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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