08/2012

18,
info@mpu.rs
www.mpu.rs

Ault

, 2012.

300
YU ISSN 0522-8328

JOURNAL
NEW SERIES 08/2012
Publisher
Museum of Applied Art
Vuka Karadia 18, Belgrade
info@mpu.rs
www.mpu.rs
Editor in Chief
Ljiljana Mileti bramovi, MA
Editor
Mila Gaji
Editorial Board
Zoran Blaina
Saa Brajovi, Phd
Mila Gaji
Ivana Jevti, Phd
Draginja Maskareli
Ljiljana Mileti Abramovi, MA
Ingrid Huljev
Editorial Assistant
Jelena Popovi
Language Editor and proofreading
Milena Markovi
Translation
Meri Petrov
Angelina MilosavljeviAult
Graphic Design
Dragana Lacmanovi
Technical Editor
Duan Tkaenko
Print
Grafiprof, Belgrade 2012
Circulation
300 copies
YU ISSN 0522-8328

The printing of the Journal of the Museum of

Applied Art was supported by the Ministry of
Culture and Media of the Republic of Serbia

 / CONTENTS

/ CONTRIBUTIONS
/ Milica Krianac
/ Duan Mrkobrad
007


Summary: LATE ANTIQUE AND EARLY BYZANTINE
GLASS FROM GRADINA IN POSTENJE
023
/ Branislav Cvetkovi

:
Summary: RELIQUARY OF DESPOTISSA BARBARA FRANKOPAN BRANKOVIC : Contribution to the Study
Vesna Lovri Planti /
037
TABERNAKL SAT A. FROMANTEELA : Prilog poznavanju
povijesti ranih satova s njihalom
Summary: FROMANTEEL BRACKET CLOCK : Contribution to understanding the history of early pendulum clocks
/ Biljana Crvenkovi
045

Summary: PORPHYRY VASES OF THE ROYAL PALACE ON
DEDINJE
055
Sandra Kanduar Trojan /
RADOVI BEKOG SLIKARA ANTONA KOTHGASSERA U
ZAGREBU
Summary: ARTWORK OF VIENNESE PAINTER ANTON
KOTHGASSER IN ZAGREB
065
/ Vuk Dautovi
:


Summary: SEPHARDIC PRINTED KETUBBOT ON THE
BALKANS : Pictorial decorations as a reflection of the ideas of
marital harmony and the duality of private and public in ewish
community's identity

/ Zlata Vuksanovi Macura 077

, 19191941
Summary: RENTAL APARTMENTS FOR THE POOR CITIZENS OF BELGRADE, 19191941
/ Mirjana Proi Dvorni 087
.
Summary: THE RELATIONSHIP OF NATURE AND CULTURE IN THE ARCHITECTURE OF ALDEN B. DOW
/ Bojana Spasi
099
-
Summary: COMIC BOOK OEUVRE OF ALEKSANDAR
HECL
/ Milica Ili
109
1973. 1979.
Summary: ILLUSTRATIONS BY BOZA VESELINOVIC IN
THE POLITIKIN ZABAVNIK, FROM 1973 TO 1979
/ Marta Vukoti Lazar
/ Nataa Danilovi Hristi 119


Summary: HE SIGNIFICANCE OF CONTEMPORARY ART
IN PROCCESS OF THE INTERDISCIPLINARY DESIGN OF
THE PUBLIC URBAN SPACE OF BELGRADE
/ REVIEWS
/ Saa Brajovi
133
- ,
2009.
136
/ Ivana Kuzmanovi Novovi
, , 2011

 / Jelena Popovi
139
SHIFTING PARADIGMS IN CONTEMPORARY CERAMICS : The Garth Clark and Mark Del Vecchio Collection
Ka / Katarina udi
142
PWER OF MAKING
J
M 2011-2012 /
MUSEUM OF APPLIED ART 2011-2012
147
/ Milica Cuki

2011. 2012.
2012 / ACQUISITIONS 2012

149

/ Milan Andri
165
17902010
/ Milan Andri
167

/Marija Labudovi
171


2012 / EXIBITIONS 2012
/Mioljub Kui
177

A 20112012 / EDITIONS 20112012

/ Andrijana Risti

182

183

184

 *
**

904:748652(497.11) ; 904:748653(497.11)
195687180

: , 260
, 100 ,
.
,
, .

, . ,
, , .

,
. ,
( 50%) ( 32%)
, ,
. ,
, , ,
.


( 60%). ,
( 15
), ,
. ( 43%),
(18%) (15%),
.
,
.
: ,
(, , , ),
,
(. 1:1-3)1
,
* , , (Schaffhausen),
** a, , ,

1
(, )
, ( I) ( ) .
.

1.
1. Site Gradina in Postenje

. (. 1:2),
230 m ( l 350 m) 90 m,
je
, 780 m.
19821984. ,

1988. 2009. . (.
1:3) ,
,
III . IV , ,
. , III ,

007

, .
, :
(4.1 x 2.3 m) (. 1:4) III
, (15.2 x 6.4 m), (.1:5),
III , ,
. VI ,
I, .
,

. VI VII ,
.
,
(M 1997: 204-212).
260
2,
100 , . .
,
, , .
,
. , 3
.
, ( 50%)
( 32%) , ,
.
, ,
,
, .

/Singidunum, /Diana, /Pontes,

/Timacum Minus (Rui 1994: 39, . . 556-559),
/Sirmium (aranovi-Svetek 1986: 58,
8), (Popovi i Biki 2009: 146, kat.
br. 120, sl. 52/17), (Krianac 2010:
fig. 2/1,2)
(VI VII ).
,
(Antonaras
2010, 307, fig. 7) ,
V ( 2010, T.
VIII/2, T. II/3; Rehren and Cholakova 2010, 82, 83, fig. 2:2).
1. (. 2:1)
/21, ; . . 74/1995
.
.
R 13 cm
2. (. 2:2)
/20, ; . . 36/1990
.
R 13 cm

008

: , .
.
( ) IV
VI .

.
.
IV
2

.
, , . . 95/1994, 38/1989

2. : : (1-2) ;
(3-4) ; (5)
2. Bowls: Hemispherical bowls: (1-2) with shallow recepient
receptacle; (3-4) with deeper receptacle; (5) Conical bowls

.
III VI , IV
V (Isings 1957: 143-144). .
IV V /Pontes, /Timacum Minus, /Romuliana,
/Ulpiana (Rui 1994: 39, . . 568-570, 572581, 583-584), VI /Saldvm (Jeremi
2009: 153, Cat. no. 414), /Diana (Rui 1994: 39,
.. 563-566) (Krianac 2010: fig.
2/4).

, ,
.
, .
III , IV

(Isings 1957: 134; Han 1986: fig. 25/1-6).
IV
V (Rui 1994: 45-46; 2003:
. . 104; 2003: T.6/4), VI (Jeremi 2009: 153, Cat. no.
420). ,
,
.
(. 3:1) ,
,
/Saldvm (Jeremi 2009: 153, Cat. no. 418),
IV ,
(Popovi 1999: 314, . . 54, . 57/7),
IV .

3. (. 2:3)
/20, ; . . 43/1990
.
R 13 cm
4. (. 2:4)
/24, ; .. 157/1995
.
R 14 cm
.

,
.
, V
(470-490) (Cholakova 2010: 264; Cholakova 2009: page
8/3), ,
VI VII (Krianac 2010: fig. 3/1-3).

009

5. (. 2:5)
/19, 20, a; . . 16/1990
.
R 13 cm

, ,
.
,
. , ,
.

3. : (1-4) ; (5) ;
(6-8)
3. Goblets: (1-4) Hemispherical beakers; (5) Conical goblets; (6-8)
Stemmed goblets or lamps

010

(. 3:2)
(Popovi 1999: 314, . . 55, . 57/8), IV V /Saldvm
(Jeremi 2009: 153, Cat. no. 420),
VI .
(. 3:3)

, .
,
,
.
/
Singidunum III IV (
1990: T. III/25, 26). ,
/Novae,
(Rui 1994: . . 804-807, 935),
/Sirmium ( 1981: 17,
34; aranovi-Svetek 1986: 59, 26), /Saldvm (Jeremi
2009: 153, Cat. no. 422-431) / (Han 1986:
fig. 25/1-5), IV ,
/Mediana ( 1999/2000: . 2;
2004: . . 162), /Transdierna (Cermanovi-Kuzmanovi and Jovanovi 2004: . 3,6; Rui 1994: . .
793-797), -/Margum (Kao 1995-1996: .
IV/1), / Diana, /Mora Vagei,
/Romuliana, /Pontes, /Timacum
Minus, / Ulpiana
(Rui 1994: . . 816-817, 862-863, 903, 835-844,
914-916, 932, 884; 2003: . 6/4)
IV V .
( 2003: 227-228).
,

.
, (VI VII
), ,
( ),
(Krianac 2010: fig. 7/4). ,
IV
do VI . /Ulpian (Rui 1994:
. . 1188) ,
, (Popovi i Biki 2009: 146, kat. br. 124, sl. 52/11)

. ,
, V
VI , ,
,

(Mrkobrad 1980: 54, T.XXXIX/15). ,

,
, .
, ,
V VI . ,
VI VII , ,
(Drausche and Greiff 2010: Pl. 1/5).
(. 3:4)
, , ,
, /Pontes, /Diana, /Horreum Margi (Rui 1994: . . 830-834, 815, 882883), IV .
,
.3:2,
/Istros ,
VI VII
(Bjenaru, Bltc 2000-2001, 478-482, Pl. X/1).
6. (. 3:1)
3, . . 8/1984

.
R 7.3 cm
.
7. (. 3:2)
/21, . . 131/1995

, .
R 10 cm
8. (. 3:3)
2; . . 14/1983
,
.
.
9. (. 3:4)
/13, . . 27/1989

,
.

(. 3:5)

. , ,
,

.

IV ,
, (Isings 1957: 127).
,
. IV :
, /Horreum Margi (Rui 1994:
51-53, . . 1025-1029, 1043), IV V
/Margum
/Diana (Kao 1995-1996: .III/5; Rui 1994:
52, . . 1018), VI
(Krianac
2010: fig. 6/1-3).
,
, /Pontes,
, ,
VI VII (pehar 2010: 49-50,
. . 3).
- (Mrkobrad 1980: 54, T.XXXIX:
15). ,
/Pontes
, ,
, /Pontes,
V VI (Rui 1994: 56, . .
1170-1171).
, , V VII ,
(Antonaras 2010, 307, fig. 7),
.
10. (. 3:5)
3; . . 6/1984

.
R 7 cm
.

,

,

. (. 3: 7, 8)
4 cm.
(. 3:6),
.
,
. . , (Antonaras 2010, 307,
fig. 7).

IV (/Transdierna, /Margum) (Karovi
1995-1996: T. 5/3,4; Cermanovi-Kuzmanovi and Jovanovi
2004: 203-204, at. 23), VVI (/Novae, /Pontes , -Mora Vagei, /Ulpiana,
/Romuliana) (Rui 1994: 52-53, . . 10491125) VI (Prahovo/Aquae, /Saldvm, /Pontes, /Diana, /Egeta, , ) ( 1981: T.XII/811; Jeremi 2009: 153, Cat. no. 442; pehar 2010: . . 6-14,
16-39) .
VI
/Justiniana I,
(Bavant 1990: Pl. XXXII/90-105;
Ivanievi and pehar 2005: sl. 4/12-15),

(Popovi 1999: sl. 57/14; Krianac 2010: fig. 8:4-6).

IV , V VI
VI VII (pehar 2010: 49-53)
,

, VI .
(Bavant 1990: 209-211). ,
/Pontes,
(pehar 2010: 49-52).
(Cholakova 2010: 264; Cholakova 2009: 11),
VI (540-580),
,

.
11. (. 3:6)
/28; . . 8/1993

.
R 7 cm
.

011

12. (. 3:7)
/21; . . 91/1995
.
R 4 cm
.
13. (. 3:8)
/23; . . 40/1995

.
R 7 cm

012

, ,

.
,
(. 4:1) (. 4:2),
, (Isings 1957: 30 ).
/Singidunum ( 1990: 48-50, T.
III/36) e e a,
. ,
,
, III .
,
(. 4:1) . (Cholakova
2009: page 13)
, ,
V VI . ,
,
, .
(Israeli 2008: 378, cat.no. 95),
,
,
(.
4:2).
(IV V ).
, , , , ,
. .
4,
4

, /Sirmium /.
, , IV
( 1981: 17,10; aranovi Svetek 1986: 63, 92, 93; Rui
1994: 52-53, . . 54, 61).

4. : (1-2) ; (3)
; (3-6)
4. Bottles and Jugs: (1-2) Handles; (3) Recipient fragment
of bottle; (4-6) Pushed-in bases

,
,
(VI VII ) (Israeli 2008: 386, cat.no. 220).
(VI )
, (Bavant
1990: No. 120),
, a 46
,
(Stamnkovi 2009: 192).
,

(. 4:4-6), :
, , . ,
, ,

. , (.
4:6), ,
,
.
, .

14. (. 4:1)
/21; . . 93/1995
, ,
. ,
, ,
,
.
0.7 cm
15. (. 4:2)
1, 3; . . 2/1984
,
. ,
, .
2 cm
.
16. (. 4:3)
; . . 95/1994
,

.

,
. (. 5:1)
(. 5:2,3),
(. 5:4) (. 5:5) .
.

, , VI
: (Bavant 1990:
XXXII:110-112; Duval and Jeremi 1984: fig. 145:6,7; 142, a:1,
b:10), (Ivanievi and pehar 2005: sl. 4:16),
(Krianac 2010: fig. 9:4-5), (
) (pehar 2010: .. 352),
( 4-6. ) (Popovi i Biki
2009, 77: ..123, .52:15),
/Margum, IV
(Kao 1995-1996: .VII/4).

17. ? (. 4:4)
/20; . . 38/1989
.
R 4.5 cm
18. ? (. 4:5)
/36; . . 37/1994
.
R 5 cm
.
19. ? (. 4:6)
/31; . . 71/1994

, .
R 4 cm

013

:
. ,
,
.

5. : (1-5) ; (6)

5. Oil lamps: (1-5) with hollow stem; (6) with
pointed base

, (.
5:1) V o VII . ,
VI (Duval and
Jeremi 1984: fig. 143:e), (Popovi 1999: 108, sl.57/12),
( 1990: 13, sl. 4:a), (Krianac 2010: fig. 9/2-3), /Pontes (pehar 2010: 90).
,
, , ,
(Duval and Jeremi 1984: sl. 149/d). ,
(. 5:2,3) ,
, .
(IV V ) (Israeli 2008: 381, 411, Cat.No. 176)
,
/Istros VI
,
(Bjenaru and
Bltc 2000-2001: 471-474, Pl. II/2),

.
Nicopolis ad Istrum - ,
IV VI (Poulter 1999, cat. Nos. 548, 550).
20. (. 5:1)
1, 1; . . 1/1983

.
R 10 cm
.

014

21. (. 5:2)
; . . 94/1994

.
R 10 cm
22. (. 5:3)
/28; . . 26/1992

.
R 9 cm

23. (. 5:4)
/34, ; . . 29/1994

.
R 1,5 cm
.
24. (. 5:5)
/31, ; . . 72/1994

.
R 1,6 cm
.

,
.

. - (Han 1986:
fig. 25/8), / Singidunum (Pop-Lazi 2002: sl. 14/2),
/ Diana / Ulpiana (Rui 1994: 55-56,
. . 1149, 1180, 1188) IV VI
. /Romuliana
IV V ( 2003: .
. 108). /Pontes Mora Vagei, V VI (Rui
1994: 55-56, . . 1150-1179), VI VII
(pehar 2010: 90),
/Aqvae VI
( 1981: T.XII/12-14; Krianac 2010: fig. 11/1,2).
.
/Pontes-a ,
(Rui 1994: 56, . . 1170-1171),
Ulpian-e .
25. (. 5:6)
/20; . . 30/1989

.

.
(. 6:1) ,
.

, IV
(Dautova Ruevljan 2006: Weaponry and Equipment).
, ,
,
(Krianac 2010: fig. 13/3).
/Romuliana
( 2003: . . 115,116),
IV V . ,
, .
,
. ,
, ,
, .
,
,
, .5 /Romuliana IV
IV V ( 2003: . . 109-113).
VI
(M- 1960: . 37/19; pehar 2010: 73, 41),

(Ivanievi and Kazanski and Mastykova 2006: fig. 67.52),
/ Diana (pehar 2010: 71-72).

6. :
6. Decorative objects: Inlay

26. (. 6:1)
/24; . . 141/1995
.
R 2.8 cm
.
27. (. 6:2)
/21; . . 133/1995
.

, .

( 60%).
,
( 15 ), , .
( 43%), (18%) (15%),

.
.
, ,
,
. , .

, .

,
(. 7:4)
(. 7:1, 2).
,
, ,
.
, ,
(Ignatiadou and
Antonaras 2008, 152). ,
(. 7:4)
, . ,
, ,
(Ignatiadou and Antonaras 2008, 150).
, ,
.
,
,
,
.

.


(Stamenkovi and Ivanievi 2012:
92 ).
85% ,

(Krianac 2010: 279-280).

( 2002: 37-53).

(Ivanievi and pehar 2005: 143, Fig.

015

4.17-19). ,
55% ,
VI
(Popovi i Biki 2009: 78).

( 1990:
14). (/Diana, /Pontes,
) , ,
, (pehar
2010: 88-89).
(4)
,
(. 7:1, 3).

/Romuliana,
(Krianac 2010: fig. 14/4) (
2002: . 9/1), .
,
.

28. (. 7:1)
/18; . . 3/2008

, .
.
29. (. 7:2)
2; . . 12/1983

.
.
.
30. (. 7:3)
/36; . . 37/1994

.
31. (. 7:4)
/26; . . 145/1995
,
.
.

016

7.
7. Windowpanes

,

VI (M 1997: 211). ,
,
,
,
.

, .

, .
, ,
, ,
, ,
( ).
, ,
.
, ,
, , , ,
,
(). ,
, III ,

. ,
,
, .


. ,
, ,
.
,
, (, 2, , ),

.
(Stamenkovi and Ivanievi 2012: 92),
(Krianac 2010: 279)
(Stamnkovi 2009: 193), ,
,
,
.
(Popovi 1999: 109),
,
, ,
( 2002: 37-53)
, ,
. , ,
( -)
, ,
,
.
(Krianac 2010: 280; 1989. ),
,
, , (Popovi 1999: 109),
., (
1990: 14) .
6 (Popovi 1999: 109)
, ,

,
.
100 ,
,
, .
,
, ,
.

, .

, I.
, je
III/IV VI .
, ( IV V
), (VI ),
:
(. 2:3-4), (.3:1-4),
(.3:5), (.
3:6-8) (. 4:1-3).
IV/V VI .
,
IV V , VI .
IV IV/V
, ,
VI . ,
V/VI VI ,
IV . , ,
,
,
. , ,
, VI .
,
, (.
2:1-2) IV .
, ,
VI ,
I, VI VII
(Milinkovi 2001, 71-133).
, VI . ,

, ,
, ,
. ,
,
VI .

, IV V ,
V/VI ,
V ,

,
(M 1997: 209).

017

018

,
,
(Sirmium, Romuliana) (Iustiniana Prima, ?)
,
.7

/Sirmium /Romuliana
IV e V

. ,
. , (Drausche and
Greiff 2010: 36)
,
. .
,
(, 150
), (Whitehouse 2002)
,
.89 , ,
,

,
.9

.

/Sirmium,
(Pannonia inferior). ,
0.80 m, ,
,
, 0.10 m
.
,
.
(Miloevi 1976: 105-107).
, ,
(311. .) V ,
7

(Popovi 1999, 109)

(Krianac 2010, 281) , , . 8
, ,
,
300 , , .
, ,
.
, , .
9

, ,
, .

.
,
IV ,
. ,

( 1978:
131-132). IV
V ,
,
. ,
, ( 2003: 43-44).

( V VI
),
, ,

.
,

.
,
,
.
I,
,
- , VI
VII (Rui 1994: 66-67).
,
.
,
.
in situ
, ,

( 2009: 251; Ivanievi and
Stamenkovi 2010: 41-43).
,
, ,

.
,
, ,10
, , ,
, 11
(Drausche and Greiff 2010: 37, 38).
10

, ,
, 800. . . . . 700/800. .
. .. .
11
, ( ),
,

. 550. 700. .
(Drausche and Greiff 2010: 38).

(Ivanievi i pehar 2005, 143, Fig. 4.11),
,
.

,
, ,
.
,13
.

,
,
.
,

,
(, , ),

.

Stamenkovi, S. and Ivanievi, V. 2012

The Window Glass in the Early Byzantine Housing in Cariin
Grad, Programme and Abstract Book of the 19th Congress of the
International Association for the History of Glass, Piran: 92.

Drausche, J. and Greiff, S. 2010

Early Byzantine glass from Cariin Grad/Iustiniana Prima
(Serbia): first results concerning the composition of raw glass
chunks', in: Glass along the Silk Road from 200 BC to AD 1000,
ed. Zorn B. and Hilgner A.,RGZM Tagungen 9, Mainz 53-70.
Ivanievi, V. and Stamenkovi, S. 2010
Glass workshop from Cariin Grad (Iustiniana Prima)
(with a contribution by S. Greiff), in: Glass along the Silk Road
from 200 BC to AD 1000, RGZM Tagungen 9, ed. B. Zorn, A.
Hilgner, Mainz, 39-52.
Krianac, M. 2010
Glass from Early Byzantine Gradina on Mount Jelica (Serbia),
in: Late Antique/Early Byzantine Glass from the Eastern
Mediterranean, ed. E. Lafli, Izmir, 268-287.
pehar, P. 2010
Materijalna kultura iz ranovizantijskih utvrenja u erdapu
(Material Culture from Early Byzantine Fortresses in
Djerdap), Beograd: Arheoloki institut: Narodni muzej.
, . , . 2009
2007. 2008.
, XLIX, 247-258 (Cariin Grad preliminary report on the archaeological excavation in 2007
and 2008, Summary).
Cholakova, A. 2009
Power-point presentation: Glass from the Late Roman and
Early Byzantine Dichin, Northern Bulgaria, : Late Antique
Glass in Anatolia, (4th to 8th cent. A.D.), October 25 28, 2009,
Izmir, Turkey.
Jeremi, G. 2009
Saldvm, Roman and Early Byzantine Fortification, Belgrade.

Antonaras, A. C. 2010
Glassware in Late Antique Thessalonike (Third to Seventh
Centuries C.E., in: L. Laura Nasrallah, Charalambos Bakirtzis
and Steven J. Friesen (eds), From Roman to Early Christian
Thessalonike: Studies in Religion and Archaeology, Harvard
Theological Studies 64, Cambridge, MA 2010, 301-334.

Popovi, M. i Biki, V. 2009

Vrsenice: Kasnoantiko i srpsko srednjovekovno utvrenje
(Vrsenice, Late Roman and Serbian Early Medieval Fortress),
Beograd.

Cholakova, A. 2010
Glass from Late Roman/Early Byzantine Dichin (Northern
Bulgaria), : Late Antique/Early Byzantine Glass from the
Eastern Mediterranean, ed. E. Lafli, S. Fnfschilling, Izmir
264-265.

Stamenkovi, S. 2009
Kasnoantiko staklo sa Gradine u Vrsenicama, u: Vrsenice,
Kasnoantiko i srpsko srednjovekovno utvrenje (Vrsenice,
Late Roman and Serbian Early Medieval Fortress), ur. M.
Popovi, V. Biki, Beograd: 189-195

, . 2010
. , . ,
- .
, , 1996-2003 (
).
39, 257-307.

Ignatiadou, D. and Antonaras, A. 2008

Glassworking, Ancient und Medieval, Terminology,
Technology and Typology, Thessaloniki.

13

Milinkovi 2008: 537, Abb. 2

Israeli, Y. 2008
The Glass Vessels, in: Archaeological Excavations at Caesarea
Maritima: Areas CC, KK, and NN: Final Reports I: The Objects,
ed. J. Patrich: Jerusalem, 367418.

019

Milinkovi, M. 2008
Die sptantik-frhbyzantischen befestigten Hhenanlagen in
Serbien, in: Hhensidlungen zwishen Antike und Mittelalter RGA-E Band 58, Berlin-New York: 533-557.

Milinkovi, M. 2001
Die byzantinische Hhenanlage auf der Jelica in Serbien - ein
Beispiel aus dem nrdlichen Illyricum des 6. Jh.,
() LI: 71-133.

Gorin-Rosen, Y. and Katsnelson, N. 2007

Local Glass Production in the Late Roman-Early Byzantine
Periods in Light of the Glass Findes from Khirbat el NiAna,
Atiqot (Jerusalem) 57: 1-81.

Bjenaru, C. and Bltc, A. 2000-2001

Depozitul de candele din sticl descoperit la bazilica
episcopal de la Histria, Pontica ( Muzuel de Istorie Nationale
si Arheologie, Constanta) vol. 33-34: 469-513.

Dautova-Ruevljan, V. 2006
Rimska vojska u Sremu (Roman Army in Srem), Novi Sad:
Muzej Vojvodine.

, . 1999/2000
, ()
15-16: 209-229.

Ivanievi, V. and Kazanski, M. and Mastykova, A. 2006

Les ncropoles de Viminacium l poque des Grandes
Migrations, Paris.

Popovi, M. 1999
Tvrava Ras (The Fortress of Ras, Summary), Beograd.

Ivanievi, V. and pehar, P. 2005

Early Byzantine Finds from ean and Gornji Streoc
(Kosovo), Starinar (Beograd) LV: 133-159.
Cermanovi-Kuzmanovi, A. and Jovanovi, A. 2004
Tekija, Belgrade.
, . 2004
Naissus, : ,
(Archeological Treasure of Nis : from the Neolithic to the
Middle Ages), . . , :
, 49-58, . . 162-172.
, . 2003
4.
5. , : Sirmium,
( ),
: 200-235.
, M. 2003
Felix Romuliana50 , (Felix
Romuliana50 Years of Solving), .

020

Pop-Lazi, S. P. 2002
Nekropole rimskog Singidunuma (Necropolises of Roman
Singidunum, Summary), Singidunum (Beograd ) 3: 7-100.
, . 2002

2000. 2001. (Archeological Researches on Liska
Cava near Guca in 2000 and 2001, Summary),
() XXXII: 37-53.
Whitehouse, D. 2002
Medieval Glassmaking in the Levant, http://www.cmog.org/
article/medieval-glassmaking-levant (publised in Minerva
vol. 13, no. 5, Sept./Oct. 2002, pp. 45-48).

Poulter, A. G. 1999
Nicopolis ad Istrum: A roman to Early Byzantine City, The
Pottery and Glasss, London.
, .1998
, :
, ,
(Roman and early byzantine period, in: The Archeological
Treasures of Kosovo and Metohija), :
, 256-315.
M, . 1997
: (RasPostenje:Phases
in the development of the Fortress, Summary),
() 36: 203217.
Kao, . 1995-1996
(Roman Glass of Margum,
Summary), Viminacium ( ) 10:
75-104.
Rui, M. 1994
Rimsko staklo u Srbiji (Roman Glass in Serbia, Summary),
Beograd: Centar za arheoloka istraivanja, Filozofski fakultet
K, J. 1992
.
() (Late Antic Glass from Necropolis by the
Church St. Nikola-Kurumlija, Summary),
() XIV/1: 411-419.
Bavant, B. 1990
Les petits objets, in: Cariin grad II, eds. B. Bavant, V.Kondi,
J-M Spieser: Belgrade- Rome: Collection de l'Ecole franaise
de Rome, 191-257.

, . 1990

(La Forteresse de Zlatni Kamen, Summary),
14: 7-17.
, .1990
(Roman
Glass Vessels From the Belgrade Fortress, Summary),
XXXVII: 39-54.
, . 1989
, (Glass Findings From
Gradina in Jelica, Summary),
() XVIII: 87-101.

, A. 1981
,
( ) X: 7-29.
, . 1981
VI VII ,
.
Isings, C. 1980
Roman Glass from Dated Finds, Groningen-Jakarta.
Mrkobrad, D. 1980
Arheoloki nalazi seobe naroda u Jugoslaviji (Archologische
Funde der Vlkerwanderunfszeit in Jugoslawien, Summary),
Beograd.

Han, V. 1986
Objets en verre, Rtkovo-Glamija I, erdapske sveske III,
Beograd: 92-94.

-, . 1978
: , XI: 130.

aranovi, Svetek V. 1986

Antiko staklo u jugoslovenskom delu provincije Donje
Panonije, Novi Sad: Vojvoanski muzej.

Miloevi, P. 1976
Radionice stakla u Sirmijumu, : Antino steklo v Jugoslaviji:
Slovensko arheoloko drutvo, Kolokvij ob 150-letnici
Narodnega muzeja v Ljubljani, Ljubljana: 102-109.

Duval, N. and Jeremi, M. 1984

L'glise J au sud de la ville, dite basilique une nef, in: Cariin
grad I, ed. N.Duval, V. Popovi: BelgradeRome: 140-149.

M-, . 1960
1933. 1934. ,
() V-VI: 155-180.

021

Summary

MILICA KRIANAC*
DUAN MRKOBRAD**

LATE ANTIQUE AND EARLY BYZANTINE GLASS FROM

GRADINA IN POSTENJE

022

Late Antiquity and afterwards Early Byzantine fortress

Gradina in the village of Postenje (fig. 1:1-3) was built on the
northern slopes of Rogozina Mountain (c. 780 metres
altitude) in South-West Serbia. Found within the fortress and
surrounded by a wall were about thirty objects, the oldest
dating from the 3rd century. The settlement was destroyed at
the end of the 6th or the beginning of the 7th century. The
majority of glass finds from Gradina in the village of Postenje,
as well as other moveable archeological material, originate
from the objects made during the 6th century, the time of
Justinian's reconstruction of the fortress. Window pane
fragments were found both in churches and in profane
objects. Out of a total of about 100 fragments of glass vessels,
the largest number is the parts of bowls and goblets from
which is distinguished the many different types. The smaller
number is the fragments of bottles and lamps. Although the
highest number of glass fragments is found to belong to the
period of the Emperor Justinian I, some vessels could have
been in use even before the 6th century. Over a longer period of
time, during Late Antiquity (4th beginning of 5th century), up
to and including the Early Byzantine period (6th century),
hemispherical bowls with deeper receptacle (fig. 2:3-4),
hemispherical beakers (fig. 3:1-4), conical goblets (fig. 3:5),
stemmed goblets or lamps (fig. 3:6-8) and jugs (fig. 4:1-3)
could have been used. All these vessels have similarities with
the materials of this period, of the 4th/5th century and the 6th
century. While hemispherical bowls and beakers are most
common during the 4th and early 5th century, some have been
found on some sites of the 6th century. On the territory of
Serbia, conical goblets are found in the 4th and the 4th/5th
century layer on all other sites except Gradina on Jelica where
they were found in the 6th century layer. In contrast, although
a larger number of stemmed goblets or lamps was found on
Early Byzantine sites in the 5th/6th and the 6th century layer, a
smaller number dates from the 4th century. On all other sites,
except Early Byzantine fortress Gradina on Jelica,
hemispherical bowls with shallow receptacle (fig. 2:1-2) date
from the 4th century. On the territory of Serbia, all conical
* Milica Krianac, archaelogist, Schaffhausen, Switzerland
**Duan Mrkobrad, archaelogist, University of Belgrade, Faculty of Philosophy
Archeology Collection

receptacle lamps with hollow stem date exclusively from the

6th century, Caricin grad being the site where the highest
number of lamps with hollow stem was found. Apart from
hemispherical lamps with deeper receptacle, on sites in Serbia
there are no examples of lamps with shallow receptacle as
those found in Gradina in Postenje. However, judging by the
similar examples from the Black Sea, they also could have
been used in the settlement during the 6th century. Glass lamps
have been found both in sacred and profane objects in
Gradina in Postanje.
Judging by the high number of glass vessels in Gradina in
Postanje that is present on a number of sites during the 4th
century and the beginning of the 5th century, and in some of
the 5th and the 6th century layers too, the continuity of life can
be proven in Gradina in Postanje in the 5th century, though this
horizon has not been established yet on this site in
architectural prebuilding and restoration of objects. The
limited number of vessels of a simple type and of a relatively
uniform glass colour in Gradina in Postanje indicates local
production. Though it has not been proven yet in the
settlement itself, local production could have existed, as in
some settlements of Late Antiquty Mitrovica / Sirmium,
Gamzigrad / Romuliana or as in some Early Byzantine
settlements (In Caricin grad, for example, a group of bricks are
in situ in a circular or semi-circular shape, which might have
been a part of a furnace; furthermore, fragments of a massive
dome-shaped vessel that might have been part of a retort were
also found, which could serve as proof for the existence of
glass making. In Gornji Streoci on Kosovo the raw materials
for glass making were found).
Gradina in Postanje is one of a large number of hillside
settlements that have been identified on the territory of
Serbia, but glass is found on and published about only a few.
Although a relatively small number of glass vessel types have
been found in Gradina in Postanje, similar types have been
found in other Late Antiquity and Early Byzantine sites in
Serbia and neighbouring countries (Bulgaria, Romania,
Greece), where an assortment of similar glass vessels were
used.

 739(497.5)14 ; 27-526.6(497.5)14
195687692

: ,
, a ,

, .
,
, ,

, ,
. , , 2011.
. , ,
,

, -.

.
: , ,
, ,


(Geary 1978; Angenendt 1997).
,

( 2000).

(Legner 1985; Os 2000; 2000),
( 2003)
( 2006).

,

* , ,

(Gyuzelev 2011) (Bagnoli 2011).1

( 1954; 1965),
( 2006).

, , ( 2000: 126-128, . 33; Durand
2010: 435, No. 201), (Todi 1999),
( 2005)
( 2009), . .
( 2006: 271-293, 295-317)

. ,
XV , ,
.2

,
(Mateji 1991; Hoko
1991).
,
(1434-1466), ,
(1416-1479), , . (
) (1438-1485),
1482. ,
.
, ,
( 1970; ercer 2011).
.

1

. . 177003,
.
.
,
. ,
, .
2
,
, .

023

024

.
1453. 1468.
, ,
,
1504.
(ercer 2011: 45).
(.1)
,
, ,
.3
,
,
1576. , .
,
,
.
h = 70 cm, R = 43
cm.


, ,
(Cvetkovi 2011).
,
,
, (Glavinich 1648:
47-48; Glavinich 1989: 120-121).
,
(Jankovi 1886: 55-56).

(Sakcinski 1891: 278-279, br. 942),

(Klai 1901: 65-66).
, ,

( 1903: 477, . 4690, 4691). ,
- (Szabo 1915: 255-256).
-
(Gigante
1924: 3-7),

(Branikovi 1926: 18-19, 21).
3

- , .
,
, , (
,
). ,
,

, ,
( ,
).

,
, ,
, (Kniewald 1935).
,
, ,

( 1940). .
,
,
( 1964).
( 1977: 82, . 39), ,
,
(Lenti 1988). ,

(ercer 2011: 40-45).
,
,
.

( 2008; 2009).
,
(
),
, .
,
,
.

,
, (
),

.
(1-40) , (. 2).

, , .
(Glavinich 1648: 48).

(Szabo 1915: 255; Gigante 1924: 8-9; Branikovi 1926: 21),

(Kniewald 1935).
, .

(2,5 x 2 x 1 cm)
. (. 1).4 :
& svetoga mqenika filipa

(7,2 x 3,2 x 1,5 cm)
(. 2).5 :
& s(ve)ti . apostoly . anydrei .

(2,5 x 1,6 x 0,6 cm),
(. 3).6 :
& mariee magdalene moy

.
. (. 4),7
(3 x 1,4 x 0,5 cm). :
& moy svete rsle
(4 x 1,2 x 0,5
cm) . (!)
(. 5).8 :
& s(ve)ti . vraqi . kozma i damin(y)

025

1. ,
1. Reliquary, front side

(20. ),
, . (14. ) .
(11. ).
5
. (30. ).
6
, . (22. ).

7
8

. , (21. ).
(1. , 17.
, 1. ).

, (4,5 x
1,7 x 0,8 cm) .
(. 6).9 :
& moy s(ve)t(a)go ja-kova alfeva
(4,3 x 2,2 x 1,4 cm)
. (. 7).10 (. 3):
& moy s(ve)t(a)go m()q(e)nika arei
, (4 x 1
x 1 cm) . (. 8).11
:
& moy svete pelaeeieee (sic !)
,

. , .
(Glavinich 1648: 48, No. 27),
elagene
(Jankovi 1886: 56, br. XX),
.
.
(. 9),12
(20 x 4 x 3,5 cm) .
:
& si . moy . . svetago . b(a)rytolomea .
qini . g(o)spog(j)a. despotovica barybara . na
slav . b(o).i . i priqistoi .b(o)go..materi .
da (i)i . pomoe i po.mile .

026

2. ,
2. Reliquary, back side
9
10
11

. (9. ).
. (24. ).
:
(8. ), (8. ),
(4. ), (25. ).

12

. (11. 25. ).

, ,
(. 10) , (Glavinich 1648: 48, No. 31),
.
(Matthaei Apost.).13
,
. ,
(2,3 x 2,4 x 2 cm) . ,
(. 11).14
(Glavinich 1648: 48, No. 20, 32).15

,
:
. mo(y) . s(ve)tago sthf(a)n(a) .
prvom(ou)q(enika)

3. .
3. Relics of St. Arethas

13
14
15

. (16. ).
. (2. 27. ).
,
,
.

4. .
4. Relics of St. Theodore the Younger

(. 12) ,
(Glavinich 1648: 48, No. 35),
.
(Petri Apostoli.).16
, (3,5 x 3 x 2 cm)
. (. 13).17
:
& s(ve)ti . ivany . zlatosti .

(7,5 x 6,5 x 4 cm)
. (.
14).18
,

(. 4):
& (sic!)

.
() (Incerti.)
(Glavinich 1648: 48, No. 33), nije za
razumjeti, jer je sredinom nalotovan zinak, koj dri kutijicu
moi u savezu s ostalim reliquijarom (Jankovi 1886: 56, br.
XXIX). : kao da je grki i da
spominje sv. Teodora i nekog sveca,
,
, ,
33
(Kniewald 1935: 100).

16
17
18

. (29. ).
. (27. 30. ).
. , . (16. ).

027

028

R = 9 cm 1,2 cm,
(. 15).
, ,
(Drpi 2011).
R = 3
cm, ,
.
,
.
, , ,
,
.
.
,
.
: m(iti)ry,
mstj lspj,
milostiva (cf. Buckton 1994: 198, No.
213; Vassilaki 2000: 187-192, fig. 128).


,
. : j(sou)s(y)
x(risto)s nika, :
m(esto) l(obno) r(ai) b(isty), ( 1964: 340).

:
&
bl(a)govolnemy
(ty)ca
.
posphwenem$ s(i)na . syvrywenemy d(ou)xa
s(ve)t(a)go . qini gospog barbara despotica s
s(ve)t panaginic . na slav b(og) I prhqistoi
. i sim($) s(ve)tim($) moem($) . da pomil
i zastpe t(y) vsakogo zla v$ sem(y) vhce . i vy
bd()im(y) izny vhqn dart(y) aminy.
,
, : I Panaginica
imade na okomitom rubu okolo naokolo natpis, ali ga nisam
mogao proitati, jer uz taj rub tee granica, koja opkoljuje
Panaginicu. Ovaj natpis vjerojatno oznauje moi, koje su
umetnute s prednje strane Panaginice meu drago kamenje oko
medaljona s Gospom. (Kniewald 1935: 100) , ,
,
:19
& oupovani mo b(og)y . nadeda mi
x(risto)s . pokrovy mi d(ou)xy s(ve)tyj . troice
s(ve)taa slava tebe .
19

. , , . (4.
).

(. 16). , ,
. 17 (3,2 x 1,7 x 0,7 cm),
.

(. 15)
Diuersae incertae Reliquiae., .
(Glavinich 1648: 48, No. 36).

, ,
.
,
(2,3 x 1,8 x 0,7 cm)
. (. 18).20 :
& svete mqenice klare
(6 x 5 x 3
cm), .
(. 19).21 :
& mo(y) s(ve)t(a)go ignat . b(o)gonosca
, (4,8 x
2,5 x 1,5 cm) .
(. 20).22
. (Glavinich 1648: 48, No. 12)
(Stephani
Mar.), (Jankovi 1886: 56, br. VII, XIII)
:
. , (Kniewald 1935: 100)
jedan
je urezan na obodu kutijice,
,

,
:
& moy s(ve)t(a)go stefana novago
(.
21)
, (Glavinich
1648: 48, No. 11)
(de rubo Moysis.).
, ,
.
1409/10.
,
, kupina neopalima
( 2000: 553-54, . 7). , XVI ,
, kameny kopinyj neopalimy=
( 2000: 26, 30).
20
21
22

. , (11. ).
. (20. ).
. (28. )

e
(. 22),
. (Michaelis Mar.),
(Glavinich 1648: 48, No. 10).

,23

( 2005: 202, 206). ,
(Jankovi 1886: 56, br. XXIV)
(Kniewald 1935: 101)
.
1974.
(. 566), ,
.
12, (.
22). , .

, (Lenti 1988:
49).
. 5, 4 1 cm.
:
& s(ve)tago mixaila m(o)(y)

(25,5 x 5,5 x 3,5 cm)
(. 23), .
.24 :
& moy \ s(ve)t(a)go \ tirsa \ s moy
\ kova \ gospog despot(i)ca \ barbara \ na
slav b(o) i pr(h)q(i)ste \ vemy\ moemy
da me pomil i zastpe (ty) vsakogo zla
d()wevnago i thl(e)snago aminy
(4 x 1,5 x 1
cm) . (. 24),
,25 (.
2005: 202, 206). :
s(ve)ti andre . moy
(4,3 x 1,7
x 0,7 cm) . (. 25).26
:
& s(ve)ti . m()q(e)niky dimitrije
(3 x 2,5
x 0,7 cm) . (. 26).27
:
& svete polonie (sic !) moy

(3,8 x 1,4 x 0,8 cm) . (.
27), (. 2006: 147).28
(Glavinich 1648: 48, No. 7),
(Theodosii Mar.). ,
(: 1903: 477). ,
, :
& svete teodore moi
(2,5 x 1,1 x 0,7 cm)
. (. 28),29
,
,
. :
& svetoga mqenika eeoreeyeea (sic !)

,
. ,
(9,3 2 1 cm) ,
(Glavinich 1648: 48, No. 14) (Kniewald 1935:
101), . (. 29).30
o ,
,

, ,
.
,
. , ,

(Gigante 1924: 8-9; Kniewald 1935).
:
& m(o)(y) s(ve)t(a)go
(Kniewald
1935: 101), ,
, :
<teodra stratilata>

(2,5 x 1,5 x 1,2 cm) . ,
(. 30).31 :
&
mo(y)
s(ve)te
anni
m(a)t(eri)
b(ogorodi)ce
,
(Glavinich 1648: 48, No. 23)
(Athanasii episc.),

23

(11. , 23. , 12.

, 6. 20 , 22. , 18. ).
. (14. ).
25
. (19. ).
26
. (26. ).
27
. , (9. ).
24

28

.
. (3. ).
. (8. ).
31
. (25. , 9. ).

29

30

029

5. .
5. Relics of St. Anne

030

(. 5),
.

(3,2 x 2,3 cm), .
(. 31).32 ,
. 29, .
, (Hetherington 2008: 2527, fig. 23). (Glavinich 1648: 48, No. 21),
,
,
:
& moy s(ve)t(a)go grigorja bogoslova
(6,3 x
5,3 x 0,6 cm)
. (. 32).33

(. 6):
& moy svetago tedora tirona
,
,

(6,3 x
5,8 x 0,8 cm).

. ,
. (Lerou 2004: 165, 167, fig. 4).
.
( 2000: 174-175, . 46; Durand 2010: 206207, No. 91, 92).
,
. .
32

. (25. 30. ).
33
. (17. ).

6. .
6. Relics of St. Theodore Tiro

(Glavinich 1648: 48, No. 18),

, . 31,
,
:
(Incerti). -
. 33, 35 36.
(Jankovi 1886: 56, br. XXVII)
. 34, .

. (. 33),34 .

. :
mo(y) s(ve)t(a)go ign(a)sia

. (. 34).35 :
mo(y) s(ve)te magdaline

. (. 35), .36
:
mo(y) s(ve)te nastase (sic !)

. (. 36),
34

. (20. ); . (23.
).
. (22. ).
36
. (22. ).
35

. .
. 37 :
mo(y) s(ve)t(a)go pro(ko)pja:
,
(3 x 3,2 x 1,8 cm)
. (. 37).38
(. 7):
& mo(y) s(ve)togo danila pr(o)r(o)ka

. (Glavinich 1648:
48, No. 17) (Damiani Mar.), (Kniewald 1935: 101).
,
,
(. 2005: 202-203).
(3 x 3 x 1,5
cm) . (.
38).39 ,
,
,
, :
mo(y) s(ve)t(a)go m()q(e)nika prokopj

(2,5 x 2 x 1,5 cm)
. (. 39).40 :
& moy s(ve)t(a)go jakova persenina

. (7,5 x 6,5 x 4
cm)
,
. (. 40).41
:
moy . s(ve)toga . e(o)dra tirona

,
, .

.
(. 15). ,
.
, .
. 30 (. 5).
(. 1-5, 8, 9, 11, 13, 18, 19, 22-29, 3338, 40) (. 15).
, ,
,
37

. (3. ); . (27. ).
. (17. ).
. (3. ).
40
. (27. ).
41
. (17. ).
38

39

7. .
7. Relics of Prophet Daniel

. ,
,
. 8 28,

(. 9), (. 26), (.
33), (. 34), (. 35),
. 9.
, . 37 (. 7).
,
. 6, 7, 31 39. , ,
, .
(. 3).
.
20 32. ,
(. 6).
. 14 .
,
(. 4).

031

032

, 1485. , ,
, .
( 1970)

,

, ,
.
, ,

,

. (cf. Drpi 2011)
,
, e
.

( 2000),
, ,
( 1967: 38-49; Sterpelone 1994).


,
(ercer 2011: 44-45).
,
,
. .
, . ,

.
, .
, , -
, I (Radojkovi 1977: 10,
sl. I),
(. 18) ,
XVI ( 1981: 123-126, . 66).

, ,

XV ,
( 1977: 119, . 95; Biki
2010: 51, 53, sl. 23, 27/3, 4, 5).

,
, (LoverdouTsigaridas 1997) .
( 2010: 80-81).

, ,
, ,
15681569. , (
2009: 176-177, . 121).

,

. 29
1435.
(Durand 2010: 290291, No. 122).
V ,
( 1984: 196, 232,
. 21) 1573. ,
( 1981: 46-51, . 1112; 2009: 184-185, . 123). ,
,

. , , 1523.
, ,
( 1966; 104105, . 40).

.


(ercer 2011: 43-45),
. ,

,
a ( 1940: 11).


,
, (. 1993/4).

( . ),
,

, ,
VI ( 1987: 174-181).

( 1940: 11; ercer 2011: 43-45),
.

, Lignum vitae,
(Frolow 1965: 73, fig. 34).

(Donadieu-Rigaut 2005: 308-335),

,

.

, XV
( 2000: 58-60,
. 11; Durand 2010: 502-503, No. 218),

,
.

Bagnoli, M. (eds. et al.) 2011

Treasures of Heaven : Saints, Relics, and Devotion in Medieval
Europe, Baltimore: The Walters Art Museum.
Cvetkovi, B. 2011
Istraivanja na relikvijaru Barbare Frankopan, Vjesnik svetita
Marijin Trsat (Gospa Trsatska Rijeka) 2: 16-17.
Drpi, I. 2011
Notes on Byzantine Panagiaria, () 35: 51-61.
Gyuzelev V. (eds. et al.) 2011
Proceedings of the 22nd International Congress of Byzantine
Studies. Volume II, Sofia: Bulgarian Historical Heritage
Foundation.
ercer, M. 2011
ene Frankopanke, Modruki zbornik (Modru) 4-5: 21-81.
Biki, V. 2010
Vizantijski nakit u Srbiji : Modeli i naslee, Beograd:
Arheoloki institut, (Posebna izdanja 48).
Durand, J. (eds. et al.) 2010
Sainte Russie : L'art russe des origines Pierre le Grand, Paris:
Muse du Louvre.
, . 2010
, :
.

, . 2009
:

, - . Idea and Image :
Studies in Byzantine and Russian Medieval Art. Materials of
International Symposium, November 1-2, 2005, eds. A.
Batalov and E. Smirnova, Moscow : 437-441.
, . 2009
, : ( 16).
, . 2009
:
,
() 2: 3-9.
Hetherington, P. 2008
A purchase of Byzantine relics and reliquaries in fourteenthcentury Venice, Enamels, Crowns, Relics and Icons: Studies on
Luxury Arts in Byzantium, Farnham, Surrey Burlington,
VT: Ashgate Variorum: 1-38.
, . 2008

, () 32: 69-81.
, . . (.) 2006
:
, : -.
, . 2006
:
, :
( 92).
, . 2005
-, ,
.
- 14-16 2003,
, . . . : : 193-228.
Donadieu-Rigaut, D. 2005
Penser en images les ordres religieux (XIIe XVe sicles), Paris:
Editions Arguments.
Lerou, S. 2004
L'usage des reliques du Christ par les empereurs aux VIe et XIIe
sicles : le Saint Bois et les Saintes Pierres, Byzance et les
reliques du Christ, eds. J. Durand et B. Flusin, Paris: Centre de
recherche d'histoire et civilisation de Byzance (Monographies
17) : 159-182.
, . . (.) 2003
, : .

033

, . 2000

, () 6: 19-45.
, . . (.) 2000
, :
.
Van Os, H. (ed.) 2000
De Weg naar de Hemel : Reliekverering in de Middeleeuwen,
Utrecht: Museum Catharijneconvent.
, . 2000
1180-1453, :
.
Vassilaki, M. (ed.) 2000
Mother of God : Representations of the Virgin in Byzantine
Art, Athens: Benaki Museum.
Todi, B. 1999
,
. , :
- ,
( 7) : 243-252.
Angenendt, A. 1997
Heilige und Reliquien : Die Geschichte ihres Kultes vom
frhen Christentum bis zur Gegenwart, Mnchen: Beck.
Loverdou-Tsigaridas, K. 1997
Objets prcieux de l'glise de la Vierge Gavaliotissa au
monastre de Lavra (Mont Athos), () 26: 8186.
Buckton, D. (ed.) 1994
Byzantium : Treasures of Byzantine Art and Culture from
British Collections, London: Trustees of the British Museum.
Sterpelone, L. 1994
I santi e la medicina - medici, taumaturghi, protettori, Cinisello
Balsamo: Edizioni San Paolo.

034

, . 1993/4
,
(
) 29-30: 76-88.
Hoko, E. 1991
Na vrhu trsatskih stuba, Rijeka: Adami.
Mateji, R., 1991
Crkva Gospe Trsatske i Franjevaki samostan, Rijeka:
Izdavaki centar Rijeka.
Glavinich, F. 1989
Historia Tersattana, Rijeka: Sveuilite Vladimir Bakari.

Lenti, I. 1988
Veliki relikvijar Barbare Frankopan, Prolost i batina
Vinodola (The Heritage of Vinodol), Zagreb: Povijesni muzej
Hrvatske: 91, 140-141, br. 214.
, . 1987
XV ,
() 26: 173212.
Legner, A. (ed.) 1985
Ornamenta Ecclesiae : Kunst und Knstler der Romanik,
Kln: Schntgen Museum.
, . 1984
, :

.
, . 1981
, : , (
I).
Geary, P. J. 1978
Furta Sacra : Thefts of Relics in the Central Middle Ages,
Princeton: Princeton University Press.
, . 1977
,
. I . , . . ,
: : 79-120.
Radojkovi, B. 1977
Sitna plastika u staroj srpskoj umetnosti, Beograd: Muzej
primenjene umetnosti.
, . 1970
,
( ) 6: 281-290.
, . 1967
IX XIX , :
, ( ,
CDXV).
, . 1966
XVI XVII , :
, ( 3).
Frolow, A. 1965
Les reliquaires de la vraie croix, Paris: Institut franais d'tudes
byzantines, (Archives de l'Orient chrtien 8).
, . 1965
: , :
, ( . 1).

, . . 1964
,
() IV: 339-343.

Szabo, G. 1915
Dragocjenosti samostana franjevakoga na Trsatu, Katoliki
list (Zagreb) 25: 255-258.

, . 1954
, () : 231-256.

, . (.) 1903
II, :
, ( .
II).

, . 1940
,
() 1-2: 10-11.

Klai, V. 1901
Krki knezovi Frankapani. Knjiga Prva. Od najstarijih
vremena do gubitka otoka Krka (od god. 1118. do god. 1480.),
Zagreb: Matica Hrvatske.

Kniewald, D. 1935
Trsatski relikviarij despotice Barbare Frankopanke, Croatia
sacra (Zagreb) 9-10: 99-108.
Branikovi, A. 1926
Naa Gospa Trsatska, Zagreb: Hrvatsko Knjievno drutvo Sv.
Jeronima u Zagrebu, (Knjiga dvjesta dvadeset i druga).
Gigante, R. 1924
Anche una Sagrestia deli belli Arredi, Fiume. Rivista
semestrale della Societ di studi Fiumani in Fiume (Fiume) I:
1-13.

Kukuljevi Sakcinski, I. 1891

Nadpisi sredovjeni i novovjeki na crkvah: javnih i privatnih
sgradah i.t.d. u Hrvatskoj i Slavoniji, Zagreb: Knjiara
Jugoslavenske Akademije.
Jankovi, J. 1886
Nekoliko crtica o sadanjosti i prolosti Trsata, Izvjee kralj.
Velike gimnazije na Rieci koncem kolske godine 1885-86
(Rieka) : 78-84.
Glavinich, F. 1648
Historia Tersattana, Udine: Apresso Nicolo Schiratti.

035

Summary
BRANISLAV CVETKOVI*

RELIQUARY OF DESPOTISSA BARBARA FRANKOPAN BRANKOVIC

Contribution to the Study

036

Lavish reliquary, formerly owned by Despotissa Barbara

Frankopan Brankovic, presently in the Treasury of Franciscan
Monastery in Trsat near Rijeka, has rarely been of any interest
to the researchers. This unique cult object is formed in the
shape of symbolic branch made of silver gilded tubes with
naturalistically crafted flowers, leaves and thorns. It consists
of cast larger and smaller fragments of relics on frames,
marked with inscriptions and decorated with filigree, and
three encolpia on the middle axes also with relics, decorated
with pearls, precious and semi-precious stones.
As the inscriptions had not been read or had been read
incorrectly in older literature, not shading any light on the
origin of the idea and the period of creation, a new research
lasting several days was conducted during 2011. Following a
close analysis of the reliquary, thirty eight inscriptions in Old
Serbian and Greek languages were found, and the inscriptions
from the lost frames, recorded in the sources and photo
documentation, were added as thirty ninth and fortieth. The
paper gives an analysis of the reliquary, reconstruction of the
original organization of the relics (based on the old

*Branislav Cvetkovi, art historian, Regional Museum, Jagodina

photographs and descriptions from 1648), copy of all

inscriptions and formats of thirty two preserved frames.
New readings provide correction to all previous editions and
this is the first time that all inscriptions on the existing frames
have been read, including not so visible inscription on the rim
of the panaghiarion.
Paleographic analysis has shown that five different engravers
have been engraving the inscriptions. The first craftsman has
done the engraving on the back of the panaghiarion (No. 15)
and the holy relics frame (No. 30). The second has done the
most of engraving (No. 1-5, 8, 9, 11, 13, 18, 19, 22-29, 33-38,
40) and engraving on the rim of the panaghiarion (No. 15).
The third has done the engraving on the frames No. 6, 7, 31
and 39, the fourth on the frames No. 20 and 32, while the fifth
has done engraving in Greek on the frame No. 14.
Although it is a view in historiography that the reliquary got
its present shape after the holy relics had been taken to the
West, iconographic analogies with the motif of elliptical vines
on the reliquaries and icons with the themes of celebrating the
Holy Mother, being present in Eastern cult practice and art
since the middle of the 15th century, point to this direction for
the further research of the reliquary of Despotissa Barbara.

UDK 739.3:681.11.21(497.5)1658 ; 739.3:069.51(497.5)1658

ID 195688972

VESNA LOVRI PLANTI*

TABERNAKL SAT A. FROMANTEELA

Prilog poznavanju povijesti ranih satova s njihalom

Apstrakt: U zagrebakom Muzeju za umjetnost i obrt

uva se tabernakl sat iji su mehanizam i ukrasna ploa s
brojanikom raeni oko 1680. godine, a u XVIII stoljeu
umetnuti u novo kuite. Izvorni sat je rad poznate urarske
radionice Fromanteel koja je ve 1658. poela izraivati satove
sa njihalom u Engleskoj, samo godinu nakon prvih hakih
radova S. Costera. Zagrebaki primjerak je jedini njihov sat
koji u signaturi ima naveden Haag kao mjesto izrade, to je
osobito zanimljivo budui da nema arhivskih podataka o
tome da su Fromanteeli imali radionicu u navedenom gradu.
Ta signatura koja se nalazi na stranjoj platini naknadno je
djelomino prekrivena graviranim viticama, a na kasnije
dodanoj luneti nad brojanikom upisana je druga s razliitim
podacima o autoru i mjestu izrade. Sat je izuzetan i zbog
postojanja indikatora sekundi to je neobino za rane
tabernakl satove i zbog rijetke tik-tak zaprenice. Sve to ini ga
nezaobilaznim primjerkom u prouavanju opusa porodice
Fromanteel i ranih satova s njihalom uope.
Kljune rijei: Fromanteel, Haag, prerada, sat s njihalom, tabernakl sat
U stalnom postavu Muzeja za umjetnost i obrt u
Zagrebu nalazi se tabernakl sat1, proporcijama, oblikovanjem
i ukrasima na kuitu na prvi pogled tipian primjerak
posljednje etvrtine XVIII stoljea. Signatura Albertus Fromanteel London ugravirana u luneti naizgled korespondira s
onom na stranjoj platini A=Fromanteel. Meutim, ve
sljedei, pomniji pogled na plou brojanika otkriva da je
luneta dodana naknadno, ime vjerodostojnost signature postaje upitna. Kada se uklone kasnije intervencije drveno kuite i polukruno nadsvoenje preostaje izuzetno ouvana
ploa brojanika karakteristina za rane tabernakle, raene
prije 1700. godine, te na nju privren originalni mehanizam
izmeu dviju pravokutnih platina. Koliko je izniman znaaj
tog prvotnog sata u kontekstu povijesti urarstva i urarske
struke pokazat e kasnija istraivanja.
*Vesna Lovri Planti, povjesniarka umjetnosti, Muzej za umjetnost i obrt, Zagreb
Inv. br. MUO 13365. Sat (stara barok ura Albertus Fromanteel London) je za muzejsku
zbirku kupljen 1967. u Posredniku, Juriieva 5, Zagreb za cijenu od 3.000 ND (akt:
72/33-67).

Tabernakl satovi
Pod pojmom tabernakl sat podrazumijevamo kuni
sat ije kuite ima oblik ormaria zastakljenih bonih stranica, najee s rukom za prenoenje na vrhu. Mehanizmu
pogon daje opruga, a kao regulator slui kratko stranje njihalo s vretenastom, kasnije kukastom zaprenicom2 (Lovri
Planti 2008: 42). Osim podnih satova tabernakl sat je najraireniji tip kunog sata u razdoblju baroka. U svojoj knjizi In
Quest of Clocks, Kenneth Ullyett (1970) istie kako upravo
tabernakl sat simbolizira svojevrsnu prekretnicu u engleskoj
povijesti: svojom prenosivou ukazuje da su proli dani
dokolice tako da niti dravnici, niti dendiji, niti politiari, niti
kicoi ne mogu sebi priutiti da zanemaruju vrijeme. Zato su
sat morali nositi sa sobom. Latinska izreka Tempus Rerum
Impe-rator (Vrijeme je gospodar svih stvari) nije bila samo
moto londonskog urarskog ceha: postala je glavnim sloganom
sve breg tempa ivota.
Razlono je pretpostaviti da se sat prvenstveno drao
u spavaoj sobi, budui da je osim mehanizma za hod u pravilu imao i onaj za izbijanje tonog vremena. Repeticijski
mehanizam je omoguio aktiviranje izbijanja u bilo kojem
trenutku, tako da se tono vrijeme moglo doznati praktiki
uvijek, to je osobito vano bilo nou. Ne smije se, naime,
zaboraviti kako su mrani bili ondanji prostori. Ponekad je
sat posjedovao i mehanizam budilice. Ako je bio jedini mjera
vremena u kui, danju se vjerojatno prenosio u salon ili radnu
sobu.
Tabernakl satovi poeli su se izraivati oko 1660,
nekako istovremeno s podnim satovima. Pojava novih tipova
sata posljedica je primjene njihala za reguliranje njihova hoda;
2

Izvorno su tabernakl satovi imali vretenastu zaprenicu koja je robusnija od kukaste,

nije toliko precizna, ali ni osjetljiva na promjenu poloaja kao kukasta. Upravo zbog
injenice da su manje osjetljive na pomicanje vretenaste zaprenice primjenjuju se u
mehanizmima tabernakl satova sve do kraja XVIII stoljea, pa i kasnije. Naime, za
razliku od podnog sata, taj je tip sata bio predvien za prenoenje o emu svjedoi i
prihvat to ga obavezno ima na vrhu kuita. Neki najraniji primjerci na vrhu imaju
bronanu figuru, meutim, ve od kraja XVII stoljea zamjenjuje je ruka od lijevane
mjedi. Osim zbog pomicanja, do netonosti bi moglo doi i zbog raznih, esto
neravnih, podloga na koje se tabernakl satovi stavljaju. Podni se satovi, s druge strane,
kad su se jednom smjestili na odreenu poziciju i podesili nisu vie micali. U XIX
stoljeu mnoge su vretenaste zaprenice ipak zamijenjene kukastima.

037

Vesna Lovri Planti

navedena promjena govori i injenica da do sredine XVII

stoljea brojanici uope nisu imali naznaene minute niti su
imali minutnu kazaljku.
Tabernakl sat A. Fromanteela

1. Tabernakl sat, inv. br. MUO 13365

1. Bracket clock, Museum of Arts and Crafts, Zagreb, Inv.
No. 13365

038

1656. godine Nizozemac Christian Huygens 3 (The

International Dictionary of Clocks 1996: 291) izradio je nacrt
za prvi satni mehanizam s njihalom kao oscilatorom.
Tabernakl sat je u sutini, osim podnog sata, prvi tip
modernog kunog sata. Naime, sve do izuma njihala,
odnosno njegove primjene kao regulatora sata, satovi su bili
neprecizni mjerai vremena, te su se podeavali prema
sunanom satu. Usporedbe radi, satovi s oscilatorom u obliku
kotaa ili dvokrake vage (tzv. foliotom) imali su dnevno
odstupanje izmeu 15 i 60 minuta, a satovi s njihalom svega 10
sekundi. Dakle, tek je njihalo omoguilo znatno poveanje
tonosti sata. U prilog tome koliko je revolucionarna bila
3

Christian Huygens (16291695), eminentni matematiar, astronom i fiziar iz Haaga.

Uz ostale izume, pripisuju mu se dva najznaajnija poboljanja u povijesti urarstva.
Rije je o primjeni njihala kao regulatora u kunim satovima, te nemirnice sa spiralom
za reguliranje osobnih satova. Oba su ureaja znatno poboljala preciznost mjerenja
vremena. Haki urar Salomon Coster je prema Huygensovim nacrtima izradio prve
satove s njihalom, te je u lipnju 1657. dobio licencu za njihovu proizvodnju. Prvi model
nemirnice koju kontrolira spirala izradio je Isaac Thuret i pokazao u Parizu u sijenju
1675.

Sat iz zbirke Muzeja za umjetnost i obrt ima crno

politirano drveno kuite, zastakljenih stranica, koje stoji na
etiri pogaaste noice. Na vrhu je konveksno-konkavno
profilirani krovi s rukom za prenoenje sata: dva fiksna
nosaa ruke imaju oblik psee glave, dok pomini dio ini
prikaz lovorovog vijenca s vrpcom koja zavrava vezankom. U
uglovima su ukrasne baklje. Svi ti elementi izraeni su od
pozlaene lijevane mjedi. Oblik i proporcije ormaria, kao i
repertoar funkcionalno-dekorativnih elemenata, ukazuju na
njegovu dataciju u posljednju etvrt XVIII stoljea. (Sl. 1)
Meutim, zanemarimo standardno kuite sata,
kakvih je na teritoriju Hrvatske sauvan znatan broj, i
usredotoimo se na plou brojanika. Pri pomnijem pregledu
uoavamo da je luneta nad kvadratnom ploom naknadna.
Najvjerojatnije je razlog tome prilagoavanje sata novom
kuitu, raenom u skladu s modom svoga vremena.
Zanimljivo je da gravirana dekoracija s motivom pokrenutih
akantusovih listova na polukrunom nadsvoenju prelazi na
izvornu plou brojanika, kako bi se vizualno s njome
povezala i kako bi se prorez koji se nalazi na spoju ta dva
elementa uinio manje uoljivim. (Sl. 2)
Jo je, pokazat e se, zanimljivija signatura Albertus
Fromanteel London ugravirana na krunoj ploici apliciranoj
u sredini lunete. (Sl. 3)
Na izvornoj ploi brojanika, izraenoj od pozlaene
mjedi, apliciran je vijenac od posrebrene mjedi s velikim
rimskim brojevima, izvedenim urezivanjem i ispunjenim
crnim voskom. Za razliku od sati, minute su naznaene
crticama, tek svaka peta arapskim brojem, dok polovine sata
kao oznaku imaju stilizirani cvijet ljiljana. Unutar vijenca dva
su otvora za navijanje hoda sata i izbijanja punih sati, u
gornjem dijelu mali sekundni brojanik, takoer od
posrebrene mjedi, a u dnu otvor kroz koji se oitava datum.
Kazaljke su eline, satna razvedena obrisa, simetrino
koncipirana, dok je minutna znatno ua i jednostavnija. U
uglovima su aplicirane krilate glavice anela. Taj je motiv vrlo
est u zadnjoj etvrti XVIII stoljea i dobar je pokazatelj za
dataciju sata. to je sat izraen ranije, to je reljef vii, a
cizeliranje doraenije. Nakon toga, oko 1705, motiv e se
modificirati u par anela, odnosno putta koji dre krunu s
maltekim kriem ili ukrtena ezla s krunom.4 (Sl. 4)
Mehanizam je smjeten izmeu dviju pravokutnih
platina, od kojih je stranja bogato ornamentirana cvjetnim i
4

Aplike s tim motivom koritene su na dva sata iz zbirke Muzeja za umjetnost i obrt:
podni sat, mehanizam: London, oko 1710, urar: Richard Colley, MUO 15560 i podni
sat, Be, oko 1730, urar: Johann Georg Geist, MUO 17264.

TABERNAKL SAT A. FROMANTEELA

lisnatim motivima koji se vitiasto uvijaju. Dok su prvi

tabernakl satovi u pravilu imali neukraenu platinu, tek
ponekad s ugraviranim imenom urara i mjestom izrade, u
razdoblju od oko 1675. do 1695. bile su iznimno popularne
upravo ovakve, izrazito dekorativne ploe. Meu raznim
vrstama cvijea koji ine ukras, na ovom primjerku nalazimo i
tulipane.5 Motiv tulipana je vrlo popularan u periodu izmeu
1675. i 1700. godine, pa taj oblik imaju ak i stupii meu
platinama na mehanizmima satova, a susreemo ga i na
tekstilu, fajansi, srebru i drugdje. Unutar lisnate kartue
ugravirana je signatura urara A=Fromanteel, ispod koje je
gusti vitiasti ornament koji prikriva neka slova. Ispod imena
majstora u pravilu je ispisan naziv grada u kojemu je sat
izraen. Dakle, jedan od najintrigantnijih zadataka pri
analiziranju ovog sata bio je pokuati odgonetnuti o kojem je
gradu rije i otkriti zato je taj podatak skriven. (Sl. 5)
Informacija na koju se pri tome moemo osloniti i od
koje moemo zapoeti jest potpis autora A=Fromanteel.
Poznavateljima povijesti urarstva ve je to dovoljno da znaju
kako se radi o djelu urara iz jedne od najpoznatijih europskih
urarskih dinastija, iji lanovi djeluju od dvadesetih godina
XVII stoljea, uglavnom u Engleskoj, kasnije i u
Nizozemskoj.6

2. Ukrasna ploa brojanika s naknadnom lunetom

2. Dial with later added arch

Porodica Fromanteel

3. Naknadna signatura s netonim imenom autora

3. Later added signature with a wrong name of the author

Tulipan je cvijet uvezen s Bliskog istoka sredinom XVII stoljea. Bio je osobito cijenjen
u srednjoj Europi i Nizozemskoj, gdje je vrt pun tulipana postao statusnim simbolom.
Do 1635. godine potranja je vrtoglavo podigla cijene; zabiljeeno je da je jedan trgovac
iz Haarlema dao pola svog imetka za jednu lukovicu tulipana. Uskoro su se u nekim
nizozemskim gradovima otvorile burze za trgovanje lukovicama toga cvijeta; meetari
(tulipanski notari) su izvikivali cijene ve prema imenu, boji i teini lukovice. U
Londonu i Parizu tulipanska groznica bila je neto manja. Nakon nekoliko godina
trite se slomilo i ostavilo velik broj neplaenih potraivanja, tubi i bankrota. (Barzun
1993: 225)
U Londonu je 1969. godine odrana izloba The First Twelve Years of the English
Pendulum Clock - The Fromanteel Family and Their Contemporaries 1658-1670 (The
Connoisseur, vol. 170, br. 684, veljaa 1969, s.p.)

U strunoj literaturi se, openito uzevi, navodi da su

Fromanteeli nizozemskog porijekla, meutim, neki autori,
meu kojima i Brian Loomes (1975: 178) zastupaju teoriju da
je vjerojatno rije o flamanskoj porodici koja je u Englesku
dola nakon vjerskih progona.7 Velik broj majstora obrtnika
koji su bili protestanti (hugenoti, kalvinisti) izbjegao je iz
katolikih zemalja, osobito nakon opoziva Nantskog edikta, u
Englesku, Nizozemsku i Prusiju, gdje su zbog svog znanja i
marljivosti bili vie nego dobrodoli.8 U Londonu su izbjegli
protestanti ve sredinom XVI stoljea utemeljili nizozemsku
reformiranu crkvu.
Ahasuerus, osniva urarske dinastije Fromanteel,
roen je 1607. u Norwichu, a u London se doselio 1629, ve
kao kolovani urar. Tri godine kasnije primljen je u
7

Zanimljivo je da je i Peter Paul Rubens (15771640), jedan od najveih baroknih slikara,

takoer Flamanac roen u izgnanstvu (u Njemakoj) zbog vjerskih progona kalvinista.
Barzun 1993: 398.

039

Vesna Lovri Planti

4. Glava anela s krilima, ugaona aplika

4. A head of a winged angel, corner application

Ahasuerus II (16401703), mlai sin Ahasuerusa I,

nastanio se s bratom Johnom oko 1680. u Amsterdamu gdje se
naziva engleskim urarom na nasipu.13 Najmlai od brae,
Abraham (16461731), radio je u Newcastleu. Sauvano je
nekoliko njegovih satova signiranih A Fromanteel Newcastle.
Izgleda da su Fromanteeli izvozili svoje satove u Amsterdam
preko Newcastlea, kako bi zaobili pravila londonskog
urarskog ceha (Clockmakers' Company).14 U razdoblju izmeu
1667/8. i 1676. Ahasuerus stariji je boravio u Holandiji s
namjerom da tamo otvori podrunicu. Ne zna se je li s njim
bio John ili koji drugi lan obitelji. Meutim, 1681. u
Amsterdamu svoje radnje imaju braa John i Ahasuerus
mlai.
Godine 1680. otac, tada u dobi od 73 godine, poziva
Abrahama iz Newcastlea u London kako bi vodio posao, za to
je vjerojatno on sam bio prestar. Umire 1693, nadivjevi sina
Johna za oko tri godine.15

novoosnovani ceh urara (Clockmakers' Company)9, ali ne kao

slobodan obrtnik, nego kao "brat", to je vjerojatno znailo da
ne smije prodavati satove pod svojim imenom. U tom je
svojstvu bio sve do 1656. kad je od grada Londona, na
inzistiranje samog Olivera Cromwella, dobio status
slobodnog graanina.10
Njegov najstariji sin John (1639 1690), u dobi od
nepunih osamnaest godina, odlazi 1657. u Den Haag, gdje 3.
rujna sa Salomonom Costerom potpisuje ugovor kojim se
obvezuje da od tada pa do 1. svibnja 1658. za njega izrauje
satove, a Coster e ga upoznati s primjenom njihala kao nove
vrste regulatora u satovima, za to je jedino on imao licencu.11
Po povratku u London, Johnov otac ve iste godine u
Mercurius Politicus reklamira izradu satova s njihalom.12 To
znai da su Ahasuerus Fromanteel i njegov sin, prema dosad
raspoloivim arhivskim podacima, prvi urari koji su izraivali
takve satove u Engleskoj.

040

5. Signatura na stranjoj platini s prekrivenim mjestom

izrade
5. Signature on the back plate with covered name of the
place where the clock was made

Udruenje urara (Clockmakers' Company) osnovano je u Londonu 1631. godine

poveljom kralja Charlesa I. To je najstarija jo uvijek aktivna udruga urara na svijetu.
(The Worshipful Company of Clockmakers, www.clockmakers.org> [pristupljeno 1. 9.
2011])
10
A. Fromanteel je tada bio ve 24 godine lan ceha urara, meutim, Clockmakers'
Company su kontrolirali uglavnom rojalisti, mnogi lanovi bili su francuskog
podrijetla, katolici, tako da Fromanteel kao protestant nije bio dobrodoao. (Loomes,
B. Collecting Antique Clocks Thomas Loomes and Mermaid,
ww.brianloomes.com/collecting/thomasloomes> [pristupljeno 10. 10. 2011])
11
Vidi biljeku br. 3.
12
U posljednje vrijeme naen je nain za izradu satova koji idu tono i dre isto vrijeme
bolje od ijednog sata koji se danas radi bez ovog regulatora (koji su pregledali i odobrili
pred njegovim velianstvom Lordom protektorom (Oliverom Cromwellom, op. a.)
takvi doktori ije je znanje i obrazovanje bez premca i ne mijenja se pri promjeni
vremena, kao drugi, i moe se izraditi tako da ide tjedan, ili mjesec, ili godinu dana s
jednim navijanjem, kao oni koji se navijaju svaki dan i pokazuju jednako tono vrijeme;
i izuzetan je za sve kune satove bilo da imaju pogon na oprugu ili na utege: i takoer za
toranjske satove koji su najvie podloni promjeni vremena. Izraeni su od Ahasuerusa
Fromaanteela, koji je izradio prve takve satove u Engleskoj. (Ullyett 1970: 123124)

13

The International Dictionary of Clocks 1996: 256).

Jedan od glavnih zadataka engleske Clockmakers' Company bila je zatita interesa
kvalitetnih obrtnika od infiltracije onih inferiornih. U drugom lanku Zakona iz 1698.
navodi se: "izvoze se velike koliine kutija, kuita i ploa brojanika kunih i depnih
satova, bez mehanizama i u inozemstvu se dopunjuju loim mehanizmima i na njima
su ugravirana imena nekih londonskih urara, te se vani prodaju kao engleski radovi; a
postoji praksa i u Engleskoj da razliite osobe, kao i neki koji se bave urarstvom,
stavljaju lana imena, kao i imena najpoznatijih londonskih urara na svoje loe satove,
nautrb kupaca, i na gubitak reputacije navedenog umijea kod kue i u inozemstvu."
Kako bi osigurali da se niti kuita niti brojanici ne izvoze bez ugraviranog imena
urara i mjesta njegovog djelovanja, odreena je kazna od dvadeset funti. (Ullyett 1970:
8182)
15
Kreft 2011.
14

TABERNAKL SAT A. FROMANTEELA

6. U sredini platina sa signaturom, lijevo postojee stanje, desno signatura nakon uklanjanja naknadnih vitica
6. Centre: plate with signature, Left: present condition, Right: signature after the removal of the additional tendrils

Deifriranje prekrivene adrese

Jedan od najveih izazova Fromanteelovog tabernakl
sata bio je pokuati otkriti slova koja su prekrivena viticama.
Budui da je autor sata urar iz navedene porodice ije ime
poinje sa slovom A, dakle Ahasuerus stariji i mlai, te
Abraham, mogui gradovi sveli su se na London, Amsterdam i
Newcastle, gdje su oni za svoga ivota djelovali. Meutim,
koliko god se trudila da skriveni natpis poveem s nekim od
tih toponima nisam uspijevala. inilo mi se da bi se moglo
raditi o Haagu, naime posljednja dva slova izgledala su kao
...ge, no prema dosad dostupnoj arhivskoj grai Fromanteelovi nisu imali radnju u tom gradu. U meuvremenu sam
doznala adresu elektronske pote Hansa Krefta za kojeg sam,
putem interneta, saznala da se bavi radovima upravo te
urarske porodice. Stoga sam mu se obratila s upitom da mi
pomogne u rjeavanju te zagonetke, sugerirajui Haag kao
mogue rjeenje. H. Kreft je odmah reagirao, zainteresiravi
se za sat koji se i njemu uinio znaajnim, ali je odbacio moju
sugestiju s obrazloenjem da se nije susreo niti s jednim
Fromanteelovim satom s hakom adresom.16 Ipak, obratio se
svom suradniku na lanku Redescovering the Fromanteel
Story, Keithu Piggottu, koji je smatrao da je otkrio nain da se
natpis deifrira. Nalaz je, pogotovo za njega, bio iznenaujui:
puna signatura glasi: A=Fromanteel Hage! Na ilustraciji br. 6
lijevo je prikazana signatura na stranjoj platini na kojoj je
mjesto izrade naknadno prekriveno graviranim viticama, a
16

The signature A. Fromanteel mostly stands for Ahasuerus Jr. and it could either be
Amsterdam or London, Londini fecit for that matter. The Hague is very unlikely. I have
never seen a Fromanteel clock with The Hague on it. A number of clocks have no city
indicated at all, since the family had workshops and/or sales facilities in both London and
Amsterdam. (Signatura A. Fromanteel uglavnom oznaava Ahasuerusa mlaeg, te
moe biti Amsterdam ili London, tj. Londini fecit. Haag je malo vjerojatno, nisam
nikad vidio Fromanteelov sat s hakom adresom. Znaajan broj satova uope nema
naveden grad, budui da je obitelj imala radnje i/ili prodajna mjesta i u Londonu i u
Amsterdamu.) (elektronska pota poslana od Hansa Krefta 25. 8. 2011)

desno tekst koji se pojavio kada su se uklonile kasnije

intervencije. Time sat iz Muzeja za umjetnost i obrt postaje
jedinim satom koji je izradila dinastija Fromanteel u svojoj
dugoj povijesti, a koji ima haku adresu. (Sl. 6)
Brian Loomes je u svojim radovima objavio
informacije o putovanjima lanova porodice Fromanteel u
Holandiju, primjerice onaj Ahasuerusa starijeg 1668/9, te sa
sinom Abrahamom 1669. Abraham i John otili su 1680-ih u
Amsterdam gdje su uspostavili posao.17
Dakle, prema dostupnim arhivskim podacima nije
zabiljeeno da je itko od porodice Fromanteel imao radnju u
Haagu, niti da je tamo proveo dulje vrijeme, ako izuzmemo
Johnov boravak kod Salomona Costera 1657/8. godine.
Moda su Fromanteelovi pokuali prodrijeti na hako trite,
te su na sat izraen u Londonu kao mjesto nastanka ugravirali
Haag (Hage). Kad zbog snanog lobija lokalnih urara taj
pokuaj nije uspio, signatura je prekrivena, ali je nekako u to
vrijeme (oko 1680) otvorena podrunica u Amsterdamu.
Rije je, naravno, samo o hipotezi budui da nema nikakvih
zapisa o hakim aktivnostima porodice.
Datacija izvornog sata
Za poblie datiranje izvornog sata potrebno je
analizirati pojedine njegove oblikovne i dekorativne
elemente, te mehanizam.
Ploa brojanika ima oblik kvadrata, to je
uobiajeno na tabernakl satovima do oko 1715. godine kada
ploa na vrhu dobiva luni zavretak, tzv. lunetu. Prve lunete
raene su zasebno, vjerojatno i zato to su urari imali zalihu
17

Za podatke zahvaljujem g. Keithu Piggottu. (elektronska pota od 6. 10. 2011)

041

Vesna Lovri Planti

7. Mehanizam kojem je uklonjena stranja platina

7. Movement with removed back plate

042

kvadratnih ploa koje je trebalo prilagoditi novoj modi,

meutim, ubrzo se itava ploa radi u jednom komadu. U taj
novi polukruni prostor umee se kruna ploica s imenom
urara i mjestom gdje je sat izraen.
Ugaone aplike na brojaniku u obliku krilatih glavica
anela uobiajene su u razdoblju od 1670. do 1690. Nalazimo
ih i kasnije, ali tada nisu vie raene u tako visokom reljefu, a
nedostaje im i fino cizeliranje.
U gornjem dijelu ploe nalazi se brojanik za sekunde, to je kod onodobnih satova s pogonom na oprugu vrlo
neobino. Iako su se ve izraivali satovi s pokazivanjem sekundi, to je dodatno poskupljivalo ionako skupe satove, te se
ta funkcija nije dodavala, a objektivno nije ni postojala
potreba za tako preciznim pokazivanjem tonog vremena.18
Brojani vijenac na satovima raenim oko
16601670. relativno je uzak, a kasnije je iri, kao to je sluaj
na ovom primjerku. Isto tako najraniji primjerci nemaju
18

Piggott 2011: 29

koncentrina uljebljenja oko otvora za navijanje (na ovom

satu postoje). Ta uljebljenja su bila namijenjena zatiti
ukrasne ploe od nepaljivog rukovanja kljuiem za
navijanje. Trolisni zavretak satne kazaljke takoer je tipiniji
za vrijeme nakon 1675. nego za ranije razdoblje kada su
kazaljke jednostavnijeg oblika.
Nekoliko elemenata ukazuje na dataciju oko 1680.
Prvo, mehanizam vie nema vretenastu zaprenicu,
karakteristinu za prve tabernakl satove, nego ima ugraenu
jednu vrstu kukaste zaprenice, poznate pod nazivom tik-tak
zaprenica koja se koristila nakon 1675. godine.
Prvi tabernakl satovi imali su neukraenu mjedenu
stranju platinu, plou na koju su privreni dijelovi
mehanizma.19 Meutim, od oko 1675. godine sljedeih
dvadesetak godina ona je vrlo bogato ukraena graviranim
ornamentom. injenica, pak, to na ovoj dominira motiv
tulipana (Sl. 6, sredina) govori u prilog dataciji prije 1690.
Nakon tog vremena motiv tulipana vie nije toliko u modi i sve
se ee zamjenjuje konvencionalnim stiliziranim biljnim
ukrasom.
Signatura urara, koja se u poetku nalazi u dnu ploe
brojanika, nakon 1690. seli se u dno brojanog vijenca.
Ispisana je na latinskom jeziku, pa je mjesto izrade navedeno
primjerice: Londini, a ne in London. Meutim, istovremeno
nije rijedak sluaj niti da se signatura nalazi na stranjoj platini, kao to je ovdje sluaj. Vrlo slian raspored i repertoar ornamenta bio je na satu Henryja Jonesa datiranom oko 1685.20
Meutim, osim jedinstvene, djelomino prekrivene
signature, izuzetnu vrijednost ima mehanizam sata, ne samo
za to toniju dataciju sata, nego i kao primjerak kod kojeg su
neki elementi karakteristini za urarsku radionicu Fromanteel, a neki ga zbog netipinih karakteristika ine znaajnim
radom u kontekstu povijesti urarstva. (Sl. 7)
Pogled na stranji dio ploe brojanika otkriva kako
je nevjeto naknadno pridodana luneta na kojoj je upisano
1661 uz desni rub, to se nikako ne odnosi na dataciju niti
izvornog sata niti kasnijih intervencija. etiri zapunjene rupice uz rub, malo iznad pozicije ugaonih aplika, moda
potjeu od privrsnica kojima je mehanizam bio fiksiran za
kuite. Takav sustav uvrivanja bio je tipian za engleske
satove, dok su na nizozemskim primjercima brojanici
uvreni arkama.
Platine slue kao nosai za dva sustava jedan za hod
sata, drugi za izbijanje. Kod oba su osovine za navijanje na
brojaniku spojene s puem, dijelom punog izjednaivaa
19

20

Postoje razliite teorije o razlozima bogatog ukraavanja stranje platine mehanizma.

Prema jednoj, tabernakl satovi su se trebali drati na stolu usred prostorije ili ispred
ogledala, primjerice na kaminu ili konzoli. Na taj nain gravirani ornament bi bio
vidljiv (stranja su vrataca, naime, zastakljena). Meutim, postoji i teza da su autori
sata bili ponosni na svoj rad, te su ga maksimalno doraivali i dotjerivali. Isti je sluaj s
depnim satovima ija je platina u to vrijeme takoer bogato ornamentirana, a ona
nikako nije mogla biti namijenjena pokazivanju pri normalnom koritenju sata
(Britten 1989: 9899)
Ullyett 1970: tabla XI

TABERNAKL SAT A. FROMANTEELA

sile. Opruga se navija po obodu pua koji se prema gore iri.

Prilikom funkcioniranja hoda odnosno izbijanja, odvija se i
namata oko osovine unutar bubnjia (na slici sasvim dolje).
Sustav za hod osim zupanika na punom izjednaivau ima i
minutni, spojni, sekundni i zapreni zupanik. Po miljenju K.
Piggotta runo rezani zupci ne dosiu visoki standard
Ahasuerusa starijeg, pa pretpostavlja da su moda rad
njegovog sina Abrahama.
Za razliku od toga dijelovi zaprenice kukasta
zaprena kotva, osovina i ep mogli bi biti rad oca. Za njegove
je mehanizme tipian i nazubljeni spoj zupanika na osovinu.
Njihalo je karakteristian rad porodice Fromanteel osovina
nosaa njihala sa zavretkom u obliku sjekaa je uglavljena u
leite. Osim za navedenu urarsku dinastiju neuobiajenog
prikazivanja sekundi, rijedak je i tip zaprenice tzv. tik-tak
zaprenica.21 Kod nje kotva zahvaa svega 2-3 zuba zaprenog
zupanika, a impuls daje na svaki drugi njihaj njihala. Ta vrsta
zaprenice koristila se uglavnom u razdoblju od 1675. do
1700. godine, a od ondanjih urara Joseph Knibb (16401711)
ju je najee, a po miljenju nekih autora i prvi, koristio.22
Na platini desno, smjeten je mehanizam za izbijanje.
Na puni izjednaiva sile privrena je zaporna ploa disk
s jedanaest utora, smjetenih na sve veem razmaku, ija je
funkcija odreivanje broja izbijanja (od jedan do dvanaest).
Uz udarce ekia istodobno se podizala poluga zapornica,

koja je svojim zavrnim krakom slijedila obod zaporne ploe.

Izbijanje je trajalo tako dugo dok zavrni krak ne bi upao u
utor na obodu ploe, a pokretna ploa zaustavila stroj.
Zaporna ploa je na ranim podnim i tabernakl satovima
smjetena izvana na stranjoj platini. Kasnije, do oko 1680,
postaje integralnim dijelom sustava za izbijanje i uvrena je
za zupanik na punom izjednaivau ispod stranje platine.
S obzirom na karakteristike oblikovnih, dekorativnih i funkcionalnih elemenata koji se nalaze na izvornom satu,
mogue ga je relativno pouzdano datirati u vrijeme oko 1680.
to se pak autorstva tie, velika je vjerojatnost da je sat izraen
u radionici Ahasuerusa Fromanteela starijeg, a da je u izradi
sudjelovao i njegov sin Abraham. Naime, kako je ve gore
navedeno, upravo u to vrijeme Ahasuerus poziva svog sina iz
Newcastlea u London da mu pomogne voditi posao, budui
da je ve bio u dobi od 73 godine. Mjesto izrade ostaje
najveom enigmom, budui da je malo vjerojatno da je sat
nastao u Haagu na to bi ukazivala prikrivena signatura, a
nema ni arhivskih podataka koji svjedoe da su Fromanteelovi djelovali u tom gradu. Stoga je vjerojatnije da je mjesto
izrade njihova londonska radnja, a da se radilo samo o pokuaju (oigledno neuspjelom) proboja na hako trite. U
svakom sluaju rije je o satu koji zauzima istaknuto mjesto u
popunjavanju dijelova mozaika kod rekognosciranja ranih
kunih satova s njihalom kao regulatorom.

LITERATURA
Kreft, H. 2011
Redescovering the Fromanteel Story
www.kunstpedia.com>[pristupljeno 3. 4. 2012]

Britten, F. J. 1989
Britten's Old Clocks and Watches and Their Makers. London:
Bloomsbury Books

Loomes, B. 2011
Collecting Antique Clocks Thomas Loomes and Mermaid
www.brianloomes.com/collecting/thomasloomes>[pristupljeno 5. 4.2012]

Michal, S. 1980
Satovi : Od gnomona do atomskog sata. Zagreb: Nakladni
zavod Znanje

Piggott, K. 2011
The Seconds' Hiatus. A Royal Haagseklok, dio II, str. 29
www.antique-horology.org/Piggott/RH/A_Royal_Haag
seklok.pdf>[pristupljeno 15. 4. 2012]
Lovri Planti, V. 2008
Udomljeno vrijeme. Zagreb: Izdanja Antibarbarus
The International Dictionary of Clocks 1996
London <etc>: Chancellor Press

Loomes, B. 1975
The Fromanteel Story. Antiquarian Horology, 9/2, oujak
Ullyett, K. 1970
In Quest of Clocks. London: The Hamlyn Publishing Group
Ltd
The First Twelve Years of the English Pendulum Clock : The
Fromanteel Family and Their Contemporaries 1658-1670,
The Connoisseur, vol. 170, br. 684, veljaa 1969, s.p.
Izvori:

Barzun, J. 1993
Od osvita do dekadencije. Zagreb: Masmedia
21

22

Za ukazivanje na elemente mehanizma koji su vie ili manje karakteristini za radove

porodice Fromanteel, zahvaljujem gospodinu Keithu Piggotu.
Joseph Knibb, Wikipedia> [pristupljeno 13.10. 2011]

Arhiv Muzeja za umjetnost i obrt

Inventar Zbirke satova Muzeja za umjetnost i obrt

043

Vesna Lovri Planti

Summary
VESNA LOVRI PLANTI*

A. FROMANTEEL BRACKET CLOCK

Contribution to understanding the history of early pendulum clocks

044

This paper analyses the bracket clock from the collection of

the Museum of Arts and Crafts in Zagreb, signed on the arch
of the decorative plate Albertus Fromanteel London, and on
the back plate A = Fromanteel (the name of the place covered).
After conducted research, it has been established that the
original clock, the mechanism and the dial of which have been
preserved, was made around 1680 and that it is one of the
earliest pendulum regulated clocks. It was made in the
workshop of the Fromanteels, the first clockmakers making
bracket clocks in England, and Ahasuerus senior and his son
Abraham most probably worked together on making it. Apart
from that, it has been discovered that on the signature covered
later on the Hague was marked as the place where the clock
was made, which makes it unique as there are no records that
the Fromanteels ever worked in that city. The so called tic-tac
escapement is very rare, as well as an early use of the additional
seconds dial. Based on archive data and some technical
*Vesna Lovri Planti, Art historian, The Museum of Arts and Crafts, Zagreb

characteristics, it is assumed that the clock was made in

London workshop of the famous Dutch clockmakers family,
and that the Hague signature was an attempt to enter the local
market. When in the second decade of the 18th century arched
dial become fashionable, the semi-circular attachment was
placed on the decorative plate giving information on the clock
makerAlbertus Fromanteel, probably the imaginary
clockmaker whose name was mistakenly concluded based on
the initial A written on the original signature. The clock went
through its last alteration at the end of the 18th century when it
was placed into a black glass-covered case with late Baroque
and Classicist decorative and functional elements. The detailed analysis of the clock, its original and additional parts, gave
us an important new insight in the study of early pendulum
clocks within European context. Formanteel clock certainly is
one of the most valuable assets of the Museum of Arts and
Crafts collection and serves as a proof that Croatia played an
important role in the European cultural milieu historically
and nowadays alike.

 739:725.17(497.11)17
195689228

:
. ,
. ,
, ,

a (Ennemond Alexandre Petitot). ,
.


K ,
.
: I , , ,

, I, ,
. o
, ,
XVIII . .
I (17481765). ,

a.1
, , oj VIII ,
.
XVIII , ,
( 1996).
, 1738. .
,
* , , ,

1
.

, .
,
. ,

, , . ,
.,
, ,

, (Zalapi 1998 ; Mazzoleni
2000).
, , , .
(Irwin 1997).
''''
(,1727 , 1801).

(Cirillo 2002). -e (Jacques-Germain
Soufflot). ,
(Academie Royal d'Architecture),
1745. . (JosephMarieVien) (Govanni Battista Piranesi).

, XVIII
, , (Louis-Joseph Le Lorrain,17151759) o
(Charles Louis Clerisseau (1721-1820). ,
. , 1750. ,

.
''Recueil d'antiquits gyptiennes, trusques,
greques et romaines''2
(Anne Claude Philipe Caylus)
2

http://www.archive.org/stream/recueildantiquit01cayl#page/n9/mode/2up

045

046

, 1759.
, (Guillaume du Tillot).
,
, 1753.
.
,
V.

V, - (Marie
Louise lisabeth, 17271759)
. ,
,


.3

, .
,
, . ,

,
,
.

,
.
XVIII
. , ,
.
.

(Ferdinand Maria Philip Louis Sebastian Francis James of
Parma) (Maria Amalia of Austria)
1769. . , 10 '' Mascarade la
Grecqu'', .

,
(Collins 1997).4 ,

.
3

,
V.
(Claude Bonnet), (Jean-Gaspard Testard) (Francisco de
Liovera),
V (Cirillo 2002)
: http://www.britishmuseum.org/research ,
Department: Prints & Drawings, Inv. No. 1917,1208.32 (1 to 10)

. ,

, , , ,
. ,
: , , ,
,
, , , .
,
,
,
,
(Giambatista Bodoni).


.
, (ibid.).

, . 1752.
.
.
,

.
. ,
(Begnino Bossi, 17271792), (Turner 1996), ,
,

.5 ''Suite de
vases''. ,
,
(Cirillo 2002: 124-125). , ,

,
(ibid.).
''Suite de vases''
17641765. je

,
(Cole 1993: X).

, 5

, e ,
.

1. , , . . 21-03
1.A pair of porphyry vases with gilded bronze decorations Art Collection of the Palace Complex of Dedinje, Inv. No. 21-03

10 .6


(Giovani Battista Boucheron, 1742-1815),
III, (Campbell
2006:134). .
.
''Suite de vases'',
.


, . XVI , , , (Poulet 1989).

.


.
,
,
,
6

10, ,
, , https://www.scholarsresource.com/browse/
work/2144695719

, .7
,

,

.
, ,

21-03.8 39 m, 42 m 18 m.
,

(. .1).
, , , . ,
.
e . '''', ,
.
7

, .

, . 21-03.

047

048

,
, .
.
.
.
,
.

.
(The J. Paul Getty Museum)
e (Vilson and Hess 2002: 139 ),
.9 , . . , (ibid.),

XVII XIX ,

.10


.
. , ,
,

( 1997:835-836).
. ,
, (Gebel Dokan).11

,
.
,
. 450. ..
,
, ,
.
9

2010, 8. (Christie's, London)

( http://www.christies.com)

(Royal Society of Chemistry, Ellis
2008)
11

( 1997: loc. cit.).
10

.
, . (Vasilev 1948:4).

(Malgouyres, Blanc 2003: 107-113).
IV (Louis XIV)
.

,
.
, ,
, .

.

XV (Louis XV) (Hunter 1973: VII).

, (Marquis de
Marigny) (Jeanne Bcu, Madame du
Barry),
. ,


.
.

, .


.
.
.
V (Pierre Gouthire,
17321813) (Campbell 2006).
XVIII

(Blunt 1979; Mazzoleni 2000).
,
,
XVIII .12
12

, XVII
XVIII
, ,
( 2010.
, 7864, 8. 2010, : http://www.christies.com/
lotfinder/furniture-lighting)

2. ,
2. Porphyry vase, a detail

, , , ,
. ,



.
,
, .
e ,
,
.

.
a
: ,
. ,
, , , , , , ,
; , , , ,
(Biedermann 2004:196-198).
,
.
.
, ,

.
, ,

.

ja
,
, .
, ,

.
'' ''
,

.

(. . 2).

. ,

.13

, ,
13

(Biedermann 2004: loc. cit.).

049

3. ,
3. Porphyry vase, a detail

050

, , .
(. . 3). a

(Chevalier, Gheerbrant 1983: 797-802). .
,
, , ,
, .
, ,
: , . ,
. ,
, , .
(Uroborus),
( 1986:178). ,

.
,
, ,
''anima mundi'' ,
.
. , .14 , . ,

. O ,
,

, .
.
, ,
,
: (
1986: 194-195).
,
,

.


. , , ,
.


. ,

.

(Haskell 1980).
,
.
''
,
.'' - (Trevor-Roper
1991)


,
14

,
, (Chevalier, Gheerbrant
1983:802)

,
.15

I ,
,

.
, ,
. ,

.
.

. ,

.
,
.
'' ''
.

,
,

. K ,
,
, ( 2010: 367 388).
, ,
,
, 1924. 1933, , . '' ''
,
.
,
, ,
( 2007;
2010: loc. cit.).

4. K I (1933),
,
4. King Aleksandar Karadjordjevic I in his study (1933),
Royal Palace Collection, photography collection

, , , , , ,
.
.

,
, .16
( . 2009: 252268).

15

-, .
.
/,

.

16

, , .2,
, , 74, . 364, 365, 460, 512,
515, 516, 538.

051

5. (1934), ,
5. Interior of the Royal Study (1934), The Military Museum in Belgrade, photography collection

052

,
, ,
, .

,
, ,

( 2010).
,
,
. ,
,

.

.
(Bonjak ed
Bianchi 2007: 51 55)17,
.
, , 1935,

.18 '' .
. '',

, 46 :
'' .
, 2''.19 ,

. ,
(. . 4)

, ,
( 1990).

.
,
(. . 5).
,
( 2010).20


. ,
,
a ,

.
19

17

,
, 74, 10, 134, 276, 277, 350, 538;
, , . 797.
18
.. ,
, 74, . 313.

, , 74, . 313-267, 268

,
, .335, . 5, , .
, .48,
49, .

20

, J. ., 2010

, ,
(), XLII: 367389.

Cole, W. 1993.
The States of Petitot and Bossi's 'Suite de Vases', Print Quarterly
(London), Vol. X, No. 2 ( June):156160.

, . (.) 2009
, : .

Trevor-Roper, H. 1991
Princes and Artists: Patronage and Ideology at Four Habsburg Court
15171633, London: Thames and Hudson ( 1976).

Bianchi, A. 2007
La Sacra Conversazione di Palma il Vecchio: Restauro del dipinto su
tavola di Belgrado, storia del dipinto, Roma : Artemide.

a II 1990.
, II , .
,

Campbell G. 2006
The Grove Encyclopedia of Decorative Arts, Vol.1, Oxford University
Press.

Poulet, A.L. 1989

A Neoclassical Vase by Clodion, Art Institute of Chicago Museum
Studies, (Available through JSTOR), Vol. 15, No. 2, 139-180.
http//www.jstor.org

Biedermann, H. 2004
Renik simbola, prevod s nemakog Mihailo ivanovi, Hana opi,
Meral Tarar-Tutu, Beograd: Plato.

, . 1986
,
, : .

Malgouyres, P. and Blanc-Riehl, C. 2003

Porphyre: La pierre pourpre, des Ptolemees a Bonaparte, Paris:
Louvre Museum.

Chevalier, J. i Gheerbrant, A. 1983

Rjenik simbola, Zagreb.

Cirillo, G. 2002
Ennemond Alexandre Petitot, (Lyon 17271801 Parma), Parma:
Fondazione Cassa di Risparmio di Parma e Monte di Credito su
Pegno di Busseto.

Haskell, F. 1980
Patrons and Painters: A Study in the Relations between Italian Art
and Society in the Age of the Baroque, London : Yale University
Press.

Vilson, G. and Hess, C. 2002

Summary Catalogue of European Decorative Arts in the J. Paul Getty
Museum, Los Angeles : J. Paul Getty Museum.

Blunt, A. 1979
Naples Under The Bourbons, 1734-1805, The Burlington Magazine,
(Available through JSTOR) Vol. CXXI, No.913, 207-209.

Irwin David, G. 2000

Neoclassicism, London: Phaidon Press.

Hunter, P. 1973
A Royal Taste: Louis XV, 1738, Metropolitan Museum Journal,
(Available through JSTOR), Vol. 7, 89-113 http//www.jstor.org

Mazzoleni, D. 2000
Palaces of Naples, Italy, Venice : Arsenle Editrice.
Zalapi, A. 1998
Palazzi of Sicily, Italy, Venice : Arsenle Editrice.
Collins, J. 1997
Grand Tour: The Lure of Italy in Eigteenth Century; Petitot: Un
Artisa del Settecento Europe a Parma, Journal of the Society of
Architectural Historians (CA, University of California Press), Vol. 56,
No. 4 (Dec.): 499503.
, . 1997
: ,
, , , :
.
, J. 1996
,
, , : .
Turner, J. 1996
The Dictionary of Art, IV, Biardeau to Brggemann, New York:
Grove.

Vasilev, A.A. 1948

Imperial porphyry Sarcophagi in Constantinopole, Dumbarton Oaks
Papers, (Available through JSTOR), Vol. 4, 1-26; http//www.jstor.org

:
, , -2.
, , 74,
: 10, 134, 276, 277, 313, 350, 512, 515, 516, 538.
, ,
335, . 5.
, ,
, 797.
A :
.

053

Summary
*

PORPHYRY VASES OF THE ROYAL PALACE ON DEDINJE

054

A pair of identical porphyry vases from the Royal Palace is a

part of the art collection of the Palace Complex of Dedinje.
Namely, they are pieces of art designed by the royal architect E.
A. Petitot (1727-1801) at the Royal Palace of Philip I, The
Duke of Parma (1748-1765). The research conducted up to
the present date, as well as the published papers, point out the
existence of three more pairs of identically shaped vases made
in the last quarter of the 18th century, one of which can at
present be found in the Getty Museum in Los Angeles, and the
other two in private collections, whereas the vases of the royal
collection have not been accessible to the public for a long
time.
The vases are the finest examples of the Neoclassical style of
French applied art, the signature mark of the most prosperous
part of the reign of Louis XV. Identical in size, material and
modeling, they were made in the shape of a cup on a base,
encrusted with gilded drapes, with cast iron handles in the
shape of lions. Gilded leaves with the bodies of two snakes
coiled around make the base of the vase core.
The powerful sculptoral decoration of the vases emphasizes

*Biljana Crvenkovi, Art historian, The Museum of Applied Art, Belgrade

exactly their complex symbolism. Thus, the figures of lions

glorify the profane and sacral power of the sovereign, pointing
out as well the constant alertness of the guardians of his power
and strength. As the symbols of the beginning and the end, the
eternal cycle of birth and death, the representation of snakes
coiled around the foot may be interpreted in the sense of the
transient nature of time and destiny as well as the sovereign's
power that can overcome everything.
Judging by their artistic modeling and sculptural decoration,
it is assumed that the porphyry vases were ordered by an
aristocrat, or were a part of the decorating concept of a royal
palace space. Porphyry as a symbol of the sovereign's dignity
decorated with figural representations, symbols of the
sovereign's power and strength and their everlasting nature
is a piece of art which could have been created in the
framework of the politics of the sovereign's presentation.
As such, the vases represent highly valuable pieces of art and
they certainly held a significant place within the framework
of the politics of the Yugoslav monarch's presentation.

UDK 748.035.37(497.5)18 ; 75.071.1:929 .

ID 195689740

SANDRA KANDUAR TROJAN*

RADOVI BEKOG SLIKARA ANTONA KOTHGASSERA

U ZAGREBU

Apstrakt: U vrijeme bidermajera staklenim aama

kao predmetima za poklon ili uspomenu pridaje se veliko
znaenje. Anton Kothgasser (17961851) je beki slikar na
porculanu i staklu, koji je postao slavan zahvaljujui oslikavanju transparentnim emajlnim bojama. Mnoge staklene ae
signirao je svojim inicijalima A.K., no velik broj predmeta
izraenih u to vrijeme i u njegovoj radionici oteava atribuciju. U ovom radu obrauju se stakleni predmeti koji se nalaze
u zbirkama zagrebakih muzeja (Muzeja za umjetnost i obrt i
Muzeja Marton), a pripisuju se Kothgasseru, kao i oslikani
prozori iz vicarske kue u zagrebakom parku Maksimir.
Prozore je oslikao A. Kothgasser po nacrtu Eduarda Gurka
(18011841), bekog slikara krajolika, a nastali su kao izraz
romantine inspiracije, po uzoru na dvorac Laxenburg, pokraj
Bea. Cilj ovog lanka je ukazati na zagrebake predmete te na
povezanost bidermajerskih umjetnika i zagrebakih
naruitelja.
Kljune rijei: Anton Kothgasser, bidermajer,
Maksimir (Zagreb), primijenjene umjetnosti, staklo
Prva polovina XIX stoljea je vrijeme poetka
industrijalizacije i osnaivanja graanskog drutva. Novi stil,
bidermajer, zamjenjuje klasicistike oblike, odraavajui
graansko poimanje umjetnosti i ukusa. Razdoblje bidermajera, usprkos uznemirujuim politikim kretanjima i nesigurnoj ekonomskoj situaciji, jedno je od najdraesnijih razdoblja. Kao protutea tmurnoj stvarnosti u kojoj je tednja bila
nuna, teilo se jednostavnoj eleganciji, razvijao se senzibilitet
za sitnice, velialo se zajednitvo i obiteljske vrijednosti, njegovalo prijateljstvo te iskazivanje dobrih elja (prvenstveno
za dobro zdravlje, sreu, veselje i blagostanje).
Bidermajer mnogim majstorima obrtnicima daje
priliku da dokau svoje umijee.
Odnos prema stvarima bio je pun potovanja, a
ukrasni predmeti esto su bili namijenjeni poklonima i uspomenama na drage ljude, znaajne datume ili kao sjeanja na
putovanja. Staklo kao jedan od najjeftinijih materijala, te
stoga dostupan irem krugu, upotrebljavalo se za raznovrsne
predmete: od servisa za pie preko eernica i flakona do aa.
Upravo su staklene ae rado koritene za obiljeavanja,
sjeanja ili matanja.
*Sandra Kanduar Trojan, povjesniar umjetnosti, Muzej za umjetnost i obrt, Zagreb

Jedna od najpopularnijih vrsta aa u vrijeme

bidermajera svakako je bila tzv. Ranftbecher-aa,1 konusnog
oblika sa zaobljenim stranicama i naglaena zupastim
rubom. Baza ae je ukraena bruenom zvijezdom s donje
strane, koja je naknadno i obojena utom transparentnom
bojom.Te su se ae veinom izraivale od bezbojnog stakla,
koje se oslikavalo transparentnim emajlnim bojama, a na njih
su se esto ispisivali i prigodni natpisi. Ova tehnika ukraavanja je bila inovativna. Prozirne emajlne boje je razvio
drezdenski majstor Samuel Mohn,2 a usavrio ih njegov najstariji sin Gottlob Mohn3 koji sazrijeva u iznimnu umjetniku osobnost. Njegove oslikane ae s prizorima krajolika i
panorame grada postale su vrlo popularne. (Pazaurek 1923)
Gottlob, po dolasku u Be,4 otvara vlastitu radionicu5
te poinje suraivati s manufakturom porculana.6 U to vrijeme u bekoj manufakturi djeluje i Anton Kothgasser,7 slikar
na porculanu, koji svoju slavu nije stekao radovima na porculanu ve ukraavanjem staklenih aa. I mnogi drugi
majstori iz beke manufakture porculana zapoinju oslikavati
i staklo, upravo zahvaljujui ovom vrlo prozirnom emajlu koji
na minijaturnom crteu ae ostavlja fini dojam. Potvrivanje
1
2

Ranft- zastarjeli naziv za rub, ivicu

Samuel Monh (1762 -1815)Po struci Porzelanhausmaler poinje 1806.godine
eksperimentirati s prozirnim emajlnim bojama. Kraljici Louisi od Pruske alje na dar
pokal - svoj prvi rad i u popratnom pismu kae "da je vjebao jedan mjesec, te se
nada usavravanju svog pronalaska". I zaista, godinu dana kasnije nudi oslikane ae
svih vrsta s vedutama, alegorijama, dekoracijama i tekstom. (Pazaurek 1923: 157)
Gottlob Mohn (1789-1825) 1805. studira kod kemiara Klaprotha u Berlinu, a dvije
godine kasnije kod slikara Veita Schnorra von Carolsfelda. 1810. pohaa Akademiju
likovnih umjetnosti u Drezdenu. Tada je ve bio poznat u oslikavanju crkvenih
prozora (vitraja) i porculana, usavrivi zanat kod oca.
1810. dolazi u Be, studira na Politehnikoj koli (osnovana 1815.) i eksperimentira s
bojama u laboratoriju staklne Trnitz. Prema nekim podacima 1812.godine koristi
emajlne boje, a ne uljne. (Spiegl 2011 d:7) Oslikava prozore u Laxenburgu (1813); u
crkvama Maria am Gestade (1820) i St. Ruprecht (1822) u Beu i Franzensburgu
(1825).
U radionici na oslikavanju stakla pridruili su mu se bivi oev radnik August
Heinricha i polubrat Ludwig, koji je takoer doao u Be nakon studija na Akademiji u
Dresdenu.
Manufakturu porculana u Beu osnovao je 1718. kao drugu u Europi, Claudius
Innocentis Du Paquier. 1744. postaje vlasnitvom drave, pa od tad nosi ime Carskokraljevska manufaktura porculana i nosi oznaku austrijskog tita. Slavu je stekla zbog
bogate dekoracije, mitolokim scenama, cvijeem i zlatnim ornamentom. (Bagari
2002)
Anton Kothgasser (1769-1851) Od rane mladosti ostao je bez roditelja te je odrastajui
u kui s Jakobom Peterom (kasnije i ogorom), pejzanim majstorom u bekoj
manufakturi porculana, i sam odluio okuati se u likovnoj umjetnosti. 1781. poinje
studirati na Akademiji likovnih umjetnosti u Beu, a crte je studirao kod Heinricha
Fgera. Od 1784. radio je u Bekoj manufakturi porculana ,oslikavao je pozlatu i
ornament, gdje je ostao sve do 1816., a svoje je radove oznaavao s potpisom
Malernummer 96. (Spiegl 2011 d:2)

055

Sandra Kanduar Trojan

1. aa, Be, oko 1825, bezbojno staklo, brueno , oslikano

prozirnim emajlnim bojama, pozlata; Muzej za umjetnost i obrt,
Zagreb
1. Glass,Vienna, c. 1825, clear glass, cut, painted by transparent
enamelled colours, gilt; The Museum of Arts and Crafts, Zagreb

056

autorstva samog majstora Kothgassera prilino je teko, a

arhivski podaci ukazuju da je najvei broj tih aa rezultat
suradnje specijalista slikara na porculanu. Naziv Kothgasser-aa obuhvaa i treba se koristiti kao zajedniki naziv za
sve ae i srodne tipove oblika posua, oslikane tipinim
transparentnim bojama. Osim crtea, na njima se pojavljuju
karakteristini natpisi a takoer i karakteristine bordure.
(Strasser 1977:40 ; Spiegel 2011e: 32). Tipini oblik ae koji
Anton Kothgasser najee koristi je Ranftbecher. Crte i
dekoracija na veini aa izvedeni su po istom principu.
Sredinji dio ae najee je rezerviran za prikaz, koji se esto
smjeta u medaljon (obrubljen zlatnom bordurom), ali moe
prekrivati i cijelo oploje. Gornji obrub ae, u veini
sluajeva, ukraen je pozlaenom bordurom koja se sastoji od
prozirne trake u zlatno-utom tonu, na koju je apliciran
vijenac od sitnih listova i pokojeg stiliziranog cvjetia.
Ukraeni zlatni obrubi pojavljivali su se i na porculanskim
tanjurima beke manufakture. Neki ukrasni motivi na aama
takoer su preuzeti iz repertoara beke manufakture
porculana, drugi pak prikazuju beke estitke, tzv. Wiener
Wunschkarten ili dogaaje iz bidermajerske svakodnevnice.
Osobito su bile popularne ae s bekim vedutama i
drugim vizurama; neke od njih imaju ispisane poruke na
francuskom jeziku, cvijee razliitih vrsta i anr-scene po

ukusu vremena, a mogle su se kupiti izravno u prodajnim

prostorijama tvornice porculana u Beu, trgovinama s galanterijom ili kod samog majstora Kothgassera. Ovakve draesne
ae sluile su kao memorije, ali ih se takoer sakupljalo, pa ne
udi to mnogi privatni kolekcionari i muzeji u svojim
vitrinama (i depoima) uvaju te krasne spomenare vremena.
Radovi Antona Kothgassera, jednog od najpopularnijih bekih majstora slikara na staklu iz perioda bidermajera,
nalaze se u Zagrebu u dvjema muzejskim zbirkama u
Muzeju za umjetnost i obrt (u fundusu se nalazi 8 aa) i u
Muzeju Marton (posjeduje 10 aa), ali i in situ u najljepem
zagrebakom perivoju, Maksimiru.
Prva u nizu aa koje se pripisuju Antunu Kothgasseru je aa s pogledom na trg s kraljevskom i carskom
bibliotekom i popratnim natpisom koji glasi: PLACE DE LA
BIBLIOTHEQUE IMP. ET ROY. ET LA STATUE JOSEPH II
A VIENNEN8. ( Sl. 1) Na ai se vidi i konjanika skulptura
cara Josipa II koja je 1807. postavljena na trg ispred biblioteke
u Hofburgu. Skulpturu Josipa II je izradio Franz Anton von
Zauner9, najvaniji beki klasicistiki kipar, po nacrtu H. F.
Fgera,10 kojeg je inspirirala skupltura Marka Aurelija na
Kapitolu. Pogled na Josephplatz je est motiv na aama
oslikanim transparentnim emajlom. Postoje brojne njegove
verzije, a esto su za predloak uzimane vedute J. K. Schtza.11
U izvornim gravurama konjaniki kip Josipa II nedostaje jer je
podignut kasnije.
Najea tema svakako su razglednice i vedute Bea, a
na etvrtom mjestu su ae s prikazom beke katedrale Sv.
Stjepana (Neuner-Warhorst 2009). Druga beka veduta
naslikana na ai iz zbirke MUO-a12 je nabavljena 1910.
godine i prikazuje pogled na katedralu Sv. Stjepana u Beu. Taj
beki motiv je jedan od najpopularnijih, a pojavljuje se jo od
1812. u radovima Gottloba Mohna, na cilindrinim aama.
(Spiegl 2011b : 2) Kao i na Mohnovim primjerima i ovdje je
prikazana vizura prednje fasade s prolaznicima i koijom, te
sjenama koje padaju na susjedne zgrade. Na prednjoj strani
ae nalazi se etverostrani medaljon obrubljen utom
8

MUO 19037, vis. 12,3 cm; aa je nekad bila u zbirci E.Weiss. Prijevod natpisa: Trg sa
carskom i kraljevskom bibiotekom i skulpturom cara Josipa II., fotog. 1
Franz Anton von Zauner (1746 -1822). Roen u Tirolu , koluje se u Beu kod Jacoba i
Wilhelma Schletterera Bayera i od njih poprima utjecaj Georga Raphaela Donnera
(1693-1741) s kasnobaroknim reminiscencijama. Zaposlen je na kiparskim radovima
u parku dvorca Schnbrunn (izvodi alegorijke likove Dunav i Enns ). Od 1776.do
1781. s F.H. Fgerom odlazi na studijsko putovanje u Rim, gdje kopira antike
skulpture i orijentira se vie prema klasicizmu. Po povratku u Be, postaje nastavnik na
akademiji.U razdoblju od 1795. do 1806. izvodi svoje posljednje i najznaajnije djelo:
konjaniku skulpturu Josipa II, jer se od 1806. posveuje iskljuivo pedagokom radu.
10
Heinrich Friedrich Fger (1751-1818), njemaki slikar koji od 1774. ivi u Beu. Radio
je historijske kompozicije velikih formata, portrete, ali i kazaline zastore, minijature,
nacrte za porculan i medalje. Kod njega studira i A. Kothgasser.
11
Janez Karel Schtz (1745-1800) ljubljanski slikar i bakrorezac, ui isprva kod oca
Josepha, a potom na akademiji u Beu studira crte, slikanje historijskih motiva i
pejzaa, a uz to i arhitekturu. Dobrim ukusom i profinjenim osjeajem za bitna
obiljeja motiva nacrtao je niz veduta: motive Bea i Donje Austrije, ekih gradova,
pejzae uz Rajnu.
12
MUO 742, vis. 10,9 cm, aa je za muzej MUO kupljena iz privatne zbirke1910. i tada je
ve zabiljeeno da je pozlata djelomino otpala. Za usporedbu (Pazaurek 1923 :193)
9

RADOVI BEKOG SLIKARA ANTONA KOTHGASSERA U ZAGREBU

bordurom, ukraenom vijencem sitnih listova i cvjetova (sada

djelomino izblijedjele pozlate, koja se jo nazire). Ispod
medaljona u kojem je prikazana crkva Sv. Stjepana u Beu
nalazi se uta ploha s pozlaenim natpisom: DIE ST.
STEPHANS KIRCHE IN WIEN,13 izvedenim goticom na
njemakom jeziku. Na stranjem dijelu ae, tik ispod gornjeg
ruba tee uzak vijenac sitnih listova i cvjetova.
Drugi primjer ovog istog motiva14 nalazi se u kolekciji
Muzeja Marton. Ova aa takoer ima etverostrani medaljon
obrubljen utom bordurom, ukraen vijencem sitnih listova i
cvjetova, ali na rubu ae sa stranje strane izvedena je
gotizirana vrpca. Natpis DOMKIRCHE ZU ST. STEPHAN
IN WIEN16 nalazi se na donjem dijelu stranje strane i tee od
ruba do ruba medaljona. Oblaci na nebu na ovom su
primjerku izraeniji. Jo je jedna akvizicija iz 1910. godine
sauvana u zbirci MUO-a. aa sa osmerokutnim medaljonom u kojem je prizor djevojke pastirice koja hrani janje
busenom zelenila iz svog eira.17 Ispod medaljona je
etvrtasto polje sa natpisom LA DOUCEUR.18 Na stranjoj
strani ae, ispod otvora, protee se transparentna uta traka
tanko obrubljena pozlatom koju presijeca decentna girlanda
sitnih listia, u sredinjoj zoni nalazi se monogram I. M. Motiv
je alegorijski prikaz njenosti. Djevojke s cvijeem spadaju u
jedan od najstarijih motiva na bekim slikanim aama
(Spiegl 2011e: 43).
Donositelji sree uvijek su dobrodoli, tako da su na
samom vrhu ljestvice popularnosti kod bekih kupaca bile
ae s ukrasnim motivom djeteline (u periodu od 1815.do
1818.).19 To je vidljivo iz evidencije poslovanja nirnberkog
trgovca Leopolda Schadlbauera, koji se nastanio u Beu i
drao radnju Kod zlatne lampe na Stephansplatzu. ae s
djetelinom, bilo etverolisnom bilo trolisnom, esto su
sadravale i natpise .
aa20 iz zbirke Marton ukraena je na prednjoj strani
oploja naturalistiki prikazanom trolisnom djetelinom. Na
zelenim listovima prikazani su i simboli vjere, ljubavi i nade:
kri, srce i sidro. Uz gornji rub ae izvedena je bordura (kao
to je bilo uobiajeno), ispod koje tee tanka valovita linija i
pojavljuje se natpis, izveden u dva reda : MAG UM UNS HER
EIN STRENGES SCHICKSAL WALTEN, WIR FOLGEN
EUCH IHR HEHREN LICHTGESTALTEN.21 U aukcijskom

13

prijevod: Crkva Sv. Stjepana u Beu

Vis. 10,9 cm; vidi sliku u katalogu Kolekcija Marton (Kanduar 2002)
15
kao na slici ( Lichtenberg 2009: 286)
16
prijevod natpisa: Katedrala Sv.Stjepana u Beu
17
MUO 741, vis. 11,5 cm
18
prijevod natpisa: Mekoa (njenost).
19
Od 1815. ae s djetelinom nalaze se u asortimanu kod Schadlbauera, no izgleda da su
bile hit 1817, kad je prodana veina aa s djetelinom (13 kom) .(Spiegl 2011b : 3)
20
Vis. 11,2 cm
21
Manufaktura porculana Meissen 1820/50.ukraavala je bijele alice ovakvim motivom
i identinim tekstom. Prijevod natpisa : I ako nas zadesi teka sudba, mi slijedimo Vau
svjetlost.
14

2. aa, Be, oko 1825, bezbojno staklo, oslikano prozirnim emajlnim

bojama, pozlata, Muzej za umjetnost i obrt, Zagreb
2. Glass, Vienna, c. 1825, clear glass, painted by transparent enamelled
colours, gilt, The Museum of Arts and Crafts, Zagreb

katalogu A. Weinmllera iz 1939.22 (str. 22) nalazi se aa s tri

djeteline i identinim natpisom, a datirana je u 1829.godinu.
Kako su se karte, osim za igranje drutvenih igara,
koristile i za proricanje budunosti, ne zauuje njihova
popularnost i kao motiva (s dobrim eljama za postizanje
sree) na aama. Da se motiv igraih karata vrlo esto pojavljivao i dobro prodavao, saznajemo iz tri radne biljenice
Havlischek23 koje spominju 290 Spilkarten, od kojih je
gotovo 200 izvedeno i s natpisom. Kao to su se ae razlikovale u cijeni po tome jesu li oslikane ili sa zapisom , razlikovale su se i po obimu oslika, tj. po broju karata naslikanim
na oploje ae, te su nazivane jednostavne, "male", "velike"
ili cijeli pil. ae s motivima igraih karata pojavljuju se na
tritu 1817. godine ( Spiegl 2011b : 4), a tri karte (takozvane
Trull) simboliziraju ujedinjenu trodijelnu antinapoleonsku
koaliciju iz 1813. godine, sastavljenu od Habsburke monarhije, Pruske i Rusije.24

22

http://digi.ub.uni-heidelberg.de/diglit/weinmueller_wien1939_03_15
Iza imena Havlischek ili Hablischeck krije se neidentificirana osoba. Moda pomonik
Kothgassera ili je to ime samo pseudonim. U svakom sluaju postoje radne biljenice s
podacima o aama. ( Spiegl 2010b :1)
24
Cara Franje I. Austrijskog, cara Aleksandra I. i kralja Fridrika Vilima III. Pruskog.
23

057

Sandra Kanduar Trojan

U Muzeju Marton25 nalazi se jedna aa s tri karte za

tarok (takozvana Trull) i sa zlatnim natpisom LEUR
UNION EST NOTRE FORCE27 na stranjoj strani koji je,
takoer, bio moto saveza. (Spiegl 1995 : 67; Lichtenberg 2009 :
393).
aa iz zbirke MUO-a28 sa igraim kartama, takoer,
ima na oploju tri karte TRULL29 i natpis LEUR UNION EST
NOTRE FORCE, no jedna je od onih koje su ukraene sasvim
drugim predlokom. Na prvoj karti nije prikazan harlekinfrula, zatim konjanik i harlekin-akrobat kao na Martonovoj
ai, ve je prikazan harlekin s trojicom patuljaka, Zeus s
munjama, a jedino je za trei lik (karta I) uzet isti motiv, ali
drugi predloak. Taj tip predloka30 nema paralele i moda bi
to moglo znaiti da postoji nekoliko majstora (Havliceck,
Kothgasser ili Jakov Schuhfried) meu kojima bi trebalo
traiti autora.
Osim sree, ljubav je vjena tema umjetnosti. esto je
prikazivana motivom Amora,31 boga ljubavi, koji se od helenizma prikazuje kao bucmasti djeai s krilima, lukom i strijelom. Ovaj motiv esto se javlja na bidermajerskim estitkama, pa tako i na aama.
Jedina aa u ovoj skupini Kothgasserovih aa koja
se razlikuje svojim oblikom jest ova cilindrina aa iz zbirke
stakla MUO-a s motivom Amora na Mjesecu.32 (Sl. 2)
Na prednjoj strani u etvrtastom okviru prikazano je
tamno nono nebo s oblacima i Mjesecom. Putto sjedi (zajahao je) na Mjesecu, a u jednoj ruci dri luk, dok drugom rukom vadi strelicu iz tobolca koji mu visi preko ramena. Ispod
prikaza u zlatno obrubljenom etvrtastom okviru izveden je i
natpis L' AMOUR EN CROISSANT.33 Cijeli rad je izveden u
nijansama crne i zelene boje. Sam otvor ae je pozlaen, a
ispod njega tee decentan vijenac bijelih cvjetia. Iz Schadlbauerovih zapisa doznajemo da se motiv Amora pojavljivao u
vie varijanti: "Amor i Psiha", "Amor u kavezu", "Amor na polumjesecu", "Amor na uzici prijateljstva", "Amor s mreom i
zemaljskom kuglom". (Spiegl 2011b :11)
Ovaj posljednji motiv javlja se na ai iz zbirke
Marton.34 U osmerokutnom okviru prikazan je djeak s
26

krilima, koji dri s obje ruke mreu u koju je uhvaena modra

kugla. Na mrei je jedva vidljivo ispisan natpis PAS UN
MECHAPPERA35 ( Sl. 3)
Trea aa s ovim djeaiima nalazi se u MUO36.
aa svojim oblikom neto je drugaija jer nema izraen
zupasti rub, baza joj je zaobljena, a bruena polja izvedena su
u donjoj zoni. Cijela aa, izuzev baze i gornjeg ruba gdje se
nalazi vijenac sitnih cvjetova i listia, oslikana je zlatnom gustom bojom.37 Sredinji dio oploja zauzimaju letei Kupidi38,
od kojih je svaki okupiran nekim poslom: nosi cvjetnu
girlandu, hvata leptira ili zvjezdicu ili jednostavno uiva u letu
na leima. Na cijeloj povrini, izmeu tih krilatih maliana,
nalaze se manje i vee linijama oblikovane zvjezdice, no one
nisu naslikane ve gravirane u pozlati tako da kroz njih proviruje bezbojno staklo.
Religiozne teme na bidermajerskim aama nisu
imale tako veliku popularnost, bar ne onakvu kakva bi se
oekivala (Neuner-Werthorst 2008: 6 ), ali i ovdje je bilo aa
koje su se rado kupovale. Jednu vrlo decentno ukraenu s
likom sv. Ivana Nepomuka, sveca iji je kult bio rairen na

058
25

Vis. 11,1 cm
Tarok je kartaka igra nastala u prvoj pol. 15. stoljea u Italiji, odakle se proirila prema
Francuskoj i zemljama njemakog govornog podruja. U Habsburkoj Monarhiji bila
je veoma omiljena.
27
Prijevod natpisa: Njihov savez je naa snaga
28
MUO 19097, vis. 10,5 cm
29
Trula u igri tarok oznaava kombinaciju karata "Pagat"(I), "Mond" (XXI), "kis"uobiajeno nije oznaen brojem, ovisno o igri predstavlja posebnu kartu s brojem , ili
se pojavljuje kao najvii adut (tj. kao tarok XXII) .
30
Muo-aa i aa s fotografije (Spiegel 2011a :8) upuuje na traenje drugog majstora.
31
Eros (Kupid) u rimskoj je mitologiji bog erotske ljubavi, poude i ljepote, izjednaen je s
Amorom.
32
MUO 19095, vis. 9,3 cm, fotog. 2
33
Prijevod natpisa moe biti direktan opis slike, ali isto tako i igra rijeima: Amor na
polumjesecu. Croissant na francuskom jeziku znai i polumjesec i rastui, tako da se
moe prevesti i kao" Ljubav obasjana mjeseinom", ali isto tako u igri rijeima to bi
znailo "Ljubav koja cvijeta (raste)".
34
Vis.11,9 cm , fotog. 3
26

3. aa, Be, oko 1825, bezbojno staklo, brueno, oslikano prozirnim

emajlnim bojama, pozlata, Muzej Marton, Zagreb
3. Glass,Vienna, c. 1825, Clear glass, cut, painted by transparent enamelled
colours, gilt, The Marton Museum, Zagreb
35

Prijevod natpisa "Niti jedan mi nee pobjei", a moda bi mogao oznaavati i sam in
hvatanja Zemlje u mreu.
MUO 19049, vis. 13 cm
37
usp. (Spiegel 1983b: 1246)
38
Pet Kupida u razliitim pozama od kojih su dvojica neto manjih dimenzija i imaju
neto drugaija krila. Iznad noice jednog izvedeno je slovo D.
36

RADOVI BEKOG SLIKARA ANTONA KOTHGASSERA U ZAGREBU

podruju austro-ugarskih zemalja (Ivanevi 1990 : 284) i

zatitnika grada Praga, uva Muzej Marton39. Cijela je aa
izvedena u uto-smeim tonovima, na oploju s prednje strane prikazan je lik sveca i u etvrtastom polju nalazi se natpis: S.
IOANNES NEPOMUC. Paul von Lichtenberg u svojoj knjizi
navodi au izraenu po vrlo slinom predloku (2009 : 364).
Cvijee kao jedan od omiljenih motiva na bidermajerskim predmetima rado se aplicirao i na staklene ae.
Ono je vrlo dekorativno samo po sebi, njegova simbolika u
iskazivanju osjeaja bila je jasna, a tipino za to doba bilo je i
poigravanje akrostihom,40 koritenjem botanikog nazivlja. U
Muzeju Marton pohranjena je i jedna draesna aa41 s nasumce razbacanim sitnim mauhicama i vrpcom s natpisom
ELLES SONT TOUTES POUR VOUS to u prijevodu znai
Sve su za Vas. Mauhice , na francuskom jeziku pense42,
doslovno prevedeno, znai MISAO. Ovakve jednostavnije
dekoracije s nekoliko cvjetova nisu bile skupe i mnogi su ih
rado darivali svojim najdraima. Pravi dragulji bile su ae s
bogatim cvjetnim buketima, a to se odraavalo i na njihovu
visoku cijenu koja je mogla biti i do deset puta vea( Spiegl,
2011b : 5).
Drugi primjerak s cvjetnom dekoracijom takoer je
iz Muzeja Marton. aa je cilindrinog oblika, uvuenih stranica u sredinjoj zoni, ukraena bruenom i uto obojanom
trakom.43 Ispod tog dijela nalazi se natpis: ECHRET DIE
FRAUEN DIE FLECHTEN UND NEBEN HIMMLISCHE
ROSEN INS IRRDISCHE LEBEN!44 Sada je dosta slabo
vidljiv. Gornja zona ae ukraena je frizom omiljenog bidermajerskog cvijea rua i potonica (nezaboravaka).
aa jednostavnije dekoracije, ukraena bruenjem i
manjim etvrtastim medaljonom45, nalazi se takoer u Muzeju Marton. Izraena je od bezbojnog stakla s bruenim
ukrasom u donjoj polovini, a u gornjoj je glatko staklo. Sam
rub ae ukraen je pozlatom i tankom trakom s vijencem
listia. Ispod medaljona, u kojem je prikazano srce i ruina
granica, tee i popratni natpis: DIE ZIERDE DER LIEBE
IST DEREN AUFRICHTIGKEIT.46
Jo je jedna aa iz Muzeja Marton jednostavnije dekoracije sa samo medaljonom i natpisom.47
Radi se o ranftbecheru, koji je ukraen manjim osmerokutnim medaljonom u kojem je prikazan lovaki pribor:
39

Vis. 11,1 cm
Akrostih je pjesma, ali i sama rije koju dobijemo itanjem prvih slova stihova. Poznat
je akrostih slovenskog pjesnika F. Preerna (1800-1849) koji je posveen Julji
Primicovoj iz njegova Sonetnog vijenca (1834).
41
Vis . 10,8 cm
42
Pense( franc. misao, proizvod razmiljanja) moe biti izraena u knji.formi, kratka i u
odreenom obliku, kao to je aforizam ili epigram. Pojam potjee od franc.
matematiara i filozofa Blaisea Pascala, ija zbirka rukopisa izraava vjerska uvjerenja
- Penses iz 1670.godine.
43
Vis. 10,7 cm
44
Prijevod natpisa: Potujte ene koje pletu i pored nebeskih rua u ovozemaljski ivot.
45
Vis. 10,3 cm
46
Prijevod natpisa: Iskrenost je dekoracija ljubavi.
47
Vis. 9,7 cm
40

4. aa,Be, oko 1825, bezbojno staklo, brueno , oslikano prozirnim

emajlnim bojama, pozlata, Muzej Marton, Zagreb
4. Glass, Vienna, c. 1825, Clear glass, cut, painted by transparent
enamelled colours, gilt, The Marton Museum, Zagreb

puka i meta, dok je ispod ispisan i prigodan natpis: VIVAT

ALLE BRAVE SCHTZEN48!
ae s dekoracijom i oslikom na cijeloj povrini
oploja bile su zahtjevnije za izradu, a time i zasigurno skuplje.
Jedna takva, koja se nalazi u Muzeju Marton, ima zlatnu
mreu koja doarava krletku i areno oslikane ptice u njoj.49
Ova aa na obodu baze ima zlatnom bojom ispisanu
signaturu: A.K. (Sl. 4)
U svojoj knjizi Pazaurek (1923) spominje kako se
Kothgasser u kasnijim radovima okuao u aama sa stiliziranim biljnim ornamentima. Jedna takva, neobina i uistinu
lijepa, s crnom podlogom nalazi se u zbirci stakla MUO-a.50
aa je podijeljena na dva dijela: donji dio je ukraen bruenjem (dva uljebljenja i iri prsten dijamantnog reza) i pozlatom, a na gornjem glatkom, tee friz sa enskim figurama.
Prikazane su tri djevojke u antikizirajuoj odjei kako pleu
izmeu fantastinih grmova51, koji se sastoje od nadnaravnih
florealnih vitica, akantusa, loze i rua. Svaka od djevojaka ima
u ruci vjeni ili girlandu. ive boje njihove odjee istiu se na
48

Prijevod natpisa: ivjeli svi hrabri strijelci! "Schtze" u prijevodu sa njemakog znai
laki pjeak u vojnoj jedinici naoruan s muketom, slino kao "Jger", to doslovno
znai lovac, no moe znai "strijelac" ili "borac". http://en.wikipedia.org/wiki/
J%C3%A4ger_(military)(22.11.2012.)
49
Vis.13,1 cm, fotog. 4
50
MUO 14877, vis. 10,5 cm
51
Egzotian grm moemo usporediti sa slinim motivom na fotografiji u knjizi Gustava
Pazaureka (Pazaurek 1923 : 213).

059

Sandra Kanduar Trojan

5. aa, Be, oko 1825, bezbojno staklo, oslikano prozirnim emajlnim

bojama, pozlata, Muzej za umjetnost i obrt, Zagreb
5. Glass, Vienna, c. 1825, Clear glass, painted by transparent
enamelled colours, gilt, The Museum of Arts and Crafts, Zagreb

060

crnoj pozadini. Moda je rije o Hesperidama koje, i po mitu,

ive u rajskom vrtu. Fotografija jedne ae nepoznatog porijekla (Spiegl 2011c : 16) gotovo je identina zagrebakoj. Strasser (1977), kako je naveo Spiegl, iznosi podatak da na prvoj
stranici Schuhfriedove biljenice nalazimo zapis o 4 ae
prema Lamprechtovoj alegoriji, uokolo areno obojene i jo 4
za isti iznos, koje je oslikao Schufried, kao i podatak da je
Lamprecht, jedan od najtalentiranijih slikara beke manufakture porculana, povremeno znao oslikavati i ae. au s
pticama na crnoj podlozi Strasser (1977), kako navodi Spiegl
(c2011), povezuje s radovima Lamprechta, a mora se priznati
da i ae s pticama i ae s djevojkama na crnoj podlozi imaju
sline biljne motive. (Pazaurek 1923 : 213)
Jo jednu au iz MUO-a moemo blisko povezati s
primjerima iz literature. ( Pazaurek 1923 : 202 ) aa je ukraena etvrtastim zlatnim medaljonom u kojem je na satirian
nain prikazan razgovor trojice mukaraca. Natpis, koji je
izveden ispod medaljona i na bijeloj podlozi, u ovom je
primjeru koriten kao objanjenje razgovora sa slike i glasi:
KAUFEN SIE MORALISCHE BILDER? FREUND! BE
DEN JETZIGEN ZEITEN HABEN WIR FR DIE KUNST

WEDER ZEIT, NOCH GELD.52 Zagrebaka aa53 razlikuje

se u svega nekoliko detalja od citirane. (Sl. 5)
Ljubav prema prirodi, zelenilu, kreiranju i lijepom,
osobito ljubav prema cvijeu pojavljuje se kao esta tema na
bidermajerskim platnima te predmetima umjetnikog obrta.
U vrijeme bidermajera ta se ljubav manifestirala i u oblikovanju prirode: od cvjetnih buketa preko kunih vrtova pa sve
do gradskih parkova. Ideja zagrebakog biskupa Maksimilijana Vrhovca54 da staru hrastovu biskupsku umu na kraju
grada, okruenu poljima i livadama, te ispresijecanu potocima, pokloni graanima grada Zagreba, te je pretvori u prostor
za odmor i razonodu zaivjela je 1787. godine, kada su i
zapoeli prvi radovi u oblikovanja parka Maksimir u baroknom francuskom stilu.( Maruevski 1997) U prvih pet godina
perivoj je dobio svoje osnovne konture, slijedei uzore parkova velikih europskih gradova. Godine 1794. prvo javno
etalite u jugoistonoj Europi sveano je otvoreno. Ime je
dobilo po svome tvorcu "Maksimilijanov mir, skraeno Maksimir. (Isto: 86)
Nakon smrti biskupa Vrhovca brigu oko ureenja
parka preuzima 1829. godine biskup Aleksandar Alagovi.55
On mijenja glavnu koncepciju i stvara romantini park engleskog stila krenjem ume, otvaranjem prostora, formirajui
proplanke i ureujui livade.
Godine 1837, nakon smrti biskupa Alagovia, novi
biskup Juraj Haulik56 nastavlja s ureenjem park-ume Maksimir.
Budui da je biskupa Haulika zadivio laxenburki
carski vrt nedaleko od Bea, a nije ga elio kopirati jer je
romantini "slikarski perivoj individualna kreacija ovisna o
terenu i umjetnikim sklonostima kreatora"(Maruevski 1997
: 94), ondje je potraio suradnike u poslovima za ureenje
52

Prijevod natpisa: Kupujete moralne slike? Prijatelji u dananja vremena nemamo

vremena ni novaca za umjetnost.
53
MUO 19098, vis, 12,0 cm, fotog. 5
54
Maksimilian Vrhovec (1752. Karlovac - 1827. Zagreb) Vojniki poziv zamijenio je
studijem filozofije i teologije u Beu i Bologni. Bio je profesor dogmatike na Akademiji
u Zagrebu, rektor zagrebakog sjemenita, a kasnije rektor sjemenita u Peti. 1787.
godine imenovan zagrebakim biskupom. U svom je biskupskom dvoru okupljao
slikare, knjievnike, profesore, glumce i glazbenike, a svoju humanost i nesebinost
dokazao je financijskim ulaganjima u projekte kao to je prva javna bolnica u Zagrebu;
osnivatelj je Drutva skladnoglasja za Hrvatsku ( koje e 1925. postati Hrvatski
glazbeni zavod). Kao jedan od idejnih zaetnika hrvatskog narodnog preporoda
zalagao se za prikupljanje nacionalnog duhovnog blaga i irenje knjige. Otvara vlastitu
tiskaru u kojoj osim knjiga tiska i kalendare na hrvatskom jeziku. 1808. godine
predloio je hrvatskom Saboru da se njegova knjinica otvori za javnost. Neposredno
prije smrti gradu je osigurao i izgradio sirotite za nezbrinutu djecu. (Enciklopedija
Jugoslavije, vol.8, str. 543)
55
Aleksandar Alagovi (1760-1837) Teologiju studirao u Peti. Godine 1821. imenovan
je zagrebakim kanonikom, prepotom i vranskim priorom, a 1829. postaje zagrebaki
biskup. Kao i njegov prethodnik, osoba sa senzibilitetom, bio je veliki pokrovitelj
hrvatske glazbe i umjetnosti. (Hrv.enciklopedija, vol.1, str. 168)
56
Juraj de Varalya Haulik ( 1788. Trnava, Slovaka 1869. Zagreb), hrvatski kardinal,
zagrebaki biskup . Teologiju i filozofiju studirao je u rodnoj Trnavi, Ostrogonu i Beu.
Zasluan je za uvoenje hrvatskog jezika u kole i javne poslove. Zauzimao se za
osnivanje osnovnih kola i novano pomagao kulturne i dobrotvorne ustanove, a
podupirao je i narodni preporod u Hrvatskoj. 1852. imenovan je prvim zagrebakim
nadbiskupom metropolitom, a 1856. i kardinalom. (Hrv.enciklopedija, vol.4, str. 481)

RADOVI BEKOG SLIKARA ANTONA KOTHGASSERA U ZAGREBU

6. Oslikani prozor iz vicarske kue. Pogled na Mariazell u

tajerskoj
6. Painted window of the Swiss house. A View of the Mariazell in
Styria

Maksimira. Juraj Haulik je bio ovjek visoke kulture i

istananog osjeaja za lijepo, a kako je raspolagao s velikim
financijskim sredstvima, ureenju i oblikovanju parka posvetio se s velikim arom sve do svoje smrti 1869. godine.
Haulik je angairao skupinu iskusnih austrijskih
umjetnika57 koji su se dokazali ureivanjem carskih perivoja u
Laxenburgu, Schnbrunnu i Hetzendorfu kod Bea, a glavni
biskupov pomonik u ureenju Maksimira je bio Michael pl.
Riedl58, znameniti carski beki vrtni arhitekt koji je bio zaduen i za projekte oblikovanja pejzaa, dok je gotovo sve graevine i paviljone projektirao Franz Schcht59. Po Schchtovu
nacrtu, izgraena je vicarska kua60 jednokatnica poznata i
pod nazivom Tirolska kua stilizirane rustikalne arhitekture.

7. Oslikani prozor iz vicarske kue. Pogled na Lucernsko jezero

7. Painted window of the Swiss house, A View of Lake Lucern

U prizemlju je izvedena od tesanog kamena, a kat od

grubo tesanih hrastovih greda, opasana drvenim balkonom
poduprtim s po etiri drvena nosaa. Pod strehom je takoer
balkon. Prizemlje je zamiljeno kao lugarov stan, a kat, do
kojeg vode polukrune stepenice, s oveom sobom (salonom
biskupa Haulika) i malenim kabinetom.61
Zidovi i strop62 salona na prvom katu prekriveni su
drvenim oplatama, a drvena su i troja vrata63 koja vode na
ophodni balkon. S obje strane vrata nalaze se i jednokrilni
prozori. Vrata i prozori ukraeni su oslikanim staklima u
srednjem dijelu, dok je u gornji i donji dio umetnuto lijevano
staklo. Motive za 12 oslikanih prozora s prizorima vicarskih
Alpi i jezera64 naslikao je schnbrunski dvorski slikar Edu61

57

Leopolda Philippa, Franju Serafina Krblera, Josepha Kschmanna, Antuna Dominika

Fernkorna, Antona Kothgassera i arhitekta Bartolomeja Felbingera. (Maruevski
1992)
58
Michael Sebastian pl. Riedl (Edler von Leuenstern), plemiki naslov nosi od 1836. beki
vrtni arhitekt, sam se nazivao arhitektom i izgradio je prema nacrtima Franza Jgerasta
dvorac Francensburg na jezeru u Laxenburgu. (Maruevski, 1992:32)
59
Franjo (Franz) Schcht (1793- 1872), graditelj austrijskog porijekla koji je djelovao u
Zagrebu. Bio je voditelj graevinskih radova bekog dvora u Laxenburgu kod Bea.
etrdesetih godina 19. stoljea po narudbi biskupa Haulika gradi objekte u
Maksimiru : Biskupski ljetnikovac, Vidikovac, vicarsku kuu, Mirnu kolibu, te razne
paviljone: paviljon Jeke (Lantern-temel), a vjerojatno i ulazni portal. U Zagrebu je
takoer projektirao i nacrt samostana i crkve Sestara milosrdnica u Frankopanskoj
ulici .
60
1841/42.

Juraj Lahner u svom lanku o maksimirskoj vicarkoj kui u Katolikom listu 1943.g.
iznosi podatak da je krajem 19 st. soba bila sauvana u prvotnom obliku sa svim
detaljima: od antiknog namjetaje, japanskih vaza, sitne plastike, antikne ure do
lustera u obliku ribe-djevojke. (Lahner) Tako da je predstavljala jedan mali zagrebaki
muzej, po uzoru na ljetnikovac Marije Ane, ene cara Ferdinadna V, podignutog 1840.
na Marijanskom otoku u Laxenburgu. (Maruevski 1992:30)
62
Vrlo lijep i bogato izrezbaren drveni barokni strop iz augustinskog samostana u
Klosterneuburgu, star oko 300 godina, 19. travnja 1840. godine prevezen u Laxenburg
na temeljiti stolarski i rezbarski popravak , da bi zatim bio prevezen u Zagreb.(Lahner
1943 : 244 ) Haulikov salon ,ukljuujui i njegov barokni strop, obnovljen je 2005.
godine. Restauratorske radove je pod strunim nadzorom Gradskog zavoda za zatitu
spomenika kulture i prirode obavio Hrvatski restauratorski zavod. (Jagi: 2008)
63
Dvokrilna vrata na junoj, istonoj i zapadnoj strani.
64
vicarske predjele Riedl je 16. kolovoza 1840. godine platio 100 forinti Eduardu pl.
Gurku za 12 slika. Lahner, J. (1943) prema Acta Georgii Haulik, vol.6

061

Sandra Kanduar Trojan

ard pl. Gurk65, a izradio ih na staklu u tehnici paljenog

slikanja66 Anton Kothgasser, majstor koji je svoje iskustvo u
oslikavanju prozora stekao u Laxenburgu. (Maruevski 1992)
Svaka staklena ploa je umetnuta i spojena olovom u smee
obojeni stakleni okvir koji, osim lijepo izvedene vegetabilne
dekoracije, ima i medaljon s imenom lokacije. Tako moemo
vidjeti pejza iz Mariazella s bazilikom, enevsko ili Lucernsko jezero, kao i imanje Andreasa Hofera67 u Sv. Leonardu u
Tirolu. Sve slike izvedene su u zeleno-smeim tonovima, s
vrlo precizno izraenim detaljima kronji, listia ili pak
detaljima kao to je odjea. Vee povrine slika koje
predstavljaju vodu, planine ili nebo nisu izraene takvom
preciznou, to moe dovesti do zakljuka da je majstorova
ruka nauena na sitnije radove kao to su crtei na aama.
Iz sauvane prepiske68 biskupa Haulika, saznajemo da je
predloak za drvene prozore i vrata izraen u Beu, a izrada
drvenih konstrukcija povjerena je zagrebakim obrtnicima.
vicarska kua danas ima kulturno-turistiku namjenu, a i
Haulikov salon je otvoren za javnost, te se u njemu odravaju i
povremene izlobe vezane uz povijest parka Maksimir.

LITERATURA
Spiegl, W. 2011a
Kothgasser & Co. Datenbank Glser mit Spielkarten.
http://www.glas-forschung.info/pageone/pdf/karten.pdf
(6.8.2012)
Spiegl, W. 2011b
Kothgasser & Co. Datenbank Das SchadlbauerKommissionverzeichnis.
http://www.glas-forschung.info/pageone/pdf/schadl.pdf
(18.8.2012)
Spiegl, W. 2011c
Kothgasser & Co. Datenbank, Das Arbeitsheft Schuhfried.
http://www.glas-forschung.info/pageone/pdf/schuh.pdf
(22.8.2012)
Spiegl, W. 2011d
Kothgasser & Co. Meinungen und Analysen zum
komplexen Thema der Kothgasserglser.
http://www.glas-forschung.info/pageone/pdf/k&co_1.pdf
(10.6.2012)
Spiegl, W. 2011e
Kothgasser & Co.II Meinungen und Analysen zum
komplexen Thema der Kothgasserglser.
http://www.glas-forschung.info/pageone/pdf/k&co_2.pdf
(12.8.2012)

062

65

Eduard Gurk (1801- 1841), slikar krajolika, slika temperom, izrauje litografijije i
bakropise. Slikarstvo ui od oca Ignaza , kasnije studira i na Akademiji u Beu. Slikao
je Be i okolicu, planinska podruja i austrijske pokrajine. Vrlo ga je cijenio i sam
prijestolonasljednik Ferdinad te je promoviran u Hofkammermalera- dvorskog
slikara. Preminuo je u dobi od 39 godina tijekom studijskog putovanja u Jeruzalem.
66
U vrijeme pripremnih radova postojala je dilema treba li izraditi slike s uljanom bojom
(kao prozori iz 1807. na laksenburkom majuru i Marijaninu otoku) ili paljenjem na
staklu. (Lahner 1943:239)
67
Andreas Hofer (1767.-1810.) tirolski domoljub, trgovac i gostioniar, voa pobune
protiv Napoleonovih snaga.
68
Lahner, J. (1943) prema Acta Georgii Haulik, vol.17, u Arhivu Nadbiskupije zagrebake

Spiegl, W. 2010a
Die Fenster in Laxenburg und am Brandhof.
http://www.glas-forschung.info/pageone/pdf/lax.pdf
(5.2.2012)
Spiegl, W. 2010b
Kothgasser & Co. Datenbank, Die Arbeitshefte
Hablischeck.
http://www.glas-forschung.info/pageone/pdf/havli.pdf
(10.7.2012)

RADOVI BEKOG SLIKARA ANTONA KOTHGASSERA U ZAGREBU

Neuner Warthorst, A. 2009

Die Becher des Anton Kothgasser, Im Spiegel ihrer Zeit.
http://www.glas-forschung.info/pageone/pdf/statistik.pdf
(12.6.2012)
Kuhn, Ch. 2009
Glanz und Farbe : Die Glassammlung Christian Kuhn,
Wien-Mnchen : Brandsttter.
Lichtenberg, P. 2009
Mohn & Kothgasser, Mnchen : Himer.
Jagi, R. 2008
Iz restauratorske radionice: vicarska kua u zagrebakom
parku Maksimir, Drvo (Zagreb) 55: 7677.
Bagari, M. 2002
Porculan, u: Kolekcija Marton, ur. V. Malekovi i V. Marton,
Zagreb: Muzej za umjetnost i obrt.
Kanduar, S. 2002
Staklo, u: Kolekcija Marton, ur. V. Malekovi i V. Marton,
Zagreb: Muzej za umjetnost i obrt.
Juras, M. 1997
Bidermajersko staklo u Hrvatskoj, u: Bidermajer u
Hrvatskoj, ur. V. Malekovi, Zagreb: Muzej za umjetnost i
obrt.
Maruevski, O. 1997
Kultura vrtova i perivoja, u: Bidermajer u Hrvatskoj, ur. V.
Malekovi, Zagreb: Muzej za umjetnost i obrt.
Spiegl, W. 1995
Glser mit Transparentmalerei von Anton Kothgasser, u:
Das Bhmische Glas 17001950, Bd.II Passauer
Glasmuseum, Passau : Verlag Rotel Tours Das Rollende
Hotel.

Maruevski, O.; Jurkovi, S. 1992.

kolska knjiga, Maksimir, Zagreb
Badurina, A.(ur.)1985
Leksikon ikonolografije, liturgike i simbolike zapadnog
kranstva, Zagreb: Sveuilina naklada Liber .
Spiegl, W. 1983a
Kothgasser, Mohn und die Wiener Porzellanmanufaktur,
Weltkunst ( Mnchen) 7: 871881.
Spiegl, W. 1983b
Kothgasser, Mohn und die Wiener Porzellanmanufaktur,
Weltkunst (Mnchen ) 9:12411247.
Enciklopedija Jugoslavije, 1976
vol. 8 , Zagreb: Leksikografski zavod.
Lahner, J. 1943
Maksimirska vicarska kua, Zagreb (Zagreb) 7-9:
236247.
Lahner J. (1943) prema Acta Georgii Haulik, vol.17
Hrvatska enciklopedija,1941
vol. 1, Zagreb : Naklada Konzorcija Hrvatske enciklopedije
Weinmllera, A. (1939)
http://digi.ub.uniheidelberg.de/diglit/weinmueller_wien193
9_03_15 (18.8.2012)
Schmidt, R. 1926
Die Glser der sammlumg Mhsam, Berlin: Verlag Ernst
Wasmuth.
Pazaurek, G. 1923
Glser der Empire und Biedermeierzeit, Leipzig: Verlag von
Klinkhardt & Biermann .

063

Sandra Kanduar Trojan

Summary
SANDRA KANDUAR TROJAN*

ARTWORK OF VIENNESE PAINTER ANTON KOTHGASSER

IN ZAGREB

064

In the first half of the 19th century, both glass objects for
everyday use and those considered to be souvenirs, became
more accessible to a larger number of people due to a drop in
price of raw materials and improvement of work techniques.
Different techniques and ways of glass decorating flourished
during the Biedermeier period. One of the most popular
techniques was transparent enamelled colour painting on
glasses and on window panes in churches or other important
objects. Samuel Mohn made that type of glasses, and his son
Gottlob improved the technique and revealed the secrets of
glass painting tomany painters from Viennese porcelain
manufactory. One of the most famous artists is Anton
Kothgasser (1796-1851). He signed glasses made of glass with

*Sandra Kanduar Trojan, rt historian, The Museum of Arts and Crafts, Zagreb

his initials A.K. A high number of objects were made in his

workshop, but it is difficult to attribute them to Kothgasser
himself or some other painter. This paper will analyse glass
objects that are a part of collection of Zagreb museums (The
Museum of Arts and Crafts and The Marton Museum), as well
as painted windows in The Swiss House in Maksimir Park in
Zagreb. The windows were painted by A. Kothgasser
according to the plan by Eduard Gurk (1801 1841), a
Viennese landscape painter, and were modeled after the
Luxemburg Castle outside Vienna as a symbol of romantic
inspiration. The purpose of this paper is to shed some light to
objects in Zagreb and the connection between Biedermeier
artists and their clients from Zagreb.

763:392.5(=134.28)(497)18/19 ; 763:26-555-534(497)18/19
195690508

: ,

. XIX XX
, ,

.

. , ,
,

. , ,
XIX
XX , , ,
, . , ,
,
.
: , , ,
, , .

, ,
,
.
,
,
(Makuljevi 2010: 199212). XIX
.
,
, , (Lebl 2001: 71-183;
2009: 225-437).
-
* , , ,

(Makuljevi 2006:
17-53). ,

XX
,
( 2009: 95-107).
, ,
, XX ,
(Lebl 2001: 143-193).



,
,
. .
. ,
,

.
,
; ,
, ,

- .
,
,
XVII XVIII , .
, , , , .
. ,

065

066

,
,
(Sabar 2000).
, XIX XX ,
, , .
,
XIX ;
,

,
(Sabar 1990: 218-237).

, .

,
,

.
, , .
, ,

,
.
, XIX XX ,
, , ,
, ,
, , ,
, , cf. (Pelc 2000: 329-336).
,

, ,

,
, , ,
.
,
, . ,
,

(Sperber 2008: 158-359; Stow 1995: 445-491).

, ,
,
.
, ,
,
,
,
- .

.1 , (Juhasz 1990: 196-217),
.
, ,
,2
, ( 1933).
in
continuo V ...
,

,
(Sabar 2000: 11-15).



, .3
,

.
,
,4 , .
,
,

. .
1

XIX : (ewish National and

University Library) http://jnul.huji.ac.il/dl/ketubbot/>[1.6.2012].
2
,
,

. ,
.
3
: (Camondo)
, 1841, 110x75 cm; (Gross
family collection, Tel-Aviv) -, ; (Leslie
Meral Schick Collection, Boston, USA) 1881, 144x72 cm;
- (Eretz Israel Museum, Tel-Aviv)
XIX , 149x73,7 cm.
4
, o (Halakha)
, (Ketubah
De'irketa).

,
, ,
,
.
, . , , , , , ,
(Ivanova 1998: 7-13).
,
,
( . 2:18-24),
,
(Danon
1996: 167-171). , ,
, ,
cf. (Sabar 2011: 109-135).


- - .


.5

XX , ,
,

.
- .
, XIX XX ,
1900.
(Mihailovi 1990: 76-77; Nedomaki 1988: 75).6
, 1863.
,
,
5

Numerus Clausus, XIX XX

,
.
6
1900. ,
, (Gross family
collection, Tel-Aviv) -, http://jnul.huji.ac.il/dl/ketubbot/html/
gr069.htm>[ 1.6.2012]. ,
, ,
.
,
, ( . 493; . . 638),
( . . 560).
.

1. ,

1. Ketubbot of Belgrade Sephardic Jewish Community, The Jewish
Historical Museum in Belgrade

,
.
,
.
, ,
. , :
,
,
.
, ,
.
, , XIX .
, ,
1939.
,
,
, ,

,
( 1939: 2-3).

-

067

2. ,
2. The Coat of Arms of The Kingdom of Serbia, detail

068

,7 ,
, XIX XX
.
XIX ,
,
, ,
, ,

'''' ( 2010: 133138; 169-174). ,
cf. (Huszka
1930), .8 ,
,
( 2010: 138-142).
, 7
8

69x52 cm.

(Huszka Jzsef),
, 1880- ,

, ,
XIX
( 2010: 157-166).

,
,
XX (Klein 2006: 192-197). , ,
,
( 1990: 229). , ,
. ,
, ,
,
, , .
. , ,
,
, .
, ,
, .
putti .
,
.
: ,
(. 18:22)9 :
Siman Tov, Mazal Tov,
.
,
.
, ,
,
.
,


(Sabar 2000: 116-143).
, ,
o

'' '',

9

''22. , . '' ,
,
( 19:14, 31:10).

3. , . , .
3. Putto, a detail from ketubbot and Putto from a bed headboard in the house of S. Mokranjac, Negotin

,
.10
, ,
;

,
,
,

(Mihailovi 1990: 12-13; 34-37; 60-63; 82-83).

cf. ( 1983),
.
10

,
Tezoro de Jisrael,
: ''... ,
, ,
,
...'' (
1939).

, ,
.
, , ,
XIX ( 1997: 281337). ,
, ,
, , , .11
. ,
,
11

. ,
XIX , . ,
, .
.

069

4. , XX
,
4. A married couple in front of the Beth Israel Synagogue in Belgrade,
beginning of the 20th century, The Jewish Historical Museum in Belgrade

070

XIX , .
, ,
, .12

,
. XX ,
,
.13

, , XIX XX
,

, (
1926: 101-106). - ,
,
12

, ,
. ; http://scr.digital.
nb.rs/collection/akcije>[1.6.2012].
13
,
50x36cm . , 1931. ; ,
. . 5851.

I
(Nedi 2003: 299-308). ,
,
, . . ,
.
, ,
, , , .

, ,
,
,

.
, XIX
XX .14 ,
, .
. , XIX ,
, XX

,
(Pejanovi 1952: 13; 70-72).
.15
,
,
, .16
,
,
.

, , ,
,

14

XIX ,
, 1897. ,
. , 1936.
1937. . , ,
, ,
( . . 536; . 497.) 50x35 cm.
15
,
, 1900. ,
;
http://jnul.huji.ac.il/dl/ketubbot/html/jts448.htm>[ 1.6.2012].
16
,
XVI ,
, , (
2009: 47-48).

5. . ,
,
5. Ketubbot from Sephardic Community in Sarajevo,
designed by M. Altarac, The Jewish Historical Museum in
Belgrade

. , ,
'' , .''
( 118:20),

(Sabar 2000: 19-25).

,
, .17

,
, , .
17

,

,
: ( 2009: 51-52).

6. , ,
,
6. Ketubbot template, fromSephardic Community of
Bulgaria, Sofia, The Jewish Historical Museum in
Belgrade

, ,
, Concordi Maritale,
,
,
, .
XX ,
,
. ,
, , ,
.
XX
,

071

072

.18 ,
,

(Edition Communaute Israelite Sefardite Roustchouk),
(Chromo-Litographie S. J. Grassiani
Sofia).
, ,
,
.

, ,
. ,
, Concordi
Maritale,
,
. , ,
. :
, ,
,
.

,
,
. , ,
,
,
,
.

,

.
Concordia Maritale,

,
XVIII ,
XIX ,
(C. Ripa, Iconologia, 1765.).
,
,
(Sabar 2000: 80-89; 9697).

18

: , , , , , ,
http://jnul.huji.ac.il/dl/ketubbot/
html/Bulgaria.htm>[ 1.6.2012].
, , ,
.
: 65x42 cm.

.
,

(Lapson 1963: 59). ,

.
,
,
.


.
,
. ,
, . , ,
, (Romanoff
1944: 307-310).

,
. ,
.
,
,
. ,
, ,
(Ibid.: 301-307).
, ,
,
.
,
( . 8:8)19, , ,
.

,
.
,

. ,
,
,
,
,
.
19

''8.
, , ;''

7. , XIX
7. Thessaloniki ketubbot designed byDavid Amariljo, end of the
19th century

,
, ,

(Mazower 2005: 159-293). ,

,
, .
,

.20

,
XIX

: '' ..''.21

,
,
( 1990:
228-229).
, ,
, ,
.22
XIX
(Imp. Kerovpe H. Minedjian, Salonique.), .
. ,
, . ,
, ,
, .
.

,
, ;
,
,
tena'im (Sabar 2011: 108).
, ,

,
,
. ,
, ,
(Megillat Esther) (Haggadah),
(Sabar 2012: 119-136).
, ,

,
, ( 1979: 190-194).
,
,

,
21

20

,
XIX
XX : http://jnul.huji.ac.il/dl/ketubbot/html/Greece.htm>
[[1.6.2012].

.. Sefaradi Tahor, ,
,
.
.
22
,
: 65x50 cm.

073

,
.
,
,
, , . ,
, , , XIX
,
(Megas 1993).
, ,
.
, , ,

,

.
, ,

.
,
Fin de sicle,
, ,
,
,
,
XX .

Sabar, Sh. 2012

A New Discovery : The Earliest Illustrated Esther Scroll by
Shalom Italia, : Ars Judaica, The Bar-Ilan Journal of Jewish
Art vol. 8, Bar Ilan University.
Sabar, Sh 2011
Words, Images, and Magic : The Protection of the Bride and
Bridegroom in Jewish Marriage Contracts, : Jewish Studies at
the Crossroads of Anthropology and History, (eds) Boustan R.,
Kosansky, O., Rustow, M., University of Pennsylvania Press.

074

, . 2010
: ''Un Got Juif '', : , , . .
. , :
, .
, . 2010
Sephardi Jews and the Visual Culture of the Ottoman Balkans,
: El Prezente, Studies in Sephardic Culture, Vol. 4, Beer-Sheva:
Ben-Gurion University of the Negev.
, . 2009
, : ,
: , .
, . 2009
'''': , -
, : , : ,
.

, . 2009
(1878),
.
Sperber, D. 2008
The Jewish Life Cycle, Customs, Lore and Iconography, New
York: Oxford university press
Klein, R. 2006
Building an Entente Cordiale on the Plains of Bcska: Szabadka/Subotica's urban history, : East Central Europe/ECE, vol.
33. part 1-2, Budapest: Institute of Historical Studies, Central
European University.
, . 2006
19. , :
, . .
. , : Clio.
Mazower, M. 2005
Salonica city of ghosts, Christians, Muslims and Jews 14301950, London: Harper Perennial.
Nedi, S. 2003
Sinagoga Bet Jisrael - Delo arhitekte Milana Kapetanovia, :
Jevrejski istorijski muzej - Beograd, (Zbornik 8), ur. Mihailovi
M, Beograd: Savez jevrejskih optina Srbije i Crne Gore.

Lebl, . 2001
Do konanog reenja, Jevreji u Beogradu 1521-1942. Beograd:
igoja.

Nedomaki, V. 1988
Vjerski obredi i obiaji, : idovi na tlu Jugoslavije, ur. S.
Goldstain, Zagreb: Muzejski prostor.

Pelc, M. 2000
Slike za iroku potronju: hrvatska grafika druge polovine 19.
stoljea, : Historicizam u Hrvatskoj, (knjiga I), prir. V.
Malekovi, Zagreb: Muzej za umjetnost i obrt.

iri, M. 1983
Heraldika : Grb : ilustrovani osnovni pojmovi, 1, Beograd:
Univerzitet umetnosti.

Sabar, Sh. 2000

Kettubah, The art of the Jewish Marriage Contract, Jerusalem:
The Israeli Museum

, . 1979
, :
I, : , . 15,
: .

, . 1998
, : ,
( 3), : Clio.

Lapson, D. 1963
Jewish Dances of Eastern and Central Europe; : Journal of the
International Folk Music Council, Vol. 15, Cambridge.

, . , . 1997
: , : .

Pejanovi, . 1952
tamparije u Bosni i Hercegovini 1529-1951, Sarajevo:
Svjetlost.

Danon, C. 1996
Zbirka pojmova iz udaizma, Beograd: Savez jevrejskih
optina Jugoslavije.
Stow, K. R. 1995
Marriages are Made in Heaven : Marriage and the Individual
in the Roman Jewish Ghetto, : Renaissance Quarterly Vol. 48,
No. 3, The University of Chicago Press.
Megas, Y, 1993
Souvenir, Images of the Jewish Community Salonika 18971917. Athens: Editions Kapon.

Romanoff, P. 1944
Jewish Symbols on Ancient Jewish Coins; : The Jewish
Quarterly Review, Vol. 34, No. 3, University of Pennsylvania
Press.
1939
,
. 1, . 3, 1.
1933
. ,
; : ,
-.

Juhasz, E. 1990
Marriage, : Sephardi Jews in The Ottoman Empire: Aspects of
Material Culture, ed. E. Juhasz, Jerusalem: The Israel
Museum.

Huszka, J. 1930
A Magyar turni ornamentika trtnete, Budapest.

Mihailovi, M. 1990
Judaica u Jugoslaviji, Beograd: Prosveta.

, . 1926
, : . .

Sabar, Sh. 1990

Decorated Kettubot, : Sephardi Jews in The Ottoman Empire:
Aspects of Material Culture, ed. E. Juhasz, Jerusalem: The
Israel Museum.

,
. . . , .

075

Summary
VUK DAUTOVI*

SEPHARDIC PRINTED KETUBBOT ON THE BALKANS

Pictorial decorations as a reflection of the ideas of marital harmony and the duality
of private and public in Jewish community's identity

076

Jewish community in the Balkans goes through a sequence of

transformations during the 19th century. For Jews who live at
the territory Serbia, changes begin with the process of
liberation from the Ottoman rule, followed with the founding
and developing of Serbian state. The community had to
function firstly in the Principality and later on Kingdom of
Serbia, as well as under the turbulent circumstances of
dynastic changes at the beginning of 20th century that led to
the formation of the Kingdom of Yugoslavia. Each of these
phases influenced the shifts in a shape of the cultural model,
and directed the relation between communal privacy and
public identity integral to the wider sphere of the society.
Ketubbot made by the end of 19th and the beginning of 20th
century became serial printed prototypes, which support the
ideal of contemporary civil state and modern society. They
were produced all over the Balkans in lithographic printing
offices. Their visual forms inherited the old tradition of
representing the triumphal arch with symbolic decoration.
*Vuk Dautovi, Art historian, Faculty of Philosophy, Belgrade

They carry Jewish symbols like Magen David, Decalogue, or

menorah, but also include state symbols like Serbian coat of
arms, as well as emblematic pictograms of civil marriage and
marital harmony like Concordia Maritalis, then putto and
symbols of love - hearts. The illustration of this thesis is the
examples of ketubbot printed in large Balkan cities: Belgrade,
Sarajevo, Sophia and Thessaloniki from the end of XIX
century to the beginning of XX.
By replacing illuminated ketubbot with serial lithographic
prints, Balkan Jews were participating in the contemporary
social trends, but also creating their own visual culture,
according to their personal needs. Holding on consistently to
the emphasizing of an outstanding identity, they enriched
visual decoration of ritual items by incorporating novelties in
the manner of actual styles and contemporary achievements
of Fin de sicle. The acceptance of social norms of wider
community and civil concept of marriage, influenced the
choice of visual representations, which found their place on
ketubbot, bridging the gap between traditional and
contemporary on the turn of the century.

 728.1-058.34(497.11)1919/1941 ;
316.334.54-058.34(497.11)1919/1941 ;
351.778.5(497.11)1919/1941
195691020

, 1919-1941

:

,
.

,
,
.
.

,

.

,
,
, , ,
1921. 1932. ,
.
: , ,
,


.
, 1906. 1907.
( 2008),
80 % ,

, .
19141915, ,
a a
(Vuksanovi-Ani 1968: 465).
, , ,
, ,
,
,
* -, ,

.
(1932:106) - .
,
1922.
4.000 ( 1932).
, ,
( 2011). ,

(ibid.: 14) .
, -, ,
.

?

, , (1935: 89) ,
. ,
,
,
.
1929,
(1930: 818) 1.802 ,
1.158 . ,
.
,
20 % (Petrovi 2000).
1937. : (...)
,
. (...)

.
.
,
, .

077

078

,

1920,
,
.
, ,
.

, . , ,
, , . , -,
.
, ,
.
,

, . , ,
, ,
, ,
, .
,

, . , ,
, .

, , .
, .
, .
,
- .
? ,

,
, , , , . ,

. , ,
, , ,

,
, , ,
. ,
(1930: 699)
, : ;
, , ,
,
.
, , (
1934: 446)
,
.

,
(1930)
. O ,
1930,
,
- , , . ,
,
,
.

, XIX , , , , . ,
,
.
(. 1), , , ,
, , ,

.

,
(- 1927: 120) -- .

, . ,
, ,
. , , -

 , 1919-1941

1.
, 1932.
1. Rental apartments enclave on the corner of Simina and
Skadarska Street, 1932.

, ,
, ,
, ,
, , .
,
, , ,
,
, , ,
, , , ,
.
,
- ,
(- 2010).
. ,

. (. 2). , , , 1926. , .
, ,
7
8.
,
4.000 2 30 54 ,
18 .1
,
,
(. 3).
. , ,
XIX . 7,
, 1890.
( 2009: 186). ,
, XX ,
. , ,
, - , , , , -
,
( 2009: 73-75).
,
, .

079

2. ,
1937.
2. Kuzmanovic Alley between the Terazije and Deanska Street,
circa 1937.

1937-1940, ,
. (, 62, 1652, 34876)

3.
, 1937.
3. Draft of the situation of the existing buildings on the lot
between the Terazije and Deanska Street, 1937.

080

.
,
.
, ,
.
20 2,
,
, 16 2.


.
,
.
.
,

,
. XIX
,
.
,
, . ,
,
. ,
, ,
.
, .
, ,
. ,
, ,
, .
,
,
, 1933. .
( 1933: 508509).

2,42 , 8,82 2 300
. , , , 9,87 2.
19,83 3 , 300 .
, ,
16,28
2.
, , , .

, .
, ,
,
.

1937.
,
,
, ,
.

,
, 1940.

. 7 1965,

.

 , 1919-1941

.
,
,
.
5 7,

106.2
, ,

.
,
.
26 2, 3 x 4 3,5 x 4 .
,
, .
,
.
,
,
. 106 ,
,
, ,
, .
.
6, , .3
,
9,
, 11 50 .
, (. 4).
,
. ,
, , 2,7 3,6
, 3,0 3,6 . 20
2. ,
.
1935.
?


. ,

2

. , ,
. 106 , , -, I-10-1931

6, 1922.
1935. . (, -, XXIV-21-122
15-6-1935)

4. 6, 1935.
4. Blueprint of the courtyard building at 6 umatovacka Street, 1935.

,
,
. ,
,

, .
. ,
,
,
, . 1920,
.
,
2,5 ,
300 400 . 1927. ,
- (ibid.: 114)
. (1929: 23),
: ,
, , .


,
1923. ,
, ,

.

081

082

,
. :
, ,
.
, ,
, .
, 1927, .
.
, ,
,
.
,
, . , ,
, - .
. ,
. . , . .
, . .
,
. .
, , ,
. , .
.4

. ,
6, 1925.
14 , , ,
.5 ,
.
19321933.
. ,
1933.
.
, 250
( 1933:
508509). , 130

. ,

, 10 16. ,
146 ,

(loc. cit.).
4
5

(57), , 28. 12. 2009.

,
, . 14. , -, XIII-22-1925

,
,
.
, , ,

. 1933.
(loc. cit.) 28,
, -
, ,
,
.

,


, , 60%
, ,
( 1935).
,
.
1931.
1933. ( 1933: 503),
. IV
( ) 1931.
1,75 ,
, 1,3 . VI (
) ,
1931. 1,51 , 1933. 1,1.
X ( ) 1931.
1,18 , 1,0 .
,

.
,
(1935: 357) ,


. . (1935:168), ,

,

9 : 1.
,
,
. -

 , 1919-1941

( 1933), , 600 ,
, . . 100 300
, 300 500
, 500 800
.
,
1:2 10% , 1:3 30% 60% 1:4.


.
(1931) 1931.

, ,
.
(1933) 85%
, ,
,
2.000 . 1.000
.
,
,
, , , 600 .
1933. (ibid.: 460), , , 1.400 , , .
, , .

.
1933. ( 1933: 479)
,
.
, 5
, 410 3
2.200, 5,03 3
. 3
, 230 3
1.500 ,
6,52 3 . , ,
, 33 3 ,
300 , 9,30
3 . ,
3050%
, .
(1933)

.


, , ,
,

.
,
. ,
. ,
. je


e, , ,
.
6 , .
.
, ,
1015 2545 .
, 10 12 ,
.
, 1215 , . ,
.
, , ,
.
, ,
, .
,
e, .
,
,
.

,

(. 5). . 6

( 1996) ( 2006).

083

5. 15.
5. Interior of an apartment at 15 Bistrika Street.

084

,
5-10 2, 1,5 2 ,
, -
, .
, .

, .
, ,
.
20 30 2, 2,5 .
, ,
40 2.

, ,
,

.
,
.
.
,
, ,
,
.
. ,
, -

,
,
. , ,
,
,
.


. , XIX ,
,
,
, .
, ,
,
.
. , ,
,
.
,
,

(. 6).
,
.
, ,
.

.

6. 7.
6. Detail of the building faade at 7 SibinjaninJanka Street.

 , 1919-1941

. ,
, ,
; ,
, . ,
,

, .
, , , ,
, ,
.

-, . 2011
20. ,
(), XII, 65-89.
-, . 2010

(19191941), ,
, .
-, . 2009
: 18151914, :
, 2. .
, . 2009
, : .
, . 2008
: :
18901914, : .
-, . 2006
19. 20. , :
.
Petrovi, Lj. 2000
Problemi stanovanja u Kraljevini Jugoslaviji 19181941, Istorija
20. veka (Beogrd), XVIII, vol. 1, 49-64.
, . 1996
,
() 7: 434-442.
, 1937
,
,14 , 13.
, . 1935
, :
.
, . . 1935
,
() 3, 167-169
, . 1935
, (), 6, 357-362.
, . 1934
,
() 6, 446-448.

, . . 1933
:
, () 78,
497515.
, . . 1933

, (), 7-8,
453-455.
, . 1933
,
(), 7-8, 456-466.
, .. 1933
1919. . ,
() 6: 402407
, .. 1932
, :
.
, . 1932
, :
.
, . 1931
,
(), 4, 244-250.
, . 1931
,
(), 12, 789-804.
, . 1930
, (), 52,
818-820.
, . 1930
,
(), 14, 697-703.
, . 1929
,
(), 16, 22-24.
-, . 1927
, (), 12,
108-124.

085

.
7 27. 1937. ,
(62), 1652, 34876.

. ,
, . 106 .
, -, I-10-1931.

. 6, , -,
XXIV-21-122.
, - ,
. , . 6 ,
, -, 15-6-1935.

, , . 14,
, -, XIII-22-1925.

Summary
ZLATA VUKSANOVI MACURA*

RENTAL APARTMENTS FOR THE POOR CITIZENS OF BELGRADE,

1919 1941

086

In the period between the two world wars, a large number of

the citizens of Belgrade lived in rented apartments. Rental
apartments for the poor tenants were built and leased in all
parts of the town. In the central parts of town, the poor rented
apartments in unhygienic and dilapidated apartment
buildings remaining from the 19th century and units located in
courtyards of detached houses or in smaller enclaves. In the
suburbs and near suburbs, they rented substandard
apartments in single story dwellings in deep and narrow
courtyards that housed several kitchen-room type units.
Being a rentier was an occupation that was profitable and
provided social status and power. Big rentiers were the owners
of luxurious apartments available to a small circle of better off
citizens, but they also owned dilapidated buildings and
apartments that they leased to the poor citizens of Belgrade.
Not so rich rentiers mostly had the latter tenants. There was
also a number of landladies and landlords who were not
rentiers by occupation, but who increased their modest profits
by leasing a small apartment in the courtyard, basement or
*Zlata Vuksanovi Macura, Independent Researcher, Belgrade

shed. One form of poor people's rentier business was

subleasing a part of the apartment, most often a room.
The tenants of small and substandard, but expensive
apartments and rooms, were poor families and singles, junior
civil servants, pensioners, craftsmen, workers and many
others. There were also pre-war citizens of Belgrade, those
who were looking for employment in the capital city of the
newly formed Kingdom, migrant workers, Russian refugees
and foreigners, together with a large number of half - literate,
unqualified and poor village population newly arrived to
Belgrade.
The apartments were small in size and had insufficient cubic
capacity of air per room. They were overcrowded, often
consisting of a kitchen and a room, or one room. They were
damp, badly lit and without sunlight, cold and with no fresh
air, negatively affecting the tenants health. Even today, these
courtyard buildings that housed the poorbetween the two
world wars can be found in the streets of Dorol, Savamala,
ubura, Vodovac, Zvezdara, Lekino Brdo or Bulbulder.

 72.071.1 .
195691276

: . (Alden B. Dow, 19041983)

.
,
, ,

(Arts and Crfts
),
(Frank Lloyd Wright)
1920. 1960. .
ja- . ,
, , , , , ,
. 600 350. ..
,

.
: , ,
. (Alden B. Dow), ,
.
: . ?
. 1904. ,

, .

(Grace Anna Dow) . . (Herbert H.
Dow), (The Dow
Chemical Company 1891.).
, .
, 1837. ,
* , , Northwood University,
, ,

2300 ,
,
,
.
, -, ,
(. ), , , ,
. , ,

(Brandt 1997;
Froley 2001, 2002).
,
,
,
. , ,
,
,
. ,
,
,
.
, .1 , 1899. 1

,

. ,
,
,
XIX XX ( ,
;

, ,
, ).
, (Carl Gerstacker),
1960. 1976. , 1993. :
, , . .
(Froley 2002: 57).
.

087

1. :

1. Recycling residue material: rhomboid unit blocks made out of

cinder ash from the coal furnaces at the Dow Chemical
Company

088

, . , , (Willard) , ,
, ,
, (Froley 2002: 45-68; Maddex
2007:22-33).
,
,

. , ,
(Oak Park) ,
1900. 1909. ,
,
( ) (Boud 2005)
(Greene) ,
,
, 18941922.
(Makinson 2001).

,
,
.
1927. 1931. , ,
(Columbia
University) .

, ,

,
, .
.
,
, ,
.
,
19221923. ,

.
,
. ,
,
.

, ,
..." (Maddex 2007:34).

. ,
. ,
XX
,
(Walter Gropius) (Ludwig
Mies van der Rohe), (Le Coribusier),
(Gerrit Rietveld)
(De Stijl),
(Neue Sachlichkeit), ,
.2 .
(Louis Henry Sullivan), ,
1880- ,
,
, ,
,

, 1932.
,
, (Henry Russel Hitchcock)
(Philip Johnson) - ,
. ,
.
40- XX ,
,

(. Robinson 1983:105-124).

(Preble et
al. 1999: 238-255, 438-441; Hibbert 1996: 231-239; Hall 1998;
746-802).

,
. , , ,
. ,

3, .
,

.
,
, :

;
( );
,
, ; ;

, ,
.4
,

. ,
, 1933. ,
5 ,

,

. , ,
3

.
,
() .
4

, : Price and Knight, Essays on the Picturesque
. Robinson 1983: 3542); ;
; , ,
, ; ,
, , .
(Mayer et al. 1993: 39 ; Boyd 2005, Prebble et al. 1984: 250).
5
, 1927. , .
1930, ,
. , ,
art deco-a 2010.
,
chalet-a. , ,
,
,
.

2. , , , 1934.
, :
,
.
.
2. Hanson House, Midland, Michigan designed in 1934 for
A.B. Dow's wife's sister, Helen Hanson; An example of
decorative usage of unit blocks, including negative spaces;
metal fence la Mondrian.

,
6.

.
, , :
"
,
,
, . ,
,
. ,

...

..." (ABD Arhiv[C-1937-4-20]).

.

,
, ,
6

, ,
: , ,
. . ,
,
, 1923. ,
, 16-
.
.

089

3. (Stein) , , 1933.
3. Stein residence, Midland, 1933.

. ,
,
, , , ,
.
,


,
, .
()
() (Dow,
Pattern and Reason, Box 6. Folder 2 [c-1938-3-1: 3]). , .
7 .
,
,
. ,

090

, , (, )
(), (Better Building,
Alpha Phi , Box 1, Folder 24 [C-1937-4-20: 9]).
,

,
, . 1940.
(Freeport), ,

.
.

, .
, , (Lake Jackson)
. ,
, ,
,
: " ", " " " "
.

,
,
( ,
.),
. , ,

.
. ,

.
(, , ,
),

,
"". ,
,
, ,
.8

, , 1938. ,
(unit blocks),
,
.


, ,
, , .
,
(), , , , (. 2, 5 ),
, ,
(). ,
.9

, . ,
(Townsey House) ,

8

, 1971.
,
, ,
(Maddex 2007: 229).

, , .
:
,
.

, ,
(. 3).
, ,
,
, (. 5).
:

,
, ,
.

. 1933. ,10

, 27.000, ,
,
. ,
,
. ,
, , ,

,
, .11
.
( 135),
(61) (71),
, -, (31) 12 (26).
,
. ,

10

1932,
,
.
11
( 50) . 1931.
.
1937. Grand Prix
(Whitman) .
, , ,
,
. , : 1961. ,
; 1982.

( ); 1989. ,
(Maddex 2007: 230231).
12
,
(Bloomfield Hills), , , ,

4. (1934)
4. Drafting room in Alden B. Dow's Studio (1934)

. ,
,
.


,
.
,
,
(, , , , , , , ,
), "

, . ,

, ,
.
1962. . ,
. ,
. , ,
(Dow 1970:121).
,
, .
. ,
(Charles Breed).

.
, ( . , 2012),

. ,
. ,
, .
( /Stephanie Stephan
).

091

() ( , )

.
,
.
, 1933. .

, ,

,

.
,

5. ,
1941. , ,
5. An Aerial photograph of Alden B. Dow's Home and Studio,
completed in 1941, today also the home of the Archives.

092

, ,
(. 3).
, ,
(
...).
,
: ,
, .
,
, .
,

, (. 2),
(Whitman) ,
1934, Grand Prix

1937. ,
.


,
,
, , , ,
,
(. 7),
.
, , ,
(Arbury) (1939).
13:
, , 220 m,
,
45
,
, , .

(. 6). ,
, ,
, .

,
, .

,
, (

: , , , ) , ,
, , .
, ,
:
...
,
.
,
.
,
, , ,
...
,
... " (Dow
1947: 90).
13

1934. ,
1939, 1941. .

" ",
", "; .
" ,
, " (Ibid.).
,
, :
" ,
. ,
, .
... , .
, .
.
, , , . ,
, " (A Way of Life 1971: s.p.).


,
" " .


.
.
:
" ,
...
, ,
,
. , ,

... ,
, , .
,
...
, ...
,
... ,
80 .... (R. Riecker, 3. februar 1961
- ABD Arhiv, Job Files, Box 127, Folder 3.).

: ,
, ,
, , .

6.
. ,
,
.
6. "Floating" or "Submarine" conference room in
Alden B. Dow's Studio; The slanting roof the
sunlight reflects off the pond in a way that
enhances the feeling of being on a sailing boat.

, ,
, . , ,

, ,
,
, .
, ,
. ,

. ,

.
,
-

093

7. ( , , , 1951)
7. The interior of an "A" frame house (Josephine Ashmun House, Midland, Michigan, 1951)

094

. (Keeler) III,
, 1957. ,
.
, ,
. ,
, :
" , , . . ,
,
, ,
. ,
, ...

...

,
.
, ,
, ... .

...

...
,
.

... ,
,
...
... , ,
... ,

... ( - 2.
1957; 21. 1957; 12. 1958; 3. 1958; 31. 1960, 1. 1960 JF, Box 77, Folder 6,
Keeler).
, -
, ,
,
, , , , , ,
, . ,
, 1971. , - ,
,

(17.
, 1971. , ibid.).
,
, 1962.
House Beautiful
"
" (Besinger 1962: 81-86).
,
, ,
, ,
,
,

.
,
.
,
,

,

. :
, .
,
...14
,
, , .
14

. ,
,

.
( ) (Wright[1935] 2003:325-330).
, ,
, .

, .
(Pardee) ,
,
1935. ,
(ABD Arhiv, Box 12, Folder
1). , a (Heath) a
( 1934. ),

( - ,
21. 1936). :
, ,
.


,
,
(16. 193615).
" ",
.
:
. , , , "
" (Maddex 2007: 68-69). ,
,
.
,
, . , :

;
,
(
); ,
,
(Dow, Appreciating Architecture,
House Beautiful .
.

:
.
,
,
, .
15
, ,
, ,
( . 29. 1936). ,

; ,
(13. 1937);

; (15. 1938) .. ,
,

. ,
, 2012. .
,
.

095

, 1976: 12-13)16. :

. , ,
.

.

. ,
, ,
,
, , ...
, /,
/ ... .
,
.
, , ...
. (Dow
1970: s.p.)
,
,
, .
...
. (, , , , , ), , , , ,

,
. ,

096

16

, ,
, ,
,
, , ,
. .
(100 Years,
2003 ..). , , ,
.
, .
.
. ,
( ),
.
,
, 1967.
. , ,

(, , , .)
,
. .

,
,
, ,
.
,

, ,
.
,

10% , ,
. ,
(. 2 )
la ,

.


. , , ,
.
, ,
(-) ,
.
,

. .. , .. , (1983:7),
.

:
1. .. :
A.

- Better Buildings , 2. 1937, Box 1, Folder 24.
- Home and Housing, 1944, Box 4, Folder 32.
- Man and Modern Architecture, February10th. 1946,
Box
5, Folder 15.
- Human Values, 1950. , Box 4, Folder 38.
- East Grand Rapids,
1958-1963, 1971.

- (Pardee)
,
1936-1938, Box 12, Folder 1, 4, 5 7.
- (Keeler)
East Grand Rapids ,
, 1958-1963, 1971, Box 77, Folder 6.
- (Riecker) .. ,
February 3rd. 1961, Box 127, Folder 3.

2. ( 16 ):

Maddex, D. 2007
Alden B. Dow Midwestern Modern, Midland: Alden B. Dow
Home and Studio.

Composed Order: The Architecture of Alden B. Dow, 1995

Midland: Northwood University Alden B. Dow Creativity
Center and the Alden B. Dow Archives.

Mayer, B. 2006
In the Arts and Crafts Style, San Francisco: Chronicle
Books.

Robinson, S. K. 1983
The Architecture of Alden B. Dow, Detroit: Wayne State
University Press.

Boyd, V. T. 2005
Frank Lloyd Wright and the House Beautiful, International
Arts and Artists.

Dow, A. B. 1971
A Way of Life, A Catalogue for the Exhibition at the
Midland Center for the Arts: Midland: Midland Arts
Council.

One Hundred Years, Quality of Life: The Influence of Alden

B. Dow, Brochure, 2003
Midland: Alden B. Dow Home and Studio.
Wright, F.L. [1935] 2003
Broadacre City: A New Community Plan, in: The City
Reader (ed. R.T. LeGates and F. Stout), London, New York:
Routledge, 325-330.
Florey, V. 2002
Midland, Her Continuing Story, Images of America,
Chicago: Arcadia Publishing.
Florey, V. 2001
Midland, The Way We Were, Images of America, Chicago:
Arcadia Publishing.
Makinson, R. 2001
Greene and Greene: Architecture as a Fine Art, Furniture
and Related Designs, Vol. 1 &2, Salt Lake
City: Gibbs Smith.
Preble, D. et. al., 1999
Artforms: An Introduction to the Visual Arts, The AddisonWesley Educational Publishers Inc.
Brandt, E.N. 1997
Growth Company: Dow Chemical's First Century, Lancing:
Michigan State University, 1997.

Dow, A. B. 1970
Reflections, Midland, Northwood University.
Besinger, C. A. 1962a
House Built for Children to Enjoy and Remember, House
Beautiful, August: 81-86, 107.
Besinger, C. A. 1962b
How a Corporation President Built to Entertain Guests,
House Beautiful, September: 124-135, 207.
Dow, A. B. 1947a
Living at New Levels, Architectural Record 131, November
: 92-95.
Dow, A. B. 1947b
Planning The Contemporary House, Architectural Records
131, November: 89-91.
Dow, A. B. 1942
The Architect and House, Pencil Points, May: 269-286.
Hamlin, T. 1942
The Architect and House: Alden B. Dow of Michigan, Pencil
Points 8, May: 269-286.

097

Summary
MIRJANA PROI DVORNI*

THE RELATIONSHIP OF NATURE AND CULTURE IN THE ARCHITECTURE

OF ALDEN B. DOW

098

Alden B. Dow (1904-1983) was born in Midland, a small town

in mid-Michigan, as the fifth of Herbert H. and Grace A.
Dow's seven children. H.H. Dow founded the Dow Chemical
Company in 1891, thus not only contributing to the industrial
upsurge which advanced the US from a semi-peripheral to a
core nation, but also saving Midland from its near ruin.
Instead, the town became a destination for many professionals
looking for rewarding employment and pleasant living
conditions. The fact that H.H. Dow and his affluent coworkers constantly strived to develop a self-sufficient
settlement with amenities that surpass the usual contents of a
small town, worked to A. Dow's advantage. Midland, like very
few other American towns, such as F. L. Wright's Oak Park,
Illinois, or Brother Greene's Pasadena, California, can boast of
being shaped by its own architect and city planner.
A. Dow studied architecture at Columbia University (19271931), where the academic approach still dominated. He was,

*Mirjana Proi-Dvorni, Cultural Anthropologist, Northwood University, Midland,

Michigan, USA

on the other hand, drawn towards styles that preferred placing

function over form, such as the Arts and Crafts Movement (F.
L. Wright in particular), Japanese and modern architecture.
During his rich career, starting in late 1920s, Dow, as a part of
Midwestern Modern, developed his own distinctive synthesis
of styles believing that architecture had to be one with nature
and a created environment that stimulated the advancement
and the individuality of people who used it. He has designed
hundreds of buildings ranging from residential to
commercial, educational, religious and civic structures.
Although most of them are located in Midland and in
Michigan, his buildings are also found in many other parts of
the US.
This article focuses on his residential buildings and is based
on the research in the Alden B. Dow Archives, housed in A. B.
Dow Home and Studio, a National Historic Landmark, and on
the analyses of 16 Midland homes.

741.5.071.1 .
195692044

: -
(19261991), , - .
, , ,
-.

.
,
. ,
, ,
;
1991, , -
.

, 1956. 1984 ,
,
-
.

- .
,
- .
K : , ,
,

29.
1926. , ,
, .
* , ,

,

.
,
, , . , ,
,
. , . ,
,

(Alex Raymond) (Harold Foster), . ,

(1939)
-
.

,
( 1984). , ,
. ,
, , .
, , ,
. ,
,

, ,
(ibid.: 15).
, 1947. .
, ,
, , ,
, 1951. .
.

099

100

, 1947,
- .

,
.
, ,
, ,
, 1, .
, , , , ,
( 1981).
,
,
,
. , , .
a

, , ,
, .


, , , , , , , . .
;
. ,
, - , , , (ibid.: 29),
.
, , . , ,
, , .
1956. .
, , -
: ,
, , ,
, ,
( 2006). 1

, .

.

1956. , .
. ,
(, ,
, )

.

,
, (19571958),
(19601961) (1960-61),

.
1956. 1964.
, ,
, , ;
YU strip EKS ALMANAHU2, , , 3. . ,
. ,
: (1957),
(19591960), (19611962), (1958),
(19631964)
. , ,
, .
,
(19621963);
. . ,
. ,
, 1963. 1964, 4,
. , , . .
. , ,
2

: 1977,
Eks almanah, YU strip EKS ALMANAH,
1979. YU strip revija jugoslovenskog
stripa, 1983. YU strip magazin.
3
,
/ : ,
,
.
4
6. 2. 1964.
.

1. , ()
1. Detail of page from the comic book "Good-bye Earth"

1958. .
;
: (19601961)
(1961).
,
.
, ;
1961.
.
, .

1963. 1964, ,

. ,
- ,
,
.

-
-
, . , , ,
, .
, ,

, , ,
,
(.1).
(
)
.

.

101

102

2. ,
2. Panel from the comic book " Kidnapping in Space"

3. ,
3. Panel from the comic book "Kidnapping in Space"

, ,
.
,
:
.
(...) ,
.
, . (
1984: 18).
,
, , (. 2, 3).
,

.
(19611962)
(19621963), .
,


. ,
.
,

( ), . ,
, , (. 4).
,
.
,
, ;

(. 5).


.

, ,
. ,


.
, . , ,

.

.

, ,
, ,
.

-,
. ,
.
,
,
. ,

:
. (...)
. (...)
.
. (...) .
, .
(ibid).

,

. ,
,
. , ,
,
.
-

, (1981)
(1984),
YU strip 5.
- .
,
,
,

, .
.
,

YU strip.

5

Yu strip : YU
strip EKS ALMANAH, YU strip revija jugoslovenskog stripa YU strip
magazin.

4. (19621963),
4. Page from the comic book "Baf, the Leader of the Caravan"

,
, 1978,
.


. ,
, , .
, ,
,
. ,
-


,
. ,
.

103

,
.

. , ,
;
.
, ,
, .
-
, ,

( 1984: 18). ,



.

, ,
, , .
,

.

5. (1961-62),
5. Panel from the comic book "Winnetou"

104

,
.
. ,

, , ,
,
,
.
;
(. 6).

, ,

.
;
,

. ,
,
,
, .

,
(. 7).

.

,
,
,
.

.

.
, , ,
.

, , ,
, ,
, .
.


,

.

6. ,
6. Panel from the comic book "Long trail"

;
(loc. cit). ,

;

, ,
. , ,
,
.

.
,
,
(loc. cit).

, , ,
1984.
.

,
.
. ,
,
. ,

105
7. : ,
7. Page from the comic book "Faet", second episode

106

. ,

, .
,
,
. ,
.
,
, ,
j ,
. , , , . , ,
,

: , ,
, , ,
, .

,
, , ,
. ,
, , .
, , :
.
,
.
. (...)
.
, , ,
.
.
.
, .
, .
. ( 2000)
,
,
. ,

.
,
,

.
,
.
, - .
, .
,
, , , , . ,
, ,
.
, 15.
1991. ,
. ,
-,
-, , .

.
-
,
. ,
,

,
.
, .
,

. ,
,
.

. ,


.

, ,
,
.

, ., , . , . 2011
:
20. , :
.

, . 1993
, ( , 8. 7
15. 9. 1993) , .

, . 2010
, .

, . 1990
, ,
( 11 20. 5. 1990), , .

, . 2007
, ,
.

, . , . 1986
, :
.

, . 2006
: ,
(1), , , 393:
http://www.stripvesti.com/arhiva/sv393/sv-393.htm (24.
).

, . 1985
, , : .

, . 2003
, : .
, . 2002
, : .

, . 1984
, , Yustrip magazin ( ), , 65-66: 15-19.
, . 1984
, (),
13-15.

, . 2001
, : .

, Yu-strip revija,
10.10.1981() 34: 18.

, . 2001
, : .

, . 1981
, ,
Yu-strip ( ) 65: 27-29.

, . 2000
: 19751995, :
.

, . 1981
, , (a 29. 1 9. 2.
1981) , .

, . 1996
: 250 :
( 19501960), :
.

, YU strip EKS ALMANAH, 10. 10. 1978

( ) 139/1.

, . 1994
, : .

- , ,
, 15. 6. 1939
().

107

Summary
BOJANA SPASI*

COMIC BOOK OEUVRE OF ALEKSANDAR HECL

108

This paper explores comic book oeuvre of Aleksandar aca

Hecl (1926-1991), an illustrator, comic book artist and
painter. Painting and visual arts have been Hecl's field of work
for fifty years and he drew over three hundred illustrations for
books, magazines, school text books, twenty comic books and
hundreds of sketches and oil paintings. The emphasis is on
comic books, which have been a starting point for discovering
Hecl's oeuvre, due to their value and graphic uniqueness on
national comic book scene.
Hecl's work that could have been accessed has been analyzed
applying cultural and iconological method and has been
divided into early period and later period. A specific drawing
technique and gradual development of style towards more
free drawing, stylized form and more free treatment of basic
comic book elements are common characteristics of these two
periods. Stylistically, Hecl's comic books follow the main

*Bojana Spasi, art historian, Belgrade

trends on the national comic book scene; in his later work he

has been one of the heralds of a new comic book graphic style
and his drawing technique has had a direct impact on younger
artists.
Hecl's comic books, especially those from his later period,
represent an important segment in the transition of domestic
comic book from classical realism to new modern form. He
was one of the most outstanding realists, but also one of the
doyens of a new comic book technique of the 1970s and
1980s. His comic book oeuvre has yet to be analyzed
thoroughly.
In a broader sense context, analyzing Hecl's work helps to
develop understanding of comic book as an important art
category and also of a need of its integration into and studying
of in the framework of general historical and artistic
tendencies.

76.071.1 . ;
070.15 1973/1979
195693324

1973. 1979.

:
(19211999),
,
. ,
,
.


,
,
- .
: , , , , ,

, / , .
,
, 2006.
1,

1973. 1979. . , ,
2 ,

.
* , ,
, . 5/06, 19.4.2006. ,
.
2

.
. . 18L . . 67L
,
, .
1

,

.
,

.
. , ,
,
,
,
.
, 17. 17.
2007. . , , , ,
, .
,
,

XX . - ,
-
,

.
-
, , 2. 26. 2009. ,

.
,
.
, 2011, , 1. 30..

109

110

,
,
.

.
"
1954. (
2007). ,

,
,
.
,
, 1995.


( 2001).


,
,
.3

,

. , ,
,
.

,
. ,
, ,
,
.
. , ,
,

.
, ,
.
3

:
,
/
, 1968.
, -
,
. Cf. ., ., .,
: , ()
2007,16.

,
,
, , .

,
, ( 1985).
,
,

. , . ,

, ,
.
,
. ,
,
-
.
, .
, ,

, ,
,
,
,
.

,
, .
. ,
, ,
, ,
. .
, ,
, ,
, .,
(
1986). ,
,


1973. 1979.

1. , , , 32.6 x 49.5 cm, ..24

1. The Battle of Pantin, ink on illustration board applied to a mount board, 32.6 x 49.5 cm, Inv. No. 24L

,
.
,
,
.
.4
, .
,

.
,
.

, , ,
,

, .
4

Cf. . , ., ., . , . 3.

,
. , ,
- ( 1985),
.

,
.
. , ,
,
,
,
(

, .
,
).

111

2. , , , 32.7 x 50
cm, ..27
2. The Third Crusade, ink on illustration board applied to a mount board,
32.7 x 50 cm, Inv. No. 27L

3. , , , 33.3 x 51
cm, ..28
3. The Battle of Velbazhd, ink on illustration board applied to a mount
board, 33.3 x 51cm, Inv. No. 28L

, , ,
. ,
,
,
.

. , ,
,
X XIX .
.
, ,
,
V .. XVII . ,
.
, ,
.
, , .

112

,

,
.
,
.
, ,
.
. ,
: , ,
,
.

,
. , ,

. , ,
.

, ,
-.
33 x 51 , / 3 ,
.
,
( 2007: 68).

, ,
.
,


1973. 1979.

4. , , , 34.7 x 51 cm, ..53

4. Byzantium, ink on illustration board applied to a mount board, 34.7 x 51 cm, Inv. No. 53L

,
,
. , .
.
.
, ,

. ,
,
.
, .
. ,
,
,
.

.
,
(. .53), XII (.
. 56) XIII (. . 57),
,

, .


, .

.
. .
,
.
,

, . ,
.
,
.
,
, ,
. (. . 37), XIV
(. . 42) (. . 38).
.
,
. .

113

, ,
,
,
.
,

, .

, ,
,
.
(. . 26)
(. . 27). a
,
,
,
.
,
,
.
(.
. 27).

,
.


.
,
.
,
, ,
,
.

.
,
, , ,

( 2007).
, ,
, ,
,
. ,

114

5. , , , 34.7 x 51 cm, ..55

5. The Normans, ink on illustration board applied to a mount board, 34.7 x 51 cm, Inv. No. 55L


1973. 1979.

,

. ,


,
,

.

,
.

, , . ,
, , . (ibid.)

.
,
.
, -,
.
, ,
, , . ,
, ,
.
, ,
.

115

6. XVII , , , 33.3 x 50 cm, ..63

6. France in the 17th century, ink on illustration board applied to a mount board, 33.3 x 50 cm, Inv. No. 63L

vs

, ,
.
,
, . ,

.
.

,
.
,

.
,
.
,
.


. ( 1995) ,

, , ,
,
,
, .
,
,
.


, ,
.

116

, ,
. , .
,
,

.
,

,
.
,
, ,
,
, .

, . .
,
- ,
.
, ,

.

,
, ,
, , .
-
.
, .

( 2007).

.
, ,
,
,
.
,

( 1995). ,

.


,

, .
,
(, , ),

, .


1973. 1979.

, . 2011
, ,
, : .
, . 2009
, ,
, :
, - .

, . 1985
, , : .
, . 1981
, - ,
, : .

, . , . , . 2007
, ,
: , .
, . 2007
, .
, . 2007
, ,
, : .
, . 2001
,
, : -.
, . 1995
, :
.
, . 1994
, .
-, . 1994
, .
, .1992
, :
, .
, . 1990
,
, : .

:
:
,
. .18 . . 67
.
:
,
.1134, 21.9.1973; .1135, 28.9.1973; .1136, 5.10.1973;
.1160, 22.3.1974; .1164, 19.4.1974, .1169, 24.5.1974;
.1187, 27.9.1974; .1201, 3.1.1975; .1205, 31.1.1975;
.1207, 14.2.1975; .1208, 21.2.1975; .1212, 21.3.1975;
.1214, 4.4.1975; .1225, 20.6.1975; .1227, 4.7.1975;
.1228, 11.7.1975; .1238, 19.9.1975; .1268, 14.4.1976;
.1271,7.5.1976; .1274, 28.5.1976; .1298, 12.11.1976;
.1303, 17.12.1976; .1311, 11.2.1977; . 1313, 25.2.1977;
.1314, 4.3.1977; . 1316,18.3.1977; .1320, 15.4.1977;
.1321, 22.4.1977; .1323, 6.5.1977; .1327, 3.6.1977;
.1355,16.12.1977; .1357, 30.12.1977; .1370, 31.3.1978;
.1374, 28.4.1978; .1380, 9.6.1978; .1383, 30.6.1978;
.1386, 21.7.1978; .1390, 18.8.1978; .1395, 22.9.1978;
.1408, 22.12.1978; .1419, 9.3.1979; .1429, 18.5.1979;
.1431, 1.6.1979; .1459, 14.12.1979, :
.

, . , . 1986
, : .
, . , . 1985

, : .

:
, 19.4.2006. , .. 5/06,
.

117

Summary

MILICA ILI*

ILLUSTRATIONS BY BOA VESELINOVI IN THE POLITIKIN ZABAVNIK,

FROM 1973 TO 1979

118

Legacy in Heritage Museum Petrovac na Mlavi consists of

illustrations by Boidar Boa Veselinovi (1921 1999), done
for the magazine the Politikin Zabavnik in the period from
1973 to 1979. Illustrations were done in ink drawing technique on illustration board applied to a mount board.
According to their themes, Legacy illustrations are divided
into two cycles: Battles and Military Conquests and National
Costumes through Centuries.
Illustrations are examples of prolific work of Boa Veselinovi,
the Politikin Zabavnik illustrator and one of the most
outstanding comic-book illustrators of the second half of the
20th century. On one hand, the following is expressed through

*Milica Ili, art historian, Heritage Museum Petrovac na Mlavi

morphological analysis: plastic and iconographic layer of

illustrations/drawings; artistic interpretation of themes and
motifs of the content of illustrations and drawing
characteristics of artist's authentic signature style; problem
treatment of newspapers illustration as a drawing in original
form and a reproduction in printed medium, with a reference
to the relation of basic illustration elements text and picture.
On the other hand, a definition of illustration as potentially
distinct category of applied art, emphasising common
characteristics and differences of comic-book and illustration,
two related, mutually complementing, verbal and visual
mediums of popular culture, is explored.

 *
**

7.038.5:711.4(497.11) ; 711.4.01(497.11)
195693580

:
,

: a, aa, a,
: , ,
, , ,
, 2008. ,
10
, , .
, ,
,
,
,
- , , .

o,
,
,

.


, , , , ,
,

. , , .,
, , ,
, .
* , , ,
** , . . ., ,

: , , ,
, , ,
, ,

: ,
, .

, , ,

(Miles, 1997).
,
(S. Zukin)
'' '' (Zukin, 2004).

,
.
, ,

. ( ) ,
(, , , ), (, , , , ),
( , 2000).
,
,
,
,

119

1. , , ,
(KR, 2012)
1. Wien, virtual art tour, suggested city walks to works of art in public places, with maps and information (KR, 2012)

120

(Gehl, 2006, Carmona, Tiesdell,

2007). ,
, , , , ,
. , ,
''
'' ( 1991),

. ,
,
.
, ,

,

.
,
20. .

,
. ,
, , ,
,
, (, ,
'' ''),

.
,
,


( , 2000). , ,
,
- ,
, .
,
(
2011).

(, 1974) ,
,
, ,

. Public art
,
,

,
( , 2000).


,
. -.
(, 2011),
,
,
, .

( , in situ
.),
,

,
(Irvin,
2000).
, ,
(Richard Cork)
,
, .
,
, .
,
, ,
,

(Roberts, 1998).
,
, ,
,
,
lndmark .
,

.
-

2. , Ferryman ,
(. , 1904-1912)
2. Wien, the sculpture Ferryman, author Tony Cragg, in front of the Post
Bank

,
, ,
.

,


(Boudrrillard, 1985).


,
,
,
,
.
(Macphee, 2002).
(Duque, 2001),

, , ,
. ,
,
, ,
, ,
, , ,
, ., ,

, (Martnez Sarandeses et al,
2003).
(
)

121

3. , ( : ,
Aranda/Lasch, Arup AGU)
3. Wien, temporary installation in public space (group of authors: artist Matthew Ritchie, architects Aranda/Lasch, Arup AGU)

122

, ,
,
,
,
,
. , ,


, , ,
,

.

,
,
.
,
,
, ,


. ,

: , ,
.

,
, , .
, ,
. ,
(, 2000).1
. (, 1992)
,
.2
,
, ,
.
,
,
, ,
.

, ''

1

, : 27. 1941. , 1968 .,
1991. , 1992. ,
1996. , 1997.

, .

''
,
.

, ,
( ,
, 2012)

.
:

,

,
(. , , ,
, , .),
(. , , ,
, , ,
.),

,
,

(. ,

,
,
, .).

:
(
, .
),
(
, ,
, ),
, .,
( ,
, ,
, ),

( ,
).

,
:
, ,
(, ,
, .),
, .
,
.

.
, , ,
. ,
,
,
,
, : , ,
, . ,
,

, , ,
, ,
.



. ,
''
''
,

.
,
( , ),
,
( ,
.),
, ,
, ,
'' '' ( , .
,

123

, .), ,
, , ,
.
,

, , ,
, , ,
, ,
.


, . , ,
, , .
()

. ,

.
,
( ,
.), .
'''',

(.
.).
-
, ,
, ,
.
,

, ,
'' '' ,

,
.

124

4. , ,
(Cambridge City Council, Cambridge Open-air Art, Cambridge Sculpture Trails, 2012)
4. Cambridge, UK, the example of digital register of public art and suggested tour for visit (Cambridge City Council, Cambridge Openair Art, Cambridge Sculpture Trails, 2012)

:
, ,

:
(., , , ,
, ...)
/ (
...)

(
...)
(, ...)



:
/

, ,

:
,
( , ,
- ...)

,
( ,
)
/ ,
/
,

:

(
,

:
1-2, .3 ,

(
)
web ,

1. '''' ''
''
Table I: An example of possible pattern for the proposed A Systematic Registar of realized Contemporary
Public Art in Public Spaces of Belgrade

125

5. , ,
, , ,
2002.
5. Cambridge, UK, bronze relief map of central historical area on marble
plinths with Braille inscriptions, displayed in 2002

126

,
,
(.
, ).

, .
, , .
( ,
, / .), , , ,

, .

,
. 2000.
(
". ", . 3 17. 2000),

,
, ,
, ,
.
,


.
2008.
,
,
,

10 ,

. 107 ,
. 48 , 10

. ''''
, ,
, ,
,
3.
,
. ,
, ,
. ,

4. ,
je
.
3

, , ,
, ,
, ,
.
4
:
( ) ,
,
, ,
, ,
Plato , ,
,
,
( )
.

. ''
'' , ,
, ,
, , '' '',
,
.
,
.
Public Art,
. ,

.

,
,
.
,

.
,


,
, ,

.
,
.

, , ,
, , .
: ,
'' '' ,
'' '',
, ,
.
, -
,
.
. ,

6. , , ''The Corpus Clock'',

, 2008

6. Cambridge, UK, ''The Corpus Clock'' authors John Taylor and Mathew
Lane Sanderson, displayed in 2008 on the corner of Bene't Street and
King's Parade

.5
,

. , ,
,
,
.
(
)

,

(, 1998).
5

,
,
, ,
, ,
.

127

, , , , .
,
.
, ,
()
, , , ,
, .
,
,
.
,
,
,
.

/// (. , ,

).
, .
'' '', (Project for Public Spaces, 2008)

,
. ,

, ,
,
.
,
,
.

, ., , ., 2012.
-
, , .34,
(), , .
28-41.
KR-Kunst im ffentlichen raum Wien:
http://www.koer.or.at/downloads/KOER_Folder_A2_englis
h.pdf (28.11.2012.)
Cambridge City Council-:
http://www.cambridge.gov.uk/ccm/portal/, (28.11.2012.)
Cambridge (UK) Open-air Art
http://homepage.ntlworld.com/, (28.11.2012.)

128

Cambridge Sculpture Trails

http://www.cambridgesculpturetrails.co.uk/ (28.11.2012.)
, ., 2011.

, '' '',
, ,
, ., 2011.
. Clio, ,
Project for Public Spaces, Inc. Streets as Places, using streets to
rebuild communities. http://www.pps.org/, PDF, 2008,
(17.02.2012)

Carmona, M., Tiesdell, S. (ed.), 2007.

Urban Design Reader. Architectural Press, London,
Gehl, J. 2006.
Life Between Buildings, Using Public Space. The Danish
Architectural Press, Kbenhavn
Zukin, S. 2004.
The Cultures of Cities. Blackwell Publishers, Oxford
Martnez Sarandeses, J., Herrero Molina, M.A., Medina
Muro, M. 2003.
Gua de diseo urbano. Ministerio de Fomento, Direccon
General de la vivienda, la arquitectura y el urbanismo, Madrid
Macphee, G. 2002.
The Architecture of the Visible, Technology and Urban Visual
Culture. Continium, London
Duque, F. 2001.
Arte pblico y espacio poltico. Ediciones Akal, SA., Madrid,
, . 2000.
: . Clio,
, . 130-146.
, ., , . (.), 2000.
. Clio,

, . 2000.
/ : . Clio, .
. 49-60.

Miles, M. 1997.
Art, space and the city: public art and urban futures. Routledge,
London.

3/2000
,
http://www.podaci.net/ , (17.02. 2012)

-, . 1992.
, ,
, .

, . 1998.
.
, .
Roberts, M. 1998.
Art in the public realm, in Greed, C., Roberts, M. (ed.) Introducing
Urban Design, Interventions and Responses. Longman, London.

, . 1991.
, . ,
.
, . 1985.
: , SIC, , .
183.
Lin, K. 1974.
Slika jednog grada, Graevinska knjiga, Beograd.

Summary
MARTA VUKOTI LAZAR*
NATAA DANILOVI HRISTI**

HE SIGNIFICANCE OF CONTEMPORARY ART IN PROCCESS OF THE INTERDISCIPLINARY DESIGN OF THE PUBLIC URBAN SPACE OF BELGRADE
Chossening the art creations for displaying in unconvetnional
frames, outside the museums and galeries, in other words, in
urban public places, require special criterias of evaluation,
because beside critisizm of art compositions it is necessery to
grade and select appropriarte location, in order to form
compatible and unrepeatable ambient. Public art is specially
dealing with different critiques connected with evaluation and
choise, interpretation of the artistic value, symbolism, context
and overall presentation, particurarly because it is ussually
funded from public budget and contstantly availalble and subject
to reactions of all urban space users, profesionales and citizens.
No matter if their character is permanent or temporary, art
subjects have a power to fundamentally change appearance and
nature of space, give it new dimension, or design it in the different
manner. The fact is that the public space is actually the politic

* Marta Vukoti Lazar, art historian, Urban Planning Institute of Belgrade

**Nataa Danilovi Hristi, architect, Urban Planning Institute of Belgrade
. .

realm, so all interventions require certain steps, from

initiatives to decisions making and realization. As case
study of procedures is stated example of work of
Commission for sculptures of Belgrade's City Assemble,
that started in 2008, with a task to elect 10 art
compositions and to opt for becomingly exhibition
locations, with verification of all urban or technical
possibilities. In addition, the authors are giving the
proposal and concept for forming the Base Register of
artistic masterpieces and public art on territory of the City
of Belgrade, like model that some cities already have, in
layout of public digital information base. The Register
should contain all relevant and up-to-date data with
visualization and mapping, with the goal to bring and
promote the culture of this ambience to all interested
persons.

129

 069(497.113)(049.32)
195693836

-
, 2009

, - ,
, 2009. , - . 2010. ,
.


.
,

.
-
.
- ,
.

-,
. 512 ,
,
, .
,
: , , ,
, , ,
, , , ,
, , , , , , ,
, , , ,
. .
.
-, .
.
* , , ,

: (210 380 - )
.
,
,
. ,
.
- , , , , ...
,
, . ,
, ,
,
, .
,
.

, ,
, , .

.
,
.
, , , , ,
, .
,

-.
-
, , ,
- .
,

133

134

1. -
1. Front page of the Pavle Beljanski Memorial Collection Monograph

, .


. , ,

, ,

. ,
, ,

,


.

.

, 1962.
,
.

, ,
, (
),

,
.
,

,

.
. ,
,
, ,
, ,
, ,
.
.

. ,
, , ,
,
.


,
.
,
, . , ,
,
, , ,
.
1946,
, , .


:
.
. -

,
1957,
.

, ,
.

, , 1961.
,
,
.
,
.
-
.
.
,
,
, .
,
.
- , ,
, . ,
,
.
, ,
,
. -
,

. , ,
.

,
.
,
.
, , , .
, -

.

135

 7.02(049.32)
195695628

,
, , , ,
: , 2011, . 317 + 51 .

136

A 1 (Historia naturalis),
je ,
, , , , , , 37
. , 77. .,
.
2

,
4 (XXXIII
XXXVII).
,
,
.
, ,

- , .
,
14691470. .,
.
,

,
. , .
(, ,
, .), , ,
* , ,
, .
1
(Gaius Plinius Secundus, 23. 79. ), ;
, 69. .,
(Gallia Narbonensis). ,
Historia naturalis ;
.
2
(COFA nline)
,
(ANU) .
.

:
; (, , , , ,
); (,
); (,
, ).

, ,
, .
, ,
, .3

.
,
, ,
,
.
,
, ,
.

, I
Historia naturalis.


20 36 ,
(
).
, ,
,
,
,
.


, , . .
3

, , , ,
. , , 2009.

1.
1. Front page of the publication

, . , , : ,
,
(, ,
, ),
, , (, , ,
.).

, ,
,
, .
( ,
). V , ,
, ,
, , .

,
. , ,
.
,
().

, ,
, , ,

, , , , ,
.
,
( , , ) -

137

, , ,
.
;
, , , , , , ,
, , ,
. ,
,

, ,
.

138

.
,
, ( , ), , . 51 ,
,
.

,

, , .

,
.

J *

738:069.9(73)2012](049.32)
195696140

SHIFTING PARADIGMS IN CONTEMPORARY CERAMICS

The Garth Clark and Mark Del Vecchio Collection, Yale University Press 2012.

4.
3. 2012. Shifting Paradigms in Contemporary Ceramics: The Garth Clark and Mark
Del Vecchio Collection. 483 , 702
. (Cindi Strauss)
,
,
, (Garth Clark)
(Mark Del Vecchio).

,
2007. . ,
- .
481 ,
.

, ,

.

.
.

,
(Lucio Fontana), .
,

.
, . (Peter Voulkos), (Ken Price), (Ron Naigle), (Beatrice Wood), 1940.

(Alleghany Meadows) a (John Pagliaro).
,
*J , , ,

(George E. Ohr), (Lucie Rie)

(Hans Coper)
.
,
,
.
.
, (Gwendolyn Goffe)

. ,
. ,
, ,
, , ,
.
:
(Collectors Statement: Art Janitors) ,
.

,
, .


. ,
,
,
. 1947. ,
( .),
, , ,
1981. . , ,
.

139

1.
1. Front page of the catalogue

140

, .

.
(Glenn Adamson), (Ezra Shales)
(Jorun Vaiteberg).
. , ,

:
, ,
.
: -
, ,
. a
(Clement Greenberg)

, (Philip
Rawson) .
,
,
.
:
, ,
, -
.
, ,
.
. ,
(Beatrice Wood)
.

SHIFTING PARADIGMS IN CONTEMPORARY CERAMICS

.

, .

.
-,
(Robert Arneson), ,
.


, (Alison Britton)
1979.

.

.
, .
, 125

, ,

.
, ,
.
,
,
, ,
, ,
.
, .

, , ,

.
, ,
,
,
.

141

 745/749:069.9(410)2011/2012
195696652

M
(Power of Making, Victoria
and Albert Museum and Crafts Council, London), 6. 9. 2011 2. 1. 2012

142

(Power of aking)
. , ,
(Crafts Council)
(The Porter Gallery) .
, ,

,
.
, , .
,
(Daniel Charny),
,
.
,
, ,

.
,
,
, , .

,

,
.
(Tinker Space),
,
.
,
www.vam.ac.uk,
,
. , ,
(Marloes ten Bhmer),
(Shauna Richardson), * , , ,

,
(Matt Durran),
(Stephen Wessel).

,
,
.
,
, ,
.
, . , ,

, (kideville),

.
3D ,
, , ,

.
,
,
,
,
. , , ,
.
,

, . ,
,
,
.
,
,
. ,

. ,
. ,
, ,
, , , -

1.
1. Exhibition poster

. ,
,
. ,
,

. ,
,
(David Mach), ,
,

. ,
.
, ,
,
.

, ,
,
, .

.
,

.
, ,
.
, ,
, (Facebook)
,
.
, ,
.
,
. , , ,

.

143

2011. 2012.

- 2011. ,
,
1918 1941, . -
(264 140 ) ,
.
, , (6.
2011 31. 2012).

147

- 2011.
, 19. 2012. . ,
, ,
- 2011. .

 -
19181941 44.
(1031. 2012),
, .
44.
: , ,
, ,
.

2011.


2011. .
: ,
, , ,
, .

, ,
, ,
19451980, (730. 2012, ).

, . .
- 18.
2012,
.

, 14.
. 2012. :
, ;
, ; ,
;
, , ( ).

.
,
,
, 21. 2012.

.

148

150

METALWORK AND JEWELRY DEPARTMENT

, , 1832.
, ,
11 cm; 30 cm
. . 23853

Silver Tazza
London, England, 1832
Height 11 cm; diameter 30 cm
MAA Inv. No. 23853

XIX
2011. .
,

.
,
.
, , 1832.
II (William Bateman),
,
.
II (Hester
Bateman),
XVIII
.
, ,
.
I,
II.

,
.
, ,
.
, , .
.

Decorative Tazza from the collection of English

19th-century silverware in the collection of Metalwork and
Jewelry Department was purchased in 2011. The
representative silver dishes of this type are characterized by
the richness of decorative forms which emphasie their basic
use for serving dishes and decorating dining tables, even
more. For these exact reasons, these objects enjoy constant
attention and popularity even today.
The Tazza was made in 1832 by William Bateman II,
one of the Bateman silversmiths famous for their family
workshop. William Bateman II was the great-grandson of
Hester Bateman, probably the most famous woman
silversmith in England during the second half of the 18th
century. She took over the workshop upon the death of her
husband. Hester expanded business and improved the
production of silverware, making the family name famous.
Her grandson William I created the silverware that was
especially valued, and his footsteps were followed by his son,
William II.
The Tazza is set on a round high pedestal base,
formed by curled leaves, widening at the top, with clearly
accentuated textures. Resting on the base is a very short, cast
and undecorated stem, which carries the plate itself. The body
of the plate is formed by the same motif of decorarive leaf,
creating a sense of blooming, opened blossom. The upper
edge of the plate is slightly bent outwards.

Mila Gaji

151

152

FURNITURE DEPARTMENT

, 1870,
: ., (Vincenti&Cie,
Montbliar)
(, ), , , , ;
, ; , , , ,
51 41,5 15,5 cm
, . . 23839

Figural table clock

France, circa 1870, The Second Empire
Movement: Vincenti&Cie, Montbliar
Metal (zinc, brass), cast, chased, distressed, gilded; glass, cut; marble,
cut, polished, engraved, gilded
51x41.5x15.5cm
MPU, Inv. No. 23839

1 ,
.
, .2
,
, .
, ( ).
:
, 1855. (MEDAILLE D'ARGENT, 1855).
. (VINCENTI&Cie).
, 5294, ,
, 8 1, .
,
, (R....).
je
, .
.
.
,
, , .
.
, , , . ,
., 1865. 1870. .
je .

. , ,
. . ,
,
, . ,
.
.
, .

, , , .

The collection of household clocks in the Department of

Period Furniture has been enriched1 by a representative piece of a
French figural table clock, the first piece of this typological group in
the collection. The clock consists of a round movement with two
mainsprings, with an anchor escapement and pendulum at the back.2
The clock has eight day movement striking on a bell every hour and
half hour. The back plate of the clock has a seal stamped, hidden
under bell calotte (see detail). The words in French MEDAILLE
D'ARGENT, 1855 are inscribed on the outer rim of the seal.
VINCENTI&Cie is inscribed on the inner rim. Above the seal, the
movement serial number 5294 is written, and below, close to the
bottom of the disc, numbers 8 and 1 indicating the pendulum length.
At the bottom of the front plate of the dial, the first letter of erased
signature can be noticed: letter R.
The case consists of a base and a figure in full plastic
incorporating a round clock mechanism. Marks can be seen on the
bottom plate of the base indicating that originally legs have been
there. The clock has been equally decorated on all sides.
The base of the clock, tier profiled at the front and sides, is
made of black, marble plates. There is a round opening for pendulum
in the middle of the top plate. The side plates of the base are decorated
with carved, botanical, gilded ornaments in Classicistic style. Most of
the clocks with Vincenti&Cie movements made between 1865 and
1870 have similarly constructed base.
The figural composition has been realistically done
depicting a young woman sitting on a chariot filled with ripened
wheat sheaves. Her tunic, softly draped around her body, emphasizes
her curves and waist. She is wearing a laurel wreath on her head. Parts
of her body, not covered with her tunic, are emphasised by reddish
colour based on the copper powder, imitating copper patina. Her
dress, the chariot and her hair are in darker patina. The gilt on the
laurel wreath and wheat sheaves is not authentic. The whole
composition is cast in zinc, with rough final processing. This very
well devised figural composition is a work of a skillful and
experienced sculptor, unfortunately with no signature.

Marija Buji

, ,
, XIX ,
.
2
, ,
.

When purchasing the clock, we got information on different clock owners, indicating
that the clock was a part of a house interior of a wealthy Belgrade owner as early as at the
end of 19th century.
2
Mr Aleksa Jahno, horologist, provided us with his expert assistance related to functioning of the clock mechanism.

153

154

DEPARTMENT FOR CERAMICS, PORCELAN AND GLASS

, 1920.
,

: R 9 cm, h 6 cm
: R14 cm, h 1 cm
. . 23837

Tea cup with saucer

Czechoslovakia, 1920
Dubi, Eichwald
Porcelain
Cup: R 9cm, h 6 cm
Saucer: R 14cm, h 1 cm
The Museum of Applied Art Inv. No. 23837

,
,

.
, , ,


XVIII XX .

.
XIX
. 1864, ,
,
(Anton Tschinkel) je ,
. XIX ,
(O. C. Teuchert).
,
,
. 1895.

K. ( Bloch & Co) 1920.
K.
(Eichwalder Porzellan und Ofen-Fabrik Bloch & Co).
,
1942.
(Porzellan Fabrik Dr. Wider Eichwald).
,
, 1920. .

,
.
,
.
, ,
.

Objects that represented an important segment of private

life of European civil society are kept in the porcelain collection of
The Department of Ceramics, Porcelain and Glass of the Museum of
Applied Art. Porcelain sets or cups of the most versatile shapes from
the museum collection, made in the most prominent European
manufactures in the period from the 18th to 20th century were meant
to be used for everyday little pleasures, like drinking tea, coffee or
chocolate.Objects from manufactures of the present day Czech
Republic make up a significant part of the collection. One of these
manufactures is Eichwald which took over a leading role in the field
of porcelain in this region during the 1870s. In Dubi, on the territory
of what was then Bohemia, an industrialist Anton Tschinkel founded
in 1864 a Majolica factory, which later began porcelain production.
During the 1880s, the production was improved and the German
company O. C. Teuchert became the new owner of the factory.The
production of objects of the late Baroque style decorated with cobalt
blue ornaments influenced by German Maissen began. An
Austrian industrialist Bernard Bloch became the new owner in 1895,
the factory changed its name to Bloch&Co and operated under that
name up until 1920 when it once more changed its name to
Eichwalder Porzellan und Ofen-Fabrik Bloch & Co. During the
Second World War, the factory operated within German territory,
changing its name in 1942 to PorzellainFabrik Dr. Wider Eichwald.
A porcelain tea cup with saucer, from the museum
collection, was made in Eichwalder Porzellan und Ofen-Fabrik
Bloch & Co during 1920. The body of the cup, with rounded gilded
handle, rests on an elevated circularbase, with a saucer of irregular
circular base. Pastel pink flower decoration runs down from the
edges of the inner side of the cup and saucer towards the central part,
while the edging is gilded. The outer side of the body of the cup is
decoratedwith a simple narrow gilded frieze following the edging.

.: . , . , : 17921982,
, , 1983; . ,
: 17301850,
, 1976;
http://www.cesky.porcelan.cz

References: D. Hejdova, J. Hornekova, eki porculan: 1792 - 1982,

The Museum of Applied Art, Belgrade, 1983; R. Drecun, Porcelanske
olje iz muzejske zbirke: 1730 - 1850, The Museum of Applied Art,
Belgrade, 1976; http://www.cesky.porcelan.cz

Biljana Crvenkovi

155

156

DEPARTMENT FOR CONTEMPORARY APPLIED ART

, , 2009.

, 1000
32 x 110 cm
. .23845
2012

White Spirals
Republic of Serbia, Belgrade, 2009
Katica Pavelka Vukajlovi
White engobe, at 1000o
32 x 110 cm
MAA Inv. No. 23845
Purchase, 2012

, , 2009

, 1020-1220,

. .23846
2012

Perfect Imperfection
Republic of Serbia, Belgrade, 2009
Katica Pavelka Vukajlovic
Engobe, at 1020o -1220o, black and white clay
Dimensions variable
MAA, Inv. No. 23846
Donation by the author, 2012

,

. ,

,
,
.
(2009) ,
.

/

.

In the cycle of installations Facing Katica and Sran, Katica

Pavelka Vukajlovi evades any comparison or categorization.
She is interested, above all, in the fine technique that is hard to
control, in the perfection proven at all levels, in the beauty of
the content inspired by the material. In installations White
Spirals and Perfection is Imperfect (2009), she started the
process of creation by using the archetypal form of spiral. The
visual language in her works accentuates the monotony of
infinite movement and/or speaks about various possibilities
in the creation of forms and their beauty that one can hardly
resist.

Biljana Vukoti

157

158

DEPARTMENT FOR CONTEMPORARY APPLIED ART

Wings of desire
,
, 2011
, , , ,

180 x 80 x 35 cm
. 23851
, 2012

Wings of Desire
Republic of Serbia, Belgrade, 2011
Valentina Savi
Quenching, porcelain, engobe, transparent glaze, printing on
forex
180 x 80 x 35 cm
MAA Inv. No. 23851
Purchase, 2012

Wings of Desire
.
.

30 .
28 , , ,
.
,
, . ,
.
.
.
, , 2011,
, 2011.
Wings of Desire
(Vim Wenders),

,

Angelopathie,
,
. , ,
,
.

The installation Wings of Desire belongs to the cycle of works

titled Consumation. It is made of porcelain and is decorated
with black engobe and transparent glaze. The composition of
the work is comprised of two printed forex round plates and
30 porcelain parts. The first plate carries 28 porcelain wings,
in black engobe in varied nuances from black, to dark gray
and light gray, to white. The parts of the composition are
arranged to form a cone, from the darkest ones at the bottom,
to the gray ones in the middle, and to the white wings on the
top of it. The second plate carries two porcelain breasts, glazed
with transparent glaze on top. All the porcelain parts are made
by quenching from moulds. The moulds are made from real
objects, and cannot either be used again or repeated. This
work was exhibited at The Ceramic Biennial Manises, in Spain,
2011, and at Ceramics Biennial, Belgrade, 2011.
For the title for the work Wings of Desire the artist took the
original title of the movie by Wim Wenders, translated into
Serbian language as The Skies above Berlin, and this title
offers us possibilities of completely different readings which
enter the field of human spirituality. In this work, it also
assumes a new meaning reflected in the subtitle Angelopathie,
which also embraces and examines the subject of the sacred,
spiritual purity and sins. However, if it is taken as initial
information, this work becomes disturbing, and it opens
innumerable existential questions and revision.

Biljana Vukoti

159

160

DEPARTMENT FOR CONTEMPORARY APPLIED ART

Powder tractate
, , 2011

, , ,
100 x 25 x 35 cm
. . 23852
2012

Powder Tractate
Republic of Serbia, Belgrade, 2011
Valentina Savi
Fine stoneware, transparent glaze, glass, powder
100 x 25 x 35 cm
MAA Inv. No. 23852
Donation by the author, 2012

,
Powder tractate,

. ,
,

.

In the cycle of works titled Consumation, to which the

installation Powder Tractate belongs, Valentina Savi
begins to explore our attitude to the consumer spending
and the possibilities of consumption in the contemporary
society. What is offered, allowed and imposed on the
contemporary man to use, along with questioning the
values from the perspective of contemporary society.

Biljana Vukoti

161

 7.025.3/.4
195697164

1790-2010

,
25
" 17902010.
".
.
.
.
,

. ,
,
.
(
),
, .

.

, . 10

.
,
,
.
, ,
72.

.
, ,
.
,
.

165

1.
1. Silver cross after gilding

2.
2. Gospel cover with the remains of original gilt

3.
3. Gospel cover after conservation

166

4.
4. Censer before cleaning

5.
5. Censer after cleaning

 726.7.025.3(497.115)
195697420

O



,
. ,
,

.
,
. .

, .
,

. ,

, ,
. .


. :
-

-
- , ,
,
-
-
- ,
,
-
-
-
-

, . -

1.
1. Throne of Holy Mother after conservation

.
.
, . 8
. ,

.

. o .
.
,
.
. .

167




.

, 48
, a
.
60%. 54%.
(),
(), .
, ,
, ( )
(, , , )
,
.
. .


.
.
. , .

. , ,

168

2.
2. Surface condition before conservation

. ,
,
.
,
, . .
.


. , je .

.
, , 80
.
180 ,
.

.
.
, (, ,
)
.
.

.
, ,
,
. ,
,

,

,

.

(white spiritus).
(
).

,

.
, . ,
. .

.
, ,
.

.

 ()
.


. .
24 .
,
,
72,
. ,
. ,
(

).
,
, .

. ,
, .
( )
,
.
, ( 40 ) (3 ).
,
1 5.
, .
1 . 3
.

:
1, 3, 3
( ,
).


.
, 1840. 1864. ,

( 1864).
.

(
). 1864.
.

.
1963.
, .


,

3.
3. Separation of back board

16
( ) . 12

.
. 24 ,
.

.

40%,

.
, 22,5 carat Orange Double Gold
( )
, .
,
-
(
).
1 m. .

. .

169


5%
. 24
,
.
,
.
, .
, 400.
,
, 5%
( ).

, 50%

. , ;

, .
, 10 ,
.

.

, ,
(
).

.
.
,
. 700
.

.
24 50% .
19 60%
.

.

170

4.
4. Surface cleaned for priming

5.
5. Gilding with patina

745.52.025.3(497.11)
195697676

1964. , . 1878.
, ,
, e
e.
, , .

,
.
.
, ,
,
. ,
. ,
,

. ,
, , . , , , .
.
,
. , ,
,
.
, ,
, .
: ( )
145 cm, ( ) 188 cm,
45 cm, 360 cm.
(o) (). Z . je
.
,
.

.

171
1.
1. Wedding dress after the conservation

,
. ,
,
.

2.
2. Wedding dress before the conservation

172

.

.

.

.

.
,
30 ,
0,5 /.
. ,
,
. , ,


. ,
.
.
, ,

,
, .
.
. , .
,
.
(, )
.
.

,

.
. , ,

. ,
.

,

. ,

3. -
3. Damage on the dress before conservation (detail)

. ,

.
,
,
,
. ,
, .

.
.
,
.
,
. 5 mm.
, , .

4. -
4. Damage on the dress before conservation (detail)

,
,
.

.
136 cm 5 cm.
, j
352 cm.
,

.
.

. , ,
.
(, )
22. 2011. , XIX
XX , ,
.

173

 2012

175

2012.

1. . . .
XXXIV

28. 3. 2012 30. 4. 2012

, ,

) ( XXXIV
)
: , ,
, ,
.
5. 4. 2012. 18 h

:
) Italy Now /
20002010
Mario Pisani

28. 3. 2012 30. 4. 2012

''''

) , ?
: , ,
,
11. 4. 2012. 18 h

) Grand Prix 2011.

XXXIV
Grand Prix-a XXXIII
: , ,
, ,
28. 3. 2012 30. 4. 2012
''''
) () 2011

2011
&

,
28. 3. 2012 30. 4. 2012
''''

)
:
(); (
);
( ); (
) ( )
12. 4. 2012. 18 h

) / Park Politics
/
Land Use Poetics Performances of the Possible
: / Maria Hellstrom
Reimer ()
17. 4. 2012. 18 h

) / Park Politics
? / How is the Image
of a City Created?
: / Annelie Nilsson ()
18. 4. 2012. 18 h

177

) / Park Politics

/ The park a Space of Orientation in the Urban
Landscape
: , ,
, ()

19. 4. 2012. 18 h

2. ,

19. 5. 2012


:
A) ,

,

2. 5. 2012 ( , ); 2. 6. 2012, 8.
6. 2012, 3. 10. 2012, 30. 10. 2012, 31. 10. 2012, 2. 11. 2012, 6.
11. 2012, 7. 11. 2012, 13. 11. 2012, 15. 11. 2012, 27. 11. 2012.
28. 11. 2012
) ,
. ,
20. 6. 2012. u 18 h

178

3. 19451980

17. 6. 2012 30. 6. 2012.

:
)
!
,

12. 6. 2012. 15. 6. 2012. 12 h

)


,

13. 6. 2012. 14. 6. 2012. 12 h
4.
XLVII

4. 10. 2012 27. 10. 2012

:
:
:
)

4. 10. 2012 14. 10. 2012

( )

)

1822. 6. 2012. 12 h
,

,
17
XLVII
)
911. 10. 2012. 12 h

)
1620. 10. 2012. 12 h
(, 20. ,
)
,
) /
23, 24. 26. 10. 2012. 12 14 h
,

5. :




9. 10. 2012 26. 10. 2012


6. -.
2000.

6. 11. 2012 31. 1. 2013

,
:

1.

,
Roth Gyla Gyakolo szakkozepisola es kollegim
(), IPSIA Brgnera
(),
()
.

16. 3. 2012 23. 3. 2012

3. 2012 ( 2)

2012 ( 2)"
.

5. 7. 2012 29. 7. 2011
,
,

4.

Yubido Inc.
6. 9. 2012 27. 9. 2012
,
: Yubido Inc.,
: ,
5.


:
,

19. 10. 2012 26. 10. 2012

2.
44. -

10. 5. 2012 31. 5. 2012
,

( )

- :
, , , , ,
, , ,
, ,

179

 2012

2012
[ ] / [
] . : , 2011.
. 7, 167 . : . ; 27 cm
: Journal [Museum of Applied Art]. : [I ]: : (1) Les souliers
rouges du Pape, du basileus a Prada / Bernard Berthod. [Summary]: Papal Red Shoes, From Basileus to Prada; (2)
/ . [Summary]: And the Yellow Kabadia Rustled No More; (3)
XIX XX
/ . [Summary]: Wedding Dresses in Serbia in the Second Half of the 19th
and the Beginning of 20th Century From the Collection of the Museum of Applied Art in Belgrade; (4) Odjevna
proizvodnja Zagreba u razdoblju secesije / Katarina Nina Simoni. [Summary]: The Clothing Production in Zagreb
in the Secession Period; (5) Blue Jeans : / .
[Summary]: Blue Jeans : The Multiple Meanings of Messages in Popular Culture; (6) The Clothed Body in Fashion and
Performance / Jessica Bugg. [Summary]: . [II ]:
: (1) / . . [Summary]: The Ciboria of ia
Monastery; (2) : / -. [Summary]: Colour in
Space : Colouristic Culture; (3)
/ . [Summary]: Note on the Collection of Contemporary Art Ceramics of the National Museum in
Aranelovac; (4) / -. [Summary]: Store Window As Theatre Stage.
[III ]: : (1) : / :
, XX ; (2) Diana Scarisbrick, Rings : Jewellery of Power, Love
and Loyalty / . [IV ]: 2010-2011: (1)
, /
; (2) / . [V ]:
2011 = Acquisitions 2011. [VI ]: :
/ . [VII ] 2011: /
. [VIII ]: 2010-2011 : / .
YU ISSN 0522-8328

34. = 34. Salon of Architecture / [ ]

- ; [ ] -,
; [ ] . :
, 2012. 251 . : . ; 26 cm
ISBN 978-86-7415-154-9

182

: 1945-1980 / [ ] ;
[ ] . :
, 2012. 12 . : . ; 30 cm
ISBN 978-86-7415-155-6

47. : : = 47th
Children's October Salon : Belgrade City of Culture : children's artistic attraction / [
] -, [ ]
. : , 2012. 83 . : . ; 22 cm
ISBN 978-86-7415-156-3

: : ... / [ ] ; [
] . :
, 2012. 87 . : . ; 24 cm
ISBN 978-86-7415-157-0

- : : 2000 = A Female Artist : New

Subjects and Ideas : Serbian Ceramics After 2000 / [ ]
; [ ] , . :
, 2012. 248 . : . ; 26 cm
ISBN 978-86-7415-158-7

: A
(7, 8, 9,12,13,15, 16); .
(25, 26); . (27,
30, 31); uzej za umjetnost i obrt . Sreko Budek (38, 39, 40,
42); . Keith Piggott (41); ,
a, . (47, 49, 50);
, a (51);
, a (52); uzej za umjetnost i obrt
. Sreko Budek (56, 57, 60); Muzej Marton . atukaj (58)
. Sreko Budek (59); Hrvatski restauratorski zavod (61);
(67, 68, 69, 70, 71);
(79 .1); (79
. 2, 80); (81);
(84); Alden B. Dow Archives ( 89, 92, 93,

94 ); . (90, 91);
1956 (101); 1960 (102); YU strip EKS ALMANAH
144/1, 1978 (103); YU strip EKS ALMANAH 139/1,
1978 (104); YU strip revija jugoslovenskog stripa 34,
1981 (105 . 6); YU strip magazin 63/64,
1984 (105 . 7); , . 1160 (111);
, .1136 (112 . 2);
, .1303 (112 . 3); ,
.1314 (113); , .1320 (114);
, .1431 (115); http://www.koer.or.at/
(120); http://www.cambridgesculpturetrails.co.uk (124);
. (151, 153,
155); .
(157, 161); .
(159); (165, 166, 167, 168, 169, 170);
. (171, 172,
173).

183

,
, .

52.
.
:

(30 000 ) 7
/

(30 000 a) 5
/

(15000 ) 1 .

(7 000 )
1 .

184

o j
Harvard Style Manual, ,
author-date system.

.
, ( Serbian-Cyrilic) doc. icrosoft Office Word
97 , Times New Roman, 12, 1,5.
, .
o , : I
; II
(); III ; IV ; V ; VI ; VII ; VIII
; IX ; X ; XI ; XII .
I

, .

, .
II
(A)

()

.
(.: ,
, ).

.
III
,

. ,
.
IV

.
.
,
, . 100 250
.
V

.

.
5,
.
VI

, ,
.
/
.
.

.
cf. (. confer)
e.g. (. exempli gratia)
i .e. (. id est)
/ (
).

 ,
.


:


( 1969)
(Wenzel 1965)
.
,
.
( 1969: 37)
(Wenzel 1965: 101-133)


.
... (Wenzel 1965: 101)
,

.
(1969)
....
,
/and
( 1981)
(Beardsworth and Keil 1997)
,
. / et al.
/ et alii (lat.)
.
( . 2005)
(Cohen et al. 2000)
,
, :
(ibid.: . .) ibidem (lat.)
, .
(Wenzel 1965: 101)
(ibid.: 112)

, ,
: (loc. cit.) loco citato
(.) .
(Wenzel 1965: 101)
(loc. cit.)
,
, : (idem : . .)
idem (.) , .
(Cooper: 1998: 3132)
(idem 1998: 3132)

, ,
( :
, , b, c)
(Caroli 2005a)
(Caroli 2005b)

, :

( ;
)
(Cooper 1998; Critser 2003)
, ,
,
( 1958: 55, Taf. 18/24 ).
VII
.
: ,
(), .
1800 ( 1 ).
.
VIII

.

,
, .
, ,
.
.
(
, ,
), , .

,
: 1. () ;
2. ,
. ; 3. ; 4. ; 5.
/ .
, .
( ), :
.
1. ()
:
, .
( ), :
.
Ae e
: ( 1969)
: , . 1969
XII XVII ,
: .
() , (
), : ,
(:) .
:
:
.
Beardsworth, V.1997
Sociology on the Menu : an Invitation to the Study of
Food and Society, London: Routledge.
:
, . 2007
Ars Fumandi, , :
, (M X).

185

186

Popovi, P. 1965
Rimski nakit, Beograd: Arheoloko drutvo
Jugoslavije, (Dissertationes 6).

,

( ,
, i,
).
,
( )
and.
: ( 1981: 16-18)
: , . , .
1981
, , :
.


,
.

et al. etc.
.
Ae e

: ( 2011)
: , . 2011
, . ,
: .
: (Berkman 1994: 40)
: Berkman, R. 1994
Find It fast : how to uncover expert information on
any subject, ed. . Holland, London: UKCC.
( - ,
, ) (.), (.), (.), (ed.),
(eds)
: ( 1998)
: , . (.) 1998
,
, :
, (
93).
: ( 1960)
: , . (.) 1960
1349. 1354,
: .
: (orris 2002)
: orris, I. (ed.) 2002
Classical Greece-Ancient Histories and Modern
Archaeologies, Cambridge: Cambridge University
Press.
: (Hurst and Owen 2005)
: Hurst, H. and Owen. S.(eds) 2005
Ancient Colonizations-Analogy : Similarity and
Difference, London: Duckworth.
e
:
,

:
: (Black's Medical Dictionary 1992)
: Black's Medical Dictionary 1992
London: A & C Black.


: ( 1969: 156-157; Radojkovi
1980: 9)
:
, . 1969
XII XVII ,
: .
Radojkovi, B. 1980
Englesko srebro, Beograd: Muzej primenjene
umetnosti

: ( 1969a; 1969)
:
, . 1969a
XII XVII ,
: .
, . 1969
XII-XX , ,
: .

, . . 2005
, . ,
. , :
.

: (Fishman 2005: 11)

:
Fishman, R. 2005
The rise and fall of suburbia, [e-book], Chester: Casle
Press. Available through Anglia Ruskin University
Library. [5. 6. 2005].
2. ,
.
:
( ),
, : .
, . 1987

- , :
,
. . , : , 25-44.
3.
:
, .
, ()
( ) (/):
.

.
, . 2011
XIX
XX

 , () 7: 31-41
, ,
: 1884-1895

1906-1914 [ ] (..)
1922-1942 [ ] (..)
1950-2007 [ ] (..)

, ,
, .
:
, . 2001
, , 6. ,
7-8.
4. /
(
), (in press).
( ),
(forthcoming).
: (, )
: , . ( )
, : , . .
, :
.
5.

,
http://...i
.
6.

/ ,
.
:
, . 2010

1945-1980, ,
, .
IX

:

: ,
, / ,
, .
(. 236), .
, , . , . 8552/264/5, 1780-1783.
X
. -

, . ,
, .

(AICA)
(International Association of
Art Critics)
(ICOM)
(International Council of Museums)
XI
,
CD- DVD-, 300 dpi
TIFF ,

,
.
,

.
.


.
. .
,
.
.
(1)
(2) CD-.
(1)
4 . : ,
, ,
(), , ,
, ,
, ,
, (; .
; -mail).

,
: , , , ,
-mail ( 100
).
(2) CD-
CD-. CD
: 1. Word file ,
2. Word file , 3. Word file
, 4. , 5.
(; -mail).
.

187

CIP
,
7.05(082)
/ =
Journal / Museum of Applied Art ;
.
- 1955, . 1-1984/1985, . 28/29 ; ..,
2005, . 1- . - (
18) : , 1955-1985;
2005- ( : ). - 29 cm
.
ISSN 0522-8328 = -

COBISS.SR-ID 16567042