim centrom Vanuatu u Južnom Pacifiku, a nji- audio and video material.5 hov rad sa lokalnom zajednicom predstavlja inspirativ- For the last fifteen years, curators of the British Mu- ni primer spasavanja nematerijalnog blaga.6 seum have been working in the Cultural Centre Vanuatu Vijetnamski muzej etnologije, od osnivanja (1997. in South Pacific.Their cooperation with local communi- godine) ima za cilj da prikaže nematerijalnu kulturnu ty is an inspiring example of safeguarding intangible baštinu unutar muzeja. Tradicionalne veštine, usmena treasures.6 tradicija i društvena praksa prikazuju se kroz demon- Since the opening of the Vietnam Museum of Ethno- striranje zanata, narodne predstave, izložbe i projekte; logy in 1997, its goal has been to present intangible cul- 2001. su pozvali zanatlije iz jednog sela da bi u Muzeju tural heritage within the museum setting. Traditional izrađivali dečje igračke. Bilo je mnogo zainteresovanih skills, oral traditions and social practices have been pre- za savladađivanje ovog zanata, a među njima naročito sented with craft demonstrations, folk performances, dece. 7 exhibitions and various projects. In 2001, for example, Muzej civilizacije u Kvebeku je od 1988. godine, ka- craftsmen from particular village were invited to deda je i osnovan, u centar svog rada postavio društvenu monstrate toy-making in the museum. As a result, many dimenziju ljudskog postojanja, pa su i predmeti na iz- visitors, including children, came to the museum to le- ložbama korišćeni samo kao ilustracija društvenog ži- arn how to make toys.7 vota različitih zajednica. U sve akcije Muzeja uključeno Musee de la Civilization of Quebec, since it opened je građanstvo i posle sprovedenih anketa, na osnovu od- in 1988, has focused on the social dimension of human govora građana, iskristalisao se važeći stav Muzeja da je existence. Therefore, exhibited objects serve to illustra- nasleđe tesno povezano s identitetom, ali da identitet te social life of diverse communities. Museum activities nije određen samo fizičkim predmetima.8 always include public opinion. After a public opinion Prirodnjački muzej u Nju Delhiju i Zoološki vrt Lo- poll about heritage, it became clear that heritage is clo- rens Darel u Belizeu, u jezgru svog rada imaju udružena sely linked with identity but identity is not defined on- znanja lokalnog stanovništva i naučnih rezultata u pri- ly through physical objects – which proved right thro- rodnom okruženju. ugh the museum concept already.8 Veliki je broj ovakvih primera u svetu. Kustosi mu- The National Natural History Museum in New Del- zeja, a naročito etnografskih, uvideli su, kroz praksu, da hi and the Lawrence Durrell Zoo in Belize both integra- predmet donet u muzej gubi svojstva i značaj koji je te local knowledge and perceptions of science and the imao u sredini iz koje je istrgnut. Zbog toga pokušavaju environment into their core activities. da mu “vrate dušu”,stvarajući mu makar i veštački am- There are numerous examples of this kind in the bijent. Smeštajući muzejski predmet u društveni i isto- world. Museum curators, especially ones in ethnographic rijski kontekst, kustosi spasavaju i neopipljive elemente collections, realized through their practice that an object narodne kulture. brought to museum loses its character and significance it Prema tome, može se zaključiti da su najveće prome- used to have in the original environment. For this reason, ne koje su se dogodile u muzejskoj praksi na kraju XX curators are trying to ‘bring its soul back’ by creating at veka i na početku novog milenijuma, isticanje važnosti least an artificial environment. While locating museum muzejskog posetioca na račun muzejskog predmeta i object into social and historical context, curators are re- dovođenje u vezu muzejskog predmeta sa kompletnim scuing intangible elements of folk culture. okruženjem u kome je nastao (prirodnim, društvenim, Therefore, we could conclude that the biggest chan- religijskim, itd). Nije toliko važno koliko se predmeta ges in museum practice at the end of the 20th century nalazi u muzeju, već šta će se s njima učiniti, pošto mu- and the beginning of the new millennium are emphasi- zeji više nisu “kuće predmeta, već kuće ideja”.9 zing the visitor before the object and connecting muse- NEMATERIJALNA KULTURNA BAŠTINA i UNESCO um object with environment of its origin (natural, social, religious etc.). The number of objects in the muse- Imajući u vidu novine u načinu rada muzejskih in- um collection is less important than their use, as muse- stitucija i različite programe čija je suština postala zaš- ums cease to be “the houses of objects but (become) the tita nematerijalnog nasleđa, UNESCO je dao objašnje- houses of ideas”.9 nje pojma nematerijalna kulturna baština: “Nemateri- jalna kulturna baština je praksa, prezentacija, izražava- 4 George H.O. Abungu, Opening up New Frontiers: Museums of the 21st Century, Museum 2000 Confirmation or Challenge, 5 Joseph O’Reilly, Abstract art, Museums Journal, London, Stockholm 2002, 37-43 March 2004 5 Joseph O’Reilly, Abstract Art, Museums Journal, London, 6 Isto. March 2004 7 Nguyen Van Huy, Intangible Cultural Heritage at the Vietnam 6 As above Museum of Ethnology, ICOM NEWS no 4, 7 Nguyen Van Huy, Intangible Cultural Heritage at the Vietnam Paris 2003. Museum of Ethnology, ICOM News no 4, Paris 2003 8 Yves Bergeron, Intangible Heritage at the Musée de la civilisa- 8Yves Bergeron, Intangible Heritage at the Musee de la civilization of Quebec, ICOM NEWS no 4, Paris 2003. tion of Quebec, ICOM News no 4, Paris 2003 9 Tomislav Šola, Marketing u muzejima ili o vrlini i kako je obz- 9 Tomislav Šola, Marketing u muzejima ili o vrlini i kako je obz- naniti, Zagreb 2001, Beograd, Clio, 2002. naniti, Zagreb 2001, Beograd, Clio, 2002 117 Nematerijalna baština INTANGIBLE CULTURAL HERITAGE and UNESCO Bearing in mind that it is new concept in the way Prema najsavremenijoj definiciji nematerijalne museum institutions function and diversity of program- baštine to su: mes based on safeguarding of intangible heritage, procesi koje su ljudi usvojili sa znanjem, veština- UNESCO explained the notion ’intangible cultural he- ma i kreativnošću koje ih informišu i koje su oni sa- ritage’: “Intangible cultural heritage is defined as the mi razvili, proizvodi koje ljudi stvaraju, kao i resur- practices, representations, expressions as well as kno- si, prostori i drugi aspekti društvenog i prirodnog wledge and skills that communities, groups and, in so- konteksta koji su neophodni sa njihovu održivost; ovi me cases, individuals recognize as part of their cultural procesi daju ljudskim zajednicama osećaj kontinui- heritage. Intangible cultural heritage, which is someti- teta sa prethodnim zajednicama i bitni su za kultur- mes called ‘living cultural heritage’, is manifested in the ni identitet kao i za očuvanje kulturne raznovrsnosti following domains: i ljudske kreativnosti. - oral tradition and heritage; Oblici nematerijalne baštine uključuju , izmedju - performing arts; ostalog, i jezike, usmenu tradiciju, običaje, muziku, - social practices, rituals and festive events; igru, rituale, festivale, narodnu medicinu, pripremu i - knowledge and practices concerning nature and prezentaciju hrane, zanate i veštinu arhitekture. Re- the universe; zultate nematerijalne kulturne baštine možemo vi- - traditional craftsmanship; deti, dodirnutili ili čuti, ali veštine i tehnike kao i Transmitted from generation to generation, constan- sam čin stvaranja nemaju materijalni oblik. Veštine i tly recreated by social communities and groups in res- tehnike su, prema tome, nematerijalne. ponse to their environment, as their interaction with nature and historical conditions of existence, intangible Sistemi živih riznica cultural heritage provides people with a sense of identi- Živu riznicu čine osobe koje u najvećoj mogućoj ty and continuity. Significance of intangible cultural meri poseduju veštine i tehnike neophodne za stvara- heritage lies in its promoting, sustaining and developing nje odabranih aspekata kulturnog života ljudi i za of cultural diversity and human creativity.”10 nastavak postojanja njihove materijalne kulturne baštine. ‘Masterpieces of Oral and Intangible Heritage of …. Humanity’ is a title UNESCO granted on 18th of May Očuvanje nematerijalne kulturne baštine podra- 2001, for the first time, to 19 outstanding cultural spa- zumeva identifikaciju, konzervaciju, širenje, zaštitu, ces and expressions from different parts of the world. promociju i prenošenje veština i tehnika koje su ne- Selection criteria were as follows: ophodne za stvaranje. Ovo podrazumeva i posebna - outstanding value, priznanja i podršku ljudima koji, kao žive riznice, - evident roots in the cultural tradition, poseduju takve veštine i tehnike u najvećoj meri. - affirmation of the cultural identity, Očuvanje se može postići samo kroz odgovarajuću - being source of inspiration for intercultural ex- politiku praćenu zakonskim rešenjima. change, …. - contemporary social and cultural role, Osnovnu svrhu sistema živih riznica čini očuva- - proved excellence in the application of the skill, nje veština i znanja neophodnih za realizaciju onih - affirmation as unique testimony of living cultural kulturnih manifestacija za koje su odgovarajuće na- traditions, cionalne organizacije u zemljama članicama UNES- - being at risk of disappearance. KO-a utvrdile da imaju veliku istorijsku ili umetnič- ku vrednost. Proclaimed masterpieces are: Sistem treba da nagradi ljude koji poseduju veš- - The Garifuna Language, Dance and Music – Belize tine i znanja neophodne za identifikovane kulturne - The Oral Heritage of Gelede – Benin manifestacije kako bi ih ohrabrio da: - The Oruro Carnival – Bolivia - nastave svoj kreatnivni rad; - Kunqu Opera – China - gdegod je poželjno, razvijaju i šire granice svog - The Gbofe of Afounkaha: the Music of the Tran- rada; sverse Trumpets of the Tagbana Community – Cote - istovremeno, u svim situacijama, podučavaju d’Ivoire mladje kako bi oni preuzeli njihovu ulogu kada - The Cultural Space of the Brotherhood of the Holy za to dodje vreme. Spirit of the Congos of Villa Mella – Dominican Re- Sistem treba da ohranri i mladje ljude da se pos- public vete savladavanju veština i tehnika neophodnih za - The Oral Heritage and Cultural Manifestations of identifikovane kulturne manifestacije ukazujući na the Zapara People – Ecuador and Peru moguća buduća priznanja i podršku, nacionalni i - Georgian Polyphonic Singing – Georgia medjnarodni ugled koji mogu steći ukoliko dostignu - The Cultural Space of Sosso-Bala in Nyagassola – potrebni kvalitet u radu. Guinea (Dokument UNESKO-a i Korejske Nacionalne - Kutiyattam, Sanscrit Theatre – India komisije za UNESKO “Smernice sa stvaranje sistema - Opera dei Puppi, Sicilian Puppet Theatre – Italy živih riznica”, 2004) - Nogaku Theatre – Japan …. - Cross Crafting and its Symbolism in Lithuania – U tekstovima koji se odnose na očuvanje nemate- Lithuania rijalne baštine u engleskom se ravnopravno koriste - The Cultural Space of Jemaa el-Fna Square – Mo- rocco tri termina da označe osobe koje spadaju u sistem ži- - Hudhud Chants of the Ifugao – Philippines ve riznice. Sva tri termina se mogu prevesti na srpski kao “čuvari” ili “čuvari znanja”. 10 Convention adopted on 32nd session of The UNESCO General Conference in September 2003 in Paris 118 nje, kao i udružena znanja i neophodne veštine, koje za- - Royal Ancestral Rite and Ritual Music in Jogmyo jednice, grupe i u nekim slučajevima pojedinci prepoz- Shrine – Republic of Korea naju kao deo svoje kulturne baštine. Nematerijalna kul- - The Cultural Space and Oral Culture of the Seme- turna baština, koja se ponekad naziva i živa kulturna iskie – Russian Federation baština, manifestuje se, između ostalog, u sledećim - The Mystery Play of Elche – Spain oblastima: - The Cultural Space of the Boysun District – Uzbe- - usmena tradicija i jezik; kistan 11 - scenska umetnost; - društvena praksa, rituali i praznici; In accordance with UNESCO definition of intangi- - znanje i primena znanja o prirodi i univerzumu; ble heritage, Professor Giovanni Pinna identified three - tradicionalna umetnost. categories of intangible heritage (although it is difficult Prenošena s generacije na generaciju, konstantno to draw the limits between them precisely). obnavljana u društvenim zajednicama i grupama kao The first category includes cultural expressions or reakcija na okolinu, kao interakcija s prirodom i istorij- traditional ways of life of a certain community: their re- skim uslovima postojanja; nematerijalna kulturna baš- ligious rites, traditional ceremonies, folklore embodied tina izaziva osećaj identiteta i kontinuiteta. Značaj ne- in the physical form. Few of the UNESCO Masterpieces materijalne kulturne baštine je i u tome što promoviše, of the Oral and Intangible Heritage of Humanity belong održava i razvija kulturni diverzitet i ljudsku kreativ- to this category, as for example the Kunqu Opera, Sici- nost”10. lian Puppets and Jemaa el-Fna Square of Marrakech. “Remek dela usmene i nematerijalne baštine čove- The second category recons all individual and co- čanstva” je titula koju je UNESCO prvi put dodelio 18. llective expressions such are language, memory, oral tra- maja 2001. godine, za devetnaest izuzetnih kulturnih dition, songs and un-written traditional music. Some of prostora i oblika izražavanja iz različitih oblasti sveta. these expressions have also been recognized as Master- Kriterijumi u procesu odabira bili su: pieces like the Oral Heritage of Zapara People in Ecua- - izuzetna vrednost; dor and Peru. - ukorenjena kulturna tradicija; The third category includes symbolic and metapho- - afirmacija kulturnog identiteta; rical meanings of the objects of tangible heritage.12 Wit- - izvor inspiracije međukulturne razmene; hin this category, renowned professor considers museum - savremena kulturna i društvena uloga; objects emphasizing their symbolic and metaphorical - savršena primena veština; meanings when interpreting the object and culture from - jedinstveno nasleđe u živoj tradiciji; which the object derives.13 - opasnost od nestajanja. ‘LIVING HUMAN TREASURES’ Proglašena remek dela su: In safeguarding of intangible heritage peoples and - Garifuna jezik, igra i muzika – Belize; states were left to their own devices for long period of - Usmeno predanje Gelede – Benin; time. There were no organized protection programmes - Oruro karneval – Bolivija; on the intergovernmental level. The action was taken by - Kunku opera – Kina; UNESCO considering that it would be efficient to ensu- - Gbofe Afunkaha: muzika poprečnih truba – Tagba- re tradition holders who would continue to acquire kno- na zajednica – Obala slonovače; wledge and skills and transmit those to future genera- - Kulturni prostor bratstva Sv. Duha Mela – Domi- tions. With this aim in mind, tradition holders should be nikanska republika; identified and officially recognized. For this reason, eve- - Usmena baština i kulturne manifestacije Zapara ry Member State of UNESCO has established ‘Living naroda – Ekvador i Peru; Human Treasures’ system.14 - Polifonijsko pevanje – Gruzija; ‘Living Human Treasures’ are namely persons who - Kulturni prostor u “Soso – Bala”u Niagasoli – Gvi- posess to very high degree knowledge of skills and tech- neja; niques required for continuous existence of their material cultural heritage. 10 Konvencija usvojena na 32.sednici Generalne konferencije UNESCO-a septembra 2003. u Parizu. Performing arts such as music, dance, drama, theatre and rites do not physically exist. The score of a musical composition exists but not the music itself. The ballet choreography can be written down but not the ballet performance. The recording of a film can present a production process but cannot capture the exact spirit of live performance. Similarly, techniques of artifacts production or food preparation could be written down but the act of creation has no physical form. Performance and the act of creation are intangible and embodied only in the skills or techniques of those who are involved in the very process of creation. There are also elements of intangible heritage which should be employed by the professionals responsible for

11 Two years later 28 more Masterpieces were proclaimed by UNESCO, in addition to the above mentioned ones. Next proclamation will be in 2005. Serbia submitted its candidature- the oral tradition of epic folk songs- for the evaluation 12 Giovanni Pinna, Intangible Heritage and Museums, ICOM News no 4, Paris 2003 Oruro karneval, Bolivija (2001) Lutkarsko pozorište Bunraku 13 As professor Pinna said on the conference ‘The Best in Heritage’ in Dubrovnik, held on 23 September 2003 and in National The Oruro Carnival, Bolivia (proglašeno 2003.) Museum, Belgrade on 30 September 2003 (2001) Bunraku Puppet Theatre, 14 www.folkline.hu/unesco/unesco_02en.htm-top Japan (proclaimed in 2003) 119 protection and preservation of tangible cultural assets. Those elements should be implied, for example, in repairing techniques applied on traditional musical instruments or in stone cutting for the reconstruction of monuments or as traditional methods of preparing wall and roof coverings could be useful in customary mason- ry. Consequently, preservation of intangible cultural properties implies preservation and transmission of the skills and techniques needed in the process of their production. That is possible only through a special recognition given to persons who posses knowledge of the skills in a very high degree. Primary purpose of establishing Living Human Trea- sures system is to preserve the skills and techniques needed for creation of cultural manifestations which are considered to have high historical or artistic value for the Sicilijansko lutkarsko pozorište, Italija (2001) Member State. Within this system, rewards are predicted Sicilian Puppet Theatre, Italy (2001) for recognized persons in order to encourage them to: - Kutijatam sanskritsko pozorište – Indija; - continue their work, - Sicilijansko lutkarsko pozorište – Italija; - develop and expand the frontiers of their work, - Nogaku pozorište – Japan; - train young people to continue with their work - Izrada krstova i njen značaj u Litvaniji – Litvani- This system should encourage young people to devo- ja; te to learning these skills and techniques by offering a - Kulturni prostor Trg Džama el Fna –Maroko; possibility to become famous and perhaps rich if they - Hadhad pesme Ifugaoa – Filipini; reach a level of excellence. - Običaj kraljevskih praotaca i ritualna muzika u Large number of countries support Living Human Tre- Jongmio Šrinu – Republika Koreja; asures programme: Philippines, Thailand, Romania and - Kulturni prostor i Usmena kultura Semiski – Rus- France among others. In 1950 The Government of Japan ka federacija; gave special recognition to holders of the skills and techni- - Tajna igra Elče – Španija; ques essential for confirmation of important intangible - Kulturni prostor oblasti Bojsan – Uzbekistan.11 cultural properties. Recognized individuals were designated ‘Living National Treasures’. Collectives and groups we- U skladu s definicijom UNESCO-a, profesor Đovani re also recognized as important holders. On 1 July 1994, se- Pina je, uz napomenu da je teško precizno povući grani- ven categories of performing arts (36 specific skills) and nice, odredio tri kategorije nematerijalne kulturne baštine: ne in the applied arts (39 specific skills) were selected as Kulturni izrazi ili tradicionalni načini života odre- important intangible property of Japan. Those skills have đene zajednice, kao na primer religijski rituali, tradicio- been held by 52 individuals and 23 groups. nalna ekonomija, folklor, otelotvoreni u fizičkom obliku. The Government of Republic of Korea introduced its Ovoj kategoriji pripadaju neka od UNESCO-vih “remek own system in 1964, in order to ensure preservation and dela usmene i nematerijalne baštine čovečanstva”, kao transmission of intangible cultural properties to future što su Kunku opera, Sicilijanske lutke, pijaca u Marake- generations. By September 1995, this State has honored šu Jemaa el-Fna. 92 intangible cultural properties – 167 individual hol- Individualna i kolektivna izražavanja, koja nemaju ders and 50 holding organizations were registered. fizički oblik: jezik, pamćenje, usmena tradicija, pesme i Although these countries have all been working with nezapisana tradicionalna muzika itd. Neke od ovih izra- ‘Living Human Treasures’ concept, the idea itself falls za je UNESCO već proglasio “remek delom”, kao što je within the scope of UNESCO Recommendation on the usmena baština naroda Zapara u Ekvadoru i Peruu. Safeguarding of Traditional Cultures and Folklore from Simbolična i metaforična značenja predmeta mate- 1989. In this document Member States were urged to rijalne baštine.12 U okviru ove kategorije, on govori o preserve folklore in their countries. Folklore was consi- muzejskim predmetima, uz isticanje simboličnih i meta- dered essential to enrichment of the cultural heritage of foričnih osobenosti prilikom tumačenja predmeta i kul- humanity and the protection of cultural identities. ture iz koje predmet potiče.13 SAFEGUARDING INTANGIBLE “ŽIVI TREZORI BAŠTINE” CULTURAL HERITAGE Čuvanje nematerijalne baštine dugo je bilo prepušte- Understanding significance of intangible cultural no narodima i državama. Nije postojala organizovana heritage, UNESCO prepared strategy for its protec- zaštita na međunarodnom nivou. Akciju je preduzeo tion.15 The Convention on the Safeguarding of the In- UNESCO, smatrajući da bi zbog zaštite, bilo efikasno osi- tangible Cultural Heritage is designed to oblige the gurati prenosioce baštine, koji će nastaviti da stiču dalje Member States to take necessary measures including, znanje i veštine i da ga prenose novim generacijama. for instance, identification of Intangible Cultural Heri- S tim ciljem, prenosioci nasleđa bi morali da budu tage, in order to ensure safeguarding and to strengthen identifikovani i zvanično prepoznati. Zbog toga je u solidarity and cooperation at regional and intergovernmental level in this field. The Convention, which is in- 11 UNESCO-Proclamation of Masterpieces of the Oral and Intangible heritage of Humanity.htm. Dve godine kasnije UNESCO tended to encourage exchange of information, experien- je proglasio još 28 remek dela. Sledeće proglašenje je 2005, za koje ces and joint initiatives, is meant for the following: je Srbija podnela svoj predlog – epske narodne pesme. - preparation of national inventories of the Intangi- 12 Giovanni Pinna, Intengible Heritage and Museums, ICOM ble Cultural Heritage by the Member States; NEWS no 4, Paris 2003. 13 Saopštenje prof. Pine u Dubrovniku u okviru manifestacije 15 Convention for the Safeguarding of the Intangible Cultural “Najbolji u baštini” održano 23.septembra 2003. i predavanje u Heritage was adopted by the 32nd session of the UNESCO General Narodnom muzeju u Beogradu održano 30. septembra 2003. Conference on 17 October 2003 120 svakoj državi članici UNESCO-a uspostavljen sistem “Živi trezori baštine” (“Living Human Treasures”).14 Intangible heritage “Živi trezori baštine”su imenovane osobe koje u ve- The most up-to-date definition of intangible cul- likom stepenu poznaju veštine i tehnike potrebne za tural heritage is: kontinuirano postojanje njihovog materijalnog kultur- people’s learned processes along with the kno- nog nasleđa. wledge, skills and creativity that inform and are deve- Scenska umetnost kao muzika, ples, drama, predstave loped by them, the products they create, and resour- i rituali ne postoje u fizičkom obliku. Zapisi muzičkih ces, spaces and other aspects of social and natural kompozicija postoje, ali ne i sama muzika. Baletska ko- context necessary to their sustainability; these proces- reografija može biti zapisana, ali to nije balet. Filmski za- ses provide living communities with a sense of conti- pis može da pokaže izvestan proces proizvodnje, ali ne nuity with previous generations and are important to može da zadrži tačan duh žive predstave. Slično tome, teh- cultural identity, as well as to safeguarding of cultu- nike proizvodnje predmeta, čak i pripremanja hrane, moral diversity and creativity of humanity gu biti zapisane, ali postupak kreacije nema fizičku for- Forms of intangible cultural heritage include, mu. Predstava i čin izrade su nematerijalni, otelovljeni u amongst others, languages, oral traditions, customs, veštinama i tehnikama onih koji ih izrađuju. Takođe pos- music, dance, rituals, festivals, traditional medicine, toje tradicionalni nematerijalni elementi, koje treba da is- food preparation and presentation, handicrafts and koriste oni koji čuvaju i štite materijalna kulturna dobra: na primer tehnike obnavljanja muzičkih instrumenata, architectural skills. The products of intangible cultu- poznavanje tradicionalne obrade kamena u rekonstukciji ral heritage may be seen, touched or heard, but the za spomenike kulture, tradicionalna veština pripremanja skills and techniques and the actual acts of creation, zidnih i krovnih pokrivača u narodnom graditeljstvu. have no physical form. The skills and techniques are, Sledstveno tome, zaštita takvog nematerijalnog kul- therefore, intangible. turnog vlasništva podrazumeva zaštitu i prenošenje veš- tina i tehnika potrebnih za njihovu izradu. Ovo jedino Living Human Treasures Systems može biti urađeno tako što će biti prepoznati ljudi viso- Living Human Treasures are persons who embody kog stepena veštine i znanja. in the very highest degree the skills and techniques Primarni cilj uspostavljanja sistema “živi trezori necessary for the production of selected aspects of the baštine”je da sačuva veštine i tehnike potrebne za krei- cultural life of a people and the continued existence of ranje i ispoljavanje kulture, koja za državu ima veliku their material cultural heritage. istorijsku ili umetničku vrednost. …. U okviru ovog sistema ustanovljeno je nagrađivanje The preservation of intangible cultural heritage osoba koje su se istakle znanjima i veštinama da bi: implies the identification, conservation, dissemina- - nastavili sa svojim radom; tion, protection, promotion and transmission of the - razvijali i proširivali granice svog rada; skills and techniques necessary for creation. This re- - obučavali mlade ljude da zauzmu njihovo mesto. quires that special recognition and support should be Sistem treba da ohrabri mlade ljude da se posvete given to people who embody the skills and techniques učenju veština i tehnika, predočavajući im mogućnost to the very highest degree as Living Human Treasures. da postanu poznati i slavni, a možda i imućni, ukoliko Preservation can only be achieved through the imple- dostignu vrhunski nivo. mentation of appropriate legislation and policy. Veliki broj zemalja je uključen u program “Živi tre- …. zori baštine”: Filipini, Tajland, Rumunija, Francuska, i The primary purpose of establishing a system of dr.Vlada Japana je još 1950. godine podržala prenosioce Living Human Treasures is to preserve the skills and veština i tehnika važnih za nastavak održavanja nema- techniques necessary for the creation of cultural materijalne kulture. Prepoznate osobe su označene kao nifestations that are identified by appropriate natio- “Živi nacionalni trezori”. Takođe su kao važni prenosio- nal organisations within the (UNESCO) Member Sta- ci imenovani kolektivi i grupe. Sedam kategorija scen- tes as having high historic or artistic values. ske umetnosti (36 posebnih veština) i devet primenjene The system should reward people who embody the umetnosti (39 posebnih veština) su, 1. jula 1994. godine, skills and techniques of the identified cultural mani- odabrane kao važno nematerijalno kulturno vlasništvo festations so that they will be encouraged to: Japana, koje su održavale 52 osobe i 23 grupe. - Continue with their own creative work; Vlada Republike Koreje je 1964. godine uvela svoj - Where desirable, develop and expand the fron- sistem da bi osigurala zaštitu i prenošenje vlasništva tiers of that work; nad nematerijalnim dobrima budućim generacijama. U - At the same time, in all situations, train younger septembru 1995. godine država je imala registrovana 92 people to take their place in due course. nematerijalna kulturna dobra od značaja, 167 individu- The system should encourage younger people to alnih depozitara i 50 organizacija. devote their lives to learning the skills and techniques Iako sve ove države rade s konceptom “živi trezori”, sa- of the identified cultural manifestations by holding ma ideja se poklapa s preporukom UNESCO-a o čuvanju out to them the possibility of future recognition and tradicionalne kulture i folklora iz 1989. godine, po kojoj support, and the national or international fame, if države članice urgentno treba da sačuvaju folklor u svo- they are able to achieve the necessary level of excel- jim državama. Folklor se smatra osnovnim dometom kul- lence. turne baštine čovečanstva i zaštitom kulturnih identiteta. (“Guidelines for the Establishment of Living Hu- ZAŠTITA NEMATERIJALNE KULTURNE BAŠTINE man Treasures Systems”, 2004 - UNESCO and Korean National Commission for UNESCO document) Uvidevši značaj nematerijalnog kulturnog nasleđa, …. UNESCO je predvideo i njegovu zaštitu.15 Konvencijom o When writing about intangible heritage and its zaštiti nematerijalne kulturne baštine države članice se preservation three terms are used etally to denote tho- 14 www.folkline.hu/unesco/unesco_02en.htm - top se who are the Living Human Treasures - Holder, bea- 15 Konvencija o zaštiti nematerijalne kulturne baštine, usvojena na 32. sednici Generalne konferencije UNESCO-a 17. oktobra rer, maintainer. 2003. u Parizu. 121 obavezuju da preduzmu neophodne mere uključujući, na Berberi iz Severne Afrike primer, identifikaciju nematerijalnog kulturnog nasleđa, u Berbers from N. Africa cilju osiguranja njegove zaštite i jačanja solidarnosti i saradnje na regionalnom i internacionalnom nivou u ovoj - establishment oblasti. Konvencija, koja treba da pospeši razmenu infor- of an Intergovern- macija, iskustava i udruživanje inicijativa namenjena je za: mental Committee - pripremu nacionalnih inventara nematerijalnog for the safeguarding kulturnog nasleđa država članica; of the intangible cul- - uspostavljanje komiteta među vladama članica za tural heritage com- očuvanje nematerijalne kulturne baštine, koje bi posed of representatives of the Member States; činili predstavnici država članica; - draw up of two lists by the Committee – Represen- - sastavljanje spiskova - međunarodne kulturne baš- tative List of the International Cultural Heritage of Hu- tine čovečanstva i međunarodnog kulturnog nasleđa manity and the List of International Cultural Heritage prioritetnog za zaštitu - koje bi sastavio taj komitet. in Need of Urgent Safeguarding. The first of those lists Prva od ovih listi će sadržati već proglašena Remek will comprise the Masterpieces of the Oral and Intangi- dela usmenog i nematerijalnog nasleđa čovečanstva, ble Heritage of Humanity proclaimed before the Con- jer su proglašena pre donošenja Konvencije. vention entered into force. - Zaštita nematerijalne kulturne baštine je kom- - The Safeguarding of Intangible Cultural Heritage pleksni proces, u koji su uključeni mnogi učesnici, is a complex process involving many actors with a lokalne zajednice i pojedinci su osnovna snaga. communities and groups as its very lifeblood. Konvencijom je obuhvaćena zaštita: - The Convention is manifested in protection of the - usmene tradicije i izražavanja, uključujući jezik following domains: kao prenosioca nematerijalne kulturne baštine; - oral traditions and expressions, including langua- - scenske umetnosti; ge as a vehicle of the Intangible Cultural Heritage; - društvene prakse; - performing arts; - rituala i praznika; - social practices; - znanja i primene znanja o prirodi i univerzumu; - rituals and festive events; - tradicionalne umetnosti. - knowledge and practices concerning nature and Ovim je obezbeđena pravna zaštita nematerijalnih the universe; dobara, prilikom njihovog korišćenja u međusobnoj sa- - traditional craftsmanship and arts. radnji država ili institucija. By this means, full legal protection is ensured for intangible assets during its use in international exchange NEMATERIJALNA KULTURNA BAŠTINA i ICOM of states or institutions. U zaštitu nematerijalnih kulturnih dobara uključio se i Međunarodni savet muzeja - ICOM. INTANGIBLE CULTURAL HERITAGE and ICOM Generalna konferencija ICOM-a, koja je održana ok- International Council of Museums – ICOM joined in tobra 2004. godine, u Seulu posvećena je temi “Nemate- the protection of intangible cultural assets. The General rijalna baština i muzeji”. U pozivu za prisustvovanje Conference of ICOM, held in October 2004 in Seoul, exa- Konferenciji Žak Pero, predsednik ICOM-a je istakao: mined its theme ‘Museums and Intangible Heritage’. In “Nematerijalna baština je od velike važnosti za muzeje, the invitation to attend the Conference, ICOM President koji moraju da preuzmu zaštitu i čuvanje neopipljivih Mr. Jacques Perot said: “Intangible Heritage is of capital formi našeg zajedničkog nasleđa od pretnji kulturne ho- importance to museums, which must play a part in pre- mogenizacije. Inovativne aktivnosti organizovane u či- serving and protecting the intangible forms of our com- tavom svetu na Međunarodni dan muzeja, 18. maj, biće mon heritage from the treat of cultural homogenization. osnova debate, koja će se voditi u Seulu tokom trajanja The innovative activities organized throughout the 16 ovog skupa muzejskih profesionalaca.” world on International Museum Day, on 18th of May, will Do sada je u okviru ICOM-a nekoliko komiteta (ICO- thus feed into debates which will take place in Seoul du- FOM, ICOM-ASPAC, ICTOP) poslalo ankete zaintereso- ring this unique gathering of museum professionals”.16 vanim nacionalnim komitetima, da bi ispitali mišljenja i To date, few of ICOM Committees – ICOFOM, stavove i uključili ih u predstojeće aktivnosti, u cilju zaš- ICOM-ASPAC, ICTOP, conducted a survey among Na- tite nematerijalne kulture, kroz edukaciju kadrova za tional Committees. The aim of the survey was to identi- sprovođenje načina zaštite nematerijalnog nasleđa, kao i fy important issues regarding intangible cultural heri- 17 formiranjem novih načina za dokumentovanje. tage safeguarding and implement those into foregoing Nameće se zaključak da je zaštita nematerijalnog training and education for safeguarding and documen- nasleđa organizovana na međunarodnom nivou u začet- ting intangible heritage. ku. Nije objavljeno koje su države ugradile Konvenciju o In conclusion, we could say that intangible heritage zaštiti nematerijalne kulturne baštine u svoj zakon o safeguarding is on the very beginning on international zaštiti kulturnih dobara. Ne postoje ni jasne smernice o level. It is not yet published which States implemented dokumentovanju nematerijalnog stvaralaštva. Čini se da the Convention of Safeguarding Intangible Heritage in- države, stručnjaci, kustosi muzeja i ostali zainteresovani to their cultural heritage law. There are no clear direc- sami treba da otkriju kako da primene i iskoriste Kon- tions for intangible heritage documenting, too. venciju, da bi spasli svoje nasleđe. Ukoliko se zaustavi It seems that the states, professionals and museum cu- gubitak bilo kog dela svetske baštine nematerijalne kul- rators are supposed to discover how to apply and use The ture, Konvencija će poslužiti svojoj svrsi. Međutim, ako Convention by themselves, in order to save their national doprinese uspostavljanju partnerstva između institucija, assets. If it prevents loss of any part of world intangible he- a muzeji budu ravnopravni partneri u zaštiti i promovi- ritage,The Convention will serve its cause. But, if it encou- sanju nematerijalne baštine, uspeh će biti veći. rage establishment of partnership among the institutions 16 ICOM News NO1, 2004. and museums become equal partners in intangible herita- 17 ICOM-ov komitet za dokumentaciju, CIDOC, septembra ge protection and promotion, success will be greater. 2002. u Porto Alegreu, održao je konferenciju na kojoj se razgovar- alo o dokumentovanju nematerijalne baštine. 16 ICOM News no 1, 2004 122 Vesna Svoboda, Jasna Vuković, Slobodan Knežević, Vesna Svoboda, Jasna Vuković, Slobodan Knežević, Dušan Izvonar, Dušan Kićević Dušan Izvonar, Dušan Kićević Eksperimentralna Experimental arheologija - tradicionalne Archaeology– Traditional proizvodnje keramike production of ceramics

Prikaz realizacije prve faze projekta Presentation of the Phase I

Uvod karakter, ciljevi i zadaci projekta Introduction – Character, Objectives and Tasks rojekat DIJANA Centra “Eksperimentalna arheolo- of the Project Pgija - Tradicionalne proizvodnje keramike”, autora he objective of DIANA Centre’s «Experimental Ar- M. Popović-Živančević i V. Svobode, započet je u julu Tchaeology – Traditional Production of Ceramics» 2003. godine, a cilj je rekonstrukcija tehnika i tehnolo- project, prepared by Mila Popović Živančević and Vesna gija arheološke i etnološke keramike, radi zaštite tradi- Svoboda and started in July 2003, is a reconstruction of cionalnih načina proizvodnji, kao nematerijalne kultur- techniques and technologies of archaeological and etne baštine. Koncipiran je kao niz specijalističkih radio- hnologic ceramics with an aim of preserving traditional nica (radionice za izradu replika i suvenira, edukativne production as a feature of intangible cultural heritage. radionice za stručna lica, popularne edukativne, kao i It is conceived as a sequence of specialized workshops umetničke radionice), čiji je rad baziran na rezultatima (souvenirs and replicas, professional training, popular istraživačkog centra, kao nosećeg segmenta projekta. Is- education, artistic workshops), based on results reached traživački centar čini tim stručnjaka različitih profila, by the research centre, as the main segment of the pro- potrebnih u realizaciji projekta (arheologa, konzervato- ject. The research centre consists of a team of experts of ra, etnologa, geologa, tehnologa keramike, mineraloga, different profiles, necessarry for realization of the pro- hemičara, umetnika keramičara, grnčara i dr). Jedan ject (archaeologists, conservators, ethnologists, geolo- deo tima čine stručnjaci zaposleni u Narodnom muzeju gists, ceramics technologists, mineralogists, chemists, i saradnici DIJANA Centra, a drugi deo čine stručnjaci pottery artists, potters and other.). A part of the team iz naučnih institucija i pojednici angažovani za potrebe make experts working in the National Museum Belgra- projekta. de, collaborators or conservators in DIANA Centre, Značaj i mesto koje zauzima vinčanska neolitska ke- while the other part belongs to the experts from other ramika u našoj kulturnoj baštini, ali i baštini šireg regiona Balkana i Evrope, kao i neispitanost tehnologije i institutions or individuals engaged in the project reali- tehnike izrade ove keramike, odredili su predmet istra- zation. živanja u okviru projekta “Eksperimentalna arheologija The subject of research in the « Experimental Ar- - Tradicionalne proizvodnje keramike”. chaeology – Traditional Production of Ceramics» project Pored već pomenutog cilja rekonstrukcije tehnike i is defined by the significance and place concerned with tehnologije izrade vinčanske keramike, radi zaštite ove the Neolithic ceramics of Vinča within our cultural he- tradiocionalne proizvodnje kao nematerijalne kulturne ritage and heritage of the Balkans region and Europe, as baštine, cilj ovog projekta je i: well as the fact that technology and production techni- - da ukaže na uticaj ove tradicionalne proizvodnje ques of this ceramics is still unknown. keramike na autentičnost kulturnog nasleđa; Beside reconstruction of technique and technology - da upozori na krhkost i osetljivost arheološke ke- used in production of the Vinča ceramics with the aim to ramike i ukaže na to da je treba štititi adekvatnim protect this traditional production as a form of intangi- konzervatorskim tretmanima; ble heritage, an aim of this project is also to: - da produbi i podvuče značaj vinčanske keramike - point out the influence this traditional production na formiranje savremenog kulturnog identiteta; of ceramics had on authenticity of cultural herita- - da potencira važnost promocije sadržaja projekta ge za afirmisanje kulturnog nasleđa; - remind of fragility and sensibility of archaeologi- - da istakne značaj kopija i replika arheološke kera- cal ceramics and point out the need for adequate mike kao akvizicije, ali i kao neiscrpne inspiracije conservation treatment za savremeni suvenir; - underline the significance of Vinča ceramics within - da pokaže značaj tradicionalnih proizvodnji kera- the process of contemporary cultural identity de- mike za savremenu umetnost u najširem smislu; velopment - da se posebno ukaže na značaj interdisciplinarnog - emphasize the importance of promotion of pro- pristupa istraživačkom radu. Da je interdiscipli- ject’s content in affirmation of cultural heritage narnost osnova ovog projekta pokazuje i sama - emphasize the significance of copies and replicas struktura projekta. of archaeological ceramics as acquisitions, but al- Opsežna arheološka istraživanja na lokalitetu Vinča so as constant inspiration for contemporary souve- - Belo Brdo, koja se realizuju poslednjih godina, kao i nirs projekat Filozofskog fakulteta “Vinčanska kultura, kon- - define the importance of traditional ceramics pro- tekst, sirovine i komunikacije” pokazuju da je rekon- duction for contemporary art in general sense strukcija ove praistorijske keramičke tehnike umnogo- - especially point out the significance of interdisci- me cilj istraživanja oba projekta. plinary approach in research; the very structure of Zajednički ciljevi i interesi ovih projekata odredili this project shows that interdisciplinarity is in its su budući partnerski odnos dve institucije: Narodnog basis muzeja, sa DIJANA Centrom i Filozofskog fakulteta, Extensive archaeological research on the Vinča – Be- Odeljenje za arheologiju. Dva predstavnika ove partner- lo Brdo site, carried out in the last few years, as well as ske institucije, doc. dr N. Tasić, rukovodilac arheoloških the “Vinča Culture, context, raw materials and commu- 123 iskopavanja na Vinči i J. Viković, asistent - pripravnik, nications” project of the Faculty of Philosophy in Bel- rukovodilac laboratorije za obradu keramike na projek- grade, show that the reconstruction of this prehistorical tu Vinča, postali su prvi članovi naučno-istraživačkog ceramics production technique is very much the mutual tima projekta “Eksperimentalna arheologija - Tradicio- objective to both of the projects. nalne proizvodnje keramike”. Mutual goals and interests of these projects defined Formiranjem naučno-istraživačkog tima započela je the future partnership of two institutions: National Mu- realizacija prve od tri faze projekta. Autori projekta seum in Belgrade with DIANA Centre and the Faculty odredili su članove tima i njihove zadatke u ovoj počet- of Philosophy in Belgrade – Archaeology Department. noj fazi istraživanja: Two representatives of this partnership-institution, Dr. - Mila Popović-Živančević, muzejski savetnik - ko- N.Tasić, head of archaeological excavations on the Vinča ordinator, rukovodilac DIJANA Centra i autor pro- site, and J. Viković, preparatory assistent, head of the jekta - supervizija kompletne prve faze prijekta; Laboratory for Treatment of Vinča Project Ceramics, - Vesna Svoboda, magistar keramike, saradnik DI- became the first members of the scientific and research JANA Centra i autor projekta - organizacija i ko- team of the “Experimental Archaeology – Traditional ordinacija u okviru prve faze projekta, izrada test- Production of Ceramics» project. pločica od uzoraka gline i sirovina uzetih sa tere- The realization of the first of three phases of this na, eksperiment na terenu; project started with formation of the scientific and re- - doc. dr Nenad Tasić, supervizija arheološkog as- search team. The authors of the project appointed mem- pekta prve faze projekta; bers of the team and their tasks in this first phase of re- - Jasna Vuković, asistent - pripravnik na Odeljenju search: za arheologiju Filozofskog fakulteta - određivanje - Mila Popović Živančević, museum councillor-con- prioriteta i metodologija arheološkog aspekta is- servator, head of DIANA Centre and one of the traživanja prve faze projekta, učešće u eksperi- authors of the project – supervision of complete mentu na terenu; first phase of the project - prof. dr Slobodan Knežević, Rudarsko-geološki - Vesna Svoboda, M.A. in ceramics, collaborator of fakultet - određivanje mogućih majdana gline i si- DIANA Centre and one of the authors of the pro- rovina, potrebnih za izradu Vinčanske neolitske ject – organization and coordination within phase keramike; I of the project, production of sample pieces and - Petar Nićiforović, geolog - stručne konsultacije o raw materials taken from the site, experiments on potencijalnim majdanima gline; the site - dr Branko Matović, Institut za nuklearne nauke Vi- - Dr. Nenad Tasić, supervision of the phase I of the nča, kompleksne mineraloške i rentgensko-struk- project from the archaeological point of view turne analize fargmenata vinčanske neolitske ke- - Jasna Vuković, assistent - trainee at the Archaeolo- ramike, uzoraka gline sa potencijalnih majdana i gy Department of the Faculty of Philosophy – de- pečenih test-pločica; termination of priorities and methodology of ar- - mr Dušan Kićević, Institut za nuklearne nauke Vi- chaeological aspect of research in the phase I of the nča - stručne konsultacije u vezi sa mineraloškim i project, participation in on-site experiments rentgensko-strukturnim analizama; - Dr. Slobodan Knežević, Faculty of Mining and - dr Ljubica Pavlović, naučni savetnik ITNMS-a - Geology – determination of possible clay and raw uvtrđivanje hemijskog sastava fragmenata vinčan- material mines, necessary for production of Neolit- ske neolitske keramike i uzoraka gline; hic ceramics of Vinča type - dr Dušan Izvonar, Fakultet primenjenih umetnosti - Petar Nićiforović, geologist, consulting on poten- - određivanje metodologije fizičko-hemijskih ana- tial clay mines liza, kompleksna fizička istraživanja i delimična - Dr. Branko Matović, Vinča Institute for Nuclear hemijska istraživanja, kao i tumačenje drugih re- Sciences – complex minerological and X-rays zultata mineraloškoh i hemijskih analiza; structural analyses of the Neolithic ceramic frag- - Mira Miladinović, dipl. ing,Viša tehnološka škola u ments from Vinča, clay samples from potential mi- Aranđelovcu - fizičko-hemijske analize; nes and fired testing pieces - Jovan Vacić, grnčar, stručni saradnik na Fakultetu - Dušan Kićević, M.A. in nuclear sciences, Vinča In- primenjenih umetnosti - pečenje keramičkih test- stitute for Nuclear Sciences – consulting on mine- pločica u jami na terenu; rological and X-rays structural analyses - Đurđinka Bogdanović, ak. keramičar - stručne - Dr. Ljubica Pavlović, scientific advisor of ITNMS – konsultacije i učešće u eksperimentu na terenu u determination of chemical compound of Vinča prvoj fazi projekta. Neolithic ceramic fragments and clay samples Bitan deo ekipe čine mladi pripravnici i studenti sa- - Dr. Dušan Izvonar, Faculty of Applied Arts – deter- radnici DIJANA Centra, koji se ovim projektom aktivno mination of methodology of physical–chemical uključuju u eksperimentalna istraživanja na terenu, ali analyses, complex physical research and partial i u samostalni naučno-istraživački rad na potprojekti- chemical research, as well as interpretation of ot- ma u okviru nosećeg projekta: her results of mineralogical and chemical analyses - Tatjana Nedeljković, arheolog, saradnik DIJANA - Mira Miladinović, engeneer, Junior College of Centra - vođenje kompletne pisane i foto-doku- Technology in Aranđelovac – physical-chemical mentacije projekta, učešće u eksperimentu na tere- analyses nu, stručne konsultacije; - Jova Vacić, potter, professional collaborator at the - Ivana Stojković, apsolvent arheologije, saradnik Faculty of Applied Arts – firing of ceramic testing DIJANA Centra - povremeno vođenje dokumenta- pieces in on-site pit cije projekta, učešće u eksperimentu na terenu; - Đurđinka Bogdanović, ceramic artist – professio- - Dejan Milovanović, student arheologije, saradnik nal consulting and participation in on-site experi- DIJANA Centra - aktivno učešće u eksperimentu ment in the Phase I of the project na terenu; Young conservators and students-collaborators of - Dušan Maksimović, student arheologije, saradnik DIANA Centre make an important part of the team and 124 DIJANA Centra - aktivno učešće u eksperimentu actively participate in on-site research, as well as in se- na terenu; parate scientific-research actions within sub-projects of - Ana Kocjan, istoričar umetnosti, saradnik DIJANA this general project: Centra - PR projekta; - Tatjana Nedeljković, archaeologist, conservator in - Maja Živković, istoričar umetnosti, saradnik DIJA- DIANA Centre – dealing with complete written NA Centra - pomoć oko promocije projekta. and photo documentation of the project, participation in on-site experiments, professional consul- Realizacija I faze projekta ting Predviđeno je da se projekat odvija u tri faze: - Ivana Stojković, student of the final year of ar- I - teorijska, laboratorijska i eksperimentalna istra- chaeology, collaborator of DIANA Centre – occa- živanja; sional work on project documentation, participa- II - opsežnija eksperimentalna istraživanja i rad tion in on-site experiment specijalističkih radionica u okviru projekta na - Dejan Milovanović, student of archaeology, colla- terenu borator of DIANA Centre – active participation in III - promocija dobijenih rezultata. on-site experiment Prva faza projekta počela je u julu 2004. godine i još - Dušan Maksimović, student of archaeology, colla- uvek je u toku. Sastojala se od nekoliko podfaza: borator of DIANA Centre – active participation in A - arheološki aspekt istraživanja; on-site experiment B - identifikacija majdana - geološki aspekt sitraži- - Ana Kocjan, art historian, conservator in DIANA vanja; Centre – project PR C - mineraloške, hemijske i fizičke analize; - Maja Živković, art historian, conservator in DIA- D - Pravljenje test-pločica i NA Centre – help in promotion of the project E - pečenje test-pločica: a) u laboratorijskim uslovima Realization of the Phase I b) na terenu. The project is conceived to be in three phases: I – theoretical, laboratory and experimental research A Arheološki aspekt istraživanja II – comprehensive experimental research and spe- Keramika pronađena na većini arheoloških lokalite- cialized workshops within on-site project and ta, posebno onih iz različitih perioda praistorije, III – promotion of the results obtained. predstavlja najbrojniju grupu arheološkoih nalaza. Ke- Phase I began in July 2004 and is still going on. It ramički fragmenti i cele posude su stoga vrlo često onaj consists of several sub-phases: materijal na osnovu koga se tumače nastanak i razvoj A – archaeological aspect of research praistorijskih kultura. U našoj arheologiji, međutim, B – identification of the mine – geological aspect of svaka analiza keramike svodi se na statističko-tipološ- research ku analizu. Njen cilj je isključivo svrstavanje arheološ- C – mineralogical, chemical and physical analyses kog materijala u određeni relativno-hronološki okvir, D – production of testing pieces kao i utvrđivanje periodizacija pojedinih praistorijskih E – firing of testing pieces: kultura na osnovu stilskih karakteristika, pre svega na- a) in laboratory čina ornamentisanja, kao i pretpostavljene evolucije b) on the site oblika. Zadatak arheologa je, međutim, pre svega, rekonstrukcija svakodnevnog života zajednica u prošlosti. A – Archaeological aspect of research Zato istraživanja keramike treba da budu daleko obim- Ceramics found in majority of archaeological sites, nija i detaljnija. Keramika je vezana za mnoge aspekte especially those from different prehistorical periods, svakodnevnog života. Proučavanja strategija nabavke make the most numerous group of archaeological finds. osnovne sirovine, kao i primesa koje se u glinu dodaju, Ceramic fragments and vessels are, consequently, very tehnologija izrade, od oblikovanja posuda, preko suše- often the material used for interpretation of origins and nja i pečenja, do finalne obrade i ukrašavanja, načina development of prehistorical cultures. However, every upotrebe različitih posuda, razloga lomljenja i zamene ceramics analysis in our archaeology comes down to polomljenih posuda novima, kao i načina odbacivanja i statistical-typological analysis. Its objective is exclusi- eventualne sekundarne upotrebe celih posuda, ali i vely to sort out archaeological material within a certain fragmenata, mogu da rasvetle mnoga pitanja, pre svega relative chronological frame, as well as to determine pe-

Geološki profil kod manastira sv. Stefan Uzimanje uzorka sirovine na lokaciji Ciglana u Vinci Geological profile near monastary St. Stefan Taking samples of clay from location Ciglana in Vinča 125 riodization of certain prehistorical cultures, based on stylistic properties, first of all decoration style, and se- condly – supposed evolution of a form. Nevertheless, the primary task of archaeologist is to reconstruct everyday life of a community in the past. That is why ceramics research should be far larger. Ceramics is related to many aspects of everyday life. Investigation of acquisition strategy of basic raw materials, as well as of ingredients to be added to clay, technology of production, forming of a vessel, drying and firing, final treatment and decoration, mode of use, causes of breakage and replacement of damaged vessels by new ones, as well as modes of re- jecting and possible secondary use of well-preserved vessels and fragments, can explain many issues, first of all the question of social organisation, organisation of a settlement and function of each object in it, but also Izgled veće, manje jame i kanala za sondu pirometra pre specialisation in crafts, trade, even religious attitude. pocetka eksperimenta For this reason, participation of experts of various pro- Appearence of a large and smal pit and canal for pyrometer files, especially chemists, physicist, geologists, technolo- before beggining of the experiment gists and others is needed. In our archaeology, this kind of interdisciplinary research is very rare.That is why the program of the “Experimental Archaeology – Traditio- nal Production of Ceramics” project is in accordance with general archaeological research objectives. In order to answer all the questions mentioned above, starting point should be determination of basic raw material and additional ingredients in the clay, as well as the ceramic vessels production technology. Having in mind that the excavations on Vinča site, the most significant site of Late Neolithic Vinča culture, are in progress, the accent is given to the ceramics of this culture’s most recent phase, the Vinča-Pločnik phase.The total of 13 samples has been selected, typical of this phase: 3 fragments of rims belonging to vessels with inverted rims, 1 fragment of conical vessel, 5 fragments of rims Žarenje jame i sušenje test-pločica and necks of amphorae, 2 fragments of pots and 2 frag- Firing the pit and drying of test-pieces ments of pans. These samples went through mineralogi- socijalne organizacije, organizacije naselja i funkcije cal, chemical and physical analyses. pojedinačnih objekata u njemu, ali i specijalizacije zanata, trgovine, pa čak i religioznih shvatanja. U savre- B – Identification of mine – Geological aspect menoj nauci je zato ključno angažovanje stručnjaka iz of research različitih oblasti nauke, pre svega prirodnih nauka, he- Within research related to reconstruction of Vinča mije, fizike, geologije, tehnologije i drugih. U našoj ar- Neolithic ceramics production, geological research was heologiji gotovo da i nema ovakvih interdisciplinarnih also carried out, in order to find raw material used by istraživanja. Zato se sadržaj projekta “Eksperimentalna Neolithic craftsmen. arheologija - Tradicionalne proizvodnje keramike” po- In selecting location for this part of research, it was klapa sa ciljevima arheoloških istraživanja. assumed that the old deposits of ceramic raw materials Da bi se odgovorilo na sva pomenuta pitanja, osnov- are situated relatively close to the Neolithic settlement no polazište je svakako utvrđivanje prirode osnovne si- of Vinča. Also, it was necessary to determine the materi- rovine i primesa u glini, kao i tehnologija izrade kera- al and geological formations that could have successful- mičkih posuda. Sa obzirom na to da su u toku sistemat- ly served in production of ceramics. ska iskopavanja na Vinči kod Beograda, najznačajnijem The settlement is geographically situated above the nalazištu mlađeneolitske Vinčanske kulture, akcenat je right bank of Danube, in north-eastern edge of Belgra- stavljen na keramiku najmlađe faze ove kulture, faze Vi- de cape, or to be precise, part of the field where hills of nča-Pločnik. Izdvojeno je ukupno 13 uzoraka posuda ti- Šumadija, between the river Sava and the Danube, runs pičnih za ovu fazu: 3 fragmenta oboda zdela sa uvuče- north, into the wide area of Pannonia lowlands. nim obodom, 1 fragment konične zdele, 5 fragmenata The settlement itself lies on a plateau, formed by so- oboda i vrata amfora, 2 fragmenta lonaca i 2 fragmenta called “loess slope”This implies that Neolithic settlers of đuveča. Na ovim uzorcima su izvršene mineraloške, he- Vinča used loess from the right bank of the Danube as mijske i fizičke analize. raw material in production of ceramics. During this research, loess sediments from opened segments under ar- B Identifikacija majdana geološki chaeological sites were examined, but also from ditches aspekt istraživanja used for brick raw material of the “Ciglar”brick plant ( U okviru istražnih radova na rekonstrukciji proiz- property of the “Iskra” corporation from Belgrade) in vodnje keramike Vinčanske neolitske kulture, obavljena the village of Vinča. Nevertheless, taking into account su i geološka istraživanja sa ciljem da se pronađe siro- the fact that the Danube undermines the bank close to vinski materijal, koji su koristile neolitske zanatlije. this archaeological site, provoking erosion of Quartar Pri izboru lokacija nad kojima će se obaviti istraži- loess deposits and Miocene sediments from loess, we can vanja pošlo se od pretpostavke da su stara ležišta kera- conclude that the old Neolithic clay pit in loess was de- 126 mičkih sirovina morala biti relativno blizu neolitskog stroyed by erosion. naselja u Vinči. Dalje, trebalo je utvrditi koji materijal i It is commonly known that loess is used as raw ma- iz kojih geoloških formacija je mogao da se uspešno ko- terial for brick production and that is why loess is some- risti u proizvodnji keramike. times called “brick soil”. Nevertheless, raw loess con- Po svom geografskom položaju naselje se nalazi iz- tains concretions of calcium carbonate, calcium carbo- nad desne obale Dunava, u severoistočnom obodu beo- nate powder or sandy material, which makes it unusa- gradskog rta, tj. dela terena gde između Save i Dunava ble as raw material in ceramics production. For this re- šumadijsko pobrđe (deo Balkanskog poluostrva) zadire ason, it was assumed that even if loess deposits were na sever, u prostor ravničarskih terena Panonske nizije used as basic raw material, they must had been, in a cer- (srednje Evrope). tain way, refined from inadequate ingredients. Sâmo neolitsko naselje nalazi se na lesnoj zaravni, Inundation sediments in alluvial drift deposits of izgrađenoj od tzv.”padinskog lesa”. Zbog toga se i na- the Danube were introduced as second potential raw meće pretpostavka da su neolitski stanovnici Vinče kao material in close surroundings of the Neolithic potters’ osnovnu sirovinu u proizvodnji keramike koristili les sa settlement.These are mainly clay-rich sediments, widely desne obale Dunava. U okviru istraživanja uzimane su spread on the left, so-called Banat bank of the Danube. probe lesnih sedimenata sa otvorenih profila na izdan- They almost do not exist on the right bank of the river, cima lesa, ispod arheološkog nalazišta, ali i iz kopova sa just below the archaeological site, since it is concluded ležišta opekarskih sirovina ciglane “Ciglar” (sastavni that the Danube provokes erosion in this very period. deo preduzeća “Iskra”iz Beograda), u selu Vinča. Među- The areas with alluvial deposits on the right bank, from tim, uzimajući u obzir da reka Dunav u bližoj okolini which the transport of this potential raw material cou- arheološkog nalazišta potkopava obalu i vrši eroziju ld have easily be organized, are situated more to the kvartarnih lesnih naslaga i miocenskih sedimenata iz north, in the districts of Vinča and Veliko Selo. Having in podine lesa, može se zaključiti da je verovatno staro mind the existence of a large urban trash pile in the area neolitsko glinište u lesu erozijom uništeno. of these alluvial deposits in the district of Vinča, the Poznato je da se les koristi kao sirovina za opekars- sample is taken from alluvial sediments of uncontami- ku industriju odakle i potiče naziv “ciglarska zemlja”. nated area near Veliko Selo, from the geotechnical pit Međutim, neprerađen les sadrži konkrecije kalcijum VP-15 (“HIG Geozavod» Belgrade). karbonata, prah od kalcijum karbonata ili peskovit ma- As additional raw materials in Neolithic production terijal, zbog čega se kao takav ne može koristiti kao po- of ceramics, clayey formations from older Miocene sedi- godna sirovina u proizvodnji keramike. Zbog toga se ments, being underlying stratum of loess and basis of pošlo od pretpostavke, da ukoliko su lesne naslage kori- geological structure of Belgrade-Grocka area of the Da- šćene kao osnovna sirovina, one su, određenim postup- nube Basin. Based on the analysis of geological structu- kom, morale biti prečišćene od nepodobnih komponenti. re and lithological compound of the wider area of the Kao druga potencijalna sirovina u bližoj okolini na- Vinča site, marine-brackish Miocene sediments of the selja neolitskih proizvođača keramike pretpostavljeni Pannonian sea, situated in the underlying stratum of lo- su sedimenti povodnja u aluvijalnom nanosu Dunava.To ess in Vinča, were rejected as a potential deposit of cera- su pretežno glinoviti sedimenti, koji su široko raspros- mics raw material, since they contain high level of cal- tranjeni na levoj, banatskoj obali Dunava. Na desnoj cium carbonate or sand. The fields of older Miocene la- obali, ispod samog arheološkog lokaliteta njih skoro neke deposits, spread upstream, in the districts of Veliko ma, pošto je konstatovano da reka Dunav upravo vrši Selo and Slanci village were taken into account as pos- eroziju obale. Pojasevi sa rasprostranjenim aluvijalnim sible clay pits, suitable for ceramics production. Conse- naslagama na desnoj obali, odakle je mogao lako da se quently, samples were taken from clayey sediments and obavlja transport potencijalne sirovine, nalaze se sever- sites in Veliko Selo (near the right bank of the Danube) nije u atarima Vinče i Velikog sela. Uzimajući u obzir da and from the pit just above the monastery of St. Step- se u zoni prostiranja aluvijalnih naslaga u ataru Vinče hen in Slanci. nalazi velika gradska deponija, uzet je uzorak povo- danjskih aluvijalnih sedimenata iz nekontaminiranog C – Creation of testing pieces područja, kod Velikog Sela, iz geotehničke bušotine VP- Testing pieces are necessary for reduction on-site fi- 15 (“HIG Geozavod”, Beograd). ring and oxidation firing in laboratory, with an aim of Kao dopunska sirovina u proizvodnji keramike, u reaching comparative petrographic, mineralogical and neolitu su mogle da se koriste i glinovite tvorevine iz physical-chemical analyses.Their creation was based on starijih miocenskih sedimenata, koji čine podinu lesa i osnovu geološke građe beogradsko-gročanskog Podu- navlja. Na osnovu analize geološke građe i litološkog sastava šire okoline lokaliteta Vinča, odbačeni su kao potencijalna ležišta keramičkih sirovina morsko-brakični miocenski sedimenti Panonskog mora, koji se nalaze u podini lesa u Vinči, pošto sadrže visok sadržaj kalcijum karbonata ili peska. Kao moguća gliništa podesna za primenu u keramici pretpostavljeni su tereni starijih miocenskih jezerskih naslaga, rasprostranjenih uzvodno u atarima Velikog Sela i sela Slanci. U tom smislu, uzeti su uzorci za analizu glinovitih sedimenata sa izdanaka i iz bušotina u Velikom sela (iznad desne obale Dunava) i sa raskopa iznad manastira Sveti Stefan u Slancima.

C Pravljenje test pločica Prikupljeni uzorci sirovina, sa lokacija koje su, na osnovu geoloških pretpostavki prof. S. Kneževića poten- Popločavanje dna jame preko žara keramičkim fragmentima cijalni majdani, bili su osnova za izradu test - pločica Laying ceramic fragments over the ember 127 raw material samples, collected from the locations characterized by professor S. Knežević as potential clay mines. Testing pieces are divided in two groups: 1. Pure raw material testing pieces 2. Composite testing pieces, based on combination of two or more different samples Based on raw material compound, depths they were taken from, and the way of getting them (probe or dig- ging), raw material samples were of different consistency and humidity levels. Some of the raw materials, such as samples of laminated shale (schist) of the Slanci series, on the location of Veliko Selo, could not be mixed together after moistening and attempting to crush material, because of their hardness. This problem opens another research area in the Vinča ceramics production cycle, and that would be raw material preparing met- Polaganje test - pločica u jamu hods. Laying the test-pieces in the pit Testing pieces were made of clear raw material sam- potrebnih za redukciono jamsko pečenje na terenu i ok- ples taken from six locations, and more easily mixable sidaciono pečenje u laboratorijskim uslovima, u cilju into compact mass. These samples were taken from the dobijanja rezultata komparativnih petrografskih, mine- following locations: raloških i fizičko - hemijskih analiza. 1. Brick plant in Vinča Test-pločice su podeljene u dve grupe: 2. Archaeological site of Belo Brdo in Vinča 1. test-pločice od čistih sirovina i 3. St. Stephen Monastery 2. test-pločice - kompoziti, izrađene kombinovanjem 4.Veliko Selo – from three different depths in the dva ili više različitih uzoraka. drill Uzorci sirovina bili su različite konzistencije i vlaž- Beside those, 16 composite testing pieces were made. nosti, u zavisnosti od sirovinskog sastava, dubine sa ko- Composites were mostly made from a combination of jih su uzeti, kao i načina uzimanja (sondom ili kopa- two or three raw materials without additional ingredi- njem). Pojedine sirovine, kao što su uzorci lisnatih gli- ents. Identification of additional, organic and mineral naca slanačke serije, na lokaciji Velikog sela, nije bilo ingredients, found in Vinča ceramics, is planned after moguće sjediniti nakon potapanja i pokušaja droblje- current petrographic and mineralogical analyses have nja, zbog njihove tvrdoće. Ovaj problem otvara još jed- been done. The only ingredient added to some of the no polje istraživanja, u ciklusu proizvodnje vinčanske composites is fragmented Vinča ceramics. The presence keramike, a to je način pripreme sirovina. of fragmented ceramics as an ingredient in the basic Napravljene su test-pločice od čistih uzoraka sirovi- raw material is archeologically proved. na, sa šest lokacija, koje su mogle na jednostavniji način Quality of the materials obtained through mixing of da se sjedine u kompaktnu masu. To su uzorci sirovina various samples was quite different. The majority of the uzetih sa lokacija: material was of “sandy” structure and extremely non- 1. Ciglana u Vinči, plastic (loess from the Vinča – Belo Brdo site), which tur- 2. Arheološki lokalitet Belo Brdo u Vinči, ned to be especially inadequate in creation of clay coils, 3. Manastira Sv. Srefan i used in one of the basic techniques of Neolithic cera- 4.Veliko selo, iz bušotine, sa tri različite dubine. mics production. Some of the materials were, on the ot- Pored toga, napravljeno je i 16 test-pločica - kompo- her hand, too plastic, which was evident by the greasy zita. Kompoziti su pravljeni uglavnom kombinacijom dve ili tri sirovine, bez dodataka primesa. Identifikacija primesa, organskih i mineralnih, uočenih u vinčanskoj keramici, očekuje se posle detaljnih petrografskih i mi- neraloških analiza, koje su u toku. Jedina primesa doda- vana u pojedinim varijantama kompozita je lomljena vinčanska keramika. Prisustvo lomljene keramike kao primese u osnovnoj sirovini pouzdano je arheološki do- kazano. Kvalitet masa dobijenih mešanjem sirovina različi- tih uzoraka je bio veoma različit. Najčešće su mase bile “peskovite”strukture i izrazito neplastične (les sa lokaliteta Vinča - Belo Brdo), što se naročito pokazalo u po- kušaju formiranja glinenih “kobasica”, korišćenih u jednoj od bazičnih tehnika izrade neolitske keramike. Po- jedine mase su, pak, bile previše plastične, što je pokazo mastan opip mase i njeno sporo sušenje, moguće zbog velike koncentracije montmorilonita (uzorci slanačke serije kod manastira Sv. Stefan i buštine sa dubine 17- 18 m). Nekim kombinacijama ovih sirovina dobijene su mase zadovoljavajuće plastičnosti, od kojih bi mogle da se formiraju posude. Nakon dobijanja rezultata kompa- ratvnih analiza napraviće se nova serija test-pločica, ali i replike pojedinih vinčanskih posuda od masa adekvat- Pečenje test - pločica u vatri nijeg sirovinskog sastava. Firing the test-pieces 128 touch and slow drying process, possibly because of the high concentration of montmorillonite (samples of the Slanci series taken at the St. Stephen Monastery and from the drill of 17-18 m depth). Some combinations of these raw materials led to the mass of satisfactory plas- ticity, that could be used for production of vessels. After the results of comparative analyses are obtained, new series of testing pieces will be made, as well as replicas of certain Vinča vessels, from more adequate raw materials.

D – Firing of testing pieces on the site After the already mentioned preparing processes, the team consisting of V. Svoboda, J.Vuković, Đ. Bogda- nović, J,Vacić, T. Nedeljković, I. Stojković, D. Milovano- Vađenje test - pločica iz jame vić, D. Maksimović and B. Belošević, started the experi- Firing the test-pieces mental part of the Phase I – firing of testing pieces on D Pečenje test pločica na terenu the archaeological site of Vinča. In order to control tem- Posle pomenutih opsežnih priprema, ekipa u sasta- perature and reduction conditions more easily, a pit of vu: V. Svoboda, J. Vuković, Đ. Bogdanović, J. Vacić, T. conical form was dug, its upper diameter 115 cm, lower Nedeljković, I. Stojković, D. Milovanović, D. Maksimović diameter 80 cm and 90 cm deep. Also a smaller pit was i B. Belošević, pristupila je realizaciji eksperimentalnog dug, to prepare ember. A canal for a pyrometer was dug dela prve faze projekta, koji podrazumeva pečenje test- from the larger pit, to simplify temperature control. It pločica na arheološkom lokalitetu Vinča. Radi lakšeg was decided to use ailanthus, pine, juniper, fir. In order kontrolisanja temperature i redukcionih uslova pečenja, to warm up the firing pit, small branches were fired on iskopana je jama koničnog oblika, gornjeg prečnika 115 its bottom. At the same time, larger pieces of wood we- cm, donjeg prečnika 80 cm i dubine 90 cm. Takođe je is- re fired in the smaller pit, with testing pieces set around kopana i manja jama, u kojoj se pripemao žar. Da bi se it, to obtain additional drying and warming up. This kontrolisala temperatura pečenja, iz veće jame je prok- process lasted 1 hour and 15 minutes. The bottom of the opan kanal za sondu pirometra. Odlučeno je da se kao pit was then covered with rejected fragments of authen- gorivo koriste kiselo drvo, bor, smreka i jela. Radi zagre- tic Vinča ceramics, to avoid direct contact between tes- vanja jame za pečenje, na dno jame su položene sitne ting pieces and ember, and breaking of the pieces. Bet- grane, koje su zatim zapaljene. Istovremeno, u manjoj ween fragments of ceramics and the pit walls, there was jami su zapaljeni veći komadi drveta, a test-pločice su an area about 10 cm wide, intended for ember and bran- postavljene oko nje, zbog dodatnog sušenja i zagrevanja. ches. Testing pieces were put on previously prepared ce- Glavna jama je zagrevana 1 h i 15 minuta. Dno jame je, ramic surface. The ember was transferred from the zatim, popločano odbačenim fragmentima autentične smaller pit and put around pieces, while the branches vinčanske keramike, da probne pločice ne bi došle u di- were laid on them. Testing pieces were gradually fired rektan kontakt sa žarom, što bi izazvalo pucanje. Izme- up to the temperature of 575°C, where technical and đu fragmenata keramike i zidova jame ostavljena je zo- chemical water was lost.The mentioned temperature re- na prosečne širine 10 cm, za postavljanje žara i granja. ached, larger branches were added in, as well as the rest Na popločanu površinu su zatim postavljene test-ploči- ce. Potom je oko njih prebačen žar iz manje jame, a pre- of ember from the smaller pit. In this way, the pieces we- ko njih je postavljeno sitno granje. Probne pločice su re fired for around 1 hour, at the approximate tempera- postepeno žarene do temperature od 575oC, na kojoj se ture of 700° C. When the temperature reached 800° C, gubi tehnička i hemijska voda. Kada je dostignuta po- the fire was no longer kept burning. Wood was comple- menuta temperatura, u jamu su dodate krupnije grane i tely burnt and dry leaves were added in the pit. It was preostali žar iz manje jame. Ovako su, u vatri, pločice immediately filled with ground to ensure reduction at- pečene oko 1 h, na prosečnoj temperaturi od 700oC. Na- mosphere and left to cool down for 24 hours. The whole kon što je temperatura dostigla 800oC, vatra više nije process of heating up and firing lasted for 2 hours and održavana. Kada je drvo potpuno izgorelo i plamen ne- 45 minutes. stao, u jamu je ubačeno polusuvo lišće. Da bi se postigla Next day, the pit was uncovered, and testing pieces redukciona atmosfera, jama je odmah zatrpana were taken out. The firing turned out to be successful – zemljom. Ostavljena je da se hladi 24 sata. Ceo proces reduction was reached and no piece was broken.

Pečene test - pločice Test - pločice pre i posle redukcionog pecenja Finished test-pieces Test-pieces before and after reductive firing 129 predgreravnja i pečenja trajao je 2 h i 45 minuta. E – Mineralogical, chemical and physical analyses Sutradan je jama otkopana i test-pločice su izvađe- Extensive physical-chemical and chemical analyses ne. Pokazalo se da je pečenje bilo uspešno: postignuta je of the Vinča-Belo Brdo Neolithic ceramics were carried redukciona atmosfera i nijedna pločica nije pukla. out with an aim of determining its structure, compound, porosity and other characteristics. In this way, it is pos- E Mineraloške, hemijske i fizičke analize sible to reach some conclusions about production pro- Na neolitskoj keramici sa lokaliteta Vinča - Belo Br- cess, having in mind that properties of fired ceramics do izvršene su opsežne fizičko-hemijske i hemijske ana- could indicate firing temperature, atmosphere (reduc- lize, sa ciljem utvrđivanja njene strukture, faznog sasta- tion or oxidation), optional preparation of raw material va, poroznosti i drugih osobina. Na ovaj način se može (grinding) and the like. The samples most suitable for posrednim putem zaključiti kakav je bio postupak izra- the production of testing pieces were chosen through inde, sa obzirom na to da osobine pečene keramike mogu vestigation of local deposits of potential raw materials. da ukažu na temperaturu pečenja, atmosferu (redukcio- Assumed compound of starting raw material for prona ili oksidaciona), eventualnu pripremu sirovina (usit- duction of ceramic vessels was based on the comparison njavanje) i sl. Proučavanjem lokalnih nalazišta potenci- with original Neolithic ceramics. jalnih sirovina, odabrani su najpogodniji uzorci, od ko- Specific microstructure analyses were used in order jih su napravljene test-pločice. Njihovim poređenjem sa to determine the compound of original Vinča ceramics. originalnom neolitskom keramikom procenjivan je sas- X-ray diffraction showed that the dominant phase was tav polazne sirovine za izradu keramičkih posuda. quartz, together with albite, muscovite, orthoclase and Radi utvrđivanja faznog sastava originalne vinčanske keramike korišćene su specifične tehnike mikrostruktur- other. All the samples, that is all the vessel types, are ali- ne analize. Rentgenskom difrakcionom analizom (XRD) ke considering the compound, which implies an identi- utvrđeno je da je dominantna faza kvarc, uz albit, mus- cal starting compound of the raw material. Chemical kovit, ortoklas i dr. Svi uzorci, tj. svi tipovi posuda su u elementary analysis offers similar results, since silicon pogledu faznog sastava slični, što ukazuje na identičan and aluminum are the most detected, as well as oxides polazni sastav sirovina. Hemijska elementarna analiza in alumosilicates. Also iron and calcium make a large daje slične rezultate, jer se u najvećoj meri detektuju sili- portion of the compound, a bit less potassium, magne- cijum i aluminijum, kao i oksidi u sastavu alumosilikata. sium and sodium.Through rational analysis, referring to Takođe je utvrđen značajan udeo gvožđa, kalcijuma, a u comparative analysis of the phase and chemical com- manjoj meri kalijuma, magnezijuma i natrijuma. Racio- pound, it was concluded that alum silicates make 80% nalnom analizom, koja predstavlja uporednu analizu faz- of the fired ceramics compound. nog i hemijskog sastava, ustanovljeno je da alumosilikati The samples for petrography, microscopic analysis of čine oko 80% sastava pečene keramike. mineralogical compound, were prepared in a special Posebnom metodom su pripremljeni uzorci za mik- way. Some of the samples analyzed also show the cha- roskopsku analizu mineraloškog sastava, petrografiju. racteristics of mentioned phases. It was discovered that Na do sada urađenim uzorcima se takođe prepoznaju various samples of ceramics show no important diffe- neke karakteristike navedenih faza. Za različite uzorke rences in their composition. keramike utvrđeno je da se sastav međusobno ne razli- The analysis of the samples from the nearest local kuje u bitnim elementima. deposits shows that they could be potential raw materi- Analizom uzoraka sirovina sa najbližih lokalnih na- al used, but they do not prove the possibility of reaching lazišta može se zaključiti da su one potencijalno kori- satisfactory resemblance of chemical and phase com- šćena sirovina, ali one ne dokazuju da se prostom sme- pound just by simply mixing them together. šom može dobiti zadovoljavajuća sličnost u hemijskom The chemical analysis of two samples of Neolithic i faznom sastavu. ceramics was based on atomic absorption spectrophoto- Hemijska analiza dva uzorka neolitske keramike je metry (AAS), in accordance with JUS standards. The rađena atomskom apsorpcionom spektrofotometrijom analyses of oxides content showed that the raw materi- (AAS), metodama koje odgovaraju JUS standardima. Iz al belongs to the group of brick clays, with relatively analiza se može konstatovati da, prema sadržaju oksida, low quantity of Al2O3 and higher quantity of iron oxide, sirovina pripada grupi ciglarskih glina, sa relativno nis- as well as alkali and earthalkali oxides. Chemical ana- kim sadržajem oksida Al O i povećanim sadržajem ok- 2 3 lyses of the raw material found at the Brick Plant in Vi- sida gvožđa, kao i alkalnih i zemnoalkalnih oksida. He- nča, showed great similarity with the results of the che- mijske analize sirovine, sa lokacije Ciglana u Vinči, po- mical analyses carried out on the original ceramics, but kazale su veliku sličnost sa rezultatima dobijenim he- it is still necessary to conduct more X-rays structural mijskim analizama originalne keramike, ali je neophodno uraditi još rentgensko-strukturnih analiza, da bi se analyses to confirm, with certainty, the similarity of sa sigurnošću mogla potvrditi sličnost faznog sastava,. phase compound, that is structure. odnosno strukture. The analyses of absorption, on 11 samples of Neolit- U okviru ove faze rađene su i analize upijanja vode hic ceramics, were also carried out in this phase, and the 11 uzoraka neolitske keramike i rezultati se kreću od results go from 8,74% up to 17,73%. One of the samples 8,74 % do 17,73 %. Za jedan uzorak su urađene i druge also went through other analyses, referring to density karakteristike vezane za gustinu i poroznost materijala, and porosity of material, which are: density (2, i to: gustina (2,5773 g/cm3), prividna gustina (1,86 5773g/cm3), pseudo density (1,86g/cm3), pseudo porosity g/cm3), prividan porozitet (25,11 %), ukupan porozitet (25,11 %), total porosity (27,83 %) and sintering rate (27,83 %), i stepen sinterovanja (0,72). Visok porozitet i (0,72). High porosity and low sintering rate were expec- nizak stepen sinterovanja su očekivani, sa obzirom na ted, considering the fact that the sample firing tempera- činjenicu da je temperatura pečenja uzorka bila relativ- ture was relatively low for this type of clay. no niska za taj tip gline. Within further physical examination, absorption U okviru daljih fizičkih ispitivanja rađena su upijanja was carried out on the clear raw material testing pieces, vode test-pločica od čistih potencijalnih sirovina, kao i as well as on the combination of clay, loess and alluvial test-pločica - kompozita pravljenih kombinacijom glina, sediments. All the samples were fired in a pit, under re- lesa i aluvijalih sedimenata. Svi uzorci su pečeni u reduk- duction conditions, but also in oxidation atmosphere, in 130 ciji u jami, kao i u oksidacionim uslovima, u električnoj electrical laboratory kiln, with heating being increased laboratorijskoj peći, brzinom zagrevanja od oko 3oC/min around 3°C/min and keeping for 30 minutes on the ma- i zadrškom od 30 minuta, na maksimalnoj temperaturi od ximal temperature of 750°C. Relatively high differences 750oC. Relativno velike razlike upijanja vode ovih uzora- in absorption are concerned with chemical, mineralogi- ka vezane su kako za hemijski, mineraloški i granulome- cal i granulometric structure of the raw material, but al- trijski sastav sirovine, tako i za uslove pripreme uzoraka, so with preparation, modeling and firing conditions. oblikovanja i pečenja.Veće vrednosti upijanja vode u ok- Higher absorption in oxidation was expected for the re- sidaciji su očekivane zbog činjenice da u redukcionim us- ason of precipitating particles of carbon in the surface lovima dolazi do taloženja sitnih čestica ugljenika u po- pores in reduction conditions, which leads to lower po- rama na površini uzoraka i na taj način smanjuju poroz- rosity and, in that way, to lower absorption. Higher ab- nost materijala, a time i upijanje vode.Viša vrednost upi- sorption of water at reduction conditions, for the sam- janja vode za uzorke pečene u jami u redukcionim uslo- ples fired in a pit, could be a consequence of low firing vima u odnosu na fragmente može biti posledica ili niže temperature, or firing procedure, but one should not ig- temperature pečenja, kao i režima pečenja, a ne treba is- nore the possibility of differences in the chemical, mine- ključiti mogućnost razlike u hemijskom, mineraloškom i ralogical i granulometric structure of starting raw ma- granulometrijskom sastavu polaznih sirovina, što bi tre- terial, which should be determined latter on by porosi- balo naknadno utvrditi porozimetrijom, određivanjem metry, through determination of total volume and dis- ukupne zapremine i raspodele veličine pora. tribution of pores size.

Zaključak Conclusion Prva faza projekta još nije privedena kraju. Naime, The first phase of the project is still going on. Com- očekuju se još komparativne petrografske analize, čime parative petrographic analyses are still to be carried će se završiti ova faza. out, and they will end the Phase I. Planirano je da se u drugoj fazi ponovo naprave test- It is planned to produce new testing pieces in the pločice, ovaj put sa dodatim primesama i da se, nakon Phase II, with additional ingredients, and to repeat all pečenja, ponovo urade sve fizičko-hemijske analize. physical-chemical analyses. This practice could lead to Pretpostavlja se da će se, na ovaj način, doći do najpri- the most similar possible recipe for production of Vinča bližnije recepture mase od koje se pravila vinčanska ke- ceramics. Later on, during spring and summer of 2005, ramika. Potom će se, u toku proleća i leta 2005. godine, workshops will be organized, with an aim of producing organizovati radionice, čiji će cilj biti, izrada replika vin- replicas of Vinča vessels on the site, based on the most čanskih posuda na terenu, na osnovu približne receptu- similar recipe and by using techniques considered to be re, korišćenjem tehnika za koje se, na osnovu arheoloških used in the Neolithic, according to archaeological and i etnoarheoloških istraživanja, smatra da su primenjiva- ethno archaeological research. In this way, a new field of ne u neolitu. Ovako se otvara novo polje dugoročnih is- long-term researches, becoming the subject of following traživanja, koja će biti tema narednih eksperimentalnih experimental archaeological workshops at Vinča – Belo arheoloških radionica na lokalitetu Vinča - Belo brdo. Brdo site, would be introduced.

Rentgenogram uzoraka vinčanskih zdela, koji pokazuje X-ray graph of the samples of Vinča vessels, indicating a prisustvo kvarca, muskovita i albita presence of quartz, muskovit and albit

131 Maja Živković, conservator, DIJANA Centar Maja Živković, conservator, DIANA Centre Konzervacija i restauracija Conservation and restoration of srednjovekovne zdele iz crkve a medieval bowl from St. Peters Svetog Petra kod Novog Pazara church near Novi Pazar

OKALITET I ISKOPAVANJA. Crkva Sv. Petra kod ITE AND EXCAVATION. St. Peter’s church near LNovog Pazara je najstarije episkopsko središte na SNovi Pazar is the oldest Episcopal centre in the ter- teritoriji Srbije i jedan je od retkih crkvenih centara ritory of Serbia and also it is one of the rare church cen- koji je vekovima kontinuirano živeo. 1 tres that continually lived during the centuries.1 Sistematska iskopavanja na lokalitetu crkve Sv. Pe- Systematic excavations at the site of St. Peter’s tra vršena su u organizaciji Zavoda za zaštitu spomeni- church had been organized by the Regional Institute for ka kulture u Kraljevu, u saradnji sa Narodnim muzejem Protection of Cultural Monuments in Kraljevo in coope- u Beogradu, od 1960. do 1962.godine, od 1984. do 1988. ration with the National Museum in Belgrade, from godine i 2003. godine, kada su obavljena zaštitna isko- 1960 until 1962, from 1984 until 1988 and in 2003, when pavnja. Lokalitet je izuzetno kompleksan i karakteriše preventive excavation were undertaken. Site is an ex- ga čitav niz kulturnih slojeva. Crkva je podignuta iznad traordinary complex one and it is characterized by se- ilirskog kneževskog tumula i nekropole iz bronzanog do- ries of cultural layers.The church is built over the tumu- ba. U ovaj kulturni sloj su vekovima ukopavani temelji lus of Illyrian prince and Bronze Age necropolis. Into novih građevina i grobovi. Crkva je u celini arheološki this cultural layer for centuries were embedded founda- ispitana, dok je nekropola u porti delimično istražena. tions of new structures and graves. The church is ar- Na lokalitetu Petrove crkve pronađen je keramički chaeologically completely examined, whilst the necro- materijal koji pripada vremenskom periodu od IX do polis in the churchyard is only partially examined. XV veka.Veći deo materijala čine posude za svakodnev- On the site of St. Peter’s church ceramic material nu upotrebu, ali značajan je i broj nalaza luksuzne, gle- was found that belonged to period from the 9th until 15th đosane, trpezne keramike, koja je korišćena u posebnim centuries. Most of items belong to utilitarian ware, but prilikama. Pronađeni su fragmenti tri zdele sa horizon- there is also significant number of luxurious, glazed ta- talno postavljenim drškama. Približno su istih dimenzi- bleware that was used on special occasions. Fragments ja, kalotaste forme, a dekoracija im je izvedena na isti of three vessels with lugs are found. They are of about način – kombinacijom slikanja i zgrafito tehnike. Kera- same dimensions, segmented in form, and they were si- mička zdela koja je tema ovog rada pronađena je u son- milarly decorated - combination of painting and sgraf- di 1. za vreme iskopavanja 1986.godine, kojima je ruko- fito technique. vodila Gordana Marjanović-Vujović. Međutim, nije bilo Ceramic dish that is subject of this work was found moguće doći do nekih dodatnih informacija o ostalim in trench 1 during excavations in 1986, led by Gordana nalazima u toj sondi, ni gde se ona nalazi na lokalitetu, Marjanović-Vujović. However, it was neither possible to jer dokumentacija i materijal sa ovih iskopavanja jos ni- find additional information about the rest of finds in su obrađeni.2 the same trench, nor about its precise position on the si- JEDAN TIP SREDNJOVEKOVNE ZDELE. U cen- te, because the documentation and material from this tralnim oblastima Balkana zdele počinju da se proizvo- excavation have not yet been processed.2 de od IX ili ranog X veka, a sa ponovnim uspostavlja- ONE TYPE OF MEDIEVAL DISH. In central areas njem vizantijske vlasti na Balkanskom poluostravu, po- of the Balkans manufacture of vessels began in the 9th četkom XI veka, glazirana trpezna keramika počinje da or early 10th centuries, and with reestablished Byzanti- se uvozi.3 Potražnja za trpeznim posudama dekorativ- um authority in the Balkan peninsula, at the beginning nog izgleda posebno je porasla tokom XIV i XV veka, u of 11th century, importing of glazed tableware started.3 perioda uspona i razvoja srpskih gradova, kada su oja- Demand for decorative tableware especially increased čale i trgovačke veze sa susednim zemljama. Uvoz luk- during 14th and 15th centuries. This was the period of ri- suznih predmeta je značajno uticao na rad domaćih se and development of Serbian towns, when trading re- majstora.Tako se, uporedo sa pojavom vrednih predme- lationships with the neighbouring countries were ta od stakla i metala, javljaju i nove tendencije u proiz- strengthened. Import of luxuries influenced the work of vodnji trpezne keramike, koje se velikim delom oslanja- domestic craftsmen. Thus parallel to appearance of vaju na starije vizantijske uzore.4 Dekoracija najstarijih luable glass and metal objects new tendencies in the importovanih zdela izvedena je u tehnici zgrafita i sli- manufacturing of tableware emerged, greatly influen- kanja. One su bile uzor domaćim grnčarima za sva kas- ced by the Byzantian models.4 Decoration on the oldest nija ostvarenja. Osnovni dekorativni motivi srpske sred- imported vessels was done by sgraffito and painting njovekovne keramike su bili spirala, lozica i krug, dok techniques. These vessels served as models for domestic

1 U VI veku na tom mestu je podignut ranohrišćanski baptiste- 1 In the 6th century an Early-Christian baptistery, rotunda, was rijum, rotonda, koja je u IX veku rekonstruisana i proširena. Dogra- built in the place which was reconstructed and extended in the 9th đivanja i prepravke crkve nastavili su se sve do XIX veka. U crkvi i C. Outhouse and remakes of the church continued until the 19th njenim paraklisima uglavnom je bilo sahranjivano sveštenstvo Raš- century. In the church and its paraklision the Clergy of the Patriar- ke episkopije i članovi bratstva manastira Sv. Petra. Još od srednjeg chate of Raska and members of brotherhood of St. Peter’s Monaste- veka, uz posebno odobrenje arhiepiskopa, u porti crkve sahranjiva- ry were buried. Since the Middle Ages, individual laymen were bu- ni su i pojedini laici, da bi od XVIII do početka XX veka nekropola ried in the churchyard with special approval from archbishop, and pored Petrove crkve postala glavno groblje novopazarskih Srba. since the 18th C until the beginning of the 20th century the necro- M.Ljubinković, Nekropola crkve Sv. Petra kod Novog Pazara, Zbor- polis next to St. Peter’s church served as the main cemetery of the nik Narodnog muzeja,VI, Beograd 1970., 87. Serbs from Novi Pazar. M. Ljubinković, Nekropola crkve Sv. Petra 2 Posuda se, zajedno sa ostalim keramičkim materijalom, sada kod Novog Pazara, Zbornik Narodnog muzeja,VI, Beograd 1970., 87. nalazi u Zbirci poznog srednjeg veka u Narodnom muzeju u Beogra- 2 The vessel together with other ceramic material, is at the modu, čiji je kustos Emina Zečević. Iz pomenutih razloga posuda nije ment in Late Middle Ages Collection in the National Museum in inventarisana, već ima terenske podatke: A-2, tip I/1b, 1/86, kese 1, 2. Belgrade, whose curator is Emina Zecevic. For the mentioned rea- 3 V. Bikić, Glazed Pottery in the Central Balkans (11th-13th c.), sons the vessel is not filed in inventory, yet has site references: A-2, Starinar, XLIX/1998, Beograd 1999., 145. tip I/1b, 1/86, kese 1, 2. 4 M. Bajalović-Hadži-Pešić, Keramika u srednjovekovnoj Srbi- 3 V. Bikić, Glazed Pottery in the Central Balkans (11th-13th C), ji, Beograd 1981., 109. Starinar, XLIX/1998, Beograd 1999., 145 4 M. Bajalović-Hadži-Pešić, Keramika u srednjovekovnoj Srbi- 132 ji, Beograd 1981., 109. su floralni, zoomorfni i geometrijski ornamenti korišće- ni znatno ređe. Na osnovu dosad nađenog materijala, primena kon- centričnih krugova u dekoraciji je posebno zapažena na zdelama sa punim, horizontalno postavljenim drškama.5 Na svim primerima posuda na teritoriji Srbije dekoracija kruga je izvedena šestarom, od koga je ostajao trajan trag u glini, u vidu udubljene tačke u centru kruga. Posude sa ornamentom koncentričnih krugova su rađe- ne u dvojnoj tehnici urezivanja (zgrafita) i slikanja, koje prati crtež u vidu pruga ili mrlja zelene, okera i žute boje. Korišćenje više tehnika pri izradi jednog ornamenta bilo je uobičajeno u kasnom srednjem veku. Ostaje nejasno kakva je bila funkcija zdela sa horizontalnim drškama: da li su bile namenjene trpezi ili su ko- potters in their future work. The basic decorative motifs rišćene pri vršenju nekog obreda. Činjenica je da nijedna of the Serbian medieval ceramics were a spiral, vine and zdela nije pronađena u zatvorenoj sredini,6 već u slojevi- circle, while floral, zoomorphic and geometric orna- ma u koje su dospele posle prestanka njihove upotrebe. ments were rarely used. Based on the materials found, usage of concentric Opis i stanje predmeta pre konzervacije circles in decoration is especially noticeable on vessels 5 OPIS PREDMETA: Zdela je doneta na ponovnu kon- with full, horizontally placed handles. On all samples zervaciju i restauraciju, jer predhodna restauracija nije of vessels in Serbia circled decoration was done by cal- bila zadovoljavajuća. Radi se o plitkoj, kalotastoj zdeli lipers which left permanent marks in the clay.Ware with na niskoj stopi ravnog dna, čija je ivica izvučenom ka concentric circle ornaments were made in double tech- spolja, zaobljenog, nenaglašenog oboda, sa dve pune nique of incision (sgraffito) and painting, followed by drške, horizontalno postavljene uz ivicu oboda. Glazira- drawing of stripes or green, ochre and yellow spots. na je u nijansama zelene i svetlo žute boje, dok je pri Using more than one technique during making of an or- dnu recipijenta i na samoj stopi glazura mrke boje. Sa nament was commonly used in the late Middle Ages. spoljašnje strane, ispod oboda, u zgrafito tehnici je izve- The function of the vessels with the horizontal han- dena dekoracija u vidu koncentričnih krugova: sa jedne dles remains unclear, whether they were meant for table strane dva, a sa druge strane tri koncentrična kruga. Li- or they were used for some ceremony.The fact is that no 6 nije ureza krugova su crne boje, a u središtu je vidljiva vessel was found in a closed association , but in layers crna tačka, koja ukazuje na korišćenje šestara prilikom where they arrived long after their usage. urezivanja. Da bi zgrafito dekoracija došla više do izra- žaja, najmanji krug na svakom motivu je glaziran svet- Description and state of the object before lom žutom bojom. Na ovalnoj dršci se nalazi urezan or- conservation nament spirale, dok druga drška nije sačuvana, tj. saču- DESCRIPTION OF THE OBJECT: The dish was bro- vana je samo u korenu. ught again for conservation and restoration, as the pre- Dimenzije predmeta: visina posude 8 cm, prečnik vious restoration was unsatisfactory. The dish is shal- oboda 19 cm, dubina recipijenta 6 cm, prečnik stope 12 low, arch shaped on a low foot, flat bottom, whose rim cm, dužina drške 4 cm, širina drške 2,5 cm, debljina zi- was everted, round, unstressed with two full lugs placed da recipijenta 0,8 cm. next to the edge of rim. Fragmenti posude su zalepljeni, a da predhodno ni- It is glazed with the shades of green and light yellow su bili očišćeni od naslaga zemlje, posebno unutrašnjost colour, while at the bottom of the recipient and on the recipijenta. Zdela je restaurirana, pri čemu su dva frag- foot itself the glaze is umber. On the outside under the menta (od postojećih 28) ostala neuklopljena, a druga rim there is sgraffito decoration in the form of concen- drška nije uopšte bila izvedena. Pored značaja samog tric circles: on one side two, and on the other three con- predmeta i činjenice o malom broju nalaza zdela ovog centric circles. Incision lines of circles are black in co- tipa, očevidni propusti pri predhodnoj restauraciji bili lour, with the visible black dot in the centre, which im- su dovoljni da kustos odluči da su potrebni ponovna plies the use of callipers. In order to emphasize sgraffi- konzervacija i restauracija. to decoration the smallest circle on every motif is glazed PROCENA STANJA PREDMETA: Zdela je izrađena with light yellow colour. There is a spiral ornament car- na vitlu od dosta dobro prečišćene gline. Ispitivanja na ved in the oval handle, while the other handle is not pre- ivici jednog fragmenta su pokazala da je keramika rela- served, i.e. only the root of it is preserved. tivno porozna, što je uobičajeno za temperaturu pečenja Dimensions of the object: height of the dish 8 cm, di- ove vrste keramike7. Pošto dekoracija dvojnom tehni- ameter of the rim 19 cm, depth of the recipient 6 cm, di- kom zgrafita i slikanja podrazumeva pečenje posude ameter of the foot 12 cm, length of the handle 4 cm, dva puta, pretpostavljeno je da je keramika dosta čvrs- width of the handle 2,5 cm, thickness of the recipient 5 Tip zdele sa horizontalnim drškama je antičkog porekla. To- wall 0,8 cm. kom srednjeg veka ovaj oblik je nastavio da postoji na teritoriji ne- Fragments of the dish were bonded, without being kadašnjih rimskih provincija u predmetima od keramike i metala. cleaned from the dirt, especially inside of the recipient. Koncentrični krugovi su bili jedan od specifičnih ukrasa tzv. Zeuxip- While restoring the dish two fragments (out of 28) cou- pus posuda, koje su se proizvodile tokom XII i početkom XIII veka u carigradskim radionicama, smeštenim na prostoru Hipodroma. M. 5 Type of dish with lugs is of antic origin. During the Middle Bajalović-Hadži-Pešić, Keramika u srednjovekovnoj Srbiji, 68., 80. Ages this shape continued to exist in the territory of old Roman pro- 6 Osim zdele pronađene u Studenici, E. Zečević, Prilog prouča- vinces in ceramic and metal objects. Concentric circles were one of vanju zdela sa vodoravnom drškom, Novopazarski zbornik, 27, No- the specific ornaments of the so called Zeuxippus which were ma- vi Pazar 2003., 98. nufactured during 12th C and at the begining of the 13th century in 7 Srednjovekovna glazirana keramika uglavnom je pečena na the workshops in Constantinopole in the area of the Hippodrome. M. temperaturi od 800șC do 1000șC, njena poroznost zavisi od prečišće- Bajalović-Hadži-Pešić, Keramika u srednjovekovnoj Srbiji, 68., 80. nosti gline i veća je od 5 %. Poroznost kamenine, fajansa i porcela- 6 But for the dish found in Studenica, E. Zečević, Prilog prou- na, koji su izrađeni od izuzetno prečišćene gline visokog kvaliteta i čavanju zdela sa vodoravnom drškom, Novopazarski zbornik, 27, pečeni na temperaturama iznad 1050șC, je uvek manja od 5%. Novi Pazar 2003, 98

133 ta. Ispitivanja zubarskim alatkama na ivicama preloma ld not be assembled while the second handle was not re- su to dokazala, a pokazalo se da je i glazura čvrsto ve- made. The significance of the object itself and the fact zana za telo. Kompaktne naslage zemlje na dnu recipi- that only few such vessels were discovered together with jenta su se lako skidale, odvajajuci se ljuspasto od povr- the obvious mistakes during the previous restoration šine, bez opasnosti da bi mogle povući i površinski sloj were good reasons for the curator to decide that new keramike, tj. glazuru. conservation and restoration were needed. PREDLOŽENI TRETMAN: Odlučeno je da se uradi ESTIMATION OF THE STATE OF THE OBJECT: potpuna restauracija predmeta. Tok tretmana bi bio sle- The dish was thrown on a wheel and the clay was well- deci: uklanjanje stare restauracije, tj skidanje restauri- refined. The investigations of the edge of a fragment ranih delova od gipsa i čišćenje fragmenata, a zatim bi proved that the ceramics was relatively porous, which is sledila konsolidacija i ponovno lepljenje, restauracija common for the firing temperature of this kind of cera- gipsom, retuš i završna konsolidacija predmeta. mics.7 Since decoration of the dual technique of sgraffi- to and painting implies that the dish was fired twice, it Konzervatorski tretman was assumed that the ceramics was quite solid. Exami- ČIŠĆENJE PREDMETA. Najjednostavniji i istovre- nation with dental tools on the edges of fracture proved meno, za predmet, najbezbedniji način uklanjanja resour assumption, as well as the fact that the glaze was tauriranih delova od gipsa je mehanički. Veće površine firmly attached to the body. Compact layers of dirt at gipsa su dobro ovlažene vodom i tako omekšan, gips je the bottom of the recipient were easily taken off as they pažljivo sečen skalpelom što bliže ivici keramike. Ivice flaked, without risk of taking off the surface layer of ce- fragmenata su zatim očišćene vodom, zubarskim alat- ramics with them , i.e. glaze. kama i iglom od ostataka gipsa. SUGGESTED TREATMENT: It was decided that Fragmenti su bili zalepljeni, ali pošto predhodno sa the full restoration of the object was to be done. The fol- ivica nisu bile uklonjene naslage zemlje, posuda je mo- lowing treatment procedure was applied: removal of old rala biti razlepljena, a fragmenti u potpunosti očišćeni. restoration, i.e. taking off the restored pieces of plaster Uklanjanje starog lepka počinje njegovom identifikaci- and cleaning of fragments, and afterwards consolida- jom na osnovu fizičkih i hemijskih karakteristika - bo- tion and reassembling, restoration with plaster, retou- je, čvrstine i rastvorljivosti. Na identifikaciji se zasniva ching and the final consolidation of the object. izbor odgovarajućeg rastvarača za ukljanjanje lepka. Test na jednom fragmentu je potvrdio pretpostavku da Conservation treatment je predmet bio zalepljen OHO lepkom,8 koji se kod nas CLEANING OF THE OBJECT: The simplest and in najčešće koristi. Da bi u potpunosti bila razlepljena, the same time the safest way of removing the restored zdela je stavljena u plastičnu posudu sa hermetičkim plaster pieces is mechanical cleaning. Larger plaster poklopcem i okružena tamponima vate koji su natoplje- areas were well moistened with water, and such softe- ni acetonom i postavljeni tako da ne dodiruju keramiku. ned plaster was carefully cut with scalpel reaching as Posle 90 minuta, uz povremeno dodavanje acetona na close as possible the edges of the ceramics. The remai- tampone vate, pod uticajem acetonske pare OHO lepak ning plaster on the fragment edges was then cleaned by je omekšao i fragmenti su se razdvojili. Prilikom razlep- water, dental tools and the needle. ljivanja primenjen je samo blagi pritisak na spojeve, jer Fragments were assembled, but the edges were not ako lepak nije dovoljno omekšao, jači pritisak bi mogao cleaned from dirt before assembling, the dish had to be uzrokovati odvajanje tankog sloja keramike zajedno sa disassembled and fragments completely cleaned. Remo- lepkom. Pošto aceton spada u izuzetno lako i brzo ispar- val of old adhesive began with identification based on its ljive rastvarače, predmet je morao biti smešten u atmos- physical and chemical characteristics - colour, firmness feru hermetički zatvorenog kontejnera, a kutija je to- and solubility. This identification determined the choice kom tog procesa stajala u posebnoj prostoriji u kojoj je of appropriate solvent for adhesive removal. Test on one prozor bio otvoren.9 Usledilo je čišćenje ivica fragmena- fragment confirmed the assumption that the object was ta od preostalog lepka pomoću štapića sa namotajima assembled with the OHO adhesive 8, very commonly used vate, koji su natopljeni acetonom. here. In order to completely disassemble the dish, it was Čišćenje keramike od zemlje i ostalih površinskih ne- put in a plastic vessel with the air-tight lid and surroun- čistoća vršeno je prvo mehanički. Korišćene su zubarske ded with cotton wool pads moistened with acetone and alatke, četkice i skalpel, a zemlja se lako skidala sa čvrs- placed so as to avoid any contact between the pads and te, glazirane površine. Na kraju je keramika očišćena de- the ceramics. After 90 min. with occasional adding of stilovanom vodom, pomoću štapića sa namotajima vate. acetone to the pads, due to acetone vapours, OHO adhe- Vata je menjana sve dok na njoj nisu prestali da ostaju sive had softened and fragments separated. During the tragovi skinutih naslaga nečistoće. Voda je često najefi- disassembling only the slight pressure was applied to kasniji rastvarač, koji se koristi za uklanjanje zemlje i junctions. Otherwise if the adhesive had not softened nemasnih naslaga sa površine keramike. Kada su frag- enough stronger pressure would have caused detachment menti bili potpuno suvi, dezinfikovani su alkoholom. of the thin layer of ceramics together with the adhesive. KONSOLIDACIJA. I pored neophodne reverzibilnos- Since acetone evaporates easily and quickly, the object ti, veoma je teško kasnije u potpunosti odstraniti konso- had to be placed in a special room with open windows. 9 lidant iz tela keramike. Međutim, iako su fragmenti zde- Then the fragments’ edges were cleaned from remaining le bili u dobrom stanju, a glazura dobro vezana za telo, adhesive, using sticks with cotton wool pads moistened odlučeno je da se keramika konsoliduje, zbog nekontro- with acetone. Ceramics was first mechanically cleaned lisanih uslova u depou. Istovremeno, konsolidacijom se 7 Medieval glazed pottery was mostly fired at temperatures struktura dodatno mehanicki učvršćuje, bez hemijske from 800ș do 1000ș C, its porosity depends on the quality of clay and reakcije sa keramikom. Obim i brzina prodiranja konso- is always over 5%. Porosity of stone, faience and porcelain, which are made of extremely refined clay of high quality and fired at tem- lidanta u keramiku zavisi od veličine molekula smole, od peratures above 1050șC, is always less than 5%. 8 OHO adhesive is a mixture of Polyvinyl acetate and cellulose 8 OHO lepak je mešavina polivinil acetata i celuloznog nitrata. nitrate. 9 U nedostatku prostora sa adekvatnom ventilacijom i 9 In the lack of space with adequate ventilation and gas extrac- ekstraktora za gasove, posebna prostorija za lako isparljive, štetne i tor, separate room for easily evaporative harmful and flammable zapaljive materije je jedino rešenje. substances is the only solution. 134 korišćenog rastvarača i od procenta smole u rastvaraču. from dirt and other surface filth. Dental tools, brushes Takođe, zavisi od fizičkog i hemijskog stanja predmeta i and a scalpel were used and dirt was easily cleaned from metoda primene konsolidanta. Izabrani konsolidant ne solid glazed surface. At the end the ceramics was cleaned sme da promeneni izgled predmeta, što je posebno važno with the distilled water using sticks with cotton wool. za predmete koji nisu glazirani ili imaju transparentnu Cotton wool was being replaced until no marks of the glazuru. Mnogi materijali, kada ispune telo keramike, dirt were left on it. Water is often the most efficient sol- menjaju ton boje, čineci površinu tamnijom ili sjajnom. vent that is used for dirt and removal of non-greasy lay- Fragmenti su konsolidovani u 5% rastvoru paraloida ers from the surface of the ceramics.The dried fragments B7210 u ksilolu. Konsolidacija je izvršena metodom pota- were disinfected with alcohol. panja, jer se na taj način omogućuje prodiranje rastvora CONSOLIDATION. In spite of needed level of rever- u predmet u najvećoj meri. Fragmenti su stavljeni na me- sibility, it is very difficult to completely remove the con- talnu mrežicu, koja nam dozvoljava da ceo proces obavi- solidant from the ceramics body. However, although the mo bez direktnog dodira sa konsolidantom, a zatim su dish fragments were in good condition and glaze firmly polako potopljeni i ostavljeni u hermetički zatvorenoj attached to the body, the decision was made to consoli- kanti, 60 minuta. Lagano potapanje je veoma važno, jer date the ceramics as conditions in the depot could not na taj način omogućavamo da se vazduhu postepeno po- be controlled. At the same time the structure was stabi- vlači dok keramika kapilarno apsorbuje konsolidant. S lized by consolidation without provoking a chemical re- vremena na vreme je proveravan nivo zasićenja kerami- action with ceramics. Degree and the speed of consoli- ke i sve dok konsolidant nije u potpunosti prodro u dant penetration into ceramics depend on molecule size strukturu, na površinu rastvora su izlazili mehurići vaz- of the resin, the solvent used and finally the resin per- duha, koje je konsolidant potiskivao. Fragmenti su ostav- centage in solvent. They also depend on physical and ljeni dvadeset četiri časa da se osuše, jer je toliko potreb- chemical conditions of the object and on the method of no rastvaraču (ksilolu) da u potpunosti ispari iz kerami- consolidant application. ke. Neophodno je da keramika bude potpuno suva pre The chosen consolidant must not alter appearance of svake dalje faze tretmana, posto bi kontakt rastvarača sa the object, which is especially important for objects that vodom izazvao pojavu belih tragova i mrlja. are not glazed or that have transparent glaze. Many ma- LEPLJENJE. Pri izboru lepka je veoma važno iza- terials, after filling the ceramics body alter the shade of brati lepak odgovarajuće viskoznosti, koja je u skladu sa the colour, making the surface darker or lighter. stepenom poroznosti keramike. Porozna keramika ne The fragments were consolidated in 5% solution of sme da se lepi lepkom male viskoznosti, jer će biti ap- Paraloid B7210 in xylol. Consolidation was done by im- sorbovan u telo keramike, ne ostavljajući dovoljno lep- mersing, this method provides penetration of the solvent ka na površini ivica fragmenata, što onemogućava dobar into the object to the highest degree. Fragments were spoj. Osim toga, apsorpcija lepka ostavlja nepopravljive placed on a metal grid which made completion of the posledice za predmet: na delovima oko preloma i spoje- process possible without direct contact with consoli- va mogu se pojaviti tamne mrlje koje označavaju dokle dant, and then they were carefully immersed and left in je lepak apsorbovan; konsolidant deluje na lepak i kas- a hermetically closed can for 60 min. Careful immersing nije pri rukovanju predmetom svaki pritisak na spoj is very important, because the air gradually withdraws može izazvati da se konsolidovani deo odvoji, što while ceramics absorbs the consolidant through capil- predstavlja novo oštećenje. Zato lepak za poroznu kera- lars. The level of ceramics saturation was occasionally miku mora da ima prirodnu viskoznost. checked and before the consolidant completely penetra- Pre lepljenja, ivice fragmenata su još jednom očišće- ted the structure, air bubbles pushed by the consolidant ne alkoholom i prekontrolisano je da li su ostala vlakna started appearing on the surface of the solvent. Frag- vate, jer samo apsolutno čista i suva površina omoguća- ments were left to dry for 24 hours, since it is the time va dobro lepljenje. Fragmenti su zalepljeni OHO lep- needed for the solvent xylol to evaporate completely out kom,11 a spoj je zatim učvršćen papirnim selotejpom. of the ceramics. It is necessary that the ceramics is com- Manja količina lepka, koja je pod pritiskom iscurela na pletely dry before any further treatment since otherwise spojevima, očišćena je acetonom dok je lepak još bio contact of the solvent with the water would cause appe- mek. Pronađeno je mesto jednog fragmenta koji u pred- arance of white traces and stains. hodnoj restauraciji nije bio zalepljen. Provereno je još ASSEMBLING. For the assembling phase it is very jednom da li se drugi fregment negde uklapa, ali pošto important to choose adhesive with viscosity that corres- ne postoji mesto direktnog spoja, njegovo mesto je odre- ponds to the degree of ceramics porosity. Porous ceramics đeno na osnovu dekoracije i forme i biće kasnije uklop- must not be assembled with adhesive of low viscosity sin- ljen u toku rekonstrukcije. ce it will be absorbed into ceramics body, without leaving Sledećeg dana, kada je OHO lepak bio potpuno suv, enough adhesive on the fragment surfaces, thus preven- skinut je selotejp. Selotejp ne sme ostati dugo zalepljen ting solid joints. Besides, absorption of adhesive leaves irna površini keramike, pre svega keramike sa osetljivom reparable consequences on the object: dark stains can ap- površinom, jer će pri skidanju povući sa sobom čitav po- pear around fractures and junctions indicating to which vršinski sloj keramike ili sve nestabilne i slabo vezane degree adhesive is absorbed; consolidant affects adhesive delove. U našem slučaju se moglo desiti da se, naizgled and during further handling the object, even a slight čvrsto vezana glazura, na nekim mestima odvoji. Površi- pressure can cause the separation of consolidated part na keramike pažljivo je očišćena acetonom od tragova which further causes damage. Therefore adhesive for po- selotejpa, jer ako oni ostanu na keramici, skupljaće pra- rous ceramics needs to have natural viscosity. 10 Paraloid B72 je kopolimer metil akrilata i etil metakrilata. Before assembling the fragment edges were once Koristi se kao lepak i konsolidant za trošnu i čvrstu keramiku again cleaned with alcohol and checked for the remai- Reverzibilnost: rastvorljiv je u acetonu, ksilolu, toluenu, diaceton ning cotton wool fibres as only absolutely clean and dry alkoholu, metilen hloridu, etilen dihloridu, trihloretilenu, etil acetatu, dimetil formamidu. S.Buys, V.Oakley, Conservation and 10 Paraloid B72 is a copolymer methyl acryl ate and ethyl me- Restoration of Ceramics, Oxford 1999., 191. tacrylat. It is used as the adhesive or consolidant for fragile and firm 11 OHO lepak je kod u najčešćoj upotrebi. Polivinil acetat spada ceramics. Reversibility: it is soluble in acetone, xylol, toluene, diace- u grupu polimera najotpornijih na uticaj svetlosti. Reverzibilnost tone alcohol, methylene chloride, ethylene dichloride, trihloretilen, OHO lepka: rastvorljiv je u acetonu, toluenu, etil acetatu. Omekšava ethyl acetate, dimethylformamid. S.Buys, V. Oakley, Conservation u tpoloj vodi. and Restoration of Ceramics, Oxford 1999.,191. 135 surface enables good assembling. Fragments were assembled using OHO adhesive11, and junction was fixed by paper duct tape. The amount of adhesive that under pressure appeared on conjunctions was cleaned by acetone while adhesive was still soft. A fragment, which in previous restoration was not assembled, was now fitted to its position during assembling. It was checked again whether the other fragment fitted somewhere, but since there was no direct junction, its place was determined based on decoration and form and it would be fitted during the reconstruction. On the next day, when the OHO adhesive was completely dry, the duct tape was removed. The duct tape must not be left for a long time on the ceramics surface, šinu i prljavštinu koja se lepi za njih, a ubrzo će prome- especially with sensitive surface, as during removal sur- niti i boju i postati vrlo uočljivi. face of ceramics and all unstable and loosely attached REKONSTRUKCIJA. Pre početka rada na rekon- parts can be lifted by it. In our case seemingly firmly at- 12 strukciji, keramika je dodatno zaštićena lateksom. La- tached glaze could detach. Ceramics surface was care- teks omogućava da se površina keramike zaštiti od me- fully cleaned with acetone from the duct tape traces. Ot- haničkih oštećenja tokom rada i da se materijali i boje herwise they would collect dust and dirt and would soon koje koristimo tokom procesa restauracije ne apsorbuju, change the colour and become visible. jer svako naknadno čišćenje produžava rad konzervato- RECONSTRUCTION. Before the reconstruction, cera i dodatno oštećuje keramiku. ramics was additionally protected by rubber latex.12 Na osnovu forme sačuvanih i zalepljenih fragmenata Latex enables further protection of the ceramics from napravljen je kalup od gline za delove zida recipijenta i mechanical damages during work and avoiding absorp- oboda koji nedostaju. Uzet je otisak sačuvane drške u gli- tion of materials and colours used during restoration, ni i tako je dobijen kalup u koji je onda uliven gips. Obra- since further cleaning prolongs the work of conservator đena drška je zatim postavljena na sačuvan koren origi- and additionally damages ceramics. nalne drške. Po uzoru na dekoraciju sačuvane drške, oš- Based on the form of preserved and assembled frag- trom alatkom je urezan spiralni ornament. Na spoljašnjoj ments mould of clay for missing parts of recipient wall strani posude su šestarom iscrtani koncentrični krugovi, and rim was made. Print of the preserved handle was ma- a zatim su urezani oštrom alatkom. Na kraju je gips is- de in the clay and plaster was infused into the obtained poliran šmirglama visoke granulacije, da bi se dobila po- mould. Processed handle was then placed on the preserved vršina koja odgovara teksturi glazirane keramike. root of the original handle. According to decoration of the Za rekonstrukciju je korišćen alabaster gips, koji je preserved handle a spiral ornament was incised with a 13 mešan sa rastvorom 0,75% barlepa u vodi. Gips je sharp tool. Concentric circles were drawn on the outer si- najčešće korišćeni materijal za rekonstrukciju, jer su de of the dish with callipers, and then they were incised njegova gustina, čvrstina i toplotno širenje uglavnom with a sharp tool. At the end plaster was polished with kompatibilni sa slabije pečenom i arheološkom kerami- emery of high granulation, in order to obtain the surface kom. Njegova svojstva se mogu poboljšati dodavanjem that corresponds to the texture of glazed ceramics. akrilne disperzije ili polivinil acetatne emulzije, čime se Alabaster plaster, mixed with 0,75% Barlep solvent povećava i čvrstina gipsa i snaga lepljenja. Relativno in water was used for the reconstruction.13 Material gruba tekstura ivica preloma porozne keramike odgova- most often used for reconstruction is plaster, as its den- ra svojstvima gipsa, koji se za njih dobro vezuje. sity, firmness and heat expansion are compatible with Postoje najmanje dva različita pristupa restauraciji low fired and archaeological pottery. Its qualities can be delova koji nedostaju na predmetima. Za oba pristupa improved by adding acrylic dispersion or polyvinyl ace- postoje argumenti koji ih podržavaju i opovrgavaju. Kod tate emulsion, wherewith firmness of plaster and nas se restaurirani delovi izrađeni od gipsa izvode tako strengths of assembling are enhanced. Relatively rough da budu u istom nivou kao i originalna površina kera- texture of junction edges of porous ceramics corres- mike. Prelaz između gipsa i keramike treba da bude ne- ponds to plaster qualities. primetan, kada se nivo proverava prstima. Smatra se da There are at least two different approaches to resto- se razlika između originala i restauracije može dovoljno ration of missing parts on the objects. For both there are naglasiti izvođenjem retuša koji je za nijansu svetliji od arguments that sustain or disprove it. Restored parts keramike. Takođe, u našoj konzervatorskoj praksi nije made of plaster should be in the same level as the origi- običaj da se dodaju pigmenti u gips da bi restaurirani nal surface of pottery. Transition from plaster to potte- deo dobio boju i ton sličan keramici. Znači, restaurirani ry should be imperceptible when touched. It is believed deo izveden od gipsa ostaje beo, a zatim ga retuš čini that difference between the original and restoration is uočljivim i drugačijim od originalne površine keramike. sufficiently emphasized by retouch that is for one nuan- Kada se radi retuš na belom gipsu, mora se imati u vidu ce lighter than pottery. Likewise, in our conservational starenje retuša i njegovo ljušćenje, a time i neophodnost practice it is not customary to add pigments into plaster obnavljanja retuša posle izvesnog broja godina. 11 OHO adhesive is most commonly used in our country. Poly- Drugi pristup, koji nije uobičajen kod nas, sastoji se vinyl acetate belongs to the polymer group that is most resistive to od izvođenja restauriranih delova koji su uvek vrlo ma- light. OHO adhesive reversibility: it is soluble in acetone, toluene, ethyl acetate. It softens in hot water. 12 Lateks je guma koja se dobija iz drveta Hevea brasiliensis,a 12 Rubber latex is derived from the rubber tree Hevea brasilien- sam proizvod sadrži do 60% gume kojoj je dodat amonijak, da bi sis and commercial product contains to 60% rubber, with ammonia bila postojanija. Guma je vulkanizovana i u toj formi nije rastvorlji- added to give enhanced stability. Rubber is vulcanized and insolu- va u rastvaračima. Dvostruke veze polimera omogućavaju bržu ble in solvents. The double bonds in the polymer enable rapid oxi- oksidaciju na sobnoj temperaturi i kada se osuši dobija oblik dation at room temperature. Dried latex is in form of elastic and elastične i jake prevlake C.V.Horie, Materials for Conservations, strong film. C.V.Horie, Materials for Conservations, Butterwoths, Butterwoths, UK, 1990 UK, 1990., 90. 13 Barlep je akrilna disperzija, koja se može naći pod različitim 13 Barlep is acrylic dispersion that can be found under different proizvodnim nazivima. product names. 136 lo ispod nivoa originalne keramike, čime se dodatno is- so that restored parts get the colour and note similar to tiče njihova razlika. Ovaj način rada primorava konzer- pottery. Meaning, the restored part of plaster remains vatora na veću preciznost u radu i onemogućava prikri- white in colour, and the difference from original surface vanje loše izvedenih spojeva. Mnogi konzervatori prak- of pottery is emphasized by retouching. When working tikuju izvođenje bojenog restauriranog dela, dodava- with white plaster, aging of the retouch and its peeling njem zemljanih pigmenata u gips, tako da se dobije sa- must be taken into consideration, as well as possibly nemo približna boja keramike. Smatra se da se time razli- cessary re- retouching after some years. ka između originala i restauracije čini manje uočljivom, The second approach that is not commonly used, con- ako eventualno dođe do oštećenja predmeta ili retušira- sists of implementation of restored parts, which are al- nog sloja koji može biti nepažnjom izgreban ili počne da ways very little under level of original pottery and thus se ljušti zbog starenja. Međutim, ako dođe do gubljenja making their difference additionally emphasized.This re- boje bojenog restauriranog dela, dobijamo kompleksni- quires better precision of the conservator during his work ji problem, jer se mora zameniti čitav restaurirani deo. and prevents hiding of badly managed joints. Many con- RETUŠ. Na početku konzervatorskog tretmana treba servators colour the restored part by adding earth pig- odlučiti na koji način će restaurirani deo biti retuširan. ments into plaster thus obtaining approximate colour of Površinski sloj ne treba samo da bude obojen, već treba pottery. It is believed to diminish the difference between da ostvari odgovarajuću propustljivost svetlosti, dubinu i the original pottery and the restoration, in case the resto- sjaj, koji su u skladu sa originalnom površinom kerami- red part or retouched layer are damaged by unintentional ke. Opšte pravilo je da je boja retuša za nijansu svetlija od scratching or peeling due to aging. However, if the colour originalne boje, jer bi tamniji retuš restaurirarnim povr- of coloured restored part is lost, it is a more complex is- šinama vizuelno dao utisak tamnih praznina na predme- sue, since the whole restored part must be replaced. tu. Takođe, retuširane površine ne smeju biti preterano RETOUCH. At the beginning of conservation treat- uočljive i nametljive, kada se posmatraju sa razdaljine ment it has to be decided how the restored part will be koja je uobičajena za posmatranje u izložbenim vitrina- retouched. Surface layer must not only be coloured, but ma, ali moraju biti lako primetne iz blizine.14 Polazna it must reach adequate penetration of light, depth and tačka pri izradi rertuša je ustanovljavanje glavne boje po- shine, in accordance with the surface of original potte- zadine predmeta i prema njoj se zatim sve usklađuje. ry. General rule is that colour of retouch should be one Površina zdele je prekrivena bojenim slojem koji je u nuance lighter from the original colour, since the darker nijansama zelene i svetlo žute boje, bez pravilnosti u de- retouch on restored surfaces would give impression of koraciji, osim na zgrafito motivima. Pošto bi bilo neprih- dark voids on the object. Moreover, retouched surfaces vatljivo imitirati raspored i razlivenost boje posude, od- must not be too noticeable and provoking when looked lučeno je da se retuš izvede zelenom bojom, ujednačenog from distance that is common for watching display ca- intenziteta na čitavoj površini. Odgovarajući zemljani ses but they must be easily noticeable when closely loo- pigmenti su prvo dodatno izmrvljeni, da bi se dobio fini- ked at.14 Diagnostic of main colour of object backgro- ji prah koji je lakše rastvorljiv. Pigmenti su zatim rastvo- und was the outset in making retouch and according to reni u 3% rastvoru barlepa u destilovanoj vodi. Barlep, that everything else was adjusted. kao akrilna disperzija, omogućava da bojeni sloj bude Surface of the dish was covered with coloured layer otporniji i da se bolje veže za površinu gipsa. Teškoća pri that was in nuance of green and light yellow colour, wit- izvođenju retuša na gipsu predstavlja tačno pronalaženje hout regularity of decoration, except on sgraffito motifs. nijanse odgovarajuće boje. Boja naneta na gips posle su- Since it would be unacceptable to imitate layout and šenja je uvek svetlija, a posle nanošenja konsolidanta overflow of colour of the dish, it was decided that the tamnija. Zato je neophodno raditi testove na pločicama retouch should be green and of equal intensity on the od gipsa. Dobijeni svetlo zeleni ton je za nijansu svetliji whole surface. Adequate earth pigments were at first od svih tonova zelene koji se nalaze na zdeli, a takođe je crumbled as to get fine powder that is easily soluble. bio u skladu i sa tonovima svetlo žute. Na kraju su retu- Pigments were then dissolved in 3% Barlep solvent in širane površine mekom četkom lazurno premezane kon- water. Barlep as acrylic dispersion enables better resis- solidantom - 5% rastvor paraloida B72 u ksilolu, čime su tance of coloured layer and to better bond with plaster restaurirani delovi dobili sjaj sličan glazuri keramike. surface. Contriving the exact nuance of adequate colour Ovim je konzervatorsko-restauratorski tretman represents difficulty during retouch implementation on predmeta bio završen. the plaster. Inflicted colour on the plaster after drying out is always lighter and after implementation of conso- Preporuke za čuvanje i izlaganje predmeta lidant darker.Therefore it was necessary to perform test Temperatura: 18-25 oC on the pellets of the plaster. Obtained light green note Relativna vlažnost: oko 50% was for nuance lighter from all notes of green colour UV zračenje: manje od 75 mikrovata po lumenu that were on the dish, also it was compatible with notes Osvetljenje: 50-250 lux of light yellow. At the end retouched surfaces were azu- Svi aero zagađivači bi trebalo da budu neutralisani re coated with soft brush dipped in consolidant – 5% Police u depou, kao i izložbene vitrine, trebalo bi da solvent Paraloid B72 in xylol which gave to restored budu izrađene od inertnih materijala - metala i stakla. parts shine similar to glazed pottery. Preporučuje se da se keramički predmeti čuvaju u vitri- With this conservation – restoration treatment was nama sa vratima od stakla, koja olakšavaju kontrolu i done. posmatranje predmeta, smanjuju razmenu vazduha i prodor zagađivača i prašine. Police moraju biti prekrivene Recommendations for storage and exhibiting polietilenskom folijom, koja štiti predmet od dodira sa the object metalom i ujedno je hemijski najbezbzedniji materijal. Temperature: 18-25 oC Izbor pristupa restauraciji i izvođenje retuša zavisi Relative humidity: 50% ±5% delom od konzervatora, a delom od usvojenog principa UV radiation: less than 75 microwatts per lumen rada konzervatorskog centra, pri čemu se moraju imati Lighting: 50-250 lux u vidu i posebni zahtevi kustosa ili vlasnika. Istovreme- All air contaminants should be neutralized. 14 S.Buys,V.Oakley, op.cit., 140. 14 S. Buys,V. Oakley, op.cit., 140. 137 no, to su glavni elementi po kojima se može prepoznati Shelves in storage as well as display cases should be rad jednog konzervarorskog centra ili konzervatora po- made of inert materials – metal and glass. It is recommen- jedinačno. Zbog nedostatka adekvatnog sistema eduka- ded for pottery to be stored in display cases with glass cije u oblasti konzervacije arheoloških predmeta, u na- doors, which makes control and observation of the object šoj zemlji ne postoje ujednačeni kriterujumi i principi easy, reduces exchange of air and penetration of contami- rada. Ovi principi bi morali da budu ustanovljeni, a na- nant and dust. Shelves must be covered with polyethyle- čin rada osavremenjen i usklađen s pristupom i metoda- ne foam, which protects object from contact with metal ma, koji su u opšteprihvaćeni svetu. and at the same time it is chemically most safe material. Selection of approach to restoration and implementa- Ana Kocjan, konzervator, Dijana Centar tion of retouch partly depends on the conservator, and partly on adopted principles by the respective centre for Konzervacija gleđosanog skifosa conservation having in mind specific demands of the cu- iz zbirke Dunjić Narodnog muzeja rator or the owner. At the same time those are the main elements for identifying the work of a conservation centre u Beogradu or individual conservator. Due to the lack of adequate sys- leđosana keramika na prostoru Gornje Mezije za- tem of education in the field of conservation of archaeolo- Gjedno sa ostalom finom keramikom, kao što su mra- gical objects, the are no uniform criteria and principles of morizirana i bojena, predstavljaju vrstu luksuzne gr- work in our country. These principles should be establis- nčarije. Obrada površina keramike glaziranjem bila je hed, and the work modernized and made compatible with za rimsku keramiku karakteristična.1 U tom periodu su approach and methods, which are widely accepted. se koristile olovne gleđi, čiji je sastav omogućavao dobi- janje raznolikih svetlih boja, direktno nanošenje na Ana Kocjan, conservator, Diana Center predmete od gline i davao je dekoritivnost i sjaj površi- Conservation of a glazed skyphos nama. Iz ovih razloga je glaziranje keramike imalo širo- ku upotrebu. Olovna glazura se na keramičkim predme- from Dunjic collection, National tima nije primenjivala pre I veka pre nove ere.2 Prvi put Museum in Belgrade se pojavljuje u oblasti istočnog Mediterana, posebno centri u Tarsu, Smirni i u zapadnoj Maloj Aziji. Atrak- lazed pottery in Upper Moesia together with other tivnost posuda i potrebe korisnika dovele su do širenja Gclasses of fine pottery as red-slipped or marbled tehnika glaziranja u zapadne provincije Carstva, u Ita- one represents luxurious pottery. The technique of gla- liju I Galiju. Tokom II veka počinje proizvodnja i u Po- zing was one of characteristic procedures in the manu- dunavskim provincijama, kao što su Panonija, Dakija, facturing of the Roman pottery.1 Lead glazes composi- Trakija, Gornja i Donja Mezija. tion used in Roman times made possible its direct appli- Predmet na kome je izvršen konzervatorski tretman cation on a clay body, gaining different bright colors, predstavlja skifos, koji pripada Rano-carskoj gleđosanoj and made objects decorative and glossy.That is the rea- keramici sa prostora Gornje Mezije. Ovakav tip posuda son why the glazing was in widespread use. Lead glazes proizvodile su radionice u istočnom Mediteranu, u severnoj were not applied on ceramics objects before 1st century Italiji i u centralnoj Galiji.3 Pojava ovog tipa posuda u Gor- BC.2 Lead glaze technique first appeared in the Eastern njoj Meziji vezuje se za kraj I veka, vreme Flavijevaca.4 Mediterranean, particularly in workshops in Tarsus, Skifos je pronađen tokom arheoloskih iskopavanja na Smyrna and in the west part of Asia Minor. The attrac- Kosmaju, nepoznatih uslova nalaza. Predmet se čuva u Na- tiveness of objects and needs of users caused diffusion rodnom muzeju u Beogradu, zbirka Dunjić (Inv. br. 351.) of the technique of glazing towards the west part of the Empire, in Italy and Gallia. During the 2nd century the Opis Predmeta production of glazed pottery started in other regions of Posuda je cilindrične forme, asimetrična, debljih zi- the Roman Empire e.g. in Danubian provinces - Panno- dova recipijenta, čije su površine prekrivene žutom ili nia, Dacia, Tracia, Moesia Superior and Moesia Inferior. zeleno-žutom gleđi. Na više mesta na celoj posudi gleđ The object conserved is a skyphos that belongs to the je skinuta, tako da se vide «ostrvca » originalne kerami- Early Roman Glazed Ware from Upper Moesia. This ty- ke sive i crne boje. Dimenzije predmeta: visina -7 cm, pe of ware was produced in workshops in Eastern Me- prečnik oboda - 8,5 cm, prečnik dna -5,5 cm. Debljina diterranean, northern Italy and Central Gallia.3 The ap- gleđosanog sloja je između 0,25 i 0,50 mm.5 Predmet se pearance of this type in Upper Moesia is dated to the sastoji od tri dela: dna, recipijenta i dve drške, od kojih end of the 1st century, period of Flavian.4 je jedna u fragmentima. Dno posude je kružnog oblika i Skyphos was found during archeological excavation sastoji se od tri koncentrična prstena, koji imaju ošteće- in Kosmaj, with unknown context. It is kept in the Na- nja manjih i većih dimenzija. Površina recipijenta defi- tional Museum in Belgrade, collection Dunjic ( nisana je kanelurama nepravilnog polukružnog oblika, Reg.No.351). koje se pružaju od donje ivice recipijenta do ispod oboda. Takođe, na spoljašnjim površinama postoji nekoliko Description of object pukotina malih dimenzija. Predmet ima izvedenu jednu The skyphos is cylindrical and asymmetrical in dršku, koja je trakasta i postavljena vertikalno u odno- form, with somewhat thicker walls, and yellow or gree- su na osu posude. Na gornjem, završnom delu, drška ima nish-yellow glaze surfaces. As the glaze had been remo- pločastu aplikaciju. Druga drška se sastoji od dva frag- ved from several spots on the vessel “islets”of the origi- menta: gornji deo sa pločastom aplikacijom i završni nal gray and black ceramics can be seen. Dimensions: deo drške. Unutrašnje površine recipijenta i dna su tam- height -7 cm, diameter of the rim 8.5 cm, and diameter no braon boje i zaprljane. of the base 5.5 cm. Thickness of the glaze surface is between 0.25 and 0.5 mm5. The object consists of three 1 T.Cvjetićanin, Gleđosana keramika Gornje Mezije, Beograd 2001, 7 2 Ibid, 12 1 T. Cvjeticanin, Glazed Pottery from Upper Moesia, Belgrade 2001, 7 3 Ibid, 23 2 Ibid, 12 4 Ibid, 24 3 Ibid, 23 5 Ibid, 14 4 Ibid, 24 5 138 Ibid, 14 Na osnovu konzervatorskog iskustva odgovornog parts: base, walls and two handles, one of them frag- konzervatora objašnjeno je da je na skifosu ranije bio mented. The base is round consisting of three concentric izveden konzervatorski tretman. Taj tretman nije rađen rings more or less damaged. The recipient’s surface is u Narodnom muzeju, već ga je izveo sam Dunjić, lekar i chanelled with irregular semi-circular facets stretching kolekcionar, čija kolekcija je, po njegovoj želji, 1976. go- from the lower edge to the rim of the recipient. On the dine poklonjena Narodnom muzeju. Takođe, na predme- outer surfaces there are cracks of smaller dimensions. tu nije moguće odrediti koji su delovi originalni, a koji Object has one vertical strap handle with plaque-like su izvedeni u toku ranije intervencije, jer je originalna plastic ornament in the upper part. There are two frag- keramika u potpunosti oponašana. S obzirom da pred- ments of the second handle: the upper part with plaque met nije imao dokumentaciju, nije bilo moguće zaklju- and ending part. The inner surfaces of walls and base čiti kojim konzervatorskim postupcima i kojim vrstama are dirty and dark brown in color. materijala je izvršena konzervatorska intervencija. The responsible conservator concluded that the res- Konzervatorski tretman se sastojao iz više faza: toration treatment previously done on object was not a) mehaničko čišćenje done by the National Museum conservators but by Du- b)odstranjivanje delova stare restauracije njic himself, doctor and collector who donated his co- c) konsolidacija strukture llection to the National Museum in 1972. Also, it was d) lepljenje fragmenata not possible to define which parts were original and e) restauracija delova koji nedostaju which ones restored, because the original ceramic was f) restauracija drški completely imitated by the treatment.There was no con- g) retuš servation documentation which hampered the unders- h) impregracija tanding of conservation treatments and materials used. Conservation treatment at DIANA Centre consisted a) Mehaničko čišćenje of: Sud je očišćen od prašine tamponima vate i destilo- - Mechanical cleaning vane vode, nakon čega je ostavljen da se suši na sobnoj - Removing of old restoration parts temperaturi, u trajanju od 30 minuta. - Consolidation b) Odstranjivanje delova stare restauracije - Bonding of fragments Skifos je potopljen u dva litra destilovane vode, u ko- - Restoration of missing parts ju je dodato pola kašike dejonizovanog deterdženta. Sud - Restoration of handles je ostao u rastvoru jedan čas. Nakon ovog perioda usta- - Retouching novljeno je da su se fragmenti posude delimično odvojili - Impregnation jedan od drugog i da ih dalje ne bi trebalo mehanički odstranjivati zbog mogućih oštećenja. Stoga je posuda a) Mechanical cleaning ponovo stavljena u isti rastvor, u trajanju od jednog ča- Object was cleaned from dust with cotton-wool pads sa. Nakon završetka procesa dobijeno je 10 fragmenata and distilled water. After that it was left to dry thoroug- originalne keramike i 5 fragmenata koji su izvedeni u hly at room temperature for 30 minutes. gipsu. Drška koja je bila na posudi dobila je četiri origi- b) Removing of old restoration parts nalna fragmenta. Takođe, otkrivene su dve vrste gipsa Skyphos was put in 2 liters solution of distilled wa- kojom je izvedena stara restauracija. Prvu predstavlja ter and half spoon of deionized detergent. After one gips koji je mešan sa pigmentom, zbog čega ima plavu hour parts partly separated and it was decided not to boju, i druga, koju predstavlja čist gips, bele boje. Tako- free them mechanically as damages may occur. Therefo- đe, pokazalo se da su ivice originalnih fragmenata blago re, the object was returned for another hour to the same deformisane i da se na njima nalaze višeslojne, čvrste solution. After the process, there were 10 fragments of naslage lepka, kojim su spojeni tokom ranije intervenci- original ceramic and 5 fragments of the old restoration. je. Lepak je natapan acetonom po sistemu kap po kap, uz The handle belonging to the object had four original pomoć plastičnog šprica i igle, i nakon omekšavanja paž- fragments. Also, two types of plaster used in the old res- ljivo je uklonjen detalnim alatkama. Ostaci gipsa stare toration were uncovered. One that was mixed with blue restauracije na fragmentima originalne keramike uklo- pigment and the second was pure plaster, white in co- njeni su detalnim alatkama i destilovanom vodom. Posle lour. Also, edges of fragments were slightly deformed. mehaničkog čišćenja fragmenti su isprani u destilovanoj On the edges there were strong, bedded deposits of glue vodi i ostavljeni da se suše na sobnoj temperaturi. used in the previous treatment. The glue was gradually c) Konsolidacija strukture soaked with acetone in order to soften it and after that Konsolidacija je izvršena u 5% rastvoru Paraloida B deposits were partly removed by dental tools. The re- 72 u ksilolu. Fragmenti su nakon toga ostavljeni da se maining plaster on fragments was removed by dental suđe na staklenoj podlozi 24 časa. tools and distilled water. After mechanical cleaning all d) Lepljenje fregmenata fragments were rinsed in distilled water and put to dry Lepljenje je izvršeno OHO lepkom (proizvodi ga Gr- at room temperature. meč). Proces lepljenja je bio otežan jer su ivice fragme- c) Consolidation nata bile blago deformisane. Zbog toga je sa unutrašnje The fragments were consolidated in five-percent so- strane dna posude postavljena glina, koja je poslužila lution of Paraloid B 72 in Xylol. After that, the frag- kao oslonac za fragmente. Za pridržavanje slepljenih ments were left to dry on a glass suppport for 24 hours. fragmenata korišćena je skoč traka. Nakon završenog d) Bonding of fragments procesa spajanja fragmenata videlo se da nedostaje sko- The fragments were joined with OHO cellulose glue ro polovina recipijenta i jedan deo dna. (made by Grmec). The process was difficult as the frag- e) Restauracija delova koji nedostaju ments’ edges were deformed. That is why as support we Delovi koji nedostaju restaurisani su alabaster gip- covered the inside of the base with clay. Scotch tape was som i glinom, kao pomoćnim sredstvom. Alabaster gips applied to hold the fragments together until the glue je mešan sa rastvorom Silakrila od 1,5 % u destilovanoj dried. After the process it became obvious that almost vodi. Glina je služila kao podloga na koju je nanošen half of the recipient and part of base of object were mis- alabaster gips. Prostori između spojenih fragmenata ke- sing. 139 ramike, kao i ivice same kera- e) Restoration of missing mike pre nanošenja gipsa pre- parts mazane su dva puta rastvorom Restoration of the missing Silakrila (akrilna emulzija), 3% parts was done by plaster and u destilovanoj vodi. Restaurisa- clay. Clay model was used for ni delovi su posle sušenja gipsa casting the plaster. Plaster was grubo obrađeni metalnim tur- prepared by using a 1,5% solu- pijama različitog oblika i abra- tion of Silakril and distilled zivnim papirima različite gra- water. Before its application the nulacije. Nakon toga započeto edges were coated twice in a je sa završnom restauracijom. three percent solution of Silak- Izvedene su kanelure na recipi- ril and distilled water. After jentu i prstenovi dna. drying, the plaster was shaped f) Restauracija drški using various metal files and sandpaper of various de- Prvo je izvedena drška koja je imala dva fragmenta - grees of grain. After that restoration of wall facets and gornji deo sa pločastom aplikacijom i završni deo drške. ring-shaped base was done including the chanelling on Kao podloga za livenje gipsa napravljen je model drške u the recipient and the rings on the base. glini. Prvo su zalepljeni originalni fragmenti, a potom je f) Restoration of handles između njih, na podlogu od gline, izliven ostatak drške u The handle with two fragments was first treated – gipsu. Ovakav postupak je omogućio da se jednostavnije the upper part with a plaque-like plastic ornament and i preciznije odredi širina, debljina i položaj središnjeg de- ending fragment. Clay model of the handle was used for la, koji je trebalo da se restauriše. Restauracija druge drš- casting the plaster. Original fragments were joined first ke, koja je je imala četiri originalna fragmenta, izvedena and then the missing part of the handle was cast in plas- je na osnovu prve drške od koje je uzet otisak u glini. ter using the clay as support. I u ovom slučaju origalni fragment je zalepljen OHO This proved to enable a more precise and simple de- lepkom i skoč trakom, a za retauraciju je korišćen ala- cision on the width, thickness and position of the mid- baster gips, koji je mešan sa rastvorom Silakrila od dle part. Restoration of the second handle in four frag- 1,5%. Nakon sušenja gipsa restaurisani delovi su obra- ments was done after the clay model of the first handle. đeni abrazivnim papirima različite granulacije i metal- In this case the original fragments were also bonded nim turpijama različitog oblika. Takođe su restaurisani with OHO cellulose glue and Scotch tape. Plaster was i delovi aplikacija na obe drške koji su nedostajali. prepared by using a g) Retuš 1. 5% solution of Silakril and distilled water. After Retuš je izveden zemljanim pigmentima, koji su drying, the restored parts were shaped by various metal rastvarani u rastvoru Silakrila od 20%. Bojene gipsane files and sandpaper of various degrees of grain. The mis- površine su za nijansu svetlije od originalne keramike, sing parts of plaques on both handles were also restored. kako bi se na bližem rastojanju razlikovali restaurisani g) Retouching od originalnih delova. Earth pigments in 20% solution of Silakril and dis- h) Impregracija tilled water were used for retouching. Retouched surfa- Na kraju konzervatorskog postupka izvedena je im- ces of plaster were done to distinguish original ceramic pregracija, nanošenjem 5% rastvora Paraloida B 72 u from the reconstructed parts and in a tint as similar as ksilolu, širokom četkom. possible to the original colour. h) Impregnation Uslovi čuvanja The final phase of conservation treatment -impreg- Da bi stabilnost predmeta ostala nepromenjena po- nation of object- was done by solution of five percent of trebni su adekvatni uslovi čuvanja u muzejskom depou Paraloid B 72 in Xylol applied with brush. i ižlozbenim prostorijama. Adekvatni mikroklimatski uslovi predstavljaju prvi uslov za sprečavanje destruk- Safekeeping conditions tivnih procesa na muzejskim predmetima. Adequate microclimate conditions in museum de- Preporuka za čuvanje predmeta: temperatura - od pots and exposition spaces are most important for sta- 18?do 22?C, relativna vlažnost - od 50 do 60%, svetlost - ble condition of objects. They make the first step in premanje od 450.000 lux sati godišnje, zagađivači - instali- vention of destructive process on museum objects. ranje ventilacionog sistema sa filterima koji apsorbuju Recommendation conditions for the conserved skyp- gasove i prašinu; u slučaju kada se predmet transportu- hos: temperature: 18?C- 22?C, relative humidity: 50- je treba utvrditi koji su uslovi potrebni za transport 60%, light: less than 450 000 lux/hour per year, against predmeta, a nakon toga definisati sistem za pakovanje i pollution- installation of ventilation system with filters kontrolu uslova u toku transporta. that absorb dust, gasses. If the object is to be transported it is necessary to specify the packing system and Tatjana Nedeljković, konzervator, DIANA centar control conditions during the transport. Konzervacija i restauracija bronza- Tatjana Nedeljković, conservator, DIANA centre nodobskog pehara sa Konopišta Conservation and restoration of a okviru projekta Đerdap II, prilikom zaštitnih isko- Bronze Age beaker from Konopište Upavanja u blizini sela Mala Vrbica, 1980. godine, obavljana su iskopavanja na lokalitetu Konopište, koji ite Konopište that lies on the banks of the Danube je smešten uz ivicu rečne terase Dunava. Formiranjem Swas revealed during excavations near the village akumulacionog jezera, 1984. godine, niži delovi obale su Mala Vrbica in 1980, within the project Djerdap II. potopljeni, a lokalitet Konopište se sada nalazi stotinak With creation of the storage lake in 1984, the lower metara od rečnog korita sa promenljivim vodostajem. parts of the bank were drowned, and Konopište lies now Na ovom mestu vršena su iskopavanja različitog inten- several hundred meters from the riverbed with oscilla- 140 ziteta, od 1980. do 1982, 1986. i 1988. godine.Već su pre- liminarni rezultati pokazali da je u pitanju veoma zna- čajan lokalitet, na kome se nalaze nekropole srednjeg i kasnog bronzanog doba (Br D, Ha A-B), kasnog latena (LT D) kao i veći kompleks rimskih građevina1. Prelaznu fazu Bistret-Isalnita grupa2, datovanu oko kraja XII veka pre n.e., treba shvatiti kao indikaciju fi- nalnog horizonta bronzanog doba, koje je okarakterisa- no kanelovanom keramikom Mala Vrbica-Hinova-Balta Verde tipa. Otkriven je značajan broj nekropola kremi- ranih pokojnika, koje potiču iz istog perioda : Konopiš- te kod Male Vrbice, Pesak kod Korbova, Selište kod Va- juge, Ticvanul Mare, Hinova, Ostrovul Corbului, Ostro- vul Mare, Balta Verde i Bistret. Ove nekropole obično zauzimaju iste oblasti kao i ranije žutobrdske sahrane i zanimljivo je da kasniji ukopi ne remete ranije.3 Takođe, ting water level. The excavations on this site were of di- ritual sahranjivanja izgleda skoro isti za obe kulture. verse intensity, lasting from 1980 to 1982, and again in Posude korišćene na nekropolama su identične onima sa 1986 and 1988. The preliminary results showed that this naselja. Oblici tela velikih posuda ukrašenih pečaćenim was an important site, with Middle and Late Bronze Age motivom Insula Banului tipa otkriveni su u okviru nek- cemeteries (Br D, Ha A-B), late La Téne (LT D) and a la- ropole sa urnama žutobrdskog i tzv. Gava tipa na loka- rger complex of Roman objects1. litetu Konopište susednog Livadama u Maloj Vrbici. Ne- Bistret-Istalnita group2 as transitional phase dated ki metalni predmeti otkriveni na nekropolama i u nase- around the end of the 12th century BC should be defined ljima značajni su za datovanje ovog horizonta u XI i po- as indication of the final horizon of the Bronze Age that četak X veka pre n. e. (Ha A2 i početak B1). is characterized by the channeled pottery of Mala Vrbi- U okviru kampanje 1988. godine na lokalitetu Kono- ca-Hinova-Balta Verde type. A significant number of pište iskopavana su polja sa urnama. U grobu 14, kome cremation cemeteries dating from the same period were pripada i pehar koji je predmet ovog rada, pronađeno je discovered: Konopište at Mala Vrbica, Pesak at Korbovo, 7 keramičkih sudova, 2 urne i 4 manje posude, koje su Selište at Vajuga, Ticvanul Mare, Hinova, Ostrovul Cor- predstavljale prilog. Svi sudovi su došli na konzervaci- bului, Ostrovul Mare, Balta Verde and Bistret. These ce- ju ispunjeni zemljom, a 2 urne i sa ostacima kremacije meteries usually occupy the same areas as the earlier tj. posmrtne lomače. Žuto Brdo burials and it is interesting to note that later Posuda je bila prekrivena debelim slojem zemlje i is- burials never disturbed the earlier ones3. It seems that punjena njome do vrha, cela i sa jednom drškom. Budu- the burial ritual rites are almost the same for both cul- ći da je posuda bila prekrivena slojem čvrsto priljublje- tures. Body shreds of large vessels decorated with stam- ne zemlje, prvo se pristupilo uklanjanju ovih naslaga ped motif of Insula Banului type were discovered within mehaničkim putem. the cemetery with urns of Žuto Brdo and the so-called Korišćen je nožić kojim se, blagim kružnim pokreti- Gava type at the site Konopište adjacent to the above- ma, skidao sloj po sloj zemlje, dok se nije došlo do povr- mentioned Livade in Mala Vrbica. Some metal objects šine same keramike. Pri čišćenju je uočeno oštećenje, were discovered in the cemeteries as well as at the set- nastalo verovatno prilikom samih iskopavanja (udarac tlements and they are of particular significance for the ašova, ili slično). To su manje brazgotine, jedna na is- dating of this horizon to the 11th and beginning of the pupčenom delu (roglju) posude, i druga na trbuhu. Povr- 10th centuries BC (Ha A2 and beginning of B1). šina keramike je veoma osetljiva, pa je čišćenje sporo Cemetery with urns was excavated in 1988 on the si- napredovalo. Ispod naslaga zemlje ukazao se, ispod drš- te of Konopište.The beaker that is the subject of this pa- ke, dosta čvrst sloj kalcinacije. Zato je u čišćenje uvede- per was discovered in the grave no. 14, together with se- na i hemijska metoda, tj. kombinovano je mehaničko či- ven other ceramic vessels, two urns and four smaller šćenje sa blagim tamponiranjem alkoholom. To je olak- grave goods. All of them came to the conservation cen- šalo uklanjanje sloja kalcinacije. tre filled with earth, and two urns held remains of fune- Nakon završenog čišćena spoljašnosti prešlo se na ral cremation. unutrašnjost posude. Polako je pražnjena, u slojevima, The beaker was covered by a thick layer of earth and zbog eventualnih sitnijih nalaza, priloga, koji bi mogli filed with it. It seemed complete and with one handle. poslužiti u bližem upoznavanju rituala sahranjivanja. Being covered with a thick layer of compact earth we Ali u unutrašnjosti je nađeno samo par lesnih lutkica had to start with mechanical cleaning. (konkrecije, ili očvrsli kalcijum-karbonat) i nekoliko It was cleaned by a knife applying mild circular mo- korenčića. Poslednji tragovi nečistoće su uklonjeni bla- vements, taking away layer by layer until the surface was gim tamponiranjem alkoholom. reached. During cleaning, I came upon mark left by tool, Kada je završeno sa mehaničkim čišćenjem, mogli several lines, one on the pointy part of the vessel and one su se uočiti svi elementi dekoracije. Posuda je glačana, on the belly.They must have been done during the exca- ali je na većem delu površinski sloj oštećen i matiran. vations (hit by a spade maybe). The surface of the cera- Na dnu vrata postoje paralelni kratki urezi, koji su naj- mics was very sensitive slowing the cleaning. Beneath verovatnije biti ispunjeni inkrustracijom, ali se ona nije the layer of dirt, there was a thick layer of calcinations. očuvala. Na samom obodu, koji je blago razgrnut i na A chemical method was introduced in the cleaning pro- vrhu blago stanjen, uočeni su tačkasti ubodi koji idu ta- cess, e.g. combination of mechanical and chemical clea- 1 P.Popović, M.Vukmanović, N. Radojčić, Mala Vrbica-Konopiš- 1 P. Popović, M.Vukmanović, N. Radojčić, Mala Vrbica- te, Praistorijske i srednjovekovna nekropola i antička arhitektura, Konopište, Praistorijske i srednjovekovna nekropola i antička Arheološki pregled 29, 1989 (1990), 82 i dalje. arhitektura, Arheološki pregled 29, 1989 (1990), 82. 2 M. Jevtić, M.Vukmanović, Late Bronze and Early Iron Age in 2 M. Jevtić, M.Vukmanović, Late Bronze and Early Iron Age in the Danube Valley fromV. Gradište down to Prahovo, The yugoslav the Danube Valley from V. Gradište down to Prahovo, The Yugoslav Danube basin and neighbouring regions in the 2nd millennium B.C, Danube basin and neighbouring regions in the 2nd millennium B.C, Beograd-Vršac, 1996, 283-291. Beograd-Vršac, 1996, 283-291. 3 Ibid. 3 Ibid. 141 lasasto duž celog oboda, odmah ispod ivice, a keramika ning. It helped clean the layer of calcinations. je blago zadebljana odmah iznad ovog ornamenta. Ovaj When the cleaning of the surface was finished, the sitni ornament bio je urađen tehnikom inkrustacije, ali cleaning of the inside started. The inside earth was ta- se ona sačuvala samo u tragovima. Na trbuhu posude ken out carefully, looking out for smaller finds that cou- postoje tri veća paralelna plastična rebra sa svake stra- ld provide useful data for the burial ritual. However, in- ne trbuha, i sličan, manji ornament kod korena drške side were only concretions and few pieces of roots. Last posude. Unutrašnjost posude nije glačana, rapava je i iz- traces of dirt were cleaned with alcohol pads. brazdana, sa mnoštvom manjih i većih udubljenja. Boja When the mechanical cleaning was finished, all detai- varira od oker do tamno smeđe, skoro crne, dok je na ls of decoration were visible. The vessel was burnished, jednom delu trbuha uočen i crvenkasti ton, verovatno but the large part of the surface layer was damaged and nastao usled naknadnog kontakta sa vatrom. dim. On the bottom of the neck, there were short parallel Sud br. 6 po tipologiji je oblik urna-pehar. Malih je di- incised lines probably encrusted. However, the encrusta- menzija: visine 8,5cm, prečnika otvora 6cm, prečnika dna tion was lost. The rim slightly everted and thinner at the 3,5cm i sive boje. Posuda ima jednu dršku i neobičnog je edging line, bore a wavy punctual incision, just below the trouglastog - rogljastog oblika. Ima razgrnut obod, biko- edge, and ceramic was slightly thicker above the orna- ničan trouglast trbuh koji se naglo sužava u prstenastu ment. This tiny ornament was done by encrustation tech- stopu. Čini se da drška ide preko oboda, ali su u tom delu nique but it survived only in traces.There are three larger i obod i drška oštećeni. Posuda je skoro cela, oštećena na parallel ribs on the both sides of the belly, and a similar delu gde se spajaju obod i drška, nedostaje vrh drške i smaller ornament near the bottom of the handle. The in- trouglasti deo vrata kod samog oboda.Vrat posude je bla- ner surface was not burnished; it is rough and with many go konveksan. Na delu trbuha uočena je pukotina koja se smaller and bigger recesses. The color varies from yellow zrakasto pruža ka dnu posude i ka korenu vrata. to dark brown, nearly black, and on one part of the belly, Nakon čišćenja posuda je konsolidovana u 10% rast- there is a reddish hue – probably due to a later firing. voru konsolidanta (OHO II spec u acetonu) i konsolidaci- Vessel no. 6 typologically is an urn-beaker. Small in ja je trajala 2,5 sata. Posuda je potopljena u rastvor kon- dimensions, height 8.5 cm, diameter of the rim is 6 cm, solidanta, pri čemu su iz strukture počeli da izlaze mehu- diameter of the bottom is 3.5 cm and gray in color. It is rići vazduha - konsolidacija je bila završena kada su me- of unusual triangular shape and has one handle.The rim hurići prestali da izlaze. Mehurići ukazuju na šupljine u is everted, biconical triangular belly suddenly narrows strukturi keramike, konsolidant ulazi u strukturu kerami- to a foot-ring. It seems that the handle goes over the rim, ke i potiskuje vazduh, ukazujući nam time, veličinom sa- but both handle and the rim are damaged. Object is al- mih mehurića, i na veličinu pora u keramici. U ovom slu- most complete, damaged on the joint of rim and handle, čaju mehurići su bili dosta uniformni i mali, pa se nakon with top of handle and part of the neck, near the rim, konsultacije zaključilo da nije potrebna dodatna konsoli- missing. The neck is slightly convex. There is a crack on dacija u jačem procentu konsolidanta (koji služi za popu- the belly that expands to the bottom and to the neck. njavanje većih pora). Prestanak izlaženja mehurića uka- After cleaning, the vessel was consolidated in a ten- zao je da je struktura keramike zasićena konsolidantom i percent solution of OHO II spec for 2.5 hours. Object was predmet je izvađen iz posude za konsolidaciju. Potom je dipped in the solution, and the bubbles started to come ostavljen da se osuši, tj. da aceton ispari i konsolidant se out – the consolidation was finished when the bubbling stegne. Posuda je imala neprirodan sjaj usled vlažnosti stopped. Bubbles indicate pores in the ceramic structu- konsolidanta, ali se ovaj sjaj izgubio tokom sušenja. re. The consolidation solution penetrates the structure Posudi je nedostajao jedan trouglasti deo vrata i vrh and pushes out the air, and the size of bubbles corres- drške. Prvo je, da bi se zaštitila površina keramike od ponds with the size of the pores in the ceramic body. In gipsane prašine, kućne prašine i oštećenja koja bi mogla this case, bubbles were unique and small, and there was nastati u toku rukovanja, prekrivena trakama selotejpa no need for additional consolidation in a stronger solu- koje smo sada - pošto je posuda konsolidovana, mogli tion (which would fill bigger pores). When the bubbles bez bojazni da stavimo na keramiku. Sa postojećeg dela stopped, the structure of ceramic was saturated with re- vrata uzet je otisak u glini, sa unutrašnje strane, tako sin and the object was taken out. The object was left to što je keramika naprašena talkom da bi se zaštitila od dry, e.g. for the acetone to evaporate and to tighten the kontakta sa svežom glinom i komad rastanjene gline resin.The vessel had an unnatural glow while it was wet. (debljine otprilike 1,5 cm) položen sa unutrašnje strane A triangular part of the neck and the top of the han- vrata i blago utisnut prstima. Potom je ovako dobijeni dle were missing. To protect the surface from the plaster glineni kalup ostavljen da se prosuši. Tako je dobijen dust, usual dust and damage that may occur during han- otisak koji je bio dovoljno čvrst da se može pomeriti sa dling the vessel, ceramic was covered with stripes of Sel- svog mesta, i lako je odvojen zahvaljujući sloju talka, a lotape. The clay mould was taken from the existing part da pri tome zadrži oblik i zakrivljenost originala. Ovaj of the neck, from the inner side. The ceramic was powde- glineni otisak je zatim blagim guranjem postavljen is- red with talk to avoid direct contact of surface with wet pod dela koji nedostaje (bio je od praznine veći sa svake clay, a piece of thinned clay (about 1.5 cm thick) placed on strane oko 3cm), i tu učvršćen komadom sveže gline, ko- the inner surface of the neck and gently pressed with fin- ja je na mestu dodira sa drugom stranom vrata posude gers. Then the mould was left to dry. The clay was hard bila izolovana komadom sunđera. Ova konstrukcija enough to be moved still keeping the shape of the original. omogućila je da ne dođe do pomeranja otiska prilikom Gently pushing a clay mould was placed under the nanošenja gipsa. Smesa koja je korišćena za restauraci- missing part of the vessel (larger than the missing part ju sastoji se od dental gipsa i 0.75% silakrila4. Gips je for about 3 cm on both sides), and fixed with a piece of umešen nešto gušće, da bi pre došlo do očvršćavanja. wet clay. The clay was then isolated from the other side Ivice keramike premazane su 3% rastvorom silakrila, da of the neck by a piece of sponge. This construction pre- bi se zaštitile od prodiranja gipsa u strukturu. Zatim je vented moving of the mould during casting. The plaster gips nanet na glineni otisak metalnom špatulom i potom was prepared using a 0.75% solution of Silakril4 and dis- izjednačen sa površinom okolne keramike. Nakon steza- tilled water, mixed a bit densly to speed up hardening. In nja gipsa izvađen je glineni otisak koji je služio kao pot- order to protect plaster penetrating the structure, the ed- 4 Silakril, akrilna disperzija koju proizvodi Sileks, Pančevo 4 Silakril, acrylic dispersion, made by Sileks, Pancevo 142 pora. Sada je tanak sloj gipsa, koji je prilikom izlivanja prešao preko keramike u unutrašnjosti, pažljivo uklonjen skalpelom i tamponom vate natopljenim u destilo- vanu vodu, a izvršene su i manje korekcije metalnim no- žićem, u debljini nanetog sloja na ivicama i ugnuću samog vrata sa spoljne strane posude. Kada se gips sasvim osušio (nakon 24 sata) moglo se početi sa finim doteri- vanjem pomoću grubljih i finijih šmirgli. Kada je završeno šmirglanje gipsa uklonjene su lepljive trake sa predmeta, radi provere rezultata i čišćenja gipsane prašine, koja je prošla ispod krajeva lepljive ges were coated in a 3% solution of Silakril. Mixture of trake na keramiku. Nakon čišćenja ivica uz gips postalo plaster was applied to a clay mould with metal spatula je primetno da nedostaje nekoliko milimetara gipsa u and levelled with the ceramics part. After hardening of korenu vrata i na obodu posude. Da bi se zaštitila povr- the plaster, the mould was removed. During casting a 5 šina keramike nanet je lateks , koji se mnogo jednostav- thin layer of plaster penetrated under the adhesive tape nije nanosi (pomoću plastične špatulice, ili četkice) i into ceramic, it was removed by scalpel and cotton pads mnogo je pogodniji za korišćenje od lepljive trake. Poš- moistened by distilled water. After drying, the plaster to se lateks sasvim osušio (potrebno je nekoliko sati), za- was first shaped using rough and medium files, followed mućena je nova količina gipsa i naneta na prethodno by sandpaper of various degrees of grain. navlaženu gipsanu površinu. Kada se gips osušio obra- Then, the adhesive tapes were removed in order to đivan je finim brusnim papirima na sunđeru. Pošto je nanošeno više slojeva gipsa, posle šmirglanja se check the result. After cleaning, it was evident that plaster videla razlika između njih, neujednačenost u koloritu i tvr- was several millimeters lower. To protect the surface the 5 doći. Zato je skinut sloj gipsa u debljini od 1-2mm i nanet Latex was applied (much easier to apply than the adhesi- sloj polifile.6 Površina gipsa je nakvašena destilovanom vo- ve tape). After drying, which took several hours, the surfa- dom i nanet je sloj polifile zamućene sa 0,75% rastvorom si- ce of the plaster was wetted and a fresh mixture of plaster lakrila. Nakon sušenja taj sloj polifile je obrađen brusnim applied. When dry, plaster was shaped by sandpaper. papirima različite finoće. Polifila je dala finu ujednačenu Due to unequal density of successively applied lay- površinu. Kada je uobličena na zadovoljavajući način fino ers of plaster, the surface was not even. Therefore, about je ispolirana i sa predmeta je uklonjen zaštitni sloj lateksa. two millimeters of the width of the surface layer of plas- Sada se moglo pristupiti traženju odgovarajuće ter were removed. Then the pre-made Polyfilla6 mix kombinacije boja za retuš. Korišćeni su zemljani pig- (with a 0.75-percent solution of Silakril and distilled menti, rastvoreni u 15% emulziji silakrila. Probe boje water) was applied onto the previously well-moistened vršene su na gipsanim pločicama, tako što su pločice plaster.The Polyfilla was shaped using sandpaper of va- premazivane i ostavljane da se boja osuši. Nakon toga su rying grains, and the Latex was removed. premazivane konsolidantom (1/2 pločice) i ponovo os- Earth-based pigments in a 15% solution of Silakril tavljane da se osuše. Kada je pronađena odgovarajuća were used for retouching. The trials were made on plas- nijansa, naneta je mekom slikarskom četkicom u tan- ter tablets. The color was applied by a soft brush in a kom premazu i dobijen je osnovni ton. Kada se ovaj sloj thin coating to achieve the basic color. In the next layer osušio nanet je još jedan sloj boje u koji je dodato malo of color, a little gray pigment was added to achieve the sivog pigmenta, da bi se dobila odgovarajuća nijansa, right effect, to differentiate clearly between the original koja se za par tonova razlikuje od originalne boje kera- fragments and the reconstructed parts, but still in a tint mike. Posle retuširanja predmeta, sloj pigmenta je os- as close to the original color of the item as possible. Fi- tavljen da se osuši 24 sata. Nakon toga je urađena završ- nally, the entire surface of the vessel was coated with a na impregnacija gipsane površine, kao i celog predmeta, consolidant (3% solution of Paraloid B67 in acetone). 3% rastvorom paraloida B67 u acetonu, što je još malo Contemporary tendency in conservation of archaeo- potamnelo retuš dajući odgovarajući efekat. logical ceramics is to apply consolidation only in cases Savremene tendencije u konzervaciji arheološke ke- when the structure of an object is very fragile so much ramike teže primeni konsolidacije samo u slučajevima so that its very existence is threatened. Because of poor kada je struktura predmeta toliko trošna da je njegov conditions in our museums, consolidation of archaeolo- opstanak doveden u pitanje. Kod nas, usled nedostatka gical ceramics is necessary to provide its life, and is still adekvatnih uslova čuvanja i izlaganja, konsolidacija aran obligatory phase of conservation treatment. The fra- heološkog materijala je preduslov njegovog očuvanja i gile structure of poorly fired ceramic is stabilized by još uvek je obavezna faza konzervatorskog postupka.Ti- me se stabilizuje struktura trošne keramike, sprečava consolidation, preventing it to absorb moist from the upijanje vlage iz spoljne sredine, blokira dejstvo soli iz surroundings, blocking the influence of salts from clay sastava gline i onemogućava razvoj mikroorganizama. and disabling the development of microorganisms. Treba istaći da su današnji konsolidanti 100% rever- I would like to underline that contemporary conso- zibilni samo teorijski, jer se ne zna sa sigurnošću kako lidants are 100% reversible only theoretically, because oni u stvari reaguju u strukturi materijala, niti kako će we have not precise understanding of what is happening se ponašati kroz nekoliko decenija, prilikom neke budu- in the structure, or how it will react later on, during so- će konzervacije istog predmeta. Zato konsolidaciju vrši- me future conservations. Therefore consolidation should mo sa maksimalnom obazrivošću, birajući materijale be used with maximum caution, selecting the materials koji će upotrebljeni u najslabijem mogućem procentu that provide highest level of protection to the object but omogućiti najbolju zaštitu i trajanje krhkim i osetljivim still the minimum reaction with the structure itself. predmetima od trošne keramike. According to new demands of modern museology U skladu sa zahtevima moderne muzeologije koja that require minimum of intervention, but sufficient to nas obavezuje na minimalnu intervenciju, ali dovoljnu assure existence of the treated object, in conservation of da omogući trajanje predmeta koje tretiramo, u konzer- fragile objects we use materials that are reversible and vaciji trošnih predmeta koristimo materijale koji su re- suitable for the original object. verzibilni i kompatibilni za originalnim predmetom. 5 Rubber latex, made by Stuart R. Stevenson, London 5 Rubber latex, proizvodi Stuart R. Stevenson, London 6 Polyfilla, Plasveroi S.p.A. Italija 6 Polyfilla, Plasveroi S.p.A. Italija 143 Sandra Dejvison, FIIC ACR Sandy Davison, FIIC ACR Konzervacija i restauracija Conservation and restoration staklenih predmeta of glass objects

injenica da je stakleni predmet lepljen i restauriran epairs and restoration of glass objects cannot nor- Čne može se sakriti. Ovaj činilac ugrožava izgled fi- Rmally be made invisible. This factor limits the appe- nalnog rezultata i to uvek treba objasniti vlasnicima i arance of the final result, and needs to be explained to kustosima pre nego što se započne tretman. Materijali owners and curators before work is begun. Materials re- potrebni za konzervaciju stakla su Scotch Magic Tape quired for glass repair are Scotch Magic Tape 810®, ace- 810® (lepljiva traka), aceton, dejonizovani deterdžent, tone, non –ionic detergent such as Synperonic A7®, dis- npr. Synperonic A 7®, destilovana ili dejonizovana voda, tilled or deionised water, adhesives - Superglue® (cya- lepkovi - Superglue® (cijanoakrilat, tzv. superlepak), noacrylate), HMG® (cellulose nitrate and Paraloid B72® HMG® (nitrat celuloze), Paraloid B72® (kopolimer etil (a copolymer of ethyl methacrylate and methyl metha- metakrilata i metil metakrilata) i prozirna epoksi smola crylate), and an optically clear epoxy resin, Araldite – Araldite 2020®, Fynebond®, Hxtal-Nyl-1® ili Epotek- 2020®, Fynebond®, Hxtal-Nyl-1® or Epotek - 301®. For 301® (za uporednu analizu ovih smola videti S. Davison, a comparative table of these resins, see Davison, S. Conservation and Restoration of Glass (2003), Butter- (2003). Conservation and Restoration of Glass (Butter- worth-Heinemann, Slika 5.2, strana 210). worth-Heinemann), Table 5.2 on page 210. Kao i kod drugih materijala, priroda i stanje pred- As in the case of other types of object, it is the natu- meta određuju vrstu tretmana. U slučaju stakla, arheo- re and condition of the object that dictates the treat- loški (iskopani) predmeti mogu da se konzerviraju (ma- ment. In the case of glass it isn’t the case that archaeo- da ne mogu uvek da se restauriraju), a s druge strane, logical (excavated) objects cannot be repaired (although orošeno staklo i staklo prekriveno mrežom sitnih puko- it may not be possible to restore it), and at the other end tina suviše je osetljivo da bi se tretiralo. of the spectrum, weeping or crizzling historical glass is Većina staklenih predmeta u privatnom vlasništvu too weak to repair. koji se daju na tretman restauratorima su antikviteti ili The majority of privately owned glass objects which savremeni predmeti, koji često imaju više sentimentalnu restorers are asked to treat are likely to be historic or nego istorijsku ili ekonomsku vrednost. Neki od njih su contemporary, and often have a sentimental rather than prozirni (ponekad se nazivaju «vodenobelim» u konzer- historic or financial value. Of these, some will be opti- vatorskoj literaturi). Uz uobičajenu dodatnu pažnju kod cally clear (sometimes referred to as “water-white” in delikatnih i dekorisanih površina, ivice preloma se čiste conservation literature). With the usual caveats concer- acetonom, kako bi se otklonila prašina i masnoća od ru- ning delicate or decorative surfaces, break edges are kovanja. Fragmenti se, zatim, spajaju uskim komadima cleaned with acetone to remove dust and grease from lepljive trake, koje se postavljaju, po mogućnosti, naiz- handling. The fragments are then held together with menično na suprotne strane suda, ali tako da se ne nađu narrow strips of MagicTape, placed where possible on jedna nasuprot druge. Korisno je ponekad blago zagre- alternate sides of the vessel and staggered i.e. so that the jati staklo, ali to treba učiniti jako pažljivo. Nakon toga tape are not opposite each other. It may help to warm se postepeno nanose kapi prozirne smole i razvlače duž the glass gently, but great care must be taken. Drops of pukotine uz pomoć drvenog štapića. Potrebno je sasvim an optically clear resin are then placed at intervals malo smole. Ona ulazi u pukotine uz pomoć kapilarne along the crack and then drawn together along the sile i u većini slučajeva će prodreti i u deo ispod lepljive crack with a cocktail stick.Very little adhesive is requi- trake. Ako se to ne desi, moguće je smolu naneti još jed- red. It is drawn into the cracks by capillary action, and nom, kada se prva količina stegne. Opšte uzevši, smolu in most cases will seep beneath the tapes. If it does not, bi trebalo nanositi samo sa jedne strane stakla, jer se a second application of adhesive can be applied once the nanošenjem sa obe strane pospešuje stvaranje mehurića. first has cured. In general, adhesive should be applied to Lepljiva traka nikako ne sme da se uklanja dok se smo- one side of the glass only, as applying it from both sides la ne stegne. Takođe ne bi trebalo koristiti vatu natop- encourages the formation of air bubbles. On no account ljenu acetonom za uklanjanje viška smole, osim u sluča- must the tapes be moved until the resin has cured. Neit- ju kad ona curi, jer aceton može da spreči stezanje. Ka- her should acetone on swabs be used to remove excess da se smola stegne, višak lako može da se ukloni malim resin – except for runs – as this will prevent the resin from curing. Once the resin has cured, excess can be carefully removed with frequently changed small cotton wool swabs moistened with acetone and/or a blunt scalpel blade, taking care not to scratch the glass. As the resin penetrates the cracks it will displace the air within the cracks, thus rendering less visible. The cracks will then appear as hairlines in both glass surfaces, unless there are tiny chips along the break edges. Resin can also be introduced by capillary action in- to traveling cracks. It may help to warm the glass gently, unless the glass has sprung out of alignment in which case the crack may lengthen dramatically! Tiny chips that do not penetrate through the glass, can be carefully filled with drops of resin at a later stage, placing the glass in such a position that the chip lies uppermost so that the resin finds its own level.Tiny holes can be filled by first backing them with Magic Tape, before applying resin in a slightly thickened state. 144 komadićima vate namočenim u aceton, uz redovno menjanje, i/ili tupim skalpelom, pazeći da se staklo ne ogrebe. Smola će, prodirući, ukloniti vazduh iz pukotine i time je učiniti manje vidljivim. Pukotine tada izgledaju kao vlas kose sa obe strane, osim ako postoje dodatna oštećenja uz zalepljenu ivicu. Smola može, uz pomoć kapilarne sile, da se ulije i u nepotpune pukotine. Blago zagrevanje stakla tu može da pomogne, osim ako je došlo do pomeranja ivica, jer u tom slučaju pukotina može drastično da se produži! Mesta na kojima su se komadići stakla površinski odlo- mili (tzv. krateri) mogu naknadno da se ispune kapljica- ma smole, pri čemu staklo treba da bude okrenuto kra- terom ka gore, kako bi ga smola adekvatno popunila. In the case of thick glass, it may be preferable to paint Sitne rupe mogu da se popunjavaju blago stegnutom resin along one edge, following which two pieces of glass smolom, uz pomoć lepljive trake kao pozadine. are squeezed tightly together and secured with previously U slučaju debljeg stakla, ponekad je poželjno prvo prepared strips of Magic Tape. This procedure helps to eli- naneti smolu na ivicu, a zatim čvrsto spojiti dva frag- minate air bubbles. The technique requires some practice menta, dodatno ih stegnuvši prethodno pripremljenim because excess resin squeezed out onto the glass surface komadima lepljive trake. Na ovaj način je moguće izbe- makes the surface slippery and difficult to tape. If the frag- ći pojavu mehurića vazduha u spoju. Tehnika zahteva ments separate after resin has been applied, air bubbles izvesno iskustvo, jer istiskivanje viška smole čini povr- will be introduced and the resin will need to be reapplied. šinu lepljivom, što otežava nanošenje trake. Ako se fragmenti odvoje nakon nanošenja smole, stvoriće se vaz- Chandeliers dušni mehurići i smola će morati ponovo da se nanosi. Small glass chandelier parts can be repaired if they are not load bearing, bearing in mind that they are sus- Lusteri pended above peoples’ heads. If it is decided not to re- Manji delovi staklenog lustera se mogu zalepiti, ako use broken pieces, they can be repaired and kept by the nisu noseći, jer treba imati na umu da se lusteri kače owner as archive material. Replacement parts can some- nad glavama ljudi. U slučaju da se takvi delovi više ne- times be bought at markets or from antique shops, new će koristiti, oni se mogu zalepiti i ostaviti vlasniku. Po- glass parts, including lustres and brass pins can also so- nekad je na pijacama i u antikvarnicama moguće naći i metimes be bought. delove za zamenu, nove komade, staklene prizme, kao i mesingane osovine za lustere. Crystal figures Parts such as ears, heads, limbs etc. are best attached Kristalne figure with cyanocrylate (e.g. Superglue), as the pieces may be Delove figura poput ušiju, glava, udova i sl. najbolje difficult to support. Heavier pieces can be supported je lepiti cijanoakrilatom (superlepak), jer je te delove and attached with optically clear epoxy resin in a thic- teško podupreti. Teži delovi mogu da se podupru i spoje kened state. prozirnom epoksi smolom u zgusnutom stanju. Glass grinding chipped glass, polishing de Brušenje stakla – okrnjeno staklo, poliranje canter interiors & stopper replacement. brušenih boca i zamena čepova This should only be carried out on modern house- Ovakvi postupci se sprovode jedino na modernim hold items, not antique/historic glass. predmetima iz domaćinstva, nikako na antikvitetima i Over time, the interior of vessels used to contain li- arheološkom staklu.Vremenom unutrašnjost posuda ko- quid, become cloudy. It is not easy to tell, without testing, je služe za držanje tečnosti izgubi prozirnost. Teško je, whether a white cloudiness is the result of insoluble salt bez testiranja, reći da li je zamagljenost posledica talo- deposition and/or a deterioration of the glass surface. ženja nerastvorljivih soli i/ili oštećenja površine stakla. Food & drink residues can be removed by leaving a solu- Ostaci hrane i pića mogu da se uklone ostavljanjem tion of biological enzyme (e.g. Biotex®) in the vessel rastvora bioloških enzima (npr. Biotex®) u posudi preko overnight.The interior of decanters may be ‘polished’eit- noći. Unutrašnjost ovakvih posuda može da se ispolira her by the use of abrasive wheels on long spindles or by ili abrazivnim točkićima na dužim drškama ili veoma removing the glass surface with highly dangerous hydro- opasnom fluorovodoničnom kiselinom. Uvek je prisutna fluoric acid.There is always a risk of damage to the glass. opasnost od oštećenja stakla. Restauracija stakla često Restoration of glass is often time consuming and requi- zahteva dosta vremena i iskustva. Nedostajući delovi res a great deal of practice. Missing areas can often be mogu da se nadomeste metodama koje se koriste u res- filled by methods used to restore ceramics i.e. by using tauraciji keramike, na primer uz pomoć voštanih kalu- wax moulds to contain clear or coloured resin. However pa i prozirne ili obojene smole. Kalupi treba da budu the moulds must be only slightly larger than the gap to nešto veće površine od šupljine koja se popunjava (kako be filled (to prevent resin from seeping onto the surface), smola ne bi iscurela), premazani PVA sredstvom za raz- must be coated with PVA separating agent on the sides dvajanje, na stranama koje će doći u kontakt sa smolom which will be in contact with the resin cast, and most i, što je najvažnije, pričvršćeni za staklo uz pomoć topi- important of all, be secured to the glass by melting the lice. Mnogo toga može da krene naopako, pa je prepo- edges of the wax onto the glass with a small electrically ručljivo prvo uvežbati tehniku na komadu modernog heated spatula. Much can go wrong, so that anyone faced stakla, dok se ne stekne sigurnost i tek onda pristupiti with a piece of glass to restore is advised to practice the konzervaciji i restauraciji, a preporučljivo je i pročitati technique on a modern piece until they feel confident, S. Davison, Conservation and Restoration of Glass (But- and to read, Davison, S. (2003). Conservation and Resto- terworth-Heinemann). ration of Glass (Butterworth-Heinemann). 145 Gojka PajagičBregar, Narodni muzej Slovenije Gojka Pajagič Bregar, National Museum of Slovenia PIXE metoda za analiziranje PIXE method for analyzing drevnog tekstila iz grobnica ancient textile from tombs

a izložbu «Theatrum vitae et mortis humanae« - or the purpose of display at the “Theatrum vitae et ZPrizorišče človeškega življenja in smrti ( Podobe iz Fmortis humanae” –Theatre of Human Life and De- 17. stoletja na Slovenskem), koja je održana 2002. godi- ath, which took place in the National Museum of Slove- ne, u Narodnom muzeju Slovenije1 konzervirali smo vi- nia1 in 2002, we were engaged to conserve several texti- še tekstilnih artefakata, između ostalog i fragmenat ta- le artifacts, among other, a fragment of the so-called kozvane Valvazorove čipke. Valvazor’s lace. Čipka (veličine 5,3 – 6 cm x 11,3 cm) pronađena je u The lace (5.3 – 6 cm wide and 11.3 cm long) was Arhivu Slovenije, prilikom istraživanja materijala za found in the Archive of Slovenia, while investigating imenovanu izložbu, u privatnom arhivu Petra von Ra- material for the mentioned exhibition, in the private ar- dicsa (fascikl 8). On je delovao u 19. stoleću i između os- chive of Petar von Radics (folder no. 8). He was a 19th talog istraživao je Valvazorov život i rad. Čipka je bila century scientist, doing research on Valvazor’s life and spremljena u plavoj koverti na kojoj je pisalo da se radi work, among other things. The lace was kept in a blue o čipki iz Valvazorove grobnice, iz dvorca Medije. Prili- envelope, with a note saying it was a lace from Valva- kom otvaranja grobnice, u 19. stoleću, pronašli su čipku zor’s tomb, from Media castle. The lace was found in the i još neke predmete, koji su se nažalost kasnije izgubili. 19th century, together with other objects when the tomb Radi se o klekanoj čipki.To je tehnika prekrštavanja, was opened but unfortunately they were lost after- sukanja i premetavanja najmanje dve, a po pravilu više wards. niti, od kojih je svaka namotana na svoj batić/klekalj - It is a crocheted lace piece. Various techniques were posebno oblikovani drveni kalem. applied in its production, threads transposing, spinning Klekana čipka sa cvetnim motivima krizanteme, po and warping at least of two, but normally of several svemu sudeći, potiće iz Mechelena, u Belgiji. Čipka je u threads wound around crocheting needles, in the form izuzetno fragilnom stanju. To su uzrokovali ekstremni of specially modelled wooden spindles. klimatsko i biološko - hemijski uvjeti u grobnici, te This pillow lace with bobbins and chrysanthemum agresivnost železotaninske boje. Mikroskopske analize decoration apparently originates from Mechelen, Bel- su pokazale, da se radi o svilenoj niti.2 Prilikom posma- gium. The lace is extremely fragile, due to extreme cli- tranja uzdužnog izgleda vlakna pokazalo se da je vlakno ravno, glatko i bez posebnih odlika, te karakteristič- no za svilenu nit.

mate and biological-chemical conditions in the tomb, and the aggressiveness of iron- tannin dye. Microscopic analyses showed that it was made of silk thread2. The visual investigation of the Da bismo potvrdili rezulta- thread led to a conclusion that the tread is flat, smooth te, čipku smo dodatno analizirali na and without special characteristics, which is typical of Institutu za tehnologiju i grafičnu tehnologiju a silk thread. i dizajn, koji deluje u okviru Tekstilnog fakulteta u Ljubljani, upotrebivši hemijski reagens jod – jodhlor. In order to confirm the results, the lace was additio- Mikrohemijska reakcija je rezultirala tako, da su se nally analyzed at the Institute of Technology, Graphical svilena vlakna obojila žuto. Analiza je i kod mikrosko- Technology and Design, which functions as part of the piranja rastarskim elektronskim mikroskopom (SEM) Faculty of Textiles in Ljubljana, using iodine – iodine- potvrdila, da se radi o svilenoj niti.3 Iz sačuvanog gra- chlorine as the chemical reaction agent. The micro che- diva, a i iz arhiva poznato nam je, da su čipke bile ra- mical result was yellow colour of the silk threads. The đene većinom od lana, i bijele boje, ređe od svile i crne SEM (Scanning electronic microscope) analysis also boje, a braon skoro nikako. Valvazor, polihistor i veliki confirmed this result3. um slovenačke istorije, po svom ugledu i društvenom 1 On this occasion, a book of papers “Theatrum vitae et mortis 1 Tom prilikom izdali smo knjigu rasprava:Theatrum vitae et humanae – Prizorišče človekovega življenja in smrti», as well as the mortis humanae –Prizorišče človekovega življenja in smrti i katalog catalogue «Theatrum vitae et mortis humanae – Prizorišče Theatrum vitae et mortis humanae – Prizorišče človeškega življenja človeškega življenja in smrti» were published. in smrti 2 The microscopic analysis of the lace by optical microscope was 2 Mikroskopsku analizu čipke na optičkom mikroskopu uradila done by Gojka Pajagič Bregar, M.A, the National Museum of je mg Gojka Pajagič Bregar, Narodni muzej Slovenija Slovenia 3 Analize su radili dr Urša Stankovič Elesini i inž. Jana 3 The analyses were carried out by Urša Stankovič Elesini, D. Rozman, Inštitut za tehnologijo in grafično tehnologijo ter obliko- Sc., and Jana Rozman, of the Institute of Technology, Graphical vanje, Oddelek za tekstilstvo, Naravoslovnotehniška fakulteta, Technology and Design, Department of Textile, the Faculty of Ljubljana Science and Technology in Ljubljana 146 statusu, i uz činjenicu da je čipka nošena u pijetetnom It is known, from preserved material and archives, momentu pokopa, najverovatnije je bio odenut u crnu that this kind of lace was usually white and made of odoru, a i čipka je, tako samo pretpostavljali bila crne flax, or, not that often, of silk and in black, but almost boje. U to vreme su za bojadisanje i pripremanje crne never brown.Valvazor, a polyhistor and a great mind of boje, po određenim drevnim recepturama, uz ostale the Slovenian history, having in mind his social status smese, upotrebljavali železni oksid, te koru drveta, zbog and the fact that the lace was worn on the occasion of tinina. Da bismo potvrdili tu pretpostavku, odlučili smo the burial, was probably wearing black, so the lace was, se za istraživanje Pixe metodom –nedestruktivnom as we assumed, dyed black. At the time, iron oxide or analizom elemenata.4 Istraživanja Pixe analizom pot- tree-bark, because of tannin, were used for dying and vrdila su našu hipotezu – rezultati su pokazali visoko preparation of black dye.To confirm our assumption, we prisustvo jona železa i tragove tipičnih mikroelemena- decided to use PIXE analyzing method – a non-destruc- ta. Za bojadisanje svilene niti nedvojbeno su upotrebili tive analysis of chemical elements4. The PIXE analysis železov oksid. Železov oksid je agresivan i, koliko nam confirmed our hypothesis – the results showed a high je poznato, njegovo prisustvo u bojama za ukrašavanje quantity of iron ions and traces of typical microele- knjižnog gradiva prouzrokovalo je brži raspad pisanog ments. Undoubtedly, iron oxide was used for dying the gradiva, a i u našem slučaju prouzrokovalo je veći stu- lace. Iron oxide is aggressive and, as far as we know, its panj degradacije vlakna svilene niti, od koje je izrađe- presence in dyes used for decoration of books usually na čipka. Poznato nam je, da je svila kao material ina- accelerated deterioration of written material, and in our če podložnija hemiskoj razgradnji. Tome su doprineli i case, it caused a higher level of degradation of silk fiber, uvjeti grobne atmosfere, te je degradacija boje prouzro- the material that the lace was made of. It is well known kovala promenu u današnju braon boju. Ovaj rezultat that lace is material quite prone to chemical deteriora- nas je ponukao, da istom metodom provjerimo prisut- tion. The tomb atmospheric conditions contributed to nost elemenata željeznog oksida i u tekstilnim frag- this process, so deterioration of the dye caused the chan- mentima iz grobnice u Betnavi, kod Maribora i Gradu, ge of colour into brown, as it is today.This result encou- kod Slovenj Gradca.5 Za analizu smo uzeli somotnu raged us to use the same method to check the presence plaštanicu, kao i unutrašnju svilenu podlogu uzorka of iron oxide also in textile fragments from the tomb in karakterističnog za 17. stoleće. Betnava, near Maribor and in Grad, near Slovenj Gra- Pixe postupkom smo analizirali takođe i jednu svi- dec5. lenu, i jednu vunenu čarapu. 6Svi pomenuti tekstilni ar- A velvet cloak and an inner silk layer of a sample ty- tefakti su vremenom promenili boju i sada su različitih pical of 17th century were chosen for the analysis. braon nijansi, te u različitom stupnju degradacije. The PIXE method was used also for analyzing of a To su bili tek početni istraživački koraci, koji su se silk and a woolen sock6. All these textile artifacts chan- odnosili na problem promene boje na tekstilnim arte- ged their colour with time, and now they show different faktima iz grobova. Pitanje ostaje otvoreno za nova is- tones of brown, in different phases of degradation. traživanja i radove na tom području, koji će, u svakom These analyses were only the beginning, referring to slučaju, biti značajan doprinos osvetlenju tog proble- the problem of colour change on textile artifacts from ma. tombs. This subject is open for new researches and works in this field, which would be, nevertheless, a sig- Žiga Šmit, Slovenija nificant contribution to the interpretation of the issue.

Analiza fragmenata Žiga Šmit, Slovenia tkanina metodom PIXE Analysis of the textile fragments

erenja za fragmente tkanina uradili smo metodom by the PIXE method Mprotonski indukovanih rentgenskih zraka (PIXE) u easuring of the textile fragments was performed vazduhu. Za izvor protona upotrebili smo tandemski Mby the method of proton-induced X–rays (PIXE) in akcelerator na Institutu Jožef Stefan. Protoni s energi- the air. As a proton source, the Tandetron accelerator of jom 3 MeV su prolazili slobodno kroz foliju od tantala the Jožef Stefan Institute was applied. Protons with an debljine 2 mikrometra. Tako nije bilo potrebno uzimati energy of 3 MeV entered air after passing a 2 microme- uzorke sa delova tkanine, nego smo određena mesta na ter tantalum window. The selected points in the textiles tkanini izložili neposredno protonskim zracima. were then irradiated directly, thus avoiding sampling. Za normalizaciju smo upotrebili argonov signal iz For the spectrum normalization, the argon signal from vazduha i zato smo dužinu vazdušnog otvora između iz- the air was used, so the air gap between the exit window laznog prozorčića i uzorka fiksirali and target was kept fixed with a metal spacer. The geo- metalnom pregradom. Geometrijske parametre smo metrical parameters were calibrated from the measure- odredili na osnovu serije uzoraka čiji sastav je bio poz- ment of a series of targets with known compositions. nat. Kao absorber mekih rentgenskih zraka je služio 58 The 58 mm wide air gap between target and detector al- mm širok vazdušni otvor između uzorka i detektora. Re- so served as an absorber for soft X-rays. The resolution zolucija Si (Li) detektora rentgenskih zraka bila je 150 of Si(Li) X-ray detector was 150 eV at 5.9 keV.The spec- eV na 5,9 keV. Program AXIL je korišćen za odvijanje trum de-convolution was performed by the AXIL pro- spektra. Proračuni elementarnih koncentracija su suge- gram. The calculation of elemental concentrations assu- risali celuloznu shemu. Rezultati analize su predstavlje- med a cellulose matrix.The analytical results are collec- ni u tabeli 1. ted in Table 1. 4 Istraživanja je radio dr Miloš Budnar, Inštitut Jožef Štefan, 4 The research was conducted by Miloš Budnar, D.Sc., Jožef Ljubljana Štefan Institute, Ljubljana 5 Andreja Vrišar, Prispevek k razvoju noše v 17. stoletju na 5 Andreja Vrišar, Prispevek k razvoju noše v 17. stoletju na Slovenskem – Grobni najdbi iz Betnave pri Mariboru in Gradu pri Slovenskem – Grobni najdbi iz Betnave pri Mariboru in Gradu pri Slovenjem Gradcu, Kronika,letnik 27, št.2, Ljubljana 1979 Slovenjem Gradcu, Kronika, letnik 27, no. 2, Ljubljana 1979 6 Ta istraživanja radio je dr. Žiga Šmit, Inštitut Jožef Štefan, 6 This research was conducted by Žiga Šmit, D.Sc , Jožef Štefan Ljubljana Institute, Ljubljana 147 Zbog mrežaste P S Cl K Ca Fe Cu Due to the reticu- strukture tkanina, ogrtaè – 1 0.93 0.26 0.09 0.34 1.50 1.76 <0.02 lar structure of the deo protona je prodro coat -1 textiles, part of the kroz cilj, ne da bi ga ogrtaè – 2 0.57 0.34 0.06 0.09 0.93 0.95 <0.02 protons penetrated coat - 2 pogodio.Vrednosti u èarapa 0.78 2.80 0.05 0.03 0.69 0.75 0.15 the target without in- tabeli su zato vero- stocking teraction. The con- vatno malo veće, upr- svilena èarapa 1.12 0.39 0.07 0.04 0.74 0.09 <0.02 centrations in Table 1 kos tome, tabela po- silk stocking are thus slightly un- dugme 0.72 0.42 0.12 0.26 1.65 2.54 <0.03 kazuje prave razmere small button derestimated, but Ta- između elemenata. moderna vuna 0.51 2.75 0.09 0.03 0.07 0.01 <0.02 ble 1 nevertheless Detekcijska granica modern wool yields proper concen- za bakar je 0,03%, Koncentracije primesa u fragmentima tkanina (težina %). tration ratios. The de- jer je deo sipanih Concentration of admixtures in the textile fragments (weight %). tection limit for cop- protona jonizirao per was 0.03%, as so- metalne igle mehaničkog graničnika. Tako smo mogli da me of the scattered protons hit the metal needles of the odredimo koncentraciju bakra tek u trećem predmetu mechanical spacer. The copper concentration was then (čarapi), jer u velikoj meri prelazi detekcijsku granicu. reliably determined in the third object only (stocking), Tkanine su verovatno bile obojene gvozdeno-taninskim where it significantly exceeded the detection limit. The mastilom, jer su koncentracije gvožđa 1%, ali i veće. textiles were most likely dyed with and iron-gall ink, as Svilena čarapa je neobojena. Gvozdeno-taninska masti- suggested by the iron concentrations larger then 1%. la mogu da sadrže takođe i primese teških metala, kao The silver stocking was not dyed. The iron-gall inks can što je bakar, kod trećeg predmeta. Teže metale našim contain admixtures of heavy elements, as it is, for in- merenjem nismo otkrili, jer je njihova relativna količina stance, copper in the third object. Heavier metals were u spektru, zbog slabog apsorbera, bila veoma mala. Po- not detected, as their contributions to the spectra were moću slabog absorbera otkrili smo lake elemente P i S, minute due to the weak absorber. On the other side, koji su značajni za vrstu vlakana. weak absorber implied good sensitivity for P and S, Za upoređivanje smo takođe merili uzorak neoboje- which are characteristic for the fiber type. ne moderne vune. U vuni, koja je belančevinsko vlakno, For comparison, non-dyed modern wool was also me- koncentracija sumpora je nekoliko puta veća nego u asured. In wool, representing protein fiber, the sulfur con- biljnim vlaknima. Stoga možemo da potvrdimo, da je centration is much larger than in the fibers of plant ori- jedna čarapa svilena, druga vunena, a da je kaput izra- gin. Thus we can confirm that one stocking was made of đen od biljnih vlakana. silk, one of wool, and the coat was made of plant fibers.

Mr Marina Dojčinović, dipl.inž., Dr Dejan Trifunović, Marina Dojčinović, M.A, Dejan Trifunović, D.Sc, dipl.inž., Tehnološkometalurški fakultet, Beograd Faculty of Technology and Metalurgy in Belgrade Istraživanje kavitacionih Investigation of cavitation fenomena u ciklusu konzervacije phenomena in conservation of arheoloških predmeta archaeological objects

avitacija kao fenomen tečne erozije bazira na stva- avitation, as phenomenon of liquid erosion, is based Kranju i imploziji mehura unutar tečnosti. Pretpos- Con creation and implosion of a bubble in a liquid. It tavlja se da udarni talasi koji nastaju implozijom mehu- is assumed that striking waves, created by a bubble im- ra, interreaguju sa čvrstim površinama i dovode do ošte- plosion, interact with solid surfaces and lead to a surfa- ćenja površine. To je pojava koja je redovan pratilac vo- ce damage. This phenomenon regularly follows the acti- denih turbina, elisa brodova itd. Poznati su slučajevi ka- vity of water turbines, ship propellers, etc. There are ca- da kavitacija nastaje u toku nekoliko minuta ali i u toku ses when cavitation occurs within minutes, but there are više godina eksploatacije i tada nastaju teška oštećenja. also examples when it occurs after years of exploitation, Stvaranjem kontrolisane kavitacije, pomoću uređaja la- resulting with heavy damages. By creating controled ca- boratorijskog tipa (poluindustrijuskog tipa), pretpostav- vitation, with a laboratory device (semi-industrial devi- lja se da će se ovaj prirodni fenomen moći prilagoditi po- ce), it is assumed that this natural phenomenon can be trebama konzervacije arheoloških predmeta. adjusted to the needs of archaeological objects conservation. Ispitivanje Prilikom konzervacije, naročito metalnih predmeta, Research stakla i keramičkih predmeta, suočavamo se sa potre- Conservation of objects, especially metal, glass and bom adekvatnog čišćenja površina od oksida, sulfida i ceramic ones, implies the need for adequate cleaning ostalih naslaga, bilo kada je u pitanju površina koju tre- methods in order to remove oxydes, sulfides and other ba spajati ili kada je u pitanju površina koju treba očis- surface deposits, whether it is an edge to join, or a sur- titi i povratiti joj prvobitni izgled. face to clean and restore. Za prve radove iz ove oblasti je korišćen u našoj sre- For the initial experiments in this field, a device of dini uređaj sopstvene konstrukcije, sa sledećim karakte- individual construction was used, with following cha- ristikama: racteristics: - frekvencija mehaničkih vibracija 20±0,2 kHz - frequency of mechanical vibrations 20±0,2 kHz - amplituda mehaničkih vibracija na vrhu koncen- - amplitude of mechanical vibrations at the top of tratora 50µm concentrator 50µm - zazor između uzorka i koncentratora 1mm - clearance between sample and concentrator 1mm - protok vode 5-20ml/s - water flow 5-20 ml/s - temperatura vode i okoline 25±3°C. - temperature of water and environment 25±3°C 148 Tokom rada moguće je menjati pojedine tehnološke It is possible to change, during operation, some of parametre zavisno od otpornosti materijala na delova- the technological parameters depending on material’s nje kavitacionog fenomena na površinu ispitivanog uz- resistance to activity of cavitation phenomenon onto the orka. Prilikom ispitivanja kavitacione postojanosti me- surface of the sample. When testing cavitation consis- tala u tehničkim uslovima ispitivanja uobičajeno je da tency of a metal in technical conditions, it is customary se usvoji uzorak “epruveta”određene geometrije koji se to adopt a sample of a “test-tube”of defined geometric podvrgava kavitaciji. features, and expose it to the process of cavitation.

Diskusija Discussion U predmetnom slučaju kada želimo da kavitacijom In cases when cavitation should release the surface oslobodimo površinu predmeta nečistoća ili kod metala of impurities or metal oxides on metal, usually there is metalnih oksida, najčešće se ne raspolaže uzorkom no sample of defined geometric features or defined sur- određene geometrije ili uzorkom određene površine. Ovi face. These conditions, imposed by the character of ar- zahtevi arheoloških nalaza zahtevaju potpuno nov pri- chaeological finds, ask for completely different appro- laz celoj problematici sa zahtevom da kavitacija ne ra- ach to the whole problem, having in mind the necessity zara materijal, već da se uslovi kavitacije prilagode ta- of saving the material and of adjusting cavitation in ko da se deluje samo na površinu i željenu dubinu od ne- such a way that it would act only on the surface and to koliko mikrometara. Za sada izvršeni opiti ukazuju na a defined depth of few micrometers. The researches do- veliku verovatnoću da se daljim prilagođavanjem teh- ne so far show great probability of reaching the goal, noloških parametara delovanja kavitacije na površinu that is obtaining a clean surface, simply through furt- uzorka metalnih predmeta, i eventualno nemetalnih her adjustment of technological parameters for cavita- može postići željeni efekat, odnosno dobiti očišćena po- tion effect on metal surface. A copper alloy based coin vršina. Istraživan je uzorak metalnog novčića na bazi le- was used as the sample, previously artificially oxidized. gure bakra, koji je veštački oksidisan i pri prvim ogledi- During the first few experiments, its surface was de- ma, došlo je do razaranja njegove površine do dubine od stroyed down to the depth of few micrometers, but by više mikrometara, ali daljim podešavanjem tehnoloških further adjustments of technological parameters on ca- parametara kavitacionog uređaja došlo se do rezultata vitation device, more encouraging results were obtai- koji ohrabruju dalji rad na ovom polju. ned.

Zaključak Conclusion Zbog neprilagođenih tehnoloških parametara kavi- Due to unadjusted cavitation parameters, the rim of tacije obod ispitivanog predmeta je očišćen do čistih me- the sample was cleaned all the way to the metal surface. talnih površina. Kontrolom tehnoloških parametara mo- Thickness of the removed layer can be determined by že se uticati na debljinu uklonjenog sloja oksida metala. control of technological parameters. Za sada sva istraživanja su ostvarena kao intereso- So far, all the research work was conducted solely vanje grupe autora bez finansijske podrške, što uslovlja- for the private investigation without funding, which al- va relativnu sporost. Ovo prvo saopštenje ima za cilj da so implied certain delay. This first information should se prikaže mogućnost eventualnog korišćenja fenomena picture the possibilities of using cavitation phenomenon kavitacije u konzervaciju arheoloških predmeta, kao je- in conservation of archaeological objects, as one of stan- dan od standardnih postupaka za predmete koji imaju dard treatments of the objects of certain solidity. The određenu čvrstoću. Cilj je prvenstveno da se omogući či- aim is, primarily, to enable cleaning of complex surfa- šćenje složenih površina. ces. Za sada nije korišćena literatura iz ove oblasti koja No bibliography covering cavitation in museum ob- obrađuje kavitaciju u obradi muzejskih eksponata, ali je jects treatment was used, but the basic publications in korišćena bazična literatura u oblasti tehničkih nauka the field of technical sciences were, and it is quite an ex- koja je veoma obimna. tensive list.

Literatura Literature: Knapp, R.T., Daily, J.W., Hammit,F.G., Cavitation, Knapp, R. T., Daily, J. W, Hammit, F. G, Cavitation, McGraw-Hill, 1970. McGraw-Hill, 1970 Hammit, F.G., Cavitation and Multiphase Flow Phe- Hammit, F. G, Cavitation and Multiphase Flow Phe- nomena, McGraw-Hill, 1980. nomena, McGraw-Hill, 1980

Uzorak posle dejstva kavitacije u trajanju 15 minuta Uzorak pre oksidacije Uzorak posle oksidacije The sample after the 15 minutes long The sample before oxidation The sample after oxidation cavitation treatment 149 Maja Franković, konzervator Maja Franković, conservator Narodni muzej u Beogradu National Museum Belgrade Saradnja Narodnog muzeja – Collaboration of the National museum Dijana Centra za preventivnu Belgrade – Diana Centre for preventive zaštitu sa ateljeom za konzervaciju conservation with the atelier for i restauraciju mozaika Muzeja conservation and restoration of mosaics antičkog Arla i Provanse from the Museum of antiquities of Arles Nastavak obuke iz konzervacije mozaika u Muzeju and Provence antičkog Arla i Provanse Continuation of Training in Mosaic Conservation in the Museum of Antiquities of Arles and Provence buku iz konzervacije mozaika počela sam 2002. godine, u Ateljeu za konzervaciju i restauraciju mo- O y training in mosaic conservation started in 2002, zaika u Muzeju antičkog Arla i Provanse. Zahvaljujući in Atelier for Conservation and Restoration of Mo- Francuskom kulturnom centru u Beogradu koji, sada M saics in the Museum of Antiquities of Arles and Proven- već redovno, pomaže edukativne programe DIJANA ce. Thanks to the French Cultural Centre in Belgrade, Centra za preventivnu zaštitu, prošlog leta sam dobila who regularly supports educational programs of DIA- priliku da nastavim sa usavršavanjem iz ove oblasti. Po- NA Centre for Preventive Conservation, last summer I red toga što programi DIJANA Centra podrazumevaju got the opportunity to continue training in this field. obuku iz, kod nas, deficitarnih grana u oblasti konzer- Beside the fact that programs of DIANA Centre include vacije, direktan povod za nastavak moje obuke u Muze- training in fields of conservation lacking in our country, ju antičkog Arla i Provanse bio je plan da se počne sa sa- direct motive for continuation of my training was the nacijom mozaika iz zbirke Narodnog muzeja u Beogra- plan to start restoration of mosaics collection of the Na- du. Glavni zadatak tokom ovogodišnjeg boravka u Fran- tional Museum Belgrade. Consequently, the main objec- cuskoj bio je da se u što većoj meri osposobim za samos- tive of my second stay in France was to become indepen- talan rad na konzervaciji mozaika i kao koordinator ti- dent in work on mosaics conservation and to prepare ma koji će se baviti tim poslovima u Narodnom muzeju myself for the role of the coordinator of mosaic conser- u Beogradu. vation in the National Museum Belgrade. Prvi deo moje obuke bio je usmeren na to da savla- First part of my training was directed to adopting dam proces konzervacije i restauracije mozaika iz mu- processes and techniques of conservation and restora- zejskih zbirki, kroz metode i tehnike koje se koriste u tion of mosaics from museum collections, using a met- tom muzeju. Tokom prvog meseca boravka u Arlu, uz hod of the Atelier in Arles. During the first month of my stručni nadzor gospodina Patrika Blana, direktora Ate- training, under the professional guidance of Mr. Patrick lja i ostalih konzervatora, radila sam na konzervaciji i Blanc, director of the Atelier, and of other conservators, restauraciji fragmenta mozaika koji pripada zbirci Mu- I worked on conservation and restoration of a fragment zeja antičkog Arla i Provanse. Konzervatorski tretman from the collection of the Museum of Antiquities of Ar- je podrazumevo uklanjanje antičkog maltera i njegovu les and Provence. Treatment consisted of removing anti- zamenu sintetičkim, zatim postavljanje fragmenta na que mortar and applying a synthetic one, setting the aluminijumski nosač u vidu saća i restauraciju teselatu- fragment on an aluminum honeycomb panel and resto- ma. Ovakav pristup mi je omogućio da, za kratko vreme, ration of the tessellatum.Within this approach, I was gi- prođem osnovne procese i postupke koji se koriste u ven an opportunity to follow through basic techniques konzervaciji i restauraciji mozaika. and methods used in mosaic conservation in a short ti- Pored toga, učestvovala sam u poslovima koji su bili me. u toku u Ateljeu. Zajedno sa ekipom konzervatora iz Besides, I participated in ongoing works in the Ate- Ateljea i sa još dvoje stažista, učestvovala sam u završ- lier. Together with the team of conservators from Arles nim fazama rada na derestauraciji mozaika sa scenom and two other interns, I participated in final phases of lova iz Narodnog muzeja u Alžiru. Takođe sam radila na de-restoration of the Hunting mosaic from the National jednom opus signinum-u iz zbirke Istorijskog muzeja Museum of Alger. In addition, I worked on an opus sig-

Konzervacija mozaika iz Narodnog muzeja Alžira Praktična obuka u Muzeju antičkog Arla i Provanse Conservation of mosaics from National Museum in Algers Practical training in Museum of Antique Arles and Provance 150 grada Marseja i na opus tes- ninum from the collection of His- sellatum-u sa arheološkog torical Museum in Marseille and lokaliteta Frežus. on an opus tessellatum from the Obuka u Ateljeu je obuh- archaeological site of Fréjus. vatala kompletnu zaštitu Apart of basic conservation tre- mozaika, tako da je pored atment, my training included com- osnovnog konzervatorskog plete protection of mosaics - pac- tretmana, uključivala pako- king for transport, storing of mo- vanje mozaika za transport, saics, documentation, ways of dis- načine smeštanja u depo, playing and presentation of con- dokumentovanje, načine iz- servation treatment to the public. laganja mozaika i prezenta- Special part of the program ciju konzervatorskog tret- consisted of diagnosing state of mana publici. preservation of a mosaic, decision Poseban deo programa making and selecting of appropri- činili su analiza stanja oču- ate techniques for conservation. I vanosti mozaika i odabir od- had extraordinary opportunity to govarajućih postupaka za participate with Patrick Blanc, konzervaciju i restauraciju. Marie-Laure Courboulčs and Pa- Imala sam izuzetnu priliku tricia Jouquet, in diagnosing state da sa Patrikom Blanom, Ma- of conservation of the pavement on ri-Lor Kurbules i Patricijom the archaeological site of Grand. Žuket, učestvujem u dijag- This site is important for the di- nosticiranju stanja u kome mensions of the mosaic, 224m2 in a se nalazi podni mozaik na whole. Mosaic paved a civil buil- Konzervacija mozaika iz Narodnog muzeja u Beogradu arheološkom lokalitetu st Conservation of mosaic from National museum Belgrade ding and is dated in 1 century AC. Grand. Lokalitet je veoma It was discovered in 1883. The next značajan zbog dimenzija mozaika, 224m2 u jednom ko- year, the building was constructed over it, which pro- madu. Pokrivao je pod civilne bazilike i datovan je u tects it even today. kraj I veka. Otkriven je 1883. godine, a već sledeće godi- Analysis of the state of conservation lasted for three ne je pokriven građevinom koja ga i danas štiti. days and consisted of: making of detailed photo-docu- Trodnevna analiza stanja uključivala je: pravljenje mentation and drawings where all observations were detaljne fotodokumentacije i crteža na kojima su obele- noted (cracks, destabilised tesserae, old restorations), žavana sva zapažanja (pukotine, destabilizovane tesere, tests for cleaning, opening of a sonde to confirm the stare restauracije), probe čišćenja, otvaranje sonde da bi manner in which old restoration in the fifties was done. se proverile pretpostavke o načinu na koji je izvedena Working on the site of Grand was a valuable experi- restauracija pedesetih godina prošlog veka. ence. I realized various aspects that should be conside- Rad na arheološkom lokalitetu Grand bio je za me- red while diagnosing the state of conservation of a mo- ne vredno iskustvo. Stekla sam uvid u različite aspekte saic. At the same time, it was an opportunity to get to koje je potrebno uzeti u obzir kada se vrši procena sta- know other regions of France and to visit few wonder- nja očuvanosti mozaika na arheološkom lokalitetu. Is- ful towns – Bonne, Langres and Dijon. tovremeno, to je bila prilika da se upoznam druge regio- During my training in the Museum of the Antiquities ne Francuske i posetim nekoliko divnih gradova – Bon, of Arles and Provence, I met professionals who gladly Langr i Dižon. shared their knowledge and experiences referring not Tokom obuke u Muzeju antičkog Arla i Provanse, only to conservation, but also to protection of museum upoznala sam stručnjake iz različitih oblasti zaštite objects in general – from storaging and safeguarding, to kulturnih dobara, koji su bili spremni da podele svoja preparation of exhibitions, presentation and communi- znanja i iskustva vezana, ne samo za konzervaciju, već i cation with public. I saw the way ethical principles in za zaštitu muzejskih predmeta uopšte - od uslova čuva- conservation are applied in practice and got clear idea of nja i načina smeštanja materijala u depoe, do pripreme the organization of the protection of cultural heritage in izložbi, načina prezentacije i komunikacije sa publikom. France. Opportunity to experience from “inside” how Videla sam kako se osnovni etički principi konzervacijei protection of heritage functions in other countries, espe- primenjuju u praksi i stekla sam jasniju sliku o tome na cially when that country has a long tradition of care for koji način je organizovana zaštita kulturnih dobara u patrimony like France does, is very important to someo- Francuskoj. Mogućnost da se «iznutra» oseti kako funk- ne who is only starting his professional life. cioniše sistem zaštite u nekoj drugoj zemlji, posebno ako It already turned out that experiences that I gained ta zemlja ima dugačku tradiciju brige za kulturno nas- during both of my stays in France and contacts with leđe kao što je ima Francuska, veoma je značajna za ne- French experts, proved to be a valuable help in our koga ko počinje svoj profesionalni život.Već se pokaza- work, now, that we are changing the approach to the lo da su iskustva koje sam stekla tokom oba boravka u protection of the heritage in our country. Francuskoj i kontakti sa francuskim stručnjacima, od neprocenjive pomoći u radu sada, kada menjamo pris- Project of Conservation and Restoration of tup zaštiti kulturnih dobara kod nas. Mosaics from the Collection of the National Museum Belgrade Projekat konzervacije i restauracije mozaika iz Mosaics collection of the National Museum Belgra- zbirke Narodnog muzeja de consists of pavements from two archaeological sites – Mozaici iz zbirke Narodnog muzeja potiču sa arheo- Stobi and Guberevac (Kosmaj). During the fifties, mo- loških lokaliteta Stobi i Guberevac (Kosmaj). Mozaici su saics were restored on gypsum support and stored in the konzervirani na podlozi od gipsa, pedesetih godina pro- Gallery of Frescoes. 151 šlog veka i smešteni su u Galeriji fresaka. Inadequate climate conditions in the storage, manner Neodgovarajući klimatski uslovi u depou, način na in which they were stored, as well as frequent moving in koji su smešteni, kao i česta premeštanja, radi obezbeđi- order to obtain more storage space, led to serious dama- vanja dodatnog prostora, doveli su do ozbiljnih ošteće- ge on mosaic fragments. High relative humidity during nja fragmenata mozaika. Visoke vrednosti relativne summer months and yearly oscilations accelerated decay vlažnosti u letnjim mesecima i godišnje oscilacije, ubr- of materials used for conservation. This provoked cracks zale su propadanje materijala koji je korišćen za restau- on tessellatum, fragment deformations, loss of tesserae raciju. To je prouzrokovalo pojavu pukotina na tessella- and even breaking of certain fragments. Ňhese mosaics tum-u, deformaciju fragmenata, ispadanje tesera i lo- require urgent intervention in order to be preserved. mljenje pojedinih fragmenata. Mozaicina je neophodna Special assignment during my stay in Arles was to hitna konzervacija, kako bi se sačuvali. work out a program for conservation of these mosaics, Poseban zadatak tokom mog boravka u Arlu bio je with Patrick Blanc and his assistant Marie-Laure Cour- da, sa Patrikom Blanom i njegovom saradnicom Mari- boulčs.We made a plan to proceed with conservation and Lor Kurbules, razradim projekat konzervacije i restau- restoration of these mosaics with scientific and technical racije ovih mozaika. Predviđeno je da se konzervacija support of the Atelier for Conservation and Restoration sprovodi uz stručnu i tehničku podršku Ateljea za kon- of Mosaics and, through this work, to continue training zervaciju i restauraciju mozaika Muzeja antičkog Arla i in mosaic conservation, which started with a course that Provanse i da se kroz rad nastavi obuka iz konzervacije took place in DIANA Centre in May last year. mozaika, koja je počela kursom održanim prošlog maja After my return to Belgrade, I carried out recording u DIJANA Centru. and documenting the state of conservation of the mosaic Po povratku u Beograd, izvršila sam snimanje i do- fragments. kumentovanje stanja u kome se mozaici nalaze, a po- In the beginning of March 2005, Patrick Blanc and četkom marta ove godine, Patrik Blan i Mari-Lor Kur- Marie-Laure Courboulčs came to Belgrade to help us bules su došli u Beograd da bismo precizirali program define a program for restoration of four units of the Gu- sanacije četiri celine kosmajskih mozaika i počeli sa berevac mosaics and to start theirs conservation. We njihovom konzervacijom. Napravljen je detaljan pro- made a detailed program for conservation and restora- gram konzervacije i restauracije ovih mozaika prema tion of the mosaics with working phases. fazama rada. Sredinom marta, ekipa DIJANA Centra In the mid March, the team of DIANA Centre started počela je sa radom na pripremi mozaika za skidanje working on preparation of mosaic fragments for remo- gipsane podloge. Posle uklanjanja stare podloge, moving of the gypsum support. After the removal of the old zaici će biti restaurirani na modernom, aluminijum- support, mosaics will be transferred and restored on skom nosaču u vidu saća. Predviđeno je da se ovi mo- modern, aluminum honeycomb panels. The mosaics are zaici uključe u stalnu postavku, nakon rekonstrukcije planned for the permanent exhibition after the recon- Narodnog muzeja. struction of the National Museum.

KSENIJA ÐURIŠIĆ, konzervator restaurator KSENIJA ÐURIŠIĆ, Conservatorrestorer Centar za arheološka istraživanja Crne Gore Centre for Archaeological Research of Montenegro Konzervacija i restauracija Conservation and restoration keramičkog pehara of a ceramic cup

vaj keramički pehar nađen je na imanju na Zlatici his ceramic beaker was found on an estate in Zlati- Okod Podgorice, koje je udaljeno oko 150 m jugoza- Tca, near Podgorica, 150 m to the south-east from padno od poznate bazilike i trikonhoza iz Doljana i oko well-known basilica and triconch in Doljani and 800 m 800 m sjeveroistočno od “jugozapadne nekropole” Dok- north-east from the “south-western necropola” Doclea. leje. Vlasnik imanja je na dubini od oko 0,30 m, naišao The owner of the estate found a pit at 0,30 m in the gro- na jamu približno kružnog oblika, (prečnik oko 0,50 m, und, almost round, with a diameter of 0,50 m and 0,50 m dubina 0,50 m) ukopanu u šljunak i ispunjenu mrkom deep, surrounded by pebbles and filled up with dark zemljom, dok su fragmenti pehara, krčag i tri gvozdena soil, containing fragments of a beaker, a jug and three eksera nađeni u sloju crne zemlje. Krčag se raspao pri- iron nails. The jug collapsed during excavation. This si- likom pomjeranja. Radi se vjerovatno o grobu spaljenog te was probably a grave with burnt remains, as this way pokojnika. Ovakav način sahranjivanja - spaljivanje i of burying, by putting burnt remains with ashes into a polaganje ohlađenih ostataka pokojnika, pepela i gari u grave, was typical of local population in Doclea in I and grob - karakterističan je za lokalno stanovništvo Dokle- II century A.D. je 1. i 2. vijeka naše ere. Ceramic beaker with cast figural scenes in relief is Keramički pehar sa figuralnim predstavama u reljefu, of a semispherical form. The rim is flat, slightly thicke- rađen je u kalupu, poluloptastog je oblika. Obod je ravan, ned. There are two plastic ribs under the rim, with shal- blago zadebljan. Ispod oboda se nalaze dva plastična re- low engravings in fluting. The body of the vessel is de- bra, u čijim se žljebovima vide plitko urezane partikalne corated with a frieze and separated from the base by a linije. Friz se odvija na trbuhu posude, koji je od stope od- rib, a bit wider than those under the rim. Round base is vojen plastičnim rebrom, nešto širim od onih pri obodu. slightly thickened, and at the very bottom there are so- Prstenasta stopa je blago zadebljana, a na dnu se primje- me parallel lines engraved, with a knob in the centre. ćuju urezane pararelne linije i ispupčenje u sredini. Oču- Three fourths of the vessel No. 696 is well preserved. It vano je ľ posude, inv. broj 696, dimenzije: H – 6,5 cm, R is 6,5 cm high, the rim diameter is 11,2 cm and the base oboda – 11,2 cm, R stope – 6,4 cm. Glina: smeđkastožuta, diameter is 6,4 cm. It is made of brownish yellow, soft prečišćena, meka, premaz mrkocrne boje i sjajan. and purified clay and coated with shiny dark brown co- Posudu je vlasnik dosta oštetio trljanjem i pranjem, lour. tako da su se fini detalji, predstave i dubina reljefa poma- The owner heavily damaged the vessel by rubbing 152 lo izgubili, a premaz djelimično ogulio, dok je sjaj skoro and washing, so that fine details, scenes and the relief nestao. Premaz je vidljiv sa unutrašnje strane, a na depth is partially lost, as well as the coating, which al- spoljašnjoj se očuvao samo u udubljenjima na reljefu.1 most completely matted. The coating is partly visible in- Ako se sagleda cijela predstava na frizu, može se uočiti iz- side, but on the outer surface it is preserved only in the vjesno grupisanje i izdvajanje datih figura. Satir sa mješi- gutters.1 It is obvious that some figures in the scene are nom i pripita stojeća figura koju pridržava drugi demon – gathered and some are isolated. A Satyr with a bellows satir, uokvireni su lišćem bršljana. Predstave pijanih de- and a drunken standing figure, supported by another mona, pa i samog Dionisa, možemo vidjeti na frizovima demon-satyr, are surrounded by ivy leafs. This kind of sarkofaga, reljefnih ploča, stela, oltara posuda (iz rimskog drunken demons images, even of Dionysus himself, can carskog perioda), kao sudionike svečane povorke u čast be found in the friezes on sarcophagi, tablets, stelae, boga Dionisa. U Korintu su nađeni reljefni pehari, rađeni church vessels (from the imperial Roman period), as u kalupu i datovani od sredine II do sredine III vijeka. participants in procession consecrated to Dionysus. So- U toj veseloj, razuzdanoj povorci na našem peharu me cast relief beakers were found in Corinth and dated dalje vidimo itifaličnog Pana zanesenog Silenovim svi- from mid II to mid III century. ranjem u dvojnice. Zatim, slijedi plesač sa tirsom u prat- In the marry procession scene on this beaker we nji Erosa i pantere. Njihovi pokreti su sinhronizovani i can also find figure of Pan listening, in exaltation, Sy- čine drugu kompoziciju u sceni plesa. Ovaj tip keramič- len blowing double floute. Behind them, there is a dan- kih reljefnih pehara sa cer followed by Eros and predstavama iz Dionisovog panther. Their movements kulta, nastao je pod utica- are synchronized and jem helenističke tradicije, compose a dancing scene. odnosno kao imitacija me- This type of ceramic relief talnog i staklenog posuđa.2 beakers with Dionysus Proizvođeni su u Ko- cult scenes, originates rintu, u vremenu od Ha- from Hellenistic tradition, drijana do A. Severa, tj. od as an imitation of metal 130. do 220. godine. To je and glass vessels.2 period buđenja i popular- They were produced in nosti Dionisovog kulta u Corinth between the reign Korintu. Pehar sa Zlatice of Hadrian and A. Sever, smješta se u opštu klasifi- that is from 130 to 220 kaciju korintskih pehara. A.D. It was the period of Njegov poluloptasti oblik, flourishing and populari- nastao kao posljedica imi- ty of Dionysus’ cult in Co- tiranja neke metalne ili rinth. The beaker from staklene posude, približa- Zlatica can find its place va se formi terra sigilate – in general classification Dragendorff 37. Na jugois- of Corinthian beakers. točnoj jadranskoj obali i This beakers with relieves zaleđu, reljefne korintske from Dionysus’ cult are posude sa predstavama iz rare, but not accidental Dionisovog kulta su rijet- finds. ke, ali ne i slučajni nalazi. Conservation of this ce- Konzervacija ovog ke- ramic vessel was carried ramičkog pehara urađena out in 1993, in the ceramics je 1993. godine, u Narod- conservation workshop of nom muzeju u Beogradu, u the National Museum Bel- Ateljeu za konzervaciju grade. keramike. The vessel was frag- Keramički pehar je bio mented, there were seven fragmentovan - sastojao se od sedam fragmenata. Kera- fragments left of it. The ceramics itself was well preser- mika je dobro očuvana, neporozna, sa unutrašnje strane ved, non-porous, with a visible black coating on the inima vidljiv premaz, koji je mrko crne boje. ner side. Fragmenti keramičkog pehara su prvo pažljivo oči- First, the fragments were very carefully cleaned šćeni od ostataka zemlje mekom četkicom, a zatim vrlo from dirt with soft brush, followed by a moistened pažljivo sunđerom navlaženim vodom. Ostaci zemlje su sponge. The remains of dirt on the edges were removed sa ivica fragmenata skidani skalpelom. Nakon čišćenja, with scalpel. The fragments were then left to dry. To svi fragmenti su ostavljeni da se dobro osuše. consolidate the structure of this vessel, 3% solution of U laboratoriji Narodnog muzeja u konzervaciji ke- OHO 2 SPEC in acetone was used. The fragments we- ramike uglavnom se koriste materijali koji se mogu na- re submerged in prepared solution and left in it until baviti na našem tržištu. the solution replaced all the air in their pores. A glass Za konsolidaciju strukture keramike ovog fragmen- vessel was used for the treatment so that the process tovanog suda upotrebljen je 3 % rastvor OHO SPECI- could be closely watched. The fragment were then re-

1 U Korintu su nađeni reljefni pehari, rađeni u kalupu i dato- 1 The beaker from Zlatica can be compared with cast beakers vani od sredine II do sredine III vijeka naše ere, sa kojima se može found in Corinth, dated from mid II to mid II century A.D. The simi- uporediti pehar sa Zlatice. Osim načina izrade i ukrašavanja larities are not only found in production technique and decoration. sličnost se ogleda i u boji premaza i gline, D. C.Spitzer, Roman relief but also in colour of the coating and clay. D. C. Spitzer, Roman relief bowls from Corint, Hesperia XI,1942,164. bowls from Corinth,Hesperia XI, 1942, 154. 2 D.C. Spitzer, op., cit., 163; C. Pavolini, Ceramica corinzia a 2 D.C. Spitzer, op, cit, 163; C. Pavolini, Ceramica corintia rilie- rilievo di eta imperiale ad Ostia, Rivista di studi liguri, XLVI, 1980, vo di eta imperiale ad Ostia,Rivista di studi liguri, XLVI, 1980, 245. 245. 153 JAL-a u acetonu. Korišćen je stakleni sud sa OHO SPE- moved from the solution with tweezers and left to dry. CIJAL-om, da bi se lakše pratio cio proces konsolidaci- It is, of course, very important to choose an adequate je. Fragmenti su potopljeni u pripremljeni rastvor i tu su adhesive when dealing with restoration of ceramic držani dok nisu prestali da izlaze mjehurići vazduha, vessel. In our country, OHO glue is mostly used for jo- odnosno sve dok OHO SPECIJAL nije istisnuo vazduh ining ceramic shreds. It is a mixture of polyvinyl ace- iz svih pora keramike i zauzeo njihovo mjesto. Zatim su tate and nitro cellulose and considered the most ade- izvađeni i ostavljeni na čistoj podlozi da se osuše. quate for this type of joining. Edges must be clean, Izbor lijepka je vrlo važan kod rekonstrukcije kera- every pore must be free of dirt, so that the strongest mike. Za lijepljenje keramike koristi se najčešće OHO li- possible bond could be achieved. In the case of the be- jepak, (mješavina polivinil acetata PVA i nitro celuloze), aker from Zlatica, edges were covered with a thin lay- jer je po svojim karakteristikama najpodesniji. er of adhesive. Za popunjavanje nedostajućih površina upotrebljen In the Laboratory of the National Museum Belgrade, je Fundal gips. Kao pomoćno sredstvo kod restauracije conservators use the materials for restoration that can ovog fragmentovanog pehara korišćen je vosak. Prije easily be bought in our country. For this particular ob- upotrebe vosak je zagrijan i podešen sa unutrašnje stra- ject, Fundal gypsum was used, as well as wax for moul- ne pehara. Zatim su sa spoljašnje strane praznine popu- ding.Wax was heated and sticked to the inner side of the njene gipsom, koji je pripremljen u posudi od gume. Na- vessel. At the outer side, gypsum was added, previously kon sušenja, gips je dotjeran najprije grubljim, a potom prepared in a rubber bowl. When gypsum was comple- veoma finim šmirgl papirom. Cio ovaj postupak bio je tely dry, it was ready for treatment, first with rough and obavljen sa velikom pažnjom, da se ne bi oštetila povr- then with fine sandpaper. This phase was carried out šina keramike u blizini restaurisanih djelova. Poslije particularly carefully, so that ceramics close to restored obrade šmirgl papirom nivo gipsa je izjednačen sa ni- parts would not be damaged. Sanded parts were leveled voom površine keramike. with the object surface. Po okončanju finalne obrade gipsa, restaurisana When restoration was finished, the vessel was wiped zdjela je prebrisana vlažnom krpom, da bi se očistila od with moistened cloth to remove the remains of gypsum gipsane prašine i ostataka gipsa. dust. Poslije sušenja, gipsani djelovi su obojeni prirodnim After drying, the gypsum parts were retouched with pigmentima, pomešanim sa rastvorom akrilne emulzije i natural pigments, mixed with a solution of acrylic destilovane vode, čime je i završen postupak obrade emulsion in destiled water and the treatment was finis- ovog pehara. Finalna konsolidacija nije rađena. hed, since no final consolidation was done.

Gorazd Lemajič, konzervator, Gorazd Lemajič, National Museum of Slovenia Narodni muzej Slovenije email: gorazd.lemajic@narmuzlj.si Prednosti upotrebe transparentnog Advantages of using a transparent PVC kalupa kod dopunjavanja delova PVC mould used in the process of koji nedostaju na šupljem staklu replacing missing pieces on hollow glass objects ad sam počeo sa radom na predmetima od stakla, Knisam poznavao kolege restauratore, koji se bave hen I started to work on glass objects, I had neit- restauracijom stakla, a i literature iz ove oblasti je bilo Wher access to any literature on this subject nor veoma malo. Tako sam bio prepušten samome sebi. Od much contact with other museum restorers, so I had to velike pomoći mi je bilo prethodno znanje o kalupima i rely on my own limited knowledge about materials and materijalima, koje sam dobio na Likovnoj akademiji ka- moulds which I had gained during my study of sculptu- ko vajar. Postupke koje sam tamo naučio nisam želeo da re, and as I did not find it appropriate to test the routi- proveram na muzejskim predmetima i da preko njih sti- ne procedures on museum specimens, I chose a different čem iskustvo, pa sam se odlučio da potražim druga re- way to gain new experience and learn how to apply mo- šenja. Na samom početku sam identifikovao probleme u re suitable procedures. Initially, I identified problems fazama rada i svrstao ih u grupe: 1) pričvrščivanje kalu- that were likely to emerge in each phase of my work and pa na staklo, 2) razmak između unutrašnjeg i spoljaš- classified them into four groups: 1) fixing moulds to njeg kalupa, 3) injektiranje i ulivanje, 4) mehurići i glass; 2) Maintaining the space between inner and outer skupljanje smole. moulds; 3) injecting and casting; 4) dealing with air Već na samom početku mog rada sa staklom bilo mi bubbles and shrinking of resin. je jasno da ću se teško probiti kroz različite aspekte ko- I was aware that it would be very difficult to overco- ji su sastavni deo procesa restauriranja stakla. Prilikom me various problems emerging in individual phases of isprobavanja različitih tehnika i materijala za kalupe, the glass restoration process. While testing different došao sam do zaključka da se konstantno pojavljuje ne- techniques and materials for moulds, I noticed that a koliko bitnih problema koje mogu da rešavam samo de- couple of key problems were recurring which I was ab- limično. le to solve only partially.

Pričvršćivanje kalupa na staklo Fixing moulds to glass Problemi i posledice sa kojima se susrećemo prili- When replacing missing sections of glass with liquid kom pričvršćivanja kalupa oko fragmenta koji nadosta- resin, a mould is fixed around the missing piece in such je povezani su sa curenjem smole iz kalupa, curenjem a way as to prevent the resin from flowing out over the preko originala, stvaranjem stepenice na prelazu origi- original and forming a step where the original and the nal-dopuna, slivanje lepka u kalup (silikonska guma ko- cast meet, and prevention of liquid silicone rubber used jom pričvršćujemo kalup na staklo). as to seal the silicone rubber mould to the glass from - kalup mora da bude na staklo pričvršćen tako da flowing into the mould. 154 spreči isticanje smole. Na mestu gde kalup propušta uli- venu smolu dopuna će imati manju čvrstoću (dopuna će biti poput gume) i teško ćemo je obraditi (brusiti). I smolu koja je iscurila iz kalupa teško je očistiti, posebno iz unutrašnjosti predmeta zatvorenijeg oblika. - kada nismo uspeli kalup da pričvrstimo uz staklo na tački dodira stakla i dopune nastaje mala stepenica i na taj način smola može da se slije preko originala (skica 1). Može se desiti da deo koji je izliven ima veću tvr- doću od stakla. Prilikom odstanjivanja takvih nepravilnosti može se desiti da staklo oštetimo, a ponekad i slo- mimo. - The mould should be fixed to glass in such a way as - silikonska guma ili bilo koji drugi materijal koji to prevent resin from flowing out. In places where the upotrebljavamo za pričvršćivanje kalupa na staklo ne mould is leaking, the cast will be softer (as made of rub- sme da procuri u unutrašnjost kalupa. Ako lepak procu- ber) and thus more difficult to treat (cut). The cleaning ri, na tom delu bi nastala rupica ili u najboljem slučaju of resin will also be difficult, particularly from the insi- udubljenje. de of a glass object having a specific form. - If we fail to fix the mould close to the wall, a step Razmak izmeu unutrašnjeg i spoljašnjeg kalupa may form where the original glass and the cast come to- Kada se susrećemo sa većim delovima koji nedosta- gether, and resin may flow over the original (Scheme 1) ju ili sa vrlo tankim staklom teško je oba kalupa names- forming an extended piece. Such a piece may be more titi tako da se postigne jednaka i pravilna udaljenost solid than glass itself. When removing it, glass may be unutrašnjeg i spoljašnjeg kalupa, s obzirom na oblik damaged or broken. staklenog predmeta. Ako su kalupi suviše blizu jedan - If silicone rubber or any other material used to fix drugome postojala bi mogućnost, da zid bude previše the mould to glass has flowed into the mould, a small tanak ili čak da se pojavi rupa. Posledice prevelikog raz- hole or at least a hollow will be formed there. maka između kalupa prouzrokuju nastanak predebele dopune (skica 2). Maintaining the space between inner and ou ter moulds Injektovanje i ulivanje smole When the area of missing piece is large or the glass U toj fazi je potrebno sasvim precizno namestiti oba is very thin, it is difficult to place both moulds so that levka za ulivanje i izlazak vazduha. Kada injektujemo the distance between them is kept uniform with regard smolu moramo iglom da uđemo u sam kutak kalupa. to the shape of the glass object. If the moulds are placed Levkovi moraju da stoje tako da iz njih smola ne može too closely, the resin cast will be too thin or have holes da procuri, a ujedno moraju biti postavljeni tačno u uglu in it. If the moulds are placed too far away from each ot- kalupa, tako da iz kalupa može da izađe sav vazduh (sli- her, the cast will be too thick (Scheme 2). ka 1). Rad sa levkovima je veoma dugotrajan. Kod malih dopuna ponekad se desi da nema prostora za monta- Injecting and casting resin žu levka. Kad odstranimo kalup na mestu gde su bili lev- In order to introduce resin into a mould, it can be kovi ostane štrčeći deo, koji moramo da odrežemo i iz- injected through a hole in the mould or cast in by means brusimo do istog istog sjaja kakav ima okolna površina. of a funnel, which should be placed precisely, or, if resin Kada unosimo epoksi smolu putem injekcije, bitno je da is injected, a needle should be pushed in the right place. iglom prodremo samo kroz spoljašnji kalup i to tačno u The funnels should be placed in the highest part of the kutak prostora koji dopunjavamo, inače postoji moguć- mould so that resin does not flow out, and precisely in nost da u kutku ostane mehurić. Kao što smo pre istakli, the corner of the mould so that the air may flow out kalup je nežno prilepljen na staklo. Ako ga previše pri- from the mould (Fig. 1). The work with funnels takes up tiskamo ili vučemo popustiće mesto gde je kalup zalep- a good deal of time and if the cast is small, there is even ljen i tu će smola curiti. Pri prodoru igle ne smemo da not enough space to place the funnels. After the mould potisnemo unutrašni kalup, pogotovo u fazi kada ubriz- has been removed, the protruding part remains in the form of a funnel; this part should be cut off and polished to obtain the same gloss as the surrounding surface. When epoxy resin is injected, it is of key importance to push the needle only through the outer mould and precisely towards the corner of the space being completed, otherwise an air bubble may remain in the corner. As I have already mentioned before, the mould is only slightly glued to glass. If we press or pull it too much, the connection will relax and the resin will flow out (we are back to the problem of fixing the mould). The inner mould should not be pushed away with the needle, particularly when epoxy resin is squeezed out of the injection, as all sort of different forces are released then (change in the needle’s angle; pressing, pulling of the mould). When the mould is filled up with epoxy resin, air may be trapped in the cast’s complex configuration, forming small holes in the cast, which must be filled up.

Air Bubbles and Shrinking of Resin Air bubbles can form within the resin as a mould is fil- 155 1. Silikonski kalup i levkovi Silicone rubber mould and funnels gavamo smolu iz injekcije. Tom prilikom deluje više raz- ličitih sila (menjanje ugla prodora igle, pritiskanje ili po- vlačenje kalupa). Kada punimo kalup epoksiy smolom može da se desi da u strukturi dopune ostane vazduh i da 2. Spoljašnji i unutrašni kalup se stvori rupica, koju kasnije moramo da napunimo. Inner and outer mould Mehurići i skupljanje smole led. This is particularly true if resin is injected into a mould using a syringe. These bubbles are usually very small Prilikom ulivanja smole u kalup u mrtve uglove uđe i nešto vazduha. Mehuriće možemo uneti u kalup i sla- and do not rise in dense epoxy resin. Larger bubbles rise bom injekcijom. Ti mehurići su po pravilu vrlo mali i u more easily, except when the cast is thin and the surface gustoj epoksi smoli ostaju na dnu. Veći mehurići lakše pressure of the inner and outer mould keeps the bubble in isplivaju na vrh, osim u primeru tankih odlivaka, kada place. In addition, air bubbles may become trapped by an- površinski pritisak između unutrašnjeg i spoljašnjeg gles in the edges of the glass. Air bubbles can also appear kalupa zadrži mehuriće na mestu. Mehurići mogu da se when the mould has already been successfully filled up. pojave i nešto kasnije, kad smo već uspešno napunili ka- The air floats out of the space where the mould is fixed to lup. Ti mehurići predstavljaju vazduh koji se skuplja na glass and this may happen even 15 minutes after the mo- mestu gde je kalup zalepljen na staklo, što se može de- uld has been filled. The bubbles can move until resin be- siti i 15 minuta nakon punjenja kalupa. Sve do početka gins to cure, after which it is impossible to get rid of them, reakcije stvrdnjavanja smole, mehurići se mogu pome- so that new resin has to be used to file the holes left in the rati. Kasnije ih je nemoguće odstraniti i zbog toga mo- cast. If this is not done before the first resin has cured ful- ramo ponovno da napunimo te novonastale rupice. ly, the join between the two batches of resin will be visible. Epoksiy smole se u proseku skupljaju 2%. Potrebno je On curing, epoxy resins shrink by an average of 2%, so obezbediti dodatnu količinu smole, a to postižemo viš- that it is necessary to compensate for this by leaving a kom mase u levkovima. small excess of resin in the funnel.

Kalup Making moulds Razmišljanje o svim tim problemima dovelo nas je Reflecting on all these problems, I concluded that do spoznaje da se do grešaka dolazi upravo u procesu many mistakes were made during the process of making

3. Pričvršćivanje silikonskog kalupa u 4. Vidljiva su mesta gde kalup nije najbol- Silikon kaučuk kojim smo lepili kalup na unutrašnost predmeta je zalepljen uz staklo. Na tom mestu će se staklo je iscurio u unutrašnost kalupa Fixing of a silicone rubber mould to the epoxy smola preliti preko originala. Silicone resin used to secure the mould to inner wall of the glass The areas where the mould is insufficient- glass has flowed into the mould. ly secured to glass are clearly visible. Here epoxy resin will flow over glass. 156 postupka izrade kalupa moulds and casts, i ulivanja smole. To se mainly because it was dešava prvenstveno not possible to see and zbog toga što je nemo- therefore to control guć nadzor nad dešava- what was happening njima u kalupu, ili inside the mould. It ukratko ZATO ŠTO SE might therefore be pos- NE MOŽE VIDETI ŠTA sible to obtain a trans- SE DEŠAVA U KALU- parent moulding mate- PU. Iz toga je sledio rial. After experimen- zaključak, da nam je za ting with several trans- rad potreban materijal parent materials, I cho- za kalup kroz koji ćemo se to use a PVC plastic moći da vidimo šta se foil sold as vacuum unutra dešava. Nakon plastic, which is used to mnogih proba počeli form the packing mate- smo da radimo sa PVC rial for which it is wi- plastičnom folijom. dely used (packing ma- Kupujemo je pod ime- 7. i 8. Na slici 7 vidi se trougao od neprovidnog materijala (alu folija) terial for tooth brush). nom Vakumska plasti- prilepljen na spoljašnji providni kalup. Na slici 8 osvetljen je kalup i lepo The foil is heated and ka. Ime dolazi od prose vidi senka koju baca trougao na unutrašnji zid kalupa od silikon folded around the sha- cesa izrade ambalaže kaučuka. pe; after cooling, the koja je u širokoj upo- Fig. 7 shows a triangle made of non-transparent material (aluminum foil retains its shape trebi (amabalaža zubne foil) glued to the outer transparent mould. Fig. 8 shows an illuminated (i.e. that of the object). četke). Folija se može mould; a shadow thrown by the triangle on the mould’s inner wall It does not adhere to re- toplotno obrađivati. made of silicone rubber is clearly visible. sin. Its surface is very Foliju savijamo preko smooth and the cast is forme i ona nakon hlađenja zadrži oblik. Na nju se smo- nearly as shiny as the glass surface. As a rule, I use PVC la ne lepi. Odlivak uliven u kalup od PVC folije ima vr- foil to make an outer mould and silicone rubber to malo glatku površinu i izgled dopune je vrlo blizu sjaju ko- ke an inner mould (Fig. 2). ji ima površina stakla. PVC foliju upotrebljavamo za The use of such a transparent mould enables an in- spoljašnji kalup, dok za unutrašnji upotrebljavamo sili- sight into the work process so that any irregulariy can be konsku gumu (slika 2). removed – any later correction of faults is thus avoided. Takav proziran kalup omogućuje nam uvid u proces rada i odstranjivanje nepravilnosti. Tako izbegavamo Solutions with a Transparent Mould naknadno popravljanje grešaka. Sledi opis rešavanja 1. Fixing moulds to glass (Fig. 3) problema prvenstveno preko upoređivanja s kalupom Problems: resin flows out, a step is formed and resin izrađenim od silikonske gume. flows over glass, glue flows into the mould Through a transparent mould I can see whether the Rešenja sa prozirnim kalupom mould is correctly attached to the glass surface. As I 1. Pričvrščivanje kalupa na staklo (slika 3) can see through glass and control whether the inner si- problemi: izlivanje smole, stepenica i prelivanje pre- licone rubber mould is correctly fixed, I can also con- ko stakla, slivanje lepka za lepljenje kalupa u kalup. trol, through the transparent wall, whether the outer Kroz prozirni kalup vidi se da li je kalup svugde i transparent mould is correctly fixed (Picture 4). This pravilno zalepljen. Kao što to kontrolišemo kroz staklo cannot be done if the mould is made of silicone rubber prilikom pričvršćivanja unutrašnjeg kalupa od silikon- or wax. If the mould does not fit tightly against the ske gume, možemo da kontrolišemo pravilno pričvršči- glass, this may result in the forming of a step, and I can vanje spoljašnjeg prozirnog kalupa kroz njegov provid- see this clearly.As long as the silicone rubber, used to se- ni zid (slika 4). To je kod kalupa od silikonske gume ili cure a transparent mould to the glass has not fully cu- voska mnogo teže postići. Prozirni kalup nam omogu- red, the mould can be pressed more closely against the ćava da jasno vidimo da li kalup dobro naleže uz stak- glass. If silicone rubber flows into the mould (Fig. 5), lo ili postoji mogućnost nastanka veće stepenice. U vre- this can be clearly seen, and in such a case it is only ne- menu dok silikonska guma, kojom se na staklo lepi pro- cessary to remove the outer mould to be able to clean off zirni kalup, ne završi reakciju, možemo kalup bliže pri- the silicone rubber and then to replace the outer mould. ljubiti uz staklo. Ako silikonska guma iscuri u kalup In such a way any surprise is avoided upon opening the (slika 5), a to se dobro vidi, moramo da odstranimo mould (made of silicone rubber) and finding a small ho- spoljašnji kalup, da ga očistimo i ponovno da ga učvrs- le or hollow

9, 10. i 11. Prodiranje igle u kalup. Injektiranje epoksi smole i naginjanje predmeta, čime se izbegava prodor vazduha u uglove kalupa. Injecting of epoxy resin by means of a needle penetrating the mould, and tilting the object to prevent the air from getting trapped in the corners. 157 timo na pravilno mesto. Na taj na- 2. Controlling the space bet- čin nećemo biti iznenađeni prili- ween inner and outer moulds kom otvaranja kalupa (kod kalupa An outer mould is placed in po- od silikona) i otkrivanja rupica ili sition on the glass after an inner udubljenja, te popravljanju tih mould has already been placed grešaka. there. It is important to maintain 2. Razmak između unutrašnjeg the correct distance between the i spoljašnjeg kalupa inner and outer mould. If the gap Prikom montiranja spoljaš- in the glass is large and curved – njeg kalupa, koji nameštamo pos- especially in two directions, and le montaže unutrašneg, treba pa- the glass itself is thin, it is quite ziti na pravilan razmak između possible that the moulds will touch njih. Kad su u pitanju zakrivljeni in several points. In the case of a i tanji odlivci postoji veća moguć- transparent mould, it is quite sim- nost za dodir između kalupa. ple to control the distance between Kontrolisanje razmaka je kod the moulds. (Figs. 7 & 8). A piece of prozirnoga kalupa jednostavno non-transparent material (alumi- (slika 7 i 8). Na spoljašnji kalup num foil) is placed on the outer postavimo neproziran material mould and illuminated with a poc- (alu folija) i osvetlimo ga jakim ket torch. A shadow appears on the izvorom svetlosti (džepna bateri- inner mould wall and the distance ja). Na zidu unutrašnjeg kalupa between the outer and inner mould pojavi se senka i jasno je vidljiva is clearly visible. If the thickness of distanca između spoljašnjog i the transparent mould (approxi- unutrašneg kalupa. Ako apstra- mately 0.4 cm) is ignored, it can be hujemo debljinu prozirnog kalupa estimated whether the cast thick- (cca 0,4 mm), možemo da ocenimo ness will be suitable. By moving da li će debljina odlivka biti the foil along, the correct distance adekvatna. Pokretanjem alu folije between the moulds at any given 12. i 13. Nežnim kucanjem metalnom lopati- na spoljašnjem kalupu možemo com za modeliranje tačno na mestu gde se point, can be checked. As long as bilo gde da proverimo da li je raz- nalazi mehurić postižemo male vibracije koje the silicone rubber, used to secure a mak pravilan. Sve vreme dok se su jače od površinskog napona i na taj način transparent mould to the glass has spoljašnji kalup ne prilepi na mehurić dovodimo do rupice za vazduh. not fully cured, any possible irre- staklo možemo da korigujemo Tapping on the plastic mould with a metal gularity can be corrected. moguća odstupanja. spatula to help the bubble to rise slowly 3. Filling moulds by injecting 3. Injektiranje i ulivanje smole towards the air hole. or casting epoxy resin problemi: levkovi, injektiranje, When working with a transpa- punjenje kalupa rent mould, I generally do not use Kod prozirnog kalupa skoro any funnels as I usually inject resin da ne dolazi u obzir upotreba lev- into the mould that is closed from ka, pošto u kalup koji je sa svih all sides. Instead of using a funnel, I strana zatvoren injekcijom uliva- make two small holes in the mould. mo smolu. Umesto levka u kalupu I penetrate the mould with a needle, napravimo dve rupice. Iglom jed- which I push precisely towards the nostavno prodremo u kalup i pos- corner of a mould to prevent the air tavimo je tačno u ugao kalupa što from getting trapped in the corner je ujedno i način da se u uglu iz- (Fig. 9). The forces released when begne zadržavanje vazduha (slika 14. Pričvršćivanje prozirnog kalupa na stakleni epoxy resin is squeezed from the 9). Problem sila koje nastaju prili- predmet. injection are not as great as in the kom istiskivanja smole iz injekci- Fixing a transparent mould to a glass object case of a silicone mould.That is bec- je nije tako veliki kao kod kalupa ause a transparent mould is more od silikona, jer je prozirni kalup solid; pressure and pull forces are čvršći i sile pritiska i potiska se arranged along the entire mould and raspoređuju na ceo kalup.Tako si- are not concentrated on only one le nisu skoncentrisane samo na part as in the case of a silicone rub- jednom delu, kao kod kalupa od ber mould. When filling the mould silikonske gume. Kod punjenja with resin, I hold the object sidewi- kalupa smolom naginjanjem se, thus preventing the air from get- predmeta sprečavamo da se vaz- ting trapped in the angle (Figs. 10 duh zarobi u uglu (slika 10 i 11). and 11). I can continue holding the Bez bojazni da će se smola izliti iz object sidewise when filling the next već napunjenog kalupa, možemo mould on the same glass object wit- nastaviti i kod sledećeg kalupa, hout fear that resin will flow out of na istom predmetu. Rupice za iglu the already filled mould. The hole i vazduh su naime tako male da for a needle and air is so small that površinski pritisak sprečava da the surface pressure prevents resin smola iscuri pri kratkotrajnom from flowing out when the object is naginjanju predmeta. Takav ma- Pričvršćivanje fragmenata na prozirni kalup held sidewise for a short period of nevar bio bi teže izvodljiv kod koji je ujedno nosilac unutrašnjeg oblika čaše. time. Such a manoeuvre would be upotrebe levka, jer bi smola od- Fixing glass fragments to a transparent mould, more difficult to carry out with fun- which conforms to the entire inner configura- 158 tion of the glass object and supports the fragments in their correct positions. mah iscurela napolje. Takve rupice u kalupu nam doz- nels from which resin could flow out immediately. Such voljavaju i punjenje vrlo malih kalupa. small holes in the mould also allow filling up very small 4. Mehurići i skupljanje smole moulds, which cannot be done through a funnel. problemi: veći ili manji mehurići, vazduh zarobljen u 4. Air Bubbles and Shrinking of Resin uglovima, skupljanje smole By using a transparent mould, it is possible to see if Ako se u kalupu pojavi mehurić on će kod debljih air bubbles are becoming trapped within the resin. If an odlivaka sam isplivati i mi ga jednostavno možemo us- air bubble appears in a thick resin cast, it will rise out meriti naginjanjem predmeta prema rupici za izlazak spontaneously and can be directed towards the air hole vazduha. Kod tanjih odlivaka dolazi do situacije da by tilting the object. If the resin cast is thin, the surface površinski napon zida unutrašneg i spoljašnjeg kalupa pressure formed between the walls of an inner and outer zadrži mehurić na mestu. Pritom ne pomaže ni pritis- mould tends to keep the bubble in place. Pressing the kanje kalupa, jer bi površinski napon povukao mehu- mould will not help to release the bubble as it will be rić nazad. Nežnim kuckanjem metalnom lopaticom za pulled back as soon as pressure on the mould is released. modeliranje tačno na mesto gde se nalazi mehurić (sli- Tapping gently on the transparent mould with a metal ka 12 i 13) postižemo male vibracije koje su jače od spatula, precisely at the place where the bubble is loca- površinskog napona i na taj način mehurić dovodimo ted (Figs. 12 & 13), helps the bubble to rise towards the do rupice za izlazak vazduha. Ako je oblik prostora ko- air hole. If this does not work, it is possible to penetrate ji želimo da napunimo smolom takav da i pored pravil- the outer mould with a needle and to fill the air bubble nog postavljanja rupica za izlazak vazduha u uglovima by injecting it with liquid resin. Such filling cannot be ipak ostane poneki mehurić, rupice ćemo jednostavno distinguished from the rest of the cast. If the configura- napuniti kad se smola u kalupu već stvrdne. Mesto gde tion of the cast is rich and the air holes properly positio- je u kalupu ostao mehurić je potpuno čisto, jer kalup ned at the highest points in the mould, but the air is still nije bio odstranjen. Na taj način zalivene rupice ne trapped in the corners, the resulting holes in the cast can razlikuju se od ostatka odlivka. Kod upotrebe silikon- be filled with more resin once the cast has solidified. ske gume za spoljašnji kalup, da bismo ustanovili gde If silicone rubber were to be used to form the outer se mehurići nalaze, potrebno je da odstranimo kalup. mould, air bubbles cannot be detected until the mould is Nakon odstranjivanja kalupa može da se desi da u removed. After the mould has been removed, dust may unutrašnost mehurića dospe prašina i izradom novog come in the bubble and while making a new mould, a kalupa nastane mala stepenica, koju brušenjem treba small step is formed; such a visible irregularity should odstraniti. be removed by cutting.

PVC foliju možemo da upotrebljavamo samo kao PVC foil can be used to form a transparent mould kalup (slika 14) ili kao kalup koji je ujedno nosilac for- only (Fig. 14), or as a mould which simultaneously ser- me, prvenstveno u primerima kada je očuvano veoma ves as a support indicating the shape of an object when malo originalnog materijala (slika 15). little original material has been preserved (Fig. 15).

Patrik Blan, konzervator, Muzej antike Arla i Patrick Blanc, Responsable de l’Atelier de conser- Provanse, MariLor Kurbules, konzervator, Muzej vation et de restauration, Marie-Laure Courboulès, antike Arla i Provanse restauratrice Konzervacija antičkih mozaika: La conservation des mosaïques saradnja između Ateljea za antiques: collaboration de l’Atelier de konzervaciju i restauraciju Muzeja Conservation et de Restauration du antike Arla i Provanse i DIJANA Musée de l’Arles et de la Provence Centra za preventivnu zaštitu antiques avec le centre de conserva- Narodnog muzeja u Beogradu tion préventive DIANA

eliko nam je zadovoljstvo da, u publikaciji DIJANA ’est avec un grand plaisir que nous présentons dans la pu- VCentra predstavimo saradnju sa ovim centrom i ko- Cblication du Centre Diana notre collaboration avec le Cen- ristimo ovu priliku da približimo oblast za koju smo tre de conservation préventive du Diana et nous profitons de specijalizovani: konzervaciju i restauraciju antičkih cette occasion pour expliquer notre domaine de spécialisation : mozaika. la conservation et la restauration des mosaïques antiques. Saradnja je započela 2002. godine, tokom prvog bo- Cette rencontre débute avec le premier stage de Maya Fran- ravka Maje Franković u Ateljeu za konzervaciju i res- kovic dans l’Atelier de conservation et de restauration de mo- tauraciju mozaika Muzeja antike Arla i Provanse, gde je saïques du Musée de l’Arles et de la Provence antiques (ACRM boravila radi stručnog usavršavanja. Tokom tromeseč- du MAPA) effectué en 2002. Au cours de ce séjour de quatre nog boravka, koji joj je omogućen zahvaljujući podršci Francuskog kulturnog centra u Beogradu, Maja je uz mois, rendu possible grâce au soutien du Service culturel de našu ekipu konzervatora, mogla da nauči različite teh- l’Ambassade de France à Belgrade, Maya a pu apprendre auprès nike konzervacije i restauracije mozaika i da se bavi i de notre équipe de restaurateurs les différentes techniques de la teorijom i praksom iz ove oblasti. U biblioteci MAPA bi- conservation et de la restauration des mosaïques et aborder les la joj je dostupna naša dokumentacija i stručna litera- théories et principes de cette discipline. Dans la bibliothèque du tura. MAPA, elle a pu consulter notre documentation et les ouvrages Mila Popović-Živančević, rukovodilac DIJANA Cen- spécialisés. tra, je u 2003. godini posetila naš Atelje i Muzej antike En 2003, Mila Popovic, directrice du Centre Diana, venait Arla i Provanse. Tom prilikom, ponudila nam je da nas- en France ; elle put visiter notre Atelier et le Musée de l’Arles tavimo saradnju sa DIJANA Centrom u vidu kursa, koji et de la Provence antiques. A cette occasion, elle nous proposa 159 de poursuivre la collaboration avec le centre Diana notamment sous la forme d’un cours qui serait dispensé à Belgrade. Nous avons bien entendu accepté avec joie, encouragés par l’enthou- siasme de notre stagiaire. Dès le mois de mai 2004, ce cours sur la conservation et la restauration des mosaïques antiques pu ré- unir dans la Galerie des fresques au Diana, pendant une semai- ne, plus d’une vingtaine de personnes. Le cours a permis d’aborder les différents aspects de la conservation des pavements antiques, vus au travers de nombreux cas de figures, avec le souci de donner aux participants, issus de formations et d’institutions différentes, un riche aperçu de ce que représente ce domaine spécifique de la conservation et la restauration de vestiges archéologiques. Conservés dans des contextes très diversifiés, les pavements antiques constituent un très riche patrimoine offrant une grande variété tant technique qu’iconographique. Aussi, les Ekipa ateljea ispred čuvenog mozaika morskih čudovišta za techniques et moyens pour assurer leur préservation sont égale- vreme staža Maje Franković, jednog kolege iz Alžira i koleginice ment multiples et doivent s’adapter selon les cas, toujours dans iz Francuskog instituta za konzervaciju umetničkih predmeta Equipe de l’atelier devant la célèbre mosaïque des monstres le respect des grands principes de la conservation des biens cul- marins pendant les stages de Maya Frankovic, d’un collègue turels : compatibilité des matériaux, réversibilité, lisibilité des algérien et d’une stagiaire française de l’Institut Français de interventions. Restaurateurs d’Art. Les interventions peuvent être très différentes. Dans le ca- bi se održao u Beogradu. Ponudu smo rado prihvatili, dre de musées, il peut s’agir de traitements appliqués à des co- podstaknuti entuzijazmom našeg stažiste. Tokom nede- llections anciennes ou de nouvelles acquisitions ; sur les sites lju dana, u maju 2004. godine, kurs konzervacije i res- archéologiques eux-mêmes, ce sont des vestiges anciennement tauracije antičkih mozaika, koji je održan u Galeriji fre- identifiés, ayant parfois déjà été l’objet de traitement conserva- saka, okupio je više od dvadeset učesnika. toire, qu’il faut sauvegarder, ou des découvertes récemment mi- Cilj kurs bio je da obuhvati različite aspekte konzer- ses au jour. Parfois également, il faut intervenir dans la concep- vacije antičkih podova, koji predstavljaju veoma bogato tion et l’installation de réserves de musées et de modes de stoc- kulturno nasleđe, sa velikom raznovrsnošću kako tehni- kage. Un restaurateur doit être présent tant dans le cadre de con- ka, tako i ikonografije.Tehnike i sredstva kojima se obe- servation préventive que lors de sauvetages d’urgence. zbeđuje njihovo očuvanje, takođe su brojna i moraju se A ces diverses situations où il est demandé au restaurateur prilagoditi datom slučaju, istovremeno poštujući osnov- d’intervenir, des réponses variées peuvent être apportées. Si, ne principe konzervacije kulturnih dobara: kompatibil- après dépose, les mosaïques sont préservées sur des panneaux nost materijala, reverzibilnost, čitljivost izvršenih inter- de stockage provisoires ou si elles sont déjà restaurées et dispo- vencija. sées sur des supports anciens ou modernes, les moyens de les Intervencije mogu da budu veoma različite. U muze- ranger seront différents. On choisira pour une mosaïque encore jima, uglavnom se radi o tretmanima koji se primenjuju sur sa toile d’encollage un stockage à plat, sur des étagères cou- na već postojećim kolekcijama ili na novim akvizicija- lissantes. Une mosaïque restaurée sur nid d’abeille en alumi- ma. Na arheološkim lokalitetima, to mogu da budu ra- nium peut en revanche se fixer à la verticale, sur des grilles ri- nije otkrivene »ruševine«, koje su ponekad već bile pod- gides montées sur rails. L’espace est, dans tous les cas, indis- vrgnute konzervatorskom tretmanu i koje treba sačuva- pensable non seulement pour le stockage mais aussi pour les ti ili mogu da budu u pitanju nova otkrića. Isto tako, po- manipulations de mosaïques qui présentent souvent de grandes nekad treba intervenisati na koncepciji i opremanju de- superficies. Un restaurateur doit être à même de proposer diffé- poa u muzejima, kao i na načinu smeštanja mozaika u rentes solutions et de les justifier. depoe. Konzervator mora da bude prisutan u oblasti Les matériaux mis en œuvre, même dans les situations tem- preventivne zaštite, isto kao i tokom hitnih intervencija poraires, doivent être résistants et, si possible, chimiquement radi spasavanja kulturnih dobara. stables (étagères métalliques et peinture inoxydable). Le climat U ovim raznovrsnim situacijama, u kojima se traži doit être contrôlé en hygrométrie et en température, on pense au od konzervatora da interveniše, može se reagovati na bois et aux toiles d’encollage des panneaux de mosaïques dépo- različite načine. Ukoliko se, posle »skidanja« sa terena, sées mais aussi au plâtre d’anciennes restaurations qui souffri- mozaici čuvaju na provizornim panoima, ili ukoliko su raient des variations du taux d’humidité relatif sans compter le već konzervirani i stavljeni na drugu, staru ili modernu, risque de prolifération de microorganismes. Un restaurateur do- podlogu, njihovi načini smeštanja će se razlikovati. Za mozaik na koji je još uvek zalepljeno platno, odabraće- it être à même d’anticiper. mo horizontalan način smeštanja na klizeće police. Mo- Les mosaïques anciennement restaurées posent des problè- zaik restauriran na aluminijumskoj podlozi alveolarnog mes très différents selon leurs supports de restauration. La natu- tipa, može se pričvrstiti, u vertikalnom položaju, na re de ces supports va de l’association de plâtre et de bois jus- čvrste klizeće panoe. U oba slučaja, neophodno je obe- qu’au mortier de ciment ferraillé. C’est leur état de conservation zbediti dovoljno prostora, ne samo za smeštanje, nego i qui guidera l’urgence et le type d’interventions nécessaires : za rukovanje mozaicima, koji su uvek velikih površina. des traitements de nettoyage et de consolidation jusqu’à la com- Na konzervatoru je da predloži različita rešenja i da ih plète dé-restauration de l’œuvre. Dans le cas d’une collection obrazloži. importante, il doit être établi un programme de restauration de Materijali koji se koriste, čak i kao privremeno reše- l’ensemble de la collection présentée au public et en réserve en nje, moraju da budu otporni i, ukoliko je moguće, hemij- prenant en compte les urgences, l’importance iconographique, ski stabilni (metalne police i boje koje ne oksidiraju). la rareté d’un décor qui guideront l’établissement du plan d’in- Što se tiče klime, relativna vlažnost i temperatura mo- tervention de conservation. Un restaurateur doit être à même de raju da budu kontrolisani, imajući u vidu drvo i platna programmer. 160 zalepljena preko mozaika, ali isto tako i gips kod starih Les travaux de restauration de mosaïques réclament des lo- restauracija, koji reaguju na oscilacije relativne vlaž- caux suffisamment vastes pour accueillir des pavements sou- nosti, rizik od pojave mikroorganizama da ne pominje- vent de grandes dimensions. L’espace nécessaire à la remise sur mo. Na konzervatoru je i da predviđa. nouveau support doit représenter au moins deux fois la superfi- Mozaici koji su ranije već konzervirani postavljaju cie du pavement pour y permettre à la fois le traitement du tes- veoma različite probleme, u zavisnosti od vrste podloge sellatum et la fabrication des supports modernes en nid d’abei- na kojoj su restaurirani. Priroda ovih podloga ide od lle en aluminium. Les ouvertures de l’atelier doivent être larges kombinacije gipsa i drveta do armiranog cementnog et hautes pour autoriser le passage de grands panneaux. Certains maltera. Njihovo stanje očuvanosti uslovljava hitnost i traitements peuvent consister en des travaux très poussiéreux vrstu neophodnih intervencija: od tretmana čišćenja i comme le retrait des mortiers de ciment ; il est alors utile konsolidacije, do kompletne ponovne restauracije pred- d’avoir des espaces extérieurs pour ce type de d’intervention. meta. U slučaju da se radi o značajnoj kolekciji, mora da Un restaurateur doit être à même de conseiller. se utvrdi program restauracije za celu kolekciju, i za deo Le terme d’« atelier de restauration de mosaïques » est le koji je izložen, i za onaj koji se čuva u depou, vodeći ra- plus approprié, car il associe un lieu, un savoir faire et, surtout, čuna o hitnosti, ikonografskoj važnosti, retkosti dekora- une équipe. Un restaurateur doit être à même de coordonner. cije, kojima će se rukovoditi prilikom utvrđivanja plana Les mesures d’entretien qui concernent les mosaïques pré- konzervatorske intervencije. Na konzervatoru je i da sentées dans les salles des musées, telles que les dépoussiérages planira. Radovi na konzervaciji mozaika traže prostore do- ou les nettoyages, sont des interventions de maintenance qui en- voljno prostrane da prime mozaičke podove, koji su čes- trent complètement dans le domaine de compétence des conser- to velikih dimenzija. Prostor potreban za postavljanje vateurs-restaurateurs, puisque ceux-ci sont à même de choisir mozaika na novu podlogu, mora da bude najmanje du- non seulement les moyens adaptés mais aussi d’analyser l’état plo veći od površine mozaika, da bi tretman tessella- de conservation d’une œuvre, d’identifier d’éventuels problè- tum-a mogao da se izvodi u isto vrema kad i priprema mes de dégradation et de donner les directives appropriées. modernih podloga od aluminijumskih ploča alveolarnog Les nettoyages, considérés injustement comme des prati- tipa. Otvori u ateljeu moraju da budu široki i visoki, da ques « courantes » et inoffensives, réclament tout autant la bi se omogućio prolazak velikih panoa. Neki tretmani pertinence d’un spécialiste. De même que l’expérience du res- mogu da uključuju radove koji stvaraju mnogo prašine, taurateur et sa connaissance des matériaux peuvent contribuer à kao što je uklanjanje cementne podloge; zbog toga je kola muséographie et à la présentation de mosaïques dans les sal- risno imati prostor napolju, koji bi se koristio za ovakve les d’exposition. Dans un souci de compléter l’information sur intervencije. Na konzervatoru je i da savetuje. le document archéologique auprès du public, les travaux de con- Termin »atelje za kon- servation et de restauration zervaciju mozaika« je naj- peuvent être présentés en com- prikladniji, jer povezuje pléments avec les pavements mesto, znanje, veštinu i, iz- eux-mêmes, sous forme de nad svega, ekipu. Na kon- photos ou de film. Ces formu- zervatoru je i da koordini- les de diffusion de la connais- ra. sance sont fort appréciées par Mere održavanja koje un public curieux qui y puise se tiču mozaika izloženih u nombre d’informations et muzejskoj postavci, kao što accède ainsi aux coulisses des su uklanjanje prašine i či- musées. šćenje, jesu intervencije održavanja koje su potpuno u domenu kompetencija Conserver les collections, konzervatora-restaurato- transmettre la connaissance et ra, jer je na njima da izabe- informer le public sont ainsi ru ne samo načine čišćenja autant de missions pour les koji se mogu primeniti, ne- responsables de la sauvegarde go i da analiziraju stanje u du patrimoine archéologique kome se delo nalazi, da ot- dans les musées, mais égale- kriju eventualne uzroke propadanja i da daju pri- ment sur les sites. merene smernice. Les interventions de con- Čišćenje, koje se po- servation sur les sites archéo- grešno smatra neagresiv- logiques varient selon la natu- nim i tekućom praksom, zahteva od stručnjaka is- re même des fouilles, c’est-à- trajnost. Isto tako, konzer- dire en d’autres termes s’il vatorsko iskustvo i pozna- s’agit de sites préservés ou de vanje materijala može da sites détruits. Dans ce dernier doprinese muzeografiji i cas, encore trop fréquent mal- načinu prezentacije mozai- heureusement, les opérations ka u izložbenom prostoru. sont des interventions d’urgen- U pokušaju da se zaokruži ce, d’extrême recours. Ispitivanje velikog mozaika iz rimske bazilike Grand dans les Quand la préservation des informacija koju arheološ- Vosges u Francuskoj, u kojem je Maja Franković imala prilike da ki dokument prenosi pu- učestvuje tokom svog poslednjeg staža vestiges n’est pas assurée sur blici, poslovi na konzerva- Expertise de la grande mosaïque de la Basilique romaine de des chantiers de construction, ciji i restauraciji mogu da Grand dans les Vosges en France, a laquelle Maya Frankovic a la dépose des mosaïques devi- budu predstavljeni tako da pu participé lors de son dernier stage. ent alors l’ultime moyen de les 161 nadopunjuju mozaičke podove, u formi fotografije ili filma. Radoznala publika veoma ceni mogućnost pristupa iza muzejskih kulisa i priliku da crpi veliki broj informacija i tako proširuje znanja. Čuvati zbirke, prenositi znanje i informisati publiku, to je misija onih koji se bave zaštitom arheološkog kulturnog nasleđa u muzejima, ali isto tako, na lokalitetima. Konzervatorske intervencije na arheološkim lokalitetima variraju u odnosu na samu prirodu iskopavanja, drugim rečima, u odnosu na to da li se radi o zaštićenim ili uništenim lokalitetima. U ovom drugom slučaju, još uvek previše često, na žalost, intervencije su odnose na hitne akcije spasavanja u poslednjem trenutku. Kada očuvanje arheoloških ostataka na gradilištima nije obezbeđeno, »skidanje« mozaika je jedini način da se oni sačuvaju od sigurnog uništenja. Nasuprot tome, Analiza stanja u depou Galerije fresaka tamo gde se očuvanje kulturnog nasleđa poštuje, obe- Analyse des conditions dans les reserves de la Galerie des fresques zbeđuje i uključuje u projekat izgradnje, »skidanje« mozaika postaje destruktivna metoda, koja prekida vezu sauver d’une destruction certaine. En revanche, quand la préser- između mozaičkog poda i njegovog originalnog nalaziš- vation du patrimoine archéologique est respectée, assurée et in- ta. tégrée dans les projets de construction, la dépose peut alors de- Ponovno zakopavanje može biti način čuvanja; u venir destructrice, faisant disparaître le lien entre pavement et tom slučaju, posle proučavanja, dokumentovanja i kon- site d’origine. solidacije, ostaci se pokrivaju prema tačno određenoj Le ré-enfouissement peut être une solution conservatoire ; proceduri (uz upotrebu geotekstila, peska, šljunka, i dr.) dans ce cas, après études, documentation et consolidations, les Međutim, rešenje koje je zadovoljavajuće na duge staze vestiges sont recouverts selon un protocole précis (utilisation de je izgradnja arheološke kripte, koja se redovno kontro- géotextile, sable, gravier, etc.). Mais la solution la plus satisfai- liše i nadgleda. sante à long terme est la réalisation d’une crypte archéologique Na arheološkim lokalitetima koji su sačuvani i otvo- contrôlée et surveillée. reni za publiku, konzervacija in situ ulazi u ukupni pro- Sur les sites archéologiques préservés et ouverts au public, gram održavanja i prezentacije. Ostaci, odnosno mozai- la conservation in situ entre dans un programme global de ma- ci, su predmet ekspertize koja doprinosi da se formira intenance et de mise en valeur. Les vestiges, dont les mosaïques, plan akcije. Intervencije su tehničke prirode – čišćenja, font l’objet d’une expertise qui contribue à l’établissement d’un konsolidacije, skidanje i ponovno vraćanje mozaika na plan d’action. Les interventions sont techniques -nettoyages, mesto; tretmani se odnose na tessellatum, ali isto tako i consolidations, dépose/repose ; les traitements concernent au- na podlogu poda. Razmišljanje je globalno i tiče se pro- tant le tessellatum que l’assise même du pavement. Les réfle- blema prezentacije mozaika u sklopu celine i njegove xions sont quant à elles globales et concernent tant les problè- zaštite od propadanja, uzrokovanog kako klimatskim mes de présentation des mosaïques que celui du site dans son faktorima, tako i delovanjem ljudi i životinja. ensemble et de sa protection contre les dégradations tant humai- Konzervacija in situ zahteva interdisciplinarnost nes et animales que climatiques. između konzervatora, arheologa, arhitekata, političa- La conservation in situ appelle l’interdisciplinarité entre res- ra; odgovornost je na svima. Dobar deo podnih mozai- taurateurs, conservateurs, archéologues, architectes, décideurs ka je sačuvan pomoću jednostavnih mera zaštite, koje politiques ; et c’est une question de responsabilité de chacun. su više rezultat primene zdravog razuma nego upo- Bon nombre de pavements ont été sauvés par de simples précau- trebljenih finansijskih sredstava. Odstraniti rastinje, tions résultant plus du bon sens que de moyens financiers mis en zatvoriti manje nedostajuće površine, sprečiti kretanje oeuvre. Enlever les mauvaises herbes, boucher les petites lacu- životinja, pokriti mozaik tokom jeseni i zime, sve ove radnje su upravo radnje koje spasavaju. Zato je obuka nes, éviter le passages des animaux, recouvrir lors de la mauvai- ekipe za održavanje mozaika na lokalitetima obavez- se saison, tous ces gestes sont autant de gestes qui sauvent. C’est na.; u programima saradnje to predstavlja prioritet za pourquoi la formation d’équipes de maintenance et d’entretien naš Atelje. des mosaïques sur les sites est primordiale ; elle constitue, pour notre Atelier, une priorité dans nos missions de coopération. Kurs koji smo održali u DIJANA Centru bio je za nas dobra prilika da upoznamo studente i stručnjake, koji Ce cours dispensé au Diana fut pour nous une très belle su veoma angažovani i motivisani u zaštiti kulturnih occasion de rencontrer des étudiants et des professionnels très dobara i nadamo se da smo uspeli da im prenesemo deo impliqués et motivés auxquels nous espérons avoir transmis un našeg iskustva. Takođe smo imali priliku da posetimo peu de notre expérience. Nous avons aussi eu la chance de visi- nekoliko muzeja i arheoloških lokaliteta i da upoznamo ter plusieurs musées et sites, de rencontrer un grand nombre de mnoge stručnjake iz oblasti zaštite u Srbiji. professionnels serbes. Tokom 2004. godine, Maja Franković se vratila u Arl, En 2004, Maya Frankovic revenait en stage à Arles, dans u naš atelje, da bi nastavila obuku iz oblasti konzerva- notre atelier où elle a poursuivi sa formation en conservation et cije i restauracije mozaika, ali i da bi razradila elaborat restauration de mosaïques, mais aussi pour développer une étu- o ponovnoj konzervaciji i prezentaciji mozaika koji pride sur la « dérestauration » et la présentation de mosaïques ap- padaju zbirci Narodnog muzeja u Beogradu. Stekavši partenant aux collections du Musée national de Belgrade. Forte nova iskustva, Maja danas počinje rad na ovom projek- de cette nouvelle expérience, Maya se lance aujourd’hui dans ce tu. nouveau projet.

Zbog svih tih susreta i poznanstava, želeli bismo da C’est fort de ces rencontres que nous souhaitons poursuivre nastavimo saradnju sa DIJANA Centrom. notre collaboration avec le Diana. 162 Mila PopovićŽivančević Mila PopovićŽivančević Seminari, specijalistički Seminars, specialist kursevi i radionice u courses and workshops DIJANA Centru at DIANA Centre

eminari, specijalistički kursevi i radionice sastavni eminars, specialist courses and workshops are an Ssu deo edukativnih procesa. Organizuju se za polaz- Sintegral part of the education process at DIANA nike i saradnike DIJANA Centra, za profesionalce iz Centre. They are open to students and collaborators of muzejske mreže SCG, regije Balkana i šire. Mora se pri- DIANA Centre, to professionals from the museum net- metiti da su naši seminari i specijalistički kursevi pos- work of Serbia and Montenegro, the Balkan region and tali „popularni“ i da sve više naših kolega iz raznih beyond it. One could say that our seminars have become muzeja prate ove edukativne programe. Najčešće ih “well liked” and the number of our museum colleagues shvataju kao proširenje, osavremenjivanje, specijaliza- attending these educative programmes is constantly ciju dosadašnjih znanja i razmenu iskustva. S druge increasing. The programmes are expanding, updating strane, želeli smo da ovi gotovo uvek naporni i intezivni and specialising the existing knowledge and offer stručni događaji, predstavljaju i mesto okupljanja i me- chances for exchange of experience. On the other hand đusobnog druženja kolega iz zemlje i okruženja. Može we also wanted to make these intensive and hard work- se reći da smo uspeli u ovome, za mnoge od nas ovi na- ing events a socializing venue for our colleagues from porni dani seminara i kurseva provode se u prijatnoj at- our and the neighbouring countries. This goal has been mosferi Galerije fresaka, gde je obavezan dobro organi- achieved and our professional colleagues spend their zovan ketering i gde se svi mi međusobno bliže upozna- time during seminars in the pleasant and friendly jemo i družimo. atmosphere of the Gallery of Frescoes. Ovaj deo svojih aktivnosti, DIJANA Centar, po pra- This part of DIANA Centre’s activities is realized in vilu, realizuje u saradnji sa Nacionalnim komitetom cooperation with the National Committee of ICOM of IKOM-a SCG (NK IKOM SCG). Serbia and Montenegro. Veliki deo važnih edukativnih programa i sadržaja Important part of educative programmes and events u DIJANA Centru praktično se realizuje upravo preko in DIANA Centre is carried out through seminars, spe- seminara, specijalističkih kurseva i radionica. cialist courses and workshops.

SEMINARI SEMINARS Preventive Conservation Seminar on “Fire preven- Seminar iz Preventivne zaštite “Zaštita od požara u tion in museums and galleries” was divided into three muzejima i galerijama”Realizovan iz tri dela, tokom fe- parts and held in February, March and April 2004. There bruara, marta i aprila. Učestvovalo je oko 50 polaznika were about 50 participants per each part. na svakom delu posebno. The seminar was organised in partnership with Seminar je realizovan partnerski sa Društvom inže- Society of Engineers and Technicians for Environmental njera i tehničara za upravljanje rizicima u životnoj sre- Risk Management and the National Committee of ICOM dini i nacionalnim komitetom IKOM-a SCG. of Serbia and Montenegro. The course was held by Prof. Nosilac kursa: Prof. dr Milovan Vidaković Dr. Milovan Vidaković. Kurs je bio namenjen profesionalcima iz muzeja i in- The course participants were professionals in muse- stitucija zaštite pokretnih kulturnih dobara, sa ciljem ums and institutions of movable cultural property pro- razvoja sistemskog organizovanja i sprovođenja efektiv- tection who learned more about development of system nih programa protivpožarne zaštite. organisation and maintaining of efficient programmes Kao deo ovih edukativnih aktivnosti Mila Popović- for fire prevention. Živančević i Vesna Živković su učestvovale u seminaru Mila Popović-Živančević and Vesna Živković took «Zaštitni protivpožarni premazi» u organizaciji Društva part in the seminar “Protective fire fighting coatings” inžinjera i tehničara za upravljanje rizicima u životnoj organised by the Society of Engineers and Technicians sredini (26. april) for Environmental Risk Management (26th April) as part of these educative activities. KURSEVI 1. Specijalistički kurs “Uvod u preventivnu zašti- COURSES tu”, od 19 - 21. januara, koji je uključio 40 predstavnika 1. “Introduction to preventive conservation”, 19-21 muzejskih radnika iz većeg broja muzeja Srbije, od di- January 2004 gathered 40 participants – museum pro- rektora do konzervatora, kao i saradnika i polaznika fessionals from museums in Serbia. The group ranged DIJANA Centra. Kurs je organizovan partnerski sa from directors to conservators including the students ICCROM-om, School of Conservation, The Royal Danish and collaborators of DIANA Centre. The course was Academy of Fine Arts, The Danish National Museum i organized in partnership with ICCROM, School of NK IKOM-a SCG. Conservation of the Royal Danish Academy of Fine Arts, Nosioci kursa: Bent Ešhoj i Morten Ril Svendsen. The Danish National Museum and the National Kurs je uspeo da pruži osnovna znanja iz preventiv- Committee of ICOM of Serbia and Montenegro. The ne zaštite i brige za muzejske predmete svakog profesio- course was held by Bent Eshoj and Morten Rhyl nalca u muzejskoj instituciji. Svendsen and it offered basic knowledge about preven- Za uspešno organizovanje ovog važnog kursa treba tive conservation and care about museum objects in istaći posebno Vesnu Živković, a zatim Anu Kocjan, charge of museum professionals. The course offered Aleksandru Džikić Nikolić, Maju Živković, Maju Fran- basic body of knowledge in preventive conservation and ković i Tanju Nedeljković, pored drugog dela tima sa- care about museum objects which every professional in radnika i polaznika DIJANA Centra. a museum institution should have. 163 2. Specijalistički kurs “Zaštita i konzervacija Great contribution to the course success was made antičkog mozaika”, realizovan od 24. do 29. maja. by Vesna Živković in the first place but also by Ana Učestvovalo je 15 polaznika iz DIJANA Centra i mu- Kocjan, Aleksandra Džikić Nikolić, Maja Živković, zeja i zavoda za zaštitu spomenika kulture SCG. Kurs Maja Franković and Tatjana Nedeljković, who were je realizovan u DIJANA Centru, u Galeriji Fresaka i helped by other students and collaborators of DIANA na arheološkim lokalitetima sa značajnim mozaicima Centre. iz rimskog perioda: Gamzigrad, Medijana, Caričin grad. 2. Specialist course “Protection and conservation of Kurs je organizovan zahvaljujući pomoći Ministar- antique mosaics “- 24th-29th May 2004. There were 15 stva spoljnih poslova Francuske (Francuski kulturni participants from DIANA Centre and museums and centar u Beogradu) i Muzeja antike u Arlu. institutions for protection from Serbia and Montenegro. Nosioci kursa: Patrik Blan i Mari-Lor Kurbules iz The course was held at DIANA Centre, in the Gallery of Muzeja antike u Arlu. Frescoes and on archaeological sites abounding with Cilj kursa je bio da obuhvati sve aspekte konzerva- most valuable mosaics from the Roman period: cije antičkih podnih mozaika, onih koji se čuvaju u mu- Gamzigrad, Mediana, Caričin Grad. zeju, kao i onih na arheološkom lokalitetu. The course was organised with the support of Nakon završetka kursa, u DIJANA Centru je nastav- Foreign Affairs Ministry of France (French Cultural ljen rad na zaštiti mozaika iz zbirke Narodnog muzeja Centre in Belgrade) and Museum of Antiquities in Arles Beograd, kroz pripreme dokumentacije, podloga i čišće- and held by Patrick Blanc and Marie-Laure nje, a u sklopu Radionice za konzervaciju mozaika, ko- Courbules. ju vodi konzervator Maja Franković. The goal of the course was to present various aspects of antique floor mosaics conservation both those kept 3. Specijalistički kurs “Klima u muzejskom prosto- in museums or on archaeological sites. ru - mikroorganizmi u muzejskom prostoru” After the course, the protection of mosaics from the Realizovan u sklopu Letnje škole DIJANA 2004, to- collection in the National Museum in Belgrade was kom jula, u saradnji sa Društvom za grejanje, hlađenje i continued by preparation of the documentation, of sup- klimatizaciju i Vojno medicinskom Akademijom. ports and cleaning within the Workshop for Nosioci kursa: Živojin Perišić, prof.dr Dušan Drnda- Conservation of Mosaics under supervision of Maja rević, Mila Popović-Živančević. Franković.

4. Specijalistički kurs “Zaštite i konzervacije stak- 3. “Climate in museum space – Microorganisms in la” museum space“ as realised in July 2004 within the Realizovan u okviru Letnje škole DIJANA 2004, od DIANA Summer School in cooperation with Society for 2. do16. avgusta, u saradnji sa Dejvison studiom, Velika Heating, Cooling and Acclimatization and Military Britanija. Medical Academy. Nosilac kursa: Sandra Dejvison The course was held by Živojin Perišić, Prof. Dr. Dušan Drndarević, M. Popović-Živančević 5. Specijalistički kurs “Restauracija porcelana, fajansa i majolike” 4.“Protection and conservation of glass” was organ- Realizovan u okviru Letnje škole DIJANA 2004, od ised during DIANA 2004 Summer School, 2nd- 16th 12. jula do 15. avgusta, u saradnji sa Adington studiom, August, in cooperation with Davison Studio, UK Velika Britanija. The course was held by Sandra Davison Nosilac kursa: Pamela Vorner Iako restauracija porcelana i fajansa nije deo naših 5. “Restoration of porcelain, faience and majolica” osnovnih sadržaja, odlučili smo da organizujemo ovaj was organised during DIANA 2004 Summer School, 12th kurs zbog zatvaranja kruga konzervacije i restauracije od July - 15th August in cooperation with Addington praistorijskog do savremenog materijala. Pored toga, pro- Studio, UK fesionalno obučeni struč- The course was held by njaci za restauraciju porce- Pamela Warner lana kod nas ne postoje i Although restoration of zbog toga je dobro ove, po- porcelain and faience is nekad veoma vredne i izu- not part of our basic pro- zetno lepe, umetničke pred- grammes, it was decided to mete tretirati i zaštiti na have this course organised odgovarajući način. now and thus fully cover the field of conservation 6. Specijalistički kurs and restoration of material “Preventivna zaštita ar- from prehistoric to modern heoloških predmeta - uvod materials. Further there u konzervaciju metala” are no professionally trai- Učestvovalo je 20 po- ned restorers of porcelain laznika iz Muzeja Srbije i in our country which ma- Crne Gore. Kurs je realizo- kes treating and preserving van u saradnji sa Labora- these beautiful works of torijom za konzervaciju i art worthwhile. restauraciju Arheoloskog centra Vara u Draginjanu, Preventive conser- Diskusija sa Žakom Ribierom za vreme kursa “Uvod u konzer- 6. “ Francuska. vaciju metala” vation of archaeological Nosilac kursa: Discussion with Jacques Rebiere during his course “Introduction objects – Introduction to Žak Ribier to conservation of metals” conservation of metal” – 164 7. Specijalistički kurs “Tradicionalne proizvodnje keramike - izrada kopija i replika” Sadržaj kursa se bavio tradicionalnim tehnologijama proizvodnje keramike, preko pravljenja kopija i replika, da bi se što vernije re- produkovao originalni način pripremanja keramičkih predmeta: Nosioci kursa: Vesna Svo- boda, Đurđinka Bogdanović i veći broj saradnika i polaznika DIJANA Centra

8. Specijalistički kurs “Zaštita - konzervacija na ar- heološkom terenu” Realizovan od 6. do 9. decembra, učestvovalo 25 polaznika iz muzeja i zavoda za Radionica “Tajne konzervacije” u okviru projekta “Deca u muzeju” zaštitu SCG. Kurs je organi- Workshop “Secrets of conservation” as part of the “Children in museum” project zovan u saradnji sa ICCROM - Rim, UNESCO - regionalnom Kancelarijom u Veneci- included 20 participants from museums in Serbia and ji (ROSTE), Cooperazione italiana, Arheološkim institu- Montenegro. The course was organised in cooperation tom, muzejima i Zavodima za zaštitu u Srbiji i Crnoj with the Laboratory for Conservation and Restoration Gori (Beogradu, Čačku, Užicu, Nišu,Vršcu, Kotoru, Pod- in Draguignan, Archaeological Centre in Var, France and gorici, Cetinju i dr. ) i NK IKOM-om SCG held by Jacques Rebiere Nosioci kursa: Nikolas Stenli Prajs, generalni direktor ICCROM-a, Valeri Magar i Korado Pedeli, eksperti 7. “Traditional production of ceramics - Making za konzervaciju na arheološkom terenu copies and replicas” The course dealt with traditional technologies for ceramics production, with making RADIONICE copies and replicas which duly reproduced original 1. Radionica za decu „Tajne konzervacije“, u okviru manufacturing methods. Projekta „Deca u muzeju“. Realizovana od 9. do 14. av- The course was held by Vesna Svoboda, Đurđinka gusta, učestvovalo od 12 do14 dece. Radionica je orga- Bogdanović and collaborators and students of DIANA nizovana u saradnji sa beogradskim predškolskim us- Centre tanovama, osnovnim školama i Skupštinom grada Beo- grada. 8. “Preservation – Conservation on archaeological sites” th th Nosioci aktivnosti: Ana Kocjan,Vesna Živković, Bo- ,6 -9 December 2004, gathered 25 participants from museums and institutions of protection in Serbia jan Georgijevski and Montenegro. The course was organised in coopera- Sadržaj Radionice je podrazumevao teorijska preda- tion with ICCROM Rome, UNESCO Regional office in vanja i praktičan rad sa decom: Venice (ROSTE), Cooperazione Italiana, Archaeological Teorijska predavanja koja su objašnjavala svaku fa- Institute and museums and institutes for protection in zu konzervatorskog postupka, razloge zbog čega se mu- Serbia and Montenegro (Belgrade, Čačak, Užice, Niš, zejski predmeti moraju konzervirati i dr. Vršac, Kotor, Podgorica, Cetinje, etc.) and the National Praktičan deo se sprovodio na primerima nove etno- Committee of ICOM of Serbia and Montenegro. grafske i savremene keramike i podrazumevao je savla- The course was held by Dr. Nicholas Stanley-Price, davanje osnovnih veština konzervatorskog tretmana, Director General of ICCROM and Valerie Magar and kao što su čišćenje, lepljenje i restauracija keramike. Corrado Pedeli, experts for conservation on archaeolog- 2. Radionica za decu „Kako se pravila keramika - ical sites. kopije i replike“. Realizovana od 9. do14. avgusta, učestvovalo oko 15 WORKSHOPS dece, u saradnji sa beogradskim osnovnim školama i 1. Workshop for children “Secrets of conservation” – Skupštinom grada Beograda. within the frames of the Project “Kids in Museum”held Nosioci aktivnosti: Ana Kocjan,Vesna Živković, Bo- August 9 – 14, 2004 In cooperation with Belgrade jan Georgijevski kindergartens and primary schools and the Assembly of Sadržaj Radionice je podrazumevao teorijski deo i City of Belgrade praktičan rad sa decom: 12-14 children were given theoretical explanations Teorijski deo je objašnjavao deci zašto su kopije važne on every phase of the conservation treatment, reasons u muzejskoj praksi i koliko doprinose očuvanju baštine. for museum objects conservation, etc. Praktičan rad se sastojao od pravljenja kopija: live- Practical work was done on new ethnographic and nje kopija arheoloških predmeta u glini, obrada i retuš contemporary ceramics and helped children master kopija i replika. basic skills in conservation treatment such as cleaning, bonding and restoration of ceramics 3. Radionica „Kako zaštiti sopstveno nasleđe - in- Activities organised by Ana Kocjan, Vesna tegrisana zaštita baštine u Velikoj Hoči“, od 27. jula , u Živković, Bojan Georgijevski 165 saradnji sa ART FORUM-om Velika Hoča. 2. Workshop for children “How is ceramics made”– Osnovni cilj je organizovanje edukativnih programa, Copies and replicas” took place from August 9th-14th, koji bi mogli da pomognu lokalnom stanovništvu, lo- 2004 and engaged 12-14 children. It was organised in kalnoj zajednici i DIJANA Centru u rešavanju sledećih cooperation with Belgrade primary schools and problema: Assembly of City of Belgrade Analiza stanja kulturne baštine u Velikoj Hoči i pri- Children were given theoretical explanations on premanje programa integrisanog pristupa zaštiti bašti- importance of copies in museum practice and their con- ne i uključivanje lokalne zajednice u brigu i razvoj sop- tribution to heritage protection were explained stvene baštine; Children were taught how to cast copies of archaeo- Kako izbeći izvore oštećenja predmeta kulturnog logical objects in clay, working them out and retouching nasleđa, kako prepoznati i identifikovati ugrožavaju- copies and replicas će faktore, blokirati i sprečiti uticaje nepoželjnih fak- Activities organised by Ana Kocjan,Vesna Živković, tora koji ugrožavaju kulturno nasleđe, definisati stra- Bojan Georgijevski tegije delovanja na prisutne faktore oštećenja ili uniš- tenja, organizovati i sprovesti konzervatorski tret- 3. Workshop “How to protects one’s own heritage – man, konstantne i odgovarajuće uslove čuvanja, odgo- Integrated protection of heritage in Velika Hoča” - varajuću dokumentaciju kulturnog nasleđa, odgova- from July 27 in cooperation with ART FORUM Velika rajuća istraživanja, korišćenje i prezentaciju kultur- Hoča. The fundamental goal was to organise education- nih dobara al programmes that would help the local community, Tim DIJANA Centra (Mila Popović-Živančević, Ma- local population and DIANA Centre to solve the follow- lena Stojčev, Vesna Živković, Srđan Radosavljević, Ana ing problems: Vujić i Jelena Tucaković) svoj boravak u Velikoj Hoči je Survey of the cultural heritage in Velika Hoča and iskoristio i za stvaranje kontakata sa lokalnim stanov- preparation of an integrated approach programme to ništvom, posebno mladima. Ovaj deo aktivnosti saradni- heritage preservation by engaging local community in ka DIJANA Centra je veoma važan, jer će od njih u ve- the care of their own heritage; likoj meri zavisiti kreiranje i razvoj budućih programa How to avoid sources of damaging cultural proper- integrisane zaštite baštine, koji obavezno uključuju ty; to recognize and identify damaging factors; to učešće lokalne zajednice i okruženja. define strategies against current damaging or destroying factors; organise and carry out conservation treat- 4. Radionica «Konzervacija i sanacija kopija ste- ments, provide constant and adequate storing condi- ćaka i arhitektonske plastike». Uključena je grupa tions, adequate documentation of the heritage, research, od 8 saradnika i polaznika. Za realizaciju programa use and presentation of cultural heritage ovog kursa odgovorna je Maja Franković. Sanacija The DIANA Centre team (Mila Popović-Živančević, veoma oštećenih kopija stećaka od gipsa zahteva Malena Stojčev, Vesna Živković, Srdjan Radosavljević, kompleksan pristup i kombinovanje različitih tehni- Ana Vujić, Jelena Tucaković) established contacts with ka i tehnoloških postupaka. Kad je reč o konzervator- local population, particularly with the young people.This skom pristupu, učesnici radionice moraju definisati i was a very important part of the activities because these tretirati kopije kao originale u dokumentacionom contacts should help create and develop future pro- smislu. grammes of integrated heritage preservation that could Zbog velikog obima praktičnog dela posla kurs se not be done unless the local community was included. odvijao tokom cele godine. 4.Workshop “Conservation and salvaging of copies of 5. Radionica «Kako pripremiti projekat», uključila tombstones (stećci) and architectural plastic” - 8 collab- je pored volontera pripravnika i skoro sve spoljne sa- orators and students with Maja Franković in charge. radnike i starije polaznike. Radionicu vodila Mila Po- Salvaging of very damaged plaster copies of tombstones pović-Živančević, cilj je da pomogne mladim ljudima da requires a complex approach and combination of various savladaju metodologiju pripremanja elaborata i proje- techniques and technological procedures applied. When kata za konkurisanje kod domaćih i međunarodnih in- conservation procedure is concerned, copies have to be stitucija, a da ga pozitivno prepoznaju u zemlji i inos- treated and defined as originals in the sense of documen- transtvu. tation. The course was held throughout the year due to Pokazalo se da je ovaj način rada sa mladima veoma the amount of practical work that had to be done. efikasan i prihvatljiv. Tako, kao rezultat i ovakvog nači- na učenja mladih u 2004. godini imali smo više projeka- 5. Workshop “How to design a project” engaged the ta koje su oni samostalno uradili, a kod nekih čak bili i trainees and almost all our seniors and outside collabora- nosioci njegovog kreiranja. Način na koji su ovi mladi tors. It was led by Mila Popović-Živančević and its aim ljudi sazrevali, sticali znanja i iskustva tokom svojih was to help young people learn methodology necessary for aktivnosti u DIJANA Centru, između ostalog, na veoma preparing feasibility studies and projects for successful uspešan način se ogleda i kroz njihov rad u ovoj Radio- fund raising with domestic and international institutions. nici. Ova Radionica će se svakako intezivno razvijati, This kind of work with young people proved to be pored ostalog i zbog činjenice da celokupna aktivnost most effective and suitable. This also led to a number of DIJANA Centra počiva na mreži projekata, koji se svaki projects prepared or even conceived by our collabora- za sebe posebno finansiraju. Ideje i nova znanja koje tors in 2004. The way our students became educated, mladi ulažu kod kreiranja ovih projekata, uz dobro ukla- trained and experienced during their work at DIANA panje u u opštu strategiju zaštite, svakako već doprino- Centre was corroborated by this workshop. The se u velikoj meri dinamičnom i širokom razvoju preven- Workshop will continue to intensively work as the entire tivne zaštite, konzervacije, pa i muzeologije generalno. activity of DIANA Centre is based on the network of projects which are individually financed. Ideas and Radionice Preventivne zaštite newly gained knowledge of these young people are well 1. Radionica “Opremanje i pakovanje muzejskih adapted to the general strategy but also contribute to predmeta”, podrazumeva praktičnu primenu standarda the dynamic and rich development of preventive conser- 166 preventivne zaštite, kada je reč o pakovanju i odlaganju vation, conservation and even museology in general. materijala. Radionicu je vodila Vesna Živković, ali su aktivno učestvovale i Tatjana Nedeljković, Aleksandra Preventive conservation workshops Džikić Nikolić, Maja Franković, Maja Živković, Ivana Workshop “Fitting out and packing of museum Stojković i Dušan Maksimović, kao i grupa starih i no- objects” dealt with practical application of preventive vih polaznika. conservation standards concerning packing and storing Radionica se odvijala u DIJANA Centru, u Galeriji of material. The workshop was led by Vesna Živković fresaka, Narodnom muzeju, Muzeju grada Beograda. with active participation of Tatjana Nedeljković, Aleksandra Džikić-Nikolić, Maja Franković, Maja 2. Radionica „Analiza stanja u muzejima“ uključi- Živković, Ivana Stojković and Dušan Maksimović as la je pored volontera pripravnika i grupu spoljnih sa- well as group of seniors and juniors. radnika i redovnih polaznika. Sadržaj ove radionice The workshop worked in DIANA Centre, Gallery of podrazumeva teorijsku i praktičnu primenu odgovara- Frescoes, National Museum in Belgrade and Museum of juće metodologije, sačinjene prema standardima City of Belgrade. ICCROM-a i Kanadskog instituta za konzervaciju. Ova metodologija je prilagođenim našim uslovima i prilika- 2. Workshop “Surveys in museums” engaged a group ma i podrazumeva pripremanje detaljne ankete koja će of collaborators and students along with trainees. The služiti: workshop dealt with theoretical and practical applica- - snimanju, analizi stanja i proceni rizika pri čuva- tion of methodology in compliance with standards of nju i izlaganju muzejskih predmeta ICCROM and Canadian Institute for Conservation that - određivanju prioriteta, predlaganju mera sanacije i were adapted to our conditions and situation. The odgovarajućih uslova čuvanja i izlaganja. methodology involves detailed questionnaire and feasibility studies used in surveys, analyses and assessment Radionica je funkcionisala preko timova koje su of risks in storing and displaying of museum objects as obavezno činili rukovodilac DIJANA Centra Mila Po- well as setting priorities, proposing measures for sal- pović-Živančević, odgovorni kustos za preventivnu vaging and requirements for storing and displaying. zaštitu Vesna Živković, pet volontera-pripravnika, sa- The workshop team included Mila Popović-Živanče- da konzervatora), nekoliko spoljnih saradnika sa is- vić, head of DIANA Centre, Vesna Živković, curator in kustvom, nekoliko starijih polaznika i obavezno po je- charge of preventive conservation, 5 trainees (in the dan do dva nova polaznika. Iskustva su pokazala da meantime they were promoted to conservators), several je ovaj način edukacije, gde „mlađi uče od starijih“ i experienced outside collaborators and one or two juniors. rano stiču praktična muzeološka iskustva iz zaštite i It is our experience that education and training is most brige za muzejske predmete, veoma efikasan i delo- effective and useful when “the juniors learn from the sen- tvoran. ior ones”and gain practical museological experience dur- Realizacija radionice se odvijala u DIJANA Centru, ing protection of and care about museum objects. Narodnom muzeju, Muzeju grada Beograda, Gradskom The workshop took place in DIANA Centre, National muzeju u Vršcu, Muzeju Staro Selo u Sirogojnu, Zavičaj- Museum, Museum of City of Belgrade, Town Museum in nom muzeju u Aleksincu, Narodnim muzejima u Les- Vršac, “Old Village” Museum in Sirogojno, Museum in kovcu i Vranju. Aleksinac, National museums in Leskovac and Vranje.

Pamela Vorner, Velika Britanija Pamela Vorner, Great Britain Povratak u Srbiju Serbia revisited (16. avgust 2004) 2004-08-16

IJANA Centar za konzervaciju sam prvi put poseti- first visited the Diana Centre for Conservation in Dla 1998. godine. Zadovoljstvo je bilo vratiti se i vi- I1998 it was great to be back and to see how the cen- deti kako se Centar razvio. Beograd mi se čini mnogo tre has evolved. My impression of the city of Belgrade srećnijim i vedrijim gradom, a polaznici DIJANE odsli- is that it is a much happier and brighter city and the kavaju isti taj utisak. Učinjen je siguran korak ka stva- students reflected this. A strong start towards the goal ranju značajnog međunarodnog centra, sa težištem na of becoming an international centre of excellence has muzeologiji i preventivnoj zaštiti. Stavovi profesionala- been made, with the emphasis placed on museology and ca iz raznih zemalja, poput Hrvatske, Francuske, Italije, preventive conservation. Different professional view- Velike Britanije i Slovenije svakako doprinose stečenom points from countries as diverse as Croatia, France, iskustvu. S druge strane, uspostavljeni su novi kontakti, Italy, the U.K. and Slovenia can only strengthen reflec- zahvaljujući posetama mladih ljudi sa Kosova, ali i iz tive practice. Whilst with young people visiting from Meksika, dok su stare veze sa Velikom Britanijom pro- Kosovo and Mexico new contacts were made and old dubljene i učvršćene. ties with the U.K. deepened and strengthened. U okviru aktivnosti DIJANA Centra na preventivnoj As part of the development of museology in Serbia I zaštiti, imala sam prilike da posetim Muzej staro selo u was taken to the Old Village at Sirogojno for the week- Sirogojnu. Izuzetno sam uživala u samom muzeju, go- end . I thoroughly enjoyed the museum and hospitality stoprimstvu, posebno u tradicionalnom obroku posluže- particularly the traditional cooking served in its tradi- nom u odgovarajućem ambijentu. Bila sam veoma im- tional setting. I was very impressed with the fact that presionirana činjenicom da je muzej bio pun porodica the museum was full of families having a thoroughly koje su uživale u obilasku izloženih etno-kuća. Mila je good time investigating the ethno houses on display. sa grupom konzervatora provela taj vikend radeći sa Mila and a group of conservators spent the weekend muzejskim osobljem, sprovodeći analizu stanja u muze- working with the museum staff conducting survey of ju, koja je koncipirana tako da pruži celokupnu sliku museums that is designed to give an accurate overall trenutne situacije u muzejima širom Srbije. To je ogro- picture of the current situation nationally.The survey of 167 man poduhvat, a ja sam se sa zadovoljstvom vratila jed- Serbia’s Museums is a is a huge undertaking and I was nostavnijim izazovima kursa konzervacije keramike. U happy to return to the more manageable challenges of Velikoj Britaniji bi se ovakav kurs zvao Konzervacija i my ceramics course. In the UK the course I delivered restauracija keramike i porcelana. Definicije raznih ti- would be called the Conservation and Restoration of pova keramike su različite u Srbiji, tako da bi trebalo Pottery and Porcelain. Definitons of various types pot- još malo da se poradi na trenutnom nazivu – Porcelan, tery are different in Serbia so there is some work to be majolika i fajans, iako on praktično odslikava ono čime done on the wording of the current title of Porcelain, smo se bavili. Maiolica and Fiaence, though it does express what we Kao član UKIC-ovog Veća 1998-2001, teško da mogu studied. biti u nedoumici po pitanju znanja koje jedan konzerva- As a member of the U.K.I.C. Council from 1998-2001 tor treba da poseduje. To Veće je implementiralo ubrza- I could hardly be in any doubt as to what a conservator ni program i nadgledalo veliki broj prijava po važećem needs to know. That was the council that implemented akreditacionom planu koji su pripadnici struke u Veli- the fast track scheme and oversaw the numerous drafts koj Britaniji konačno usvojili 2000. godine. Ja sam se of the mainstream accreditation scheme that was final- najviše pozabavila načinom pružanja dovoljne količine ly adopted by the U.K. profession in 2000. My main con- praktičnog znanja u roku od 4 nedelje, kako bi dobijene cern was how to impart enough practial knowledge in 4 informacije bile upotrebljive i istovremeno bezbedne weeks so that the information would be useable, and kako za predmete, tako i za konzervatore. S obzirom da safe for both the objects and conservators. I am a fully imam kvalifikacije za podučavanje odraslih, kurs je bio qualified adult education teacher so the course was razumljiv i pažljivo iskreiran, tako da su učesnici dobili comprehensive and carefully constructed so that the čvrstu osnovu i mogućnost da se razviju u bezbednosno participants received a solid grounding enabling them i etički svesne konzervatore, bez obzira sa kakvom vrs- to develop into safe and ethical practioners whatever tom keramike se suočili. Shvatila sam da je to zaista kind of ceramics they encounter. I realised that this is previše informacija da bi ih svaki polaznik usvojio za 4 far to much information for a single student to absorb in nedelje, tako da sam podelila svima kopije kursa po pre- 4 weeks so each student received a copy of my course davanjima ( uobičajno je da polaznici sami stvaraju svo- notes plus handouts [it is usual to let the student build je beleške, ali zbog nedostatka vremena, bila sam nešto their own file but due to lack of time I was more rigid striktnija). Tokom than usual]. I have vremena sam sa- collected quite a kupila popriličan comprehensive col- broj radova sa lection of papers C.G.C.G. konfe- from C.G.C.G. con- rencija, koji daju ferences over the mnogo širu sliku years, giving a far konzervacije kera- wider overview of mike, nego što bilo ceramic conserva- koji pojedinac motion than any indi- že da pruži. Za- vidual can provide. hvaljujem se Lesli My thanks go to Akton za predava- Lesley Acton for nje o promišljenoj her work on teach- praksi, njenom si- ing reflective prac- nu Džejmsu za do- tice, her son James prinos pod naslo- for his contribu- vom «Hemija», Bo- tion entitled bu Čajldu za Chemistry, Bob «Upotrebu i zlou- Child for Solvent potrebu rastvarača», Deniz Ling za «Oblaganje laponi- Use and Abuse, Denise Ling for Laponite Poulticing, tom», Kenu Vatu za «Čišćenje keramike», Šeliji Ferbras Ken Watt for Cleaning of Ceramics, Shelia Fairbrass for za «Hemiju rastvarača», autoru rada «Izbor lepka za The Chemistry of Solvents, whoever wrote the Selection konzervaciju keramike», Stefanu Kobu za «Upotrebu of an Adhesive for Ceramic Conservation paper, Stephen Akriloida B72 u konzervaciji arheološke keramike», Koob for Using Acryloid B72 for the Repair of kompanijama Micromash i Golden Paints za veoma ra- Archaeological Ceramics, Micromesh and Golden Paints zumljiva uputstva za upotrebu njihovih proizvoda, kao i for their comprehensive product information sheets and rad na temu «Desetogodišnjice razvoja Golden Airbrush paper on The 10 year Development of Golden Airbrush boja kao i novog akrilnog sistema». Colours Defining a New Acrylic System. Zahtevala sam da svaki polaznik dobije po tri pred- I had requested that each student should have 3 meta za rad, po jedan keramički, porcelanski i hibridni, objects to work on one each of pottery, porcelain and po mogućnosti da nisu u pitanju muzejski predmeti. U one hybrid, preferably not museum objects. There is an DIJANI postoji stalni sistem teorijskih predavanja, tako ongoing rolling programme of theory lectures always da sam se ja skoncentrisala na praksu, materijale, teh- available at Diana so I wanted to concentrate on under- nike i metode njihove upotrebe. Akrilna boja može ošte- standing reflective practice, materials , techniques and titi predmet ako se nepravilno koristi. Dobili smo grupu methods for using them. Acrylic paint can still damage adekvatnih predmeta, sa jasnim presecima keramike i an object if incorrectly applied. A good selection of bez dodatnog pritiska oko njihovog porekla i vrednosti objects arrived that provided us with a comprehensive (što ne mora istovremeno da bude i finansijska vred- cross-section of ceramics without the added stress of nost). Takođe smo se zabavili razlepljivanjem starog, provenance and value [not necessarily financial value]. stvrdnutog sloja epoksi smole svežim ananasom, ali či- We also had some fun , sucessfully reversing some long njenica je da taj proces može da privuče insekte. term hard epoxy resin with fresh pineapple, but that Polaznici su radili sistematično, iako užurbano, uz process does tend to attract insects. 168 zajedničke diskusije o praktičnim konzervacijskim pro- The students worked through the course systemati- cesima, koje su proistekle iz individualnih problema. cally if rapidly, as the practical conservation process Polaznici su tako utvrdili da su pravilno razumeli odre- proceeded the individual problems that arose were dis- đene delove kursa, pa su se neki posvetili lepljenju i po- cussed by everyone. The students then made sure that punjavanju bojom, dvoje slikanju, dvoje uklanjanju fle- they had thoroughly understood part of the course, some ka itd. specialising in sticking and colour filling, two painting, Ukupna svest o zdravlju i sigurnosti je u DIJANI na two stain removal and so on. visokom nivou. Pri njenom poslednjem boravku u Lon- The overall health and safety of the profession is high donu, Mila i ja smo se dogovorile da se tokom kursa po- on D.C.C. agenda. On her last trip to London Mila and I sebna pažnja posveti zdravstvenim i bezbednosnim as- had decided to emphasise the health and safety aspects pektima konzervatorske prakse. Zato sam sa polaznici- of individual conservator’s practice during this course. ma dosta vremena posvetila razmišljanju o načinima So the students and I spent a considerable amount of unapređenja uslova rada u postojećem radnom prosto- time considering ways of making the exsisting work ru, rukovodeći se principom mogućnosti promene posto- space healthier and safer, the guiding principle being if jećeg metoda rada ako on ugrožava zdravlje i bezbed- a method of working is creating a health and safety issue nost u prostoru. Na primer, koristeći najnovije akrilne is it possible to avoid or change the method? For exam- boje na vodenoj bazi, sada je moguće precizno reprodu- ple by using the latest water based acrylic paint system kovati porcelansku gleđ, pa upotreba boja na bazi rast- it is now possible to reproduce porcelain glazes accu- varača nije neophodna i štetna isparenja mogu potpuno rately, making the need to use solvent based paints unec- da se izbegnu. essary thus not creating unhealthy fumes at all. Kopiran je dokument o zaštiti na radu Adington stu- Addington Studio’s health and safety file was dija. U njemu su informacije o proceni rizika, COSHH copied. It contains information on risk assessment, the uputstva, specifikacije o rizicima pri upotrebi svih pro- COSHH guidelines, health and safety sheets for all izvoda koje koristi Adington studio, sve one informacije products used in Addington Studio, all the information koje obično postoje u Velikoj Britaniji su kopirane i os- usually kept in the UK, the copies were left at the D.C.C. tavljene u DIJANA Centru za potrebe konsultovanja. Za for reference. In the short term we had plenty of work kratko vreme smo se pozabavili mnogim stvarima koje that could be done on our individual practice that mogu da se jave u praksi i koje doprinose ukupnoj sves- would contribute to the overall health and safety of the ti o zdravlju i bezbednosti u Centru. centre. Kada pogledamo na period od 1996. do 2004, jasno je Looking back over the years 1996-2004 we have da smo počeli da postižemo svoje prvobitne ciljeve, iako begun to acheive our original objectives, it has been je to bilo teže i duže nego što smo predviđali 1996. Sada tougher and longer than we ever envisaged 1996. The se polako stvaraju osnove interdisciplinarne konzerva- basis of a comprehensive interdisciplinary conservation torske obuke koju isključivo nedostatak finansija spre- training is emerging, it is only held back by lack of čava da se još intenzivnije razvija. Praktični rad na kon- funding. Practical conservation work of a very high zervaciji nastavlja da se obavlja sa puno entuzijazma, standard continues to be undertaken and the highest neguje se etičko i profesionalno ponašanje. Ovaj proje- spirit, ethics and profesional behaviour is fostered. This kat će nastaviti svoj put i nakon što se povuku njegovi will be an ongoing project long after its pioneers have začetnici. Kada shvatimo da više ne možemo da napre- retired. The day that we believe that we have arrived dujemo, tada treba da počnemo da brinemo za konzer- and cannot improve is the day to start worrying about vatorsku praksu, a možda će naša prava tekovina da bu- the state of the conservation profession, maybe our true de upravo nova generacija konzervatora koja će nasta- acheivement will be that there will be a new generation viti da razvija DIJANU. of conservators to carry on the work of Diana.

Vesna Živković, kustos, Narodni muzej u Beogradu Vesna Živković, curator, National Museum Belgrade Izveštaj o kursu The course “Archaeological Konzervacija na Conservation” held at arheološkom terenu DIANA Centre

CCROM (International Centre for the Study of the CCROM (International Centre for the Study of the IPreservation and Restoration of Cultural Property) i IPreservation and Restoration of Cultural Property) DIJANA Centar za preventivnu zaštitu - Narodni muzej and DIANA Centre for Preventive Conservation, Natio- u Beogradu, organizovali su uvodni kurs “Konzervacija nal Museum in Belgrade, organized the introductory na arheološkom terenu”. Kurs je održan u periodu od 6. course “Archaeological Conservation”. The course was do 9. decembra 2004. godine, u Beogradu, uz podršku held from 6th to 9th December 2004 in Belgrade, with Uprave za razvoj saradnje italijanskog Ministarstva support of Directorate General for Development Coope- inostranih poslova, UNESCO Office Venice i Nacional- ration of the Italian Ministry of Foreign Affairs, ROSTE nog komiteta ICOM-a Srbije i Crne Gore. - UNESCO Office Venice and National Committee of Kurs je okupio 25 konzervatora, arheologa, kustosa i ICOM of Serbia and Montenegro. studenata arheologije, iz institucija koje se bave zašti- Course gathered 25 conservators, archaeologists, cu- tom arheološkog nasleđa u Srbiji i Crnoj Gori i Sloveni- rators and students of archaeology from the institutions ji. Uvid u osnovne principe konzervacije na arheološ- in charge of protection of cultural heritage in Serbia kom terenu učesnicima su pružili dr Nikolas Stenli and Montenegro and Slovenia. Dr Nicholas Stanley Pri- Prajs, generalni direktor ICCROM-a, Valeri Magar, ce, Director General of ICCROM,Valerie Magar, specia- stručnjak za konzervaciju na arheološkom terenu i Ko- list for archaeological conservation and Corado Pedelli rado Pedeli, konzervator. gave participants the insight in basic principles of ar- 169 chaeological conservation. Dr Nicholas Stanley Price presented current trends in archeological conservation, which include employment of cyclic process of heritage management. In comparison with old, liner process of archaeological excavation, this approach is different and involves check of results, consideration of new information and review of the plan. Dr Stanley Price pointed out that importance of archaeological site was characterized by uniqueness of the locality, risks such as natural and human factors and by the fact that conservation represented key for understanding past. The answer to the question what we should protect depends on our definition of heritage and what is considered as valuable and authentic source. The final decision about conservation approach should be a balan- ced estimate, based on scrutinized ethical issues, all the Valeri Magar i Korado Pedeli pripremaju sledeće predavanje aims of conservation, extent of conservation treatment, Valerie Magar and Corado Pedelli preparing a lecture deadlines, available means and wishes of interested par- Dr Nikolas Stenli Prajs je predstavio trenutni pris- ties. Different approaches to decision making in the tup u konzervaciji na arheološkom terenu, koji podrazu- conservation are always possible and universal as there meva primenu cikličnog procesa rukovođenja baštinom. is no perfect answer to the issues involved. U odnosu na stari model linearanog procesa arheoloških In conservation the approach should be founded on istraživanja, ovaj drugačiji pristup obuhvata proveru identification of values of site/object (spiritual, social, rezultata, razmatranje novih informacija i reviziju pla- historical, scientific, esthetic) and their assessment na. (they can be used as guidelines). Considering that there Dr Stenli Prajs je ukazao na to da je da je važnost are differences in the system of values of one object/mo- konzervacije arheološkog lokaliteta uslovljena jedin- nument and between different groups (archaeologist, stvenošću lokaliteta, rizicima koje predstavljaju prirod- conservators, local community) in their approach toni i ljudski faktori i činjenicom da konzervacija wards past, assessing values is a relative term. Different predstavlja ključ za razumevanje prošlosti. values should remain unchanged, but approach has to Odgovor na pitanje šta zaštititi zavisi od naše defi- be adaptable to cultural surroundings and social values. nicije baštine i od toga šta se smatra vrednim i autentič- It has to observe cultural particularities and to have nim izvorom. Konačna odluka o konzervatorskom pris- bottom-up approach (having in mind all the interested tupu treba da predstavlja izbalansiranu procenu, bazi- parties). ranu na razmatranju etičkih pitanja, svih ciljeva kon- The existing problems in the process of archaeologi- zervacije, opsega tretmana, vremena i raspoloživih cal heritage management are the tendencies to apply so- sredstava i želja zainteresovanih strana. Različiti pris- lution immediately, before assessment and planning. tupi u odlučivanju o konzervaciji su uvek mogući i ne Furthermore, plans which are not appropriate for the postoji univerzalan ili savršen odgovor. background where they should be realized are made. U konzervaciji pristup mora da se bazira na identi- The common attitude is that values and problems of the fikaciji vrednosti lokaliteta/predmeta (duhovna, društ- site are very well known and that need for conservator vena, istorijska, naučna, estetska...) i njihovoj proceni is only a final solution. (mogu se koristiti kao smernice). Budući da postoje raz- Valerie Magar pointed out that the assessment of the like u sistemu vrednosti jednog predmeta/spomenika i site condition, the identification of potential risks and među različitim interesnim grupama (arheolozi, konzer- the level of deterioration should be included in the pro- vatori, lokalna zajednica...) u pristupu ka prošlosti, process. The next step is the recognition of possibilities and cene vrednosti su relativne. Cilj je da različite vrednosti limits which exist in the management process. These ostanu nepromenjene, ali pristup mora da bude prila- problems depend on political status of the site, financial godljiv kulturnom okruženju, društvenim vrednostima, and other sources and how much the responsible for the da brani kulturne specifičnosti i bude usmeren od dna site participate in decision making. Other factors are ka vrhu (u odnosu na zainteresovane strane). the position of the site, the context of the surroundings, Postojeći problemi u procesu rukovođenja arheološ- the state of the site, the use of the land, the planned de- kom baštinom su tendencije da se odmah prelazi na re- velopment of the area and the planned and existing mo- šenje pre nego što se proceni i planira. Prave se planovi del for visitors and community needs. koji ne odgovaraju sredini u kojoj treba da budu prime- Moreover, it is necessary to define policy of manage- njeni.Važeći stav je da su vrednosti i problemi lokalite- ment, using these mentioned assessments. The policy ta veoma dobro poznati i da je potreba za konzervato- should include purposes, principles and aim of activities rom poslednje rešenje. in the process of site protection, as well as the way in Valeri Magar je istakla da u proces treba uključiti which established aims are going to be carried out. procenu stanja u kome se nalazi lokalitet, utvrditi po- Dr Stanley Price also pointed out differences which tencijalne rizike i stepen propadanja. Zatim je potrebno exist between conservation in the museum and conser- da se identifikuju mogućnosti i ograničenja u procesu vation on site, due to the bias by interested groups, lack rukovođenja. Ovi problemi zavise od političkog statusa of respect for place, difficulties of environmental con- lokaliteta, finansijskih i drugih izvora, koliko rukovodi- trol, scale of material, accessibility to the material, dif- lac iskopavanja učestvuje u donošenju odluka, od polo- ferences which are imposed by safeguarding and protec- žaja lokaliteta, konteksta okruženja i stanja u kome se tion of moveable and immoveable finds and lack of trai- nalazi lokalitet, upotrebe zemljišta i planiranog razvoja ned personnel. oblasti, postojećeg i planiranog modela za posetioce i Additionally, the examples for diverse levels of in- 170 potreba zajednice. tervention are given: Na osnovu prethodnih procena potrebno je odrediti Conservation, which includes minimal intervention, politiku rukovođenja, koja treba da sadrži svrhu i prin- documentation, reversibility of used materials, compati- cipe i smer delovanja u procesu zaštite lokaliteta, i defi- bility of original and added materials and maintenance. nisati način na koji će se sprovoditi postavljeni ciljevi. Restoration, which involves physical intervenition Dr Stenli Prajs je ukazao i na razlike između kon- on the object or building and it has an aim to create »an zervacije u muzeju i konzervacije na terenu, na koje uti- image« of its original state to make it more understan- ču interesne grupe, nedostatak poštovanja za mesto, teš- dable to the observer. koće kontrole mikroklime, obim materijala, pristup ma- Reconstruction, which should remain at the level of terijalu, i razlike koje nameću čuvanje i zaštita pokret- sketch or digital reconstruction. Reconstruction in ma- nih i nepokretnih nalaze i nedostatak obučenih kadro- terial is possible when the object was functional, relati- va. vely well preserved and when it is possible to recon- Dati su i primeri za različite stepene intervencije: struct it. Konzervaciju, koja podrazumeva minimum inter- Replica, which can be a replacement for object on si- vencije, dokumentovanje, reverzibilnost upotrebljenih te and a way to protect the original object, documents materijala, kompatibilnost originalnog i dodatog mate- the state of monument in the moment of making a copy. rijala i održavanje. Replica also enables research and better understanding Restauraciju, koja podrazumeva fizičku intervenciju of the original. It can be used in educational purposes na predmetu ili zgradi a cilj je da stvori “sliku”njegovog but as well it can confuse visitors and be abused (forge- originalnog stanja da bi ga učinio razumljivijim posma- ry). traču. Re-creation, which represents a process of copying Rekonstrukciju, koja treba da ostane na nivou crte- but when one does not respect original characteristics ža ili digitalne rekonstrukcije. Rekonstrukcija u materi- of an object/monument jalu je moguća kada je objekat bio u funkciji, Corado Pedeli relativno dobro očuvan dealt with practical i kada ga je moguće ga aspects of conserva- rekonstruisati. tion “in situ”, the so Repliku, koja može called first aid on the da bude zamena za field which has an predmet na lokalitetu, aim to “frozen” the i na taj način vid zašti- current state of an ob- te originalnog predme- ject. ta, dokument kojim je Corado Pedeli zabeleženo stanje spo- pointed out that ne- menika u trenutku ko- glecting site conser- piranja, koji omoguća- vation has as conse- va istraživanje i bolje quences rapid deteri- razumevanje originala oration of objects, i može da služi u edu- raising costs after ex- kacione svrhe. Među- cavation, loss of infor- tim, ono što predstav- mation, catastrophes lja problem prilikom and poor general ma- Multimedijalna prezentacija tokom jednog od predavanja upotreba replika je Multimedia presentation at one of the lectures nagement after exca- mogućnost stvaranja vations. Therefore be- konfuzije za posetioce i zloupotrebe (falsifikati). sides excavation project it is necessary to have a conser- Reprodukovanje, koje predstavlja proces kada se vation project as well. When making conservation plan prilikom kopiranja predmeta/objekta ne poštuju njego- one should consider territory, climate conditions, be ve originalne karakteristike. aware of the final destination of the object, presume Korado Pedeli se bavio praktičnim aspektima kon- technical support and scale of material, as well as know zervacije in situ, takozvanom “prvom pomoći”na terenu, possible destructive processes, and available equipment, čiji osnovni cilj je “zamrznuti”zatečeno stanje predmeta. staff and finances. Korado Pedeli je naglasio da su posledice zanemari- In addition, Pedeli gave information about basic vanja konzervacije na terenu ubrzano propadanje pred- principles and techniques applied during excavations meta, povećanje troškova nakon iskopavanja, gubitak and suggested possible ways of protection of objects. He informacija, i loše generalno rukovođenje nakon iskopa- described process of mechanical stabilisation of an ob- vanja. Zbog toga je neophodno da projekat iskopavanja ject and treatment of moveable objects on site – gathe- prati konzervatorski projekat. Prilikom pravljenja kon- ring, detachment and block lifting. He also gave recom- zervatorskog plana treba da se uzme u obzir teritorija, mandations for packing objects. klimatski uslovi, da bude poznato odredište predmeta, Further,Valerie Magar dealt with the process of proda budu predviđena tehnička podrška i obim materija- tection of archaelogical collections. Common problems la, kao i da se poznaju mogući destruktivni procesi, i which occur are the lack of communication between ar- oprema, kadrovi i finansije na raspolaganju. chaeologist and conservator, curator and conservator, Pedeli je zatim dao informacije o osnovnim principi- the fact that archaeologists do not accept responsibility ma i tehnikama, koji se primenjuju prilikom iskopava- for created collections and that excavation and research nja predmeta i ukazao na moguće načine zaštite pred- have higher priority than safeguarding of collections. meta prilikom iskopavanja. Opisani su proces mehanič- Often, archaeological excavations or technical reports ke stabilizacije i tretman pokretnih nalaza na terenu - are not published. Consequently, the contribution to the sakupljanje, odvajanje, blok lifting, kao i date preporu- knowledge of regional archaeology is poor and the pre- ke za pakovanje predmeta. vious work is duplicated. It is forgotten that there is a 171 Valeri Magar se zatim need for long-term finances bavila procesom zaštite ar- for collections and often heoloških zbirki. Uobičaje- there are no adequate plans ni problemi koji se javljaju for the collecting of the u procesu zaštite su nedos- material. Therefore, the tatak komunikacije između storages are overcrowded. arheologa i konzervatora, Besides, Valerie Magar kustosa i konzervatora, či- pointed out that before go- njenica da arheolozi ne ing out to the field it is ne- prihvataju odgovornost za cessary that one makes a zbirke koje se formiraju, i project containing identifi- da iskopavanje i istraživa- cation of the space where nje imaju veći prioritet ne- collection will be safeguar- go čuvanje zbirki. Često ar- ded and clear stratregy of heološka istraživanja ili collecting, based theoreti- tehnički izveštaji sa osnov- caly and in accordance nim informacijama i inter- with work, the phases of pretacijama nisu publiko- work (survey, testing, exca- vani, a posledica je slab do- vation) and whenever pos- prinos poznavanju arheolo- sible corresponding with gije oblasti i dupliranje long-term plans of the re- posla. Zaboravlja se da gion. zbirke zahtevaju dugoroč- At the site it is necessa- no finansiranje, i ne postoji ry to establish clear rela- odgovarajući plan prikup- tion between selecton of ljanja materijala, a posledi- objects and conservation ca su pretrpani depoi. and the strategy of objects Valeri Magar je ukazala selection. It is also needed da je pre odlaska na teren to have complete documen- potrebno da se napravi dr Nenad Tasić sa ICCROM-ovim predavačima na Vinči tation about objects and to projekat sa identifikacijom Dr. Nenad Tasić hosted the course at Vinča archaeological site stabilaze objects before de- prostora u kome će se ma- positing them. terijal čuvati i jasna strategija sakupljanja, koja je zas- For long-term collections management it is required novana teorijski i u skladu sa poslom, fazama posla (re- to ensure building in good condition, information sys- kognosciranje, testiranje, iskopavanje) i kada god je to tem to search objects in all collections, regular update of moguće u skladu da dugoročnim planovima regije. data and expert staff. One should be aware that condi- Na terenu je potrebno ustanoviti jasan odnos izme- tion of objects is changeable (records from archaeologi- đu izbora materijala i konzervacije i ustanoviti strategi- cal investigations and about collections are unlimited) ju izbora materijala. Da bi se pohranio materijal po- which may result in loss of primary data from archaeo- trebno je da postoji kompletna dokumentacija o pred- logical excavations and records about history of objects. metima i da predmeti budu stabilizovani. Furthermore, Valerie Magar explained that main Za dugoročno rukovođenje zbirkama neophodno je problems in long-term collections management are sto- da se obezbedi zgrada u dobrom stanju, informacioni rage cabinets and materials as well as separation of co- sistem za pretragu predmeta u svim zbirkama, redovna llections from data connected to them. It is possible to revizija podataka i stručno osoblje. Treba imati u vidu de-accession part of collections to avoid over-crowding da je stanje predmeta u zbirci promenljivo (podaci sa museum or storages, but only after thorough analysis arheoloških istraživanja i o zbirkama su neograničeni), and with emphasis on material which is extremely nu- što može da znači gubitak primarnih podataka sa ar- merous. heoloških istraživanja i podataka o istorijatu predmeta. Finally,Valerie Magar pointed out that national and Valeri Magar je ukazala i na to da su osnovni proble- international organizations have important role and mi u dugoročnom rukovođenju zbirkama nameštaj i responsibility in the process of archaeologic heritage oprema za materijal i odvajanje zbirki od podataka po- protection. vezanih sa njima. Da bi se izbeglo pretrpavanje muzeja Additionally, case studies and visits of sites and co- ili depoa moguće je izlučiti deo zbirki, ali isključivo pos- llections were constituent part of the course, with the le temeljne analize i sa akcentom na materijalu koji je intention to provide insight in local issues and strate- ekstremno prekobrojan. gies. The visit to the Gallery of Frescoes was organized Konačno,Valeri Magar je istakla da u procesu zašti- to demonstrate possible use of replicas and other aste arheološkog nasleđa značajnu ulogu i odgovornost pects of documenting and protection, to point out issues imaju nacionalne i međunarodne organizacije. of authenticity and to inspire thinking related to con- Sa namerom da se omogući uvid u lokalna pitanja i servation in situ and relocation of buildings/objects in strategije, sastavni deo kursa su bile studije slučaja i po- museum.Visit to the archaeological site Vinca was inclu- sete lokalitetu i zbirkama. Obilazak Galerije fresaka je ded in the module covering conservation in situ. Even- organizovan sa ciljem da se ukaže na mogućnost upotre- tually, the visit to several archaeological storages in the be kopija i drugih vidova dokumentovanja i zaštite, na National Museum in Belgrade, was organized as practi- pitanja autentičnosti i potakne razmišljanje na temu cal exercise concerning subject of collections protec- konzervacije in situ i premeštanja objekata/predmeta u ting. This visit served as basis for condition analysis of muzej. Sastavni deo modula koji se odnosio na konzer- the museum space. vaciju in situ je bila poseta arheološkom lokalitetu Vi- During the course, participants were encouraged to nča, a kao praktična vežba na temu zaštite zbirki orga- give their own point of view on basic needs in the area nizovan je obilazak nekoliko arheoloških depoa u Na- of archaeological conservation and to explain how the 172 rodnom muzeju, i na osnovu ove posete urađena je ana- course can contribute to their professional develop- liza stanja prostora. ment. Discussion on needs and challenges in archeologi- Tokom kursa učesnicima je omogućeno da daju svoje cal conservation in Serbia and Montenegro and Slove- viđenje osnovnih potreba na polju zaštite na arheološkom nia revealed that in the area of protection the adequate terenu i kažu na koji način kurs može da doprinese njiho- policy of Ministry of Culture did not exist, that conti- vom profesionalnom usavršavanju. Diskusija o potreba- nuity of long-term programmes was interrupted and ma i izazovima u konzervaciji na arheološkom terenu u that experiences in archaeological conservation were Srbiji i Crnoj Gori i Sloveniji je pokazala da u oblasti insufficient. It was pointed out that additional problems zaštite ne postoji adekvatna politika Ministarstva kultu- were caused by the lack of exchange of experience, of re, da je prekinut kontinuitet dugoročnih programa i da educated staff, conditions, cooperation between conser- su iskustva u konzervaciji na terenu slaba. Naglašeno je vators and archaeologists and financial support. Parti- da dodatne probleme predstavljaju nedostatak razmene cipants advocated the need of having conservators on iskustava, obučenih kadrova, uslova, saradnje između the field and for creating interventive conservators te- konzervatora i arheologa i finansijske podrške. Postavlje- ams for field work. no je pitanje preventivne zaštite i prisustva konzervatora The participants insisted on changes at the national na terenu i pomenuta potreba za stvaranjem interventnih level, formulating explicit cultural policy in the country, konzervatorskih ekipa za rad na terenu. changing the current law.They also pointed out that na- Insistiralo se na potrebi za promenama na nacional- tional committees of international organizations can nom nivou, definisanjem jasne kulturne politike u zem- have important role in these processes. lji, promenama u zakonu, i ukazalo se na značaj koji According to participants course offered a review of mogu da imaju nacionalni komiteti internacionalnih or- conditions of conservation and archaeology in Serbia ganizacija u tim procesima. and Montenegro, some practical, simple and cost effec- Prema učesnicima kurs je dao pregled stanja konzer- ting solutions and indicated basic problems in archaeo- vacije i arheologije u Srbiji i Crnoj Gori, neka praktična, logical conservation. Main participants’ objection to the jednostavna i jeftina rešenja i ukazao na osnovne proble- course contents was the lack of practical examples and me u konzervaciji na terenu. Osnovna zamerka učesnika activities. The organisators explained that the course na sadržaj kursa je nedostatak praktičnih primera i ak- was an introductory one andthat it would be continued. tivnosti. Organizatori su dali informaciju da je kurs Finally, it was concluded that one could get wrong im- uvodni i da će se nastaviti, ali su i konstatovali da je mo- pression about course content because of its title, being glo doći do zablude o sadržaju kursa na osnovu naslova, that term conservation could be identified with actual budući da je termin konzervacija identifikovan sa kon- conservation treatment and not comprehended in broa- zervatorskim tretmanom, a ne shvaćen šire kao zaštita. der sense as protection. Aleksandra Džikić Nikolić, konzervator Aleksandra Džikić Nikolić, Conservator DIANA Centar za preventivnu zaštitu DIANA Centre for Preventive Conservation Narodni muzej Beograd National Museum Belgrade Poseta najznačajnijoj A visit to the major instituciji zaštite baštine heritage protection u Francuskoj institution in France

ahvaljujući saradnji sa Francuskim kulturnim Cen- ue to cooperation with the French Cultural Centre Ztrom u Beogradu, DIJANA Centar je 2004. godine Din Belgrade, DIANA Centre was granted not only dobio od francuske vlade, pored novčanih sredstava za financial resources for several courses held by French ostvarenje nekoliko kurseva francuskih stručnjaka i experts, but also three scholarships for two-months in- prevod stručne konzervatorske literature sa francuskog ternships in French institutions for protection of cultu- jezika, tri stipendije za dvomesečni boravak svojih sa- ral heritage, the ones that had been DIANA’s partners radnika u francuskim institucijama zaštite kulturnih for several years already. dobara, sa kojima, uglavnom, već nekoliko godina odr- One of those institutions is the Centre for Research žava partnerske odnose. and Conservation of French Museums (Centre de reche- Jedna od tih institucija je Centar za istraživanja i rches et de restauration des musées de France), establis- konzervaciju muzeja Francuske (Centre de recherches et hed in 1998 by the French Ministry of Culture and Infor- de restauration des musées de France) koji je 1998. go- mation. In this way, the Museums Direction’s Laborato- dine osnovalo francusko Ministarstvo kulture i informi- ry was integrated with its Conservation Department in sanja. Na taj način spojena je Istraživačka laboratorija order to establish the most effective collaboration bet- Direkcije muzeja Francuske sa njenom Konzervator- ween these two sections. skom službom, u cilju što efektnijeg i funkcionalnijeg Through this institution, French Government scien- obavljanja ovih dveju delatnosti. tifically and technically controls conservation and res- Radi se o instituciji preko koje francuska država toration of the national museums’ collections and it con- sprovodi naučno-tehničku kontrolu nad konzervacijom sists of four departments: Laboratory, Conservation, i restauracijom zbirki nacionalnih muzeja, a podeljena Preventive Conservation and Documentation.The admi- je na četiri odeljenja, tj. delatnosti: Laboratoriju, Kon- nistrative part of the Centre, the Laboratory, the De- zervaciju, Preventivnu zaštitu i Dokumentaciju. Admi- partments of Preventive Conservation, Documentation nistrativni deo Centra, kao i odeljenja laboratorije, do- and partly the Department of Conservation are situated kumentacije i preventivne zaštite, smešteni su u zgradi in Paris, in the Louvre building, while the other part of Luvra, u Parizu, dok se konzervacija obavlja delom u the conservation section is located in Versailles. Finan- Versaju, a delom takođe u zgradi Luvra, ali u posebno cially, it depends on the budget of the French Museum opremljenom centru. U finansijskom smislu, ona zavisi Direction, but its research activities are partly funded od budžeta Direkcije muzeja Francuske, ali njene istra- by special Research and Technology Department of the živačke aktivnosti finansira i posebno Istraživačko-teh- Ministry of Culture and Information. nološko odeljenje Ministarstva kulture i informisanja. Thanks to its exquisite equipment and technical Zahvaljujući izuzetnoj opremi i tehničkim moguć- abilities, Centre for Research and Conservation of nostima, Centar za istraživanja i konzervaciju muzeje French Museums (C2RMF) can analyze various kinds of Francuske (C2RMF) vrši analize različitih vrsta muzej- museum objects – oil paintings at the first place, but al- skih predmeta – pre svega slika na platnu, ali i praisto- so prehistoric paintings, polychrome sculpture, other rijskog slikarstva, polihromnih skulptura, drugih umet- works of art, graphics, drawings and tapestries, as well ničkih predmeta, arheoloških predmeta, grafičkih dela i as archaeological objects. On the other hand, conserva- tapiserija. S druge strane, u Laboratoriji se vrše i istra- tion treatment researches are also carried out, especia- živanja vezana za potrebe konzervatorskih tretmana, lly the ones concerning the materials aging mechanisms, dakle istraživanja mehanizama starenja materijala, is- conservation materials and techniques quality control, pitivanje kvaliteta konzervatorskih materijala i tehni- and development of preventive methods. ka, razvijanje metoda prevencije. Beside these activities, C2RMF is also considered with education, working closely with the Louvre School (Ecole de Louvre), where some of the Centre’s experts lecture on museology, preventive conservation and conservation treatments, as well as with other education centres and faculties where future museologists, conservators and restorers are being trained (Ecole nationale du patrimoine, Institute de formation des restaurateurs d’oeuvres d’art, Maîtrise des sciences et techniques – Université Paris 1...). The Centre has its bulletin - Technč – where all the significant research and conservation projects results are published. At first, the exploration object was general system and functioning of the centre, so it started in the library, that is – the Documentation Department. The library houses a great number of books and periodicals in French and English, concerning areas such as the application of physical-chemical analyses in cultural herita- Biblioteka C2RMF-a ge examination, technology of materials, mineralogy, Library at C2RMF metallurgy, geology, museology, history of art, archaeo- 174 Osim pomenutih delatnosti, C2RMF se bavi i edukacijom, s obzirom da tesno sarađuje sa Školom Luvra (Ecole du Louvre), gde njegovi stručnjaci drže predavanja iz oblasti vezanih za muzeologiju, preventivnu zašti- tu i konzervaciju, kao i sa drugim školama i fakultetima na kojima se obrazuju budući muzeolozi, konzervatori i restauratori (Ecole nationale du patrimoine, Institute de formation des restaurateurs d’oeuvres d’art, Maîtrise des sciences et techniques - Université Paris 1...). Centar ta- kođe ima svoju publikaciju, Technč, u kojoj objavljuje rezultate istraživanja i konzervatorskih projekata. Moje istraživanje je u početku bilo usmereno na ukupno funkcionisanje centra i u skladu sa tim, zapo- četo u biblioteci, tj. Odeljenju dokumentacije. Ova biblioteka obuhvata veliki deo literature i periodike na francuskom i engleskom jeziku iz oblasti primene fizič- ko-hemijskih analitičkih tehnika u ispitivanju kultur- Poseta Arheološkom institutu u Sen Deniju nih dobara, tehnologije materijala, minerologije, meta- A visit to the Archaeological Institute in St. Denis lurgije, geologije, muzeologije, istorije umetnosti, arheologije, preventivne zaštite, fotografije. Uz biblioteku se logy, preventive conservation, photography. There is a nalazi i dokumentacija sa dosijeima svih predmeta koji documentation section attached to the library, housing su prošli kroz laboratorijsku analizu, a koji podrazume- folders for all the examined objects, consisting of writ- vaju kartone, fotografije i rendgen-snimke. Što se tiče ten files, photographs and X-rays. As to the digital da- digitalne forme, dokumentaciona baza podataka posto- ta, there is an electronic database, but it has not been ji, ali nije sasvim završena. Obrađen je veći deo predme- completed yet. The majority of the files is processed and ta čiji se dosijei nalaze u Centru, a bibliotečki fundus je there is also more general database of the Ministry of zaveden u okviru šire baze podataka Ministarstva kul- Culture, containing C2RMF’s bibliography, but offering ture i to samo sa osnovnim podacima o delu i autoru. very few details only. Konzervatorski ateljei u zgradi Kraljevske konjušni- The conservation workshops in the building of the ce ( Petite écurie) u Versaju su nekada bili namenjeni is- Royal Stables (Petite écurie) in Versailles were once dea- ključivo konzervaciji predmeta iz Versajske kraljevske ling only with objects from the Royal Palace of Versail- palate. Danas se u njima tretiraju predmeti iz svih na- les.Today the objects from all national museums are tre- cionalnih muzeja, a pored umetničkih predmeta (slika ated here, not only the works of art (canvases, paintings na platnu, drvetu) i dela primenjene umetnosti (nameš- on wood) and applied arts (furniture, antiquities), but taj, antikviteti), rade se i arheološki predmeti. also archaeological objects. U Paviljonu Flor, u zgradi Luvra, nalaze se noviji i In the Flore Pavilion of the Louvre building, just re- modernije opremljeni konzervatorski ateljei koji se ko- cently renovated and highly equipped conservation riste po potrebi, tj. odluci kustosa i prema raspoloživos- workshops are situated, but their use depends on neces- ti opreme, vrsti materijala koji se tretira, potrebi za bli- sity, or better say – curator’s decision, availability of zinom Laboratorije i sl. equipment, material treated, the need for proximity of Drugi deo staža je bio posvećen preventivnoj zaštiti, the laboratory, etc. kao jednom od segmenata delatnosti C2RMFa koji ima- The second half of the internship was dedicated to ju poseban značaj za dalji razvoj DIJANA Centra. Ulo- preventive conservation, as one of the segments of ga Odeljenja preventivne zaštite je prvenstveno saveto- C2RMF’s activities, being also significant for further de- davna i ta uloga se ostvaruje po pozivu institucija koje velopment of DIANA Centre. The Role of the Preventive se obraćaju C2RMF-u za pomoć, što znači da saradnja Conservation Department is primarily advisory and fu- sa Odeljenjem ne predstavlja obavezu muzeja i institu- lfilled upon requests from the institutions asking cija zaštite. Zaposleni u Odeljenju, kao i spoljni sarad- C2RMF for help, so the cooperation with the Depart- nici, obilaze terene, tj. institucije koje su zatražile savet ment is not obligatory for museums and conservation u vezi sa preventivnom zaštitom, snimaju stanje i nakon institutions. All the fieldwork, visits to the institutions toga sastavljaju dokument, vrstu uputstava za rešavanje that previously asked for an advice, surveys and recom- datog problema. Kada je u pitanju složenija situacija, mendations are conducted and prepared by the emplo- kao što je, na primer, renoviranje i opremanje novih yees and the collaborators of the Department.When mo- gradskih depoa u Perpinjanu i premeštanje zbirke, onda re complicated situations are in question, as is the se radi opširna studija i za taj posao se angažuju struč- example of moving Perpignan city collection to another njaci preventivne zaštite (kustosi i konzervatori koji su location, preventive conservation experts (curators and završili magistarske studije preventivne zaštite) koji ra- conservators with M.A. in preventive conservation) wor- de privatno. U tim slučajevima Odeljenje preventivne king privately, are hired to prepare a more detailed pro- zaštite C2RMF-a može eventualno da preporuči osobu ject. In such a case, the Department usually gives a pro- koja će raditi na studiji. posal on an expert to be hired. Odeljenje takođe intenzivno radi na objavljivanju Teh- The Department of Preventive Conservation is also ničkih svezaka, namenjenih institucijama zaštite, a koje engaged in preparations and publishing of Technical podrazumevaju osnovne informacije i uputstva vezana za Notes for museums and conservation institutions, giving temperaturu, vlagu, svetlo, prašinu, požare, poplave i dru- basic information and guidelines on temperature, humi- ga pitanja preventivne zaštite. Svako od zaposlenih radi dity, light, dust, fire, inundation and other topics of pre- na po jednoj Svesci, shodno svojoj stručnoj oblasti. ventive conservation. Each of the employees and the co- U versajskom ogranku Centra, gde se obavljaju poslo- llaborators has a task of preparing one of the Notes, in vi na konzervaciji i restauraciji, preventivna zaštita je or- accordance with his/her specialty. ganizovana u skladu sa savremenim shvatanjima. Uslovi In Versailles section of the Centre, where conserva- čuvanja su obezbeđeni uz pomoć kompjuterskog progra- tion and restoration treatments are conducted, preven- 175 ma koji upravlja aparatima tive conservation is organiza kontrolu i regulaciju kli- zed in accordance with me, kao i alarmnog sistema modern principles. Safeke- zgrade. Naime, u dnu zgra- eping conditions are provide je smešten centralni po- ded by the means of clima- gon za ventilaciju, grejanje te control and regulation i hlađenje, sa ugrađenim devices and alarm system, ovlaživačima i odvlaživači- both operated by computer ma koji se uključuju po po- software.There is a central trebi. Aparati za merenje ventilation, heating and temperature i relativne cooling facility, with humi- vlažnosti su raspoređeni po difiers and dehumidifiers prostorijama u kojima je built in and used in case of neophodno kontrolisanje need. Data loggers are si- klime (radionice, depoi), a tuated in rooms where me- rade na principu radio-ve- Radionica u LRMH-u asuring is necessary (work- ze sa aparaturom za sakup- Workshop at LRMH shops, storages) and they ljanje podataka, koja je po- are radio-connected with a vezana sa kompjuterom. data-collecting device at- Osim digitalnog sistema, tached to a computer. Besi- Odeljenje ima i kartoteku u de digital system, the De- pisanoj formi, gde se nalaze partment also has a classi- dosijei svih prostorija, sa cal database, in written podacima o klimi i svim form, where every room kontakt-telefonima i adre- has its file with all the da- sama neophodnim za odr- ta on climate and contact žavanje klimatskih uslova phone numbers necessary u radionicama i ateljeima. to keep the climate control U okviru depoa slika kon- system operational. In the struisana je i jedna izolova- paintings storage area, an na prostorija, tzv. klimat- isolated chamber is con- ska komora, gde se čuvaju structed, so-called climatic najosetljiviji predmeti i u Atelje za restauraciju papira u INP-u chamber, with a special de- kojoj se uslovi čuvanja naj- Paper conservation atelier at INP vice for temperature, rela- strože kontrolišu specijalno tive humidity and air qua- ugrađenom aparaturom za regulaciju temperature, rela- lity control, where the most sensitive objects are kept in tivne vlažnosti i kvaliteta vazduha. strictly controlled conditions. Poslednje nedelje boravka posetili smo nekoliko The last week of my internship was dedicated to the drugih institucija zaštite u Parizu: CRCDG, tj. Centar za visiting of several other conservation institutions in Pa- istraživanja i konzervaciju grafičkih dokumenata, ris: CRCDG (Centre for Research and Conservation of LRMH – Laboratoriju za istraživanje konzervacije isto- Graphic Documents), LRMH (Laboratory for Research rijskih spomenika, INP – konzervatorski fakultet u Sen of Conservation of Historical Monuments), INP (Conser- Deniju, Arheološki institut Sen Denija i njegovu labora- vation School in Saint Denis), Archaeological Institute toriju za konzervaciju metala i organskih materijala of Saint Denis with UTICA (private laboratory for con- (UTICA). Osim toga, pružila se prilika i za posetu jednog servation and restoration of metals and organic materi- od depoa slika u Luvru, kao i Odeljenja za prijem i ot- als). In addition, visits to one of the paintings storages premu predmeta u Direkciji muzeja Francuske. in Louvre and to the Reception and Dispatching Section Na kraju bih želela da se zahvalim svima koji su po- of the French Museum Direction were organized. mogli da se staž u C2RMF-u uopšte ostvari, a onda i da At the end, I would like to thank everyone who hel- se ostvari na najbolji mogući način. Osnovna ideja iza ped us to realize this internship, especially to carry it out ovog boravka bila je upoznavanje sa strukturom i nači- in the best possible way. The basic idea was getting a nom funkcionisanja jednog velikog centra za konzerva- complete picture of the structure of a large conservation ciju i konzervatorska istraživanja. S obzirom da sam, and research centre like this one. Having, thanks to un- zahvaljujući razumevanju čelnih ljudi ovog centra, ima- derstanding of the management, free hands and help in la odrešene ruke, ali i pomoć, u organizovanju poseta organizing visits to all the Departments, as well as in ex- svim Odeljenjima, kao i u upoznavanju onih segmenata ploring the segments of the Centre’s activities that I con- njegovih delatnosti koje sam smatrala najkorisnijim i sidered the most useful and the most interesting for furt- najinteresantnijim za dalji razvoj sistema zaštite kod her development of conservation system in our country, I nas, smatram da je cilj staža u potpunosti ostvaren. should say that the goal of this internship is fulfilled. Tatjana Nedeljković, konzervator Tatjana Nedeljković, Conservator Studijsko putovanje u Nemačku A study visit to Germany 1023. oktobra 2004., Minhen 1023 October 2004, Munich

a poziv Bayerisches Staatsministerium fur Wissen- pon invitation from Bayerisches Staatsministerium Nschaft, bilo mi je, kao jednom od predstavnika Na- Ufur Wissenschaft, Forschung und Kunst, as one of rodnog muzeja u Beogradu, omogućeno da posetim res- the representatives of the National Museum Belgrade, I tauratorske radionice u Minhenu i upoznam materijale had the opportunity to visit restoration workshops in i tehnike, koji se primenjuju u konzervaciji i restauraci- Munich and see materials and techniques they use in 176 ji. Učestvovali su restauratori, kustosi, arhivari i biblio- conservation and restoration. This event was organized tekari iz Mađarske, Rumunije, Slovačke, Češke, Poljske for restorers, curators, archivists and librarians from i Rusije. Grupu restauratora, kojoj sam pripadala, čini- Hungary, Romania, Slovakia, Czech, Poland and Russia. la su još dva člana: Eva Rydlová, restaurator stakla i I was in a group with two colleagues: Eva Rydlová, glass porcelana iz Češke i restaurator keramike iz Mađarske. and porcelain restorer from Chech Republic and Ildiko Cilj našeg boravka bile su posete Restauratorskom cen- Horváth, ceramics restorer from Hungary. The goal of tru i restauratorskim radionicama Arheološke gradske our stay were visits to the Restoration Centre and work- zbirke (Restaurierungszentrum der Archäologischen shops of Archaeological city colection (Restaurierung- Staatssammlung), Zavoda za zaštitu spomenika (Lande- szentrum der Archäologischen Staatssammlung), The samt für Denkmalpflege) i Nacionalnog muzeja (Bayeri- Bavarian State Conservation Office (Landesamt für sches Nationalmuseum). To je bila prilika za upoređiva- Denkmalpflege) and National Museum (Bayerisches nje načina na koji oni pristupaju restauraciji arheološ- Nationalmuseum). This gave us a chance to compare kih predmeta, sa našim pristupom i metodama. their aproach to conservation of archeological objects U restauratorskom centru Arheološke zbirke radio- with ours. nice su organizovane po materijalima (do tri konzerva- In Restoration Centre of Archaeological City Collec- tora u jednoj prostoriji), u svakoj je po jedan digestor i tion, the workshops are organized by materials (up to 3 specijalno dizajnirani radni sto, sa vakuumom i mikro- conservators in one room), in every room there is a fume skopom. Arheološka keramika se veoma retko konsoli- cupboard and specially designed working table with va- duje - čišćenje, lepljenje fragmenata i gipsiranje se oba- cuum device and a microscope. Archaeological ceramics vljaju samo da bi se obezbedila stabilnost posude. Ra- is rarely consolidated, usually the cleaning is carried dionice su veoma dobro opremljene i velika pažnja je out, as well as bonding the fragments and filling the posvećena raznovrsnim analizama, koje se vrše pre nego missing parts with gypsum, but only to assure the stabi- što se pristupi bilo kakvoj intervenciji na predmetu. lity of an object. Workshops are very well equiped and Depoi su takođe organizovani po materijalima. Sko- special attention is paid to various analyses carried out ro je uveden standard za pakovanje u specijalno dizaj- before any intervention on object starts. nirane polietilenske kutije (liče na gajbice i uklapaju se The storages are also organised by materials. Recen- jedna u drugu), ali se još uvek veliki deo materijala ču- tly, standards for packing in specially designed poliety- va u kutijama od šper ploče. Uveden je sistem vakumi- lene boxes, but a large amount of material is still kept ranja za sitnije metalne nalaze. Sve prostorije su oprem- in plywood boxes. For smaller metal objects vacuum ljene uređajima za kontrolu klime. packing is used. All the rooms are provided with clima- U Zavodu za zaštitu spomenika organizovali su res- te control systems. tauratorske radionice, u kojima se može raditi istovre- In the Bavarian State Conservation Office the resto- meno na raznorodnim materijalima (keramika, metal, ration workshops are organized to enable dealing with kost). Svi predmeti se rentgenski snimaju u specijalno various materials in the same time (ceramics, metal, bo- konstruisanom ormaru, i ovi snimci predstavljaju inte- ne). All objects are x-rayed in a specially designed me- gralni deo dokumentacije, koja je standardizovana pre tal closet and these films make integral part of docu- osam godina. U radionici se, pored uobičajenih radnih mentation, standardised 8 years ago. In workshops, be- stolova, nalaze i digestor, aparatura za konsolidaciju u side working tables, there is a fume cupboard, equip- vakumu uz zagrevanje, komora za čišćenje peskiranjem, ment for vacuum consolidation with a heater, a sanding tako da mogu je koriste pri radu na različitim materi- box which can be used for various materials. In these in- jalima. Za razliku od načina rada kod nas, kod njih je u stitutions – as distinguished from our approach - san- širokoj upotrebi komora za ding device is commonly peskiranje. Naravno, ne ko- used, with abrasives of vario- riste pesak već praškaste ma- us granulation. Baking soda terijale različite granulacije. is used for very fragile surfa- Tako, za osetljivije površine, ces, auch as porous stone, and na primer porozni kamen, for organic materials powde- koriste sodu-bikarbonu, a za red walnut shell (even for bo- predmete od organskih mate- ne, if they are not painted). rijala koriste sprašenu ljusku The sanding device makes oraha (čak i za čišćenje koš- cleaning of fragile archaeolo- tanih predmeta, ako nisu os- gical objects easier and faster. likani). Komora za peskira- There is only one storage nje u velikoj meri olakšava for archaeological materials, čišćenje trošnih, osetljivih where various kinds of mate- arheoloških predmeta. rials from excavations are Postoji jedinstveni depo kept mainly in cardboard bo- za arheološki materijal (raz- xes and where a climate con- norodni materijali sa iskopa- trol system was just recently vanja uglavnom u karton- installed – temperature is skim kutijama), gde su tek 21°C and Rh 39%. The head nedavno postavili klima ure- restorer organises all the đaj, temperatura je 21°C, a work, calculates the time and relativna vlažnost 39%. Glav- resources needed for a resto- ni restaurator zavoda se bavi ration of an object. organizacijom posla, kao i The restoration work- proračunavanjem vremena i shops of the National Muse- sredstava, koja su potrebna um are organised by materi- za restauraciju nekog pred- Radionica Bajerskog nacionalnog muzeja als and are well equipped. meta. Consevation workshop of Bayerische National Museum Regular control of the condi- 177 Restauratorske radioni- tion of museum objects be- ce Nacionalnog muzeja po- longs to the activities, as deljene su po materijalima i well as of the objects resto- izuzetno dobro opremljene. red in their workshops but Jedna od njihovih aktivnos- exhibited elsewhere. ti je redovna kontrola sta- Observing the modern nja predmeta u muzejskoj conservation principles, postavci, kao i predmeta the ceramics restorers mi- koji su restaurirani u njiho- nimized their intervention voj radionici, a izloženi su on materials, e.g. consoli- na drugim lokacijama. dation of ceramics is done Poštujući principe mo- rarely (only when absolu- derne muzeologije, restau- tely neccessary for the pre- ratori keramike sveli su in- servation of object). The tervencije na materijalu na usual conservation treat- minimum, dakle konsoli- Portal Katedrale u Augsburgu ment consists of: cleaning, Augsburg Cathedral portal dacija keramike se veoma bonding of fragments and retko vrši (samo kada je to apsolutno neophodno za op- restoration, but only of the part crucial for the stability stanak predmeta). Uobičajen restauratorski tretman of an object. Conservation is standardized in a way, the obuhvata: čišćenje, spajanje i restauraciju samo onih amount of time needed for a treatment of an object is delova koji su neophodni za stabilnost posude. Restau- defined, except in cases of specific object. An important racije su u izvesnom smislu standardizovane, tj. određe- issue is an effort to save as many data as possible on use no je okvirno vreme, koje je potrebno za restauraciju and «life» of finds during restoration treatment (a metal predmeta, izuzev kada je u pitanju specifičan nalaz. Ta- sword was consolidated together with remains of fur, kođe je značajno da se trude da tokom restauracije sa- textile and wood, as it shows the form of sheaths that čuvaju što više podataka o upotrebi i ?životu? predmeta appeared on it in the ground). The possibility of using (metalni mač konsolidovan je sa ostacima krzna, tkani- the same workshops for various materials, having fume ne i drveta, jer to svedoči o izgledu kanija, koje su nesta- cupboards and working tables with vacuum system, is le tokom njegovog boravka u zemlji). Mogućnost kori- also very convenient. šćenja iste radionice za rad na raznorodnom materijalu, Thanks to our hosts, we had the oportunity to visit uz korišćenje digestora ili radnih stolova sa vakumom, the most significant museums in Munich. Deutsches takođe je veoma praktična ušteda prostora. Museum which offers, at the same place, various dis- Ljubaznošću organizatora, posetili smo i značajne plays of ceramics, glass, weaving, ship making, aircrafts muzeje u Minhenu. Nemački muzej - koji na jednom and mining tehnology development, as well as a replica mestu okuplja postavke razvoja tehnologije keramike, of Altamira cave painted ceiling. Modern, New and Old stakla, tkanja, gradnje brodova, aviona, rudarstva i re- Pinacotheca, representing a museum complex, displays pliku oslikanog svoda pećine Altamira; Modernu, Novu art from late Middle Ages to modern times. The Nym- i Staru Pinakoteku - koje čine jedinstven muzejski kom- phenburg Castle houses the old Meissen porcelain pleks, u kome je zastupljena umetnost od kasnog sred- workshop functioning the same way as it did two centu- njeg veka do danas; Zamak Nimfenburg (Nymphen- ries ago, as well as the Natural History and Mankind burg) - sa Manufakturom majsenskog porcelana, koja Museum. The Lustheim Palace in Schleissheim Garden, još uvek radi na isti način na koji se radilo pre dva veka just outside Munich, was built in barroque Italian villa i Muzejom prirode i čoveka; Palatu Lusthajm (Lust- style of 1684-89 and restored in 1971 to house and dis- heim) u parku Šleshajm (Schleissheim) izvan Minhena, play the most complete collection of early Meissen por- izgrađenu u stilu italijanske barokne vile 1684.-89., res- celain, as gift from pasionatted collector Ernst Schnei- tauriranu 1971. godine, da bi u njoj bila smeštena i izlo- der, conditioned with his permision to stay in the Pala- žena najkompletnija zbirka ranog majsenskog porcela- ce and display his collection there (he personally con- na, poklon pasioniranog kolekcionara Šnajdera (Ernst structed most of the cases in which the collection is pla- Schneider), koji je svoj poklon uslovio dobijanjem doz- ced today). vole da živi u samoj palati i da njegova kolekcija bude During our stay in Munich, the exibition World of izložena (pri čemu je sam konstruisao većinu izložbenih Byzantium was opened. It took very long time to prepa- vitrina u kojima je kolekcija i danas izložena). re it, and it was an opportunity to see the finds from U vreme naše posete Minhenu svečano je otvorena i East and West displayed together for the first time. It velika izložba ?Svet Vizantije? (Die Welt von Byzanz – was astounding to see stone relief cut on the back, bec- Europas östliches Erbe), izložba dugo pripremana, na ause it made the transportation cheaper (the relief is kojoj su, po prvi put, zajedno izloženi nalazi sa Istoka i privately owned). We saw the way the exibition was or- Zapada. Poražavajuće je bilo videti kameni reljef isečen, odnosno stanjen, jer to pojeftinjuje njegov transport (re- ganized and the materials presented and it was pity the- ljef je vlasništvo privatnog lica). Videli smo način orga- re was no explanation in English. nizacije i prezentacije materijala, i zamerili zbog nedos- We also had an organised visit to Augsburg. We vi- tatka bilo kakvog objašnjenja pisanog na engleskom. sited an archaeological site with preserving excavation Organizovan je i izlet u Augsburg. Posetili smo zaštit- carried out, the House of Pointinger and The Roman na arheološka iskopavanja, videli kuću Pointingera i Museum. The House of Pointinger is now a private pro- Rimski muzej. Pointingerova kuća je sada privatno vlas- perty, and stone reliefs built in the house walls are in ništvo, a kameni reljefi ugrađeni u zidove kuće su u očaj- very bad condition, because the present owner does not nom stanju, jer sadašnji vlasnik ne dozvoljava bilo kakvu allow any intervention. This visit gave us all an oppor- intervenciju. Ova poseta pružila je svima nama moguć- tunity to have a closer look on sistem of protection of nost da se bliže upoznamo sa sistemom zaštite kulturnog cultural property and museological principles in Ger- nasleđa i muzeološkim principima u Nemačkoj, dobrim i many, advantages and disadvantages of their law on lošim stranama zakona o zaštiti spomenika, i uporedimo protection of cultural heritage, and to compare it with ih sa trenutnim stanjem u našim zemljama. present condition in our countries. 178 Ðurinka Bogdanović, akad. keramičar, Ðurinka Bogdanović, ceramic artist, saradnik DIJANA Centra DIANA Centre collaborator Metamorfoza tradicije Metamorphosis of tradition

IJANA Centar za preventivnu zaštitu Narodnog IANA Centre for Preventive Conservation of the Dmuzeja u Beogradu sukcesivno razrađuje progra- DNational Museum in Belgrade successively deve- me iz svog projekta: “Eksperimentalna arheologija - tra- lops programs of the project named “Experimental ar- dicionalne proizvodnje keramike”, autora M. Popović- chaeology – traditional production of ceramics” whose Živančević i V. Svobode.1 authors are M. Popović-Živančević and V. Svoboda.1 Za realizaciju programa rekonstrukcije tehnike i Large-scale research is being carried out in order to tehnologije vinčanske keramike preduzeta su opsežna implement the program of reconstruction of Vinča cera- eksperimentalna istraživanja. mics techniques and technology. S obzirom da je to veoma kompleksan interdiscipli- Being a very complex interdisciplinary task, deman- naran zadatak, koji zahteva naučnu i stručnu verifika- ding scientific and professional verification, the project ciju, u saradnju su ukljucene referentne naučno-istraži- gathers relevant scientific-research institutions and vačke institucije i kompetentni strucnjaci.2 competent experts2. Prvo se analizom sastava gline neolitske keramike First analysis of the Neolithic ceramics clay com- sa arheološkog lokaliteta u Vinči došlo do pretpostavke pound from the archaeological site of Vinča led to the da se adekvatne sirovine za rekonstrukciju mogu naći hypothesis that the raw material adequate enough for na okolnim terenima: the reconstruction could be found in the surroundings: Vinča - Belo brdo, okolina manastira Sv. Stefan, Ci- Vinča – Belo Brdo, surroundings of the Monastery of St. glana i Slanci. Od uzoraka tih sirovina napravljene su Stephen, Ciglana and Slanci. These samples were used probne “test-pločice” 3, predviđene za pečenje na tradi- for making testing pieces3, meant for traditional firing cionalan način. process. Za taj opus angažovan je jedan od naših malobroj- One of a few highly skilled and authentic potters in nih, vrsnih, autentičnih grnčara, Jovan Vacić, stručni sa- our country, Jovan Vacić, professional collaborator with radnik na Katedri keramike FPUD u Beogradu.To je bio the Ceramics Department at the Faculty of Applied i povod da geneza njegovog grnčarskog iskustva, bude Arts, was engaged in this experiment. At the same time, predstavljena u sadržaju ovog teksta. his engagement in the project was the motive of presen- U organizaciji eksperimenta tradicionalnog pečenja ting his potter’s experience in this article. ovih “test-pločica” učestvovali su : saradnici DIJANA Participants in the experiment with traditional fi- Centra (mr Vesna Svoboda akad. keramičar,Tatjana Ne- ring of these testing pieces included: collaborators of deljković, arheolog, pripravnik DIJANA Centra, Ivana DIANA Centre (Vesna Svoboda, M.A. in ceramics art, Stojković, apsolvent arheologije, Dejan Milovanović i Tatjana Nedeljković, archaeologist, Ivana Stojković, Dušan Maksimović, studenti arheologije, Đurđinka student of archaeology, Dejan Milovanović, student of Bogdanović, akad. keramičar i Branka Belošević, turiz- archaeology, Dušan Maksimović, student of archaeology, molog) i Jasna Vuković, arheolog, asistent-pripravnik Đurđinka Bogdanović, ceramics artist and Branka Belo- (Filozofski fakultet, katedra za arheologiju). šević, tourismologist) and Jasna Vuković, archaeologist, Ogledom tradicionalnog pečenja na neolitskom lo- apprentice teacher (Faculty of Philosophy in Belgrade, kalitetu u Vinči, počela je “reanimacija”daleke prošlosti Archaeology Department). i grnčarskog umeća “uživo”. This experiment of traditional firing at the Neolithic Ekipa saradnika se, zajedno sa majstorom, našla u site of Vinča started a sort of “reanimation”of ancient ti- ulozi aktera svojevrsnog “ritualnog performansa”. mes and of potter skills “live”. The team of collaborators, together with the head Srele su se prošlost i sadašnjost. potter, found themselves involved in kind of “ritual per- Na istom mestu, na obali Dunava, deset arheološ- formance”. kih stratigrafskih slojeva niže, pečena je neolitska praistorijska keramika. Sličan pokušaj izveden je ponovo, The past and the present met. ali sada sa pisanjem dnevnika, upotrebom digitalnih At the same spot, on the bank of the Danube, just ten fotoaparata i mernih instrumenata. stratigraphic layers below, Neolithic, prehistoric cera- Pre pečenja, učesnici ekipe su, na otvorenom terenu, mics used to be fired. Similar process was redone, but iskopali jamu, kao repliku neolitske peći. Majstor Jova this time it was documented in a diary and with the help je u peć stručno složio ogledne “test-pločice”, zaštićene of digital camera and measuring devices. od direktnog plamena, slojem fragmentovane arheološ- Prior to the firing process, the participants dug out ke keramike. a pit, a replica of Neolithic kiln.The head potter Jova set Članovi ekipe, stvaralački uzbuđeni, motivisani željom the testing pieces very skillfully in the kiln, well protec- da eksperiment uspe, vredno i sa entuzijazmom su prikup- ljali sa lokaliteta drva za vatru i donosili majstoru. 1 Mila Popović-Živančević, museum councillor of the National Museum Belgrade and the head of DIANA Centre for Preventive 1 Mila Popović - Živančević, muzejski savetnik - konzervator Conservation and Vesna Svoboda, M.A. in ceramics and a collabora- Narodnog muzeja u Beogradu i rukovodilac DIJANA Centra i Vesna tor of DIANA Centre for Preventive Conservation Svoboda, magistar keramike i saradnik DIJANA Centra 2 The Department of Archaeology of the Faculty of Philosophy 2 Katedra za arheologiju Filozofskog fakulteta u Beogradu, sa in Belgrade, with its project: “The Culture, Context, Raw Materials svojim projektom: “Vinčanska kultura, kontekst, sirovine i komuni- and Communications of Vinča”, Prof. Nenad Tasić, Ph.D. in archae- kacije”, docent dr Nenad Tasić i Jasna Vuković, asistent-pripravnik ology and Jasna Vuković, teaching assistent; prof. dr Slobodan Knežević (Rudarsko - geološki fakultet Beo- Prof. Dr. Slobodan Knežević, Faculty of Mining and Geology, grad), Petar Nićiforović, geolog, dr Branko Matović i mr Dušan Ki- Petar Nićiforović, geologist, Branko Matović, Dr.Sci. and Dušan Ki- ćević (Institut za nuklearne nauke “Vinča”Beograd), dr Ljubica Pav- ćević, M.Sc. (Institute for Nuclear Sciences “Vinča”), Ljubica Pavlo- lović (naučni savetnik ITNMS-a Beograd), dr Dušan Izvonar (Fakul- vić, Dr.Sci. (Scientific advisor of ITNMS), Dušan Izvonar, Ph.D. (Fa- tet primenjenih umetnosti Beograd), dipl. ing. Mira Miladinović, (Vi- culty of Applied Arts), Mira Miladinović, engineer (Technology ša tehnološka škola u Aranđelovcu) School in Aranđelovac, Serbia) Za DIJANA Centar: Mila Popović Živancević, autor, koordina- For DIANA Centre: Mila Popović-Živančević, the author, coor- tor i supervizor Projekta, mr Vesna Svoboda, keramičar, autor i ko- dinator and supervisor of the project,Vesna Svoboda, M.A. in cera- ordinator Projekta mics, author and coordinator of the project 3 mr Vesna Svoboda, akademski keramičar 3. Vesna Svoboda, M.A. in ceramics 179 Potom je majstor Jova, kao “glavni vrač”, zapalio va- ted from direct flame by a layer of fragmented archaeo- tru i vodio “ritual”postepenog zagrevanja peći. Zahval- logical ceramics. jujući svom dugogodišnjem iskustvu, on je umeo “od The members of the team, creatively excited and dri- oka” da pogodi temperaturu u peći, po boji užarenih ven by the wish for the experiment to work, were enthu- “test-pločica”, ali, uprkos tome, postavio je i pirometar, siastically collecting wood for the fire from the surroun- da bi demonstrirao ogled komparativnom metodom. dings and bringing it to the potter. Samo je magija vatre ostala ista. Privukla je pažnju i Further on, the potter Jova, just like a “head sorce- radoznalost svih prisutnih. Možda se probudilo i kolektiv- rer”, lit a fire and led a “ritual”of gradual heating up the no pamćenje ognjišta kao kultnog mesta opstanka i traja- kiln. Thanks to his great experience, he was able to nja. Bila je to spontana repriza “scenarija” neolitske poro- guess the temperature level in the kiln by the colour of dice. Zapis o tim utiscima, kao dokument našeg vremena, the fired testing pieces, but he, nevertheless, set a pyro- sačuvan je u softverskoj memoriji kompjutera i CD-a. meter, in order to perform a comparative experimental Srele su se arhetipske i virtuelne slike. method. Pred kraj ovog ogleda, da bi se dobila crna boja pe- Only the magic of fire remained the same. It attrac- čenih predmeta, primenjen je drevni postupak redukci- ted attention and curiosity of everyone around. Perhaps je.“Jamska” peć je zasuta poluvlažnim lišćem i zatrpa- the collective memory of a home fireplace as ritual cen- na zemljom. Vatra je ugušena, a dimna zavesa je zaklo- tre of revival and endurance came back. It was a spon- nila “scenu”. taneous rerun of a Neolithic family “scenario”.A memo- Ostao je još jedan završni “čin”, ovog “post-moder- ry of these impressions, as a document of our time, is sa- nog rituala”. ved in a software memory of a computer and CD. Posle 24 sata hlađenja, peć je otkopana.“Test-ploči- ce” i fragmenti neolitske keramike oglasili su se tihim Archetype and virtual images were brought toget- tajanstvenim pucketanjem, kao pričom o zajedničkom her. kosmogonijskom putovanju kroz katarzu vatre. Tako je The ancient process of reduction was applied at the završen ovaj neobičan ogled, a programska istraživanja end of the experiment, in order to obtain characteristic nastavili su eksperti. black colour of fired objects. The pit-kiln was covered with humid leaves and ground. The fire was put out and Srele su se empirija i nauka u eksperimentalnoj ar- smoke hid the “scene”. heologiji. There was only the final act left in this “post-modern Razgovor sa majstor Jovom, kao empirijskim prota- ritual”. gonistom ogleda, usmerio je fokus sa centralne teme na After 24 hours of cooling, the kiln was uncovered. posebno pitanje o stanju naseg danasnjeg grncarstva, Testing pieces and the fragments of Neolithic ceramics kao zapostavljenom trezoru nematerijalnog kulturnog could be heard as the tones of mysterious crackling, the blaga. story of common cosmogony travel through the cathar- Jedan deo tog bogatstva je sačuvan i uspešno revi- sis of fire. In this way, unusual experiment was ended talizovan kao tradicionalna proizvodnja keramike na and the experts continued further research. ručnom točku. Ova delatnost odvija se u autohtonom ambijentu sela Zlakusa (Srbija), gde već skoro deset go- Empiricism and sciences were brought together in experimental archaeology. Conversation with potter Jova, as the empirical leader of the project, redirected the focus from the main subject to the special question of the situation our modern pottery found itself in today, as a neglected treasury of our intangible cultural heritage. A part of this treasure is saved and successfully re- vitalized as traditional production of ceramics on the potter’s manual wheel. This activity is carried out in authentic ambience of Zlakusa village (Serbia), having an international significance for almost ten years already. Nevertheless, pottery made on a kick wheel, being also part of our cultural heritage, lacks a centre for restoration and promotion of its values. By looking at the circumstances influencing the life and professional practice of the potter Jova, we can also trace changes in social valuation of potter’s skills and the reasons of fading away and the metamorphosis of this authentic arch-craft. Jova was trying to remember the community he grew up in, the community that destined his future profession. All the potters from the town of Pirot and surrounding villages were considered “Piroćanci” (the citizens of Pirot), which was also a synonym for an appreciated craftsman. He was born in the village of Ponor, near Pirot, in 1942. His grandfather was a potter, and his father, though not potter himself, thought that this craft might ensure his son’s bright future. Pirot was always referred to as “education centre and the centre of pottery”. Looking for job and new markets, “Piroćanci” were often going abroad, or to ot- Majstor Jova priprema jamu her regions of the country.They were known as talented Jova chating firing the pit 180 dina ima i međunarodni značaj. and creative craftsmen and they were able to adapt to Međutim, grnčarstvo nožnog kola, kao deo naše kul- the taste of the new surroundings, so some of them even turne baštine nema centar za restauraciju i promociju stayed there for good. In this way, tradition was spread, svojih vrednosti. influences were intertwined, experience was enriched Sagledavanjem okolnosti koje su uticale na majstor with new variations. Jova was also destined for this kind Jovin život i stručnu praksu, možemo da pratimo i of life. društvene promene vrednovanja grnčarskog umeća i His father had him enrolled (in 1958) in the three- uzroke zamiranja i metamorfoze ovog autentičnog arhi- year economy school in Sarajevo, where lectures were zanata. given only four days a week, so the rest of time Jova Majstor Jova se prisećao sredine u kojoj je rastao i spent working in the workshop of Vukašin Tošić, a pot- koja je predodredila njegovo zanimanje. Svi grnčari iz ter also from around Pirot. Pirota i okolnih sela smatrani su “Piroćancima”, što je He stayed in the potter’s home, so he was obliged to bio sinonim za cenjenog “majstora od zanata”. do all sort of jobs as an apprentice. He stirred clay (co- Rođen je u okolini Pirota, u selu Ponor, 1943. godi- ming from a brick plant in Sarajevo) in the so-called ne. Deda mu je bio grnčar, a otac, iako nije bio grnčar, “kalnik”, a kind of clay reservoir in the backyard, fen- smatrao je da će taj zanat osigurati budućnost njego- ced by wooden planks. He built “kacara” (a kind of vog sina. wood-fired kiln) and made fire in it. He learned how to Pirot je od davnina bio poznat kao “narodni univer- recognize and determine oxidation atmosphere in a ki- zitet i rasadnik grnčar- ln, at the temperature of stva”. “Piroćanci” su, about 900-950°C. He tražeći posao i nova tr- used to make glaze from žišsta, često odlazili u lead oxide. He rotated a “pečalbu”. Poznati kao kick wheel to make fa- daroviti i kreativni maj- miliar, typical, folk stori, oni su svoj rad forms: dishes, “ibrik” vešto prilagođavali no- (water jug), “bardak”, vom ukusu sredine, u flowerpots, chamber kojoj su neki i trajno os- pots, toys. He became tajali. Tako se tradicija fond of his craft as of prenosila, uticaji prepli- sort of creative alchemy. tali, a iskustvo bogatilo In synergy with clay, on novim varijacijama. a circle way of a kick Pečalbarski životni wheel, he discovered the put bio je “suđen”i bu- mysteries of the craft. dućem majstoru Jovi. His hands created a gre- Otac ga je upisao at variety of forms out of (1958. godine) u trogo- amorphous mass of clay. dišnju školu učenika u Self-confident, he was privredi, u Sarajevu, gde able to fulfill his daily je nastava trajala četiri tasks (30 to 150 thrown dana u nedelji, a ostalo pieces, depending on si- vreme Jova je radio u ra- ze). His father was right. dionici majstora Vukaši- Jova spent in Saraje- na Tošića, takođe porek- vo two more seasons in lom iz okoline Pirota. the workshops also held Kod majstora by “Piroćanci“. je i stanovao, pa je kao At the time, the so- šegrt radio sve poslove. called “pottery market” Mešao je glinu (iz sara- was held every February, jevske ciglane) u “kal- and on the market day, nik”, ograđeni dvorišni in Pirot pub of “Guševi- rezervoar za glinu. Zidao je i ložio “kacaru” (peć na ca”, gathering all the potters who wanted to make a sea- drva). Naučio je da na poseban način prepozna i odredi sonal contracts took place. The time of “going abroad” oksidacionu atmosferu u peći, pri temperaturi od oko was starting in spring, and ending by the end of autumn. 900 - 950C. Pravio je gleđ od oksida olova. Vrteo je na Jova got his new job in Topusko, Croatia, at the nožnom točku poznate, tipične, narodne forme: zdele, workshop of potter “Piroćanac“ Slobodan Živković, ibrike, bardake, saksije, noše, kasice, dečje igračke. Za- where he spent two seasons. There were five potters in voleo je svoj zanat kao kreativnu alhemiju. U sinergiji the workshop. Among usual forms (“testija” – water sa glinom, na kružnoj putanji nožnog točka ( kola), ot- dish, table dishes, flower pots), this workshop made al- krivao je tajne zanata. Pod njegovim rukama, iz amorf- so cooking pots of Pirot kind, with narrow base, hori- ne mase gline, izrastali su najrazličitiji oblici. Siguran u zontal channeling, adjusted to the form of old open-fire sebe, uspevao je da ispuni zadatu dnevnu normu (od 30 cooker. After that, he found two more seasonal jobs do 150 vrtenih komada, zavisno od veličine). Njegov through the market in “Guševica”– in Obrenovac, at the otac nije pogrešio. potter Obrad Đorđević’s. Jova je proveo u Sarajevu još dve sezone u radioni- The next destination was Split, Croatia, from 1969 cama koje su takođe držali majstori “Piroćanci”. to 1977. Jova was very successful. He established not U to vreme, u Pirotu se svakog februara, na pazarni one, but two workshops and he worked for tourist mar- dan, u kafani “Guševića” održavala “grnčarska berza”, ket. He made a career and thought of settling down in gde su se skupljali majstori i ugovarali sezonske poslo- Split, but due to uncertain political situation, he deci- ve. Vreme “pečalbe”počinjalo je u proleće, a završavalo ded to leave. se krajem jeseni. After arriving in Belgrade, he settled in part of the Nov posao dobio je Jova u Topuskom, u Hrvatskoj, city called Sremčica, built a family house and establis- 181 kod majstora “Piroćanca” Slobodana Živkovića, gde je hed a workshop again. Nevertheless, after only two yea- proveo dve sezone. U radionici je bilo pet majstora. Po- rs, he had to close the workshop due to the lack of work red uobičajenih posuda (testije, činije za jelo, saksije and high taxes. itd.), u ovoj radionici pravljeni su i pirotski “šporetski” The wheel stopped rotating in his empty workshop. lonci sa uskim dnom, horizontalno kanelirani, pogodni Jova’s life and working experience, gained with great za otvorenu ringlu šporeta na drva (od Ř 14-40). Potom difficulties, was worthy no more. je preko “berze”u “Guševici”ugovorio još dve sezone ra- He decided to leave his craft and he looked for a job da u Obrenovcu, kod majstora Obrada Đođevića. of a driver in the City Traffic Agency in Belgrade. Sledeća etapa bio je Split, od 1969 do 1977. godine. Majstor Jova je uspešno poslovao. Otvorio je čak dve Fragments of tradition were left scattered. privatne radionice i radio za turističko tržište. Napre- Then an unexpected turn of events took place. Well- dovao je u poslu i razmišljao da ostane u Splitu, ali ga je known potter Čeda Jovanović retired from the position zbog nesigurne političke situacije napustio. at the Faculty of Applied Arts and Design in Belgrade at Po dolasku u Beograd nastanio se u Sremčici, sazi- the time and the vacancy was announced for a new pot- dao kuću i opet otvorio privatnu radionicu. Međutim, ter at the Department of Ceramics. Jova was the only već posle dve godine morao je da odjavi radnju, zbog one to apply for the position and he enclosed ten of his nerentabilnosti i visokih poreza. ceramic works and his diploma. He was accepted in Prestao je da se vrti točak u njegovoj pustoj radioni- 1981 and he is still working there. He got some new res- ci. Majstor Jovino mukotrpno sticano životno i pečal- ponsibilities at the Department of Ceramics. In the barsko stvaralačko iskustvo više nije vredelo. . Group for Unique Ceramic Items and Design, he used an Rešio je da napusti grnčarski zanat i potražio je po- electric wheel, for the first time in his life, to make pie- sao vozača u Gradskom saobraćajnom preduzeću, u ces based on students’ sketches (old kick wheels were Beogradu. left to serve solely for finishing details). He is also responsible for preparation of clay and firing process, but Ostali su rasuti fragmenti tradicije. again for the first time – in electric kilns. Sasvim slučajno desio se preokret u majstor Jovi- Apart for his work with students, Jova has been pro- nom životu. Baš tada je na Fakultetu primenjenih um- ducing ceramics, for ten years already, based on the etnosti i dizajna u Beogradu, penzionisan čuveni maj- sketches of the participants of the international simpo- stor Čeda Jovanović i raspisan je konkurs za novog gr- sium in AranĆelovac, Serbia, called «The World of Cera- nčara na Katedri za keramiku. Majstor Jova se jedini mics». prijavio na konkurs i podneo deset izvedenih radova i Then again some new circumstances introduced diplomu. Primljen je, 1981. godine, gde i danas radi. Na changes in his work. Inspired by the tipology of ethno- Katedri za keramiku dobio je nove dužnosti. Na sme- ceramics, Jova tried his skill at creating new forms. Ne- ru unikatne keramike i dizajna, vrteo je po skicama vertheless, he was nostalgically bonded to the basic, tra- studenata i to prvi put na električnom točku - kolu. ditional pottery – engobe, wheeled pattern, old kilns... (Stari nožni točkovi ostali su da služe samo za doradu There are very few authentic potters left. Market is predmeta). Zadužen je takođe za pripremu gline i za flooded with technological quasi-artistic imitations of proces pečenja, sada, opet prvi put, u električnim pe- ethno-ceramics. Traditional ceramics production needs ćima. protection. Osim rada sa studentima, majstor Jova već desetak The “Experimental Archaeology, Traditional Pro- godina vrti keramiku po skicama duction of Cera- učesnika međunarodnog simpoziju- mics”project is ai- ma “Svet keramike” u Aranđelovcu. med at restoration Nove okolnosti uticale su i and revitalization na promenu njegovog rada. Inspiri- of this fragmented san tipologijom etnografske kerami- tradition, as a ke, majstor Jova se oprobao i u krei- form of national ranju novih formi. Međutim, ostala and Balkans’ in- mu je nostalgija za elementarnim, tangible cultural tradicionalnim grnčarstvom: za en- heritage. The first gobama, “izvoženom” šarom, pećima step was made na drva ... through the expe- Autentičnih majstora je sve ma- rimental recon- nje. Na tržištu često dominiraju teh- struction of tradi- nološke kvazi-umetničke imitacije tional ceramics. narodne keramike. Tradicionalnom The potter Jo- grnčarstvu potrebna je zaštita. va closed a circle. Projektom “Eksperimentalna ar- He had an oppor- heologija, tradicionalne proizvodnje tunity once more keramike” fragmentovana tradicija to demonstrate će se restaurirati i revitalizovati kao authentic potter’s naše i balkansko duhovno kulturno skill. It brought nasleđe. Eksperimentom rekonstruk- him back to his cije tradicionalne keramike učinjen old memories of je prvi korak. the open home fire Majstor Jova je “zatvorio krug”. in the village of Opet je bio u prilici da demonstrira Ponor where he autentičan grnčarski opus. To ga je was born, of “go- vratilo dalekim uspomenama i seća- ing abroad” and of nju na ognjište u rodnom selu Ponor, traditional tech- na “pečalbu”i tradicionalnu tehnolo- nology of potter’s giju grnčarskog umeća -”ab ovo”. skill – “ab ovo”. 182 Sonja Franklin Koreja je postala zemlja mojih snova

ada me je Mila Popovic-Zivancevic pozvala da za- ni konferencijski centar u kome smo se s mukom sna- Kjedno odemo na XX Generalnu konferenciju lazile. Dobile smo informativne pakete, torbe i bedževe IKOM-a u Seul, o samoj zemlji znala sam sasvim malo. sa imenima. Informativni paket mi je bio od ogromne Iz nekoliko novinskih članaka o Koreji činilo se da je pomoći kada sam pošla da sama tragam za duhom jug zemlje potpuno amerikanizovan i uništen, a sever Dalekog Istoka, jer je Mila bila sasvim zaokupljena turoban i tužan. Konferencijom. Trebalo je da ostanemo još nekoliko Naš prvi utisak o Seulu bio je upravo takav: previše dana posle Konferencije kako bismo zajedno proputo- oblakodera, svuda hrom, čelik, staklo i mermer i mnošt- vale zemljom. A došle smo i nekoliko dana pre većine vo najnovijih marki automobila koji jure ulicama. delegata pošto je Mila član Savetodavnog komiteta Smestile smo se u hotel u kome su soba i kupatilo bili IKOM-a. toliko mali da je trebalo biti veoma maštovit da bi se Nekoliko dana kasnije prisustvovala sam otvaranju kretao, a zatim smo krenule u potragu za azijskim Konferencije i to je bio veličanstven doživljaj. Naši Seulom. Portir nam je pozvao taksi i objasnio mu gde domaćini su bili šarmantni, prijatni i ljubazni i veoma da nas odveze. Kasnije smo shvatile da taksiste ne su se trudili da skup bude uspešan. znaju ni reč engleskog, a da im ni čitanje mape grada Brojni izvanredni govori, fantastične korejske igre i nije jača strana, da ljudi na ulici takodje ne znaju na sceni i u sali na otvorenom, omamljujuća korejska engleski, ali da to važi i za prodavce u radnjama, a ni muzika i izuzetno dostojanstven ulazak žene u predi- u restoranima nisu shvatali šta tražimo. Sve u svemu, vnom nacionalnom kostimu od teške svile, izvanredno nije lako snaći se u Južnoj Koreji. Na momente sam bila našminkane, sjajne tamne kose očešljane u istočnjačku potpuno isrpljena pokušavajući da ljudima objasnim pundju. Svi smo pomislili da je to tajlandska princeza šta hoću. koja je bila najavljena u programu.Veoma smo se izne- Te prve večeri završile smo u centru, u ulici bez sao- nadili kada se prava princeza pojavila u jednostavnom braćaja. Sredinom ulice bile su postavljene tezge na kostimu, ravnim cipelama i gotovo bez ikakve šminke. kojima se prodavala izvanredno mirisna hrana, ali i Dostojanstvena dama bila je prva dama Koreje, supru- mnogo plastičnih drangulija. Pronašle smo restoran u ga predsednika Koreje. Ali pompa oko nje bila je kome smo bez problema naručile hranu pošto je sve opravdana. bilo izloženo u izlogu. Hrana je bila izvrsna, a vrhunac Ogromno prevorje bilo je prepuno. Gotovo hil- večeri smo doživele kada smo nekako uspele da objas- jadupetstotina ljudi iz celog sveta. Mila, velikog i nimo da želimo da isečemo meso, a kelnerica se pojavi- toplog srca, uvek govori o ljudima koji se bave konzer- la sa velikim makazama. vacijom kao o porodici i sad mi je postalo jasno i zašto. Sledećeg dana otišla sam sa Milom u COEX, ogrom- Ovde je bilo hiljadupetstotina ljudi sa zajedničkom

Sonja Franklin Korea has become a land of my dreams

hen Mila Popovic Zivancevic asked me to come as The next day I accompanied Mila to the COEX, the Wher companion to ICOM 20th General Conference huge conference centre where finding our way was very in Seoul I knew very little about the country. From the difficult. We got our information packs, bags and name few newspaper articles that I read about Koreas the tags. Those information packs were immensely helpful South seemed to be totally Americanized and spoiled when I later on went in search of the spirit of Far East and the North drab and sad. on my own, since Mila became totally involved in the Our very first impressions of Seoul were exactly Conference. The idea was that we stay a few days extra that: too many high rise buildings, all chrome, stainless after the end of the conference and then travel around steel, glass and marble, and a lot of expensive brand the country together. We also came a few days earlier new cars whizzing down the streets. than most of the other candidates since Mila was the We settled in a hotel where the room and the bath- member of the Advisory Committee. room were so small that staying there required a great A few days after we arrived I was present at the deal of creative thinking and then went in search of the opening ceremony of the conference, and it was magnif- Asian Seoul. The porter called us a taxi and explained icent. Our hosts were charming, gentle, and courteous to the taxi driver where to take us. We later discovered and one felt that they did their utmost to make it truly that taxi drivers did not speak English, that they did successful. not know how to read the maps, that people in the There were many excellent speeches, magical street hardly ever spoke English, that shop keepers did Korean dancing both on the stage and in the imposing not speak it and that in restaurants they could not hall outside, haunting Korean music, and the incredibly understand it. All in all it was not easy to find your way courtly entrance of a woman dressed in an exquisite in South Korea. I sometimes became totally exasperat- national costume in heavy silk, beautifully made-up, ed trying to make myself understood. with her gleaming dark hair arranged in an Oriental That first evening we ended downtown in a street chignon. We all thought that the she was the Thailand with no traffic. The middle of the street was occupied princess as her attendance was announced in the pro- by stalls where delicious smelling food was being sold, gramme. What a surprise when the real princess and a lot of cheap plastic trinkets. We found a restau- appeared in an ordinary two piece suit, flat shoes and rant where it was easy to order because everything was hardly any make-up. The courtly lady was the First on display in the shop window.The food was truly deli- Lady of Korea, the Korean president’s wife. But the cious but the highlight of the meal was when we some- pomp that she created seemed very appropriate. how managed to convey that we wanted to cut the meat The huge hall outside was very crowded. Almost one and the waitress appeared with huge scissors. thousand five hundred people from all over the world. 183 Otišle smo u Insa-dong. Zaustavile smo se pred radnjom sa pirinčanim kolačima. Bili su uredno poslagani na tezgi ispred nje, svaki red sa kolačima drugači- jeg oblika i drugačije boje. Izgledali su kao prava mala umetnička dela, i poželela sam da probam svaki. Ipak, otišle smo u pravi tradicionalni korejski restoran. A to znači da smo cipele ostavile na ulazu i da smo sele za veoma niske stolove. Kolena su me mučila dok sam sedela prekrštenih nogu. Najzad sam se oslonila na zid i pružila noge ispod stola. Kasnije sam u jednom od vodiča pročitala da se takav način sedenja smatra nepristojnim. Ali, u drugom vodiču je pisalo da se od stranaca i ne očekuje da znaju kako se treba ponašati. Choi je naručila pirinač, mnogo raznovrsnog povrća, pečenu ribu i kimči – najvažniji sastojak svakog korejskog obeda. Kimči je ukiseljeni kupus i bela rotk- va zimi, a leti se kiseli sve drugo povrće. Ljut je i ima belog luka. Zimski se čuva u velikim braon teglama, dok se leti jelo priprema svakodnevno. Kimči je toliko Tradicionalne igre na ceremoniji otvaranja XX Generalne konfer- bitan deo korejske kuhinje da čak postoji i Kimči muzej encije IKOM-a u Seulu. Eto, prvi put sam probala ovaj korejski Traditional dancing at the opening ceremony at the Icom 20th delikates. Choi je jela sa uživanjem. General Conference željom da očuvaju kulturnu baštinu, lepotu iz prošlosti. Dopao mi se i toalet sa uredno poredjanim papuča- Po završetku svečanosti, našla sam se sa svojim ma. Naravno kad smo svi bili bez cipela. vodičem sa kojom je trebalo da razgledam Seul. Zatim smo renule smo u istraživanje Insa-dong Obrazovana Koreanka, četrdesetih godina, inteligent- ulice. Radnje sa antikvitetima, galerije, modna odeća, na,sa izvan rednim poznavanjem kineskog živahna i mnogo izuzetne i egzotične keramike i teško da bih veoma zabavna. Zvala se Choi. Rekla sam joj da pre mogla da kontrolišem svoj novčanik da nije bilo Choi svega želim da upoznam život prestonici i da ga koja me je doslovce odvlačila iz pojedinih radnji gov- razumem. Gorela sam od radoznalosti. Poseta oreći kako je tu preskupo. Već smo se sprijateljile. Od Etnografskom muzeju prethodnog dana nije mogla da tog momenta Choi je postala moj andjeo čuvar u Koreji. zadovolji moju želju. Ako hoću da razumem ovu zemlju, Kasnije, dok smo putovale po Koreji, pozvala bih je moram da je osetim ovde i sada. kadgod smo bile u nekoj nevolji. Choi je mnogo puto-

With her huge warm heart Mila always talked of people that there is even a Kimchi Museum in Seoul. Anyway, working on conservation as a family, and I could now this was my first taste of that Korean delicacy. I see why. On this occasion it was one thousand and five thought it interesting, Choi ate it with relish. hundred people united in their desire to preserve the I also loved the toilet. There was a neat row of slip- cultural heritage, the beauty, from the past. pers for our use. After all we were without shoes. After the ceremony I met my guide for a private tour We than went exploring the Insa-dong street itself. of Seoul.She was a Chinese scholar in her forties, intel- Antique shops, art galleries, arty clothes, masses of pot- ligent, lively, and a lot of fun. Her name was Choi. I told tery all exquisite and exotic and I would have had a her that above all I wanted to see the life of the capital huge trouble controlling my purse strings, if it had not and to have it interpreted. I was bursting with curiosi- been for Choi who literally dragged me out of some ty. The visit to the Folk Museum the day before had shops each time saying that it was outrageously expen- done very little to satisfy it. If I was to understand any- sive. We had already struck up a friendship. From then thing of the country I wanted first of all, to experience on throughout my stay in Korea she became my the here and now. guardian angel .Later on our trip through Korean We went to the Insa-dong district. We stopped in front of a shop a with rice cakes. They were displayed outside in neat rows, each row a different shape and a different colour. They looked festive and artistic and I wanted to eat them all. But instead we went to a truly traditional Korean restaurant. That meant leaving the shoes at the entrance and sitting at very low tables. My knees hurt to sit cross legged. I found the solution by leaning against the wall and spreading my legs straight under the table. Later in one of the guide books I read that sitting like that was considered rude. Yet another guide book said that foreigners were not expected to know how to behave in an appropriate manner. Choi ordered stone rice, many different vegetables a barbequed fish, and the most important component of every Korean meal Kimchi. Kimchi is pickled cabbage and white radish in winter and pickled almost any veg- etable in summer. It is hot, and garlicky.The winter one is stored in large brown jars whereas the summer one is Tradicionalni muzičari na XX Generalnoj konferenciji IKOM-a made daily. Kimchi is so important in Korean cooking Traditional musicians at the Icom 20th General Conference 184 vala po Evropi i mislim da je dobro shvatala kako ja većine ljudi, ali ono što sam videla, videla sam detaljno razmišljam. i zaljubila sam se u Koreju. U “Zemlju jutarnjeg spoko- Sledećeg dana posetile smo malu palatu Unhyeon- ja” kako je sa ljubavlju naziva njen narod. gung u kojoj je kralj Gojong živeo kao dete. On je bio Palatu čine nekolike niske zgrade. “Nastanjene” su pretposlednji kralj Joseon dinastije (1392-1910), pos- lutkama u kostimima onog vremena – iz sredine XIX lednje korejske dinastije koja je dugo vladala. Ušle smo veka. Bila sam zadivljena. Ugledala sam nekoliko kuti- u palatu iz jedne veoma prometne ulice. I odjednom je ja za šminku ili nakit koje su bile iste kao ona koje sam nastala tišina. Nismo htele da žurimo. I baš zato što našla pre nekih dvadeset godina u prašnjavom podru- nismo žurile, poseta nam je pružila duboko, duhovno mu jedne antikvarnice u Londonu. Nijedan stručnjak iskustvo. Kasnije, u Japanu, u jednom danu posetila za Daleki Istok nije mogao da ih tačno identifikuje. sam osam hramova i palata. Bila sam na turi sa vodi- Videla sam bele drvene plakare sa klizajućim vratima i čem. I danas o tome imam samo nejasnu predstavu u ravnim drvenim ruckama koje u potpunosti sliče sećanju, ali malu palatu u Seulu vidim sasvim jasno čuvenom evropskom Bauhaus periodu iz tridesetih kad god pomislim na nju. Možda sam videla manje od godina XX veka. Ništa novo pod kapom nebeskom!

Deca odevena u Hanbok tradicionalne kostime prilikom posete Unhyeongung palati Little kids dressed in their Hanbok traditional costumes visiting Unhyeongung Palace countryside I would ring her up whenever we found cent of the famous twentieth century European Bau- ourselves in trouble. Choi was well travelled through haus Period. Nothing new under the sun! There was Europe and I believe that she understood my way of magnificent under floor heating consisting of stone thinking well. flues-pipes through which hot air used to be blown.The The next day we went to a small palace Unhyeon- buildings stood tall as if on stone stilts and their foun- gung where King Gojong lived as a child. He was the dations so it appeared were many pipes buried in con- next to the last king of the Joseon Dynasty (AD1392- crete. There was a very low see-saw in the garden. I 1910), the long ruling last dynasty of Korea. We stepped later read that the secluded ladies of the court would in into its forecourt from a very busy street. Suddenly all pairs jump on them up and down as high as they could was tranquillity. We decided to take our time. And in order to see over the palace roof tops to the ‘world’ because of the lack of hurry the visit became a pro- outside. There were long connecting corridors between found, spiritual experience. Later on in Japan , where I the buildings with rice paper walls on latticed wooden went for a flying visit , I saw eight temples and palaces frames. Rice paper and golden wood on the ceiling cre- in one day. It was a guided tour. I must admit that in my ated a feeling of intimacy and beauty. These were the mind it is still all mostly a blur, but the small palace in secret corridors between the male and female quarters. Seoul I can see clearly every time I think of it. I proba- In the garden there were large pieces of stones, as bly saw less than a lot of other people in the given time found in nature, placed on man made concrete but what I saw I saw thoroughly and as a result conse- pedestals sitting among the bushes. These were the quently fell in love with Korea. ‘The Land of Morning sculptures, so very different from their counterparts at Calm’ as it is affectionately called by its people. the European palaces’ gardens where they were made The palace consisted of several low buildings. They in expensive marbles and gilded bronzes. I found the were ‘peopled‘by models in the costumes of the time – Korean humble garden sculptures in a sense more mid 19th century. I found a lot to delight me. For beautiful, also incredibly modern.Very abstract in feel- instance I saw a few make up or jewellery boxes iden- ing. tical to the one I had bought in London, some twenty This palace as so many other artistic places and years ago, in a dusty cellar of an antique shop. No far objects were an inspired balance of the ornate and the eastern expert that I had asked was able to place it colourful and utter simplicity. exactly. I saw built in white wooden cupboards with After the Conference was over and Mila finished sliding doors and flat wooden handles totally reminis- her work with the Advisory Committee, we left for the

185 Izvanredan sistem grejanja podova pomoću kamenih Straža pred Gyeongbokgung palati u Seulu (i na sledećoj strani) cevi kroz koje je prolazio vreli vazduh. Zgrada je Guards at the Gyeongbokgung Palace in Seoul (also on the opposite) izgledala kao da lebdi na kamenim stubovima oslonje- na na brojne cevi ugradjene u beton. U vrtu je bila i niska klackalica. Kasnije sam pročitala da su dvorske dame zatvorene u ovim dvorištima, naskakivale dve po dve na ove klackalice ne bi li preko krovova palate videle “svet”izvan nje. Zgrade povezuju dugački hodnici sa zidovima od pirinčane hartije na drvenim ramovi- ma. Pirinčani papir i pozlaćeno drvo na tavanicama stvarali su osećaj intimnosti i lepote. Hodnici su služili kao tajna veza izmedju muških i ženskih odaja. U vrtu su veliki kameni komadi, kao da su doneti iz prirode, stajali na betonskim postoljima medju žbunovima. Ove skulpture su bile toliko drugačije od svojih pandana u vrtovima evropskih palata, klesanih u skupom mermeru i livenih u pozlaćenoj bronzi. Meni su jednostavne korejske vrtne skuplture bile na neki način lepše, i neverovatno moderne.Veoma apstraktan osećaj. Ova palata kao i mnoga druga umetnička mesta i predmeti predstavljaju inspirativnu ravnotežu ukrasa i boje i krajnje jednostavnosti. Po završetku Konferencije, kad je Mila završila svoje obaveze u Savetodavnom komitetu, pocele smo sa pripremama za put u unutrašnjost. Posle razgovora sa Choi i dogovora sa agencijom, naše putovanje je sledilo oblik trougla. Na jug do sela Hahoe i grada Gyeongju, zatim istočnom obalom na sever sve do planina u Nacionalnom parku Seoraksan, pa na zapad ponovo u Seul. Svanuo je predivan dan, auto je bio veoma udoban, pošle smo rano, vozač je bio veoma ljubazan mladić, ali vodiča nije nigde bilo. Konačno je došao kad smo već bile ljute. Izgubile smo tri dragocena sata. Govorio je

Korean countryside. After discussions with Choi and an agency it was decided that our trip was to take the shape of a triangle. South to the village of Hahoe and the town of Gyeongju, then along the east coast north as far as the mountains of Seoraksan National Park, then west back to Seoul. The day we left was gorgeous, the car wonderfully comfortable, we were starting early, the driver was a very polite young man but the guide was missing. We finally met but by that time we were cross .We had lost three precious hours. His English was good but we were not compatible as people. The young driver though, who was by profession a graphic designer and could speak excellent Chinese and Japanese, and little English, seemed to understand our tastes and managed to gracefully save many an uncomfortable situation. As we approached the village of Hahoe, the landscape became magical. The gentlest green of the rice fields, which then became greeny yellow, the blue mountains in the distance ,the trees with many differently coloured foliage lining the road, the straight blue lines of the canals, the tender blades of growing rice, the Naktong river in the distance, the utter peace- only crickets could be heard-, the tranquillity, the complete feeling of having gone back in time. We were walking by now, the cars were not allowed into the village. Hahoe dates from the 16th century.The oldest house is 550 years old. When Britain’s Queen Elizabeth II visited Korea in 1999 she wanted to see the Hahoe village and Seoul One could easily see why. Hahoe is full of magnificent old aristocratic homes made out of dark wood, white rice paper doors and ceramic tiled roofs. We saw a tree with an enormous trunk, probably as ancient as the village. With the help of a rail many 186 dobro engleski, ali se nismo složili kao ličnosti. Mladi vozač, po profesiji grafički dizajner, govorio je odlično kineski i japanski i pomalo engleski, i izgleda da je bolje razumevao naše želje i uspevao da delikatno reša- va mnoge neprijatne situacije. Dok smo prilazili selu Hahoe, predeo je postao bajkovit. Najnežnije zelena pirinčana polja prelazila su u zelenkasto žute, plave planine u daljini, drveće najraznovrsnijih boja oivičavalo je put, ravne plave linije kanala, nežne stabljike tek niklog pirinča, reka Naktong u daljini, potpuni mir - čuju se samo cvrčci – smirenost, potpuni osećaj povratka kroz vreme. Dalje smo morali pešice, automobilima je zabranjen ulazak u selo. Hahoe je nastao u XVI veku. Najstarija kuča je podignuta pre 550 godina. Kada je britanska kraljica Elizabeta II posetila Koreju 1999. želela je da vidi selo Hahoe i Seul. Bilo je jasno i zasto. Hahoe je prepun veličanstvenih starih plemićkih kuća, izgradjenih od tamnog drveta, sa belim vratima od pirinčane hartije i sa keramičkim pločicama na krovovima. Videle smo drvo čije je ogromno stablo verovatno bilo staro koliko i samo selo. Nizovi poduprtih konopaca su pravili kru- gove oko stabla, a sa njih su visile hiljade papirića sa porukama na korejskom. Običaj je da se najtajnije želje povere ovom divovskom stablu. I Mila i ja smo uradile što i svi pre nas. Napisale smo svoje želje na komadiće hartije i okačile ih pored ostalih. Krošnja je bilo toliko velika i gusta da ni kiša ni sneg nisu mogle da dopru do njih. Imale smo utisak da smo deo sebe ostavile kraj ovog drveta koje će još dugo živeti. U jedinoj gostionici u selu ručale smo izvanrednu pileću čorbu za raznim povrćem i posutim susamom. rounds of rope surrounded the tree, from which hung thousands of thin strips of paper with writing in Korean .One was supposed to confide the most secret wishes to the care of that giant tree. Mila and I did as all those people before us. We wrote our heart desires on small pieces of paper and hung them with the rest. The crown of the tree was so wide and thick that rain and snow probably never got through. We felt that we had definitely left a bit of ourselves under that tree which would last a long time. At the only village Inn we ate a delicious chicken stew with various greens and white sesame seeds sprin- kled on top. There were a few other side dishes. While waiting for the meal Mila and I bought a few souvenirs. I got myself a pair of straw sandals, the traditional Korean shoes, probably by now the thing of the past. But in a Korean novel which I’ve read recently the hero walked 30 miles over the mountains, in such shoes. We left the dirt paths of Hahoe and went to its Mask Museum. It was incredible. Apart from the traditional masks of the region, there was a really large collection of masks from every corner of the earth. You did not expect such a rich collection at such a small village. But Hahoe is famous for its mask dance dramas and the Hahoe masks were designated as a national treasure in 1964. They were unlike any other theatrical masks. The chins are made to move at performers will. Mila and I walked through the museum slowly. We wanted to take everything in and it was I must admit difficult to drag us from the museum shop, also. There we saw the most beautiful child that we had seen in Korea. We paid our compliments to her mother who beamed back. Our not so cooperative guide was getting very restless. He was 187 Uz to su donete i druge đakonije. Dok smo čekale da Ujedinjenog kraljevstva Sila (676-935), koje je uspelo ručak stigne, Mila i ja smo kupovale suvenire. Kupila da ujedini celo poluostrvo prvi put u istoriji Koreje. Taj sam par slamnih sandala, tradicionalnu korejsku period je poznat kao zlatno doba korejske kulture. obuću, koju danas verovatno niko više ne nosi. Ali, u Dan i po smo provele u Gyeongjuu. Cela okolina je korejskom romanu koji sam nedavno pročitala glavni muzej na otvorenom. Prepun kraljevskih grobnih junak je u takvoj obući prevalio preko 40 km kroz pla- humki, koje su otkrivene tek pre nekih trideset godi- nine. Ostavile smo praćnjave puteve Hahoe sela i otišle na. Tek nekoliko je istraženo, ostale su još uvek u Muzej maski. Utisak je bio neverovatan. Pored tradi- neotvorene i kriju ogromno blago koje je pohranjeno u cionalnih maski ovog kraja, videle smo i ogromnu njima. Njihova jednostavnost je dirljiva. Brdašca kao zbirku maski iz svih delova sveta. Ko bi očekivao glave šećera, neka malo viša od drugih, ali nijedno toliko bogatu zbirku u tako malom selu. No, Hahoe je previsoko. Prekrivene prelepom travom i u poredjenju poznat po svojim predstavama sa maskama i maske iz sa egipatskim pandanima, piramidama, humke Hahoa su proglašene 1964. za nacionalno blago. izgledaju plemenito, a zbog materijala (zemlja, a ne Razlikuju se od drugih pozorišnih maski. Umetnik kamen) i nacina gradnje – mnogo humanije. Nisu bile može slobodno da pokreće donji deo vilice na njima. potrebne hiljade robova da bi ih sagradili. U jednoj od Polako smo obilazile muzej. Želele smo da sve upijemo humki videle smo izvanredne vrednosti: zlatnu kral- i priznajem da smo jedva izašle iz muzejske prodavnice. jevsku Sila krunu, potpuno drugačiju od bilo koje Tu smo videle i najlepše od sve dece koju smo videle u evropske krune ikad napravljene. Osnovna struktura Koreji. Rekle smo to majci, a ona se ozarila osmehom. je veoma delikatna,i sa nje visi mnogo malih zlatnih Naš pomalo mrzovoljni vodič postao je veoma ner- pločica i žad u obliku suze, a ipak je izgledala laka. vozan. Jedva je čekao da nas ostavi u hotelu i oslobodi Videle smo i čuvenu sliku krilatog konja. Predivna se bar za to veče. slika. U hotelu su nas toplo dočekali. Koreja je gostoljubi- Na svu sreću, Japanci koji su okupirali Koreju od va, u njoj ste dobrodošli. Soba je bila izvanredna. Hotel 1910. do 1945. nisu ih otkrili i odneli blago iz kral- veliki. Hrana dobra. Bile smo zadovoljne. jevskih grobnica kao što su odneli sve što su mogli. Stigle smo u Gyeongju, nekadašnju prestonicu Japanci su bili surovi zavojevači i odneli su u Japan sva

Kraljevske humke (korejske piramide) u Gyeongju-u The Royal mounds (Korean pyramids) in Gyeongju dying to get us to the hotel and be rid of us for the slaves to complete them. We saw some wonderful treas- evening. ures inside one of the mounds: a Unified Silla royal We were greeted warmly at the hotel. Korea is a gold crown, totally unlike any European crowns of any welcoming, hospitable country. Our room was excel- age. The basic structure was very delicate, with lots of lent. The hotel had very large grounds. The food was small gold discs and tear shaped jades hanging from it, good. We were happy. and yet it looked so light. We saw the famous painting We had arrived at Gyeongju, which used to be the of the flying horse. It was beautiful. capital of the Unified Silla (AD676-935), a kingdom It was lucky that the Japanese who occupied Korea which managed to unite the whole peninsula for the from 1910 to 1945 had not discovered them and taken first time in the history of Korea. That period is known the Royal tombs’ treasures as they had everything as the golden age for Korean culture. else.The Japanese were merciless invaders and took We spent a day and a half at Gyeongju. The whole back to Japan as many artefacts as could be found or area was a living museum. It was full of Royal burial carried away. Many Buddha sculptures were luckily too mounds, very recently discovered, only some thirty large to take. years ago. Very few have been excavated the rest are There were school kids everywhere. In their yellow still standing there unopened with priceless treasures uniforms, shouting ‘Hello’, and ‘What’s your name’? and hidden within. They were moving in their simplicity. giggling, because we were obviously foreigners.. They Small hills, like sugar loaves, some taller than the oth- were vivacious yet they walked in neat files, and ers, but none too tall. They were covered by beautifully seemed to be obediently listening to whatever teachers kept grass and compared to their Egyptian counter- asked them to do. Many of them carried orange felt toy parts, the pyramids, they appeared pure, both in mate- monkeys, around their necks, as if they were babies. rial (the earth unlike the stone) and execution - so Mila and I in the end could not resist and bought a few much more humane. They did not need thousands of to give as presents.

188 umetnička blaga koja su našli ili mogli da prenesu. Na arheoloških iskopavanja. Naravno, gledali smo lutke, sreću mnogi Budini kipovi bili su preveliki. ali bile su u prirodnoj veličini i izgledale kao da su žive. Posvuda smo viđali školsku decu. U žutim unifor- Dopalo nam se što je za posetioce bilo postavljeno pet mama, dovikuju “halo”i “Kako se zoveš?”dok se kikoću, kompjutera, koje su mogli da koriste. Neki od izloženih jer vide da smo stranci. Iako su bili veoma živahni, ipak predmeta bili su fantastični. Meni su se dopale prelepe su išli u pravilnim redovima i slušali svoje učitelje. okrugle Sila krovne pločice iz VI veka. Bile su jedin- Mnogu su oko vrata nosili narandžaste plišane maj- stvenog oblika i svaka je imala i šaru. Većina je ipak munčiće, kao da su bebe. Na kraju smo i Mila i ja kupile bila u obliku lotosa. nekoliko da ih poklonimo. Počasno mesto u vrtu zauzimalo je čuveno “Emille” zvono,“božansko zvono”, jedno od najstarijih (771.) ali Kasnije smo u Nacionalnom muzeju u Gyeongjuu i najvećih na svetu.Teško je 20 tona, a prečnik mu je 2,3 opet srele mnogo dece. Konfučijanstvo, kao društveno- metra. Kažu da se zvuk zvona može čuti na daljini od politička filozofija, duboko je ukorenjena u Koreji. 64 km kad je dan lep. Ljudi veruju da zvono zvoni da Jedan od postulata je da je čovek u suštini dobar, samo podseti na bebin plač za majkom, koja se na drevnom je potrebno da se kultiviše, tj. obrazuje, da bi se jeziku Sile zove “Emille”.Kupila sam traku za zvukom usavršio i razvio. Zato je obrazovanje toliko bitno u zvona i potpuno sam bila razočarana. Nema melodije, Koreji. I zato je bilo toliko dece na svakoj izložbi, u samo buum, buum u pravilnim intervalima. svakom muzeju i kraj svakog spomenika. Vodič nas je odveo u otmeni restoran, namenjen tur- U muzeju smo srele Miline kolege, koje sam i ja istima i otišao. Mila misli da je probala cvrčke ili površno poznavala.Veoma smo se obradovale. Bile smo skakavce i bila je veoma ponosna. Bez obzira na cenu, daleko od kuće i ovo je predstavljalo vezu sa njom. Oni ručak je bio daleko od onih divnih obeda koje smo su dobro poznavali Koreju. Porazgovarali smo, razme- imale Choi i ja ili Mila i ja u Hahoe selu. nili informacije i rastali se. I tog dana smo bile u prodavnicama gde se prodaju Mila je bila oduševljena unutrasnjim uredjenjem žad i ametist, dve vrste poludragog kamenja po kojima muzeja. Neprestano je snimala. U ogromnoj prostoriji je Koreja poznata. Nisam znala da žad može imati sa staklenim podom, bile su predstavljene različite faze toliko različitih nijansi zelene i smeđe boje. Od nekih

Mila pred starom tradicionalnom kućom u Gyeongju-u Mila in front of an old traditional house in Gyeongju Later on at the Gyeongju National Museum we unique and they also each had a pattern. Most of them again met lots of children. Confucianism as a socio- were, however, created in lotus design. political philosophy has very deep roots in Korea. One The place of honour in the garden was given to the of its beliefs is that human nature is good in essence famous ‘Emille’ bell, the Dvine Bell, one of the world’s and that it only needs cultivation, meaning education, oldest (771 AD) and also one of the largest. It weighs 20 to refine and develop itself. Education in Korea is tons and measures 2.3 meters in diameter. It is said that therefore very important. That was why every exhibi- the bell’s sonorous tones can be heard 64 km away on a tion, every museum and monument was literally over- clear day.There’s also a belief that its tolling is reminis- run by kids. cent of a baby’s cry for its mother, which in the lan- At the museum we also met Mila’s colleagues whom guage of ancient Silla is Emille. I bought a tape of the I knew slightly too. It gave us a lot of pleasure. We were bell’s toll and found it most disappointing. There’s no very far away from home, and we had found a link. melody, just boom, boom, at regular intervals. They knew Korea well. We exchanged pleasantries and Our guide then took us to a grand restaurant, a some information and partied. usual tourist place and left us. Mila thought that she Mila was very impressed with the layout of the ate some crickets or grasshoppers and was very proud museum. She took masses of photographs. In a large of the fact. The meal however expensive had little sim- room, where most of the floor was glass, we saw archae- ilarity to the wonderful meals I had with Choi or the ological excavation in various stages. Naturally we one Mila and I had at the Hahoe village. were looking at dolls, but they were life size and very That day we also went to the shops where they sold real. We also liked the site of five computers sitting in a jade and amethyst the two semi-precious stones of row for the use of the visitors.There were some magnif- Korea. I hadn’t known that jade could come in so many icent exhibits. I liked the beautiful round Unified Silla different shades of green and brown too. Some ‘greens’ roof tiles from the sixth century. Their shape was made my skin look positively ill. I finally found a neck-

189 “zelenih” nijansi izgledala sam kao bolesna. Najzad baštine. Da bismo stigle do mesta sa koga Buda gleda u sam našla ogrlicu u “svojoj” nijansi i počela da se cen- pravcu Istočnog mora (na geografskim kartama piše kam. Tu sam veštinu naučila u Indiji. Japansko more, ali ne i u Koreji) pele smo se putem koji Iznenadila nas je veličina komada žada i ametista u je blago vijugao izmedju pinija i javora, a na kraju prodavnicama nakita. Bili su prave gromade. Dotle popele se uz nekoliko stepenika. Granitni Buda sedeo je sam naivno mislila da ovo skupo poludrago kamenje smireno u veličanstvenom skladu sa veštački zasvod- postoji samo u veličini šljunka. Kristali ametista jenom pećinom sastavljenom od granitnih ploae još u VI blistali su kao dijamanti. Njihova ljubičasta boja bila je veku. Okružen božanstvima u reljefu, savršeno izvajan- tamna, raskošna i jaka. Postalo mi je jasno da su bledi im. Stajali smo sa strahopoštovanjem u predvorju u ametisti koje sam vidjala u draguljarnicama na zapadu kome nas debela staklena ploča deli od Bude. tek blede kopije.Veliki komadi žada se seku tako da se Verovatno su ga mnogi poštovaoci dodirivali pošto je vidi ravna, dobro polirana ploha sa krugovima koji kao ovo mesto cilj hodočasnika. Prilikom silaska preplavila duga sjaje zelenom bojom od mlečne do tamne boje nas je potpuna smirenost. Monasi su prodavali suvenire mahovine u najdubljoj šumi. i ja sam pokupovala gomilu minijaturnih drvenih sim- Otišle smo rano na spavanje. Sledećeg dana smo bola čije značenje nisam znala, ali su mi se veoma posetile pijacu na kojoj se prodavala sasvim sveža riba, dopali. Iznenadila sam se što u hramu nije bilo dece, ali poznata i nepoznata, egzotična, povrće, voće, mahu- onda će možda dolaziti kad odrastu. Ovo je ionako narke i nešto što nismo znale šta je. Recimo, zdela puna mesto za hodočasnike. telašaca nekih buba bez krila. Ili druga sa kao olovka Opet su me ostavili u prodavnici žada (stidim se da tankim, crnim bićima koja se uvijaju u zapenjenoj vodi. kažem) a Mila je sa vodičima otišla u Bulguk-sa, ogro- Mislim da su to bile mlade jegulje, jer u nekom vodiču man kompleks hramova iz VI veka, proširen 752. godine piše da je jelo do jegulja regionalni specijalitet. Meso se i takodje na UNESKO-voj Listi svetske baštine. Tada prodavalo samo u radnjama. Briž- nisam shvatila značaj baš tog ljivo isečeni komadi poslagani kao hrama. Bio je izvanredno restau- da su svilene maramice. Na mene risan i predstavlja odličan primer je najveći utisak ostavio ginseng. arhitekture iz perioda Ujedinje- Bilo ga je u velikim količinama. nog kraljevstva Sila. Nažalost, Zadivljujući prizor. U Evropi ga regovala sam isto kao u Evropi prodaju u sasvim malim količina- kada turistički obilazak podrazu- ma i veoma je skup. Koreja proiz- meva preveliki broj crkava. Već vodi najbolji ginseng u Aziji. sam videla mnoge japanske hra- Sledeće odredište bila je Se- move i u neznanju pomislila sam kkuram Grotto, jedno od najlep- da je to samo još jedan hram više. ših Budinih svetilišta i nalazi se A sada, dok čitam knjige o Koreji, na UNESKO-voj Listi svetske osećam se neprijatno. Toliko sam

lace in ‘my’ shade and then set to expensive. Korea is the producer bargain. I had learnt the art in of the best ginseng in Asia. India. Our next stop was at Sekku- But what surprised us in the ram Grotto one of the world’s jewellery shops also were the finest shrines of Buddha, which is pieces of jade and amethyst the part of the Unesco World Cultural size of small rocks. Until then I Heritage List. To reach the place naively thought that these semi where Buddha is set looking east precious stones were found in towards the East Sea (on the maps sizes of small pebbles. The it’s called the Japanese Sea, but amethyst crystals sparkled like not in Korea) we climbed a gentle diamonds. The depth of their pur- path meandering among pines ple was dark, rich and intense. I and maples and then up some then realized that the pale “Emille” zvono (Devine zvono) u steps. The granite Buddha sat in amethysts that one saw at the Nacionalnom muzeju u Gyeongju-u repose in magnificent proportion ordinary jewellery shops in the The 'Emille' bell (Devine Bell) at the to the domed artificial grotto built West were but the poorest rela- Gyeongju National Museum out of granite slabs in 6th century tives. The huge pieces of jade were AD. He was surrounded by deities cut to show one flat, highly polished surface where in in relief, faultlessly executed. We stood in awe in the shape of a rainbow were circles in many different hues ante-chamber separated from Buddha by a thick sheet of green ranging from the milky pale to the dark moss of glass. Since it is a place of pilgrimage he was proba- of the thickest forest. bly touched by too many worshippers. Coming down We again went to bed early. Our first visit the next from the shrine we experienced a complete sense of day was to the teaming market full of very fresh, some peace. Monks were selling souvenirs and I bought a known and some unknown exotic fish, vegetables ,fruit, whole lot of miniature wooden symbols which repre- pulses and certain produce that we could not place. For sent I am not sure what but I loved them. I was sur- instance a bowl full of wingless bodies of some beetle. prised that there were no children at the temple but Or another bowl with pencil thin, black creatures wrig- they will probably come when they grow up. After all gling around in frothing water. I think that they were this was a place for pilgrims. baby eels, since one of the guide books said that the eel They left me at the jade shop again (I am ashamed stew was the delicacy of the region. Meat was sold only to say) whereas Mila and the guides went to Bulguk-sa, in shops. Carefully cut pieces as neatly folded as if they the sprawling 6th century AD temple complex, enlarged were silk scarves. For me the most impressive produce in A.D. 752, which is also on the Unesco World Cultural was ginseng. There was so much of it. It was an amaz- Heritage List. At that time I had not realized the ing site. In Europe it is sold in tiny amounts and is very importance of that particular temple. It has been 190 pogrešila. Koreja i Japan su potpuno različiti i sigurna stići u hotel u planinama. Naš vodič je postao ner- sam da je Bulguk-sa sasvim drugačiji od budističkih vozan. Svaki čas je razgovarao sa svojom agencijom i hramova u Kjotu i okolini. Mila se oduševila hramom odluka je doneta. Stizali smo, ali gde? Znale smo da Bulguk-sa. nismo stigle do planina, jer smo stali ubrzo pošto smo Za nama je ostala kulturna svečanost Gyeongjua i skrenuli sa obalnog puta. pošli smo na istok, ka moru. Istočno more, odmarališ- Novi hotel je bio porodični, u korejskom stilu. Do ta i plaže sa belim peskom, male luke, ribarski čamci soba smo stigle preko veoma dobro snabdevenog super- svi su nam uputili dobrodošlicu i stvorili nam osećaj marketa. Dobile smo apartman sa dve sobe. U jednoj je slobode. Našem vodiču, koji se ipak nije uklopio, bilo bio dupli krevet, u drugoj dušeci na podu. Osim toga je dosta nas, ali i nama je bilo dosta njega. Stvar je u imale smo i dobro opremljenu kuhinju i kupatilo koje svoje ruke uzeo prijatan i miran mladi čovek koji nas nismo umele da koristimo. Morale smo da ostavimo je vozio. Za razliku od našeg vodiča koji je uvek išao cipele pred vratima. Bile smo isuviše umorne da bismo u suprotnom smeru, on je shvatao šta mi želimo. Bilo obraćale pažnju na tuš. je vreme ručku i predložio nam je korejski restoran u malom ribarskom selu. Na spoljnom zidu je bio akvar- Ujutru smo videle da smo se prevarile. Planine su ijum, kao izlog, i vi samo pokažete ribu koju želite za bile pred nama i kasnije tokom puta do Seula uživale ručak. Prepustile smo izbor vozaču i ušle u prazan smo u pejsažu. Sa puta smo mogle da posmatramo restoran. Leto je prošlo. Ljubazno su nas pozdravili. planinske lance na horizontu i zlatne doline u dubini, Restoran je bio tradicionalan, pa smo skinule cipele i vijuganje sporih reka. Zastajale smo da slikamo i da prišle niskom stolu. Smislila sam kako da sednem upijemo sve utiske i ponesemo ih zauvek. uljudno – klekla sam, stavila dva jastuka na noge i Celo Korejsko poluostrvo presecaju šumovite, sten- tako sela. Sveža riba, povrće, školjke, rakovi, sve ljuto ovite planine. Samo 20 procenata poluostrva je ravnica, i začinjeno. Bilo je drugih prilo- pa ipak planine nisu visoke. ga: kiseli beli luk, morska trava, Najviši vrh u Južnoj Koreji iznosi povrće u činijcama, nekakav crni 1915 metara. Koreja se nalazi na pasulj i kimči. Posle ručka šetale jednom od najstarijih kopnenih smo izmedju ribarskih čamaca i delova sveta, i kao što je neko redova i redova oka¬enih lignji objasnio poluostrvo se naginje ka koje su se sušile na konopcima zapadu, a zatim se obrušava u kao sveže oprano rublje. Lignje Žuto more. Zbog toga je obala koje se suše pratile su nas celim oivičena stotinama ostrva. A na putem pored obale. Spustilo se istočnoj obali planine se spuštaju veče a sa njim su se pojavile i direktno na obalu sa mnoštvom svetiljke na ribarskim čamcima u malih uvala. Predeo izmedju daljini. Bilo je jasno da nećemo istočne obale gde smo prespavali i apparently superbly restored, and we took our shoes off and appro- is a splendid example of Unified ached a very low table. I invented Silla-era architecture. Unfortu- a way of sitting in a polite way by nately I had reacted the way I kneeling, putting two cushions on react in Europe when during a site my bent legs, and then sitting on seeing tour I see too many church- top. It took a bit of time to prepare es. I had already seen quite a num- the stew, but when it arrived it ber of Japanese temples while was a dream. Fresh fish, vegeta- staying in Kyoto and I thought in bles, shells, crabs, all hot and my ignorance that too many tem- spicy. There were a few side dish- ples were just one temple too es as well: pickled garlic, see much. Now, having read about weed, vegetables in separate small Korea I feel embarrassed. I was so dishes, some black beans, and wrong. Korea and Japan are two Koreanka prodaje lignje na obali kimchi. After lunch we walked such totally different countries A Korean fisherwoman selling squids by the among the fishing boats and rows that I am certain that Bulguk-sa is sea-side upon rows of squids hanging like very different from the Buddhist freshly hung laundry on ropes to temples in and around Kyoto. Mila loved the temple of dry. Squids also hung all along the coast road as we Bulguk-sa. drove by. The dusk came and with it in the distance We left the cultural feast of Gyeongju behind and lanterns on fishing boats. We saw that we were not headed eastward in the direction of the sea. Seeing the going to reach the hotel in the mountains. Our guide East Sea and the resorts with white sand beaches, small was nervous. He talked a lot to his office and a decision ports, and fishing boats gave us a very welcoming feel- was made. We were arriving but where? We knew that ing of freedom. Our not so compatible guide was get- we had not reached the mountains, since we stopped ting fed up with us and us with him. The nice and quiet soon after turning off the coast road. young man who acted as a driver then took over. He The new hotel was a family place, Korean style. We understood our tastes unlike our official guide who arrived to our room by going through a very well always headed in the opposite direction. It was time for stocked super-market. We had a two bedroom apart- lunch and he then proposed a meal at a Korean restau- ment. One room had a double bed, the other mattresses rant in a small fishing-resort village. There was an on the floor. There was also a fully equipped kitchen aquarium on the outside wall, just like a shop window, and a bathroom which we did not know how to work. and you chose your menu by pointing to the fish you You had to take your shoes off. We were too tired, to wanted.We left the choice to the driver and walked into care about showers. a deserted restaurant. The summer was over. We were In the morning we saw that we were wrong. The graciously welcomed. Since it was a Korean restaurant, mountains were there and later as we drove along 191 Seula bio je potpuno napušten u svojoj predivnoj lep- kraljevstva Sila. U sećanje su mi se urezali murali koji oti. Tek tu i tamo neko seoce, stoka, svinje, ovce, ljudi. su prekrivali četiri zida i tavanicu rekonstruisanog sta- Poslednji dan u Seulu provele smo u Nacionalnom rog groba u Goguryeo-u. Na njima su bile velike scene. muzeju koji se od 1996. nalazi u Kraljevskoj palati Sećam se scene lova prepune neverovatne snage, ener- Gyeongbokgung. Divna velika izložba o kulturi gije i gotovo nenadmašne lepote. Mada su hronološki Goguryeo, starog kraljevstva koje je sa kraljevstvima prethodili, po mom mišljenju, slikari Goguryeo kral- Sile i Baekje vladalo celim Korejskim poluostrvom i jevstva daleko nadmašuju slikare Ujedinjenog kral- dobrim delom Mandžurije. Period izmedju 57 g. p.n.e i jevstva Sila. 668. n.e. u korejskoj istoriji je poznat kao period Tri A onda smo ušli u sale sa korejskom keramikom i tu Kraljevstva. UNESCO je dragocenosti Goguryeo-a smo ostale. Svaki komad zelene keramike, zvane uneo na Svetsku listu baštine, a izložba je objašnjavala seladon iz vremena Goryeo dinastije (918-1279) bio je identitet drevnog kraljevstva. savršen. Boju je neko najpreciznije opisao kao “tamno Bez obzira na politiku, izloža je Mili i meni bila od zelenu nijansu žada”. Ljudi su pokušavali da tu speci- izvanredne pomoći da bolje shvatimo hronologiju. jalnu zelenu boju opišu na različite načine, nazivajući Goguryeo je prethodio Ujedinjenom kraljevstvu je zelenkasto plavom, kao krila vodomara i slično. Pre Sila što nam je pružilo jasniju sliku korejske kulture do toga sam u Gyeongju-u nekoliko sati razgledala žad 935. godine kada je prestala dominacija Ujedinjenog najraznovrsnijih nijansi dok sam birala ogrlicu, pa mi

Večera sa Choi u restoranu sa valjuškama Our farewell dinner with Choi at a dumpling restaurant

towards Seoul we saw just how spectacular they were. exhibition was trying to clarify the identity of the From our road we could see chain upon chain of moun- ancient kingdom. tains filling the horizon and golden valleys far bellow, Politics aside the exhibition was beautiful and for cradling slow flowing rivers. We kept stopping to take Mila and me perfectly placed in time. Goguryeo had photographs and to take it all in and store it forever. preceded Unified Silla and that gave us a better picture The whole Korean peninsula is ribbed by forested, of Korean culture until A.D. 935 which marked the end rocky mountains. Only 20 percent of the peninsula is of the dominance of Unified Silla. What had stayed flat yet the mountains are not very high. The highest imprinted on my mind the best were the murals which peak in the mainland South Korea is 1915 meters. covered four walls and a ceiling of a reconstructed old Korea is one of the world’s oldest land areas, and as tomb of Goguryeo. They were big scenes. I remember a someone explained the whole peninsula is tilted hunting scene full of incredible vigour, energy and of toward the west, then tipping into the Yellow Sea .As a almost unsurpassed beauty. Although chronologically result the west coast is dotted with hundreds of islands. earlier I thought that the painters of the Goguryeo On the east coast on the other hand the mountains go Kingdom surpassed by far the painters of Unified Silla. right to the coast and the shoreline is full of tiny coves. We then entered the halls with Korean ceramics and The land between the east coast where we spent the never moved any further. Each Celadon pot of the night and Seoul was utterly lonely in all its splendid Goryeo Dynasty Š918-1279Ć was a masterpiece. The beauty. Hardly any hamlets, cattle, pigs, sheep, people. colour was as I since found it most aptly described ‘the Our last day in Seoul was spent in and around the deep jade shade of green’. Otherwise that particular National Museum which has been housed since 1996 in gorgeous green people tried to describe in different the grounds of the Gyeongbokgung Royal Palace. A ways calling it greeny blue, kingfisher colour etc .I had beautiful large exhibition was on about the culture of previously in Gyeongju spent a few hours looking at Goguryeo an ancient kingdom which together with lots of different shades of jade trying to buy a necklace kingdoms Baekje and Silla ruled the whole Korean and therefore feel that that description fits it perfectly. peninsula and much of Manchuria. The time of their Mila and I took a long time with each pot. Quite a few rule 57BC -AD 668 is known in Korean history as the of the Celadon pots were marked as National Trasures Three Kingdoms period. Unesco had registered That was the Korean way of pointing to excellence. Goguryeo relics in the World Heritage List, and the The White pottery of the Joseon Dynasty (AD 1392-

192 se zato čini da je ovaj opis najtačniji. Mila i ja smo dugo Volim je zbog toga što ne dozvoljava da materijalni gledale svaki predmet. Mnogo predmeta od ove prosperitet uništi stari tradicionalni način života. To je keramike bilo je označeno kao nacionalno blago. Tako uticaj konfučijanizma, drevne društvene i političke Koreanci obeležavaju savršenstvo. filozofije koja je nastala u V veku p.n.e. u Kini a koja je I bela keramika Joseon dinastije (1392-1910) veoma ohrabrivala porodičnu hijerarhiju i društvene odnose je lepa. Ali zelena keramika Goryeo dinastije jedinstve- kao i poštovanje starijih, roditelja i učitelja. I poštovan- na je zbog svoje boje i specijalne vrste tauširanja koju je predaka deo je ove filozofije. Stari sistem verovanja su pronašli korejski keramičari tog vremena a koja još uvek je prisutan i život se odvija po njemu čak i izuzetno romantično prikazuje ždralove, oblake, vrbe, danas. guske, bambus i jezerca sa lotosima. Poslednje veče smo provele sa Choi u restoranu na Drago mi je što su koreni Koreje toliko duboki i da vrhu brda uz veoma ukusne valjuške i obavezni kimči. se još uvek snažno oslanja na njih. Ta veza i principi Seul je bio ispod nas u sjaju hiljada svetiljki. Posle konfučijanizma objašnjavaju sposobnost ove zemlje da večere prošetale smo ulicom. Kraj je bio lep sa mnogo brine o svom kulturnom nasledju i da ga tako uspešno starih kuća. Jedna vrata su bila širom otvorena. štiti. UNESKO preporučuje da njihov model očuvanja Zavirile smo oprezno, ali domaćini su nas videli i poz- nematerijalnog nasledja postane uzor i za druge zeml- vali da udjemo. Skinule smo cipele i ušle u čarobnu je. Upravo zato je XX Generalna konferencija IKOM-a sobu sveže obojenih belih zidova i sjajnih lakiranih održana u Koreji. greda boje meda na tavanici. Četvora vrata su vodila u četiri sobe istovetno restaurisane. Ljubazni domaćini Neverovatna hrabrost ove nacije najviše me je pokazali su nam i te prostorije. Objasnili su nam da je zadivila.“Račić izmedju dva kita” – tako jedna izreka kuća detaljno restaurisana kao i mnoge druge kuće u opisuje Koreju. Kitovi su Kina i njena politička moć i tom delu grada. Koreanci sa ponosom brinu o svom Japan i njegova agresivna ekonomija. Japan je 35 god- nasledju. ina držao Koreju pokorenom, od 1910-1945. U vreme invazije Japan je bio moderna vojna sila za razliku od Počela sam da se opraštam od zemlje koja mi je Koreje koja je bila dostojanstvena, mirna zemlja koja toliko prirasla srcu i duši. je samo želela da nastavi da živi kao i dotle. No, Divila sam se njenoj snazi i nevererovatnom stanovnici Južne Koreje su mnogo naučili od Japanaca ekonomskom napretku ostvarenom posle Korejskog i možda će ih dostići u ekonomskoj snazi. Ekonomska rata izmedju severa i juga ranih pedesetih. Kad je rat i vojna snaga uvek su bile bitne ako hoćete da mirno završen, zemlja je bila u ruševinama. Po snazi svoje živite. ekonomije ona danas zauzima dvanaesto mesto u svetu. No ipak, to je još uvek ona “Zemlja jutarnjeg spokoja” Dovidjenja, Korejo, dolazim opet sigurno. I Mila je i pastoralne lepote. obećala da dođe.

1910) is very beautiful too. But Goryeo Dynasty Confucianism, the ancient social and political philos- Celadon is unique, because of its colour and a special ophy which originated in the 5th century BC in China kind of inlay which was invented by Korean potters of and whose teaching encouraged hierarchical family the period, expressed most romantically in designs and social relationships and the respect for elders, showing cranes, clouds, willows, geese, bamboos and parents and teachers. Ancestral worship is part of lotus pools. that too. The old system of beliefs is still very much in Our last evening was spent with Choi in a restau- evidence and the life is conducted along these lines rant on top of a hill eating very tasty dumplings and the even today. usual kimchi. Seoul was down below twinkling with a thousand lights. After the meal we took a walk along a I love the fact that Korea has very deep roots and street. It was a lovely area with very old houses. One that it is still holding onto them with all its might. That door stood wide open. We peeped from afar but were attachment and Confucian principles to me explain the seen and invited in. We took our shoes off and entered country’s ability to look after its cultural heritage and into a beautiful room with freshly painted white walls protect it so well. UNESCO recommends their way of and gleaming honey coloured lacquered beams on the safe-guarding Intangible Heritage as a model to other ceiling. Four more doors led to four other rooms countries. This is why the ICOM 20th General restored in exactly the same manner. Our kind hosts Conference was held in Korea. showed us those rooms as well .We were told that the house had undergone a thorough restoration as had Perhaps what went the deepest to my heart is the many other houses in the area. Koreans look after their incredible courage of this nation.’ A shrimp between heritage with pride. two whales’ is how a local proverb explains Korea. The whales being China with its political might and Japan I then started to say good-buy to the country which with its aggressive economy. Japan held Korea captive had attached itself to my heart and to my mind. for 35 years, from 1910-1945.At the time of the invasion I admired its strength in creating the most incredi- Japan was a modern military power unlike Korea ble economic advance since the Korean War between which was a dignified peaceful country wanting to be the North and the South in the early fifties. By the end left to follow its traditional ways. But South Koreans of the war it had been reduced to ruins. The size of its learned a lot from Japanese and might be able to match economy today is considered to be 12th largest in the their economic strength. After all economic and mili- world.Yet, it is still ‘the land of the morning calm’ and tary power were and are important if you want to be the land of pastoral beauty. left in peace.

I love it for not allowing material prosperity to Good buy Korea I will definitely come back. Mila ruin the old traditional ways of life. It is mainly due to said she will join me. 193 JANUAR JANUARY

Zimsko – prolećna radionica DIJANA, od 20. januara Winter-Spring Workshop DIANA, from January 20 on Godisnja skupstina NK IKOMA SCG, 28. januara NC of ICOM of Serbia and Montenegro Annual Assembly January 28 FEBRUAR FEBRUARY Zimsko-prolećna radionica DIANA Konzervatorske radionice: Winter-Spring workshop DIANA Konzervacija keramike Conservation workshops: Konzervacija stakla Conservation of ceramic Konzervacija porculana, fajansa majolike Conservation of glass Sanacije kopija stećaka Conservation of porcelain, faience, majolica Izrada kopija i replika Salvaging copies of grave tombs (stećci) Making of copies and replicas POČETNI KURS FRANCUSKOG JEZIKA FRENCH FOR THE BEGINNERS MART

Zimsko – prolećna radionica DIANA MARCH Konzervatorske radionice: Konzervacija keramike Winter-Spring Workshop DIANA Konzervacija stakla Conservation workshops: Konzervacija porculana, fajansa majolike Conservation of ceramic Sanacije kopija stećaka Conservation of glass Izrada kopija i replika Conservation of porcelain, faience, majolica Salvaging copies of grave tombs (stećci) POČETNI KURS FRANCUSKOG JEZIKA Making of copies and replicas

Specijalistička radionica konzervacije mozaika, 28 feb- FRENCH FOR THE BEGINNERS ruar -7 mart, Patrik Blank, Mari Lor Kurbules, Muzej antike u Arlu Specialist WORKSHOP on Conservation of Mosaics, Seminar Planiranje novog muzeja, 21-25 mart, Nosliac February 28 – March 7 (Patrick Blanc, Marie Paule kursa Bari Lord, LORD Cultural Resources Planning and Courbules, Museum of Antiquities in Arles, France) Management, Toronto, Kanada Radionica iz preventivne zaštite - Analiza stanja u Seminar Planning a New Museum, March 21 – 25, Muzeju Nikole Tesle Barry Lord, LORD Cultural Resources Planning and Management, Toronto, Canada APRIL Preventive Conservation Workshop: Survey in the Nikola Tesla Museum Zimsko – prolećna radionica DIANA Konzervatorske radionice: Konzervacija keramike APRIL Konzervacija stakla Konzervacija porculana, fajansa majolike Winter-Spring Workshop DIANA Sanacije kopija stećaka Conservation workshops Izrada kopija i replika Conservation of ceramic Conservation of glass POČETNI KURS FRANCUSKOG JEZIKA Conservation of porcelain, faience, majolica Salvaging copies of grave tombs (stećci) Radionica iz preventivne zaštite - Analiza stanja u Making of copies and replicas Muzeju Nikole Tesle, Ciklus predavanja na temu konzervacije antičkih FRENCH FOR THE BEGINNERS mozaika, namenjenih studentima Akademije za umetnosti i konservaciju SPC Preventive Conservation Workshop: Survey in the Specijalistička radionica iz konzervacije mozaika, Maja Nikola Tesla Museum Franković Cycle of lectures on conservation of antique mosaics, MAJ for the students of the Academy for Arts and Conservation of the Serbian Orthodox Church Zimsko – prolećna radionica DIANA Konzervatorske radionice: Specialist WORKSHOP: CONSERVATION OF MOSAICS, Konzervacija keramike Maja Franković 194 Konzervacija stakla Konzervacija porculana, fajansa majolike MAY Sanacije kopija stećaka Izrada kopija i replika Winter-Spring Workshop DIANA Conservation workshops POČETNI KURS FRANCUSKOG JEZIKA Conservation of ceramic Conservation of glass Specijalistička radionica iz konzervacije mozaika, Maja Conservation of porcelain, faience, majolica Franković Salvaging copies of grave tombs (stećci)

NK IKOM SCG: Nedelja obeležavanja Međunarodnog Specialist WORKSHOP: CONSERVATION OF MOSAICS, dana muzeja Maja Franković Glavna tema: Muzeji kao mostovi kulture(Museum bridging cultures) NC of ICOM of Serbia and Montenegro: Week observ- 14-15. maj, Prijepolje – program Muzeja u Prijepolju ing the International Museum Day 2005 May 14-23, 2005 16. maj, Beograd – program Etnografskog muzeja u Main theme: Museums bridging cultures Beogradu; radionica u Kladovu 14-15 May,Prijepolje – program organized by the 17. maj, Beograd – proslava desetogodišnjice Galerije Museum of Prijepolje Haos 16 May,Belgrade – program in Ethnographic museum 18. maj, Novi Sad – program Muzejskog društva Srbije in Belgrade; a workshop in Kladovo 19. maj, Beograd – program Muzeji i međunarodna 17 May, Belgrade – celebration of the 10th anniversary zajednica, Galerija fresaka of the Haos Gallery 20. maj, Beograd – program Muzeja afričke umetnosti 18 May, Novi Sad – program of the Museum 23. maj, Beograd – program Galerije Haos Association of Serbia 19 May,Belgrade – program Museums and POČETNI KURS FRANCUSKOG JEZIKA International Community in the Gallery of Frescoes 20 May, Belgrade, program in the Museum of African 28. maj-10. jun, Mila Popović-Žživančević, poseta Art Univerzitetu Sen Deni, Univerzitetu Pariz I, C2RMFu, 23 May, Belgrade, program in the Haos Gallery UNESKOu, Savetodavnom komitetu IKOMa, Pariz 15. maj-25. juni, Vesna Žživković učešće u organizaciji FRENCH FOR THE BEGINNERS kursa Upravljanje rizicima, ICCROM, Rim May 28 – June 10 Mila Popović-Živančević - Visits to JUNI Universite Saint Denis, University Paris I, C2RMF, UNESCO, Advisory Committee of ICOM meeting May 15-June 25 Vesna Živković, assistant during Risk 29. maj- 7. jun, Ana Kocjan, učešće na poster izložbi management course of ICCROM, Rome slovenačkih konzervatora, Muzejsko društvo Slovenije i Narodni muzej u Ljubljani, Slovenija Poseta Etnografskom muzeju Slovenije JUNE Poseta Restauratorskom zavodu Slovenije Poseta Narodnom muzeju Slovenije 29 May – 7 June, Participation at the exhibition of Slovenian conservators, Museum Association of Slovenia Konzervatorske radionice: and National Museum Ljubljana, Ana Kocjan Konzervacija keramike Visit to the Ethnographic Museum of Slovenia Konzervacija stakla Visit to the Institute for Restoration of Slovenia Konzervacija porculana, fajansa majolike Visit the National Museum Ljubljana Sanacije kopija stećaka Izrada kopija i replika Conservation workshops Specijalistička radionica konzervacije mozaika, Maja Conservation of ceramic Franković Conservation of glass POČETNI KURS FRANCUSKOG JEZIKA Conservation of porcelain, faience, majolica Salvaging copies of grave tombs (stećci) 21 – 25. juna, Aleksandra Džikić Nikolić, MUTEC 2005, Making copies and replicas sajam muzejske opreme, Minhen, Nemačka Specialist workshop of mosaic conservation, Maja Franković SPECIJALISTIČKI KURS: Tradicionalne proizvodnje FRENCH FOR THE BEGINNERS keramike (Projekat Eksperimentalna arheologija), u saradnji sa NIP Vinča, Vesna Svoboda 21 – 25 June, Aleksandra Džikić Nikolić, visit to MUTEC fair of museum equipement in Munich, Germany Kurs konzervacije keramike, porculana i majolike, Specialist COURSE : Traditional production of ceramics ROSTE, Firenca, Maja Živković, Zvezdana Popović (Experimental Archaeology Project) in cooperation with Scientific Research Project Vinča, Vesna Svoboda Vesna Žživković, asistent u organizaciji Kursa o upravl- Course on Conservation of Ceramics, Porcelain and janju rizicima, ICCROM Rim Majolica, ROSTE Florence (Maja Živković, Sladjana Nov- Sajam Konzervacije, Minhen, Saška ković, Zvezdana Popović, Aleksandar Joksimović, Jelena Tucaković) 195 Vesna Živković assisting in organization during the JULI - AVGUST Course on risk management, ICCROM, Rim DIJANA LETNJA ŠKOLA 2005 JULY - AUGUST Teorijska predavanja i praktičana obuka Muzeologija; DIANA 2005 SUMMER SCHOOL Preventivna zaštita. Ciklus predavanja iz preventivne zaštite sa ciljem da se predstave osnovni pojmovi i principi Theoretical education and practical training in preven- iz oblasti preventivne zaštite i savladaju primene mera tive conservation and conservation preventivne zaštite u muzejskoj praksi, analiza stanja Museology muzejskih zgrada i uslova čuvanja predmeta, procena Preventive conservation (basic ideas and principles, rizika, predlaganje odgovarajućih mera sanacije i survey of museum buildings, safekeeping conditions, risk određivanje prioriteta; assessments, salvaging measures, setting priorities) Preventivna zaštita - pojam preventivne zaštite, načini Preventive conservation – concept of preventive con- primene (osnovni princip, planovi, procedure) servation , application methods (basic principle, plans, Faktori rizika po muzejske predmete - osnovni procedures) uzroci/posledice na organskom i neorganskom Risk factors regarding museum objects – causes/con- materijalau sequences on organic and inorganic material Muzejska zgrada/depoi/izložbeni prostor - osnovne Museum building/depots/exhibition space – basic građevinske karakteristike building characteristics Mikroklimatski uslovi - temperatura, relativna vlažnost, Microclimatic conditions – temperature, relative zagađenje, vidljiva svetlost i zračenje - pojmovi, norme, humidity, pollution, visible light and radiation – concepts, načini kontrole norms, controlling Štetočine - pojmovi, načini kontrole - Integrated Pest Pests – Integrated Pest Management, application of Management, upotreba nehemijskih sredstava non-chemical means Packing – depositing of objects, adequate packing Pakovanje - odlaganje predmeta, odgovarajući materials materijali za pakovanje Transport - packing, kinds of transport, microclimate Transport - pakovanje, načini transporta, mikroklima u during transport transportu Emergencies, fire protection Vanredne situacije, protivpožarna zaštita; Technology of ceramics, glass and metal Tehnologija keramike, stakla, metala; Physical chemistry Fizička - hemija; Geology with petrography Geologija sa petrografijom; Protection of wood Priroda i zaštita drveta; English for conservators Engleski za konzervartore; Archaeology Arheologija; History of Arts Istorija umetnosti; Theory of modelling and shaping, theory of colours, Teorija modelovanja i oblikovanja, teorija boja, crtanje; drawing Konzervacija i konzervatorski tretmani; Conservation and conservation treatments: mastering savladavanje konzervatorskih veština, znanja i conservation skills, knowledge and treatments on ceram- tretmana na keramici i staklu: dokumentacija, ispitivanja, ics and glass; documentation, examination, cleaning, čišćenja, konsolidacija strukture, spajanje fragmenata, structure consolidation, bonding of fragments, restora- restauracija, rekonstrukcija, završna zaštita, određivanje tion, reconstruction, final protection, defining keeping, uslova čuvanja, izlaganja i transporta. exhibiting and transport conditions

Forum Forum Novi zakon o zaštiti kulturnih dobara New Law on cultural property protection Dosadašnji Zakon o zaštiti kulturnih dobara The existing Law on cultural property protection Kako pripremiti novi Zakon o zaštiti kulturnih dobara? How to prepare the new Law on cultural property protection Specijalistička predavanja i ciklusi tokom Letnje škole DIJANA 2005 Specialist lectures and cycles: Muzeološki aspekti profesionalne etike, Kultura i etika, Museological aspects of professional ethics. Culture prof. dr Kiril Temkov, Filosofski fakultet Skoplje and ethics – Prof. Dr. Kiril Temkov, Faculty of Philosophy Edukativni programi u Muzeju Makedonije, Simonida Skopje, Macedonia Miljković, muzej Makedonije Educative programmes in the Museum of Macedonia, Zaštita baštine u Hrvatskoj, Martina Blečić, Simonida Miljković, Museum of Macedonia Ministarstvo kulture Hrvatske, Regionalni zavod za zaštitu Heritage protection in Croatia, - Martina Blečić, iz Rijeke Ministry of Culture of Croatia, Regional Institute for Kulturna politika, prof. dr Milena Šešić-Dragićević Protection in Rijeka Profesionalna zaštita konzervatora, Pamela Vorner, Cultural policy, Prof. Dr. Milena Dragićević Šešić Franc Curk Safety at work and conservator – Pamela Warner, Rimska keramika - proizvodnja, trgovina i kulturne Franc Curk veze u Evropi, Robin Sajmonds, V. Britanija Roman ceramics – production, trade and cultural connections in Europe, Robin Symonds, UK 196 OSNOVNI KURSEVI za nove polaznike BASIC COURSES for beginners Konzervacija trošne i čvrste keramike, M.Popović- Conservation of Soft Body Ceramics , Mila Popović- Živančević, Maja Živković, Tatjana Nedeljković, Ivana Živančević , Maja Živković, Tatjana Nedeljković, Ivana Stojković, Slađana Novković, Zvezdana Popović Stojković, Sladjana Novković, Zvezdana Popović Obnavljanja starih konzervacija, M.Popović-Živančević Repairing old conservation, Mila Popović-Živančević SPECIJALISTIČKI KURSEVI za polazike koji su završili osnovnu obuku, za studente i diplomirane sa SPECIALIST COURSES for senior students at DIANA odgovarajućih fakulteta, za konzervatore iz institucija and conservators form institutions in charge of protection zaštite Protection and conservation of glass, Sandra Davison Zaštita i konzervacija stakla, Sandra Dejvison Restoration of porcelain, faience and majolica, Pamela Restauracije porculana, fajansa i majolike, Pamela Warner Vorner Conservation of mosaics, Maja Franković Konzervacija mozaika, Maja Franković RADIONICE IZ PREVENTIVNE ZAŠTITE za saradnike PREVENTIVE CONSERVATION WORKSHOPS for collab- DIJANA Centra u okviru redovnih aktivnosti orators of DIANA Centre - Analiza stanja u muzejima Surveys in museums - Priprema stručnih uputstava za muzeje Preparation of instructions for museums - Pakovanje muzejskog materijala Packing museum material - Praćenje mikroklimatskih uslova Monitoring microclimatic conditions M.Popović-Živančević, Vesna Živković, Aleksandra Mila Popović-Živančević, Vesna Živković, Aleksandra Džikić Nikolić, Tatjana Nedeljković, Maja Živković, Maja Džikić Nikolić,Tatjana Nedeljković, Maja Živković, Maja Franković Franković Kako zaštititi sopstvenu baštinu u Velikoj Hoči, Kosovo How to protect one’s own heritage in Velika Hoča, i Metohija, M.Popović-Živančević Kosovo and Metohija, Mila Popović-Živančević OPCIONI KURSEVI za sve polaznike i saradnike Sanacija kopija stećaka od gipsa i poliestera OPTIONAL COURSES for all participants Tradicionalne proizvodnje keramike-izrada kopija i Salvaging plaster and polyester copies of grave tombs replika, Vesna Svoboda Traditional production of ceramics – making copies Konzervacija objekata od sintetičkog materijala and replica, Vesna Svoboda JAVNE RADIONICE Conservation of synthetic material objects Za publiku, decu, omladinu, hobiste Tajne konzervacije, Ana Kocjan OPEN WORKSHOPS for the public, children, young Pravljenje kopija i replika, Vesna Svoboda, Ana Kocjan people, hobbyists “Počeci keramike, Kako se pravila keramika u Secrets of conservation, Ana Kocjan prošlosti”, za decu i odrasle, Vesna Svobod Making copies and replicas , Vesna Svoboda, Ana SPECIJALISTIČKI KURS: Tradicionalne proizvodnje Kocjan keramike (Projekat Eksperimentalna arheologija), u Beginnings of ceramics – How it was made before, saradnji sa NIP Vinča, Vesna Svoboda Vesna Svoboda SPECIJALISTIČKI KURS Konzervacija na arheološkom Specialist COURSE : Traditional production of ceramics terenu (u pripremi), u saradnji sa ICCROMom (Experimental Archaeology Project) in cooperation with - konzervacija peći od keramike (Kruševac, Dijana Scientific Research Project Vinča, Vesna Svoboda Karataš, i dr.) Specialist Course Conservation on Archaeological Site - konzervacija profila (Vinča) (preparations), in cooperation with ICCROM Conservation of ceramic kilns (Kruševac, DIANA SEPTEMBAR Karataš, etc.) Conservation of profiles (Vinča) SPECIJALISTIČKI KURS: Tradicionalne proizvodnje keramike (Projekat Eksperimentalna arheologija), sa NIP SEPTEMBER Vinča, Vesna Svoboda SPECIALIST COURSE : Traditional production of ceram- 12-16. septembra, TRIJENALNA KONFERENCIJA ics (Experimental Archaeology Project) in cooperation ICOM CC u Hagu Mila Popović-Žživančević, Maja Žživković with Scientific Research Project Vinča, Vesna Svoboda i Ana Kocjan 12 – 16 September, Triennial Conference of ICOM CC/The Hague (Mila Popović-Živančević, Maja Živković, 22 – 24. septembra, The Best in Heritage, Dubrovnik, Ana Kocjan) Hrvatska, Mila Popović-Žživančević i dr Tatjana Cvjetićanin 22 – 24 September The Best in Heritage, Dubrovnik, Croatia (Mila Popović-Živančević and Dr. Tatjana 20. septembra – 20. novembra, Ana Kocjan, specijal- Cvjetićanin) izacija u Muzeju antike u Arlu, Francuska 20 September – 20 November Ana Kocjan - Internship in Museum of Antiquities in Arles, France OKTOBAR OCTOBER JESENJA RADIONICA DIJANA, 1. oktobar –15. decembar Konzervatorske radionice: Autumn Workshop DIANA 1 October – 15 December Konzervacija keramike Conservation workshops 197 Konzervacija stakla Conservation of ceramic Konzervacija porculana, fajansa majolike Conservation of glass Sanacije kopija stećaka Conservation of porcelain, faience, majolica Izrada kopija i replika Salvaging copies of grave tombs (stećci) Making copies and replicas SPECIJALISTIČKI KURS: Tradicionalne proizvodnje keramike (Projekat Eksperimentalna arheologija), u sarad- Specialist COURSE : Traditional production of ceramics nji sa NIP Vinča, Vesna Svoboda (Experimental Archaeology Project) in cooperation with Plan DIANA 2006 Scientific Research Project Vinča, Vesna Svoboda Izveštaj 2004 IKOM DIANA 2006 Plan Zahtevi za donacije ICOM 2005 Report Prijave za konkurse Applications for donations Plan 2006 ICOM Application for competitions Univerzitet Pariz I, Francuska, magistarske studije iz ICOM 2006 Plan preventivne zaštite, Vesna Žživković Pripremanje programa saradnje sa francuskim institu- Museum of Antiquities in Arles, France, Ana Kocjan, cijama: Prezentacija dokumentacije baze podataka etno- internship grafskog Muzeja Arletan u DIJANA Centru University Paris I, France,MA studies in preventive conservation, Vesna Živković NOVEMBAR Preparations of the cooperation programme with French institutions:Presentation of the data base of ethnographic Museum Arletane in DIANA Centre JESENJA RADIONICA DIANA, 1 oktobar –15 decembar Konzervatorske radionice: Konzervacija keramike NOVEMBER Konzervacija stakla Konzervacija porculana, fajansa i majolike Autumn Workshop DIANA 1 October – 15 December Sanacija kopija stećaka Conservation workshops Izrada kopija i replika Conservation of ceramic Conservation of glass SPECIJALISTIČKI KURSEVI SA KOLEGAMA IZ SLOVENIJE Conservation of porcelain, faience, majolica (Izložbe, predavanja, prezentacije i dr.) Salvaging copies of grave tombs (stećci) konzervacija majolike i porculana, Janja, Jana i dr. Making copies and replicas

Specijalistički kurs popravke starih konzervacija SPECIALIST COURSES WITH COLLEAGUES FROM Problemi starih konzervacije keramike i stakla, Jana SLOVENIA (Exhibitions, lectures, presentations, etc.) Šubic Prislan, Jana Slabe Conservation of majolica and porcelain, Jana Šubić Univerzitet Sen Deni, specijalizacija, Tanja N. Prislan, Janja Slabe, et al. Specialist course of old conservation repairs Muzej antike u Arlu, specijalizacija Ana Kocjan Problems of old conservations of ceramics and glass, Jana Šubić Prislan, Janja Slabe Univerzitet Pariz I, magistarske studije iz preventivne Museum of Antiquities in Arles, France, Ana Kocjan, zaštite, Vesna Žživković internship University Paris I, France, MA studies, Vesna Živković SPECIJALISTIČKI KURS KONZERVACIJE ARHEOLOŠKIH PREDMETA OD METALA, Žžak Ribijer, Laboratorija za konz- SPECIALIST COURSE ON CONSERVATION OF METAL ervaciju Arheološkog centra Vara u Draginjanu ARCHAEOLOGICAL OBJECTS, Jacques Rebiere, Laboratory for Conservation of Archaeological Centre of Var in 29. novembar – 2. decembar, Tunis, 9. trijenalna kon- Draguignan ferencija ICCMa (Međunarodni komitet za konzervaciju 29 November – 2 December, Tunis, Tunisia - 9th mozaika, Maja Franković Triennial Conference of ICCM (International Committee for the Conservation of Mosaics), Maja Franković DECEMBAR DECEMBER JESENJA RADIONICA DIJANA, 1. oktobra – 15. decembra Konzervatorske radionice: Autumn Workshop DIANA 1 October – 15 December Konzervacija keramike Conservation workshops Konzervacija stakla Conservation of ceramic Konzervacija porculana, fajansa i majolike Conservation of glass Sanacija kopija stećaka Conservation of porcelain, faience, majolica Izrada kopija i replika Salvaging copies of grave tombs (stećci) Making copies and replicas Muzej antike u Arlu, Francuska, specijalizacija Ana Kocjan Museum of Antiquities in Arles, France, Ana Kocjan, Univerzitet Pariz I, Francuska, magistarske studije iz internship preventivne zaštite, Vesna Žživković University Paris I – Vesna Živković, MA studies 198 ZAHVALNICA ACKNOWLEDGMENT

Ovom prilikom želimo da se zahvalimo svim institu- Our gratitude goes to the following institutions cijama i firmama koje su pružile finansijsku podršku and companies for their generous support of our activ- našim aktivnostima u 2004. godini: ities in 2004: z UNESKO, Pariz z UNESCO, Paris z ICCROM, Rim z ICCROM, Rome z UNESCO-ROSTE, Venecija z UNESCO-ROSTE, Venice z Ministarstvo spoljnih poslova Francuske- z Foreign Affairs Ministry of France – French Francuski kulturni centar u Beogradu Cultural Centre in Belgrade z Cooperazione Italiana z Cooperazione Italiana z Levantis Fondacija, London z Levantis Foundation, London z Sidney Franklin II Cherity Trust, London z Sidney Franklin II Charity Trust, London z Nacionalni komitet IKOM-a Južne Koreje z National Committee of ICOM of South Korea z “Mimark”, Beograd z Mimark, Belgrade z Jugoslovenski aero transport - JAT, Beograd z Yugoslav Airlines – JAT Belgrade z Skupština grada Beograda z Assembly of the City of Belgrade z Ministarstvo kulture Srbije (u sklopu redovnih z Ministry of Culture of Serbia (within the regular aktivnosti Narodnog muzeja) budget for the National Museum)

kao i onima koji su nam bili na raspolaganju za We also enjoyed professional and expert help from kolegijalnu, stručnu i drugu pomoć: our colleagues in:

- UKIC, Grupa za keramiku i staklo, London - United Kingdom Institute for Conservation of - SACI, Firenca Historic and Artistic Works (UKIC), CGCG, - ICOM, Pariz London - Dejvison Studio, Saseks, Velika Britanija - Studio Art Centres International (SACI), Florence - Addington Studio, Devon, Velika Britanija - ICOM Paris - C2RMF, Francuska - Davison Studio, UK - Muzej Antike u Arlu, Francuska - Addington Studio, UK - Laboratorija za konzervaciju u Draginjanu, - C2RMF, France Francuska - Museum of Antiquities, Arles, France - Danska kraljevska akademija - Škola za konzervaciju - Laboratory for Conservation, Draguignan, France - Nacionalni muzej Danske - Danish Royal Academy –School for Conservation - Goriški muzej, Nova Gorica, Slovenija - Gorice Museum, Slovenia - Narodni muzej, Ljubljana, Slovenija - National Museum Ljubljana, Slovenia - Muzejski forum i Restauratorsko društvo Slovenije, - Museum Forum and Restorers’ Society of Slovenia Slovenija - Museum of Macedonia in Skopje, Macedonia - Muzej Makedonije u Skoplju, Makedonija - Faculty of Philosophy, Skopje, Macedonia - Filozofski Fakultet Skoplje, Makedonija - Nacionalni komitet ICOM-a Makedonije - National Committee of ICOM of Macedonia - Zavod za zaštitu u Rijeci, Hrvatska - Institute for Protection, Rijeka, Croatia - Nacionalni komitet IKOM-a Srbije i Crne Gore - National Committee of ICOM of Serbia and - Društvo inženjera i tehničara Srbije Montenegro - Društvo za hlađenje i ventilaciju Srbije - Society of Engineers and Technicians of Serbia - Zavod za zaštitu spomenika kulture Srbije - Society for Cooling and Ventilation of Serbia - Arheološki institut u Beogradu - Institute for Protection of Monuments of Culture - Filozofski fakultet u Beogradu - Odeljenje za arhe- of Serbia ologiju - Archaeological Institute, Belgrade - ART FORUM Velika Hoča, Beograd - Faculty of Philosophy – Department for - Institut za nuklearna istraživanja Vinča, Beograd Archaeology, Belgrade - Institut za ispitivanje materijala, Beograd - ART FORUM Velika Hoča, Belgrade - Rudarsko-geološki fakultet, Beograd - Nuclear Research Institute Vinča, Belgrade - Univerzitet umetnosti u Beogradu - Institute for Testing Materials, Belgrade - Fakultet primenjene umetnosti i dizajna u - Faculty of Mining and Geology, Belgrade Beogradu - University of Arts, Belgrade - Faculty of Applied Arts and Design, Belgrade Posebno želimo da istaknemo podršku Francuskog kulturnog centra u Beogradu i fondacije Levantis, koji However, our special thanks go to the French su prevazišli okvire svojih redovnih aktivnosti i obaveza Cultural Centre in Belgrade and the Levantis Foun- kako bi nam izašli u susret, pomogli realizaciju naših de- dation, London as their support, understanding and latnosti i uticali na ostvarenje naših ciljeva, doprinevši i help to DIANA Centre went far beyond their routine sami, na taj način, unapređenju zaštite kulturnih doba- thus making greatest contribution to the protection of ra u našoj sredini. cultural heritage in our country. Međunarodni dan muzeja, 2005. - Manastir Kumanica (Foto Vlada Vukadinović) International museum day 2005. - Monastery Kumanica