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DEPARTMENT FOR PREVENTIVE CONSERVATION - NATIONAL MUSEUM BELGRADEODELJENJE ZA PREVENTIVNU ZAŠTITU - NARODNI MUZEJ BEOGRADNUMBER 10 * 2004/2005 * BROJ 10

Foreword/UvodMila Popović-ŽivančevićFrom The Editor/Reč urednikadr Tatjana CvjetićaninEthics And Culture/Etika i kulturadr Kiril TemkovIdentity In Culture/Identitet u kulturiBorka Božović2Educational Role of Museums/Edukativna funkcija muzeja77Simonida Miljković3610Bulgarian Living Town-Museums/Bugarski gradovi-muzejiGabriela PetkovaThe Depot of Goriški muzej/Depo Goriškog muzejaJana Šubic Prislan8088DIANA Centre Has Started WithImplementation Of PreventiveConservation In Practice/Kako jepreventivna zaštita počela da seprimenjuje u muzejskoj praksi SrbijeMila Popović-ŽivančevićValue Dimension Of TraditionalArchitecture/Vrednosna dimenzijatradicionalne arhitektureRasa BertasiuteGlassware Of The Belarusian CastlesAt The End Of 15th The First Half Of The17th Centuries/Staklene posudebeloruskih zamkova krajem XVi u prvoj polovini XVII vekaAlla StashkevichArt Museums’ Responses To The 21stCentury/Odgovori muzeja umetnostina izazove XXI vekaBarry LordUniversal Museums – Pros and Cons orAll For One And One For All/Univerzalnimuzeji – za ili protiv ili svi za jednog,jedan za sveIrena Vujčić-PavlovićSome Thoughts on Canadian Museum/O promenama s kojima se muzeji uKanadi danas susrećuMira OvaninDigital Depot Of The Museum BoijmansVan Beuningen In Rotterdam/Digitalnidepo muzeja Boijmans van Beuningen uRoterdamuAna Glišić14424651606467Preventive Conservation Workshop95“How To Protect One’s Own Heritage”,Kosovo i Metohija/Radionica iz preventivnezaštite “Kako zaštititi sopstvenu baštinu”,Kosovo i MetohijaMila Popović-ŽivančevićThe New Methodology Of Protection102Of Fragments And Burnt Frescoes In TheHilandar Monastery And In Prizren/Novametodologija zaštite fragmenata i spaljenihfresaka u manastiru Hilandaru i u PrizrenuRadomir PetrovićMuseums and Intangible Heritage – 20thGeneral Conference And 21th GeneralAssembly Of ICOM, Seul, South Corea,2-8 October 2004/Muzeji i nematerijalnabaština – 20. generalna konferencija i21. generalna skupština IKOMa, Seul,Južna Koreja, 2-8. oktobra 2004Mila Popović-ŽivančevićIntangible Cultural Heritage AndMuseums/Nematerijalna kulturnabaština i muzejiVesna Bižić-OmčikusExperimental Archaeology– TraditionalProduction Of Ceramics, PresentationOf The Phase I/Eksperimentalnaarheologija – tradicionalne proizvodnjekeramike, prikaz realizacije I faze projektaVesna Svoboda, Jasna Vuković, SlobodanKnežević, Dušan Izvonar, Dušan Kićević108116123Conservation And Restoration Of132Mediaeval Bowl From St. Peter’s ChurchNear Novi Pazar/Konzervacija i restauracijasrednjovekovne zdele iz crkveSvetog Petra kod Novog PazaraMaja ŽivkovićPlanning Of A Museum/Planiranje muzejaAna ŽivkovićMuseum As An Educational Centre/73Muzej kao edukativni centarDanijela Korolija-Crkvenjakov, Tijana Palkovljević469Conservation Of A Glazed Skyphos FromDunjić Collection, National MuseumBelgrade/Konzervacija gleosanogskifosa iz zbirke Dunjić Narodnog muzejau BeograduAna Kocjan138

Conservation And Restoration Of ABronze Age Beaker From Konopište/Konzervacija i restauracijabronzanodobskog pehara sa KonopištaTatjana NedeljkovićConservation And Restoration OfGlass Objects/Konzervacija irestauracija staklenih predmetaSandra DavisonPIXE Method For Analyzing AncientTextile From Tombs/PIXE metoda zaanaliziranje drevnog tekstila iz grobnicaGojka Pajagič BregarAnalysis Of The Textile Fragments ByThe PIXE Method/Analiza fragmenatatkanina metodom PIXEŽiga ŠmitInvestigation Of Cavitation PhenomenaIn Conservation Of ArchaeologicalObjects/Istraživanje kavitacionihfenomena u ciklusu konzervacijearheoloških predmetaMarina Dojčinović, Dejan TrifunovićCollaboration of the National MuseumBelgrade – Diana Centre For PreventiveConservation With The Atelier ForConservation And Restoration OfMosaics From the Museum OfAntiquities Of Arles And Provance/Saradnja Narodnog muzeja u Beogradu –Dijana centra za preventivnu zaštitu saAteljeom za konzervaciju i restauracijumozaika Muzeja antičkog Arla i ProvanseMaja FrankovićConservation And Restoration Of ACeramic Beaker/Konzervacija irestauracija keramičkog peharaKsenija ĐurišićAdvantages Of Using TransparentPVC Moulds In The Process Of ReplacingMissing Pieces On Hollow GlassObjects/Prednosti upotrebetransparentnih PVC kalupa u procesukod dopunjavanja delova koji nedostajuna šupljem stakluGorazd Lemajič140Seminars, Specialist Courses,Workshops/Seminari, specijalistički163kursevi, radioniceMila Popović-Živančević144146147148150152154Serbia Revisited 2004-08-16/Povratak u SrbijuPamela WarnerThe Course “Archaeological Conservation”Held At DIANA Centre/Uvodni kurs“Konzervacija na arheološkom terenu”Vesna ŽivkovićA Visit To The Major Heritage ProtectionInstitution In France/Poseta najznačajnijojinstituciji zaštite baštine u FrancuskojAleksandra Džikić NikolićA Study Visit To Germany/Studijsko putovanje u NemačkuTatjana NedeljkovićMetamorphosis Of Tradition/Metamorfoza tradicijeĐurđinka BogdanovićCorea Has Become A Land Of MyDreams/Koreja je postala zemljamojih snovaSonja FranklinDIANA Calendar 2005/DIJANA Kalendar 2005167169174176179183194Photographs in this issue are property of its authorsand are protected by copyright.Sve fotografije u ovom časopisu su vlasništvo autorakoji zadržavaju svoja autorska prava.La conservation des mosaïquesantiques: collaboration de l’Atelier deConservation et de Restauration duMusée de l’Arles et de la Provenceantiques avec le centre de conservationpréventive DIANA/Konzervacija antičkihmozaika: saradnja izmeu Ateljea zakonzervaciju i restauraciju Muzejaantičkog Arla i Provanse i DIJANACentra za preventivnu zaštituNarodnog muzeja u BeograduPatrick Blanc, Marie-Laure Courboulès159Naslovna: Fragment mozaika iz Narodnog muzeja uBeogradu, lokalitet Guberevac (Foto: V. Vukadinović)

mogućnosti; afirmisanje razvitka;vizija razvitka; sagledavanje i aktiviranjepotencijala i snaga razvitka;izbor smernica i polaženje izabranimputem; držanje kursa na linijirazvitka; ocena razvitka i korekcijavizija, stavova i izabranogputa...).Krajnja forma kulture jesteimanje perspektive - sagledavanjeudaljenih ciljeva, stanjâ, potreba,okolnostî (imanje svesti o budućnosti;afirmisanje futurističkog usmerenjaljudi i života; sagledavanjeočekivanih pozitivnih i negativnihstrana života i budućih okolnosti;ukazivanje i pokušaj obezbeđivanjabudućih pozitivnih i izbegavanjebudućih negativnih aspekata života...).Kako što se može videti iz oblikâu kojima se pojavljuje, kulturaje put, široka staza kojom idečovek kao vrsta i pojedinac. Na tomstalnom putovanju čovek se realizujekao specifično biće, koje jeprevazišlo samo prirodne osnovesvoje egzistencije i postoji krozsvoje mnogobrojne i mnogostranekvalitete, koji su istovremeno njegoveglavne moći. Tako ga i određujui nazivaju (ističući neku njegovukarakteristiku, koju nemajudruga bića): biće saznanja, umnesvetlosti (ens rationalis); biće stradanjai samilosti (čije bitno svojstvojeste samilost, empatičnost, tj.odnošenje u duhu parole na sanskritutat tvam asi = to si ti!); bićekoje živi sa drugim ljudima, s kojimadeluje zajedno da bi unaprediozajednički život (zoon politikon);biće rada (homo faber); stvaralačkobiće (koje u sebi ima snagu i duhkreacije); biće koja stvara alatke dabi delovalo (tool-making animal);biće igre (homo ludens); bićesmeška, morala, vrednostî, vaspitanja-nege,religioznog osećanja, stida,vizija, komunikacije..., bićeumetnosti.Za celinu postojanja ovakvogČoveka kao kulturnog bića bitna jeupravo etička dimenzija života -upitnost o vrednostima i o smisluživota, izbor vrednostî, podrška ipridržavanje pozitivnih, kreativnihvrednosti (onih koje stvaraju i grade)- nasuprot negativnim, nekreativnim,destruktivnim vrednostima(koje izražavaju mržnju i vodeuništavanju). Dobro traži svoje dominantnomesto nad Zlim - i ima tomesto u životu ljudi. Individualni iistovremeno opšti put Kulture poklapase sa Etikom. U obema životnimpojavama ujedinjuju se individualnoi zajedničko. Kod obeju seradi o jedinstvu misli, namera i delasvakog čoveka i svih ljudi. Etikajeste i srž, centralna osovina kulture,ne samo zbog značenja Dobrogza čovekov opstanak i napredovanje,već i zbog prisutnosti etičkog usredištu svih oblikâ kulture. I kulturui etiku ljudi afirmišu kao neštonajvrednije i najpotrebnije, i jedna idruga ih prate u životu, obe su smisaonjihovog postojanja, i kultura ietika unapređuju čovekovu egzistenciju.Kultura je suština ljudskogživljenja, a etika je najznačajnioblik kulture i njen najviši izrazi domet.Ova dva ljudska entiteta - kulturai etika - nisu samo povezani ijednako značajni, oni se i međusobnoizražavaju i izgrađuju. Kulturaživota i čoveka označava i njihovuodgovarajuću etiku. Kultura dajeetici nivo svog dostignuća. Krozsvoju univerzalnost ona širi etikunad svim prostorima ljudskog postojanja- od života, preko važnostii razvitka saznanja, kroz domenedelovanja, preko univerzalizacijevrednovanja, sve do postavljanjaprogresa kao najznačajnije vizijeljudske egzistencije.is the evolution of man, of the life and the world (creatingthe concept of evolution and understanding its possibilities;affirmation of evolution; vision of the evolution;perception and activation of potentials and forcesof evolution; choice of guidelines and following of thechosen path; keeping the course of evolution lines; evaluationof the evolution and correction of visions, standpointsand chosen paths…).The final form of culture is to have perspective - toenvisage distant goals, conditions, needs, circumstances(awareness about the future; affirmation of futuristicguidance of people and life; conceiving the expectedpositive and negative sides of life and of future circumstances;indication and attempts to provide future positiveand avoiding future negative aspects of life…).As the forms of culture indicate, culture is a road, abroad way the man as species and individual walks by.During this permanent travel man becomes accomplishedas a specific being, who overcame the very naturalfoundations of his existence and exists through hismany and various qualities, which are his main powersin the same time. This is how man is determined andnamed (pointing out some of his characteristics thatother beings lack): the being of cognition, mental light(ens rationalis); being of suffering and mercy (whosecrucial quality is mercy, empathy. i.e. acting in the senseof the Sanskrit words tat tvam asi - that is you!); beingwho lives in company with other beings and improveswith them their common life (zoon politikon), workingbeing (homo faber); creative being (having the powerand spirit of creation); being producing tools in order toact (tool-making animal); playing being (homo ludens);being of smiling, morals, values, education - caring, religiousfeelings, shame, vision, communication …, being ofart.For the completeness of existence of such a man ascultural being, it is the ethical dimension of living thatis essential - questioning the values and the life's mission,choice of values, support and abiding by positive,creative values (by those that create and build) - contraryto the negative, uncreative, destructive values(expressing hate and leading to destruction).The Good issearching for dominant place over the Evil - and in thelife of people it occupies that place. Individual and occasionallygeneral road of Culture coincides with that ofthe Ethics. In both phenomena the individual and communalare united. Both express the unity of thoughts,intentions and acts of every man and of all people.Ethics does mean the core, central axis of culture, notonly for the importance of Good for the survival of manand his progress, but also for the position of the ethics ascentral to all forms of culture. Both culture and ethicsare enhanced as something most valuable and mostneeded, both accompany people throughout their lives,both represent the essence of their existence, and bothculture and ethics enhance the man's existence. Cultureis the essence of human living and ethics is the mostimportant form of culture and its supreme expressionand achievement.These two human entities - culture and ethics - arenot only interconnected and equally important, theymutually express and build themselves. The culture ofthe life and of the man denotes their appropriate ethics.Culture offers the level of its achievements to the ethics.It is through its universality that the culture promotesethics in all segments of human existence - from the lifeitself, through the importance and development of cognition,domains of its activities, by universalisation ofevaluation up to progress as the most important visionof human existence.7

nog, ličnog, slobodne misli, ona jemistično priklanjanja svemu, unošenjasvoje duše u sve druge pojave,fantastično zamišljanje nepostojećeg,angažovanje svih psihičkihmoći za razumevanje i za buđenje ipokretanje svih drugih snaga za uzdizanjeiznad običnosti i samo realnosti.Etika kulture jeste etika razumevanja.Čovek nije biće posedovanjakao imanje ograničenog broja nečeg,već posednik svega što postoji zatošto ispoljava duhovni kapacitet zaprikupljanje svega u svoj duh i premasvemupokazuje moć spajanja sa njim ujednu celinu onog koji razume i onogšto je shvaćeno.Organsko načelo etike kulturejeste neposrednost, nepredstavničkaegzistencija, lično angažovanje uživotu i u duhovnim stvarima, direktnodohvatanje fenomena i njihovoduhovno zahvatanje, intimno povezivanjesa njima u osećanjima,strasti i saznajnom agonu, ličnopredstavljanje i zastupanje svojihideja i namera.Etika kulture je etika širenja.Ona ukazuje čoveku da se ne zadovoljavapostojećim, standardnim,ograničenim, da ne teži zastajanju,Prof. Temkov na predavanju u Galeriji fresaka, septembar 2004.Prof. Temkov giving a lecture at Gallery of Frescoes, Septembar 2004.već da se pokreće ka širenju saznanjâi delovanjâ, snaga i stvarosti,sve do ovuhvata vaseljene.Etika kulture je etika uzdizanja,kao želja za višim, uvek ka višem,kao načinom življenja i stilom ponašanja.Ove želje ne zastaju, većstalno teže najvišim vrednosnim stepenicamaza sve - najviše za samživot, za etiku ličnosti i za njenustvaralačku dimenziju.Etika kulture izražava duh univerzalnostikao uverenost i izvesnostda je sve što postoji istog korena iima isti smisao, da sve ima isto bićei strukturu, pa da time svi imaju istopravo na pojavljivanje, na učestvovanjeu čovekovom duhu i u svetu,kako i na gospodarenje svetom.Opštost egzistencije manifestuje sekroz parcijalnost množine pojavarazličite vrste i karaktera, koje sveway of human behavior according to the nature of theworld;- characteristic of culture is spiritual, personal, freethinking, the mystical attaching of the soul to everything,the fantastic imagination of nothing, the engagementof all psychic potentials for understanding and forexciting of all others powers for raising above ordinaryand simply reality;- understanding - the human is not a creature of possession,like having limited number of things, but he isthe owner of everything that exists because he reveals amental capacity for collecting everything in his spiritand demonstrates a power of linking with them in acomplex, which contains the one who understands andsomething what is understood;- proximity - the un-representative existence, thepersonal engagement in life and in spiritual things, thetouching of phenomena and its direct overtake, the intimateconnection with them through senses, passion andthe recognized impulse; the personal expression of ourideas and notions;- spreading - this ethical dimension indicates peoplenot to be satisfied with the constancy, standard, limited,stagnation, but to set forth toward outspreading the cognitionsand actions, toward forces and reality up to closureof space;- levitation, like a desire for higher, always higher, asway of living and the style of behavior; these desiresnever stop, but always tend to supreme value stairs foreverything - the most for our life, for personal ethics andfor human creative dimension;- universality, as security and safety that all existinghas the same roots and the same meaning, the samebeing and structure, and according to this, that everythinghas the same rights to appearance, on participationthe spirit of humans and world, as well as to rulingthe world. The universality of existence is manifestedthrough partiality of plural appearances of differentkinds and character, which all participates in existenceby its relevance and interest as well as by creativity,authenticity and the moral virtue. But, everything andeverybody participates in life and in building the faith inregularity on existence;- communication, as a form of mutually informingabout the existence as states of being, as a form ofretrieving the values, of steering our cognitions andmessages to others, of opening the senses and the mindfor words and for different statements of others. Cultureexposes the dramatics on revealing the other/others andthe pleasure of the possibility for retrieving the contactand the understanding between things in the world;- sharing beauty and joy - the unity of aestheticaland ethical, the nearest connection between that existingbeyond us and our passion for it, our concern forrevealing, reaching, emotional reaction, for approachingthe world and the people to us in unique fact of beautiful(harmonic, aesthetic) experience;- overrun - the principal displeasure with theachieved and persistence, steering the mind, intentions,will and forces for realizing something better;- un-possession, as interest for anyone’s existenceregardless of who actually owns it, because the meaningof culture is in the existence of notable values by itselfand in realizing of world which will have countlessopportunities for cultural expressing and experiencing;- setting and achieving of human aims, as humanisticorientation in consciousness and in acting, towardsimproving the life and all people, the whole humanspecies, always and everywhere;- upkeeping of living, as the most beautiful result of9

učestvuju u zgradi postojanja premasvojoj važnosti i zanimljivosti, premasvojoj kreativnost i autentičnosti,kako i vrlinom svog morala. No,svi i svako učestvuju u sveopštostiživota i u izgradnji vere u egzistencijui u postizanju njene pravilnosti(kako nečeg objektivnog i kako izrazaljudske vizije o tome).Etika kulture je u suštini komunikacija,koja je univerzalna svetskapojava, ali se ističe kao međusobnoinformisanje o postojanju i o pozicijama,kao suprotstavljanje iprožimanje vrednostî, kao usmeravanjesvojih saznanja i poruka kadrugima, kao otvaranje čula i umaza reči i za druge iskaze drugih. Onaizlaže dramatičnost otkrivanja drugogi lepotu zadovoljstva mogućnostimaza uspostavljanje odnosa irazumevanja među bićima u svetu.Etika kulture oslanja se naučestvovanje u lepoti i radosti, na jedinstvoestetskog i etičkog, na najbližuvezu između onog što postojiizvan nas i naše strasti za njim, nanašu zainteresovanost za otkrivanje,dohvatanje, emocionalnu reakciju,za približavanje nama sveta, ljudi iljudskih dela u jedinstvenu činjeniculepog doživljaja.Duh etike kulture jeste prevazilaženje,principijelno nezadovoljstvopostignutim i postojećim i usmeravanjeuma, namera, volje i snaga kaostvarivanju nečeg boljeg.Etika kulture je etika neposedovanjakao zainteresovanost zanečije postojanje bez obzira da li miili neko drugi to poseduje lično,pošto je smisao kulture u postojanjuznačajnih vrednosti po sebi i uostvarivanju sveta koji će imatibezbroj mogućnosti za kulturno izražavanjei doživljavanje.Etika kulture je postavljanje ipostizanje ljudskih ciljeva kao humanističkaorijentacija u svesta i udelovanju, usmerena ka unapređivanjuživota, i svih ljudi i celog ljudskogroda, uvek i svuda.Etika kulture je okrenuta čuvanjuživog-života kao najlepšeg rezultatarazvitka sveta, koji opravdavanjegovu egzistenciju, a uzrok jenašeg ličnog postojanja i u nama budisnage za povezanost sa svetom iživotom.Etika kulture ima duh neuništavanja,što je suprotno kreativnoj dimenzijisveta i čoveka. Time jedinstveniizvor postojanja nije nadvladavanjedrugog i njegovo razaranje,njegovo detruiranje, da bi poslužiokao građa za neidentifikovano stvaralaštvoili kao opšti materijal u haosuesencije, bez oblikovane egzistencije.Cilj je stvaranje i čuvanje,čuvanje i stvaranje.Moć etike kulture je u blagonaklonomodnosu ka svetu kao izrazuvredne ljudske etike, koja je razotkriladobre elemente čovekove duhovnei vitalne egzistencija i traži ih,podržava ih i širi ih za dobro ljudskogpostojanja i postojanja sveta ucelini.Najprospektivnija etička dimenzijajedinke u kulturi je rad, koncentrisanje,delovanje, krajnje samoulaganje- jer se u kulturi rezultati negledaju direktno, veoma retko su navidiku odmah, već se rađaju ili se otkrivajumnogo, mnogo kasnije, tadakada drugi ljudi dođu da žive svojživot i da grade svoj svet. Ovi koristekulturne tekovine kao normalniuslov svog življenja, a naprežu se dastvore druge, koji će zračiti kasnije -kao izraz etike kulture, koja ništa neželi da prisvoji za sebe, nego sve svoježeli da podeli sa svim ljudima, sarođenim i naročito sa onim budućim,još nerođenim.Zato su izuzetno bitni etičkonačelo i moralna norma Etike kulture:samosvest o vremenskoj ograničenosti o nužnosti delovanja i zalaganjeda se pravi dobro svakome iuvek.the development of the world, which justifies our existenceand who probokes forces in us for connecting withthe world and the life;- non-destruction (ahimsa) - destruction, annihilationis opposite to the creative dimension of the worldand the human. Thereby, the unique source in existenceis not overmatching the other and its extermination, soit could be material for unidentified creation or generalelement in the chaos of essence without shaped existence.The general aim of human is procreation and prevention,prevention and procreation;- gracious respect toward world, as an expression ofvirtue of human ethics which revealed all elements ofhuman spiritual and vital existence and which seeks,maintains and spreads it for the good of human presence;- working, acting, concentrating, extreme selfinvestment- which is the most important ethical dimensionin culture – because inside culture the results arenot directly visible, they are most rarely instantly to beseen. They are rising or uncovering much later, whenother people came to live their life and to build theirown world. They are using cultural achievements as anormal clause of their life and straining to create anotherwhich will radiate much later - as an expression ofthe ethics of culture which does not want to possess anythingfor itself, but wants all that it owns to share withall people, with newborns and particularly with thenext, still unborn people.Borka Božović, “Haos” GalleryCultural identityIts origin, foundations, reflections, deformities,forms, sourcesBearing in mind that identity makes one of thebasic elements of transition, and culture is theessence of identity of every individual and nation,defining and differring a man, every effort to followand defend true cultural values must include consciousness,education, knowledge of one’s own origin,one’s relying on cultural heritage. Culture, as a matterof fact, defends the dignity of an individual and of theentire society. And our society has been in a deep cri-That’s why the most important ethical principle andrule in Ethics of culture is the self-consciousness fortime limitation as well as the concentration for doinggood to everyone and forever.10

Borka Božović, galerija “Haos”Identitet u kulturiNjegovi koreni, utemeljenja, refleksije, deformiteti, oblici, ishodištaPošto je identitet jedan od osnovnih činilaca tranzicije,a kultura, složićete se, bit identiteta svakog pojedincai naroda, zapravo ono što određuje i razlikuje čoveka,svaki napor da sledimo ili branimo prave kulturnevrednosti podrazumeva svest, obrazovanje, poznavanjesopstvenih korena, oslanjanje na kulturnu baštinu.Kultura, zapravo, predstavlja odbranu dostojanstva individuei celog društva. A naše društvo je već decenijamaunazad u dubokoj krizi. Sve ove godine mi, zapravo,preživljavamo s neotklonjivom gorčinom. Zbog raznihrazloga.Raspadom Jugoslavije i cepanjem kulturnog prostorastvoreni su uslovi za pojavu i bujanje različitih nacionalističkihkoncepata, primitivnih, prostačkih, neoplemenjenihkulturnim sadržajima ili pak ispunjenih onimasumnjivih vrednosti. Sveprisutna je bila samouverenostosrednjosti, neverovatna površnost, kičerska razmetljivosti arogancija vlasti. Kultura je bila i ostala ozbiljnougrožena, kulturna baština ponajviše, a mnogiidentiteti dovedeni su u pitanje. Ceo kulturni prostor jebio dugi niz godina prosto zagađen. Agresivnost šunda ibanalne pojave kiča postepeno su dovodile do r?stakanjakriterijuma i vrednosnog sistema. Uz to su išle neminovnoi druge pojave, poput krize morala, brutalnostii vulgarnosti, koju sa sobom nosi novokomponovanaklasa, ali i neopatrijarhalni, nacionalistički i tradicionalističkioblici kulture – u suštini zatvoreni i ksenofobični.Kako drugačije da protumačite pojave skrnavljenjasvetih mesta, rušenja, ponižavanja? Zar je normalnapojava da neko u maskirnoj uniformi, sa kalašnjikovomu ruci, šeta Cetinjskim manastirom ili da se tegle sa turšijommogu videti u Sopoćanima?Bojim se da smo danas, znatno više nego u neposrednojprošlosti, pred takvim kulturnim obrascem. Strahme je od poniranja u retrogradne procese. Paljenje džamijai rušenje muslimanskih spomenika su uzroci tomestrahu i svakako naša velika sramota. Bez obzira što jeto odgovor na isti takav necivilizacijski čin (paljenje isistematsko rušenje naših crkava i manastira na Kosovu),nikada se neću pomiriti sa samoodbranom takvevrste. Gde je tu svest o kulturnoj baštini i da li uopštemožemo govoriti o bilo kakvoj svesti i savesti?Postavlja se pitanje: da li je koncept otvorene nacionalnekulture moguć, s obzirom na moralno nasleđeprošlosti? Ne bih baš mogla da budem sasvim sigurna.Zapravo sumnjam. Odmah dodajem - naravno da jemoguć, ukoliko se oslobodimo naopakih shvatanja, poraznihpredrasuda, stereotipa, anahronih manira i učinimoveliki napor da uspostavimo kulturne standardekao preduslove poštovanja ljudskog dostojanstva i naročitoizbegavanja sukoba koji to dostojanstvo dovodeu pitanje. Posledice gotovo poluvekovnog autoritarnogi totalitarnog režima osećamo i danas, ali težnja ka demokratskomdruštvu ne sme da bude zaustavljena iliusporena. To je istovremeno i borba za kulturni preobražaji eventualno preporod. Ukoliko budemo insistiralina afirmaciji i bogaćenju kulturnog identiteta svakognaroda, svake većinske i manjinske kulture – a misis for decades. All these years we survive withunavoidable bitterness. For many reasons.After Yugoslavia collapsed and culturally disintegrated,in this region emerged various nationalisticconcepts, primitive, vulgar, either without cultural content,or full of questionable values. Self-assured mediocrity,unbelievable superficiality, boastfulness, andarrogance of the ruling party were omnipresent.Culture was and still is seriously endangered, especiallycultural heritage, and many issues became questionable.Complete cultural space was polluted for a longtime. The aggressive attitude of trash and banality ofkitsch gradually led to the decline both of criteria andthe system of values. Some other phenomena camehand in hand with it – crisis of morality, followed bybrutality and vulgar behaviour of the newly formedsocial class, but also by neo-patriarchal, nationalisticand traditionalistic forms of culture, closed and xenophobicin their essence. How else desecration of sacredplaces, destruction and humiliation can be explained?Is it normal to see a person in uniform, with aKalashnikov in his hands, walking around theMonastery of Cetinje, or jars of pickles in the Sopo?aniMonastery?I am afraid that we are today, much more than in therecent past, faced with such a cultural model. I amafraid of our falling into retrogression. Setting mosqueson fire and destruction of Muslim monuments are ourgreat shame and they feed my fear. Regardless of beinga response to the same sort of uncivilized act (systematicdestruction of our churches and monasteries inKosovo), I will never agree with this kind of selfdefense.What about cultural heritage awareness andcan we speak about any awareness or consciousness inthis matter?The question is: is the concept of open national culturepossible, having in mind ethical heritage of thepast? I am not very convinced. As a matter of fact I havedoubts. However, I would say – of course it is possible ifwe only set ourselves free from wrong attitudes, disastrousprejudices, stereotypes, anachronous approachesand if we make a huge effort in establishing culturalstandards as the basis of respect of human dignity andespecially of avoiding conflicts that put this dignity indanger. Even today we experience the consequences ofhalf a century long totalitarian rule, but tendencytowards democratic society must not be stopped orslowed down. At the same time, it is a tendency towardcultural transformation and a possible renaissance.Withinsisting on affirmation and enriching cultural identity11

smo, pre svega, višenacionalna zajednica, dakle, multikulturalnodruštvo – utoliko ćemo biti bogatiji, a zatranzicione procese neuporedivo spremniji. Veoma jevažno svaku razliku shvatati kao bogatstvo, a ne kaoantagonističku premisu ili razlog za sukob i netrpeljivost.Ja sam, na primer, ponosna na oba naša pismapodjednako i nemam problem identiteta zbog toga. Pojedinesredine imaju u svom biću ugrađene uticaje drugihsredina tako da je neophodna velika tolerancija, razumevanje,razvijen osećaj za uvažavanje različitosti,kako bi se sve te raznolikosti objedinile u okviru jedinstvene– naše kulture. Jedna od slika mog detinjstva,provedenog u Herceg Novom, je zajednička prva jutarnjakafa, na terasi bifea koji se zvao »Beograd«, pravoslavnogsveštenika, popa Marića iz manastira Savine idon Viktora, katoličkog sveštenika iz crkve Sv. Jeronima.Boka je oduvek negovala konfesijsku i nacionalnutoleranciju i na to sam takođe ponosna. I ona je zagađivanau protekloj deceniji, demografski izmenjena, ali seodupirala i još to čini, svojim mediteranskim i evropskimduhom.U kulturi nema i ne sme biti zatvorenih granica. Neophodnaje živa komunikacija, najpre sa susedima (štoopet podrazumeva međunacionalno pomirenje) a ondasa Evropom i svetom. Mi možemo da pripadamo evropskojkulturi samo ako u zajedničku riznicu unesemoblago svoga duha, svoje kulture i svojih moralnih vrednosti.»Ne možemo ući u evropski orkestar ako nemamosvojih instrumenata ni svoje partiture«, mišljenje je kojese moglo čuti od jednog našeg Evropejca. S drugestrane, bledo oponašanje svetskih trendova i moda u bilokojoj umetnosti, bez unošenja sopstvenih autentičnihelemenata i energija, ne znači usvajanje ili postizanjeof every nation, every majority or minority culture –since we are, after all, multicultural community, that ismulticultural society – we will become richer andincomparably more prepared for transitional processes.It is of utmost importance to understand every differenceas richness, and not as an antagonistic premise or a reasonfor conflict and animosity. I am, for instance, proudof both of our writings (Cyrillic and Latin), and I do nothave a problem of identity because of that. Some communitieshave influences from other communities builtin their essence, so great tolerance, understanding andacceptance of diversity is needed to unite all these differencesinto one culture – our culture. One of the mostimpressive images of my childhood spent in Herceg-Novi(Montenegro), is the Orthodox priest Mari?, from themonastery Savina, and the Catholic priest from thechurch of St. Jeronim, don Viktor, having their firstmorning coffee together, on the terrace of the cafe called“Belgrade”. The bay of Boka Kotorska (a part of theMontenegrin coast) was always famous for its confessionaland national tolerance, which also makes meproud. It was also contaminated in the last decade,demographically changed, but it its Mediterranean andEuropean spirit that helped its resisting and it stilldoes.There is no, and there should not be, closed frontiersin culture. Live communication is necessary, first of allwith neighbouring nations (which implies national reconciliation),and then also with Europe and the world.We can be a part of European culture only if bring intothe common treasury our own precious spirit, cultureand moral values. One of our pro-Europe orientedscholar said: ”We cannot enter the European orchestraif we do not have our own instruments and scores”. Onthe other hand, faint imitations of world trends and12nekih vrednosti. Globalna, masovna kultura postajejedna hibridna tvorevina, istovremeno nacionalna i internacionalnai ni jedno ni drugo. Na našoj kulturnojsceni, naročito likovnoj i muzičkoj, bilo je više takvihprimera. Balkan treba da usvoji standarde civilizacijekojoj teži i da se ponaša evropski u svakom svom segmentu.Ako kultura podrazumeva više različitih vrednostionda određeni kulturni prostor u kome živimo podrazumevaistoriju i tradiciju toga prostora, verovanje i običaje,institucije, manire, njegove nosioce, njegove složeneodnose, brojne specifičnosti koje označavamo kao potkulture.Otvorena nacionalna kultura, po mom mišljenu,treba da sadrži više različitih kulturnih modela, varijacijapojedinih kulturnih obrazaca, potkultura. Ako sviimaju slobodu da se izraze na svoj način, obilje samoobogaćuje izraz i čini doživljaj kompleksnijim. Za tukompleksnost se tek treba izboriti.Velikim osiromašenjem društva u celini i naročitomarginalizovanjem i pauperizovanjem inteligencije, zatimdegradiranjem institucija kulture i umetnika, nestaju kulturnistilovi na ovim našim prostorima i negovanje dobrogukusa publike, a umesto njih – novi, agresivni bogataši ikriminogeni slojevi donose sa sobom primitivni provincijalizami napadno skorojevićstvo.Uprkos svemu – to treba istaći – uprkos krizi, ratovima,sankcijama, izolaciji, zatvorenim nacionalističkimkonceptima – kultura je uspevala da živi i preživi,da odbrani identitet sasvim posrnulog naciona, krozjednu zdravu matricu koja postoji u ovoj sredini, krozneku vrstu paralelnog sistema, kroz raznovrsne manifestaciječudesnog sveta alternative i pokazala je zadivljujućuenergiju, nove potencijale, kroz niz značajnihfashions in any form of art, without one’s own authenticelements and energy, do not mean accepting orachieving certain values. Global, mass culture becomesa hybrid creation, national and international, but in thesame time none of it. There were quite a number of suchexamples on our cultural scene, especially in fine artsand music. The Balkan region should implement thosecivilisational standards it gravitates to and it shouldaccept European manner in its every segment.If culture refers to numerous values, then this culturalspace we live in refers to history and tradition of thisspace, beliefs and costumes, institutions, manners, itsholders, its complex relations, numerous specific qualitiesthat we refer to as subcultures. Open national culture,in my opinion, should contain diversity of culturalmodels, variations of individual cultural forms, subcultures.If each individual has the freedom of expressingoneself in his/her own way, this abundance reallyenriches the expression and makes an experience morecomplex. This complexity is yetl to be fought for.Great impoverishment of society on whole, andespecially marginalisation and pauperization of intelligence,degradation of cultural institutions and artists,lead to the loss of cultural styles and decrease of publictaste, and instead new, aggressive rich class and criminousgroups bring primitive provincialism and forward“nouveau riche” behaviour into society.It should be emphasized that in spite of all, in spiteof crises, wars, sanctions, isolation, introvert nationalconcepts, culture has lived and survived, it succeeded indefending the identity of a fallen nation, through ahealthy matrix that exists in this community, through aform of a parallel system, through diverse manifestationsof magical world of alternative and it showed fascinatingenergy, new potentials, through a series of sig-

kulturnih inicijativa koje su dolazile od pojedinaca,privatnog sektora. Bilo da je reč o filmu, pozorištu, izložbenimgalerijama, izdavačkoj delatnosti, muzičkimili autorskim agencijama. Oficijelna kulturna politikaje, međutim, uradila malo, naročito u poreskim olakšicama,da se potpomogne ovaj sektor značajne kulturneprodukcije.Ono na čemu još treba insistirati, a što doprinosiugledu države i društva pa samim tim i poimanju zdravogidentiteta, jeste bolji status kulturnih institucija,manifestacija od značaja, umetnika, očuvanje celokupnekulturne materijalne i nematerijalne baštine, bezuslovnazaštita svih spomenika kulture, predstavljanjenaše umetnosti u svetu, saradnja sa međunarodnimstručnim organizacijama, prihvatanje standarda kojivladaju svetom, usvajanje novih mišljenja i iskustava uvezi sa prezentacijama raznih oblika kulturne baštine,redovna i složena komunikacija sa svima, a posebno sastručnim službama, kolegama. Znatno zaostajemo umodernizaciji muzeja, arhiva, dokumentacionih centara.Zatim treba – nužno odbacivati nacionalističko ipovlačiti nacionalno, kada je to neophodno, u domenprivatnog identiteta, obuzdavati još uvek prisutan govormržnje i verbalnog nasilja u javnom diskursu, pogotovou medijima i u nastupima političara.Da bi naš kulturni prostor funkcionisao neophodnaje politička i ekonomska stabilnost - celog regiona -uređena država, svest o značaju i presudnoj ulozi kulturekao nosioca suštine identiteta. Neophodni su normalnipreduslovi za slobodu izražavanja, stvaranja, kritičkogosvrta, osmišljavanja života, a ne samo preživljavanja,čega smo svedoci već dugo i umorni od svega toga.nificant cultural initiatives, coming from individualsand private sector. It concerns film, theatre, galleries,publishing, musical and copyrights agencies. The officialcultural policy, on the other hand, did too little, especiallyin the field of tax exemptions, to help this sector ofsignificant cultural production.What also deserves attention and contributes to thereputation of the country and the society, and in thesame way to comprehension of identity as it should be,is a better position of cultural institution, significantcultural events, artists, preservation of the totalitarity ofcultural tangible and intangible heritage, unconditionedprotection of all cultural monuments, presentation ofour art production abroad, cooperation with internationalprofessional organisations, accepting of internationalstandards, accepting of new approaches andexperiences in presentation of various forms of culturalheritage, regular and complex communication with allinstances, especially with professional services and colleagues.Wedo significantly lag behind other parts of theworld in modernization of museums, archives, documentationcentres.It is also necessary to reject the nationalistic, andkeep the national, when needed, in the individual identitydomain, to restrain expressions of hatred and verbalaggression in public speeches, especially in media andpolitical presentations.In order to have a functional cultural space, we needpolitical and economical stability of the whole region –organized country, awareness of significance andimportant role of culture as bearer of the essence ofidentity. There is also need for common basic conditionsin freedom of speech, creation, critical view, organizationof everyday life, not only surviving, which we havebeen witnessing for such a long time.Zaostalom i osiromašenom narodu, poput našeg,zavađenom i nesložnom narodu, poput našeg ili kakobi Cvijić rekao »budžačkom narodu« u Evropi, neophodnoje mnogo toga – najpre ozdravljenje, što je, bojimse, dugotrajan proces, zatim suočavanje sa istinamai stvarnošću (za koje smo verovali 5. oktobra da sedesilo, što je opet bila kratkotrajna obmana) i na kraju– neophodno nam je - utočište. Ono je jedino mogućenaći u kulturi, kroz prave vrednosti, velike poduhvatei dobre primere, pripremu brojnih zakona, izgradnjuinstitucija, pripremu za adaptacije zgrada za muzeje,legate itd. Takođe je neophodno uvođenje načelaodgovornosti pred kulturom i strukom, a ne pred politikom.Za državnu zajednicu, poput naše, preko je potrebanjasan program prioriteta u kulturnoj politici. Naravnoda se ne može sve odjednom, ali ima preče od prečeg. Sajasnim nacionalnim ali ne i nacionalističkim interesima– to uvek treba naglasiti – ili retro postupcima, već višimdruštvenim ciljevima, sa idejama o budućnosti, idejamanovog veka i milenijuma, sa htenjima da se odupresvakom sunovratu društva moralno i kulturno dezorijenitisanog.Nadajmo se, ipak, da se uspostavlja sistemkoji neće dozvoliti povratak na staro i prevaziđeno. Nadajmose da će i ovoga puta ona »druga«, evropejska Srbijai Crna Gora naći snage za pravac koji je odavnoodređen, jedino smislen, istorijski opravdan, spasonosan.I ne zaboravimo: kultura je identitet svakog pojedincai svakog naroda a očuvanje kulturne baštine, preventivnabriga i stručna obrada, svakako su preduslovda budemo svoji, da budemo sastavni deo sveta i ove civilizacijei ostanemo sa dokazanim i respektabilnimkulturnim identitetom.People that were left behind and destitute, likeours, set against each other and divided like ours, oras Jovan Cviji? (famous Serbian geographer) said -”people from the corner” of Europe, need many differentthings. First of all they need to heal themselves,which is, I am afraid, a long lasting process. Thencomes facing with truth and reality, and in the end –we do need a sanctuary. It is only to be find in culture,through real values, great ventures and good examples,preparation of numerous laws, establishment ofinstitutions, preparing adaptations of museum buildings,legacies, etc. It is also necessary to introduce theprinciple of responsibility for culture and profession,and not for politics.For federation of states, like ours, a clear program ofpriorities in cultural policy is of utmost importance. Ofcourse, nothing can be done at once, but there are thingsthat are more important than others. With clear national,but not nationalistic interests or retrograde actions,with higher social objectives, with ideas of future, ideasof new century and millenium, with willingness to resistevery fall of ethically and culturally disoriented society.Hopefully, a new system, which would prevent usfrom returning to old values, is being established. Thereis a hope that the “other”, European Serbia andMontenegro would find strength to follow the right way,tha was set long ago, the only meaningful, historicallyjustified and a safe way. Let us not forget: culture isidentity of every individual and every people, and preservingcultural heritage, preventive care and professionaltreatment are certainly the basic condition for usto be ourselves, to be constitutive part of the world andthis civilization, and to keep our proved and respectablecultural identity.13

Mila Popović-Živančević, muzejski savetnik - konzervator, Rukovodilac DIJANA CentraKako je Dijana centar počeo daprimenjuje preventivnu zaštitu u praksiOsam godina razvoja – Šta je obeležilo 2004.Narodni muzej je, u skladu sa evropskim strategijamau oblasti zaštite kulturnih dobara, na vremepočeo sa formiranjem centra preventivne zaštite,kakav je DIJANA Centar. Zato je, u ovim važnim momentima,kada predstoji dugotrajan i kompleksanrad na revitalizaciji muzeologije i zaštite, srećnaokolnost da DIJANA Centar već radi na poslovima izadacima preventivne zaštite, kako u Narodnom muzejutako i u muzejskoj mreži SCG.Predstojeća rekonstrukcija i reorganizacija Narodnogmuzeja, koja je već počela da se priprema,upravo sada postavlja poslove preventivne zaštite kaoaktuelne i urgentne. Ovi poslovi će Narodnom muzejuomogućiti primenu odgovarajućih muzeološkihstandarda brige za kulturno nasleđe i eliminisanjepotencijalnih rizika po bezbednost muzejskih predmeta,u procesima rekonstrukcije koji slede.Predstojeći važni zadaci Narodnog muzeja moćiće da se organizuju i uspešno realizuju zahvaljujući,jednim delom, i činjenici da se oko DIJANA Centraokuplja značajan broj mladih i talentovanih ljudi, većposvećenih zaštiti baštine. Kroz duži niz godina, formiranaje i definisana grupa, tim koji predstavlja jezgronovog pristupa u organizovanju sistema brige zabaštinu. Svi oni su doprineli da ideja o preventivnojzaštiti, kao kompleksne i kompletne brige za kulturnonasleđe i kao interdisciplinarni metodološki postupakzaštite, predstavlja istinski doprinos unapre-Mila Popović-Živančević, museum councillor-conservator, head of DIANA CentreEight Years of Development – What Markedthe Year 2004In compliance with European strategies related to culturalheritage protection, the National Museum inBelgrade had started in time the preparations for foundinga centre for preventive conservation as DIANACentre is. It is by happy combination of circumstancesthat when the museums are facing a long-term and complextask to revitalize our museology and protection,DIANA Centre has already been engaged in implementationof preventive conservation both in the NationalMuseum in Belgrade and in the museum network ofSerbia and Montenegro.The forthcoming reconstruction and revitalisation ofthe National Museum in Belgrade, already under preparation,makes solving of the preventive conservationtasks urgent and increasingly important. It will help theNational Museum in Belgrade to implement adequatemuseological standards in care of cultural heritage inthe reconstruction and eliminate potential risks whensecurity and safety of museum objects are concerned.The success of the tasks of the National Museum inBelgrade will partly rely on the fact that DIANA Centregathers around itself significant number of young andtalented people already dedicated to the heritage protection.In the past years the group was created and defined,making the core of the new approach to organisation ofthe heritage care system. They helped the concept ofpreventive conservation to become true contribution to14đenju struke i konzervatorske profesije u našoj zemlji.Da ovo već ozbiljno utiče na razvoj zaštite baštine,pa i muzeologije, jasno se vidi po načinu na koji senaše kolege iz muzeja i institucija zaštite SCG i regionaokupljaju oko ideja i aktivnosti DIJANA Centra.Sada je već očigledno da definisanje DIJANACentra kao novog sistema zaštite kulturnih dobara,ima značajnu ulogu u muzejskoj mreži Srbije i CrneGore. Ideja preventivne zaštite se iz DIJANA Centraširi u regionalnom i međunarodnom smislu. Razvojnaše ideje o preventivnoj zaštiti učinio je da značajnijeinstitucije zaštite u svetu prepoznaju DIJANACentar kao jedan od regionalnih lidera primene novogteorijskog i praktičnog pristupa brizi za kulturnubaštinu.Ono što je obeležilo 2004. godinu u DIJANA Centrujeste sazrevanje mlade generacije, koja je sada ustanju da nosi organizaciju brige za baštinu, koja sestalno usavršava i kvalitetno i naporno radi.Godina 2004-ta će svakako ostati zabeležena i kaopočetak usmerenih i sistematskih specijalizacija urenomiranim muzejskim institucijama, pre svega uFrancuskoj. Na ovaj način smo postigli da se, poredsavladavanja znanja iz nekih deficitarnih oblastikonzervatorskog tretmana, pre svega sagledaju savremeniproblemi brige za kulturno nasleđe, usvoji načinpromovisanja i primene principa preventivne zaštiteu muzeologiji i zaštiti baštite uopšte.Ova godina će ostati zabeležena i po seriji strateš-Diana centre has started with implementationof preventive conservation in practicethe promotion of the profession and conservation ascomplex and complete care about cultural heritage andas interdisciplinary methodological approach to protection.The eagerness of our colleagues from museums andprotection institutions from Serbia and Montenegro andfrom the region to gather around concepts and activitiesof DIANA Centre are a positive sign of the influenceexerted on the development of heritage protection andeven museology.It is obvious now that the establishing of DIANACentre as a new system of cultural heritage protectionhas played an important role in the museum network inSerbia and Montenegro. The concept of preventive conservationhas been spreading regionally and internationally.Our concept of preventive conservation madeDIANA Centre internationally recognized as one of theleaders in implementing theoretical and practicalapproach to the care for cultural heritage.The maturing of the young generation at DIANACentre marked the year 2004. They are now able to dealwith organisation of care for heritage and continue theirdevelopment.This year will also be remembered for the beginningof targeted and systematic specialisations of our studentsin renown museum institutions, of France in thefirst place. Together with covering some deficient areasin conservation treatments knowledge, this enabled usto “get” a comprehensive insight into modern issues ofcare for cultural heritage, and promote and implement

ki važnih seminara, specijalističkih kurseva i radionioca,koje smo partnerski realizovali sa istaknutimekspertima i institucijama iz naše zemlje i evropskogsveta zaštite. Posebno treba istaći saradnju saICCROM-om, Muzejom antike u Arlu, Laboratorijomza konzervaciju iz Draginjana.Ovi događaji su počeli da okupljaju oko DIJANACentra i Narodnog muzeja značajne stručnjake izmuzeja i institucija zaštite. Ali, ono što je još važnije,ovi događaji su izazvali i samoorganizovanje profesionalaca,u pokušaju da sami započnu sa revitalizacijomsvojih institucija.Razvijanje matične i centralne uloge Narodnogmuzeja Beograd na uvoenju prventivnezaštite u muzejskoj mreži SCGU skladu sa matičnom i centralnom ulogom Narodnogmuzeja u Beogradu, DIJANA Centar počinjeveoma dinamično da radi na implementaciji preventivnezaštite u muzejskoj mreži Srbije i Crne Gore:sve izrazitija savetodavna i konsultativna ulogaDIJANA Centra na teorijskim i praktičnim aspektimaprimene preventivne zaštite u muzejskoj mrežiSrbije i Crne Gorestalna pomoć konzervatorima u drugim muzejima,na poslovima praktične zaštite i primene konzervatorskihtretmanaUključivanje stručnjaka iz muzejske mreže Srbijei Crne Gore u specijalizovane edukativne programe,seminare i specijalističke kurseve, iz oblasti preventivnezaštiteAnaliza stanja kulturne baštine na Kosovu i Metohiji,i organizovanje edukativnih programa iz zaštite ikonzervacije za Veliku Hoču, pripremanje projektaGeneracija mladih stručnjaka u DIJANA CentruSada možemo slobodno da kažemo da se već formiralojezgro mladih stručnjaka, koji su kreiralisvoju profesionalnu ličnost u skladu sa etikom, usmerenina bezbednost i brigu za kulturno dobro, kao naopšti cilj i zadatak. U skladu sa tim, ovi mladi ljudi suusmeravali sve svoje aktivnosti u DIJANA Centru ivan njega na: disciplinovano sprovođenje svih standardaprofesije, sposobnost usmeravanja ličnih ambicijaka opštim strategijama i interesima, timski rad,razvoj inicijative i učešće u kreiranju različitih projekata,pisanje i objavljivanje stručnih radova, negovanjepartnerskih odnosa sa pojedincima i institucijama,skladan odnos sa medijima i posebno sa širokompublikom, doprinos u svim edukativnim programimai aktivnostima, učešće u neophodnim pratećim delatnostimai svakodnevnom radu i dr.Sadašnje jezgro predstavlja prvu generaciju u DI-JANA Centru, koja je formirana na ovim idejama i saovim ambicijama. Oni danas poseduju višegodišnjeiskustvo u kompleksnom pristupu brige za baštinu,koja se sastoji od primene teorije i prakse preventivnezaštite. Sveobuhvatna interdisciplinarna teorijskai praktična znanja koja su ovi mladi ljudi sticali krozsvoje dugogodišnje aktivnosti u DIJANA Centru, danasčini novu generaciju zaštitara, kreiranu na kompletnojbrizi za baštinu i konstantnom sticanju i održavanjuprofesionalnih znanja. Nova generacija negujesve pasivne i aktivne, direktne i indirektne merezaštite; samo kulturno dobro posmatra u njegovomokruženju, koje funkcioniše kao prostor životne sredine,sa kulturnim, ekonomskim, društvenim i obrazovnimsadržajima. To su danas zreli timovi mladihstručnjaka, koji mogu da se bave i vrlo složenim pospreventiveconservation principles in museology andprotection of heritage in general.This year will also be remembered for strategicallyimportant seminars, specialist courses and workshopsrealised in partnership with eminent experts and institutionsin charge of protection from our country and theEuropean Union. The cooperation with ICCROM,Museum of Antiquities in Arles, Laboratory forConservation in Draguignan should be pointed out.These events started gathering distinguished expertsfrom museums and institutions of protection to gatheraround DIANA Centre and the National Museum inBelgrade. However, the most important is that theseevents inspired professionals to organise themselves andstart revitalization of their own institutions.Development of the central role of theNational Museum in Belgrade related to introductionof preventive conservation into themuseum network of Serbia and MontenegroIn accordance with the parent and central role of theNational Museum in Belgrade , DIANA Centre is activelyworking on implementation of preventive conservationin museum network of Serbia and Montenegro evidencedby :- increasingly present counselling and consultancyrole of DIANA Centre in theoretical and practicalaspects of preventive conservation;- permanent help assistance to conservators in othermuseums in practical protection and application of conservationtreatments;- Participation of experts from the museum networkof Serbia and Montenegro in specialized educative programmes,seminars, and specialist courses in preventiveconservation;15

lovima zaštite i konzervacije kulturnih dobara. Njihovuticaj na muzeologiju u našoj zemlji se već oseća i oni uvelikoj meri već doprinose razvoju efikasnije brige zamuzejske predmete.Grupa mladih stručnjaka iz DIJANA Centra je imalai svoja prva zapažena učešća i nastupe na važnim stručnimkonferencijama i forumima u zemlji i svetu, što je uvelikoj meri doprinelopromovisanju ideje DIJANA Centrai Narodnog muzeja. Oni su postigli da se na tradicionalnuustanovu kakav je Narodni muzej, zahvaljujućinovoj energiji koju nose i kojom neodoljivo zrače, u svetudanas baci drugačije svetlo. Ovome u prilog ide zanimljivozapažanje Nikolasa Stenlija Prajsa, generalnogdirektoa ICCROM-a, tokom posete u decembru 2004:“Bila je velika hrabrost da se započne razvijanje sistemakakav je DIJANA, u okviru nacionalne institucije. Ali istotako, treba istinski odati priznanje i Narodnom muzejušto je to uopšte i dozvolio“. Očigledno, skriveni potencijaliinstitucije kakav je Narodni muzej su ogromnii iznenađujući, samo ih treba otkriti i prepoznati. DIJA-NA Centar je izgleda uspeo da te potencijale i otkrije iprepozna.Nova generacija danas uspešno završava stručne ispitei počinje da se zapošljava u stručnim službama zaštiteu raznim muzejima u zemlji. Zahvaljujuići njima,uticaj DIJANA Centra u muzejskoj mreži naše zemlje jeevidentan i efikasan.Za pet volonter-apripravnika, koji su pripravničkistaž, posle petogodišnjeg iskustva u DIJANA Centru, uspešnookončali krajem 2004. godine, završene su pripremeza zasnivanje stalnog radnog odnosa u Narodnommuzeju - u DIJANA Centru, već tokom 2005. To će bitiprvi stručnjaci specijalizovani za primenu teorije i praksepreventivne zaštite u muzejima naše zemlje, koji sada- Surveys of cultural heritage condition in Kosovoand Metohija and organisation of educative programmesin protection and conservation for Velika Hoča, preparationof the project.A generation of young experts of DIANACentre has been raisedA group of young professionals was created and theydeveloped in compliance with professional ethics andbehaviour targeted at safety and care of cultural heritageas general objective and task. In accordance withthis, our young staff directed their activities at DIANACentre and beyond it at: strictly implementing all professionalstandards, developing their personal ambitionstowards general strategies and interests, team working,fostering initiative and participation in creating projects,writing and publishing papers, cherishing partnershiprelations with individuals and institutions, establishinggood relations with media and particularly withbroader audience, contributing to educational programmesand activities, participating in daily duties, etc.This group is the first generation of students formedon the basis of these concepts and with these ambitions.They have become broadly experienced in providingcomplex approach to care about heritage consisting ofpreventive conservation theory and practice application.Young people gained complex interdisciplinary theoreticaland practical knowledge during their years inDIANA Centre which made them a new generation incharge of conservation, built through fostering complexand complete care about the heritage and permanentupgrading of their knowledge. They now implement allpassive and active, direct and indirect protection measures;for them the cultural property exists in its surroundingsthat functions as the living environment with16i institucionalno ulaze u razvoj zaštite u našoj zemlji.Što se tiče drugih lica angažovanih u DIJANA Centru,proteklih nekoliko godina već se napravio prirodanodabir najpogodnijih kandidata, tako da sada imamogrupu od oko 35-40 saradnika i polaznika, za koje možemopretpostaviti da će se ozbiljno baviti zaštitom. Narednihgodina njihovo školovanje, obuka i specijalizacijeće se nastaviti.Oni intezivno učestvuju u svim aktivnostimaDIJANA Centra u Galeriji fresaka.Proces formiranja novih kadrova je, zbog problematranzicije, bio i još uvek je mukotrpan, i zahteva uporani dosledan rad na ostvarivanju definisanih ciljeva. Srećom,nova generacija će biti kvalitetna baza u sistemuDIJANA Centra, koja će pomoći da se dalje nastavi sakreiranjem novih generacija na istim principima i strateškimciljevima.Uloga DIJANA Centra u rekonstrukcijiNarodnog muzejaPredstojeće akcije revitalizacije i rekonstrukcijeNarodnog muzeja zahtevaju aktivnu ulogu DIJANACentra i njenog već obučenog tima na sledećim poslovima:pripremanje muzejskih zbirki za izmeštanje u privremenidepo, pripremanje privremenog depoa za odgovarajućečuvanje muzejskog materijala, tesna saradnjasa projektantima za rekonstrukciju zgrade Narodnogmuzeja i Galerije fresaka, tesna saradnja sa drugimstručnim službama, organizovanje muzejskog prostorai muzejskih službi u skladu sa zahtevima preventivnezaštite, u rekontruisanim objektima Narodnog muzeja;zatim, neophodna saradnja na kreiranju i formiranjunovog Centra za zaštitu, koji bi imao nacionalni, odnosnoregionalni karakter i dr.Kako je reč o poslovima i odgovornostima preventiv-the cultural, economic, social and educational contents.Today these young people are mature members of teams,able to deal with very complex tasks in conservation andprotection of cultural property. Their impact on museologyin our country is already visible and they have activerole in providing efficient care about museum objects.The group of young professionals at DIANA Centremade their first noteworthy contributions at importantprofessional conferences and meetings in the countryand abroad, which in turn significantly and specificallycontributed to the promotion of the ideas represented byDIANA Centre and the National Museum in Belgrade.With their overpowering and radiating energy they con-

normalan rad i kako bi se otvorio prostor za primenuodgovarajućih muzeoloških standarda, kod kreiranja iustanovljavanja novog Narodnog muzeja.Negovanjem profesionalno usmerenih mladih ljudiiz DIJANA Centra, Narodni muzej može unaprediti kadrovskustrukturu u svojim stručnim službama koje sebrinu za muzejske predmete. Na taj način ćemo postićida se energija novog pristupa zaštiti i muzeologiji reflektujei na muzejsku kadrovsku sliku.Naravno, kadrovska revitalizacija u Narodnom muzeju,imajući u vidu mlade ljude iz DIJANA Centra,mnogo jednostavnije će se sprovoditi usvajanjem novesistematizacije i osnivanjem jedinstvenog Centra za zaštitu.U tom slučaju, sve aktivnosti i službe novog Centraće biti čvrsto povezane, na istom zadatku očuvanjamuzejskih kulturnih dobara. Ovako objedinjena službazaštite obuhvatiće sve mere brige za kulturno nasleđe,uključujući, kao direktne, osnovne poslove pasivne i aktivnekonzervacije i istraživačkog rada, a kao indirektnenpr. razvoj specijalizovanih službi edukacije ili PRa.Na ovaj način, stručna kadrovska osnova u novomCentru za zaštitu moći će jednostavnije i efikasnije dase organizuje.ne zaštite, tim DIJANA Centra već uveliko radi na rešavanjuovih problema.Energija novih ljudi i nova muzeološkasaznanja koja iz toga proističu, na vreme će sestaviti u službu revitalizacije Narodnog muzeja kako bise ostalim službama i stručnjacima u Muzeju omogućioMETODOLOGIJA RADASvoju ulogu u uspostavljanju jedinstvenog sistemapreventivne zaštite, u Narodnom muzeju, našoj zemlji išire, DIJANA Centar već ostvaruje kroz definisane razvojnestrategije, utvrđene Strateškim planom Narodnogmuzeja iz avgusta 2002. godine. Ove strategije usklađenesu sa Evropskom strategijom preventivne zaštite (usvojenau Vanti, 2000.), ali prilagođene našim lokalnim, nacionalnimi regionalnim uslovima i prilikama. Svojekratkoročne i dugoročne ciljeve razvojne strategije DItributedto positive changes in understanding a traditionalinstitution as the National Museum in Belgradewas. Dr. Nicholas Stanley Price, Director General ofICCROM made an interesting remark during his visit inDecember 2004: “It was very courageous to start developinga system like DIANA within a national institution.However, one should give credit to the National Museumin Belgrade for allowing this in the first place”.Obviously inherent potentials of an institution like theNational Museum in Belgrade are huge and surprising,and only waiting to be revealed and recognized. It seemsthat DIANA Centre was successful in discovering andrecognizing these potentials.The new generation now pass their professionalexams with success and get employment in museumservices of conservation and protection in the country. Itis thanks to them that the influence of DIANA Centre inmuseum network of our country is visible and efficient.Five young women, who in 2004 successfully accomplishedtheir trainee year at the National Museum, havingworked for five years at DIANA Centre, are expectedto get employment in the National Museum inBelgrade at the beginning of 2005 as all official requirementsare met. They will be the first professionals specialisedin theory and practice of preventive conservationand engaged in heritage protection in the country.Regarding other young people engaged in DIANACentre, in the past few years the best candidates passedselection tests and now we have some 35-40 collaboratorsand students who are supposed to become futureprofessionals dealing with protection and conservation.They will continue their upgrading and specialize theirknowledge in the coming years, and they take part in allactivities of DIANA Centre in the Gallery of Frescoes.The process though, due to the transition we aregoing through, was and still is hard and requires persistentand consistent work on carrying our set goals.Luckily enough this generation will build a quality basiswithin the DIANA Centre system and they will help creatingnew generations in accordance with the same principlesand strategic goals.The role of DIANA Centre in the reconstructionof the National Museum in BelgradeThe forthcoming reconstruction and revitalisation ofthe National Museum in Belgrade require from DIANACentre and its already trained team an active role in:preparation of museum collections for evacuation andtemporary storing in provisional storages; preparation ofprovisional storages for adequate storing of museummaterial; close cooperation with designers in charge ofreconstruction of the buildings of the National Museumin Belgrade and the Gallery of Frescoes; close cooperationwith other professional services; organisation ofmuseum space and museum services in the reconstructedobjects of the National Museum in Belgrade in compliancewith preventive conservation requirements; necessarycooperation in creation and formation of the newCentre for Protection which would be of national, i.e.regional character, etc.The team of DIANA Centre has already been veryactive in solving the tasks and responsibilities related topreventive conservation issues; energy of new people andnew museological knowledge will be promptly and in theright time used in revitalisation of the National Museumin Belgrade enabling services and experts in the Museumto function and apply adequate museological standardsin establishing the new National Museum.The National Museum in Belgrade can improve thestructure of its staff in charge of museum objects by fosteringyoung professionals from DIANA Centre; this will17

JANA Centar sprovodi preko devet različitih oblika rada,međusobno tesno povezanih u jedinstven organizacionisistem aktivnosti.I EDUKACIJAII PRIMENA PASIVNE KONZERVACIJEIII PRIMENA AKTIVNE KONZERVACIJEIV ISTRAŽIVAČKI RADV DOKUMENTACIJAVI STRUČNA PUBLICISTIKA I IZDAVAŠTVOVII PARTNERSTVOVIII PREZENTACIJA I PROMOCIJAIX MARKETINGEDUKACIJAEdukacija koju sprovodi DIJANA Centar bazira sena sledećoj strategiji:- osnovno poznavanje preventivne zaštite- integrisanje preventivne zaštite u sve programestudija koji se tiču kulturne baštine- obezbeđivanje programa studija preventivne zaštiteza sve institucije koje su nadležne za poslove zaštite ikonzervacije- stvaranje mogućnosti za specijalizacije u preventivnojzaštiti; magistarske i doktorske studije- organizovanje stručnih skupova radi osavremenjivanjapreventivne zaštite (redovni seminari, radionice,okrugli stolovi i sl.)- stimulisanje istraživanja u preventivnoj zaštiti ikonzervacijiu cilju:- stvaranja široke baze profesionalnih mladih kadrova,koji će se zaštitom baviti na sveobuhvatan i interdisciplinarannačin, prema principima specijalizovane obuhelpthe energy stored in the new approach to protectionand museology to have bearing on museum staff structure.Staff revitalisation of the National Museum inBelgrade will be carried out in a much simpler way if thenew professional positions scheme and establishment ofa single Centre for Protection if based on young peoplefrom DIANA Centre. This means that all services andactivities of the new Centre would be closely connectedand focused on the one and same task of safeguardingmuseum cultural property. The unified protection serviceswould encompass as direct basic tasks all measuresaimed at care for cultural heritage including passive andactive conservation and research and as indirect onesthey would enhance development of specialist educationservices and PR. This would further help the professionalstaff in the new Centre for Protection to be organisedin a simple and efficient way.METHODOLOGY OF WORKDIANA Centre carries out its tasks in establishing aunique system of preventive conservation in theNational Museum, our country and beyond it throughdefined development strategies set by the Strategic Planof the National Museum in Belgrade in August 2002.These strategies are brought into line with the Europeanstrategy of preventive conservation (adopted in Vantaa in2000), adjusted however to our local, national andregional conditions and situations. DIANA Centre carriesout its strategic, short and long term goals anddevelopment strategies through the methodology ofwork for nine different segments, mutually closely connectedwithin a unique system of activities.III18EDUCATIONAPPLICATION OF PASSIVE CONSERVATIONStruktura DIJANA CentraStalno zaposleniMila Popović-Živančević, savetnik-konzervatorVesna Živković, kustos, Aleksandra Džikić Nikolić,konzervator, Maja Franković, konzervatorSaradnici -konzervatori: Tatjana Nedeljković, MajaŽivković i Ana Kocjan (u periodu oktobar 2003.-oktobar2004. bili su volonteri-pripravnici)Spoljni saradnici: Malena Stojčev, Ivana Stojković,Ana Vujić, Slađana Novković, Zvezdana Popović, TamaraLujak, Vesna Svoboda, Jelena Tucaković, Đurđinka Bogdanović,Srđan Radosavljević, Veljko Džikić, Danijela Stojiljković,Igor Jonić, Marija Matejčić, Dejan Milovanović,Bojan Georgijevski, Nemanja Mrđić, Lazar Rančić i dr.Stari polaznici : Aleksandar Joksimović, Marija Radin,Dušan Maksimović, Stanoje Davidović, Petar Vujošević,Branka Belošević, Miroslav Ristić, Senka Jovanović, TijanaPavlica, Tanja Minić, Tijana Aćimov.Novi polaznici (koji su nastavili sa aktivnostima u DI-JANA Centru nakon završetka Letnje škole): Ana Živković,Biljana Stamenić, Tamara Vasić, Suzana Konsulovski, SvetlanaHadži-Tonić, Nataša Krstić, Bojana Đonić, Nina Stefanović,Sonja Đuričić (Velika Hoča), Vesna Stanimirović.Stalno zaposlenih .................................................... 4Saradnika - konzervatora.......................................... 3Spoljnih saradnika....................................................18Starih polaznika........................................................11Novih polaznika.......................................................10UKUPNO..................................................................46III APPLICATION OF ACTIVE CONSERVATIONIV RESEARCHV DOCUMENTATIONVI PUBLICATIONS AND PUBLISHINGVII PARTNERSHIPVIII PRESENTATION AND PROMOTIONIX MARKETINGEDUCATIONEducation pursued by DIANA Centre has the followingstrategic tasks:- developing basic knowledge about preventive conservation,- integration of preventive conservation into culturalheritage studies,- providing preventive conservation study programmesfor all institutions in charge of protection andconservation,- opening possibilities for specialisations in preventiveconservation, including MA and PhD,,- organisation of professional meetings in order tomodernize preventive conservation (permanent, regularseminars, workshops, round tables, etc.),- encouraging research in preventive conservationand conservation.with the aim to:- create a broad basis of young professional staff whowill engage in protection in a comprehensive and interdisciplinarymanner and in compliance with the principlesof specialist training in preventive conservation;- Introduce team work and persist on application ofprofessional ethics and behaviour;- build affirmation of the profession: a coherent conservationstrategy encompassing the entire care aboutcultural heritage leads to general change in understand-

ke iz preventivne zaštite- uspostavljanja timskog rada i insistiranje na primeniprofesionalne etike- afirmacije struke: koherentna konzervatorska strategija,koja obuhvata kompletnu brigu za kulturna dobrai predstavlja generalnu promenu u shvatanju zaštite,ali i konzervacije kao profesije- edukacije kadrova iz Srbije i Crne Gore, susednihzemalja Balkana i jugoistočne Evrope.Tri nivoa obrazovanja:- osnovni nivo, za nove polaznike- viši nivo, za stare polaznike- specijalizacije i usavršavanjaEdukacija u DIJANA Centru podrazumeva:Teorijsku obuku - opšta teorijska nastava, specijalizovanateorijska nastava, posebna predavanja (pojedinačnoili u ciklusima), specijalizovani i masters kursevi.Praktičnu obuku na neorganskom, organskom i kompozitnomarheološkom materijalu - primena aktivnihkonzervatorskih tretmana, specijalizovanih znanja, umetničkihveština i zanatskog umeća.PASIVNA KONZERVACIJAPasivna konzervacija ustanovljava optimalno okruženjeza muzejske zbirke u Narodnom muzeju i muzejskojmreži SCG i to sprovode timovi saradnika i polaznikaDIJANA Centra. Ovi poslovi se realizuju u saradnjisa drugim muzejskim službama i ekspertima. Ova metodologijatreba da pomogne:- Ustanovljavanju optimalnih uslova čuvanja, izlaganjai transporta muzejskih predmeta- Ustanovljavanju metoda pohranjivanja muzejskihThe Structure of DIANA CentreEmployees:Mila Popović-Živančević, councillor-conservatorVesna Živković, curator, Aleksandra Džikić NIkolić,conservator, Maja Franković, conservatorConservators/collaborators:Tatjana Nedeljković, Maja Živković and Ana Kocjan(until December 2004 they all volunteered as trainees)Part-time collaborators: Malena Stojčev, IvanaStojković, Ana Vujić, Sladjana Novković, ZvezdanaPopović, Tamara Lujak, Vesna Svoboda, Jelena Tucaković,Đurđinka Bogdanović, Srđan Radosavljević, Veljko Džikić,Danijela Stojković, Igor Jonić, Marija Matejčić, DejanMilovanović, Bojan Georgijevski, Nemanja Mrdžić, LazarRančićSenior students: Aleksandar Joksimović, Marija Radin,Dušan Maksimović, Stanoje Davidović, Petar Vujošević,Branka Belošević, Miroslav Ristić, Senka Jovanović, TijanaPavlica, Tanja Minić, Tijana AćimovJunior students (who continued to work at DIANACentre after the Summer School): Ana Živković, BiljanaStamenić, Tamara Vasić, Suzana Konsulovski, SvetlanaHadzi-Tonić, Bojana Djonić, Nina Stefanović, SonjaĐuričić (Velika Hoča), Vesna StanimirovićEmployees………………………………………………….…4Collaborators-conservators…………………………....3Part-time collaborators...………………………………..18Senior students……………………………………………..11Junior students……..………………………………………10TOTAL………………...………………………………….…....46predmeta - opreme za odlaganje, čuvanje i transport- Organizovanju i kontroli mikroklime u depoima, izložbenimsalama i u transportu- Organizovanju i kontroli zaštite muzejskih predmetaod zagađenja iz okoline- Organizovanju i kontroli zaštite pri radu u konzervatorskimradionicama1. Organizovanje, praćenje i kontrola uslova okruženja- čuvanja, izlaganja i transportaPraktična primena preventivne zaštite u ovoj oblastitokom 2004. godine je počela sve dinamičnije da se ostvarujeu muzejskoj mreži naše zemlje. Sve više muzejapočinje da shvata značaj obezbeđivanja odgovarajućegokruženja za muzejske zbirke. I zaista, rezultat našeuporne aktivnosti je neka vrsta „samoorganizovanja“ i„okupljanja“ muzejskih profesionalca, koji žele svoje institucijeda usmere na kompletnu brigu za muzejskepredmete i zgrade oko DIJANA Centra. Sve više muzejau zemlji traži profesionalne usluge i pomoć od DIJANACentra na implementaciji mera preventivne zaštite usvojim sredinama. Mora se primetiti da se prvi znaci preduzimanjaprioritetnih mera i poboljšanja u tretiranimmuzejima skoro uvek primećuju vrlo brzo nakon našihmisija. Opširni izveštaji i elaborati, koje pripremamonakon obilaska nekog muzeja, sadrže analizu stanja ipredlog mera sanacije sa procenom rizika i određivanjemprioriteta. Sve više se pokazuje da su ova dokumentaključan elemenat kod „ubeđivanja“ nadležnih zapomoć u revitalizaciji muzejske institucije.Snimanje, analiza stanja i procena rizika čuvanja i izlaganjamuzejskih predmeta i kulturnih dobara uopšteing protection but also in conservation as profession;- educate staff from Serbia and Montenegro, from theneighbouring countries of the Balkans and south-eastEurope.Three levels of education:- basic level for beginners- higher level for seniors- specialisations and upgradingEducation in DIANA Centre involves:Theoretical education: general and specialised theoreticallectures, specific lectures (either as series of lecturesor separate ones), specialised and master coursesPractical training: on inorganic, organic and compositearchaeological materials; application of activeconservation treatments, specialised know-how, artisticskills and crafts.PASSIVE CONSERVATIONPassive conservation should provide the best environmentfor museum collections in the National Museumin Belgrade and in the museum network of Serbia andMontenegro and it is carried out by the teams of collaboratorsand students of DIANA Centre. These programmesare realized in cooperation with other museumservices and specialised experts. This methodology is tohelp in:- establishing optimum conditions for keeping, displayingand transporting of museum objects;- establishing methods for storing museum objects -adequate equipment for storing, keeping and transport;- monitoring microclimate in storages, display roomsand during transport;- managing protection of museum objects againstenvironmental pollution;19

Narodni muzej u Beogradu, analiza stanja i procenarizika uslova čuvanja u arheološkim depoima.Galerija Fresaka, Narodni muzej u Beogradu, analizastanja i uslova čuvanja antičkih mozaika, kopija stećakai arhitektonske plastike u depoima.Gradski muzej Vršac, analiza stanja i uslova čuvanjabudućeg izložbenog prostora.Zavičajni muzej u Aleksincu, analiza i procena stanjazgrade muzeja.Narodni muzej u Vranju, analiza stanja uslova čuvanjai izlaganja u objektu amana.Narodni muzej u Leskovcu, analiza stanja uslova čuvanjai izlaganja, posebno novoadaptiranih depoa.Muzej Staro selo u Sirogojnu, analiza uslova čuvanjai izlaganja kulturnih dobara, posebno primene aktivnihkonzervatorskih tretmana, stanja nepokretnog, pokretnogi dela nematerijalnog nasleđa.Velika Hoča, Kosovo i Metohija, urađena analizastanja sa stanovišta integrisane zaštite baštine i održivograzvoja: osnovno snimanje stanja nepokretnog,pokretnog i nematerijalnog nasleđa, unutrašnjeg ambijentai atmosfere, neposrednog i šireg okruženja, posebnosadašnje lokalne zajednice, kao i uslova njenih ekonomskihmogućnosti i društvenog razvoja. Urađen jeizveštaj i poseban projekat za uključivanje UNESKOa.Muzej Nikole Tesle, u toku je rad na analizi stanja iorganizovanju odgovarajućih uslova čuvanja muzejskihpredmeta.Praćenje i kontrola stanja muzejskih predmetaa) Saniranje stanja muzejskih zbirki - kontrola iuništavanje štetočinab) Organizovanje odgovarajućih uslova čuvanja, odlaganjai pakovanjaOdlaganje muzejskih predmeta u depoimaPakovanje muzejskog materijalaNabavka opreme za preventivnu zaštituPripremanje elaborata i detaljnih izveštajaOsim elaborata i izveštaja o stanju i uslovima čuvanjau pomenutim muzejima i sredinama u Srbiji, završenje i predlog Elaborata o jedinstvenom centru zaštite uNarodnom muzeju u Beogradu, koji bi bio odgovoran zacelu zemlju. Ovaj predlog je predat Ministarstvu kulturekao nacrt sadržaja budućeg Centra. Dokument pokušavada definiše organizaciju nacionalnog Centra zaštite,predlaže njegove programske sadržaje i ciljeve.Takođe je završen je elaborat o DIJANA Centru kaosistemu preventivne zaštite, rađen za Nacionalnu komisijuUNESKO-a, za postojeće i buduće partnere.U prethodnom periodu je kompletiran i novi tekstprojekta o DIJANA Centru kao regionalnom sistemupreventivne zaštite, za regionalnu kancelariju UNESKO– ROSTE -a, UNESKO-Pariz i dr.AKTIVNA KONZERVACIJAJasno je da osnovne mere preventivne zaštite koje direktnoi neposredno utiču na stanje kulturnog dobra jesuinterventne mere pasivne i aktivne konzervacije.Aktivna konzervacija u DIJANA Centru sve više težiosnovnom pravilu preventivne zaštite: da se konzervatorskeintervencije na kulturnom dobru ograniče naprihvatljiv minimum.Primena aktivne konzervacije u zaštiti kulturnih dobaradanas ima više različitih pristupa i izaziva dostadilema. Međutim, ono što je evidentno to je da se u najvećembroju institucija zaštite, pa i u DIJANA Centru, ucomplete care about museum objects and buildings.The number of museums engaging DIANA Centre andits professional help and services in implementation ofpreventive conservation measures in their institutionsis constantly increasing. Soon after our surveys, prioritymeasures are taken and improvements in museumstreated become visible. Surveys and proposals for salvagingmeasures, with risk assessment and setting prioritiesare based on detailed reports and feasibilitystudies done. These documents are gaining in importancewhen “convincing” the authorities that their supportis needed in revitalisation of museum institutions.Surveying, analysis and risk assessment of keepingand displaying conditions related to museum object andcultural property in general:Praćenje klime u depou Galerije fresakaMonitoring of climate in the depot of Gallery of Frescoes- organizing and controlling of safety at work conditionsin conservation workshops.Organisation, monitoring and managementof environmental conditions – safekeeping,displaying and transportThe implementation of preventive conservation inpractice in 2004 was dynamically developing throughoutthe museum network of the country. This awarenessof the importance adequate environmental conditionshave for museum collections is fast transforming intoattitude by most of museums. It may be rightfully saidthat our persistency in the issue provoked a kind of“self-organising” and “gathering” around DIANACentre of those wishing their institutions to establish20National Museum in Belgrade - survey and riskassessment of keeping conditions in archaeologicaldepots;Gallery of Frescoes - National Museum in Belgrade,analysis of keeping conditions for antique mosaics andcopies of tombstones and architectural plastic in depots;City Museum Vršac - survey and future exhibitionspace;Museum in Aleksinac - survey of the museum;National Museum in Vranje - survey in the Turkishbath;National Museum in Leskovac - survey of the museum,particularly of the newly adapted storages;“Old Village” Museum in Sirogojno – survey of themuseum, particularly regarding the application of activeconservation treatments, condition of movable andimmovable heritage as well as part of the intangible one;Velika Hoča, Kosovo and Metohija - survey from thepoint of view of integrated heritage protection and sustainabledevelopment done: basic surveys of immovable,

Tabelarni pregled konzervacija urađenih u 2004.Vrsta materijala Gotove Konzervacije VlasnikKonzervacije u toku1 Konzervacija keramike 96 25 Narodni muzej u Beogradu2 Konzervacija stakla 1310303 Konzervacija kamena 532610Narodni muzej BeogradMuzej grada BeogradaBelgijska ambasadaNarodni muzej BeogradMuzej savremeneumetnosti u Beogradu4 Konzervacija mozaika 50 Narodni muzej Beograd5 Sanacija kopija steæaka 21 4 Narodni muzej Beograd6 Restauracijaporcelana, fajansa imajolike7 Izrada kalupa, kopija ireplika 478UKUPNO26 15 Privatne zbirke204 konz.+478 kopije140 konz.Narodni muzej Beogradorder to prevent harmful effects of exterior factors in thefirst place.Practice proves it that if objects are kept in inadequateenvironmental conditions and if not preventivelyconserved, it is not possible to stop destructive processesand decay of archaeological objects. Daily work aboundswith examples of decaying of even otherwise resistantinorganic materials. In the storages of the NationalMuseum in Belgrade there are items of unconserved lessfired ceramics that suffered long exposing to inadequateconditions – outdoor agents; such ceramics is turninginto its original form – into earth.It is only understandable that these destructiveprocesses are even more detrimental if the objects oforganic and composite material are unprotected andkept in inadequate conditions. On the other hand, thefragile nature of these archaeological objects makesapplication of preventive conservation treatments difficult;it makes it a very complex, sensitive, often uncertainand a fully multidisciplinary endeavour.In curative active conservation the curative conservationtreatment is applied i.e. a treatment thatcures/heals.In case of already damaged archaeological materialsince the passive measures of protection and preventiveactive conservation treatments were not applied, thechances are that cultural property will be lost forever. Insuch cases, it is necessary to apply curative conservationand thus try to “heal”the object and prevent its completedecaying.However, curative conservation should be the lastmeasure taken in protection of an archaeological object.It raises many dilemmas and contradictions mainly dueto interventions on the substance of cultural property.There are those who advocate that the curative conservationendangers the integrity of the object, changes its22very nature that is the origin of its material.These dilemmasare mainly due to the reversibility issues, uncertaintyof nature of future reaction between the originalstructure of museum object and conservation materialused. Curative conservation requires most subtle professionalunderstanding of the historical, cultural andesthetic values and messages of the archaeologicalobjects and works of art.Another issue raised is that the curative conservationrequires a long-term treatment thus “keeping” the damagedobject for long time in work and possibly causingits additional decay. Finally, curative conservation treatmentsare costly, require significant financial means andtime, a complex approach involving researching, interdisciplinarityand multidisciplinarity.We could even say that curative active conservationis the one of the most sensitive departments in protectionthat often makes the professionals test the limits oftheir professional ethics and behaviour. This is the partof cultural heritage protection where the division linebetween the correct and incorrect, between the ethicaland unethical becomes very thin and not always clearor well defined.The basic approach implemented in DIANA Centreboth in preventive and curative active conservationunderstands:- Temporary conservation treatments- Reversible methods- Use of undestructive methods onlyMethodologically, both the preventive and curativeconservation treatments, as may be needed, shouldobserve the following phases in the process:- Conservation documentation- Conservation investigation

i poruku arheološkog i umetničkog predmeta.Takođe, kurativnu konzervaciju treba izbegavati izbog primene dugotrajnog postupka, koji „drži“ oštećenipredmet dugo u tretmanu i povećava rizike od dodatnihdegradacija. Konačno, kurativni konzervatorskitretmani su skupi, jer zahtevaju dosta finasijskihsredstava i vremena, kompleksan pristup, koji mora dauključi ozbiljna istraživanja, interdisciplinarnost i multidisciplinarnost.Skoro da bi moglo da se kaže da je jedna od najosetljivijihoblasti zaštite, koja najčešće svakog profesionalcadovodi do same ivice primene profesionalne etike imorala, upravo kurativna aktivna konzervacija. Veomačesto, dileme kurativnog tretmana dovode konzervatorai do same ivice poštovanja profesionalnih pravila ponašanja.Ovo je oblast zaštite kulturnih dobara gde je linijarazgraničenja između pravilnog i nepravilnog, izmeđuetičkog i neetičkog često veoma tanka i nedovoljno izraženai definisana.U svakom slučaju, osnovni pristup koji DIJANA isključivoprimenjuje u aktivnoj konzervaciji, bilo da jereč o preventivnoj ili kurativnoj, obavezno podrazumeva:- privremene konzervatorske tretmane- reverzibilne materijale- nedestruktivne metodeMetodološki postupak i preventivnog i kurativnogkonzervatorskog tretmana, u zavisnosti od potreba, morada prati sledeće procesne faze:- Konzervatorska dokumentacija- Konzervatorska ispitivanja- Čišćenje strukture i površineKonzervacija stakla u DIJANA CentruConservation of glass in DIANA Centre- Stabilizacija-konsolidacija strukture i površine- Spajanje fragmenata- Restauracija i rekonstrukcija- Završna zaštita- Smeštaj u odgovarajuće uslove okolineNeki od ovih postupaka su identični i za preventivnui za kurativnu aktivnu konzervaciju, kao npr. dokumentacijai ispitivanja. Drugi opet, kao čišćenje i konsolidacijastrukture, mogu da se primene, ali i ne moraju, i kodpreventivnog i kod kurativnog tretmana, u zavisnosti odpotreba i stanja arheološkog predmeta.Neki delovi postupka su opet problematični i nije upotpunosti jasno da li pripadaju preventivnoj ili kurativnojkonzervaciji. Tako, na primer, restauracija i rekonstrukcijakod preventivnog konzervatorskog tretmanaConservation done in 2004.Kind ofmaterial1 Conservationof ceramics2 Conservationof glass3 Conservationof stoneConservations On-going Ownerdone Conservations96 25 National Museum in Belgrade131030532610National Museum in BelgradeMuseum of City of BelgradeBelgian EmbassyNational Museum in BelgradeMuseum of Contemporary Art inBelgrade4 Conservation50 National Museum in Belgradeof mosaics5 Salvaging 21 4 National Museum in Belgradecopies offrescoes6 Restoration of 26 15 Private collectionsporcelain,faience andmajolica7 Making 478 National Museum in Belgrademoulds, copiesand replicasTOTAL 204conservations+478 copies140conservations23

Predavači i saradniciOd samog početka smo se trudili da se teorijska i praktičnaobuka u DIJANA Centru sprovodi sa najboljim ekspertimaiz oblasti muzeologije, preventivne zaštite, tehnologije,hemije, konzervacije, arheologije i dr, iz naše zemlje i izinostranstva.Oni direktno doprinose da se obezbedi najbolji mogućinivo teorijske i praktične obuke, pomažu da se poboljša radi unapredi struka, doprinose teorijskoj i praktičnoj primeninajsavremenijih i najboljih materijala i metoda, i dr.DIJANA Centar je oko sebe okupio stalni tim predavačai eksperata. Na naše zadovoljstvo, ovaj krug se stalno širi.Ideju zaštite baštine, koja se kreira i praktično sprovodi uDIJANA Centru, prepoznaje veći broj uglednih stručnjaka izzemlje i inostranstva. Zato oni sve više žele da direktnoučestvuju u razvoju naših teorijskih i praktičnih edukativnihprograma zaštite baštine.To su profesori i eksperti sa univerziteta, specijalizovanihinstitucija i privatnih studija, iz naše zemlje i sveta. Ovom prilikomnavodimo samo one koji su doprineli realizaciji našihedukativnih programa u 2004. godini: Dušan Trifunović, Metalurško-tehnološki fakultet Ubavka Mioč, Silvio Kečkeš i Jelena Petrović, Fizičkohemijskifakultet Dragan Milovanović, Rudarsko-geološki fakultet Vanja Jovanović, Škola umetničkih zanata Ljuba Dragičević, Konzervatorska Akademija SPC Filip Fidanovski i Simonida Miljković, Muzej Makedonije,Makedonija Kiril Temkov, Filozofski fakultet u Skoplju, Makedonija Martina Blečić, Zavod za zaštitu iz Rijeke, Hrvatska Jana Šubic Prislan, Goriški muzej, Slovenija Janja Slabe i Gojka Pajagič-Bregar, Narodni muzejSlovenije, Slovenija Sandra Dejvison, UKIC, Dejvison studio, V.Britanija Pamela Vorner, UKIC, Adington studio, V.Britanija Robin Sajmonds, Muzej grada Londona, Velika Britanija Bent Ešhoj, ICCROM, Danska Kraljevska Akademija,Danska Morten Ril Svendsen, ICCROM, Nacionalni muzejDanske Nikolas Stenli Prajs, Valeri Magar i Korado Pedeli,ICCROM Žak Ribier, Laboratorija za konzervaciju u Draginjanu,Francuska Patrik Blan i Mari-Lor Kurbules, Muzej Antike u Arlu,Francuska Milovan Vidaković, Društvo inžinjera i tehničara Srbije Živojin Perišić, Društvo za grejanje i hlađenje, Beograd Dušan Drndarević, Vojno-medicinska akademija, Beograd Nenad Tasić, Filozofski fakultet u Beogradu Aleksandar Palavestra, Filozofski fakultet u Beogradu Milena Šešić-Dragičević, Univerzitet Umetnosti uBeogradu Franc Curk, Narodni muzej u Nišu, Likovna akademija uNišu Tatjana Cvjetićanin, Narodni muzej u Beogradu Ranko Savić, Narodni muzej u Beogradu Neda Jevremović, Narodni muzej u Beogradu Milorad Živković, Narodni muzej u Beogradu Malena Stojčev, DIJANA Centar Mila Popović-Živančević, Narodni muzej u Beogradu,DIJANA Centar- Cleaning of structure and surface- Stabilization – consolidation of the structure andthe surface- Bonding of fragments- Restoration and reconstruction- Final protection- Storing in adequate environmental conditionsSome of these treatments are identical both for preventiveand curative active conservation, e.g. documentationand investigation. Others, such as cleaning andconsolidation of structure can be applied, but are notcompulsory and depend on the needs and condition ofthe archaeological object. There are parts of treatmentsthat raise the dilemma whether they should belong topreventive or curative conservation. For example,restoration and reconstruction as part of the preventiveconservation treatment may save or prevent loss or damageof fragments of a vessel. When curative conservationtreatment is concerned this can be understood as “healing/curing”i.e. re-assembling of the archaeologicalobject, partially reconstructing its former shape andlook.Active conservation treatments in DIANA Centre arecarried out as part of practical training. They are coordinatedby trainees and experienced seniors and permanentlysupervised by the experts and collaborators incharge.In conservation workshops of DIANA Centre theexisting conditions allow for only part of archaeologicalmaterial of inorganic, organic and composite originto be treated. During 2004 this referred mainly toceramics, glass, stone, mosaics. This archaeologicalmaterial comes mainly from collections of the NationalMuseum in Belgrade, as well as from other museums inSerbia.24PARTNERSHIPDevelopment of partnership relations contributes toexchange of experience, knowledge and informationrelated to preventive conservation and conservation inthe country and abroad. Our partnership relationsdevelop dynamically and DIANA Centre is consequentlyrecognized as an interesting, flexible, open andstrategic partner for many institutions in the world andin our neighbourhood, Balkan region and south eastEurope. Even in some far away countries such as SouthKorea, Canada, South Africa, Iran and Nepal there areinstitutions in charge of protection that show interest inestablishing partnership relations through joint projectsand programmes.Partnership relations are carried out through:- professional networking; partnership projects andcommon activities with museums and institutions ofprotection- partnership projects and common activities withNGOs and professional organisations- expanding cooperation through partnership projectsand common activities with eminent scientists andexpertsInternational cooperationCooperation on joint projects and initiatives withexperts and officials includes ICCROM, Studio ArtCenter International (SACI)) Florence, United KingdomInstitute for Conservation of Historic and Artistic Works(UKIC), UNESCO and UNESCO ROSTE, Museum ofMacedonia, National Museum of Slovenia, GoriceMuseum Slovenia, University Paris I, Centre forConservation and Research of the Direction of Museumsof France (C2RMF-DMF), Museum of Antiquities in

mogu da znače način da se sačuvaju i ne izgube ili oštetesvi odvojeni fragmenti jednog suda. A kod kurativnogkonzervatorskog postupka to se može tumačiti kao„lečenje“, tj. ponovno povezivanje celine arheološkogpredmeta, delimično vraćanje njegovog nekadašnjegoblika i izgleda.Aktivna konzervacija u DIJANA centru se sprovodikao sastavni deo praktične obuke. Realizaciju svih poslovaaktivne konzervacije koordinirali su volonteri-pripravnicii stariji saradnici sa višegodišnjim iskustvom ito pod stalnim nadzorom odgovorng stručnjaka i saradnika.U Konzervatorskim radionicama DIJANA Centraimamo uslove za tretiranje samo jednog dela arheološkogmaterijala neorganskog, organskog i kompozitnogsastava. Tokom 2004. godine, to su pretežno bili keramika,staklo, kamen, mozaik, gips.Ovaj arheološki materijalje uglavnom iz zbirki Narodnog muzeja, ali i iz drugihmuzeja iz Srbije.PARTNERSTVORazvoj partnerskih odnosa treba da doprinese razmeniiskustava, znanja i informacija iz preventivne zaštitei konzervacije u zemlji i inostranstvu. Naša partnerskasaradnja se dinamično širi i DIJANA Centar se definitivnoprepoznaje kao zanimljiv, elastičan, otvorenpartner, za mnoge institucije u svetu i našem okruženju,regionu Balkana i Jugoistočne Evrope. Čak i u nekimudaljenim zemljama, kao što su Južna Koreja, Kanada,Južna Afrika, Iran, Nepal, postoje institucije zaštite kojese ozbiljno interesuju za uspostavljanje partnerskihodnosa, kroz zajedničke projekte i programe.Realizaciju partnerskih veza sprovodimo na sledećinačin:Lecturers and CollaboratorsThe best foreign and national experts in museology,preventive conservation, technology, chemistry, conservation,archaeology, etc. have been invited to carry outthe theoretical and practical training ever since DIANACentre started working. They provide the highest levelpossible both in theoretical and practical education, helpthe work and profession to be enhanced and updated,and contribute to theoretical and practical application ofthe best and newest materials.DIANA Centre gathered a permanent team of lecturersand experts and the team is constantly expanding. Theconcept of heritage as created and practically implementedby DIANA Centre is recognized by majority of eminentforeign and national experts. This is the main reason fortheir engagement in development of our theoretical andpractical educative programmes for heritage protection.These were the lecturers and experts from universities,specialised institutions and private studies in thecountry and abroad who contributed to the realisation ofour educative programmes in 2004: Dušan Trifunović, Faculty of Metallurgy and Technology,Belgrade Ubavka Mioč, Silvio Kečkeš and Jelena Petrović,Department for Physical Chemistry, Belgrade Dragan Milovanović, Faculty of Mining and Geology,Belgrade Vanja Jovanović, School of Artistic Crafts, Šabac Ljuba Dragićević, Conservation Academy of the SerbianOrthodox Church, Belgrade Filip Fidanovski and Simonida Miljković, Museum ofMacedonia, Macedoniastručnim umrežavanjem, partnerskim projektima izajedničkim aktivnostima sa muzejima i institucijamazaštite,kroz partnerske projekte i zajedničke aktivnosti sanevladinim i strukovnim organizacijama,širenjem saradnje, partnerskih projekata i zajedničkihaktivnosti sa istaknutim naučnim radnicima.a) Međunarodna saradnjaSaradnja na zajedničkim projekatima i inicijativamasa stručnjacima i odgovornim licima iz ICCROM-a, StudioArt Center Internacional (SACI) iz Firenze, UKIC-aiz Velike Britanije, UNESCO-a iz Pariza i ROSTE iz Venecije,Muzeja Makedonije, Narodnog muzeja Slovenije,Goriškog muzeja u Sloveniji, Univerziteta u Parizu (ParizI), Centra za konzervaciju i istraživanja muzeja Francuske(C2RMF), Muzeja antike u Arlu, Metropoliten muzejau Njujorku - Sherman Fairchild Centra za konzervaciju,Francuskog kulturnog centra u Beogradu, Dokumentacionogcentra u Zagrebu i dr.ICCROM, Rim, na organizovanju edukativnih programau DIJANA Centru iz teorijskih osnova konzervacijena arheološkom terenu.ICCROM, Rim, sa Nikolasom Stenli Prajsom i KatarinomAntomarki, na programima dugoročne saradnje izpreventivne zaštite i podrške razvoju DIJANA Centra uregionalni centar preventivne zaštite.Studio Art Center Internacional (SACI) iz Firence,oko razmene edukativnih programa i stručnjaka i studenata.Sa Francuskim kulturnim centrom u Beogradu upotpunosti je realizovan program saradnje za 2004. godinu,koji se sastojao od 3 specijalizacije za saradnike DI- Kiril Temkov, Faculty of Philosophy, Skopje, Macedonia Martina Blečić, Institute from Protection, Rijeka, Croatia Jana Prislan-Šubić, Gorice Museum, Slovenia Janja Slabe and Gojka Pajagić-Bregar, National MuseumLjubljana, Slovenia Sandra Davison, Davison Studio, UK Pamela Warner, Addington Studio, UK Robin Symonds, Museum of London, UK Bent Eshoj, ICCROM, Danish Royal Academy, Denmark Morten Ryhl-Svendsen, ICCROM, National Museum ofDenmark Nicholas Stanley Price, Valerie Magar and CorradoPedeli, ICCROM Jacques Rebiere, Laboratory for Conservation ofArchaeological Objects in Draguignan, France. Patrick Blanc and Marie Laure Courbules, Museum ofAntiquities, Arles, France Milovan Vidaković, Society of Engineers and Techniciansof Serbia Živojin Perišić, Society for Cooling and Heating, Belgrade Dušan Drndarević, Military Medical Academy, Belgrade Nenad Tasić, Faculty of Philosophy, Belgrade Aleksandar Palavestra, Faculty of Philosophy Belgrade Milena Dragičević-Šešić, University of Arts, Belgrade Franc Curk, National Museum in Niš, Academy of VisualArts, Niš Malena Stojčev, DIANA Centre, Belgrade Tatjana Cvjetićanin, National Museum in Belgrade Ranko Savić, National Museum in Belgrade Neda Jevremović, National Museum in Belgrade Milorad Živković, National Museum in Belgrade Mila Popović-Živančević, National Museum in Belgrade,DIANA Centre25

JANA Centra, 2 radionice sa francuskim ekspertima uDIJANA Centru i kurseva francuskog jezika u DIJANACentru.Sa Francuskim kulturnim centrom u Beogradu i Laboratorijomza konzervaciju u Draginjanu - ArheološkimCentrom Vara, na programima preventivne zaštite ikonzervacije arheoloških predmetaROSTE iz Venecije, Regionalna kancelarija UNES-KO-a za Balkan i Jugoistočnu Evropu, oko daljeg regionalnograzvoja preventivne zaštite u DIJANA Centru.Sa Komitetom za svetsku kulturnu baštinu, UNES-KO-Pariz, UNESCO-MAB, oko daljeg razvoja preventivnezaštite i DIJANA Centra.26b) Regionalna saradnjaKreiranje programa dugoročne saradnje sa Narodnimmuzejem u Ljubljani, Mesnim muzejem u Ljubljani,Muzejom u Gorici, oko zajedničkih edukativnih programaiz preventivne zaštite i konzervacije, razmene stručnjakai izložbi.Razrada programa saradnje sa Muzejom Makedonije,Prirodnjačkim muzejom u Skoplju i NC ICOM-a Makedonijena zajedničkim projektima o tradicionalnimproizvodnjama keramike, edukativnim programima izajedničkim seminarima, primeni preventivne zaštite idr.Pripremanje programa saradnje na edukaciji i primenipreventivne zaštite, sa muzejskim institucijama istručnjacima iz Češke, Litvanije, Belorusije, Bugarske iRumunije.Pripremanje saradnje na zajedničkim edukativnimprogramima iz preventivne zaštite i konzervacije sa Dokumentacionimcentrom u ZagrebuArles, Metropolitan Museum New York – ShermanFairchild Conservation Center for Objects Conservation,French Cultural Centre in Belgrade, DocumentationCenter in Zagreb, etc.ICCROM, Rome – organisation of educative programmeson theoretical foundations of conservation onarchaeological sites, in DIANA Centre;ICCROM, Rome, Nicholas Stanley-Price andCatharine Antomarchi –long-term cooperation programmesin preventive cooperation and support to thedevelopment of DIANA Centre into a regional centre forpreventive conservation;Studio Art Center International (SACI)) Florence –exchange of educative programmes, experts and students;French Cultural Centre in Belgrade – realisation ofthe 2004 programme: 3 specialisations of collaboratorsof DIANA Centre in France, 2 workshops with Frenchexperts in DIANA Centre, teaching French in DIANACentre;French Cultural Centre in Belgrade and Laboratoryfor Conservation of Archaeological Objects inDraguignan – Archaeological Centre in Var: programmesin preventive conservation and conservation of archaeologicalobjects;Regional Office of UNESCO for the Balkans andsouth-east Europe (ROSTE) – further regional developmentof preventive cooperation in DIANA Centre;Committee for World Heritage, UNESCO Paris,UNESCO – MAB: further regional development of preventivecooperation in DIANA Centre.v) Lokalna saradnjaOd domaćih institucija sarađuje se na projektima iinicijativama sa Rudarsko-geološkim, Metalurško-tehnološkimi Fizičko-hemijskim fakultetom, zatim Filozofskimfakultetom - Odeljenjem za arheologiju Biološkiminstitutom, Zavodom za zaštitu zdravlja Beograda,Regionalnim zavodom za zaštitu spomenika kulture uKotoru, Arheološkim institutom, Zavodom za zaštituspomenika kulture Srbije.Redovno se sarađuje na zajedničkim projektima i inicijativamaiz preventivne zaštite i konzervacije sa Muzejomu Majdanpeku, Narodnim muzejom u Kruševcu,Muzejom grada Vršca, Muzejom grada Beograda, MuzejomStaro selo u Sirogojnu, Muzejom Nikole Tesle, Muzejomu Zaječaru i dr.Takođe učestvujemo u pripremanju projekta novepostavke Muzeja Nikole Tesle, u projektu revitalizacijekulturnog i prirodnog nasleđa Mojsinjske Gore, Narodnogmuzeja iz Kruševca.Učešće u projektima drugih institucijaART FORUM Velika Hoča, sa programom edukacije“Kako zaštiti sopstvenu baštinu“Naučno-istraživački projekat Vinča, sa projektomEksperimentalna arheologija - tradicionalne proizvodnjekeramikeMila Popović-Živančević sa kolegama iz SlovenijeMila Popović-Živančević with Slovenian colleaguesRegional cooperationCreating programmes of long-term cooperation oncommon educative programmes in preventive conservationand conservation, exchange of experts and exhibitionswith the National Museum in Ljubljana, CityMuseum in Ljubljana, Museum in Gorice;Programmes of cooperation with Museum ofMacedonia, Natural History Museum in Skopje, andNational Committee of ICOM Macedonia regardingcommon projects on Traditional Production of Ceramics,educative programmes and joint seminars, implementationof preventive conservation, etc.;Preparation of cooperation in educative programmesand implementation of preventive cooperation withmuseum institutions and experts from the CzechRepublic, Lithuania, Belarus, Bulgaria and Rumania;Preparation of cooperation in educative programmesand implementation of preventive cooperationand conservation with the Documentation Center inZagreb.Local cooperationCooperation includes common projects and initiativeswith the faculties of Mining and Geology,Metallurgy and Technology, Physics and Chemistry,Faculty of Philosophy – Department for Archaeology,Biological Institute, Institute for Health Protection inBelgrade, Regional Institute for Protection ofMonuments of Culture in Kotor, Archaeological Institute

PROMOCIJA, PREZENTACIJAPrezentacija treba da pomogne promociji principapreventivne zaštite u javnosti, na animiranju javnosti zabrigu o kulturnom nasleđu, i za to koristimo:- Medije- Multimedijalne prezentacije u zemlji i inostranstvu- internet prezentacije- prezentacije publikacija svojih izdanja- konzervatorsko izložbe- javne radionice- specijalaizovana predavanja- učešće na domaćim i međunarodnim konferencijama,seminarima, forumima i sl.- organizovanje konferencija, seminara, specijalističkihkurseva, okruglih stolova, radionica- učestvovanje u radijskim i TV emisijama, pripremačlanaka za štampuMila Popović-Živančević sa koleginicom iz Belorusije u KorejiMila Popović-Živančević with colleague from Belarus in Koreain Belgrade, Institute for the Protection of CulturalMonuments of SerbiaThere is established cooperation on projects and initiativesin preventive conservation and conservationwith Museum in Majdanpek, National Museum inKruševac, Town Museum in Vršac, Museum of City ofBelgrade, Museum Old Village in Sirogojno, Nikola TeslaMuseum, Museum in Zaječar, etc.DIANA Centre participates in the project designs forthe new permanent display in Nikola Tesla Museum, forrevitalisation of cultural and natural heritage ofMojsinjska Gora, and of National Museum in KruševacParticipation in projects of other institutionsART FORUM Velika Hoča, with the educative programme“How to protect one’s own heritage”,Scientific-research programme Vinča with the programmeExperimental archaeology – Traditional productionof ceramics.PROMOTION, PRESENTATIONPresentation supports the promotion of preventiveconservation principles in the public, stimulates thepublic to care about cultural heritage and to this aim weuse:MedijiTokom 2004. godine u potpunosti je došao do izražajajedan od strateških postulata sistema preventivnezaštite, koji razvija DIJANA Centar - mediji su nam neophodnida dopremo do široke javnosti, a mi smo medijimapotrebni da i oni dođu do svoje publike. Ovaj stavDIJANA Centra o važnosti međusobne aktivne veze izmeđumedija i zaštite, treba da pomogne da se i na tajnačin širi svest o značaju kulturnog nasleđa i njegovojugroženosti, da se razvija ideja o brizi za očuvanje baštine,kao zajedničkom cilju i zadatku profesionalaca izinstitucija zaštite i svih slojeva društva. Konkretno, uovom momentu smo želeli da ukažemo, preko medija, širokojjavnosti na teško stanje muzeja i muzejske profesijeu našoj zemlji, i na aktivnosti Narodnog muzeja i DI-JANA Centra, kako bi se ovi problemi prevazišli.Pokazalo se da su mnogi mediji prepoznali strateškiznačaj naših ciljeva i aktivnosti i da zbog toga sa zanimanjemprate razvoj DIJANA Centra. Takođe, dinamičnost ienergija DIJANA Centra, sa neprestalnim aktivnostima ikontinuiranim realizacijama različitih programa zaštite,pružaju dobar materijal i medijima da sa kvalitetnimprilozima iz kulture budu stalno prisutni u javnosti.Može se slobodno reči da je svaka značajna aktivnostu DIJANA Centru bila ispraćena u različitim medijima.Sa nekim uglednim novinarima smo formirali bliske vezei „prijateljske“ kontakte i sada znaju da kod nas uvekmogu da nađu zanimljiv i kvalitetan novinarski sadržaji uvek spremne i ljubazne sagovornike i saradnike. Kreiranaje atmosfera u medijima «da je u DIJANA Centruuzbudljivo i uvek se nešto događa».Važno je napomenuti da se i u samom DIJANA Centruiskristalisala dinamična služba PR-a koja se, iakouključuje veliki broj mladih ljudi, ipak najviše ogleda ujasnom profilisanju i talentu Ane Kocjan za ove poslove.Takođe, tokom ove godine je tesno povezana delatnostPR-a u DIJANA Centru sa odgovornima u Narodnommuzeju. Zahvaljujući tome, na primer, aktivnosti Letnješkole DIJANA 2004, tokom celog leta bile su skoro svakodnevnomedijski pokrivene. Ovo pojačano interesovanjemedija je sigurno rezultat dugogodišnjeg uspešnog- media- multimedia presentations in the country andaboard- internet presentations- presentations of our publications- conservation exhibitions- open workshops- specific lectures- participation at national and international conferences,seminars, meetings, etc.- conferences, seminars, specialist courses, roundtables, workshops that we organise- participation in broadcasts, writing for pressMediaOne of the strategic requirements of the preventiveconservation system as developed by DIANA Centre wasfully voiced in 2004: we do need media in order to reachthe broadest public, and media need us in order to reachtheirs. The understanding of the importance of mutualconnection between the media and the heritage protectionthat DIANA Centre fosters should help spreadingand raising the awareness about the importance of culturalheritage and its endangerment, developing the conceptof care for cultural heritage as common objectiveand assignment both of professionals from institutionsin charge of protection and from all levels of society.Media are supposed to help us inform the broad publicabout the difficult situation in museums and in museumprofession in the country and about the activities whichthe National Museum in Belgrade and DIANA Centretake to overcome these problems.Media recognize the strategic significance of ourobjectives and activities and cover the activities ofDIANA Centre. Dynamics and energy of DIANA Centre,its actions and realisation of various programmes in pro-27

ada Letnje Škole DIJANA, određivanja posebno odgovornoglica u DIJANA Centru za PR, ali i tesne saradnjekoja je ostvarena i koja se uspešno realizuje sa mladimPR-om Narodnog muzeja Aleksandrom Šojić.Razvijen je sistem stalnog obaveštavanja medija opredstojećim događajima, e-mejlom, faksom, telefonom.Uvedeno je direktno uključivanje novinara u aktivnosti isvakodnevni život DIJANA Centra na terenu, npr. na arheološkimlokalitetima, zatim pripremanje pisanih informacijaza medije, u više različitih varijanti, pripremanjegotovog video materijala, CD-ova, fotografija i sl. Ustanovljenoje svakodnevno „živo“ najavljivanje programakoji su u toku, novinari su obavezno pozivani na koktele idruge svečanosti, krug mladih ljudi iz DIJANA Centra sepriprema za komuniciranje sa medijima, itd. Ovaj spontanorazvijen sistem komuniciranja između institucije zaštitei medija rezultiraće uskoro odgovarajućim elaboratom,koji već pripremaju Ana Kocjan i Aleksandra Šojić.Poseban intentenzitet u praćenju aktivnosti DIJANACentra pokazale su sledeće TV i radio stanice: RTS –Dnevnik i emisije iz kulture, Jutarnji program TV BK,Radio Beograd II program, Radio Novosti, Radio B92,YURadio, Radio Stara Pazova.Među dnevnim novinama i časopisima – Politika,Večernjenovosti, Borba, Glas, Dan, Danas, Bazar i dr.tection offer useful material to media for quality coverageof culture and thereby are permanently interestingfor their audience.We can also say that media cover every activity atDIANA Centre that is important. With certain renownjournalists we established close and “friendly” relationsand they now regularly come for interesting and highquality journalistic topic, knowing that we are alwaysthere for them. Media became aware that there was“always something new and exciting going on in DIANACentre”.On the other hand there is an enterprising PR servicedeveloped at DIANA Centre itself and althoughthe service engages many young people, it is best representedby Ana Kocjan who shows great talent for thejob. During this year the PR service of DIANA Centrebecame closely connected with that of the NationalMuseum. This was the reason for the activities of the2004 Summer school to get almost daily coverage. Thisincreased interest of media is result of the previoussuccessful work of the DIANA Summer School, speciallyassigned PR officer at DIANA Centre but also ofthe close and successful cooperation with AleksandraŠoić, the young PR officer at the National Museum inBelgrade.A permanent system of keeping media informed onthe oncoming events is efficient; journalists are directlyincluded in the activities and daily life be they inDIANA Centre, or on archaeological sites. Written andother information for media are prepared, as well asvideos, CDs, photographs, daily announcing of ongoingprogrammes. Journalists are invited to all social events,friendly and open relationship with journalists isenhanced; young people from DIANA Centre arecoached to communicating with media, etc. The spontaneouslydeveloped system of communication with media28Manifestacije i akcijeMeđunarodni dan muzeja, 18. maj 2004 - sa glavnomtemom «Muzeji i nematerijalna baština»Svi članovi NK IKOM-a SCG iz DIJANA Centra suaktivno učestvovali u pripremanju i uspešnoj realizacijiobeležavanja nedeljnog programa Međunarodnog danamuzeja, 18. maja:17. maj, dodela priznanja medijskim kućama i pojedincimaza najbolju TV ili radio emisiju, novinski članaki slično, posvećen muzeologiji i zaštiti; Prezentacija projektaSIKULT – Projekat za razvoj kulture i umetnosti uJugoistočnoj Evropi, Kuća Đure Jakšića u Beogradu18. maj, Udruženje «ŠLOS» u Golubincima, Etno-celinau Vojvodini: Vanredna Skupština NK IKOM-a, obradaglavne teme «Muzeji i nematerijalno kulturno nasleđe«,dodela muzejske nagrade godine NK IKOM-a, prezentacijaIKOM Biltena 5 - Golubinci19. maj, otvoreni Okrugli sto o društvenom i strateškomznačaju nematerijalnog kulturnog nasleđa - Etnografskimuzej20. maj, filmski i TV dokumentarni i igrani filmovi sasadržajem nematerijalnog kulturnog nasleđa; VideoprezentacijaArt Foruma Velika Hoča - Muzej Kinoteke21. maj, radionice, praktično muzeološko korišćenjenematerijalnog kulturnog nasleđa; Otvaranje izložbe«Priroda na dečijem licu» - Galerija Prirodnjačkog muzejana Kalemegdanu.Dani Evropske baštineU okviru ove akcije, DIJANA Centar je učestvovaosa programom:Dečija radionica «Kopije i replike»Mala izložba posuda za vodu u Galeriji fresaka, natemu «Voda kao smisao života»PosetiociKarakter Letnje škole DIJANA 2004, sa predavanjimai praktičnim radom, bio je javan i otvoren za publiku.Radionice, koje se jednim delom odvijau u izložbenomprostoru Galerije Fresaka, imaju izrazito javni karakteri izazivaju veliko interesovanje publike. To je imalo kaorezultat veći broj posetilaca tokom celog leta u Galerijiis expected to yield results soon in a Project study beingprepared by Ana Kocjan and Aleksandra Šoić.Particularly intensive cooperation was developed withinformative programmes of the RTS (often in the primetime News), cultural programmes of the RTS I and II, BKTV, Radio Belgrade II, Radio Novosti, Radio B92, YURadio, Internet news of ICCROM, Radio Stara Pazova,etc.. As far as press is concerned we should mentiondailies Politika, Večernje Novosti, Borba, Glas, Dan,Danas, magazine Bazar, etc.Manifestations and actionsInternational Museum Day, 18th May, on Museumsand Intangible Heritage – all ICOM members fromDIANA Centre actively participated in the seven-daysprogramme of this event.17th May – awards to media and individuals for thebest TV or radio broadcast, newspaper articles on museologyand protection; presentation of the SIKULT project– For development of culture and art in southeastEurope, Belgrade18th May – Association Šlos in Golubinci(Voyvodina). This ethno site hosted the ExtraordinaryAssembly of National Committee of ICOM on “Museumand Intangible Heritage”, and the presentation ofNational Committee of ICOM Bulletin No 519th May – Round table open to public on social andstrategic importance of intangible heritage,Ethnographic Museum, Belgrade20th May – film and TV documentary programmecovering intangible heritage, Video presentation of theART FORUM Velika Hoča, Film Museum, Belgrade21st May – workshops, intangible heritage in museologicalpractice; exhibition “Nature on a Child’s face”Gallery of the Museum of Natural History, Belgrade

Prezentacija za medijePresentation for the mediaFresaka. Posetioci su istovremeno učestvovali u više interdisciplinarnihmuzejskih sadržaja, od razgledanja kopijafresaka i javnih koncerata, do zanimljivih predavanjaLetnje škole DIJANA 2004, uz direktno ili indirektnouključivanje u neke aspekte praktičnog rada Letnješkole, družili se sa polaznicima i saradnicima DIJANACentra, sa zanimanjem posmatrali i pratili njihov rad.Posetioci su po pravilu vrlo pažljivi i nema nikakvihopasnosti od nenamernih ili namernih oštećenja muzejskihpredmeta, koji su im na ovaj način dostupni, na primeru radionicama za konzervaciju mozaika i sanacijukopija stećaka i arhitektonske plastike.Pokazalo se da prostor Galerije fresaka može da budeživ i otvoren muzejski organizam, koji posetiocimačesto pruža zanimljive i kvalitetne interdisciplinaranemuzejske sadržaje.Treba primetiti da je povećan broj posetilaca zaslugai pojačanih aktivnosti PR službe u Narodnom muzeju idobre koordinacije sa odgovornima za ove poslove u DI-JANA Centru (Ana Kocjan).European Heritage DaysDIANA Centre participated in the event with:“Copies and Replicas” workshop for childrensmall exhibition of water vessels covering “Water asEssence of Life” topic in the Gallery of FrescoesVisitorsThe 2004 DIANA Summer School was open to thepublic including all the lectures and work. Some of theworkshops were held in the exhibition space of theGallery of Frescoes and were fully open to public andprovoking their interest testified by the number of visitorsduring the Summer School. Visitors availed themselvesof the opportunity to participate in various museuminterdisciplinary programmes from watching frescoes,attending concerts and interesting lectures, participatingmore or less actively in the events up to socializingwith students and collaborators of DIANA Centreduring their work.Generally speaking, our visitors are most careful andthere was no risk of any deliberate or accidental damagedone to museum objects while watching the process inthe workshops for conservation of mosaics or salvagingcopies of tombstones and architectural plastics.The space of the Gallery of Frescoes proved to be alive and open museum organism that could offer interestingand good interdisciplinary museum programmesfor visitors.It is certain that the increased number of visitors isalso due to the intensified National Museum PR effortsand good coordination with the PR officer in DIANACentre (Ana Kocjan).Professional associationsMila Popović-Živančević as chairperson of theNational Committee of ICOM of Serbia and MontenegroProfesionalna udruženjaMila Popović-Živančević, kao predsednik nacionalnogkomiteta IKOM-a Srbije i Crne Gore i članoviIKOM-a iz DIJANA Centra redovno rade na svim značajnijimmeđunarodnim, regionalnim i domaćim aktivnostima,aktivno obavljajući deo redovnih aktivnostiNacionalnog komiteta IKOM-a SCG.Trebalo bi posebno naglasiti da su članovi DIJANACentra oduševljeno dočekali priliku da postanu članoviIKOM-a, kao što je to i ponuđeno studentima u odlucidonesenoj na Generalnoj skupštini IKOM-a 2001. godineu Barseloni. Tako je Nacionalni komitet IKOM-a obogaćensa 25 aktivnih mladih članova iz DIJANA Centra.MarketingRazvoj marketinga treba da osigura šire i redovnijeizvore finansiranja projekata i aktivnosti DIJANA Centra.Marketing, kao važan segment preventivne zaštitetreba, u finansijskim centrima, komercijalnim izvorimafinansija, odgovornim institucijama vlasti u zemlji, organizacijamai liderima zaštite u svetu, da inicira podizanjesvesti o značaju nasleđa u očuvanju i razvijanju kulturnogidentiteta, da pokaže bazičnu i ključnu ulogu kojubaština treba da dobije u kulturnoj i društvenoj strategijinaše zemlje i regiona. Pored toga, pristup koji razvijamotreba da ukaže komercijalnom svetu finansija, daje moralna i patriotska obaveza da pomognu očuvanju irazvoju kulturnih dobara i da i oni moraju da se uključeu zaštitu baštine. Želimo da kreiramo stav da profesionalciiz oblasti zaštite i komercijalni izvori finansija buduna istom zajedničkom zadatku - na brizi za valorizacijui očuvanje kulturnog nasleđa.Dakle, DIJANA Centar počinje ozbiljno da funkcionišena pricipu projekata, zaokruženih posebnih progra-and ICOM members from DIANA Centre take active partin all necessary international, regional and nationalactions of the National Committee of ICOM as well as inits daily tasks, international, regional and local contacts,preparation of seminars, etc.It should be particularly noted that the young peoplein DIANA Centre availed themselves of the opportunityto become members of ICOM, as offered to studentsby decisions taken at the General Assembly ofICOM in 2001 in Barcelona. That enriched our NationalCommittee of ICOM with over 25 young and activemembers from DIANA Centre.MARKETINGMarketing is supposed to provide more regular andsound funding of projects and activities of DIANACentre. As an important part of preventive conservation,marketing should initiate the raising of awarenessabout the importance of heritage for preservation anddevelopment of cultural identity among the financialbodies, commercial sources of funds, relevant authoritiesin the country, organisations and world leadinginstitutions when protection is concerned, to makethem aware about the crucial role heritage should havein cultural and social strategy of our country and theregion. Our approach should also convince the commercialmilieu that it is their ethical and patriotic duty tohelp saving cultural heritage – they simply have to getinvolved in the heritage safeguarding. We want to buildamong the professionals concerned with protection andcommercial funds feeling of a common objective – careabout preservation of cultural heritage.This means that DIANA Centre is beginning to functionon the basis of its projects, specific programmes andactions which all raise their own funds from various29

ma i akcija, koje se svaka za sebe posebno finansiraju izrazličitih izvora. Sem u jednom delu svakodnevnih tekućihaktivnosti i u delu poslova preventivne zaštite umuzejskoj mreži, DIJANA Centar funkcioniše skoro kaonezavistan sistem u okviru Narodnog muzeja. Ovaj sistemfinansiranja podrazumeva:- stalnu mrežu donatora i sponzora- učestvovanje na konkursima i u programima participacije- učešće u zajedničkim projektima sa drugim institucijama- rad za druge institucije zaštite na tržišnoj osnovi- razvoj komercijalnih programa (pružanje stručnihusluga privatnim licima, pravljenje kopija i replika,informativnog i propagandnog materijala i sl.)Treba primetiti da je DIJANA Centar, tokom godina,funkcionisanjem kao alternativni centar u okviru zvaničnogsistema zaštite, morao „silom prilika“ da razvijamarketinški princip finansiranja svoje delatnosti. Ovajsistem se vremenom spontano razvijao, tražeći rešenjaza probleme svog opstanka i razvoja.Uostalom, na sličan, „spontani“ način se definisalo irazvijalo svih devet segmenata sistema preventivne zaštiteu DIJANA Centru. Oni su funkcionalni i primenljiviu praksi, upravo zbog činjenice da su se racionalno, naprincipu „zdrave pameti“ i „domaćinskog ponašanja“razvijali, korak po korak, tražeći izlaz iz problema pomoćurealnih rešenja. Svih devet segmenata čine čvrsto imeđusobno povezan interdisciplinarni sistem preventivnezaštite, metodologiju koja obuhvata teoriju i praksuzaštite baštine. A preventivna zaštita kao osnovna metodologijazaštite kulturnih dobara treba da pomogne dase definiše i realizuje strategija intregrisane zaštite baštineu našoj zemlji i regionu.resources. But for a part of daily activities and of preventiveconservation tasks related to museum network,DIANA Centre functions as an almost independent systemwithin the National Museum in Belgrade. This systemimplies:- constant network of donors- application for public funds and participation programmes- participation with other institutions in joint projects- work for other institution of protection on marketingprinciples- developing commercial programmes (professionalservices to individuals, making copies and replicas,information and other promotion material, etc.)It should be noted that DIANA Centre has been functioningas an alternative centre within the official systemof protection and was forced to develop its marketingapproach in providing budget for the activities. Thissystem spontaneously grew with time while searchingsolutions for survival and development. It can also besaid of a similar “spontaneous” development of all thenine segments of preventive conservation in DIANACentre.This model is operational and applicable becauseevery segment was being developed in a rational way,based on common sense and step by step practice ofsolving problems. All nine segments form a solid andinter-related interdisciplinary system of preventive conservation,methodology comprising theory and practiceof heritage protection. Preventive conservation as fundamentalmethodology of cultural property protectionshould help defining and carrying out the strategy ofintegrated protection of heritage in the country and inthe region.30Učešće na stručnim skupovimaMila Popović-Živančević je na Godišnjoj konferencijiUKIC-a, (Grupa za keramiku i staklo, u Dadliju, VelikaBritanija, od 24. do 27. marta), učestvovala u programukonferencije sa sadržajima iz oblasti zaštite i proizvodnjestakla - realizovana je poster izložba o stanjuzgrade Narodnog muzeja i Galerije fresaka, uslovima čuvanjakulturnih dobara u muzejima SCG, aktivnostimaDIJANA Centra i radu na zaštiti i konzervaciji stakla uDIJANA Centru, kao i prezentacija publikacije DIJANA9.Maja Živković i Tatjana Nedeljković, su od 13. do 16.maja učestvovale na regionalnoj konferenciji NK IKOMaMakedonije u Mavrovu, čija je glavna tema bila «Muzejii etika»:Tatjana Nedeljković, «Briga za muzejske predmete iprofesionalno ponašanje»,Maja Živković, «Zaštita u muzejima i profesionalnoponašanje»Koautor tekstova je bila Mila Popović-Živančević.Aleksandra Džikić Nikolić i Maja Franković su useptembru učestvovale na Godišnjoj skupštini Restauratorskogdruštva i Muzejskog udruženja Slovenije. Pripremilesu izložbeni poster i predavanje uz video prezentaciju,o aktivnostima DIJANA Centra u 2004. godini.Maja Franković i Ana Kocjan su, kao predstavniciDIJANA Centra, učestvovale na naučnom skupu u NovomSadu, od 21. do 22. oktobra 2004. godine, koji je kaoglavnu temu imao „Metode utvrđivanja i otklanjanjaposledica dejstva vlage na kulturna dobra.“M.Franković i A. Kocjan su predstavile radove DIJA-NA Centra, koji su i objavljeni u Zborniku radova skupa:Participation in professional andscientific meetingsMila Popović-Živančević - Annual Meeting of UnitedKingdom Institute for Conservation of Historic andArtistic Works (UKIC), Committee for Ceramics andGlass, Dudley, UK, 24-27 March 2004, participated in theConference programme with contribution on preservationand production of glass; poster exhibition on thecondition of the National Museum in Belgrade andGallery of Frescoes buildings, keeping conditions of culturalproperty in museums of Serbia and Montenegro,activities of DIANA Centre and conservation of glass inthe Centre, presentation of DIANA No 9 publicationMaja Živković and Tatjana Nedeljković – regionalconference of the National Committee of ICOMMacedonia on “Museums and ethics” in Mavrovo:Tatjana Nedeljković: Care for museum objects andprofessional behaviourMaja Živković: Conservation in museums and professionalethicsCo-author was Mila Popović-Živančević.Aleksandra Džikić-Nikolić and Maja Franković –participated in September 2004 in the annual assemblyof the Restorers’ Society of Slovenia and MuseumCommunity of Slovenia with exhibition posters and lecturewith video presentation on activities in 2004 ofDIANA Centre in preventive conservationMaja Franković and Ana Kocjan represented DIANACentre at the scientific meeting in Novi Sad (21-22October) on “Methods for establishing causes and fightconsequences of relative humidity on cultural property”.They presented the contributions of DIANA Centre,afterwards published in the Proceedings of the scientificmeeting:

MilaPopović-Živančević, „Uticaj relativne vlažnostina muzejske zbirke i načini zaštiteAna Kocjan, „Metode uticaja na relativnu vlažnost“Maja Franković, „Metode merenja relativne vlažnosti“Tatjana Nedeljković, „Uticaj relativne vlage na materijale“Aleksandra Džikić Nikolić, „Odnos relativne vlažnostii temperature u muzejskim zbirkama“Vesna Živković, „Metode kontrole relativne vlažnosti“M. Popović-Živančević je učestvovala na 21. GeneralnojKonferenciji i 20. Generalnoj Skupštini IKOM-a uSeulu, Južna Koreja, sa osnovnom temom „Muzeji i nematerijalnabaština“.Za ovu priliku je pripremila informativni materijal,CD-romove sa videprezentacijama o: radu DIJANA Centrana preventivnoj zaštiti, stanju dela kulturnih dobarana Kosovu i Metohiji, požaru u Hilandaru, zaštiti nematerijalnebaštine - starim tehnologijama proizvodnje keramike.Posebni projekti i programiEksperimentalna arheologija - Tradicionalne proizvodnjekeramikeProjekat obuhvata fizičko-hemijska, minerološka ipetrografska istraživanja uzoraka originalne arheološkekeramike sa lokaliteta Vinča i potencijalnih nalazištagline sa više lokaliteta u okolini Vinče; pripremanjegline prema približno originalnoj recepturi i pečenje naotvorenoj vatri, na lokalitetu Vinča.- Impact of RH on museum collections and protectionmethods, Mila Popović-Živančević- Methods of affecting relative humidity, Ana Kocjan- Measuring methods for relative humidity, MajaFranković- Relative humidity influence on materials, TatjanaNedeljković- Relation between RH and temperature in museumcollections, Aleksandra Džikić-Nikolić- Managing relative humidity,Vesna ŽivkovićPartneri: Filozofski fakultet - odeljenje arheologije,Institut za nuklearna istraživanja Vinča, Institut za ispitivanjematerijala, Rudarsko-geološki fakultet, FPUD,Skupština grada Beograda.(Vesna Svoboda, Tatjana Nedeljković, Maja Živković,Ivana Stojković, Đurđinka Bogdanović, Mila Popović-Živančević).«Deca u Muzeju»,Cilj projekta je „uvlačenje“ najmlađe publike u muzejskeprograme, jer je najednostavnije početi sa decomi omladinom. Projekat treba da afirmiše naš pristup dase već sa malom decom radi na formiranju svesti o važnostikulturnog nasleđa, ukazivanju na to koliko ga je lakooštetiti i koliko je značajno da se svi brinemo o njemuna odgovarajući način.(Ana Kocjan,Vesna Živković, Bojan Georgijevski)«Muzej bez prepreka»,Cilj projekta je uključivanje lica sa hendikepom umuzejske aktivnosti, u oblasti zaštite i konzervacije. Želimoda ovim projektom pomognemo razvoj programa,koji treba da odražavaju normalan život lica sa različitimhendikepima; razvoj „radosti življenja“ kroz njihovodirektno učešće u muzejskim sadržajima i akcijama zaštitei konzervacije.(Ana Kocjan,Vesna Živković, Bojan Georgijevski)«Letnja škola zaštite baštine 2004. za mlade»Cilj projekta je uključivanje srednjoškolske omladineu muzejske sadržaje zaštite. Želimo da ukažemo mladimana vrednost kulturnog nasleđa, kao na značajnu kategorijurazvoja društva i da im pomognemo da se osposobeda zajedno sa profesionalcima brinu o očuvanjuMila Popović-Živančević took part in the 21stGeneral Conference and 20th General Assembly ofICOM in Seoul, South Korea on “Museum and IntangibleHeritage”and prepared information, CD ROMs with presentations:the role of DIANA Centre in preventive conservation;condition of the part of cultural heritage inKosovo and Metohija, fire in Hilandar Monastery, protectionof intangible heritage, old technologies forceramic production.Specific projects andprogrammesExperimental archaeology - Traditional productionsof ceramics: Project includes physical-chemical, mineralogicaland petrographic investigations of originalarchaeological ceramics from the site Vinča and of presumedclay mines from various sites around Vinča;preparation of clay after supposed recipes and clamp firingon the Vinča site.Partners: Faculty of Philosophy - Department forArchaeology, Nuclear Research Institute Vinča, Institutefor Testing Materials, Faculty of Mining and Geology,Faculty of Applied Arts and Design, Assembly of City ofBelgrade (Vesna Svoboda, Tatjana Nedeljković, MajaŽivković, Ivana Stojković, Đorđina Bogdanović, MilaPopović-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 tostart with children when building awareness about theimportance of cultural heritage, how easy it can be damagedand how important it is that we all care about it inadequate way. (Ana Kocjan, Vesna Živković, BojanGeorgijevski)Mila Popović-Živančević na konferenciji IKOM-aMila Popović-Živančević at an ICOM conference“Museum without Obstacles” – The project is focusedon the persons with handicaps and their involvement inmuseum activities on protection and conservation. We31

nasleđa. Projekat predviđa savladavanje osnovne teorijei prakse brige za kulturna dobra, zajedno sa direktnimučešćem u konzervatorskom postupku, kako bi boljeshvatili koliko se kulturno dobro lako može oštetili i zaštoono mora da se konzervira i čuva na odgovarajući način.(Mila Popović-Živančević, Maja Živković).«Kodeks profesionalne etike za konzervatore»Cilj projekta je regulisanje profesionalnog ponašanjaprilikom kozervatorskog postupka sa muzejskim predmetima.Želimo da ustanovimo i definišemo standardeprofesionalnog odnosa prema svakom segmentu konzervatorskogposla. Sadržaj projekta se isključivo bavi aktivnimkonzervatorskim tretmanom i uključuje iskustvasvih značajnih organizacija zaštite u svetu.Radionica “Deca u muzeju”“Children in a museum” workshopwish to help development of programmes that contributeto better quality of life of handicapped persons, to helpthem “enjoy life”by direct participation in museum programmesand activities on preservation and conservation(Ana Kocjan,Vesna Živković, Bojan Georgijevski)Summer School of Heritage Protection 2004 for theYoung – This project is focused on secondary schoolchildren helping them to better understand the value ofcultural heritage as an important category in societydevelopment and teach them how to care about the heritagetogether with professionals. The project shouldenable mastering basics of theory and practice of culturalheritage care, and by participation in conservationtreatments make children understand how easy it is todamage the cultural property and why it has to be conservedand adequately kept. (Mila Popović-Živančević,Maja Živković)Code of Ethics for Conservators - The project shouldset standards for professional behaviour and conservationtreatment of museum objects. It should cover everystep in conservation treatment. The Code covers onlyactive conservation treatment and is based on worldwideexperience in the subject. (Danijela Stojković, BojanGeorgijevski, Tatjana Velenjek, Nemanja Mrdžić, AnaKocjan, Mila Popović-Živančević)Conservation of the Roman Limes Glass – The aim isto set standards for conservation treatment of the Romanglass by working on samples from the Roman limes.Comprehensive research of causes is planned in order tounderstand destruction processes of the surface andstructure of glass, methods for preventing the processand curing the glass, testing of adequate materials forcleaning, bonding, and particularly for restoration (IgorJonjić, Danijela Stojković, Nemanja Mrdžić)32(Danijela Stojiljković, Bojan Georgijevski, TatjanaVelenik, Nemanja Mrđić, Ana Kocjan, Mila Popović-Živančević).«Konzervacija stakla sa rimskog limesa»Cilj projekta je da standardizuje konzervatorski tretmanrimskog stakla, na primerima sa rimskog limesa.Projekat predviđa ozbiljna istraživanja uzroka destruktivnihprocesa površine i strukture stakla, metode sprečavanjadestruktivnih procesa i lečenja stakla, istraživanjematerijala pogodnih za čišćenje, lepljenje, posebnoza restauraciju.(Igor Jonić, Danijela Stojiljković i Nemanja Mrđić).“Kako napraviti plan preventivne zaštite “Cilj projekta je da pomogne muzejima oko implementacijemera preventivne zaštite u praksi. Sadržajprojekta treba metodološki da obuhvati snimanje stanjamuzejske zgrade, sa svim sadržajima i okruženjem, posebnodepoa i izložbenog prostora, analizu stanja, procenurizika, određivanje prioriteta, pripremanje planova zavanredne situacije, stalno praćenje stanja i evaluaciju,kontrolu svih aspekata uslova sredine muzejskih zbirki ipredmeta.(Mila Popović-Živančević, Vesna Živković, IvanaStojković)“Konzervacija na arheološkom terenu”Cilj projekta je da pomogne profesionalcima, istraživačimai konzervatorima da sagledaju arheološki lokalitetu integrativnom smislu, sa stanovišta rukovođenja.Polazi se od teorije baštine i zaštite nepokretnih i pokretnihdobara, do onoga što savremena nauka daje arheološkomlokalitetu u kulturološkom, istorijskom, es-How to Make a Preventive Conservation Plan – Theproject should help museums to implement preventiveconservation measures and offer methodology for surveysin museum buildings with all their contents andenvironments, particularly storages and exhibitionspaces, risk assessments, setting priorities, disaster preparednessplans, monitoring of the condition and evaluation,management of all environmental aspects ofmuseum collections and objects (Mila Popović-Živančević,VesnaŽivković, Ivana Stojković)Conservation on Archaeological Site – aimed at helpingprofessionals, researchers and conservators to treatthe archaeological site integratively, from the managementpoint of view. The project is based on the theory ofheritage and protection of movable and immovable culturalproperty and includes the achievements of contemporaryscience in sense of culturological, historic, esthetic,social, economic, commercial aspects of archaeologicalsites. (Mila Popović-Živančević, Vesna Živković,Aleksandra Džikić-Nikolić, Tatjana Nedeljković, MajaFranković, Ivana Stojković)Organisation of Centre for Conservation andProtection – One national centre for protection ofmuseum object, spreading over the Balkan regionshould be established. The organisational chart andmethodological standards of work with all segmentsaccording to contemporary procedures in conservation,passive and active conservation treatment andresearch are given. (Mila Popović-Živančević,Aleksandra Džikić-Nikolić, Tatjana Nedeljković, MajaŽivković, Maja Franković, Ana Vujić)Conservation Dictionary – this is a project of fundamentalimportance as it has to fill in the empty space

tetskom, društvenom, ekonomskom, komercijalnomsmislu i sl.(Mila Popović-Živančević, Vesna Živković, AleksandraDžikić Nikolić, Tatjana Nedeljković, Maja Franković,Ivana Stojković).„Organizacija Centra za zaštitu“Projekat treba da definiše jedinstven nacionalni centarzaštite muzejskih predmeta, na širem nivou regijeBalkana. Sadržaj pruža organizacionu šemu i metodološkestandarde rada, sa precizno određenim segmentima,u skladu sa savremenim procesima zaštite, pasivnogi aktivnog konzervatorskog tretmana i istraživačkog rada.(Mila Popović-Živančević, Aleksandra Džikić Nikolić,Tatjana Nedeljković, Maja Živković, Maja Franković,Ana Vujić).«Konzervatorski rečnik»Projekat od fundamentalnog značaja, koji treba dapopuni prazan prostor kada se radi o literaturi u domenuzaštite i konzervacije. Priprema se ilustrovano izdanje,u srpsko-engleskoj verziji. Ima predloga iz C2RMFda se priključe ovom projektu kao partneri i pripremefrancusku verziju, tako da Rečnik bude trojezičan. (MalenaStojčev, Mila Popović-Živančević, Dušan Trifunović,Ubavka Mioč, Aleksandra Džikić Nikolić i dr.).when literature on protection and conservation is concerned.It would be illustrated, English-Serbian. C2RMFhas expressed interest to participate in the project aspartner and prepare the French version, thus making thedictionary a three-language one. (Malena Stojčev andcollaborators)Experimental Archaeology - Old technologies forglass manufacturing. The project should investigate andsolve issues related to original traditional methods formanufacturing glass. It includes mineralogical, petrographic,spectrographic and physical-chemical investigationsas well as study of glass fusion. Full reconstructionof the production process should be reconstructed incooperation with the Serbian Glass Factory in Paraćin(Dušan Trifunović, Aleksandar Portnoj, Sandra Davison,Mila Popović-Živančević, Danijela Stojković)Human Creations and Preventive ConservationImplementation with the sub-project How to ProtectOne’s Own Heritage – Velika Hoča. Preventive conservationis established as methodology and basic approach inprotection of complex heritage in its environment andsurroundings. Local population in close cooperationwith professionals in conservation should develop specificand effective system of care about cultural heritage,create new programmes that offer a new dimension tothe heritage so that it can serve development, economicand social welfare of their community. The project wasrecommended by UNESCO-MAB Committee and theNational Commission for UNESCO (Mila Popović-Živančević, Malena Stojčev)How to Protect One’s Own Heritage – integrated heritageconservation project within sustainable developmentof Velika Hoča, Kosovo and Metohija. The projectEksperimentalna arheologija - Stare tehnologijeproizvodnje staklaCilj projekta je proučavanje i sagledavanje originalnihtradicionalnih proizvodnji stakla. Sadržaj uključujeozbiljna minerološka, petrografska, spektrografska i fizičko-hemijskaistraživanja, kao i ispitivanja fuzije stakla.Projekat predviđa potpunu rekonstrukciju proizvodnje,u saradnji sa Srpskom fabrikom stakla u Paraćinu(Prof.dr Dušan Trifunović, Aleksandar Portnoj, SandraDejvison, Mila Popović-Živančević, Danijela Stojiljković).Human Creations and Preventive Conservation ImplementationProjekat postavlja preventivnu zaštitu kao metodologijui osnovni postupak zaštite kompleksne baštine, unjenom okruženju i životnoj sredini. Stanovnici lokalnesredine, u tesnoj saradnji sa profesionalcima iz domenazaštite, razvijaju sopstvene efikasne sisteme brige zakulturno nasleđe; kreiraju nove sadržaje, koji baštini dajunovu dimenziju i stavljaju je u službu opšteg razvoja,ekonomskog i društvenog napretka njihove zajednice.Projekat ima preporuke UNESCO-MAB Komiteta i Nacionalnekomisije za UNESKO.(Mila Popović-Živančević, Malena Stojčev)„Kako zaštiti sopstvenu baštinu“Projekat integrisane zaštite baštine u okviru održivograzvoja u Velikoj Hoči, Kosovo i Metohija. Projekatpredstavlja integralnu analizu stanja kulturne baštine:nepokretne, pokretne, nematerijalne, okruženja, lokalnezajednice sa ekonomskim i društvenim stanjem i mogućnostima.Projekat treba da ukaže lokalnoj zajednici kakoda se organizuje zaštita vekovne baštine i tradicije; kakonasleđe racionalno postaviti i uključiti u savremeni ekonomskii društveni razvoj. S druge strane, ovaj projekatbi mogao da pomogne UNESKO-u i programima Evropskezajednice da se lakše i primerenije uključe i angažujuna zaštiti baštine u Velikoj Hoči i Kosovu i Metohiji.(Mila Popović-Živančević)provides integral survey of cultural heritage: immovable,movable, intangible, environmental, as well as of thelocal community including economic and social aspectand development possibilities. It should guide the localcommunity in better protecting their heritage and theirtradition; rational treating of the heritage and includingit in the contemporary economic and social development.On the other hand, this project could helpUNESCO and European Union programmes in theirengagement on heritage protection in Velika Hoča andKosovo and Metohija (Mila Popović-Živančević )Environmental Education and Preventive Conservationof Cultural Heritage – The project deals withproblems of disturbed museum surroundings and environmentas possible consequence of disturbed conditionof cultural property. On the other hand this conditioncan lead to pollution which may have adverse influenceon humans and animals when in contact with such culturalproperty. The project emphasizes the fundamentalneed to solve these problems by implementing system ofpreventive conservation measures. The project was recommendedby UNESCO-MAB Committee and theNational Commission for UNESCO (Mila Popović-Živančević, Malena Stojčev)Disintegration of Archaeological Stone – Study ofbiogenic factors causing disintegration of stone andbiomineralisation. The aim is to help enhancing methodsof preventive conservation, particularly of conservationtreatments so as to connect the condition ofstone and its protection. The project is done in cooperationwith the Faculty of Mining and Geology in Belgrade.(Dragan Milovanović, Mila Popović-Živančević,Jelena Kondić, Maja Franković).33

Environmental Education and Preventive Conservationof Cultural HeritageProjekat obrađuje deo problema poremećenog muzejskogokruženja i životne sredine, koje može biti posledicaporemećenog stanja kulturnih dobara. S drugestrane, ovako stanje kulturnih dobara može rezultiratištetnim zagađenjima, što može opet biti potencijalnoopasno po zdravlje i stanje ljudi i životinja koji dolaze udodir sa takvim kulturnim dobrima. Projekat ukazuje nafundamentalan značaj rešavanja ovih problema u domenukulturne baštine pomoću sistema mera preventivnezaštite. Projekat ima preporuke UNESCO-MAB KomitetaNacionalne komisije za UNESKO.(Mila Popović-Živančević, Malena Stojčev).„Raspadanje arheološkog kamena“Projekat se bavi biogenim faktorima raspadanja kamenai biomineralizacijom. Cilj ovog projekta je da pomogneusavršavanju dosadašnjih metoda preventivnezaštite, posebno konzervatorskih postupka, i da pomognetesnom povezivanju stanja kamena i njegove zaštite.Projekat se radi u saradnju sa Rudarsko-geološkimfakultetom u Beogradu.(Dragan Milovanović, Mila Popović-Živančević, JelenaKondić, Maja Franković)Pripremanje pravilnika,uputstava i proceduraPreparation of rule books, guidebooks and proceduresDIANA Centre team participates in preparing forpacking and removal of material into a temporary centralstorage of the National Museum in Belgrade as partof the reconstruction process. This work also includespreparing several documents aimed at making easier theremoval of collections from the National Museum inBelgrade into the temporary central storage: Procedure for cleaning objects Plan of protection the temporary storage Step by step plan of evacuation of the material: packing procedures related to collections and categoriesof objects handling procedure during transporting objects organisation of the temporary storageGuides for preparing documentation escorting thetransportProcedure for protecting the material that is toremain in the National MuseumVesna Živković, Aleksandra Džikić-Nikolić, MajaFranković, Maja Živković, Tatjana Nedeljković, MilaPopović-Živančević are engaged on these tasks.Procedure and guides for receiving objects for conservationand conservation treatment have been prepared.A survey – Questionnaire in preventive conservationfor museums has been prepared covering the buildingscondition, surroundings, storages, exhibition spaces,conservation workshops, emergencies, fire prevention,341.Tim DIJANA Centra učestvuje u pripremama zapakovanje i premeštanje materijala u privremeni centralnidepo Narodnog muzeja, zbog predstojeće rekonstrukcije.U okviru ovog zadatka, u toku je rad na nekolikodokumenata koji treba da olakšaju organizovanjepremeštanja zbirki Narodnog muzeja u privremeni centralnidepo: Procedura za čišćenje predmeta Procedura za rukovanje predmetima Plan zaštite privremenog depoa Plan izmeštanja materijala po fazama:- procedura pakovanja prema zbirkama i kategorijamapredmeta- organizacija privremenog depoa Uputstva za izradu dokumentacije koja će pratititransport Procedura zaštite materijala koji ostaje u NarodnomMuzejuNa ovim poslovima su angažovani: Vesna ŽivkovićAleksandra Džikić Nikolić, Maja Franković, Maja Živković,Tatjana Nedeljković, Mila Popović-Živančević2.Takođe su završeni procedura i uputstvo za primanjepredmeta na konzervaciju i konzervatorski postupak.3. Pripremljena je Anketa - upitnik za preventivnuzaštitu namenjena muzejima, koja sadrži pitanja o stanjuzgrade, okruženja, depoa, izložbenog prostora, konzervatorskihradionica, o zaštiti od vanrednih prilika, protivpožarnojzaštiti i dr. Anketa je veoma detaljna i već je uspešnokorišćena tokom snimanja i analize stanja u Gradskommuzeju u Vršcu i Muzeju Staro Selo u Sirogojnu.4. Pripremljena je Anketa za autoevaluaciju stanjamuzejske delatnosti, koja je usmerena na stanje muzeologijei muzejske struke. Anketa je već uspešno korišćenau Muzeju grada Beograda i Narodnom muzeju uKruševcu.etc. The questionnaire is a very detailed one and it wassuccessfully applied during the surveys in the TownMuseum in Vršac and Museum “Old Village”in Sirogojno.The questionnaire for evaluation of museum activitiescondition targeted to the situation of museology andthe profession has been prepared and successfullyapplied in the Museum of City of Belgrade and theNational Museum in Kruševac.Education in DIANA Centrein 2004Education covered each programmatic segment infollowing cycles:Theoretical EducationPreventive conservation cycle- Preventive conservation as strategy- System of preventive conservation measures inmuseums- Theoretical approach to the surveys in museumsand risk assessment- Museum building, advantages and disadvantages inmuseum activities, storages, exhibitions and transport- Handling, storing, environmental control, microclimateand collections, museum standards- Air pollution, deterioration agents- Instrumental methods in microclimate measuringand control, in particular humidity- Microbiology; microorganisms, fungi, moulds- Pest management, rodent management, disinfestation- Disaster preparedness (fire, floods, thefts, vandalism,armed conflicts)

Obuka u Dijani u 2004. godiniU 2004. edukacija se sprovodila angažovanjem eksperata,iz zemlje i inostranstva, za svaku posebnu obrazovnuoblast, 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 muzejskedelatnosti; depoi, izložbe i transport,- Rukovanje, deponovanje, kontrola sredine, mikroklimai zbirke, muzejski standardi- Aerozagađenja, faktori propadanja- Instrumentalne metode merenja i kontrole mikroklime,posebno vlage- Mikrobiologija - mikroorganizmi, gljivice, buđi,plesni- Dezinfekcija, deratizacija, dezinsekcija- Zaštita od vanrednih prilika (požar, poplava, krađe,vandalizam, rat);- Zakonodavstvo, pravna regulativa- Profesionalna etika i ponašanje (profesionalni kodeksi)- Zaštita na radu, zaštita od štetnih isparenja i čestica2. Opšti ciklus iz zaštite kulturnih dobara- Teorija baštine i kulturnog dobra- Kultura i etika- Kulturna politika, strateško planiranje, pozicija- Legislation- Professional ethics and behaviour (codes of professionalethics)- Safety at work, protection against fumes and particlesGeneral cycle related to protection of cultural property- Theory of heritage and cultural property- Culture and ethics- Cultural policy, strategic planning, position of heritageand protection- Education of museum public- English for conservators and museologists- French, basic courseCycle related to conservation treatments – activeconservation- Technology of archaeological material- Chemistry of archaeological material and conservationmaterial- Geology with petrography- Harmful agents in conservation- Technology of archaeological material- Materials used for conservation of ceramics andglass, restoration of porcelain, faience and majolica- Material used for taking prints, making moulds andcopies and replicas- Synthetic materials in conservation of stoneCycle related to archaeology- Methodology of archaeological research withorganisation of the system in CroatiaTeorijsko predavanjeTheoretical educationbaštine i zaštite- Edukacija muzejske publike različitog profila- Engleski za konzervatore i muzeologe- Francuski, osnove jezika3. Ciklus o konzervatorskim tretmanima - aktivnakonzervacija- Tehnologija arheološkog materijala- Hemija arheološkog materijala i materijala za konzervaciju- Geologija sa petrografijom- Štetni agensi u konzervaciji- Tehnologija arheološkog materijala- Paths of amber through history- Prehistoric ceramics, production and typology- Roman ceramics, typologySpecialist lecturesSpecialist courses and lectures were organised during2004 as integral part of the theoretical and practicaleducation at DIANA Centre. They treated in a specificway certain and particular problems appearing in conservation,protection, archaeology and archaeologicalobjects as well as some more general issues important forprotection of cultural heritage.Use of laser in conservation,Vanja Jovanović, restorer,School of Art Crafts, ŠabacInterdisciplinarity in conservation, Raman spectroscopyin museology and protection, Silvio Kečkeš andJelena Petrović, Faculty of Physics and Chemistry,BelgradeCauses of archaeological glass decay and preventionmethods, Sandra Davison, United Kingdom Institute forConservation of Historic and Artistic Works (UKIC),Davison Studio, UKProfessional safety at work for conservators, PamelaWarner, Addington Studio, UKHarmful agents in conservation, Franc Curk,National Museum in NišRoman ceramics in Europe, production, trade andcultural relations in Europe and the Balkans, RobinSymonds, PhD, Museum of London, UKTraditional ceramics production in Serbia, VesnaSvoboda, M.A., ceramists, BelgradeMuseological aspects of professional ethics, Cultureand Ethics, Prof. Kiril Temkov, PhD, Faculty ofPhilosophy, Skopje, MacedoniaEducative programmes in the Museum of Macedonia,Simonida Miljković, Museum of Macedonia35

- Materijali za konzervaciju keramike i stakla, restauracijuporcelana, fajansa i majolike- Materijali za uzimanje otisaka, pravljenje kalupa ikopija i replika- Sintetički materijali u konzervaciji kamena4. Ciklus o arheologiji- Putevi ćilibara kroz istoriju- Praistorijska keramika - proizvodnja i tipologija- Rimska keramika - tipologija5. Specijalistička predavanjaKao sastavni deo teorijske i praktične obuke, DIJA-NA Centar je tokom 2004. godine organizovao i specijalističkekurseve i predavanja, koja na poseban načinobrađuju pojedine i uže probleme zaštite, konzervacije,arheologije ili arheoloških predmeta, kao i neka opštijapitanja bitna za zaštitu kulturne baštine:“Upotreba Lasera u konzervaciji”, Vanja Jovanović,restaurator, Škola umetničkih zanata“Interdisciplinarnost u konzervaciji -ramanskaspektroskopija u muzeologiji i zaštiti”, Silvio Kečkeš iJelena Petrović, Fizičko-hemijski fakultet“Uzroci propadanja arheološkog stakla i metode zasprečavanje propadanja”, Sandra Dejvison, UKIC, Dejvisonstudio,Velika Britanija“Profesionalna zaštita konzervatora na radu”, PamelaVorner, Adington studio,Velika Britanija“Štetni agensi u konzervaciji”, Franc Curk, Narodnimuzej u Nišu“Rimska keramika u Evropi - proizvodnja, trgovinai kulturne veze u Evropi i na Balkanu”, Robin Sajmonds,Muzej grada Londona,Velika Britanija“Tradicionalne proizvodnje keramike u Srbiji”, VesnaSvoboda, magistar keramike“Muzeološki aspekti profesionalne etike - kultura ietika”, prof.dr Kiril Temkov, Filozofski fakultet Skoplje“Edukativni programi u Muzeju Makedonije”, SimonidaMiljković, Muzej Makedonije“Organizacija zaštite u skladu sa novim zakonodavstvomu Hrvatskoj”, Martina Blečić, Ministarstvo kultureHrvatske, Regionalni zavod za zaštitu, Rijeka“Kulturna politika, pozicija baštine i zaštite”, prof.dr Milena Šešić-Dragičević, Univerzitet umetnosti uBeograduPraktična obukaTokom 2004. godine teorija preventivne zaštite postepenoje uvođena u program praktične obuke, koji se sastojaood:1. Savladavanje primene mera preventivne zaštite -funkcioniše preko specijalizovanih radionica i timova, acilj je da se teorija preventivne zaštite primeni u muzejskojpraksi. Ovaj deo obuke se bavi analizom stanja muzejskihzgrada, analizom uslova čuvanja, izlaganja itransporta muzejskih predmeta, procenom rizika, određivanjemprioriteta, predlaganjem odgovarajućih merasanacije, organizovanjem i kontrolom mera preventivnezaštite i dr.2. Savladavanje konzervatorskih veština predstavljakombinaciju primene konzervatorskih praktičnih metodai teorijskih objašnjenja tih metoda i materijala koji sekoriste. Sastoji se od izučavanja i primene:- osnovnih aktivnih konzervatorskih tretmana i znanjaOrganisation of protection pursuant to new legislationin Croatia, Martina Blečić, Ministry of Culture ofCroatia, Regional Institute of Protection, Rijeka, CroatiaCultural policy, position of heritage and protection,Prof. Milena Šešić-Dragičević, PhD, BelgradePractical TrainingTheory of preventive conservation was adequatelyrepresented in the contents of practical training consistingof:Mastering preventive conservation measures applicationthrough specialised workshops and teams withthe aim to introduce the theory of preventive conservationinto daily museum practice. This part of the trainingwas dedicated to surveys in museum buildings; analysisof keeping conditions, of transporting and displaying ofmuseum objects, risk assessment, setting priorities, decision-makingrelated to salvaging actions, etc.Mastering conservation skills is a combination ofpractical conservation methods applied and of theoreticalexplanations of methods and materials used. It consistsof study and application of:- basic active conservation treatments and know how- specialised knowledge, artistic skills and craftsIt is conducted in workshops depending on the levelof 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 archaeologicalmaterial are not being treated until the adequate workingconditions and equipment shall have been provided.36Praktična konzervacijaPractical conservation

- specijalizovanih znanja, umetničkih veština i zanatskogumeća.Sprovodi se u okviru radionica, koje su usklađene sanivoom teorijske obuke.Primenjuje se na neorganskom, organskom i kompozitnomarheološkom materijalu, za sada na keramici,staklu, kamenu, gipsu, sintetičkim materijalima, ćilibaru.Za druge vrste arheološkog materijala DIJANA Centarjoš uvek nema uslova, dok se ne reše problemi odgovarajućegradnog prostora i opreme.Praktični deo programa se odnosi na izvođenje svihfaza konzervatorskog tretmana:- Konzervatorska dokumentacija (tradicionalna i digitalna)- Konzervatorska ispitivanja (makroskopska, mikroskopska,hemijska i dr.)- Čišćenje (mehaničko i hemijsko)- Stabilizaciju strukture i površine (konsolidacijahemijskim putem)- Spajanje fragmenata- Restauracija i rekonstrukcija- Završna zaštita- Savladavanje posebnih umetničkih veštinaCiklusi praktične obukeU toku 2004. godine praktična obuka se vršila naneorganskom i kompozitnom arheološkom materijalu.Konzervacija keramike- trošna i čvrsta keramika, sa bojenim i glačanimpremazima, glazurama i gleđosanim površinama. OvajPractical training should enable application of allstages of conservation treatments and artistic skills:- Conservation documentation (traditional and digital)- Conservation investigations (macroscopic, microscopic,chemical, etc.)- Cleaning (mechanical and chemical)- Stabilization of the structure and surfaces (consolidationwith chemicals)- Bonding of fragments- Restoration and reconstruction- Final protection- Mastering special artistic skillsPractical training cyclesIn 2004 practical training included inorganic andcomposite archaeological materialsConservation of ceramicsSoft body and solid ceramics, with painted and burnishedcoatings, glazes and glazed surfaces. This type ofarchaeological material originates from the Neolithic,Bronze and Iron ages, Greek and Roman periods, earlyand late Middle Ages.Restoration of porcelain, faience and majolicaMedieval majolica originating from Italy, 18 th and19 th centuries porcelain from west and mid-EuropeanfactoriesConservation of glassRoman and medieval glass. This training was designedfor seniors (5 th ,6 th and 7 th term of training) onlywho have already successfully mastered basics of ceramicsconservation.Praktičan rad na kursu konzervacije stakla sa Sandrom DejvisonPractical training in glass conservation with Sandra Davisonarheološki materijal potiče iz neolita, bronzanog i gvozdenogdoba, grčkog i rimskog perioda, ranog i kasnogsrednjeg veka.Restauracija porcelana, fajansa i majolike- srednjovekovna majolika, poreklom iz Italije, porcelan18. i 19. veka, iz manufaktura zapadne i srednjeEvrope.Konzervacija stakla- iz rimskog i srednjovekovnog perioda. U obuku izkonzervacije stakla bili su uključeni isključivo stari polaznici(V,VI,VII sezona obuke), koji su prethodno uspešnosavladali osnove konzervacije keramike.Konzervacija kamena- kameni artefakti od krečnjaka, peščara ili merme-Conservation of stoneStone artefacts, from sandstone, lime or marble, suchas sculptures, inscriptions , architectural parts originatingfrom the Mesolithic and Roman periods. This trainingwas designed for seniors (5 th ,6 th and 7 th term oftraining) onlyMaking copies and replicasFor the first time the students were expected to mastertaking of prints and preparation of moulds with siliconeresins and polyester, as well as casting clay and firingclay casts.This course was open to all interested students.Repair of old conservationsCollections of the National Museum in Belgrade containlots of archaeological material, particularly ceramicsand glass. They represent a huge problem today, asthe old conservation has not passed the time test and theobjects need new treatment.Conservation and salvaging action of copies made inplaster, polyester and other materialsThe National Museum in Belgrade disposes with anumber of plaster copies of tombstones (stećci) and variousstone plastic. These copies were done tens of yearsago and show significant damages and signs of timepassed.Team workThe students are engaged in all segments of organisationand work of DIANA Centre and are included inteams with senior and more experienced collaboratorsand students.This kind of team work proved to be a good37

a, iz mezolita i rimskog perioda, kao što su skulpture,natpisi, arhitektonska plastika. Na kursu konzervacijekamena učestvovala je isključivo grupa starih polaznika(V,VI,VII sezone obuke)Pravljenje kalupa i kopija- po prvi put je organizovana obuka iz uzimanja otisakai pripremanja kalupa od silikonskih smola i poliestera,a zatim livenje gline i pečenje glinenih odlivaka.Na ovom kursu mogli su da učestvuju i novi i staripolaznici.Popravka starih konzervacija- u zbirkama Narodnog muzeja ima dosta arheološkogmaterijala, posebno keramike i stakla, koji danasprave velike probleme, jer stara konzervacija nije izdržalaprobu vremena i predmeti sada moraju ponovo da setretiraju.Konzervacija i sanacija kopija od gipsa, poliestera idrugih materijala- Narodni muzej poseduje značajnu kolekciju kopijaod gipsa - stećaka i različite kamene plastike. Ove kopijesu pravljene pre više decenija i sada su primetna ozbiljnaoštećenja i vidljive su posledice protoka vremena.Timski radPolaznici su uključeni u realizaciju svih aspekata organizacijerada i aktivnosti DIJANA Centra. Podeljenisu i rade u okviru različitih timova, obavezno u timu zajednosa iskusnijim i starijim polaznicima i saradnicima.Pokazalo se da ovakav timski rad, koji pokriva dobar deodelatnosti, rešava probleme DIJANA Centra i njegovograzvoja, formira prijatnu atmosferu, stvara osećaj zajedničkogcilja i zadataka. Svaki potreban posao se efikasnoorganizuje na ovaj način. A to ukazuje na činjenicusolution for covering activities of DIANA Centre, orsolving problems that appear in the Centre and its development.Team work breeds friendship relations amongcollaborators and inspires them to share the commongoal. Team work is the method used in every task. This isalso proof that even very complex and comprehensivestrategic issues can be accomplished with smaller numberof employees if collaborators, either as volunteers orpaid from the jobs they themselves carry out, are adequatelystimulated and engaged. Thus all tasks on basicprogramme realisation and daily routine are done byjoint teams of collaborators and students.These team activities are an integral part of educationalmethodology and are focused on building accomplishedprofessionals who would be fully responsible forcarrying out their tasks. This kind of work shouldenhance the concentration in complex tasks in order tocontrol all elements of a working assignment and end itup successfully. These teams take part in:- investigation and surveys of cultural property inmuseums and preparing and designing feasibilitystudies and reports containing salvaging programmes;- preparing projects for fund raising;- planning organisation of work in institutions ofprotection;- writing professional papers and reports;- preparing and carrying out programmes for theoreticaland practical education;- working out complete documentation for preventiveconservation regarding equipment and materialsfor work, etc.;- tutoring practical work of new students;- caring about development of the library.38da se čak i veoma obimne, kompleksne, strateške stvarimogu uspešno sprovoditi i sa malim brojem stalno zaposlenih,pod uslovom da se na pozitivan način animirajui angažuju saradnici na principu volonterskog rada ilisa honorarima iz poslova koje su sami realizovali.Znači, sve aktivnosti realizacije osnovnih programa isvakodnevnih radnih zadataka DIJANA Centra sprovodekombinovani-zajednički timovi saradnika sa polaznicima.Ove aktivnosti su sastavni deo edukativne metodologije.Cilj im je kreiranje kompletne stručne ličnosti, kojaima krajnje odgovoran odnos prema savesnom obavljanjurazličitih potrebnih poslova. Takođe, ovaj načinrada treba da pomogne razvoju sposobnosti koncentracijeza kompleksne zadatke, kako bi se svi elementi jednogradnog zadatka držali pod kontrolom i pomogli dase on uspešno okonča.Tako, ovi kombinovani timovi učestvujuu:- ispitivanju i analizama stanja kulturnih dobara umuzeju i pripremanja odgovarajućih elaborata i izveštajasa predlogom mera sanacije- pripremanju projekata za konkurisanje- pripremanju planova organizacije rada institucijazaštite- pripremanju stručnih tekstova i izveštaja- pripremanju i realizaciji programa teorijske i praktičneedukacije- izradi kompletne dokumentacije iz preventivnezaštite, posebno aktivne konzervacije, fotodokumentacije,dokumentacije o opremi i materijalima za rad i dr.- nadgledanju praktičnog rada novih polaznika- brizi za očuvanje i razvoj bibliotekeSvi organizacioni poslovi oko svakodnevnog funkcionisanjai realizacije programa i zadataka takođe seThis method of work is also applied to all tasks relatedto regular and daily routine in DIANA Centre and tocarrying out of programmes and tasks:- purchase of material, equipment, tools and instrumentsfor work;- maintaining and caring about the equipment forpreventive conservation, particularly the activeconservation, documentation (electronic and digitalequipment);- translation of foreign technical literature andadapting it to educative programmes needs;- maintaining contacts with the existing sponsorsand donors and help in establishing new ones;- participation in presentation of our activities to thepublic, fostering relations with media;- editing the publications and information to be disseminated,multimedia and internet presentations,CD ROMs;- preparing conservation exhibitions and posters;- organisation of professional meetings, seminars,specialist courses, workshops, professional excursions,etc.;- participation in fostering international and nationalcontacts, with foreign experts and institutionssuch as ICOM, UNESCO, ICCROM, UnitedKingdom Institute for Conservation of Historic andArtistic Works (UKIC), etc.;- interpreting during international educative programmes;- administration jobs, such as secretarial, financial,messenger service, etc.This kind of organisation enables DIANA Centre tofunction as independent and self-supporting systemwithin the National Museum in Belgrade, able to accomplishits basic and specific tasks.

sprovode na ovaj način, a to su:- nabavka materijala, opreme, alata i instrumenataza rad- kompletna briga o opremi za preventivnu zaštitu,posebno aktivnu konzervaciju, dokumentacij (kompjuterskai digitalna oprema)- prevođenje inostrane stručne literature i njeno pripremanjeza edukativne programe- održavanje kontakata sa postojećim sponzorima idonatorima, kao i učestvovanje u pronalaženju novih- direktno učešće u prezentovanju naših aktivnostiširoj javnosti, kreiranje i razvoj kontakata sa javim glasilima- stalna tehnička redakcija za sve publikacije i drugiinformativni materijal, multimedijalne i internet prezentacije,pripremanje i izrada CD ROM-a- priprema konzervatorskih izložbi i postera- organizacija različitih stručnih skupova, seminara,specijalističkih kurseva, radionica, stručnih eksurzija, isl.- direktno učestvovanje u razvoju međunarodnih idomaćih kontakata sa inostranim stručnjacima i institucijama,kao što su IKOM, UNESKO, ICCROM, UKIC i dr.- prevođenje sa stranih jezika u svim međunarodnimprogramima edukacije- sprovođenje svih administrativnih tekućih poslova,kao što su sekretarski poslovi, finansije, kurirski poslovii dr.It should be pointed out that the entire system ofDIANA Centre’s activities is based on strict realisation ofapproved programmes and strong working and intellectualdiscipline, on fostering professional ethics, rules and behaviour,on team work and development of the sense of responsibilityas well as on cherishing common goals and spirit,Zahvaljujući ovom načinu organizacije aktivnosti,DIJANA Centar funkcioniše kao nezavistan i samostalansistem u okviru Narodnog muzeja, sposoban da realizujesamostalno sve osnovne i specifične poslove.Treba istaći da se ceo sistem delatnosti DIJANA Centrazasniva na striktnoj realizaciji tačno određenih programai na strogoj radnoj i duhovnoj disciplini, na negovanjuprofesionalne etike, pravila i morala, na timskomradu i razvijanju odgovornosti za obavljanje poslova,kao i na negovanju zajedničkog cilja i duha, snažnog osećanjapripadnosti jedinstvenoj ideji.Kroz aktivnosti DIJANA Centra želimo da negujemoi razvijamo, pored stručnog praktičnog profesionalizma,stroge etičke kriterijume i specifičnu duhovnu klimu oistinskom značaju kulturnog nasleđa i njegove uloge urazvoju društva.Posebno treba istaći da su mladi ljudi iz DIJANACentra posle Generalne skupštine IKOM-a u Barseloni2001. godine, skoro istovremeno iskoristili priliku, tadaomogućenu i studentima, da mogu da budu redovni članoviIKOM-a. Tako danas u nacionalnom komitetuIKOM SCG aktivno radi 25 članova iz DIJANA Centra.Usavršavanje ispecijalističke studijeSpecijalizacije u inostranstvuGodinu 2004. su obeležile specijalizacije nekolikomladih saradnika DIJANA Centra u eminentnim institucijamazaštite, pre svega u Francuskoj. Francuski kulturnicentar u Beogradu očigledno je procenio da se radi otalentovanim, ambicioznim i vrednim mladim ljudima ukoje vredi ulagati.Aleksandra Džikić Nikolić, april/maj, u Centru zakonzervaciju i istraživanja Direkcije muzeja Francuske,C2RMF-DMF (sistem organizacije rada Centra i preventivnazaštita).strong feeling of being part of a unique idea and concept.The intent is that activities of DIANA Centre, besidesbuilding professional and practical attitude, help fosteringand enhancing strict ethical criteria and specificintellectual atmosphere when importance of culturalheritage and its role in society are concerned.Kontrola relativne vlažnosti u depou Galerije fresakaControlling of relative humidity in storage of Gallery of Frescoes39

Veljko Džikić, u periodu april/maj takođe učestvovaou radu Centra za konzervaciju i istraživanja Direkcijemuzeja Francuske (C2RMF-DMF), u Odeljenju za fotodokumentaciju.Maja Franković, juli/avgust, druga specijalizacija izkonzervacije mozaika u Muzeju antike u Arlu.Maja Živković, oktobar/novembar, specijalizacija uLaboratoriji za konzervaciju arheoloških predmeta uDraginjanu, Francuska, iz konzervacije majolike i gleđosanekeramike.Tatjana Nedeljković, oktobar, sa grupom mladihstručnjaka Narodnog muzeja boravila u Minhenu, na pozivBauerisches Staatsninisterium fur Wissenschft, Forschungund Kunst.Tom prilikom posetila je konzervatorskeradionice u Minhenu, Restauratorski centar i restauratorskeradionice Arheološke gradske zbirke, Zavodaza zaštitu spomenika i Nacionalnog muzeja.Maja Franković na stručnoj praksi u Francuskoj (2 nd from the left)Maja Franković during her conservation training in FranceSpecialisations, upgrading andspecialist studiesSpecialisations abroadThe 2004 was marked by specialisations of several ofyoung collaborators of DIANA Centre in eminent institutionsand institutions of protection in France in thefirst place. The French Cultural Centre in Belgrade evidentlyrecognized the talent, ambition and desire towork in young people from DIANA Centre as being worthyof investment.Aleksandra Džikić-NIkolić, April/May, Centre forConservation and Research, Direction of Museums ofFrance (C2RMF-DMF) – organisation of work in theCentre and preventive conservationVeljko Džikić, April/May, Centre for Conservationand Research, Direction of Museums of France (C2RMF-DMF) –Photo Documentation DepartmentMaja Franković, July/August, second specialisationin conservation of mosaics, Museum of Antiquities inArlesMaja Živković, October/November, Laboratory forConservation of Archaeological Objects in Draguignan,France – conservation of majolica and glazed ceramicsand archaeological material in generalTatjana Nedeljković, October, upon the invitation ofthe Bayerisches Staatsministerium fur Wissenschaft,Forschung und Kunst with a group of young professionalsfrom the National Museum in Belgrade visited inMunich conservation workshops, Centre for Restorationand restoration workshops of the Archaeological CityCollection, Institute for Protection of Monuments andNational Museum.40Stručna zvanjaVolonteri-pripravnici Aleksandra Džikić Nikolić,Tatjana Nedeljković, Maja Franković, Maja Živković iAna Kocjan završile su sa uspehom jednogodišnji pripravničkistaž, početkom decembra položile stručni ispiti dobile zvanje konzervatora. Između ostalog, za ovu prilikusu pripremile pisane stručne radove:Aleksandra Džikić Nikolić,“Konzervacija i restauracijasrednjovekovnih staklenih posuda iz crkve Sv. Tripunau Kotoru”Tatjana Nedeljković, “Konzervacija i restauracijabronzanodopskog pehara iz Konopišta”Maja Franković, “Konzervacija i restauracija fragmentovanogmozaika iz zbirke Muzeja antike u Arlu -model za konzervaciju mozaika u Narodnom muzeju”Maja Živković,“Konzervacija i restauracija srednjovekovnezdele iz crkve sv. Petra u Novom Pazaru”Ana Kocjan, “Konzervacija gleđosanog skifosa izzbirke Dunjić Narodnog muzeja u Beogradu”.Stručne eksurzijeDeset saradnika DIJANA Centra posetilo je Srpskufabriku stakla u Paraćinu. Ekipa DIJANA Centra detaljnose upoznala sa tradicionalnom proizvodnjom stakla,koja je u potpunosti sačuvana i funkcioniše kao redovanproizvodni program, još od 19. veka. Tokom razgovora saodgovornim ljudima iz fabrike, DIJANA Centar je izraziospremnost da stručno pomogne osnivanju Muzejastakla u Paraćinu, sa tradicionalnim programom proizvodnjekao delom stalne postavke, u skladu sa novimmuzejskim sadržajima koji se odnose na očuvanje nematerijalnogkulturnog nasleđa.Professional careersTrainees: Aleksandra Džikić Nikolić, TatjanaNedeljković, Maja Franković, Maja Živković and AnaKocjan successfully passed their one-year-trainee programmesand took their professional knowledge examsin December thus becoming officially conservators. Oneof the requirements was to write a paper for the exam:Aleksandra Džikić-Nikolić: Conservation andrestoration of medieval glass vessels from the church ofSt. Tripun in KotorTatjana Nedeljković: Conservation and restoration ofthe Late Bronze age beaker from Konopište siteMaja Franković: Conservation and restoration of afragmented mosaic from the collection of Museum ofAntiquities in Arles – a model for conservation ofmosaics in the National Museum in BelgradeMaja Živković: Conservation and restoration of amedieval bowl from the church of St. Petar in Novi PazarAna Kocjan: Conservation of a glazed skyphos fromthe Dunjić Collection at the National Museum inBelgradeProfessional excursionsTen collaborators of DIANA Centre visited theSerbian Glass Factory in Paraćin where they learnedmore about the old traditional glass manufacturing,which is still fully observed by the Factory and hasbeen a regular production programme since the 19 th C.During the talks with their hosts, DIANA Centre representativesexpressed willingness to help professionallythe establishing of Museum of Glass in Paraćin.The traditional manufacture would be part of the permanentdisplay in compliance with new museum contentsrelated to safeguarding intangible cultural heritage.

Program Letnje škole DIJANA 2005 obuhvatateorijsku i praktičnu obuku u sledećim oblastima:OSNOVNI KURSEVInamenjeni novim polaznicimaKonzervacija trošne i čvrste keramike,sa predavanjima iz muzeologije, tehnologijematerijala, fizičke hemije, geologijes petrografijom, engleskog jezika za konzervatorePreventivna zaštita (faktori rizika, uslovi čuvanja,pakovanje, transport, vanredne situacije)SPECIJALISTIČKI KURSEVIza polaznike sa konzervatorskim iskustvomRestauracija porcelana, fajansa i majolikeKonzervacija i restauracija staklaKonzervacija mozaikaOPCIONI KURSEVIza sve polaznike i saradnikeSanacija kopija stećaka od gipsa i poliesteraTradicionalne proizvodnje keramike,izrada kopija i replikaJAVNE RADIONICEnamenjene široj muzejskoj publici, deci i omladiniTajne konzervacije, Pravljenje kopija i replikaPočeci keramike - kako se pravila keramika u prošlostiZa sve dalje informacije možete se obratiti na:Mila Popović-ŽivančevićDIJANA Centar za preventivnu zaštituGalerija fresaka, Cara Uroša 2011000 BeogradSrbija i Crna GoraTel.: (381 11) 182 966, 183 655, 621 491Fax: (381 11) 183 655E-mail: iccdiana@eunet.yuwww.ccdiana.org.yu41

dr Rasa BertasiuteMuzej na otvorenomLitvanijaVrednosna dimenzijatradicionalne arhitektureShvatanje baštine je subjektivno i podložno promenama.Čak se i stavovi stručnjaka, arhitekata, majstora,građvinara, istraživača i eksperata o baštini razlikuju.No, ukoliko želimo da je sačuvamo za budućnost neophodnoje da se složimo oko toga šta za sve naspredstavlja vrednost.Spoznaja vrednosti baštine može biti dvojaka: čulnai pragmatična. Prva procena se zasniva na našem odnosuprema predmetu i ona je subjektivna. Druga zavisi odonoga što sami znamo o baštini. Ali, ako ne posedujemoznanje i čulni odnos prema predmetu, nećemo biti u stanjuda mu utvrdimo vrednost. To se upravo dogodilo isada imamo novi cilj – da pronađemo načine za prepoznavanjebaštine i ocenu njene vrednosti. Najvažnije jeda se obnovi znanje, a za to je neophodno istraživanje.IstraživanjeRaznovrsnost je najvredniji i glavni cilj održivograzvoja. Ali, kako prepoznati ovu raznovrsnost (saodređnom inherentnom pravilnošću) i kako utvrditi oneoriginalne odlike naše arhitekture koje je čine vrednom?Možemo sa više aspekata da istražujemo/ocenjujemozgrade koje sadrže mnogostruke informacije. Do sada suuglavnom proučavani razvoj planske strukture, klasifikacijai opšte karakteristike regionalne arhitekture. Samakuća je obično dobijala najvišu ocenu ako je krovbio od slame ili trske ili je bila bogato ukrašena. Pa, takoneke od zakonom zaštićenih kuća zapravo nisupredstavljale posebnu vrednost, jer nisu svi aspekti bilivrednovani. Sada je jasno da samo ocena spoljnog izgledanije dovoljna.Da bi se uočile pojedinosti neophodno je tražiti analogijesa drugim objektima. Nije moguće upoređvatikompletne zgrade, ali je jednostavno porediti delove/detalje.Na taj način objekat se svodi na elemente koji suzajednički u arhitekturi. Naprimer:- materijal,- tehnologija,- konstrukcija,- oblik,- funkcija,- okruženje.Oni su zajednički za svaki objekat arhitekture: zazamkove, crkve, kuće, ali i za detalje na ovim građevinamakao što su temelji, zidovi, prozori, vrata, tremovi,krovovi itd. Iste vrednosne dimenzije mogu se primenjivatina građevine u različitim zemljama, ali i na starezgrade i savremenu arhitekturu. Prema tome, ovi aspektisu zajednički. Oni uključuju materijalni podatak, kaoi nematerijalnu informaciju koja je takođe veoma značajnaza arhitektonsko istraživanje. Svaki arhitektonskiobjekat može se proučavati, procenjivati ili identifikovati,polazeći od ovih aspekata i hronoloških, tipološkihi regionalnih poređenja.Šta je pri tom najvažnije?Arhitektura se razvija u okviru tehničkih mogućnostii funkcionalnih zahteva/potreba. Uvek postoji čvrstaveza između svih ovih elemenata. Na primer, okruženjesa specifičnom klimom i predelom određuje funkciju,oblik kao i način gradnje. Funkcija (bilo da se radi o ku-42Dr. Rasa BertasiuteOpen Air MuseumLithuaniaValue dimension oftraditional architecturePerception of heritage is changeable and subjective.Even we specialists, architects, craftsmen, constructors,researchers, experts have different view upon theheritage value. And if we want to preserve it for the futureit is necessary to find and agree about valuablethings common for all of us.Cognition of heritage value is possible in two ways:sensual and pragmatic. The first is based on our relationwith the object and this estimation is subjective. The seconddepends on our personal knowledge about the patrimony.But if we lose/miss knowledge and sensual relationwith the object we can not qualify it as valuable.That is what has just happened and new objective is tofind other way to recognize and appreciate heritage asvaluable. First of all one needs to restore knowledge andthat is field of investigation.InvestigationMost valuable thing and the main aim of sustainabledevelopment is diversity. But how to recognize this diversity(with certain inherent regularity) and to find somedistinctive original features of our architecture thatmake our architecture valuable? Buildings having accumulatedmultisided information can be investigated/evaluatedin many aspects. Up to now mostly thedevelopment of planning structure, classification andgeneral characteristics of regional architecture has beenanalyzed. Usually the house got the best valuation if ithad thatch/straw roof or rich decoration. Thus some oflisted/protected by law houses are not very valuablebecause not all the aspects have been taken into account.Now it is evident that external estimation is notenough.To distinguish singularities we can only compare anobject with analogues. It is impossible to compare overallbuildings, but we can easely compare someparts/details of it. Thus the object should be reduced toelements common to all architecture. Such are:- material,- technology,- construction,- form,- function,- environment.They are common to whole architecture: castles,churches, dwelling houses, also for details of these buildingssuch as foundation, walls, windows, doors, porches,roofs and other. The same value dimension one canapply to buildings in different countries - the same isgood for old/ancient houses as for present architecture.So these aspects are common. They include material datumsame as intangible information that is also very importantfor architectural investigation. Thus every architecturalobject can be investigated, evaluated oridentified by these aspects comparing them on chronological,typological and regional sections.What is most important for these dimensions?Architecture is developing in a frame of technicalpotential and functional demand/requirement. It is alwaystough connection between all these sides of object.For example environment with specific climate and

ći za stanovanje ili o pomoćnoj zgradi) određuje oblik,konstrukciju, tehnologiju i materijal. Međuzavisnost iinterakcija između ovih delova je uzajamna/reverzibilna.Dimenzije su tesno povezane i međusobno uslovljene.Prikaz arhitektonskih dimenzijaA graph showing architectural dimensionsMi obično utvrđujemo odlike koje su tipične za jedanelement gradnje u određenom regionu ili za određeniperiod. Proučavamo kuće poredeći njihov funkcionalnitip ili građevinski materijal koji je korišćen. Na tajnačin mogu se uočiti neke razlike, promene i uzajamniuticaj različitih tradicija, ali je prilično teško utvrditinjihovo poreklo ili odrediti pravce njihovog širenja.Stoga možemo da pozovemo u pomoć druge dimenzijeda procenimo /definišemo opšte tendencije tradicionalnearhitekture.Kada objekat procenjujemo sa svih aspekata, primetićemoodređenu logičnu doslednost. Promene jedne dimenzije/elementaautomatski dovode do drugih promena.To dovodi do određene pravilnosti u okviru raznovrsnosti.Potreba za novim funkcionalnim tipom građevine uztehnički napredak doveli su do revolucije u arhitekturiGvozdenog doba na jugoistoku Evrope – pojavila sedrvena konstrukcija. Da bismo našli odgovor na pitanjezašto su upravo ovaj region i ovaj period bili najpogodnijiza pojavu drvene konstrukcije, moramo da razmotrimosledeće aspekte:materijal – bilo je dovoljno mekog drveta – odgovarajućigrađevinski materijal za brvnaretehnologija – gvozdena sekira je dovela do brzog napretkau tehnologijiforma – javila se potreba da svaka porodica dobijesvoju malu kućufunkcija – male brvnare bile su najpogodnije za jednuporodicuokruženje - brvnare su odgovarale klimatskim uslovima,održavale su toplotu i čuvale su od vremenskihpromena.Prema tome, situacija je u potpunosti pogodovalapojavi brvnara.Iako su potrebe bile iste, brvnare su u našoj oblastidrugačije izgledale. Zašto? Ako bismo uporedili svekomponenete, videli bismo da postoje razlike u materijalu,okruženju i funkciji. Kvalitet borovine i smrekovine/jelovinerazlikuje se od regiona do regiona (različitrast, debljina, gustina). To može da bude razlog što sustare kuće na severu bile veće od onih na jugu. Veličinakuće je zavisila i od okruženja, a pre svega od klimatskihuslova: padavina, hladnoće/mraza, vetrova, samogpredela. Kvalitet zemljišta uticao je na način obradezemlje, a sve to je uticalo na razlike u funkciji, veličini,obliku kuća. Tamo gde nije bilo dovoljno pogodnogdrveta, prevladavali su drugačiji načini gradnje.Neke promene predstavljaju rezultat lokalnih uticaja,druge spoljnih. Materijal i okruženje su stalni ili stalandscapedetermine function, form as well as constructioni . Function (subject to dwelling or outhouse) determineform, construction, technology and material. Dependenceand interaction among these parts of object ismutual/reversible. The dimensions are closely coherentand bound up with each other.Commonly/usually we educe some typical traits ofone element of building for particular region, period onone aspect. For example we evaluate houses comparingtheir plans functional types or building materials. Insuch way one can observe some differences, transformationand interaction of different traditions but it is prettydifficult to find their origins or to detect direction oftheir spreading. Thereby we can invoke other dimensionsthat help us to estimate/define general tendenciesof traditional architecture.Evaluating object by all the aspects we notice onelogical structure. Changes of one dimension/elementautomatically raise other changes. That is why diversityhas some regularity.Demand of new functional type of building togetherwith technical progress made a revolution in architectureduring the Iron Age in North East Europe - log/blockconstruction was spreading. To get answer why exactlythis region and this period were most beneficial for logconstruction we have to evaluate it on the next/subsequentaspects:material - there were plenty of softwood - properbuilding material for log houses,technology - iron axe gave the main impulse and rapidprogress in technology,form - there was a demand of small building for separatefamily,function - small log houses were most suitable forone family,environment - log construction accorded with climateconditions, was warm and resistant to weatherconditions.So the situation was beneficial for log houses on allthe aspects.Despite the same demand log houses were differentin our countries. Why? If we measure all the componentswe will notice some differences in material, environmentand function. Quality of pine-tree and spruce/firdiffer in every region (different growth, thickness, density).Maybe that is why ancient buildings were biggerin northern countries than in southern regions. The sizeof buildings was also under the influence of environment,first of all weather conditions: rainfall, cold/freeze,winds, landscape. Soil quality determined characterof farming, thus it meant different function, size, form ofhouses. In other regions lacking in softwood other constructionsprevailed.Some changes are local derivation/origin, others getimpact/influence from aside. Material and environmentare most fixed or stable thus regional development ofbuilding is always definite on these aspects. It is unreasonableto use flat roof or to build house without foundationin Lithuania, but that is quite rational in othercountries. There are houses in Gothland built in 17 th -18 th centuries straight on the ground without any foundation.There are houses with flat roofs across southerncountries.Changes in technology, construction, form, functioncan be inspired by local demand or mode/fashion fromaside. These changes were not always logical and coherentbeing influenced by stylistic architecture or fashion.They sometime became irrational trying to getneedful forms. Some elements in the stylistic wooden43

ilni elementi, a regionalni razvoj gradnje uvek se bazirana njima. U Litvaniji nije pametno praviti ravan krovili kuću bez temelja, ali u drugim zemljama to može dabude sasvim racionalni pristup. Na ostrvu Gotland postojekuće izgrađene u XVII i XVIII veku, koje uopšte nemajutemelje. Na jugu grade kuće sa ravnim krovovima.Na promene u tehnologiji, konstrukciji, obliku ilifunkciji mogu da utiču lokalne potrebe ili moda. Ovepromene, pod uticajem stilske arhitekture ili mode, nisuuvek i logične ili koherentne. Ponekad su i iracionalne upokušaju da zadovolje potrebnu formu.Neki elementi stilskih drvenih kuća predstavljajuostatke građevina u kamenu i nemaju vidljivu logiku. Toje slučaj sa baroknim vencem, okruglim prozorima, lučnoizvedenim gredama nad ragastovima i drugim dekorativnimdetaljima. I pored spoljašnjih uticaja, arhitektura(i stilska i domaća) dobija specifične odlike. Kućedobijaju lični pečat kroz lokalni materijal i okruženje.Paralelno sa razlikama, istu arhitekturu primećujemou različitim regionima i periodima. Ova pojava možeda bude nezavisna ili rezultat sličnih i istih okolnosti:isti materijal, stepen razvoja, klima i predeo.Svi ovi aspekti/elementi razvijaju se, menjaju se i ustalnoj su interakciji. Uzajamni uticaji kultura proizvodesasvim specifičnu arhitekturu u regionu. Ravnoteža isklad svih aspekata veoma su suptilni i individualni izbog toga dolazi do raznovrsnosti i suštinskih odlikatradicionalne arhitekture. Naš cilj je da pronađemo ovevrednosti u svakom od aspekata. Rezultat/efekat zavisiod integrisanih istraživanja, tj. saradnje u ovoj oblasti.SaradnjaOvde je reč o arhitektonskoj dimenziji. Ima i drugihaspekata koji takođe pomažu arhitektonska proučavanja:lingvistički, istorijski, arheološki, hemijski, fizički, idrugi.Lingvistički aspekt veoma često pomaže da se odredeslojevi, kulturne teritorije i međuslojevi, pri istraživanjunastanka jednog objekta.U litvanskom postoji šest različitih izraza za kuću/dom.Sa jezičkog aspekta oni su asinhroni. Neki su istrane reči. Iznenađuje to što kuće imaju i različitu konstrukcijui oblik. Istovremeno, ove strukture su veomaslične drugim objektima sa istim nazivom u susednimregionima. Poredeći arhitektonske i lingvističke podatkedolazimo do istog zaključka: arhaične konstrukcije ioblici se podudaraju sa arhaičnim lingvističkim terminima.Ako konsultujemo inostrane istoričare i arheologemožda možemo da dobijemo pravi odgovor koji objašnjavarazvoj kuća za stanovanje.Korisna je saradnja sa arheolozima, istoričarima,lingvistima, da bi se shvatio razvoj graditeljstva.Važnijeje razgovarati sa majstorima, koji imaju praktičnaznanja o materijalu, tehnologiji i konstrukciji, nego saarhitektom ili nekim drugim stručnjakom. Majstori voderačuna o materijalu, tehnologiji i konstrukciji, a arhitekteuglavnom o obliku, vlasnik o planiranju, tj. ofunkciji kuće, a obični posmatrač o okruženju. Prematome, da bi se ocenio kvalitet arhitektonskog objektapotrebno je sarađivati ili razgovarati sa različitim institucijama:muzejima, univerzitetima, istraživačkim laboratorijama,preduzimačima i drugima.U sovjetskom periodu nije se vodilo računa o svimelementima vrednosti i sada imamo loše rezultate uoblasti restauracije. Čuvan je samo oblik građevine, čimeje izgubljeno mnogo informacija. Korišćeni su novistandardni materijali (ploče, grede) koji nisu pratili autentičnemere. Nije se vodilo računa o starim tehnologijama,alatkama, ponekad čak ni o samoj kontrukciji. Takoje ostao samo oblik, ali ne i zaista vredan objekat.44houses were transferred from stone architecture andlost it logic. That is baroque cornice, circular/roundwindows, arched lintels and other decorative details.Despite the influence from aside architecture (includingboth - stylistic and vernacular) obtained peculiar traits.The houses were transformed in an individual way throughlocal material and environment.In parallel with differences we can notice the samearchitecture in different regions and periods. It couldappear independently being under the same circumstances:same material, level of development, climateand landscape.All these aspects/elements are in the progress, changesand interaction. An interaction between cultures designsnew architecture very specific for a region.The balanceand harmony between all the aspects are very subtle,individual and that is the reason for diversity andessence of traditional architecture. Our aim is to findout these values in all aspects. The result/effect dependson integrated investigations, it means – cooperation inthis field.CooperationHere are mentioned only architectural dimensions.There are other aspects in parallel supporting for architecturalstudies: linguistic, historical, archaeological,chemical, physical and other. Linguistic aspect very oftenhelps to separate layers, cultural territories and interfacesexploring genesis of the object.There are six different words for a living house inLithuania. From linguistic point of view they are asynchronous.Some of them are foreign words. Surprisingis that the houses have both different construction anddifferent forms. At the same time these structures arevery similar to others with the same term/name in adjacentregions. In comparison of architectural and linguisticfacts we get the same conclusion: archaic constructionsand forms correspond with archaic linguisticterms. So trying to invoke additional historians and archaeologistsfrom abroad we may get suitable rightanswer to our question about developing of living houses.It is worth to work together with archaeologists, historians,linguists to know evolution of building. It is necessaryto cooperate with artisans who know material,technology and construction from other point of view,more than with architect or somebody else. Craftsmentake care of material, technology and construction, architectsmostly care about form, owners about planningi.e. function of house, ordinary observers about the environment.Thus to estimate a quality of architectureone needs cooperation or dialogue between many differentinstitutions: museums, universities, research laboratories,entrepreneurs and other.In soviet period not all the aspects of value were takeninto account and we have bad results in restorationfield. Only form of building was regarded, thus much ofthe information was lost. New standard material wasused (boards, beams) that did not repeat authentic measurements.There was no attention paid to ancienttechnology, tools, sometimes even construction. Only theshape remained but not really valuable object.Cooperation with (the same or different) specialistsfrom other regions and countries is very important. It isan occasion to examine similarities and singularities ofour culture from all aspects. But to reach final agreementabout value dimension one needs cooperation bothon professional and regional level. These six dimensionsare possible and workable for protection of heritage asquite well, restoration and new building.

Posebno je značajna saradnja sa (istim ili različitim)stručnjacima iz drugih regiona i zemalja. To je i dobraprilika da se prouče sve sličnosti i posebne odlike našekulture. No, da bi se doneo konačni sud o vrednostima,neophodnaje saradnja i na profesionalnom i regionalnomplanu. Ovih šest aspekata postoji i može se primenitiu zaštiti baštine i to kako u restauraciji tako i unovoj gradnji.Restauracija i nova gradnjaČesto se vode rasprave o autentičnosti. Optužuju nasda uništavamo/narušavamo autentičnost ako prenesemoneku zgradu u muzej. Ipak, razmotrimo ovaj problem sasvih strana uključujući i sve okolnosti. Najbolji način jeočuvanje svih elemenata autentičnosti što znači sačuvatiobjekat “in situ”. Često. međutim, to nije moguće jerobjekat niko ne koristi. Tada postoje dve mogućnosti:- ostavljajući objekat “in situ” čuvamo samo autentičnookruženje,- prenoseći objekat u muzej gubimo okruženje, alispasavamo materijal, tehnologiju, kontrukciju iformu (a to je, ipak, veća vrednost).Razgovarali smo o restauraciji jedne vršalice (Švedska)i postavilo se pitanje autentičnosti. Restauratori suzamenili ostatke mlatila. Pitanje je da li ovaj predmetmožemo da smatramo originalnim. Pokušajmo da procenimosituaciju.Vršalica je izgubila funkciju i pre restauracije,jer je mlatilo propalo. Ona je izgubila svojuprvobitnu funkciju zajedno sa mlatilom – koje je njenabitna komponenta. Samo mlatilo sadrži ostatke autentičnogmaterijala, tehnologije, konstrukcije, oblika i okruženja.Posle restauracije, mlatilo je doduše izgubilo odautentičnog materijala, ali je obnovljena funkcija celogpredmeta (vršalice). Šta je bolje: funkcija ili materijal?Naravno da je bila dobra odluka da se jedna vrednostzameni drugom i da se obnovi ista (ili čak i kvalitetnija)autentična funkcija.Koncept kulturne održivosti zasniva se na ideji kulturnogidentiteta i kontinuiteta. Prema tome, nova gradnjaprati iste konzistentne tipove promena ili vrednosnihdimenzija. Evo i tri primera novoizgrađenih gostionicau Litvaniji.Sve ove savremene/moderne zgrade imaju istu namenu,koriste isti građevinski materijal (drvo), ali seRestoran/gostionica pored puta Viljnus-PrienaiTavern/restaurant near the road Vilnius – PrienaiRestoran/gostionica pored autoputa Kaunas-ViljnusTavern/restaurant near the highway Kaunas - VilniusRestoration and new buildingVery often we argue about authenticity. We are accusedof demolishing/destroying authenticity if we move/transfersome house to the museum. Let us look onthis problem from all aspects and take into account allcircumstances. The best is to preserve all the features ofauthenticity - it means to preserve an object “in situ”.But very often there is no chance to save it because nobodyuses it. In that case, there are two possibilities:Restoran u KaunasuRestaurant in Kaunas city- leaving “in situ”we can save/preserve only authenticenvironment,- transferring it to the museum we lose environmentbut save material, technology, construction andform (and that is a bigger value on the total amount).In the discourse we talked about restoration of threshingbarn (Sweden) and that raised some doubts aboutauthenticity. The restorers have changed remains ofthreshing wheel to a new one. The problem is if we canevaluate this object as original. Let us try to estimatethis situation. Threshing barn has lost this functionthrough decayed wheel before the restoration. Togetherwith wheel - one rooted component - the threshing barnalso lost function. The wheel itself had remains of authenticmaterial, technology, construction, form and environment.After the restoration the wheel lost authenticmaterial 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 foranother and to regain equally (or even more) authenticfunction.The concept of cultural sustainability is based onthe idea of cultural identity and continuity. So new buildingsfollow the same consistent pattern of changes orvalue dimension. Here are three examples of newpub/inn buildings in Lithuania.All these contemporary/modern houses have the samefunction, also the same building material (wood), butdiffer in technology, construction, form and environment.Restaurant in Kaunas (Fig. 2) is inorganic/strangefor traditional architecture (it copies Russian architecturein form, construction, technology) in all the aspectsand can not be estimated as good example. Other two(Fig. 3, Fig. 4) are built in traditional environment (nearthe road). Form or facade of tavern/restaurant near thehighway (Fig. 3) is transferred from estate house of 18 thcentury. That contradicts the environment because estateliving houses always were built in natural ambience,remoted from the roads. Old building material used45

azlikuju po tehnologiji, konstrukciji, obliku i okruženju.Restoran u Kaunasu (slika 2) ne uklapa se ni na kojinačin u tradicionalnu arhitekturu (on predstavlja kopijuruske arhitekture po formi, konstrukciji, tehnologiji),pa se ne može smatrati dobrim primerom. Druge dvezgrade (slike 3 i 4) podignute su u tradicionalnom okruženju(blizu puta). Forma ili fasada gostionice/restoranau blizini autoputa (sl. 3) preuzeta je od vlastelinskihkuća iz XVIII veka. Tu je došlo je do nesklada saokruženjem, jer su vlastelinske kuće uvek građene u prirodnomambijentu, daleko od puteva. Stari građevinskimaterijal korišćen za ovu gostionicu/restoran (preuzetod starih pomoćnih zgrada) smanjuje nesklad (izmeđuistorijske forme i okruženja) i čini ceo objekat prihvatljivim.Poslednji primer (slika 4) ne predstavlja ni kopijuni repliku. Tehnologija, konstrukcija i forma nastavljajulokalnu tradiciju gradnje, pa se gostionica možesmatrati dobrim primerom novogradnje.ZaključakDvadeset prvi vek zahteva da se kulturni identitet iraznovrsnost očuvaju, a u arhitekturi oni se baziraju nakontinuitetu jedinstvenog karaktera gradnje. Arhitektonskonasleđe treba shvatiti kao potencijal za trenutnii mogući dalji razvoj. Očuvanje ovih kulturnih resursazahteva saradnju da bi se ostvarila interdisplinarnost uistraživanjima i praktičnim iskustvima. Samo saradnjomi razmenom ideja i iskustava možemo da razumemojedinstvenost/distinkciju i da raznovrsnošću obogatimoevropsku kulturu.Ala Staškevič, Šef Laboratorije za muzeologiju imuzejsku delatnost, Beloruski državni institut zakulturna pitanjaStaklene posude beloruskihzamkova krajem XV i u prvojpolovini XVII vekaArheološki predmeti su danas, možda, jedinstven izvorza istraživanje materijalne kulture beloruskihzamkova ranog i kasnog srednjeg veka.Većina poznatihvlastelinskih domova je napuštena i uništena tokombrojnih ratova i građanskih sukoba, koji predstavljajuizrazito obeležje celokupne beloruske istorije. Velikideo, nekada bogatih i zadivljujućih zbirki beloruskearistokratije, preneli su u inostranstvo njihovi vlasniciodmah nakon Ruske oktobarske revolucije (1917.), iz istočnihbeloruskih oblasti, a nakon 1939. 1 i iz zapadnih.Kao rezultat toga, zbirke poljskih i ruskih muzeja suobogaćene velikim kulturnim vrednostima. Tokom Drugogsvetskog rata takođe je veliki broj vrednih predmetaiznet iz Belorusije.Sve ono što danas čuvamo u beloruskim muzejima iprivatnim zbirkama predstavlja samo mali deo beloruskogkulturnog blaga.Zahvaljujući obimnim arheološkim iskopavanjima,1980.-1990. godine, koja su na području starih gradovai zamkova sprovodili beloruski arheolozi O. Trusov, M.Tkačev, I. Černiavski,V. Sobol i drugi, bilo je moguće rekonstruisatipredstavu o domaćoj kulturi plemstva igradskog stanovništva krajem XV i u prvoj poloviniXVII veka.Kakav je bio položaj staklara u materijalnoj kulturi1 Nakon Pakta u Rigi 1921, sklopljenog izme?u Poljske i Rusije,zapadne beloruske oblasti došle su pod poljsku jurisdikciju. Godine1939, 17. septembra, teritorija Belorusije je vra?ena u svoje etni?kegranice.46in this tavern/restaurant (taken from the old outhouses)counterweigh/offset the imbalance (historical form withenvironment) and make it well acceptable. The lastexample (Fig. 4) does not copy/replicate anything. Technology,construction and form continue/keep up localbuilding tradition so tavern, as example of new buildingcould be estimated pretty good.ConslusionsThe 21 st century requires to conserve cultural identityand diversity, which are in architecture based on continuityof a unique character of building. Architecturalheritage should be understood as resources for presentand prospective/further development. The preservationof those cultural resources require/claim to cooperateour endeavour/striving for an interdisciplinary overviewof the actual research and practical experiences. Onlycooperating our knowledge and sharing the ideas andexperience we can perceive our oneness/distinction andto enrich European culture by its diversity.Alla Stashkevich, Head of Laboratory of Museologyand Museum Activity, Belarusian State Instituteof Culture ProblemsGlassware of the BelarusianCastles at the end of 15 th - thefirst half of the 17 th centuriesArcheological materials today are, perhaps, a uniquesource in the research of the material culture of theBelarusian castles of the early and late Middle Ages.Themajority of the known feudal manors was deserted andruined during numerous wars and civil fights which weredistinctive feature of the Belarusian history at all times.The huge part of the former rich and magnificentcollections of the Belarusian aristocracy was takenabroad by the owners of manors right after the RussianOctober revolution (1917) from the east Belarusian territories,and after 1939 1 – from the western ones. As result,many cultural values have enriched collections ofthe Polish and Russian museums. During the SecondWorld War a plenty of values also has been taken out ofthe borders of Belarus.Everything, that we have today in the Belarusianmuseums and private collections is only a small part ofthe Belarusian national heritage.Due to intensive archeological excavations in the1980-1990 in the territory of ancient cities and castlesby the expeditions of the Belarusian archeologistsO.Trusov, M.Tkachev, I.Chernyavsky,V.Sobol, etc., it waspossible to restore a picture of household culture of noblesand townspeople by the end of 15-th and first halfof the 17-th centuries.What was the position of glassmakers in the materialculture of this period? What was the level of popularityof imported glass products and what about the localones? What was the artistic and technological levelof the local glass-making during this period? We shalltry to answer these questions, using the archeologicaldata and some analogies from the published Russianand Polish sources.The mentioned period in the scientific literature is1 After the Riga Pact in 1921 between Poland and Russia thewestern Belarusian lands have departed to Poland. In September,17, 1939 the territory of Belarus has been restored in its ethnic borders.

tog perioda? Koliko su bili traženi uvozni stakleni predmeti,a koliko lokalni? Kakav je bio umetnički i tehnološkinivo lokalnog staklarstva u tom periodu? Pokušaćemoda odgovorimo na ova pitanja koristeći arheološkepodatke, kao i neke analogije iz objavljenih ruskih ipoljskih radova.Pomenuti period je u naučnoj literaturi opisan kaoepoha «beloruske renesanse». Tom periodu je svojstvenveliki procvat duhovne i materijalne kulture nacije, kaoi formiranje etničke svesti i kulturne tradicije, koje su serazvijale pod uticajem zajedničkih evropskih umetničkihtendencija, ali zasnovane na čvrstoj tradiciji stareslovenske i vizantijske kulture, a u vezi sa etničkim (folklornim)izvorima.U istoriji beloruskog staklarstva, «renesansu» trebashvatiti ne samo kao sistem određenih estetskih idealaili umetnički pokret, već i u literarnomsmislu, jer taj period može da se povežesa istinskom obnovom zaboravljenestaklarske tradicije, koja potiče iz vremenaPolockog kraljevstva 2 . U suštini,ta obnova se pretvorila u ponovno rađanjebeloruskog staklarstva, jer je vezaizmeđu staklarstva XI -XII veka i staklarskeproizvodnje u XVI-XVII vekuvidljiva, možda, samo u izvesnom stilskomjedinstvu i morfologiji. Tehnološkiproces se potpuno promenio.Početak tehnologije duvanja stakla uBelorusiji obeležava XVI vek. U tom periodu,staklarska proizvodnja još uveknije raznovrsna, ali se u morfološkomsmislu vidi jak uticaj zapadnoevropskogstakla.Materijal sa arheoloških iskopavanjabeloruskih zamkova odražava pravusliku srednjovekovnog beloruskog staklarstva.Oko 50% pronađenog stakla iztog perioda pripada importima. U XV-XVI veku, udeo importovanog stakla ufeudalnim domovima prevazilazi količinulokalnog stakla (oko 2:1), ali se situacijamenja početkom XVII veka (9).Izvori stvaranja zbirki stakla u beloruskimzamkovima bili su različiti. Biloje mnogo venecijanskog posuđa, posebnou arheološkim slojevima iz XV i sapočetka XVI veka. Nalazi nemačkog,koji uključuju i češko staklo, datiraju iznešto kasnijeg perioda. Neki fragmentistakla, pronađeni prilikom iskopavanja,su rekonstruisani, što je omogućilo definisanjeumetničkih karakteristika posudai stvorilo uslove za njihovo atribuisanje.Najznačajnija zbirka stakla je zbirka iz zamka Krevo3 , iz XV-XVII veka. U njoj se nalazi grupa staklenihposuda duvana u različitim stilskim tradicijama. Posebnoje zanimljivo staklo sa kraja XV i početka XVI veka(4, 9). Među drugim posudama ovog perioda, postoji imali stakleni sud (lokalni naziv je «sklianica 4 » - visinamu je 23 cm, a dijametar 9,5 cm), duvan iz tankog prozirnogstakla plavkaste boje (slika 1).2 Stara beloruska država.3 Zamak Krevo je jedan od srednjovekovnih zamkova na teritorijiBelorusije. Godine 1385. sklopljena je tzv. Krevska unija, izmeđuPoljskog Kraljevstva i Velike Litvanske Kneževine.4 U vreme stvaranja beloruskog staklarstva, većina staklenihposuda je nosila naziv “sklianica”. Sa razvojem staklarstva i širenjemstaklarskog asortimana, pojavili su se i drugi nazivi, a termin“sklianica”je zadržan samo za neke tipove staklenih posuda, nastaleu nemačkoj tradiciji.1“Sklianica” iz arheološke zbirkeKrevo, XV-prva polovina XVI veka"Sklyanitsa" from the Krevo arcaeologicalcollection, 15-first part 16 C.depicted as an epoch of the “Belarusian” Renaissance.The expressive blossoming of the spiritual and materialabbilities of the nation, formation of the ethnic consciousnessand cultural tradition, which have been developingunder the influence of the common European arttendencies, but based on steady traditions of the oldSlavic and Byzantine culture, in connection with national(folklore) sources were inherent to this period.In the history of the Belarusian glass-making theRenaissance should be understood not only as a systemof the certain aesthetic ideals or an art style, but alsoliterally, because this period can be connected with thereal revival of the lost glass-making traditions which isrooted in the times of the Polotsk Kingdom 2 . In essence,this revival became the second birth of the glass-makingin the Belarusian lands because the connection betweenglass-making of the 11-12th centuriesand glass production in the 16-17thcenturies is shown, perhaps, only in somestylistic unity and morphology.Technological process was completelychanged.The 16th century marks the beginningof the Belarusian glassblowing. Atthat period the assortment of glasswareis not yet rich, but in its morphologythere is the strong influence of theWest-European glass.Materials of the archeological excavationsof the Belarusian castles reflectexact picture of the Belarusianmedieval glasswork. At that periodabout 50 % of the revealed glass comesfrom the import. In the 15-16th centuriesthe share of the imported glass infeudal manors exceeded quantity of localglassware (approximately 2:1), butin the beginning of the 17th centurythe situation changed (9).The sources of the formation of theglass collections in the Belarusiancastles were different. There were a lotof Venetian vessels, especially in the archaeologicallayers of the 15 th and thebeginning of the 16 th centuries. Thefinds of the German (including Bohemian)glass date from later times. Somefragments of the glass found duringthe excavation were reconstructed,which allowed us to define art featuresof vessels and was the precondition fortheir attribution.The most significant collection isthe glass collection of the 15-17th centuries from Krevocastle 3 . It includes a set of glassware blown in differentstylistic traditions. Especially interesting is theglass from the end of the 15th and the beginning of the16th centuries (4; 9). Among other vessels of this periodthere is the small glass ( the local name is “sklyanitsa” 4- height is 23cm, diameter 9,5cm), blown from thintransparent glass of bluish color (picture 1).The bowl of the “sklyanitsa” has form of a bell. It2 Polotsk Kingdom is the ancient Belarusian state.3 Krevo castle – is one of the medieval castles in the territory ofBelarus. In 1385 the Krevo Union between Polish Kingdom and TheGreat Lithuanian Principality was signed.4 During the formation of the Belarusian glass-making themajority of glass vessels was named “sklyanitsa “. With the developmentof glass-making and expansions of assortment of glasswareother names for the products from glass have appeared, and theterm “ sklyanitsa” was used only for the certain type of glass vesselsmade in German tradition47

5 Zamak Mir je najpoznatiji me?u srednjovekovnim beloruskimzamkovima, a pripada bogatoj porodici Radzivila. Nalazi se naUNESCO-voj Listi svetske kulturne baštine.6 Zamak Galšsni se nalazi u severozapadnom delu Belorusije,poti?e iz XVI-XVIII veka, a pripada bogatoj beloruskoj porodici Sapega.48«Sklianica» ima zvonast oblik. Sužena je pri dnu, otvorenana vrhu i harmonično uravnotežena niskom otvorenombazom. Proporcije «sklianice» su uvećane, avertikalnost dominira njenim oblikom. Prozirna staklenaispupčenja raspoređena su u pravilnim intervalimapo celoj površini, stvarajući podlogu za jednostavno izvedene,vertikalne i horizontalne reljefne trake, koje sesastoje od peskiranih spiralnih niti, kreiranih u tehnicivenecijanskog filigrana.Dekorativnost upotpunjuje postolje u obliku cveta,čiji je talasasti obod sačinjen takođe od filigranskih niti.«Sklianica» je datovana u kraj XV i početak XVIveka. Izuzetan kvalitet stakla, njegove tehnološke osobine,kao koloristička skala, svedoče da je ovaj sud nastaou venecijanskim radionicama. Oblik suda takođe odgovaranavedenom vremenu i mestu izrade.Još jedan sud iz zbirke Krevo, tanjir od zagasitomlečnog stakla, potiče iz istog vremena kao i «sklianica».Dekorisan je emajlom na hladno i pozlaćen. Ogledalona tanjiru je bilo obojeno u crveno, u centru je čašicaod osam latica, koja podseća na stilizovani cvet. Laticesu crvene i žute boje, a oivičene su crnim emajlom ipozlatom. Sa strane su naslikane glavice žutih lala igrančice sa svetlocrvenim bobicama. Na rubu je uskazlatna traka. Iz objavljenih radova, zna se da su sličnitanjiri nastajali u Veneciji u drugoj polovini XVI veka(1).Još jedna «sklianica» iz arheološke zbirke Krevo imaizvestan značaj, s obzirom na morfologiju. Ona ima cilindričnioblik suda, postavljen na bazu od okruglastihreljefnih nabora. Proizvedena je od zagasitoplavkastogstakla, dok je baza ljubičaste boje. Zidovi i baza posudesu oslikani žutim i ljubičastim emaljom. Oblik «sklianice»podseća na nemačke posude XV-XVI veka, poznatepod nazivom «hampen». Međutim, boja ovog suda (zagasitoplavai ljubičasta) karakteristična je za venecijanskostaklo kasne renesanse.Stoga možemo da razmatramo mogućnost da se radio sudu koji je takođe nastao u Veneciji. Na primer, u Ermitažu(Petrograd, Rusija), postoje neki sudovi iz zbirkeA. Bazilevskog, koji su definisani kao venecijanski, alisu nastali po nemačkim primerima. Autori kataloga ovezbirke slažu se da su «napredni ekonomski odnosi izmeđuMletačke Republike i Nemačke uticali i na razvojkulturnih i umetničkih kontakata između te dve zemljei pospešili upotrebu nekih nemačkih formi u Veneciji»(5). Na žalost, nemoguće je ustanoviti karakter slikanogukrasa na zidovima «sklianice» na osnovu sačuvanogfragmenta. To bi, svakako, dovelo do bližeg određenja.Tanke, fragilne čaše za liker od venecijanskog kristala,čiji fragmenti predstavljaju prilično značajan udeou arheološkoj zbirci Krevo (oko 20% celokupnog importovanogstakla), nastale su u venecijanskom stilu. Ostataksličnog stakla iz ove zbirke, pripada istom tipu kaoi arheološki materijal iz zamkova Mir 5 i Galšsni 6 (8, 9).U arheološkim slojevima sa kraja XVI i početkaXVII veka na teritorijama zamka Krevo i drugih zamkova,nađeni su i fragmenti nemačkog i poljskog stakla.Radi se o komadima prozirnog zelenkastog stakla sabodljikavom dekoracijom, zatim fragmentima oslikanogstakla, fragmentima stopa i vinskih čaša, čije analogijesrećemo u naučnim radovima nekih poljskih autora (11).Međutim, prilično je teško odrediti udeo poljskih i nemačkihimporta u tom periodu, jer se u to vreme beloisnarrowed at the bottom and opened at its mouth, harmoniouslycounterbalanced by the low opened pallet.Proportions of the “sklyanitsa” extended, the line of avertical dominates in its architecture. Transparent weightsof glass are distributed in regular intervals on allvolume, creating a background for boldly made verticaland horizontal modelled strips, consisting of the spiralmatte strings, made in the technique of the Venetian filigree.Decorative image supports sticks as a rose and wavybelt from the same filigree strings in the bottom ofthe bowl. The “sklyanitsa” is dated by the end of the15the - beginning of the 16th centuries. High quality ofglass, its technological advantages, color scale testify2Pehar čaše, evolucioni razvojDoublet glasses, the form evolutionthat given vessel was created in Venetian workshops.The form of the vessel also corresponds to the fixed timeand place of manufacture .Another vessel from the Krevo collection, the platefrom muffled dairy color glass, dates the same time as“sklyanitsa”. It was decorated by enamel painting, madein the cold way, and gilding. The mirror of the platewas painted in red color, in the center there is the eightpetalssocket, reminding stylistically of a flower. The colorof petals is red and yellow, contours were outlined byblack enamel and gilding. The side is painted by buds ofyellow tulips and branches with bright red berries. Onthe edge of the side there is a small gilding strip. As itis known from the published sources, similar plates wereproduced in Venice in the second half of the 16 th century(1).Of certain interest from the point of view of morphologyhas another “sklyanitsa” from the Krevo archaeologicalcollection. It has the cylindrical form ofthe bowl established on the pallet from round modeledplait. It was blown from muffled bluish glass. Color ofthe pallet is violet. The pallet and walls of the vessel arepainted by yellow and violet enamel. The form “sklyanitsa”reminds of the German vessels of the 15-16 thcenturies known as “Humpen”However, the color of thevessel ( muffled blue and violet) is the distinctive featureof the Venetian glass of the late Renaissance.Thus, we can consider, that the given vessel was alsomade in Venice. For example, in the Hermitage (Russia,St. Petersburg), there are some vessels from A.Bazilevskij’scollection, defined as Venetian, but made afterthe German samples. The authors of the catalogue ofthis collection agree that “ the advanced economic relationsbetween the Venetian Republic and Germany promotedthe development of the cultural and art contactsbetween these two countries and use of some Germanforms ” (5). Unfortunately, it is impossible to reveal the

usko staklarstvo aktivno razvijalo. Beloruska proizvodnjastakla bila je pod snažnim uticajem poljske i nemačketradicije tog perioda i često se služila njihovimoblicima u kreiranju domaćih modela. To deluje potpunoprirodno za jednu zanatsku delatnost koja je tek počinjalada se razvija i još uvek nije posedovala sopstvenotehnološko i umetničko iskustvo.Prisustvo stakla iz poznatih evropskih staklarskihradionica u ovim zamkovima, govori nam ne samo oprosperitetu i materijalnim mogućnostima svojih vlasnika,nego i o njihovom kulturnom nivou i umetničkomukusu. Međutim, importovani sudovi nikada nisu korišćeniu svakodnevnom životu. Bili su veoma skupi, delikatni,lomljivi i smatrani su luksuznom robom.Većina beloruskih plemića se iz tog razloga višeopredeljivala za zlato, srebro, kalaj (u zavisnosti od materijalnesituacije), a upotrebljavali su i staklo iz domaćihradionica. Od kraja XVI veka, uloga domaćeg posuđaznačajno raste u porodičnoj svakodnevici. Tokom togperioda, u beloruskom staklarstvu jasno se razlikujudve oprečne tendencije. S jedne strane, očigledna je težnjalokalnih zanatlija da se približe priznatoj zapadnoevropskojtradiciji, ali s druge strane – prisutna je i željada stvore sopstvenu umetnost, kao što već postoji iindustrijska tradicija.Prvi pravac otelotvoruju sledeći aspekti: kopiranjeizvesnih tehnoloških recepata, održavanje evropskih kanonau morfološkom i stilističkom smislu, bar kad se radio kopiranju poznatih primeraka.Od lokalnih proizvoda sa kraja XVI veka, postoje cilindrične«sklianice» od tankog stakla, sa bazom ili beznje, nastale pod uticajem nemačkog posuđa, kao što su«keulenglass», zatim dvostruke čaše i čaše za liker, čijasu tela istog oblika kao i njihove baze, a spojene su uzpomoć dve ili tri «jabučice» (Slika 2).Slične posude su nalažene na celoj teritoriji Belorusije.Važnoje napomenuti da su dvostruki sudovi izuzetnorašireni u beloruskoj umetnosti i zanatstvu. Prisutnisu u keramici, kod metalnih tanjira, stakla u različitiminterpretacijama, a to možda nije posledica samo tehnološketradicije, nego i određenog beloruskog mitološkogshvatanja sveta (tzv. «dvojni mit»).«Sklianica», kao jedan od najraširenijih tipova lokalnogstaklenog posuđa XVI i prve polovine XVII veka,javlja se u dva oblika: 1.) cilindrična, na visokoj cilindričnojbazi (dijametra od 5,5 cmdo 9 cm), od prozirnog, bezbojnogdo zelenkastog stakla i 2.)cilindrična, na bazi od talasastepletenice (dijametra 6-9 cm).Ovi tipovi «sklianice» su najbrojnijiu arheološkoj zbirciMir (7; slika 3).Oblik «sklianice», iako pozajmljen,bio je veoma popularanmeđu lokalnim stanovništvomi preživeo je sve do XVIIIveka. Do tog vremena promenilase samo veličina posuda,kao rezultat prelaska sa posuđaza masovnu upotrebu na sudoveza induvidualnu upotrebu.«Sklianica» se lako prilagodilauslovima lokalnog života.To je bilo moguće zato što jepostojalo saglasje sa tradicionalnimoblicima metalnog ikeramičkog posuđa. Osim toga,takav oblik bio je uslovljeni najraširenijim vrstama3Fragmenti “sklianice”,prva polovina XVII vekaFragments of "sclyanitsa",first part of 17th centurycharacter of painting on the walls of the “sklyanitsa”bythe found fragment. That would, certainly, lead to moreexact definition.Thin fragile liqueur glasses from Venetian “cristallo”,the fragments of which make a rather significantgroup in the Krevo archeological collection (about 20 %from all import glass), were executed in the Venetianstyle. The rest of similar vessels are also found amongarcheological materials of castles in Mir 5 andGalshsny 6 (8; 9).In the archeological layers of the end of the 16 th -thebeginning of the 17 th centuries in Krevo and in the territoryof other castles, fragments of German and Polishvessels are found. They are represented by slices oftransparent greenish glass with spinous modeled decor,painted fragments of glass, fragments of legs of glassesand wine-glasses, analogies of which we can meet inscience works of some Polish researchers (11). However,it is rather hard to define the percent of the Polish andGerman import at that period, because at that time theBelarusian glasswork developed actively. The Belarusianglass manufacture was under strong influence ofthe Polish and German traditions of the time and oftenused their forms for the modeling of their own vessels.That seems quite natural for craft which was just startingto develop and still did not have its own technologicaland artistic experience.The presence of the glassware from the known Europeanglass workshops in these castles, as a rule, tell usnot only about the prosperity and financial capability oftheir owners, but also about their cultural level and artistctaste. However, the imported vessels were neverused in everyday life. They were very expensive, delicate,fragile and were considered luxury goods. The majorityof the Belarusian noblemen for this reason preferredgold, silver, tin (depending on their material prosperity)objects, and also used glassware of local manufacture.From the end of the 16 th century the role of localvessels considerably grows in family life. During thisperiod in the development of the Belarusian glassworkthere were expressively shown two opposite tendencies.On one hand, the aspiration of local handicraftsmen tojoin the recognized West-European experience was obvious,but on the other – their desire to create their ownart - industrial tradition was also present.The first direction finds the embodiment in the followingaspects: copying of the certain technological recipes,the maintenance of the European canons in morphologyand stylistics of glass, at last, in usual copyingof well-known samples.Among the local products of the end of the 16 th century,there are thin-walled cylindrical “sklyanitsas” onpallets or without them, made under the influence ofGerman vessels such as “keulenglass”, and also doubletglasses and liqueur glasses, whose bowls were equivalentto their pallets and incorporated with the help oftwo or three flattened “apples” (Figure 2). Similar vesselsare found throughout the territory of modern Belarus.It is necessary to notice, that the idea of doubletvessels is extremely distributed in the Belarusian artsand crafts. It is present in ceramics, metallic plate, glassin different interpretation and it is caused, probably, notonly by technological tradition, but also by some mythologicalconcept of Belarusian people about the world5 Mir castle – is the most famous between the medieval castlesin Belarus, the property of the magnate family Radzivils, the monumentincluded in the World List of Cultural Heritage of UNESCO.6 Galshsny castle is the castle of 16-18th centuries in the northwesternpart of Belarus, the property of the Belarusian magnatefamily Sapega.49

pića među lokalnim stanovništvom – pivom i medovinom.Kada je započeta lokalna proizvodnja stakla u XVIveku, još uvek je bilo teško govoriti o bilo kakvom umetničkomstilu u osobinama staklenog posuđa. Moguće je,međutim, pouzdano govoriti o renesansnim tradicijamau beloruskom staklarstvu tog perioda, paralelno tragajućiza organskom vezom između lokalnog staklenog posuđai nacionalne tradicije. Racionalizam, simetrija pojedinačnihdetalja oblika, rafiniranost linija, plitak dekor –tipično renesansne osobine, ali zna se da one karakterišui belorusku umetnost, kao poseban fenomen.Epoha renesanse uvela je modu stakla slikanogemajlom. Beloruski staklari veoma brzo su prihvatiliovakvu dekoraciju i postigli značajne rezultate. Mnogizapisi u dokumentima XVI-XVII veka i arheološki podacisvedoče o tome. Primerci posuda oslikanih vegetabilnimi geometrijskim ornamentima prisutni su u arheološkimzbirkama Mira i Golšanija (7, 8).U prvoj polovini XVII veka u beloruskom staklu suvidljive neke stilske karakteristike baroka. Kao najdemokratičnijistil po svojoj prirodi, on je vrlo brzo prihvaćenu umetnosti koja je već bila jako bliska narodnojtradiciji. Preciznije rečeno – desila se originalna «folklorizacija»baroknog stila. Asortiman staklenog posuđa seveoma proširio, a u morfološkom smislu, pojavili su sepravi narodni figuralni i simbolistički motivi, koji su uspešnoinkorporirani u barokni simbolizam (slika 4).Osim tradicionalne «sklianice», u tom periodu se pojavilomnogo novih naziva za stakleno posuđe: «sklinka»(manja «sklianica»), «kelič» (čaša), «kilišak» (vinska čaša),«kvart» (tetraedralna boca), «kufal» (šolja) i dr.Barok je u značajnoj meri obogatio dekorativni sistembeloruskog stakla. Poseban akcenat je stavljen naplastičnu dekoraciju – modelovane baze, modelovane dekorativnetrake i pletenice na zidovima sudova, medaljonii pečati. Razvilo se i slikanje emajlom, posebno cenjenozbog mogućnosti izvođenja figuralnih predstava iraznovrsnih kompozicionih mogućnosti. Prave linije uornamentici postepeno su zamenjene talasastim obodima,a ispupčena dekoracija (slika 4) dobija na značaju.Renesansa je dala izvesne impulse širenju staklarstvau beloruskim zemljama. Kada je počela epoha baroka,stvorili su se uslovi za formiranje beloruske proizvodnjei umetničke škole. Ovi procesi se vezuju za XVIIi XVIII vek. Taj period je karakterisalo stvaranje staklarskihcentara, posebno na istoku Belorusije, zatim istraživanjau oblasti morfologije, tehnološka otkrića,stvaranje originalnog estetskog pristupa, kao i lokalnaumetnička škola.Stakleni predmeti i prozorska okna postali su uobičajenapojava u beloruskim gradovima u XVII veku, astakleno posuđe nisu koristili samo vlasnici feudalnihzamkova, već i niže plemstvo i gradsko stanovništvo.Na feudalnim posedima tog perioda, stakleno posuđedomaće proizvodnje postaje uobičajeno i predstavljajedan od atributa svakodnevne kulture.Jednostavnost i tradicionalni karakter oblika, dijalektičkojedinstvo korisnog i lepog, izražajnost i istovremenouzdržanost i skromnost dekoracije – sve ove osobinevezuju belorusko kasnosrednjovekovno staklo sanarodnom umetnošću. To je prirodan fenomen, s obziromda je do XVIII veka većina staklarskih radionica nabeloruskim teritorijama bila okrenuta lokalnim kupcimai zavisila od njihovog ukusa. Međutim, sklonost katradicionalnog kulturi pružila je beloruskim staklarskimproizvodima XVI i XVII veka stilističku i morfološkuoriginalnost, koja se naknadno jasno očituje u karakterustaklenog posuđa čuvenih manufaktura porodiceRadzivil, u XVIII i XIX veku.50(so-called “twin myth”).“Sklyanitsa”, as one of the most widespread type oflocal glassware of the 16th-first half of the 17th centuries,had two forms: 1. cylindrical on the high cylindricalpallets (diameters from 5.5cm up to 9cm), blownfrom transparent colorless and greenish glass, and 2. cylindricalon the pallets formed from wavy plait (diametersof 6-9 cm). These types of “sklyanitsa” prevailed inMir archeological collection (7) (Figure. 3).The form of “sklyanitsa”, though borrowed, was verypopular among local population and existed till the18 th century. By this time only the size of utensils changedas the result of transition from vessels of massiveuse to vessels for individual use. “Sklyanitsa” easilyadapted to the conditions of local life. It was possiblebecause it did not contradict the traditional morphologicaldesigns in metal and ceramics. Besides, such formwas caused also by character of the drinks most widespreadamong local people – beer and mead.In the 16 th century when the local glass manufacturestarted, it was still difficult to speak about the existenceof any art style in the characteristic of glassware.It is possible to speak with confidence about the Renaissancetraditions in the Belarusian glass of this period,simultaneously finding the organic connection betweenlocal glassware and national tradition. Rationalism,symmetry of separate formal details, delicate refinementof lines, low-key decor – typically Renaissance features,but it is known that these features characterizethe Belarusian art as a phenomenon.The epoch of the Renaissance has brought the fashionof painted enamel glass. The Belarusian craftsmenvery soon accepted such decoration and reached significantresults in it. Many records in the documents of 16-17 th centuries and the archaeological data confirms this.The examples of painted vessels by vegetative and geometricalornaments are found in the archeological collectionsof glass in Mir and Golshany (7; 8).In the first half of the 17 th century in the Belarusianglass there are some stylistic features of the baroque. Asthe most democratic style in its nature, it was ratherquickly embodied in art which had already been veryclosely connected with folk tradition. More precisely - itbecame original “folklorization” of the baroque style.The assortment of glassware has considerably extended,and in morphology of vessels there were truly nationalfigurativeness and symbolism which were successfullyincorporated in the typical baroque symbolism (picture4).Except for traditional “sklyanitsa” there were manynew names for the designation of glassware: “sklynka”(small “sklyanitsa”), “kelich” (glass), “kilishak” (wine-glass),“quart”(tetrahedralbottle),“kufal”(mug), etc.at that period.Baroque has considerably enriched the decorativesystem of the Belarusian glass. Special value got theplastic decoration: modeled pallets, modeled decorativestrips and plaits on the walls of vessels, medallions andstamps. The enamel painting on glass developed. At thattime it was adored for its figurativeness and diversity ofcomposite possibilities. The straight lines in the ornamentof vessels are gradually replaced by wavy rims, thegreat value is given to the extruded decoration (Figure4).The Renaissance gave certain impulse to the distributionof glass-making in the Belarusian lands. Whenthe baroque epoch started there were conditions for theformation of the Belarusian manufacture and artschool. These processes chronologically refer to 17-18 thcenturies. That period was characterized by the crea-

4Oblici staklenog posuđaForms of glasswareMuzeji umetnosti su u svakom istorijskomperiodu razmišljali o svojim zbirkamai doživljaju koji nude o njima analogno načinu nakoji su se objekti opažali u svetu oko njih a, kao što jekraljica Viktorija primetila, posebno kada su objekti izloženiu urbanom svetu trgovine. Tako da:1. U trgovačkim gradovima XVIII veka, muzeji surazmišljali o svojim zbirkama primeraka i umetničkihdela na isti način kao o robi ili proizvodima, kojima setrgovalo širom sveta, ili o sirovim materijalima, kao štosu riba i začini (primerci), koje su brodovi prevozili dotržišta zajedno sa robom ili proizvodima koje su pravilezanatlije; razvoj velikih univerzalnih muzeja (kao što jeBritanski muzej) i sveobuhvatnih zbirki istorije umettionof new glass-making centers, especially in the Eastof Belarus, searches in the field of morphology, technologicaldiscoveries, formation of the original aestheticimage and the own art school.Glass utensils and glass windows became the usualphenomenon in the Belarusian cities of the 17 th century,and glassware was used not only by owners of the feudalcastles, but also by the gentry and townspeople.In the feudal estates of that period the glasswareof local manufacture becomes usual and one of the attributesof daily culture.Simplicity and traditional character of forms, dialecticunity of useful and beautiful, expressiveness andat the same time restraint and modesty of the decoration– all these features connect the Belarusian late medievalglass with folk art. It was the natural phenomenonbecause till the 18 th century the majority of glassworkshops in the Belarusian lands was focused on thelocal consumers and depended on their taste. Howeverthe affinity to traditional culture gave to the Belarusianglass products of the 16-17 th centuries a stylistic andmorphological originality which subsequently was brightlyshowed in the character of glassware of wellknownglass manufactories of Radzivils family in 18-19 th centuries. Bari Lord, LORD Cultural Resources Planning & ManagementOdgovori muzejaumetnosti naizazove XXI vekaPrezentacija na seminaru u Muzeju umetnostiEstonije, Novembar 2004. godineKada su kraljici Viktoriji prvi put pokazalinovootvoreni Muzej Viktorija iAlbert, kažu da je pitala zašto su umetničkadela i predmeti izloženi kao da se prodajuu prodavnici. Kao osoba iz kraljevskeporodice, ona nije morala da ide u kupovinutako da je mogla da vidi vezu jasnijenego ostali. Njena primedba ukazuje naosnovni princip:Barry Lord, LORD Cultural Resources Planning & ManagementArt Museums’Responses to the21 st CenturyPresentation to the Art Museum of EstoniaSeminar, November 2004When Queen Victoria was first shownaround the newly opened Victoriaand Albert Museum, she is said to have askedwhy the works of art and artifactswere being shown as if they were for salein a shop. As royalty she didn’t have toshop, so she was able to see the link moreclearly than others. Her observationpoints to a basic principle:Percepcija muzejskih zbirki i njihovo izlaganjeu svakom istorijskom periodu uskladu je sa načinom na koji se objektiopažaju u svetu izvan muzeja.Bari Lord na predavanju uGaleriji fresakaBarry Lord giving a lecture atGallery of FrescoesThe perception of museum collectionsand their presentation in each historicalperiod accords with the way in whichobjects are perceived in the world outsidethe museum.Art museums in each historical periodconceive of their collections and of the experiences theyoffer of them in analogy to the way in which objects areperceived in the world around them – and as Queen Victoriaobserved, particularly as objects are presented inthe urban world of commerce. Thus:1. Museums in mercantile cities of the 18th centuryconceived of their collections of specimens and works ofart in the same way as the goods or products that werebeing traded around the world, with raw materials likefish or spices (specimens) being shipped to market alongwith goods or products made by artisans; the result wasthe development of the great universal museums (such51

nosti (kao što je zbirka Luvra) je posledica toga.2. U XIX veku je prevladala analogija kraljice Viktorijepošto su artikli napravljeni u fabrikama služili kaomodel za zbirke predmeta u muzejima umetnosti industrijskogdoba, kao što je Viktorija i Albert u Londonu , iu muzejima nauke i industrije, kakav je Nemački nacionalnimuzej u Minhenu.3. Gradovi su se u XX veku pojavili kao centri komunikacijau kojima prevladjuju slike, podstičući razvojonih muzeja u kojima su objekti sekundarni u odnosuna ideje i slike, kao u muzejima ideja, kakav je Urbisu Mančesteru (muzej o urbanoj civilizaciji), i u interaktivnimmuzejima kao što je Projekat slušanja muzike uSijetlu.Sada, na početku XXI veka, rano je da pokušamo dapredvidimo novi uzorak. Ipak, nekoliko pojava je, sasvimjasno, od velikog uticaja na način na koji muzejiumetnosti odgovaraju našem sopstvenom vremenu:- Gradovi su se ponovo utemeljili kao osnovni pokretačiekonomije. Dok je nacionalna država uvidjalada rast multinacionalnih korporacija prkosinjenoj ranije neospornoj moći, gradovi su sve višepostajali stvarni izvor i centar ekonomskog razvoja.- Postoji globalna potreba za doživotnim učenjemkoje treba da bude neformalno da bi bilo delotvorno,pošto se radi o učenju odraslih koji su već zaposlenia ne o deci u školi. Muzeji su idealno mestoza takvu vrstu učenja.- Svuda ljudi osećaju iskrenu potrebu da zastupajusvoje sopstvene lokalne ili nacionalne identiteteuprkos sve većoj globalizaciji. Muzeji nude mestogde takvi identiteti mogu da se oblikuju, ogledaju ikritikuju.- Savremena umetnost više nije avangardna već jepostala dominantna u mnogim gradovima širomsveta. Uz popularnu muziku, postala je važan načinizrazavanja individualnih vrednosti i kao takvuje sve više prepoznaje sve veći broj ljudi širomsveta.- Kulturni turizam je najdinamičniji deo onoga štoje postalo najveća svetska industrija - turizma.Gradovi su najčešća destinacija kulturnih turista.- Svuda u svetu ljudi učestvuju u virtuelnim iskustvimane samo na internetu već i preko mobilnih telefona,palm pilot-a i sličnih naprava.Odgovor muzeja umetnosti na ove promene bio jeperiod naporne aktivnosti koja moze da se sagleda krozjedan ili nekoliko od ovih šest tokova:- Puka fizička ekspanzija da bi se ispunili sve većizahtevi i da bi se išlo u korak sa rastom zbirke.- Obnavljanje nacionalnih identiteta, ne u suprotglobalizaciji, već kao načina učestvovanja u globalizovanomsvetu i kao protivteže homogenizacijiiskustava svuda u svetu.- Decentralizacija pristupa zbirkama, posebno formiranjemogranaka, onih muzeja koji imaju vodećezbirke, širom sveta.- Značajna uloga muzeja u isticanju muzejskihgradova kao destinacija u kulturnom turizmu.- Razvoj novih tipova muzeja kao odgovor na izazovesveta koji se ubrzano menja.- I, dolazak virtuelnih izložbi kao načina da seomogući vizuelni pristup slikama iz muzejskezbirke.Ovaj rad daje primere za svaku od ovih tendencija,izvučene iz nedavne prakse muzejskog planiranja u firmiLORD - planiranje i menadžment kulturnih dobara,najvećoj svetskoj firmi specijalizovanoj za muzejskoplaniranje.52as the British Museum) and the comprehensive art historycollections (such as the Louvre).2. In the 19th century Queen Victoria’s analogy prevailed,as commodities manufactured in factories providedthe model for collections of artifacts in industrialarts museums like the V&A in London, and in museumsof science and industry such as the Deutschesmuseum inMunich.3. And in the 20th century, cities have emerged ascommunication centres where images prevail, giving riseto museums in which objects are secondary to ideasand images, as in Idea Museums, such as Urbis in Manchester(a museum about urban civilization) and InteractiveMuseums like the Experience Music Project inSeattle.At the beginning of the 21st century, it is a bit earlyfor us to attempt to project a new paradigm. However,several phenomena are clearly of major importance affectingthe way in which art museums are responding toour own time:- Cities have re-established themselves as the essentialengines of the economy. While the nation statehas seen its formerly undisputed power challengedby the growth of the multi-national corporation,cities have become increasingly the real source andcenter of economic development.- There is a global need for lifelong learning that hasto be informal if it is to be effective, since it is aquestion of learning by adults who are already inthe workplace, not by children at schools. Museumsare an ideal venue for such learning.- People everywhere are experiencing a heartfelt needto assert their own local or national identities inthe face of increasing globalization. Museums offera place where such identities may be fashioned,mirrored or criticized.- Contemporary art is no longer avant garde, but hasbecome mainstream in most cities throughout theworld. Along with popular music, it has become animportant means of expressing individual values,and is increasingly recognized as such by ever-growingnumbers of people worldwide.- Cultural tourism is the most dynamic part of whathas become the world’s major industry, tourism.Cities are the most common destinations of culturaltourists.- Around the world people are participating in virtualexperiences, not only on the net but also onmobile phones, palm pilots and similar devices.The response by art museums to these changes hasbeen a period of intense activity, which may be seen asone or more of six trends:- Sheer physical expansion to meet increased demand,and to keep pace with the growth of collections- Reassertion of national identities, not in oppositionto globalization, but as a means of participatingin a globalized world, and as a balance againstworldwide homogenization of experiences- Decentralization of access to collections, especiallyby the formation of branches of museums withmajor collections around the world- Playing a significant role in the enhancement ofthe museums’ cities as cultural tourism destinations- The development of new museum types in responseto a rapidly changing world- And the advent of virtual exhibitions as a means ofproviding visual access to images of a museum’scollection.

PROŠIRENJEJedan od najpoznatijih projekata za koji smo pripremaliveoma složen radni program poslednjih godina jeMuzej umetnosti okruga Los Andjeles (Los AngelesCounty Museum of Art - LACMA), poznat po tome štoje, pošto smo završili rad na planiranju koji je trajaopreko dve godine, LACMA izabrao arhitektu Rema Kolhasa,da bi se zatim ispostavilo da je nemoguće sakupitiogromne sume potrebne za veliki program izgradnjekoji je zamišljen i taj projekat je morao da se otkaže.Uprkos tome, LACMA je nastavio sa prvom fazom svogprograma koji je projektovao Renzo Piano. Dugoročniprojekat zahteva potpuno preispitivanje načina na kojije zbirka LACMA predstavljena, zatim grupisanje radovaprema kontinentima sa kojih potiču, povezivanje pokulturama a ne samo po uskom kriterijumu istorije umetnosti.Drugo proširenje za koje smo napravili radni programbilo je za projekat severoistočnog proširenjaInstituta umetnosti iz Čikaga, koji je takodje projektovaoStudio Renzo Piano. Ovo proširenje će omogućiti Institutune samo više galerijaveć i da proširi svoj delokrug – osavremenjivanjemprezentacije na izložbama o arhitekturi, na primer, štoje tema za koju smo shvatili da vlada veliko interesovanjeposlednjih godina.U Muzeju umetnosti u Denveru, gde je Danijel Libeskindprojektovao proširenje, pregledali smo i dalipreporuke za predvorje, sve važnije mesto u muzejimaXXI veka, kada funkcija zgrade kao mesta susreta u slobodnovreme postaje još važnija.U Umetničkoj galeriji Mančestera u Engleskoj razvilismo radnu skicu za Majkla Hopkinsa i Partnere, arhitektekoji su renovirali postojeće istorijske zgrademuzeja, osmislili atrijum izmedju njih i dodali elegantno,novo krilo u kome se postavljaju izložbe savremeneumetnosti kao i privremene izložbe. Drugi važan aspectmančesterskog proširenja je galerija posvećena dekorativnojumetnosti i dizajnu, predstavljena na kreativannaćin u renoviranoj zgradi, izuzetnog kvaliteta, iz XIXveka.Naravno da ima još mnogo proširenja koja su nedavnozavršena ili su u toku – Muzej moderne umetnosti jemožda najpoznatiji primer. U najvećem broju slučajevaproširenje je delom prosto kvantitativni odgovor na izazovenovog veka jer omogućava više galerija za izložbe,veće mogućnosti i programe i slično. Ipak, u mnogimslučajevima, proširenja su više kvalitativna jer muzejiiskoriste priliku da poboljšaju svoje programe savremenijimamfiteatrima, kafeima ili prodavnicama, kao i galerijamakoje su bolje opremljene da prime multimedijalneizložbe, i dodatnim ili prostorom boljeg kvalitetaza izdavanje i ugostiteljstvo tako da prihodi od iznajmljivanjamogu da se uvećaju.OBNAVLJANJE NACIONALNIH IDENTITETA UGLOBALNOM KONTEKSTUObnavljanje identiteta koji može biti lokalni, plemenskiili nacionalni u mnogo slučajeva je bio kulturniodgovor globalizaciji. U Seulu smo radili na programuza jedan od najvažnijih primera obnavljanja nacionalnihidentiteta, pošto su Korejci srušili muzejsku zgradukoja je bila simbol ugnjetavanja - jer je stari Nacionalnimuzej bio smešten u glavnom štabu omražene 45-ogodišnje japanske okupacije njihove zemlje – i zameniliga novim Nacionalnim muzejem, sada u izgradnji,koji će biti jedan od najvećih muzeja na svetu sa 138 000m2 i 400m dugom fasadom. Nedavno sam posetio muzejThis paper presents examples of each of these tendencies,drawn from the recent museum planning practiceof LORD Cultural Resources Planning & Management,the world’s largest specialized museum planningfirm.ExpansionOne of the best known projects for which we prepareda highly complex Functional Program in recent yearswas the Los Angeles County Museum of Art – wellknown because after we had done our planning workover a two-year period, LACMA selected an architect,Rem Koolhaas, but then found it impossible to raise theenormous sums needed for the very large building programthat had been conceived, and had to cancel thatproject; nevertheless, LACMA is proceeding with thefirst phase of its program, being designed by Renzo Piano.The long-range project involves a complete rethinkingof the way in which the LACMA collection is presented,grouping works according to their continents oforigin, connecting them by cultures rather than a narrowerview of art history alone.Another expansion for which we produced a FunctionalProgram was the northeast expansion project ofthe Art Institute of Chicago, also being designed by theRenzo Piano Studio. This one also will allow the Institutenot only to provide more galleries but also to expandits range – improving its presentation of architectureexhibitions, for example, which is a subject in which wehave found a great range of interest in recent years.At the Denver Art Museum, where Daniel Libeskindis designing the expansion, we reviewed and made recommendationsfor the lobby, an increasingly importantplace in the museums of the early 21st century as thefunctions of the building as a meeting place for leisureactivities become ever more important.At the Manchester Art Gallery in England we developedthe Functional Brief for Michael Hopkins andPartners architects, who renovated the Museum’s existinghistoric buildings, created an atrium between them,and added an elegant new wing where contemporary artand temporary exhibitions are featured. Another importantaspect of the Manchester expansion is a gallery dedicatedto decorative arts and design, presented in animaginative way in a renovated 19th-century buildingof great quality.Of course there are many more expansions recentlycompleted or underway – the Museum of Modern Art isperhaps the best known. In general, expansion is in partsimply a quantitative response to the challenges of thenew century, providing more exhibition galleries, morefacilities and programs, and so on. However, in many cases,expansions become much more qualitative, as museumsseize the opportunity to enhance their programswith improved theaters, cafes or shops as well as galleriesthat are better equipped to handle multi-media exhibitions,and additional or better-quality rental andcatering space so that revenue from rentals can beincreased.Reassertion of National Identities ina Global ContextThe cultural response to globalization in many caseshas been a reassertion of identity, which may be local,tribal or nation. In Seoul we worked on the program forone of the most important examples of the reassertion ofnational identities, as the Koreans tore down a Museumbuilding that was a symbol of oppression, because theirold National Museum had been situated in the headqua-53

54i bilo mi je drago kad sam video da je korejski arhitektadoslovno sledio naš program a posebno preporuku daujedini dva glavna odeljenja, arheologiju i istoriju, nasvakoj strani centralnog hodnika, visokog tri sprata, takoda posetioci mogu da vide neprekinutu hronologijuod praistorijskih vremena preko korejskih kraljevina idinastija do danas.Pre nekoliko godina bili smo još više uključeni upravljenje programa za renoviranje zgrade, a posebno uplaniranje, projektovanje i postavljanje izlozbi u novomNacionalnom muzeju Filipino naroda u Manili, pošto jeNacionalni muzej Filipina takodje odgovorio na ovučežnju za obnavljanjem nacionalnih identiteta. Ovde seradilo o muzeju koji bi mogao da ujedini brojne etničkeidentitete na Filipinima, gde se govori preko stotinujezika na hiljadama ostrva. Prilika za novi muzej bila jestogodišnjica deklaracije nezavisnosti od Španije iz1898. godine, tako da je obnavljanje nacionalnog identitetakoji predstavlja muzej bilo i političko i kulturno.Ova potreba da se obnovi nacionalni identitet nijepovezana samo sa mogućnostima za kulturni turizam.Otkrili smo da je podjednako snažna i u Rijadu, gde smouradili glavni plan, praćen projektovanjem izložbe, dabismo konačno preuzeli i menadžment nad celokupnimprojektom za novi Nacionalni muzej Saudijske Arabije,sve do dana otvaranja 1999. godine. Turizam je, u ovomslučaju, mnogo manje podstrek nego jednostavno obnavljanjevrednosti i karakteristika baštine Arabije. Ovde,u Estoniji, bili ste pred izazovom kako predstavitiumetničke forme iz nedavnih režima koji više nisu navlasti - u Saudijskoj Arabiji izazov je bio kako predstavitikulturno nasledje koje je prethodilo islamu. Nacionalniidentitet se mora zasnivati na stvarnostima kojesu ušle u njegovo formiranje a ponekad se te stvarnostirazlikuju, nisu uskladjene ili su nedosledne.U Singapuru smo, još 1990. godine, započeli glavniplan za reorganizaciju starog Nacionalnog muzeja u triustanove – Muzej umetnosti Singapura, Muzej azijskecivilizacije i Istorijski muzej Singapura – pre nego štosmo prešli na pravljenje radnih programa izgradnje zasva tri. Zbog snažnijeg uticaja kulturnog turizma ovde,prva dva – Muzej umetnosti i Muzej azijske civilizacije -su do sada završeni i uspešno otvoreni dok je Istorijskimuzej Singapura još uvek pod izgradnjom. Muzej umetnostije jedno od ostvarenja na koja smo najviše ponosni,zato što je uspešno doveo u Singapur umetnička delaiz Evrope i Amerike, time što je omogućio klimatskeuslove za pozajmljene radove kao u umerenom klimatskompojasu dok je istovremeno čuvao svoje zbirketropskog porekla u mnogo vlažnijoj sredini. Muzeji zakoje smo pomogli da se naprave u Singapuru uspešno suod grada-države stvorili još veću turističku destinacijua da razlog nije kupovina.I naravno, najvažniji primer obnavljanja nacionalnihidentiteta u globalnom kontekstu je ovde u Taljinu, veličanstvennovi Muzej umetnosti Estonije, koji je projektovaofinski arhitekta Peka Vapavuori. Novi muzej će poprvi put predstaviti celokupnu istoriju estonske umetnostiu kontekstu medjunarodnih izložbi savremene umetnosti,ilustrujući tako oba aspekta obnavljanja nacionalnihidentiteta u globalnom kontekstu. Slično kao uMuzeju umetnosti Singapura, poželećete da pozajmitevažna umetnička dela iz drugih muzeja, a istovremenoćete moći da koristite novu zgradu za izlaganje i pokazivanjeestonske istorije umetnosti, u punom obimu, svimEstoncima a i ostalima. Najvažniji radovi u vašoj estonskojgaleriji formiraće ‘kanon’ estonske istorije umetnosti,javno priznatu grupu radova koji će se naširoko kopiratii proučavati kao odredjeni radovi estonske škole ilitradicije. Očigledno da takodje morate obezbediti prosrtersof the hated 45-year Japanese occupation of theircountry — and are replacing it with a new National Museumnow under construction, which will become one ofthe largest museums in the world – 138,000 sq. m., witha 400 m. long facade. I visited the Museum recently andwas delighted to see that the Korean architect had veryliterally followed our program, particularly the recommendationto unify the two main departments – Archaeologyand History – on either side of a central corridor,three floors high, so that visitors can experience onecontinuous chronology from prehistoric times throughthe kingdoms and dynasties of Korea to the present.A few years ago we were even more deeply involvedin programming the renovation of the building and especiallyin planning, designing and installing the exhibitsin the new National Museum of the Filipino Peoplein Manila, as the National Museum of the Philippinesalso responded to this desire for the reassertion of nationalidentities. Here it was a question of a museum thatcould unite the many ethnic identities in the Philippines,where over a hundred languages are spoken onthousands of islands. The occasion for the new Museumwas the centennial of the declaration of independencefrom Spain in 1898, so that the assertion of nationalidentity that the Museum represents was both politicaland cultural.This need to assert national identity is not relatedonly to the potential of cultural tourism, because wefound it equally strong in Riyadh, where we did theMaster Plan, followed through with exhibition design,and eventually undertook project management throughto opening day in 1999 for the new Saudi Arabian NationalMuseum, where tourism was much less of a motivationthan simply asserting the value and character ofthe heritage of Arabia. Here in Estonia you have had thechallenge of presenting art forms from fairly recent regimesthat are no longer in power; in Saudi Arabia itwas the challenge of how to present the cultural heritagethat pre-dated Islam. National identity must be basedon the realities that have gone into its formation,and sometimes these realities are divergent, discordantor contradictory.In Singapore we began as early as 1990 with a MasterPlan for the reorganization of the old National Museuminto three institutions – the Singapore Museum ofArt, the Asian Civilization Museum and the SingaporeHistory Museum – before going on to prepare the FunctionalBuilding Programs for all three. Because of thestronger influence of cultural tourism there, the firsttwo – the Art Museum and the Asian Civilization Museum– have thus far been completed and successfullyopened, while the Singapore History Museum is still underdevelopment. The Art Museum is one of our proudestachievements, because it has been successful inbringing to Singapore works of art from Europe andAmerica, providing climate controls for those borrowedworks at temperate zone levels, while at the same timepreserving its own tropical-origin collections in a muchmore humid environment. The museums we helped tocreate in Singapore have been successful in making thecity-state more of a tourist destination for reasons otherthan shopping.And of course the most important example of the reassertionof national identities in a global context isright here in Tallinn, the magnificent new Art Museumof Estonia, designed by the Finnish architect Pekka Vapaavuori.The new museum will for the first time presentthe entire history of Estonian art in the context ofinternational contemporary art exhibitions – thereby illustratingboth aspects of the reassertion of national

tor za promenu umetničkih dela svakoj galeriji tako daizlaganje ostane živo i privlačno, da odslikava stalno napredovanje,a ne da insistira na definiciji vaše nacionalneistorije umetnosti odredjenoj jednom i za uvek.Drugi aspekt novog Muzeja, podjedanako važan zavas, je mogućnost da učestvujete u važnim izložbama uinostranstvu i da sami organizujete važne izložbe sa radovimapozajmljenim sa strane. Na ovaj način možeteučestvovati u globalizovanom svetu umetnosti, posebnoako postavljate izložbe u saradnji sa drugim muzejimasavremene i moderne umetnosti u blizini, kao što su oniu Helsinkiju i Stokholmu. To što imate novu, velikuzgradu je važan deo te saradnje – trebalo bi da možeteda privučete kustose, umetnike i izložbe jednostavno zatošto bi oni želeli da ih povezuju sa vašom velikom, novomzgradom. Kako najbolje organizovati sprovodjenjeovih aktivnosti, to je izazov sam po sebi, pošto je potrebnoda se ta sposobnost razvije unutar organizacije kojaje odgovorna za širok krug muzeja po celom gradu. Akouspete, medjutim, trebalo bi da budete zadovoljni što steomogućili Estoncima, posebno mladim ljudima, da igrajudirektnu i ispunjujuću ulogu u svetu medjunarodnesavremene umetnosti, koja se više ne posmatra kaoavangarda već kao dominantan pristup slobodnom izrazu.DECENTRALIZACIJA PRISTUPA ZBIRKAMAJoš jedan odgovor muzeja umetnosti na promene kojedonosi rani XXI vek je da se olakša pristup zbirkamaosnivanjem ogranaka za posetioce na još nekim mestima.Najpoznatiji primer je naravno njujorški Muzej Gugenhajmkoji ima dobro postavljene ogranke u Veneciji iBilbau. Gugenhajm Bilbao je najspektakularniji uspehmedju ograncima, velikim delom zahvaljujući izuzetnojzgradi koju je kanadski arhitekta Frank Geri projektovaoza muzej. Uspeh ovog muzeja je doveo do pojma ‘bilbaoifikacija’kao primera uloge koju novi muzej umetnostimože da igra u preobražaju ugleda i stvarnostijednog industrijskog grada kao što je Bilbao. Naša firmasada radi na strateškom planu za Gugenhajm Bilbaokoji treba da isplanira sledećih pet godina te institucije,pošto je postavljen zahtev da se održi i, ako je moguće,nadmaši prošli uspeh. Izazov za takav ogranak muzejaPredavanje Barija Lorda na temu “Upravljanje muzejima”Barry Lord’s lecture on “Managing museums”identities in a global context. Like the Singapore ArtMuseum, you will want to be able to borrow majorworks of art from museums elsewhere – yet at the sametime you will be able to use the new building to displayand interpret to all Estonians and others the full sweepof Estonian art history. The most important works in yourEstonian galleries will form the ‘canon’ of Estonianart history, the officially recognized group of works thatwill be widely reproduced and studied as the definitiveworks of the Estonian school or tradition. Obviously youmust also ensure that in each gallery there will also beroom for changing works of art, so that your presentationremains lively and engaging, reflecting on-goingscholarship, not insisting on a definitive once and forever definition of your nation’s art history.The other aspect of the new Museum – its ability toallow you to participate in major exhibitions fromabroad, and to organize major exhibitions yourselveswith works borrowed from elsewhere, is equally importantto you. In this way you can participate in the globalizedart world, especially if you mount exhibitions incollaboration with other nearby contemporary and modernart museums such as those in Helsinki and Stockholm.Having a great new building is an important partof this – you should be able to attract curators, artistsand exhibitions simply because they will want to be associatedwith your great new building. How best to organizeto undertake these activities is a challenge in itself,as it is necessary to develop that capability withinan organization that has responsibility for a wide rangeof museums throughout the city. If you succeed, however,you should have the satisfaction of allowing Estonians,especially your young people, to play a direct andfulfilling role in the world of international contemporaryart, which is no longer seen as an avant garde, but asa mainstream access to free expression.Decentralization of Access to CollectionsAnother response by art museums to the changes ofthe early 21st century has been to make their collectionsmore accessible by establishing branches for visitors elsewhere.The best-known example is of course New York’sGuggenheim Museum, which has well-established branchesin Venice and Bilbao. The Guggenheim Bilbao hasbeen the most spectacular success of these branches,due in large part to the remarkable building that Canadianarchitect Frank Gehry designed for it. The Museum’ssuccess has led to the term “Bilbaoification” as anexample of the role that a new art museum can play intransforming the image and the reality of an industrialcity like Bilbao. Our firm is currently working on aStrategic Plan for the Guggenheim Bilbao which is intendedto plan into the next five years for that institution,as it seeks to maintain and if possible build on itspast success. The challenge for such a branch museum isto be responsive to its own public, and to develop itsown capacity for generating exhibitions, publicationsand other programs – its own intellectual capital. It couldbe a possible partner for your new museum in exhibitiondevelopment.A less happy example has been the Guggenheim’sexperience in Las Vegas, where one of two relatedbranch galleries has closed. Nevertheless Director ThomasKrens and his Board remain committed to the ideaof establishing branches, as their current proposal toplace another branch in Taichung, Taiwan, indicates.The impetus behind this development is the understandingthat massive collections are a liability as long asthey remain in storage, but can become an asset if they55

je da se prilagodjava svojoj publici i da razvije sopstvenikapacitet za pravljenje izložbi, publikacija i drugihprograma – svoj sopstveni intelektualni kapital. To bimogao biti partner za vaš novi muzej u razvoju izložbi.Manje srećan primer je iskustvo Gugenhajma u LasVegasu, gde je zatvorena jedna od dve srodne galerije.Uprkos tome, direktor Tomas Krens i njegov odbor ostalisu posvećeni ideji osnivanja ogranaka, kako pokazujenjihov sadašnji predlog da se u Taičung na Tajvanusmesti još jedan ogranak. Kao podsticaj za ovakav razvojsluži shvatanje da su masivne zbirke opterećenje svedok stoje u depou ali se mogu pretvoriti u prednost akosu izložene u ograncima koji umetnička dela čine dostupnima istovremeno grade ‘brend’ Gugenhajma širomsveta.Podjednako spektakularan je primer Tejt koji je svojmuzej u Londonu podelio na dva ogranka – Tejt britanskugaleriju i Tejt galeriju moderne, od kojih su obe bilenaši klijenti. Tejt takodje ima ogranke u Liverpulu iSent Ivsu, koji mu omogućuju da delove svoje zbirkeučini dostupnim za širu publiku u Britaniji i da, u istovreme, pojača privlačnost svog ‘brenda’. Najupečatljivijije uspeh Tejt galerije moderne u uspostavljanju savremeneumetnosti kao popularne dominantne struje a neavangardne pojave, privlačeći tako masovnu publikukoja je daleko nadmašila očekivanja. Savremena umetnostsada mnogima izgleda kao simbol slobode izraza,posebno medju mladim ljudima, koji može da se poredisa pop muzikom.Ermitaž je sledio primer Gugenhajma sa medjunarodnimograncima, dok Centar Pompidu sada sledi primerTejt galerije planirajući ogranak u severnom francuskomgradu Mecu.Još jedan zanimljiv primer u Aziji je Muzej nacionalnepalate u Taipeju, za koji sada planiramo novi južnocentralniogranak u Taibau, u provinciji Čiaji. Južniogranak Muzeja nacionalne palate imaće pan-azijski focusi povezivaće Tajvan sa celom Azijom, a ne samo saKinom, kao što je u Tajpeju slučaj. Ovde se može videtikombinacija obnavljanja nacionalnih identiteta – uovom slučaju to je specifično povezivanje Tajvana sadrugim azijskim zemljama a ne sa ostatkom Kine- sa osnivanjemogranaka da bi zbirka bila dostupna većembroju posetilaca.56ISTICANJE GRADOVA KAO DESTINACIJAKULTURNOG TURIZMAGlazgov je grad za koji se može reći da je bio pioniru svesnom razvoju svojih kulturnih dobara kao načinuda se podstakne kulturni turizam. Kada sam bio kustosGlazgovljevog Glazgova, velike izložbe postavljene sredinom1990. godine, kada je Glazgov bio evropska prestonicakulture, mogao sam da prepoznam da je to biopočetak novog odnosa izmedju gradova i njihovih muzeja.U stvari, naš kasniji rad na planiranju novog Nacionalnogmuzeja u Singapuru, proizašao je iz rešenostiSingapuraca da se povedu za uspehom Glazgova koji jeistrajao sa serijom novih muzeja tokom godina i za tovreme promenio svoj lik od industrijskog džina XIXveka do centra kulturnih komunikacija XXI veka.Grad koji je u Ujedinjenom Kraljevstvu najsvesnijesledio primer Glazgova je Mančester, gde je naša firmaradila u velikoj meri. Pomogli smo da se razvije konceptmuzeja posvećenog radovima L. S. Lourija, koji je slikaoscene iz svog radničkog života u industrijskom predgradjuSalford, a zatim smo nastavili sa pravljenjemradne skice za uzbudljivu novu zgradu tog muzeja, kojuje projektovao britanski arhitekta Majkl Vilford i dobiareexhibited in branches that make the works of artmore accessible, and at the same time build the ‘brand’of the Guggenheim worldwide.Equally spectacular has been the success of the Tatein dividing its Museum in London into two branches –Tate Britain and Tate Modern, both of which have beenour clients. The Tate also has branches in Liverpool andSt Ives, which allow it to make parts of its collectionaccessible to a wider audience within Britain, and at thesame time to reinforce the appeal of its ‘brand.’ Most remarkablehere has been the success of Tate Modern inestablishing contemporary art as a popular mainstreamrather than an avant-garde phenomenon, drawingcrowds that have far exceeded projections. Contemporaryart now appears to many as a symbol of freedom ofexpression, especially among young people, that may rivalpop music.The Hermitage has followed the example of theGuggenheim with international branches, while thePompidou Centre is currently following the example ofthe Tate by planning a branch in the northern French cityof Metz.Another interesting example in Asia is the NationalPalace Museum in Taipei, for which we are currentlyplanning a new south-central branch at Taibao in theprovince of Chiayi. The Southern Branch of the NPM isto have a pan-Asian focus, relating Taiwan to the wholeof Asia, rather than just to China as in Taipei. Here onecan see a combination of the reassertion of nationalidentities – in this case specifically relating Taiwan ratherthan the rest of China to all the other countries ofAsia – with the establishment of branches to make collectionsmore accessible to more visitors.Enhancing Cities as Cultural Tourism DestinationsGlasgow is the city that may be said to have pioneeredthe conscious development of its cultural resourcesas a means to stimulate cultural tourism. When I servedas Curator of Glasgow’s Glasgow, the large exhibitionthat was at the heart of Glasgow’s year as European Cityof Culture in 1990, I was able to recognize that thiswas the beginning of a new relationship between citiesand their museums. In fact, our subsequent work inplanning the new national museums in Singaporesprang from the Singaporeans’ determination to emulatethe achievement of Glasgow, which has been sustainedwith a series of new museums over the years, as thecity has transformed its image from a 19th-century industrialgiant to a 21st-century centre of cultural communications.Within the United Kingdom the city that has mostconsciously followed the Glasgow example is Manchester,where again our firm has worked extensively. Wehelped to develop the concept of a museum dedicated tothe works of L.S. Lowry, who painted his scenes of workinglife in the industrial suburb of Salford, and thenwent on to produce the Functional Brief for the dramaticnew building designed by British architect MichaelWilford, which won the award as the best British buildingof the Millenium Year 2000. The Lowry, which containstwo outstanding theatres and a children’s galleryas well as the permanent collection and temporary exhibitiongalleries, is situated on the canals that first ledto Manchester’s prosperity, bringing ships to carry Manchester’stextile manufactures throughout the world inthe 19th century. Now the city has placed across a magnificentbridge over the canal another cultural touristattraction, the Imperial War Museum of the North, anotherexample of decentralization, since it is a branch ofthe Imperial War Museum in London.

la je nagradu za najbolju britansku zgradu u milenijumskoj2000. godini. Muzej Louri, koji sadrži dva izuzetnaamfiteatra i galeriju za decu, a takodje i stalnu zbirku igalerije za privremene izložbe, smešten je na kanalimakoji su prvi poveli napretku Mančestera, vodeći brodovekoji nose tekstilne proizvode Mančestera širom sveta uXIX veku. Sa druge strane sjajnog mosta preko kanala,još jedne kulturne atrakcije, grad je smestio Kraljevskiratni muzej severa, još jedan primer decentralizacijepošto je to ogranak Kraljevskog ratnog muzeja u Londonu.U centru Mančestera smo, u medjuvremenu, napraviliradnu skicu za proširenje i renoviranje Umetničkegalerije Mančestera koju je projektovala arhitektonskafirma Majkla Hopkinsa. Pomogli smo i da se razvijekoncept za Urbis, veoma zanimljivu instituciju XXIveka a to je muzej ideja o životu u gradovima. Konceptje samo delimično realizovan, i ostaje da se vidi da li ćeprvo ponavljanje ideje uspeti, ali je sigurno da mogućnostimuzeja o urbanom životu same po sebi obećavaju.Preporučio bih da razmislite o postavljanju serija ‘gradskih’izložbi koje možete razviti na gradskoj osnovi vlada–vladi: Taljin/ San Francisko, Taljin/Dakar ili Taljin/Šangaj,na primer, za koju možete da pozovete svakigrad da napravi reprezentativnu izložbu svoje istorijeumetnosti i savremene umetnosti pa da je izložite uvašem velikom novom muzeju, a za uzvrat možete da impošaljete da prikažu prošle i sadašnje estonske umetnike.Mnogi gradovi koji su posvećeni razvoju kulturnogturizma bili bi zainteresovani da razrade takvu razmenupozajmica na kratko vreme.U Beču je od nekadašnjih kraljevskih konjušnica,preko puta čuvenog Muzeja umetnosti i Prirodnjačkogmuzeja, napravljen kompleks muzeja i drugih kulturnihatrakcija, zajednički nazvan Muzejski kvart. Posao našefirme je bio da asistira austrijskim arhitektama Ordner&Ordner-una pretvaranju jedne od nekadašnjihzgrada štala u novi Kunsthol Beč, kao i da pomogne planiranjeZoom! - veoma uspešnog muzeja za decu čiji jeprvi direktor, Dr Klaudija Has, sada jedan od naših višihsavetnika.Medju azijskim gradovima, Hong Kong je posebnosvestan svog mesta kao destinacije u kulturnom turizmu,tako da ne iznenadjuje što smo i tamo bili aktivni,pomažući da se napravi predlog za nekoliko muzeja isličnih atrakcija koje su predložene da budu deo razvojazapadnog Kauluna, uključujući novi glavni Muzejmoderne umetnosti.Vlada Hong Konga trenutno razmatrapredloge i očekuje se da će objaviti svoju odluku dali ili kako da se uskoro nastavi. Jedna od mogućnostikoju smo planirali je da Centar Pompidu u Parizu vodinovi Muzej u Hong Kongu, opet kao primer decentralizacijezbirki, pošto bi Pompidu rotirao zbirku krozHong Kong na isti način kao što je Gugenhajm radio uBilbau. Kao gest u susret ovakvoj budućnosti , Pompiduje nedavno izložio Pikasovu ogromnu kulisu za Paraduiz 1917. godine u tri sprata visokom holu trgovačkogcentra – to je prvi put da je taj rad bio vidjen za tridesetgodina.NOVI TIPOVI MUZEJAPošto su prethodna tri veka muzejskog razvoja dovelado novih muzejskih tipova, ne čudi što će brojne promene,do kojih je došlo od kako smo ušli u XXI vek, takodjedovesti do generacije novih tipova muzeja.Jedan zanimljiv pravac predstavlja tendencija suprotnauniverzalnim muzejima umetnosti, kao što je Luvr,a to je težnja ka specijalizovanim muzejima umetnosti.Nedavno smo učestvovali u planiranju Muzejaumetnosti Rubin u Njujorku, to je tek otvoren muzej us-Meanwhile in downtown Manchester we producedthe Functional Brief for the expansion and renovationof the Manchester Art Gallery that the architecturalfirm of Michael Hopkins designed, and we helped to developthe concept for Urbis, a very interesting 21st-centuryinstitution that is an idea museum about the experienceof living in cities. The concept has been only partiallyrealized, and it remains to be seen whether thisfirst iteration of the idea will succeed, but certainly thepotential for a museum that is about urban living itselfis promising. I would recommend that you give considerationto mounting a series of ‘city’ exhibitions that youcould develop on an urban government-to-governmentbasis – Tallinn/San Francisco, Tallinn/Dakar or Tallinn/Shanghai,for example, in which you invite each cityto put together a representative exhibition of its arthistory and contemporary art, to be exhibited in yourgreat new art museum, in return for which you wouldsend them a show of Estonian past and current artists.Many cities that are committed to developing culturaltourism would be interested to work out such an exchangeof short-term loans.In Vienna the former royal stables across the road fromthe famous Kunsthistorisches and Naturhistorisches Museumshas been developed as a complex of museums andother cultural attractions called collectively the Museumsquartier.Our firm’s work here was to assist the Austrianarchitects Ordner & Ordner with the transformationof one of the former stable buildings into the new KunsthalleWien, and to help in the planning of Zoom!, the verysuccessful children’s museum whose first director, Dr.Claudia Haas, is now one of our senior consultants.Among Asian cities, Hong Kong is especially consciousof its role as a cultural tourism destination, so it is notsurprising that we have also been active there, helping toplan a proposal for several of the museums and relatedattractions that are proposed to be part of the West Kowloondevelopment, including a major new Museum ofModern Art. The Hong Kong government is currentlyconsidering the proposals, and is expected to announceits determination of whether or how to proceed shortly.One of the options for which we have planned is that theCentre Pompidou in Paris would operate the new Museumin Hong Kong, again an example of decentralizationof collections, since the Pompidou would rotate its collectionthrough Hong Kong in the same way that the Guggenheimhas done in Bilbao. In a gesture towards this future,the Pompidou recently displayed Picasso’s huge1917 stage curtain for Parade in the three-storey-highlobby of a Hong Kong shopping plaza – the first time ithad been seen in thirty years.New Museum TypesSince the previous three centuries of museum developmentled to new museum types, it is not surprisingthat the many changes occurring as we enter the 21stcentury are also leading to the generation of new typesof museums.One interesting development is a tendency awayfrom universal art museums like the Louvre towardsmore specialized art museums. We have recently beeninvolved in the planning of the Rubin Museum of Art inNew York, a museum focused exclusively on Tibetan andother Himalayan art that has just opened. And we arecurrently working on a major one-artist museum in Philadelphia,dedicated to presenting the work of AlexanderCalder, who is best known for his mobile sculpturesuspended from the ceiling.Idea museums, where the focus is on ideas ratherthan collections, began in the late 20th century but57

meren isključivo na tibetansku i drugu himalajsku umetnost.Trenutno radimo na vodećem muzeju jednog umetnikau Filadelfiji, posvećenom predstavljanju radovaAleksandra Kaldera, najpoznatijeg po svojim pokretnimskulpturama koje vise sa tavanice.Muzeji ideja, u kojima je fokus na idejama a ne nazbirkama, pojavili su se u kasnom XX veku ali pokazujuznake da nastavljaju da se razvijaju i u novom milenijumu.Naša firma je uradila opširno planiranje zapredloženi Muzej afričke dijaspore u San Francisku, gdeće priča započeti sa širenjem homo sapiensa iz Afrike, iza planirani Nacionalni muzej ljudskih prava u Vinipegu,u Kanadi. Slično Muzeju tolerancije u Los Andjelesuili memorijalnom Muzeju mira u Kanu, u severnojFrancuskoj, predloženi Muzej ljudskih prava u Vinipegutrebalo bi da bude ustanova koja će predstaviti izložbe idruge programe grupisane oko središnje inspirativneideje, a ne oko stalne zbirke. Da li ovi novi tipovi muzejaimaju uticaja na muzeje umetnosti? Da li ćemo videtijoš uže specijalizovane ideacionalne muzeje kako budeodmicao XXI vek?Muzeji koji izražavaju ono što zovemo prvo lice narodačiju kulturu predstavljaju su takodje važna novakonstrukcija našeg vremena. Nacionalni muzej američkihIndijanaca je već stekao reputaciju po takvim izložbamau svom izvornom ogranku u Njujorku ali će mnogodoslednije ispuniti ovaj cilj u svojoj novoj centrali naMolu, u Vašingtonu, gde je tek otvorena glavna novazgrada koju je dizajnirao rodjeni kanadski arhitektaHarold Kardinal. U Parizu je, slično tome, Muzej na kejuBranli zamišljen kao muzej koji će predstaviti umetnosturodjeničkih naroda sa njihove tačke gledišta. Vašnovi muzej ovde bi trebalo da pozdravi predstavljanjetakvih izložbi ‘u prvom licu’ gde je tačka gledišta kustosamanje prisutna nego gledište naroda od kojih izložbapotiče.Još jedan razvoj ima svoje korene u XX veku, ali izgledada sakuplja snagu i delove u naše vreme, jepredstavljanje zbirki kao vidljivog dostupnog depoa,koje tako olakšava istraživanje svima od najozbiljnihnaučnika koji rade na tezama i knjigama pa do učenikasrednje škole koji pokušavaju da urade domaći zadatak.Prirodnjački muzej u Londonu je nedavno otvorio prvufazu svog Centra Darvin u kome će stotine hiljada primerakabiti dostupno zainteresovanim posetiocima daih pogledaju u društvu obrazovanih vodiča.Izvanredno poboljšani uslovi u depou za vaše nacionalnekolekcije estonske umetnosti u vašem novom muzejuneće biti dostupni publici ali bi svakako trebalo daolakšaju istraživanje predmeta i tako podstaknu publikovanjeviše monografija i uporednih studija o radu estonskihumetnika.VIRTUELNE IZLOŽBEPojava virtuelnih izložbi na internetu je promenanašeg iskustva sa urbanim muzejima ranog XXI vekakoja se mogla najlakše predvideti. Danas se sve više praveizložbe u muzejskoj zgradi koje mora da prati virtuelnipandan na mreži, i ne samo to, muzeji nalaze načineda prikažu informacije i slike na internetu kao virtuelneizložbe koje dodju do više stotina hiljada korisnikakoji možda nikada neće otići u pravi muzej.Možemo sada videti muzejske posetioce kao učesnikeu nizu relacija sa muzejem, počinjući sa njihovim otkrićemprograma institucije na mreži, praćenim posetomsamom muzeju ( koje može biti godinam kasnijeako je korisnik veoma daleko) i zatim se relacija održavaposle posete preko stalnog pristupa muzejskoj vebstranici i programima na internetu. Muzeji sada morajuda planiraju svoje programe imajući u vidu ovaj niz.Veb58show signs of continuing to develop in the new millennium.Our firm has done extensive planning for a projectedMuseum of the African Diaspora in San Francisco,where the spread of Homo sapiens from Africa willbegin the story, and for the projected National Museumfor Human Rights in Winnipeg, Canada. Like the Museumof Tolerance in Los Angeles or the Memorial, Museepour la Paix in Caen, France, the proposed Museum forHuman Rights in Winnipeg is to be an institution thatwill present exhibitions and other programs groupedaround a central inspiring idea, rather than any permanentcollections. Does this new museum type have relevancefor art museums? Will we be seeing still more specializedideational art museums as the 21st century progresses?Museums that express what we call the first voice ofthe peoples whose culture they present are also importantnew developments in our time. The National Museumof the American Indian had already established a reputationfor such exhibitions at its original branch inNew York, but is going to accomplish this goal much morethoroughly at its new headquarters on the Mall in Washington,where it has just opened a major new buildingdesigned by Canadian native architect Harold Cardinal.In Paris the Musee du Quai Branly has similarly beenconceived as a museum that will present the art of indigenouspeoples around the world from their point of view.Yournew Museum here should look forward to presentingsuch ‘first voice’ exhibitions, where the viewpointof the curator is less in evidence than that of thepeople from whom the exhibitions originate.Still another development that has its roots in the20th century but appears to be gathering strength andcomplexity in our time is the presentation of collectionsas visible storage, thereby facilitating research from themost serious scholars researching theses and books tothe secondary school student trying to study an assignment.The Natural History Museum in London hasrecently opened the first phase of its Darwin Center, inwhich hundreds of thousands of specimens will be visiblyaccessible to interested visitors, accompanied byknowledgeable guides.The vastly improved storage conditionsfor your national collection of Estonian art inyour new Museum will not be accessible by the generalpublic, but certainly they should facilitate research intothe subject, and therefore stimulate the publication ofmore monographs and comparative studies on the workof Estonian artists.Virtual ExhibitionsPerhaps the most predictable transformation of ourexperiences in urban museums of the early 21st centuryis the advent of virtual exhibitions on line. Increasinglytoday, actual exhibitions in the museum building mustbe accompanied by virtual counterparts on the web, butin addition museums are finding ways to present informationand images on line as virtual exhibitions that reachmany hundreds of thousands of users who may neverget to the actual museum.We may now see museum visitors as participants ina continuum of relationship with a museum, beginningwith their discovery of the institution’s programs on theweb, followed by a visit to the museum itself (which maybe many years later if the web user is far away), andthen sustained after the visit by continuing access to themuseum’s web site and internet programs. Museumsmust now plan their programming with this continuumin mind. The Guggenheim’s virtual exhibition web site,shown here, is just one example among hundreds thathave been developed in recent years.

sajt sa virtuelnom izložbom Gugenhajma , pokazan ovde,je samo jedan od stotinu primera koji su nedavnonastali.Uticaj ovih promena na proces izlaganja, koji sam upotpunosti dokazao u svojoj knjizi od 545 stranica, Priručnikza muzejske izložbe, predstavlja transformacijunačina na koji se prave izložbe:- Do pre samo nekoliko godina, i još uvek u nekimdelovima, tradicionalne muzejske izložbe su osmišljavalikustosi koji su birali predmete i pisali tekstprezentovan pasivnoj publici. Primer koji se ovdeprikazuje je izlaganje stalne zbirke starogrčke keramikeu Muzeju umetnosti na univerzitetu Prinstongde smo nedavno planirali proširenje.- Najveći broj savremenih izložbi ipak je daleko složeniji,pošto se kustosima pridružuju ne samo dizajneriizložbe već i osobe odgovorne za audio-vizuelnuprodukciju, pedagozi, konzervatori, finansijskiadministratori i osoblje iz obezbedjenja odkojih svi treba stvaralački da učestvuju u izložbida bi ona bila uspešna. Ima dva primera, završenaizložba o savremenom Hong Kongu u Muzeju baštine,koju smo planirali i bili menadžeri projekta utom gradu, i drugi naš projekat za izložbu u SentDžonsu, na Njufaundlendu, koja treba da se napravio kulturnoj istoriji te oblasti.- Mnogo zahtevnija ali više zadovoljavajuća po rezultatimaje interaktivna izložba koja misli na svojupubliku pre, za vreme i posle izložbe, i daje jojpriliku da učestvuje u izložbi, bilo da je to prekoizbora objekata za proučavanje iz przentacije sadostupnim depoom ili preko interaktivnih kompjuterskihprograma na ekranu. Odličan primer je izložbakojom se slavila stogodišnjica knjige za decuVrt zeke Pitera 2002. godine i njen pisac i umetnikBeatris Poter, i u kojoj se kombinuje audio-vizuelniprikaz engleskog Lejk Distrikta gde je Poterovaživela sa ljupkim izborom akvarela, pozajmljenihiz Muzeja Viktorija i Albert u Londonu, i sa svojimizdavačem. Na izložbi je najzabavnije bilo napravljenosobno ‘drvo priča’ pod kojim se mogu čitatičuvene knjige za decu novoj generaciji ushićenihslušalaca, koji takodje mogu da vide ekranizacijepriča na videu u amfiteatru u galeriji, naravno.- Prava granica danas je ipak ono što sam nazvao inter-kreativnost,pristup izložbi koji uzima opis izzajednice iz koje potiču umetnička dela, primerci,predmeti ili ideje koji su pokazani na izložbi. Zajedniceiz kojih potiču predmeti mogu biti umetniciobične izložbe primenjene umetnosti ili zajednicanaučnika ili istoričara zaduženih za temu kojomse izložba bavi, ali oni takodje mogu biti i etničkagrupa koja je trenutno aktivna ili je nasledila kulturuili civilizaciju koja je odslikana na izlo1žbi.Ovo je veoma moćan pristup za muzeje prvog licagde je načinu na koji ovi ljudi vide svoju kulturudata jednaka pažnja kao i načinu na koji tu kulturuvide naučnici ili istoričari. Ovi primeri pokazujučlanove naše firme kako rade na inter-kreativnojizložbi razvijenoj u kulturnom centru u Noksvilu,u Tenesiju, i mene kako radim sa sličnomgrupom u Seulu, u Koreji.Ovo je uzbudljivo vreme u istoriji muzeja i obećavada će biti još uzbudljivije kako odmiče XXI vek. Muzejiu istočnoj Evropi, predvodjeni vašim novim Muzejemumetnosti, mogu biti medju prvima u ovom razvoju anesumnjivo će biti medju izvorima još originalnijih idejai razvoja u godinama koje dolaze.The impact of these changes on the exhibition processthat I have documented at length in my 545-pagebook, The Manual of Museum Exhibitions, has been atransformation in the way that exhibitions are made:- Only a few years ago – and still in some quarters –traditional museum exhibitions were conceived bycurators who chose the artifacts and wrote the textthat was presented to a passive audience. Theexample shown here is the permanent collectiondisplay of ancient Greek ceramics at the PrincetonUniversity Art Museum, where we have recentlyplanned an expansion.- Most contemporary exhibitions, however, are farmore complex, as curators have been joined notjust by exhibition designers, but also by personsresponsible for the audio-visual productions, educators,conservators, financial administrators andsecurity personnel, all of whom have to be creativelyinvolved in the exhibition in order for it to bea success. These are two examples, a completed exhibitionon contemporary Hong Kong in the HeritageMuseum that we planned and project-managedfor that city, and the other our design for anexhibition still to be built in St John’s, Newfoundlandon the cultural history of that province.- More demanding, but more satisfactory in its results,is the interactive exhibition that takes accountof its audience before, during and after theexhibition, and gives them a chance to participatein the exhibition, either through selection of objectsto study from a visible storage presentation,or from interactive computer programs on screen.Here is an excellent example, the exhibition celebratingthe 2002 centennial of Peter Rabbit’s Gardenand its author and artist, Beatrix Potter, whichcombined a high-tech audio-visual of England’sLake District where Potter lived with a lovely selectionof her watercolours borrowed from theV&A Museum in London and her publisher, butmost delightfully providing an indoor ‘story tree’under which the famous children’s books could beread to a fresh generation of rapt listeners – whoalso got to see the stories dramatized on a nearbyvideo theater in the gallery, of course.The real frontier today, however, is what I have calledinter-creativity, an approach to exhibitions that takesaccount of the community of origin of the works ofart, specimens, artifacts or ideas that are being shown inthe exhibition. Communities of origin might be the artistsof a conventional fine art exhibition, or the communityof scientists or historians concerned with theexhibition’s subject matter, but they might also be theethnic group who are the current practitioners or heirsof the culture or civilization that is being featured in theexhibition. This is a particularly powerful approach forfirst voice museums where the way in which those peoplesee their culture may be given equal expression withthe way in which scientists or historians see it. Theseexamples show members of our firm at work on intercreativeexhibition development at a cultural center inKnoxville, Tennessee, and myself working with a similargroup in Seoul, Korea.This is an exciting moment in the history of museums,and promises to continue to be even moreso as the21st century continues. Museums in eastern Europe, ledby your new Art Museum here, can be in the forefront ofthese developments, and undoubtedly will be among thesources of even more original ideas and developments inthe years ahead.59

Irena Vujčić-Pavlović, istoričar umetnosti, SlovenijaUniverzalni muzeji- za i protivili svi za jednog - jedan za sveOsamnaest najvećih muzeja i galerija u svetu je, u decembru2002. godine, potpisalo deklaraciju, kojomse izjašnjavaju kao univerzalni muzeji. Donošenje deklaracijeje usledilo nakon konferencije na kojoj su direktoritih muzeja i galerija objasnili u čemu je suštinauniverzalnosti njihovih institucija. Njihova stanovištasu objavljena u British Museum News. Deklaracija jebila glavna tema i prvog izdanja ICOM Newsletter za2004. godinu.Muzeji su ovom deklaracijom želeli da naglase svojznačaj u uspostavljanju boljeg razumevanja različitihcivilizacija i u promovisanju poštovanja među njima.Povodom potpisivanja deklaracije, Nil MacGregor, direktorBritanskog muzeja izjavio je da su ovi muzejiuniverzalne institucije, koje omogućavaju posetiocima”da vide svet kao jedinstvo” i da tako podstaknu većudruštvenu toleranciju.“Svi potpisnici se temelje na idejida pripadaju svima”Koncept univerzalnosti se javlja još od začetaka muzeja.Preteče muzeja, kabineti retkosti 17. i 18. veka,imali su spektakularne i egzotične predmete i uzorke izcelog sveta. Jedan od najpopularnijih muzeja 17. veka jebio svetski muzej Atanasiusa Kirhera, koji je otvoren uRimu 1651. godine. O univerzalnoj viziji ovog “teatarprirode i umetnosti” saznajemo iz njegovog kataloga,koji pominje skulpture iz Japana i Egipta, Američku narodnunošnju, kineske mape, umetnička dela iz SieraLeone, i rep morske sirene i kosti giganta. Ovakav načinzbiranja umetničkih kolekcija zadržao se i u vreme nastankamuzeja u današnjem smislu reči, u osamnaestomveku, u enciklopedijskom pokretu tzv. evropskog pros-Johan Zoffany, Antikvarijum Charles Townley- a 1782.Johan Zoffany, Antiquarium of Charles Townley- a 1782.60Irena Vujčić-Pavlović, art historian, SloveniaUniversal museums– pros and consor All for one and one for allEighteen of the largestmuseums andgalleries in the worldsigned a declarationin December 2002proclaiming themselvesuniversal museums.The signing ofthis Declaration followedthe conference inwhich the executivesof these museums andgalleries had explainedthe nature of theuniversality of theirinstitutions. Their viewswere published inPartenonski ili Elginovi mermeri uBritanskom muzeju u LondonuParthenon or Elgin marbles inBritish museum, LondonThe British Museum News. This Declaration was alsothe main topic of the first ICOM Newsletter for 2004.With this Declaration, the museums wanted to emphasizetheir own importance for achieving better understandingof different civilizations and promotingtheir mutual respect. On the signing of this Declaration,Neil Macgregor, the director of The British Museum, saidthat these museums were universal institutions enablingtheir visitors “to see the world as one”and in thisway support greater social tolerance.“All the signatoriesare predicated on the notion that they belong to everybody.”The concept of universality appeared from the momentmuseums appeared. The forerunners of museums,the rarity cabinets of the seventeenth and eighteenthcentury, contained spectacular and exotic objects andspecimens from all over the world. One of the most popularmuseums of the seventeenth century was TheWorld Museum of Athanasius Kircher, opened in Romein 1651. We learn about the universality of this “theatreof nature and art” from his catalogue mentioning thesculptures from Japan and Egypt, Native American clothing,Chinese maps, artworks from Sierra Leone , anda mermaid’s tail and bones of a giant. This way of gatheringart collections was maintained even at the timesof the outset of museums in modern meaning of theword in the eighteenth century encyclopedic movementof the so-called European Enlightenment. The BritishMuseum and The Louvre are typical in that sense. As theAct on founding The British Museum from 1753 declares:“All arts and sciences have a connection with eachother…”It is an important argument to call upon in preservingsuch collections from the time of their origin.The collecting became more rigorously scientificallyoriented, so that the problem of original and legal ownershipof artifacts became more subjected to publicscrutiny. This problem was named “The Parthenon dilemma”,in relation to the long-lasting dispute betweenGreat Britain and Greece over the legal and moralrights over the so-called “Elgin Marbles”, removed fromGreece while under Turkish rule between 1801 and1810, by Lord Elgin and brought to Great Britain. In1816 an appointed Committee of the House of Commonsruled that the collection was the legitimate property ofLord Elgin as an individual. After the discussion in the

vetiteljstva. Britanski muzej i Luvr su, u tom smislu, tipični.Kao što kaže Akt o osnivanju Britanskog muzejaiz 1753. godine: “ Sve umetnosti i nauke su povezanejedna sa drugom…” To je važan istorijski argument nakoji bi se moglo pozvati za očuvanje takvih zbirki izvremena njihovog nastanka.Sakupljanje je kroz vekove postalo strožije naučnoorijentisano, pa je problem originalnog i pravnog vlasništvanad umetničkim predmetima došao pod veći javninadzor. Ovaj problem je nazvan “Partenonska dilema”,u vezi sa dugotrajnom raspravom između Engleskei Grčke, oko pravnih i moralnih prava na tzv. “Elginovemermere”, koje je iz Grčke, koja je bila pod Turskomokupacijom sklonio Lord Elgin, između 1801. i1810. godine i doneo ih u Britaniju. Godine 1816. IzabraniKomitet Donjeg Doma Engleskog parlamenta jeustanovio da je kolekcija legitimno vlasništvo Lorda Elgina,kao privatnog lica. Nakon rasprave u Donjem Domu,većina se složila, i kolekciju je otkupio Britanskimuzej i poverena je, kao trajno vlasništvo, kustosimaBritanskog muzeja. Prvi zahtevi za povratak Partenonskihskulptura u Atinu čuli su se još na raspravi u DonjemDomu 1816. godine. Pozivi za povratak koje su kojesu upućivali pojedinci, započeli su još 1833. godine.Formalno-pravni zahtevi počinju od 1965. godine, kadaje Grčko ministarstvo za kulturu otišlo tako daleko da jezatražilo vraćanje Grčkoj svih grčkih antikviteta. Jedanod najvećih boraca za povratak predmeta koji vode porekloiz Grčke, bila je Melina Merkuri, ministrica kultureGrčke. Na njeno insistiranje, na UNESCO-voj Svetskojkonferenciji o Kulturnoj politici, u Meksiku 1982.godine, izglasana je rezolucija koja poziva na povratakPartenonskih mermera i njihovu ponovnu inkorporacijuna Partenon. Oktobra 1983. godine, Grčka vlada je uručilaformalni bilateralni zahtev Britanskoj vladi za povratakPartenonskih mermera, koji je ova zvanično odbilaaprila 1984. Nakon toga usledilo je niz poziva napovratak, kako onih zvaničnih, tako i individualnih. Unovembru 2002. godine, delegacija Grčkog ministarstvaza kulturu, koja je bila u poseti Britanskom muzeju,predstavila je svoj predlog da se Partenonska skulpturaprenese u Atinu u novi muzej, koji je sagrađen u bliziniAkropolja, kao dugoročna pozajmica ili kao aneks Britanskogmuzeja. Ovaj predlog je razrađen na UNESCOovomskupu u martu 2003. godine, a u vezi sa održavavanjemOlimpijskih igara u Atini, u avgustu 2004. Ali iovaj predlog je odbijen. Poslednji zahtev za povratakPartenonskih mermera uputio je grčki premijer KostasSimitis, britanskom premijeru Toniju Bleru, u jednoj televizijskojemisiji.Osim Britanskog muzeja, postoji još dosta institucijakoje poseduju predmete čije vlasništvo je sporno i kojesu se suočile sa zahtevom za povratak državama izkojih ovi predmeti vode poreklo. To su pre svega Pergamonskioltar u Pergamonskom muzeju u Berlinu, na kojeTurska polaže pravo, Beninske bronze u Kraljevskojakademiji umetnosti u Londonu, na koje Nigerija polažepravo, Egipatske skulpture u Luvru i još mnoge druge.Osamnaest muzeja i galerija potpisnika deklaracije,na čelu sa Britanskim muzejem, izjavilo je da neće vratitiumetničke predmete, koji su zaplenjeni tokom kolonijalnevladavine ili tokom sličnih ranijih perioda u istoriji.Iako ove institucije tvrde da priznaju i podržavajuskorašnje međunarodne konvencije protiv ilegalnenabavke arheoloških, umetničkih i etničkih predmeta,one ipak iznose da “predmete dobavljane u ranijim periodimatreba posmatrati u svetlu drugačijih uslova ivrednosti koje je odražavalo to ranije doba. Predmeti imonumentalna dela koja su smeštena u muzeje širomHouse of Commons, majority agreed and the collectionwas sold to The British Museum and entrusted as a permanentproperty to the Trustees of The British Museum.The first demands for the return of the Parthenon sculpturesto Athens occured during discussion in The Houseof Commons in 1816. The individual demands appearedin 1833. The official and legal demands started in 1965when the Greek Ministry of Culture went so far as to demandthe return of all the Greek artifacts to Greece.One of the greatest fighters for the return of the artifactsto Greece was Melina Mercouri, the Greek ministerof culture. To her demand, a resolution that callsupon the return of the Parthenon Marbles and their incorporationto the Parthenon was voted at the UNESCOWorld Conference on Cultural Policy in Mexico, in 1982.In October 1983, the Greek government presented a formalbilateral request for return to the British government,which denied the request officially in April 1984.After that, a series of both official and individual requestsensued. In November 2002, a delegation of theGreek Ministry of Culture, visiting the British Museum,presented their proposal to move the Parthenon sculpturesto Athens, to a new museum, built in the vicinityof the Acropolis, as a long-term loan or as the annex ofthe British Museum. This proposal was elaborated atthe UNESCO Conference in March 2003 and in relationto the upcoming Olympic Games in Athens in 2004. Butthis proposal was also rejected. The last request for thereturn was made by the Greek Prime Minister KostasSimitis to the British Prime Minister Tony Blair in a televisionshow.Beside the British Museum there are also other institutionsowning objects of disputed ownership andwhich are facing the requests for returning these objectsto the countries of their origin.There are, first of all, thePergamon Altar at the Pergamon Museum in Berlin, claimedby Turkey, the Benin Bronze at the Royal Academyof Arts in London, claimed by Nigeria, the Egyptiansculptures at the Louvre and many others.The eighteen museums and galleries, signatories tothe Declaration, led by the British Museum, stated thatthey would not return the objects seized during colonialrule or during similar historical periods. Although theseinstitutions claim that they acknowledge and supportrecent international conventions against the illicite acquisitionof archaeological, artistic, and ethnic objects,they still state that “the objects acquired in earlier periodsmust be viewed in the light of the different sensitivitiesand values, reflective of that earlier period. Theobjects and monumental works that were installed decadesand even centuries ago in museums throughoutEurope and America, were acquired under conditionsthat are not comparable with current ones.”In defense of such an attitude, the Declaration statesthat the objects acquired in earlier periods, whetherthrough purchase, as a gift or through the division of territory,have in time become part of the museums whichtook care of them and a part of the heritage of the nationsthat preserve them. Today, when we are especiallysensitive to the subject of the original context of a work,we should keep in mind that the museums also provide avalid and original context to the objects which had beenmoved from their original environments much earlier.Through their special exhibitions and their permanentdisplays, they endow the great individual pieces in theircollections with a worldwide context within which theirfull significance is graspable as nowhere else.It is said in the Declaration that “the universal admirationfor the ancient civilizations would not be sodeeply established today were it not for the influence61

Evrope i Amerike decenijama, pa i vekovima ranije, nabavljanasu pod uslovima koji se ne mogu uporediti sadanašnjim.”U odbranu ovakvog stava, u deklaraciji se iznosi dasu predmeti pribavljeni u ranijim periodima, bilo kupovinom,poklonom ili podelom teritorije, vremenom postalideo muzeja, koji su se brinuli o njima i deo baštinenacija koje ga čuvaju. Danas kada smo naročito osetljivina temu originalnog konteksta dela, ne treba da izgubimoiz vida činjenicu da muzeji, takođe, obezbeđujuvažeći i dragocen kontekst za predmete koji su mnogoranije premešteni iz svojih originalnih okruženja. Krozsvoje posebne i stalne izložbe oni daju vrhunskim pojedinačnimkomadima iz svojih kolekcija opšte poznatikontekst, u okviru koga je njihov pun značaj razumljivijinego bilo gde drugde.U deklaraciji se kaže da “Sveopšte divljenje za antičkecivilizacije danas ne bi bilo toliko duboko ukorenjenoda nije bilo uticaja koji su izvršili umetnički predmetiiz ovih kultura, koji su dostupni međunarodnoj javnostiu velikim muzejima.”Kao primer se navodi skulpturaklasične Grčke. Vekovima duga istorija vrednovanjagrčke umetnosti započeta je u antici, obnovljena urenesansnoj Italiji i kasnije raširena na ostatak Evrope iAmerike. Njena prisutnost u kolekcijama javnih muzejaširom sveta obeležila je značaj Grčke skulpture za čovečanstvou celini. Šta više, izrazito grčka estetika ovihdela je uočljivija ako se ona posmatraju i proučavaju uvezi sa delima drugih velikih civilizacija.Poziv na povratak predmeta koji pripadaju muzejskimkolekcijama dugi niz godina, postao je važan problemza muzeje. “Moramo priznati da muzeji ne služesamo pripadnicima jedne nacije, već ljudima svih nacija.”Zastupnici deklaracije poručuju da međunarodnauloga u promociji kulture prevazilazi uske nacionalne ivlasničke interese. Muzeji su zastupnici u razvoju kulture,čija je misija da ubrzaju znanje stalnim procesom reinterpretacije.Svaki predmet doprinosi tom procesu.Ograničiti fokus muzeja čije su kolekcije raznolike bi,prema tome, bilo na štetu svih posetilaca ili kako to kažeNeil MacGregor, direktor Britanskog muzeja “ Umanjivanjekolekcija kao što su ove, bila bi ogromna štetaza svetsku kulturnu baštinu”.Ova deklaracija je izazvala buru protesta i negodovanja.Najviše je onih koji su tvrdili da muzeji koristepojam globalnog muzeja da bi podržali argument protivrepatrijacije određenih izabranih predmeta u zemlje kojepolažu pravo na prvobitno vlasništvo.Prve kritike na deklaraciju su The Art Newspapersumirale pod naslovom “ Pristup međunarodnim odnosimakoji podseća na Džordža Buša”. The Newspaper suizvestile da je ”međunarodna grupa direktora želela daonemogući bilo kakvu ozbiljnu raspravu.” Andreas Esheteiz Etiopije, predsedavajući Asocijacije za povratakEtiopljanskog Magdala blaga, to je nazvao “ nečim što jesamo eurocentrično posebno zalaganje” i primetio zajedljivoda “ samo nekoliko od 60 miliona stanovnikaEtopije može posetiti velike Evropske muzeje ili muzejeUSA i videti svoju baštinu”. U USA, Tom Kremers, websitemoderator za listserv Museum Security Network,nazvao je ovu deklaraciju “jasnim kulturnim kolonijalizmom”,citirale su The Art Newspaper. Među grupamakoje su javno kritikovale deklaraciju je InternationalCouncil of Museum, koji smatra da njoj nedostaje “mudroi promišljeno prosuđivanje”. Džefri Luis, predsedavajućiICOM Etničkog komiteta smatra da je glavnasvrha deklaracije da “obezbedi veći nivo imuniteta odzahteva za repatrijacijama.“ Pretpostavka da se muzejisa univerzalno definisanim predmetom mogu izuzetiod takvih zahteva je varljiva. Deklaracija je izjava o62exercised by the artifacts of these cultures, widely availableto an international public in major museums.” Anexample of this is the sculpture of the classical Greece.The centuries’ long history of assessing the Greek artstarted in the classical period, was renewed in the RenaissanceItaly and later spread to the rest of Europeand America. Its presence in the collections of publicmuseums throughout the world has denoted the significanceof the Greek sculpture for the entire mankind.Furthermore, a markedly Greek aesthetics of theseworks is more noticeable if they are observed and studiedin relation to the works of other great civilizations.The proposal to return the objects belonging to themuseum collections for many years has become a majorproblem for the museums. “We must admit that museumsdo not serve only to the people of one nation, but topeople of all nations.”The advocates of this Declarationcommunicate that the international role in promotingculture overcomes narrow nationalist and proprietaryinterests. The museums are the advocates in the developmentof culture, the mission of which is to advanceknowledge with a constant reinterpretation process.Each and every one of these objects contributes to thisprocess. Limiting the focus of museums with diverse collections,therefore, would be damaging to all the visitorsor as Neil Macgregor, the director of the British Museumsays “diminishing of collections such as thesewould be a great loss to the world’s cultural heritage.”This Declaration provoked a storm of protests anddisapproval. The greatest number of protestors claimedthat the museums used the term of a global museum inorder to support the argument against the repatriationof certain chosen objects into the countries that lay claimsof original ownership.The first criticisms of the Declaration are summedup in an article by the Art Newspaper entitled A GeorgeBush Approach to International Relations. The ArtNewspaper reported that “the international group of directorshad wanted to spark off serious discussion.”AndreasEshete from Ethiopia, the chairman of the Associationfor the Return of the Ethiopian Magdala Treasurecalled it “no more than Eurocentric special pleading”and noted sarcastically that “few of Ethiopia’s 60 or somillion inhabitants can visit the great museums of Europeor the U.S. to take a look at their heritage.” In theUSA, Tom Cremers, Web-site moderator for the MuseumSecurity Network’s listserv, is quoted in the Art Newspaper,calling this declaration “outright cultural colonialism.”Among the groups that openly criticized theDeclaration is the International Council of Museumswhich feels that it lacks “wise and thoughtful judgment.”Geoffrey Lewis, the chairman of the ICOM EthicalCommittee, feels that the main purpose of the Declarationis “to establish a higher degree of immunity fromclaims”for repatriation.“The presumption that museumwith universally defined objectives may be consideredexempt from such demands is specious. The Declarationis a statement of self-interest, made by a group representingsome of the world’s richest museums; they donot, as they imply, speak for the »international museumcommunity«.” Australian museums which supportthe return of the Aboriginal bones, hair and other humanremains from the collections of the European naturalhistory museums, also do not approve of this Declaration.The general principle of the AAM Ethical Codefor museums states that “competing claims of ownershipthat may be asserted in connection with objects in Šamuseum’sĆ custody should be handled openly, seriously,responsively and with respect for the dignity of all partiesinvolved.”

sopstvenim interesima, koju je sastavila grupa kojupredstavljaju neki od najbogatijih svetskih muzeja; onine govore, kao što nagoveštavaju, u ime međunarodnemuzejske zajednice”. Australijski muzeji, koji se zalažuza vraćanje aboridžinskih kostiju i kose i drugih ljudskihostataka, iz kolekcija Evropskih prirodnjačkih muzeja,takođe, ne odobravaju ovu deklaraciju. Opšti principAAM-ovog etičkog kodeksa za muzeje navodi da“različiti zahtevi za vlasništvo koji se polažu u vezipredmeta koji su u (muzejskom) vlasništvu moraju bitirazmotreni otvoreno, ozbiljno, odgovorno i uz poštovanjedostojanstva svih zainteresovanih strana.”Neki smatraju da bi prihvatanje ove deklaracije mogloda ima mnoge ozbiljne posledice za rešavanje pitanjavlasništva u budućnosti. Iračko kulturno nasleđekoje je stradalo u ratu i bombardovanju te zemlje, a zakoje su sebe nadležnima proglasile Britanija i Amerika,a Britanski muzej već poslao svoje stručnjake u Bagdad,moglo bi da doživi istu sudbinu kao i kolonijalizovanipredmeti u prethodnim periodima. Iako su njihove humanitarnenamere neosporne, postoji strah da bi, ukolikose ova deklaracija o univerzalnim muzejimaozbiljno shvati, jednog dana Iračka kulturnazaostavština mogla da bude povodza sličnu takvu deklaraciju, kojom se odbijanjen povratak u Irak i potvrđuje Britanskimuzej kao njen vlasnik, kao u slučajuGrčke.Osim zamerki da je deklaracija posledicastraha direktora nekih muzeja daće njihove zgrade ostati bez svojih najvrednijihkolekcija, bilo je još nekolikokritika na ideju univerzalnog muzeja.Džordž Abungu, bivši generalni direktorNacionalnog muzeja Kenije, smatra dasvaki muzej ima nešto naročito, što mudaje univerzalnu vrednost za čovečanstvo, pase onda pita da nije možda kriterijum za pridruživanjegrupi univerzalnih muzeja to da je muzejsmešten u Evropi ili Severnoj Americi.Veliki broj kritičara ističe da muzejske kolekcije,umesto jedinstvenog, daju jednostrani pogled na svet.Ove kritike su produžetak rasprave o važnosti univerzalnihvrednosti, pokrenute u mnogim disciplinama odsociologije do estetike, ljudskih prava i filozofije - identifikovatiuniverzalno, koje nije samo projekcija Zapadnihkulturnih vrednosti. Mark O’Nil, upravnik muzejau Glazgovu, misli da muzeji ne samo da ne naglašavajuuniverzalnost, već su usmereni na posebnost i razdvojenostmeđu kulturama. Muzeji koji tvrde da imaju univerzalnistatus, već decenijama ili vekovima imaju galerije,koje su posvećene različitim svetskim kulturama uokviru iste zgrade. Oni su univerzalni, ili bar globalni, ugeografskom smislu još od svojih početaka, ali se ne možereći da oni promovišu liberalni pogleda na svet. Onivide svet kao jedinstvo, ali jedinstvo kojim vlada Zapadi gde su Zapadne estetske vrednosti prihvaćene kao univerzalnisistem vrednosti. Ali čak ni za sam “Zapad”ovekolekcije nemaju univerzalni opseg.“Kako su one uglavnomproizvod bogatih muških kolekcionara, mnogeoblasti života nedostaju, kao što su predmeti povezanisa dnevnim životom žena i dece, dok neki drugi aspektidominiraju, naročito oružje i materijal za koji se mislida ima umetničku vrednost. Nedostaju, takođe, i predmetikoji su poverljivi ili sveti u Zapadnoj kulturi, kaošto su telesni ostatci skoro preminulih Evropljana ilimoderna pornografija, dok je cela oblast nematerijalnekulture, takođe, odsutna.” smatra Nil Kertis, viši kustosMarischal muzeja Aberdeen univerziteta.Ovih 18 muzeja možda zaista imaju pravni argumentSome feel that acceptance of this Declaration couldcause serious consequences for solving the ownershipclaims in future. The Iraqi cultural heritage destroyedby the war and the bombing of this country, over whichGreat Britain and America took control, and the BritishMuseum already sent their experts to Baghdad, couldhave the same destiny as the seized objects from the colonialtimes. Although their humanitarian intentionsare indisputable, it is feared that, if this Declaration onuniversal museums was taken seriously, Iraqi culturalheritage could one day motivate a similar declarationwhich denies its return to Iraq and confirms the BritishMuseum as its owner, like in the case of Greece.Beside the objections that the Declaration is theconsequence of fear of some museums’ managers thattheir buildings could be deprived of their most valuablecollections, there were several other criticisms to theidea of the universal museum. George Abungu, the formergeneral manager of the National Museum of Kenya,feels that every museum has something special that makesit universally valuable to themankind, and then he wonders ifa criterion for joining the groupof universal museums is that amuseum is located in Europe orNorth America.A large number of criticsemphasize that the museum collectionsprovide a unilateralinstead of a universal view ofthe world. These criticisms arethe continuation of the disputeon the importance of theuniversal values, which startedin many disciplines fromsociology to aesthetics, humanrights and philosophy –to identify the universal thatis more than just a projectionof the Western cultural values.Mark O’Neill, the managerof the Glasgow Museumthinks that museums notonly do not emphasize universality,but they are directedtowards the particulari-Beninske bronze u Kraljevskojakademiji umetnosti u Londonu ty and diversity among cultures.These museums thatBronze from Benin from Royalart academy in London claim to have universal status,have galleries dedicatedto various world cultures within the same buildingfor decades or even centuries. They are universal, or atleast global, in a geographical sense, from their earlydays, but one cannot claim that they promote a liberalview of the world. They see the world as a unity, but aunity governed by the West and where the Western valuesare accepted as a universal value system. But thesecollections do not have a universal scale even for the“West” itself. “As they are generally the product ofwealthy male collectors, many areas of life are absent,such as objects associated with the daily lives of womenand children, while other aspects predominate, notablyweaponry and material seen as having artistic merit. Alsomissing are items that are confidential or sacred inWestern culture, such as the bodily remains of recentlydead Europeans or modern pornography, while the wholerealm of non-material culture is also absent. We cannotpretend that museum collections have a universalscope”, says Neil Curtis, senior curator at MarischalMuseum, University of Aberdeen.63

da podrže svoje pravo da zadrže i izlažu umetničkepredmete nabavljene u prethodnim vekovima, po drugačijimzakonima i standardima. Ali oni će ipak morati dapregovaraju sa etničkim grupama i nacijama – državama,koje polažu pravo na umetnost i predmete kojiodražavaju njihovu kulturnu baštinu. A ovaj složenipravni i etički problem neće nestati. U stvari, zbog svečešćih međunarodnih putovanja i sve veće dostupnostinovih velikih količina istorijskih zapisa i podataka kojise na njih odnose, on pokazuje sve znake da će postatisve više javan i sve urgentniji. Još jedno važno pitanje ješta bi univerzalni muzeji mogli da budu i koju uloguigraju ili će u budućnost igrati u društvu. U vremenuglobalnog terora, ratova i glasova predaka koji predviđajune samo rat, već katastrofalni sukob civilizacija,mogućnost postojanja univerzalne perspektive o kulturnimrazlikama, koja bi doprinela većem međusobnomrazumevanju i poštovanju je izuzetno značajna. Ako bimuzeji bili u stanju da pomognu da se stvori i preneseuniverzalni pogled na kulturne vrednosti koji bi imaoverodostojnost i vrednost i izvan zapadnjačkih kulturnihelita, oni bi zaista dali neprocenjiv doprinos globalnomdruštvu.Literatura:1. G. Abungu, The Declaration: a Contested Issue, ICOM Newsno1., 2004.2. N. Curtis, Repatriation: threat or opportunity?, The Newsletteron- line, http://www.abdn.ac.uk/newsletter/issue_22/review_a.shtml3. Declaration on the Importance and Value of Universal Museums,http://www.thebritishmuseum.ac.uk/newsroom/current2003/universalmuseums.html,reprinted in ICOM News no1., 2004.4. G. Lewis, The Universal Museum: a Special Case?, ICOMNews no1., 2004.5. K. Muller, The Culture of Globalisation, Can Museums OfferNew Version of Globalised Socety, Museum News, May/June 2003,American Association of Museum, 2003, reprinted in www.kmlink.net6. K. Muller, World Service, Museumsjournal, January 2004.Vol.104, No.1, British Museum Association, reprinted in www.kmlink.net7. . N. MacGregor, The Whole World in our Hands, The Guardian,Saturday 24 th July, 2004. http: //books.guardian.co.uk/review/story/8. M. O’Neill, Enlightment museums: universal or merly global?,http://www.le.ac.uk/uk/museumstudies/m&s/ONeill.pdf.9. The Parthenon Sculptures: Facts and Figures,http://www.thebritishmuseum.ac.uk/gr/debate.html10. P.- K. Schuster, The Treasures of World Culture in the PublicMuseum, ICOM News no1., 2004.Mira Ovanin, LORD Cultural Resources Planning &Management, Inc., Toronto, CanadaO promenama s kojimase muzeji u Kanadidanas susrećuGrađani Kanade imaju na raspolaganju bogato znanje,kulturu i istoriju. Njihovo prisustvo u današnjemsvetu ima veliki uticaj u oblastima kao što su ljudskaprava, muzika, film i politika. Tokom poslednje četiri decenije,kanadski muzeji su, sa svojim programima, profesionalizmomi kvalitetom usluga, bili među vodećima usvetu, dajući izuzetan doprinos razvoju muzeja, kako lokalnihtako i širom sveta. U Kanadi danas postoji 2.500muzeja i srodnih institucija, s približno 25 hiljada stalnozaposlenih, kojima pomaže oko 40 hiljada volontera.Svake godine, kanadske muzeje poseti oko 58 milionaljudi. Muzeji doprinose opštoj privredi zemlje, i jedan suod nosilaca kulturnog turizma, delatnosti koja ima brzrazvoj, pogotovo u urbanim centrima.Međutim, prilike su se značajno promenile sredinomi krajem devedesetih. Tada su, na sva tri nivoa, federal-64These eighteen museums may indeed have a legal argumentto support their right to keep and exhibit artobjects obtained in previous centuries under differentlaws and standards. But they will still have to negotiatewith the ethnic groups and nations – the countries thatlay claims on the art and objects which reflect their culturalheritage. And this complex legal and moral issuewill not simply go away. Actually, owing to the increasein international travel and greater accessibility of historicalrecords and the data related to them, it shows signsof becoming more public and more urgent. Another importantquestion is what universal museums could beand what role they lay or they will play in future. At atime of global terror, wars and ancestral voices prophesyingnot just war but a catastrophic clash of civilizations,the possibility of coherent universal perspectiveon cultural difference, which would contribute to greatermutual understanding and respect, is of the utmostimportance. If museums were capable of helping to createand communicate a universal perspective on culturalvalues, that would achieve credibility and currencyoutside western cultural elites, they would indeed makea precious contribution to global society.Literature:1. G. Abungu, The Declaration: a Contested Issue, ICOM Newsno1., 2004.2. N. Curtis, Repatriation: threat or opportunity?, The Newsletteron- line, http://www.abdn.ac.uk/newsletter/issue_22/review_a.shtml3. Declaration on the Importance and Value of Universal Museums,http://www.thebritishmuseum.ac.uk/newsroom/current2003/universalmuseums.html,reprinted in ICOM News no1., 2004.4. G. Lewis, The Universal Museum: a Special Case?, ICOMNews no1., 2004.5. K. Muller, The Culture of Globalisation, Can Museums OfferNew Version of Globalised Socety, Museum News, May/June 2003,American Association of Museum, 2003, reprinted in www.kmlink.net6. K. Muller, World Service, Museumsjournal, January 2004.Vol.104, No.1, British Museum Association, reprinted in www.kmlink.net7. N. MacGregor, The Whole World in our Hands, The Guardian,Saturday 24 th July, 2004. http: //books.guardian.co.uk/review/story/8. M. O’Neill, Enlightment museums: universal or merly global?,http://www.le.ac.uk/uk/museumstudies/m&s/ONeill.pdf.9. The Parthenon Sculptures: Facts and Figures,http://www.thebritishmuseum.ac.uk/gr/debate.html10. P.- K. Schuster, The Treasures of World Culture in the PublicMuseum, ICOM News no1., 2004.Mira Ovanin, LORD Cultural Resources Planning &Management, Inc., Toronto, CanadaSome Thoughts onCanadian MuseumsCanadians have great knowledge, culture and historyto share with others. Their presence is strongly felttoday in spheres of human rights, music, film, politics, toname a few. During the past four decades, Canadianmuseums have been world leaders in the programming,professionalism and quality of their facilities and services.They have made an exceptional contribution to thedevelopment of museums both locally and internationally.There are over 2,500 museums and related institutionsin Canada. They employ around 25,000 people, andengage 44,000 volunteers. Annually, approximately 58million people visit museums and related institutions inCanada. Museums contribute to the country’s economy,and they drive and encourage cultural tourism, an industrythat is booming, especially in urban areas.However, in the mid- and late nineties, all three levelsof government - federal, provincial and municipal -significantly reduced their funding not only to museums

ne, provincijske i gradske vlasti značajno smanjile dotacije,ne samo muzejima, već i drugim kulturnim i obrazovniminstitucijama. Rezultat je bio poražavajući, pamnogi muzeji, pogotovo oni manji i lokalni, moraju daulažu velike napore da opstanu, tražeći način kako dasami finansiraju svoj rad, bez većeg oslanjanja na dotacije,bilo federacije, provincije ili grada. Osim smanjivanjasredstava za istraživanje, smanjili su broj zaposlenihi promenili način poslovanja, a neki su morali da prestanus radom i da zatvore vrata. Ohrabrujući su nagoveštajida će federalna vlada povećati doprinos muzejima,ali zvanično to još nije potvrđeno. Pa ipak, i porednedostatka sredstava, situacija u kanadskim muzejimajoš uvek je bolja nego u mnogim drugim zemljama, kojenastoje da prate kanadska dostignuća u toj oblasti.Tradicionalna uloga muzeja se menjaUpravljanju kanadskim muzejima oduvek je posvećivanavelika pažnja.I pored toga što su im sredstava ograničena, muzejisu obogaćivali svoje kolekcije, vodili računa o njihovojzaštiti i prezentirali ih na izložbama. Istovremeno su setrudili da, održavajući visoki kvalitet u istraživanju svojihkolekcija, obrazuju javnost. Ali se u tom pogledu njihovatradicionalna uloga u mnogo čemu promenila. Danasse mnogo više pažnje posvećuje ostvarivanju dohotka,dok se istovremeno ograničavaju mnogi fondovi zapojedine delatnosti u okviru samih muzeja. Rezultatovakvog trenda je da muzeji sve više dejstvuju kao poslovnapreduzeća, pa su zbog toga morali da promene isvoju kulturnu i poslovnu politiku. Ograničavanje vladinihfondova nateralo je muzeje da više ulažu u povećanjebroja posetilaca, što se odrazilo na kvalitet muzejskihusluga, pošto manje sredstava ostaje za istraživačkirad i akviziciju. Mnogi se sa tim ne slažu, jer uovakvoj situaciji vide negativan trend, pošto se muzejiizjednačavaju sa bilo kojim drugim lukrativnim institucijamaza zabavu. Drugi, opet, u takvim strategijama zaprivlačenje posetilaca vide i pozitivnu stranu, na primer,sve više se razvija veza između muzeja i škola.Sve veća uloga marketingaU naporima da se održe na tržištu, kanadski muzejimoraju da nude programe i aktivnosti koje su zanimljivijeod mnogih jevtinijih vrsta zabave, koje nude modernimediji, sportski događaji, da i ne pominjemo filmskui TV ponudu. U takvim uslovima, da bi svojim redovnimi potencijalnim posetiocima ostali konkurentni i zanimljivi,muzeji prate i analiziraju demografska kretanja nebi li ustanovili šta je to što njihova publika očekuje da unjima vidi. Zato ne čudi činjenica da su marketinškaodeljenja u mnogim muzejima danas mnogo jača i boljeopremljena od odeljenja za istraživački rad! Nije lakoustanoviti šta je to što privlači tako raznorodno kanadskodruštvo, u kome se odvija intenzivna šarolika kulturnarazmena. Iako Kanada ima dva zvanična jezika,engleski i francuski, njeni mnogobrojni doseljenici izskoro svake zemlje na svetu i dalje vrlo živo koriste maternjijezik, kako u privatnom tako i u poslovnom životu.Samo se u Torontu govori više od 130 jezika sveta. Unekim kvartovima grada, može se čuti, naprimer, isključivokineksi, korejski, ili arapski jezik. Natpisi u radnjamačesto su dvojezični ili trojezični. U podzemnoj železniciToronta, žili kucavici te milionske metropole, čestose čuje jezik koji ne pripada nijednoj od velikih jezičkihskupina. Zato i ne čudi što se u svim dokumentima, kojiinspirišu i prate razvoj kanadskih muzeja, neizostavnopominje i promoviše poštovanje kulturnih razlika(cultural diversity). Muzeji, po imperativu našeg vremebutto other cultural and educational institutions aswell. The impact of limited resources took a toll. Museums,especially small community ones, have struggled tosurvive, trying to find ways to finance their operationwithout relying on government. They cut back on programsand research, downsized staff, and changed theway they used to operate - some even closed their doors.The encouraging news, not yet confirmed, is that thefederal government has decided to increase its fundingto museums.Yet, regardless of the ongoing underinvestment,Canadian museums are doing better than manymuseums worldwide, which follow the achievementsthat the Canadians have demonstrated so far.Traditional Role of Museums Has ChangedCanadian museums have always been managed withgreat care. Within the context of limited resources, theyhave developed their collections, preserved them, andpresented them at exhibitions. They have also strived toachieve high quality research related to the collections,and have educated the public. This traditional role hasrather altered lately. These days we see much focus andeffort put on revenue generation and cost cutting. As aresult, museums have become rather entrepreneurialand have changed their cultural and business policiesby undertaking to develop marketing approaches thatexist in other types of businesses. Reduction in governmentfunding has made museums invest in increasingthe number of visitors. In the process, the quality of museums’service has suffered, as little was left for acquisitionand research. Many see this as a negative trend becausemuseums are being leveled with other lucrative entertainmentinstitutions. Others think of this as positivee.g. the link between schools and museums has becomestronger.Focus on MarketingToday, in order to stay competitive, Canadian museumsmust offer programs and activities that are moreinteresting than much cheaper entertainment such asnewspapers, magazines, sporting events, films, TV andsimilar. To attract and keep current visitors, they followand examine demographic, political, economic,technological and organizational trends to find outwhat Canadians want to see. No wonder that marketingdepartments in many museums are stronger andbetter equipped than their research teams! It is noteasy to figure out how to inspire such a diverse audience– Canadian society has gone through an intensiveinter-cultural exchange. Two official languages, Englishand French, are in use, and immigrants from almostevery country in the world still use their mothertongue in their everyday life, even in business. In Torontoalone, more than 130 languages are spoken. Insome quarters of the city, you can hear only Chinese, orArabic or Korean language. Signs and labels in storesare sometimes in two or three languages. On the Torontosubway, one of the city’s main arteries, you oftenhear a language that does not belong to any of the majorlanguage groups. No wonder that term ‘cultural diversity’is mentioned and promoted in museum policiesand other relevant documents, directing museums onhow museums should be operated. Cultural diversity isabsolutely the key element that demonstrates that museumscannot afford to focus on strategies and modelsof behavior that attract an audience who speak onelanguage only or come from a cultural heritage that isclosely tied to exclusively one segment of population.To stay competitive, museums are increasing admis-65

na, moraju da rade na razvoju strategije i modela ponašanjakoji privlače publiku koju više ne vezuje samo jedanjezik, odnosno kulturna baština karakteristična samoza određeni segment populacije.Opredeljenje da posluju kao bilo koje drugo preduzećekoje se samo izdržava, podrazumeva da muzeji samimogu da određuju visinu ulaznice, da od nezavisnihdonatora ishoduju veći doprinos, povećavaju godišnjupretplatu članovima muzeja, ili nađu način kako dauvećaju prihod od prodaje proizvoda u svojoj kući (naprimer, uz davanje licenci za proizvodnju predmeta izmuzejske kolekcije, objavljivanjem knjiga i video/DVDfilmova). Prihode takođe ostvaruju iznajmljivanjemsvojih prostorija za održavanje koncerata, za izvođenjepozorišnih predstava, rođendanskih proslava, sastanaka,svadbi i sl., ili organizovanjem predavanja. Muzejiulažu mnogo truda i rada ne bi li posetioce inpirisali daponovo dođu. Prodavnice u sklopu muzeja izrasle su uposebne profitabilne jedinice. Na ceni su podaci o navikamai potrošačkom potencijalu posetilaca, pošto muzejiulažu veliki napor da privuku što više posetilaca i ohrabreih da više potroše.Istraživački radProfesionalci koji se bave muzejima, pokušavaju daih osposobe da budu centri za edukaciju i sakupljanjeznanja. Međutim, naučno-istraživački rad je muzejskadelatnost koja je zbog smanjenja fondova u poslednjevreme najviše pretrpela. Krajem januara, na skupu muzealaca,naučnih radnika istraživača, u Otavi,našlo sepreko 200 direktora, kustosa i drugih naučnih istraživačaiz cele Kanade. Tom prilikom, oni su razgovarali oulozi i važnosti naučno-istraživačkog rada u muzejima,s posebnim osvrtom na tri ključna problema: kako da seodrži i poveća mogućnost muzeja da se bave naučno-istraživačkimradom; kako doći do novih integralnih saznanjaod značaja za širu zajednicu; i kako da se istraživačkirad odrazi na programe i kolekcije muzeja. Učesniciskupa u Otavi izrazili su nadu da će federalne vlastibarem uvažiti njihove predloge da naučno-istraživačkirad u kanadskim muzejima treba unaprediti.Kanadski muzeji i kulturna raznolikostKako je raznolikost pojedinih društvenih zajednicaKanade sve bogatija, čine se napori čiji je cilj da se terazlike dovedu u ravnotežu, na nivou jednakoksti polova,narodnosti, rase i vere. Muzeji se posebno trude ne bili pokazali da za te razlike imaju sluha. Ta raznolikostse ogleda u njihovim programima, a i u sastavu zaposlenih.Postoji veliko interesovanje za zaštitu pojedinih lokaliteta,koji imaju veliki značaj za društvene zajedniceu njihovoj neposrednoj okolini, a raste i zainteresovanostza kulturno nasleđe drugih zajednica i naroda.Prihvatanje tehnoloških inovacijaDa bi proširili svoj uticaj na zajednicu u kojoj deluju,kanadski muzeji koriste i najnoviju tehnologiju. Zahvaljujućitehnologiji proširuju svoje usluge i poboljšavajusvoj opšti učinak. U ovoj oblasti, Kanađani uživajumeđunarodna priznanja. Virtualna stvarnost je postaladeo svakodnevnog iskustva. Muzeji su postali virtualneinstitucije, koje koriste najnovija tehnološka sredstvaradi širenja muzejskog znanja, programa i usluga izvanzidova svojih zdanja.Kanadski muzeji nisu prepušteni sami sebiMuzealcima u Kanadi pomaže veliki broj profesionalnihudruženja i vladinih institucija i agencija. Razrađenisu, uz stalno ažuriranje, standardi, etičke smernice66sion fees and annual memberships. They request independentdonors to increase their gifts or donations.Theybecome directly involved in licensing of products, publishingbooks and videos and DVDs. They rent museumfacilities for birthdays, weddings or business gatheringsand meetings. They also generate revenues by hostingconcerts or other performances; or organize classes orlectures offered to the public on a variety of museum-relatedtopics. Museums are working hard to encouragevisitors to come back. Museum gift shops have growninto prosperous businesses that focus on the importanceof knowing who museum visitors are. Information on visitors’habits and their purchasing potential is of greatvalue, as museums are in dire need to attract more visitorsand encourage them to spend more.ResearchMuseum professionals are trying to make museumsthe centres of education and knowledge. However, theactivity that has suffered most from recent cutbacks ismuseum research. At a Museum Research Summit in Ottawathis January, more than 200 museum directors, curatorsand researchers from across the country gatheredto discuss the role and importance of museum research.They addressed three key challenges facing research inCanada’s museums: how to maintain and increase institutionalcapacity to do research; how to generate andintegrate meaningful new knowledge; and, how to translateresearch findings into collections and programs.The participants left Ottawa in the hope that the federalgovernment will at least acknowledge their recommendationsto advance research in Canadian museums.Canadian Museums & Cultural DiversityCanadian communities have become increasingly diversified,trying to reconcile cross-cultural differencessuch as gender, ethnicity, race and creed. Museums inparticular work on demonstrating that they are responsiveto the communities they serve. Diversity is reflectedin their programs and work force. There is a strong interestin preservation of sites that have cultural and historicalmeaning to the neighboring communities, andoverall, the interest in diversified cultural heritage hasintensified.Taking Advantage of Technological InnovationsCanadian museums use new information and communicationstechnology to extend their reach into thecommunity. They offer different services and improveoverall efficiency. In this area, Canadian museums haveestablished a strong presence internationally. There areamazing changes taking place on the technologicalfront: virtual reality is an everyday experience. Museumshave become virtual institutions, and they use newtechnologies to disseminate museum messages, programsand services beyond their walls.Museum NetworkA number of government associations and museumprofessional organizations support museum work. Theydevelop and update standards, ethical guidelines andlegal structures that provide consistency across thefield. In addition to federal associations, each provincehas its own organizations that deal with local issues andgather around joined programs. Author of this articlehas made a list of 32 leading museum associations thatare active at the federal level and in Ontario. Each ofthem aims to start a dialogue, and build a feeling of belongingto the profession. They all have web sites where

i zakonska regulativa, koji obezbeđuju doslednost uoblasti delovanja muzeja i srodnih ustanova. Pored federalnih,svaka provincija ima svoja udruženja, koja sebave lokalnim problemima i okupljaju muzeje oko zajedničkihprograma. Autor ovih redova napravila je listusa 32 vodeće asocijacije, koje deluju na kanadskomfederalnom nivou i na nivou provincije Ontario. Ciljsvake od njih je da započne i omogući dijalog, i izgrađujeosećaj pripadnosti profesiji. Svaka od njih ima svojestranice na Internetu, na kojima je moguće naći detaljanopis pojedinačnih aktivnosti kojima se one bave.Savremena kretanja u muzeološkoj profesijiŠto su doprinosi za muzeje manji, Kanadski muzejise sve više ponašaju kao samostalna preduzeća, kojapreuzimaju odgovornost za prihod i troškove. Sami pokrivajuveći deo svojih rashoda putem prodaje usluga idrugih proizvoda.Profesionalci muzealci su postali izuzetno fleksibilni.Sve je više profesionalaca «slobodnjaka», a sve manje imastalnih zaposlenja. Prema potrebi pojedinog projekta,formiraju se timovi koji okupljaju najbolje u struci, da bise, po završetku projekta, saradnici razišli. Mnogi profesionalciobezbeđuju usko specijalizovane usluge za dva iliviše muzeja. Istovremeno, u porastu je broj mlađih ljudi,koji imaju čvrstu želju da uspeju u takvoj sredini.Da bi održali korak sa najnovijim saznanjima i trendovimau profesiji, muzealci se okreću permanentnomusavršavanju, što je deo opšteg trenda neprestanog usavršavanjai obnavljanja znanja (lifelong relarning). Naraspolaganju su im veoma široke mogućnosti, poštopostoji odlična organizacija edukacije na nivou sektorapri lokalnim, provincijskim i federalnim asocijacijama iuniverzitetima.Zapaženoje da ljudi zaposleni u kanadskim muzejimaimaju jak osećaj ličnog zadovoljstva, koji proizilaziiz uverenja da daju važan doprinos stvarima od značajaza sredinu u kojoj zive i rade. Svesni su da je uspeh najednom poslu, najbolja preporuka za svaki sledeći.Muzeji imaju vrlo važnu ulogu u životu kanadskezajednice. Oni predstavljaju odraz i omogućavaju uvid upitanja i problematiku koja se tiče ljudi koji žive u neposrednojokolini muzeja, i njegovih posetilaca. Njihovauloga u privredi zemlje je opštepoznata. Oni su centarkulturnih zbivanja u svojoj zajednici.I na kraju, na sledećim web stranicama dostupno jeobilje zanimljivog i korisnog materijala:Canadian Museums Association:http://www.museums.ca/Cma1/About/AboutCMA.htmCanadian Heritage Information Network:http://www.chin.gc.ca/English/index.htmlOntario Museums Association:http://www.museumsontario.com/ICOM Canada:http://www.chin.gc.ca/Resources/Icom/Selection from Museums of Canada:http://www.museumsofcanada.ca/Ana Glišić, istoričar umetnosti, HolandijaDigitalni depoDigitalni depo je od 2003. godine deo stalne postavkemuzeja Boijmans van Beuningen, u Roterdamu.U tom trenutku Muzej je u svojim zbirkama posedovao161.232 predmeta, sakupljena tokom 150 godina. Muzejskifond sadrži umetnička dela od srednjeg veka do savremeneumetnosti. Koncept ovog depoa razvili su, u saradnjisa Muzejem, arhitektonski studio Kossmann Deyou will be able to find a detailed description of theirservices and activities.Some of the Current TrendsTo adjust the steady decline in government funding,museums in Canada have strived to become very entrepreneurial.They earn a considerable portion of theirfunds through sales of services and related products.The museum community has become highly mobile.There are many freelance workers. There are fewer ‘permanent’jobs. Project teams bring together the best andthe brightest in the profession, and then disband afterthe project is completed. Some museum professionalsprovide specialized services to two or more museums.Young people express a strong interest in a museum career.The museum workforce engages in self-directed andcontinuous learning. They acquire skills and competenciesthat will help them in their career. Learning opportunitiesacross the sector are very good.People working in museums feel a strong sense ofpersonal satisfaction that they are making a contributionto projects.They hope that their success on one projectmay lead to their next work.Museums are recognized as playing a significant rolein the continuous development of their communities.They reflect and provide insight on areas of relevance toresidents and visitors. Their economic significance is recognized.They are the centre of community cultural activities.In conclusion, it will be useful to visit the followingweb sites for more information:Canadian Museums Association:http://www.museums.ca/Cma1/About/AboutCMA.htmCanadian Heritage Information Network:http://www.chin.gc.ca/English/index.htmlOntario Museums Association:http://www.museumsontario.com/ICOM Canada:http://www.chin.gc.ca/Resources/Icom/Selection from Museums of Canada:http://www.museumsofcanada.ca/Ana Glišić, art historian, NetherlandsDigital depot of theMuseum Boijmans vanBeuningen in RotterdamSince 2003, the Digital depot has been part of thepermanent exhibition of the Museum Boijmans vanBeuningen in Rotterdam. At that time the museum had161 232 works of art in its collections, acquired in theperiod of 150 years. The collection consists of the worksof art from the Middle Ages to contemporary art. Theconcept of this depot was developed by architecturalstudio Kossman. De Jong from Amsterdam and the studioLUST from Den Haag, in cooperation with the Museum.Tejo Remy and Rene Veenhuizen designed the furniture.Digital depot is dedicated to the collector Willemvan der Vorm.The digital depot is one of the basic features of theMuseum Boijman van Beuningen in Rotterdam. It is avery spectacular and interesting way of presentation ofa collection and the accessibility of the depot to the visitors.Besides, digital depot is a unique strategy, which67

Jong iz Amsterdama i studio LUST iz Den Haga. Nameštajkoji se nalazi u prostoru digitalnog depoa dizajniralisu Tejo Remi (Tejo Remy) i Rene Vejnhauzen (ReneVeenhuizen). Depo je posvećen kolekcionaru WillemVan der Vorm-u.Jedna od osnovnih karakteristika muzeja Boijmansvan Beuningen je njegov digitalni depo, jedno veomaspektakularno i zanimljivo rešenje prezentacije muzejskihzbirki i otvaranja muzejskog depoa za posetioce.Pored toga, digitalni depo predstavljajedinstvenu strategiju, kojom se uinteraktivnu relaciju postavljaju posetilacmuzeja, informacija i muzejskipredmet.Nesumnjivo je da su projektantiuspeli da osmisle i izvedu vizelno zanimljivprojekat, koristeći jezik savremeneumetnosti, motive naučnefantastike i kompjutersku tehnologiju.Na masivnom zidu, koji deli tamniprostor digitalnog depoa, nalaze se“random”postavljeni muzejski predmeti,koji daju dobar presek krozmuzejske zbirke: Staklena kuća ReneMagrita, kineska porcelanska posudaiz XVIII veka,Vermerov Geografičar,stolica Mis van der Roa, RubensovHerkul, Bošovo Iskušenje svetogAntonija, skulpture Prudentia en CaritasNikolasa Stona, barokna balustrada,Usisivač Ciklon Džejmsa Dajsona,Poseta doktora Jana Stejna, itd.Sa obe strane zida postavljeni sustakleni ekrani, veličine 1 m x 1,30m, koji reaguju na dodir i na kojimase odslikavaju predmeti koji realnopostoje na zidu. Posetilac ulazi uprostor digitalnog depoa i prekotransparentnog ekrana “dodiruje”predmet koji ga interesuje. Na ekranuse zatim pojavljuje slika predmeta,koju je moguće uveličavati i pomerati,i osnovne informacije (audiovizuelne):naziv i period nastankadela i ime umetnika. Potom se možetragati i za ostalim informacijama opredmetu, njegovoj istoriji i pričama o njemu, intervjuimasa umetnicima ili filmovima. U svakom trenutkumoguće je preći na druga dela iz istog perioda ili dela istogumetnika, koja su deo zbirke. Na taj način, dela pričajupriče: priče o umetnosti, muzeju, zbirci.Pored ekrana i izloženih predmeta, digitalni depo činii tzv. prostorni oblak podataka, koji obuhvata muzejskuzbirku u celini. Oblak podataka je zapravo veliko platno,vizuelno rešeno u vidu intergalaktičkog prostora, u okvirukoga su projektovani nazivi svih predmeta koji činemuzejsku kolekciju u određenom trenutku. On je direktnopovezan sa izveštajima i inventarom i obezbeđuje spektakularanpogled u kolekciju. Preko kontrolne table saupravljačima, ispred platna, posetilac je pozvan da se krećekroz depo i da bukvalno uđe u muzejski univerzum.Digitalni depo daje jedan novi pristup otvaranjumuzejskih zbirki, koji je jedan od primarnih zadatakamuzeja. Osmišljen je kao otvorena struktura, koja nikadaneće biti završena i kompletna. On će biti proširivantokom godina, kako bi obuhvatio nova dela i novepriče.68places a visitor, information, and work of art in an interactiverelation. Without any doubt, the designers achieveda visually very interesting project using contemporaryart language, science fiction motifs and computertechnology.A large, massive wall divides and articulates thedark space of the digital depot. Works of art are randomlyplaced at both sides of the wall: “The Glass House”by René Magritte, a Chinese porcelain pot from eighteencentury,“The Geographer” by Johannes Vermeer, a chairby Mies van der Rohe,“Hercules”by Peter Paul Rubens,“The Temptation ofSaint Anthony” by HieronymusBosch, the sculpturesof Prudentia and Caritasby Nicholas Stone, abaroque balustrade, “TheVacuum Cleaner Cyclone”by James Dyson,“The Doctor’sVisit” by Jan Steen,etc.Glass screens (1x1.30m) are placed at the bothsides of the wall. Thescreens react to touch andthe objects actually existingon the wall becomevisible. The visitor entersthe digital depot and throughthe means of thetransparent screen he touchesthe object of his interest.Consequently, magnifiableand movable pictureof the object appears onthe screen, as well as thebasic information (audiovisual)about the object:the name of the work, theperiod, and the name of theauthor. It is also possible tosearch for other informationabout the object, itshistory, and stories aboutit, the interviews with theartists and the movies. Atany moment, one can shiftto other works of art from the same period, or to a differentwork from the same artist, which belongs to thecollection. In this way, the works tell stories: the storiesof art, of the museum, of the collection.Apart from the screens and the works of art, digitaldepot contains so-called spatial data cloud, referring tothe museums collection on the whole. This data cloud is,in fact, a huge screen visualised as an intergalactic space,with the names of all the works of art belonging tothe museum collection at a given moment. It is directlyconnected to the collection reports and data, providinga spectacular insight into the collection. A control panelin front of the screen helps visitor to look around the depotand to literally enter the museum’s universe.The digital depot of Museum Boijmans van Beuningenoffers a new approach for opening up of museum collections,which is one of the museum’s primary tasks. Itis designed as an open structure, which will never becomplete and finished. With time, it will be updated andexpanded in order to be able to house new works of artand new stories.

Ana Živković, istoričar umetnostiPlaniranje muzeja« Kada rešavamo teškoće - prvo treba krenutiod prostih stvari,kada planiramo velika dela - treba krenutiod malih stvari.»Lao CePlaniranje, kao deo studija u cilju razvoja neke oblasti,počelo je da se primenjuje u 20. veku. Zemlje sasocijalističkim sistemima prve su započele sa planiranjem,da bi 50-tih godina prošlog veka planiranje doživeloekspanziju i u drugim državama. Planiranje muzejarazvilo se, kao samostalna studija, krajem prošlogveka, kao jedan od bitnih instrumenata za razvoj muzeja.Kao i u mnogim drugim kompleksnim institucijamasadašnjice i muzeju treba planiranje. Muzejsko planiranjeje studija i praktična veština čuvanja i interpretacijekulturnog materijala, određivanjem svih komponentikoje sadrže muzej. Postupak donošenja plana je izuzetnodug i složen proces, urađen sa ciljem da se pronađumoguća rešenja, koja će dovesti do razvoja muzeja.Da bi radio, svaki muzej treba da ima :- osoblje- prostor- plan za unapređenjePri procesu planiranja potrebno je sastaviti :- Plan osnivanja- Tekst o osnivanju- Procenu programa- Analizu kolekcije- Analizu marketinga- Analizu posetilacaNaravno, ono što omogućuje adekvatno ostvarenjeovih ciljeva je budžet.Plan osnivanjaMuzej kao institucija mora da ima svoju zgradu, gdeće čuvati i izlagati muzejske zbirke. To su građevine kojesu još u projektu namenjene i specijalno građene zamuzeje ili su to pak zgrade od istorijskog značaja, dodeljenemuzejima.U prvom slučaju, specijalno projektovana zgradaodgovara potrebama muzeja, i zato je najčešće podvrgnutajednostavnim i uprošćenim oblicima moderne arhitekture,čime se ispunjavaju uslovi korisnosti i funkcionalnosti.Ali, veći problem za muzealce predstavlja adaptacijapostojeće zgrade u muzej. Nažalost, u našim prilikama,u manjim mestima, muzeji su obično smešteni u nefunkcionalnei neodgovarajuće zgrade iz 18. i 19. veka,bezistane, konake i slično. Sama zgrada muzeja običnospada u red najreprezentativnijih objekata javne namene,u okviru graditeljskog nasleđa jednog kraja. Međutimtakva zgrada, i sama spomenik istorije, ne odgovarai funkcionalnim potrebama muzejskog prostora.Pri izboru zgrade mora da se vodi računa o sledećem:- Muzej treba da bude daleko od vojnih i industrijskihobjekata.- Lokacija muzeja je važna, ali to nije jedini i primarnifaktor u privlačenju posetilaca.- Neophodno je postojanje dobrih saobraćajnih komunikacijasa muzejem (dobro bi bilo da se muzejnalazi u blizini linija javnog gradskog saobraćaja).Pri adaptaciji zgrada, u cilju funkcionisanja muzeja,Ana Živković, Art historianMuseum planing“When dealing with difficulties, it is necessary to startfrom simple things,when planning great deeds – one should start from littlethings.”Lao-tsePlanning, as part of survey aimed at development of acertain field, came into practice during 20th century.Countries with socialistic regimes were first to start it,but it expanded also in other countries during 1950s.Museum planning, as an independent domain, emergedat the end of the last century, as one of the important instrumentsof museum development.Just like many other complex modern institutions, amuseum needs planning. Museum planning refers tosurvey and practical skill of safekeeping and interpretationof cultural objects, through definition of all thecomponents of a museum. The process of making a planis a long-lasting and complex one, and its objective is tosearch for possible solutions that would lead towardsmuseum development.In order to function properly, every museum shouldhave:- staff- space- development planWithin a planning process, it is necessary to make:- Founding plan- Mission statement- Program assessment- Collection assessment- Marketing assessment- Visitors assessmentOf course, the element that enables fulfillment of allthis objectives is funding.Founding planA museum, as an institution, has to have its own building,a place for safekeeping and displaying museumcollections. These are, right from the architectural projectitself, buildings meant and specially built for museumsor they are buildings of historical significance thatmuseums are located in.In the first case, specially designed building answersthe needs of a museum, and therefore it usually followssimple forms of modern architecture, fulfilling, in thesame way, conditions of usefulness and functionality.But a greater problem to museum workers poses abuilding adapted for museum use. Regretfully, in ourcountry, particularly in small towns, museums are usuallylocated in inadequate buildings from the 18th and19th centuries, inns and covered market places fromTurkish times, and the like. The museum buildingsthemselves are commonly the most representative publicbuildings within architectural heritage of a region.However, this kind of building, being historical monumentitself, does not correspond with museum needs.Choice of a building has to rely on the following elements:- Museum should be away from military and industrialpremises.- Location of the museum is important, but not theprimary factor in attracting visitors.69

treba voditi računa o čitavom nizu detalja. Plan muzejskihzgrada, odnosno prostorni raspored veoma je važan.Svaki muzej bi trebalo da ima :- izložbene prostorije- prostorije za administraciju i stručne službe- direkciju – upravu muzeja- kabinete stručnjaka, kustosa- radionice- laboratorije- arhivu- depoe za čuvanje neizložene muzejske građe- sanitarne prostorije- mesto za prodaju ulaznica i suvenira- desk za informacije- garderobu- prostorije za održavanje naučnih skupova- biblioteku- parking- orijentire i oznake- odgovarajući pod, boju zidova, osvetljenje, temperaturu,miris, zvuke, stepenište, pristup galeriji, sobe.- više ulaza (jedan za posetioce, drugi za osoblje, atreći za utovar, istovar izložbenog materijala,ogreva i dr.)- pomoćna sredstva za tumačenje, prevode (npr. audio-vodiči,tekstualni panoi, ture sa vodičima idrugo).- stolice- bife ili restoranMuzejski planer treba da kreira prostor koji će omogućitiposetiocima prijatan boravak. Ispunjavanjem navedenihuslova odgovorilo bi se na određene potrebe zaudobnošču, jer kada posetilac napusti muzej vidno zadovoljan,poželeće da se vrati, i preporučiće posetu rođacimai prijateljima.Važno je još istaći i da je pri adatapciji postojećihobjekata neophodna čvrsta saradnja muzejskog planerai arhitekte. Dužnost planera je da u konsultacijama saarhitektom, specijalistima za protiv-požarnu zaštitu iobezbeđenje i specijalistima za svetlost, omogući maksimalninivo bezbednosti u muzeju.Danas je, više nego ikad, dužnost planera, dizajnerai muzealaca da prepoznaju potrebe svih potencijalnihposetilca, a neki od njih mogu da imaju veoma specifičnepotrebe. Specijalne potrebe imaju ljudi sa trajnim iliprivremenim invaliditetom, oni sa lošim zdravljem iosobe koje prolaze kroz specifične faze životnog ciklusa,kao što su detinjstvo, materinstvo i starost. Svetskazdrastvena organizacija (WHO) procenjuje da više od25% populacije ulazi u jednu od ovih kategorija. Priplaniranju muzeja neophodno je u potpunosti odgovoritina potrebe i ovih grupa posetilaca.Formiranje muzejske zbirkeMuzej se formira sa zadatkom da, kao kulturna ustanova,prikupi, sačuva i prikaže svima kulturna i drugabogatstva, tekovine i dostignuća jednog kraja, u raznimetapama društvenog ekonomskog razvitka.Fundamentalne muzejske funkcije obično obuhvataju:- sakupljanje- dokumentaciju- zaštitu- istraživanje- izlaganje- tumačenje- edukacija70- Good communications around museum are necessary– it would be useful to have the public trafficclose to the museumAdapting a building for a museum, one should payattention to a whole range of factors. Museum buildingblueprint, or better say arrangement of space, is of utmostimportance. Every museum should have:- Exhibition space- Space for administration and professional services- Management offices- Curators’ offices- Workshops- Laboratories- Archive- Storages for safekeeping of undisplayed collections- Toilets- Reception desk and souvenir shop- Information desk- Wardrobe- Halls for professional meetings- Library- Car park- Directions and indication- adequate floors, walls, lighting, indoor temperature,good airing, pleasant atmosphere avoidingharsh sounds- stairs, elevators, easy access to exhibition floors- Several entries, one for visitors, one for the staff,third for shipments, etc.- Additional informative equipment and services(for example audio-guides, various informativeboards, guided tours, etc)- Café or restaurantA museum planner should create a space that wouldprovide a pleasant visit. By fulfilling demands mentionedabove, needs for comfort would be satisfied, and avisitor that experienced a comfortable stay in museumwould wish to return and to recommend his friends andrelatives to come too.It is also important to mention the necessity for closecollaboration between the museum planner and thearchitect. It is a museum planner’s duty to establish amaximum of security in museum, through consultationswith the architect, fire-protection experts, security expertsand lighting specialists.Today, more than ever before, one of duties of a museumplanner, designer and museum workers is to recognizeevery special need of a potential visitor, and someof them may have specific requirements. These referto, for example, disabled and people with health problems,and to certain age such as childhood, maternity,and old age. The World Health Organisation (WHO) estimatesthat more than 25% of population belongs tothese categories. Needs of these groups of visitors shouldbe fully observed when planning a museum.Creating a museum collectionA museum is established, as a cultural institution, inorder to collect, safekeep and present cultural and otherheritage property, and achievements of a region, in variousphases of socio-economic development. Fundamentalmuseum functions usually include:- collecting- documentation- conservation- research- display- interpretation- education

Tu možemo dodati i osmu funkciju, koja obuhvata iizvršava prethodne funkcije.Sakupljanje je prva i možda najvažnija muzejskafunkcija. Kustos je taj koji osmišlja kolekciju. Pre negošto se počne sa obrazovanjem kolekcije veoma je važnoda kustos postavi sledeća pitanja:- O kakvoj se vrsti muzeja radi ? Da li je to jedanumetnički muzej ili je to pak prirodnjački, istorijski ilimuzej nauke i tehnologije?- Koje discipline će predstavljati muzej? Ako je to istorijskimuzej, na primer, koje specifične discipline ćebiti predstavljene u kolekciji ?- Šta će biti sastavni deo kolekcije ? Da li su to :1). artefakti2). kopije3). sprave4). uzorci5). umetnički radovi6). dokumenti7). fotografije, film8). diskete9). audio snimci- Koja je vremenska granica kolekcije ?- Da li postoji prostorna granica i kako je treba definisati?- Koji je kvalitativni standard za ulazak artefakta uzbirku ?- Koji su prioriteti pri stvaranju kriterijuma ?Takođe, pri stvaranju kolekcije, treba voditi računa o:- veličini predmeta- proveri originalnosti- dokumentu o vlasništvu- društvenoj važnosti- vrednosti dela i- reprezentativnom karakteru delaPreventivna zaštitaSa preventivnom zaštitom počinje se još u toku osnivanjamuzeja, dobro razrađenim planovima i merama.Cilj preventivne zaštite je očuvanje muzejskih dobara zabuduće generacije, a iz te osnovne funkcije proističe ineprekidna briga za muzejsku građu.Uvođenjem preventivne zaštite kao prioritetnemuzejske aktivnosti, moguće je sačuvati predmet i održatiga u nepromenjenom stanju dugi niz godina.Predmetima u muzeju ne prete samo elementarnenepogode, požar, poplave i katastrofalna ratna razaranja,tu su i svakodnevna dejstva vlage, svetlosti, promenetemperature, kao i mnogi drugi fizički i hemijski uticaji.Iz tog razloga važno je još u početku obezbeditisredstva za kupovinu opreme neophodne za bolje uslovečuvanja kulturnih dobara; istrumenata za merenjemikroklime - termohigrografa, filtera za prečišćavanje,odgovarajućih polica, ambalaža i dr. Na primer, visoketemperature omogućavaju bujanje buđi i gljivica, a naglepromene temperature dovode do promene količinevlažnosti u vazduhu. Sve to doprinosi destrukciji predmeta.Cilj planiranja je da se ti problemi još u začetkuuvide i iskorene dobrom izolacijom, nabavkom i upotrebomodgovarajuće opreme, itd. Pri planiranju treba izbegavatinabavku električnih grejalica, reflektora i sl.Muzejski planer treba da ima u vidu i druge nedaćekoje mogu da zadese muzej. Požari, zemljotresi, poplave,krađe, vandalizami nanose ogromne štete muzejima.Smeštanjem muzeja u odgovarajuće lokacije izbegavajuse vibracije, poplave i druge neželjene pojave.Električne instalacije moraju da budu propisno izvedenei da se redovno kontrolišu, čime se smanjujeCollecting is the first and probably the most importantmuseum function. Curator is the one responsiblefor the concept of a collection. Before beginning withcreation of a collection, it is very important for a curatorto pose himself following questions:What is the type of my museum? Is it an art museumor natural history museum, historical or a museum ofscience and technology?What disciplines will be presented in the museum? Ifit is a historical museum, for instance, which specificdisciplines will be presented in the collection?What will make a collection? Is it:- Artifacts- Copies- Devices- Samples- Works of art- Documents- Photographs, films- Floppy disks- Audio-recordings- What is time limit of the collection?- Is there a space limit and how to define it?- What is quality standard for artifacts to becomepart of the collection?- What are the priorities in forming criteria?It is also necessary, in creating collection, to pay attentionto:- Size of the objects- Authenticity check- Ownership documents- Social significance- Value of objects- Representative character of objectsPreventive conservationPreventive conservation starts already with establishinga museum, through well-elaborated plans and measures.Theaim of preventive conservation is preservationof museum objects for future generations, and this basicfunction results with constant care for museum objects.By introducing preventive conservation as primarymuseum activity, it is possible to preserve an object andmaintain its unchanged condition for a long period oftime.Museum objects are threatened not only by natural disasters,fire, floods and armed conflicts, but also by everydayactivity of relative humidity, light, temperature changes,as well as many other physical and chemical factors.For this reason, it is important to provide, from thevery beginning, funding for equipment necessary forbetter safekeeping conditions – climate monitoring devices:termohygrographs, filters, adequate shelving, boxes,etc. For instance, high temperatures encourage developingof moulds and fungi, and sudden changes oftemperature lead to relative humidity level changes. Allthis contributes to deterioration of objects. Planningpurpose is to take into account and prevent these problemsfrom evolving at the very beginning, through isolation,use of adequate equipment, etc. At the same time,use of electric heaters, reflectors and similar devicesshould be avoided.Museum planner should have in mind some other inconveniencesthat could happen in a museum. Fire,earthquakes, floods, thefts, vandalisms can seriously damagea museum.Choosing an appropriate location for a museum, vibrations,inundations and other inconveniences can beavoided71

opasnost od požara. Svaki muzej treba da ima odgovarajućuopremu za dojavu požara.Planiranje muzeja ne podrazumeva samo poznavanjetrenutne potrebe muzejskih institucija, već i vizionarskehipoteze o budućim potrebama. Moraju se pretpostavitii buduće potrebe društva, kao i budući načiniispunjavanja tih potreba.Da bi planiranje bilo uspešno moraju se koristiti sviizvori saznanja, koji izražavaju potrebe i težnje društva.- Radovi stručnjaka, njihovi stavovi, debate i ostalo- Ankete, kojima se ispituju posetioci muzeja, ali ijavno mnjenje.- Statistički podaci- Studije o životu (zaposlenost, slobodno vreme, aktivnosti...)Saradnja muzeja sa drugim institucijamaPostoji više vrsta institucija sa kojima muzej možeda ima veze, koje doprinose njegovom planiranju i razvoju:- Vlade, na svim nivoima- Fondacije- Naučne institucije- Drugi muzeji, i muzejske asocijacije- Specijalne organizacije (istorijske, naučne, arheološke,itd. )- Turističke organizacije- Školske i prosvetne organizacije- Privatni sektorSaradnja muzeja sa navedenim institucijama je veomavažna. Muzeji su u obavezi da održavaju veoma čvrsteveze sa turističkim organizacijama, jer su upravo onivitalni deo jedne od najvećih svetskih industrija - turizma.Muzeji su ustanove u kojima se kultura predstavljajavnosti i populariše. Danas su, nažalost, masovni medijiti koji utiču na formiranje kulturnih potreba. Dužnostmuzeja je da deluje na razvijanje kulturnih potreba udruštvu i estetskog osećaja. Zato muzej mora da osmisliprogram koji će ga učiniti atraktivnim i interesantnimza široki krug posetilaca. Ni jedno značajnijepredstavljanje sa svim pratećim manifestacijama, o bilokom vidu umetnosti da je reč, bez obzira na poreklo i sadržaj,ne može biti lišeno menadžersko-markentiškihaktivnosti i zahteva profiterske logike.Muzeji moraju da ostvaruju saradnju sa svimsredstvima javnog informisanja(televizijama, štampom, radio stanicama, internetom...),čime će se omogućiti dostupnost svim slojevimastanovništva. Muzej će se sa uspehom osnovati isključivoako se za prikupljanje i čuvanje kolekcije angažuješto širi krug ljudi koji žive i rade u tom kraju, ljudi kojipoznaju kraj i onih koji makar i najmanje mogu pomoćirealizaciju te ideje. Pored inicijativnog odbora muzejavažno je da sve relevantne organizacije i organi vlastina toj teritoriji posvete pažnju pitanju osnivanja muzeja,čime će najbolje pomoći toj važnoj kulturnoj institucijiu nastajanju. Zatim, potrebno je preko lokalnihmedija razviti diskusiju, postavljati pitanja i rešavatiprobleme muzeja, pisati o tome gde se šta može naći, štobi moglo da dođe u obzir za muzej, itd.Muzeji su kao i ljudi, imaju individualne odlike, zaviseod kolekcije, i od zgrade i od mnogo čega još. Muzejimogu da budu mnogo više od interpretacije materijalakoji izlažu. Oni mogu da budu rezervoari velikesvetlosti i lepote, indikatori ličnog i kolektivnog identiteta,mogu da stimulišu maštu i um, mogu da budu žižasocijalnih i umetničkih događaja, mogu da budu, onomeko to želi, sve.72Electrical utilities should be adequately installed andregularly checked in order to diminish fire threat. Everymuseum should have and adequate fire-alarm system.Planning of a museum refers not only to understandingcurrent needs of museum institutions, but also havingvision of their future needs. Future needs of societyshould also be presupposed, as well as future ways ofsatisfying these needs.In order to conduct successful planning, all the sourcesof knowledge, expressing needs and aspiration ofsociety, should be used:- Works of experts, their attitudes, debates, etc.- Questionnaires for visitors and the public- Statistics- Life studies (employment, leisure, activities...)Partnership with other museumsThere are several types of institutions that museumcan collaborate with and that can contribute to its planningand development:- Governments and authorities on all levels- Foundations- Scientific institutions- Other museums and museum associations- Special organisations (historicl, scientific, archeological,etc)- Tour operators- Schools and educative organisations- Private sectorCollaboration between a museum and mentioned institutionsis highly important. Museums should establishgood connections with tour operators, since they make avital part of one of the largest industries – tourism.Museums are institutions were culture is presentedto the public and popularized. Unfortunately, today themedia are the ones that influence creation of culturalneeds. Museum’s task is to create cultural needs in a societyand its aesthetic sense.Therefore, museums have todesign programs that would make them attractive andinteresting to a wide range of visitors. No importantpresentation, with additional manifestations, no matterwhich type of creativity it refers to and what is its originand content, can be deprived of management andmarketing activities and profit-making logics.Museums have to collaborate with all the media (television,press, radio-stations, Internet...) to provideaccess to every level of population. Museum will be successfullyestablished only if the individuals involved incollecting and safeguarding of collections belong to awider group of people living and working in the region,being familiar with it and being able to give at least thesmallest contribution to the realization of the idea.Apart from initiative board of a museum, it is of greatimportance that every relevant organisation and levelsof authority in the region pay the attention to establishingof a museum, and in that way help this establishingcultural institution the best they can. Further, it isnecessary to start discussions through local media, askquestions and solve problems of museums, write aboutwhat can be found where, what could be taken into considerationfor a museum, and so on.Museums are like people, they have their individualcharacteristics, they depend on collections, on a building,on many other things.They can be much more than interpretationof objects they display. They can be sources ofgreat light and beauty, indicators of personal and collectiveidentity, they can stimulate imagination and mind,they can be a focal point of social and artistic events, theycan be everything to the ones that want that.

Danijela Korolija – Crkvenjakov i Tijana Palkovljević,Matica Srpska, Novi SadMuzej kaoedukativni centarAktivnosti realizovane u Galeriji Matice srpske uNovom Sadu, tokom 2003. i 2004. godineJedan od osnovnih zadataka muzeja, kao institucije uslužbi društva, je komunikacija sa publikom, ali iedukacija publike, što je istaknuto i u ICOM-ovoj definicijimuzeja.U dugoj istoriji muzeja, edukativni faktor je dobiona značaju tek kada su privatne, vladarske i crkvene kolekcijeprerasle u javno dobro, tačnije u nacionalne muzeje.Otvaranje muzejskih kolekcija za javnost i publikupostavilo je pred muzeje novi zadatak: da aktivno komunicirajusa posetiocima, da pruže informaciju i dauzmu učešća u procesu obrazovanja. Još je, svojevremeno,1922. godine, Žan Kapar (Jean Capart) pisao o dvostrukojfunkciji muzeja: naučnoj i okrenutoj “premaunutra” i komunikacijskoj ili okrenutoj “prema spolja”.Koliki značaj se pridaje edukativnoj ulozi muzejanaglašeno je i činjenicom da je CECA, Komitet za edukacijui kulturnu akciju, jedan od najvećih komitetaICOM-a.U eri masovnih medija, kompjuterske komunikacijei brzog tempa života, muzeji moraju da se prilagode, daprivuku posetioce atraktivnim programima i da izboresvoje mesto kao centri edukacije. Pri tome ne treba zaboravitida ne postoji medij ili nova tehnologija, kojamože da zameni i nadmaši ono što muzeje čini jedinstvenim- direktni kontakt sa eksponatom. Modernatehnologija nije konkurent muzejskim edukatorima,već instrument koji može da unapredi i poboljša edukativneprograme muzeja.U toku izrade Strateškog plana Galerije Matice srpskei napora da se uvedu savremeni metodi rada, posebnapažnja posvećena je edukativnim aktivnostima. Onesu bile postavljene u dve osnovne kategorije: rad organizovanprema spoljnim korisnicima, publici, i rad kojije organizovan “prema unutra”, usmeren na profesionalnuedukaciju samih zaposlenih muzealaca.Treba napomenuti da Galerija Matice srpske nemaposebno edukativno odeljenje, sa kadrovima specijalizovanimza ovaj vid aktivnosti, već po sistematizacijiima samo mesto kustosa-pedagoga, istoričara umetnosti.Svesni značaja ovakvih programa, u protekle dve godinezapočeli smo realizaciju pilot projekata sa decompredškolskog i nižeg školskog uzrasta, sopstvenim snagama,oslanjajući se na saradnike i njihov entuzijazam iiskustvo stečeno na studijskim boravcima u inostranstvu.Tokom 2003. godine, povodom Svetskog dana muzejaposvećenog temi Muzeji i građenje prijateljstva, realizovanje program namenjen najmlađima, jer se upravona tom uzrasti pridobijaju budući prijatelji Galerije.Izabrane su četiri poznate slike iz fonda Galerije Maticesrpske i po jedna grupa dece je upoznata sa po jednimdelom. Uz priču o određenoj slici upoznali su se saosnovnim funkcijama i zadacima muzeja. Zatim su decasa svojim vaspitačicama i učiteljicama angažovanaoko teme viđenih slika, a njihove kreacije (likovne radove,pesmice, igre) su izložene u Galeriji.Tokom 2004. godine ponovo je realizovan programpovodom Svetskog dana muzeja, ovaj put posvećen nematerijalnojkulturnoj baštini. Odabrana je slika PajeDanijela Korolija-Crkvenjakov i Tijana Palkovljević,Matica Srpska, Novi SadMuseum as aneducational centreActivities realized during the year 2003 and 2004in the GMS in Novi SadOne of the primary goals of a museum, being an institutionin community service, is communicationwith the public, but also education of the public, whichis pointed out in ICOM’s definition of museums.The educational factor of museums was acknowledgednot before the private, royal and clerical collectionsbecame public property, more precisely when they becamenational museums. Opening museum collections forthe public set a new task for museums: an active communicationwith the visitors, information and the participationin the educational processes. 1922. Jean Capartwrote about two functions of museums- scientific or introvertedone and communicational or extroverted one.The importance of educational role of museums isaccentuated by the fact that CECA (Committee for Educationand Cultural Action) is one of the most prominentcommittees of ICOM.In the era of mass media, computerized communicationand fast living, museums have to adjust, to lure visitorswith attractive programs and to fight for their rolesas educational centres. In doing so, the thing thatmakes museums unique and irreplaceable by any mediumor technological achievement must not be forgotten- direct contact with an exhibit. Modern technology isnot an adversary to museum educators, but an instrumentthat can improve educational programs of a museum.During the work on the Strategic plan for the Galleryof Matica Srpska and the efforts to introduce modernworking methods, educational activities were given specialattention. These activities were divided into two basiccategories: the work organized for outer users, thepublic, and the work organized for professional educationof the museum employees themselves.It has to be pointed out that the Gallery of MaticaSrpska does not include a specific educational departmentwith experts specialized in this field, but only aposition of curator-pedagogue, an art historian. Beingaware of the importance of these programs, in the pasttwo years we have initiated the realization of pilot programswith children from kindergartens and first gradesof elementary schools, with our own resources, relyingon our associates, their enthusiasm, as well as on theexperience gained during professional visits abroad.In the year 2003, on the occasion of The MuseumsDay dedicated to the topic entitled ‘Museums and buildingfriendship’, a program intended for the youngestwas realized, because the youngest are the most eligibleto become friends of the Gallery. Four famous paintingswere selected and each painting was presented to one ofthe groups of children. Along with a story about a certainpainting, the children were also introduced thefunctions and the tasks of museums. Later, the children,with the help from their nurses and teachers, were animatedwith the subject of the paintings and their creations(paintings, poems and songs, games) were exhibitedin the Gallery.In the year 2004, a program on the occasion of TheMuseums Day was realized again, this time dedicated to73

Jovanovića “Borba petlova”, koja ukazuje na važnostobičaja i tradicije za inspiraciju u umetnosti. Nakonpriče o slici i prizoru koji je na njoj prikazan, deca supozvana da kao poklon Galeriji nacrtaju svoje viđenjescene borbe petlova. Uz asistenciju slikara iz konzervatorskogodeljenja i svojih vaspitača, deca su stvarala uambijentu Galerije, pred delom Paje Jovanovića, a najboljiradovi su nagrađeni.Osim ovih samostalnih programa vezanih za obeležavanjesvetskog Dana muzeja, bili smo domaćini završnihdruženja dečijeg časopisa “Maštalica”, koji tesno sarađujesa predškolskim ustanovama u Novom Sadu. Tokomovih svečanosti upoznavali smo decu sa različitimsegmentima rada Galerije i omogućili im da prikažusvoje radove uz druženje.Učenje u muzeju ima prednosti nad učenjem istoggradiva u učionici, jer je neformalnije, podstiče motivacijui usmerava na bitno u toj oblasti, a stručna tumačenjaposvećena eksponatima upotpunjuju opšte obrazovanjei podstiču proces memorisanja.Pozitivna iskustva ovih probnih projekata učvrstilasu nas u uverenju da edukativnom radu posvetimo značajnomesto u Strateškom planu 2004-2008. godine. Zauspešnu realizaciju ovih programa potrebno je imatiedukovan kadar, koji se može dobiti bilo popunjavanjemunutrašnje strukture zaposlenih pedagozima, bilo edukacijomzaposlenih koji su pokazali interes i entuzijazamza ovakve aktivnosti, kao i uspostavljanjem partnerskogodnosa sa drugim institucijama koje se baveobrazovanjem. Prvi kontakti napravljeni su sa Katedromza pedagogiju Filozofskog fakulteta Univerzitetau Novom Sadu, koja je pokazala izuzetno interesovanjeza saradnju na realizaciji seminarskih i diplomskih radovastudenata pedagogije.Drugi segment edukativnih aktivnosti u Galeriji74the intangible cultural heritage. Paja Jovanovich’s painting‘Cock fight’ was selected because of its representationof the significance of customs and tradition in inspiringart. After the story about the painting and thescene represented, the children were asked to draw theirown impression of the scene of a cockfight as their giftto the Gallery. With the assistance of the painters fromthe department of conservation and their teachers, thechildren were creating in the halls of the Gallery, infront of Jovanovich’s masterpiece and, afterwards, thebest works were rewarded.Beside these independent programs on the occasionof The Museums Day, the Gallery of Matica srpska hostedthe final gatherings of the ‘Mastalica’ children magazine,cooperating closely with several kindergartensof Novi Sad. During these occasions we were introducingthe children the various segments of Gallery’s activitiesand gave them and opportunity to present theircreations.Teaching in a museum has its advantages to teachingthe same subject in the classroom, as it is less formal,encourages motivation and focuses on the important issueswithin the subject, while experts’ interpretations ofthe exhibits fill the empty spaces in general educationand encourage the process of memorizing.Positive effects of these test projects strengthenedour beliefs that the educational work should play an importantrole in the 2004-2008. Strategic plan. In order tosuccessfully realize these programs it is necessary to havean educated personnel, which can be formed eitherby complementing the inner structure of employed witheducators, or by educating employees that already showedinterest and enthusiasm for this kind of activities,as well as by making partnerships with other educationalinstitutions.The first contact was made with the Pedagogy departmentof Philosophical faculty at the University ofNovi Sad, which showed a great interest in cooperationand realization of seminar papers and final essays of pedagogystudents.The other part of educational activities in the Galleryof Matica Srpska is related to the continuous professionaleducation of the personnel. In the last 15 years,only a small number of curators had the opportunityprofessional visits to foreign institutions or professionaltraining, while during the same period the museum activitiesexpanded, thus creating a need for wider knowledgeand new skills.In the year 2003 and 2004, Gallery of Matica Srpskaused every opportunity, its financial resources meant forthat purpose not being extensive, to organize and enablethe employees to modernize their knowledge throughorganizing and participating in professional seminarsand attending lectures.The employees of the Gallery thus participated inmany seminars organized in Belgrade: a series of lecturesand workshops within the project of aid to museumsorganized by the Ministry of Culture of the Republic ofSerbia and Italian Embassy, seminar entitled ‘The situationand tendencies in packing the works of art’ organizedby the National museum,Yugoslavian agency of authorsand Kunsttrans, ‘Management and marketing inmuseums’ at the University of Arts in Belgrade, ‘Fireprotection’ organized by ICOM National Committee,‘Safety in museums’ organized by the Association ofmuseums of Serbia, ‘Management in museums’ organizedby the Ministry of Culture and American Embassy.In the year 2003 a seminar on management in museumswas organized in the Gallery of Matica Srpska, forthe museum employees in Vojvodina. It was entitled

Matice srpske odnosi se na permanentnu profesionalnuedukaciju zaposlenih. U proteklih petnaest godina veomamali broj kustosa je imao priliku da ode na studijskaputovanja i stručna usavršavanja, a za to vreme su semuzejske aktivnosti razvile, pa se javila potreba za usvajanjemnovih znanja i veština.U toku 2003. i 2004. godine, Galerija Matice srpskeje koristila sve mogućnosti da, u okviru skromnih sredstvakoje su za tu svrhu mogla da se odvoje, organizujeili omogući svojim zaposlenima da organizovanjem iučestvovanjem na stručnim seminarima i predavanjimaosavremene svoja znanja.Tako su zaposleni Galerije Matice srpske prisustvovalibrojnim seminarima, koji su bili organizovani uBeogradu: grupi predavanja i radionica u okviru projektapomoći muzejima u Beogradu u organizaciji Ministarstvakulture Srbije i Italijanske ambasade, seminaru“Stanje i trendovi u pakovanju umetničkih dela”, u organizacijiNarodnog muzeja, Jugoslovenske autorskeagencije i Kunsttrans-a, “Menadžment i marketing umuzejima”, na Univerzitetu umetnosti u Beogradu,“Protivpožarna zaštita”, u organizaciji Nacionalnog komitetaIKOM-a, “Bezbednost u muzejima”, u organizacijiMuzejskog društva Srbije, “Menadžment u muzejima”,u organizaciji Ministarstva kulture i Američke ambasade.Tokom 2003. godine, u prostoru Galerije Matice srpske,organizovan je seminar iz muzejskog menadžmentanamenjem zaposlenima u muzejima Vojvodine, na temu“Muzeji u doba baštine” ili o praktičnoj teoriji i korisnojpraksi. Seminar je vodio prof. dr Tomislav Šola, saUniverziteta u Zagrebu. Kako je troškove organizacijesnosio Pokrajinski sekretarijat za kulturu, prisustvovalisu mu svi zainteresovani muzealci Vojvodine, a velikiodziv ovom seminaru pokazao je opravdanost ovakvihinicijativa.U maju 2004. godine održano je predavanje direktoraumetničke galerije u Bremenu – Wulfa Herzogenrata.On je govorio o upravljanju u muzeju, sa posebnim akcentomna uvođenju modernih medija i video umetnostiu stalne postavke tradicionalnih umetničkih muzeja.Edukacija slikara-konzervatora pokazala se kaospecifičan problem u stalnoj profesionalnoj edukaciji, sobzirom na to da u GMS postoji respektabilno odeljenjekonzervacije i restauracije, sa tradicijom dužom od 50godina. Međutim, tradicija je dobra samo ako se stalnoobogaćuje novim iskustvima. Za savremenu konzervatorskupraksu nije dovoljno znanje koje se stiče na Akademijiumetnosti, što je kvalifikacija koju ima najvećibroj zaposlenih na mestu slikara-konzervatora. Osimpoznavanja umetničkih tehnika i materijala samog umetničkogdela i zanatske spretnosti, potrebno je poznavanjeosnova prirodnih nauka, kao što su hemija, fizika,biologija i tehnologija, i na kraju (ali ne i najmanje važno)potrebno je imati jasno formulisan etički stav, nepohodanpri svakoj intervenciji na originalnoj materijiumetničkog dela.Neposedovanje potrebnih znanja i veština, i možda,još češće, odsustvo svesti o tim nedostacima, najčešći suuzrok ozbiljnih oštećenja na umetničkim delima. Uetičkom statutu IKOM-a jasno je istaknuto: “Muzejskiradnici ne bi trebalo da poveravaju važne kustoske,konzervatorske ili ostale profesionalne obaveze osobamakojima nedostaje potrebno znanje i veština, ili datakvim osobama dozvole asistiranje u čuvanju zbirkibez adekvatne kontrole.” I dalje: “U konzervatorskomradu najznačajniji segment predstavlja prepoznavanje ipoštovanje kulturnog i fizičkog integriteta i autentičnostipojedinačnih premeta, primeraka ili zbirki.”Ovi principi moraju biti ugrađeni u svaku praktičnu‘Museums in the age of heritage, or practical theory anduseful practice’. Professor Tomislav Šola, from the Universityof Zagreb, conducted the seminar. As the RegionalOffice for Culture funded the seminar, all interestedmuseum workers in Vojvodina were present. A massiveresponse justified the importance of this kind of initiatives.In May 2004 the director of the Gallery of Fine Artsin Bremen - Wulf Herzogenrat, gave a lecture. He spokeabout the management of museum with the stress on theimplementation of modern media and video art to standardcollections of traditional fine arts museum.The education of painters-conservators has provedto be a specific problem in continuous professional education,having in mind that Gallery of Matica Srpska incorporatesa respectable department of conservationand restoration with more than fifty years long tradition.However, the tradition is positive only if continuouslyimproved by new experience. For modern conservationpractice, knowledge gained at the Academy of artsdoes not suffice, and that is the qualification possessedby the majority of painters-conservators. Beside beingfamiliar with painting techniques and the materials andhaving necessary skills, basics of sciences such as chemistry,physics, biology and technology are needed. Lastbut not the least, a good conservator has to have a clearethical attitude to be capable for any intervention onoriginal material of a work of art.The lack of necessary knowledge and skills, andmaybe, even more often, not being aware of those deficiencies,causes serious damage on works of art. It isclearly stated in the ICOM’s Code of Ethics: ‘Members ofthe museum profession should not delegate importantcuratorial, conservation or other professional responsibilitiesto person who lack the appropriate knowledgeand skill, or who re inadequately supervised, to assist inthe care of paintings.’ And further on: ‘Recognition andrespect for the cultural and physical integrity and authenticityof individual objects, specimens and collectionsare fundamental values in conservation work.’These principles must be incorporated in every practicalaction performed by conservators, whose scope ofwork ranges from preventive conservation to active conservationand restoration treatments, and who must,although primarily concerned with the physical aspectsof a piece of art, be aware of the influence of their workon cultural, historical and aesthetical integrity of theartifact they treat. Development of a critical attitude towardsa restoration treatment is a time-consuming pro-75

akciju kojom se bave konzervatori, čiji opseg delatnostiide od preventivne zaštite do aktivne konzervacije i restauracije,i koji moraju, mada se pre svega bave fizičkimaspektima umetničkog dela, biti u svakom trenutkusvesni uticaja svoga rada na kulturno istorijski i estetskiintegritet artefakta, koji im je u rukama. Razvijanjekritičkog odnosa prema restauratorskom zahvatu dugotrajanje proces, ali je on i suštinska razlika izmeđuobične, manuelne veštine i konzervacije i restauracije,kao kulturološkog akta koji objedinjuje umetnost prošlostisa vremenom sadašnjim.Jasno je da je temeljno interdisiplinarno obrazovanjeosnova stvaranja kvalitetnog kadra. Ali u muzejskojrealnosti konzervatorska odeljenja, tamo gde postoje,imaju veoma šaroliku kadrovsku i obrazovnu strukturu.Sistematizacije su različite, a formalno obrazovanječesto nije adekvatno. Tako je nastala situacija da novozaposlenitek dolaskom u muzej imaju prvi kontakt sakonzervacijom i restauracijom, da se tek tu sreću sa tehnologijomi metodologijom konzervatorskog rada i etičkimproblemima koji se javljaju. Sistem stalne profesionalneedukacije, evaluacije rezultata, licenci koje bi seperiodično obnavljale – za sada ne postoji.Jedan od elemenata za prevazilaženje sadašnjeg stanjaje i mogućnost koju imaju muzeji da iznutra pokrenuproces podizanja i obogaćivanja znanja zaposlenih, uskladu sa potrebama koje nameće savremena muzejskapraksa. Muzeji mogu i moraju da budu deo obrazovanjau zaštiti kulturnog nasleđa, delujući na više načina, uzavisnosti od raspoloživog kadrovskog potencijala,prostornih i organizacionih mogućnosti.U GMS osmišljena su tri pravca rada na edukacijislikara konzervatora:Program obuke pripravnika, koji kombinuje teorijskaprodubljivanja sa praksom.Pripravnici rade pod stalnim nadzorom, upućuju seu različite metode rada, materijale i aparaturu. Ovo zahtevaveliko angažovanje mentora, ali omogućuje da se,nakon položenog državnog ispita, mladi saradnici postepenoosamostaljuju, uz stalnu kritičku distancu i preispitivanjeurađenog, što potvrđuje ispravno postavljeneetičke principe. Ovaj način je primenjivan u radu samladim saradnicima u toku 2003. i 2004. godine.Permanentna profesionalna edukacija stalno zaposlenihsaradnika odvija se preko stručnih susreta, okruglihstolova, radionica, predavanja eminentnih eksperatai izložbi restauriranih dela. Sve su to načini za razmenuiskustava, za upoznavanje sa novim materijalimai tradicijama drugih škola. Cilj je da se proširi i produbispektar metoda i među njima izabere najbolja. U tusvrhu se prisustvovalo brojnim seminarima: Metode retuša,Sanacija drvenih nosilaca, Novi pristup čišćenjuslika (u okviru projekta pomoći muzejima u Beograduseminare su držali predavači italijanske restauratorskeškole iz Firence), a organizovane su i video prezentacijeo metodi podlepljivanja slika na hladno, kao i o metodamarada konzervatora iz Danske.Saradnja na edukaciji studenata Akademije umetnostiu Novom Sadu na izbornom predmetu Konzervacijai restauracija slika.Uz dobru volju i adekvatnu organizaciju, moguće jeuključiti studente konzervacije u rad ateljea na odabranimeksponatima. Korist je višestruka: šire se osnovniprincipi struke, kreiraju se “krugovi”koji postaju rasadnicibudućih konzervatora, širi se krug prijatelja muzeja...Studenti treće godine koji su izabrali ovaj predmetdolaze jednom nedeljno i rade pod nadzorom svog profesorai konzervatora Galerije na slikama iz fonda GMS.U toku je rad druge grupe polaznika (zimski semestar),a nakon treće grupe (letnji semestar 2004./2005.) biće76cess, but it is also the essential difference between asimple, manual skill and conservation and restorationas a cultural act which unites art of the past with presenttimes.It is clear that a thorough interdisciplinary educationis the foundation of creating good personnel. However,in the reality of museums, the conservation departments,where existing, have very diversely trained personnel.Structures differ and the formal education is veryoften inadequate. So now there is a situation wherenewly employed staff have their first contact with conservationand restoration upon their arrival in the museum,only then getting acquainted with the technologyand methodology of the conservation processes andethical problems that might occur.A system of professional training, evaluation of theresults or periodically ratified licenses does not exist.One of the elements for solving the problem is thepossibility that museums themselves start the process ofimprovement and expansion of the knowledge possessedby the personnel inside their own institutions, in accordancewith the needs set by contemporary museumpractice. Museums can and must be a part of protectionof cultural heritage education, acting in several directions,depending on the available personnel potential,spatial and organizational abilities.Three directions for education of painter-conservatorswere developed in the Gallery of Matica Srpska:A program for apprentice training, which combinestheoretical knowledge with practice. The apprenticeswork under constant supervision; they are introducedinto different working methods, new material and devices.The supervisors are expected to be constantly engaged,but this enables young associates to gradually becomemore and more independent, after having passedthe state exam, and obtain a permanent critical reevaluationsense, which confirms well-adopted ethicalprinciples. This direction of training the young associateswas undertaken in 2003 and 2004.Continuous professional education of employees isconducted through professional meetings, discussions,workshops, lectures by eminent experts and exhibitionsof restored works. These are all ways of exchanging experience,getting familiar with new materials and variousapproaches. The goal is to expand and enhance thescope of methods and to choose the best one. Several seminarswere attended for that purpose: Methods of retouching,Repair of wooden supports, New approach tocleaning of paintings (as a part of the project of museumaid in Belgrade, the seminars were held by lecturersfrom a restoration school in Florence). Video presentationson methods of cold lining of paintings and on methodsof conservation by conservators from Denmarkwere also attended.Cooperation with the Academy of Fine Arts in NoviSad on education of conservation and restoration students.With good will and adequate organization, it is possiblefor the students of conservation to participate inthe work of atelier on the exhibition pieces that were selected.The benefits are numerous: basic principles ofthe profession are popularized, the groups that will serveas the starting point for many future conservators arecreated, number of the friends of museums increases…Third year students who chose this subject come to theworkshop and once a week they work under the supervisionof their professors and conservators from theGallery, on the paintings of the Gallery of Matica Srpskacollections. At the moment, the second group of students(winter semester) works in the atelier, and after

priređena izložba restauriranih dela sa pratećom dokumentacijom.Sve ove aktivnosti još su bazirane na inicijativi i entuzijazmupojedinaca, ali im je u Strateškom planuodređena uloga programiranih aktivnosti u okviru projektaPlan profesionalne edukacije. Teme su definisanepo godinama, u kojima se etapno realizuje ovaj strateškidokument.Muzeji na taj način dobijaju (i ostvaruju) šansu darazviju aktivnu stručnu i naučnu delatnost, da stvoreoptimalan tim koji će biti spreman da povuče napred, dapodigne nivo struke i animira kolege. Ukoliko sve to budedokumentovano i prezentovano, eto ‘primera dobreprakse’ koju treba podržati i razvijati.Miljković Simonida, Muzej Makedonije, SkopljeEdukativna funkcija muzejaNaziv muzej potiče od grčke reči (muzeion) što značihram muza, odnosno naziv institucije u kojoj se čuvao,proučavao i izlagao muzejski materijal, hronološkiili tematski, različitih naučnih disciplina. Među najstarijimmuzejima smatra se galerija slika Pinoteka u Atiniiz 5. veka p.n.e. U gradu Aleksandriji Ptolomej II izgradioje veliku palatu od mermera «muzeion», gde su održavnom trošku živeli i radili naučnici i umetnici. Poredprostorija za smeštaj i sale za predavanja nalazila sei velika Aleksandrijska biblioteka.U starom Rimu, Vizantiji i srednjem veku nisu postojalimuzeji u današnjem smislu reči, već su to bile arheološkei umetničke zbirke, u vlasništvu vladara i verskihvelikodostojnika. One su bile čuvane u crkvenim riznicamaili palatama vladara.Posle Francuske buržoaske revolucije (1789.) muzejipočinju da se otvaraju za javnost, a u XX veku veći brojnjih dobija svoje zgrade, osposobljene za muzejsku namenu.Danas su muzeji institucije u službi društva i njegovograzvoja i otvorene za javnost.Njihove zadatke možemo podeliti i definisati kao:- Skupljanje i zaštita predmeta materijalne i duhovnekulture;- Naučno muzeološka obrada i klasifikacija predmeta;i- Edukativna funkcijaMuzeji svoje zadatke skupljanja, zaštite, stručnog inaučnog proučavanja predmeta završavaju i njihovomprezentacijom posetiocima muzeja. Tako smo i došli i doonog zadatka muzeja što je predmet našeg interesovanja,a to su njegove edukativne funkcije. Ukratko, muzejiimaju zadatak da proširuju svoju edukativnu funkciju,privlačeći što veći broj posetilaca raznih profila i uzrasta.Oni treba posetiocima da ponude mogućnost dabudu na neki način uključeni u muzeje, dajući podrškunjihovim ciljevima i aktivnostima. Interakcija sa svojompublikom je deo ostvarivanja edukativne uloge muzeja.Za ostvarivanje ovog zadatka potrebni su specijaliziranikadrovi.Postavlja se pitanje: Kolike su edukativne mogućnostimuzeja?Raznovrsnost muzejskog materijala poboljšava i zadovoljavaznatiželju posetilaca, njihovih emocionalnih ikulturnih doživljaja, takođe je edukacija u širem smislute reči. Široke su mogućnosti za primenu muzejskog materijala.Da bi realizovao edukativnu funkciju muzeji treba:- da budu, kao institucije, uredne i organizovane, pofunkciji na relaciji eksponat-ambient, po hronološkistručnoj preglednosti, jednostavnosti, estetičthethird group (summer semester 2004/2005), all therestored works will be exhibited with apropriate documentationAll these activities are based on the initiatives andenthusiasm of individuals, but the Strategic Plan has alsogiven them a role of programmed activities within aproject entitled ‘The Plan of Professional Education”.The subjects are organized by years planned for the realizationof this document.Museums in this way gain (and use) the chance todevelop an active professional and scientific activity, tocreate a best possible team ready to make a step forward,to raise the level of competency and to animatecolleagues. If all this can be documented and presented,there is an example of good practice that has to be supportedand continuously developed.Simonida MiljkovićMuseum of Macedonia, SkopjeEducational role of museumsThe word museum originates from the Greek wordmuseion, meaning “temple of muses”, or an institutionthat safekeeps, researches and exhibits museummaterial, belonging to scientific disciplines varying insubject or chronological order. The Pinacotheca in Athens,the 5 th century B.C. is considered one of the firstmuseums in the history. Ptolemy II built in Alexandria ahuge marble palace called museion, where scientistsand artists lived sustained by the state. Beside theapartments, it housed lecture rooms and the great AlexandrianLibrary.In ancient Rome, Byzantium and Middle Ages, museumsin the modern sense still did not exist. There werearchaeological and art collections in possession of rulersand clerics, kept in church treasuries and royal palaces.After the French Revolution (1789), museums startedopening towards public and in the 20 th century, many ofthem got intended, modern buildings.Today, museums are institutions in service of societyand its progress, and are accessible to the public.Their tasks can be divided into:- Collecting and protection of tangible and intangiblecultural heritage;- Scientific-museological research and classificationof objects;- Educational roleThe tasks of collecting, protecting and scientific researchesend in their presentation to museum visitors.That is how we reached the very task we are interestedin – museum education. Museums have a task of wideningtheir educational role through the means of attractingas many visitors of different categories and age asthey can. They should offer visitors a possibility of being,in a way, involved, giving support to museum’s objectivesand activities. Interaction with their public ispart of museums educational role. For this role to be accomplished,specialized personnel are necessary.The question is: What are the educational capabilitiesof a museum?Diversity of museum objects satisfies the curiosity ofvisitors, their emotional and cultural experience, andthat is what we call education in broader sense. Thereare many possibilities for use of museum objects.In order to accomplish educational role, a museumshould:- be organized and structured institution, achieving77

nosti i dr;- treba da imaju stalne izložbe koje će zadovoljavatiosnovne muzeološke principe, da su stručno-naučnoorganizovane, autentične, jednostavne, pristupačnei zanimljive;- da organizuju tematske izložbe;- da organizuju kontinuiranu saradnju sa posetiocima;- da imaju dobro osmišljen edukativni program zasve kategorije posetilaca i- da formiraju posebna Odeljenja za edukaciju.Muzeji su privilegovana mesta, u kojima može da sepoveže korisno sa udobnim. U današnje vreme informatičkihi tehničkih mogućnosti, dešavaju se promene i uizložbenoj delatnosti. Uktatko, ako su neke izložbe postavljenestereotipno, bez kreativnosti i neatraktivno,proći će nezapaženo i ostaće bez posetilaca. Ovakve postavkemogu da učine da se prosečni posetilac oseća inferiorno,ukoliko nema dovoljno predznanja o sadržaju,značaju i funkciji eksponata.Svaka izložba sa jasnom koncepcijom i preglednompostavkom eksponata zadovoljiće i edukativne kriterijume.Zato je važno da edukatori slede ceo tok postavljanjaizložbi. Osim što utiču na krajnji rezultat, edukatoritreba dobro da poznaju izložbu, da bi imali vremenada spreme edukativne aktivnosti, koje će realizovatiposle postavljanja izložbe.Danas je neophodna edukacija u muzejima i shvatanjenjene važnosti.Opšti trend u svetu je da se preko raznih metoda inačina osmisle sadržaji koji su namenjeni posetiocimasvih uzrasta. Edukativna delatnost postaje integralnideo programske delatnosti muzeja. Muzeolozi sve višeističu potrebu za edukacijom, a misija svakog savremenogmuzeja postaje edukacija, prenošenja znanja i iskustva.Muzeji imaju zadatak, da materijale kojima raspolažusocijalizuju putem raznih formi. Zapravo, muzejskeinstitucije su one koje na najneposrednii način, kratko,konkretno i autentično, prenose posetiocima vrednostikulturne baštine. Ako vode računa o idealima opštegdobra, njihova društvena odgovornost biće još veća. Ondaće važniji od broja posetilaca biti kvalitet poseta, asamim tim i promena svesti građana. Građanin koji jeposetio muzej, u zavisnosti od dobro osmišljenog edukativnogprograma, imaće želju da opet poseti muzej. Time,muzejske radionice ispunjavaju svoje obaveze premadruštvu, odnosno obrazuju i vaspitavaju svoje korisnike.Poseta muzeju je jedan od oblika edukacije, kojipodstiče razvoj pojedinaca i formira njihov osnovni odnosprema tradiciji. Samo poznavanjem i pravim vrednovanjemkulturne baštine može da se razume fenomenkulture u celini. Odgovornu ulogu u tome svakako imajumuzeji, koji svojom edukativnom funkcijom neposrednočine vezu između tradicije i javnosti. Muzeji širokootvaraju svoja vrata, prenose simbole prošlosti.Vodenas u daleka vremenskaputovanja, a ipak tako blizu,gde prošlost živi, namesta naših spomenika kojinas okružuju.Dinamična i na popularannačin realizovanakulturna akcija i edukativneaktivnosti, najvažnije sukomponente, koje omogućavajuinterakciju pri kojojposetioci sami i bez kompleksadolaze do novihsaznanja. Na taj način us-78its function in relation between an exhibit and itssetting, having clear chronological overview, simplicity,estheticism, etc.;- Have permanent exhibitions fulfilling basic museologicalprinciples, scientifically organized, authentic,simple, accessible and interesting;- Organize thematic exhibitions;- Organize continuous collaboration with visitors;- Have well-conceived educational program for everycategory of visitors and- Form special education departments.Museums are privileged places, where useful can becombined with comfortable. In these modern times ofinformatics and technical abilities, there are also changesin exhibiting activities. If some of the exhibitionsare set as a stereotype, without creativity and attractiveness,they will be unnoticed and unvisited. This kindof exhibition can lead an average visitor to complete inferiority,if their knowledge of exhibition content, meaningand function is insufficient.Every exhibition with clear concept and organizeddisplay of exhibits will satisfy educational criteria. Forthis reason, it is important for educators to be involvedin the whole process of setting an exhibition. Apart frominfluencing the final result, educators should be familiarenough with the exhibition in order to have time toprepare educational activities and carry them out afterthe exhibition is set.Education in museums and understanding of its importanceis today necessary.General tendency in the world today is to create variousactivities for visitors of different age, based on variousmethodologies. Educational activity becomes anintegral part of museum programs. Museologists emphasizemore and more the need for education, and everymodern museum has this mission of integrating education,passing on knowledge and experience, into theirrole.Museums are required to socialize objects they dealwith in various forms. In fact, museum institutions arethe ones passing, in a direct, short, specific and authenticway, cultural heritage values on to visitors. If theypay attention to general ideals, their social responsibilityis even greater. In this way, the quality of visits becomesmore important than the number of visitors and generalpublic awareness increases. A person who visits amuseum will feel the need to come again if educationalprograms are well conceived.This is how museum workshopsfulfill their obligations towards society, trainingand educating their users. One of educational forms is amuseum visit, which has an ability to encourage personaldevelopment and form personal attitude towardstradition. The phenomenon of culture can be understoodonly through knowing and appreciating of culturalheritage. In this sense, museums are the responsibleones, having in mind that thanks to their educationalrole, they connect traditionwith the public. They takeus to long time travels, yetjust a step away, where thepast dwells, the placeswhere our monuments belong.Dynamic and popularlyconducted cultural action,as well as educationalactivities, make the mostimportant components,enabling interaction whichleads visitors, independen-

postavlja se komunikacija kao protok informacija u višepravaca. Ne prenosi se poruka samo eksponatima, legendamaili usmenim izlaganjima vodiča posetiocima,već i obratno. Na taj način, sami posetioci postaju komunikatori- šaljući povratnu informaciju ka izvoru.Edukacija u muzejima danas znači uspeh za sutra, zatošto se čovek koji je kulturno obrazovan tretira drugačijeod onog koji to nije!MUZEJSKI EDUKATORIMuzejski edukatori su posrednici, interpretatori ikomunikatori, koji muzejsku delatnost povezuju sa publikom.Oni inicijativno i samostalno preduzimaju razneakcije da se kulturne i naučne informacije o izloženimmaterijalima ne prezentuju oskudno i statično, većda njihovo izlaganje bude stručno, poučno, pa i interesantno(zabavno).Posao kustosa-edukatora i njegovu ulogu treba upoređivatisa onim muzejskim stručnim radnicima kojiimaju druge radne zadatke. Muzejski edukatori sustručna lica sa visokom stručnom spremom i sa aktivnimpoznavanjem najmanje jednog stranog jezika. Radedukatora traži kontinuiranu aktivnost. Oni pronalazenove ideje, nove pristupe muzejskim predmetima, kao inove načine privlačenja posetilaca. Rad muzejskih edukatora,pre svega je timski rad, u kome je neophodna saradnjasa kustosima zbirki. Oni osmišljavaju i realizujuprograme i projekte.Cilj muzejskih edukatora je da svojim angažmanom,na prilagodljiv način, pobude kod posetilaca interesovanjeza kulturnu baštinuom. Važno je, isto tako, da edukacijabude kvalitetna, što je način da posetioci moguda donose logične zaključke o vremenu i događajima izprošlosti. Upoznavanje posetilaca sa kulturnom baštinomje izazov za kreativnost i u estetskom pogledu, čimese neposredno utiče i na poboljšanje njihove likovnei vizuelne pismenosti.Motivacijom aktivnog doživljaja prošlosti, rad muzejskihedukatora proširuje se i na druge aktivnosti. Uulozi kulturnih posrednika koji znaju i hoće da se prilagoderazličitim kategorijama posetilaca, ne treba poštovatisamo intelektualne i starosne razlike, već se trebaposvetiti i onima koji imaju posebne potrebe i interesovanja.Formiranje profila muzejskog edukatora u MuzejuMakedonije u Skoplju je u procesu usaglašavanja inastojanja da se u novom zakonu o muzejskoj delatnostiomogući unapređivanje muzejskih edukatora, isto kaošto je to predviđeno za kustose zbirki. Muzejski edukatoritreba da se edukuju sami, da objasne značenje i sampojam muzejske edukacije, pa onda da upoznaju i drugekolege sa ovom delatnošću. Oni moraju da budu profesionalciu svom poslu, što podrazumeva njihovo stručnoznanje, njihovu sposobnost za edukaciju, njihovoznanje iz oblasti metodike, didaktike i pedagogije.Danas sa pravom možemo da konstatujemo da sumuzejski edukatori most između muzeja i posetilaca.Zahvaljujući dobroj saradnji i upornom radu muzejskihedukatora posetioci će češć posećivati muzej.Danas, nažalost, možemo da konstantujemo da sumuzejski edukatori, odnosno njihov rad, nedovoljnovrednovani, uzimajući u obzir pre svega činjenicu da suoni promoteri kulturne baštine svoga naroda. Njihovzadatak je da upoznaju posetioce sa muzejem, posebnoone mlađe, koristeći novi jezik, nove slike, nova objašnjenjai novi pristup.Muzejski edukatori, mislimo na one koji rade u MuzejuMakedonije u Skoplju, imaju znanje, volju i entuzijazam,no treba im više razumevanja u finansiranju njihovihprojekata.tly and without complexes, towards new experiences.The communication established in this way, presentsmulti-directional exchange of information. Not only exhibits,notes and verbal explanations by a guide give amessage, it also goes the opposite direction. That is howvisitors themselves become communicators – providingfeedback to the source. Education in museums todayprovides success of tomorrow, because culturally educatedperson is treated differently than the one who is not!MUSEUM EDUCATORSMuseum educators are intermediaries, interpretersand communicators that connect museum practice withaudience. They independently take initiatives and stepsto prevent poor and passive way of exhibiting items, andto make it professional, educative and interesting.The work and role of curator-educator should becompared with the museum professionals that have otherworking tasks. Museum educators are graduatedprofessionals, fluent in at least one foreign language.The work of an educator requires continuous activity.They search for new ideas, new approaches to museumobjects, as well as new ways of attracting visitors. Thework of museum educators is, above all, teamwork requiringcollaboration with curators of museum collections.They create and conduct programs and projects.Museum educators have the goal of inspiring the visitors’interest for the cultural heritage in an adjustableway. The high quality of education is also important,because in that way visitors can come to logical conclusionsabout the time and events in the past. Introducingheritage to visitors is a challenge for creativity in aestheticway as well, which directly influences improvementof their artistic and visual literacy.With the motivation of active experience in the past,the work of museum educator is expanded to some otheractivities. In the role of cultural intermediaries thatknow and are willing to adjust themselves to various categoriesof visitors, attention should be paid not only tothe intellectual and age differences, but also to personsthat have special needs and interests. Forming of museumeducator profile in the Museum of Macedonia inSkopje is now in the process of adjustment. There is alsoan idea of introducing higher professional titles formuseum educators, such are different levels of curatorship,in the new Law on Museum Profession. Museumeducators should educate themselves, to define very notionof museum education, and then also introduce theircolleagues into their practice. They have to be professionals,which implies that they have to be knowledgeable,capable of educating, being familiar with methodics, didacticsand pedagogy.Today we could justly say that museum educatorspresent a bridge between museum and visitors. Owingto the good cooperation and persistent work of museumeducators, visitors will keep coming to museums.On the other hand, we could, unfortunately, also saythat museum educators and their work are not appreciatedenough, having in mind that they are, above all,promoters of their nation’s cultural heritage. Their taskis to introduce visitors, especially the younger ones, tothe museum, to a new language, new images, new explanationsand a new approach.Museum educators, meaning the ones that work inthe Museum of Macedonia in Skopje, have the knowledge,willingness and enthusiasm, but they need more understandingfrom authorities for the issue of financingtheir projects.79

Gabriela Petkova, BugarskaBugarskigradovi-muzejiUsadašnjem kontekstu ujedinjene Evrope bivše komunističkezemlje pokušavaju da se integrišu prilagođavanjemsvojih politika, uključujući i kulturnih, evropskimstandardima i da se uključe u savremeni evropskisistem. Ovaj proces ne odvija se istom brzinom u svakojod njih (Dragicevic-Sesic, 2002: online). I dok je uzemljama kao što su Češka republika, Poljska, Slovenija,Mađarska i Baltičke zemlje, proces tranzicije uveonovi pravni sistem, funkcionisanje višepartijskog demokratskogsistema, privatizaciju i ekonomiju koja pokušavada se okrene tržištu, u Bugarskoj su prethodne vladepotrošile mnogo vremena na rat sa opozicijom po pitanjimakao što je sudbina tajnih policijskih dosijea(Crampton 1997: 435), dok su pitanja kulture ostajalavan njihovog delokruga. Međutim, u Evropskoj unijidiskusija o zajedničkom evropskom nasleđu uveliko tečei Bugarska, kao pridruženi član, ne može da zanemariovu temu.Ovaj tekst predstavlja jednu “studiju slučaja”i odnosise na aktuelnu situaciju u jednom jedinstvenom bugarskommuzeju – gradu muzeju – koji je nastao 1969.godine i na njegov razvoj (odnosno nepostojanje razvoja)od 1989. godine i moj pokušaj da nađem odgovor napitanje: da li Bugarska uspeva da iskoristi sve svoje potencijaleza unapređenje kulture kako bi se pripemila zauključivanje u strukture EU?Termin “grad-muzej” nije opštepoznat u evropskojmuzeologiji i jedan od načina da se ovaj termin razumeje da se “grad-muzej” uporedi sa terminima “istorijskigrad”i “muzej na otvorenom”. Primer grada-muzeja Bojenci,koji ovde razmatramo, ilustruje ovu koncepciju.Na internet sajtu Asocijacije malih turističkih gradovai sela u Velikoj Britaniji možemo pročitati da:Vlada ulaže velike napore da obnovi gradove i dasmanji pritisak na selo. Podržavamo ove napore, ali smosvesni da će i dalje postojati velika potreba zanovim kućama i poslovima van većih gradova…Pitamose da li će mali gradovi i sela biti u stanju da se prilagodepromenama tako da sačuvaju svoj individualni karakteri da nove građevine poboljšaju način života u njima.1 Osnovna ideja je da će se promene javljati u istorijskimgradovima bez obzira da li se Asocijacijazalaže zauvođenje neke vrste kontrole nad tipovima i stilovimanove gradnje.Definicija istorijskih gradova na konferenciji u Valeti,Malta 2 glasi: “….istorijski gradovi su mesta u kojimasu sačuvani značajni spomenici kulture…”Pa, ako je neophodnojednostavno opisati istorijski grad, mogli bismoda kažemo da je to grad u kome su zgrade ili deograda sačuvane u potpunosti, kakvi su bili u vreme izgradnjeu dalekoj prošlosti. Time se ne zaustavlja širenjegrada u skladu sa aktuelnim potrebama urbanog razvoja.Takvih gradova ima po celom svetu i oni su deo svetskogkulturnog nasleđa.Primer istorijskog grada u Bugarskoj je Koprivštica(sl. 1), gradić iz vremena bugarske renesanse na obroncimaBalkana, udaljen 111 km od Sofije. Ni u jednomdrugom bugarskom gradu nema toliko kuća-spomenika– ukupno 383, a najveći deo je obnovljen i vraćen im jeoriginalni izgled.801 http://www.ashtav.org/home/welc.html2 1.-3. oktobar 1998. godineGabriela Petkova, BulgariaBulgarian livingtown-museumsIn the present context of united Europe ex-communistcountries seek integration trying to adapt their policies,including cultural related ones, to the European requirementsand join contemporary European system.The process however is not equally fast for all of them(Dragicevic-Sesic, 2002: online). While in countries suchas Czech Republic, Poland, Slovenia, Hungary and theBaltic states the transition process showed the introductionof new legislative system, functioning multipartydemocratic system, privatization and economy makingstrides towards being market-driven, in Bulgariaprevious governments spent much of their time fightingwith the opposition over issues such as the fate of secretpolice files (Crampton 1997: 435) and purely culture relatedmatters remained outside the work scope of thesegovernments. However in the EU questions concerningcommon European heritage are largely discussed andBulgaria as associate country cannot neglect them.The following is a case study and relates to the presentstate of a unique Bulgarian kind of museum – living-townmuseum – organized as such in 1969 and howit developed (or not) since 1989 in the attempt to find ananswer to the question: Is Bulgaria using all possibilitiesfor improvement in cultural area to be ready to jointhe structures of the EU?The term of ‘living town-museum’ is not commonlyknown in European museology and a possible way to comprehendits concept is to explore the terms ‘historic town’and ‘open-air museum’ and to make a comparison with theterm ‘living town – museum’. The example of Bojentsitown-museum is chosen to illustrate this concept here.The internet site of the Association of Small HistoricTowns and Villages in the UK notes the following statement:The Government is trying hard to regenerate the citiesand to reduce development pressure upon the countryside.We commend this endeavour, but we are awarethat there will still be massive demand for new homesand more jobs outside the major cities. .. .We are concernedthat small towns and villages should be able toadapt to change in ways that recognise their individualcharacter and that new building should make them betterplaces to live in. 1The main idea here is that changes will occur in historictowns no matter whether the Association is anxiousto see some sort of control over the type and style ofnew buildings.The definition of a historic town given bythe European association of historic towns in its conferenceheld in Valletta, Malta 2 is: ‘…historic towns and citiesare the ones where significant cultural monumentshave been preserved…’.Therefore if a simple descriptionof a historic town is required we could say it is a townwhere some buildings or part of the town are preservedas they used to be at the time of their erection in the distantpast. This does not stop the expansion of the towntaking into account the needs of urban development.Such towns can be found all over the world and formpart of the worlds’ cultural heritage.An example of a historic town in Bulgaria is Koprivshtitza(Fig. 1), a small Bulgarian Revival town situatedin the Balkan mountain folds, 111 km east of So-1 http://www.ashtav.org/home/welc.html2 1.-3. october 1998. godine

Prema Tumangelovu (1972: 57) ovaj grad se održavakao istorijski spomenik od 1952. godine. Muzeji, mostovina lukovima, kamene fontane, visoki kameni zidovi izgrade tipičnih boja – sve ima odlike arhitekture bugarskerenesanse. U Bugarskoj jedino Nacionalni institutza spomenike kulture može da proglasi jednu zgradu“istorijskom”. O takvim zgradama Institut je obavezanda brine, prema Normativnom propisu br. 5 (iz1998.god.) i br. 6 (iz 1979.god.) Ministarstva kulture.Vlasnik može da bude i fizičko lice, ali ne sme da vrši nikakvepromene u zgradi bez dozvole Nacionalnog instituta.Promene na fasadi nisu uopšte dozvoljene. Ipak, uKoprivštici nije zabranjena izgradnja novih kuća.Ovo se u izvesnoj meri odnosi i na zgrade u VelikojBritaniji koje su na listi spomenika kulture i gde Komisijaza istorijske zgrade i spomenike Engleske (ili EnglishHeritage) ‘savetuje državnog sekretara za kulturu,medije i sport u vezi sa predlozima “da se stave na listu”zgrade od posebnog istorijskog ili arhitektonskog interesa’3 . Drugim rečima, ova organizacija je slična Nacionalnominstitutu za spomenike kulture, koji predlažebugarskom Ministarstvu kulture zgrade i lokalitete kojetreba uključiti u listu zaštićenih dobara.Ako pažljivije razmotrimo termin “muzej na otvorenom”kojije veoma čest u zapadnoj Evropi, odmah ćemouočiti razliku. Skansen, prvi muzej na otvorenom u svetui model za mnoge kasnije muzeje ove vrste, u suštinipodrazumeva veštački izgrađen obrazovni kompleks.Artur Hazelius (1833-1901), osnivač Skansena, počeo jeda prikuplja etnografsku građu, svestan da modernavremena menjaju tradiciju i da će ona uskoro prestati dapostoji za buduće generacije.On je, 1873.godine, u Stokholmu otvorio “Skandinavskuentnografsku zbirku”, koja je bila veoma uspešna(Edenheim 1995: 7).No, još veći uspeh zbirka je doživela kada je Hazeliusu Pariz na Svetsku izložbu 1878. godine, umesto voštanihfigura u nošnjama, doveo Šveđanke obučene utradicionalne kostime. Međutim, on je smatrao da nijedovoljno izložiti etnografske predmete da bi se održalatradicija i da bismo je poznavali (Edenheim ibid: 8). Hazelijusje uspeo, 1890. godine, da dobije zemljište uStokholmu, na Djurgarden-u (Kraljevski park jelena) izapočeo je veće radove na izgradnji prvog muzeja na otvorenomu svetu. Na otvaranju, 11. oktobra 1891. godine4 , posetioci su mogli da vide kuću sa imanja Mora, kojuje Hazelius nabavio još 1885, zatim kuću iz Kirkhulta(karakteristična zgrada iz provincije Blekinge u južnomJitlandu) ili kuću od rezane građe iz Orse. Do krajaživota, 1901. godine, Hazelius je širio park prenošenjemkuća iz različitih delova zemlje, kao što je kućaBölnas preneta 1892. godine ili građenjem kopija, kaošto je poslednji objekat koji je sagradio, zvonik iz Hĺsjöu provincji Jamtland. Hazelius je želeo da prenese original,ali je otpor bio veliki i morao je da se zadovolji kopijom(Edenheim, ibid: 11). Od otvaranja 1891. godine,lokalitet je proširen sa preko 150 istorijskih zgrada kojesu donete iz gotovo svih delova Švedske. Postavka dokumentujekako su ljudi različitih društvenih slojeva živeli,radili i stanovali. U kućama i na seoskim imanjima,vodiči u odgovarajućim nošnjama pričaju o načinu životau kući koju posetilac razgleda 5 . Drugim rečima, muzejna otvorenom u svom izvornom obliku predstavljaveštački lokalitet. Ako bolje pogledamo neke novije primerevidećemo da je osnovna ideja muzeja na otvorenomjoš uvek ista. Web sajt muzeja na otvorenom u Bifia.No other Bulgarian town boasts such a large numberof houses-monuments - 383 in all, most of which havebeen restored to their original appearance.Slika 1 KoprivšticaFig.1 KoprivshtitsaAccording to Tumangelov (1972:47) the town hasbeen preserved in its entirety as a historical monumentsince 1952. The museums, arched bridges, granite fountains,high stone walls and buildings in their typical coloursall have the features of Revival architecture. InBulgaria the only organization which can designate abuilding as ‘historic’ is the National Institute for CulturalMonument. Once designated as such that same Institutemust look after it according to Normative Acts No5 (from 1998) and No 6 (from 1979) of the Ministry ofCulture. The owner may be a private individual but heor she is not allowed to make any internal changes withoutthe permission of the National Institute. No externalchanges are allowed at all. However the erection ofnew buildings in Koprivshtitsa is not prohibited.To a certain extent this is also the case of listed buildingsin the UK, where Historic Buildings and MonumentsCommission for England (or the English heritage)is the body which ‘advises the Secretary of State forCulture, Media and Sport on proposals to “list” buildingsof special historic or architectural interest’ 3 . In otherwords it is an organisation similar to National Institutefor Cultural Monument which is the body, presentingto the Bulgarian Ministry of Culture buildings andsites to be included in the list of protected by the Stateones.If we take a closer look at the term ‘open-air museums’,quite a common phenomenon in Western Europe,the difference is immediately noticeable. Skansen, thefirst open-air museum in the world and a model for manyopen-air museums afterwards, in its origin impliesan artificially created educational facility. Artur Hazelius(1833-1901), the founder of Skansen, first started collectingethnographic materials with the idea that moderntimes are changing peoples traditions and thesewill soon disappear for future generations. In 1873 heopened the ‘Scandinavian ethnographical collections’ inStockholm which was a great success (Edenheim1995:7). Even greater was the success when Hazeliuspresented the exhibition in Paris at the World exhibitionof 1878 when instead of using wax models to presentdifferent costumes he used real Swedish women dressedin traditional costumes. However he considered justshowing ethnographic artefacts as not good enough forhis aims of maintaining tradition and providing educationabout it (Edenheim ibid: 8). In 1890 Hazelius succeededin obtaining land in Stockholm, on Djurgĺrden(The Royal Deer Park) and started a major work on the3 http://www.ashtav.org/home/welc.html4 Lindblom (1937: 3) smatra da je datum otvaranja bio 30. avgust1891.5 http.//www.skansen.se 3 http://www.ashtav.org/home/welc.html81

mišu, Velika Britanija, objašnjava da muzej priča o ljudimaseveroistočne Engleske tokom dva značajna datumau njihovoj istoriji – 1825. i 1913.godine…Većina kuća,radnji i drugih zgrada je “razmontirana” na nekommestu u regionu i ponovo sagrađena ovde 6 .Izgradnja lokaliteta je zavisila od premeštanja zgradada bi bile ponovo podignute u novom okruženju, čimeje rekonstruisan određeni period britanske istorije.Hazelijusova ideja se širila i otvoreni su mnogi muzejina otvorenom, prvo u susednim zemljama – Danskoj, Holandiji,Norveškoj, Nemačkoj, mada je u malo zemalja biloodgovarajućih uslova za njihovo osnivanje (Czajkowski1981: 14). Do I svetskog rata osnovana su 44 muzeja na otvorenom,a Norveška je predvodila sa 16 muzeja osnovanihdo 1914. godine (Czajkowski ibid: 15). Period izmeđudva rata karakteriše pojačana aktivnost na ovom planu.Pojavili su se novi muzeji na otvorenom u Austriji,Čehoslovačkoj, Letoniji i Ruskoj Sovjetskoj Republici,Rumuniji, Mađarskoj, Velikoj Britaniji i Nemačkoj. Trebapomenuti letonski muzej na otvorenom, koji je osnovan1924. godine u Rigi, pošto je to jedan od najstarijihi najvećih takvih muzeja u Evropi. Grad predstavlja rekonstrukcijuživota u Letoniji od XVII do XIX veka.Imanja, crkve, mlinovi, ribarska sela i druge istorijskezgrade prenete su iz raznih delova zemlje. Danas muzejzauzima 100 ha i u njemu svoje veštine pokazuju stručnjaciiz 18 različitih oblasti: drvodelje koji prave kašike,pčelari, grnčari i drugi. U Usma crkvi svake nedelje služise služba. Tokom leta održavaju se koncerti na orguljamai koncerti narodne muzike i sajmovi zanatstva.Zbirka sadrži 100.000 predmeta. Posebno je zanimljivWeb sajt muzeja (http://www.virmus.com), projekat kojifinansira Evropska unija, gde se mogu videti ne samoaktuelna postavka u muzeju već i dokumentacija i fotografijekoje govore o izgradnji muzeja, ali i o svakoj kući,mlinu, farmi ili drugoj zgradi u muzeju. Širenje i osnivanjenovih muzeja nastavilo se i posle rata i zahvatiloje celu Evropu. Prema Čajkovskom (ibid: 18) 1980-tihje bilo oko 500 muzeja na otvorenom.Slika 2 EtaraFig.2 Etara82U Bugarskoj postoji samo jedan muzej na otvorenom,Etara (sl. 2). Osnovan je 1964.godine i za vremekomunističkog perioda pojedini autori kao Konjarska(Koniarska 1984: 5), smatrali su ih “strukturom nepodesnomi neprihvatljivom za Bugarsku”. Teško se možemosložiti sa ovim preterivanjem, karakterističnim zagodine komunistričke cenzure, jer se u modernom društvudanas ne dovodi u pitanje značaj muzeja na otvorenomkao specifičnog načina za predstavljanje i očuvanjeprošlosti, obrazovanje i zabavu. Etara se nalazi u sliko-6 http://www.beamish.co.ukfirst in the world open-air museum. When it opened on11 October 1891 4 visitors could see the Mora farmhousewhich Hazelius had acquired as early as 1885, the Kyrkhultfarmhouse (a distinctive house from the province ofBlekinge in southern Götaland) or the chipping housefrom Orsa. Until the end of his life in 1901 Hazelius continuedto expand the land and move in the park housesfrom different provinces such as the Bölnas house,which had been moved in 1892 or build copies such asthe last house he built, the belfry from Hĺsjö in the provinceof Jämtland. Hazelius had wanted to move the originalbut had met strong resistance and had to be contentwith a copy (Edenheim ibid: 11). Since its openingin 1891 the site grew with more than 150 historic buildingsmoved there from nearly every part of Sweden.The settings show how people in different social classeslived, worked and were housed. In the houses and farmsteads,hosts and hostesses in period costume tell aboutlife as it used to be lived in the house one is visiting 5 .Inother words the open-air museum in its pure form is anartificially created site. A closer look to a more recentexample will reveal that this is still the basis of theopen-air museums idea. The web site of Beamish openairmuseum in UK explains that the museumtells the story of the people of North East England attwo important points of their history - 1825 and 1913. …Most of the houses, shops and other buildings have been“deconstructed”from elsewhere in the region and rebuilthere. 6The construction of the site depended on movingbuildings to erect a new settlement, recreating particularperiod of British history.The idea of Hazelius spread and many open air museumswere established, first in countries nearby Sweden- in Denmark, Holland, Norway, Germany althoughonly a few countries provided proper conditions fortheir establishment (Czajkowski 1981: 14). Until theFirst World War 44 such museums were established,Norway leading with 16 open-air museums by 1914(Czajkowski ibid: 15). The period between the two warsis characterized by great activities in this direction. Newopen-air museums appeared in Austria, Czechoslovakia,Latvian and Russian Soviet Republics, Romania, Hungary,Great Britain and Germany. It is worth mentioningthe Latvian open-air museum which opened in 1924 inRiga as it is one of the oldest and biggest in Europe. Thetown reconstructs the life of Latvia in the 17-19 centuries.Farmsteads, churches, windmills, fishing villagesand other historic countryside buildings have been movedhere from different parts of the country. Today themuseums spreads on a territory of 100 hectares andmasters of 18 different crafts demonstrate their work:spoon-carvers, bee-keepers, potters and others. Servicesare held at Usma Church every Sunday. The organ andfolk music concerts and regular craft fairs that take placein the summer time. The collection contains 100 000items. Incredibly interesting is the web site devoted tothe museum (http://www.virmus.com), a project supportedby the European Union, where one can see not onlythe present state of the museum but also documentariesand photographs testifying how it was built and theseare for every house, farm, mill or other building in themuseum. The movement of expansion and building upof new museums continued after the war and spreadthroughout Europe. According to Czajkowski (ibid: 18)there were about 500 open-air museums by 1980s.4 Lindblom (1937: 3) consider 30 th of August 1891 as date ofinauguration5 http.//www.skansen.se6 http:// www.beamish.co. uk

vitom delu Balkanskih planina i predstavlja oblikpredstavljanja prošlosti, ekonomskog razvoja, načina životai bugarske renesanse u arhitekturi i tehnici.Aleksieva (1994) navodi da se muzej prostire na 7 hai uključuje originalne kuće, radionice, tehnička sredstvana vodeni pogon, keramiku i ćilime, izuzetne rezbarije iprefinjen srebrni nakit. Sve kuće su u stilu bugarske renesanse(XVIII-XIX vek) i u svakoj postoji i mala prodavnicasa bugarskim zanatskim proizvodima.Danas muzeji na otvorenom imaju značajnu ulogu usvetskom muzejskom okruženju. U diskusijama i nakonferencijama razmatraju se mogućnosti za poboljšanjenjihovog stanja, za njihovo oživljavanje, da li suprihvatljive replike zgrada i drugih neoriginalnih strukturakao izložbenih objekata, kako uklopiti sakralneobjekte u ove lokalitete 7 . Niko, ipak, ne dovodi u pitanječinjenicu da muzeji na otvorenom predstavljaju načinvizualizacije perioda istorijskog razvoja jedne zemlje iliregiona, koji je stvoren premeštanjem artefakata sa svojihmesta ili pravljenjem replika zgrada kada premeštanjenije bilo moguće, jer je to osnovni koncept muzeja naotvorenom od vremena Artura Hazeliusa i njegovogSkansena.Suprotan koncept predstavljaju Bojenci, već pomenutigrad-muzej. Selo Bojenci (sl. 3, 4 i 5) leži u centralnomdelu Stare Planine. Po legendi, osnovano je prvihgodina Otomanske vlasti (1393) kada je jedna vlastelinka,Bojana, iz sela Veliko Turnovo pobegla sa porodicomi našla pribežište u planini i tu osnovala selo. Tokom petvekova turske vlasti osnovni izvor života sela bili sustočarstvo, zanati i trgovina.Danas Nacionalni institut za spomenike kulture seloBojenci smatra arhitektonskim i istorijskim rezervatomna osnovu pomenutih propisa br 5 i 6 Ministarstvakulture. Većina kuća, sagrađenih pre 200 godina imasvoje vlasnike, ali nikakve promene nisu dozvoljene bezsaglasnosti Instituta. Za restauraciju i održavanje zaduženje Institut, što, prema dr. Lisicovu 8 , stručnjaku Nacionalnoginstituta za spomenike kulture, za vlasnikepredstavlja “mač sa dve oštrice”. Vlasnik ne plaća popravke,ali ako želi da proda kuću, mora državi da vratisredstva uložena u očuvanje zgrade. Jasno je da ni novivlasnik ne sme da vrši nikakve izmene bez dozvole Instituta.Pet kuća u rezervatu sumuzeji 9 , a tu su i manastirskaškola i crkva. Ostalekuće su biblioteka, voskara,gostionice, nekolikokrčmi i poslastičarnica,gde se mogu videti stariposlastičarski proizvodi.Ovaj kompleks je u potpunostiočuvan, a mora takavi da ostane, u skladu sa bugarskimzakonima.Procedura za proglašenjelokaliteta za istorijski iSlika 3 Bojenci - prodavnica slatkiša i kafedžinicaFig.3 Bojentsi – the sweets shop and caféarhitektonski rezervatkomplikovana je i utvrđena u odredbama Ministarstvakulture br 5 iz 1998. godine (koje derogiraju prethodnipropis br. 5 iz 1969.) i br 6 iz 1979. godine. Propis br 5utvrđuje proceduru za proglašenje lokaliteta za izuzet-7 Teme na XVII Godišnjoj konferenciji Asocijacije evropskihmuzeja na otvorenom, 27. avgust-2. septembar, 1995, Belfast, v.Gailey, A. (ed.) 1997 XVII Godišnja konferencija evropskihmuzeja na otvorenom, XVII Godišnja konferencija evropskihmuzeja na otvorenom, Severna Irska8 Intervju – Dr. Stefan Lisitzov – april 2003. godine9 Kuća Topalova, baba-Rajnina kuća, pop-Dončova kuća, kućaGanke Kadijeve, kuća Cane MihoveThere is only one open-air museum in Bulgaria, namedEtara (Fig. 2). It was created in 1964 and during thecommunist period some authors such as Koniarska(1984:5) considered it as structure ‘inexpedient and intolerablefor Bulgaria’. It is difficult to agree with thisoverstatement, characteristic for the years of communistcensorship because the importance of open-air museumsas a specific way of representing and preservingthe past for education and enjoyment is unquestionablein modern society. Etara is situated in a picturesque regionof the Balkan Mountains and is a form of presentingthe historical past, economic development, the wayof life and Revival architecture and techniques.Aleksieva (1994) reveals that the museum covers anarea of 7 hectares and includes genuine houses, craftsmenworkshops, water driven technical facilities, potteryand rugs, exquisite wood carvings and fine silverjewellery. All houses are in Revival style (18 th – 19 th centuries)and in each one there is a small crafts shop wheretraditional Bulgarian crafts can be found.Today open-air museums are an important part ofthe world museum environment. Discussions and conferencesare held about how to further improve their state,how to enliven them, is it appropriate to use replicabuildings and other non-original structures as exhibits,how the sacral building fit into these sites 7 . No one howeverquestion the fact that open-air museums representa way to visualise a period of the historical developmentof a country or region but created after movingartefacts from other places or building replicas of existingones when moving was not possible as this is thebasis of the open-air museums idea from the time of ArturHazelius and his Skansen.As opposed to this idea comes the example of Bojentsi,the above mentioned living town-museum.Bojentsi village (Fig. 3, 4 and 5) is situated in thecentral part of Stara Planina Mountain. Legends saythat it was founded in the first years of the Ottomanconquest (1393) when a noble woman named Bojanafrom the town of Veliko Turnovo escaped with her familyand found refuge in the mountain and went on to foundthe village. During the 5 centuries Ottoman dominationstock-breeding, different crafts and trade were the basicmeans of livelihood in thevillage.Today the whole villageof Bojentsi has been deemedan architectural andhistoric reserve by the Nationalinstitute for CulturalMonuments under the abovementioned Acts No 5and 6 of the Ministry of theCulture. Most of the houses,built 200 years ago areprivate but nobody canmake changes without thepermission of the Institute.All restoration and maintenanceis executed by the Institute, which according toDr. Lisitzov 8 , specialist in the National institute for CulturalMonuments, is a ‘double-edged sword for the owner’.The owner does not pay for repairs but if he wants tosell the house the state takes back the part from the moneyinvested in preservation of the building. The newowner is obviously again not allowed to do anything7 Matters discussed during the 17 th annual conference of theAssociation of European Open Air Museums, August 27 th – September2 nd , 1995, Belfast, see Gailey, A. (ed.) 1997 17 th annual conferenceof the Association of European Open Air Museums, Associationof European Open Air Museums, Northern Ireland8 Interview - Dr. Stefan Lisitzov – April 200383

Slika 4 Bojenci - centralni trgFig. 4 Bojentsi - the central placeSlika 5 Bojenci - kafanaFig.5 Bojentsi- a tavernno nepokretno kulturno dobro. Prema njemu…nepokretnadobra, koja sadrže autentične materijalne dokazeljudskog postojanja i aktivnosti, zajedno sa okruženjemi sa svim pokretnim dobrima u tom okruženju proglašavajuse za izuzetna dobra nepokretnog kulturno-istorijskognasleđa (član 2)Postupak proglašenja uključuje četiri faze: 1) identifikacija,2) proglašenje, 3) konačna komplesna evaluacijai 4) potvrđivanje, publikovanje i registracija. Identifikacijapodrazumeva sistematski terenski rad i istraživanje,naučne ekspedicije, vazdušna i podmorska istraživanjai druge nedestruktivne metode. Pošto se nepokretnokulturno dobro identifikuje, mora se i proglasiti istavlja se pod prethodnu zaštitu, dok se sve činjenice neutvrde. Tada je neophodna stručna procena njegove autentičnostii stepena očuvanosti kulturnog dobra, njegovanaučna i estetska vrednost, interakcija sa okruženjemi sa društvom. Konačni predlog na stavljanje nalistu kulturnih dobara priprema Ministarstvo kulture, aodobrava ga Savet ministara, zatim se odluka objavljujeu Službenom listu, a sertifikat izdaje Nacionalni institutza spomenike kulture, kojim se potvrđuje da je lokalitetpod zaštitom države. Na taj način je i selo Bojanciproglašeno za istorijski i arheološki rezervat.Bojenci bi trebalo da predstavljaju važnu turističkuatrakciju Centralne Bugarske, ali nažalost, većina turističkihprograma ga izostavlja. Broj posetilaca je gotovoisti svake godine, tj. oko 19.000 i u ovom momentu nemaogućnosti da se njihov broj poveća, što donosi velike šteteselu i seljanima, posebno zbog očajničke potrebe safinansijskim sredstvima celog rezervata 10 .Jedini izvor prihoda za ljude koji tamo žive potiče odulaznica za muzeje i od turista koji posećuju prodavnice,kafiće, gostionice ili noće u selu. Kako kaže Svetla8410 Informacija – Svetlana Dimitrova, administrator i vodič u rezervatuBojenci, intervju – 15.04.2004. Ministarstva kulturewithout the approval of the Institute.Five of the houses in the reserve are museums 9 andthere is a monastery school and church. The other housesrepresent a library, wax workshop, inns, several tavernsand a sweet shop where old sweet production techniquescan be seen. This complex is preserved in its entirety andaccording to Bulgarian legislation it must stay as it is.The procedure of pronouncing a site as historicaland architectural reserve is complicated and describedin regulations No 5 from 1998 (which abrogate the previousregulations No 5 from 1969) and No 6 from 1979of the Ministry of culture. Regulations No 5 describesthe procedure to follow to declare a site an immovablemasterpiece of culture. According to it…immovable property, comprising authentic materialevidences of human existence and activities togetherwith their environment and all the movable valuables inthis environment shall be pronounced as immovablecultural-historical heritage (Art. 2)According to the procedure the way to declare a sitean immovable masterpiece of culture includes foursteps: 1) identification, 2) declaration, 3) final complexvaluation and 4) confirmation, publication and registration.Identification is made by systematic field work andresearch, by scientific expeditions, aero and submarinestudy and other non-destructive methods. Once the immovablecultural masterpiece identified it has to be declaredas such and is put under temporary protectionuntil all its features are well defined. Then an expert valuationis needed to determine the authenticity and degreeof preservation of the immovable cultural masterpiece,its scientific and aesthetic value, its interactionwith the environment and interaction with society. Thefinal proposal for inclusion in the list with culturalmasterpieces is made by the Minister of Culture and approvedby the Council of Ministers, the decision is thenpublished in the State Gazette and a certificate is issuedby the National Institute for Cultural Monuments thatthe site or the monument is protected by the State. Thisis the way which had been followed to declare the villageof Bojentsi historical and archaeological reserve.Bojentsi should be one of the major tourist attractionsin Central Bulgaria but unfortunately it is not partof most tourist itineraries. The number of visitors is almostthe same every year, i.e. about 19 000 with no possibilitiesfor increase at this stage and this is disastrousfor the village and its inhabitants, especially as thewhole reserve is in desperate need of money for maintenance10 . The only source of revenue for the people livingthere is the entrance fees for the museums and the tourists,who are able to visit the different shops, cafes, tavernsor just stay in the night at the inn. According toSvetla Dimitrova, administrator and guide in the village,Bojentsi has problems originating from the locationof the village itself. The idea when creating the village,according to the above mentioned legend, is that it wasinaccessible for enemies. Today there are 8 kilometers ofsharp turns in the road to it from the previous villageand it is the only way to reach the settlement. The interestof the tour operators to bring foreign tourist, whichare only about 800-900 a year (out of 19 000), is not great.When they organize tours they usually do not choseBojentsi because of its inaccessibility but prefer theEtara open – air museum which is very easily accessible.On the other hand according to Mrs. Dimitrova this ismaybe the reason why the village is so well preserved in9 Topalov house, Granny Raina’s House, Priest Doncho’s house,Ganka Kadieva’s House, Tsana Mihova’s House10 Information - Svetla Dimitrova, administrator and guide inBojentsi reserve, interview – 15.04.2004

Dimitrova, administrator i vodič u selu, problem za Bojencepredstavlja sama lokacija sela. Selo je, prema legendi,osnovano zato da spreči nailazak neprijatelja.Danas ga od susednog sela odvaja 8 km oštrih krivina, ato je jedini put. Strani tur-operatori nisu posebno zainteresovanida dovode strane turiste, kojih ionako imasamo oko 800-900 godišnje (od ukupne posete od19.000). Prilikom organizacije poseta, obično izbegavajuBojence, jer je selo nepristupačno, a uključuju Etaru –muzej na otvorenom, do kojeg je lako stići. S druge strane,kaže gospođa Dimitrova, možda je zbog toga selo isačuvalo svoju autentičnost. U vom momentu nije mogućedovesti više turista iz finansijskih razloga. Nemapara za oglašavanje, ali je još bitnije da nema infrastrukture,koja bi odgovarala većini turista. Mesto nijetoliko popularno kao druga bugarska odmarališta jer jeudaljeno od mora, a nije pogodno ni za skijanje. UpravaBojenaca bi želela da mesto uključi u neke od programakulturnog turizma. Međutim, selo je veoma specifičnojer jedino može da ponudi demonstraciju “kultureživljenja”. A, “prilikom osnivanja ovog grada-muzeja,osnovna koncepcija nije bila profitabilnost” (Dimitrova2004), dok u ovom trenutku nema jasne celokupne strategijeza budućnost rezervata.Situacija sa rezervatom Bojenci je čudna i proizilaziiz činjenice da ne postoji strateški plan. S jedne strane,postoji otpor promenama. Sa druge, jasno je da je zaočuvanje rezervata potreban novac. U ovom momentuniko ne želi da uđe u finansiranje ako ne postoji mogućnostpovećanja dohotka. Kako kaže gđa Dimitrova, stranistručnjaci za muzeje na otvorenom ne mogu da shvatekako ovakav muzej uopšte opstaje bez dovoljnog prihoda.Bojenci sa okolinom su restaurisani i proglašenirezervatom za vreme komunističkog perioda, kada je državafinansirala kulturu. No, stvari su se promenile odtada i nešto se mora preduzeti da se Bojenci sačuvaju.Najvažnije je pripremiti jasan strateški plan. VizijaMinsitarstva kulture i Nacionalnog instituta sa spomenikekulture, kad se radi o ovakvim lokalitetima, nijejasna. Ako Bojenci ostanu takvi kakvi su, bez adekvatnogfinansiranja, neminovno će propadati. Ako se koncepcijapromeni, grad-muzej će se pretvoriti u istorijskigrad, tj. jedan deo će se sačuvati u sadašnjem obliku, aoko njegovog jezgra biće dozvoljena nova gradnja, što ćedovesti do sasvim drugačijeg izgleda mesta. Prva opcijazahteva finansiranje namenjeno održavanju, uz prihvatanječinjenice da ne postoji mogućnost povećanja zarade.Druga će uništiti autentičnost Bojenaca kao grada -muzeja i pretvoriće ga u još jedno od mnogih istorijskihgradova u Bugarskoj.Situacija u Bugarskoj jasno pokazuje da se u bliskojbudućnosti ne može očekivati da država finansira ovakvamesta značajna za kulturnu baštinu. Ali, postoje bardve veće organizacije, čije resurse, kompetencije i znanjetreba koristiti, tj. UNESKO i EU.UNESKO-va konvencija o Zaštiti svetske kulturne iprirodne baštine uključuje – … grupe odvojenih ili povezanihzgrada, koje, zbog svoje arhitekture, homogenostiili mesta u okviru predela, predstavljaju izvanrednu univerzalnuvrednost sa stanovišta istorije, umetnosti i nauke…(član 1 – Definicija kulturne i prirodne baštine).Bugarska je ratifikovala ovu konvenciju 7. marta1974. godine, a stupila je na snagu 17. decembra 1975.Od tada je samo devet bugarskih dobara 11 uključeno u11 Crkva Bojana (1979), Jahač iz Madare (1979), kamene crkveu Ivanovu (1979), Trački grob u Kazanluku (1979), stari grad Nesebar(1983), prirodni rezervat Srebarna (1983), Nacionalni park Pirin(1983), Rilski manastir (1983), Trački grob u Sveštaru (1985)12 Stari Plovdiv, kosturnica u manastiru Bačkovo, crkva četrdesetvelikomučenika u Velikom Tarnovu, grob u selu Aleksandrovu-Haskovoits authenticity. At this stage it is not possible to attractmore tourists because of financial reasons. There is nomoney for advertising but the most important is thatthere is no infrastructure built which is suitable for manytourists. The place is not popular as other Bulgarianresorts also because it is far from the sea and is inappropriatefor skiing. At this stage what the management ofBojentsi would like to achieve is to include the settlementin some program for cultural tourism. However itis again very specific as what they can offer is only a demonstrationof ‘culture of living’. And also because‘when creating this town-museum the idea was not tomake money from it’ (Dimitrova 2004) and because atthe present time there is no clear idea about the overallstrategy for the future of the reserve.The situation of Bojentsi reserve is strange and it originatesfrom the fact that there is no strategic plan for it.On one side there is a resistance things to be changed.From the other it is clear that funding is needed for preservationof the site. At the present time however nobodywill finance it if there won’t be increase in income. Accordingto Mrs. Dimitrova foreign specialists on open-air museumscan not understand how such a museum exists withoutsufficient income. Bojentsi and its whole territorywas restored and declared as a reserve during the communistperiod when funding for culture came from the state.However things have changed since that period and somethingneeds to be done for Bojentsi to preserve it.On first instance comes the need to prepare a clearstrategic plan.The vision of the Ministry of Culture and theNational Institute for Cultural Monuments for such heritagesites is not clear. If Bojentsi is kept in the situation itis now, with no sufficient funding this imminently will leadto deterioration. If the conception is changed this willconvert the town-museum into a historic town, i.e. one partwill be preserved the way it was, while new building willbe permitted on its borders thus provoking a completelydifferent effect. The first option requires finding fundingfor maintenance with the clear idea that major incomeincrease is not a probability. The second one will destroyBojentsi authenticity as town-museum and will make fromit one of the many historic towns in Bulgaria.The situation of Bulgarian internal affairs makes itlucid that sufficient funding coming from the state forsuch heritage sites is not to be expected in foreseen future.There are at least two major organizations whichresources, competence and know-how should be used,i.e. UNESCO and EU.A possible action in this situation is the inclusion ofthe site in UNESCO World Heritage List which againhowever eminently means some actions from Bulgarianside. UNESCO does not choose the sites to be included;the proposal has to come from Bulgarian side.The UNESCO convention concerning the Protectionof the World Cultural and Natural heritage includes…groups of separate or connected buildings, which,because of their architecture, their homogeneity or theirplace in the landscape, are of outstanding universal valuefrom the point of view of history, art and science…(Article 1 – Definition of the cultural and natural heritage)Bulgaria ratified the convention on 7 th of March 1974and it entered into force as of the 17 th December 1975.Since then only 9 Bulgarian properties 11 have beenincluded in the UNESCO World Heritage List, yet Bojentsi,which has all the necessary features to be included inthe list, is not there. The last site inscribed to the list was11 Boyana church (1979), Madara Rider (1979), Rock-hewn churchesof Ivanovo (1979), Thracian tomb of Kazanluk (1979), Ancient city ofNessebar (1983), Srebarna Nature reserve (1983), Pirin National park(1983), Rila Monastery (1983), Thracian tomb of Sveshtari (1985)85

13 Informacija: http://www.unesco.org/whc/sp/bul.htm14 Napr.: www.worldheritagesite.org ili www.travel_images.com/unescoworld.html15 Samo vlada zemlje-članice može da podnese spisak dobarana svojoj teritoriji za Svetsku listu baštine86UNESKO-vu listu kuturnih dobara, a Bojenci, iako suimali sve kvalitete neophodne za to, ostali su van liste.Poslednji lokalitet upisan u listu bio je Trački grobiz Sveštara 1985.godine. Ove godine direktor UNESKOaje posetio Bugarsku i četiri mesta su nominovana zalistu 12 . Nažalost, Bojenci još uvek nisu nominovani. Nijejasno zašto je Ministarstvo kulture Bugarske propustiloda predloži i druga mesta za listu. Prema čl. 4 gorepomenute Konvencije – Nacionalna zaštita i međunarodnazaštita kulturne i prirodne baštine – …svakaZemlja članica ove konvencije prihvata da dužnost daobezbedi identifikaciju, zaštitu, konzervaciju, prezentacijui prenošenje budućim generacijama kulturne i prirodnebaštine iz članova 1 i 2, a koje se nalaze na njenojteritoriji, pripada u prvom redu toj zemlji.Čak je onima koji nisu stručnjaci jasno da uključivanjelokaliteta na listu znači dodatno finansiranje. To, naravno,nije dovoljno, ali je ipak određeno finansiranje. Uovom slučaju, osnovnu prednost ratifikacije, naročito zazemlje u razvoju, predstavlja mogućnost pristupa Fonduza svetsku baštinu. Godišnje, oko tri miliona dolara stojena raspolaganju, uglavnom najnerazvijenim zemljamai zemljama sa niskim nacionalnim dohotkom, za finansiranjetehničke pomoći i obrazovnih projekata, kao i zapomoć zemljama-članicama za pripremu predloga zanominaciju ili za projekte konzervacije. Moguće je dobitii pomoć za hitnu popravku šteta nastalih prirodnimkatastrofama ili onim koje su posledica ljudskog faktora.Upis dobra na Svetsku listu baštine takođe otvaraput ka finansijskoj podršci iz različitih izvora vezanih zaprojekte zaštite baštine (http://www.unesco.org). Od1979. godine, kada je prvo dobro uključeno u Listu, Fondza svetsko nasleđe dao je pomoć za devet bugarskih dobarasa Liste, u iznosu od 348.497 US $ za pripremu,obuku i tehničku saradnju 13 , što bi bilo idealno za Bojence.tj, da se obezbede izvesna sredstva za održavanje,obuku stručnjaka i tehnologiju i na taj način se uključeu programe kulturnog turizma. Države članice mogu tražitimeđunarodnu pomoć iz fonda sa misije eksperata,obuku specijalizovanog kadra, nabavku opreme, takođemogu tražiti višegodišnje pozajmice i nepovratne kredite.Grčka, Češka, Francuska, Nemačka, Španija i VelikaBritanija gotovo svake godine upisuju bar po jedno kulturnodobro na Listu (http://www.unesco.org). Na taj načinzemlja štiti svoja kulturna dobra. Samo idenitifikovanjelokaliteta nije dovoljno, jer je neophodna njihovazaštita i održavanje. Zadivljujući je broj Internet sajtovakoji nude turističke vodiče za mesta na UNESKO-vojlisti baštine 14 . Ovo bi bila idealna situacija za bugarskuvladu 15 . Bugarski mediji stalno pišu da “u Bugarskoj nepostoji finansiranje kulture”, ali izgleda da nema ni pokušajada se finansiranje obezbedi. Postavlja se i pitanjeuticaja politike na kulturnu baštinu. Tek je poslednjavlada nominovala četiri lokaliteta za listu. Međutim,kultura u velikoj meri zavisi od prioriteta Vlade. Zemljaje izgubila 18 godina, kada nije ni pokušala da uključibar jedno kulturno dobro na UNESKO-vu listu. Neophodnoje da se učini napor da se više lokaliteta uključi naovu Listu. Proces nije brz. No, da bi se neko dobro uopšteunelo na listu, neophodan je proaktivni pristup, jer ćeu suprotnom doći do daljeg propadanja i inače jadnogstanja najvećeg broja bugarskih kulturnih dobara.Drugu značajnu mogućnost u aktuelnoj kulturnojsituaciji u ujedinjenoj Evropi predstavljaju resursi sameEvropske Unije. Tokom 2000-te Evropska Unija je lantheThracian tomb of Sveshtari in 1985. This year howeverthe Director of UNESCO visited Bulgaria and foursites have been nominated for the list 12 . UnfortunatelyBojentsi has still not been named. It is unclear why theMinistry of the Culture in Bulgaria did not take any measuresto ensure the adding of further sites to the list atan earlier time. According to article 4 of the above mentionedConvention – National protection and internationalprotection of the cultural and natural heritage –…each State party to this convention recognises thatthe duty of ensuring the identification, protection, conservation,presentation and transmission to future generationsof the cultural and natural heritage referred toin Article 1 and 2 and situated in its territory, belongsprimarily to the that state.Even to non specialists it is clear that the inclusion ofa site in the list means extra funding. Not sufficient ofcourse, but funding all the same. In this regard, a key benefitof ratification, particularly for developing countries,is access to the World Heritage Fund. Annually,about three million US dollars are made available, mainlyto Least Developed Countries and Low Income Countries,to finance technical assistance and training projects,as well as for assistance to States Parties requestinghelp to prepare their nomination proposals or to developconservation projects. Emergency assistance mayalso be made available for urgent action to repair damagecaused by human-made or natural disasters. Inscriptionof a property on the World Heritage List may alsoopen the way for financial assistance from a variety ofsources in heritage conservation projects(http://www.unseco.org). Since 1979 when the first propertywas included in the list, the World Heritage fundhas assisted the nine Bulgarian properties on the listwith USD 348, 497 for preparatory assistance, trainingassistance and technical cooperation 13 , which would beideal for Bojentsi, i.e. having some funding for maintenance,training of specialists and know-how and obviouslybeing included this way in itineraries for culturaltourism. State parties can request international assistanceunder the fund for expert missions, training of specializedstaff, supply of equipment; they can also apply forlong-term loans and non-repayable grants. Countriessuch as Greece, the Czech Republic, France, Germany,Spain and the UK manage to get at least one site ontothe list almost every year (http://www.unesco.org). It is away for a country to protect its cultural heritage. Justidentifying sites is not enough as they need maintenanceand protection. The abundance of Internet sites offeringtourist guides to UNESCO Heritage sites is amazing 14 .This would be an ideal opportunity for the Bulgarian governmentto take action 15 . It is widely reported by Bulgarianmass-media that “there is no funding for culturein Bulgaria”, but it would appear that no efforts are beingmade to obtain funding. There is also some questionover the influence of politics on heritage issues. It wasonly the last government which nominated four sites tobe included in the list. However what happens to the culturalheritage of a country largely depends on the prioritiesof its Government. The country has wasted 18 yearswithout trying to include a single site in the UNESCOlist. An attempt must be made to include more sites onthe list. There are criteria and a procedure to follow ofcourse. The process is not quick. But for inclusion to ta-12 Old Plovdiv, Bachkovo monastery ossuary, the church of St. Forty martyrsin Veliko Tarnovo, the tomb in the village of Aleksandrovo - Haskovo13 Information http://www.unesco.org/whc/sp/bul.htm14 For example: www.worldheritagesite.org or www.travel-images.com/unesco_world.html15 Only the Government of the State Party to the Conventioncan submit an inventory of properties on its territory that may besuitable for the World Heritage list.

sirala projekat Culture 2000 sa ciljem da “… ohrabrikreativnost i motiviše umetnike, javni pristup kulturi,širenje umetnosti i kulture, međukulturalni dijalog ipoznavanje istorije i kulturnog nasleđa naroda Evrope.Osnovni cilj je stvaranje zajedničkog kulturnog prostora,približavanjem ljudi i očuvanjem njihove nacionalnei regionalne raznovrsnosti” 16 .Prioritet u 2004. godini ima kulturno nasleđe, kojeuključuje pokretno i nepokretno nasleđe, nematerijalnubaštinu, istorijske arhive, biblioteke, arheološku i podvodnubaštinu, kulturne lokalitete i kulturne predele.Od 2000-te godine samo jedna bugarska organizacijaje uzela učešća u programu Culture 2000 - u Odeljkuza kulturnu baštinu, tj. bugarska Asocijacija za alternativniturizam – BAAT (BG), kao koorganizator programa‘Expressions Graphiques sur l’Architecture Balkanique’za APARE 17 (Francuska) koja je rukovodilac projekta u2000-toj. Culture 2000 je otvorena samo za organizacijeu jednoj ili više zemalja članica Evropske unije. To značida Bugarska još uvek ne može direktno da učestvuje,ali to može da uradi u zajednici sa nekom drugomzemljom, članicom Unije. Ovo je još jedna mogućnostkoja nije proučena ili iskorišćena.Turisti većinom posećuju mesta koja se najviše hvaleu velikim oglašivačkim kampanjama. Bugarska je zemljasa bogatom istorijskom baštinom, koju svet treba da vidi.Nažalost, ova baština ima uglavnom teorijsko značenjei predstavlja podatke u istorijskim knjigama, a nepraktično poznavanje bugarskih artefakata i lokaliteta.Bugarska, a verovatno i druge zemlje, može da ponudi inešto specifično i različito. Nephodno je privući pažnjumogućih posetilaca na tipične bugarske elemente: onošto se ne može videti na nekom drugom mestu.Mesta u Bugarskoj kao što su gradovi-muzeji koji žive– mesta u kojima je život zastao pre 200 godina. Mestagde je moguće osetiti istorijsku atmosferu samo akose mesto poseti.Očajnički su potrebna sredstva da bi se pormovisaokulturni turizam, ali za ovo je neophodan proaktivnipristup. Mora se imati u vidu i da će povećanje broja posetilacazahtevati stalno održavanje, zbog čega je neophodnoi dugoročno finansiranje. Dobro osmišljene marketinškekampanje mogu u tome da pomognu. Ali akoizostane odgovarajuća akcija, ovi lokaliteti će jednostavnonestati, a sa njima i jedina mogućnost da posetilacdoživi prošlost u njenom najčistijem, najstvarnijemobliku.Literatura:Aleksandrov, E. 1980 Mejdunarodno pravna zakrila na kulturnitecennosti I obekti, Nauka i izkustvo, SofiaCzajkowski, J. (ed.) 1981 Open-air museums in Poland, PoznanEdenheim, R. 1995 Skansen: traditional Swedish style, Scalabooks, StockholmKamenova, Tz. 1999 Praven rejim na kulturnite cennosti, BAN,SofiaLindblom, A. 1937 The Stockholm Skansen, Ahlen and Akerlund,StockholmPenkova, Y. (ed.) 2003 Bulgarian museum towns, Touristreklama,SofiaPobornikov, ?. 1982 Praven rejim na pametnicite na culturata vBalgaria, SofiaUNESCO 1972 Convention concerning the protection of theworld cultural an natural heritage, Adopted by the General conferenceat its 17 th session (16.11.1972)UNESCO 2002 World heritage archaeological sites and urbancentres, Skira. Italy16 http://www.europa.int.eu17 Asocijacija za regionalnu participaciju i akcijuke place a proactive approach is required otherwise therewill be further deterioration in the already deplorablestate of the most of Bulgaria’s heritage sites.The second major option in present situation of culturallife in united Europe are the resources of the EuropeanUnion itself. In 2000 the EU launched a project namedCulture 2000, which ‘…aims to encourage creativityand mobility of artists, public access to culture, thedissemination of art and culture, inter-cultural dialogueand knowledge of the history and cultural heritage of thepeoples of Europe. Its general objective is to create ashared cultural area bringing people together while preservingtheir national and regional diversity’ 16 .In 2004, the priority sector is cultural heritage, whichincludes movable and immovable heritage, immaterial heritage,historical archives, libraries, archaeological and underwaterheritage, cultural sites and cultural landscapes.Since 2000 only one Bulgarian organization tookpart in Culture 2000 in its cultural heritage section, i.e.the Bulgarian Association for alternative tourism - BA-AT (BG) was co-organizer of ‘Expressions Graphiquessur l’Architecture Balkanique’ program with APARE 17(France) as Project leader in 2002. Culture 2000 is openonly to organizations established in one or more of theMember States of the European Union. Which meansthat Bulgaria still cannot participate directly but can doit in conjunction with another country, member of EU.Once again a possibility, which is not explored and used.In many circumstances tourists visit places which havebeen at the centre of a big advertising campaign. Bulgariais a land with rich historical heritage, deserving tobe seen by the human kind. Unfortunately this heritagehas more of a theoretical meaning; information in the historybooks rather than practically based on Bulgarian artefactsor sites. Bulgaria, like possibly every other country,has something specific and distinctive to offer. Todraw the attention of visitors it is necessary to draw theirattention to the typical Bulgarian elements; things thatcannot be seen anywhere else. Such sites in Bulgaria areliving town-museums – places where time stopped 200years ago. Places where it is only possible to feel the historicatmosphere by actually visiting the site itself. Fundingis desperately needed in order to promote culturaltourism but this requires a proactive approach. It mustalso be taken into account that increased visitor numberscan and will lead to the need for constant maintenancehence long term funding is required. Well consideredmarketing campaigns are one course of action that canassist. But if proper action is not taken sites will simplydisappear and with them the only possibility for the visitorto experience the past in its purest, most real form.References:Aleksandrov, E 1979 Mejdubarodno pravo na kulturata: SachnostI harakteristika, BAN, SofiaAleksandrov, E. 1980 Mejdunarodno pravna zakrila na kulturnitecennosti I obekti, Nauka i izkustvo, SofiaCzajkowski, J. (ed.) 1981 Open-air museums in Poland, PoznanEdenheim, R. 1995 Skansen: traditional Swedish style, Scalabooks, StockholmKamenova,Tz. 1999 Praven rejim na kulturnite cennosti, BAN, SofiaLindblom, A. 1937 The Stockholm Skansen, Ahlen and Akerlund,StockholmPenkova, Y. (ed.) 2003 Bulgarian museum towns, Touristreklama,SofiaPobornikov, ?. 1982 Praven rejim na pametnicite na kulturata vBalgaria, SofiaUNESCO 1972 Convention concerning the protection of theworld cultural an natural heritage, Adopted by the General conferenceat its 17 th session (16.11.1972)UNESCO 2002 World heritage archaeological sites and urbancentres, Skira. Italy16 http://www.europa.int.eu17 Association for regional participation and action Associationfor Regional Participation and Action87

Jana Šubic Prislan, Goriški muzej, SlovenijaDepo Goriškog muzejaNije moguće opovrgnuti tvrdnju da su za uređenjeodgovarajućeg depoa, koji funkcioniše prema savremenimmuzeološkim principima, potrebna velika finansijskasredstva i određena znanja. Ali, na osnovuprimera uređenja depoa Goriškog muzeja u Novoj Goricimožemo da tvrdimo, da je takođe moguće, pored veomaograničenih sredstava, mnogo toga uraditi dobromvoljom, urođenim osećajem za red i takođe napornim radom.Svima koji su se uhvatili u koštac sa problematikomdepoa, želela bih da pokažem, kako je moguće polako,na zadovoljavajući način urediti i opremiti depo,pod uslovom da ne činimo ono što šteti predmetima i daradimo na osnovu plana, kako bi u budućnosti izbeglinepotreban rad i iznenađenja.Bez dvoumljenja - dobar depo mora da obezbedi sigurnoi primereno čuvanje predmeta, dakle odgovarajućubezbednost, odgovarajuća svojstva okoline, odgovarajućesisteme čuvanja, kao i odgovarajući pristup zbirci.Sređivanje depoa danas je glavni zadatak slovenačkihmuzealaca i zato o tome dosta govorimo u poslednjevreme. Međunarodna načela njihovog uređenja i rešenjaiz inostranstva takođe su poznata našim stručnim krugovima,mada je korisno, da jedni drugima predstavljamosvoja iskustva u vezi uređenja depoa, jer jedni oddrugih možemo puno da naučimo. S obzirom na stanje unekim drugim ustanovama, mislim da je Goriški muzejprilikom rešavanja problematike depoa bio uspešan, jersmo za to takođe dobili i javnu pohvalu od predstavnikaministarstva za kulturu, stoga mi se činilo da je jošprimerenije da pripremim ovaj članak. Kada sam nakontoga, prošlog decembra, na seminaru u Dijana Centru uBeogradu, dobila još neke potvrde od svojih srpskih kolegai od predstavnika ICCROM-a, postala sam, naime,svesna, da naši depoi i nisu tako loši, a u poređenju sanekim drugim čak i odlični, zato je ovo takođe prilika dase malo pohvalimo. Naime, u Goriškom muzeju je zauređenje depoa bila zadužena samo grupa saradnika,koja je, sa povremenim spoljnim pomoćnicima, obavilaveći deo posla, a prilikom uređenja većina muzejskihradnika je učestvovala svojim idejama, zbog čega ga svismatramo svojim.Goriški muzej je pokrajinski kompleksni muzej, kojije od osnivanja 1952. godine na različite načine stekaobrojne zbirke, mada većinu materijala koji se čuva nijemoguće videti, već je smešten u depoe. Sve do prošle godinerazne vrste predmeta smo čuvali na više lokacija napodručju Gorice, ali danas već možemo da kažemo da jevećina predmeta bezbedno smeštena u centralnoj zgradidepoa, u Ajdovščini, koja je auto-putem od sedištaGoriškog muzeja udaljena 35 kilometara.Kada smo odlučivali o adekvatnosti te zgrade, ustanovilismo da ako depoi ne mogu da budu u istoj zgradiu kojoj su zbirke i stručni radnici, dakle ako ih trebaprevoziti, svejedno je da li je ta razdaljina 3 ili 35 kilometara.U svakom slučaju treba se pobrinuti za siguranprevoz.Posle dugogodišnjeg truda Goriški muzej je dobioprostorije za depoe od Ministarstva za odbranu u kasarninekadašnje JNA u Ajdovščini, početkom 1998. godine.Zgrada je bila sastavni deo kasarne «Srećko Kosovel»u Ajdovščini i tada je, kao i neke druge zgrade ukompleksu, dobila novog vlasnika i namenu. Poredzgrade je veliki parking i uopšte rečeno, zgrada ima dobarpristup.Zgrada ima spoljašnje dimenzije 59m x 17m; ima visokoprizemlje i jedan sprat kao i prolazno potkrovlje.Jana Šubic Prislan, Goriški museum, SloveniaThe Depot of Goriški muzejIt cannot be denied that the arrangement of an appropriatedepot, which operates according to modernmuseological principles, requires a substantiable amountof financial means and certain expertise. However,as the case of the Goriški muzej depots shows, inspite ofbudgetary constraints much can be already done withgood will, a sense of orderliness and nonetheless hardwork. I would like to show those of you, who are dealingwith the problems of storage, how it is possible to slowlyand satisfactorily arrange and fit out store rooms –with the condition that we refrain from doing harm toobjects and that we carefully follow a plan, in order toavoid unnecessary work and surprises in the future.Doubtless to say that a good depot has to ensure asecure and suitable storage for objects – hence, an appropriatelevel of security, suitable climatic conditions,a proper storage system and an apropriate access to thecollections. The setting-up and management of depots istoday the main task of Slovenian museum curators. Thisis why the topic has sparkled much debate in the scientificcommunity. International standards and principles,as well as solutions from abroad for the arrangement ofdepots are not unfamiliar to Slovenian experts – however,it would be useful to exchange practical experiences,since much can be learned from each other. In comparisonwith some other Slovenian institutions, I dare tosay that Goriški muzej successfully tackled the problemregarding depots. This was nevertheless publicly acknowledgedby the representatives of the Ministry of Culture,giving me an additional reason to prepare this contribution.As I received positive feedback from my Serbiancolleagues and the representatives of ICCROM atlast december’s seminar that was organised by the Dianacentre in Belgrade, I realised that our depots are farfrom being bad – actually, they are excellent in comparisonwith some others. I will therefore use this opportunityto boast a bit.The task to arrange the depots of the Goriški muzejwas originally assigned to a smaller team of colleagues,which – with the occasional help of external assistants– managed to do most of the work. However, from the“ideational”side most of the employees took part in theproject, that is why we all feel part of it.Sedište Goriškog muzeja na gradu Kromberk u Novoj GoriciThe Seat of Goriški Muzej at the Kromberk Castle in Nova GoricaGoriški muzej is a regional museum. Since its foundationin 1952, in different ways the museum acquirednumerous collections. However, most of the collectedmaterials are not displayed, but kept in depots. Up untillast year, the many different objects were stored onvarious locations in the Goriška region. In contrast, to-88

Zgrada za depoe Goriškog muzeja u AjdovščiniThe Building of the Goriški muzej depots in AjdovščinaSvaki sprat ima oko 860 m˛ korisne površine, koja je podeljenaotprilike na dva dela. U prvom delu je stepeništei nekoliko manjih prostorija, drugi, veći deo predstavljadugačak hodnik, od koga se na obe strane otvarajurelativno velike bočne prostorije (većinom imaju površinuoko 40 m˛). Na kraju su dovoljno velike sanitarneprostorije, sa tekućom vodom. Isti raspored je takođe ina gornjem spratu. Pošto nam je takav raspored odgovaraozadržali smo ga.Dobili smo ogromnu zgradu koja je bila u žalosnomstanju, jer je vojska ostavila za sobom zdanje u derutnomstanju, a kasnije su u nju bile useljene izbeglice.Za tu namenu, prostorije su bile prilagođene takošto su podeljene montažnim pregradnim zidovima. Prilikomnašeg preuzimanja zgrade, pokazalo se sledećestanje: parket je bio oštećen, kao i druge podne obloge,zidovi su bili oštećeni i ispisani, električne instalacijeiščupane iz zida, svetlosna tela demontirana, u sanitarnomdelu su bile razbijene pločice i sanitarna keramika.Na prozorima su nedostajala stakla ili cela prozorskakrila, oštećena su takođe bila i vrata.Prilikom preuzimanja zgrade proverili smo krov izaključili da, zbog bure, krovni materijal od eternitnihploča na betonskom zidu predstavlja problem, jer je dotrajaoi do danas nam nije uspelo da ga u celosti saniramo,tako da ga još uvek krpimo(na žalost ponekad podmećemokofe i polivinile folije). Pregledali smo takođe ioluke, koje redovno čistimo, tako da ne prokišnjavaju, anemamo problema ni sa kanalizacijom. Zgrada se nalazina obodu zanatskog kvarta. Taj deo grada je noću napušten,tako da se s vremena na vreme srećemo sa vandalizmom.Pošto se u napuštene zgrade rado naseljavajuglodari ili insekti, pregledali smo i zatvorili sve potencijalnekanale, kroz koje bi nepozvani mogli da dođuu zgradu.Godine 1998. i 1999. pobrinuli smo se za zaštitu i fizičkubezbednost zgrade i za prve sanacione radove.Uređena je bila bliža okolina, popravljen prilaz i montiranasu ulazna vrata i gvozdene rešetke na prozorima.Na vrata je ugrađena rampa sa kliznim mehanizmom, zaunošenje većih predmeta u zgradu i premošćenje ulaznogstepeništa. Prostorije na oba sprata su bile očišćene,uklonjene su pregrade, prozori zastakljeni i popravljenisvi metalni delovi. Odstranjen je malter koji se ljuštio sazidova, zidovi omalterisani, gletovani i okrečeni. Pod jepopravljen, veće rupe popunjene, a zamenjene su i podneobloge koje su nedostajale. Parket je ishoblovan iprelakiran, nameštene su i parket-lajsne. Sva vrata supopravljena i ofarbana, a zastakljen i ofarban je gornjipojas prozora u hodniku. Ponovo su razvedene električneinstalacije, a delimično su nameštena i svetla. Takodaymost of the objects are safely stored in the centraldepot in Ajdovščina, located 35 km away by a highwayfrom the seat of the museum. When deciding about theappropriateness of the location, we came to the conclusionthat if the depots cannot be in the same building asthe collections and the museum curators – hence, theyneed to be transported – then 3 or 35 km do not make adifference. In any case, a safe transport has to be providedfor.After years of endavours, Goriški muzej was finallyable to acquire the depot site from the Ministry of Defenceat the beginning of 1998. The building was part ofthe complex of the Srečko Kosovel army barracks of theformer Jugoslav national army (JNA), which at that timewere undergoing changes in ownership and purpose.The building has a big parking and is generally wellaccessed. It is 59 metres by 17 metres in size. It has ahigh ground floor, an upper floor and an attic. Eachfloor has approximately 860 sq. m of usable space,which is divided into two parts. In the first part there isa staircase and some smaller rooms, whereas the other,bigger part consists of a long corridor, with relativelybig rooms opening on each side (approx. 40 sq. m in size).At the end of the corridor, there are amenities withwarm water (washroom). The same room order can befound in the upper floor. Since we were satisfied withsuch a room disposition, we decided not to change it.At the time the huge building was turned over to themuseum it was in a gloomy state. The army left a havocafter its departure and later on refugees were settled inthe building. Therefore the rooms were adapted for livingand were partitioned with mounted walls. The initialsituation was as follows: damaged parquett and otherflooring, walls were damaged and written all over,the electrical wiring was grubbed up out of the wall, thelights were removed, the amenities had broken tiles andappliances. Window panes and in some cases casementswere missing from the windows and even the doors weredamaged.We also checked the status of the roof where we discoveredpossible problems with the etrnite plates on theconcrete roof in case of a stronger wind (bora). The platesare old and until today we did not succeed to fullyrenovate the roof though we continually patch it up(and unfortunately sometimes use buckets and nylons aswell). We checked the gutters which are now regularlycleaned so that they do not wet and there are no problemswith the sewage. The building is situated at theedge of the industrial part of the town. This area is desertedby night so there were instances of vanadalismfrom time to time. Empty buildings can host differentrodents and insects therefore we checked and closed allpossible channels where these could access the building.In the years 1998 and 1999 we firstly provided forthe protection and physical security of the building andcommenced with the first reparation works. The outsideof the building was put in order and the access road repaired.The entrance door was mounted as well as theiron grids on the windows. On one side of the front doora ramp with a towing mechanism was set up that nowserves for the introduction of larger objects into the buildingand for bridging the entrance staircase. The roomsin both floors were cleaned, the partition walls were removed,the windows were glazed and the casements repaired.The roughcast that was falling off was removedand the walls consequently mortared, luted and repainted(whitewashed). The pavements were also fixed – largerholes were filled up and the missing floors were replaced.The parquett was wheted and varnished andfurnished with borders. The doors were fixed and repa-89

90Tabela iz 2003. godine, sa unesenim vrednostimamerenja i označavanje, ako je bio uključen sistem zaodvlaživanjeTable for 2003 with appropriate measures, indicatingwhether dehumidification was turned onđe je popravljena vodovodna instalacija, a u prostorijamaza pranje instalirani su bojler i kada. Takođe je bioprobijen otvor za pristup potkrovlju, koje je ponovo popločano.Zgrada je opremljena detektorima dima i protivprovalnimalarmima. Usput, što se tiče bezbednosti: poštodepo nije naše stalno radno mesto, ne bismo odmah primetiliako nešto nedostaje. Zbog toga nam se činilo da jeadekvatno da pored sistema za bezbednost (alarmi, kamere....)uspostavimo takođe i sistem unutrašnjeg nadzora,dakle proveru toga, pod kojim uslovima sme da seuđe u depo i u određene prostorije, ko i kada dolazi, kakavje pristup ključevima, a sve to - uz vođenje računao tome da se obezbedi redovan i nesmetan rad. S tim jetakođe povezana ideja, da ako hoćemo da se napravi depokoji može da se obilazi (što je i do sada bio slučaj zapredviđene grupe kolega i posetilaca), moramo da dopunimopravila za ulaženje i ponašanje i da rešimo problemnedostatka kadra. Depo je takođe opremljen protivpožarnimsistemom, sa univerzalnim aparatima saprahom i hidrantima. Cevi za vodu su razvučene tako dane ugrožavaju predmete direktno. Svi koji rade u depoumoraju da polože ispit iz bezbednosti na radu, poznavanjarada sa opasnim hemikalijama i protiv požarne zaštite.Godine 2000. i 2001. bili su obavljeni i dodatni restauratorskiradovi i bili su montirani liftovi: veći tovarnilift, kod stepeništa i manji lift, za potkrovlje. Intenzivnose počelo sa postavljanjem polica i prvi predmetisu počeli da dolaze u depo.Odmah pošto su prostorije bile zatvorene, želeli smoda proverimo kakvi su klimatski uslovi. Zbog toga smopočeli sa merenjem: nabavili smo digitalni merač temperaturei vlage i pobrinuli smo se da se tokom cele godinesvaki radni dan, u svim prostorijama, izmere vrednostitemperature i relativne vlažnosti, koje su nakontoga pažljivo beležene u poseban raspored.Pretpostavljali smo da, zbog debljine zidova (do 0,6m) i klasičnog načina gradnje, te zbog dvostruko zastakljenihi dobro zaptivenih prozora, prostorije neće trpetiveće spoljašnje uticaje, što biprouzrokovalo kratkoročnu oscilacijutemperature i vlage.Nismo poznavali uticaj slavnevipavske bure. Pred početak izvođenjamerenja bili smo u velikomstrahu, da će klimatski uslovibiti toliko nepovoljni, da biza održavanje konstantne adekvatneklime trošak za održavanjedepoa u budućnosti bio veliki.Merenja su pokazala da suuslovi u zgradi prihvatljivi, madazimi malo suviše vlažni (oko65% RH), zbog čega smo moralida preduzmemo mere. U zgradipostoji sistem centralnog grejanja,ali koji nije saniran i stogaje neupotrebljiv.Shvatili smo da bi svaki sofisticiranijisistem zahtevao velikepočetne troškove, a takođe iskupo održavanje, što nama nijedostupno. Zato smo se odlučiliza najjeftiniju varijantu - odvlaživanje.Bez dvoumljenja smonabavili odvlaživače i pokušali,koliko je moguće uz njihovu pomoć,da poboljšamo uslove. Namestilismo ih u hodnik u priinted,as were the fanlights in the corridor. The electricinstallation was set up anew and the lights were partlyput in place. The water conduct was also repaired and aboiler and a trough were placed in the amenities. Accessto the attic was enabled with a new opening and thefloor of the attic was set up.The building was equipped with fire and securityalarms. As regards security: since employees do notspend most of their working hours in the depots, anymissing items would not be easily noticed. Therefore itwas necessary to set up a system of internal monitoringbesides the alarm and camera systems, enabling us tohave an insight into the access modalities – i.e. who andwhen accesses and leaves the premises, who accesses thekeys etc – taking into account that regular and unobstructedwork of the employees should be enabled. Inthis context, we have been thinking of setting up a visitingdepot – which so far already was for preannouncedgroups of visitors and colleagues. However, we will haveto further elaborate the rules of access and procedure,whereby also solve the problem of HR shortages. Thedepot has an inbuilt fire-safety system, with fire extinguishersand hydrants. The fireplugs are set up in such away that they do not pose a threat to the objects. Everyoneworking in the depot has to pass a test on safety atwork, on handling dangerous chemicals and fire safety.In the years 2000 and 2001 further renovation workwas done on the building. A larger hoist was mounted inthe staircase and a smaller lift leading to the attic. Shelveswere intesively being put in place and the first objectswere transported to the depot.As soon as the rooms were closed, we began measuringthe climatic conditions in the building.We acquireda digital thermometer and hygrometer and we ensuredthat temperature and relative humidity were measuredevery working day in every room throughout the wholeyear. The measurements were carefully annotated inspecial worksheets/tables.Due to thick walls (0.6 m) and the classical constructionof the building, as well as the double-pane and tightenedwindows, we anticipatedthat the rooms will not besubject to strong external climaticinterferences, whichwould cause short-term variationsin temperature and humidity.However, we were not familiarwith the effects of thenotorious Bora wind of the Vipavskavalley. Before commencingthe measuring, we wereafraid that due to unfavourableconditions, which would requirethe mantainance of constantclimatic conditions, the operationof the depot will be toocostly. Though, the measurementresults showed a satisfactoryenough picture: the generalclimatic conditions in thebuilding were acceptable, butslightly too humid in winter(approx. 65 % RH). Thereforewe had to take action. The inbuiltcentral heating systemwas not fixed and was thususeless. Since any sophisticatedsystem would require highinitial and maintainance cost,the budgetary constraints com-

zemlju i otvorilivrata bočnihprostorija, takoda je vazduh cirkulisao.Dalji rezultatimerenja su pokazalida periodičnimuklapanjemuređajamožemo da uspostavimosistem«klimatizacije»,koji daje zadovoljavajućerezultate.Tokom celegodine relativnavlažnost variraod 42 do 57 %,pri čemu su promeneveoma spore,a dnevne promenesu zanevačimaPogled u unutrašnjost depoa s odvlažimarljive.Na Insight into the interior of the depottemperaturu uwith dehumidifiersprostorijama nemoramo da utičemo i ona varira od 6°C zimi i 27°C u letnjemperiodu. Tako, u suštini, govorimo o prirodnom variranjuRH u zavisnosti od temperature. Opaža se razlikau vrednostima između prostorija koje su severnije ijužnije orjentisane (najmanje 1% RH i temperatura do1°C), kao i između oba sprata. Da bismo što više umanjilispoljašnje uticaje sunčeve svetlosti i samim tim umanjilitakođe i celokupnu količinu svetlosti, na prozoresmo kasnije postavili zastore. Za one predmete, koji ćebiti čuvani u mraku, predvideli smo potpuno zatamnjenje.Merenja sada izvodimo redovno i beležimo na istinačin kao ranije, a voleli bismo da postepeno prelazimona digitalni sistem merenja s radijskim prenosom podatakau restauratorsku radionicu u Solkanu, gde se naovaj način već sakupljaju podaci za zbirku na graduKromberk.Možemo, dakle, da tvrdimo, da su temperatura i relativnavlažnost pod kontrolom, a merenja dokumentovana,i da ne moramo u potpunosti da obezbedimo njihovoregulisanje.Danas imamo šest odvlaživača i uređaje na hodnicimai otvorena vrata između prostorija. U sledećoj fazi,ako bude moguće, preći ćemo na odvojeno čuvanje materijalakoji zahtevaju strožiji režim (trenutno zajednočuvamo samo predmete od metala etnološkog odeljenja),moramo ćemo da nabavimo dodatne odvlaživače iovlaživače, koji nam do sada nisu bili potrebni.Prostorije u depou su označene brojevima i podeljeneu odnosu na potrebe odeljenja, uspostavljamo takođesistem obeležavanja metalnih regala. Na taj način najvišeprostorija ima etnološko odeljenje (pošto takođe imamoveliku zbirku vozova imamo još i poseban depo, naodvojenoj lokaciji), sledi istorijsko odeljenje, najmanjeje pripalo kulturnoj istoriji i istoriji umetnosti, kao i arheologiji,gde su predviđeni posebni uslovi čuvanja.Svako odeljenje ima prostorije na oba sprata, čime jeomogućeno da se eventualni veći i teži predmeti čuvajuu prizemlju.Mada smo se mi, muzejski radnici, sve ove godinemnogo trudili, na žalost, zaista nismo mogli da se pohvalimo,da na dobar način brinemo o predmetima. Zatosmo sada požurili i 2003. i 2004. godine, uz pomoć mladeradne snage, u depoe u Ajdovščini je preseljeno punopredmeta, mada zbirke nisu do kraja postavljene ipelled us to adopt the cheapest solution – dehumidification.Wequickly acquired dehumidifiers and tried to improvethe general climatic conditions in the building.Weplaced them in the corridor in the ground floor and openedthe doors of the side rooms, enabling an unimpededcirculation of air. The new tests proved that we can setup a satisfactory climatisation system with the periodicaluse of dehumidification devices. The yearly variationsin humidity now are between 42 and 57 %, wherebythe changes are gradual and the daily variations almostnegligible. On the other hand, we cannot influencethe temperature in the building, which varies between 6°C in winter and 27 °C in summer. Thus, we can speakabout natural variations of RH also as a result of changesin temperature. A slight difference in values can benoticed between northernmost and southernmost rooms(min. 1 % RH and up to °C in temperature), as well asbetween both floors. To further limit the influences ofsunlight – thus also limiting the overall amount of light– shaders have been installed on windows. For those objectsthat are supposed to be stored in the dark, completedarkening has been provided.In the meanwhile, measurements have been unimpededlycarried out and annotated the same way as before.Later on, however, we would like to introduce a digitalmeasurement system, which would allow remoteaccess from the conservation workshop in Solkan (NovaGorica), where data from the Castle of Kromberk are alreadybeing collected in the same way.We can claim thatthe temperature and relative humidity are under controland all measurements documented. However, we arestill not able to ensure their proper regulation.Today we have 6 dehumidification devices at ourdisposal, which are installed in the corridors, with thedoors open. In the next phase, where the separate storageof materials is foreseen (so far we keep together onlymetal objects from the etnological department), whichin turn requires a stricter climatic regime, we will haveto acquire more dehumidification devices, as well as humidifiers,which were not needed so far.Each of the rooms in the depot has its number and asystem for the numbering of shelves is being set up. Therooms are divided according to the requirements of eachdepartment – the etnological department has mostrooms (it also has a special depot on a separate locationbecause the museum hosts a large collection of carriagesand coaches), followed by the historical department,with the cultural-, art-historical and archaeological deparmentshaving the fewest rooms, since special storageconditions are required. Each department has rooms inboth floors, enabling us to keep the heavier and largerobjects in the ground floor.Primer neadekvatnog načina čuvanja u starim prostorijamaAn example of unsuitable storage in an old storage room91

Prostorija za dokumentacijuDocumentation room (PC and gum tree!)uređene. Pojedini predmeti su bili samo premešteni,drugi, zanemareniji, bili su očišćeni i složeni na police,tako da kustosi mogu što pre da nastave sa radom -naravno,kada uslovi budu primereniji. Ali, nije dovoljnoda predmeti u depou dobiju svoj dom, nego je takođepotrebno da se pobrinemo, da stručni radnici dobijuprijatan radni prostor. Za tu namenu smo neke prostorijeopremili tako da imaju mogućnost grejanja, odgovarajućeradne površine, koje su odgovarajuće osvetljeneza rad sa predmetima, pre svega za zaštitu, pakovanje,prenošenje i takođe proučavanje. Tako imamo posebanprostor za dokumentaciju, sa posebnom kompjuterskomopremom, stolarsku radionicu, prostor za obradu tekstila,prostor za potrebe restauratora za likovnu umetnosti perionicu. Prilikom sređivanja depoa pokušali smo dasve vreme poštujemo ne samo ono što je dobro za predmet,nego takođe i za ljude, jer, ukoliko se ne bi u novomradnom prostoru dobro osećali to bi se odrazilo ina predmete u završnoj fazi rada.U depou je stalno zaposlen stručni radnik konzervator-restaurator,koji je uvek prisutan. Zadužen je zakontrolisanje događanja i brine o normalnom toku rad,kada kustosi nisu prisutni. Za studente i druge pomoćnike,kao i za sve one koji nisu vešti u radu sa predmetima,mi konzervatori restauratori smo pripremili pisanauputstva kako treba da teče rad sa raznim vrstamapredmeta, kako bi se izbegla oštećenja.Prema principu dobrog vođenja domaćinstva, do sadasmo predmete zaštitili i smestili tako da budu spremnii da nam budu dostupni i, da ih uzmemo sa police, kadasu nam potrebni. Do sada smo pokušali da sve uradimotako da kasnije, kada bude više vremena i novca,stanje samo još popravimo. Za tu namenu imamo većodređene prioritete.Predmeti su prilikom dolaska u depo smešteni u velikojprijemnoj (prljavoj) prostoriji, odakle se polako seleprema svom mestu na polici. Za pomeranje predmetaje bitno da su podovi glatki i ravni, vrata dovoljno široka,prelazi između polica i hodnika prazni. Za prevoženjepredmeta bila su napravljena posebna kolica, kojaveoma dobro služe i za odlaganje predmeta.Od svih predmeta, koji dolaze u depo, posle preciz-92Inspite of our endavours in the past, we could notboast of all the times with proper care of the objects. In2003 and 2004, therefore, we hurried up and with thehelp of young labour force moved a great number of objectsto the depots in Ajdovščina. However, the collectionsare not completely set in place and ordered. Someobjects were only transported, others, which were in aworse condition, were cleaned up and put on shelves,enabling the curators to continue their work – as soonas the work conditions are favourable. Namely, it is notenough to provide a proper place for the objects in thedepot, but also ensure a friendly working space for thecurators. For this purpose, some rooms have been adaptedto provide for heating, suitable working surfacesand apropriate lighting for the work with objects – especiallytheir protection, packing, moving and studying.We have a special room for documentation purposes,equiped with the necessary computer devices, a roomfor the treatment of garments and textile, a room for therestoration of artworks, a room for the joiner, and alaundry. While arranging the depots we tried to take intoaccount not only what is good for the objects, but alsothe needs of the persons who work with those objects.If they did not feel well in the new environment, thiswould sooner or later influence the state of the objects.A conservator-restorer is permanently employed atthe depot. He is in charge of the monitoring of the premisesand takes care of the regular working process, alsowhen the curators are not present. For the studentsand other non-qualified assistants, who ar not familiarwith the work with objects, the conservators prepared aset of rules of procedure, with detailed instructions onhow to handle different types of objects, in order toavoid damages.According to the principle of good housekeeping, theobjects have been protected and stored in such a waythat enables quick access to them, when required. Everythingthat has been done so far, allows improvementsin the future, when hopefully more money and time willbe available.To this purpose the museum has already setcertain priorities.At the arrival in the depot, the objects are temporarilystored in a large reception (dirty) room, from wherethey are gradually moved to their proper shelves. In orderto allow unimpeded movement of the object, thefloors have to be flat and smooth, doors wide enoughand the passages through shelves and corridors empty.Special handcarts were made for the movement of theobjects, which also serve as depositories.Out of all the objects that come into the depot, aftercareful examination the ones that show signs of biologi-Kolica za prevoz predmetaHandcarts for the transport of objects

Predmeti čekaju na čišćenjeObjects waiting to be cleanednog pregleda, u posebnuprostoriju smeštamo one kojisu biološki zaraženi, gdesačekaju stručnjake za dezinsekciju.Predmete koji suveoma zaraženi izolujemo utvrde plastične kese. Prljavipredmeti se u perionici uprizemlju očiste i operu inakon toga prevoze u posebnuprostoriju na spratu, gdese suše i, prema potrebi, zaštite.Ako je predmet veomaugrožen, odmah se šalje urestauratorsku radionicu, aostali predmeti će se naćitamo prilikom pripremanjaza izložbu ili kada njihovopstanak bude ugrožen.Očišćeni i konzerviranipredmeti složeni su na metalnepolice, koje su obloženepolietilenskom penom, dase predmeti ne klizaju. Zakrhke i bezoblične predmetepobrinuli smo se za privremenioslonac, podmetanjemili punjenjem beskiselinskimpapirom. Predmeti napolicima su zaštićeni odprašine tanjom polietilenskomfolijom, geotekstilom (poliester) ili pamučnomtkaninom, koju po potrebi operemo. Za veće ili dužepredmete, u koje spadaju uramljene slike, na zidove ilišine namestili smo metalne mreže, na koje ćemo ih pričvrstitiuz pomoć kukica, kao i raznim trakama (velkro).Veći predmeti nepravilnog oblika samostalno stoje uprostoriji, na namenski napravljenim postamentima.Manje sitne predmete različitih oblika čuvamo na policama.Za njih smo dugo vremena tražili odgovarajućuambalažu, koja bi bila dostupna na tržištu, jevtina, trajna,modularna i inertna.Beskiselinski karton i papir kao materijali nisu došliu obzir, pre svega zbog visoke cene, jer ih u Slovenijisamo povremeno izrađuje Institut za celulozu i papir, pabi zato morali da ga uvozimo, a pored toga kao higroskopnimaterijal nije bio odgovarajući. Tako smo odlučilida nabavimo tipske polipropilenske sandučiće sa punjenimzidovima i poklopcem, koji se modularno sastavljajui u koje ćemo moći da stavljamo raznovrsne predmete.Veće sandučiće ćemo moći da pregradimo, odnosnou njih ćemo moći da stavimo ambalažu manjih dimenzija.Kao punilac će poslužiti beskiselinski papir irazne vrste PE pena i folija, za koje ćemo pre nabavkeobezbediti specifikacije o hemijskom sastavu. Pošto dubinapolica nije svuda prilagođena spoljnim meramasandučića, za optimalno iskorišćavanje prostorije samote sandučiće ćemo slagati u dva ili više redova, jedan nadrugi, a uvid u sadržinu će nam omogućiti sistem obeležavanja(skice, crteži, fotokopije fotografija, ili sva imenapredmeta na sandučićima, a na policima brojevi). Uzto ćemo se pobrinuti za siguran i jednostavan pristuppomoću merdevinama. Za tekstil pripremamo posebneormane, mada smo za odevne predmete i uniforme nameniliposebnu prostoriju, u kojoj će biti okačeni na vešalices podmetačima na ramenima i zaštićene od prašineu vrećama od tyveka.Za predmete koji prilikom uzimanja zahtevajuopreznost, napravićemo namenske kutije prema dimenzijamaod odgovarajućeg materijala (beskiselinski karcalattack are stored in a separateroom where theywait for specialists for desinsection.Those particularlyat risk are isolated inthick plastic bags. Dirty objectsare cleaned in the washroomon the ground floorand then transported to aspecial room on the firstfloor, where they are let todry and are eventually protected.If the object is verydamaged it is immediatelysent to the conservationworkshop, while the rest ofthe objects will go there beforebeing displayed orwhen their survival will beat risk.So far the objects thathave been cleaned and conservedhave been arrangedon metal shelves, paddedwith sheets of polyethylene(PE) foam to avoid scratches.Fragile and deformedobjects were supplied withadequate support or stuffedwith acid-free tissue. Theobjects on the shelves areprotected from dust by thinner sheets of polyethylenefoam, geo-textile (polyester) or cotton fabric which canperiodically be washed if necessary. For bigger and longerobjects, among which framed pictures, metal wiringwas set on interior walls or on movable tracks on whichobjects will be hung with the help of hooks and bands(velcro). Bigger objects of irregular dimensions are standingindependently on purpose built supports off thefloor. For the time being, smaller objects of differentshapes are kept on shelves. For a long time we have beenlooking for suitable containers, that were available onthe market, inexpensive, durable, modular and inert.Because of high price, acid-free board and paper as materialwere set aside. They are only occasionally producedby the Institute for Cellulose and Paper in Ljubljanaand therefore have to be imported. Besides being ahyghroscopical material they are also not the most suitable.Thereforewe decided to acquire standardized polypropyleneboxes with full walls and cover that can bepiled up and can hold different objects. Bigger boxeswill be partitioned or further filled with smaller containersmade of the same material. Acid-free tissue will beused as a buffer and filler, as well as different polyethylenefoams and sheets for which we will request technicalspecifications prior to use. As the depth of the shelvesdoes not always fit the dimensions of the containerswe will try to optimize the use of space by piling themin two or more rows, while the insight into the contentswill be made possible by a system of labelling (sketches,drawings, photocopies of photos, or names of objects onthe containers, and numbers on shelves). We will alsoensure simple and safe access by ladder. For textile objectswe have designed special wardrobes, while we havedesignated a special room for clothes and uniforms,where they will be hung on hangers with lined shouldersand protected against dust by bags made of tyvek.For the objects that require special care in handlingwe will make purpose-made boxes using suitable materials(acid-free board and paper and inert adhesives)93

ton i papir kao i inertnaveziva), koje će istovremenoobezbediti mehaničkupotporu i sigurnostod iznenadnih spoljašnjihpromena (radionice za izradukutija organizujerestauratorska radionicaArhiva Slovenije). Za arheološkidepo predviđamonabavku pokretnihmetalnih regala, zbog čegaarheološki predmetiverovatno moraju da sačekajuselidbu ili konačnismeštaj.Za depoe je veomavažno da su čisti i provetreni.Važno je da predmetei prostorije redovnopregledamo, te da održavamočistoću podova ipredmeta. Zbog lakšegodržavanja čistoće podovai kao i smanjenja mogućnostidodira sa podnomvlagom, primerenoje da su police i predmetiodignuti od tla. U zagušljivimtamnim uglovimalako mogu da se, uz visokuvlažnost, razgranajuplesni (gljivice), a u prljavimi pretrpanim uglovimai nepreglednim gomilamamaterijala rado senaseljavaju štetočine, kojinaravno dolaze s novimpredmetima, ali mogu daih donesu i posetioci naodeći, sa hranom i sl. Zatonije na odmet da povremeno,s baterijskomlampom, pregledamo sveuglove, da bismo mogli dauočimo razne izmete, bube,dlake - takođe možemoda postavimo lepljivepaste i dr. Moramo da pazimotakođe, da li iz izlaznihrupica drvenihpredmeta ispada crvotočina.Uz opšti nedostatak prostora u muzejima depo jenaravno odgovarajući prostor za čuvanje i svih ostalihpredmeta i rekvizita, koji nisu muzealije, kao što je muzejskaposlovna dokumentacija (arhiv), publikacije,oprema za izložbe, ambalaža itd. Zato je najbolje daodredimo posebnu prostoriju za njihovo smeštanje, jerse na kraju, u svakom slučaju, nađu u depou. Mi smo zasmeštanje tog materijala odredili potkrovlje, koje zbogloše toplotne izolacije i opasnosti od prokišnjavanja nijeadekvatno za smeštanje muzealija.Ovo je priča, kako možemo da se postupno, sa malosredstava i mnogo uloženog rada, pobrinemo za zadovoljenjeminimalnih standarda čuvanja muzejskih predmeta.Dovde je priča srećna. Da bi imala takođe srećankraj, za obezbeđenje dovoljnih finansijskih sredstavamoraće da se pobrinu naši osnivači i finansijeri. Fotografije: Goriški muzej94Pogled na složene predmete u policamaObjects stored on shelvesthat will offer mechanicalsupport and protectagainst sudden changesin environment at the sametime (workshops formanifacturing of boxesare organized by the conservationlaboratory ofthe Archives of Slovenia).For the needs of the archaeologicaldepot, weplan to acquire movablemetal shelving, thereforethe moving of objectsand their final placingwill probably have towait.It is very importantthat the depots are cleanand ventilated. The objectshave to be checkedregularly and a generallevel of cleanliness of objectsand floors has to bekept. To facilitate thecleaning of the floorsand to minimize the contactwith the humidity ofthe ground, the objectsand shelves are best liftedfrom the ground. Indark and unventilatedcorners in moulds cangrow cases of high relativehumidity. Dirty cornersand massy heaps ofmaterials are favourableto growth of pests thatcan be imported by visitorson clothes and withfood, and of course withnewly acquired objects.Therefore it is suggestedthe occasional use of atorch-light for inspectionof corners and wehave to check for allkinds of excretions,chrysalids, hairs and furs– we can also set stickytraps. We also have topay attention to freshlyworm-eaten wood.Because of a general lack of space in museums, thedepot is of course a suitable place for storing all otherkinds of objects and requisits, which are not museumobjects, such as museum buisiness records (archives),publications, exhibition furniture, packing materialsetc. Therefore the best thing to do is to designate a spareroom for their keeping, because the depot will betheir final destination anyway. We keep all these meterialson the attic, since its bad thermal insulation anddanger of leakage makes it unsuitable for storage ofmuseum objects.This is a story how minimal standards for the storageof museum objects can be reached with little moneyand a lot of work done. Up to this point the story is happy.But in order to reach a happy end, our founders andfinancers will have to ensure more financial means. Photos: Goriški muzej

Mila Popović-Živančević, savetnik-konzervatorNarodni muzej u BeograduRukovodilac DIJANA CentraRadionica iz preventivne zaštiteKako zaštitisopstvenu baštinuVelika Hoča, Kosovo i Metohija, 2004.DIJANA Centar za preventivnu zaštitu - Narodnimuzej u Beogradu, u periodu od 27. jula do 3. avgusta2004. godine, priključio se aktivnostima Drugogsaziva likovne kolonije ART Foruma Velika Hoča. BoravakDIJANA Centra u Velikoj Hoči bio je sastavni deoredovnih edukativnih programa Letnje škole DIJANA2004, organizovan kao Radionica iz Preventivne zaštite,pod nazivom «Kako zaštiti sopstvenu baštinu»Tim DIJANA Centra koji je učestvovao u realizacijiprograma ove Radionce u Velikoj Hoči je bio: Mila Popović-Živančević,savetnik-konzervator; Malena Stojčev,lektor za engleski jezik; Vesna Živković, arheolog; SrđanRadosavljević, apsolvent istorije i Jelena Tucaković, apsolventetnologije.Velika Hoča na Kosovu i Metohiji predstavlja danasizolovanu srpsku enklavu, sa oko 750 stanovnika, i pripadaopštini Orahovac. Ima dosta mladog stanovništvakoje je bez posla i ne školuje se. U sadašnjem okruženjuoni nemaju uslova za to. Imaju organizovane redovneautobuske konvoje sa bezbednosnom pratnjom, dva putanedeljno do Mitrovice, svake druge subote do Gračanice,do Orahovca..... U jednostranoj su informativnojblokadi, mogu da koriste samo albanske medije; nemajunikakvo organizovano dostavljanje novina, radio iliTV programa na srpskom jeziku ili iz SCG.Ime Velika Hoča-Golema Oča se u istoriji prvi putspominje kod velikog župana Srbije, Stefana Nemanje(1198.-1199.), u pismu kojim Golemu Oču daruje manastiruHilandaru kao metoh.Velika Hoča danas predstavlja jedinstven kompleksmaterijalnog i nematerijalnog kulturnog nasleđa, sa sadržajemkoji čine:- Nepokretna kulturna baština- Pokretna kulturna baština- Nematerijalna kulturna baštinaManastir DečaniDečani monasteryMila Popović-Živančević, councillor-conservatorHead of DIANA Centre for Preventive ConservationNational Museum in BelgradePreventive Conservation WorkshopHow to ProtectOne’s Own HeritageVelika Hoča, Kosovo i Metohija, 2004.DIANA Centre for Preventive Conservation of theNational Museum in Belgrade participated in theactivities of the Second Meeting of the Art Colony ArtForum Velika Hoča from 27th July to 3 rd August 2004.The stay of DIANA Centre team in Velika Hoča was anintegral part of the regular educational programmeswithin the Summer School DIANA 2004 and organizedas a preventive conservation workshop with the theme“How to Protect One’s Own Heritage”.The team of DIANA Centre participating in the realizationof the programme of this Workshop in VelikaHoča made: Mila Popović-Živančević, councillor-conservator,Malena Stojčev, English language editor,VesnaŽivković, archaeologist, Srdjan Radosavljević, seniorundergraduate in archaeology and Jelena Tucaković, seniorundergraduate in ethnology.Velika Hoča in Kosovo and Metohija today is an isolatedSerbian enclave with some 750 inhabitants, administrativelyincluded in the municipality of Orahovac.The name Velika Hoča is mentioned for the first time inhistory by the Great Iupannus Stefan Nemanja (1198-1199) who presented Velika Hoča by a charter to Hilandarmonastery as its metochion.In Velika Hoča live quite a few young people who donot have job or attend schools as the present circumstancesoffer no possibility for that. Twice a week thereare organised regular bus convoys under escort going toKosovska Mitrovica (Orahovac included) and twice amonth (on Saturdays) to Gračanica. In the sense of informationthey are also blocked out, as only Albanianmedia are accessible; there is no organised distributionof newspapers or broadcasting of radio and TV programmesin Serbian or from Serbia and Montenegro.Velika Hoča is a unique complex of tangible and intangiblecultural heritage, and its contents include:- Immovable cultural heritage- Movable cultural heritage- Intangible cultural heritageVelika Hoča is among rare places in Kosovo and Metohijawith well preserved almost all heritage contentsand forms of cultural property ranging from ancient timesuntil present. Prehistoric and Roman periods materialremains are found there as well as rich choice ofsamples of the medieval culture and of dynamic economicand civilian life in 18 th ,19 th and 20 th centuries.Today Velika Hoča is distinctive for its:- thirteen churches still in service, and remains ofthree churches, ranging from the 14 th to the 19 thcenturies- Valuable items of church movables and exquisiteworks of art such as icons, paintings, frescoes,books, icon lamps, candelabres, etc.- historical graveyards with tombstones, from 14 thC.There are some indications that they are even olderthan that- Traditional architecture with the Balkan type of95

Velika Hoča je, bez sumnje, jedno od retkih mesta naKosovu i Metohiji, koje ima skoro u potpunosti sačuvanesve sadržaje baštine i sve oblike kulturnih dobara,od najstarijih vremena do danas. Tu se susreću evidentnimaterijalni ostaci iz praistorijskih i rimskih perioda;razvijeno bogastvo kultura srednjeg veka, i dinamičnogprivrednog i građanskog života 18, 19. pa 20 veka.Danas Velikom Hočom dominiraju:- 13 crkava, potpuno sačuvanih i u funkciji, i ostaci3 crkve, od 14. do 19. veka;- vredni predmeti crkvenog mobilijara i izuzetnakulturno-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 tipomnaselja: zgrade za stanovanje, poljoprivredni objekti,vinare, mlinovi, dvorišta, kapije i dr.;- elementi srednjovekovnog života, sa sačuvanom atmosferomi ambijentom originalnog življenja;- vredno pokućstvo i enterijer, predmeti primenjeneumetnosti 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 korenemožemo tražiti u najstarijim vremenima.Očigledno da poziciju Velike Hoče i njene sadašnjepadine istorija nije mnogo promenila; i da to i danaspredstavlja, na neki način, pogodno prirodno okruženje,koje je sačuvalo skoro sve sadržaje tradicionalnog načinaživota i stvaralaštva.Velika Hoča je danas izuzetna kulturološka enklava,koja slojevito, hronološki i celovito prati, i još uvek vidljivoživi, sve segmente svog dugog života, od 14. vekado danas. A po prirodi stvari, i po ostacima materijalnihdokaza koji se u Velikoj Hoči mogu naći, ova istorijskai civilizacijska celina se sigurno proteže, na isti način,i u dublju prošlost.To je ono što se u Hoči oseća na svakom koraku i štoje čini izuzetnom, osećaj da je nasleđe ostalo skoro netaknutoi nedirnuto, sve do današnjih dana. Danas izgledakao jedan od retkih, preostalih modela gde se hronološkilanac življenja i razvoja sredine skoro u potpunostisačuvao. Prostor gde se neosporno može pratiti, istraživatii dalje razvijati ovaj istorijski niz.Izgorela freska u crkvi manastira DevičBurnt frescoe from the church of Devič monastery96Devički monah sa meštankom ispred oštećene manastirske kapijeDevič monk with local woman in front of damaged monastery gatesettlements: houses, agricultural objects, wine cellars,mills, courtyards, gates, etc.- elements belonging to the medieval way life, stillkeeping the original ambience- valuable household objects and the interior of houses,applied arts items and archivalia kept by families- various ethnographic objects- traditional agricultural and wine producing toolsand equipment- traditional music and songs- old crafts still in use- centuries long production of famous red wineEvidently the geographical position and the hills ofVelika Hoča have not been significantly changed throughhistory and it is still natural environment that preservedand still keeps all the contents of traditional livingand creativity.Velika Hoča is now a remarkable cultural enclaverepresenting all layers and segments of its long life sincethe 14 th century until present times in the sense ofchronology and completeness. It is only understandablethat this civilisation and historical whole reacheseven deeper in the past, which is testified by materialfinds.It is the feeling that the heritage remained intact untilpresent days in Velika Hoča that makes Velika Hočaso remarkable. It resembles one of the rare, preservedmodels of the living and development chain. The areacertainly deserves to be researched and further developed.This heritage and its contents make Velika Hoča aunique and recognizable space and it must be a challengefor every professional researcher and conservator.Unfortunately, these days Velika Hoča offers a diffe-

Ovakav sadržaj baštine čini od Velike Hoče jedinstvenoi prepoznatljivo mesto i uzbudljiv prostor delovanjaza svakog profesioanalca, istraživača i zaštitara.Nažalost, ovih dana u Velikoj Hoči može da se vidijedna drugačija slika, koja alarmantno preti da narušivekovni kontinuitet i istorijsku ravnotežu baštine.Sve što je tako pomno vekovima negovano, održavanoi čuvano, pre svega domaćinskim ponašanjem samihžitelja Velike Hoče, danas ozbiljno počinje da se narušavai obezvređuje. Za ono što je bila vekovne tradicijaodržavanja kvalitetnog građanskog i duhovnog života uHoči, izgleda da više nema interesovanja. Danas, kada jesvaka treća kuća zatvorena i napuštena, bogata staradomaćinstva su oronula, zgrade se urušavaju i propadaju.Najlepši primerci tradicionalne arhitekture, od nepečenecigle i kamena, skoro da se ne održavaju. Ako je inužno neko hitno saniranje, ono se obavlja uglavnomnezainteresovano i neprimereno, najčešće sa jeftinimbetonskim blokovima i cementom. Skoro da se ne možeprimetiti upotreba građevinskog materijala iz okruženjaza popravku ovih drevnih zdanja.Moglo bi se reći da su ovih dana u Velikoj Hoči sviobjekti i elementi kulturne i istorijske baštine ugroženii da se o njima ne vodi odgovarajuća briga; ni kodstručnih institucija zaštite i istraživanja, ni odgovornihinstitiucija vlasti, a ni lokalne sredine. Na svakom koraku,susreću se slike nebrige, zanemarivanja, zaboravai nezainteresovanosti.DIJANA Centar je stanje baštine u Velikoj Hoči posmatraosa stanovišta koncepta integrisane zaštite baštine:- crkve sa okruženjem i grobljima;- tradicionalna arhitektura, celine i pojedinačne objekte;poljoprivredni objekti i oprema;- potencijalni arheološki lokaliteteti;- pokretna kulturna dobra u crkvama i crkvenim objektima,porodičnim kućama;- tradicionalna atmosfera, ambijent i način života;- baština u službi razvoja lokalne sredine i okruženja;baština kao osnovza savremeni život;- neposredno i šire okruženje.Integrisani pristup zaštitibaštine u Velikoj Hočimogao bi da reši:- kako revitalizovatistara crkvena i arhitektonskajezgra, pomoćusačuvane baštinei tradicionalne atmosfere;- kako uklopiti baštinuu savremeni život idanašnje prilike;- kako usmeriti baštinuka poboljšanju kvalitetaživota;- kako omogućiti da se,prvo u lokalnoj sredini,a zatim šire, prepoznajumnogostrukevrednosti baštine:obrazovne, kulturne,estetske, funkcionalnei ekonomske;Nagorele carske dveri iz manastira ZočišteCarske dveri from monastery Zočište partly burntKoncept integrisanepreventivne zaštite možepomoći da se organizovarentpicture, dramatically endangering centuries’ longlife and historical balance of its heritage.All what has been carefully cared for, kept and cherishedby inhabitants of Velika Hoča during the past times,now is seriously threatened and devalued. It seemsthere is no interest for the long tradition in high qualitycivilian and spiritual life in Velika Hoča. When everythird house is closed and deserted now, the rich old householdsare decrepit, and buildings dilapidate and decay.The most beautiful examples of traditional architecturebuilt with adobe and stone are left almost withoutany care and maintenance. If any remedying is urgent,it is done without much attention and care, mainlyby cheap concrete blocks and cement. Almost none ofthe buildings have been repaired with building materialavailable from the environs of the village.One could say that all the objects and elements ofcultural and historical heritage are threatened and thatthey are not adequately cared for either by professionalinstitutions of protection and research or state and locallevel authorities. Everywhere one can encounter examplesof negligence, oblivion and disinterestedness.DIANA Centre for Preventive Conservation surveyedthe condition of the Velika Hoča heritage from thepoint of view of integrative heritage protection:- churches with surroundings and graveyards- traditional architecture, wholes and particularitems; economy objects and equipment- possible archaeological sites- movable property in churches and church objects,family houses- traditional atmosphere, ambience and way of life- heritage in function of local environment development,heritage as basis for contemporary life- immediate and broader surroundingsThe integrative concept of heritage protection in VelikaHoča could offer solutions for:- revitalisation of oldchurches and architecturalcores in thepreserved heritageand traditional atmosphere- involving the heritagein modern life andpresentday circumstances- guiding heritage towardsimproving thequality of life- Helping recognitionof manifold values ofthe heritage first inthe local environmentand then beyond it:educational, cultural,aesthetic, functionaland economic.The concept of integrativepreventive conservationcan help with organisationof effective interdisciplinarysystem of careand protection in order toreduce or even eliminaterisks of devaluation andprotection the heritage; toprovide preserving its authenticityand integrity97

njem efikasnog interdisciplinarnog sistema brige i zaštiteumanje, ili čak eliminišu rizici obezvređivanja baštine,obezbedi očuvanje njene autentičnosti i integriteta,a da se ne sprečavaju tekuće životne promene i razvoj.Kroz formiranje primerene zaštite, nadzornih merai očuvanja okruženja, ove ciljeve možemo postići.Snimanje i analiza stanja kulturnih dobara u VelikojHoči su pokazali više različitih rizičnih situacija:Skoro svi crkveni objekti su ozbiljno ugroženi vlagom,i njene posledice se primećuju na svakom ziducrkve. Nijedna crkva, osim crkve sv. Nikole nema urađendrenažni sistem odvoda vode, i to je ujedno i jedinicrkveni objekat koji je suv i nema problema sa vlagom.U crkvi sv. Jovana npr. vlaga je stigla do dobro očuvanihfresaka. Po zidovima skoro svih crkava su vidljivaagresivna dejstva vlage: lišajevi, gljivice, buđi, soli.Unutrašnji mobilijar i drugi predmeti velikim delom suveć oštećeni dejstvom insekatai vlage. Ikone pucaju,deformišu se, bojenislojevi i podloga se ljuspajui ljušte, a napadaju ih iinsekti. Stare knjige ugrožavajuinsekti i vidljivitragovi mikroorganizama.Električne instalacijeu crkvama uglavnom suneprimerene i u neskladusa pravilima zaštite od požara.Krovovi prokišnjavajui po pravilu, padavine iptice ulaze u unutrašnjostcrkava, voda i ptičiji izmetse slivaju niz unutrašnjezidove, oštećujući freske,ikonostase, ikone i ostalo.Čest je nedostatak bilokakve ventilacije. Nekiobjekti, kao npr. crkva sv.Stefana, nije nikada bilakonzervatorski tretirana;freske su potamnele i teškovidljive.Ostaci crkava iz srednjovekovnogperioda, gdesu još uvek živi tradicija irituali, nisu nikada arheološkiistraživani.Istorijska groblja su zapuštena i devastirana. Nekiprimerci najstarijih grobova se obrušavaju, spomen obeležjai nadgrobni spomenici padaju, a nadgrobne pločese otvaraju (groblje oko crkve sv. Nikole). Arheološkaistraživanja nisu nikada vršena, a srednjevekovni nadgrobnispomenici nisu nikada konzervatorski tretirani.Tradicionalna arhitektura je oronula, većinom bezodgovarajućih popravki i sanacije. Nekoliko izuzetnihkompleksa gospodarskih kuća, vinara i arhitektonskihcelina potpuno su se obrušili i nezaustavljivo nestaju.Npr. kompleks gospodarske kuće Patrnogića, vinica StefanaDečanskog i dr.Sadašnje popravke i sanacije starih stambenihzgrada i pomoćnih objekata najčešće su u potpunom neskladusa pravilima zaštite i revitalizacije. Popravke sevrše bez stručnih konsultacija sa profesionalcima i beznadzora odgovornih stručnih lica i institucija. Tako seprave neverovatne kombinacije tradicionalnog građevinskogmaterijala, nepečene cigle, kamena i ćerpića, sasavremenim betonskim ili ciglarskim blokovima, betonomi limenim krovnim prekrivačima.98Oštećena freska iz manastira ZočišteDamaged frescoe from Zočište monasterywithout making impediments to the current changesand development.These objectives can be reached by establishingadequate protection measures, monitoringmeasures and conservation of the environment.Monitoring and condition analysis of cultural propertyin Velika Hoča documented various risk situations:Almost all church objects are seriously endangeredby humidity and dampness and the consequences can beseen on every wall in the churches.With exception of thechurch of St. Nicholas no other church has a drainagesystem built.In the church of St. John, for example, the dampnessreached the otherwise well preserved frescoes. Almostevery wall in churches shows visible traces of harmfulactivity of dampness: lichens, fungi, moulds, salts. Theinterior movables and otherobjects have to the greatextent already been damagedby pests and humidity.The icons crack, getdeformed, painted layersand the basis flake and peeloff, and insects endangerthem. Old books are endangeredby insects and thereare visible traces of microorganismson them.Electrical installationsin churches are mainly inadequatelydone and regardlessof the fire protectionrequirements.Roofs are leaking andalmost everywhere precipitationsand birds find theirway to the church interior,water and birds’ droppingsrun down the walls damagingfrescoes, iconostases,icons and the rest.Lack of any kind ofventilation is not rare. Someof the objects, for examplethe church of St. Stephen,have never been conserved;frescoes are darkand almost invisible.Remains of medieval churches still in use have alsonever been archaeologically researched.Historical graveyards are neglected and devastated.Certain specimens of the oldest graves are ruined, gravestonesand memorial stones fallen down, and tombsare opened (graveyard at St. Nicholas church). No archaeologicalinvestigation has ever been done, or medievalgravestones treated from conservation point ofview.Traditional architecture dilapidated, without necessaryrepairs and remedies done. Several exquisite compoundsof rich people houses, wine cellars and architecturalwholes such as the house of Patrnogic family, thewine cellar of Stephan Decanski and others, are totallydemolished and their decay can not be stopped.Current repairs of old houses and auxiliary objectsare in most of the cases done contrary to any relevantrequirement of protection and revitalization. Repairsare done without any consultation with experts orcontrolled by experts or institutions in charge of protection.This results with very odd combinations of

Pojedine arhitektonske celine, zbog nekorišćenja lokalnogtradicionalnog građevinskog materijala za popravkei sanaciju objekata u potpunosti su izgubile tradicionalniambijent i atmosferu. To su sada delovi arhitektureili kompleksi koji su ispod svih standarda kulture,estetike i minimalnih pravila i zahteva zaštite.Mnogi vredni predmeti pokućstva u napuštenimzdanjima, npr. kuća Patrnogića, kao što su ćilimi, ručniradovi, nameštaj, škrinje, posuđe i dr. propadaju od prašine,vlage, insekata. Stari poljoprivredni alat i opremasu nezaštićeni, izloženi atmosferskim uticajima, trule ikorodiraju.Već konzervirana zdanja kao što je kula Janka Koriškog,propadaju zbog neodržavanja i nebrige. Tako, naovom objektu, staklo na otvorima ispod krova, koje jepopucalo nakon bombardovanja 1999. godine, još nijepopravljeno. To izaziva stalan prodor atmosferskih padavima,ptičijeg izmeta idrugih prljavština. Krov jeu lošem stanju i prokišnjava,što već ima za posledicuozbiljna oštećenja odvlage i kiselina, na građevinskimelementima u unutrašnjostiove kule. Nadgrobnaploča grobnice izkule je oštećena i otvara se.Sporedne ulice, a često iputevi ka crkvama su veomazapušteni, prljavi, puniđubreta, plastičnog otpada,kai i kanalizacionih vodakoje se slobodno slivaju.Privremeni depo u crkvisv. Trifuna je neodgovarajući,pun vlage i bez ventilacijevazduha. Nagorele ioštećene ikone već propadajuod vlage i insekata,delove drvenih dekorativnihoplata nagrizaju insekti,fragmente kamene plastikeugrožavaju mikroorganizmii lišajevi, metalni objektiili metalni delovi nakompozitnim predmetimaRuševine konaka u.....Ruins of ....... dormitoryozbiljno i agresivno korodirajui dr. Neophodno jehitna sanacija ovog prostoraod dejstva vlage i konzervacija oštećenih predmeta.Slična je situacija i sa prostorom, u neposrednoj bliziniiste crkve Sv. Trifuna, gde je smeštena etnografskazbirka od organskog, neorganskog i kompozitnog materijala:delovi nošnji, ručni radovi, čilimi i prekrivači, keramika,bakarno posuđe, metalna i drvena oprema zadomaćinstvo, mašine i sl.Masovnost ovih primera, ukazuje na profesionalnu,lokalnu i državnu nebrigu i neodržavanje, umanjujevrednosti i ugrožava elementarno stanje kulturnih dobarau Velikoj Hoči.Međutim, postoje i dobri primeri konzerviranog idobro održavanog tradicionalnog nasleđa: Parohijskidom i kompleks uz mesni trg, Crkveni Konak, DečanskaVinica, nekoliko privatnih kuća. Ovde treba izdvojitikuću Hadži-Spasića, sa jedinstvenom jerusalimskomsobom, relikvijama donetim sa hadžiluka 1853 godine,dokumentima, ćilimima, tradicionalnim nošnjama i dr.Među porodičnim uspomenama ove porodice, koje sečuvaju od početka 19. veka, može da se vidi vredan arhivskimaterijal, nažalost u veoma lošem stanju, sa isutraditionalbuilding material (bricks, stone and adobe)with modern concrete blocks, concrete and tin roofcovers.Certain architectural wholes have completely losttheir traditional look and ambience as the local and traditionalbuilding material was not used in repairing. So,these objects do not meet any cultural or aesthetic standardany more, including the minimum protection requirementsand rules.Numerous valuable household items in the desertedobjects such as kilims, handwork, furniture, chests, kitchenware are decaying being covered with dust, attackedby humidity and insects. Old agricultural tools andequipment lay unprotected, exposed to weathering, andthey rot and corrode.Already conserved buildings, such as the tower ofLazar Kujundžić, decay due to neglect. The glass on theopenings damaged duringthe 1999 bombing has notbeen repaired yet. Thus therainfalls, birds’ droppingsand other dirt have anopen way to it.The roof is in bad conditiontoo, leaking whichalready caused high levelof humidity and acids damageof the building elementsinside the tower. Thegravestone in the tower isalso damaged and can bemoved.By-streets and oftenthe roads to churches aremost neglected, full withdirt, plastic waste, and sewagewaters flowing.A temporary depot inthe church of St. Trifun isinadequate, full with humidityand without airventilation. The charredand damaged icons aresuffering from humidityand insects, parts of decorativewooden panellingare attacked by insects,fragments of stone plasticare endangered by microorganismsand lichen, metal objects or metal parts oncomposite objects corrode, etc. Urgent remedying of thisspace is most necessary to protect objects from humidityincluding conservation of damaged objects.The situation is similar when the space in the vicinityof the church is concerned. There is an ethnographiccollection with organic, inorganic and composite materialhoused: parts of costumes, handwork, kilims and covers,ceramics, copper dishes, metal and wooden equipmentfor households, machines and the like.The number of the issues given indicate the lack ofcaring and maintenance on the professional, local andstate level, they reduce the values and threaten the basiccondition of cultural property in Velika Hoča.However, there are positive examples of conservedand well-kept traditional heritage: the parochial houseand the complex around the local plaza, church Refectory,Dečani wine cellar, several family houses. Amongthese we should mention the house of Hadji Spasić familywith its unique Jerusalem room, containing the sacredand religious objects brought from the pilgrimage99

šenim i izlomljenim papirom, koji zahteva hitnu konzervatorskuintervenciju; nekoliko porcelanskih tanjirastare engleske manifakture Staforšir, krčage od italijanskemajolike, istambulske ibrikei sl. Ceo ambijent ovogporodičnog zdanja, iako često prepravljan prema zahtevimaproteklih vremena, sa kućom, pomoćnim objektima,pokućstvom i dvorištem sa kapijama, govori o generacijskojbrizi na očuvanju porodične tradicije i nasleđa.Tako je i sa sadašnjom mladom generacijom naslednikaove stare porodice.Primer kuće Hadži-Spasića samo potvrđuje i dosadašnjapozitivna iskustva da je naprimerenije i najefikasnijeje organizovati da za očuvanje nasleđa brinu lokalnasredina i stanovništvo, uz pomoć odgovornihstručnih institucija zaštite i vlasti. Zbog toga je DIJA-NA Centar, tokom snimanja stanja baštine u Velikoj Hoči,u prvom redu vodio računa o tome da treba:- ukazati lokalnom stanovništvu na civilizacijskevrednosti i realno stanje njihovog nasleđa;- ukazati na to koliko oni sami svakodnevnom brigom,i često bez velikih finansijskih ulaganja, moguda urade da se zaustavi obezvređivanje, propadanjei nestajanje nasleđa;- ukazati na zadatke i odgovornosti koji se odnose nalokalne zajednice, profesionalne institucije zaštite iodgovorne organe vlasti SCG i Kosova i Metohije;- ukazati medijima i širokoj javnosti, u zemlji i uinostranstvu, na opasnost od nestajanja drevnebaštine i neophodnost organizovanja interdisciplinarnogi multidisciplinarnog sistema zaštite;- ukazati na potrebu kreiranja zajedničkog cilja izadataka, između profesionalaca, istraživača i zaštitarai svih slojeva društva i vlasti, domaćih i međunarodnih,o neophodnosti kreiranja efikasnogsistema čuvanja i brige svih sadržaje baštine naKosovu i Metohiji100U skladu sa centralnom ulogom Narodnog muzeja umuzejskoj mreži naše zemlje, DIJANA Centar radi naprimeni teorije i prakse preventivne zaštite. Zato predlažemo,da briga za baštinu u Velikoj Hoči započne organizovanjemedukativnih programa, koji bi mogli dapomognu lokalnom stanovništvu, lokalnoj zajednici iDIJANA Centru u rešavanju sledećih problema:- Kako izbeći izvore oštećenja predmeta kulturnognasleđa.- Kako prepoznati i identifikovati faktore koji ugrožavajupredmete kulturnog nasleđa.- Kako blokirati i sprečiti uticaje nepoželjnih faktorakoji ugrožavaju predmete kulturnog nasleđa.- Kako definisati strategije delovanja kada se ustanoviprisustvo faktora oštećenja ili uništenja.- Kako organizovati i pristupiti konzervatorskomtretmanu predmeta kulturnog nasleđa (ispitivanja,čišćenje, stabilizacija i konsolidacija, restauracijai rekonstrukcija).- Kako organizovati konstantne odgovarajuće uslovečuvanja predmeta kulturnog nasleđa (vlaga, temperatura,svetlost, ventilacija, zagađenja, odlaganje).- Kako organizovati odgovarajuću dokumentacijuza predmete kulturnog nasleđa, klasičnu i digitalnu.- Kako organizovati odgovarajuća istraživanja, korišćenjei prezentaciju predmeta kulturnih dobara.Program DIJANA Centra, kada je reč o zaštiti kulturnihdobara u Velikoj Hoči, predstavlja istovremenonjegovu teorijsku i praktičnu primenu i podrazumevaobaveznu saradnju sa drugim institucijama zaštite.Ovaj program bi mogao da obuhvati praktične tretmanezaštite i konzervacije dela pokretne i nematerijalne baštoJerusalem in 1853, documents, kilims, traditionaldress, etc. Among family memorabilia that are kept sincethe beginning of the 19 th century one can find valuablearchive material, unfortunately in very bad condition,dried out and broken paper requiring urgent conservationtreatment; several Staffordshire porcelainplates, Italian majolica jugs, Istambul waterpots and thelike. The entire ambience of this family building, thoughreconstructed on several occasions according to requirementsof the time, including the house, household objects,furniture and the courtyard with gates testifiesthe long care about the family tradition and heritagepreservation. This also refers to the current young generation– descendants of this old family.The Hadji Spasić house example confirms the positiveexperience gained so far that it would be most adequateand effective that the care about the heritage isorganised by local population and authorities, with helpand support given by responsible professional institutionsof protection and the authorities.That is why DIA-NA Centre during surveying the heritage condition inVelika Hoča paid attention in the first place to the followingtasks that need to be done:- to inform the local people about the values and actualcondition of their heritage:- inform them what can be done by everyday careand often without financial costs to stop furtherdevaluation, decay and destruction of their heritage:- describe tasks and responsibilities of the localcommunity, professional institutions of protectionand responsible authorities of Serbia and Montenegroand Kosovo and Metohija:- share with media and broadest public the knowledgeabout the possibility for the ancient heritageto become lost and the need to organise interdisciplinaryand multidisciplinary system of protection;- explain the need for formulating a common goaland list of tasks communal for professional researchesand conservators and all layers of societyand authority, national and international includingthe need to create an effective system of safeguardingand care for all heritage contents in Kosovoand Metohija.In accordance with the central role of the NationalMuseum in Belgrade in the museum network of thecountry, DIANA Centre is advocating the implementationof preventive conservation theory and practice. Forthat reason we suggest that the care about heritage inVelika Hoča should begin with organisation of educationalprogrammes which could help the local people,local community and DIANA Centre to solve the followingproblems:- avoiding damaging agents that attack the culturalheritage;- recognizing and identifying the elements endangeringcultural heritage;- blocking and preventing impacts of undesirablefactors endangering the cultural heritage;- defining strategies for acting once the presence ofdamaging or destroying factors has been stated;- organising and undertaking conservation treatmentsof cultural heritage objects (examination,cleaning, stabilisation and consolidation, restorationand reconstruction);- organising permanent adequate storing conditionsof cultural heritage objects (humidity, temperature,light, ventilation, pollution, storing);

Porušena kula u...Destroyed turret from.....tine: pokretne predmete u crkvama, domaćinstvima, zanatskimradioncama, privremenim depoima. To mogubiti ikone, slike, kandila, tekstil, mobiliar i sl. u crkvama;zatim etnografski predmeti od keramike, drveta,kože, tekstila i dr., predmete svakodnevnog života i tradicionalnihzanata: pokućstvo, ručni radovi, ćilimi, alat,oprema i dr.Ovaj program bi uključio i:- etički odnos javnosti, odgovornih institucija vlastii lokalne sredine prema sopstvenom nasleđu;- pravnu zaštitu i međunarodne konvencije zaštitebaštine; neophodnost delovanja zakonske regulativei sistematskih mera zaštite;- obaveze i delovanje međunarodnih institucija zaštite;- marketing;- metodologija pripremanja projekata i aktivnosti idr.Realizacija Programa bi išla dvosmerno i na dvamesta:- U DIJANA Centru u Beogradu, gde bi se mladi,nezaposleni ljudi iz Velike Hoče i okruženja, obučavalii osposobljavali, sa uvodnom i specijalizovanomprofesionalnom obukom iz Preventivne zaštitei aktivne konzervacije.- U Velikoj Hoči, organizovanjem uvodnih i specijalističkihkurseva, Radionica, Letnjih škola, masterkurseva, seminara i sl. za zainteresovano lokalnostanovništvo, sa mentorima i saradnicima iz DIJA-NA Centra, iz naše zemlje i sveta.- U međunarodnim institucijama, na konferencijama,seminarima, forumima, radionicama i sl. stalnimprezentovanjem i ukazivanjem na baštinu Kosovai Metohije, kao na vredan civilizacijski deozajedničkog nasleđa Evrope, koja čini sastavni deookruženja i kojoj je neophodno kombinovano delovanjena njenom očuvanju.DIJANA Centar predlaže, na nivou države, regionalnei međunarodne zajednice, pripremanje i realizacijuinterdisciplinarnog i multidisciplinarnog projekta integrisanezaštite baštine u Velikoj Hoči. DIJANA Centar bimogao da se ukljući u ovakav projekat.Možda bi sredina i okruženje Velike Hoče mogli dapredstavljaju primer i model razrade i unapređenja poznavanjai organizovanja sistematske zaštite kulturnognasleđa, na lokalnom, regionalnom, nacionalnom i međunarodnomnivou. Koncept zajedničkog kulturnog nasleđa,proklamovan brojnim deklaracijama i rezolucijama SavetaEvrope, mogao bi ovde, u ovom nesretnom području, dadovede do toga da pojedinci i sve odgovorne zajednicepriznaju da dele odgovornost za njegovu zaštitu, bez obzirana geografsku lokaciju i političku situaciju. - organising the keeping of adequate records for culturalheritage objects, both standard and digital;- organising adequate research, use and presentationof cultural heritage property.The programme of DIANA Centre when the protectionof cultural property in Velika Hoča is concernedimplies both its theoretical and practical implementationand requires cooperation with other institutions ofprotection. This programme could involve practicalprotection and conservation treatments both for tangibleand intangible heritage: movables in churches, households,handicraft workshops, provisional depots. Itcan cover care for icons, paintings, icon lamps, textile,movables and the like in churches; ethnographic objectsmade of ceramics, wood, leather, textile, etc. aswell as everyday life and traditional crafts objects suchas: househols furniture, handworks, kilims, tools,equipment, etc.The programme should involve also:- developing ethical attitude of the public, relevantauthorities and local community toward their ownheritage;- legal protection and international conventions coveringheritage care; need for implementation oflegal regulations and systematic protection measures;- obligations and activities of international institutionsof protection;- marketing;- methodology for preparing projects and activities,etc.Realisation of the programme would be done twowaysand in two places:- At DIANA Centre in Belgrade where the trainingand education with introductory and specialisedprofessional training in Preventive Conservationand active conservation treatments would be organisedfor young unemployed people from VelikaHoča and the surroundings;- In Velika Hoča by organising introductory and specialistcourses, workshops, summmer schools, mastercourses, seminars and the like for the interestedlocal people with tutors and collaborators fromDIANA Centre, from the country and abroad;- In international institutions, at conferences, seminars,forums, workshops, etc. by permament presentingand bringing into focus the heritage of Kosovoand Metohija as valuable civilisational part ofthe common European heritage, which is a constituentpart of the environs and which requirescomplex action for its preservation.DIANA Centre proposes that at the level of the state,regional and international communities an interdisciplinaryand multidisciplinary project for integratedprotection of Velika Hoča heritage should be prepared.DIANA Centre could carry out such a project.It might be possible for Velika Hoca with its environmentto serve as an example and model for developmentand promotion of systemic protection of culturalheritage on the local, regional, national and internationallevel. The concept of communal cultural heritage,proclaimed in numerous declarations and resolutions ofthe Council of Europe, might be used here, in this unhappyregion in the endeavour to make individuals andresponsible communities to share responsibility fortheir protectin regardless of the geographic location andpolitical situation.101

Dr Radomir Petrović, savetnik, slikar-konzervator- Republički zavod za zaštitu spomenika kultureSrbije, BeogradNova metodologija zaštitefragmenata i zapaljenihfreska u manastiruHilandaru i u PrizrenuNova metodologija zaštite fragmenatafresaka arheološki otkrivenih u manastirimaStudenica i Gradaczaštite spomenika kulture u Srbiji postigle suSlužbe rezultate na zaštiti fresaka, ikona i slika, tzv. „nepokretnih”i„pokretnih”spomenika kulture vizantijske,srednjovekovne i novije prošlosti. Ono što je nedostajalo,to su tzv. interdisciplinarna istraživanja, kao poznavanjei korišćenje, pre svega, klasičnih slikarskih tehnika,kao i savremenih tehničkih mogućnosti. Određenevrste individualnih „specijalnosti” po stručnim oblastima,nisu imale osnovnog sluha za zaštitu celovite srednjovekovnekulturne baštine, a posebno fragmenata fresakasa porušenih crkava, koji su otkriveni na arheološkimiskopavanjima.Konzervacija i restauracija fresaka, predstavlja „pipav”posao - mora da se obavi niz prethodnih zaštitnihradova na sanaciji zidnih platna,fresko malteru i bojenom sloju.Ove poslove prati i ogromna dokumentacija,fotografska snimanja,fizičko-hemijske analize, konzervatorskadeskripcija, iscrtavanje urazmeri 1:10 ili 1:20, ikonografskai stilska analiza, vreme nastanka,ktitorski natpisi, ugrebani zapisi -sve ono što pripada stanju, pre radova,u toku radova i posle konzervatorsko-restauratorskihradova;znanja iz istorije umetnosti itd.1) Fragmenti fresaka manastiraStudenica, Gradac, otkriveni utoku arheoloških iskopavanja injihova konzervacija-restauracijaA) Fragmenti portreta velikogžupana Stefana i kneza Vukana, uStudenici, iz XIII vekaAutor ovog rada, još kao student,saradnik Republičkog zavodaza zaštitu spomenika kultureSrbije, obavljao je slikarsko konzervatorskeposlove u vezi otkrivenih,teže oštećenih fragmenatafresaka u Studenici, kada su uulaznoj kuli, pod rukovodstvom Marije Jovin (arhitektakonzervator), otkriveni fragmenti fresaka portreta Vukanai Nemanjića, sa zlatnim slovima, nastali oko 1208.godine. (1)B) Fragmenti fresaka molitvenog teksta kraljice JeleneAnžujske, iz XIV vekaRadomir Dr. Petrović, councillor, painter-conservator,Institute For Protection of Cultural Monumentsof Republic of Serbia, BelgradeThe new methodology ofprotection of fragments andburnt frescoes in the Hilandarmonastary and in PrizrenNew methodology of protection of frescofragments excavated in the monasteries ofStudenica and GradacCultural monuments protection services in Serbia haveaccomplished substantial results in protectingfrescoes, icons and paintings, that is movable and immovablecultural heritage of Byzantine, mediaeval andmore recent past. What lacked though was interdisciplinaryresearch, understanding and using classical paintingtechniques, as well as contemporary know-how.Certain types of individual “specialties” by fields of expertisedid not show enough understanding for protectionof complete mediaeval cultural heritage, especiallyof fresco fragments from destructed churches, discoveredduring archaeological excavations.Conservation and restoration of frescoes is a delicatework, it is preceded by a range of protective and curativemeasures on wall-screens,fresco mortar and painted layer.This work is accompanied by hugedocumentation, photo-documentation,physical-chemicalanalyses, conservation description,drawings in 1:10 or 1:20 proportion,iconographic and stylisticanalysis, dating, founder’s inscriptions,carved inscriptions,everything considered with thestate of a fresco before, duringand after conservation and restorationtreatment, art history data,etc.1. Fresco fragments of monasteryStudenica and Gradac, discoveredduring archaeological excavation,and their conservationrestorationA) Fragments of the portrait ofthe Iupannus Stefan and princeVukan in Studenica, from 13 thcenturyPortret Velikog Župana StefanaThe author of this article wasPortrait of the Iupannus Stefanengaged in restoration of heavilydamaged fragments of frescoes inStudenica as a student and collaborator of Serbian Institutefor Protection of Cultural Monuments. At the time,with Marija Jovin as the head architect-conservator,fresco fragments including the portraits of Vukan andStefan Nemanjić with golden inscription, dating from1208, were discovered in the gate-tower 1 .(1) Marija Radan-Jovin, Studenica, Saopštenja XII, Beograd,1979, str. 10, bel. 23; V. J. Đurić, Portreti na kapiji Studenice, (Lesportrais sur la potre de Studenica), Zbornik Svetozara Radojčića,Filozofski fakultet. Odeljenje za Istoriju umetnost, Beograd, 1969,str. 105-111, sl. 1-2; M. Šakota, Novootkriveni natpis iz Studenice,Saopštenja VIII, Beograd, 1969, 87-91; R. Petrović, Otkriće fragmenatafresaka u ulazu Radoslavljeve kule sa portretima Vukana i StefanaNemanjića. Predavanje Galerija fresaka, Beograd (sreda, 03. 12.2003, u 18 sati).1021 Marija Radan-Jovin, Studenica, Saopštenja XII, Belgrade,1979, p. 10, note 23; V.J. Đurić, Portreti na kapiji Studenice (Les portraitssur la Porte de Studenica), Zbornik Svetozara Radojčića, Facultyof Philosophy, Department of Art History, Belgrade, 1969, p.105-111, Fig. 1-2; M. Šakota, Novootkriveni natpis iz Studenice, SaopšenjaVIII, Belgrade, 1969, p. 87-91; R. Petrović, Otkriće fragmenatafresaka u ulazu Radoslavljeve kule sa portretima Vukana i StefanaNemanjića, lecture in Gallery of Frescoes, Belgrade (3 rd December2003).

1. Nepoznati mladi Nemanjić, ulomak freske na sigi, oko 1209.godine, manastir Gradac (u toku konzervatorskih radova).Snimio: R. Petrović, 2000. god.The unknown young man of the Nemanjić dynasty, fragment offresco, around 1209, the monastery Gradac (during the conservationtreatment). The photograph taken by R. Petrović, in 2000.Fragmenti fresaka pronađeni su u manastiru Gradac,u toku arheoloških istraživanja, koje je, od 1962. do1972. godine, obavila Aleksandra Jurišić, arheolog. Preventivnuslikarsko-konzervatorsku zaštitu nađenihfragmenata, na terenu, obavio je Branislav Živković, slikar-konzervatorZavoda. Tada su samo, zaštićeni otkriveniveći delovi fragmenata fresaka, dok su manji komadiostali i dalje u kesama, kartonskom kutijama, saarheološki obeleženim brojevima sondi, itd. Ova preventivnaterenska zaštita, zalivanje ulomaka u gipsane podloge,loše se odrazila na fresko malter (počeo je da se suši,zrni i otpada) i slikani sloj (gubi svojstvo slikanihpigmenata, dobija belu skramu šalitre, bojeni sloj se osipa,zbog gubitka veziva). U vreme arheološkog otkrića umanastiru Gradac, autor ovog rada, bio je još studentAkademije za likovnu umetnost u Beogradu, i nije učestvovaona preventivnoj konzervaciji novootkrivenihfragmenata na terenu u manastiru Gradac. Godine1978, po zaposlenju u Republičkom zavodu za zaštituspomenika kulture Srbije, ponuđeno mi je da pokušamda ulomke fresaka konzervatorski obradim, a kao istoričarumetnosti da pokušam da „iščitam” zagonetni iteško oštećeni tekst belih slova na plavoj pozadini (lapislassuli)?Po svojim izvornim svojstvima fragmenti fresaka iskopaniiz zemlje, posle nekoliko vekova, bili su prvorazredniizazov, ne samo za konzervaciju, već i moguće ikonografsko-stilskoistraživanje lika fragmenta freske nasigi, nepoznatog mladog Nemanjića iz prve polovine XI-II veka (sl. 1) i prve polovine XIV veka. Pristupajućiovom neobičnom „arheološkom”poslu, autor ovog rada,morao da konzervatorske probleme sagledava i rešava ikao istoričar-umetnosti, vajar, grafičar. Imajući u viduda je ovaj rad publikovan sa konzervatorskim odgovarajućimpostupkom, opisaćemo samo deo koji se odnosi nasamu prezentaciju fragmenata iz manastira Gradac i to:Klasifikacija svih fragmenata po bojama: zelena,plava, crna, oker, crvena;Grupisanja po debljini fragmenata, lepljenje orginalnihkomada;Grupisanje delova oštećenih likova svetitelja - deoglave, usta, nos, oko, prsti i ostalih delova inkarnata;Ispitivanje oblika i oštećenih fragmenata sa belimslovima i spajanje u odgovarajuće slovo ili reč;B) Fragments of frescoes presenting the words ofprayer by queen Helen of Anjou from 14 th centuryThese fragments were found in the monastery ofGradac, during archaeological survey conducted by archaeologistAleksandra Jurišić. Preventive paintingconservation measures were carried out by BranislavŽivković, paintings conservator in the Institute for Protectionof Cultural Monuments. On that occasion, onlythe larger parts of the frescoes were protected, while thesmaller parts stayed in bags, cardboard boxes, with noteson trench numbers, etc. This preventive field protection,that is casting into a plaster support, had damagedthe 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 ofthe bonding material). During archaeological researchin the monastery of Gradac, the author of this articlewas still a student at the Academy of Fine Arts in Belgradeand could not participate in preventive conservationof newly found fragments on the site of the monastery.In the year 1978, being employed in the Serbian Institutefor Protection of Cultural Monuments, I was offeredan opportunity to attempt conservation treatmentof these fragments and at the same time, as an art historian,to interpret mysterious and heavily damaged textmade of white letters on a blue support (lapis lazuli).By their original characteristics, these fragments,excavated after several centuries, were a first-gradechallenge, not only for conservation, but also possibly asan iconographic and stylistic research, having in mind afigure on a tufa support, presenting an unknown youngman of the Nemanjić family, from the first half of 13 thcentury (Fig. 1) and the first half of 14 th century. Consequently,the author of this article had to approach thework not only as a paintings conservator, but also as anart historian, a sculptor and a graphic artist. Having inmind that the work was published with an adequateconservation procedure, we shall describe here only thesegment referring to the presentation of the fragmentsfrom the Gradac monastery themselves:Classification of all the fragments by colours: green,blue,black,ochre,red;Arrangement by the thickness of fragments, bondingof original pieces;Arrangement of segments of damaged figures of saints– part of head, mouth, nose, eye, fingers and rest ofbody;Analysis of forms and damaged fragments with whiteletters and joining into an adequate letter or word;Calking of all fragments in 1:1 proportion, reconstructionby drawing morphology of the letters, writinga list of letters, drawing composition of the scene, headof the Christ Emanuel with halo, red border – these areall very important details of the unknown ensemble.Conclusion:Fragments have, undoubtedly, great historic-artisticvalue, especially the joined segment:The composition of the Child Christ with the halo,half-length figure, blessing with both his arms;The prayer of the queen and nun Helen of Anjou, thewife of king Uroš I and the mother of kings Dragutinand Milutin. The prayer begins with words:»Vladiko čovekoljubče2 ...» (Fig. 2).The text and the composition werepainted after her death (1314). The nun Helen wasproclaimed a saint after «appearing in a dream of thebishop of Ras», so her body was taken out of the grave2 “Bishop, the man-loving...”103

Kalkiranje svih fragmenatafresaka u R. 1:1, rekonstrukcijacrtežima morfološkogoblika slova, izradazbučnika slova, kompozicijescene, glava HristaEmanuela sa oreolom, borduracrvena, svi su oni biliveoma važni kao odrednicabuduće još nepoznate celine?Zaključak:1. Fragmenti ulomakaimaju, nesumnjivo, velikoistorijsko umetničko značenje,naročito sklopljenideo i to:a) kompozicija HristosMladenac sa oreolom, dopojasnafigura, blagosiljaobema rukama;b) otkriven je molitvenitekst kraljice i monahinjeJelene Anžujske, žene kraljaUroša Prvog, majke kraljevaDragutina i Milutina.Molitveni tekst počinje rečima:«Vladiko čovekoljubče..»(sl. 2). Tekst i kompozicijanastali su posle njenesmrti (+ 1314), MonahinjaJelena je, posle „javljanja usnu raškom episkopu”,postala svetiteljka, te jenjeno telo izađeno iz zemljei iz groba na južnom delunaosa prebačeno u drvenipozlaćeni sanduk i izloženopred ikonostas, kod slikanefigure Isusa Hrista;g) ceo posao oko iščitavanja zagonetnog i teško oštećenogteksta, može da se poveže sa ktitorstvom njenihsinova, kraljeva Dragutina i Milutina i kraljica (kraljiceJelene), i snaje Kateline (princeze Mađarice) i Simonide(princeze Grkinje, ćerke Andronika Drugog, vizantijskogcara). (2)(2)Aleksandra Jurišić: Običaj sahranjivanja fragmenata živopisai delovi arhitektonske plastike (Coutumes d’ enterremnet desfragments de peinturesmurale et des parties d’ornaments architecturaux),Saopštenja Republički zavod za zaštitu spomenika kultureSR. Srbije (Communications, Instutut pour la protection des monumentshistoriques da la republique de Serbie), knj. XIII, Beograd,1981, str. 169-176. A. Jurišić u njenom radu, navodi i druge primereotkrića ulomaka fresaka i to: Crkva sv. Petra i Pavla u Žiči (169-170); Severna kapela starije jednobrodne bazilike u Gracu (170-172); Crkva u Paniku (172-173); Porta manastira Studenice (173);Studenički konak iz 1927. godine (173-175); Radomir Petrović: Konzervacijai prezentacija fragmenata fresaka manastira Gradca iz XI-II veka, Glasnik društva konzervatora Srbije, knj. 7, Beograd, 1983,str. 7-82. Up.: Kulturno nasleđe Srbije 1947-1982. Trideset i pet godinarada i razvoja Republičkog zavoda za zaštitu spomenika kultureu Beogradu, Galerija SANU, Beograd, 1982, str. 50; R. Petrović,Neka iskustva u konzervaciji, restauraciji i prezentaciji zidnih slika,Savetovanje Metodologija rada na zaštiti zidnog slikarstva. Društvokonzervatora Srbije. Republički zavod za zaštitu spomenika kulture,Beograd. Zavod za zaštitu spomenika kulture, Kraljevo. Sopoćanskaviđenja, Novi Pazar, 26, 27 i 28. V 1982 (Zbornik nije objavljen).Rad je u rukopisu: 1. Konzervatorski-restauratorski rad u Crkolezu;2. Povodom restauracije priprate u manastiru Gračanici; 3.Konzervatorska otkrića u VelikojHoči; 4. Konzervatorska istraživanjau Šatornji; R. Petrović, Konzervacija i prezentacija fresaka manastiraGradac iz XI, XIII, X1V veka. Predavanje Galerija fresaka,Beograd (03.12.2003.). Ovom prilikom izneo sam i novija metodološkaistraživanja i konzervaciju: Konzervacija i prezentacija fresaka izcrkve Sv. Nikole iz XIV-XVIII veka. Autor ovog rada, priprema radza publikovanje: Ulomci fresaka molitvenog teksta za grob kraljicei monahinje Jelene Anžujske iz XIV veka iz manastira Gradac.1042. Hristos Mladenac u medaljonu i molitveni tekst kraljice JeleneAnžujske, XIV vek. Manastir Gradac. Ulomci fresaka koji su pronađeniu zemlji prilikom arheoloških radova. Rekonstrukcija ikonzervacija ulomaka fresaka R. Petrović, 1987. god.The Child Christ in medallion and the prayer of the queenHelen of Anjou, 14th century, the monastery Gradac. The frescofragments found in the ground during archaeological excavations.Reconstruction and conservation of the fragments byR. Petrović in 1987.in the southern part of thenaos and transferred to aguilded wooden coffin andplaced in front of the iconostasis,close to the paintedfigure of Christ;The analysis of the mysteriousand heavily damagedtext was carried outhaving in mind that hersons, kings Dragutin andMilutin, as well as their wives,the queens Katelina(Hungarian princess) andSimonida (Greek princess,daughter of Andronicus II,Byzantine emperor) wereco-founders of the monastery3 .Burnt frescoes of theHilandar monasteryThe ancient monasteryof Hilandar “The home ofthe Most Holy”, founded atthe end of 12 th century, issituated in the territory ofGreece, on the Atos peninsula.The endowers of theHilandar monastery, around1198, were the SerbianGrand Iupannus StefanNemanja, Simeon as monk,and his son, young princeRastko, who became amonk after “leaving thisworldly realm”and was namedSava. After they died,the main monastic churchin Hilandar was named “Home of venerable Simeon andSt. Sava”. Hilandar was the spiritual centre of Nemanjić3 Aleksandra Jurišić, Običaj sahranjivanja fragmenata živopisai delovi arhitektonske plastike (Coutumes d’enterrement des fragmentsde peinture murale et des parties d’ornaments architecturaux),Saopštenja, Republički zavod za zaštitu spomenika kulture RepublikeSrbije (Communications. Institut pour la protection des monumentshistoriques, Republique Serbie), part XIII, Belgrade, 1981,p. 169-176. In her work, A. Jurišić mentions several other examplesof fresco fragments discoveries, namely in following locations:Church of St. Peter and Paul in the Žiča monastery (p. 169-170); thenorthern chapel of the older single-nave basilica in the Gradac Monastery(170-172); Church in Panik (172-173); Gate of the Studenicamonastery (173); Studenica Dormitories from 1927 (173-175). RadomirPetrović, Konzervacija i prezentacija fragmenata fresaka manastiraGradca iz XIII veka, Glasnik Društva konzervatora Srbije,part 7, Belgrade, 1983, p. 7-82. Cf: Kulturno nasleđe Srbije 1947-1982. Trideset i pet godina rada i razvoja Republičkog zavoda zazaštitu spomenika kulture u Beogradu, Gallery of Serbian Accademyof Science and Arts, Belgrade, 1982, p. 50; Radomir Petrović, Nekaiskustva u konzervaciji, restauraciji, i prezentaciji zidnih slika,the lecture given during the seminar Fresco painting protection methodology,Serbian Association of Conservators, Institute for protectionof cultural monuments of Serbia, Belgrade, Institute for protectionof cultural monuments in Kraljevo; Sopoćanska Viđenja 26, 27and 28, 1982, following articles (not published): Konzervatorsko-restauratorskirad u Crkolezu, Povodom restauracije priprate u manastiruGračanici, Konzervatorska otkrića u Velikoj Hoči, Konzervatorskaistraživanja u Šatornji; R. Petrović, Konzervacija i prezentacijafresaka manastira Gradac iz XI, XIII, XIV veka, lecture given in theGallery of Frescoes, Belgrade (3 rd December 2003). On this occasion,the author talked about some new methodological researchand conservation: Conservation and presentation of frescoes fromthe church of St. Nicolas, from 14th-18th century.The author alsoprepared several other articles for publication: The fresco fragmentswith the prayer for the grave of queen and nun Helen of Anjou, from14th century, in the Gradac monastery.

Zapaljene freske manastira HilandaraNa teritoriji Grčke, u Svetoj Gori Atoskoj, nalazi sedrevni manastir Hilandar, Dom Presvete Bogorodice”,iz kraja XII veka. Ktitori manastira Hilandar, oko 1198.godine, bili srpski veliki župan Stefan Nemanja, koji sezamonašio dobivši ime Simeon, i njegov sin, mladi princRastko, koji se, „ostavivši carstvo ovog sveta”, zamonašiopod imenom Sava; posle njihove smrti crkva manastiraHilandara naziva se”Dom prepodobnog Simeona isvetitelja Save”. Hilandar je duhovni centar Nemanjićai srpskog naroda.U XIV veku, manastir svete Bogorodice, obnovio iproširio srpski kralj Milutin. Potom su i ostali vladariNemanjići, bili darežljivi ktitori kao: srpski kralj StefanDečanski i njegov sin kralj i car Stefan Dušan-Silni,srpski knez Lazar i njegov sin despot Stefan Lazarević,despot Đurađ Branković i mnogobrojna srpska vlastelai obični priložnici.U noći oko jedan sat, između 3. i 4. marta, 2004. godine,požar je zahvatio je deo konaka i crkava i kapelamanastira Hilandara. Vatrena stihija zahvatila je severozapadnideo konaka (1821), igumenariju, dohiju, gostoprimnicuka glavnoj ulaznoj kapiji manastira. Potomse raširio na „Beli konak” (1598) i uništio sve dovelikog pirga svetog Save (sl. 2, pre požara). Navodimsamo nekoliko primera fresaka stradalih od požara irušenja nastalog zbog izgorelih drevnih drvenih greda ito:1. Crkva Svetog Save Srpskog i Svetog DimitrijaCrkva je sagrađena zajedno sa stambenim monaškimkelijama posle požara 1778.-1779. godine, u kome jebio izgoreo stariji konak iz 1639.-1640. godine. Nalazi sena zapadnoj strani manastirske porte. U okviru zidanogkonaka postoje dve crkve i to: svetog Save Srpskog, kojaima kupolu i nalazi se iznad crkve svetog Dimitrija,sa kojim je podignuta istovremeno. Postojalo jenekoliko dragocenih ciklusa iz “Života svetog Save Srpskog”i ciklus iz “Života svetog Dimitrija Solunskog”,patrona hramova. Pored izgorelih fresaka, mnoge freskesu propale od rušenja, zatrpane u šutu. Neke freske visepotklobučene u vidu „čaršava”, obrušavaju se i izloženesu atmosferalijama (velike dnevne temperature ili hladroyalfamily lands and Serbian people.The Hilandar monastery of Virgin Mary was reconstructedand enlarged in the 14 th century by the Serbianking Milutin. Serbian kings coming to the throne afterMilutin were also generous, among them king StefanDečanski and his son, king and emperor Stefan Dušanthe Great, duke Lazar and his son despot Stefan Lazarević,despot Đurađ Branković, many Serbian aristocratsand other donors.In the night between 3 rd and 4 th March 2004, around1 a.m. a part of the dormitories, churches and chapels ofthe Hilandar monastery was set on fire 4 . Fire attackednorthwestern part of the dormitories (built in 1821), thehome of the prior, cookhouse, the guesthouse close to themonastery gate. It further attacked the “White Dormitory”(built in 1598) and destroyed everything all theway to the Tower of St. Sava (Fig 2, before fire). I willmention only several examples of the frescoes destroyedin the fire and deconstruction caused by the fire. Theseare:1. The Church of St. Sava and St. DemetriosThe church was built together with monastic cellsafter the fire of 1778/79, when the older dormitory, builtin 1639/40, was destroyed. The church is situated onthe west side of the monastery. Within the hard-builtdormitorythere are two churches: the Church of St. Sava, witha dome, situated above the church of St. Demetrius, builtat the same time. There were several valuable frescocycles presenting “The life of St. Sava” and the cycle of“The life of St. Demetrius of Thessalonica”, the patronsof these churches. Beside of the burnt frescoes, there weremany frescoes destroyed in deconstruction, coveredwith mortar. Some of the frescoes just hang there halfdetachedfrom the wall, falling down, exposed to weatherconditions and climatic changes (high daily temperatures,cold winter nights, rain, wind, snow). I evenfound some old books covered with mortar, once belongingto a monastic cell.At high temperatures, secco-mortar and the paintlayer (painted on dry mortar) resemble stone, becomefragile and, due to fire, paint looses its original colour3. 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 pronašaostare knjige iz jedne monaške kelije.Zbog veoma velike toplote seko malter i bojeni sloj(slikano na suvom malteru), “okamenjen je”, trošan, ausled požara bojeni sloj je izgubio svoje orginalne kolorističkevrednosti, te je postao bezbojan, sa sivkasto-belimflekama (sl. 3). Mnoge freske su potpuno uništene,kao u kuli i crkvi Sv. Nikole itd. Pred slikarima konzervatorima-restauratorimaje spasavanje ulomaka fresakaiz šuta i njihovo vaspostavljanje na prvobitna mesta. Ostajejoš mnogo problema koji zavise od arhitektonskihkonzervatorskih radova, obnavljanja ovih požarom stradalihcrkava, kapela i konaka u kojima se nalaze. Ostajenam novo metodološko konzervatorsko-restauratorskopitanje: posle „povratka” fragmenata fresaka kojesu sasvim izbledele, da li je moguće restaurirati pigmentom,na osnovu fotografija u boji? Moj stav je da bi tobio veliki restauratorski greh!Zapaljeni spomenici PrizrenaGodine 2004. 17. i 18. marta, šiptarski teroristi su zapalilii teško oštetili spomenike kulture u drevnom graduu Prizrenu. Na Kosovu i u Metohiji u toku poslednjihšest godina (od 1989.), posle ratnih sukoba, uništeno jepreko 150 pravoslavnih crkava i manastira.U Prizrenu i okolini tzv. prizrenskoj oblasti, u srednjemveku su sagrađene mnogobrojne vlastelinske crkve;prema jednom predanju starih prizrenaca ni jednaepiskopija nije bila tako bogata crkvama kao prizrenska.Po ovom pripovedanju, smatra se da je “u Prizrenubilo onoliko crkava koliko dana u godini”. Grad Prizrenbio je poznato episkopsko sedište u vreme Vizantije iNemanjića. Iz tog vremena je i drevna katedrala BogorodicaLjeviška, sa poznatim živopisom iz vremena svetogSave, prvog srpskog arhiepiskopa (1219), od kada jePrizren postao značajno episkopsko mesto novoosnovanesrpske crkve. Pominje se ikona “čudotvorni obrazPrečiste”, najverovatnije je u pitanju fresko ikona sapredstavom Bogorodice sa malim Detetom KrmiteljemHraniteljem siromašnih, oko 1220. godine, iz BogorodiceLjeviške; freska je nasilo uništavana i zapaljena 17.marta 2004. godine. Katedralna crkva Bogorodice Ljeviškeje obnovljena u vreme srpskog kralja Milutina, uXIV veku.U namernom požaru, marta 2004.godine, crkva jegrađevinski veoma oštećena, kamena bifora sa kapitelomje od velike jare teško oštećena, svi drveni delovinosača na kuli zvonika su stradali, a sa njima i fresko živopis.Zbog velike vatre gotovo je sasvim uništen bojenisloj i fresko malter u crkvi, kao primer navodimo samonekoliko: ktitorska dinastička Nemanjićka kompozicija,mnogobrojne stojeće figure svetitelja i mučenika u prvojzoni, prikazi Bogorodice, svetih žena mučenica,“HristosPrizrenski”, “Povest o Varlamu i kraljeviću Josifu” (uticajiz budističke umetnosti na vizantijsku i katoličkusrednjovekovnu umetnost), Strašni sud, Loza Jesejeva,velike scene: „Sv. Dimitrije na konju”, „Sv. Đorđe na konju”,„Danilo među lavovima”, ktitorska kompozicijakralj Milutin i sv. Simeon Nemanja, sv. Sava prvi srpskiarhiepiskop, kralj Stefan Prvovenčani i kralj Stefan Dečanskiitd.Kao na freskama u Hilandaru, isto tako i u crkvamaprizrenskim, usled vandalskog martovskog namernogrušenja i paljenja i visoke temperature “jare”, pigmentisu promenili kolorit ili izgubili autentičnost kolorita, asamim time je nestao izvorni kolorit, tj. Pretvoren je usivobele fleke u Bogorodici Ljeviškoj (XIII-XIV), crkviSv. Nikole Tutićeva (XIV), Sv. Spasa (XIV), Sv. Nikole -Koraćeva (XIV), Sabornoj crkvi Sv. Đorđa (XIX), crkviSv. Đorđa braće Runovića (XV) (sl. 18), crkvi Sv. Nikole106properties, becomes colourless, with grayish-whitestains (Fig. 3). Many frescoes are completely ruined, as,for example, those in the Tower and the Church of St.Nicholas. Paintings conservators-restorers are to facesaving of fresco fragments from the ruins and their restorationon the original support. There are still manyproblems to solve, depending on architectural conservationwork, restoration of these churches, chapels anddormitories they are situated in. There is also a newmethodology question referring to conservation-restoration:Is it possible, after re-attaching frescoes that havecompletely lost their colouristic properties, to restorethem with pigments, based on accurate colour photographs?In my opinion, it would be unforgivable restorationsin.Burnt monuments of PrizrenOn 17 th and 18 th March 2004, Albanian terrorists seton fire and heavily damaged cultural monuments in ancienttown of Prizren. In last six years (since 1999), afterthe war, more than 150 orthodox churches and monasteriesin Kosovo and Metohija were destroyed. InPrizren and its surroundings, many churches were builtby rich donors and, according to a story told by old citizensof Prizren, none of the eparchies was so rich withchurches as the Prizren Eparchy. It is said that “Prizrenhad as many churches as there are days in a year”. Prizrenwas famous eparchy centre during the rule of Nemanjićfamily, in the Byzantine times. Ancient cathedral ofthe Virgin Ljeviška, with well-known fresco paintingsfrom St. Sava times, dates from this period. St. Sava wasthe first Serbian archbishop (1219) and Prizren was importanteparchial centre of newly found Serbian church.In recent events, a fresco painting called “miraculousImage of the Most Holy” was mentioned as being damaged.It is probably the fresco-icon presenting the Motherof God with the Child who is nourishing and protectingthe poor, dating from 1220. It was systematically destroyedand finally burnt on 17 th March 2002.The cathedral of the Virgin Ljeviška was restoredduring the rule of Serbian king Milutin, in 14 th century.In the recent arson, the construction of the church washeavily damaged, the stone bifore with capital was heavilydamaged by heat, all the wooden parts of supportingpillars in the bell-tower were also damaged, togetherwith fresco paintings in them. The paint layer andfresco mortar in the church are almost completely ruinedwith fire, and I will mention only some of the examples:the composition of the endowers from Nemanjićdynasty, numerous standing figures of saints and martyrsin the lower zone, presentations of the Virgin, hollywomen, the presentation of “The Christ of Prizren”,“TheStory of Barlaam and the prince Josaphat” showing influencesof Buddhist art in Byzantine and catholic mediaevalart, The Last Judgement, genealogy of Jesse, largecompositions – “St. Demetrius on horse”,“St. Georgeon a horse”, “St. Daniel in lion cave”, the presentationof the endowers, king Milutin and St. Simeon Nemanja,St. Sava the I Serbian archbishop, king StefanPrvovenčani (the First Crowned) and king Stefan Dečanski,etc.In the same way as on the frescoes of the monasteryHilandar, due to intentional deconstruction, burningand heat, pigments in the churches of Prizren also changedtheir properties and lost the authenticity of colours.The coloured areas turned into greyish-white stains inthe church of Virgin of Ljeviška (13th-14th centuries),St. Nicolas of Tutić family (14th C), Christ the Saviour(14th C), St. Nicolas of Korać family (14th C), cathedralof St. George (ž9yh C), church of St. George – church of

Manastir Hilandar stradao u požaruMonastary Hilandar devastated by fireFoto “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. ArhanđelimaMihaila i Gavrila (XIV) i crkvi Sv. Nikole inovim monaškim konakom sa kapelom, skulpture i mozaičkipod zadužbine srpskog cara Dušana. U mnogobrojnimcrkvama u Prizrenu i okolini, zbog opasnosti poživot, nismo mogli da snimimo postojeće stanje!Kao da se ponavlja vreme kada su Turci osvojili Carigrad1453. godine i od plena se toliko obogatili, da sekod njih dugo posle toga u poslovici za bogatog čovekagovorilo „plenio je u Carigradu”, u prenosnom smislu zakrađu ikona i crkvenih bogoslužbenih i drugih predmetamožemo reći za Šiptare da su „plenili”u carskom graduPrizrenu.Nama zaštitarima ostaje, za sada, gorak ukus u grlui duši, mnogobrojne pravoslavne svetinje i mošti svetitelja,temeljito su porušeni. Pomenuću crkvu Sv. VračaKuzmana i Damjana u selu Zočištu (XIV), Sv. JoanikijaDevičkog (XV), obnovljenu crkvu Bogorodičinog Vavedenjau Belom Polju (1868.), podignutu uz pomoć ruskecarice Marije Aleksandrove, itd. Materijal građevinski icrkveni mobilijar, ulomci fresaka, ikona, raznose se buldožerima,zemlja se ravna za parkove, garaže, stambenezgrade, servise zanatlijske, javne toalete itd. (3) R. Petrović: Izveštaj o stanju crkava i živopisa manastira Hilandarau Svetoj Gori, posle požara od 4. marta 2004. godine, predatMinistarstvu kulture i informacije i Republičkom zavodu za zaštituspomenika kulture. Autor ovog članka, posetio je Hilandar u okvirudržavne posete, pod pokroviteljstvom Ministarstva kulture i informacija,koju je predvodio ministar Dragan Kojadinović, zamenik MiroljubRadosavljević, pomoćnik Miladin Lukić i pomoćnik Vlada Tomčić.Autor je obavio snimanja digitalnim fotoaparatom i konzervatorskudeskripciju i to: od 29. juna do 19. jula 2004. godine, ukupno 21 dan.Runović brothers (15th C century; Fig. 18), church of St.Nicolas of Rajko (14th C), St. Nicolas of Dragoslav andBela Tutić (14th C), church of St. Cyriace of king MarkoMrnjavčević (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 monasticdormitory and chapel, as well as sculptures and mosaicfloor in the endowment of the Serbian king Dusan. Manychurches in Prizren and its surroundings could not beapproached, entered and surveyed due to life danger.It reminds of the times when Turks conquered Constantinoplein 1453 and got so rich, that long after thatvery rich man was said to have “pillaged as in Constantinople”.In fact, it referred to the looting of icons andreligious objects, so it can be also said for Albanians andGermans that they pillaged in the royal town of Prizren.People dealing with preservation of heritage are leftin bitterness, since numerous orthodox monuments andrelics are systematically ruined. I will also mentionchurch of the Holy Healers Cosmas and Damian in thevillage of Zočište (14 th C), St. Joanikije of Devič (15 th C),restored church of the Entrance of the Virgin Mary intothe Temple, in Bijelo Polje (1868), built with help of theRussian czarina Maria Alexandrovna, etc. Building materialand church furniture, fresco and icon fragmentsare destroyed with bulldozers, church grounds are turnedinto parks, car parks, buildings, various public services,etc.MUZEJI IMila Popović-Živančević, Muzejski savetnik,Narodni muzej u BeograduRukovodilac DIJANA Centra za preventivnu zaštituPredsednik Nacionalnog komiteta IKOM-a SCGOvo je prva Generalna Konferencija i Skupština održanau Aziji, a učestvovalo je oko 1500 delegata iz celogasveta. Učestvovala su tri predstavnika iz Srbije i CrneGore: Mila Popović-Živančević, predsednik Nacionalnogkomiteta IKOM-a SCG, muzejski savetnik-konzervator,Narodni muzej u Beogradu; Deana Ratković, sekretarNacionalnog komiteta IKOM-a, kustos, Narodni muzej uBeogradu; i Mladenko Kumović, muzejski savetnik,član Nacionalnog komiteta IKOM-a, Muzej Vojvodine.Osnovna tema Konferencije u Seulu „MUZEJI INEMATERIJALNO NASLEĐE“ treba da pomogneda se unapredi kulturni identitet svih regionasveta i da se razumeju kulturne raznovrsnosti globalnogdruštva.U skladu sa osnovnom ulogom koju IKOM ima urazvoju muzeja i muzejske profesije, ova tema jeodređena još na predhodnoj, 19. Generalnoj konferencijii 20. Generalnoj skupštini IKOM-a, u Barseloni,juna 2001. godine.Međunarodna zajednica muzejskih profesionalacaje tada imala u vidu da je za mnoge grupe, manjineili populacije, nematerijalno nasleđe vitalan izvoridentiteta, duboko ukorenjenog u istoriji svakog naroda,grupe ili manjine.Životna filozofija, vrednosti, moralni kodeksi, na-MUSEUM20th ICOM General ConferenceFor the first time a General Conference andGeneral Assembly were held in Asia and they gatheredabout 1500 delegates from all over the world.From Serbia and Montenegro three participants tookpart in these meetings: Mila Popovic-Zivancevic,chairperson of the ICOM National Committee ofSerbia and Montenegro, museum councillor-conservator,National Museum in Belgrade; Deana Ratkovi},secretary, ICOM National Committee of Serbia andMontenegro, curator, National Museum in Belgrade;Mladenko Kumovi}, member of ICOM NationalCommittee of Serbia and Montenegro, museumcouncillor, Museum of Vojvodina4 R. Petrović, Izveštaj o stanju crkava i živopisa manastira Hilandarau Svetoj Gori, posle požara od 4. marta 2004. godine. Thisreport was sent to the Ministry of Culture and Information and tothe Institute for the protection of cultural monuments of Serbia.Theauthor visited Hilandar within an official state visit, under the patronageof the Ministry of Culture and Information, with the ministerDragan Kojadinović and his assistants Miladin Lukić and VladaTomčić. The author took photographs and did a conservationdescription/documentation. It lasted for 21 day, between 29 th Juneand 19 th July 2004.108

nematerijalno nasleđe20. Generalna konferencija i 21. Generalna skupština IKOM-a, Seul, Južna Koreja, 2. - 8. oktobra 2004.čin mišljenja prenošen usmenom tradicijom, jezici i različitioblici prihvaćeni u određenim kulturama, čine osnovuživota zajednice. Kada je reč o ovom nasleđu, posebnose vodilo računa o činjenici da ga njegova efemernapriroda čini veoma ranjivim.Imajući sve ovo u vidu, u trogodišnjem periodu izmeđudve generalne konferencije i skupštine, između Barselonei Seula, IKOM je pokrenuo među svojim članstvomu celom svetu široku diskusiju na temu nematerijalnognasleđa i uloge muzeja u njegovom proučavanju,prezentovanju i zaštiti. Cilj ovih diskusija je bio da seprouče svi elementi koji nematerijalno nasleđe treba dauključe u definiciju i sadržaje muzeja.Osnovna tema Konferencije u Seulu „Muzeji i nematerijalnonasleđe“ imala je težište na ulozi muzeja i zajedniceu promociji i zaštiti nematerijalnih kulturnih dobara.Svi događaji vezani za rad i aktivnosti u Seulu dalisu priliku okupljenim delegatima iz celoga sveta daraspravljaju o ovom intrigantnom predmetu kulturnognasleđa. Svaki muzejski profesionalac dobio je retku idragocenu mogućnost da pronikne u dubinu duhovnog,psihološkog i mentalnog sveta raznih kultura i tradicija.Postojeći kulturni programi, koje su pojedine zemlje većpokrenule, ilustrovali su jedinstvene i raznovrsne tradicijerazličitih kulturnih grupa. Konferencija je istinskipružila veliku mogućnost muzejima iz celog sveta daojačaju solidarnost i razmenu profesionalnog znanja i iskustava.and Intangible Heritageand 21st ICOM General Assembly, Seoul, Republic of Korea, 2-8 October 2004The main theme of the Seoul Conference MUSEUMSAND INTANGIBLE HERITAGE was aimed atenhancing cultural identity of every region in the worldand better understanding cultural diversity of the globalizingsociety.In compliance with the basic objectives of ICOM inthe development of museums and museum profession,the theme was chosen already at the 19th ICOM GeneralConference and the 20th ICOM General Assembly heldin Barcelona, in June 2001.The international community of museum professionalshad in mind that intangible heritage was formany groups, minorities or populations the vital sourceof their identity, deeply rooted into the history of everynation, group or minority.Philosophy of life, values, codes of ethics, mind-setstransmitted by oral tradition, languages and variousforms distinctive for certain cultures make the basis ofcommunity life. Special attention was paid to the factthat this heritage is very fragile due to its ephemeralnature.Having all this in mind, in the past three year periodbetween the two general conferences and assemblies,between Barcelona and Seoul, ICOM initiated broaddiscussion among its membership about intangible heritageand the role of museum in its investigation, presentationand safeguarding. The aim was to encourageMila Popović-Živančević, Museum councillor,National Museum BelgradeHead of DIANA Centre for preventive conservationChairperson of NC ICOM Serbia and Montenegrostudies of all elements that support the inclusion ofintangible heritage in the definition of museum and itsprogrammes.Conference theme in Seoul “Museum and intangibleheritage” focused on the role of museums and the communityin promotion and safeguarding of intangiblecultural property. All related events in Seoul were openingpossibilities for delegates to discuss this intriguingissue when heritage is concerned. Every museum professionalwas invited to use a rare and most valuableopportunity to get insight into the depths of the spiritual,psychological and intellectual entity of various culturesand traditions. The existing cultural programmes,already launched in some countries, highlighted uniqueand diverse traditions of different cultural groups. TheConference was a genuine possibility for museumsworldwide to strengthen their solidarity and exchangeof professional knowledge and experience.Cultural propertyCultural assets are created in the process of managementof human society along with the nature. They109

Kulturno dobroKulturna dobra se formiraju u procesu upravljanjaživotima ljudskog društva, uporedo sa prirodom. Oniuključuju kulturne vrednosti koje zaslužuju da budusačuvane, kao i prirodno nasleđe, koje poseduje inzvarednulepotu.Kulturna dobra, bez obzira da li su materijalna ilinematerijalna, predstavljaju esenciju, suštinu, bazu nacionalnekulture. Svaka nacionalna deklaracija o kulturnomnasleđu kaže da u jednom društvu svi zajednotreba da rade na zaštiti istorijkog nasleđa i njegovogorkuženja, na sprečavanju njegovog uništenja; jer, kadaje kulturno dobro jednom oštećeno ono nikada više nemože biti vraćeno u njegovo prvobitno stanje. Nacionalnapolitika obavezuje sve pojedince da obave svojnajvažniji, najsvetiji zadatak i da budućim geneacijamaprenesu sopstvena duhovna i materijalna dobra, kao štosu ih njihovi preci ostavili njima u nasleđe. Zato, svakanacionalna strategija o kulturnom nasleđu bi trebalada nalaže da:Kulturna dobra moraju biti sačuvana u njihovomoriginalnom obliku;Kulturna dobra, kao i njihovo okruženje moraju bitizaštićeni od nepovoljnog, neodgovarajućeg razvoja;Kulturna dobra nikada ne smeju da budu uništena,ukradena ili predmet ilegalne trgovine, pod bilo kojimuslovima ili okolnostima, jer su ona iznad materijalnihvrednosti;Vrednost svakog kulturnog nasleđa mora da budeproučavana i širena kroz obrazovanje u školi, društvu iporodici;Svi mi moramo da doprinesemo zaštiti, razvoju,prenošenju i prezentaciji nacionalne istorije i kultureDefinicija nematerijalnog kulturnog nasleaU svom prirodnom i socijalnom okruženju ljudistvaraju materijalno i nematerijalno nasleđe, koje izražavakontinuitet života u svim njegovim raznovrsnostima.Muzeji su do sada, u celom svetu, bili okrenuti prvenstveoprikupljanju, čuvanju i zaštiti, istraživanju,izlaganju i razmeni materijalnih dobara, kulturnih iprirodnih. A muzeji su ustanovljeni kao mesta za istraživanjei razvoj zajednice, tumačenje nasledstva i edukacijujavnosti.Ali, kultura se izražava i manifestuje ne samo u formimaterijalnih dobara, već takođe i posredstvom nematerijalnihelemenata. Oni se prenose sa generacije nageneraciju, posredstvom jezika, muzike, pozorišta, životnefilozofije i stavova, postupaka, prakse, običaja ičitavog niza drugih formi, medijacija, kao i predmeta imesta, u kojima su locirane ideje ljudskih bića.Muzejske zajednice širom sveta sada priznaju da ćeubuduće morati da poklone značajnu pažnju nematerijalnojinformaciji, kao i materijalnim izvorima, i to krozjačanje interdisciplinarnih pristupa.Naravno, da bi sačuvali izvore ukupnog nasleđa,muzeji moraju da nastave svoj dalji suštinski rad naprikupljanju, čuvanju i zaštiti, istraživanju, prezentovanju,izlaganju, obrazovanju.Definisanje sadržaja nematerijalne baštine, na konferencijiu Seulu, uglavnom je polazilo od UNESKOoveKonvencije, usvojene na Generalnoj Skupštini uParizu, oktobra 2003.godine. A definicija koja je poslužilaza nacrt UNESKO-ove Konvencije glasi ”Nematerijalnokulturno nasleđe podrazumeva praksu,predstavljanje, izražavanje, znanje, sposobnosti - kao iinstrumente, predmete, artefakta i kulturne prostorepovezane sa njima - koje zajednice, grupe i, u nekimslučajevima, pojedinci prepoznaju kao deo svog kultur-110include cultural values which are worth preserving aswell as the natural heritage of outstanding beauty.Either tangible or intangible, cultural property isthe essence, the foundation of the national culture.Every national declaration on cultural heritage advocatesthe need for concentrated efforts in a societyaimed at safeguarding cultural heritage and its environment,at preventing its destruction; once culturalproperty becomes damaged it can never reverse into itsformer state again. Every individual is bound by thenational policy to accomplish the most important,sacred objective – to transmit to the future generationstheir spiritual and material heritage, as they inherited itfrom their forefathers. Therefore, every national strategyon cultural heritage should insist upon:Cultural property to be saved in their original form;Cultural property and its environment to be protectedagainst adverse, inappropriate development;Cultural property should never be destroyed, stolenor subject to illicit trafficking under any circumstancesas they are above all material values;Value of cultural property must be studied andawareness about it disseminated through education inschool, society and family;We should all contribute to protection, development,presentation and interpreting of the national historyand culture.Definition of Intangible HeritagePeople create their tangible and intangible heritagein their natural surroundings thus recognizing the continuityof life in all its diversity.Throughout the world the museums have been committedto collecting, preserving and safeguarding,researching, exhibiting and exchanging material assets,both cultural and natural. And museums were establishedas places where researching and enhancing of thecommunity, interpreting the heritage and educating thepublic should be performed.The culture, however, has not only the form of materialproperty but consists also of intangible elements.They are transmitted from generation to generationthrough language, music, theather, life philosophy andattitudes, ways and practices, rituals and many otherforms, mediations as well as objects and places whereideas of humanity are located.Museum communities around the world recognizethat in the future they will have to pay much more substantialattention to the intangible information as wellas to material sources by developing interdisciplinaryapproaches.In order to safeguard heritage recourses museumsare bound to constantly carry out their essential duty:collecting, safeguarding and protecting, researching,presenting, displaying, educating.Definition of intangible heritage at the SeoulConference relied on UNESCO Convention, adopted atthe General Assembly in Paris in October 2003. And thisdefinition that was used for articulating UNESCOConvention reads: “The intangible cultural heritagemeans the practices, representations, expressions,knowledge, skills – as well as the instruments, objects,artefacts and cultural spaces associated therwith – thatcommunities, groups and, in some cases, individuals recognizeas part of their cultural heritage. The intangiblecultural heritage, transmitted from generation to generation,is constantly recreated by communities andgroups in response to their environment, their interactionwith nature and their history, and provides themwith a sense of identity and continuity, thus promotingrespect for cultural diversity and human creativity”.

nog nasleđa. Ovo nematerijalno nasleđe, prenošeno izgeneracije u generaciju, zajednice i grupe uvek iznovakreiraju kao odgovor na svoju okolinu, interakciju saprirodom i istorijom, što im stvara osećaj identiteta ikontinuiteta i na taj način one promovišu poštovanje zakulturnu raznovrsnost i ljudsku kreativnost ”.Nematerijalno kulturno nasleđe uključuje : glasove vrednosti tradicije jezike usmenu istoriju folklor i mitologiju znanje o prirodi i univerzumu kreativnost prilagodljivost raznovrsnost ljudiSvi ovi sadržaji popularno se izražavaju kroz tradicionalneproizvode: muziku dramu i poeziju folklorne igre običaje rituale religiozne ceremonije ratničke igre ispričane priče umetnost koja se stvara tradicionalne veštine, zanate i tehnologije kulinarske veštine -tradicionalne kuhinje odevanje staništa - prostore za stanovanje načine ponašanjaitd.Nematerijalna dobra imaju veliku istorijsku, akademskui umetničku vrednost i odražavaju posebno lokalnekarakteristike.„Nematerijalno“ u ovom slučaju znači umetničkuaktivnost ili tehniku koja nema formu. Ona se označavajukao kulturna dobra kada ih ovlašćeni pojedinci(označeni kao „čuvari znanja“) ili odgovarajuće organizacijesa umetničkim i tehničkim sposobnostima aktualizuju.Zaštita i razvoj nematerijalnih kulturnih dobaraNematerijalna kulturna dobra su duhovne vrednosti,koje predstavljaju identitet naroda kome pripadaju.Ona su nacionalna imovina, koja mora da bude prenetana sledeću generaciju.Sistem nasleivanja značajnihnematerijalnih dobaraTreba napomenuti da je UNESKO 1996. potvrdiojužno-korejski sistem definisanja i zaštite nematerijalnognasleđa kao sistem koji može da posluži kao uzor.Nematerijalna kulturna dobra uče, praktikuju i nasleđujuovlašćeni pojedinci – „čuvari znanja“ i odgovarajućeorganizacije. Oni se ohrabruju i pomažu da nastavesa održavanjem i čuvanjem tradicionalne kulture.Da bi aktivnosti koje se odnose na sistem nematerijalnihkulturnih dobara bile stabilne i sistematske, korejskisistem sugeriše da je potrebno održavati konzistentnuproceduru nasleđivanja veštine, u kojoj učestvuju„čuvari znanja“, učesnici kurseva obuke i studenti,kao i lica sa akademskim titulama. Osnovni zadatak„čuvara znanja“ predstavlja širenje kulture i da omogućeda ih sledeće generacije naslede. Intangible cultural heritage includes: sounds values traditions languages oral history folklore and mythology knowledge and practice concerning nature andthe universe creativity adaptability human diversityAll these contents are expressed through traditionalproducts: music drama and poetry folklore customs rituals religious events martial art storytelling performing arts traditional skills, crafts and know-how culinary traditions and food preparation clothes and body coverings habitats – living spaces gesture, movementetc.Intangible property is of great historic, academicand artistic value and it represents local characteristicsin particular.“Intangible” in this case denotes artistic activity orknow-how that have no physical form. They are definedas cultural property when they are realised by authorisedindividuals (called :holders”) or relevant organisationshaving artistic and technical capacities.Protection and development of intangiblecultural propertyIntangible cultural assets are spiritual values representingidentity of a nation they belong to. They are111

Preporučuje se uspostavljanje edukativnih centaraza kulturno nasleđe, kako bi se ljudi lakše upoznali sanematerijalnim kulturnim dobrima. Posebnu pomoćodraslima, u upoznavanju tradicionalne kulture,predstavljaju turističke ture, koje organizuju lokalneuprave. Pri tome određenu korisnu ulogu imaju suveniri,ali i lokalni folk festivali. Ovi festivali mogu da sekoriste i za kulturni turizam, čime se maksimalizujemogućnost uživanja u lokalnim kulturnim dobrima.Brze promene u načinu življenja, kao i tendencijeglobalizacije postepeno narušavaju, uništavaju kulturnadobra. Muzika i igra, koji su nekada bili javni simbolirafiniranosti, sada su predstave koje se izvode nascenama, zanati koji su bili bitni za život, sada su postalinekorisni, a veštine i folklorne igre, koje su stvaraleatmosfere svečanosti i slavlja zajednice, nestaju jedniza drugima. Danas razne organizacije, škole, društvoi cela nacija, moraju sistematski da sarađuju i na efikasannačin da štite i staraju se o nematerijalnim i materijalnimdobrima, koja sadrže nacionalni duh.Potrebno je usmerenim naporima stvarati usloveda svako može da uživa u tradicionalnoj kulturi.U svakom slučaju, procedura koja obavezuje muzejei odgovorne institucije vlasti, kada je reč o nematerijalnomnasleđu, podrazumeva:Identifikaciju nematerijalnog kulturnog dobraPredloge za označavanje nematerijalnog kulturnogdobraOdređivanje procedure procesa obeležavanja i proglašenjanematerijalnog kulturnog dobraOdređivanje procesa zaštite i konzervacije nematerijalnogkulturnog dobraOdređivanje načina finansiranja nematerijalnogkulturnog dobraNa Konferenciji u Seulu je prezentovan IHOT, novičasopis za nematerijalno nasleđe i usmenu tradiciju.IHOT izdaju Međunarodni institut za nematerijalnonasleđe i usmenu tradiciju i Muzej bajki/priča, u Poljskoj.Obe institucije su uključene u brojne studije u ovojoblasti, u kojoj je učinjen značajan napredak, naročitou korišćenju inovativnih primena novih tehnologijaza medije u sakupljanju, deponovanju, izlaganju i čuvanjumaterijala. IHOT je multidisciplinarna publikacija,national property which must be transmitted to the generationsto come.System of inheriting importantintangible heritageIt should be noted that UNESCO confirmed in 1996the South Korean system of definition and safeguardingintangible heritage as a reference system.Intangible heritage is taught about, practiced andinherited by authorised individuals – holders and relevantorganisations. They are encouraged and supportedin maintaining and safeguarding the traditional culture.In order to make activities related to system ofintangible heritage stable and systematic , the Koreansystem suggests it is necessary to maintain a consistenttransmission procedure of skills with participation ofholders, participants in courses and students as well asscholars. The basic task of holders is to disseminate cultureand enable its transmission to the next generations.It is recommended that cultural heritage educativecentres are established to help people learn about intangiblecultural heritage. A particular help for grown-upsin learning about traditional culture is provided byorganizing tourist tours by local authorities. Souvenirsand local folk festivals can also be of help. These festivalscan be included in cultural tourism programmesthus increasing opportunities to enjoy in local culturalebents and property.Fast changes of the way of living, as well as globalisationtrends gradually damage and destroy culturalproperty. Music and dance, once public symbols ofrefinement, now turned into shows, crafts once essentialfor living became useless and skills and folklore dancesonce part of festivities and festive events in a communitydisappear one after another. Today relevant organisations,schools, society and the entire nation have tosystematically cooperate and effectively safeguard andcare about both the intangible and tangible assetsexpressing the spirit of the nation.It is necessary to make targeted efforts to enable allto freely enjoy in the traditional culture.In any case, procedure binding museums andresponsible authorities when intangible heritage is concernedincludes:- identification of intangible cultural property,- proposals for designation of intangible culturalproperty,- establishing procedures for the process of safeguardingand conservation of intangible heritage,112

koja treba da obezbedi jednu vrstu foruma za razmenunajnovijih teorijskih i empirijskih istraživanja, ideja imetodologije, posvećenih analitičkim studijama, čuvanjui popularizaciji nematerijalnog nasleđa i usmenetradicije.Časopis želi da privuče pažnju akademskih stručnjaka,koji su već našli svoje mesto u ovoj oblasti, ali imladih istraživača, koji će doneti nove i izazovne ideje,i koji će postati njegovi čitaoci i saradnici.Na kraju, posle višegodišnje diskusije u muzejskojsvetskoj mreži, o civilizatorskom značaju nematerijalnogkulturnog nasleđa, a u skladu sa razvojem društveneuloge muzeja, 21. Generalna Konferencija i 20. GeneralnaSkupština IKOM-a preporučuju muzejima, iodgovornim institucijama društva i vlasti da se nematerijalnonasleđe uključi u definiciju i sadržaje muzeja. Utom smislu, dalje se preporučuje da se za to odredesmernice i metodologija profesionalnog muzejskog razvoja:Odrediti definiciju i sadržaj nematerijalnog nasleđau skladu sa lokalnim i nacionalnim tradicijama i prilikama;Odrediti značaj nematerijalnog nasleđa u lokalnoj iregionalnoj zajednici, kao i u odnosu na društva u svetu;Odrediti znanje i kompetencije, neophodne za rad sanematerijalnim nasleđem;Dopuniti edukativne programe u osnovnom i univerzitetskomobrazovanju sa nematerijalnom baštinom;Dopunititi i aktuelizovani sadašnje programe muzeološkogobrazovanja sa nematerijalnom baštinomOdrediti kao potrebu da muzeji utvrde načine na kojetreba raditi sa materijalnim i nematerijalnim nasleđem;Odrediti u muzeju i društvu metodologiju istraživanja,zaštite i prezentacije nematerijalne baštine;Identifikovati druge institucije, koje su zainteresovaneza nematerijalno nasleđe.Prateće aktivnostiKao sastavni deo rada mećunarodnih komitetaIKOM-a i razrade osnovne teme Konferenacija „Muzejii nematerijalno nasleđe“, organizovan je veliki broj različitihmanifestacija u Seulu i unutrašnjosti zemlje.Imali smo priliku da se upoznamo sa festivalskim manifestacijamaposvećenim prezentaciji i zaštiti nematerijalnebaštine u Južnoj Koreji, i drugim zemljama Dalekogistoka.Posetili smo i etno sela, koncipirana na primeni različitihsistema integrisane zaštite baštine. Pada u očiizuzetno velika poseta i interesovanje svih slojeva javnosti,za sva mesta sa sadržajima tradicionalne, ali imoderne baštine. Ono što je evidentno i što smo posebnouočili, to je ogroman broj školske dece koja dolazi organizovanoi sistematski, i koje smo susretali prilikomsvih poseta spomenicima kulture ili drugim manifestacijamabaštine.Potrebno je naglasiti, da smo se u Južnoj Korejisusreli sa velikim brojem materijalnog i nematerijalnognasleđa, koje je stavljeno pod zaštitu UNES-KO-a. Vidljiva je strateška, sistematska i efikasnabriga, odgovornih stručnih institucija i celog društvana negovanju i očuvanju baštine u Južnoj Koreji. Uspehove organizovane brige korejskog društva potvrđujese, između ostalog, i impresivnom listom kulturnihdobara koja se nalazi na UNESKO-ovoj Svetskojlisti kulturne baštine.Imali smo prilike da posetimo veći broj muzeja, u- defining fund raising methods for intangible heritage.During the Seoul Conference the new magazine forintangible heritage and oral tradition IHOT was presented.IHOT is being published by the InternationalInstitute of Intangible Heritage and Oral andStoryteller Museum in Poland. Both institutions participatein various studies in the field and have made a significantprogress particularly when innovativeapproach to collecting, storing, exhibiting and safeguardingthe material is concerned by applying newachievements of digital technology. IHOT is a multidisciplinarypublication intended to provide a forum forthe exchange of up-to-date theoretical and empiricalresearch, ideas and methodology, devoted to analyticalstudy, preservation and popularisation of intangibleheritage and oral tradition.The journal would like to attract attention of scholarswho have already been established in the field as wellas that of young researchers with innovative and challengingideas, both as target readers and contributors.Finally, pursuant to years-long discussions in worldmuseum network about the civilisational significance ofthe intangible cultural heritage and in compliance withthe development of the social role of museums, the 21stICOM General Conference and 20th ICOM GeneralAssembly recommended that museums and responsiblesocial institutions and authorities included intangibleheritage into the definition and mission of museum. Tothis end guidelines and methodology of professionaldevelopment of museums were also recommended:To establish definition and contents of intangibleheritage in compliance with local and national traditionsand circumstances;To define the importance of intangible heritage forlocal and regional community and in relation to theworld society;To define knowledge and competence required forworking with intangible heritage;To enrich the educative programmes in the primaryand university education with intangible heritage;To complete and update the current programmes inmuseum training with intangible heritage;To stress the need for museums to establish methodsfor work with tangible and intangible heritage;To establish in the society and in museums methodologyrequired for research, protection and presentationof intangible heritage;To identify other institutions having interest inintangible heritage.Other activitiesMany events in Seoul and in other places were partof the activities of the international ICOM committeesand of the basic Conference theme “Museums andIntangible Heritage” discussions. We had the chance toattend festival events covering heritage presentationand conservation methods in South Korea and other FarEast countries.Visits to heritage sites illustrated the application ofvarious systems of integrated protection of heritage.Noteworthy was the number of visitors and great interestof all society layers for sites and spaces having contentsof the traditional as well as of contenporary heritage.Particularly notable was the great number ofschoolchildren visiting these spaces in an organised andsystematic manner.We saw them at every event and visitto cultural monuments.It should be also mentioned that in the Republic ofKorea numerous items of tangible and intangible heritageare under UNESCO protection. Strategic, system-113

starim tradicionalnim zdanjima, ali i u novim zgradama,specijalno pravljenim za muzejske potrebe. Uočilismo snažnu tendenciju u južnokorejskoj muzeologijida je primerenije, lakše i jeftinije organizovati muzejeu novim zgradama, nego u istorijskim zdanjima. A sdruge strane, postoji izrazita težnja, kod profesionalacai u javnosti, da se istorijska zdanja u kojima su sedo sada nalazili muzeji, sačuvaju sa njihovim izvornimintegritetom, kao posebna kulturna dobra - kao spomencikulture.Između ostalog, upoznali smo sa starim i novimNarodnim muzejem u Seulu. Nova zgrada Narodnogmuzeja je završena i nalazi se na periferiji Seula, a zvaničnotreba da bude otvorena krajem 2005. godine. Muzejskazgrada u širokom potezu i potpuno integrisanohvata okolinu i kompletne sadržaja okruženja, čiji radovisu upravo u toku. Za nas je posebno bilo važno davidimo novu Konzervatorsku laboratoriju, koja većfunkcioniše u novoj zgradi Narodnog muzeja. Ova Laboratorijaje programski formirana kao centralni sistemzaštite muzejskih predmeta u Južnoj Koreji, kaocentar teorijske i praktične primene savremene metodologijeistraživačkog i edukativnog rada i zaštite kulturnihdobara.Usvojene rezolucije21. Generalna Skupština IKOM-a 8. oktobra 2004.u Seulu, prezentovala je učesnicima predlog 5 strateškihrezolucija, koje bi trebalo da obavezuju međunarodnumrežu muzeja i muzejske profesionalce u radu.Rezolucija broj 1Imajući u vidu neosporni značaj nematerijalnognasleđa i njegove uloge u očuvanju kulturne raznolikosti,21. generalna Skupština IKOM-a, održana 8. oktobra2004. u Seulu,Podržava UNESKO-vu Konvenciju o zaštiti nematerijalnogkulturnog nasleđa iz 2003.Poziva sve vlade da ratifikuju ovu Konvenciju;Ohrabruje sve zemlje, a posebno zemlje u razvoju,koje imaju snažnu usmenu tradiciju, da ustanove Fondza promociju nematerijalnog nasleđa;Poziva sve one muzeje koji su angažovani na prikupljnjanju,očuvanju i promociji nematerijalnog nasleđa,da posebnu pažnju usmere na zaštitu svih zapisakoji nisu trajni, pre svega elektronskih dokumenata.Podstiče nacionalne i lokalne vlasti da usvoje i efikasnoprimenjuju odgovarajuće lokalne zakone i propiseza zaštitu nematerijalnog nasleđa;Podstiče regionalne organizacije, nacionalne komitetei druga tela IKOM-a da tesno sarađuju sa lokalnimagencijama, u razvoju i primeni takvih pravnih instrumenatai u neophodnom obučavanju kadrova nadležnihza efikasnu primenu;Predlaže da muzeji obrate posebnu pažnju i da seodupru svim pokušajima neadekvatnog korišećenja nematerijalnognasleđa i posebno njegove komercijalizacije.Preporučuje da svi programi obuke za muzejskeprofesionalce ukazuju na značaj nematerijalnog nasleđai uključuju poznavanje nematerijalnog nasleđa, kaouslova za kvalifikaciju;Preporučuje da izvršni savet u saradnji sa Međunarodnimkomitetom za obuku kadrova (IKTOP) što preizvrši neophodna prilagođavanja IKOM-ovih Smernicaza obrazovne programe za muzejske profesionalce(1981, najnovija revizija 1999.)Odlučuje da se ubuduće ova Rezolucija naziva „Se-114atic and effective care of institutions in charge and thesociety as such about safeguarding and enhancing theirheritage is visible everywhere.The success of this organisedcare is proved also by the impressive list of culturalproperty on the UNESCO World Heritage List.Participants paid visits to numerous museumsplaced in old traditionally built facilities but also in anewly built ones designed for museum needs. There is astrong orientation in South Korean museology to organisemuseums in new buildings as being more appropriate,easy and less costly. On the other hand historicbuilding, that used to host museums, are nowadays kepttogether with their original integrity as specific culturalproperty – as monuments of culture.We also visited both the old and new NationalMuseum in Seoul. The new building has been built atthe outskirts of the city and its official opening isexpected by the end of 2005. The museum buildingenters broadly and in a fully integrated way the environmentand the contents thereof presently under construction.The visit to the new Conservation Laboratoryalready in operation in the new building of the NationalMuseum was of particular importance for us. The laboratoryis conceived as the central system for conservationof museum objects in South Korea, as a centre oftheoretical and practical implementation of modernmethodology of research and education and safeguardingof cultural property.Resolutions adoptedThere were 5 strategic resolutions submitted to the20th ICOM General Assembly on October 8, 2004 in Seoulwhich were to oblige the international museum networkand museum professionals worldwide in their work.Resolution No. 1Considering the undeniable importance of intangibleheritage and its role in the preservation of culturaldiversity,The 21st General AssemblyEndorses the 2003 UNESCO Convention on theProtection of Intangible Cultural Heritage;Urges all governments to ratify this Convention;Encourages all countries, and especially developingcountries where there is a strong oral tradition, toestablish an Intangible Heritage Promotion Fund;Invites all relevant museums involved in the collection,preservation and promotion of the intangible heritageto give particular attention to the conservationof all perishable records, notably electronic and documentaryheritage resources;Urges national and local authorities to adopt andeffectively implement appropriate local laws and regulationsfor the protection of intangible heritage;Recommends that museums give particular attentionand resist any attempt to misuse intangible heritageresources and particularly their commercializationwithout benefits to the primary custodians;Urges regional Organisations, National Committeesand other ICOM bodies to work closely with local agenciesin the development and the implementation of suchlegal instruments and in the necessary training of staffresponsible for effective implementation;Recommends that all training programmes formuseum professionals stress the importance of intangibleheritage and include the understanding of intangibleheritage as a requirement for qualification;Recommends that the Executive Council, workingwith the International Committee for the Training ofPersonnel (ICTOP), introduce the necessary adjustments

ulska Deklaracija IKOM-a o nematerijalnom nasleđu“.Rezolucija broj 2Imajući u vidu ranije Rezolucije IKOM-a (1986,1989, 2001.) i preporuku E2 (5) Radne grupe za upotrebujezika od 9. februara 2004, kojim se objašnjava da«kada se radi o Generalnoj skupštini i plenarnim sednicamaGeneralne Konferencije, bilo bi poželjno koristitijezik(e) zemlje domaćina, pored zvaničnih jezikaIKOM-a»,Generalna Skupština IKOM-a održana u Seulu, Koreja,8. oktobra 2004:Potvrđuje odluku Barselone 2001. da se usvoji španski(kastiljanski) kao treći zvanični jezik IKOM-a, iUsvaja preporuku E 2(5) iz Izveštaja IKOM-oveRadne grupe za korišćenje jezika od 9. februara 2004.Rezolucija broj 321. Generalna skupština IKOMa održana u Seulu2004.Podstiče IKOM da arapski svet tretira kao prioritetniregion u svom programu;Podstiče IKOM da u arapskom svetu realizuje obrazovneaktivnosti za muzejske profesionalce, obezbeđujućisvu neophodnu podršku;Poziva međunarodne komitete da izraze svoju solidarnostsa arapskim muzejima, u naporima da steknuda priznanje svoje uloge i da poboljšaju sliku o sebi.Rezolucija broj 4Zaštita kulturnog nasleđa za vreme i posle oružanihsukoba.Imajući u vidu da je Rezolucijom broj 2 usvojenomna 18. Generalnoj Skupštini IKOM-a, održanoj u Stavangeru,Norveška, 7. jula 1995, osuđeno namerno uništavanjekulturnog nasleđa tokom oružanih sukoba;Imajući u vidu da je materijalno i nematerijalnonasleđe bitan deo kulturnog identiteta;Prepoznajući osetljivost- ranjivost ovog nasleđa inašu moralnu obavezu da omogućimo sadašnjoj i budućimgeneracijama da ono bude dostupno;21. Generalna skupština IKOM-a na sastanku u Seulu,8. oktobra 2004.Naglašava neophodnost da sve vlade ratifikuju HaškuKonvenciju, iz 1954. godine, o zaštiti kulturnih dobarau slučaju oružanog sukoba.Poziva IKOM, vlade i nadležne međunarodne organizacijeda obezbede tehničku i finansijsku podrškuzemljama u kojima je došlo do oružanog sukoba, i daim pomognu u dokumentovanju i popisivanju njihovogkulturnog nasleđa posle sukoba.Žali i osuđuje pljačku i vandalizme prema Nacionalnommuzeju u Bagdadu nakon invazije na tu zemlju.Poziva međunarodnu muzejsku zajednicu da razradimere zaštite i obezbedi svu neophodnu pomoć radirekonstrukcije Muzeja, restituciju izgubljenih zbirki izaštitu i dokumentovanje preostalih zborki.Rezolucija broj 5Autonomija muzejaOcenjujući da je Rezolucija br. 2, usvojena na 20. Generalnojskupštini IKOM-a u Barseloni, Španija, 6. jula2001, o autonomiji muzeja dobro zasnovana;21. Generalna skupština IKOM-a, održana u Seulu,Koreja, 8. oktobra 2004. potvrđuje zahteve te rezolucije,kako bi se omogućilo da muzeji steknu veću finansijskui poslovnu autonomiju.as soon as possible into the ICOM Curricula Guidelinesfor Museum Professional Development (1971, latestrevision 1999);10. Decides that this Resolution shall henceforth beknown as the “Seoul Declaration of ICOM on theIntangible Heritage”.Resolution no. 2Considering earlier resolutions of ICOM (1986, 1989and 2001) and the adoption of the recommendation E ofthe report of the Working Group on the Use ofLanguages, dated 9 February 2004, specifying that “inthe case of the General Assembly and plenary sessionsof the General Conference it would be desirable to usethe language(s) of the host country in addition to theofficial languages” of ICOM,Reinforces the Barcelona 2001 decision to adoptSpanish (Castilian) as the third official language ofICOM, andAdopts entirely the Recommendation E of the Reportof the ICOM Working Group on the Use of Languages.Resolution no. 3Urges ICOM to consider the Arab region as a priorityregion in its programme;Urges ICOM to carry out in the Arab region trainingactivities for museum professionals, providing all necessarysupport;Invites International Committees to demonstratetheir solidarity with Arab museums in efforts to gainrecognition of their role and importance in the promotionof cross-cultural understanding and cultural diversityof the world.Resolution no. 4Whereas Resolution No. 2 of the 18th GeneralAssembly of ICOM, held in Stavanger, Norway, on 7 July1995, condemned the deliberate destruction of culturalheritage during armed conflicts; Whereas the tangibleand intangible heritage is a crucial part of the culturalidentity;Recognizing the vulnerability of this heritage andour moral duty to ensure that present and future generationshave access to it;Emphasizes the necessity for all governments to ratifythe Hague Convention of 1954 on the protection ofcultural property in the event of armed conflict and itssubsequent Protocols;Calls upon ICOM, governments, the InternationalCommittee of the Blue Shield (ICBS) and other concernedinternational organisations to provide technicaland financial support to countries that have sufferedarmed conflict, to help them to document and list theircultural heritage after a conflict;Regrets and condemns the plunder and vandalismsuffered by all institutions responsible for the culturalheritage in their country, like in the recent past in Iraqbut unfortunately in other countries as well;Calls upon the international museum community todevelop protective measures and provide all necessaryassistance for the reconstruction of museums, libraries,monuments and sites, the restitution of lost collectionsand the conservation and documentation of the remainingcollections.Resolution no. 5Recognizing that Resolution No. 2 of the 20[“General Assembly of ICOM, held in Barcelona, Spain, on6 July 2001, on museum autonomy is well founded;Reaffirms the terms of that Resolution, in order toensure that museums achieve greater financial andoperational autonomy.

Vesna Bižić-Omčikus, kustosEtnografski muzej u BeograduNematerijalna kulturnabaština i muzejiOd stvaranja prvih javnih muzeja u Evropi, krajemXVIII veka, nacionalne kolekcije su smatrane izvoromobrazovanja i kulturnog obogaćivanja javnosti. Osnovniprincipi muzejske delatnosti bili su: skupljanje,dokumentovanje, konzerviranje, publikovanje i izlaganjepredmeta. Tokom decenija XX veka muzeji su ostaliujedinjeni oko koncepta privlačnosti, kreativnosti i progresa.Na početku trećeg milenijuma muzeji dobijaju drukčijuulogu od one u prošlosti. Danas su muzeji živa snaga,ali i kreatori evropske kulturne politike. Više negoikad, evropsko jedinstvo teži zbližavanju. Nacionalnevlade odavno imaju sličnu politiku po pitanju baštine.Zasnovani na društvenom i intelektualnom razvitku,muzeji Evrope takođe dele zajedničku filozofiju i praksu.“Muzeji su tu da nam osiguraju stvaralačku prisutnostkolektivnog pamćenja – da nam pomognu živjetidalje s vlastitim identitetom po kojemu smo jednaki svima,ali i različiti od drugih. Kao takvi, oni su neprestanopromišljanje prošlih zbivanja i iskustava, pa stogapredstavljaju i moguće korektive sadašnjosti i upotrebljiveprojekcije budućnosti. Muzeji pridonose samospoznavanjui djelotvorno su sredstvo preko kojeg upoznajemosvijet oko sebe u njegovoj prostornoj i vremenskojdimenziji. U tom smislu muzeji su pokretačka sila svakogdruštva ili bismo takve rado imali. Bez takvih isrodnih institucija bili bismo izloženi gubitku živih silaidentiteta koje oblikuju vlastiti proces te daju razloge iomogućuju kvalitetan, odnosno održiv razvoj. Odsustvomuzeja i baštinskih institucija kao djelatne kolektivnememorije, dovelo bi do gubitka identiteta sa svim kobnimposljedicama koje vode u dekadenciju i nestanak.” 1Na kraju XX veka evropski muzeji su počeli da radepod novim imperativima. Zahtevi koji se postavljaju muzejimasu upoznavanje potreba posetilaca istraživanjemnjihovog mišljenja i, u odnosu na to, donošenje odlukaprilikom kreiranja programa rada u muzejima. Muzeji sebave svim članovima zajednice. Uvećanje broja posetilacai njihove različite kulturne perspektive predstavljajupromenu i proširenje koncepta nasleđa. Treba imati u vidui nove načine informisanja. Starim funkcijama muzeja:istraživanje, skupljanje, konzerviranje i izlaganje trebadodati i ove nove zahteve, a pre svega brigu o posetiocu,i to obećava uspeh muzeja u budućnosti 2 .Promenjena uloga muzeja ogleda se i u tome što, odstubova nasleđa, nacionalnog ponosa, zbirki retkosti,kuća čuda i tvrđava nedodirljivog, postaju mesta zabavei obrazovanja, (školska deca u većini muzeja aktivnoučestvuju u mnogim delatnostima muzeja), s izraženomsociološkom funkcijom (napuštena i problematična decase dovode u muzeje na obuku i rehabilitaciju), ali ipolitičkom 3 . Savremeni muzej time pokazuje i humanustranu svoje delatnosti. 4 Budućnost muzeja je u zrelom1 Tomislav Šola, Eseji o muzejima i njihovoj teoriji, Premakibernetičkom muzeju, Hrvatski nacionalni komitet ICOM, Zagreb2003, 18.2 Keneth C. Gorbey, What Constitutes Success? Museum 2000Confirmation or Challenge, Stockholm 2002, 132-137.3 U nedavnim pretnjama ratom između afričkih naroda,Nacionalni muzej Kenije pripremio je anti ratni program kojim jeuspeo da zaustavi etničke sukobe.4 George H.O. Abungu, Opening up New Frontiers: Museums ofthe 21st Century, Museum 2000 Confirmation or Challenge,Stockholm 2002, 37-43.116Vesna Bižić-Omčikus, CuratorMuseum of Ethnography, BelgradeIntangible culturalheritage and museumsSince the establishment of the first public museumsin Europe, by the end of the18 th century, national collectionswere considered source of education and culturalenrichment of public. Basic principles of museumpractice were: collecting, documenting, conserving, publishingand exhibiting an object. During the decades ofthe 20 th century, museums stayed joined in the conceptof attraction, creativity and progress.At the beginning of the third millennium, museumsget another role different from the ones from the past.Museums today are living force and also creators of Europeancultural strategy. More than ever before, Europeanunity has a tendency towards closeness. National governmentshave similar strategies concerning heritage.As the social and intellectual progress is essential totheir existence, museums also share mutual philosophyand practices.“Museums are made to ensure creative presence of collectivememory – to help our living with our own identitywhich makes us equal to others, but different from everyoneelse. Museums, as such, are ongoing reconsiderationof previous events and experiences, therefore mightrepresent possible corrections of present as well as usefulreflections on future. Museums help build self-consciousnessand are also a medium to acknowledge the world inits space and time dimension. In that sense museums areinitial power of every society and we would be glad to havesuch in ours. Without such and akin institutions wewould be exposed to loss of living identity forces whichshape their own process and therefore provide reasonsand give qualitative or steady development. Absence ofmuseums and heritage institutions as living collectivememory might direct to loss of identity with all of the fataleffects leading to decadency and disappearance.” 1By the end of the 20 th century museums started workingin accordance with new imperatives. Requests madeto the museum are to meet visitors’ needs by surveyingtheir opinion and to determine museum working policyaccordingly. Museums deal with all of the socialcommunity members. Increasing number of visitors andtheir different cultural perspectives represent heritageconcept change and enlargement. Latest informationmedia effect should be kept in mind, too. In addition toprevious museum functions which are exploring, collecting,conserving and exhibiting, new requirements appeared- care about the visitor before others which promisessuccess of the museum in future. 2Transformed role of museum reflects on its pathfrom pillar of heritage, national proud, collection of rarities,house of wonders and fortress of untouchable tothe place for entertainment and learning (schoolchildrentake active part in numerous museum activities)with prominent social function (abandoned and childrenwith behavior problems come to the museum totraining and healing treatment) and also political function.3 Contemporary museum shows its human side1 Tomislav Šola, Eseji o muzejima i njihovoj teoriji, Premakibernetičkom muzeju, Hrvatski nacionalni komitet ICOM, Zagreb2003,182 Keneth C. Gorbey, What Constitutes Success? Museum 2000Confirmation or Challenge, Stockholm 2002, 132-1373 In recent threats of war among African peoples, NationalMuseum of Kenya prepared anti-war programme and managed tostop ethnic conflict.

i promišljenom pridobijanju publike. To nisu samo stalnii verni posetioci muzeja, već oni koji to tek treba dapostanu.Delatnost koju muzeji već sprovode, i koja je u neposrednojvezi sa novim zahtevima muzejske prakse, jezaštita nematerijalne kulturne baštine.Nacionalni muzej Filipina je pionirski započeo integrativnuzaštitu materijalne i nematerijalne baštine, dabi sačuvao Hadhad pevanje Ifugao naroda. Pod njegovimpokroviteljstvom se održavaju domorodački festivalii podučavanje mladih ljudi ovom pevanju preko publikacija,priručnika, audio i video materijala. 5Kustosi Britanskog muzeja već petnaest godina radesa Kulturnim centrom Vanuatu u Južnom Pacifiku, a njihovrad sa lokalnom zajednicom predstavlja inspirativniprimer spasavanja nematerijalnog blaga. 6Vijetnamski muzej etnologije, od osnivanja (1997.godine) ima za cilj da prikaže nematerijalnu kulturnubaštinu unutar muzeja. Tradicionalne veštine, usmenatradicija i društvena praksa prikazuju se kroz demonstriranjezanata, narodne predstave, izložbe i projekte;2001. su pozvali zanatlije iz jednog sela da bi u Muzejuizrađivali dečje igračke. Bilo je mnogo zainteresovanihza savladađivanje ovog zanata, a među njima naročitodece. 7Muzej civilizacije u Kvebeku je od 1988. godine, kadaje i osnovan, u centar svog rada postavio društvenudimenziju ljudskog postojanja, pa su i predmeti na izložbamakorišćeni samo kao ilustracija društvenog životarazličitih zajednica. U sve akcije Muzeja uključenoje građanstvo i posle sprovedenih anketa, na osnovu odgovoragrađana, iskristalisao se važeći stav Muzeja da jenasleđe tesno povezano s identitetom, ali da identitetnije određen samo fizičkim predmetima. 8Prirodnjački muzej u Nju Delhiju i Zoološki vrt LorensDarel u Belizeu, u jezgru svog rada imaju udruženaznanja lokalnog stanovništva i naučnih rezultata u prirodnomokruženju.Veliki je broj ovakvih primera u svetu. Kustosi muzeja,a naročito etnografskih, uvideli su, kroz praksu, dapredmet donet u muzej gubi svojstva i značaj koji jeimao u sredini iz koje je istrgnut. Zbog toga pokušavajuda mu “vrate dušu”, stvarajući mu makar i veštački ambijent.Smeštajući muzejski predmet u društveni i istorijskikontekst, kustosi spasavaju i neopipljive elementenarodne kulture.Prema tome, može se zaključiti da su najveće promenekoje su se dogodile u muzejskoj praksi na kraju XXveka i na početku novog milenijuma, isticanje važnostimuzejskog posetioca na račun muzejskog predmeta idovođenje u vezu muzejskog predmeta sa kompletnimokruženjem u kome je nastao (prirodnim, društvenim,religijskim, itd). Nije toliko važno koliko se predmetanalazi u muzeju, već šta će se s njima učiniti, pošto muzejiviše nisu “kuće predmeta, već kuće ideja”. 95 Joseph O’Reilly, Abstract art, Museums Journal, London,March 20046 Isto.7 Nguyen Van Huy, Intangible Cultural Heritage at the VietnamMuseum of Ethnology, ICOM NEWS no 4,Paris 2003.8 Yves Bergeron, Intangible Heritage at the Musée de la civilisationof Quebec, ICOM NEWS no 4, Paris 2003.9 Tomislav Šola, Marketing u muzejima ili o vrlini i kako je obznaniti,Zagreb 2001, Beograd, Clio, 2002.NEMATERIJALNA KULTURNA BAŠTINA i UNESCOImajući u vidu novine u načinu rada muzejskih institucijai različite programe čija je suština postala zaštitanematerijalnog nasleđa, UNESCO je dao objašnjenjepojma nematerijalna kulturna baština: “Nematerijalnakulturna baština je praksa, prezentacija, izražavathroughthose activities. 4 Future of the museum lies inmature and reconsidered gaining public appreciation. Itdoes not mean to rely on regular and loyal visitors butto those who are to become ones.Action which is already taken by museums and isclosely related to the new tasks of museum practice isprotection of intangible cultural heritage.As a pioneer in this field, National Museum of thePhilippines started with integrated protection of bothtangible and intangible heritage in order to safeguardHadhad singing of Ifugao people. This museum alsosupports native festivities and education of young peoplein this way of singing through publication, manuals,audio and video material. 5For the last fifteen years, curators of the British Museumhave been working in the Cultural Centre Vanuatuin South Pacific.Their cooperation with local communityis an inspiring example of safeguarding intangibletreasures. 6Since the opening of the Vietnam Museum of Ethnologyin 1997, its goal has been to present intangible culturalheritage within the museum setting. Traditionalskills, oral traditions and social practices have been presentedwith craft demonstrations, folk performances,exhibitions and various projects. In 2001, for example,craftsmen from particular village were invited to demonstratetoy-making in the museum. As a result, manyvisitors, including children, came to the museum to learnhow to make toys. 7Musee de la Civilization of Quebec, since it openedin 1988, has focused on the social dimension of humanexistence. Therefore, exhibited objects serve to illustratesocial life of diverse communities. Museum activitiesalways include public opinion. After a public opinionpoll about heritage, it became clear that heritage is closelylinked with identity but identity is not defined onlythrough physical objects – which proved right throughthe museum concept already. 8The National Natural History Museum in New Delhiand the Lawrence Durrell Zoo in Belize both integratelocal knowledge and perceptions of science and theenvironment into their core activities.There are numerous examples of this kind in theworld. Museum curators, especially ones in ethnographiccollections, realized through their practice that an objectbrought to museum loses its character and significance itused to have in the original environment. For this reason,curators are trying to ‘bring its soul back’ by creating atleast an artificial environment. While locating museumobject into social and historical context, curators are rescuingintangible elements of folk culture.Therefore, we could conclude that the biggest changesin museum practice at the end of the 20 th centuryand the beginning of the new millennium are emphasizingthe visitor before the object and connecting museumobject with environment of its origin (natural, social,religious etc.). The number of objects in the museumcollection is less important than their use, as museumscease to be “the houses of objects but (become) thehouses of ideas”. 94 George H.O. Abungu, Opening up New Frontiers: Museums ofthe 21st Century, Museum 2000 Confirmation or Challenge,Stockholm 2002, 37-435 Joseph O’Reilly, Abstract Art, Museums Journal, London,March 20046 As above7 Nguyen Van Huy, Intangible Cultural Heritage at the VietnamMuseum of Ethnology, ICOM News no 4, Paris 20038Yves Bergeron, Intangible Heritage at the Musee de la civilizationof Quebec, ICOM News no 4, Paris 20039 Tomislav Šola, Marketing u muzejima ili o vrlini i kako je obznaniti,Zagreb 2001, Beograd, Clio, 2002117

Nematerijalna baštinaPrema najsavremenijoj definiciji nematerijalnebaštine to su:procesi koje su ljudi usvojili sa znanjem, veštinamai kreativnošću koje ih informišu i koje su oni samirazvili, proizvodi koje ljudi stvaraju, kao i resursi,prostori i drugi aspekti društvenog i prirodnogkonteksta koji su neophodni sa njihovu održivost; oviprocesi daju ljudskim zajednicama osećaj kontinuitetasa prethodnim zajednicama i bitni su za kulturniidentitet kao i za očuvanje kulturne raznovrsnostii ljudske kreativnosti.Oblici nematerijalne baštine uključuju , izmedjuostalog, i jezike, usmenu tradiciju, običaje, muziku,igru, rituale, festivale, narodnu medicinu, pripremu iprezentaciju hrane, zanate i veštinu arhitekture. Rezultatenematerijalne kulturne baštine možemo videti,dodirnutili ili čuti, ali veštine i tehnike kao isam čin stvaranja nemaju materijalni oblik. Veštine itehnike su, prema tome, nematerijalne.Sistemi živih riznicaŽivu riznicu čine osobe koje u najvećoj mogućojmeri poseduju veštine i tehnike neophodne za stvaranjeodabranih aspekata kulturnog života ljudi i zanastavak postojanja njihove materijalne kulturnebaštine.….Očuvanje nematerijalne kulturne baštine podrazumevaidentifikaciju, konzervaciju, širenje, zaštitu,promociju i prenošenje veština i tehnika koje su neophodneza stvaranje. Ovo podrazumeva i posebnapriznanja i podršku ljudima koji, kao žive riznice,poseduju takve veštine i tehnike u najvećoj meri.Očuvanje se može postići samo kroz odgovarajućupolitiku praćenu zakonskim rešenjima.….Osnovnu svrhu sistema živih riznica čini očuvanjeveština i znanja neophodnih za realizaciju onihkulturnih manifestacija za koje su odgovarajuće nacionalneorganizacije u zemljama članicama UNES-KO-a utvrdile da imaju veliku istorijsku ili umetničkuvrednost.Sistem treba da nagradi ljude koji poseduju veštinei znanja neophodne za identifikovane kulturnemanifestacije kako bi ih ohrabrio da:- nastave svoj kreatnivni rad;- gdegod je poželjno, razvijaju i šire granice svograda;- istovremeno, u svim situacijama, podučavajumladje kako bi oni preuzeli njihovu ulogu kadaza to dodje vreme.Sistem treba da ohranri i mladje ljude da se posvetesavladavanju veština i tehnika neophodnih zaidentifikovane kulturne manifestacije ukazujući namoguća buduća priznanja i podršku, nacionalni imedjnarodni ugled koji mogu steći ukoliko dostignupotrebni kvalitet u radu.(Dokument UNESKO-a i Korejske Nacionalnekomisije za UNESKO “Smernice sa stvaranje sistemaživih riznica”, 2004)….U tekstovima koji se odnose na očuvanje nematerijalnebaštine u engleskom se ravnopravno koristetri termina da označe osobe koje spadaju u sistem živeriznice. Sva tri termina se mogu prevesti na srpskikao “čuvari” ili “čuvari znanja”.118INTANGIBLE CULTURAL HERITAGE and UNESCOBearing in mind that it is new concept in the waymuseum institutions function and diversity of programmesbased on safeguarding of intangible heritage,UNESCO explained the notion ’intangible cultural heritage’:“Intangible cultural heritage is defined as thepractices, representations, expressions as well as knowledgeand skills that communities, groups and, in somecases, individuals recognize as part of their culturalheritage. Intangible cultural heritage, which is sometimescalled ‘living cultural heritage’, is manifested in thefollowing domains:- oral tradition and heritage;- performing arts;- social practices, rituals and festive events;- knowledge and practices concerning nature andthe universe;- traditional craftsmanship;Transmitted from generation to generation, constantlyrecreated by social communities and groups in responseto their environment, as their interaction with natureand historical conditions of existence, intangiblecultural heritage provides people with a sense of identityand continuity. Significance of intangible culturalheritage lies in its promoting, sustaining and developingof cultural diversity and human creativity.” 10‘Masterpieces of Oral and Intangible Heritage ofHumanity’ is a title UNESCO granted on 18 th of May2001, for the first time, to 19 outstanding cultural spacesand expressions from different parts of the world.Selection criteria were as follows:- outstanding value,- evident roots in the cultural tradition,- affirmation of the cultural identity,- being source of inspiration for intercultural exchange,- contemporary social and cultural role,- proved excellence in the application of the skill,- affirmation as unique testimony of living culturaltraditions,- being at risk of disappearance.Proclaimed masterpieces are:- The Garifuna Language, Dance and Music – Belize- The Oral Heritage of Gelede – Benin- The Oruro Carnival – Bolivia- Kunqu Opera – China- The Gbofe of Afounkaha: the Music of the TransverseTrumpets of the Tagbana Community – Coted’Ivoire- The Cultural Space of the Brotherhood of the HolySpirit of the Congos of Villa Mella – Dominican Republic- The Oral Heritage and Cultural Manifestations ofthe Zapara People – Ecuador and Peru- Georgian Polyphonic Singing – Georgia- The Cultural Space of Sosso-Bala in Nyagassola –Guinea- Kutiyattam, Sanscrit Theatre – India- Opera dei Puppi, Sicilian Puppet Theatre – Italy- Nogaku Theatre – Japan- Cross Crafting and its Symbolism in Lithuania –Lithuania- The Cultural Space of Jemaa el-Fna Square – Morocco- Hudhud Chants of the Ifugao – Philippines10 Convention adopted on 32nd session of The UNESCOGeneral Conference in September 2003 in Paris

nje, kao i udružena znanja i neophodne veštine, koje zajednice,grupe i u nekim slučajevima pojedinci prepoznajukao deo svoje kulturne baštine. Nematerijalna kulturnabaština, koja se ponekad naziva i živa kulturnabaština, manifestuje se, između ostalog, u sledećimoblastima:- usmena tradicija i jezik;- scenska umetnost;- društvena praksa, rituali i praznici;- znanje i primena znanja o prirodi i univerzumu;- tradicionalna umetnost.Prenošena s generacije na generaciju, konstantnoobnavljana u društvenim zajednicama i grupama kaoreakcija na okolinu, kao interakcija s prirodom i istorijskimuslovima postojanja; nematerijalna kulturna baštinaizaziva osećaj identiteta i kontinuiteta. Značaj nematerijalnekulturne baštine je i u tome što promoviše,održava i razvija kulturni diverzitet i ljudsku kreativnost”10 .“Remek dela usmene i nematerijalne baštine čovečanstva”je titula koju je UNESCO prvi put dodelio 18.maja 2001. godine, za devetnaest izuzetnih kulturnihprostora i oblika izražavanja iz različitih oblasti sveta.Kriterijumi u procesu odabira bili su:- izuzetna vrednost;- ukorenjena kulturna tradicija;- afirmacija kulturnog identiteta;- izvor inspiracije međukulturne razmene;- savremena kulturna i društvena uloga;- savršena primena veština;- jedinstveno nasleđe u živoj tradiciji;- opasnost od nestajanja.Proglašena remek dela su:- Garifuna jezik, igra i muzika – Belize;- Usmeno predanje Gelede – Benin;- Oruro karneval – Bolivija;- Kunku opera – Kina;- Gbofe Afunkaha: muzika poprečnih truba – Tagbanazajednica – Obala slonovače;- Kulturni prostor bratstva Sv. Duha Mela – Dominikanskarepublika;- Usmena baština i kulturne manifestacije Zaparanaroda – Ekvador i Peru;- Polifonijsko pevanje – Gruzija;- Kulturni prostor u “Soso – Bala”u Niagasoli – Gvineja;10 Konvencija usvojena na 32.sednici Generalne konferencijeUNESCO-a septembra 2003. u Parizu.- Royal Ancestral Rite and Ritual Music in JogmyoShrine – Republic of Korea- The Cultural Space and Oral Culture of the Semeiskie– Russian Federation- The Mystery Play of Elche – Spain- The Cultural Space of the Boysun District – Uzbekistan11In accordance with UNESCO definition of intangibleheritage, Professor Giovanni Pinna identified threecategories of intangible heritage (although it is difficultto draw the limits between them precisely).The first category includes cultural expressions ortraditional ways of life of a certain community: their religiousrites, traditional ceremonies, folklore embodiedin the physical form. Few of the UNESCO Masterpiecesof the Oral and Intangible Heritage of Humanity belongto this category, as for example the Kunqu Opera, SicilianPuppets and Jemaa el-Fna Square of Marrakech.The second category recons all individual and collectiveexpressions such are language, memory, oral tradition,songs and un-written traditional music. Some ofthese expressions have also been recognized as Masterpieceslike the Oral Heritage of Zapara People in Ecuadorand Peru.The third category includes symbolic and metaphoricalmeanings of the objects of tangible heritage. 12 Withinthis category, renowned professor considers museumobjects emphasizing their symbolic and metaphoricalmeanings when interpreting the object and culture fromwhich the object derives. 13‘LIVING HUMAN TREASURES’In safeguarding of intangible heritage peoples andstates were left to their own devices for long period oftime. There were no organized protection programmeson the intergovernmental level. The action was taken byUNESCO considering that it would be efficient to ensuretradition holders who would continue to acquire knowledgeand skills and transmit those to future generations.With this aim in mind, tradition holders should beidentified and officially recognized. For this reason, everyMember State of UNESCO has established ‘LivingHuman Treasures’ system. 14‘Living Human Treasures’ are namely persons whoposess to very high degree knowledge of skills and techniquesrequired for continuous existence of their materialcultural heritage.Performing arts such as music, dance, drama, theatreand rites do not physically exist. The score of a musicalcomposition exists but not the music itself. The balletchoreography can be written down but not the balletperformance. The recording of a film can present a productionprocess but cannot capture the exact spirit of liveperformance. Similarly, techniques of artifacts productionor food preparation could be written down butthe act of creation has no physical form. Performanceand the act of creation are intangible and embodied onlyin the skills or techniques of those who are involvedin the very process of creation.There are also elements of intangible heritage whichshould be employed by the professionals responsible forOruro karneval, Bolivija (2001)The Oruro Carnival, Bolivia(2001)Lutkarsko pozorište Bunraku(proglašeno 2003.)Bunraku Puppet Theatre,Japan (proclaimed in 2003)11 Two years later 28 more Masterpieces were proclaimed byUNESCO, in addition to the above mentioned ones. Next proclamationwill be in 2005. Serbia submitted its candidature- the oral traditionof epic folk songs- for the evaluation12 Giovanni Pinna, Intangible Heritage and Museums, ICOMNews no 4, Paris 200313 As professor Pinna said on the conference ‘The Best inHeritage’ in Dubrovnik, held on 23 September 2003 and in NationalMuseum, Belgrade on 30 September 200314 www.folkline.hu/unesco/unesco_02en.htm-top119

Sicilijansko lutkarsko pozorište, Italija (2001)Sicilian Puppet Theatre, Italy (2001)120- Kutijatam sanskritsko pozorište – Indija;- Sicilijansko lutkarsko pozorište – Italija;- Nogaku pozorište – Japan;- Izrada krstova i njen značaj u Litvaniji – Litvanija;- Kulturni prostor Trg Džama el Fna –Maroko;- Hadhad pesme Ifugaoa – Filipini;- Običaj kraljevskih praotaca i ritualna muzika uJongmio Šrinu – Republika Koreja;- Kulturni prostor i Usmena kultura Semiski – Ruskafederacija;- Tajna igra Elče – Španija;- Kulturni prostor oblasti Bojsan – Uzbekistan. 11U skladu s definicijom UNESCO-a, profesor ĐovaniPina je, uz napomenu da je teško precizno povući granice,odredio tri kategorije nematerijalne kulturne baštine:Kulturni izrazi ili tradicionalni načini života određenezajednice, kao na primer religijski rituali, tradicionalnaekonomija, folklor, otelotvoreni u fizičkom obliku.Ovoj kategoriji pripadaju neka od UNESCO-vih “remekdela usmene i nematerijalne baštine čovečanstva”, kaošto su Kunku opera, Sicilijanske lutke, pijaca u MarakešuJemaa el-Fna.Individualna i kolektivna izražavanja, koja nemajufizički oblik: jezik, pamćenje, usmena tradicija, pesme inezapisana tradicionalna muzika itd. Neke od ovih izrazaje UNESCO već proglasio “remek delom”, kao što jeusmena baština naroda Zapara u Ekvadoru i Peruu.Simbolična i metaforična značenja predmeta materijalnebaštine. 12 U okviru ove kategorije, on govori omuzejskim predmetima, uz isticanje simboličnih i metaforičnihosobenosti prilikom tumačenja predmeta i kultureiz koje predmet potiče. 13“ŽIVI TREZORI BAŠTINE”Čuvanje nematerijalne baštine dugo je bilo prepuštenonarodima i državama. Nije postojala organizovanazaštita na međunarodnom nivou. Akciju je preduzeoUNESCO, smatrajući da bi zbog zaštite, bilo efikasno osiguratiprenosioce baštine, koji će nastaviti da stiču daljeznanje i veštine i da ga prenose novim generacijama.S tim ciljem, prenosioci nasleđa bi morali da buduidentifikovani i zvanično prepoznati. Zbog toga je u11 UNESCO-Proclamation of Masterpieces of the Oral andIntangible heritage of Humanity.htm. Dve godine kasnije UNESCOje proglasio još 28 remek dela. Sledeće proglašenje je 2005, za kojeje Srbija podnela svoj predlog – epske narodne pesme.12 Giovanni Pinna, Intengible Heritage and Museums, ICOMNEWS no 4, Paris 2003.13 Saopštenje prof. Pine u Dubrovniku u okviru manifestacije“Najbolji u baštini” održano 23.septembra 2003. i predavanje uNarodnom muzeju u Beogradu održano 30. septembra 2003.protection and preservation of tangible cultural assets.Those elements should be implied, for example, in repairingtechniques applied on traditional musical instrumentsor in stone cutting for the reconstruction ofmonuments or as traditional methods of preparing walland roof coverings could be useful in customary masonry.Consequently, preservation of intangible cultural propertiesimplies preservation and transmission of theskills and techniques needed in the process of their production.That is possible only through a special recognitiongiven to persons who posses knowledge of the skillsin a very high degree.Primary purpose of establishing Living Human Treasuressystem is to preserve the skills and techniques neededfor creation of cultural manifestations which areconsidered to have high historical or artistic value for theMember State. Within this system, rewards are predictedfor recognized persons in order to encourage them to:- continue their work,- develop and expand the frontiers of their work,- train young people to continue with their workThis system should encourage young people to devoteto learning these skills and techniques by offering apossibility to become famous and perhaps rich if theyreach a level of excellence.Large number of countries support Living Human Treasuresprogramme: Philippines, Thailand, Romania andFrance among others. In 1950 The Government of Japangave special recognition to holders of the skills and techniquesessential for confirmation of important intangiblecultural properties. Recognized individuals were designated‘Living National Treasures’. Collectives and groups werealso recognized as important holders. On 1 July 1994, sevencategories of performing arts (36 specific skills) and ninein the applied arts (39 specific skills) were selected asimportant intangible property of Japan. Those skills havebeen held by 52 individuals and 23 groups.The Government of Republic of Korea introduced itsown system in 1964, in order to ensure preservation andtransmission of intangible cultural properties to futuregenerations. By September 1995, this State has honored92 intangible cultural properties – 167 individual holdersand 50 holding organizations were registered.Although these countries have all been working with‘Living Human Treasures’ concept, the idea itself fallswithin the scope of UNESCO Recommendation on theSafeguarding of Traditional Cultures and Folklore from1989. In this document Member States were urged topreserve folklore in their countries. Folklore was consideredessential to enrichment of the cultural heritage ofhumanity and the protection of cultural identities.SAFEGUARDING INTANGIBLECULTURAL HERITAGEUnderstanding significance of intangible culturalheritage, UNESCO prepared strategy for its protection.15 The Convention on the Safeguarding of the IntangibleCultural Heritage is designed to oblige theMember States to take necessary measures including,for instance, identification of Intangible Cultural Heritage,in order to ensure safeguarding and to strengthensolidarity and cooperation at regional and intergovernmentallevel in this field. The Convention, which is intendedto encourage exchange of information, experiencesand joint initiatives, is meant for the following:- preparation of national inventories of the IntangibleCultural Heritage by the Member States;15 Convention for the Safeguarding of the Intangible CulturalHeritage was adopted by the 32nd session of the UNESCO GeneralConference on 17 October 2003

svakoj državi članici UNESCO-a uspostavljen sistem“Živi trezori baštine” (“Living Human Treasures”). 14“Živi trezori baštine”su imenovane osobe koje u velikomstepenu poznaju veštine i tehnike potrebne zakontinuirano postojanje njihovog materijalnog kulturnognasleđa.Scenska umetnost kao muzika, ples, drama, predstavei rituali ne postoje u fizičkom obliku. Zapisi muzičkihkompozicija postoje, ali ne i sama muzika. Baletska koreografijamože biti zapisana, ali to nije balet. Filmski zapismože da pokaže izvestan proces proizvodnje, ali nemože da zadrži tačan duh žive predstave. Slično tome, tehnikeproizvodnje predmeta, čak i pripremanja hrane, mogubiti zapisane, ali postupak kreacije nema fizičku formu.Predstava i čin izrade su nematerijalni, otelovljeni uveštinama i tehnikama onih koji ih izrađuju. Takođe postojetradicionalni nematerijalni elementi, koje treba da iskoristeoni koji čuvaju i štite materijalna kulturna dobra:na primer tehnike obnavljanja muzičkih instrumenata,poznavanje tradicionalne obrade kamena u rekonstukcijiza spomenike kulture, tradicionalna veština pripremanjazidnih i krovnih pokrivača u narodnom graditeljstvu.Sledstveno tome, zaštita takvog nematerijalnog kulturnogvlasništva podrazumeva zaštitu i prenošenje veštinai tehnika potrebnih za njihovu izradu. Ovo jedinomože biti urađeno tako što će biti prepoznati ljudi visokogstepena veštine i znanja.Primarni cilj uspostavljanja sistema “živi trezoribaštine”je da sačuva veštine i tehnike potrebne za kreiranjei ispoljavanje kulture, koja za državu ima velikuistorijsku ili umetničku vrednost.U okviru ovog sistema ustanovljeno je nagrađivanjeosoba koje su se istakle znanjima i veštinama da bi:- nastavili sa svojim radom;- razvijali i proširivali granice svog rada;- obučavali mlade ljude da zauzmu njihovo mesto.Sistem treba da ohrabri mlade ljude da se posveteučenju veština i tehnika, predočavajući im mogućnostda postanu poznati i slavni, a možda i imućni, ukolikodostignu vrhunski nivo.Veliki broj zemalja je uključen u program “Živi trezoribaštine”: Filipini, Tajland, Rumunija, Francuska, idr.Vlada Japana je još 1950. godine podržala prenosioceveština i tehnika važnih za nastavak održavanja nematerijalnekulture. Prepoznate osobe su označene kao“Živi nacionalni trezori”. Takođe su kao važni prenosiociimenovani kolektivi i grupe. Sedam kategorija scenskeumetnosti (36 posebnih veština) i devet primenjeneumetnosti (39 posebnih veština) su, 1. jula 1994. godine,odabrane kao važno nematerijalno kulturno vlasništvoJapana, koje su održavale 52 osobe i 23 grupe.Vlada Republike Koreje je 1964. godine uvela svojsistem da bi osigurala zaštitu i prenošenje vlasništvanad nematerijalnim dobrima budućim generacijama. Useptembru 1995. godine država je imala registrovana 92nematerijalna kulturna dobra od značaja, 167 individualnihdepozitara i 50 organizacija.Iako sve ove države rade s konceptom “živi trezori”, samaideja se poklapa s preporukom UNESCO-a o čuvanjutradicionalne kulture i folklora iz 1989. godine, po kojojdržave članice urgentno treba da sačuvaju folklor u svojimdržavama. Folklor se smatra osnovnim dometom kulturnebaštine čovečanstva i zaštitom kulturnih identiteta.ZAŠTITA NEMATERIJALNE KULTURNE BAŠTINEUvidevši značaj nematerijalnog kulturnog nasleđa,UNESCO je predvideo i njegovu zaštitu. 15 Konvencijom ozaštiti nematerijalne kulturne baštine države članice se14 www.folkline.hu/unesco/unesco_02en.htm - top15 Konvencija o zaštiti nematerijalne kulturne baštine, usvojenana 32. sednici Generalne konferencije UNESCO-a 17. oktobra2003. u Parizu.Intangible heritageThe most up-to-date definition of intangible culturalheritage is:people’s learned processes along with the knowledge,skills and creativity that inform and are developedby them, the products they create, and resources,spaces and other aspects of social and naturalcontext necessary to their sustainability; these processesprovide living communities with a sense of continuitywith previous generations and are important tocultural identity, as well as to safeguarding of culturaldiversity and creativity of humanityForms of intangible cultural heritage include,amongst others, languages, oral traditions, customs,music, dance, rituals, festivals, traditional medicine,food preparation and presentation, handicrafts andarchitectural skills. The products of intangible culturalheritage may be seen, touched or heard, but theskills and techniques and the actual acts of creation,have no physical form. The skills and techniques are,therefore, intangible.Living Human Treasures SystemsLiving Human Treasures are persons who embodyin the very highest degree the skills and techniquesnecessary for the production of selected aspects of thecultural life of a people and the continued existence oftheir material cultural heritage.….The preservation of intangible cultural heritageimplies the identification, conservation, dissemination,protection, promotion and transmission of theskills and techniques necessary for creation. This requiresthat special recognition and support should begiven to people who embody the skills and techniquesto the very highest degree as Living Human Treasures.Preservation can only be achieved through the implementationof appropriate legislation and policy.….The primary purpose of establishing a system ofLiving Human Treasures is to preserve the skills andtechniques necessary for the creation of cultural manifestationsthat are identified by appropriate nationalorganisations within the (UNESCO) Member Statesas having high historic or artistic values.The system should reward people who embody theskills and techniques of the identified cultural manifestationsso that they will be encouraged to:- Continue with their own creative work;- Where desirable, develop and expand the frontiersof that work;- At the same time, in all situations, train youngerpeople to take their place in due course.The system should encourage younger people todevote their lives to learning the skills and techniquesof the identified cultural manifestations by holdingout to them the possibility of future recognition andsupport, and the national or international fame, ifthey are able to achieve the necessary level of excellence.(“Guidelines for the Establishment of Living HumanTreasures Systems”, 2004 - UNESCO and KoreanNational Commission for UNESCO document)….When writing about intangible heritage and itspreservation three terms are used etally to denote thosewho are the Living Human Treasures - Holder, bearer,maintainer.121

obavezuju da preduzmu neophodne mere uključujući, naprimer, identifikaciju nematerijalnog kulturnog nasleđa, ucilju osiguranja njegove zaštite i jačanja solidarnosti i saradnjena regionalnom i internacionalnom nivou u ovojoblasti. Konvencija, koja treba da pospeši razmenu informacija,iskustava i udruživanje inicijativa namenjena je za:- pripremu nacionalnih inventara nematerijalnogkulturnog nasleđa država članica;- uspostavljanje komiteta među vladama članica zaočuvanje nematerijalne kulturne baštine, koje bičinili predstavnici država članica;- sastavljanje spiskova - međunarodne kulturne baštinečovečanstva i međunarodnog kulturnog nasleđaprioritetnog za zaštitu - koje bi sastavio taj komitet.Prva od ovih listi će sadržati već proglašena Remekdela usmenog i nematerijalnog nasleđa čovečanstva,jer su proglašena pre donošenja Konvencije.- Zaštita nematerijalne kulturne baštine je kompleksniproces, u koji su uključeni mnogi učesnici,a lokalne zajednice i pojedinci su osnovna snaga.Konvencijom je obuhvaćena zaštita:- usmene tradicije i izražavanja, uključujući jezikkao prenosioca nematerijalne kulturne baštine;- scenske umetnosti;- društvene prakse;- rituala i praznika;- znanja i primene znanja o prirodi i univerzumu;- tradicionalne umetnosti.Ovim je obezbeđena pravna zaštita nematerijalnihdobara, prilikom njihovog korišćenja u međusobnoj saradnjidržava ili institucija.NEMATERIJALNA KULTURNA BAŠTINA i ICOMU zaštitu nematerijalnih kulturnih dobara uključiose i Međunarodni savet muzeja - ICOM.Generalna konferencija ICOM-a, koja je održana oktobra2004. godine, u Seulu posvećena je temi “Nematerijalnabaština i muzeji”. U pozivu za prisustvovanjeKonferenciji Žak Pero, predsednik ICOM-a je istakao:“Nematerijalna baština je od velike važnosti za muzeje,koji moraju da preuzmu zaštitu i čuvanje neopipljivihformi našeg zajedničkog nasleđa od pretnji kulturne homogenizacije.Inovativne aktivnosti organizovane u čitavomsvetu na Međunarodni dan muzeja, 18. maj, bićeosnova debate, koja će se voditi u Seulu tokom trajanjaovog skupa muzejskih profesionalaca.” 16Do sada je u okviru ICOM-a nekoliko komiteta (ICO-FOM, ICOM-ASPAC, ICTOP) poslalo ankete zainteresovanimnacionalnim komitetima, da bi ispitali mišljenja istavove i uključili ih u predstojeće aktivnosti, u cilju zaštitenematerijalne kulture, kroz edukaciju kadrova zasprovođenje načina zaštite nematerijalnog nasleđa, kao iformiranjem novih načina za dokumentovanje. 17Nameće se zaključak da je zaštita nematerijalnognasleđa organizovana na međunarodnom nivou u začetku.Nije objavljeno koje su države ugradile Konvenciju ozaštiti nematerijalne kulturne baštine u svoj zakon ozaštiti kulturnih dobara. Ne postoje ni jasne smernice odokumentovanju nematerijalnog stvaralaštva. Čini se dadržave, stručnjaci, kustosi muzeja i ostali zainteresovanisami treba da otkriju kako da primene i iskoriste Konvenciju,da bi spasli svoje nasleđe. Ukoliko se zaustavigubitak bilo kog dela svetske baštine nematerijalne kulture,Konvencija će poslužiti svojoj svrsi. Međutim, akodoprinese uspostavljanju partnerstva između institucija,a muzeji budu ravnopravni partneri u zaštiti i promovisanjunematerijalne baštine, uspeh će biti veći. 16 ICOM News NO1, 2004.17 ICOM-ov komitet za dokumentaciju, CIDOC, septembra2002. u Porto Alegreu, održao je konferenciju na kojoj se razgovaraloo dokumentovanju nematerijalne baštine.122- establishmentof an IntergovernmentalCommitteefor the safeguardingof the intangible culturalheritage composedof representatives of the Member States;- draw up of two lists by the Committee – RepresentativeList of the International Cultural Heritage of Humanityand the List of International Cultural Heritagein Need of Urgent Safeguarding. The first of those listswill comprise the Masterpieces of the Oral and IntangibleHeritage of Humanity proclaimed before the Conventionentered into force.- The Safeguarding of Intangible Cultural Heritageis a complex process involving many actors withcommunities and groups as its very lifeblood.- The Convention is manifested in protection of thefollowing domains:- oral traditions and expressions, including languageas a vehicle of the Intangible Cultural Heritage;- performing arts;- social practices;- rituals and festive events;- knowledge and practices concerning nature andthe universe;- traditional craftsmanship and arts.By this means, full legal protection is ensured for intangibleassets during its use in international exchangeof states or institutions.INTANGIBLE CULTURAL HERITAGE and ICOMInternational Council of Museums – ICOM joined inthe protection of intangible cultural assets. The GeneralConference of ICOM, held in October 2004 in Seoul, examinedits theme ‘Museums and Intangible Heritage’. Inthe invitation to attend the Conference, ICOM PresidentMr. Jacques Perot said: “Intangible Heritage is of capitalimportance to museums, which must play a part in preservingand protecting the intangible forms of our commonheritage from the treat of cultural homogenization.The innovative activities organized throughout theworld on International Museum Day, on 18 th of May, willthus feed into debates which will take place in Seoul duringthis unique gathering of museum professionals”. 16To date, few of ICOM Committees – ICOFOM,ICOM-ASPAC, ICTOP, conducted a survey among NationalCommittees. The aim of the survey was to identifyimportant issues regarding intangible cultural heritagesafeguarding and implement those into foregoingtraining and education for safeguarding and documentingintangible heritage.In conclusion, we could say that intangible heritagesafeguarding is on the very beginning on internationallevel. It is not yet published which States implementedthe Convention of Safeguarding Intangible Heritage intotheir cultural heritage law. There are no clear directionsfor intangible heritage documenting, too.It seems that the states, professionals and museum curatorsare supposed to discover how to apply and use TheConvention by themselves, in order to save their nationalassets. If it prevents loss of any part of world intangible heritage,TheConvention will serve its cause. But, if it encourageestablishment of partnership among the institutionsand museums become equal partners in intangible heritageprotection and promotion, success will be greater. 16 ICOM News no 1, 2004Berberi iz Severne AfrikeBerbers from N. Africa

Vesna Svoboda, Jasna Vuković, Slobodan Knežević,Dušan Izvonar, Dušan KićevićEksperimentralnaarheologija - tradicionalneproizvodnje keramikePrikaz realizacije prve faze projektaUvod - karakter, ciljevi i zadaci projektaProjekat DIJANA Centra “Eksperimentalna arheologija- Tradicionalne proizvodnje keramike”, autoraM. Popović-Živančević i V. Svobode, započet je u julu2003. godine, a cilj je rekonstrukcija tehnika i tehnologijaarheološke i etnološke keramike, radi zaštite tradicionalnihnačina proizvodnji, kao nematerijalne kulturnebaštine. Koncipiran je kao niz specijalističkih radionica(radionice za izradu replika i suvenira, edukativneradionice za stručna lica, popularne edukativne, kao iumetničke radionice), čiji je rad baziran na rezultatimaistraživačkog centra, kao nosećeg segmenta projekta. Istraživačkicentar čini tim stručnjaka različitih profila,potrebnih u realizaciji projekta (arheologa, konzervatora,etnologa, geologa, tehnologa keramike, mineraloga,hemičara, umetnika keramičara, grnčara i dr). Jedandeo tima čine stručnjaci zaposleni u Narodnom muzejui saradnici DIJANA Centra, a drugi deo čine stručnjaciiz naučnih institucija i pojednici angažovani za potrebeprojekta.Značaj i mesto koje zauzima vinčanska neolitska keramikau našoj kulturnoj baštini, ali i baštini šireg regionaBalkana i Evrope, kao i neispitanost tehnologije itehnike izrade ove keramike, odredili su predmet istraživanjau okviru projekta “Eksperimentalna arheologija- Tradicionalne proizvodnje keramike”.Pored već pomenutog cilja rekonstrukcije tehnike itehnologije izrade vinčanske keramike, radi zaštite ovetradiocionalne proizvodnje kao nematerijalne kulturnebaštine, cilj ovog projekta je i:- da ukaže na uticaj ove tradicionalne proizvodnjekeramike na autentičnost kulturnog nasleđa;- da upozori na krhkost i osetljivost arheološke keramikei ukaže na to da je treba štititi adekvatnimkonzervatorskim tretmanima;- da produbi i podvuče značaj vinčanske keramikena formiranje savremenog kulturnog identiteta;- da potencira važnost promocije sadržaja projektaza afirmisanje kulturnog nasleđa;- da istakne značaj kopija i replika arheološke keramikekao akvizicije, ali i kao neiscrpne inspiracijeza savremeni suvenir;- da pokaže značaj tradicionalnih proizvodnji keramikeza savremenu umetnost u najširem smislu;- da se posebno ukaže na značaj interdisciplinarnogpristupa istraživačkom radu. Da je interdisciplinarnostosnova ovog projekta pokazuje i samastruktura projekta.Opsežna arheološka istraživanja na lokalitetu Vinča- Belo Brdo, koja se realizuju poslednjih godina, kao iprojekat Filozofskog fakulteta “Vinčanska kultura, kontekst,sirovine i komunikacije” pokazuju da je rekonstrukcijaove praistorijske keramičke tehnike umnogomecilj istraživanja oba projekta.Zajednički ciljevi i interesi ovih projekata odredilisu budući partnerski odnos dve institucije: Narodnogmuzeja, sa DIJANA Centrom i Filozofskog fakulteta,Odeljenje za arheologiju. Dva predstavnika ove partnerskeinstitucije, doc. dr N. Tasić, rukovodilac arheološkihVesna Svoboda, Jasna Vuković, Slobodan Knežević,Dušan Izvonar, Dušan KićevićExperimentalArchaeology– Traditionalproduction of ceramicsPresentation of the Phase IIntroduction – Character, Objectives and Tasksof the ProjectThe objective of DIANA Centre’s «Experimental Archaeology– Traditional Production of Ceramics»project, prepared by Mila Popović Živančević and VesnaSvoboda and started in July 2003, is a reconstruction oftechniques and technologies of archaeological and ethnologicceramics with an aim of preserving traditionalproduction as a feature of intangible cultural heritage.It is conceived as a sequence of specialized workshops(souvenirs and replicas, professional training, populareducation, artistic workshops), based on results reachedby the research centre, as the main segment of the project.The research centre consists of a team of experts ofdifferent profiles, necessarry for realization of the project(archaeologists, conservators, ethnologists, geologists,ceramics technologists, mineralogists, chemists,pottery artists, potters and other.). A part of the teammake experts working in the National Museum Belgrade,collaborators or conservators in DIANA Centre,while the other part belongs to the experts from otherinstitutions or individuals engaged in the project realization.The subject of research in the « Experimental Archaeology– Traditional Production of Ceramics» projectis defined by the significance and place concerned withthe Neolithic ceramics of Vinča within our cultural heritageand heritage of the Balkans region and Europe, aswell as the fact that technology and production techniquesof this ceramics is still unknown.Beside reconstruction of technique and technologyused in production of the Vinča ceramics with the aim toprotect this traditional production as a form of intangibleheritage, an aim of this project is also to:- point out the influence this traditional productionof ceramics had on authenticity of cultural heritage- remind of fragility and sensibility of archaeologicalceramics and point out the need for adequateconservation treatment- underline the significance of Vinča ceramics withinthe process of contemporary cultural identity development- emphasize the importance of promotion of project’scontent in affirmation of cultural heritage- emphasize the significance of copies and replicasof archaeological ceramics as acquisitions, but alsoas constant inspiration for contemporary souvenirs- define the importance of traditional ceramics productionfor contemporary art in general sense- especially point out the significance of interdisciplinaryapproach in research; the very structure ofthis project shows that interdisciplinarity is in itsbasisExtensive archaeological research on the Vinča – BeloBrdo site, carried out in the last few years, as well asthe “Vinča Culture, context, raw materials and commu-123

iskopavanja na Vinči i J. Viković, asistent - pripravnik,rukovodilac laboratorije za obradu keramike na projektuVinča, postali su prvi članovi naučno-istraživačkogtima projekta “Eksperimentalna arheologija - Tradicionalneproizvodnje keramike”.Formiranjem naučno-istraživačkog tima započela jerealizacija prve od tri faze projekta. Autori projektaodredili su članove tima i njihove zadatke u ovoj početnojfazi istraživanja:- Mila Popović-Živančević, muzejski savetnik - koordinator,rukovodilac DIJANA Centra i autor projekta- supervizija kompletne prve faze prijekta;- Vesna Svoboda, magistar keramike, saradnik DI-JANA Centra i autor projekta - organizacija i koordinacijau okviru prve faze projekta, izrada testpločicaod uzoraka gline i sirovina uzetih sa terena,eksperiment na terenu;- doc. dr Nenad Tasić, supervizija arheološkog aspektaprve faze projekta;- Jasna Vuković, asistent - pripravnik na Odeljenjuza arheologiju Filozofskog fakulteta - određivanjeprioriteta i metodologija arheološkog aspekta istraživanjaprve faze projekta, učešće u eksperimentuna terenu;- prof. dr Slobodan Knežević, Rudarsko-geološkifakultet - određivanje mogućih majdana gline i sirovina,potrebnih za izradu Vinčanske neolitskekeramike;- Petar Nićiforović, geolog - stručne konsultacije opotencijalnim majdanima gline;- dr Branko Matović, Institut za nuklearne nauke Vinča,kompleksne mineraloške i rentgensko-strukturneanalize fargmenata vinčanske neolitske keramike,uzoraka gline sa potencijalnih majdana ipečenih test-pločica;- mr Dušan Kićević, Institut za nuklearne nauke Vinča- stručne konsultacije u vezi sa mineraloškim irentgensko-strukturnim analizama;- dr Ljubica Pavlović, naučni savetnik ITNMS-a -uvtrđivanje hemijskog sastava fragmenata vinčanskeneolitske keramike i uzoraka gline;- dr Dušan Izvonar, Fakultet primenjenih umetnosti- određivanje metodologije fizičko-hemijskih analiza,kompleksna fizička istraživanja i delimičnahemijska istraživanja, kao i tumačenje drugih rezultatamineraloškoh i hemijskih analiza;- Mira Miladinović, dipl. ing,Viša tehnološka škola uAranđelovcu - fizičko-hemijske analize;- Jovan Vacić, grnčar, stručni saradnik na Fakultetuprimenjenih umetnosti - pečenje keramičkih testpločicau jami na terenu;- Đurđinka Bogdanović, ak. keramičar - stručnekonsultacije i učešće u eksperimentu na terenu uprvoj fazi projekta.Bitan deo ekipe čine mladi pripravnici i studenti saradniciDIJANA Centra, koji se ovim projektom aktivnouključuju u eksperimentalna istraživanja na terenu, alii u samostalni naučno-istraživački rad na potprojektimau okviru nosećeg projekta:- Tatjana Nedeljković, arheolog, saradnik DIJANACentra - vođenje kompletne pisane i foto-dokumentacijeprojekta, učešće u eksperimentu na terenu,stručne konsultacije;- Ivana Stojković, apsolvent arheologije, saradnikDIJANA Centra - povremeno vođenje dokumentacijeprojekta, učešće u eksperimentu na terenu;- Dejan Milovanović, student arheologije, saradnikDIJANA Centra - aktivno učešće u eksperimentuna terenu;- Dušan Maksimović, student arheologije, saradnik124nications” project of the Faculty of Philosophy in Belgrade,show that the reconstruction of this prehistoricalceramics production technique is very much the mutualobjective to both of the projects.Mutual goals and interests of these projects definedthe future partnership of two institutions: National Museumin Belgrade with DIANA Centre and the Facultyof Philosophy in Belgrade – Archaeology Department.Two representatives of this partnership-institution, Dr.N.Tasić, head of archaeological excavations on the Vinčasite, and J. Viković, preparatory assistent, head of theLaboratory for Treatment of Vinča Project Ceramics,became the first members of the scientific and researchteam of the “Experimental Archaeology – TraditionalProduction of Ceramics» project.The realization of the first of three phases of thisproject started with formation of the scientific and researchteam. The authors of the project appointed membersof the team and their tasks in this first phase of research:- Mila Popović Živančević, museum councillor-conservator,head of DIANA Centre and one of theauthors of the project – supervision of completefirst phase of the project- Vesna Svoboda, M.A. in ceramics, collaborator ofDIANA Centre and one of the authors of the project– organization and coordination within phaseI of the project, production of sample pieces andraw materials taken from the site, experiments onthe site- Dr. Nenad Tasić, supervision of the phase I of theproject from the archaeological point of view- Jasna Vuković, assistent - trainee at the ArchaeologyDepartment of the Faculty of Philosophy – determinationof priorities and methodology of archaeologicalaspect of research in the phase I of theproject, participation in on-site experiments- Dr. Slobodan Knežević, Faculty of Mining andGeology – determination of possible clay and rawmaterial mines, necessary for production of Neolithicceramics of Vinča type- Petar Nićiforović, geologist, consulting on potentialclay mines- Dr. Branko Matović, Vinča Institute for NuclearSciences – complex minerological and X-raysstructural analyses of the Neolithic ceramic fragmentsfrom Vinča, clay samples from potential minesand fired testing pieces- Dušan Kićević, M.A. in nuclear sciences, Vinča Institutefor Nuclear Sciences – consulting on minerologicaland X-rays structural analyses- Dr. Ljubica Pavlović, scientific advisor of ITNMS –determination of chemical compound of VinčaNeolithic ceramic fragments and clay samples- Dr. Dušan Izvonar, Faculty of Applied Arts – determinationof methodology of physical–chemicalanalyses, complex physical research and partialchemical research, as well as interpretation of otherresults of mineralogical and chemical analyses- Mira Miladinović, engeneer, Junior College ofTechnology in Aranđelovac – physical-chemicalanalyses- Jova Vacić, potter, professional collaborator at theFaculty of Applied Arts – firing of ceramic testingpieces in on-site pit- Đurđinka Bogdanović, ceramic artist – professionalconsulting and participation in on-site experimentin the Phase I of the projectYoung conservators and students-collaborators ofDIANA Centre make an important part of the team and

DIJANA Centra - aktivno učešće u eksperimentuna terenu;- Ana Kocjan, istoričar umetnosti, saradnik DIJANACentra - PR projekta;- Maja Živković, istoričar umetnosti, saradnik DIJA-NA Centra - pomoć oko promocije projekta.Realizacija I faze projektaPredviđeno je da se projekat odvija u tri faze:I - teorijska, laboratorijska i eksperimentalna istraživanja;II - opsežnija eksperimentalna istraživanja i radspecijalističkih radionica u okviru projekta naterenuIII - promocija dobijenih rezultata.Prva faza projekta počela je u julu 2004. godine i jošuvek je u toku. Sastojala se od nekoliko podfaza:A - arheološki aspekt istraživanja;B - identifikacija majdana - geološki aspekt sitraživanja;C - mineraloške, hemijske i fizičke analize;D - Pravljenje test-pločica iE - pečenje test-pločica:a) u laboratorijskim uslovimab) na terenu.A - Arheološki aspekt istraživanjaKeramika pronađena na većini arheoloških lokaliteta,posebno onih iz različitih perioda praistorije,predstavlja najbrojniju grupu arheološkoih nalaza. Keramičkifragmenti i cele posude su stoga vrlo često onajmaterijal na osnovu koga se tumače nastanak i razvojpraistorijskih kultura. U našoj arheologiji, međutim,svaka analiza keramike svodi se na statističko-tipološkuanalizu. Njen cilj je isključivo svrstavanje arheološkogmaterijala u određeni relativno-hronološki okvir,kao i utvrđivanje periodizacija pojedinih praistorijskihkultura na osnovu stilskih karakteristika, pre svega načinaornamentisanja, kao i pretpostavljene evolucijeoblika. Zadatak arheologa je, međutim, pre svega, rekonstrukcijasvakodnevnog života zajednica u prošlosti.Zato istraživanja keramike treba da budu daleko obimnijai detaljnija. Keramika je vezana za mnoge aspektesvakodnevnog života. Proučavanja strategija nabavkeosnovne sirovine, kao i primesa koje se u glinu dodaju,tehnologija izrade, od oblikovanja posuda, preko sušenjai pečenja, do finalne obrade i ukrašavanja, načinaupotrebe različitih posuda, razloga lomljenja i zamenepolomljenih posuda novima, kao i načina odbacivanja ieventualne sekundarne upotrebe celih posuda, ali ifragmenata, mogu da rasvetle mnoga pitanja, pre svegaactively participate in on-site research, as well as in separatescientific-research actions within sub-projects ofthis general project:- Tatjana Nedeljković, archaeologist, conservator inDIANA Centre – dealing with complete writtenand photo documentation of the project, participationin on-site experiments, professional consulting- Ivana Stojković, student of the final year of archaeology,collaborator of DIANA Centre – occasionalwork on project documentation, participationin on-site experiment- Dejan Milovanović, student of archaeology, collaboratorof DIANA Centre – active participation inon-site experiment- Dušan Maksimović, student of archaeology, collaboratorof DIANA Centre – active participation inon-site experiment- Ana Kocjan, art historian, conservator in DIANACentre – project PR- Maja Živković, art historian, conservator in DIA-NA Centre – help in promotion of the projectRealization of the Phase IThe project is conceived to be in three phases:I – theoretical, laboratory and experimental researchII – comprehensive experimental research and specializedworkshops within on-site project andIII – promotion of the results obtained.Phase I began in July 2004 and is still going on. Itconsists of several sub-phases:A – archaeological aspect of researchB – identification of the mine – geological aspect ofresearchC – mineralogical, chemical and physical analysesD – production of testing piecesE – firing of testing pieces:a) in laboratoryb) on the siteA – Archaeological aspect of researchCeramics found in majority of archaeological sites,especially those from different prehistorical periods,make the most numerous group of archaeological finds.Ceramic fragments and vessels are, consequently, veryoften the material used for interpretation of origins anddevelopment of prehistorical cultures. However, everyceramics analysis in our archaeology comes down tostatistical-typological analysis. Its objective is exclusivelyto sort out archaeological material within a certainrelative chronological frame, as well as to determine pe-Geološki profil kod manastira sv. StefanGeological profile near monastary St. StefanUzimanje uzorka sirovine na lokaciji Ciglana u VinciTaking samples of clay from location Ciglana in Vinča125

Izgled veće, manje jame i kanala za sondu pirometra prepocetka eksperimentaAppearence of a large and smal pit and canal for pyrometerbefore beggining of the experimentŽarenje jame i sušenje test-pločicaFiring the pit and drying of test-piecessocijalne organizacije, organizacije naselja i funkcijepojedinačnih objekata u njemu, ali i specijalizacije zanata,trgovine, pa čak i religioznih shvatanja. U savremenojnauci je zato ključno angažovanje stručnjaka izrazličitih oblasti nauke, pre svega prirodnih nauka, hemije,fizike, geologije, tehnologije i drugih. U našoj arheologijigotovo da i nema ovakvih interdisciplinarnihistraživanja. Zato se sadržaj projekta “Eksperimentalnaarheologija - Tradicionalne proizvodnje keramike” poklapasa ciljevima arheoloških istraživanja.Da bi se odgovorilo na sva pomenuta pitanja, osnovnopolazište je svakako utvrđivanje prirode osnovne sirovinei primesa u glini, kao i tehnologija izrade keramičkihposuda. Sa obzirom na to da su u toku sistematskaiskopavanja na Vinči kod Beograda, najznačajnijemnalazištu mlađeneolitske Vinčanske kulture, akcenat jestavljen na keramiku najmlađe faze ove kulture, faze Vinča-Pločnik.Izdvojeno je ukupno 13 uzoraka posuda tipičnihza ovu fazu: 3 fragmenta oboda zdela sa uvučenimobodom, 1 fragment konične zdele, 5 fragmenataoboda i vrata amfora, 2 fragmenta lonaca i 2 fragmentađuveča. Na ovim uzorcima su izvršene mineraloške, hemijskei fizičke analize.126B - Identifikacija majdana - geološkiaspekt istraživanjaU okviru istražnih radova na rekonstrukciji proizvodnjekeramike Vinčanske neolitske kulture, obavljenasu i geološka istraživanja sa ciljem da se pronađe sirovinskimaterijal, koji su koristile neolitske zanatlije.Pri izboru lokacija nad kojima će se obaviti istraživanjapošlo se od pretpostavke da su stara ležišta kerariodizationof certain prehistorical cultures, based onstylistic properties, first of all decoration style, and secondly– supposed evolution of a form. Nevertheless, theprimary task of archaeologist is to reconstruct everydaylife of a community in the past. That is why ceramics researchshould be far larger. Ceramics is related to manyaspects of everyday life. Investigation of acquisitionstrategy of basic raw materials, as well as of ingredientsto be added to clay, technology of production, forming ofa vessel, drying and firing, final treatment and decoration,mode of use, causes of breakage and replacementof damaged vessels by new ones, as well as modes of rejectingand possible secondary use of well-preservedvessels and fragments, can explain many issues, first ofall the question of social organisation, organisation of asettlement and function of each object in it, but alsospecialisation in crafts, trade, even religious attitude.For this reason, participation of experts of various profiles,especially chemists, physicist, geologists, technologistsand others is needed. In our archaeology, this kindof interdisciplinary research is very rare.That is why theprogram of the “Experimental Archaeology – TraditionalProduction of Ceramics” project is in accordancewith general archaeological research objectives.In order to answer all the questions mentioned above,starting point should be determination of basic rawmaterial and additional ingredients in the clay, as wellas the ceramic vessels production technology. Having inmind that the excavations on Vinča site, the most significantsite of Late Neolithic Vinča culture, are in progress,the accent is given to the ceramics of this culture’smost recent phase, the Vinča-Pločnik phase. The total of13 samples has been selected, typical of this phase: 3fragments of rims belonging to vessels with invertedrims, 1 fragment of conical vessel, 5 fragments of rimsand necks of amphorae, 2 fragments of pots and 2 fragmentsof pans. These samples went through mineralogical,chemical and physical analyses.B – Identification of mine – Geological aspectof researchWithin research related to reconstruction of VinčaNeolithic ceramics production, geological research wasalso carried out, in order to find raw material used byNeolithic craftsmen.In selecting location for this part of research, it wasassumed that the old deposits of ceramic raw materialsare situated relatively close to the Neolithic settlementof Vinča. Also, it was necessary to determine the materialand geological formations that could have successfullyserved in production of ceramics.The settlement is geographically situated above theright bank of Danube, in north-eastern edge of Belgradecape, or to be precise, part of the field where hills ofŠumadija, between the river Sava and the Danube, runsnorth, into the wide area of Pannonia lowlands.The settlement itself lies on a plateau, formed by socalled“loess slope”This implies that Neolithic settlers ofVinča used loess from the right bank of the Danube asraw material in production of ceramics. During this research,loess sediments from opened segments under archaeologicalsites were examined, but also from ditchesused for brick raw material of the “Ciglar” brick plant (property of the “Iskra” corporation from Belgrade) inthe village of Vinča. Nevertheless, taking into accountthe fact that the Danube undermines the bank close tothis archaeological site, provoking erosion of Quartarloess deposits and Miocene sediments from loess, we canconclude that the old Neolithic clay pit in loess was de-

mičkih sirovina morala biti relativno blizu neolitskognaselja u Vinči. Dalje, trebalo je utvrditi koji materijal iiz kojih geoloških formacija je mogao da se uspešno koristiu proizvodnji keramike.Po svom geografskom položaju naselje se nalazi iznaddesne obale Dunava, u severoistočnom obodu beogradskogrta, tj. dela terena gde između Save i Dunavašumadijsko pobrđe (deo Balkanskog poluostrva) zadirena sever, u prostor ravničarskih terena Panonske nizije(srednje Evrope).Sâmo neolitsko naselje nalazi se na lesnoj zaravni,izgrađenoj od tzv.”padinskog lesa”. Zbog toga se i namećepretpostavka da su neolitski stanovnici Vinče kaoosnovnu sirovinu u proizvodnji keramike koristili les sadesne obale Dunava. U okviru istraživanja uzimane suprobe lesnih sedimenata sa otvorenih profila na izdancimalesa, ispod arheološkog nalazišta, ali i iz kopova saležišta opekarskih sirovina ciglane “Ciglar” (sastavnideo preduzeća “Iskra”iz Beograda), u selu Vinča. Međutim,uzimajući u obzir da reka Dunav u bližoj okoliniarheološkog nalazišta potkopava obalu i vrši erozijukvartarnih lesnih naslaga i miocenskih sedimenata izpodine lesa, može se zaključiti da je verovatno staroneolitsko glinište u lesu erozijom uništeno.Poznato je da se les koristi kao sirovina za opekarskuindustriju odakle i potiče naziv “ciglarska zemlja”.Međutim, neprerađen les sadrži konkrecije kalcijumkarbonata, prah od kalcijum karbonata ili peskovit materijal,zbog čega se kao takav ne može koristiti kao pogodnasirovina u proizvodnji keramike. Zbog toga sepošlo od pretpostavke, da ukoliko su lesne naslage korišćenekao osnovna sirovina, one su, određenim postupkom,morale biti prečišćene od nepodobnih komponenti.Kao druga potencijalna sirovina u bližoj okolini naseljaneolitskih proizvođača keramike pretpostavljenisu sedimenti povodnja u aluvijalnom nanosu Dunava.Tosu pretežno glinoviti sedimenti, koji su široko rasprostranjenina levoj, banatskoj obali Dunava. Na desnojobali, ispod samog arheološkog lokaliteta njih skoro nema,pošto je konstatovano da reka Dunav upravo vršieroziju obale. Pojasevi sa rasprostranjenim aluvijalnimnaslagama na desnoj obali, odakle je mogao lako da seobavlja transport potencijalne sirovine, nalaze se severnijeu atarima Vinče i Velikog sela. Uzimajući u obzir dase u zoni prostiranja aluvijalnih naslaga u ataru Vinčenalazi velika gradska deponija, uzet je uzorak povodanjskihaluvijalnih sedimenata iz nekontaminiranogpodručja, kod Velikog Sela, iz geotehničke bušotine VP-15 (“HIG Geozavod”, Beograd).Kao dopunska sirovina u proizvodnji keramike, uneolitu su mogle da se koriste i glinovite tvorevine izstarijih miocenskih sedimenata, koji čine podinu lesa iosnovu geološke građe beogradsko-gročanskog Podunavlja.Na osnovu analize geološke građe i litološkogsastava šire okoline lokaliteta Vinča, odbačeni su kao potencijalnaležišta keramičkih sirovina morsko-brakičnimiocenski sedimenti Panonskog mora, koji se nalaze upodini lesa u Vinči, pošto sadrže visok sadržaj kalcijumkarbonata ili peska. Kao moguća gliništa podesna zaprimenu u keramici pretpostavljeni su tereni starijihmiocenskih jezerskih naslaga, rasprostranjenih uzvodnou atarima Velikog Sela i sela Slanci. U tom smislu, uzetisu uzorci za analizu glinovitih sedimenata sa izdanaka iiz bušotina u Velikom sela (iznad desne obale Dunava) isa raskopa iznad manastira Sveti Stefan u Slancima.C - Pravljenje test - pločicaPrikupljeni uzorci sirovina, sa lokacija koje su, naosnovu geoloških pretpostavki prof. S. Kneževića potencijalnimajdani, bili su osnova za izradu test - pločicastroyed by erosion.It is commonly known that loess is used as raw materialfor brick production and that is why loess is sometimescalled “brick soil”. Nevertheless, raw loess containsconcretions of calcium carbonate, calcium carbonatepowder or sandy material, which makes it unusableas raw material in ceramics production. For this reason,it was assumed that even if loess deposits wereused as basic raw material, they must had been, in a certainway, refined from inadequate ingredients.Inundation sediments in alluvial drift deposits ofthe Danube were introduced as second potential rawmaterial in close surroundings of the Neolithic potters’settlement.These are mainly clay-rich sediments, widelyspread on the left, so-called Banat bank of the Danube.They almost do not exist on the right bank of the river,just below the archaeological site, since it is concludedthat the Danube provokes erosion in this very period.The areas with alluvial deposits on the right bank, fromwhich the transport of this potential raw material couldhave easily be organized, are situated more to thenorth, in the districts of Vinča and Veliko Selo. Having inmind the existence of a large urban trash pile in the areaof these alluvial deposits in the district of Vinča, thesample is taken from alluvial sediments of uncontaminatedarea near Veliko Selo, from the geotechnical pitVP-15 (“HIG Geozavod» Belgrade).As additional raw materials in Neolithic productionof ceramics, clayey formations from older Miocene sediments,being underlying stratum of loess and basis ofgeological structure of Belgrade-Grocka area of the DanubeBasin. Based on the analysis of geological structureand lithological compound of the wider area of theVinča site, marine-brackish Miocene sediments of thePannonian sea, situated in the underlying stratum of loessin Vinča, were rejected as a potential deposit of ceramicsraw material, since they contain high level of calciumcarbonate or sand. The fields of older Miocene lakedeposits, spread upstream, in the districts of VelikoSelo and Slanci village were taken into account as possibleclay pits, suitable for ceramics production. Consequently,samples were taken from clayey sediments andsites in Veliko Selo (near the right bank of the Danube)and from the pit just above the monastery of St. Stephenin Slanci.C – Creation of testing piecesTesting pieces are necessary for reduction on-site firingand oxidation firing in laboratory, with an aim ofreaching comparative petrographic, mineralogical andphysical-chemical analyses. Their creation was based onPopločavanje dna jame preko žara keramičkim fragmentimaLaying ceramic fragments over the ember127

Polaganje test - pločica u jamuLaying the test-pieces in the pitpotrebnih za redukciono jamsko pečenje na terenu i oksidacionopečenje u laboratorijskim uslovima, u ciljudobijanja rezultata komparativnih petrografskih, mineraloškihi fizičko - hemijskih analiza.Test-pločice su podeljene u dve grupe:1. test-pločice od čistih sirovina i2. test-pločice - kompoziti, izrađene kombinovanjemdva ili više različitih uzoraka.Uzorci sirovina bili su različite konzistencije i vlažnosti,u zavisnosti od sirovinskog sastava, dubine sa kojihsu uzeti, kao i načina uzimanja (sondom ili kopanjem).Pojedine sirovine, kao što su uzorci lisnatih glinacaslanačke serije, na lokaciji Velikog sela, nije bilomoguće sjediniti nakon potapanja i pokušaja drobljenja,zbog njihove tvrdoće. Ovaj problem otvara još jednopolje istraživanja, u ciklusu proizvodnje vinčanskekeramike, a to je način pripreme sirovina.Napravljene su test-pločice od čistih uzoraka sirovina,sa šest lokacija, koje su mogle na jednostavniji načinda se sjedine u kompaktnu masu. To su uzorci sirovinauzetih sa lokacija:1. Ciglana u Vinči,2. Arheološki lokalitet Belo Brdo u Vinči,3. Manastira Sv. Srefan i4.Veliko selo, iz bušotine, sa tri različite dubine.Pored toga, napravljeno je i 16 test-pločica - kompozita.Kompoziti su pravljeni uglavnom kombinacijomdve ili tri sirovine, bez dodataka primesa. Identifikacijaprimesa, organskih i mineralnih, uočenih u vinčanskojkeramici, očekuje se posle detaljnih petrografskih i mineraloškihanaliza, koje su u toku. Jedina primesa dodavanau pojedinim varijantama kompozita je lomljenavinčanska keramika. Prisustvo lomljene keramike kaoprimese u osnovnoj sirovini pouzdano je arheološki dokazano.Kvalitet masa dobijenih mešanjem sirovina različitihuzoraka je bio veoma različit. Najčešće su mase bile“peskovite”strukture i izrazito neplastične (les sa lokalitetaVinča - Belo Brdo), što se naročito pokazalo u pokušajuformiranja glinenih “kobasica”, korišćenih u jednojod bazičnih tehnika izrade neolitske keramike. Pojedinemase su, pak, bile previše plastične, što je pokazomastan opip mase i njeno sporo sušenje, moguće zbogvelike koncentracije montmorilonita (uzorci slanačkeserije kod manastira Sv. Stefan i buštine sa dubine 17-18 m). Nekim kombinacijama ovih sirovina dobijene sumase zadovoljavajuće plastičnosti, od kojih bi mogle dase formiraju posude. Nakon dobijanja rezultata komparatvnihanaliza napraviće se nova serija test-pločica, alii replike pojedinih vinčanskih posuda od masa adekvatnijegsirovinskog sastava.128raw material samples, collected from the locations characterizedby professor S. Knežević as potential clay mines.Testing pieces are divided in two groups:1. Pure raw material testing pieces2. Composite testing pieces, based on combination oftwo or more different samplesBased on raw material compound, depths they weretaken from, and the way of getting them (probe or digging),raw material samples were of different consistencyand humidity levels. Some of the raw materials, suchas samples of laminated shale (schist) of the Slanci series,on the location of Veliko Selo, could not be mixedtogether after moistening and attempting to crush material,because of their hardness. This problem opensanother research area in the Vinča ceramics productioncycle, and that would be raw material preparing methods.Testing pieces were made of clear raw material samplestaken from six locations, and more easily mixableinto compact mass. These samples were taken from thefollowing locations:1. Brick plant in Vinča2. Archaeological site of Belo Brdo in Vinča3. St. Stephen Monastery4.Veliko Selo – from three different depths in thedrillBeside those, 16 composite testing pieces were made.Composites were mostly made from a combination oftwo or three raw materials without additional ingredients.Identification of additional, organic and mineralingredients, found in Vinča ceramics, is planned aftercurrent petrographic and mineralogical analyses havebeen done. The only ingredient added to some of thecomposites is fragmented Vinča ceramics. The presenceof fragmented ceramics as an ingredient in the basicraw material is archeologically proved.Quality of the materials obtained through mixing ofvarious samples was quite different. The majority of thematerial was of “sandy” structure and extremely nonplastic(loess from the Vinča – Belo Brdo site), which turnedto be especially inadequate in creation of clay coils,used in one of the basic techniques of Neolithic ceramicsproduction. Some of the materials were, on the otherhand, too plastic, which was evident by the greasyPečenje test - pločica u vatriFiring the test-pieces

touch and slow drying process, possibly because of thehigh concentration of montmorillonite (samples of theSlanci series taken at the St. Stephen Monastery andfrom the drill of 17-18 m depth). Some combinations ofthese raw materials led to the mass of satisfactory plasticity,that could be used for production of vessels. Afterthe results of comparative analyses are obtained, newseries of testing pieces will be made, as well as replicasof certain Vinča vessels, from more adequate raw materials.Vađenje test - pločica iz jameFiring the test-piecesD - Pečenje test - pločica na terenuPosle pomenutih opsežnih priprema, ekipa u sastavu:V. Svoboda, J. Vuković, Đ. Bogdanović, J. Vacić, T.Nedeljković, I. Stojković, D. Milovanović, D. Maksimovići B. Belošević, pristupila je realizaciji eksperimentalnogdela prve faze projekta, koji podrazumeva pečenje testpločicana arheološkom lokalitetu Vinča. Radi lakšegkontrolisanja temperature i redukcionih uslova pečenja,iskopana je jama koničnog oblika, gornjeg prečnika 115cm, donjeg prečnika 80 cm i dubine 90 cm. Takođe je iskopanai manja jama, u kojoj se pripemao žar. Da bi sekontrolisala temperatura pečenja, iz veće jame je prokopankanal za sondu pirometra. Odlučeno je da se kaogorivo koriste kiselo drvo, bor, smreka i jela. Radi zagrevanjajame za pečenje, na dno jame su položene sitnegrane, koje su zatim zapaljene. Istovremeno, u manjojjami su zapaljeni veći komadi drveta, a test-pločice supostavljene oko nje, zbog dodatnog sušenja i zagrevanja.Glavna jama je zagrevana 1 h i 15 minuta. Dno jame je,zatim, popločano odbačenim fragmentima autentičnevinčanske keramike, da probne pločice ne bi došle u direktankontakt sa žarom, što bi izazvalo pucanje. Izmeđufragmenata keramike i zidova jame ostavljena je zonaprosečne širine 10 cm, za postavljanje žara i granja.Na popločanu površinu su zatim postavljene test-pločice.Potom je oko njih prebačen žar iz manje jame, a prekonjih je postavljeno sitno granje. Probne pločice supostepeno žarene do temperature od 575 o C, na kojoj segubi tehnička i hemijska voda. Kada je dostignuta pomenutatemperatura, u jamu su dodate krupnije grane ipreostali žar iz manje jame. Ovako su, u vatri, pločicepečene oko 1 h, na prosečnoj temperaturi od 700 o C. Nakonšto je temperatura dostigla 800 o C, vatra više nijeodržavana. Kada je drvo potpuno izgorelo i plamen nestao,u jamu je ubačeno polusuvo lišće. Da bi se postiglaredukciona atmosfera, jama je odmah zatrpanazemljom. Ostavljena je da se hladi 24 sata. Ceo procesD – Firing of testing pieces on the siteAfter the already mentioned preparing processes,the team consisting of V. Svoboda, J.Vuković, Đ. Bogdanović,J,Vacić, T. Nedeljković, I. Stojković, D. Milovanović,D. Maksimović and B. Belošević, started the experimentalpart of the Phase I – firing of testing pieces onthe archaeological site of Vinča. In order to control temperatureand reduction conditions more easily, a pit ofconical form was dug, its upper diameter 115 cm, lowerdiameter 80 cm and 90 cm deep. Also a smaller pit wasdug, to prepare ember. A canal for a pyrometer was dugfrom the larger pit, to simplify temperature control. Itwas decided to use ailanthus, pine, juniper, fir. In orderto warm up the firing pit, small branches were fired onits bottom. At the same time, larger pieces of wood werefired in the smaller pit, with testing pieces set aroundit, to obtain additional drying and warming up. Thisprocess lasted 1 hour and 15 minutes. The bottom of thepit was then covered with rejected fragments of authenticVinča ceramics, to avoid direct contact between testingpieces and ember, and breaking of the pieces. Betweenfragments of ceramics and the pit walls, there wasan area about 10 cm wide, intended for ember and branches.Testing pieces were put on previously prepared ceramicsurface. The ember was transferred from thesmaller pit and put around pieces, while the brancheswere laid on them. Testing pieces were gradually firedup to the temperature of 575°C, where technical andchemical water was lost. The mentioned temperature reached,larger branches were added in, as well as the restof ember from the smaller pit. In this way, the pieces werefired for around 1 hour, at the approximate temperatureof 700° C. When the temperature reached 800° C,the fire was no longer kept burning. Wood was completelyburnt and dry leaves were added in the pit. It wasimmediately filled with ground to ensure reduction atmosphereand left to cool down for 24 hours. The wholeprocess of heating up and firing lasted for 2 hours and45 minutes.Next day, the pit was uncovered, and testing pieceswere taken out. The firing turned out to be successful –reduction was reached and no piece was broken.Pečene test - pločiceFinished test-piecesTest - pločice pre i posle redukcionog pecenjaTest-pieces before and after reductive firing129

predgreravnja i pečenja trajao je 2 h i 45 minuta.Sutradan je jama otkopana i test-pločice su izvađene.Pokazalo se da je pečenje bilo uspešno: postignuta jeredukciona atmosfera i nijedna pločica nije pukla.E - Mineraloške, hemijske i fizičke analizeNa neolitskoj keramici sa lokaliteta Vinča - Belo Brdoizvršene su opsežne fizičko-hemijske i hemijske analize,sa ciljem utvrđivanja njene strukture, faznog sastava,poroznosti i drugih osobina. Na ovaj način se možeposrednim putem zaključiti kakav je bio postupak izrade,sa obzirom na to da osobine pečene keramike moguda ukažu na temperaturu pečenja, atmosferu (redukcionaili oksidaciona), eventualnu pripremu sirovina (usitnjavanje)i sl. Proučavanjem lokalnih nalazišta potencijalnihsirovina, odabrani su najpogodniji uzorci, od kojihsu napravljene test-pločice. Njihovim poređenjem saoriginalnom neolitskom keramikom procenjivan je sastavpolazne sirovine za izradu keramičkih posuda.Radi utvrđivanja faznog sastava originalne vinčanskekeramike korišćene su specifične tehnike mikrostrukturneanalize. Rentgenskom difrakcionom analizom (XRD)utvrđeno je da je dominantna faza kvarc, uz albit, muskovit,ortoklas i dr. Svi uzorci, tj. svi tipovi posuda su upogledu faznog sastava slični, što ukazuje na identičanpolazni sastav sirovina. Hemijska elementarna analizadaje slične rezultate, jer se u najvećoj meri detektuju silicijumi aluminijum, kao i oksidi u sastavu alumosilikata.Takođe je utvrđen značajan udeo gvožđa, kalcijuma, a umanjoj meri kalijuma, magnezijuma i natrijuma. Racionalnomanalizom, koja predstavlja uporednu analizu faznogi hemijskog sastava, ustanovljeno je da alumosilikatičine oko 80% sastava pečene keramike.Posebnom metodom su pripremljeni uzorci za mikroskopskuanalizu mineraloškog sastava, petrografiju.Na do sada urađenim uzorcima se takođe prepoznajuneke karakteristike navedenih faza. Za različite uzorkekeramike utvrđeno je da se sastav međusobno ne razlikujeu bitnim elementima.Analizom uzoraka sirovina sa najbližih lokalnih nalazištamože se zaključiti da su one potencijalno korišćenasirovina, ali one ne dokazuju da se prostom smešommože dobiti zadovoljavajuća sličnost u hemijskomi faznom sastavu.Hemijska analiza dva uzorka neolitske keramike jerađena atomskom apsorpcionom spektrofotometrijom(AAS), metodama koje odgovaraju JUS standardima. Izanaliza se može konstatovati da, prema sadržaju oksida,sirovina pripada grupi ciglarskih glina, sa relativno niskimsadržajem oksida Al 2 O 3 i povećanim sadržajem oksidagvožđa, kao i alkalnih i zemnoalkalnih oksida. Hemijskeanalize sirovine, sa lokacije Ciglana u Vinči, pokazalesu veliku sličnost sa rezultatima dobijenim hemijskimanalizama originalne keramike, ali je neophodnouraditi još rentgensko-strukturnih analiza, da bi sesa sigurnošću mogla potvrditi sličnost faznog sastava,.odnosno strukture.U okviru ove faze rađene su i analize upijanja vode11 uzoraka neolitske keramike i rezultati se kreću od8,74 % do 17,73 %. Za jedan uzorak su urađene i drugekarakteristike vezane za gustinu i poroznost materijala,i to: gustina (2,5773 g/cm 3 ), prividna gustina (1,86g/cm 3 ), prividan porozitet (25,11 %), ukupan porozitet(27,83 %), i stepen sinterovanja (0,72). Visok porozitet inizak stepen sinterovanja su očekivani, sa obzirom načinjenicu da je temperatura pečenja uzorka bila relativnoniska za taj tip gline.U okviru daljih fizičkih ispitivanja rađena su upijanjavode test-pločica od čistih potencijalnih sirovina, kao itest-pločica - kompozita pravljenih kombinacijom glina,lesa i aluvijalih sedimenata. Svi uzorci su pečeni u reduk-130E – Mineralogical, chemical and physical analysesExtensive physical-chemical and chemical analysesof the Vinča-Belo Brdo Neolithic ceramics were carriedout with an aim of determining its structure, compound,porosity and other characteristics. In this way, it is possibleto reach some conclusions about production process,having in mind that properties of fired ceramicscould indicate firing temperature, atmosphere (reductionor oxidation), optional preparation of raw material(grinding) and the like. The samples most suitable forthe production of testing pieces were chosen through investigationof local deposits of potential raw materials.Assumed compound of starting raw material for productionof ceramic vessels was based on the comparisonwith original Neolithic ceramics.Specific microstructure analyses were used in orderto determine the compound of original Vinča ceramics.X-ray diffraction showed that the dominant phase wasquartz, together with albite, muscovite, orthoclase andother. All the samples, that is all the vessel types, are alikeconsidering the compound, which implies an identicalstarting compound of the raw material. Chemicalelementary analysis offers similar results, since siliconand aluminum are the most detected, as well as oxidesin alumosilicates. Also iron and calcium make a largeportion of the compound, a bit less potassium, magnesiumand sodium.Through rational analysis, referring tocomparative analysis of the phase and chemical compound,it was concluded that alum silicates make 80%of the fired ceramics compound.The samples for petrography, microscopic analysis ofmineralogical compound, were prepared in a specialway. Some of the samples analyzed also show the characteristicsof mentioned phases. It was discovered thatvarious samples of ceramics show no important differencesin their composition.The analysis of the samples from the nearest localdeposits shows that they could be potential raw materialused, but they do not prove the possibility of reachingsatisfactory resemblance of chemical and phase compoundjust by simply mixing them together.The chemical analysis of two samples of Neolithicceramics was based on atomic absorption spectrophotometry(AAS), in accordance with JUS standards. Theanalyses of oxides content showed that the raw materialbelongs to the group of brick clays, with relativelylow quantity of Al 2 O 3 and higher quantity of iron oxide,as well as alkali and earthalkali oxides. Chemical analysesof the raw material found at the Brick Plant in Vinča,showed great similarity with the results of the chemicalanalyses carried out on the original ceramics, butit is still necessary to conduct more X-rays structuralanalyses to confirm, with certainty, the similarity ofphase compound, that is structure.The analyses of absorption, on 11 samples of Neolithicceramics, were also carried out in this phase, and theresults go from 8,74% up to 17,73%. One of the samplesalso went through other analyses, referring to densityand porosity of material, which are: density (2,5773g/cm 3 ), pseudo density (1,86g/cm 3 ), pseudo porosity(25,11 %), total porosity (27,83 %) and sintering rate(0,72). High porosity and low sintering rate were expected,considering the fact that the sample firing temperaturewas relatively low for this type of clay.Within further physical examination, absorptionwas carried out on the clear raw material testing pieces,as well as on the combination of clay, loess and alluvialsediments. All the samples were fired in a pit, under reductionconditions, but also in oxidation atmosphere, in

ciji u jami, kao i u oksidacionim uslovima, u električnojlaboratorijskoj peći, brzinom zagrevanja od oko 3 o C/mini zadrškom od 30 minuta, na maksimalnoj temperaturi od750 o C. Relativno velike razlike upijanja vode ovih uzorakavezane su kako za hemijski, mineraloški i granulometrijskisastav sirovine, tako i za uslove pripreme uzoraka,oblikovanja i pečenja.Veće vrednosti upijanja vode u oksidacijisu očekivane zbog činjenice da u redukcionim uslovimadolazi do taloženja sitnih čestica ugljenika u poramana površini uzoraka i na taj način smanjuju poroznostmaterijala, a time i upijanje vode.Viša vrednost upijanjavode za uzorke pečene u jami u redukcionim uslovimau odnosu na fragmente može biti posledica ili nižetemperature pečenja, kao i režima pečenja, a ne treba isključitimogućnost razlike u hemijskom, mineraloškom igranulometrijskom sastavu polaznih sirovina, što bi trebalonaknadno utvrditi porozimetrijom, određivanjemukupne zapremine i raspodele veličine pora.ZaključakPrva faza projekta još nije privedena kraju. Naime,očekuju se još komparativne petrografske analize, čimeće se završiti ova faza.Planirano je da se u drugoj fazi ponovo naprave testpločice,ovaj put sa dodatim primesama i da se, nakonpečenja, ponovo urade sve fizičko-hemijske analize.Pretpostavlja se da će se, na ovaj način, doći do najpribližnijerecepture mase od koje se pravila vinčanska keramika.Potom će se, u toku proleća i leta 2005. godine,organizovati radionice, čiji će cilj biti, izrada replika vinčanskihposuda na terenu, na osnovu približne recepture,korišćenjem tehnika za koje se, na osnovu arheološkihi etnoarheoloških istraživanja, smatra da su primenjivaneu neolitu. Ovako se otvara novo polje dugoročnih istraživanja,koja će biti tema narednih eksperimentalniharheoloških radionica na lokalitetu Vinča - Belo brdo. electrical laboratory kiln, with heating being increasedaround 3°C/min and keeping for 30 minutes on the maximaltemperature of 750°C. Relatively high differencesin absorption are concerned with chemical, mineralogicali granulometric structure of the raw material, but alsowith preparation, modeling and firing conditions.Higher absorption in oxidation was expected for the reasonof precipitating particles of carbon in the surfacepores in reduction conditions, which leads to lower porosityand, in that way, to lower absorption. Higher absorptionof water at reduction conditions, for the samplesfired in a pit, could be a consequence of low firingtemperature, or firing procedure, but one should not ignorethe possibility of differences in the chemical, mineralogicali granulometric structure of starting raw material,which should be determined latter on by porosimetry,through determination of total volume and distributionof pores size.ConclusionThe first phase of the project is still going on. Comparativepetrographic analyses are still to be carriedout, and they will end the Phase I.It is planned to produce new testing pieces in thePhase II, with additional ingredients, and to repeat allphysical-chemical analyses. This practice could lead tothe most similar possible recipe for production of Vinčaceramics. Later on, during spring and summer of 2005,workshops will be organized, with an aim of producingreplicas of Vinča vessels on the site, based on the mostsimilar recipe and by using techniques considered to beused in the Neolithic, according to archaeological andethno archaeological research. In this way, a new field oflong-term researches, becoming the subject of followingexperimental archaeological workshops at Vinča – BeloBrdo site, would be introduced.Rentgenogram uzoraka vinčanskih zdela, koji pokazujeprisustvo kvarca, muskovita i albitaX-ray graph of the samples of Vinča vessels, indicating apresence of quartz, muskovit and albit131

Maja Živković, conservator, DIJANA CentarKonzervacija i restauracijasrednjovekovne zdele iz crkveSvetog Petra kod Novog PazaraLOKALITET I ISKOPAVANJA. Crkva Sv. Petra kodNovog Pazara je najstarije episkopsko središte nateritoriji Srbije i jedan je od retkih crkvenih centarakoji je vekovima kontinuirano živeo. 1Sistematska iskopavanja na lokalitetu crkve Sv. Petravršena su u organizaciji Zavoda za zaštitu spomenikakulture u Kraljevu, u saradnji sa Narodnim muzejemu Beogradu, od 1960. do 1962.godine, od 1984. do 1988.godine i 2003. godine, kada su obavljena zaštitna iskopavnja.Lokalitet je izuzetno kompleksan i karakterišega čitav niz kulturnih slojeva. Crkva je podignuta iznadilirskog kneževskog tumula i nekropole iz bronzanog doba.U ovaj kulturni sloj su vekovima ukopavani temeljinovih građevina i grobovi. Crkva je u celini arheološkiispitana, dok je nekropola u porti delimično istražena.Na lokalitetu Petrove crkve pronađen je keramičkimaterijal koji pripada vremenskom periodu od IX doXV veka.Veći deo materijala čine posude za svakodnevnuupotrebu, ali značajan je i broj nalaza luksuzne, gleđosane,trpezne keramike, koja je korišćena u posebnimprilikama. Pronađeni su fragmenti tri zdele sa horizontalnopostavljenim drškama. Približno su istih dimenzija,kalotaste forme, a dekoracija im je izvedena na istinačin – kombinacijom slikanja i zgrafito tehnike. Keramičkazdela koja je tema ovog rada pronađena je u sondi1. za vreme iskopavanja 1986.godine, kojima je rukovodilaGordana Marjanović-Vujović. Međutim, nije bilomoguće doći do nekih dodatnih informacija o ostalimnalazima u toj sondi, ni gde se ona nalazi na lokalitetu,jer dokumentacija i materijal sa ovih iskopavanja jos nisuobrađeni. 2JEDAN TIP SREDNJOVEKOVNE ZDELE. U centralnimoblastima Balkana zdele počinju da se proizvodeod IX ili ranog X veka, a sa ponovnim uspostavljanjemvizantijske vlasti na Balkanskom poluostravu, početkomXI veka, glazirana trpezna keramika počinje dase uvozi. 3 Potražnja za trpeznim posudama dekorativnogizgleda posebno je porasla tokom XIV i XV veka, uperioda uspona i razvoja srpskih gradova, kada su ojačalei trgovačke veze sa susednim zemljama. Uvoz luksuznihpredmeta je značajno uticao na rad domaćihmajstora.Tako se, uporedo sa pojavom vrednih predmetaod stakla i metala, javljaju i nove tendencije u proizvodnjitrpezne keramike, koje se velikim delom oslanjajuna starije vizantijske uzore. 4 Dekoracija najstarijihimportovanih zdela izvedena je u tehnici zgrafita i slikanja.One su bile uzor domaćim grnčarima za sva kasnijaostvarenja. Osnovni dekorativni motivi srpske srednjovekovnekeramike su bili spirala, lozica i krug, dok1 U VI veku na tom mestu je podignut ranohrišćanski baptisterijum,rotonda, koja je u IX veku rekonstruisana i proširena. Dograđivanjai prepravke crkve nastavili su se sve do XIX veka. U crkvi injenim paraklisima uglavnom je bilo sahranjivano sveštenstvo Raškeepiskopije i članovi bratstva manastira Sv. Petra. Još od srednjegveka, uz posebno odobrenje arhiepiskopa, u porti crkve sahranjivanisu i pojedini laici, da bi od XVIII do početka XX veka nekropolapored Petrove crkve postala glavno groblje novopazarskih Srba.M.Ljubinković, Nekropola crkve Sv. Petra kod Novog Pazara, ZbornikNarodnog muzeja,VI, Beograd 1970., 87.2 Posuda se, zajedno sa ostalim keramičkim materijalom, sadanalazi u Zbirci poznog srednjeg veka u Narodnom muzeju u Beogradu,čiji je kustos Emina Zečević. Iz pomenutih razloga posuda nijeinventarisana, već ima terenske podatke: A-2, tip I/1b, 1/86, kese 1, 2.3 V. Bikić, Glazed Pottery in the Central Balkans (11th-13th c.),Starinar, XLIX/1998, Beograd 1999., 145.4 M. Bajalović-Hadži-Pešić, Keramika u srednjovekovnoj Srbiji,Beograd 1981., 109.132Maja Živković, conservator, DIANA CentreConservation and restoration ofa medieval bowl from St. Peterschurch near Novi PazarSITE AND EXCAVATION. St. Peter’s church nearNovi Pazar is the oldest Episcopal centre in the territoryof Serbia and also it is one of the rare church centresthat continually lived during the centuries. 1Systematic excavations at the site of St. Peter’schurch had been organized by the Regional Institute forProtection of Cultural Monuments in Kraljevo in cooperationwith the National Museum in Belgrade, from1960 until 1962, from 1984 until 1988 and in 2003, whenpreventive excavation were undertaken. Site is an extraordinarycomplex one and it is characterized by seriesof cultural layers.The church is built over the tumulusof Illyrian prince and Bronze Age necropolis. Intothis cultural layer for centuries were embedded foundationsof new structures and graves. The church is archaeologicallycompletely examined, whilst the necropolisin the churchyard is only partially examined.On the site of St. Peter’s church ceramic materialwas found that belonged to period from the 9 th until 15 thcenturies. Most of items belong to utilitarian ware, butthere is also significant number of luxurious, glazed tablewarethat was used on special occasions. Fragmentsof three vessels with lugs are found. They are of aboutsame dimensions, segmented in form, and they were similarlydecorated - combination of painting and sgraffitotechnique.Ceramic dish that is subject of this work was foundin trench 1 during excavations in 1986, led by GordanaMarjanović-Vujović. However, it was neither possible tofind additional information about the rest of finds inthe same trench, nor about its precise position on the site,because the documentation and material from thisexcavation have not yet been processed. 2ONE TYPE OF MEDIEVAL DISH. In central areasof the Balkans manufacture of vessels began in the 9 thor early 10 th centuries, and with reestablished Byzantiumauthority in the Balkan peninsula, at the beginningof 11 th century, importing of glazed tableware started. 3Demand for decorative tableware especially increasedduring 14 th and 15 th centuries. This was the period of riseand development of Serbian towns, when trading relationshipswith the neighbouring countries werestrengthened. Import of luxuries influenced the work ofdomestic craftsmen. Thus parallel to appearance of valuableglass and metal objects new tendencies in themanufacturing of tableware emerged, greatly influencedby the Byzantian models. 4 Decoration on the oldestimported vessels was done by sgraffito and paintingtechniques. These vessels served as models for domestic1 In the 6th century an Early-Christian baptistery, rotunda, wasbuilt in the place which was reconstructed and extended in the 9thC. Outhouse and remakes of the church continued until the 19thcentury. In the church and its paraklision the Clergy of the Patriarchateof Raska and members of brotherhood of St. Peter’s Monasterywere buried. Since the Middle Ages, individual laymen were buriedin the churchyard with special approval from archbishop, andsince the 18th C until the beginning of the 20th century the necropolisnext to St. Peter’s church served as the main cemetery of theSerbs from Novi Pazar. M. Ljubinković, Nekropola crkve Sv. Petrakod Novog Pazara, Zbornik Narodnog muzeja,VI, Beograd 1970., 87.2 The vessel together with other ceramic material, is at the momentin Late Middle Ages Collection in the National Museum inBelgrade, whose curator is Emina Zecevic. For the mentioned reasonsthe vessel is not filed in inventory, yet has site references: A-2,tip I/1b, 1/86, kese 1, 2.3 V. Bikić, Glazed Pottery in the Central Balkans (11th-13th C),Starinar, XLIX/1998, Beograd 1999., 1454 M. Bajalović-Hadži-Pešić, Keramika u srednjovekovnoj Srbiji,Beograd 1981., 109.

su floralni, zoomorfni i geometrijski ornamenti korišćeniznatno ređe.Na osnovu dosad nađenog materijala, primena koncentričnihkrugova u dekoraciji je posebno zapažena nazdelama sa punim, horizontalno postavljenim drškama. 5Na svim primerima posuda na teritoriji Srbije dekoracijakruga je izvedena šestarom, od koga je ostajao trajantrag u glini, u vidu udubljene tačke u centru kruga.Posude sa ornamentom koncentričnih krugova su rađeneu dvojnoj tehnici urezivanja (zgrafita) i slikanja, kojeprati crtež u vidu pruga ili mrlja zelene, okera i žuteboje. Korišćenje više tehnika pri izradi jednog ornamentabilo je uobičajeno u kasnom srednjem veku.Ostaje nejasno kakva je bila funkcija zdela sa horizontalnimdrškama: da li su bile namenjene trpezi ili su korišćenepri vršenju nekog obreda. Činjenica je da nijednazdela nije pronađena u zatvorenoj sredini, 6 već u slojevimau koje su dospele posle prestanka njihove upotrebe.5 Tip zdele sa horizontalnim drškama je antičkog porekla. Tokomsrednjeg veka ovaj oblik je nastavio da postoji na teritoriji nekadašnjihrimskih provincija u predmetima od keramike i metala.Koncentrični krugovi su bili jedan od specifičnih ukrasa tzv. Zeuxippusposuda, koje su se proizvodile tokom XII i početkom XIII vekau carigradskim radionicama, smeštenim na prostoru Hipodroma. M.Bajalović-Hadži-Pešić, Keramika u srednjovekovnoj Srbiji, 68., 80.6 Osim zdele pronađene u Studenici, E. Zečević, Prilog proučavanjuzdela sa vodoravnom drškom, Novopazarski zbornik, 27, NoviPazar 2003., 98.7 Srednjovekovna glazirana keramika uglavnom je pečena natemperaturi od 800șC do 1000șC, njena poroznost zavisi od prečišćenostigline i veća je od 5 %. Poroznost kamenine, fajansa i porcelana,koji su izrađeni od izuzetno prečišćene gline visokog kvaliteta ipečeni na temperaturama iznad 1050șC, je uvek manja od 5%.Opis i stanje predmeta pre konzervacijeOPIS PREDMETA: Zdela je doneta na ponovnu konzervacijui restauraciju, jer predhodna restauracija nijebila zadovoljavajuća. Radi se o plitkoj, kalotastoj zdelina niskoj stopi ravnog dna, čija je ivica izvučenom kaspolja, zaobljenog, nenaglašenog oboda, sa dve punedrške, horizontalno postavljene uz ivicu oboda. Glaziranaje u nijansama zelene i svetlo žute boje, dok je pridnu recipijenta i na samoj stopi glazura mrke boje. Saspoljašnje strane, ispod oboda, u zgrafito tehnici je izvedenadekoracija u vidu koncentričnih krugova: sa jednestrane dva, a sa druge strane tri koncentrična kruga. Linijeureza krugova su crne boje, a u središtu je vidljivacrna tačka, koja ukazuje na korišćenje šestara prilikomurezivanja. Da bi zgrafito dekoracija došla više do izražaja,najmanji krug na svakom motivu je glaziran svetlomžutom bojom. Na ovalnoj dršci se nalazi urezan ornamentspirale, dok druga drška nije sačuvana, tj. sačuvanaje samo u korenu.Dimenzije predmeta: visina posude 8 cm, prečnikoboda 19 cm, dubina recipijenta 6 cm, prečnik stope 12cm, dužina drške 4 cm, širina drške 2,5 cm, debljina zidarecipijenta 0,8 cm.Fragmenti posude su zalepljeni, a da predhodno nisubili očišćeni od naslaga zemlje, posebno unutrašnjostrecipijenta. Zdela je restaurirana, pri čemu su dva fragmenta(od postojećih 28) ostala neuklopljena, a drugadrška nije uopšte bila izvedena. Pored značaja samogpredmeta i činjenice o malom broju nalaza zdela ovogtipa, očevidni propusti pri predhodnoj restauraciji bilisu dovoljni da kustos odluči da su potrebni ponovnakonzervacija i restauracija.PROCENA STANJA PREDMETA: Zdela je izrađenana vitlu od dosta dobro prečišćene gline. Ispitivanja naivici jednog fragmenta su pokazala da je keramika relativnoporozna, što je uobičajeno za temperaturu pečenjaove vrste keramike 7 . Pošto dekoracija dvojnom tehnikomzgrafita i slikanja podrazumeva pečenje posudedva puta, pretpostavljeno je da je keramika dosta čvrspottersin their future work. The basic decorative motifsof the Serbian medieval ceramics were a spiral, vine andcircle, while floral, zoomorphic and geometric ornamentswere rarely used.Based on the materials found, usage of concentriccircles in decoration is especially noticeable on vesselswith full, horizontally placed handles. 5 On all samplesof vessels in Serbia circled decoration was done by calliperswhich left permanent marks in the clay.Ware withconcentric circle ornaments were made in double techniqueof incision (sgraffito) and painting, followed bydrawing of stripes or green, ochre and yellow spots.Using more than one technique during making of an ornamentwas commonly used in the late Middle Ages.The function of the vessels with the horizontal handlesremains unclear, whether they were meant for tableor they were used for some ceremony. The fact is that novessel was found in a closed association 6 , but in layerswhere they arrived long after their usage.Description and state of the object beforeconservationDESCRIPTION OF THE OBJECT: The dish was broughtagain for conservation and restoration, as the previousrestoration was unsatisfactory. The dish is shallow,arch shaped on a low foot, flat bottom, whose rimwas everted, round, unstressed with two full lugs placednext to the edge of rim.It is glazed with the shades of green and light yellowcolour, while at the bottom of the recipient and on thefoot itself the glaze is umber. On the outside under therim there is sgraffito decoration in the form of concentriccircles: on one side two, and on the other three concentriccircles. Incision lines of circles are black in colour,with the visible black dot in the centre, which impliesthe use of callipers. In order to emphasize sgraffitodecoration the smallest circle on every motif is glazedwith light yellow colour. There is a spiral ornament carvedin the oval handle, while the other handle is not preserved,i.e. only the root of it is preserved.Dimensions of the object: height of the dish 8 cm, diameterof the rim 19 cm, depth of the recipient 6 cm, diameterof the foot 12 cm, length of the handle 4 cm,width of the handle 2,5 cm, thickness of the recipientwall 0,8 cm.Fragments of the dish were bonded, without beingcleaned from the dirt, especially inside of the recipient.While restoring the dish two fragments (out of 28) cou-5 Type of dish with lugs is of antic origin. During the MiddleAges this shape continued to exist in the territory of old Roman provincesin ceramic and metal objects. Concentric circles were one ofthe specific ornaments of the so called Zeuxippus which were manufacturedduring 12th C and at the begining of the 13th century inthe workshops in Constantinopole in the area of the Hippodrome. M.Bajalović-Hadži-Pešić, Keramika u srednjovekovnoj Srbiji, 68., 80.6 But for the dish found in Studenica, E. Zečević, Prilog proučavanjuzdela sa vodoravnom drškom, Novopazarski zbornik, 27,Novi Pazar 2003, 98133

ta. Ispitivanja zubarskim alatkama na ivicama prelomasu to dokazala, a pokazalo se da je i glazura čvrsto vezanaza telo. Kompaktne naslage zemlje na dnu recipijentasu se lako skidale, odvajajuci se ljuspasto od površine,bez opasnosti da bi mogle povući i površinski slojkeramike, tj. glazuru.PREDLOŽENI TRETMAN: Odlučeno je da se uradipotpuna restauracija predmeta. Tok tretmana bi bio sledeci:uklanjanje stare restauracije, tj skidanje restauriranihdelova od gipsa i čišćenje fragmenata, a zatim bisledila konsolidacija i ponovno lepljenje, restauracijagipsom, retuš i završna konsolidacija predmeta.Konzervatorski tretmanČIŠĆENJE PREDMETA. Najjednostavniji i istovremeno,za predmet, najbezbedniji način uklanjanja restauriranihdelova od gipsa je mehanički. Veće površinegipsa su dobro ovlažene vodom i tako omekšan, gips jepažljivo sečen skalpelom što bliže ivici keramike. Ivicefragmenata su zatim očišćene vodom, zubarskim alatkamai iglom od ostataka gipsa.Fragmenti su bili zalepljeni, ali pošto predhodno saivica nisu bile uklonjene naslage zemlje, posuda je moralabiti razlepljena, a fragmenti u potpunosti očišćeni.Uklanjanje starog lepka počinje njegovom identifikacijomna osnovu fizičkih i hemijskih karakteristika - boje,čvrstine i rastvorljivosti. Na identifikaciji se zasnivaizbor odgovarajućeg rastvarača za ukljanjanje lepka.Test na jednom fragmentu je potvrdio pretpostavku daje predmet bio zalepljen OHO lepkom, 8 koji se kod nasnajčešće koristi. Da bi u potpunosti bila razlepljena,zdela je stavljena u plastičnu posudu sa hermetičkimpoklopcem i okružena tamponima vate koji su natopljeniacetonom i postavljeni tako da ne dodiruju keramiku.Posle 90 minuta, uz povremeno dodavanje acetona natampone vate, pod uticajem acetonske pare OHO lepakje omekšao i fragmenti su se razdvojili. Prilikom razlepljivanjaprimenjen je samo blagi pritisak na spojeve, jerako lepak nije dovoljno omekšao, jači pritisak bi mogaouzrokovati odvajanje tankog sloja keramike zajedno salepkom. Pošto aceton spada u izuzetno lako i brzo isparljiverastvarače, predmet je morao biti smešten u atmosferuhermetički zatvorenog kontejnera, a kutija je tokomtog procesa stajala u posebnoj prostoriji u kojoj jeprozor bio otvoren. 9 Usledilo je čišćenje ivica fragmenataod preostalog lepka pomoću štapića sa namotajimavate, koji su natopljeni acetonom.Čišćenje keramike od zemlje i ostalih površinskih nečistoćavršeno je prvo mehanički. Korišćene su zubarskealatke, četkice i skalpel, a zemlja se lako skidala sa čvrste,glazirane površine. Na kraju je keramika očišćena destilovanomvodom, pomoću štapića sa namotajima vate.Vata je menjana sve dok na njoj nisu prestali da ostajutragovi skinutih naslaga nečistoće. Voda je često najefikasnijirastvarač, koji se koristi za uklanjanje zemlje inemasnih naslaga sa površine keramike. Kada su fragmentibili potpuno suvi, dezinfikovani su alkoholom.KONSOLIDACIJA. I pored neophodne reverzibilnosti,veoma je teško kasnije u potpunosti odstraniti konsolidantiz tela keramike. Međutim, iako su fragmenti zdelebili u dobrom stanju, a glazura dobro vezana za telo,odlučeno je da se keramika konsoliduje, zbog nekontrolisanihuslova u depou. Istovremeno, konsolidacijom sestruktura dodatno mehanicki učvršćuje, bez hemijskereakcije sa keramikom. Obim i brzina prodiranja konsolidantau keramiku zavisi od veličine molekula smole, od8 OHO lepak je mešavina polivinil acetata i celuloznog nitrata.9 U nedostatku prostora sa adekvatnom ventilacijom iekstraktora za gasove, posebna prostorija za lako isparljive, štetne izapaljive materije je jedino rešenje.134ld not be assembled while the second handle was not remade.The significance of the object itself and the factthat only few such vessels were discovered together withthe obvious mistakes during the previous restorationwere good reasons for the curator to decide that newconservation and restoration were needed.ESTIMATION OF THE STATE OF THE OBJECT:The dish was thrown on a wheel and the clay was wellrefined.The investigations of the edge of a fragmentproved that the ceramics was relatively porous, which iscommon for the firing temperature of this kind of ceramics.7 Since decoration of the dual technique of sgraffitoand painting implies that the dish was fired twice, itwas assumed that the ceramics was quite solid. Examinationwith dental tools on the edges of fracture provedour assumption, as well as the fact that the glaze wasfirmly attached to the body. Compact layers of dirt atthe bottom of the recipient were easily taken off as theyflaked, without risk of taking off the surface layer of ceramicswith them , i.e. glaze.SUGGESTED TREATMENT: It was decided thatthe full restoration of the object was to be done. The followingtreatment procedure was applied: removal of oldrestoration, i.e. taking off the restored pieces of plasterand cleaning of fragments, and afterwards consolidationand reassembling, restoration with plaster, retouchingand the final consolidation of the object.Conservation treatmentCLEANING OF THE OBJECT: The simplest and inthe same time the safest way of removing the restoredplaster pieces is mechanical cleaning. Larger plasterareas were well moistened with water, and such softenedplaster was carefully cut with scalpel reaching asclose as possible the edges of the ceramics. The remainingplaster on the fragment edges was then cleaned bywater, dental tools and the needle.Fragments were assembled, but the edges were notcleaned from dirt before assembling, the dish had to bedisassembled and fragments completely cleaned. Removalof old adhesive began with identification based on itsphysical and chemical characteristics - colour, firmnessand solubility. This identification determined the choiceof appropriate solvent for adhesive removal. Test on onefragment confirmed the assumption that the object wasassembled with the OHO adhesive 8 , very commonly usedhere. In order to completely disassemble the dish, it wasput in a plastic vessel with the air-tight lid and surroundedwith cotton wool pads moistened with acetone andplaced so as to avoid any contact between the pads andthe ceramics. After 90 min. with occasional adding ofacetone to the pads, due to acetone vapours, OHO adhesivehad softened and fragments separated. During thedisassembling only the slight pressure was applied tojunctions. Otherwise if the adhesive had not softenedenough stronger pressure would have caused detachmentof the thin layer of ceramics together with the adhesive.Since acetone evaporates easily and quickly, the objecthad to be placed in a special room with open windows. 9Then the fragments’ edges were cleaned from remainingadhesive, using sticks with cotton wool pads moistenedwith acetone. Ceramics was first mechanically cleaned7 Medieval glazed pottery was mostly fired at temperaturesfrom 800ș do 1000ș C, its porosity depends on the quality of clay andis always over 5%. Porosity of stone, faience and porcelain, whichare made of extremely refined clay of high quality and fired at temperaturesabove 1050șC, is always less than 5%.8 OHO adhesive is a mixture of Polyvinyl acetate and cellulosenitrate.9 In the lack of space with adequate ventilation and gas extractor,separate room for easily evaporative harmful and flammablesubstances is the only solution.

korišćenog rastvarača i od procenta smole u rastvaraču.Takođe, zavisi od fizičkog i hemijskog stanja predmeta imetoda primene konsolidanta. Izabrani konsolidant nesme da promeneni izgled predmeta, što je posebno važnoza predmete koji nisu glazirani ili imaju transparentnuglazuru. Mnogi materijali, kada ispune telo keramike,menjaju ton boje, čineci površinu tamnijom ili sjajnom.Fragmenti su konsolidovani u 5% rastvoru paraloidaB72 10 u ksilolu. Konsolidacija je izvršena metodom potapanja,jer se na taj način omogućuje prodiranje rastvorau predmet u najvećoj meri. Fragmenti su stavljeni na metalnumrežicu, koja nam dozvoljava da ceo proces obavimobez direktnog dodira sa konsolidantom, a zatim supolako potopljeni i ostavljeni u hermetički zatvorenojkanti, 60 minuta. Lagano potapanje je veoma važno, jerna taj način omogućavamo da se vazduhu postepeno povlačidok keramika kapilarno apsorbuje konsolidant. Svremena na vreme je proveravan nivo zasićenja keramikei sve dok konsolidant nije u potpunosti prodro ustrukturu, na površinu rastvora su izlazili mehurići vazduha,koje je konsolidant potiskivao. Fragmenti su ostavljenidvadeset četiri časa da se osuše, jer je toliko potrebnorastvaraču (ksilolu) da u potpunosti ispari iz keramike.Neophodno je da keramika bude potpuno suva presvake dalje faze tretmana, posto bi kontakt rastvarača savodom izazvao pojavu belih tragova i mrlja.LEPLJENJE. Pri izboru lepka je veoma važno izabratilepak odgovarajuće viskoznosti, koja je u skladu sastepenom poroznosti keramike. Porozna keramika nesme da se lepi lepkom male viskoznosti, jer će biti apsorbovanu telo keramike, ne ostavljajući dovoljno lepkana površini ivica fragmenata, što onemogućava dobarspoj. Osim toga, apsorpcija lepka ostavlja nepopravljiveposledice za predmet: na delovima oko preloma i spojevamogu se pojaviti tamne mrlje koje označavaju dokleje lepak apsorbovan; konsolidant deluje na lepak i kasnijepri rukovanju predmetom svaki pritisak na spojmože izazvati da se konsolidovani deo odvoji, štopredstavlja novo oštećenje. Zato lepak za poroznu keramikumora da ima prirodnu viskoznost.Pre lepljenja, ivice fragmenata su još jednom očišćenealkoholom i prekontrolisano je da li su ostala vlaknavate, jer samo apsolutno čista i suva površina omogućavadobro lepljenje. Fragmenti su zalepljeni OHO lepkom,11 a spoj je zatim učvršćen papirnim selotejpom.Manja količina lepka, koja je pod pritiskom iscurela naspojevima, očišćena je acetonom dok je lepak još biomek. Pronađeno je mesto jednog fragmenta koji u predhodnojrestauraciji nije bio zalepljen. Provereno je jošjednom da li se drugi fregment negde uklapa, ali poštone postoji mesto direktnog spoja, njegovo mesto je određenona osnovu dekoracije i forme i biće kasnije uklopljenu toku rekonstrukcije.Sledećeg dana, kada je OHO lepak bio potpuno suv,skinut je selotejp. Selotejp ne sme ostati dugo zalepljenna površini keramike, pre svega keramike sa osetljivompovršinom, jer će pri skidanju povući sa sobom čitav površinskisloj keramike ili sve nestabilne i slabo vezanedelove. U našem slučaju se moglo desiti da se, naizgledčvrsto vezana glazura, na nekim mestima odvoji. Površinakeramike pažljivo je očišćena acetonom od tragovaselotejpa, jer ako oni ostanu na keramici, skupljaće pra-10 Paraloid B72 je kopolimer metil akrilata i etil metakrilata.Koristi se kao lepak i konsolidant za trošnu i čvrstu keramikuReverzibilnost: rastvorljiv je u acetonu, ksilolu, toluenu, diacetonalkoholu, metilen hloridu, etilen dihloridu, trihloretilenu, etilacetatu, dimetil formamidu. S.Buys, V.Oakley, Conservation andRestoration of Ceramics, Oxford 1999., 191.11 OHO lepak je kod u najčešćoj upotrebi. Polivinil acetat spadau grupu polimera najotpornijih na uticaj svetlosti. ReverzibilnostOHO lepka: rastvorljiv je u acetonu, toluenu, etil acetatu. Omekšavau tpoloj vodi.from dirt and other surface filth. Dental tools, brushesand a scalpel were used and dirt was easily cleaned fromsolid glazed surface. At the end the ceramics was cleanedwith the distilled water using sticks with cotton wool.Cotton wool was being replaced until no marks of thedirt were left on it. Water is often the most efficient solventthat is used for dirt and removal of non-greasy layersfrom the surface of the ceramics.The dried fragmentswere disinfected with alcohol.CONSOLIDATION. In spite of needed level of reversibility,it is very difficult to completely remove the consolidantfrom the ceramics body. However, although thedish fragments were in good condition and glaze firmlyattached to the body, the decision was made to consolidatethe ceramics as conditions in the depot could notbe controlled. At the same time the structure was stabilizedby consolidation without provoking a chemical reactionwith ceramics. Degree and the speed of consolidantpenetration into ceramics depend on molecule sizeof the resin, the solvent used and finally the resin percentagein solvent. They also depend on physical andchemical conditions of the object and on the method ofconsolidant application.The chosen consolidant must not alter appearance ofthe object, which is especially important for objects thatare not glazed or that have transparent glaze. Many materials,after filling the ceramics body alter the shade ofthe colour, making the surface darker or lighter.The fragments were consolidated in 5% solution ofParaloid B72 10 in xylol. Consolidation was done by immersing,this method provides penetration of the solventinto the object to the highest degree. Fragments wereplaced on a metal grid which made completion of theprocess possible without direct contact with consolidant,and then they were carefully immersed and left ina hermetically closed can for 60 min. Careful immersingis very important, because the air gradually withdrawswhile ceramics absorbs the consolidant through capillars.The level of ceramics saturation was occasionallychecked and before the consolidant completely penetratedthe structure, air bubbles pushed by the consolidantstarted appearing on the surface of the solvent. Fragmentswere left to dry for 24 hours, since it is the timeneeded for the solvent xylol to evaporate completely outof the ceramics. It is necessary that the ceramics is completelydry before any further treatment since otherwisecontact of the solvent with the water would cause appearanceof white traces and stains.ASSEMBLING. For the assembling phase it is veryimportant to choose adhesive with viscosity that correspondsto the degree of ceramics porosity. Porous ceramicsmust not be assembled with adhesive of low viscosity sinceit will be absorbed into ceramics body, without leavingenough adhesive on the fragment surfaces, thus preventingsolid joints. Besides, absorption of adhesive leaves irreparableconsequences on the object: dark stains can appeararound fractures and junctions indicating to whichdegree adhesive is absorbed; consolidant affects adhesiveand during further handling the object, even a slightpressure can cause the separation of consolidated partwhich further causes damage. Therefore adhesive for porousceramics needs to have natural viscosity.Before assembling the fragment edges were onceagain cleaned with alcohol and checked for the remainingcotton wool fibres as only absolutely clean and dry10 Paraloid B72 is a copolymer methyl acryl ate and ethyl metacrylat.It is used as the adhesive or consolidant for fragile and firmceramics. Reversibility: it is soluble in acetone, xylol, toluene, diacetonealcohol, methylene chloride, ethylene dichloride, trihloretilen,ethyl acetate, dimethylformamid. S.Buys, V. Oakley, Conservationand Restoration of Ceramics, Oxford 1999., 191.135

12 Lateks je guma koja se dobija iz drveta Hevea brasiliensis,asam proizvod sadrži do 60% gume kojoj je dodat amonijak, da bibila postojanija. Guma je vulkanizovana i u toj formi nije rastvorljivau rastvaračima. Dvostruke veze polimera omogućavaju bržuoksidaciju na sobnoj temperaturi i kada se osuši dobija oblikelastične i jake prevlake C.V.Horie, Materials for Conservations,Butterwoths, UK, 199013 Barlep je akrilna disperzija, koja se može naći pod različitimproizvodnim nazivima.136šinu i prljavštinu koja se lepi za njih, a ubrzo će promenitii boju i postati vrlo uočljivi.REKONSTRUKCIJA. Pre početka rada na rekonstrukciji,keramika je dodatno zaštićena lateksom. 12 Lateksomogućava da se površina keramike zaštiti od mehaničkihoštećenja tokom rada i da se materijali i bojekoje koristimo tokom procesa restauracije ne apsorbuju,jer svako naknadno čišćenje produžava rad konzervatorai dodatno oštećuje keramiku.Na osnovu forme sačuvanih i zalepljenih fragmenatanapravljen je kalup od gline za delove zida recipijenta ioboda koji nedostaju. Uzet je otisak sačuvane drške u glinii tako je dobijen kalup u koji je onda uliven gips. Obrađenadrška je zatim postavljena na sačuvan koren originalnedrške. Po uzoru na dekoraciju sačuvane drške, oštromalatkom je urezan spiralni ornament. Na spoljašnjojstrani posude su šestarom iscrtani koncentrični krugovi,a zatim su urezani oštrom alatkom. Na kraju je gips ispoliranšmirglama visoke granulacije, da bi se dobila površinakoja odgovara teksturi glazirane keramike.Za rekonstrukciju je korišćen alabaster gips, koji jemešan sa rastvorom 0,75% barlepa 13 u vodi. Gips jenajčešće korišćeni materijal za rekonstrukciju, jer sunjegova gustina, čvrstina i toplotno širenje uglavnomkompatibilni sa slabije pečenom i arheološkom keramikom.Njegova svojstva se mogu poboljšati dodavanjemakrilne disperzije ili polivinil acetatne emulzije, čime sepovećava i čvrstina gipsa i snaga lepljenja. Relativnogruba tekstura ivica preloma porozne keramike odgovarasvojstvima gipsa, koji se za njih dobro vezuje.Postoje najmanje dva različita pristupa restauracijidelova koji nedostaju na predmetima. Za oba pristupapostoje argumenti koji ih podržavaju i opovrgavaju. Kodnas se restaurirani delovi izrađeni od gipsa izvode takoda budu u istom nivou kao i originalna površina keramike.Prelaz između gipsa i keramike treba da bude neprimetan,kada se nivo proverava prstima. Smatra se dase razlika između originala i restauracije može dovoljnonaglasiti izvođenjem retuša koji je za nijansu svetliji odkeramike. Takođe, u našoj konzervatorskoj praksi nijeobičaj da se dodaju pigmenti u gips da bi restauriranideo dobio boju i ton sličan keramici. Znači, restauriranideo izveden od gipsa ostaje beo, a zatim ga retuš činiuočljivim i drugačijim od originalne površine keramike.Kada se radi retuš na belom gipsu, mora se imati u vidustarenje retuša i njegovo ljušćenje, a time i neophodnostobnavljanja retuša posle izvesnog broja godina.Drugi pristup, koji nije uobičajen kod nas, sastoji seod izvođenja restauriranih delova koji su uvek vrlo masurfaceenables good assembling. Fragments were assembledusing OHO adhesive 11 , and junction was fixedby paper duct tape. The amount of adhesive that underpressure appeared on conjunctions was cleaned by acetonewhile adhesive was still soft. A fragment, which inprevious restoration was not assembled, was now fittedto its position during assembling. It was checked againwhether the other fragment fitted somewhere, but sincethere was no direct junction, its place was determinedbased on decoration and form and it would be fitted duringthe reconstruction.On the next day, when the OHO adhesive was completelydry, the duct tape was removed. The duct tapemust not be left for a long time on the ceramics surface,especially with sensitive surface, as during removal surfaceof ceramics and all unstable and loosely attachedparts can be lifted by it. In our case seemingly firmly attachedglaze could detach. Ceramics surface was carefullycleaned with acetone from the duct tape traces. Otherwisethey would collect dust and dirt and would soonchange the colour and become visible.RECONSTRUCTION. Before the reconstruction, ceramicswas additionally protected by rubber latex. 12Latex enables further protection of the ceramics frommechanical damages during work and avoiding absorptionof materials and colours used during restoration,since further cleaning prolongs the work of conservatorand additionally damages ceramics.Based on the form of preserved and assembled fragmentsmould of clay for missing parts of recipient walland rim was made. Print of the preserved handle was madein the clay and plaster was infused into the obtainedmould. Processed handle was then placed on the preservedroot of the original handle. According to decoration of thepreserved handle a spiral ornament was incised with asharp tool. Concentric circles were drawn on the outer sideof the dish with callipers, and then they were incisedwith a sharp tool. At the end plaster was polished withemery of high granulation, in order to obtain the surfacethat corresponds to the texture of glazed ceramics.Alabaster plaster, mixed with 0,75% Barlep solventin water was used for the reconstruction. 13 Materialmost often used for reconstruction is plaster, as its density,firmness and heat expansion are compatible withlow fired and archaeological pottery. Its qualities can beimproved by adding acrylic dispersion or polyvinyl acetateemulsion, wherewith firmness of plaster andstrengths of assembling are enhanced. Relatively roughtexture of junction edges of porous ceramics correspondsto plaster qualities.There are at least two different approaches to restorationof missing parts on the objects. For both there arearguments that sustain or disprove it. Restored partsmade of plaster should be in the same level as the originalsurface of pottery. Transition from plaster to potteryshould be imperceptible when touched. It is believedthat difference between the original and restoration issufficiently emphasized by retouch that is for one nuancelighter than pottery. Likewise, in our conservationalpractice it is not customary to add pigments into plaster11 OHO adhesive is most commonly used in our country. Polyvinylacetate belongs to the polymer group that is most resistive tolight. OHO adhesive reversibility: it is soluble in acetone, toluene,ethyl acetate. It softens in hot water.12 Rubber latex is derived from the rubber tree Hevea brasiliensisand commercial product contains to 60% rubber, with ammoniaadded to give enhanced stability. Rubber is vulcanized and insolublein solvents. The double bonds in the polymer enable rapid oxidationat room temperature. Dried latex is in form of elastic andstrong film. C.V.Horie, Materials for Conservations, Butterwoths,UK, 1990., 90.13 Barlep is acrylic dispersion that can be found under differentproduct names.

lo ispod nivoa originalne keramike, čime se dodatno ističenjihova razlika. Ovaj način rada primorava konzervatorana veću preciznost u radu i onemogućava prikrivanjeloše izvedenih spojeva. Mnogi konzervatori praktikujuizvođenje bojenog restauriranog dela, dodavanjemzemljanih pigmenata u gips, tako da se dobije samopribližna boja keramike. Smatra se da se time razlikaizmeđu originala i restauracije čini manje uočljivom,ako eventualno dođe do oštećenja predmeta ili retuširanogsloja koji može biti nepažnjom izgreban ili počne dase ljušti zbog starenja. Međutim, ako dođe do gubljenjaboje bojenog restauriranog dela, dobijamo kompleksnijiproblem, jer se mora zameniti čitav restaurirani deo.RETUŠ. Na početku konzervatorskog tretmana trebaodlučiti na koji način će restaurirani deo biti retuširan.Površinski sloj ne treba samo da bude obojen, već trebada ostvari odgovarajuću propustljivost svetlosti, dubinu isjaj, koji su u skladu sa originalnom površinom keramike.Opšte pravilo je da je boja retuša za nijansu svetlija odoriginalne boje, jer bi tamniji retuš restaurirarnim površinamavizuelno dao utisak tamnih praznina na predmetu.Takođe, retuširane površine ne smeju biti preteranouočljive i nametljive, kada se posmatraju sa razdaljinekoja je uobičajena za posmatranje u izložbenim vitrinama,ali moraju biti lako primetne iz blizine. 14 Polaznatačka pri izradi rertuša je ustanovljavanje glavne boje pozadinepredmeta i prema njoj se zatim sve usklađuje.Površina zdele je prekrivena bojenim slojem koji je unijansama zelene i svetlo žute boje, bez pravilnosti u dekoraciji,osim na zgrafito motivima. Pošto bi bilo neprihvatljivoimitirati raspored i razlivenost boje posude, odlučenoje da se retuš izvede zelenom bojom, ujednačenogintenziteta na čitavoj površini. Odgovarajući zemljanipigmenti su prvo dodatno izmrvljeni, da bi se dobio finijiprah koji je lakše rastvorljiv. Pigmenti su zatim rastvoreniu 3% rastvoru barlepa u destilovanoj vodi. Barlep,kao akrilna disperzija, omogućava da bojeni sloj budeotporniji i da se bolje veže za površinu gipsa. Teškoća priizvođenju retuša na gipsu predstavlja tačno pronalaženjenijanse odgovarajuće boje. Boja naneta na gips posle sušenjaje uvek svetlija, a posle nanošenja konsolidantatamnija. Zato je neophodno raditi testove na pločicamaod gipsa. Dobijeni svetlo zeleni ton je za nijansu svetlijiod svih tonova zelene koji se nalaze na zdeli, a takođe jebio u skladu i sa tonovima svetlo žute. Na kraju su retuširanepovršine mekom četkom lazurno premezane konsolidantom- 5% rastvor paraloida B72 u ksilolu, čime surestaurirani delovi dobili sjaj sličan glazuri keramike.Ovim je konzervatorsko-restauratorski tretmanpredmeta bio završen.Preporuke za čuvanje i izlaganje predmetaTemperatura: 18-25 o CRelativna vlažnost: oko 50%UV zračenje: manje od 75 mikrovata po lumenuOsvetljenje: 50-250 luxSvi aero zagađivači bi trebalo da budu neutralisaniPolice u depou, kao i izložbene vitrine, trebalo bi dabudu izrađene od inertnih materijala - metala i stakla.Preporučuje se da se keramički predmeti čuvaju u vitrinamasa vratima od stakla, koja olakšavaju kontrolu iposmatranje predmeta, smanjuju razmenu vazduha i prodorzagađivača i prašine. Police moraju biti prekrivenepolietilenskom folijom, koja štiti predmet od dodira sametalom i ujedno je hemijski najbezbzedniji materijal.Izbor pristupa restauraciji i izvođenje retuša zavisidelom od konzervatora, a delom od usvojenog principarada konzervatorskog centra, pri čemu se moraju imatiu vidu i posebni zahtevi kustosa ili vlasnika. Istovremesothat restored parts get the colour and note similar topottery. Meaning, the restored part of plaster remainswhite in colour, and the difference from original surfaceof pottery is emphasized by retouching. When workingwith white plaster, aging of the retouch and its peelingmust be taken into consideration, as well as possibly necessaryre- retouching after some years.The second approach that is not commonly used, consistsof implementation of restored parts, which are alwaysvery little under level of original pottery and thusmaking their difference additionally emphasized.This requiresbetter precision of the conservator during his workand prevents hiding of badly managed joints. Many conservatorscolour the restored part by adding earth pigmentsinto plaster thus obtaining approximate colour ofpottery. It is believed to diminish the difference betweenthe original pottery and the restoration, in case the restoredpart or retouched layer are damaged by unintentionalscratching or peeling due to aging. However, if the colourof coloured restored part is lost, it is a more complex issue,since the whole restored part must be replaced.RETOUCH. At the beginning of conservation treatmentit has to be decided how the restored part will beretouched. Surface layer must not only be coloured, butit must reach adequate penetration of light, depth andshine, in accordance with the surface of original pottery.General rule is that colour of retouch should be onenuance lighter from the original colour, since the darkerretouch on restored surfaces would give impression ofdark voids on the object. Moreover, retouched surfacesmust not be too noticeable and provoking when lookedfrom distance that is common for watching display casesbut they must be easily noticeable when closely lookedat. 14 Diagnostic of main colour of object backgroundwas the outset in making retouch and according tothat everything else was adjusted.Surface of the dish was covered with coloured layerthat was in nuance of green and light yellow colour, withoutregularity of decoration, except on sgraffito motifs.Since it would be unacceptable to imitate layout andoverflow of colour of the dish, it was decided that theretouch should be green and of equal intensity on thewhole surface. Adequate earth pigments were at firstcrumbled as to get fine powder that is easily soluble.Pigments were then dissolved in 3% Barlep solvent inwater. Barlep as acrylic dispersion enables better resistanceof coloured layer and to better bond with plastersurface. Contriving the exact nuance of adequate colourrepresents difficulty during retouch implementation onthe plaster. Inflicted colour on the plaster after dryingout is always lighter and after implementation of consolidantdarker. Therefore it was necessary to perform teston the pellets of the plaster. Obtained light green notewas for nuance lighter from all notes of green colourthat were on the dish, also it was compatible with notesof light yellow. At the end retouched surfaces were azurecoated with soft brush dipped in consolidant – 5%solvent Paraloid B72 in xylol which gave to restoredparts shine similar to glazed pottery.With this conservation – restoration treatment wasdone.Recommendations for storage and exhibitingthe objectTemperature: 18-25 o CRelative humidity: 50% ±5%UV radiation: less than 75 microwatts per lumenLighting: 50-250 luxAll 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 prepoznatirad jednog konzervarorskog centra ili konzervatora pojedinačno.Zbog nedostatka adekvatnog sistema edukacijeu oblasti konzervacije arheoloških predmeta, u našojzemlji ne postoje ujednačeni kriterujumi i principirada. Ovi principi bi morali da budu ustanovljeni, a načinrada osavremenjen i usklađen s pristupom i metodama,koji su u opšteprihvaćeni svetu.Ana Kocjan, konzervator, Dijana CentarKonzervacija gleđosanog skifosaiz zbirke Dunjić Narodnog muzejau BeograduGleđosana keramika na prostoru Gornje Mezije zajednosa ostalom finom keramikom, kao što su mramoriziranai bojena, predstavljaju vrstu luksuzne grnčarije.Obrada površina keramike glaziranjem bila jeza rimsku keramiku karakteristična. 1 U tom periodu suse koristile olovne gleđi, čiji je sastav omogućavao dobijanjeraznolikih svetlih boja, direktno nanošenje napredmete od gline i davao je dekoritivnost i sjaj površinama.Iz ovih razloga je glaziranje keramike imalo širokuupotrebu. Olovna glazura se na keramičkim predmetimanije primenjivala pre I veka pre nove ere. 2 Prvi putse pojavljuje u oblasti istočnog Mediterana, posebnocentri u Tarsu, Smirni i u zapadnoj Maloj Aziji. Atraktivnostposuda i potrebe korisnika dovele su do širenjatehnika glaziranja u zapadne provincije Carstva, u ItalijuI Galiju. Tokom II veka počinje proizvodnja i u Podunavskimprovincijama, kao što su Panonija, Dakija,Trakija, Gornja i Donja Mezija.Predmet na kome je izvršen konzervatorski tretmanpredstavlja skifos, koji pripada Rano-carskoj gleđosanojkeramici sa prostora Gornje Mezije. Ovakav tip posudaproizvodile su radionice u istočnom Mediteranu, u severnojItaliji i u centralnoj Galiji. 3 Pojava ovog tipa posuda u GornjojMeziji vezuje se za kraj I veka, vreme Flavijevaca. 4Skifos je pronađen tokom arheoloskih iskopavanja naKosmaju, nepoznatih uslova nalaza. Predmet se čuva u Narodnommuzeju u Beogradu, zbirka Dunjić (Inv. br. 351.)Opis PredmetaPosuda je cilindrične forme, asimetrična, debljih zidovarecipijenta, čije su površine prekrivene žutom ilizeleno-žutom gleđi. Na više mesta na celoj posudi gleđje skinuta, tako da se vide «ostrvca » originalne keramikesive i crne boje. Dimenzije predmeta: visina -7 cm,prečnik oboda - 8,5 cm, prečnik dna -5,5 cm. Debljinagleđosanog sloja je između 0,25 i 0,50 mm. 5 Predmet sesastoji od tri dela: dna, recipijenta i dve drške, od kojihje jedna u fragmentima. Dno posude je kružnog oblika isastoji se od tri koncentrična prstena, koji imaju oštećenjamanjih i većih dimenzija. Površina recipijenta definisanaje kanelurama nepravilnog polukružnog oblika,koje se pružaju od donje ivice recipijenta do ispod oboda.Takođe, na spoljašnjim površinama postoji nekolikopukotina malih dimenzija. Predmet ima izvedenu jednudršku, koja je trakasta i postavljena vertikalno u odnosuna osu posude. Na gornjem, završnom delu, drška imapločastu aplikaciju. Druga drška se sastoji od dva fragmenta:gornji deo sa pločastom aplikacijom i završnideo drške. Unutrašnje površine recipijenta i dna su tamnobraon boje i zaprljane.1 T.Cvjetićanin, Gleđosana keramika Gornje Mezije, Beograd 2001, 72 Ibid, 123 Ibid, 234 Ibid, 245 Ibid, 14138Shelves in storage as well as display cases should bemade of inert materials – metal and glass. It is recommendedfor pottery to be stored in display cases with glassdoors, which makes control and observation of the objecteasy, reduces exchange of air and penetration of contaminantand dust. Shelves must be covered with polyethylenefoam, which protects object from contact with metaland at the same time it is chemically most safe material.Selection of approach to restoration and implementationof retouch partly depends on the conservator, andpartly on adopted principles by the respective centre forconservation having in mind specific demands of the curatoror the owner. At the same time those are the mainelements for identifying the work of a conservation centreor individual conservator. Due to the lack of adequate systemof education in the field of conservation of archaeologicalobjects, the are no uniform criteria and principles ofwork in our country. These principles should be established,and the work modernized and made compatible withapproach and methods, which are widely accepted. Ana Kocjan, conservator, Diana CenterConservation of a glazed skyphosfrom Dunjic collection, NationalMuseum in BelgradeGlazed pottery in Upper Moesia together with otherclasses of fine pottery as red-slipped or marbledone represents luxurious pottery. The technique of glazingwas one of characteristic procedures in the manufacturingof the Roman pottery. 1 Lead glazes compositionused in Roman times made possible its direct applicationon a clay body, gaining different bright colors,and made objects decorative and glossy. That is the reasonwhy the glazing was in widespread use. Lead glazeswere not applied on ceramics objects before 1 st centuryBC. 2 Lead glaze technique first appeared in the EasternMediterranean, particularly in workshops in Tarsus,Smyrna and in the west part of Asia Minor. The attractivenessof objects and needs of users caused diffusionof the technique of glazing towards the west part of theEmpire, in Italy and Gallia. During the 2 nd century theproduction of glazed pottery started in other regions ofthe Roman Empire e.g. in Danubian provinces - Pannonia,Dacia, Tracia, Moesia Superior and Moesia Inferior.The object conserved is a skyphos that belongs to theEarly Roman Glazed Ware from Upper Moesia. This typeof ware was produced in workshops in Eastern Mediterranean,northern Italy and Central Gallia. 3 The appearanceof this type in Upper Moesia is dated to theend of the 1 st century, period of Flavian. 4Skyphos was found during archeological excavationin Kosmaj, with unknown context. It is kept in the NationalMuseum in Belgrade, collection Dunjic (Reg.No.351).Description of objectThe skyphos is cylindrical and asymmetrical inform, with somewhat thicker walls, and yellow or greenish-yellowglaze surfaces. As the glaze had been removedfrom several spots on the vessel “islets”of the originalgray and black ceramics can be seen. Dimensions:height -7 cm, diameter of the rim 8.5 cm, and diameterof the base 5.5 cm. Thickness of the glaze surface is between0.25 and 0.5 mm 5 . The object consists of three1 T. Cvjeticanin, Glazed Pottery from Upper Moesia, Belgrade 2001, 72 Ibid, 123 Ibid, 234 Ibid, 245 Ibid, 14

Na osnovu konzervatorskog iskustva odgovornogkonzervatora objašnjeno je da je na skifosu ranije bioizveden konzervatorski tretman. Taj tretman nije rađenu Narodnom muzeju, već ga je izveo sam Dunjić, lekar ikolekcionar, čija kolekcija je, po njegovoj želji, 1976. godinepoklonjena Narodnom muzeju. Takođe, na predmetunije moguće odrediti koji su delovi originalni, a kojisu izvedeni u toku ranije intervencije, jer je originalnakeramika u potpunosti oponašana. S obzirom da predmetnije imao dokumentaciju, nije bilo moguće zaključitikojim konzervatorskim postupcima i kojim vrstamamaterijala je izvršena konzervatorska intervencija.Konzervatorski tretman se sastojao iz više faza:a) mehaničko čišćenjeb)odstranjivanje delova stare restauracijec) konsolidacija struktured) lepljenje fragmenatae) restauracija delova koji nedostajuf) restauracija drškig) retušh) impregracijaa) Mehaničko čišćenjeSud je očišćen od prašine tamponima vate i destilovanevode, nakon čega je ostavljen da se suši na sobnojtemperaturi, u trajanju od 30 minuta.b) Odstranjivanje delova stare restauracijeSkifos je potopljen u dva litra destilovane vode, u kojuje dodato pola kašike dejonizovanog deterdženta. Sudje ostao u rastvoru jedan čas. Nakon ovog perioda ustanovljenoje da su se fragmenti posude delimično odvojilijedan od drugog i da ih dalje ne bi trebalo mehaničkiodstranjivati zbog mogućih oštećenja. Stoga je posudaponovo stavljena u isti rastvor, u trajanju od jednog časa.Nakon završetka procesa dobijeno je 10 fragmenataoriginalne keramike i 5 fragmenata koji su izvedeni ugipsu. Drška koja je bila na posudi dobila je četiri originalnafragmenta. Takođe, otkrivene su dve vrste gipsakojom je izvedena stara restauracija. Prvu predstavljagips koji je mešan sa pigmentom, zbog čega ima plavuboju, i druga, koju predstavlja čist gips, bele boje. Takođe,pokazalo se da su ivice originalnih fragmenata blagodeformisane i da se na njima nalaze višeslojne, čvrstenaslage lepka, kojim su spojeni tokom ranije intervencije.Lepak je natapan acetonom po sistemu kap po kap, uzpomoć plastičnog šprica i igle, i nakon omekšavanja pažljivoje uklonjen detalnim alatkama. Ostaci gipsa starerestauracije na fragmentima originalne keramike uklonjenisu detalnim alatkama i destilovanom vodom. Poslemehaničkog čišćenja fragmenti su isprani u destilovanojvodi i ostavljeni da se suše na sobnoj temperaturi.c) Konsolidacija struktureKonsolidacija je izvršena u 5% rastvoru Paraloida B72 u ksilolu. Fragmenti su nakon toga ostavljeni da sesuđe na staklenoj podlozi 24 časa.d) Lepljenje fregmenataLepljenje je izvršeno OHO lepkom (proizvodi ga Grmeč).Proces lepljenja je bio otežan jer su ivice fragmenatabile blago deformisane. Zbog toga je sa unutrašnjestrane dna posude postavljena glina, koja je poslužilakao oslonac za fragmente. Za pridržavanje slepljenihfragmenata korišćena je skoč traka. Nakon završenogprocesa spajanja fragmenata videlo se da nedostaje skoropolovina recipijenta i jedan deo dna.e) Restauracija delova koji nedostajuDelovi koji nedostaju restaurisani su alabaster gipsomi glinom, kao pomoćnim sredstvom. Alabaster gipsje mešan sa rastvorom Silakrila od 1,5 % u destilovanojvodi. Glina je služila kao podloga na koju je nanošenalabaster gips. Prostori između spojenih fragmenata keparts:base, walls and two handles, one of them fragmented.The base is round consisting of three concentricrings more or less damaged. The recipient’s surface ischanelled with irregular semi-circular facets stretchingfrom the lower edge to the rim of the recipient. On theouter surfaces there are cracks of smaller dimensions.Object has one vertical strap handle with plaque-likeplastic ornament in the upper part. There are two fragmentsof the second handle: the upper part with plaqueand ending part. The inner surfaces of walls and baseare dirty and dark brown in color.The responsible conservator concluded that the restorationtreatment previously done on object was notdone by the National Museum conservators but by Dunjichimself, doctor and collector who donated his collectionto the National Museum in 1972. Also, it wasnot possible to define which parts were original andwhich ones restored, because the original ceramic wascompletely imitated by the treatment.There was no conservationdocumentation which hampered the understandingof conservation treatments and materials used.Conservation treatment at DIANA Centre consistedof:- Mechanical cleaning- Removing of old restoration parts- Consolidation- Bonding of fragments- Restoration of missing parts- Restoration of handles- Retouching- Impregnationa) Mechanical cleaningObject was cleaned from dust with cotton-wool padsand distilled water. After that it was left to dry thoroughlyat room temperature for 30 minutes.b) Removing of old restoration partsSkyphos was put in 2 liters solution of distilled waterand half spoon of deionized detergent. After onehour parts partly separated and it was decided not tofree them mechanically as damages may occur. Therefore,the object was returned for another hour to the samesolution. After the process, there were 10 fragments oforiginal ceramic and 5 fragments of the old restoration.The handle belonging to the object had four originalfragments. Also, two types of plaster used in the old restorationwere uncovered. One that was mixed with bluepigment and the second was pure plaster, white in colour.Also, edges of fragments were slightly deformed.On the edges there were strong, bedded deposits of glueused in the previous treatment. The glue was graduallysoaked with acetone in order to soften it and after thatdeposits were partly removed by dental tools. The remainingplaster on fragments was removed by dentaltools and distilled water. After mechanical cleaning allfragments were rinsed in distilled water and put to dryat room temperature.c) ConsolidationThe fragments were consolidated in five-percent solutionof Paraloid B 72 in Xylol. After that, the fragmentswere left to dry on a glass suppport for 24 hours.d) Bonding of fragmentsThe fragments were joined with OHO cellulose glue(made by Grmec). The process was difficult as the fragments’edges were deformed. That is why as support wecovered the inside of the base with clay. Scotch tape wasapplied to hold the fragments together until the gluedried. After the process it became obvious that almosthalf of the recipient and part of base of object were missing.139

amike, kao i ivice same keramikepre nanošenja gipsa premazanesu dva puta rastvoromSilakrila (akrilna emulzija), 3%u destilovanoj vodi. Restaurisanidelovi su posle sušenja gipsagrubo obrađeni metalnim turpijamarazličitog oblika i abrazivnimpapirima različite granulacije.Nakon toga započetoje sa završnom restauracijom.Izvedene su kanelure na recipijentui prstenovi dna.f) Restauracija drškiPrvo je izvedena drška koja je imala dva fragmenta -gornji deo sa pločastom aplikacijom i završni deo drške.Kao podloga za livenje gipsa napravljen je model drške uglini. Prvo su zalepljeni originalni fragmenti, a potom jeizmeđu njih, na podlogu od gline, izliven ostatak drške ugipsu. Ovakav postupak je omogućio da se jednostavnijei preciznije odredi širina, debljina i položaj središnjeg dela,koji je trebalo da se restauriše. Restauracija druge drške,koja je je imala četiri originalna fragmenta, izvedenaje na osnovu prve drške od koje je uzet otisak u glini.I u ovom slučaju origalni fragment je zalepljen OHOlepkom i skoč trakom, a za retauraciju je korišćen alabastergips, koji je mešan sa rastvorom Silakrila od1,5%. Nakon sušenja gipsa restaurisani delovi su obrađeniabrazivnim papirima različite granulacije i metalnimturpijama različitog oblika. Takođe su restaurisanii delovi aplikacija na obe drške koji su nedostajali.g) RetušRetuš je izveden zemljanim pigmentima, koji surastvarani u rastvoru Silakrila od 20%. Bojene gipsanepovršine su za nijansu svetlije od originalne keramike,kako bi se na bližem rastojanju razlikovali restaurisaniod originalnih delova.h) ImpregracijaNa kraju konzervatorskog postupka izvedena je impregracija,nanošenjem 5% rastvora Paraloida B 72 uksilolu, širokom četkom.Uslovi čuvanjaDa bi stabilnost predmeta ostala nepromenjena potrebnisu adekvatni uslovi čuvanja u muzejskom depoui ižlozbenim prostorijama. Adekvatni mikroklimatskiuslovi predstavljaju prvi uslov za sprečavanje destruktivnihprocesa na muzejskim predmetima.Preporuka za čuvanje predmeta: temperatura - od18?do 22?C, relativna vlažnost - od 50 do 60%, svetlost -manje od 450.000 lux sati godišnje, zagađivači - instaliranjeventilacionog sistema sa filterima koji apsorbujugasove i prašinu; u slučaju kada se predmet transportujetreba utvrditi koji su uslovi potrebni za transportpredmeta, a nakon toga definisati sistem za pakovanje ikontrolu uslova u toku transporta.Tatjana Nedeljković, konzervator, DIANA centarKonzervacija i restauracija bronzanodobskogpehara sa Konopišta140Uokviru projekta Đerdap II, prilikom zaštitnih iskopavanjau blizini sela Mala Vrbica, 1980. godine,obavljana su iskopavanja na lokalitetu Konopište, kojije smešten uz ivicu rečne terase Dunava. Formiranjemakumulacionog jezera, 1984. godine, niži delovi obale supotopljeni, a lokalitet Konopište se sada nalazi stotinakmetara od rečnog korita sa promenljivim vodostajem.Na ovom mestu vršena su iskopavanja različitog intene)Restoration of missingpartsRestoration of the missingparts was done by plaster andclay. Clay model was used forcasting the plaster. Plaster wasprepared by using a 1,5% solutionof Silakril and distilledwater. Before its application theedges were coated twice in athree percent solution of Silakriland distilled water. Afterdrying, the plaster was shapedusing various metal files and sandpaper of various degreesof grain. After that restoration of wall facets andring-shaped base was done including the chanelling onthe recipient and the rings on the base.f) Restoration of handlesThe handle with two fragments was first treated –the upper part with a plaque-like plastic ornament andending fragment. Clay model of the handle was used forcasting the plaster. Original fragments were joined firstand then the missing part of the handle was cast in plasterusing the clay as support.This proved to enable a more precise and simple decisionon the width, thickness and position of the middlepart. Restoration of the second handle in four fragmentswas done after the clay model of the first handle.In this case the original fragments were also bondedwith OHO cellulose glue and Scotch tape. Plaster wasprepared by using a1. 5% solution of Silakril and distilled water. Afterdrying, the restored parts were shaped by various metalfiles and sandpaper of various degrees of grain. The missingparts of plaques on both handles were also restored.g) RetouchingEarth pigments in 20% solution of Silakril and distilledwater were used for retouching. Retouched surfacesof plaster were done to distinguish original ceramicfrom the reconstructed parts and in a tint as similar aspossible to the original colour.h) ImpregnationThe final phase of conservation treatment -impregnationof object- was done by solution of five percent ofParaloid B 72 in Xylol applied with brush.Safekeeping conditionsAdequate microclimate conditions in museum depotsand exposition spaces are most important for stablecondition of objects. They make the first step in preventionof destructive process on museum objects.Recommendation conditions for the conserved skyphos:temperature: 18?C- 22?C, relative humidity: 50-60%, light: less than 450 000 lux/hour per year, againstpollution- installation of ventilation system with filtersthat absorb dust, gasses. If the object is to be transportedit is necessary to specify the packing system andcontrol conditions during the transport.Tatjana Nedeljković, conservator, DIANA centreConservation and restoration of aBronze Age beaker from KonopišteSite Konopište that lies on the banks of the Danubewas revealed during excavations near the villageMala Vrbica in 1980, within the project Djerdap II.With creation of the storage lake in 1984, the lowerparts of the bank were drowned, and Konopište lies nowseveral hundred meters from the riverbed with oscilla-

1 P. Popović, M.Vukmanović, N. Radojčić, Mala Vrbica-Konopište,Praistorijske i srednjovekovna nekropola i antička arhitektura,Arheološki pregled 29, 1989 (1990), 82 i dalje.2 M. Jevtić, M. Vukmanović, Late Bronze and Early Iron Age inthe Danube Valley fromV. Gradište down to Prahovo, The yugoslavDanube basin and neighbouring regions in the 2nd millennium B.C,Beograd-Vršac, 1996, 283-291.3 Ibid.ziteta, od 1980. do 1982, 1986. i 1988. godine.Već su preliminarnirezultati pokazali da je u pitanju veoma značajanlokalitet, na kome se nalaze nekropole srednjeg ikasnog bronzanog doba (Br D, Ha A-B), kasnog latena(LT D) kao i veći kompleks rimskih građevina 1 .Prelaznu fazu Bistret-Isalnita grupa 2 , datovanu okokraja XII veka pre n.e., treba shvatiti kao indikaciju finalnoghorizonta bronzanog doba, koje je okarakterisanokanelovanom keramikom Mala Vrbica-Hinova-BaltaVerde tipa. Otkriven je značajan broj nekropola kremiranihpokojnika, koje potiču iz istog perioda : Konopištekod Male Vrbice, Pesak kod Korbova, Selište kod Vajuge,Ticvanul Mare, Hinova, Ostrovul Corbului, OstrovulMare, Balta Verde i Bistret. Ove nekropole običnozauzimaju iste oblasti kao i ranije žutobrdske sahrane izanimljivo je da kasniji ukopi ne remete ranije. 3 Takođe,ritual sahranjivanja izgleda skoro isti za obe kulture.Posude korišćene na nekropolama su identične onima sanaselja. Oblici tela velikih posuda ukrašenih pečaćenimmotivom Insula Banului tipa otkriveni su u okviru nekropolesa urnama žutobrdskog i tzv. Gava tipa na lokalitetuKonopište susednog Livadama u Maloj Vrbici. Nekimetalni predmeti otkriveni na nekropolama i u naseljimaznačajni su za datovanje ovog horizonta u XI i početakX veka pre n. e. (Ha A2 i početak B1).U okviru kampanje 1988. godine na lokalitetu Konopišteiskopavana su polja sa urnama. U grobu 14, komepripada i pehar koji je predmet ovog rada, pronađeno je7 keramičkih sudova, 2 urne i 4 manje posude, koje supredstavljale prilog. Svi sudovi su došli na konzervacijuispunjeni zemljom, a 2 urne i sa ostacima kremacijetj. posmrtne lomače.Posuda je bila prekrivena debelim slojem zemlje i ispunjenanjome do vrha, cela i sa jednom drškom. Budućida je posuda bila prekrivena slojem čvrsto priljubljenezemlje, prvo se pristupilo uklanjanju ovih naslagamehaničkim putem.Korišćen je nožić kojim se, blagim kružnim pokretima,skidao sloj po sloj zemlje, dok se nije došlo do površinesame keramike. Pri čišćenju je uočeno oštećenje,nastalo verovatno prilikom samih iskopavanja (udaracašova, ili slično). To su manje brazgotine, jedna na ispupčenomdelu (roglju) posude, i druga na trbuhu. Površinakeramike je veoma osetljiva, pa je čišćenje sporonapredovalo. Ispod naslaga zemlje ukazao se, ispod drške,dosta čvrst sloj kalcinacije. Zato je u čišćenje uvedenai hemijska metoda, tj. kombinovano je mehaničko čišćenjesa blagim tamponiranjem alkoholom. To je olakšalouklanjanje sloja kalcinacije.Nakon završenog čišćena spoljašnosti prešlo se naunutrašnjost posude. Polako je pražnjena, u slojevima,zbog eventualnih sitnijih nalaza, priloga, koji bi mogliposlužiti u bližem upoznavanju rituala sahranjivanja.Ali u unutrašnjosti je nađeno samo par lesnih lutkica(konkrecije, ili očvrsli kalcijum-karbonat) i nekolikokorenčića. Poslednji tragovi nečistoće su uklonjeni blagimtamponiranjem alkoholom.Kada je završeno sa mehaničkim čišćenjem, moglisu se uočiti svi elementi dekoracije. Posuda je glačana,ali je na većem delu površinski sloj oštećen i matiran.Na dnu vrata postoje paralelni kratki urezi, koji su najverovatnijebiti ispunjeni inkrustracijom, ali se ona nijeočuvala. Na samom obodu, koji je blago razgrnut i navrhu blago stanjen, uočeni su tačkasti ubodi koji idu tatingwater level. The excavations on this site were of diverseintensity, lasting from 1980 to 1982, and again in1986 and 1988. The preliminary results showed that thiswas an important site, with Middle and Late Bronze Agecemeteries (Br D, Ha A-B), late La Téne (LT D) and a largercomplex of Roman objects 1 .Bistret-Istalnita group 2 as transitional phase datedaround the end of the 12 th century BC should be definedas indication of the final horizon of the Bronze Age thatis characterized by the channeled pottery of Mala Vrbica-Hinova-BaltaVerde type. A significant number ofcremation cemeteries dating from the same period werediscovered: Konopište at Mala Vrbica, Pesak at Korbovo,Selište at Vajuga, Ticvanul Mare, Hinova, Ostrovul Corbului,Ostrovul Mare, Balta Verde and Bistret. These cemeteriesusually occupy the same areas as the earlierŽuto Brdo burials and it is interesting to note that laterburials never disturbed the earlier ones 3 . It seems thatthe burial ritual rites are almost the same for both cultures.Body shreds of large vessels decorated with stampedmotif of Insula Banului type were discovered withinthe cemetery with urns of Žuto Brdo and the so-calledGava type at the site Konopište adjacent to the abovementionedLivade in Mala Vrbica. Some metal objectswere discovered in the cemeteries as well as at the settlementsand they are of particular significance for thedating of this horizon to the 11 th and beginning of the10 th centuries BC (Ha A2 and beginning of B1).Cemetery with urns was excavated in 1988 on the siteof Konopište.The beaker that is the subject of this paperwas discovered in the grave no. 14, together with sevenother ceramic vessels, two urns and four smallergrave goods. All of them came to the conservation centrefilled with earth, and two urns held remains of funeralcremation.The beaker was covered by a thick layer of earth andfiled with it. It seemed complete and with one handle.Being covered with a thick layer of compact earth wehad to start with mechanical cleaning.It was cleaned by a knife applying mild circular movements,taking away layer by layer until the surface wasreached. During cleaning, I came upon mark left by tool,several lines, one on the pointy part of the vessel and oneon the belly. They must have been done during the excavations(hit by a spade maybe). The surface of the ceramicswas very sensitive slowing the cleaning. Beneaththe layer of dirt, there was a thick layer of calcinations.A chemical method was introduced in the cleaning process,e.g. combination of mechanical and chemical clea-1 P. Popović, M.Vukmanović, N. Radojčić, Mala Vrbica-Konopište, Praistorijske i srednjovekovna nekropola i antičkaarhitektura, Arheološki pregled 29, 1989 (1990), 82.2 M. Jevtić, M. Vukmanović, Late Bronze and Early Iron Age inthe Danube Valley from V. Gradište down to Prahovo, The YugoslavDanube basin and neighbouring regions in the 2nd millennium B.C,Beograd-Vršac, 1996, 283-291.3 Ibid.141

142lasasto duž celog oboda, odmah ispod ivice, a keramikaje blago zadebljana odmah iznad ovog ornamenta. Ovajsitni ornament bio je urađen tehnikom inkrustacije, alise ona sačuvala samo u tragovima. Na trbuhu posudepostoje tri veća paralelna plastična rebra sa svake stranetrbuha, i sličan, manji ornament kod korena drškeposude. Unutrašnjost posude nije glačana, rapava je i izbrazdana,sa mnoštvom manjih i većih udubljenja. Bojavarira od oker do tamno smeđe, skoro crne, dok je najednom delu trbuha uočen i crvenkasti ton, verovatnonastao usled naknadnog kontakta sa vatrom.Sud br. 6 po tipologiji je oblik urna-pehar. Malih je dimenzija:visine 8,5cm, prečnika otvora 6cm, prečnika dna3,5cm i sive boje. Posuda ima jednu dršku i neobičnog jetrouglastog - rogljastog oblika. Ima razgrnut obod, bikoničantrouglast trbuh koji se naglo sužava u prstenastustopu. Čini se da drška ide preko oboda, ali su u tom delui obod i drška oštećeni. Posuda je skoro cela, oštećena nadelu gde se spajaju obod i drška, nedostaje vrh drške itrouglasti deo vrata kod samog oboda.Vrat posude je blagokonveksan. Na delu trbuha uočena je pukotina koja sezrakasto pruža ka dnu posude i ka korenu vrata.Nakon čišćenja posuda je konsolidovana u 10% rastvorukonsolidanta (OHO II spec u acetonu) i konsolidacijaje trajala 2,5 sata. Posuda je potopljena u rastvor konsolidanta,pri čemu su iz strukture počeli da izlaze mehurićivazduha - konsolidacija je bila završena kada su mehurićiprestali da izlaze. Mehurići ukazuju na šupljine ustrukturi keramike, konsolidant ulazi u strukturu keramikei potiskuje vazduh, ukazujući nam time, veličinom samihmehurića, i na veličinu pora u keramici. U ovom slučajumehurići su bili dosta uniformni i mali, pa se nakonkonsultacije zaključilo da nije potrebna dodatna konsolidacijau jačem procentu konsolidanta (koji služi za popunjavanjevećih pora). Prestanak izlaženja mehurića ukazaoje da je struktura keramike zasićena konsolidantom ipredmet je izvađen iz posude za konsolidaciju. Potom jeostavljen da se osuši, tj. da aceton ispari i konsolidant sestegne. Posuda je imala neprirodan sjaj usled vlažnostikonsolidanta, ali se ovaj sjaj izgubio tokom sušenja.Posudi je nedostajao jedan trouglasti deo vrata i vrhdrške. Prvo je, da bi se zaštitila površina keramike odgipsane prašine, kućne prašine i oštećenja koja bi moglanastati u toku rukovanja, prekrivena trakama selotejpakoje smo sada - pošto je posuda konsolidovana, moglibez bojazni da stavimo na keramiku. Sa postojećeg delavrata uzet je otisak u glini, sa unutrašnje strane, takošto je keramika naprašena talkom da bi se zaštitila odkontakta sa svežom glinom i komad rastanjene gline(debljine otprilike 1,5 cm) položen sa unutrašnje stranevrata i blago utisnut prstima. Potom je ovako dobijeniglineni kalup ostavljen da se prosuši. Tako je dobijenotisak koji je bio dovoljno čvrst da se može pomeriti sasvog mesta, i lako je odvojen zahvaljujući sloju talka, ada pri tome zadrži oblik i zakrivljenost originala. Ovajglineni otisak je zatim blagim guranjem postavljen ispoddela koji nedostaje (bio je od praznine veći sa svakestrane oko 3cm), i tu učvršćen komadom sveže gline, kojaje na mestu dodira sa drugom stranom vrata posudebila izolovana komadom sunđera. Ova konstrukcijaomogućila je da ne dođe do pomeranja otiska prilikomnanošenja gipsa. Smesa koja je korišćena za restauracijusastoji se od dental gipsa i 0.75% silakrila 4 . Gips jeumešen nešto gušće, da bi pre došlo do očvršćavanja.Ivice keramike premazane su 3% rastvorom silakrila, dabi se zaštitile od prodiranja gipsa u strukturu. Zatim jegips nanet na glineni otisak metalnom špatulom i potomizjednačen sa površinom okolne keramike. Nakon stezanjagipsa izvađen je glineni otisak koji je služio kao potning.It helped clean the layer of calcinations.When the cleaning of the surface was finished, thecleaning of the inside started. The inside earth was takenout carefully, looking out for smaller finds that couldprovide useful data for the burial ritual. However, insidewere only concretions and few pieces of roots. Lasttraces of dirt were cleaned with alcohol pads.When the mechanical cleaning was finished, all detailsof decoration were visible. The vessel was burnished,but the large part of the surface layer was damaged anddim. On the bottom of the neck, there were short parallelincised lines probably encrusted. However, the encrustationwas lost. The rim slightly everted and thinner at theedging line, bore a wavy punctual incision, just below theedge, and ceramic was slightly thicker above the ornament.This tiny ornament was done by encrustation techniquebut it survived only in traces.There are three largerparallel ribs on the both sides of the belly, and a similarsmaller ornament near the bottom of the handle. The innersurface was not burnished; it is rough and with manysmaller and bigger recesses. The color varies from yellowto dark brown, nearly black, and on one part of the belly,there is a reddish hue – probably due to a later firing.Vessel no. 6 typologically is an urn-beaker. Small indimensions, height 8.5 cm, diameter of the rim is 6 cm,diameter of the bottom is 3.5 cm and gray in color. It isof unusual triangular shape and has one handle.The rimis everted, biconical triangular belly suddenly narrowsto a foot-ring. It seems that the handle goes over the rim,but both handle and the rim are damaged. Object is almostcomplete, damaged on the joint of rim and handle,with top of handle and part of the neck, near the rim,missing. The neck is slightly convex. There is a crack onthe belly that expands to the bottom and to the neck.After cleaning, the vessel was consolidated in a tenpercentsolution of OHO II spec for 2.5 hours. Object wasdipped in the solution, and the bubbles started to comeout – the consolidation was finished when the bubblingstopped. Bubbles indicate pores in the ceramic structure.The consolidation solution penetrates the structureand pushes out the air, and the size of bubbles correspondswith the size of the pores in the ceramic body. Inthis case, bubbles were unique and small, and there wasno need for additional consolidation in a stronger solution(which would fill bigger pores). When the bubblesstopped, the structure of ceramic was saturated with resinand the object was taken out. The object was left todry, e.g. for the acetone to evaporate and to tighten theresin. The vessel had an unnatural glow while it was wet.A triangular part of the neck and the top of the handlewere missing. To protect the surface from the plasterdust, usual dust and damage that may occur during handlingthe vessel, ceramic was covered with stripes of Sellotape.The clay mould was taken from the existing partof the neck, from the inner side. The ceramic was powderedwith talk to avoid direct contact of surface with wetclay, a piece of thinned clay (about 1.5 cm thick) placed onthe inner surface of the neck and gently pressed with fingers.Then the mould was left to dry. The clay was hardenough to be moved still keeping the shape of the original.Gently pushing a clay mould was placed under themissing part of the vessel (larger than the missing partfor about 3 cm on both sides), and fixed with a piece ofwet clay. The clay was then isolated from the other sideof the neck by a piece of sponge. This construction preventedmoving of the mould during casting. The plasterwas prepared using a 0.75% solution of Silakril 4 and distilledwater, mixed a bit densly to speed up hardening. Inorder to protect plaster penetrating the structure, the ed-4 Silakril, akrilna disperzija koju proizvodi Sileks, Pančevo 4 Silakril, acrylic dispersion, made by Sileks, Pancevo

pora. Sada je tanak sloj gipsa, koji je prilikom izlivanjaprešao preko keramike u unutrašnjosti, pažljivo uklonjenskalpelom i tamponom vate natopljenim u destilovanuvodu, a izvršene su i manje korekcije metalnim nožićem,u debljini nanetog sloja na ivicama i ugnuću samogvrata sa spoljne strane posude. Kada se gips sasvimosušio (nakon 24 sata) moglo se početi sa finim doterivanjempomoću grubljih i finijih šmirgli.Kada je završeno šmirglanje gipsa uklonjene su lepljivetrake sa predmeta, radi provere rezultata i čišćenjagipsane prašine, koja je prošla ispod krajeva lepljivetrake na keramiku. Nakon čišćenja ivica uz gips postaloje primetno da nedostaje nekoliko milimetara gipsa ukorenu vrata i na obodu posude. Da bi se zaštitila površinakeramike nanet je lateks 5 , koji se mnogo jednostavnijenanosi (pomoću plastične špatulice, ili četkice) imnogo je pogodniji za korišćenje od lepljive trake. Poštose lateks sasvim osušio (potrebno je nekoliko sati), zamućenaje nova količina gipsa i naneta na prethodnonavlaženu gipsanu površinu. Kada se gips osušio obrađivanje finim brusnim papirima na sunđeru.Pošto je nanošeno više slojeva gipsa, posle šmirglanja sevidela razlika između njih, neujednačenost u koloritu i tvrdoći.Zato je skinut sloj gipsa u debljini od 1-2mm i nanetsloj polifile. 6 Površina gipsa je nakvašena destilovanom vodomi nanet je sloj polifile zamućene sa 0,75% rastvorom silakrila.Nakon sušenja taj sloj polifile je obrađen brusnimpapirima različite finoće. Polifila je dala finu ujednačenupovršinu. Kada je uobličena na zadovoljavajući način finoje ispolirana i sa predmeta je uklonjen zaštitni sloj lateksa.Sada se moglo pristupiti traženju odgovarajućekombinacije boja za retuš. Korišćeni su zemljani pigmenti,rastvoreni u 15% emulziji silakrila. Probe bojevršene su na gipsanim pločicama, tako što su pločicepremazivane i ostavljane da se boja osuši. Nakon toga supremazivane konsolidantom (1/2 pločice) i ponovo ostavljaneda se osuše. Kada je pronađena odgovarajućanijansa, naneta je mekom slikarskom četkicom u tankompremazu i dobijen je osnovni ton. Kada se ovaj slojosušio nanet je još jedan sloj boje u koji je dodato malosivog pigmenta, da bi se dobila odgovarajuća nijansa,koja se za par tonova razlikuje od originalne boje keramike.Posle retuširanja predmeta, sloj pigmenta je ostavljenda se osuši 24 sata. Nakon toga je urađena završnaimpregnacija gipsane površine, kao i celog predmeta,3% rastvorom paraloida B67 u acetonu, što je još malopotamnelo retuš dajući odgovarajući efekat.Savremene tendencije u konzervaciji arheološke keramiketeže primeni konsolidacije samo u slučajevimakada je struktura predmeta toliko trošna da je njegovopstanak doveden u pitanje. Kod nas, usled nedostatkaadekvatnih uslova čuvanja i izlaganja, konsolidacija arheološkogmaterijala je preduslov njegovog očuvanja ijoš uvek je obavezna faza konzervatorskog postupka.Timese stabilizuje struktura trošne keramike, sprečavaupijanje vlage iz spoljne sredine, blokira dejstvo soli izsastava gline i onemogućava razvoj mikroorganizama.Treba istaći da su današnji konsolidanti 100% reverzibilnisamo teorijski, jer se ne zna sa sigurnošću kakooni u stvari reaguju u strukturi materijala, niti kako ćese ponašati kroz nekoliko decenija, prilikom neke budućekonzervacije istog predmeta. Zato konsolidaciju vršimosa maksimalnom obazrivošću, birajući materijalekoji će upotrebljeni u najslabijem mogućem procentuomogućiti najbolju zaštitu i trajanje krhkim i osetljivimpredmetima od trošne keramike.U skladu sa zahtevima moderne muzeologije kojanas obavezuje na minimalnu intervenciju, ali dovoljnuda omogući trajanje predmeta koje tretiramo, u konzervacijitrošnih predmeta koristimo materijale koji su reverzibilnii kompatibilni za originalnim predmetom. 5 Rubber latex, proizvodi Stuart R. Stevenson, London6 Polyfilla, Plasveroi S.p.A. Italijages were coated in a 3% solution of Silakril. Mixture ofplaster was applied to a clay mould with metal spatulaand levelled with the ceramics part. After hardening ofthe plaster, the mould was removed. During casting athin layer of plaster penetrated under the adhesive tapeinto ceramic, it was removed by scalpel and cotton padsmoistened by distilled water. After drying, the plasterwas first shaped using rough and medium files, followedby sandpaper of various degrees of grain.Then, the adhesive tapes were removed in order tocheck the result. After cleaning, it was evident that plasterwas several millimeters lower. To protect the surface theLatex 5 was applied (much easier to apply than the adhesivetape). After drying, which took several hours, the surfaceof the plaster was wetted and a fresh mixture of plasterapplied. When dry, plaster was shaped by sandpaper.Due to unequal density of successively applied layersof plaster, the surface was not even. Therefore, abouttwo millimeters of the width of the surface layer of plasterwere removed. Then the pre-made Polyfilla 6 mix(with a 0.75-percent solution of Silakril and distilledwater) was applied onto the previously well-moistenedplaster. The Polyfilla was shaped using sandpaper of varyinggrains, and the Latex was removed.Earth-based pigments in a 15% solution of Silakrilwere used for retouching. The trials were made on plastertablets. The color was applied by a soft brush in athin coating to achieve the basic color. In the next layerof color, a little gray pigment was added to achieve theright effect, to differentiate clearly between the originalfragments and the reconstructed parts, but still in a tintas close to the original color of the item as possible. Finally,the entire surface of the vessel was coated with aconsolidant (3% solution of Paraloid B67 in acetone).Contemporary tendency in conservation of archaeologicalceramics is to apply consolidation only in caseswhen the structure of an object is very fragile so muchso that its very existence is threatened. Because of poorconditions in our museums, consolidation of archaeologicalceramics is necessary to provide its life, and is stillan obligatory phase of conservation treatment. The fragilestructure of poorly fired ceramic is stabilized byconsolidation, preventing it to absorb moist from thesurroundings, blocking the influence of salts from clayand disabling the development of microorganisms.I would like to underline that contemporary consolidantsare 100% reversible only theoretically, becausewe have not precise understanding of what is happeningin the structure, or how it will react later on, during somefuture conservations. Therefore consolidation shouldbe used with maximum caution, selecting the materialsthat provide highest level of protection to the object butstill the minimum reaction with the structure itself.According to new demands of modern museologythat require minimum of intervention, but sufficient toassure existence of the treated object, in conservation offragile objects we use materials that are reversible andsuitable for the original object.5 Rubber latex, made by Stuart R. Stevenson, London6 Polyfilla, Plasveroi S.p.A. Italija143

Sandra Dejvison, FIIC ACRKonzervacija i restauracijastaklenih predmetaČinjenica da je stakleni predmet lepljen i restauriranne može se sakriti. Ovaj činilac ugrožava izgled finalnogrezultata i to uvek treba objasniti vlasnicima ikustosima pre nego što se započne tretman. Materijalipotrebni za konzervaciju stakla su Scotch Magic Tape810® (lepljiva traka), aceton, dejonizovani deterdžent,npr. Synperonic A 7®, destilovana ili dejonizovana voda,lepkovi - Superglue® (cijanoakrilat, tzv. superlepak),HMG® (nitrat celuloze), Paraloid B72® (kopolimer etilmetakrilata i metil metakrilata) i prozirna epoksi smola– Araldite 2020®, Fynebond®, Hxtal-Nyl-1® ili Epotek-301® (za uporednu analizu ovih smola videti S. Davison,Conservation and Restoration of Glass (2003), Butterworth-Heinemann,Slika 5.2, strana 210).Kao i kod drugih materijala, priroda i stanje predmetaodređuju vrstu tretmana. U slučaju stakla, arheološki(iskopani) predmeti mogu da se konzerviraju (madane mogu uvek da se restauriraju), a s druge strane,orošeno staklo i staklo prekriveno mrežom sitnih pukotinasuviše je osetljivo da bi se tretiralo.Većina staklenih predmeta u privatnom vlasništvukoji se daju na tretman restauratorima su antikviteti ilisavremeni predmeti, koji često imaju više sentimentalnunego istorijsku ili ekonomsku vrednost. Neki od njih suprozirni (ponekad se nazivaju «vodenobelim» u konzervatorskojliteraturi). Uz uobičajenu dodatnu pažnju koddelikatnih i dekorisanih površina, ivice preloma se čisteacetonom, kako bi se otklonila prašina i masnoća od rukovanja.Fragmenti se, zatim, spajaju uskim komadimalepljive trake, koje se postavljaju, po mogućnosti, naizmeničnona suprotne strane suda, ali tako da se ne nađujedna nasuprot druge. Korisno je ponekad blago zagrejatistaklo, ali to treba učiniti jako pažljivo. Nakon togase postepeno nanose kapi prozirne smole i razvlače dužpukotine uz pomoć drvenog štapića. Potrebno je sasvimmalo smole. Ona ulazi u pukotine uz pomoć kapilarnesile i u većini slučajeva će prodreti i u deo ispod lepljivetrake. Ako se to ne desi, moguće je smolu naneti još jednom,kada se prva količina stegne. Opšte uzevši, smolubi trebalo nanositi samo sa jedne strane stakla, jer senanošenjem sa obe strane pospešuje stvaranje mehurića.Lepljiva traka nikako ne sme da se uklanja dok se smolane stegne. Takođe ne bi trebalo koristiti vatu natopljenuacetonom za uklanjanje viška smole, osim u slučajukad ona curi, jer aceton može da spreči stezanje. Kadase smola stegne, višak lako može da se ukloni malim144Sandy Davison, FIIC ACRConservation and restorationof glass objectsRepairs and restoration of glass objects cannot normallybe made invisible. This factor limits the appearanceof the final result, and needs to be explained toowners and curators before work is begun. Materials requiredfor glass repair are Scotch Magic Tape 810®, acetone,non –ionic detergent such as Synperonic A7®, distilledor deionised water, adhesives - Superglue® (cyanoacrylate),HMG® (cellulose nitrate and Paraloid B72®(a copolymer of ethyl methacrylate and methyl methacrylate),and an optically clear epoxy resin, Araldite2020®, Fynebond®, Hxtal-Nyl-1® or Epotek - 301®. Fora comparative table of these resins, see Davison, S.(2003). Conservation and Restoration of Glass (Butterworth-Heinemann),Table 5.2 on page 210.As in the case of other types of object, it is the natureand condition of the object that dictates the treatment.In the case of glass it isn’t the case that archaeological(excavated) objects cannot be repaired (althoughit may not be possible to restore it), and at the other endof the spectrum, weeping or crizzling historical glass istoo weak to repair.The majority of privately owned glass objects whichrestorers are asked to treat are likely to be historic orcontemporary, and often have a sentimental rather thanhistoric or financial value. Of these, some will be opticallyclear (sometimes referred to as “water-white” inconservation literature). With the usual caveats concerningdelicate or decorative surfaces, break edges arecleaned with acetone to remove dust and grease fromhandling. The fragments are then held together withnarrow strips of MagicTape, placed where possible onalternate sides of the vessel and staggered i.e. so that thetape are not opposite each other. It may help to warmthe glass gently, but great care must be taken. Drops ofan optically clear resin are then placed at intervalsalong the crack and then drawn together along thecrack with a cocktail stick.Very little adhesive is required.It is drawn into the cracks by capillary action, andin most cases will seep beneath the tapes. If it does not,a second application of adhesive can be applied once thefirst has cured. In general, adhesive should be applied toone side of the glass only, as applying it from both sidesencourages the formation of air bubbles. On no accountmust the tapes be moved until the resin has cured. Neithershould acetone on swabs be used to remove excessresin – except for runs – as this will prevent the resinfrom curing. Once the resin has cured, excess can be carefullyremoved with frequently changed small cottonwool swabs moistened with acetone and/or a blunt scalpelblade, taking care not to scratch the glass. As the resinpenetrates the cracks it will displace the air withinthe cracks, thus rendering less visible. The cracks willthen appear as hairlines in both glass surfaces, unlessthere are tiny chips along the break edges.Resin can also be introduced by capillary action intotraveling cracks. It may help to warm the glass gently,unless the glass has sprung out of alignment inwhich case the crack may lengthen dramatically! Tinychips that do not penetrate through the glass, can be carefullyfilled with drops of resin at a later stage, placingthe glass in such a position that the chip lies uppermostso that the resin finds its own level.Tiny holes can be filledby first backing them with Magic Tape, before applyingresin in a slightly thickened state.

komadićima vate namočenim u aceton, uz redovno menjanje,i/ili tupim skalpelom, pazeći da se staklo neogrebe. Smola će, prodirući, ukloniti vazduh iz pukotinei time je učiniti manje vidljivim. Pukotine tada izgledajukao vlas kose sa obe strane, osim ako postoje dodatnaoštećenja uz zalepljenu ivicu.Smola može, uz pomoć kapilarne sile, da se ulije i unepotpune pukotine. Blago zagrevanje stakla tu možeda pomogne, osim ako je došlo do pomeranja ivica, jer utom slučaju pukotina može drastično da se produži!Mesta na kojima su se komadići stakla površinski odlomili(tzv. krateri) mogu naknadno da se ispune kapljicamasmole, pri čemu staklo treba da bude okrenuto krateromka gore, kako bi ga smola adekvatno popunila.Sitne rupe mogu da se popunjavaju blago stegnutomsmolom, uz pomoć lepljive trake kao pozadine.U slučaju debljeg stakla, ponekad je poželjno prvonaneti smolu na ivicu, a zatim čvrsto spojiti dva fragmenta,dodatno ih stegnuvši prethodno pripremljenimkomadima lepljive trake. Na ovaj način je moguće izbećipojavu mehurića vazduha u spoju. Tehnika zahtevaizvesno iskustvo, jer istiskivanje viška smole čini površinulepljivom, što otežava nanošenje trake. Ako se fragmentiodvoje nakon nanošenja smole, stvoriće se vazdušnimehurići i smola će morati ponovo da se nanosi.LusteriManji delovi staklenog lustera se mogu zalepiti, akonisu noseći, jer treba imati na umu da se lusteri kačenad glavama ljudi. U slučaju da se takvi delovi više nećekoristiti, oni se mogu zalepiti i ostaviti vlasniku. Ponekadje na pijacama i u antikvarnicama moguće naći idelove za zamenu, nove komade, staklene prizme, kao imesingane osovine za lustere.Kristalne figureDelove figura poput ušiju, glava, udova i sl. najboljeje lepiti cijanoakrilatom (superlepak), jer je te deloveteško podupreti. Teži delovi mogu da se podupru i spojeprozirnom epoksi smolom u zgusnutom stanju.Brušenje stakla – okrnjeno staklo, poliranjebrušenih boca i zamena čepovaOvakvi postupci se sprovode jedino na modernimpredmetima iz domaćinstva, nikako na antikvitetima iarheološkom staklu.Vremenom unutrašnjost posuda kojesluže za držanje tečnosti izgubi prozirnost. Teško je,bez testiranja, reći da li je zamagljenost posledica taloženjanerastvorljivih soli i/ili oštećenja površine stakla.Ostaci hrane i pića mogu da se uklone ostavljanjemrastvora bioloških enzima (npr. Biotex ® ) u posudi prekonoći. Unutrašnjost ovakvih posuda može da se ispoliraili abrazivnim točkićima na dužim drškama ili veomaopasnom fluorovodoničnom kiselinom. Uvek je prisutnaopasnost od oštećenja stakla. Restauracija stakla čestozahteva dosta vremena i iskustva. Nedostajući delovimogu da se nadomeste metodama koje se koriste u restauracijikeramike, na primer uz pomoć voštanih kalupai prozirne ili obojene smole. Kalupi treba da budunešto veće površine od šupljine koja se popunjava (kakosmola ne bi iscurela), premazani PVA sredstvom za razdvajanje,na stranama koje će doći u kontakt sa smolomi, što je najvažnije, pričvršćeni za staklo uz pomoć topilice.Mnogo toga može da krene naopako, pa je preporučljivoprvo uvežbati tehniku na komadu modernogstakla, dok se ne stekne sigurnost i tek onda pristupitikonzervaciji i restauraciji, a preporučljivo je i pročitatiS. Davison, Conservation and Restoration of Glass (Butterworth-Heinemann).In the case of thick glass, it may be preferable to paintresin along one edge, following which two pieces of glassare squeezed tightly together and secured with previouslyprepared strips of Magic Tape. This procedure helps to eliminateair bubbles. The technique requires some practicebecause excess resin squeezed out onto the glass surfacemakes the surface slippery and difficult to tape. If the fragmentsseparate after resin has been applied, air bubbleswill be introduced and the resin will need to be reapplied.ChandeliersSmall glass chandelier parts can be repaired if theyare not load bearing, bearing in mind that they are suspendedabove peoples’ heads. If it is decided not to reusebroken pieces, they can be repaired and kept by theowner as archive material. Replacement parts can sometimesbe bought at markets or from antique shops, newglass parts, including lustres and brass pins can also sometimesbe bought.Crystal figuresParts such as ears, heads, limbs etc. are best attachedwith cyanocrylate (e.g. Superglue), as the pieces may bedifficult to support. Heavier pieces can be supportedand attached with optically clear epoxy resin in a thickenedstate.Glass grinding - chipped glass, polishing decanterinteriors & stopper replacement.This should only be carried out on modern householditems, not antique/historic glass.Over time, the interior of vessels used to contain liquid,become cloudy. It is not easy to tell, without testing,whether a white cloudiness is the result of insoluble saltdeposition and/or a deterioration of the glass surface.Food & drink residues can be removed by leaving a solutionof biological enzyme (e.g. Biotex®) in the vesselovernight.The interior of decanters may be ‘polished’ eitherby the use of abrasive wheels on long spindles or byremoving the glass surface with highly dangerous hydrofluoricacid.There is always a risk of damage to the glass.Restoration of glass is often time consuming and requiresa great deal of practice. Missing areas can often befilled by methods used to restore ceramics i.e. by usingwax moulds to contain clear or coloured resin. Howeverthe moulds must be only slightly larger than the gap tobe filled (to prevent resin from seeping onto the surface),must be coated with PVA separating agent on the sideswhich will be in contact with the resin cast, and mostimportant of all, be secured to the glass by melting theedges of the wax onto the glass with a small electricallyheated spatula. Much can go wrong, so that anyone facedwith a piece of glass to restore is advised to practice thetechnique on a modern piece until they feel confident,and to read, Davison, S. (2003). Conservation and Restorationof Glass (Butterworth-Heinemann).145

Gojka Pajagič-Bregar, Narodni muzej SlovenijePIXE metoda za analiziranjedrevnog tekstila iz grobnicaZa izložbu «Theatrum vitae et mortis humanae« -Prizorišče človeškega življenja in smrti ( Podobe iz17. stoletja na Slovenskem), koja je održana 2002. godine,u Narodnom muzeju Slovenije 1 konzervirali smo višetekstilnih artefakata, između ostalog i fragmenat takozvaneValvazorove čipke.Čipka (veličine 5,3 – 6 cm x 11,3 cm) pronađena je uArhivu Slovenije, prilikom istraživanja materijala zaimenovanu izložbu, u privatnom arhivu Petra von Radicsa(fascikl 8). On je delovao u 19. stoleću i između ostalogistraživao je Valvazorov život i rad. Čipka je bilaspremljena u plavoj koverti na kojoj je pisalo da se radio čipki iz Valvazorove grobnice, iz dvorca Medije. Prilikomotvaranja grobnice, u 19. stoleću, pronašli su čipkui još neke predmete, koji su se nažalost kasnije izgubili.Radi se o klekanoj čipki.To je tehnika prekrštavanja,sukanja i premetavanja najmanje dve, a po pravilu višeniti, od kojih je svaka namotana na svoj batić/klekalj -posebno oblikovani drveni kalem.Klekana čipka sa cvetnim motivima krizanteme, posvemu sudeći, potiće iz Mechelena, u Belgiji. Čipka je uizuzetno fragilnom stanju. To su uzrokovali ekstremniklimatsko i biološko - hemijski uvjeti u grobnici, teagresivnost železotaninske boje. Mikroskopske analizesu pokazale, da se radi o svilenoj niti. 2 Prilikom posmatranjauzdužnog izgleda vlakna pokazalo se da je vlaknoravno, glatko i bez posebnih odlika, te karakterističnoza svilenu nit.Gojka Pajagič- Bregar, National Museum of SloveniaPIXE method for analyzingancient textile from tombsDa bismo potvrdili rezultate,čipku smo dodatno analizirali naInstitutu za tehnologiju i grafičnu tehnologijui dizajn, koji deluje u okviru Tekstilnog fakulteta uLjubljani, upotrebivši hemijski reagens jod – jodhlor.Mikrohemijska reakcija je rezultirala tako, da su sesvilena vlakna obojila žuto. Analiza je i kod mikroskopiranjarastarskim elektronskim mikroskopom (SEM)potvrdila, da se radi o svilenoj niti. 3 Iz sačuvanog gradiva,a i iz arhiva poznato nam je, da su čipke bile rađenevećinom od lana, i bijele boje, ređe od svile i crneboje, a braon skoro nikako. Valvazor, polihistor i velikium slovenačke istorije, po svom ugledu i društvenom1 Tom prilikom izdali smo knjigu rasprava:Theatrum vitae etmortis humanae –Prizorišče človekovega življenja in smrti i katalogTheatrum vitae et mortis humanae – Prizorišče človeškega življenjain smrti2 Mikroskopsku analizu čipke na optičkom mikroskopu uradilaje mg Gojka Pajagič Bregar, Narodni muzej Slovenija3 Analize su radili dr Urša Stankovič Elesini i inž. JanaRozman, Inštitut za tehnologijo in grafično tehnologijo ter oblikovanje,Oddelek za tekstilstvo, Naravoslovnotehniška fakulteta,Ljubljana146For the purpose of display at the “Theatrum vitae etmortis humanae” –Theatre of Human Life and Death,which took place in the National Museum of Slovenia1 in 2002, we were engaged to conserve several textileartifacts, among other, a fragment of the so-calledValvazor’s lace.The lace (5.3 – 6 cm wide and 11.3 cm long) wasfound in the Archive of Slovenia, while investigatingmaterial for the mentioned exhibition, in the private archiveof Petar von Radics (folder no. 8). He was a 19 thcentury scientist, doing research on Valvazor’s life andwork, among other things. The lace was kept in a blueenvelope, with a note saying it was a lace from Valvazor’stomb, from Media castle. The lace was found in the19 th century, together with other objects when the tombwas opened but unfortunately they were lost afterwards.It is a crocheted lace piece. Various techniques wereapplied in its production, threads transposing, spinningand warping at least of two, but normally of severalthreads wound around crocheting needles, in the formof specially modelled wooden spindles.This pillow lace with bobbins and chrysanthemumdecoration apparently originates from Mechelen, Belgium.The lace is extremely fragile, due to extreme climateand biological-chemical conditionsin the tomb, and the aggressiveness of irontannindye. Microscopic analyses showed that it wasmade of silk thread 2 . The visual investigation of thethread led to a conclusion that the tread is flat, smoothand without special characteristics, which is typical ofa silk thread.In order to confirm the results, the lace was additionallyanalyzed at the Institute of Technology, GraphicalTechnology and Design, which functions as part of theFaculty of Textiles in Ljubljana, using iodine – iodinechlorineas the chemical reaction agent. The micro chemicalresult was yellow colour of the silk threads. TheSEM (Scanning electronic microscope) analysis alsoconfirmed this result 3 .1 On this occasion, a book of papers “Theatrum vitae et mortishumanae – Prizorišče človekovega življenja in smrti», as well as thecatalogue «Theatrum vitae et mortis humanae – Prizoriščečloveškega življenja in smrti» were published.2 The microscopic analysis of the lace by optical microscope wasdone by Gojka Pajagič Bregar, M.A, the National Museum ofSlovenia3 The analyses were carried out by Urša Stankovič Elesini, D.Sc., and Jana Rozman, of the Institute of Technology, GraphicalTechnology and Design, Department of Textile, the Faculty ofScience and Technology in Ljubljana

statusu, i uz činjenicu da je čipka nošena u pijetetnommomentu pokopa, najverovatnije je bio odenut u crnuodoru, a i čipka je, tako samo pretpostavljali bila crneboje. U to vreme su za bojadisanje i pripremanje crneboje, po određenim drevnim recepturama, uz ostalesmese, upotrebljavali železni oksid, te koru drveta, zbogtinina. Da bismo potvrdili tu pretpostavku, odlučili smose za istraživanje Pixe metodom –nedestruktivnomanalizom elemenata. 4 Istraživanja Pixe analizom potvrdilasu našu hipotezu – rezultati su pokazali visokoprisustvo jona železa i tragove tipičnih mikroelemenata.Za bojadisanje svilene niti nedvojbeno su upotrebiliželezov oksid. Železov oksid je agresivan i, koliko namje poznato, njegovo prisustvo u bojama za ukrašavanjeknjižnog gradiva prouzrokovalo je brži raspad pisanoggradiva, a i u našem slučaju prouzrokovalo je veći stupanjdegradacije vlakna svilene niti, od koje je izrađenačipka. Poznato nam je, da je svila kao material inačepodložnija hemiskoj razgradnji. Tome su doprineli iuvjeti grobne atmosfere, te je degradacija boje prouzrokovalapromenu u današnju braon boju. Ovaj rezultatnas je ponukao, da istom metodom provjerimo prisutnostelemenata željeznog oksida i u tekstilnim fragmentimaiz grobnice u Betnavi, kod Maribora i Gradu,kod Slovenj Gradca. 5 Za analizu smo uzeli somotnuplaštanicu, kao i unutrašnju svilenu podlogu uzorkakarakterističnog za 17. stoleće.Pixe postupkom smo analizirali takođe i jednu svilenu,i jednu vunenu čarapu. 6 Svi pomenuti tekstilni artefaktisu vremenom promenili boju i sada su različitihbraon nijansi, te u različitom stupnju degradacije.To su bili tek početni istraživački koraci, koji su seodnosili na problem promene boje na tekstilnim artefaktimaiz grobova. Pitanje ostaje otvoreno za nova istraživanjai radove na tom području, koji će, u svakomslučaju, biti značajan doprinos osvetlenju tog problema.Žiga Šmit, SlovenijaAnaliza fragmenatatkanina metodom PIXEMerenja za fragmente tkanina uradili smo metodomprotonski indukovanih rentgenskih zraka (PIXE) uvazduhu. Za izvor protona upotrebili smo tandemskiakcelerator na Institutu Jožef Stefan. Protoni s energijom3 MeV su prolazili slobodno kroz foliju od tantaladebljine 2 mikrometra. Tako nije bilo potrebno uzimatiuzorke sa delova tkanine, nego smo određena mesta natkanini izložili neposredno protonskim zracima.Za normalizaciju smo upotrebili argonov signal izvazduha i zato smo dužinu vazdušnog otvora između izlaznogprozorčića i uzorka fiksiralimetalnom pregradom. Geometrijske parametre smoodredili na osnovu serije uzoraka čiji sastav je bio poznat.Kao absorber mekih rentgenskih zraka je služio 58mm širok vazdušni otvor između uzorka i detektora. RezolucijaSi (Li) detektora rentgenskih zraka bila je 150eV na 5,9 keV. Program AXIL je korišćen za odvijanjespektra. Proračuni elementarnih koncentracija su sugerisaliceluloznu shemu. Rezultati analize su predstavljeniu tabeli 1.4 Istraživanja je radio dr Miloš Budnar, Inštitut Jožef Štefan,Ljubljana5 Andreja Vrišar, Prispevek k razvoju noše v 17. stoletju naSlovenskem – Grobni najdbi iz Betnave pri Mariboru in Gradu priSlovenjem Gradcu, Kronika,letnik 27, št.2, Ljubljana 19796 Ta istraživanja radio je dr. Žiga Šmit, Inštitut Jožef Štefan,LjubljanaIt is known, from preserved material and archives,that this kind of lace was usually white and made offlax, or, not that often, of silk and in black, but almostnever brown.Valvazor, a polyhistor and a great mind ofthe Slovenian history, having in mind his social statusand the fact that the lace was worn on the occasion ofthe burial, was probably wearing black, so the lace was,as we assumed, dyed black. At the time, iron oxide ortree-bark, because of tannin, were used for dying andpreparation of black dye.To confirm our assumption, wedecided to use PIXE analyzing method – a non-destructiveanalysis of chemical elements 4 . The PIXE analysisconfirmed our hypothesis – the results showed a highquantity of iron ions and traces of typical microelements.Undoubtedly, iron oxide was used for dying thelace. Iron oxide is aggressive and, as far as we know, itspresence in dyes used for decoration of books usuallyaccelerated deterioration of written material, and in ourcase, it caused a higher level of degradation of silk fiber,the material that the lace was made of. It is well knownthat lace is material quite prone to chemical deterioration.The tomb atmospheric conditions contributed tothis process, so deterioration of the dye caused the changeof colour into brown, as it is today. This result encouragedus to use the same method to check the presenceof iron oxide also in textile fragments from the tomb inBetnava, near Maribor and in Grad, near Slovenj Gradec5 .A velvet cloak and an inner silk layer of a sample typicalof 17 th century were chosen for the analysis.The PIXE method was used also for analyzing of asilk and a woolen sock 6 . All these textile artifacts changedtheir colour with time, and now they show differenttones of brown, in different phases of degradation.These analyses were only the beginning, referring tothe problem of colour change on textile artifacts fromtombs. This subject is open for new researches andworks in this field, which would be, nevertheless, a significantcontribution to the interpretation of the issue.Žiga Šmit, SloveniaAnalysis of the textile fragmentsby the PIXE methodMeasuring of the textile fragments was performedby the method of proton-induced X–rays (PIXE) inthe air. As a proton source, the Tandetron accelerator ofthe Jožef Stefan Institute was applied. Protons with anenergy of 3 MeV entered air after passing a 2 micrometertantalum window. The selected points in the textileswere then irradiated directly, thus avoiding sampling.For the spectrum normalization, the argon signal fromthe air was used, so the air gap between the exit windowand target was kept fixed with a metal spacer. The geometricalparameters were calibrated from the measurementof a series of targets with known compositions.The 58 mm wide air gap between target and detector alsoserved as an absorber for soft X-rays. The resolutionof Si(Li) X-ray detector was 150 eV at 5.9 keV. The spectrumde-convolution was performed by the AXIL program.The calculation of elemental concentrations assumeda cellulose matrix. The analytical results are collectedin Table 1.4 The research was conducted by Miloš Budnar, D.Sc., JožefŠtefan Institute, Ljubljana5 Andreja Vrišar, Prispevek k razvoju noše v 17. stoletju naSlovenskem – Grobni najdbi iz Betnave pri Mariboru in Gradu priSlovenjem Gradcu, Kronika, letnik 27, no. 2, Ljubljana 19796 This research was conducted by Žiga Šmit, D.Sc , Jožef ŠtefanInstitute, Ljubljana147

Zbog mrežastestrukture tkanina, ogrtaè – 1deo protona je prodro coat -1kroz cilj, ne da bi ga ogrtaè – 2coat - 2pogodio.Vrednosti u èarapatabeli su zato verovatnomalo veće, upr-svilena èarapastockingkos tome, tabela pokazujeprave razmeresilk stockingdugmesmall buttonizmeđu elemenata. moderna vunaDetekcijska granica modern woolza bakar je 0,03%,jer je deo sipanihprotona joniziraometalne igle mehaničkog graničnika. Tako smo mogli daodredimo koncentraciju bakra tek u trećem predmetu(čarapi), jer u velikoj meri prelazi detekcijsku granicu.Tkanine su verovatno bile obojene gvozdeno-taninskimmastilom, jer su koncentracije gvožđa 1%, ali i veće.Svilena čarapa je neobojena. Gvozdeno-taninska mastilamogu da sadrže takođe i primese teških metala, kaošto je bakar, kod trećeg predmeta. Teže metale našimmerenjem nismo otkrili, jer je njihova relativna količinau spektru, zbog slabog apsorbera, bila veoma mala. Pomoćuslabog absorbera otkrili smo lake elemente P i S,koji su značajni za vrstu vlakana.Za upoređivanje smo takođe merili uzorak neobojenemoderne vune. U vuni, koja je belančevinsko vlakno,koncentracija sumpora je nekoliko puta veća nego ubiljnim vlaknima. Stoga možemo da potvrdimo, da jejedna čarapa svilena, druga vunena, a da je kaput izrađenod biljnih vlakana.Due to the reticularstructure of thetextiles, part of theprotons penetratedthe target without interaction.The concentrationsin Table 1are thus slightly underestimated,but Table1 neverthelessyields proper concentrationratios. The detectionlimit for copperwas 0.03%, as someof the scattered protons hit the metal needles of themechanical spacer. The copper concentration was thenreliably determined in the third object only (stocking),where it significantly exceeded the detection limit. Thetextiles were most likely dyed with and iron-gall ink, assuggested by the iron concentrations larger then 1%.The silver stocking was not dyed. The iron-gall inks cancontain admixtures of heavy elements, as it is, for instance,copper in the third object. Heavier metals werenot detected, as their contributions to the spectra wereminute due to the weak absorber. On the other side,weak absorber implied good sensitivity for P and S,which are characteristic for the fiber type.For comparison, non-dyed modern wool was also measured.In wool, representing protein fiber, the sulfur concentrationis much larger than in the fibers of plant origin.Thus we can confirm that one stocking was made ofsilk, one of wool, and the coat was made of plant fibers.P S Cl K Ca Fe Cu0.93 0.26 0.09 0.34 1.50 1.76

Tokom rada moguće je menjati pojedine tehnološkeparametre zavisno od otpornosti materijala na delovanjekavitacionog fenomena na površinu ispitivanog uzorka.Prilikom ispitivanja kavitacione postojanosti metalau tehničkim uslovima ispitivanja uobičajeno je dase usvoji uzorak “epruveta”određene geometrije koji sepodvrgava kavitaciji.DiskusijaU predmetnom slučaju kada želimo da kavitacijomoslobodimo površinu predmeta nečistoća ili kod metalametalnih oksida, najčešće se ne raspolaže uzorkomodređene geometrije ili uzorkom određene površine. Ovizahtevi arheoloških nalaza zahtevaju potpuno nov prilazceloj problematici sa zahtevom da kavitacija ne razaramaterijal, već da se uslovi kavitacije prilagode takoda se deluje samo na površinu i željenu dubinu od nekolikomikrometara. Za sada izvršeni opiti ukazuju naveliku verovatnoću da se daljim prilagođavanjem tehnološkihparametara delovanja kavitacije na površinuuzorka metalnih predmeta, i eventualno nemetalnihmože postići željeni efekat, odnosno dobiti očišćena površina.Istraživan je uzorak metalnog novčića na bazi legurebakra, koji je veštački oksidisan i pri prvim ogledima,došlo je do razaranja njegove površine do dubine odviše mikrometara, ali daljim podešavanjem tehnološkihparametara kavitacionog uređaja došlo se do rezultatakoji ohrabruju dalji rad na ovom polju.ZaključakZbog neprilagođenih tehnoloških parametara kavitacijeobod ispitivanog predmeta je očišćen do čistih metalnihpovršina. Kontrolom tehnoloških parametara možese uticati na debljinu uklonjenog sloja oksida metala.Za sada sva istraživanja su ostvarena kao interesovanjegrupe autora bez finansijske podrške, što uslovljavarelativnu sporost. Ovo prvo saopštenje ima za cilj dase prikaže mogućnost eventualnog korišćenja fenomenakavitacije u konzervaciju arheoloških predmeta, kao jedanod standardnih postupaka za predmete koji imajuodređenu čvrstoću. Cilj je prvenstveno da se omogući čišćenjesloženih površina.Za sada nije korišćena literatura iz ove oblasti kojaobrađuje kavitaciju u obradi muzejskih eksponata, ali jekorišćena bazična literatura u oblasti tehničkih naukakoja je veoma obimna.LiteraturaKnapp, R.T., Daily, J.W., Hammit,F.G., Cavitation,McGraw-Hill, 1970.Hammit, F.G., Cavitation and Multiphase Flow Phenomena,McGraw-Hill, 1980.It is possible to change, during operation, some ofthe technological parameters depending on material’sresistance to activity of cavitation phenomenon onto thesurface of the sample. When testing cavitation consistencyof a metal in technical conditions, it is customaryto adopt a sample of a “test-tube” of defined geometricfeatures, and expose it to the process of cavitation.DiscussionIn cases when cavitation should release the surfaceof impurities or metal oxides on metal, usually there isno sample of defined geometric features or defined surface.These conditions, imposed by the character of archaeologicalfinds, ask for completely different approachto the whole problem, having in mind the necessityof saving the material and of adjusting cavitation insuch a way that it would act only on the surface and toa defined depth of few micrometers. The researches doneso far show great probability of reaching the goal,that is obtaining a clean surface, simply through furtheradjustment of technological parameters for cavitationeffect on metal surface. A copper alloy based coinwas used as the sample, previously artificially oxidized.During the first few experiments, its surface was destroyeddown to the depth of few micrometers, but byfurther adjustments of technological parameters on cavitationdevice, more encouraging results were obtained.ConclusionDue to unadjusted cavitation parameters, the rim ofthe sample was cleaned all the way to the metal surface.Thickness of the removed layer can be determined bycontrol of technological parameters.So far, all the research work was conducted solelyfor the private investigation without funding, which alsoimplied certain delay. This first information shouldpicture the possibilities of using cavitation phenomenonin conservation of archaeological objects, as one of standardtreatments of the objects of certain solidity. Theaim is, primarily, to enable cleaning of complex surfaces.No bibliography covering cavitation in museum objectstreatment was used, but the basic publications inthe field of technical sciences were, and it is quite an extensivelist.Literature:Knapp, R. T., Daily, J. W, Hammit, F. G, Cavitation,McGraw-Hill, 1970Hammit, F. G, Cavitation and Multiphase Flow Phenomena,McGraw-Hill, 1980Uzorak pre oksidacijeThe sample before oxidationUzorak posle oksidacijeThe sample after oxidationUzorak posle dejstva kavitacije u trajanju15 minutaThe sample after the 15 minutes longcavitation treatment149

Maja Franković, konzervatorNarodni muzej u BeograduSaradnja Narodnog muzeja –Dijana Centra za preventivnuzaštitu sa ateljeom za konzervacijui restauraciju mozaika Muzejaantičkog Arla i ProvanseNastavak obuke iz konzervacije mozaika u Muzejuantičkog Arla i ProvanseObuku iz konzervacije mozaika počela sam 2002. godine,u Ateljeu za konzervaciju i restauraciju mozaikau Muzeju antičkog Arla i Provanse. ZahvaljujućiFrancuskom kulturnom centru u Beogradu koji, sadaveć redovno, pomaže edukativne programe DIJANACentra za preventivnu zaštitu, prošlog leta sam dobilapriliku da nastavim sa usavršavanjem iz ove oblasti. Poredtoga što programi DIJANA Centra podrazumevajuobuku iz, kod nas, deficitarnih grana u oblasti konzervacije,direktan povod za nastavak moje obuke u Muzejuantičkog Arla i Provanse bio je plan da se počne sa sanacijommozaika iz zbirke Narodnog muzeja u Beogradu.Glavni zadatak tokom ovogodišnjeg boravka u Francuskojbio je da se u što većoj meri osposobim za samostalanrad na konzervaciji mozaika i kao koordinator timakoji će se baviti tim poslovima u Narodnom muzejuu Beogradu.Prvi deo moje obuke bio je usmeren na to da savladamproces konzervacije i restauracije mozaika iz muzejskihzbirki, kroz metode i tehnike koje se koriste utom muzeju. Tokom prvog meseca boravka u Arlu, uzstručni nadzor gospodina Patrika Blana, direktora Ateljai ostalih konzervatora, radila sam na konzervaciji irestauraciji fragmenta mozaika koji pripada zbirci Muzejaantičkog Arla i Provanse. Konzervatorski tretmanje podrazumevo uklanjanje antičkog maltera i njegovuzamenu sintetičkim, zatim postavljanje fragmenta naaluminijumski nosač u vidu saća i restauraciju teselatuma.Ovakav pristup mi je omogućio da, za kratko vreme,prođem osnovne procese i postupke koji se koriste ukonzervaciji i restauraciji mozaika.Pored toga, učestvovala sam u poslovima koji su biliu toku u Ateljeu. Zajedno sa ekipom konzervatora izAteljea i sa još dvoje stažista, učestvovala sam u završnimfazama rada na derestauraciji mozaika sa scenomlova iz Narodnog muzeja u Alžiru. Takođe sam radila najednom opus signinum-u iz zbirke Istorijskog muzejaMaja Franković, conservatorNational Museum BelgradeCollaboration of the National museumBelgrade – Diana Centre for preventiveconservation with the atelier forconservation and restoration of mosaicsfrom the Museum of antiquities of Arlesand ProvenceContinuation of Training in Mosaic Conservation inthe Museum of Antiquities of Arles and ProvenceMy training in mosaic conservation started in 2002,in Atelier for Conservation and Restoration of Mosaicsin the Museum of Antiquities of Arles and Provence.Thanks to the French Cultural Centre in Belgrade,who regularly supports educational programs of DIA-NA Centre for Preventive Conservation, last summer Igot the opportunity to continue training in this field.Beside the fact that programs of DIANA Centre includetraining in fields of conservation lacking in our country,direct motive for continuation of my training was theplan to start restoration of mosaics collection of the NationalMuseum Belgrade. Consequently, the main objectiveof my second stay in France was to become independentin work on mosaics conservation and to preparemyself for the role of the coordinator of mosaic conservationin the National Museum Belgrade.First part of my training was directed to adoptingprocesses and techniques of conservation and restorationof mosaics from museum collections, using a methodof the Atelier in Arles. During the first month of mytraining, under the professional guidance of Mr. PatrickBlanc, director of the Atelier, and of other conservators,I worked on conservation and restoration of a fragmentfrom the collection of the Museum of Antiquities of Arlesand Provence. Treatment consisted of removing antiquemortar and applying a synthetic one, setting thefragment on an aluminum honeycomb panel and restorationof the tessellatum.Within this approach, I was givenan opportunity to follow through basic techniquesand methods used in mosaic conservation in a short time.Besides, I participated in ongoing works in the Atelier.Together with the team of conservators from Arlesand two other interns, I participated in final phases ofde-restoration of the Hunting mosaic from the NationalMuseum of Alger. In addition, I worked on an opus sig-Konzervacija mozaika iz Narodnog muzeja AlžiraConservation of mosaics from National Museum in Algers150Praktična obuka u Muzeju antičkog Arla i ProvansePractical training in Museum of Antique Arles and Provance

grada Marseja i na opus tessellatum-usa arheološkoglokaliteta Frežus.Obuka u Ateljeu je obuhvatalakompletnu zaštitumozaika, tako da je poredosnovnog konzervatorskogtretmana, uključivala pakovanjemozaika za transport,načine smeštanja u depo,dokumentovanje, načine izlaganjamozaika i prezentacijukonzervatorskog tretmanapublici.Poseban deo programačinili su analiza stanja očuvanostimozaika i odabir odgovarajućihpostupaka zakonzervaciju i restauraciju.Imala sam izuzetnu prilikuda sa Patrikom Blanom, Mari-LorKurbules i PatricijomŽuket, učestvujem u dijagnosticiranjustanja u komese nalazi podni mozaik naKonzervacija mozaika iz Narodnog muzeja u BeograduConservation of mosaic from National museum Belgradearheološkom lokalitetuGrand. Lokalitet je veomaznačajan zbog dimenzija mozaika, 224m 2 u jednom komadu.Pokrivao je pod civilne bazilike i datovan je ukraj I veka. Otkriven je 1883. godine, a već sledeće godineje pokriven građevinom koja ga i danas štiti.Trodnevna analiza stanja uključivala je: pravljenjedetaljne fotodokumentacije i crteža na kojima su obeležavanasva zapažanja (pukotine, destabilizovane tesere,stare restauracije), probe čišćenja, otvaranje sonde da bise proverile pretpostavke o načinu na koji je izvedenarestauracija pedesetih godina prošlog veka.Rad na arheološkom lokalitetu Grand bio je za menevredno iskustvo. Stekla sam uvid u različite aspektekoje je potrebno uzeti u obzir kada se vrši procena stanjaočuvanosti mozaika na arheološkom lokalitetu. Istovremeno,to je bila prilika da se upoznam druge regioneFrancuske i posetim nekoliko divnih gradova – Bon,Langr i Dižon.Tokom obuke u Muzeju antičkog Arla i Provanse,upoznala sam stručnjake iz različitih oblasti zaštitekulturnih dobara, koji su bili spremni da podele svojaznanja i iskustva vezana, ne samo za konzervaciju, već iza zaštitu muzejskih predmeta uopšte - od uslova čuvanjai načina smeštanja materijala u depoe, do pripremeizložbi, načina prezentacije i komunikacije sa publikom.Videla sam kako se osnovni etički principi konzervacijeiprimenjuju u praksi i stekla sam jasniju sliku o tome nakoji način je organizovana zaštita kulturnih dobara uFrancuskoj. Mogućnost da se «iznutra» oseti kako funkcionišesistem zaštite u nekoj drugoj zemlji, posebno akota zemlja ima dugačku tradiciju brige za kulturno nasleđekao što je ima Francuska, veoma je značajna za nekogako počinje svoj profesionalni život.Već se pokazaloda su iskustva koje sam stekla tokom oba boravka uFrancuskoj i kontakti sa francuskim stručnjacima, odneprocenjive pomoći u radu sada, kada menjamo pristupzaštiti kulturnih dobara kod nas.Projekat konzervacije i restauracije mozaika izzbirke Narodnog muzejaMozaici iz zbirke Narodnog muzeja potiču sa arheološkihlokaliteta Stobi i Guberevac (Kosmaj). Mozaici sukonzervirani na podlozi od gipsa, pedesetih godina proninumfrom the collection of HistoricalMuseum in Marseille andon an opus tessellatum from thearchaeological site of Fréjus.Apart of basic conservation treatment,my training included completeprotection of mosaics - packingfor transport, storing of mosaics,documentation, ways of displayingand presentation of conservationtreatment to the public.Special part of the programconsisted of diagnosing state ofpreservation of a mosaic, decisionmaking and selecting of appropriatetechniques for conservation. Ihad extraordinary opportunity toparticipate with Patrick Blanc,Marie-Laure Courboulčs and PatriciaJouquet, in diagnosing stateof conservation of the pavement onthe archaeological site of Grand.This site is important for the dimensionsof the mosaic, 224m 2 in awhole. Mosaic paved a civil buildingand is dated in 1 st century AC.It was discovered in 1883. The nextyear, the building was constructed over it, which protectsit even today.Analysis of the state of conservation lasted for threedays and consisted of: making of detailed photo-documentationand drawings where all observations werenoted (cracks, destabilised tesserae, old restorations),tests for cleaning, opening of a sonde to confirm themanner in which old restoration in the fifties was done.Working on the site of Grand was a valuable experience.I realized various aspects that should be consideredwhile diagnosing the state of conservation of a mosaic.At the same time, it was an opportunity to get toknow other regions of France and to visit few wonderfultowns – Bonne, Langres and Dijon.During my training in the Museum of the Antiquitiesof Arles and Provence, I met professionals who gladlyshared their knowledge and experiences referring notonly to conservation, but also to protection of museumobjects in general – from storaging and safeguarding, topreparation of exhibitions, presentation and communicationwith public. I saw the way ethical principles inconservation are applied in practice and got clear idea ofthe organization of the protection of cultural heritage inFrance. Opportunity to experience from “inside” howprotection of heritage functions in other countries, especiallywhen that country has a long tradition of care forpatrimony like France does, is very important to someonewho is only starting his professional life.It already turned out that experiences that I gainedduring both of my stays in France and contacts withFrench experts, proved to be a valuable help in ourwork, now, that we are changing the approach to theprotection of the heritage in our country.Project of Conservation and Restoration ofMosaics from the Collection of the NationalMuseum BelgradeMosaics collection of the National Museum Belgradeconsists of pavements from two archaeological sites –Stobi and Guberevac (Kosmaj). During the fifties, mosaicswere restored on gypsum support and stored in theGallery of Frescoes.151

šlog veka i smešteni su u Galeriji fresaka.Neodgovarajući klimatski uslovi u depou, način nakoji su smešteni, kao i česta premeštanja, radi obezbeđivanjadodatnog prostora, doveli su do ozbiljnih oštećenjafragmenata mozaika. Visoke vrednosti relativnevlažnosti u letnjim mesecima i godišnje oscilacije, ubrzalesu propadanje materijala koji je korišćen za restauraciju.To je prouzrokovalo pojavu pukotina na tessellatum-u,deformaciju fragmenata, ispadanje tesera i lomljenjepojedinih fragmenata. Mozaicina je neophodnahitna konzervacija, kako bi se sačuvali.Poseban zadatak tokom mog boravka u Arlu bio jeda, sa Patrikom Blanom i njegovom saradnicom Mari-Lor Kurbules, razradim projekat konzervacije i restauracijeovih mozaika. Predviđeno je da se konzervacijasprovodi uz stručnu i tehničku podršku Ateljea za konzervacijui restauraciju mozaika Muzeja antičkog Arla iProvanse i da se kroz rad nastavi obuka iz konzervacijemozaika, koja je počela kursom održanim prošlog majau DIJANA Centru.Po povratku u Beograd, izvršila sam snimanje i dokumentovanjestanja u kome se mozaici nalaze, a početkommarta ove godine, Patrik Blan i Mari-Lor Kurbulessu došli u Beograd da bismo precizirali programsanacije četiri celine kosmajskih mozaika i počeli sanjihovom konzervacijom. Napravljen je detaljan programkonzervacije i restauracije ovih mozaika premafazama rada. Sredinom marta, ekipa DIJANA Centrapočela je sa radom na pripremi mozaika za skidanjegipsane podloge. Posle uklanjanja stare podloge, mozaiciće biti restaurirani na modernom, aluminijumskomnosaču u vidu saća. Predviđeno je da se ovi mozaiciuključe u stalnu postavku, nakon rekonstrukcijeNarodnog muzeja.Inadequate climate conditions in the storage, mannerin which they were stored, as well as frequent moving inorder to obtain more storage space, led to serious damageon mosaic fragments. High relative humidity duringsummer months and yearly oscilations accelerated decayof materials used for conservation. This provoked crackson tessellatum, fragment deformations, loss of tesseraeand even breaking of certain fragments. Ňhese mosaicsrequire urgent intervention in order to be preserved.Special assignment during my stay in Arles was towork out a program for conservation of these mosaics,with Patrick Blanc and his assistant Marie-Laure Courboulčs.Wemade a plan to proceed with conservation andrestoration of these mosaics with scientific and technicalsupport of the Atelier for Conservation and Restorationof Mosaics and, through this work, to continue trainingin mosaic conservation, which started with a course thattook place in DIANA Centre in May last year.After my return to Belgrade, I carried out recordingand documenting the state of conservation of the mosaicfragments.In the beginning of March 2005, Patrick Blanc andMarie-Laure Courboulčs came to Belgrade to help usdefine a program for restoration of four units of the Guberevacmosaics and to start theirs conservation. Wemade a detailed program for conservation and restorationof the mosaics with working phases.In the mid March, the team of DIANA Centre startedworking on preparation of mosaic fragments for removingof the gypsum support. After the removal of the oldsupport, mosaics will be transferred and restored onmodern, aluminum honeycomb panels. The mosaics areplanned for the permanent exhibition after the reconstructionof the National Museum.KSENIJA ÐURIŠIĆ, konzervator- restauratorCentar za arheološka istraživanja Crne GoreKonzervacija i restauracijakeramičkog peharaOvaj keramički pehar nađen je na imanju na Zlaticikod Podgorice, koje je udaljeno oko 150 m jugozapadnood poznate bazilike i trikonhoza iz Doljana i oko800 m sjeveroistočno od “jugozapadne nekropole” Dokleje.Vlasnik imanja je na dubini od oko 0,30 m, naišaona jamu približno kružnog oblika, (prečnik oko 0,50 m,dubina 0,50 m) ukopanu u šljunak i ispunjenu mrkomzemljom, dok su fragmenti pehara, krčag i tri gvozdenaeksera nađeni u sloju crne zemlje. Krčag se raspao prilikompomjeranja. Radi se vjerovatno o grobu spaljenogpokojnika. Ovakav način sahranjivanja - spaljivanje ipolaganje ohlađenih ostataka pokojnika, pepela i gari ugrob - karakterističan je za lokalno stanovništvo Dokleje1. i 2. vijeka naše ere.Keramički pehar sa figuralnim predstavama u reljefu,rađen je u kalupu, poluloptastog je oblika. Obod je ravan,blago zadebljan. Ispod oboda se nalaze dva plastična rebra,u čijim se žljebovima vide plitko urezane partikalnelinije. Friz se odvija na trbuhu posude, koji je od stope odvojenplastičnim rebrom, nešto širim od onih pri obodu.Prstenasta stopa je blago zadebljana, a na dnu se primjećujuurezane pararelne linije i ispupčenje u sredini. Očuvanoje ľ posude, inv. broj 696, dimenzije: H – 6,5 cm, Roboda – 11,2 cm, R stope – 6,4 cm. Glina: smeđkastožuta,prečišćena, meka, premaz mrkocrne boje i sjajan.Posudu je vlasnik dosta oštetio trljanjem i pranjem,tako da su se fini detalji, predstave i dubina reljefa poma-152KSENIJA ÐURIŠIĆ, Conservator-restorerCentre for Archaeological Research of MontenegroConservation and restorationof a ceramic cupThis ceramic beaker was found on an estate in Zlatica,near Podgorica, 150 m to the south-east fromwell-known basilica and triconch in Doljani and 800 mnorth-east from the “south-western necropola” Doclea.The owner of the estate found a pit at 0,30 m in the ground,almost round, with a diameter of 0,50 m and 0,50 mdeep, surrounded by pebbles and filled up with darksoil, containing fragments of a beaker, a jug and threeiron nails. The jug collapsed during excavation. This sitewas probably a grave with burnt remains, as this wayof burying, by putting burnt remains with ashes into agrave, was typical of local population in Doclea in I andII century A.D.Ceramic beaker with cast figural scenes in relief isof a semispherical form. The rim is flat, slightly thickened.There are two plastic ribs under the rim, with shallowengravings in fluting. The body of the vessel is decoratedwith a frieze and separated from the base by arib, a bit wider than those under the rim. Round base isslightly thickened, and at the very bottom there are someparallel lines engraved, with a knob in the centre.Three fourths of the vessel No. 696 is well preserved. Itis 6,5 cm high, the rim diameter is 11,2 cm and the basediameter is 6,4 cm. It is made of brownish yellow, softand purified clay and coated with shiny dark brown colour.The owner heavily damaged the vessel by rubbing

1 U Korintu su nađeni reljefni pehari, rađeni u kalupu i datovaniod sredine II do sredine III vijeka naše ere, sa kojima se možeuporediti pehar sa Zlatice. Osim načina izrade i ukrašavanjasličnost se ogleda i u boji premaza i gline, D. C.Spitzer, Roman reliefbowls from Corint, Hesperia XI,1942,164.2 D.C. Spitzer, op., cit., 163; C. Pavolini, Ceramica corinzia arilievo di eta imperiale ad Ostia, Rivista di studi liguri, XLVI, 1980,245.lo izgubili, a premaz djelimično ogulio, dok je sjaj skoronestao. Premaz je vidljiv sa unutrašnje strane, a naspoljašnjoj se očuvao samo u udubljenjima na reljefu. 1Ako se sagleda cijela predstava na frizu, može se uočiti izvjesnogrupisanje i izdvajanje datih figura. Satir sa mješinomi pripita stojeća figura koju pridržava drugi demon –satir, uokvireni su lišćem bršljana. Predstave pijanih demona,pa i samog Dionisa, možemo vidjeti na frizovimasarkofaga, reljefnih ploča, stela, oltara posuda (iz rimskogcarskog perioda), kao sudionike svečane povorke u častboga Dionisa. U Korintu su nađeni reljefni pehari, rađeniu kalupu i datovani od sredine II do sredine III vijeka.U toj veseloj, razuzdanoj povorci na našem peharudalje vidimo itifaličnog Pana zanesenog Silenovim sviranjemu dvojnice. Zatim, slijedi plesač sa tirsom u pratnjiErosa i pantere. Njihovi pokreti su sinhronizovani ičine drugu kompoziciju u sceni plesa. Ovaj tip keramičkihreljefnih pehara sapredstavama iz Dionisovogkulta, nastao je pod uticajemhelenističke tradicije,odnosno kao imitacija metalnogi staklenog posuđa. 2Proizvođeni su u Korintu,u vremenu od Hadrijanado A. Severa, tj. od130. do 220. godine. To jeperiod buđenja i popularnostiDionisovog kulta uKorintu. Pehar sa Zlaticesmješta se u opštu klasifikacijukorintskih pehara.Njegov poluloptasti oblik,nastao kao posljedica imitiranjaneke metalne ilistaklene posude, približavase formi terra sigilate –Dragendorff 37. Na jugoistočnojjadranskoj obali izaleđu, reljefne korintskeposude sa predstavama izDionisovog kulta su rijetke,ali ne i slučajni nalazi.Konzervacija ovog keramičkogpehara urađenaje 1993. godine, u Narodnommuzeju u Beogradu, uAteljeu za konzervacijukeramike.Keramički pehar je biofragmentovan - sastojao se od sedam fragmenata. Keramikaje dobro očuvana, neporozna, sa unutrašnje straneima vidljiv premaz, koji je mrko crne boje.Fragmenti keramičkog pehara su prvo pažljivo očišćeniod ostataka zemlje mekom četkicom, a zatim vrlopažljivo sunđerom navlaženim vodom. Ostaci zemlje susa ivica fragmenata skidani skalpelom. Nakon čišćenja,svi fragmenti su ostavljeni da se dobro osuše.U laboratoriji Narodnog muzeja u konzervaciji keramikeuglavnom se koriste materijali koji se mogu nabavitina našem tržištu.Za konsolidaciju strukture keramike ovog fragmentovanogsuda upotrebljen je 3 % rastvor OHO SPECIandwashing, so that fine details, scenes and the reliefdepth is partially lost, as well as the coating, which almostcompletely matted. The coating is partly visible inside,but on the outer surface it is preserved only in thegutters. 1 It is obvious that some figures in the scene aregathered and some are isolated. A Satyr with a bellowsand a drunken standing figure, supported by anotherdemon-satyr, are surrounded by ivy leafs. This kind ofdrunken demons images, even of Dionysus himself, canbe found in the friezes on sarcophagi, tablets, stelae,church vessels (from the imperial Roman period), asparticipants in procession consecrated to Dionysus. Somecast relief beakers were found in Corinth and datedfrom mid II to mid III century.In the marry procession scene on this beaker wecan also find figure of Pan listening, in exaltation, Sylenblowing double floute. Behind them, there is a dancerfollowed by Eros andpanther. Their movementsare synchronized andcompose a dancing scene.This type of ceramic reliefbeakers with Dionysuscult scenes, originatesfrom Hellenistic tradition,as an imitation of metaland glass vessels. 2They were produced inCorinth between the reignof Hadrian and A. Sever,that is from 130 to 220A.D. It was the period offlourishing and popularityof Dionysus’ cult in Corinth.The beaker fromZlatica can find its placein general classificationof Corinthian beakers.This beakers with relievesfrom Dionysus’ cult arerare, but not accidentalfinds.Conservation of this ceramicvessel was carriedout in 1993, in the ceramicsconservation workshop ofthe National Museum Belgrade.The vessel was fragmented,there were sevenfragments left of it. The ceramics itself was well preserved,non-porous, with a visible black coating on the innerside.First, the fragments were very carefully cleanedfrom dirt with soft brush, followed by a moistenedsponge. The remains of dirt on the edges were removedwith scalpel. The fragments were then left to dry. Toconsolidate the structure of this vessel, 3% solution ofOHO 2 SPEC in acetone was used. The fragments weresubmerged in prepared solution and left in it untilthe solution replaced all the air in their pores. A glassvessel was used for the treatment so that the processcould be closely watched. The fragment were then re-1 The beaker from Zlatica can be compared with cast beakersfound in Corinth, dated from mid II to mid II century A.D. The similaritiesare not only found in production technique and decoration.but also in colour of the coating and clay. D. C. Spitzer, Roman reliefbowls from Corinth,Hesperia XI, 1942, 154.2 D.C. Spitzer, op, cit, 163; C. Pavolini, Ceramica corintia rilievodi eta imperiale ad Ostia,Rivista di studi liguri, XLVI, 1980,245.153

JAL-a u acetonu. Korišćen je stakleni sud sa OHO SPE-CIJAL-om, da bi se lakše pratio cio proces konsolidacije.Fragmenti su potopljeni u pripremljeni rastvor i tu sudržani dok nisu prestali da izlaze mjehurići vazduha,odnosno sve dok OHO SPECIJAL nije istisnuo vazduhiz svih pora keramike i zauzeo njihovo mjesto. Zatim suizvađeni i ostavljeni na čistoj podlozi da se osuše.Izbor lijepka je vrlo važan kod rekonstrukcije keramike.Za lijepljenje keramike koristi se najčešće OHO lijepak,(mješavina polivinil acetata PVA i nitro celuloze),jer je po svojim karakteristikama najpodesniji.Za popunjavanje nedostajućih površina upotrebljenje Fundal gips. Kao pomoćno sredstvo kod restauracijeovog fragmentovanog pehara korišćen je vosak. Prijeupotrebe vosak je zagrijan i podešen sa unutrašnje stranepehara. Zatim su sa spoljašnje strane praznine popunjenegipsom, koji je pripremljen u posudi od gume. Nakonsušenja, gips je dotjeran najprije grubljim, a potomveoma finim šmirgl papirom. Cio ovaj postupak bio jeobavljen sa velikom pažnjom, da se ne bi oštetila površinakeramike u blizini restaurisanih djelova. Poslijeobrade šmirgl papirom nivo gipsa je izjednačen sa nivoompovršine keramike.Po okončanju finalne obrade gipsa, restaurisanazdjela je prebrisana vlažnom krpom, da bi se očistila odgipsane prašine i ostataka gipsa.Poslije sušenja, gipsani djelovi su obojeni prirodnimpigmentima, pomešanim sa rastvorom akrilne emulzije idestilovane vode, čime je i završen postupak obradeovog pehara. Finalna konsolidacija nije rađena. moved from the solution with tweezers and left to dry.It is, of course, very important to choose an adequateadhesive when dealing with restoration of ceramicvessel. In our country, OHO glue is mostly used for joiningceramic shreds. It is a mixture of polyvinyl acetateand nitro cellulose and considered the most adequatefor this type of joining. Edges must be clean,every pore must be free of dirt, so that the strongestpossible bond could be achieved. In the case of the beakerfrom Zlatica, edges were covered with a thin layerof adhesive.In the Laboratory of the National Museum Belgrade,conservators use the materials for restoration that caneasily be bought in our country. For this particular object,Fundal gypsum was used, as well as wax for moulding.Waxwas heated and sticked to the inner side of thevessel. At the outer side, gypsum was added, previouslyprepared in a rubber bowl. When gypsum was completelydry, it was ready for treatment, first with rough andthen with fine sandpaper. This phase was carried outparticularly carefully, so that ceramics close to restoredparts would not be damaged. Sanded parts were leveledwith the object surface.When restoration was finished, the vessel was wipedwith moistened cloth to remove the remains of gypsumdust.After drying, the gypsum parts were retouched withnatural pigments, mixed with a solution of acrylicemulsion in destiled water and the treatment was finished,since no final consolidation was done.Gorazd Lemajič, konzervator,Narodni muzej SlovenijePrednosti upotrebe transparentnogPVC kalupa kod dopunjavanja delovakoji nedostaju na šupljem stakluKad sam počeo sa radom na predmetima od stakla,nisam poznavao kolege restauratore, koji se baverestauracijom stakla, a i literature iz ove oblasti je biloveoma malo. Tako sam bio prepušten samome sebi. Odvelike pomoći mi je bilo prethodno znanje o kalupima imaterijalima, koje sam dobio na Likovnoj akademiji kakovajar. Postupke koje sam tamo naučio nisam želeo daproveram na muzejskim predmetima i da preko njih stičemiskustvo, pa sam se odlučio da potražim druga rešenja.Na samom početku sam identifikovao probleme ufazama rada i svrstao ih u grupe: 1) pričvrščivanje kalupana staklo, 2) razmak između unutrašnjeg i spoljašnjegkalupa, 3) injektiranje i ulivanje, 4) mehurići iskupljanje smole.Već na samom početku mog rada sa staklom bilo mije jasno da ću se teško probiti kroz različite aspekte kojisu sastavni deo procesa restauriranja stakla. Prilikomisprobavanja različitih tehnika i materijala za kalupe,došao sam do zaključka da se konstantno pojavljuje nekolikobitnih problema koje mogu da rešavam samo delimično.Pričvršćivanje kalupa na stakloProblemi i posledice sa kojima se susrećemo prilikompričvršćivanja kalupa oko fragmenta koji nadostajepovezani su sa curenjem smole iz kalupa, curenjempreko originala, stvaranjem stepenice na prelazu original-dopuna,slivanje lepka u kalup (silikonska guma kojompričvršćujemo kalup na staklo).- kalup mora da bude na staklo pričvršćen tako da154Gorazd Lemajič, National Museum of Sloveniae-mail: gorazd.lemajic@narmuz-lj.siAdvantages of using a transparentPVC mould used in the process ofreplacing missing pieces on hollowglass objectsWhen I started to work on glass objects, I had neitheraccess to any literature on this subject normuch contact with other museum restorers, so I had torely on my own limited knowledge about materials andmoulds which I had gained during my study of sculpture,and as I did not find it appropriate to test the routineprocedures on museum specimens, I chose a differentway to gain new experience and learn how to apply moresuitable procedures. Initially, I identified problemsthat were likely to emerge in each phase of my work andclassified them into four groups: 1) fixing moulds toglass; 2) Maintaining the space between inner and outermoulds; 3) injecting and casting; 4) dealing with airbubbles and shrinking of resin.I was aware that it would be very difficult to overcomevarious problems emerging in individual phases ofthe glass restoration process. While testing differenttechniques and materials for moulds, I noticed that acouple of key problems were recurring which I was ableto solve only partially.Fixing moulds to glassWhen replacing missing sections of glass with liquidresin, a mould is fixed around the missing piece in sucha way as to prevent the resin from flowing out over theoriginal and forming a step where the original and thecast meet, and prevention of liquid silicone rubber usedas to seal the silicone rubber mould to the glass fromflowing into the mould.

spreči isticanje smole. Na mestu gde kalup propušta ulivenusmolu dopuna će imati manju čvrstoću (dopuna ćebiti poput gume) i teško ćemo je obraditi (brusiti). Ismolu koja je iscurila iz kalupa teško je očistiti, posebnoiz unutrašnjosti predmeta zatvorenijeg oblika.- kada nismo uspeli kalup da pričvrstimo uz staklona tački dodira stakla i dopune nastaje mala stepenica ina taj način smola može da se slije preko originala (skica1). Može se desiti da deo koji je izliven ima veću tvrdoćuod stakla. Prilikom odstanjivanja takvih nepravilnostimože se desiti da staklo oštetimo, a ponekad i slomimo.- silikonska guma ili bilo koji drugi materijal kojiupotrebljavamo za pričvršćivanje kalupa na staklo nesme da procuri u unutrašnjost kalupa. Ako lepak procuri,na tom delu bi nastala rupica ili u najboljem slučajuudubljenje.Razmak izmeu unutrašnjeg i spoljašnjeg kalupaKada se susrećemo sa većim delovima koji nedostajuili sa vrlo tankim staklom teško je oba kalupa namestititako da se postigne jednaka i pravilna udaljenostunutrašnjeg i spoljašnjeg kalupa, s obzirom na oblikstaklenog predmeta. Ako su kalupi suviše blizu jedandrugome postojala bi mogućnost, da zid bude previšetanak ili čak da se pojavi rupa. Posledice prevelikog razmakaizmeđu kalupa prouzrokuju nastanak predebeledopune (skica 2).Injektovanje i ulivanje smoleU toj fazi je potrebno sasvim precizno namestiti obalevka za ulivanje i izlazak vazduha. Kada injektujemosmolu moramo iglom da uđemo u sam kutak kalupa.Levkovi moraju da stoje tako da iz njih smola ne možeda procuri, a ujedno moraju biti postavljeni tačno u uglukalupa, tako da iz kalupa može da izađe sav vazduh (slika1). Rad sa levkovima je veoma dugotrajan. Kod malihdopuna ponekad se desi da nema prostora za montažulevka. Kad odstranimo kalup na mestu gde su bili levkoviostane štrčeći deo, koji moramo da odrežemo i izbrusimodo istog istog sjaja kakav ima okolna površina.Kada unosimo epoksi smolu putem injekcije, bitno je daiglom prodremo samo kroz spoljašnji kalup i to tačno ukutak prostora koji dopunjavamo, inače postoji mogućnostda u kutku ostane mehurić. Kao što smo pre istakli,kalup je nežno prilepljen na staklo. Ako ga previše pritiskamoili vučemo popustiće mesto gde je kalup zalepljeni tu će smola curiti. Pri prodoru igle ne smemo dapotisnemo unutrašni kalup, pogotovo u fazi kada ubriz-- The mould should be fixed to glass in such a way asto prevent resin from flowing out. In places where themould is leaking, the cast will be softer (as made of rubber)and thus more difficult to treat (cut). The cleaningof resin will also be difficult, particularly from the insideof a glass object having a specific form.- If we fail to fix the mould close to the wall, a stepmay form where the original glass and the cast come together,and resin may flow over the original (Scheme 1)forming an extended piece. Such a piece may be moresolid than glass itself. When removing it, glass may bedamaged or broken.- If silicone rubber or any other material used to fixthe mould to glass has flowed into the mould, a smallhole or at least a hollow will be formed there.Maintaining the space between inner and outermouldsWhen the area of missing piece is large or the glassis very thin, it is difficult to place both moulds so thatthe distance between them is kept uniform with regardto the shape of the glass object. If the moulds are placedtoo closely, the resin cast will be too thin or have holesin it. If the moulds are placed too far away from each other,the cast will be too thick (Scheme 2).Injecting and casting resinIn order to introduce resin into a mould, it can beinjected through a hole in the mould or cast in by meansof a funnel, which should be placed precisely, or, if resinis injected, a needle should be pushed in the right place.The funnels should be placed in the highest part of themould so that resin does not flow out, and precisely inthe corner of the mould so that the air may flow outfrom the mould (Fig. 1). The work with funnels takes upa good deal of time and if the cast is small, there is evennot enough space to place the funnels. After the mouldhas been removed, the protruding part remains in theform of a funnel; this part should be cut off and polishedto obtain the same gloss as the surrounding surface.When epoxy resin is injected, it is of key importance topush the needle only through the outer mould and preciselytowards the corner of the space being completed,otherwise an air bubble may remain in the corner. As Ihave already mentioned before, the mould is only slightlyglued to glass. If we press or pull it too much, theconnection will relax and the resin will flow out (we areback to the problem of fixing the mould). The inner mouldshould not be pushed away with the needle, particularlywhen epoxy resin is squeezed out of the injection,as all sort of different forces are released then (change inthe needle’s angle; pressing, pulling of the mould). Whenthe mould is filled up with epoxy resin, air may be trappedin the cast’s complex configuration, forming smallholes in the cast, which must be filled up.Air Bubbles and Shrinking of ResinAir bubbles can form within the resin as a mould is fil-155

1. Silikonski kalup i levkoviSilicone rubber mould and funnelsgavamo smolu iz injekcije. Tom prilikom deluje više različitihsila (menjanje ugla prodora igle, pritiskanje ili povlačenjekalupa). Kada punimo kalup epoksiy smolommože da se desi da u strukturi dopune ostane vazduh i dase stvori rupica, koju kasnije moramo da napunimo.Mehurići i skupljanje smolePrilikom ulivanja smole u kalup u mrtve uglove uđei nešto vazduha. Mehuriće možemo uneti u kalup i slabominjekcijom. Ti mehurići su po pravilu vrlo mali i ugustoj epoksi smoli ostaju na dnu. Veći mehurići lakšeisplivaju na vrh, osim u primeru tankih odlivaka, kadapovršinski pritisak između unutrašnjeg i spoljašnjegkalupa zadrži mehuriće na mestu. Mehurići mogu da sepojave i nešto kasnije, kad smo već uspešno napunili kalup.Ti mehurići predstavljaju vazduh koji se skuplja namestu gde je kalup zalepljen na staklo, što se može desitii 15 minuta nakon punjenja kalupa. Sve do početkareakcije stvrdnjavanja smole, mehurići se mogu pomerati.Kasnije ih je nemoguće odstraniti i zbog toga moramoponovno da napunimo te novonastale rupice.Epoksiy smole se u proseku skupljaju 2%. Potrebno jeobezbediti dodatnu količinu smole, a to postižemo viškommase u levkovima.KalupRazmišljanje o svim tim problemima dovelo nas jedo spoznaje da se do grešaka dolazi upravo u procesu2. Spoljašnji i unutrašni kalupInner and outer mouldled. This is particularly true if resin is injected into a mouldusing a syringe. These bubbles are usually very smalland do not rise in dense epoxy resin. Larger bubbles risemore easily, except when the cast is thin and the surfacepressure of the inner and outer mould keeps the bubble inplace. In addition, air bubbles may become trapped by anglesin the edges of the glass. Air bubbles can also appearwhen the mould has already been successfully filled up.The air floats out of the space where the mould is fixed toglass and this may happen even 15 minutes after the mouldhas been filled. The bubbles can move until resin beginsto cure, after which it is impossible to get rid of them,so that new resin has to be used to file the holes left in thecast. If this is not done before the first resin has cured fully,the join between the two batches of resin will be visible.On curing, epoxy resins shrink by an average of 2%, sothat it is necessary to compensate for this by leaving asmall excess of resin in the funnel.Making mouldsReflecting on all these problems, I concluded thatmany mistakes were made during the process of making3. Pričvršćivanje silikonskog kalupa uunutrašnost predmetaFixing of a silicone rubber mould to theinner wall of the glass1564. Vidljiva su mesta gde kalup nije najboljezalepljen uz staklo. Na tom mestu će seepoxy smola preliti preko originala.The areas where the mould is insufficientlysecured to glass are clearly visible. Hereepoxy resin will flow over glass.Silikon kaučuk kojim smo lepili kalup nastaklo je iscurio u unutrašnost kalupaSilicone resin used to secure the mould toglass has flowed into the mould.

postupka izrade kalupai ulivanja smole. To sedešava prvenstvenozbog toga što je nemogućnadzor nad dešavanjimau kalupu, iliukratko ZATO ŠTO SENE MOŽE VIDETI ŠTASE DEŠAVA U KALU-PU. Iz toga je slediozaključak, da nam je zarad potreban materijalza kalup kroz koji ćemomoći da vidimo šta seunutra dešava. Nakonmnogih proba počelismo da radimo sa PVCplastičnom folijom.Kupujemo je pod imenomVakumska plastika.Ime dolazi od procesaizrade ambalažekoja je u širokoj upotrebi(amabalaža zubnečetke). Folija se možetoplotno obrađivati.Foliju savijamo prekoforme i ona nakon hlađenja zadrži oblik. Na nju se smolane lepi. Odlivak uliven u kalup od PVC folije ima vrloglatku površinu i izgled dopune je vrlo blizu sjaju kojiima površina stakla. PVC foliju upotrebljavamo zaspoljašnji kalup, dok za unutrašnji upotrebljavamo silikonskugumu (slika 2).Takav proziran kalup omogućuje nam uvid u procesrada i odstranjivanje nepravilnosti. Tako izbegavamonaknadno popravljanje grešaka. Sledi opis rešavanjaproblema prvenstveno preko upoređivanja s kalupomizrađenim od silikonske gume.Rešenja sa prozirnim kalupom1. Pričvrščivanje kalupa na staklo (slika 3)problemi: izlivanje smole, stepenica i prelivanje prekostakla, slivanje lepka za lepljenje kalupa u kalup.Kroz prozirni kalup vidi se da li je kalup svugde ipravilno zalepljen. Kao što to kontrolišemo kroz stakloprilikom pričvršćivanja unutrašnjeg kalupa od silikonskegume, možemo da kontrolišemo pravilno pričvrščivanjespoljašnjeg prozirnog kalupa kroz njegov providnizid (slika 4). To je kod kalupa od silikonske gume ilivoska mnogo teže postići. Prozirni kalup nam omogućavada jasno vidimo da li kalup dobro naleže uz stakloili postoji mogućnost nastanka veće stepenice. U vremenudok silikonska guma, kojom se na staklo lepi prozirnikalup, ne završi reakciju, možemo kalup bliže priljubitiuz staklo. Ako silikonska guma iscuri u kalup(slika 5), a to se dobro vidi, moramo da odstranimospoljašnji kalup, da ga očistimo i ponovno da ga učvrsmouldsand casts,mainly because it wasnot possible to see andtherefore to controlwhat was happeninginside the mould. Itmight therefore be possibleto obtain a transparentmoulding material.After experimentingwith several transparentmaterials, I choseto use a PVC plasticfoil sold as vacuumplastic, which is used toform the packing materialfor which it is widelyused (packing materialfor tooth brush).The foil is heated andfolded around the shape;after cooling, thefoil retains its shape(i.e. that of the object).It does not adhere to resin.Its surface is verysmooth and the cast isnearly as shiny as the glass surface. As a rule, I use PVCfoil to make an outer mould and silicone rubber to makean inner mould (Fig. 2).The use of such a transparent mould enables an insightinto the work process so that any irregulariy can beremoved – any later correction of faults is thus avoided.7. i 8. Na slici 7 vidi se trougao od neprovidnog materijala (alu folija)prilepljen na spoljašnji providni kalup. Na slici 8 osvetljen je kalup i lepose vidi senka koju baca trougao na unutrašnji zid kalupa od silikonkaučuka.Fig. 7 shows a triangle made of non-transparent material (aluminumfoil) glued to the outer transparent mould. Fig. 8 shows an illuminatedmould; a shadow thrown by the triangle on the mould’s inner wallmade of silicone rubber is clearly visible.Solutions with a Transparent Mould1. Fixing moulds to glass (Fig. 3)Problems: resin flows out, a step is formed and resinflows over glass, glue flows into the mouldThrough a transparent mould I can see whether themould is correctly attached to the glass surface. As Ican see through glass and control whether the inner siliconerubber mould is correctly fixed, I can also control,through the transparent wall, whether the outertransparent mould is correctly fixed (Picture 4). Thiscannot be done if the mould is made of silicone rubberor wax. If the mould does not fit tightly against theglass, this may result in the forming of a step, and I cansee this clearly. As long as the silicone rubber, used to securea transparent mould to the glass has not fully cured,the mould can be pressed more closely against theglass. If silicone rubber flows into the mould (Fig. 5),this can be clearly seen, and in such a case it is only necessaryto remove the outer mould to be able to clean offthe silicone rubber and then to replace the outer mould.In such a way any surprise is avoided upon opening themould (made of silicone rubber) and finding a small holeor hollow9, 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 inthe corners.157

timo na pravilno mesto. Na taj načinnećemo biti iznenađeni prilikomotvaranja kalupa (kod kalupaod silikona) i otkrivanja rupica iliudubljenja, te popravljanju tihgrešaka.2. Razmak između unutrašnjegi spoljašnjeg kalupaPrikom montiranja spoljašnjegkalupa, koji nameštamo poslemontaže unutrašneg, treba pazitina pravilan razmak izmeđunjih. Kad su u pitanju zakrivljenii tanji odlivci postoji veća mogućnostza dodir između kalupa.Kontrolisanje razmaka je kodprozirnoga kalupa jednostavno(slika 7 i 8). Na spoljašnji kaluppostavimo neproziran material(alu folija) i osvetlimo ga jakimizvorom svetlosti (džepna baterija).Na zidu unutrašnjeg kalupapojavi se senka i jasno je vidljivadistanca između spoljašnjog iunutrašneg kalupa. Ako apstrahujemodebljinu prozirnog kalupa(cca 0,4 mm), možemo da ocenimoda li će debljina odlivka bitiadekvatna. Pokretanjem alu folijena spoljašnjem kalupu možemobilo gde da proverimo da li je razmakpravilan. Sve vreme dok sespoljašnji kalup ne prilepi nastaklo možemo da korigujemomoguća odstupanja.3. Injektiranje i ulivanje smoleproblemi: levkovi, injektiranje,punjenje kalupaKod prozirnog kalupa skoroda ne dolazi u obzir upotreba levka,pošto u kalup koji je sa svihstrana zatvoren injekcijom ulivamosmolu. Umesto levka u kalupunapravimo dve rupice. Iglom jednostavnoprodremo u kalup i postavimoje tačno u ugao kalupa štoje ujedno i način da se u uglu izbegnezadržavanje vazduha (slika9). Problem sila koje nastaju prilikomistiskivanja smole iz injekcijenije tako veliki kao kod kalupaod silikona, jer je prozirni kalupčvršći i sile pritiska i potiska seraspoređuju na ceo kalup. Tako silenisu skoncentrisane samo najednom delu, kao kod kalupa odsilikonske gume. Kod punjenjakalupa smolom naginjanjempredmeta sprečavamo da se vazduhzarobi u uglu (slika 10 i 11).Bez bojazni da će se smola izliti izveć napunjenog kalupa, možemonastaviti i kod sledećeg kalupa,na istom predmetu. Rupice za iglui vazduh su naime tako male dapovršinski pritisak sprečava dasmola iscuri pri kratkotrajnomnaginjanju predmeta. Takav manevarbio bi teže izvodljiv kodupotrebe levka, jer bi smola od-15812. i 13. Nežnim kucanjem metalnom lopaticomza modeliranje tačno na mestu gde senalazi mehurić postižemo male vibracije kojesu jače od površinskog napona i na taj načinmehurić dovodimo do rupice za vazduh.Tapping on the plastic mould with a metalspatula to help the bubble to rise slowlytowards the air hole.14. Pričvršćivanje prozirnog kalupa na staklenipredmet.Fixing a transparent mould to a glass objectPričvršćivanje fragmenata na prozirni kalupkoji je ujedno nosilac unutrašnjeg oblika čaše.Fixing glass fragments to a transparent mould,which conforms to the entire inner configurationof the glass object and supports the fragmentsin their correct positions.2. Controlling the space betweeninner and outer mouldsAn outer mould is placed in positionon the glass after an innermould has already been placedthere. It is important to maintainthe correct distance between theinner and outer mould. If the gapin the glass is large and curved –especially in two directions, andthe glass itself is thin, it is quitepossible that the moulds will touchin several points. In the case of atransparent mould, it is quite simpleto control the distance betweenthe moulds. (Figs. 7 & 8). A piece ofnon-transparent material (aluminumfoil) is placed on the outermould and illuminated with a pockettorch. A shadow appears on theinner mould wall and the distancebetween the outer and inner mouldis clearly visible. If the thickness ofthe transparent mould (approximately0.4 cm) is ignored, it can beestimated whether the cast thicknesswill be suitable. By movingthe foil along, the correct distancebetween the moulds at any givenpoint, can be checked. As long asthe silicone rubber, used to secure atransparent mould to the glass hasnot fully cured, any possible irregularitycan be corrected.3. Filling moulds by injectingor casting epoxy resinWhen working with a transparentmould, I generally do not useany funnels as I usually inject resininto the mould that is closed fromall sides. Instead of using a funnel, Imake two small holes in the mould.I penetrate the mould with a needle,which I push precisely towards thecorner of a mould to prevent the airfrom getting trapped in the corner(Fig. 9). The forces released whenepoxy resin is squeezed from theinjection are not as great as in thecase of a silicone mould.That is becausea transparent mould is moresolid; pressure and pull forces arearranged along the entire mould andare not concentrated on only onepart as in the case of a silicone rubbermould. When filling the mouldwith resin, I hold the object sidewise,thus preventing the air from gettingtrapped in the angle (Figs. 10and 11). I can continue holding theobject sidewise when filling the nextmould on the same glass object withoutfear that resin will flow out ofthe already filled mould. The holefor a needle and air is so small thatthe surface pressure prevents resinfrom flowing out when the object isheld sidewise for a short period oftime. Such a manoeuvre would bemore difficult to carry out with fun-

mah iscurela napolje. Takve rupice u kalupu nam dozvoljavajui punjenje vrlo malih kalupa.4. Mehurići i skupljanje smoleproblemi: veći ili manji mehurići, vazduh zarobljen uuglovima, skupljanje smoleAko se u kalupu pojavi mehurić on će kod debljihodlivaka sam isplivati i mi ga jednostavno možemo usmeritinaginjanjem predmeta prema rupici za izlazakvazduha. Kod tanjih odlivaka dolazi do situacije dapovršinski napon zida unutrašneg i spoljašnjeg kalupazadrži mehurić na mestu. Pritom ne pomaže ni pritiskanjekalupa, jer bi površinski napon povukao mehurićnazad. Nežnim kuckanjem metalnom lopaticom zamodeliranje tačno na mesto gde se nalazi mehurić (slika12 i 13) postižemo male vibracije koje su jače odpovršinskog napona i na taj način mehurić dovodimodo rupice za izlazak vazduha. Ako je oblik prostora kojiželimo da napunimo smolom takav da i pored pravilnogpostavljanja rupica za izlazak vazduha u uglovimaipak ostane poneki mehurić, rupice ćemo jednostavnonapuniti kad se smola u kalupu već stvrdne. Mesto gdeje u kalupu ostao mehurić je potpuno čisto, jer kalupnije bio odstranjen. Na taj način zalivene rupice nerazlikuju se od ostatka odlivka. Kod upotrebe silikonskegume za spoljašnji kalup, da bismo ustanovili gdese mehurići nalaze, potrebno je da odstranimo kalup.Nakon odstranjivanja kalupa može da se desi da uunutrašnost mehurića dospe prašina i izradom novogkalupa nastane mala stepenica, koju brušenjem trebaodstraniti.PVC foliju možemo da upotrebljavamo samo kaokalup (slika 14) ili kao kalup koji je ujedno nosilac forme,prvenstveno u primerima kada je očuvano veomamalo originalnog materijala (slika 15).nels from which resin could flow out immediately. Suchsmall holes in the mould also allow filling up very smallmoulds, which cannot be done through a funnel.4. Air Bubbles and Shrinking of ResinBy using a transparent mould, it is possible to see ifair bubbles are becoming trapped within the resin. If anair bubble appears in a thick resin cast, it will rise outspontaneously and can be directed towards the air holeby tilting the object. If the resin cast is thin, the surfacepressure formed between the walls of an inner and outermould tends to keep the bubble in place. Pressing themould will not help to release the bubble as it will bepulled back as soon as pressure on the mould is released.Tapping gently on the transparent mould with a metalspatula, precisely at the place where the bubble is located(Figs. 12 & 13), helps the bubble to rise towards theair hole. If this does not work, it is possible to penetratethe outer mould with a needle and to fill the air bubbleby injecting it with liquid resin. Such filling cannot bedistinguished from the rest of the cast. If the configurationof the cast is rich and the air holes properly positionedat the highest points in the mould, but the air is stilltrapped in the corners, the resulting holes in the cast canbe filled with more resin once the cast has solidified.If silicone rubber were to be used to form the outermould, air bubbles cannot be detected until the mould isremoved. After the mould has been removed, dust maycome in the bubble and while making a new mould, asmall step is formed; such a visible irregularity shouldbe removed by cutting.PVC foil can be used to form a transparent mouldonly (Fig. 14), or as a mould which simultaneously servesas a support indicating the shape of an object whenlittle original material has been preserved (Fig. 15). Patrik Blan, konzervator, Muzej antike Arla iProvanse, Mari-Lor Kurbules, konzervator, Muzejantike Arla i ProvanseKonzervacija antičkih mozaika:saradnja između Ateljea zakonzervaciju i restauraciju Muzejaantike Arla i Provanse i DIJANACentra za preventivnu zaštituNarodnog muzeja u BeograduVeliko nam je zadovoljstvo da, u publikaciji DIJANACentra predstavimo saradnju sa ovim centrom i koristimoovu priliku da približimo oblast za koju smospecijalizovani: konzervaciju i restauraciju antičkihmozaika.Saradnja je započela 2002. godine, tokom prvog boravkaMaje Franković u Ateljeu za konzervaciju i restauracijumozaika Muzeja antike Arla i Provanse, gde jeboravila radi stručnog usavršavanja. Tokom tromesečnogboravka, koji joj je omogućen zahvaljujući podršciFrancuskog kulturnog centra u Beogradu, Maja je uznašu ekipu konzervatora, mogla da nauči različite tehnikekonzervacije i restauracije mozaika i da se bavi iteorijom i praksom iz ove oblasti. U biblioteci MAPA bilajoj je dostupna naša dokumentacija i stručna literatura.Mila Popović-Živančević, rukovodilac DIJANA Centra,je u 2003. godini posetila naš Atelje i Muzej antikeArla i Provanse. Tom prilikom, ponudila nam je da nastavimosaradnju sa DIJANA Centrom u vidu kursa, kojiPatrick Blanc, Responsable de l’Atelier de conservationet de restauration, Marie-Laure Courboulès,restauratriceLa conservation des mosaïquesantiques: collaboration de l’Atelier deConservation et de Restauration duMusée de l’Arles et de la Provenceantiques avec le centre de conservationpréventive DIANAC’est avec un grand plaisir que nous présentons dans la publicationdu Centre Diana notre collaboration avec le Centrede conservation préventive du Diana et nous profitons decette occasion pour expliquer notre domaine de spécialisation :la conservation et la restauration des mosaïques antiques.Cette rencontre débute avec le premier stage de Maya Frankovicdans l’Atelier de conservation et de restauration de mosaïquesdu Musée de l’Arles et de la Provence antiques (ACRMdu MAPA) effectué en 2002. Au cours de ce séjour de quatremois, rendu possible grâce au soutien du Service culturel del’Ambassade de France à Belgrade, Maya a pu apprendre auprèsde notre équipe de restaurateurs les différentes techniques de laconservation et de la restauration des mosaïques et aborder lesthéories et principes de cette discipline. Dans la bibliothèque duMAPA, elle a pu consulter notre documentation et les ouvragesspécialisés.En 2003, Mila Popovic, directrice du Centre Diana, venaiten France ; elle put visiter notre Atelier et le Musée de l’Arleset de la Provence antiques. A cette occasion, elle nous proposa159

Ekipa ateljea ispred čuvenog mozaika morskih čudovišta zavreme staža Maje Franković, jednog kolege iz Alžira i koleginiceiz Francuskog instituta za konzervaciju umetničkih predmetaEquipe de l’atelier devant la célèbre mosaïque des monstresmarins pendant les stages de Maya Frankovic, d’un collèguealgérien et d’une stagiaire française de l’Institut Français deRestaurateurs d’Art.bi se održao u Beogradu. Ponudu smo rado prihvatili,podstaknuti entuzijazmom našeg stažiste. Tokom nedeljudana, u maju 2004. godine, kurs konzervacije i restauracijeantičkih mozaika, koji je održan u Galeriji fresaka,okupio je više od dvadeset učesnika.Cilj kurs bio je da obuhvati različite aspekte konzervacijeantičkih podova, koji predstavljaju veoma bogatokulturno nasleđe, sa velikom raznovrsnošću kako tehnika,tako i ikonografije. Tehnike i sredstva kojima se obezbeđujenjihovo očuvanje, takođe su brojna i moraju seprilagoditi datom slučaju, istovremeno poštujući osnovneprincipe konzervacije kulturnih dobara: kompatibilnostmaterijala, reverzibilnost, čitljivost izvršenih intervencija.Intervencije mogu da budu veoma različite. U muzejima,uglavnom se radi o tretmanima koji se primenjujuna već postojećim kolekcijama ili na novim akvizicijama.Na arheološkim lokalitetima, to mogu da budu ranijeotkrivene »ruševine«, koje su ponekad već bile podvrgnutekonzervatorskom tretmanu i koje treba sačuvatiili mogu da budu u pitanju nova otkrića. Isto tako, ponekadtreba intervenisati na koncepciji i opremanju depoau muzejima, kao i na načinu smeštanja mozaika udepoe. Konzervator mora da bude prisutan u oblastipreventivne zaštite, isto kao i tokom hitnih intervencijaradi spasavanja kulturnih dobara.U ovim raznovrsnim situacijama, u kojima se tražiod konzervatora da interveniše, može se reagovati narazličite načine. Ukoliko se, posle »skidanja« sa terena,mozaici čuvaju na provizornim panoima, ili ukoliko suveć konzervirani i stavljeni na drugu, staru ili modernu,podlogu, njihovi načini smeštanja će se razlikovati. Zamozaik na koji je još uvek zalepljeno platno, odabraćemohorizontalan način smeštanja na klizeće police. Mozaikrestauriran na aluminijumskoj podlozi alveolarnogtipa, može se pričvrstiti, u vertikalnom položaju, načvrste klizeće panoe. U oba slučaja, neophodno je obezbeditidovoljno prostora, ne samo za smeštanje, nego iza rukovanje mozaicima, koji su uvek velikih površina.Na konzervatoru je da predloži različita rešenja i da ihobrazloži.Materijali koji se koriste, čak i kao privremeno rešenje,moraju da budu otporni i, ukoliko je moguće, hemijskistabilni (metalne police i boje koje ne oksidiraju).Što se tiče klime, relativna vlažnost i temperatura morajuda budu kontrolisani, imajući u vidu drvo i platna160de poursuivre la collaboration avec le centre Diana notammentsous la forme d’un cours qui serait dispensé à Belgrade. Nousavons bien entendu accepté avec joie, encouragés par l’enthousiasmede notre stagiaire. Dès le mois de mai 2004, ce cours surla conservation et la restauration des mosaïques antiques pu réunirdans la Galerie des fresques au Diana, pendant une semaine,plus d’une vingtaine de personnes.Le cours a permis d’aborder les différents aspects de la conservationdes pavements antiques, vus au travers de nombreuxcas de figures, avec le souci de donner aux participants, issus deformations et d’institutions différentes, un riche aperçu de ceque représente ce domaine spécifique de la conservation et larestauration de vestiges archéologiques.Conservés dans des contextes très diversifiés, les pavementsantiques constituent un très riche patrimoine offrant unegrande variété tant technique qu’iconographique. Aussi, lestechniques et moyens pour assurer leur préservation sont égalementmultiples et doivent s’adapter selon les cas, toujours dansle respect des grands principes de la conservation des biens culturels: compatibilité des matériaux, réversibilité, lisibilité desinterventions.Les interventions peuvent être très différentes. Dans le cadrede musées, il peut s’agir de traitements appliqués à des collectionsanciennes ou de nouvelles acquisitions ; sur les sitesarchéologiques eux-mêmes, ce sont des vestiges anciennementidentifiés, ayant parfois déjà été l’objet de traitement conservatoire,qu’il faut sauvegarder, ou des découvertes récemment misesau jour. Parfois également, il faut intervenir dans la conceptionet l’installation de réserves de musées et de modes de stockage.Un restaurateur doit être présent tant dans le cadre de conservationpréventive que lors de sauvetages d’urgence.A ces diverses situations où il est demandé au restaurateurd’intervenir, des réponses variées peuvent être apportées. Si,après dépose, les mosaïques sont préservées sur des panneauxde stockage provisoires ou si elles sont déjà restaurées et disposéessur des supports anciens ou modernes, les moyens de lesranger seront différents. On choisira pour une mosaïque encoresur sa toile d’encollage un stockage à plat, sur des étagères coulissantes.Une mosaïque restaurée sur nid d’abeille en aluminiumpeut en revanche se fixer à la verticale, sur des grilles rigidesmontées sur rails. L’espace est, dans tous les cas, indispensablenon seulement pour le stockage mais aussi pour lesmanipulations de mosaïques qui présentent souvent de grandessuperficies. Un restaurateur doit être à même de proposer différentessolutions et de les justifier.Les matériaux mis en œuvre, même dans les situations temporaires,doivent être résistants et, si possible, chimiquementstables (étagères métalliques et peinture inoxydable). Le climatdoit être contrôlé en hygrométrie et en température, on pense aubois et aux toiles d’encollage des panneaux de mosaïques déposéesmais aussi au plâtre d’anciennes restaurations qui souffriraientdes variations du taux d’humidité relatif sans compter lerisque de prolifération de microorganismes. Un restaurateur doitêtre à même d’anticiper.Les mosaïques anciennement restaurées posent des problèmestrès différents selon leurs supports de restauration. La naturede ces supports va de l’association de plâtre et de bois jusqu’aumortier de ciment ferraillé. C’est leur état de conservationqui guidera l’urgence et le type d’interventions nécessaires :des traitements de nettoyage et de consolidation jusqu’à la complètedé-restauration de l’œuvre. Dans le cas d’une collectionimportante, il doit être établi un programme de restauration del’ensemble de la collection présentée au public et en réserve enprenant en compte les urgences, l’importance iconographique,la rareté d’un décor qui guideront l’établissement du plan d’interventionde conservation. Un restaurateur doit être à même deprogrammer.

zalepljena preko mozaika, ali isto tako i gips kod starihrestauracija, koji reaguju na oscilacije relativne vlažnosti,rizik od pojave mikroorganizama da ne pominjemo.Na konzervatoru je i da predviđa.Mozaici koji su ranije već konzervirani postavljajuveoma različite probleme, u zavisnosti od vrste podlogena kojoj su restaurirani. Priroda ovih podloga ide odkombinacije gipsa i drveta do armiranog cementnogmaltera. Njihovo stanje očuvanosti uslovljava hitnost ivrstu neophodnih intervencija: od tretmana čišćenja ikonsolidacije, do kompletne ponovne restauracije predmeta.U slučaju da se radi o značajnoj kolekciji, mora dase utvrdi program restauracije za celu kolekciju, i za deokoji je izložen, i za onaj koji se čuva u depou, vodeći računao hitnosti, ikonografskoj važnosti, retkosti dekoracije,kojima će se rukovoditi prilikom utvrđivanja planakonzervatorske intervencije. Na konzervatoru je i daplanira.Radovi na konzervaciji mozaika traže prostore dovoljnoprostrane da prime mozaičke podove, koji su čestovelikih dimenzija. Prostor potreban za postavljanjemozaika na novu podlogu, mora da bude najmanje duploveći od površine mozaika, da bi tretman tessellatum-amogao da se izvodi u isto vrema kad i pripremamodernih podloga od aluminijumskih ploča alveolarnogtipa. Otvori u ateljeu moraju da budu široki i visoki, dabi se omogućio prolazak velikih panoa. Neki tretmanimogu da uključuju radove koji stvaraju mnogo prašine,kao što je uklanjanje cementne podloge; zbog toga je korisnoimati prostor napolju, koji bi se koristio za ovakveintervencije. Na konzervatoru je i da savetuje.Termin »atelje za konzervacijumozaika« je najprikladniji,jer povezujemesto, znanje, veštinu i, iznadsvega, ekipu. Na konzervatoruje i da koordinira.Mere održavanja kojese tiču mozaika izloženih umuzejskoj postavci, kao štosu uklanjanje prašine i čišćenje,jesu intervencijeodržavanja koje su potpunou domenu kompetencijakonzervatora-restauratora,jer je na njima da izaberune samo načine čišćenjakoji se mogu primeniti, negoi da analiziraju stanje ukome se delo nalazi, da otkrijueventualne uzrokepropadanja i da daju primerenesmernice.Čišćenje, koje se pogrešnosmatra neagresivnimi tekućom praksom,zahteva od stručnjaka istrajnost.Isto tako, konzervatorskoiskustvo i poznavanjematerijala može dadoprinese muzeografiji inačinu prezentacije mozaikau izložbenom prostoru.U pokušaju da se zaokružiinformacija koju arheološkidokument prenosi publici,poslovi na konzervacijii restauraciji mogu dabudu predstavljeni tako daIspitivanje velikog mozaika iz rimske bazilike Grand dans lesVosges u Francuskoj, u kojem je Maja Franković imala prilike daučestvuje tokom svog poslednjeg stažaExpertise de la grande mosaïque de la Basilique romaine deGrand dans les Vosges en France, a laquelle Maya Frankovic apu participé lors de son dernier stage.Les travaux de restauration de mosaïques réclament des locauxsuffisamment vastes pour accueillir des pavements souventde grandes dimensions. L’espace nécessaire à la remise surnouveau support doit représenter au moins deux fois la superficiedu pavement pour y permettre à la fois le traitement du tessellatumet la fabrication des supports modernes en nid d’abeilleen aluminium. Les ouvertures de l’atelier doivent être largeset hautes pour autoriser le passage de grands panneaux. Certainstraitements peuvent consister en des travaux très poussiéreuxcomme le retrait des mortiers de ciment ; il est alors utiled’avoir des espaces extérieurs pour ce type de d’intervention.Un restaurateur doit être à même de conseiller.Le terme d’« atelier de restauration de mosaïques » est leplus approprié, car il associe un lieu, un savoir faire et, surtout,une équipe. Un restaurateur doit être à même de coordonner.Les mesures d’entretien qui concernent les mosaïques présentéesdans les salles des musées, telles que les dépoussiéragesou les nettoyages, sont des interventions de maintenance qui entrentcomplètement dans le domaine de compétence des conservateurs-restaurateurs,puisque ceux-ci sont à même de choisirnon seulement les moyens adaptés mais aussi d’analyser l’étatde conservation d’une œuvre, d’identifier d’éventuels problèmesde dégradation et de donner les directives appropriées.Les nettoyages, considérés injustement comme des pratiques« courantes » et inoffensives, réclament tout autant lapertinence d’un spécialiste. De même que l’expérience du restaurateuret sa connaissance des matériaux peuvent contribuer àla muséographie et à la présentation de mosaïques dans les sallesd’exposition. Dans un souci de compléter l’information surle document archéologique auprès du public, les travaux de conservationet de restaurationpeuvent être présentés en complémentsavec les pavementseux-mêmes, sous forme dephotos ou de film. Ces formulesde diffusion de la connaissancesont fort appréciées parun public curieux qui y puisenombre d’informations etaccède ainsi aux coulisses desmusées.Conserver les collections,transmettre la connaissance etinformer le public sont ainsiautant de missions pour lesresponsables de la sauvegardedu patrimoine archéologiquedans les musées, mais égalementsur les sites.Les interventions de conservationsur les sites archéologiquesvarient selon la naturemême des fouilles, c’est-àdireen d’autres termes s’ils’agit de sites préservés ou desites détruits. Dans ce derniercas, encore trop fréquent malheureusement,les opérationssont des interventions d’urgence,d’extrême recours.Quand la préservation desvestiges n’est pas assurée surdes chantiers de construction,la dépose des mosaïques devientalors l’ultime moyen de les161

nadopunjuju mozaičke podove, u formi fotografije ilifilma. Radoznala publika veoma ceni mogućnost pristupaiza muzejskih kulisa i priliku da crpi veliki broj informacijai tako proširuje znanja.Čuvati zbirke, prenositi znanje i informisati publiku,to je misija onih koji se bave zaštitom arheološkogkulturnog nasleđa u muzejima, ali isto tako, na lokalitetima.Konzervatorske intervencije na arheološkim lokalitetimavariraju u odnosu na samu prirodu iskopavanja,drugim rečima, u odnosu na to da li se radi o zaštićenimili uništenim lokalitetima. U ovom drugom slučaju, jošuvek previše često, na žalost, intervencije su odnose nahitne akcije spasavanja u poslednjem trenutku.Kada očuvanje arheoloških ostataka na gradilištimanije obezbeđeno, »skidanje« mozaika je jedini način dase oni sačuvaju od sigurnog uništenja. Nasuprot tome,tamo gde se očuvanje kulturnog nasleđa poštuje, obezbeđujei uključuje u projekat izgradnje, »skidanje« mozaikapostaje destruktivna metoda, koja prekida vezuizmeđu mozaičkog poda i njegovog originalnog nalazišta.Ponovno zakopavanje može biti način čuvanja; utom slučaju, posle proučavanja, dokumentovanja i konsolidacije,ostaci se pokrivaju prema tačno određenojproceduri (uz upotrebu geotekstila, peska, šljunka, i dr.)Međutim, rešenje koje je zadovoljavajuće na duge stazeje izgradnja arheološke kripte, koja se redovno kontrolišei nadgleda.Na arheološkim lokalitetima koji su sačuvani i otvoreniza publiku, konzervacija in situ ulazi u ukupni programodržavanja i prezentacije. Ostaci, odnosno mozaici,su predmet ekspertize koja doprinosi da se formiraplan akcije. Intervencije su tehničke prirode – čišćenja,konsolidacije, skidanje i ponovno vraćanje mozaika namesto; tretmani se odnose na tessellatum, ali isto tako ina podlogu poda. Razmišljanje je globalno i tiče se problemaprezentacije mozaika u sklopu celine i njegovezaštite od propadanja, uzrokovanog kako klimatskimfaktorima, tako i delovanjem ljudi i životinja.Konzervacija in situ zahteva interdisciplinarnostizmeđu konzervatora, arheologa, arhitekata, političara;odgovornost je na svima. Dobar deo podnih mozaikaje sačuvan pomoću jednostavnih mera zaštite, kojesu više rezultat primene zdravog razuma nego upotrebljenihfinansijskih sredstava. Odstraniti rastinje,zatvoriti manje nedostajuće površine, sprečiti kretanježivotinja, pokriti mozaik tokom jeseni i zime, sve overadnje su upravo radnje koje spasavaju. Zato je obukaekipe za održavanje mozaika na lokalitetima obavezna.;u programima saradnje to predstavlja prioritet zanaš Atelje.Kurs koji smo održali u DIJANA Centru bio je za nasdobra prilika da upoznamo studente i stručnjake, kojisu veoma angažovani i motivisani u zaštiti kulturnihdobara i nadamo se da smo uspeli da im prenesemo deonašeg iskustva. Takođe smo imali priliku da posetimonekoliko muzeja i arheoloških lokaliteta i da upoznamomnoge stručnjake iz oblasti zaštite u Srbiji.Tokom 2004. godine, Maja Franković se vratila u Arl,u naš atelje, da bi nastavila obuku iz oblasti konzervacijei restauracije mozaika, ali i da bi razradila elaborato ponovnoj konzervaciji i prezentaciji mozaika koji pripadajuzbirci Narodnog muzeja u Beogradu. Stekavšinova iskustva, Maja danas počinje rad na ovom projektu.Zbog svih tih susreta i poznanstava, želeli bismo danastavimo saradnju sa DIJANA Centrom.162Analiza stanja u depou Galerije fresakaAnalyse des conditions dans les reserves de la Galerie des fresquessauver d’une destruction certaine. En revanche, quand la préservationdu patrimoine archéologique est respectée, assurée et intégréedans les projets de construction, la dépose peut alors devenirdestructrice, faisant disparaître le lien entre pavement etsite d’origine.Le ré-enfouissement peut être une solution conservatoire ;dans ce cas, après études, documentation et consolidations, lesvestiges sont recouverts selon un protocole précis (utilisation degéotextile, sable, gravier, etc.). Mais la solution la plus satisfaisanteà long terme est la réalisation d’une crypte archéologiquecontrôlée et surveillée.Sur les sites archéologiques préservés et ouverts au public,la conservation in situ entre dans un programme global de maintenanceet de mise en valeur. Les vestiges, dont les mosaïques,font l’objet d’une expertise qui contribue à l’établissement d’unplan d’action. Les interventions sont techniques -nettoyages,consolidations, dépose/repose ; les traitements concernent autantle tessellatum que l’assise même du pavement. Les réflexionssont quant à elles globales et concernent tant les problèmesde présentation des mosaïques que celui du site dans sonensemble et de sa protection contre les dégradations tant humaineset animales que climatiques.La conservation in situ appelle l’interdisciplinarité entre restaurateurs,conservateurs, archéologues, architectes, décideurspolitiques ; et c’est une question de responsabilité de chacun.Bon nombre de pavements ont été sauvés par de simples précautionsrésultant plus du bon sens que de moyens financiers mis enoeuvre. Enlever les mauvaises herbes, boucher les petites lacunes,éviter le passages des animaux, recouvrir lors de la mauvaisesaison, tous ces gestes sont autant de gestes qui sauvent. C’estpourquoi la formation d’équipes de maintenance et d’entretiendes mosaïques sur les sites est primordiale ; elle constitue, pournotre Atelier, une priorité dans nos missions de coopération.Ce cours dispensé au Diana fut pour nous une très belleoccasion de rencontrer des étudiants et des professionnels trèsimpliqués et motivés auxquels nous espérons avoir transmis unpeu de notre expérience. Nous avons aussi eu la chance de visiterplusieurs musées et sites, de rencontrer un grand nombre deprofessionnels serbes.En 2004, Maya Frankovic revenait en stage à Arles, dansnotre atelier où elle a poursuivi sa formation en conservation etrestauration de mosaïques, mais aussi pour développer une étudesur la « dérestauration » et la présentation de mosaïques appartenantaux collections du Musée national de Belgrade. Fortede cette nouvelle expérience, Maya se lance aujourd’hui dans cenouveau projet.C’est fort de ces rencontres que nous souhaitons poursuivrenotre collaboration avec le Diana.

Mila Popović-ŽivančevićSeminari, specijalističkikursevi i radionice uDIJANA CentruSeminari, specijalistički kursevi i radionice sastavnisu deo edukativnih procesa. Organizuju se za polaznikei saradnike DIJANA Centra, za profesionalce izmuzejske mreže SCG, regije Balkana i šire. Mora se primetitida su naši seminari i specijalistički kursevi postali„popularni“ i da sve više naših kolega iz raznihmuzeja prate ove edukativne programe. Najčešće ihshvataju kao proširenje, osavremenjivanje, specijalizacijudosadašnjih znanja i razmenu iskustva. S drugestrane, želeli smo da ovi gotovo uvek naporni i intezivnistručni događaji, predstavljaju i mesto okupljanja i međusobnogdruženja kolega iz zemlje i okruženja. Možese reći da smo uspeli u ovome, za mnoge od nas ovi napornidani seminara i kurseva provode se u prijatnoj atmosferiGalerije fresaka, gde je obavezan dobro organizovanketering i gde se svi mi međusobno bliže upoznajemoi družimo.Ovaj deo svojih aktivnosti, DIJANA Centar, po pravilu,realizuje u saradnji sa Nacionalnim komitetomIKOM-a SCG (NK IKOM SCG).Veliki deo važnih edukativnih programa i sadržajau DIJANA Centru praktično se realizuje upravo prekoseminara, specijalističkih kurseva i radionica.SEMINARISeminar iz Preventivne zaštite “Zaštita od požara umuzejima i galerijama”Realizovan iz tri dela, tokom februara,marta i aprila. Učestvovalo je oko 50 polaznikana svakom delu posebno.Seminar je realizovan partnerski sa Društvom inženjerai tehničara za upravljanje rizicima u životnoj sredinii nacionalnim komitetom IKOM-a SCG.Nosilac kursa: Prof. dr Milovan VidakovićKurs je bio namenjen profesionalcima iz muzeja i institucijazaštite pokretnih kulturnih dobara, sa ciljemrazvoja sistemskog organizovanja i sprovođenja efektivnihprograma protivpožarne zaštite.Kao deo ovih edukativnih aktivnosti Mila Popović-Živančević i Vesna Živković su učestvovale u seminaru«Zaštitni protivpožarni premazi» u organizaciji Društvainžinjera i tehničara za upravljanje rizicima u životnojsredini (26. april)KURSEVI1. Specijalistički kurs “Uvod u preventivnu zaštitu”,od 19 - 21. januara, koji je uključio 40 predstavnikamuzejskih radnika iz većeg broja muzeja Srbije, od direktorado konzervatora, kao i saradnika i polaznikaDIJANA Centra. Kurs je organizovan partnerski saICCROM-om, School of Conservation, The Royal DanishAcademy of Fine Arts, The Danish National Museum iNK IKOM-a SCG.Nosioci kursa: Bent Ešhoj i Morten Ril Svendsen.Kurs je uspeo da pruži osnovna znanja iz preventivnezaštite i brige za muzejske predmete svakog profesionalcau muzejskoj instituciji.Za uspešno organizovanje ovog važnog kursa trebaistaći posebno Vesnu Živković, a zatim Anu Kocjan,Aleksandru Džikić Nikolić, Maju Živković, Maju Frankovići Tanju Nedeljković, pored drugog dela tima saradnikai polaznika DIJANA Centra.Mila Popović-ŽivančevićSeminars, specialistcourses and workshopsat DIANA CentreSeminars, specialist courses and workshops are anintegral part of the education process at DIANACentre. They are open to students and collaborators ofDIANA Centre, to professionals from the museum networkof Serbia and Montenegro, the Balkan region andbeyond it. One could say that our seminars have become“well liked” and the number of our museum colleaguesattending these educative programmes is constantlyincreasing. The programmes are expanding, updatingand specialising the existing knowledge and offerchances for exchange of experience. On the other handwe also wanted to make these intensive and hard workingevents a socializing venue for our colleagues fromour and the neighbouring countries. This goal has beenachieved and our professional colleagues spend theirtime during seminars in the pleasant and friendlyatmosphere of the Gallery of Frescoes.This part of DIANA Centre’s activities is realized incooperation with the National Committee of ICOM ofSerbia and Montenegro.Important part of educative programmes and eventsin DIANA Centre is carried out through seminars, specialistcourses and workshops.SEMINARSPreventive Conservation Seminar on “Fire preventionin museums and galleries” was divided into threeparts and held in February, March and April 2004. Therewere about 50 participants per each part.The seminar was organised in partnership withSociety of Engineers and Technicians for EnvironmentalRisk Management and the National Committee of ICOMof Serbia and Montenegro. The course was held by Prof.Dr. Milovan Vidaković.The course participants were professionals in museumsand institutions of movable cultural property protectionwho learned more about development of systemorganisation and maintaining of efficient programmesfor fire prevention.Mila Popović-Živančević and Vesna Živković tookpart in the seminar “Protective fire fighting coatings”organised by the Society of Engineers and Techniciansfor Environmental Risk Management (26 th April) aspart of these educative activities.COURSES1. “Introduction to preventive conservation”, 19-21January 2004 gathered 40 participants – museum professionalsfrom museums in Serbia. The group rangedfrom directors to conservators including the studentsand collaborators of DIANA Centre. The course wasorganized in partnership with ICCROM, School ofConservation of the Royal Danish Academy of Fine Arts,The Danish National Museum and the NationalCommittee of ICOM of Serbia and Montenegro. Thecourse was held by Bent Eshoj and Morten RhylSvendsen and it offered basic knowledge about preventiveconservation and care about museum objects incharge of museum professionals. The course offeredbasic body of knowledge in preventive conservation andcare about museum objects which every professional ina museum institution should have.163

2. Specijalistički kurs “Zaštita i konzervacijaantičkog mozaika”, realizovan od 24. do 29. maja.Učestvovalo je 15 polaznika iz DIJANA Centra i muzejai zavoda za zaštitu spomenika kulture SCG. Kursje realizovan u DIJANA Centru, u Galeriji Fresaka ina arheološkim lokalitetima sa značajnim mozaicimaiz rimskog perioda: Gamzigrad, Medijana, Caričingrad.Kurs je organizovan zahvaljujući pomoći Ministarstvaspoljnih poslova Francuske (Francuski kulturnicentar u Beogradu) i Muzeja antike u Arlu.Nosioci kursa: Patrik Blan i Mari-Lor Kurbules izMuzeja antike u Arlu.Cilj kursa je bio da obuhvati sve aspekte konzervacijeantičkih podnih mozaika, onih koji se čuvaju u muzeju,kao i onih na arheološkom lokalitetu.Nakon završetka kursa, u DIJANA Centru je nastavljenrad na zaštiti mozaika iz zbirke Narodnog muzejaBeograd, kroz pripreme dokumentacije, podloga i čišćenje,a u sklopu Radionice za konzervaciju mozaika, kojuvodi konzervator Maja Franković.3. Specijalistički kurs “Klima u muzejskom prostoru- mikroorganizmi u muzejskom prostoru”Realizovan u sklopu Letnje škole DIJANA 2004, tokomjula, u saradnji sa Društvom za grejanje, hlađenje iklimatizaciju i Vojno medicinskom Akademijom.Nosioci kursa: Živojin Perišić, prof.dr Dušan Drndarević,Mila Popović-Živančević.Great contribution to the course success was madeby Vesna Živković in the first place but also by AnaKocjan, Aleksandra Džikić Nikolić, Maja Živković,Maja Franković and Tatjana Nedeljković, who werehelped by other students and collaborators of DIANACentre.2. Specialist course “Protection and conservation ofantique mosaics “- 24 th -29 th May 2004. There were 15participants from DIANA Centre and museums andinstitutions for protection from Serbia and Montenegro.The course was held at DIANA Centre, in the Gallery ofFrescoes and on archaeological sites abounding withmost valuable mosaics from the Roman period:Gamzigrad, Mediana, Caričin Grad.The course was organised with the support ofForeign Affairs Ministry of France (French CulturalCentre in Belgrade) and Museum of Antiquities in Arlesand held by Patrick Blanc and Marie-LaureCourbules.The goal of the course was to present various aspectsof antique floor mosaics conservation both those keptin museums or on archaeological sites.After the course, the protection of mosaics from thecollection in the National Museum in Belgrade wascontinued by preparation of the documentation, of supportsand cleaning within the Workshop forConservation of Mosaics under supervision of MajaFranković.4. Specijalistički kurs “Zaštite i konzervacije stakla”Realizovan u okviru Letnje škole DIJANA 2004, od2. do16. avgusta, u saradnji sa Dejvison studiom, VelikaBritanija.Nosilac kursa: Sandra Dejvison5. Specijalistički kurs “Restauracija porcelana, fajansai majolike”Realizovan u okviru Letnje škole DIJANA 2004, od12. jula do 15. avgusta, u saradnji sa Adington studiom,Velika Britanija.Nosilac kursa: Pamela VornerIako restauracija porcelana i fajansa nije deo našihosnovnih sadržaja, odlučili smo da organizujemo ovajkurs zbog zatvaranja kruga konzervacije i restauracije odpraistorijskog do savremenog materijala. Pored toga, profesionalnoobučeni stručnjaciza restauraciju porcelanakod nas ne postoje izbog toga je dobro ove, ponekadveoma vredne i izuzetnolepe, umetničke predmetetretirati i zaštiti naodgovarajući način.6. Specijalistički kurs“Preventivna zaštita arheološkihpredmeta - uvodu konzervaciju metala”Učestvovalo je 20 polaznikaiz Muzeja Srbije iCrne Gore. Kurs je realizovanu saradnji sa Laboratorijomza konzervaciju irestauraciju Arheoloskogcentra Vara u Draginjanu,Francuska.Nosilac kursa:Žak Ribier164Diskusija sa Žakom Ribierom za vreme kursa “Uvod u konzervacijumetala”Discussion with Jacques Rebiere during his course “Introductionto conservation of metals”3. “Climate in museum space – Microorganisms inmuseum space“ as realised in July 2004 within theDIANA Summer School in cooperation with Society forHeating, Cooling and Acclimatization and MilitaryMedical Academy.The course was held by Živojin Perišić, Prof. Dr.Dušan Drndarević, M. Popović-Živančević4.“Protection and conservation of glass” was organisedduring DIANA 2004 Summer School, 2 nd - 16 thAugust, in cooperation with Davison Studio, UKThe course was held by Sandra Davison5. “Restoration of porcelain, faience and majolica”was organised during DIANA 2004 Summer School, 12 thJuly - 15 th August in cooperation with AddingtonStudio, UKThe course was held byPamela WarnerAlthough restoration ofporcelain and faience isnot part of our basic programmes,it was decided tohave this course organisednow and thus fully coverthe field of conservationand restoration of materialfrom prehistoric to modernmaterials. Further thereare no professionally trainedrestorers of porcelainin our country which makestreating and preservingthese beautiful works ofart worthwhile.6. “Preventive conservationof archaeologicalobjects – Introduction toconservation of metal” –

7. Specijalistički kurs“Tradicionalne proizvodnjekeramike - izrada kopija i replika”Sadržaj kursa se baviotradicionalnim tehnologijamaproizvodnje keramike,preko pravljenja kopija i replika,da bi se što vernije reprodukovaooriginalni načinpripremanja keramičkih predmeta:Nosioci kursa: Vesna Svoboda,Đurđinka Bogdanović iveći broj saradnika i polaznikaDIJANA Centra8. Specijalistički kurs“Zaštita - konzervacija na arheološkomterenu”Realizovan od 6. do 9. decembra,učestvovalo 25 polaznikaiz muzeja i zavoda zazaštitu SCG. Kurs je organizovanu saradnji sa ICCROM- Rim, UNESCO - regionalnom Kancelarijom u Veneciji(ROSTE), Cooperazione italiana, Arheološkim institutom,muzejima i Zavodima za zaštitu u Srbiji i CrnojGori (Beogradu, Čačku, Užicu, Nišu,Vršcu, Kotoru, Podgorici,Cetinju i dr. ) i NK IKOM-om SCGNosioci kursa: Nikolas Stenli Prajs, generalni direktorICCROM-a, Valeri Magar i Korado Pedeli, ekspertiza konzervaciju na arheološkom terenuRADIONICE1. Radionica za decu „Tajne konzervacije“, u okviruProjekta „Deca u muzeju“. Realizovana od 9. do 14. avgusta,učestvovalo od 12 do14 dece. Radionica je organizovanau saradnji sa beogradskim predškolskim ustanovama,osnovnim školama i Skupštinom grada Beograda.Nosioci aktivnosti: Ana Kocjan,Vesna Živković, BojanGeorgijevskiSadržaj Radionice je podrazumevao teorijska predavanjai praktičan rad sa decom:Teorijska predavanja koja su objašnjavala svaku fazukonzervatorskog postupka, razloge zbog čega se muzejskipredmeti moraju konzervirati i dr.Praktičan deo se sprovodio na primerima nove etnografskei savremene keramike i podrazumevao je savladavanjeosnovnih veština konzervatorskog tretmana,kao što su čišćenje, lepljenje i restauracija keramike.2. Radionica za decu „Kako se pravila keramika -kopije i replike“.Realizovana od 9. do14. avgusta, učestvovalo oko 15dece, u saradnji sa beogradskim osnovnim školama iSkupštinom grada Beograda.Nosioci aktivnosti: Ana Kocjan,Vesna Živković, BojanGeorgijevskiSadržaj Radionice je podrazumevao teorijski deo ipraktičan rad sa decom:Teorijski deo je objašnjavao deci zašto su kopije važneu muzejskoj praksi i koliko doprinose očuvanju baštine.Praktičan rad se sastojao od pravljenja kopija: livenjekopija arheoloških predmeta u glini, obrada i retuškopija i replika.3. Radionica „Kako zaštiti sopstveno nasleđe - integrisanazaštita baštine u Velikoj Hoči“, od 27. jula , uRadionica “Tajne konzervacije” u okviru projekta “Deca u muzeju”Workshop “Secrets of conservation” as part of the “Children in museum” projectincluded 20 participants from museums in Serbia andMontenegro. The course was organised in cooperationwith the Laboratory for Conservation and Restorationin Draguignan, Archaeological Centre in Var, France andheld by Jacques Rebiere7. “Traditional production of ceramics - Makingcopies and replicas” The course dealt with traditionaltechnologies for ceramics production, with makingcopies and replicas which duly reproduced originalmanufacturing methods.The course was held by Vesna Svoboda, ĐurđinkaBogdanović and collaborators and students of DIANACentre8. “Preservation – Conservation on archaeologicalsites”, 6 th -9 th December 2004, gathered 25 participantsfrom museums and institutions of protection in Serbiaand Montenegro. The course was organised in cooperationwith ICCROM Rome, UNESCO Regional office inVenice (ROSTE), Cooperazione Italiana, ArchaeologicalInstitute and museums and institutes for protection inSerbia and Montenegro (Belgrade, Čačak, Užice, Niš,Vršac, Kotor, Podgorica, Cetinje, etc.) and the NationalCommittee of ICOM of Serbia and Montenegro.The course was held by Dr. Nicholas Stanley-Price,Director General of ICCROM and Valerie Magar andCorrado Pedeli, experts for conservation on archaeologicalsites.WORKSHOPS1. Workshop for children “Secrets of conservation” –within the frames of the Project “Kids in Museum” heldAugust 9 – 14, 2004 In cooperation with Belgradekindergartens and primary schools and the Assembly ofCity of Belgrade12-14 children were given theoretical explanationson every phase of the conservation treatment, reasonsfor museum objects conservation, etc.Practical work was done on new ethnographic andcontemporary ceramics and helped children masterbasic skills in conservation treatment such as cleaning,bonding and restoration of ceramicsActivities organised by Ana Kocjan, VesnaŽivković, Bojan Georgijevski165

saradnji sa ART FORUM-om Velika Hoča.Osnovni cilj je organizovanje edukativnih programa,koji bi mogli da pomognu lokalnom stanovništvu, lokalnojzajednici i DIJANA Centru u rešavanju sledećihproblema:Analiza stanja kulturne baštine u Velikoj Hoči i pripremanjeprograma integrisanog pristupa zaštiti baštinei uključivanje lokalne zajednice u brigu i razvoj sopstvenebaštine;Kako izbeći izvore oštećenja predmeta kulturnognasleđa, kako prepoznati i identifikovati ugrožavajućefaktore, blokirati i sprečiti uticaje nepoželjnih faktorakoji ugrožavaju kulturno nasleđe, definisati strategijedelovanja na prisutne faktore oštećenja ili uništenja,organizovati i sprovesti konzervatorski tretman,konstantne i odgovarajuće uslove čuvanja, odgovarajućudokumentaciju kulturnog nasleđa, odgovarajućaistraživanja, korišćenje i prezentaciju kulturnihdobaraTim DIJANA Centra (Mila Popović-Živančević, MalenaStojčev, Vesna Živković, Srđan Radosavljević, AnaVujić i Jelena Tucaković) svoj boravak u Velikoj Hoči jeiskoristio i za stvaranje kontakata sa lokalnim stanovništvom,posebno mladima. Ovaj deo aktivnosti saradnikaDIJANA Centra je veoma važan, jer će od njih u velikojmeri zavisiti kreiranje i razvoj budućih programaintegrisane zaštite baštine, koji obavezno uključujuučešće lokalne zajednice i okruženja.4. Radionica «Konzervacija i sanacija kopija stećakai arhitektonske plastike». Uključena je grupaod 8 saradnika i polaznika. Za realizaciju programaovog kursa odgovorna je Maja Franković. Sanacijaveoma oštećenih kopija stećaka od gipsa zahtevakompleksan pristup i kombinovanje različitih tehnikai tehnoloških postupaka. Kad je reč o konzervatorskompristupu, učesnici radionice moraju definisati itretirati kopije kao originale u dokumentacionomsmislu.Zbog velikog obima praktičnog dela posla kurs seodvijao tokom cele godine.5. Radionica «Kako pripremiti projekat», uključilaje pored volontera pripravnika i skoro sve spoljne saradnikei starije polaznike. Radionicu vodila Mila Popović-Živančević,cilj je da pomogne mladim ljudima dasavladaju metodologiju pripremanja elaborata i projekataza konkurisanje kod domaćih i međunarodnih institucija,a da ga pozitivno prepoznaju u zemlji i inostranstvu.Pokazalo se da je ovaj način rada sa mladima veomaefikasan i prihvatljiv. Tako, kao rezultat i ovakvog načinaučenja mladih u 2004. godini imali smo više projekatakoje su oni samostalno uradili, a kod nekih čak bili inosioci njegovog kreiranja. Način na koji su ovi mladiljudi sazrevali, sticali znanja i iskustva tokom svojihaktivnosti u DIJANA Centru, između ostalog, na veomauspešan način se ogleda i kroz njihov rad u ovoj Radionici.Ova Radionica će se svakako intezivno razvijati,pored ostalog i zbog činjenice da celokupna aktivnostDIJANA Centra počiva na mreži projekata, koji se svakiza sebe posebno finansiraju. Ideje i nova znanja kojemladi ulažu kod kreiranja ovih projekata, uz dobro uklapanjeu u opštu strategiju zaštite, svakako već doprinoseu velikoj meri dinamičnom i širokom razvoju preventivnezaštite, konzervacije, pa i muzeologije generalno.Radionice Preventivne zaštite1. Radionica “Opremanje i pakovanje muzejskihpredmeta”, podrazumeva praktičnu primenu standarda1662. Workshop for children “How is ceramics made”–Copies and replicas” took place from August 9 th -14 th ,2004 and engaged 12-14 children. It was organised incooperation with Belgrade primary schools andAssembly of City of BelgradeChildren were given theoretical explanations onimportance of copies in museum practice and their contributionto heritage protection were explainedChildren were taught how to cast copies of archaeologicalobjects in clay, working them out and retouchingcopies and replicasActivities organised by Ana Kocjan,Vesna Živković,Bojan Georgijevski3. Workshop “How to protects one’s own heritage –Integrated protection of heritage in Velika Hoča” -from July 27 in cooperation with ART FORUM VelikaHoča. The fundamental goal was to organise educationalprogrammes that would help the local community,local population and DIANA Centre to solve the followingproblems:Survey of the cultural heritage in Velika Hoča andpreparation of an integrated approach programme toheritage preservation by engaging local community inthe care of their own heritage;How to avoid sources of damaging cultural property;to recognize and identify damaging factors; todefine strategies against current damaging or destroyingfactors; organise and carry out conservation treatments,provide constant and adequate storing conditions,adequate documentation of the heritage, research,use and presentation of cultural heritageThe DIANA Centre team (Mila Popović-Živančević,Malena Stojčev, Vesna Živković, Srdjan Radosavljević,Ana Vujić, Jelena Tucaković) established contacts withlocal population, particularly with the young people.Thiswas a very important part of the activities because thesecontacts should help create and develop future programmesof integrated heritage preservation that couldnot be done unless the local community was included.4.Workshop “Conservation and salvaging of copies oftombstones (stećci) and architectural plastic” - 8 collaboratorsand students with Maja Franković in charge.Salvaging of very damaged plaster copies of tombstonesrequires a complex approach and combination of varioustechniques and technological procedures applied. Whenconservation procedure is concerned, copies have to betreated and defined as originals in the sense of documentation.The course was held throughout the year due tothe amount of practical work that had to be done.5. Workshop “How to design a project” engaged thetrainees and almost all our seniors and outside collaborators.It was led by Mila Popović-Živančević and its aimwas to help young people learn methodology necessary forpreparing feasibility studies and projects for successfulfund raising with domestic and international institutions.This kind of work with young people proved to bemost effective and suitable. This also led to a number ofprojects prepared or even conceived by our collaboratorsin 2004. The way our students became educated,trained and experienced during their work at DIANACentre was corroborated by this workshop. TheWorkshop will continue to intensively work as the entireactivity of DIANA Centre is based on the network ofprojects which are individually financed. Ideas andnewly gained knowledge of these young people are welladapted to the general strategy but also contribute tothe dynamic and rich development of preventive conser-

preventivne zaštite, kada je reč o pakovanju i odlaganjumaterijala. Radionicu je vodila Vesna Živković, ali suaktivno učestvovale i Tatjana Nedeljković, AleksandraDžikić Nikolić, Maja Franković, Maja Živković, IvanaStojković i Dušan Maksimović, kao i grupa starih i novihpolaznika.Radionica se odvijala u DIJANA Centru, u Galerijifresaka, Narodnom muzeju, Muzeju grada Beograda.2. Radionica „Analiza stanja u muzejima“ uključilaje pored volontera pripravnika i grupu spoljnih saradnikai redovnih polaznika. Sadržaj ove radionicepodrazumeva teorijsku i praktičnu primenu odgovarajućemetodologije, sačinjene prema standardimaICCROM-a i Kanadskog instituta za konzervaciju. Ovametodologija je prilagođenim našim uslovima i prilikamai podrazumeva pripremanje detaljne ankete koja ćeslužiti:- snimanju, analizi stanja i proceni rizika pri čuvanjui izlaganju muzejskih predmeta- određivanju prioriteta, predlaganju mera sanacije iodgovarajućih uslova čuvanja i izlaganja.Radionica je funkcionisala preko timova koje suobavezno činili rukovodilac DIJANA Centra Mila Popović-Živančević,odgovorni kustos za preventivnuzaštitu Vesna Živković, pet volontera-pripravnika, sadakonzervatora), nekoliko spoljnih saradnika sa iskustvom,nekoliko starijih polaznika i obavezno po jedando dva nova polaznika. Iskustva su pokazala daje ovaj način edukacije, gde „mlađi uče od starijih“ irano stiču praktična muzeološka iskustva iz zaštite ibrige za muzejske predmete, veoma efikasan i delotvoran.Realizacija radionice se odvijala u DIJANA Centru,Narodnom muzeju, Muzeju grada Beograda, Gradskommuzeju u Vršcu, Muzeju Staro Selo u Sirogojnu, Zavičajnommuzeju u Aleksincu, Narodnim muzejima u Leskovcui Vranju.DIJANA Centar za konzervaciju sam prvi put posetila1998. godine. Zadovoljstvo je bilo vratiti se i videtikako se Centar razvio. Beograd mi se čini mnogosrećnijim i vedrijim gradom, a polaznici DIJANE odslikavajuisti taj utisak. Učinjen je siguran korak ka stvaranjuznačajnog međunarodnog centra, sa težištem namuzeologiji i preventivnoj zaštiti. Stavovi profesionalacaiz raznih zemalja, poput Hrvatske, Francuske, Italije,Velike Britanije i Slovenije svakako doprinose stečenomiskustvu. S druge strane, uspostavljeni su novi kontakti,zahvaljujući posetama mladih ljudi sa Kosova, ali i izMeksika, dok su stare veze sa Velikom Britanijom produbljenei učvršćene.U okviru aktivnosti DIJANA Centra na preventivnojzaštiti, imala sam prilike da posetim Muzej staro selo uSirogojnu. Izuzetno sam uživala u samom muzeju, gostoprimstvu,posebno u tradicionalnom obroku posluženomu odgovarajućem ambijentu. Bila sam veoma impresioniranačinjenicom da je muzej bio pun porodicakoje su uživale u obilasku izloženih etno-kuća. Mila jesa grupom konzervatora provela taj vikend radeći samuzejskim osobljem, sprovodeći analizu stanja u muzeju,koja je koncipirana tako da pruži celokupnu slikutrenutne situacije u muzejima širom Srbije. To je ogrovation,conservation and even museology in general.Preventive conservation workshopsWorkshop “Fitting out and packing of museumobjects” dealt with practical application of preventiveconservation standards concerning packing and storingof material. The workshop was led by Vesna Živkovićwith active participation of Tatjana Nedeljković,Aleksandra Džikić-Nikolić, Maja Franković, MajaŽivković, Ivana Stojković and Dušan Maksimović aswell as group of seniors and juniors.The workshop worked in DIANA Centre, Gallery ofFrescoes, National Museum in Belgrade and Museum ofCity of Belgrade.2. Workshop “Surveys in museums” engaged a groupof collaborators and students along with trainees. Theworkshop dealt with theoretical and practical applicationof methodology in compliance with standards ofICCROM and Canadian Institute for Conservation thatwere adapted to our conditions and situation. Themethodology involves detailed questionnaire and feasibilitystudies used in surveys, analyses and assessmentof risks in storing and displaying of museum objects aswell as setting priorities, proposing measures for salvagingand requirements for storing and displaying.The workshop team included Mila Popović-Živančević,head of DIANA Centre, Vesna Živković, curator incharge of preventive conservation, 5 trainees (in themeantime they were promoted to conservators), severalexperienced outside collaborators and one or two juniors.It is our experience that education and training is mosteffective and useful when “the juniors learn from the seniorones”and gain practical museological experience duringprotection of and care about museum objects.The workshop took place in DIANA Centre, NationalMuseum, Museum of City of Belgrade, Town Museum inVršac, “Old Village” Museum in Sirogojno, Museum inAleksinac, National museums in Leskovac and Vranje. Pamela Vorner, Velika BritanijaPovratak u Srbiju(16. avgust 2004)Pamela Vorner, Great BritainSerbia revisited2004-08-16Ifirst visited the Diana Centre for Conservation in1998 it was great to be back and to see how the centrehas evolved. My impression of the city of Belgradeis that it is a much happier and brighter city and thestudents reflected this. A strong start towards the goalof becoming an international centre of excellence hasbeen made, with the emphasis placed on museology andpreventive conservation. Different professional viewpointsfrom countries as diverse as Croatia, France,Italy, the U.K. and Slovenia can only strengthen reflectivepractice. Whilst with young people visiting fromKosovo and Mexico new contacts were made and oldties with the U.K. deepened and strengthened.As part of the development of museology in Serbia Iwas taken to the Old Village at Sirogojno for the weekend. I thoroughly enjoyed the museum and hospitalityparticularly the traditional cooking served in its traditionalsetting. I was very impressed with the fact thatthe museum was full of families having a thoroughlygood time investigating the ethno houses on display.Mila and a group of conservators spent the weekendworking with the museum staff conducting survey ofmuseums that is designed to give an accurate overallpicture of the current situation nationally. The survey of167

man poduhvat, a ja sam se sa zadovoljstvom vratila jednostavnijimizazovima kursa konzervacije keramike. UVelikoj Britaniji bi se ovakav kurs zvao Konzervacija irestauracija keramike i porcelana. Definicije raznih tipovakeramike su različite u Srbiji, tako da bi trebalojoš malo da se poradi na trenutnom nazivu – Porcelan,majolika i fajans, iako on praktično odslikava ono čimesmo se bavili.Kao član UKIC-ovog Veća 1998-2001, teško da mogubiti u nedoumici po pitanju znanja koje jedan konzervatortreba da poseduje. To Veće je implementiralo ubrzaniprogram i nadgledalo veliki broj prijava po važećemakreditacionom planu koji su pripadnici struke u VelikojBritaniji konačno usvojili 2000. godine. Ja sam senajviše pozabavila načinom pružanja dovoljne količinepraktičnog znanja u roku od 4 nedelje, kako bi dobijeneinformacije bile upotrebljive i istovremeno bezbednekako za predmete, tako i za konzervatore. S obzirom daimam kvalifikacije za podučavanje odraslih, kurs je biorazumljiv i pažljivo iskreiran, tako da su učesnici dobiličvrstu osnovu i mogućnost da se razviju u bezbednosnoi etički svesne konzervatore, bez obzira sa kakvom vrstomkeramike se suočili. Shvatila sam da je to zaistapreviše informacija da bi ih svaki polaznik usvojio za 4nedelje, tako da sam podelila svima kopije kursa po predavanjima( uobičajno je da polaznici sami stvaraju svojebeleške, ali zbog nedostatka vremena, bila sam neštostriktnija). Tokomvremena sam sakupilapopriličanbroj radova saC.G.C.G. konferencija,koji dajumnogo širu slikukonzervacije keramike,nego što bilokoji pojedinac možeda pruži. Zahvaljujemse LesliAkton za predavanjeo promišljenojpraksi, njenom sinuDžejmsu za doprinospod naslovom«Hemija», BobuČajldu za«Upotrebu i zloupotreburastvarača», Deniz Ling za «Oblaganje laponitom»,Kenu Vatu za «Čišćenje keramike», Šeliji Ferbrasza «Hemiju rastvarača», autoru rada «Izbor lepka zakonzervaciju keramike», Stefanu Kobu za «UpotrebuAkriloida B72 u konzervaciji arheološke keramike»,kompanijama Micromash i Golden Paints za veoma razumljivauputstva za upotrebu njihovih proizvoda, kao irad na temu «Desetogodišnjice razvoja Golden Airbrushboja kao i novog akrilnog sistema».Zahtevala sam da svaki polaznik dobije po tri predmetaza rad, po jedan keramički, porcelanski i hibridni,po mogućnosti da nisu u pitanju muzejski predmeti. UDIJANI postoji stalni sistem teorijskih predavanja, takoda sam se ja skoncentrisala na praksu, materijale, tehnikei metode njihove upotrebe. Akrilna boja može oštetitipredmet ako se nepravilno koristi. Dobili smo grupuadekvatnih predmeta, sa jasnim presecima keramike ibez dodatnog pritiska oko njihovog porekla i vrednosti(što ne mora istovremeno da bude i finansijska vrednost).Takođe smo se zabavili razlepljivanjem starog,stvrdnutog sloja epoksi smole svežim ananasom, ali činjenicaje da taj proces može da privuče insekte.Polaznici su radili sistematično, iako užurbano, uz168Serbia’s Museums is a is a huge undertaking and I washappy to return to the more manageable challenges ofmy ceramics course. In the UK the course I deliveredwould be called the Conservation and Restoration ofPottery and Porcelain. Definitons of various types potteryare different in Serbia so there is some work to bedone on the wording of the current title of Porcelain,Maiolica and Fiaence, though it does express what westudied.As a member of the U.K.I.C. Council from 1998-2001I could hardly be in any doubt as to what a conservatorneeds to know. That was the council that implementedthe fast track scheme and oversaw the numerous draftsof the mainstream accreditation scheme that was finallyadopted by the U.K. profession in 2000. My main concernwas how to impart enough practial knowledge in 4weeks so that the information would be useable, andsafe for both the objects and conservators. I am a fullyqualified adult education teacher so the course wascomprehensive and carefully constructed so that theparticipants received a solid grounding enabling themto develop into safe and ethical practioners whateverkind of ceramics they encounter. I realised that this isfar to much information for a single student to absorb in4 weeks so each student received a copy of my coursenotes plus handouts [it is usual to let the student buildtheir own file but due to lack of time I was more rigidthan usual]. I havecollected quite acomprehensive collectionof papersfrom C.G.C.G. conferencesover theyears, giving a farwider overview ofceramic conservationthan any individualcan provide.My thanks go toLesley Acton forher work on teachingreflective practice,her son Jamesfor his contributionentitledChemistry, BobChild for SolventUse and Abuse, Denise Ling for Laponite Poulticing,Ken Watt for Cleaning of Ceramics, Shelia Fairbrass forThe Chemistry of Solvents, whoever wrote the Selectionof an Adhesive for Ceramic Conservation paper, StephenKoob for Using Acryloid B72 for the Repair ofArchaeological Ceramics, Micromesh and Golden Paintsfor their comprehensive product information sheets andpaper on The 10 year Development of Golden AirbrushColours Defining a New Acrylic System.I had requested that each student should have 3objects to work on one each of pottery, porcelain andone hybrid, preferably not museum objects. There is anongoing rolling programme of theory lectures alwaysavailable at Diana so I wanted to concentrate on understandingreflective practice, materials , techniques andmethods for using them. Acrylic paint can still damagean object if incorrectly applied. A good selection ofobjects arrived that provided us with a comprehensivecross-section of ceramics without the added stress ofprovenance and value [not necessarily financial value].We also had some fun , sucessfully reversing some longterm hard epoxy resin with fresh pineapple, but thatprocess does tend to attract insects.

zajedničke diskusije o praktičnim konzervacijskim procesima,koje su proistekle iz individualnih problema.Polaznici su tako utvrdili da su pravilno razumeli određenedelove kursa, pa su se neki posvetili lepljenju i popunjavanjubojom, dvoje slikanju, dvoje uklanjanju flekaitd.Ukupna svest o zdravlju i sigurnosti je u DIJANI navisokom nivou. Pri njenom poslednjem boravku u Londonu,Mila i ja smo se dogovorile da se tokom kursa posebnapažnja posveti zdravstvenim i bezbednosnim aspektimakonzervatorske prakse. Zato sam sa polaznicimadosta vremena posvetila razmišljanju o načinimaunapređenja uslova rada u postojećem radnom prostoru,rukovodeći se principom mogućnosti promene postojećegmetoda rada ako on ugrožava zdravlje i bezbednostu prostoru. Na primer, koristeći najnovije akrilneboje na vodenoj bazi, sada je moguće precizno reprodukovatiporcelansku gleđ, pa upotreba boja na bazi rastvaračanije neophodna i štetna isparenja mogu potpunoda se izbegnu.Kopiran je dokument o zaštiti na radu Adington studija.U njemu su informacije o proceni rizika, COSHHuputstva, specifikacije o rizicima pri upotrebi svih proizvodakoje koristi Adington studio, sve one informacijekoje obično postoje u Velikoj Britaniji su kopirane i ostavljeneu DIJANA Centru za potrebe konsultovanja. Zakratko vreme smo se pozabavili mnogim stvarima kojemogu da se jave u praksi i koje doprinose ukupnoj svestio zdravlju i bezbednosti u Centru.Kada pogledamo na period od 1996. do 2004, jasno jeda smo počeli da postižemo svoje prvobitne ciljeve, iakoje to bilo teže i duže nego što smo predviđali 1996. Sadase polako stvaraju osnove interdisciplinarne konzervatorskeobuke koju isključivo nedostatak finansija sprečavada se još intenzivnije razvija. Praktični rad na konzervacijinastavlja da se obavlja sa puno entuzijazma,neguje se etičko i profesionalno ponašanje. Ovaj projekatće nastaviti svoj put i nakon što se povuku njegovizačetnici. Kada shvatimo da više ne možemo da napredujemo,tada treba da počnemo da brinemo za konzervatorskupraksu, a možda će naša prava tekovina da budeupravo nova generacija konzervatora koja će nastavitida razvija DIJANU.The students worked through the course systematicallyif rapidly, as the practical conservation processproceeded the individual problems that arose were discussedby everyone. The students then made sure thatthey had thoroughly understood part of the course, somespecialising in sticking and colour filling, two painting,two stain removal and so on.The overall health and safety of the profession is highon D.C.C. agenda. On her last trip to London Mila and Ihad decided to emphasise the health and safety aspectsof individual conservator’s practice during this course.So the students and I spent a considerable amount oftime considering ways of making the exsisting workspace healthier and safer, the guiding principle being ifa method of working is creating a health and safety issueis it possible to avoid or change the method? For exampleby using the latest water based acrylic paint systemit is now possible to reproduce porcelain glazes accurately,making the need to use solvent based paints unecessarythus not creating unhealthy fumes at all.Addington Studio’s health and safety file wascopied. It contains information on risk assessment, theCOSHH guidelines, health and safety sheets for allproducts used in Addington Studio, all the informationusually kept in the UK, the copies were left at the D.C.C.for reference. In the short term we had plenty of workthat could be done on our individual practice thatwould contribute to the overall health and safety of thecentre.Looking back over the years 1996-2004 we havebegun to acheive our original objectives, it has beentougher and longer than we ever envisaged 1996. Thebasis of a comprehensive interdisciplinary conservationtraining is emerging, it is only held back by lack offunding. Practical conservation work of a very highstandard continues to be undertaken and the highestspirit, ethics and profesional behaviour is fostered. Thiswill be an ongoing project long after its pioneers haveretired. The day that we believe that we have arrivedand cannot improve is the day to start worrying aboutthe state of the conservation profession, maybe our trueacheivement will be that there will be a new generationof conservators to carry on the work of Diana. Vesna Živković, kustos, Narodni muzej u BeograduIzveštaj o kursuKonzervacija naarheološkom terenuICCROM (International Centre for the Study of thePreservation and Restoration of Cultural Property) iDIJANA Centar za preventivnu zaštitu - Narodni muzeju Beogradu, organizovali su uvodni kurs “Konzervacijana arheološkom terenu”. Kurs je održan u periodu od 6.do 9. decembra 2004. godine, u Beogradu, uz podrškuUprave za razvoj saradnje italijanskog Ministarstvainostranih poslova, UNESCO Office Venice i Nacionalnogkomiteta ICOM-a Srbije i Crne Gore.Kurs je okupio 25 konzervatora, arheologa, kustosa istudenata arheologije, iz institucija koje se bave zaštitomarheološkog nasleđa u Srbiji i Crnoj Gori i Sloveniji.Uvid u osnovne principe konzervacije na arheološkomterenu učesnicima su pružili dr Nikolas StenliPrajs, generalni direktor ICCROM-a, Valeri Magar,stručnjak za konzervaciju na arheološkom terenu i KoradoPedeli, konzervator.Vesna Živković, curator, National Museum BelgradeThe course “ArchaeologicalConservation” held atDIANA CentreICCROM (International Centre for the Study of thePreservation and Restoration of Cultural Property)and DIANA Centre for Preventive Conservation, NationalMuseum in Belgrade, organized the introductorycourse “Archaeological Conservation”. The course washeld from 6 th to 9 th December 2004 in Belgrade, withsupport of Directorate General for Development Cooperationof the Italian Ministry of Foreign Affairs, ROSTE- UNESCO Office Venice and National Committee ofICOM of Serbia and Montenegro.Course gathered 25 conservators, archaeologists, curatorsand students of archaeology from the institutionsin charge of protection of cultural heritage in Serbiaand Montenegro and Slovenia. Dr Nicholas Stanley Price,Director General of ICCROM,Valerie Magar, specialistfor archaeological conservation and Corado Pedelligave participants the insight in basic principles of ar-169

Valeri Magar i Korado Pedeli pripremaju sledeće predavanjeValerie Magar and Corado Pedelli preparing a lectureDr Nikolas Stenli Prajs je predstavio trenutni pristupu konzervaciji na arheološkom terenu, koji podrazumevaprimenu cikličnog procesa rukovođenja baštinom.U odnosu na stari model linearanog procesa arheološkihistraživanja, ovaj drugačiji pristup obuhvata proverurezultata, razmatranje novih informacija i reviziju plana.Dr Stenli Prajs je ukazao na to da je da je važnostkonzervacije arheološkog lokaliteta uslovljena jedinstvenošćulokaliteta, rizicima koje predstavljaju prirodnii ljudski faktori i činjenicom da konzervacijapredstavlja ključ za razumevanje prošlosti.Odgovor na pitanje šta zaštititi zavisi od naše definicijebaštine i od toga šta se smatra vrednim i autentičnimizvorom. Konačna odluka o konzervatorskom pristuputreba da predstavlja izbalansiranu procenu, baziranuna razmatranju etičkih pitanja, svih ciljeva konzervacije,opsega tretmana, vremena i raspoloživihsredstava i želja zainteresovanih strana. Različiti pristupiu odlučivanju o konzervaciji su uvek mogući i nepostoji univerzalan ili savršen odgovor.U konzervaciji pristup mora da se bazira na identifikacijivrednosti lokaliteta/predmeta (duhovna, društvena,istorijska, naučna, estetska...) i njihovoj proceni(mogu se koristiti kao smernice). Budući da postoje razlikeu sistemu vrednosti jednog predmeta/spomenika imeđu različitim interesnim grupama (arheolozi, konzervatori,lokalna zajednica...) u pristupu ka prošlosti, procenevrednosti su relativne. Cilj je da različite vrednostiostanu nepromenjene, ali pristup mora da bude prilagodljivkulturnom okruženju, društvenim vrednostima,da brani kulturne specifičnosti i bude usmeren od dnaka vrhu (u odnosu na zainteresovane strane).Postojeći problemi u procesu rukovođenja arheološkombaštinom su tendencije da se odmah prelazi na rešenjepre nego što se proceni i planira. Prave se planovikoji ne odgovaraju sredini u kojoj treba da budu primenjeni.Važećistav je da su vrednosti i problemi lokalitetaveoma dobro poznati i da je potreba za konzervatoromposlednje rešenje.Valeri Magar je istakla da u proces treba uključitiprocenu stanja u kome se nalazi lokalitet, utvrditi potencijalnerizike i stepen propadanja. Zatim je potrebnoda se identifikuju mogućnosti i ograničenja u procesurukovođenja. Ovi problemi zavise od političkog statusalokaliteta, finansijskih i drugih izvora, koliko rukovodilaciskopavanja učestvuje u donošenju odluka, od položajalokaliteta, konteksta okruženja i stanja u kome senalazi lokalitet, upotrebe zemljišta i planiranog razvojaoblasti, postojećeg i planiranog modela za posetioce i170chaeological conservation.Dr Nicholas Stanley Price presented current trendsin archeological conservation, which include employmentof cyclic process of heritage management. In comparisonwith old, liner process of archaeological excavation,this approach is different and involves check of results,consideration of new information and review ofthe plan.Dr Stanley Price pointed out that importance of archaeologicalsite was characterized by uniqueness of thelocality, risks such as natural and human factors and bythe fact that conservation represented key for understandingpast.The answer to the question what we should protectdepends on our definition of heritage and what is consideredas valuable and authentic source. The final decisionabout conservation approach should be a balancedestimate, based on scrutinized ethical issues, all theaims of conservation, extent of conservation treatment,deadlines, available means and wishes of interested parties.Different approaches to decision making in theconservation are always possible and universal as thereis no perfect answer to the issues involved.In conservation the approach should be founded onidentification of values of site/object (spiritual, social,historical, scientific, esthetic) and their assessment(they can be used as guidelines). Considering that thereare differences in the system of values of one object/monumentand between different groups (archaeologist,conservators, local community) in their approach towardspast, assessing values is a relative term. Differentvalues should remain unchanged, but approach has tobe adaptable to cultural surroundings and social values.It has to observe cultural particularities and to havebottom-up approach (having in mind all the interestedparties).The existing problems in the process of archaeologicalheritage management are the tendencies to apply solutionimmediately, before assessment and planning.Furthermore, plans which are not appropriate for thebackground where they should be realized are made.The common attitude is that values and problems of thesite are very well known and that need for conservatoris only a final solution.Valerie Magar pointed out that the assessment of thesite condition, the identification of potential risks andthe level of deterioration should be included in the process.The next step is the recognition of possibilities andlimits which exist in the management process. Theseproblems depend on political status of the site, financialand other sources and how much the responsible for thesite participate in decision making. Other factors arethe position of the site, the context of the surroundings,the state of the site, the use of the land, the planned developmentof the area and the planned and existing modelfor visitors and community needs.Moreover, it is necessary to define policy of management,using these mentioned assessments. The policyshould include purposes, principles and aim of activitiesin the process of site protection, as well as the way inwhich established aims are going to be carried out.Dr Stanley Price also pointed out differences whichexist between conservation in the museum and conservationon site, due to the bias by interested groups, lackof respect for place, difficulties of environmental control,scale of material, accessibility to the material, differenceswhich are imposed by safeguarding and protectionof moveable and immoveable finds and lack of trainedpersonnel.Additionally, the examples for diverse levels of in-

potreba zajednice.Na osnovu prethodnih procena potrebno je odreditipolitiku rukovođenja, koja treba da sadrži svrhu i principei smer delovanja u procesu zaštite lokaliteta, i definisatinačin na koji će se sprovoditi postavljeni ciljevi.Dr Stenli Prajs je ukazao i na razlike između konzervacijeu muzeju i konzervacije na terenu, na koje utičuinteresne grupe, nedostatak poštovanja za mesto, teškoćekontrole mikroklime, obim materijala, pristup materijalu,i razlike koje nameću čuvanje i zaštita pokretnihi nepokretnih nalaze i nedostatak obučenih kadrova.Dati su i primeri za različite stepene intervencije:Konzervaciju, koja podrazumeva minimum intervencije,dokumentovanje, reverzibilnost upotrebljenihmaterijala, kompatibilnost originalnog i dodatog materijalai održavanje.Restauraciju, koja podrazumeva fizičku intervencijuna predmetu ili zgradi a cilj je da stvori “sliku”njegovogoriginalnog stanja da bi ga učinio razumljivijim posmatraču.Rekonstrukciju, koja treba da ostane na nivou crtežaili digitalne rekonstrukcije. Rekonstrukcija u materijaluje moguća kada jeobjekat bio u funkciji,relativno dobro očuvani kada ga je moguće garekonstruisati.Repliku, koja možeda bude zamena zapredmet na lokalitetu,i na taj način vid zaštiteoriginalnog predmeta,dokument kojim jezabeleženo stanje spomenikau trenutku kopiranja,koji omogućavaistraživanje i boljerazumevanje originalai može da služi u edukacionesvrhe. Međutim,ono što predstavljaproblem prilikomupotreba replika jemogućnost stvaranjakonfuzije za posetioce i zloupotrebe (falsifikati).Reprodukovanje, koje predstavlja proces kada seprilikom kopiranja predmeta/objekta ne poštuju njegoveoriginalne karakteristike.Korado Pedeli se bavio praktičnim aspektima konzervacijein situ, takozvanom “prvom pomoći”na terenu,čiji osnovni cilj je “zamrznuti”zatečeno stanje predmeta.Korado Pedeli je naglasio da su posledice zanemarivanjakonzervacije na terenu ubrzano propadanje predmeta,povećanje troškova nakon iskopavanja, gubitakinformacija, i loše generalno rukovođenje nakon iskopavanja.Zbog toga je neophodno da projekat iskopavanjaprati konzervatorski projekat. Prilikom pravljenja konzervatorskogplana treba da se uzme u obzir teritorija,klimatski uslovi, da bude poznato odredište predmeta,da budu predviđena tehnička podrška i obim materijala,kao i da se poznaju mogući destruktivni procesi, ioprema, kadrovi i finansije na raspolaganju.Pedeli je zatim dao informacije o osnovnim principimai tehnikama, koji se primenjuju prilikom iskopavanjapredmeta i ukazao na moguće načine zaštite predmetaprilikom iskopavanja. Opisani su proces mehaničkestabilizacije i tretman pokretnih nalaza na terenu -sakupljanje, odvajanje, blok lifting, kao i date preporukeza pakovanje predmeta.tervention are given:Conservation, which includes minimal intervention,documentation, reversibility of used materials, compatibilityof original and added materials and maintenance.Restoration, which involves physical intervenitionon the object or building and it has an aim to create »animage« of its original state to make it more understandableto the observer.Reconstruction, which should remain at the level ofsketch or digital reconstruction. Reconstruction in materialis possible when the object was functional, relativelywell preserved and when it is possible to reconstructit.Replica, which can be a replacement for object on siteand a way to protect the original object, documentsthe state of monument in the moment of making a copy.Replica also enables research and better understandingof the original. It can be used in educational purposesbut as well it can confuse visitors and be abused (forgery).Re-creation, which represents a process of copyingbut when one does not respect original characteristicsof an object/monumentCorado Pedelidealt with practicalaspects of conservation“in situ”, the socalled first aid on thefield which has anaim to “frozen” thecurrent state of an object.Corado Pedelipointed out that neglectingsite conservationhas as consequencesrapid deteriorationof objects,raising costs after excavation,loss of information,catastrophesand poor general managementafter exca-Multimedijalna prezentacija tokom jednog od predavanjaMultimedia presentation at one of the lecturesvations. Therefore besidesexcavation project it is necessary to have a conservationproject as well. When making conservation planone should consider territory, climate conditions, beaware of the final destination of the object, presumetechnical support and scale of material, as well as knowpossible destructive processes, and available equipment,staff and finances.In addition, Pedeli gave information about basicprinciples and techniques applied during excavationsand suggested possible ways of protection of objects. Hedescribed process of mechanical stabilisation of an objectand treatment of moveable objects on site – gathering,detachment and block lifting. He also gave recommandationsfor packing objects.Further,Valerie Magar dealt with the process of protectionof archaelogical collections. Common problemswhich occur are the lack of communication between archaeologistand conservator, curator and conservator,the fact that archaeologists do not accept responsibilityfor created collections and that excavation and researchhave higher priority than safeguarding of collections.Often, archaeological excavations or technical reportsare not published. Consequently, the contribution to theknowledge of regional archaeology is poor and the previouswork is duplicated. It is forgotten that there is a171

Valeri Magar se zatimbavila procesom zaštite arheološkihzbirki. Uobičajeniproblemi koji se javljajuu procesu zaštite su nedostatakkomunikacije izmeđuarheologa i konzervatora,kustosa i konzervatora, činjenicada arheolozi neprihvataju odgovornost zazbirke koje se formiraju, ida iskopavanje i istraživanjeimaju veći prioritet negočuvanje zbirki. Često arheološkaistraživanja ilitehnički izveštaji sa osnovniminformacijama i interpretacijamanisu publikovani,a posledica je slab doprinospoznavanju arheologijeoblasti i dupliranje172posla. Zaboravlja se dazbirke zahtevaju dugoročnofinansiranje, i ne postojiodgovarajući plan prikupljanjamaterijala, a posledicasu pretrpani depoi.Valeri Magar je ukazalada je pre odlaska na terenpotrebno da se napraviprojekat sa identifikacijomprostora u kome će se materijalčuvati i jasna strategija sakupljanja, koja je zasnovanateorijski i u skladu sa poslom, fazama posla (rekognosciranje,testiranje, iskopavanje) i kada god je tomoguće u skladu da dugoročnim planovima regije.Na terenu je potrebno ustanoviti jasan odnos izmeđuizbora materijala i konzervacije i ustanoviti strategijuizbora materijala. Da bi se pohranio materijal potrebnoje da postoji kompletna dokumentacija o predmetimai da predmeti budu stabilizovani.Za dugoročno rukovođenje zbirkama neophodno jeda se obezbedi zgrada u dobrom stanju, informacionisistem za pretragu predmeta u svim zbirkama, redovnarevizija podataka i stručno osoblje. Treba imati u viduda je stanje predmeta u zbirci promenljivo (podaci saarheoloških istraživanja i o zbirkama su neograničeni),što može da znači gubitak primarnih podataka sa arheološkihistraživanja i podataka o istorijatu predmeta.Valeri Magar je ukazala i na to da su osnovni problemiu dugoročnom rukovođenju zbirkama nameštaj ioprema za materijal i odvajanje zbirki od podataka povezanihsa njima. Da bi se izbeglo pretrpavanje muzejaili depoa moguće je izlučiti deo zbirki, ali isključivo posletemeljne analize i sa akcentom na materijalu koji jeekstremno prekobrojan.Konačno,Valeri Magar je istakla da u procesu zaštitearheološkog nasleđa značajnu ulogu i odgovornostimaju nacionalne i međunarodne organizacije.Sa namerom da se omogući uvid u lokalna pitanja istrategije, sastavni deo kursa su bile studije slučaja i posetelokalitetu i zbirkama. Obilazak Galerije fresaka jeorganizovan sa ciljem da se ukaže na mogućnost upotrebekopija i drugih vidova dokumentovanja i zaštite, napitanja autentičnosti i potakne razmišljanje na temukonzervacije in situ i premeštanja objekata/predmeta umuzej. Sastavni deo modula koji se odnosio na konzervacijuin situ je bila poseta arheološkom lokalitetu Vinča,a kao praktična vežba na temu zaštite zbirki organizovanje obilazak nekoliko arheoloških depoa u Naneedfor long-term financesfor collections and oftenthere are no adequate plansfor the collecting of thematerial. Therefore, thestorages are overcrowded.Besides, Valerie Magarpointed out that before goingout to the field it is necessarythat one makes aproject containing identificationof the space wherecollection will be safeguardedand clear stratregy ofcollecting, based theoreticalyand in accordancewith work, the phases ofwork (survey, testing, excavation)and whenever possiblecorresponding withlong-term plans of the region.At the site it is necessaryto establish clear relationbetween selecton ofobjects and conservationand the strategy of objectsselection. It is also neededto have complete documentationabout objects and todr Nenad Tasić sa ICCROM-ovim predavačima na VinčiDr. Nenad Tasić hosted the course at Vinča archaeological site stabilaze objects before depositingthem.For long-term collections management it is requiredto ensure building in good condition, information systemto search objects in all collections, regular update ofdata and expert staff. One should be aware that conditionof objects is changeable (records from archaeologicalinvestigations and about collections are unlimited)which may result in loss of primary data from archaeologicalexcavations and records about history of objects.Furthermore, Valerie Magar explained that mainproblems in long-term collections management are storagecabinets and materials as well as separation of collectionsfrom data connected to them. It is possible tode-accession part of collections to avoid over-crowdingmuseum or storages, but only after thorough analysisand with emphasis on material which is extremely numerous.Finally,Valerie Magar pointed out that national andinternational organizations have important role andresponsibility in the process of archaeologic heritageprotection.Additionally, case studies and visits of sites and collectionswere constituent part of the course, with theintention to provide insight in local issues and strategies.The visit to the Gallery of Frescoes was organizedto demonstrate possible use of replicas and other aspectsof documenting and protection, to point out issuesof authenticity and to inspire thinking related to conservationin situ and relocation of buildings/objects inmuseum.Visit to the archaeological site Vinca was includedin the module covering conservation in situ. Eventually,the visit to several archaeological storages in theNational Museum in Belgrade, was organized as practicalexercise concerning subject of collections protecting.This visit served as basis for condition analysis ofthe museum space.During the course, participants were encouraged togive their own point of view on basic needs in the areaof archaeological conservation and to explain how the

odnom muzeju, i na osnovu ove posete urađena je analizastanja prostora.Tokom kursa učesnicima je omogućeno da daju svojeviđenje osnovnih potreba na polju zaštite na arheološkomterenu i kažu na koji način kurs može da doprinese njihovomprofesionalnom usavršavanju. Diskusija o potrebamai izazovima u konzervaciji na arheološkom terenu uSrbiji i Crnoj Gori i Sloveniji je pokazala da u oblastizaštite ne postoji adekvatna politika Ministarstva kulture,da je prekinut kontinuitet dugoročnih programa i dasu iskustva u konzervaciji na terenu slaba. Naglašeno jeda dodatne probleme predstavljaju nedostatak razmeneiskustava, obučenih kadrova, uslova, saradnje izmeđukonzervatora i arheologa i finansijske podrške. Postavljenoje pitanje preventivne zaštite i prisustva konzervatorana terenu i pomenuta potreba za stvaranjem interventnihkonzervatorskih ekipa za rad na terenu.Insistiralo se na potrebi za promenama na nacionalnomnivou, definisanjem jasne kulturne politike u zemlji,promenama u zakonu, i ukazalo se na značaj kojimogu da imaju nacionalni komiteti internacionalnih organizacijau tim procesima.Prema učesnicima kurs je dao pregled stanja konzervacijei arheologije u Srbiji i Crnoj Gori, neka praktična,jednostavna i jeftina rešenja i ukazao na osnovne problemeu konzervaciji na terenu. Osnovna zamerka učesnikana sadržaj kursa je nedostatak praktičnih primera i aktivnosti.Organizatori su dali informaciju da je kursuvodni i da će se nastaviti, ali su i konstatovali da je moglodoći do zablude o sadržaju kursa na osnovu naslova,budući da je termin konzervacija identifikovan sa konzervatorskimtretmanom, a ne shvaćen šire kao zaštita.course can contribute to their professional development.Discussion on needs and challenges in archeologicalconservation in Serbia and Montenegro and Sloveniarevealed that in the area of protection the adequatepolicy of Ministry of Culture did not exist, that continuityof long-term programmes was interrupted andthat experiences in archaeological conservation wereinsufficient. It was pointed out that additional problemswere caused by the lack of exchange of experience, ofeducated staff, conditions, cooperation between conservatorsand archaeologists and financial support. Participantsadvocated the need of having conservators onthe field and for creating interventive conservators teamsfor field work.The participants insisted on changes at the nationallevel, formulating explicit cultural policy in the country,changing the current law. They also pointed out that nationalcommittees of international organizations canhave important role in these processes.According to participants course offered a review ofconditions of conservation and archaeology in Serbiaand Montenegro, some practical, simple and cost effectingsolutions and indicated basic problems in archaeologicalconservation. Main participants’ objection to thecourse contents was the lack of practical examples andactivities. The organisators explained that the coursewas an introductory one andthat it would be continued.Finally, it was concluded that one could get wrong impressionabout course content because of its title, beingthat term conservation could be identified with actualconservation treatment and not comprehended in broadersense as protection.

Aleksandra Džikić Nikolić, konzervatorDIANA Centar za preventivnu zaštituNarodni muzej BeogradPoseta najznačajnijojinstituciji zaštite baštineu FrancuskojZahvaljujući saradnji sa Francuskim kulturnim Centromu Beogradu, DIJANA Centar je 2004. godinedobio od francuske vlade, pored novčanih sredstava zaostvarenje nekoliko kurseva francuskih stručnjaka iprevod stručne konzervatorske literature sa francuskogjezika, tri stipendije za dvomesečni boravak svojih saradnikau francuskim institucijama zaštite kulturnihdobara, sa kojima, uglavnom, već nekoliko godina održavapartnerske odnose.Jedna od tih institucija je Centar za istraživanja ikonzervaciju muzeja Francuske (Centre de recherches etde restauration des musées de France) koji je 1998. godineosnovalo francusko Ministarstvo kulture i informisanja.Na taj način spojena je Istraživačka laboratorijaDirekcije muzeja Francuske sa njenom Konzervatorskomslužbom, u cilju što efektnijeg i funkcionalnijegobavljanja ovih dveju delatnosti.Radi se o instituciji preko koje francuska državasprovodi naučno-tehničku kontrolu nad konzervacijomi restauracijom zbirki nacionalnih muzeja, a podeljenaje na četiri odeljenja, tj. delatnosti: Laboratoriju, Konzervaciju,Preventivnu zaštitu i Dokumentaciju. Administrativnideo Centra, kao i odeljenja laboratorije, dokumentacijei preventivne zaštite, smešteni su u zgradiLuvra, u Parizu, dok se konzervacija obavlja delom uVersaju, a delom takođe u zgradi Luvra, ali u posebnoopremljenom centru. U finansijskom smislu, ona zavisiod budžeta Direkcije muzeja Francuske, ali njene istraživačkeaktivnosti finansira i posebno Istraživačko-tehnološkoodeljenje Ministarstva kulture i informisanja.Zahvaljujući izuzetnoj opremi i tehničkim mogućnostima,Centar za istraživanja i konzervaciju muzejeFrancuske (C2RMF) vrši analize različitih vrsta muzejskihpredmeta – pre svega slika na platnu, ali i praistorijskogslikarstva, polihromnih skulptura, drugih umetničkihpredmeta, arheoloških predmeta, grafičkih dela itapiserija. S druge strane, u Laboratoriji se vrše i istraživanjavezana za potrebe konzervatorskih tretmana,dakle istraživanja mehanizama starenja materijala, ispitivanjekvaliteta konzervatorskih materijala i tehnika,razvijanje metoda prevencije.Biblioteka C2RMF-aLibrary at C2RMF174Aleksandra Džikić Nikolić, ConservatorDIANA Centre for Preventive ConservationNational Museum BelgradeA visit to the majorheritage protectioninstitution in FranceDue to cooperation with the French Cultural Centrein Belgrade, DIANA Centre was granted not onlyfinancial resources for several courses held by Frenchexperts, but also three scholarships for two-months internshipsin French institutions for protection of culturalheritage, the ones that had been DIANA’s partnersfor several years already.One of those institutions is the Centre for Researchand Conservation of French Museums (Centre de rechercheset de restauration des musées de France), establishedin 1998 by the French Ministry of Culture and Information.In this way, the Museums Direction’s Laboratorywas integrated with its Conservation Department inorder to establish the most effective collaboration betweenthese two sections.Through this institution, French Government scientificallyand technically controls conservation and restorationof the national museums’ collections and it consistsof four departments: Laboratory, Conservation,Preventive Conservation and Documentation.The administrativepart of the Centre, the Laboratory, the Departmentsof Preventive Conservation, Documentationand partly the Department of Conservation are situatedin Paris, in the Louvre building, while the other part ofthe conservation section is located in Versailles. Financially,it depends on the budget of the French MuseumDirection, but its research activities are partly fundedby special Research and Technology Department of theMinistry of Culture and Information.Thanks to its exquisite equipment and technicalabilities, Centre for Research and Conservation ofFrench Museums (C2RMF) can analyze various kinds ofmuseum objects – oil paintings at the first place, but alsoprehistoric paintings, polychrome sculpture, otherworks of art, graphics, drawings and tapestries, as wellas archaeological objects. On the other hand, conservationtreatment researches are also carried out, especiallythe ones concerning the materials aging mechanisms,conservation materials and techniques quality control,and development of preventive methods.Beside these activities, C2RMF is also consideredwith education, working closely with the Louvre School(Ecole de Louvre), where some of the Centre’s expertslecture on museology, preventive conservation and conservationtreatments, as well as with other educationcentres and faculties where future museologists, conservatorsand restorers are being trained (Ecole nationaledu patrimoine, Institute de formation des restaurateursd’oeuvres d’art, Maîtrise des sciences et techniques –Université Paris 1...). The Centre has its bulletin -Technč – where all the significant research and conservationprojects results are published.At first, the exploration object was general systemand functioning of the centre, so it started in the library,that is – the Documentation Department. The libraryhouses a great number of books and periodicals inFrench and English, concerning areas such as the applicationof physical-chemical analyses in cultural heritageexamination, technology of materials, mineralogy,metallurgy, geology, museology, history of art, archaeo-

Poseta Arheološkom institutu u Sen DenijuA visit to the Archaeological Institute in St. DenisOsim pomenutih delatnosti, C2RMF se bavi i edukacijom,s obzirom da tesno sarađuje sa Školom Luvra(Ecole du Louvre), gde njegovi stručnjaci drže predavanjaiz oblasti vezanih za muzeologiju, preventivnu zaštitui konzervaciju, kao i sa drugim školama i fakultetimana kojima se obrazuju budući muzeolozi, konzervatori irestauratori (Ecole nationale du patrimoine, Institute deformation des restaurateurs d’oeuvres d’art, Maîtrise dessciences et techniques - Université Paris 1...). Centar takođeima svoju publikaciju, Technč, u kojoj objavljujerezultate istraživanja i konzervatorskih projekata.Moje istraživanje je u početku bilo usmereno naukupno funkcionisanje centra i u skladu sa tim, započetou biblioteci, tj. Odeljenju dokumentacije. Ova bibliotekaobuhvata veliki deo literature i periodike nafrancuskom i engleskom jeziku iz oblasti primene fizičko-hemijskihanalitičkih tehnika u ispitivanju kulturnihdobara, tehnologije materijala, minerologije, metalurgije,geologije, muzeologije, istorije umetnosti, arheologije,preventivne zaštite, fotografije. Uz biblioteku senalazi i dokumentacija sa dosijeima svih predmeta kojisu prošli kroz laboratorijsku analizu, a koji podrazumevajukartone, fotografije i rendgen-snimke. Što se tičedigitalne forme, dokumentaciona baza podataka postoji,ali nije sasvim završena. Obrađen je veći deo predmetačiji se dosijei nalaze u Centru, a bibliotečki fundus jezaveden u okviru šire baze podataka Ministarstva kulturei to samo sa osnovnim podacima o delu i autoru.Konzervatorski ateljei u zgradi Kraljevske konjušnice( Petite écurie) u Versaju su nekada bili namenjeni isključivokonzervaciji predmeta iz Versajske kraljevskepalate. Danas se u njima tretiraju predmeti iz svih nacionalnihmuzeja, a pored umetničkih predmeta (slikana platnu, drvetu) i dela primenjene umetnosti (nameštaj,antikviteti), rade se i arheološki predmeti.U Paviljonu Flor, u zgradi Luvra, nalaze se noviji imodernije opremljeni konzervatorski ateljei koji se koristepo potrebi, tj. odluci kustosa i prema raspoloživostiopreme, vrsti materijala koji se tretira, potrebi za blizinomLaboratorije i sl.Drugi deo staža je bio posvećen preventivnoj zaštiti,kao jednom od segmenata delatnosti C2RMFa koji imajuposeban značaj za dalji razvoj DIJANA Centra. UlogaOdeljenja preventivne zaštite je prvenstveno savetodavnai ta uloga se ostvaruje po pozivu institucija kojese obraćaju C2RMF-u za pomoć, što znači da saradnjasa Odeljenjem ne predstavlja obavezu muzeja i institucijazaštite. Zaposleni u Odeljenju, kao i spoljni saradnici,obilaze terene, tj. institucije koje su zatražile savetu vezi sa preventivnom zaštitom, snimaju stanje i nakontoga sastavljaju dokument, vrstu uputstava za rešavanjedatog problema. Kada je u pitanju složenija situacija,kao što je, na primer, renoviranje i opremanje novihgradskih depoa u Perpinjanu i premeštanje zbirke, ondase radi opširna studija i za taj posao se angažuju stručnjacipreventivne zaštite (kustosi i konzervatori koji suzavršili magistarske studije preventivne zaštite) koji radeprivatno. U tim slučajevima Odeljenje preventivnezaštite C2RMF-a može eventualno da preporuči osobukoja će raditi na studiji.Odeljenje takođe intenzivno radi na objavljivanju Tehničkihsvezaka, namenjenih institucijama zaštite, a kojepodrazumevaju osnovne informacije i uputstva vezana zatemperaturu, vlagu, svetlo, prašinu, požare, poplave i drugapitanja preventivne zaštite. Svako od zaposlenih radina po jednoj Svesci, shodno svojoj stručnoj oblasti.U versajskom ogranku Centra, gde se obavljaju poslovina konzervaciji i restauraciji, preventivna zaštita je organizovanau skladu sa savremenim shvatanjima. Uslovičuvanja su obezbeđeni uz pomoć kompjuterskog progralogy,preventive conservation, photography. There is adocumentation section attached to the library, housingfolders for all the examined objects, consisting of writtenfiles, photographs and X-rays. As to the digital data,there is an electronic database, but it has not beencompleted yet. The majority of the files is processed andthere is also more general database of the Ministry ofCulture, containing C2RMF’s bibliography, but offeringvery few details only.The conservation workshops in the building of theRoyal Stables (Petite écurie) in Versailles were once dealingonly with objects from the Royal Palace of Versailles.Todaythe objects from all national museums are treatedhere, not only the works of art (canvases, paintingson wood) and applied arts (furniture, antiquities), butalso archaeological objects.In the Flore Pavilion of the Louvre building, just recentlyrenovated and highly equipped conservationworkshops are situated, but their use depends on necessity,or better say – curator’s decision, availability ofequipment, material treated, the need for proximity ofthe laboratory, etc.The second half of the internship was dedicated topreventive conservation, as one of the segments ofC2RMF’s activities, being also significant for further developmentof DIANA Centre. The Role of the PreventiveConservation Department is primarily advisory and fulfilledupon requests from the institutions askingC2RMF for help, so the cooperation with the Departmentis not obligatory for museums and conservationinstitutions. All the fieldwork, visits to the institutionsthat previously asked for an advice, surveys and recommendationsare conducted and prepared by the employeesand the collaborators of the Department.When morecomplicated situations are in question, as is theexample of moving Perpignan city collection to anotherlocation, preventive conservation experts (curators andconservators with M.A. in preventive conservation) workingprivately, are hired to prepare a more detailed project.In such a case, the Department usually gives a proposalon an expert to be hired.The Department of Preventive Conservation is alsoengaged in preparations and publishing of TechnicalNotes for museums and conservation institutions, givingbasic information and guidelines on temperature, humidity,light, dust, fire, inundation and other topics of preventiveconservation. Each of the employees and the collaboratorshas a task of preparing one of the Notes, inaccordance with his/her specialty.In Versailles section of the Centre, where conservationand restoration treatments are conducted, preven-175

ma koji upravlja aparatimaza kontrolu i regulaciju klime,kao i alarmnog sistemazgrade. Naime, u dnu zgradeje smešten centralni pogonza ventilaciju, grejanjei hlađenje, sa ugrađenimovlaživačima i odvlaživačimakoji se uključuju po potrebi.Aparati za merenjetemperature i relativnevlažnosti su raspoređeni poprostorijama u kojima jeneophodno kontrolisanjeklime (radionice, depoi), arade na principu radio-vezesa aparaturom za sakupljanjepodataka, koja je povezanasa kompjuterom.Osim digitalnog sistema,Odeljenje ima i kartoteku upisanoj formi, gde se nalazedosijei svih prostorija, sapodacima o klimi i svimkontakt-telefonima i adresamaneophodnim za održavanjeklimatskih uslovau radionicama i ateljeima.U okviru depoa slika konstruisanaje i jedna izolovanaprostorija, tzv. klimatskakomora, gde se čuvajunajosetljiviji predmeti i ukojoj se uslovi čuvanja najstrožekontrolišu specijalnougrađenom aparaturom za regulaciju temperature, relativnevlažnosti i kvaliteta vazduha.Poslednje nedelje boravka posetili smo nekolikodrugih institucija zaštite u Parizu: CRCDG, tj. Centar zaistraživanja i konzervaciju grafičkih dokumenata,LRMH – Laboratoriju za istraživanje konzervacije istorijskihspomenika, INP – konzervatorski fakultet u SenDeniju, Arheološki institut Sen Denija i njegovu laboratorijuza konzervaciju metala i organskih materijala(UTICA). Osim toga, pružila se prilika i za posetu jednogod depoa slika u Luvru, kao i Odeljenja za prijem i otpremupredmeta u Direkciji muzeja Francuske.Na kraju bih želela da se zahvalim svima koji su pomoglida se staž u C2RMF-u uopšte ostvari, a onda i dase ostvari na najbolji mogući način. Osnovna ideja izaovog boravka bila je upoznavanje sa strukturom i načinomfunkcionisanja jednog velikog centra za konzervacijui konzervatorska istraživanja. S obzirom da sam,zahvaljujući razumevanju čelnih ljudi ovog centra, imalaodrešene ruke, ali i pomoć, u organizovanju posetasvim Odeljenjima, kao i u upoznavanju onih segmenatanjegovih delatnosti koje sam smatrala najkorisnijim inajinteresantnijim za dalji razvoj sistema zaštite kodnas, smatram da je cilj staža u potpunosti ostvaren. Tatjana Nedeljković, konzervatorStudijsko putovanje u Nemačku10-23. oktobra 2004., Minhen176Radionica u LRMH-uWorkshop at LRMHAtelje za restauraciju papira u INP-uPaper conservation atelier at INPNa poziv Bayerisches Staatsministerium fur Wissenschaft,bilo mi je, kao jednom od predstavnika Narodnogmuzeja u Beogradu, omogućeno da posetim restauratorskeradionice u Minhenu i upoznam materijalei tehnike, koji se primenjuju u konzervaciji i restauracitiveconservation is organizedin accordance withmodern principles. Safekeepingconditions are providedby the means of climatecontrol and regulationdevices and alarm system,both operated by computersoftware. There is a centralventilation, heating andcooling facility, with humidifiersand dehumidifiersbuilt in and used in case ofneed. Data loggers are situatedin rooms where measuringis necessary (workshops,storages) and theyare radio-connected with adata-collecting device attachedto a computer. Besidedigital system, the Departmentalso has a classicaldatabase, in writtenform, where every roomhas its file with all the dataon climate and contactphone numbers necessaryto keep the climate controlsystem operational. In thepaintings storage area, anisolated chamber is constructed,so-called climaticchamber, with a special devicefor temperature, relativehumidity and air qualitycontrol, where the most sensitive objects are kept instrictly controlled conditions.The last week of my internship was dedicated to thevisiting of several other conservation institutions in Paris:CRCDG (Centre for Research and Conservation ofGraphic Documents), LRMH (Laboratory for Researchof Conservation of Historical Monuments), INP (ConservationSchool in Saint Denis), Archaeological Instituteof Saint Denis with UTICA (private laboratory for conservationand restoration of metals and organic materials).In addition, visits to one of the paintings storagesin Louvre and to the Reception and Dispatching Sectionof the French Museum Direction were organized.At the end, I would like to thank everyone who helpedus to realize this internship, especially to carry it outin the best possible way. The basic idea was getting acomplete picture of the structure of a large conservationand research centre like this one. Having, thanks to understandingof the management, free hands and help inorganizing visits to all the Departments, as well as in exploringthe segments of the Centre’s activities that I consideredthe most useful and the most interesting for furtherdevelopment of conservation system in our country, Ishould say that the goal of this internship is fulfilled. Tatjana Nedeljković, ConservatorA study visit to Germany10-23 October 2004, MunichUpon invitation from Bayerisches Staatsministeriumfur Wissenschaft, Forschung und Kunst, as one ofthe representatives of the National Museum Belgrade, Ihad the opportunity to visit restoration workshops inMunich and see materials and techniques they use in

ji. Učestvovali su restauratori, kustosi, arhivari i bibliotekariiz Mađarske, Rumunije, Slovačke, Češke, Poljskei Rusije. Grupu restauratora, kojoj sam pripadala, činilasu još dva člana: Eva Rydlová, restaurator stakla iporcelana iz Češke i restaurator keramike iz Mađarske.Cilj našeg boravka bile su posete Restauratorskom centrui restauratorskim radionicama Arheološke gradskezbirke (Restaurierungszentrum der ArchäologischenStaatssammlung), Zavoda za zaštitu spomenika (Landesamtfür Denkmalpflege) i Nacionalnog muzeja (BayerischesNationalmuseum). To je bila prilika za upoređivanjenačina na koji oni pristupaju restauraciji arheološkihpredmeta, sa našim pristupom i metodama.U restauratorskom centru Arheološke zbirke radionicesu organizovane po materijalima (do tri konzervatorau jednoj prostoriji), u svakoj je po jedan digestor ispecijalno dizajnirani radni sto, sa vakuumom i mikroskopom.Arheološka keramika se veoma retko konsoliduje- čišćenje, lepljenje fragmenata i gipsiranje se obavljajusamo da bi se obezbedila stabilnost posude. Radionicesu veoma dobro opremljene i velika pažnja jeposvećena raznovrsnim analizama, koje se vrše pre negošto se pristupi bilo kakvoj intervenciji na predmetu.Depoi su takođe organizovani po materijalima. Skoroje uveden standard za pakovanje u specijalno dizajniranepolietilenske kutije (liče na gajbice i uklapaju sejedna u drugu), ali se još uvek veliki deo materijala čuvau kutijama od šper ploče. Uveden je sistem vakumiranjaza sitnije metalne nalaze. Sve prostorije su opremljeneuređajima za kontrolu klime.U Zavodu za zaštitu spomenika organizovali su restauratorskeradionice, u kojima se može raditi istovremenona raznorodnim materijalima (keramika, metal,kost). Svi predmeti se rentgenski snimaju u specijalnokonstruisanom ormaru, i ovi snimci predstavljaju integralnideo dokumentacije, koja je standardizovana preosam godina. U radionici se, pored uobičajenih radnihstolova, nalaze i digestor, aparatura za konsolidaciju uvakumu uz zagrevanje, komora za čišćenje peskiranjem,tako da mogu je koriste pri radu na različitim materijalima.Za razliku od načina rada kod nas, kod njih je uširokoj upotrebi komora zapeskiranje. Naravno, ne koristepesak već praškaste materijalerazličite granulacije.Tako, za osetljivije površine,na primer porozni kamen,koriste sodu-bikarbonu, a zapredmete od organskih materijalakoriste sprašenu ljuskuoraha (čak i za čišćenje koštanihpredmeta, ako nisu oslikani).Komora za peskiranjeu velikoj meri olakšavačišćenje trošnih, osetljiviharheoloških predmeta.Postoji jedinstveni depoza arheološki materijal (raznorodnimaterijali sa iskopavanjauglavnom u kartonskimkutijama), gde su teknedavno postavili klima uređaj,temperatura je 21°C, arelativna vlažnost 39%. Glavnirestaurator zavoda se baviorganizacijom posla, kao iproračunavanjem vremena isredstava, koja su potrebnaza restauraciju nekog predmeta.Radionica Bajerskog nacionalnog muzejaConsevation workshop of Bayerische National Museumconservation and restoration. This event was organizedfor restorers, curators, archivists and librarians fromHungary, Romania, Slovakia, Czech, Poland and Russia.I was in a group with two colleagues: Eva Rydlová, glassand porcelain restorer from Chech Republic and IldikoHorváth, ceramics restorer from Hungary. The goal ofour stay were visits to the Restoration Centre and workshopsof Archaeological city colection (Restaurierungszentrumder Archäologischen Staatssammlung), TheBavarian State Conservation Office (Landesamt fürDenkmalpflege) and National Museum (BayerischesNationalmuseum). This gave us a chance to comparetheir aproach to conservation of archeological objectswith ours.In Restoration Centre of Archaeological City Collection,the workshops are organized by materials (up to 3conservators in one room), in every room there is a fumecupboard and specially designed working table with vacuumdevice and a microscope. Archaeological ceramicsis rarely consolidated, usually the cleaning is carriedout, as well as bonding the fragments and filling themissing parts with gypsum, but only to assure the stabilityof an object. Workshops are very well equiped andspecial attention is paid to various analyses carried outbefore any intervention on object starts.The storages are also organised by materials. Recently,standards for packing in specially designed polietyleneboxes, but a large amount of material is still keptin plywood boxes. For smaller metal objects vacuumpacking is used. All the rooms are provided with climatecontrol systems.In the Bavarian State Conservation Office the restorationworkshops are organized to enable dealing withvarious materials in the same time (ceramics, metal, bone).All objects are x-rayed in a specially designed metalcloset and these films make integral part of documentation,standardised 8 years ago. In workshops, besideworking tables, there is a fume cupboard, equipmentfor vacuum consolidation with a heater, a sandingbox which can be used for various materials. In these institutions– as distinguished from our approach - sandingdevice is commonlyused, with abrasives of variousgranulation. Baking sodais used for very fragile surfaces,auch as porous stone, andfor organic materials powderedwalnut shell (even for bone,if they are not painted).The sanding device makescleaning of fragile archaeologicalobjects easier and faster.There is only one storagefor archaeological materials,where various kinds of materialsfrom excavations arekept mainly in cardboard boxesand where a climate controlsystem was just recentlyinstalled – temperature is21°C and Rh 39%. The headrestorer organises all thework, calculates the time andresources needed for a restorationof an object.The restoration workshopsof the National Museumare organised by materialsand are well equipped.Regular control of the condi-177

Restauratorske radioniceNacionalnog muzeja podeljenesu po materijalima iizuzetno dobro opremljene.Jedna od njihovih aktivnostije redovna kontrola stanjapredmeta u muzejskojpostavci, kao i predmetakoji su restaurirani u njihovojradionici, a izloženi suna drugim lokacijama.Poštujući principe modernemuzeologije, restauratorikeramike sveli su intervencijena materijalu naminimum, dakle konsolidacijakeramike se veomaretko vrši (samo kada je to apsolutno neophodno za opstanakpredmeta). Uobičajen restauratorski tretmanobuhvata: čišćenje, spajanje i restauraciju samo onihdelova koji su neophodni za stabilnost posude. Restauracijesu u izvesnom smislu standardizovane, tj. određenoje okvirno vreme, koje je potrebno za restauracijupredmeta, izuzev kada je u pitanju specifičan nalaz. Takođeje značajno da se trude da tokom restauracije sačuvajušto više podataka o upotrebi i ?životu? predmeta(metalni mač konsolidovan je sa ostacima krzna, tkaninei drveta, jer to svedoči o izgledu kanija, koje su nestaletokom njegovog boravka u zemlji). Mogućnost korišćenjaiste radionice za rad na raznorodnom materijalu,uz korišćenje digestora ili radnih stolova sa vakumom,takođe je veoma praktična ušteda prostora.Ljubaznošću organizatora, posetili smo i značajnemuzeje u Minhenu. Nemački muzej - koji na jednommestu okuplja postavke razvoja tehnologije keramike,stakla, tkanja, gradnje brodova, aviona, rudarstva i replikuoslikanog svoda pećine Altamira; Modernu, Novui Staru Pinakoteku - koje čine jedinstven muzejski kompleks,u kome je zastupljena umetnost od kasnog srednjegveka do danas; Zamak Nimfenburg (Nymphenburg)- sa Manufakturom majsenskog porcelana, kojajoš uvek radi na isti način na koji se radilo pre dva vekai Muzejom prirode i čoveka; Palatu Lusthajm (Lustheim)u parku Šleshajm (Schleissheim) izvan Minhena,izgrađenu u stilu italijanske barokne vile 1684.-89., restauriranu1971. godine, da bi u njoj bila smeštena i izloženanajkompletnija zbirka ranog majsenskog porcelana,poklon pasioniranog kolekcionara Šnajdera (ErnstSchneider), koji je svoj poklon uslovio dobijanjem dozvoleda živi u samoj palati i da njegova kolekcija budeizložena (pri čemu je sam konstruisao većinu izložbenihvitrina u kojima je kolekcija i danas izložena).U vreme naše posete Minhenu svečano je otvorena ivelika izložba ?Svet Vizantije? (Die Welt von Byzanz –Europas östliches Erbe), izložba dugo pripremana, nakojoj su, po prvi put, zajedno izloženi nalazi sa Istoka iZapada. Poražavajuće je bilo videti kameni reljef isečen,odnosno stanjen, jer to pojeftinjuje njegov transport (reljefje vlasništvo privatnog lica). Videli smo način organizacijei prezentacije materijala, i zamerili zbog nedostatkabilo kakvog objašnjenja pisanog na engleskom.Organizovan je i izlet u Augsburg. Posetili smo zaštitnaarheološka iskopavanja, videli kuću Pointingera iRimski muzej. Pointingerova kuća je sada privatno vlasništvo,a kameni reljefi ugrađeni u zidove kuće su u očajnomstanju, jer sadašnji vlasnik ne dozvoljava bilo kakvuintervenciju. Ova poseta pružila je svima nama mogućnostda se bliže upoznamo sa sistemom zaštite kulturnognasleđa i muzeološkim principima u Nemačkoj, dobrim ilošim stranama zakona o zaštiti spomenika, i uporedimoih sa trenutnim stanjem u našim zemljama.178Portal Katedrale u AugsburguAugsburg Cathedral portaltion of museum objects belongsto the activities, aswell as of the objects restoredin their workshops butexhibited elsewhere.Observing the modernconservation principles,the ceramics restorers minimizedtheir interventionon materials, e.g. consolidationof ceramics is donerarely (only when absolutelyneccessary for the preservationof object). Theusual conservation treatmentconsists of: cleaning,bonding of fragments andrestoration, but only of the part crucial for the stabilityof an object. Conservation is standardized in a way, theamount of time needed for a treatment of an object isdefined, except in cases of specific object. An importantissue is an effort to save as many data as possible on useand «life» of finds during restoration treatment (a metalsword was consolidated together with remains of fur,textile and wood, as it shows the form of sheaths thatappeared on it in the ground). The possibility of usingthe same workshops for various materials, having fumecupboards and working tables with vacuum system, isalso very convenient.Thanks to our hosts, we had the oportunity to visitthe most significant museums in Munich. DeutschesMuseum which offers, at the same place, various displaysof ceramics, glass, weaving, ship making, aircraftsand mining tehnology development, as well as a replicaof Altamira cave painted ceiling. Modern, New and OldPinacotheca, representing a museum complex, displaysart from late Middle Ages to modern times. The NymphenburgCastle houses the old Meissen porcelainworkshop functioning the same way as it did two centuriesago, as well as the Natural History and MankindMuseum. The Lustheim Palace in Schleissheim Garden,just outside Munich, was built in barroque Italian villastyle of 1684-89 and restored in 1971 to house and displaythe most complete collection of early Meissen porcelain,as gift from pasionatted collector Ernst Schneider,conditioned with his permision to stay in the Palaceand display his collection there (he personally constructedmost of the cases in which the collection is placedtoday).During our stay in Munich, the exibition World ofByzantium was opened. It took very long time to prepareit, and it was an opportunity to see the finds fromEast and West displayed together for the first time. Itwas astounding to see stone relief cut on the back, becauseit made the transportation cheaper (the relief isprivately owned). We saw the way the exibition was organizedand the materials presented and it was pity therewas no explanation in English.We also had an organised visit to Augsburg. We visitedan archaeological site with preserving excavationcarried out, the House of Pointinger and The RomanMuseum. The House of Pointinger is now a private property,and stone reliefs built in the house walls are invery bad condition, because the present owner does notallow any intervention. This visit gave us all an opportunityto have a closer look on sistem of protection ofcultural property and museological principles in Germany,advantages and disadvantages of their law onprotection of cultural heritage, and to compare it withpresent condition in our countries.

Ðurinka Bogdanović, akad. keramičar,saradnik DIJANA CentraMetamorfoza tradicijeDIJANA Centar za preventivnu zaštitu Narodnogmuzeja u Beogradu sukcesivno razrađuje programeiz svog projekta: “Eksperimentalna arheologija - tradicionalneproizvodnje keramike”, autora M. Popović-Živančević i V. Svobode. 1Za realizaciju programa rekonstrukcije tehnike itehnologije vinčanske keramike preduzeta su opsežnaeksperimentalna istraživanja.S obzirom da je to veoma kompleksan interdisciplinaranzadatak, koji zahteva naučnu i stručnu verifikaciju,u saradnju su ukljucene referentne naučno-istraživačkeinstitucije i kompetentni strucnjaci. 2Prvo se analizom sastava gline neolitske keramikesa arheološkog lokaliteta u Vinči došlo do pretpostavkeda se adekvatne sirovine za rekonstrukciju mogu naćina okolnim terenima:Vinča - Belo brdo, okolina manastira Sv. Stefan, Ciglanai Slanci. Od uzoraka tih sirovina napravljene suprobne “test-pločice” 3 , predviđene za pečenje na tradicionalannačin.Za taj opus angažovan je jedan od naših malobrojnih,vrsnih, autentičnih grnčara, Jovan Vacić, stručni saradnikna Katedri keramike FPUD u Beogradu.To je bioi povod da geneza njegovog grnčarskog iskustva, budepredstavljena u sadržaju ovog teksta.U organizaciji eksperimenta tradicionalnog pečenjaovih “test-pločica” učestvovali su : saradnici DIJANACentra (mr Vesna Svoboda akad. keramičar, Tatjana Nedeljković,arheolog, pripravnik DIJANA Centra, IvanaStojković, apsolvent arheologije, Dejan Milovanović iDušan Maksimović, studenti arheologije, ĐurđinkaBogdanović, akad. keramičar i Branka Belošević, turizmolog)i Jasna Vuković, arheolog, asistent-pripravnik(Filozofski fakultet, katedra za arheologiju).Ogledom tradicionalnog pečenja na neolitskom lokalitetuu Vinči, počela je “reanimacija”daleke prošlostii grnčarskog umeća “uživo”.Ekipa saradnika se, zajedno sa majstorom, našla uulozi aktera svojevrsnog “ritualnog performansa”.Srele su se prošlost i sadašnjost.Na istom mestu, na obali Dunava, deset arheološkihstratigrafskih slojeva niže, pečena je neolitska praistorijskakeramika. Sličan pokušaj izveden je ponovo,ali sada sa pisanjem dnevnika, upotrebom digitalnihfotoaparata i mernih instrumenata.Pre pečenja, učesnici ekipe su, na otvorenom terenu,iskopali jamu, kao repliku neolitske peći. Majstor Jovaje u peć stručno složio ogledne “test-pločice”, zaštićeneod direktnog plamena, slojem fragmentovane arheološkekeramike.Članovi ekipe, stvaralački uzbuđeni, motivisani željomda eksperiment uspe, vredno i sa entuzijazmom su prikupljalisa lokaliteta drva za vatru i donosili majstoru.1 Mila Popović - Živančević, muzejski savetnik - konzervatorNarodnog muzeja u Beogradu i rukovodilac DIJANA Centra i VesnaSvoboda, magistar keramike i saradnik DIJANA Centra2 Katedra za arheologiju Filozofskog fakulteta u Beogradu, sasvojim projektom: “Vinčanska kultura, kontekst, sirovine i komunikacije”,docent dr Nenad Tasić i Jasna Vuković, asistent-pripravnikprof. dr Slobodan Knežević (Rudarsko - geološki fakultet Beograd),Petar Nićiforović, geolog, dr Branko Matović i mr Dušan Kićević(Institut za nuklearne nauke “Vinča”Beograd), dr Ljubica Pavlović(naučni savetnik ITNMS-a Beograd), dr Dušan Izvonar (Fakultetprimenjenih umetnosti Beograd), dipl. ing. Mira Miladinović, (Višatehnološka škola u Aranđelovcu)Za DIJANA Centar: Mila Popović Živancević, autor, koordinatori supervizor Projekta, mr Vesna Svoboda, keramičar, autor i koordinatorProjekta3 mr Vesna Svoboda, akademski keramičarÐurinka Bogdanović, ceramic artist,DIANA Centre collaboratorMetamorphosis of traditionDIANA Centre for Preventive Conservation of theNational Museum in Belgrade successively developsprograms of the project named “Experimental archaeology– traditional production of ceramics” whoseauthors are M. Popović-Živančević and V. Svoboda. 1Large-scale research is being carried out in order toimplement the program of reconstruction of Vinča ceramicstechniques and technology.Being a very complex interdisciplinary task, demandingscientific and professional verification, the projectgathers relevant scientific-research institutions andcompetent experts 2 .First analysis of the Neolithic ceramics clay compoundfrom the archaeological site of Vinča led to thehypothesis that the raw material adequate enough forthe reconstruction could be found in the surroundings:Vinča – Belo Brdo, surroundings of the Monastery of St.Stephen, Ciglana and Slanci. These samples were usedfor making testing pieces 3 , meant for traditional firingprocess.One of a few highly skilled and authentic potters inour country, Jovan Vacić, professional collaborator withthe Ceramics Department at the Faculty of AppliedArts, was engaged in this experiment. At the same time,his engagement in the project was the motive of presentinghis potter’s experience in this article.Participants in the experiment with traditional firingof these testing pieces included: collaborators ofDIANA Centre (Vesna Svoboda, M.A. in ceramics art,Tatjana Nedeljković, archaeologist, Ivana Stojković,student of archaeology, Dejan Milovanović, student ofarchaeology, Dušan Maksimović, student of archaeology,Đurđinka Bogdanović, ceramics artist and Branka Belošević,tourismologist) and Jasna Vuković, archaeologist,apprentice teacher (Faculty of Philosophy in Belgrade,Archaeology Department).This experiment of traditional firing at the Neolithicsite of Vinča started a sort of “reanimation”of ancient timesand of potter skills “live”.The team of collaborators, together with the headpotter, found themselves involved in kind of “ritual performance”.The past and the present met.At the same spot, on the bank of the Danube, just tenstratigraphic layers below, Neolithic, prehistoric ceramicsused to be fired. Similar process was redone, butthis time it was documented in a diary and with the helpof digital camera and measuring devices.Prior to the firing process, the participants dug outa pit, a replica of Neolithic kiln.The head potter Jova setthe testing pieces very skillfully in the kiln, well protec-1 Mila Popović-Živančević, museum councillor of the NationalMuseum Belgrade and the head of DIANA Centre for PreventiveConservation and Vesna Svoboda, M.A. in ceramics and a collaboratorof DIANA Centre for Preventive Conservation2 The Department of Archaeology of the Faculty of Philosophyin Belgrade, with its project: “The Culture, Context, Raw Materialsand Communications of Vinča”, Prof. Nenad Tasić, Ph.D. in archaeologyand Jasna Vuković, teaching assistent;Prof. Dr. Slobodan Knežević, Faculty of Mining and Geology,Petar Nićiforović, geologist, Branko Matović, Dr.Sci. and Dušan Kićević,M.Sc. (Institute for Nuclear Sciences “Vinča”), Ljubica Pavlović,Dr.Sci. (Scientific advisor of ITNMS), Dušan Izvonar, Ph.D. (Facultyof Applied Arts), Mira Miladinović, engineer (TechnologySchool in Aranđelovac, Serbia)For DIANA Centre: Mila Popović-Živančević, the author, coordinatorand supervisor of the project, Vesna Svoboda, M.A. in ceramics,author and coordinator of the project3. Vesna Svoboda, M.A. in ceramics179

Potom je majstor Jova, kao “glavni vrač”, zapalio vatrui vodio “ritual” postepenog zagrevanja peći. Zahvaljujućisvom dugogodišnjem iskustvu, on je umeo “odoka” da pogodi temperaturu u peći, po boji užarenih“test-pločica”, ali, uprkos tome, postavio je i pirometar,da bi demonstrirao ogled komparativnom metodom.Samo je magija vatre ostala ista. Privukla je pažnju iradoznalost svih prisutnih. Možda se probudilo i kolektivnopamćenje ognjišta kao kultnog mesta opstanka i trajanja.Bila je to spontana repriza “scenarija” neolitske porodice.Zapis o tim utiscima, kao dokument našeg vremena,sačuvan je u softverskoj memoriji kompjutera i CD-a.Srele su se arhetipske i virtuelne slike.Pred kraj ovog ogleda, da bi se dobila crna boja pečenihpredmeta, primenjen je drevni postupak redukcije.“Jamska”peć je zasuta poluvlažnim lišćem i zatrpanazemljom. Vatra je ugušena, a dimna zavesa je zaklonila“scenu”.Ostao je još jedan završni “čin”, ovog “post-modernogrituala”.Posle 24 sata hlađenja, peć je otkopana.“Test-pločice”i fragmenti neolitske keramike oglasili su se tihimtajanstvenim pucketanjem, kao pričom o zajedničkomkosmogonijskom putovanju kroz katarzu vatre. Tako jezavršen ovaj neobičan ogled, a programska istraživanjanastavili su eksperti.Majstor Jova priprema jamuJova chating firing the pit180Srele su se empirija i nauka u eksperimentalnoj arheologiji.Razgovor sa majstor Jovom, kao empirijskim protagonistomogleda, usmerio je fokus sa centralne teme naposebno pitanje o stanju naseg danasnjeg grncarstva,kao zapostavljenom trezoru nematerijalnog kulturnogblaga.Jedan deo tog bogatstva je sačuvan i uspešno revitalizovankao tradicionalna proizvodnja keramike naručnom točku. Ova delatnost odvija se u autohtonomambijentu sela Zlakusa (Srbija), gde već skoro deset gotedfrom direct flame by a layer of fragmented archaeologicalceramics.The members of the team, creatively excited and drivenby the wish for the experiment to work, were enthusiasticallycollecting wood for the fire from the surroundingsand bringing it to the potter.Further on, the potter Jova, just like a “head sorcerer”,lit a fire and led a “ritual”of gradual heating up thekiln. Thanks to his great experience, he was able toguess the temperature level in the kiln by the colour ofthe fired testing pieces, but he, nevertheless, set a pyrometer,in order to perform a comparative experimentalmethod.Only the magic of fire remained the same. It attractedattention and curiosity of everyone around. Perhapsthe collective memory of a home fireplace as ritual centreof revival and endurance came back. It was a spontaneousrerun of a Neolithic family “scenario”. A memoryof these impressions, as a document of our time, is savedin a software memory of a computer and CD.Archetype and virtual images were brought together.The ancient process of reduction was applied at theend of the experiment, in order to obtain characteristicblack colour of fired objects. The pit-kiln was coveredwith humid leaves and ground. The fire was put out andsmoke hid the “scene”.There was only the final act left in this “post-modernritual”.After 24 hours of cooling, the kiln was uncovered.Testing pieces and the fragments of Neolithic ceramicscould be heard as the tones of mysterious crackling, thestory of common cosmogony travel through the catharsisof fire. In this way, unusual experiment was endedand the experts continued further research.Empiricism and sciences were brought together inexperimental archaeology.Conversation with potter Jova, as the empirical leaderof the project, redirected the focus from the mainsubject to the special question of the situation our modernpottery found itself in today, as a neglected treasuryof our intangible cultural heritage.A part of this treasure is saved and successfully revitalizedas traditional production of ceramics on thepotter’s manual wheel. This activity is carried out inauthentic ambience of Zlakusa village (Serbia), havingan international significance for almost ten years already.Nevertheless, pottery made on a kick wheel, beingalso part of our cultural heritage, lacks a centre for restorationand promotion of its values.By looking at the circumstances influencing the lifeand professional practice of the potter Jova, we can alsotrace changes in social valuation of potter’s skills andthe reasons of fading away and the metamorphosis ofthis authentic arch-craft.Jova was trying to remember the community he grewup in, the community that destined his future profession.All the potters from the town of Pirot and surroundingvillages were considered “Piroćanci” (the citizensof Pirot), which was also a synonym for an appreciatedcraftsman.He was born in the village of Ponor, near Pirot, in1942. His grandfather was a potter, and his father,though not potter himself, thought that this craft mightensure his son’s bright future.Pirot was always referred to as “education centreand the centre of pottery”. Looking for job and newmarkets, “Piroćanci” were often going abroad, or to otherregions of the country. They were known as talented

dina ima i međunarodni značaj.Međutim, grnčarstvo nožnog kola, kao deo naše kulturnebaštine nema centar za restauraciju i promocijusvojih vrednosti.Sagledavanjem okolnosti koje su uticale na majstorJovin život i stručnu praksu, možemo da pratimo idruštvene promene vrednovanja grnčarskog umeća iuzroke zamiranja i metamorfoze ovog autentičnog arhizanata.Majstor Jova se prisećao sredine u kojoj je rastao ikoja je predodredila njegovo zanimanje. Svi grnčari izPirota i okolnih sela smatrani su “Piroćancima”, što jebio sinonim za cenjenog “majstora od zanata”.Rođen je u okolini Pirota, u selu Ponor, 1943. godine.Deda mu je bio grnčar, a otac, iako nije bio grnčar,smatrao je da će taj zanat osigurati budućnost njegovogsina.Pirot je od davnina bio poznat kao “narodni univerziteti rasadnik grnčarstva”.“Piroćanci” su,tražeći posao i nova tržišsta,često odlazili u“pečalbu”. Poznati kaodaroviti i kreativni majstori,oni su svoj radvešto prilagođavali novomukusu sredine, ukojoj su neki i trajno ostajali.Tako se tradicijaprenosila, uticaji preplitali,a iskustvo bogatilonovim varijacijama.Pečalbarski životniput bio je “suđen” i budućemmajstoru Jovi.Otac ga je upisao(1958. godine) u trogodišnjuškolu učenika uprivredi, u Sarajevu, gdeje nastava trajala četiridana u nedelji, a ostalovreme Jova je radio u radionicimajstora VukašinaTošića, takođe poreklomiz okoline Pirota.Kod majstoraje i stanovao, pa je kaošegrt radio sve poslove.Mešao je glinu (iz sarajevskeciglane) u “kalnik”,ograđeni dvorišnirezervoar za glinu. Zidao je i ložio “kacaru” (peć nadrva). Naučio je da na poseban način prepozna i odredioksidacionu atmosferu u peći, pri temperaturi od oko900 - 950C. Pravio je gleđ od oksida olova. Vrteo je nanožnom točku poznate, tipične, narodne forme: zdele,ibrike, bardake, saksije, noše, kasice, dečje igračke. Zavoleoje svoj zanat kao kreativnu alhemiju. U sinergijisa glinom, na kružnoj putanji nožnog točka ( kola), otkrivaoje tajne zanata. Pod njegovim rukama, iz amorfnemase gline, izrastali su najrazličitiji oblici. Siguran usebe, uspevao je da ispuni zadatu dnevnu normu (od 30do 150 vrtenih komada, zavisno od veličine). Njegovotac nije pogrešio.Jova je proveo u Sarajevu još dve sezone u radionicamakoje su takođe držali majstori “Piroćanci”.U to vreme, u Pirotu se svakog februara, na pazarnidan, u kafani “Guševića” održavala “grnčarska berza”,gde su se skupljali majstori i ugovarali sezonske poslove.Vreme “pečalbe” počinjalo je u proleće, a završavalose krajem jeseni.Nov posao dobio je Jova u Topuskom, u Hrvatskoj,and creative craftsmen and they were able to adapt tothe taste of the new surroundings, so some of them evenstayed there for good. In this way, tradition was spread,influences were intertwined, experience was enrichedwith new variations. Jova was also destined for this kindof life.His father had him enrolled (in 1958) in the threeyeareconomy school in Sarajevo, where lectures weregiven only four days a week, so the rest of time Jovaspent working in the workshop of Vukašin Tošić, a potteralso from around Pirot.He stayed in the potter’s home, so he was obliged todo all sort of jobs as an apprentice. He stirred clay (comingfrom a brick plant in Sarajevo) in the so-called“kalnik”, a kind of clay reservoir in the backyard, fencedby wooden planks. He built “kacara” (a kind ofwood-fired kiln) and made fire in it. He learned how torecognize and determine oxidation atmosphere in a kiln,at the temperature ofabout 900-950°C. Heused to make glaze fromlead oxide. He rotated akick wheel to make familiar,typical, folkforms: dishes, “ibrik”(water jug), “bardak”,flowerpots, chamberpots, toys. He becamefond of his craft as ofsort of creative alchemy.In synergy with clay, ona circle way of a kickwheel, he discovered themysteries of the craft.His hands created a greatvariety of forms out ofamorphous mass of clay.Self-confident, he wasable to fulfill his dailytasks (30 to 150 thrownpieces, depending on size).His father was right.Jova spent in Sarajevotwo more seasons inthe workshops also heldby “Piroćanci“.At the time, the socalled“pottery market”was held every February,and on the market day,in Pirot pub of “Guševica”,gathering all the potters who wanted to make a seasonalcontracts took place. The time of “going abroad”was starting in spring, and ending by the end of autumn.Jova got his new job in Topusko, Croatia, at theworkshop of potter “Piroćanac“ Slobodan Živković,where he spent two seasons. There were five potters inthe workshop. Among usual forms (“testija” – waterdish, table dishes, flower pots), this workshop made alsocooking pots of Pirot kind, with narrow base, horizontalchanneling, adjusted to the form of old open-firecooker. After that, he found two more seasonal jobsthrough the market in “Guševica”– in Obrenovac, at thepotter Obrad Đorđević’s.The next destination was Split, Croatia, from 1969to 1977. Jova was very successful. He established notone, but two workshops and he worked for tourist market.He made a career and thought of settling down inSplit, but due to uncertain political situation, he decidedto leave.After arriving in Belgrade, he settled in part of thecity called Sremčica, built a family house and establis-181

kod majstora “Piroćanca” Slobodana Živkovića, gde jeproveo dve sezone. U radionici je bilo pet majstora. Poreduobičajenih posuda (testije, činije za jelo, saksijeitd.), u ovoj radionici pravljeni su i pirotski “šporetski”lonci sa uskim dnom, horizontalno kanelirani, pogodniza otvorenu ringlu šporeta na drva (od Ř 14-40). Potomje preko “berze”u “Guševici”ugovorio još dve sezone radau Obrenovcu, kod majstora Obrada Đođevića.Sledeća etapa bio je Split, od 1969 do 1977. godine.Majstor Jova je uspešno poslovao. Otvorio je čak dveprivatne radionice i radio za turističko tržište. Napredovaoje u poslu i razmišljao da ostane u Splitu, ali ga jezbog nesigurne političke situacije napustio.Po dolasku u Beograd nastanio se u Sremčici, sazidaokuću i opet otvorio privatnu radionicu. Međutim,već posle dve godine morao je da odjavi radnju, zbognerentabilnosti i visokih poreza.Prestao je da se vrti točak u njegovoj pustoj radionici.Majstor Jovino mukotrpno sticano životno i pečalbarskostvaralačko iskustvo više nije vredelo. .Rešio je da napusti grnčarski zanat i potražio je posaovozača u Gradskom saobraćajnom preduzeću, uBeogradu.Ostali su rasuti fragmenti tradicije.Sasvim slučajno desio se preokret u majstor Jovinomživotu. Baš tada je na Fakultetu primenjenih umetnostii dizajna u Beogradu, penzionisan čuveni majstorČeda Jovanović i raspisan je konkurs za novog grnčarana Katedri za keramiku. Majstor Jova se jediniprijavio na konkurs i podneo deset izvedenih radova idiplomu. Primljen je, 1981. godine, gde i danas radi. NaKatedri za keramiku dobio je nove dužnosti. Na smeruunikatne keramike i dizajna, vrteo je po skicamastudenata i to prvi put na električnom točku - kolu.(Stari nožni točkovi ostali su da služe samo za doradupredmeta). Zadužen je takođe za pripremu gline i zaproces pečenja, sada, opet prvi put, u električnim pećima.Osim rada sa studentima, majstor Jova već desetakgodina vrti keramiku po skicamaučesnika međunarodnog simpozijuma“Svet keramike” u Aranđelovcu.Nove okolnosti uticale su ina promenu njegovog rada. Inspirisantipologijom etnografske keramike,majstor Jova se oprobao i u kreiranjunovih formi. Međutim, ostalamu je nostalgija za elementarnim,tradicionalnim grnčarstvom: za engobama,“izvoženom” šarom, pećimana drva ...Autentičnih majstora je sve manje.Na tržištu često dominiraju tehnološkekvazi-umetničke imitacijenarodne keramike. Tradicionalnomgrnčarstvu potrebna je zaštita.Projektom “Eksperimentalna arheologija,tradicionalne proizvodnjekeramike” fragmentovana tradicijaće se restaurirati i revitalizovati kaonaše i balkansko duhovno kulturnonasleđe. Eksperimentom rekonstrukcijetradicionalne keramike učinjenje prvi korak.Majstor Jova je “zatvorio krug”.Opet je bio u prilici da demonstriraautentičan grnčarski opus. To ga jevratilo dalekim uspomenama i sećanjuna ognjište u rodnom selu Ponor,na “pečalbu” i tradicionalnu tehnologijugrnčarskog umeća -”ab ovo”.182hed a workshop again. Nevertheless, after only two years,he had to close the workshop due to the lack of workand high taxes.The wheel stopped rotating in his empty workshop.Jova’s life and working experience, gained with greatdifficulties, was worthy no more.He decided to leave his craft and he looked for a jobof a driver in the City Traffic Agency in Belgrade.Fragments of tradition were left scattered.Then an unexpected turn of events took place. Wellknownpotter Čeda Jovanović retired from the positionat the Faculty of Applied Arts and Design in Belgrade atthe time and the vacancy was announced for a new potterat the Department of Ceramics. Jova was the onlyone to apply for the position and he enclosed ten of hisceramic works and his diploma. He was accepted in1981 and he is still working there. He got some new responsibilitiesat the Department of Ceramics. In theGroup for Unique Ceramic Items and Design, he used anelectric wheel, for the first time in his life, to make piecesbased on students’ sketches (old kick wheels wereleft to serve solely for finishing details). He is also responsiblefor preparation of clay and firing process, butagain for the first time – in electric kilns.Apart for his work with students, Jova has been producingceramics, for ten years already, based on thesketches of the participants of the international simposiumin AranĆelovac, Serbia, called «The World of Ceramics».Then again some new circumstances introducedchanges in his work. Inspired by the tipology of ethnoceramics,Jova tried his skill at creating new forms. Nevertheless,he was nostalgically bonded to the basic, traditionalpottery – engobe, wheeled pattern, old kilns...There are very few authentic potters left. Market isflooded with technological quasi-artistic imitations ofethno-ceramics. Traditional ceramics production needsprotection.The “Experimental Archaeology, Traditional Productionof Ceramics”project is aimedat restorationand revitalizationof this fragmentedtradition, as aform of nationaland Balkans’ intangibleculturalheritage. The firststep was madethrough the experimentalreconstructionof traditionalceramics.The potter Jovaclosed a circle.He had an opportunityonce moreto demonstrateauthentic potter’sskill. It broughthim back to hisold memories ofthe open home firein the village ofPonor where hewas born, of “goingabroad” and oftraditional technologyof potter’sskill – “ab ovo”.

Sonja FranklinKoreja je postala zemlja mojih snovaKada me je Mila Popovic-Zivancevic pozvala da zajednoodemo na XX Generalnu konferencijuIKOM-a u Seul, o samoj zemlji znala sam sasvim malo.Iz nekoliko novinskih članaka o Koreji činilo se da jejug zemlje potpuno amerikanizovan i uništen, a severturoban i tužan.Naš prvi utisak o Seulu bio je upravo takav: previšeoblakodera, svuda hrom, čelik, staklo i mermer i mnoštvonajnovijih marki automobila koji jure ulicama.Smestile smo se u hotel u kome su soba i kupatilo bilitoliko mali da je trebalo biti veoma maštovit da bi sekretao, a zatim smo krenule u potragu za azijskimSeulom. Portir nam je pozvao taksi i objasnio mu gdeda nas odveze. Kasnije smo shvatile da taksiste neznaju ni reč engleskog, a da im ni čitanje mape gradanije jača strana, da ljudi na ulici takodje ne znajuengleski, ali da to važi i za prodavce u radnjama, a niu restoranima nisu shvatali šta tražimo. Sve u svemu,nije lako snaći se u Južnoj Koreji. Na momente sam bilapotpuno isrpljena pokušavajući da ljudima objasnimšta hoću.Te prve večeri završile smo u centru, u ulici bez saobraćaja.Sredinom ulice bile su postavljene tezge nakojima se prodavala izvanredno mirisna hrana, ali imnogo plastičnih drangulija. Pronašle smo restoran ukome smo bez problema naručile hranu pošto je svebilo izloženo u izlogu. Hrana je bila izvrsna, a vrhunacvečeri smo doživele kada smo nekako uspele da objasnimoda želimo da isečemo meso, a kelnerica se pojavilasa velikim makazama.Sledećeg dana otišla sam sa Milom u COEX, ogrom-Sonja FranklinKorea has become a land of my dreamsWhen Mila Popovic Zivancevic asked me to come asher companion to ICOM 20 th General Conferencein Seoul I knew very little about the country. From thefew newspaper articles that I read about Koreas theSouth seemed to be totally Americanized and spoiledand the North drab and sad.Our very first impressions of Seoul were exactlythat: too many high rise buildings, all chrome, stainlesssteel, glass and marble, and a lot of expensive brandnew cars whizzing down the streets.We settled in a hotel where the room and the bathroomwere so small that staying there required a greatdeal of creative thinking and then went in search of theAsian Seoul. The porter called us a taxi and explainedto the taxi driver where to take us. We later discoveredthat taxi drivers did not speak English, that they didnot know how to read the maps, that people in thestreet hardly ever spoke English, that shop keepers didnot speak it and that in restaurants they could notunderstand it. All in all it was not easy to find your wayin South Korea. I sometimes became totally exasperatedtrying to make myself understood.That first evening we ended downtown in a streetwith no traffic. The middle of the street was occupiedby stalls where delicious smelling food was being sold,and a lot of cheap plastic trinkets. We found a restaurantwhere it was easy to order because everything wason display in the shop window. The food was truly deliciousbut the highlight of the meal was when we somehowmanaged to convey that we wanted to cut the meatand the waitress appeared with huge scissors.ni konferencijski centar u kome smo se s mukom snalazile.Dobile smo informativne pakete, torbe i bedževesa imenima. Informativni paket mi je bio od ogromnepomoći kada sam pošla da sama tragam za duhomDalekog Istoka, jer je Mila bila sasvim zaokupljenaKonferencijom. Trebalo je da ostanemo još nekolikodana posle Konferencije kako bismo zajedno proputovalezemljom. A došle smo i nekoliko dana pre većinedelegata pošto je Mila član Savetodavnog komitetaIKOM-a.Nekoliko dana kasnije prisustvovala sam otvaranjuKonferencije i to je bio veličanstven doživljaj. Našidomaćini su bili šarmantni, prijatni i ljubazni i veomasu se trudili da skup bude uspešan.Brojni izvanredni govori, fantastične korejske igre ina sceni i u sali na otvorenom, omamljujuća korejskamuzika i izuzetno dostojanstven ulazak žene u predivnomnacionalnom kostimu od teške svile, izvanrednonašminkane, sjajne tamne kose očešljane u istočnjačkupundju. Svi smo pomislili da je to tajlandska princezakoja je bila najavljena u programu.Veoma smo se iznenadilikada se prava princeza pojavila u jednostavnomkostimu, ravnim cipelama i gotovo bez ikakve šminke.Dostojanstvena dama bila je prva dama Koreje, suprugapredsednika Koreje. Ali pompa oko nje bila jeopravdana.Ogromno prevorje bilo je prepuno. Gotovo hiljadupetstotinaljudi iz celog sveta. Mila, velikog itoplog srca, uvek govori o ljudima koji se bave konzervacijomkao o porodici i sad mi je postalo jasno i zašto.Ovde je bilo hiljadupetstotina ljudi sa zajedničkomThe next day I accompanied Mila to the COEX, thehuge conference centre where finding our way was verydifficult. We got our information packs, bags and nametags. Those information packs were immensely helpfulwhen I later on went in search of the spirit of Far Easton my own, since Mila became totally involved in theConference. The idea was that we stay a few days extraafter the end of the conference and then travel aroundthe country together. We also came a few days earlierthan most of the other candidates since Mila was themember of the Advisory Committee.A few days after we arrived I was present at theopening ceremony of the conference, and it was magnificent.Our hosts were charming, gentle, and courteousand one felt that they did their utmost to make it trulysuccessful.There were many excellent speeches, magicalKorean dancing both on the stage and in the imposinghall outside, haunting Korean music, and the incrediblycourtly entrance of a woman dressed in an exquisitenational costume in heavy silk, beautifully made-up,with her gleaming dark hair arranged in an Orientalchignon. We all thought that the she was the Thailandprincess as her attendance was announced in the programme.What a surprise when the real princessappeared in an ordinary two piece suit, flat shoes andhardly any make-up. The courtly lady was the FirstLady of Korea, the Korean president’s wife. But thepomp that she created seemed very appropriate.The huge hall outside was very crowded. Almost onethousand five hundred people from all over the world.183

Tradicionalne igre na ceremoniji otvaranja XX Generalne konferencijeIKOM-aTraditional dancing at the opening ceremony at the Icom 20thGeneral Conferenceželjom da očuvaju kulturnu baštinu, lepotu iz prošlosti.Po završetku svečanosti, našla sam se sa svojimvodičem sa kojom je trebalo da razgledam Seul.Obrazovana Koreanka, četrdesetih godina, inteligentna,saizvan rednim poznavanjem kineskog živahna iveoma zabavna. Zvala se Choi. Rekla sam joj da presvega želim da upoznam život prestonici i da garazumem. Gorela sam od radoznalosti. PosetaEtnografskom muzeju prethodnog dana nije mogla dazadovolji moju želju. Ako hoću da razumem ovu zemlju,moram da je osetim ovde i sada.Otišle smo u Insa-dong. Zaustavile smo se predradnjom sa pirinčanim kolačima. Bili su uredno poslaganina tezgi ispred nje, svaki red sa kolačima drugačijegoblika i drugačije boje. Izgledali su kao prava malaumetnička dela, i poželela sam da probam svaki. Ipak,otišle smo u pravi tradicionalni korejski restoran. A toznači da smo cipele ostavile na ulazu i da smo sele zaveoma niske stolove. Kolena su me mučila dok samsedela prekrštenih nogu. Najzad sam se oslonila na zidi pružila noge ispod stola. Kasnije sam u jednom odvodiča pročitala da se takav način sedenja smatranepristojnim. Ali, u drugom vodiču je pisalo da se odstranaca i ne očekuje da znaju kako se treba ponašati.Choi je naručila pirinač, mnogo raznovrsnogpovrća, pečenu ribu i kimči – najvažniji sastojak svakogkorejskog obeda. Kimči je ukiseljeni kupus i bela rotkvazimi, a leti se kiseli sve drugo povrće. Ljut je i imabelog luka. Zimski se čuva u velikim braon teglama,dok se leti jelo priprema svakodnevno. Kimči je tolikobitan deo korejske kuhinje da čak postoji i Kimči muzeju Seulu. Eto, prvi put sam probala ovaj korejskidelikates. Choi je jela sa uživanjem.Dopao mi se i toalet sa uredno poredjanim papučama.Naravno kad smo svi bili bez cipela.Zatim smo renule smo u istraživanje Insa-dongulice. Radnje sa antikvitetima, galerije, modna odeća,mnogo izuzetne i egzotične keramike i teško da bihmogla da kontrolišem svoj novčanik da nije bilo Choikoja me je doslovce odvlačila iz pojedinih radnji govorećikako je tu preskupo. Već smo se sprijateljile. Odtog momenta Choi je postala moj andjeo čuvar u Koreji.Kasnije, dok smo putovale po Koreji, pozvala bih jekadgod smo bile u nekoj nevolji. Choi je mnogo puto-With her huge warm heart Mila always talked of peopleworking on conservation as a family, and I could nowsee why. On this occasion it was one thousand and fivehundred people united in their desire to preserve thecultural heritage, the beauty, from the past.After the ceremony I met my guide for a private tourof Seoul.She was a Chinese scholar in her forties, intelligent,lively, and a lot of fun. Her name was Choi. I toldher that above all I wanted to see the life of the capitaland to have it interpreted. I was bursting with curiosity.The visit to the Folk Museum the day before haddone very little to satisfy it. If I was to understand anythingof the country I wanted first of all, to experiencethe here and now.We went to the Insa-dong district. We stopped infront of a shop a with rice cakes. They were displayedoutside in neat rows, each row a different shape and adifferent colour. They looked festive and artistic and Iwanted to eat them all. But instead we went to a trulytraditional Korean restaurant. That meant leaving theshoes at the entrance and sitting at very low tables. Myknees hurt to sit cross legged. I found the solution byleaning against the wall and spreading my legs straightunder the table. Later in one of the guide books I readthat sitting like that was considered rude. Yet anotherguide book said that foreigners were not expected toknow how to behave in an appropriate manner.Choi ordered stone rice, many different vegetables abarbequed fish, and the most important component ofevery Korean meal Kimchi. Kimchi is pickled cabbageand white radish in winter and pickled almost any vegetablein summer. It is hot, and garlicky. The winter oneis stored in large brown jars whereas the summer one ismade daily. Kimchi is so important in Korean cookingthat there is even a Kimchi Museum in Seoul. Anyway,this was my first taste of that Korean delicacy. Ithought it interesting, Choi ate it with relish.I also loved the toilet. There was a neat row of slippersfor our use. After all we were without shoes.We than went exploring the Insa-dong street itself.Antique shops, art galleries, arty clothes, masses of potteryall exquisite and exotic and I would have had ahuge trouble controlling my purse strings, if it had notbeen for Choi who literally dragged me out of someshops each time saying that it was outrageously expensive.We had already struck up a friendship. From thenon throughout my stay in Korea she became myguardian angel .Later on our trip through KoreanTradicionalni muzičari na XX Generalnoj konferenciji IKOM-aTraditional musicians at the Icom 20th General Conference184

vala po Evropi i mislim da je dobro shvatala kako jarazmišljam.Sledećeg dana posetile smo malu palatu Unhyeongungu kojoj je kralj Gojong živeo kao dete. On je biopretposlednji kralj Joseon dinastije (1392-1910), poslednjekorejske dinastije koja je dugo vladala. Ušle smou palatu iz jedne veoma prometne ulice. I odjednom jenastala tišina. Nismo htele da žurimo. I baš zato štonismo žurile, poseta nam je pružila duboko, duhovnoiskustvo. Kasnije, u Japanu, u jednom danu posetilasam osam hramova i palata. Bila sam na turi sa vodičem.I danas o tome imam samo nejasnu predstavu usećanju, ali malu palatu u Seulu vidim sasvim jasnokad god pomislim na nju. Možda sam videla manje odvećine ljudi, ali ono što sam videla, videla sam detaljnoi zaljubila sam se u Koreju. U “Zemlju jutarnjeg spokoja”kako je sa ljubavlju naziva njen narod.Palatu čine nekolike niske zgrade. “Nastanjene” sulutkama u kostimima onog vremena – iz sredine XIXveka. Bila sam zadivljena. Ugledala sam nekoliko kutijaza šminku ili nakit koje su bile iste kao ona koje samnašla pre nekih dvadeset godina u prašnjavom podrumujedne antikvarnice u Londonu. Nijedan stručnjakza Daleki Istok nije mogao da ih tačno identifikuje.Videla sam bele drvene plakare sa klizajućim vratima iravnim drvenim ruckama koje u potpunosti sličečuvenom evropskom Bauhaus periodu iz tridesetihgodina XX veka. Ništa novo pod kapom nebeskom!Deca odevena u Hanbok tradicionalne kostime prilikom posete Unhyeongung palatiLittle kids dressed in their Hanbok traditional costumes visiting Unhyeongung Palacecountryside I would ring her up whenever we foundourselves in trouble. Choi was well travelled throughEurope and I believe that she understood my way ofthinking well.The next day we went to a small palace Unhyeongungwhere King Gojong lived as a child. He was thenext to the last king of the Joseon Dynasty (AD1392-1910), the long ruling last dynasty of Korea. We steppedinto its forecourt from a very busy street. Suddenly allwas tranquillity. We decided to take our time. Andbecause of the lack of hurry the visit became a profound,spiritual experience. Later on in Japan , where Iwent for a flying visit , I saw eight temples and palacesin one day. It was a guided tour. I must admit that in mymind it is still all mostly a blur, but the small palace inSeoul I can see clearly every time I think of it. I probablysaw less than a lot of other people in the given timebut what I saw I saw thoroughly and as a result consequentlyfell in love with Korea. ‘The Land of MorningCalm’ as it is affectionately called by its people.The palace consisted of several low buildings. Theywere ‘peopled‘by models in the costumes of the time –mid 19 th century. I found a lot to delight me. Forinstance I saw a few make up or jewellery boxes identicalto the one I had bought in London, some twentyyears ago, in a dusty cellar of an antique shop. No fareastern expert that I had asked was able to place itexactly. I saw built in white wooden cupboards withsliding doors and flat wooden handles totally reminiscentof the famous twentieth century European BauhausPeriod. Nothing new under the sun! There wasmagnificent under floor heating consisting of stoneflues-pipes through which hot air used to be blown.Thebuildings stood tall as if on stone stilts and their foundationsso it appeared were many pipes buried in concrete.There was a very low see-saw in the garden. Ilater read that the secluded ladies of the court would inpairs jump on them up and down as high as they couldin order to see over the palace roof tops to the ‘world’outside. There were long connecting corridors betweenthe buildings with rice paper walls on latticed woodenframes. Rice paper and golden wood on the ceiling createda feeling of intimacy and beauty. These were thesecret corridors between the male and female quarters.In the garden there were large pieces of stones, asfound in nature, placed on man made concretepedestals sitting among the bushes. These were thesculptures, so very different from their counterparts atthe European palaces’ gardens where they were madein expensive marbles and gilded bronzes. I found theKorean humble garden sculptures in a sense morebeautiful, also incredibly modern.Very abstract in feeling.This palace as so many other artistic places andobjects were an inspired balance of the ornate and thecolourful and utter simplicity.After the Conference was over and Mila finishedher work with the Advisory Committee, we left for the185

Straža pred Gyeongbokgung palati u Seulu (i na sledećoj strani)Guards at the Gyeongbokgung Palace in Seoul (also on the opposite)Izvanredan sistem grejanja podova pomoću kamenihcevi kroz koje je prolazio vreli vazduh. Zgrada jeizgledala kao da lebdi na kamenim stubovima oslonjenana brojne cevi ugradjene u beton. U vrtu je bila iniska klackalica. Kasnije sam pročitala da su dvorskedame zatvorene u ovim dvorištima, naskakivale dve podve na ove klackalice ne bi li preko krovova palatevidele “svet”izvan nje. Zgrade povezuju dugački hodnicisa zidovima od pirinčane hartije na drvenim ramovima.Pirinčani papir i pozlaćeno drvo na tavanicamastvarali su osećaj intimnosti i lepote. Hodnici su služilikao tajna veza izmedju muških i ženskih odaja.U vrtu su veliki kameni komadi, kao da su doneti izprirode, stajali na betonskim postoljima medjužbunovima. Ove skulpture su bile toliko drugačije odsvojih pandana u vrtovima evropskih palata, klesanih uskupom mermeru i livenih u pozlaćenoj bronzi. Meni sujednostavne korejske vrtne skuplture bile na neki načinlepše, i neverovatno moderne.Veoma apstraktan osećaj.Ova palata kao i mnoga druga umetnička mesta ipredmeti predstavljaju inspirativnu ravnotežu ukrasa iboje i krajnje jednostavnosti.Po završetku Konferencije, kad je Mila završilasvoje obaveze u Savetodavnom komitetu, pocele smo sapripremama za put u unutrašnjost. Posle razgovora saChoi i dogovora sa agencijom, naše putovanje je sledilooblik trougla. Na jug do sela Hahoe i grada Gyeongju,zatim istočnom obalom na sever sve do planina uNacionalnom parku Seoraksan, pa na zapad ponovo uSeul.Svanuo je predivan dan, auto je bio veoma udoban,pošle smo rano, vozač je bio veoma ljubazan mladić, alivodiča nije nigde bilo. Konačno je došao kad smo većbile ljute. Izgubile smo tri dragocena sata. Govorio jeKorean countryside. After discussions with Choi and anagency it was decided that our trip was to take theshape of a triangle. South to the village of Hahoe andthe town of Gyeongju, then along the east coast northas far as the mountains of Seoraksan National Park,then west back to Seoul.The day we left was gorgeous, the car wonderfullycomfortable, we were starting early, the driver was avery polite young man but the guide was missing. Wefinally met but by that time we were cross .We had lostthree precious hours. His English was good but we werenot compatible as people. The young driver though,who was by profession a graphic designer and couldspeak excellent Chinese and Japanese, and littleEnglish, seemed to understand our tastes and managedto gracefully save many an uncomfortable situation.As we approached the village of Hahoe, the landscapebecame magical. The gentlest green of the ricefields, which then became greeny yellow, the bluemountains in the distance ,the trees with many differentlycoloured foliage lining the road, the straight bluelines of the canals, the tender blades of growing rice,the Naktong river in the distance, the utter peace- onlycrickets could be heard-, the tranquillity, the completefeeling of having gone back in time. We were walkingby now, the cars were not allowed into the village.Hahoe dates from the 16 th century.The oldest houseis 550 years old. When Britain’s Queen Elizabeth II visitedKorea in 1999 she wanted to see the Hahoe villageand Seoul One could easily see why. Hahoe is full ofmagnificent old aristocratic homes made out of darkwood, white rice paper doors and ceramic tiled roofs.We saw a tree with an enormous trunk, probably asancient as the village. With the help of a rail many186

dobro engleski, ali se nismo složili kao ličnosti. Mladivozač, po profesiji grafički dizajner, govorio je odličnokineski i japanski i pomalo engleski, i izgleda da jebolje razumevao naše želje i uspevao da delikatno rešavamnoge neprijatne situacije.Dok smo prilazili selu Hahoe, predeo je postaobajkovit. Najnežnije zelena pirinčana polja prelazila suu zelenkasto žute, plave planine u daljini, drvećenajraznovrsnijih boja oivičavalo je put, ravne plave linijekanala, nežne stabljike tek niklog pirinča, rekaNaktong u daljini, potpuni mir - čuju se samo cvrčci –smirenost, potpuni osećaj povratka kroz vreme. Daljesmo morali pešice, automobilima je zabranjen ulazak uselo.Hahoe je nastao u XVI veku. Najstarija kuča jepodignuta pre 550 godina. Kada je britanska kraljicaElizabeta II posetila Koreju 1999. želela je da vidi seloHahoe i Seul. Bilo je jasno i zasto. Hahoe je prepunveličanstvenih starih plemićkih kuća, izgradjenih odtamnog drveta, sa belim vratima od pirinčane hartije isa keramičkim pločicama na krovovima. Videle smodrvo čije je ogromno stablo verovatno bilo staro kolikoi samo selo. Nizovi poduprtih konopaca su pravili krugoveoko stabla, a sa njih su visile hiljade papirića saporukama na korejskom. Običaj je da se najtajnije željepovere ovom divovskom stablu.I Mila i ja smo uradile što i svi pre nas. Napisalesmo svoje želje na komadiće hartije i okačile ih poredostalih. Krošnja je bilo toliko velika i gusta da ni kišani sneg nisu mogle da dopru do njih. Imale smo utisakda smo deo sebe ostavile kraj ovog drveta koje će jošdugo živeti.U jedinoj gostionici u selu ručale smo izvanrednupileću čorbu za raznim povrćem i posutim susamom.rounds of rope surrounded the tree, from which hungthousands of thin strips of paper with writing inKorean .One was supposed to confide the most secretwishes to the care of that giant tree.Mila and I did as all those people before us. Wewrote our heart desires on small pieces of paper andhung them with the rest. The crown of the tree was sowide and thick that rain and snowprobably never got through. We felt that we haddefinitely left a bit of ourselves under that tree whichwould last a long time.At the only village Inn we ate a delicious chickenstew with various greens and white sesame seeds sprinkledon top. There were a few other side dishes. Whilewaiting for the meal Mila and I bought a few souvenirs.I got myself a pair of straw sandals, the traditionalKorean shoes, probably by now the thing of the past.But in a Korean novel which I’ve read recently the herowalked 30 miles over the mountains, in such shoes. Weleft the dirt paths of Hahoe and went to its MaskMuseum. It was incredible. Apart from the traditionalmasks of the region, there was a really large collectionof masks from every corner of the earth. You did notexpect such a rich collection at such a small village. ButHahoe is famous for its mask dance dramas and theHahoe masks were designated as a national treasure in1964. They were unlike any other theatrical masks. Thechins are made to move at performers will. Mila and Iwalked through the museum slowly. We wanted to takeeverything in and it was I must admit difficult to dragus from the museum shop, also. There we saw the mostbeautiful child that we had seen in Korea. We paid ourcompliments to her mother who beamed back. Our notso cooperative guide was getting very restless. He was187

Uz to su donete i druge đakonije. Dok smo čekale daručak stigne, Mila i ja smo kupovale suvenire. Kupilasam par slamnih sandala, tradicionalnu korejskuobuću, koju danas verovatno niko više ne nosi. Ali, ukorejskom romanu koji sam nedavno pročitala glavnijunak je u takvoj obući prevalio preko 40 km kroz planine.Ostavile smo praćnjave puteve Hahoe sela i otišleu Muzej maski. Utisak je bio neverovatan. Pored tradicionalnihmaski ovog kraja, videle smo i ogromnuzbirku maski iz svih delova sveta. Ko bi očekivaotoliko bogatu zbirku u tako malom selu. No, Hahoe jepoznat po svojim predstavama sa maskama i maske izHahoa su proglašene 1964. za nacionalno blago.Razlikuju se od drugih pozorišnih maski. Umetnikmože slobodno da pokreće donji deo vilice na njima.Polako smo obilazile muzej. Želele smo da sve upijemoi priznajem da smo jedva izašle iz muzejske prodavnice.Tu smo videle i najlepše od sve dece koju smo videle uKoreji. Rekle smo to majci, a ona se ozarila osmehom.Naš pomalo mrzovoljni vodič postao je veoma nervozan.Jedva je čekao da nas ostavi u hotelu i oslobodise bar za to veče.U hotelu su nas toplo dočekali. Koreja je gostoljubiva,u njoj ste dobrodošli. Soba je bila izvanredna. Hotelveliki. Hrana dobra. Bile smo zadovoljne.Stigle smo u Gyeongju, nekadašnju prestonicuUjedinjenog kraljevstva Sila (676-935), koje je uspeloda ujedini celo poluostrvo prvi put u istoriji Koreje. Tajperiod je poznat kao zlatno doba korejske kulture.Dan i po smo provele u Gyeongjuu. Cela okolina jemuzej na otvorenom. Prepun kraljevskih grobnihhumki, koje su otkrivene tek pre nekih trideset godina.Tek nekoliko je istraženo, ostale su još uvekneotvorene i kriju ogromno blago koje je pohranjeno unjima. Njihova jednostavnost je dirljiva. Brdašca kaoglave šećera, neka malo viša od drugih, ali nijednoprevisoko. Prekrivene prelepom travom i u poredjenjusa egipatskim pandanima, piramidama, humkeizgledaju plemenito, a zbog materijala (zemlja, a nekamen) i nacina gradnje – mnogo humanije. Nisu bilepotrebne hiljade robova da bi ih sagradili. U jednoj odhumki videle smo izvanredne vrednosti: zlatnu kraljevskuSila krunu, potpuno drugačiju od bilo kojeevropske krune ikad napravljene. Osnovna strukturaje veoma delikatna,i sa nje visi mnogo malih zlatnihpločica i žad u obliku suze, a ipak je izgledala laka.Videle smo i čuvenu sliku krilatog konja. Predivnaslika.Na svu sreću, Japanci koji su okupirali Koreju od1910. do 1945. nisu ih otkrili i odneli blago iz kraljevskihgrobnica kao što su odneli sve što su mogli.Japanci su bili surovi zavojevači i odneli su u Japan svaKraljevske humke (korejske piramide) u Gyeongju-uThe Royal mounds (Korean pyramids) in Gyeongjudying to get us to the hotel and be rid of us for theevening.We were greeted warmly at the hotel. Korea is awelcoming, hospitable country. Our room was excellent.The hotel had very large grounds. The food wasgood. We were happy.We had arrived at Gyeongju, which used to be thecapital of the Unified Silla (AD676-935), a kingdomwhich managed to unite the whole peninsula for thefirst time in the history of Korea. That period is knownas the golden age for Korean culture.We spent a day and a half at Gyeongju. The wholearea was a living museum. It was full of Royal burialmounds, very recently discovered, only some thirtyyears ago. Very few have been excavated the rest arestill standing there unopened with priceless treasureshidden within. They were moving in their simplicity.Small hills, like sugar loaves, some taller than the others,but none too tall. They were covered by beautifullykept grass and compared to their Egyptian counterparts,the pyramids, they appeared pure, both in material(the earth unlike the stone) and execution - somuch more humane. They did not need thousands ofslaves to complete them. We saw some wonderful treasuresinside one of the mounds: a Unified Silla royalgold crown, totally unlike any European crowns of anyage. The basic structure was very delicate, with lots ofsmall gold discs and tear shaped jades hanging from it,and yet it looked so light. We saw the famous paintingof the flying horse. It was beautiful.It was lucky that the Japanese who occupied Koreafrom 1910 to 1945 had not discovered them and takenthe Royal tombs’ treasures as they had everythingelse.The Japanese were merciless invaders and tookback to Japan as many artefacts as could be found orcarried away. Many Buddha sculptures were luckily toolarge to take.There were school kids everywhere. In their yellowuniforms, shouting ‘Hello’, and ‘What’s your name’? andgiggling, because we were obviously foreigners.. Theywere vivacious yet they walked in neat files, andseemed to be obediently listening to whatever teachersasked them to do. Many of them carried orange felt toymonkeys, around their necks, as if they were babies.Mila and I in the end could not resist and bought a fewto give as presents.188

umetnička blaga koja su našli ili mogli da prenesu. Nasreću mnogi Budini kipovi bili su preveliki.Posvuda smo viđali školsku decu. U žutim uniformama,dovikuju “halo”i “Kako se zoveš?”dok se kikoću,jer vide da smo stranci. Iako su bili veoma živahni, ipaksu išli u pravilnim redovima i slušali svoje učitelje.Mnogu su oko vrata nosili narandžaste plišane majmunčiće,kao da su bebe. Na kraju smo i Mila i ja kupilenekoliko da ih poklonimo.Kasnije smo u Nacionalnom muzeju u Gyeongjuuopet srele mnogo dece. Konfučijanstvo, kao društvenopolitičkafilozofija, duboko je ukorenjena u Koreji.Jedan od postulata je da je čovek u suštini dobar, samoje potrebno da se kultiviše, tj. obrazuje, da bi seusavršio i razvio. Zato je obrazovanje toliko bitno uKoreji. I zato je bilo toliko dece na svakoj izložbi, usvakom muzeju i kraj svakog spomenika.U muzeju smo srele Miline kolege, koje sam i japovršno poznavala.Veoma smo se obradovale. Bile smodaleko od kuće i ovo je predstavljalo vezu sa njom. Onisu dobro poznavali Koreju. Porazgovarali smo, razmeniliinformacije i rastali se.Mila je bila oduševljena unutrasnjim uredjenjemmuzeja. Neprestano je snimala. U ogromnoj prostorijisa staklenim podom, bile su predstavljene različite fazearheoloških iskopavanja. Naravno, gledali smo lutke,ali bile su u prirodnoj veličini i izgledale kao da su žive.Dopalo nam se što je za posetioce bilo postavljeno petkompjutera, koje su mogli da koriste. Neki od izloženihpredmeta bili su fantastični. Meni su se dopale prelepeokrugle Sila krovne pločice iz VI veka. Bile su jedinstvenogoblika i svaka je imala i šaru. Većina je ipakbila u obliku lotosa.Počasno mesto u vrtu zauzimalo je čuveno “Emille”zvono,“božansko zvono”, jedno od najstarijih (771.) alii najvećih na svetu. Teško je 20 tona, a prečnik mu je 2,3metra. Kažu da se zvuk zvona može čuti na daljini od64 km kad je dan lep. Ljudi veruju da zvono zvoni dapodseti na bebin plač za majkom, koja se na drevnomjeziku Sile zove “Emille”. Kupila sam traku za zvukomzvona i potpuno sam bila razočarana. Nema melodije,samo buum, buum u pravilnim intervalima.Vodič nas je odveo u otmeni restoran, namenjen turistimai otišao. Mila misli da je probala cvrčke iliskakavce i bila je veoma ponosna. Bez obzira na cenu,ručak je bio daleko od onih divnih obeda koje smoimale Choi i ja ili Mila i ja u Hahoe selu.I tog dana smo bile u prodavnicama gde se prodajužad i ametist, dve vrste poludragog kamenja po kojimaje Koreja poznata. Nisam znala da žad može imatitoliko različitih nijansi zelene i smeđe boje. Od nekihMila pred starom tradicionalnom kućom u Gyeongju-uMila in front of an old traditional house in GyeongjuLater on at the Gyeongju National Museum weagain met lots of children. Confucianism as a sociopoliticalphilosophy has very deep roots in Korea. Oneof its beliefs is that human nature is good in essenceand that it only needs cultivation, meaning education,to refine and develop itself. Education in Korea istherefore very important. That was why every exhibition,every museum and monument was literally overrunby kids.At the museum we also met Mila’s colleagues whomI knew slightly too. It gave us a lot of pleasure. We werevery far away from home, and we had found a link.They knew Korea well. We exchanged pleasantries andsome information and partied.Mila was very impressed with the layout of themuseum. She took masses of photographs. In a largeroom, where most of the floor was glass, we saw archaeologicalexcavation in various stages. Naturally wewere looking at dolls, but they were life size and veryreal. We also liked the site of five computers sitting in arow for the use of the visitors.There were some magnificentexhibits. I liked the beautiful round Unified Sillaroof tiles from the sixth century. Their shape wasunique and they also each had a pattern. Most of themwere, however, created in lotus design.The place of honour in the garden was given to thefamous ‘Emille’ bell, the Dvine Bell, one of the world’soldest (771 AD) and also one of the largest. It weighs 20tons and measures 2.3 meters in diameter. It is said thatthe bell’s sonorous tones can be heard 64 km away on aclear day. There’s also a belief that its tolling is reminiscentof a baby’s cry for its mother, which in the languageof ancient Silla is Emille. I bought a tape of thebell’s toll and found it most disappointing. There’s nomelody, just boom, boom, at regular intervals.Our guide then took us to a grand restaurant, ausual tourist place and left us. Mila thought that sheate some crickets or grasshoppers and was very proudof the fact. The meal however expensive had little similarityto the wonderful meals I had with Choi or theone Mila and I had at the Hahoe village.That day we also went to the shops where they soldjade and amethyst the two semi-precious stones ofKorea. I hadn’t known that jade could come in so manydifferent shades of green and brown too. Some ‘greens’made my skin look positively ill. I finally found a neck-189

“zelenih” nijansi izgledala sam kao bolesna. Najzadsam našla ogrlicu u “svojoj” nijansi i počela da se cenkam.Tu sam veštinu naučila u Indiji.Iznenadila nas je veličina komada žada i ametista uprodavnicama nakita. Bili su prave gromade. Dotlesam naivno mislila da ovo skupo poludrago kamenjepostoji samo u veličini šljunka. Kristali ametistablistali su kao dijamanti. Njihova ljubičasta boja bila jetamna, raskošna i jaka. Postalo mi je jasno da su blediametisti koje sam vidjala u draguljarnicama na zapadutek blede kopije.Veliki komadi žada se seku tako da sevidi ravna, dobro polirana ploha sa krugovima koji kaoduga sjaje zelenom bojom od mlečne do tamne bojemahovine u najdubljoj šumi.Otišle smo rano na spavanje. Sledećeg dana smoposetile pijacu na kojoj se prodavala sasvim sveža riba,poznata i nepoznata, egzotična, povrće, voće, mahunarkei nešto što nismo znale šta je. Recimo, zdela punatelašaca nekih buba bez krila. Ili druga sa kao olovkatankim, crnim bićima koja se uvijaju u zapenjenoj vodi.Mislim da su to bile mlade jegulje, jer u nekom vodičupiše da je jelo do jegulja regionalni specijalitet. Meso seprodavalo samo u radnjama. Brižljivoisečeni komadi poslagani kaoda su svilene maramice. Na meneje najveći utisak ostavio ginseng.Bilo ga je u velikim količinama.Zadivljujući prizor. U Evropi gaprodaju u sasvim malim količinamai veoma je skup. Koreja proizvodinajbolji ginseng u Aziji.Sledeće odredište bila je SekkuramGrotto, jedno od najlepšihBudinih svetilišta i nalazi sena UNESKO-voj Listi svetskebaštine. Da bismo stigle do mesta sa koga Buda gleda upravcu Istočnog mora (na geografskim kartama pišeJapansko more, ali ne i u Koreji) pele smo se putem kojije blago vijugao izmedju pinija i javora, a na krajupopele se uz nekoliko stepenika. Granitni Buda sedeo jesmireno u veličanstvenom skladu sa veštački zasvodjenompećinom sastavljenom od granitnih ploae još u VIveku. Okružen božanstvima u reljefu, savršeno izvajanim.Stajali smo sa strahopoštovanjem u predvorju ukome nas debela staklena ploča deli od Bude.Verovatno su ga mnogi poštovaoci dodirivali pošto jeovo mesto cilj hodočasnika. Prilikom silaska preplavilanas je potpuna smirenost. Monasi su prodavali suvenirei ja sam pokupovala gomilu minijaturnih drvenih simbolačije značenje nisam znala, ali su mi se veomadopali. Iznenadila sam se što u hramu nije bilo dece, alionda će možda dolaziti kad odrastu. Ovo je ionakomesto za hodočasnike.Opet su me ostavili u prodavnici žada (stidim se dakažem) a Mila je sa vodičima otišla u Bulguk-sa, ogromankompleks hramova iz VI veka, proširen 752. godinei takodje na UNESKO-voj Listi svetske baštine. Tadanisam shvatila značaj baš toghrama. Bio je izvanredno restaurisani predstavlja odličan primerarhitekture iz perioda Ujedinjenogkraljevstva Sila. Nažalost,regovala sam isto kao u Evropikada turistički obilazak podrazumevapreveliki broj crkava. Većsam videla mnoge japanske hramovei u neznanju pomislila samda je to samo još jedan hram više.A sada, dok čitam knjige o Koreji,osećam se neprijatno. Toliko samlace in ‘my’ shade and then set tobargain. I had learnt the art inIndia.But what surprised us in thejewellery shops also were thepieces of jade and amethyst thesize of small rocks. Until then Inaively thought that these semiprecious stones were found insizes of small pebbles. Theamethyst crystals sparkled likediamonds. The depth of their purplewas dark, rich and intense. Ithen realized that the paleamethysts that one saw at theordinary jewellery shops in theWest were but the poorest relatives.The huge pieces of jade werecut to show one flat, highly polished surface where inshape of a rainbow were circles in many different huesof green ranging from the milky pale to the dark mossof the thickest forest.We again went to bed early. Our first visit the nextday was to the teaming market full of very fresh, someknown and some unknown exotic fish, vegetables ,fruit,pulses and certain produce that we could not place. Forinstance a bowl full of wingless bodies of some beetle.Or another bowl with pencil thin, black creatures wrigglingaround in frothing water. I think that they werebaby eels, since one of the guide books said that the eelstew was the delicacy of the region. Meat was sold onlyin shops. Carefully cut pieces as neatly folded as if theywere silk scarves. For me the most impressive producewas ginseng. There was so much of it. It was an amazingsite. In Europe it is sold in tiny amounts and is very190“Emille” zvono (Devine zvono) uNacionalnom muzeju u Gyeongju-uThe 'Emille' bell (Devine Bell) at theGyeongju National Museumexpensive. Korea is the producerof the best ginseng in Asia.Our next stop was at SekkuramGrotto one of the world’sfinest shrines of Buddha, which ispart of the Unesco World CulturalHeritage List. To reach the placewhere Buddha is set looking easttowards the East Sea (on the mapsit’s called the Japanese Sea, butnot in Korea) we climbed a gentlepath meandering among pinesand maples and then up somesteps. The granite Buddha sat inrepose in magnificent proportionto the domed artificial grotto builtout of granite slabs in 6 th centuryAD. He was surrounded by deitiesin relief, faultlessly executed. We stood in awe in theante-chamber separated from Buddha by a thick sheetof glass. Since it is a place of pilgrimage he was probablytouched by too many worshippers. Coming downfrom the shrine we experienced a complete sense ofpeace. Monks were selling souvenirs and I bought awhole lot of miniature wooden symbols which representI am not sure what but I loved them. I was surprisedthat there were no children at the temple butthey will probably come when they grow up. After allthis was a place for pilgrims.They left me at the jade shop again (I am ashamedto say) whereas Mila and the guides went to Bulguk-sa,the sprawling 6 th century AD temple complex, enlargedin A.D. 752, which is also on the Unesco World CulturalHeritage List. At that time I had not realized theimportance of that particular temple. It has been

pogrešila. Koreja i Japan su potpuno različiti i sigurnasam da je Bulguk-sa sasvim drugačiji od budističkihhramova u Kjotu i okolini. Mila se oduševila hramomBulguk-sa.Za nama je ostala kulturna svečanost Gyeongjua ipošli smo na istok, ka moru. Istočno more, odmaralištai plaže sa belim peskom, male luke, ribarski čamcisvi su nam uputili dobrodošlicu i stvorili nam osećajslobode. Našem vodiču, koji se ipak nije uklopio, biloje dosta nas, ali i nama je bilo dosta njega. Stvar je usvoje ruke uzeo prijatan i miran mladi čovek koji nasje vozio. Za razliku od našeg vodiča koji je uvek išaou suprotnom smeru, on je shvatao šta mi želimo. Biloje vreme ručku i predložio nam je korejski restoran umalom ribarskom selu. Na spoljnom zidu je bio akvarijum,kao izlog, i vi samo pokažete ribu koju želite zaručak. Prepustile smo izbor vozaču i ušle u prazanrestoran. Leto je prošlo. Ljubazno su nas pozdravili.Restoran je bio tradicionalan, pa smo skinule cipele iprišle niskom stolu. Smislila sam kako da sednemuljudno – klekla sam, stavila dva jastuka na noge itako sela. Sveža riba, povrće, školjke, rakovi, sve ljutoi začinjeno. Bilo je drugih priloga:kiseli beli luk, morska trava,povrće u činijcama, nekakav crnipasulj i kimči. Posle ručka šetalesmo izmedju ribarskih čamaca iredova i redova oka¬enih lignjikoje su se sušile na konopcimakao sveže oprano rublje. Lignjekoje se suše pratile su nas celimputem pored obale. Spustilo seveče a sa njim su se pojavile isvetiljke na ribarskim čamcima udaljini. Bilo je jasno da nećemostići u hotel u planinama. Naš vodič je postao nervozan.Svaki čas je razgovarao sa svojom agencijom iodluka je doneta. Stizali smo, ali gde? Znale smo danismo stigle do planina, jer smo stali ubrzo pošto smoskrenuli sa obalnog puta.Novi hotel je bio porodični, u korejskom stilu. Dosoba smo stigle preko veoma dobro snabdevenog supermarketa.Dobile smo apartman sa dve sobe. U jednoj jebio dupli krevet, u drugoj dušeci na podu. Osim togaimale smo i dobro opremljenu kuhinju i kupatilo kojenismo umele da koristimo. Morale smo da ostavimocipele pred vratima. Bile smo isuviše umorne da bismoobraćale pažnju na tuš.Ujutru smo videle da smo se prevarile. Planine subile pred nama i kasnije tokom puta do Seula uživalesmo u pejsažu. Sa puta smo mogle da posmatramoplaninske lance na horizontu i zlatne doline u dubini,vijuganje sporih reka. Zastajale smo da slikamo i daupijemo sve utiske i ponesemo ih zauvek.Celo Korejsko poluostrvo presecaju šumovite, stenoviteplanine. Samo 20 procenata poluostrva je ravnica,pa ipak planine nisu visoke.Najviši vrh u Južnoj Koreji iznosi1915 metara. Koreja se nalazi najednom od najstarijih kopnenihdelova sveta, i kao što je nekoobjasnio poluostrvo se naginje kazapadu, a zatim se obrušava uŽuto more. Zbog toga je obalaoivičena stotinama ostrva. A naistočnoj obali planine se spuštajudirektno na obalu sa mnoštvommalih uvala. Predeo izmedjuistočne obale gde smo prespavali iapparently superbly restored, andis a splendid example of UnifiedSilla-era architecture. UnfortunatelyI had reacted the way Ireact in Europe when during a siteseeing tour I see too many churches.I had already seen quite a numberof Japanese temples whilestaying in Kyoto and I thought inmy ignorance that too many templeswere just one temple toomuch. Now, having read aboutKorea I feel embarrassed. I was sowrong. Korea and Japan are twosuch totally different countriesthat I am certain that Bulguk-sa isvery different from the Buddhisttemples in and around Kyoto. Mila loved the temple ofBulguk-sa.We left the cultural feast of Gyeongju behind andheaded eastward in the direction of the sea. Seeing theEast Sea and the resorts with white sand beaches, smallports, and fishing boats gave us a very welcoming feelingof freedom. Our not so compatible guide was gettingfed up with us and us with him. The nice and quietyoung man who acted as a driver then took over. Heunderstood our tastes unlike our official guide whoalways headed in the opposite direction. It was time forlunch and he then proposed a meal at a Korean restaurantin a small fishing-resort village. There was anaquarium on the outside wall, just like a shop window,and you chose your menu by pointing to the fish youwanted.We left the choice to the driver and walked intoa deserted restaurant. The summer was over. We weregraciously welcomed. Since it was a Korean restaurant,Koreanka prodaje lignje na obaliA Korean fisherwoman selling squids by thesea-sidewe took our shoes off and approacheda very low table. I inventeda way of sitting in a polite way bykneeling, putting two cushions onmy bent legs, and then sitting ontop. It took a bit of time to preparethe stew, but when it arrived itwas a dream. Fresh fish, vegetables,shells, crabs, all hot andspicy. There were a few side dishesas well: pickled garlic, seeweed, vegetables in separate smalldishes, some black beans, andkimchi. After lunch we walkedamong the fishing boats and rowsupon rows of squids hanging likefreshly hung laundry on ropes todry. Squids also hung all along the coast road as wedrove by. The dusk came and with it in the distancelanterns on fishing boats. We saw that we were notgoing to reach the hotel in the mountains. Our guidewas nervous. He talked a lot to his office and a decisionwas made. We were arriving but where? We knew thatwe had not reached the mountains, since we stoppedsoon after turning off the coast road.The new hotel was a family place, Korean style. Wearrived to our room by going through a very wellstocked super-market. We had a two bedroom apartment.One room had a double bed, the other mattresseson the floor. There was also a fully equipped kitchenand a bathroom which we did not know how to work.You had to take your shoes off. We were too tired, tocare about showers.In the morning we saw that we were wrong. Themountains were there and later as we drove along191

Seula bio je potpuno napušten u svojoj predivnoj lepoti.Tek tu i tamo neko seoce, stoka, svinje, ovce, ljudi.Poslednji dan u Seulu provele smo u Nacionalnommuzeju koji se od 1996. nalazi u Kraljevskoj palatiGyeongbokgung. Divna velika izložba o kulturiGoguryeo, starog kraljevstva koje je sa kraljevstvimaSile i Baekje vladalo celim Korejskim poluostrvom idobrim delom Mandžurije. Period izmedju 57 g. p.n.e i668. n.e. u korejskoj istoriji je poznat kao period TriKraljevstva. UNESCO je dragocenosti Goguryeo-auneo na Svetsku listu baštine, a izložba je objašnjavalaidentitet drevnog kraljevstva.Bez obzira na politiku, izloža je Mili i meni bila odizvanredne pomoći da bolje shvatimo hronologiju.Goguryeo je prethodio Ujedinjenom kraljevstvuSila što nam je pružilo jasniju sliku korejske kulture do935. godine kada je prestala dominacija Ujedinjenogkraljevstva Sila. U sećanje su mi se urezali murali kojisu prekrivali četiri zida i tavanicu rekonstruisanog staroggroba u Goguryeo-u. Na njima su bile velike scene.Sećam se scene lova prepune neverovatne snage, energijei gotovo nenadmašne lepote. Mada su hronološkiprethodili, po mom mišljenju, slikari Goguryeo kraljevstvadaleko nadmašuju slikare Ujedinjenog kraljevstvaSila.A onda smo ušli u sale sa korejskom keramikom i tusmo ostale. Svaki komad zelene keramike, zvaneseladon iz vremena Goryeo dinastije (918-1279) bio jesavršen. Boju je neko najpreciznije opisao kao “tamnozelenu nijansu žada”. Ljudi su pokušavali da tu specijalnuzelenu boju opišu na različite načine, nazivajućije zelenkasto plavom, kao krila vodomara i slično. Pretoga sam u Gyeongju-u nekoliko sati razgledala žadnajraznovrsnijih nijansi dok sam birala ogrlicu, pa miVečera sa Choi u restoranu sa valjuškamaOur farewell dinner with Choi at a dumpling restauranttowards Seoul we saw just how spectacular they were.From our road we could see chain upon chain of mountainsfilling the horizon and golden valleys far bellow,cradling slow flowing rivers. We kept stopping to takephotographs and to take it all in and store it forever.The whole Korean peninsula is ribbed by forested,rocky mountains. Only 20 percent of the peninsula isflat yet the mountains are not very high. The highestpeak in the mainland South Korea is 1915 meters.Korea is one of the world’s oldest land areas, and assomeone explained the whole peninsula is tiltedtoward the west, then tipping into the Yellow Sea .As aresult the west coast is dotted with hundreds of islands.On the east coast on the other hand the mountains goright to the coast and the shoreline is full of tiny coves.The land between the east coast where we spent thenight and Seoul was utterly lonely in all its splendidbeauty. Hardly any hamlets, cattle, pigs, sheep, people.Our last day in Seoul was spent in and around theNational Museum which has been housed since 1996 inthe grounds of the Gyeongbokgung Royal Palace. Abeautiful large exhibition was on about the culture ofGoguryeo an ancient kingdom which together withkingdoms Baekje and Silla ruled the whole Koreanpeninsula and much of Manchuria. The time of theirrule 57BC -AD 668 is known in Korean history as theThree Kingdoms period. Unesco had registeredGoguryeo relics in the World Heritage List, and theexhibition was trying to clarify the identity of theancient kingdom.Politics aside the exhibition was beautiful and forMila and me perfectly placed in time. Goguryeo hadpreceded Unified Silla and that gave us a better pictureof Korean culture until A.D. 935 which marked the endof the dominance of Unified Silla. What had stayedimprinted on my mind the best were the murals whichcovered four walls and a ceiling of a reconstructed oldtomb of Goguryeo. They were big scenes. I remember ahunting scene full of incredible vigour, energy and ofalmost unsurpassed beauty. Although chronologicallyearlier I thought that the painters of the GoguryeoKingdom surpassed by far the painters of Unified Silla.We then entered the halls with Korean ceramics andnever moved any further. Each Celadon pot of theGoryeo Dynasty Š918-1279Ć was a masterpiece. Thecolour was as I since found it most aptly described ‘thedeep jade shade of green’. Otherwise that particulargorgeous green people tried to describe in differentways calling it greeny blue, kingfisher colour etc .I hadpreviously in Gyeongju spent a few hours looking atlots of different shades of jade trying to buy a necklaceand therefore feel that that description fits it perfectly.Mila and I took a long time with each pot. Quite a fewof the Celadon pots were marked as National TrasuresThat was the Korean way of pointing to excellence.The White pottery of the Joseon Dynasty (AD 1392-192

se zato čini da je ovaj opis najtačniji. Mila i ja smo dugogledale svaki predmet. Mnogo predmeta od ovekeramike bilo je označeno kao nacionalno blago. TakoKoreanci obeležavaju savršenstvo.I bela keramika Joseon dinastije (1392-1910) veomaje lepa. Ali zelena keramika Goryeo dinastije jedinstvenaje zbog svoje boje i specijalne vrste tauširanja kojusu pronašli korejski keramičari tog vremena a kojaizuzetno romantično prikazuje ždralove, oblake, vrbe,guske, bambus i jezerca sa lotosima.Poslednje veče smo provele sa Choi u restoranu navrhu brda uz veoma ukusne valjuške i obavezni kimči.Seul je bio ispod nas u sjaju hiljada svetiljki. Poslevečere prošetale smo ulicom. Kraj je bio lep sa mnogostarih kuća. Jedna vrata su bila širom otvorena.Zavirile smo oprezno, ali domaćini su nas videli i pozvalida udjemo. Skinule smo cipele i ušle u čarobnusobu sveže obojenih belih zidova i sjajnih lakiranihgreda boje meda na tavanici. Četvora vrata su vodila učetiri sobe istovetno restaurisane. Ljubazni domaćinipokazali su nam i te prostorije. Objasnili su nam da jekuća detaljno restaurisana kao i mnoge druge kuće utom delu grada. Koreanci sa ponosom brinu o svomnasledju.Počela sam da se opraštam od zemlje koja mi jetoliko prirasla srcu i duši.Divila sam se njenoj snazi i nevererovatnomekonomskom napretku ostvarenom posle Korejskograta izmedju severa i juga ranih pedesetih. Kad je ratzavršen, zemlja je bila u ruševinama. Po snazi svojeekonomije ona danas zauzima dvanaesto mesto u svetu.No ipak, to je još uvek ona “Zemlja jutarnjeg spokoja”i pastoralne lepote.Volim je zbog toga što ne dozvoljava da materijalniprosperitet uništi stari tradicionalni način života. To jeuticaj konfučijanizma, drevne društvene i političkefilozofije koja je nastala u V veku p.n.e. u Kini a koja jeohrabrivala porodičnu hijerarhiju i društvene odnosekao i poštovanje starijih, roditelja i učitelja. I poštovanjepredaka deo je ove filozofije. Stari sistem verovanjajoš uvek je prisutan i život se odvija po njemu čak idanas.Drago mi je što su koreni Koreje toliko duboki i dase još uvek snažno oslanja na njih. Ta veza i principikonfučijanizma objašnjavaju sposobnost ove zemlje dabrine o svom kulturnom nasledju i da ga tako uspešnoštiti. UNESKO preporučuje da njihov model očuvanjanematerijalnog nasledja postane uzor i za druge zemlje.Upravo zato je XX Generalna konferencija IKOM-aodržana u Koreji.Neverovatna hrabrost ove nacije najviše me jezadivila.“Račić izmedju dva kita” – tako jedna izrekaopisuje Koreju. Kitovi su Kina i njena politička moć iJapan i njegova agresivna ekonomija. Japan je 35 godinadržao Koreju pokorenom, od 1910-1945. U vremeinvazije Japan je bio moderna vojna sila za razliku odKoreje koja je bila dostojanstvena, mirna zemlja kojaje samo želela da nastavi da živi kao i dotle. No,stanovnici Južne Koreje su mnogo naučili od Japanacai možda će ih dostići u ekonomskoj snazi. Ekonomskai vojna snaga uvek su bile bitne ako hoćete da mirnoživite.Dovidjenja, Korejo, dolazim opet sigurno. I Mila jeobećala da dođe.1910) is very beautiful too. But Goryeo DynastyCeladon is unique, because of its colour and a specialkind of inlay which was invented by Korean potters ofthe period, expressed most romantically in designsshowing cranes, clouds, willows, geese, bamboos andlotus pools.Our last evening was spent with Choi in a restauranton top of a hill eating very tasty dumplings and theusual kimchi. Seoul was down below twinkling with athousand lights. After the meal we took a walk along astreet. It was a lovely area with very old houses. Onedoor stood wide open. We peeped from afar but wereseen and invited in. We took our shoes off and enteredinto a beautiful room with freshly painted white wallsand gleaming honey coloured lacquered beams on theceiling. Four more doors led to four other roomsrestored in exactly the same manner. Our kind hostsshowed us those rooms as well .We were told that thehouse had undergone a thorough restoration as hadmany other houses in the area. Koreans look after theirheritage with pride.I then started to say good-buy to the country whichhad attached itself to my heart and to my mind.I admired its strength in creating the most incredibleeconomic advance since the Korean War betweenthe North and the South in the early fifties. By the endof the war it had been reduced to ruins. The size of itseconomy today is considered to be 12th largest in theworld.Yet, it is still ‘the land of the morning calm’ andthe land of pastoral beauty.I love it for not allowing material prosperity toruin the old traditional ways of life. It is mainly due toConfucianism, the ancient social and political philosophywhich originated in the 5 th century BC in Chinaand whose teaching encouraged hierarchical familyand social relationships and the respect for elders,parents and teachers. Ancestral worship is part ofthat too. The old system of beliefs is still very much inevidence and the life is conducted along these lineseven today.I love the fact that Korea has very deep roots andthat it is still holding onto them with all its might. Thatattachment and Confucian principles to me explain thecountry’s ability to look after its cultural heritage andprotect it so well. UNESCO recommends their way ofsafe-guarding Intangible Heritage as a model to othercountries. This is why the ICOM 20 th GeneralConference was held in Korea.Perhaps what went the deepest to my heart is theincredible courage of this nation.’ A shrimp betweentwo whales’ is how a local proverb explains Korea. Thewhales being China with its political might and Japanwith its aggressive economy. Japan held Korea captivefor 35 years, from 1910-1945.At the time of the invasionJapan was a modern military power unlike Koreawhich was a dignified peaceful country wanting to beleft to follow its traditional ways. But South Koreanslearned a lot from Japanese and might be able to matchtheir economic strength. After all economic and militarypower were and are important if you want to beleft in peace.Good buy Korea I will definitely come back. Milasaid she will join me.193

194JANUARZimsko – prolećna radionica DIJANA, od 20. januaraGodisnja skupstina NK IKOMA SCG, 28. januaraFEBRUARZimsko-prolećna radionica DIANAKonzervatorske radionice:Konzervacija keramikeKonzervacija staklaKonzervacija porculana, fajansa majolikeSanacije kopija stećakaIzrada kopija i replikaPOČETNI KURS FRANCUSKOG JEZIKAMARTZimsko – prolećna radionica DIANAKonzervatorske radionice:Konzervacija keramikeKonzervacija staklaKonzervacija porculana, fajansa majolikeSanacije kopija stećakaIzrada kopija i replikaPOČETNI KURS FRANCUSKOG JEZIKASpecijalistička radionica konzervacije mozaika, 28 februar-7 mart, Patrik Blank, Mari Lor Kurbules, Muzej antikeu ArluSeminar Planiranje novog muzeja, 21-25 mart, Nosliackursa Bari Lord, LORD Cultural Resources Planning andManagement, Toronto, KanadaRadionica iz preventivne zaštite - Analiza stanja uMuzeju Nikole TesleAPRILZimsko – prolećna radionica DIANAKonzervatorske radionice:Konzervacija keramikeKonzervacija staklaKonzervacija porculana, fajansa majolikeSanacije kopija stećakaIzrada kopija i replikaPOČETNI KURS FRANCUSKOG JEZIKARadionica iz preventivne zaštite - Analiza stanja uMuzeju Nikole Tesle,Ciklus predavanja na temu konzervacije antičkihmozaika, namenjenih studentima Akademije za umetnostii konservaciju SPCSpecijalistička radionica iz konzervacije mozaika, MajaFrankovićMAJZimsko – prolećna radionica DIANAKonzervatorske radionice:Konzervacija keramikeJANUARYWinter-Spring Workshop DIANA, from January 20 onNC of ICOM of Serbia and Montenegro AnnualAssembly January 28FEBRUARYWinter-Spring workshop DIANAConservation workshops:Conservation of ceramicConservation of glassConservation of porcelain, faience, majolicaSalvaging copies of grave tombs (stećci)Making of copies and replicasFRENCH FOR THE BEGINNERSMARCHWinter-Spring Workshop DIANAConservation workshops:Conservation of ceramicConservation of glassConservation of porcelain, faience, majolicaSalvaging copies of grave tombs (stećci)Making of copies and replicasFRENCH FOR THE BEGINNERSSpecialist WORKSHOP on Conservation of Mosaics,February 28 – March 7 (Patrick Blanc, Marie PauleCourbules, Museum of Antiquities in Arles, France)Seminar Planning a New Museum, March 21 – 25,Barry Lord, LORD Cultural Resources Planning andManagement, Toronto, CanadaPreventive Conservation Workshop: Survey in theNikola Tesla MuseumAPRILWinter-Spring Workshop DIANAConservation workshopsConservation of ceramicConservation of glassConservation of porcelain, faience, majolicaSalvaging copies of grave tombs (stećci)Making of copies and replicasFRENCH FOR THE BEGINNERSPreventive Conservation Workshop: Survey in theNikola Tesla MuseumCycle of lectures on conservation of antique mosaics,for the students of the Academy for Arts and Conservationof the Serbian Orthodox ChurchSpecialist WORKSHOP: CONSERVATION OF MOSAICS,Maja Franković

Konzervacija staklaKonzervacija porculana, fajansa majolikeSanacije kopija stećakaIzrada kopija i replikaPOČETNI KURS FRANCUSKOG JEZIKASpecijalistička radionica iz konzervacije mozaika, MajaFrankovićNK IKOM SCG: Nedelja obeležavanja Međunarodnogdana muzejaGlavna tema: Muzeji kao mostovi kulture(Museumbridging cultures)14-15. maj, Prijepolje – program Muzeja u Prijepolju16. maj, Beograd – program Etnografskog muzeja uBeogradu; radionica u Kladovu17. maj, Beograd – proslava desetogodišnjice GalerijeHaos18. maj, Novi Sad – program Muzejskog društva Srbije19. maj, Beograd – program Muzeji i međunarodnazajednica, Galerija fresaka20. maj, Beograd – program Muzeja afričke umetnosti23. maj, Beograd – program Galerije HaosPOČETNI KURS FRANCUSKOG JEZIKA28. maj-10. jun, Mila Popović-Žživančević, posetaUniverzitetu Sen Deni, Univerzitetu Pariz I, C2RMFu,UNESKOu, Savetodavnom komitetu IKOMa, Pariz15. maj-25. juni, Vesna Žživković učešće u organizacijikursa Upravljanje rizicima, ICCROM, RimJUNI29. maj- 7. jun, Ana Kocjan, učešće na poster izložbislovenačkih konzervatora, Muzejsko društvo Slovenije iNarodni muzej u Ljubljani, SlovenijaPoseta Etnografskom muzeju SlovenijePoseta Restauratorskom zavodu SlovenijePoseta Narodnom muzeju SlovenijeKonzervatorske radionice:Konzervacija keramikeKonzervacija staklaKonzervacija porculana, fajansa majolikeSanacije kopija stećakaIzrada kopija i replikaSpecijalistička radionica konzervacije mozaika, MajaFrankovićPOČETNI KURS FRANCUSKOG JEZIKA21 – 25. juna, Aleksandra Džikić Nikolić, MUTEC 2005,sajam muzejske opreme, Minhen, NemačkaSPECIJALISTIČKI KURS: Tradicionalne proizvodnjekeramike (Projekat Eksperimentalna arheologija), u saradnjisa NIP Vinča, Vesna SvobodaKurs konzervacije keramike, porculana i majolike,ROSTE, Firenca, Maja Živković, Zvezdana PopovićVesna Žživković, asistent u organizaciji Kursa o upravljanjurizicima, ICCROM RimSajam Konzervacije, Minhen, SaškaMAYWinter-Spring Workshop DIANAConservation workshopsConservation of ceramicConservation of glassConservation of porcelain, faience, majolicaSalvaging copies of grave tombs (stećci)Specialist WORKSHOP: CONSERVATION OF MOSAICS,Maja FrankovićNC of ICOM of Serbia and Montenegro: Week observingthe International Museum Day 2005 May 14-23, 2005Main theme: Museums bridging cultures14-15 May,Prijepolje – program organized by theMuseum of Prijepolje16 May,Belgrade – program in Ethnographic museumin Belgrade; a workshop in Kladovo17 May, Belgrade – celebration of the 10th anniversaryof the Haos Gallery18 May, Novi Sad – program of the MuseumAssociation of Serbia19 May,Belgrade – program Museums andInternational Community in the Gallery of Frescoes20 May, Belgrade, program in the Museum of AfricanArt23 May, Belgrade, program in the Haos GalleryFRENCH FOR THE BEGINNERSMay 28 – June 10 Mila Popović-Živančević - Visits toUniversite Saint Denis, University Paris I, C2RMF,UNESCO, Advisory Committee of ICOM meetingMay 15-June 25 Vesna Živković, assistant during Riskmanagement course of ICCROM, RomeJUNE29 May – 7 June, Participation at the exhibition ofSlovenian conservators, Museum Association of Sloveniaand National Museum Ljubljana, Ana KocjanVisit to the Ethnographic Museum of SloveniaVisit to the Institute for Restoration of SloveniaVisit the National Museum LjubljanaConservation workshopsConservation of ceramicConservation of glassConservation of porcelain, faience, majolicaSalvaging copies of grave tombs (stećci)Making copies and replicasSpecialist workshop of mosaic conservation, MajaFrankovićFRENCH FOR THE BEGINNERS21 – 25 June, Aleksandra Džikić Nikolić, visit to MUTECfair of museum equipement in Munich, GermanySpecialist COURSE : Traditional production of ceramics(Experimental Archaeology Project) in cooperation withScientific Research Project Vinča, Vesna SvobodaCourse on Conservation of Ceramics, Porcelain andMajolica, ROSTE Florence (Maja Živković, Sladjana Novković,Zvezdana Popović, Aleksandar Joksimović, JelenaTucaković)195

196JULI - AVGUSTDIJANA LETNJA ŠKOLA 2005Teorijska predavanja i praktičana obukaMuzeologija;Preventivna zaštita. Ciklus predavanja iz preventivnezaštite sa ciljem da se predstave osnovni pojmovi i principiiz oblasti preventivne zaštite i savladaju primene merapreventivne zaštite u muzejskoj praksi, analiza stanjamuzejskih zgrada i uslova čuvanja predmeta, procenarizika, predlaganje odgovarajućih mera sanacije iodređivanje prioriteta;Preventivna zaštita - pojam preventivne zaštite, načiniprimene (osnovni princip, planovi, procedure)Faktori rizika po muzejske predmete - osnovniuzroci/posledice na organskom i neorganskommaterijalauMuzejska zgrada/depoi/izložbeni prostor - osnovnegrađevinske karakteristikeMikroklimatski uslovi - temperatura, relativna vlažnost,zagađenje, vidljiva svetlost i zračenje - pojmovi, norme,načini kontroleŠtetočine - pojmovi, načini kontrole - Integrated PestManagement, upotreba nehemijskih sredstavaPakovanje - odlaganje predmeta, odgovarajućimaterijali za pakovanjeTransport - pakovanje, načini transporta, mikroklima utransportuVanredne situacije, protivpožarna zaštita;Tehnologija keramike, stakla, metala;Fizička - hemija;Geologija sa petrografijom;Priroda i zaštita drveta;Engleski za konzervartore;Arheologija;Istorija umetnosti;Teorija modelovanja i oblikovanja, teorija boja, crtanje;Konzervacija i konzervatorski tretmani;savladavanje konzervatorskih veština, znanja itretmana na keramici i staklu: dokumentacija, ispitivanja,čišćenja, konsolidacija strukture, spajanje fragmenata,restauracija, rekonstrukcija, završna zaštita, određivanjeuslova čuvanja, izlaganja i transporta.ForumNovi zakon o zaštiti kulturnih dobaraDosadašnji Zakon o zaštiti kulturnih dobaraKako pripremiti novi Zakon o zaštiti kulturnih dobara?Specijalistička predavanja i ciklusi tokom Letnje školeDIJANA 2005Muzeološki aspekti profesionalne etike, Kultura i etika,prof. dr Kiril Temkov, Filosofski fakultet SkopljeEdukativni programi u Muzeju Makedonije, SimonidaMiljković, muzej MakedonijeZaštita baštine u Hrvatskoj, Martina Blečić,Ministarstvo kulture Hrvatske, Regionalni zavod za zaštituiz RijekeKulturna politika, prof. dr Milena Šešić-DragićevićProfesionalna zaštita konzervatora, Pamela Vorner,Franc CurkRimska keramika - proizvodnja, trgovina i kulturneveze u Evropi, Robin Sajmonds, V. BritanijaVesna Živković assisting in organization during theCourse on risk management, ICCROM, RimJULY - AUGUSTDIANA 2005 SUMMER SCHOOLTheoretical education and practical training in preventiveconservation and conservationMuseologyPreventive conservation (basic ideas and principles,survey of museum buildings, safekeeping conditions, riskassessments, salvaging measures, setting priorities)Preventive conservation – concept of preventive conservation, application methods (basic principle, plans,procedures)Risk factors regarding museum objects – causes/consequenceson organic and inorganic materialMuseum building/depots/exhibition space – basicbuilding characteristicsMicroclimatic conditions – temperature, relativehumidity, pollution, visible light and radiation – concepts,norms, controllingPests – Integrated Pest Management, application ofnon-chemical meansPacking – depositing of objects, adequate packingmaterialsTransport - packing, kinds of transport, microclimateduring transportEmergencies, fire protectionTechnology of ceramics, glass and metalPhysical chemistryGeology with petrographyProtection of woodEnglish for conservatorsArchaeologyHistory of ArtsTheory of modelling and shaping, theory of colours,drawingConservation and conservation treatments: masteringconservation skills, knowledge and treatments on ceramicsand glass; documentation, examination, cleaning,structure consolidation, bonding of fragments, restoration,reconstruction, final protection, defining keeping,exhibiting and transport conditionsForumNew Law on cultural property protectionThe existing Law on cultural property protectionHow to prepare the newLaw on cultural property protectionSpecialist lectures and cycles:Museological aspects of professional ethics. Cultureand ethics – Prof. Dr. Kiril Temkov, Faculty of PhilosophySkopje, MacedoniaEducative programmes in the Museum of Macedonia,Simonida Miljković, Museum of MacedoniaHeritage protection in Croatia, - Martina Blečić,Ministry of Culture of Croatia, Regional Institute forProtection in RijekaCultural policy, Prof. Dr. Milena Dragićević ŠešićSafety at work and conservator – Pamela Warner,Franc CurkRoman ceramics – production, trade and cultural connectionsin Europe, Robin Symonds, UK

OSNOVNI KURSEVI za nove polaznikeKonzervacija trošne i čvrste keramike, M.Popović-Živančević, Maja Živković, Tatjana Nedeljković, IvanaStojković, Slađana Novković, Zvezdana PopovićObnavljanja starih konzervacija, M.Popović-ŽivančevićSPECIJALISTIČKI KURSEVI za polazike koji su završiliosnovnu obuku, za studente i diplomirane saodgovarajućih fakulteta, za konzervatore iz institucijazaštiteZaštita i konzervacija stakla, Sandra DejvisonRestauracije porculana, fajansa i majolike, PamelaVornerKonzervacija mozaika, Maja FrankovićRADIONICE IZ PREVENTIVNE ZAŠTITE za saradnikeDIJANA Centra u okviru redovnih aktivnosti- Analiza stanja u muzejima- Priprema stručnih uputstava za muzeje- Pakovanje muzejskog materijala- Praćenje mikroklimatskih uslovaM.Popović-Živančević, Vesna Živković, AleksandraDžikić Nikolić, Tatjana Nedeljković, Maja Živković, MajaFrankovićKako zaštititi sopstvenu baštinu u Velikoj Hoči, Kosovoi Metohija, M.Popović-ŽivančevićOPCIONI KURSEVI za sve polaznike i saradnikeSanacija kopija stećaka od gipsa i poliesteraTradicionalne proizvodnje keramike-izrada kopija ireplika, Vesna SvobodaKonzervacija objekata od sintetičkog materijalaJAVNE RADIONICEZa publiku, decu, omladinu, hobisteTajne konzervacije, Ana KocjanPravljenje kopija i replika, Vesna Svoboda, Ana Kocjan“Počeci keramike, Kako se pravila keramika uprošlosti”, za decu i odrasle, Vesna SvobodSPECIJALISTIČKI KURS: Tradicionalne proizvodnjekeramike (Projekat Eksperimentalna arheologija), usaradnji sa NIP Vinča, Vesna SvobodaSPECIJALISTIČKI KURS Konzervacija na arheološkomterenu (u pripremi), u saradnji sa ICCROMom- konzervacija peći od keramike (Kruševac, DijanaKarataš, i dr.)- konzervacija profila (Vinča)SEPTEMBARSPECIJALISTIČKI KURS: Tradicionalne proizvodnjekeramike (Projekat Eksperimentalna arheologija), sa NIPVinča, Vesna Svoboda12-16. septembra, TRIJENALNA KONFERENCIJAICOM CC u Hagu Mila Popović-Žživančević, Maja Žživkovići Ana Kocjan22 – 24. septembra, The Best in Heritage, Dubrovnik,Hrvatska, Mila Popović-Žživančević i dr Tatjana Cvjetićanin20. septembra – 20. novembra, Ana Kocjan, specijalizacijau Muzeju antike u Arlu, FrancuskaOKTOBARJESENJA RADIONICA DIJANA, 1. oktobar –15. decembarKonzervatorske radionice:Konzervacija keramikeBASIC COURSES for beginnersConservation of Soft Body Ceramics , Mila Popović-Živančević , Maja Živković, Tatjana Nedeljković, IvanaStojković, Sladjana Novković, Zvezdana PopovićRepairing old conservation, Mila Popović-ŽivančevićSPECIALIST COURSES for senior students at DIANAand conservators form institutions in charge of protectionProtection and conservation of glass, Sandra DavisonRestoration of porcelain, faience and majolica, PamelaWarnerConservation of mosaics, Maja FrankovićPREVENTIVE CONSERVATION WORKSHOPS for collaboratorsof DIANA CentreSurveys in museumsPreparation of instructions for museumsPacking museum materialMonitoring microclimatic conditionsMila Popović-Živančević, Vesna Živković, AleksandraDžikić Nikolić,Tatjana Nedeljković, Maja Živković, MajaFrankovićHow to protect one’s own heritage in Velika Hoča,Kosovo and Metohija, Mila Popović-ŽivančevićOPTIONAL COURSES for all participantsSalvaging plaster and polyester copies of grave tombsTraditional production of ceramics – making copiesand replica, Vesna SvobodaConservation of synthetic material objectsOPEN WORKSHOPS for the public, children, youngpeople, hobbyistsSecrets of conservation, Ana KocjanMaking copies and replicas , Vesna Svoboda, AnaKocjanBeginnings of ceramics – How it was made before,Vesna SvobodaSpecialist COURSE : Traditional production of ceramics(Experimental Archaeology Project) in cooperation withScientific Research Project Vinča, Vesna SvobodaSpecialist Course Conservation on Archaeological Site(preparations), in cooperation with ICCROMConservation of ceramic kilns (Kruševac, DIANAKarataš, etc.)Conservation of profiles (Vinča)SEPTEMBERSPECIALIST COURSE : Traditional production of ceramics(Experimental Archaeology Project) in cooperationwith Scientific Research Project Vinča, Vesna Svoboda12 – 16 September, Triennial Conference of ICOMCC/The Hague (Mila Popović-Živančević, Maja Živković,Ana Kocjan)22 – 24 September The Best in Heritage, Dubrovnik,Croatia (Mila Popović-Živančević and Dr. TatjanaCvjetićanin)20 September – 20 November Ana Kocjan - Internshipin Museum of Antiquities in Arles, FranceOCTOBERAutumn Workshop DIANA 1 October – 15 DecemberConservation workshops197

198Konzervacija staklaKonzervacija porculana, fajansa majolikeSanacije kopija stećakaIzrada kopija i replikaSPECIJALISTIČKI KURS: Tradicionalne proizvodnjekeramike (Projekat Eksperimentalna arheologija), u saradnjisa NIP Vinča, Vesna SvobodaPlan DIANA 2006Izveštaj 2004 IKOMZahtevi za donacijePrijave za konkursePlan 2006 ICOMUniverzitet Pariz I, Francuska, magistarske studije izpreventivne zaštite, Vesna ŽživkovićPripremanje programa saradnje sa francuskim institucijama:Prezentacija dokumentacije baze podataka etnografskogMuzeja Arletan u DIJANA CentruNOVEMBARJESENJA RADIONICA DIANA, 1 oktobar –15 decembarKonzervatorske radionice:Konzervacija keramikeKonzervacija staklaKonzervacija porculana, fajansa i majolikeSanacija kopija stećakaIzrada kopija i replikaSPECIJALISTIČKI KURSEVI SA KOLEGAMA IZ SLOVENIJE(Izložbe, predavanja, prezentacije i dr.)konzervacija majolike i porculana, Janja, Jana i dr.Specijalistički kurs popravke starih konzervacijaProblemi starih konzervacije keramike i stakla, JanaŠubic Prislan, Jana SlabeUniverzitet Sen Deni, specijalizacija, Tanja N.Muzej antike u Arlu, specijalizacija Ana KocjanUniverzitet Pariz I, magistarske studije iz preventivnezaštite, Vesna ŽživkovićSPECIJALISTIČKI KURS KONZERVACIJE ARHEOLOŠKIHPREDMETA OD METALA, Žžak Ribijer, Laboratorija za konzervacijuArheološkog centra Vara u Draginjanu29. novembar – 2. decembar, Tunis, 9. trijenalna konferencijaICCMa (Međunarodni komitet za konzervacijumozaika, Maja FrankovićDECEMBARJESENJA RADIONICA DIJANA, 1. oktobra – 15. decembraKonzervatorske radionice:Konzervacija keramikeKonzervacija staklaKonzervacija porculana, fajansa i majolikeSanacija kopija stećakaIzrada kopija i replikaMuzej antike u Arlu, Francuska, specijalizacija AnaKocjanUniverzitet Pariz I, Francuska, magistarske studije izpreventivne zaštite, Vesna ŽživkovićConservation of ceramicConservation of glassConservation of porcelain, faience, majolicaSalvaging copies of grave tombs (stećci)Making copies and replicasSpecialist COURSE : Traditional production of ceramics(Experimental Archaeology Project) in cooperation withScientific Research Project Vinča, Vesna SvobodaDIANA 2006 PlanICOM 2005 ReportApplications for donationsApplication for competitionsICOM 2006 PlanMuseum of Antiquities in Arles, France, Ana Kocjan,internshipUniversity Paris I, France,MA studies in preventive conservation,Vesna ŽivkovićPreparations of the cooperation programme withFrench institutions:Presentation of the data base of ethnographicMuseum Arletane in DIANA CentreNOVEMBERAutumn Workshop DIANA 1 October – 15 DecemberConservation workshopsConservation of ceramicConservation of glassConservation of porcelain, faience, majolicaSalvaging copies of grave tombs (stećci)Making copies and replicasSPECIALIST COURSES WITH COLLEAGUES FROMSLOVENIA (Exhibitions, lectures, presentations, etc.)Conservation of majolica and porcelain, Jana ŠubićPrislan, Janja Slabe, et al.Specialist course of old conservation repairsProblems of old conservations of ceramics and glass,Jana Šubić Prislan, Janja SlabeMuseum of Antiquities in Arles, France, Ana Kocjan,internshipUniversity Paris I, France, MA studies, Vesna ŽivkovićSPECIALIST COURSE ON CONSERVATION OF METALARCHAEOLOGICAL OBJECTS, Jacques Rebiere, Laboratoryfor Conservation of Archaeological Centre of Var inDraguignan29 November – 2 December, Tunis, Tunisia - 9 thTriennial Conference of ICCM (International Committeefor the Conservation of Mosaics), Maja FrankovićDECEMBERAutumn Workshop DIANA 1 October – 15 DecemberConservation workshopsConservation of ceramicConservation of glassConservation of porcelain, faience, majolicaSalvaging copies of grave tombs (stećci)Making copies and replicasMuseum of Antiquities in Arles, France, Ana Kocjan,internshipUniversity Paris I – Vesna Živković, MA studies

ZAHVALNICAOvom prilikom želimo da se zahvalimo svim institucijamai firmama koje su pružile finansijsku podrškunašim aktivnostima u 2004. godini: UNESKO, Pariz ICCROM, Rim UNESCO-ROSTE, Venecija Ministarstvo spoljnih poslova Francuske-Francuski kulturni centar u Beogradu Cooperazione Italiana Levantis Fondacija, London Sidney Franklin II Cherity Trust, London Nacionalni komitet IKOM-a Južne Koreje “Mimark”, Beograd Jugoslovenski aero transport - JAT, Beograd Skupština grada Beograda Ministarstvo kulture Srbije (u sklopu redovnihaktivnosti Narodnog muzeja)kao i onima koji su nam bili na raspolaganju zakolegijalnu, stručnu i drugu pomoć:- UKIC, Grupa za keramiku i staklo, London- SACI, Firenca- ICOM, Pariz- Dejvison Studio, Saseks, Velika Britanija- Addington Studio, Devon, Velika Britanija- C2RMF, Francuska- Muzej Antike u Arlu, Francuska- Laboratorija za konzervaciju u Draginjanu,Francuska- Danska kraljevska akademija - Škola za konzervaciju- Nacionalni muzej Danske- Goriški muzej, Nova Gorica, Slovenija- Narodni muzej, Ljubljana, Slovenija- Muzejski forum i Restauratorsko društvo Slovenije,Slovenija- Muzej Makedonije u Skoplju, Makedonija- Filozofski Fakultet Skoplje, Makedonija- Nacionalni komitet ICOM-a Makedonije- Zavod za zaštitu u Rijeci, Hrvatska- Nacionalni komitet IKOM-a Srbije i Crne Gore- Društvo inženjera i tehničara Srbije- Društvo za hlađenje i ventilaciju Srbije- Zavod za zaštitu spomenika kulture Srbije- Arheološki institut u Beogradu- Filozofski fakultet u Beogradu - Odeljenje za arheologiju- ART FORUM Velika Hoča, Beograd- Institut za nuklearna istraživanja Vinča, Beograd- Institut za ispitivanje materijala, Beograd- Rudarsko-geološki fakultet, Beograd- Univerzitet umetnosti u Beogradu- Fakultet primenjene umetnosti i dizajna uBeograduPosebno želimo da istaknemo podršku Francuskogkulturnog centra u Beogradu i fondacije Levantis, kojisu prevazišli okvire svojih redovnih aktivnosti i obavezakako bi nam izašli u susret, pomogli realizaciju naših delatnostii uticali na ostvarenje naših ciljeva, doprinevši isami, na taj način, unapređenju zaštite kulturnih dobarau našoj sredini.ACKNOWLEDGMENTOur gratitude goes to the following institutionsand companies for their generous support of our activitiesin 2004: UNESCO, Paris ICCROM, Rome UNESCO-ROSTE, Venice Foreign Affairs Ministry of France – FrenchCultural Centre in Belgrade Cooperazione Italiana Levantis Foundation, London Sidney Franklin II Charity Trust, London National Committee of ICOM of South Korea Mimark, Belgrade Yugoslav Airlines – JAT Belgrade Assembly of the City of Belgrade Ministry of Culture of Serbia (within the regularbudget for the National Museum)We also enjoyed professional and expert help fromour colleagues in:- United Kingdom Institute for Conservation ofHistoric and Artistic Works (UKIC), CGCG,London- Studio Art Centres International (SACI), Florence- ICOM Paris- Davison Studio, UK- Addington Studio, UK- C2RMF, France- Museum of Antiquities, Arles, France- Laboratory for Conservation, Draguignan, France- Danish Royal Academy –School for Conservation- Gorice Museum, Slovenia- National Museum Ljubljana, Slovenia- Museum Forum and Restorers’ Society of Slovenia- Museum of Macedonia in Skopje, Macedonia- Faculty of Philosophy, Skopje, Macedonia- National Committee of ICOM of Macedonia- Institute for Protection, Rijeka, Croatia- National Committee of ICOM of Serbia andMontenegro- Society of Engineers and Technicians of Serbia- Society for Cooling and Ventilation of Serbia- Institute for Protection of Monuments of Cultureof Serbia- Archaeological Institute, Belgrade- Faculty of Philosophy – Department forArchaeology, Belgrade- ART FORUM Velika Hoča, Belgrade- Nuclear Research Institute Vinča, Belgrade- Institute for Testing Materials, Belgrade- Faculty of Mining and Geology, Belgrade- University of Arts, Belgrade- Faculty of Applied Arts and Design, BelgradeHowever, our special thanks go to the FrenchCultural Centre in Belgrade and the Levantis Foundation,London as their support, understanding andhelp to DIANA Centre went far beyond their routinethus making greatest contribution to the protection ofcultural heritage in our country.

Međunarodni dan muzeja, 2005. - Manastir Kumanica (Foto Vlada Vukadinović)International museum day 2005. - Monastery Kumanica