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Dr Mila POPOVI]-@IVANÊVI] savetnik konzervator, {ef OPZ Dijana

RE^ UREDNIKA

Po~etkom devedesetih godina pro{log veka svi oni kojisu se kasnije okupili oko Dijane shvatili su da se svet pro-menio, da nasle|e nije pripremljeno za te promene i daje ba{tina zbog toga po~ela ubrzano da propada. Shvati-li su da je potreban druga~iji teorijski, metodolo{ki iprakti~an pristup o~uvanju i za{titi ba{tine, koji – ubr-zo je to postalo jasno – mora da po~iva na organizovanjupogodne sredine i na interdisciplinarnim i integrativnimmerama za{tite. To je bilo jedno od najva`nijih i prelom-nih razdoblja u dugoj istoriji za{tite (a organizovana za-{tita ba{tine neprekidno postoji jo{ od anti~kih rimskihvremena). Taj period nametao je neminovne i su{tinskepromene kod profesionalaca i u institucijama za{tite uodnosu prema ba{tini i u na~inu organizovanja slu`biza{tite. Naravno, bile su neophodne i promene u obrazo-vanju novih generacija za{titara, ali i u {iroj javnosti iodgovornim telima dràve. Morala su se menjati uobi-~ajena shvatanja o za{titi nasle|a – bilo je potrebno raz-mi{ljati o prilago|avanju nasle|a savremenoj poreme}e-noj okolini i o njegovom uklju~ivanju u savremeni ìvot,o na~inu o~uvanja njegovog integriteta u okviru odrìvograzvoja, o tome kako nasle|e preneti narednim genera-cijama u svoj njegovoj vrednosti, lepoti i celovitosti.

Naàlost, u vreme kada institucije za{tite u Evropipo~inju ozbiljno da se revitalizuju i prilago|avaju novimcivilizacijskim elementima, a u skladu s promenama usredini u kojoj se nalaze i s novom dru{tvenom ulogomkoju nasle|e dobija u razvoju pojedinih nacija, kao ievropskog dru{tva u celini, stanje u Srbiji je, usled po-gor{anja ekonomsko-politi~kih prilika i dugogodi{njeekonomske i stru~ne izolacije, bilo posebno te{ko. Na{azemlja ima dugu tradiciju prirodnog pra}enja teorijskogi prakti~nog razvoja metodologije za{tite, a na{i stru~-njaci negovali su profesionalni kontinuitet u konzerva-ciji jo{ od sredine XIX veka. Po~etkom devedesetih go-dina, me|utim, odgovorne institucije vlade i institucijeza{tite gube kontrolu nad op{tim i nacionalnim strategi-jama razvoja i o~uvanja kulturnog i prirodnog nasle|a.U institucijama za{tite zamiru osnovne funkcije i aktiv-nosti. Prekida se kontinuitet s prethodnim razvojem i

Dr Mila POPOVI]-@IVANÊVI]councillor-conservator, Chief OPZ Diana

THE WORD OF EDITOR

It is important for the founders of Diana that they reali-sed that world has been changed in the beggining of the90’s of previous century, that heritage is not prepared forthose changes and that heritage began to deteriorate ra-pidly. Because of these facts different theoretical, metho-dological and practical approach of protection and pre-servation of heritage was needed, and it soon becameclear that that approach will preferentially suit by orga-nizing convenient enviroment and interdisciplinary andintegrative measures of protection. This is one of the mostimportant periods in the long lasting history of protec-tion (that has lasted in an organized manner and con-stantly since the time of the Romans), and this period de-mands necessary and essential changes on professionalsand institutions of protection concerning heritage and,in the way of organization of services of protection. Ofcourse, the changes of educational system of new gene-ration of conservationists, and public and responsablegovernmental bodies were necessery. Ordinary compre-hensions of protection of heritage had to be changed,adapted to contemporary disordered environment, inclu-ded in contemporary life, preserved its integrity withinsustainable development, detained its compromise forthe next generations, transmited to the next generationin all its value, beauty, completeness, integrity.

Unfortunatelly, at the time when the Europian in-stitutions of protection seriously begin to revitalize andadjust to new elements of civilization, in compliance withthe changes of enviroment and the new social role andresponsibility which heritage assumes through develop-ment of paticular nations and whole Europian society,The situation in Serbia, because of deterioration of eco-nomic and political situation and economic and professi-onal isolation, was especially complicated and difficult.Our country has a long lasting tradition of following thetheoretical and practical development of methodologyof protection, and in the history of conservation we oftenhad very high scientific human resources who have beencultivating professional continuity since the middle of19th century. Unfortunatelly, in the beginning of 90’s,

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praksom, sa op{tim tokovima razvoja za{tite i njene me-todologije, prestaju me|unarodna saradnja i razmenainformacija, znanja i ideja. To u dobroj meri doprinosiprofesionalnoj i eti~koj degradaciji zaposlenih u institu-cijama za{tite. Oni u to vreme nisu vi{e u mogu}nosti dana adekvatan na~in odgovore svojim profesionalnim oba-vezama i novim izazovima struke, da prilagode svojuprofesiju i institucije novim strate{kim zahtevima o~u-vanja nasle|a.

Narodni muzej u Beogradu zbog toga sredinom deve-desetih godina pro{log veka pokre}e projekat koji inicira,razvija i u muzeolo{koj praksi pruà odgovaraju}e teo-rijske i metodolo{ke koncepte novog sistema za{tite na-sle|a. Pravilno je procenjeno da stru~njake treba pripre-miti za nov koncept za{tite, ali da se moraju pripremitii oni koji tek dolaze. U skladu s tim, Narodni muzej 1997.godine pokre}e edukativni projekat Dijana, koji putemrazli~itih metodolo{kih elemenata sistematski razvijasloène edukativne programe, spontano oslonjene naglobalne strategije i izri~ito prilago|ene posebnim po-trebama Srbije, a – kao {to se ubrzo pokazalo – i potre-bama regiona Balkana.

Od samog po~etka projekat Dijana bio je postavljenkao sveobuhvatan, integrativni teorijski koncept za{tite,koji u jedinstven interdisciplinarni sistem uklju~uje svesadràje ba{tine i koji koristi metodologiju preventivnekonzervacije za svoju primenu u praksi. Dijana pomerateì{te konzervacije, defini{u}i je kao interdisciplinarnisistem mera brige za ba{tinu. Narodni muzej je prepo-znao i dozvolio razvijanje takvog projekta, alternativnogu postoje}em sistemu za{tite, i to ne samo u Srbiji ve} i{ire. Narodni muzej je jo{ jednom u svojoj dugoj istorijipokazao da ima pozitivne i kreativne resurse, one kojiop{tim kontekstima daju nova tuma~enja, koji prilagod-ljivo, ìvo, pragmati~no i neformalno reaguju na savre-mene sveobuhvatne potrebe za{tite ba{tine; potvrdio jeda male sredine, re{avaju}i svoje nagomilane probleme,same dolaze do op{tih strategija, da ih ve{to koriste iprilago|avaju sopstvenim interesima.

Dijana je insistirala na tome da je preventivna kon-zervacija kao strategija izuzetno va`na za za{titu kultur-nog nasle|a u zemljama u tranziciji. Devastirana podru~-ja Balkana i jugoisto~ne Evrope zahtevaju ~vrst i dobroorganizovan, sveobuhvatan sistem aktivnosti i mera, si-stem koji ni{ta ne podrazumeva, ve} na istom zadatkupovezuje sve aktivnosti muzeja, odgovornih institucijavlasti i javnost. Tako je na Generalnoj skup{tini Uneska2003. godine u Parizu prihva}ena Rezolucija Srbije i CrneGore o preventivnoj za{titi kao osnovnoj strategiji za{titeba{tine, posebno za zemlje u razvoju i tranziciji. Tu re-zoluciju u potpunosti je pripremila Dijana.

Dijana svoje programe i projekte u najve}oj meriostvaruje partnerski, s renomiranim institucijama i orga-nizacijama za{tite, kao {to su: ICOM, ICCROM, Unesko,ICOM-SEE, C2RMF, AC Var, Muzej antike u Arlu, MuzejMakedonije, Narodni muzej Slovenije, Zemaljski muzeju Sarajevu, Muzej Krajine u Banjaluci, Narodni muzejCrne Gore, Muzeji Hrvatskog Zagorja, a sara|uje i s

responsible institutions of government and protectionlost control over general and national strategies of deve-lopment and preservation of cultural and natural heri-tage. In the institutions of protection general functionsand activities died away. Continuity is disrupted with pre-vious development and practice, with the general flow ofdevelopment of protection and its methodology, inter-national cooperation and exchange of information, know-ledge and ideas have ceased. All this contributed to pro-fessional and ethical degradation of professionals in theinstitutions of protection. They are no longer capable torespond to their professional commitmens and challenges,to adjust their profession and institutions to the newstrategic demands of preservation of heritage.

In the mid 90’s of previous century the NationalMuseum started a project which initiates, develops andreaches, in the museum’s practice, adequate theoreticaland methodological concepts of the new system of heri-tage protection, that is necessary for preparation a newconcept of heritage for the actual experts and for the onesthat are coming.

The National Museum in Belgrade started an educa-tional project called Diana in 1997, and that project, thro-ugh the different methodological elements, systemati-cally develops complex educational programs, which arespontaneously based on global strategies and adjustedto specific demands of Serbia, and soon it will becomeobvious that it can refer to the whole region of Balkan.

From the very beginnig Diana project was set aswholesome, integrative and theoretical concept of pro-tection, which includes all contents of heritage in anunique interdisciplinary system and uses the methodo-logy of preventive conservation for its use in practice.Diana defines it as an interdisciplinary system of meas-ures of care for heritage. The National Museum recog-nized and allowed for development of a project like thisone in Serbia and beyond.

The National Museum showed once again in its hi-story that it has positive and creative resources, whichgive the new explanations of general contexts; which reactto contemporary wholesome needs in vivid, pragmaticand informal way; it also verified that the small commu-nities make themselves the general strategies by solvingits numerous problems, that they use it proficiently andadjust it to they own interests.

Diana has insisted on the preventive conservationas the very important strategy for the protection of thecultural heritage in the countries of transition. The de-vastated areas of Balkan and South East Europe demandsolid and well organized, wholesome system of actions andmeasures which closely connect all the actions of muse-ums, adequate governmental institutions and public inan unique task. That is how The Resolution of Serbia andMontenegro about preventive preservation was acceptedat the General Congress of UNESCO in 2003 as a fun-damental strategy of heritage preservation, especiallyfor the countries in transition and development. Dianaprepared this resolution completely.

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mnogim stru~njacima iz muzeja i institucija za{tite izSrbije i svih zemalja jugoisto~ne Evrope.

Dijana s krajnje otvorenim stavom u svoje programeuklju~uje sve one koji su profesionalno zainteresovani iambiciozni. Sve aktivnosti u Dijani povezane su sa oni-ma u Narodnom muzeju, ICOM-u Srbije, ICOM-SEE-jui neprestano se uskla|uju sa strategijama na globalnomnivou, koje uspostavljaju ICOM, Unesko, ICCROM i dru-gi. Dobar deo sada{njih regionalnih projekata pre vi{egodina za~et je u Dijani; oni se sada, kao dobro razra|e-ni i etablirani, preme{taju iz Srbije u druge zemlje regi-ona: u Albaniju, Makedoniju, Rumuniju, Hrvatsku itd.(Arheolo{ka konzervacija, Osnovi preventivne konzervacije,Procena i kontrola rizika, SEE TIEM-MEP i drugi).

Tokom poslednje decenije, dakle, Dijana – u skladusa op{tim strategijama – svoje nau~no i stru~no teì{teu organizovanju efikasne i efektivne slu`be za{tite kul-turne ba{tine pomera ka bliskoj povezanosti izme|ukulturne ba{tine i njene okoline, ka stvaranju odgovara-ju}e sredine, one u kojoj }e svi potencijalni rizici po na-sle|e biti umanjeni ili uklonjeni, kao i ka organizovanjupreventivnih mera koje }e preduprediti i kontrolisatidestruktivne faktore i procese u samoj materiji kultur-nih dobara i u njihovoj neposrednoj i {iroj okolini.

Tri va`na sistemska dela tog zajedni~kog koncepta ijedinstvenog strate{kog cilja upravo se ovih dana zaokru-ùju i usmeravaju ka dugoro~nom razvoju:

– zasnovane su diplomske akademske studije iz pre-ventivne konzervacije (master) na Beogradskom univer-zitetu, u saradnji sa Sorbonom, a one }e se dalje razvi-jati i uklju~ivati i druge sadràje iz konzervacije ba{tine;sada je jasno da moèmo zapo~eti i s pripremanjemosnovnih studija iz za{tite ba{tine na Beogradskom uni-verzitetu, na principu 3 + 2 i s doktorskim programima(24. novembar 2008);

– oja~ana je regionalna alijansa ICOM-a za jugoisto~-nu Evropu – ICOM-SEE; on ve} okuplja devet zemaljaregiona, koje ostvaruju mnoge zajedni~ke projekte i ak-tivnosti s velikim brojem me|unarodnih, regionalnih inacionalnih partnera (4. jun 2008);

– osniva se nova institucija za{tite – Centralni institutza konzervaciju (CIK), koji }e sprovoditi integrativni si-stem za{tite i koji }e interaktivno uklju~iti sve sadràjeba{tine (arhitekturu, arheolo{ke lokalitete, muzejsku,arhivsku i bibliote~ku gra|u i nematerijalnu ba{tinu) iobjediniti sve aktivnosti na za{titi ba{tine (edukaciju,multidisciplinarna istraìvanja, preventivnu konzerva-ciju, konzervatorski tretman, dokumentacioni sistem,PR i marketing); CIK }e biti institucija koja }e u praksisprovoditi nove teorijske i metodolo{ke koncepte za{titei koja }e, u tom smislu, biti regionalno orijentisana.

Diana mostly realizes its programes and projects asa partnership with the renowned institutions and orga-nizations of protection: ICOM, ICCROM, UNESCO,ICOM SEE, C2RMF, AC Var, The Museum of Antique inArl, The Museum of Macedonia, The National Museumof Slovenia, The Planetary Museum in Sarajevo, TheMuseum of Frontier in Banja Luka, The National Museumof Montenegro, The Croatian Zagorje Museum and withthe other participants from the museums and protec-tion institutions from Serbia and the other countries ofthe region of South East Europe.

Diana, with its open attitude, includes in its progra-mes all of those who are interested professionally andambitious. All Diana’s activities are mutually connectedwith the activities of The National Museum, ICOM inSerbia, ICOM SEE and they have been adjusted to thestrategies on the global level which come from ICOM,UNESCO, ICCROM and etc.The bigger part of the curentregional project that started in Diana couple years ago,has moved, as well developed and established project,from Serbia to the other countries of the region: Albania,Macedonia, Romania, Croatia and etc. (The Archealogi-cal Conservation, The Fundamentals of Preventive Con-servation, The Evaluation and Control of Risk, TIEMMEP SEE and etc).

So, in the previous decade Diana, in compliance withthe general strategies, has moved its scientific centre byorganizing the effective service of protection of thecultural heritage to closely link the cultural heritage andits enviornment, and to form o proper environmentwhich will decrease and eliminate all potencial risks ofheritage, to organize preventive measures which willanticipate and control destructive factors and processesof the cultural objects in its surronding.

– The Master Studies in preventive conservation atUniversity of Belgrade in cooperation with Sorbonne,which will develop further and include other contentsfrom conservation of heritage. So, it has become clear thatnow we can start with preparing of Bachelor Studies onthe University of Belgrade, with 3+2 principle and withthe PhD programs (November 24th 2008).

– Strenghening of regional alliance ICOM for SouthEast Europe-ICOM SEE who has already gathered ninecountries of the region through numerous mutual pro-jects and activities and with a huge number of interna-tional, regional and national partners (June 4th 2008.).

– Establishing of the new institution of protection,The Cenrtal Institutw for Conservation – CIC which willconduct an integrative system of protection and includeinteractively all contents of heritage (architecture, arha-ological sites, museum, archive and library materials andimmaterial heritage) and all activities on heritage (edu-cation, multidisciplinary researches, preventive conser-vation, conservation treatment, unique documencationsystem, PR and marketing). CIC will represent aninstitution which will conduct new theoretical andmethodological concept of heritage in practice, and willbe regionally oriented.

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Sadràj | ContentsMUZEOLOGIJA I ZA[TITA BA[TINE

Fabricio AGO06 Koncepcija muzeja – radionica na Skopskom univerzitetu07 A Workshop on Museum Design at Skopje University

Mila KARAS10 Obnova narodne litije, zapisa i obi~aja u okolini Beograda – pola veka posle prekida vi{evekovnog

kontinuiteta ~uvanja nematerijalne i duhovne ba{tine Srbije11 Preserving the Spiritual Heritage of Serbia: Litija (Sacred Procession), and Zapis Trees in the Vicinity of

Belgrade: the Return of Some Ancient Customs

Mila POPOVI]-@IVANÊVI]18 Dijana i ICOM-SEE u okviru regionalne saradnje u jugoisto~noj Evropi. Regionalna orijentacija Dijane19 Diana and ICOM-SEE Within Regional Cooperation in South East Europe. Regional Orientation of Diana

Biljana \OR\EVI]24 Konvencija o za{titi starih i tradicionalnih zanata – promena sada{njosti i oblikovanje budu}nosti26 Evropska konvencija o za{titi starih i tradicionalnih zanata 25 Convention on the Protection of Old and Traditional Crafts: Changing the Present and Shaping the Future27 European Convention on the Protection of Old and Traditional Crafts

ARHEOLOGIJA I ISTORIJA UMETNOSTI

Biljana \OR\EVI]48 Neopipljiva ba{tina: etnoarheolo{ka istraìvanja tradicionalnih tehnologija keramike49 The Intangible Heritage: Ethnoarchaeological Research of Traditional Ceramics Technologies

Eva CINCAR, Francesko CINI54 Eksperimentalna arheologija. Proces topljenja bakra i bronze55 Experimental Archaeology: the Copper and Bronze Melting Process

Du{ko [LJIVAR, Julka KUZMANOVI]-CVETKOVI]56 Plo~nik, arheologija i konzervacija57 Plo~nik, Archaeology and Conservation

Ksenija \URI[I]60 Ikonoslikarstvo crkve Svetog Luke u Kotoru61 Church of St. Luke, Kotor. Icon Painting

KONZERVACIJA

64 Terminologija – konzervacija materijalnog kulturnog nasle|a 65 Terminology to Characterize the Conservation of Tangible Cultural Heritage

Ana SIRK FAKU^66 Fluorescentna ultravioletna fotografija u konzervaciji umetni~kih slika

67 Photography of Ultraviolet Fluorescence in Painting Conservation

Ljiljana PROTI]70 Konzervacija crkvenog inventara iz crkve Svetog Save na Savincu71 Conservaton of Church Treasures from St. Sava Church Savinac

Sla|ana NOVKOVI]76 Restauracija porcelanske {olje 77 Restoration of a Porcelain Cup

Zvezdana POPOVI]78 Problemi u konzervaciji keramike s vi{eslojnih lokaliteta 79 Problems in the Conservation of Ceramics in Multi-layered Archeological Sites

Slobodan BOGOJEVI]82 Nov pristup konzervaciji i unapre|ivanje uslova ~uvanja metalnih arheolo{kih

predmeta u Narodnom muzeju u â~ku83 A New Approach to Conservation and a Further Improvement of Conditions

for Taking Care of Metal Archeological Objects in the National Museum of â~ak

EDUKACIJA I STRU^NI SKUPOVI

Marija RADIN94 Prevo|enje tezaurusa baze podataka Eros na srpski jezik95 Translating the Thesaurus of the Eros Database into Serbian

Danijela STOJILJKOVI], Nata{a KRSTI]98 Posete depoima arheolo{kog materijala u Francuskoj99 Visits to Depots of Archaeological Material in France

Ana @IVKOVI]104 Izve{taj o staìranju u Regionalnoj laboratoriji za konzervaciju i restauraciju A.R.R.E.P. u Francuskoj105 Report on Training in the Atelier Regional de Restauration des Elements du Patrimoine

(Laboratory for Conservation and Restoration), A.R.R.E.P. in France

Veljko D@IKI]106 Izve{taj o staù u INP-u (Institut national du patrimoine)107 Report on Training at the Institut National du Patrimoine (INP)

Ivan CVEJI], Zvezdana POPOVI]110 Radionica iz oblasti konzervacije pozlate na drvetu 111 Workshop Dedicated to the Conservation of a Gilded Object Made of Wood

Ana KOCJAN, Aleksandar JOKSIMOVI]114 Male ruke i velika dela115 Small Hands, Great Work

Suzana POLI]-RADOVANOVI]118 Multidisciplinarna istraìvanja u arheometriji119 Multidisciplinary Research in Archaeometry

Azra BEÊVI]-[ARENKAPA122 Simpozijum Fotografsko naslje|e u centralnoj, jugoisto~noj i isto~noj Europi – pro{lost, sada{njost i budu}nost123 Symposium Photograph Heritage in Central, Southern and Eastern Europe: Past, Present and Future

Ubavka MIO^124 Studenti Beogradskog univerziteta na skupu U susret pro{losti: nauka i kulturno nasle|e125 Students of Belgrade University at the Meeting Looking Forward to the Past: Science and Heritage

Vesna @IVKOVI]128 Razvoj diplomskih akademskih studija preventivne konzervacije (master) u Beogradu127 The Establishement of a Master’s Degree in Preventive Conservation in Belgrade

KULTURNI TURIZAM

Aleksandar TODOROVI]132 Turisti~ka valorizacija Spomen-parka Kragujeva~ki oktobar133 Tourist Valorization of the October of Kragujevac Monument Park

REGIONALNA SARADNJA

Mila POPOVI]-@IVANÊVI]138 Regionalni projekti i aktivnosti u jugoisto~noj Evropi koje su pokrenuli, koje relizuju, koordiniraju i ~iji su

organizatori Odeljenje za preventivnu konzervaciju Dijana i ICOM-SEE, u saradnji s raznim partnerima139 Regional Projects and Activities in South East Europe Initiated, Coordinated and Organised by

Department for Preventive Conservation Diana and ICOM SEE in Cooperation with Various Partners

PRO[LOG MAJA na Univerzitetu u Skoplju odràna je tro-dnevna radionica koja se odnosila na koncepciju muzeja upraksi. U Skoplje me je pozvao profesor Vlatko P. Korobar,dekan Arhitektonskog fakulteta Skopskog univerziteta. Ra-dionica je okupila studente Arhitektonskog fakulteta i Fakul-teta umetnosti, kao i stru~njake iz makedonskih muzeja,one koji rade na odeljenjima muzeologije, katalogizacije igrafike.

Tokom tri dana razmatrana su, na me|unarodnom ni-vou, nova teoretska i prakti~na iskustva kako bi u~esnicistekli sliku o tome {ta moè da bude zadatak projektanta mu-zeja, bilo kod planiranja novog kompleksa, bilo kod obnav-ljanja postoje}e zgrade.

Razgovori su vo|eni o razli~itim temama: razmatranesu ekonomske i kulturne prilike, zatim arhitektonski i gra|e-vinski aspekti, iscrpno se diskutovalo o kretanju (putanja-ma) posetilaca, izlaganju zbirki, kao i o muzejskim slu`ba-ma, poput laboratorija za konzervaciju, baza podataka,pres-slu`bi, i, kona~no, o slu`bama kao {to su restorani sasamoposluìvanjem za posetioce, knjiàre itd.

U okviru radionice raspravljalo se i o dva izuzetno va-`na pitanja. Prvo pitanje odnosilo se na mogu}nost sprovo-|enja novih kulturnih strategija, s obzirom na to da oneuti~u na muzej kao instituciju, a posebno onda kada se su-protstavljaju muzejskim konceptima zasnovanim tokomistorijskih i kulturnih razdoblja koja se danas mogu sma-trati pro{lo{}u. Drugo pitanje, koje se u ve}oj meri postavljakao zahtev, odnosilo se na mogu}nost nadilaènja koncep-ta muzeja kao izolovane celine i njegovog razmatranja kaodela mreè u kojoj se nalazi s drugim kulturnim institucija-ma na datom podru~ju, a isto tako i na razmatranje muze-ja kao neophodnog odgovora na postoje}e pritiske kulturneglobalizacije.

Predstavljene teme proiza{le su iz mog dvadesetpeto-godi{njeg iskustva u toj oblasti. Ve} mnogo godina radimna unapre|ivanju muzejskog sistema na Srednjem istoku iu regionu Balkana. Cilj mog rada jesu o~uvanje i valorizaci-ja kulturnog nasle|a, neophodni ukoliko stanovni{tvo èlida povrati sopstveni identitet. Pored toga, kulturno nasle-|e u svakom pogledu jeste svojevrstan, mada neobnovljivekonomski izvor, kao i osnovno sredstvo razvoja.

Program radionice obuhvatao je rasprave iz oblasti mu-zeologije tokom prvog dana, rasprave iz oblasti muzeogra-fije tokom drugog i, kona~no, rasprave iz oblasti muzejskihtehnika tokom tre}eg dana.

Nau~ne rasprave iz oblasti muzeologije proiza{le su izstanovi{ta da je muzej mesto na kojem se ~uva i {titi ba{tinaradi istraìvanja i u~enja, ali da je on i mesto na kojem sestvaraju zajedni~ke i podeljene uspomene. Taj princip jesteosnova za postupke obnove na~ina na koji muzeji razvijajuodnos s publikom; pored priznate tradicionalne uloge mu-

zeja, sada se ve}i zna~aj pridaje njihovom zadatku komuni-kacije u vezi s kulturnim sadrìnama. Publika ne treba dase posmatra kao neizdiferencirani nasumi~ni univerzum. Ono{to muzej nudi treba da se razvija tako da privu~e takozva-ne nemuzejske ciljne grupe ili one dru{tvene grupe koje uodnosu na muzej podiù najve}e barijere. Isto tako, trebauzeti u obzir i dru{tvene promene i stvarati posebne progra-me, na primer one namenjene porodicama ili usmerene kamarginalnim grupama, kako bi se svakom omogu}ilo da ot-krije najstarije ili najudaljenije korene grada u kojem ìvi.Muzej tako u sve ve}oj meri postaje mesto na kojem moguda se podele istorija i uspomene.

Rasprave iz oblasti muzeografije odnosile su se na op-{ta razmatranja nastanka modernih muzeja i programa zaobnovu istorijskih muzeja. Predstavljene su i analizirane trizna~ajne studije za nove istorijske muzeje u Evropi: MuzejNovi atinski Akropolj (autori: B. Tschumi, M. Photiadis),Muzej Ara Pacis u Rimu (autor: R. Meier) i Muzej Shoah uBerlinu (autor: D. Libeskind), zatim rasprave o muzejimamoderne umetnosti: Paviljonu Quadracci u Muzeju umetno-sti u Milvokiju (autor: S. Calatrava), Muzeju Roverto MART(autor: M. Botta) i Muzeju moderne umetnosti Cartier uParizu (autor: J. Nouvel). Kona~no, tri studije odnosile suse na postoje}e programe obnove muzeja: Nove britanskegalerije u Muzeju Viktorije i Alberta u Londonu, MuzejaGuimet u Parizu (autor: H. Gaudin) i Narodnog muzeja uBeogradu (autor: M. Rako~evi}).

Nau~ne rasprave iz oblasti muzejskih tehnika proiza{lesu iz op{tih razmatranja zna~aja koji u modernim istorij-skim muzejima zadobijaju komponente opreme. Stoga smose usredsredili na pitanja koja su vi{e tehni~ke prirode, naprimer na pitanje sistema za monitoring i kontrolu mikro-sredine, probleme sistema osvetljenja (kako zgrade tako ivitrina), kao i na razli~ite druge elemente koji ~ine instala-cioni i tehnolo{ki sistem muzeja.

06

Fabricio AGO, arhitekta i muzeolog, Italija

KONCEPCIJA MUZEJA– RADIONICA NA SKOPSKOM UNIVERZITETU

DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

LAST MAY, at the kind invitation of Professor Vlatko P.Korobar, Dean of the Faculty of Architecture at the Univer-sity of Skopje, a three-day workshop on museum designpractices was held at the same University. The workshopbrought together students from the Faculties of Architec-ture and Arts, and professionals from MacedonianMuseums working in museology, cataloguing and graphicsdepartments.

The most updated theoretical and practical experiences,on an international level, were outlined throughout thethree days, with the purpose of providing the participants,with a reference picture of what the task for the designerof a museum, whether conceiving a new complex or refur-bishing an existing building, could be.

Thus, the subject moved from purely economic and cul-tural considerations, through architectonic and civil engi-neering-related aspects, a detailed discussion of visitors’paths, exhibiting collections, not overlooking museum sup-port services such as restoration laboratories, databases,press services, and eventually to services devoted to visitors,such as cafeterias, bookshops, etc.

Obviously, the workshop also dealt with two other re-levant matters: firstly, how new cultural strategies may beafforded when they affect the museum as an institutionand, specifically, confront museum concepts that werefounded in historical and cultural periods that may now beconsidered as superseded; the second matter, an even moredeeply perceived requirement, is how to go beyond the con-cept of museum as an isolated entity, considering it ratheras part of a network, among other cultural institutions ofthe area, a necessary response to the current pressures ofcultural globalisation.

The presented topics arose from my twenty-year per-sonal experience in the field. In fact, for many years I havebeen working on the enhancement of museum systems inthe Middle Eastern and Balkan Areas, with the double aimof preserving and evaluating the cultural heritage as an un-avoidable phase if populations wish to recover their ownidentity. Furthermore, the cultural heritage is in all respectsa proper albeit non-renewable economic resource, and anessential instrument for development.

The program of the workshop consisted of dissertationsin the field of Museology on the first day; the field of Muse-ography during the second day; and covered the field ofMuseotechniques on the third day.

The dissertations in the field of Museology sprang fromconsiderations that the Museum is a place of conservation,heritage protection and for research and study, and that itis also a place to build common and shared memories. Thatprinciple forms the basis of processes for renewing ways bywhich museums develop a relationship with their audience;

alongside their recognised, traditional functions, increasin-gly greater weight is being attributed to their task of com-municating cultural contents.

The public should not be viewed as an undifferentiatedand random universe. The offerings provided by museumsshould be developed to attract so-called non-museum targets,or those groups of society that experience or raise the grea-test barriers. Due account should also be taken of socialchanges, by creating – for example – specific programs targe-ted at families, and also directed at marginal communities,with a view to providing everybody with an opportunity todiscover the earliest or most distant roots of the city in whichthey reside, so that the museum increasingly becomes theplace where history and memory can be shared.

The dissertations in the field of Museography coveredgeneral considerations on modern museum realization andhistoric museum renovation programs. Three notable casesstudies for new historic museums in Europe were proposed

and analysed. These were: the New Athens Acropolis Mu-seum, by B. Tschumi and M. Photiadis; the Rome Ara PacisMuseum by R. Meier; and the Berlin Shoah Museum by D.Libeskind. Three dissertations related to modern Art muse-ums: the Quadracci pavilion at the Milwakee Art Museumby S. Calatrava; the Rovereto MART Museum, by M. Botta;and the Cartier Modern Art Museum in Paris, by J. Nouvel.Finally, three covered existing museum renovation programs:the New British Galleries at the Victoria and Albert Museum,London; the Guimet Museum in Paris, by H. Gaudin; andthe Belgrade National Museum, by M. Rako~evi}.

The dissertations in the field of Museotechniques sprangfrom general considerations of how plant components have

07

Fabrizio AGO, architect and museologist, Italy

A WORKSHOP ON MUSEUM DESIGNAT SKOPJE UNIVERSITY

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

Radionica je okupila preko pedeset u~esnika. O~igled-no je interesantniji deo radionice bila debata, koja je prvogdana vo|ena oko razli~itih aspekata novih informacionihtehnologija i odnosa stvarnog i virtuelnog predmeta u mu-zeju. Detaljno su analizirani novi tokovi koji se odnose navirtuelne muzeje, kao {to su, na primer, predlozi ameri~kegrupe Asymptope (American Group „Asymptope“).

Kada je re~ o muzeografiji, posebno se govorilo o pro-gramima obnove koji muzeju omogu}uju da bude reinter-pretiran putem novih komunikacionih sistema i novih de-finicija muzejske misije. Jedno od obele`ja novog periodajeste reorganizacija postoje}ih muzeja; ona je ~esto povezanas prakti~nim zahtevima, a to je vrlo zna~ajno, kao {to je bilokada je re~ o Britanskom muzeju i Museumsinsel u Berlinu.To podrazumeva prepoznavanje potrebe za modernizaci-jom zastarele strukture, kako arhitektonske tako i izlo`be-ne. S novim konceptom koji se naziva obrazovno-zabavnim,u sredi{te razmatranja dolaze ~ak i muzeji kojima su po-trebni novi prostori za povremene izlo`be i pomo}ne servi-se, na primer Musei Capitolini u Rimu (autor: C. Aymonino),Istorijski muzej u Berlinu (autor: I. M. Pei) i Van Gogovmuzej (autor: K. Kurokawa).

Poslednjeg dana raspravljalo se o osvetljenju i o tomekako ono moè da pobolj{a sistem muzejske komunikacijei omogu}i scenografske efekte, ~ak i stvaranje stimulativnei posebne atmosfere. Proveravali smo razli~ite tipove izvorasvetlosti, dostupne na italijanskom i evropskom trì{tu.

Zahvaljuju}i ljubaznosti Italijanske ambasade, bile sunam obezbe|ene prevodila~ke usluge (prevod sa italijanskogna makedonski jezik i vice versa). Usluga je bila odli~na, iakosu se zbog ritma debate pojavili i neki nedostaci.

Boravak u Makedoniji bio je prilika i za posete raznimmuzejima u zemlji, po~ev od Muzeja Makedonije, Muzejagrada Skoplja, koji se nalazi u zgradi stare èlezni~ke stani-ce, zatim Muzeja moderne umetnosti (Kale), koji je projek-tovao poljski arhitekta J. Mokrzynski. Posetili smo i mana-stir Svetog Pantelejmona u Nerezima i Narodni muzej uOhridu, kao i nekoliko arheolo{kih nalazi{ta u Ohridu, za-tim Veles i Stobe. U Skoplju sam obi{ao i dve nove galerijesavremene umetnosti, jednu u modernom gradu, a drugu ubiv{em Kur{umli-hanu.

Te posete omogu}ile su mi da sagledam bogatstvo ma-kedonskog istorijskog arheolo{kog nasle|a i sve ono {to je

ura|eno, kao i napore koji su u~injeni da bi se to nasle|esa~uvalo i prikazalo javnosti. Primetio sam, me|utim, i to danedostaju sredstva za odgovaraju}e predstavljanje starinaod neprocenjive vrednosti, posebno u Narodnom muzeju uOhridu.

Po povratku u Skoplje pa`nju mi je prvo privukao Mu-zej Makedonije, u kojem sam vodio zanimljive razgovore irazmenjivao ideje s profesorkom Meri Ani~in Pejoskom,direktorkom muzeja. Omogu}eno mi je i da pomognem uradu izvrsne radionice za decu, koja je kroz prizore iz sva-kodnevnog ìvota oìvljavala narodne obi~aje, od me{enjahleba do obreda ven~anja.

Ono {to zaista zabrinjava jeste stanje u kojem se nalazizgrada muzeja. Neophodno ju je temeljno renovirati, kakosa stanovi{ta detaljnog arhitektonskog plana tako i u pogle-du funkcionalnosti, a potrebno je voditi ra~una i o na~inuna koji se predmeti izlaù. Tokom poslednjih nekoliko go-dina muzej je u~inio zna~ajne napore kako bi se prostorijeosavremenile, {to se moè videti iz plana komunikacije spublikom, po delovanju radionica za decu, otvorenih i zaodrasle, kao i iz plana izlo`bi ili, na primer, na osnovu za-divljuju}e nove opreme u odeljenju ikona.

Ono {to bi sada bilo korisno da se u~ini jeste ponovnorazmi{ljanje o kompleksu u celini, po{to u njemu postoji ve-liki broj prekida, cezura, izme|u odeljenja, a oni su uslovlje-ni originalnim arhitektonskim projektom. Neometanost isled u putanji posetilaca u~inili bi muzej mnogo atraktivni-jim. Taj problem bi se morao pa`ljivo prou~iti.

U makedonskoj modernoj arhitekturi primetno je veli-ko previranje, {to pokazuje, na primer, zgrada Glavne po{te,koja se uzdiè na Trgu Makedonija, verovatno najneobi~ni-je ostvarenje skopske moderne arhitekture. Me|u muzejimavredna je pa`nje nova Galerija savremene umetnosti, s tim{to bi isti takav napor sada bilo potrebno u~initi i u vezi sMuzejom Makedonije.

Sa M. Pejoskom razgovarali smo i o mogu}nostima in-spirisanja Evropskom agendom za kulturu u svetu koji seglobalizuje (prva evropska strategija za kulturu od 10. ma-ja 2007. godine) i o promovisanju kulture kao katalizatoraza kreativnost u okviru Lisabonske strategije.

U skladu s tim pristupom, potrebna su ulaganja u pro-grame obnove muzeja, s jedne strane, a treba pove}ati i nad-le`nost nad teritorijom i njenom ekonomijom. S druge stra-ne, Evropska komisija èli da 2009. godina bude evropskagodina kreativnosti i inovacija, {to bi se ostvarilo kroz edu-kaciju i kulturu, kako bi se svest o tim problemima podiglana vi{i nivo, da bi se o njima u {to ve}oj meri raspravljalo ida bi se podstakle kreativnost, inovacije i me|ukulturnanadle`nost.

Stoga je sada podesan trenutak za preduzimanje merakoje se odnose na izradu programa za obnovu muzeja, uzusredsre|ivanje na oja~avanje dru{tvenog i ekonomskoguticaja u pogledu ulaganja u kulturu i kreativnost, a poseb-no treba voditi ra~una o promociji ekonomskog i dru{tve-nog rasta, poslova, razvoja i atraktivnosti Skoplja. Ova-kvom programu treba pristupiti tako da se dobijekomercijalni predlog za finansiranje programa na odgova-raju}i na~in, uz obezbe|ivanje najve}e mogu}e odrìvostipredloènih aktivnosti.

08


become increasingly essential for new historic museums inEurope. We therefore focused on more technical issues suchas monitoring systems, controlling microenvironments,lighting systems (both for the building and showcases), andvarious other elements that make up the installation andengineering systems of a museum.

Over 50 people attended the workshop. Obviously themore interesting part was represented by the debate, which,for the first day, concerned various aspects of new infor-mation technologies and the relationship between real andvirtual objects in a museum. Then we looked in detail atthe most up-to-date trends concerning virtual museums, aswas the case with the proposals by the American groupAsymptope.

The museographic aspects the debate were specificallydevoted to renewing programs that permit museums to bereinterpreted through new communications systems andnew definitions of the museums’ mission. One of the featuresof this most recent period is the restructuring of existingmuseums, often linked to practical requirements, whichhave had a significant impact, as was the case of the BritishMuseum and the Berlin Museumsinsel. This recognises theneed for modernising both architectural and exhibitory out-dated structures. Even museums that need new areas fortemporary exhibitions and ancillary services are receivinggreater focus, in line with the new concept of edutainment,such as the Musei Capitolini in Rome, by C. Aymonino, theBerlin History Museum, by I. M. Pei and the Van GoghMuseum, by K. Kurokawa.

On the last day, the debate centred around lights andtheir capacity to enhance museum communication systems,enabling scenographic effects, and even the creation of sti-mulating and peculiar atmospheres. Thus we consideredvarious types of light sources available today on the Italianand European markets.

The only flaw of that experience was the need fortranslator services, from Italian to Macedonian and viceversa. That was graciously granted by our Embassy. Theservice was excellent, but obviously the rhythm of the de-bate encountered some disabilities.

The stay in Macedonia was the occasion for visits tovarious local museums, from the Museum of Macedoniaand the Museum of the City of Skopje, located inside theOld Railway Station, then to the Museum of Modern Art,at the Kale, designed by Polish architect J. Mokrzynski. Out-side Skopje we visited the Monastry of Sveti Pantelejmonin Nerezi, and surveyed the Ohrid National Museum andseveral archaeological sites, in Ohrid, then in Veles andStobi. In Skopje I eventually paid a visit to two new inte-resting Contemporary Art Galleries, one in the modern cityand one inside the former Kur{umli An.

Such activity enabled me to appreciate the wealth ofthe Macedonian historical-archaeological heritage togetherwith actions performed and efforts made for its safeguardingand presentation to the public. However, I had to notice thegreat lack of available means for the correct presentation of

inestimably valuable relics, particularly in Ohrid Museum.Returning to Skopje, my attention was at first captured bythe Museum of Macedonia, where I had an interesting ex-change of ideas with the director, Prof. Mere Ani~in Pejo-ska. I had the opportunity to assist in a delicious workshopfor children, which through scenes of daily life, relived mo-ments of popular folk traditions, from the preparation ofbread, to wedding ceremonies, etc.

For what concerns more properly the structure of themuseum, it was possible to ascertain the requirements ofradical renovations from an architectural, layout and fun-ctional points of view, as well as regarding the way thatexhibits were displayed to the public. Over the last fewyears the museum has already made notable efforts to up-date the premises, as shown by their communication planwith the public, through workshops for children (but opento the adults), and on the plan for exhibitions, as shown bythe fascinating new dressings for the Icons section.

What would now become useful would be a global re-thinking of the complex, which suffers from an excessivecaesura between its departments, rising from the originaldesign of its architectural layout. A deeper fluency and suc-cession in the visiting route would in fact make the muse-um itself more and more attractive. That is something thatneeds to be carefully studied.

There is a sizeable ferment in Macedonia’s modernarchitecture, illustrated by the main post office building forexample, which overlooks Macedonia square. This is pro-bably Skopje’s most unusual piece of modern architecture.Among museums, the new Contemporary Art Galleries arenoteworthy; but the same efforts should now be made forthe Museum of Macedonia.

With Professor Pejoska we wondered whether it couldbe possible to be inspired by the European Agenda for cul-ture in a globalizing world (the first-ever Europeanstrategy for culture, on May 10th 2007), on how to promoteculture as a catalyst for creativity in the framework of theLisbon strategy.

On one hand, following this approach, investing in Mu-seum renovation programs should therefore increase thecompetitiveness of the territory at large and its economy. Onthe other hand, the European Commission wishes to make2009 the European year of creativity and innovation, througheducation and culture, in order to raise public awareness,promote policy debates, and contribute towards fosteringcreativity, innovation and intercultural competencies.

It is therefore an opportune moment to take action assoon as possible, and to draw up a program of museum re-newal, focusing on strengthening the social and economicimpact of investments in culture and creativity, in particularwith regard to the promotion of economic and social growth,jobs and the development and attractiveness of Skopje.Such a program should then be addressed, guaranteeing ina proper way the maximum sustainability of proposed in-tervention, in order to produce a bankable proposal forfinancing the program in a proper way.

09


UvodMali Mokri Lug i Veliki Mokri Lug su mesta na {irem pod-ru~ju Beograda, a pominju se jo{ u arhivskoj gra|i iz vreme-na pre Prvog srpskog ustanka. Nastanjena su hri{}anskimstanovni{tvom koje poti~e prete`no iz ju`nih i jugoisto~nihpredela Srbije. Po tradiciji, me{tani su bili zemljoradnici iratari. Do po~etka XIX veka atar Malog Mokrog Luga bio jemnogo ve}i nego danas. Prostirao se sve do dana{njeg \er-ma, koji je onda bio daleka periferija Beograda.

Kao i ve}ina hri{}anskog stanovni{tva slovenskog po-rekla, Srbi i Bugari vekovima su negovali i ~uvali mnogedrevne slovenske obi~aje, posebno kultne obi~aje u vezi sazavetnim drve}em. Tako su i u Malom Mokrom Lugu od sta-rine postojala stabla zapisi, a mesta na kojima su se nalazilabila su mesta zajedni~ke molitve. Stablo koje je nosilo zapisodvajkada je u srpskom narodu bilo tabuizirano i imalo jestatus nedodirljivosti. Prema drevnom verovanju, koje vaìi danas, s takvog stabla ne uzima se ni{ta – ni list, ni opalo se-me, ni gran~ica – osim za lek. Smatra se da je grehota ~ak itakvo suvo stablo i grane loìti ili koristiti za sticanje dobiti.

Kao i u drugim mestima po Srbiji, zapisi su se svake go-dine obnavljali. U Malom Mokrom Lugu svake godine odrà-vane su velike narodne litije: jedna 14. februara, na praznikSvetog Trifuna (za{titnika vinograda, polja i useva), a drugana duhovski petak (prvi petak posle Svete Trojice). Krsni hodtih litija se razlikovao; u tim prilikama, jednom godi{nje, ob-navljani su samo njihovi zapisi, to jest neki zapisi obnavljanisu na praznik Svetog Trifuna, a drugi na duhovski petak.

O litijama iz predratnog perioda u Malom Mokrom Lu-gu nema sa~uvanih podataka, za razliku od litija iz tog do-ba u drugim mestima po Srbiji. Po se}anju me{tana, pozna-to je da je svake godine seoska slava imala doma}ina, a onisu se smenjivali. To je bila velika ~ast, pa su se prijavljivalinajugledniji doma}ini, koji su donosili sve {to je bilo po-trebno za proslavu. Prvog petka posle Duhova, na dan kadaMali Mokri Lug odvajkada slavi slavu svog mesta, kod zapi-sa se odràvao i va{ar. Bilo je to veliko narodno okupljanje(sabor) pod {atrama, gde se slavila slava u vremenima u ko-jima mesto nije imalo svoju crkvu. Litija se tako proslavljalasve do kraja Drugog svetskog rata. Ni za vreme okupacije stim se nije prekidalo.

Stanje posle Drugog svetskog rataPosle oslobo|enja litija je odràna samo jednom – 1946. godi-ne. Divni i drevni narodni obi~aji seoske litije i obnavljanjazapisa u Malom Mokrom Lugu nasilno su prekinuti 1947. go-dine. Odlukom tada{njih vlasti narodne litije u Malom Mo-

krom Lugu su zabranjene. O tome nema sa~uvanih podatakajer su crkvene knjige hrama Svetog Ilije u Mirijevu (u to vre-me mesne crkve i za Mali i za Veliki Mokri Lug) spaljene, asve{tenik je surovo ubijen. Podaci o tim doga|ajima zasad sunedostupni, a stariji me{tani o tome nerado govore. Ipak, ne-ki od njih progovorili su zahvaljuju}i pomo}i protojereja Ili-je \uri}a, paroha nove crkve Svetog Trifuna u Malom Mo-krom Lugu, protojereja mr Aleksandra Sredojevi}a i crkvenihodbornika @ivojina Hadì Krsti}a i Petra Simonovi}a.

Na osnovu se}anja vreme{nih me{tana Mom~ila Stefa-novi}a, Milorada Stojanovi}a i Miodraga Stojanovi}a Bakal-ca rekonstruisana su mesta na kojima se od 1900. godine umokrolu{kom ataru nalazilo osam stabala zapisa, od kojihsedam vi{e ne postoji.

U ovom radu prikazan je i prostorni raspored mokro-lu{kih zapisa do kraja Drugog svetskog rata. Na karti MalogMokrog Luga njihova mesta obeleèna su crnim krstovima(1–7). To je prva rekonstrukcija i rasvetljavanje sudbinemokrolu{kih zapisa posle Drugog svetskog rata. Naàlost,za neke od zapisa podaci o vremenu uni{tenja ili nestankanisu sa~uvani.

Mokrolu{ki zapisi s po~etka XIX veka do kraja Drugog svetskog rata i njihovi lokaliteti (karta 1)

1. Na mestu na kojem se nalazila prva {kola u MalomMokrom Lugu (otvorena 1860. godine, radila do 1938) zapisje bio veliki brest. Na Belu nedelju (to je pokretni praznikkoji pada prve nedelje uo~i vaskr{njeg posta) tu se odràvaoseoski va{ar. Na zapis se rano ujutru ka~ila ljulja{ka, na ko-joj su se tog dana obredno ljuljali svi stanovnici mesta, bezobzira na godine.

2. Na mestu na kojem se nalazila druga {kola u MalomMokrom Lugu (1938–1960) zapis su bila tri bresta u {kol-skom dvori{tu. Posekao ih je 1946. godine jedan me{taniniz Malog Mokrog Luga, po nare|enju onda{njih vlasti. Nje-govo ime nije saop{teno jer je ubrzo posle toga umro, bezmu{kog potomstva.

3. Milosavljevi}a brest bio je zapis koji se nalazio iznaddana{nje Bajdine ulice. O njemu nema podataka posle 1945.godine, a mesto na kojem se uzdizao obavijeno je velom }u-tanja. U neposrednoj blizini, ka severozapadu, leì poljanakoju me{tani i danas nazivaju strati{tem. Po njihovom ka-zivanju, na tom mestu jedne no}i 1946. godine partizani sustreljali grupu od oko 40 ljudi. Me|u njima streljani su itrojica uglednih mokrolu{kih doma}ina (B. Jorga~evi}, B.Ivkovi}, \or|evi}) i mirijevski sve{tenik nepoznatog imena.

10


Mila KARAS, vi{i kustos pedagogPrirodnja~ki muzej u Beogradu

OBNOVA NARODNE LITIJE, ZAPISA I OBIÂJA U OKOLINI BEOGRADA – POLA VEKA

POSLE PREKIDA VI[EVEKOVNOG KONTINUITETA ÛVANJA NEMATERIJALNE I DUHOVNE BA[TINE SRBIJE

IntroductionMali Mokri Lug and Veliki Mokri Lug are settlements in thebroader Belgrade area, mentioned in archive material pre-dating the First Serbian Uprising. They have been inhabitedby Christians, mostly originating from the southern andsoutheastern parts of Serbia. The traditional occupation ofthese inhabitants was cereal and vegetable farming. Untilthe beginning of the 19th century, the area of Mali Mokri Lugwas much larger than it is today. It extended all the way topresent-day \eram, which at the time was on the outskirtsof Belgrade.

Like most Christian populations of Slavic origin, Serbsand Bulgarians in this area have preserved and practicednumerous ancient Slavic customs, especially religious cus-toms connected with sacred trees. Since early times therewere trees at Mali Mokri Lug (called Zapis) that were used assites for mass prayer. In the Serbian custom, once a tree wasproclaimed a Zapis, it became sacred and earned a statuswhereby it should not be touched. According to the ancientbelief, which is present even today, nothing should betaken from that tree – not a leaf, not a fallen seed, not a twig– except for medicinal purposes. It is even believed that itwould be a sin to burn its dead dry trunk or branches or usethem for gain.

As in the other places in Serbia, each Zapis was renewedevery year. Large-scale community processions (called Litija)used to happen every year at Mali Mokri Lug. There weretwo processions: one on February 14th, St. Tryphon’s Dayin the Orthodox calendar (the patron saint and protector ofvineyards, fields and crops) and another at Pentecost (thefirst Friday after Trinity Sunday). The procession routes weredifferent, and during each procession only the appropriateZapis trees were renewed, some on St. Tryphon’s Day andothers at Pentecost.

There are no preserved data on the Processions in MaliMokri Lug before WWII as there are in other parts of Ser-bia. According to the recollections of village elders, the vil-lage slava (saint’s day celebration) used to have a differenthost each year. This was a great honor, so only the most re-spectable household owners applied and provided every-thing necessary for the celebration. On the first Friday afterPentecost (»Isto~ni« or gushing Friday), on which MaliMokri Lug has celebrated its slava since ancient times, afair used to be organized next to the Zapis. This used to bea large folk gathering under pavilion tents, where the slavawould be celebrated when the community did not have itsown church. The Litija was celebrated in this way until the

end of Second World War, even continuing during Germanoccupation.

Situation after the Second World WarAfter the liberation in 1944, the Litija was performed onlyonce in Mali Mokri Lug, in 1946. These wonderful ancientcustoms were forcibly banned in 1947 by the government ofthe day. There are no preserved data on this, as the churchbooks of St. Ilija’s church in Mirijevo (which at the timewas also the parish church for Mali and Veliki Mokri Lug)were burnt, and the priest was brutally murdered. The vil-lage elders are still reluctant to speak about this but somedecided to share some information with the help of the thenew church board of St. Tryphon at Mali Mokri Lug, Proto-jereji (senior priests) Ilija \uri} and Aleksandar Sredojevi}and two church officials, Mr. @ivojin Hadì Krsti} and Mr.Petar Simonovi}.

According to the village elders Mom~ilo Stefanovi},Milorad Stojanovi}, and Miodrag Stojanovi}-Bakalac, thesites of 8 Zapis trees present in the area of Mokri Lug from1900 have been redeveloped since 1946. Seven of the eightoriginal trees no longer exist.

This paper also presents the spatial distribution of MokriLug Zapis trees until the end of Second World War. Theirpositions are marked with black crosses (1–7) on the mapbelow. This is the first reconstruction and clarification ofthe fate these Zapis trees following the Second World War.Unfortunately, for some Zapis trees there is no data onwhen they were destroyed or disappeared.

Zapis trees from Mokri Lug from the early 19th century to the end of Second World War and their sites (Map 1)

1. There was a large Zapis Elm tree on the site of thefirst school in Mali Mokri Lug (opened in 1860, functioneduntil 1938). The village fair was organized here on WhiteSunday (a movable holiday which always occurred on the lastSunday before Lent). In the early morning a swing was hungfrom the Zapis tree, and all the inhabitants of the village,regardless of age, participated in the swinging ritual.

2. On the site of the second school in Mali Mokri Lug(1938–1960), the Zapis included three Elm trees situatedin the schoolyard. They were cut down in 1946 by one ofthe inhabitants of Mali Mokri Lug, on the order of the thengovernment. Nobody wanted to disclose his name as he diedsoon after without any male heirs.

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Mila KARAS, senior curator-pedagogueNatural History Museum, Belgrade

PRESERVING THE SPIRITUAL HERITAGE OF SERBIA: LITIJA (SACRED PROCESSION), AND ZAPIS TREES

IN THE VICINITY OF BELGRADE: THE RETURN OF SOME ANCIENT CUSTOMS

Nisu poznata ni imena ostalih streljanih, ali se zna da sudovedeni iz Petog rejona, sa Zvezdare.

4. Brest zapis u vinogradu Stojanovi}a Bakalca. Brest jebio veoma star, osu{io se i sam pao 1970. godine. Niko ga ni-je dirao, a stablo i panj s vremenom su istrulili.

5. Zapis na stablu bresta u Milijinom potoku, na imanjuDobrivoja Koci}a, danas ne postoji. Nema podataka o nje-govom nestanku.

6. Zapis na stablu oraha u vinogradu Stojanovi}a. Imanjeje prodato, a novi vlasnik posekao je orah oko 1960. godine.

7. Zapis na stablu stare kru{ke koja se nalazila na mokro-lu{kom imanju Milosavljevi}a, iznad groblja, pored putakoji vi{e ne postoji. Pose~en je 1945. ili 1946. godine.

8. Zapis na stablu crnog duda na imanju Stojanovi}a.Dud jo{ uvek postoji, obilno ra|a i jedini je do danas sa~u-van i obnovljen zapis iz tog perioda. Vlasnik imanja omo-gu}io je pristup litiji kada je ona obnovljena (sl. 1).

Obnavljanje litije i zapisa u Malom Mokrom Lugu 1994–2007Posle dugog perioda, u vreme izolacije, kada je komunisti~kireìm bio na izdisaju, me{tani Malog Mokrog Luga sabrali suse i odlu~ili da obnove svoje obi~aje. Ve} 1994. godine obno-vili su narodnu litiju na duhovski petak – 16. juna, po novomkalendaru. Osim crnog duda na imanju Stojanovi}a, koji jetada obnovljen, zapisuju i dva nova stabla: beli jasen u portibudu}eg hrama Svetog Trifuna (sl. 2) i divlju {ljivu (dànari-ku ili prasku) na Jekmekluku, na seoskom zemlji{tu (sl. 3).

To je vreme velikog duhovnog bu|enja u Srbiji, pa me-{tani iste godine pokre}u izgradnju hrama Svetog Trifuna.On je podignut zalaganjem protojereja Ilije \uri}a i Crkve-nog odbora, a gra|en je od priloga me{tana, bez i~ije pomo}i.Sa izgradnjom crkve otpo~elo se 6. novembra 1994, kada jeu njene temelje crkvenu gramatu postavio Njegova svetost

patrijarh Pavle. Zavr{ena je i osve}ena 1998. godine. I to jedelo Crkvenog odbora, koji je doneo odluku o obnovi litije iosve{tavanju novih zapisa u mestu. Godine 1998. podignut jei jedinstven zapis u obliku velikog metalnog krsta u beton-skoj osnovi (sl. 4). U njegove temelje, prema hri{}anskomobi~aju, poloèna su tri kamena sa svetih mesta: sa Gore ku-{anja u Jerusalimu, iz Hilandara i iz Studenice. Od 1994. go-dine litija se odràva svake godine na duhovski petak, a otkadje podignuta i osve}ena crkva Svetog Trifuna, polazi odatle.

Krsni hod litije na duhovski petak 2007. godinePro{le godine litija je po~ela u petak, 1. juna 2007, u sedamsati, slu`bom u hramu. Mnogo pre po~etka slu`be sve~anoodeveni me{tani po~eli su sa svih strana da se slivaju uhram. Bilo je i dosta gostiju iz Beograda. Iz {kola su verou~i-teljice dovele decu, koja su u besprekornom redu stajala namolitvi za po~etak krsnog hoda. Kada je molitva zavr{ena,mali{ani su sa strahopo{tovanjem prilazili i podizali ikonesvetitelja koje su nosili u krsnom hodu (sl. 5, 6 i 7). Najra-dije su uzimali ikone Presvete Bogorodice. Bili su lepo ode-veni i veoma ozbiljni. Odrasli, prete`no mla|i mu{karci,sve~ano odeveni, obrazovali su red. Nosili su krstove, barja-ke i ripide. Mnogi su preko ode}e obukli skromne |akonskeode`de. Kadionicu s tamjanom nosio je dirigent crkvenog ho-ra (sl. 8.) i kadio celim putem, a tamjan je goreo do kraja li-tije. @ene su cve}em kitile krstove i barjake (sl. 9). ^lanovicrkvenog hora priklju~ili su se povorci me{tana, koja je iza-{la na glavna, zapadna vrata hrama. Ispred litije i{li su sve-{tenici sa sve{tenim knjigama i osve}enom vodom. Povor-ka je napravila polukrug i zaustavila se kod prvog zapisa uporti. Ispred zapisa sve{tenici su o~itali obrednu sve{teni~-ku molitvu (sl. 10), a jasen zapis obnovili su urezivanjem iukr{tenim zapaljenim sve}ama (sl. 11). Okupljeni narod ihor pevali su duhovne pesme.

Povorka je s pesmom pro{la kroz jugoisto~ni ulaz u por-tu i krenula na jugoistok ulicama 27. marta i Bekerelovom.Na ~elu povorke no{en je veliki drveni krst iz Jerusalima,oki}en, po starom narodnom obi~aju, cve}em i pe{kirima(sl. 12). Povorka se kretala ka drugom i tre}em zapisu: me-talnom krstu i dànarici. Ispred povorke i{ao je krstono{aSlobodan Sibinovi} (sl. 13) i povremeno uzvikivao: Krsto-no{e Boga mole da nam polje rodi bolje! Povorka je odgova-rala: Daj, Boè, daj! (Napomena: prema obi~ajnom pravu,krstono{a je odabrani mu{karac koji jedini, osim sve{tenika,

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Karta 1: Karta krsnog hoda Litije u Malom Mokrom Lugu2007. godine

Map 1: The map of Litija procession route at Mali Mokri Lugin 2007

Lokaliteti zapisa od 1900. do 1946Localities of Zapis trees present from 1900 to 1946

Lokaliteti dana{njih zapisaLocalities of present Zapis trees

Litijski putProcession route of the litija

Hram Svetog TrifunaChurch of St. Trifun

3. Milosavljevi}a brest (Milosavljevi}’s Elm) was a Zapissituated above present-day Bajdina Street. There are no dataabout it after 1945, and a veil of silence surrounds the areaaround it. In the immediate vicinity toward the northwestthere is a grassy field, which is still called Strati{te (killingfield) by the local people. Apparently, the partisans execu-ted a group of about 40 people on that site during one nightin 1946. The victims included three respectable householdheads from Mokri Lug (B. Jorga~evi}, B. Ivkovi}, \or|evi})and the priest from Mirijevo whose name we don’t know.

The names of the other persons are unknown, but it is knownthat they were brought to the execution site from the Vth

Belgrade Area, Zvezdara.4. There was an Elm – Zapis on the property (vineyard)

owned by Mr. Stojanovi}-Bakalac. As it was a very old tree,it died and fell down on its own in 1970. Nobody touched it,and the trunk and the stump gradually rotted away.

5. The Zapis Elm tree at Milijin Potok, the householdof Dobrivoje Koci}, is now absent. There are no data on itsdisappearance.

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Sl. 1. Najstariji zapis u MalomMokrom Lugu – stablo crnogduda staro 180 godina

Fig. 1. The oldest Zapis – tree at Mali Mokri Lug – treeof Mulberry (180 years old)

Sl. 2. Zapis iz 1994 – stablo belog jasena u portihrama Svetog Trifuna

Fig. 2. Zapis since 1994 – tree of European Ash in the yard of St. Trifun’sChurch

Sl. 3. Zapis iz 1994 – stablo divlje {ljive na seoskom imanju

Fig. 3. Zapis since 1994 – tree of Wild Cherry in avillage household

Sl. 4. Zapis iz 1998 – metalni krst u ~ijem sutemelju tri kamena doneta sa tri sveta mesta

Fig. 4. Zapis since 1998 – metalcross with the foundations of three stones brought from three Holy places

Sl. 5. Najmla|i u~esnici litijeuzeli su iz hrama ikone koje }e nositi u povorci

Fig. 5. The youngestparticipants of the Litija took the icons from thetemple in order to carry them in the Procession

Sl. 7. Mile{evski Beli an|eou rukama onih koje je Gospod najvi{e voleo

Fig. 7. The White Angelof Mile{eva in the hands of those most beloved by God

Sl. 8. Diploma Muzi~keakademije i patike, kadionica s tamjanom i |akonska ode`damogu zajedno u ovoj litiji

Fig. 8. The Diploma of MusicAcademy and sneakers, vigillamps with frankincense anddeacon’s robe may be seentogether in this procession

Sl. 6. Sa ikonom SvetogSerafima Sarovskog i nadomda }e Bog usli{iti molitvu na{edece da posle sta{ne golgotekomunizma vaskrsne Srbija

Fig. 6. With the icon of St. Serafin Sarovski and hope that God will fulfill the prayer of our children that Serbia shall resurrect after the horrible Golgotha of communism

sme da obavi ~in obnove zapisa. Ostali u~esnici litije ne do-diruju zapis, osim mladih devojaka, naj~e{}e odevenih ubelo, koje ga kite cve}em i cvetnim vencima.)

Du` puta litiju su, ispred svojih domova, sa~ekivali sve-~ano odeveni doma}ini (sl. 14). Oni su pred ku}e izneli stolo-ve na kojima se nalazilo posluènje za u~esnike litije: bom-bone, kola~i, sokovi i ponude za decu. Posipali su povorkuìtom i bombonama iz sita. Ose}ala se velika radost svihprisutnih – i doma}ina koji su do~ekivali litiju i u~esnikakrsnog hoda.

Molitva je ponovljena kod dànarike (sl. 15), kao i kodkrsta (sl. 16), a zatim se povorka uputila ulicom 20. oktobraka severozapadu i, presekav{i Bulevar kralja Aleksandra, ne-kada{nji Smederevski drum, skrenula severoisto~no, a potomZlatiborskom ulicom po{la na severozapad. Kretala se tomulicom do mesta na kojem se nalazio Milosavljevi}a brest,a pro{la je pored strati{ta bez zaustavljanja, do Bajdine ulice.Tom ulicom litija je ponovo izbila na Bulevar kralja Aleksan-dra, odakle se, pored ambulante, spustila do ulice @ivka Da-vidovi}a (sl. 17). Njom se povorka kretala ka severozapadu

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Sl. 9. Obi~ajno ki}enje Krsta Gospodnjeg pe{kirima i cve}em, po staromnarodnom obi~aju

Fig. 9. The customarydecoration of Lord’s Crosswith towels and flowers,according to the old folkcustom

Sl. 10. Molitva sve{tenika pred zapisom u porti hrama

Fig. 10. The priest’s prayer in front of Zapis in the temple yard

Sl. 11. Obnavljanje zapisa u Malom Mokrom Luguobavlja se svake godine prvog petka posle praznikaSvete Trojice

Fig. 11. The Zapis at Mali Mokri Lug is renewedeach year at the first Fridayafter the holiday of Holy Trinity

Sl. 12. Na ~elu litije nosi se oki}eni krst izJerusalima, koji simbolizujeput Gospodnji na Golgoti

Fig. 12. At the front of the Procession there is a decorated cross fromJerusalem, symbolizing the Lord’s path on Golgotha

Sl. 13. Ispred povorkekrstono{a nosi sve}e zabeleènje zapisa i uzvikuje deo obredne litijske molitve

Fig. 13. In front of theprocession, the cross bearercarries the candles for notingthe Zapis, and shouts a partof ritual Procession prayer

Sl. 14. Stariji me{taniu~estvuju u litiji tako {to s ponudama sa~ekuju povorku ispred svojih domova

Fig. 14. The community elders participate in theProcession by offering gifts in front of their homes

Sl. 15. Obnavljanje zapisa nadivljoj {ljivi kod Jekmekluka – drugo mesto zajedni~kemolitve

Fig. 15. Renewal of Zapis at the wild plum nearJekmekluk is the second siteof communal prayer

Sl. 16. Tre}a molitva ~ita seispred zapisa – metalnog krstapodignutog u Malom MokromLugu 1998. godine

Fig. 16. The third prayer is being read in front of theZapis – the metal cross raisedat Mali Mokri Lug in 1998

6. A Zapis walnut tree used to grow in the vineyard ofStojanovi} family. The land was sold and the walnut cutdown by the new owner in about 1960.

7. A Zapis pear tree situated in the household of theMilosavljevi} family, above the graveyard and near the road,no longer exists. This tree was cut down in 1945 or 1946.

8. A Zapis black mulberry tree on the property of theStojanovi} family still lives and produces a large quantityof fruit; it is the only Zapis from that period that has beenpreserved. The owner of the household enabled the Litijaprocession to access the tree when the practice wasrenewed (Fig. 1).

Renewal of Litija and Zapis trees at Mali Mokri Lug in 1994–2007.After many years in isolation, and when the communist re-gime was taking its last breaths, the members of communityof Mali Mokri Lug got together and decided to renew theircustoms. In 1994 they reinstituted the Litija procession onPentecost Friday, June 16th according to the new calendar.In addition to the black mulberry at Stojanovi}’s plot, theyalso added two new Zapis trees: a European Ash in the yardof the future Temple of St. Stefan (Fig. 2) and a wild plum(Cherry Plum or Myrobalan Plum) at Jekmekluk (Fig. 3) onthe village-owned common.

As this coincided with a period of strong spiritual awa-kening in Serbia, the members of this community startedbuilding the Temple of St. Tryphon in the same year, 1994.It was built through the efforts of Protojerej Ilija \uri} andthe Church Board, supported with donations from membersof the community, without any external funding. The buil-

ding process started on November 6th when the churchgrammata were placed in the foundation by His HolinessPatriarch Pavle. The Church was finished and consecratedin 1998 with the participation of the same Church Boardthat had decided to renew the Litija and bless the new Zapistrees in the area. In addition to the trees, in 1998 they alsoerected a unique Zapis in the form of a huge metal cross witha concrete foundation (Fig. 4). Its foundation, according tothe Christian custom, includes three stones from holy pla-ces: from the Mount of Olives, Jerusalem, from Hilandar(Mt Athos, Greece) and from the monastery of Studenica,Serbia. Since 1994 the Litija procession has been organizedeach year at Pentecost, starting from the Church of St.Tryphon since its completion and consecration.

The procession route on Pentecost 2007Last year the Litija started on Friday, June 1st, 2007, at 7 a.m.with a church service. The community members, wearingformal dress, came to the church from all directions, muchearlier than the scheduled start of the service. There werealso many guests from Belgrade. R.E. teachers broughtschoolchildren, who stood in a flawless line during the pra-yer at beginning of the Holy Procession. After prayer, thechildren approached the icons of the saints with awe andrespect, taking those that they would carry during the holyprocession (Figs. 5, 6 and 7). Most often they chose the pic-ture of the Virgin Mary. They were dressed in specialclothes and looked very serious. The adults, forming a line,carried crosses, flags and ripida (poles carrying a smallcross). Many wore modest deacon robes over their clothes.The conductor of church choir carried a vigil lamp with

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Sl. 17. Krsni hod iza âsnogkrsta – povorku predvodedeca sa ikonama i mladi}i s barjacima i ripidama

Fig. 17. The cross processionfollows the Holy Cross. The procession is led by children with icons and young men with banners and ripida poles

Sl. 18. I bake koje pamtenekada{nje litije i njihoviunuci, ro|eni mnogo godinaposle zabrane, u~estvuju u obnovljenoj litiji u Malom Mokrom Lugu

Fig. 18. The grandmothers that remember the ancientProcessions and theirgrandchildren, born manyyears after the ban, join each other in the renewedProcession at Mali Mokri Lug

Sl. 19. Radost i ozbiljnostnajmla|ih u~esnika – i oni znaju da rade ne{to veoma va`no za op{te dobro zajednice

Fig. 19. Joy and seriousness of the youngest participants,as they are aware that theyare doing a very importantthing for the wholecommunity

Sl. 20. Do~ekao je molitvenupovorku posle 53 godineterora nad verom, ljudima i obi~ajima u Srbiji, terorom koji nije po{tedeo ni njihovo zavetno drve}e

Fig. 20. It waited for theprayer procession after 53years of terror over the faith,people and customs in Serbia,which did not spare even theZapis trees

do Prvomajske (sl. 18), u koju je skrenula, i ponovo se upu-tila ka istoku, ulicama Sremskom i Bosanskom, a zatim Pa-lih boraca (sl. 19), gde se nalazi najstariji zapis – crni dud(sl. 20). Pod njegovom ogromnom kro{njom svi u~esnici li-tije bili su za{ti}eni od jake letnje ège. Stablo mu je biloprekriveno krupnim crnim zrelim dudinjama (sl. 22).

Posle molitve i osve}enja zapisa krsni hod je nastavljenka istoku, do hrama Svetog Trifuna. Povorka je u portu u{lakroz severozapadni ulaz. Ulaskom povorke u portu crkvekrsni hod je zavr{en (karta 1: put krsnog hoda malomokro-lu{ke litije). Put dug skoro osam kilometara – sa zaustavlja-njem kod zapisa – povorka je pre{la za nepuna dva sata.

Sve{tenstvo, hor i narod u{li su u hram. Krstovi, barja-ci i ripide su odloèni. Deca su postavila ikone na njihova me-sta. Hor je zauzeo svoje mesto. Otpo~ela je liturgija (sl. 23),koja je zavr{ena se~enjem slavskog kola~a. U tome su u~e-stvovali svi oni koji su bili u krsnom hodu.

Posle toga me{tani su s gostima proslavili slavu u no-vom parohijskom domu – kao nekada kod zapisa, na polja-ni pod {atrom. Vojislav Ili}, doma}in slave te godine (sl. 24),pripremio je zaista veliko slavlje. Deo slavskog kola~a, pre-ma obi~aju, prosledio je slede}em doma}inu.

Kontinuitet o~uvanja nematerijalne ba{tine Srbije u Malom Mokrom LuguOno {to zaista zadivljuje u svemu ovome jesu duhovna sna-ga i vera, kao i èlja i volja svih tih ljudi koji su obnovili li-tiju i onih koji su u njoj u~estvovali da otrgnu od zaboravajedinstvene, divne srpske obi~aje i da sa~uvaju svoju veru.Odràni su svi postupci, kretanje litije, molitve, svrha ismisao litije – oni su isti kao {to su bili i pre stotinu ili vi{egodina. Snaàn talas duhovnog preporoda i obnove, kao {to

pokazuje primer iz Malog Mokrog Luga, zahvatio je u po-slednje vreme veliki deo Srbije. Zaista je zadivljuju}e i ne-obja{njivo to {to je ovaj narod tako brzo sve to obnovio po-sle poku{aja da mu se stra{nim nasiljem izbri{e istorijskopam}enje. Kako objasniti to {to su sve pojedinosti litije sa-~uvane, to {to parohijani – iako su mnogi od njih ro|eni uvreme kada je litija bila zabranjena, a oni vi{e nisu zemljo-radnici i ratari – znaju za svog Gospoda Isusa Hrista, kogamole za blagostanje mesta i rodnost useva? Tajna je u nji-hovoj veri i duhovnoj snazi njihovih sve{tenika i Crkvenogodbora. Me|u njima je i jedan divan ~ovek, koji mi je i po-mogao da do|em do svih ovih podataka. U svom domu,kao uvaènom gostu, pokazao mi je najve}u ku}nu relikvi-ju: upaljeno kandilo u kojem jedanaest godina neprekidnogori Sveti oganj {to ga je on doneo iz Svete zemlje 1997.godine.

Poverio mi je i da jo{ ima ìvih po~inilaca nasilja nadsrpskom kulturom i verom, da svi znaju kod koga se zaturiolitijski kola~ 1947. godine (jer se tako slava predavala doma-}inu za narednu godinu) i da je zbog èlje da se litija odrì1947. i 1948. bilo i hap{enja, saslu{anja, informativnih raz-govora i batinanja onih najupornijih. U {ali je dodao da jeu obnovljenoj litiji 1994. godine bilo i onih koji su je 1947.zabranili. Ali njima niko nije zabranio da se priklju~e litiji,niti im je iko rekao i jednu jedinu prekornu re~. Litiju suobnovili dobri hri{}ani koji znaju da Gospod ne zove samopravednike ve} zove i gre{nike na pokajanje. A litija i krsnihod kod pravoslavnih hri{}ana simbolizuju upravo hri-{}anski, pokajni~ki put.

Rad se objavljuje s blagoslovom sve{tenstva hrama Svetog Trifuna u Malom Mokrom Lugu

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Sl. 21. Hlad ispod ogromnekro{nje jedinog preostalogzapisa na imanju Stojanovi}aza{titio je litiju od jake letnje ège

Fig. 21. The shade under the huge canopy of the only Zapis remaining at the Stojanovi} household has protected the Processionfrom the strong summer heat

Sl. 22. Zrele crne dudinje sa zapisa niko ne bere jer je to sveto drvo ~iji seplodovi uzimaju samo za lek

Fig. 22. The ripe blackmulberries of the Zapis are newer picked, as this is a sacred tree, whose fruits are taken only as medicine

Sl. 23. Litija se zavr{ilaliturgijom i se~enjem slavskog kola~a u hramuSvetog Trifuna u MalomMokrom Lugu

Fig. 23. The Procession ended in Liturgy and cuttingthe slava cake at the Templeof St. Trifun at Mali MokriLug

Sl. 24. G. Vojislav Ili} (desno),doma}in slave 2007, sa naslednicima: sinomVladimirom i unucima

Fig. 24. The host of the slava in 2007, Mr. Vojislav Ili}(right) with his heirs: sonVladimir and grandchildren

incense (Fig. 8); it was used throughout the procession andburned continuously until the end of Litija. The womendecorated the crosses and flags with flowers (Fig. 9). Mem-bers of the church choir joined the procession of local peoplewho exited from the main, western door of the church.Priests with holy books and water led the procession. Itmoved in a semicircle and stopped in front of the firstZapis tree in the churchyard. The priests read the ritualpriest prayer (Fig. 10) and renewed the Zapis on the ashtree by carving and crossed lighted candles (Fig. 11). Thechoir and the people sang spiritual songs.

The procession passed through the southeasternentrance of the yard and moved toward the southeast, down27 marta and Bekerelova streets. People at the front of theprocession carried a large wooden cross from Jerusalem,decorated with flowers and towels according to the old folkcustom (Fig. 12). The procession moved toward the secondand third Zapis: the metal cross and the myrobalan plum.The cross-bearer Slobodan Sibinovi} was at the front of theprocession (Fig. 13), occasionally shouting: The cross-bearerspray to God let our fields yield better crops. The processionanswered Give us, God, give us. (Note: according to custom,the chosen cross-bearer is the only person beside the priestwho may perform the ritual of Zapis renewal. The otherparticipants in the Litija are not supposed to touch the tree,apart from several teenage girls, mostly dressed in white,who decorate the Zapis with flowers and floral wreaths.)

Along the route, the procession was welcomed by for-mally dressed local residents standing in front of theirhomes (Fig. 14). They had placed tables in front of theirhomes with cakes, candy, juice and gifts for the children.They showered the procession with wheat grains and candyfrom sieves. Everybody present was obviously cheerful,both the hosts welcoming the Litija and the participants inthe holy procession.

The prayer was repeated at the myrobalan plum tree(Fig. 15) and at the cross (Fig. 16), and after that theprocession advanced down 20th Oktobra Street toward thenorthwest, crossing the Boulevard of King Aleksandar, theformer road to Smederevo, continuing northeast until theyreached Zlatiborska Street, where they went down thatstreet toward the northwest again. They moved towards theformer site of Milosavljevi}’s Elm and passed by theStrati{te without stopping, until they came to BajdinaStreet. The procession proceeded to the Boulevard of KingAleksandar again, and passed by the hospital clinic, arrivingat @ivka Davidovi}a Street (Fig. 17). The procession conti-nued down that street, again toward the northwest, untilthey reached Prvomajska Street (Fig. 18). Here they startedmoving in an eastern direction, down Sremska Street,Bosanska Street and Palih Boraca Street (Fig. 19). Theoldest Zapis, the black mulberry, is situated in Palih BoracaStreet (Fig. 20). All the Litija participants were protectedfrom the strong summer heat under its canopy. The treewas covered in large, black, ripe mulberries (Fig. 22).

After the prayers and blessing of all Zapis sites, theprocession continued eastward toward the Church of St.Tryphon, entering the yard through the northwestern en-trance. The route of the Litija finished when the processi-

on entered the churchyard again (Map 1: the map of Litijaprocession route at Mali Mokri Lug). The route was almost8 kilometers long. Together with the services at Zapis sites,the procession took less than two hours.

The clergy, choir and people entered the church. Cros-ses, flags and ripida were put in their places along with theicons. The choir took their prospective places. The priestsstarted the Liturgy (Fig. 23), which ended with cutting theslava cake. Everyone participated in this service.

After that the local community and the guests celebra-ted their slava in the new manse, as they used to do in theold days under the tent in the field near the Zapis. The hostof the slava, Mr. Vojislav Ili} (Fig. 24), prepared a reallylarge celebration. According to the custom, he passed onepart of slava cake to next year’s host.

Continuity of preserving the intangible heritage of Serbia at Mali Mokri Lug The most amazing thing in all of this is the spiritual strength,faith, desire and willingness of all these people to renew theLitija and to preserve such unique, wonderful Serbian cus-toms and faith. All the procedures, route, prayers and pur-pose of the Litija are preserved in the same way as theywere 100 or more years ago. This spiritual revival and re-newal, explained here through the event in Mali MokriLug, has been happening in most of Serbia in recent years.It is awe-inspiring and inexplicable that these people, havingpreviously faced horrible violence to erase the historicalmemory of their custom, have managed to renew it soquickly. How can we explain the fact that all the details ofLitija are preserved, regardless of the fact that most eparchy(Church Board) members were born when the Litija wasforbidden and are not farmers and agriculturalists anymore. They still know about their Lord Jesus Christ, towhom they pray for the blessings for their village andabundant crops. The secret is in their faith and the spiritualstrength of their priests and church board. One wonderfulgentleman helped me to obtain all these data. In his homeI was an honored guest who was shown his greatest homeartifact: the lit vigil lamp where Holy Fire has been burningcontinuously for 11 years, since he brought it from theHoly Land in 1997.

He also shared that there are still some of those whoparticipated in this violence over Serbian culture and faithare still alive, that everybody knows who misplaced the Li-tija cake in 1947 (as it was the way to pass the slava to thenew host for next year), and that attempts to perform Litijain 1947 and 1948 led to arrests, interrogations, informativetalks and beatings of those most persisting. He joked thatthe renewed Litija in 1994 included individuals who hadbanned it in 1947. However, nobody forbade them to jointhe Litija, nor did anyone say any condescending words tothem. The Litija was renewed by good Christians who knowthat the Lord does not call only the righteous but also sinnersto repentance. To Orthodox Christians the Litija and crossprocession symbolize the Christian way of repentance.

This paper is published with the blessing of the clergy of St. Tryphon, Mali Mokri Lug

17


OPZ DIJANA od 1997, kada je zapo~ela sa svojim aktivno-stima, razvija teorijski i prakti~an pristup interdisciplinar-nog i kompleksnijeg sistema za{tite ba{tine, koji se ne ograni-~ava na lokalne i nacionalne okvire ili na pojedine kategorijekulturnih dobara. Dijana postepeno gradi sistem koji svojimrazvojnim projektima defini{e integrativni koncept za{titei metodologiju preventivne za{tite. Taj sistem vrlo brzo do-vodi do zaklju~ka da su uspe{na primena metodologije pre-ventivne za{tite i integrativni koncept za{tite u neposred-noj interaktivnoj vezi.

Na osnovu takvog teorijskog i prakti~nog pristupa Di-jana je pripremila predlog deklaracije koji je 2003. tada{njadràva Srbija i Crna Gora podnela Generalnoj konferencijiUneska u Parizu. Generalna konferencija je u oktobru 2003.u celosti prihvatila predlog Srbije i Crne Gore i usvojila De-klaraciju o preventivnoj konzervaciji kao fundamentalnojstrategiji za{tite nasle|a, posebno zna~ajnu za zemlje u tran-ziciji i zemlje u razvoju [Generalna konferencija, XXXII se-sija, Komisija IV, 32 C/74, No 32 C/DR.35, paragraf 04210(a) (II), 16. oktobar 2003].

Praksa je pokazala da je primena preventivne za{tite po-sebno pogodna za uspostavljanje delotvornog sistema brigeza ba{tinu u zemljama u razvoju i u procesima tranzicije.Zbog toga su, prirodno, sve aktivnosti za{tite u Dijani bileusmerene na region jugoisto~ne Evrope, na razvoj eduka-tivnih sadràja i modela, kao i na njihovu primenu u in-stitucionalnoj profesionalnoj praksi.

Regionalne aktivnosti Dijane jo{ su intenzivnije od sre-dine 2005, kada je otpo~elo zajedni~ko delovanje sa organi-zacijom ICOM-SEE u uspostavljanju i sprovo|enju regio-nalne saradnje.

Regionalna saradnja je neminovnost kada je re~ o inte-grativnom pristupu za{titi ba{tine i njegovoj primeni upraksi putem metodologije preventivne za{tite. Regionalnasaradnja treba da uklju~i u interdisciplinarni i multidisci-plinarni sistem brojne subjekte i partnere na lokalnom, na-cionalnom i regionalnom nivou. Oni }e uticati na stvaranjepozitivnog i podsticajnog prostora za konstruktivan dijalogu identifikaciji problema i traènju re{enja za dalji razvojba{tine.

Dosada{nje istorijske, umetni~ke, kulturne, estetske, so-cijalne, ekonomske i druge karakteristike nacionalnih ba{ti-na ukazuju nedvosmisleno na to da se prostor Balkana i jugo-isto~ne Evrope, u odnosu na op{ti me|unarodni kontekst,moè bez problema povezati u jedinstven kulturni krug. @eli-mo da ukaèmo na to da se jedinstven regionalni balkanskikulturni i prirodni prostor moè kvalitetno uklju~iti u evrop-ski i dati sopstveni snaàn i ubedljiv doprinos razvoju evrop-skog dru{tva i savremene civilizacije uop{te.

Regionalna saradnja otvara siguran put i prostor za me-|usobno razumevanje i po{tovanje raznolikosti izraàvanja.Ona }e pomo}i u razvijanju procesa koegzistencije i saradnjerazli~itih etni~kih, religioznih, politi~kih, socijalnih i drugihgrupa i naroda. Zato ti procesi treba da dovedu do strate{kogosmi{ljavanja i oblikovanja nacionalnih identiteta, do me|u-sobnog po{tovanja i povezivanja u prepoznatljiv jedinstvenikulturni i prirodni identitet balkanske regije. Na taj na~instvara se svest o tome da se razli~ite etni~ke grupe i kulturemogu povezati na osnovu principa raznolikosti i raznovrsno-sti i da se tako moè razviti jedinstven regionalni kulturnisadràj. Najve}i broj stru~njaka u oblasti za{tite kulturne iprirodne ba{tine polazi od ~injenice da jedino na taj na~in,me|usobnom bliskom stru~nom saradnjom, moèmo stvori-ti snaàn i jedinstven zajedni~ki prostor, a time }e se ostva-riti ravnopravno nastupanje na me|unarodnoj sceni, kvali-tetno zastupanje regiona, kao i nacionalnih interesa narodai zemalja. Profesionalci u oblasti za{tite smatraju da malezemlje Balkana, sa jo{ uvek sa~uvanim autenti~nostima, po-sebnostima i raznolikostima kulturnog i prirodnog identi-teta, mogu uspe{no definisati svoje nacionalne ba{tine putemregionalnog u~e{}a u globalnom svetu. Da bi se do{lo do togcilja, stru~njaci za za{titu ba{tine mogu i moraju razvijati me-|usobnu konstruktivnu saradnju u ostvarivanju tog va`nogstrate{kog regionalnog zadatka o~uvanja nacionalnih ba{ti-na, njihovog objedinjavanja u regionalni prostor i povezi-vanja i integrisanja u jedinstven evropski i globalni svet.

Regionalna alijansa ICOM-a za jugoisto~nu Evropu – ICOM-SEEBalkanski region karakteri{e ~itav niz bliskosti i specifi~no-sti koje povezuju razli~ite zemlje regiona u pogledu jezika,istorije, politike, kulture, tradicije, nasle|a i drugog. Nagla-{ena je potreba zemalja jugoisto~ne Evrope za regionalnomsaradnjom, za zajedni~kim akcijama u re{avanju mnogobroj-nih problema muzeologije i za{tite. U regionu deluje ~itav nizmalih nacionalnih komiteta ICOM-a (s malobrojnim ~lan-stvom), koji jo{ uvek nemaju zna~ajnijeg uticaja na nacional-nu i me|unarodnu zajednicu. Zato se pre nekoliko godinastalo na stanovi{te da }e taj uticaj biti izrazitiji i delotvor-niji ukoliko se oni ujedine u sna`niju regionalnu grupaciju.

Naàlost, pokazalo se da je regionalna organizacija ICOMEUROPE suvi{e glomazna i neelasti~na, da ne moè da za-dovolji zahteve kompleksnih i razli~itih strategija, niti dapruì odgovore koji bi bili u skladu sa stanjem u razli~itimzemljama Evrope. Iako je ICOM EUROPE u poslednje vre-me poku{avao da nadvlada taj problem, njegove su{tinskedelatnosti ostale su i dalje previ{e uop{tene i na~elne, bez

18


Mila POPOVI]-@IVANÊVI], savetnik konzervator{ef OPZ Dijana, predsednik ICOM-SEE-ja

DIJANA I ICOM-SEE U OKVIRU REGIONALNE SARADNJE U JUGOISTO^NOJ EVROPI

REGIONALNA ORIJENTACIJA DIJANE

SINCE 1997, when the Diana Department for PreventiveConservation started its activities, we have been developingthe theoretical and practical approach of an interdisciplina-ry and complex system of heritage protection, which is notconfined within local and national borders or certain cate-gories of cultural property. Diana has gradually been con-structing a system whose development projects define theconcept of integrated protection and preventive conserva-tion methodology. This system proves that the successfulapplication of preventive conservation methods and theconcept of integrated protection stand in close interactiveconnection.

This theoretical and practical approach served as thebasis for Diana’s proposed Declaration, which Serbia andMontenegro submitted to the General Conference ofUNESCO in Paris in 2003. This proposal was fully acceptedand in October 2003, the General Assembly adopted theDeclaration on preventive conservation as a fundamentalstrategy of heritage protection, particularly important forcountries in transition and development [General Conferen-ce, XXXII session, Commission IV, 32 C/74, No 32 C/DR.35paragraph 04210 (a) (II); 16th October 2003].

Practice has shown that the implementation of pre-ventive conservation particularly facilitates the establish-ment of an efficient heritage protection system in developingcountries or those in transition. For this reason all Diana’sactivities are orientated towards the region of South EastEurope and the development of educational contents andmodels, as well as their implementation into professio-nal institutional practice. Since ICOM SEE was foundedin the mid-2005’s to organise and coordinate all regionalactivities, Diana has intensified its regional activities. Re-gional cooperation is inevitable in an integrated approachto heritage protection and its implementation into practicethrough the preventive conservation methods. Regionalcooperation should include an interdisciplinary and multi-disciplinary system with a great number of subjects and par-tners on local, national and international levels. These wouldfacilitate the creation of a positive, favourable space for con-structive dialogue in identifying problems and searchingfor solutions for further heritage development.

Historical, artistic, cultural, aesthetical, social, economicand other characteristics of national heritage all confirm thatthe Balkans and South East Europe can easily be connectedinto a unique cultural circle, within an international con-text. We would like to emphasise that the unique culture ofthe Balkans can be included in the wider European regionand it can contribute strongly and plausibly to the develop-ment of European society and contemporary civilisation.

Regional cooperation opens possibilities for mutualunderstanding and respect for differences in expression. It willhelp develop processes of coexistence and cooperationamong different ethnic, religious, political, social, and othergroups and nations. That is why these processes shouldbring about strategic rethinking and reshaping of nationalidentities in order to encourage mutual respect and appre-ciation of the unique cultural and natural identity of theBalkans as a whole. This develops an understanding thatdifferent ethnic groups and cultures can be connected anddeveloped into unique regional cultural content based onthe principles of differences and diversity. Most experts inthe protection of cultural and natural heritage emphasisethat only through joint expert cooperation can we create astrong, unique, joint region, equally represented on the inter-national scene. This will promote the interests of the regionas a whole, as well as the national interests of each country.Professionals in the field of conservation believe that thesmall countries of the Balkans, with their preserved authen-tic characteristics and different cultural and natural

identities, can successfully define their own national heri-tage through regional and international participation. Inorder to reach that goal, heritage protection experts can andmust develop constructive cooperation in the important stra-tegic regional task of preserving national heritage, unitingwithin their geographical region while connecting and in-tegrating with the rest of Europe and the world.

19


Mila POPOVI]-@IVANÊVI], museum councillor – conservatorHead of Diana Department for Preventive Conservation, President of ICOM SEE

DIANA AND ICOM-SEE WITHIN REGIONAL COOPERATIONIN SOUTH EAST EUROPE

REGIONAL ORIENTATION OF DIANA

Sastanak ICOM-a Evrope i ICOM-SEE-ja u Galeriji fresaka,Beograd, april 2006

Meeting of ICOM Europe and ICOM-SEE in Gallery of Frescoes,Belgrade, April 2006

ozbiljnog odraza na stanje u pojedinim zemljama. To jestedobro za globalnu politiku i op{te strategije, ali se takvo de-lovanje veoma te{ko moè uklopiti u stvarne regionalne inacionalne situacije. Dinami~ne aktivnosti tokom posled-njih godina na podru~ju Balkana nisu ~ak ni pomenute uzvani~nim izve{tajima organizacije ICOM EUROPE. Sma-trali smo da je neophodno osnovati posebnu regionalnu or-ganizaciju koja }e voditi ra~una o na{im potrebama kao opotrebama regiona i da }e to biti bolji put za traènje odgo-varaju}ih re{enja, zadovoljavanje profesionalnih i institu-cionalnih potreba, a da }e on opet biti u skladu sa strate-{kim zadacima i ciljevima ICOM-a. Profesionalci iz regionaimaju potrebu da zajedni~ki deluju, da na osnovu bliske re-gionalne saradnje rade na re{avanju problema zapu{tenogstanja ba{tine i na razvoju teorijskih koncepata, metodolo-gije i prakse za{tite.

ICOM-SEE je osnovan u avgustu 2005. godine. Prematada{njem statutu ICOM-a, definisan je kao podregionalnaorganizacija – Radna grupa ICOM-a Evrope za jugoisto~nuEvropu. Osnivanje ICOM-SEE-ja jeste rezultat spontane ineposredne inicijative ~lanova ICOM-a iz Makedonije, Bu-garske, Srbije i, delimi~no, Gr~ke. Te prve inicijative bile supokrenute potrebom da se vi{e malih nacionalnih komitetaICOM-a ujedini u sna`niju organizaciju, koja }e biti ravno-pravna s drugima pred me|unarodnom zajednicom i koja}e izgraditi sna`niji uticaj na kulturnu politiku u nacional-nim i regionalnim okvirima.

Da bi regionalne akcije bile osmi{ljene i stru~no kontro-lisane, ICOM-SEE je odmah po osnivanju definisao i prihva-tio kao strate{ku platformu i akcioni plan regionalni projekatRevitalizacija kulturnog i prirodnog nasle|a u regionu Balka-na – jugoisto~ne Evrope, 2006–2012 (dr M. Popovi}-@ivan-~evi}, autorski projekat, OPZ Dijana, avgust 2005). Uneskoje prihvatio taj projekat kao zna~ajnu pomo} i doprinos urazvijanju strategije generalnog re{avanja problema za{titeu regionu jugoisto~ne Evrope i kao kvalitetnu osnovu zadalji razvoj organizovane brige za ba{tinu.

Poslednjih godina u samom ICOM-u vo|ene su ozbiljnediskusije – u kojima je neposredno u~estvovao i ICOM-SEE– o na~inu regionalnog organizovanja i funkcionisanja do-

sada{njih regionalnih organizacija. Najve}i deo u~esnika tihrasprava stao je na stanovi{te da su se pojedina~ni regio-nalni koncepti razvijali samostalno, na prilagodljiviji i sve-obuhvatniji na~in, i da su pozitivnije orijentisani u odnosuna potrebe i primenu muzeolo{ke prakse. Sve vi{e dolazedo izraàja posebne regionalne potrebe, koje traè formal-no udruìvanje na osnovu razli~itih kriterijuma: politi~kih,geografskih, jezi~kih, kulturnih i drugih. Izvr{ni odborICOM-a tokom poslednjih godina veoma se ozbiljno baviotim inicijativama, shvataju}i da je do njih do{lo spontano, uokviru profesionalnog delovanja pojedinaca i muzeja. Teo-reti~ari ICOM-a ve{to prepoznaju specifi~ne potrebe razu-|enije regionalne organizacije i neophodnost decentraliza-cije postoje}e organizacione strukture. Zaklju~eno je da susada{nje regionalne organizacije suvi{e formalno postavlje-ne u geografskom smislu, da deluju previ{e na~elno, da zbogtoga sporo reaguju ili da uop{te ne reaguju u odnosu na kon-kretne potrebe regiona ili pojedinih delova regiona. Zato jeIzvr{ni odbor zaklju~io da se osnovna struktura ICOM-amora razvijati u pravcu zahteva koje je muzeolo{ka praksaiznela, da se mora postaviti elasti~nije kako bi se omogu}i-lo delotvorno i kvalitetno regionalno udruìvanje. Izvr{niodbor ICOM-a pripremio je predlog za reorganizaciju dota-da{nje strukture ICOM-a i predlog za izmenu Statuta u tomsmislu. Tako su na Generalnoj skup{tini ICOM-a u avgustu2007. u Be~u usvojene temeljne izmene Statuta, kojima sudotada{nje, prevazi|ene regionalne organizacije i njihovevarijante preobraène u regionalne alijanse. ICOM-SEE jepruìo sna`nu podr{ku i dao zna~ajan doprinos tim inicija-tivama, smatraju}i da reorganizacija strukture ICOM-a saosnivanjem regionalnih alijansi predstavlja kvalitetan pro-ces decentralizacije i daljeg razvoja samog ICOM-a, njegovoprilago|avanje procesima ja~anja specifi~nih i manjih regi-ona koji èle kvalitetnije u~e{}e u sistemu ICOM-a. Tim iz-menama ICOM je pokazao da s razumevanjem prati razli-~ite razvojne koncepte i profesionalne potrebe u razli~itimdelovima sveta, da brzo reaguje na njih i da sve to lako pove-zuje sa svojim generalnim strategijama i ciljevima. U okvi-ru sna`ne regionalne alijanse profesionalci mogu sami tra-ìti sopstvene puteve i re{enja oslanjaju}i se na ICOM-ove

20


^lanovi Borda ICOM-SEE-ja u Muzeju selja~kih buna u Hrvatskoj,april 2008

Members of the Board of ICOM-SEE in Peasants’ revolt Museum,Croatia, April 2008

Sastanak Borda ICOM-SEE-ja u Muzeju selja~kih buna, Gornja Stubica, Hrvatska, april 2008

Meeting of the Board of ICOM-SEE in Peasants’ revolt Museum,Gornja Stubica, Croatia, April 2008

Regional alliance of ICOM for South East Europe-ICOM-SEEThe Balkans is characterised by a number of similarities andcharacteristics that connect different countries in language,history, politics, culture, tradition, and heritage. There is astrong need for regional cooperation, and for joint activitiesto solve the numerous problems of museology and protec-tion. The range of national ICOM committees (albeit withonly a few members) has not yet had a significant impacton the national and international community. That is whyseveral years ago we decided that the impact would bemore pronounced and effective if those committees unitedin a stronger regional group.

Unfortunately, it was evident that ICOM EUROPE wastoo big and inflexible to satisfy the complex and differentneeds of all the different countries of Europe. Even thoughICOM EUROPE has tried lately to overcome that problem,its basic activities have remained too general and funda-mental, not seriously reflecting the different situations incertain countries. That is good for global and general stra-tegies, but can barely respond to regional needs.

Dynamic activities in the Balkans over the last yearshave not been mentioned in official reports of ICOMEUROPE. We believed that it was necessary to establish aspecial regional organisation that would take care of Serbianneeds and those of the region. This would be a better way tosolve problems and to satisfy professional and institutionalneeds according to the overall tasks and goals of ICOM.Professionals from the region need to take action together,to solve the problem of the neglected state of our heritageand to develop theoretical conservation concepts, methods,and practice based on close regional cooperation.

ICOM-SEE was founded in August 2005. According toICOM it was then defined as a sub regional organisation –a working group of ICOM Europe for South East Europe.The establishment of ICOM-SEE was a spontaneous, directinitiative of ICOM members from Macedonia, Bulgaria, Ser-bia and partially Greece. Those first initiatives began withthe need to unite a number of small national committees ofICOM into a strong organisation, which would be seriously

recognized by the international community and stronglyinfluence cultural policy on national and regional levels.

In order for the regional action to be properly plannedand expertly supervised, ICOM-SEE immediately acceptedthe strategic platform and action plan defined in the ICOMRegional project Revitalisation of cultural and natural heri-tage in the region of Balkans-South-east Europe, 2006–2012(Dr M. Popovi}-@ivan~evi}, project author, Diana Departmentfor Preventive Conservation, August 2005). UNESCO acceptedthat project as a significant contribution to developing ge-neral solutions to the problem of protection in South EastEurope and as good basis for further organised care of ourheritage.

Over the last few years, ICOM-SEE has been directlyinvolved in some serious discussions in ICOM about theways in which existing Regional organisations are structuredand operate. Most participants in these discussions came tothe conclusion that individual regional concepts developindependently, more flexibly, and more broadly, and areoriented to the needs and application of museologicalprinciples. Special regional needs are emphasised more andmore, which calls for formal unity on similar political,geographical, linguistical, cultural and others criteria. Theexecutive board of ICOM has taken such initiatives veryseriously, understanding that they were spontaneous,arising from the professional activities of individuals andmuseums. ICOM experts recognise the needs of a dissectedregional organisation to decentralise from the existing orga-nisational structure. It was concluded that current regionalorganisations are too formally situated in the geographicalsense; they appear to be too fundamental, and they reactmuch more slowly as a result, or do not react at all to con-crete needs of certain parts of the region or the region as awhole. That is why the Executive Board concluded that thebasic structure of ICOM must develop according to thepractical demands of museology, and that it must be moreflexible to provide effective, good, regional unity. Theexecutive board of ICOM prepared a proposition for thereorganisation of the present structure of ICOM and forappropriate changes to ICOM’s Statute. In August 2007, atthe General Assembly of ICOM in Vienna, some detailedchanges were adopted, which will enable the transformati-on of present obsolete regional organisations into Regionalalliances. ICOM-SEE has given strong support and a signi-ficant contribution to those initiatives, believing that reor-ganization of the structure of ICOM through the establish-ment of Regional alliances represents a quality process ofdecentralisation and further development of ICOM itself,in its adaptation to the processes of strengthening smallermember regions who want to participate more equally inICOM. With those statutory changes ICOM has shown thatit is in step with different concepts of development andprofessional needs in different parts of the world, under-standing that it should react to them quickly, in accordancewith its general strategies and goals. Within a strong Regi-onal alliance professionals can work out their own professio-nal methods and solutions, depending on ICOM’s strategicgoals and tasks, and not on current political situations andsocial contexts.

21


Deo Borda ICOM-SEE-ja u Muzeju u Kumrovcu, april 2008

Part of the Board of ICOM-SEE in Museum in Kumrovec, April 2008

strate{ke ciljeve i zadatke, a ne na trenutne politi~ke situa-cije i dru{tvene ambijente. Takva reorganizacija ICOM-aomogu}i}e profesionalcima okupljenim oko ICOM-SEE-jada zajedni~ki, sna`nije i efikasnije deluju u okviru svojihnacionalnih i regionalnih interesa, a u skladu s generalnimstrategijama ICOM-a.

Neposredno nakon odràvanja Generalne skup{tineICOM-a u Be~u 2007. godine ICOM-SEE je zapo~eo s pri-premama za sprovo|enje zvani~ne procedure prerastanjaiz Radne grupe ICOM-a Evrope u regionalnu alijansu. Sdruge strane, tokom zasedanja Savetodavnog komitetaICOM-a u junu 2008. godine u Parizu odràn je i sastanakRadne grupe za regionalne alijanse i regionalne pridruèneorganizacije ICOM-a. Na tom sastanku ve}ina prisutnihpodràla je osnivanje Regionalne alijanse ICOM-SEE; jed-noglasno je odlu~eno da se Izvr{nom odboru ICOM-a zva-ni~no podnese zahtev da se formira Regionalna alijansa zajugoisto~nu Evropu – ICOM-SEE. Izvr{ni odbor ICOM-a jena sastanku odrànom 5. i 6. juna 2008. godine prihva-tio taj predlog i ICOM-SEE je osnovan kao peta aktivnaregionalna alijansa.

U okviru ICOM-SEE-ja danas deluje devet zemalja re-giona: Slovenija, Hrvatska, Bosna i Hercegovina, Crna Go-ra, Albanija, Makedonija, Srbija, Bugarska i Rumunija.ICOM-SEE deluje preko Borda, koji su izabrali predstavni-ci nacionalnih komiteta ICOM-a svih zemalja ~lanica noveregionalne organizacije.

Bord ICOM-SEE-ja ~ine stalni ~lanovi i njihovi zamenici:1. dr Mila Popovi}-@ivan~evi}, savetnik konzervator,

Narodni muzej u Beogradu, {ef Odeljenja za preventivnuza{titu Dijana, stalni ~lan Borda, predsednik ICOM-SEE-ja,Srbija

2. prof. dr Jan Ki{geci, savetnik, Poljoprivredni muzeju Kulpinu, Institut za ratarstvo i povrtarstvo u Novom Sadu,zamenik ~lana Borda ICOM-SEE-ja, Srbija

3. Branislava Mihajlova, muzejski savetnik, Muzej isto-rije prirode u Skoplju, stalni ~lan Borda, zamenik pred-sednika ICOM-SEE-ja, Makedonija

4. Zaharinka Aleksoska Ba~eva, konzervator, Muzejmoderne umetnosti u Skoplju, zamenik ~lana BordaICOM-SEE-ja, Makedonija

5. prof. dr Simeon Nedkov, profesor muzeologije na Fi-lozofskom fakultetu u Sofiji, stalni ~lan Borda ICOM-SEE-ja,Bugarska

6. Krasimira Frangova, Nacionalna akademija umetno-sti u Sofiji, Konzervatorski departman, zamenik ~lana BordaICOM-SEE-ja, Bugarska

7. dr Dragan Mati}, Inspektorat za kulturu i medijeSlovenije, stalni ~lan Borda ICOM-SEE-ja, Slovenija

8. Nina Zdravi~-Poli}, muzejski savetnik, Etnografskimuzej Slovenije u Ljubljani, Slovenija, zamenik ~lana BordaICOM-SEE-ja

9. Vlatka Filip~i}-Maligec, kustos, Muzej HrvatskogZagorja, Muzej selja~kih buna, stalni ~lan Borda, sekretarICOM-SEE-ja, Hrvatska

10. Davor Fulanovi}, Tehni~ki muzej u Zagrebu, zame-nik ~lana Borda ICOM-SEE-ja, Hrvatska

11. Janko Vra~ar, kustos, Muzej Republike Srpske u Ba-njaluci, stalni ~lan Borda ICOM-SEE-ja, Bosna i Hercegovina

12. mr Azra Be~evi}-[arenkapa, konzervator, Zemaljskimuzej u Sarajevu, zamenik ~lana Borda, zamenik pred-sednika ICOM-SEE-ja, Bosna i Hercegovina

13. Ljiljana Zekovi}, savetnik, Narodni muzej Crne Go-re, Umetni~ki muzej, stalni ~lan Borda ICOM-SEE-ja, CrnaGora

14. Mileva Vujo{evi}, savetnik, Pomorski muzej u Ko-toru, zamenik ~lana Borda ICOM-SEE-ja, Crna Gora

15. prof. dr Ilirjan \ipali (Ilirjan Gjipali), zamenik di-rektora Arheolo{kog instituta u Tirani, stalni ~lan BordaICOM-SEE-ja, Albanija

16. Albana Hakani (Albana Hakani), arheolog, Arheo-lo{ki park Butrint, zamenik ~lana Borda ICOM-SEE-ja, Al-banija

17. dr Virgil Nitulesku (Virgil Nitulescu), dràvni se-kretar Ministarstva kulture Rumunije, stalni ~lan BordaICOM-SEE-ja, Rumunija

18. Elena Doina Punga (Elena Doina Punga), {ef Odelje-nja za odnose s javno{}u, Nacionalni istorijski muzej u Bu-kure{tu, zamenik ~lana Borda ICOM-SEE-ja, Rumunija.

Su{tinski doprinos osnivanju i ja~anju ICOM-SEE-japruìli su stru~njaci iz Dijane. Oni su inicirali ~itav niz regi-onalnih projekata i aktivnosti koji uklju~uju razli~ite stru~-njake na nacionalnom, regionalnom i me|unarodnom nivou,a tako|e koordiniraju i organizuju te aktivnosti i projekte.Karakter, sadrìna i ciljevi ve}ine projekata povezuju razli-~ite kulture, institucije i profesionalce iz na{eg regiona iEvrope. Zadaci Dijane poklapaju se i blisko prepli}u u rea-lizaciji sa onima koji vaè za ICOM i ICOM-SEE, zbog istihstrate{kih opredeljenja i ciljeva. Dijana je jedan od glavnihaktera ICOM-SEE-ja i ICOM-a i zato ve}inu svojih nau~-no-stru~nih projekata metodolo{ki regionalno postavlja iorganizuje u razli~itim zemljama regiona. U toj simbiozi izajedni~kom nedeljivom radu sa ICOM-om Dijana je svojeaktivnosti godinama usmeravala na region jugoisto~ne Evro-pe, postepeno formiraju}i partnersku regionalnu mreù okotih svojih razli~itih i kompleksnih aktivnosti. Zato danaspredstavnici zemalja regiona ne samo {to pokazuju velikiinteres za neposredno i konkretno uklju~ivanje u pojedine

22


Prvi generalni sastanak ICOM-SEE-ja u Beogradu, decembar 2008

The First General Assembly of ICOM-SEE in Belgrade,December 2008

This reorganization of ICOM will enable professionalsgathered around ICOM SEE to work more efficiently andstrongly both according to their national and regional inte-rests and in compliance with the general strategies ofICOM.

Immediately after holding a General parliament ofICOM in Vienna 2007 ICOM-SEE has begun with the pre-parations for conducting the official procedures of chang-ing from working group of ICOM Europe in regionalalliance. On the other hand, during the session of AdvisoryCommittee of ICOM in June 2008 in Paris a meeting of theWorking Group of regional alliance and regional extendedorganization of ICOM was held. On that meetings majorityof attendants supported forming of the Regional Allianceof ICOM-SEE; it was unanimously decided to officially de-mand from Executive Board of ICOM to form Regional Alli-ance for South East Europe-ICOM-SEE. Executive Boardof ICOM has accepted that proposition on the meetingheld on June 5th and 6th 2008 and ICOM-SEE was foundedas fifth active regional alliance.

Today there are nine countries within ICOM-SEE: Slove-nia, Croatia, Bosnia and Herzegovina, Montenegro, Alba-nia, Macedonia, Serbia, Bulgaria and Romania. ICOM-SEEworks through a board, elected by representatives of nati-onal committees of ICOM of all member states of the newregional organisation.

The Board of ICOM-SEE is consisted of members andtheir substitutes:

1. Dr Mila Popovi}-@ivan~evi}, museum councillor –conservator, National Museum in Belgrade, head of theDiana Department for preventive conservation, permanentmember of the board, president of ICOM-SEE, Serbia

2. Prof. Dr Jan Ki{geci, advisor, The Museum of Agri-culture in Kulpin, Institute for arable farming and vege-table growing in Novi Sad, substitute of the member of theboard of ICOM-SEE, Serbia

3. Branislava Mihajlova, museum councillor, Museumof Natural History in Skopje, permanent member of theboard , vice president of ICOM-SEE, Macedonia

4. Zaharinka Aleksoska Ba~eva, conservator, Museumof Modern Art in Skopje, substitute of the member of theboard of ICOM-SEE-a, Macedonia

5. Prof. Dr Simeon Nedkov, professor of museology atthe Faculty of Philosophy in Sofia, permanent member ofthe board of ICOM-SEE, Bulgaria

6. Krasimira Frangova, National Academy of Art inSofia, Conservatory department, substitute member of theboard of ICOM-SEE, Bulgaria

7. Dr Dragan Mati}, Inspectorate for culture and mediain Slovenia, permanent member of the board of ICOM-SEE,Slovenia

8. Nina Zdravi~-Poli}, museum councillor, EthnographicMuseum of Slovenia in Ljubljana, Slovenija, substitute ofthe member of the board of ICOM-SEE-a

9. Vlatka Filip~i}-Maligec, curator, Museum of Croati-an Zagorje, Museum of the peasants’ mutiny, permanentmember of the board of ICOM-SEE, Croatia

10. Davor Fulanovi}, Technical Museum in Zagreb,substitute member of the board of ICOM-SEE, Croatia

11. Janko Vra~ar, curator, Museum of Republika Srpskain Banja Luka, permanent member of the board of ICOM-SEE, Bosnia and Hercegovina

12. Azra Be~evi}-[arenkapa MA, conservator, Museumof the Earth in Sarajevo, substitute member of the board,vice president of ICOM-SEE; Bosnia and Hercegovina

13. Ljiljana Zekovi}, advisor, National Museum of Mon-tenegro, director of the Art Museum, permanent memberof the board of ICOM-SEE, Montenegro

14. Mileva Vujo{evi}, advisor, Marine museum in Kotor,substitute member of the board of ICOM-SEE, Montenegro

15. Prof. Dr Ilirjan Gjipali, deputy director of the Archa-eological Museum in Tirana, permanent member of theboard of ICOM-SEE, Albania

16. Albana Hakani, archaeologist, Butrint Archaeologi-cal park, substitute member of the board ICOM-SEE, Albania

17. Dr Virgil Nitulescu, state secretary of the Ministryof Culture of Romania, permanent member of the board ofICOM-SEE, Romania

23


Jedan od srednjovekovnih manastira na planini Rudnik koji su obi{li ~lanovi Borda ICOM-SEE-ja, decembar 2008

One of the medieval monasteries in the Rudnik mountain, visitedby the members of the Board of ICOM-SEE, December 2008

^lanovi Borda ICOM-SEE-ja u tipi~no {umadijskom ambijentu,decembar 2008

Members of the Board of ICOM-SEE in a typical ambient of[umadia, December 2008

24


Trijenalni skup ICOM-a Srbije, Bosne i Hercegovine i Hrvatskeu Prijepolju, maj 2008

Triennial meeting of ICOM Serbia, Bosnia and Herzegovinaand Croatia in Prijepolje, May 2008

Mila Popovi}-@ivan~evi} drì predavanje na trijenalnom skupuu Prijepolju, maj 2008

Mila Popovi}-@ivan~evi} giving a lecture on Triennial meetingin Prijepolje, May 2008

Biljana \OR\EVI]Narodni muzej u Beogradu

KONVENCIJA O ZA[TITI STARIH I TRADICIONALNIH ZANATA – PROMENA SADA[NJOSTI

I OBLIKOVANJE BUDU]NOSTI

NA[E KULTURNO OKRU@ENJE ubrzano se menja i po-staje sve jednoli~nije i bezli~nije. Svakim danom lokalne,regionalne i nacionalne specifi~nosti sve vi{e nestaju. Glo-balizacija se nezadrìvo {iri planetom, zahvata sve segmen-te dru{tva i uzima svoj danak. Ona sobom nosi odre|enepozitivne promene, ali je pogubna za o~uvanje kulturnogidentiteta.

Nije vi{e neobi~no videti i mlade i stare pripadnike raz-li~itih kultura u svim delovima sveta koji su svoje tradicio-nalne no{nje zamenili sasvim istim majicama i ka~ketimana kojima se naj~e{}e nalaze neke reklamne poruke napisanena njima nerazumljivom jeziku. Ili mlade ène koje vodu saizvora odnose u plasti~nim kanisterima umesto u skladnoizvajanim i bogato ukra{enim glinenim }upovima {to su ihosmislili njihovi preci; ti }upovi, osim funkcije koju imaju,

nose i brojna zna~enja i poruke, bitne upravo za tu zajednicuna tom mestu.

Mo`da je najslikovitija paradigma ovakvog u~inka glo-balizacije sada ve} antologijska scena iz legendarnog filmaBogovi su pali na teme, snimljenog 1980. godine. Mladi Bu-{man Ksi u pustinji Kalahari pronalazi staklenu bocu koka--kole koja je pala s neba kao dar bogova. Njegova te`nja dabogovima vrati taj predmet za koji je ustanovljeno da ni~e-mu ne sluì, ali koji izaziva razdor u dotad skladnoj zajed-nici, svakako simbolizuje borbu protiv negativnih uticajaglobalizacije.

Nije, me|utim, potrebno ìveti u Namibiji da bi se osetiopoguban uticaj globalizacije na kulturni identitet bilo kojezajednice. Dovoljno je pripadati nekom od evropskih naroda.

aktivnosti ve} se i uklju~uju u projekte, daju}i im na taj na-~in partnerski regionalni karakter. Dijana i ICOM-SEE tru-de se da se putem odgovaraju}e radne atmosfere i ambijentakoji je stvoren tokom dosada{njih regionalnih akcija, u pro-fesionalnim kontaktima, uspostavi bliska saradnja izme|upojedinaca i institucija u jugoisto~noj Evropi. Osnovni cilje-vi Dijane i ICOM-SEE-a se poklapaju i odnose se na koordi-niranje regionalnih aktivnosti na za{titi ba{tine, na osnovupartnerskih i paralelnih projekata kratkoro~nog i dugoro~-nog karaktera, a u okviru sadràja revitalizacije kulturnogi prirodnog nasle|a u regionu jugoisto~ne Evrope. Postav-

ljeni zadaci uklju~uju i kreiranje i razvoj zajedni~ke regio-nalne strategije za{tite ba{tine, kao i stvaranje sna`nijegprofesionalnog uticaja na stru~ne institucije za{tite i orga-ne vlade na nacionalnom i me|unarodnom nivou. Dakle,ICOM-SEE i Dijana usmeravaju svoje aktivnosti na revita-lizaciju nasle|a u regionu jugoisto~ne Evrope, na sistemeza{tite koji odraàvaju {iri integrativni pristup nasle|u, uskladu s nacionalnim i regionalnim interesima. Te aktivnostive} donose konkretne rezultate u nau~no-stru~noj saradnjiu na{em regionu, kao i sve intenzivnije okupljanje i samo-organizovanje profesionalaca.

18. Elena Doina Punga, head of the PR Department,National Historical Museum in Bucharest, substitute mem-ber of the board, ICOM-SEE, Romania.

Experts from Diana have made an essential contributi-on to the formation and strengthening of ICOM-SEE. Theyhave initiated, coordinated, and organized a number of regi-onal projects and activities, including different experts atnational, regional and international levels. Most of theseprojects connect different cultures, institutions and pro-fessionals in our region and in Europe. The tasks of Dianamatch and overlap with those of ICOM and ICOM SEE,having the same strategic orientation and goals. Diana is oneof the main participants in ICOM-SEE and ICOM so itpositions most of its scientific and expert projects regionally,and then organises them in different countries in the region.In this indivisible, mutual symbiosis with the work of ICOM,Diana has directed its activities toward the region of SouthEast Europe for years, gradually forming a regional networkof partners gathered around its different, complex activities.That is why representatives of countries in the region todaynot only show great interest in certain activities, but also get

involved in projects, thus giving them a regional partnershipcharacter. Diana and ICOM-SEE are making an effort toestablish closer cooperation between individuals and institu-tions in South East Europe by means of a suitable workingatmosphere and environment, created during the regionalactivities of ICOM-SEE that have been taken so far. Themain goals of Diana correspond with those of ICOM-SEEand refer to coordinating regional activities in the conser-vation of heritage, based on partner and parallel projects,both short-term and long-term, within the revitalisation ofcultural and natural heritage in South East Europe. Tasksinclude the creation and development of a regional strategyof heritage protection of, as well as a more powerful influ-ence on expert conservation institutions and government de-partments at national and international levels. ICOM-SEEand Diana are directing their activities towards the revitali-sation of heritage in South East Europe, and towards systemsof conservation that maintain a wider, integrative approachto heritage, according to national and regional interests.Those activities have already brought about concrete re-sults in our region, including more intensive gathering andself-organisation of regional professionals.

25


Biljana DJORDJEVI]National museum in Belgrade

CONVENTION ON THE PROTECTION OF OLD AND TRADITIONAL CRAFTS:

CHANGING THE PRESENT AND SHAPING THE FUTURE

OUR CULTURAL SURROUNDINGS are rapidly changingand becoming more monotonous and impersonal. With eachday, local, regional and national traits are disappearing. Ir-repressible globalization is spreading throughout the pla-net, seizing all segments of society, and this is taking itstoll. Although it brings along certain positive changes, it isdetrimental for the preservation of cultural identity.

It is no longer unusual to see both young and old mem-bers of different cultures in all parts of the world exchan-ging their traditional costumes with the same t-shirts andcaps, which usually have some kind of advertising messageswritten in a language that is incomprehensible to them.Young women now carry water from the spring in plasticcontainers instead of the harmoniously shaped and richlydecorated pots designed by their ancestors. Besides theirfunctional value these pots carry numerous meanings andmessages, important to that unique community and place.

Perhaps the most picturesque paradigm of this effect ofglobalization is the now epic scene from a legendary movieThe Gods must be Crazy, made in 1980. In the Kalahari Desert,young Bushman Xi finds a glass Coca-Cola bottle which hadfallen from the sky, and interprets it as a gift from God. Hisintention to return the bottle to the gods (it had no establi-

shed purpose but created discord in what had, until then,been a harmonious community) symbolizes the struggleagainst the negative influences of globalization.

However, it is not necessary to live in Namibia in orderto feel the damaging influence of globalization on the cul-tural identity of any community. It is sufficient to belongto any European nation. Here the consequences are also vi-sible. Things that former generations designed, developed,and nurtured for hundreds of years and interwove in theshapes and decoration of objects for everyday use are slowlydisappearing. Above all, the knowledge and skills necessaryfor creating these objects have also disappeared, and thatloss will soon be irretrievable.

Old crafts should be observed not only as part of cul-tural heritage and the artistic expression of one nation, butalso as part of everyday life, which connects individuals andgroups from different ethnic, cultural, religious and lingu-istic surroundings, based on mutual understanding and re-spect. They enable better understanding among cultures,social cohesion, and stability based on a principle of accep-ting others with all their differences. This is the basis of theWhite paper on intercultural dialogue: Living Together as

I ovde su posledice sasvim uo~ljive. Bezli~ne majice, plasti~-ni kanisteri i beskorisna ambalaà {ire se nezaustavljivo.

Sve ono {to su generacije pre nas osmi{ljavale, razvijalei negovale stotinama godina i utkale u forme i dekoracijupredmeta za svakodnevnu upotrebu polako nestaje. Nesta-ju, pre svega, znanja i ve{tine neophodni za nastanak ovihpredmeta, a taj gubitak uskoro }e biti nenadoknadiv.

Stare zanate treba posmatrati ne samo kao deo kultur-ne ba{tine i umetni~kog izraza jedne nacije ve} kao deo sva-kodnevnog ìvota koji povezuje pojedince i grupe iz razli~itihetni~kih, kulturnih, verskih i jezi~kih okruènja na osnovuuzajamnog razumevanja i po{tovanja. To je osnova Bele knji-ge o interkulturnom dijalogu: @iveti zajedno, jednaki u dosto-janstvu, koju je Savet Evrope usvojio u maju 2008.1

Stari zanati treba da budu, a i jesu, aktivnosti koje omo-gu}uju bolje razumevanje me|u kulturama, socijalnu ko-heziju i stabilnost na osnovu principa prihvatanja drugih snjihovim razli~itostima.

Pred nama je nacrt Konvencije o za{titi starih i tradici-onalnih zanata, koji je u oktobru 2006, na inicijativu Srbije,2

Savetu Evrope podnelo sedam zemalja.3 Ova konvencijapredvi|a usvajanje niza mera na nacionalnom i evropskomnivou, mera kojima bi se obezbedili opstanak i oìvljavanjetradicionalnih zanata i o~uvanje njihovih proizvoda, pro{i-renje kruga lica koja se njima bave, kao i unapre|ivanje nji-hovog ekonomskog i socijalnog poloàja. Na taj na~in tre-balo bi da Konvencija uvede red i da zaustavi nestajanje idegradaciju starih i tradicionalnih zanata. Kao ni ostale kon-vencije i deklaracije Saveta Evrope, ni ova konvencija nemasnagu zakona, ve} preporuke. Njen cilj nije da nametne,ve} da stimuli{e. Da bi bila usvojena i da bi podstakla zem-lje ~lanice Saveta Evrope, kojih je danas 47, na to da je ra-tifikuju, potrebno je da predstavnici svih ovih zemalja spo-znaju njen zna~aj i neophodnost njene primene u svimevropskim zemljama, bez obzira na stepen razvijenosti. Nastru~njacima je koji se za{titom kulturnih dobara bave daim na to ukaù i da im u tome pomognu.

* * *Nedavno sam pro~itala kratku pri~u Dòela Barkera

Baca~ zvezda, inspirisanu istoimenom pripovetkom antropo-loga Lorena Ajslija.4 Pri~a govori o mudracu koji na dugojpe{~anoj plaì zati~e mladi}a u mukotrpnom poslu vra}a-nja nasukanih morskih zvezda, jedne po jedne, u okean.Za~u|en uzaludnim, beskona~nim poslom koji je taj mladi~ovek strpljivo obavljao, mudrac ga zapita za{to to radi kadnikada ne}e mo}i da vrati u vodu sve morske zvezde i kad,samim tim, to nema nikakvog smisla i ne zna~i ni{ta. Mladi}mu, saginju}i se i bacaju}i nazad, u vodu, jo{ jednu od ne-preglednog broja nasukanih morskih zvezda, odgovori: Zaovu zna~i. Mudri ~ovek je shvatio: ono {to je mladi} ~iniobio je izbor. Izbor da ne bude samo nemi posmatra~, ve} dane{to preduzme. Kao i mladi} iz pri~e, i mi smo svi obdare-ni sposobno{}u da u~inimo iskorak; kada postanemo svesnite sposobnosti, ste}i }emo mo} da uti~emo na promenu sa-da{njosti i oblikovanje budu}nosti.

Svaki za budu}nost sa~uvan, od zaborava otrgnut iliobnovljen stari i tradicionalni zanat jedna je morska zvezdakojoj smo spasli ìvot.

26


1] White Paper on Intercultural Dialogue: Living Together AsEquals in Dignity, Launched by the Council of Europe Ministers ofForeign Affairs at their 118th Ministerial Session, Strasbourg, 7May 2008.

2] Nacrt Konvencije o za{titi starih i tradicionalnih zanata na-stao je na Pravnom fakultetu u Beogradu. Delo je studenata, sada ve}diplomiranih pravnika, angaòvanih u Stru~noj grupi za evropskopravo, pod rukovodstvom doc. dr Branka Raki}a. To {to je nastalakao studentska ve`ba u oblasti evropskog prava ne umanjuje nje-nu vrednost, o ~emu govori i ~injenica da ju je Savet Evrope uzeou razmatranje i radi na njenom usvajanju.

3] Uz Srbiju, to su Velika Britanija, Nema~ka, [panija, Kipar,Finska i Litvanija.

4] www.starthrower.com.

EVROPSKA KONVENCIJA O ZA[TITI STARIH I TRADICIONALNIH ZANATA

Dràve ~lanice Saveta Evrope i druge dràve potpisnice ove konvencije:– polaze}i od toga da je cilj Saveta Evrope ostvarenje {to ~vr{}e unije izme|u njegovih ~lanica radi o~uvanja i unapre-

|ivanja ideala i principa koji ~ine njihovu zajedni~ku ba{tinu i podsticanja njihovog ekonomskog i dru{tvenog napretka,– imaju}i u vidu Evropsku kulturnu konvenciju, potpisanu u Parizu 19. decembra 1954. godine, a posebno njene

~lanove 1 i 5,– svesne toga da su stari i tradicionalni zanati, i to kako znanja i ve{tine koji ih ~ine, a koji su izgra|ivani, preno-

{eni i unapre|ivani kroz generacije, tako i proizvodi koji su rezultat tih znanja i ve{tina, a koji su tako|e nastajali i ~u-vani kroz vekove, sastavni i bitan deo ukupnog duhovnog i kulturnog nasle|a i svakog naroda posebno i cele Evrope, pai ~itavog ~ove~anstva,

– uverene da zna~aj tih znanja i ve{tina i njihovih proizvoda daleko nadilazi njihovu svakodnevnu prakti~nu pri-menjivost, te da oni imaju izuzetnu kulturnu vrednost, neretko i umetni~ku, kao i da su zna~ajno svedo~anstvo o na~inuìvota, obi~ajima, potrebama, shvatanjima i ukupnoj duhovnosti naroda u razli~itim epohama, a i o kulturnim proìma-njima izme|u razli~itih naroda,

– svesne ~injenice da razvoj nauke i tehnologije, a posebno industrijski razvoj, sa sve ve}im mogu}nostima jeftine,brze i masovne proizvodnje, ~ini bavljenje starim i tradicionalnim zanatima nedovoljno rentabilnim, pa time i nedovoljnoprivla~nim za nove generacije koje se nalaze pred izborom svog budu}eg zanimanja,

Equals in Dignity which was adopted by Council of Europein May of 2008.1

Before us is a draft of Convention on Protection of Oldand Traditional Crafts, which has, on the initiative of Serbia2,been submitted to the Council of Europe by seven coun-tries.3 This convention envisages the adoption of a numberof measures on national and European levels, with whichthe survival and revival of traditional crafts and the preser-vation of their products would be provided for, spreadingthe circle of people engaged in such craftsmanship, as wellas advancing their economic and social status. This way theConvention should bring order and stop the disappearanceand decay of old and traditional crafts. As well as otherconventions and declarations of the Council of Europe, thisConvention does not have the power of a law, but only thatof a recommendation. Its goal is not to impose, but to sti-mulate. In order for it to be adopted and ratified by the 47member countries of the Council of Europe, the representa-tives of these countries must acknowledge its significanceand the necessity of its application in all European countries,regardless of their degree of development. It is up to expertsdealing with the protection of cultural goods to highlightthe issue and help member countries to apply the Con-vention locally.

* * *Recently I read a short story The Star Thrower by Joel

Barker, inspired by the story with the same name by anthro-pologist Loren Eiseley.4 The story deals with a wise manwho encounters a young man on a long sunny beach toilingto return stranded starfish, one by one, into the ocean.

Bewildered by this futile, endless work which that youngman was patiently conducting, the man asked him why hewas doing that since he would not be able to return all thestarfish into the water, and since it didn’t make any senseand didn’t signify anything. The young man, bending andthrowing one more stranded starfish back into the water,responded: It does mean a lot for this one. The wise manrealized that what the young man was doing was a choicenot to be just a silent observer, but to do something aboutit. Like the young man from the story, we are capable ofstepping forward, and once we become aware of that capa-bility, we will have the power to influence the present andshape the future, albeit one step at a time.

Each craft preserved for the future, saved from oblivi-on, or revived like one of the starfish, is a life which wehave saved.

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1] White Paper on Intercultural Dialogue: Living Together AsEquals in Dignity, Launched by the Council of Europe Ministers ofForeign Affairs at their 118th Ministerial Session, Strasbourg, 7May 2008.

2] Draft of the Convention on Protection of Old and TraditionalCrafts has been designed at The Faculty of Law in Belgrade by gra-duates engaged in the Expert group for European law, under thedirection of Dr Branko Raki}. The fact that it was established as apost-graduate student task within European Law does not diminishits value, which is proved by the fact that the Council of Europe hastaken it under consideration and is working on its adoption.

3] Along with Serbia those are Great Britain, Germany, Spain,Cyprus, Finland and Lithuania

4] www.starthrower.com.

EUROPEAN CONVENTION ON THE PROTECTION OF OLD AND TRADITIONAL CRAFTS

The member states of the Council of Europe and other signatory states hereto, – Considering that the aim of the Council of Europe is to achieve a greater unity between its members for the purpose

of safeguarding and realizing the ideals and principles which are their common heritage and facilitating their economicand social progress,

– Bearing in mind the European Cultural Convention signed in Paris on 19 December 1954, and in particular,Articles 1 and 5 thereof,

– Being aware that old and traditional crafts, comprising both knowledge and skills which have been developed,conveyed and improved through generations, and the products that are the fruit of such knowledge and skills, which havealso been developed and safeguarded over centuries, represent an integral and significant part of the overall spiritual andcultural heritage of each particular nation, the whole of Europe and the entire mankind,

– Confident that the importance of the above mentioned knowledge and skills and the products thereof by far exceedstheir day-to-day practical application and that they are of an exceptional cultural and often artistic value, thusrepresenting an invaluable testimony to the lifestyle, customs, needs, views and the overall spirituality of a nation invarious epochs, as well as to the cultural links between different nations,

– Recognizing the fact that the progress of science and technology, especially industrial development, with ever-increasing opportunities for cheap, fast and large-scale production, makes old and traditional crafts insufficientlyprofitable and, consequently, not attractive enough to be chosen by new generations as their future profession,

– Considering the fact that, due to the above described process, numerous old and traditional crafts are facingcomplete extinction, some of them being already extinct, as well as the fact that the skills that have been acquired anddeveloped through generations are dying out and that the quantity of the preserved products manufactured by applicationof old and traditional methods is diminishing drastically, especially with regard to the products belonging to earlierepochs, which, owing to their age, are all the more valuable,

– polaze}i od toga da su mnogi stari i tradicionalni zanati usled navedenog procesa pred potpunim ga{enjem, neki ve} iuga{eni, da se znanja koja su sticana i razvijana kroz generacije gube i da se drasti~no smanjuje koli~ina o~uvanih zanatskihproizvoda proizvedenih na stare i tradicionalne na~ine, posebno onih starijih, koji su zbog svoje starosti naj~e{}e i vredniji,

– svesne da se bez organizovane akcije – kako na nacionalnom i subnacionalnom tako i na me|unarodnom planu,a posebno na evropskom – proces nestajanja starih i tradicionalnih zanata ne moè zaustaviti,

– uverene u postojanje potrebe, kako kod vlastitih naroda tako i u ~itavoj porodici evropskih naroda, pa i u celom ~o-ve~anstvu, za o~uvanjem starih i tradicionalnih zanata, i to i znanja i ve{tina koji ih ~ine, i proizvoda tih znanja i ve{tina,

– svesne potrebe za nau~nim istraìvanjem i prou~avanjem razli~itih aspekata problematike starih i tradicionalnihzanata i potrebe za {irenjem znanja o njima, {to }e doprineti i njihovom o~uvanju i unapre|ivanju i razvijanju svestikod stanovni{tva o tom vidu vlastitog kulturnog nasle|a i o tom segmentu vlastitog kulturnog i nacionalnog identiteta,

– uverene da su u pro{losti saradnja u bavljenju zanatima koje danas smatramo starim i tradicionalnim i razme-na i promet proizvoda tih zanata doprinosili kulturnom i civilizacijskom proìmanju me|u narodima, te da i danas sa-radnja na o~uvanju starih i tradicionalnih zanata i njihovih proizvoda moè i treba da doprinese sli~nom proìmanjuizme|u novih generacija,

dogovorile su se o slede}em.

CILJEVI KONVENCIJE

^lan 1Ova konvencija ima za cilj:1. za{titu i unapre|ivanje starih i tradicionalnih zanata;2. {irenje znanja o njima;3. razvijanje svesti o tome da stari i tradicionalni zanati koji su postojali i koji postoje na prostoru svake od dr-

àva potpisnica ~ine sastavni deo zajedni~ke evropske, pa ~ak i svetske kulturne i civilizacijske ba{tine, kao i podsti-canje, na ovom planu, daljeg duhovnog, kulturnog, civilizacijskog i svakog drugog pozitivnog proìmanja izme|uevropskih naroda i u okviru ~itavog ~ove~anstva.

DEFINISANJE POJMOVA

^lan 2U smislu ove konvencije:

pod starim i tradicionalnim zanatima (u daljem tekstu: zanati) podrazumevaju se zanati koji su na prostorudràva potpisnica ove konvencije postojali u duèm periodu, stekav{i, zahvaljuju}i tome, ukorenjenje kod naroda natom prostoru, kao i osobenosti i prepoznatljiva svojstva, ~ime su postali deo kulturnog i duhovnog nasle|a tih naro-da, odnosno deo njihove tradicije.

pod za{titom i unapre|ivanjem podrazumevaju se sve organizovane kolektivne ili pojedina~ne aktivnosti i me-re koje imaju za cilj:

– opstanak i oìvljavanje starih i tradicionalnih zanata;– o~uvanje znanja i ve{tina koji te zanate ~ine, kao i dalje usavr{avanje tih znanja i ve{tina i njihovo {irenje; – prikupljanje, za{titu i o~uvanje proizvoda tih zanata;– pro{irenje kruga lica koja se bave tim zanatima profesionalno ili amaterski; – unapre|ivanje ekonomskog i socijalnog poloàja lica koja se profesionalno bave tim zanatima; – pruànje materijalnog i drugog podsticaja za amatersko bavljenje tim zanatima,– kao i uop{te o~uvanje ili oìvljavanje u sada{njosti ili u pro{losti dostignutog kvantitativnog i kvalitativnog nivoa

u bavljenju ovim zanatima i podizanje tog nivoa u budu}nosti.pod {irenjem znanja podrazumevaju se sve organizovane – kolektivne ili pojedina~ne – aktivnosti i mere na-

u~noistraìva~kog, obrazovnog, informativnog ili drugog sli~nog karaktera, ~iji je cilj da se detaljno prou~e svi isto-rijski, kulturni, umetni~ki, socijalni, ekonomski i drugi aspekti nastanka i razvoja starih i tradicionalnih zanata, dase unaprede znanja, ve{tine i tehnike obavljanja tih zanatskih delatnosti i da se ta znanja, ve{tine i tehnike pro{irena {to ve}i krug lica, kao i da se s proizvodima tih zanatskih delatnosti upozna {to {ira javnost.

OBAVEZE DR@AVA POTPISNICA

^lan 3Dràve potpisnice obavezuju se da }e preduzimati sve mere i aktivnosti potrebne za ostvarivanje ciljeva ove kon-

vencije. Dràve potpisnice }e radi toga sara|ivati, kako kroz mehanizme koje predvi|a ova konvencija tako i na dru-ge na~ine koji se pokaù korisnim.

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– Being aware that the dying out of old and traditional crafts cannot be curbed without a coordinated action at thenational and subnational levels, as well as at the international and particularly European level,

– Confident that the need of their respective nations and of the entire family of the European nations, as well as man-kind in general, is to preserve old and traditional crafts, both the knowledge and skills incorporated therein and theproducts of such knowledge and skills,

– Being aware of the need for carrying out scientific research and study of the various aspects of old and traditionalcrafts, and the need to disseminate the knowledge thereabout, which will contribute to their preservation and furtherdevelopment, as well as raise popular awareness of this form of cultural heritage and cultural and national identity,

– Convinced that in the past cooperation in practicing the crafts which we now deem old and traditional, and theexchange of and trade in the products of such crafts contributed to the establishment of cultural and civilizational linksbetween nations, and also that the cooperation in preserving old and traditional crafts and their products can and oughtto contribute to the establishment of similar links between new generations,

have agreed as follows:

OBJECTIVES OF THE CONVENTION

Article 1This Convention has the following objectives:1. to protect and promote old and traditional crafts;2. to disseminate knowledge thereabout;3. to raise popular awareness of the fact that old and traditional crafts that existed and still exist on the territory of

each signatory state represent an integral part of the common European, and even global, cultural and civilizationalheritage, and to encourage further spiritual, cultural, civilizational and any other positive interaction in this context,among the European nations and within the whole mankind.

DEFINITION OF TERMS

Article 2In terms of the present Convention,

The term old and traditional crafts (hereinafter referred to as crafts) denotes crafts that have been in existenceon the territories of the signatory states of this Convention over a lengthy period of time and which, therefore, havebecome deeply rooted in the societies of the nations which populated those territories, acquiring certain specificitiesand distinctive features which have made them part of the cultural and spiritual heritage of those nations, that is,part of their traditions.

The term protection and promotion means any organized collective or individual activities and measures aimed at:– preserving and reviving old and traditional crafts;– safeguarding the knowledge and skills entailed by such crafts, as well as further improving such knowledge

and skills and dissemination thereof; – collecting, protecting and preserving the products of those crafts;– expanding the community of individuals who engage in these crafts, either as professionals or as amateurs; – improving the economic and social status of the individuals who engage in such crafts as professionals; – providing financial and other kind of support to the amateurs engaged in those crafts,– and, in more general terms, preserving and reviving the present or past quantitative and qualitative

achievements in pursuing such crafts, as well as raising the level of these achievements in the future.The term dissemination of knowledge denotes any organized, collective or individual activities and measures

of scientific, educational, informative or any other similar character, which are aimed at developing a comprehen-sive study of all historical, cultural, artistic, social, economic and other aspects of the emergence and developmentof old and traditional crafts, improving the knowledge, skills and techniques for practicing these crafts and dissemi-nating such knowledge, skills and techniques as widely as possible, as well as familiarizing the public at large withthe products of such crafts.

COMMITMENTS OF THE SIGNATORY STATES

Article 3The signatory states shall take any measures and actions that may be necessary for the purpose of achieving the

objectives of this Convention. For that purpose, the signatory states shall establish mutual cooperation, both throughthe mechanisms set forth in this Convention and in any other manner which may prove useful.

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NACIONALNI KOMITETI

^lan 4Najdalje u roku od {est meseci od stupanja na snagu ove konvencije svaka od dràva potpisnica oformi}e svoj na-

cionalni komitet za za{titu starih i tradicionalnih zanata (dalje: nacionalni komitet). Dràve koje naknadno pristupeovoj konvenciji oformi}e svoje nacionalne komitete najdalje u roku od {est meseci od stupanja na snagu Konvencijeu odnosu na njih.

Nacionalne komitete sa~injava}e odgovaraju}i broj predstavnika nadle`nih dràvnih organa, predstavnika lica ko-ja se profesionalno ili amaterski bave ovim zanatima, predstavnika nau~nih i kulturnih institucija i istaknutih nau~nihi kulturnih radnika zainteresovanih za stare i tradicionalne zanate, kao i predstavnika drugih institucija, organizacijaili udruènja i drugih pojedinaca koji bi mogli bitno da doprinesu uspe{nom radu nacionalnog komiteta date zemlje.

Zadatak nacionalnih komiteta bi}e osmi{ljavanje i predlaganje mera i akcija za ostvarivanje ciljeva ove konven-cije, staranje o ostvarivanju tih mera i akcija, ocena uspe{nosti njihove realizacije, kao i ostvarivanje komunikacijei saradnje sa istim ciljem na evropskom i {irem planu.

Dràve potpisnice }e, u skladu s vlastitim ure|enjem, svojim nacionalnim komitetima dati stvarna i efektivnaovla{}enja neophodna za ostvarivanje njihovih zadataka.

Nacionalni komiteti mogu, ukoliko to smatraju potrebnim, da formiraju stru~ne odbore zaduène za pojedinezanate ili pojedina stru~na pitanja, kao i druga pomo}na tela.

EVROPSKI KOMITET

^lan 5U roku od najvi{e godinu dana od stupanja na snagu ove konvencije oformi}e se Evropski komitet za za{titu starih

i tradicionalnih zanata (dalje: Evropski komitet), i to tako {to }e nacionalni komiteti dràva potpisnica delegirati pojednog predstavnika u to telo na period od ~etiri godine, s mogu}no{}u reizbora.

Nacionalni komiteti dràva koje budu naknadno pristupile ovoj konvenciji delegira}e svoje predstavnike u Evrop-ski komitet najdalje u roku od tri meseca od vlastitog konstituisanja.

Zadatak Evropskog komiteta bi}e podsticanje, usmeravanje i koordinacija nacionalnih mera i akcija preduzetihradi ostvarivanja ciljeva ove konvencije, kao i osmi{ljavanje, organizovanje i sprovo|enje zajedni~kih mera i akcija ipodsticanje i koordinacija drugih vidova saradnje me|u dràvama potpisnicama sa istim ciljem.

U Evropskom komitetu sve odluke bi}e dono{ene prostom ve}inom, s tim {to }e se uvek nastojati da se kroz usa-gla{avanje stavova postigne saglasnost svih ~lanica.

Radom Evropskog komiteta rukovodi predsednik Evropskog komiteta, koga bira Evropski komitet na period oddve godine, s mogu}no{}u reizbora.

Evropski komitet donosi sopstvena pravila o radu u roku od tri meseca od formiranja.Redovni sastanci Evropskog komiteta odràva}e se dva puta godi{nje. Komitet moè zasedati i vanredno ako tako

sam odlu~i, odnosno na zahtev najmanje jedne tre}ine ~lanova Komiteta.Evropski komitet moè, ukoliko to smatra potrebnim, da formira stru~ne odbore zaduène za pojedine zanate ili

pojedina stru~na pitanja, kao i druga pomo}na tela.

SARADNJA

^lan 6Radi {to uspe{nijeg ostvarivanja ciljeva ove konvencije, izme|u nacionalnih komiteta i Evropskog komiteta bi}e

odràvana {to intenzivnija komunikacija i saradnja, i to kako preko nacionalnih predstavnika u Evropskom komitetutako i na sve druge na~ine koji se pokaù potrebnim i pogodnim.

Radi {to uspe{nijeg ostvarivanja ciljeva ove konvencije, nacionalni komiteti }e odràvati stalnu i intenzivnu me|u-sobnu komunikaciju i saradnju, kako posredstvom Evropskog komiteta i svojih predstavnika u njemu tako i na svedruge pogodne i potrebne na~ine.

Evropski komitet }e radi ostvarivanja ciljeva ove konvencije odràvati stalnu komunikaciju s Parlamentarnomskup{tinom, Komitetom ministara i drugim zainteresovanim i relevantnim telima Saveta Evrope.

INVENTARI

^lan 7Najdalje u roku od dve godine od stupanja na snagu ove konvencije svaka od dràva potpisnica sa~ini}e i dosta-

vi}e Evropskom komitetu inventar starih i tradicionalnih zanata koji postoje ili su postojali na njenoj teritoriji (dalje:

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NATIONAL COMMITTEES

Article 4No later than six months from entry into force of this Convention, each of the signatory states shall set up its

own national committee for the protection of old and traditional crafts (hereinafter referred to as national committee).The states that accede to this Convention at a later date shall set up their respective national committees not laterthan six months from entry into force of this Convention with regard thereto.

The national committees shall comprise an appropriate number of representatives of the competent state autho-rities, representatives of the persons engaged in such crafts either as professionals or as amateurs, representatives ofthe scientific and cultural institutions and distinguished scholars and cultural officials interested in old and tradi-tional crafts, as well as representatives of other institutions, organizations or associations and other individuals thatwould significantly contribute to the successful operation of the national committee of a particular state.

The task of the national committees shall be to design and propose the activities and measures necessary for theaccomplishment of the objectives of this Convention, to ensure that such activities and measures are implemented,to evaluate their performance, and to establish communication and cooperation with the same goal at the Europeanlevel and further afield.

The signatory states shall, in keeping with their respective constitutional systems, grant such actual and effectiveauthorizations to their national committees as may be necessary for the accomplishment of their tasks.

The national committees may, if they deem it necessary, set up expert committees in charge of particular craftsand specific expert issues and other ancillary bodies.

EUROPEAN COMMITTEE

Article 5Within a maximum of one year from the entry into force of this Convention, a European Committee for the

protection old and traditional crafts shall be set up (hereinafter referred to as European Committee) in such mannerthat the national committees of the signatory states should delegate to this body one representative each for a periodof four years, with the possibility of re-election.

The national committees of the states which accede to this Convention at a later date shall delegate their repre-sentatives to the European Committee not later than three months from their own establishment.

The task of the European Committee shall be to encourage, direct and coordinate national measures and activiti-es taken for the purpose of achieving the objectives of this Convention; design, organize and implement joint measuresand activities; and support and coordinate other forms of cooperation between the signatory states with the same goal.

All decisions of the European Committee shall be rendered by a simple majority vote, but efforts shall also bemade to harmonize various positions in order to obtain the consent of all the member states.

The work of the European Committee shall be managed by the Chairman of the European Committee, who shallbe elected by the European Committee for a period of two years, with the possibility of re-election.

The European Committee shall pass its own rules of procedure within three months from its establishment.Regular meetings of the European Committee shall be held twice a year. The Committee may also hold extra-

ordinary sessions, at its own discretion or at the request of at least one third of the Committee membership.The European Committee may, if it deems it necessary, set up expert committees in charge of particular crafts

or specific expert issues, and other ancillary bodies.

COOPERATION

Article 6In order to accomplish the objectives of this Convention as successfully as possible, the national committees and

the European Committee shall maintain close mutual communication and cooperation, both through the nationalrepresentatives in the European Committee and in any other form that may prove necessary and convenient.

In order to achieve the objectives of this Convention in the most successful manner, the national committeesshall maintain continual and close mutual communication and cooperation, both through the European Committeeand their representatives therein, and in all other convenient and available forms.

For the purpose of achieving the objectives of this Convention, the European Committee shall maintain conti-nual communication with the Parliamentary Assembly, the Committee of Ministers and other interested and relevantbodies of the Council of Europe.

INVENTORIES

Article 7Not later than two years from the entry into force of this Convention, each of the signatory states shall compile

and submit to the European Committee an inventory of old and traditional crafts which exist or which existed in its

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nacionalni inventari starih i tradicionalnih zanata ili nacionalni inventari). Dràve koje naknadno pristupe ovoj kon-venciji sa~ini}e i dostavi}e Evropskom komitetu svoje nacionalne inventare starih i tradicionalnih zanata najdalje uroku od osamnaest meseci od stupanja na snagu ove konvencije u odnosu na njih.

Nacionalni inventari starih i tradicionalnih zanata predstavljaju polazne nacionalne izve{taje, u kojima svakadràva ~lanica konstatuje i popisuje stanje na vlastitom prostoru u pogledu starih i tradicionalnih zanata. Nacional-ni inventari posebno sadrè:

– popis zanata koji se upra`njavaju ili koji su ranije upra`njavani na teritoriji date dràve; – popis podru~ja u datoj dràvi na kojima se pojedini zanati upra`njavaju ili su ranije upra`njavani, uklju~uju}i

i podatke o meri u kojoj se ti zanati upra`njavaju ili su ranije upra`njavani na tim podru~jima; – podatke o broju lica na teritoriji date dràve koja se bave pojedinim zanatima, podatke o njihovoj starosnoj,

polnoj, obrazovnoj i drugoj strukturi, o njihovom socijalnom poloàju, kao i druge releventne podatke u vezi stim licima;

– podatke o postojanju i rasprostranjenosti proizvoda starih i tradicionalnih zanata na teritoriji date dràve, po-datke o stanju, vrednosti i za{ti}enosti tih proizvoda, kao i druge podatke o njima;

– podatke o problemima objektivne ili subjektivne prirode koji postoje u datoj dràvi i koji mogu biti od zna~ajaza ostvarivanje ciljeva ove konvencije;

– podatke o promenama i kretanjima u pogledu svega navedenog u prethodnom duèm i kra}em periodu; – druge bitne statisti~ke ili sli~ne podatke u vezi sa starim i tradicionalnim zanatima i njihovim upra`njavanjem

na prostoru date dràve.

^lan 8Najdalje u roku od tri godine od stupanja na snagu ove konvencije Evropski komitet usvoji}e Evropski inventar

starih i tradicionalnih zanata, zbirni dokument sastavljen na osnovu nacionalnih inventara koje su dostavile dràvepotpisnice. U roku od najvi{e tri meseca od dostavljanja nacionalnih inventara dràva koje kasnije pristupe Konven-ciji u Evropski inventar bi}e unete dopune koje proizlaze iz nacionalnih inventara tih dràva.

STRATEGIJE ZA[TITE

^lan 9Istovremeno sa Evropskim inventarom starih i tradicionalnih zanata ili najdalje tri meseca po njegovom usvaja-

nju Evropski komitet usvoji}e Evropsku strategiju za{tite starih i tradicionalnih zanata (dalje: Evropska strategija),koja }e biti redovno razmatrana na svake ~etiri godine radi utvr|ivanja rezultata njene primene i radi neophodnihmodifikacija. Evropski komitet moè odlu~iti i o vanrednom razmatranju Evropske strategije.

Polaze}i od Evropske strategije, svaka dràva potpisnica }e u roku od {est meseci od usvajanja Evropske strategi-je sa~initi svoju nacionalnu strategiju za{tite starih i tradicionalnih zanata (dalje: nacionalne strategije), ~ija }e daljamodifikovanja biti u skladu s promenama u Evropskoj strategiji. Ako se ukaè posebna potreba, nacionalne strate-gije mogu se razmatrati i modifikovati i nezavisno od razmatranja i modifikovanja Evropske strategije.

Evropska strategija i nacionalne strategije sadrè osnovna usmerenja i osnovne na~ine ostvarivanja ciljeva ovekonvencije na evropskom i nacionalnom planu.

GODI[NJI PROGRAMI

^lan 10Na osnovu Evropske strategije i na osnovu vlastite nacionalne strategije svaka dràva potpisnica sa~injava}e i

ostvariva}e svoje nacionalne godi{nje programe za{tite starih i tradicionalnih zanata; oni }e predvi|ati konkretnemere i aktivnosti za ostvarivanje ciljeva ove konvencije (dalje: nacionalni godi{nji programi).

Evropski komitet }e sa~injavati godi{nje programe me|unarodne saradnje u cilju ostvarivanja ciljeva ove kon-vencije (dalje: evropski godi{nji programi).

IZVE[TAVANJE

^lan 11Dràve potpisnice i Evropski komitet }e pre izrade svakog novog godi{njeg programa sa~injavati odgovaraju}e go-

di{nje izve{taje o ostvarivanju svojih programa za prethodnu godinu, o ostvarivanju Evropske strategije i nacionalnihstrategija u godini o kojoj je re~, kao i o svim drugim bitnim pitanjima u vezi sa ostvarivanjem ciljeva ove konven-cije u onom delu za koji su oni odgovorni, a koja su se pojavila u toku date godine (evropski i nacionalni godi{nji iz-ve{taji o za{titi starih i tradicionalnih zanata – dalje: evropski godi{nji izve{taji i nacionalni godi{nji izve{taji).

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territory (hereinafter referred to as the national inventories of old and traditional crafts or national inventories). Thestates that accede to this Convention at a later date shall compile and submit to the European Committee theirrespective national inventories of old and traditional crafts not later than eighteen months from the entry into forceof the Convention with respect thereto.

The national inventories of old and traditional crafts shall represent basic national reports in which each memberstate shall establish and inventory the state of affairs in its territory with regard to old and traditional crafts. Thenational inventories shall contain in particular:

– list of crafts that are practiced at the present time or that were practiced in the past in the territory of the re-spective state;

– list of regions in the state concerned in which certain crafts are practiced at the present time or were practicedin the past, including data regarding the extent to which they are or were practiced in those regions;

– data on the number of persons on the territory of the respective state engaged in particular crafts, details of theirage, gender, educational and other structure, of their social status, and any other relevant information con-cerning such persons;

– details of the existence and availability of the products of old and traditional crafts in the territory of the stateconcerned, details of the status, value and degree of protection of such products, and other relevant informa-tion thereabout;

– details of the problems, either of objective or subjective nature, that currently exist in the respective state andmay be important for the accomplishment of the objectives of this Convention;

– details of the previous changes and trends with regard to all the above said, both on a long-term and short-term basis; – other significant statistical or similar data related to old and traditional crafts and their practice in the terri-

tory of a particular state.

Article 8Not later than three years from the entry into force of this Convention, the European Committee shall adopt the

European Inventory of Old and Traditional Crafts, which will represent a summary document prepared on the basis ofthe national inventories submitted by the signatory states. Not later than three months from the submission of thenational inventories by the states which accede to the Convention at a later date, the European Inventory shall beamended in accordance with the national inventories of such states.

PROTECTION STRATEGIES

Article 9Parallel to the adoption of the European Inventory of Old and Traditional Crafts or not later than three months

upon the adoption thereof, the European Committee shall adopt a European Strategy for the Protection of Old and Tra-ditional Crafts (hereinafter referred to as the European Strategy) which shall be subject to regular reviews every fouryears for the purpose of evaluating the results of the implementation thereof and the necessary modifications thereto.The European Committee may also decide to conduct an extraordinary review of the European Strategy at any time.

Taking the European Strategy as a point of departure, every signatory state shall, within six months from theadoption of the European Strategy, draw up its own national strategy for the protection of old and traditional crafts(hereinafter referred to as the national strategy), further modifications whereof shall conform to the changes in theEuropean Strategy. Should any specific need arise, reviews and modifications of the national strategies may also beconducted independently from reviews and modifications of the European Strategy.

The European Strategy and the national strategies shall include basic guidelines and principal methods ofrealising the objectives of this Convention on both the European and national levels.

ANNUAL PROGRAMMES

Article 10Pursuant to the European Strategy and on the basis of its own national strategy, every signatory state shall draw

up and implement national annual programmes for the protection of old and traditional crafts (hereinafter referredto as the national annual programmes), which shall set forth specific measures and activities for the achievement ofthe objectives hereunder.

The European Committee shall formulate the annual programmes of international cooperation aimed at attainingthe objectives of this Convention (hereinafter referred to as the European annual programmes).

REPORTING

Article 11Prior to drawing up any new national annual programme, the signatory states and the European Committee

shall compile relevant annual reports on the implementation of the respective programmes for the preceding year,

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Dràve potpisnice }e svoje godi{nje izve{taje dostavljati Evropskom komitetu i, preko Evropskog komiteta, svimdrugim dràvama potpisnicama.

Evropski komitet }e svoje godi{nje izve{taje dostavljati dràvama potpisnicama, Parlamentarnoj skup{tini i Ko-mitetu ministara Saveta Evrope.

UPUTSTVA

^lan 12Ukoliko to smatra potrebnim, radi uniformnosti, ekonomi~nosti ili iz drugih razloga, Evropski komitet }e sa~i-

niti i dràvama potpisnicama dostaviti uputstva o sa~injavanju nacionalnih inventara, nacionalnih strategija, naci-onalnih godi{njih programa i nacionalnih godi{njih izve{taja.

MERE I AKTIVNOSTI

^lan 13Dràve potpisnice }e u svojim godi{njim programima predvideti mere i aktivnosti koje vode ostvarivanju cilje-

va ove konvencije, a naro~ito: – mere socijalne pomo}i zanatlijama; – mere materijalnog i drugog podsticanja mladih da se profesionalno ili amaterski bave starim i tradicionalnim

zanatima; – organizaciju obuke za bavljenje starim i tradicionalnim zanatima, i to kako {kolske obuke za profesionalno

bavljenje tim zanatima tako i kurseva za amatere; – organizovanje susreta i smotri zanatlija; – organizovanje savetovanja i stru~nih skupova nau~nih i kulturnih radnika koji se bave prou~avanjem starih i

tradicionalnih zanata; – organizovanje i podsticanje istraìva~kih projekata koji se odnose na razli~ite aspekte problematike starih i

tradicionalnih zanata; – organizovano sakupljanje i za{titu proizvoda starih i tradicionalnih zanata; – organizovanje i podsticanje izlaganja u muzejima, na izlo`bama i sajmovima proizvoda starih i tradicionalnih

zanata; – fiskalne i druge olak{ice, kao i druge podsticajne mere, za subjekte koji finansijskim i drugim doprinosima po-

maù ostvarivanje ciljeva ove konvencije;– podsticanje i pomaganje rada udruènja i drugih neprofitnih organizacija koje se bave za{titom i unapre|i-

vanjem starih i tradicionalnih zanata; – sve druge mere i aktivnosti za koje dràve potpisnice ocene da doprinose ostvarivanju ciljeva ove konvencije.Dràve potpisnice }e navedene mere i aktivnosti preduzimati i ostvarivati kako na nacionalnom tako i na me|u-

narodnom planu, u me|usobnoj saradnji, kao i u saradnji s dràvama koje nisu potpisnice ove konvencije.Evropski komitet }e podsticati, planirati i koordinirati saradnju izme|u dràva potpisnica i subjekata u njima

na realizaciji mera i aktivnosti usmerenih ka ostvarivanju ciljeva ove konvencije, posebno se staraju}i o tome da {to{iri krug tih mera i aktivnosti poprimi evropski karakter, koji }e doprineti daljem kulturnom i civilizacijskom proì-manju i razvijanju svesti o jedinstvu duhovnog nasle|a na ovom planu.

FINANSIRANJE

^lan 14Dràve potpisnice }e u svojim nacionalnim budètima predvideti odgovaraju}a sredstva za ostvarivanje svojih

nacionalnih strategija i nacionalnih godi{njih programa za{tite starih i tradicionalnih zanata.Ovom konvencijom osniva se Evropski fond za za{titu starih i tradicionalnih zanata (dalje: Fond). Sredstva Fon-

da ~ini}e:– doprinosi dràva potpisnica i– doprinosi i pokloni koje daju drugi subjekti.Evropski komitet }e odrediti kriterijume po kojima }e se godi{nje utvr|ivati finansijski doprinos Fondu svake

dràve potpisnice, u skladu s njenim mogu}nostima.O kori{}enju sredstava Fonda odlu~iva}e Evropski komitet, u skladu s ciljevima ove konvencije.Sredstva iz Fonda koristi}e se za:a) ostvarivanje saradnje i preduzimanje zajedni~kih, evropskih mera i aktivnosti radi ostvarivanja ciljeva kon-

vencije;

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on the pursuit of the European Strategy and national strategies in that year, and on any other significant issuesrelated to the attainment of the objectives set out in this Convention in the segment they are responsible for andwhich have emerged in the course of the year concerned (European and national annual reports on the protectionof old and traditional crafts – hereinafter referred to as the European annual report and national annual reports).

The signatory states shall submit their annual reports to the European Committee and, through the EuropeanCommittee, to all other signatory states.

The European Committee shall submit its annual reports to the signatory states, the Parliamentary Assemblyand the Committee of Ministers of the Council of Europe.

INSTRUCTIONS

Article 12If deemed necessary, in consideration of uniformity and convenience or for other reasons, the European

Committee shall issue and submit to the signatory states instructions for the compilation of national inventories andthe drawing up of national strategies, national annual programmes and national annual reports.

MEASURES AND ACTIVITIES

Article 13The annual programmes of the signatory states shall envisage measures and activities leading to the attainment

of the objectives of this Convention, and in particular: – measures of social assistance to craftsmen; – measures of material and other encouragement for young persons to engage in old and traditional crafts

either as professionals or as amateurs; – organizing training for the practice of old and traditional crafts, including both training in schools preparing

for professional engagement in these crafts, and courses for amateurs; – organizing gatherings and conventions of craftsmen; – organizing seminars and expert gatherings of scholars and cultural officials who are engaged in the research

of old and traditional crafts; – organizing and encouraging research projects related to various aspects of the old and traditional crafts issues; – collecting, in an organized fashion, and safeguarding products of old and traditional crafts; – organizing and encouraging the staging of exhibitions in museums, shows and fairs of products of old and

traditional crafts; – tax shelters and other arrangements, as well as other measures of encouragement for entities which, by way

of financial and other contributions, support the attainment of the objectives hereunder;– encouraging and aiding the work of associations and other non-profit organizations involved in the protection

and promotion of old and traditional crafts; – and all other measures and activities which the signatory states deem capable of contributing to the

attainment of the objectives hereunder.The signatory states shall take and implement the said measures and activities both at the national and inter-

national levels, through mutual cooperation, and through cooperation with states that are not signatories hereto.The European Committee shall encourage, plan and coordinate cooperation between the signatory states and

entities within them, with respect to the implementation of measures and activities aimed at attaining the objectiveshereunder, particularly ensuring that as broad an array as possible of such measures and activities be of Europeancharacter, contributing to further cultural and civilizational interaction and raising of the awareness of the commonspiritual heritage in this respect.

FINANCING

Article 14The signatory states shall designate adequate funds in their respective national budgets for the implementation

of their national strategies and their national annual programmes for the protection of old and traditional crafts. Under this Convention, a European Fund for the Protection of Old and Traditional Crafts (hereinafter referred

to as the Fund) shall be established. The Fund shall include:– contributions by signatory states and – contributions and gifts by other entities.The European Committee shall define the criteria for determining, on an annual level, the financial

contributions owed by the signatory states to the Fund in accordance with their respective financial capabilities.The European Committee shall decide on the use of the Fund in keeping with the objectives set out hereunder.

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b) pruànje pomo}i pojedinim dràvama potpisnicama u ostvarivanju njihovih godi{njih programa; Evropskikomitet }e svake godine utvr|ivati, po unapred odre|enim kriterijumima koje }e sam uspostaviti, kojim }edràvama potpisnicama i u kom iznosu biti pruàna pomo}, vode}i posebno ra~una o mogu}nostima dràvai o njihovom doprinosu ostvarivanju ciljeva ove konvencije;

c) finansiranje rada Evropskog komiteta i njegovih pomo}nih tela.Pri izradi Evropske strategije i nacionalnih strategija i evropskih i nacionalnih godi{njih programa teì}e se

ostvarivanju {to ve}eg stepena samofinansiranja.

OZNAÂVANJE I SERTIFIKACIJA

^lan 15Evropski komitet }e uspostaviti op{te uslove pod kojima }e se utvr|ivati koji se predmeti smatraju proizvodima

starih i tradicionalnih zanata. Svaka dràva }e odrediti svoj sistem ozna~avanja i sertifikacije proizvoda starih i tra-dicionalnih zanata sa svojih prostora.

Oznaka kojom }e se obeleàvati proizvodi starih i tradicionalnih zanata s prostora dràva potpisnica sastoja}ese od jedinstvenog evropskog znaka, koji }e utvrditi Evropski komitet, kombinovanog s nacionalnim znakom, koji }eodrediti svaka od dràva potpisnica.

Svaki proizvod starih i tradicionalnih zanata s prostora dràva potpisnica bi}e pra}en, osim oznaka na koje }e senalaziti na njemu, i sertifikatom kojim se potvr|uje da se radi o originalnom proizvodu starih i tradicionalnih zana-ta i u kojem }e biti navedeni osnovni podaci o tom proizvodu.

Sadràj sertifikata odre|uju dràve ~lanice prema op{tem uputstvu koje izdaje Evropski komitet.

EVROPSKA PRESTONICA I EVROPSKI DAN STARIH I TRADICIONALNIH ZANATA

^lan 16Evropski komitet }e svake godine izabrati jedan grad za Evropsku prestonicu starih i tradicionalnih zanata, i to

svaki put grad u drugoj dràvi potpisnici. Evropski komitet }e odrediti datum koji }e biti progla{en za Evropski dan starih i tradicionalnih zanata.

POTPISIVANJE I STUPANJE NA SNAGU

^lan 17Ova konvencija bi}e otvorena za potpis svim evropskim dràvama koje se obrate generalnom sekretaru Saveta

Evrope sa èljom da budu njene potpisnice. Ova konvencija podleè ratifikaciji, prihvatanju i odobrenju.Instrumenti o ratifikaciji, prihvatanju i odobrenju bi}e deponovani kod generalnog sekretara Saveta Evrope.Ova konvencija stupi}e na snagu po{to kod generalnog sekretara Saveta Evrope bude deponovano pet instrume-

nata o ratifikaciji, prihvatanju ili odobrenju, ali samo u odnosu na dràve koje su navedene instrumente deponovale.

PRISTUPANJE

^lan 18Nakon njenog stupanja na snagu ovoj konvenciji moè pristupiti svaka evropska dràva koja se obrati general-

nom sekretaru Saveta Evrope sa èljom da bude njena potpisnica.U odnosu na dràve koje naknadno pristupe Konvenciji, ona stupa na snagu onog dana kada se njihovi instru-

menti o pristupanju deponuju kod generalnog sekretara Saveta Evrope.

REZERVE

^lan 19Na odredbe ove konvencije ne mogu se stavljati nikakve rezerve.

OTKAZIVANJE

^lan 20Dràva potpisnica moè u svako doba otkazati ovu konvenciju pismenim obave{tenjem upu}enim generalnom

sekretaru Saveta Evrope. Otkaz stupa na snagu godinu dana od dana kada generalni sekretar primi to obave{tenje.

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The Fund shall be used for:a) establishing cooperation and undertaking joint European measures and activities for the purpose of attaining

the objectives hereunder. b) lending assistance to certain signatory states in the implementation of their annual programmes. Every year,

the European Committee shall decide, in accordance with the criteria it determines earlier on, which statesare to be aided and which amounts are to be allotted thereto, particularly taking into account the respectivecapabilities of the states and their contribution to the attainment of the objectives hereunder.

c) funding the work of the European Committee and ancillary bodies thereof.In crafting the European Strategy and the national strategies, and the European and national annual

programmes, as high a degree as possible of self-financing shall be aspired to.

CERTIFICATION

Article 15The European Committee shall establish general terms whereunder which objects shall be deemed products of

old and traditional crafts Every state shall establish its own system of labelling and certifying products of old and traditional crafts

produced on the territory thereof.The label used for marking products of old and traditional crafts produced on the territories of the signatory

states shall include a single European mark, to be determined by the European Committee, in combination with anational mark, to be determined by each of the signatory states.

Along with the marks thereon, each product of old and traditional crafts produced on the territory of a signatorystate shall also be accompanied with a certificate warranting its status as a genuine product of old and traditionalcrafts, and stating basic information about the product.

The content of the certificate shall be determined by the member states in accordance with the generalinstructions issued by the European Committee.

THE EUROPEAN CAPITAL AND EUROPEAN OLD AND TRADITIONAL CRAFT DAY

Article 16Every year, the European Committee shall pronounce a city from a different signatory state as the European

Capital of Old and Traditional Crafts.The European Committee shall specify the date to be pronounced European Old and Traditional Crafts Day.

SIGNATURE AND ENTRY INTO FORCE

Article 17This Convention shall be open for signature by all European states which express to the Secretary General of

the Council of Europe the wish to join it.This Convention is subject to ratification, acceptance and approval.Instruments of ratification, acceptance and approval shall be deposited with the Secretary General of the

Council of Europe. This Convention shall enter into force after five instruments of ratification, acceptance or approval have been

deposited with the Secretary General of the Council of Europe, but only in relation to the states which deposited theaforementioned instruments.

ACCESSION TO THE CONVENTION

Article 18After its entry into force, this Convention shall be open for accession by all European states which approach the

Secretary General of the Council of Europe with a wish to join it.In relation to the states that accede to the Convention at a later date, it shall enter into force on the date of

depositing its instrument of accession.

RESERVATIONS

Article 19No reservation may be made in respect of any provision of this Convention.

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POSMATRAÎ

^lan 21Odlukom Evropskog komiteta bilo kojoj zainteresovanoj evropskoj dràvi koja nije potpisnica ove konvencije ili

bilo kojoj zainteresovanoj vanevropskoj dràvi moè se, na zahtev te dràve, dati status posmatra~a.Dràve sa statusom posmatra~a mogu da {alju svoje predstavnike na zasedanja Evropskog komiteta i ti predstavnici

mogu, nakon izlaganja predstavnika dràva potpisnica, uzimati re~ na zasedanjima, ali bez prava u~e{}a u odlu~ivanju.Evropski komitet }e, u koordinaciji s predstavnicima dràva posmatra~a, utvrditi na~ine i mehanizme u~e{}a

dràva posmatra~a u merama i aktivnostima koje dràve potpisnice budu preduzimale u primeni ove konvencije nanacionalnom i evropskom planu, kao i druge oblike saradnje izme|u dràva potpisnica i dràva posmatra~a.

NOTIFIKACIJA

^lan 22Generalni sekretar Saveta Evrope obave{tava}e sve dràve potpisnice, kao i sve druge dràve ~lanice Saveta

Evrope o:a) svakom potpisu;b) deponovanju svakog instrumenta o ratifikaciji, prihvatanju, odobrenju i pristupanju;c) svakoj odluci o dodeli statusa posmatra~ad) svakom drugom aktu, obave{tenju ili komunikaciji koja se ti~e ove konvencije.

ODNOS PREMA DRUGIM PROPISIMA

^lan 23Odredbe ove konvencije ne}e ni na koji na~in ograni~iti odredbe bilo kog nacionalnog zakona ili drugog propi-

sa, me|unarodne konvencije, multilateralnog ili bilateralnog sporazuma ili bilo kog drugog pravnog akta koje su po-voljnije u pogledu za{tite starih i tradicionalnih zanata.

Sa~injeno u _________, dana _________ godine, na engleskom i francuskom jeziku i oba teksta su podjed-nako verodostojna. Originali su deponovani kod generalnog sekretara Saveta Evrope, koji }e overene kopijeproslediti dràvama potpisnicama, kao i ostalim dràvama ~lanicama Saveta Evrope.

OBRAZLO@ENJE

U obrazloènju predloènog teksta Evropske konvencije o za{titi starih i tradicionalnih zanata bi}e izloèni (a)osnovni podaci o predlaga~ima Konvencije, motivima za podno{enje predloga i o pravnom osnovu na kojem se pred-log zasniva i (b) obrazloènje pojedinih odredaba predloène Konvencije.

(a) O predlaga~ima, motivima za podno{enje predloga i pravnom osnovu

Predlaga~i ove konvencije su studenti Pravnog fakulteta Univerziteta u Beogradu, ~lanovi Stru~ne grupe zaevropsko pravo, fakultativnog oblika rada koji okuplja najuspe{nije studente, posebno zainteresovane za pravneaspekte evropskih integracionih procesa. Re~ je o grupi studenata koji imaju poseban senzibilitet, koji pridaju pose-ban zna~aj svemu onome {to ~ini evropsko zajedni{tvo i koji su svesni toga da je bogato kulturno i civilizacijsko na-sle|e ono {to je vekovima Evropu ~inilo Evropom, {to je taj geografski ograni~en prostor u~inilo duhovnim i civili-zacijskim sredi{tem ~ove~anstva.

Moto kojim smo se rukovodili prilikom izrade ovog predloga Konvencije jeste slede}i: Ako ho}emo da budemoEvropa, treba da ostanemo ono {to jesmo. A da bismo ostali ono {to jesmo, moramo da sa~uvamo vlastiti identitet,vlastitu tradiciju, vlastitu kulturu i civilizaciju i vlastito jedinstvo u razli~itosti. ûvanje onoga {to su nam ostavilipreci, dakle konzervacija onoga zbog ~ega prostor na kojem ìvimo s ponosom nazivamo Starim kontinentom, ni nakoji na~in ne predstavlja konzervativizam i beànje od modernog. ûvanje starog i dobrog zapravo je jedini ispra-van a verovatno i jedini mogu}i na~in na koji se moè biti moderan i spreman na prihvatanje pravih vrednosti kojedonosi novo vreme.

Predlaga~i ove konvencije svesni su toga da upravo briga o o~uvanju onoga {to ~ini evropsko civilizacijsko nasle-|e i evropsko civilizacijsko jedinstvo predstavlja klju~ i odgovor na pitanja koja je svojevremeno Pol Valeri formuli-sao na slede}i na~in:

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DENUNCIATION

Article 20A signatory state may, at any time, denounce this Convention by means of a notification addressed to the

Secretary General of the Council of Europe. Such denunciation shall take effect one year after the date of receipt bythe Secretary General of such notification.

OBSERVERS

Article 21Upon decision of the European Committee, any interested European state that is not signatory hereto or any

other interested non-European state may be granted observer status at the request of the state concerned.The states with observer status may send their representatives to sessions of the European Committee and such

representatives may take floor after representatives of the signatory states at such sessions, but shall exercise noright to partake in the decision-making process.

In cooperation with representatives of observer states, the European Committee shall determine the methodsand mechanisms of observer states’ participation in the measures and activities to be taken by signatory states inthe course of the implementation of this Convention on the national and European planes, as well as other forms ofcooperation between signatory states and observer states.

NOTIFICATION

Article 22The Secretary General of the Council of Europe shall notify all signatory states and all other member states of

the Council of Europe of:a) any signature;b) deposit of any instrument of ratification, acceptance, approval and accession;c) any decision on the granting of observer status and d) any other act, notification or communication pertaining to this Convention.

RELATION TO OTHER REGULATIONS

Article 23The provisions of this Convention shall in no way restrict the provisions of any national law or regulation,

international convention, or multilateral or bilateral agreement, which are more effective in relation to theprotection of old and traditional crafts.

Done at _________, this ____day of ____, in English and French, both texts being equally authoritative.Original copies have been deposited with the Secretary General of the Council of Europe who shall transmitcertified copies to signatory states and other member states of the Council of Europe.

EXPLANATION

In the explanation of the proposed text of the European Convention on the Protection of Old and TraditionalCrafts the following shall be presented: (a) basic information concerning the persons proposing the draftConvention, motives for this submission and the legal basis of this draft and (b) explanations of certain provisionsof the proposed Convention.

(a) On the persons proposing the Convention, motives for submission of the proposal and its legal basis

Those submitting the Convention are students of the Faculty of Law, University of Belgrade. They aremembers of the Study Group for European Law, an optional group that comprises the most successfulstudents, particularly those interested in the legal aspects of the process of the European integration. Thegroup comprises students with a particular sensibility for and awareness of the importance of all the mattersand issues that compose the European fellowship and unity and who are conscious of the rich culturalheritage and civilisation that has for centuries constituted the identity of Europe – the heritage that madethis geographically limited territory the spiritual and civilisational focal point of humanity.

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Da li }e Evropa postati ono {to ona uistinu jeste, mali rt azijskog kontinenta? Ili }e Evropa sa~uvati svoj izgled kaodragulj univerzuma, biser kugle zemaljske, mozak jednog ogromnog tela? (Paul Valéry, Variétés I, 24) (L’Europe devi-endra-t-elle ce qu’elle est en réalité, c’est-à-dire un petit cap du continent asiatique? Ou bien l’Europe restera-t-elle cequ’elle paraît, c’est-à-dire: la partie précieuse de l’univers terrestre, la perle de la sphère, le cerveau d’un vaste corps?)

Predlaga~i ove konvencije po{li su od toga da je bitan deo ukupne aktivnosti Saveta Evrope upravo usmeren nao~uvanje evropskog kulturnog identiteta, {to zna~i kako kulturnog identiteta svakog evropskog naroda ponaosob takoi zajedni~kog kulturnog nasle|a Starog kontinenta. Osnov za takvu aktivnost u op{tem smislu jeste Evropska kulturnakonvencija, potpisana u Parizu 19. decembra 1954. godine; neki segmenti kulture pokriveni su konvencijama ~iji jecilj za{tita evropskog kulturnog nasle|a u datim domenima, poput Evropske konvencije o za{titi arheolo{kog nasle|a,potpisane u prvoj verziji u Londonu 6. maja 1969. godine i u revidiranoj verziji u La Valeti 16. januara 1992. godine,ili Konvencije o za{titi arhitektonskog nasle|a u Evropi, potpisane u Granadi 3. oktobra 1985. godine.

I predloèna Konvencija o za{titi starih i tradicionalnih zanata pokriva jedan deo evropskog kulturnog i civili-zacijskog nasle|a, i to u domenu s kojim – iako je re~ o aktivnostima koje se postepeno gube i izumiru – sada{njegeneracije Evropljana imaju veoma neposrednu i veoma vidljivu vezu. Gotovo da nema stanovnika Starog kontinen-ta koji za opstanak svojih najbliìh i najneposrednijih predaka, pa samim tim i za svoje postojanje, ne treba da za-hvali upravo marljivosti i ve{tini nekog pripadnika ranijih generacija koji je svoje najbliè prehranjivao bave}i se jed-nim od zanata {to ih sada smatramo starim, tradicionalnim i, naàlost, ugroènim. Moè se ~ak re}i da je do pre nevi{e od jednog veka ìvot u evropskim gradovima, a u nimalo zanemarljivoj meri i u evropskim seoskim sredinama,bio ìvot starih i tradicionalnih zanata. Zato je za{tita starih i tradicionalnih zanata vi{e od obi~ne kulturne potre-be. Ona je dug svakog od nas prema na{im najbliìm precima.

Konvencija se posebno oslanja na ~lanove 1 i 5 Evropske kulturne konvencije iz 1954. godine, koji glase:^lan 1Svaka ugovorna strana preduze}e odgovaraju}e mere da bi sa~uvala i podstakla razvoj svog nacionalnog doprinosa

zajedni~kom kulturnom nasle|u Evrope.^lan 5Svaka ugovorna strana }e predmete od evropske kulturne vrednosti koji se nalaze pod njenom kontrolom smatrati

integralnim delovima zajedni~kog kulturnog nasle|a Evrope, preduze}e odgovaraju}e mere da ih sa~uva i osigura}e razu-man pristup tim predmetima.

Stari i tradicionalni zanati i proizvodi tih zanata jesu sastavni i bitan deo ukupnog duhovnog i kulturnog nasle-|a svakog naroda ponaosob, ali i cele Evrope i ~itavog ~ove~anstva. Ujedinjena Evropa zahteva da to i takvo nasle|ebude tretirano kao zajedni~ko evropsko nasle|e, koje mora biti poznato i priznato na celoj teritoriji Evrope, ali uzzadràvanje i negovanje specifi~nosti svakog naroda i njegovog nasle|a kao va`nog i jedinstvenog deli}a evropskogkulturnog mozaika. Proizvodi starih i tradicionalnih zanata imaju izuzetnu kulturnu, neretko i umetni~ku vrednost,a predstavljaju i zna~ajno svedo~anstvo o na~inu ìvota, obi~ajima, potrebama, shvatanjima, duhovnosti pojedinihnaroda i kulturnim proìmanjima izme|u razli~itih naroda.

Razvoj nauke i tehnologije, a posebno industrijski razvoj i mogu}nost jeftine, brze i masovne proizvodnje, ~ininedovoljno rentabilnim i nedovoljno privla~nim bavljenje starim i tradicionalnim zanatima. Usled tog procesa mno-gi od ovih zanata nalaze se pred ga{enjem ili su ve} uga{eni.

Cilj ove konvencije jeste da doprinese, u skladu sa ciljevima Saveta Evrope, ostvarivanju {to ~vr{}e unije izme-|u evropskih dràva i naroda i o~uvanju i unapre|ivanju ideala i principa koji ~ine njihovu zajedni~ku ba{tinu, i toorganizovanom aktivno{}u – na nacionalnom, subnacionalnom i me|unarodnom planu, posebno evropskom – naza{titi i unapre|ivanju starih i tradicionalnih zanata, kao i na {irenju znanja o njima. U tu svrhu ovom konvenci-jom predvi|eni su organi (evropski i nacionalni komiteti), sistem finansiranja i posebni mehanizmi za{tite starih itradicionalnih zanata, sa~injavanje evropskih i nacionalnih inventara, kao i usvajanje evropskih i nacionalnih stra-tegija i godi{njih planova za{tite starih i tradicionalnih zanata itd.

(b) Obrazloènje teksta (pojedina~nih odredaba)

Preambula – U preambuli Predloga Konvencije na uobi~ajen na~in izneti su navedeni motivi i pravni oslonac uEvropskoj kulturnoj konvenciji.

^lan 1 – U ~lanu 1 Predloga Konvencije navedeni su ciljevi Konvencije, a to su za{tita i unapre|ivanje starih i tra-dicionalnih zanata, zatim {irenje znanja o njima i, kona~no, razvijanje svesti o evropskom zna~aju tih zanata i pod-sticanje proìmanja izme|u evropskih naroda na ovom planu.

^lan 2 – U ovom ~lanu definisani su pojmovi sadràni u ~lanu 1 i u daljem tekstu Predloga Konvencije, a to supojmovi stari i tradicionalni zanati, za{tita i unapre|ivanje i {irenje znanja. Ovim ~lanom upotpunjuju se smisao izna~enje ~lana 1.

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The motto that inspired us during the drafting of this proposal was the following: if we wish to remain Europeanswe should remain what we are; and to do that, we have to safeguard our own identity, tradition, culture and civilisationand unity in diversity. Safeguarding of what has been inherited from our ancestors, namely conserving, is not in any waytantamount to conservatism and escape from modernity. Safeguarding the traditional is the only right and possibleway to be modern and to remain prepared to recognize and accept the true values brought on by the new times.

The persons proposing this Convention are aware that the concern to safeguard what represents the heritage andunity of the European civilisation is the answer to questions articulated at the time by Paul Valery in the following way:

Whether Europe will become what it is in reality, a small promontory of the Asian continent? Or will Europe remainas it appears, namely, a precious stone of the universe, the pearl of the globe, the brain of a vast body? (Paul Valéry,Variétés I, p. 24) (L’Europe deviendra-t-elle ce qu’elle est en réalité, c’est-à-dire un petit cap du continent asiatique? Oubien l’Europe restera-t-elle ce qu’elle paraît, c’est-à-dire: la partie précieuse de l’univers terrestre, la perle de la sphère, lecerveau d’un vaste corps ?)

The persons proposing this Convention had in mind the fact that an important part of the activities of theCouncil of Europe concerns the safeguarding the European cultural identity, encompassing both the culturalidentities of each European nation in particular and the joint cultural patrimony of the Old Continent. The basis forthis activity in general terms is the European Cultural Convention, signed in Paris on 19 December 1954, whilecertain particular cultural aspects are covered by conventions, such as the European Convention on the Protectionof the Archaeological Heritage, signed (the first version) in London on 6 May 1969 and the revised version in LaValete on 16 January 1992, or the Convention for the Protection of the Architectural Heritage of Europe, signed inGranada on 3 October 1985. Similarly, the proposed Convention on the Protection of Old and Traditional Craftscovers one aspect of the European civilisation and cultural heritage with which modern generations of Europeanshave very direct and visible ties, although the very activities it concerns are slowly disappearing. Every inhabitantof Europe owes his or her existence to the hard work and skills of his or her ancestors who maintained his or herfamily by practicing crafts which are now considered to be old and traditional, and are unfortunately endangered.Until a century ago life in Europe was organized around old and traditional crafts. Therefore, their protection ismore than a simple cultural need. It is our debt to our closest ancestors.

The Convention especially relies on Articles 1 and 5 of the European Cultural Convention of 1954, which stipulate: Article 1Each Contracting Party shall take appropriate measures to safeguard and to encourage the development of its nati-

onal contribution to the common cultural heritage of Europe.Article 5Each Contracting Party shall regard the objects of European cultural value placed under its control as integral parts of

the common cultural heritage of Europe, shall take appropriate measures to safeguard them and shall ensure reasonableaccess thereto.

Old and traditional crafts and their products are the essential part of the overall spiritual and cultural heritage ofeach nation, but also of Europe as a whole and all of humanity. The unity of Europe demands that this heritage betreated as the common European heritage that must be recognised on the territory of the whole Europe, while pre-serving and cultivating the specificity of each nation as an important and unique part of the European cultural mo-saic. Old and traditional crafts have exceptional cultural and often artistic value and represent an important testimo-ny to the manners of living, customs, needs, views and spirituality of a nation and the cultural interactions betweendifferent nations.

It is recognised that the progress of science and technology, in particular industrial development, with ever-increasing opportunities for cheap, fast and large-scale production, renders old and traditional crafts insufficientlyprofitable and thus not attractive enough as a profession. As a result, many of these crafts have disappeared or areabout to disappear.

The aim of this Convention is to contribute, in conformity with the aims of the Council of Europe, to a greaterunity between European states and nations, as well as to the preservation and further promotion of the ideals andprinciples which are their common heritage, through organized pursuit of protection and promotion of old andtraditional crafts and dissemination of the knowledge thereabout at the national, sub national, international andespecially European level. To this end the Convention provides organs (the European Committee and nationalcommittees), a system of financing, special mechanisms for the protection of old and traditional crafts, as well asadoption of inventories, strategies and annual programmes for the protection of old and traditional crafts both atthe European and at the national levels.

(b) Explanation of the text (individual provisions)

Preamble – The preamble of the Convention states in the customary manner the motives, as described above,and establishes the European Cultural Convention as the legal basis for the draft Convention.

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^lan 3 – Ovim ~lanom dràve potpisnice obavezuju se da }e, preduzimanjem svih potrebnih mera i aktivnosti,raditi na ostvarivanju ciljeva Konvencije i da }e radi realizacije tih ciljeva ostvarivati me|usobnu saradnju kroz me-hanizme predvi|ene Konvencijom, kao i van tih mehanizama.

^lan 4 – ^lanom 4 dràve potpisnice obavezuju se na uspostavljanje, na nacionalnom planu, odgovaraju}eg in-stitucionalnog sredi{ta zaduènog za ostvarivanje ciljeva Konvencije, i to kako kroz utvr|ivanje i realizaciju nacio-nalnih mera i aktivnosti tako i kroz ostvarivanje me|unarodne saradnje. Ta institucionalna sredi{ta jesu nacionalnikomiteti sa~injeni od predstavnika razli~itih grupacija koje mogu da doprinesu ostvarivanju ciljeva Konvencije. Sva-koj dràvi potpisnici ostavljeno je da vlastiti nacionalni komitet uspostavi u skladu s vlastitim dràvnim ustrojstvom,ali uz obavezu davanja tim komitetima realnih i efektivnih ovla{}enja koja }e im omogu}iti da stvarno i efikasno do-prinose ostvarivanju ciljeva Konvencije. S obzirom na sloènost problematike za{tite starih i tradicionalnih zanata,predvi|ena je i mogu}nost da nacionalni komiteti po potrebi oforme odgovaraju}a pomo}na tela za razli~ita pitanjaiz svoje nadle`nosti.

^lan 5 – Pored nacionalnih komiteta, u ~lanu 5 predvi|eno je i formiranje Evropskog komiteta za za{titu starihi tradicionalnih zanata, kao institucionalnog sredi{ta za ostvarivanje ciljeva Konvencije na evropskom nivou. To telozaduèno je za podsticanje i koordinaciju nacionalnih mera i aktivnosti, kao i za realizaciju zajedni~kih, evropskihmera i aktivnosti i drugih oblika saradnje izme|u dràva potpisnica na ostvarivanju ciljeva Konvencije. Evropski ko-mitet sa~injen je od po jednog predstavnika svih nacionalnih komiteta, ~ija se ravnopravnost ostvaruje time {to sva-ki ~lan ima jedan glas i {to se odlu~uje prostom ve}inom, uz nastojanje da se postigne puna saglasnost svih ~lanovagde god je to mogu}e. Komitet se sastaje dva puta godi{nje na redovnim zasedanjima, uz mogu}nost vanrednih za-sedanja. I Evropski komitet, poput nacionalnih komiteta i zbog sli~nih razloga, moè da osniva pomo}na tela. Pred-sedavanje Evropskim komitetom i dono{enje pravila o radu regulisani su na na~in koji je uobi~ajen za ovakva tela.Predlaga~ se opredelio za to da predsednik Evropskog komiteta ne bude biran po sistemu rotacije, ve} bez ograni-~enja i uz mogu}nost vi{estrukog reizbora nakon isteka dvogodi{njeg mandata, polaze}i od toga da se radi o dome-nu me|unarodne saradnje koji se ne odraàva u bitnoj meri na nacionalni suverenitet i politi~ki presti` dràva, a ukojem, s druge strane, li~ni ugled, kreativnost i angaòvanost pojedinaca mogu biti od velikog zna~aja za uspe{anrad tela o kojem je re~.

^lan 6 – Institucionalna mreà koja se uspostavlja po osnovu ~lanova 4 i 5 Konvencije predstavlja centralni do-prinos Konvencije ostvarivanju ciljeva predvi|enih u njenom ~lanu 1. Kroz tu mreù oblast za{tite i unapre|ivanjastarih i tradicionalnih zanata, do sada u prili~noj meri zanemarena i zapu{tena, stavlja se pod organizovan sistemstaranja stru~nih i zainteresovanih lica s realnim i efektivnim ovla{}enjima. Da bi ta institucionalna mreà uspe{nijefunkcionisala, neophodna je {to intenzivnija i ~vr{}a saradnja izme|u njenih elemenata, i to kako vertikalno, izme|unacionalnih komiteta i Evropskog komiteta, tako i horizontalno, izme|u nacionalnih komiteta me|usobno. I nave-dena vertikalna i navedena horizontalna saradnja ostvaruju se pre svega preko predstavnika nacionalnih komiteta uEvropskom komitetu, s tim {to taj redovni put saradnje ne isklju~uje druge oblike saradnje, ni vertikalno ni hori-zontalno. Kao sastavni deo institucionalnog sistema uspostavljenog pod okriljem Saveta Evrope, Evropski komitet}e odràvati stalnu komunikaciju s glavnim i drugim zainteresovanim organima ove me|unarodne organizacije.

^lanovi 7 i 8 – Da bi se utvrdilo stanje u pogledu postojanja i stepena rasprostranjenosti i o~uvanosti starih itradicionalnih zanata i njihovih proizvoda u pojedinim zemljama, a zatim i ukupno, na prostoru svih dràva potpi-snica, u ~lanu 7 predvi|eno je da svaka dràva potpisnica napravi vlastiti popis, to jest nacionalni inventar starih itradicionalnih zanata, a da se na osnovu tih nacionalnih inventara zatim, kao zbirni dokument, sa~ini Evropski inven-tar starih i tradicionalnih zanata. Ti dokumenti, u kojima }e biti sadràn presek stanja u ovom domenu u vreme ka-da su dràve potpisnice usvojile Konvenciju, treba da budu polazna materijalna osnova za dalji rad na ostvarivanjuciljeva Konvencije.

^lanovi 9 i 10 – ^lanovima 9 i 10 predvi|eno je programiranje rada na za{titi starih i tradicionalnih zanata naevropskom i nacionalnom nivou, i to kako dugoro~no tako i kratkoro~no. Kao dugoro~an oblik programiranja, za pe-riode od po ~etiri godine, usvajaju se Evropska strategija i, na osnovu nje, nacionalne strategije za{tite starih i tra-dicionalnih zanata, u kojima su sadràna osnovna usmerenja i osnovni na~ini realizacije ciljeva Konvencije naevropskom i nacionalnom planu. Kao oblik kratkoro~nog programiranja, na evropskom nivou se, polaze}i od Evrop-ske strategije, usvajaju godi{nji programi me|unarodne saradnje radi ostvarivanja ciljeva Konvencije, dok se na na-cionalnom planu, na osnovu Evropske strategije i nacionalne strategije svake dràve, usvajaju nacionalni godi{njiprogrami za{tite starih i tradicionalnih zanata, kojima se predvi|aju konkretne mere i aktivnosti radi ostvarivanjaciljeva Konvencije.

^lan 11 – Ovim ~lanom predvi|ena je obaveza izve{tavanja o ostvarivanju evropskih i nacionalnih programa istrategija predvi|enih u ~lanovima 9 i 10, kao i uop{te o ostvarivanju ciljeva Konvencije. Izve{taje sa~injavaju godi{nje,za pitanja iz svog delokruga, kako dràve potpisnice tako i Evropski komitet, s tim {to dràve potpisnice svoje godi{njeizve{taje dostavljaju Evropskom komitetu i drugim dràvama potpisnicama, a Evropski komitet svoje godi{nje izve{ta-je dostavlja dràvama potpisnicama i organima Saveta Evrope – Parlamentarnoj skup{tini i Komitetu ministara.

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Article 1 – Article 1 enumerates the Convention’s objectives: protection and promotion of old and traditionalcrafts; dissemination of knowledge thereabout and raising awareness of the importance of these crafts for Europeand the encouragement of interaction between European nations in this respect.

Article 2 – This Article defines expressions used in Article 1 and further in the text of the draft Convention. Theseare the following: ‘old and traditional crafts’, ‘protection and promotion’ and ‘dissemination of knowledge’. This Articleis a complement to the meaning of Article 1.

Article 3 – By this Article the signatory states commit themselves to undertake all necessary measures and acti-vities for the purpose of achieving the objectives of this Convention. For that purpose, the signatory states shall esta-blish mutual cooperation, both through the mechanisms set forth by this Convention and in any other manner.

Article 4 – By Article 4 the signatory states are obliged to set up national committees, which should serve asfocal points responsible for the achievement of the objectives of the Convention through determination and realisationof national measures and activities and through establishment of international cooperation. National committeesshall be composed of representatives of different groups that can contribute to the achievement of the objectives ofthe Convention. Each signatory state is free to establish its own national committee in accordance with its own con-stitutional order, with the obligation to grant to its national committee such actual and effective authorizations asmay be necessary for the accomplishment of the Convention’s objectives. Bearing in mind the complexity of safe-guarding old and traditional crafts, the national committees may set up adequate ancillary bodies responsible fordifferent issues in their field of work.

Article 5 – In addition to the national committees, Article 5 prescribes establishment of the European Committeefor the protection of old and traditional crafts as the institutional focal point for the achievement of the objectivesof the Convention at the European level. The European Committee is responsible for encouragement and coordina-tion of national activities and measures, as well as for realisation of joint European measures and activities and otherforms of cooperation between the member states for the purpose of achieving the objectives of this Convention. TheEuropean Committee is composed of one representative of each national committee, their equality being ensured byeach member having one vote and voting by simple majority, with the requirement that Committee members shouldmake an effort to ensure full consensus whenever possible. Regular meetings of the European Committee shall be heldtwice a year, with a possibility of an extraordinary session. For the same reasons that apply to the national committees,the European Committee may establish ancillary bodies. Chairing the European Committee and passing of workingrules is regulated in the manner that is common for such bodies. Those submitting this Convention decided to accepta solution whereby the President of the European Committee is not elected according to the rotation requirement, butinstead allowed re-election without limitation after expiry of the first two year term in office. The rationale behindthis system is the fact that on one hand, the Convention concerns an aspect of international cooperation that doesnot challenge national sovereignty and political prestige of states to a great extent, and, on the other hand, personalreputation, creativity and involvement of an individual may be of great importance for successful operation of thebody in question.

Article 6 – The institutional network established according to Articles 4 and 5 represents the main contributionof the Convention to the achievement of objectives defined in Article 1. This network puts the often neglected andignored field of protection and improvement of old and traditional crafts under responsibility of an organised systemcomposed of experts and interested persons with real and effective competences. In order to ensure a more success-ful operation of this institutional network, it is necessary to have an intensive and strong cooperation between itselements both vertically, between the national committees and the European Committee and horizontally, between thenational committees themselves. Such vertical and horizontal cooperation should primarily be effected by represen-tatives of the national committees in the European Committee. However, this regular form of cooperation does notexclude other forms, both vertically and horizontally. As the component of the institutional system established underthe auspices of the Council of Europe, the European Committee will maintain continual communication with theinterested and relevant bodies of the Council of Europe.

Articles 7 and 8 – In order to asses the current situation in each country and on the territory of all the signatorystates in regard to the existence and level of distribution and preservation of old and traditional crafts as well astheir products, Article 7 prescribes that each of the signatory states shall compile its own inventory which will serveas the basis for the European inventory of old and traditional crafts. These documents will contain an overview ofthe situation in the field at the moment of adoption of the document and shall represent a starting substantive basisfor further efforts towards achievement of the Convention objectives.

Articles 9 and 10 – Articles 9 and 10 prescribe programming of the work on the safeguarding of old andtraditional crafts at the European and national level both in the long-term and in the short term. The long-termEuropean strategy is adopted for a period of four years. It should serve as the basis for the adoption of the nationalstrategies. The European strategy and the national strategies comprise basic guidelines for and principal mannersof achieving the objectives of this Convention at both the European and national levels. The short term, annualprogrammes of international cooperation, stemming from the European strategy and aimed at achieving theConvention’s objectives are adopted at the European level, and together with national annual programmes should

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^lan 12 – Ovaj ~lan polazi od ~injenice da je ostvarivanje ciljeva Konvencije, ~ak i u onom delu gde se radi o na-cionalnim aktivnostima na tom planu, jedinstven proces, koji ne trpi preteranu heterogenost ni u utvr|ivanju po~et-nog stanja u dràvama ~lanicama (nacionalni inventari), ni u dugoro~nom i kratkoro~nom programiranju delovanjana nacionalnom planu (nacionalne strategije i nacionalni godi{nji izve{taji), niti, kona~no, u na~inu izve{tavanja opostignutom (nacionalni godi{nji izve{taji). Stoga je ovim ~lanom predvi|ena mogu}nost da radi uniformnosti, eko-nomi~nosti ili iz drugih razloga Evropski komitet izda dràvama potpisnicama uputstva za izradu nacionalnih in-ventara, nacionalnih strategija, nacionalnih godi{njih programa i nacionalnih godi{njih izve{taja.

^lan 13 – ^lan 13 propisuje obavezu dràva potpisnica da u svojim godi{njim programima predvide konkretnemere i aktivnosti za ostvarivanje ciljeva Konvencije. U ovom ~lanu je exempli causa navedena lista takvih mera i aktiv-nosti, s tim {to je dràvama potpisnicama ostavljena mogu}nost da predvide i druge mere i aktivnosti koje ocene kaokorisne za ostvarivanje ciljeva Konvencije. Dràve potpisnice }e predvi|ene mere i aktivnosti ostvarivati kako na na-cionalnom tako i na me|unarodnom planu, sara|uju}i i me|usobno i sa dràvama koje nisu potpisnice Konvencije.Tre}i, poslednji stav ovog ~lana predvi|a obavezu Evropskog komiteta da podsti~e, planira i koordinira me|unarod-nu saradnju na realizaciji mera i aktivnosti usmerenih ka ostvarivanju ciljeva Konvencije i da nastoji da {to {iri krugmera i aktivnosti poprimi evropski karakter.

^lan 14 – Ovim ~lanom regulisan je sistem finansiranja aktivnosti na ostvarivanju ciljeva Konvencije. I izdvajanjei prikupljanje sredstava, s jedne, i njihovo kori{}enje, s druge strane, obavlja}e se kako na nacionalnim nivoima ta-ko i na evropskom nivou.

Na nacionalnom planu propisana je obaveza dràva potpisnica da u svojim nacionalnim budètima predvide od-govaraju}a sredstva za ostvarivanje svojih nacionalnih strategija i programa za{tite starih i tradicionalnih zanata.

[to se ti~e sistema finansiranja na evropskom nivou, ovom konvencijom osniva se Evropski fond za za{titu sta-rih i tradicionalnih zanata, ~ija sredstva ~ine pre svega doprinosi dràva potpisnica, kao stalni i redovni izvor finan-siranja Fonda (godi{nji doprinosi dràva potpisnica odre|uju se prema kriterijumima koje treba da utvrdi Evropskikomitet, imaju}i u vidu posebno mogu}nosti svake dràve), ali i doprinosi i pokloni koje daju drugi subjekti, kao ne-stalni izvor finansiranja. O kori{}enju sredstava iz Fonda odlu~uje Evropski komitet. Iako se skupljaju na centralnom,evropskom nivou, sredstva iz Fonda koristi}e se kako na evropskom tako i na nacionalnim nivoima. Na evropskomnivou sredstva iz Fonda bi}e kori{}ena za finansiranje saradnje i zajedni~kih, evropskih mera i aktivnosti, kao i zafinansiranje rada Evropskog komiteta i njegovih pomo}nih tela. Poseban zna~aj, u smislu podsticanja dràva potpisni-ca na rad na ostvarivanju ciljeva Konvencije, ima sistem pruànja finansijske pomo}i dràvama potpisnicama izsredstava Fonda radi ostvarivanja njihovih godi{njih programa za{tite starih i tradicionalnih zanata. Naime, prili-kom odlu~ivanja o dodeli sredstava iz Fonda pojedinim dràvama potpisnicama (o tome kome se sredstva dodeljuju i ukom iznosu) Evropski komitet }e posebno voditi ra~una o mogu}nostima dràva i o njihovom doprinosu ostvarivanjuciljeva Konvencije (Evropski komitet unapred utvr|uje kriterijume za dodelu tih sredstava, a zatim svake godine do-nosi konkretne odluke o njihovoj dodeli). Sredstva koja se na taj na~in dodeljuju dràvama ~lanicama ne predstav-ljaju supstitut, ve} dodatak sredstvima koja same dràve odre|uju za tu svrhu u svojim nacionalnim budètima.

Kona~no, budu}i da je jedan od klju~nih ciljeva Konvencije to da se stari i tradicionalni zanati oìve i u~ine spo-sobnim za samostalan opstanak i napredak, a ne da ostanu trajno zavisni od pomo}i dràva i evropskih institucija,ovim ~lanom predvi|eno je i da }e Evropski komitet i dràve potpisnice prilikom izrade Evropske strategije i nacio-nalnih strategija i evropskih i nacionalnih godi{njih programa teìti ostvarivanju {to ve}eg stepena samofinansiranja.To zna~i da }e se nastojati, gde god je to mogu}e, da se prilikom realizacije nacionalnih i evropskih mera i aktivnostiostvari takav stepen profitabilnosti koji }e omogu}iti da se naredne mere i aktivnosti u {to ve}oj meri (i u sve ve}ojmeri) finansiraju iz sredstava ostvarenih prilikom realizacije prethodnih mera i aktivnosti, odnosno da }e se teìtitome da stari i tradicionalni zanati s vremenom sve vi{e sami finansiraju vlastiti opstanak i razvoj.

^lan 15 – Ovim ~lanom predvi|en je sistem ozna~avanja i sertifikacije proizvoda starih i tradicionalnih zanata.Smisao ovog sistema jeste da se tretman proizvoda starih i tradicionalnih zanata i odgovaraju}a za{tita pruè samoonim predmetima koji ispune uslove {to ih propi{e Evropski komitet. Za proizvode koji ispune te uslove svaka dràvapotpisnica odre|uje vlastiti sistem ozna~avanja i sertifikacije. Oznake koje }e nositi ti proizvodi sastoja}e se od je-dinstvenog evropskog znaka, koji }e da utvrdi Evropski komitet, kombinovanog s nacionalnim znakom, koji utvr|ujesvaka dràva potpisnica za proizvode sa svog prostora. Uz proizvode koji ispune navedene uslove i koji }e biti ozna-~eni navedenim oznakama izdava}e se odgovaraju}i sertifikati, ~iju }e sadrìnu odre|ivati dràve potpisnice premaop{tem uputstvu Evropskog komiteta. Sertifikat, jednako kao i oznaka na samom proizvodu, predstavlja potvrdu dase radi o originalnom proizvodu starih i tradicionalnih zanata, ali sadrì i osnovne podatke o tom proizvodu, ~imedoprinosi i {irenju znanja o starim i tradicionalnim zanatima kao jednom od ciljeva Konvencije.

^lan 16 – Radi davanja podsticaja preduzimanju i realizaciji aktivnosti kojima treba da se ostvaruju ciljevi ovekonvencije, njenim ~lanom 16 predvi|eno je da se svake godine jedan evropski grad odredi za Evropsku prestonicustarih i tradicionalnih zanata za tu godinu. Na taj na~in sredi{te evropske saradnje u ovoj oblasti za datu godinu lo-cira se na odre|enom prostoru, {to bi trebalo da doprinosi koncentrisanju i intenziviranju aktivnosti na tom planu.

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set forth specific activities and measures for the achievement of the Convention’s objectives in accordance with theEuropean strategy and the national strategy of each state.

Article 11 – This Article lays down the obligation of reporting on the implementation of the European and nati-onal programmes and strategies prescribed in Articles 9 and 10, as well as on the achievement of the Convention’sobjectives. Both the signatory states and the European committee should prepare their reports annually, coveringissues from their field of work. The signatory states submit their annual reports to the European Committee and toall other signatory states, while the European Committee submits its annual reports to the signatory states and to thebodies of the Council of Europe.

Article 12 – This Article takes into account the fact that the achievement of the Convention’s objectives demandsoperational uniformity, even when it concerns activities at the national levels. Thus it does not tolerate excessiveheterogeneity either in the determination of the current situation in member states (national inventories) or in longterm and short term programming of actions at the national level (national strategies and national annual reports), or,finally, in reporting on achieved results (national annual reports). Therefore, this Article empowers the European Com-mittee to, for the purposes of uniformity and convenience, or for other reasons, issue and submit to the signatorystates instructions for the compilation of national inventories, as well as for drawing up of national strategies, nati-onal annual programmes and national annual reports.

Article 13 – Article 13 lays down the obligation of member states to envisage in their annual reports concretemeasures and activities aimed at the attainment of the objectives of this Convention. The Article enumerates exemplicausa the list of such measures and activities but also leaves the possibility for the signatory states to prescribe othermeasures and activities which they deem capable of contributing to the attainment of the Convention’s objectives. Thesignatory states shall undertake and implement the said measures and activities both at the national and internationallevel, through mutual cooperation and through cooperation with states that are not signatories of the Convention. Thethird and the last paragraph of this Article sets out the obligation of the European Committee to encourage, plan andcoordinate cooperation related to the implementation of measures and activities aimed at attaining the Convention’sobjectives hereunder, particularly ensuring that as broad an array as possible of such measures and activities possessesa European character.

Article 14 – This Article establishes a system of financing the activities for the achievement of the Convention’sobjectives. The raising and expenditure of funds will be done both at the national and European levels.

At the national level, the signatory states shall designate adequate funds in their national budgets for theimplementation of their respective national strategies and programmes. As for financing at the European level, bythis Convention a European Fund for the Protection of Old and Traditional Crafts is established. The Fund’s primaryand regular source of income are contributions of the signatory states, which shall be determined according to cri-teria defined by the European Committee and corresponding to each state’s capability. Ad hoc source of the Fund’sincome should be contributions and donations by other entities. The European Committee decides on the use of theFund’s proceeds. Although collected at the central European level, the proceeds from the Fund shall be used both atthe European and national levels. At the European level the Fund’s resources shall be used for supporting coopera-tion and joint European measures and actions, as well as for funding the work of the European Committee and itsauxiliary bodies. A special importance in the sense of encouraging the signatory states in attaining the Convention’sobjectives is attached to the proposed system of providing financial assistance from the Fund to the signatory statesfor the fulfilment of their annual programmes. Namely, in deciding on the allocation of the Fund’s proceeds to certainsignatory states, the European Committee shall take into account individual capabilities of the states and theircontribution to the attainment of the Convention’s objectives (the European Committee determines the criteria forallocation of the resources in advance and then every year adopts concrete decisions on the allocation). Proceedsthat are allocated in this manner to the signatory states do not represent a substitution for but an addition to theresources determined by the states themselves for this purpose in their national budgets. Finally, one of the keyobjectives of the Convention is to revitalise old and traditional crafts and make them sustainable rather than per-manently dependant on state assistance and the assistance of the European institutions. With this purpose in mindthis Article prescribes that the European Committee and the signatory states shall, in drafting the European Strategyand national strategies as well as the European and national annual programmes, aspire to self-financing in as higha degree as possible. Thus in the course of realisation of national and European measures and activities they willendeavour to achieve, whenever possible, a level of profitability that will enable financing subsequent measures andactivities from the proceeds of previous measures and activities to the greatest possible extent, so that old and tra-ditional crafts themselves may finance their own preservation, promotion and development.

Article 15 – This Article prescribes a system of labelling and certification of products of old and traditionalcrafts. The purpose of this system is to provide “the Product of Old and Traditional Crafts” treatment and adequateprotection only to those products that fulfill requirements laid down by the European Committee. Each signatorystate determines its own system of labelling and certification of such products. The labels shall include a singleEuropean mark, to be determined by the European Committee, and a national mark, to be determined by each ofthe signatory states. Each labelled product shall also be accompanied with a certificate, the content of which is

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Budu}i da }e izbor Evropske prestonice starih i tradicionalnih zanata zavisiti od zna~aja datog mesta i regiona kojemono pripada u ovom domenu, kao i od angaòvanosti na ostvarivanju ciljeva Konvencije i postignutih rezultata samogtog mesta, te regiona i dràve kojima ono pripada, biranje Evropske prestonice starih i tradicionalnih zanata pred-stavlja}e i specifi~an podsticaj i nagradu za rad na ostvarivanju ovih ciljeva. Uprkos ~injenici da }e doprinos ostva-rivanju ciljeva Konvencije biti klju~no merilo za odre|ivanje evropskih prestonica starih i tradicionalnih zanata, po-treba za {to {irim prostornim anga`manom na ostvarivanju ciljeva Konvencije zahtevala je da se predvidi da }eEvropska prestonica svaki put biti grad iz druge dràve potpisnice. To ne zna~i da }e dràva ~iji je grad jednom bioEvropska prestonica morati da ~eka da po jedan grad iz svih drugih dràva potpisnica bude Evropska prestonica kakobi opet na nju do{ao red. Aktivnije i angaòvanije dràve ~e{}e }e davati Evropsku prestonicu starih i tradicionalnihzanata od pasivnijih dràva, ali }e ipak biti spre~eno da neka dràva ili grupa dràva stekne monopol na davanjeevropskih prestonica starih i tradicionalnih zanata, a da druge dràve na tom planu budu ostavljene po strani.

Da bi se, pored prostornog, i na vremenskom planu utvrdila centralna ta~ka evropske saradnje i nacionalnih aktiv-nosti na za{titi starih i tradicionalnih zanata, u drugom stavu ~lana 16 predvi|eno je da }e Evropski komitet odre-diti prikladan datum za Evropski dan starih i tradicionalnih zanata. Iako rad na ostvarivanju ciljeva Konvencije trebada bude kontinuiran, postojanje ovakvog dana trebalo bi da pruì poseban podsticaj anga`manu dràva potpisnica,zajedno i ponaosob, na sprovo|enju aktivnosti kojima se ti ciljevi realizuju. Trebalo bi da taj datum bude i sve~animomenat u kojem }e se posebno konstatovati rezultati {to su ih pojedine dràve, regioni, mesta, institucije i poje-dinci ostvarili na planu za{tite starih i tradicionalnih zanata i u kojem }e se odràvati odgovaraju}e smotre i spro-voditi druge aktivnosti koje }e doprinositi popularizaciji starih i tradicionalnih zanata i {irenju znanja o njima.

^lanovi 17–22 – Ovim ~lanovima reguli{u se pitanja potpisivanja Konvencije i njenog stupanja na snagu (~lan17), naknadnog pristupanja Konvenciji (~lan 18), stavljanja rezervi (~lan 19), otkazivanja (~lan 20), davanja statu-sa posmatra~a dràvama koje nisu potpisnice (~lan 21), notifikacija (~lan 22) i odnosa s drugim propisima (~lan 23).Sva navedena pitanja regulisana su na na~in uobi~ajen za konvencije usvojene u okviru Saveta Evrope. S obziromna prirodu domena na koji se odnosi ova konvencija i na njene ciljeve, nju karakteri{e naj{iri stepen otvorenosti ka-ko prema postoje}im i potencijalnim dràvama potpisnicama tako i prema dràvama koje nisu ili koje i ne mogu bi-ti potpisnice, ali koje su spremne i zainteresovane da doprinesu ostvarivanju ciljeva Konvencije.

Opisanim odredbama predloèna konvencija uspostavlja jasnu i ~vrstu obavezu dràva potpisnica da, polaze}iod prethodno snimljenog stanja na svom podru~ju u pogledu stanja starih i tradicionalnih zanata, uspostave odgo-varaju}e institucionalne mehanizme i izdvoje odgovaraju}a finansijska sredstva za za{titu starih i tradicionalnih za-nata, te da kontinuirano, u skladu sa odgovaraju}im planskim dokumentima, preduzimaju mere i aktivnosti zaostvarivanje ciljeva ove konvencije na nacionalnom planu. Osim toga, dràve potpisnice }e, tako|e polaze}i od pret-hodno snimljenog stanja, imati obavezu da sara|uju na evropskom planu na ostvarivanju ciljeva Konvencije, kori-ste}i se institucionalnim mehanizmima i finansijskim sredstvima predvi|enim za tu svrhu, kao i na sve druge mo-gu}e na~ine.

* * *

Predlaga~i Evropske konvencije o za{titi starih i tradicionalnih zanata svesni su toga da predloèni tekst zahte-va dodatni rad i da }e mo`da krajnji rezultat procesa koji èlimo da iniciramo biti potpuno razli~it od teksta koji pod-nosimo telima Saveta Evrope na razmatranje. Na{a je èlja da onima koji imaju mo} i uticaj skrenemo pa`nju na toda je jedan zna~ajan segment na{e pro{losti, na{e tradicije i na{eg identiteta ozbiljno ugroèn i da je neophodan sta-lan i organizovan napor da bi se stari i tradicionalni zanati sa~uvali, za{titili i unapredili. Savet Evrope svakako jepravo mesto za to, a mislimo da je me|unarodni ugovor prava polazna osnova za po~etak institucionalizovanog bav-ljenja ovim problemom na evropskom nivou.

Budu}i da se nalazimo na samom po~etku profesionalnog bavljenja pravom, svesni smo toga da je predlaganjeteksta jednog me|unarodnog ugovora jednoj me|unarodnoj organizaciji od izuzetno velikog zna~aja ne{to prili~nosmelo. Ipak, nadamo se da }e na{ predlog nai}i na odgovaraju}u pa`nju i interesovanje. Time }e na{a obaveza i pre-ma na{oj pro{losti i precima i prema na{oj budu}nosti i potomcima u ovom segmentu ìvota biti ispunjena u grani-cama na{ih skromnih mogu}nosti. Na onima ~ije su mogu}nosti ve}e jeste da dovr{e preostalo.

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determined by each signatory state according to the general instruction issued by the European Committee. A cer-tificate serves as a warranty that the product at hand is a genuine product of old and traditional crafts, providingalso basic information about the product and the craft itself. In this manner the certificate contributes to the dis-semination of knowledge about old and traditional crafts, fulfilling one of the Convention’s objectives.

Article 16 – With the aim of encouraging the undertaking and realisation of activities that are instrumental inachieving the Convention’s objectives, Article 16 prescribes that every year one European city shall be pronouncedthe European Capital of Old and Traditional Crafts. In this manner the focal point of European cooperation in thisfield for a given year is located in one city, which should contribute to concentration and intensification of activities.The selection of the European Capital of Old and Traditional Crafts will depend on the importance of the given city andregion for the achievement of the Convention’s objectives, as well as on the level of involvement and results achieved.Thus, the selection will represent encouragement and reward for efforts made towards the achievement of theseobjectives. Despite the fact that the contribution to the achievement of the Convention’s objectives shall be the keycriterion for the selection of the European Capital of Old and Traditional Crafts, the need for as wide as possible geo-graphical spread of activities and measures for the achievement of the Convention’s objectives requires the rule that theEuropean Capital shall be chosen each time from a different signatory state. This does not mean that the country whosecity was a European Capital at some point will have to wait for all other signatory states to give a city to be the EuropeanCapital in order to have its turn. More active and more involved countries will have the European Capital of Old and Tra-ditional Crafts more often than passive countries. However, the rule described above shall prevent a certain countryor a group of countries from acquiring a monopoly on holding the European Capital of Old and Traditional Crafts.

In order to focus both European cooperation and national activities on safeguarding old and traditional crafts, notonly in terms of location but also in terms of time, the second paragraph of Article 16 stipulates that the EuropeanCommittee shall specify an appropriate date to be pronounced the European Old and Traditional Craft Day. Althoughefforts toward attaining the Convention’s objectives should be continuous, the existence of such a day should give aparticular encouragement to the efforts of the signatory states, jointly and individually, in undertaking the activitiesfor the fulfilment of those objectives. This date should also represent a formal moment when results achieved in theprotection of old and traditional crafts by particular countries, regions, places, institutions and individuals will beassessed as well as when appropriate public events aimed at contributing to the promotion of old and traditionalcrafts and dissemination of knowledge about them will be held.

Articles 17–22 – These Articles regulate the following issues: signature and entry into force (Article 17), acces-sion of the new signatory states (Article 18), reservations (Article 19), denunciation (Article 20), granting observerstatus to those states that are not signatories (Article 21), notification (Article 22) and relation to other regulations(Article 23). All the above-mentioned issues are regulated in the manner common for the conventions passed withinthe Council of Europe. Due to the nature of the field dealt with by this Convention and its objectives, the Conventionis characterised by the utmost level of openness both towards the existing and potential signatory states and towardsthe states which are not or cannot be signatories but which are ready and interested to contribute to the achieve-ment of the Convention’s objectives.

The proposed Convention prescribes to the signatory states a clear and firm obligation to survey the situationon their territories in regard to old and traditional crafts and establish adequate institutional mechanisms and raisecorresponding funds in the aim of the protection of such crafts, and to continuously, in accordance with the appro-priate planning documents, undertake measures and activities for the achievement of the Convention’s objectives atthe national level. Besides, the signatory states will, using a previously surveyed situation as a starting point, havethe obligation to cooperate at the European level in the aim of the achievement of the Convention’s objectives by usinginstitutional mechanisms and financial means determined for that purpose as well as in all other possible ways.

* * *

Having proposed the draft European Convention on the Protection of Old and Traditional Crafts, we are awarethat the proposed text requires additional work and that the final result of the process we intend to initiate maydiffer significantly from this initial draft. It is our wish to draw attention of those who have power and influence tothe fact that old and traditional crafts as an important segment of our history, tradition and identity are seriouslyendangered and that there is a need for organised effort to safeguard and improve them. The Council of Europesurely is the most suitable organization for doing that. We also believe that an international agreement is the properstarting point to begin institutionalising this problem at the European level.

Since we are at the very beginning of our professional legal careers, we are aware that proposing the text of aninternational agreement to an international organisation of great importance is a bold step. However, it is our hopethat our proposal will succeed in drawing attention and encouraging interest. In this manner, we shall fulfil to the bestof our abilities the obligation that we owe to our ancestors and to our past, as well as to our future and our descen-dants, leaving it up to those who have more authority to finish the task.

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ARHEOLOGIJA I ETNOLOGIJA, iako bliske na po~ecimarazvoja obe discipline, s vremenom su se udaljavale jedna oddruge (Palavestra 2005: 87–94). Kulturnoistorijski pristup,i danas dominantan u srpskoj arheologiji, udaljio nas je odmogu}nosti da pojave u savremenim dru{tvima, kako arha-i~nim tako i visokocivilizovanim, poredimo me|usobno, alii s podacima pribavljenim tokom arheolo{kih istraìvanja.Udaljio nas je i od analiziranja mogu}nosti primene pojedi-nih saznanja na stvaranje modela koji bi se mogli uzeti uobzir prilikom tuma~enja izvesnih aspekata ìvota zajedni-ca iz pro{losti.

Osvrnemo li se na razvoj odnosa arheologije i etnologi-je samo na teritoriji biv{e Jugoslavije,2 vide}emo da su odkraja XIX i po~etka XX veka [na primer: radovi ]ira Truhel-ke (1901, 1914), Miloja Vasi}a (1906), Vejsila ]ur~i}a (1909),Sime Trojanovi}a, Veselina âjkanovi}a],3 pa sve do sredi-ne XX veka [Milenko Filipovi} (1951), Cvetko \. Popovi}(1959, 1960) i drugi], te dve discipline bile koliko-tolikopovezane i upu}ene jedna na drugu. U drugoj polovini XXveka sasvim su se udaljile, tako da je pominjanje etnolo{kihparalela u arheolo{kim radovima postalo nepopularno,4

dok je arheologija, zatvorena u klasi~an metod svog rada, sa-modovoljan bez obzira na ograni~enja koja je takav pristupnametao, ostajala neosetljiva na mogu}nosti koje interdi-sciplinarnost pruà. Setimo se samo otpora koji je u srpskojarheologiji izazvala pojava nove arheologije, i to njen zaka-sneli odjek (Palavestra 2005: 92–93).

Tokom poslednjih nekoliko decenija stanje se ipak pro-menilo. Interdisciplinarnost u arheolo{kim istraìvanjimapostala je op{teprihva}en metod rada. Mogu}nosti koje nampruàju primena razli~itih disciplina iz oblasti prirodnihnauka i razvoj tehnologije (geosondiranje, satelitski snimci,matemati~ki prora~uni, totalna stanica, fizi~ko-hemijskeanalize, paleobotanika, paleozoologija i drugo) prve su bileprihva}ene i danas gotovo da nema arheologa koji u svojimistraìvanjima ne}e primeniti neke od tih metoda, bilo da jere~ o rekognosciranju, arheolo{kom iskopavanju, bilo o obra-di materijala.

Sa etnologijom (ili antropologijom) stvari stoje ne{todruga~ije. Jednom pokidane veze teè se uspostavljaju. Po-ve}ano interesovanje za mogu}nosti koje pruà etnoarheo-logija kao posebna disciplina (ili poseban metodolo{ki pri-stup) u okviru arheologije5 (ali i antropologije)6 polako alisigurno povezuje te dve nauke, koje, svaka na svoj na~in isvojom specifi~nom metodologijom, prate razvoj ljudskihzajednica i pojedinaca u njima.

Bilo kako bilo i koliko god se arheolozi tome odupirali,etnologija i arheologija ne mogu vi{e biti posmatrane kao

odvojena polja, s jasno vidljivom me|om koju je mogu}e povre-meno presko~iti da bi se {togod pozajmilo, ali se onda vratitii „obra|ivati svoj vrt“ (Palavestra 2005: 93).

Etnoarheologija je jedan od dobrih na~ina ru{enja ve-{ta~ki stvorenih barijera izme|u etnologije i arheologije.

[ta je, zapravo, etnoarheologija? Postoji vi{e razli~itih, aopet bliskih definicija etnoarheologije. Bez ulaènja u njiho-vu analizu i polemika s njihovim autorima, moèmo ih obje-diniti iskazom da je etnoarheologija antropolo{ki pristup re-{avanju arheolo{kih problema, arheolo{kom metodologijomi iz arheolo{kog ugla posmatranja, radi sagledavanja mogu}ihna~ina formiranja arheolo{kog zapisa i dinami~nih procesakoji su mu prethodili.7

Ono {to se za etnoarheologiju pouzdano moè re}i jesteto da su etnoarheolo{ka istraìvanja, kao vid indirektnogeksperimenta, nezaobilazna u savremenoj arheologiji. Onanam omogu}uju da detaljnije i preciznije sagledamo mnogeaspekte ìvota u pro{losti.

Specifi~nost etnoarheologije leì u pristupu, tako da sesamo mali deo klasi~ne etnolo{ke/etnografske literature mo-è iskoristiti, ali ona, svakako, treba da sluì kao polazi{te i/ili

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DIANA #13 ARHEOLOGIJA I ISTORIJA UMETNOSTI

Biljana \OR\EVI]Narodni muzej u Beogradu

NEOPIPLJIVA BA[TINA:ETNOARHEOLO[KA ISTRA@IVANJA

TRADICIONALNIH TEHNOLOGIJA KERAMIKE1

1] Naslov ovog teksta ujedno je i naziv projekta koji se ve} ne-koliko godina odvija u okviru programa Narodnog muzeja u Beogra-du. Rukovodilac projekta je autor ovog rada, a zasad jedini stalni ~lanekipe je Aca \or|evi}, vi{i kustos Narodnog muzeja u Beogradu.

2] Teritorije biv{e Jugoslavije bile su i administrativno i komu-nikacijski usko povezane tokom gotovo celog XX veka.

3] O tome vi{e: Palavestra 2005: 87–94 i prate}a literatura.

4] Tome je dosta doprinela i vulgarizacija etnolo{kih paralelau tekstovima pojedinih autora, {to je rezultiralo odbacivanjem sva-ke mogu}nosti primene saznanja ste~enih etnolo{kim prou~avanji-ma u arheolo{kim istraìvanjima.

5] Na Odeljenju za arheologiju Filozofskog fakulteta u Beo-gradu na redovnim studijama arheologije, u okviru predmeta Uvodu arheologiju i Arheologija i socijalna antropologija, koje predajeprof. dr Aleksandar Palavestra, prou~avaju se etnoarheologija, nje-ni dometi, ograni~enja i perspektive; nau~no-istraìva~ki projekatInterkulturna komunikacija u paleobalkanskim dru{tvima (Ministar-stvo za nauku, br. 147040), koji vodi doc. dr Sta{a Babi}, tako|eokuplja istraìva~e koji se bave etnoarheologijom; Centar za teorij-sku arheologiju pri Odeljenju za arheologiju Filozofskog fakultetau Beogradu spreman je da se bavi i ovom tematikom itd.

6] Odeljenje za etnologiju i antropologiju Filozofskog fakultetau Beogradu ponovo je pokrenulo ~asopis Etnoantropolo{ki problemi,koji tretira i etnoarheolo{ka pitanja (primer: Por~i} 2006: 105–121).

7] Vi{e o etnoarheologiji: David, Kramer 2001; Por~i} 2006:105–121.

ARCHAEOLOGY AND ETHNOLOGY, although close at theoutset of their respective developments, gradually driftedapart (Palavestra 2005: 87–94). The culture-historical ap-proach, prevalent in Serbian archaeology today, has notonly distanced us from the possibility of comparing ethnicphenomena arising in contemporary societies, both archaicand highly civilised, but also from comparing these with datagathered during archaeological research. It has also hinde-red the analysis and possible application of certain ideas tomodels that could be considered and used to interpret certainaspects of life in communities of the past.

If we reflect solely on developments in the relationbetween archaeology and ethnology in former Yugoslavia,2

we shall see that the two disciplines were more-or-less linkedand interrelated from the end of the 19th to the beginningof the 20th centuries [seen in the works of: ]iro Truhelka(1901, 1914), Miloje Vasi} (1906), Vejsil ]ur~i} (1909), SimaTrojanovi}, Veselin âjkanovi}]3 and even in the mid 20th

century [Milenko Filipovi} (1951), Cvetko \. Popovi} (1959,1960) and others]. In the second half of the 20th centurythe disciplines diverged from each other completely, whichmade mentioning ethnological parallels in archaeologicalworks unpopular.4 However, archaeology, locked in its clas-sical methods, and complacent, in spite of all the limitationsimposed by such a position, remained impervious to thepossibilities offered by an interdisciplinary approach. Oneneeds only to recall the resistance to the emergence of NewArchaeology, or its belated echo, in Serbian archaeology (Pa-lavestra 2005: 92–93).

However, this state of affairs has changed during the lastfew decades. An interdisciplinary approach in archaeolo-gical research has become a universally accepted method ofwork. The possibilities offered by the application of variousdisciplines from the fields of natural sciences, as well as te-chnological developments (geo-probing, satellite imaging,mathematical estimates, total station, physical-chemical ana-lysis, palaeo-botany, palaeo-zoology and others) were thefirst to be embraced. Nowadays, almost every archaeologistapplies some of these methods within their research, be itreconnaissance, archaeological excavation, or materialprocessing.

The situation with ethnology (or anthropology) is some-what different. Once severed, ties are less easily restored.The increased interest in the possibilities offered by ethno-archaeology as a separate discipline (or as a separate metho-dological approach) within the framework of archaeology5

(but within anthropology as well)6 has gradually, but reli-ably, reconnected the two sciences, which in their own re-

spective ways and methodologies, observe the progress ofhuman societies and individuals within them.

No matter how fervently the archaeologist may resistit, ethnology and archaeology can no longer be regarded asseparate fields, with a clear-cut borderline that we can crossto borrow something, and than return and cultivate our owngarden (Palavestra 2005: 93). Ethnoarchaeology is a good wayto obliterate artificial boundaries between ethnology andarchaeology.

Indeed, what is ethnoarchaeology? There are a numberof different, yet related definitions. We can integrate them,without getting involved in their analysis or arguing withtheir authors, by stating that ethnoarchaeology is an anthro-pological approach to solving archaeological problems, usingan archaeological methodology point of view, for the purpo-se of identifying possible ways of forming archaeological re-cords and the dynamic processes that have preceded them.7

49

ARCHEOLOGY AND ART HISTORY DIANA #13

Biljana DJORDJEVI]National Museum in Belgrade

THE INTANGIBLE HERITAGE:ETHNOARCHAEOLOGICAL RESEARCH

OF TRADITIONAL CERAMICS TECHNOLOGIES1

1] This text bears the same title as the project conducted forseveral years within the programme of the National Museum inBelgrade. The author of this work is in charge of the project, whilethe only permanent team member is Aca \or|evi}, Curator of theNational Museum in Belgrade.

2] The territories of former Yugoslavia were intimately con-nected for most of the 20th century, both administratively and interms of communication.

3] See more on this subject in Palavestra 2005: 87–94 andrelated literature.

4] What contributed considerably to this was the vulgarisationof ethnologic parallels, in the texts of certain authors; as a result,any possibility of applying the knowledge acquired through ethno-logic studies within archaeological research was shunned.

5] Ethnoarchaeology, its domains, limitations and perspectivesare studied in the courses Introduction to Archaeology and Archae-ology and Social Anthropology, taught by Professor Dr AleksandarPalavestra, offered by the the Department of Archaeology at theFaculty of Philosophy in Belgrade, within the accademic studies ofarchaeology. The research project Intercultural Communicationamong the Paleobalkan Societies (Ministry of Science No. 147040),conducted by Assistant Professor Sta{a Babi}, also involves researchin the field of ethnoarchaeology. The Centre for Theoretical Archa-eology, at the Deparment of Archaeology, Faculty of Philosophy inBelgrade, is ready to address this subject as well, etc.

6] The Department of Ethnology and Anthropology at theFaculty of Philosophy in Belgrade has relaunched the magazineEtnoantropolo{ki problemi, which also deals with ethnoarchaeologi-cal issues (for instance: Por~i} 2006: 105–121).

7] For further reference on ethnoarchaeology, see David, Kra-mer 2001; Por~i} 2006: 105–121.

oslonac prilikom etnoarheolo{kih istraìvanja. Drugi problemjeste udaljavanje etnologije od materijalne kulture, od kojearheolog u svojim istraìvanjima mora da krene. Dovoljanje samo letimi~an pogled na etnolo{ku/etnografsku litera-turu objavljivanu tokom poslednjih tridesetak godina dabismo se u to uverili.

Keramika je u tom smislu idealan primer. îni se da suetnolozi zaklju~ili kako je u toj oblasti odavno sve re~eno.Osnovna i relevantna literatura datira uglavnom iz pedese-tih i {ezdesetih godina pro{log veka [Milenko S. Filipovi}(1951), radovi Cvetka \. Popovi}a u Glasniku Zemaljskogmuzeja itd.], zaklju~no s publikacijom Perside Tomi} Grn~ar-stvo u Srbiji, objavljenom 1983. godine. Posle toga kao da susvi grn~ari iz regiona nestali. Neki i jesu. Broj èna vi~nih

izradi crepulja bez grn~arskog to~ka danas je jednocifren; tosu uglavnom one ène koje su kao male pomagale u tom po-slu majkama i babama, pa ga se se}aju, dok je neznatan brojonih koje su to same radile. Da ih jo{ ima, znamo na osno-vu rezultata lingvisti~kih istraìvanja (]irkovi} 2005), a neetnolo{kih. Kazivanja tih èna su zabeleèna, ali etnolozipropu{taju da uz pomo} novih tehnologija, kao {to su digital-ni snimci i video zapisi, zabeleè i sliku, kojom bi dopuniliono {to su njihove starije kolege pre vi{e decenija opisale iilustrovale prvo crteìma, a potom i crnobelim fotografija-ma, koje su ~esto, iz objektivnih razloga, lo{eg kvaliteta.

Pored toga {to svojim specifi~nim pristupom otvaranovo polje istraìvanja u oblasti arheologije, etnoarheologi-

ja moè i etnolozima da skrene pa`nju na razli~ite nivoe pro-mena koje su se dogodile tokom poslednjih tridesetak godina(sociokulturne promene, socioekonomske, rodna zastuplje-nost itd.).

Kada je re~ o arheologiji, ono {to keramiku ~ini izuzet-no pogodnom za ovu vrstu istraìvanja jeste ~injenica da ukerami~koj proizvodnji, uprkos razvijanju novih tehnika iosvajanju novih tehnologija, ve} ste~ena znanja nikada ni-su sasvim napu{tana i zapostavljana, ve} su nastavljala daìve paralelno sa osvojenim inovacijama. Uporedo s razvo-jem industrijske proizvodnje postojali su i postoje punkto-vi u kojima se kerami~ke posude jo{ uvek izra|uju rukom,modeluju na ru~nom vitlu i peku na otvorenoj vatri ili upe}ima na~injenim na tradicionalan na~in, dok se savreme-ne tehnologije izbegavaju.

Ciljevi projekta Neopipljiva ba{tina: etnoarheolo{ka is-traìvanja tradicionalnih tehnologija keramike jesu:

– dokumentovanje i prou~avanje svih do danas o~uva-nih radionica, to jest punktova za izradu utilitarne kerami-ke (prvenstveno ra|ene arhai~nim postupkom, bez grn~ar-skog vitla i na ru~nom vitlu), pre svega u Srbiji, a potom iu jugoisto~noj Evropi i Evropi u celini;

– kriti~ka analiza, putem posebnog metodolo{kog po-stupka, a ne preuzimanjem neposrednih analogija iz etno-grafskih izvora, svih segmenata u ìvotu jedne kerami~keposude, od procesa nastanka (majdani, alat, tehnike mode-lovanja, tehnologija pe~enja), preko upotrebe (primarna,sekundarna), do odbacivanja;8

– sistematizacija dobijenih rezultata i ustanovljavanjemogu}eg stepena primene ste~enih saznanja na celokupankorpus arheolo{kih nalaza;

– doprinos, ako je to ikako mogu}e, za{titi tradicional-nih tehnologija keramike i o~uvanju za budu}nost; takvihpunktova i osoba koje poseduju odgovaraju}a znanja i ve-{tine u vezi sa ovom obla{}u danas je sve manje i ta ~inje-nica obavezuje nas na brzo i efikasno delovanje.

Da bi se prva dva cilja projekta mogla ostvariti, neop-hodna su terenska istraìvanja u krajevima u kojima su searhai~ni grn~arski centri jo{ uvek odràli, kao i saradnja srelevantnim institucijama iz regiona (iz Bosne i Hercegovine,Hrvatske, Makedonije, Rumunije, Bugarske, Gr~ke, Alba-nije, Crne Gore) i iz onih delova Evrope u kojima se izradakeramike bez grn~arskog vitla i na ru~nom vitlu zadràla([panija, Portugalija) (\or|evi}-Bogdanovi} 2003).

Ostvarenje ovog cilja blisko je povezano sa zakonskomregulativom u Srbiji, ali i zakonodavstvom na evropskomnivou. Tradicionalna proizvodnja keramike deo je svetskekulturne ba{tine.9 Keramika kao najstariji sinteti~ki mate-rijal i grn~arsko vitlo kao prva mehani~ka sprava u istoriji~ove~anstva zasluùju da im i istraìva~i i sistem za{tite

50


8] Sagledavanjem svih ovih faza, od nastanka do kraja aktivnogpostojanja kerami~kog predmeta, sa arheolo{ke ta~ke gledi{ta, kaoi dekompozicione faze, dobijaju se dragoceni podaci koji nam omo-gu}uju da tokom arheolo{kih istraìvanja uo~imo i one pojave kojesu do tada izmicale na{oj pa`nji ili nam nisu bile indikativne.

9] Uneskova Konvencija o za{titi nematerijalne kulturne ba{tine,doneta u oktobru 2003. godine (http://www.unesco.org/culture/ich/index.php?pg=00006).

Sl. 1. Mota del Cuervo, Španija (Romero, Cabasa 1999)

Fig. 1. Mota del Cuervo, Spain (Romero, Cabasa 1999)

What can definitely be said is that ethnoarchaeological re-search, as a form of indirect experimentation, is unavoidablein contemporary archaeology. It provides a much more de-tailed and precise insight into many aspects of life in the past.

The uniqueness of ethnoarchaeology lies in its approach.Although this means that just a small portion of classicalethnologic/ethnographic literature can be used, it ought to

be used as a starting point and/or support in ethnoarchaeolo-gical research. Another problem is posed by the distancing ofethnology from material culture, with which an archaeolo-gist must commence his/her research. To ascertain this, allwe need is to take a cursory glance at the ethnologic/ethno-graphic literature published over the last thirty years.

Ceramics is a perfect example of this. Ethnologists havereached the conclusion that in this field everything was saida long time ago. The main, relevant literature dates mostlyfrom the 1950s and 1960s. [Milenko S. Filipovi} (1951), theworks of Cvetko Dj. Popovi} in Glasnik zemaljskog muzeja],ending with Persida Tomi}’s Pottery in Serbia (Grn~arstvo uSrbiji), published in 1983. It is as if all the potters of theregion have since disappeared. Indeed, some of them have.Today the number of women skilful at making earthenwaredishes without a potter’s wheel can be counted on the fin-gers of one hand. These are mainly the women who helpedtheir mothers and grandmothers with this craft as littlegirls and still retain the skills, whereas the number of thosewho acquired the skills on their own is insignificant. We know

that they still exist from the findings of linguistic rather thanethnologic research (]irkovi} 2005). Their stories have beenrecorded, but ethnologists have thus far failed to capturetheir images using new technologies, such as digital andvideo recording. This would supplement what their eldercolleagues described and illustrated several decades ago,first with sketches and subsequently with black and whitephotographs, often, understandably, of poor quality.

Not only does the specific approach of ethnoarchae-ology open a new field of study within archaeology, but itcan also draw ethnologists’ attention to various levels ofchange that have taken place over the course of the lastthirty years (socio-cultural and socio-economic changes,gender share, etc).

When it comes to archaeology, what makes potteryparticularly suitable for this sort of research is the fact thatthe traditional manufacture of ceramics, despite the deve-lopment of new technologies and the mastery of new skills,once adopted is never quite abandoned or neglected, and con-tinues to exist simultaneously with mastered innovations.Alongside the development of industrial manufacturing,there used to be – and still are – locations where ceramicvessels are still handmade, modelled on a hand wheel andfired in an open fire or traditional kiln, avoiding contempo-rary technology.

The objectives of the project Intangible Heritage: Ethno-archaeological Research of Traditional Ceramic Technology are:

– Documenting and researching workshops surviving tothe present day, i.e. all locations where utilitarian ceramicsare made (primarily using an archaic method, without apotter’s wheel or on a hand wheel), initially in Serbia, andsubsequently in Southeast Europe and Europe as a whole;

– Critical analysis of all the stages in the life of a ceramicvessel, from the process of creation (quarries, tools, model-ling techniques, firing technology), through utilisation,and ending with disposal. This analysis is done by means ofa special methodical procedure, and not by adopting directanalogies from ethnographic sources;8

– Systematisation of results obtained and establishingpossible ways by which the knowledge can be applied to theentire corpus of archaeological findings; and

– Contribution, if at all possible, to the protection oftraditional ceramic technologies and their preservation forfuture. Today the number of such locations and persons withknowledge and skills in this field is dwindling, and thisobliges us to react swiftly and efficiently.

To achieve the first two objectives of the project, it isnecessary to conduct fieldwork in areas where archaic pot-tery centres still survive, and to cooperate with relevantinstitutions in the region (i.e. in Bosnia and Herzegovina,Croatia, Macedonia, Romania, Bulgaria, Greece, Albania,

51


8] Having observed all these phases, from the creation to thedisappearance of a ceramic object as an active entity, from anarchaeological point of view, as well as the phase of decomposition,valuable data is obtained. This enables us to detect, during archae-ological research, ocurrences that we failed to notice beforehandor which we did not find to be indicative.

Sl. 2. Moveros, Španija (Romero, Cabasa 1999)

Fig. 2. Moveros, Spain (Romero, Cabasa 1999)

kulturnih dobara poklone posebnu pa`nju.10 U Srbiji je utoku izrada predloga ~itave grupe novih zakona, od Zakonao kulturi do Zakona o muzejskoj gra|i (radni naslov), kojitreba jasno da odrede za{titu nematerijalne/neopipljive ba-{tine, do sada nedefinisanu ili neprecizno definisanu.11 To-me treba dodati i Predlog Konvencije o za{titi starih i tradi-cionalnih zanata, koji je, na inicijativu Srbije, Savet Evropeuzeo u razmatranje.12 Ciljevi Konvencije su: za{tita i una-pre|ivanje starih i tradicionalnih zanata, {irenje znanja onjima i razvijanje svesti o tome da stari i tradicionalni zana-ti koji su postojali i koji postoje na prostoru svake od dràvapotpisnica ~ine sastavni deo zajedni~ke evropske, pa ~ak isvetske kulturne i civilizacijske ba{tine, kao i podsticanje, naovom planu, daljeg duhovnog, kulturnog, civilizacijskog isvakog drugog pozitivnog proìmanja izme|u evropskih na-roda u okviru ~itavog ~ove~anstva.13 Tim dokumentompredvi|eno je osnivanje nacionalnih komiteta i Evropskogkomiteta sa odborima zaduènim za brigu o zanatima, for-miranje standarda za pojedine zanate i usvajanje evropskestrategije za{tite i unapre|ivanja starih i tradicionalnih za-nata, o~uvanje znanja i ve{tina koji te zanate ~ine, kao i da-lje usavr{avanje tih znanja i ve{tina i njihovo {irenje, zatimprikupljanje, za{tita i o~uvanje proizvoda tih zanata, pro{i-renje kruga lica koja se bave tim zanatima profesionalno iliamaterski, unapre|ivanje ekonomskog i socijalnog poloàjalica koja se profesionalno njima bave i drugo.14 Konvenci-ja, izme|u ostalog, u okviru mera i akcija predvi|a i organi-zovanje i podsticanje istraìva~kih projekata koji se bave raz-

li~itim aspektima problematike starih i tradicionalnih zanata,kao i organizovanje savetovanja i stru~nih skupova nau~nih ikulturnih radnika koji se bave prou~avanjem starih i tradici-onalnih zanata.15

Trebalo bi da tako postavljen zakonski okvir za{tite ne-opipljive ba{tine u celini, pa i onog njenog dela koji se odno-si na za{titu tradicionalnih tehnologija keramike, ne samopomogne njihovom o~uvanju za budu}nost ve} i olak{a nji-hovo dalje istraìvanje i prou~avanje, kao i da omogu}i po-dr{ku i finansiranje projekata ~iji je predmet istraìvanjaupravo ova tematika.

I time se krug zatvara.

52


10] ICOM je svoju Dvadesetu generalnu konferenciju, odrà-nu u Seulu u oktobru 2004, u celosti posvetio temi pod nazivom Mu-zeji i neopipljiva ba{tina (http://icom.museum/general-conference2004.html).

11] Videti na: www.kultura.sr.gov.yu.

12] Predlog je pre ulaska u proceduru podràlo {est zemalja:Engleska, Nema~ka, [panija, Finska, Litvanija i Kipar (http://www.mfa.gov.yu).

13] ^lan 1 Predloga Evropske konvencije o za{titi starih i tra-dicionalnih zanata.

14] ^lanovi 2 i 5 Predloga Evropske konvencije o za{titi starihi tradicionalnih zanata.

15] ^lan 13 Predloga Evropske konvencije o za{titi starih i tra-dicionalnih zanata.

LITERATURA/REFERENCES:

]irkovi}, S.2005, Terminologija crepuqarstva kod Srba na Kosovu i Metohiji, nepublikovani magistarski rad, Filolo{ki fakultet u

Beogradu;

]ur~i}, V.1908, Prehistori~ka sojenica iz bron~anog doba u Ripcu, kraj Biha}a u Bosni, Glasnik Zemaljskog Muzeja XX/2, Sarajevo, 149–180;

David, N., Kramer, C.2001, Ethnoarchaeology in Action, Cambridge University Press, Cambridge;

\or|evi}-Bogdanovi}, B.2003, Posibilidades de la Etnoarqueología en el estudio de la cerámica prehistórica, neobljavljeni magistarski rad, Filozofski fakultet

Autonomnog univerziteta u Barseloni;

Filipovi}, M.1951, @enska keramika kod balkanskih naroda, SAN, posebna izdawa CLXXXI, Etnografski institut, kw. 2, Beograd;

Palavestra, A.2005, Dobrosusedsko neme{awe. Srpska arheologija i etnologija, u: Etnologija i antropologija: stawe i perspektive, Zbornik

Etnografskog instituta SANU 21 (ur. Q. Gavrilovi}), Beograd, 87–94;

Popovi}, C. \.1959, Tehnika primitivnog lon~arstva u Jugoslaviji, Glasnik Zemaqskog muzeja XIV. Etnologija, Sarajevo, 25–52;1960, Neki zadaci i problemi u prou~avawu narodnog lon~arstva, Etnolo{ki pregled 2, Beograd, 31–37;

Por~i}, M.2006, Etnoarheologija – sada{njost kao klju~ za pro{lost, Etnoantropolo{ki problemi 1/2 (n. s.), Odeqewe za etnologiju i antro-

pologiju Filozofskog fakulteta u Beogradu, Beograd, 105–121;

Tomi}, P.1982, Grn~arstvo u Srbiji, Galerija SANU 39, Beograd, 10–30;1983, Grn~arstvo u Srbiji, Zbirke I, Etnografski muzej, Beograd;

Truhelka, ]. 1901, Prehistoriska sojenica u koritu Save kod Donje Doline, Glasnik Zemaljskog muzeja BiH XIII / 2 i 3, Sarajevo, 227–287;1914, Kulturne prilike Bosne i Hercegovine u doba prehistorisko, Glasnik Zemaljskog muzeja XXVI, Sarajevo;

Vasi}, M. M.1906, Starosrpska nalazi{ta u Srbiji, Starinar, n. r. I/1, Srpsko arheolo{ko dru{tvo, Beograd, 87–88.

and Montenegro), as well as those from the parts of Europewhere the manufacture of pottery without the potter’swheel or on a hand wheel is still preserved (Spain, Portugal)(\or|evi}-Bogdanovi} 2003).

The achievement of this goal is closely related both toSerbian and European legislation. The traditional manufac-ture of pottery forms part of the world’s cultural heritage.9

Pottery, as the oldest synthetic material, and the potter’swheel, as the first mechanical device in human history,deserve special attention from both researchers and thesystem of cultural heritage conservation.10 The drafting ofa whole set of bills is in progress in Serbia, starting with theLaw on Culture to the Law on Museum Items (draft workingtitle), which should unequivocally determine the protectionof intangible heritage, thus far undefined or defined onlyroughly.11 Furthermore, there also exists the Conventionon the Protection of Old and Traditional Crafts, which theCouncil of Europe took into consideration upon Serbia’sinitiative.12 The goals of the Convention are: to protect andpromote old and traditional crafts; to disseminate knowledgethereabout; to raise popular awareness of the fact that old andtraditional crafts that existed and still exist on the territory ofeach signatory state represent an integral part of the commonEuropean, and even global, cultural and civilizational herita-ge, and to encourage further spiritual, cultural, civilizationaland any other positive interaction in this context, among theEuropean nations and within the whole mankind.13 This do-cument envisages the establishment of both European andnational committees with boards in charge of safeguardingcrafts, creating standards for particular crafts and adoptingEuropean strategies for the protection and advancement ofold and traditional crafts, preservation of the knowledge andskills incorporated in them, as well as the further perfec-tion of this knowledge and skills and their dissemination. Itfurther envisages collecting, safeguarding and preserving

products of these crafts, broadening the circle of individualswho practice them, both professional and non-professional,and improving the economic and social status of those whopractice these crafts professionally, etc.14 Among otherthings, as part of its measures and actions, the Conventionenvisages the organisation and stimulation of researchprojects dealing with different aspects of problems pertainingto old and traditional crafts, and the organisation of consul-tations and expert meetings, bringing together scientists andcultural researchers studying old and traditional crafts.15

A legal framework for the protection of the overallintangible heritage postulated in this way and even sectionreferring to traditional ceramic technologies, should not onlyaid their preservation for posterity, but also facilitatefurther research and studies, and enable the support andfinancing of projects whose subject of research is thisissue. And this is where the circle closes.

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9] The UNESCO Convention for the Safeguarding of IntangibleCultural Heritage, passed in October 2003 (http://www.unesco.org/culture/ich/index.php? pg=00006).

10] Twentieth general conference of ICOM, held at Seoul inOctober 2004, was entirely dedicated to the issue of Museums andthe intangible heritage (http://icom.museum/general-conference2004.html).

11] See www.kultura.sr.gov.yu.

12] Six countries endorsed the bill before it entered parlia-mentary procedure: UK, Germany, Spain, Finland, Lithuania, andCyprus (http://www.mfa.gov.yu).

13] Art. 1 of the draft European Convention on the Protectionof Old and Traditional Crafts.

14] Arts. 2 and 5 of the draft European Convention on the Pro-tection of Old and Traditional Crafts.

15] Art. 13 of the draft European Convention on the Protectionof Old and Traditional Crafts.

Sl. 4. Zlakusa, Srbija (foto: B. Ðor|evi})

Fig. 4. Zlakusa, Serbia (photo: B. Djordjevi})

Sl. 3. Zlakusa, Srbija (foto: B. Ðor|evi})

Fig. 3. Zlakusa, Serbia (photo: B. Djordjevi})

KOOPERATIVA ICHNOS nastala je 2004. godine i deo jeSistema muzeja iz Montelupa Fiorentina (Firenca), u ~ijemse sastavu nalaze Arheolo{ki muzej i Muzej keramike. Ichnos~ine mladi arheolozi i geolozi, a osnovne delatnosti koopera-tive jesu arheolo{ka iskopavanja, podu~avanje u osnovnimi srednjim {kolama i, pre svega, eksperimentalna arheologi-ja. Tokom vi{egodi{njeg delovanja ste~ena su mnoga znanjana polju eksperimentalne arheologije, naro~ito u oblasti iz-rade i pe~enja keramike i u arheometalurgiji. Od samog po-~etka delatnosti kooperative osnovni ciljevi njenih ~lanovabili su detaljno upoznavanje sa arheolo{kim lokalitetima nateritoriji Montelupa i okoline, zatim arheolo{ka i arheotehno-lo{ka tematika povezana s tim, upoznavanje sa osnovnimsirovinama koje se tu nalaze, s petrografskim karakteristi-kama raznih tipova keramike sa obli`njih arheolo{kih loka-liteta, kao i rekonstrukcija artefakata i verifikacija ta~nostirekonstrukcije, a zatim i kori{}enje ste~enih iskustava zapodu~avanje.

Tokom izvo|enja eksperimenata posebna pa`nja bila jeposve}ena rekonstrukciji tehnike i tehnologije otapanja ba-kra ili bronze u bakarnom i bronzanom dobu. Izvedeni eks-perimenti zasnivaju se, pre svega, na otapanju i ulivanjuve} pre~i{}enog metala u kalup, tako da se odnose samo nafinalni metalur{ki proces. Razlog tome jesu pote{ko}e upronalaènju dovoljne koli~ine bakarnih ruda potrebnih zaproces odvajanja metala bakra (pre svega halkopirita i bor-nita). Metal kori{}en u eksperimentima isti je onaj koji sekoristi za umetni~ku izradu statua, a sastavljen je od 90%bakra i 10% kalaja.

Faze eksperimenta1. Priprema jame za otapanje bakra ili bronzePrvo je iskopana jama ovalnog oblika, dimenzija oko 40 ×50 cm i dubine 15 cm; jama je zatim obloèna blatom do-bijenim od iskopane zemlje. Unutra{njost jame ostala jeglatka i pravilnog oblika, dimenzija oko 30 × 40 cm i dubi-ne 10 cm. Jedna od uìh strana jame modelovana je tako dase dobije zid koji je gotovo vertikalan u odnosu na dno. Na-kon modelovanja u jami je zapaljena vatra kako bi se onaosu{ila i kako bi ~itava struktura postala stabilnija.

Za rekonstrukciju jame posluìo je sli~an primer na lo-kalitetu Querciola – Sesto Fiorentino (Firenca) iz eneolit-skog i ranog bronzanog doba. U toj jami prona|eni su osta-ci crvene pe~ene zemlje, {to ukazuje na pomenuti postupakoblaganja blatom. Osim toga, tu su na|eni i sitni fragmen-ti bakarne zgure, kao i fragmenti keramike prekriveni slojemstakla, {to upu}uje na postizanje izuzetno visokih tempera-tura potrebnih za otapanje bakra.

2. Izrada kerami~kih cevi (Tuyere) i kerami~ke posude za to-pljenje metalaBakar prelazi u te~no stanje kada se dostigne temperaturaod 1083°C, a bronza na temperaturi od 1000°C, pa za to ni-je dovoljna obi~na vatra. Zbog toga su izra|ene dve kerami~-ke cevi od gline pome{ane s gabrom (veli~ina zrna iznosioko jedan milimetar) u odnosu 1 : 1. Takva keramika izu-zetno je otporna na visoke temperature. Duìna svake cevije oko 20 cm; kraj cevi koji je postavljen preko vertikalnogzida jame zaobljen je za 90° nadole, tako da vazduh koji seuduvava u cevi pomo}u mehova stiè neposredno u posu-du za topljenje bakra, pa se razvija izuzetno visoka tempe-ratura. Na suprotne krajeve cevi pri~vr{}eni su mehovi zauduvavanje vazduha.

Za rekonstrukciju cevi i posude za otapanje bakra ilibronze posluìli su primeri s bogatog nalazi{ta kulture Ter-ramare iz bronzanog doba u blizini Modene. Na lokalitetuMontale (Modena) prona|eni su fragmenti zaobljenih cevi,duìne oko pet santimetara, za koje se veruje da su sluìleza uduvavanje vazduha tokom postupka topljenja metala.U istim slojevima na tom lokalitetu prona|ena je i kerami~-ka posuda veoma grube izrade s vidnim tragovima gorenja.Pretpostavlja se da je sluìla kao recipijent u koji se stavljaobakar i u kojem je prelazio u te~no stanje nakon dostizanjapotrebne temperature. Obim recipijenta iznosi oko osamsantimetara; na njemu se nalazi jedna horizontalna dr{ka,a na ivici posude, 90° od dr{ke, u smeru kretanja kazaljkena satu, postoji udubljenje koje je najverovatnije sluìlo zaprecizno ulivanje otopljenog bakra u prethodno izra|enikalup.

54


Eva CINCAR, apsolvent arheologijeFran~esko ÎNI, geolog

EKSPERIMENTALNA ARHEOLOGIJA.PROCES TOPLJENJA BAKRA I BRONZE

Sl. 1. Ulivanje otopljene bronze u kalup

Fig. 1. Pouring of meltid bronze in to the mould

THE ICHNOS cooperative was founded in 2004 and formspart of the staff of the Museums’ System of Montelupo Fio-rentino (Florence), composed of the Archaeological Museumand the Museum of ceramics. In Ichnos, young archaeolo-gists and geologists cooperate. Their main activities are ar-chaeological research; archeological education in primaryand secondary schools; and especially experimental archae-ology. With years of experience, the Ichnos cooperative hasgained much knowledge in the field of experimental archa-eology, especially in producing and firing pottery and inarcheo-metalurgy. The aim of the cooperative was to acquiredetailed knowledge of archaeological sites on the territoryof Montelupo and archaeological and archeo-technologicalissues connected with them; knowledge of the raw materialsfound in this area; knowledge of the petrographic characte-ristics of different types of pottery found in the area; accura-te reconstruction of items and their established use; and theapplication of this knowledge in archeological education.

The experiments focused on the reconstruction oftechniques and technologies used to melting bronze or cop-per in the late Neolithic and early Copper age. The experi-ments are mostly based on melting pure metal and pouringit in already prepared casts, thus covering only the finalstage of the metallurgic process. This is because it is diffi-cult to find copper ore (chalcopyrite and bornite) in suffi-cient quantities to conduct authentic copper extraction.The metal used in experiments is that is usually used forartistic sculptures, composed of 90% copper and 10% tin.

The Stages of the Experiment1. Preparation of a pit for melting bronze and copperFirstly an oval pit was dug, 40 × 50 cm and 15 cm depth.Then the pit walls were covered with mud obtained fromthe excavated earth. In this mode the interior of the pit re-mained smooth and of regular shape, size 30 × 40 cm, 10 cmdeep. One of the narrow walls of the pit was modeled to bealmost vertical. A fire was lit inside to dry the pit and makethe structure more stable.

For reconstruction of this pit, the example of a similarstructure was used, found during the excavations of a lateNeolithic archeological site, Querciola – Sesto Fiorentino(Florence). Within this archaeological pit traces of fired redsoil were found, which suggests that the pit had been coveredwith mud. Fragments of pottery coated with glass were alsofound, which suggests that the temperature inside the pitbecame high enough to melt copper (or bronze).

2. Preparation of the tube (Tuyere) and the melting pot:Since copper melts at a temperature of 1083 degrees Celsiusand bronze at 1000°C, a simply fire would not have been

sufficient to achieve these temperatures. For this reasontwo ceramic tubes were made using clay mixed with gabroin the proportion 1:1. The size of the gabro particles wasapproximately 1 mm. In this way the ceramic becomes re-sistant to high temperatures. The length of the tube wasaround 20 cm. The end of the tube lying along the verticalwall of the pit was curved down to an angle of 90°, so airblown in to the tubes with bellows mounted on the oppo-site side of the tube arrived directly into the melting pot,and a high temperature was reached.

Examples from the Bronze Age Terramare culture nearModena were used for reconstruction of the pipe and mel-ting pot. At the Montale (Modena) site there were fragmentsof a curved pipe, about 5 cm in length, which are thoughtto have been used to blow in air during the metal meltingprocess. In the same layers ceramic vessels were found,made in the same way as the pipes, with traces of firing. Itappears that they were used as containers for copper orbronze. After reaching the required temperature the metalbecame liquid. The melting pot was around 8 cm in diame-ter with a horizontal handle. There is a hollow on the rimof the pot, about 90° to the handle in a clockwise direction,which was probably used to pour the molten metal into themold precisely.

3. The bellowsThe bellows were made of leather, in the form of a tubeabout 40 cm in diameter and 50 cm in height. On the topof the bellows there is a valve, the raising of which fills the

55


Eva CINCAR, student of archaeologyFrancesco CINI, geologist

EXPERIMENTAL ARCHAEOLOGY:THE COPPER AND BRONZE MELTING PROCESS

Sl. 2. Ulivanje otopljene bronze u kalup

Fig. 2. Pouring of meltid bronze in to the mould

ARHEOLO[KA ISTRA@IVANJA u Plo~niku u septembru ioktobru 2007. godine dala su jedinstvenu arheometalur{kusituaciju, prvi put ustanovljenu u tom preistorijskom nase-lju. Istorijat istraìvanja na ovom lokalitetu je dug i seè do1926. godine, kada su, prilikom izgradnje èlezni~ke prugeNi{–Pri{tina, svetlost dana ugledali prvi – pokazalo se – va`-ni materijalni ostaci iz preistorijskog doba. Tada{nja Direkci-ja Jugoslovenskih èleznica poklonila je Narodnom muzejuu Beogradu prvu ostavu bakarnih alatki. Ti nalazi naveli sudr Miodraga Grbi}a da ve} naredne godine zapo~ne s prvim,moglo bi se re}i, za{titnim istraìvanjima na tom nalazi{tu.Ugroèna povr{ina od oko 700 m² dala je veliku koli~inumaterijala, a najva`niji je nalaz druge ostave bakarnih arte-fakata. Publikuju}i te nalaze, Grbi} ih opredeljuje u eneolit-ski period, a sam Plo~nik svrstava u red zna~ajnih lokalitetajugoisto~ne Evrope.

Druga serija istraìvanja zapo~inje 1960. godine. Dr Bla-ènka – Seka Stalio istraìvala je u Plo~niku, u devet kam-panja, do 1978. godine. Otkriveno je oko 1.000 m² na dverazli~ite pozicije tog velikog naselja. Radovi manjeg obimaobavljeni su u jugozapadnom delu naselja, u blizini èlez-

ni~ke stanice. Interesovanja ovog istraìva~a bila su usme-rena na severoisto~ni deo plo~ni~kog naselja. Iz ogromnekoli~ine raznorodnog materijala izdvajamo, opet, nalazedve ostave bakarnih i kamenih alatki. Publikuju}i taj mate-rijal, Blaènka – Seka Stalio opredeljuje ga u vreme mla|egneolita, plo~ni~ku fazu vin~anske kulture, a same bakarnenalaze u vreme ranog eneolita, faza Bubanj – Hum 1a, pre-ma hronologiji M. Gara{anina.

Tre}a serija istraìvanja u Plo~niku po~inje 1996. godi-ne, opet u organizaciji Narodnog muzeja iz Beograda, u sa-radnji s Narodnim muzejom Toplice iz Prokuplja. Ogromnagra|a i dokumentacija iz prethodnih istraìvanja uslovila jeto da prvi korak budu rekognosciranja doline reke Toplice isamog nalazi{ta u selu Plo~nik. Na taj na~in dobijena jeokvirna povr{ina plo~ni~kog naselja od oko 120 hektara. Toje izuzetna veli~ina za naselje vin~anske kulture, a plo~ni~koje bilo i ve}e – poznato je da je meandriranjem reke Topli-ce uni{ten veliki deo centralnih delova naselja. Drugi poda-tak koji je usmerio potonja istraìvanja jesu mesta nalazaplo~ni~kih ostava. Njihovim kartiranjem ustanovljeno je da

3. MehoviMehovi su izra|eni od koè i u obliku su cevi ~iji obim izno-si oko 40 cm, a visina oko 50 cm. Na gornjem kraju mehanalazi se ventil kroz koji se pri podizanju meh puni vazdu-hom, dok se pri spu{tanju vazduh uduvava u cevi i prekonjih neposredno u posudu za topljenje metala.

Mehovi su izra|ivani od koè, pa je gotovo nemogu}eustanoviti njihove tragove na arheolo{kim lokalitetima.

4. KalupKalup kori{}en u eksperimentu izra|en je od pe{~ara ru~no,udubljivanjem èljene forme (no`, sekira i sli~no). Osim odpe{~ara, kalupi su se mogli izra|ivati od gline ili nekog dru-gog kamena otpornog na visoke temperature.

Kalupi izra|eni od pe{~ara ~esto su pronalaèni na arhe-olo{kim lokalitetima, npr. na lokalitetima pomenute kultureTerramare, na lokalitetu Manciano u blizini Groseta itd.

Proces otapanja bakraNa vertikalni zid jame prislonjene su cevi sa zaobljenimkrajevima okrenutim nadole, tako da vazduh moè nepo-sredno da se uduvava u prethodno pripremljenu posudu sbakrom ili bronzom. Zatim je u jami zapaljena vatra, s tim{to su prvo kori{}ena drva, a potom drveni ugalj. Recipijentje prekriven ugljem, a u me|uvremenu su dve osobe naiz-meni~no uduvavale vazduh pomo}u mehova; dok je jedanmeh bio podignut, drugi je bio spu{ten. Tako je dotok va-

zduha u vatru bio konstantan, a èljena temperatura ostva-rena je brè. Trenutak u kojem bakar prelazi u te~no stanjejasno se prepoznaje jer plamen postaje zelenkaste boje. Ka-da se to dogodilo, posuda sa otopljenim bakrom (bronzom)uhva}ena je za horizontalnu dr{ku pomo}u dva {tapa i te~-ni bakar (bronza) uliven je u izra|eni kalup (sl. 1 i 2). Na-kon nekoliko minuta, kada se metal ohladio, kalup je otvo-ren i dobijena je èljena forma [no` (sl. 3), sekira itd.].

Zaklju~akCilj eksperimenta bilo je {to vernije rekonstruisanje proce-sa otapanja metala, postupka koji je svakako, posle otkri}akeramike, jedan od najbitnijih procesa u razvoju civilizaci-je. Osim toga, èleli smo da otkrijemo i {ta ostaje na terenuposle procesa otapanja metala; mnoge jame prona|ene naraznim arheolo{kim lokalitetima, a koje su najverovatnijesluìle za otapanje metala, nisu tako interpretirane, izme|uostalog i zbog toga {to je nakon aktivnosti topljenja ostajalovrlo malo tragova. Naime, na{i preci verovatno su skupljalizguru bronze ili bakra nakon postupka otapanja jer se onamogla ponovo iskoristiti, a metal je uvek imao visoku vred-nost. Mehovi nisu sa~uvani, a kerami~ke cevi i recipijentiza topljenje bakra nisu uvek pravilno interpretirani. Jedinitragovi na osnovu kojih se neka jama na arheolo{kom loka-litetu moè interpretirati kao jama za otapanje metala jesucrvena pe~ena zemlja i fragmenti staklastih povr{ina kojigovore o dostizanju visokih temperatura.

56


Du{ko [LJIVAR, Narodni muzej u BeograduJulka KUZMANOVI]-CVETKOVI], Narodni muzej Toplice, Prokuplje

PLO^NIK, ARHEOLOGIJA I KONZERVACIJA

ARCHAEOLOGICAL RESEARCH conducted in Plo~nik inSeptember and October 2007 resulted in a unique archaeo-metallurgical situation, never before recorded in this prehis-toric settlement. There is a long history of archaeologicalresearch at this site, going back to 1926. During the con-struction of the Ni{-Pri{tina railway line, significant pre-historic material came to light. The Director of YugoslavRailways donated the first hoard of copper tools to theNational Museum in Belgrade. These finds prompted DrMiodrag Grbi} to commence the first salvage archaeologywork on the site the following year. The threatened area ofapproximately 700 m² yielded a great quantity of material,the most important being the finding of the second hoardof copper artefacts. Publicising these finds, Grbi} dated them

to the Eneolithic Era, whilst he classified Plo~nik itself as aleading archaeological site in South East Europe.

The second period of excavation started in 1960. By1978, Dr Blaènka Seka Stalio had excavated Plo~nik in ninecampaigns. A large settlement, approximately 1,000 m², wasdiscovered, in two different segments. Further work on asmaller scale was carried out in the south-western part ofthe settlement, near the present railway station, while DrStalio directed her attention to the north-eastern segment.From the huge quantity of varied materials, we would singleout two hoards of copper and stone tools. Publicising thismaterial, Dr Stalio dated it to the later Neolithic period, thePlo~nik phase of the Vin~a culture, whilst she places the

bellows with air, while bringing it down blows air throughthe pipe (Tuyere), directly into the melting pot.

Since the bellows were made of leather, it is impossibleto find their traces on archaeological digs.

4. The castThe sandstone cast was modeled of by hand, using a knife.Apart from sandstone, the cast could have been made of clayor some other stone resistant to high temperatures.

Casts made of sandstone are often found on archaeolo-gical sites, for examples those of the Terramare culture, orthe Manciano site (near Grosseto).

The Process of Copper MeltingOn the vertical wall of the pit, the tubes were placed in amode whereby the curved part was turned downward, sothat the air could be blown directly in to the melting potcontaining the bronze or copper. To start the fire in the pitwe used wood and then we added coal. The crucible (meltingpot) was covered with coal, and two people alternately rai-sed and lowered the bellows: while one bellows was raised,the other was lowered and vice versa. In this way, the airreached the fire constantly, and the desired temperaturewas reached more quickly. The fire became green once thecopper or bronze had melted. The crucible was then lifted byits horizontal handle, using two sticks, and the melted copper(bronze) was poured into the cast (Fig. 1 and 2). After a fewminutes, when the metal had cooled, the cast was opened,revealing the desired object [knife (Fig. 3), axe, etc].

ConclusionThe goal of this experiment was to recreate the process ofmelting metals, certainly one of the most important proces-ses in the development of civilization after the discovery of

ceramics. Apart from that, our intention was also to find outwhat remained on the site after the process of melting metal.Our conclusion is that probably pits for melting metals foundon archaeological digs were not often interpreted as such,because they leave few traces. Our ancestors probably col-lected waste left after the melting process, because it couldhave been reused, and the metal always had a high value.Also, bellows were made from organic material so they donot leave traces. The crucibles (melting pots) and tubes(tuyeres) are not always interpreted as such. The only safeclues suggesting that a pit was used for melting are tracesof baked red soil and fragments of glass surfaces, provingthat high temperatures were reached.

The next step in this project, if possible, will be anexperiment to obtain copper from ore, allowing us to com-plete our knowledge about the metallurgical process.

57


Sl. 3. No` u kalupu

Fig. 3. Knife in the mould

Du{ko [LJIVAR, National Museum in BelgradeJulka KUZMANOVI]-CVETKOVI], the Toplica National Museum, Prokuplje

PLO^NIK, ARCHAEOLOGY AND CONSERVATION

one poti~u iz zapadnih i jugozapadnih delova naselja. Ra-stojanje od I do IV ostave iznosi oko 200 metara. Takva kon-centracija metalnih artefakata ukazivala je i na funkcionalnuili urbanisti~ku determinaciju tog dela naselja. Pretpostav-ljeno je da je tu re~ o zanatskom delu naselja, izdvojenom isme{tenom na periferiju zbog opasnosti od poàra. Broj od45 bakarnih alatki koje su tu prona|ene do 1978. godinepresudio je da se planirana istraìvanja obave na tom deluplo~ni~kog lokaliteta.

Arheolo{kim radovima otpo~etim 1997. godine pretho-dila su geofizi~ka snimanja na dve lokacije. Skeniranje geo-radarom i merenja elektri~ne otpornosti odredili su uè lo-kacije na koje su postavljane sonde. Rezultati tih radova uvelikoj su meri unapredili znanja o Plo~niku i samoj vin-~anskoj kulturi, kojoj pripada to naselje. Ovom prilikom iz-dvajamo nekoliko osnovnih i novih saznanja.

Pokazano je da je plo~ni~ko naselje osnovano u vremenajstarijih etapa faze Vin~a – Tordo{ I, prema hronologiji M.Gara{anina. Na osnovu stilsko-tipolo{kih i statisti~kih ana-liza kerami~kog materijala iskristalisale su se tri razvojne,evolutivne faze te kulture, ~iji kraj u plo~ni~kom naseljukorespondira sa zavr{nim etapama grada~ke faze. Odre|e-na je kulturno-hronolo{ka pozicija plo~ni~kih ostava. Vremekojem pripada ta ve} razvijena metalurgija odgovara gra-da~koj fazi vin~anske kulture. Iz ove ~injenice proisti~e imnogo zna~ajniji zaklju~ak o tome da primarni oblici me-talurgije nastaju i razvijaju se u njenim starijim fazama.

Sada je sasvim izvesno da je vin~anska kultura metalur{kakultura i da, kao takva, ima prioritet u odnosu na istovre-mene pojave u jugoisto~noj Evropi. Nalazima jo{ nekolikobakarnih artefakata i parcijalnih situacija razja{njeno je daostave, u stvari, predstavljaju delove zanatskih objekata, ra-dionica, sru{enih u poàru. Ostaje nejasno za{to su vlasniciili majstori ostavili taj dragoceni materijal. Uz ove arheo-metalur{ke komponente, ostali pokretni nalazi upotpunilisu repertoar, kao i na{a znanja o vin~anskoj kulturi. Neki odnjih, pogotovo pojedini nalazi antropomorfne i zoomorfneplastike, predstavljaju jedinstvene eksponate prema svimestetsko-umetni~kim kriterijumima.

Ipak, istraìvanja u Plo~niku, koja traju gotovo jedanvek, nisu dala situacije bilo koje sadrìne na osnovu kojihbi se mogao celovito determinisati ijedan segment ~ovekovog

ìvota ili aktivnosti. Tako je bilo sve do pro{logodi{njih istra-ìvanja u sondi XX. Insistiranje i istrajavanje istraìva~a napojedinim interdisciplinarnim analizama urodilo je plodomiznad svih o~ekivanja.

Arheolo{kim radovima iz 2007. godine prethodile su,najpre, interdisciplinarne analize ko{tanog materijala, a po-tom i geomagnetska snimanja tog dela lokaliteta. Petnaestpaleozoolo{kih uzoraka s razli~itih stratigrafskih pozicija, za-hvaljuju}i kolegi Du{anu Bori}u, tretirano je AMS metodomu laboratorijama Oksforda, u Engleskoj. Dobijeni apsolutnidatumi od 5400. do 4600. godine stare ere u potpunosti ko-respondiraju s relativnom hronologijom koja je ura|ena naosnovu stilsko-tipolo{kih analiza materijala iz Plo~nika i saanalognog lokaliteta Belovode, a ra|ene su i fiziko-hemijskeanalize uzoraka malahita i azurita s lokaliteta Belovode. Nataj na~in dobijena je i hronologija bakarnih artefakata, ~ijesu vreme nastanka poslednji vekovi VI milenijuma stare ere.

Geomagnetska snimanja tog dela lokaliteta, koja jeobavio inènjer Vladimir Mileti} sa saradnicima, registro-vala su oko petnaest lokacija ili anomalija nastalih antropo-genim delovanjem. Na jednoj od njih, sa izuzetno visokimvrednostima ili odstupanjima, postavljena je otvorena son-da XX. Na relativnoj dubini od 0,80 metara osnova sondebila je potpuno ispunjena {utom, brojnim ulomcima kera-mi~kog materijala, celim i razbijenim posudama, amorfnimi obra|enim kamenom. Takvu jedinstvenu celinu dopunioje nalaz masivnog bakarnog dleta. Na povr{ini od 25 m²,

58


copper finds in the early Eneolithic Era, its Bubanj-Hum 1aphase, according to M. Gara{anin’s chronology.

The third series of excavation in Plo~nik started in1996, organised by the National Museum in Belgrade incooperation with the Toplica National Museum, Prokuplje.The voluminous documentation and large quantity of previ-ous finds meant that the first step would be reconnaissanceof both the Toplica river valley and the archaeological sitein the village of Plo~nik. This provided us with a generalgeographical area of the Plo~nik settlement of approxima-tely 120 hectares. For a Vin~a-culture settlement this is ofextraordinary magnitude. However, the Plo~nik settlementwas even larger, as it is known that the meandering of theRiver Toplica destroyed a considerable portion of the settle-ment’s central parts. Another fact that determined thecourse of future research was the location of the Plo~nikhoards. Mapping ascertained that they originated from thewestern and southeastern parts of the settlement. Thedistance between hoards I and IV is approximately 200meters. Such a concentration of metal artefacts indicatedboth the functional and the urban purposes of this part of thesettlement. It is assumed that this was the craftsmen’s partof the settlement, isolated and situated on the periphery,due to the danger of fire. A total of 45 copper tools had beenfound here by 1978, prompting further excavation of thispart of the Plo~nik site.

The archaeological work that began in 1997 was prece-ded by geophysical soundings in two locations. Geo-radarscanning and electrical resistance measurements determinedthe precise location for these sondes. The results have greatlyfurthered our knowledge of Plo~nik, and the Vin~a cultureto which the settlement belongs. We hereby expound someof the fundamental new discoveries. It was revealed that thePlo~nik settlement was established during the latest stagesof the Vin~a-Tordo{ I phase, according to M. Gara{anin’schronology. On the basis of stylistic, typological, and statis-tic analyses of ceramics, three developmental, evolutionalphases of this culture were crystallised. The end of thesephases in the Plo~nik settlement corresponds to the finalstages of the Gradac phase. Both cultural and chronologicalpositions of the Plo~nik hoards were determined. Theseadvanced metalworking skills correspond to the Gradacphase of the Vin~a culture. This fact also leads to a far

more significant conclusion that the primary forms of me-tallurgy were born and developed during its earlier phases.It is now fairly clear that the Vin~a culture had masteredmetalworking, and was thus more advanced than its South-eastern European contemporaries. Several other finds ofcopper artefacts and partial sub-sites shed light on the factthat the hoards in fact represent parts of craftsmens’ work-shops destroyed in a fire. Why the owners or craftsmen leftbehind such valuable materials remains a mystery. Inaddition to these archaeo-metallurgical components, therest of the movable finds have made the site inventory – aswell as our knowledge of the Vin~a culture – more complete.Some of these, especially certain finds of anthropomorphicand zoomorphic sculptures, are unique according to all cri-teria of aesthetics and art.

However, the almost century-long research in Plo~nikdid not yield a single sub-site containing anything thatcould be used to fully establish any segments of human lifeand activity. Such was the state of affairs up until last year’sexcavation of sonde XX. The researchers’ resolve and insi-stence on certain interdisciplinary analyses turned out tobe exceedingly fruitful.

The 2007 excavation was preceded by interdisciplinaryanalyses of bone materials, leading to geomagnetic measure-ment of this area of the site. Thanks to our colleague Du{anBori}, 15 paleo-zoological samples collected from differentstratigraphic positions have been treated by the AMS methodin the laboratories of Oxford, England. The resultant abso-lute dates, from 5400 to 46000 BC, fully correspond to therelative chronology completed on the basis of the stylisticand typological analyses of the Plo~nik materials, as well asthose of the analogous archaeological site of Belovode. How-ever, physicochemical analyses of the malachite and azuritefound on the site of Belovode were also conducted. Thus wealso obtained the chronology of copper artefacts, dating fromthe late 6th millennium BC. Geomagnetic measurements inthese parts, performed by Vladimir Mileti} with associates,registered approximately fifteen localities with anomaliesresulting from human activity. The open sonde XX was placedin a location exhibiting extremely high anomalous values.At the relative depth of 0.80 meters, the sonde’s base wasfilled with rubble, numerous fragments of pottery, whole andbroken vessels, with amorphous and cut stone. The findingof a massive copper chisel contributed to this unique find.In the area of 25 m², the dimensions of the sonde, the straightline of a structure destroyed in an intensive fire was visible.Without hesitation the sonde was gradually widened, mos-tly in the northern part, increasing its dimensions to 55 m².The entire sub-site was finally mapped, and the overall di-mensions of the burned structure were established. A kilnat the northwest corner of the area dominates the sub-site.The base of the kiln is square, measuring 1.40 × 1.40 meters.The largest preserved kiln walls are 0.50 meters high. Thewalls are massive, with visible secondary coats and traces ofcontact with high temperatures in the lower half. Inside,there are numerous brown smears resulting from smelting.The contours of the structure itself are ill-defined, and mea-sure approximately 6 × 6 meters. The overall content of theconstruction and the remains of the parts above ground at

59


CRKVU SVETOG LUKE u Kotoru sagradili su 1195. godi-ne Mavro Kazafranki i njegova supruga Buona. Kasniji pa-troni bile su porodice Drago i Kufeti. Odlukom pape Julija IIuprava crkve preneta je 1511. godine na redovnice GospeAn|ele, {to je trajalo do 1657, kada je bila predana na pora-bu sljedbenicima pravoslavne vjere.1

Jedna od glavnih karakteristika ikonoslikarstva u crkviSvetog Luke jeste bogatstvo i raznovrsnost ikonografije, dokse ikonostas odlikuje dekorativno{}u.

Donja zona ikonostasa po svoj prilici je uni{tena, a re-konstrukcija je izvedena na veoma jednostavan na~in. Po-stavljeni su vertikalni redovi dasaka, u vidu lamperije patini-rane bojom oraha, sa usje~enim dverima. Na njima su ~etiriprestolne ikone, pore|ane ovim redom: Jovan Krstitelj, Bogo-rodica sa Hristom, Hristos u crkvenoj ode`di, s krunom naglavi, i, na kraju, u desnom uglu sveti Luka kao zograf.

Ikone su naslikane na sasvim razli~ite na~ine. Lik Jova-na Krstitelja prikazan je u oker boji sa zatamnjenim tonovi-ma umbre; ode`da od kamilje dlake nije prikazana u sivo-plavom tonu, osim, u manjoj meri, po vrhovima ramena, dokna lijevom ide ne{to duè niz ruku, do lakta. Inkarnat je do-sta svijetao, bez one sveta~ke zelene boje lica, osim na glavikoju svetitelj drì u ruci. Slova na svitku dosta su nevje{to

pisana. Tragovi plavih slova mogu se vidjeti i na ikoni Hristas krunom na glavi; na njegovoj ode`di vide se plavi tonovi.Sti~e se utisak da je vjerovatno isti majstor na toj ikoni radiosamo retu{e, i to glave s krunom, koja je vje{ta~ki ukompo-novana. Ikona s Hristovim likom ne{to je manja od prestolneikone s likom Jovana Krstitelja; usje~ena je po bordurama,koje se lijepo mogu vidjeti.

Kada je rije~ o ikoni Jovana Krstitelja, o~igledno je da jeona skra}ivana kako bi mogla u}i u sada{nji ram, izrezba-ren i s krunom na gornjem dijelu. Ikona je stavljena u goto-vo isti ram kao ikona s Hristovim likom u tamnom koloritu;Hristos je predstavljen kako sjedi na prijestolu, bez nekogsveta~kog izraza. Ono {to odmah pada u o~i jeste ba{ tajprijesto, kakav se te{ko moè na}i u slikarstvu te vrste kodnas. On vi{e li~i na namje{taj iz XVIII ili XIX vijeka, za-krivljenih oblika, u stilu bidermajera ili rokokoa.

Ikona svetog Luke rad je nekog majstora Grka. Bogatoje oslikana draperija svetog Luke, koji sjedi pognut i slika

koliko su iznosile dimenzije sonde, uo~avao se jedan pravacobjekta uni{tenog u intenzivnom poàru. Dileme nije bilo isonda je postupno pro{irena, najvi{e u severnom delu, takoda su njene dimenzije na kraju iznosile 55 m². Na tom pro-storu kona~no je dobijena cela situacija i uhva}eni su gaba-riti izgorelog objekta. Situacijom je dominirala pe} na severo-zapadnom uglu povr{ine. Pe} je kvadratnog oblika u osnovi,dimenzija 1,40 × 1,40 metara. Najve}a o~uvana visina zi-dova pe}i je 0,50 metara. Zidovi su masivni, a u donjoj po-lovini s vidljivim sekundarnim premazima i tragovima kon-takta s visokim temperaturama. Unutra je dosta mrkih mrlja,nastalih u redukcionim uslovima upotrebe. Konture samogobjekta neizrazite su i pribli`no iznose 6 × 6 metara. Uku-pan sadràj te konstrukcije i ostaci nadzemnih delova, uovom stadijumu istraìvanja, opredeljuju je kao objekat pri-vrednog karaktera. Radionica, u kojoj je centralni objekatmasivna pe}, bila je za{ti}ena zidovima od pletera obleplje-nog zemljom. Krovnu konstrukciju ~inio je tako|e pleter,prekriven travom. Pod nije formiran kao lep, ali se na jed-nom delu osnove nalaze kamene plo~e. Taj nivo objekta is-traì}e se u narednoj kampanji, kada }e mo}i da se upotpuniopis ostalih konstruktivnih detalja. Objekat je bio ispunjenbrojnim kerami~kim posudama, velikim, prvenstveno zavodu: amforama, kr~azima i dubokim bikoni~nim posuda-ma. Ostatak nalaza jo{ izrazitije ukazuje na to da je re~ o

metalur{koj radionici. Pored dleta, prona|ene su dve bakar-ne alke razli~ite profilacije i minijaturna perla. Ti nalaziupotpunjuju poznati repertoar i ujedno su dokaz o visokomnivou metalurgije bakra u Plo~niku. Zatim, prikupljeno jedosta grumenova malahita razli~ite profilacije i izmenjenestrukture usled kontakta s visokim temperaturama. Posebnosu zanimljive kerami~ke cevi koni~ne profilacije s podu`-nim perforacijama. Ti objekti, sa analogijama na Belovoda-ma, deo su metalur{kih instalacija za dovod i usmeravanjecirkulacije vazduha prilikom topljenja rude ili pretapanjasamog bakra. Pretpostavci o tom ekstraktivnom tehnolo{-kom nivou dobijanja bakra idu u prilog i nalazi mnogih ke-rami~kih posuda deformisanih usled jake vitrifikacije. Aliva`niji detalj jeste njihov istopljeni sadràj, koji }e determi-nisati predvi|ene fiziko-hemijske analize, a prema na{imiskustvima, re~ je o izdrobljenoj rudi malahita pripremlje-noj za metalur{ki tretman.

Sve to ukazuje na izuzetan zna~aj cele situacije, kojomdominira velika masivna pe}, retkog oblika i specifi~ne na-mene. Njen oblik, stanje o~uvanosti i sam zna~aj presudilisu da se taj objekat preventivno konzervira. Njegova daljasudbina zavisi od toga koje }e se re{enje, od dva predloèna,primeniti. Prvo podrazumeva trajnu konzervaciju i izme{ta-nje u jedan od muzeja, a drugo konzervaciju in situ i prezen-taciju u sklopu budu}eg arheolo{kog parka u Plo~niku.

60


Ksenija \uri{i}, vi{i konzervator restauratorCentar za arheolo{ka istraìvanja Crne Gore

IKONOSLIKARSTVO CRKVE SVETOG LUKE U KOTORU

1] Likovna enciklopedija Jugoslavije I, Zagreb 1984, 242 (OlgaPerovi}).

THE CHURCH OF ST. LUKE, Kotor, was built by MavroKacafrangi and his wife Buone in 1195. Later patrons werethe Drago and Cuffeti families. By decision of Pope JuliusII, church administration was assigned to the nuns of OurLady Angela, who continued this ministry until 1657, whenthe church was ceded to the Serbian Orthodox Church.1

One of the main artistic characteristics of St. Luke’sChurch is the lavishness and variety of its iconography,especially the decoration of its iconostasis.

The lower zone of the iconostasis was probably destro-yed but reconstruction was done in a very simple manner.Vertical rows of boards coated with walnut-coloured paint,similar to paneling, were fixed in place, with cut-in Royaldoors. There are four royal icons: St. John the Baptist, theVirgin Mary with Christ, an Icon of Christ in red attire witha crown on his head, and at the very end, in the right handcorner, St. Luke as zograph (icon-painter).

Each of these icons was painted in a very differentmanner. The picture of St. John the Baptist is pained inochre with dark shades of umber. His camel-hair robe wasnot painted in grey-blue timbre, apart from a small sectionon his shoulders and down his left arm as far as the elbow.The Incarnate is very bright, not of a saintly green, exceptfor the severed head that the Saint holds in his hand.Letters on the scroll are very clumsily written. Traces ofblue letters can be seen on the icon of the crowned Christ.Blue tones are also visible in his robe. It seems that thesame master probably retouched the head and added theartificially composed crown to this icon. The icon of Christ

is slightly smaller than the royal icon of John the Baptist,clearly cut and set in according to the existing borders.

It is obvious that the icon of John the Baptist was shor-tened in order to fit into the existing carved frame, whichhas a crown on top. The icon was placed in the same frameas the dark-coloured icon of Christ. Christ sits on the throne,but without a saintly expression. It can be observed that thisparticular type of throne is unusual for paintings of thiskind in this region. It looks more like a piece of 18th or 19th

century furniture, with some twisted shapes in Biedermeieror Rococo style.

The icon of St. Luke is the work of a superb 16th cen-tury Greek master, with lavishly painted robes. The imageof St. Luke depicts him sitting and bent forward, suppo-sedly painting the Virgin Mary with the Christ. The anato-mical shapes and motion suggest that this is the work of agreat master, possibly aligned with some western schools.The icon of the Virgin Mary on the lower part left hand sideis the work of a different master, so it is likely that the com-positional scheme was painted later. St. Luke was probablypainted in the 18th century.

The Royal doors, which are almost completely preserved,are the work of the Rafailovi} iconography school, Bay ofKotor. Dimitrije Rafailovi} created the main door in 1777.

this stage of the research bear all the hallmarks of a work-shop. Wattle-and-daub walls protect the workshop, whosecentrepiece is a massive kiln. The roof construction is alsomade of grass-covered wattle. The floor was not formed ofdaub, but there are stone tiles in one portion of the base. Thislevel of the structure is to be investigated in a future cam-paign, when we will be able to complete the description ofthe remaining structural details. The structure was filled withcopious large, ceramic vessels, usually utilised for water,amphorae, jugs, and deep biconic vessels. The rest of thefinds indicate even more decidedly that this is a metallurgi-cal workshop. In addition to the chisel, two copper rings ofdifferent appearance and a miniature bead have been found.These complete the known inventory and at the same timeserve as evidence of the highly developed level of copper-working in Plo~nik. Furthermore, a considerable amount ofmalachite lumps have been collected, differing in appearan-ce, their structure altered due to contact with high tempe-ratures. Conical ceramic pipes with horizontal perforations

are particularly interesting. These structures, substantiallysimilar to ones found in Belovode, formed part of metal-working installations used to supply and direct air for oresmelting or copper melting. The existence of this level ofcopper extraction technology is also borne out by the findsof many ceramic vessels deformed due to strong vitrification.However, a more significant detail is their melted content:our experience leads us to believe that this is crushed mala-chite ore prepared for metallurgical treatment, but proof ofthis hypothesis will have to be established by upcoming phy-sicochemical analyses. All this highlights the importance ofthe whole sub-site, dominated by the massive kiln of unusualshape and specific purpose. Its shape, state of preservation,and significance have led to the preventive conservation ofthis structure. What will become of it depends on the reali-sation of one of two proposed solutions. The first would bepermanent conservation and transfer to a museum; thesecond could be conservation in situ and presentationwithin a future archaeological park in Plo~nik.

61


Ksenija DJURI[I], senior conservator-restorerCenter for Archeological Studies of Montenegro

CHURCH OF ST. LUKE, KOTOR. ICON PAINTING

1] Encyclopedia of Fine Arts of Yugoslavia I, Zagreb 1984, 242(Olga Perovi}).

Bogorodicu sa Hristom. Anatomski modelovane forme i po-kret koji uvjerljivo svjedo~i o velikom slikarskom umije}umajstora govore o tome da je on vjerovatno pripadao nekojzapadnja~koj {koli. Lik Bogorodice u donjem dijelu, na lije-voj strani, rad je nekog drugog majstora, tako da se moère}i da je kompoziciona {ema naknadno naslikana. SvetiLuka vjerovatno poti~e iz XVIII vijeka.

Carske dveri, koje su gotovo potpuno o~uvane, rad subokokotorske ikonopisne {kole Rafailovi}a. Glavne dveri ra-dio je Dimitrije Rafailovi} 1777. Dveri su izrezbarene gotovofiligranski, s malim oslikanim scenama Blagovijesti, u dostatamnom koloritu. Nadverje je tako|e rad Rafailovi}a i go-tovo je u potpunosti o~uvano. Rezbarska kompozicija krstarad je istog majstora, ali ne i naslikano Raspe}e. Krst je iz1708, dok je naslikano Raspe}e jednostavno usje~en radmajstora Grka.

Raspe}e je gotovo istovjetno s Raspe}em koje se nala-zi u riznici Srpske pravoslavne crkve u Kotoru. Ono poti~eiz druge polovine XVIII vijeka. Izrezbareno je u drvetu iislikano sa obje strane na veoma plasti~an na~in, po ugleduna Raspe}a renesansnih majstora, s tamnim koloritom i po-zla}enom draperijom, opu{tenim i mrtvim tijelom Hrista,~ija je glava pognuta i zaba~ena na desnu stranu. Isti takavlik prikazan je na krstu ikonostasa Svetog Luke, ~iji su re-zbarski rad i kompoziciona {ema djelo Rafailovi}a.

Moè se re}i da je ikonopis u crkvi Svetog Luke stilskii hronolo{ki veoma raznovrstan i da je potrebno prona}i

daleko vi{e podataka, jer oskudna dokumentacija ne moèpruìti jasan uvid u cjelokupno stanje tog ikonopisa. Jednoje sigurno – gr~ki majstor je ostavio svoj pe~at, iako se moèpretpostaviti da nije bio dovoljno upu}en u ~itavu proble-matiku ikonografije.

Naàlost, Deizis nije vi{e na ikonostasu zbog toga {to jestradao, ali je smje{ten u riznicu Srpske pravoslavne crkve uKotoru, a njegovih {est ikona djelo su majstora Grka.2 To su:

1. Hristos Imago Pieta2. Sveti Spiridon i sveti Luka3. Nevjerstvo Tomino4. Kr{tenje Hristovo5. Arhan|eli Gavrilo i Mihail6. Atanas Veliki i Sava Osve}eni.

Deizis obuhvata trinaest dobro o~uvanih i konzervira-nih ikona. [est su radovi ruskih majstora, a sedam gr~kih,najvjerovatnije onog ikonopisca koji je naslikao prestolnuikonu s likom svetog Luke. Kolorit ikona gr~kog majstoradosta je taman; preovladava uglavnom nekoliko tonova,plava, cinober i mjestimi~no oker.

Vizantijski uticaj dosta je primjetan. Zanatski, ikonesu dosta dobro ura|ene, {to se vidi i po stepenu njihoveo~uvanosti. Drveni nosa~ tako|e je konzerviran; potopljen jeu vosak, s novim ku{acima, koji su veoma vje{to postavljeni.

62


2] Podaci o ikonama dobijeni su u Republi~kom zavodu zaza{titu spomenika kulture, Cetinje, i Regionalnom zavodu za za{tituspomenika kulture, Kotor.

Sl. 2. Hristos, prestona ikona (48 × 77 cm)

Fig. 2. Christ, Royal icon (48 × 77 cm)

Sl. 1. Sveti Jovan Krstitelj, prestona ikona (54 × 89 cm)

Fig. 1. St. John the Baptist, Royal icon (54 × 89 cm)

The door is carved with filigree ornaments and shows smallpainted scenes of the Annunciation in dark colors. The door-frame was also done by Rafailovi} and is almost completelypreserved. The same artist made cross carvings, but did notpaint the crucifixion scene. The cross dates from 1708, whilethe painted crucifixion is the work of a Greek master.

The crucifixion is almost identical to the crucifixion inthe Treasury of the Serbian Orthodox Church in Kotor. Itdates from the late 18th century. The crucifixion is on carvedwood, painted on both sides in a very plastic way, similar tocrucifixions depicted by Renaissance artists, with darkcolours and gilded drapery. Christ’s dead body sags, whilehis head is bent down, turned to the right. The same imageis shown on the cross of the iconostasis of St Luke, a carvedwork of the Rafailovi} compositional scheme.

By examining the iconostasis in St. Luke’s Church, it isobvious that it is heterogeneous regarding its style andchronology, but that more data and documentation need tobe obtained to provide clearer insight into its condition. Onething is positive – the Greek master left his stamp on hiswork, although it can be assumed that he was not comple-tely familiar with all iconography problems.

Unfortunately, the diesis is no longer forms part of theiconostasis, because it was damaged and is stored in thetreasury of Orthodox Church in Kotor. Its six icons are thework of a Greek master.2

1. Christ Imago Pieta2. St. Spiridon and St. Luke3. Doubting Thomas 4. Baptism of Christ

5. Two Archangels Gabriel and Michael6. Athanasius the Great and St. Sava consecrated

On this diesis there are 13 icons, very well preservedand conserved. Six of them were works by Russian masters,while seven are works of a Greek master, most likely thepainter of the Royal icon of St. Luke. Greek masters tendedto use rather dark colours, but a few brighter hues prevail:blue, vermillion, and ochre.

The Byzantine influence is present. The workmanshipis of very good quality, which is obvious from the conditionand level of the icons’ preservation. A wooden support is alsowell conserved. This was dipped into wax, with new cross-bars skillfully placed.

Both doorframes belong to the Kotor School of Rafailo-vi}, 1689, but the doorframe above the main door is older.

The overlays of the Virgin Mary and Christ are displayed onthe floor below the icon. Ornamented silver overlays, withgold encrusting of the crown, present some highly skilledworkmanship. St. Luke and St John the Baptist had over-lays on their aureoles that have been dismantled and arekept in the church treasury.

St. Luke, as well as the icon of the Virgin Mary, wasdates from the 18th century. Its painting style and techniquebelong to some western schools that existed in our regionat that time.

63


2] Data of icons obtained from the Republic Institution forProtection of Cultural Monuments – Cetinje and Regional Institu-tion for Protection of Cultural Monuments – Kotor.

Sl. 3. Bogorodica sa Hristom, prestona ikona (50 × 77 cm)

Fig. 3. The Virgin Mary with Christ, Royal icon (50 × 77 cm)

Sl. 4. Sveti Luka, prestona ikona

Fig. 4. St. Luka, Royal icon

Oba nadverja djelo su kotorske {kole Rafailovi}a iz 1689.godine, dok je nadverje iznad glavnih vrata starije. OkoviBogorodi~ine ikone, kao i one s Hristovim likom, izloèni suna podu, ispod ikona. Bogato ukra{eni okovi od ~istog srebra,sa zlatnim inkrustacijama na krunama, pokazuju visoko za-natsko umije}e. Okovi na oreolima koji su postojali na ikona-ma s likovima svetog Luke i Jovana Krstitelja skinuti su i~uvaju se u riznici crkve.

Ikona s likom svetog Luke, kao i ikona s likom Bogorodi-ce, nastala je u XVIII vijeku, a po slikarskom maniru odgo-vara djelima nekih zapadnja~kih {kola koje su u to vrijemeradile u ovim oblastima.

Konzervatorska ispitivanja ikona u crkvi Svetog LukePrilikom analize ikona i ikonostasa uo~eno je da su drveninosa~i dosta dobro o~uvani i da su izvjesna konzervatorskai restauratorska tretiranja ve} obavljana.

Osnovna o{te}enja drvenih nosa~a odnose se isklju~ivona vertikalne pukotine po sredini ikona, du` ~itavog nosa~a.Vjerovatno je uzrok to {to su daske na tim mjestima spaja-ne, pa se drvo, primaju}i i osloba|aju}i vlagu, {irilo, odnosnoodvajalo, kao kod ikone Jovana Krstitelja, Bogorodice saHristom, pa i ikone Isusa Hrista.

Na ikoni s likom svetog Luke drveni nosa~ je pri samomvrhu odvojen horizontalno, a po duìni ukoso, na zdravommjestu. Na donjem dijelu uo~ljiv je ~itav niz manjih pukoti-na. O{te}enja grunda na pozlati pojavila su se u vidu fleka,negdje ve}ih, a negdje manjih. Konsolidacija drvenih nosa-~a kod svih ikona obavljena je tehnikom potapanja u vosaki kolofonijum. Bojeni sloj je dobro o~uvan.

Ikonostas Svetog Luke nije o~uvan kao cjelina, osimgotovo neo{te}enog krsta. Obnova ikonostasa uglavnom jeobavljena na jednostavan na~in; postavljen je red dasakakoje su patinirane i na njih su stavljene prestolne ikone.

64

DIANA #13 KONZERVACIJA

Prevela i priredila Aleksandra Dìki}-Nikoli}, konzervatorNarodni muzej u Beogradu

TERMINOLOGIJA – KONZERVACIJA MATERIJALNOG KULTURNOG NASLE\A

BUDU]I DA:a) na{ cilj jeste da predamo materijalno kulturno na-

sle|e narednim generacijama, obezbe|uju}i istovre-meno njegovu sada{nju upotrebu i po{tuju}i njegovdru{tveni i duhovni zna~aj,

b) preduzete mere i aktivnosti predstavljaju rezultat sve-obuhvatnog interdisciplinarnog procesa odlu~ivanja,

c) proces odlu~ivanja uvek uklju~uje dokumentaciju iispitivanje (istorijsko, umetni~ko-istorijsko, nau~noili tehni~ko), te uzima u obzir pro{li, sada{nji i budu-}i kontekst predmeta,

kao i da je od osnivanja me|unarodnog Komiteta za konzer-vaciju ICOM-a (ICOM-CC):

d) na{a profesionalna zajednica zna~ajno pro{irena upogledu broja i raznovrsnosti predstavljenih strukai kultura,

e) javnost postala klju~ni partner u ~uvanju na{eg za-jedni~kog kulturnog nasle|a,

f) terminologija ponekad nenamerno gomilana,* {to jeizazvalo zbrku i nerazumevanje,

ICOM-CC – koji preko ICOM-a predstavlja {iroku me|una-rodnu stru~nu mreù – uo~ava potrebu za postojanjem jasnei dosledno primenjivane terminologije, a radi unapre|ivanja

* Primeri: neinterventivna konzervacija, indirektna konzervacija,pasivna konzervacija, briga o zbirkama, prezervacija, preventativnakonzervacija, odràvanje, indirektna prezervacija, aktivna konzervaci-ja, konzervacija, direktna konzervacija, interventivna konzervacija,remedijalna konzervacija, kurativna konzervacija, stabilizacija, tret-man, direktna prezervacija, popravka, rehabilitacija, renovacija, kon-zervacija restauracija itd.

Verzija teksta na srpskom jeziku pripremljena je uz saglasnost Radne grupe za terminologiju i SekretarijataICOM-CC-ja kako bi se zapo~elo s postupkom uskla|ivanja termina kori{}enih u srpskom jeziku u oblastikonzervacije s konzervacijskom terminologijom me|unarodne zajednice, uz puno po{tovanje lokalne tradicijei konotacije koju dati termini u srpskom jeziku nose.

Tokom pripreme ovog broja ~asopisa iz {tampe je iza{ao Glasnik Dru{tva konzervatora 33, u kojem je tako|e objav-ljen prevod Rezolucije o terminologiji ICOM-CC-ja, usvojene 2008. godine u Nju Delhiju. Taj prevod prilago-|en je terminologiji koja se koristi u oblasti konzervacije nepokretnog kulturnog nasle|a kod nas. Tako je unjemu termin sanaciona konzervacija upotrebljen kao prevod za engleski termin remedial conservation. Uprevodu koji se objavljuje u ~asopisu Dijana u istom zna~enju koristi se termin kurativna konzervacija, kojiprati poreklo re~i remedial, a neposredno se vezuje za francusku re~ curative.

CONSIDERING THAT:a) our aim is to hand on tangible cultural heritage to

future generations while ensuring its current useand respecting its social and spiritual significance,

b) any measures and actions taken result from aninclusive interdisciplinary decision-making process,

c) the decision-making process always includes docu-mentation and investigation (historical, art histori-cal, scientific or technical), and takes into account thepast, present and future context of the item,

and that, since the creation in 1967 of the internationalCommittee for Conservation of ICOM (ICOM-CC),

d) our professional community has grown significantlyin size and in the variety of professions and culturesrepresented,

e) the public has increasingly become an essential par-tner in safeguarding our shared cultural heritage,

f) there has been a sometimes haphazard multiplicationof terminology*, resulting in confusion and mis-understanding,

ICOM-CC, which represents through ICOM a wide inter-national professional network, in order to facilitate com-munication amongst its membership, the ICOM member-ship, the world heritage professional community, and withthe general public, sees the need for a clear and consistentterminology.

ICOM-CC adopts the following terms: preventive conser-vation, remedial conservation, and restoration which togetherconstitute conservation of the tangible cultural heritage.These terms are distinguished according to the aims of themeasures and actions they encompass.

The definitions of the terms are as follows:Conservation – all measures and actions aimed at safe-

guarding tangible cultural heritage while ensuring its acces-sibility to present and future generations. Conservation em-braces preventive conservation, remedial conservation andrestoration. All measures and actions should respect thesignificance and the physical properties of the culturalheritage item.

– Preventive conservation – all measures and actionsaimed at avoiding and minimizing future deteriorati-on or loss. They are carried out within the context or onthe surroundings of an item, but more often a group ofitems, whatever their age and condition. These measuresand actions are indirect – they do not interfere withthe materials and structures of the items. They do notmodify their appearance.Examples of preventive conservation are appropriatemeasures and actions for registration, storage, handling,packing and transportation, security, environmental ma-nagement (light, humidity, pollution and pest control),emergency planning, education of staff, public awareness,legal compliance. – Remedial conservation – all actions directly applied toan item or a group of items aimed at arresting current

Conservation Examination of Icons in St. Luke’s ChurchDuring examination and analysis of the icons and icono-stasis, the wooden supports were found to be in rather goodcondition. Certain conservation and restorative works hadalready been undertaken.

Regarding basic damage to the wooden supports, therewere some full-length vertical cracks in the middle of theicon, running down the support. The reason for this was pro-bably that the boards were jointed at that spot, and the cra-cking spread as the wood expanded or shrank according tohumidity. The same is the case with the icon of John the Bap-tist, the Virgin Mary with Christ, and even the icon of Christ.

Regarding the icon of St. Luke, the wooden support ishorizontally disjointed at the top, and diagonally crackedwhere the wood is most solid. A number of small cracks canalso be seen all along the lower part. There is characteristicdamage to the base gilding, shown by stains, some smalland some large. Consolidation of all wooden supports wasdone by dipping them in wax and resin. The painted layeris well preserved.

The iconostasis of St. Luke was not preserved as a whole,except for the cross, which is almost undamaged. The re-storation of the iconostasis was mostly done in a simplemanner by placing a row of patinated boards on which royalicons were placed.

65

CONSERVATION DIANA #13

Resolution to be submitted to the ICOM-CC membership on the occasion of the XVth Triennial Conference, New Delhi, 22–26 September 2008

TERMINOLOGY TO CHARACTERIZE THE CONSERVATION OF TANGIBLE CULTURAL HERITAGE

* Examples non-interventive conservation, indirect conservation,passive conservation, collection care, preservation, preventative con-servation, maintenance, indirect preservation, active conservation,conservation, direct conservation, interventive conservation, remedialconservation, curative conservation, stabilisation, treatment, direct pre-servation, repair, rehabilitation, renovation, conservation-restoration,preservation, etc.

komunikacije izme|u svojih ~lanova, ~lanova ICOM-a, zatimu svetskoj zajednici stru~njaka u oblasti nasle|a, kao i radibolje komunikacije sa {irom javno{}u.

ICOM-CC usvaja slede}e termine: preventivna konzer-vacija, kurativna konzervacija, restauracija, a tim pojmovi-ma ozna~ava se sve ono {to zajedno ~ini konzervaciju mate-rijalnog kulturnog nasle|a. Mere i aktivnosti na koje sepomenuti termini odnose razlikuju se u pogledu ciljeva.

Definicije termina su slede}e:Konzervacija se odnosi na sve mere i aktivnosti koje se

sprovode radi ~uvanja materijalnog kulturnog nasle|a i kojeistovremeno omogu}uju njegovu pristupa~nost dana{njimi budu}im generacijama. Konzervacija obuhvata preventiv-nu konzervaciju, kurativnu konzervaciju i restauraciju. Treba-lo bi da sve mere i aktivnosti podrazumevaju po{tovanjezna~aja i fizi~kih osobina predmeta kulturne ba{tine.

– Preventivna konzervacija obuhvata sve mere i aktiv-nosti usmerene na izbegavanje ili svo|enje propadanjai gubitka nasle|a u budu}nosti na najmanju mogu}umeru. One se sprovode u sredini u kojoj se predmet ili,{to je ~e{}e, grupa predmeta nalazi, bez obzira na sta-rost i stanje predmeta. Te mere i aktivnosti su posredne– ne sprovode se na materijalu ili strukturi predmeta ine menjaju njihov izgled.Primeri preventivne konzervacije: odgovaraju}e mere iaktivnosti u vezi s registracijom, pohranjivanjem, pako-vanjem i transportom, obezbe|ivanjem, upravljanjem fak-torima okruènja (svetlo, vla`nost, zaga|enje i kontrola{teto~ina), planiranjem za slu~aj vanrednih prilika, obu-kom stru~nog osoblja, podizanjem svesti u javnosti, uskla-|ivanjem sa zakonom.– Kurativna konzervacija podrazumeva sve aktivnostikoje se neposredno primenjuju na predmetu ili na gru-pi predmeta radi zaustavljanja postoje}ih {tetnih pro-cesa ili u~vr{}ivanja strukture predmeta. Te aktivnostiprimenjuju se samo onda kada su predmeti u tako tro-{nom stanju ili propadaju takvom brzinom da mogunestati u relativno kratkom periodu. One ponekad me-njaju izgled predmeta. Primeri kurativne konzervacije: dezinfekcija tekstila, de-salinizacija keramike, deacidifikacija papira, dehidrata-cija vla`nog arheolo{kog materijala, stabilizacija koro-

diranih metala, konsolidacija zidnih slika, uklanjanjekorenja iz mozaika.– Restauracija obuhvata sve aktivnosti neposredno pri-menjene na stabilnom predmetu radi pobolj{anja nje-govog vrednovanja, razumevanja i kori{}enja. Te aktiv-nosti sprovode se samo onda kada je predmet izgubiodeo svoje vrednosti ili funkcije zbog propadanja i pro-mena koje je pretrpeo u pro{losti. One se zasnivaju napo{tovanju originalnog materijala predmeta. Takve ak-tivnosti naj~e{}e menjaju izgled predmeta.Primeri restauracije: retu{iranje slika, spajanje fragme-nata polomljenih skulptura, vra}anje prvobitnog oblikakorpe, popunjavanje {upljina kod staklenog suda.

Mere i aktivnosti konzervacije ponekad nemaju samojednu svrhu. Na primer: uklanjanje laka moè da predstavljai restauraciju i kurativnu konzervaciju, primena za{titnihobloga moè da bude istovremeno i restauracija i preven-tivna konzervacija, a zatrpavanje mozaika moè biti i pre-ventivna i kurativna konzervacija.

U tom smislu se, za potrebe ozna~avanja kompletneintervencije na predmetima, u praksi preporu~uje kori{}e-nje termina konzervacija-restauracija.

Konzervacija je kompleksna i zahteva saradnju kvalifiko-vanih stru~njaka. Konkretnije re~eno, projekti koji uklju~ujuneposredne aktivnosti na kulturnom nasle|u zahtevaju anga-òvanje konzervatora-restauratora (ICOM-CC definicija pro-fesije, Kopenhagen 1984; ICOM-ov Eti~ki kodeks).

Za potrebe me|unarodnih sastanaka i vi{ejezi~nih publi-kacija, prevod terminologije na engleski jezik glasi: conserva-tion (konzervacija), preventive conservation (preventivna kon-zervacija), remedial conservation (kurativna konzervacija) irestoration (restauracija).

Za potrebe me|unarodnih sastanaka i vi{ejezi~nih publi-kacija, prevod terminologije na francuski jezik glasi: conser-vation-restauration (konzervacija), conservation préventive(preventivna konzervacija), conservation curative (kurativnakonzervacija) i restauration (restauracija).

Za potrebe me|unarodnih sastanaka i vi{ejezi~nih publi-kacija, prevod terminologije na {panski jezik glasi: conserva-ción (konzervacija), conservación preventiva (preventivna kon-zervacija), conservación curativa (kurativna konzervacija) irestauración (restauracija).

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OBIMNA IZLO@BA o baroknom slikaru Antoniju Paroli(1688–1768), koji je radio u regionu Gori{ka u Sloveniji,organizovana je 1996. godine u Nacionalnoj galeriji u Lju-

bljani, u Musei Provinciali di Gorica (Italija) i u Gori{kommuzeju u Novoj Gorici.1

Ana SIRK FAKU^, konzervator i restaurator savetnikGori{ki muzej, Slovenija

FLUORESCENTNA ULTRAVIOLETNA FOTOGRAFIJAU KONZERVACIJI UMETNI^KIH SLIKA

damaging processes or reinforcing their structure. Theseactions are only carried out when the items are in sucha fragile condition or deteriorating at such a rate, thatthey could be lost in a relatively short time. These actionssometimes modify the appearance of the items.Examples of remedial conservation are disinfestation oftextiles, desalination of ceramics, de-acidification of paper,dehydration of wet archaeological materials, stabilizati-on of corroded metals, consolidation of mural paintings,removing weeds from mosaics.– Restoration – all actions directly applied to a single andstable item aimed at facilitating its appreciation, under-standing and use. These actions are only carried outwhen the item has lost part of its significance or fun-ction through past alteration or deterioration. They arebased on respect for the original material. Most oftensuch actions modify the appearance of the item. Examples of restoration are retouching a painting, reas-sembling a broken sculpture, reshaping a basket, fillinglosses on a glass vessel.Conservation measures and actions can sometimes serve

more than one aim. For instance varnish removal can be both

restoration and remedial conservation. The application ofprotective coatings can be both restoration and preventiveconservation. Reburial of mosaics can be both preventiveand remedial conservation.

Conservation is complex and demands the collaborati-on of relevant qualified professionals. In particular, anyproject involving direct actions on the cultural heritagerequires a conservator-restorer (ref. ICOM-CC definitionof the profession, Copenhagen, 1984, and ICOM code ofethics).

For the purposes of international meetings and multilin-gual publications, the translation into French of the Termino-logy is: Conservation-Restauration (for Conservation), Conser-vation preventive (for Preventive conservation), Conservationcurative (for Remedial conservation) and Restauration (forRestoration).

For the purposes of international meetings and multilin-gual publications, the translation into Spanish of the Termi-nology is: Conservación (for Conservation), Conservaciónpreventiva (for Preventive conservation), Conservacióncurativa (for Remedial conservation) and Restauración (forRestoration).

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THE EXTENSIVE EXHIBITION about the baroque painterAntonio Paroli (1688–1768), who worked in the Gori{ka re-gion of Slovenia, was organised in 1996 at the National Gal-lery in Ljubjana, the Musei Provinciali di Gorica (Italy) andGori{ki Museum in Nova Gorica.1

In 1993 I received six of his paintings, for restorationin my laboratory in Gori{ki Museum. Five of them had beenpartially over-painted. The question that arose was how todistinguish the original paint layer from the later retouchesand over-painted parts.

I started to experiment on the paintings using variousnon-destructive methods, intending to get reliable datathat would tell me whether I was dealing with over-paintingor with the original, or to what extent the over-paintingcovered the original surface of the painting2. I came to theconclusion that besides the compulsory use of radiography,which shows underlying original layers and damage, we canobtain especially good results using UV fluorescence pho-tography.

Ultraviolet fluorescence is an optical phenomenon thatoccurs when an object is put under a source of ultravioletlight. Some of the rays are reflected, change their wave-length and become part of the visible light spectrum andtherefore visible to the bare eye. On paintings fluorescence is

caused by various components of organic origin in paintingmaterials, especially binders in paint layers and resins inprotective varnishes. With ageing, the chemical interactionsbetween binders and pigments stabilize or new molecularcompounds develop that fluoresce.3

The photography of UV fluorescence is technically avery simple procedure. The process of taking photos takesplace in a totally darkened room where the painting isviewed under special lamps with incorporated black filters,which let the UV light pass through. Using yellow filter onthe camera one gets a UV fluorescence photography whichis mainly yellow-green. Some pigments fluoresce in a typi-cal colour, for example zinc white is canary yellow, azurecarmine red is pink-orange, and Indian yellow has a golden

Ana SIRK FAKU^, conservation and restoration counselorGori{ki museum, Slovenia

PHOTOGRAPHY OF ULTRAVIOLET FLUORESCENCEIN PAINTING CONSERVATION

1] Ferdinand [erbelj, Antonio Paroli, katalog razstave, Ljublja-na, Gorizia, Nova Gorica, 1996.

2] Ana Sirk Faku~, Opti~ne metode pri restavriranju slik, Di-plomska naloga na podiplomskem {tudiju konservatorstva in re-stavratorstva, Ljubljana 1995.

3] Mauro Matteini, Arcangelo Moles, Scienza e restauro, meto-di di indagine, Firenze 1990, p. 175–181.

Godine 1993. dobila sam {est slika Antonija Parole zarestauraciju u mojoj laboratoriji u Gori{kom muzeju. Petslika delimi~no je bilo preslikano. Pitanje koje se postavilobilo je kako razlikovati originalni sloj boje od retu{a i pre-slikanih delova.

Po~ela sam da eksperimenti{em sa slikama koriste}i seraznim nedestruktivnim metodama, s namerom da do|emdo pouzdanih podataka o tome da li se bavim preslikanimdelom ili originalnim i u kojoj je meri novi sloj prekrio ori-ginalnu povr{inu.2 Do{la sam do zaklju~ka da se posebnodobri rezultati mogu ostvariti upotrebom fotografije UVfluorescencije, uz, naravno, obavezne rendgenske snimke,koji pokazuju originalne slojeve u osnovi i o{te}enja.

Ultravioletna fluorescencija jeste opti~ki fenomen kojinastaje kada se predmet izloì izvoru ultravioletnog svetla.Neki zraci se reflektuju, menjaju talasnu duìnu i postajudeo vidljivog spektra svetla, pa su stoga vidljivi golim okom.Fluorescencija je na slikama izazvana razli~itim komponen-tama organskog porekla u slikarskom materijalu, posebnou vezivu u sloju boja i u smolama u za{titnim lakovima.Starenjem se hemijske interakcije izme|u veziva i pigme-nata stabilizuju ili se razvijaju nova molekularna jedinjenjakoja daju fluorescenciju.3

Fotografisanje UV fluorescencije tehni~ki je vrlo jed-nostavna procedura. Snimanje fotografija obavlja se u pot-puno mra~noj prostoriji, u kojoj se slika posmatra ispod po-sebnih lampi sa crnim filterima kroz koje prolazi UV svetlo.Sa ùtim filterom na objektivu fotoaparata dobija se foto-grafija UV fluorescencije uglavnom ùtozelene nijanse.Neki pigmenti daju fluorescenciju tipi~ne boje, na primercink bela daje kanarskoùtu, azur karmincrvena ruì~asto-narandàstu, a indijskoùta zlatnoùtu fluorescenciju.4 Fo-tografija UV fluorescencije slika pokazuje stanje povr{ineslike tako {to se delovi koji su preslikani u ve}em obimu iretu{irani ponekad pojavljuju kao tamni i bez fluorescenci-je, pa se i na taj na~in mogu razlikovati od originalnih slika-nih povr{ina, koje daju fluorescenciju zbog starenja slikar-skog materijala (sl. 1).

Na po~etku rada pojavili su se izvesni problemi pri od-re|ivanju razlika u fluorescenciji, uglavnom zato {to su novislojevi potpuno prekrili konture originala u osnovi. U takvimslu~ajevima kasnije pore|enje s rendgenskim snimkom po-moglo mi je da identifikujem druga~ije izvedeno lice, haljinu,golubicu, skriveno lice an|ela ili deo noge i drugo. Ponekad jeposmatranje donjeg sloja bilo nejasno zbog upotrebe olov-nog pigmenta, koji apsorbuje rendgenske zrake, pa odgova-raju}i deo rendgenske plo~e ostaje svetao.

Prema nekim podacima, pojedine od ovih slika restauri-rane su 1850. godine. Na fotografijama UV fluorescencijedoslikani delovi isti~u se prigu{enim tamnozelenim tonom,koji se pokazuje kao kontrast ùtozelenoj, ùtonarandà-stoj i beloùtoj fluorescenciji originalne povr{ine slike; onaje naknadno u celini premazana slojem laka, koji daje fluo-rescenciju u zelenkastoj boji.

Pomenuti metod koristila sam i prilikom restauracijedrugih ve} restauriranih slika ili onih za koje sam smatralada su preslikavane u ve}oj meri, delimi~no izmenjene ilimo`da samo retu{irane. Najvi{e iskustva, me|utim, imamsa slikama iz baroknog perioda, posebno iz druge polovineXVIII veka, na kojima je slikarski materijal tokom protek-lih 250 godina zadobio takve osobine da daje fluorescenciju.Pretpostavlja se da su te slike restaurirane znatno kasnije istoga su naknadno nastali delovi na fotografijama UV flu-orescencije mnogo tamniji od originalne povr{ine.

Na starijim slikama, onim iz XVI i XVII veka, postojive}a mogu}nost da su doslikani delovi ve}eg obima tako|estarijeg datuma, pa se zbog toga fluorescencija pojavljuje ina njima, kao kada je re~ o slici Sveti Mateja iz druge polo-vine XVI veka. Zbog postojanja fluorescencije na celoj po-vr{ini slike razlikovanje originala i kasnije nanetih slojevaboje nije bilo mogu}e (sl. 2). Ipak, kod takvih primera rezul-tat moè da pomogne pri odre|ivanju vremena preslikava-nja i imena autora.

Slika svetog Matije – ranije svetog Mateja – delo nepo-znatog autora, kvalitetne je izrade, ali je, kao {to je pokazaorendgenski snimak, u ve}oj meri preslikana. Crkva SvetogMatije, u kojoj se slika prvobitno nalazila, obnovljena je ubaroknom stilu izme|u 1700. i 1750. godine; novi patronpostao je sveti Matej. Crkva je opremljena novim mermernimdelovima oltara, sagra|ena je bo~na kapela, a nju je 1755. go-dine oslikao poznati slovena~ki barokni slikar Franc Jelov{ek.Fotografija UV fluorescencije pokazala je da je verovatno istislikar izmenio sliku i prilagodio je novom ukusu, iako onanije bila o{te}ena. Slika je najverovatnije stajala na glavnomoltaru, po{to su njene dimenzije odgovarale dimenzijamaoltara. U prilog pretpostavci da je slika preslikana u nave-denom periodu govori fluorescencija na licu novonaslikanog

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1] F. [erbelj, Antonio Paroli, katalog razstave, Ljubljana, Go-rizia, Nova Gorica 1996.

2] A. Sirk Faku~, Opti~ne metode pri restavriranju slik, Diplom-ska naloga na podiplomskem {tudiju konservatorstva in restavra-torstva, Ljubljana 1995.

3] M. Matteini, A. Moles, Scienza e restauro, metodi di indagi-ne, Firenze 1990, 175–181.

4] Isto, 181–182.

Sl. 1. A. Paroli, Smrt svetog Jovana, ulje na platnu, 190 × 96 cm, detalj crteà fotografisanog pod UV svetlom(foto: A. Sirk Faku~)

Fig. 1. A. Paroli, The Death of St. John, oil on canvas, 190 × 96 cm. The detail of the painting photographed underUV light (photo: A. Sirk Faku~)

yellow fluorescence.4 The photography of UV fluorescenceof a painting shows the condition of the surface of a pain-ting in such a way that the repainted areas and the re-touching sometimes appear as dark non-fluorescent areasand can thus be distinguished from original painted sur-faces that have become fluorescent because of the aging ofpainting materials (fig. 1).

At the beginning I had certain problems while deciphe-ring differences in fluorescence, mostly because the repain-ting completely overlapped the outlines of the underlyingoriginal. In such cases a later comparison with X-ray pictu-res helped me to identify a differently sketched face, dress,or dove, or a hidden angel face, or part of a leg appearingetc. Sometimes the observation of the underlying layer wasobscured by the use of lead pigment, which absorbs X-raysso that the corresponding part of the X-ray plate in thiscase remains light.

According to certain data, some of these paintingswere restored in 1850. On photographs of UV fluorescencethe repainted areas distinguish themselves by subduedareas of dark green tonalities that act as a contrast to theyellow-green, yellow-orange and white-yellow colours offluorescence of the original surface of the painting, whichis additionally covered overall with a layer of varnish thatfluoresced in a greenish colour.

I also use this method in the restoration of other pain-tings that have already been restored or which I suspecthave been repainted, partly altered, or perhaps just retouched.I have however most experience with paintings from the

baroque period, especially from the second half of the 18th

century, in which the painting materials have alreadyacquired their fluorescence over the past 250 years. Therestorations that they had undergone are expected to befrom a much later period and therefore on the UV fluores-cence photography they appear much darker than theoriginal surface.

On older paintings from the 16th and 17th centuriesthere is a stronger possibility that the repainting is alsofrom an older date and therefore fluoresce, as is the casewith the painting of St. Mathias from the second half of 16th

century. Because of general fluorescence in this paintingthe distinction between original and later colour layers wasnot possible (fig. 2). Nevertheless in such a case the resultcan help determine when the over-painting was done andwho was the potential author.

The painting representing St. Mathias, previously St.Matthew, is a painting of good quality by an unknown artist,but as the X-ray shows, repainted nevertheless. The churchof St. Matthew where it was originally situated was refurbi-shed in baroque style between 1700 and 1750. The newpatron became St. Mathias. The church was furnished withnew marble altarpieces and a chapel was built to the side,which was frescoed in 1755 by the famous Slovenianbaroque painter Franc Jelov{ek. The photography of UVfluorescence of the painting proves that the same painter

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4] M. Matteini, A. Moles, 1990, p. 181–182.

Sl. 2. Sveti Matija, ulje na platnu, 138 × 92,5 cm,fotografija UV fluorescencije (foto: A. Sirk Faku~)

Fig. 2. St. Mathias, oil on canvas, 138 × 92,5 cm.Photography of UV fluorescence (photo: A. Sirk Faku~)

Sl. 3. Lice svetog Matije pri normalnom svetlu i pod rendgenskim zracima

(foto: A. Sirk Faku~ i Marija Sirk Saksida)

Fig. 3. The face of St. Mathias, in normal light and under X-rays

(photo: A. Sirk Faku~ and Marija Sirk Saksida)

svetitelja (okrenuto je na drugu stranu – v. rendgenske snim-ke, sl. 3), zatim njegove ruke, koje se u potpunosti poklapajus konturama originalnih, kao i ponovo naslikano nebo.5

Primeri na kojima se pomo}u fotografije UV fluorescen-cije jasno vidi razlika izme|u originala i obimnijeg novogsloja jesu dve slike iz druge polovine XVIII veka. U toku resta-uracije otkriveni su potpis autora i godina nastanka – 1766.

Slike Poklonjenje mudraca i Poklonjenje pastira delo suslikara Johana Mihaela Lihtenrajta (Johann Michael Lie-chtenreitt, 1705–1780). On je poreklom bio iz grada Pasauu Bavarskoj, a nastanio se u Gorici; radio je u gori{koj obla-sti Frijuli, na dana{njoj teritoriji Slovenije i Italije.6

Obe slike bile su restaurirane. Pri pa`ljivoj proveri po-vr{ine uo~avaju se ispucali slojevi boje, koji se delimi~noljuspaju, uz specifi~ne izmene izazvane restauracijom. Po-klonjenje mudraca vrlo je ozbiljno o{te}eno u gornjem delu,{to se vidi na rendgenskim snimcima.

Fotografija UV fluorescencije pokazuje da su najve}ao{te}enja nastala tokom restauracije. Ona se lako mogu pre-poznati kao homogena tamna povr{ina. Plava boja kori{}enaje na desnoj strani. Sloènije je posmatranje donjeg dela

slike, u kojem se nalaze figure. Tu se delimi~no vide tamni-je ili malo svetlije mrlje i potezi koji predstavljaju razli~itepopravke i retu{e na naborima ode}e, na nekim licima i kosiili kod kontura brada. Ukratko, na slici se prime}uju mnogeizmene. Neke od njih su o~iglednije, tamnije i bez fluore-scencije. Druge su svetlije, daju fluorescenciju zelenkastihtonova i ti se delovi jedva razlikuju od originalnog sloja. Po-{to je razlika veoma mala, izmenjeni delovi stapaju se s ho-mogenom zelenom fluorescencijom za{titnog laka koji senalazi na sredi{njem delu slike, izmenjenom u manjoj me-ri. @ute sjajne povr{ine oko glava Bogorodice i Hrista (zelen-kaste na fotografiji UV fluorescencije) nisu originalne iakodaju fluorescenciju, verovatno zato {to su slikane olovno-ùtim pigmentom (sl. 4). Rendgenski snimak pokazuje da tidelovi originalnog sloja nedostaju.

Pojedine obojene povr{ine sa olovnobelim pigmentom,koji ima tipi~nu svetlu fluorescenciju, mogu se smatrati ori-ginalnim: prikazani pla{t mudraca koji kle~i, povr{ine crveneboje i telo deteta Hrista. U kontrastu sa zelenom, jasno seisti~e ljubi~asta fluorescencija Bogorodi~ine crvene haljine.

Obele`ja fotografije UV fluorescencije na slici Poklonje-nje pastira su sli~ne. Zanimljivo je to {to fotografija pokazu-je velike o{te}ene i dosta popucale povr{ine, ali samo zbogtoga {to su tamni delovi u fragmentima.

Upotrebom fotografije UV fluorescencije na razmatra-nim slikama utvr|eno je da su restauracije izvedene u tri na-vrata: oko 1750, 1850. i oko 1900. godine. Svaka od njih po-kazuje razli~itu fluorescenciju slikanog materijala. Najstarijiprimer jeste slika Sveti Matija, sa fluorescencijom na celojpovr{ini. Slede izmene na slikama A. Parolija, koje delimi~nopokazuju fluorescenciju, a mogu se identifikovati na osnovurazlika u fluorescenciji. Kona~no, na obe slike J. M. Lihten-rajta pojavljuju se tamne, jasno vidljive preslikane povr{ine,koje uglavnom nemaju fluorescenciju. Ovi rezultati moguda posluè kao dobra polazna ta~ka za dalja istraìvanja.

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5] A. Sirk Faku~, Restavriranje slike Sv. Matija iz Slapa priVipavi, Gori{ki letnik, Zbornik Gori{kega muzeja 30/31, Nova Go-rica 2005, 373–382.

6] F. [erbelj, Baro~no slikarstvo na Gori{kem, katalog razstave,Ljubljana 2002, 144, 206.

Sl. 4. J. M. Liechtenreitt, Poklonjenje mudraca, ulje na platnu, 90 × 111 cm, fotografija UV fluorescencije(foto: A. Sirk Faku~)

Fig. 4. J. Michael Liectenreitt, The Adoration of the Magi,oil on canvas, 90 × 111 cm. Photography of UV fluorescence(photo: A. Sirk Faku~)

SAVINA^KU CRKVU gradio je neimar Milutin Go|evac,poreklom iz Bosne. Crkva je zavr{ena u novembru 1820. go-dine. Unutra{nje radove u crkvi izvodili su majstori Italijanikoji su boravili u Srbiji za vreme vladavine kneza Milo{a.

Crkva je predmetima potrebnim za bogosluènje opremljenau prole}e 1821. godine. Nova savina~ka crkva, ~iji je za{tit-nik sveti Sava, osve}ena je u nedelju, 19. jula 1821. godine.

Ljiljana PROTI], konzervator tehni~arMuzej rudni~ko-takovskog kraja

KONZERVACIJA CRKVENOG INVENTARAIZ CRKVE SVETOG SAVE NA SAVINCU

probably altered the painting and adapted it to the newtaste, although it had not been damaged. The painting musthave been positioned in the main altar because the dimen-sions match the opening on the altar. In favour of thesupposition that the repainting belongs to the mentionedperiod, there is the fluorescence of the newly painted saint’sface (turned to opposite direction – see X rays – fig. 3), hishands matching completely the outline of those underneathand the over-painted sky.5

A case of obvious difference between the original andrepainting can well be observed in the photography of UVfluorescence of two paintings from the second half of 18th

century. During restoration I uncovered the signature ofthe author and date – 1766.

The paintings The Adoration of the Magi and The Ado-ration of the Shepherds are the work of the painter JohannMichael Liechtenreitt (1705–1780), who originated fromPassau in Bavaria and settled in Gorica. He worked in theFriuli and Gori{ka region, on Slovenian and Italian territo-ries today.6

Both paintings have been restored. Cracking of thecolour layer and partial flaking, together with specificalterations due to restoration, can be seen on the surface onclose inspection. As we can see from X-rays, The Adorationof the Magi was especially severely damaged on its upperpart.

The comparison of this picture with the photographyof UV fluorescence shows that major damage was caused tothe painting during restoration. It can easily be recognizedas dark homogenous areas. In the process, blue colour wasused in the right. Observation of the lower part of the pain-ting, with figures, is more complicated. Here we partly noti-ce darker or slightly lighter patches and strokes that repre-sent different corrections and retouches on the folds of thegarments, on some faces and hair, or to outlines of beards.In short, there are many changes. Some are more obvious,darker and non-fluorescent, others are lighter and fluorescein greenish tones. The latter can barely be distinguishedfrom the original because the difference is only very slight

and they merge with the homogenous green fluorescenceof the protective varnish, which can be detected on the lessover-painted, central part of the painting. Although fluores-cent, the yellow glow (greenish with UV) around the heads ofthe Virgin Mary and Jesus is not original, probably becauseit was painted with yellow lead pigment (fig. 4). The X-rayshows that the glow on the original surface is missing.

We can consider original the fluorescence of certaincolour surfaces where lead white pigment was employedand thus have typically bright fluorescence: the mantle ofthe kneeling king, and to a certain extent, some carnationsand the body of baby Jesus. In contrast to the greens, thepinkish fluorescence of the Virgin Mary’s red dress standsout strongly.

The features on the photography of UV fluorescenceof the painting The Adoration of Shepherds are similar. Itis interesting that the photograph shows extensive areasthat seem to reflect a very cracked and damaged surface,but this is just because the dark patches are fragmented.

With the application of UV fluorescence photographyon these paintings, I documented restorations that weremade in three different periods: around 1750; 1850; andaround 1900, each of them representing different stages offluorescence of the painting materials. First we have theoldest examples on the painting of St. Mathias, which alreadyfluoresces. Next we have the over-painting on the paintingsof A. Paroli, which partly fluoresce, but can be identified be-cause of the difference in fluorescence. Finally, we have dark,clearly visible over-painted surfaces on both paintings of J.M. Liechtenreitt, which are mostly non-fluorescent. Theseresults could well serve as a starting point for furthercomparisons.

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5] Ana Sirk Faku~, Restavriranje slike Sv. Matija iz Slapa priVipavi, Gori{ki letnik, zbornik Gori{kega muzeja 30/31, Nova Gori-ca 2005, p. 373–382.

6] Ferdinand [erbelj, Baro~no slikarstvo na Gori{kem, katalograzstave, Ljubljana 2002, p.144, p. 206.

THE CHURCH IN SAVINAC was built by a Bosnian, Milu-tin Godjevac, in November 1820. The church interior wascompleted by workers from Italy, staying in Serbia duringthe reign of Prince Milo{. In the spring of 1821 the new Sa-vinac Church, whose patron saint was St. Sava, was equip-ped with all items necessary for the performance ofreligious services, and was subsequently consecrated on

19th July 1821. That was Young Sunday day: a church fairwas held at Savinac. The Church was then closed until1860 but several years later the narthex was renovated anda new wooden belfry constructed. The builder, NastasDjordjevi} from Gornji Milanovac, executed thesebuilding-construction works. The extended narthex was

Ljiljana PROTI], conservator-technicianMuseum of Rudnik–Takovo Region

CONSERVATON OF CHURCH TREASURESFROM ST. SAVA CHURCH SAVINAC

Tog dana bila je mlada nedelja i odràn je sabor na Savin-cu. Od tada do 1860. godine crkva je bila zatvorena, a u tomperiodu obnovljena je priprata i izgra|ena je nova drvenazvonara. Graditeljske radove na savina~koj crkvi vodio jeNastas \or|evi}, neimar iz Gornjeg Milanovca. Dogra|enapriprata osve}ena je u leto 1860. godine. Tom sve~anom ~i-nu prisustvovao je i knez Milo{, jer je to bila njegova prvazadu`bina, a 27. septembra iste godine knez je umro u Beo-gradu. Crkva je kona~no po~ela da se koristi za slu`bu Boì-ju 1902. godine, kada je oìvela i kada je narod u sve ve}ojmeri po~eo da je pose}uje.

Kasnije je do{lo do promena na crkvi jer su se pojavilevlaga i mnoge destruktivne promene, tako da je crkva bilajedna od najugroènijih u rudni~ko-takovskom kraju togvremena. Za rekonstrukciju je bilo prioritetno uraditi pre-krivku, zbog o{te}enja krovne konstrukcije, spoljnu drena-ù, jer je u crkvu ulazila voda (stvarala se vlaga). Voda jeo{tetila zidove u unutra{njosti crkve, a tako|e je ugroàva-la ikonostas i ikone. Gra|evina je ponovo morala da se re-konstrui{e i to je ura|eno 2005. godine.1

Na inicijativu Ljubi{e Mili}a, jereja savina~ke crkve, auz saglasnost Muzeja rudni~ko-takovskog kraja, dobijeno jeodobrenje za konzervaciju crkvenog inventara iz savina~kecrkve (ba{ u vreme kada su obavljeni radovi na rekonstruk-ciji crkve). Po re~ima jereja, crkveni inventar preme{ten jeu ~ardak, ali on tu nije bio siguran, te su eksponati moralida se izmeste. Jerej Ljubi{a Mili} doneo je eksponate u kar-tonskoj kutiji u Muzej rudni~ko-takovskog kraja i zamolioda se oni o~iste, za{tite i da se ~uvaju u muzeju. Direktormuzeja bio je saglasan s tim da se uradi konzervacija crkve-nog inventara. U knjizi reversa evidentirani su ~etiri kan-dila, {est kadionica, dva putira, dva sve}njaka i dve krune zaven~anje. Eksponati su fotografisani zajedno i pojedina~no,a nakon dva dana otpo~elo se s konzervatorskim radovimana eksponatima.

Opis zate~enog stanja pre konzervacije i uzroci propadanjaEksponati su bili prekriveni velikim naslagama ne~isto}e,slepljeni jedan uz drugi i jedva su se raspoznavali; bilo ih jete{ko identifikovati zbog na~ina na koji su ~uvani i zboguslova u kojima su se nalazili tokom dugog niza godina. Nanjima se videla vi{eslojna ne~isto}a debljine pet milimetara.To su bile masne naslage voska i ~a|i pome{anih sa zemljomi vlagom; one su stvarale utisak da je na povr{ini i u unu-tra{njosti eksponata sve uni{teno. Naro~ito debele naslagepostojale su na kandilima i kadionicama. Svaki eksponatmorao je biti posebno tretiran, u zavisnosti od vrste meta-la od kojeg je liven. Obavljena su konzervatorska ispitivanjasvakog metalnog eksponata; oni su detaljno analizirani iutvr|ena je vrsta materijala. Predmeti su pod lupom pregle-dani, a svaki je u manjoj meri o~i{}en vatom i acetonom dabi se videla boja metala. I patina je pomogla da se otkrije okojoj vrsti metala je re~. Kori{}ena je literatura da bi se si-gurnije utvrdili i vrsta metala i na~in ~i{}enja (knjiga Otpor-nost metala i legura na koroziju,2 ~a~anski Zbornik radova11).3 Nakon toga obavljene su konsultacije s tehnologomTodorom Popovi}em, koji je dao kratka uputstva i ujednopredloìo sredstva koja mogu da se primene za ~i{}enje i za-

{titu. Budu}i da je metal osetljiva vrsta materijala i da se~esto susre}e u manjim muzejima u kojima nema specijali-zovanih stru~njaka za konzervaciju metala, ovaj tekst ometalu napisan je da bi se prezentovali na~in konzervacijei tretiranje eksponata.

Plemeniti metali, kao {to su zlato, srebro, platina, za-tim metali poput bakra, olova, kalaja, cinka, aluminijuma,magnezijuma, druga~ije se pona{aju u ~istom stanju negokada su izme{ani s drugim metalima. Me{avine imaju ne-obi~no va`nu odliku da se, za razliku od ~istog metala, topena niòj temperaturi. Naj~e{}e legure su bronza (legura ba-kra i kalaja), mesing (legura bakra i cinka) i ~elik (legura gvo-`|a i ugljenika). Oblikovanje predmeta od metala obavlja sena dva na~ina: livenjem i kovanjem. Metali se mogu kovatiu hladnom stanju (zlato i srebro) i u zagrejanom (bronza, ba-kar i gvo`|e). Kod livenja postoje dva na~ina pripremanja:pun liv i odlivak. [uplje livenje podrazumeva kalup ~iji nega-tiv pravi pozitiv, to jest reprodukuje original. Original seprevla~i slojem voska odre|ene debljine. U prora~unato po-stavljen kalup uliva se teàk metal koji zauzima mesto isto-pljenog voska. Za ukra{avanje predmeta od metala koristese razli~ite tehnike i postupci: iskucavanje, cizeliranje, aù-riranje, graviranje, granulacija, filigran, emajl.

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1] Lj. Proti}, Konzervacija spomenika u porti crkve Sv. Save naSavincu (241–244) i Konzervacija spomen-plo~a u crkvi Sv. Save naSavincu (244–252), Zbornik radova Muzeja rudni~ko-takovskog kra-ja, Gornji Milanovac, 3–4, Gornji Milanovac 2006; M. K. Milovano-vi}, Savinac, Gornji Milanovac 1995, 71–89.

2] F. L. Laque, H. R. Kopson, Otpornost metala i legura na ko-roziju, Beograd 1975, 245–248.

3] B. Vujovi}, Crkva Sv. Dimitrija, u: Zbornik Narodnog mu-zeja u â~ku 11, â~ak 1981, 16–19.

consecrated in the summer of 1860. Prince Milo{ waspresent at this formal ceremony, since this was his firstmemorial church, but he died on September 27th the sameyear in Belgrade. Regular religious services did not start inthe church until 1902, when many people came to theChurch, breathing life into it.

Subsequently, there were many destructive changes tothe Church caused by damp and it became one of the mostimperiled buildings in the Rudnik–Takovo Region. The mostimportant reconstruction work was to cover the damagedroof, since outdoor drainage leaked into the church, causingdamp. Not only were the walls, church interior, and icono-stasis damaged by water, but the icons were also jeopardi-zed. The church had to be reconstructed again, which wasdone in 2005.1

Upon the initiative of Ljubi{a Mili} and in coordinationwith the Museum of the Rudnik–Takovo Region, the priestof Savinac Church obtained permission for the church tre-asures to be conserved-restored when the reconstructionworks of the church were completed. According to the priest,the church treasures was moved into the enclosed porch,but that place was not safe, so the objects had to be movedelsewhere. The priest, Ljubi{a Mili}, transported these valu-ables in a cardboard box to the Museum of Rudnik–TakovoRegion and asked the museum staff to clean, protect andpreserve them in the Museum. The director of the Museumagreed to conserve all the church objects. Four icon lamps,six censers, two chalices, two candlesticks and two weddingcrowns were registered in the book of receipts. All the ex-hibits had been photographed as a group and individuallyand two days later, conservation work began.

Description of Conditions before Conservation,treatment, and causes of DecayThe exhibits had been poorly looked after for a number ofyears and were covered with several layers of dirt, 5 mmthick, and glued together, so that it was hard to identifythem. The layers were of greasy wax and soot, mixed withearth and moisture, giving the impression that the surfacesand the interiors of the items had been destroyed. Extre-mely thick layers covered the icon lamps and censers. Eachitem had to be treated individually, depending on the typeof metal casting. Conservation testing (examination) of eachmetal item was performed, detailed analysis done andmaterial-type certified. All items were examined with amagnifying glass and cleaned superficially using cotton-wool swabs and acetone, in order to see the metal colour.The patina of the items also helped reveal the type of metal.The team studies relevant literature to help them to correc-tly identify the metal type and manner of cleaning. Resi-stance of Metals and Alloys to Corrosion, by F.L. Laque andH.R. Kopson2, and the Anthology of the National Museumof â~ak no. 113 were useful. A technical expert, Todor Po-povi}, gave brief instructions and recommended suitablecleaning and protection agents. Since metals are often sen-sitive, and are often found in small museums where thereare metal conservation experts, this article about metal waswritten in order to introduce methods of conservation andfurther treatment of metal items.

Precious metals such as gold, silver, platinum as wellas more common metals such as copper, lead, tin, zinc, alu-minum, or magnesium behave differently in a pure state,than they do when they are mixed with other metals. Metalalloys have characteristics significantly different from puremetal. In particular, they melt at a lower temperature. Themost frequent alloys are bronze (copper and tin alloy), brass(copper and zinc alloy), and steel (iron and carbon alloy).Shaping of metal objects is done in two ways: by casting andforging. Metals can be forged cold (gold and silver), or warm(bronze, copper and iron). There are two preparation me-thods for casting: full casting and hollow casting. The latterimplies using a mould, in which negative features create po-sitive ones, and vice versa, producing the original shape oncompletion of the casting procedure. The original is coveredwith wax of a certain thickness. Heavy metal was poured intothe moulds, and distributed by calculation, occupying theplace of melted wax. For ornamentation of metal objects, se-veral procedures and techniques are used: hammering, chi-seling, engraving, granulation, filigreeing, and enameling.

Under the influence of damp and oxygen (oxidation),destructive changes occur to metal, causing damage anddestruction. The major cause of decay in metal objects iscorrosion, which destroys the physical and chemical struc-ture both on their surface and inside. Several metals are notsubject to corrosion; these are alloys and precious metals, ormetals covered with other metals (gold plated, nickel-plated,zinc-plated). Although no patinas are good for metals, someare stable and others are not. The most frequent patinasare of characteristic colors: green – malachite, blue – lapislazuli, and red – cuprite. The color of the patina helps toreveal the type of material or metal that is in question.

Mechanical and Chemical TreatmentSince the censer of Milo{ Obrenovi} with its inscriptionstands out from this group of valuable objects, the conser-vation procedure applied to it is explained in detail.

Object: CENSER Mechanical TreatmentThe censer was mechanically cleaned since it was comple-tely covered with black soot and earth. With gentle move-ments of a scalpel, a layer of earth was removed, and theashes filling the inside of the censer were mechanicallyremoved. The inside of the censer was covered with a layerof dirt, 5 mm thick. The walls were covered with soot and

1] Ljiljana Proti}, Conservation of Monuments in the Enclosureof the St. Sava Church at Savinac (pp. 241–244) and Conservationof the Commemorative Plaque in the St. Sava Church at Savinac (pp.244–252), The Anthology of the Museum of Rudnik – Takovo Regi-on no. 3–4, Gornji Milanovac, 2006; Mihailo Kala Milovanovi},Savinac, the Museum of Rudnik – Takovo Region, Gornji Milanovac,1995 (pp. 71–89)

2] Laque, F. L. Kopson, H. R. Resistance of Metals and Alloys toCorrosion, Narodna Knjiga Beograd, Beograd, 1975 (pp. 245–248)

3] Branko Vujovi}, The St. Dimitrije Church, The Anthologyof the National Museum in Cacak, no. 11, Cacak, 1981 (pp. 16–19)

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Pod uticajem vlage i kiseonika (oksidacije) na metalunastaju destruktivne promene koje ga o{te}uju i uni{tava-ju. Glavni uzrok propadanja metalnih predmeta jeste koro-zija, koja po povr{inskom sloju i u dubini razara njihovuhemijsku i fizi~ku strukturu. Mali broj metala ne podleèkoroziji; to su plemeniti metali i legure, metali presvu~enidrugim metalom (pozla}eni, niklovani, pocinkovani). Ni-jedna patina nije korisna za metal, s tim {to su neke stabil-ne, a neke nestabilne. Patine koje se naj~e{}e pojavljuju ka-rakteristi~nih su boja: zelena malahit, plava azulit, crvenakuprit; boja patine pomaè u otkrivanju vrste materijala, tojest metala o kojem je re~.

Mehani~ko i hemijsko tretiranje Budu}i da se kadionica s posvetom kneza Milo{a Obrenovi-}a po zna~aju izdvaja iz ove grupe predmeta, konzervatorskipostupak detaljnije je obja{njen na primeru tog predmeta.

Eksponat KADIONICAMehani~ko tretiranjeKadionica je mehani~ki tretirana jer je bila prekrivena crnom~a|i i zemljom po celoj povr{ini. Blagim pokretima skalpelomskinut je sloj zemlje, a pepeo kojim je kadionica bila ispu-njena mehani~ki je odstranjen. U unutra{njem delu video sesloj naslaga ne~isto}e, debljine do pet milimetara, ~a| i smo-la spe~ena s voskom uz zidove kadionice. Spe~ena i slojevitaprljav{tina nije se mogla odstraniti mehani~kim putem, paje tretiranje moralo da se nastavi hemijskim sredstvima.

Hemijsko tretiranjeU plasti~nu posudu uliveni su antirost – sredstvo za skidanjer|e (u sastavu sadrì H3PO4, fosfornu kiselinu, cink-fosfat,ZnHPO4, i butol, CH3CH2CHO) – i destilisana voda, u odno-su jedan litar antirosta prema dva litra zagrejane destilisanevode. Kadionica je potopljena u rastvor, posuda je hermeti~-ki zatvorena i obloèna folijom da bi se zadràla tempera-tura. Nakon dva sata folija je otklonjena, posuda je otvorenai u rastvoru se ve} videlo da su slojevi omek{ani i da su seodvojili od zidova kadionice. Ne~isto}a je u velikoj meri od-stranjena. Zagrevanjem rastvora omek{avale su se masno}ai ~a|, koje su ostajale u rastvoru, sve dok povr{ina kadioni-ce nije ugledala svetlost dana. Kadionica je zatim dobro is-prana u destilisanoj vodi. Posle su{enja se videlo da je nanekim delovima ostalo jo{ ne~isto}e, pa je blagim potezimaskalpelom skinut preostali manji sloj ~a|i. Na mestima ko-ja su bila nepristupa~na i nepodesna za skalpel kori{}ene suzubarske iglice da bi se preostala ne~isto}a blago istisnula.Nakon toga kadionica je ponovo stavljena u dva litra zagre-jane destilisane vode da bi se preostala ne~isto}a odvojila, paje posle petnaest minuta izva|ena i ostavljena da se osu{i.Posle su{enja jasno se video broj na ornamentici: na osnovikadionice nalazi se upisana godina 1822, a na obodu, izme|ustope i donjeg dela, oko drà~a kao nose}eg dela kadionice,pi{e na staroslovenskom jeziku: Priloì vrhovni srpski knezMilo{ Obrenovi} 1822.

Cela povr{ina kadionice prekrivena je ornamentima. Po-sle podrobnog opisivanja i dokumentovanja zapaènih deta-lja kadionica je ponovo potopljena u destilisanu vodu, u dubljuposudu, kako bi se do kraja odstranile sve ne~isto}e. Bilo je

neophodno ponavljanje procesa ~i{}enja zbog ne~isto}e u de-belim slojevima. Kadionica je stajala pola sata u destilisanojvodi, zatim je izva|ena i ostavljena da se osu{i. Taj tre}i tret-man ujedno je bio i poslednji. Svi slojevi i ostaci ne~isto}eodstranjeni su i nije bilo potrebe za daljim tretiranjem.

Konzervatorski proces je zatim nastavljen destilisa-nom vodom i univerzalnom pastom. Univerzalna pasta jeproizvod koji spada u grupu zeleno ~istih tehnologija. Sadr-ì biorazgradive aktivne materije, ekstrakte lekovitog bilja,najvi{e bosiljka, a u njoj nema alkalija i fosfata. Pasta je ze-lene boje. Koristi se za ~i{}enje i odstranjivanje svih vrstane~isto}e s metala i ujedno polira eksponat, daje mu sjaj.Taj proizvod se moè nabaviti u D.O.O. Elisa pro u Pan~evu.Tri ka{ike paste pome{ane su sa dva litra destilisane vode,rastvor je prome{an da bi se pasta istopila i potom je kadio-nica potopljena u rastvor. U njemu je stajala deset minuta.Nakon toga je izva|ena, ostavljena da se osu{i i ispoliranapamu~nom tkaninom. Kadionica je dobila prvobitni sjaj iboju, a unutra{njost i spolja{njost pokazale su svoj pravi iz-gled. Tretman kadionice na taj na~in je okon~an. Tokom kon-sultacija s tehnologom Todorom Popovi}em do{lo se do za-klju~ka da je re~ o leguri srebra i olova.

Tehnika livenja kadionice je {uplji liv. Na to ukazujuo~igledne ~injenice: {upljine koje postoje na kadionici, kaoi to {to se njena tri dela mogu razdvojiti – stopa, donji deo ipoklopac sa alkama kroz koje su provu~eni veliki lanci {to ihspajaju sa drà~em kadionice kao nose}im delom.

Ukra{avanje kadionice izvedeno je tehnikom iskucava-nja, koja se primenjuje na srebru ve{tim udarima. Na tu teh-niku ukazuju vidljiva karakteristi~na ispup~enja. Kadionicaje bogata ornamentikom izvedenom u tehnici filigrana. Ona

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resin burnt with wax. It was not possible to remove theburnt layers of dirt mechanically, so further treatment hadto be chemical.

Chemical TreatmentAntirust – an agent for removing rust (comprising H3PO4 –phosphorous acid, zinc- phosphate ZnHPO4 and propanalCH3CH2CHO) – was poured into a plastic container, anddiluted with distilled water in the proportions one liter ofantirust to 2 liters of warm water. The censer was dippedinto this solution. The container was then hermeticallysealed and covered with aluminum foil in order to maintainthe correct temperature. Slowly, the grease, burned soot,and wax were dissolved and detached. After two hours, thealuminum foil was removed, and the container was opened.The layers of dirt had become softener and had started topart from the censer wall. Dirt was largely removed. Bywarming up the solution, grease and soot became softenerand remained in solution until the censer was completelycleaned. The censer was then thoroughly washed in distil-led water. After it had been dried, remaining dirt and sootstains were cleaned very gently with a scalpel. The spots ofremaining soot, inaccessible to the scalpel were cleanedwith a dentist’s drill needle. After that, the censer was againimmersed into 2 liters of warm distilled water in order towash off the remaining dirt and was left there for 15 minu-tes. After that, it was taken out of the water and left to dry.When it was properly dried, clearly visible numbers appearedon its ornaments: the year 1822 was inscribed on the base,and along the rim, between the base and the lower part ofthe censer; there was also an inscription in old Slavonic:Donate, Supreme Serbian Prince Milo{ Obrenovi} 1822.

The complete surface of the censer was covered withornamental decorations. After it had been properly studiedand all details registered, the censer was again submergedinto distilled water in a deeper container in order to comple-tely remove the remaining dirt. It was necessary to repeatthe procedure several times, since the layer of dirt was verythick. The censer was left in distilled water for half an hour,then taken out and left to dry. This third treatment wasactually the last one, since all layers of remaining dirt hadbeen removed, and there was no need for further treat-ment. The conservation procedure continued with distilled

water and universal polish, a product that belongs to thegroup of green cleaning technologies. It contains biodegra-dable active substances, extracts of medicinal herbs, parti-cularly basil, without alkalis and phosphates. The polish isgreen in colour. It is used for cleaning and removing all typesof dirt from metal and it also polishes the object giving it aglittering sheen.4 Three tablespoons of polish were dissol-ved in two litres of distilled water and then the censer wassubmerged into the solution. It remained there for 10 mi-nutes. It was then taken out, left to dry, and polished witha soft cotton cloth. The censer again obtained its originalcolour and sheen, while both the interior and exterior wererestored to their original appearance. The treatment of thecenser was finally finished. During consultations with thetechnologist, Todor Popovi}, it was concluded that the censerwas made of silver and lead alloy.

Casting Techniques: the censer was made by hollowcasting. This is confirmed by several obvious facts: the holesthat exist on the censer; it could be assembled and dissembledin three parts – foot, lower part, and a cover with rings.Large chains would have passed through the rings fastenedto the censer holder, as the support part.

Ornamentation: the censer was made by hammering,a technique used for silver by applying skillful hammering.The characteristic bumps on the surface of the censer indica-te that this technique was used. The censer is lavishly orna-mented using the filigree technique, often used for silver.

Protection The censer was protected using fershnit – nitrocellulosedissolved in ethyl acetate in the proportion 1:1. This is acolorless matt lacquer, used for metal. The inside and out-side surface of the censer was painted with this substance,using an ordinary paint brush. This created an invisiblefilm over the surface of the object, isolating it from theatmosphere. After drying, the appearance and colour werevery satisfactory.

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4] This can be purchased from D.O.O. Elisa pro – Pan~evo.

se ~esto primenjuje na srebru, upravo na onaj na~in na kojije kadionica ukra{ena.

Za{titaZa{tita je obavljena fer{nitom – nitro-celulozom rastvorenomu etil-acetatu u odnosu 50% prema 50%. To je bezbojni lakbez sjaja koji se koristi za metal. Tim preparatom su pomo-}u slikarske ~etke premazane unutra{nja i spolja{nja povr-{ina kadionice. Tako je na povr{ini eksponata stvoren nevi-dljivi film koji ga izoluje od spoljnih uticaja. Nakon su{enjaon ima zadovoljavaju}i izgled i boju.

Eksponat SVE]NJAK Eksponat je od srebra, {to dokazuje karakteristi~na patinakoja napada srebro, zelenkastocrnosive boje. Ta patina sejasno vidi na eksponatu i poznata je pod nazivom malahit.Pojavljuje se vrlo ~esto i brzo zbog vlage i neadekvatnihuslova ~uvanja srebra.

Tretiranje Sve}njak je prekriven patinom, a kru`na osnova – postolje– vidno je o{te}ena. O{te}enja su prouzrokovana vlagom ineodgovaraju}im na~inom ~uvanja eksponata u crkvi naSavincu. Kod sve}njaka je primenjeno hemijsko tretiranjeblagim sredstvima.

Sve}njak je potopljen u litar tople destilisane vode i unjemu ostavljen trideset minuta. Nakon toga je izva|en iz po-sude, pa je ~etkicom za zube, blagim potezima, skinut prvisloj ne~isto}e sa onih mesta na kojima se zadràla. Postupakje ponovljen sa univerzalnom pastom na bazi bilja. U jedanlitar destilisane vode stavljena je jedna ka{ika paste, rastvorje izme{an da bi se pasta istopila, pa je sve}njak potopljenu rastvor da bi se odstranila preostala ne~isto}a. Posle de-set minuta sve}njak je izva|en i odmah potom potopljen u~istu destilisanu vodu, u kojoj je ostao jo{ petnaest minuta.Kada je izva|en iz destilisane vode, ostavljen je da se osu{i.Tada je konstatovano da su sve ne~isto}e odstranjene, tako

da se moglo pristupiti primeni postupka poliranja jelenskomkrpom. Sve}njak je dobio prvobitni sjaj i boju i bio je spre-man za za{titu.

Za{titaZa{tita je izvedena slikarskom ~etkicom, uz pomo} koje jecela povr{ina eksponata premazana fer{nitom, pomenutimbezbojnim lakom bez sjaja. Formiran je bezbojni omota~,nevidljivi film koji {titi predmet od spolja{njih uticaja.

Rezime Crkveni inventar iz crkve Svetog Save na Savincu izra|en jeod metala i od legura metala. Eksponati poti~u iz XIX vekai, prema stanju i izgledu metala, konzervatorski su tretira-ni mehani~kim i hemijskim putem. Ono {to je bilo va`no zaovaj konzervatorski posao jeste ~injenica da je on neposred-no otkrio va`ne istorijske ~injenice i podatke, ali i bogatuornamentiku i tehniku izrade kolekcije metalnih crkvenihpredmeta. Tokom tretmana otkriveni su natpisi koji potvr-|uju da je kadionica iz 1822. godine i da je originalni po-klon knjaza Milo{a Obrenovi}a njegovoj prvoj zadu`bini –crkvi Svetog Save na Savincu. Crkva je gra|ena od 1819. do1821. godine, a zavr{ena je 1822. godine. I ova ~injenicaukazuje na to da je eksponat originalni knjazov poklon, po{tose godina zavr{etka gradnje, 1822, podudara s godinom na-vedenom u darodavnom natpisu na kadionici.

I ostali crkveni eksponati iz novijih vremena pro{li sutretman ~i{}enja i za{tite. Svi eksponati su visokog kvaliteta,ali, naàlost, dosta o{te}eni zbog neodgovaraju}eg na~ina~uvanja tokom proteklih dvesta godina. Zbog toga je i kon-zervatorski tretman bio oteàn i postepen. Treba napome-nuti da su se kod hemijskog tretmana koristili neagresivnipreparati biolo{kog porekla. Svi eksponati ove crkvene ko-lekcije tretirani su i za{ti}eni. Zasad se nalaze u Muzejurudni~ko-takovskog kraja, po{to je jerej Ljubi{a Mili} saop-{tio da u crkvi nema mesta na kojem se mogu ~uvati. Kadi-onica iz 1822. godine nalazi se u sefu muzeja.

76


U RESTAURACIJI finih i delikatnih kerami~kih materijala,kao {to je porcelan, potrebno je izabrati ~itav niz operacijakoje su u pristupu eti~ne i u prakti~nom smislu najprofesi-onalnije. Pristup zavisi i od toga da li je predmet muzejskogporekla ili je u privatnom vlasni{tvu.

Predmet o kojem je re~ – porcelanska {olja – iz privat-ne je kolekcije, veoma dobrog kvaliteta i dobro odràvan.[olja je ru~no oslikana motivima grada, a njena osnovnaboja je bela, dok je po obodu i oko oslikanog dela dekorisa-na linearnom pozlatom. Poreklo i proizvo|a~ ovog porce-lanskog predmeta ne mogu se pouzdano odrediti jer na dnu

posude nema nikakvih oznaka i posebnih obele`ja. [olja jecilindri~nog oblika i {iri se ka obodu. Njena visina iznosi 7 cm,pre~nik oboda je 4,5 cm, a pre~nik dna 3 cm.

Poznato je da se u toku procesa konzervacije najvi{eo{te}enja napravi prilikom mehani~kog ~i{}enja, vi{e negou bilo kom drugom delu procesa. Po{to je {olja ve} bila re-staurirana, morali smo da budemo veoma obazrivi, naro~i-to zbog toga {to ne postoje nikakvi podaci o konzervatorskimmaterijalima koji su prethodno kori{}eni. Svako uklanjanjeprethodne restauracije u po~etku se obavlja manje agresivnim

Sla|ana NOVKOVI], konzervator tehni~arsaradnik Odeljenja za preventivnu za{titu Dijana

RESTAURACIJA PORCELANSKE [OLJE

Object: CANDLESTICKThis candlestick is made of silver, proved by its characteristicpatina, the greenish-black-silver color that forms on neglec-ted silver. This patina is clearly visible on the object and isfamiliar as malachite. It very often occurs because of hu-midity and improper storage conditions.

TreatmentThe candlestick was covered with patina, and its round basewas considerably damaged. This was caused by humidityand improper storage conditions in the Savinac Church.The candlestick was treated using mild chemicals.

It was immersed into one liter of warm distilled waterand left there for 30 minutes. After that, it was taken out andthe first layer of dirt was cleaned, applying the gentle move-ment of a toothbrush. This procedure was repeated withthe universal polish, mentioned above. One spoon of polishwas dissolved in one liter of distilled water. After that, thecandlestick was immersed into the solution. After ten mi-nutes, it was taken out, immediately immersed in distilledwater and left there for 15 minutes. When it was removedfrom the distilled water, the candlestick was left to dry. Fi-nally, it was concluded that all dirt had been removed, so itcould be polished with a chamois. The candlestick obtainedits original colour and sheen and was ready for conservation.

ConservationConservation was done by painting the entire surface withfershnit (nitrocellulose dissolved in ethyl acetate), the color-less lacquer without shine, mentioned above. An invisiblefilm was formed to protect the object from outside atmosphe-ric influences.

RésuméThe church treasures from the St. Sava Church at Savinacare made of metal and metal alloys. The objects date fromthe 19th century. They were treated by mechanical and che-mical conservation procedures, according to their conditionand the appearance of the metal. The significant outcomeof this conservation procedure was that it directly establishedimportant historical facts and data related to the objects,and also revealed rich ornamentation and the productiontechniques used in this collection of metal church objects.During treatment, inscriptions confirmed that the censerwas made in 1822 and that it was an original gift from PrinceMilo{ Obrenovi} to his first memorial church, the St. SavaChurch at Savinac. The church was built in 1819–1821 andwas finally completed in 1822. This fact indicates that thisobject is original Prince’s gift, since the year of the comple-tion of the works, 1822 coincides with the year inscribedon the gifted censer.

Other church objects, belonging to more recent times,have also undergone cleaning and conservation procedu-res. All exhibits are of a high quality, but unfortunately areconsiderably damaged, because of improper protection inthe course of the last 200 years. That is why the conserva-tion procedure was hindered and gradual. In the course ofthe chemical treatment, non-aggressive substances of bio-logical origin were used. All items in this church collectionwere treated and protected. For the time being they are inthe Museum of Rudnik–Takovo Region, since priest Ljubi-{a Mili} has informed the Museum that, for the time being,there is no suitable storage room for them in the church.The censer from 1822 is permanently locked in the muse-um safe.

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IN THE RESTORATION of fine, delicate ceramic materialssuch as porcelain it is necessary to choose an approach andmethod that are both ethical and professional. This largelydepends on whether the objects are from a private or mu-seum collection.

This porcelain cup is from a private collection, made ofhigh quality porcelain, well maintained and solid in struc-ture, attractively hand-painted with city motifs against awhite background. It is gilded on the rim and around thepainted areas. The origin and manufacturer are unknownsince there is no mark on the bottom of the cup. It is cylin-drical in shape but wider around the rim. The height of thecup is 7 cm, the diameter of the rim and base are 4.5 cmand 3 cm respectively.

More damage is done to ceramics during the cleaningprocess than in any other stage of conservation. This cup

had already been restored, so we had to be particularlycareful, not knowing what materials had been used in theprevious restoration.

The removal of previous restoration starts with the appli-cation of less aggressive materials, such as distilled water,followed by acetone or alcohol. Where possible the processcontinues mechanically, using a scalpel. This was the methodwe used to clean the porcelain cup in question.

It was clear that the old retouching had been done withacrylic colours, since they easily dissolved on the applicati-on of acetone swabs. It was noticeable that in the old resto-ration, gaps had been filled with some sort of plaster, whichwe were able to remove easily with the application of a scal-pel. Light brown stains were visible on the rim, under theprevious conservation layer, which could not be removed

Sladjana NOVKOVI], conservator-technicianAssociate of the Departmant for preventive conservation Diana

RESTORATION OF A PORCELAIN CUP

materijalima, kao {to je destilovana voda, a potom aceto-nom ili alkoholom. Kada je to mogu}e, koristi se i mehani~kina~in ~i{~enja. Kod ~i{}enja porcelanske {olje od ostatakastare restauracije primenjivane su sve ove metode.

Lako je otkriveno da je stari retu{ ra|en akrilnim boja-ma; pod komadi}em vate natopljene acetonom slojevi bojebrzo su se razlagali. Bilo je primetno da je kod stare resta-uracije popunjavanje mesta na kojima su nedostajali deloviizvedeno nekom vrstom gipsa, koji smo odstranili skalpe-lom. Na obodu je ispod stare restauracije bila vidljiva ne~i-sto}a braon boje, koja nije odstranjena tokom ~i{}enja ace-tonom i alkoholom. Zbog toga smo za tu ne~isto}u koristilislede}i tretman: natopili smo vatu hidrogen-peroksidom(15%) i njom prekrili povr{ine s flekama. Komadi vate na-topljene hidrogen-peroksidom postavljani su vi{e puta naporcelansku povr{inu s flekama. Postupak je ponavljan svedok mrlje nisu nestale, a {olja je nakon toga oprana desti-lovanom vodom.

Punjenje dela koji je nedostajao izveli smo epoksi smo-lom Araldit 2O2O (Huntsman Advanced Materials, Everberg),

u koju su dodati Fumed silica i pigmenti u odgovaraju}emodnosu, prema uputstvu proizvo|a~a. Obrada restauriranihpovr{ina, to jest {mirglanje punjenih delova, najbitniji je deorestauracije. Ako povr{ina nije precizno obra|ena i glatka,ne moè se uspe{no prekriti, bez obzira na koli~inu boje ko-ja se nanese.

Za {mirglanje su kori{}eni papir Micro-Mesh (Micro-Surface Finishing Products, Inc., USA) i platno s razli~itimgranulacijama. Bilo je veoma va`no da se originalni deo {oljeza{titi i prekrije kako se pri {mirglanju ne bi o{tetila glazu-ra na njenoj povr{ini. Za to je kori{}ena sko~-traka (Scotch--tape, 3M, France).

Jedan od konzervatorskih pristupa restauraciji porce-lana zavr{ava se upravo tim poliranjem, ali smo mi prime-nili druga~iji princip. Kada su {mirglanje i poliranje resta-uriranih povr{ina zavr{eni i kada je postignut èljeni oblik,zapo~eto je s retu{iranjem restauriranog dela, to jest beleosnove porcelana pri obodu. Za taj proces kori{}en je Resto-ration glaze; Matte (Golden-artist Colors, Inc., USA) i er-bra{akrilik boje istog proizvo|a~a. Posle nano{enja nekolikoslojeva boje preko restauriranih delova povr{inu smo ispo-lirali papirom Micro-Mesh do potpunog sjaja. Nakon toga jepreko ispoliranog dela nano{en Restoration glaze; Gloss(Golden-artist Colors, Inc., USA), sve dok nije ostvaren od-govaraju}i sjaj, kao kod originalne glazure.

Kako je na obodu {olje izvedena linearna dekoracijazlatom, trebalo je ponovo islikati dekoraciju na restaurira-nim delovima. Prvo smo okolne originalne povr{ine porce-lana za{titili sko~-trakom. Za restauraciju dekoracije kori-stili smo Rustins Clear metal lak (Rustins Limited, London)i bronzani prah; na povr{inu vla`nu od laka duvanjem smonaneli bronzani prah. Nakon su{enja sko~-traka je skinuta iostatak {olje o~i{}en je od vi{ka bronzanog praha.

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U ZEMLJAMA koje su lideri u oblasti konzervacije kultur-nih dobara postoji te`nja da prilikom odre|ivanja predmetaza konzervaciju budu prisutni i arheolog, i kustos, i konzer-vator (ili konzervatori), kako bi se dogovorili oko redosledakonzervacije, to jest oko prioriteta, u zavisnosti od stanjapredmeta, priprema za publikovanje, izlaganje predmeta idrugog. Kod nas se taj pristup deklarativno podràva, ali se,naàlost, naj~e{}e ne primenjuje. Trebalo bi da i na{a prak-sa bude da pre otpo~injanja bilo kakvog rada na konzervaci-ji predmeta arheolog, kustos i konzervator zajedno procenepristigli materijal namenjen za konzervaciju i da se konsul-tuju oko predloènog tretmana. Konsultacije na relaciji ar-heolog–kustos–konzervator potrebno je odràvati povre-

meno i tokom tretmana, a najmanje jo{ jednom. Ukolikotokom konzervacije do|e do nekih izmena u odnosu na do-govoreni tok tretmana, trebalo bi da dodatne konsultacijebudu obavezne.

Jedan od problema s kojima se na{i konzervatori ~estosusre}u jeste to {to arheolog traì kompletnu restauracijupredmeta i kada na|eni fragmenti ~ine manje od 50%predmeta, i to pre nego {to konzervatori mogu da pregleda-ju sav materijal po zavr{etku arheolo{kih iskopavanja nadatom lokalitetu (primer 1).

Doga|a se i da na konzervaciju stigne dva puta po oko50% istog predmeta, pod dva razli~ita terenska broja, oba

Zvezdana POPOVI], konzervator tehni~arsaradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

PROBLEMI U KONZERVACIJI KERAMIKES VI[ESLOJNIH LOKALITETA

with acetone or alcohol. We decided to soak the swabs in a15% solution of hydrogen peroxide, which we changed se-veral times, until the stains disappeared completely. Afterthis the cup was washed with distilled water.

Missing parts were filled with Araldite 2O2O epoxy resin(Huntsman Advanced Materials, Everberg), mixed withFumed silica and pigments in adequate proportion, followingthe manufacturers instructions. Treatment of restored sur-faces, that is, sandpapering the adhesive layer and filled

areas is a vital part of the restoration process. If the surfaceis insufficiently treated and smoothed, it cannot be coveredsuccessfully, regardless of the quantity of paint used.

Various grades of Micro-Mesh (Micro-Surface FinishingProducts, Inc. USA) were used for sandpapering. It wasvery important to protect the original surface of the cupwith Scotch-tape (3M, France), so that the glaze stayedunscratched.

One approach in porcelain restoration is to end withthis type of polishing, but we applied another process. Whenthe sandpapering and polishing of restored surfaces hadbeen completed and the desired shape reached, we startedcolour retouching of the white porcelain around the rim.We used Restoration glaze: Matte and airbrush acrylic paints(Golden-artist colors, Inc.USA). After applying the glaze se-veral times, the surface was polished with Micro-Mesh untilit was completely smooth and shiny. Restoration glaze; Gloss(Golden artist colors, Inc.USA) was applied to the polishedsurface until the cup’s original shine was obtained.

There is some gilded linear decoration on the rim. Weprotected this area around the gilded part with Scotch-tape. For restoration of the gilding, we used Rustins clearmetal lacquer (Rustins Limited, London) and bronze powder,which was blown onto the wet lacquered surface. After dry-ing, we removed the tape and cleaned excess bronze pow-der from the cup.

79


IN COUNTRIES leading the field in the conservation ofcultural assets, it is usual for the archeologist, curator andconservator (or conservators) to be present during the se-lection of objects for conservation so they can evaluate them,consult with one another, and agree on the order of conser-vation procedures and priorities, depending on the conditionof the object in question, and its preparation for exhibitionor publication. Furthermore the archeologist, curator andthe conservator should remain in touch during treatment,and hold at least one more round of consultations. If theagreed course of treatment changes during conservation,additional consultations should be mandatory. This approachenjoys declared support in Serbia, and should be our prac-tice, but, unfortunately, is not usually followed.

One of the problems often faced by our conservators isthat archeologists request complete restoration of an objecteven when the fragments found comprise less than 50% ofthe whole object, and before conservators are able to exa-mine all excavated material once work at the site finishes(Example 1). What’s more, sometimes 50% of fragments of

the same object are handed in for restoration twice undertwo different field numbers, each time with a request forcomplete conservation (Example 2).

In addition, when fragments thought to require onlymechanical cleaning (since they do not form a completeobject) are photographed, conservators frequently find tenor more fragments that together not only form an object,but comprise as much as 90% of an object (Example 3).

When new material arrives for conservation, conserva-tors often recognize fragments belonging to objects thathave already been conserved. In such cases, the conserva-tion treatment has to be partially repeated: plaster must beremoved and newly-discovered original fragments mountedonto the object in its place, which means torturing the object,to say nothing of the additional conservation work required(Example 4). This is especially true of material coming fromlarge multi-layered sites, rich in archeological material,where excavations have been performed for several years.In such localities, tens of thousands of ceramic fragments

Zvezdana POPOVI], conservator-technicianCollaborator in the Departmant for preventive conservation Diana

PROBLEMS IN THE CONSERVATION OF CERAMICS IN MULTI-LAYERED ARCHEOLOGICAL SITES

puta sa zahtevom da se uradi kompletna konzervacija (pri-mer 2).

Tako|e se doga|a da tokom fotografisanja fragmenatakoji su stigli kao materijal predvi|en samo za mehani~ko~i{}enje, jer ne formiraju predmete, konzervatori prona|upo desetak i vi{e fragmenata koji ne samo {to formirajupredmet ve} ~ine i do 90% predmeta (primer 3).

Mnogo puta su konzervatori po prispe}u materijala zakonzervaciju prepoznali fragmente koji pripadaju ve} kon-zerviranim predmetima. Nakon toga konzervatorski postu-pak mora se delimi~no ponoviti: uklanja se gips i umesto nje-ga u predmet se ugra|uju ti originalni, naknadno pristiglifragmenti – {to je svakako mu~enje predmeta i zahteva dodat-ni rad konzervatora (primer 4). To naro~ito vaì za materijalkoji stiè s velikih vi{eslojnih lokaliteta, veoma bogatih ar-heolo{kim materijalom, na kojima se iskopavanja obavljajugodinama. Na takvim lokalitetima tokom jedne sezone pro-na|e se i po nekoliko desetina hiljada fragmenata kerami-ke, {to predstavlja problem i u pogledu obrade, i u pogleduklasifikovanja i dopremanja. Takav je materijal, na primer,onaj s lokaliteta Kale Kr{evica.1

U bogatijim zemljama ti problemi ~esto se re{avaju obez-be|ivanjem posebnog tima arheologa i konzervatora koji sejo{ na terenu bavi samo klasiranjem i obradom materijala.Tako formirani predmeti klasiraju se prema potrebama pu-blikovanja, da bi se tek nakon dogovora arheologa, kustosai konzervatora odredio ritam konzervacije predmeta.

S obzirom na to da kod nas, zbog dobro poznate finan-sijske situacije, takvo re{enje mora da sa~eka bolja vreme-na, mo`da bi efikasno re{enje moglo da bude to da se prepo~etka rada na predmetima predvi|enim za konzervacijukonzervatorima dâ na pregled sav materijal s lokaliteta, do-net nakon zavr{ene sezone arheolo{kih iskopavanja. Ukolikovi{e grupa konzervatora radi na predmetima sa istog loka-

liteta, svakako bi trebalo organizovati da svi oni pregledajusve dopremljene fragmente, a trebalo bi i da svi konzervato-ri mogu redovno ponovo da pregledaju materijal, prema po-trebi. Kada bi konzervatori mogli detaljno i redovno da pre-gledaju sav pristigli materijal, izbegli bi se mnogi navedeniproblemi: verovatno bi se pojavilo jo{ predmeta kandidataza konzervaciju ili bi se bar mnogi od predmeta kompletira-li blagovremeno, a ne nakon zavr{ene konzervacije.

Primer 1Predmet: kantaros (KK 24/06); lokalitet: Kale Kr{evicaNa konzervaciju je donet jedan fragment (iskopan oktobra2005), a zahtev arheologa bio je da se uradi kompletna resta-uracija na osnovu tog fragmenta (jer je imao sve elemente),mada je fragment ~inio samo oko 30% predmeta. Stav konzervatora bio je da ne treba ùriti s restauracijomjer }e se mo`da pojaviti jo{ fragmenata, s obzirom na veli-ki obim materijala s datog lokaliteta. To mi{ljenje bilo je is-pravno jer je u dva navrata, prilikom pregleda materijala stog lokaliteta, prona|eno jo{ 10 fragmenata (iskopanih uistom periodu, na istom mestu, u istom otkopnom sloju), akoji su, s prvim fragmentom, ~inili ukupno oko 80% pred-meta. Konzervator: Zvezdana Popovi}.

Primer 2Predmet: tanjir (KK 08/06); lokalitet: Kale Kr{evicaNa konzervaciju je stigao jedan fragment (KK 08/06), kojije ~inio oko 50% predmeta. Zahtev arheologa: uraditi kompletnu restauraciju.

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1] P. Popovi}, Kr{evica et les contacts entre l’Egée et les centresdes Balkans, Histria Antiqua 15/2007, Pula, 125–136.

Primer 1 Example 1

Primer 2 Example 2

may be found in just one season, presenting problems notonly for treatment, but also for classification and transport.This is the case with material from the Kale Kr{evica site.1

Wealthier countries often resolve those problems byforming special teams of archeologists and conservators whoclassify and treat material on-site. Objects treated in thisway are classified according to publication requirements; thetime-scale of conservation is established only after archeolo-gists, curators and conservators have all reached agreement.

As this solution is not currently economically feasiblein Serbia, a more efficient solution may be to provide con-servators with all material from sites requiring examinationafter the excavation season is over, but before treatmentbegins. If several groups of conservators are working onartifacts from the same site, it is necessary to ensure thatthey all examine all fragments delivered. They should alsobe able to re-examine material regularly if required. Manyproblems could then be avoided: many more artifactssuitable for conservation might appear, or made wholebefore the time limit for conservation procedure expires.

Example 1Artifact: kantharos (KK 24/06); Kale Kr{evica siteOne fragment (excavated in October 2005) was brought infor conservation; archeologists requested complete restora-

tion on the basis of the single fragment (as it had all the re-quired elements), although the fragment comprised a mere30% of the object.In the conservator’s opinion, it was not necessary to hurryrestoration, as more fragments were likely to be found, tak-ing into consideration the large quantity of material fromthe site. This view proved correct, since two subsequent exa-

minations of material from the site yielded 10 more frag-ments (excavated in the same period, at the same spot, inthe same excavated stratum). These, together with the firstfragment, comprised 80% of the object.Conservator: Zvezdana Popovi}.

Example 2Artifact: plate (KK 08/06); Kale Kr{evica siteOne fragment (KK 08/06), comprising 50% of the object,was brought in for conservation.Archeologist’s request: complete restoration.Immediately before plaster was poured into the preparedwax mould, several objects from the same site were broughtin. Among these were four pieces of the same object (exca-vated in the same period, at the same spot, and in the sameexcavated stratum – registered as KK 12/06). The newfragments comprised the remaining 50% of the object –restoration was not necessary.Conservator: Danijela Jovanovi}.

Example 3Artifact: bowl (KK 13/06); Kale Kr{evica siteTwo fragments were thought to require mechanical clean-ing only, as they did not form an object. After additionalexamination of the material, two more fragments were

found. Boxes that arrived from the same site some timelater yielded another eleven fragments (excavated in thesame period, in the same excavated stratum).

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1] P. Popovi}, Kr{evica et les contacts entre l’Egée et les centresdes Balkans, Histria Antiqua 15/2007, Pula, pp. 125–136.

Primer 3 Example 3

Primer 4 Example 4

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Neposredno pre izlivanja gipsa u pripremljeni vo{tani kalupdoneto jo{ predmeta sa istog lokaliteta. Me|u donetim pred-metima prona|ena su jo{ ~etiri fragmenta istog predmeta(iskopana u istom periodu, na istom mestu, u istom otkop-nom sloju – upisani kao KK 12/06). Ti fragmenti ~inili supreostalih 50% predmeta – restauracija nije bila potrebna. Konzervator: Danijela Jovanovi}.

Primer 3Predmet: zdela (KK 13/06); lokalitet: Kale Kr{evicaDva fragmenta predmeta stigla su s materijalom predvi|e-nim samo za mehani~ko ~i{}enje, jer nije formirao predme-te. Naknadnim pregledom materijala prona|ena su jo{ dvafragmenta. U kasnije pristiglim kutijama sa istog lokalitetaprona|eno je jo{ 11 fragmenata (iskopanih u istom perio-du, u istom otkopnom sloju).Ukupno je, dakle, bilo 15 fragmenata, koji su zajedno ~ini-li oko 80% predmeta.Konzervator: Aleksandra Markovi}.

Primer 4Predmet: fijala (KK 66/05); lokalitet: Kale Kr{evicaVe}ina fragmenata ovog predmeta stigla je s materijalompredvi|enim samo za mehani~ko ~i{}enje, jer nije formiraopredmete. Pregledom materijala prona|ena su 23 fragmen-ta koja formiraju fijalu. U naknadno prispelom materijalusa istog iskopavanja prona|ena su jo{ dva fragmenta, {to jeukupno ~inilo oko 80% predmeta. Ura|ena je kompletnakonzervacija predmeta.Nekoliko meseci nakon zavr{ene konzervacije u naknadnopristiglim kutijama s materijalom sa istog lokaliteta i izistog perioda iskopavanja prona|en je jo{ jedan fragment.Pristupilo se uklanjanju gipsa i ugra|ivanju originalnogfragmenta.To se dogodilo jo{ jednom, s jo{ jednim fragmentom, na-knadno prona|enim na isti na~in.Ukupno dva puta je nakon zavr{ene konzervacije uklanjangips i ugra|ivan originalni fragment.Konzervator: Marija Pe{anovi}.

ÛVANJE ARHEOLO[KIH PREDMETA podrazumeva sa-radnju arheologa, kustosa i konzervatora, koji iznose razli~i-te stru~ne nalaze i razli~ite perspektive za re{avanje pojedinihproblema. Njihov zadatak odnosi se na o~uvanje istorijskog,kulturnog, estetskog i fizi~kog integriteta predmeta za bu-du}a pokolenja. To podrazumeva pravnu, stru~nu i tehni~-ku (fizi~ku) za{titu.

Sa ~uvanjem arheolo{kih predmeta otpo~inje se ve} nasamom lokalitetu, od trenutka prihvata predmeta, nastav-lja se postupcima koji se primenjuju do sme{tanja u depo,a zatim i nizom mera koje slede. Svaka aktivnost koja se nesprovodi u skladu s pravilima – od ~uvanja (sme{taja, odrà-vanja), preko obrade, kori{}enja, izlaganja, do transporta –predstavlja opasnost po predmete.

Ukoliko se metalni predmeti o{tete usled dejstva nega-tivnih faktora, mogu}e je sprovesti konzervatorsko-restau-ratorski tretman i time produìti ìvot predmeta, premdase u obzir moraju uzeti i vreme trajanja tretmana i njegovafinansijska opravdanost. Stoga bi posebnu pa`nju trebaloposvetiti preventivnoj za{titi.

Trebalo bi da institucionalne mere za{tite budu u skla-du s muzejskim aktivnostima koje se odnose na primenutehnika upravljanja, a kojima se ostvaruje organizovanijina~in razmi{ljanja, predvi|anje budu}ih situacija, kao i napove}anu efikasnost svih segmenata muzejske delatnosti.

Nakon analize stanja metalnih predmeta, faktora kojiuti~u na njih i izrade odgovaraju}e dokumentacije mogu}eje planirati aktivnosti i projekte za pobolj{anje tog stanja.

Faktori koji uti~u na stanje metalnih predmeta u depouArheolo{ki predmeti predstavljaju rezultat aktivnosti izpro{losti i poti~u sa odgovaraju}ih arheolo{kih lokaliteta.Stoga je njihov prenos u budu}nost vrlo sloèn i zahtevan.Smatra se da starenje predmeta zapo~inje od trenutka nje-govog nastanka. Metali su najnestabilniji neorganski mate-rijali, koji teè da se vrate u stanje minerala.

Korozija metala deli se na hemijsku i elektrohemijsku.Osnovna karakteristika korozije metala jeste to {to ona po-~inje na njegovoj povr{ini, odakle se brè ili sporije {iri udubinu, pri ~emu se menjaju sastav metala i njegova svoj-stva. U procesu korozije metal se potpuno ili nepotpuno ra-stvara ili se pak na njegovoj povr{ini obrazuje opna od pro-dukata korozije. Ponekad se usled korozije legura razlaè nasvoje komponente ili se menjaju fizi~ko-mehani~ka svojstvametala i legura.1

Slobodan BOGOJEVI], konzervatorNarodni muzej u â~ku

NOV PRISTUP KONZERVACIJI I UNAPRE\IVANJEUSLOVA ÛVANJA METALNIH ARHEOLO[KIH PREDMETA

U NARODNOM MUZEJU U Â^KU

1] Mladenovi}, S., Korozija materijala, Tehnolo{ko-metalur{kifakultet, Beograd 1990, 3.

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TAKING CARE of archaeological objects implies cooperationbetween the archaeologist, curator and the people perfor-ming the conservation, all of whom present different pro-fessional findings and different approaches for resolvingcertain difficulties. Their task includes maintaining thehistorical, cultural, aesthetic and physical object integrityfor future generations. This includes legal, professional andtechnical (physical) protection.

Taking care of an archaeological object starts at thearchaeological site from the moment of excavation,through a series of procedures until it is placed in storage,and further through the series of processing steps thatfollow. Every activity that is not performed according toappropriate rules at every stage presents a danger to theobject.

If metal objects are damaged through the influence ofsome negative factors it is still possible to perform theappropriate conservation-restoration treatment and in thisway to extend the objects existence, but nevertheless wehave to consider the length of the treatment and its finan-cial justification. For that reason special attention shouldbe paid to preventive conservation.

Institutional protection measures ought to be inagreement with museum activities that apply managementtechniques to a better organized conceptual approach, theeprediction of future situations, as well as increased effi-ciency in all segments of the museum activity.

After analysis of a metal object’s condition, the factorsthat influence it, and appropriate documentation, it ispossible to plan some actions and projects for its improve-ment.

Factors influencing the condition of metal objectsplaced in the storageArchaeological objects are the fruit of some past activitiesand come from various archaeological sites. For that reasonthe objects’ transfer into the future is very complicated andhighly demanding. The aging of an object starts from themoment of its origin. Metals are amongst the most un-stable inorganic materials and tend to return to their mine-ral state.

Metal corrosion is divided into chemical and electro-chemical corrosion. The basic characteristic of metal corro-sion is initiated on its surface, from where, sooner or later,corrosion penetrates more deeply, and as a result of whichthe metal’s consistence and characteristics change. In theprocess of metal corrosion, the metal is being dissolved fullyor partially, or possibly a skin is created on its surface, madeof corrosion products. In some cases an alloy is dissolved intoits component metals as a result of corrosion or the physical-mechanical metal/alloy characteristics may change.1

The object’s condition mainly depends on its reactionto the outer environment and after some time some kind ofbalance is formed between them (fig. 3). From the momentwhen the object is excavated the conditions of the outerenvironment change radically and the object passes a phaseof adaptation shock. The reaction includes physical andchemical changes, and from that moment the object is

Slobodan BOGOJEVI], conservatorNational museum of â~ak

A NEW APPROACH TO CONSERVATIONAND A FURTHER IMPROVEMENT OF CONDITIONS

FOR TAKING CARE OF METAL ARCHEOLOGICAL OBJECTSIN THE NATIONAL MUSEUM OF ÂÂK

This brought the total number of fragments to 15, altogethercomprising 80% of the object. Conservator: Aleksandra Markovi}.

Example 4Artifact: phiale (KK 66/05); Kale Kr{evica siteMost of the fragments of this object were delivered with ma-terial thought to require mechanical cleaning only. Afterexamination, 23 fragments forming a vessel were found. Insubsequently delivered material from the same excavation,two more fragments were found, comprising 80% of the

object. The object was restored completely.Several months later, after conservation was finished, furtherboxes were delivered, containing material from the samesite and from the same period of excavation, yielding onemore fragment. Plaster was removed and replaced by theoriginal fragment.The same happened with one more fragment, discoveredlater in the same way.In all, the plaster had been removed and the original frag-ment mounted twice by the end of conservation.Conservator: Marija Pe{anovi}.

1] Mladenovi} Sreten, Corrosion of material, Technology-metal-lurgy faculty, Belgrade, 1990, 3.

Stanje predmeta najve}im delom zavisi od reakcijepredmeta na spolja{nju sredinu, jer izme|u njih tokomvremena nastaje neka vrsta ravnoteè (slika 3). Kada sepredmet iskopa, u potpunosti se menjaju spolja{nji uslovi ipredmet prolazi kroz fazu adaptacionog {oka. Reakcijapodrazumeva fizi~ke i hemijske promene, pa je od tog tre-nutka predmet u fazi izuzetno brzog propadanja. Dok suobjekti neiskopani, imaju podr{ku u vidu zemlje koja ihokruùje, ali tu podr{ku gube kada se otkopaju, tako da vi-{e nisu u stanju da iznesu svoju teìnu. Posebnu pa`nju tre-balo bi obratiti na prihvat arheolo{kih predmeta s lokalite-ta, kao i na na~in njihovog ~i{}enja, jer su upravo tadao{te}enja najverovatnija. Za te postupke neophodna je iz-rada odgovaraju}ih procedura.

Vrlo je bitno da se pre iskopavanja razradi sistem pri-hvata i kondicioniranja metalnih eksponata do po~etka nji-hovog konzervatorsko-restauratorskog tretmana. To je ve-liki problem budu}i da se u arheolo{kim depoima na{ihmuzeja, pored konzerviranih, nalazi i veliki broj predmetakoji nisu tretirani. Pored toga {to ugroàvaju tretiranepredmete (zaga|enje atmosfere u depou, iniciranje korozi-je na tretiranim predmetima usled neposrednog kontaktaitd.), oni prolaze i kroz fazu naglog propadanja, tako da suposle nekoliko godina potpuno devastirani, potrebna kon-zervacija je znatno sloènija, a sami predmeti gotovo su iz-gubljeni.

Taj problem ve}i muzeji u svetu re{avaju tako {topredmete sme{taju u posebne prostorije, u kojima su me-talni eksponati do po~etka konzervacije potopljeni u opti-malne rastvore. Ti rastvori su neka vrsta inhibitora za ko-rozione procese; njihova pH vrednost strogo se kontroli{e.Celokupan proces obavlja se u saradnji sa stru~njacima izodgovaraju}e oblasti.

Neadekvatni konzervatorsko-restauratorski tretmani ta-ko|e mogu imati {tetne posledice po stanje metalnih pred-meta. To se odnosi na primenu neodgovaraju}ih materijalai metoda u procesu konzervacije i restauracije. Stoga jeneophodno da sve intervencije budu u skladu sa ICOM-ovimeti~kim kodeksom. Trebalo bi da konzervatori sve vremeu~estvuju u programima stru~nog usavr{avanja, dok bi labo-ratorije trebalo snabdeti odgovaraju}om opremom. êsto

postoje zahtevi u pogledu ostvarivanja odre|ene estetike napredmetu, kao i zahtevi za hipoteti~kom rekonstrukcijom,ali i èlja da se tretman obavi u {to kra}em roku. Sve to mo-è imati dalekose`ne {tetne posledice po predmet.

Konzervatorsko-restauratorski tretmani gube smisaoukoliko se predmeti ~uvaju u neodgovaraju}im uslovima.Stoga treba obezbediti optimalne uslove za ~uvanje pred-meta, ~ime bi se broj intervencija sveo na najmanju meru,to jest one bi se sprovodile samo kada preventivne mere za-kaù. Time bi muzej ostvario u{tedu u pogledu tro{kovakonzervacije, a zbirke bi bile adekvatno i stru~no ~uvane.

Kada se analiziraju faktori koji uti~u na stanje predme-ta, zaklju~uje se da gotovo iza svih njih – i onih pomenutih ionih koji nisu tema rada – stoji ~ovek sa svojim delovanjemi odnosom prema predmetima: onaj kome kulturna dobrasluè i kome su poverena na ~uvanje.2

Na stanje metalnih predmeta u depou uti~u i slede}ifaktori:

– klima (relativna vla`nost, temperatura)– osvetljenje– zaga|enje– {teto~ine.Gotovo svi faktori uti~u na metalne predmete u me|u-

sobnoj sprezi. Kada je re~ o pojavi korozije, neophodno jeuzeti u obzir vreme tokom kojeg je predmet bio izloèn po-jedinim faktorima, kao i njihove kriti~ne vrednosti pri ko-jima se korozija pojavljuje. Stepen delovanja svih faktorana stanje predmeta i brzinu procesa korozije zavisi od sa-stava i na~ina izrade metalnog predmeta, od toga da li nanjemu postoji dekoracija, od prisustva hlorida u strukturi,ali i od na~ina konzervacije i restauracije itd.

Posebnu pa`nju trebalo bi obratiti i na na~in pakova-nja metalnih predmeta, to jest na ambalaù, zatim na ure-|enje prostora za njihov sme{taj, izbor opreme, kao i namere za{tite od vanrednih prilika.

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2] Radosavljevi}, V., Petrovi}, R., Konzervacija i restauracijaarhivske i bibliote~ke gra|e i muzejskih predmeta od tekstila i koè,Arhiv Srbije, Beograd 2000, 114.

Sl. 1 i 2. Srebrna fibula pre i posle konzervacije, Narodni muzej u â~ku

Fig. 1 i 2. Silver fibula before and after conservation treatment, National museum of â~ak

subject to fast deterioration. Prior to excavation, objectshave the support of the soil that surrounds them, but theylose this support from the moment of excavation and arenot in a position to „refer to“ its weight. Special attentionshould therefore be given to the reception of archaeologicalobjects from their site of origin, as well as their cleaningmethod, since this is a phase when deterioration is mostpossible. For these procedures appropriate procedures shouldbe established.

Before excavation it is very important to establish asystem of reception and treatment of metal objects untilthe moment when their conservation-restoration starts.This is very difficult having in mind that in our museums’storage facilities there are numerous objects that are not tre-ated. Not only do they influence the treated objects (throughstorage environmental pollution, and the initiation of cor-rosion on treated objects by direct contact) they rapidlydeteriorate. After several years we have a fully devastatedobject and, as a result, its conservation is now morecomplicated and the object itself almost lost.

Some foreign museums resolve this issue by placingmetal objects in separate rooms, where they are dipped intosolutions of optimum characteristics, until the moment oftheir conservation. These solutions are some kind of inhi-bitor of the corrosion process. The pH value of these solutionsis controlled and the whole process performed in collabora-tion with professionals in this field.

Inappropriate conservation-restoration treatmentscould have consequences for the condition of metal objects.This refers to the use of inappropriate materials and methodsin the process of conservation and restoration. For that re-ason it is necessary that intervention is in agreement withthe ICOM ethical codex. Those performing the conservationought frequently to participate in programs of professionaltraining and laboratories should be equipped with appro-priate equipment. Frequently there are requests to have

the object’s aesthetics as a target, as well as the requests forhypothetical reconstruction, as well as the wish for thetreatment to be done in the shortest possible time. All thesedemands could have influence the object’s condition.

The conservation and restoration treatments lose theirsense if the objects are kept in inappropriate conditions. Sooptimum storage conditions ought to be provided; as a resultthe number of interventions would be reduced to the mini-mum and only when preventive measures fail. In this waythe museum would save the costs of conservation, and col-lections would be appropriately and professionally stored.

After analysing the factors influencing the object’s con-dition, it could be concluded that behind everything standshuman attitude and actions i.e. the one whom the culturalproperties serve and to whose care they are entrusted to.2

The following factors influence the condition of metalobjects kept in storage:

– climate (relative moisture content, temperature)– illumination– pollution– pestsAlmost all these factors influence metal objects in their

interpersonal connection. For corrosion to start it is neces-sary to consider the time limit i.e. the time that the objecthas been exposed to certain factors as well as the criticalvalues that facilitate the corrosion. All factors have an in-creased influence on the object’s condition and acceleratethe corrosion process, depending on composition and themetal object’s manufacturing process, the presence of deco-ration, chlorides in the structure, as well as the conserva-tion and restoration method.

Special attention should be paid to packing (wrappingof metal objects), rationalization of the space, and the placeof storage as well as protection measures against the extra-ordinary conditions.

History, importance, and function of metal objectsThe collection of archaeological objects and other relatedscientific data was initiated by the foundation of the Nati-onal museum in â~ak in 1952. Three years after founda-tion, the first curator-archaeologist was engaged, represen-ting the start of the professional operations of this bureau.The objects originate from surrounding excavations, but afew of objects have been purchased, donated, or have beenfound by chance.

Archaeological excavations comprise some of the mostimportant activities of this department. They have beenperformed independently or in cooperation with other insti-tutions every year since 1956. Archaeological research hasbeen conducted to form a full picture of past times in thedistrict covered by the National museum in ̂ a~ak. The oldestarchaeological sites belong to the Neolithic period. Of greaterthan local importance is the barrow at Atenica. Two tumuli

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2] Radosavljevi} Vera, Petrovi} Radmila, Conservation and re-storation of filed and library materials and museum objects made oftextile and leather, Archive of Serbia, Belgrade, 2000, 114.

upotreba /

Use life

iskopavanje /

Excavation

ravnoteà /Equilibrium

arheolo{ki kontekst

/

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(underground)muzej /

Museum life VREME /

TIME

PR

OPA

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Sl. 3. Propadanje metalnog predmeta tokom vremenahttp://www.nps.gov/history/museum/publications/MHI/AppendI.pdf

Fig. 3. Deterrioration of the metal object through time

Istorijat, zna~aj i funkcija metalnih predmeta Prikupljanje arheolo{kih predmeta i podataka u vezi sa ar-heologijom kao naukom otpo~eto je na teritoriji ~a~anskeop{tine sa osnivanjem Narodnog muzeja u â~ku 1952. go-dine. Nakon tri godine u muzeju je zaposlen prvi kustos ar-heolog i tada je arheolo{ko odeljenje zapo~elo sa stru~nimradom. Metalni predmeti koji se nalaze u Narodnom muze-ju u â~ku prona|eni su prilikom dosada{njih iskopavanja,dok je manji broj predmeta nabavljen otkupom i dobijenkao poklon ili je re~ o slu~ajnim nalazima.

Arheolo{ka iskopavanja spadaju me|u najzna~ajnijeaktivnosti ovog odeljenja. Ono ih obavlja samostalno ili usaradnji s drugim institucijama gotovo svake godine, po~evod 1956. Arheolo{ka istraìvanja vo|ena su radi stvaranjakompletne slike o prethodnim epohama na teritoriji kojusvojim radom obuhvata Narodni muzej u â~ku. Najstari-ja arheolo{ka nalazi{ta pripadaju vremenu neolita. Od izu-zetnog je zna~aja otkri}e nekropole u Atenici. Istraène sudve kneèvske humke datovane u VI–V vek p. n. e. Va`nostotkri}a humki u Atenici nadilazi lokalne okvire, a prona|e-ni materijal zauzima jedno od najbitnijih mesta u stalnojpostavci muzeja.

Arheolo{ki metal u depou poti~e iz preistorijskog, an-ti~kog i srednjovekovnog perioda. Na osnovu stila i tehnikeizrade nosi istorijsku, kulturnu i estetsku vrednost, dok sena osnovu na~ina njegove muzejske upotrebe moè predvi-deti istraìva~ka, izlaga~ka i komunikacijska delatnost.

Vrste metalnih predmetaMetalni predmeti koji se nalaze u Narodnom muzeju uâ~ku nastali su, kao {to je pomenuto, u preistorijskom,anti~kom i srednjovekovnom vremenu. U zbirkama su me-talni predmeti od zlata, srebra, bronze, gvo`|a i olova, izra-|eni razli~itim tehnikama. Podataka o ta~nom broju metal-nih predmeta nema, s obzirom na to da do sada nije ra|enarevizija. Za jedan deo predmeta postoji arheolo{ka doku-mentacija (A kartoni), kao i inventarski brojevi, a za drugideo samo terenska dokumentacija (C brojevi). Predmeti se,prema osnovnoj nameni, mogu podeliti na: statuete boàn-stava, sitnu figuralnu plastiku, nakit, posu|e, upotrebnepredmete, merne, medicinske, kozmeti~ke i druge instru-mente, vojnu opremu i novac.

Stanje konzervacije metalnih predmetaU okviru projekta utvr|ivanja stanja metalnih predmeta,kao i mogu}nosti njihovog pobolj{anja, napravljen je for-mular, to jest anketni list. Taj formular nam, pored op{tih,daje i podatke o generalnom stanju predmeta na dan anali-ze, kao i podatke o preporu~enim tretmanima, koji su ran-girani prema hitnosti obavljanja (tabela 3). Na osnovu ovihformulara mogu}e je praviti planove za pobolj{avanje po-stoje}ih uslova ~uvanja, kao i programe konzervacije me-talnih predmeta. Testiranjem je utvr|eno da je formularprimenljiv u praksi i da se, dakle, moè koristiti kao anket-ni list u okviru programa redovne kontrole zbirke metalnihpredmeta u arheolo{kom depou. Analiza je obavljena na re-prezentativnom uzorku od dvadeset predmeta.

Ispitivanje stanja predmeta obuhvatalo je pregled do-kumentacije i razgovor s kustosima. Prakti~ni deo odnosio

se na vizuelna ispitivanja, merenja i pregled predmeta op-ti~kim instrumentima (lupom i mikroskopom). Ispitivanisu predmeti od srebra, bronze i gvo`|a, kao i kompozitnipredmeti, koji se sastoje od najmanje dva metala.

Analizirani su slede}i predmeti: osam predmeta odgvo`|a, devet bronzanih, jedan srebrni i dva koja su kom-binacija razli~itih metala (gvo`|e, srebro, zlato, bronza).Petnaest predmeta ima A kartone, a pet C brojeve, odnosnoterensku dokumentaciju. [est predmeta je fragmentirano,a devet prati fotografska dokumentacija. Ni za jedan testi-rani predmet ne postoji konzervatorsko-restauratorska do-kumentacija; ukoliko postoji, nedostupna je. Tri predmetanisu pro{la konzervatorski tretman, dok su ostali konzervi-rani u Narodnom muzeju u â~ku i u Narodnom muzeju uBeogradu. Na povr{ini petnaest predmeta moè se uo~itiprisustvo oksida i soli, dok samo jedan pokazuje struktur-ne promene. Za sve predmete trebalo bi pobolj{ati merepreventivne za{tite, to jest obezbediti odgovaraju}u amba-laù, u skladu sa standardima, kao i ambijentalne uslove.

Za tri nekonzervirana predmeta neophodan je hitankonzervatorski tretman, a za sedam rekonzervacija, i to zapet predmeta dugoro~ni i za dva srednjoro~ni plan rekon-zervacije. Jedan predmet zahteva detaljnije ispitivanje umati~noj ustanovi, dok je za tri predmeta neophodno ispiti-vanje u drugim ustanovama. To se odnosi na rendgenska sni-manja. Za osam predmeta potrebno je vo|enje fotografskedokumentacije u odre|enim vremenskim intervalima radipra}enja njihovog stanja.

Na jednom delu metalnih predmeta postoje inventarskibrojevi koji su odre|enim supstancama nano{eni neposred-no na predmete i premazivani, dok su za drugi deo metal-nih predmeta terenski brojevi pisani na nalepnicama kojesu lepljene na njih.

Uslovi ~uvanja metalnih predmeta Arheolo{ki depo u kojem se nalaze metalni predmeti sme-{ten je na prvi sprat zgrade, u prostor povr{ine 25 m², s jed-nim spoljnim zidom i dva prozora. Depo nije izolovan. To jeprolazna prostorija izme|u istorijskog, umetni~kog i etno-lo{kog depoa, a iznad njih je potkrovlje, koje nije u upotre-bi. Kanalizacione i vodovodne cevi ne prolaze kroz zidovedepoa. Na podu je rasu{en parket, s mno{tvom rupica iproreza, zbog kojih se te{ko odràva. Za zidove je kori{}enkre~ni malter, sada veoma star; u zidovima stoga postoji

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PREDLO@ENI TRETMAN BROJ PREDMETA

Konzervacija 3

Rekonzervacija 7

Restauracija 0

Ispitivanje (mati~ni muzej) 1

Ispitivanje (druga ustanova) 3

Fotodokumentacija 8

Preventivna za{tita 20

Tabela 1. Predloèni tretmani za metalne predmete na dan analize stanja

have been investigated belonging to the VIth to Vth centuryB.C. The objects found have one of the most importantpositions in the permanent exhibition of the Museum.

The archaeological metal in the storage belongs to thepre-historic, antique and medieval periods. Based on theobjects’ style and manufacturing technique the metal is ofhistoric, cultural and aesthetic value, and based on the mu-seum’s use, the research, exhibiting and communicationactivities could be predicted.

Kinds of metal objectsThe collection has objects made of gold, silver, bronze, ironand lead, applying different techniques. There is no infor-mation about the precise number of metal objects since anaudit has not been performed until now. Some of the objectshave archaeological documentation (A cards) and invento-ry numbers, while others have only terrain documentation(C numbers). The objects could be classified as: statues ofgods; tiny figural plastics; jewellery; kitchen ware; consump-tion objects; measuring implements; medical; cosmetic; in-struments; military equipment; coins; and others.

Condition of metal objects’ conservationAs part of the project to establish the condition of metalobjects, as well as the possibility of their improvement, aquestionnaire has been compiles. This form provides gene-ral information about the objects’ condition on the day ofanalysis as well as information about recommended treat-ments, ranked according to urgency (contained in a sepa-rate table, table 3). From this form it is possible to makeplans to improve the existing storage conditions as well asmaking a conservation program for the metal objects.Testing has proved that the questionnaire is practicallyapplicable and as such could be used in the regular audit ofcollections of metal objects in the archaeological storage.Analyses have been performed on a representative sampleof 20 (twenty) objects.

Analysing the objects’ condition has been done throughexamining documentation and discussion with curators.The practical part comprises a visual examination, measu-rements, and testing with optical instruments (magnifyingglass and microscope). Tested samples are made of silver,bronze and iron as well as composite objects consisting of atleast two metals.

The following objects have been analysed: 8 objectsmade of iron, 9 made of bronze, 1 made of silver, and 2 that

are a combination of different metals (iron, silver, gold,bronze). Fifteen objects have A cards, and five of have the Cnumbers i.e. terrain documentation. Six objects are in frag-ments and nine have photo documentation. All tested objectseither do not have the conservation-restoration documen-tation or it is not accessible. Three objects did not pass theconservation treatment, but all the others have been con-served in the National museum in â~ak and the Nationalmuseum in Belgrade. On the surface of fifteen objects thepresence of oxides and salt could be seen, and only one hasstructural changes. For all the objects measures of preventi-ve conservation ought to have been improved, i.e. appropri-ate packing reference to standards, as well as environmen-tal conditions.

For three objects that are not conserved it is necessaryto perform conservation treatment, while for seven of themit is necessary to repeat conservation (five in a long-termconservation plan and two in a medium-term conservationplan). One object needs more detailed analysis in the mu-seum itself, but three objects need to be analysed in otherinstitutions by x-ray scanning. For eight objects it is neces-sary to compile photo documentation at regular intervalsin order to follow up their condition.

Some metal objects have a stock number placed directlythem by applying substances, but several metal objects havenumbers written on stickers.

Storing conditions for metal objectsArchaeological storage for metal objects is located on thebuilding’s first floor in a space of 25m², having one outerwall and two windows. The storage is not insulated. It isactually the corridor between the historical, artistic andethnology storage areas, and above them there is the roofspace, which is not in use. Sewerage or water supply pipesdo not pass through the storage walls. The floor is made ofuneven wooden parquet tiles which make it difficult toclean and the walls are made of very old lime mortar. Thewalls have series of cracks and holes that are the result ofvibrations and the most recent earthquake. Between thearchaeological and historical storage there is no door, butbetween the archaeological and artistic depots there iswooden door. The metal objects are placed in wooden cup-boards on chipboard shelves. The greatest part of thesemetal objects is still in cardboard boxes, and only a few ofthe objects are placed directly on the shelf. A limited num-ber of objects are taken out of the storage from time totime for research and exhibitions. For these processes thereare no packing, transportation, and handling procedures.The space is not equipped with equipment for regulatingenvironment conditions and pollution.

Climatic factors have not been systematically monito-red because of the lack of a thermo-hygrograph. Analysesof the environmental conditions have been performed byinstant measurements and observations. For this it is neces-sary to acquire appropriate measuring instruments in orderto perform wide analyses and to monitor all parameters,based on which activities and certain projects would besuggested to improve characteristics, equipment, and alsothe conditions for storing the objects in storage. Instant

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SUGGESTED TREATMENTS NUMBER OF OBJECTS

Conservation 3

Re-conservation 7

Restauration 0

Analysing (museum itself) 1

Analysing (other institution) 3

Photo documentation 8

Preventive conservation 20

Table 1. The suggested treatments for metal objects on the day of the condition check up

niz pukotina i rupica, nastalih usled dejstva vibracija i ne-davnog zemljotresa. Izme|u arheolo{kog i istorijskog de-poa nema vrata, dok se izme|u arheolo{kog i umetni~kogdepoa nalaze drvena vrata. Metalni predmeti sme{teni su udrvene ormane s policama od univera. Najve}i deo nalazi seu kartonskim kutijama, dok je poneki predmet sme{ten ne-posredno na policu. Izvestan broj predmeta povremeno seiznosi iz depoa radi istraìvanja i izlaganja. Za te postupkene postoji procedura pakovanja, transporta i manipulacije.Prostor nije opremljen instrumentima za regulaciju ambi-jentalnih uslova i zaga|enja. Klimatski parametri nisu siste-matski pra}eni jer muzej ne poseduje termohigrograf.

Analiza ambijentalnih uslova obavljena je trenutnimmerenjima i posmatranjem. Za taj deo analize neophodna jenabavka odgovaraju}ih mernih instrumenata, kako bi se oba-vili opse`na analiza i pra}enje parametara; na osnovu toga

mogli bi se predloìti projekti i aktivnosti za pobolj{avanjekarakteristika i opreme, a samim tim i uslova za ~uvanjepredmeta u depou. Trenutna merenja termohigrometrom,u zavisnosti od godi{njeg doba, pokazivala su vrednosti re-lativne vla`nosti od 30% do 75%, dok je temperatura varira-la od 10 do 35°C. Primetne su dnevne i sezonske fluktuaci-je parametara, s vrednostima iznad dozvoljenih. Variranjaparametara umanjena su uvo|enjem centralnog grejanja smogu}no{}u pode{avanja temperature. Primetne su visoketemperature tokom letnjeg perioda. Povi{ena relativna vla-`nost moè biti inicijator aktivne korozije.

Na metalne predmete ne uti~u ni ja~ina osvetljenja niultraljubi~asto zra~enje, to jest dnevna svetlost, budu}i da segotovo svi predmeti nalaze u ormanima i kartonskim kutija-ma. Ve{ta~ko (neonsko) svetlo retko se uklju~uje jer je prosto-rija preko dana svetla. Pomenuti parametri ne ugroàvaju

88


Sl. 4. Faktori koji uti~u na propadanje analiziranih metalnih predmeta

NEDOSTATAKPROGRAMA

KONZERVACIJE

PROPADANJEMETALNIH PREDMETA

NEADEKVATAN TRANSPORT

NEÎSTO]E USLED RUKOVANJA

NEDOSTATAK PROCEDURE

KARAKTERISTIKEI LOKACIJA DEPOA

NEDOSTATAKDOKUMENTACIJE

ZAHTEVI KOJI NISUU SKLADU S

PO[TOVANJEM ADEKVATNIH

KONZERVATORSKO--RESTAURATORSKIH

PROCEDURA

OSCILACIJE USLEDSEZONSKOG GREJANJA

KONZERVATORSKO--RESTAURATORSKI

TRETMANI

NEODGOVARAJU]IAMBIJENTALNI

USLOVI

MANIPULACIJA

ZAGA\IVAÎ



OPREMA U DEPOU

NAÎN PAKOVANJA

measurements with a thermo-hygrometer have shown thevalues of relative humidity from 30 to 75%, depending onthe season, and the temperature fluctuates from 10 to 35°C.Daily and seasonal parameter fluctuations are noticeableand they are above the approved limits. These fluctuationshave been reduced somewhat by the installation of centralheating with the possibility of temperature adjustment. Hightemperatures are noticeable during summer time. The in-creased relative humidity could initiate active corrosion.

The light intensity and ultra violet rays (i.e. the actionof daylight) do not influence metal objects since almost allare stored in cupboards and cardboard boxes. Artificial(neon) light is almost not introduced at all because ofhaving sufficient natural light. These parameters do not in-fluence metal objects, apart from the fact that during sum-mer months the storage temperatures become rather high.

The storage windows overlook a street with busy trafficand the highest pollution levels (just one kilometre from anindustrial area). Having in mind that the windows have beenchanged this year, but do not seal perfectly, and that thereis no special procedure for storage ventilation, there is theincreased danger of harmful gasses being present in thestorage area, which influence the appearance of corrosion.

Disinfection, deinsectation and deratization (since lastyear) is carried out by a company that uses reduced quanti-ties of chemical means, which is safe for the museum objectsand the employees. The same company takes necessaryprecautionary measures for pest and biological control.Although the windows and doors are not sealed and thefloor and walls are not in a satisfactory condition, we havenot noticed the presence of pests and insects that wouldendanger the metal objects.

89


LACK OF CONSERVATION

PROGRAM

DETERRIORATION OF

METAL OBJECTS

INAPPROPRIATE TRANSPORTATION

AFTER HANDLING DIRT

LACK OF PROCEDURE

CHARACTERISTICS AND STORAGE LOCATION

LACK OF DOCUMENTATION

REQUESTS THAT DO NOTREFFER TO RESPECTING

THE APPROPRIATE CONSERVATION-RESTAURATION PROCEDURES

HEATING SYSTEMOSCILLATIONS

CONSERVATION-RESTAURATION

TREATMENTS

INAPPROPRIATEENVIRONEMENT

CONDITIONS

HANDLING

POLLUTANTS

CHARACTERISTICS AND THE STORAGE LOCATION

CHARACTERISTICS AND THE STORAGE LOCATION

STORAGE

WRAPPING

Fig. 4. The factors influencing the deterrioration of the analysed metal objects

90


metalne predmete, osim {to u letnjim mesecima tempera-ture u depou dostiù visoke vrednosti usled zra~enja.

Prozori depoa okrenuti su ka jednoj od najprometnijihi najzaga|enijih ulica u gradu (koja je udaljena samo jedankilometar od industrijske zone). Prozori su ove godine za-menjeni, ali nisu i posebno zaptiveni, a posebna procedurao provetravanju depoa ne postoji, pa se pojavljuje opasnostod pove}anog prisustva {tetnih gasova, onih koji izazivajupojavu korozije.

Dezinfekciju, dezinsekciju i deratizaciju od pro{le go-dine obavlja preduze}e koje tretman sprovodi uz redukcijuhemijskih sredstava; koriste se sredstva ne{kodljiva za mu-zejske predmete i radnike. U saradnji s tom firmom preduzi-maju se i preventivne mere za kontrolu {teto~ina i biolo{kukontrolu. Iako prozori i vrata nisu zaptiveni, a pod i zidovise nalaze u lo{em stanju, do sada nije prime}eno prisustvo{teto~ina i insekata koji bi ugroàvali metalne predmete.

Najve}i deo predmeta upakovan je u polietilenske kesi-ce, a zatim u kartonske kutije. U kutijama se naj~e{}e nala-zi veliki broj predmeta, za koje, osim polietilenskih kesica, nepostoji posebno obezbe|enje u pogledu podr{ke i stabilnosti,{to naro~ito moè izazvati strukturne promene. Neki pred-meti dodatno su uvijeni u pamu~nu ili papirnu vatu. Manji

deo njih sme{ten je neposredno u kartonske kutije ili napolice. Taj vid pakovanja ne moè umanjiti spoljne uticaje.Promene na predmetima usled kontakta s materijalom zapakovanje nisu prime}ene. Na osnovu analize ambalaè, tojest na~ina pakovanja metalnih predmeta, zaklju~eno je daje ona delom adekvatna, ali i nepotpuna i nedovoljna u od-nosu na odgovaraju}e standarde, i da, kao takva, ne moèumanjiti negativne spoljne uticaje. Za obezbe|ivanje po-voljne mikroklime potrebna su manja finansijska ulaganja,a mere bi se mogle sprovesti tokom kra}eg perioda, pa bi taaktivnost bila prvi korak kojim bi se mogli povoljno izme-niti postoje}i uslovi.

Za{tita od vanrednih prilika odnosi se na za{titu od po-àra i utvr|ena je pravilima vatrogasne slu`be, bez poseb-ne procedure o za{titi predmeta u takvom slu~aju. U sused-nom depou nalazi se aparat za ga{enje poàra na bazi prahapod pritiskom. Aparate na bazi suvog praha pod pritiskom,koji su najvi{e u upotrebi u na{im muzejima, trebalo bi iz-begavati, s obzirom na to da je u slu~aju ekscesa gotovo ne-mogu}e ukloniti prah s predmeta. Posebnu pa`nju trebalobi obratiti na postoje}e elektri~ne instalacije. Ne postoji po-sebna procedura ili obezbe|enje u slu~aju drugih ekscesnihsituacija.

ZBIRKE METALNIH PREDMETA

AMBIJENTALNI USLOVI I SME[TAJ

INSTITUCIONALNE MERE ZA[TITE

ZADATAK

Revizija

Ustanoviti stanje predmeta

Napraviti plan i sastaviti spisak predmeta kojima je neophodna detaljna analiza prema rezultatima pregleda

Napraviti plan po kojem }e se obaviti neophodni konzervatorsko-restauratorski tretmani

prema rezultatima pregleda

AKtivnost

Utvrditi brojno stanje predmeta, pregledati postoje}u dokumentaciju i dopuniti je

Detaljno analizirati stanje prema utvr|enim formularima

Detaljno ispitati predmete u postoje}im laboratorijskimuslovima; ukoliko je neophodno, obaviti analizu u drugim

ustanovama; trebalo bi voditi fotodokumentaciju radi utvr|ivanja stanja predmeta

Obaviti odgovaraju}i konzervatorsko-restauratorski tretman za predmete koji zahtevaju intervenciju prema planu

i rezultatima pregleda

Neprekidno pratiti parametre u depou tokom godinu dana

Premestiti predmete u adekvatnu ambalaù

Adaptirati postoje}i depo (adekvatne karakteristikei oprema) i u taj depo smestiti predmete

ili pripremiti depo na novoj, odgovaraju}oj lokaciji

Pripremiti plan sme{taja predmeta

Proceniti veli~inu prostora za sme{taj novih predmeta (na osnovu procene kustosa)

Nabavka termohigrografa – obaviti analizu postoje}ih ambijentalnih uslova

Kondicionirati predmete u depou

Pobolj{ati ambijentalne uslove na osnovu analize i njihovog sistematskog merenja

Ostvariti funkcionalni raspored u depou

Predvideti prostor za {irenje zbirke

Pripremiti plan za vanredne situacije

Izraditi procedure za rukovanje predmetima,nabaviti odgovaraju}u opremu

Pripremiti pravilnik za sprovo|enje kontrolnih pregleda

Nabaviti opremu; stru~no usavr{avanje

Izraditi pravilnik pristupa zbirci

Smanjiti rizik u vanrednim situacijama

Pobolj{ati na~in rukovanja zbirkom

Ustanoviti reìm kontrole zbirke

Unaprediti rad konzervatorsko-restauratorske slu`be

Ustanoviti reìm pristupa zbirci

Tabela 2. Zadaci i aktivnosti za pobolj{anje stanja i smanjenje faktora rizika po metalne predmete

Most objects are packed in polyethylene bags and thenin cardboard boxes. In most boxes there are a large numberof objects, and except for the polyethylene bags they haveno other protection to support the stability and significantlyreduce structural changes. Some objects are additionallywrapped into cotton or paper wadding. A small number ofthese are directly placed in cardboard boxes or on shelves.This kind of packing cannot prevent external influences.The object may change as a result of direct contact with thewrapping material. By analysing the wrapping material (i.e.the way in which metal objects have been packed), it hasbeen concluded that it is partially appropriate but incom-plete and inadequate to fulfil necessary standards, and assuch cannot absorb negative external influences. In order toprovide a satisfactory microclimate some minor financialinvestment is necessary as well a small period of time toimplement the changes. This action would present the firststep to satisfactorily modify existing conditions.

Protection from extraordinary circumstances refers toprotection against fire, and it has been established accordingto the rules of the fire protection service, without separate

procedures for the protection of objects in this case. In thenext storage there is a dry powder fire extinguisher opera-ting under pressure. Such apparatuses ought to be avoidedbecause in the event of an accident it is almost impossible toremove the powder from the objects. Special attention oughtto be paid to the existing electrical installations. There is nospecial procedure or security in case of other accidents.

SUGGESTIONS AND DISCUSSIONThe tasks and activities for improving the condition andreduction of risk factors to metal objects cannot be consi-dered as an isolated system, since they present a whole withother materials found in the storage. Besides metal objects,here are also objects made of ceramics, but objects of orga-nic origin and stone are stored elsewhere.

In further consideration, a series of actions and tasksare suggested in order to improve the condition of metalobjects and their protection and also to improve their sto-rage conditions. Some measures could be applied at the le-vel of the whole storage, but for some actions the presenceof other material, for which considerable analysis has to be

91


METAL OBJECT COLLECTIONS

ENVIRONMENT CONDITIONS AND STORAGE

INSTITUTIONAL PROTECTION MEASURES

TASK

Revision

Confirm the object condition

Make the plan and list of objects that need the detailedanalyses considering the analyses results

Make the plan for performance of the necessary conservation –

restauration treatments considering the check up results

ACTIVITY

Confirm the number of objects, consider and make additions to the existing documentation

Detailed condition analyses as per established forms

It is necessary to make the detailed analyses of objects in the existing laboratory conditions; and if necessary to make the

check up in other institutions; the photo documentation oughtto be led in order to establish the facts of the object condition

Perform the appropriate conservation – restauration treatment for objects requiring the intervention

as per plan and check up results

Continiously monitor the parameters in the storage in the time limit of one year

Transfer to appropriate wrapping material

Transfering the objects into the existing storage, adjusted refference to appropriate characteristics and equipment or organize the storage on the new appropriate location

Preparing the plan for placing the objects

Make an estimation of space size for storing the new objects (curator estimation)

Purchase of thermohygrograph – analyses of the existing environment conditions

Conditioning the objects in the storage

Impove the environment conditions based on the analyses and their systematic measurements

Accomplish the functional schedule in the storage

Forsee the space for expanding the collection

Prepare the plan for extraordinary situations

Make the procedure for handling the objects as well aspurchase of appropriate equipment for this need

Prepare the book of rules how to carry out the controlled check ups

Purchasing the equipment and professional training

Prepare the book of rules of how to approach the collection

Reduce the risk in extraordinary situations

Improve the handling of the collection

Establish the system of the collection control

Improving the operation of the conservation-restauration service

Determine the conditions for approaching the collection

Table 2. Tasks and activities for improving the condition and reduction of risk factors to metal objects

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PREDLOZI I DISKUSIJAAktivnosti kojima bi se pobolj{alo stanje metalnih predme-ta i smanjili faktori rizika po njih ne mogu se posmatrati kaoizolovan sistem, jer ti predmeti ~ine neraskidivu celinu saostalim materijalom u arheolo{kom depou. Pored metalnih

predmeta, tu su jo{ i predmeti od keramike, dok se predmetiorganskog porekla i oni od kamena nalaze u drugom depou.

U tabeli 2 dat je niz aktivnosti i zadataka ~iji je cilj po-bolj{avanje stanja metalnih predmeta i njihove za{tite, kao iuslova u kojima se predmeti nalaze. Pojedine moèmo pri-meniti na nivou celog depoa, dok se prilikom sprovo|enjanekih aktivnosti mora uzeti u obzir i postojanje drugog ma-terijala, za koji se mora obaviti opse`na analiza. Ovde su na-vedeni zadaci i aktivnosti bez oznake prioriteta i bez sme-{tanja u vremenski okvir, budu}i da je za to potrebna analizacelokupnog arheolo{kog materijala u depou, kao i procenarizika po predmete i odre|ivanje prioriteta. Tabela 2 organi-zovana je prema nivoima za{tite; u njoj nisu navedena po-trebna finansijska sredstva, kao ni stru~njaci i ostali zaposle-ni koji bi sproveli navedene aktivnosti ({to bi se odnosilo nakustose, konzervatore, tehni~ku slu`bu, upravu muzeja ipravnu slu`bu). Za neke od predloènih zadataka neophod-no je angaòvati i stru~njake iz drugih oblasti i institucija.

Analiza stanja metalnih predmeta i izrada primenje-nog formulara mogu posluìti kao uzor za analizu stanjacelokupne arheolo{ke zbirke. Po istom principu, uz izvesnaprilago|avanja, mogu se obavljati i analize drugih zbirki umuzeju, a zatim i redovni kontrolni pregledi. Na taj na~inpostigla bi se znatna efikasnost u radu muzeja, ostvarili bi seuslovi za sprovo|enje odgovaraju}ih projekata, ali i ekonom-ska u{teda, dok bi predmeti istovremeno dobili stru~nu i ade-kvatnu za{titu, {to je jedna od osnovnih funkcija muzeja.

Autor se zahvaljuje na stru~noj pomo}i Aleksandri Dìki}-Nikoli}, konzervatoru Odeljenja zapreventivnu za{titu „Dijana“, Narodnog muzeja u Beogradu

Predloèni tretmanSkala

Stepen 0 Stepen 1 Stepen 2 Stepen 3

KonzervacijaTretman nepotreban na dan analize stanja

Tretman poèljan– dugoro~ni plan

Tretman potreban– srednjoro~ni plan

Tretman urgentan– kratkoro~ni plan

RekonzervacijaTretman nepotreban na dan analize stanja




Tretman nepotreban na dan analize stanja




Restauracija

Ispitivanje(mati~ni muzej)

Nema potrebe zaspecifi~nim ispitivanjima

Ispitivanje– dugoro~ni plan

Ispitivanje neophodnoza potrebe restauracije,

urgentno

Ispitivanje neophodnoza potrebe konzervacije,

urgentno

Ispitivanje(druga ustanova)

Nema potrebe zaspecifi~nim ispitivanjima

Ispitivanje– dugoro~ni plan

Ispitivanje neophodnoza potrebe restauracije,

urgentno

Ispitivanje neophodnoza potrebe konzervacije,

urgentno

FotodokumentacijaNema potrebe za

dodatnom foto-dokumentacijom

Izradafotodokumentacije

predmeta neophodnana svakih pet godina


predmeta neophodnana tri godine


predmeta neophodnasvake godine

Preventivna za{titaNema potrebe za

dodatnim zahtevimaNeophodno adekvatno

pakovanjeNeophodno pobolj{anje

ambijentalnih uslova

Neophodno adekvatnopakovanje

i pobolj{anjeambijentalnih uslova

Tabela 3. Rangiranje predloènih tretmana prema hitnosti izvr{enja, odnosno prema stanju metalnog predmeta

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Suggested treatmentScale

Stepen 0 Stepen 1 Stepen 2 Stepen 3

ConservationTreatment not necessaryon the day of condition

analyses

Treatment desired– long term plan

Treatment necessary– medium term plan

Treatment urgent– short term plan

Repeated conservationTreatment not necessaryon the day of condition

analyses




Treatment not necessaryon the day of condition

analyses




Restauration

Analyses (museum itself)

No need for specificanalyses

Analyses– long term plan

Analyses necessaryfor restauration, urgent

Analyses necessary forconservation, urgent

Analyses (another institution)

No need for specificanalyses

Analyses– long term plan

Analyses necessaryfor restauration, urgent

Analyses necessary forconservation, urgent

Photo documentationNo need for additionalphoto documentation

Photo documentatingof the object necessary

every five years

Photo documentating of the object necessary

every three years

Photo documentating of the object necessary

every one year

Preventive conservationNo need for additional

requirementsAppropriate packing

necessary

Necessary improvementof environement

conditions

Appropriate packingnecessary as well as

improvement ofenvironement conditions

Table 3. Ranking the suggested treatments as per its urgency i.e. metal object condition

made, must be considered. Here are given tasks and actionswithout priority designation and time limits, having inmind that for this the analysis of all stored archaeologicalmaterial is necessary. Table 2 is organized according tolevels of protection, and the necessary financial parametersand necessary human resources (i.e. curators, conser-vators, technical staff, museum management and legaldepartment) are not presented. For some tasks suggested itis necessary to engage professionals from other fields andinstitutions.

The analysis of metal object conditions as well the ne-cessary forms for this need, could be implemented into theanalysis of the whole archaeological collection condition.By the same principle, the analyses of other collections inthis museum could be made with some modifications, fol-lowed by regular check ups. In this way a higher operationalefficiency of the museum could be reached as well as pro-viding conditions to fulfil appropriate projects. There wouldalso be economic savings, while at the same time the objectswould receive appropriate professional protection, which isone of the basic museum functions.

The author wishes to express his gratitude to AleksandraDìki}-Nikoli}, conservator of Department for PreventiveConservation „Diana“, National Museum in Belgrade.

ODELJENJE ZA PREVENTIVNU ZA[TITU Dijana Narod-nog muzeja u Beogradu i Francuski kulturni centar u Beo-gradu ve} nekoliko godina sprovode projekte stru~nih usa-vr{avanja muzealaca iz Srbije u kulturnim institucijama uFrancuskoj. Saradnja izme|u ovih institucija stvorila je mo-gu}nost za zaposlene i saradnike Odeljenja Dijana da reali-zuju vi{emese~ne staève u muzejima i konzervatorskimcentrima i laboratorijama. U jesen 2007. provela sam dva me-seca u Centru za istraìvanje i konzervaciju muzeja Fran-cuske C2RMF (Centre de Recherche et de Restaurations desMusées de France) u Parizu, gde mi je zadatak bio da prevo-dim termine tezaurusa baze podataka EROS na srpski jezik.

Centar je osnovan 1998. godine spajanjem Istraìva~-ke laboratorije Direkcije muzeja Francuske i Konzervator-ske slu`be Direkcije muzeja Francuske. Centar ~ine ~etiriodeljenja – Laboratorija, Konzervacija, Preventivna za{tita iDokumentacija. Tokom staà u Odeljenju za dokumentacijuostvarila sam dobru saradnju sa @enevjev Etken (GenevièveAitken), {efom Odeljenja za dokumentaciju, i Ruvenom Pi-lejem (Ruven Pillay), programerom i glavnim administra-torom sistema EROS.

EROS (European Research Open System) jeste otvorenabaza podataka, odnosno otvoren vi{ejezi~ni sistem za pretra-ìvanje sadràja slika, posve}en razmeni konzervatorsko-

-restauratorskih podataka izme|u institucija kulture (OpenSource Multilingual Research System for Image Content Re-trieval dedicated to Conservation-Restoration exchange bet-ween Cultural Institutions).

Evropska zajednica je 1990. godine finansirala projekatpod nazivom NARCISSE (Network of Art Research ComputerImage Systems in Europe). On je bio osmi{ljen kao vi{ejezi~-na baza podataka (osam evropskih jezika) za dokumentacijumuzejskih konzervatorskih radionica (laboratorija) koje sebave konzervacijom i restauracijom slika na platnu. Nastaoje kao rezultat potreba konzervatora da istraùju, klasifiku-ju i razmenjuju podatke. Cilj je bio da se u bazu NARCISSEsmeste svi izve{taji, ~lanci i komentari o kulturnim dobri-ma koja su pro{la kroz laboratorije konzervatorsko-restau-ratorskog odeljenja muzeja Luvr od nastanka odeljenja1931. godine, kao i svaka digitalizovana fotografija ili radi-ografski snimak, dosije svake konzervatorske intervencije iobavljene fizi~ko-hemijske analize.

C2RMF je 2001. godine konstruisao EROS,1 bazu po-dataka s mnogo ve}im kapacitetom. EROS je dizajniran zapotrebe muzejskih i istraìva~kih konzervatorskih radioni-ca (laboratorija), kako bi se efikasno koristila velika koli~inapodataka, pre svega vi{ejezi~kih metapodataka (uklju~uju}ii one na ruskom, japanskom, arapskom, {panskom, italijan-skom, gruzijskom, estonskom jeziku), kao i kolorimetrijskii multispektralni snimci veoma visoke rezolucije.

Zasad je 300.000 fotografskih i radiografskih snimaka,10.000 tehni~kih izve{taja, 500 trodimenzionalnih objeka-ta i 200.000 analiza 56.000 umetni~kih dela2 dostupno udigitalnoj formi, putem Interneta, svim institucijama u siste-mu muzeja Francuske, kao i svim onim stranim dràvama iz~ijih su institucija muzejski profesionalci preveli na mater-nji jezik bazi~ni tezaurus, to jest re~nik osnovnih pojmova.

EROS je sistem kompletno otvorenog koda i dostupanpod GNU-ovom op{tom javnom licencom3 (engl. GNU Ge-neral Public License; skra}eno GNU GPL ili samo GPL). Ba-zira se na vode}em industrijskom softveru – Linux, Apache,MySQL, PHP.

Baza EROS svojim domenom obuhvata keramiku, fo-tografiju, {tampu, crte`, organske materijale, metal, slike

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DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Marija RADIN, konzervatorsaradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

PREVO\ENJE TEZAURUSA BAZE PODATAKA EROSNA SRPSKI JEZIK

1] U saradnji sa Hewlett-Packardom, koji je pruìo logisti~kupodr{ku.

2] 14th Triennial Meeting The Hague, 12–16 September 2005,ICOM Committee for Conservation, Vol. I, 16.

3] GNU-ova op{ta javna licenca {iroko je kori{}ena licenca zaslobodni softver; prvobitno ju je napisao Ri~ard Stolman za potre-be projekta GNU. To je licenca koja se koristi za Linuks.

THE DEPARTMENT for Preventive Conservation Diana,National Museum in Belgrade, together with the FrenchCultural Centre in Belgrade have been conducting for severalyears projects for professional training of Serbian museumexperts in cultural institutions of France. The cooperationbetween the two institutions has given the employees andassociates of Diana an opportunity for receiving months-long internships in centres for conservation and laborato-ries. In the autumn of 2007, I spent two months at the Re-search and Conservation Centre of French Museums C2RMF(Centre de Recherche et de Restaurations des Musees de France),in Paris, where I was given a task to translate terms fromthe thesaurus of the EROS database into Serbian.

The Centre was established in 1998 by the merge ofthe Research Laboratory of the French Museums’ Manage-ment and the Conservation Office of the French Museums’Management. The Centre consists of departments – theLaboratory, Conservation, Preventive Protection, and Docu-mentation. During the course of my internship at theDepartment for Documentation I have established a closecooperation with Genevieve Aitken, Head of the Department,as well as with Ruven Pillay, programmer and chief admi-nistrator of the EROS system.

EROS (European Research Open System) is an open data-base, i.e. an open multilingual research system for imagecontent retrieval, dedicated to conservation-restoration ex-change between cultural institutions.

In 1990 the European Community funded a project bythe name of NARCISSE (Network of Art Research ComputerImage Systems in Europe). It was designed as a multilingualdatabase (in eight European languages) for documentingmuseum conservation workshops (i.e. laboratories) whoseactivity is conservation and restoration of canvas paintings.The objective was to archive within NARCISSE all reports,articles and commentary on cultural heritage treated in thelaboratories of the Conservation-Restoration Departmentat Louvre ever since its opening in 1193, as well as all digi-talised photographs, radiographic recordings, dossiers onall conservation interventions and performed physicoche-mical analyses.

In 2001 C2RMF constructed EROS1, a database with aconsiderably larger capacity. EROS was designed for theneeds of museum and research conservation workshops (i.e.laboratories) in order to handle efficiently a substantialamount of data, mainly multilingual methadata (includingdata in Russian, Japanese, Arabic, Spanish, Italian, Georgian,Esthonian languages) as well as the ultrahigh resolution co-lorimetric and multispectral imaging. 300.000 photographicand radiographic images, 10.000 technical reports, 500three-dimensional objects, and 200.000 analyses of 56.000

works of art2 are thus far available in digital form, on theInternet, to all institutions within the system of museumsin France. They are also available to all foreign countries fromwhose institutions museum professionals have translatedinto their mother tongues the basic thesaurus i.e. the dic-tionary of basic terminology.

EROS is a system of a completely open code, availablewithin the GNU general public licence3 (abbreviated eitheras GNU GPL or simply GPL). It is based on the leading in-dustrial software – Linux, Apache, MySQL, PHP.

EROS database encompasses ceramics, photography,prints, drawings, organic materials, metal, canvas paintings,stone, minerals, i.e. sculptures, textile, and glass. However,upon the first glance, it is apparent that most of the data iscurrently dedicated to canvas paintings.

In the EROS database, data are primarily divided intothree main groups – data on the very work of art, data onrecordings, and documents about cultural heritage. Each ofthe general categories is divided into several more exactand elaborate subcategories, the details about allsubcategories being available to database users. The maingroups are:

– Museum and historical data, as well data on materialsof which works of art are made – the title, the author’s name,school, where it was made, dimensions, dating, materials,techniques, commentaries on the support material or theused technique, locations, marks, signatures and seals, theplace where the conservational treatment was conducted,the owner, the place where the object was discovered, theinformation about the acquisition, the internal C2RMFnumber, the C2RMF dossier number, the state in whichthe object is, bibliography, the date of the entry, the dataon the author of the entry;

– Technical data on photodocumentation, i.e. the dataregarding every type of recording (photographic, digital, orradiographic) of a work of art – the technique of examina-tion, the type of a recording, technical data on a recording,the dating of a recording or video, the photographer’s name,the purpose of a recording, the place where a recording wasarchived, the owner and his place of domicile, whether it is an

95

EDUCATION AND PROFESSIONAL MEETINGS DIANA #13

Marija RADIN, conservatorAssociate of the Departmant for preventive conservation Diana, National Museum in Belgrade

TRANSLATING THE THESAURUS OF THE EROS DATABASE INTO SERBIAN

1] In cooperation with Hewlett-Packard, which providedlogistical support

2] 14th Triennial Meeting The Hague, 12–16 September 2005,Icom Committee for Conservation, Vol. I, 16

3] The GNU general public licence is a widely used licencefor free software. It was originally written by Richard Stallman forthe needs of GNU Project. This licence is used for Linux.

na platnu, kamen i minerale, to jest skulpture, tekstil i sta-klo. Ipak, na prvi pogled jasno je da je trenutno najvi{e po-dataka posve}eno upravo slikama na platnu.

U bazi EROS podaci su podeljeni, pre svega, u tri osnov-ne grupe: na podatke o samom umetni~kom delu, podatke osnimcima i izve{taje i dokumente o kulturnim dobrima. Sva-ka od tih uop{tenih kategorija podeljena je na vi{e preciznijihi detaljnijih potkategorija, a pojedinosti o svakoj od potkate-gorija lako su dostupne korisniku baze. Osnovne grupe su:

– muzeolo{ki i istorijski podaci i podaci o materijalimaod kojih su izra|ena kulturna dobra – naslov, ime umetni-ka, {kola, mesto nastanka, dimenzije, datiranje, materijali,tehnike, komentari o podlozi ili tehnici izrade, lokacija, oz-nake, potpisi i pe~ati, mesto obavljanja konzervatorskog tret-mana, vlasnik, mesto na kojem je otkriveno, podaci o akvi-ziciji, C2RMF interni (radni) broj, broj dosijea C2RMF-a,stanje u kojem se nalazi, bibliografija, datum unosa poda-taka, podaci o autoru unosa;

– tehni~ki podaci o fotodokumentaciji, to jest o sva-kom snimku nekog dela (fotografskom, digitalnom ili radi-ografskom) – tehnika ispitivanja, tip snimka, tehni~ki po-daci o snimku, datiranje snimka ili filma, ime fotografa,svrha snimka, mesto arhiviranja snimka, vlasnik i njegovalokacija, da li je re~ o originalu ili kopiji, kanali boja, poda-ci o unosu u bazu, to jest vreme i ime osobe;

– tehni~ki podaci o dokumentima – identifikacioni brojdokumenta, tip dokumenta, vreme nastanka i ime autora iz-ve{taja, eventualne napomene, naslov, sastavni elementi pod-loge, izmene na bojenom sloju, intervencije na podlozi, inter-vencije na bojenom sloju, tehni~ka bibliografija, ISSIN/ISBN,institucija, to jest vlasnik dokumenta, mesto arhiviranjadokumenta, podaci o datumu i autoru unosa.

Pored tih osnovnih kategorija, koje se nalaze u prvomplanu, postoji jo{ nekoliko va`nih grupa podataka:

– kategorija o preme{tanju kulturnog dobra – razlozi zapreme{tanje, administracija, to jest zahtev, navo|enjeodgovornih osoba, izve{taji i sli~no;

– kategorija o preventivnoj za{titi predmeta;– kategorija o analizama i uzorcima;– zahtev za obavljanje konzervacije;– logisti~ka potpora, odnosno kori{}eni softver.Kori{}enje i pretraga baze izuzetno su laki. Na po~et-

noj strani nalaze se tri izdvojene celine. U prve dve nalazese polja za odabir jezika na kojem }e se podaci ~itati, zaodabir domena ili kategorije objekta (na primer: slika naplatnu, skulptura, metal itd.), èljenog tipa i formata doku-menta (tabela, samo slika, HTML format, hronolo{ki redo-sled itd.); broj rezultata pretrage moè se ograni~iti. Zatimslede tri tabele osnovnih kategorija po kojima se obavljapretraga – podaci o kulturnom dobru, o snimcima i podacio dokumentima. Pored svake od tih kategorija nalazi se iko-na za padaju}i meni, na kojem su ponu|ene opcije ograni-~ene izborom domena, to jest kategorije objekta. Da bi pro-ces pretrage baze otpo~eo, dovoljno je da se unese podatako traènom delu u bilo koje od tih polja i da se klikne ko-manda za pretragu (ili tipka enter). Dobijeni rezultati opetsu podeljeni u tri glavne kategorije i korisnik bira ono {tomu je potrebno, na primer izve{taj o konzervatorskoj inter-venciji ili tehni~ke podatke o tipu snimka.

EROS je konstruisan kao vi{ejezi~na baza podataka ra-di uspe{ne komunikacije izme|u profesionalaca. Terminiza prevo|enje grupisani su u tri pomenute kategorije: mu-zeolo{ki i istorijski podaci i podaci o materijalima, tehni~kipodaci o fotodokumentaciji i tehni~ki podaci o dokumenti-ma. Svaka od tih kategorija podeljena je u vi{e potkategori-ja, a termini koji pripadaju svakoj potkategoriji prevodiocusu ponu|eni u formi tabele. Svi termini koji se odnose najednu kategoriju, na primer na kategoriju podloge (od poj-ma lan do pojma {raf ili lepak za drvo), sloèni su u poseb-nu tabelu i svaki termin ima svoj kod ili {ifru. Klikom na tajkod pojavljuje se padaju}i meni koji sadrì listu prevoda togtermina na nekoliko jezika koji postoje u bazi. Upravo tajvi{ejezi~ki tezaurus pomaè prevodiocu ukoliko postoji ne-doumica u vezi s nekim zna~enjem, jer se moè proveritikako je termin preveden na neki drugi jezik. Meni je odnajve}e koristi bila engleska terminologija. Tako|e, bazapodataka EROS omogu}uje i spoznaju {ireg konteksta u ko-jem se koristi neki termin. Pomo}u funkcija za pretraì-vanje svih tekstova u bazi na osnovu kori{}ene terminolo-gije prevodilac moè da dobije na uvid svaki dokument,konzervatorski dosije, ~lanak ili opis umetni~kog dela u ko-jem se dati termin koristi. Uvidom u {iri kontekst u kojemse koristi neka re~ sti~e se i bolje razumevanje zna~enja togtermina. Dakle, prevo|enje tezaurusa EROS-a olak{ano jesamom strukturom i funkcijama baze.

Pored francuskog, najzastupljeniji jezik u bazi jesteengleski. Iako su neki termini prevedeni i na vi{e od desetjezika, ni za jedan jezik nije ura|en kompletan prevod svihtermina.

Moj boravak je bio previ{e kratak ~ak i za prevo|enjepolovine tezaurusa baze. Zato smo @. Etken, R. Pilej i ja na-pravili izbor osnovnih kategorija koje je trebalo da preve-dem. Prevode sam unosila na }iliri~kom pismu. Prvo samprevela termine interfejsa cele baze podataka. Iz svake odtri glavne kategorije izdvojili smo grupu najop{tijih termi-na – u vezi s podlogom, bojenim slojem, izmenama nasta-lim na podlozi i bojenom sloju, tehnikama i metodama kon-zervacije, tehnikama i aparatima za snimanje i tipovimafilma, vrstama i tipovima dokumenata i izve{taja. Pri krajustaà po~ela sam da prevodim na srpski jezik listu od 300najzastupljenijih naslova u bazi EROS. Sve je to ura|eno dabi se dalje prevo|enje u najve}oj meri olak{alo i ubrzalo, sobzirom na to da }e ono biti izvedeno putem Interneta. Tekprevo|enje kompletne terminologije tezaurusa baze EROSomogu}i}e automatsku zamenu svih originalnih terminasrpskim terminima u svim postoje}im dokumentima kojisu uneti u bazu.

Svrha tog prevo|enja jeste da stru~njaci u Srbiji moguda pristupe bazi podataka EROS i da je koriste, {to, pre sve-ga, podrazumeva:

– mogu}nost pristupa informacijama na srpskom jezi-ku iz ustanove sa savremenim istraìva~kim i kon-zervatorskim laboratorijama;

– olak{avanje i podsticanje potencijalne profesionalnesaradnje;

– mogu}nost kori{}enja baze EROS kao velikog upo-rednog profesionalnog re~nika stru~ne terminologijena nekoliko svetskih jezika.

96


original or a copy, the colour channels, the data regardingthe base entry, i.e. who made the entry and when;

– Technical data regarding documents – identificationnumber of a document (document ID), document type, thetime of creation and name of the report’s author, possiblecomments, the title, original elements of the support, pain-ted layer alteration, support restorations, interventions onthe coloured layer, technical bibliography, ISSIN/ISBN, in-stitution, i.e. the document’s owner, where it was archived,the data regarding the date of the entry and its author.

Apart from the basic categories, included in the firstplan, there are several more data groups:

– The category of the transfer of objects – the reasons forthe transfer, administration, i.e. the motion, namingthe persons in charge, reports, and similar;

– The category of preventive conservation of objects;– The category of analyses and specimens;– The request to perform conservation;– The logistical support, i.e. the utilised software.Using and searching the database is rather simple.

There are three separate wholes on the opening page. In thefirst two there are fields for choosing the language in whichthe data will read, for choosing the object domain andcategory (for instance: canvas painting, sculpture, metal,etc.), the desired type and format of a document (i.e. tables,the painting only, HTML format, chronological order, etc).The number or search results can be limited. Then followthree tables with main categories on the basis of which thesearch is conducted – the data about the work of art and re-cordings as well as the data about the documents. Next toevery of the three categories there is a dropping menu icon,which offers options limited by choice of the domain, i.e.the object’s category. To initiate the search process it is suf-ficient to enter the information about the needed piece inany of the three fields and click the search control (or theenter key). The obtained results are again divided into threemain categories and the user chooses the ones he or sheneeds – for instance the report on the conservation inter-vention or technical information on the type of recording.

EROS is constructed as a multilingual database forsuccessful communication amongst professionals. The ter-minology due to be translated is divided into three abo-vementioned groups: museological, historical, and the dataon materials; technical data on photo documentation; andtechnical data on the documents. Each of the categories isdivided into several subcategories, whilst the termsbelonging to every subcategory are offered to the translatoras tables. All terminology relating to one category – thesupport category (from the word linen, to the words bolt orwood glue) – is sorted in a separate table and every term hasits own name and code. By clicking the code a droppingmenu appears which contains a list of its translations intoseveral languages existing within the database. This parti-cular multilingual thesaurus aids the translator if certainsenses are unclear, because he can check how the termtranslates into another language. For me English terminolo-gy was of the utmost importance. Furthermore, the EROSdatabase enables cognition of a broader context in which agiven term is used. By using functions for searching all da-

tabase texts, the translator can get an insight into everydocument, conservation dossier, article, or the descriptionof a work of art in which the given term was used. By thisinsight into the broader contexts of its use, we gain a betterunderstanding of the term’s meaning. Therefore the tran-slation of the EROS thesaurus is facilitated by the data-base’s very structure and functions.

With the exception of French, the English language isthe most present within the base. Although some termino-logy has been translated into more than ten languages, thecomplete translation of all terms has not yet been performedfor any of the languages.

My stay in Paris was of such brevity that I was not ableto translate even half of the database thesaurus. ThereforeJ. Eiken and I made a selection of the basic categories thatI was supposed to translate. I entered the translations inCyrillic. First I translated the interface terminology of theentire database. From all of the three main categories weselected a group of the most general terms – regarding sup-port materials, painted layer, the changes made on the sup-port an the painted layer, conservation techniques andmethods, recording techniques and devices, types of film,types of documents and reports. At the end of my intern-ship I started translating into Serbian a list of 300 most nu-merous titles in the EROS database. This was all performedto maximally facilitate and expedite further translations,for it will be conducted through the Internet. The transla-tion of the entire terminology of the EROS thesaurus data-base will enable automatic replacement of all original termswith terms in Serbian in all existing documents, which areentered into the database.

The aim of this translation is to enable the access of Ser-bian experts to the EROS database, which chiefly includes:

– The possibility to access the data from an institutionwith contemporary research and conservation labo-ratories, in Serbian language;

– The facilitation and stimulation of potential profes-sional cooperation;

– The possibility to use the EROS database as a com-prehensive professional dictionary of technical ter-minology in several world languages.

What is needed for the use of EROS in Serbia? To accessvia the Internet that level of the database that allows ente-ring changes into the thesaurus, the administrator’s per-mission and some technical requirements, such as a fixedIP address, are needed.4 A cultural Institution from Serbiaestablishes cooperation with C2RMF and is assigned a username and password for Internet access to the database. Andultimately, to ensure that the translation of the terms iscorrect, a close cooperation is established among the tran-slator and the database administrators and conservers spe-cialised for all materials, as well as with other experts in thefield of physico-chemical analyses, techniques of photo-graphing, etc. The internship has offered me an insight

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4] The IP address is a unique number that registers the Inter-net presence of a particular device at a given moment, by using theInternet protocol.

[ta je potrebno da bi se EROS koristio i u Srbiji? Da bise putem Interneta pristupilo onom nivou baze na kojem jedozvoljeno uno{enje izmena u tezaurus, potrebna je dozvo-la administratora, uz neke tehni~ke pretpostavke, kao {to jefiksna IP adresa.4 Kulturna institucija iz Srbije uspostavljasaradnju sa C2RMF i dobija korisni~ko ime i lozinku za pri-stup bazi putem Interneta. I, na kraju, da bi prevod termi-na bio ta~an, neophodna je bliska saradnja prevodioca i ad-ministratora baze s konzervatorima specijalizovanim za svematerijale, kao i s drugim stru~njacima iz oblasti fizi~ko-hemijskih analiza, tehnika fotografisanja itd. Sta` mi je pru-ìo uvid u na~in funkcionisanja obimne baze podataka.

Princip po kojem je EROS napravljen sveobuhvatan je,funkcionalan i lak za kori{}enje, pa zato moè da posluìkao model za konstruisanje nekih drugih baza u budu}no-sti. Smatram da su zaposleni u C2RMF veoma zaintereso-vani za stru~nu saradnju i razmenu iskustava. Konstrui-sanje tako obimne baze podataka i njeno funkcionisanjenajbolja su preporuka za ulogu savetodavca.

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4] IP adresa je jedinstven broj kojim se registruje prisustvoodre|enog ure|aja na Internetu u datom trenutku, uz kori{}enjeInternet protokola.

Danijela STOJILJKOVI], konzervatorNata{a KRSTI], konzervator

saradnici Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

POSETE DEPOIMA ARHEOLO[KOG MATERIJALA U FRANCUSKOJ

ODELJENJE ZA PREVENTIVNU ZA[TITU Dijana Narod-nog muzeja u Beogradu ve} nekoliko godina aktivno sara-|uje s Francuskim kulturnim centrom u Beogradu u spro-vo|enju edukativnih programa u oblasti preventivneza{tite, konzervacije i restauracije kulturnih dobara. Kaodugogodi{njim saradnicima Dijane i stipendistima francu-ske vlade, bilo nam je omogu}eno stru~no usavr{avanje izoblasti preventivne i arheolo{ke konzervacije.

Sta` Nata{e Krsti} u Laboratoriji za konzervaciju, re-stauraciju i istraìvanja Arheolo{kog centra u Varu (Labo-ratoire de Conservation Restauration et de Recherches duCentre Archéologique du Var) trajao je tri meseca, od okto-bra do decembra 2007. godine.

Danijela Stojiljkovi} je od 3. do 21. septembra 2007.godine staìrala na arheolo{kom lokalitetu Marijana naKorzici, u okviru projekta Laboratorije za srednjovekovnuarheologiju na podru~ju Mediterana, Mediteranski centardru{tvenih nauka (C.N.R.S. – Laboratoire d’ArchéologieMédiévale Méditerranéenne, Maison Méditerranéenne desSciences de l’Homme). Drugi deo obuke odvijao se u depouu Le Miju (Le Muy), region Var, od 2. do 18. oktobra 2007.godine i podrazumevao je u~e{}e u programu kondicioni-ranja materijala s razli~itih arheolo{kih lokaliteta.

Na{a stru~na usavr{avanja organizovao je @ak Ribijer(Jacques Ribière), mentor, direktor Laboratorije za konzer-vaciju, restauraciju i istraìvanja u Draginjanu Arheolo-{kog centra regiona Var. U toku staìranja imale smo prili-ku da posetimo nekoliko depoa arheolo{kog materijala.

Depo na arheolo{kom lokalitetu Marijana, KorzikaObuka Danijele Stojiljkovi} podrazumevala je upoznavanjesa osnovnim principima preventivne za{tite i dokumenta-cije, kao i sa svim drugim aktivnostima koje su se odnosile

na na~in funkcionisanja u tom depou.1 Obra|ivan je mate-rijal sa ovogodi{njih sistematskih iskopavanja2 U depou suobavljani trijaà, klasifikacija, inventarisanje, kondicioni-ranje i odlaganje pokretnog arheolo{kog materijala pristi-glog s terena.3

Nakon zavr{ene trijaè i sortiranja po vrsti sav materi-jal pakuje se u polietilenske4 kesice s nazna~enim jedin-stvenim brojem US,5 koji se unosi u bazu podataka. Takoobra|en materijal dalje se raspore|uje u odgovaraju}u am-balaù, u zavisnosti od vrste i sektora kojem pripada. Stakloi metal odlaù se u hermeti~ki zatvorene polipropilensketransparentne kutije, a keramika se, s obzirom na koli~inu,

1] Depo je privremenog karaktera i nalazi se u prizemlju pri-vatne ku}e, a zgrada u koju }e predmeti biti trajno sme{teni jo{ uveknije renovirana i opremljena na odgovaraju}i na~in.

2] Re~ je o vi{egodi{njim sistematskim iskopavanjima rimskekolonije koja je osnovana u I veku p. n. e. i u diskontinuitetu na-seljavana do XIII veka n. e. Ove godine obavljena su istraìvanjaju`nog dela anti~kog grada, paleohri{}anskog episkopskog kom-pleksa i jo{ nekoliko manjih konstrukcija.

3] Po preporuci @aka Ribijera, od pro{le godine i na terenu sekoriste polipropilenske kutije modularnog tipa, {to umanjuje uti-caj klimatskih faktora na arheolo{ke predmete (nagle promene re-lativne vla`nosti i temperature, prisustvo svetla i aerozaga|enjaitd.) od njihovog va|enja iz zemlje do trenutka kada se trajno kon-dicioniraju. Kutije se tako|e mogu koristiti u kombinaciji s polieti-lenskim zip kesicama, {to je neophodno kada je re~ o fragilnommaterijalu, poput stakla i metala.

4] PE – skra}enica koja se dalje koristi u tekstu.

5] US – unite stratigrafie, stratigrafska jedinica – ta skra}enicakoristi se u nastavku teksta. Broj US-a sadrì broj sektora i otkop-nog sloja.

into how large databases function. The underlying principleof EROS is all encompassing, functional and user-friendly.Thus it can be used as a model for constructing some otherdatabases in the future. My opinion is that the employees

at C2RMF are rather interested in cooperation amongexperts and in sharing experience. The construction of sucha broad database and its successful functioning are the bestrecommendation for their role of adviser.

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Danijela STOJILJKOVI], conservatorNata{a KRSTI], conservator

The associates of Department for Preventive Conservation Diana, National Museum, Belgrade

VISITS TO DEPOTS OF ARCHAEOLOGICAL MATERIAL IN FRANCE

DEPARTMENT FOR PREVENTIVE CONSERVATIONDiana, National Museum, Belgrade has been actively coop-erating for several years with Belgrade’s French CulturalCentre. They cooperated on the organisation of educationalprogrammes in the field of preventive protection, conser-vation, and restoration of cultural treasures. Being bothassociates of Diana and scholarship holders of Frenchgovernment for many years, we were given the opportunityof a professional specialisation in the field of preventiveand archaeological conservation.

Natas Krsti}’s internship at the Laboratory for Conser-vation, Restoration, and Research of the ArchaeologicalCenter in Var (Laboratoire de Conservation Restauration etde Recherches du Centre Archéologique du Var) lasted threemonths – from October to December 2007.

Danijela Stojiljkovi} held from 3rd October to 21st

September 2007 an internship at the archaeological site ofMariana, Corsica, as part of a project called the Laboratoryfor Medieval Archaeology in the Mediterranean, of the Me-diterranean Center for Social Sciences (C.N.R.S. – Labora-toire d’Archéologie Médiévale Méditerranéenne, MaisonMéditerranéenne des Sciences de l’Homme). The second partof training took place at Le Muy Depot, Var region, from2nd August to 18th October 2007. It involved participationin a programme of conditioning materials from differentarchaeological sites.

Our professional specialisations were organised by amentor, Jacques Rebier (Jacques Ribière), the manager ofthe Draguignan’s Laboratory for Conservation, Restorationand Research, of the Archaeological Center at Var. Duringour internship we were given an opportunity to visit seve-ral depots of archaeological material.

The depot at the archaeological site of Mariana,CorsicaDanijela Stojiljkovi}’s training involved getting acquaintedwith the basic principles of preventive protection and do-cumentation, as well as all other activities pertaining to themanner in which the depot functioned.1 The material ob-tained during this year’s systematic excavations was proces-sed.2 Triage, classification, inventory making, conditioning,

and filing away of the movable archaeological material gathe-red from fieldwork3 were conducted in the depot.

After the conducted triage and the sorting of materialsaccording to their type, all the material is packed into poly-ethylene bags4 marked with the unique US 5 number, whichis entered into the database. Thus processed material is thenplaced into suitable containers, depending on its type andsector. Glass and metal are stored into hermetically sealed po-lypropylene transparent boxes, whereas ceramics is, due to itsquantity, put into large polypropylene boxes. Into the boxesfilled with metal a relative humidity indicator and a desiccantare placed, as well as silica gel and clay6, which is being in-creasingly utilised due to the fact that it can reach a wanteddegree of relative humidity and that it is more pliable.

1] The depot was temporary. It was on the ground floor of aprivate house, whereas the building in which all the items weresupposed to be placed had not yet been renovated and adequatelyfurnished.

2] These excavations are systematic excavations of a Romancolony founded in 1st century BC, discontinuously populated since13th century AD. Explorations of the south part of this ancientcity, the Paleochristian episcopal complex and several smallerconstructions were conducted this year.

3] On Jacques Rabier’s recommendation, polypropylene boxesof a modulatory type are also utilised in fieldwork, starting fromlast year. This reduced the influence of climatic factors (suddenchanges of relative humidity and temperature, the presence of lightand aero pollution, etc) on archaeological items-from their exca-vation until the moment they are permanently conditioned. Theboxes may also be utilised in combination with polyethylene zipperbags- necessary for fragile materials, such as glass and metal.

4] Further on in the text the abbreviation PE will be used.

5] The abbreviation US – unite stratigrafie, i.e. stratigraphicunit, will be used further on in the text. This number consists ofthe number of sector and the excavation layer.

6] Monmorilonit (Montmorillonite Al2O3-4SiO2-H2O) is a typeof finely granulated clay, capable of absorbing great quantities ofwater. It can be found on the market under different names, de-pending on the manufacturer. It comes in bags of various sizes. Itsgreat advantage is that it is not toxic, unlike silica gel.

odlaè u velike kutije od polipropilena. U kutije u koje jesme{ten metal stavlja se indikator relativne vla`nosti i de-sikant, silika gel ili glina,6 s tim {to je glina sve vi{e u upo-trebi zbog brèg postizanja èljenog stepena relativne vla-`nosti i lak{e manipulacije.

Fauna se odlaè u polietilenske kese i ~uva u kartonskimkutijama na kojima je nazna~en broj sektora. Nalazi kao {tosu {koljke i karbonizovani ostaci tako|e se pakuju u polieti-lenske kese ili manje polietilenske/polipropilenske kutije; za-tim se zajedno odlaù u ve}e polipropilenske kutije sa istimbrojem sektora (sl. 1). Nakon zavr{enog rekondicioniranjakutije se odlaù u metalne ormane ili na drvene police.

U bazu podataka Microsoft Access unose se podaci kojisu neophodni za identifikaciju predmeta: inventarski broj,stratigrafska jedinica i sektor u kojem je predmet prona-|en, tipologija i koli~ina.

Depo u Le Miju – Oblasna arheolo{ka slu`ba, region Var (Dépôt è Le Muy – Pôle Archéologique départemental, région Var)Sam depo je kompleksnog tipa jer se, za razliku od arheo-lo{kog depoa na Marijani, u njemu nalazi materijal s vi{elokaliteta. Depo je privremenog karaktera i sme{ten je u zgra-

du koja je nekad pripadala àndarmeriji; obuhvata nekoli-ko manjih prostorija u kojima su montirane drvene police.

Tokom staà Danijela Stojiljkovi} u~estvovala je u pro-gramu revizije i rekondicioniranja materijala, {to je podra-zumevalo potpuno ili delimi~no zamenjivanje postoje}eambalaè polietilenskim kesicama i polipropilenskim kuti-jama (sl. 2). Predmeti su ranije bili odlagani u neadekvatnuambalaù: kartonske kutije, metalne kutije za cigarete, drve-ne fioke, koverte i PVC7 kese. Materijal je odvajan po vrstii odlagan u polietilenske kesice i manje polipropilenske kuti-je, a zatim u kutije ve}ih dimenzija. Na kutije i u kese stav-ljene su etikete na kojima su nazna~eni: naziv lokaliteta ikontekst, godina iskopavanja i vrste materijala u kutiji. Uzavisnosti od lokaliteta kojem materijal pripada, kutije seraspore|uju u nekoliko manjih prostorija i odlaù na drve-ne police.

Ni u ovom depou ne postoji klimatizacija, a kontrola iregulacija vlage u kutijama obavlja se samo u slu~aju kon-dicioniranja metala, i to pomo}u kesica s glinom i indikato-ra relativne vla`nosti.

Po istom principu organizovani su sme{taj i rekondici-oniranje materijala i u depou u Freìsu (Fréjus), koji tako-|e pripada regionu Var.

Depoe o kojima }e biti re~i obi{le smo u okviru kratkihjednodnevnih poseta i tom prilikom upoznale smo se sa os-novnim principima njihove organizacije i funkcionisanja.

Depo u Viltelu – Regionalna arheolo{ka slu`ba, region Langedok–Rusijon [[Dépôt à Villetelle – Service Régional de l’Archéologie(SRA), région Languedoc–Roussillon]]Depo je sme{ten u neodgovaraju}i prostor, u staru ku}ukamenih zidova i s drvenom krovnom konstrukcijom. S ob-zirom na to da se kontrola i regulacija vlage i temperaturene obavljaju, nivo vla`nosti je povi{en. Veliki deo materija-la samo je odloèn na drvene police ili spakovan u neade-kvatnu ambalaù (kartonske kutije i PVC kese) (sl. 3). U is-toj prostoriji, pored polica, nalaze se i alatke, kao i razli~itaoprema koja se koristi na terenu. Re~eno nam je da se odpro{le godine materijal koji stiè sa iskopavanja odmah pa-kuje na adekvatan na~in u polietilenske kesice i polipropi-lenske kutije. Odnedavno se obavlja i rekondicioniranjematerijala s ranijih iskopavanja. Svi podaci se digitalizuju iunose u odgovaraju}u bazu podataka.

Depoi u Muzeju antike Arla i Provanse (Dépôts à Musée de l’Arles et de la Provence antiques)Prilikom ove posete imale smo priliku da prvi put vidimona koji na~in funkcioni{e i kako je organizovan jedan mu-zejski depo u Francuskoj. Postoji zaseban prostor u koji sematerijal doprema i u kojem se obavlja trijaà, zatim depo na

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Sl. 1. Polipropilenske kutije modularnog tipa

Fig. 1. Polypropylene boxes of a modulatory type

6] Monmorilonit (Montmorillonite Al2O3-4SiO2-H2O) jestevrsta gline fine granulacije, koja ima sposobnost da apsorbuje veli-ke koli~ine vode. Moè se na}i na trì{tu pod razli~itim nazivima, uzavisnosti od proizvo|a~a. Pakuje se u vre}ice razli~itih veli~ina, avelika prednost je to {to nije toksi~na, za razliku od silika gela.

7] PVC – skra}enica za polivinil-hlorid.

Fauna is placed into polyethylene bags and kept in card-board boxes, marked with the sector number. Findingssuch as shells and carbonised remains are also packed intopolyethylene boxes or smaller polyethylene/polypropyleneboxes, upon which they are placed into bigger polypropyleneboxes with the same sector number (Fig. 1). After reconditi-oning is completed, the boxes are stored into metal cabinetsor onto wooden shelves. Into Microsoft Access database thedata necessary for identification of items is entered: the in-ventory number, stratigraphic unit, the sector where theitem was found, typology, and quantity.

The depot in Le Muy – the District Archaeological Service, in the Var Region(Dépôt è Le Muy – Pole Archéologique départemental,région Var)This depot is a complex of buildings. Unlike the archaeolo-gical depot in Mariana, it contains materials from numerousarchaeological sites. This depot is of a temporary character.It is situated in a building that formerly belonged to thegendarmerie. It consists of several not particularly spaciousrooms, with wooden shelves installed inside. During herinternship, Danijela Stojiljkovi} participated in a program-me of material revision and reconditioning, which involvedcomplete and partial substitution of existent containers withpolyethylene bags and polypropylene boxes (Fig. 2). Thoseitems were previously placed into inadequate containers:cardboard boxes, metal cigar boxes, wooden drawers, enve-lopes, and PVC7 bags. The material was sorted according toits type and placed into polyetelyne bags and smaller poly-propylene boxes, and subsequently into boxes of greater di-mensions. Onto the boxes and bags labels were placed withthe name of the site and its context, the year of excavationand the type of the material in the box. Depending on thesite to which the material pertains, the boxes are divided intoseveral smaller rooms, and placed onto the wooden shelves.

There is no climatisation in this depot as well, thus thecontrol and regulation of humidity in the boxes is conduc-ted solely in the case of metal conditioning – with the useof clay bags and the relative humidity indicator.

The position and recondition of materials are conduc-ted in the same principle as in the depot at Frejus, whichalso belongs to the Var Region.

We visited the depots that will be discussed during briefdaily rounds. That is when we got acquainted with the basicprinciples of their organisation and functioning.

The depot in Villetelle – the Regional ArchaeologicalService, the Langduedoc-Roussillon Region [[Dépôt à Villetelle – Service Régional de l’Archéologie(SRA), région Languedoc–Roussillon]]The depot is situated in an inadequate space – in an oldhouse with stone walls and a wood roof construction. Dueto the fact that the control and regulaion of humidity andtemperature are not conducted, the level of humidity isincreased. A big portion of the material is simply set asideon woodem shelves or placed into inadequate containers(cardboard boxes or PVC bags) (Fig. 3). In the same room,apart from the shelves, there are tools, as well as divesreequipment used in the fieldwork. We were told that eversince last year, the material gathered in excavations isimmediately packed adequately into polyeylene bags andpolypropylene boxes. And of lately the reconditioning ofmaterials from previous excavations is also conducted. Alldata is digitalised and entered into an appropriatedatabase.

The depots in the Arles and Provence Museum of Antiquities (Dépôts à Musée de l’Arles et de la Provence antiques)We were given the opportunity to see for the very first timehow a museum depot in France functions and how it isorganised. There is a separate room into which material isdelivered and triage conducted. There is also a depot up-stairs for storing and preserving movable archaeologicalmaterial, and one depot on the ground level for storingstone sculptures, mosaics, and other movable materials of

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Sl. 2. Rekondicioniranje u depou u Le Muju

Fig. 2. Reconditioning in the depot in Le Muy

Sl. 3. Izgled depoa u Viltelu

Fig. 3. The depot in Villetelle

7] PVC – the abbreviation for polyviniychlorid

spratu – za sme{taj i ~uvanje pokretnog arheolo{kog mate-rijala – i depo u prizemlju – za odlaganje kamene plastike,skulpture, mozaika i drugog pokretnog materijala ve}ih di-menzija. Dobra organizacija prostora ostvarena je postav-ljanjem kliznih polica (sl. 4) za odlaganje pokretnog mate-rijala, kao i kliznih panoa za fragmente mozaika. U muzejupostoji centralni sistem za klimatizaciju – njime se reguli{uvrednosti Rh i T tako da zadovoljavaju uslove za odlaganjei ~uvanje arheolo{kih predmeta sme{tenih u depo.8 Procesrekondicioniranja nije zavr{en, ali je ve}i deo materijala ade-kvatno spakovan i odloèn u nove kutije, PE kesice, a u ne-kim slu~ajevima kori{}ena je PE pena za izradu podloga ipodupira~a, kako bi se ostvarila fizi~ka stabilnost predme-ta. Osmi{ljen je sistem za obeleàvanje kutija koji omogu-}uje lak pristup i pronalaènje relevantnih podataka unetihu bazu podataka FileMaker Pro®.

Regionalni arheolo{ki depo u Le Milu, podru~je Provansa – Alpi – Azurna obala (Dépôt Archéologique Regionale – Les Milles, région Provence – Alpes – Cote d’Azur) Depo se nalazi u nenaseljenoj oblasti u blizini Eks an Pro-vansa i predvi|en je za sme{taj velike koli~ine materijala iz~itavog regiona. Zgrada depoa namenski je projektovana, azavr{ena je 2006. godine; funkcionalno je podeljena na vi-{e celina. Ispred zgrade nalazi se prostor za parkiranje, a sastrane su slu`bene prostorije. Postoji stalno fizi~ko obezbe-|enje, kao i sigurnosna kapija na ulazu u dvori{te. U blizi-ni se nalaze ve}i broj skladi{ta i benzinska pumpa.

Sam depo zapravo je velika hala, podeljena na dva ni-voa koja su povezana stepenicama i liftom. Postoji samove{ta~ko osvetljenje, a klima je regulisana centralnim siste-mom. Ulaz u depo projektovan je tako da omogu}uje pri-stup ve}im vozilima kojima se doprema materijal, a on sepotom dalje razvozi transportnim kolicima. Na donjem ni-vou materijal se odlaè na drvene palete, koje se postavlja-ju u odgovaraju}a leì{ta na metalnoj konstrukciji. Po tomprincipu lako i brzo dobijaju se monta`ne police pogodneza sme{taj materijala razli~itih dimenzija. Materijal se od-laè u PE i PP kutije razli~itih veli~ina ili u PE kese, koje sesme{taju u drvene monta`ne kutije ve}ih dimenzija. Deomaterijala spakovan je i u kartonske kutije. Ve}i predmeti,kao amfore, postavljaju se neposredno na drvene palete ifiksiraju komadima PE pene, mada je to samo privremenore{enje (sl. 5). Na gornjem nivou nalaze se klizne i monta-`ne metalne police za sme{taj predmeta manjih dimenzija,prethodno spakovanih u PP ili kartonske kutije. Budu}i daje visina monta`nih polica neadekvatna, kutije koje su od-loène na najvi{e police doseù do instalacija i lampi. Naovom nivou predvi|ena je i radionica za konzervaciju. Tri-jaà, pranje i su{enje fragmenata keramike obavljaju se uzasebnom prostoru u prizemlju zgrade. Svi podaci o pred-metima i mestu njihovog odlaganja unose se u bazu poda-taka FileMaker Pro®.

Zahvaljuju}i obilasku pomenutih depoa i obavljenojpraksi u nekima od njih, upoznale smo se s razli~itim siste-mima odlaganja i ~uvanja arheolo{kog materijala, kao i s

problemima koji se susre}u u pojedinim depoima. Moglesmo da zaklju~imo da su organizacija i vo|enje arheolo{kogdepoa vrlo sloèn proces, koji podrazumeva saradnju veli-

kog broja stru~njaka, po~ev od arhitekte, kustosa, konzer-vatora itd. Ta saradnja je neophodna kako bi namena ifunkcija samog depoa bile u potpunosti ostvarene, a sme-{taj i ~uvanje materijala propisno i adekvatno sprovedeni.U praksi se, me|utim, pokazalo da neki depoi u Francuskojne zadovoljavaju sve standarde, kao i to da postoje brojni ne-dostaci prouzrokovani lo{im planiranjem i organizovanjemdepoa. Postupak rekondicioniranja koji se intenzivno spro-vodi u tim depoima ipak zna~ajno doprinosi pobolj{avanjuuslova odlaganja i ~uvanja predmeta – njihovoj za{titi oddejstva neadekvatnih mikroklimatskih uslova i svo|enju ri-zika od mehani~kih o{te}enja na minimum.

Zahvaljuju}i posetama pomenutim institucijama, boljesmo se upoznale s razli~itim segmentima sprovo|enja ade-kvatne za{tite pokretnog arheolo{kog materijala, koja je ve-oma vaàn aspekt o~uvanja kulturnog nasle|a.

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Sl. 4. Klizne police u jednom od depoa muzeja u Arlu

Fig. 4. The sliding shelves in one of the depot in Arles

8] U depou u koji su sme{teni keramika, staklo i metal Rh je37%, a temperatura 29°C; u vezi s drugim depoom, u koji su sme-{teni kamena plastika, mozaici, sarkofazi i skulpture, nemamo ni-kakvih podataka.

bigger dimensions. The room was well organised due to theset sliding shelves (Fig. 4) for storing movable materialsand to sliding boards for mosaic fragments. There is acentral air-conditioning system in the museum, which re-gulates the Rh and T values so as to meet the requirementsfor storing and preserving the archaeological items storedat the depot8. The process of reconditioning is notcompleted, but the majority of the material is adequatelypacked and set aside into new boxes and PE bags. In certaincases PE foam was used for the making of bases and pillarsin order to achieve physical stability of the objects. A sys-tem was designed for the labelling of boxes, which enabledeasy access and the finding of relevant data entered intothe FileMaker Pro® database.

The Regional Archaeological Depot in Les Milles, the Provence-Alps-Cote d’Azur district (Dépôt Archéologique Regionale – Les Milles, région Provence – Alpes – Cote d’Azur)The depot is situated in an unpopulated area near Aix-an-Provence and it is supposed to store large quantities ofmaterials from the entire region. The depot building wasprojected for this designated purpose, being completed andfunctionally divided into several units in 2006. There is aparking lot in front of the building, with offices surroun-ding it. There are security guards at all times and a securitygate at the yard entrance. A considerable number of ware-houses and a gas station are nearby.

The depot itself is in fact a hall of considerable dimen-sions, divided into two levels linked by stares and a lift.There is only artificial lighting and the air conditioning isregulated by a central system. The entrance into the depotis projected in such a manner that it enables access to big-ger vehicles, used for shipping the material that is later onhauled off by transport carts. On the ground level, the ma-terial is placed onto wooden palettes, set into suitable bear-ings on a metal construction. Thus prefabricated shelvessuitable for storing materials of various dimensions areeasily and quickly created. The material is also stored intoPE and PP boxes of different size or into PE bags, placedinto wooden boxes of larger dimensions. One part of thematerial is packed into cardboard boxes. Bigger items, suchas amphorae, are placed directly onto wooden palettes andfixed with the use of PE foam, though this is just a provi-sional solution (Fig. 5). On the upper floor there are slidingand prefabricated metal shelves used for storing materialsof smaller dimensions, previously packed into PP orcardboard boxes. Because the height of the prefabricatedshelves is inadequate, those boxes placed onto the highestshelves reach up to the installations and lamps. A workshopfor conservation is planned to be located on this floor. Thetriage, washing and drying of ceramic fragments are con-ducted into a separate room on the building’s ground floor.All the data on the items and their storing place are enteredinto the FileMaker Pro® database.

Owing to the visits to the abovementioned depots andthe internship in some of them, we got acquainted withvarious systems of storing and preserving archaeologicalmaterial, as well as with the problems existing in each of

these depots. We were able to realise that the organisationand management of archaeological depots is a rather com-plex process that involves cooperation among a substantialnumber of experts, from architects to custodians, conser-vators, etc. This cooperation is crucial so that the purposeand function of the depot are fully realised, and the storing

and preservation of material duly and adequately perfor-med. However, practice proved that some depots in Francedo not meet all the standards, and that there are numerousshortcomings caused by inadequate planning and organisa-tion of the depots. The procedure of reconditioning, inten-sively performed in the depots, significantly contributes tothe creation of better conditions for storing and preservati-on of the items, and also to their protection from the influ-ence of inadequate microclimatic conditions and minimali-sation of the risks of mechanical damage.

We became more familiar with the diverse segments ofthe execution of adequate protection of the movable archae-ological material, which is an important aspect of the cul-tural heritage preservation.

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Sl. 5. Izgled depoa u Le Miju

Fig. 5. The depot in Les Milles

8] In the depot where ceramics, glass and metal are stored Rhis 37%, whereas the temperature is 29°C. We have no data on theother depot in which stone sculptures, mosaics, sarcophaguses, andsculptures are stored.

STA@ KOJI SAM OBAVLJALA u Regionalnoj laboratoriji zakonzervaciju i restauraciju A.R.R.E.P. (Atelier régional derestauration des éléments du patrimoine) u Seru (Seurre), uFrancuskoj, trajao je dva meseca, od 1. oktobra do 30. no-vembra 2007. godine, i obuhvatao je obuku iz konzervacijei restauracije stakla, porcelana i fajansa.

Laboratorija za konzervaciju i restauraciju ARREP formi-rana je 1985. godine u okviru dràvnog plana iz 1984–1988.godine, radi unapre|ivanja, ~uvanja i prezentacije kultur-nog nasle|a. U njoj se obavlja konzervatorski i restaurator-ski tretman predmeta iz muzeja u regionu i iz privatnih ko-lekcija. U laboratoriji, kojom rukovodi direktorka Ivona@iboto (Yvonne Giboteau), konzervator arheolo{ke kerami-ke, stalno je zaposlen i konzervator za porcelan i fajans. Uokviru ARREP-a nalaze se biblioteka, kancelarija, sala zasastanke, manji depo za sme{taj konzerviranih predmeta ifoto-studio.

Moja obuka sastojala se od svakodnevnog prakti~nograda na konzervaciji i restauraciji predmeta od stakla, por-celana i fajansa. Tokom dvomese~nog staà stekla sam teo-rijska i prakti~na znanja koja se ti~u upotrebe razli~itihmaterijala i tehnika u konzervaciji, zatim za{tite predmeta,za{tite na radu i dokumentacije.

Deo staà ~inila je i poseta Laboratoriji za konzervaci-ju, restauraciju i istraìvanje u Draginjanu (Laboratoire deconservation, restauration et recherches de Draguignan, centrearchéologique du Var). Laboratorija je sastavni deo Arheolo-{kog centra u Varu. Prilikom posete upoznala sam se s me-todama rada koje se primenjuju u toj laboratoriji, a ti~u sekonzervacije i restauracije keramike i metala, preventivneza{tite i za{tite na radu.

Konzervacija staklaU toku staà konzervirala sam {est predmeta od stakla istaklene paste. Re~ je o nekoliko fragmenata anti~kog stakla,medaljonu i perli od staklene paste koji pripadaju Arheolo-{kom muzeju @ire u Lon le Sonijeu (Le Musée d’Archéologiedu Jura à Lons-le-Saunier). Tretman tih predmeta podrazu-mevao je ~i{}enje, konsolidaciju, montaù, lepljenje i resta-uraciju. Svaki predmet zahtevao je poseban konzervatorskipristup, a radila sam na na~in koji je druga~iji od onog prak-tikovanog u Odeljenju za preventivnu za{titu Dijana; pri le-pljenju sam koristila metalne spojnice, dok se u Dijani upo-trebljava sko~-traka.

î{}enje stakla obavlja se pod mikroskopom, a ivice pre-loma ~iste se etanolom, uz upotrebu meke ~etkice, kojomse otklanja prljav{tina iz pukotina. Ostali delovi predmetaod stakla, u zavisnosti od dekoracije, pozlate i stabilnosti,

parcijalno se ~iste me{avinom vode i etanola (u jednakim raz-merama), a potom se odmah bri{u papirnom vatom. Konso-lidacija stakla u ARREP-u radi se pomo}u rastvora paralo-ida B721 i B44 (20%) u etil-acetatu.2 Na deo predmeta kojise konsoliduje stavlja se par~e japanskog papira, a zatim se~etkicom nanosi tanak sloj konsolidanta. Za popunjavanjesam upotrebljavala poliestersku smolu, koja se ne koristi uSrbiji, a veoma je jednostavna za rad i laka za obradu.3

Konzervacija perle od staklene paste, koja je ranije bilatretirana, zahtevala je druga~iji konzervatorski pristup. Napovr{ini su bili vidljivi tragovi smole4 koja je kori{}ena uprethodnoj konzervaciji. Perla je prekrivena japanskim pa-pirom i premazana gelom5 koji, zahvaljuju}i svom apsorp-cionom svojstvu, upija ne~isto}u. î{}enje je zatim nastav-ljeno acetonom. Ostali predmeti od staklene paste samo suo~i{}eni etanolom i konsolidovani preko japanskog papira.

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Ana @IVKOVI], konzervatorsaradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

IZVE[TAJ O STA@IRANJU U REGIONALNOJ LABORATORIJI ZA KONZERVACIJU I RESTAURACIJU

A.R.R.E.P. U FRANCUSKOJ

1] Paraloid B72 je kopolimer metil-akrilata i etil-metakrilata.Rastvorljiv je u acetonu, ksilolu, toluenu, diaceton-alkoholu, meti-len-hloridu, etilen-dihloridu, trihloretilenu, etil-acetatu i dimetil-formamidu, v. S. Buys, V. Oakley, Conservation and Restauration ofCeramics, Oxford 1990, 191.

2] Granule ovog paraloida me{aju se u odnosu 70% paraloi-da B72 prema 30% B44, a zatim se 20 g te me{avine rastvara u etil--acetatu.

3] Poliesterska smola, fabri~ki naziv: résine pour inclusiontype GTS Pro préaccélérée super transparente.

4] Nema podataka o prethodnoj konzervaciji.

5] Gel se pravi u laboratoriji po odre|enom receptu: alkohol20 ml, aceton 80 ml, enomen C25, gorbopol 2 g, voda 6 ml (Benzy/Alcool 20 ml, Acetone 80 ml, Enhomen C25, Gorbopol 2 g, Eau 6 ml).

THE TRAINING THAT I RECEIVED in the regional labo-ratory for conservation and restoration ARREP in Seurre,France, lasted for two months, from October 1st to Novem-ber 30th 2007. It included training in the conservation andrestoration of glass, porcelain and faience. This laboratorywas formed in 1985, within the 1984–1988 state plan, inorder to improve, protect and present cultural heritage.Since then, the conservation and restoration of objects frommuseums in the region and from private collections havebeen carried out there. The director of the laboratory isYvonne Giboteau, conservator of archeological ceramics, andthere is one full-time conservator for porcelain and faience.The additional facilities of ARREP include a library, meetingroom, a small storage room to store conserved objects, aphoto studio and offices.

My training comprised everyday practical instruction onthe conservation, protection and restoration of glass objects,porcelain and faience, using different materials and techni-ques, as well as documentation dealing with safety at work.

The training included a visit to the Laboratory of con-servation, restoration and research in Draguignan (Laborato-ire de conservation, restauration et recherches de Draguignan,centre archeologique du Var). This laboratory forms an inte-gral part of the Archeological Institute in Var. During thevisit, I became acquainted with additional work methodsrelating to the conservation and restoration of ceramicsand metal, preventive conservation, and safety at work.

Conservation of GlassWithin my training, I conserved six glass objects, comprisingfragments of antique glass, and one glass bead, belonging tothe Museum of Archeology in Lons-le Saulnier (Archéolo-

gique du Jurq situé à Lons-le-Saulnier). Treatment of thoseobjects implied cleaning, consolidation, assembling and re-storation. Each item required a different conservation appro-ach and I worked in a manner different from the one inpractice in the Diana Department for Preventive Conserva-tion. In joining fragments,

I used metal clamps instead of the scotch tape that isused in Diana. Cleaning of glass is done under a microsco-pe, and the edges of fragments are cleaned with ethanol,using a soft brush to remove dirt from the cracks. The re-maining parts of the glass object, depending on their deco-ration, gilding and stability, are partially cleaned with amixture of water and ethanol (proportion 50:50) and driedimmediately with absorbent paper. Consolidation of glassin ARREP is done with a 20% solution of Paraloid B721 andB44 in ethyl acetate.2 A piece of Japanese paper is placedover the part of the object to be consolidated, then coveredwith a thin layer of consolidant which is applied with a brush.Missing parts were filled in with polyester resin. This is notused in Serbia, but it is very easy to work and model with.3

Conservation of the glass bead, which had been treatedbefore, required a different conservation approach. Traces ofresin4 used in its previous conservation were visible on thesurface. The bead was covered with Japanese paper and anabsorption gel5 was applied, which removed dirt. Cleaningproceeded with acetone. The other glass objects were cleanedwith ethanol and consolidated with Japanese paper.

Conservation of Porcelain and Faience Parallel with the work on glass, I worked on the conserva-tion of a porcelain plate and two faience objects. The faien-ce objects belonged to a private collection; data regarding

105


Ana @IVKOVI], conservatorAssociate of the Department for Preventive Conservation Diana, National Museum in Belgrade

REPORT ON TRAINING IN THE ATELIER REGIONAL DE RESTAURATION DES ELEMENTS DU PATRIMOINE

(Laboratory for Conservation and Restoration), A.R.R.E.P. in France

1] Paraloid B72 is copolymer methyl-acrylate and ethyl metha-crilate. This is soluble in acetone, xylene, toluene, diaceton alco-hol, methylene chloride, ethylene dichloride, trichloroethylene,ethyl acetate and dimethylformamide, v. S. Buys, V. Oakley, Con-seration and Restoration of Ceramics, Oxford 1990, 191

2] Granules of Paraloid are mixed in proportion 70% of Para-lodi B72, 30% of B44 and afterwards, 20 g is dissolved in a solutionof ethyl acetate.

3] Polyester resin’s factory name is: résine pour inclusion typeGTS Pro préaccélérée super transparente

4] There is no data regarding previous conservation

5] Gel is made in the laboratory using the following recipe:Benzy/Alcool – 20 ml. Acetone – 80 ml, Enhomen – C25, Gorbopol2g, Eau – 6ml.

Konzervacija porcelana i fajansaOsim na predmetima od stakla, radila sam i na konzervaci-ji porcelanskog tanjira i dva predmeta od fajansa. Predmetiod fajansa su u privatnom vlasni{tvu, a podaci o manufak-turi, poreklu i drugom nisu dostavljeni.

Porcelanski tanjir iz XIX veka poreklom je iz Japana;dekorisan je floralnim motivima crvene i plave boje i pozla-tom. Predmet je ranije bio konzerviran i tada su na pole|inupostavljene tri metalne {ipke kao stege, a one su s vreme-nom korodirale. Pole|ina je bele boje, s plavom floralnomdekoracijom.

Razlepljivanje fragmenata obavljeno je uz pomo} paro-~ista~a (Steam cleaner), s tim {to je ra|eno na pole|ini pred-

meta da se ne bi o{tetila pozlata na licu. Nakon razleplji-vanja ostaci lepka sa ivica uklonjeni su mehani~ki, pomo}uskalpela i gela..

Lepljenje je obavljeno uz pomo} metalnih spojnica.Montaà (uklapanje fragmenata) predmeta trajala je jedandan; upotrebljena je sko~-traka, preko koje su postavljanemetalne spojnice. Za lepljenje je kori{}en dvokomponentniaraldit 2020.6 Priprema tog lepka obavljena je uz pomo} pi-pete (20 kapi komponente A i 12 kapi komponente B).

Mesta na kojima su nedostajali delovi popunjena supoliester smolom.7 Poliester je oker boje i ve} posle tridesetminuta dovoljno je ~vrst da moè da se obra|uje.

U ovoj laboratoriji retu{ se obavlja isklju~ivo sa airbrushom, a koriste se poliuretanske boje (polietiran autocrylplus MM i katalizator) i pigmenti da bi se dobila odgovara-ju}a nijansa, dok se tokom rada dodaje diluant sredstvo ko-je usporava su{enje boje.

Pored toga {to sam sprovela konzervatorski tretman por-celanskog tanjira, radila sam i na konzervaciji dva predme-ta od fajansa: fragmentovanog tanjira s predstavom vitezai kerami~ke plo~ice s perforacijama. Postupak konzervacijefajansa u osnovi je isti kao kod porcelana, ali se kao lepakkoristi paraloid B72 (70%) i B44 (30%) u etil-acetatu.

Tokom obuke u Regionalnoj laboratoriji za konzervaci-ju i restauraciju ARREP upoznala sam se s metodama i ma-terijalima u konzervaciji koji se u toj laboratoriji primenju-ju, {to je veoma zna~ajno za moj dalji profesionalni rad.

Sta` je bio dobra prilika za kontakte s kolegama iz Fran-cuske i za uspostavljanje saradnje radi razmene iskustva napolju konzervacije stakla, porcelana i fajansa. ZahvaljujemFrancuskom kulturnom centru u Beogradu, francuskoj vla-di, stru~njacima u ARREP-u i svima onima koji su pomoglida se moj sta` uspe{no ostvari.

106


6] Araldit 2020 je prozirna epoksi smola.

7] Poliester koji se koristi u za{titi brodova, fabri~ki naziv:Mastic polyester spécial sous ligne de flottaison; yachtcare.

Veljko D@IKI], volonter pripravnikOdeljenje za preventivnu za{titu Dijana, Narodni muzej u Beogradu

IZVE[TAJ O STA@U U INP-u (INSTITUT NATIONAL DU PATRIMOINE)od 15. novembra do 14. decembra 2007. godine

ODELJENJE ZA PREVENTIVNU ZA[TITU Dijana Narod-nog muzeja u Beogradu, kao {to je poznato, ve} dugi niz go-dina veoma dobro sara|uje s Francuskim kulturnim centromu Beogradu. Plod ove saradnje jeste to {to su u Beograd do-lazili brojni stru~njaci iz oblasti konzervacije i restauracijekulturnog nasle|a. S druge strane, na{im sada{njim i budu-}im stru~njacima omogu}eno je da kra}e ili duè vreme pro-vedu u presti`nim francuskim institucijama za{tite i edu-

kacije. Sve to je tokom poslednjih godina imalo nemerljivuticaj na podizanje nivoa stru~nosti i kvaliteta rada sarad-nika i zaposlenih u Dijani, a samim tim i celog Odeljenja zapreventivnu za{titu.

Ove godine pet saradnika Dijane imalo je tu izuzetnupriliku da se usavr{i u raznim oblastima konzervacije i resta-uracije. Dosada{nje aktivnosti Dijane bile su usredsre|ene

manufacturer and origin were not submitted. The porcelainplate dated from the XIX century and originated from Japan;it was decorated with floral red, blue motives and gilding.The object had previously been conserved with three metalrivets, used as clamps, fixed on its back. These had corrodedover time. The back of the plate was white, with blue floraldecoration.

The fragments were unglued, using a steam cleaner onthe back of the plate to prevent damage to the gilded deco-ration on the face. The glue remains were cleaned using ascalpel and gel. The fragments were rejoined with metalclamps. Reattachment of the fragments lasted for one day;scotch tape was used, with metal clamps over the tape.Two-component epoxy resin araldite 20206 was used as adhe-sive, prepared with a pipette (20 drops of component A and12 drops of component B). Polyester resin7 in ochre colourwas used to fill in the missing parts.

The polyester resin is sufficiently cured after 30 minu-tes and can then be worked on.

In this laboratory, retouching is done solely with anairbrush and polyurethane paint (polystyrene autocryl plusMM and catalyst). Pigments are used to obtain an adequateshade, while during the work a dilutant is added to slowdown drying.

Simultaneously to the conservation treatment on por-celain plate, I worked on the conservation of two faienceobjects: a fragmented plate with a picture of a knight, anda ceramic tile with perforations. The treatment procedure forfaience is the same as for porcelain, but a solution of para-lod B72 (70%) and B44 (30%) in ethyl acetate is used as theadhering agent.

As well as my training and introduction to other me-thods and materials used in conservation, which will bevery important for my future professional work, my time atARREP was a good opportunity to make contacts and coope-rate with French colleagues in order to exchange our experi-ence in the field of glass, porcelain and faience conservation.I would like to thank the French Cultural Center in Belgra-de, the French government, experts from ARREP and allothers that helped me complete my training successfully.

107


6] Araldite 2020 is a transparent epoxy rinse

7] Polyester is used in the protection of ships; its manufactu-ring name is: Mastic polyester special sous ligne de flottaison; yachtcae.

Veljko D@IKI], trainee volunteerDiana Department for Preventive Conservation in Belgrade

REPORT ON TRAININGAT THE INSTITUT NATIONAL DU PATRIMOINE (INP)

November 15 to December 14, 2007

IT IS WELL KNOWN that the Diana Department for Preven-tive Conservation of the National Museum in Belgrade hascooperated successfully with the French Cultural Center inBelgrade for a number of years. As a result, our experts andtrainees have been given the chance to spend some time,shorter or longer, in prestigious French educational conser-

vation institutions. All this has immeasurably improved theprofessional skills of co-workers and employees in Diana andthe Department of Preventive Conservation in recent years.

Five co-workers from Diana were given the opportunityto improve their skills in various fields of conservation and

na najizraènije probleme za{tite kulturnih dobara na{ezemlje, pre svega preventivne za{tite, zatim arheolo{ke kon-zervacije i konzervacije keramike i stakla. I pored toga, ciljOdeljenja za preventivnu za{titu Narodnog muzeja uvek jebilo obuhvatanje celokupnog kulturnog nasle|a u jedan si-stem za{tite. U tom smislu, pojavila se potreba za stru~nomosobom koja bi se bavila problemima konzervacije fotograf-skog materijala. Zbog mog dugogodi{njeg iskustva u Dijanii angaòvanja u domenu fotografije i fotodokumentacije –izbor je pao na mene.

Kontakt je ostvaren s vode}om institucijom u obrazova-nju restauratora kulturnih dobara u Francuskoj – INP-om(Institut National du Patrimoine), sme{tenim u Parizu (St.Denis). Iako je jedan mesec kratak period za bilo koju vrstuusavr{avanja, INP nam je iza{ao u susret i omogu}io sta` ufotografskom ateljeu od 15. novembra do 14. decembra 2007.godine. S obzirom na to ograni~enje, sta` je zami{ljen kaoosnovno upoznavanje s principima konzervacije i samimprocesom restauracije fotografskog materijala. U tom okvi-ru jedan od prvih koraka svakako je identifikacija procesanastanka fotografija i negativa, to jest materijala od kojihse sastoje. Drugo polje mog interesovanja bili su preventiv-na konzervacija zbirki i stanje depoa pojedinih institucija imuzeja. I, na kraju, trudio sam se da {to vi{e saznam o pro-cesu digitalizacije fotografskih kolekcija, koji je veoma raz-vijen u Parizu.

Napominjem da je obuka za restauratora fotografija uINP-u organizovana na principu ~etvorogodi{njih studija.U vreme mog dolaska u ateljeu su radila dva studenta tre}ei jedan student druge godine. Provizorni program mog staàsastavila je An Kartije Breson (Anne Cartier Bresson), mojmentor, a on je bio potpuno prilago|en upravo programustudija druge i tre}e godine odseka fotografije.

Na po~etku obuke, kao, uostalom, i tokom celog staà,sticao sam osnovna znanja i iskustvo u identifikaciji foto-grafskih procesa. Fotografski atelje poseduje veoma bogatudidakti~ku kolekciju, koja je bila idealna za upoznavanje

karakteristika (fizi~kih i hemijskih) pojedinih procesa. Po-nekad je to prili~no o~igledno, dok je ponekad veoma kom-plikovano i ~ak nedoku~ivo. Tokom obuke upoznao sam se sve}inom alata i materijala koji se koriste u restauraciji foto-grafija. Deo tih alata i materijala sam, shodno finansijskimmogu}nostima, uspeo da donesem u Beograd, gde }e mo}i daposluè kao odli~na referenca za budu}e snabdevanje potreb-nom opremom. Svakog utorka i srede mogao sam da kori-stim izuzetno bogatu biblioteku INP-a, pa i da fotokopiramsve relevantne ~lanke i ~ak cele knjige. Pored toga, moj bo-ravak u Parizu bio je idealna prilika za nabavku knjiga izoblasti konzervacije fotografija. Nakon povoljnog odgovoraEgidea na moju molbu da dobijem dodatna sredstva za na-bavku knjiga, kupio sam nekoliko nezamenljivih naslova izte oblasti, kao {to su, na primer, nova knjiga B. Laverdena(B. Lavedrin) (Re)Connaître et conserver les photographiesanciennes i Nouvelle histoire de la photographie, koju je ure-dio M. Frizo (Michel Frizot). Obe knjige sublimiraju sva te-orijska znanja, pa i prakti~na, neophodna za upoznavanje sfotografskim procesima i za njihovo prepoznavanje.

Tokom celog mog staà u fotografskom ateljeu na konzer-vaciji se nalazio album fotografija iz zbirke École des Beaux--Arts. Pored troje studenata i profesora \ulije Ku}inele Brijan(Giulie Cucinelle Briant), i sam sam imao priliku da radimna konzervaciji fotografija iz tog albuma. Tako sam mogaoda se upoznam sa svim etapama u restauraciji ovog tipa fo-tografija (albumen, phototypie, aristotypie), kao i sa osnov-nim procedurama, zajedni~kim za veliki broj procesa. Suvo~i{}enje, ~i{}enje vodenim rastvorima, retu{ i rekonstruk-cija, konsolidacija – samo su neki od procesa koji se pri-menjuju u restauraciji fotografija. Mesec dana svakako jenedovoljno da bi se sve te tehnike uve`bale do zadovoljava-ju}eg nivoa, ali je bilo veoma korisno oprobati se u svim na-vedenim tehnikama restauracije.

Kao {to sam pomenuo, utorak i sreda su bili dani kojesam mogao da iskoristim za rad u biblioteci, ali i za poseteraznim muzejima i institucijama. Moram napomenuti da mije gospo|a An Kartije Breson pruìla svu potrebnu pomo} ida mi je omogu}ila sve posete koje sam mogao da zamislim.Jedna od njih bila je poseta Muzeju fotografija Nijeps u [alo-

108


Sl. 1. Veljko Dìki} (prvi sa desne strane) sa studentima Odseka za konzervaciju fotografija INP-a i profesorom @eromom Monijeom

Fig. 1. Veljko Dìki} (first from the right) with students of the Department for Conservation of Photography at INP and professor Jérome Monnier

Sl. 2. Obuka u ateljeu za restauraciju fotografija u INP-u

Fig. 2. Training in studio for the restoration of photographs of INP

restoration this year. The activities of Diana have concen-trated on tackling problems in the protection of culturalheritage, especially preventive conservation, archeologicalconservation, and the conservation of ceramics and glass.The Department of Preventive Conservation has always in-cluded all aspects of cultural heritage in its one system ofprotection. In this respect, a professional was needed to dealwith the conservation of photographic material. Having inmind my long-standing experience in Diana and myengagement in the field of photography and photo docu-mentation, I was chosen to do this work and to undergosuitable additional training. We contacted the leading insti-tution for the education of restorers of cultural property inFrance – INP (Institut National du Patrimoine), situated inParis (St. Denis).

Although a one-month period is short for any speciali-zed training (at INP the training course for photographyrestoration takes four years) the INP was very cooperativeand provided training in their photographic studio fromNovember 15th to December 14th 2007. Since it was short,the training served as a basic introduction to the principles ofconservation and restoration of photographic material. Oneof the first steps was to identify photographic processesfrom photography and negatives, and the materials usedfor these. Another field of interest was the preventiveconservation of collections and the examination of storageconditions in certain institutions and museums. Finally, Ienthusiastically learned as much as I could about the processof digitizing photographic collections, which is developedto a high degree in Paris.

Two third-year students and one second-year studentwere working in the studio at the time of my visit. My men-tor, Anne Cartier Bresson, had prepared a provisional pro-gram for my training, adapted to the syllabus of the secondand third year of studies at the Department of Photography.Throughout my training I was given basic tuition andexperience in identifying photographic processes. ThePhotographic studio has a very rich didactic collection,ideal for becoming familiar with the physical and chemicalcharacteristics of certain processes, sometimes obvious, butsometimes very complicated or even inconceivable. Duringmy training, I was introduced to almost all tools andmaterials used for the restoration of photographs, some ofwhich I was able to purchase and bring to Belgrade. Theycould be used as a reference for the purchase of necessaryequipment in the future. Every Tuesday and Wednesday Iwas able to use the rich INP library, and to photocopy re-levant articles and books. My stay in Paris was also an idealchance for me to buy further literature dealing with theconservation of photography. Thanks to a grant from Egide,I bought some invaluable books: of B. Levedrin’s ReConnaÎtreet conserver les photographies anciennes; and Nouvelle histoirede la photographie, by Michel Frizot. The theoretical andpractical knowledge provided by these volumes are pricelessfor recognizing and understanding photographic processes.

During my training I had the opportunity to work onsome photographs from a photo album from the collectionof Ecole des beaux, which was undergoing conservationtreatment in the photo studio. In this way, I was able to get

to know all stages of that type of restoration (albumen, pho-totype, aristotype) as well as basic procedures common for agreat number of processes. Dry cleaning, cleaning withwater solution, retouch, reconstruction, and consolidationare just some of the processes applied in the restoration ofphotographs. One month was certainly not sufficient topractice all these techniques to a satisfactory level, but itwas very useful to try one’s skill at all of them.

On my free Tuesdays and Wednesdays, not only couldI use the library but I was also able to visit various museumsand institutions. Mrs. Anne Cartier Bresson helped me agreat deal in this and fitted in all the visits I could have ima-gined. One such visit was to the Museum of Photographyin Chalon-sur-Saône. This museum is unique in France re-garding the richness of its collection. A visit to that museumis a unique journey through the history of photography,from the first techniques and photographs to exhibitions ofwork by modern photographers. My visit to the storeroomswas an extremely useful experience, because of the nume-rous and various materials stored there. The museum hadrooms with a controlled climate, but others demonstratedthe permanent compromise between ideal conservationconditions and financial restraints, present all over France(and all over the world, for that matter). During my stay inParis, I also visited the storage facilities of the Albert KahnMuseum, the National Archive of France and Société Franca-ise de Photographie (SFP). All those institutions have veryrich collections but face a number of problems, ranging from

109


Sl. 3. Pravilan na~in ~uvanja dagerotipije nakon konzervacije

Fig. 3. Adequate safe keeping conditions of daguerreotypeafter conservation

nu (Chalon-sur-Saône). To je jedinstven muzej u Francuskojpo bogatstvu kolekcija i samoj koncepciji stalne postavke.Naime, poseta tom muzeju svojevrsno je putovanje krozvreme i istoriju fotografije, po~ev od prvih tehnika i prvihfotoaparata, pa sve do izlo`bi savremenih autora. Poseta de-poima bila je posebno korisno iskustvo upravo zbog brojno-sti i raznovrsnosti materijala koji se u njima ~uva. U muze-ju se nalaze i prostorije s kontrolisanom klimom, ali i onedruge, {to ukazuje na ve~iti kompromis izme|u konzerva-torski idealnih re{enja i finansijske situacije koji postojisvuda u Francuskoj (kao, uostalom, i svuda u svetu). Tokomboravka u Parizu posetio sam jo{ i depoe Muzeja AlbertaKana, Muzeja Orsej, Nacionalnog arhiva Francuske, Dru-{tva francuskih fotografa (SFP). Iskreno govore}i, sve teinstitucije imaju izuzetno bogate zbirke, ali, s druge strane,i brojne probleme, po~ev od neadekvatnog prostora, pa svedo starih ko{uljica u kojima se fotografije nalaze. Iako sesve one suo~avaju s mnogobrojnim prakti~nim problemi-ma, svuda postoji veoma visoka svest o merama ~ije jesprovo|enje neophodno ili, blaè re~eno, poèljno radi {toboljeg o~uvanja fotografskog nasle|a u Francuskoj.

Osim muzeja, posetio sam i veoma zanimljivu agencijukoja u svojim depoima ima ~ak {est miliona fotografija i ne-gativa. Agencija Roè-Viole (Roger-Violet) bavi se digitalizaci-

jom fotografskih kolekcija grada Pariza. Krajnji cilj digitali-zacije tih kolekcija jeste, pored preventivne konzervacije, idistribucija fotografija putem Interneta. Dakle, obavljaju}iva`nu funkciju o~uvanja fotografskog nasle|a, ta agencijaje napravila neverovatan korak ka dostupnosti tog materi-jala kako publici tako i profesionalcima kojima su ti fondo-vi klju~ni za istraìvanja. To je veoma bitno jer smatram dadigitalizacija mora da bude prvi korak u za{titi bilo koje fo-tografske zbirke. Prvi, ali svakako ne i jedini! U suprotnom,bogati fondovi takvih zbirki mogu ostati ve~ito za~aureni usvojim depoima i dostupni samo malom broju privilegovanih.

Na kraju, mogu re}i da sam mnogo toga nau~io, ali i daje isto tako to samo mali deo onoga {to treba da se nau~i.Nadam se, tako|e, da }u imati jo{ prilika da pro{irim zna-nja iz ove oblasti, te da }u to znanje u budu}nosti mo}i i daprimenim. Smatram i da na{e fotografsko nasle|e, iako ni-je veliko – a mo`da upravo zbog toga – zasluùje sistemat-sku brigu, s kojom se mora otpo~eti {to pre. Cilj mog staà,kao i svakog sli~nog njemu, jeste da ta briga bude savreme-na, profesionalna i, {to je najva`nije, ve} isprobana.

Kada je re~ o fotografskom nasle|u u Srbiji, smatramda bi bilo klju~no formirati aùriranu evidenciju kolekcijau muzejima. Odmah nakon toga bilo bi neophodno napra-viti i procenu stanja, koja bi posluìla kao po~etna referen-ca za budu}e pra}enje uslova ~uvanja fotografija i promenakoje se na njima pokazuju. Za ta prva dva koraka neizostav-no je vezan i tre}i, a to je procena rizika, koja je veoma zna-~ajna za preventivnu konzervaciju samih kolekcija. Zatimbi bilo poèljno napraviti i valorizaciju fotografskih kolek-cija po njihovom kulturnoistorijskom zna~aju, {to nam mo-è mnogo pomo}i (uz procenu rizika) u izboru prioriteta zakonzervaciju na op{tem nivou. Na kraju, ne smemo zabora-viti ni privatne kolekcionare, nad kojima nacionalne slu`beza{tite nemaju ingerenciju, ali svakako mogu da pomognukako savetima tako i prakti~no. Upravo se u tim kolekcija-ma, sasvim sigurno, nalaze fotografije neprocenjive vred-nosti po svom sadràju, ali i po zna~aju za istoriju fotogra-fije u Srbiji. Zbog toga, ako èlimo {to kompletniju za{titufotografskog nasle|a u Srbiji, ti kolekcionari moraju bitiuklju~eni u isti onaj sistem koji èlimo da primenimo u na-{im muzejima.

110


Sl. 4. Suvo ~i{}enje korica albuma

Fig. 4. Dry cleaning of bookbinding of albums

Ivan CVEJI], konzervatordirektor Nove Vizantije, ~lan IIC

Zvezdana POPOVI], konzervator tehni~arsaradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

RADIONICA IZ OBLASTI KONZERVACIJE POZLATE NA DRVETU

U OKVIRU REDOVNE SARADNJE Odeljenja za preventiv-nu za{titu Dijana i Radnje za negovanje tradicionalnih umet-ni~kih zanata Nova Vizantija od 5. februara do 27. marta2007. godine realizovana je radionica iz oblasti konzervacijepozla}enih predmeta od drveta. Radionicu je vodio Ivan Cve-

ji} iz Nove Vizantije, a polaznici su bili saradnici Dijane. Teh-nika konzervacije demonstrirana je na pozla}enom zidnomogledalu, vlasni{tvu Narodnog muzeja u Kru{evcu. Ogledalopoti~e s kraja XIX veka, a muzej ga je 1973. godine otkupio

inadequate storage to the old envelopes used for keepingphotographs. Despite these numerous practical problems,these institutions are all completely aware of the measureswhich need to be taken to improve the preservation of theFrench photographic heritage.

Apart from museums, I visited a very interesting agency,which has over six million photographs and negatives in itsstorage rooms. The Roger – Violet Agency deals with the di-gitization of photographic collections from the city of Paris.Besides preventive conservation, the final aim of digitizationis the distribution of photographs by Internet. By performingsuch an important role in the protection of photographicheritage this Agency has made incredible progress towardsthe accessibility of that material to both professionals andthe general public, all of whom use those collections as vitalmaterial for research. This is very important, for in myopinion digitizing should be the first step in the protectionof any collection of photographs, last but not least! Other-wise rich collections might stay locked in their storage andremain accessible to only a small number of privilegedindividuals.

Finally, I can say that I have learned a great deal, thisbeing just a small portion of all that remains to be learnt inthe future. I hope that I will have further opportunity tobroaden my knowledge in this field, and to use this know-ledge in the future. In my opinion, since our photographicheritage is not large, it deserves systematic care, whichshould start immediately. The objective of my training isthat the care of any collection is up-to-date, professional,and what is most important, tried and tested.

Regarding the photographic heritage in Serbia, I be-lieve it is most important to form updated documentationof collections in museums. An assessment of conditionsshould be made immediately. This could be used as thestarting reference for the future control of safe storageconditions and the changes that occur in them. The thirdstep is inevitably connected to the previous two: the asses-sment of risk, which is very important for the preventiveconservation of collections themselves. Afterwards, it isdesirable to valorize photographic collections according totheir cultural and historical significance. That could be of

great help in deciding priorities for conservation at a gene-ral level, in the context of risk assessment.

Finally, we shouldn’t forget private collections. Althoughthey are not responsible for the care of such collections,national authorities could help by providing advice andassistance in practical matters. Those collections have cer-tainly had priceless photographs regarding both their con-tent and their value for the history of photography. There-fore, if we want to have the most complete protection forthe photographic heritage in Serbia, those collectors needto be included in the system that we want to implementinto our museums.

111


Sl. 5. Stari na~in ~uvanja fotografija u depoima

Fig. 5. The old way of storing photographs in storage rooms

Ivan CVEJI], conservatorDirector of New Byzantium Studio, Member of IIC

Zvezdana POPOVI], conservator – technicianAssociate of Diana Department for Preventive Conservation, National Museum in Belgrade

WORKSHOP DEDICATED TO THE CONSERVATION OF A GILDED OBJECT MADE OF WOOD

WITHIN THE SCOPE of regular cooperation between Dianaand the New Byzantium studio for the care of traditionalarts and crafts, a workshop took place from February 5th toMarch 27th 2007, dedicated to the conservation of a gilded

object made of wood, led by Ivan Cveji} of New Byzantium,with participation by members of Diana. Techniques andprocesses were presented, including the conservation of a

112


Sl. 1 i 2. Zate~eno stanje i stanje nakon zavr{ene konzervacije

Fig. 1 and 2. Condition and after conservation

od Dobrile Petrovi} iz Kru{evca. Predmet se pre konzerva-torsko-restauratorskog tretmana nalazio u depou muzeja.

Opis predmeta Vrsta materijala: nosa~ – drvo ~etinara, floralna dekoracijaod {tukature; preparatura – kalcijum-karbonat i organskovezivo; finalna obrada – {lag metal i srebrni listi}i; tehnikaizrade: konstrukcija, struktura – ram, grubo linijski profi-lisan, izra|en vezama na ~ep i pro~ep, fiksiran organskimvezivom, ukru}en dodatnim ramom fiksiranim na pole|inuorganskim vezivom.

Floralna dekoracija od {tukature fiksirana je na ramorganskim vezivom. Preparatura je naneta u sloju od okotri milimetra na sve povr{ine, osim na floralnu dekoraciju.Dekorativna tehnika – posrebrenje, segmentno, tehnikomvodene pozlate. Imitacija pozlate {lag metalom tehnikomprimene veziva. Finalna tehnika – patinizacija pigmentom.Za{tita organskim lakom.

Opis o{te}enjaPovr{inska o{te}enja. Vidljiva je pojava korozije dekorativ-nog sloja od oba metala, usled ~ega je do{lo do potpunog pro-bijanja sloja. Postoji sloj originalne patine, posebno na delo-vima floralne dekoracije. Za{titni lak gotovo da ne postoji.

Strukturna o{te}enja. Vidljiva su o{te}enja floralne dekoraci-je (pukotine i fragmenti koji nedostaju). Preparatura je ispu-cala i mestimi~no nedostaje. Postoje o{te}enja drvenog no-sa~a, kako mehani~ka, usled promena u drvetu, tako i onakoja su posledica inokulacije insektima, trenutno neaktivne.

Vidljive naslage: masno}a.

Konzervatorski tretmanî{}enje hemijskim sredstvima: sme{a metil-hlorida, meta-nola i tenzida u parafinskoj emulziji. Rastvoreni materijalispiran je etil-alkoholom (96%) pomo}u ~etke od tvrde ~e-kinjaste dlake.

Mehani~ko ~i{}enje: razlabavljeni delovi preparature idrveta uklonjeni su mehani~ki.

Konsolidacija drvenog nosa~a: umetanjem tankih listo-va drveta u otvore i pukotine i vezivom na bazi PVAC-a,rastvorljivim u metil-hloridu i metanolu.

Sastavljanje fragmenata, izrada fragmenata koji su ne-dostajali: fragmenti koji nedostaju izra|eni su u kalupu odsilikona, od sme{e modelarskog gipsa i PVAC-a, i fiksiranina povr{inu vezivom na bazi PVAC-a, rastvorljivim u me-til-hloridu i metanolu.

Popuna o{te}enja, konsolidacija pukotina, retu{: dubljao{te}enja popunjena su masom na bazi poliestera, rastvor-ljivom u metil-hloridu i metanolu; povr{inska o{te}enja popu-njena su masom na bazi akrila, rastvorljivom u metil-hloridui metanolu.

Sloj za odvajanje postoje}eg od novonanesenog (izola-cija): na segmentima koji su bili posrebreni sme{a kalci-jum-karbonata, kaolina i PVAC-a, rastvorljiva u metil-hlo-ridu i metanolu.

Preparatura: bolonjska kreda, kaolin i organsko vezivo(ze~je tutkalo) na segmentima koji su bili posrebreni. Final-na tehnika: posrebrenje listi}ima pravog srebra tehnikomvodene pozlate, imitacija pozlate {lag metalom, tehnikompodlepljivanja uljanim mikstionom, rastvorljivim u metil hlo-ridu i metanolu.

Patina: bitumenska patina.

gilded wooden mirror frame from the National Museum inKrusevac. The mirror was made towards the end of the 19th

century and was acquired by the museum in 1973 from alocal resident. This object had been stored in the museumdepot prior to conservation treatment.

Object surveyMaterial type: the holder was made of coniferous wood,with stucco floral decoration, the gesso comprising calciumcarbonate powder and organic adhesive, probably Fish-eyeglue. Final coating: This comprised silvering and imitationgilding using schlag metal foil. Manufacturing techniqueand structural analysis: The wooden holder, roughlylinearly profiled was connected by a traditional woodenbinding and organic adhesive. It was additionally held inplace by a smaller frame, adhered to the back surface oforiginal frame with organic adhesive.

Decoration and decorative technique: Floral ornamentsmade of stucco were adhered to the surface with organicadhesive. All surfaces were covered with gesso, approxima-tely 3 mm thick, except for the floral decoration. The sur-face of the frame was silvered using water gilding techniqueand decorated with imitation gilding, applying schlag metalfoil. Finishing technique: patina with pigment and protec-tive organic lacquer layer.

ConditionSurface damage. The decorative covering layer made ofboth metals was corroded, resulting in perforations of thefoil. A layer of the original patina was present, especially onfloral surfaces. The layer of protective lacqer was present inonly a few places.

Structural damage. The floral decoration was roughlycracked, with some pieces missing. The gesso was crackedand partly missing. There was some damage to the woodenholder, both mechanical and caused by insect inoculation,not active at the moment.

Deposit: Grease

Conservation treatment:Chemical Cleaning: A mixture of methyl chloride,methanol, cellulose powder, and paraffin oil was used toclean the object. The dissolved substances were rinsed with96% ethyl alcohol, using a firm hairbrush.

Mechanical Cleaning: Loose pieces of stucco and woodwere removed mechanically.

Consolidation: veneer pieces were inlayed, adhered withPVAC adhesive dissoluble in methyl chloride and methanol.

Stucco treatment: Missing ornaments were copied,using a silicon mould. Modelling plaster and PVAC were used

113


Sl. 3 i 4. î{}enje povr{ine predmeta i uno{enje elementa za konsolidaciju od drveta

Fig. 3 and 4. Cleaning of the surface and consolidation with veneer pieces

Sl. 5. Popunjavanje o{te}enja u sloju preparature punilom na bazi akrila

Fig. 5. Crack filing with acryl filler

114


Sl. 6. Ornament iz kalupa

Fig. 6. Ornament from the mould

Sl. 7. Poliranje posrebrenog segmenta

Fig. 7. Polishing of silvered segment

Za{titni lak: lak na bazi Zappon laka, rastvorljiv u me-til-hloridu i metanolu.

* * *Radionica je realizovana tako {to je svaka faza konzer-

vatorskog tretmana propra}ena obja{njenjem i prakti~nomdemonstracijom postupka. Polaznici radionice bili su aktiv-

no uklju~eni u svaku fazu prakti~nog rada i imali su prili-ku da prikazanu tehniku sami primene na „svom“ delu ra-ma ogledala.

Nova Vizantija donirala je svoj rad, Narodni muzej uKru{evcu omogu}io je nabavku materijala, a saradnici Di-jane dobili su priliku da upotpune svoja znanja u jo{ jednojoblasti konzervacije organskih materijala.

Ana KOCJAN, konzervatorAleksandar JOKSIMOVI], istori~ar umetnosti

saradnici Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

MALE RUKE I VELIKA DELA

MUZEJI KAO INSTITUCIJE kulture u slu`bi dru{tva, poredtoga {to ~uvaju, {tite, istraùju i prezentuju predmete mate-rijalne i nematerijalne kulture, imaju jo{ jedan, podjedna-ko vaàn zadatak, a to je edukacija publike. Danas muzeji{irom sveta imaju razvijen sistem rada s publikom, koji obu-hvata niz raznolikih aktivnosti – izlo`be, radionice, stru~navo|enja, okrugle stolove, koncerte, predstave itd. Tim pu-tem prezentuju se mnogobrojne muzejske aktivnosti, ali iraznovrsni aspekti kulturne ba{tine i njenog o~uvanja.

Tokom svog razvoja Odeljenje za preventivnu za{tituDijana Narodnog muzeja u Beogradu izgradilo je sistem edu-kacije koji podrazumeva aktivan pristup obrazovanju mladihstru~njaka i muzejskih profesionalaca u oblasti konzervaci-je, muzeologije, preventivne za{tite itd. Taj sistem obuhvatai edukativne programe za publiku, koji su tokom poslednjihnekoliko godina postali deo redovnih aktivnosti Dijane. Prveaktivnosti na tom polju ostvarene su 2002. godine u okviruLetnje {kole Dijana, radi formiranja muzejske publike saizgra|enom sve{}u o za{titi kulturnog nasle|a i izgra|enimrazumevanjem delatnosti i uloge muzeja. Postignuti rezul-tati uslovili su dalji rad na osmi{ljavanju programa za upo-znavanje publike s na~inima za{tite kulturnih dobara, kao

i usmeravanje na edukaciju mladih, pre svega dece pred{kol-skog i {kolskog uzrasta. Do sada su razvijena tri segmentaprograma: Tajne konzervacije, Kopija i replika i Stanovanje udoba Rimljana, koji se ostvaruju u okviru radionica. Prve dveradionice neposredno su usmerene na za{titu kulturnog na-sle|a. Tre}a radionica bila je fokusirana na aspekte kultureìvota i stanovanja u rimskom periodu; rimski na~in stanova-nja predstavljao je polaznu ta~ku za upore|ivanje s razli~i-tim aspektima ìvota od preistorije do dana{njih dana.

Radionica Tajne konzervacije realizuje se od 2002. go-dine i obuhvata primenu konzervatorskog tretmana na pri-merima savremene etnografske keramike. Program se sa-stoji od teorijskih predavanja i prakti~nog rada. Predavanjase odràvaju istovremeno sa odvijanjem prakti~nog rada.Na njima se obja{njavaju faze konzervatorskog tretmana irazja{njava se nekoliko klju~nih pitanja: zbog ~ega se oba-vlja konzervacija arheolo{kih predmeta, kakvu ulogu imajumuzeji u o~uvanju kulturnog nasle|a i za{to je va`no sa~u-vati kulturnu ba{tinu. Prakti~ni deo sastoji se od slede}ihfaza: spajanja fragmenata, restauracije i retu{a. U toku prvefaze deca probno spajaju sve fragmente sko~-trakom kako

as stucco material. Newly made ornaments were adhered tothe surface using PVAC adhesive dissoluble in methyl chlo-ride and methanol.

Crack filing: Polyester filer was used as a fill for deepercracks, and acryl filler for surface cracks. Both fillers aresoluble in methyl chloride and methanol.

Isolation layer: On gilded areas a mixture of calciumcarbonate in fine powder form (Bologna chalk), kaolinpowder and PVAC dissoluble in methyl chloride andmethanol was used.

Gesso: A mixture of technical whiting, kaolin and rabbitskin glue was applied to gilded areas.

Finishing technique: A water gilding technique wasused, with genuine silver leaf, while gilding imitation wasdone using schlag metal leaf – size technique, soluble inmethyl chloride and methanol.

Retouching: tar patina.Protective layer: Zappon lacquer based coat soluble in

methyl chloride and methanol.

* * *The workshop was conducted so that every phase of the

conservation treatment was followed by explanations and apractical demonstration of the treatment. The participantsactively participated in every phase of the practical work

and each had an opportunity to use the technique on „their“part of the mirror frame.

New Byzantium donated its work and time, the Nation-al museum in Krusevac financed the materials, and mem-bers of Diana received an opportunity to broaden theirknowledge of the conservation of organic materials.

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Sl. 8. Patiniranje

Fig. 8. Patina

Ana KOCJAN, conservatorAleksandar JOKSIMOVI], art historian

Associates of the Department for Preventive Conservation Diana, National Museum in Belgrade

SMALL HANDS, GREAT WORK

BESIDE PRESERVING, safeguarding, exploring, and pre-senting items of material and intangible culture, museums,as cultural institutions serving society, have an additionalimportant task: the education of the public. Nowadays,museums worldwide have developed ways of working withthe public, encompassing a series of activities – exhibitions,workshops, guided tours, conferences, concerts, or plays.Such events not only promote the museum, but alsodiverse aspects of cultural heritage and its preservation.

In the course of its development, the Diana Departmentfor Preventive Conservation, National Museum Belgrade,has established an education programme which involves anactive approach to the education of young experts andmuseum professionals in the field of conservation, muse-ology, preventive conservation an so on. This system alsoencompasses educational programmes for the public, whichhave become part of regular Diana activities over recentyears. The initial activities in this field were accomplishedin 2002 during the Diana Summer School, with a view tocreating a museum public, conscious of the protection ofcultural heritage and understanding the activities and rolesof museums in this. The results achieved stimulated fur-

ther work on the creation of a programme to introduceways of cultural heritage protection, as well focusing oneducating the young, mainly pre-school and school-agechildren. Thus far, three segments of the programme havebeen developed: The Secrets of Conservation, The Copy andthe Replica, and Living in the Roman Ages, presented as work-shops. The first two are directly oriented towards culturalheritage protection while the third focuses on aspects ofcultural life and living conditions in Roman times. TheRoman way of life was the starting point for the compa-rison of various aspects of life, from prehistoric times tothe present.

The Secrets of Conservation workshop has been organi-sed since 2002 and encompasses the application of conser-vation methods to examples of contemporary ethnographicceramics. The programme comprises both theoretical lec-tures and practice, held simultaneously. During these lec-tures the phases of conservation treatment are explainedand several key issues addressed, such as: why the conser-vation of archaeological objects is performed, what the roleof museums in the protection of the cultural heritage is,

bi dobila predstavu o izgledu predmeta. To im omogu}ujeda zatim brè i s manje gre{aka spajaju fragmente OHOlepkom. U toku lepljenja OHO lepkom pojedini fragmentise uklanjaju (1–2) kako bi ti delovi bili restaurisani u dru-goj fazi, u fazi restauracije. Restauracija se obavlja uzima-njem otiska pomo}u vo{tanih plo~ica koje se stavljaju napostoje}e fragmente i prebacuju na deo koji nedostaje. Tidelovi popunjavaju se gipsom, koji se nakon su{enja obra-|uje abrazivnim papirom. Nakon obrade povr{ine deca ra-de retu{ akrilnim bojama. Postupci koji se primenjuju sli~nisu uobi~ajenom konzervatorskom tretmanu, s tom razlikom{to je postupak pojednostavljen i izbegnuto je kori{}enjehemijskih sredstava.

Radionica Kopija i replika realizuje se od 2004. godinei obuhvata izradu kopija i replika preistorijske i rimske ke-ramike po uzoru na originalne muzejske eksponate koji se~uvaju u Narodnom muzeju u Beogradu (ì{ci, {olje, fi{ pot,pehari itd.). I ova radionica podrazumeva teorijska predava-nja i prakti~an rad. Teorijska predavanja odràvaju se isto-vremeno sa odvijanjem prakti~nog rada i na njima se obja-{njavaju metode izra|ivanja kopije i replike. Predavanjaobuhvataju i odgovore na nekoliko klju~nih pitanja – o to-me za{to se izra|uju kopije muzejskih predmeta, koliko sukopije zna~ajne kada je original uni{ten i za{to su va`ne uo~uvanju kulturne ba{tine. Prakti~ni deo sastoji se iz tri fa-ze: izrade posuda od gline na tradicionalan na~in, modelova-njem slobodnom rukom (tzv. tehnika iz ruke), izrade posu-da od gline tehnikom kve~ovanja i izrade kopija arheolo{kihpredmeta tehnikom livenja. U prvoj fazi deca izra|uju ko-pije predmeta od gline na osnovu posmatranja originalnihmuzejskih predmeta. Druga faza – kve~ovanje – obuhvatautiskivanje gline u dvodelni gipsani kalup, pomo}u kojeg sedobija kopija predmeta, dok tre}a faza obuhvata ulivanjemase za livenje u gipsane kalupe za dobijanje kopija origi-nalnih muzejskih predmeta. Izvedene kopije i replike u za-vr{noj fazi dora|uju se razli~itim vrstama alatki, peku ukerami~kim pe}ima i dekori{u tehnikom tera sigilate iakrilnim bojama po slobodnom izboru.

Na kraju programa u~esnici radionica dobijaju diplo-me, kao i bro{ure, u kojima su, u tekstovima propra}enim

fotografijama, obja{njene sve metode rada primenjene uradionicama Tajne konzervacije i Kopija i replika. Svake go-dine svi izvedeni radovi prezentuju se na De~ijoj izlo`bi, anakon nje deca radove nose ku}i, kao uspomenu na u~e-stvovanje u muzejskim aktivnostima. Jo{ jedan od klju~nihsegmenata ovih radionica jeste to {to deca imaju priliku daposete konzervatorske radionice u OPZ Dijana, ~ime dobi-jaju kompletnu sliku o za{titi predmeta u muzejima. I samambijent Galerije fresaka, u kojoj se radionice odvijaju igde je sme{tena Dijana, omogu}uje deci da razumeju i pre-poznaju zna~aj i vrednost na{eg kulturnog nasle|a u odno-su na svetsku kulturnu ba{tinu, kao i u odnosu na sve seg-mente ìvota.

Pojedini segmenti radionice Kopija i replika realizovanisu povodom Evropskih dana kulturne ba{tine 2004. i 2005.godine, zatim 2005. i 2006. godine u okviru projekta Ode-ljenja za edukaciju Narodnog muzeja u Beogradu Ishrana upro{losti, kao i u okviru programa Kopija ili original, koji jeovo odeljenje realizovalo u saradnji sa Udruènjem slepih islabovidih Srbije Beli {tap 2006. godine.

Jo{ jedan od programa namenjenih uklju~ivanju mla-dih u muzejske aktivnosti jeste Stanovanje u doba Rimljana,a on se tako|e ostvaruje u saradnji sa Odeljenjem za edu-kaciju Narodnog muzeja u Beogradu. Projekat Stanovanje

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Sl. 1. Konzervacija keramike

Fig. 1. Conservation of ceramics

Sl. 2 i 3. Tehnika modelovanja iz ruke i tehnika kve~ovanja

Fig. 2 and 3. Hand-building and press-moulding technique

and why it is important to preserve cultural heritage. Thepractical part comprises the bonding of fragments, restora-tion, and retouching. During phase one, children experi-mentally join all the fragments together with scotch-tapein order to get an idea what the object looks like. After-wards, this enables them to bond the fragments togetherwith glue more rapidly and with fewer mistakes. In the pro-cess of bonding, certain fragments (1–2) are removed sothat these parts can be restored in phase two, the restora-tion phase. The restoration is performed by making moulds,using small wax tiles, placing these on the existing frag-ments, and then transferring them to the missing parts.These are then filled in with plaster and treated with sand-paper upon drying. After treating the surface, the childrenperform retouching with acrylic paint. These proceduresare similar to standard conservation treatment, except thatthis procedure is simplified and the use of chemical agentsavoided.

The Copy and the Replica workshop has been organisedsince 2004 and encompasses making copies and replicas ofboth prehistoric and Roman ceramics, modelled on originalmuseum exhibits kept at the National Museum in Belgrade(Roman lamps, cups, fish pots, and goblets). This workshopalso involves theoretical lectures held alongside the prac-tical work, explaining how copies and replicas are made.These lectures also answer several key questions, such aswhy copies of museum objects are made, how crucial theseare when the original has been destroyed, and why they areimportant in cultural heritage protection. The practical workcomprises three phases: making pottery in a traditional way;modelling (the so-called hand-building technique); makingpottery using the press-moulding technique; and makingcopies of archaeological objects using the casting techni-que. In phase one, children make copies of clay objects ba-sed on observing original museum objects. Phase two –

press-moulding – involves pressing clay into a two-partplaster mould, which produces a copy of the object. Phasethree involves pouring casting mass into plaster moulds inorder to get copies of the original museum objects. In the lastphase, the created copies and replicas are worked on usingvarious types of tools, baked in kilns, and ornamented byusing the tera sigilate technique and acrylic paints, by choice.

At the end of the programme, the workshop partici-pants’ receive certificates and brochures in which all thework methods applied in The Secrets of Conservation andThe Copy and the Replica workshops are explained, illustra-ted with photographs. All produced works are presentedevery year at The Children’s Exhibition, after which childrentake them home to remind them of their participation in themuseum activities. Another key element of the workshopsis that the children have an opportunity to visit Diana’s con-servation workshops, which gives them a complete pictureof museum object conservation. The atmosphere of the Gal-lery of Frescoes, where the workshops are held and whereDiana is situated, enables children to understand andrecognise the importance and value of our own culturalheritage in the context of world cultural heritage and otheraspects of life.

Certain segments of The Copy and Replica workshopwere conducted in 2004 and 20005 to mark the EuropeanDays of Cultural Heritage, and in 2005 and 2006 as parts ofNutrition in the Past, a project of the Education Departmentof the National Museum in Belgrade, and the Copy or theOriginal programme, organised in 2006 by this Depart-ment in cooperation with The White Cane, The Associationof The Blind and Partially Sighted of Serbia.

Another programme aimed at involving young peoplein museum activities is Living in the Roman Ages, also orga-nised in cooperation with the Education Department of theNational Museum in Belgrade. This project is a continuation

117


Sl. 5. Izvedene kopije i replike

Fig. 5. The copies and replicas created

Sl. 4. Tehnika livenja iz kalupa

Fig. 4. The casting technique

u doba Rimljana jeste nastavak projekta Ishrana u pro{lostii predstavlja jedan od programa ~ija je svrha upoznavanjesa ìvotom u pro{losti na teritoriji Srbije, ali i razumevanjeuloge i delatnosti jedne od institucija za{tite – Narodnogmuzeja u Beogradu. Projekat se sastoji od teorijskog i prak-ti~nog dela. Teorijski deo ostvaruju edukatori u {kolama,na predavanjima koja predstavljaju pripremu za odvijanjeprakti~nog dela. Na predavanjima se deci prikazuju repro-dukcije i ona se upoznaju s na~inom ìvota od preistorijedo dana{njih dana, s naglaskom na rimskom periodu i mo-zaiku kao podnoj dekoraciji. Prakti~an rad obuhvata pra-vljenje mozaika po motivima rimskih mozaika s teritorijeSrbije. Deca na podlozi od lesonita (15 × 15 cm) prvo crta-ju motiv na osnovu datih predloàka. Nakon izvo|enja cr-teà deca lepkom lepe kockice. Treba naglasiti da je tehni-ka izrade mozaika prilago|ena deci. Za izradu se koristekockice pravljene od cementa i pigmenata pome{anih s vo-dom, ~ime je izbegnuto kori{}enje kamena i deci je radolak{an.

Tu tehniku izrade kockica za mozaik osmislio je tim OPZDijana, pri ~emu je pomoglo iskustvo kolega iz Odeljenja zaedukaciju Muzeja antike Arla i Provanse iz Arla (Francuska).Smesa se pravi na isti na~in kao {to je prave francuske ko-lege, s tim {to mi masu izlivamo u drvene ramove odre|e-nih dimenzija, a na osnovu njih seku se kockice veli~ine 1× 1 cm. Nakon se~enja kockice se ostavljaju da se osu{e iposle toga su spremne za upotrebu. Osim u {kolama, ovajprogram ostvaruje se i u okviru redovnih aktivnosti De~i-jeg kluba Narodnog muzeja u Beogradu.

Tim OPZ Dijana nastavi}e da stvara, sprovodi i razvijaprograme za publiku, a posebno za decu. Za ovu godinu ta-ko|e planiramo publikovanje stru~ne literature namenjenedeci {kolskog uzrasta, a ona }e se odnositi na pomenute te-me u vezi sa za{titom kulturnih dobara. Predvi|eno je da seza navedene teme uradi i animacija na CD-u, koja bi bilapropratni materijal uz publikaciju. Tako|e, do sada nije iz-

vedena evaluacija pomenutih aktivnosti. Planira se da se utoku 2008. godine sprovede anketa kojom }e se procenitizainteresovanost dece za ovakve programe, za osmi{ljava-nje i razvijanje drugih programa za publiku mla|eg uzra-sta, kao i to kakva su o~ekivanja od ovakvih programa u bu-du}nosti.

Na{e dosada{nje iskustvo pokazalo je da muzejski pro-grami namenjeni edukaciji dece izazivaju veliko interesova-nje i pa`nju, posebno kada je re~ o prakti~nom radu, jer suu~esnici na neposredan na~in uklju~eni u za{titu kulturneba{tine. To je jedan od primera animiranja publike i formi-ranja novih posetilaca muzeja, ali i dobar na~in obrazova-nja budu}ih generacija za{titara. Tako|e moramo da nagla-simo da sve ove radionice izazivaju veliku medijsku pa`njui da ih televizija, radio i {tampa redovno prate. Na taj na~indodatno se populari{u na{e aktivnosti, a to nam istovreme-no potvr|uje da dobro obavljamo posao edukatora.

118


Sl. 6. Kockice za izradu mozaika

Fig. 6. The mosaic cubes

Suzana POLI]-RADOVANOVI], inènjerMe|unarodni kulturni centar YUBIN

MULTIDISCIPLINARNA ISTRA@IVANJA U ARHEOMETRIJI

POÊTKOM APRILA 2007. GODINE u Istanbulu (IstanbulKültür University) odràn je Me|unarodni kongres o prime-ni spektroskopskih metoda u konzervaciji kulturne ba{tine.Osnovna tema skupa odnosila se na multidisciplinarnu oblastarheometrije, koja dominantno obuhvata istraìvanja uoblastima arheologije i fizike, ali i u ~itavom spektru pri-rodnih i dru{tvenih nauka. Predstavljeni nau~ni radovi po-kazali su kako se primenom modernih eksperimentalnihtehnika dolazi do zna~ajnih podataka o datiranosti pred-meta izra|enih od raznovrsnih materijala, izvedenih u ra-znorodnim tehnikama, tokom razli~itih istorijskih perioda.Predstavljeni su rezultati istraìvanja u kojima su prime-

njene multianaliti~ke tehnike XRF, XRD, opti~ka mikrosko-pija SEM i TEM, magnetna rezonanca, X-ray radiometrija,neutronska analiza, ED XRF spektroskopija, laserski indu-kovana Ramanova spektroskopija, m-Raman spektroskopi-ja i druge va`ne analiti~ke i dijagnosti~ke tehnike koje ima-ju visoku selektivnost i visok nivo senzitivnosti.

Istraìvanja su obuhvatila identifikaciju prirodnih isinteti~kih pigmenata i njihovih varijacija u podlogama fre-saka, ikona i manuskripata, identifikaciju organskih veziva,boja, glazura, keramike i stakla, kao i ispitivanje tekstila, me-tala i kamena.

of Nutrition in the Past, the purpose of which is to learnabout life in the past in Serbia, as well as the role and acti-vities of institutions of protection i.e. the National Museumin Belgrade. The project consists of theoretical and practicalparts. The first is conducted by museum educators, throughlectures, serving to prepare participants for the practicalpart. At these lectures children are shown reproductionsand get familiar with ways of life from prehistory to thepresent, with an emphasis on the Roman period, using themosaic as floor-decoration. The practical work involvesmosaic making, following Roman mosaics in Serbia, butadapted for children. First, the children draw a motif on aplywood surface (15 × 15 cm), copying the offered model.After that they glue together the mosaic cubes, made ofcement and pigments mixed with water. The use of stone isavoided, thereby making the children’s work easier. Thistechnique was worked out by the Diana team, aided by theexperience of colleagues from the Education Departmentof the Musée de l’Arles et de la Provence antiques (France).The mixture is made the way French colleagues do it, exceptthat we pour the mass into wooden frames of certain dimen-sions and then cut the cubes to a size of 1 × 1 cm. Afterwardsthey are left to dry, upon which they are ready to use. Thisprogramme is not only carried out in schools, but also aspart of the regular activities of The Children’s Club of TheNational Museum in Belgrade.

The Diana team will continue to create, implement, anddevelop programmes for the public, and especially for chil-dren. This year we also plan to publish literature for school-age children, which would deal with subjects pertaining tothe protection of cultural heritage. We plan to make a CDanimation for these themes to accompany the publication.An evaluation of the said activities has not been carried outso far, so in 2008 we plan to conduct a survey that wouldassess children’s interest for such programmes and showwhether the development of future programmes targeted

at younger museum visitors would be feasible, and whatthese might be.

Our experience so far has shown that museum pro-grammes for the education of children attract interest andattention, especially regarding practical work, because par-ticipants are involved indirectly in the protection ofcultural heritage. That is one way to animate the public andattract more museum visitors, providing a fine means ofeducating future generations of conservators. Furthermore,we have to point out that all the workshops have attractedconsiderable media attention, with the television, radio,and press reporting regularly on them. This makes ouractivities even more popular and assures us that we havebeen successful educators.

119


Sl. 7. Izvedeni mozaici

Fig. 7. The mosaics created

Suzana POLI]-RADOVANOVI], engineerInternational Cultural Center YUBIN

MULTIDISCIPLINARY RESEARCH IN ARCHAEOMETRY

IN EARLY APRIL 2007, the International Congress onApplying Spectroscopic Methods in Cultural Heritage Con-servation was held in Istanbul (Istanbul Kültür University).The main topic of the congress was the interdisciplinaryfield of archaeometry, which mainly encompasses researchin archaeology and physics, but also in the wider spectrumof social and natural sciences. The research papers presen-ted at the congress showed how the application of contem-porary experimental methods leads to significant data onthe dating of objects made of various materials, createdusing diverse techniques, in different historical periods.Research results were presented in which multi-analytic

techniques were applied, such as XRF, XRD, SEM and TEMoptical microscopy, magnetic resonance, X-ray radiometry,neutron analysis, ED XRF spectroscopy, laser induced Ramanspectroscopy, m-Raman spectroscopy and other importantanalytic and diagnostic techniques that are highly selectiveand sensitive.

Research encompassed the identification of natural andsynthetic pigments and their variations on the surfaces offrescoes, icons and manuscripts, the identification of orga-nic binders, colours, glazes, ceramics and glass, as well asthe testing of textiles, metal and stone.

Veoma interesantni radovi odnosili su se na istraìva-nje anti~kog srebrnog novca na tlu Albanije, istraìvanja{tampe iz perioda Otomanskog carstva, zidnog slikarstva uRumuniji, rane metalurgije u Bugarskoj.

Radovi dva istraìva~ka tima iz Srbije odnosili su se naispitivanje rane srednjovekovne keramike u Srbiji (Lj. Da-mjanovi}, M. Stojanovi}, V. Andri}, I. Holclajtner-Antunovi},U. B. Mio~) i istraìvanje semanti~kog kapaciteta spektral-nih analiza u okviru studije o primeni lasera na objektimakulturne ba{tine (S. Poli}-Radovanovi}, Z. Nedi}, M. Sre}-kovi}).

U prvom radu analizirani su uzorci posuda s lokalitetaRas i Novo Brdo iz XIV i XV veka kombinovanjem multi-analiti~kih tehnika X-ray fluorescencije, FTIR spektrosko-pije, X-ray difrakcije i diferencijalne termalne analize.

Predmet drugog rada iz Srbije bila je kamena figurinaiz Gabona, ~iji je materijal komparativno analiziran s rezul-tatima iz studije sa Federalnog univerziteta Roraima (Bra-zil), u kojoj je ispitivan materijal pedra sabão.

U opservaciji semanti~kog kapaciteta spektralnih ana-liza koje je potrebno sprovesti u okviru studija o primenilasera na objektima kulturne ba{tine neki od najva`nijihpokazatelja odnose se na probleme prezentnosti reprezen-tovanog materijala, probleme intencionalnih korelata, pro-bleme supstancijalnosti sadrìne, supstitucionog kapacite-ta dijagnosti~kih metoda i probleme redukcije informacija.Zna~ajna su pitanja o primenljivosti metoda, o tehnolo{kimgranicama tuma~enja dela, stohasti~nosti procesa, o odno-su medija i procesa, kao i pitanja transparencije dobijenihrezultata. Iako navedeni problemi tokom istraìvanja bitnosuàvaju prostore opservacije, egzaktni rezultati o prirodimaterije dobijeni spektralnim analizama, pokazalo se, imajuzna~ajan semanti~ki kapacitet u procesu tehnolo{kog pla-niranja upotrebe lasera na objektima kulturne ba{tine.

Analiza problema sondiranja podataka originalnih eks-perimentalnih istraìvanja, kao i studija laserske dijagnosti-ke, obrade i za{tite materijala kulturne ba{tine, pokazujeda se delovanjem lasera na umetni~ki predmet ne deluje sa-mo na materiju u smislu njene strukture ve} i na materijuoblikovanu na neponovljiv na~in u oblik koji je sama duhovnost

umetnika {to je cela postala stil, kako to opisuje Lui|i Parisongovore}i o umetnosti kao figuraciji materije. S tog stanovi{ta,laser kao sredstvo koje ne naru{ava materijal predmeta kul-turne ba{tine, a time ne unosi promene ni u ideje opredme-}ene u unikatnom ili jedinstvenom artefaktu, jeste zna~aj-no tehnolo{ko dostignu}e koje samom procesu za{tite dajenov smisao.

Pri tom, tehnolo{ki proces kao posledica tragala~kognapora, kao i sam totalni mit traganja, ima ~etiri stadijuma:problem ili osnovni sukob (agon), isparavanje ili neophodniotklon (patos), destrukciju ili potrebno razaranje (sparagmos)i obnavljanje kao prepoznavanje (anagnorisis).

Tim asocijativnim kompariranjem univerzalnih stvara-la~kih stadijuma i stadijuma tehnolo{ke obrade umetni~kihmaterijala u stvari apostrofiramo to da proces restauracijeumetni~kog dela, uprkos primarnoj tehnologi~nosti, ima usebi i druge neosporno va`ne identifikacije. Ovde se, presvega, misli na postojanje deskriptivnog aspekta (sadrìne),koji oslikava spolja{nje opti~ke fenomene, na jednoj strani,i konstruktivni aspekt, neku vrstu metafore ili formalizova-ne strukture koja sadrì nekonvencionalno, primereno re-{enje, s druge strane.

Zato u procesu primene lasera u konzervaciji predmetakulturne ba{tine predmet istraìvanja, objekat delovanja,sredstvo delovanja, prostor opservacije i dokazni instru-mentarijum moraju biti funkcionalno povezani. Njihovaveza ima potpuni kauzalitet, pa primenu lasera u re{avanjuproblema za{tite predmeta kulturne ba{tine nije mogu}eizvesti ukoliko bilo koji od tih ~inilaca nema odgovaraju}ufunkciju.

Razmatranjem mesta spektralne analize u okviru su-bjektno-objektne slike odnosa izgra|enih u procesima de-skripcije, analize, prospekcije, konstrukcije i rekonstrukcijekomponenata koje ~ine konkretan zadatak laserske za{titepredmeta kulturne ba{tine aktualizovano je pitanje seman-ti~kog kapaciteta te metode.

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Sl. 1. Radovi predstavljeni u okviru poster-sekcije

Fig. 1. Works presented within the poster-section

Sl. 2. U~esnici Me|unarodnog kongresa o primenispektroskopskih metoda u konzervaciji kulturne ba{tine

Fig. 2. The participants of the International Congress on Applying Spectroscopic Methods in Cultural HeritageConservation

Some very interesting papers focused on researchingantique silver coins on Albanian territory, printing from theperiod of the Ottoman Empire, wall painting in Romania,and early metallurgy in Bulgaria.

The works of two research teams from Serbia focusedon early medieval ceramics in Serbia (Lj. Damjanovi}, M.Stojanovi}, V. Andri}, I. Holclajtner-Antunovic, U. B. Mio~)and on researching the semantic capacity of spectral analy-ses within a study on applying the laser to cultural heritageobjects (S. Poli}-Radovanovi}, Z. Nedi}, M. Sre}kovi}). Thefirst paper analyzed vessel samples from Ras and NovoBrdo dating from the 14th and 15th centuries, combiningthe multi-analytic techniques of X-ray fluorescence, FTIRspectroscopy, X-ray diffraction and differential thermalanalysis. The topic of the second Serbian paper was a stonefigurine from Gabon, whose material was analyzed compa-ratively with the results of a study from Roraima FederalUniversity (Brazil), which focused on pedra sabão material.

In the observation of the semantic capacity of spectralanalyses that need to be carried out within studies of apply-ing the laser to cultural heritage objects, some of the mostsignificant indicators refer to the problems of the presenta-bility of representative material, international correlation,content substantiality, the substitutional capacity of diagno-stic methods, and the problems of information reduction.The questions of method applicability, technological limitsof work interpretation, process stochasticity, and medium-process relations are of great significance, as are questionsrelating to the transparency of findings. Although theabove-mentioned problems in research to a great extentnarrow the observation field, the exact results on the natu-re of the material acquired through spectral analyses havebeen shown to have significant semantic capacity in theprocess of technological planning the use of laser oncultural heritage objects.

Analysing the problem of sounding data from originalexperimental research, as well as the study of laser diagnos-tics and processing and the conservation of cultural heritagematerial, demonstrate that the laser not only affects thestructure of the material of an art object but also the mate-

rial shaped in a unique way, into a form that represents thevery inspiration of the artist which has entirely grown intothe style, as Luigi Parison describes it, speaking of art as thefiguration of imagination. From this viewpoint, the laser isa means that does not jeopardize the material of the culturalheritage object, and therefore does not cause changes to theidea created in the single or unique artifact. It represents asignificant technological achievement that gives a wholenew meaning to the very process of conservation.

In addition, the technological process resulting fromresearching endeavors, and the total myth of research itself,contain four phases: the problem or the basic conflict (agon),evaporation or necessary distancing (patos), destruction ornecessary ruination (sparagmos), and restoration as recogni-tion (anagnorisis). Through this associative comparison ofthe universal phases of creation and the phases of technolo-gical processing of artistic material, we emphasize the factthat despite the primary technological aspect, the processof artifact restoration also contains other unquestionablysignificant forms of identification. This primarily refers to

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Sl. 3. Figurina iz Gabona

Fig. 3. The figurine from Gabon

Sl. 4. IC rezultati ispitivanja brazilskog kamena pedra sabão

Fig. 4. The IC results of the research on the Brazilian pedra sabão stone

Primenom komparativnih analiza materijala figurine imaterijala pedra sabão istraìva~i su dokazali da spektralneanalize imaju dovoljan semanti~ki kapacitet za utvr|ivanjegeografskog porekla umetni~kog predmeta, te da se u raz-matranju primene lasera u restauraciji predmeta kulturne

ba{tine svakako mora po}i od analize spektralnih podataka.Drugim re~ima, u ispitivanju fenomena primene lasera u za-{titi materijala predmeta kulturne ba{tine re~ je o putu ko-ji zapo~inje ispitivanjem tehnologije umetnosti, a zavr{avase u ispitivanju umetnosti tehnologije.

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Sl. 5. Transmisioni spektri ispitivanja kamena figurine iz Gabona

Fig. 5. Transmission spectra of the research on the stone figurine from Gabon

Azra BEÊVI]-[ARENKAPA, konzervatorZemaljski muzej BiH

SIMPOZIJUM FOTOGRAFSKO NASLJE\E U CENTRALNOJ, JUGOISTO^NOJ I ISTO^NOJ EUROPI:

PRO[LOST, SADA[NJOST I BUDU]NOST4–9. 11. 2007, Bratislava, Slova~ka Republika

ME\UNARODNI SIMPOZIJUM Fotografsko naslje|e u cen-tralnoj, jugoisto~noj i isto~noj Europi: pro{lost, sada{njost ibudu}nost fokusirao se na fotografiju kao integralni dio kul-turnog naslje|a, kao i na razvijanje strategija za za{titu foto-grafskih kolekcija koje se nalaze u centralnoj, jugoisto~noji isto~noj Europi. Simpozijum su organizirali Institut za kon-zervaciju Geti (GCI) iz Los An|elesa, Akademija likovnihumjetnosti i dizajna iz Bratislave i Slova~ka nacionalna bi-blioteka iz Martina u Slova~koj Republici.

Tema ~etvorodnevnog simpozijuma bile su historija ikonzervacija fotografija u Albaniji, Bjelorusiji, Bosni i Her-cegovini, Bugarskoj, Hrvatskoj, ê{koj Republici, Njema~-koj, Ma|arskoj, Makedoniji, Moldovi, Crnoj Gori, Poljskoj,Rumuniji, Srbiji, Slova~koj Republici i Sloveniji.

Na simpozijumu je bilo preko 120 u~esnika iz 22 zemlje.Prvog i drugog dana simpozijuma odràna su predavanja o hi-storiji i konzervaciji fotografija u zemljama regiona. Svakazemlja predstavila je i opisala historiju fotografije, va`ne fo-

tografske kolekcije i na~ine konzerviranja i za{tite fotograf-skih kolekcija. Tre}eg dana simpozijuma, osim predavanjaeminentnih stru~njaka iz oblasti konzervacije fotografija,odràn je i okrugli stol na kojem se razgovaralo o potreba-ma u okviru kolekcija i institucija u zemljama u~esnicama.

Tako|er smo imali priliku da slu{amo predavanje podnazivom Prva fotografija – na~in analiziranja, smje{taja iizlaganja. Prva fotografija – View from the Window at LeGras – delo je @ozefa Nisefora Nijepsa (Joseph NicéphoreNiépce) i nastala je 1826. godine. To je prvi primjer trajneslike napravljene izlaganjem fotosenzitivne plo~e (izra|eneod legure olova, bakra, nikla i èljeza, s premazom bitume-na) u kameri opskuri. Ona je sada dio fotografske kolekcijeHarry Ransom Humanities Research Center na UniverzitetuTeksas u Ostinu. U junu 2002. godine fotografija je stigla uInstitut za konzervaciju Geti radi nau~nih analiza koje dotada nisu bile obavljene, iako je proces stvaranja fotografije

the existence of a descriptive aspect (content), which, on onehand, reflects external optical phenomena, and on the other,a constructive aspect, a kind of metaphor or formalized struc-ture that contains the unconventional, suitable solution.

This is why the research topic, the object requiringaction, the means of action, the observation area, and theevidence instrumentarium must be functionally connectedin the process of applying the laser in the conservation of cul-tural heritage objects. Their relationship is characterized bycomplete causality, so the application of laser techniques insolving problems in the conservation of cultural heritageobjects is not possible if any of these factors do not have asuitable function.

By considering the place of spectral analysis within thesubjective-objective picture built in the processes of descrip-

tion, analysis, prospection, construction, and reconstructionof the components that comprise the concrete task of laserprotection of cultural heritage objects, the issue of thismethod’s semantic capacity is made more topical.

Applying comparative analyses of the figurine and thepedra sabão material, researchers have proved that spectralanalyses have sufficient semantic capacity to establish thegeographic origin of an artifact and that, therefore, the ana-lysis of spectral data should definitely be the starting pointwhen considering the application of the laser in the resto-ration of cultural heritage objects. In other words, researchon the phenomena of applying the laser in the protection ofcultural heritage objects’ material is all about a developmentthat starts with investigating the technology of art andends with investigating the art of technology.

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Azra BEÊVI]-[ARENKAPA, conservatorNational Museum of BiH

SYMPOSIUM PHOTOGRAPH HERITAGE IN CENTRAL, SOUTHERN AND EASTERN EUROPE:

PAST, PRESENT AND FUTURE4–9. November 2007, Bratislava, Republic of Slovakia

THE INTERNATIONAL SYMPOSIUM on the PhotographHeritage in Central, Southern and Eastern Europe: Past, Pre-sent and Future focused on photographs being integral com-ponents of cultural heritage, and on developing preservationstrategies for photograph collections located in Central,Southern, and Eastern Europe. The Symposium was organi-zed by the Getty Institute for Conservation (GCI), Los Ange-les, the Academy of Fine Arts and Design, Bratislava, and theSlovak National Library, Martin, Slovakian Republic.

The four-day symposium considered the history of pho-tography and photograph conservation in Albania, Belarus,Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic,Germany, Hungary, Macedonia, Moldova, Montenegro, Po-land, Romania, Serbia, Slovak Republic, and Slovenia.

Over 120 participants from 22 countries attended thesymposium. During the first two days, participants gavelectures on the history and conservation of photography inthe countries of the region. Each country represented anddescribed the history of its own photography, significantphotographic collections, and methods of conservation andprotection of photographic collections. On the third day, inaddition to lectures given by eminent experts in the field ofphotograph conservation, there was a roundtable discussionabout the needs of photograph collections, and about exis-ting institutions in participating countries.

We had a chance to listen to the stimulating lecture FirstPhotography – Method of Analyzing, Storage and Display.One of the earliest photographs was taken by Joseph Nicé-

phore Niépce’s in 1826 (View from a window at La Gras).This was the first example of a permanent picture made byexposing a photosensitive slab (made from lead, copper,nickel and iron alloy covered with bitumen) inside a cameraobscura. It now forms part of the photographic collection ofHarry Ransom Humanities Research Center at Texas Univer-sity, Austin. In June 2002, the photograph came to GettyConservation Institute (GCI) for scientific analysis sincethis had not been done before, although the procedure fortaking a photo had been documented (supported by docu-mentary evidence). The scientific team of GCI used non-destructive analytic methods that included XRF (X-Ray

bio dokumentovan. Nau~ni tim GCI koristio je nedestruk-tivne analiti~ke metode, koje su uklju~ivale XRF (X-ray flu-orescente) i FTIR (Fourier-transform infrared spectrometry).Tim GCI tako|er je izradio i specijalnu vitrinu za izlaganje,napunjenu inertnim gasom, s kontrolom mikroklime.

Institut za konzervaciju Geti, Akademija likovnih umjet-nosti i dizajna iz Bratislave i Slova~ka nacionalna bibliotekaiz Martina 8. novembra 2007. godine u Ameri~koj ambasadiu Bratislavi potpisali su sporazum o me|uinstitucionalnojsaradnji i daljoj edukaciji na polju konzervacije fotografija.

Moè se re}i da je cilj simpozijuma bio da on posluì kaokatalizator za me|unarodnu saradnju i da omogu}i zasni-vanje edukacije na polju konzervacije i za{tite fotografija ubogatom naslje|u centralne, jugoisto~ne i isto~ne Europe.Tako|er je omogu}io stru~njacima iz regiona i svijeta da seupoznaju i razmjene iskustva u na~inu pristupanja proble-mima deponovanja, za{tite, konzervacije i digitalizacije fo-tografskih kolekcija.

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Ubavka MIO^Fakultet za fizi~ku hemiju Univerziteta u Beogradu

STUDENTI BEOGRADSKOG UNIVERZITETA NA SKUPUU SUSRET PRO[LOSTI: NAUKA I KULTURNO NASLE\E

KRAJEM NOVEMBRA 2006. GODINE u Galeriji Tejt modern(Tate Modern Gallery) u Londonu odràn je jednodnevni se-minar pod nazivom U susret pro{losti: nauka i kulturno na-sle|e (Looking Forward to the Past: Science and Heritage).Seminar je organizovao CCLRS (Council for the Central La-boratory of the Research Councils) u saradnji sa Arts & Huma-nities Research Council, a u okviru evropskog projekta COST.Na ~elu organizacionog odbora bio je prof. dr Manolis Pan-tos sa Univerziteta u Barseloni. Cilj skupa bilo je povezivanjenau~nika iz oblasti prirodnih nauka, restauratora, konzer-vatora, istori~ara umetnosti i arheologa koji se na multidi-sciplinaran na~in bave o~uvanjem kulturnog nasle|a, kao irazmena ideja izme|u njih.

Galerija Tejt modern otvorena je 2000. godine i jedan jeod najpoznatijih muzeja savremene umetnosti u Evropi. Na-lazi se na desnoj obali Temze, u neposrednoj blizini Mileni-jumskog pe{a~kog mosta, koji je podignut povodom ulaskau tre}i milenijum. Galerija Tejt modern impresivno je zda-nje, koje je nekada bilo elektrana, i moè da primi veliki brojljubitelja umetnosti. Upravo zbog toga {to povezuje suprot-nosti ta galerija je izabrana za mesto odràvanja skupa.

Seminar je okupio veliki broj u~esnika iz mnogih zema-lja Evrope: Francuske, Nema~ke, Belgije, Austrije, Italije,Slovenije, Rumunije, Izraela, [panije, Portugalije i Srbije,a najbrojniji su bili u~esnici iz Velike Britanije. Teme pre-davanja bile su veoma raznovrsne, iako su se sve odnosilena primenu fizi~kohemijskih metoda u ispitivanju i za{titiumetni~kih dela.

Na skupu su u~estvovali i Olgica Marjanovi} i Neboj{aPeri{i}, apsolventi na Fakultetu za fizi~ku hemiju Beograd-skog univerziteta, sada diplomirani fizikohemi~ari. Oni surezultate svojih diplomskih radova Bojena neolitska keramikavin~anske kulture (Neboj{a Peri{i}) i Spektroskopsko ispitiva-nje ikona slikanih na platnu (Olgica Marjanovi}) predstavilina skupu kao postere. Prezentovani radovi deo su istraìva-nja grupe beogradskih nau~nika koji razvijaju multidisci-plinarni pristup u ispitivanju umetni~kih dela. Tu grupu ~i-nili su prof. dr Ubavka Mio~ i doc. dr Ljiljana Damjanovi}sa Fakulteta za fizi~ku hemiju, diplomirani hemi~ar MilicaStojanovi} iz Narodnog muzeja u Beogradu i diplomiranifizikohemi~ar Velibor Andri} iz Instituta za nuklearne na-uke Vin~a.

Bojena neolitska keramika vin~anske kulture s lokali-teta Plo~nik bila je predmet jednog od istraìvanja. Cilj ra-da bili su rekonstrukcija tehnologije pe~enja i utvr|ivanjeporekla pigmenata kori{}enih za ukra{avanje. U tu svrhuprimenjeno je nekoliko metoda fizi~kohemijske analize: in-fracrvena (IC) spektroskopija, rendgenska fluorescentna ana-liza (XRF) i difrakcija rendgenskog zra~enja na kristalnomprahu (XRPD). Na osnovu IC analize otkriveno je prisustvokalcijum-ortofosfata u pigmentima bele boje, {to ukazujena kori{}enje samlevenih kostiju kao belog pigmenta. Naosnovu XRF analize odre|ena je koli~ina gvo`|a u pigmen-tima crvene i crne boje, na osnovu ~ega je zaklju~eno da jecrveni pigment hematit (Fe2O3), a crni FeO. Uz pomo} XRPD

fluorescence) and FTIR (Fourier-Transform Infrared) spec-trometry. The GCI team also constructed a special showcasefilled in with inert gas to control its microclimate.

On November 8th 2007, the Getty Institute for Conser-vation (USA), Academy of Fine Arts and Design Bratislava,and the Slovakian National Library, Martin (Republic ofSlovakia), signed an Agreement on International Coopera-tion and Further Education in the Field of PhotographyConservation.

Conclusion: the goal of this symposium was for it toserve as a catalyst for international collaboration in orderto promote the conservation and preservation of photographywithin the established photographic heritage of Central,Southern, and Eastern Europe. This symposium enabledexperts from the region and elsewhere to get to know oneanother and exchange their experience in solving the pro-blems of storage, protection, conservation and digitizationof photograph collections.

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Ubavka MIO^Faculty for Physical Chemistry, University of Belgrade

STUDENTS OF BELGRADE UNIVERSITY AT THE MEETING LOOKING FORWARD TO THE PAST: SCIENCE AND HERITAGE

TOWARDS THE END OF NOVEMBER a one day seminaron Looking Forward to the Past: Science and Heritage washeld in the Museum of Contemporary Art at Tate ModernGallery in London. The seminar was organized by CCLRS(Council for the Central Laboratory of Research Councils)in cooperation with the Arts & Humanities Research Council,within the European COST project. The chairman of theorganizing committee was Professor Manolis Pantos fromthe University of Barcelona, Spain. The goal of this meetingwas the communication and exchange of the ideas amongnatural sciences, restoration, and conservation scientists, hi-storians of art, and archeologists, all dealing with the conser-vation of cultural heritage in a multidisciplinary manner.

Tate Modern Gallery was opened to the public in 2000and is one of the most famous museums of modern art inEurope. It is situated on the south bank of the River Thames,close to the Millennium Footbridge, built on the occasionof entering the third millennium. Tate Modern Gallery is animpressive building that used to be a power station and isable to hold a great number of art admirers. Since the gal-lery itself connects opposites, it was chosen to be the venueof the meeting.

The seminar was attended by a large number of partici-pants from various European countries: France, Germany,Belgium, Italy, Slovenia, Romania, Israel, Spain, Portugaland Serbia, but participants from Great Britain were parti-cipants from Great Britain were overwhelmingly superior innumber. Lecture topics were heterogeneous, although theyall dealt with the application of physico-chemical methodsin testing and conserving works of art.

Students from Belgrade University, Faculty of PhysicalChemistry, Olgica Marjanovi} and Neboj{a Peri{i}, nowgraduate physico chemists, attended this seminar and pre-sented results of their final examination papers: (Neboj{aPeri{i}) and Spectroscopic Testing of Icons Painted on Canvas(Olgica Marjanovi}), as posters. The presented papers formpart of the research work of a group of scientists from Bel-

grade who are developing a multidisciplinary researchapproach to works of art. The group of scientists performingthis research consisted of Professor Dr. Ubavka Mio~ andsenior lecturer Dr. Liljana Damjanovi} from the Faculty ofPhysical Chemistry, graduate chemist, Milica Stojanovi}from the National Museum in Belgrade, and graduatephysico-chemist, Velibor Andri} from the Institute forNuclear Science Vin~a.

The aim of the research on the Painted Neolithic Cera-mics of Vin~a Culture, Plo~nik site, was to reconstruct thetechnology of firing and discover the origin of pigmentsused for adornment. For this purpose, several methods ofphysico-chemical analysis have been used: (IC) infrared spe-ctroscopy, Roentgen fluorescent analysis (XRF) and dif-fraction of Roentgen rays on crystal dust (XRPD). Duringbasic IC analysis, the presence of calcium orthophosphatein the pigments of white color was discovered, which indi-cate that ground bones were used as white pigment. On thebasis of XRF analysis, the quantity of iron was defined inthe pigments of red and black color, which proved that redpigment is hematite (Fe2O3) and black FeO. By the meansof XRPD analysis, the composition of ceramic material wasdiscovered and this was used to estimate the temperatureof firing.

In another paper, spectroscopic testing of icons pain-ted on canvas showed the use of the spectroscopic methodin analyzing pigment and other painting material used formaking three icons painted on canvas. The tested iconsGodmother and Christ, Saint Petka Paraskeva and Madonnabelong to the Museum of the Serbian Orthodox Church. It issupposed that they originate from the end of XIX centuryand beginning of XX century. By means of an optic micro-scope, a cross section of all samples was photographed andthe chronology of applied layers of colour was established. Bycombining results obtained from physico chemical methods(XRF and IC spectroscopy), identification of the painting

analize ustanovljen je sastav minerala u keramici, na osno-vu kojeg je procenjena temperatura pe~enja.

U radu Spektroskopsko ispitivanje ikona slikanih na plat-nu prikazana je primena spektroskopskih metoda u analizipigmenata i drugog slikarskog materijala kori{}enog za iz-radu tri ikone na platnu. Ispitivane ikone – Bogorodica saHristom, Sveta Petka i Madona – pripadaju Muzeju Srpskepravoslavne crkve i pretpostavlja se da poti~u s kraja XIXili po~etka XX veka. Uz pomo} opti~kog mikroskopa snim-ljeni su popre~ni preseci svih uzoraka, na osnovu ~ega je

utvr|en redosled nano{enja razli~itih slojeva. Kombinacijomrezultata dobijenih fizi~kohemijskim metodama (XRF i ICspektroskopija) identifikovani su kori{}eni slikarski materi-jali. Zaklju~eno je da je na sve tri ikone kao vezivo kori{}enolaneno ulje, dok se me{avina kalcita i olovnobele koristilakao podloga (u podlozi ikone s likom svete Petke prona|en jei barit). Utvr|eno je da su na ikonama kori{}eni pigmentikao {to su prusko plavo, oksidi gvo`|a (hematit, getit), ze-lena zemlja, dok se cinkova bela koristila za dobijanje èlje-ne nijanse. Na osnovu identifikovanog slikarskog materija-la potvr|ena je pretpostavka o vremenu nastanka ikona.

Ovaj skup dao je pregled multidisciplinarnog pristupaispitivanju najrazli~itijih umetni~kih predmeta kulturnognasle|a.

Profesor Dejvid Majls (David Miles) s Birmingemskoguniverziteta pokazao je u svom predavanju da ne postojinauka s kojom se arheologija ne moè povezati. Kao primernaveo je va`nost razvoja avio-industrije za arheologiju, {toje ilustrovao zanimljivim snimcima Stounhendà iz balona,nastalim 1906. godine, i snimcima iz aviona iz 2006. godine.

Ova metoda daljinske detekcije (analize terestri~nih avion-skih i satelitskih snimaka) relativno je nova u istraìvanjuarheolo{kih lokaliteta, a posebno je korisna za lociranje te-{ko pristupa~nih arheolo{kih lokaliteta.

Dr Jana Kolar iz Slovena~ke nacionalne biblioteke go-vorila je o uzrocima degradacije, nedestruktivnoj hemijskojanalizi i za{titi papira (raznih dokumenata i pisama), knji-ga i pergamenata od velike vrednosti. Mikroramanska spek-troskopija i rendgenska fluorescentna analiza (XRF), premaJani Kolar, predstavljaju najprikladnije metode za ovakavvid ispitivanja, jer ispunjavaju stroge uslove vezane za ne-destruktivnost i osetljivost, {to je neophodno prilikom ana-lize vrednih umetni~kih dela. Veliki broj starih dokumena-ta i knjiga koji se ~uvaju u bibliotekama {irom sveta nalazise u veoma lo{em stanju i, prema oceni stru~njaka, vero-vatno ne}e preìveti ovaj vek ukoliko se ne preduzmu me-re za{tite. Kao jedan od primera navedeni su Rembrantovicrteì koji su na ivici propadanja. Tako|e je ukazano na va-`nost ispitivanja mastila na starom papiru. Na osnovu po-znavanja hemijskog sastava kori{}enog mastila mogu}e jeutvrditi, osim uzroka propadanja papira, i autenti~nost do-kumenata i starih spisa.

Istraìva~i iz Italije govorili su o kori{}enju lasera priuklanjanju patine s bronzanih skulptura. Ta metoda se ve}duè vreme primenjuje kod ~i{}enja predmeta od kamena,dok to doskora nije bilo mogu}e na metalnim skulpturamazbog topljenja i promene boje legure usled lokalnog zagre-vanja predmeta. Taj problem uspe{no je razre{en primenompulsnih lasera, jer je na taj na~in izbegnuto kontinualno iz-laganje metala visokoenergetskom zra~enju.

Na poster-sekcijama koje su odràne u pauzama preda-vanja prikazani su rezultati velikog broja ispitivanja umet-ni~kih dela. Metode koje su kori{}ene u tim ispitivanjima unajve}oj meri su spektroskopske i nuklearne. Objekti koji suispitivani veoma su raznovrsni, po~ev od nov~i}a, nakita,gr~kih i rimskih {lemova, preko drevnih kerami~kih pred-meta, srednjovekovnih slika i fresaka, fasada katedrala izgrada, do potopljenih brodova i skulptura kojima je po-trebna restauracija.

Na seminaru U susret pro{losti: nauka i kulturno nasle|epokazano je na veoma zanimljiv na~in da nauka i umetnostimaju mnogo zajedni~kih tema. Na osnovu toga jasno se vi-di da je ispitivanje umetni~kih dela pre{lo veliki put od idejeo mogu}nosti primene egzaktnih nauka do njene realizacije.[irom sveta nau~nici iz oblasti prirodnih nauka ve} su ostva-rili dobru komunikaciju s nau~nicima iz oblasti humani-sti~kih nauka, dok je kod nas takav vid saradnje na samompo~etku. U~e{}e na{ih nau~nika na skupovima sa ovakvomtematikom doprinosi razvoju prilaza o~uvanju kulturne ba-{tine koji je za na{u sredinu nov, kao i upoznavanju novihegzaktnih metoda i razvoju saradnje nau~nika iz dve gru-pacije, kako u na{oj zemlji tako i sa onima iz inostranstva.

Pored novih saznanja, ste~enog iskustva i uspostavlja-nja kontakata sa stru~njacima iz razli~itih oblasti i zemalja,nije izostalo ni fantasti~no druènje, {to se moè videti izpriloène slike.

Istraìvanja predstavljena na ovom seminaru, komplet-ne informacije o u~esnicima, kao i fotografije, mogu se na-}i na adresi: http://www.srs.ac.uk/scienceandheritage/

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Gore, s leve strane, prof. dr Manolis Pantos i Olgica Marjanovi}; dole, prvi zdesna, Neboj{a Peri{i}

In the upper row from the left to the right, Prof. Dr. Manolis Pantos, Olgica Marjanovic. At the bottom, first from the right Nebojsa Perisic

material used was made. It was concluded that for all threeicons, linseed oil was used as connective tissue, while thecompound of calcite and led white was used as a base (inthe base of the icon Saint Petka, barite was found). It wasestablished that pigments such as Prussian blue, ferrousoxides (Hematite Goethite), and green earth were used foricons, while Zinc white was used to obtain desired shades.The identified painting material confirmed a hypothesisregarding the date of origin of these icons.

This meeting provided a survey of the multidisciplinaryapproach in testing heterogeneous works of art forming partof the cultural heritage.

In his lecture, Professor David Miles from BirminghamUniversity conveyed that there is no science that archeolo-gy could not be connected to. As an example, he stated theimportance of the development of the aviation industry forarcheology and illustrated it with interesting photos of Stone-henge taken from a balloon in 1906 and from a plane in 2006.This method of remote detection (analysis of terrestrialplane and satellite photos) is relatively new in researchingarcheological sites. It is especially useful in locating arche-ological sites that are difficult to access. .

Dr. Jana Kolar from the Slovenian National Librarytalked about causes of degradation, about non-destructivechemical analysis, and the conservation of paper (variousdocuments and letters), books, and parchment of great value.According to Dr. Kolar, Micro-Raman spectroscopy andRoentgen fluorescent analysis (XRF), present the most ap-propriate methods for this kind of research, since theyfulfill severe conditions connected to non-destructivenessand sensitivity, necessary during analysis of valuable worksof art. Numerous old documents and books kept in librariesall over the world are in very bad condition and, accordingto the estimation of experts, will not survive this century,if conservation measures are not undertaken. Rembrandt’sdrawings, which are on the brink of ruin, were given as oneof the examples. Dr. Kolar also pointed out the importanceof testing ink on old paper. By knowing the chemical com-position of used ink, it is possible to determine, not only

the cause of paper decay, but also facts regarding theauthenticity of documents and old papers.

Researchers from Italy talked about the use of lasers incleaning patina from bronze sculptures. This method forcleaning stone objects has been used for some time, butthis has not been possible recently because of melting andchanges in the colour of alloys, caused by localized heatingof the object. This problem has been successfully overcomeby using pulse lasers, since in this way continuous exposu-re of metal to high-energy radiation sources was avoided.

At poster workshops, held during break time betweenthe lecturers, results obtained from testing various works ofart, were presented. Methods used in testing were mostly spe-ctroscopic and nuclear. Tested objects were heterogeneous,beginning with coins, jewelry, Greek and Roman helmets,through ancient ceramic objects, medieval paintings,frescoes, cathedral and building facades, to sunken boatsand sculptures that needed restoration.

The seminar, Looking Forward to the Past: Science andHeritage, presented in a very interesting way that scienceand arts have very much in common. Accordingly, it isobvious that testing works of art has come a long way fromthe first ideas of applying exact sciences to its realization.Worldwide, scientists from natural sciences have alreadyhad good communication with humanities scholars, whilein our country, this type of communication is still at anearly stag. The participation of our scientists at meetingsdealing with this subject contributes to our developing newapproaches to the protection of cultural heritage in ourcountry, to our introducing new exact methods, and todeveloping cooperation between scientists from those twogroups, both in our country and abroad.

Besides new knowledge, obtained experience, and con-tacts with experts from various fields and countries, we alsohad a good time, which is obvious from the photos includedhere.

The research work presented at this seminar, completeinformation about participants and photos can be found onthe web page http://www.srs.ac.uk/scienceandheritage/

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Vesna @IVKOVI], curator for Preventive ConservationDiana Department for Preventive Conservation, National Museum in Belgrade

THE ESTABLISHEMENT OF A MASTER’S DEGREEIN PREVENTIVE CONSERVATION IN BELGRADE

THE MASTER’S DEGREE in Preventive Conservation wasofficially launched on 24th November 2008 at the Centrefor Multidisciplinary Studies, Belgrade University. Theestablishment of this Master’s program is connected withthe introduction of preventive conservation principles withincultural heritage preservation in Serbia and a new approachto conservation education, four years after the creation of

the Diana Department for Preventive Conservation at theNational Museum in Belgrade, the direct result of thedepartment’s activities.

Since current study programs in conservation at uni-versities in Serbia are oriented towards the conservation ofpaintings on canvas and wood, mural paintings, mosaics,

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U NOVEMBRU 2008. GODINE na Univerzitetu u Beogradu,u okviru multidisciplinarnih poslediplomskih studija,zvani~no je zapo~eto s realizacijom diplomskih akademskihstudija iz preventivne konzervacije (master). Osnivanje ma-ster studija iz preventivne konzervacije povezano je sa uklju-~ivanjem koncepta i principa preventivne konzervacije uprocese za{tite kulturne ba{tine u Srbiji, kao i s primenomnovog pristupa u edukaciji iz konzervacije. Diplomske aka-demske studije (master) osnovane su ~etiri godine nakon us-tanovljenja Odeljenja za preventivnu za{titu Dijana u Na-rodnom muzeju u Beogradu i to je rezultat aktivnosti ovogodeljenja u domenu konzervacije i edukacije u konzervaciji.

Budu}i da se postoje}i studijski programi iz konzer-vacije na univerzitetima u Srbiji odnose na konzervacijuslika na platnu i drvetu, zidnih slika, mozaika, skulptura iumetni~kih dela na papiru, uz usredsre|ivanje na prakti~niaspekt procesa konzervacije,1 bilo je o~igledno da postojipotreba za daljim razvojem formalnih edukativnih progra-ma iz konzervacije drugih materijala i u skladu s razvojemkonzervacije i statusa profesije. Bilo je neophodno da se timprogramima obuhvati i teorija konzervacije, kao i druge te-me, poput eti~kih principa u konzervaciji, istorije konzerva-cije i restauracije, pravnih aspekata konzervacije, menad`-menta zbirki, komunikacije, preventivne konzervacije itd.

Deo aktivnosti Odeljenja za preventivnu za{titu pod-razumeva i organizaciju edukativnih programa u koje su,pored prakti~ne obuke iz konzervacije, uklju~ene i teme izteorije konzervacije i preventivne konzervacije. Veliki deoprograma ostvaren je u saradnji sa institucijama za konzer-vaciju iz Francuske i uz podr{ku francuske vlade. Ideja oosnivanju akademskog programa iz konzervacije koji biobuhvatio problematiku konzervacije razli~itih materijala ispecifi~no preventivne konzervacije rezultat je saradnje uedukaciji konzervatora s Laboratorijom za konzervaciju i re-stauraciju Arheolo{kog centra Vara u Draginjanu i s njenimsada{njim direktorom @akom Ribijerom. Godine 2003. ostva-reni su prvi kontakti sa Univerzitetom Pariz 1 – Panteon,Sorbona; diskutovalo se o razli~itim mogu}nostima daljeedukacije konzervatora u Srbiji i Francuskoj i o zasnivanjustudija konzervacije i preventivne konzervacije u Beogradu,a u saradnji sa Univerzitetom Pariz 1 i na osnovu iskustavau razvoju studijskih programa u domenu konzervacije ste-~enih na tom univerzitetu.

Pregovori, administrativne i organizacione pripreme irazvoj sadrìne programa zvani~no su zaklju~eni nakon petgodina – 25. novembra 2008. godine – potpisivanjem spora-zuma izme|u Beogradskog univerziteta i Univerziteta Pariz1; tada je na diplomske akademske studije (master) iz pre-ventivne konzervacije na Beogradskom univerzitetu upisa-na prva generacija studenata.

Program se realizuje u okviru delatnosti Ve}a za multi-disciplinarne studije. Odluka da se najpre zapo~ne s realiza-cijom programa iz preventivne konzervacije bila je uslovljenapotrebama u razvoju preventivne konzervacije u muzejimau Srbiji i logisti~kim razlozima, budu}i da odvijanje tog pro-grama ne zahteva postojanje specijalizovanih radionica i la-boratorija, ~ije je formiranje povezano sa osnivanjem Cen-tralnog instituta za konzervaciju.2

Osnovni cilj studija iz preventivne konzervacije naBeogradskom univerzitetu jeste uklju~ivanje koncepta pre-ventivne konzervacije u aktivnosti muzeja, arhiva i bibliote-ka u Srbiji. Program je prvenstveno namenjen profesional-cima iz institucija za{tite i svima onima koji u~estvuju uza{titi kulturnih dobara; tako|e je u skladu s promenama uoblasti konzervacije koje treba da donesu Zakon o muzej-skom nasle|u u Srbiji i njegov o~ekivani uticaj na statusprofesije konzervatora, kao i na zahteve u za{titi. Na diplom-ske akademske studije iz preventivne konzervacije upisanoje jedanaest studenata razli~itih profila i edukacije. Finan-siranje tih studija omogu}eno je zahvaljuju}i podr{ci i dona-cijama Ambasade Francuske i Ambasade Kraljevine Holan-dije u Beogradu.

Studije su konceptualno i sadràjno zasnovane na edu-kativnom programu iz preventivne konzervacije koji je od1994. godine formiran na Sorboni. Koncept prevencije uprocesu konzervacije postoji ve} trideset godina. Od 1977.godine ICCROM (International Centre for the Study of thePreservation and Restoration of Cultural Property – Me|u-narodni centar za prou~avanje o~uvanja i restauracije kul-turnih dobara) organizuje kurseve za muzejske profesional-ce koji se bave tom temom. Zatim je, 1986. godine, zapo~etos projektom PREMA (Prevention in Museums in Africa –Prevencija u muzejima u Africi), u okviru kojeg je razvijanametodologija preventivne konzervacije i didakti~kog pri-stupa koji odgovara specifi~nosti oblasti. Projekat je zami{-ljen kao proces edukacije muzejskih profesionalaca u kon-zervaciji, s tim {to oni mogu da preuzmu dalju edukaciju.

Vesna @IVKOVI], kustos za preventivnu za{tituOdeljenje za preventivnu za{titu Dijana, Narodni muzej u Beogradu

RAZVOJ DIPLOMSKIH AKADEMSKIH STUDIJAPREVENTIVNE KONZERVACIJE (MASTER) U BEOGRADU

1] Odsek za konzervaciju i restauraciju na Fakultetu prime-njene umetnosti, Univerzitet umetnosti u Beogradu; Visoka {kolaPravoslavne crkve za umetnost i konservaciju, u okviru ~ijeg pro-grama postoji kurikulum koji se odnosi na konzervaciju i restaura-ciju, odnosno na ~uvanje i obnovu pravoslavne crkvene ba{tine; naAkademiji umetnosti Univerziteta u Novom Sadu, Departman likov-nih umetnosti, Katedra za slikarstvo, postoji izborni predmet Osno-vi konzervacije i restauracije.

2] Na predlog Ministarstva kulture, vlada Republike Srbijedonela je 22. januara 2009. godine odluku o formiranju Centralnoginstituta za konzervaciju u Beogradu.

sculpture and graphic arts and are focused on the craftaspect of conservation and practical training,1 the need tofurther develop another formal study program in conserva-tion in accordance with the development of conservationand status of the profession, was obvious. It was also neces-sary to include courses on theoretical and other practicalelements of conservation, such as ethical principles, historyof conservation-restoration, legal issues, management ofcollections, communication, preventive conservation etc.

The Department for Preventive Conservation hasamong other practical activities fostered training programscovering the theory of conservation and preventive conser-vation. These were partly realized in collaboration withFrench institutions for conservation and with the supportof the French government. The idea for the establishmentof a new academic program in conservation, to encompasstopics dealing with the conservation of different materialsand specifically preventive conservation, is the result of co-operation on training of conservators with the Laboratory forconservation and restoration of the Archaeological Centre ofVar in Draguignan, France and its current director JacquesRebiere. First contacts were made with University Paris 1-Pantheon Sorbonne in 2003, to explore the possibilities offurthering the education of conservators in Serbia and inFrance and to mount a joint project on establishing a studyprogramme in conservation and preventive conservation inBelgrade, based on the experience of University Paris 1 in thedevelopment of educational programmes in conservation.

Negotiations, administrative and organizational proce-dures and the development of the content of the program-me were finally concluded after five years on 25 November2008 when the convention between the Universities ofSorbonne and Belgrade was signed and the first generationof students was officially enrolled.

The program has been established within the Counselfor Multidisciplinary Studies. The main reason for this is toaddress the issue of preventive conservation in museumsin Serbia, while the logistics of the program in preventiveconservation do not require specialized workshops and

laboratories. Its establishment is connected with the foun-dation of the Central Institute for Conservation.2

The principle aim of the studies is to introduce the con-cept of preventive conservation into museums, archivesand libraries in Serbia. The programme is primarily openfor professionals from the institution of protection as wellas for all those active in the conservation of cultural heri-tage. It is in accordance with the changes which should beintroduced with the acceptance of the new Law on museumheritage in Serbia and its expected impact on the status ofconservators and conservation demands. There are currently11 students in the first generation, from different back-grounds. The programme is funded through donations ofthe French Embassy and the Royal Embassy of the Nether-lands in Belgrade.

The study program is based on the Master’s in preven-tive conservation established at the Sorbonne in 1994. Theconcept of prevention has been included in conservationfor 30 years. Since 1977 the ICCRM (International Centrefor the Study of the Preservation and Restoration of CulturalProperty) has been organizing courses dealing with thesubject. Furthermore, in 1986 the project PREMA (Preven-tion in Museums in Africa) started, where the methodologyof preventive conservation, as well as a didactic approachfor this specific area, was developed. The project was con-ceived as an educational one for museum professionals inconservation, and future educators. Paris University 1 tookpart in the creation of courses and curricula and deliveredacademic diplomas to its graduates. At the beginning of the1990s the approach to conservation changed in France andthe concept of preventive conservation was introduced as atopic in the study programme (MST – Maîtrise de science ettechnique). Preventive conservation was accepted as analternative to curative conservation and restoration in accor-dance with the ethical principle of minimal intervention,introduced in conservation practice by Canadian experts.As a result, the study programme in preventive conserva-tion was established – DESS for preventive conservation(Diploma of the Higher Specialist Studies for Preventive Con-servation of Cultural Property-Diplôme d’études supérieuresspécialisées en conservation préventive des biens culturels)intended for professionals who wanted to broaden theirknowledge in processes of evaluation and control of collec-tion environments. The program in preventive conservationin Paris 1 was transformed into a Master’s degree in pre-ventive conservation according to the Bologna process for

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1] Department of Conservation and Restoration at theFaculty of Applied Arts, University of Arts in Belgrade. The Collegeof Serbian Orthodox Church for Art and Conservation runs aprogram which currently consists of an undergraduate degree inconservation and restoration (referred to as „Reconstruction andsafeguarding“). At the Academy of Arts of the University of NoviSad, students can follow the basics of conservation and restorationas an optional course at the Department for painting.

2] The decision on the establishment of the Central Institutefor Conservation was made by the Government of the Republic ofSerbia on 22nd January 2009, upon the proposal of the Ministry ofCulture.

Merenje svetlosnog zra~enja u muzeju – kurs o osvetljenju u muzejima odrào je @an-@ak Ezrati iz Francuske

Monitoring of illumination in a museum, course on lightingin museums held by Jean-Jacques Ezrati, France

Univerzitet Pariz 1 u~estvovao je u pripremi kurseva i ku-rikuluma u okviru projekta, a izdaje i diplome za u~esnikeprojekta. Po~etkom devedesetih u Francuskoj se menjapristup konzervaciji i uvodi se koncept preventivne konzer-vacije kao samostalne discipline u okviru edukativnog pro-grama iz konzervacije (MST – Maîtrise de science et technique– diploma nauke i tehnike). Preventivna konzervacija prihva-}ena je kao alternativa kurativne konzervacije i restaura-cije, u skladu sa eti~kim principom minimalne intervencijena predmetu, koji su u praksu konzervacije uveli kanadskistru~njaci. Kao rezultat tog procesa formiran je studijskiprogram iz preventivne konzervacije – DESS preventivnekonzervacije (Diplôme d’études supérieures spécialisées enconservation préventive des biens culturels – diploma vi{ihspecijalisti~kih studija preventivne konzervacije kulturnihdobara); namenjen je profesionalcima koji èle da steknudodatno znanje o proceni i kontroli uslova u sredini u kojojse nalaze predmeti. U skladu s bolonjskim procesom uvisokom {kolstvu u Evropi, DESS je 2005. godine postaoprofesionalni master iz preventivne konzervacije (MasterProfessionnel Spécialité „Conservation préventive du patri-moine“ – profesionalni master, specijalnost „Preventivna kon-zervacija ba{tine“).

Pojam preventivne konzervacije (preveden kao preven-tivna za{tita) ulazi u edukaciju i praksu konzervacije uSrbiji tokom 2000. godine. Tema preventivne konzervacijeuklju~ena je u kurseve konzervacije u okviru Letnje {kole zakonzervaciju Dijana. Osnivanjem Odeljenja za preventivnuza{titu Narodnog muzeja u Beogradu preventivna konzer-vacija i njena sistematska primena zvani~no postaju deoobaveznih aktivnosti Narodnog muzeja. U saradnji saICCROM-om, organizovan je i prvi uvodni kurs o pre-ventivnoj konzervaciji za profesionalce iz muzejske mreèSrbije, a zatim i niz kurseva u vezi s razli~itim temama kojeobuhvata preventivna konzervacija. Iskustva zaposlenih uOdeljenju za preventivnu za{titu, zavr{en master izpreventivne konzervacije jednog od njih na Sorboni, kao iznanje {to su ga svi oni stekli rade}i na me|unarodnimprojektima koji se odnose na preventivnu konzervaciju, i tone samo znanje o materiji ve} i o razli~itim didakti~kimpristupima, predstavljali su jo{ jedan bitan element za raz-voj programa diplomskih akademskih studija iz preventiv-ne konzervacije.

Razvoj diplomskih akademskih studija u Beogradu naosnovu postoje}eg programa i iskustava sa UniverzitetaPariz 1 olak{ao je uspostavljanje kurikuluma modula i na-~ina bodovanja u skladu sa zahtevima reforme {kolstva uEvropi. Ipak, bilo je neophodno da se program prilagodikontekstu i zahtevima administracije Beogradskog univer-ziteta. Pojedine teme razra|ene su detaljnije, na primer orga-nizacija depoa, menad`ment vanrednih situacija, {teto~inei zaga|iva~i, a uklju~eni su i novi kursevi (Uvod u menad`-ment i Metodologija menad`menta rizika po muzejske zbirke).U program su, prema uslovima Beogradskog univerziteta,uvr{teni i izborni predmeti, oni koji se odnose na preven-tivnu konzervaciju specifi~nih grupa materijala.

Program se sastoji od kurseva u vezi sa specifi~nim te-mama iz preventivne konzervacije; oni su grupisani u {estosnovnih modula koji se odnose na teoriju i istoriju kon-

zervacije i preventivne konzervacije, uklju~uju}i eti~ka ipravna pitanja u konzervaciji, zatim na komunikaciju, sre-dinu u kojoj se nalaze zbirke i fondovi, na upravljanje zbir-kama i preventivnu konzervaciju pojedinih materijala.

Studije traju godinu dana, s obzirom na to {to je pro-gram, na prvom mestu, namenjen profesionalcima koji suzavr{ili ~etvorogodi{nje osnovne studije. Tako|e je ve}inafakulteta na koje se sada upisuju potencijalni kandidati zadiplomske akademske studije iz preventivne konzervacije ikoji su prihvatili promene prema Bolonjskoj deklaraciji us-vojila program sa ~etvorogodi{njim osnovnim studijama.Odlu~eno je da master studije budu organizovane kao di-plomske akademske studije, {to omogu}uje prohodnost kadoktorskim studijama, a s obzirom na to {to preventivnakonzervacija ne predstavlja samo strukovnu disciplinu. Zarazliku od organizacije studija na Sorboni, gde je mogu}enakon profesionalnog mastera nastaviti dalju edukaciju nadoktorskim studijama,3 na Univerzitetu u Beogradu ta mo-gu}nost u potpunosti je isklju~ena.

Predava~i su odabrani me|u stru~njacima za specifi~neoblasti iz Srbije, regiona i evropskih institucija i organiza-cija za{tite. Odabir predava~a jedan je od osnovnih uzrokaproblema koji se pojavio u pogledu usagla{enosti s regula-tivom Beogradskog univerziteta; njegovim statutom predvi-|eno je da je u realizaciju programa potrebno uklju~iti 70%profesora zaposlenih na tom univerzitetu. Isto se tako po-stavilo i pitanje broja predmeta, budu}i da jednogodi{njemaster studije dozvoljavaju samo ograni~en broj predmeta.Pri tom nije uzeto u obzir to {to su predmeti tretirani kaokursevi koji traju najvi{e pet {kolskih dana i {to je strukturastudija iz preventivne konzervacije druga~ija od uobi~ajenihprograma koji ve} postoje u okviru Beogradskog univerzi-teta. Otvoreno pitanje ostaje i sistem polaganja ispita kojine omogu}uje polaganje ispita na osnovu analiza studijaslu~aja, ve} je potrebno organizovati ispitivanja kroz semi-narske radove, pisane i usmene ispite i sli~no.

Budu}i da je re~ o prvoj godini realizacije programa,o~ekuje se da }e rezultati aktivnosti i reakcije studenata ipredava~a omogu}iti neophodna pobolj{anja u sadràju iorganizaciji ovih studija iz preventivne konzervacije. Isto jetako potrebno da program pro|e akreditaciju u okviru proce-sa akreditacije visoko{kolskih ustanova Ministarstva pro-svete i sporta Republike Srbije. Iako nije u potpunosti prila-go|en zahtevima administracije univerzitetskog obrazovanjau Srbiji, program je uskla|en s preporukama za edukacijuu domenu konzervacije u Evropskoj uniji.4 Na koji }e na~inMinistarstvo prosvete odlu~iti o „prihvatljivosti“ diplomskihakademskih studija preventivne konzervacije u okvirimavisokog obrazovanja u Srbiji, ostaje da se vidi u junu 2009.godine, kada }e komisija za akreditaciju razmatrati pro-gram ovih studija.

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3] Podatak je dobijen od Denija Gijmara, direktora master stu-dija iz preventivne konzervacije na Univerzitetu Pariz 1 – Panteon,Sorbona.

4] http://www.encore-edu.org/encore/DesktopDefault.aspx?tabindex=1&tabid=172

http://www.ecco-eu.org/.

higher education in 2005 (Master Professionnel Spécialité„Conservation préventive du patrimoine“).

The notion of preventive conservation was introducedinto education and conservation practice in Serbia in 2000.The subject of preventive conservation was included inSummer school courses for conservation organized byDiana. The establisment of the Department for PreventiveConservation in the National Museum in Belgrade meantthat preventive conservation and its systematic applicationoffically became part of the activities of the museum. Incolaboration with ICCROM, Diana organised the first in-troductory course on preventive conservation for museumprofessionals in Serbia and then a series of courses coveringdiffernet preventive conservation topics. The experience ofemployees in the Department, the fact that the one of thecuratores obtained a Master’s degree in preventive conser-vation from Paris University 1, Pantheon Sorbonne, as wellas the knowledge they gained working on internationalprojects on preventive conservation, not only on the topicitself , but also on a pedagogical approach, were further im-portant elements in the development of the Master’s pro-gram in Belgrade.

This development facilitated the preparation of the cur-ricular modules and the introduction of the system of creditsin accordance with higher education reform in Europe. How-ever it was necessary to adjust the program to the contextand administrative requirements of Belgrade University.Certain subjects, like storage organization, emergency mana-gement, pest management, and pollution, were developedin detail and new courses were introduced (Introduction inmanagement and Methodology of risk management forcollections). The module on preventive conservation ofspecific materials has been organized as a set of optionalcourses according to University of Belgrade regulations.

The courses are organized in six modules, dealing withthe following subjects: theory of conservation and preven-tive conservation, including ethical and legal issues; commu-nication; collections environment; conservation manage-ment; and preventive conservation of different types of

museum and archive materials. The fact that the programmeis aimed at graduates following a four-year study system in-duced the one-year only program for the Master’s degree.Furthermore, most of the faculties where potential candi-dates for the Master’s are enrolled now and which acceptedthe Bologna reforms, also adopted a four-year system forbasic studies. It was also decided that the Belgrade Master’s,as stated in the University Statute, should be an academicmaster, i.e. leading to PhD studies, having in mind that edu-cation in preventive conservation is not only a professionalspecialization. Unlike the organization of the Master’s inSorbonne which allows the possibility to continue PhDstudies after the professional Master’s,3 at the Universityof Belgrade that option is excluded.

Lecturers have been chosen among experts fromregional and European universities and institutions forconservation of cultural property. This raised an importantissue at Belgrade University, whose regulations requirethat 70% of lecturers in every programme are employees ofthis university. Remarks were also made concerning thenumber of subjects, since for the one-year master’s only alimited number of subjects are expected. It was not takeninto account that some subjects are considered as courseseven though they last at the most five school days, and thatthe structure of the curriculum in preventive conservationis different from usual programs at Belgrade University.There is also the question of how exams should be organi-zed, since every subject has to be covered by both writtenand oral exams and it is not possible to cover the topics byexams based on practical case study analysis.

Since this is the first year of the programme, it is ex-pected that the results of activities and students andteachers reactions will enable necessary improvements inthe content and organization of the studies in preventive

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3] The information gave by Denis Guillemard, director of theMaster in Preventive Conservation, University Paris 1 – PantheonSorbonne

Bezbednost u muzeju, ve`ba – kurs su odràli Adalberto Bijazioti, Italija, i Dragoslav Filipovi}, Srbija

Exercise on security in a museum, course held by Adalberto Biasiotti, Italy, and Dragoslav Filipovi}, Serbia

Uticaj zaga|enja na muzejske predmete, ve`ba – kurs o zaga|iva~ima odrào je Morten Ril-Svendsen, Danska

Exercise on the influence of pollution on museum objects, course on pollutants held by Morten Rhyl-Svendsen, Denmark

SPOMEN-PARK KRAGUJEVA^KI OKTOBAR najve}a je ze-lena povr{ina u gradu i prostire se na 352 hektara. Poznat jepod nazivom [umarice. Nalazi se u severozapadnom delugrada, na putnom pravcu koji Kragujevac povezuje s GornjimMilanovcem.

Spomen-kompleks predstavlja ambijentalnu celinu isimbol posve}en kragujeva~kim `rtvama koje su streljane21. oktobra 1941. godine. Na velikom prostranstvu, na me-stima na kojima su Kragujev~ani streljani, nalazi se 30 hum-ki; tom broju mogu se dodati jo{ tri u okolini grada. OkoErdoglijskog potoka nalazi se 16 humki, a oko Su{i~kog po-toka 14. Pojedine humke s vremenom su umetni~ki obliko-vane, pa se danas na tom prostoru uzdiè 10 spomenika, te-matski povezanih s tragi~nim doga|ajem iz 1941. godine.

îtav kompleks moè se obi}i kru`nim asfaltnim putem,dugim sedam kilometara. Pored toga, tu je i veliki broj pe-{a~kih staza koje povezuju pojedine tematske celine.

Kulturno-istorijsko spomeni~ko nasle|eNa ulazu u spomen-park nalazi se Muzej 21. oktobar. Muzejje nastao 1953. godine. Zgrada je podignuta naknadno –1976. godine. Muzej predstavlja kamen temeljac u nastaja-nju ~itavog spomen-parka. Iako je re~ o muzeju, zgrada jesama po sebi svojevrstan spomenik. Sagra|ena je po pro-jektu arhitekte Ivana Anti}a. Sti~e se utisak da izranja izzemlje kao znak novog ìvota. Spoljna fasada izvedena je odcrvenih cigala koje asociraju na prolivenu krv, a 33 vertika-le razli~itih visina simboli~no povezuju 33 humke. Osnovamuzeja je u obliku krsta, hri{}anskog simbola stradanja.

Unutra{njost muzeja ~ine dva nivoa. U prizemnom de-lu prikazana je revolucionarna pro{lost Kragujevca, a ugornjem ustanak i Kragujeva~ki oktobar. Pored toga {to umuzeju postoje stalne postavke, on se bavi i prikupljanjem,~uvanjem, obradom i prezentacijom dokumenata u vezi saistorijom grada i streljanjem Kragujev~ana. Muzej tako|eorganizuje stalne i povremene manifestacije koje opominjui podse}aju na taj tragi~ni doga|aj kako se tako ne{to nika-da ne bi ponovilo. Najpoznatija takva manifestacija jesteVeliki {kolski ~as, koji se prire|uje svake godine 21. oktobra.Uz to, muzej je pokrenuo odràvanje me|unarodne likov-ne kolonije Mostovi Balkana.

Prvi spomenik s kojim se posetioci susre}u prilikom raz-gledanja spomen-kompleksa jeste Spomenik bola i prkosa.Podignut je 1958. godine. Nalazi se na mestu na kojem sustreljani radnici Vojno-tehni~kog zavoda, a me|u njima ijedna èna – Nada Naumovi}. Izveden je od jednog komadabelog mermera, a predstavlja mu{karca i ènu. Jedna figuraskrhana je bolom, dok druga stoji uspravno, izraàvaju}i nataj na~in prkos smrti. Autor dela je vajar Ante Grèti}.

Slede}i spomenik na koji nailazimo kre}u}i se krozSpomen-park Kragujeva~ki oktobar posve}en je streljanim

u~enicima i profesorima; poznat je pod nazivom Peto tri. Toje najpoznatije umetni~ko delo u okviru kompleksa. Podig-nut je 1963. godine i dominira okolinom. Sme{ten je namesto na kojem je streljana najve}a grupa |aka i profesoraKragujeva~ke gimnazije. Spomenik je podignut u znakurimskog broja pet jer su u to vreme u~enici vi{ih razredagimnazije bili, zapravo, u petom razredu. Kada se spomenikposmatra iz daljine, sti~e se utisak da je re~ o stilizovanimslomljenim pti~jim krilima. Time se simboli~no ukazuje nazauvek slomljenu i zaustavljenu mladost jedne generacije.Autor dela je Milorad @ivkovi}.

Prostor oko spomenika stilski je oblikovan. Na kamenjurazli~itog oblika ispisane su poruke stradalih |aka i profeso-ra, a na jednom kamenu je i tekst Krvave bajke, pesme kojuje Desanka Maksimovi} posvetila tom tragi~nom doga|aju.

Budu}i da spomenik predstavlja simbol ~itavog spo-men-parka, svake godine na tom mestu odràva se manife-stacija Veliki {kolski ~as.

U daljem obilasku spomen-parka nailazi se na spome-nik Kristalni cvet, posve}en ~ista~ima obu}e. Na tom mestusu, s ve}om grupom Kragujev~ana, streljani i de~aci romskenacionalnosti, starosti oko 15 godina. Spomenik je podignut1968. godine i predstavlja pupoljak razdvojen na dva dela.Gornji deo spomenika je bele boje, dok je postament tam-niji, {to ukazuje na put stradalih de~aka. Autor ovog umet-ni~kog dela je arhitekta Neboj{a Delja.

U neposrednoj blizini Kristalnog cveta podignut je spo-menik Protiv zla. On spada u grupu mla|ih ostvarenja uokviru kompleksa po{to je podignut 1991. godine. îtavodelo izvedeno je u belom mermeru. Reljef uklesan u spo-menik tematski se povezuje s hri{}anskom ikonografijomStra{nog suda, a po na~inu prikazivanja neodoljivo podse-}a na indijansku kulturu starih naroda Ju`ne i SrednjeAmerike jer je autor meksi~ki vajar Migel Roma.

Na kraju obilaska prvog dela spomen-kompleksa nailazise na spomenik Sto za jednoga, koji je podignut 1980. godi-ne. Naziv je dobio po naredbi nema~kog glavnokomanduju-}eg generala Franca Bemea, koji je u proglasu objavio da }ese za jednog ubijenog nema~kog vojnika streljati sto gra|ana.Spomenik predstavlja drvo ~ija se kro{nja grana u mno{tvoljudskih tela. Po{to je udaljen od asfaltnog puta, ure|ena jestaza koja vodi do njega, a u blizini se nalazi spomen-plo~a.Autor spomenika je vajar Nandor Glid.

Po{to se pre|e magistralni put koji povezuje Kragujevaci Gornji Milanovac, a koji ujedno deli spomen-kompleks nadva dela, nailazi se na spomenik pod nazivom Kameni spava~,podignut 1969. godine. Na tom mestu je, pored ostalih, stre-ljana grupa seljaka. Zato on simboli~no prikazuje {umadijskoseosko doma}instvo. Ograda tog doma}instva predstavljena jeu vidu betonskih stubova nejednake visine, tlo je poplo~ano

132

DIANA #13 KULTURNI TURIZAM

Aleksandar TODOROVI]

TURISTI^KA VALORIZACIJA SPOMEN-PARKAKRAGUJEVA^KI OKTOBAR

conservation in Belgrade. It is also necessary to pass throughan accreditation procedure according to the Ministry ofCulture and Sports of the Republic of Serbia. Although theprogramme is not completely adapted administratively tothe regulations in Serbia, it is adapted to the EuropeanUnion approach to higher education in conservation.4 Howthe Ministry of education will decide on the acceptability ofthe Master’s in preventive conservation within the system

of higher education in Serbia remains to be resolved in June2009, when the commission for accreditation will discussthe programme.

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CULTURAL TOURISM DIANA #13

4] http://www.encore-edu.org/encore/DesktopDefault.aspx?tabindex=1&tabid=172

http://www.ecco-eu.org/

Aleksandar TODOROVI]

TOURIST VALORIZATION OF THE OCTOBER OF KRAGUJEVAC MONUMENT PARK

THE OCTOBER OF KRAGUJEVAC monument park is thelargest local urban green area and lies within a 352 ha. Mo-nument park known as [umarice. It is located in the north-west part of the city on the route that connects Kragujevacand Gornji Milanovac.

The monument complex is an atmospheric symbolicspace dedicated to the victims of shot on October 21st 1941.About 30 headstones are placed on the large area where theshootings took place, while to this number can be added 3more from a neighboring town. Around the Erdoglian streamthere are another 16, and around the stream of Su{ica 14more headstones. Some headstones were artistically sculp-tured and today there are 10 that are thematically connec-ted to the tragic events of 1941.

The whole complex is encircled by an asphalt path 7 kmlong. In addition there are many paths for walkers, connec-ting each thematic part.

Culture-historical monumental inheritanceAt the entrance to the monument park stands the October21st museum, created in 1953, while the museum buildingwas constructed in 1976 from the same stone as that of themonuments, as a monument in its own right. The architectwas Ivana Anti}. The museum seems to be sculpted from theground, as a sign of new life. The front wall is made of redbrick, associated with spilled blood, and vertical stumps ofdifferent heights symbolically connect the 33 headstones.The base of the museum is in the form of a cross, a symbolof Christian suffering.

The interior of the museum is on two levels. In the lobbythere is a presentation of the revolutionary past of Kragu-jevac while at the higher level there is display of theOctober uprising. Besides museum’s permanent exhibitionit collects, keeps, cultivates, and presents documents rela-ting to the history of the town and the shooting of the Kra-gujevac people. The museum also organizes regular andoccasional events to remind visitors of this tragic event, sothat it will never happen again. The most famous of theseis the Big school class, which take place on October 21st

every year. Lately, the museum has initiated the internati-onal drawing colony Bridge of the Balkans.

The first monument that visitors see is the Monumentof pain and defiance, built in 1958 on the site where theworkers of the Military-technical institute, including onewoman Nada Naumovi}, were shot. In was created of whitemarble by the sculptor Ante Grèti} and show the figuresof a man and woman. One figure is destroyed by pain, whileother stands erect, expressing defiance to death.

The next monument along the visitors’ route is dedica-ted to school children and teachers of the grammar schoolwho were shot, known as Fifth three. It is the most famoussculpture within the complex. It was built in 1963. TheMonument is carved in the shape of the Roman numeralfive, because the pupils were actually in the fifth grade.Viewing the monument from a distance, one gets the im-pression of a stylized bird wing, forever broken, the youthof one generation stopped. The artist was Milorad @ivkovi}.

The area around the monument is shaped, and on stonesof various shapes there are messages by the school childrenand teachers that were shoot. One stone contains the textof Bloody fairytale, a poem which Desanka Maksimovi} de-dicated to this tragic event.

Because this monument represents the symbol of thewhole monument park, the Big School class event is held onthis spot every year.

Walking further through the monument park, one cansee the monument Crystal flower dedicated to gypsy boys,about 15 years old, who were shoot with numerous peopleat the place were the monument is placed today. It wasbuilt in 1968. It represents bloom, divided into two parts.The higher section of the monument is in white, while thebase is darker and represents the skin colour of the shotboys. The artist was Neboj{a Delja.

Close to the Crystal flower, there is a monumententitled Against evil. It is one of the latest creations in thecomplex, built in 1991. The work is carved in white marbleand its carved relief is thematically connected with

kamenim plo~ama, a uzdignuti betonski blokovi predsta-vljaju stogove sena. Iz sredi{njeg dela dve poplo~ane stazevode do dve humke. Autori su supru`nici Gradimir i JelicaBosni}, arhitekte.

Sledi Spomen-obele`je hrvatskog naroda. Podignuto je1981. godine sredstvima Republike Hrvatske. Sastoji se odsedam krugova nejednake veli~ine, a oni simbolizuju kreta-nje ìvota i prirode. Od tog spomenika, izra|enog od ner|a-ju}eg ~elika, odbija se svetlost i {iri u svim pravcima, {toozna~ava razli~ito ìvotno doba `rtava. Ispod njega nalazi sekamen monolit s posvetnim tekstom. Re{enje za spomen--obele`je uradile su arhitekte Josip Seisel i Silvana Seisel.

Neposredno uz Su{i~ki potok, s njegove leve strane,postavljen je Spomenik otpora i slobode iz 1966. godine. Toje monumentalna figura ~oveka koji se bori za ìvot; glavamu je na grudima. Iz figure se izdiè beli obelisk, ~ija visi-na iznosi ~etiri metra, a koji se zavr{ava simbolom slobode– latini~kim slovom V. Ovo umetni~ko delo izradio je, kaoi spomenik Bola i prkosa, Ante Grèti}.

Na samom izlazu iz spomen-kompleksa, nedaleko odprethodno opisanog, nalazi se Spomenik prijateljstva. To jenajmla|i spomenik u okviru kompleksa, podignut 1994.godine kao poklon rumunskog grada Pite{tija gradu Kragu-jevcu. Prikazuje otvorenu knjigu s brojem 21, ~ime se po-kazuje da }e zlo~in po~injen u Kragujevcu ostati trajno za-pisan u literaturi i da }e ve~no ostati urezan u pam}enjesvih posetilaca Spomen-parka Kragujeva~ki oktobar. Autorovog dela je poznati rumunski vajar Nikolaj Stoj~eu.

Povratkom do Muzeja 21. oktobar, ispred kojeg se na-lazi skulptura Su|aje, zaokruùje se jedna celina. Pomenu-ta skulptura prikazuje tri ène koje u crnoj marami drèbebu, simbol novog ìvota i boljeg vremena – u kojem se ni-kada i nikome ne sme dogoditi ono {to se desilo stradalimau [umaricama 1941. godine.

U okviru spomen-parka nalazi se Srpsko vojni~ko gro-blje, jedno od najstarijih vojni~kih grobalja u [umadiji.Okruèno je {umom, a nastalo je u vreme srpsko-turskihratova. U blizini groblja postavljena je figura lava, isklesa-na u mermeru. Taj spomenik poru~io je kralj Petar Kara-|or|evi} za hram Svetog \or|a na Oplencu, ali su okupa-cione vlasti 1915. godine naredile da se jedna od dve lavljefigure prenese u Kragujevac, sredi{te okruga, i postavi is-

pred prednje linije groblja na kojem su sahranjeni srpski iokupatorski vojnici. Lav stoji na postolju s natpisom Propatria. Prikazan je kako leì, s glavom poloènom na pred-nje {ape, tako da izgleda kao da je na straì.

Grobnica pogubljenih Slovaka koji su 1918. godine po-digli pobunu protiv Austrougarske monarhije nalazi se ujugoisto~nom delu spomen-kompleksa. Slovaci su traìli pre-kid rata i slobodu za sve porobljene narode. Pobuna je ugu-{ena, a 44 vojnika i pet civila osu|eni su na smrt streljanjem.Na mestu na kojem su 8. juna 1918. godine Slovaci strelja-ni podignut je 1924. godine spomenik, a njegova okolina jeure|ena.

Turisti~ka valorizacijaTuristi~ka valorizacija ambijentalne celine kao {to je Spo-men-park Kragujeva~ki oktobar predstavlja kompleksnuocenu antropogenih ali i prirodnih vrednosti koje su odzna~aja za turisti~ki razvoj. Na osnovu primenjene kvanti-tativno-kvalitativne metode i najva`nijih elemenata turi-sti~ke valorizacije kulturno-istorijskih spomenika moè sere}i da Spomen-park Kragujeva~ki oktobar ima dobru turi-sti~ku vrednost.

Ambijentalna celina predstavlja najve}u gradsku zelenuzonu, to jest park koji je uokviren blago zatalasanim breùlj-cima, s travnom vegetacijom i me{ovitim {umama. U njemuse nalazi 10 prepoznatljivih kulturno-istorijskih spomenika,kao i gra|evina muzeja, koja zbog svojih arhitektonskih re-{enja predstavlja kuriozitet sa simboli~nim zna~enjem. Naosnovu toga, a primenom kvantitativno-kvalitativne meto-de turisti~ke valorizacije, zaklju~uje se da element turisti~-ke vrednosti ambijenta i element umetni~ke vrednosti za-sluùju najvi{u ocenu.

Za razliku od njih, elementi izgra|enosti i opremljeno-sti prostora i turisti~ke atraktivnosti i prepoznatljivosti nisuna tako zavidnom nivou. U Kragujevcu ne postoji turisti~kasignalizacija, a u okviru nje morala bi se na}i i analiziranaambijentalna celina. Osim toga, infrastrukturna izgra|enostprostora nedovoljna je i dotrajala, te su dodatna ure|enja iulaganja nephodna. Turisti~ka atraktivnost i prepoznatlji-vost su nezadovoljavaju}e naspram potencijala koji Spo-men-park Kragujeva~ki oktobar poseduje, te se u tom smi-slu mora angaòvati turisti~ki menad`ment na njegovomdodatnom afirmisanju.

Elementi valorizacije kao {to su turisti~ko-geografskipoloàj i uklopljenost u turisti~ke sadràje na zadovoljava-ju}em su nivou. U Kragujevcu se nalazi i Milo{ev venac, jo{jedna turisti~ki potencijalna ambijentalna celina. Osim to-ga, u neposrednoj blizini su manastiri Dra~a i Divostin, ane{to dalje i Voljav~a i Blagove{tenje. Grad Kragujevac imapovoljan turisti~ko-geografski poloàj, pa sama ambijentalnacelina moè biti kompatibilna s drugim turisti~kim vredno-stima u bliòj i daljoj okolini grada.

U cilju turisti~kog unapre|ivanja analizirane ambijen-talne celine, a time i pove}anja ocene turisti~ke valorizaci-je, neophodno je dodatno angaòvanje u sferi turisti~kogmarketinga, ali i u revitalizaciji i izgradnji infrastrukture.Pre svega, potrebno je uvesti turisti~ku signalizaciju kakona gradskom nivou tako i u okviru samog spomen-parka, apotrebno je izgraditi i pe{a~ke staze. Posebna pa`nja mora se

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Christian iconography of Judgment Day, while by its ima-gery is reminiscent of the culture of south and central mid-dle American Indians, because the author is the Mexicansculptor Miguel Roma.

At the end of the tour through this first part of themonument complex lies the monument Hundred for one. Itwas erected in 1980. It got its name from the order of theGerman commander-in-chief, general France Beme, whodeclared that the German army would shoot one hundredlocal citizens for each German soldier killed. The Monumentrepresents a tree whose top spreads into many humanbodies. Because is not near the asphalt way, there is a pathwhich leads to it, near a smaller monument. The author ofthis work is the sculptor Nandor Gild.

Where the highway which connects Kragujevac andGornji Milanovac separates the monument complex intotwo parts, there is monument Stone sleeper. It was erectedin 1969 at the site of the shooting of a group of peasants.It therefore symbolizes typical peasants from the [umadijadistrict. The defense of this land is represented as stumps ofa different sizes, symbolizing a haystack. From the middletwo paths lead to two headstones. The sculptors of thesemonuments were architects Gradimir and Jelica Bosni}.

The next monument in the complex is the Monumentcomplex of the Croatian people, erected in 1981, with moneygiven by the Republic of Croatia. It consists of seven circlesof different size that symbolize circulating life and nature.From this monument light is reflected in different ways,representing victims of different ages. It is made of stainlesssteel. Beyond the monument there is a monolithic stone withan inscription. The authors of this work were Josip Seiseland Silvana Seisel.

To the right of the Su{ica stream there is the nextmonument of resistance and freedom, built in 1966. It re-presents the monumental figure of a man, whose head ison his breast, fighting for life. From it rises a white obelisk4 meters high, ending with the letter V, a symbol of victoryThe artist was also Ante Grèti}.

Nearby, at the exit of the monument complex, there isa Monument of friendship the last to be built, in 1994. It isa gift to Kragujevac from the Romanian town of Pitesti. Itshows an open book on which October 21st is written, indi-cating that the crime committed in Kragujevac, will stay inliterature and in the memory of all visitors to the monumentpark October of Kragujevac forever. The author of this workis the Romanian sculpture Nicolaj Stoj~eu.

Returning to the museum October the 21st, in front ofwhich there is the sculpture Sudjaje, the first section ends.On this sculpture there are three women holding a baby ina black kerchief. This baby is a symbol of new life and bettertimes, when the 1941 shooting and suffering of [umaricemust not happen again.

In the monument park, there is also the Serbian Milita-ry cemetery, one of the oldest in [umadija. It is surroundedby woodland, and dates back to the Serbian-Turkish wars.Close to cemetery there is a figure of a lion carved in marble.This monument was ordered by King Petar Karadjordjevi}for the temple of Saint George in Oplenac, but in 1915 theoccupation government ordered that one of two lion’s heads

be moved to the front row of the cemetery in Kragujevac,which was then the center of the district, and where theSerbian and occupation soldiers were buried. The lion isplaced on a pedestal with the inscription Pro patria. Itshead rests on its upper paw, giving the impression that it ison watch.

The tomb of the Slovakian rebels, who raised the revoltin 1918 against the Austro-Hungarian Monarchy, lies in thesouth-east part of the monument complex. These rebels re-quested an end of the war and freedom for all enslaved nati-ons. The revolt was suppressed and 44 soldiers and 5 civi-lian were condemned to death. The monument was built in1924 on the spot where the Slovakian people were executedon July 8th 1918.

Tourist valorisationThe tourist valorisation of such an emotive monument parkrepresents a complex classification of anthropogenic, butalso natural values, important for tourist development. Byusing quantity-qualifying methods starting from the mostimportant elements of tourist valorisation of cultural-histo-rical monuments, it can be concluded that the October ofKragujevac monument park is valuable in terms of tourism.

The atmospheric entirety is situated in the largest„green“ area, actually a park placed in some small hills,with grass vegetation and mixed woodland. At the sametime, within it there are 10 recognized cultural-historicalmonuments and museums, representing a curiosity withsymbolic meaning. For this reason, in applying tourist valori-sation criteria, elements of ambience and art value deservethe highest grade.

However, in Kragujevac there is no tourist signalisation.Also, the park’s infrastructure old and insufficient, so sup-plemental arrangement and investments are necessary. Asa fully recognized tourist attracttion, with great potential,the Monument park requires better tourist management.

Elements of valorisation such as its geographic positionand content are at a satisfactory level. In Kragujevac thereis one more atmospheric park, the Square of Milo{, andclose to Kragujevac there are two monasteries, Dra~a andDivostin, while a few kilometres away lie Voljav~a and Blago-ve{tenje. Besides, Kragujevac has a positive tourist-geogra-phic position, so its attractions are compatible with othersurrounding tourist values.

For tourist promotion purposes, and an increasinggrade of tourist valorisation, supplemental arrangementsin tourist marketing and revitalisation and construction ofinfrastructure are necessary. Above all, it is necessary toerect tourist signalisation, both in the town and in the mo-nument park, as well as paths for walkers. Attention shouldbe paid to the environment, which forms the basis of touristdevelopment of the October of Kragujevac Monument parkThrough the principle of integrative protection of heritageon the one side, and sustained development on the other,tourist development and utilization of this ambiententirety could be faster. By affirmation of this principle,concern for and protection of others cultural and naturalvalues placed in the territory of Kragujevac could beachieved.

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posvetiti o~uvanju ìvotne sredine, koja je, zapravo, osnovaturisti~kog razvoja Spomen-parka Kragujeva~ki oktobar.Kroz princip intregrativne za{tite ba{tine sa odrìvim raz-vojem mogu se znatno unaprediti ali i ubrzati turisti~kirazvoj i eksploatacija ove ambijentalne celine. Afirmacijomtog principa ostvaruju se negovanje i za{tita drugih kultur-nih i prirodnih vrednosti na teritoriji grada Kragujevca.

U okviru spomen-parka nalazi se hotel [umarice, kojidoprinosi turisti~koj atraktivnosti kompleksa. Osim toga,tu je, neposredno uz muzej, i restoran nacionalne kuhinjePalisad. Ako se tome dodaju i zatvoreni sportski tereni Olimp,moè se zaklju~iti da Kragujeva~ki oktobar ima povoljneuslove za razvoj turisti~ke delatnosti.

Broj posetilaca govori o tome da spomen-park posedu-je odgovaraju}e turisti~ke potencijale. Izneti podaci mogu se

uve}ati za oko 25-30%, jer je realna pose}enost za toliko ve-}a. Svi posetioci ne zaustavljaju se kod muzeja i ne koristenjegove usluge, tako da ne mogu biti registrovani. Pored to-ga, ovaj prostor pruà povoljne uslove za razvoj rekreacionogturizma. Hotel, restoran i sportski objekti samo upotpunju-ju kulturno-istorijsku ponudu koju spomen-park nesum-njivo ima. Za dalji razvoj turizma na tom prostoru potreb-no je odràti postoje}e stanje i ulaganjima stvoriti novesadràje, a turisti~kim marketingom afirmisati postoje}e,kako bi se postizali jo{ bolji rezultati u turisti~kom sektoru.Nikako se ne sme zaboraviti ~injenica da je spomen-parkjedan od simbola grada i to u budu}em turisti~kom razvo-ju moè biti samo ~inilac unapre|ivanja i daljeg razvoja.

SWOT analizaS obzirom na savremene tokove u razvoju svetske turisti~kepolitike, za Spomen-park Kragujeva~ki oktobar ura|ena jeSWOT analiza. Ta analiza moè posluìti kao jedan od in-strumenata za stvaranje strategije daljeg turisti~kog razvoja.Na osnovu SWOT-a analizirane ambijentalne celine moguse prepoznati pozitivni i negativni ~inioci koji imaju utica-ja na stvaranje odgovaraju}e strategije, ali i odrediti na~ininjihovog blagovremenog modifikovanja ili prilago|avanjaradi ostvarivanja uspe{nijeg turisti~kog razvoja.

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1] Podaci su dobijeni od slu`be za obradu podataka Muzeja21. oktobar u Kragujevcu.

STRUKTURA POSETILACA BROJ POSETILACA

U~enici 142.328

Odrasli 35.712

Strani turisti 1.159

Doma}e delegacije (53) 993

Strane delegacije (212) 3.711

Ukupno 183.903

Registrovane posete Muzeju „21. oktobar“ i Spomen-kompleksu „Kragujeva~ki oktobar“ od 2001. do 2007. godine1

Prednosti

Slabosti

– kulturno-istorijska ba{tina velikog zna~aja– velika povr{ina pod vegetacijom, pre svega drvenastim biljkama i travnjacima– kompatibilnost s drugim gradskim turisti~kim vrednostima, kao i sa onima u bliòj i daljoj okolini– razvijena saobra}ajna infrastruktura za prilaz ambijentalnoj celini – povoljan poloàj u okviru grada– stru~njaci zaposleni u spomen-kompleksu

– nedovoljna pa`nja u politici organizovanja i menad`menta u turizmu– neadekvatna turisti~ka signalizacija ili njeno nepostojanje– nezadovoljavaju}a saobra}ajna infrastruktura u okviru samog spomen-kompleksa (nedostatak pe{a~kih

i biciklisti~kih staza, lo{ kolovoz, nedovoljan prostor za stacionarni saobra}aj) – nejasni ciljevi i strategija turisti~kog razvoja spomen-kompleksa– nedostatak finansijskih ulaganja u procese za razvoj turizma– nedovoljno pa`nje posve}eno za{titi ìvotne sredine

– adekvatna iskori{}enost spomen-kompleksa kao turisti~ke vrednosti– ve}a ulaganja u turisti~ki razvoj ambijentalne celine– uklju~ivanje spomen-komleksa u regionalni turisti~ki proizvod– mogu}nosti za razvoj razli~itih vidova turizma (kulturni, manifestacioni, rekreativni, ekskurzioni)– ve}a saradnja s doma}im i inostranim turisti~kim i privrednim organizacijama– pobolj{anje infrastrukture– kori{}enje spomen-parka u turisti~ke svrhe tokom ~itave godine

– opasnost od zaga|ivanja ìvotne sredine (zemlji{ta, vodotokova, vazduha)– nezainteresovanost i skromna ulaganja u turisti~ki marketing– nedostatak inovacija i neprimenjivanje dostignu}a savremenih turisti~kih tokova na gradskom nivou– nedovoljno angaòvanje na turisti~koj prezentaciji spomen-parka – postoji pretnja gubitka kontinuite-

ta u prezentaciji istorijskih doga|aja koji su s njim povezani (gubitak prepoznatljivosti)

Mogu}nosti

Pretnje

Inside the monument park there is a hotel [umarice,which further contributes to the tourist attraction of thiscomplex. Near the hotel there is the Palisad restaurantwhich has a national cuisine. If one adds to this the Olympia

closed sports’ facility it can be said that the October of Kra-gujevac has favoured conditions for the further develop-ment of tourism.

The number of visitors to the Monument park showsthat it does have tourist potential. These statistics can beincreased by 25%–30% because the true numbers of visits

is bigger. Not all visitors stop at the museum or use its ser-vices, so not all visits are registered. The hotel, restaurantand sports facilities supplement the cultural-historicaloffer. For the further development of tourism in this space,the present stage needs to be maintained and new contentcreated by investment. Also, the tourist potential must bemarketed at a higher level. These proposals will bringbetter results. It must not be forgotten that the monumentpark is one of the symbols of the town and in futuredevelopment can only be a means of promotion and furtherdevelopment.

SWOT analysisSWOT analysis of the monument park was carried outaccording to the latest trends in the development of worldtourism policy. Such analysis can be used as an instrumentfor the creation of a strategy for further tourist develop-ment. Progressive and regressive factors can be found,which influence the creation of the right strategy. Also,this is way to modify and adjust these factors to improvingthe quality of tourism in the vicinity.

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1] Statistics of Service data for museum October 21st inKragujevac.

Strengths

Weaknesses

– Cultural-historical hereditary of huge importance

– Large green vegetated area, especially trees and grass

– Compatibility with other tourist values of the town, especially with those in closer and more distant

surroundings

– Developed approaching traffic infrastructure

– Favourable position in town

– Educated human resources employed in the monument complex

– Unsatisfactory attention to policy of organization and management of tourism

– Inadequate tourist signalisation

– Insufficient traffic infrastructure within the monument complex (lacks of paths for walkers, bad

roads, small space for stationary traffic, nonexistent paths for bicycles)

– No defined aims and strategy for tourist development of the Monument complex

– Lack of investment to process developing tourism

– Unsatisfactory attention to the protection of the environment

– Adequate usage of monument complex as a tourist value

– Bigger investment in tourist development

– Implementation of the monument complex into the regional tourist product

– Possibilities for developing different kinds of tourism (culture, creation, excursions)

– Better cooperation with domestic and international tourist and business organisations

– Improving infrastructure

– Using the monument park for tourist purposes throughout the year

– Risk of pollution of the environment (ground, water, air)

– Lack of interest and investments in tourist marketing

– Absence of innovation and implementation of modern tourist trends at town level

– The unsatisfactory arrangements for tourist presentation of the monument park may lead to lost

continuity in the presentation of historic events connected with it (lost individuality)

Opportunities

Threats

STRUCTURE OF VISITORS NUMBER OF VISITORS

Students 142.328

Adults 35.712

Foreign tourists 1.159

Domestic delegation (53) 993

Foreign delegation (212) 3.711

Summary 183.903

Registered visits to the „October 21st“ museum and „October of Kragujevac“ monument complex from 2001 to 20071

138

DIANA #13 REGIONALNA SARADNJA

SPECIFI^NOST RADA u Dijani leì i u ~injenici da je onasve svoje aktivnosti povezala i ispreplela sa aktivnostima Na-rodnog muzeja, ICOM-a, ICOM-SEE-ja. Profesionalne ci-ljeve Dijana stalno uskla|uje sa strategijama na globalnomnivou, koje dolaze od ICOM-a, Uneska, ICCROM-a i drugihorganizacija. Projekti i metodolo{ki elementi koje ona raz-vija da bi sprovodila profesionalne ciljeve i delatnosti do-sledno se realizuju uz pomo} jasno definisanih strate{kihplanova i sadràja. Zbog toga se, s jedne strane, na{i projek-ti i aktivnosti lako prilago|avaju razli~itim okolnostima istvarnim situacijama, dok se, s druge strane, uklapaju u op-{te strategije i ciljeve. Regionalna saradnja predstavlja onusponu koja povezuje na{e nacionalne potrebe i interese saonima na me|unarodnom, globalnom nivou.

I. REGIONALNI PROJEKAT REVITALIZACIJA KULTURNOG I PRIRODNOG NASLE\A U REGIONUBALKANA – JUGOISTO^NE EVROPE, 2006–2012(dr M. Popovi}-@ivan~evi}, autorski projekat, OPZ Dijana,avgust 2005) – projekat strate{ke platforme i akcioni plan,kratkoro~ni i dugoro~ni, za region jugoisto~ne Evrope. Po-sebno treba ista}i zna~aj projekta u postavljanju integrativ-nog koncepta za{tite ba{tine u regionu jugoisto~ne Evrope.

Projekat se sastoji od tri osnovne faze:– Faza I. Analiza stanja i definisanje problema – Stanje

kulturne i prirodne ba{tine u regionu Balkana,2006–2008;

– Faza II. Procena rizika, identifikacija rizika, odre|i-vanje prioriteta i programa sanacije – Procena rizikapo kulturnu i prirodnu ba{tinu u regionu Balkana,2008–2010;

– Faza III. Kontrola rizika, predupre|enje pojave po-tencijalnih rizika – Upravljanje rizicima kod kulturnei prirodne ba{tine u regionu Balkana, 2010–2012.

Veoma je bitna ~injenica da je Unesko ovaj projekatprihvatio kao strategiju za re{avanje zapu{tenog stanja ba-{tine u regionu jugoisto~ne Evrope i kao potencijalnu osno-vu za dalji razvoj.

Projekat je veoma elasti~an, lako se prilago|ava posto-je}im prilikama i u njega se na jednostavan na~in uklapajumnogobrojni manji zaokruèni projekti ili potprojekti, kojitako ~ine aktivan mozai~ki organizam razli~itih aktivnosti.Skoro sve regionalne aktivnosti i programi koje ICOM-SEEsprovodi u regionu uklju~uju se u metodologiju projekta. Uokviru ovog dugogodi{njeg strate{kog projekta ve} postoji ~i-tav niz potprojekata, koji se lako uklapaju u njegovu osnovnustrategiju. U realizaciji potprojekata, neposredno ili posred-no, u~estvuju mnogobrojni partneri – pored nacionalnih ko-

miteta iz regiona, to su ~esto i ICCROM, UNESCO-BRESCE,Konzervatorski centar Geti, Kanadski konzervatorski institut,zna~ajne institucije za{tite i muzeji iz Francuske, Holandi-je i drugi. Mnogi od ovih projekata za~eti su pre vi{e godi-na u Srbiji i Dijani, sa u~esnicima iz regiona, a sada se kaodobro razra|eni i etablirani preme{taju u druge zemlje re-giona: u Albaniju, Makedoniju, Rumuniju, kao, na primer,projekat Arheolo{ka konzervacija, preventivna konzervacija– Procena i kontrola rizika, SEE TIEM-MEP. Ostali primerisu: Problem ilegalne trgovine i drugih nedozvoljenih radnjikod ba{tine; Zajedni~ka za{tita prirodnog i kulturnog nasle-|a; Eksperimentalna arheologija – Tradicionalne proizvodnjekeramike; Tradicionalne tehnologije stakla u regionu Balka-na; Akademski programi obrazovanja; Organizacija regio-nalne institucije za{tite; Za{tita anti~kih mozaika; Metodeza{tite arheolo{kog stakla; Preventivna za{tita arheolo{kogmetala; Novi materijali kod konzervacije arheolo{ke kerami-ke, majolike, fajansa i porculana; Za{tita prirodne ba{tinekao model za o~uvanje ~ovekove okoline; Zajedni~ka baza po-dataka za oblast za{tite ba{tine; Kreiranje pozitivnog dru-{tvenog ambijenta za oblast za{tite ba{tine; projekti MATRAi drugi.

I.1. Prva regionalna konferencija – Stanje kulturne i prirodne ba{tine u regionu Balkana,Kladovo, 23–27. oktobar 2006Organizovanje prve regionalne konferencije u Kladovu uoktobru 2006, s temom Stanje kulturnog i prirodnog nasle|au regionu Balkana – jugoisto~ne Evrope, predstavlja po~etakrealizacije prve faze projekta Revitalizacija kulturnog i pri-rodnog nasle|a u regionu Balkana – jugoisto~ne Evrope. Kon-ferencija je postavljena kao platforma za diskusiju kojom jetrebalo da se odrede dalji pravci snimanja i analiziranja sta-nja kulturne i prirodne ba{tine u regionu jugoisto~ne Evro-pe. Na taj na~in u narednim fazama ustanovi}e se uzroci,proceni}e se rizici, odredi}e se prioritetne mere sanacijeugroène prirodne i kulturne ba{tine u na{im zemljama iustanovi}e se sistemi kontrole rizika.

Na konferenciji je u~estvovao izuzetno veliki broj pro-fesionalaca iz regiona i oni su pokazali zna~ajno intereso-vanje za zajedni~ke regionalne aktivnosti u svim oblastimarazvoja institucija, struke i za{tite nasle|a. Bilo je prisutno86 u~esnika iz osam zemalja regiona: Slovenije, Hrvatske,Bosne i Hercegovine, Srbije, Albanije, Makedonije, Bugar-ske i Rumunije. Tako|e, u radu konferencije u~estvovali supredstavnici Regionalne kancelarije UNESCO-BRESCE izVenecije, ICCROM-a iz Rima i Italijanskog nacionalnog

Mila POPOVI]-@IVANÊVI], savetnik konzervator{ef OPZ Dijana, predsednik ICOM-SEE-ja

REGIONALNI PROJEKTI I AKTIVNOSTI U JUGOISTO^NOJ EVROPIkoje su pokrenuli, koje realizuju, koordiniraju i ~iji su organizatori

OPZ Dijana i ICOM-SEE, u saradnji s raznim partnerima

139

REGIONAL COOPERATION DIANA #13

WHAT IS SPECIAL about the work in Diana is the fact thatit has combined all its activities and intertwined them withthe activities of National Museum, ICOM and ICOM SEE.Diana constantly matches its professional goals with globalstrategies, which come from ICOM, UNESCO, ICCROM andother organisations. Diana develops projects and methodolo-gical elements to reach its professional goals, and activitiesare implemented with the help of clearly defined strategicplans and content. That is why, on one hand, our projectsand activities adapt flexibly to different circumstances andreal situations, while on the other hand, they easily fit intogeneral strategies and goals. Regional cooperation repre-sents that bond that connects our national needs andinterests with those on the international, global level.

I. REGIONAL PROJECT REVITALISATION OF CULTURAL AND NATURAL HERITAGE IN THE REGION OF BALKANS – SOUTH EAST EUROPE, 2006–2012(PhD M. Popovi}-@ivan~evi}, author project, OPZ Diana,August 2005). This project has a strategic platform andaction plan, both short-term and long-term, for South EastEurope. The significance of the project is in establishing aregional, integrative concept of heritage conservation. Theproject consists of three different phases:

– Phase I. Condition assessment and defining the pro-blem – The Condition of Cultural and Natural Herita-ge in the Region of Balkans, 2006–2008;

– Phase II. Risk assessment, identifying priorities andprograms of rebuilding – Evaluation of Risk to Cultu-ral and Natural Heritage in the Region of Balkans,2008–2010;

– Phase III. Risk Control, prevention of occurance of po-tential risks – Managing Risks to Cultural and Natu-ral Heritage in the Region of Balkans, 2010–2012.

The fact that UNESCO accepted this project as a stra-tegy for solving the neglected state of heritage in the regionof South East Europe and as a potential base for furtherdevelopment is very important. The project is very flexible,adapts easily to individual circumstances, and numeroussmaller finished projects fit into it, making an activemosaic-like organism of different activities. Almost all theregional activities and programs that ICOM-SEE implementsin the region fit into the project methodology. Within thislong-term strategic project a number of sub-projects havebeen done, which fit into its basic strategy. In the imple-mentation of these sub-projects, many partners are involveddirectly or indirectly, as well as regional national committees,often ICCROM, UNESCO-BRESCE, Conservation Centre

Getty, Canadian Conservation Institute, important institu-tions of conservation and museums from France, TheNetherlands and others. Many of these projects wereinitiated several years ago by Diana in Serbia, with regionalparticipants, but now that they are well established theyare being moved to other countries in the region: to Albania,Macedonia, Romania as was the case with the projectArchaeological conservation, preventive conservation – Riskassessment and control, SEE TIEM MEP. Other examplesare Problem of illegal trade and other unauthorised actionswith heritage; Joint protection of natural and culturalheritage; Experimental archaeology –Traditional productionof ceramics, Traditional technology of glass in the region ofBalkans; Academic programs of education; Organisation ofregional institution of protection; Protection of antiquemosaics; Methods of protection of archaeological glass; Pre-ventive protection of archaeological metal; New materials inconservation of archaeological ceramics, majolica, faienceand porcelain; Protection of natural heritage as model ofprotection of human environment; Joint database for thedomain of protection of heritage; Creating positive socialenvironment in the domain of protection of heritage; projectsMATRA and others.

I.1. First Regional conference on the State of culturaland natural heritage in the region of Balkans,Kladovo, October 23–27th 2006The first regional conference in Kladovo was organized inOctober 2006, with the subject State of cultural and naturalheritage in the region of Balkans – South East Europe. Theconference was set up as a platform for panel discussionsto determine the future monitoring and analysis of thestate of cultural and natural heritage in the region of SouthEast Europe. In the following phases, causes will be deter-mined, risk will be evaluated, and priority measures for theprevention of endangered natural and cultural heritage inour countries and the system of Risk Control will beestablished.

A large number of professionals from the region parti-cipated and showed interest in joint regional activities inall areas: the development of institutions, trade and heritageprotection. There were 86 participants from eight countriesof the region: Slovenia, Croatia, Bosnia and Herzegovina,Serbia, Albania, Macedonia, Bulgaria and Romania. Repre-sentatives of the Regional office UNESCO-BRESCE fromVenice, ICCROM from Rome and Italian national committeeICOM were also present at the conference. Participants

Mila POPOVI]-@IVANÊVI], museum councillor – conservatorHead of Diana Department for Preventive Conservation, President of ICOM SEE

REGIONAL PROJECTS AND ACTIVITIES IN SOUTH EAST EUROPEinitiated, coordinated and organised by Department for PreventiveConservation and ICOM SEE in cooperation with various partners

komiteta ICOM-a. U~esnici konferencije upoznali su se, naosnovu ~etrdeset tri prezentacije, sa op{tim i vrlo specifi~nimproblemima za{tite prirodne i kulturne ba{tine u regionujugoisto~ne Evrope. Konferencija je predstavljala zna~ajanuspeh jer je pokazala da profesionalci iz zemalja regiona vi{ene èle da ~ekaju da se zvani~ni organi pojedinih dràva ivlasti stabilizuju i preduzmu strate{ko definisanje ba{tine,njeno saniranje i revitalizaciju. Predstavnici zemalja regionaiskazali su zna~ajan interes za to da zajedni~ke regionalneaktivnosti po~nu da predstavljaju osnovu za strate{ki raz-voj svih oblasti ba{tine, posebno za{tite nasle|a.

I.2. Regionalna publikacijaStanje kulturne i prirodne ba{tine u regionu Balkana,sveska 1 (Beograd, oktobar 2007)Ova publikacija je zbornik radova iznetih na Prvoj regional-noj konferenciji u Kladovu, a njen naslov je Stanje kultur-nog i prirodnog nasle|a u regionu Balkana – jugoisto~ne

Evrope. Tu se prvi put na jednom mestu iznose realno sta-nje i analiza stanja ba{tine u velikom broju oblasti u regio-nu jugoisto~ne Evrope. Posebna vrednost publikacije leì u~injenici da su svi pogledi i mi{ljenja koji su izneti plod pro-fesionalnih pristupa, stavova i razmi{ljanja, a ne neke zva-ni~ne politike.

Ova obimna publikacija, na preko 600 strana, pripre-mljena je na devet nacionalnih jezika regiona Balkana, sparalelnim engleskim prevodom, i u tiraù od 1.600 prime-

raka. Najzna~ajniju finansijsku pomo} pruìli su UNESCO--BRESCE i Narodni muzej u Beogradu. Pored toga, Narod-ni muzej je u velikoj meri doprineo da se tako sloèn posaouspe{no privede kraju. Federalno Ministarstvo kulture Bosnei Hercegovine tako|e je u~estvovalo u pripremama publika-cije s manjim iznosom.

Publikacija je prvi put javno predstavljena, u obliku ma-kete, na Generalnoj skup{tini ICOM-a u avgustu 2007. uBe~u, gde je izazvala veliko interesovanje i dobila pohvaleza konkretne strate{ke rezultate koje donosi. ICOM-SEE iDijana veoma su zadovoljni ~injenicom da su predstavnicinekih zemalja Afrike i Evrope smatrali da iskustva iz ove pu-blikacije mogu biti dragocena i za njihove zemlje i regione.

I.3. Regionalna publikacija Stanje kulturne i prirodne ba{tine u regionu Balkana I, sveska 2,~ije je publikovanje planirano za februar/mart 2009Druga regionalna publikacija, sveska 2, treba da obuhvatiteme koje nisu bile zastupljene na konferenciji u Kladovu ikoje nisu publikovane u svesci 1. To su teme koje se odno-se na stanje arhivske i bibliote~ke ba{tine, stanje kinote~-kog i filmskog materijala, stanje nematerijalne ba{tine, napovezanost i interaktivnu vezu izme|u kulturne i prirodneba{tine, stanje prirodne ba{tine, stanje profesije i struke,stanje industrijske ba{tine i drugo.

Na osnovu prispelih radova zaklju~uje se da }e publika-cija imati izme|u 350 i 400 strana. Obuhvati}e oko dvade-set pet tekstova, radova autora iz svih zemalja jugoisto~neEvrope. Publikovanjem sveske 2 zaokruì}e se, u obliku pi-sanih dokumenata, sagledavanje stanja ba{tine u regionujugoisto~ne Evrope iz ugla profesionalaca. Time }e biti za-klju~ena prva faza strate{kog regionalnog projekta Revita-lizacija kulturnog i prirodnog nasle|a u regionu jugoisto~neEvrope. Objavljivanje sveske 2 predvi|eno je za kraj 2009, ao~ekuje se finansijska pomo} od UNESCO-BRESCE i Mini-starstva kulture Srbije, kao i ministarstava kulture iz zemalja~lanica ICOM-SEE-ja.

Ure|iva~ki odbor ICOM-SEE-jaUre|iva~ki odbor je stalno telo, sastavljeno od predstav-

nika nacionalnih komiteta iz regiona; ~ini ga ukupno devet~lanova:

– dr Mila Popovi}-@ivan~evi}, ICOM Srbije, urednik,– Janja Rebolj, ICOM Slovenije,– Vlatka Filip~i}-Maligec, ICOM Hrvatske,– Azra Be~evi}-[arenkapa, ICOM Bosne i Hercegovine,– Branislava Mihajlova, ICOM Makedonije,– Albana Hakani, ICOM Albanije,– Ljiljana Zekovi}, ICOM Crne Gore,– dr Simeon Nedkov, ICOM Bugarske, – Elena Doina Punga, ICOM Rumunije,– Maja Frankovi}, ICOM Srbije, sekretar redakcije.

I.4. Druga regionalna konferencija s temomProcena rizika kod kulturne i prirodne ba{tine u regionujugoisto~ne Evrope treba da predstavlja razradu druge fazeregionalnog projekta Revitalizacija kulturne i prirodne ba-{tine u regionu jugoisto~ne Evrope. Planirano je da se Drugaregionalna konferencija odrì od 9. do 13. novembra 2009.

140


Regionalna publikacija „Stanje kulturne i prirodne baštineu regionu Balkana“

Regional publication „Condition of the cultural and naturalheritage in the Balkan region“

became acquainted with the general and specific problemsof conservation of cultural heritage in the region of SouthEast Europe, based on forty-three presentations. The con-ference was especially significant because it showed thatprofessionals from countries of the region no longer want towait for the official bodies of certain states and governmentsto become stable and undertake the strategic definition ofheritage, its protection and revitalisation. Representativesexpressed particular interest in joint regional activities as abase for the strategic development of all domains of herita-ge, especially conservation.

I.2. Regional publication Condition of the cultural and natural heritage in the Balkan region, volume I (Belgrade, October 2007)This publication is a collection of works discussed at theFirst Regional Conference in Kladovo. For the first time,the real state of heritage in many areas in South EastEurope was made known and analyzed. The special value ofthis publication is that all views and opinions expressed arethe fruit of professional thought, and not part of officialpolicies. This extensive publication, over 600 pages in length,has been published in nine national languages of the Bal-kans, with parallel English translations, and a circulation of1,600 copies. The greatest financial assistance came fromUNESCO-BRESCE and the National Museum in Belgrade.The National Museum has largely contributed to accompli-shing this complex task. The Federative Ministry of Cultu-re of Bosnia and Herzegovina also participated in thepreparation of publication with a smaller financialcontribution.

The publication was presented publicly for the first time,as a model, in the General assembly of ICOM in August2007 in Vienna, where it aroused great interest and was po-sitively appraised for the concrete strategic results it brought.ICOM SEE and Diana were very satisfied that some repre-sentatives of Africa and Europe believed that this publica-tion could be valuable for their countries and regions.

I.3. Regional publication Condition of the cultural and natural heritage in the Balkan region, volume II, publishing of which is planned for February/March 2009 Second regiaonal publication, Volume 2 of the publication,should cover all subjects not included in the conference inKladovo and which were not published in volume 1.Thosemainly refer to the condition of archive and library heritage,cinema and film material, and intangible heritage, and theconnection and interactive link between cultural and naturalheritage, the condition of natural heritage, the state of theprofession, the state of industrial heritage and so on.

Based on the works we received the publication will havebetween 350 and 400 pages. It will enclose around twentyfive texts, works by authors from all the countries of SouthEast Europe. With publishing this Volume II the state ofheritage in the region of South East Europe will be recog-nised in the form of written documents from the viewpointof professionals. With it the first phase of strategic regionalproject Revitalisation of Cultural and Natural Heritage in theRegion of South East Europe will be concluded. The publi-

shing of Volume II is planned for the end of the year 2009and financial aid from UNESCO-BRESCE is expected aswell as from the Ministry of Culture of Serbia and fromMinistries of culture of member states of ICOM-SEE.

Editorial board of ICOM SEEThe Editorial board is a permanent body consisting of

representatives from national committees from the region.It consisted of nine members:

– Dr Mila Popovi}-@ivan~evi}, ICOM Serbia, editor,– Janja Rebolj, ICOM Slovenia,– Vlatka Filip~i}-Maligec, ICOM Croatia,– Azra Be~evi}-[arenkapa, ICOM Bosnia and Herze-

govina,– Branislava Mihajlova, ICOM Macedonia,– Albana Hakani, ICOM Albania,– Ljiljana Zekovi}, ICOM Montenegro,– Dr Simeon Nedkov, ICOM Bulgaria, – Elena Doina Punga, ICOM Romania,– Maja Frankovi}, ICOM Serbia, the secretary of edi-

torial office.

I.4. Second regional conference with the subject The assessment of risk in cultural and natural heritage inthe region of South East Europe should represent the ela-boration of the second phase of the regional project Revita-lisation of Cultural and Natural Heritage in the Region ofSouth East Europe. It is planned to have Second regionalconference from 9th till 13th of November 2009. It wassuggested that the host should be ICOM Croatia (GornjaStubica, October 2010).

Programs of preventive conservation

I.5. Introductory courses from preventive conservation Diana and ICOM of Serbia and Montenegro have organi-zed a number of different educational programs in all areasof theory and practice in preventive conservation since2004, and in cooperation with ICCROM. Within those pro-grams, two specialist introductory courses in preventive con-servation are noteworthy, along with programs conductedby experts from ICCROM. These courses included preven-tive conservation as a strategy, the basic system of measuresof preventive conservation in museums, the theory of con-dition assessment in those museums, risk assessment andcontrol, museum buildings, the problems and privileges ofthe museum profession, depots, exhibitions and transport,handling, depositing, environmental control, microclimateand collections, museum standards, fire protection, floodsand other unpredicted circumstances, air pollution, andagents of deterioration. Special programs relate to microbi-ology, micro organisms, fungi, mould, vermin and insectcontrol in museums, protection in cases of emergency, andaccidents (fire, flood, theft, vandalism, war etc).

I.6. Reducing Risks to Collections– Risk Assesment Programs of preventive conservation under the title ReducingRisks to Collections – Risk Assessment will be further deve-loped in South East Europe. This is an international project

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godine. Predloèno je da doma}in bude ICOM Hrvatske(Gornja Stubica, oktobar 2010).

Programi preventivne za{tite

I.5. Uvodni kursevi iz preventivne konzervacijeDijana i ICOM Srbije i Crne Gore od 2004. godine, u sarad-nji sa ICCROM-om, organizuju vi{e razli~itih edukativnihprograma iz svih oblasti teorije i prakse preventivne za{tite.U okviru tih programa isti~u se dva specijalisti~ka uvodnakursa iz preventivne za{tite, s programima koje su realizova-li stru~njaci ICCROM-a. Sadrìna tih kurseva obuhvatala jepreventivnu za{titu kao strategiju, osnovni sistem mera pre-ventivne za{tite u muzejima, teoriju analize stanja u muzeji-ma, procenu i kontrolu rizika, muzejske zgrade, probleme ipogodnosti za muzejske delatnosti, depoe, izlo`be i transport;rukovanje, deponovanje, kontrolu sredine, mikroklimu i zbir-ke, muzejske standarde, za{titu od poàra, poplave i drugihvanrednih prilika, aerozaga|enja, faktore propadanja. Reali-

zovani su i posebni programi koji su se odnosili na mikro-biologiju, mikroorganizme, gljivice, bu|i, plesni, {teto~ine umuzejima, insekte, dezinfekciju, deratizaciju, dezinsekciju,za{titu od vanrednih prilika i nesre}a (poàr, poplava, kra|e,vandalizam, rat).

I.6. Smanjivanje rizika po muzejske kolekcijeProgrami preventivne za{tite pod nazivom Reducing Risks toCollections – Risk Assesment (Smanjivanje rizika po muzej-ske kolekcije) razvija}e se dalje u jugoisto~noj Evropi. To jeme|unarodni projekat ICCROM-a Risk Assesment in Muse-ums (Procena rizika u muzejima), u kojem se Dijana poja-vljuje kao partner. U tom edukativnom projektu stru~njaciiz Dijane u~estvuju ne samo u organizaciji ve} i u realiza-ciji kompletnog programa. Tako je juna 2007. u Sibiuu, uRumuniji, organizovan specijalisti~ki kurs koji se odnosiona ovu temu i na kojem je Vesna @ivkovi}, mladi stru~njakiz Dijane, bila jedan od nosilaca glavnih programa. Iako jekurs imao me|unarodni karakter, najve}i broj u~esnika bioje iz regiona jugoisto~ne Evrope.

I.7. Teorija i praksa preventivne konzervacijePrograme iz preventivne za{tite Dijana je od 2007. po~ela daorganizuje i s drugim partnerima, kao {to je organizacija Kul-tura bez granica (Cultural Heritage Without Borders) iz [ved-ske. Tim stru~njaka iz Dijane, s Vesnom @ivkovi} na ~elu, sa-mostalno je programski postavio i realizovao sve sadràjeprograma iz preventivne za{tite, odredio me|unarodne pre-dava~e i drugo. Program je po~eo da se organizuje kao regi-onalni seminar za 18–20 polaznika – profesionalaca iz mu-zeja iz regiona zapadnog Balkana. Prvi ciklus bio je Uvodniseminar iz teorije i prakse preventivne za{tite, odràn u de-cembru 2007. u radnim prostorima Dijane, u Galeriji fresa-ka u Beogradu.

I.8. Primena procene rizika u praksiOve godine otpo~elo se sa sprovo|enjem edukativnog pro-jekta pod nazivom Primena procene rizika u praksi (autorprojekta je Vesna @ivkovi}, kustos za preventivnu konzer-

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Prakti~ni rad u okviru uvodne radionice, projekat SEE TIEM-MEP, novembar 2007, Ohrid, Makedonija

Exercise during Introductory workshops SEE TIEM MEP,November 2007, Ohrid, Macedonia

Predavanje u okviru uvodne radionice, projekat SEE TIEM-MEP, novembar 2007, Ohrid, Makedonija

A lecture during Introductory workshops SEE TIEM MEP,November 2007, Ohrid, Macedonia

Predavanje u okviru kursa „Umanjenje rizika po muzejskezbirke“, jun–jul 2007, Sibiu, Rumunija

A lecture during course „Reducing risks to collections“, June–July 2007, Sibiu, Romania

of ICCROM Risk Assessment in Museums in which Diana isa partner. Experts from Diana will participate not only inorganisation, but also in the implementation of completeprogram. In June 2007, a specialist course relating to thissubject was organized in Sibiu, Romania, at which Vesna@ivkovi}, a young expert from Diana, was one of the mentorsof the main programs. Even though the course had an in-ternational character, most participants were from SouthEast Europe.

I.7. Theory and practice of preventive conservationDiana started organizing programs of preventive con-servation in 2007 in collaboration with other partners, andwith the organisation Cultural Heritage Without Borders fromSweden. A team of experts from Diana, led by Vesna @ivko-vi}, has conducted all program contents of preventive con-servation independently, and invited international lectu-rers. The program started as a regional seminar for 18–20participants, professionals from museums in the westBalkans. The first cycle was an introductory seminar on thetheory and practice of preventive conservation, held inDecember 2007 in the premises of Diana and the Gallery ofFrescoes in Belgrade.

I.8. The change of risk assesment in practice This year the implementation of educative project namedThe Application of Risk Assesment in Practice (author of theproject is Vesna @ivkovi}, curator for preventive conserva-tion from OPZ Diana). The project stresses the importanceof management of risk as the key element when bringingdecisions related to the protection of heritage, consideringthat it anticipates all that could happen to the collections innext forty years. The assesment of risk is a phase ofmanagement of risk, it is constantly conducted , and it iscomprised of a number of decisions which are brought inaccordance with present circumstances. Based on constantmonitoring of possibility of damage and consequences thatcan occur in the area that is monitored the magnitude of riskis established and it is reacted and planned accordingly.

It is necessary to have instructions on how risk analysisis methologically conducted and which elements are takeninto consideration, so that based on it the treatment of riskcan be defined and management of risk planned. The basisof this process is in education. That means that training isnecessary in order to begin and implement the phase ofrisk assesment. It is planned to inlude as many museums aspossible in the project.

After defining the mutual parameters for the analysisof the state, which is conducted by ICOM-SEE, the elabo-ration of mutual methodology of risk assesment and itspossible application in practice in the region are already in-troducing the implementation of the second phase of theproject Revitalisation of cultural and natural heritage in theregion of South East Europe. Through educative programApplication of Risk Assessment in the Practice OPZ Diana andICOM SEE will be included in planning further activities inelaboration of the second phase of regional project.

In October of 2008 the project Application of Risk Asses-sment in the region is applied to organisations ICOM andUNESCO-BRESCE for co-financing in 2009.

I.9. SEE TIEM-MEPTIEM MEP, Teamwork for integral managing in a state ofemergency – Museum programs for state of emergency. Themain organiser of this project was ICCROM, Rome. That isa regional project for South East Europe, which involves allcountries from the region. Partners in this project areICCROM, UNESCO-BRESCE, the Getty Conservation in-stitute and ICOM SEE, as well as the regional coordinator.The project was established to answer the needs expressedby museum professionals from all over the world, and to de-velop expertise in preparations for and reactions to statesof emergency. The aim of the project is to provide the staffof institutions with skills for conserving heritage and forrisk evaluation and management. Nine museums and twouniversity programs from Albania, Bulgaria, Bosnia andHerzegovina, Croatia, Macedonia, Montenegro, Moldova,Serbia and Slovenia are involved in this project.

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Ve`ba u okviru završne radionice, projekat SEE TIEM-MEP,oktobar 2008, Gornja Stubica, Hrvatska

Exercise during Closing workshops SEE TIEM-MEP,October 2008, Gornja Stubica, Hrvatska

Predavanje u okviru završne radionice, projekat SEE TIEM-MEP, oktobar 2008, Gornja Stubica, Hrvatska

A lecture during Closing workshops SEE TIEM-MEP,October 2008, Gornja Stubica, Hrvatska

vaciju iz OPZ Dijana). Projekat isti~e va`nost menad`mentarizika kao klju~nog elementa pri dono{enju odluka u vezi saza{titom kulturne ba{tine, budu}i da predvi|a sve ono {tobi zbirkama moglo da se desi tokom narednih ~etrdeset go-dina. Procena rizika jeste faza menad`menta rizika; ona sestalno sprovodi iznova, a sastoji se od niza odluka donetihu skladu s trenutnim okolnostima. Na osnovu stalnog pra-}enja verovatno}e {tete i posledica koje se mogu pojaviti uoblasti koja se prati ustanovljava se veli~ina rizika i reagu-je se ili planira u skladu s tim.

Potrebno je da postoje uputstva o tome kako se meto-dolo{ki sprovodi analiza rizika i koji se elementi uzimaju uobzir da bi se na osnovu toga odredio tretman rizika i pla-nirao menad`ment rizika. Osnova tog procesa leì u eduka-ciji. To zna~i da je neophodna obuka kako bi se uop{te za-po~ela i realizovala faza procene rizika. Predvi|eno je da seu projekat uklju~i {to vi{e muzeja.

Nakon odre|ivanja zajedni~kih parametara za analizustanja, {to sprovodi ICOM-SEE, razrada zajedni~ke meto-dologije procene rizika i njena mogu}a primena u praksi uregionu ve} uvode u realizaciju druge faze projekta Revitali-zacija kulturne i prirodne ba{tine u regionu jugoisto~ne Evro-pe. Kroz edukativni program Primena procene rizika u prak-si OPZ Dijana i ICOM-SEE uklju~i}e se u planiranje daljihaktivnosti u razradi druge faze regionalnog projekta.

U oktobru 2008. godine projekat Primena procene rizi-ka u regionu prijavljen je organizacijama ICOM i UNESCO--BRESCE za sufinansiranje u 2009. godini.

I.9. SEE TIEM-MEPTIEM-MEP – Timski rad za integralno upravljanje u vanred-nim situacijama – Muzejski programi za vanredne situacije.Glavni organizatori ovog projekta jesu ICCROM i ICOM. Toje regionalni projekat za jugoisto~nu Evropu, u koji se uklju-~uju sve zemlje iz regiona. Partneri u projektu su ICCROM,ICOM, UNESCO-BRESCE, Konzervatorski institut Geti iICOM-SEE kao regionalni koordinator. Projekat je nastaokao program koji odgovara potrebama {to su ih iskazalimuzejski profesionalci iz celog sveta, a kako bi se razvilastru~nost u pripremama za vanredne prilike i u reagovanjuna njih. Zadatak projekta jeste razvijanje sposobnosti u in-stitucijama za{tite ba{tine za preduzimanje procene rizikai za upravljanje rizicima. U TIEM-MEP uklju~eno je devetmuzeja iz regiona, kao i po dva univerzitetska programa izAlbanije, Bugarske, Bosne i Hercegovine, Hrvatske, Make-donije, Crne Gore, Moldavije, Srbije i Slovenije.

U pripremama projekta u martu 2007. u Rimu u~estvo-vale su i dr M. Popovi}-@ivan~evi} i Vesna @ivkovi}.

ICOM-SEE je istakao da je regionalna analiza pokaza-la da se u muzejima u regionu, kada je re~ o vanrednim si-tuacijama, ~esto pojavljuje problem neodgovaraju}eg pona-{anja direktora i da se problemi u vezi sa sprovo|enjem iprimenjivanjem projekta mogu nalaziti i u tome {to direk-tori i odgovorna lica u ministarstvima kulture ne}e u dovolj-noj meri razumeti ove va`ne teme. Zbog toga su direktorimuzeja i obrazovnih sistema koji su izabrani da u~estvujuu TIEM-MEP-u pozvani na dvodnevni seminar (17. i 18.avgusta 2007), odràn tokom Generalne skup{tine ICOM-au Be~u. Cilj seminara bio je da se direktorima muzeja obja-

sni projekat MEP, da se podigne svest o va`nosti muzejskihprograma za vanredne prilike i da se obezbedi dalja sarad-nja s direktorima muzeja u realizaciji i sprovo|enju projektau muzejskoj praksi. Edukativni redosled TIEM-MEP ~inilasu tri modula:

– uvodna radionica (15–31. novembar 2007, Ohrid,Makedonija);

– Distance mentoring (januar–septembar 2008);– zavr{na radionica (13–17. oktobar 2008, Gornja Stu-

bica, Hrvatska).Prilikom odràvanja zavr{ne radionice u Gornjoj Stu-

bici predstavnici ICOM-a, ICCROM-a, Instituta Geti iUNESCO-BRESCE izrazili su zadovoljstvo povodom uspe-{nog okon~anja ove faze MEP-a. U zavr{nim diskusijama irazgovorima posebno je nagla{ena pozitivna uloga ICOM--SEE-ja kao regionalnog partnera i koordinatora aktivnosti,pri ~emu je istaknuto da }e se aktivnosti pomenutih orga-nizacija u regionu jugoisto~ne Evrope nadalje sve vi{e osla-njati na partnerstvo sa ICOM-SEE-jem. Kada je re~ o raz-voju TIEM-MEP-a, od ICOM SEE-ja o~ekuje se da defini{e,razradi i koordinira njegovu primenu u institucionalnojpraksi u regionu jugoisto~ne Evrope.

I.10. Centralni institut za konzervaciju – CIKNakon institucionalne i kadrovske analize koju su obavilipredstavnici Evropskog saveta 2002. zaklju~eno je da u Beo-gradu postoji institucionalna i kadrovska baza za razvoj re-gionalnog sredi{ta za{tite ba{tine. Predstavnici Evropskogsaveta tada su preporu~ili da se u Beogradu osnuje nova in-stitucija za{tite, koja }e po~ivati na obrazovanju i nauci i

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Studija izvodljivosti za Centralni institut za konzervaciju

Feasibility study for Central Institute for Conservation

Dr Popovi}-@ivan~evi} and Vesna @ivkovi} participatedin preparing the project in Rome, in March 2007. ICOM SEEpointed out that regional analysis shows that when it comesto states of emergency, there is often a problem in museumsof the region because of the unprofessional behaviour ofmuseum directors; problems with implementing andapplying project may be due to directors and Ministries ofCulture not understanding this important subject. That iswhy museums directors and educational principals werechosen to participate in TIEM MEP and invited to the two-day seminar (August 17th and 18th 2007), which was heldduring the General Assembly of ICOM in Vienna. The aimof the seminar was to explain the MEP project to directors,to raise awareness of the importance of museum programsfor states of emergency and to ensure further cooperationin the implementation of the project in museum practice.Educative timeline TIEM-MEP is consistent of three modules:

– introductory workshops (15th to 31st November, Ohrid,Macedonia);

– distance learning (january–september 2008)– closing workshops(13–17 October 2008, Gornja

Stubica, Hrvatska)During the closing workshop in Gornja Stubica the

reporesentatives of ICOM, ICCROM, Getty Institute andUNESCO-BRESCE have expressed their satisfaction becauseof the successful ending of this phase of MEP. In closingdiscussions and talks the positive role of ICOM SEE as regi-onal partner and coordinator of activities was stressed, it wasalso emphasised that activities of above mentioned organi-sations in the region of South East Europe will in futureincreasingly rely on partnership with ICOM SEE. When thedevelopment of TIEM-MEP is in question, ICOM SEE isexpected to define, elaborate and coordinate its applicationin institutional practice in the region of South East Europe.

I.10. Central Institute for Conservation – CICAfter an institutional and human resources analysis doneby representatives of the European council of 2002, it wasconcluded that there is a suitable base for the development

of a regional center for heritage conservation. Representa-tives of the European Council recommended that Belgradeshould establish a new institution of conservation, basedon science and education, and oriented towards the region,mainly the Western Balkans. During 2005, intensive workon that significant regional project began, given the nameCentral Institute for Conservation in Belgrade – CIC. A jointexpert group from the Ministry of Culture worked on afeasibility study, comprising experts from institutions forconservation and representatives from the Ministry ofForeign Affairs of Italy. On the Serbian side, active mem-bers of the expert team were especially engaged in makingthe Feasibility study, Report on justification, and otherdocuments and procedures: Dr Mila Popovi}-@ivan~evi},Miladin Luki}, Radmila Petrovi} and Branka [ekari}, andon the Italian side: Donatella Cavezzali from the CentralInstitute for Conservation in Rome and Michele Moranafrom the ministry of Foreign Affairs in Italy. The Serbian-–Italian version of the Feasibility study was published inDecember 2007 and publicly presented at the ItalianCultural Centre Belgrade. The Procedure of founding CIKhas reached its end and it is expected that during year 2009the Government of Republic of Serbia will officially establisha new institution of protection.

Associates from Diana have made a special contributionin defining and implementing the new institutionalorganization of a conservation service, and in preparing alldocuments, studies, and analyses. The establishment of thisinstitute, which envisages all categories of heritage and allconservation activities in one system, received professionalsupport from experts from ICOM, UNESCO, ICCROM andinstitutions of conservation in France, The Netherlands,Great Britain and other countries.

I.11. Archaeological conservationConservation at archaeological site is one of the mostimportant regional projects. It is done by ICCROM, as themain organiser and Diana Department for Preventive Con-servation as national and regional partner and coordinator.UNESCO-BRESCE Venice has also participated in theimplementation of this important educational program,provided in the form of conservation courses over a three-year period, from 2004 until 2007, at Diana’s HQ in theGallery of Frescoes in Belgrade and on archaeological sitesin Serbia: Diana–Karata{ on location, and in Sremska Mitro-vica. The final part of the introductory part of the coursetook place in the Butrint Archaeological park in October2007. Representatives from countries in South East Europeparticipated in all the programmed courses, including Slo-venia, Croatia, Bosnia and Herzegovina, Montenegro,Albania, Romania, Bulgaria, Greece and Serbia.

At the General assembly of ICCROM held from 7th to9th of November in Rome, Archaeological conservation wasrepresented as a long term regional project for the regionof South East Europe, which is included in the long termplans of ICCROM for the following period. The specialeducative significance is that it envisages all the elementsof planning, managing, conservation and presentation ofarchaeological sites.

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Deo u~esnika završne radionice SEE TIEM-MEP u Gornjoj Stubici, Hrvatska, oktobar 2008

Some of participants in Closing workshops SEE TIEM-MEP, October 2008, Gornja Stubica, Hrvatska

koja }e biti regionalno orijentisana, pre svega na podru~jezapadnog Balkana. Tokom 2005. otpo~elo se sa intenzivni-jim radom na tom zna~ajnom regionalnom projektu i on jedobio naziv Centralni institut za konzervaciju u Beogradu –CIK. Na Studiji izvodljivosti radila je zajedni~ka ekspertskagrupa Ministarstva kulture Srbije, koju su ~inili stru~njaciiz institucija za{tite u Srbiji i predstavnici Ministarstvainostranih poslova Italije.

Aktivni ~lanovi ekspertskog tima, koji su posebno biliangaòvani oko izrade Studije izvodljivosti, Elaborata o op-ravdanosti i drugih osniva~kih dokumenata i procedura, jesu,sa srpske strane, dr Mila Popovi}-@ivan~evi}, Miladin Luki},Radmila Petrovi} i Branka [ekari}, a sa italijanske Donate-la Kavecali iz Centralnog instituta za konzervaciju u Rimui Mikele Morana iz Ministarstva inostranih poslova Italije.Studija izvodljivosti u srpsko-italijanskoj verziji publikova-na je u decembru 2007, kada je i organizovana njena sve-~ana javna prezentacija u Italijanskom kulturnom centru uBeogradu.

Procedura osnivanja CIK-a pri samom je kraju i o~eku-je se da }e tokom 2009. godine vlada Republike Srbije i for-malno osnovati novu instituciju za{tite.

Poseban doprinos u definisanju i realizaciji ideje o no-vom institucionalnom organizovanju slu`be za{tite, u pri-premanju svih dokumenata, studija, analiza i gotovih rado-va neposredno su pruìli saradnici OPZ Dijana. Osnivanjeovog instituta, koji objedinjuje u jedan sistem za{tite sve ka-tegorije ba{tine i sve aktivnosti na za{titi, dobilo je profesi-onalnu podr{ku stru~njaka iz ICOM-a, Uneska, ICCROM-a,iz institucija za{tite iz Francuske, Holandije, Velike Brita-nije i drugih zemalja.

I.11. Arheolo{ka konzervacijaKonzervacija na arheolo{kom lokalitetu jeste jedan od naj-va`nijih regionalnih projekata. Sprovode ga ICCROM, kaoglavni organizator, i OPZ Dijana, kao nacionalni i regional-ni partner i koordinator. U realizaciji programa u~estvuje iUNESCO-BRESCE iz Venecije.

Ovaj vaàn edukativni program odvijao se tokom tri go-dine, od 2004. do 2007, u vidu kurseva konzervacije u Dija-ni, u Galeriji fresaka u Beogradu, i na arheolo{kim terenimau Srbiji: na lokalitetu Dijana–Karata{ i u Sremskoj Mitro-vici. Zavr{nica uvodnog dela kursa odvijala se u Albaniji, uArheolo{kom parku Butrint, u oktobru 2007. U svim dosa-da{njim programima kurseva u~estvovali su predstavnici izvi{e zemalja regiona jugoisto~ne Evrope: iz Slovenije, Hrvat-ske, Bosne i Hercegovine, Crne Gore, Albanije, Rumunije,Bugarske, Gr~ke i Srbije.

Na Generalnoj skup{tini ICCROM-a koja je odràna od7. do 9. novembra 2007. u Rimu Arheolo{ka konzervacija pre-zentovana je kao dugoro~ni regionalni projekat za region ju-goisto~ne Evrope, uklju~en u dugoro~ne planove ICCROM-aza naredni period. Poseban edukativni zna~aj projekta jesteto {to on obuhvata sve segmente planiranja, upravljanja, is-traìvanja, za{tite i prezentacije arheolo{kog lokaliteta. Saekspertima iz ICCROM-a ve} se radi na formiranju novogprograma iz ove oblasti, programa koji }e predstavljati da-lji razvoj edukacije i njenu primenu u praksi arheolo{kekonzervacije u na{em regionu.

I.12. Eksperimentalna arheologija – Tradicionalne proizvodnje keramikeProjekat koji je pokrenula i razvijala Dijana, a povezan snau~noistraìva~kim projektom Vin~a, ve} je dao zna~ajnerezultate u Srbiji. Dijana inicira pokretanje sli~nih projeka-ta i u Bosni i Hercegovini (Muzej grada Sarajeva), Makedo-niji (Muzej Makedonije), Sloveniji (Gori{ki muzej). Dijanai ICOM-SEE nameravaju da u ovaj projekat uklju~e i ostalezemlje regiona i da pomo}u tradicionalne keramike ukaùna bliske kulturne i istorijske veze koje izme|u njih postoje.Arheologija Balkana na ovaj na~in moè da do|e do zna~ajnihnau~nih podataka i rezultata, koji }e tako|e pomo}i da se tra-dicionalna keramika plasira kao regionalni identitet i savre-meni komercijalni i turisti~ki proizvod. Projekat je povezansa analizama keramike s preistorijskog lokaliteta Vin~a kodBeograda i sa analizama nalazi{ta gline u okolini lokaliteta.

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Kurs arheološke konzervacije na lokalitetu Dijana–Karataš

Course on Archaeological conservation on site Diana–Karataš

Kurs arheološke konzervacije u Sremskoj Mitrovici

Course on Archaeological conservation in Sremska Mitrovica

A new program in this domain is already being developedwith the help of experts from ICCROM, which will representfurther development of education and its application in thepractice of archaeological conservation in our region.

I.12. Experimental archaeology – Traditional production of ceramicsThis project was established and developed by Diana incooperation with Project Vin~a and has already broughtsome significant results in Serbia. Diana has initiated similarprojects in Bosnia and Herzegovina (City Museum of Sara-jevo), Macedonia (Museum of Macedonia), and Slovenia(Museum Gori{ki). Diana and ICOM SEE intend to involvethis project in other countries of the region and to show theclose cultural and historical bonds that exist between them,with the help of traditional ceramics. Archaeology in theBalkans can reveal important scientific data and obtain re-sults that will also help traditional ceramics by representingregional identity and producing contemporary commercialproducts for tourists. The project is linked with the analysisof ceramics from the prehistoric site of Vin~a near Belgradeand the analysis of clay in the site surroundings. After twoyears, knowledge about old technologies and techniqueshas been acquired, which at the same time determines pre-cise methods for the conservation of archaeological ceramics.The interdisciplinary character of the project needs to beemphasised: it involves several different institutions ofscientific research and universities, as well as researchers,conservationists, archaeologists, and potters.

The bearers of the project are Mila Popovi}-@ivan~evi}and M.A. Vesna Svoboda.

I.13. Traditional glass production, in cooperation withthe Serbian factory of glass in Para}in. This project shouldhelp to preserve and revitalise one of the rare original oldtechnologies of glass in the region of South East Europe. Thistraditional technology still continues in its unchanged, ori-ginal form as an important part of the industrial productionof glass in Para}in. Preservation of that old technology, craftskills, and knowledge has been approached in an integrative

manner, as a unique system of protection of intangible heri-tage and its material products in their natural surroundings.The project will also help include traditional glass-relatedcrafts in sustainable development and fit it into the con-temporary life of the local community without threateningthe original technology of glass production.

The project is implemented within the joint regional-European project which includes different countries, withthe help of the EU and the main mentor of this project theEuropean University in Ravel.

The project was prepared by Mila Popovi}-@ivan~evi},T. Nedeljkovi}, M. @ivkovi} and M. Brzakovi}.

I.14. Conservation of natural heritageICOM SEE is preparing a proposal for a regional project forthe conservation of natural heritage and environment. Themain goal is to create a conservation project for famousnatural locations in the region of Balkans, to work it out asa model, and to offer a suitable general approach to theconservation of heritage and environment. Members of theworking group for initiating and implementing this project

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Konzervacija keramike

Conservation of ceramic

Sandra Dejvison

Sandra Davison

Konzervacija stakla

Conservation of glass

Posle dve godine razvoja projekta ve} su ste~ena zna~aj-na saznanja o starim tehnologijama i tehnikama, koje isto-vremeno odre|uju i precizne metode za{tite i konzervacijearheolo{ke keramike. Posebno treba ista}i interdisciplinar-nost projekta, u kojem u~estvuje veliki broj razli~itih nau~no-istraìva~kih institucija i fakulteta, kao i istraìva~a, kon-zervatora, arheologa i prakti~ara – kerami~ara.

Nosioci projekta su dr Mila Popovi}-@ivan~evi} i mrVesna Svoboda.

I.13. Tradicionalne proizvodnje stakla, u saradnji sa Srp-skom fabrikom stakla u Para}inu. Projekat treba da po-mogne u o~uvanju i revitalizaciji jedne od retkih sa~uvanihoriginalnih starih tehnologija stakla u regionu jugoisto~neEvrope. Ova tradicionalna tehnologija jo{ uvek ìvi u ne-promenjenom, izvornom obliku kao sastavni deo fabri~keproizvodnje u Para}inu. U za{titarskom smislu, o~uvanje testare tehnologije, zanatskih ve{tina i znanja postavljeno jeintegrativno, kao jedinstven sistem za{tite nematerijalneba{tine i njenih materijalnih proizvoda u prirodnom okru-ènju. Projekat }e tako|e pomo}i da se tradicionalni sta-klarski zanat postavi u okvir odrìvog razvoja i da se uklo-pi u savremeni ìvot lokalne zajednice, bez ugroàvanja iliopasnosti po opstanak originalne tehnologije proizvodnjestakla.

Projekat se sprovodi u okviru zajedni~kog regionalno--evropskog projekta, koji uklju~uje razli~ite zemlje Evrope,pod pokroviteljstvom EU, a glavni nosilac projekta je Evrop-ski univerzitet u Ravelu.

Projekat su pripremile M. Popovi}-@ivan~evi}, M. @iv-kovi}, T. Nedeljkovi} i M. Brzakovi}.

I.14. Za{tita prirodnog nasle|aICOM-SEE priprema predlog regionalnog projekta za za{ti-tu prirodnog nasle|a i ìvotne sredine. Osnovni cilj jeste dase kreira projekat za{tite jednog od o~uvanih prirodnih lo-kaliteta u regionu Balkana, da se on kao model razradi i dase ponude odgovaraju}a re{enja u generalnom pristupuo~uvanju prirodnog nasle|a i ìvotne sredine.

Radnu grupu za pokretanje i realizaciju projekta ~ine:Draèn Kotro{an iz Bosne i Hercegovine, Branislava Mihaj-lova iz Makedonije i Ljiljana Proti} iz Srbije. Predvi|eno jeda se u projekat uklju~i i prof. dr Boìdar ]ur~i}, predsed-nik Uneskovog MAB komiteta Srbije.

I.15. Letnja {kola konzervacije DijanaU realizaciji programa letnjih {kola konzervacije Dijanazna~ajnu finansijsku pomo} pruàli su od 2001. godineUnesko iz Pariza, s dva programa participacije, i od 2005.UNESCO-BRESCE iz Venecije. Ti programi obuhvataju te-orijska predavanja [sa ciklusima iz preventivne konzervacije(uslovi ~uvanja kulturnih dobara, za{tita od vanrednih prili-ka, priprema planova preventivne za{tite i drugo), muzeo-logije i teorije za{tite, kulturne politike, etike, zakonodavstva,arheologije i arheolo{ke konzervacije, prirodnih nauka (fizi-ke, hemije, tehnologije), aktivnih konzervatorskih tretmana]i prakti~nu obuku (savladavanje primene mera preventivneza{tite u muzejskoj praksi, savladavanje konzervatorskihve{tina, znanja i tretmana).

Realizacija programa obrazovanja u letnjim {kolamaDijana odvija se u kontinuitetu svake godine od 1997, tra-dicionalno od juna do septembra. U tim aktivnostima u~e-stvuje veliki broj mladih, studenata, konzervatora, kustosai istraìva~a iz muzeja i drugih institucija za{tite, kao i mla-dih razli~itog profila. U realizaciji programa u~estvuju pre-dava~i iz zemlje i sveta; to su eksperti sa univerziteta, izspecijalizovanih institucija i privatnih studija. Formiran jestalni tim od trideset predava~a i eksperata, u koji ulaze imladi edukatori iz Dijane.

I.16. Dokumentacija za{tite ba{tineZavr{ava se pripremanje projekta jedinstvenog dokumen-tacionog sistema za oblast za{tite ba{tine, jedinstvene bazepodataka za sve aktivnosti na za{titi nasle|a, kao i stvaranjabaze podataka za konzervatorsku dokumentaciju. Novi do-kumentacioni digitalni sistem za{tite ba{tine treba da budepovezan s me|unarodnom bazom podataka u oblasti konzer-vacije nasle|a.

Projekat predvi|a razvoj stru~nih biblioteka i izdava~-ke delatnosti u oblasti za{tite i obezbe|ivanje tehni~ke opre-me za dokumentaciju. Zavr{ena je specijalizacija jednogmladog stru~njaka iz Dijane u Centru za konzervaciju i is-traìvanja muzeja Francuske (C2RMF), {to treba da po-mogne u kona~nom definisanju jedinstvene baze podatakaza oblast za{tite ba{tine – EROS (European Research OpenSystem); to je otvoren vi{ejezi~ni sistem za pretraìvanjesadràja slika, posve}en razmeni konzervatorsko-restaura-torskih podataka izme|u institucija kulture (Open SourceMultilingual Research System for Image Content Retrievaldedicated to Conservation-Restoration exchange between Cul-tural Institutions).

I.17. Akademski program obrazovanja iz za{tite ba{tine– definisanje, organizacija i primena akademskog progra-ma obrazovanja iz oblasti za{tite ba{tine. Program se spro-vodi u saradnji s Beogradskim univerzitetom (u okvirumultidisciplinarnih studija) i Sorbonom – Pariz I. U pripre-manju novih studija za{tite dragocenu pomo} pruà Fran-cuski kulturni centar u Beogradu.

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Polaznici Letnje škole „Dijana“

Attendants of „Diana“ Summer School

are: Draèn Kotro{an from Bosnia and Herzegovina, Brani-slava Mihajlova from Macedonia and Ljiljana Proti} fromSerbia. It is planned to involve Professor Dr Boìdar ]ur~i},the president of UNESCO’s MAB committee of Serbia.

I.15. Diana Summer schools of conservation Significant financial help for the implementation of Diana’ssummer schools of conservation has been received fromUNESCO in Paris since 2001, with two programs of parti-cipation, and since 2005 from UNESCO-BRESCE in Venice.Those programs contain theoretical lectures with cycles inpreventive conservation (the conditions of preserving cul-tural goods, protection in cases of emergency, preparationof plans of preventive conservation and others), museologyand theory of conservation, cultural policy, ethics, law, archa-eology and archaeological conservation, science (physics,chemistry, technology), active conservation treatments andpractical training (the application of measures of preventiveconservation in museum practice, learning conservationskills and treatments).

Implementation of Diana’s educational program insummer schools has taken place continuously every yearsince 1997, traditionally from June to September. Manyyoung people, students, conservationists, curators, and re-searchers from museums and other institutions of conser-vation have taken part. Many lecturers from Serbia andabroad, academic experts from universities, specialist in-stitutions and private studies have been involved. A perma-nent team of thirty lecturers and experts has been formed,including young instructors from Diana.

I.16. Documentation on heritage conservation Preparation of this project for the unique documentationsystem for heritage conservation and the preparation of aunique database for all activities in conservation of heritageand the creation of a database for conservation documenta-tion are in their final phase. New digital system of protec-tion of heritage should be connected to international data-base in the domain of heritage conservation.

The project undertakes the development of expert libra-ries, publishing in the field of conservation, and providingtechnical equipment for documentation. One young expertfrom Diana has finished specialization in the Centre for con-servation and research of the Museum of France (C2RMF),which should help finally to define a unique database for thefield of conservation of heritage – EROS (European ResearchOpen System) e.g. Open Source Multilingual Research Systemfor Image Content Retrieval dedicated to Conservation-Resto-ration exchange between Cultural Institutions.

I.17. Academic program of education in heritage conservation The design, organisation and application of academic edu-cational programs are included in heritage protection. Thisprogram is implemented in collaboration with the Univer-sity of Belgrade (within multidisciplinary studies) and theSorbonne, Paris. The French Cultural Centre in Belgrade hasbeen of invaluable help in the preparation of new studies ofconservation.

Undergraduate and Master studies, based on the prin-ciple 3 + 2 are being prepared, envisaging programs of pre-ventive conservation and conservation treatment. First phasestarted in November 2008 – it is a one-year academic masterprogramme in preventive conservation, in its realisationexperts from Europe and the region of South East Europeare taking part. In second phase during 2009, it is plannedto continue academic programs of education and to expandit with one-year master studies in conservation treatment.The third phase should start in 2010–2011 with academicprogram of protection of heritage-both undergraduate andmaster studies on the principle 3 + 2.

In the first phase studies will relate to the conservationof archaeological locations and museum objects. It is plannedthat a one year Master’s program in preventive conservationwill start in 2008, followed by a one year Master’s in con-servation treatment. From 2009 a Master of Heritage aca-demic program will continue with basic and Master studieson the principle 3 + 2.

The practical implementation of studies will be donein cooperation with the newly founded CIC, and all pro-grams starting with 2009 have a regional character when itcomes to students.

I.18. Integrative system of conservation and methodology of preventive conservationThe design, organization and application of the integrativeconcept use a methodology of preventive conservation inpractice. The integrative concept should be based on theorganization of a broad, interdisciplinary, multidisciplinaryand unique system of conservation in Serbia and the region.In this unique system of protection all categories of culturalgoods are included in their natural surroundings and mutuallyconnected, including: architectural and monument heritage,archaeological sites, museum objects, archive and librarymaterial, film, audiovisual and digital material, and intangi-ble heritage. The unique system of protection also includes allactivities regarding the conservation of heritage: education,scientific research, preventive conservation, conservationtreatments, documentation, presentation, and marketing.

I.19. Analysis of the state of mosaics in the region of South East EuropeThe authors of the project are young experts MajaFrankovi} from OPZ Diana and Branislava Lazarevi}, theconservationist. It is planned to develop it as a regionalproject which will cover areas with mosaics in South EastEurope. Methodology of designing the analysis of the stateof mosaic within this project has largely relied on coopera-tion with individuals from institution, on direct or indirectresearch of available documentation and different infor-mation, and research in institutions and archaeological sites.Three types of questionnaires were used for colleagues fromthe region: for mosaics in situ, mosaics in museums and forconservation of mosaics. After several months of research theneed for changing the way of managing sites was evident, alsothat the number of specialists for conservation of mosaics isinsufficient in most countries, that there is a need for profes-sional training and contemporary methods of conservation,

149


Pripremaju se osnovne i master studije na principu 3 +2, koje obuhvataju programe preventivne za{tite i konzerva-torskog tretmana. S prvom fazom otpo~elo se u novembru2008. godine – to je jednogodi{nji akademski master programiz preventivne konzervacije; u njegovu realizaciju uklju~enisu eksperti iz Evrope i regiona jugoisto~ne Evrope. Planira-no je da se u drugoj fazi, tokom 2009, akademski programiobrazovanja nastave i pro{ire jednogodi{njim masterom izkonzervatorskog tretmana. Trebalo bi da tre}a faza zapo~ne2010/2011. godine sa akademskim programom za{tite ba-{tine – osnovnim i master studijama na principu 3 + 2.

U prvoj fazi studije }e se odnositi na konzervaciju arhe-olo{kih lokaliteta i muzejskih predmeta. Planirano je da se2008. zapo~ne s jednogodi{njim programom postdiplomskihstudija iz preventivne konzervacije, a potom i s jednogodi-{njim postdiplomskim studijama iz konzervatorskog tret-mana. Od 2009. akademski programi za{tite ba{tine nasta-vi}e se sa osnovnim i master studijama i na principu 3 + 2.

Prakti~na realizacija studija obavlja}e se u saradnji snovoosnovanim CIK-om, a svi programi }e od 2009, kada jere~ o studentima, dobiti izrazito regionalni karakter.

I.18. Integrativni sistem za{tite i metodologija preven-tivne za{tite – definisanje, organizacija i primena integra-tivnog koncepta koji koristi metodologiju preventivne kon-zervacije za svoju primenu u praksi. Integrativni koncepttreba da po~iva na organizovanju sveobuhvatnog, interdi-sciplinarnog, multidisciplinarnog i jedinstvenog sistemaza{tite u Srbiji i regionu. U jedinstven sistem za{tite uklju-~uju se sve kategorije kulturnih dobara u prirodnom okruènjui me|usobno se povezuju: arhitektonsko i spomeni~ko nasle-|e, arheolo{ki lokaliteti, muzejska gra|a, arhivski i biblio-te~ki materijal, kinote~ki, filmski, audio-vizuelni i digitalnimaterijal, nematerijalna ba{tina. Jedinstven sistem za{titetako|e uklju~uje i sve aktivnosti na za{titi ba{tine: edukaci-ju, nau~noistraìva~ki multidisciplinarni rad, preventivnuza{titu, konzervatorski tretman, dokumentaciju, prezenta-ciju i marketing.

I.19. Analiza stanja mozaika u regionu jugoisto~ne EvropeAutori projekta su mladi stru~njaci Maja Frankovi} iz OPZDijana i Branislava Lazarevi}, konzervator. Planirano je dase tokom 2009. on razvije kao regionalni projekat koji }epokriti podru~ja s mozaicima u jugoisto~noj Evropi. Meto-dologija razrade analize stanja mozaika u okviru ovog pro-jekta velikim se delom oslanjala na saradnju s pojedincimau institucijama, na posredno ili neposredno istraìvanjedostupne dokumentacije i razli~itih informacija, istraìva-nja u institucijama i na arheolo{kim lokalitetima. Kori{}e-ne su tri vrste upitnika za kolege iz regiona: za mozike insitu, mozaike u muzejima i za konzervaciju mozaika. Poslenekoliko meseci istraìvanja pokazalo se da postoji potrebaza promenom na~ina rukovo|enja i upravljanja lokaliteti-ma, da je broj specijalista za konzervaciju mozaika u ve}inizemalja regiona nedovoljan, da postoji potreba za profesio-nalnom obukom i savremenim konzervatorskim metoda-ma, za obukom tehni~ara koji bi se prvenstveno bavili odr-àvanjem mozaika na arheolo{kom lokalitetu, za boljomstru~nom saradnjom i slobodnom razmenom informacija uokviru pojedinih zemalja, kao i u regionu, a i potreba da sejavnosti skrene pa`nja na kulturni zna~aj ove oblasti i va-`nost njenog o~uvanja.

II. BORBA PROTIV ILEGALNE TRGOVINEICOM-SEE je pokrenuo definisanje regionalnog projektaza borbu protiv ilegalne trgovine i drugih nelegalnih radnjina ba{tini u na{em regionu. Nosilac projekta je ICOM Slo-venije, a koordinator dr Dragan Mati} iz Inspektorata Mi-nistarstva kulture Slovenije, stru~njak koji poseduje velikoiskustvo u ovoj oblasti i koji je ostvario zna~ajne rezultate.U toku je prou~avanje zakonodavstva u regionu u vezi sa ile-galnom trgovinom, pripremaju se elementi za predloge za-kona o zabrani ilegalne trgovine kulturnim dobrima. Zapo-~elo se i s prikupljanjem odgovaraju}ih podataka, kako bi sena osnovu njihovog razmatranja postavio dalji razvoj projek-ta. D. Mati} je u tu svrhu posebno pripremio anketu upitnik,

150


Master iz preventivne konzervacije, predavanje Gaela de Gišana

Master studies in preventive conservation, a lecture held by Gaël de Guichen

Master iz preventivne konzervacije, ve`ba s Denijem Gimarom

Master studies in preventive conservation, exercise with Denis Guillemard

for the training of technicians who would primarily workon maintaining mosaics on archaeological sites, the needfor better expert cooperation and free exchange of informa-tion within certain countries, as well as in region, but also theneed to focus the attention of public on the cultural importan-ce of this domain and the importance of its preservation.

II. COMBATING ILLEGAL TRADEICOM-SEE has initiated a regional project to fight illegaltrade and other criminal activities related to heritage inour region. The bearer of the project is ICOM Slovenia, andcoordinator is Dr Dragan Mati} from the Inspectorate ofMinistry of Culture of Slovenia was appointed projectcoordinator; he has significant experience and hasaccomplished notable results in this field. Research intolaws in the region relating to illegal trade is in process,forming elements for draft legislation: The Law on the Pro-hibition of the Illegal Trade of Cultural Goods. The phase ofgathering suitable data has also begun, so that the furtherdevelopment of this project can be planned. Dragan Mati}has prepared a special survey-questionnaire for this purpose,which should provide data on the people responsible forproblems of illegal trade in the countries of the region, thenon kinds and categories of legal acts and international treatieswhich are accepted on national level. This survey is a partof preparation for the conference on illegal trade in Europewhich is planned in 2010. Since there is evident need forharmonization of laws in the region of South East Europe,due to this, the legal situation from the domain of illegaltrade in the region should be presented on this conference.

The aim of the project is to make the legislation ofcountries in the region more accessible to the public.

The idea is to gather together all laws on cultural pro-perty in one place, so that illegal activities can be reacted tomore quickly and simply, to protect cultural heritage.

One of the goals of the project should be to update dataon stolen goods and illegal trade, to process and publishthem within the well-known ICOM’s editions dedicated to

illegal trade and stolen cultural goods. That is why weexpect ICOM from Paris to become directly involved in theproject. The portal EU customs control for cultural heritagewill be used for this purpose.

III. MATRAThe MATRA Project has been implemented with the helpof the Museum Association in The Netherlands, withICOM SEE as coordinator. The program is directed towardssocial transformation in countries that are candidates forEU membership and it offers assistance in all areas of sociallife, including culture. It has already been implemented inmuseum programs in Hungary, Czech Republic, Slovenia,Russia, Ukraine and Poland. Last year preparations beganin Croatia. The program is very practical and can easily beadapted to countries in which it is applied. In some areasof the region three-year projects have taken place, relating tomuseums’ capacity to develop management and marketing.At a meeting in Amsterdam in 2007, it was agreed that im-plementation of the new MATRA regional program shouldcontinue in the region of South East Europe. As Sloveniacompleted the program several years ago, and Croatia beganpreparations for the new MATRA program in 2006, it hasbeen decided that Croatia should organize this phase, Slo-venia will be a consultant, and Bosnia and Herzegovina andSerbia co organizers. According to the data of the MuseumAssociation of Netherlands, the bearer of the project, theimplementation of MATRA project in our region shouldstart during 2009. It is planned for project MATRA to bedeveloped and implemented in other parts of the region ofSouth East Europe.

IV. CULTURAL TOURISM The Program of the project of cultural tourism is veryimportant for the whole region of South East Europe. Itsbasic goal is accurate definition of the role of culturaltourism, because of the evident fact that presentation ofheritage is increasingly abused, thus jeopardizing security,stability and protection of heritage. Inadequate managingof cultural tourism increasingly destroys its very resourcesand inadequate inclusion of heritage in contemporary lifejeopardizes the needs of future generations and it is notwithin the context of sustainable development.

The project should have an educational character andit will include professionals from the domain of heritageprotection, tourismologists, urbanists, scientists, differentinstitutions and organisations from local communities etc.The first phase of the project should begin with the regionalconference in Croatia when general attitudes will be defined.It is planned to organise workshops in December 2010 withthe name The Role of Museums in Sustainable Developmentof Cultural Tourism. The main goal of the workshops will beanalysis of cultural tourism in the region, and it will use amethodology of different forms of discussions and casestudies. Its activities will include the representatives fromthe whole region of South East Europe. The bearer of theproject is NC ICOM Slovenia and NC ICOM Austria.Coordinator of the project is Gorjanka Horjan, the directorof the Museum of Croatian Zagorje.

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Master iz preventivne konzervacije, predavanje @an-@aka Ezratija

Master studies in preventive conservation, a lecture held by Jean-Jacques Ezrati

koja treba da pruì podatke o licima odgovornim za proble-me ilegalne trgovine u zemljama regiona, zatim o vrstamai kategorijama nacionalnih pravnih akata i me|unarodnihsporazuma koji su prihva}eni na nacionalnom nivou. Ovaanketa upitnik deo je priprema za konferenciju o ilegalnoj

trgovini u Evropi koja se planira za 2010. Kako postoji real-na potreba za uskla|ivanjem zakona u regionu jugoisto~neEvrope, na toj konferenciji zbog toga bi trebalo predstavitipravnu situaciju iz domena ilegalne trgovine u regionu.

Cilj projekta jeste i da se zakonodavstvo zemalja regio-na u~ini dostupnim javnosti. Zami{ljeno je da se na jednommestu okupe svi zakoni o kulturnim dobrima kako bi semoglo brè i jednostavnije reagovati na krivi~ne prestupekada je re~ o za{titi kulturnog nasle|a.

Jedan od ciljeva projekta treba da bude i kompletiranjepodataka o ukradenim dobrima i ilegalnoj trgovini – njiho-va obrada i objavljivanje u okviru poznatih ICOM-ovih edi-cija posve}enih ilegalnoj trgovini i ukradenim kulturnimdobrima. Zbog toga o~ekujemo i da se ICOM iz Pariza ne-posredno uklju~i u projekat. Za potrebe projekta koristi}ese i portal EU Customs Control for Cultural Heritage.

III. MATRAProjekat MATRA sprovodi se pod pokroviteljstvom Muzej-ske asocijacije Holandije, sa ICOM-SEE-jem kao koordina-torom. Program je usmeren na dru{tvenu transformaciju uzemljama kandidatima za prijem u EU i pruà pomo} u svimoblastima dru{tvenog ìvota, pa i u kulturi. Kada je re~ omuzejskim programima, on je ve} sproveden u Ma|arskoj,ê{koj, Sloveniji, Rusiji, Ukrajini i Poljskoj. Pro{le godineotpo~elo se i s pripremama u Hrvatskoj.

Program je veoma prakti~an i lako se prilago|ava zemljiu kojoj se odvija. U jednoj oblasti regiona projekti se odvi-jaju tokom tri godine i odnose se na muzejske kapacitete zarazvoj menad`menta i marketinga.

Na sastanku u Amsterdamu u maju 2007. dogovorenoje da se u regionu jugoisto~ne Evrope nastavi s realizacijomnovog regionalnog programa MATRA. Kako je Slovenija

pro{la kompletan program pre nekoliko godina, a Hrvatskaje u toku 2006. ve} zapo~ela s pripremama za novi programMATRA, odre|eno je da Hrvatska u ovoj fazi bude organiza-tor, Slovenija konsultant, a Bosna i Hercegovina i Srbija ko-organizatori. Prema podacima Muzejske asocijacije Holan-

dije, nosioca projekta, realizacija projekta MATRA u na{emregionu trebalo bi da zapo~ne tokom 2009. Predvi|eno jeda se projekat MATRA razvija i sprovede i u drugim delo-vima regiona jugoisto~ne Evrope.

IV. KULTURNI TURIZAMProgram projekta kulturnog turizma izuzetno je vaàn zaceo region jugoisto~ne Evrope. Njegov osnovni cilj jestepravilno definisanje uloge kulturnog turizma, zbog o~igled-ne ~injenice da se prezentacija ba{tine sve vi{e zloupotre-bljava na ra~un sigurnosti, stabilnosti i za{tite ba{tine. Ne-primerenim sprovo|enjem kulturnog turizma sve se vi{eru{e i uni{tavaju upravo resursi za kulturni turizam, a ne-odgovaraju}e uklju~ivanje ba{tine u savremeni ìvot ugro-àva potrebe budu}ih generacija i izvan je konteksta odrì-vog razvoja.

Projekat treba da ima edukativan karakter i uklju~iva-}e profesionalce iz oblasti za{tite ba{tine, turizmologe, urba-niste, prirodnjake, razne institucije i organizacije iz lokal-nih zajednica itd. Trebalo bi da prva faza projekta otpo~nes regionalnom konferencijom u Hrvatskoj, a tada }e biti od-re|eni op{ti stavovi. Planira se da se u decembru 2010. go-dine odrè radionice pod nazivom Uloga muzeja u odrìvomrazvoju kulturnog turizma. Osnovni cilj radionica bi}e ana-liza kulturnog turizma u regionu, a one }e koristiti meto-dologiju razli~itih oblika diskusija i studija slu~aja. U svojeaktivnosti uklju~iva}e predstavnike iz celog regiona jugo-isto~ne Evrope.

Nosilac projekta je NC ICOM Hrvatske, a u njegovosprovo|enje uklju~i}e se jo{ i Komitet za regionalne muzejeICOM-a, NC ICOM Slovenije i NC ICOM Austrije. Koordi-nator projekta je Goranka Horjan, direktor Muzeja Hrvat-skog Zagorja.

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Studenti mastera ispred Prirodnja~kog muzeja u Beogradu

Students of Master studies in front of a Museum of Natural History

Grupa studenata mastera na pauzi

Students of Master studies taking a break



Documents

RE^ UREDNIKA THE WORD OF EDITOR2008).pdf · (Arheolo{ka konzervacija, Osnovi preventivne konzervacije, Procena i kontrola rizika, SEE TIEM-MEP i drugi). Tokom poslednje decenije,