CROSSROADS: EAST AND WEST. CULTURAL CONTACTS, TRANSFERS AND EXCHANGE BETWEEN EAST AND WEST

IN THE MEDITERRANEAN

International Conference for PhD Students and Recent PhD Graduates

BOOK OF ABSTRACTS

Split, 17–19 September 2015

Crossroads: East and West. Cultural Contacts, Transfers and Exchange Between East and West in the MediterraneanInternational Conference for PhD Students and Recent PhD GraduatesSplit 17–19 September 2015BOOK OF ABSTRACTS

Editors: Ivana Prijatelj Pavičić, Marina Vicelja Matijašić, Tine Germ, Gašper Cerkovnik, Martina Malešič, Katra Meke, Ivana Meštrov, Dalibor Prančević, Ines Unetič, Ivana Nina Unković, Asta Vrečko, Miha ZorDesign and layout: Jure PreglauProofreading: Jason Blake

© Faculty of Humanities and Social Sciences, University of Split, 2015.All rights reserved.

Published and issued by: Filozofski fakultet Sveučilišta u Splitu/ Faculty of Humanities and Social Sciences, University of SplitFor the publisher: Aleksandar Jakir, Dean of the Faculty of Humanities and Social Sciences

Printed by: RedakSplit, 2015First EditionNumber of copies printed: 100Publication is free of charge.

CIP - Katalogizacija u publikacijiS V E U Č I L I Š N A K N J I Ž N I C A U S P L I T U

UDK 930.85(262)

INTERNATIONAL Conference for PhD students and recent PhD graduates (2015 ; Split) Crossroads: east and west. Cultural contacts, transfers and exchange between east and west in the Mediterranean : book of abstracts / International Conference for PhD students and recent PhD graduates, Split, 17-19 September 2015 ; <editors Ivana Prijatelj Pavičić ... et al.>. - Split : Filozofski fakultet Sveučilišta, 2015.

ISBN 978-953-7395-79-71. Prijatelj-Pavičić, IvanaI. Mediteran -- Kulturna povijest160105019

CROSSROADS: EAST AND WEST. CULTURAL CONTACTS, TRANSFERS AND EXCHANGE BETWEEN EAST AND WEST IN THE MEDITERRANEANInternational Conference for PhD Students and Recent PhD GraduatesSplit, 17–19 September 2015

BOOK OF ABSTRACTS

Organizing Committee:Prof. Ivana Prijatelj Pavičić, PhD; Prof. Marina Vicelja Matijašić, PhD; Prof. Tine Germ, PhD (co-chairs); Iva Brusić; Gašper Cerkovnik, PhD; Martina Malešič, PhD; Katra Meke; Ivana Meštrov; Dalibor Prančević, PhD; Petra Predoević Zadković; Ines Unetič, PhD; Ivana Nina Unković; Asta Vrečko, PhD; Miha Zor

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CONTENTSConference Programme/Program znanstvenog skupa/Program konference 7

Aleksandar JakirThe Second International Conference for Doctoral Students and Recent Doctoral Graduates in the Field of Humanities and Social Sciences 13

Ivana Prijatelj Pavičić, Marina Vicelja Matijašić, Tine GermCrossroads: East and West. Cultural Contacts, Transfers and Exchange Between East and West in the Mediterranean 15

Zrinka BlaževićAt the Crossroads: Methodologies for Liminal Spaces 17

Gašper CerkovnikSantiago Matamoros in Central European Art in the Time of the Turkish Wars 18

Ümit Fırat AçıkgözBetween the Classical/Medieval Past and the Oriental Present: French Travelers to Antioch (1784–1939) 19

Andrea Baotić-Rustanbegović“Displaying Orient”– the Art Production and Construction of a VisualIdentity of Bosnia and Herzegovina Under the Austro-HungarianRule and During Kallay’s Regime (1882–1903) 20

Nikola BojićDiocletian’s Palace in the Post-War Architectural Discourse of Team 10 21

Sandra BradvićCreating New Geographies: Sarajevo Center for Contemporary Art (SCCA) Between Emancipation and Mystification of Art From Eastern Europe 22

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Eni Buljubašić“Practical Mediterranism” and Popular Music: A Multimodal Stylistic Analysis of a Music Video 23

Iuliana Delia DamianStructures, Ornaments and Symbols. Patterns of Artistic Intersection Between East and West in Wallachian 17th–18th Century Religious Architecture 24

Renaud DorlhiacOne World… And The Other: Kristaq Sotiri’s Photographic Work 25

Eter EdisherashviliNino TsitsishviliCatholic Christianity and 17th–18th Century Georgia: Cultural Reflection 26

Aynur ErdoganOrientalia: A Transdifferent Approach to Early American Representations of the Orient 28

Igor GlazovThe Cross to Saint Sophia. Russian Cultural Policy in the Balkans in the 19th and Early 20th Century 29

Sandor KlapcsikNikola HendrichováConfrontation, Acculturation and Parodistic Imitation Between Eastern and Western Europe in Two Balkan Films 30

Viktoria KošakThe Image of Turks in the Travelogues of the Bosnian Franciscans the 19th Century 32

Matko Matija MarušićThe Observant Franciscans and the Reconstructions of the SacredTopography of Jerusalem in the Eastern Adriatic 33

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Anna Sophia MessnerThe Jewish Nation and the Orient. Visual Constructions of the Self and the Other in Pre-State Palestine 34

Dragana ModrićPolitics of Memory Between the East and the West – Walid Raad and Monument Group 35

Marcus PilzPéter T. Nagy Medieval Rock Crystal Pommels: Five Pieces from Fatimid Egypt? 36

Talitha Maria Germaine SchepersUnravelling the Image of the Turk: An Examination of Artists Who Travelled to Constantinople Between 1453 and 1571 – Gentile Bellini, Pieter Coecke Van Aelst and Nicolas De Nicolay 37

Vera-Simone Schulz“Ex Oriente Lux” – Re-Orienting Discourses on Medieval LightingDevices in a Cross-Cultural Perspective 38

Ivana TrivaLjubo Karaman “On The Paths Of Byzantine Characteristics in Art” – Almost 60 Years After 39

Ketevan TsetskhladzeBetween East and West: 1910–30’s Tbilisi and Georgian Modernism 41

Dorottya UhrinProtecting Christianity on the Eastern Frontier: On Some Aspects of the Cult and Representation of Saint Catherine and Saint Margaret in Medieval Hungary 42

Milena UlčarWho is Who in Saint Tryphon’s Martyrdom: The Saint and Others in Early Modern Kotor 43

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CONFERENCE PROGRAMME/PROGRAM ZNANSTVENOG SKUPA/PROGRAM KONFERENCEThursday, 17th September 2015/četvrtak, 17. rujna 2015./četrtek, 17. september 2015

Venue:

Faculty of Humanities and Social Sciences, University of Split, (Poljana kraljice Jelene 1), 3rd floor/ Filozofski fakultet, Sveučilište u Splitu, (Poljana kraljice Jelene 1), 3. kat/ Fakulteta za humanistične in družbene vede, Univerza v Splitu, (Poljana kraljice Jelene 1), 3. nadstropje

9:00–10:00 Registration/registracija/registracija

10:00–10:30 Opening of the Conference/otvaranje znanstvenog skupa/otvoritev konference

Greetings and introductory speeches/pozdravni i uvodni go-vori/pozdravni in uvodni nagovori

The Second International Conference for Doctoral Students and Recent Doctoral Graduates in the Field of Humanities and Social Sciences

• Prof. Aleksandar Jakir, PhD, Dean of Faculty of Hu-manities and Social Science, University of Split/Dekan Filo-zofskog fakulteta, Sveučilište u Splitu/Dekan Fakultete za humanistične in družbene vede, Univerza v Splitu

Crossroads East and West. Cultural Contacts, Trans-fers and Exchange between East and West in the Mediterranean.

• Prof. Ivana Prijatelj Pavičić, PhD, Faculty of Hu-manities and Social Sciences, University of Split/Filozofski fakultet, Sveučilište u Splitu/Fakulteta za humanistične in družbene vede, Univerza v Splitu

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• Prof. Marina Vicelja Matijašić, PhD, Faculty of Hu-manities and Social Sciences, University of Rijeka, Director of the Center for Iconographic Studies/Filozofski fakultet, Sveučilište u Rijeci, Direktorica Centra za ikonografske studije/Filozofska fakulteta, Univerza na Reki, Direktorica Centra za ikonografske študije

• Prof. Tine Germ, PhD, Vice-Dean of the Faculty of Arts, University of Ljubljana/Prodekan Filozofskog fakulteta, Sveučilište u Ljubljani/Prodekan Filozofske fakultete, Uni-verza v Ljubljani

10:30–11:00 At the Crossroads: Methodologies for Liminal Spaces• Prof. Zrinka Blažević, PhD

Guest speaker/pozvani govornik/vabljena predavateljica

11:00–11:30 Santiago Matamoros in Central European Art in the Time of the Turkish Wars

• Gašper Cerkovnik, PhD Guest speaker/pozvani govornik/vabljeni predavatelj

12:00–12:30 Coffee break/pauza za kavu/odmor za kavo

12:30–14:00 Panel 1. Moderator: Miha Zor• Viktoria Košak (Croatia, Zagreb)

The Image of Turks in the Travelogues of the Bosnian Fran-ciscans in the 19th Century

• Ümit Fırat Açıkgöz (USA, Houston) Between the Classical/Medieval Past and the Oriental Pre-

sent: French Travelers to Antioch (1784–1939)• Eter Edisherashvili (Georgia, Tbilisi) and Nino Tsit-

sishvili (Georgia, Tbilisi) Catholic Christianity and 17th–18th Century Georgia: Cul-

tural Reflection Discussion/rasprava/razprava

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14:00–16:00 Lunch break1/ručak/kosilo

16:00–17:30 Panel 2. Moderator: Dalibor Prančević• Talitha Maria Germaine Schepers (United Kingdom,

Cambridge) Unravelling the Image of the Turk: An Examination of Artists

Who Travelled to Constantinople between 1453 and 1571: Gentile Bellini, Pieter Coecke van Aelst and Nicolas de Nicolay

• Aynur Erdogan (Netherlands, Groningen) Orientalia: A Transdifferent Approach to Early American

Representations of the Orient• Marcus Pilz (Germany, Karlsfeld) and Peter T. Nagy

(Hungary, Budapest) Medieval Rock Crystal Pommels: Five Pieces from Fatimid

Egypt? Discussion/rasprava/razprava

17:30–17:45 Coffee break/pauza za kavu/odmor za kavo

17:45–18:45 Panel 3. Moderator: Katra Meke• Milena Ulčar (Serbia, Belgrade)

Who is Who in Saint Tryphon’s Martyrdom: The Saint and Others in Early Modern Kotor

• Vera-Simone Schulz (Italy, Florence) “Ex Oriente Lux” Re-orienting Discourses on Medieval

Lighting Devices in a Cross-Cultural Perspective Discussion/rasprava/razprava

19:00 Free guided tour of Split/besplatni vođeni obilazak Splita/brezplačni vodeni ogled Splita

1 Lunch is not provided by the organizers./Ručak nije osiguran od strane organizatora./Organizatorji ne krijejo stroškov kosila.

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Friday, 18th September 2015/petak, 18. rujna 2015./petek, 18. september 2015

Venue:Faculty of Humanities and Social Sciences, University of Split, (Poljana kraljice Jelene 3), 3rd floor/ Filozofski fakultet, Sveučilište u Splitu, (Poljana kraljice Jelene 3), 3. kat/ Fakulteta za humanistične in družbene vede, Univerza v Splitu, (Poljana kraljice Jelene 3), 3. nadstropje

9:00–11:00 Panel 4. Moderator: Petra Predoević Zadković• Ivana Triva (Croatia, KastelGomilica)

Ljubo Karaman “On the Paths of Byzantine Characteristics in Art”– Almost 60 Years After

• Iuliana Delia Damian (Romania, Bucharest) Structures, Ornaments and Symbols. Patterns of Artistic In-

tersection between East and West in Wallachian 17th−18th Century Religious Architecture

• Anna Sophia Messner (Italy, Florence) The Jewish Nation and the Orient. Visual Constructions of

the Self and the Other in Pre-State Palestine Discussion/rasprava/razprava

11:00–11:15 Coffee break/pauzazakavu/odmorzakavo

11:15–13:15 Panel 5. Moderator: Martina Malešič• Dorottya Uhrin (Hungary, Budapest)

Protecting Christianity on the Eastern Frontier: On Some Aspects of the Cult and Representation of Saint Katherine and Saint Margaret in Medieval Hungary

• Matko Matija Marušić (Croatia, Zagreb) The Observant Franciscans and the Reconstructions of the

Sacred Topography of Jerusalem in the Eastern Adriatic

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• Igor Glazov (Russia, Saint Petersburg) The Cross to Saint Sophia. Russian Cultural Policy in the

Balkans in the 19th and Early 20th Century Discussion/rasprava/razprava

13:15–15:00 Lunch break2/ručak/kosilo

15:00–17:00 Panel 6. Moderator: Ivana Meštrov• Sandor Klapcsik (Czech Republic, Liberec) and Niko-

la Hendrichová (Czech Republic, Liberec) Confrontation, Acculturation and Parodistic Imitation be-

tween Eastern and Western Europe in Two Balkan Films• Renaud Dorlhiac (France, Paris) One World… and the Other: Kristaq Sotiri’s Photographic Work• Eni Buljubašić (Croatia, Split) “Practical Mediterranism” and Popular Music: A Multimodal

Stylistic Analysis of a Music Video• Ketevan Tsetskhldaze (Georgia, Tbilisi) Between East and West – 1910–30’s Tbilisi and Georgian

Modernism Discussion/rasprava/razprava

17:00–17:30 Coffee break/pauza za kavu/odmor za kavo

17:30–19:30 Panel 7. Moderator: Asta Vrečko• Andrea Baotić-Rustanbegović (Bosnia and Herzego-

vina, Sarajevo) “Displaying Orient”– The Art Production and Construc-

tion of a Visual Identity of Bosnia and Herzegovina under the Austro-Hungarian Rule and during Kallay’s Regime (1882–1903)

2 Lunch is not provided by the organizers./Ručak nije osiguran od strane organizatora./Organizatorji ne krijejo stroškov kosila.

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• Sandra Bradvić (Switzerland, Bern) Creating New Geographies: Sarajevo Center for Contempo-

rary Art (SCCA) between Emancipation and Mystification of Art from Eastern Europe

• Nikola Bojić (Croatia, Split) Diocletian’s Palace in the Post-War Architectural Discourse

of Team 10• Dragana Modrić (Croatia, Sinj) Politics of Memory between the East and the West – Walid

Raad and Monument Group Final discussion/završna rasprava/končna razprava

20:30 Closing dinner/završna večera/zaključna večerja

Saturday, 19th September 2015/subota, 19. rujna 2015./sobota, 19. september 2015

Venue:Faculty of Humanities and Social Sciences, University of Split, (Poljana kraljice Jelene 1), 3rd floor/ Filozofski fakultet, Sveučilište u Splitu, (Poljana kraljice Jelene 1), 3. kat/ Fakulteta za humanistične in družbene vede, Univerza v Splitu, (Poljana kraljice Jelene 1), 3. nadstropje

9:30–12:30 Free guided tour/besplatni vođeni obilazak/brezplačni vodeni ogled

Contact/kontakt/kontakt: phdconference2015@gmail.com

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THE SECOND INTERNATIONAL CONFERENCE FOR DOCTORAL STUDENTS AND RECENT DOCTORAL GRADUATES IN THE FIELD OF HUMANITIES AND SOCIAL SCIENCES The second international conference for doctoral students and doctoral graduates, or-ganised by the Art History Module of our postgraduate study programme of Humani-ties at the Faculty of Humanities and Social Sciences in Split, in cooperation with the Department of Art History at the Faculty of Arts at the University of Ljubljana and the Centre for Iconographic Studies at the Faculty of Humanities and Social Science in Rijeka, stands under the thought-provoking title Crossroads: East and West. Cultural Contacts, Transfers and Exchange between East and West in the Mediterranean.

We are very pleased that this year our Faculty in Split can provide the venue for foster-ing scientific dialogue, and especially to offer young researchers the opportunity to present their work. We are delighted to host this conference, which can be described as a gathering of a real knowledge community in the field of research. I am convinced that the impressive number of stimulating papers that are announced will encourage in-terdisciplinary debates on various important topics. A great number of papers are con-nected with research on Orientalism in European art and culture. Also, important topics will be discussed on intersections, syncretisms, and conflicts in this part of Europe that has often been described as a crossroads of East and West. We do sincerely hope that the conference will be a place for independent and challenging thought on new concepts, interpretations and methodological approaches concerning East and West in our age of globalization, as expressed and inscribed in the visual arts. I do not doubt that this conference will provide an excellent opportunity to exchange views and experi-ences in your field of research.

In my opinion, studying the interdependence of East and West in the Mediterranean can surely help us to develop a better understanding of cultural contacts, exchanges, reloca-tions and social trends in the past and present. Having read the abstracts of the papers that will be presented, the question occurred to me how nesting orientalisms, self-orien-talisation, and different discourses succeeded in creating certain images? Could it even be that identities in general are only projections of otherness? However, in times when we can clearly see the effects, and read on a daily basis about the concept of a fortress Europe, it definitely seems important to reflect on the cultural contacts, transfers and interchanges that have always been taking place here in the Mediterranean.

I wish you a warm welcome in Split, and a pleasant and productive conference!

Prof. Aleksandar Jakir, PhDDean of the Faculty of Humanities and Social Sciences,

University of Split

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CROSSROADS: EAST AND WEST. CULTURAL CONTACTS, TRANSFERS AND EXCHANGE BETWEEN EAST AND WEST IN THE MEDITERRANEANThe second international conference for doctoral students and doctoral graduates is or-ganised by the Art History Module of Postgraduate Study of Humanities at the Faculty of Humanities and Social Sciences at the University of Split, Department of Art History at the Faculty of Arts at the University of Ljubljana and the Centre for Iconographic Stud-ies at the Faculty of Humanities and Social Science of the University of Rijeka. This conference represents the continuance of the academic meeting of young researchers in the field of the humanities and social sciences.

The first conference Decline–Metamorphosis−Rebirth was organised at the Faculty of Arts in Ljubljana in September 2014. The conference was very successful and selected papers will be published by Cambridge Publishing Ltd. We are delighted that the second conference is taking place at the Faculty of Humanities and Social Sciences in Split.

This year the organisers selected Crossroads: East and West as the topic of the conference. The subtitle of the conference – Cultural Contacts, Transfers and Ex-change between East and West in the Mediterranean– introduces new interpreta-tions and methodological approaches from the theory of cultural exchange to the theory of new historicism, cultural studies and imagology. This topic is broad enough to be ex-plored from different methodological viewpoints: visual, historical, literal, ethnographic and cultural-anthropological.

The theme of the conference will refer to the regions of Europe and the Middle East which, in Classical Antiquity, were part of both “East” and “West”. The East-West dichotomy can be recognized in cultural influences of East and West through studying the interdependence of East and West in the Mediterranean, as well as through their standoffs in the history of art practices. The conference will deal with cultural con-tacts, exchanges, relocations and social trends that enabled creation of complex con-cepts and idea-networks throughout history. The conference also reconsidersthe ways in which “West” has exoticised “East” as well as the ways in which “East” has perceived “West”through the prism of postcolonial and cultural translation theories.

Three main topics were proposed for the interdisciplinary discussions:

1) Orientalism in European art and culture:• From Europe and Byzantium: Ex Oriente lux etluxus,• European travellers and artists in the East: exchange of ideas, concepts and

art practices,• Curating and exhibiting art from Eastern Europe.

2) Meeting points: intersections, syncretisms, conflicts between East and West in the Balkans• The twilight of political and cultural powers (the Ottoman Empire, Habsburg

Monarchy, Venetian Republic),

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• Creation of new national states: art as a reflection of political and national interests (nationalization and ideologization of art).

3) East and West in the age of globalization• Ideologies, ideological discourses, mythologemes and their artistic represen-

tations and functions, • Western stereotypes of Middle Eastern culture and arts: their genesis, influ-

ences and transformations, • Artistic concepts and theories of art, modern and global,• Contemporary art practices, literature, cinematography and popular culture:

East–West encounters, coexistence and antagonisms.

The relevance of the title theme and the topics offered for discussions is confirmed by the large response from young researchers. On these grounds we believe that the wide international attendance and the interesting papers are a firm guarantee for the success of our meeting in Split.

Prof. Ivana Prijatelj Pavičić, PhDHead of the Art history module, Postgraduate programme of humanistic studies

Faculty of Humanities and Social Sciences, University of Split

Prof. Marina Vicelja Matijašić, PhDDirector of the Centre for Iconographic Studies,

Faculty of Humanities and Social Sciences, University of Rijeka

Prof. Tine Germ, PhDVice-Dean of Faculty of Arts, University of Ljubljana

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Guest speakerZrinka Blažević, PhDAssociate ProfessorDepartment of HistoryFaculty of Humanities and Social Sciences, University of ZagrebIvana Lucića 3, 10000 ZagrebUniversity of Zagrebzblazevic@ff.hr

AT THE CROSSROADS: METHODOLOGIES FOR LIMINAL SPACESStarting from the premise that space is both a physical factorand a socio-cultural con-struct, the main focus of this paper will be placed upon the contact zones or liminal and “in-between” spaces characterized by dynamic processes of movement and interchange between various cultural entities. A paradigmatic example of such a liminal zone is the certainly South Slavic region, which has been marked by multiple cultural hybridiza-tions and syncretisms, as well as by conflicts in the long historical duration. Therefore, the South Slavic contact zone will serve as a model for scrutinizing the most productive “methodology for liminal space,” which is not founded on a static and essentializing identity-thinking but on dynamic and transgressive “border-thinking”. Accordingly, this paper will be aimed at questioning cognitive and explanatory potentials as well as practical research possibilities of various approaches within the historical translation studies: from the theory of cultural exchange, cultural diffusion and cultural transfer to the entangled history, histoire croisée and historical network analyses.

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Guest speakerGašper Cerkovnik, PhDResearcherDepartment of Art HistoryFaculty of Arts, University of LjubljanaAškerčeva 2, 1000 Ljubljana, Sloveniagasper.cerkovnik@ff.uni-lj.si

SANTIAGO MATAMOROS IN CENTRAL EUROPEAN ART IN THE TIME OF THE TURKISH WARS In this paper, I shall examine the motif of Santiago Matamoros, that is, Saint James the Greater, slayer of Moors at the battle of Clavijo, in Central European art in the time of the Turkish Wars, especially in its late period at the end of the 17th and through the 18th centuries. Depictions of Apostol St. James the Greater helping Ramiro I, King of Asturias, defeat the Moors at the battle of Clavijo in the mid- 9th century are naturally quite common in the Iberian Peninsula, but they can also be found in other parts of Europe. The popularity of the saint throughout Europe is easily understood consider-ing the importance of the pilgrimage route to Santiago de Compostela. The motivation behind depiction of this motif in Central Europe (and also Italy) is nevertheless more specific. This paper will focus on the small group of south German panel and mural paintings that follow the same model. The group is unique due to its origins in Bavaria, which for most of the time was not directly threatened by the Ottoman Empire, and the demilitarised depiction of St. James (traditionally he was armed at least with a sword, many times in full armour). The particularities of these depictions can be linked to the specific relationship between the Electorate of Bavaria, itsallies, neighbours, and their confrontations with the Ottoman Empire.

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Ümit Fırat AçıkgözPhD Candidate Department of Art History, Rice University Herring Hall 103 6100 Houston, TX, United States of Americaumitfiratacikgoz@gmail.com

BETWEEN THE CLASSICAL/MEDIEVAL PAST AND THE ORIENTAL PRESENT: FRENCH TRAVELERS TO ANTIOCH (1784–1939)Once a glorious city of antiquity, Antioch was little more than a provincial outpost during the late Ottoman Empire. As a thriving Roman metropolis, an Early Christian centre, and the seat of a Crusader principality, the city attracted French travellers with various religious, nationalist, and colonialist motivations. The architectural and urban characteristics of Ottoman Antioch served as a major index for these travellers to con-template the past and present, and test the validity of the textual corpus (the Bible, historical narratives, and previous travellers’ accounts) on which they relied. The dy-namic relationship between the textual and the visual operated at two levels: first, the French travellers obsessively looked for the corporeal traces of ancient Antioch, strolled through the city with maps drawn by previous travellers at hand, and were thrilled on detecting a visual sign of the past – a cross inscribed on the city walls, a classical col-umn in a contemporary house, or a spot where a Roman monument would have stood. Second, the narrow and tortuous streets, dilapidated houses, and reduced scale of Ot-toman Antioch represented a strong contrast with its ancient glory, and, by implication, legitimated colonialist interventions in the city. The built environment worked to under-score the discrepancy between the imagined ancient Antioch and the actual Ottoman Antioch, and encapsulated the larger cultural and political context that surrounded these travellers: the progressive domination of the world by Western European states at the expense of the “declining” civilizations of the Orient.

This study explores the representations of Antioch’s built environment in French trav-elogues focusing on four travellers: Constantin François de Chassebœuf, a champion of French Enlightenment, Baptistin Poujoulat, a historian of the Crusades, Émile Le Camus, an abbot, and Maurice Barres, a romantic nationalist intellectual. It reveals the ways in which architectural and urban references intersect their religious, nationalist, and colonialist narratives. Following Edward Said’s notion of the “citationary nature of Orientalism,” I examine the inter-textuality of the travel literature on Antioch, and the conditioned traveller who felt exhilarated for visually confirming the textual narra-tives. The entire discussion ties into the French Mandate for Syria, which, fulfilling the colonialist projections of the travellers, put Antioch under French rule between 1920 and 1939. In addition to the travel literature itself, this study draws on the archives and publications of the French mandate as well as the theories and histories of travel and travellers to the Orient.

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Andrea Baotić-RustanbegovićTeaching and Research Assistant, PhD CandidateDepartment of Art History, Faculty of Philosophy SarajevoFranje Račkog 1, 71000 Sarajevo, Bosnia and Herzegovinabaotic_2@hotmail.com

“DISPLAYING ORIENT”– THE ART PRODUCTION AND CONSTRUCTION OF A VISUAL IDENTITY OF BOSNIA AND HERZEGOVINA UNDER THE AUSTRO-HUNGARIAN RULE AND DURING KALLAY’S REGIME (1882–1903)The period of the Austro-Hungarian rule in Bosnia and Herzegovina (1878–1918) is mainly referred to as the time of the acquisition of values and acquis from the circle of Western-European civilisation into the “deeply orientalised country”. Namely, the new administration endeavoured to modernise the “backward Ottoman provinces” through interventions on a political, economic and social plane and thus show the effectiveness of the “enlightenment mission of the Habsburgs”. In order to justify its presence, the Austro-Hungarian administration simultaneously conducted a cultural policy which in fact created and upheld the image of Bosnia and Herzegovina as the European Orient which inevitably needs the help of the “enlightened West”.

The visual identity of Bosnia and Herzegovina at the end of the 19th century was thus designed by applying the so-called pseudo-Moorish style, which supposedly presented the authenticity of Bosnian construction but which, in fact, had almost nothing in common with the domestic architecture. Used on the most representative and on administrative buildings in the country, this eclectic style was also present on the pavilions through which Bosnia and Herzegovina was presented at international exhibitions. Apart from that, the ideas of authenticity and the “Bosnian style” were supposed to be confirmed by artefacts such as carpets and metal works that originated in the provincial workshops for artistic crafts, which were also a generalized expression of Islamic artistic heritage.

This paper will thus focus on the artistic production in Bosnia and Herzegovina un-der the Austro-Hungarian administration, covering the period before the annexation in 1908, which was marked by an autocratic policy of the minister of joint finances, Benjamin von Kallay. The intention is to show that Orientalism played the key role in constructing the visual identity of Bosnia and Herzegovina, which, on the one hand, satisfied the romantic premises of an exotic “colony” in the Balkans, and on the other hand kept the existing relations of dominance and disclosed the political interests of the Austro-Hungarian Monarchy.

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Nikola BojićPhD Student, University of SplitProject AssociateInstitute of Art HistoryUlica grada Vukovara 68, 1000 Zagreb, Croatia nbojic@ipu.hr

DIOCLETIAN’S PALACE IN THE POST-WAR ARCHITECTURAL DISCOURSE OF TEAM 10The goal of this research was to determine the position of Diocletian’s palace in Split within the post-war architectural discourse, primarily by examining the work of Dutch architect Jacob Bakema, a member of the international architectural group Team 10. Four decades after Le Corbusier’s visionary project “Contemporary City for Three Mil-lion Inhabitants”(1922), Jacob Bakema published the study “An Emperor’s House in Split Became a Town for Three Thousand People”(1962) in the Dutch architectural journal Forum. Bakema’s article shed light on two principles important for spatial or-ganization of the Palace: structure (roman layer) which is observed as a fixed framework for numerous architectural infills (all other historical layers) rendered throughout the long history of urban life at the site. According to Bakema, the principles of structure and infill were crucial for the architectural theory and practice in the post-war period of the 20th century. The Palace was important, but it was not the only model for post-war architectural structures. Aside from the Palace, other Team 10 members referred to kasbah, a traditional Islamic urban typology in countries on the southern Mediter-ranean coast, such as Morocco or Algeria. Diocletian’s palace and the architecture of kasbahare both characterized by flexibility, growth and movement, which are the three main architectural characteristics that played a role in the design of the two influential post-war projects: Free University in Berlin (Candilis, Josic, Woods; built, 1963) and Venice hospital (Le Corbusier; unbuilt, 1964).

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Sandra BradvićPhD CandidateDepartment of Art and Cultural Studies, Institute of Art History, Faculty of Humanities, University of BernHodlerstrasse 8, 3011 Bern, Switzerlandsandra.bradvic@gmx.ch

CREATING NEW GEOGRAPHIES: SARAJEVO CENTER FOR CONTEMPORARY ART (SCCA) BETWEEN EMANCIPATION AND MYSTIFICATION OF ART FROM EASTERN EUROPEThe historical starting point of my PhD project on Curatorial Practice in Bosnia and Herzegovina 1980–today (working title of doctoral thesis) rests on two examples of artistic collectives: Zvono (Sarajevo, 1982–1992) and Jugoslovenska dokumenta (Sara-jevo, 1987, 1989). Zvono was the first artist group in BiH to consciously make use of public space for their exhibitions, actions and performances. Jugoslovenska dokumenta was initiated by artists (i.a. Jusuf Hadzifejzovic) in 1984, and since 1987 it has been conceived as a biennial and institutionally independent exhibition. These endeavours were strongly accompanied by a reflection of the social and politic contexts and condi-tions of their own work. This practice, which continued with the founding of the non-profit organisation Sarajevo Center for Contemporary Art (SCCA) in 1996, and with the inception of the Protok Center for Visual Communications in 2005 in Banja Luka, was a collective of artists, curators, art theorists and critics. The common ground of the investigated examples lies in understanding their own artistic and curatorial practice as a medium for creating a new, participatory and democratic public sphere and for chal-lenging traditional mandates of institutional work by creating new exhibiting formats beyond nationally-oriented representation models. For the conference I would like to focus on exhibitions dealing with art from Eastern Europe after 1989, such as, After the Wall: Art and Culture in Post-Communist Europe (1999/2000), Aspects, Positions: 50 Years of Art in Central Europe, 1949–1999 (1999/2000), In search of Balkania (2002), Blood & Honey – Future is at Balkan (2003), In the Gorges of the Balkans (2003) or Europa, Europa. Das Jahrhundert der Avantgarde in Mittel- und Osteuropa (2004). Re-markably, most of them were initiated by western curators and institutions and a notice-able number was co-organised by the SCCA. Although these were attempts to react to the changed geopolitical conditions and to establish new art historical geographies, the exhibition titles often indicate the opposite: confirming the clichés of Eastern Europe as “the other”, as a “different”, “mythological” sphere, while strengthening rather than dissolving the East–West dualism. Using the example of SCCA, the contribution seeks to critically examine the role which both western and eastern curators played within the scope of the emancipation and mystification of contemporary art from Eastern Europe.

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Eni BuljubašićResearch and Teaching Assistant, PhD CandidateFaculty of Humanities and Social Sciences, University of SplitRadovanova 13, 21000 Split, Croatiae.buljubasic@gmail.com

“PRACTICAL MEDITERRANISM” AND POPULAR MUSIC: A MULTIMODAL STYLISTIC ANALYSIS OF A MUSIC VIDEOThis work predominantly relies on three domains of research: the notion of multimodal-ity (Kress, Van Leeuwen 2001; Kress 2010), Mediterranean studies (Herzfeld 2005; Botta 2010) and popular music in relation to national/regional/local identities (Baker 2011; Valencia Rincon 2008). This paper looks at how the Mediterranean identity is re-articulated and re-created in Croatian contemporary popular culture, taking the klapa discourse as a research area, and multimodal stylistics as methodology in approaching klapa texts. The term “neoklapa” is used to designate what the ethnomusicologist Ćaleta (2008) recognizes as a popular movement in the mid-2000s. Building on that notion, I posit “neoklapa” as a new cultural form, a discourse in which Croatian/Dalmatian iden-tity is represented as Mediterranean and steered away from its Balkan identifications (cf. Luketić 2013). The discursive events that form(ed) “neoklapa” discourse are Klape na Poljudu 2006 concert, and Eurovision 2013, when a klapa represented Croatia. Her-zfeld (2005) advances the research of the Mediterranean identity, seeing it as a practi-cal and political gesture of identification made by countries deeming themselves ‘Medi-terranean’ and not as an a priori given. Regarding this identification, Botta (2010) talks about auto-exotification and the levels of appropriation of Mediterranean identity that it involves. Building on previous work which dealt with the paradox of “neoklapa” as “new heritage” (Buljubasic, forthcoming), as well as on the visual topoi of “neoklapa” music videos (Buljubasic, forthcoming), this work will look into the sorts of gestures made towards the Mediterranean identification in the contemporary popular music of new klapa songs. A multimodal stylistic analysis (Norgaard 2011; Maier, Cross 2014), i.e. an approach that takes into account the audio-visual syncretism (Vernallis 2004) in music video meaning-making (comprising visual and verbal modes of representation, as well as music), will be performed. The aim is to explore how Mediterranean identity is multimodally represented in a selected “neoklapa” music video.

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Iuliana Delia DamianPhD CandidateDoctoral School of History, University of BucharestBd. Mihail Kogălniceanu 36–46, Sector 5, 050107 Bucharest, Romaniaiulia.damian@drd.unibuc.ro

STRUCTURES, ORNAMENTS AND SYMBOLS. PATTERNS OF ARTISTIC INTERSECTION BETWEEN EAST AND WEST IN WALLACHIAN 17TH-18TH CENTURY RELIGIOUS ARCHITECTUREMihail Cantacuzino (1640–1716), the spathar, was one of the ktitori who contributed, on the brink of the XVIII century, to the reconfiguration of religious and civil archi-tecture in Wallachia, thus laying, alongside other noblemen, the foundations for a new architectural style: the “brâncovenesc”. It is said of him that he had studied architec-ture in Venice and that, while travelling to the Holy Lands, he drew inspiration from architectural designs and shapes which he later used to embellish his own foundations, mostly religious ones. Under the form of local interpretations, occidental architectural elements and oriental-style decorations were combined into a harmonious synthesis, whose origins have begun to be elucidated only in recent decades. In clarifying the sources of the Cantacuzino patterns one should pay attention also to the zoomorphic mo-tifs, which represent a particularity in monumental sculpture of the epoch, and the in-terpretation of which oscillates between ornamentation and symbolic. By linking trade routes and art centres in the Venice area, across Dalmatia and the Balkans, to Walla-chia, we hope to unearth the cultural foci which passed on their mark on the religious architecture of this space located at the confluence of East and West.

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Renaud DorlhiacAssociate Researcher, PhD StudentÉcole des Hautes Études en Sciences Sociales (EHESS) Paris190–198 Avenue de France, 75013 Paris, Francerdorlhiac@yahoo.fr

ONE WORLD… AND THE OTHER: KRISTAQ SOTIRI’S PHOTOGRAPHIC WORKBorn in 1884 in Korça, one of the most evolved Albanian towns in the late Ottoman Empire, Kristaq Sotiri belongs to the first wave of immigrants to North America. After having collaborated with the reputed photographer George Steckel (established in Cali-fornia), at the beginning of the century, he decided to return to Albania in 1922. There, during the inter-war period, he took an active part in the building of the new state (an independent since 1913, but not fully sovereign until the summer of 1920), taking part in the so-called “neo-albanism” cultural movement.

The photos taken in the studio bear witness to a period of profound change, of rapid tran-sition from the Ottoman era to the modern Albanian nation-state. This appears clearly in the photographs of large families where differences in dress between different age groups reflect the generational shift happening at an accelerated pace within the “bour-geoisie”. But the photos published at that time reveal a modern approach, as Kristaq Sotiri was one of the first to promote photography as a national medium, alongside the “noble” arts –literature, music or painting. This is the reason why all the photos taken in the countryside celebrate, in a bucolic manner, the beauty of the Albanian homeland.

However, this doesn’t mean that the artist turned away from the past. His outdoorwork ignores the rapid transformation of urban spaces, focusing on the picturesque nature of the old quarters of the city and remnants of a traditional way of life (pastoral – especial-ly Vlachs settlements– and religious events). Moreover, the techniques he used show no avant-garde innovations, suggesting a closer affiliation with the pictorialist tradition.

Kristaq Sotiri’s art reflects its creator, one caught between two eras, refusing to choose one over the other. This paper intends to demonstrate how and why, in those transitional periods, the creation of artists torn between competing worlds has much more to do with coexistence than oblivion or exclusion.

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Eter EdisherashviliResearch Fellow, PhD StudentFaculty of Restoration, Art History and Theory, Tbilisi State Academy of Art,22 Griboedov, 0108 Tbilisi, Georgiaeto_edi@yahoo.com

Nino TsitsishviliScientist Worker, PhD Student National Centre of ManuscriptsFaculty of Restoration, Art History and Theory, Tbilisi State Academy of Art,22 Griboedov, 0108 Tbilisi, Georgianuca_cicishvili@yahoo.com

CATHOLIC CHRISTIANITY AND 17–18TH CENTURY GEORGIA: CULTURAL REFLECTIONThe complicated geopolitical condition in Georgia throughout the centuries defined its relationswith various nations and states, religions and cultures. Despite the nature of these relationships– whether it was the peaceful union with neighbouring countries or whether Georgia under their yoke – they had a specific impact on the formation of Georgian art and culture. Due to the versatile historical and political situation and cultural diversity, the 17th and 18th centuries are one of the most remarkable periods of Georgian history. Although Georgia was under the pressure of Persia and the Otto-man Empire, the country demonstrates an obvious interest in the political, religious, cultural and educational life of Europe. Georgian kings, rulers and clerics, played an essential role in the formation of relationships between Georgia and Catholic Europe. On the other hand, Catholic missionaries left a deep tracein Georgia. Georgian royals and high officials patronized European travellers and missionaries (Jean Chardin, Don Pietro Avitabile, Zampi, Don Cristoforo de Castelli, etc.). There were several Catholic missions in the Georgia of those times: Theatines, Capuchins, etc. The representing of clergy of different ranks revealed a deep interest towards Catholic Rome and some of them even turned to Catholicism.

This interrelationship led to the circulation of European artworks between Georgia and western countries. The distribution of these works among the different layers of the Georgian population was followed with a great interest and appreciation. In turn, this influenced the social life, fashion and mentality and eventually left a distinct trace on art and culture in general.

Most likely the main sources of distributing European artistic tendencies in Georgia were illustrated printed books and engravings. Therefore this impact was obvious in illumination and in the style and iconography of ecclesiastic and secular painting as

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well. The interest in European art is vivid in the works of stamping, murals and easel painting. The works of art and cultural heritage in Georgia in the 17th and 18th centu-ries significantly enriches our knowledge of the relationships of Eastern and Western Christianity; they are clear examples of political and social, cross cultural dialogue between Orthodox Georgia under Islamic annexation and Catholic Europe.

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Aynur ErdoganPhD CandidateDepartment of American Studies, Faculty of Arts,University of Groningen9712 CP Groningen, Netherlandsa.erdogan@rug.nl

ORIENTALIA: A TRANSDIFFERENT APPROACH TO EARLY AMERICAN REPRESENTATIONS OF THE ORIENT

“I could compare the port of Constantinople to nothing less delightful than poetry put into action.”

Julia Sophia Pardoe, City of the Sultan; and Domestic Manners of the Turks (1835), 8.

The English poet and traveller Julia Sophia Pardoe and her father travelled the Otto-man Empire in the early 19th century. When they viewed the city from the observation deck of the Galata Tower, Pardoe could not resist but to compare Ottoman Istanbul to Western arts. How can we approach Western depictions of the East without taking up accuracy claims and denouncing these depictions as misrepresentations of the East? Forty years have passed since the publication of Edward Said’s Orientalism, and the current hardening relationship between East and West should make space for renewed debates which can provide an important corrective to Western conceptions.

Contrary to Said’s hypothesis that America’s interest in the East began after World War II, my paper argues that early America knew several geographical as well as imagined Orients, neither of which was related to imperialist ambitions. American depictions of the Orient, especially in the 18th century, were imported from the (former) mother country. British and French texts travelled to North America and were remodelled and adapted to the current political, social and cultural context. These imported cultural ar-ticulations fed into a corpus of ideas, motifs, and traditions of which Americans availed themselves in order to come to terms with the their new situation as a fledging Union.

My paper will discuss a variety of literary and political texts which will be studied in a transdifferent approach. This new approach consists of three dimensions, taking into account transnational textual mobility, the level of adaptability to the American context, and its relation to the geographical Orient, i.e. the Ottoman Empire and its autonomous states in North Africa. This approach not only visualizes the underlying dynamics of these representations but it also transcends the Orientalist paradigm and the reductive-ness of binary thinking. The purposes of these representations were as diverse as the depictions themselves. Some texts use historical figures of the Ottoman Empire and adapt them into early Republican discourse, and others recycle (pseudo-)experiences with Barbary Coast pirates to make a statement about American slavery.

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Igor GlazovPhD studentSt. Petersburg State Academic Institute of Fine ArtsTipanova 8–88, 196135 Saint Petersburg, Russiaglazzov@gmail.com

THE CROSS TO SAINT SOPHIA. RUSSIAN CULTURAL POLICY IN THE BALKANS IN THE 19th AND EARLY 20th CENTURYI propose to consider the Russian cultural politics towards the Balkans in the course of the 19th and early 20th century, until the fall of the Russian Empire. The Balkans were in the focus of Russian foreign policy throughout the entire 19th century. Some of the Balkan countries, as well as Greece, saw Russia as a great supporter of the Slavic nations in their struggle for independence. Many of the prominent figures of the Pan-Slavic movement (to name only Vuk Karadzic and Ljudevit Gaj) were well known to and accepted by the Russian Court.

In the middle of the 19th century, in connection with this policy, national theories be-gan to appear, among them the Scythian theory of the origin of the Slavs in the works of Yu. Venelin. These works though were not scientific in the modern sense, as they were more about seeking Russian antiquities and bringing attention to the Byzantine Empire. Still, since then the Byzantine-Russian cultural continuity became a constant subject of scientific interest for Russian historians. In addition, the Hellenic Byzantine line in Russian culture is closely linked with the Orthodox Christian tradition.

The Slavonic Renaissance of the end of the 19th century was a cultural idea expressed by F. F. Zelinsky, one of the most influential classical philologists and historians of the time and one who considered the primary source throughout antiquity European cul-ture. F. F. Zelinsky thought that the European world had experienced two great revivals of classical antiquity: the first Italian, then German. The third, still in the future, would be Slavic. In 1894, in the Ottoman Empire, a Russian Archaeological Institute in Con-stantinople was founded. Its aim was to be an outpost of the Russian domination. After the fall of the Russian Empire Byzantium studies continued in the works of the émigrés N. P. Kondakov and A. N. Grabar in a more academic way.

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Sandor Klapcsik, PhDAssistant Professor English Department Faculty of Science, Humanities and Education Technical University of Liberec Liberec 1, Czech Republicsaklapcs@gmail.com

Nikola HendrichováMaster’s StudentEnglish Department Faculty of Science, Humanities and Education Technical University of Liberec Liberec 1, Czech Republicnykyna@gmail.com

CONFRONTATION, ACCULTURATION AND PARODISTIC IMITATION BETWEEN EASTERN AND WESTERN EUROPE IN TWO BALKAN FILMSThis presentation focuses on marginalized people whose travels represent interactions and clashes between Eastern and Western European cultural values by analysing Emir Kusturica’s Time of the Gypsies (Dom zavešanje, 1988) and Zornitsa Sophia’s Mila from Mars (Mila ot Mars, 2004). Both films depict the Balkans as a territory with fun-loving and mostly kind-hearted people with traditional wisdom and values as well as minor character flaws. These people are underappreciated, left behind, and exploited by the West culturally and economically; some of them become corrupted by contemporary Western mores. Nevertheless, the films also indicate that the characters need to, and eventually manage to, synthesize East and West to a certain degree.

In Time of the Gypsies, the Yugoslav Roma community appears almost completely detached from the modern Western society, where Romani still live according to mythical world views, rites and ceremonies. The Roma village’s main contact with the outside world is provided by Ahmed (Bora Todorović), a criminal who smuggles Bosnian babies to Italy and exploits children as beggars and thieves in major cities, especially Milan and Rome. Analogously, in Mila from Mars the small and desolate Bulgarian village is left behind and despised by the urban population of the country, who follow a relatively westernized lifestyle. The village’s only residents are old people who live in the past and whose connections to the present are extremely scant. Their secluded and uneventful life is turned upside down when the main character Mila (Vesela Kazakova) escapes from her aggressive lover with their unborn baby and decides to stay in the village. She soon realizes that the village has a concealed connec-tion to the outside world via criminality: the locals grow marijuana, smuggle it through the border, and in return they get regular food supplies from her former lover.

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In both films, Eastern European places are portrayed as the space of “emotional ref-uge,” mythical wisdom and traditional values, or even magical help and relief (Sto-janova). The West (or westernized section of Eastern Europe) is depicted as a world of corruption and criminality. And yet, the main characters in both cases synthesize East and West to a certain degree by the end of the film. Mila leaves behind her outgoing urban lifestyle in order to settle down in the Bulgarian village, but chooses another outsider like herself as her new partner. Perhan (Davor Dujmović) in Time of the Gypsies adjusts his habits and clothes to the Italian lifestyle, somewhat learns the language and becomes relatively rich during his trip in Italy. Furthermore, Kusturica’s characters imi-tate Western celebrities, but due to their marginalized position their mimicry becomes imitation with a considerable and obvious difference, and so they create – albeit unin-tentionally – parodies of American and Western European cultural icons.

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Viktoria Košak, PhDExterior collaborator Department of History, Croatian Catholic UniversityMiramarska cesta 100, 10 000 Zagreb, Croatiaviktoria.kosak@gmail.com

THE IMAGE OF TURKS IN THE TRAVELOGUES OF THE BOSNIAN FRANCISCANS IN THE 19TH CENTURYThe perception of the “other” and its importance has always been essential to the pro-cess of finding one’s own individual identity and the identity of specific cultural, ethnic and religious groups. Within historiography, there is a growing interest in research-ing the perception of the “other”, in the collective perceptions and in the history of mentalities. Travelogues as sources are becoming increasingly interesting to study and as means of obtaining information about human relations, perception and images of the “other”, as well as information about prejudices and stereotypes arising from one group’s negative qualifications of another.

This paper will analyse and explore the image of Turks in the19th-century travelogues of the Bosnian Franciscans Fr. Ivana Fran Jukić and Fr. Grgo Martić. Both authors, in the several travelogues they published, describe impressions from their travels through Bosnia and Herzegovina and through the Ottoman Empire; at the same time, they are part of the culture whichis described. Their travels occurred in times of crisis in Otto-man Empire, during unsuccessful reforms that led to the uprising of the Catholic and Orthodox population, to the involvement of international forces and to the occupation of Bosnia and Herzegovina by Austria-Hungary. The image of Turks as presented by I. F.Jukić will be compared to Grgo Martić’s image of them; I will look into their similari-ties and differences in order to obtain a broader picture of Turks as seen by Catholics in Bosnia and Herzegovina in the 19th century.

Both Franciscans were born in Bosnia but educated at universities abroad. On returning to their home country they exercised theirpriestly ministry. Turks in their travelogues are heterogeneous group according to the ethno-national element, but unified according to their religious affiliation. They differ from Turks born in Bosnia and Herzegovina and from those who come from present-day Turkey and from Arabic countries.

The objective of this paper is to analyse the mutual relations, ways of communication and mutual encounters and level of knowledge of Catholics and Turks in Bosnia and Herzegovina. The intention here is to gain in this way a more complete understanding of the complex interfaith, cross-cultural and interethnic contacts and relationships in Bosnia and Herzegovina in the 19th century and to gain an insight into the Bosnian Franciscans’ and Catholics’ perception of Turks.

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Matko Matija MarušićYoung Researcher, PhD Candidate Institute of Art History, ZagrebUlica gradaVukovara 68/III, 10000 Zagreb, Croatia matkomatijamarusic@gmail.com

THE OBSERVANT FRANCISCANS AND THE RECONSTRUCTIONS OF THE SACRED TOPOGRAPHY OF JERUSALEM IN THE EASTERN ADRIATICThe aim of my paper is to shed light on some examples of reconstruction of the sacred topography of Jerusalem in the Eastern Adriatic in the 16th century. I will focus on two cases, Daksa and Košljun, small islands with Observant Franciscan friaries in the prox-imity of bigger towns and the Episcopal sees of Dubrovnik and Krk. With the financial support of wealthy patricians, Friars have partially reconstructed the sacred topography of the Holy City and created alternative pilgrimage sites in the West.

I will argue that Friars used three different approaches. Firstly, copies of the Holy Sep-ulchre provided the most important material connection with the sacred topography of Jerusalem. Although inaccurate by our modern standards, these copies were instrumen-tal in transfiguring islands into holy spaces. Additionally, chapels commemorating other sacred places of the Holy Land, such as the chapels of Calvary and Nativity, were built. Secondly, monumental crucifixes played the seminal role in collective devotion at these sites. In the context of devotion to the Holy City and the Passion of Christ, these cruci-fixes were made and perceived as the actual presence of Christ, equipped with movable arms and venerated as a miraculous object. Evidence from both islands attest to their use in (para)-liturgical practices of the Holy Week, when the flow of pilgrims was the largest. Finally, the navigation to the Holy Land (whether “real” or “reconstructed”) was equally important as the previous two approaches. Indeed, Jerusalem was reach-able only by boat; after a long sail, pilgrims were welcomed by observant Franciscan friars and escorted to holy sites. By combining these approaches, the transformation of Daksa and Košljun into sacred spaces was complete, so that the Ragusan poet Aelius Lampridius de Cerva could have written at the very beginning of 16th century that “small Daksa strives to be similar to Palestine and its equal companion”.

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Anna Sophia MessnerResearch Fellow, PhD StudentMax Planck InstitutKunsthistorisches Institut in FlorenzVia Giuseppe Giusti 44, I-50121 Florence, Italyanna.messner@khi.fi.it

THE JEWISH NATION AND THE ORIENT. VISUAL CONSTRUCTIONS OF THE SELF AND THE OTHER IN PRE-STATE PALESTINEThe depiction of the Jewish Other is a popular and widespread topic in European Orien-talism and visual reception of the Orient. But what about the European Jewish percep-tion of the Orient and the Oriental Other? In my paper I would like to concentrate on the perception and visualization of the Orient and the Other in Pre-State Palestine during the Zionist immigration at the beginning of the 20th century, arguing that the perception of the Orient and of the Other plays an important role in the construction of a National Jewish Identity and the shaping of a National Israeli Art and Visual Culture. The Zion-ist nation-building process and the shaping of a National Visual Culture took place in a tense relation between East and West, Orient and Europe, Tradition and Modernity. This tense relation mirrors itself in the visual reception of the Orient and the Other. On the one hand there is a fascination for the Arab, but also for the Jewish Oriental Other and a desire of belonging to the Orient, the new and at the same time old homestead of the Jewish people, which is directly connected to biblical imaginations, stories, sites and figures. On the other hand there is a clear differentiation from the Oriental but also from the European Other. This definition process of a Jewish Nation and of the Jewish Na-tional Self, that is, the creation of a New Jew, is closely related to the idea that a Jewish National Art can only develop on Jewish soil, that is, Palestine, and should also serve as an instrument of propaganda to support Zionist ideologies and utopias visually. In my paper I would like to show the development of and changes to the European Jewish perception of the Orient and the Other during the years of the nation-building process in Pre-State Palestine. From a postcolonial perspective I will emphasize and discuss bothan outer colonial gaze, European Jews and the Arab Other, but also an inner colo-nial gaze, European Jews and the Oriental Jewish Other, following questions regarding the visualization of cultural difference and construction of identity in the shaping of a National Israeli Visual Culture.

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Dragana ModrićPhD CandidateArt History ModuleFaculty of Humanities and Social Sciences, University in SplitDonje Glavice 84, 21230 Sinj, Croatiadragana.modric@gmail.com

POLITICS OF MEMORY BETWEEN THE EAST AND THE WEST – WALID RAAD AND MONUMENT GROUPIn this paper I analyse the influence of the West on the memory construction of the East, using as a modelartistic practices concerned with the politics of memory. In the context of Walid Raad and Monument Group’s art projects, I will analyse the concept of political subjectification, referring to Ranciere’s definition whereby the political entails a relationship towards an Other. In terms of political subjectification, I will provide an answer to a dilemma proposed by both art projects: is it possible to write a history of events which includes extreme physical and psychical violence?

Walid Raad’s project Atlas Group researches the problems of Lebanese Civil War pres-entation and the construction of memory. Raad’s position proposes that official, con-ventional and chronologically written Lebanese Civil war history is partial and compro-mised by Western geopolitical interest. Using archival methodology, Raad studies the mechanisms of production of history and memory, and subsequently creates imaginary manipulative control narratives which reproduce Western methods used in constructing the memory of the Others.

The Monument Group was initially formed as discussion group to actively comment on Belgrade City Municipality’s competitions for the Monument Dedicated to Wars on the Territory of Former Yugoslavia. The discussion group pointed out the impossibility of naming the monuments and the non-critical perception of the Serbian state’s part in the wars. After withdrawing from the competition, a section of discussion group continued their efforts under the name Monument Group. In the paper I will refer to their work on the Srebrenica genocide. Their analysis of the excavating and burying of the genocide victims indicates the reduction of the victim’s identity to religious and national terms, which reproduces the ideological concept which served as the basis for such crimes, and which still serves as a retroactive continuity of the politics of terror. Monument Group holds that genocide and war casualties can be spoken of only in terms of the political.

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Marcus PilzTeaching Assistant, PhD CandidateLudwig Maximilians UniversitySommerstrasse 8, 85757 Karlsfeld, Munich, Germanymarcus-pilz@gmx.de

Péter T. Nagy PhD StudentCentral European UniversitySalétrom Street 7, 1085 Budapest, Hungarypetertamasnagy1@gmail.com

MEDIEVAL ROCK CRYSTAL POMMELS: FIVE PIECES FROM FATIMID EGYPT?Rock crystal objects from medieval Europe rarely receive attention in contemporary scholarship, and when they do, art historians – somewhat oddly – often simply as-sume their place of production to be Fatimid Egypt. Sources indeed prove that the caliphal workshop in Cairo produced some high quality pieces between ca. 975 and 1050, although only four objects are positively identified by their inscriptions as Fa-timid. Arabic sources, however, leave no doubt that rock crystals were also produced in Abbasid, Iraq, and stylistic analysis might well prove that some objects found in medi-eval western church treasuries come from there as well. In addition, indirect evidence also indicates that rock crystal carving workshops operated in Byzantium, Norman Sic-ily and Andalusia. In short, rock crystal pommels cannot automatically be considered Fatimid without supportive evidence. On this premise, the present paper analyses the technique, function, style and iconography of all the five rock crystal pommels known today. One of the objects, presently in Cairo, has an interesting inscription with shiʿite connotations which support Fatimid origin. Two other pommels used to be in Essen and Berlin but they were lost during World War II and only black-and-white photo-graphs and drawings of them remain to be studied. The one in Essen had geometrical and vegetal decorations comparable with similar motifs on other Fatimid objects. The Berlin piece depicted three birds in roundels, as well as floral motifs, especially half palmettes, which might also suggest Fatimid origin. The fourth pommel, presently kept in Bamberg, depicts three griffins. Some features of this object, for example, the dots on the bodies of the animals and the hatching along their outline, are also similar to other Fatimid rock crystals. Finally, the last piece, now in Budapest, is mounted on the royal sceptre as part of the Hungarian regalia. Although this object also features three animals, in this case lions depicted in roundels, the style and the less fine execution of the carvings seem to set it apart from the rest of the group. In conclusion, the analysis of the five rock crystal pommels suggests Fatimid origins, except for the one in Budapest. Besides their place of origin, the paper shall also discuss the route of the objects to Europe and the motives behind collecting them.

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Talitha Maria Germaine SchepersPhD StudentChrist’s College, University of CambridgeSaint Andrew’s Street, CB2 3BU Cambridge, United Kingdomtalitha.schepers@gmail.com

UNRAVELLING THE IMAGE OF THE TURK: AN EXAMINATION OF ARTISTS WHO TRAVELLED TO CONSTANTINOPLE BETWEEN 1453 AND 1571 – GENTILE BELLINI, PIETER COECKE VAN AELST AND NICOLAS DE NICOLAY With the Fall of Constantinople in 1453 at the hands of Sultan Mehmed II, Europe became acutely aware of the presence and power of the Ottoman Empire. The Ottoman threat became very tangible and a general fear of the Turks spread throughout the West. This was increased by the Ottoman victory at the Battle of Mohács (1526) and peaked with the Siege of Vienna (1529). However, slowly – and more so after the Christian vic-tory at the Battle of Lepanto (1571) – it turned into a genuine interest in the Ottoman Empire and its population. Europeans eagerly began to study the Ottomans: their man-ners, customs, religion and costume. Although it would take more than a century before the ‘Terror of the World’ changed into the “Sick Man of Europe”, Europe finally began to realise that the Ottoman Empire was not an invincible power.

The image of the Turk in Europe has been a well-studied topic in recent years, with many academic studies focusing on 16th-century costume books, 17th- and 18th-cen-tury Turquerie and 19th-century Orientalism. When examining travellers to the East, scholars have focused primarily on accounts from the later 16th century onwards as there are more written primary sources to support the visual ones. By only taking into account the changing perception as eyewitness accounts of artists from the “West” trav-elling to the “East” witnessed in certain geographical regions, for instance Italy and Central Europe, these studies disregard the intrinsic historical and cultural ties that linked Europe across borders and religious boundaries. Therefore, this paper aims to show these early modern intertwined relationships across Europe so as to better under-stand artistic transnational encounters with the Ottoman Empire.

This paper will focus on three artists who travelled to Constantinople between 1453 and 1571: the Venetian Gentile Bellini (fl.1460–1507), Pieter Coecke van Aelst (1502–1550) from the Low Countries and the Frenchman Nicolas de Nicolay (1517–1583). Being on the crossroads of East and West, Christianity and Islam, they passed through Vienna, Venice and Constantinople – cities which offered artists a uniquely fertile envi-ronment to eyewitness the changing atmosphere of cultural and political encounters. By examining their artistic production and, in particular, the impact of these transcultural encounters on their later work, this paper seeks to contribute to the understanding of the early 16th-century perception of the Turk in Europe. Moreover, it aims to evaluate the authenticity of the works and their cultural and historical value.

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Vera-Simone SchulzScientific Collaborator, PhD StudentMax Planck InstitutKunsthistorisches Institut in FlorenzVia Giuseppe Giusti 44, I-50121 Florence, Italyvera-simone.schulz@khi.fi.it

“EX ORIENTE LUX” – RE-ORIENTING DISCOURSES ON MEDIEVAL LIGHTING DEVICES IN A CROSS-CULTURAL PERSPECTIVELight certainly counts among the major issues in narratives regarding the relationship between East and West, ex oriente lux having figured as one of the most prominent and successful “origin stories” in Western discourses for centuries. The aim of this paper is twofold: on the one hand, it seeks to critically negotiate these discourses. On the other hand, it will bring actual medieval lighting devices, their appropriations and trans-formations as well as the narratives connected with them to the forefront, all of them indeed circulating between “East” and “West”. Through a close-reading of a series of such artefacts – e.g. Islamic lighting devices appropriated in non-Islamic societies or Christian objects transformed into lighting devices in the Islamic world – the paper will shed new light on practices of artistic transfer, connectivity and cross-cultural in-teractions in a wider Mediterranean context in the late Middle Ages and it will seek to propose new methodological approaches for an “archaeology of light”.

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Ivana TrivaPhD StudentArt History ModuleFaculty of Humanities and Social Sciences, University in SplitPriovo 13, 21231 Kaštel Gomilica, Croatiaivanna.t.8@gmail.com

LJUBO KARAMAN “ON THE PATHS OF BYZANTINE CHARACTERISTICS IN ART” – ALMOST 60 YEARS AFTERThe elements of Eastern, Hellenistic and barbarian experiences of the Mediterranean before the Carolingian Renaissance have merged into a unique whole and more or less become the mutual cultural heritage of the entire area. In all the areas of artistic expres-sion (building, sculpture, painting, miniature and the applied arts) and on all the levels of artistic consciousness, the artistic vocabulary of Medieval art on the eastern coast of the Adriatic represents the creative summary of the experiences that originated at the crossroads of different, sometimes completely opposite, artistic idioms.

Not dealing with the echoes of the golden age of Byzantine art on the Eastern coast of the Adriatic and concentrating on chosen examples from Middle Ages, this presentation will reinterpret the previous knowledge from the past 50 years, from the comparative and regional perspective. The special emphasis will be on the search for external fac-tors and a review of their role in the expansion and influence on the Byzantine art in Dalmatia. Byzantium as an external (non-direct) factor in the art of the eastern coast of the Adriatic was continuous throughout the larger part of the Middle Ages. The reflec-tions of its art were diffused periodically, coming from different directions, and were not constant or of equal intensity. As a product of complex cultural interactions of European West and Byzantine East on the Adriatic coast, the regional form of Byzantine art ap-peared which, except for the Byzantine, implies the Western morphology and composi-tion – Adriobyzantism.

Karaman’s article, in which the author explores the Byzantine influences in art through the analysis of paths and methods in which they reached the eastern Adriatic coast, is taken as a starting point. Although E. Dyggve defined the notion of Adriobyzantism seven years before Karaman’s article, he is not mentioned. The opinions on Byzantine art have significantly changed during the last few decades, but the conclusion on the chronological concurrence and the relations between Western and Eastern Byzantine medieval art is not yet generally accepted. Therefore, the sematic shifting of the term Adriobyzantism in relation to Dyggve’s term, which has entered the historiography, will also be a subject of interest for this presentation. The intention was, using the exam-ples that Karaman used in his article – but also some unknown to him – to explore the presence of Byzantine elements in the context of Adriobyzantism and its regional character in Dalmatia as areas of “diachronic parallelism of styles” (Ivančević). Fol-lowing the methodological path from the particular to the general, parallel style layers,

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in which there are no uniform morphological patterns (Byzantine or Romanesque), are recognised, making their interpretation more complex. The observed period is chrono-logically part of the Middle Ages, but certain influences indicate later periods, and they will also be considered.

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Ketevan TsetskhladzePhD StudentTbilisi State Academy of ArtsPhanaskerteli Str. N20, Tbilisi, Georgia, Ketevan.tsetskhladze@art.edu.ge

BETWEEN EAST AND WEST: 1910–30’S TBILISI AND GEORGIAN MODERNISM The Synthesis of Eastern and Western cultures is a characteristic feature of Georgian Art, for it was located between the two. Traditionally, Georgian culture had very close contacts with Byzantium, but gradually this relationship was replaced by Iran and Tur-key. At the beginning of the 19th century Georgia became a part of the Russian Empire. This was a turning point for Georgian social-economic, political and cultural develop-ment, one which had a negative and a positive impact.

From 1917–21 Tbilisi was the capital of a country that had recently gained independ-ence and become a cultural centre in the Caucasus. Its cultural space was open to differ-ent artistic trends and had a multicultural character. Tbilisi was an important city, with its significance growing constantly. The opinions concerning Tbilisi are so diverse that one may even doubt whether all these writers, journalists, travellers and scholars were writing on one and the same city. Some of them regarded it as an exotic, fabulous but chaotic orient city, while others found in it “a Caucasian Paris”, or one of the provincial centres of the Russian Empire. Some people considered it a strong nest of Armenian merchants, or a habitat for Georgian nobles and poets. The architecture of Tbilisi, before sovietisation,displays clear evidence of this – the districts that emerged in the 19th cen-tury, with their houses designed to merge with the hills and to fit into each other, follow with slight variations the rules and aesthetics applied in the medieval districts.

From 1910 to the 1930s Georgian Artists had close relationships with Europe and had an opportunity to study and live there. Having returned from Germany, Georgian Artist Dimitri Shevardnadze established the “Georgian Artists Society.” In 1919 Tbilisi’s first Art Gallery was opened, and this was where Georgian modernist artists’ first exhibition took place. Also founded in this year was the famous art café Qimerioni, by the artistic group “tsisperkhantselebi.”It is significant that for contemporaries Qimerioni was a space of great importance.

Georgian modernist artists decided to create real contemporary art; they believed that “art should be Modern and National” and that they should establish “invisible ties between Georgia and Europe.” The main subject of my research is to show how oriental and Euro-pean forms can exist together in the architecture of Tbilisi and in its modern art.

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Dorottya UhrinPhD StudentEötvös Loránd UniversityGoroszló u. 5. III/12, 1186 Budapest, Hungaryuhrindorottya@gmail.com

PROTECTING CHRISTIANITY ON THE EASTERN FRONTIER: ON SOME ASPECTS OF THE CULT AND REPRESENTATION OF SAINT CATHERINE AND SAINT MARGARET IN MEDIEVAL HUNGARYThe cult of Saint Catherine of Alexandria and Saint Margaret of Antioch, emerging in the 12th century, is generally explained by a Mediterranean exchange of cultures dur-ing the crusades. The first crusaders captured the places where those virgin martyrs suffered martyrdom and where their holiest shrines were supposed to be located. As the present paper demonstrates, their veneration mainly appeared due to the interest in exotic legends of the saints after the First Crusade. According to their Vitae, the virgin martyrs defeated pagan enemies and though they were martyrized, they gained eternal life next to God, symbolising the goal of the crusades. The legends of Saint Catherine and Saint Margaret located them to two Middle-Eastern towns, Antioch and Alexandria, that were recaptured by the crusades, and thus they can be related to the conquest of those places. In addition, artistic depictions of the saints and their infi-dels can be easily related to crusaders’ demonization of Muslims, i.e. they appear as idolatrous heathens. Slightly belated to Western Europe, the cult of the virgin martyrs appeared in Hungary. Duke Álmos had just arrived from the Holy Land (1107) when he established two patrocinia to Margaret, one of them was located at MeszesGate, one of the most important eastern border stations. Later, Andrew II (1205–1235) brought her skull when he came back from the Holy Land as a crusader. But the popularity of the virgin martyrs reached its peak in the later Middle Ages, in Hungary as well as elsewhere in Europe. Representations of Catherine and Margaret survive from 15th- and 16th-century churches in Transylvania (today in Romania), where the interactions between Orthodox and Catholic Christianity were remarkable and clearly visible in arts. Features of Byzantine-style depictions can be found on many churches’ murals includ-ing the Saxon village, Darlac. Being the easternmost territory of Hungary, Transylvania was often threatened by enemies. In many cases, the frescoes of the virgins appear be-side the cycle of Saint Ladislaus (1077–1095) fighting against Cumans, and also with the depictions of Christ. Therefore, we can interpret the iconographic phenomenon as Ladislaus and virgin martyrs fighting against the enemies of Christianity, whoever those might be. Medieval artists depicted the fifty philosophers defeated by Saint Catherine wearing Turkish turbans, i.e. they envisioned the enemies of the virgin as matching those of their own. These iconographical themes expressed rightful self-defence and apologetics against the heathens who usually attacked them from East.

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Milena UlčarPhD CandidateFaculty of Philosophy, University of BelgradeDobracina 41, 11000 Belgrade, Serbialena.ulcar@gmail.com

WHO IS WHO IN SAINT TRYPHON’S MARTYRDOM: THE SAINT AND OTHERS IN EARLY MODERN KOTORThrough the early Modern period a great part of the Bay of Kotor was governed by the Venetian Republic. However, the history of this area was coloured by frequent wars with the Ottoman Empire, as well as by the persistent presence of Turks in some of its towns. It is not surprising, then, that evidence of these dynamic relations could be found in the central spot of the central town of the Bay: Saint Tryphon’s cathedral in Kotor. The remains of Kotor’s patron saint have been carefully treasured in the relic chapel for centuries. The story of his martyrdom was visualized twice in this small space – once at the reliquary casket with his bones (XV–XVI century), and again on the marble plates created by the Venetian sculptor Francesco Cabianca (1704–1708). Although divided by more than 200 years, the two narrative cycles continued to work together in the XVIII century.

The essence of these visual stories is the confrontation of two important bodies – the body of the saint and the oppressor’s body. These eloquent binarisms can be useful indicators of changing attitudes not only toward artistic representations of the body, but also of a different political and social climate in the Bay. The reliquary casket contains an image of the ascetic body of the saint, tortured and decapitated mostly by men in oriental garments – men who very much look like Turks. Stylized plants, exotic animals and ornamental columns only contribute to the strong impression of orientalised sur-roundings. In contrast, marble reliefs, which represent the same story, are purified of almost all ornamental and, especially, oriental elements. The saint-sinner dualism is presented here through a different pictorial vocabulary. Instead of the ascetic body of the saint the observer was confronted with the young and serene man, severely tortured by taller, muscular and passionate oppressors.

The aim of this paper is to examine whether these different iconographic and stylistic elements should be approached only as the visual answers to the changing political climate in the Bay. If images on the reliquary casket embodied the story of saint’s mar-tyrdom through the pictures of real, contemporary enemy, what message was transmitted through the later cycle?

CROSSROADS: EAST AND WEST. CULTURAL CONTACTS, TRANSFERS AND EXCHANGE BETWEEN EAST AND WEST

IN THE MEDITERRANEAN

International Conference for PhD Students and Recent PhD Graduates

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Split, 17–19 September 2015