Dr Mila POPOVI]-@IVAN^EVI]

savetnik konzervator, {ef OPZ Dijana

Dr Mila POPOVI]-@IVAN^EVI] councillor-conservator, Chief OPZ Diana

RE^ UREDNIKA
Po~etkom devedesetih godina pro{log veka svi oni koji su se kasnije okupili oko Dijane shvatili su da se svet promenio, da nasle|e nije pripremljeno za te promene i da je ba{tina zbog toga po~ela ubrzano da propada. Shvatili su da je potreban druga~iji teorijski, metodolo{ki i prakti~an pristup o~uvanju i za{titi ba{tine, koji ubrzo je to postalo jasno mora da po~iva na organizovanju pogodne sredine i na interdisciplinarnim i integrativnim merama za{tite. To je bilo jedno od najva`nijih i prelomnih razdoblja u dugoj istoriji za{tite (a organizovana za{tita ba{tine neprekidno postoji jo{ od anti~kih rimskih vremena). Taj period nametao je neminovne i su{tinske promene kod profesionalaca i u institucijama za{tite u odnosu prema ba{tini i u na~inu organizovanja slu`bi za{tite. Naravno, bile su neophodne i promene u obrazovanju novih generacija za{titara, ali i u {iroj javnosti i odgovornim telima dr`ave. Morala su se menjati uobi~ajena shvatanja o za{titi nasle|a bilo je potrebno razmi{ljati o prilago|avanju nasle|a savremenoj poreme}enoj okolini i o njegovom uklju~ivanju u savremeni `ivot, o na~inu o~uvanja njegovog integriteta u okviru odr`ivog razvoja, o tome kako nasle|e preneti narednim generacijama u svoj njegovoj vrednosti, lepoti i celovitosti. Na`alost, u vreme kada institucije za{tite u Evropi po~inju ozbiljno da se revitalizuju i prilago|avaju novim civilizacijskim elementima, a u skladu s promenama u sredini u kojoj se nalaze i s novom dru{tvenom ulogom koju nasle|e dobija u razvoju pojedinih nacija, kao i evropskog dru{tva u celini, stanje u Srbiji je, usled pogor{anja ekonomsko-politi~kih prilika i dugogodi{nje ekonomske i stru~ne izolacije, bilo posebno te{ko. Na{a zemlja ima dugu tradiciju prirodnog pra}enja teorijskog i prakti~nog razvoja metodologije za{tite, a na{i stru~njaci negovali su profesionalni kontinuitet u konzervaciji jo{ od sredine XIX veka. Po~etkom devedesetih godina, me|utim, odgovorne institucije vlade i institucije za{tite gube kontrolu nad op{tim i nacionalnim strategijama razvoja i o~uvanja kulturnog i prirodnog nasle|a. U institucijama za{tite zamiru osnovne funkcije i aktivnosti. Prekida se kontinuitet s prethodnim razvojem i

THE WORD OF EDITOR

It is important for the founders of Diana that they realised that world has been changed in the beggining of the 90s of previous century, that heritage is not prepared for those changes and that heritage began to deteriorate rapidly. Because of these facts different theoretical, methodological and practical approach of protection and preservation of heritage was needed, and it soon became clear that that approach will preferentially suit by organizing convenient enviroment and interdisciplinary and integrative measures of protection. This is one of the most important periods in the long lasting history of protection (that has lasted in an organized manner and constantly since the time of the Romans), and this period demands necessary and essential changes on professionals and institutions of protection concerning heritage and, in the way of organization of services of protection. Of course, the changes of educational system of new generation of conservationists, and public and responsable governmental bodies were necessery. Ordinary comprehensions of protection of heritage had to be changed, adapted to contemporary disordered environment, included in contemporary life, preserved its integrity within sustainable development, detained its compromise for the next generations, transmited to the next generation in all its value, beauty, completeness, integrity. Unfortunatelly, at the time when the Europian institutions of protection seriously begin to revitalize and adjust to new elements of civilization, in compliance with the changes of enviroment and the new social role and responsibility which heritage assumes through development of paticular nations and whole Europian society, The situation in Serbia, because of deterioration of economic and political situation and economic and professional isolation, was especially complicated and difficult. Our country has a long lasting tradition of following the theoretical and practical development of methodology of protection, and in the history of conservation we often had very high scientific human resources who have been cultivating professional continuity since the middle of 19th century. Unfortunatelly, in the beginning of 90s,

01

praksom, sa op{tim tokovima razvoja za{tite i njene metodologije, prestaju me|unarodna saradnja i razmena informacija, znanja i ideja. To u dobroj meri doprinosi profesionalnoj i eti~koj degradaciji zaposlenih u institucijama za{tite. Oni u to vreme nisu vi{e u mogu}nosti da na adekvatan na~in odgovore svojim profesionalnim obavezama i novim izazovima struke, da prilagode svoju profesiju i institucije novim strate{kim zahtevima o~uvanja nasle|a. Narodni muzej u Beogradu zbog toga sredinom devedesetih godina pro{log veka pokre}e projekat koji inicira, razvija i u muzeolo{koj praksi pru`a odgovaraju}e teorijske i metodolo{ke koncepte novog sistema za{tite nasle|a. Pravilno je procenjeno da stru~njake treba pripremiti za nov koncept za{tite, ali da se moraju pripremiti i oni koji tek dolaze. U skladu s tim, Narodni muzej 1997. godine pokre}e edukativni projekat Dijana, koji putem razli~itih metodolo{kih elemenata sistematski razvija slo`ene edukativne programe, spontano oslonjene na globalne strategije i izri~ito prilago|ene posebnim potrebama Srbije, a kao {to se ubrzo pokazalo i potrebama regiona Balkana. Od samog po~etka projekat Dijana bio je postavljen kao sveobuhvatan, integrativni teorijski koncept za{tite, koji u jedinstven interdisciplinarni sistem uklju~uje sve sadr`aje ba{tine i koji koristi metodologiju preventivne konzervacije za svoju primenu u praksi. Dijana pomera te`i{te konzervacije, defini{u}i je kao interdisciplinarni sistem mera brige za ba{tinu. Narodni muzej je prepoznao i dozvolio razvijanje takvog projekta, alternativnog u postoje}em sistemu za{tite, i to ne samo u Srbiji ve} i {ire. Narodni muzej je jo{ jednom u svojoj dugoj istoriji pokazao da ima pozitivne i kreativne resurse, one koji op{tim kontekstima daju nova tuma~enja, koji prilagodljivo, `ivo, pragmati~no i neformalno reaguju na savremene sveobuhvatne potrebe za{tite ba{tine; potvrdio je da male sredine, re{avaju}i svoje nagomilane probleme, same dolaze do op{tih strategija, da ih ve{to koriste i prilago|avaju sopstvenim interesima. Dijana je insistirala na tome da je preventivna konzervacija kao strategija izuzetno va`na za za{titu kulturnog nasle|a u zemljama u tranziciji. Devastirana podru~ja Balkana i jugoisto~ne Evrope zahtevaju ~vrst i dobro organizovan, sveobuhvatan sistem aktivnosti i mera, sistem koji ni{ta ne podrazumeva, ve} na istom zadatku povezuje sve aktivnosti muzeja, odgovornih institucija vlasti i javnost. Tako je na Generalnoj skup{tini Uneska 2003. godine u Parizu prihva}ena Rezolucija Srbije i Crne Gore o preventivnoj za{titi kao osnovnoj strategiji za{tite ba{tine, posebno za zemlje u razvoju i tranziciji. Tu rezoluciju u potpunosti je pripremila Dijana. Dijana svoje programe i projekte u najve}oj meri ostvaruje partnerski, s renomiranim institucijama i organizacijama za{tite, kao {to su: ICOM, ICCROM, Unesko, ICOM-SEE, C2RMF, AC Var, Muzej antike u Arlu, Muzej Makedonije, Narodni muzej Slovenije, Zemaljski muzej u Sarajevu, Muzej Krajine u Banjaluci, Narodni muzej Crne Gore, Muzeji Hrvatskog Zagorja, a sara|uje i s

responsible institutions of government and protection lost control over general and national strategies of development and preservation of cultural and natural heritage. In the institutions of protection general functions and activities died away. Continuity is disrupted with previous development and practice, with the general flow of development of protection and its methodology, international cooperation and exchange of information, knowledge and ideas have ceased. All this contributed to professional and ethical degradation of professionals in the institutions of protection. They are no longer capable to respond to their professional commitmens and challenges, to adjust their profession and institutions to the new strategic demands of preservation of heritage. In the mid 90s of previous century the National Museum started a project which initiates, develops and reaches, in the museums practice, adequate theoretical and methodological concepts of the new system of heritage protection, that is necessary for preparation a new concept of heritage for the actual experts and for the ones that are coming. The National Museum in Belgrade started an educational project called Diana in 1997, and that project, through the different methodological elements, systematically develops complex educational programs, which are spontaneously based on global strategies and adjusted to specific demands of Serbia, and soon it will become obvious that it can refer to the whole region of Balkan. From the very beginnig Diana project was set as wholesome, integrative and theoretical concept of protection, which includes all contents of heritage in an unique interdisciplinary system and uses the methodology of preventive conservation for its use in practice. Diana defines it as an interdisciplinary system of measures of care for heritage. The National Museum recognized and allowed for development of a project like this one in Serbia and beyond. The National Museum showed once again in its history that it has positive and creative resources, which give the new explanations of general contexts; which react to contemporary wholesome needs in vivid, pragmatic and informal way; it also verified that the small communities make themselves the general strategies by solving its numerous problems, that they use it proficiently and adjust it to they own interests. Diana has insisted on the preventive conservation as the very important strategy for the protection of the cultural heritage in the countries of transition. The devastated areas of Balkan and South East Europe demand solid and well organized, wholesome system of actions and measures which closely connect all the actions of museums, adequate governmental institutions and public in an unique task. That is how The Resolution of Serbia and Montenegro about preventive preservation was accepted at the General Congress of UNESCO in 2003 as a fundamental strategy of heritage preservation, especially for the countries in transition and development. Diana prepared this resolution completely.

2 02

mnogim stru~njacima iz muzeja i institucija za{tite iz Srbije i svih zemalja jugoisto~ne Evrope. Dijana s krajnje otvorenim stavom u svoje programe uklju~uje sve one koji su profesionalno zainteresovani i ambiciozni. Sve aktivnosti u Dijani povezane su sa onima u Narodnom muzeju, ICOM-u Srbije, ICOM-SEE-ju i neprestano se uskla|uju sa strategijama na globalnom nivou, koje uspostavljaju ICOM, Unesko, ICCROM i drugi. Dobar deo sada{njih regionalnih projekata pre vi{e godina za~et je u Dijani; oni se sada, kao dobro razra|eni i etablirani, preme{taju iz Srbije u druge zemlje regiona: u Albaniju, Makedoniju, Rumuniju, Hrvatsku itd. (Arheolo{ka konzervacija, Osnovi preventivne konzervacije, Procena i kontrola rizika, SEE TIEM-MEP i drugi). Tokom poslednje decenije, dakle, Dijana u skladu sa op{tim strategijama svoje nau~no i stru~no te`i{te u organizovanju efikasne i efektivne slu`be za{tite kulturne ba{tine pomera ka bliskoj povezanosti izme|u kulturne ba{tine i njene okoline, ka stvaranju odgovaraju}e sredine, one u kojoj }e svi potencijalni rizici po nasle|e biti umanjeni ili uklonjeni, kao i ka organizovanju preventivnih mera koje }e preduprediti i kontrolisati destruktivne faktore i procese u samoj materiji kulturnih dobara i u njihovoj neposrednoj i {iroj okolini. Tri va`na sistemska dela tog zajedni~kog koncepta i jedinstvenog strate{kog cilja upravo se ovih dana zaokru`uju i usmeravaju ka dugoro~nom razvoju: zasnovane su diplomske akademske studije iz preventivne konzervacije (master) na Beogradskom univerzitetu, u saradnji sa Sorbonom, a one }e se dalje razvijati i uklju~ivati i druge sadr`aje iz konzervacije ba{tine; sada je jasno da mo`emo zapo~eti i s pripremanjem osnovnih studija iz za{tite ba{tine na Beogradskom univerzitetu, na principu 3 + 2 i s doktorskim programima (24. novembar 2008); oja~ana je regionalna alijansa ICOM-a za jugoisto~nu Evropu ICOM-SEE; on ve} okuplja devet zemalja regiona, koje ostvaruju mnoge zajedni~ke projekte i aktivnosti s velikim brojem me|unarodnih, regionalnih i nacionalnih partnera (4. jun 2008); osniva se nova institucija za{tite Centralni institut za konzervaciju (CIK), koji }e sprovoditi integrativni sistem za{tite i koji }e interaktivno uklju~iti sve sadr`aje ba{tine (arhitekturu, arheolo{ke lokalitete, muzejsku, arhivsku i bibliote~ku gra|u i nematerijalnu ba{tinu) i objediniti sve aktivnosti na za{titi ba{tine (edukaciju, multidisciplinarna istra`ivanja, preventivnu konzervaciju, konzervatorski tretman, dokumentacioni sistem, PR i marketing); CIK }e biti institucija koja }e u praksi sprovoditi nove teorijske i metodolo{ke koncepte za{tite i koja }e, u tom smislu, biti regionalno orijentisana.

Diana mostly realizes its programes and projects as a partnership with the renowned institutions and organizations of protection: ICOM, ICCROM, UNESCO, ICOM SEE, C2RMF, AC Var, The Museum of Antique in Arl, The Museum of Macedonia, The National Museum of Slovenia, The Planetary Museum in Sarajevo, The Museum of Frontier in Banja Luka, The National Museum of Montenegro, The Croatian Zagorje Museum and with the other participants from the museums and protection institutions from Serbia and the other countries of the region of South East Europe. Diana, with its open attitude, includes in its programes all of those who are interested professionally and ambitious. All Dianas activities are mutually connected with the activities of The National Museum, ICOM in Serbia, ICOM SEE and they have been adjusted to the strategies on the global level which come from ICOM, UNESCO, ICCROM and etc.The bigger part of the curent regional project that started in Diana couple years ago, has moved, as well developed and established project, from Serbia to the other countries of the region: Albania, Macedonia, Romania, Croatia and etc. (The Archealogical Conservation, The Fundamentals of Preventive Conservation, The Evaluation and Control of Risk, TIEM MEP SEE and etc). So, in the previous decade Diana, in compliance with the general strategies, has moved its scientific centre by organizing the effective service of protection of the cultural heritage to closely link the cultural heritage and its enviornment, and to form o proper environment which will decrease and eliminate all potencial risks of heritage, to organize preventive measures which will anticipate and control destructive factors and processes of the cultural objects in its surronding. The Master Studies in preventive conservation at University of Belgrade in cooperation with Sorbonne, which will develop further and include other contents from conservation of heritage. So, it has become clear that now we can start with preparing of Bachelor Studies on the University of Belgrade, with 3+2 principle and with the PhD programs (November 24th 2008). Strenghening of regional alliance ICOM for South East Europe-ICOM SEE who has already gathered nine countries of the region through numerous mutual projects and activities and with a huge number of international, regional and national partners (June 4th 2008.). Establishing of the new institution of protection, The Cenrtal Institutw for Conservation CIC which will conduct an integrative system of protection and include interactively all contents of heritage (architecture, arhaological sites, museum, archive and library materials and immaterial heritage) and all activities on heritage (education, multidisciplinary researches, preventive conservation, conservation treatment, unique documencation system, PR and marketing). CIC will represent an institution which will conduct new theoretical and methodological concept of heritage in practice, and will be regionally oriented.

03

Sadr`aj | Contents
MUZEOLOGIJA I ZA[TITA BA[TINE
Fabricio AGO 06 Koncepcija muzeja radionica na Skopskom univerzitetu 07 A Workshop on Museum Design at Skopje University Mila KARAS 10 Obnova narodne litije, zapisa i obi~aja u okolini Beograda pola veka posle prekida vi{evekovnog kontinuiteta ~uvanja nematerijalne i duhovne ba{tine Srbije 11 Preserving the Spiritual Heritage of Serbia: Litija (Sacred Procession), and Zapis Trees in the Vicinity of Belgrade: the Return of Some Ancient Customs Mila POPOVI]-@IVAN^EVI] 18 Dijana i ICOM-SEE u okviru regionalne saradnje u jugoisto~noj Evropi. Regionalna orijentacija Dijane 19 Diana and ICOM-SEE Within Regional Cooperation in South East Europe. Regional Orientation of Diana Biljana \OR\EVI] 24 Konvencija o za{titi starih i tradicionalnih zanata promena sada{njosti i oblikovanje budu}nosti 26 Evropska konvencija o za{titi starih i tradicionalnih zanata 25 Convention on the Protection of Old and Traditional Crafts: Changing the Present and Shaping the Future 27 European Convention on the Protection of Old and Traditional Crafts

ARHEOLOGIJA I ISTORIJA UMETNOSTI

Biljana \OR\EVI] 48 Neopipljiva ba{tina: etnoarheolo{ka istra`ivanja tradicionalnih tehnologija keramike 49 The Intangible Heritage: Ethnoarchaeological Research of Traditional Ceramics Technologies Eva CINCAR, Francesko CINI 54 Eksperimentalna arheologija. Proces topljenja bakra i bronze 55 Experimental Archaeology: the Copper and Bronze Melting Process Du{ko [LJIVAR, Julka KUZMANOVI]-CVETKOVI] 56 Plo~nik, arheologija i konzervacija 57 Plo~nik, Archaeology and Conservation Ksenija \URI[I] 60 Ikonoslikarstvo crkve Svetog Luke u Kotoru 61 Church of St. Luke, Kotor. Icon Painting

KONZERVACIJA
64 Terminologija konzervacija materijalnog kulturnog nasle|a 65 Terminology to Characterize the Conservation of Tangible Cultural Heritage Ana SIRK FAKU^ 66 Fluorescentna ultravioletna fotografija u konzervaciji umetni~kih slika 67 Photography of Ultraviolet Fluorescence in Painting Conservation Ljiljana PROTI] 70 Konzervacija crkvenog inventara iz crkve Svetog Save na Savincu 71 Conservaton of Church Treasures from St. Sava Church Savinac Sla|ana NOVKOVI] 76 Restauracija porcelanske {olje 77 Restoration of a Porcelain Cup Zvezdana POPOVI] 78 Problemi u konzervaciji keramike s vi{eslojnih lokaliteta 79 Problems in the Conservation of Ceramics in Multi-layered Archeological Sites

Slobodan BOGOJEVI] 82 Nov pristup konzervaciji i unapre|ivanje uslova ~uvanja metalnih arheolo{kih predmeta u Narodnom muzeju u ^a~ku 83 A New Approach to Conservation and a Further Improvement of Conditions for Taking Care of Metal Archeological Objects in the National Museum of ^a~ak

EDUKACIJA I STRU^NI SKUPOVI

Marija RADIN 94 Prevo|enje tezaurusa baze podataka Eros na srpski jezik 95 Translating the Thesaurus of the Eros Database into Serbian Danijela STOJILJKOVI], Nata{a KRSTI] 98 Posete depoima arheolo{kog materijala u Francuskoj 99 Visits to Depots of Archaeological Material in France Ana @IVKOVI] 104 Izve{taj o sta`iranju u Regionalnoj laboratoriji za konzervaciju i restauraciju A.R.R.E.P. u Francuskoj 105 Report on Training in the Atelier Regional de Restauration des Elements du Patrimoine (Laboratory for Conservation and Restoration), A.R.R.E.P. in France Veljko D@IKI] 106 Izve{taj o sta`u u INP-u (Institut national du patrimoine) 107 Report on Training at the Institut National du Patrimoine (INP) Ivan CVEJI], Zvezdana POPOVI] 110 Radionica iz oblasti konzervacije pozlate na drvetu 111 Workshop Dedicated to the Conservation of a Gilded Object Made of Wood Ana KOCJAN, Aleksandar JOKSIMOVI] 114 Male ruke i velika dela 115 Small Hands, Great Work Suzana POLI]-RADOVANOVI] 118 Multidisciplinarna istra`ivanja u arheometriji 119 Multidisciplinary Research in Archaeometry Azra BE^EVI]-[ARENKAPA 122 Simpozijum Fotografsko naslje|e u centralnoj, jugoisto~noj i isto~noj Europi pro{lost, sada{njost i budu}nost 123 Symposium Photograph Heritage in Central, Southern and Eastern Europe: Past, Present and Future Ubavka MIO^ 124 Studenti Beogradskog univerziteta na skupu U susret pro{losti: nauka i kulturno nasle|e 125 Students of Belgrade University at the Meeting Looking Forward to the Past: Science and Heritage Vesna @IVKOVI] 128 Razvoj diplomskih akademskih studija preventivne konzervacije (master) u Beogradu 127 The Establishement of a Masters Degree in Preventive Conservation in Belgrade

KULTURNI TURIZAM
Aleksandar TODOROVI] 132 Turisti~ka valorizacija Spomen-parka Kragujeva~ki oktobar 133 Tourist Valorization of the October of Kragujevac Monument Park

REGIONALNA SARADNJA
Mila POPOVI]-@IVAN^EVI] 138 Regionalni projekti i aktivnosti u jugoisto~noj Evropi koje su pokrenuli, koje relizuju, koordiniraju i ~iji su organizatori Odeljenje za preventivnu konzervaciju Dijana i ICOM-SEE, u saradnji s raznim partnerima 139 Regional Projects and Activities in South East Europe Initiated, Coordinated and Organised by Department for Preventive Conservation Diana and ICOM SEE in Cooperation with Various Partners

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A Fabricio AGO, arhitekta i muzeolog, Italija

KONCEPCIJA MUZEJA RADIONICA NA SKOPSKOM UNIVERZITETU

PRO[LOG MAJA na Univerzitetu u Skoplju odr`ana je trodnevna radionica koja se odnosila na koncepciju muzeja u praksi. U Skoplje me je pozvao profesor Vlatko P. Korobar, dekan Arhitektonskog fakulteta Skopskog univerziteta. Radionica je okupila studente Arhitektonskog fakulteta i Fakulteta umetnosti, kao i stru~njake iz makedonskih muzeja, one koji rade na odeljenjima muzeologije, katalogizacije i grafike. Tokom tri dana razmatrana su, na me|unarodnom nivou, nova teoretska i prakti~na iskustva kako bi u~esnici stekli sliku o tome {ta mo`e da bude zadatak projektanta muzeja, bilo kod planiranja novog kompleksa, bilo kod obnavljanja postoje}e zgrade. Razgovori su vo|eni o razli~itim temama: razmatrane su ekonomske i kulturne prilike, zatim arhitektonski i gra|evinski aspekti, iscrpno se diskutovalo o kretanju (putanjama) posetilaca, izlaganju zbirki, kao i o muzejskim slu`bama, poput laboratorija za konzervaciju, baza podataka, pres-slu`bi, i, kona~no, o slu`bama kao {to su restorani sa samoposlu`ivanjem za posetioce, knji`are itd. U okviru radionice raspravljalo se i o dva izuzetno va`na pitanja. Prvo pitanje odnosilo se na mogu}nost sprovo|enja novih kulturnih strategija, s obzirom na to da one uti~u na muzej kao instituciju, a posebno onda kada se suprotstavljaju muzejskim konceptima zasnovanim tokom istorijskih i kulturnih razdoblja koja se danas mogu smatrati pro{lo{}u. Drugo pitanje, koje se u ve}oj meri postavlja kao zahtev, odnosilo se na mogu}nost nadila`enja koncepta muzeja kao izolovane celine i njegovog razmatranja kao dela mre`e u kojoj se nalazi s drugim kulturnim institucijama na datom podru~ju, a isto tako i na razmatranje muzeja kao neophodnog odgovora na postoje}e pritiske kulturne globalizacije. Predstavljene teme proiza{le su iz mog dvadesetpetogodi{njeg iskustva u toj oblasti. Ve} mnogo godina radim na unapre|ivanju muzejskog sistema na Srednjem istoku i u regionu Balkana. Cilj mog rada jesu o~uvanje i valorizacija kulturnog nasle|a, neophodni ukoliko stanovni{tvo `eli da povrati sopstveni identitet. Pored toga, kulturno nasle|e u svakom pogledu jeste svojevrstan, mada neobnovljiv ekonomski izvor, kao i osnovno sredstvo razvoja. Program radionice obuhvatao je rasprave iz oblasti muzeologije tokom prvog dana, rasprave iz oblasti muzeografije tokom drugog i, kona~no, rasprave iz oblasti muzejskih tehnika tokom tre}eg dana. Nau~ne rasprave iz oblasti muzeologije proiza{le su iz stanovi{ta da je muzej mesto na kojem se ~uva i {titi ba{tina radi istra`ivanja i u~enja, ali da je on i mesto na kojem se stvaraju zajedni~ke i podeljene uspomene. Taj princip jeste osnova za postupke obnove na~ina na koji muzeji razvijaju odnos s publikom; pored priznate tradicionalne uloge mu-

zeja, sada se ve}i zna~aj pridaje njihovom zadatku komunikacije u vezi s kulturnim sadr`inama. Publika ne treba da se posmatra kao neizdiferencirani nasumi~ni univerzum. Ono {to muzej nudi treba da se razvija tako da privu~e takozvane nemuzejske ciljne grupe ili one dru{tvene grupe koje u odnosu na muzej podi`u najve}e barijere. Isto tako, treba uzeti u obzir i dru{tvene promene i stvarati posebne programe, na primer one namenjene porodicama ili usmerene ka marginalnim grupama, kako bi se svakom omogu}ilo da otkrije najstarije ili najudaljenije korene grada u kojem `ivi. Muzej tako u sve ve}oj meri postaje mesto na kojem mogu da se podele istorija i uspomene. Rasprave iz oblasti muzeografije odnosile su se na op{ta razmatranja nastanka modernih muzeja i programa za obnovu istorijskih muzeja. Predstavljene su i analizirane tri zna~ajne studije za nove istorijske muzeje u Evropi: Muzej Novi atinski Akropolj (autori: B. Tschumi, M. Photiadis), Muzej Ara Pacis u Rimu (autor: R. Meier) i Muzej Shoah u Berlinu (autor: D. Libeskind), zatim rasprave o muzejima moderne umetnosti: Paviljonu Quadracci u Muzeju umetnosti u Milvokiju (autor: S. Calatrava), Muzeju Roverto MART (autor: M. Botta) i Muzeju moderne umetnosti Cartier u Parizu (autor: J. Nouvel). Kona~no, tri studije odnosile su se na postoje}e programe obnove muzeja: Nove britanske galerije u Muzeju Viktorije i Alberta u Londonu, Muzeja Guimet u Parizu (autor: H. Gaudin) i Narodnog muzeja u Beogradu (autor: M. Rako~evi}). Nau~ne rasprave iz oblasti muzejskih tehnika proiza{le su iz op{tih razmatranja zna~aja koji u modernim istorijskim muzejima zadobijaju komponente opreme. Stoga smo se usredsredili na pitanja koja su vi{e tehni~ke prirode, na primer na pitanje sistema za monitoring i kontrolu mikrosredine, probleme sistema osvetljenja (kako zgrade tako i vitrina), kao i na razli~ite druge elemente koji ~ine instalacioni i tehnolo{ki sistem muzeja.

06

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE Fabrizio AGO, architect and museologist, Italy

DIANA #13

A WORKSHOP ON MUSEUM DESIGN AT SKOPJE UNIVERSITY

LAST MAY, at the kind invitation of Professor Vlatko P. Korobar, Dean of the Faculty of Architecture at the University of Skopje, a three-day workshop on museum design practices was held at the same University. The workshop brought together students from the Faculties of Architecture and Arts, and professionals from Macedonian Museums working in museology, cataloguing and graphics departments. The most updated theoretical and practical experiences, on an international level, were outlined throughout the three days, with the purpose of providing the participants, with a reference picture of what the task for the designer of a museum, whether conceiving a new complex or refurbishing an existing building, could be. Thus, the subject moved from purely economic and cultural considerations, through architectonic and civil engineering-related aspects, a detailed discussion of visitors paths, exhibiting collections, not overlooking museum support services such as restoration laboratories, databases, press services, and eventually to services devoted to visitors, such as cafeterias, bookshops, etc. Obviously, the workshop also dealt with two other relevant matters: firstly, how new cultural strategies may be afforded when they affect the museum as an institution and, specifically, confront museum concepts that were founded in historical and cultural periods that may now be considered as superseded; the second matter, an even more deeply perceived requirement, is how to go beyond the concept of museum as an isolated entity, considering it rather as part of a network, among other cultural institutions of the area, a necessary response to the current pressures of cultural globalisation. The presented topics arose from my twenty-year personal experience in the field. In fact, for many years I have been working on the enhancement of museum systems in the Middle Eastern and Balkan Areas, with the double aim of preserving and evaluating the cultural heritage as an unavoidable phase if populations wish to recover their own identity. Furthermore, the cultural heritage is in all respects a proper albeit non-renewable economic resource, and an essential instrument for development. The program of the workshop consisted of dissertations in the field of Museology on the first day; the field of Museography during the second day; and covered the field of Museotechniques on the third day. The dissertations in the field of Museology sprang from considerations that the Museum is a place of conservation, heritage protection and for research and study, and that it is also a place to build common and shared memories. That principle forms the basis of processes for renewing ways by which museums develop a relationship with their audience;

alongside their recognised, traditional functions, increasingly greater weight is being attributed to their task of communicating cultural contents. The public should not be viewed as an undifferentiated and random universe. The offerings provided by museums should be developed to attract so-called non-museum targets, or those groups of society that experience or raise the greatest barriers. Due account should also be taken of social changes, by creating for example specific programs targeted at families, and also directed at marginal communities, with a view to providing everybody with an opportunity to discover the earliest or most distant roots of the city in which they reside, so that the museum increasingly becomes the place where history and memory can be shared. The dissertations in the field of Museography covered general considerations on modern museum realization and historic museum renovation programs. Three notable cases studies for new historic museums in Europe were proposed

and analysed. These were: the New Athens Acropolis Museum, by B. Tschumi and M. Photiadis; the Rome Ara Pacis Museum by R. Meier; and the Berlin Shoah Museum by D. Libeskind. Three dissertations related to modern Art museums: the Quadracci pavilion at the Milwakee Art Museum by S. Calatrava; the Rovereto MART Museum, by M. Botta; and the Cartier Modern Art Museum in Paris, by J. Nouvel. Finally, three covered existing museum renovation programs: the New British Galleries at the Victoria and Albert Museum, London; the Guimet Museum in Paris, by H. Gaudin; and the Belgrade National Museum, by M. Rako~evi}. The dissertations in the field of Museotechniques sprang from general considerations of how plant components have

07

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

ura|eno, kao i napore koji su u~injeni da bi se to nasle|e sa~uvalo i prikazalo javnosti. Primetio sam, me|utim, i to da nedostaju sredstva za odgovaraju}e predstavljanje starina od neprocenjive vrednosti, posebno u Narodnom muzeju u Ohridu. Po povratku u Skoplje pa`nju mi je prvo privukao Muzej Makedonije, u kojem sam vodio zanimljive razgovore i razmenjivao ideje s profesorkom Meri Ani~in Pejoskom, direktorkom muzeja. Omogu}eno mi je i da pomognem u radu izvrsne radionice za decu, koja je kroz prizore iz svakodnevnog `ivota o`ivljavala narodne obi~aje, od me{enja hleba do obreda ven~anja. Ono {to zaista zabrinjava jeste stanje u kojem se nalazi zgrada muzeja. Neophodno ju je temeljno renovirati, kako sa stanovi{ta detaljnog arhitektonskog plana tako i u pogledu funkcionalnosti, a potrebno je voditi ra~una i o na~inu na koji se predmeti izla`u. Tokom poslednjih nekoliko godina muzej je u~inio zna~ajne napore kako bi se prostorije osavremenile, {to se mo`e videti iz plana komunikacije s publikom, po delovanju radionica za decu, otvorenih i za odrasle, kao i iz plana izlo`bi ili, na primer, na osnovu zadivljuju}e nove opreme u odeljenju ikona. Ono {to bi sada bilo korisno da se u~ini jeste ponovno razmi{ljanje o kompleksu u celini, po{to u njemu postoji veliki broj prekida, cezura, izme|u odeljenja, a oni su uslovljeni originalnim arhitektonskim projektom. Neometanost i sled u putanji posetilaca u~inili bi muzej mnogo atraktivnijim. Taj problem bi se morao pa`ljivo prou~iti. U makedonskoj modernoj arhitekturi primetno je veliko previranje, {to pokazuje, na primer, zgrada Glavne po{te, koja se uzdi`e na Trgu Makedonija, verovatno najneobi~nije ostvarenje skopske moderne arhitekture. Me|u muzejima vredna je pa`nje nova Galerija savremene umetnosti, s tim {to bi isti takav napor sada bilo potrebno u~initi i u vezi s Muzejom Makedonije. Sa M. Pejoskom razgovarali smo i o mogu}nostima inspirisanja Evropskom agendom za kulturu u svetu koji se globalizuje (prva evropska strategija za kulturu od 10. maja 2007. godine) i o promovisanju kulture kao katalizatora za kreativnost u okviru Lisabonske strategije. U skladu s tim pristupom, potrebna su ulaganja u programe obnove muzeja, s jedne strane, a treba pove}ati i nadle`nost nad teritorijom i njenom ekonomijom. S druge strane, Evropska komisija `eli da 2009. godina bude evropska godina kreativnosti i inovacija, {to bi se ostvarilo kroz edukaciju i kulturu, kako bi se svest o tim problemima podigla na vi{i nivo, da bi se o njima u {to ve}oj meri raspravljalo i da bi se podstakle kreativnost, inovacije i me|ukulturna nadle`nost. Stoga je sada podesan trenutak za preduzimanje mera koje se odnose na izradu programa za obnovu muzeja, uz usredsre|ivanje na oja~avanje dru{tvenog i ekonomskog uticaja u pogledu ulaganja u kulturu i kreativnost, a posebno treba voditi ra~una o promociji ekonomskog i dru{tvenog rasta, poslova, razvoja i atraktivnosti Skoplja. Ovakvom programu treba pristupiti tako da se dobije komercijalni predlog za finansiranje programa na odgovaraju}i na~in, uz obezbe|ivanje najve}e mogu}e odr`ivosti predlo`enih aktivnosti.

Radionica je okupila preko pedeset u~esnika. O~igledno je interesantniji deo radionice bila debata, koja je prvog dana vo|ena oko razli~itih aspekata novih informacionih tehnologija i odnosa stvarnog i virtuelnog predmeta u muzeju. Detaljno su analizirani novi tokovi koji se odnose na virtuelne muzeje, kao {to su, na primer, predlozi ameri~ke grupe Asymptope (American Group Asymptope). Kada je re~ o muzeografiji, posebno se govorilo o programima obnove koji muzeju omogu}uju da bude reinterpretiran putem novih komunikacionih sistema i novih definicija muzejske misije. Jedno od obele`ja novog perioda jeste reorganizacija postoje}ih muzeja; ona je ~esto povezana s prakti~nim zahtevima, a to je vrlo zna~ajno, kao {to je bilo kada je re~ o Britanskom muzeju i Museumsinsel u Berlinu. To podrazumeva prepoznavanje potrebe za modernizacijom zastarele strukture, kako arhitektonske tako i izlo`bene. S novim konceptom koji se naziva obrazovno-zabavnim, u sredi{te razmatranja dolaze ~ak i muzeji kojima su potrebni novi prostori za povremene izlo`be i pomo}ne servise, na primer Musei Capitolini u Rimu (autor: C. Aymonino), Istorijski muzej u Berlinu (autor: I. M. Pei) i Van Gogov muzej (autor: K. Kurokawa). Poslednjeg dana raspravljalo se o osvetljenju i o tome kako ono mo`e da pobolj{a sistem muzejske komunikacije i omogu}i scenografske efekte, ~ak i stvaranje stimulativne i posebne atmosfere. Proveravali smo razli~ite tipove izvora svetlosti, dostupne na italijanskom i evropskom tr`i{tu. Zahvaljuju}i ljubaznosti Italijanske ambasade, bile su nam obezbe|ene prevodila~ke usluge (prevod sa italijanskog na makedonski jezik i vice versa). Usluga je bila odli~na, iako su se zbog ritma debate pojavili i neki nedostaci. Boravak u Makedoniji bio je prilika i za posete raznim muzejima u zemlji, po~ev od Muzeja Makedonije, Muzeja grada Skoplja, koji se nalazi u zgradi stare `elezni~ke stanice, zatim Muzeja moderne umetnosti (Kale), koji je projektovao poljski arhitekta J. Mokrzynski. Posetili smo i manastir Svetog Pantelejmona u Nerezima i Narodni muzej u Ohridu, kao i nekoliko arheolo{kih nalazi{ta u Ohridu, zatim Veles i Stobe. U Skoplju sam obi{ao i dve nove galerije savremene umetnosti, jednu u modernom gradu, a drugu u biv{em Kur{umli-hanu. Te posete omogu}ile su mi da sagledam bogatstvo makedonskog istorijskog arheolo{kog nasle|a i sve ono {to je

08

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

become increasingly essential for new historic museums in Europe. We therefore focused on more technical issues such as monitoring systems, controlling microenvironments, lighting systems (both for the building and showcases), and various other elements that make up the installation and engineering systems of a museum. Over 50 people attended the workshop. Obviously the more interesting part was represented by the debate, which, for the first day, concerned various aspects of new information technologies and the relationship between real and virtual objects in a museum. Then we looked in detail at the most up-to-date trends concerning virtual museums, as was the case with the proposals by the American group Asymptope. The museographic aspects the debate were specifically devoted to renewing programs that permit museums to be reinterpreted through new communications systems and new definitions of the museums mission. One of the features of this most recent period is the restructuring of existing museums, often linked to practical requirements, which have had a significant impact, as was the case of the British Museum and the Berlin Museumsinsel. This recognises the need for modernising both architectural and exhibitory outdated structures. Even museums that need new areas for temporary exhibitions and ancillary services are receiving greater focus, in line with the new concept of edutainment, such as the Musei Capitolini in Rome, by C. Aymonino, the Berlin History Museum, by I. M. Pei and the Van Gogh Museum, by K. Kurokawa. On the last day, the debate centred around lights and their capacity to enhance museum communication systems, enabling scenographic effects, and even the creation of stimulating and peculiar atmospheres. Thus we considered various types of light sources available today on the Italian and European markets. The only flaw of that experience was the need for translator services, from Italian to Macedonian and vice versa. That was graciously granted by our Embassy. The service was excellent, but obviously the rhythm of the debate encountered some disabilities. The stay in Macedonia was the occasion for visits to various local museums, from the Museum of Macedonia and the Museum of the City of Skopje, located inside the Old Railway Station, then to the Museum of Modern Art, at the Kale, designed by Polish architect J. Mokrzynski. Outside Skopje we visited the Monastry of Sveti Pantelejmon in Nerezi, and surveyed the Ohrid National Museum and several archaeological sites, in Ohrid, then in Veles and Stobi. In Skopje I eventually paid a visit to two new interesting Contemporary Art Galleries, one in the modern city and one inside the former Kur{umli An. Such activity enabled me to appreciate the wealth of the Macedonian historical-archaeological heritage together with actions performed and efforts made for its safeguarding and presentation to the public. However, I had to notice the great lack of available means for the correct presentation of

DIANA #13

inestimably valuable relics, particularly in Ohrid Museum. Returning to Skopje, my attention was at first captured by the Museum of Macedonia, where I had an interesting exchange of ideas with the director, Prof. Mere Ani~in Pejoska. I had the opportunity to assist in a delicious workshop for children, which through scenes of daily life, relived moments of popular folk traditions, from the preparation of bread, to wedding ceremonies, etc. For what concerns more properly the structure of the museum, it was possible to ascertain the requirements of radical renovations from an architectural, layout and functional points of view, as well as regarding the way that exhibits were displayed to the public. Over the last few years the museum has already made notable efforts to update the premises, as shown by their communication plan with the public, through workshops for children (but open to the adults), and on the plan for exhibitions, as shown by the fascinating new dressings for the Icons section. What would now become useful would be a global rethinking of the complex, which suffers from an excessive caesura between its departments, rising from the original design of its architectural layout. A deeper fluency and succession in the visiting route would in fact make the museum itself more and more attractive. That is something that needs to be carefully studied. There is a sizeable ferment in Macedonias modern architecture, illustrated by the main post office building for example, which overlooks Macedonia square. This is probably Skopjes most unusual piece of modern architecture. Among museums, the new Contemporary Art Galleries are noteworthy; but the same efforts should now be made for the Museum of Macedonia. With Professor Pejoska we wondered whether it could be possible to be inspired by the European Agenda for culture in a globalizing world (the first-ever European strategy for culture, on May 10th 2007), on how to promote culture as a catalyst for creativity in the framework of the Lisbon strategy. On one hand, following this approach, investing in Museum renovation programs should therefore increase the competitiveness of the territory at large and its economy. On the other hand, the European Commission wishes to make 2009 the European year of creativity and innovation, through education and culture, in order to raise public awareness, promote policy debates, and contribute towards fostering creativity, innovation and intercultural competencies. It is therefore an opportune moment to take action as soon as possible, and to draw up a program of museum renewal, focusing on strengthening the social and economic impact of investments in culture and creativity, in particular with regard to the promotion of economic and social growth, jobs and the development and attractiveness of Skopje. Such a program should then be addressed, guaranteeing in a proper way the maximum sustainability of proposed intervention, in order to produce a bankable proposal for financing the program in a proper way.

09

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A Mila KARAS, vi{i kustos pedagog Prirodnja~ki muzej u Beogradu

OBNOVA NARODNE LITIJE, ZAPISA I OBI^AJA U OKOLINI BEOGRADA POLA VEKA POSLE PREKIDA VI[EVEKOVNOG KONTINUITETA ^UVANJA NEMATERIJALNE I DUHOVNE BA[TINE SRBIJE
Uvod
Mali Mokri Lug i Veliki Mokri Lug su mesta na {irem podru~ju Beograda, a pominju se jo{ u arhivskoj gra|i iz vremena pre Prvog srpskog ustanka. Nastanjena su hri{}anskim stanovni{tvom koje poti~e prete`no iz ju`nih i jugoisto~nih predela Srbije. Po tradiciji, me{tani su bili zemljoradnici i ratari. Do po~etka XIX veka atar Malog Mokrog Luga bio je mnogo ve}i nego danas. Prostirao se sve do dana{njeg \erma, koji je onda bio daleka periferija Beograda. Kao i ve}ina hri{}anskog stanovni{tva slovenskog porekla, Srbi i Bugari vekovima su negovali i ~uvali mnoge drevne slovenske obi~aje, posebno kultne obi~aje u vezi sa zavetnim drve}em. Tako su i u Malom Mokrom Lugu od starine postojala stabla zapisi, a mesta na kojima su se nalazila bila su mesta zajedni~ke molitve. Stablo koje je nosilo zapis odvajkada je u srpskom narodu bilo tabuizirano i imalo je status nedodirljivosti. Prema drevnom verovanju, koje va`i i danas, s takvog stabla ne uzima se ni{ta ni list, ni opalo seme, ni gran~ica osim za lek. Smatra se da je grehota ~ak i takvo suvo stablo i grane lo`iti ili koristiti za sticanje dobiti. Kao i u drugim mestima po Srbiji, zapisi su se svake godine obnavljali. U Malom Mokrom Lugu svake godine odr`avane su velike narodne litije: jedna 14. februara, na praznik Svetog Trifuna (za{titnika vinograda, polja i useva), a druga na duhovski petak (prvi petak posle Svete Trojice). Krsni hod tih litija se razlikovao; u tim prilikama, jednom godi{nje, obnavljani su samo njihovi zapisi, to jest neki zapisi obnavljani su na praznik Svetog Trifuna, a drugi na duhovski petak. O litijama iz predratnog perioda u Malom Mokrom Lugu nema sa~uvanih podataka, za razliku od litija iz tog doba u drugim mestima po Srbiji. Po se}anju me{tana, poznato je da je svake godine seoska slava imala doma}ina, a oni su se smenjivali. To je bila velika ~ast, pa su se prijavljivali najugledniji doma}ini, koji su donosili sve {to je bilo potrebno za proslavu. Prvog petka posle Duhova, na dan kada Mali Mokri Lug odvajkada slavi slavu svog mesta, kod zapisa se odr`avao i va{ar. Bilo je to veliko narodno okupljanje (sabor) pod {atrama, gde se slavila slava u vremenima u kojima mesto nije imalo svoju crkvu. Litija se tako proslavljala sve do kraja Drugog svetskog rata. Ni za vreme okupacije s tim se nije prekidalo. krom Lugu su zabranjene. O tome nema sa~uvanih podataka jer su crkvene knjige hrama Svetog Ilije u Mirijevu (u to vreme mesne crkve i za Mali i za Veliki Mokri Lug) spaljene, a sve{tenik je surovo ubijen. Podaci o tim doga|ajima zasad su nedostupni, a stariji me{tani o tome nerado govore. Ipak, neki od njih progovorili su zahvaljuju}i pomo}i protojereja Ilije \uri}a, paroha nove crkve Svetog Trifuna u Malom Mokrom Lugu, protojereja mr Aleksandra Sredojevi}a i crkvenih odbornika @ivojina Had`i Krsti}a i Petra Simonovi}a. Na osnovu se}anja vreme{nih me{tana Mom~ila Stefanovi}a, Milorada Stojanovi}a i Miodraga Stojanovi}a Bakalca rekonstruisana su mesta na kojima se od 1900. godine u mokrolu{kom ataru nalazilo osam stabala zapisa, od kojih sedam vi{e ne postoji. U ovom radu prikazan je i prostorni raspored mokrolu{kih zapisa do kraja Drugog svetskog rata. Na karti Malog Mokrog Luga njihova mesta obele`ena su crnim krstovima (17). To je prva rekonstrukcija i rasvetljavanje sudbine mokrolu{kih zapisa posle Drugog svetskog rata. Na`alost, za neke od zapisa podaci o vremenu uni{tenja ili nestanka nisu sa~uvani.

Mokrolu{ki zapisi s po~etka XIX veka do kraja Drugog svetskog rata i njihovi lokaliteti (karta 1)
1. Na mestu na kojem se nalazila prva {kola u Malom Mokrom Lugu (otvorena 1860. godine, radila do 1938) zapis je bio veliki brest. Na Belu nedelju (to je pokretni praznik koji pada prve nedelje uo~i vaskr{njeg posta) tu se odr`avao seoski va{ar. Na zapis se rano ujutru ka~ila ljulja{ka, na kojoj su se tog dana obredno ljuljali svi stanovnici mesta, bez obzira na godine. 2. Na mestu na kojem se nalazila druga {kola u Malom Mokrom Lugu (19381960) zapis su bila tri bresta u {kolskom dvori{tu. Posekao ih je 1946. godine jedan me{tanin iz Malog Mokrog Luga, po nare|enju onda{njih vlasti. Njegovo ime nije saop{teno jer je ubrzo posle toga umro, bez mu{kog potomstva. 3. Milosavljevi}a brest bio je zapis koji se nalazio iznad dana{nje Bajdine ulice. O njemu nema podataka posle 1945. godine, a mesto na kojem se uzdizao obavijeno je velom }utanja. U neposrednoj blizini, ka severozapadu, le`i poljana koju me{tani i danas nazivaju strati{tem. Po njihovom kazivanju, na tom mestu jedne no}i 1946. godine partizani su streljali grupu od oko 40 ljudi. Me|u njima streljani su i trojica uglednih mokrolu{kih doma}ina (B. Jorga~evi}, B. Ivkovi}, \or|evi}) i mirijevski sve{tenik nepoznatog imena.

Stanje posle Drugog svetskog rata

Posle oslobo|enja litija je odr`ana samo jednom 1946. godine. Divni i drevni narodni obi~aji seoske litije i obnavljanja zapisa u Malom Mokrom Lugu nasilno su prekinuti 1947. godine. Odlukom tada{njih vlasti narodne litije u Malom Mo-

10

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE Mila KARAS, senior curator-pedagogue Natural History Museum, Belgrade

DIANA #13

PRESERVING THE SPIRITUAL HERITAGE OF SERBIA: LITIJA (SACRED PROCESSION), AND ZAPIS TREES IN THE VICINITY OF BELGRADE: THE RETURN OF SOME ANCIENT CUSTOMS
Introduction
Mali Mokri Lug and Veliki Mokri Lug are settlements in the broader Belgrade area, mentioned in archive material predating the First Serbian Uprising. They have been inhabited by Christians, mostly originating from the southern and southeastern parts of Serbia. The traditional occupation of these inhabitants was cereal and vegetable farming. Until the beginning of the 19th century, the area of Mali Mokri Lug was much larger than it is today. It extended all the way to present-day \eram, which at the time was on the outskirts of Belgrade. Like most Christian populations of Slavic origin, Serbs and Bulgarians in this area have preserved and practiced numerous ancient Slavic customs, especially religious customs connected with sacred trees. Since early times there were trees at Mali Mokri Lug (called Zapis) that were used as sites for mass prayer. In the Serbian custom, once a tree was proclaimed a Zapis, it became sacred and earned a status whereby it should not be touched. According to the ancient belief, which is present even today, nothing should be taken from that tree not a leaf, not a fallen seed, not a twig except for medicinal purposes. It is even believed that it would be a sin to burn its dead dry trunk or branches or use them for gain. As in the other places in Serbia, each Zapis was renewed every year. Large-scale community processions (called Litija) used to happen every year at Mali Mokri Lug. There were two processions: one on February 14th, St. Tryphons Day in the Orthodox calendar (the patron saint and protector of vineyards, fields and crops) and another at Pentecost (the first Friday after Trinity Sunday). The procession routes were different, and during each procession only the appropriate Zapis trees were renewed, some on St. Tryphons Day and others at Pentecost. There are no preserved data on the Processions in Mali Mokri Lug before WWII as there are in other parts of Serbia. According to the recollections of village elders, the village slava (saints day celebration) used to have a different host each year. This was a great honor, so only the most respectable household owners applied and provided everything necessary for the celebration. On the first Friday after Pentecost (Isto~ni or gushing Friday), on which Mali Mokri Lug has celebrated its slava since ancient times, a fair used to be organized next to the Zapis. This used to be a large folk gathering under pavilion tents, where the slava would be celebrated when the community did not have its own church. The Litija was celebrated in this way until the end of Second World War, even continuing during German occupation.

Situation after the Second World War

After the liberation in 1944, the Litija was performed only once in Mali Mokri Lug, in 1946. These wonderful ancient customs were forcibly banned in 1947 by the government of the day. There are no preserved data on this, as the church books of St. Ilijas church in Mirijevo (which at the time was also the parish church for Mali and Veliki Mokri Lug) were burnt, and the priest was brutally murdered. The village elders are still reluctant to speak about this but some decided to share some information with the help of the the new church board of St. Tryphon at Mali Mokri Lug, Protojereji (senior priests) Ilija \uri} and Aleksandar Sredojevi} and two church officials, Mr. @ivojin Had`i Krsti} and Mr. Petar Simonovi}. According to the village elders Mom~ilo Stefanovi}, Milorad Stojanovi}, and Miodrag Stojanovi}-Bakalac, the sites of 8 Zapis trees present in the area of Mokri Lug from 1900 have been redeveloped since 1946. Seven of the eight original trees no longer exist. This paper also presents the spatial distribution of Mokri Lug Zapis trees until the end of Second World War. Their positions are marked with black crosses (17) on the map below. This is the first reconstruction and clarification of the fate these Zapis trees following the Second World War. Unfortunately, for some Zapis trees there is no data on when they were destroyed or disappeared.

Zapis trees from Mokri Lug from the early 19th century to the end of Second World War and their sites (Map 1)
1. There was a large Zapis Elm tree on the site of the first school in Mali Mokri Lug (opened in 1860, functioned until 1938). The village fair was organized here on White Sunday (a movable holiday which always occurred on the last Sunday before Lent). In the early morning a swing was hung from the Zapis tree, and all the inhabitants of the village, regardless of age, participated in the swinging ritual. 2. On the site of the second school in Mali Mokri Lug (19381960), the Zapis included three Elm trees situated in the schoolyard. They were cut down in 1946 by one of the inhabitants of Mali Mokri Lug, on the order of the then government. Nobody wanted to disclose his name as he died soon after without any male heirs.

11

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Karta 1: Karta krsnog hoda Litije u Malom Mokrom Lugu 2007. godine Map 1: The map of Litija procession route at Mali Mokri Lug in 2007 Lokaliteti zapisa od 1900. do 1946 Localities of Zapis trees present from 1900 to 1946 Lokaliteti dana{njih zapisa Localities of present Zapis trees Litijski put Procession route of the litija Hram Svetog Trifuna Church of St. Trifun patrijarh Pavle. Zavr{ena je i osve}ena 1998. godine. I to je delo Crkvenog odbora, koji je doneo odluku o obnovi litije i osve{tavanju novih zapisa u mestu. Godine 1998. podignut je i jedinstven zapis u obliku velikog metalnog krsta u betonskoj osnovi (sl. 4). U njegove temelje, prema hri{}anskom obi~aju, polo`ena su tri kamena sa svetih mesta: sa Gore ku{anja u Jerusalimu, iz Hilandara i iz Studenice. Od 1994. godine litija se odr`ava svake godine na duhovski petak, a otkad je podignuta i osve}ena crkva Svetog Trifuna, polazi odatle.

Nisu poznata ni imena ostalih streljanih, ali se zna da su dovedeni iz Petog rejona, sa Zvezdare. 4. Brest zapis u vinogradu Stojanovi}a Bakalca. Brest je bio veoma star, osu{io se i sam pao 1970. godine. Niko ga nije dirao, a stablo i panj s vremenom su istrulili. 5. Zapis na stablu bresta u Milijinom potoku, na imanju Dobrivoja Koci}a, danas ne postoji. Nema podataka o njegovom nestanku. 6. Zapis na stablu oraha u vinogradu Stojanovi}a. Imanje je prodato, a novi vlasnik posekao je orah oko 1960. godine. 7. Zapis na stablu stare kru{ke koja se nalazila na mokrolu{kom imanju Milosavljevi}a, iznad groblja, pored puta koji vi{e ne postoji. Pose~en je 1945. ili 1946. godine. 8. Zapis na stablu crnog duda na imanju Stojanovi}a. Dud jo{ uvek postoji, obilno ra|a i jedini je do danas sa~uvan i obnovljen zapis iz tog perioda. Vlasnik imanja omogu}io je pristup litiji kada je ona obnovljena (sl. 1).

Krsni hod litije na duhovski petak 2007. godine

Pro{le godine litija je po~ela u petak, 1. juna 2007, u sedam sati, slu`bom u hramu. Mnogo pre po~etka slu`be sve~ano odeveni me{tani po~eli su sa svih strana da se slivaju u hram. Bilo je i dosta gostiju iz Beograda. Iz {kola su verou~iteljice dovele decu, koja su u besprekornom redu stajala na molitvi za po~etak krsnog hoda. Kada je molitva zavr{ena, mali{ani su sa strahopo{tovanjem prilazili i podizali ikone svetitelja koje su nosili u krsnom hodu (sl. 5, 6 i 7). Najradije su uzimali ikone Presvete Bogorodice. Bili su lepo odeveni i veoma ozbiljni. Odrasli, prete`no mla|i mu{karci, sve~ano odeveni, obrazovali su red. Nosili su krstove, barjake i ripide. Mnogi su preko ode}e obukli skromne |akonske ode`de. Kadionicu s tamjanom nosio je dirigent crkvenog hora (sl. 8.) i kadio celim putem, a tamjan je goreo do kraja litije. @ene su cve}em kitile krstove i barjake (sl. 9). ^lanovi crkvenog hora priklju~ili su se povorci me{tana, koja je iza{la na glavna, zapadna vrata hrama. Ispred litije i{li su sve{tenici sa sve{tenim knjigama i osve}enom vodom. Povorka je napravila polukrug i zaustavila se kod prvog zapisa u porti. Ispred zapisa sve{tenici su o~itali obrednu sve{teni~ku molitvu (sl. 10), a jasen zapis obnovili su urezivanjem i ukr{tenim zapaljenim sve}ama (sl. 11). Okupljeni narod i hor pevali su duhovne pesme. Povorka je s pesmom pro{la kroz jugoisto~ni ulaz u portu i krenula na jugoistok ulicama 27. marta i Bekerelovom. Na ~elu povorke no{en je veliki drveni krst iz Jerusalima, oki}en, po starom narodnom obi~aju, cve}em i pe{kirima (sl. 12). Povorka se kretala ka drugom i tre}em zapisu: metalnom krstu i d`anarici. Ispred povorke i{ao je krstono{a Slobodan Sibinovi} (sl. 13) i povremeno uzvikivao: Krstono{e Boga mole da nam polje rodi bolje! Povorka je odgovarala: Daj, Bo`e, daj! (Napomena: prema obi~ajnom pravu, krstono{a je odabrani mu{karac koji jedini, osim sve{tenika,

Obnavljanje litije i zapisa u Malom Mokrom Lugu 19942007

Posle dugog perioda, u vreme izolacije, kada je komunisti~ki re`im bio na izdisaju, me{tani Malog Mokrog Luga sabrali su se i odlu~ili da obnove svoje obi~aje. Ve} 1994. godine obnovili su narodnu litiju na duhovski petak 16. juna, po novom kalendaru. Osim crnog duda na imanju Stojanovi}a, koji je tada obnovljen, zapisuju i dva nova stabla: beli jasen u porti budu}eg hrama Svetog Trifuna (sl. 2) i divlju {ljivu (d`anariku ili prasku) na Jekmekluku, na seoskom zemlji{tu (sl. 3). To je vreme velikog duhovnog bu|enja u Srbiji, pa me{tani iste godine pokre}u izgradnju hrama Svetog Trifuna. On je podignut zalaganjem protojereja Ilije \uri}a i Crkvenog odbora, a gra|en je od priloga me{tana, bez i~ije pomo}i. Sa izgradnjom crkve otpo~elo se 6. novembra 1994, kada je u njene temelje crkvenu gramatu postavio Njegova svetost

12

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

3. Milosavljevi}a brest (Milosavljevi}s Elm) was a Zapis situated above present-day Bajdina Street. There are no data about it after 1945, and a veil of silence surrounds the area around it. In the immediate vicinity toward the northwest there is a grassy field, which is still called Strati{te (killing field) by the local people. Apparently, the partisans executed a group of about 40 people on that site during one night in 1946. The victims included three respectable household heads from Mokri Lug (B. Jorga~evi}, B. Ivkovi}, \or|evi}) and the priest from Mirijevo whose name we dont know.

DIANA #13

The names of the other persons are unknown, but it is known that they were brought to the execution site from the Vth Belgrade Area, Zvezdara. 4. There was an Elm Zapis on the property (vineyard) owned by Mr. Stojanovi}-Bakalac. As it was a very old tree, it died and fell down on its own in 1970. Nobody touched it, and the trunk and the stump gradually rotted away. 5. The Zapis Elm tree at Milijin Potok, the household of Dobrivoje Koci}, is now absent. There are no data on its disappearance.

Sl. 1. Najstariji zapis u Malom Sl. 2. Zapis iz 1994 Mokrom Lugu stablo crnog stablo belog jasena u porti duda staro 180 godina hrama Svetog Trifuna Fig. 1. The oldest Zapis tree at Mali Mokri Lug tree of Mulberry (180 years old) Fig. 2. Zapis since 1994 tree of European Ash in the yard of St. Trifuns Church

Sl. 3. Zapis iz 1994 stablo divlje {ljive na seoskom imanju Fig. 3. Zapis since 1994 tree of Wild Cherry in a village household

Sl. 4. Zapis iz 1998 metalni krst u ~ijem su temelju tri kamena doneta sa tri sveta mesta Fig. 4. Zapis since 1998 metal cross with the foundations of three stones brought from three Holy places

Sl. 5. Najmla|i u~esnici litije uzeli su iz hrama ikone koje }e nositi u povorci Fig. 5. The youngest participants of the Litija took the icons from the temple in order to carry them in the Procession

Sl. 6. Sa ikonom Svetog Serafima Sarovskog i nadom da }e Bog usli{iti molitvu na{e dece da posle sta{ne golgote komunizma vaskrsne Srbija Fig. 6. With the icon of St. Serafin Sarovski and hope that God will fulfill the prayer of our children that Serbia shall resurrect after the horrible Golgotha of communism

Sl. 7. Mile{evski Beli an|eo u rukama onih koje je Gospod najvi{e voleo Fig. 7. The White Angel of Mile{eva in the hands of those most beloved by God

Sl. 8. Diploma Muzi~ke akademije i patike, kadionica s tamjanom i |akonska ode`da mogu zajedno u ovoj litiji Fig. 8. The Diploma of Music Academy and sneakers, vigil lamps with frankincense and deacons robe may be seen together in this procession

13

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

sme da obavi ~in obnove zapisa. Ostali u~esnici litije ne dodiruju zapis, osim mladih devojaka, naj~e{}e odevenih u belo, koje ga kite cve}em i cvetnim vencima.) Du` puta litiju su, ispred svojih domova, sa~ekivali sve~ano odeveni doma}ini (sl. 14). Oni su pred ku}e izneli stolove na kojima se nalazilo poslu`enje za u~esnike litije: bombone, kola~i, sokovi i ponude za decu. Posipali su povorku `itom i bombonama iz sita. Ose}ala se velika radost svih prisutnih i doma}ina koji su do~ekivali litiju i u~esnika krsnog hoda.

Molitva je ponovljena kod d`anarike (sl. 15), kao i kod krsta (sl. 16), a zatim se povorka uputila ulicom 20. oktobra ka severozapadu i, presekav{i Bulevar kralja Aleksandra, nekada{nji Smederevski drum, skrenula severoisto~no, a potom Zlatiborskom ulicom po{la na severozapad. Kretala se tom ulicom do mesta na kojem se nalazio Milosavljevi}a brest, a pro{la je pored strati{ta bez zaustavljanja, do Bajdine ulice. Tom ulicom litija je ponovo izbila na Bulevar kralja Aleksandra, odakle se, pored ambulante, spustila do ulice @ivka Davidovi}a (sl. 17). Njom se povorka kretala ka severozapadu

Sl. 9. Obi~ajno ki}enje Krsta Gospodnjeg pe{kirima i cve}em, po starom narodnom obi~aju Fig. 9. The customary decoration of Lords Cross with towels and flowers, according to the old folk custom

Sl. 10. Molitva sve{tenika pred zapisom u porti hrama Fig. 10. The priests prayer in front of Zapis in the temple yard

Sl. 11. Obnavljanje zapisa u Malom Mokrom Lugu obavlja se svake godine prvog petka posle praznika Svete Trojice Fig. 11. The Zapis at Mali Mokri Lug is renewed each year at the first Friday after the holiday of Holy Trinity

Sl. 12. Na ~elu litije nosi se oki}eni krst iz Jerusalima, koji simbolizuje put Gospodnji na Golgoti Fig. 12. At the front of the Procession there is a decorated cross from Jerusalem, symbolizing the Lords path on Golgotha

Sl. 13. Ispred povorke krstono{a nosi sve}e za bele`enje zapisa i uzvikuje deo obredne litijske molitve Fig. 13. In front of the procession, the cross bearer carries the candles for noting the Zapis, and shouts a part of ritual Procession prayer

Sl. 14. Stariji me{tani u~estvuju u litiji tako {to s ponudama sa~ekuju povorku ispred svojih domova Fig. 14. The community elders participate in the Procession by offering gifts in front of their homes

Sl. 15. Obnavljanje zapisa na divljoj {ljivi kod Jekmekluka drugo mesto zajedni~ke molitve Fig. 15. Renewal of Zapis at the wild plum near Jekmekluk is the second site of communal prayer

Sl. 16. Tre}a molitva ~ita se ispred zapisa metalnog krsta podignutog u Malom Mokrom Lugu 1998. godine Fig. 16. The third prayer is being read in front of the Zapis the metal cross raised at Mali Mokri Lug in 1998

14

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

Sl. 17. Krsni hod iza ^asnog krsta povorku predvode deca sa ikonama i mladi}i s barjacima i ripidama Fig. 17. The cross procession follows the Holy Cross. The procession is led by children with icons and young men with banners and ripida poles

Sl. 18. I bake koje pamte nekada{nje litije i njihovi unuci, ro|eni mnogo godina posle zabrane, u~estvuju u obnovljenoj litiji u Malom Mokrom Lugu Fig. 18. The grandmothers that remember the ancient Processions and their grandchildren, born many years after the ban, join each other in the renewed Procession at Mali Mokri Lug

Sl. 19. Radost i ozbiljnost najmla|ih u~esnika i oni znaju da rade ne{to veoma va`no za op{te dobro zajednice Fig. 19. Joy and seriousness of the youngest participants, as they are aware that they are doing a very important thing for the whole community

Sl. 20. Do~ekao je molitvenu povorku posle 53 godine terora nad verom, ljudima i obi~ajima u Srbiji, terorom koji nije po{tedeo ni njihovo zavetno drve}e Fig. 20. It waited for the prayer procession after 53 years of terror over the faith, people and customs in Serbia, which did not spare even the Zapis trees

6. A Zapis walnut tree used to grow in the vineyard of Stojanovi} family. The land was sold and the walnut cut down by the new owner in about 1960. 7. A Zapis pear tree situated in the household of the Milosavljevi} family, above the graveyard and near the road, no longer exists. This tree was cut down in 1945 or 1946. 8. A Zapis black mulberry tree on the property of the Stojanovi} family still lives and produces a large quantity of fruit; it is the only Zapis from that period that has been preserved. The owner of the household enabled the Litija procession to access the tree when the practice was renewed (Fig. 1).

Renewal of Litija and Zapis trees at Mali Mokri Lug in 19942007.

After many years in isolation, and when the communist regime was taking its last breaths, the members of community of Mali Mokri Lug got together and decided to renew their customs. In 1994 they reinstituted the Litija procession on Pentecost Friday, June 16th according to the new calendar. In addition to the black mulberry at Stojanovi}s plot, they also added two new Zapis trees: a European Ash in the yard of the future Temple of St. Stefan (Fig. 2) and a wild plum (Cherry Plum or Myrobalan Plum) at Jekmekluk (Fig. 3) on the village-owned common. As this coincided with a period of strong spiritual awakening in Serbia, the members of this community started building the Temple of St. Tryphon in the same year, 1994. It was built through the efforts of Protojerej Ilija \uri} and the Church Board, supported with donations from members of the community, without any external funding. The buil-

ding process started on November 6th when the church grammata were placed in the foundation by His Holiness Patriarch Pavle. The Church was finished and consecrated in 1998 with the participation of the same Church Board that had decided to renew the Litija and bless the new Zapis trees in the area. In addition to the trees, in 1998 they also erected a unique Zapis in the form of a huge metal cross with a concrete foundation (Fig. 4). Its foundation, according to the Christian custom, includes three stones from holy places: from the Mount of Olives, Jerusalem, from Hilandar (Mt Athos, Greece) and from the monastery of Studenica, Serbia. Since 1994 the Litija procession has been organized each year at Pentecost, starting from the Church of St. Tryphon since its completion and consecration.

The procession route on Pentecost 2007

Last year the Litija started on Friday, June 1st, 2007, at 7 a.m. with a church service. The community members, wearing formal dress, came to the church from all directions, much earlier than the scheduled start of the service. There were also many guests from Belgrade. R.E. teachers brought schoolchildren, who stood in a flawless line during the prayer at beginning of the Holy Procession. After prayer, the children approached the icons of the saints with awe and respect, taking those that they would carry during the holy procession (Figs. 5, 6 and 7). Most often they chose the picture of the Virgin Mary. They were dressed in special clothes and looked very serious. The adults, forming a line, carried crosses, flags and ripida (poles carrying a small cross). Many wore modest deacon robes over their clothes. The conductor of church choir carried a vigil lamp with

15

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

pokazuje primer iz Malog Mokrog Luga, zahvatio je u poslednje vreme veliki deo Srbije. Zaista je zadivljuju}e i neobja{njivo to {to je ovaj narod tako brzo sve to obnovio posle poku{aja da mu se stra{nim nasiljem izbri{e istorijsko pam}enje. Kako objasniti to {to su sve pojedinosti litije sa~uvane, to {to parohijani iako su mnogi od njih ro|eni u vreme kada je litija bila zabranjena, a oni vi{e nisu zemljoradnici i ratari znaju za svog Gospoda Isusa Hrista, koga mole za blagostanje mesta i rodnost useva? Tajna je u njihovoj veri i duhovnoj snazi njihovih sve{tenika i Crkvenog odbora. Me|u njima je i jedan divan ~ovek, koji mi je i pomogao da do|em do svih ovih podataka. U svom domu, kao uva`enom gostu, pokazao mi je najve}u ku}nu relikviju: upaljeno kandilo u kojem jedanaest godina neprekidno gori Sveti oganj {to ga je on doneo iz Svete zemlje 1997. godine. Poverio mi je i da jo{ ima `ivih po~inilaca nasilja nad srpskom kulturom i verom, da svi znaju kod koga se zaturio litijski kola~ 1947. godine (jer se tako slava predavala doma}inu za narednu godinu) i da je zbog `elje da se litija odr`i 1947. i 1948. bilo i hap{enja, saslu{anja, informativnih razgovora i batinanja onih najupornijih. U {ali je dodao da je u obnovljenoj litiji 1994. godine bilo i onih koji su je 1947. zabranili. Ali njima niko nije zabranio da se priklju~e litiji, niti im je iko rekao i jednu jedinu prekornu re~. Litiju su obnovili dobri hri{}ani koji znaju da Gospod ne zove samo pravednike ve} zove i gre{nike na pokajanje. A litija i krsni hod kod pravoslavnih hri{}ana simbolizuju upravo hri{}anski, pokajni~ki put. Rad se objavljuje s blagoslovom sve{tenstva hrama Svetog Trifuna u Malom Mokrom Lugu

do Prvomajske (sl. 18), u koju je skrenula, i ponovo se uputila ka istoku, ulicama Sremskom i Bosanskom, a zatim Palih boraca (sl. 19), gde se nalazi najstariji zapis crni dud (sl. 20). Pod njegovom ogromnom kro{njom svi u~esnici litije bili su za{ti}eni od jake letnje `ege. Stablo mu je bilo prekriveno krupnim crnim zrelim dudinjama (sl. 22). Posle molitve i osve}enja zapisa krsni hod je nastavljen ka istoku, do hrama Svetog Trifuna. Povorka je u portu u{la kroz severozapadni ulaz. Ulaskom povorke u portu crkve krsni hod je zavr{en (karta 1: put krsnog hoda malomokrolu{ke litije). Put dug skoro osam kilometara sa zaustavljanjem kod zapisa povorka je pre{la za nepuna dva sata. Sve{tenstvo, hor i narod u{li su u hram. Krstovi, barjaci i ripide su odlo`eni. Deca su postavila ikone na njihova mesta. Hor je zauzeo svoje mesto. Otpo~ela je liturgija (sl. 23), koja je zavr{ena se~enjem slavskog kola~a. U tome su u~estvovali svi oni koji su bili u krsnom hodu. Posle toga me{tani su s gostima proslavili slavu u novom parohijskom domu kao nekada kod zapisa, na poljani pod {atrom. Vojislav Ili}, doma}in slave te godine (sl. 24), pripremio je zaista veliko slavlje. Deo slavskog kola~a, prema obi~aju, prosledio je slede}em doma}inu.

Kontinuitet o~uvanja nematerijalne ba{tine Srbije u Malom Mokrom Lugu

Ono {to zaista zadivljuje u svemu ovome jesu duhovna snaga i vera, kao i `elja i volja svih tih ljudi koji su obnovili litiju i onih koji su u njoj u~estvovali da otrgnu od zaborava jedinstvene, divne srpske obi~aje i da sa~uvaju svoju veru. Odr`ani su svi postupci, kretanje litije, molitve, svrha i smisao litije oni su isti kao {to su bili i pre stotinu ili vi{e godina. Sna`an talas duhovnog preporoda i obnove, kao {to

Sl. 21. Hlad ispod ogromne kro{nje jedinog preostalog zapisa na imanju Stojanovi}a za{titio je litiju od jake letnje `ege Fig. 21. The shade under the huge canopy of the only Zapis remaining at the Stojanovi} household has protected the Procession from the strong summer heat

Sl. 22. Zrele crne dudinje sa zapisa niko ne bere jer je to sveto drvo ~iji se plodovi uzimaju samo za lek Fig. 22. The ripe black mulberries of the Zapis are newer picked, as this is a sacred tree, whose fruits are taken only as medicine

Sl. 23. Litija se zavr{ila liturgijom i se~enjem slavskog kola~a u hramu Svetog Trifuna u Malom Mokrom Lugu Fig. 23. The Procession ended in Liturgy and cutting the slava cake at the Temple of St. Trifun at Mali Mokri Lug

Sl. 24. G. Vojislav Ili} (desno), doma}in slave 2007, sa naslednicima: sinom Vladimirom i unucima Fig. 24. The host of the slava in 2007, Mr. Vojislav Ili} (right) with his heirs: son Vladimir and grandchildren

16

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

incense (Fig. 8); it was used throughout the procession and burned continuously until the end of Litija. The women decorated the crosses and flags with flowers (Fig. 9). Members of the church choir joined the procession of local people who exited from the main, western door of the church. Priests with holy books and water led the procession. It moved in a semicircle and stopped in front of the first Zapis tree in the churchyard. The priests read the ritual priest prayer (Fig. 10) and renewed the Zapis on the ash tree by carving and crossed lighted candles (Fig. 11). The choir and the people sang spiritual songs. The procession passed through the southeastern entrance of the yard and moved toward the southeast, down 27 marta and Bekerelova streets. People at the front of the procession carried a large wooden cross from Jerusalem, decorated with flowers and towels according to the old folk custom (Fig. 12). The procession moved toward the second and third Zapis: the metal cross and the myrobalan plum. The cross-bearer Slobodan Sibinovi} was at the front of the procession (Fig. 13), occasionally shouting: The cross-bearers pray to God let our fields yield better crops. The procession answered Give us, God, give us. (Note: according to custom, the chosen cross-bearer is the only person beside the priest who may perform the ritual of Zapis renewal. The other participants in the Litija are not supposed to touch the tree, apart from several teenage girls, mostly dressed in white, who decorate the Zapis with flowers and floral wreaths.) Along the route, the procession was welcomed by formally dressed local residents standing in front of their homes (Fig. 14). They had placed tables in front of their homes with cakes, candy, juice and gifts for the children. They showered the procession with wheat grains and candy from sieves. Everybody present was obviously cheerful, both the hosts welcoming the Litija and the participants in the holy procession. The prayer was repeated at the myrobalan plum tree (Fig. 15) and at the cross (Fig. 16), and after that the procession advanced down 20th Oktobra Street toward the northwest, crossing the Boulevard of King Aleksandar, the former road to Smederevo, continuing northeast until they reached Zlatiborska Street, where they went down that street toward the northwest again. They moved towards the former site of Milosavljevi}s Elm and passed by the Strati{te without stopping, until they came to Bajdina Street. The procession proceeded to the Boulevard of King Aleksandar again, and passed by the hospital clinic, arriving at @ivka Davidovi}a Street (Fig. 17). The procession continued down that street, again toward the northwest, until they reached Prvomajska Street (Fig. 18). Here they started moving in an eastern direction, down Sremska Street, Bosanska Street and Palih Boraca Street (Fig. 19). The oldest Zapis, the black mulberry, is situated in Palih Boraca Street (Fig. 20). All the Litija participants were protected from the strong summer heat under its canopy. The tree was covered in large, black, ripe mulberries (Fig. 22). After the prayers and blessing of all Zapis sites, the procession continued eastward toward the Church of St. Tryphon, entering the yard through the northwestern entrance. The route of the Litija finished when the processi-

DIANA #13

on entered the churchyard again (Map 1: the map of Litija procession route at Mali Mokri Lug). The route was almost 8 kilometers long. Together with the services at Zapis sites, the procession took less than two hours. The clergy, choir and people entered the church. Crosses, flags and ripida were put in their places along with the icons. The choir took their prospective places. The priests started the Liturgy (Fig. 23), which ended with cutting the slava cake. Everyone participated in this service. After that the local community and the guests celebrated their slava in the new manse, as they used to do in the old days under the tent in the field near the Zapis. The host of the slava, Mr. Vojislav Ili} (Fig. 24), prepared a really large celebration. According to the custom, he passed one part of slava cake to next years host.

Continuity of preserving the intangible heritage of Serbia at Mali Mokri Lug

The most amazing thing in all of this is the spiritual strength, faith, desire and willingness of all these people to renew the Litija and to preserve such unique, wonderful Serbian customs and faith. All the procedures, route, prayers and purpose of the Litija are preserved in the same way as they were 100 or more years ago. This spiritual revival and renewal, explained here through the event in Mali Mokri Lug, has been happening in most of Serbia in recent years. It is awe-inspiring and inexplicable that these people, having previously faced horrible violence to erase the historical memory of their custom, have managed to renew it so quickly. How can we explain the fact that all the details of Litija are preserved, regardless of the fact that most eparchy (Church Board) members were born when the Litija was forbidden and are not farmers and agriculturalists any more. They still know about their Lord Jesus Christ, to whom they pray for the blessings for their village and abundant crops. The secret is in their faith and the spiritual strength of their priests and church board. One wonderful gentleman helped me to obtain all these data. In his home I was an honored guest who was shown his greatest home artifact: the lit vigil lamp where Holy Fire has been burning continuously for 11 years, since he brought it from the Holy Land in 1997. He also shared that there are still some of those who participated in this violence over Serbian culture and faith are still alive, that everybody knows who misplaced the Litija cake in 1947 (as it was the way to pass the slava to the new host for next year), and that attempts to perform Litija in 1947 and 1948 led to arrests, interrogations, informative talks and beatings of those most persisting. He joked that the renewed Litija in 1994 included individuals who had banned it in 1947. However, nobody forbade them to join the Litija, nor did anyone say any condescending words to them. The Litija was renewed by good Christians who know that the Lord does not call only the righteous but also sinners to repentance. To Orthodox Christians the Litija and cross procession symbolize the Christian way of repentance. This paper is published with the blessing of the clergy of St. Tryphon, Mali Mokri Lug

17

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A Mila POPOVI]-@IVAN^EVI], savetnik konzervator {ef OPZ Dijana, predsednik ICOM-SEE-ja

DIJANA I ICOM-SEE U OKVIRU REGIONALNE SARADNJE U JUGOISTO^NOJ EVROPI REGIONALNA ORIJENTACIJA DIJANE
OPZ DIJANA od 1997, kada je zapo~ela sa svojim aktivnostima, razvija teorijski i prakti~an pristup interdisciplinarnog i kompleksnijeg sistema za{tite ba{tine, koji se ne ograni~ava na lokalne i nacionalne okvire ili na pojedine kategorije kulturnih dobara. Dijana postepeno gradi sistem koji svojim razvojnim projektima defini{e integrativni koncept za{tite i metodologiju preventivne za{tite. Taj sistem vrlo brzo dovodi do zaklju~ka da su uspe{na primena metodologije preventivne za{tite i integrativni koncept za{tite u neposrednoj interaktivnoj vezi. Na osnovu takvog teorijskog i prakti~nog pristupa Dijana je pripremila predlog deklaracije koji je 2003. tada{nja dr`ava Srbija i Crna Gora podnela Generalnoj konferenciji Uneska u Parizu. Generalna konferencija je u oktobru 2003. u celosti prihvatila predlog Srbije i Crne Gore i usvojila Deklaraciju o preventivnoj konzervaciji kao fundamentalnoj strategiji za{tite nasle|a, posebno zna~ajnu za zemlje u tranziciji i zemlje u razvoju [Generalna konferencija, XXXII sesija, Komisija IV, 32 C/74, No 32 C/DR.35, paragraf 04210 (a) (II), 16. oktobar 2003]. Praksa je pokazala da je primena preventivne za{tite posebno pogodna za uspostavljanje delotvornog sistema brige za ba{tinu u zemljama u razvoju i u procesima tranzicije. Zbog toga su, prirodno, sve aktivnosti za{tite u Dijani bile usmerene na region jugoisto~ne Evrope, na razvoj edukativnih sadr`aja i modela, kao i na njihovu primenu u institucionalnoj profesionalnoj praksi. Regionalne aktivnosti Dijane jo{ su intenzivnije od sredine 2005, kada je otpo~elo zajedni~ko delovanje sa organizacijom ICOM-SEE u uspostavljanju i sprovo|enju regionalne saradnje. Regionalna saradnja je neminovnost kada je re~ o integrativnom pristupu za{titi ba{tine i njegovoj primeni u praksi putem metodologije preventivne za{tite. Regionalna saradnja treba da uklju~i u interdisciplinarni i multidisciplinarni sistem brojne subjekte i partnere na lokalnom, nacionalnom i regionalnom nivou. Oni }e uticati na stvaranje pozitivnog i podsticajnog prostora za konstruktivan dijalog u identifikaciji problema i tra`enju re{enja za dalji razvoj ba{tine. Dosada{nje istorijske, umetni~ke, kulturne, estetske, socijalne, ekonomske i druge karakteristike nacionalnih ba{tina ukazuju nedvosmisleno na to da se prostor Balkana i jugoisto~ne Evrope, u odnosu na op{ti me|unarodni kontekst, mo`e bez problema povezati u jedinstven kulturni krug. @elimo da uka`emo na to da se jedinstven regionalni balkanski kulturni i prirodni prostor mo`e kvalitetno uklju~iti u evropski i dati sopstveni sna`an i ubedljiv doprinos razvoju evropskog dru{tva i savremene civilizacije uop{te. Regionalna saradnja otvara siguran put i prostor za me|usobno razumevanje i po{tovanje raznolikosti izra`avanja. Ona }e pomo}i u razvijanju procesa koegzistencije i saradnje razli~itih etni~kih, religioznih, politi~kih, socijalnih i drugih grupa i naroda. Zato ti procesi treba da dovedu do strate{kog osmi{ljavanja i oblikovanja nacionalnih identiteta, do me|usobnog po{tovanja i povezivanja u prepoznatljiv jedinstveni kulturni i prirodni identitet balkanske regije. Na taj na~in stvara se svest o tome da se razli~ite etni~ke grupe i kulture mogu povezati na osnovu principa raznolikosti i raznovrsnosti i da se tako mo`e razviti jedinstven regionalni kulturni sadr`aj. Najve}i broj stru~njaka u oblasti za{tite kulturne i prirodne ba{tine polazi od ~injenice da jedino na taj na~in, me|usobnom bliskom stru~nom saradnjom, mo`emo stvoriti sna`an i jedinstven zajedni~ki prostor, a time }e se ostvariti ravnopravno nastupanje na me|unarodnoj sceni, kvalitetno zastupanje regiona, kao i nacionalnih interesa naroda i zemalja. Profesionalci u oblasti za{tite smatraju da male zemlje Balkana, sa jo{ uvek sa~uvanim autenti~nostima, posebnostima i raznolikostima kulturnog i prirodnog identiteta, mogu uspe{no definisati svoje nacionalne ba{tine putem regionalnog u~e{}a u globalnom svetu. Da bi se do{lo do tog cilja, stru~njaci za za{titu ba{tine mogu i moraju razvijati me|usobnu konstruktivnu saradnju u ostvarivanju tog va`nog strate{kog regionalnog zadatka o~uvanja nacionalnih ba{tina, njihovog objedinjavanja u regionalni prostor i povezivanja i integrisanja u jedinstven evropski i globalni svet.

Regionalna alijansa ICOM-a za jugoisto~nu Evropu ICOM-SEE

Balkanski region karakteri{e ~itav niz bliskosti i specifi~nosti koje povezuju razli~ite zemlje regiona u pogledu jezika, istorije, politike, kulture, tradicije, nasle|a i drugog. Nagla{ena je potreba zemalja jugoisto~ne Evrope za regionalnom saradnjom, za zajedni~kim akcijama u re{avanju mnogobrojnih problema muzeologije i za{tite. U regionu deluje ~itav niz malih nacionalnih komiteta ICOM-a (s malobrojnim ~lanstvom), koji jo{ uvek nemaju zna~ajnijeg uticaja na nacionalnu i me|unarodnu zajednicu. Zato se pre nekoliko godina stalo na stanovi{te da }e taj uticaj biti izrazitiji i delotvorniji ukoliko se oni ujedine u sna`niju regionalnu grupaciju. Na`alost, pokazalo se da je regionalna organizacija ICOM EUROPE suvi{e glomazna i neelasti~na, da ne mo`e da zadovolji zahteve kompleksnih i razli~itih strategija, niti da pru`i odgovore koji bi bili u skladu sa stanjem u razli~itim zemljama Evrope. Iako je ICOM EUROPE u poslednje vreme poku{avao da nadvlada taj problem, njegove su{tinske delatnosti ostale su i dalje previ{e uop{tene i na~elne, bez

18

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

Mila POPOVI]-@IVAN^EVI], museum councillor conservator Head of Diana Department for Preventive Conservation, President of ICOM SEE

DIANA AND ICOM-SEE WITHIN REGIONAL COOPERATION IN SOUTH EAST EUROPE REGIONAL ORIENTATION OF DIANA
SINCE 1997, when the Diana Department for Preventive Conservation started its activities, we have been developing the theoretical and practical approach of an interdisciplinary and complex system of heritage protection, which is not confined within local and national borders or certain categories of cultural property. Diana has gradually been constructing a system whose development projects define the concept of integrated protection and preventive conservation methodology. This system proves that the successful application of preventive conservation methods and the concept of integrated protection stand in close interactive connection. This theoretical and practical approach served as the basis for Dianas proposed Declaration, which Serbia and Montenegro submitted to the General Conference of UNESCO in Paris in 2003. This proposal was fully accepted and in October 2003, the General Assembly adopted the Declaration on preventive conservation as a fundamental strategy of heritage protection, particularly important for countries in transition and development [General Conference, XXXII session, Commission IV, 32 C/74, No 32 C/DR.35 paragraph 04210 (a) (II); 16th October 2003]. Practice has shown that the implementation of preventive conservation particularly facilitates the establishment of an efficient heritage protection system in developing countries or those in transition. For this reason all Dianas activities are orientated towards the region of South East Europe and the development of educational contents and models, as well as their implementation into professional institutional practice. Since ICOM SEE was founded in the mid-2005s to organise and coordinate all regional activities, Diana has intensified its regional activities. Regional cooperation is inevitable in an integrated approach to heritage protection and its implementation into practice through the preventive conservation methods. Regional cooperation should include an interdisciplinary and multidisciplinary system with a great number of subjects and partners on local, national and international levels. These would facilitate the creation of a positive, favourable space for constructive dialogue in identifying problems and searching for solutions for further heritage development. Historical, artistic, cultural, aesthetical, social, economic and other characteristics of national heritage all confirm that the Balkans and South East Europe can easily be connected into a unique cultural circle, within an international context. We would like to emphasise that the unique culture of the Balkans can be included in the wider European region and it can contribute strongly and plausibly to the development of European society and contemporary civilisation. Regional cooperation opens possibilities for mutual understanding and respect for differences in expression. It will help develop processes of coexistence and cooperation among different ethnic, religious, political, social, and other groups and nations. That is why these processes should bring about strategic rethinking and reshaping of national identities in order to encourage mutual respect and appreciation of the unique cultural and natural identity of the Balkans as a whole. This develops an understanding that different ethnic groups and cultures can be connected and developed into unique regional cultural content based on the principles of differences and diversity. Most experts in the protection of cultural and natural heritage emphasise that only through joint expert cooperation can we create a strong, unique, joint region, equally represented on the international scene. This will promote the interests of the region as a whole, as well as the national interests of each country. Professionals in the field of conservation believe that the small countries of the Balkans, with their preserved authentic characteristics and different cultural and natural

Sastanak ICOM-a Evrope i ICOM-SEE-ja u Galeriji fresaka, Beograd, april 2006 Meeting of ICOM Europe and ICOM-SEE in Gallery of Frescoes, Belgrade, April 2006

identities, can successfully define their own national heritage through regional and international participation. In order to reach that goal, heritage protection experts can and must develop constructive cooperation in the important strategic regional task of preserving national heritage, uniting within their geographical region while connecting and integrating with the rest of Europe and the world.

19

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

sada{njih regionalnih organizacija. Najve}i deo u~esnika tih rasprava stao je na stanovi{te da su se pojedina~ni regionalni koncepti razvijali samostalno, na prilagodljiviji i sveobuhvatniji na~in, i da su pozitivnije orijentisani u odnosu na potrebe i primenu muzeolo{ke prakse. Sve vi{e dolaze do izra`aja posebne regionalne potrebe, koje tra`e formalno udru`ivanje na osnovu razli~itih kriterijuma: politi~kih, geografskih, jezi~kih, kulturnih i drugih. Izvr{ni odbor ICOM-a tokom poslednjih godina veoma se ozbiljno bavio tim inicijativama, shvataju}i da je do njih do{lo spontano, u okviru profesionalnog delovanja pojedinaca i muzeja. Teoreti~ari ICOM-a ve{to prepoznaju specifi~ne potrebe razu|enije regionalne organizacije i neophodnost decentralizacije postoje}e organizacione strukture. Zaklju~eno je da su sada{nje regionalne organizacije suvi{e formalno postavljene u geografskom smislu, da deluju previ{e na~elno, da zbog toga sporo reaguju ili da uop{te ne reaguju u odnosu na konkretne potrebe regiona ili pojedinih delova regiona. Zato je Izvr{ni odbor zaklju~io da se osnovna struktura ICOM-a mora razvijati u pravcu zahteva koje je muzeolo{ka praksa iznela, da se mora postaviti elasti~nije kako bi se omogu}ilo delotvorno i kvalitetno regionalno udru`ivanje. Izvr{ni odbor ICOM-a pripremio je predlog za reorganizaciju dotada{nje strukture ICOM-a i predlog za izmenu Statuta u tom smislu. Tako su na Generalnoj skup{tini ICOM-a u avgustu 2007. u Be~u usvojene temeljne izmene Statuta, kojima su dotada{nje, prevazi|ene regionalne organizacije i njihove varijante preobra`ene u regionalne alijanse. ICOM-SEE je pru`io sna`nu podr{ku i dao zna~ajan doprinos tim inicijativama, smatraju}i da reorganizacija strukture ICOM-a sa osnivanjem regionalnih alijansi predstavlja kvalitetan proces decentralizacije i daljeg razvoja samog ICOM-a, njegovo prilago|avanje procesima ja~anja specifi~nih i manjih regiona koji `ele kvalitetnije u~e{}e u sistemu ICOM-a. Tim izmenama ICOM je pokazao da s razumevanjem prati razli~ite razvojne koncepte i profesionalne potrebe u razli~itim delovima sveta, da brzo reaguje na njih i da sve to lako povezuje sa svojim generalnim strategijama i ciljevima. U okviru sna`ne regionalne alijanse profesionalci mogu sami tra`iti sopstvene puteve i re{enja oslanjaju}i se na ICOM-ove
^lanovi Borda ICOM-SEE-ja u Muzeju selja~kih buna u Hrvatskoj, april 2008 Members of the Board of ICOM-SEE in Peasants revolt Museum, Croatia, April 2008

ozbiljnog odraza na stanje u pojedinim zemljama. To jeste dobro za globalnu politiku i op{te strategije, ali se takvo delovanje veoma te{ko mo`e uklopiti u stvarne regionalne i nacionalne situacije. Dinami~ne aktivnosti tokom poslednjih godina na podru~ju Balkana nisu ~ak ni pomenute u zvani~nim izve{tajima organizacije ICOM EUROPE. Smatrali smo da je neophodno osnovati posebnu regionalnu organizaciju koja }e voditi ra~una o na{im potrebama kao o potrebama regiona i da }e to biti bolji put za tra`enje odgovaraju}ih re{enja, zadovoljavanje profesionalnih i institucionalnih potreba, a da }e on opet biti u skladu sa strate{kim zadacima i ciljevima ICOM-a. Profesionalci iz regiona imaju potrebu da zajedni~ki deluju, da na osnovu bliske regionalne saradnje rade na re{avanju problema zapu{tenog stanja ba{tine i na razvoju teorijskih koncepata, metodologije i prakse za{tite. ICOM-SEE je osnovan u avgustu 2005. godine. Prema tada{njem statutu ICOM-a, definisan je kao podregionalna organizacija Radna grupa ICOM-a Evrope za jugoisto~nu Evropu. Osnivanje ICOM-SEE-ja jeste rezultat spontane i neposredne inicijative ~lanova ICOM-a iz Makedonije, Bugarske, Srbije i, delimi~no, Gr~ke. Te prve inicijative bile su pokrenute potrebom da se vi{e malih nacionalnih komiteta ICOM-a ujedini u sna`niju organizaciju, koja }e biti ravnopravna s drugima pred me|unarodnom zajednicom i koja }e izgraditi sna`niji uticaj na kulturnu politiku u nacionalnim i regionalnim okvirima. Da bi regionalne akcije bile osmi{ljene i stru~no kontrolisane, ICOM-SEE je odmah po osnivanju definisao i prihvatio kao strate{ku platformu i akcioni plan regionalni projekat Revitalizacija kulturnog i prirodnog nasle|a u regionu Balkana jugoisto~ne Evrope, 20062012 (dr M. Popovi}-@ivan~evi}, autorski projekat, OPZ Dijana, avgust 2005). Unesko je prihvatio taj projekat kao zna~ajnu pomo} i doprinos u razvijanju strategije generalnog re{avanja problema za{tite u regionu jugoisto~ne Evrope i kao kvalitetnu osnovu za dalji razvoj organizovane brige za ba{tinu. Poslednjih godina u samom ICOM-u vo|ene su ozbiljne diskusije u kojima je neposredno u~estvovao i ICOM-SEE o na~inu regionalnog organizovanja i funkcionisanja doSastanak Borda ICOM-SEE-ja u Muzeju selja~kih buna, Gornja Stubica, Hrvatska, april 2008 Meeting of the Board of ICOM-SEE in Peasants revolt Museum, Gornja Stubica, Croatia, April 2008

20

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

Regional alliance of ICOM for South East Europe-ICOM-SEE
The Balkans is characterised by a number of similarities and characteristics that connect different countries in language, history, politics, culture, tradition, and heritage. There is a strong need for regional cooperation, and for joint activities to solve the numerous problems of museology and protection. The range of national ICOM committees (albeit with only a few members) has not yet had a significant impact on the national and international community. That is why several years ago we decided that the impact would be more pronounced and effective if those committees united in a stronger regional group. Unfortunately, it was evident that ICOM EUROPE was too big and inflexible to satisfy the complex and different needs of all the different countries of Europe. Even though ICOM EUROPE has tried lately to overcome that problem, its basic activities have remained too general and fundamental, not seriously reflecting the different situations in certain countries. That is good for global and general strategies, but can barely respond to regional needs. Dynamic activities in the Balkans over the last years have not been mentioned in official reports of ICOM EUROPE. We believed that it was necessary to establish a special regional organisation that would take care of Serbian needs and those of the region. This would be a better way to solve problems and to satisfy professional and institutional needs according to the overall tasks and goals of ICOM. Professionals from the region need to take action together, to solve the problem of the neglected state of our heritage and to develop theoretical conservation concepts, methods, and practice based on close regional cooperation. ICOM-SEE was founded in August 2005. According to ICOM it was then defined as a sub regional organisation a working group of ICOM Europe for South East Europe. The establishment of ICOM-SEE was a spontaneous, direct initiative of ICOM members from Macedonia, Bulgaria, Serbia and partially Greece. Those first initiatives began with the need to unite a number of small national committees of ICOM into a strong organisation, which would be seriously
Deo Borda ICOM-SEE-ja u Muzeju u Kumrovcu, april 2008 Part of the Board of ICOM-SEE in Museum in Kumrovec, April 2008

DIANA #13

recognized by the international community and strongly influence cultural policy on national and regional levels. In order for the regional action to be properly planned and expertly supervised, ICOM-SEE immediately accepted the strategic platform and action plan defined in the ICOM Regional project Revitalisation of cultural and natural heritage in the region of Balkans-South-east Europe, 20062012 (Dr M. Popovi}-@ivan~evi}, project author, Diana Department for Preventive Conservation, August 2005). UNESCO accepted that project as a significant contribution to developing general solutions to the problem of protection in South East Europe and as good basis for further organised care of our heritage. Over the last few years, ICOM-SEE has been directly involved in some serious discussions in ICOM about the ways in which existing Regional organisations are structured and operate. Most participants in these discussions came to the conclusion that individual regional concepts develop independently, more flexibly, and more broadly, and are oriented to the needs and application of museological principles. Special regional needs are emphasised more and more, which calls for formal unity on similar political, geographical, linguistical, cultural and others criteria. The executive board of ICOM has taken such initiatives very seriously, understanding that they were spontaneous, arising from the professional activities of individuals and museums. ICOM experts recognise the needs of a dissected regional organisation to decentralise from the existing organisational structure. It was concluded that current regional organisations are too formally situated in the geographical sense; they appear to be too fundamental, and they react much more slowly as a result, or do not react at all to concrete needs of certain parts of the region or the region as a whole. That is why the Executive Board concluded that the basic structure of ICOM must develop according to the practical demands of museology, and that it must be more flexible to provide effective, good, regional unity. The executive board of ICOM prepared a proposition for the reorganisation of the present structure of ICOM and for appropriate changes to ICOMs Statute. In August 2007, at the General Assembly of ICOM in Vienna, some detailed changes were adopted, which will enable the transformation of present obsolete regional organisations into Regional alliances. ICOM-SEE has given strong support and a significant contribution to those initiatives, believing that reorganization of the structure of ICOM through the establishment of Regional alliances represents a quality process of decentralisation and further development of ICOM itself, in its adaptation to the processes of strengthening smaller member regions who want to participate more equally in ICOM. With those statutory changes ICOM has shown that it is in step with different concepts of development and professional needs in different parts of the world, understanding that it should react to them quickly, in accordance with its general strategies and goals. Within a strong Regional alliance professionals can work out their own professional methods and solutions, depending on ICOMs strategic goals and tasks, and not on current political situations and social contexts.

21

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

12. mr Azra Be~evi}-[arenkapa, konzervator, Zemaljski muzej u Sarajevu, zamenik ~lana Borda, zamenik predsednika ICOM-SEE-ja, Bosna i Hercegovina 13. Ljiljana Zekovi}, savetnik, Narodni muzej Crne Gore, Umetni~ki muzej, stalni ~lan Borda ICOM-SEE-ja, Crna Gora 14. Mileva Vujo{evi}, savetnik, Pomorski muzej u Kotoru, zamenik ~lana Borda ICOM-SEE-ja, Crna Gora 15. prof. dr Ilirjan \ipali (Ilirjan Gjipali), zamenik direktora Arheolo{kog instituta u Tirani, stalni ~lan Borda ICOM-SEE-ja, Albanija 16. Albana Hakani (Albana Hakani), arheolog, Arheolo{ki park Butrint, zamenik ~lana Borda ICOM-SEE-ja, Albanija 17. dr Virgil Nitulesku (Virgil Nitulescu), dr`avni sekretar Ministarstva kulture Rumunije, stalni ~lan Borda ICOM-SEE-ja, Rumunija 18. Elena Doina Punga (Elena Doina Punga), {ef Odeljenja za odnose s javno{}u, Nacionalni istorijski muzej u Bukure{tu, zamenik ~lana Borda ICOM-SEE-ja, Rumunija.

strate{ke ciljeve i zadatke, a ne na trenutne politi~ke situacije i dru{tvene ambijente. Takva reorganizacija ICOM-a omogu}i}e profesionalcima okupljenim oko ICOM-SEE-ja da zajedni~ki, sna`nije i efikasnije deluju u okviru svojih nacionalnih i regionalnih interesa, a u skladu s generalnim strategijama ICOM-a. Neposredno nakon odr`avanja Generalne skup{tine ICOM-a u Be~u 2007. godine ICOM-SEE je zapo~eo s pripremama za sprovo|enje zvani~ne procedure prerastanja iz Radne grupe ICOM-a Evrope u regionalnu alijansu. S druge strane, tokom zasedanja Savetodavnog komiteta ICOM-a u junu 2008. godine u Parizu odr`an je i sastanak Radne grupe za regionalne alijanse i regionalne pridru`ene organizacije ICOM-a. Na tom sastanku ve}ina prisutnih podr`ala je osnivanje Regionalne alijanse ICOM-SEE; jednoglasno je odlu~eno da se Izvr{nom odboru ICOM-a zvani~no podnese zahtev da se formira Regionalna alijansa za jugoisto~nu Evropu ICOM-SEE. Izvr{ni odbor ICOM-a je na sastanku odr`anom 5. i 6. juna 2008. godine prihvatio taj predlog i ICOM-SEE je osnovan kao peta aktivna regionalna alijansa. U okviru ICOM-SEE-ja danas deluje devet zemalja regiona: Slovenija, Hrvatska, Bosna i Hercegovina, Crna Gora, Albanija, Makedonija, Srbija, Bugarska i Rumunija. ICOM-SEE deluje preko Borda, koji su izabrali predstavnici nacionalnih komiteta ICOM-a svih zemalja ~lanica nove regionalne organizacije. Bord ICOM-SEE-ja ~ine stalni ~lanovi i njihovi zamenici: 1. dr Mila Popovi}-@ivan~evi}, savetnik konzervator, Narodni muzej u Beogradu, {ef Odeljenja za preventivnu za{titu Dijana, stalni ~lan Borda, predsednik ICOM-SEE-ja, Srbija 2. prof. dr Jan Ki{geci, savetnik, Poljoprivredni muzej u Kulpinu, Institut za ratarstvo i povrtarstvo u Novom Sadu, zamenik ~lana Borda ICOM-SEE-ja, Srbija 3. Branislava Mihajlova, muzejski savetnik, Muzej istorije prirode u Skoplju, stalni ~lan Borda, zamenik predsednika ICOM-SEE-ja, Makedonija 4. Zaharinka Aleksoska Ba~eva, konzervator, Muzej moderne umetnosti u Skoplju, zamenik ~lana Borda ICOM-SEE-ja, Makedonija 5. prof. dr Simeon Nedkov, profesor muzeologije na Filozofskom fakultetu u Sofiji, stalni ~lan Borda ICOM-SEE-ja, Bugarska 6. Krasimira Frangova, Nacionalna akademija umetnosti u Sofiji, Konzervatorski departman, zamenik ~lana Borda ICOM-SEE-ja, Bugarska 7. dr Dragan Mati}, Inspektorat za kulturu i medije Slovenije, stalni ~lan Borda ICOM-SEE-ja, Slovenija 8. Nina Zdravi~-Poli}, muzejski savetnik, Etnografski muzej Slovenije u Ljubljani, Slovenija, zamenik ~lana Borda ICOM-SEE-ja 9. Vlatka Filip~i}-Maligec, kustos, Muzej Hrvatskog Zagorja, Muzej selja~kih buna, stalni ~lan Borda, sekretar ICOM-SEE-ja, Hrvatska 10. Davor Fulanovi}, Tehni~ki muzej u Zagrebu, zamenik ~lana Borda ICOM-SEE-ja, Hrvatska 11. Janko Vra~ar, kustos, Muzej Republike Srpske u Banjaluci, stalni ~lan Borda ICOM-SEE-ja, Bosna i Hercegovina

Prvi generalni sastanak ICOM-SEE-ja u Beogradu, decembar 2008 The First General Assembly of ICOM-SEE in Belgrade, December 2008

Su{tinski doprinos osnivanju i ja~anju ICOM-SEE-ja pru`ili su stru~njaci iz Dijane. Oni su inicirali ~itav niz regionalnih projekata i aktivnosti koji uklju~uju razli~ite stru~njake na nacionalnom, regionalnom i me|unarodnom nivou, a tako|e koordiniraju i organizuju te aktivnosti i projekte. Karakter, sadr`ina i ciljevi ve}ine projekata povezuju razli~ite kulture, institucije i profesionalce iz na{eg regiona i Evrope. Zadaci Dijane poklapaju se i blisko prepli}u u realizaciji sa onima koji va`e za ICOM i ICOM-SEE, zbog istih strate{kih opredeljenja i ciljeva. Dijana je jedan od glavnih aktera ICOM-SEE-ja i ICOM-a i zato ve}inu svojih nau~no-stru~nih projekata metodolo{ki regionalno postavlja i organizuje u razli~itim zemljama regiona. U toj simbiozi i zajedni~kom nedeljivom radu sa ICOM-om Dijana je svoje aktivnosti godinama usmeravala na region jugoisto~ne Evrope, postepeno formiraju}i partnersku regionalnu mre`u oko tih svojih razli~itih i kompleksnih aktivnosti. Zato danas predstavnici zemalja regiona ne samo {to pokazuju veliki interes za neposredno i konkretno uklju~ivanje u pojedine

22

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

This reorganization of ICOM will enable professionals gathered around ICOM SEE to work more efficiently and strongly both according to their national and regional interests and in compliance with the general strategies of ICOM. Immediately after holding a General parliament of ICOM in Vienna 2007 ICOM-SEE has begun with the preparations for conducting the official procedures of changing from working group of ICOM Europe in regional alliance. On the other hand, during the session of Advisory Committee of ICOM in June 2008 in Paris a meeting of the Working Group of regional alliance and regional extended organization of ICOM was held. On that meetings majority of attendants supported forming of the Regional Alliance of ICOM-SEE; it was unanimously decided to officially demand from Executive Board of ICOM to form Regional Alliance for South East Europe-ICOM-SEE. Executive Board of ICOM has accepted that proposition on the meeting held on June 5th and 6th 2008 and ICOM-SEE was founded as fifth active regional alliance.

DIANA #13

4. Zaharinka Aleksoska Ba~eva, conservator, Museum of Modern Art in Skopje, substitute of the member of the board of ICOM-SEE-a, Macedonia 5. Prof. Dr Simeon Nedkov, professor of museology at the Faculty of Philosophy in Sofia, permanent member of the board of ICOM-SEE, Bulgaria 6. Krasimira Frangova, National Academy of Art in Sofia, Conservatory department, substitute member of the board of ICOM-SEE, Bulgaria 7. Dr Dragan Mati}, Inspectorate for culture and media in Slovenia, permanent member of the board of ICOM-SEE, Slovenia 8. Nina Zdravi~-Poli}, museum councillor, Ethnographic Museum of Slovenia in Ljubljana, Slovenija, substitute of the member of the board of ICOM-SEE-a 9. Vlatka Filip~i}-Maligec, curator, Museum of Croatian Zagorje, Museum of the peasants mutiny, permanent member of the board of ICOM-SEE, Croatia 10. Davor Fulanovi}, Technical Museum in Zagreb, substitute member of the board of ICOM-SEE, Croatia

Jedan od srednjovekovnih manastira na planini Rudnik koji su obi{li ~lanovi Borda ICOM-SEE-ja, decembar 2008 One of the medieval monasteries in the Rudnik mountain, visited by the members of the Board of ICOM-SEE, December 2008

^lanovi Borda ICOM-SEE-ja u tipi~no {umadijskom ambijentu, decembar 2008 Members of the Board of ICOM-SEE in a typical ambient of [umadia, December 2008

Today there are nine countries within ICOM-SEE: Slovenia, Croatia, Bosnia and Herzegovina, Montenegro, Albania, Macedonia, Serbia, Bulgaria and Romania. ICOM-SEE works through a board, elected by representatives of national committees of ICOM of all member states of the new regional organisation. The Board of ICOM-SEE is consisted of members and their substitutes: 1. Dr Mila Popovi}-@ivan~evi}, museum councillor conservator, National Museum in Belgrade, head of the Diana Department for preventive conservation, permanent member of the board, president of ICOM-SEE, Serbia 2. Prof. Dr Jan Ki{geci, advisor, The Museum of Agriculture in Kulpin, Institute for arable farming and vegetable growing in Novi Sad, substitute of the member of the board of ICOM-SEE, Serbia 3. Branislava Mihajlova, museum councillor, Museum of Natural History in Skopje, permanent member of the board , vice president of ICOM-SEE, Macedonia

11. Janko Vra~ar, curator, Museum of Republika Srpska in Banja Luka, permanent member of the board of ICOMSEE, Bosnia and Hercegovina 12. Azra Be~evi}-[arenkapa MA, conservator, Museum of the Earth in Sarajevo, substitute member of the board, vice president of ICOM-SEE; Bosnia and Hercegovina 13. Ljiljana Zekovi}, advisor, National Museum of Montenegro, director of the Art Museum, permanent member of the board of ICOM-SEE, Montenegro 14. Mileva Vujo{evi}, advisor, Marine museum in Kotor, substitute member of the board of ICOM-SEE, Montenegro 15. Prof. Dr Ilirjan Gjipali, deputy director of the Archaeological Museum in Tirana, permanent member of the board of ICOM-SEE, Albania 16. Albana Hakani, archaeologist, Butrint Archaeological park, substitute member of the board ICOM-SEE, Albania 17. Dr Virgil Nitulescu, state secretary of the Ministry of Culture of Romania, permanent member of the board of ICOM-SEE, Romania

23

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Trijenalni skup ICOM-a Srbije, Bosne i Hercegovine i Hrvatske u Prijepolju, maj 2008 Triennial meeting of ICOM Serbia, Bosnia and Herzegovina and Croatia in Prijepolje, May 2008

Mila Popovi}-@ivan~evi} dr`i predavanje na trijenalnom skupu u Prijepolju, maj 2008 Mila Popovi}-@ivan~evi} giving a lecture on Triennial meeting in Prijepolje, May 2008

aktivnosti ve} se i uklju~uju u projekte, daju}i im na taj na~in partnerski regionalni karakter. Dijana i ICOM-SEE trude se da se putem odgovaraju}e radne atmosfere i ambijenta koji je stvoren tokom dosada{njih regionalnih akcija, u profesionalnim kontaktima, uspostavi bliska saradnja izme|u pojedinaca i institucija u jugoisto~noj Evropi. Osnovni ciljevi Dijane i ICOM-SEE-a se poklapaju i odnose se na koordiniranje regionalnih aktivnosti na za{titi ba{tine, na osnovu partnerskih i paralelnih projekata kratkoro~nog i dugoro~nog karaktera, a u okviru sadr`aja revitalizacije kulturnog i prirodnog nasle|a u regionu jugoisto~ne Evrope. Postav-

ljeni zadaci uklju~uju i kreiranje i razvoj zajedni~ke regionalne strategije za{tite ba{tine, kao i stvaranje sna`nijeg profesionalnog uticaja na stru~ne institucije za{tite i organe vlade na nacionalnom i me|unarodnom nivou. Dakle, ICOM-SEE i Dijana usmeravaju svoje aktivnosti na revitalizaciju nasle|a u regionu jugoisto~ne Evrope, na sisteme za{tite koji odra`avaju {iri integrativni pristup nasle|u, u skladu s nacionalnim i regionalnim interesima. Te aktivnosti ve} donose konkretne rezultate u nau~no-stru~noj saradnji u na{em regionu, kao i sve intenzivnije okupljanje i samoorganizovanje profesionalaca.

Biljana \OR\EVI] Narodni muzej u Beogradu

KONVENCIJA O ZA[TITI STARIH I TRADICIONALNIH ZANATA PROMENA SADA[NJOSTI I OBLIKOVANJE BUDU]NOSTI

NA[E KULTURNO OKRU@ENJE ubrzano se menja i postaje sve jednoli~nije i bezli~nije. Svakim danom lokalne, regionalne i nacionalne specifi~nosti sve vi{e nestaju. Globalizacija se nezadr`ivo {iri planetom, zahvata sve segmente dru{tva i uzima svoj danak. Ona sobom nosi odre|ene pozitivne promene, ali je pogubna za o~uvanje kulturnog identiteta. Nije vi{e neobi~no videti i mlade i stare pripadnike razli~itih kultura u svim delovima sveta koji su svoje tradicionalne no{nje zamenili sasvim istim majicama i ka~ketima na kojima se naj~e{}e nalaze neke reklamne poruke napisane na njima nerazumljivom jeziku. Ili mlade `ene koje vodu sa izvora odnose u plasti~nim kanisterima umesto u skladno izvajanim i bogato ukra{enim glinenim }upovima {to su ih osmislili njihovi preci; ti }upovi, osim funkcije koju imaju,

nose i brojna zna~enja i poruke, bitne upravo za tu zajednicu na tom mestu. Mo`da je najslikovitija paradigma ovakvog u~inka globalizacije sada ve} antologijska scena iz legendarnog filma Bogovi su pali na teme, snimljenog 1980. godine. Mladi Bu{man Ksi u pustinji Kalahari pronalazi staklenu bocu koka-kole koja je pala s neba kao dar bogova. Njegova te`nja da bogovima vrati taj predmet za koji je ustanovljeno da ni~emu ne slu`i, ali koji izaziva razdor u dotad skladnoj zajednici, svakako simbolizuje borbu protiv negativnih uticaja globalizacije. Nije, me|utim, potrebno `iveti u Namibiji da bi se osetio poguban uticaj globalizacije na kulturni identitet bilo koje zajednice. Dovoljno je pripadati nekom od evropskih naroda.

24

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

18. Elena Doina Punga, head of the PR Department, National Historical Museum in Bucharest, substitute member of the board, ICOM-SEE, Romania. Experts from Diana have made an essential contribution to the formation and strengthening of ICOM-SEE. They have initiated, coordinated, and organized a number of regional projects and activities, including different experts at national, regional and international levels. Most of these projects connect different cultures, institutions and professionals in our region and in Europe. The tasks of Diana match and overlap with those of ICOM and ICOM SEE, having the same strategic orientation and goals. Diana is one of the main participants in ICOM-SEE and ICOM so it positions most of its scientific and expert projects regionally, and then organises them in different countries in the region. In this indivisible, mutual symbiosis with the work of ICOM, Diana has directed its activities toward the region of South East Europe for years, gradually forming a regional network of partners gathered around its different, complex activities. That is why representatives of countries in the region today not only show great interest in certain activities, but also get

DIANA #13

involved in projects, thus giving them a regional partnership character. Diana and ICOM-SEE are making an effort to establish closer cooperation between individuals and institutions in South East Europe by means of a suitable working atmosphere and environment, created during the regional activities of ICOM-SEE that have been taken so far. The main goals of Diana correspond with those of ICOM-SEE and refer to coordinating regional activities in the conservation of heritage, based on partner and parallel projects, both short-term and long-term, within the revitalisation of cultural and natural heritage in South East Europe. Tasks include the creation and development of a regional strategy of heritage protection of, as well as a more powerful influence on expert conservation institutions and government departments at national and international levels. ICOM-SEE and Diana are directing their activities towards the revitalisation of heritage in South East Europe, and towards systems of conservation that maintain a wider, integrative approach to heritage, according to national and regional interests. Those activities have already brought about concrete results in our region, including more intensive gathering and self-organisation of regional professionals.

Biljana DJORDJEVI] National museum in Belgrade

CONVENTION ON THE PROTECTION OF OLD AND TRADITIONAL CRAFTS: CHANGING THE PRESENT AND SHAPING THE FUTURE
OUR CULTURAL SURROUNDINGS are rapidly changing and becoming more monotonous and impersonal. With each day, local, regional and national traits are disappearing. Irrepressible globalization is spreading throughout the planet, seizing all segments of society, and this is taking its toll. Although it brings along certain positive changes, it is detrimental for the preservation of cultural identity. It is no longer unusual to see both young and old members of different cultures in all parts of the world exchanging their traditional costumes with the same t-shirts and caps, which usually have some kind of advertising messages written in a language that is incomprehensible to them. Young women now carry water from the spring in plastic containers instead of the harmoniously shaped and richly decorated pots designed by their ancestors. Besides their functional value these pots carry numerous meanings and messages, important to that unique community and place. Perhaps the most picturesque paradigm of this effect of globalization is the now epic scene from a legendary movie The Gods must be Crazy, made in 1980. In the Kalahari Desert, young Bushman Xi finds a glass Coca-Cola bottle which had fallen from the sky, and interprets it as a gift from God. His intention to return the bottle to the gods (it had no establi-

shed purpose but created discord in what had, until then, been a harmonious community) symbolizes the struggle against the negative influences of globalization. However, it is not necessary to live in Namibia in order to feel the damaging influence of globalization on the cultural identity of any community. It is sufficient to belong to any European nation. Here the consequences are also visible. Things that former generations designed, developed, and nurtured for hundreds of years and interwove in the shapes and decoration of objects for everyday use are slowly disappearing. Above all, the knowledge and skills necessary for creating these objects have also disappeared, and that loss will soon be irretrievable. Old crafts should be observed not only as part of cultural heritage and the artistic expression of one nation, but also as part of everyday life, which connects individuals and groups from different ethnic, cultural, religious and linguistic surroundings, based on mutual understanding and respect. They enable better understanding among cultures, social cohesion, and stability based on a principle of accepting others with all their differences. This is the basis of the White paper on intercultural dialogue: Living Together as

25

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

***
Nedavno sam pro~itala kratku pri~u D`oela Barkera Baca~ zvezda, inspirisanu istoimenom pripovetkom antropologa Lorena Ajslija.4 Pri~a govori o mudracu koji na dugoj pe{~anoj pla`i zati~e mladi}a u mukotrpnom poslu vra}anja nasukanih morskih zvezda, jedne po jedne, u okean. Za~u|en uzaludnim, beskona~nim poslom koji je taj mladi ~ovek strpljivo obavljao, mudrac ga zapita za{to to radi kad nikada ne}e mo}i da vrati u vodu sve morske zvezde i kad, samim tim, to nema nikakvog smisla i ne zna~i ni{ta. Mladi} mu, saginju}i se i bacaju}i nazad, u vodu, jo{ jednu od nepreglednog broja nasukanih morskih zvezda, odgovori: Za ovu zna~i. Mudri ~ovek je shvatio: ono {to je mladi} ~inio bio je izbor. Izbor da ne bude samo nemi posmatra~, ve} da ne{to preduzme. Kao i mladi} iz pri~e, i mi smo svi obdareni sposobno{}u da u~inimo iskorak; kada postanemo svesni te sposobnosti, ste}i }emo mo} da uti~emo na promenu sada{njosti i oblikovanje budu}nosti. Svaki za budu}nost sa~uvan, od zaborava otrgnut ili obnovljen stari i tradicionalni zanat jedna je morska zvezda kojoj smo spasli `ivot.

I ovde su posledice sasvim uo~ljive. Bezli~ne majice, plasti~ni kanisteri i beskorisna ambala`a {ire se nezaustavljivo. Sve ono {to su generacije pre nas osmi{ljavale, razvijale i negovale stotinama godina i utkale u forme i dekoraciju predmeta za svakodnevnu upotrebu polako nestaje. Nestaju, pre svega, znanja i ve{tine neophodni za nastanak ovih predmeta, a taj gubitak uskoro }e biti nenadoknadiv. Stare zanate treba posmatrati ne samo kao deo kulturne ba{tine i umetni~kog izraza jedne nacije ve} kao deo svakodnevnog `ivota koji povezuje pojedince i grupe iz razli~itih etni~kih, kulturnih, verskih i jezi~kih okru`enja na osnovu uzajamnog razumevanja i po{tovanja. To je osnova Bele knjige o interkulturnom dijalogu: @iveti zajedno, jednaki u dostojanstvu, koju je Savet Evrope usvojio u maju 2008.1 Stari zanati treba da budu, a i jesu, aktivnosti koje omogu}uju bolje razumevanje me|u kulturama, socijalnu koheziju i stabilnost na osnovu principa prihvatanja drugih s njihovim razli~itostima. Pred nama je nacrt Konvencije o za{titi starih i tradicionalnih zanata, koji je u oktobru 2006, na inicijativu Srbije,2 Savetu Evrope podnelo sedam zemalja.3 Ova konvencija predvi|a usvajanje niza mera na nacionalnom i evropskom nivou, mera kojima bi se obezbedili opstanak i o`ivljavanje tradicionalnih zanata i o~uvanje njihovih proizvoda, pro{irenje kruga lica koja se njima bave, kao i unapre|ivanje njihovog ekonomskog i socijalnog polo`aja. Na taj na~in trebalo bi da Konvencija uvede red i da zaustavi nestajanje i degradaciju starih i tradicionalnih zanata. Kao ni ostale konvencije i deklaracije Saveta Evrope, ni ova konvencija nema snagu zakona, ve} preporuke. Njen cilj nije da nametne, ve} da stimuli{e. Da bi bila usvojena i da bi podstakla zemlje ~lanice Saveta Evrope, kojih je danas 47, na to da je ratifikuju, potrebno je da predstavnici svih ovih zemalja spoznaju njen zna~aj i neophodnost njene primene u svim evropskim zemljama, bez obzira na stepen razvijenosti. Na stru~njacima je koji se za{titom kulturnih dobara bave da im na to uka`u i da im u tome pomognu.

1] White Paper on Intercultural Dialogue: Living Together As Equals in Dignity, Launched by the Council of Europe Ministers of Foreign Affairs at their 118th Ministerial Session, Strasbourg, 7 May 2008. 2] Nacrt Konvencije o za{titi starih i tradicionalnih zanata nastao je na Pravnom fakultetu u Beogradu. Delo je studenata, sada ve} diplomiranih pravnika, anga`ovanih u Stru~noj grupi za evropsko pravo, pod rukovodstvom doc. dr Branka Raki}a. To {to je nastala kao studentska ve`ba u oblasti evropskog prava ne umanjuje njenu vrednost, o ~emu govori i ~injenica da ju je Savet Evrope uzeo u razmatranje i radi na njenom usvajanju. 3] Uz Srbiju, to su Velika Britanija, Nema~ka, [panija, Kipar, Finska i Litvanija. 4] www.starthrower.com.

EVROPSKA KONVENCIJA O ZA[TITI STARIH I TRADICIONALNIH ZANATA

Dr`ave ~lanice Saveta Evrope i druge dr`ave potpisnice ove konvencije: polaze}i od toga da je cilj Saveta Evrope ostvarenje {to ~vr{}e unije izme|u njegovih ~lanica radi o~uvanja i unapre|ivanja ideala i principa koji ~ine njihovu zajedni~ku ba{tinu i podsticanja njihovog ekonomskog i dru{tvenog napretka, imaju}i u vidu Evropsku kulturnu konvenciju, potpisanu u Parizu 19. decembra 1954. godine, a posebno njene ~lanove 1 i 5, svesne toga da su stari i tradicionalni zanati, i to kako znanja i ve{tine koji ih ~ine, a koji su izgra|ivani, preno{eni i unapre|ivani kroz generacije, tako i proizvodi koji su rezultat tih znanja i ve{tina, a koji su tako|e nastajali i ~uvani kroz vekove, sastavni i bitan deo ukupnog duhovnog i kulturnog nasle|a i svakog naroda posebno i cele Evrope, pa i ~itavog ~ove~anstva, uverene da zna~aj tih znanja i ve{tina i njihovih proizvoda daleko nadilazi njihovu svakodnevnu prakti~nu primenjivost, te da oni imaju izuzetnu kulturnu vrednost, neretko i umetni~ku, kao i da su zna~ajno svedo~anstvo o na~inu `ivota, obi~ajima, potrebama, shvatanjima i ukupnoj duhovnosti naroda u razli~itim epohama, a i o kulturnim pro`imanjima izme|u razli~itih naroda, svesne ~injenice da razvoj nauke i tehnologije, a posebno industrijski razvoj, sa sve ve}im mogu}nostima jeftine, brze i masovne proizvodnje, ~ini bavljenje starim i tradicionalnim zanatima nedovoljno rentabilnim, pa time i nedovoljno privla~nim za nove generacije koje se nalaze pred izborom svog budu}eg zanimanja,

26

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

Equals in Dignity which was adopted by Council of Europe in May of 2008.1 Before us is a draft of Convention on Protection of Old and Traditional Crafts, which has, on the initiative of Serbia2, been submitted to the Council of Europe by seven countries.3 This convention envisages the adoption of a number of measures on national and European levels, with which the survival and revival of traditional crafts and the preservation of their products would be provided for, spreading the circle of people engaged in such craftsmanship, as well as advancing their economic and social status. This way the Convention should bring order and stop the disappearance and decay of old and traditional crafts. As well as other conventions and declarations of the Council of Europe, this Convention does not have the power of a law, but only that of a recommendation. Its goal is not to impose, but to stimulate. In order for it to be adopted and ratified by the 47 member countries of the Council of Europe, the representatives of these countries must acknowledge its significance and the necessity of its application in all European countries, regardless of their degree of development. It is up to experts dealing with the protection of cultural goods to highlight the issue and help member countries to apply the Convention locally.

DIANA #13

Bewildered by this futile, endless work which that young man was patiently conducting, the man asked him why he was doing that since he would not be able to return all the starfish into the water, and since it didnt make any sense and didnt signify anything. The young man, bending and throwing one more stranded starfish back into the water, responded: It does mean a lot for this one. The wise man realized that what the young man was doing was a choice not to be just a silent observer, but to do something about it. Like the young man from the story, we are capable of stepping forward, and once we become aware of that capability, we will have the power to influence the present and shape the future, albeit one step at a time. Each craft preserved for the future, saved from oblivion, or revived like one of the starfish, is a life which we have saved.

1] White Paper on Intercultural Dialogue: Living Together As Equals in Dignity, Launched by the Council of Europe Ministers of Foreign Affairs at their 118th Ministerial Session, Strasbourg, 7 May 2008. 2] Draft of the Convention on Protection of Old and Traditional Crafts has been designed at The Faculty of Law in Belgrade by graduates engaged in the Expert group for European law, under the direction of Dr Branko Raki}. The fact that it was established as a post-graduate student task within European Law does not diminish its value, which is proved by the fact that the Council of Europe has taken it under consideration and is working on its adoption. 3] Along with Serbia those are Great Britain, Germany, Spain, Cyprus, Finland and Lithuania 4] www.starthrower.com.

***
Recently I read a short story The Star Thrower by Joel Barker, inspired by the story with the same name by anthropologist Loren Eiseley.4 The story deals with a wise man who encounters a young man on a long sunny beach toiling to return stranded starfish, one by one, into the ocean.

EUROPEAN CONVENTION ON THE PROTECTION OF OLD AND TRADITIONAL CRAFTS

The member states of the Council of Europe and other signatory states hereto, Considering that the aim of the Council of Europe is to achieve a greater unity between its members for the purpose of safeguarding and realizing the ideals and principles which are their common heritage and facilitating their economic and social progress, Bearing in mind the European Cultural Convention signed in Paris on 19 December 1954, and in particular, Articles 1 and 5 thereof, Being aware that old and traditional crafts, comprising both knowledge and skills which have been developed, conveyed and improved through generations, and the products that are the fruit of such knowledge and skills, which have also been developed and safeguarded over centuries, represent an integral and significant part of the overall spiritual and cultural heritage of each particular nation, the whole of Europe and the entire mankind, Confident that the importance of the above mentioned knowledge and skills and the products thereof by far exceeds their day-to-day practical application and that they are of an exceptional cultural and often artistic value, thus representing an invaluable testimony to the lifestyle, customs, needs, views and the overall spirituality of a nation in various epochs, as well as to the cultural links between different nations, Recognizing the fact that the progress of science and technology, especially industrial development, with everincreasing opportunities for cheap, fast and large-scale production, makes old and traditional crafts insufficiently profitable and, consequently, not attractive enough to be chosen by new generations as their future profession, Considering the fact that, due to the above described process, numerous old and traditional crafts are facing complete extinction, some of them being already extinct, as well as the fact that the skills that have been acquired and developed through generations are dying out and that the quantity of the preserved products manufactured by application of old and traditional methods is diminishing drastically, especially with regard to the products belonging to earlier epochs, which, owing to their age, are all the more valuable,

27

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

polaze}i od toga da su mnogi stari i tradicionalni zanati usled navedenog procesa pred potpunim ga{enjem, neki ve} i uga{eni, da se znanja koja su sticana i razvijana kroz generacije gube i da se drasti~no smanjuje koli~ina o~uvanih zanatskih proizvoda proizvedenih na stare i tradicionalne na~ine, posebno onih starijih, koji su zbog svoje starosti naj~e{}e i vredniji, svesne da se bez organizovane akcije kako na nacionalnom i subnacionalnom tako i na me|unarodnom planu, a posebno na evropskom proces nestajanja starih i tradicionalnih zanata ne mo`e zaustaviti, uverene u postojanje potrebe, kako kod vlastitih naroda tako i u ~itavoj porodici evropskih naroda, pa i u celom ~ove~anstvu, za o~uvanjem starih i tradicionalnih zanata, i to i znanja i ve{tina koji ih ~ine, i proizvoda tih znanja i ve{tina, svesne potrebe za nau~nim istra`ivanjem i prou~avanjem razli~itih aspekata problematike starih i tradicionalnih zanata i potrebe za {irenjem znanja o njima, {to }e doprineti i njihovom o~uvanju i unapre|ivanju i razvijanju svesti kod stanovni{tva o tom vidu vlastitog kulturnog nasle|a i o tom segmentu vlastitog kulturnog i nacionalnog identiteta, uverene da su u pro{losti saradnja u bavljenju zanatima koje danas smatramo starim i tradicionalnim i razmena i promet proizvoda tih zanata doprinosili kulturnom i civilizacijskom pro`imanju me|u narodima, te da i danas saradnja na o~uvanju starih i tradicionalnih zanata i njihovih proizvoda mo`e i treba da doprinese sli~nom pro`imanju izme|u novih generacija, dogovorile su se o slede}em.

CILJEVI KONVENCIJE
^lan 1 Ova konvencija ima za cilj: 1. za{titu i unapre|ivanje starih i tradicionalnih zanata; 2. {irenje znanja o njima; 3. razvijanje svesti o tome da stari i tradicionalni zanati koji su postojali i koji postoje na prostoru svake od dr`ava potpisnica ~ine sastavni deo zajedni~ke evropske, pa ~ak i svetske kulturne i civilizacijske ba{tine, kao i podsticanje, na ovom planu, daljeg duhovnog, kulturnog, civilizacijskog i svakog drugog pozitivnog pro`imanja izme|u evropskih naroda i u okviru ~itavog ~ove~anstva.

DEFINISANJE POJMOVA
^lan 2 U smislu ove konvencije: pod starim i tradicionalnim zanatima (u daljem tekstu: zanati) podrazumevaju se zanati koji su na prostoru dr`ava potpisnica ove konvencije postojali u du`em periodu, stekav{i, zahvaljuju}i tome, ukorenjenje kod naroda na tom prostoru, kao i osobenosti i prepoznatljiva svojstva, ~ime su postali deo kulturnog i duhovnog nasle|a tih naroda, odnosno deo njihove tradicije. pod za{titom i unapre|ivanjem podrazumevaju se sve organizovane kolektivne ili pojedina~ne aktivnosti i mere koje imaju za cilj: opstanak i o`ivljavanje starih i tradicionalnih zanata; o~uvanje znanja i ve{tina koji te zanate ~ine, kao i dalje usavr{avanje tih znanja i ve{tina i njihovo {irenje; prikupljanje, za{titu i o~uvanje proizvoda tih zanata; pro{irenje kruga lica koja se bave tim zanatima profesionalno ili amaterski; unapre|ivanje ekonomskog i socijalnog polo`aja lica koja se profesionalno bave tim zanatima; pru`anje materijalnog i drugog podsticaja za amatersko bavljenje tim zanatima, kao i uop{te o~uvanje ili o`ivljavanje u sada{njosti ili u pro{losti dostignutog kvantitativnog i kvalitativnog nivoa u bavljenju ovim zanatima i podizanje tog nivoa u budu}nosti. pod {irenjem znanja podrazumevaju se sve organizovane kolektivne ili pojedina~ne aktivnosti i mere nau~noistra`iva~kog, obrazovnog, informativnog ili drugog sli~nog karaktera, ~iji je cilj da se detaljno prou~e svi istorijski, kulturni, umetni~ki, socijalni, ekonomski i drugi aspekti nastanka i razvoja starih i tradicionalnih zanata, da se unaprede znanja, ve{tine i tehnike obavljanja tih zanatskih delatnosti i da se ta znanja, ve{tine i tehnike pro{ire na {to ve}i krug lica, kao i da se s proizvodima tih zanatskih delatnosti upozna {to {ira javnost.

OBAVEZE DR@AVA POTPISNICA

^lan 3 Dr`ave potpisnice obavezuju se da }e preduzimati sve mere i aktivnosti potrebne za ostvarivanje ciljeva ove konvencije. Dr`ave potpisnice }e radi toga sara|ivati, kako kroz mehanizme koje predvi|a ova konvencija tako i na druge na~ine koji se poka`u korisnim.

28

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

Being aware that the dying out of old and traditional crafts cannot be curbed without a coordinated action at the national and subnational levels, as well as at the international and particularly European level, Confident that the need of their respective nations and of the entire family of the European nations, as well as mankind in general, is to preserve old and traditional crafts, both the knowledge and skills incorporated therein and the products of such knowledge and skills, Being aware of the need for carrying out scientific research and study of the various aspects of old and traditional crafts, and the need to disseminate the knowledge thereabout, which will contribute to their preservation and further development, as well as raise popular awareness of this form of cultural heritage and cultural and national identity, Convinced that in the past cooperation in practicing the crafts which we now deem old and traditional, and the exchange of and trade in the products of such crafts contributed to the establishment of cultural and civilizational links between nations, and also that the cooperation in preserving old and traditional crafts and their products can and ought to contribute to the establishment of similar links between new generations, have agreed as follows:

OBJECTIVES OF THE CONVENTION

Article 1 This Convention has the following objectives: 1. to protect and promote old and traditional crafts; 2. to disseminate knowledge thereabout; 3. to raise popular awareness of the fact that old and traditional crafts that existed and still exist on the territory of each signatory state represent an integral part of the common European, and even global, cultural and civilizational heritage, and to encourage further spiritual, cultural, civilizational and any other positive interaction in this context, among the European nations and within the whole mankind.

DEFINITION OF TERMS
Article 2 In terms of the present Convention, The term old and traditional crafts (hereinafter referred to as crafts) denotes crafts that have been in existence on the territories of the signatory states of this Convention over a lengthy period of time and which, therefore, have become deeply rooted in the societies of the nations which populated those territories, acquiring certain specificities and distinctive features which have made them part of the cultural and spiritual heritage of those nations, that is, part of their traditions. The term protection and promotion means any organized collective or individual activities and measures aimed at: preserving and reviving old and traditional crafts; safeguarding the knowledge and skills entailed by such crafts, as well as further improving such knowledge and skills and dissemination thereof; collecting, protecting and preserving the products of those crafts; expanding the community of individuals who engage in these crafts, either as professionals or as amateurs; improving the economic and social status of the individuals who engage in such crafts as professionals; providing financial and other kind of support to the amateurs engaged in those crafts, and, in more general terms, preserving and reviving the present or past quantitative and qualitative achievements in pursuing such crafts, as well as raising the level of these achievements in the future. The term dissemination of knowledge denotes any organized, collective or individual activities and measures of scientific, educational, informative or any other similar character, which are aimed at developing a comprehensive study of all historical, cultural, artistic, social, economic and other aspects of the emergence and development of old and traditional crafts, improving the knowledge, skills and techniques for practicing these crafts and disseminating such knowledge, skills and techniques as widely as possible, as well as familiarizing the public at large with the products of such crafts.

COMMITMENTS OF THE SIGNATORY STATES

Article 3 The signatory states shall take any measures and actions that may be necessary for the purpose of achieving the objectives of this Convention. For that purpose, the signatory states shall establish mutual cooperation, both through the mechanisms set forth in this Convention and in any other manner which may prove useful.

29

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

NACIONALNI KOMITETI
^lan 4 Najdalje u roku od {est meseci od stupanja na snagu ove konvencije svaka od dr`ava potpisnica oformi}e svoj nacionalni komitet za za{titu starih i tradicionalnih zanata (dalje: nacionalni komitet). Dr`ave koje naknadno pristupe ovoj konvenciji oformi}e svoje nacionalne komitete najdalje u roku od {est meseci od stupanja na snagu Konvencije u odnosu na njih. Nacionalne komitete sa~injava}e odgovaraju}i broj predstavnika nadle`nih dr`avnih organa, predstavnika lica koja se profesionalno ili amaterski bave ovim zanatima, predstavnika nau~nih i kulturnih institucija i istaknutih nau~nih i kulturnih radnika zainteresovanih za stare i tradicionalne zanate, kao i predstavnika drugih institucija, organizacija ili udru`enja i drugih pojedinaca koji bi mogli bitno da doprinesu uspe{nom radu nacionalnog komiteta date zemlje. Zadatak nacionalnih komiteta bi}e osmi{ljavanje i predlaganje mera i akcija za ostvarivanje ciljeva ove konvencije, staranje o ostvarivanju tih mera i akcija, ocena uspe{nosti njihove realizacije, kao i ostvarivanje komunikacije i saradnje sa istim ciljem na evropskom i {irem planu. Dr`ave potpisnice }e, u skladu s vlastitim ure|enjem, svojim nacionalnim komitetima dati stvarna i efektivna ovla{}enja neophodna za ostvarivanje njihovih zadataka. Nacionalni komiteti mogu, ukoliko to smatraju potrebnim, da formiraju stru~ne odbore zadu`ene za pojedine zanate ili pojedina stru~na pitanja, kao i druga pomo}na tela.

EVROPSKI KOMITET
^lan 5 U roku od najvi{e godinu dana od stupanja na snagu ove konvencije oformi}e se Evropski komitet za za{titu starih i tradicionalnih zanata (dalje: Evropski komitet), i to tako {to }e nacionalni komiteti dr`ava potpisnica delegirati po jednog predstavnika u to telo na period od ~etiri godine, s mogu}no{}u reizbora. Nacionalni komiteti dr`ava koje budu naknadno pristupile ovoj konvenciji delegira}e svoje predstavnike u Evropski komitet najdalje u roku od tri meseca od vlastitog konstituisanja. Zadatak Evropskog komiteta bi}e podsticanje, usmeravanje i koordinacija nacionalnih mera i akcija preduzetih radi ostvarivanja ciljeva ove konvencije, kao i osmi{ljavanje, organizovanje i sprovo|enje zajedni~kih mera i akcija i podsticanje i koordinacija drugih vidova saradnje me|u dr`avama potpisnicama sa istim ciljem. U Evropskom komitetu sve odluke bi}e dono{ene prostom ve}inom, s tim {to }e se uvek nastojati da se kroz usagla{avanje stavova postigne saglasnost svih ~lanica. Radom Evropskog komiteta rukovodi predsednik Evropskog komiteta, koga bira Evropski komitet na period od dve godine, s mogu}no{}u reizbora. Evropski komitet donosi sopstvena pravila o radu u roku od tri meseca od formiranja. Redovni sastanci Evropskog komiteta odr`ava}e se dva puta godi{nje. Komitet mo`e zasedati i vanredno ako tako sam odlu~i, odnosno na zahtev najmanje jedne tre}ine ~lanova Komiteta. Evropski komitet mo`e, ukoliko to smatra potrebnim, da formira stru~ne odbore zadu`ene za pojedine zanate ili pojedina stru~na pitanja, kao i druga pomo}na tela.

SARADNJA
^lan 6 Radi {to uspe{nijeg ostvarivanja ciljeva ove konvencije, izme|u nacionalnih komiteta i Evropskog komiteta bi}e odr`avana {to intenzivnija komunikacija i saradnja, i to kako preko nacionalnih predstavnika u Evropskom komitetu tako i na sve druge na~ine koji se poka`u potrebnim i pogodnim. Radi {to uspe{nijeg ostvarivanja ciljeva ove konvencije, nacionalni komiteti }e odr`avati stalnu i intenzivnu me|usobnu komunikaciju i saradnju, kako posredstvom Evropskog komiteta i svojih predstavnika u njemu tako i na sve druge pogodne i potrebne na~ine. Evropski komitet }e radi ostvarivanja ciljeva ove konvencije odr`avati stalnu komunikaciju s Parlamentarnom skup{tinom, Komitetom ministara i drugim zainteresovanim i relevantnim telima Saveta Evrope.

INVENTARI
^lan 7 Najdalje u roku od dve godine od stupanja na snagu ove konvencije svaka od dr`ava potpisnica sa~ini}e i dostavi}e Evropskom komitetu inventar starih i tradicionalnih zanata koji postoje ili su postojali na njenoj teritoriji (dalje:

30

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

NATIONAL COMMITTEES
Article 4 No later than six months from entry into force of this Convention, each of the signatory states shall set up its own national committee for the protection of old and traditional crafts (hereinafter referred to as national committee). The states that accede to this Convention at a later date shall set up their respective national committees not later than six months from entry into force of this Convention with regard thereto. The national committees shall comprise an appropriate number of representatives of the competent state authorities, representatives of the persons engaged in such crafts either as professionals or as amateurs, representatives of the scientific and cultural institutions and distinguished scholars and cultural officials interested in old and traditional crafts, as well as representatives of other institutions, organizations or associations and other individuals that would significantly contribute to the successful operation of the national committee of a particular state. The task of the national committees shall be to design and propose the activities and measures necessary for the accomplishment of the objectives of this Convention, to ensure that such activities and measures are implemented, to evaluate their performance, and to establish communication and cooperation with the same goal at the European level and further afield. The signatory states shall, in keeping with their respective constitutional systems, grant such actual and effective authorizations to their national committees as may be necessary for the accomplishment of their tasks. The national committees may, if they deem it necessary, set up expert committees in charge of particular crafts and specific expert issues and other ancillary bodies.

EUROPEAN COMMITTEE
Article 5 Within a maximum of one year from the entry into force of this Convention, a European Committee for the protection old and traditional crafts shall be set up (hereinafter referred to as European Committee) in such manner that the national committees of the signatory states should delegate to this body one representative each for a period of four years, with the possibility of re-election. The national committees of the states which accede to this Convention at a later date shall delegate their representatives to the European Committee not later than three months from their own establishment. The task of the European Committee shall be to encourage, direct and coordinate national measures and activities taken for the purpose of achieving the objectives of this Convention; design, organize and implement joint measures and activities; and support and coordinate other forms of cooperation between the signatory states with the same goal. All decisions of the European Committee shall be rendered by a simple majority vote, but efforts shall also be made to harmonize various positions in order to obtain the consent of all the member states. The work of the European Committee shall be managed by the Chairman of the European Committee, who shall be elected by the European Committee for a period of two years, with the possibility of re-election. The European Committee shall pass its own rules of procedure within three months from its establishment. Regular meetings of the European Committee shall be held twice a year. The Committee may also hold extraordinary sessions, at its own discretion or at the request of at least one third of the Committee membership. The European Committee may, if it deems it necessary, set up expert committees in charge of particular crafts or specific expert issues, and other ancillary bodies.

COOPERATION
Article 6 In order to accomplish the objectives of this Convention as successfully as possible, the national committees and the European Committee shall maintain close mutual communication and cooperation, both through the national representatives in the European Committee and in any other form that may prove necessary and convenient. In order to achieve the objectives of this Convention in the most successful manner, the national committees shall maintain continual and close mutual communication and cooperation, both through the European Committee and their representatives therein, and in all other convenient and available forms. For the purpose of achieving the objectives of this Convention, the European Committee shall maintain continual communication with the Parliamentary Assembly, the Committee of Ministers and other interested and relevant bodies of the Council of Europe.

INVENTORIES
Article 7 Not later than two years from the entry into force of this Convention, each of the signatory states shall compile and submit to the European Committee an inventory of old and traditional crafts which exist or which existed in its

31

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

nacionalni inventari starih i tradicionalnih zanata ili nacionalni inventari). Dr`ave koje naknadno pristupe ovoj konvenciji sa~ini}e i dostavi}e Evropskom komitetu svoje nacionalne inventare starih i tradicionalnih zanata najdalje u roku od osamnaest meseci od stupanja na snagu ove konvencije u odnosu na njih. Nacionalni inventari starih i tradicionalnih zanata predstavljaju polazne nacionalne izve{taje, u kojima svaka dr`ava ~lanica konstatuje i popisuje stanje na vlastitom prostoru u pogledu starih i tradicionalnih zanata. Nacionalni inventari posebno sadr`e: popis zanata koji se upra`njavaju ili koji su ranije upra`njavani na teritoriji date dr`ave; popis podru~ja u datoj dr`avi na kojima se pojedini zanati upra`njavaju ili su ranije upra`njavani, uklju~uju}i i podatke o meri u kojoj se ti zanati upra`njavaju ili su ranije upra`njavani na tim podru~jima; podatke o broju lica na teritoriji date dr`ave koja se bave pojedinim zanatima, podatke o njihovoj starosnoj, polnoj, obrazovnoj i drugoj strukturi, o njihovom socijalnom polo`aju, kao i druge releventne podatke u vezi s tim licima; podatke o postojanju i rasprostranjenosti proizvoda starih i tradicionalnih zanata na teritoriji date dr`ave, podatke o stanju, vrednosti i za{ti}enosti tih proizvoda, kao i druge podatke o njima; podatke o problemima objektivne ili subjektivne prirode koji postoje u datoj dr`avi i koji mogu biti od zna~aja za ostvarivanje ciljeva ove konvencije; podatke o promenama i kretanjima u pogledu svega navedenog u prethodnom du`em i kra}em periodu; druge bitne statisti~ke ili sli~ne podatke u vezi sa starim i tradicionalnim zanatima i njihovim upra`njavanjem na prostoru date dr`ave. ^lan 8 Najdalje u roku od tri godine od stupanja na snagu ove konvencije Evropski komitet usvoji}e Evropski inventar starih i tradicionalnih zanata, zbirni dokument sastavljen na osnovu nacionalnih inventara koje su dostavile dr`ave potpisnice. U roku od najvi{e tri meseca od dostavljanja nacionalnih inventara dr`ava koje kasnije pristupe Konvenciji u Evropski inventar bi}e unete dopune koje proizlaze iz nacionalnih inventara tih dr`ava.

STRATEGIJE ZA[TITE
^lan 9 Istovremeno sa Evropskim inventarom starih i tradicionalnih zanata ili najdalje tri meseca po njegovom usvajanju Evropski komitet usvoji}e Evropsku strategiju za{tite starih i tradicionalnih zanata (dalje: Evropska strategija), koja }e biti redovno razmatrana na svake ~etiri godine radi utvr|ivanja rezultata njene primene i radi neophodnih modifikacija. Evropski komitet mo`e odlu~iti i o vanrednom razmatranju Evropske strategije. Polaze}i od Evropske strategije, svaka dr`ava potpisnica }e u roku od {est meseci od usvajanja Evropske strategije sa~initi svoju nacionalnu strategiju za{tite starih i tradicionalnih zanata (dalje: nacionalne strategije), ~ija }e dalja modifikovanja biti u skladu s promenama u Evropskoj strategiji. Ako se uka`e posebna potreba, nacionalne strategije mogu se razmatrati i modifikovati i nezavisno od razmatranja i modifikovanja Evropske strategije. Evropska strategija i nacionalne strategije sadr`e osnovna usmerenja i osnovne na~ine ostvarivanja ciljeva ove konvencije na evropskom i nacionalnom planu.

GODI[NJI PROGRAMI
^lan 10 Na osnovu Evropske strategije i na osnovu vlastite nacionalne strategije svaka dr`ava potpisnica sa~injava}e i ostvariva}e svoje nacionalne godi{nje programe za{tite starih i tradicionalnih zanata; oni }e predvi|ati konkretne mere i aktivnosti za ostvarivanje ciljeva ove konvencije (dalje: nacionalni godi{nji programi). Evropski komitet }e sa~injavati godi{nje programe me|unarodne saradnje u cilju ostvarivanja ciljeva ove konvencije (dalje: evropski godi{nji programi).

IZVE[TAVANJE
^lan 11 Dr`ave potpisnice i Evropski komitet }e pre izrade svakog novog godi{njeg programa sa~injavati odgovaraju}e godi{nje izve{taje o ostvarivanju svojih programa za prethodnu godinu, o ostvarivanju Evropske strategije i nacionalnih strategija u godini o kojoj je re~, kao i o svim drugim bitnim pitanjima u vezi sa ostvarivanjem ciljeva ove konvencije u onom delu za koji su oni odgovorni, a koja su se pojavila u toku date godine (evropski i nacionalni godi{nji izve{taji o za{titi starih i tradicionalnih zanata dalje: evropski godi{nji izve{taji i nacionalni godi{nji izve{taji).

32

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

territory (hereinafter referred to as the national inventories of old and traditional crafts or national inventories). The states that accede to this Convention at a later date shall compile and submit to the European Committee their respective national inventories of old and traditional crafts not later than eighteen months from the entry into force of the Convention with respect thereto. The national inventories of old and traditional crafts shall represent basic national reports in which each member state shall establish and inventory the state of affairs in its territory with regard to old and traditional crafts. The national inventories shall contain in particular: list of crafts that are practiced at the present time or that were practiced in the past in the territory of the respective state; list of regions in the state concerned in which certain crafts are practiced at the present time or were practiced in the past, including data regarding the extent to which they are or were practiced in those regions; data on the number of persons on the territory of the respective state engaged in particular crafts, details of their age, gender, educational and other structure, of their social status, and any other relevant information concerning such persons; details of the existence and availability of the products of old and traditional crafts in the territory of the state concerned, details of the status, value and degree of protection of such products, and other relevant information thereabout; details of the problems, either of objective or subjective nature, that currently exist in the respective state and may be important for the accomplishment of the objectives of this Convention; details of the previous changes and trends with regard to all the above said, both on a long-term and short-term basis; other significant statistical or similar data related to old and traditional crafts and their practice in the territory of a particular state. Article 8 Not later than three years from the entry into force of this Convention, the European Committee shall adopt the European Inventory of Old and Traditional Crafts, which will represent a summary document prepared on the basis of the national inventories submitted by the signatory states. Not later than three months from the submission of the national inventories by the states which accede to the Convention at a later date, the European Inventory shall be amended in accordance with the national inventories of such states.

PROTECTION STRATEGIES
Article 9 Parallel to the adoption of the European Inventory of Old and Traditional Crafts or not later than three months upon the adoption thereof, the European Committee shall adopt a European Strategy for the Protection of Old and Traditional Crafts (hereinafter referred to as the European Strategy) which shall be subject to regular reviews every four years for the purpose of evaluating the results of the implementation thereof and the necessary modifications thereto. The European Committee may also decide to conduct an extraordinary review of the European Strategy at any time. Taking the European Strategy as a point of departure, every signatory state shall, within six months from the adoption of the European Strategy, draw up its own national strategy for the protection of old and traditional crafts (hereinafter referred to as the national strategy), further modifications whereof shall conform to the changes in the European Strategy. Should any specific need arise, reviews and modifications of the national strategies may also be conducted independently from reviews and modifications of the European Strategy. The European Strategy and the national strategies shall include basic guidelines and principal methods of realising the objectives of this Convention on both the European and national levels.

ANNUAL PROGRAMMES
Article 10 Pursuant to the European Strategy and on the basis of its own national strategy, every signatory state shall draw up and implement national annual programmes for the protection of old and traditional crafts (hereinafter referred to as the national annual programmes), which shall set forth specific measures and activities for the achievement of the objectives hereunder. The European Committee shall formulate the annual programmes of international cooperation aimed at attaining the objectives of this Convention (hereinafter referred to as the European annual programmes).

REPORTING
Article 11 Prior to drawing up any new national annual programme, the signatory states and the European Committee shall compile relevant annual reports on the implementation of the respective programmes for the preceding year,

33

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Dr`ave potpisnice }e svoje godi{nje izve{taje dostavljati Evropskom komitetu i, preko Evropskog komiteta, svim drugim dr`avama potpisnicama. Evropski komitet }e svoje godi{nje izve{taje dostavljati dr`avama potpisnicama, Parlamentarnoj skup{tini i Komitetu ministara Saveta Evrope.

UPUTSTVA
^lan 12 Ukoliko to smatra potrebnim, radi uniformnosti, ekonomi~nosti ili iz drugih razloga, Evropski komitet }e sa~initi i dr`avama potpisnicama dostaviti uputstva o sa~injavanju nacionalnih inventara, nacionalnih strategija, nacionalnih godi{njih programa i nacionalnih godi{njih izve{taja.

MERE I AKTIVNOSTI
^lan 13 Dr`ave potpisnice }e u svojim godi{njim programima predvideti mere i aktivnosti koje vode ostvarivanju ciljeva ove konvencije, a naro~ito: mere socijalne pomo}i zanatlijama; mere materijalnog i drugog podsticanja mladih da se profesionalno ili amaterski bave starim i tradicionalnim zanatima; organizaciju obuke za bavljenje starim i tradicionalnim zanatima, i to kako {kolske obuke za profesionalno bavljenje tim zanatima tako i kurseva za amatere; organizovanje susreta i smotri zanatlija; organizovanje savetovanja i stru~nih skupova nau~nih i kulturnih radnika koji se bave prou~avanjem starih i tradicionalnih zanata; organizovanje i podsticanje istra`iva~kih projekata koji se odnose na razli~ite aspekte problematike starih i tradicionalnih zanata; organizovano sakupljanje i za{titu proizvoda starih i tradicionalnih zanata; organizovanje i podsticanje izlaganja u muzejima, na izlo`bama i sajmovima proizvoda starih i tradicionalnih zanata; fiskalne i druge olak{ice, kao i druge podsticajne mere, za subjekte koji finansijskim i drugim doprinosima poma`u ostvarivanje ciljeva ove konvencije; podsticanje i pomaganje rada udru`enja i drugih neprofitnih organizacija koje se bave za{titom i unapre|ivanjem starih i tradicionalnih zanata; sve druge mere i aktivnosti za koje dr`ave potpisnice ocene da doprinose ostvarivanju ciljeva ove konvencije. Dr`ave potpisnice }e navedene mere i aktivnosti preduzimati i ostvarivati kako na nacionalnom tako i na me|unarodnom planu, u me|usobnoj saradnji, kao i u saradnji s dr`avama koje nisu potpisnice ove konvencije. Evropski komitet }e podsticati, planirati i koordinirati saradnju izme|u dr`ava potpisnica i subjekata u njima na realizaciji mera i aktivnosti usmerenih ka ostvarivanju ciljeva ove konvencije, posebno se staraju}i o tome da {to {iri krug tih mera i aktivnosti poprimi evropski karakter, koji }e doprineti daljem kulturnom i civilizacijskom pro`imanju i razvijanju svesti o jedinstvu duhovnog nasle|a na ovom planu.

FINANSIRANJE
^lan 14 Dr`ave potpisnice }e u svojim nacionalnim bud`etima predvideti odgovaraju}a sredstva za ostvarivanje svojih nacionalnih strategija i nacionalnih godi{njih programa za{tite starih i tradicionalnih zanata. Ovom konvencijom osniva se Evropski fond za za{titu starih i tradicionalnih zanata (dalje: Fond). Sredstva Fonda ~ini}e: doprinosi dr`ava potpisnica i doprinosi i pokloni koje daju drugi subjekti. Evropski komitet }e odrediti kriterijume po kojima }e se godi{nje utvr|ivati finansijski doprinos Fondu svake dr`ave potpisnice, u skladu s njenim mogu}nostima. O kori{}enju sredstava Fonda odlu~iva}e Evropski komitet, u skladu s ciljevima ove konvencije. Sredstva iz Fonda koristi}e se za: a) ostvarivanje saradnje i preduzimanje zajedni~kih, evropskih mera i aktivnosti radi ostvarivanja ciljeva konvencije;

34

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

on the pursuit of the European Strategy and national strategies in that year, and on any other significant issues related to the attainment of the objectives set out in this Convention in the segment they are responsible for and which have emerged in the course of the year concerned (European and national annual reports on the protection of old and traditional crafts hereinafter referred to as the European annual report and national annual reports). The signatory states shall submit their annual reports to the European Committee and, through the European Committee, to all other signatory states. The European Committee shall submit its annual reports to the signatory states, the Parliamentary Assembly and the Committee of Ministers of the Council of Europe.

INSTRUCTIONS
Article 12 If deemed necessary, in consideration of uniformity and convenience or for other reasons, the European Committee shall issue and submit to the signatory states instructions for the compilation of national inventories and the drawing up of national strategies, national annual programmes and national annual reports.

MEASURES AND ACTIVITIES

Article 13 The annual programmes of the signatory states shall envisage measures and activities leading to the attainment of the objectives of this Convention, and in particular: measures of social assistance to craftsmen; measures of material and other encouragement for young persons to engage in old and traditional crafts either as professionals or as amateurs; organizing training for the practice of old and traditional crafts, including both training in schools preparing for professional engagement in these crafts, and courses for amateurs; organizing gatherings and conventions of craftsmen; organizing seminars and expert gatherings of scholars and cultural officials who are engaged in the research of old and traditional crafts; organizing and encouraging research projects related to various aspects of the old and traditional crafts issues; collecting, in an organized fashion, and safeguarding products of old and traditional crafts; organizing and encouraging the staging of exhibitions in museums, shows and fairs of products of old and traditional crafts; tax shelters and other arrangements, as well as other measures of encouragement for entities which, by way of financial and other contributions, support the attainment of the objectives hereunder; encouraging and aiding the work of associations and other non-profit organizations involved in the protection and promotion of old and traditional crafts; and all other measures and activities which the signatory states deem capable of contributing to the attainment of the objectives hereunder. The signatory states shall take and implement the said measures and activities both at the national and international levels, through mutual cooperation, and through cooperation with states that are not signatories hereto. The European Committee shall encourage, plan and coordinate cooperation between the signatory states and entities within them, with respect to the implementation of measures and activities aimed at attaining the objectives hereunder, particularly ensuring that as broad an array as possible of such measures and activities be of European character, contributing to further cultural and civilizational interaction and raising of the awareness of the common spiritual heritage in this respect.

FINANCING
Article 14 The signatory states shall designate adequate funds in their respective national budgets for the implementation of their national strategies and their national annual programmes for the protection of old and traditional crafts. Under this Convention, a European Fund for the Protection of Old and Traditional Crafts (hereinafter referred to as the Fund) shall be established. The Fund shall include: contributions by signatory states and contributions and gifts by other entities. The European Committee shall define the criteria for determining, on an annual level, the financial contributions owed by the signatory states to the Fund in accordance with their respective financial capabilities. The European Committee shall decide on the use of the Fund in keeping with the objectives set out hereunder.

35

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

b) pru`anje pomo}i pojedinim dr`avama potpisnicama u ostvarivanju njihovih godi{njih programa; Evropski komitet }e svake godine utvr|ivati, po unapred odre|enim kriterijumima koje }e sam uspostaviti, kojim }e dr`avama potpisnicama i u kom iznosu biti pru`ana pomo}, vode}i posebno ra~una o mogu}nostima dr`ava i o njihovom doprinosu ostvarivanju ciljeva ove konvencije; c) finansiranje rada Evropskog komiteta i njegovih pomo}nih tela. Pri izradi Evropske strategije i nacionalnih strategija i evropskih i nacionalnih godi{njih programa te`i}e se ostvarivanju {to ve}eg stepena samofinansiranja.

OZNA^AVANJE I SERTIFIKACIJA
^lan 15 Evropski komitet }e uspostaviti op{te uslove pod kojima }e se utvr|ivati koji se predmeti smatraju proizvodima starih i tradicionalnih zanata. Svaka dr`ava }e odrediti svoj sistem ozna~avanja i sertifikacije proizvoda starih i tradicionalnih zanata sa svojih prostora. Oznaka kojom }e se obele`avati proizvodi starih i tradicionalnih zanata s prostora dr`ava potpisnica sastoja}e se od jedinstvenog evropskog znaka, koji }e utvrditi Evropski komitet, kombinovanog s nacionalnim znakom, koji }e odrediti svaka od dr`ava potpisnica. Svaki proizvod starih i tradicionalnih zanata s prostora dr`ava potpisnica bi}e pra}en, osim oznaka na koje }e se nalaziti na njemu, i sertifikatom kojim se potvr|uje da se radi o originalnom proizvodu starih i tradicionalnih zanata i u kojem }e biti navedeni osnovni podaci o tom proizvodu. Sadr`aj sertifikata odre|uju dr`ave ~lanice prema op{tem uputstvu koje izdaje Evropski komitet.

EVROPSKA PRESTONICA I EVROPSKI DAN STARIH I TRADICIONALNIH ZANATA

^lan 16 Evropski komitet }e svake godine izabrati jedan grad za Evropsku prestonicu starih i tradicionalnih zanata, i to svaki put grad u drugoj dr`avi potpisnici. Evropski komitet }e odrediti datum koji }e biti progla{en za Evropski dan starih i tradicionalnih zanata.

POTPISIVANJE I STUPANJE NA SNAGU

^lan 17 Ova konvencija bi}e otvorena za potpis svim evropskim dr`avama koje se obrate generalnom sekretaru Saveta Evrope sa `eljom da budu njene potpisnice. Ova konvencija podle`e ratifikaciji, prihvatanju i odobrenju. Instrumenti o ratifikaciji, prihvatanju i odobrenju bi}e deponovani kod generalnog sekretara Saveta Evrope. Ova konvencija stupi}e na snagu po{to kod generalnog sekretara Saveta Evrope bude deponovano pet instrumenata o ratifikaciji, prihvatanju ili odobrenju, ali samo u odnosu na dr`ave koje su navedene instrumente deponovale.

PRISTUPANJE
^lan 18 Nakon njenog stupanja na snagu ovoj konvenciji mo`e pristupiti svaka evropska dr`ava koja se obrati generalnom sekretaru Saveta Evrope sa `eljom da bude njena potpisnica. U odnosu na dr`ave koje naknadno pristupe Konvenciji, ona stupa na snagu onog dana kada se njihovi instrumenti o pristupanju deponuju kod generalnog sekretara Saveta Evrope.

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

OTKAZIVANJE
^lan 20 Dr`ava potpisnica mo`e u svako doba otkazati ovu konvenciju pismenim obave{tenjem upu}enim generalnom sekretaru Saveta Evrope. Otkaz stupa na snagu godinu dana od dana kada generalni sekretar primi to obave{tenje.

36

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

The Fund shall be used for: a) establishing cooperation and undertaking joint European measures and activities for the purpose of attaining the objectives hereunder. b) lending assistance to certain signatory states in the implementation of their annual programmes. Every year, the European Committee shall decide, in accordance with the criteria it determines earlier on, which states are to be aided and which amounts are to be allotted thereto, particularly taking into account the respective capabilities of the states and their contribution to the attainment of the objectives hereunder. c) funding the work of the European Committee and ancillary bodies thereof. In crafting the European Strategy and the national strategies, and the European and national annual programmes, as high a degree as possible of self-financing shall be aspired to.

CERTIFICATION
Article 15 The European Committee shall establish general terms whereunder which objects shall be deemed products of old and traditional crafts Every state shall establish its own system of labelling and certifying products of old and traditional crafts produced on the territory thereof. The label used for marking products of old and traditional crafts produced on the territories of the signatory states shall include a single European mark, to be determined by the European Committee, in combination with a national mark, to be determined by each of the signatory states. Along with the marks thereon, each product of old and traditional crafts produced on the territory of a signatory state shall also be accompanied with a certificate warranting its status as a genuine product of old and traditional crafts, and stating basic information about the product. The content of the certificate shall be determined by the member states in accordance with the general instructions issued by the European Committee.

THE EUROPEAN CAPITAL AND EUROPEAN OLD AND TRADITIONAL CRAFT DAY
Article 16 Every year, the European Committee shall pronounce a city from a different signatory state as the European Capital of Old and Traditional Crafts. The European Committee shall specify the date to be pronounced European Old and Traditional Crafts Day.

SIGNATURE AND ENTRY INTO FORCE

Article 17 This Convention shall be open for signature by all European states which express to the Secretary General of the Council of Europe the wish to join it. This Convention is subject to ratification, acceptance and approval. Instruments of ratification, acceptance and approval shall be deposited with the Secretary General of the Council of Europe. This Convention shall enter into force after five instruments of ratification, acceptance or approval have been deposited with the Secretary General of the Council of Europe, but only in relation to the states which deposited the aforementioned instruments.

ACCESSION TO THE CONVENTION

Article 18 After its entry into force, this Convention shall be open for accession by all European states which approach the Secretary General of the Council of Europe with a wish to join it. In relation to the states that accede to the Convention at a later date, it shall enter into force on the date of depositing its instrument of accession.

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

37

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

POSMATRA^I
^lan 21 Odlukom Evropskog komiteta bilo kojoj zainteresovanoj evropskoj dr`avi koja nije potpisnica ove konvencije ili bilo kojoj zainteresovanoj vanevropskoj dr`avi mo`e se, na zahtev te dr`ave, dati status posmatra~a. Dr`ave sa statusom posmatra~a mogu da {alju svoje predstavnike na zasedanja Evropskog komiteta i ti predstavnici mogu, nakon izlaganja predstavnika dr`ava potpisnica, uzimati re~ na zasedanjima, ali bez prava u~e{}a u odlu~ivanju. Evropski komitet }e, u koordinaciji s predstavnicima dr`ava posmatra~a, utvrditi na~ine i mehanizme u~e{}a dr`ava posmatra~a u merama i aktivnostima koje dr`ave potpisnice budu preduzimale u primeni ove konvencije na nacionalnom i evropskom planu, kao i druge oblike saradnje izme|u dr`ava potpisnica i dr`ava posmatra~a.

NOTIFIKACIJA
^lan 22 Generalni sekretar Saveta Evrope obave{tava}e sve dr`ave potpisnice, kao i sve druge dr`ave ~lanice Saveta Evrope o: a) svakom potpisu; b) deponovanju svakog instrumenta o ratifikaciji, prihvatanju, odobrenju i pristupanju; c) svakoj odluci o dodeli statusa posmatra~a d) svakom drugom aktu, obave{tenju ili komunikaciji koja se ti~e ove konvencije.

ODNOS PREMA DRUGIM PROPISIMA

^lan 23 Odredbe ove konvencije ne}e ni na koji na~in ograni~iti odredbe bilo kog nacionalnog zakona ili drugog propisa, me|unarodne konvencije, multilateralnog ili bilateralnog sporazuma ili bilo kog drugog pravnog akta koje su povoljnije u pogledu za{tite starih i tradicionalnih zanata. Sa~injeno u _________, dana _________ godine, na engleskom i francuskom jeziku i oba teksta su podjednako verodostojna. Originali su deponovani kod generalnog sekretara Saveta Evrope, koji }e overene kopije proslediti dr`avama potpisnicama, kao i ostalim dr`avama ~lanicama Saveta Evrope.

OBRAZLO@ENJE
U obrazlo`enju predlo`enog teksta Evropske konvencije o za{titi starih i tradicionalnih zanata bi}e izlo`eni (a) osnovni podaci o predlaga~ima Konvencije, motivima za podno{enje predloga i o pravnom osnovu na kojem se predlog zasniva i (b) obrazlo`enje pojedinih odredaba predlo`ene Konvencije. (a) O predlaga~ima, motivima za podno{enje predloga i pravnom osnovu Predlaga~i ove konvencije su studenti Pravnog fakulteta Univerziteta u Beogradu, ~lanovi Stru~ne grupe za evropsko pravo, fakultativnog oblika rada koji okuplja najuspe{nije studente, posebno zainteresovane za pravne aspekte evropskih integracionih procesa. Re~ je o grupi studenata koji imaju poseban senzibilitet, koji pridaju poseban zna~aj svemu onome {to ~ini evropsko zajedni{tvo i koji su svesni toga da je bogato kulturno i civilizacijsko nasle|e ono {to je vekovima Evropu ~inilo Evropom, {to je taj geografski ograni~en prostor u~inilo duhovnim i civilizacijskim sredi{tem ~ove~anstva. Moto kojim smo se rukovodili prilikom izrade ovog predloga Konvencije jeste slede}i: Ako ho}emo da budemo Evropa, treba da ostanemo ono {to jesmo. A da bismo ostali ono {to jesmo, moramo da sa~uvamo vlastiti identitet, vlastitu tradiciju, vlastitu kulturu i civilizaciju i vlastito jedinstvo u razli~itosti. ^uvanje onoga {to su nam ostavili preci, dakle konzervacija onoga zbog ~ega prostor na kojem `ivimo s ponosom nazivamo Starim kontinentom, ni na koji na~in ne predstavlja konzervativizam i be`anje od modernog. ^uvanje starog i dobrog zapravo je jedini ispravan a verovatno i jedini mogu}i na~in na koji se mo`e biti moderan i spreman na prihvatanje pravih vrednosti koje donosi novo vreme. Predlaga~i ove konvencije svesni su toga da upravo briga o o~uvanju onoga {to ~ini evropsko civilizacijsko nasle|e i evropsko civilizacijsko jedinstvo predstavlja klju~ i odgovor na pitanja koja je svojevremeno Pol Valeri formulisao na slede}i na~in:

38

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

DENUNCIATION
Article 20 A signatory state may, at any time, denounce this Convention by means of a notification addressed to the Secretary General of the Council of Europe. Such denunciation shall take effect one year after the date of receipt by the Secretary General of such notification.

OBSERVERS
Article 21 Upon decision of the European Committee, any interested European state that is not signatory hereto or any other interested non-European state may be granted observer status at the request of the state concerned. The states with observer status may send their representatives to sessions of the European Committee and such representatives may take floor after representatives of the signatory states at such sessions, but shall exercise no right to partake in the decision-making process. In cooperation with representatives of observer states, the European Committee shall determine the methods and mechanisms of observer states participation in the measures and activities to be taken by signatory states in the course of the implementation of this Convention on the national and European planes, as well as other forms of cooperation between signatory states and observer states.

NOTIFICATION
Article 22 The Secretary General of the Council of Europe shall notify all signatory states and all other member states of the Council of Europe of: a) any signature; b) deposit of any instrument of ratification, acceptance, approval and accession; c) any decision on the granting of observer status and d) any other act, notification or communication pertaining to this Convention.

RELATION TO OTHER REGULATIONS

Article 23 The provisions of this Convention shall in no way restrict the provisions of any national law or regulation, international convention, or multilateral or bilateral agreement, which are more effective in relation to the protection of old and traditional crafts. Done at _________, this ____day of ____, in English and French, both texts being equally authoritative. Original copies have been deposited with the Secretary General of the Council of Europe who shall transmit certified copies to signatory states and other member states of the Council of Europe.

EXPLANATION
In the explanation of the proposed text of the European Convention on the Protection of Old and Traditional Crafts the following shall be presented: (a) basic information concerning the persons proposing the draft Convention, motives for this submission and the legal basis of this draft and (b) explanations of certain provisions of the proposed Convention. (a) On the persons proposing the Convention, motives for submission of the proposal and its legal basis Those submitting the Convention are students of the Faculty of Law, University of Belgrade. They are members of the Study Group for European Law, an optional group that comprises the most successful students, particularly those interested in the legal aspects of the process of the European integration. The group comprises students with a particular sensibility for and awareness of the importance of all the matters and issues that compose the European fellowship and unity and who are conscious of the rich cultural heritage and civilisation that has for centuries constituted the identity of Europe the heritage that made this geographically limited territory the spiritual and civilisational focal point of humanity.

39

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Da li }e Evropa postati ono {to ona uistinu jeste, mali rt azijskog kontinenta? Ili }e Evropa sa~uvati svoj izgled kao dragulj univerzuma, biser kugle zemaljske, mozak jednog ogromnog tela? (Paul Valry, Varits I, 24) (LEurope deviendra-t-elle ce quelle est en ralit, cest--dire un petit cap du continent asiatique? Ou bien lEurope restera-t-elle ce quelle parat, cest--dire: la partie prcieuse de lunivers terrestre, la perle de la sphre, le cerveau dun vaste corps?) Predlaga~i ove konvencije po{li su od toga da je bitan deo ukupne aktivnosti Saveta Evrope upravo usmeren na o~uvanje evropskog kulturnog identiteta, {to zna~i kako kulturnog identiteta svakog evropskog naroda ponaosob tako i zajedni~kog kulturnog nasle|a Starog kontinenta. Osnov za takvu aktivnost u op{tem smislu jeste Evropska kulturna konvencija, potpisana u Parizu 19. decembra 1954. godine; neki segmenti kulture pokriveni su konvencijama ~iji je cilj za{tita evropskog kulturnog nasle|a u datim domenima, poput Evropske konvencije o za{titi arheolo{kog nasle|a, potpisane u prvoj verziji u Londonu 6. maja 1969. godine i u revidiranoj verziji u La Valeti 16. januara 1992. godine, ili Konvencije o za{titi arhitektonskog nasle|a u Evropi, potpisane u Granadi 3. oktobra 1985. godine. I predlo`ena Konvencija o za{titi starih i tradicionalnih zanata pokriva jedan deo evropskog kulturnog i civilizacijskog nasle|a, i to u domenu s kojim iako je re~ o aktivnostima koje se postepeno gube i izumiru sada{nje generacije Evropljana imaju veoma neposrednu i veoma vidljivu vezu. Gotovo da nema stanovnika Starog kontinenta koji za opstanak svojih najbli`ih i najneposrednijih predaka, pa samim tim i za svoje postojanje, ne treba da zahvali upravo marljivosti i ve{tini nekog pripadnika ranijih generacija koji je svoje najbli`e prehranjivao bave}i se jednim od zanata {to ih sada smatramo starim, tradicionalnim i, na`alost, ugro`enim. Mo`e se ~ak re}i da je do pre ne vi{e od jednog veka `ivot u evropskim gradovima, a u nimalo zanemarljivoj meri i u evropskim seoskim sredinama, bio `ivot starih i tradicionalnih zanata. Zato je za{tita starih i tradicionalnih zanata vi{e od obi~ne kulturne potrebe. Ona je dug svakog od nas prema na{im najbli`im precima. Konvencija se posebno oslanja na ~lanove 1 i 5 Evropske kulturne konvencije iz 1954. godine, koji glase: ^lan 1 Svaka ugovorna strana preduze}e odgovaraju}e mere da bi sa~uvala i podstakla razvoj svog nacionalnog doprinosa zajedni~kom kulturnom nasle|u Evrope. ^lan 5 Svaka ugovorna strana }e predmete od evropske kulturne vrednosti koji se nalaze pod njenom kontrolom smatrati integralnim delovima zajedni~kog kulturnog nasle|a Evrope, preduze}e odgovaraju}e mere da ih sa~uva i osigura}e razuman pristup tim predmetima. Stari i tradicionalni zanati i proizvodi tih zanata jesu sastavni i bitan deo ukupnog duhovnog i kulturnog nasle|a svakog naroda ponaosob, ali i cele Evrope i ~itavog ~ove~anstva. Ujedinjena Evropa zahteva da to i takvo nasle|e bude tretirano kao zajedni~ko evropsko nasle|e, koje mora biti poznato i priznato na celoj teritoriji Evrope, ali uz zadr`avanje i negovanje specifi~nosti svakog naroda i njegovog nasle|a kao va`nog i jedinstvenog deli}a evropskog kulturnog mozaika. Proizvodi starih i tradicionalnih zanata imaju izuzetnu kulturnu, neretko i umetni~ku vrednost, a predstavljaju i zna~ajno svedo~anstvo o na~inu `ivota, obi~ajima, potrebama, shvatanjima, duhovnosti pojedinih naroda i kulturnim pro`imanjima izme|u razli~itih naroda. Razvoj nauke i tehnologije, a posebno industrijski razvoj i mogu}nost jeftine, brze i masovne proizvodnje, ~ini nedovoljno rentabilnim i nedovoljno privla~nim bavljenje starim i tradicionalnim zanatima. Usled tog procesa mnogi od ovih zanata nalaze se pred ga{enjem ili su ve} uga{eni. Cilj ove konvencije jeste da doprinese, u skladu sa ciljevima Saveta Evrope, ostvarivanju {to ~vr{}e unije izme|u evropskih dr`ava i naroda i o~uvanju i unapre|ivanju ideala i principa koji ~ine njihovu zajedni~ku ba{tinu, i to organizovanom aktivno{}u na nacionalnom, subnacionalnom i me|unarodnom planu, posebno evropskom na za{titi i unapre|ivanju starih i tradicionalnih zanata, kao i na {irenju znanja o njima. U tu svrhu ovom konvencijom predvi|eni su organi (evropski i nacionalni komiteti), sistem finansiranja i posebni mehanizmi za{tite starih i tradicionalnih zanata, sa~injavanje evropskih i nacionalnih inventara, kao i usvajanje evropskih i nacionalnih strategija i godi{njih planova za{tite starih i tradicionalnih zanata itd. (b) Obrazlo`enje teksta (pojedina~nih odredaba) Preambula U preambuli Predloga Konvencije na uobi~ajen na~in izneti su navedeni motivi i pravni oslonac u Evropskoj kulturnoj konvenciji. ^lan 1 U ~lanu 1 Predloga Konvencije navedeni su ciljevi Konvencije, a to su za{tita i unapre|ivanje starih i tradicionalnih zanata, zatim {irenje znanja o njima i, kona~no, razvijanje svesti o evropskom zna~aju tih zanata i podsticanje pro`imanja izme|u evropskih naroda na ovom planu. ^lan 2 U ovom ~lanu definisani su pojmovi sadr`ani u ~lanu 1 i u daljem tekstu Predloga Konvencije, a to su pojmovi stari i tradicionalni zanati, za{tita i unapre|ivanje i {irenje znanja. Ovim ~lanom upotpunjuju se smisao i zna~enje ~lana 1.

40

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

The motto that inspired us during the drafting of this proposal was the following: if we wish to remain Europeans we should remain what we are; and to do that, we have to safeguard our own identity, tradition, culture and civilisation and unity in diversity. Safeguarding of what has been inherited from our ancestors, namely conserving, is not in any way tantamount to conservatism and escape from modernity. Safeguarding the traditional is the only right and possible way to be modern and to remain prepared to recognize and accept the true values brought on by the new times. The persons proposing this Convention are aware that the concern to safeguard what represents the heritage and unity of the European civilisation is the answer to questions articulated at the time by Paul Valery in the following way: Whether Europe will become what it is in reality, a small promontory of the Asian continent? Or will Europe remain as it appears, namely, a precious stone of the universe, the pearl of the globe, the brain of a vast body? (Paul Valry, Varits I, p. 24) (LEurope deviendra-t-elle ce quelle est en ralit, cest--dire un petit cap du continent asiatique? Ou bien lEurope restera-t-elle ce quelle parat, cest--dire: la partie prcieuse de lunivers terrestre, la perle de la sphre, le cerveau dun vaste corps ?) The persons proposing this Convention had in mind the fact that an important part of the activities of the Council of Europe concerns the safeguarding the European cultural identity, encompassing both the cultural identities of each European nation in particular and the joint cultural patrimony of the Old Continent. The basis for this activity in general terms is the European Cultural Convention, signed in Paris on 19 December 1954, while certain particular cultural aspects are covered by conventions, such as the European Convention on the Protection of the Archaeological Heritage, signed (the first version) in London on 6 May 1969 and the revised version in La Valete on 16 January 1992, or the Convention for the Protection of the Architectural Heritage of Europe, signed in Granada on 3 October 1985. Similarly, the proposed Convention on the Protection of Old and Traditional Crafts covers one aspect of the European civilisation and cultural heritage with which modern generations of Europeans have very direct and visible ties, although the very activities it concerns are slowly disappearing. Every inhabitant of Europe owes his or her existence to the hard work and skills of his or her ancestors who maintained his or her family by practicing crafts which are now considered to be old and traditional, and are unfortunately endangered. Until a century ago life in Europe was organized around old and traditional crafts. Therefore, their protection is more than a simple cultural need. It is our debt to our closest ancestors. The Convention especially relies on Articles 1 and 5 of the European Cultural Convention of 1954, which stipulate: Article 1 Each Contracting Party shall take appropriate measures to safeguard and to encourage the development of its national contribution to the common cultural heritage of Europe. Article 5 Each Contracting Party shall regard the objects of European cultural value placed under its control as integral parts of the common cultural heritage of Europe, shall take appropriate measures to safeguard them and shall ensure reasonable access thereto. Old and traditional crafts and their products are the essential part of the overall spiritual and cultural heritage of each nation, but also of Europe as a whole and all of humanity. The unity of Europe demands that this heritage be treated as the common European heritage that must be recognised on the territory of the whole Europe, while preserving and cultivating the specificity of each nation as an important and unique part of the European cultural mosaic. Old and traditional crafts have exceptional cultural and often artistic value and represent an important testimony to the manners of living, customs, needs, views and spirituality of a nation and the cultural interactions between different nations. It is recognised that the progress of science and technology, in particular industrial development, with everincreasing opportunities for cheap, fast and large-scale production, renders old and traditional crafts insufficiently profitable and thus not attractive enough as a profession. As a result, many of these crafts have disappeared or are about to disappear. The aim of this Convention is to contribute, in conformity with the aims of the Council of Europe, to a greater unity between European states and nations, as well as to the preservation and further promotion of the ideals and principles which are their common heritage, through organized pursuit of protection and promotion of old and traditional crafts and dissemination of the knowledge thereabout at the national, sub national, international and especially European level. To this end the Convention provides organs (the European Committee and national committees), a system of financing, special mechanisms for the protection of old and traditional crafts, as well as adoption of inventories, strategies and annual programmes for the protection of old and traditional crafts both at the European and at the national levels. (b) Explanation of the text (individual provisions) Preamble The preamble of the Convention states in the customary manner the motives, as described above, and establishes the European Cultural Convention as the legal basis for the draft Convention.

41

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

^lan 3 Ovim ~lanom dr`ave potpisnice obavezuju se da }e, preduzimanjem svih potrebnih mera i aktivnosti, raditi na ostvarivanju ciljeva Konvencije i da }e radi realizacije tih ciljeva ostvarivati me|usobnu saradnju kroz mehanizme predvi|ene Konvencijom, kao i van tih mehanizama. ^lan 4 ^lanom 4 dr`ave potpisnice obavezuju se na uspostavljanje, na nacionalnom planu, odgovaraju}eg institucionalnog sredi{ta zadu`enog za ostvarivanje ciljeva Konvencije, i to kako kroz utvr|ivanje i realizaciju nacionalnih mera i aktivnosti tako i kroz ostvarivanje me|unarodne saradnje. Ta institucionalna sredi{ta jesu nacionalni komiteti sa~injeni od predstavnika razli~itih grupacija koje mogu da doprinesu ostvarivanju ciljeva Konvencije. Svakoj dr`avi potpisnici ostavljeno je da vlastiti nacionalni komitet uspostavi u skladu s vlastitim dr`avnim ustrojstvom, ali uz obavezu davanja tim komitetima realnih i efektivnih ovla{}enja koja }e im omogu}iti da stvarno i efikasno doprinose ostvarivanju ciljeva Konvencije. S obzirom na slo`enost problematike za{tite starih i tradicionalnih zanata, predvi|ena je i mogu}nost da nacionalni komiteti po potrebi oforme odgovaraju}a pomo}na tela za razli~ita pitanja iz svoje nadle`nosti. ^lan 5 Pored nacionalnih komiteta, u ~lanu 5 predvi|eno je i formiranje Evropskog komiteta za za{titu starih i tradicionalnih zanata, kao institucionalnog sredi{ta za ostvarivanje ciljeva Konvencije na evropskom nivou. To telo zadu`eno je za podsticanje i koordinaciju nacionalnih mera i aktivnosti, kao i za realizaciju zajedni~kih, evropskih mera i aktivnosti i drugih oblika saradnje izme|u dr`ava potpisnica na ostvarivanju ciljeva Konvencije. Evropski komitet sa~injen je od po jednog predstavnika svih nacionalnih komiteta, ~ija se ravnopravnost ostvaruje time {to svaki ~lan ima jedan glas i {to se odlu~uje prostom ve}inom, uz nastojanje da se postigne puna saglasnost svih ~lanova gde god je to mogu}e. Komitet se sastaje dva puta godi{nje na redovnim zasedanjima, uz mogu}nost vanrednih zasedanja. I Evropski komitet, poput nacionalnih komiteta i zbog sli~nih razloga, mo`e da osniva pomo}na tela. Predsedavanje Evropskim komitetom i dono{enje pravila o radu regulisani su na na~in koji je uobi~ajen za ovakva tela. Predlaga~ se opredelio za to da predsednik Evropskog komiteta ne bude biran po sistemu rotacije, ve} bez ograni~enja i uz mogu}nost vi{estrukog reizbora nakon isteka dvogodi{njeg mandata, polaze}i od toga da se radi o domenu me|unarodne saradnje koji se ne odra`ava u bitnoj meri na nacionalni suverenitet i politi~ki presti` dr`ava, a u kojem, s druge strane, li~ni ugled, kreativnost i anga`ovanost pojedinaca mogu biti od velikog zna~aja za uspe{an rad tela o kojem je re~. ^lan 6 Institucionalna mre`a koja se uspostavlja po osnovu ~lanova 4 i 5 Konvencije predstavlja centralni doprinos Konvencije ostvarivanju ciljeva predvi|enih u njenom ~lanu 1. Kroz tu mre`u oblast za{tite i unapre|ivanja starih i tradicionalnih zanata, do sada u prili~noj meri zanemarena i zapu{tena, stavlja se pod organizovan sistem staranja stru~nih i zainteresovanih lica s realnim i efektivnim ovla{}enjima. Da bi ta institucionalna mre`a uspe{nije funkcionisala, neophodna je {to intenzivnija i ~vr{}a saradnja izme|u njenih elemenata, i to kako vertikalno, izme|u nacionalnih komiteta i Evropskog komiteta, tako i horizontalno, izme|u nacionalnih komiteta me|usobno. I navedena vertikalna i navedena horizontalna saradnja ostvaruju se pre svega preko predstavnika nacionalnih komiteta u Evropskom komitetu, s tim {to taj redovni put saradnje ne isklju~uje druge oblike saradnje, ni vertikalno ni horizontalno. Kao sastavni deo institucionalnog sistema uspostavljenog pod okriljem Saveta Evrope, Evropski komitet }e odr`avati stalnu komunikaciju s glavnim i drugim zainteresovanim organima ove me|unarodne organizacije. ^lanovi 7 i 8 Da bi se utvrdilo stanje u pogledu postojanja i stepena rasprostranjenosti i o~uvanosti starih i tradicionalnih zanata i njihovih proizvoda u pojedinim zemljama, a zatim i ukupno, na prostoru svih dr`ava potpisnica, u ~lanu 7 predvi|eno je da svaka dr`ava potpisnica napravi vlastiti popis, to jest nacionalni inventar starih i tradicionalnih zanata, a da se na osnovu tih nacionalnih inventara zatim, kao zbirni dokument, sa~ini Evropski inventar starih i tradicionalnih zanata. Ti dokumenti, u kojima }e biti sadr`an presek stanja u ovom domenu u vreme kada su dr`ave potpisnice usvojile Konvenciju, treba da budu polazna materijalna osnova za dalji rad na ostvarivanju ciljeva Konvencije. ^lanovi 9 i 10 ^lanovima 9 i 10 predvi|eno je programiranje rada na za{titi starih i tradicionalnih zanata na evropskom i nacionalnom nivou, i to kako dugoro~no tako i kratkoro~no. Kao dugoro~an oblik programiranja, za periode od po ~etiri godine, usvajaju se Evropska strategija i, na osnovu nje, nacionalne strategije za{tite starih i tradicionalnih zanata, u kojima su sadr`ana osnovna usmerenja i osnovni na~ini realizacije ciljeva Konvencije na evropskom i nacionalnom planu. Kao oblik kratkoro~nog programiranja, na evropskom nivou se, polaze}i od Evropske strategije, usvajaju godi{nji programi me|unarodne saradnje radi ostvarivanja ciljeva Konvencije, dok se na nacionalnom planu, na osnovu Evropske strategije i nacionalne strategije svake dr`ave, usvajaju nacionalni godi{nji programi za{tite starih i tradicionalnih zanata, kojima se predvi|aju konkretne mere i aktivnosti radi ostvarivanja ciljeva Konvencije. ^lan 11 Ovim ~lanom predvi|ena je obaveza izve{tavanja o ostvarivanju evropskih i nacionalnih programa i strategija predvi|enih u ~lanovima 9 i 10, kao i uop{te o ostvarivanju ciljeva Konvencije. Izve{taje sa~injavaju godi{nje, za pitanja iz svog delokruga, kako dr`ave potpisnice tako i Evropski komitet, s tim {to dr`ave potpisnice svoje godi{nje izve{taje dostavljaju Evropskom komitetu i drugim dr`avama potpisnicama, a Evropski komitet svoje godi{nje izve{taje dostavlja dr`avama potpisnicama i organima Saveta Evrope Parlamentarnoj skup{tini i Komitetu ministara.

42

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

Article 1 Article 1 enumerates the Conventions objectives: protection and promotion of old and traditional crafts; dissemination of knowledge thereabout and raising awareness of the importance of these crafts for Europe and the encouragement of interaction between European nations in this respect. Article 2 This Article defines expressions used in Article 1 and further in the text of the draft Convention. These are the following: old and traditional crafts, protection and promotion and dissemination of knowledge. This Article is a complement to the meaning of Article 1. Article 3 By this Article the signatory states commit themselves to undertake all necessary measures and activities for the purpose of achieving the objectives of this Convention. For that purpose, the signatory states shall establish mutual cooperation, both through the mechanisms set forth by this Convention and in any other manner. Article 4 By Article 4 the signatory states are obliged to set up national committees, which should serve as focal points responsible for the achievement of the objectives of the Convention through determination and realisation of national measures and activities and through establishment of international cooperation. National committees shall be composed of representatives of different groups that can contribute to the achievement of the objectives of the Convention. Each signatory state is free to establish its own national committee in accordance with its own constitutional order, with the obligation to grant to its national committee such actual and effective authorizations as may be necessary for the accomplishment of the Conventions objectives. Bearing in mind the complexity of safeguarding old and traditional crafts, the national committees may set up adequate ancillary bodies responsible for different issues in their field of work. Article 5 In addition to the national committees, Article 5 prescribes establishment of the European Committee for the protection of old and traditional crafts as the institutional focal point for the achievement of the objectives of the Convention at the European level. The European Committee is responsible for encouragement and coordination of national activities and measures, as well as for realisation of joint European measures and activities and other forms of cooperation between the member states for the purpose of achieving the objectives of this Convention. The European Committee is composed of one representative of each national committee, their equality being ensured by each member having one vote and voting by simple majority, with the requirement that Committee members should make an effort to ensure full consensus whenever possible. Regular meetings of the European Committee shall be held twice a year, with a possibility of an extraordinary session. For the same reasons that apply to the national committees, the European Committee may establish ancillary bodies. Chairing the European Committee and passing of working rules is regulated in the manner that is common for such bodies. Those submitting this Convention decided to accept a solution whereby the President of the European Committee is not elected according to the rotation requirement, but instead allowed re-election without limitation after expiry of the first two year term in office. The rationale behind this system is the fact that on one hand, the Convention concerns an aspect of international cooperation that does not challenge national sovereignty and political prestige of states to a great extent, and, on the other hand, personal reputation, creativity and involvement of an individual may be of great importance for successful operation of the body in question. Article 6 The institutional network established according to Articles 4 and 5 represents the main contribution of the Convention to the achievement of objectives defined in Article 1. This network puts the often neglected and ignored field of protection and improvement of old and traditional crafts under responsibility of an organised system composed of experts and interested persons with real and effective competences. In order to ensure a more successful operation of this institutional network, it is necessary to have an intensive and strong cooperation between its elements both vertically, between the national committees and the European Committee and horizontally, between the national committees themselves. Such vertical and horizontal cooperation should primarily be effected by representatives of the national committees in the European Committee. However, this regular form of cooperation does not exclude other forms, both vertically and horizontally. As the component of the institutional system established under the auspices of the Council of Europe, the European Committee will maintain continual communication with the interested and relevant bodies of the Council of Europe. Articles 7 and 8 In order to asses the current situation in each country and on the territory of all the signatory states in regard to the existence and level of distribution and preservation of old and traditional crafts as well as their products, Article 7 prescribes that each of the signatory states shall compile its own inventory which will serve as the basis for the European inventory of old and traditional crafts. These documents will contain an overview of the situation in the field at the moment of adoption of the document and shall represent a starting substantive basis for further efforts towards achievement of the Convention objectives. Articles 9 and 10 Articles 9 and 10 prescribe programming of the work on the safeguarding of old and traditional crafts at the European and national level both in the long-term and in the short term. The long-term European strategy is adopted for a period of four years. It should serve as the basis for the adoption of the national strategies. The European strategy and the national strategies comprise basic guidelines for and principal manners of achieving the objectives of this Convention at both the European and national levels. The short term, annual programmes of international cooperation, stemming from the European strategy and aimed at achieving the Conventions objectives are adopted at the European level, and together with national annual programmes should

43

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

^lan 12 Ovaj ~lan polazi od ~injenice da je ostvarivanje ciljeva Konvencije, ~ak i u onom delu gde se radi o nacionalnim aktivnostima na tom planu, jedinstven proces, koji ne trpi preteranu heterogenost ni u utvr|ivanju po~etnog stanja u dr`avama ~lanicama (nacionalni inventari), ni u dugoro~nom i kratkoro~nom programiranju delovanja na nacionalnom planu (nacionalne strategije i nacionalni godi{nji izve{taji), niti, kona~no, u na~inu izve{tavanja o postignutom (nacionalni godi{nji izve{taji). Stoga je ovim ~lanom predvi|ena mogu}nost da radi uniformnosti, ekonomi~nosti ili iz drugih razloga Evropski komitet izda dr`avama potpisnicama uputstva za izradu nacionalnih inventara, nacionalnih strategija, nacionalnih godi{njih programa i nacionalnih godi{njih izve{taja. ^lan 13 ^lan 13 propisuje obavezu dr`ava potpisnica da u svojim godi{njim programima predvide konkretne mere i aktivnosti za ostvarivanje ciljeva Konvencije. U ovom ~lanu je exempli causa navedena lista takvih mera i aktivnosti, s tim {to je dr`avama potpisnicama ostavljena mogu}nost da predvide i druge mere i aktivnosti koje ocene kao korisne za ostvarivanje ciljeva Konvencije. Dr`ave potpisnice }e predvi|ene mere i aktivnosti ostvarivati kako na nacionalnom tako i na me|unarodnom planu, sara|uju}i i me|usobno i sa dr`avama koje nisu potpisnice Konvencije. Tre}i, poslednji stav ovog ~lana predvi|a obavezu Evropskog komiteta da podsti~e, planira i koordinira me|unarodnu saradnju na realizaciji mera i aktivnosti usmerenih ka ostvarivanju ciljeva Konvencije i da nastoji da {to {iri krug mera i aktivnosti poprimi evropski karakter. ^lan 14 Ovim ~lanom regulisan je sistem finansiranja aktivnosti na ostvarivanju ciljeva Konvencije. I izdvajanje i prikupljanje sredstava, s jedne, i njihovo kori{}enje, s druge strane, obavlja}e se kako na nacionalnim nivoima tako i na evropskom nivou. Na nacionalnom planu propisana je obaveza dr`ava potpisnica da u svojim nacionalnim bud`etima predvide odgovaraju}a sredstva za ostvarivanje svojih nacionalnih strategija i programa za{tite starih i tradicionalnih zanata. [to se ti~e sistema finansiranja na evropskom nivou, ovom konvencijom osniva se Evropski fond za za{titu starih i tradicionalnih zanata, ~ija sredstva ~ine pre svega doprinosi dr`ava potpisnica, kao stalni i redovni izvor finansiranja Fonda (godi{nji doprinosi dr`ava potpisnica odre|uju se prema kriterijumima koje treba da utvrdi Evropski komitet, imaju}i u vidu posebno mogu}nosti svake dr`ave), ali i doprinosi i pokloni koje daju drugi subjekti, kao nestalni izvor finansiranja. O kori{}enju sredstava iz Fonda odlu~uje Evropski komitet. Iako se skupljaju na centralnom, evropskom nivou, sredstva iz Fonda koristi}e se kako na evropskom tako i na nacionalnim nivoima. Na evropskom nivou sredstva iz Fonda bi}e kori{}ena za finansiranje saradnje i zajedni~kih, evropskih mera i aktivnosti, kao i za finansiranje rada Evropskog komiteta i njegovih pomo}nih tela. Poseban zna~aj, u smislu podsticanja dr`ava potpisnica na rad na ostvarivanju ciljeva Konvencije, ima sistem pru`anja finansijske pomo}i dr`avama potpisnicama iz sredstava Fonda radi ostvarivanja njihovih godi{njih programa za{tite starih i tradicionalnih zanata. Naime, prilikom odlu~ivanja o dodeli sredstava iz Fonda pojedinim dr`avama potpisnicama (o tome kome se sredstva dodeljuju i u kom iznosu) Evropski komitet }e posebno voditi ra~una o mogu}nostima dr`ava i o njihovom doprinosu ostvarivanju ciljeva Konvencije (Evropski komitet unapred utvr|uje kriterijume za dodelu tih sredstava, a zatim svake godine donosi konkretne odluke o njihovoj dodeli). Sredstva koja se na taj na~in dodeljuju dr`avama ~lanicama ne predstavljaju supstitut, ve} dodatak sredstvima koja same dr`ave odre|uju za tu svrhu u svojim nacionalnim bud`etima. Kona~no, budu}i da je jedan od klju~nih ciljeva Konvencije to da se stari i tradicionalni zanati o`ive i u~ine sposobnim za samostalan opstanak i napredak, a ne da ostanu trajno zavisni od pomo}i dr`ava i evropskih institucija, ovim ~lanom predvi|eno je i da }e Evropski komitet i dr`ave potpisnice prilikom izrade Evropske strategije i nacionalnih strategija i evropskih i nacionalnih godi{njih programa te`iti ostvarivanju {to ve}eg stepena samofinansiranja. To zna~i da }e se nastojati, gde god je to mogu}e, da se prilikom realizacije nacionalnih i evropskih mera i aktivnosti ostvari takav stepen profitabilnosti koji }e omogu}iti da se naredne mere i aktivnosti u {to ve}oj meri (i u sve ve}oj meri) finansiraju iz sredstava ostvarenih prilikom realizacije prethodnih mera i aktivnosti, odnosno da }e se te`iti tome da stari i tradicionalni zanati s vremenom sve vi{e sami finansiraju vlastiti opstanak i razvoj. ^lan 15 Ovim ~lanom predvi|en je sistem ozna~avanja i sertifikacije proizvoda starih i tradicionalnih zanata. Smisao ovog sistema jeste da se tretman proizvoda starih i tradicionalnih zanata i odgovaraju}a za{tita pru`e samo onim predmetima koji ispune uslove {to ih propi{e Evropski komitet. Za proizvode koji ispune te uslove svaka dr`ava potpisnica odre|uje vlastiti sistem ozna~avanja i sertifikacije. Oznake koje }e nositi ti proizvodi sastoja}e se od jedinstvenog evropskog znaka, koji }e da utvrdi Evropski komitet, kombinovanog s nacionalnim znakom, koji utvr|uje svaka dr`ava potpisnica za proizvode sa svog prostora. Uz proizvode koji ispune navedene uslove i koji }e biti ozna~eni navedenim oznakama izdava}e se odgovaraju}i sertifikati, ~iju }e sadr`inu odre|ivati dr`ave potpisnice prema op{tem uputstvu Evropskog komiteta. Sertifikat, jednako kao i oznaka na samom proizvodu, predstavlja potvrdu da se radi o originalnom proizvodu starih i tradicionalnih zanata, ali sadr`i i osnovne podatke o tom proizvodu, ~ime doprinosi i {irenju znanja o starim i tradicionalnim zanatima kao jednom od ciljeva Konvencije. ^lan 16 Radi davanja podsticaja preduzimanju i realizaciji aktivnosti kojima treba da se ostvaruju ciljevi ove konvencije, njenim ~lanom 16 predvi|eno je da se svake godine jedan evropski grad odredi za Evropsku prestonicu starih i tradicionalnih zanata za tu godinu. Na taj na~in sredi{te evropske saradnje u ovoj oblasti za datu godinu locira se na odre|enom prostoru, {to bi trebalo da doprinosi koncentrisanju i intenziviranju aktivnosti na tom planu.

44

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

set forth specific activities and measures for the achievement of the Conventions objectives in accordance with the European strategy and the national strategy of each state. Article 11 This Article lays down the obligation of reporting on the implementation of the European and national programmes and strategies prescribed in Articles 9 and 10, as well as on the achievement of the Conventions objectives. Both the signatory states and the European committee should prepare their reports annually, covering issues from their field of work. The signatory states submit their annual reports to the European Committee and to all other signatory states, while the European Committee submits its annual reports to the signatory states and to the bodies of the Council of Europe. Article 12 This Article takes into account the fact that the achievement of the Conventions objectives demands operational uniformity, even when it concerns activities at the national levels. Thus it does not tolerate excessive heterogeneity either in the determination of the current situation in member states (national inventories) or in long term and short term programming of actions at the national level (national strategies and national annual reports), or, finally, in reporting on achieved results (national annual reports). Therefore, this Article empowers the European Committee to, for the purposes of uniformity and convenience, or for other reasons, issue and submit to the signatory states instructions for the compilation of national inventories, as well as for drawing up of national strategies, national annual programmes and national annual reports. Article 13 Article 13 lays down the obligation of member states to envisage in their annual reports concrete measures and activities aimed at the attainment of the objectives of this Convention. The Article enumerates exempli causa the list of such measures and activities but also leaves the possibility for the signatory states to prescribe other measures and activities which they deem capable of contributing to the attainment of the Conventions objectives. The signatory states shall undertake and implement the said measures and activities both at the national and international level, through mutual cooperation and through cooperation with states that are not signatories of the Convention. The third and the last paragraph of this Article sets out the obligation of the European Committee to encourage, plan and coordinate cooperation related to the implementation of measures and activities aimed at attaining the Conventions objectives hereunder, particularly ensuring that as broad an array as possible of such measures and activities possesses a European character. Article 14 This Article establishes a system of financing the activities for the achievement of the Conventions objectives. The raising and expenditure of funds will be done both at the national and European levels. At the national level, the signatory states shall designate adequate funds in their national budgets for the implementation of their respective national strategies and programmes. As for financing at the European level, by this Convention a European Fund for the Protection of Old and Traditional Crafts is established. The Funds primary and regular source of income are contributions of the signatory states, which shall be determined according to criteria defined by the European Committee and corresponding to each states capability. Ad hoc source of the Funds income should be contributions and donations by other entities. The European Committee decides on the use of the Funds proceeds. Although collected at the central European level, the proceeds from the Fund shall be used both at the European and national levels. At the European level the Funds resources shall be used for supporting cooperation and joint European measures and actions, as well as for funding the work of the European Committee and its auxiliary bodies. A special importance in the sense of encouraging the signatory states in attaining the Conventions objectives is attached to the proposed system of providing financial assistance from the Fund to the signatory states for the fulfilment of their annual programmes. Namely, in deciding on the allocation of the Funds proceeds to certain signatory states, the European Committee shall take into account individual capabilities of the states and their contribution to the attainment of the Conventions objectives (the European Committee determines the criteria for allocation of the resources in advance and then every year adopts concrete decisions on the allocation). Proceeds that are allocated in this manner to the signatory states do not represent a substitution for but an addition to the resources determined by the states themselves for this purpose in their national budgets. Finally, one of the key objectives of the Convention is to revitalise old and traditional crafts and make them sustainable rather than permanently dependant on state assistance and the assistance of the European institutions. With this purpose in mind this Article prescribes that the European Committee and the signatory states shall, in drafting the European Strategy and national strategies as well as the European and national annual programmes, aspire to self-financing in as high a degree as possible. Thus in the course of realisation of national and European measures and activities they will endeavour to achieve, whenever possible, a level of profitability that will enable financing subsequent measures and activities from the proceeds of previous measures and activities to the greatest possible extent, so that old and traditional crafts themselves may finance their own preservation, promotion and development. Article 15 This Article prescribes a system of labelling and certification of products of old and traditional crafts. The purpose of this system is to provide the Product of Old and Traditional Crafts treatment and adequate protection only to those products that fulfill requirements laid down by the European Committee. Each signatory state determines its own system of labelling and certification of such products. The labels shall include a single European mark, to be determined by the European Committee, and a national mark, to be determined by each of the signatory states. Each labelled product shall also be accompanied with a certificate, the content of which is

45

DIANA #13

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Budu}i da }e izbor Evropske prestonice starih i tradicionalnih zanata zavisiti od zna~aja datog mesta i regiona kojem ono pripada u ovom domenu, kao i od anga`ovanosti na ostvarivanju ciljeva Konvencije i postignutih rezultata samog tog mesta, te regiona i dr`ave kojima ono pripada, biranje Evropske prestonice starih i tradicionalnih zanata predstavlja}e i specifi~an podsticaj i nagradu za rad na ostvarivanju ovih ciljeva. Uprkos ~injenici da }e doprinos ostvarivanju ciljeva Konvencije biti klju~no merilo za odre|ivanje evropskih prestonica starih i tradicionalnih zanata, potreba za {to {irim prostornim anga`manom na ostvarivanju ciljeva Konvencije zahtevala je da se predvidi da }e Evropska prestonica svaki put biti grad iz druge dr`ave potpisnice. To ne zna~i da }e dr`ava ~iji je grad jednom bio Evropska prestonica morati da ~eka da po jedan grad iz svih drugih dr`ava potpisnica bude Evropska prestonica kako bi opet na nju do{ao red. Aktivnije i anga`ovanije dr`ave ~e{}e }e davati Evropsku prestonicu starih i tradicionalnih zanata od pasivnijih dr`ava, ali }e ipak biti spre~eno da neka dr`ava ili grupa dr`ava stekne monopol na davanje evropskih prestonica starih i tradicionalnih zanata, a da druge dr`ave na tom planu budu ostavljene po strani. Da bi se, pored prostornog, i na vremenskom planu utvrdila centralna ta~ka evropske saradnje i nacionalnih aktivnosti na za{titi starih i tradicionalnih zanata, u drugom stavu ~lana 16 predvi|eno je da }e Evropski komitet odrediti prikladan datum za Evropski dan starih i tradicionalnih zanata. Iako rad na ostvarivanju ciljeva Konvencije treba da bude kontinuiran, postojanje ovakvog dana trebalo bi da pru`i poseban podsticaj anga`manu dr`ava potpisnica, zajedno i ponaosob, na sprovo|enju aktivnosti kojima se ti ciljevi realizuju. Trebalo bi da taj datum bude i sve~ani momenat u kojem }e se posebno konstatovati rezultati {to su ih pojedine dr`ave, regioni, mesta, institucije i pojedinci ostvarili na planu za{tite starih i tradicionalnih zanata i u kojem }e se odr`avati odgovaraju}e smotre i sprovoditi druge aktivnosti koje }e doprinositi popularizaciji starih i tradicionalnih zanata i {irenju znanja o njima. ^lanovi 1722 Ovim ~lanovima reguli{u se pitanja potpisivanja Konvencije i njenog stupanja na snagu (~lan 17), naknadnog pristupanja Konvenciji (~lan 18), stavljanja rezervi (~lan 19), otkazivanja (~lan 20), davanja statusa posmatra~a dr`avama koje nisu potpisnice (~lan 21), notifikacija (~lan 22) i odnosa s drugim propisima (~lan 23). Sva navedena pitanja regulisana su na na~in uobi~ajen za konvencije usvojene u okviru Saveta Evrope. S obzirom na prirodu domena na koji se odnosi ova konvencija i na njene ciljeve, nju karakteri{e naj{iri stepen otvorenosti kako prema postoje}im i potencijalnim dr`avama potpisnicama tako i prema dr`avama koje nisu ili koje i ne mogu biti potpisnice, ali koje su spremne i zainteresovane da doprinesu ostvarivanju ciljeva Konvencije. Opisanim odredbama predlo`ena konvencija uspostavlja jasnu i ~vrstu obavezu dr`ava potpisnica da, polaze}i od prethodno snimljenog stanja na svom podru~ju u pogledu stanja starih i tradicionalnih zanata, uspostave odgovaraju}e institucionalne mehanizme i izdvoje odgovaraju}a finansijska sredstva za za{titu starih i tradicionalnih zanata, te da kontinuirano, u skladu sa odgovaraju}im planskim dokumentima, preduzimaju mere i aktivnosti za ostvarivanje ciljeva ove konvencije na nacionalnom planu. Osim toga, dr`ave potpisnice }e, tako|e polaze}i od prethodno snimljenog stanja, imati obavezu da sara|uju na evropskom planu na ostvarivanju ciljeva Konvencije, koriste}i se institucionalnim mehanizmima i finansijskim sredstvima predvi|enim za tu svrhu, kao i na sve druge mogu}e na~ine. *** Predlaga~i Evropske konvencije o za{titi starih i tradicionalnih zanata svesni su toga da predlo`eni tekst zahteva dodatni rad i da }e mo`da krajnji rezultat procesa koji `elimo da iniciramo biti potpuno razli~it od teksta koji podnosimo telima Saveta Evrope na razmatranje. Na{a je `elja da onima koji imaju mo} i uticaj skrenemo pa`nju na to da je jedan zna~ajan segment na{e pro{losti, na{e tradicije i na{eg identiteta ozbiljno ugro`en i da je neophodan stalan i organizovan napor da bi se stari i tradicionalni zanati sa~uvali, za{titili i unapredili. Savet Evrope svakako je pravo mesto za to, a mislimo da je me|unarodni ugovor prava polazna osnova za po~etak institucionalizovanog bavljenja ovim problemom na evropskom nivou. Budu}i da se nalazimo na samom po~etku profesionalnog bavljenja pravom, svesni smo toga da je predlaganje teksta jednog me|unarodnog ugovora jednoj me|unarodnoj organizaciji od izuzetno velikog zna~aja ne{to prili~no smelo. Ipak, nadamo se da }e na{ predlog nai}i na odgovaraju}u pa`nju i interesovanje. Time }e na{a obaveza i prema na{oj pro{losti i precima i prema na{oj budu}nosti i potomcima u ovom segmentu `ivota biti ispunjena u granicama na{ih skromnih mogu}nosti. Na onima ~ije su mogu}nosti ve}e jeste da dovr{e preostalo.

46

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

DIANA #13

determined by each signatory state according to the general instruction issued by the European Committee. A certificate serves as a warranty that the product at hand is a genuine product of old and traditional crafts, providing also basic information about the product and the craft itself. In this manner the certificate contributes to the dissemination of knowledge about old and traditional crafts, fulfilling one of the Conventions objectives. Article 16 With the aim of encouraging the undertaking and realisation of activities that are instrumental in achieving the Conventions objectives, Article 16 prescribes that every year one European city shall be pronounced the European Capital of Old and Traditional Crafts. In this manner the focal point of European cooperation in this field for a given year is located in one city, which should contribute to concentration and intensification of activities. The selection of the European Capital of Old and Traditional Crafts will depend on the importance of the given city and region for the achievement of the Conventions objectives, as well as on the level of involvement and results achieved. Thus, the selection will represent encouragement and reward for efforts made towards the achievement of these objectives. Despite the fact that the contribution to the achievement of the Conventions objectives shall be the key criterion for the selection of the European Capital of Old and Traditional Crafts, the need for as wide as possible geographical spread of activities and measures for the achievement of the Conventions objectives requires the rule that the European Capital shall be chosen each time from a different signatory state. This does not mean that the country whose city was a European Capital at some point will have to wait for all other signatory states to give a city to be the European Capital in order to have its turn. More active and more involved countries will have the European Capital of Old and Traditional Crafts more often than passive countries. However, the rule described above shall prevent a certain country or a group of countries from acquiring a monopoly on holding the European Capital of Old and Traditional Crafts. In order to focus both European cooperation and national activities on safeguarding old and traditional crafts, not only in terms of location but also in terms of time, the second paragraph of Article 16 stipulates that the European Committee shall specify an appropriate date to be pronounced the European Old and Traditional Craft Day. Although efforts toward attaining the Conventions objectives should be continuous, the existence of such a day should give a particular encouragement to the efforts of the signatory states, jointly and individually, in undertaking the activities for the fulfilment of those objectives. This date should also represent a formal moment when results achieved in the protection of old and traditional crafts by particular countries, regions, places, institutions and individuals will be assessed as well as when appropriate public events aimed at contributing to the promotion of old and traditional crafts and dissemination of knowledge about them will be held. Articles 1722 These Articles regulate the following issues: signature and entry into force (Article 17), accession of the new signatory states (Article 18), reservations (Article 19), denunciation (Article 20), granting observer status to those states that are not signatories (Article 21), notification (Article 22) and relation to other regulations (Article 23). All the above-mentioned issues are regulated in the manner common for the conventions passed within the Council of Europe. Due to the nature of the field dealt with by this Convention and its objectives, the Convention is characterised by the utmost level of openness both towards the existing and potential signatory states and towards the states which are not or cannot be signatories but which are ready and interested to contribute to the achievement of the Conventions objectives. The proposed Convention prescribes to the signatory states a clear and firm obligation to survey the situation on their territories in regard to old and traditional crafts and establish adequate institutional mechanisms and raise corresponding funds in the aim of the protection of such crafts, and to continuously, in accordance with the appropriate planning documents, undertake measures and activities for the achievement of the Conventions objectives at the national level. Besides, the signatory states will, using a previously surveyed situation as a starting point, have the obligation to cooperate at the European level in the aim of the achievement of the Conventions objectives by using institutional mechanisms and financial means determined for that purpose as well as in all other possible ways. *** Having proposed the draft European Convention on the Protection of Old and Traditional Crafts, we are aware that the proposed text requires additional work and that the final result of the process we intend to initiate may differ significantly from this initial draft. It is our wish to draw attention of those who have power and influence to the fact that old and traditional crafts as an important segment of our history, tradition and identity are seriously endangered and that there is a need for organised effort to safeguard and improve them. The Council of Europe surely is the most suitable organization for doing that. We also believe that an international agreement is the proper starting point to begin institutionalising this problem at the European level. Since we are at the very beginning of our professional legal careers, we are aware that proposing the text of an international agreement to an international organisation of great importance is a bold step. However, it is our hope that our proposal will succeed in drawing attention and encouraging interest. In this manner, we shall fulfil to the best of our abilities the obligation that we owe to our ancestors and to our past, as well as to our future and our descendants, leaving it up to those who have more authority to finish the task.

47

DIANA #13

ARHEOLOGIJA I ISTORIJA UMETNOSTI Biljana \OR\EVI] Narodni muzej u Beogradu

NEOPIPLJIVA BA[TINA: ETNOARHEOLO[KA ISTRA@IVANJA TRADICIONALNIH TEHNOLOGIJA KERAMIKE1

ARHEOLOGIJA I ETNOLOGIJA, iako bliske na po~ecima razvoja obe discipline, s vremenom su se udaljavale jedna od druge (Palavestra 2005: 8794). Kulturnoistorijski pristup, i danas dominantan u srpskoj arheologiji, udaljio nas je od mogu}nosti da pojave u savremenim dru{tvima, kako arhai~nim tako i visokocivilizovanim, poredimo me|usobno, ali i s podacima pribavljenim tokom arheolo{kih istra`ivanja. Udaljio nas je i od analiziranja mogu}nosti primene pojedinih saznanja na stvaranje modela koji bi se mogli uzeti u obzir prilikom tuma~enja izvesnih aspekata `ivota zajednica iz pro{losti. Osvrnemo li se na razvoj odnosa arheologije i etnologije samo na teritoriji biv{e Jugoslavije,2 vide}emo da su od kraja XIX i po~etka XX veka [na primer: radovi ]ira Truhelke (1901, 1914), Miloja Vasi}a (1906), Vejsila ]ur~i}a (1909), Sime Trojanovi}a, Veselina ^ajkanovi}a],3 pa sve do sredine XX veka [Milenko Filipovi} (1951), Cvetko \. Popovi} (1959, 1960) i drugi], te dve discipline bile koliko-toliko povezane i upu}ene jedna na drugu. U drugoj polovini XX veka sasvim su se udaljile, tako da je pominjanje etnolo{kih paralela u arheolo{kim radovima postalo nepopularno,4 dok je arheologija, zatvorena u klasi~an metod svog rada, samodovoljan bez obzira na ograni~enja koja je takav pristup nametao, ostajala neosetljiva na mogu}nosti koje interdisciplinarnost pru`a. Setimo se samo otpora koji je u srpskoj arheologiji izazvala pojava nove arheologije, i to njen zakasneli odjek (Palavestra 2005: 9293). Tokom poslednjih nekoliko decenija stanje se ipak promenilo. Interdisciplinarnost u arheolo{kim istra`ivanjima postala je op{teprihva}en metod rada. Mogu}nosti koje nam pru`aju primena razli~itih disciplina iz oblasti prirodnih nauka i razvoj tehnologije (geosondiranje, satelitski snimci, matemati~ki prora~uni, totalna stanica, fizi~ko-hemijske analize, paleobotanika, paleozoologija i drugo) prve su bile prihva}ene i danas gotovo da nema arheologa koji u svojim istra`ivanjima ne}e primeniti neke od tih metoda, bilo da je re~ o rekognosciranju, arheolo{kom iskopavanju, bilo o obradi materijala. Sa etnologijom (ili antropologijom) stvari stoje ne{to druga~ije. Jednom pokidane veze te`e se uspostavljaju. Pove}ano interesovanje za mogu}nosti koje pru`a etnoarheologija kao posebna disciplina (ili poseban metodolo{ki pristup) u okviru arheologije5 (ali i antropologije)6 polako ali sigurno povezuje te dve nauke, koje, svaka na svoj na~in i svojom specifi~nom metodologijom, prate razvoj ljudskih zajednica i pojedinaca u njima. Bilo kako bilo i koliko god se arheolozi tome odupirali, etnologija i arheologija ne mogu vi{e biti posmatrane kao

odvojena polja, s jasno vidljivom me|om koju je mogu}e povremeno presko~iti da bi se {togod pozajmilo, ali se onda vratiti i obra|ivati svoj vrt (Palavestra 2005: 93). Etnoarheologija je jedan od dobrih na~ina ru{enja ve{ta~ki stvorenih barijera izme|u etnologije i arheologije. [ta je, zapravo, etnoarheologija? Postoji vi{e razli~itih, a opet bliskih definicija etnoarheologije. Bez ula`enja u njihovu analizu i polemika s njihovim autorima, mo`emo ih objediniti iskazom da je etnoarheologija antropolo{ki pristup re{avanju arheolo{kih problema, arheolo{kom metodologijom i iz arheolo{kog ugla posmatranja, radi sagledavanja mogu}ih na~ina formiranja arheolo{kog zapisa i dinami~nih procesa koji su mu prethodili.7 Ono {to se za etnoarheologiju pouzdano mo`e re}i jeste to da su etnoarheolo{ka istra`ivanja, kao vid indirektnog eksperimenta, nezaobilazna u savremenoj arheologiji. Ona nam omogu}uju da detaljnije i preciznije sagledamo mnoge aspekte `ivota u pro{losti. Specifi~nost etnoarheologije le`i u pristupu, tako da se samo mali deo klasi~ne etnolo{ke/etnografske literature mo`e iskoristiti, ali ona, svakako, treba da slu`i kao polazi{te i/ili

1] Naslov ovog teksta ujedno je i naziv projekta koji se ve} nekoliko godina odvija u okviru programa Narodnog muzeja u Beogradu. Rukovodilac projekta je autor ovog rada, a zasad jedini stalni ~lan ekipe je Aca \or|evi}, vi{i kustos Narodnog muzeja u Beogradu. 2] Teritorije biv{e Jugoslavije bile su i administrativno i komunikacijski usko povezane tokom gotovo celog XX veka. 3] O tome vi{e: Palavestra 2005: 8794 i prate}a literatura. 4] Tome je dosta doprinela i vulgarizacija etnolo{kih paralela u tekstovima pojedinih autora, {to je rezultiralo odbacivanjem svake mogu}nosti primene saznanja ste~enih etnolo{kim prou~avanjima u arheolo{kim istra`ivanjima. 5] Na Odeljenju za arheologiju Filozofskog fakulteta u Beogradu na redovnim studijama arheologije, u okviru predmeta Uvod u arheologiju i Arheologija i socijalna antropologija, koje predaje prof. dr Aleksandar Palavestra, prou~avaju se etnoarheologija, njeni dometi, ograni~enja i perspektive; nau~no-istra`iva~ki projekat Interkulturna komunikacija u paleobalkanskim dru{tvima (Ministarstvo za nauku, br. 147040), koji vodi doc. dr Sta{a Babi}, tako|e okuplja istra`iva~e koji se bave etnoarheologijom; Centar za teorijsku arheologiju pri Odeljenju za arheologiju Filozofskog fakulteta u Beogradu spreman je da se bavi i ovom tematikom itd. 6] Odeljenje za etnologiju i antropologiju Filozofskog fakulteta u Beogradu ponovo je pokrenulo ~asopis Etnoantropolo{ki problemi, koji tretira i etnoarheolo{ka pitanja (primer: Por~i} 2006: 105121). 7] Vi{e o etnoarheologiji: David, Kramer 2001; Por~i} 2006: 105121.

48

ARCHEOLOGY AND ART HISTORY Biljana DJORDJEVI] National Museum in Belgrade

DIANA #13

THE INTANGIBLE HERITAGE: ETHNOARCHAEOLOGICAL RESEARCH OF TRADITIONAL CERAMICS TECHNOLOGIES1

ARCHAEOLOGY AND ETHNOLOGY, although close at the outset of their respective developments, gradually drifted apart (Palavestra 2005: 8794). The culture-historical approach, prevalent in Serbian archaeology today, has not only distanced us from the possibility of comparing ethnic phenomena arising in contemporary societies, both archaic and highly civilised, but also from comparing these with data gathered during archaeological research. It has also hindered the analysis and possible application of certain ideas to models that could be considered and used to interpret certain aspects of life in communities of the past. If we reflect solely on developments in the relation between archaeology and ethnology in former Yugoslavia,2 we shall see that the two disciplines were more-or-less linked and interrelated from the end of the 19th to the beginning of the 20th centuries [seen in the works of: ]iro Truhelka (1901, 1914), Miloje Vasi} (1906), Vejsil ]ur~i} (1909), Sima Trojanovi}, Veselin ^ajkanovi}]3 and even in the mid 20th century [Milenko Filipovi} (1951), Cvetko \. Popovi} (1959, 1960) and others]. In the second half of the 20th century the disciplines diverged from each other completely, which made mentioning ethnological parallels in archaeological works unpopular.4 However, archaeology, locked in its classical methods, and complacent, in spite of all the limitations imposed by such a position, remained impervious to the possibilities offered by an interdisciplinary approach. One needs only to recall the resistance to the emergence of New Archaeology, or its belated echo, in Serbian archaeology (Palavestra 2005: 9293). However, this state of affairs has changed during the last few decades. An interdisciplinary approach in archaeological research has become a universally accepted method of work. The possibilities offered by the application of various disciplines from the fields of natural sciences, as well as technological developments (geo-probing, satellite imaging, mathematical estimates, total station, physical-chemical analysis, palaeo-botany, palaeo-zoology and others) were the first to be embraced. Nowadays, almost every archaeologist applies some of these methods within their research, be it reconnaissance, archaeological excavation, or material processing. The situation with ethnology (or anthropology) is somewhat different. Once severed, ties are less easily restored. The increased interest in the possibilities offered by ethnoarchaeology as a separate discipline (or as a separate methodological approach) within the framework of archaeology5 (but within anthropology as well)6 has gradually, but reliably, reconnected the two sciences, which in their own re-

spective ways and methodologies, observe the progress of human societies and individuals within them. No matter how fervently the archaeologist may resist it, ethnology and archaeology can no longer be regarded as separate fields, with a clear-cut borderline that we can cross to borrow something, and than return and cultivate our own garden (Palavestra 2005: 93). Ethnoarchaeology is a good way to obliterate artificial boundaries between ethnology and archaeology. Indeed, what is ethnoarchaeology? There are a number of different, yet related definitions. We can integrate them, without getting involved in their analysis or arguing with their authors, by stating that ethnoarchaeology is an anthropological approach to solving archaeological problems, using an archaeological methodology point of view, for the purpose of identifying possible ways of forming archaeological records and the dynamic processes that have preceded them.7

1] This text bears the same title as the project conducted for several years within the programme of the National Museum in Belgrade. The author of this work is in charge of the project, while the only permanent team member is Aca \or|evi}, Curator of the National Museum in Belgrade. 2] The territories of former Yugoslavia were intimately connected for most of the 20th century, both administratively and in terms of communication. 3] See more on this subject in Palavestra 2005: 8794 and related literature. 4] What contributed considerably to this was the vulgarisation of ethnologic parallels, in the texts of certain authors; as a result, any possibility of applying the knowledge acquired through ethnologic studies within archaeological research was shunned. 5] Ethnoarchaeology, its domains, limitations and perspectives are studied in the courses Introduction to Archaeology and Archaeology and Social Anthropology, taught by Professor Dr Aleksandar Palavestra, offered by the the Department of Archaeology at the Faculty of Philosophy in Belgrade, within the accademic studies of archaeology. The research project Intercultural Communication among the Paleobalkan Societies (Ministry of Science No. 147040), conducted by Assistant Professor Sta{a Babi}, also involves research in the field of ethnoarchaeology. The Centre for Theoretical Archaeology, at the Deparment of Archaeology, Faculty of Philosophy in Belgrade, is ready to address this subject as well, etc. 6] The Department of Ethnology and Anthropology at the Faculty of Philosophy in Belgrade has relaunched the magazine Etnoantropolo{ki problemi, which also deals with ethnoarchaeological issues (for instance: Por~i} 2006: 105121). 7] For further reference on ethnoarchaeology, see David, Kramer 2001; Por~i} 2006: 105121.

49

DIANA #13

ARHEOLOGIJA I ISTORIJA UMETNOSTI

ja mo`e i etnolozima da skrene pa`nju na razli~ite nivoe promena koje su se dogodile tokom poslednjih tridesetak godina (sociokulturne promene, socioekonomske, rodna zastupljenost itd.). Kada je re~ o arheologiji, ono {to keramiku ~ini izuzetno pogodnom za ovu vrstu istra`ivanja jeste ~injenica da u kerami~koj proizvodnji, uprkos razvijanju novih tehnika i osvajanju novih tehnologija, ve} ste~ena znanja nikada nisu sasvim napu{tana i zapostavljana, ve} su nastavljala da `ive paralelno sa osvojenim inovacijama. Uporedo s razvojem industrijske proizvodnje postojali su i postoje punktovi u kojima se kerami~ke posude jo{ uvek izra|uju rukom, modeluju na ru~nom vitlu i peku na otvorenoj vatri ili u pe}ima na~injenim na tradicionalan na~in, dok se savremene tehnologije izbegavaju. Ciljevi projekta Neopipljiva ba{tina: etnoarheolo{ka istra`ivanja tradicionalnih tehnologija keramike jesu: dokumentovanje i prou~avanje svih do danas o~uvanih radionica, to jest punktova za izradu utilitarne keramike (prvenstveno ra|ene arhai~nim postupkom, bez grn~arskog vitla i na ru~nom vitlu), pre svega u Srbiji, a potom i u jugoisto~noj Evropi i Evropi u celini; kriti~ka analiza, putem posebnog metodolo{kog postupka, a ne preuzimanjem neposrednih analogija iz etnografskih izvora, svih segmenata u `ivotu jedne kerami~ke posude, od procesa nastanka (majdani, alat, tehnike modelovanja, tehnologija pe~enja), preko upotrebe (primarna, sekundarna), do odbacivanja;8 sistematizacija dobijenih rezultata i ustanovljavanje mogu}eg stepena primene ste~enih saznanja na celokupan korpus arheolo{kih nalaza; doprinos, ako je to ikako mogu}e, za{titi tradicionalnih tehnologija keramike i o~uvanju za budu}nost; takvih punktova i osoba koje poseduju odgovaraju}a znanja i ve{tine u vezi sa ovom obla{}u danas je sve manje i ta ~injenica obavezuje nas na brzo i efikasno delovanje. Da bi se prva dva cilja projekta mogla ostvariti, neophodna su terenska istra`ivanja u krajevima u kojima su se arhai~ni grn~arski centri jo{ uvek odr`ali, kao i saradnja s relevantnim institucijama iz regiona (iz Bosne i Hercegovine, Hrvatske, Makedonije, Rumunije, Bugarske, Gr~ke, Albanije, Crne Gore) i iz onih delova Evrope u kojima se izrada keramike bez grn~arskog vitla i na ru~nom vitlu zadr`ala ([panija, Portugalija) (\or|evi}-Bogdanovi} 2003). Ostvarenje ovog cilja blisko je povezano sa zakonskom regulativom u Srbiji, ali i zakonodavstvom na evropskom nivou. Tradicionalna proizvodnja keramike deo je svetske kulturne ba{tine.9 Keramika kao najstariji sinteti~ki materijal i grn~arsko vitlo kao prva mehani~ka sprava u istoriji ~ove~anstva zaslu`uju da im i istra`iva~i i sistem za{tite

oslonac prilikom etnoarheolo{kih istra`ivanja. Drugi problem jeste udaljavanje etnologije od materijalne kulture, od koje arheolog u svojim istra`ivanjima mora da krene. Dovoljan je samo letimi~an pogled na etnolo{ku/etnografsku literaturu objavljivanu tokom poslednjih tridesetak godina da bismo se u to uverili. Keramika je u tom smislu idealan primer. ^ini se da su etnolozi zaklju~ili kako je u toj oblasti odavno sve re~eno. Osnovna i relevantna literatura datira uglavnom iz pedesetih i {ezdesetih godina pro{log veka [Milenko S. Filipovi} (1951), radovi Cvetka \. Popovi}a u Glasniku Zemaljskog muzeja itd.], zaklju~no s publikacijom Perside Tomi} Grn~arstvo u Srbiji, objavljenom 1983. godine. Posle toga kao da su svi grn~ari iz regiona nestali. Neki i jesu. Broj `ena vi~nih

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

izradi crepulja bez grn~arskog to~ka danas je jednocifren; to su uglavnom one `ene koje su kao male pomagale u tom poslu majkama i babama, pa ga se se}aju, dok je neznatan broj onih koje su to same radile. Da ih jo{ ima, znamo na osnovu rezultata lingvisti~kih istra`ivanja (]irkovi} 2005), a ne etnolo{kih. Kazivanja tih `ena su zabele`ena, ali etnolozi propu{taju da uz pomo} novih tehnologija, kao {to su digitalni snimci i video zapisi, zabele`e i sliku, kojom bi dopunili ono {to su njihove starije kolege pre vi{e decenija opisale i ilustrovale prvo crte`ima, a potom i crnobelim fotografijama, koje su ~esto, iz objektivnih razloga, lo{eg kvaliteta. Pored toga {to svojim specifi~nim pristupom otvara novo polje istra`ivanja u oblasti arheologije, etnoarheologi-

8] Sagledavanjem svih ovih faza, od nastanka do kraja aktivnog postojanja kerami~kog predmeta, sa arheolo{ke ta~ke gledi{ta, kao i dekompozicione faze, dobijaju se dragoceni podaci koji nam omogu}uju da tokom arheolo{kih istra`ivanja uo~imo i one pojave koje su do tada izmicale na{oj pa`nji ili nam nisu bile indikativne. 9] Uneskova Konvencija o za{titi nematerijalne kulturne ba{tine, doneta u oktobru 2003. godine (http://www.unesco.org/culture/ich/ index.php?pg=00006).

50

ARCHEOLOGY AND ART HISTORY

What can definitely be said is that ethnoarchaeological research, as a form of indirect experimentation, is unavoidable in contemporary archaeology. It provides a much more detailed and precise insight into many aspects of life in the past. The uniqueness of ethnoarchaeology lies in its approach. Although this means that just a small portion of classical ethnologic/ethnographic literature can be used, it ought to

DIANA #13

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

be used as a starting point and/or support in ethnoarchaeological research. Another problem is posed by the distancing of ethnology from material culture, with which an archaeologist must commence his/her research. To ascertain this, all we need is to take a cursory glance at the ethnologic/ethnographic literature published over the last thirty years. Ceramics is a perfect example of this. Ethnologists have reached the conclusion that in this field everything was said a long time ago. The main, relevant literature dates mostly from the 1950s and 1960s. [Milenko S. Filipovi} (1951), the works of Cvetko Dj. Popovi} in Glasnik zemaljskog muzeja], ending with Persida Tomi}s Pottery in Serbia (Grn~arstvo u Srbiji), published in 1983. It is as if all the potters of the region have since disappeared. Indeed, some of them have. Today the number of women skilful at making earthenware dishes without a potters wheel can be counted on the fingers of one hand. These are mainly the women who helped their mothers and grandmothers with this craft as little girls and still retain the skills, whereas the number of those who acquired the skills on their own is insignificant. We know

that they still exist from the findings of linguistic rather than ethnologic research (]irkovi} 2005). Their stories have been recorded, but ethnologists have thus far failed to capture their images using new technologies, such as digital and video recording. This would supplement what their elder colleagues described and illustrated several decades ago, first with sketches and subsequently with black and white photographs, often, understandably, of poor quality. Not only does the specific approach of ethnoarchaeology open a new field of study within archaeology, but it can also draw ethnologists attention to various levels of change that have taken place over the course of the last thirty years (socio-cultural and socio-economic changes, gender share, etc). When it comes to archaeology, what makes pottery particularly suitable for this sort of research is the fact that the traditional manufacture of ceramics, despite the development of new technologies and the mastery of new skills, once adopted is never quite abandoned or neglected, and continues to exist simultaneously with mastered innovations. Alongside the development of industrial manufacturing, there used to be and still are locations where ceramic vessels are still handmade, modelled on a hand wheel and fired in an open fire or traditional kiln, avoiding contemporary technology. The objectives of the project Intangible Heritage: Ethnoarchaeological Research of Traditional Ceramic Technology are: Documenting and researching workshops surviving to the present day, i.e. all locations where utilitarian ceramics are made (primarily using an archaic method, without a potters wheel or on a hand wheel), initially in Serbia, and subsequently in Southeast Europe and Europe as a whole; Critical analysis of all the stages in the life of a ceramic vessel, from the process of creation (quarries, tools, modelling techniques, firing technology), through utilisation, and ending with disposal. This analysis is done by means of a special methodical procedure, and not by adopting direct analogies from ethnographic sources;8 Systematisation of results obtained and establishing possible ways by which the knowledge can be applied to the entire corpus of archaeological findings; and Contribution, if at all possible, to the protection of traditional ceramic technologies and their preservation for future. Today the number of such locations and persons with knowledge and skills in this field is dwindling, and this obliges us to react swiftly and efficiently. To achieve the first two objectives of the project, it is necessary to conduct fieldwork in areas where archaic pottery centres still survive, and to cooperate with relevant institutions in the region (i.e. in Bosnia and Herzegovina, Croatia, Macedonia, Romania, Bulgaria, Greece, Albania,

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

51

DIANA #13

ARHEOLOGIJA I ISTORIJA UMETNOSTI

li~itim aspektima problematike starih i tradicionalnih zanata, kao i organizovanje savetovanja i stru~nih skupova nau~nih i kulturnih radnika koji se bave prou~avanjem starih i tradicionalnih zanata.15 Trebalo bi da tako postavljen zakonski okvir za{tite neopipljive ba{tine u celini, pa i onog njenog dela koji se odnosi na za{titu tradicionalnih tehnologija keramike, ne samo pomogne njihovom o~uvanju za budu}nost ve} i olak{a njihovo dalje istra`ivanje i prou~avanje, kao i da omogu}i podr{ku i finansiranje projekata ~iji je predmet istra`ivanja upravo ova tematika. I time se krug zatvara.

kulturnih dobara poklone posebnu pa`nju.10 U Srbiji je u toku izrada predloga ~itave grupe novih zakona, od Zakona o kulturi do Zakona o muzejskoj gra|i (radni naslov), koji treba jasno da odrede za{titu nematerijalne/neopipljive ba{tine, do sada nedefinisanu ili neprecizno definisanu.11 Tome treba dodati i Predlog Konvencije o za{titi starih i tradicionalnih zanata, koji je, na inicijativu Srbije, Savet Evrope uzeo u razmatranje.12 Ciljevi Konvencije su: za{tita i unapre|ivanje starih i tradicionalnih zanata, {irenje znanja o njima i razvijanje svesti o tome da stari i tradicionalni zanati koji su postojali i koji postoje na prostoru svake od dr`ava potpisnica ~ine sastavni deo zajedni~ke evropske, pa ~ak i svetske kulturne i civilizacijske ba{tine, kao i podsticanje, na ovom planu, daljeg duhovnog, kulturnog, civilizacijskog i svakog drugog pozitivnog pro`imanja izme|u evropskih naroda u okviru ~itavog ~ove~anstva.13 Tim dokumentom predvi|eno je osnivanje nacionalnih komiteta i Evropskog komiteta sa odborima zadu`enim za brigu o zanatima, formiranje standarda za pojedine zanate i usvajanje evropske strategije za{tite i unapre|ivanja starih i tradicionalnih zanata, o~uvanje znanja i ve{tina koji te zanate ~ine, kao i dalje usavr{avanje tih znanja i ve{tina i njihovo {irenje, zatim prikupljanje, za{tita i o~uvanje proizvoda tih zanata, pro{irenje kruga lica koja se bave tim zanatima profesionalno ili amaterski, unapre|ivanje ekonomskog i socijalnog polo`aja lica koja se profesionalno njima bave i drugo.14 Konvencija, izme|u ostalog, u okviru mera i akcija predvi|a i organizovanje i podsticanje istra`iva~kih projekata koji se bave raz-

10] ICOM je svoju Dvadesetu generalnu konferenciju, odr`anu u Seulu u oktobru 2004, u celosti posvetio temi pod nazivom Muzeji i neopipljiva ba{tina (http://icom.museum/general-conference 2004.html). 11] Videti na: www.kultura.sr.gov.yu. 12] Predlog je pre ulaska u proceduru podr`alo {est zemalja: Engleska, Nema~ka, [panija, Finska, Litvanija i Kipar (http://www. mfa.gov.yu). 13] ^lan 1 Predloga Evropske konvencije o za{titi starih i tradicionalnih zanata. 14] ^lanovi 2 i 5 Predloga Evropske konvencije o za{titi starih i tradicionalnih zanata. 15] ^lan 13 Predloga Evropske konvencije o za{titi starih i tradicionalnih zanata.

LITERATURA/REFERENCES:
]irkovi}, S. 2005, Terminologija crepuqarstva kod Srba na Kosovu i Metohiji, nepublikovani magistarski rad, Filolo{ki fakultet u Beogradu; ]ur~i}, V. 1908, Prehistori~ka sojenica iz bron~anog doba u Ripcu, kraj Biha}a u Bosni, Glasnik Zemaljskog Muzeja XX/2, Sarajevo, 149180; David, N., Kramer, C. 2001, Ethnoarchaeology in Action, Cambridge University Press, Cambridge; \or|evi}-Bogdanovi}, B. 2003, Posibilidades de la Etnoarqueologa en el estudio de la cermica prehistrica, neobljavljeni magistarski rad, Filozofski fakultet Autonomnog univerziteta u Barseloni; Filipovi}, M. 1951, @enska keramika kod balkanskih naroda, SAN, posebna izdawa CLXXXI, Etnografski institut, kw. 2, Beograd; Palavestra, A. 2005, Dobrosusedsko neme{awe. Srpska arheologija i etnologija, u: Etnologija i antropologija: stawe i perspektive, Zbornik Etnografskog instituta SANU 21 (ur. Q. Gavrilovi}), Beograd, 8794; Popovi}, C. \. 1959, Tehnika primitivnog lon~arstva u Jugoslaviji, Glasnik Zemaqskog muzeja XIV. Etnologija, Sarajevo, 2552; 1960, Neki zadaci i problemi u prou~avawu narodnog lon~arstva, Etnolo{ki pregled 2, Beograd, 3137; Por~i}, M. 2006, Etnoarheologija sada{njost kao klju~ za pro{lost, Etnoantropolo{ki problemi 1/2 (n. s.), Odeqewe za etnologiju i antropologiju Filozofskog fakulteta u Beogradu, Beograd, 105121; Tomi}, P. 1982, Grn~arstvo u Srbiji, Galerija SANU 39, Beograd, 1030; 1983, Grn~arstvo u Srbiji, Zbirke I, Etnografski muzej, Beograd; Truhelka, ]. 1901, Prehistoriska sojenica u koritu Save kod Donje Doline, Glasnik Zemaljskog muzeja BiH XIII / 2 i 3, Sarajevo, 227287; 1914, Kulturne prilike Bosne i Hercegovine u doba prehistorisko, Glasnik Zemaljskog muzeja XXVI, Sarajevo; Vasi}, M. M. 1906, Starosrpska nalazi{ta u Srbiji, Starinar, n. r. I/1, Srpsko arheolo{ko dru{tvo, Beograd, 8788.

52

ARCHEOLOGY AND ART HISTORY

Sl. 4. Zlakusa, Srbija (foto: B. or|evi}) Fig. 4. Zlakusa, Serbia (photo: B. Djordjevi}) Sl. 3. Zlakusa, Srbija (foto: B. or|evi}) Fig. 3. Zlakusa, Serbia (photo: B. Djordjevi})

DIANA #13

and Montenegro), as well as those from the parts of Europe where the manufacture of pottery without the potters wheel or on a hand wheel is still preserved (Spain, Portugal) (\or|evi}-Bogdanovi} 2003). The achievement of this goal is closely related both to Serbian and European legislation. The traditional manufacture of pottery forms part of the worlds cultural heritage.9 Pottery, as the oldest synthetic material, and the potters wheel, as the first mechanical device in human history, deserve special attention from both researchers and the system of cultural heritage conservation.10 The drafting of a whole set of bills is in progress in Serbia, starting with the Law on Culture to the Law on Museum Items (draft working title), which should unequivocally determine the protection of intangible heritage, thus far undefined or defined only roughly.11 Furthermore, there also exists the Convention on the Protection of Old and Traditional Crafts, which the Council of Europe took into consideration upon Serbias initiative.12 The goals of the Convention are: to protect and promote old and traditional crafts; to disseminate knowledge thereabout; to raise popular awareness of the fact that old and traditional crafts that existed and still exist on the territory of each signatory state represent an integral part of the common European, and even global, cultural and civilizational heritage, and to encourage further spiritual, cultural, civilizational and any other positive interaction in this context, among the European nations and within the whole mankind.13 This document envisages the establishment of both European and national committees with boards in charge of safeguarding crafts, creating standards for particular crafts and adopting European strategies for the protection and advancement of old and traditional crafts, preservation of the knowledge and skills incorporated in them, as well as the further perfection of this knowledge and skills and their dissemination. It further envisages collecting, safeguarding and preserving

products of these crafts, broadening the circle of individuals who practice them, both professional and non-professional, and improving the economic and social status of those who practice these crafts professionally, etc.14 Among other things, as part of its measures and actions, the Convention envisages the organisation and stimulation of research projects dealing with different aspects of problems pertaining to old and traditional crafts, and the organisation of consultations and expert meetings, bringing together scientists and cultural researchers studying old and traditional crafts.15 A legal framework for the protection of the overall intangible heritage postulated in this way and even section referring to traditional ceramic technologies, should not only aid their preservation for posterity, but also facilitate further research and studies, and enable the support and financing of projects whose subject of research is this issue. And this is where the circle closes.

9] The UNESCO Convention for the Safeguarding of Intangible Cultural Heritage, passed in October 2003 (http://www.unesco.org/ culture/ich/index.php? pg=00006). 10] Twentieth general conference of ICOM, held at Seoul in October 2004, was entirely dedicated to the issue of Museums and the intangible heritage (http://icom.museum/general-conference 2004.html). 11] See www.kultura.sr.gov.yu. 12] Six countries endorsed the bill before it entered parliamentary procedure: UK, Germany, Spain, Finland, Lithuania, and Cyprus (http://www.mfa.gov.yu). 13] Art. 1 of the draft European Convention on the Protection of Old and Traditional Crafts. 14] Arts. 2 and 5 of the draft European Convention on the Protection of Old and Traditional Crafts. 15] Art. 13 of the draft European Convention on the Protection of Old and Traditional Crafts.

53

DIANA #13

ARHEOLOGIJA I ISTORIJA UMETNOSTI Eva CINCAR, apsolvent arheologije Fran~esko ^INI, geolog

EKSPERIMENTALNA ARHEOLOGIJA. PROCES TOPLJENJA BAKRA I BRONZE

KOOPERATIVA ICHNOS nastala je 2004. godine i deo je Sistema muzeja iz Montelupa Fiorentina (Firenca), u ~ijem se sastavu nalaze Arheolo{ki muzej i Muzej keramike. Ichnos ~ine mladi arheolozi i geolozi, a osnovne delatnosti kooperative jesu arheolo{ka iskopavanja, podu~avanje u osnovnim i srednjim {kolama i, pre svega, eksperimentalna arheologija. Tokom vi{egodi{njeg delovanja ste~ena su mnoga znanja na polju eksperimentalne arheologije, naro~ito u oblasti izrade i pe~enja keramike i u arheometalurgiji. Od samog po~etka delatnosti kooperative osnovni ciljevi njenih ~lanova bili su detaljno upoznavanje sa arheolo{kim lokalitetima na teritoriji Montelupa i okoline, zatim arheolo{ka i arheotehnolo{ka tematika povezana s tim, upoznavanje sa osnovnim sirovinama koje se tu nalaze, s petrografskim karakteristikama raznih tipova keramike sa obli`njih arheolo{kih lokaliteta, kao i rekonstrukcija artefakata i verifikacija ta~nosti rekonstrukcije, a zatim i kori{}enje ste~enih iskustava za podu~avanje.

Faze eksperimenta
1. Priprema jame za otapanje bakra ili bronze Prvo je iskopana jama ovalnog oblika, dimenzija oko 40 50 cm i dubine 15 cm; jama je zatim oblo`ena blatom dobijenim od iskopane zemlje. Unutra{njost jame ostala je glatka i pravilnog oblika, dimenzija oko 30 40 cm i dubine 10 cm. Jedna od u`ih strana jame modelovana je tako da se dobije zid koji je gotovo vertikalan u odnosu na dno. Nakon modelovanja u jami je zapaljena vatra kako bi se ona osu{ila i kako bi ~itava struktura postala stabilnija. Za rekonstrukciju jame poslu`io je sli~an primer na lokalitetu Querciola Sesto Fiorentino (Firenca) iz eneolitskog i ranog bronzanog doba. U toj jami prona|eni su ostaci crvene pe~ene zemlje, {to ukazuje na pomenuti postupak oblaganja blatom. Osim toga, tu su na|eni i sitni fragmenti bakarne zgure, kao i fragmenti keramike prekriveni slojem stakla, {to upu}uje na postizanje izuzetno visokih temperatura potrebnih za otapanje bakra. 2. Izrada kerami~kih cevi (Tuyere) i kerami~ke posude za topljenje metala Bakar prelazi u te~no stanje kada se dostigne temperatura od 1083C, a bronza na temperaturi od 1000C, pa za to nije dovoljna obi~na vatra. Zbog toga su izra|ene dve kerami~ke cevi od gline pome{ane s gabrom (veli~ina zrna iznosi oko jedan milimetar) u odnosu 1 : 1. Takva keramika izuzetno je otporna na visoke temperature. Du`ina svake cevi je oko 20 cm; kraj cevi koji je postavljen preko vertikalnog zida jame zaobljen je za 90 nadole, tako da vazduh koji se uduvava u cevi pomo}u mehova sti`e neposredno u posudu za topljenje bakra, pa se razvija izuzetno visoka temperatura. Na suprotne krajeve cevi pri~vr{}eni su mehovi za uduvavanje vazduha. Za rekonstrukciju cevi i posude za otapanje bakra ili bronze poslu`ili su primeri s bogatog nalazi{ta kulture Terramare iz bronzanog doba u blizini Modene. Na lokalitetu Montale (Modena) prona|eni su fragmenti zaobljenih cevi, du`ine oko pet santimetara, za koje se veruje da su slu`ile za uduvavanje vazduha tokom postupka topljenja metala. U istim slojevima na tom lokalitetu prona|ena je i kerami~ka posuda veoma grube izrade s vidnim tragovima gorenja. Pretpostavlja se da je slu`ila kao recipijent u koji se stavljao bakar i u kojem je prelazio u te~no stanje nakon dostizanja potrebne temperature. Obim recipijenta iznosi oko osam santimetara; na njemu se nalazi jedna horizontalna dr{ka, a na ivici posude, 90 od dr{ke, u smeru kretanja kazaljke na satu, postoji udubljenje koje je najverovatnije slu`ilo za precizno ulivanje otopljenog bakra u prethodno izra|eni kalup.

Sl. 1. Ulivanje otopljene bronze u kalup Fig. 1. Pouring of meltid bronze in to the mould

Tokom izvo|enja eksperimenata posebna pa`nja bila je posve}ena rekonstrukciji tehnike i tehnologije otapanja bakra ili bronze u bakarnom i bronzanom dobu. Izvedeni eksperimenti zasnivaju se, pre svega, na otapanju i ulivanju ve} pre~i{}enog metala u kalup, tako da se odnose samo na finalni metalur{ki proces. Razlog tome jesu pote{ko}e u pronala`enju dovoljne koli~ine bakarnih ruda potrebnih za proces odvajanja metala bakra (pre svega halkopirita i bornita). Metal kori{}en u eksperimentima isti je onaj koji se koristi za umetni~ku izradu statua, a sastavljen je od 90% bakra i 10% kalaja.

54

ARCHEOLOGY AND ART HISTORY Eva CINCAR, student of archaeology Francesco CINI, geologist

DIANA #13

EXPERIMENTAL ARCHAEOLOGY: THE COPPER AND BRONZE MELTING PROCESS

THE ICHNOS cooperative was founded in 2004 and forms part of the staff of the Museums System of Montelupo Fiorentino (Florence), composed of the Archaeological Museum and the Museum of ceramics. In Ichnos, young archaeologists and geologists cooperate. Their main activities are archaeological research; archeological education in primary and secondary schools; and especially experimental archaeology. With years of experience, the Ichnos cooperative has gained much knowledge in the field of experimental archaeology, especially in producing and firing pottery and in archeo-metalurgy. The aim of the cooperative was to acquire detailed knowledge of archaeological sites on the territory of Montelupo and archaeological and archeo-technological issues connected with them; knowledge of the raw materials found in this area; knowledge of the petrographic characteristics of different types of pottery found in the area; accurate reconstruction of items and their established use; and the application of this knowledge in archeological education. The experiments focused on the reconstruction of techniques and technologies used to melting bronze or copper in the late Neolithic and early Copper age. The experiments are mostly based on melting pure metal and pouring it in already prepared casts, thus covering only the final stage of the metallurgic process. This is because it is difficult to find copper ore (chalcopyrite and bornite) in sufficient quantities to conduct authentic copper extraction. The metal used in experiments is that is usually used for artistic sculptures, composed of 90% copper and 10% tin.

sufficient to achieve these temperatures. For this reason two ceramic tubes were made using clay mixed with gabro in the proportion 1:1. The size of the gabro particles was approximately 1 mm. In this way the ceramic becomes resistant to high temperatures. The length of the tube was around 20 cm. The end of the tube lying along the vertical wall of the pit was curved down to an angle of 90, so air blown in to the tubes with bellows mounted on the opposite side of the tube arrived directly into the melting pot, and a high temperature was reached.

Sl. 2. Ulivanje otopljene bronze u kalup Fig. 2. Pouring of meltid bronze in to the mould

The Stages of the Experiment

1. Preparation of a pit for melting bronze and copper Firstly an oval pit was dug, 40 50 cm and 15 cm depth. Then the pit walls were covered with mud obtained from the excavated earth. In this mode the interior of the pit remained smooth and of regular shape, size 30 40 cm, 10 cm deep. One of the narrow walls of the pit was modeled to be almost vertical. A fire was lit inside to dry the pit and make the structure more stable. For reconstruction of this pit, the example of a similar structure was used, found during the excavations of a late Neolithic archeological site, Querciola Sesto Fiorentino (Florence). Within this archaeological pit traces of fired red soil were found, which suggests that the pit had been covered with mud. Fragments of pottery coated with glass were also found, which suggests that the temperature inside the pit became high enough to melt copper (or bronze). 2. Preparation of the tube (Tuyere) and the melting pot: Since copper melts at a temperature of 1083 degrees Celsius and bronze at 1000C, a simply fire would not have been Examples from the Bronze Age Terramare culture near Modena were used for reconstruction of the pipe and melting pot. At the Montale (Modena) site there were fragments of a curved pipe, about 5 cm in length, which are thought to have been used to blow in air during the metal melting process. In the same layers ceramic vessels were found, made in the same way as the pipes, with traces of firing. It appears that they were used as containers for copper or bronze. After reaching the required temperature the metal became liquid. The melting pot was around 8 cm in diameter with a horizontal handle. There is a hollow on the rim of the pot, about 90 to the handle in a clockwise direction, which was probably used to pour the molten metal into the mold precisely. 3. The bellows The bellows were made of leather, in the form of a tube about 40 cm in diameter and 50 cm in height. On the top of the bellows there is a valve, the raising of which fills the

55

DIANA #13

ARHEOLOGIJA I ISTORIJA UMETNOSTI

zduha u vatru bio konstantan, a `eljena temperatura ostvarena je br`e. Trenutak u kojem bakar prelazi u te~no stanje jasno se prepoznaje jer plamen postaje zelenkaste boje. Kada se to dogodilo, posuda sa otopljenim bakrom (bronzom) uhva}ena je za horizontalnu dr{ku pomo}u dva {tapa i te~ni bakar (bronza) uliven je u izra|eni kalup (sl. 1 i 2). Nakon nekoliko minuta, kada se metal ohladio, kalup je otvoren i dobijena je `eljena forma [no` (sl. 3), sekira itd.]. Zaklju~ak Cilj eksperimenta bilo je {to vernije rekonstruisanje procesa otapanja metala, postupka koji je svakako, posle otkri}a keramike, jedan od najbitnijih procesa u razvoju civilizacije. Osim toga, `eleli smo da otkrijemo i {ta ostaje na terenu posle procesa otapanja metala; mnoge jame prona|ene na raznim arheolo{kim lokalitetima, a koje su najverovatnije slu`ile za otapanje metala, nisu tako interpretirane, izme|u ostalog i zbog toga {to je nakon aktivnosti topljenja ostajalo vrlo malo tragova. Naime, na{i preci verovatno su skupljali zguru bronze ili bakra nakon postupka otapanja jer se ona mogla ponovo iskoristiti, a metal je uvek imao visoku vrednost. Mehovi nisu sa~uvani, a kerami~ke cevi i recipijenti za topljenje bakra nisu uvek pravilno interpretirani. Jedini tragovi na osnovu kojih se neka jama na arheolo{kom lokalitetu mo`e interpretirati kao jama za otapanje metala jesu crvena pe~ena zemlja i fragmenti staklastih povr{ina koji govore o dostizanju visokih temperatura.

3. Mehovi Mehovi su izra|eni od ko`e i u obliku su cevi ~iji obim iznosi oko 40 cm, a visina oko 50 cm. Na gornjem kraju meha nalazi se ventil kroz koji se pri podizanju meh puni vazduhom, dok se pri spu{tanju vazduh uduvava u cevi i preko njih neposredno u posudu za topljenje metala. Mehovi su izra|ivani od ko`e, pa je gotovo nemogu}e ustanoviti njihove tragove na arheolo{kim lokalitetima. 4. Kalup Kalup kori{}en u eksperimentu izra|en je od pe{~ara ru~no, udubljivanjem `eljene forme (no`, sekira i sli~no). Osim od pe{~ara, kalupi su se mogli izra|ivati od gline ili nekog drugog kamena otpornog na visoke temperature. Kalupi izra|eni od pe{~ara ~esto su pronala`eni na arheolo{kim lokalitetima, npr. na lokalitetima pomenute kulture Terramare, na lokalitetu Manciano u blizini Groseta itd.

Proces otapanja bakra

Na vertikalni zid jame prislonjene su cevi sa zaobljenim krajevima okrenutim nadole, tako da vazduh mo`e neposredno da se uduvava u prethodno pripremljenu posudu s bakrom ili bronzom. Zatim je u jami zapaljena vatra, s tim {to su prvo kori{}ena drva, a potom drveni ugalj. Recipijent je prekriven ugljem, a u me|uvremenu su dve osobe naizmeni~no uduvavale vazduh pomo}u mehova; dok je jedan meh bio podignut, drugi je bio spu{ten. Tako je dotok va-

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

PLO^NIK, ARHEOLOGIJA I KONZERVACIJA

ARHEOLO[KA ISTRA@IVANJA u Plo~niku u septembru i oktobru 2007. godine dala su jedinstvenu arheometalur{ku situaciju, prvi put ustanovljenu u tom preistorijskom naselju. Istorijat istra`ivanja na ovom lokalitetu je dug i se`e do 1926. godine, kada su, prilikom izgradnje `elezni~ke pruge Ni{Pri{tina, svetlost dana ugledali prvi pokazalo se va`ni materijalni ostaci iz preistorijskog doba. Tada{nja Direkcija Jugoslovenskih `eleznica poklonila je Narodnom muzeju u Beogradu prvu ostavu bakarnih alatki. Ti nalazi naveli su dr Miodraga Grbi}a da ve} naredne godine zapo~ne s prvim, moglo bi se re}i, za{titnim istra`ivanjima na tom nalazi{tu. Ugro`ena povr{ina od oko 700 m dala je veliku koli~inu materijala, a najva`niji je nalaz druge ostave bakarnih artefakata. Publikuju}i te nalaze, Grbi} ih opredeljuje u eneolitski period, a sam Plo~nik svrstava u red zna~ajnih lokaliteta jugoisto~ne Evrope. Druga serija istra`ivanja zapo~inje 1960. godine. Dr Bla`enka Seka Stalio istra`ivala je u Plo~niku, u devet kampanja, do 1978. godine. Otkriveno je oko 1.000 m na dve razli~ite pozicije tog velikog naselja. Radovi manjeg obima obavljeni su u jugozapadnom delu naselja, u blizini `elez-

ni~ke stanice. Interesovanja ovog istra`iva~a bila su usmerena na severoisto~ni deo plo~ni~kog naselja. Iz ogromne koli~ine raznorodnog materijala izdvajamo, opet, nalaze dve ostave bakarnih i kamenih alatki. Publikuju}i taj materijal, Bla`enka Seka Stalio opredeljuje ga u vreme mla|eg neolita, plo~ni~ku fazu vin~anske kulture, a same bakarne nalaze u vreme ranog eneolita, faza Bubanj Hum 1a, prema hronologiji M. Gara{anina. Tre}a serija istra`ivanja u Plo~niku po~inje 1996. godine, opet u organizaciji Narodnog muzeja iz Beograda, u saradnji s Narodnim muzejom Toplice iz Prokuplja. Ogromna gra|a i dokumentacija iz prethodnih istra`ivanja uslovila je to da prvi korak budu rekognosciranja doline reke Toplice i samog nalazi{ta u selu Plo~nik. Na taj na~in dobijena je okvirna povr{ina plo~ni~kog naselja od oko 120 hektara. To je izuzetna veli~ina za naselje vin~anske kulture, a plo~ni~ko je bilo i ve}e poznato je da je meandriranjem reke Toplice uni{ten veliki deo centralnih delova naselja. Drugi podatak koji je usmerio potonja istra`ivanja jesu mesta nalaza plo~ni~kih ostava. Njihovim kartiranjem ustanovljeno je da

56

ARCHEOLOGY AND ART HISTORY

bellows with air, while bringing it down blows air through the pipe (Tuyere), directly into the melting pot. Since the bellows were made of leather, it is impossible to find their traces on archaeological digs. 4. The cast The sandstone cast was modeled of by hand, using a knife. Apart from sandstone, the cast could have been made of clay or some other stone resistant to high temperatures. Casts made of sandstone are often found on archaeological sites, for examples those of the Terramare culture, or the Manciano site (near Grosseto).

DIANA #13

The Process of Copper Melting

On the vertical wall of the pit, the tubes were placed in a mode whereby the curved part was turned downward, so that the air could be blown directly in to the melting pot containing the bronze or copper. To start the fire in the pit we used wood and then we added coal. The crucible (melting pot) was covered with coal, and two people alternately raised and lowered the bellows: while one bellows was raised, the other was lowered and vice versa. In this way, the air reached the fire constantly, and the desired temperature was reached more quickly. The fire became green once the copper or bronze had melted. The crucible was then lifted by its horizontal handle, using two sticks, and the melted copper (bronze) was poured into the cast (Fig. 1 and 2). After a few minutes, when the metal had cooled, the cast was opened, revealing the desired object [knife (Fig. 3), axe, etc]. Sl. 3. No` u kalupu Fig. 3. Knife in the mould

Conclusion
The goal of this experiment was to recreate the process of melting metals, certainly one of the most important processes in the development of civilization after the discovery of

ceramics. Apart from that, our intention was also to find out what remained on the site after the process of melting metal. Our conclusion is that probably pits for melting metals found on archaeological digs were not often interpreted as such, because they leave few traces. Our ancestors probably collected waste left after the melting process, because it could have been reused, and the metal always had a high value. Also, bellows were made from organic material so they do not leave traces. The crucibles (melting pots) and tubes (tuyeres) are not always interpreted as such. The only safe clues suggesting that a pit was used for melting are traces of baked red soil and fragments of glass surfaces, proving that high temperatures were reached. The next step in this project, if possible, will be an experiment to obtain copper from ore, allowing us to complete our knowledge about the metallurgical process.

Du{ko [LJIVAR, National Museum in Belgrade Julka KUZMANOVI]-CVETKOVI], the Toplica National Museum, Prokuplje

PLO^NIK, ARCHAEOLOGY AND CONSERVATION

ARCHAEOLOGICAL RESEARCH conducted in Plo~nik in September and October 2007 resulted in a unique archaeometallurgical situation, never before recorded in this prehistoric settlement. There is a long history of archaeological research at this site, going back to 1926. During the construction of the Ni{-Pri{tina railway line, significant prehistoric material came to light. The Director of Yugoslav Railways donated the first hoard of copper tools to the National Museum in Belgrade. These finds prompted Dr Miodrag Grbi} to commence the first salvage archaeology work on the site the following year. The threatened area of approximately 700 m yielded a great quantity of material, the most important being the finding of the second hoard of copper artefacts. Publicising these finds, Grbi} dated them

to the Eneolithic Era, whilst he classified Plo~nik itself as a leading archaeological site in South East Europe. The second period of excavation started in 1960. By 1978, Dr Bla`enka Seka Stalio had excavated Plo~nik in nine campaigns. A large settlement, approximately 1,000 m, was discovered, in two different segments. Further work on a smaller scale was carried out in the south-western part of the settlement, near the present railway station, while Dr Stalio directed her attention to the north-eastern segment. From the huge quantity of varied materials, we would single out two hoards of copper and stone tools. Publicising this material, Dr Stalio dated it to the later Neolithic period, the Plo~nik phase of the Vin~a culture, whilst she places the

57

DIANA #13

ARHEOLOGIJA I ISTORIJA UMETNOSTI

`ivota ili aktivnosti. Tako je bilo sve do pro{logodi{njih istra`ivanja u sondi XX. Insistiranje i istrajavanje istra`iva~a na pojedinim interdisciplinarnim analizama urodilo je plodom iznad svih o~ekivanja. Arheolo{kim radovima iz 2007. godine prethodile su, najpre, interdisciplinarne analize ko{tanog materijala, a potom i geomagnetska snimanja tog dela lokaliteta. Petnaest paleozoolo{kih uzoraka s razli~itih stratigrafskih pozicija, zahvaljuju}i kolegi Du{anu Bori}u, tretirano je AMS metodom u laboratorijama Oksforda, u Engleskoj. Dobijeni apsolutni datumi od 5400. do 4600. godine stare ere u potpunosti korespondiraju s relativnom hronologijom koja je ura|ena na osnovu stilsko-tipolo{kih analiza materijala iz Plo~nika i sa analognog lokaliteta Belovode, a ra|ene su i fiziko-hemijske analize uzoraka malahita i azurita s lokaliteta Belovode. Na taj na~in dobijena je i hronologija bakarnih artefakata, ~ije su vreme nastanka poslednji vekovi VI milenijuma stare ere. Geomagnetska snimanja tog dela lokaliteta, koja je obavio in`enjer Vladimir Mileti} sa saradnicima, registrovala su oko petnaest lokacija ili anomalija nastalih antropogenim delovanjem. Na jednoj od njih, sa izuzetno visokim vrednostima ili odstupanjima, postavljena je otvorena sonda XX. Na relativnoj dubini od 0,80 metara osnova sonde bila je potpuno ispunjena {utom, brojnim ulomcima kerami~kog materijala, celim i razbijenim posudama, amorfnim i obra|enim kamenom. Takvu jedinstvenu celinu dopunio je nalaz masivnog bakarnog dleta. Na povr{ini od 25 m,

one poti~u iz zapadnih i jugozapadnih delova naselja. Rastojanje od I do IV ostave iznosi oko 200 metara. Takva koncentracija metalnih artefakata ukazivala je i na funkcionalnu ili urbanisti~ku determinaciju tog dela naselja. Pretpostavljeno je da je tu re~ o zanatskom delu naselja, izdvojenom i sme{tenom na periferiju zbog opasnosti od po`ara. Broj od 45 bakarnih alatki koje su tu prona|ene do 1978. godine presudio je da se planirana istra`ivanja obave na tom delu plo~ni~kog lokaliteta. Arheolo{kim radovima otpo~etim 1997. godine prethodila su geofizi~ka snimanja na dve lokacije. Skeniranje georadarom i merenja elektri~ne otpornosti odredili su u`e lokacije na koje su postavljane sonde. Rezultati tih radova u velikoj su meri unapredili znanja o Plo~niku i samoj vin~anskoj kulturi, kojoj pripada to naselje. Ovom prilikom izdvajamo nekoliko osnovnih i novih saznanja. Pokazano je da je plo~ni~ko naselje osnovano u vreme najstarijih etapa faze Vin~a Tordo{ I, prema hronologiji M. Gara{anina. Na osnovu stilsko-tipolo{kih i statisti~kih analiza kerami~kog materijala iskristalisale su se tri razvojne, evolutivne faze te kulture, ~iji kraj u plo~ni~kom naselju korespondira sa zavr{nim etapama grada~ke faze. Odre|ena je kulturno-hronolo{ka pozicija plo~ni~kih ostava. Vreme kojem pripada ta ve} razvijena metalurgija odgovara grada~koj fazi vin~anske kulture. Iz ove ~injenice proisti~e i mnogo zna~ajniji zaklju~ak o tome da primarni oblici metalurgije nastaju i razvijaju se u njenim starijim fazama.

Sada je sasvim izvesno da je vin~anska kultura metalur{ka kultura i da, kao takva, ima prioritet u odnosu na istovremene pojave u jugoisto~noj Evropi. Nalazima jo{ nekoliko bakarnih artefakata i parcijalnih situacija razja{njeno je da ostave, u stvari, predstavljaju delove zanatskih objekata, radionica, sru{enih u po`aru. Ostaje nejasno za{to su vlasnici ili majstori ostavili taj dragoceni materijal. Uz ove arheometalur{ke komponente, ostali pokretni nalazi upotpunili su repertoar, kao i na{a znanja o vin~anskoj kulturi. Neki od njih, pogotovo pojedini nalazi antropomorfne i zoomorfne plastike, predstavljaju jedinstvene eksponate prema svim estetsko-umetni~kim kriterijumima. Ipak, istra`ivanja u Plo~niku, koja traju gotovo jedan vek, nisu dala situacije bilo koje sadr`ine na osnovu kojih bi se mogao celovito determinisati ijedan segment ~ovekovog

58

ARCHEOLOGY AND ART HISTORY

copper finds in the early Eneolithic Era, its Bubanj-Hum 1a phase, according to M. Gara{anins chronology. The third series of excavation in Plo~nik started in 1996, organised by the National Museum in Belgrade in cooperation with the Toplica National Museum, Prokuplje. The voluminous documentation and large quantity of previous finds meant that the first step would be reconnaissance of both the Toplica river valley and the archaeological site in the village of Plo~nik. This provided us with a general geographical area of the Plo~nik settlement of approximately 120 hectares. For a Vin~a-culture settlement this is of extraordinary magnitude. However, the Plo~nik settlement was even larger, as it is known that the meandering of the River Toplica destroyed a considerable portion of the settlements central parts. Another fact that determined the course of future research was the location of the Plo~nik hoards. Mapping ascertained that they originated from the western and southeastern parts of the settlement. The distance between hoards I and IV is approximately 200 meters. Such a concentration of metal artefacts indicated both the functional and the urban purposes of this part of the settlement. It is assumed that this was the craftsmens part of the settlement, isolated and situated on the periphery, due to the danger of fire. A total of 45 copper tools had been found here by 1978, prompting further excavation of this part of the Plo~nik site. The archaeological work that began in 1997 was preceded by geophysical soundings in two locations. Geo-radar scanning and electrical resistance measurements determined the precise location for these sondes. The results have greatly furthered our knowledge of Plo~nik, and the Vin~a culture to which the settlement belongs. We hereby expound some of the fundamental new discoveries. It was revealed that the Plo~nik settlement was established during the latest stages of the Vin~a-Tordo{ I phase, according to M. Gara{anins chronology. On the basis of stylistic, typological, and statistic analyses of ceramics, three developmental, evolutional phases of this culture were crystallised. The end of these phases in the Plo~nik settlement corresponds to the final stages of the Gradac phase. Both cultural and chronological positions of the Plo~nik hoards were determined. These advanced metalworking skills correspond to the Gradac phase of the Vin~a culture. This fact also leads to a far

DIANA #13

more significant conclusion that the primary forms of metallurgy were born and developed during its earlier phases. It is now fairly clear that the Vin~a culture had mastered metalworking, and was thus more advanced than its Southeastern European contemporaries. Several other finds of copper artefacts and partial sub-sites shed light on the fact that the hoards in fact represent parts of craftsmens workshops destroyed in a fire. Why the owners or craftsmen left behind such valuable materials remains a mystery. In addition to these archaeo-metallurgical components, the rest of the movable finds have made the site inventory as well as our knowledge of the Vin~a culture more complete. Some of these, especially certain finds of anthropomorphic and zoomorphic sculptures, are unique according to all criteria of aesthetics and art. However, the almost century-long research in Plo~nik did not yield a single sub-site containing anything that could be used to fully establish any segments of human life and activity. Such was the state of affairs up until last years excavation of sonde XX. The researchers resolve and insistence on certain interdisciplinary analyses turned out to be exceedingly fruitful. The 2007 excavation was preceded by interdisciplinary analyses of bone materials, leading to geomagnetic measurement of this area of the site. Thanks to our colleague Du{an Bori}, 15 paleo-zoological samples collected from different stratigraphic positions have been treated by the AMS method in the laboratories of Oxford, England. The resultant absolute dates, from 5400 to 46000 BC, fully correspond to the relative chronology completed on the basis of the stylistic and typological analyses of the Plo~nik materials, as well as those of the analogous archaeological site of Belovode. However, physicochemical analyses of the malachite and azurite found on the site of Belovode were also conducted. Thus we also obtained the chronology of copper artefacts, dating from the late 6th millennium BC. Geomagnetic measurements in these parts, performed by Vladimir Mileti} with associates, registered approximately fifteen localities with anomalies resulting from human activity. The open sonde XX was placed in a location exhibiting extremely high anomalous values. At the relative depth of 0.80 meters, the sondes base was filled with rubble, numerous fragments of pottery, whole and broken vessels, with amorphous and cut stone. The finding of a massive copper chisel contributed to this unique find. In the area of 25 m, the dimensions of the sonde, the straight line of a structure destroyed in an intensive fire was visible. Without hesitation the sonde was gradually widened, mostly in the northern part, increasing its dimensions to 55 m. The entire sub-site was finally mapped, and the overall dimensions of the burned structure were established. A kiln at the northwest corner of the area dominates the sub-site. The base of the kiln is square, measuring 1.40 1.40 meters. The largest preserved kiln walls are 0.50 meters high. The walls are massive, with visible secondary coats and traces of contact with high temperatures in the lower half. Inside, there are numerous brown smears resulting from smelting. The contours of the structure itself are ill-defined, and measure approximately 6 6 meters. The overall content of the construction and the remains of the parts above ground at

59

DIANA #13

ARHEOLOGIJA I ISTORIJA UMETNOSTI

metalur{koj radionici. Pored dleta, prona|ene su dve bakarne alke razli~ite profilacije i minijaturna perla. Ti nalazi upotpunjuju poznati repertoar i ujedno su dokaz o visokom nivou metalurgije bakra u Plo~niku. Zatim, prikupljeno je dosta grumenova malahita razli~ite profilacije i izmenjene strukture usled kontakta s visokim temperaturama. Posebno su zanimljive kerami~ke cevi koni~ne profilacije s podu`nim perforacijama. Ti objekti, sa analogijama na Belovodama, deo su metalur{kih instalacija za dovod i usmeravanje cirkulacije vazduha prilikom topljenja rude ili pretapanja samog bakra. Pretpostavci o tom ekstraktivnom tehnolo{kom nivou dobijanja bakra idu u prilog i nalazi mnogih kerami~kih posuda deformisanih usled jake vitrifikacije. Ali va`niji detalj jeste njihov istopljeni sadr`aj, koji }e determinisati predvi|ene fiziko-hemijske analize, a prema na{im iskustvima, re~ je o izdrobljenoj rudi malahita pripremljenoj za metalur{ki tretman. Sve to ukazuje na izuzetan zna~aj cele situacije, kojom dominira velika masivna pe}, retkog oblika i specifi~ne namene. Njen oblik, stanje o~uvanosti i sam zna~aj presudili su da se taj objekat preventivno konzervira. Njegova dalja sudbina zavisi od toga koje }e se re{enje, od dva predlo`ena, primeniti. Prvo podrazumeva trajnu konzervaciju i izme{tanje u jedan od muzeja, a drugo konzervaciju in situ i prezentaciju u sklopu budu}eg arheolo{kog parka u Plo~niku.

koliko su iznosile dimenzije sonde, uo~avao se jedan pravac objekta uni{tenog u intenzivnom po`aru. Dileme nije bilo i sonda je postupno pro{irena, najvi{e u severnom delu, tako da su njene dimenzije na kraju iznosile 55 m. Na tom prostoru kona~no je dobijena cela situacija i uhva}eni su gabariti izgorelog objekta. Situacijom je dominirala pe} na severozapadnom uglu povr{ine. Pe} je kvadratnog oblika u osnovi, dimenzija 1,40 1,40 metara. Najve}a o~uvana visina zidova pe}i je 0,50 metara. Zidovi su masivni, a u donjoj polovini s vidljivim sekundarnim premazima i tragovima kontakta s visokim temperaturama. Unutra je dosta mrkih mrlja, nastalih u redukcionim uslovima upotrebe. Konture samog objekta neizrazite su i pribli`no iznose 6 6 metara. Ukupan sadr`aj te konstrukcije i ostaci nadzemnih delova, u ovom stadijumu istra`ivanja, opredeljuju je kao objekat privrednog karaktera. Radionica, u kojoj je centralni objekat masivna pe}, bila je za{ti}ena zidovima od pletera oblepljenog zemljom. Krovnu konstrukciju ~inio je tako|e pleter, prekriven travom. Pod nije formiran kao lep, ali se na jednom delu osnove nalaze kamene plo~e. Taj nivo objekta istra`i}e se u narednoj kampanji, kada }e mo}i da se upotpuni opis ostalih konstruktivnih detalja. Objekat je bio ispunjen brojnim kerami~kim posudama, velikim, prvenstveno za vodu: amforama, kr~azima i dubokim bikoni~nim posudama. Ostatak nalaza jo{ izrazitije ukazuje na to da je re~ o

Ksenija \uri{i}, vi{i konzervator restaurator Centar za arheolo{ka istra`ivanja Crne Gore

IKONOSLIKARSTVO CRKVE SVETOG LUKE U KOTORU

CRKVU SVETOG LUKE u Kotoru sagradili su 1195. godine Mavro Kazafranki i njegova supruga Buona. Kasniji patroni bile su porodice Drago i Kufeti. Odlukom pape Julija II uprava crkve preneta je 1511. godine na redovnice Gospe An|ele, {to je trajalo do 1657, kada je bila predana na porabu sljedbenicima pravoslavne vjere.1 Jedna od glavnih karakteristika ikonoslikarstva u crkvi Svetog Luke jeste bogatstvo i raznovrsnost ikonografije, dok se ikonostas odlikuje dekorativno{}u. Donja zona ikonostasa po svoj prilici je uni{tena, a rekonstrukcija je izvedena na veoma jednostavan na~in. Postavljeni su vertikalni redovi dasaka, u vidu lamperije patinirane bojom oraha, sa usje~enim dverima. Na njima su ~etiri prestolne ikone, pore|ane ovim redom: Jovan Krstitelj, Bogorodica sa Hristom, Hristos u crkvenoj ode`di, s krunom na glavi, i, na kraju, u desnom uglu sveti Luka kao zograf. Ikone su naslikane na sasvim razli~ite na~ine. Lik Jovana Krstitelja prikazan je u oker boji sa zatamnjenim tonovima umbre; ode`da od kamilje dlake nije prikazana u sivoplavom tonu, osim, u manjoj meri, po vrhovima ramena, dok na lijevom ide ne{to du`e niz ruku, do lakta. Inkarnat je dosta svijetao, bez one sveta~ke zelene boje lica, osim na glavi koju svetitelj dr`i u ruci. Slova na svitku dosta su nevje{to

pisana. Tragovi plavih slova mogu se vidjeti i na ikoni Hrista s krunom na glavi; na njegovoj ode`di vide se plavi tonovi. Sti~e se utisak da je vjerovatno isti majstor na toj ikoni radio samo retu{e, i to glave s krunom, koja je vje{ta~ki ukomponovana. Ikona s Hristovim likom ne{to je manja od prestolne ikone s likom Jovana Krstitelja; usje~ena je po bordurama, koje se lijepo mogu vidjeti. Kada je rije~ o ikoni Jovana Krstitelja, o~igledno je da je ona skra}ivana kako bi mogla u}i u sada{nji ram, izrezbaren i s krunom na gornjem dijelu. Ikona je stavljena u gotovo isti ram kao ikona s Hristovim likom u tamnom koloritu; Hristos je predstavljen kako sjedi na prijestolu, bez nekog sveta~kog izraza. Ono {to odmah pada u o~i jeste ba{ taj prijesto, kakav se te{ko mo`e na}i u slikarstvu te vrste kod nas. On vi{e li~i na namje{taj iz XVIII ili XIX vijeka, zakrivljenih oblika, u stilu bidermajera ili rokokoa. Ikona svetog Luke rad je nekog majstora Grka. Bogato je oslikana draperija svetog Luke, koji sjedi pognut i slika

1] Likovna enciklopedija Jugoslavije I, Zagreb 1984, 242 (Olga Perovi}).

60

ARCHEOLOGY AND ART HISTORY

this stage of the research bear all the hallmarks of a workshop. Wattle-and-daub walls protect the workshop, whose centrepiece is a massive kiln. The roof construction is also made of grass-covered wattle. The floor was not formed of daub, but there are stone tiles in one portion of the base. This level of the structure is to be investigated in a future campaign, when we will be able to complete the description of the remaining structural details. The structure was filled with copious large, ceramic vessels, usually utilised for water, amphorae, jugs, and deep biconic vessels. The rest of the finds indicate even more decidedly that this is a metallurgical workshop. In addition to the chisel, two copper rings of different appearance and a miniature bead have been found. These complete the known inventory and at the same time serve as evidence of the highly developed level of copperworking in Plo~nik. Furthermore, a considerable amount of malachite lumps have been collected, differing in appearance, their structure altered due to contact with high temperatures. Conical ceramic pipes with horizontal perforations

DIANA #13

are particularly interesting. These structures, substantially similar to ones found in Belovode, formed part of metalworking installations used to supply and direct air for ore smelting or copper melting. The existence of this level of copper extraction technology is also borne out by the finds of many ceramic vessels deformed due to strong vitrification. However, a more significant detail is their melted content: our experience leads us to believe that this is crushed malachite ore prepared for metallurgical treatment, but proof of this hypothesis will have to be established by upcoming physicochemical analyses. All this highlights the importance of the whole sub-site, dominated by the massive kiln of unusual shape and specific purpose. Its shape, state of preservation, and significance have led to the preventive conservation of this structure. What will become of it depends on the realisation of one of two proposed solutions. The first would be permanent conservation and transfer to a museum; the second could be conservation in situ and presentation within a future archaeological park in Plo~nik.

Ksenija DJURI[I], senior conservator-restorer Center for Archeological Studies of Montenegro

CHURCH OF ST. LUKE, KOTOR. ICON PAINTING

THE CHURCH OF ST. LUKE, Kotor, was built by Mavro Kacafrangi and his wife Buone in 1195. Later patrons were the Drago and Cuffeti families. By decision of Pope Julius II, church administration was assigned to the nuns of Our Lady Angela, who continued this ministry until 1657, when the church was ceded to the Serbian Orthodox Church.1 One of the main artistic characteristics of St. Lukes Church is the lavishness and variety of its iconography, especially the decoration of its iconostasis. The lower zone of the iconostasis was probably destroyed but reconstruction was done in a very simple manner. Vertical rows of boards coated with walnut-coloured paint, similar to paneling, were fixed in place, with cut-in Royal doors. There are four royal icons: St. John the Baptist, the Virgin Mary with Christ, an Icon of Christ in red attire with a crown on his head, and at the very end, in the right hand corner, St. Luke as zograph (icon-painter). Each of these icons was painted in a very different manner. The picture of St. John the Baptist is pained in ochre with dark shades of umber. His camel-hair robe was not painted in grey-blue timbre, apart from a small section on his shoulders and down his left arm as far as the elbow. The Incarnate is very bright, not of a saintly green, except for the severed head that the Saint holds in his hand. Letters on the scroll are very clumsily written. Traces of blue letters can be seen on the icon of the crowned Christ. Blue tones are also visible in his robe. It seems that the same master probably retouched the head and added the artificially composed crown to this icon. The icon of Christ

is slightly smaller than the royal icon of John the Baptist, clearly cut and set in according to the existing borders. It is obvious that the icon of John the Baptist was shortened in order to fit into the existing carved frame, which has a crown on top. The icon was placed in the same frame as the dark-coloured icon of Christ. Christ sits on the throne, but without a saintly expression. It can be observed that this particular type of throne is unusual for paintings of this kind in this region. It looks more like a piece of 18th or 19th century furniture, with some twisted shapes in Biedermeier or Rococo style. The icon of St. Luke is the work of a superb 16th century Greek master, with lavishly painted robes. The image of St. Luke depicts him sitting and bent forward, supposedly painting the Virgin Mary with the Christ. The anatomical shapes and motion suggest that this is the work of a great master, possibly aligned with some western schools. The icon of the Virgin Mary on the lower part left hand side is the work of a different master, so it is likely that the compositional scheme was painted later. St. Luke was probably painted in the 18th century. The Royal doors, which are almost completely preserved, are the work of the Rafailovi} iconography school, Bay of Kotor. Dimitrije Rafailovi} created the main door in 1777.

1] Encyclopedia of Fine Arts of Yugoslavia I, Zagreb 1984, 242 (Olga Perovi}).

61

DIANA #13

ARHEOLOGIJA I ISTORIJA UMETNOSTI

Sl. 2. Hristos, prestona ikona (48 77 cm) Fig. 2. Christ, Royal icon (48 77 cm) Sl. 1. Sveti Jovan Krstitelj, prestona ikona (54 89 cm) Fig. 1. St. John the Baptist, Royal icon (54 89 cm) daleko vi{e podataka, jer oskudna dokumentacija ne mo`e pru`iti jasan uvid u cjelokupno stanje tog ikonopisa. Jedno je sigurno gr~ki majstor je ostavio svoj pe~at, iako se mo`e pretpostaviti da nije bio dovoljno upu}en u ~itavu problematiku ikonografije. Na`alost, Deizis nije vi{e na ikonostasu zbog toga {to je stradao, ali je smje{ten u riznicu Srpske pravoslavne crkve u Kotoru, a njegovih {est ikona djelo su majstora Grka.2 To su: 1. Hristos Imago Pieta 2. Sveti Spiridon i sveti Luka 3. Nevjerstvo Tomino 4. Kr{tenje Hristovo 5. Arhan|eli Gavrilo i Mihail 6. Atanas Veliki i Sava Osve}eni. Deizis obuhvata trinaest dobro o~uvanih i konzerviranih ikona. [est su radovi ruskih majstora, a sedam gr~kih, najvjerovatnije onog ikonopisca koji je naslikao prestolnu ikonu s likom svetog Luke. Kolorit ikona gr~kog majstora dosta je taman; preovladava uglavnom nekoliko tonova, plava, cinober i mjestimi~no oker. Vizantijski uticaj dosta je primjetan. Zanatski, ikone su dosta dobro ura|ene, {to se vidi i po stepenu njihove o~uvanosti. Drveni nosa~ tako|e je konzerviran; potopljen je u vosak, s novim ku{acima, koji su veoma vje{to postavljeni.

Bogorodicu sa Hristom. Anatomski modelovane forme i pokret koji uvjerljivo svjedo~i o velikom slikarskom umije}u majstora govore o tome da je on vjerovatno pripadao nekoj zapadnja~koj {koli. Lik Bogorodice u donjem dijelu, na lijevoj strani, rad je nekog drugog majstora, tako da se mo`e re}i da je kompoziciona {ema naknadno naslikana. Sveti Luka vjerovatno poti~e iz XVIII vijeka. Carske dveri, koje su gotovo potpuno o~uvane, rad su bokokotorske ikonopisne {kole Rafailovi}a. Glavne dveri radio je Dimitrije Rafailovi} 1777. Dveri su izrezbarene gotovo filigranski, s malim oslikanim scenama Blagovijesti, u dosta tamnom koloritu. Nadverje je tako|e rad Rafailovi}a i gotovo je u potpunosti o~uvano. Rezbarska kompozicija krsta rad je istog majstora, ali ne i naslikano Raspe}e. Krst je iz 1708, dok je naslikano Raspe}e jednostavno usje~en rad majstora Grka. Raspe}e je gotovo istovjetno s Raspe}em koje se nalazi u riznici Srpske pravoslavne crkve u Kotoru. Ono poti~e iz druge polovine XVIII vijeka. Izrezbareno je u drvetu i islikano sa obje strane na veoma plasti~an na~in, po ugledu na Raspe}a renesansnih majstora, s tamnim koloritom i pozla}enom draperijom, opu{tenim i mrtvim tijelom Hrista, ~ija je glava pognuta i zaba~ena na desnu stranu. Isti takav lik prikazan je na krstu ikonostasa Svetog Luke, ~iji su rezbarski rad i kompoziciona {ema djelo Rafailovi}a. Mo`e se re}i da je ikonopis u crkvi Svetog Luke stilski i hronolo{ki veoma raznovrstan i da je potrebno prona}i

2] Podaci o ikonama dobijeni su u Republi~kom zavodu za za{titu spomenika kulture, Cetinje, i Regionalnom zavodu za za{titu spomenika kulture, Kotor.

62

ARCHEOLOGY AND ART HISTORY

DIANA #13

5. Two Archangels Gabriel and Michael 6. Athanasius the Great and St. Sava consecrated On this diesis there are 13 icons, very well preserved and conserved. Six of them were works by Russian masters, while seven are works of a Greek master, most likely the painter of the Royal icon of St. Luke. Greek masters tended to use rather dark colours, but a few brighter hues prevail: blue, vermillion, and ochre. The Byzantine influence is present. The workmanship is of very good quality, which is obvious from the condition and level of the icons preservation. A wooden support is also well conserved. This was dipped into wax, with new crossbars skillfully placed. Both doorframes belong to the Kotor School of Rafailovi}, 1689, but the doorframe above the main door is older. Sl. 4. Sveti Luka, prestona ikona Fig. 4. St. Luka, Royal icon

Sl. 3. Bogorodica sa Hristom, prestona ikona (50 77 cm) Fig. 3. The Virgin Mary with Christ, Royal icon (50 77 cm)

The door is carved with filigree ornaments and shows small painted scenes of the Annunciation in dark colors. The doorframe was also done by Rafailovi} and is almost completely preserved. The same artist made cross carvings, but did not paint the crucifixion scene. The cross dates from 1708, while the painted crucifixion is the work of a Greek master. The crucifixion is almost identical to the crucifixion in the Treasury of the Serbian Orthodox Church in Kotor. It dates from the late 18th century. The crucifixion is on carved wood, painted on both sides in a very plastic way, similar to crucifixions depicted by Renaissance artists, with dark colours and gilded drapery. Christs dead body sags, while his head is bent down, turned to the right. The same image is shown on the cross of the iconostasis of St Luke, a carved work of the Rafailovi} compositional scheme. By examining the iconostasis in St. Lukes Church, it is obvious that it is heterogeneous regarding its style and chronology, but that more data and documentation need to be obtained to provide clearer insight into its condition. One thing is positive the Greek master left his stamp on his work, although it can be assumed that he was not completely familiar with all iconography problems. Unfortunately, the diesis is no longer forms part of the iconostasis, because it was damaged and is stored in the treasury of Orthodox Church in Kotor. Its six icons are the work of a Greek master.2 1. Christ Imago Pieta 2. St. Spiridon and St. Luke 3. Doubting Thomas 4. Baptism of Christ

The overlays of the Virgin Mary and Christ are displayed on the floor below the icon. Ornamented silver overlays, with gold encrusting of the crown, present some highly skilled workmanship. St. Luke and St John the Baptist had overlays on their aureoles that have been dismantled and are kept in the church treasury. St. Luke, as well as the icon of the Virgin Mary, was dates from the 18th century. Its painting style and technique belong to some western schools that existed in our region at that time.

2] Data of icons obtained from the Republic Institution for Protection of Cultural Monuments Cetinje and Regional Institution for Protection of Cultural Monuments Kotor.

63

DIANA #13

KONZERVACIJA
Osnovna o{te}enja drvenih nosa~a odnose se isklju~ivo na vertikalne pukotine po sredini ikona, du` ~itavog nosa~a. Vjerovatno je uzrok to {to su daske na tim mjestima spajane, pa se drvo, primaju}i i osloba|aju}i vlagu, {irilo, odnosno odvajalo, kao kod ikone Jovana Krstitelja, Bogorodice sa Hristom, pa i ikone Isusa Hrista. Na ikoni s likom svetog Luke drveni nosa~ je pri samom vrhu odvojen horizontalno, a po du`ini ukoso, na zdravom mjestu. Na donjem dijelu uo~ljiv je ~itav niz manjih pukotina. O{te}enja grunda na pozlati pojavila su se u vidu fleka, negdje ve}ih, a negdje manjih. Konsolidacija drvenih nosa~a kod svih ikona obavljena je tehnikom potapanja u vosak i kolofonijum. Bojeni sloj je dobro o~uvan. Ikonostas Svetog Luke nije o~uvan kao cjelina, osim gotovo neo{te}enog krsta. Obnova ikonostasa uglavnom je obavljena na jednostavan na~in; postavljen je red dasaka koje su patinirane i na njih su stavljene prestolne ikone.

Oba nadverja djelo su kotorske {kole Rafailovi}a iz 1689. godine, dok je nadverje iznad glavnih vrata starije. Okovi Bogorodi~ine ikone, kao i one s Hristovim likom, izlo`eni su na podu, ispod ikona. Bogato ukra{eni okovi od ~istog srebra, sa zlatnim inkrustacijama na krunama, pokazuju visoko zanatsko umije}e. Okovi na oreolima koji su postojali na ikonama s likovima svetog Luke i Jovana Krstitelja skinuti su i ~uvaju se u riznici crkve. Ikona s likom svetog Luke, kao i ikona s likom Bogorodice, nastala je u XVIII vijeku, a po slikarskom maniru odgovara djelima nekih zapadnja~kih {kola koje su u to vrijeme radile u ovim oblastima.

Konzervatorska ispitivanja ikona u crkvi Svetog Luke

Prilikom analize ikona i ikonostasa uo~eno je da su drveni nosa~i dosta dobro o~uvani i da su izvjesna konzervatorska i restauratorska tretiranja ve} obavljana.

Prevela i priredila Aleksandra D`iki}-Nikoli}, konzervator Narodni muzej u Beogradu

TERMINOLOGIJA KONZERVACIJA MATERIJALNOG KULTURNOG NASLE\A

Verzija teksta na srpskom jeziku pripremljena je uz saglasnost Radne grupe za terminologiju i Sekretarijata ICOM-CC-ja kako bi se zapo~elo s postupkom uskla|ivanja termina kori{}enih u srpskom jeziku u oblasti konzervacije s konzervacijskom terminologijom me|unarodne zajednice, uz puno po{tovanje lokalne tradicije i konotacije koju dati termini u srpskom jeziku nose. Tokom pripreme ovog broja ~asopisa iz {tampe je iza{ao Glasnik Dru{tva konzervatora 33, u kojem je tako|e objavljen prevod Rezolucije o terminologiji ICOM-CC-ja, usvojene 2008. godine u Nju Delhiju. Taj prevod prilago|en je terminologiji koja se koristi u oblasti konzervacije nepokretnog kulturnog nasle|a kod nas. Tako je u njemu termin sanaciona konzervacija upotrebljen kao prevod za engleski termin remedial conservation. U prevodu koji se objavljuje u ~asopisu Dijana u istom zna~enju koristi se termin kurativna konzervacija, koji prati poreklo re~i remedial, a neposredno se vezuje za francusku re~ curative.
BUDU]I DA: a) na{ cilj jeste da predamo materijalno kulturno nasle|e narednim generacijama, obezbe|uju}i istovremeno njegovu sada{nju upotrebu i po{tuju}i njegov dru{tveni i duhovni zna~aj, b) preduzete mere i aktivnosti predstavljaju rezultat sveobuhvatnog interdisciplinarnog procesa odlu~ivanja, c) proces odlu~ivanja uvek uklju~uje dokumentaciju i ispitivanje (istorijsko, umetni~ko-istorijsko, nau~no ili tehni~ko), te uzima u obzir pro{li, sada{nji i budu}i kontekst predmeta, kao i da je od osnivanja me|unarodnog Komiteta za konzervaciju ICOM-a (ICOM-CC): d) na{a profesionalna zajednica zna~ajno pro{irena u pogledu broja i raznovrsnosti predstavljenih struka i kultura,

e) javnost postala klju~ni partner u ~uvanju na{eg zajedni~kog kulturnog nasle|a, f) terminologija ponekad nenamerno gomilana,* {to je izazvalo zbrku i nerazumevanje, ICOM-CC koji preko ICOM-a predstavlja {iroku me|unarodnu stru~nu mre`u uo~ava potrebu za postojanjem jasne i dosledno primenjivane terminologije, a radi unapre|ivanja

* Primeri: neinterventivna konzervacija, indirektna konzervacija, pasivna konzervacija, briga o zbirkama, prezervacija, preventativna konzervacija, odr`avanje, indirektna prezervacija, aktivna konzervacija, konzervacija, direktna konzervacija, interventivna konzervacija, remedijalna konzervacija, kurativna konzervacija, stabilizacija, tretman, direktna prezervacija, popravka, rehabilitacija, renovacija, konzervacija restauracija itd.

64

CONSERVATION
Conservation Examination of Icons in St. Lukes Church
During examination and analysis of the icons and iconostasis, the wooden supports were found to be in rather good condition. Certain conservation and restorative works had already been undertaken. Regarding basic damage to the wooden supports, there were some full-length vertical cracks in the middle of the icon, running down the support. The reason for this was probably that the boards were jointed at that spot, and the cracking spread as the wood expanded or shrank according to humidity. The same is the case with the icon of John the Baptist, the Virgin Mary with Christ, and even the icon of Christ.

DIANA #13

Regarding the icon of St. Luke, the wooden support is horizontally disjointed at the top, and diagonally cracked where the wood is most solid. A number of small cracks can also be seen all along the lower part. There is characteristic damage to the base gilding, shown by stains, some small and some large. Consolidation of all wooden supports was done by dipping them in wax and resin. The painted layer is well preserved. The iconostasis of St. Luke was not preserved as a whole, except for the cross, which is almost undamaged. The restoration of the iconostasis was mostly done in a simple manner by placing a row of patinated boards on which royal icons were placed.

Resolution to be submitted to the ICOM-CC membership on the occasion of the XVth Triennial Conference, New Delhi, 2226 September 2008

TERMINOLOGY TO CHARACTERIZE THE CONSERVATION OF TANGIBLE CULTURAL HERITAGE

CONSIDERING THAT: a) our aim is to hand on tangible cultural heritage to future generations while ensuring its current use and respecting its social and spiritual significance, b) any measures and actions taken result from an inclusive interdisciplinary decision-making process, c) the decision-making process always includes documentation and investigation (historical, art historical, scientific or technical), and takes into account the past, present and future context of the item, and that, since the creation in 1967 of the international Committee for Conservation of ICOM (ICOM-CC), d) our professional community has grown significantly in size and in the variety of professions and cultures represented, e) the public has increasingly become an essential partner in safeguarding our shared cultural heritage, f) there has been a sometimes haphazard multiplication of terminology*, resulting in confusion and misunderstanding, ICOM-CC, which represents through ICOM a wide international professional network, in order to facilitate communication amongst its membership, the ICOM membership, the world heritage professional community, and with the general public, sees the need for a clear and consistent terminology. ICOM-CC adopts the following terms: preventive conservation, remedial conservation, and restoration which together constitute conservation of the tangible cultural heritage. These terms are distinguished according to the aims of the measures and actions they encompass.

The definitions of the terms are as follows: Conservation all measures and actions aimed at safeguarding tangible cultural heritage while ensuring its accessibility to present and future generations. Conservation embraces preventive conservation, remedial conservation and restoration. All measures and actions should respect the significance and the physical properties of the cultural heritage item. Preventive conservation all measures and actions aimed at avoiding and minimizing future deterioration or loss. They are carried out within the context or on the surroundings of an item, but more often a group of items, whatever their age and condition. These measures and actions are indirect they do not interfere with the materials and structures of the items. They do not modify their appearance. Examples of preventive conservation are appropriate measures and actions for registration, storage, handling, packing and transportation, security, environmental management (light, humidity, pollution and pest control), emergency planning, education of staff, public awareness, legal compliance. Remedial conservation all actions directly applied to an item or a group of items aimed at arresting current

* Examples non-interventive conservation, indirect conservation, passive conservation, collection care, preservation, preventative conservation, maintenance, indirect preservation, active conservation, conservation, direct conservation, interventive conservation, remedial conservation, curative conservation, stabilisation, treatment, direct preservation, repair, rehabilitation, renovation, conservation-restoration, preservation, etc.

65

DIANA #13

KONZERVACIJA
diranih metala, konsolidacija zidnih slika, uklanjanje korenja iz mozaika. Restauracija obuhvata sve aktivnosti neposredno primenjene na stabilnom predmetu radi pobolj{anja njegovog vrednovanja, razumevanja i kori{}enja. Te aktivnosti sprovode se samo onda kada je predmet izgubio deo svoje vrednosti ili funkcije zbog propadanja i promena koje je pretrpeo u pro{losti. One se zasnivaju na po{tovanju originalnog materijala predmeta. Takve aktivnosti naj~e{}e menjaju izgled predmeta. Primeri restauracije: retu{iranje slika, spajanje fragmenata polomljenih skulptura, vra}anje prvobitnog oblika korpe, popunjavanje {upljina kod staklenog suda. Mere i aktivnosti konzervacije ponekad nemaju samo jednu svrhu. Na primer: uklanjanje laka mo`e da predstavlja i restauraciju i kurativnu konzervaciju, primena za{titnih obloga mo`e da bude istovremeno i restauracija i preventivna konzervacija, a zatrpavanje mozaika mo`e biti i preventivna i kurativna konzervacija. U tom smislu se, za potrebe ozna~avanja kompletne intervencije na predmetima, u praksi preporu~uje kori{}enje termina konzervacija-restauracija. Konzervacija je kompleksna i zahteva saradnju kvalifikovanih stru~njaka. Konkretnije re~eno, projekti koji uklju~uju neposredne aktivnosti na kulturnom nasle|u zahtevaju anga`ovanje konzervatora-restauratora (ICOM-CC definicija profesije, Kopenhagen 1984; ICOM-ov Eti~ki kodeks). Za potrebe me|unarodnih sastanaka i vi{ejezi~nih publikacija, prevod terminologije na engleski jezik glasi: conservation (konzervacija), preventive conservation (preventivna konzervacija), remedial conservation (kurativna konzervacija) i restoration (restauracija). Za potrebe me|unarodnih sastanaka i vi{ejezi~nih publikacija, prevod terminologije na francuski jezik glasi: conservation-restauration (konzervacija), conservation prventive (preventivna konzervacija), conservation curative (kurativna konzervacija) i restauration (restauracija). Za potrebe me|unarodnih sastanaka i vi{ejezi~nih publikacija, prevod terminologije na {panski jezik glasi: conservacin (konzervacija), conservacin preventiva (preventivna konzervacija), conservacin curativa (kurativna konzervacija) i restauracin (restauracija).

komunikacije izme|u svojih ~lanova, ~lanova ICOM-a, zatim u svetskoj zajednici stru~njaka u oblasti nasle|a, kao i radi bolje komunikacije sa {irom javno{}u. ICOM-CC usvaja slede}e termine: preventivna konzervacija, kurativna konzervacija, restauracija, a tim pojmovima ozna~ava se sve ono {to zajedno ~ini konzervaciju materijalnog kulturnog nasle|a. Mere i aktivnosti na koje se pomenuti termini odnose razlikuju se u pogledu ciljeva. Definicije termina su slede}e: Konzervacija se odnosi na sve mere i aktivnosti koje se sprovode radi ~uvanja materijalnog kulturnog nasle|a i koje istovremeno omogu}uju njegovu pristupa~nost dana{njim i budu}im generacijama. Konzervacija obuhvata preventivnu konzervaciju, kurativnu konzervaciju i restauraciju. Trebalo bi da sve mere i aktivnosti podrazumevaju po{tovanje zna~aja i fizi~kih osobina predmeta kulturne ba{tine. Preventivna konzervacija obuhvata sve mere i aktivnosti usmerene na izbegavanje ili svo|enje propadanja i gubitka nasle|a u budu}nosti na najmanju mogu}u meru. One se sprovode u sredini u kojoj se predmet ili, {to je ~e{}e, grupa predmeta nalazi, bez obzira na starost i stanje predmeta. Te mere i aktivnosti su posredne ne sprovode se na materijalu ili strukturi predmeta i ne menjaju njihov izgled. Primeri preventivne konzervacije: odgovaraju}e mere i aktivnosti u vezi s registracijom, pohranjivanjem, pakovanjem i transportom, obezbe|ivanjem, upravljanjem faktorima okru`enja (svetlo, vla`nost, zaga|enje i kontrola {teto~ina), planiranjem za slu~aj vanrednih prilika, obukom stru~nog osoblja, podizanjem svesti u javnosti, uskla|ivanjem sa zakonom. Kurativna konzervacija podrazumeva sve aktivnosti koje se neposredno primenjuju na predmetu ili na grupi predmeta radi zaustavljanja postoje}ih {tetnih procesa ili u~vr{}ivanja strukture predmeta. Te aktivnosti primenjuju se samo onda kada su predmeti u tako tro{nom stanju ili propadaju takvom brzinom da mogu nestati u relativno kratkom periodu. One ponekad menjaju izgled predmeta. Primeri kurativne konzervacije: dezinfekcija tekstila, desalinizacija keramike, deacidifikacija papira, dehidratacija vla`nog arheolo{kog materijala, stabilizacija koro-

Ana SIRK FAKU^, konzervator i restaurator savetnik Gori{ki muzej, Slovenija

FLUORESCENTNA ULTRAVIOLETNA FOTOGRAFIJA U KONZERVACIJI UMETNI^KIH SLIKA

OBIMNA IZLO@BA o baroknom slikaru Antoniju Paroli (16881768), koji je radio u regionu Gori{ka u Sloveniji, organizovana je 1996. godine u Nacionalnoj galeriji u Lju-

bljani, u Musei Provinciali di Gorica (Italija) i u Gori{kom muzeju u Novoj Gorici.1

66

CONSERVATION
damaging processes or reinforcing their structure. These actions are only carried out when the items are in such a fragile condition or deteriorating at such a rate, that they could be lost in a relatively short time. These actions sometimes modify the appearance of the items. Examples of remedial conservation are disinfestation of textiles, desalination of ceramics, de-acidification of paper, dehydration of wet archaeological materials, stabilization of corroded metals, consolidation of mural paintings, removing weeds from mosaics. Restoration all actions directly applied to a single and stable item aimed at facilitating its appreciation, understanding and use. These actions are only carried out when the item has lost part of its significance or function through past alteration or deterioration. They are based on respect for the original material. Most often such actions modify the appearance of the item. Examples of restoration are retouching a painting, reassembling a broken sculpture, reshaping a basket, filling losses on a glass vessel. Conservation measures and actions can sometimes serve more than one aim. For instance varnish removal can be both

DIANA #13

restoration and remedial conservation. The application of protective coatings can be both restoration and preventive conservation. Reburial of mosaics can be both preventive and remedial conservation. Conservation is complex and demands the collaboration of relevant qualified professionals. In particular, any project involving direct actions on the cultural heritage requires a conservator-restorer (ref. ICOM-CC definition of the profession, Copenhagen, 1984, and ICOM code of ethics). For the purposes of international meetings and multilingual publications, the translation into French of the Terminology is: Conservation-Restauration (for Conservation), Conservation preventive (for Preventive conservation), Conservation curative (for Remedial conservation) and Restauration (for Restoration). For the purposes of international meetings and multilingual publications, the translation into Spanish of the Terminology is: Conservacin (for Conservation), Conservacin preventiva (for Preventive conservation), Conservacin curativa (for Remedial conservation) and Restauracin (for Restoration).

Ana SIRK FAKU^, conservation and restoration counselor Gori{ki museum, Slovenia

PHOTOGRAPHY OF ULTRAVIOLET FLUORESCENCE IN PAINTING CONSERVATION

THE EXTENSIVE EXHIBITION about the baroque painter Antonio Paroli (16881768), who worked in the Gori{ka region of Slovenia, was organised in 1996 at the National Gallery in Ljubjana, the Musei Provinciali di Gorica (Italy) and Gori{ki Museum in Nova Gorica.1 In 1993 I received six of his paintings, for restoration in my laboratory in Gori{ki Museum. Five of them had been partially over-painted. The question that arose was how to distinguish the original paint layer from the later retouches and over-painted parts. I started to experiment on the paintings using various non-destructive methods, intending to get reliable data that would tell me whether I was dealing with over-painting or with the original, or to what extent the over-painting covered the original surface of the painting2. I came to the conclusion that besides the compulsory use of radiography, which shows underlying original layers and damage, we can obtain especially good results using UV fluorescence photography. Ultraviolet fluorescence is an optical phenomenon that occurs when an object is put under a source of ultraviolet light. Some of the rays are reflected, change their wavelength and become part of the visible light spectrum and therefore visible to the bare eye. On paintings fluorescence is

caused by various components of organic origin in painting materials, especially binders in paint layers and resins in protective varnishes. With ageing, the chemical interactions between binders and pigments stabilize or new molecular compounds develop that fluoresce.3 The photography of UV fluorescence is technically a very simple procedure. The process of taking photos takes place in a totally darkened room where the painting is viewed under special lamps with incorporated black filters, which let the UV light pass through. Using yellow filter on the camera one gets a UV fluorescence photography which is mainly yellow-green. Some pigments fluoresce in a typical colour, for example zinc white is canary yellow, azure carmine red is pink-orange, and Indian yellow has a golden

1] Ferdinand [erbelj, Antonio Paroli, katalog razstave, Ljubljana, Gorizia, Nova Gorica, 1996. 2] Ana Sirk Faku~, Opti~ne metode pri restavriranju slik, Diplomska naloga na podiplomskem {tudiju konservatorstva in restavratorstva, Ljubljana 1995. 3] Mauro Matteini, Arcangelo Moles, Scienza e restauro, metodi di indagine, Firenze 1990, p. 175181.

67

DIANA #13

KONZERVACIJA
Na po~etku rada pojavili su se izvesni problemi pri odre|ivanju razlika u fluorescenciji, uglavnom zato {to su novi slojevi potpuno prekrili konture originala u osnovi. U takvim slu~ajevima kasnije pore|enje s rendgenskim snimkom pomoglo mi je da identifikujem druga~ije izvedeno lice, haljinu, golubicu, skriveno lice an|ela ili deo noge i drugo. Ponekad je posmatranje donjeg sloja bilo nejasno zbog upotrebe olovnog pigmenta, koji apsorbuje rendgenske zrake, pa odgovaraju}i deo rendgenske plo~e ostaje svetao. Prema nekim podacima, pojedine od ovih slika restaurirane su 1850. godine. Na fotografijama UV fluorescencije doslikani delovi isti~u se prigu{enim tamnozelenim tonom, koji se pokazuje kao kontrast `utozelenoj, `utonarand`astoj i belo`utoj fluorescenciji originalne povr{ine slike; ona je naknadno u celini premazana slojem laka, koji daje fluorescenciju u zelenkastoj boji. Pomenuti metod koristila sam i prilikom restauracije drugih ve} restauriranih slika ili onih za koje sam smatrala da su preslikavane u ve}oj meri, delimi~no izmenjene ili mo`da samo retu{irane. Najvi{e iskustva, me|utim, imam sa slikama iz baroknog perioda, posebno iz druge polovine XVIII veka, na kojima je slikarski materijal tokom proteklih 250 godina zadobio takve osobine da daje fluorescenciju. Pretpostavlja se da su te slike restaurirane znatno kasnije i stoga su naknadno nastali delovi na fotografijama UV fluorescencije mnogo tamniji od originalne povr{ine. Na starijim slikama, onim iz XVI i XVII veka, postoji ve}a mogu}nost da su doslikani delovi ve}eg obima tako|e starijeg datuma, pa se zbog toga fluorescencija pojavljuje i na njima, kao kada je re~ o slici Sveti Mateja iz druge polovine XVI veka. Zbog postojanja fluorescencije na celoj povr{ini slike razlikovanje originala i kasnije nanetih slojeva boje nije bilo mogu}e (sl. 2). Ipak, kod takvih primera rezultat mo`e da pomogne pri odre|ivanju vremena preslikavanja i imena autora. Slika svetog Matije ranije svetog Mateja delo nepoznatog autora, kvalitetne je izrade, ali je, kao {to je pokazao rendgenski snimak, u ve}oj meri preslikana. Crkva Svetog Matije, u kojoj se slika prvobitno nalazila, obnovljena je u baroknom stilu izme|u 1700. i 1750. godine; novi patron postao je sveti Matej. Crkva je opremljena novim mermernim delovima oltara, sagra|ena je bo~na kapela, a nju je 1755. godine oslikao poznati slovena~ki barokni slikar Franc Jelov{ek. Fotografija UV fluorescencije pokazala je da je verovatno isti slikar izmenio sliku i prilagodio je novom ukusu, iako ona nije bila o{te}ena. Slika je najverovatnije stajala na glavnom oltaru, po{to su njene dimenzije odgovarale dimenzijama oltara. U prilog pretpostavci da je slika preslikana u navedenom periodu govori fluorescencija na licu novonaslikanog

Godine 1993. dobila sam {est slika Antonija Parole za restauraciju u mojoj laboratoriji u Gori{kom muzeju. Pet slika delimi~no je bilo preslikano. Pitanje koje se postavilo bilo je kako razlikovati originalni sloj boje od retu{a i preslikanih delova. Po~ela sam da eksperimenti{em sa slikama koriste}i se raznim nedestruktivnim metodama, s namerom da do|em do pouzdanih podataka o tome da li se bavim preslikanim delom ili originalnim i u kojoj je meri novi sloj prekrio originalnu povr{inu.2 Do{la sam do zaklju~ka da se posebno dobri rezultati mogu ostvariti upotrebom fotografije UV fluorescencije, uz, naravno, obavezne rendgenske snimke, koji pokazuju originalne slojeve u osnovi i o{te}enja. Ultravioletna fluorescencija jeste opti~ki fenomen koji nastaje kada se predmet izlo`i izvoru ultravioletnog svetla. Neki zraci se reflektuju, menjaju talasnu du`inu i postaju deo vidljivog spektra svetla, pa su stoga vidljivi golim okom. Fluorescencija je na slikama izazvana razli~itim komponentama organskog porekla u slikarskom materijalu, posebno u vezivu u sloju boja i u smolama u za{titnim lakovima. Starenjem se hemijske interakcije izme|u veziva i pigmenata stabilizuju ili se razvijaju nova molekularna jedinjenja koja daju fluorescenciju.3 Fotografisanje UV fluorescencije tehni~ki je vrlo jednostavna procedura. Snimanje fotografija obavlja se u potpuno mra~noj prostoriji, u kojoj se slika posmatra ispod posebnih lampi sa crnim filterima kroz koje prolazi UV svetlo. Sa `utim filterom na objektivu fotoaparata dobija se fotografija UV fluorescencije uglavnom `utozelene nijanse. Neki pigmenti daju fluorescenciju tipi~ne boje, na primer cink bela daje kanarsko`utu, azur karmincrvena ru`i~astonarand`astu, a indijsko`uta zlatno`utu fluorescenciju.4 Fotografija UV fluorescencije slika pokazuje stanje povr{ine slike tako {to se delovi koji su preslikani u ve}em obimu i retu{irani ponekad pojavljuju kao tamni i bez fluorescencije, pa se i na taj na~in mogu razlikovati od originalnih slikanih povr{ina, koje daju fluorescenciju zbog starenja slikarskog materijala (sl. 1). Sl. 1. A. Paroli, Smrt svetog Jovana, ulje na platnu, 190 96 cm, detalj crte`a fotografisanog pod UV svetlom (foto: A. Sirk Faku~) Fig. 1. A. Paroli, The Death of St. John, oil on canvas, 190 96 cm. The detail of the painting photographed under UV light (photo: A. Sirk Faku~)

1] F. [erbelj, Antonio Paroli, katalog razstave, Ljubljana, Gorizia, Nova Gorica 1996. 2] A. Sirk Faku~, Opti~ne metode pri restavriranju slik, Diplomska naloga na podiplomskem {tudiju konservatorstva in restavratorstva, Ljubljana 1995. 3] M. Matteini, A. Moles, Scienza e restauro, metodi di indagine, Firenze 1990, 175181. 4] Isto, 181182.

68

CONSERVATION

DIANA #13

Sl. 2. Sveti Matija, ulje na platnu, 138 92,5 cm, fotografija UV fluorescencije (foto: A. Sirk Faku~) Fig. 2. St. Mathias, oil on canvas, 138 92,5 cm. Photography of UV fluorescence (photo: A. Sirk Faku~)

Sl. 3. Lice svetog Matije pri normalnom svetlu i pod rendgenskim zracima (foto: A. Sirk Faku~ i Marija Sirk Saksida) Fig. 3. The face of St. Mathias, in normal light and under X-rays (photo: A. Sirk Faku~ and Marija Sirk Saksida)

yellow fluorescence.4 The photography of UV fluorescence of a painting shows the condition of the surface of a painting in such a way that the repainted areas and the retouching sometimes appear as dark non-fluorescent areas and can thus be distinguished from original painted surfaces that have become fluorescent because of the aging of painting materials (fig. 1). At the beginning I had certain problems while deciphering differences in fluorescence, mostly because the repainting completely overlapped the outlines of the underlying original. In such cases a later comparison with X-ray pictures helped me to identify a differently sketched face, dress, or dove, or a hidden angel face, or part of a leg appearing etc. Sometimes the observation of the underlying layer was obscured by the use of lead pigment, which absorbs X-rays so that the corresponding part of the X-ray plate in this case remains light. According to certain data, some of these paintings were restored in 1850. On photographs of UV fluorescence the repainted areas distinguish themselves by subdued areas of dark green tonalities that act as a contrast to the yellow-green, yellow-orange and white-yellow colours of fluorescence of the original surface of the painting, which is additionally covered overall with a layer of varnish that fluoresced in a greenish colour. I also use this method in the restoration of other paintings that have already been restored or which I suspect have been repainted, partly altered, or perhaps just retouched. I have however most experience with paintings from the

baroque period, especially from the second half of the 18th century, in which the painting materials have already acquired their fluorescence over the past 250 years. The restorations that they had undergone are expected to be from a much later period and therefore on the UV fluorescence photography they appear much darker than the original surface. On older paintings from the 16th and 17th centuries there is a stronger possibility that the repainting is also from an older date and therefore fluoresce, as is the case with the painting of St. Mathias from the second half of 16th century. Because of general fluorescence in this painting the distinction between original and later colour layers was not possible (fig. 2). Nevertheless in such a case the result can help determine when the over-painting was done and who was the potential author. The painting representing St. Mathias, previously St. Matthew, is a painting of good quality by an unknown artist, but as the X-ray shows, repainted nevertheless. The church of St. Matthew where it was originally situated was refurbished in baroque style between 1700 and 1750. The new patron became St. Mathias. The church was furnished with new marble altarpieces and a chapel was built to the side, which was frescoed in 1755 by the famous Slovenian baroque painter Franc Jelov{ek. The photography of UV fluorescence of the painting proves that the same painter

4] M. Matteini, A. Moles, 1990, p. 181182.

69

DIANA #13

KONZERVACIJA
slike, u kojem se nalaze figure. Tu se delimi~no vide tamnije ili malo svetlije mrlje i potezi koji predstavljaju razli~ite popravke i retu{e na naborima ode}e, na nekim licima i kosi ili kod kontura brada. Ukratko, na slici se prime}uju mnoge izmene. Neke od njih su o~iglednije, tamnije i bez fluorescencije. Druge su svetlije, daju fluorescenciju zelenkastih tonova i ti se delovi jedva razlikuju od originalnog sloja. Po{to je razlika veoma mala, izmenjeni delovi stapaju se s homogenom zelenom fluorescencijom za{titnog laka koji se nalazi na sredi{njem delu slike, izmenjenom u manjoj meri. @ute sjajne povr{ine oko glava Bogorodice i Hrista (zelenkaste na fotografiji UV fluorescencije) nisu originalne iako daju fluorescenciju, verovatno zato {to su slikane olovno`utim pigmentom (sl. 4). Rendgenski snimak pokazuje da ti delovi originalnog sloja nedostaju. Pojedine obojene povr{ine sa olovnobelim pigmentom, koji ima tipi~nu svetlu fluorescenciju, mogu se smatrati originalnim: prikazani pla{t mudraca koji kle~i, povr{ine crvene boje i telo deteta Hrista. U kontrastu sa zelenom, jasno se isti~e ljubi~asta fluorescencija Bogorodi~ine crvene haljine. Obele`ja fotografije UV fluorescencije na slici Poklonjenje pastira su sli~ne. Zanimljivo je to {to fotografija pokazuje velike o{te}ene i dosta popucale povr{ine, ali samo zbog toga {to su tamni delovi u fragmentima. Upotrebom fotografije UV fluorescencije na razmatranim slikama utvr|eno je da su restauracije izvedene u tri navrata: oko 1750, 1850. i oko 1900. godine. Svaka od njih pokazuje razli~itu fluorescenciju slikanog materijala. Najstariji primer jeste slika Sveti Matija, sa fluorescencijom na celoj povr{ini. Slede izmene na slikama A. Parolija, koje delimi~no pokazuju fluorescenciju, a mogu se identifikovati na osnovu razlika u fluorescenciji. Kona~no, na obe slike J. M. Lihtenrajta pojavljuju se tamne, jasno vidljive preslikane povr{ine, koje uglavnom nemaju fluorescenciju. Ovi rezultati mogu da poslu`e kao dobra polazna ta~ka za dalja istra`ivanja.

Sl. 4. J. M. Liechtenreitt, Poklonjenje mudraca, ulje na platnu, 90 111 cm, fotografija UV fluorescencije (foto: A. Sirk Faku~) Fig. 4. J. Michael Liectenreitt, The Adoration of the Magi, oil on canvas, 90 111 cm. Photography of UV fluorescence (photo: A. Sirk Faku~) svetitelja (okrenuto je na drugu stranu v. rendgenske snimke, sl. 3), zatim njegove ruke, koje se u potpunosti poklapaju s konturama originalnih, kao i ponovo naslikano nebo.5 Primeri na kojima se pomo}u fotografije UV fluorescencije jasno vidi razlika izme|u originala i obimnijeg novog sloja jesu dve slike iz druge polovine XVIII veka. U toku restauracije otkriveni su potpis autora i godina nastanka 1766. Slike Poklonjenje mudraca i Poklonjenje pastira delo su slikara Johana Mihaela Lihtenrajta (Johann Michael Liechtenreitt, 17051780). On je poreklom bio iz grada Pasau u Bavarskoj, a nastanio se u Gorici; radio je u gori{koj oblasti Frijuli, na dana{njoj teritoriji Slovenije i Italije.6 Obe slike bile su restaurirane. Pri pa`ljivoj proveri povr{ine uo~avaju se ispucali slojevi boje, koji se delimi~no ljuspaju, uz specifi~ne izmene izazvane restauracijom. Poklonjenje mudraca vrlo je ozbiljno o{te}eno u gornjem delu, {to se vidi na rendgenskim snimcima. Fotografija UV fluorescencije pokazuje da su najve}a o{te}enja nastala tokom restauracije. Ona se lako mogu prepoznati kao homogena tamna povr{ina. Plava boja kori{}ena je na desnoj strani. Slo`enije je posmatranje donjeg dela

5] A. Sirk Faku~, Restavriranje slike Sv. Matija iz Slapa pri Vipavi, Gori{ki letnik, Zbornik Gori{kega muzeja 30/31, Nova Gorica 2005, 373382. 6] F. [erbelj, Baro~no slikarstvo na Gori{kem, katalog razstave, Ljubljana 2002, 144, 206.

Ljiljana PROTI], konzervator tehni~ar Muzej rudni~ko-takovskog kraja

KONZERVACIJA CRKVENOG INVENTARA IZ CRKVE SVETOG SAVE NA SAVINCU

SAVINA^KU CRKVU gradio je neimar Milutin Go|evac, poreklom iz Bosne. Crkva je zavr{ena u novembru 1820. godine. Unutra{nje radove u crkvi izvodili su majstori Italijani koji su boravili u Srbiji za vreme vladavine kneza Milo{a.

Crkva je predmetima potrebnim za bogoslu`enje opremljena u prole}e 1821. godine. Nova savina~ka crkva, ~iji je za{titnik sveti Sava, osve}ena je u nedelju, 19. jula 1821. godine.

70

CONSERVATION
probably altered the painting and adapted it to the new taste, although it had not been damaged. The painting must have been positioned in the main altar because the dimensions match the opening on the altar. In favour of the supposition that the repainting belongs to the mentioned period, there is the fluorescence of the newly painted saints face (turned to opposite direction see X rays fig. 3), his hands matching completely the outline of those underneath and the over-painted sky.5 A case of obvious difference between the original and repainting can well be observed in the photography of UV fluorescence of two paintings from the second half of 18th century. During restoration I uncovered the signature of the author and date 1766. The paintings The Adoration of the Magi and The Adoration of the Shepherds are the work of the painter Johann Michael Liechtenreitt (17051780), who originated from Passau in Bavaria and settled in Gorica. He worked in the Friuli and Gori{ka region, on Slovenian and Italian territories today.6 Both paintings have been restored. Cracking of the colour layer and partial flaking, together with specific alterations due to restoration, can be seen on the surface on close inspection. As we can see from X-rays, The Adoration of the Magi was especially severely damaged on its upper part. The comparison of this picture with the photography of UV fluorescence shows that major damage was caused to the painting during restoration. It can easily be recognized as dark homogenous areas. In the process, blue colour was used in the right. Observation of the lower part of the painting, with figures, is more complicated. Here we partly notice darker or slightly lighter patches and strokes that represent different corrections and retouches on the folds of the garments, on some faces and hair, or to outlines of beards. In short, there are many changes. Some are more obvious, darker and non-fluorescent, others are lighter and fluoresce in greenish tones. The latter can barely be distinguished from the original because the difference is only very slight

DIANA #13

and they merge with the homogenous green fluorescence of the protective varnish, which can be detected on the less over-painted, central part of the painting. Although fluorescent, the yellow glow (greenish with UV) around the heads of the Virgin Mary and Jesus is not original, probably because it was painted with yellow lead pigment (fig. 4). The X-ray shows that the glow on the original surface is missing. We can consider original the fluorescence of certain colour surfaces where lead white pigment was employed and thus have typically bright fluorescence: the mantle of the kneeling king, and to a certain extent, some carnations and the body of baby Jesus. In contrast to the greens, the pinkish fluorescence of the Virgin Marys red dress stands out strongly. The features on the photography of UV fluorescence of the painting The Adoration of Shepherds are similar. It is interesting that the photograph shows extensive areas that seem to reflect a very cracked and damaged surface, but this is just because the dark patches are fragmented. With the application of UV fluorescence photography on these paintings, I documented restorations that were made in three different periods: around 1750; 1850; and around 1900, each of them representing different stages of fluorescence of the painting materials. First we have the oldest examples on the painting of St. Mathias, which already fluoresces. Next we have the over-painting on the paintings of A. Paroli, which partly fluoresce, but can be identified because of the difference in fluorescence. Finally, we have dark, clearly visible over-painted surfaces on both paintings of J. M. Liechtenreitt, which are mostly non-fluorescent. These results could well serve as a starting point for further comparisons.

5] Ana Sirk Faku~, Restavriranje slike Sv. Matija iz Slapa pri Vipavi, Gori{ki letnik, zbornik Gori{kega muzeja 30/31, Nova Gorica 2005, p. 373382. 6] Ferdinand [erbelj, Baro~no slikarstvo na Gori{kem, katalog razstave, Ljubljana 2002, p.144, p. 206.

Ljiljana PROTI], conservator-technician Museum of RudnikTakovo Region

CONSERVATON OF CHURCH TREASURES FROM ST. SAVA CHURCH SAVINAC

THE CHURCH IN SAVINAC was built by a Bosnian, Milutin Godjevac, in November 1820. The church interior was completed by workers from Italy, staying in Serbia during the reign of Prince Milo{. In the spring of 1821 the new Savinac Church, whose patron saint was St. Sava, was equipped with all items necessary for the performance of religious services, and was subsequently consecrated on

19th July 1821. That was Young Sunday day: a church fair was held at Savinac. The Church was then closed until 1860 but several years later the narthex was renovated and a new wooden belfry constructed. The builder, Nastas Djordjevi} from Gornji Milanovac, executed these building-construction works. The extended narthex was

71

DIANA #13

KONZERVACIJA

Tog dana bila je mlada nedelja i odr`an je sabor na Savincu. Od tada do 1860. godine crkva je bila zatvorena, a u tom periodu obnovljena je priprata i izgra|ena je nova drvena zvonara. Graditeljske radove na savina~koj crkvi vodio je Nastas \or|evi}, neimar iz Gornjeg Milanovca. Dogra|ena priprata osve}ena je u leto 1860. godine. Tom sve~anom ~inu prisustvovao je i knez Milo{, jer je to bila njegova prva zadu`bina, a 27. septembra iste godine knez je umro u Beogradu. Crkva je kona~no po~ela da se koristi za slu`bu Bo`iju 1902. godine, kada je o`ivela i kada je narod u sve ve}oj meri po~eo da je pose}uje. Kasnije je do{lo do promena na crkvi jer su se pojavile vlaga i mnoge destruktivne promene, tako da je crkva bila jedna od najugro`enijih u rudni~ko-takovskom kraju tog vremena. Za rekonstrukciju je bilo prioritetno uraditi prekrivku, zbog o{te}enja krovne konstrukcije, spoljnu drena`u, jer je u crkvu ulazila voda (stvarala se vlaga). Voda je o{tetila zidove u unutra{njosti crkve, a tako|e je ugro`avala ikonostas i ikone. Gra|evina je ponovo morala da se rekonstrui{e i to je ura|eno 2005. godine.1 Na inicijativu Ljubi{e Mili}a, jereja savina~ke crkve, a uz saglasnost Muzeja rudni~ko-takovskog kraja, dobijeno je odobrenje za konzervaciju crkvenog inventara iz savina~ke crkve (ba{ u vreme kada su obavljeni radovi na rekonstrukciji crkve). Po re~ima jereja, crkveni inventar preme{ten je u ~ardak, ali on tu nije bio siguran, te su eksponati morali da se izmeste. Jerej Ljubi{a Mili} doneo je eksponate u kartonskoj kutiji u Muzej rudni~ko-takovskog kraja i zamolio da se oni o~iste, za{tite i da se ~uvaju u muzeju. Direktor muzeja bio je saglasan s tim da se uradi konzervacija crkvenog inventara. U knjizi reversa evidentirani su ~etiri kandila, {est kadionica, dva putira, dva sve}njaka i dve krune za ven~anje. Eksponati su fotografisani zajedno i pojedina~no, a nakon dva dana otpo~elo se s konzervatorskim radovima na eksponatima.

Opis zate~enog stanja pre konzervacije i uzroci propadanja

Eksponati su bili prekriveni velikim naslagama ne~isto}e, slepljeni jedan uz drugi i jedva su se raspoznavali; bilo ih je te{ko identifikovati zbog na~ina na koji su ~uvani i zbog uslova u kojima su se nalazili tokom dugog niza godina. Na njima se videla vi{eslojna ne~isto}a debljine pet milimetara. To su bile masne naslage voska i ~a|i pome{anih sa zemljom i vlagom; one su stvarale utisak da je na povr{ini i u unutra{njosti eksponata sve uni{teno. Naro~ito debele naslage postojale su na kandilima i kadionicama. Svaki eksponat morao je biti posebno tretiran, u zavisnosti od vrste metala od kojeg je liven. Obavljena su konzervatorska ispitivanja svakog metalnog eksponata; oni su detaljno analizirani i utvr|ena je vrsta materijala. Predmeti su pod lupom pregledani, a svaki je u manjoj meri o~i{}en vatom i acetonom da bi se videla boja metala. I patina je pomogla da se otkrije o kojoj vrsti metala je re~. Kori{}ena je literatura da bi se sigurnije utvrdili i vrsta metala i na~in ~i{}enja (knjiga Otpornost metala i legura na koroziju,2 ~a~anski Zbornik radova 11).3 Nakon toga obavljene su konsultacije s tehnologom Todorom Popovi}em, koji je dao kratka uputstva i ujedno predlo`io sredstva koja mogu da se primene za ~i{}enje i za-

{titu. Budu}i da je metal osetljiva vrsta materijala i da se ~esto susre}e u manjim muzejima u kojima nema specijalizovanih stru~njaka za konzervaciju metala, ovaj tekst o metalu napisan je da bi se prezentovali na~in konzervacije i tretiranje eksponata. Plemeniti metali, kao {to su zlato, srebro, platina, zatim metali poput bakra, olova, kalaja, cinka, aluminijuma, magnezijuma, druga~ije se pona{aju u ~istom stanju nego kada su izme{ani s drugim metalima. Me{avine imaju neobi~no va`nu odliku da se, za razliku od ~istog metala, tope na ni`oj temperaturi. Naj~e{}e legure su bronza (legura bakra i kalaja), mesing (legura bakra i cinka) i ~elik (legura gvo`|a i ugljenika). Oblikovanje predmeta od metala obavlja se na dva na~ina: livenjem i kovanjem. Metali se mogu kovati u hladnom stanju (zlato i srebro) i u zagrejanom (bronza, bakar i gvo`|e). Kod livenja postoje dva na~ina pripremanja: pun liv i odlivak. [uplje livenje podrazumeva kalup ~iji negativ pravi pozitiv, to jest reprodukuje original. Original se prevla~i slojem voska odre|ene debljine. U prora~unato postavljen kalup uliva se te`ak metal koji zauzima mesto istopljenog voska. Za ukra{avanje predmeta od metala koriste se razli~ite tehnike i postupci: iskucavanje, cizeliranje, a`uriranje, graviranje, granulacija, filigran, emajl.

1] Lj. Proti}, Konzervacija spomenika u porti crkve Sv. Save na Savincu (241244) i Konzervacija spomen-plo~a u crkvi Sv. Save na Savincu (244252), Zbornik radova Muzeja rudni~ko-takovskog kraja, Gornji Milanovac, 34, Gornji Milanovac 2006; M. K. Milovanovi}, Savinac, Gornji Milanovac 1995, 7189. 2] F. L. Laque, H. R. Kopson, Otpornost metala i legura na koroziju, Beograd 1975, 245248. 3] B. Vujovi}, Crkva Sv. Dimitrija, u: Zbornik Narodnog muzeja u ^a~ku 11, ^a~ak 1981, 1619.

72

CONSERVATION
consecrated in the summer of 1860. Prince Milo{ was present at this formal ceremony, since this was his first memorial church, but he died on September 27th the same year in Belgrade. Regular religious services did not start in the church until 1902, when many people came to the Church, breathing life into it. Subsequently, there were many destructive changes to the Church caused by damp and it became one of the most imperiled buildings in the RudnikTakovo Region. The most important reconstruction work was to cover the damaged roof, since outdoor drainage leaked into the church, causing damp. Not only were the walls, church interior, and iconostasis damaged by water, but the icons were also jeopardized. The church had to be reconstructed again, which was done in 2005.1 Upon the initiative of Ljubi{a Mili} and in coordination with the Museum of the RudnikTakovo Region, the priest of Savinac Church obtained permission for the church treasures to be conserved-restored when the reconstruction works of the church were completed. According to the priest, the church treasures was moved into the enclosed porch, but that place was not safe, so the objects had to be moved elsewhere. The priest, Ljubi{a Mili}, transported these valuables in a cardboard box to the Museum of RudnikTakovo Region and asked the museum staff to clean, protect and preserve them in the Museum. The director of the Museum agreed to conserve all the church objects. Four icon lamps, six censers, two chalices, two candlesticks and two wedding crowns were registered in the book of receipts. All the exhibits had been photographed as a group and individually and two days later, conservation work began. Description of Conditions before Conservation, treatment, and causes of Decay The exhibits had been poorly looked after for a number of years and were covered with several layers of dirt, 5 mm thick, and glued together, so that it was hard to identify them. The layers were of greasy wax and soot, mixed with earth and moisture, giving the impression that the surfaces and the interiors of the items had been destroyed. Extremely thick layers covered the icon lamps and censers. Each item had to be treated individually, depending on the type of metal casting. Conservation testing (examination) of each metal item was performed, detailed analysis done and material-type certified. All items were examined with a magnifying glass and cleaned superficially using cottonwool swabs and acetone, in order to see the metal colour. The patina of the items also helped reveal the type of metal. The team studies relevant literature to help them to correctly identify the metal type and manner of cleaning. Resistance of Metals and Alloys to Corrosion, by F.L. Laque and H.R. Kopson2, and the Anthology of the National Museum of ^a~ak no. 113 were useful. A technical expert, Todor Popovi}, gave brief instructions and recommended suitable cleaning and protection agents. Since metals are often sensitive, and are often found in small museums where there are metal conservation experts, this article about metal was written in order to introduce methods of conservation and further treatment of metal items.

DIANA #13

Precious metals such as gold, silver, platinum as well as more common metals such as copper, lead, tin, zinc, aluminum, or magnesium behave differently in a pure state, than they do when they are mixed with other metals. Metal alloys have characteristics significantly different from pure metal. In particular, they melt at a lower temperature. The most frequent alloys are bronze (copper and tin alloy), brass (copper and zinc alloy), and steel (iron and carbon alloy). Shaping of metal objects is done in two ways: by casting and forging. Metals can be forged cold (gold and silver), or warm (bronze, copper and iron). There are two preparation methods for casting: full casting and hollow casting. The latter implies using a mould, in which negative features create positive ones, and vice versa, producing the original shape on completion of the casting procedure. The original is covered with wax of a certain thickness. Heavy metal was poured into the moulds, and distributed by calculation, occupying the place of melted wax. For ornamentation of metal objects, several procedures and techniques are used: hammering, chiseling, engraving, granulation, filigreeing, and enameling. Under the influence of damp and oxygen (oxidation), destructive changes occur to metal, causing damage and destruction. The major cause of decay in metal objects is corrosion, which destroys the physical and chemical structure both on their surface and inside. Several metals are not subject to corrosion; these are alloys and precious metals, or metals covered with other metals (gold plated, nickel-plated, zinc-plated). Although no patinas are good for metals, some are stable and others are not. The most frequent patinas are of characteristic colors: green malachite, blue lapis lazuli, and red cuprite. The color of the patina helps to reveal the type of material or metal that is in question. Mechanical and Chemical Treatment Since the censer of Milo{ Obrenovi} with its inscription stands out from this group of valuable objects, the conservation procedure applied to it is explained in detail. Object: CENSER Mechanical Treatment The censer was mechanically cleaned since it was completely covered with black soot and earth. With gentle movements of a scalpel, a layer of earth was removed, and the ashes filling the inside of the censer were mechanically removed. The inside of the censer was covered with a layer of dirt, 5 mm thick. The walls were covered with soot and

1] Ljiljana Proti}, Conservation of Monuments in the Enclosure of the St. Sava Church at Savinac (pp. 241244) and Conservation of the Commemorative Plaque in the St. Sava Church at Savinac (pp. 244252), The Anthology of the Museum of Rudnik Takovo Region no. 34, Gornji Milanovac, 2006; Mihailo Kala Milovanovi}, Savinac, the Museum of Rudnik Takovo Region, Gornji Milanovac, 1995 (pp. 7189) 2] Laque, F. L. Kopson, H. R. Resistance of Metals and Alloys to Corrosion, Narodna Knjiga Beograd, Beograd, 1975 (pp. 245248) 3] Branko Vujovi}, The St. Dimitrije Church, The Anthology of the National Museum in Cacak, no. 11, Cacak, 1981 (pp. 1619)

73

DIANA #13

KONZERVACIJA

Pod uticajem vlage i kiseonika (oksidacije) na metalu nastaju destruktivne promene koje ga o{te}uju i uni{tavaju. Glavni uzrok propadanja metalnih predmeta jeste korozija, koja po povr{inskom sloju i u dubini razara njihovu hemijsku i fizi~ku strukturu. Mali broj metala ne podle`e koroziji; to su plemeniti metali i legure, metali presvu~eni drugim metalom (pozla}eni, niklovani, pocinkovani). Nijedna patina nije korisna za metal, s tim {to su neke stabilne, a neke nestabilne. Patine koje se naj~e{}e pojavljuju karakteristi~nih su boja: zelena malahit, plava azulit, crvena kuprit; boja patine poma`e u otkrivanju vrste materijala, to jest metala o kojem je re~.

Mehani~ko i hemijsko tretiranje

Budu}i da se kadionica s posvetom kneza Milo{a Obrenovi}a po zna~aju izdvaja iz ove grupe predmeta, konzervatorski postupak detaljnije je obja{njen na primeru tog predmeta.

Eksponat KADIONICA
Mehani~ko tretiranje Kadionica je mehani~ki tretirana jer je bila prekrivena crnom ~a|i i zemljom po celoj povr{ini. Blagim pokretima skalpelom skinut je sloj zemlje, a pepeo kojim je kadionica bila ispunjena mehani~ki je odstranjen. U unutra{njem delu video se sloj naslaga ne~isto}e, debljine do pet milimetara, ~a| i smola spe~ena s voskom uz zidove kadionice. Spe~ena i slojevita prljav{tina nije se mogla odstraniti mehani~kim putem, pa je tretiranje moralo da se nastavi hemijskim sredstvima. Hemijsko tretiranje U plasti~nu posudu uliveni su antirost sredstvo za skidanje r|e (u sastavu sadr`i H3PO4, fosfornu kiselinu, cink-fosfat, ZnHPO4, i butol, CH3CH2CHO) i destilisana voda, u odnosu jedan litar antirosta prema dva litra zagrejane destilisane vode. Kadionica je potopljena u rastvor, posuda je hermeti~ki zatvorena i oblo`ena folijom da bi se zadr`ala temperatura. Nakon dva sata folija je otklonjena, posuda je otvorena i u rastvoru se ve} videlo da su slojevi omek{ani i da su se odvojili od zidova kadionice. Ne~isto}a je u velikoj meri odstranjena. Zagrevanjem rastvora omek{avale su se masno}a i ~a|, koje su ostajale u rastvoru, sve dok povr{ina kadionice nije ugledala svetlost dana. Kadionica je zatim dobro isprana u destilisanoj vodi. Posle su{enja se videlo da je na nekim delovima ostalo jo{ ne~isto}e, pa je blagim potezima skalpelom skinut preostali manji sloj ~a|i. Na mestima koja su bila nepristupa~na i nepodesna za skalpel kori{}ene su zubarske iglice da bi se preostala ne~isto}a blago istisnula. Nakon toga kadionica je ponovo stavljena u dva litra zagrejane destilisane vode da bi se preostala ne~isto}a odvojila, pa je posle petnaest minuta izva|ena i ostavljena da se osu{i. Posle su{enja jasno se video broj na ornamentici: na osnovi kadionice nalazi se upisana godina 1822, a na obodu, izme|u stope i donjeg dela, oko dr`a~a kao nose}eg dela kadionice, pi{e na staroslovenskom jeziku: Prilo`i vrhovni srpski knez Milo{ Obrenovi} 1822. Cela povr{ina kadionice prekrivena je ornamentima. Posle podrobnog opisivanja i dokumentovanja zapa`enih detalja kadionica je ponovo potopljena u destilisanu vodu, u dublju posudu, kako bi se do kraja odstranile sve ne~isto}e. Bilo je

neophodno ponavljanje procesa ~i{}enja zbog ne~isto}e u debelim slojevima. Kadionica je stajala pola sata u destilisanoj vodi, zatim je izva|ena i ostavljena da se osu{i. Taj tre}i tretman ujedno je bio i poslednji. Svi slojevi i ostaci ne~isto}e odstranjeni su i nije bilo potrebe za daljim tretiranjem. Konzervatorski proces je zatim nastavljen destilisanom vodom i univerzalnom pastom. Univerzalna pasta je proizvod koji spada u grupu zeleno ~istih tehnologija. Sadr`i biorazgradive aktivne materije, ekstrakte lekovitog bilja, najvi{e bosiljka, a u njoj nema alkalija i fosfata. Pasta je zelene boje. Koristi se za ~i{}enje i odstranjivanje svih vrsta ne~isto}e s metala i ujedno polira eksponat, daje mu sjaj. Taj proizvod se mo`e nabaviti u D.O.O. Elisa pro u Pan~evu. Tri ka{ike paste pome{ane su sa dva litra destilisane vode, rastvor je prome{an da bi se pasta istopila i potom je kadionica potopljena u rastvor. U njemu je stajala deset minuta. Nakon toga je izva|ena, ostavljena da se osu{i i ispolirana pamu~nom tkaninom. Kadionica je dobila prvobitni sjaj i boju, a unutra{njost i spolja{njost pokazale su svoj pravi izgled. Tretman kadionice na taj na~in je okon~an. Tokom konsultacija s tehnologom Todorom Popovi}em do{lo se do zaklju~ka da je re~ o leguri srebra i olova. Tehnika livenja kadionice je {uplji liv. Na to ukazuju o~igledne ~injenice: {upljine koje postoje na kadionici, kao i to {to se njena tri dela mogu razdvojiti stopa, donji deo i poklopac sa alkama kroz koje su provu~eni veliki lanci {to ih spajaju sa dr`a~em kadionice kao nose}im delom. Ukra{avanje kadionice izvedeno je tehnikom iskucavanja, koja se primenjuje na srebru ve{tim udarima. Na tu tehniku ukazuju vidljiva karakteristi~na ispup~enja. Kadionica je bogata ornamentikom izvedenom u tehnici filigrana. Ona

74

CONSERVATION

DIANA #13

resin burnt with wax. It was not possible to remove the burnt layers of dirt mechanically, so further treatment had to be chemical. Chemical Treatment Antirust an agent for removing rust (comprising H3PO4 phosphorous acid, zinc- phosphate ZnHPO4 and propanal CH3CH2CHO) was poured into a plastic container, and diluted with distilled water in the proportions one liter of antirust to 2 liters of warm water. The censer was dipped into this solution. The container was then hermetically sealed and covered with aluminum foil in order to maintain the correct temperature. Slowly, the grease, burned soot, and wax were dissolved and detached. After two hours, the aluminum foil was removed, and the container was opened. The layers of dirt had become softener and had started to part from the censer wall. Dirt was largely removed. By warming up the solution, grease and soot became softener and remained in solution until the censer was completely cleaned. The censer was then thoroughly washed in distilled water. After it had been dried, remaining dirt and soot stains were cleaned very gently with a scalpel. The spots of remaining soot, inaccessible to the scalpel were cleaned with a dentists drill needle. After that, the censer was again immersed into 2 liters of warm distilled water in order to wash off the remaining dirt and was left there for 15 minutes. After that, it was taken out of the water and left to dry. When it was properly dried, clearly visible numbers appeared on its ornaments: the year 1822 was inscribed on the base, and along the rim, between the base and the lower part of the censer; there was also an inscription in old Slavonic: Donate, Supreme Serbian Prince Milo{ Obrenovi} 1822. The complete surface of the censer was covered with ornamental decorations. After it had been properly studied and all details registered, the censer was again submerged into distilled water in a deeper container in order to completely remove the remaining dirt. It was necessary to repeat the procedure several times, since the layer of dirt was very thick. The censer was left in distilled water for half an hour, then taken out and left to dry. This third treatment was actually the last one, since all layers of remaining dirt had been removed, and there was no need for further treatment. The conservation procedure continued with distilled

water and universal polish, a product that belongs to the group of green cleaning technologies. It contains biodegradable active substances, extracts of medicinal herbs, particularly basil, without alkalis and phosphates. The polish is green in colour. It is used for cleaning and removing all types of dirt from metal and it also polishes the object giving it a glittering sheen.4 Three tablespoons of polish were dissolved in two litres of distilled water and then the censer was submerged into the solution. It remained there for 10 minutes. It was then taken out, left to dry, and polished with a soft cotton cloth. The censer again obtained its original colour and sheen, while both the interior and exterior were restored to their original appearance. The treatment of the censer was finally finished. During consultations with the technologist, Todor Popovi}, it was concluded that the censer was made of silver and lead alloy. Casting Techniques: the censer was made by hollow casting. This is confirmed by several obvious facts: the holes that exist on the censer; it could be assembled and dissembled in three parts foot, lower part, and a cover with rings. Large chains would have passed through the rings fastened to the censer holder, as the support part. Ornamentation: the censer was made by hammering, a technique used for silver by applying skillful hammering. The characteristic bumps on the surface of the censer indicate that this technique was used. The censer is lavishly ornamented using the filigree technique, often used for silver. Protection The censer was protected using fershnit nitrocellulose dissolved in ethyl acetate in the proportion 1:1. This is a colorless matt lacquer, used for metal. The inside and outside surface of the censer was painted with this substance, using an ordinary paint brush. This created an invisible film over the surface of the object, isolating it from the atmosphere. After drying, the appearance and colour were very satisfactory.

4] This can be purchased from D.O.O. Elisa pro Pan~evo.

75

DIANA #13

KONZERVACIJA
da se moglo pristupiti primeni postupka poliranja jelenskom krpom. Sve}njak je dobio prvobitni sjaj i boju i bio je spreman za za{titu. Za{tita Za{tita je izvedena slikarskom ~etkicom, uz pomo} koje je cela povr{ina eksponata premazana fer{nitom, pomenutim bezbojnim lakom bez sjaja. Formiran je bezbojni omota~, nevidljivi film koji {titi predmet od spolja{njih uticaja.

se ~esto primenjuje na srebru, upravo na onaj na~in na koji je kadionica ukra{ena. Za{tita Za{tita je obavljena fer{nitom nitro-celulozom rastvorenom u etil-acetatu u odnosu 50% prema 50%. To je bezbojni lak bez sjaja koji se koristi za metal. Tim preparatom su pomo}u slikarske ~etke premazane unutra{nja i spolja{nja povr{ina kadionice. Tako je na povr{ini eksponata stvoren nevidljivi film koji ga izoluje od spoljnih uticaja. Nakon su{enja on ima zadovoljavaju}i izgled i boju. Eksponat SVE]NJAK Eksponat je od srebra, {to dokazuje karakteristi~na patina koja napada srebro, zelenkastocrnosive boje. Ta patina se jasno vidi na eksponatu i poznata je pod nazivom malahit. Pojavljuje se vrlo ~esto i brzo zbog vlage i neadekvatnih uslova ~uvanja srebra. Tretiranje Sve}njak je prekriven patinom, a kru`na osnova postolje vidno je o{te}ena. O{te}enja su prouzrokovana vlagom i neodgovaraju}im na~inom ~uvanja eksponata u crkvi na Savincu. Kod sve}njaka je primenjeno hemijsko tretiranje blagim sredstvima. Sve}njak je potopljen u litar tople destilisane vode i u njemu ostavljen trideset minuta. Nakon toga je izva|en iz posude, pa je ~etkicom za zube, blagim potezima, skinut prvi sloj ne~isto}e sa onih mesta na kojima se zadr`ala. Postupak je ponovljen sa univerzalnom pastom na bazi bilja. U jedan litar destilisane vode stavljena je jedna ka{ika paste, rastvor je izme{an da bi se pasta istopila, pa je sve}njak potopljen u rastvor da bi se odstranila preostala ne~isto}a. Posle deset minuta sve}njak je izva|en i odmah potom potopljen u ~istu destilisanu vodu, u kojoj je ostao jo{ petnaest minuta. Kada je izva|en iz destilisane vode, ostavljen je da se osu{i. Tada je konstatovano da su sve ne~isto}e odstranjene, tako

Rezime
Crkveni inventar iz crkve Svetog Save na Savincu izra|en je od metala i od legura metala. Eksponati poti~u iz XIX veka i, prema stanju i izgledu metala, konzervatorski su tretirani mehani~kim i hemijskim putem. Ono {to je bilo va`no za ovaj konzervatorski posao jeste ~injenica da je on neposredno otkrio va`ne istorijske ~injenice i podatke, ali i bogatu ornamentiku i tehniku izrade kolekcije metalnih crkvenih predmeta. Tokom tretmana otkriveni su natpisi koji potvr|uju da je kadionica iz 1822. godine i da je originalni poklon knjaza Milo{a Obrenovi}a njegovoj prvoj zadu`bini crkvi Svetog Save na Savincu. Crkva je gra|ena od 1819. do 1821. godine, a zavr{ena je 1822. godine. I ova ~injenica ukazuje na to da je eksponat originalni knjazov poklon, po{to se godina zavr{etka gradnje, 1822, podudara s godinom navedenom u darodavnom natpisu na kadionici. I ostali crkveni eksponati iz novijih vremena pro{li su tretman ~i{}enja i za{tite. Svi eksponati su visokog kvaliteta, ali, na`alost, dosta o{te}eni zbog neodgovaraju}eg na~ina ~uvanja tokom proteklih dvesta godina. Zbog toga je i konzervatorski tretman bio ote`an i postepen. Treba napomenuti da su se kod hemijskog tretmana koristili neagresivni preparati biolo{kog porekla. Svi eksponati ove crkvene kolekcije tretirani su i za{ti}eni. Zasad se nalaze u Muzeju rudni~ko-takovskog kraja, po{to je jerej Ljubi{a Mili} saop{tio da u crkvi nema mesta na kojem se mogu ~uvati. Kadionica iz 1822. godine nalazi se u sefu muzeja.

Sla|ana NOVKOVI], konzervator tehni~ar saradnik Odeljenja za preventivnu za{titu Dijana

RESTAURACIJA PORCELANSKE [OLJE

U RESTAURACIJI finih i delikatnih kerami~kih materijala, kao {to je porcelan, potrebno je izabrati ~itav niz operacija koje su u pristupu eti~ne i u prakti~nom smislu najprofesionalnije. Pristup zavisi i od toga da li je predmet muzejskog porekla ili je u privatnom vlasni{tvu. Predmet o kojem je re~ porcelanska {olja iz privatne je kolekcije, veoma dobrog kvaliteta i dobro odr`avan. [olja je ru~no oslikana motivima grada, a njena osnovna boja je bela, dok je po obodu i oko oslikanog dela dekorisana linearnom pozlatom. Poreklo i proizvo|a~ ovog porcelanskog predmeta ne mogu se pouzdano odrediti jer na dnu

posude nema nikakvih oznaka i posebnih obele`ja. [olja je cilindri~nog oblika i {iri se ka obodu. Njena visina iznosi 7 cm, pre~nik oboda je 4,5 cm, a pre~nik dna 3 cm. Poznato je da se u toku procesa konzervacije najvi{e o{te}enja napravi prilikom mehani~kog ~i{}enja, vi{e nego u bilo kom drugom delu procesa. Po{to je {olja ve} bila restaurirana, morali smo da budemo veoma obazrivi, naro~ito zbog toga {to ne postoje nikakvi podaci o konzervatorskim materijalima koji su prethodno kori{}eni. Svako uklanjanje prethodne restauracije u po~etku se obavlja manje agresivnim

76

CONSERVATION
Object: CANDLESTICK This candlestick is made of silver, proved by its characteristic patina, the greenish-black-silver color that forms on neglected silver. This patina is clearly visible on the object and is familiar as malachite. It very often occurs because of humidity and improper storage conditions. Treatment The candlestick was covered with patina, and its round base was considerably damaged. This was caused by humidity and improper storage conditions in the Savinac Church. The candlestick was treated using mild chemicals. It was immersed into one liter of warm distilled water and left there for 30 minutes. After that, it was taken out and the first layer of dirt was cleaned, applying the gentle movement of a toothbrush. This procedure was repeated with the universal polish, mentioned above. One spoon of polish was dissolved in one liter of distilled water. After that, the candlestick was immersed into the solution. After ten minutes, it was taken out, immediately immersed in distilled water and left there for 15 minutes. When it was removed from the distilled water, the candlestick was left to dry. Finally, it was concluded that all dirt had been removed, so it could be polished with a chamois. The candlestick obtained its original colour and sheen and was ready for conservation. Conservation Conservation was done by painting the entire surface with fershnit (nitrocellulose dissolved in ethyl acetate), the colorless lacquer without shine, mentioned above. An invisible film was formed to protect the object from outside atmospheric influences.

DIANA #13

Rsum The church treasures from the St. Sava Church at Savinac are made of metal and metal alloys. The objects date from the 19th century. They were treated by mechanical and chemical conservation procedures, according to their condition and the appearance of the metal. The significant outcome of this conservation procedure was that it directly established important historical facts and data related to the objects, and also revealed rich ornamentation and the production techniques used in this collection of metal church objects. During treatment, inscriptions confirmed that the censer was made in 1822 and that it was an original gift from Prince Milo{ Obrenovi} to his first memorial church, the St. Sava Church at Savinac. The church was built in 18191821 and was finally completed in 1822. This fact indicates that this object is original Princes gift, since the year of the completion of the works, 1822 coincides with the year inscribed on the gifted censer. Other church objects, belonging to more recent times, have also undergone cleaning and conservation procedures. All exhibits are of a high quality, but unfortunately are considerably damaged, because of improper protection in the course of the last 200 years. That is why the conservation procedure was hindered and gradual. In the course of the chemical treatment, non-aggressive substances of biological origin were used. All items in this church collection were treated and protected. For the time being they are in the Museum of RudnikTakovo Region, since priest Ljubi{a Mili} has informed the Museum that, for the time being, there is no suitable storage room for them in the church. The censer from 1822 is permanently locked in the museum safe.

Sladjana NOVKOVI], conservator-technician Associate of the Departmant for preventive conservation Diana

RESTORATION OF A PORCELAIN CUP

IN THE RESTORATION of fine, delicate ceramic materials such as porcelain it is necessary to choose an approach and method that are both ethical and professional. This largely depends on whether the objects are from a private or museum collection. This porcelain cup is from a private collection, made of high quality porcelain, well maintained and solid in structure, attractively hand-painted with city motifs against a white background. It is gilded on the rim and around the painted areas. The origin and manufacturer are unknown since there is no mark on the bottom of the cup. It is cylindrical in shape but wider around the rim. The height of the cup is 7 cm, the diameter of the rim and base are 4.5 cm and 3 cm respectively. More damage is done to ceramics during the cleaning process than in any other stage of conservation. This cup

had already been restored, so we had to be particularly careful, not knowing what materials had been used in the previous restoration. The removal of previous restoration starts with the application of less aggressive materials, such as distilled water, followed by acetone or alcohol. Where possible the process continues mechanically, using a scalpel. This was the method we used to clean the porcelain cup in question. It was clear that the old retouching had been done with acrylic colours, since they easily dissolved on the application of acetone swabs. It was noticeable that in the old restoration, gaps had been filled with some sort of plaster, which we were able to remove easily with the application of a scalpel. Light brown stains were visible on the rim, under the previous conservation layer, which could not be removed

77

DIANA #13

KONZERVACIJA
u koju su dodati Fumed silica i pigmenti u odgovaraju}em odnosu, prema uputstvu proizvo|a~a. Obrada restauriranih povr{ina, to jest {mirglanje punjenih delova, najbitniji je deo restauracije. Ako povr{ina nije precizno obra|ena i glatka, ne mo`e se uspe{no prekriti, bez obzira na koli~inu boje koja se nanese. Za {mirglanje su kori{}eni papir Micro-Mesh (MicroSurface Finishing Products, Inc., USA) i platno s razli~itim granulacijama. Bilo je veoma va`no da se originalni deo {olje za{titi i prekrije kako se pri {mirglanju ne bi o{tetila glazura na njenoj povr{ini. Za to je kori{}ena sko~-traka (Scotch-tape, 3M, France). Jedan od konzervatorskih pristupa restauraciji porcelana zavr{ava se upravo tim poliranjem, ali smo mi primenili druga~iji princip. Kada su {mirglanje i poliranje restauriranih povr{ina zavr{eni i kada je postignut `eljeni oblik, zapo~eto je s retu{iranjem restauriranog dela, to jest bele osnove porcelana pri obodu. Za taj proces kori{}en je Restoration glaze; Matte (Golden-artist Colors, Inc., USA) i er-bra{ akrilik boje istog proizvo|a~a. Posle nano{enja nekoliko slojeva boje preko restauriranih delova povr{inu smo ispolirali papirom Micro-Mesh do potpunog sjaja. Nakon toga je preko ispoliranog dela nano{en Restoration glaze; Gloss (Golden-artist Colors, Inc., USA), sve dok nije ostvaren odgovaraju}i sjaj, kao kod originalne glazure. Kako je na obodu {olje izvedena linearna dekoracija zlatom, trebalo je ponovo islikati dekoraciju na restauriranim delovima. Prvo smo okolne originalne povr{ine porcelana za{titili sko~-trakom. Za restauraciju dekoracije koristili smo Rustins Clear metal lak (Rustins Limited, London) i bronzani prah; na povr{inu vla`nu od laka duvanjem smo naneli bronzani prah. Nakon su{enja sko~-traka je skinuta i ostatak {olje o~i{}en je od vi{ka bronzanog praha.

materijalima, kao {to je destilovana voda, a potom acetonom ili alkoholom. Kada je to mogu}e, koristi se i mehani~ki na~in ~i{~enja. Kod ~i{}enja porcelanske {olje od ostataka stare restauracije primenjivane su sve ove metode. Lako je otkriveno da je stari retu{ ra|en akrilnim bojama; pod komadi}em vate natopljene acetonom slojevi boje brzo su se razlagali. Bilo je primetno da je kod stare restauracije popunjavanje mesta na kojima su nedostajali delovi izvedeno nekom vrstom gipsa, koji smo odstranili skalpelom. Na obodu je ispod stare restauracije bila vidljiva ne~isto}a braon boje, koja nije odstranjena tokom ~i{}enja acetonom i alkoholom. Zbog toga smo za tu ne~isto}u koristili slede}i tretman: natopili smo vatu hidrogen-peroksidom (15%) i njom prekrili povr{ine s flekama. Komadi vate natopljene hidrogen-peroksidom postavljani su vi{e puta na porcelansku povr{inu s flekama. Postupak je ponavljan sve dok mrlje nisu nestale, a {olja je nakon toga oprana destilovanom vodom. Punjenje dela koji je nedostajao izveli smo epoksi smolom Araldit 2O2O (Huntsman Advanced Materials, Everberg),

Zvezdana POPOVI], konzervator tehni~ar saradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

PROBLEMI U KONZERVACIJI KERAMIKE S VI[ESLOJNIH LOKALITETA

U ZEMLJAMA koje su lideri u oblasti konzervacije kulturnih dobara postoji te`nja da prilikom odre|ivanja predmeta za konzervaciju budu prisutni i arheolog, i kustos, i konzervator (ili konzervatori), kako bi se dogovorili oko redosleda konzervacije, to jest oko prioriteta, u zavisnosti od stanja predmeta, priprema za publikovanje, izlaganje predmeta i drugog. Kod nas se taj pristup deklarativno podr`ava, ali se, na`alost, naj~e{}e ne primenjuje. Trebalo bi da i na{a praksa bude da pre otpo~injanja bilo kakvog rada na konzervaciji predmeta arheolog, kustos i konzervator zajedno procene pristigli materijal namenjen za konzervaciju i da se konsultuju oko predlo`enog tretmana. Konsultacije na relaciji arheologkustoskonzervator potrebno je odr`avati povre-

meno i tokom tretmana, a najmanje jo{ jednom. Ukoliko tokom konzervacije do|e do nekih izmena u odnosu na dogovoreni tok tretmana, trebalo bi da dodatne konsultacije budu obavezne. Jedan od problema s kojima se na{i konzervatori ~esto susre}u jeste to {to arheolog tra`i kompletnu restauraciju predmeta i kada na|eni fragmenti ~ine manje od 50% predmeta, i to pre nego {to konzervatori mogu da pregledaju sav materijal po zavr{etku arheolo{kih iskopavanja na datom lokalitetu (primer 1). Doga|a se i da na konzervaciju stigne dva puta po oko 50% istog predmeta, pod dva razli~ita terenska broja, oba

78

CONSERVATION

DIANA #13

with acetone or alcohol. We decided to soak the swabs in a 15% solution of hydrogen peroxide, which we changed several times, until the stains disappeared completely. After this the cup was washed with distilled water. Missing parts were filled with Araldite 2O2O epoxy resin (Huntsman Advanced Materials, Everberg), mixed with Fumed silica and pigments in adequate proportion, following the manufacturers instructions. Treatment of restored surfaces, that is, sandpapering the adhesive layer and filled

areas is a vital part of the restoration process. If the surface is insufficiently treated and smoothed, it cannot be covered successfully, regardless of the quantity of paint used. Various grades of Micro-Mesh (Micro-Surface Finishing Products, Inc. USA) were used for sandpapering. It was very important to protect the original surface of the cup with Scotch-tape (3M, France), so that the glaze stayed unscratched. One approach in porcelain restoration is to end with this type of polishing, but we applied another process. When the sandpapering and polishing of restored surfaces had been completed and the desired shape reached, we started colour retouching of the white porcelain around the rim. We used Restoration glaze: Matte and airbrush acrylic paints (Golden-artist colors, Inc.USA). After applying the glaze several times, the surface was polished with Micro-Mesh until it was completely smooth and shiny. Restoration glaze; Gloss (Golden artist colors, Inc.USA) was applied to the polished surface until the cups original shine was obtained. There is some gilded linear decoration on the rim. We protected this area around the gilded part with Scotchtape. For restoration of the gilding, we used Rustins clear metal lacquer (Rustins Limited, London) and bronze powder, which was blown onto the wet lacquered surface. After drying, we removed the tape and cleaned excess bronze powder from the cup.

Zvezdana POPOVI], conservator-technician Collaborator in the Departmant for preventive conservation Diana

PROBLEMS IN THE CONSERVATION OF CERAMICS IN MULTI-LAYERED ARCHEOLOGICAL SITES

IN COUNTRIES leading the field in the conservation of cultural assets, it is usual for the archeologist, curator and conservator (or conservators) to be present during the selection of objects for conservation so they can evaluate them, consult with one another, and agree on the order of conservation procedures and priorities, depending on the condition of the object in question, and its preparation for exhibition or publication. Furthermore the archeologist, curator and the conservator should remain in touch during treatment, and hold at least one more round of consultations. If the agreed course of treatment changes during conservation, additional consultations should be mandatory. This approach enjoys declared support in Serbia, and should be our practice, but, unfortunately, is not usually followed. One of the problems often faced by our conservators is that archeologists request complete restoration of an object even when the fragments found comprise less than 50% of the whole object, and before conservators are able to examine all excavated material once work at the site finishes (Example 1). Whats more, sometimes 50% of fragments of

the same object are handed in for restoration twice under two different field numbers, each time with a request for complete conservation (Example 2). In addition, when fragments thought to require only mechanical cleaning (since they do not form a complete object) are photographed, conservators frequently find ten or more fragments that together not only form an object, but comprise as much as 90% of an object (Example 3). When new material arrives for conservation, conservators often recognize fragments belonging to objects that have already been conserved. In such cases, the conservation treatment has to be partially repeated: plaster must be removed and newly-discovered original fragments mounted onto the object in its place, which means torturing the object, to say nothing of the additional conservation work required (Example 4). This is especially true of material coming from large multi-layered sites, rich in archeological material, where excavations have been performed for several years. In such localities, tens of thousands of ceramic fragments

79

DIANA #13

KONZERVACIJA

Primer 1

Example 1

Primer 2 puta sa zahtevom da se uradi kompletna konzervacija (primer 2). Tako|e se doga|a da tokom fotografisanja fragmenata koji su stigli kao materijal predvi|en samo za mehani~ko ~i{}enje, jer ne formiraju predmete, konzervatori prona|u po desetak i vi{e fragmenata koji ne samo {to formiraju predmet ve} ~ine i do 90% predmeta (primer 3). Mnogo puta su konzervatori po prispe}u materijala za konzervaciju prepoznali fragmente koji pripadaju ve} konzerviranim predmetima. Nakon toga konzervatorski postupak mora se delimi~no ponoviti: uklanja se gips i umesto njega u predmet se ugra|uju ti originalni, naknadno pristigli fragmenti {to je svakako mu~enje predmeta i zahteva dodatni rad konzervatora (primer 4). To naro~ito va`i za materijal koji sti`e s velikih vi{eslojnih lokaliteta, veoma bogatih arheolo{kim materijalom, na kojima se iskopavanja obavljaju godinama. Na takvim lokalitetima tokom jedne sezone prona|e se i po nekoliko desetina hiljada fragmenata keramike, {to predstavlja problem i u pogledu obrade, i u pogledu klasifikovanja i dopremanja. Takav je materijal, na primer, onaj s lokaliteta Kale Kr{evica.1 U bogatijim zemljama ti problemi ~esto se re{avaju obezbe|ivanjem posebnog tima arheologa i konzervatora koji se jo{ na terenu bavi samo klasiranjem i obradom materijala. Tako formirani predmeti klasiraju se prema potrebama publikovanja, da bi se tek nakon dogovora arheologa, kustosa i konzervatora odredio ritam konzervacije predmeta. S obzirom na to da kod nas, zbog dobro poznate finansijske situacije, takvo re{enje mora da sa~eka bolja vremena, mo`da bi efikasno re{enje moglo da bude to da se pre po~etka rada na predmetima predvi|enim za konzervaciju konzervatorima d na pregled sav materijal s lokaliteta, donet nakon zavr{ene sezone arheolo{kih iskopavanja. Ukoliko vi{e grupa konzervatora radi na predmetima sa istog loka-

Example 2 liteta, svakako bi trebalo organizovati da svi oni pregledaju sve dopremljene fragmente, a trebalo bi i da svi konzervatori mogu redovno ponovo da pregledaju materijal, prema potrebi. Kada bi konzervatori mogli detaljno i redovno da pregledaju sav pristigli materijal, izbegli bi se mnogi navedeni problemi: verovatno bi se pojavilo jo{ predmeta kandidata za konzervaciju ili bi se bar mnogi od predmeta kompletirali blagovremeno, a ne nakon zavr{ene konzervacije. Primer 1 Predmet: kantaros (KK 24/06); lokalitet: Kale Kr{evica Na konzervaciju je donet jedan fragment (iskopan oktobra 2005), a zahtev arheologa bio je da se uradi kompletna restauracija na osnovu tog fragmenta (jer je imao sve elemente), mada je fragment ~inio samo oko 30% predmeta. Stav konzervatora bio je da ne treba `uriti s restauracijom jer }e se mo`da pojaviti jo{ fragmenata, s obzirom na veliki obim materijala s datog lokaliteta. To mi{ljenje bilo je ispravno jer je u dva navrata, prilikom pregleda materijala s tog lokaliteta, prona|eno jo{ 10 fragmenata (iskopanih u istom periodu, na istom mestu, u istom otkopnom sloju), a koji su, s prvim fragmentom, ~inili ukupno oko 80% predmeta. Konzervator: Zvezdana Popovi}. Primer 2 Predmet: tanjir (KK 08/06); lokalitet: Kale Kr{evica Na konzervaciju je stigao jedan fragment (KK 08/06), koji je ~inio oko 50% predmeta. Zahtev arheologa: uraditi kompletnu restauraciju.

1] P. Popovi}, Kr{evica et les contacts entre lEge et les centres des Balkans, Histria Antiqua 15/2007, Pula, 125136.

80

CONSERVATION
may be found in just one season, presenting problems not only for treatment, but also for classification and transport. This is the case with material from the Kale Kr{evica site.1 Wealthier countries often resolve those problems by forming special teams of archeologists and conservators who classify and treat material on-site. Objects treated in this way are classified according to publication requirements; the time-scale of conservation is established only after archeologists, curators and conservators have all reached agreement. As this solution is not currently economically feasible in Serbia, a more efficient solution may be to provide conservators with all material from sites requiring examination after the excavation season is over, but before treatment begins. If several groups of conservators are working on artifacts from the same site, it is necessary to ensure that they all examine all fragments delivered. They should also be able to re-examine material regularly if required. Many problems could then be avoided: many more artifacts suitable for conservation might appear, or made whole before the time limit for conservation procedure expires. Example 1 Artifact: kantharos (KK 24/06); Kale Kr{evica site One fragment (excavated in October 2005) was brought in for conservation; archeologists requested complete restora-

DIANA #13

minations of material from the site yielded 10 more fragments (excavated in the same period, at the same spot, in the same excavated stratum). These, together with the first fragment, comprised 80% of the object. Conservator: Zvezdana Popovi}. Example 2 Artifact: plate (KK 08/06); Kale Kr{evica site One fragment (KK 08/06), comprising 50% of the object, was brought in for conservation. Archeologists request: complete restoration. Immediately before plaster was poured into the prepared wax mould, several objects from the same site were brought in. Among these were four pieces of the same object (excavated in the same period, at the same spot, and in the same excavated stratum registered as KK 12/06). The new fragments comprised the remaining 50% of the object restoration was not necessary. Conservator: Danijela Jovanovi}. Example 3 Artifact: bowl (KK 13/06); Kale Kr{evica site Two fragments were thought to require mechanical cleaning only, as they did not form an object. After additional examination of the material, two more fragments were

Primer 3

Example 3

Primer 4

Example 4

tion on the basis of the single fragment (as it had all the required elements), although the fragment comprised a mere 30% of the object. In the conservators opinion, it was not necessary to hurry restoration, as more fragments were likely to be found, taking into consideration the large quantity of material from the site. This view proved correct, since two subsequent exa-

found. Boxes that arrived from the same site some time later yielded another eleven fragments (excavated in the same period, in the same excavated stratum).

1] P. Popovi}, Kr{evica et les contacts entre lEge et les centres des Balkans, Histria Antiqua 15/2007, Pula, pp. 125136.

81

DIANA #13

KONZERVACIJA
Primer 4 Predmet: fijala (KK 66/05); lokalitet: Kale Kr{evica Ve}ina fragmenata ovog predmeta stigla je s materijalom predvi|enim samo za mehani~ko ~i{}enje, jer nije formirao predmete. Pregledom materijala prona|ena su 23 fragmenta koja formiraju fijalu. U naknadno prispelom materijalu sa istog iskopavanja prona|ena su jo{ dva fragmenta, {to je ukupno ~inilo oko 80% predmeta. Ura|ena je kompletna konzervacija predmeta. Nekoliko meseci nakon zavr{ene konzervacije u naknadno pristiglim kutijama s materijalom sa istog lokaliteta i iz istog perioda iskopavanja prona|en je jo{ jedan fragment. Pristupilo se uklanjanju gipsa i ugra|ivanju originalnog fragmenta. To se dogodilo jo{ jednom, s jo{ jednim fragmentom, naknadno prona|enim na isti na~in. Ukupno dva puta je nakon zavr{ene konzervacije uklanjan gips i ugra|ivan originalni fragment. Konzervator: Marija Pe{anovi}.

Neposredno pre izlivanja gipsa u pripremljeni vo{tani kalup doneto jo{ predmeta sa istog lokaliteta. Me|u donetim predmetima prona|ena su jo{ ~etiri fragmenta istog predmeta (iskopana u istom periodu, na istom mestu, u istom otkopnom sloju upisani kao KK 12/06). Ti fragmenti ~inili su preostalih 50% predmeta restauracija nije bila potrebna. Konzervator: Danijela Jovanovi}. Primer 3 Predmet: zdela (KK 13/06); lokalitet: Kale Kr{evica Dva fragmenta predmeta stigla su s materijalom predvi|enim samo za mehani~ko ~i{}enje, jer nije formirao predmete. Naknadnim pregledom materijala prona|ena su jo{ dva fragmenta. U kasnije pristiglim kutijama sa istog lokaliteta prona|eno je jo{ 11 fragmenata (iskopanih u istom periodu, u istom otkopnom sloju). Ukupno je, dakle, bilo 15 fragmenata, koji su zajedno ~inili oko 80% predmeta. Konzervator: Aleksandra Markovi}.

Slobodan BOGOJEVI], konzervator Narodni muzej u ^a~ku

NOV PRISTUP KONZERVACIJI I UNAPRE\IVANJE USLOVA ^UVANJA METALNIH ARHEOLO[KIH PREDMETA U NARODNOM MUZEJU U ^A^KU

^UVANJE ARHEOLO[KIH PREDMETA podrazumeva saradnju arheologa, kustosa i konzervatora, koji iznose razli~ite stru~ne nalaze i razli~ite perspektive za re{avanje pojedinih problema. Njihov zadatak odnosi se na o~uvanje istorijskog, kulturnog, estetskog i fizi~kog integriteta predmeta za budu}a pokolenja. To podrazumeva pravnu, stru~nu i tehni~ku (fizi~ku) za{titu. Sa ~uvanjem arheolo{kih predmeta otpo~inje se ve} na samom lokalitetu, od trenutka prihvata predmeta, nastavlja se postupcima koji se primenjuju do sme{tanja u depo, a zatim i nizom mera koje slede. Svaka aktivnost koja se ne sprovodi u skladu s pravilima od ~uvanja (sme{taja, odr`avanja), preko obrade, kori{}enja, izlaganja, do transporta predstavlja opasnost po predmete. Ukoliko se metalni predmeti o{tete usled dejstva negativnih faktora, mogu}e je sprovesti konzervatorsko-restauratorski tretman i time produ`iti `ivot predmeta, premda se u obzir moraju uzeti i vreme trajanja tretmana i njegova finansijska opravdanost. Stoga bi posebnu pa`nju trebalo posvetiti preventivnoj za{titi. Trebalo bi da institucionalne mere za{tite budu u skladu s muzejskim aktivnostima koje se odnose na primenu tehnika upravljanja, a kojima se ostvaruje organizovaniji na~in razmi{ljanja, predvi|anje budu}ih situacija, kao i na pove}anu efikasnost svih segmenata muzejske delatnosti.

Nakon analize stanja metalnih predmeta, faktora koji uti~u na njih i izrade odgovaraju}e dokumentacije mogu}e je planirati aktivnosti i projekte za pobolj{anje tog stanja. Faktori koji uti~u na stanje metalnih predmeta u depou Arheolo{ki predmeti predstavljaju rezultat aktivnosti iz pro{losti i poti~u sa odgovaraju}ih arheolo{kih lokaliteta. Stoga je njihov prenos u budu}nost vrlo slo`en i zahtevan. Smatra se da starenje predmeta zapo~inje od trenutka njegovog nastanka. Metali su najnestabilniji neorganski materijali, koji te`e da se vrate u stanje minerala. Korozija metala deli se na hemijsku i elektrohemijsku. Osnovna karakteristika korozije metala jeste to {to ona po~inje na njegovoj povr{ini, odakle se br`e ili sporije {iri u dubinu, pri ~emu se menjaju sastav metala i njegova svojstva. U procesu korozije metal se potpuno ili nepotpuno rastvara ili se pak na njegovoj povr{ini obrazuje opna od produkata korozije. Ponekad se usled korozije legura razla`e na svoje komponente ili se menjaju fizi~ko-mehani~ka svojstva metala i legura.1

1] Mladenovi}, S., Korozija materijala, Tehnolo{ko-metalur{ki fakultet, Beograd 1990, 3.

82

CONSERVATION
This brought the total number of fragments to 15, altogether comprising 80% of the object. Conservator: Aleksandra Markovi}. Example 4 Artifact: phiale (KK 66/05); Kale Kr{evica site Most of the fragments of this object were delivered with material thought to require mechanical cleaning only. After examination, 23 fragments forming a vessel were found. In subsequently delivered material from the same excavation, two more fragments were found, comprising 80% of the

DIANA #13

object. The object was restored completely. Several months later, after conservation was finished, further boxes were delivered, containing material from the same site and from the same period of excavation, yielding one more fragment. Plaster was removed and replaced by the original fragment. The same happened with one more fragment, discovered later in the same way. In all, the plaster had been removed and the original fragment mounted twice by the end of conservation. Conservator: Marija Pe{anovi}.

Slobodan BOGOJEVI], conservator National museum of ^a~ak

A NEW APPROACH TO CONSERVATION AND A FURTHER IMPROVEMENT OF CONDITIONS FOR TAKING CARE OF METAL ARCHEOLOGICAL OBJECTS IN THE NATIONAL MUSEUM OF ^A^AK

TAKING CARE of archaeological objects implies cooperation between the archaeologist, curator and the people performing the conservation, all of whom present different professional findings and different approaches for resolving certain difficulties. Their task includes maintaining the historical, cultural, aesthetic and physical object integrity for future generations. This includes legal, professional and technical (physical) protection. Taking care of an archaeological object starts at the archaeological site from the moment of excavation, through a series of procedures until it is placed in storage, and further through the series of processing steps that follow. Every activity that is not performed according to appropriate rules at every stage presents a danger to the object. If metal objects are damaged through the influence of some negative factors it is still possible to perform the appropriate conservation-restoration treatment and in this way to extend the objects existence, but nevertheless we have to consider the length of the treatment and its financial justification. For that reason special attention should be paid to preventive conservation. Institutional protection measures ought to be in agreement with museum activities that apply management techniques to a better organized conceptual approach, thee prediction of future situations, as well as increased efficiency in all segments of the museum activity. After analysis of a metal objects condition, the factors that influence it, and appropriate documentation, it is possible to plan some actions and projects for its improvement.

Factors influencing the condition of metal objects placed in the storage Archaeological objects are the fruit of some past activities and come from various archaeological sites. For that reason the objects transfer into the future is very complicated and highly demanding. The aging of an object starts from the moment of its origin. Metals are amongst the most unstable inorganic materials and tend to return to their mineral state. Metal corrosion is divided into chemical and electrochemical corrosion. The basic characteristic of metal corrosion is initiated on its surface, from where, sooner or later, corrosion penetrates more deeply, and as a result of which the metals consistence and characteristics change. In the process of metal corrosion, the metal is being dissolved fully or partially, or possibly a skin is created on its surface, made of corrosion products. In some cases an alloy is dissolved into its component metals as a result of corrosion or the physicalmechanical metal/alloy characteristics may change.1 The objects condition mainly depends on its reaction to the outer environment and after some time some kind of balance is formed between them (fig. 3). From the moment when the object is excavated the conditions of the outer environment change radically and the object passes a phase of adaptation shock. The reaction includes physical and chemical changes, and from that moment the object is

1] Mladenovi} Sreten, Corrosion of material, Technology-metallurgy faculty, Belgrade, 1990, 3.

83

DIANA #13

KONZERVACIJA

Sl. 1 i 2. Srebrna fibula pre i posle konzervacije, Narodni muzej u ^a~ku Fig. 1 i 2. Silver fibula before and after conservation treatment, National museum of ^a~ak Stanje predmeta najve}im delom zavisi od reakcije predmeta na spolja{nju sredinu, jer izme|u njih tokom vremena nastaje neka vrsta ravnote`e (slika 3). Kada se predmet iskopa, u potpunosti se menjaju spolja{nji uslovi i predmet prolazi kroz fazu adaptacionog {oka. Reakcija podrazumeva fizi~ke i hemijske promene, pa je od tog trenutka predmet u fazi izuzetno brzog propadanja. Dok su objekti neiskopani, imaju podr{ku u vidu zemlje koja ih okru`uje, ali tu podr{ku gube kada se otkopaju, tako da vi{e nisu u stanju da iznesu svoju te`inu. Posebnu pa`nju trebalo bi obratiti na prihvat arheolo{kih predmeta s lokaliteta, kao i na na~in njihovog ~i{}enja, jer su upravo tada o{te}enja najverovatnija. Za te postupke neophodna je izrada odgovaraju}ih procedura. Vrlo je bitno da se pre iskopavanja razradi sistem prihvata i kondicioniranja metalnih eksponata do po~etka njihovog konzervatorsko-restauratorskog tretmana. To je veliki problem budu}i da se u arheolo{kim depoima na{ih muzeja, pored konzerviranih, nalazi i veliki broj predmeta koji nisu tretirani. Pored toga {to ugro`avaju tretirane predmete (zaga|enje atmosfere u depou, iniciranje korozije na tretiranim predmetima usled neposrednog kontakta itd.), oni prolaze i kroz fazu naglog propadanja, tako da su posle nekoliko godina potpuno devastirani, potrebna konzervacija je znatno slo`enija, a sami predmeti gotovo su izgubljeni. Taj problem ve}i muzeji u svetu re{avaju tako {to predmete sme{taju u posebne prostorije, u kojima su metalni eksponati do po~etka konzervacije potopljeni u optimalne rastvore. Ti rastvori su neka vrsta inhibitora za korozione procese; njihova pH vrednost strogo se kontroli{e. Celokupan proces obavlja se u saradnji sa stru~njacima iz odgovaraju}e oblasti. Neadekvatni konzervatorsko-restauratorski tretmani tako|e mogu imati {tetne posledice po stanje metalnih predmeta. To se odnosi na primenu neodgovaraju}ih materijala i metoda u procesu konzervacije i restauracije. Stoga je neophodno da sve intervencije budu u skladu sa ICOM-ovim eti~kim kodeksom. Trebalo bi da konzervatori sve vreme u~estvuju u programima stru~nog usavr{avanja, dok bi laboratorije trebalo snabdeti odgovaraju}om opremom. ^esto postoje zahtevi u pogledu ostvarivanja odre|ene estetike na predmetu, kao i zahtevi za hipoteti~kom rekonstrukcijom, ali i `elja da se tretman obavi u {to kra}em roku. Sve to mo`e imati dalekose`ne {tetne posledice po predmet. Konzervatorsko-restauratorski tretmani gube smisao ukoliko se predmeti ~uvaju u neodgovaraju}im uslovima. Stoga treba obezbediti optimalne uslove za ~uvanje predmeta, ~ime bi se broj intervencija sveo na najmanju meru, to jest one bi se sprovodile samo kada preventivne mere zaka`u. Time bi muzej ostvario u{tedu u pogledu tro{kova konzervacije, a zbirke bi bile adekvatno i stru~no ~uvane. Kada se analiziraju faktori koji uti~u na stanje predmeta, zaklju~uje se da gotovo iza svih njih i onih pomenutih i onih koji nisu tema rada stoji ~ovek sa svojim delovanjem i odnosom prema predmetima: onaj kome kulturna dobra slu`e i kome su poverena na ~uvanje.2 Na stanje metalnih predmeta u depou uti~u i slede}i faktori: klima (relativna vla`nost, temperatura) osvetljenje zaga|enje {teto~ine. Gotovo svi faktori uti~u na metalne predmete u me|usobnoj sprezi. Kada je re~ o pojavi korozije, neophodno je uzeti u obzir vreme tokom kojeg je predmet bio izlo`en pojedinim faktorima, kao i njihove kriti~ne vrednosti pri kojima se korozija pojavljuje. Stepen delovanja svih faktora na stanje predmeta i brzinu procesa korozije zavisi od sastava i na~ina izrade metalnog predmeta, od toga da li na njemu postoji dekoracija, od prisustva hlorida u strukturi, ali i od na~ina konzervacije i restauracije itd. Posebnu pa`nju trebalo bi obratiti i na na~in pakovanja metalnih predmeta, to jest na ambala`u, zatim na ure|enje prostora za njihov sme{taj, izbor opreme, kao i na mere za{tite od vanrednih prilika.

2] Radosavljevi}, V., Petrovi}, R., Konzervacija i restauracija arhivske i bibliote~ke gra|e i muzejskih predmeta od tekstila i ko`e, Arhiv Srbije, Beograd 2000, 114.

84

CONSERVATION
subject to fast deterioration. Prior to excavation, objects have the support of the soil that surrounds them, but they lose this support from the moment of excavation and are not in a position to refer to its weight. Special attention should therefore be given to the reception of archaeological objects from their site of origin, as well as their cleaning method, since this is a phase when deterioration is most possible. For these procedures appropriate procedures should be established. Before excavation it is very important to establish a system of reception and treatment of metal objects until the moment when their conservation-restoration starts. This is very difficult having in mind that in our museums storage facilities there are numerous objects that are not treated. Not only do they influence the treated objects (through storage environmental pollution, and the initiation of corrosion on treated objects by direct contact) they rapidly deteriorate. After several years we have a fully devastated object and, as a result, its conservation is now more complicated and the object itself almost lost. Some foreign museums resolve this issue by placing metal objects in separate rooms, where they are dipped into solutions of optimum characteristics, until the moment of their conservation. These solutions are some kind of inhibitor of the corrosion process. The pH value of these solutions is controlled and the whole process performed in collaboration with professionals in this field.

DIANA #13

PROPADANJE / DETERIORATION

ravnote`a / Equilibrium

the objects aesthetics as a target, as well as the requests for hypothetical reconstruction, as well as the wish for the treatment to be done in the shortest possible time. All these demands could have influence the objects condition. The conservation and restoration treatments lose their sense if the objects are kept in inappropriate conditions. So optimum storage conditions ought to be provided; as a result the number of interventions would be reduced to the minimum and only when preventive measures fail. In this way the museum would save the costs of conservation, and collections would be appropriately and professionally stored. After analysing the factors influencing the objects condition, it could be concluded that behind everything stands human attitude and actions i.e. the one whom the cultural properties serve and to whose care they are entrusted to.2 The following factors influence the condition of metal objects kept in storage: climate (relative moisture content, temperature) illumination pollution pests Almost all these factors influence metal objects in their interpersonal connection. For corrosion to start it is necessary to consider the time limit i.e. the time that the object has been exposed to certain factors as well as the critical values that facilitate the corrosion. All factors have an increased influence on the objects condition and accelerate the corrosion process, depending on composition and the metal objects manufacturing process, the presence of decoration, chlorides in the structure, as well as the conservation and restoration method. Special attention should be paid to packing (wrapping of metal objects), rationalization of the space, and the place of storage as well as protection measures against the extraordinary conditions. History, importance, and function of metal objects The collection of archaeological objects and other related scientific data was initiated by the foundation of the National museum in ^a~ak in 1952. Three years after foundation, the first curator-archaeologist was engaged, representing the start of the professional operations of this bureau. The objects originate from surrounding excavations, but a few of objects have been purchased, donated, or have been found by chance. Archaeological excavations comprise some of the most important activities of this department. They have been performed independently or in cooperation with other institutions every year since 1956. Archaeological research has been conducted to form a full picture of past times in the district covered by the National museum in ^a~ak. The oldest archaeological sites belong to the Neolithic period. Of greater than local importance is the barrow at Atenica. Two tumuli

a/ eb otr life up Use

/ / st t nje tek ex va on on cont ) pa vati k o ki al nd isk xca lo{ ic u E eo olog rgro arh che nde r A (u

j/ e ze lif mu eum s u M

VREME / TIME

Sl. 3. Propadanje metalnog predmeta tokom vremena http://www.nps.gov/history/museum/publications/ MHI/AppendI.pdf Fig. 3. Deterrioration of the metal object through time

Inappropriate conservation-restoration treatments could have consequences for the condition of metal objects. This refers to the use of inappropriate materials and methods in the process of conservation and restoration. For that reason it is necessary that intervention is in agreement with the ICOM ethical codex. Those performing the conservation ought frequently to participate in programs of professional training and laboratories should be equipped with appropriate equipment. Frequently there are requests to have

2] Radosavljevi} Vera, Petrovi} Radmila, Conservation and restoration of filed and library materials and museum objects made of textile and leather, Archive of Serbia, Belgrade, 2000, 114.

85

DIANA #13

KONZERVACIJA
se na vizuelna ispitivanja, merenja i pregled predmeta opti~kim instrumentima (lupom i mikroskopom). Ispitivani su predmeti od srebra, bronze i gvo`|a, kao i kompozitni predmeti, koji se sastoje od najmanje dva metala.

Istorijat, zna~aj i funkcija metalnih predmeta Prikupljanje arheolo{kih predmeta i podataka u vezi sa arheologijom kao naukom otpo~eto je na teritoriji ~a~anske op{tine sa osnivanjem Narodnog muzeja u ^a~ku 1952. godine. Nakon tri godine u muzeju je zaposlen prvi kustos arheolog i tada je arheolo{ko odeljenje zapo~elo sa stru~nim radom. Metalni predmeti koji se nalaze u Narodnom muzeju u ^a~ku prona|eni su prilikom dosada{njih iskopavanja, dok je manji broj predmeta nabavljen otkupom i dobijen kao poklon ili je re~ o slu~ajnim nalazima. Arheolo{ka iskopavanja spadaju me|u najzna~ajnije aktivnosti ovog odeljenja. Ono ih obavlja samostalno ili u saradnji s drugim institucijama gotovo svake godine, po~ev od 1956. Arheolo{ka istra`ivanja vo|ena su radi stvaranja kompletne slike o prethodnim epohama na teritoriji koju svojim radom obuhvata Narodni muzej u ^a~ku. Najstarija arheolo{ka nalazi{ta pripadaju vremenu neolita. Od izuzetnog je zna~aja otkri}e nekropole u Atenici. Istra`ene su dve kne`evske humke datovane u VIV vek p. n. e. Va`nost otkri}a humki u Atenici nadilazi lokalne okvire, a prona|eni materijal zauzima jedno od najbitnijih mesta u stalnoj postavci muzeja. Arheolo{ki metal u depou poti~e iz preistorijskog, anti~kog i srednjovekovnog perioda. Na osnovu stila i tehnike izrade nosi istorijsku, kulturnu i estetsku vrednost, dok se na osnovu na~ina njegove muzejske upotrebe mo`e predvideti istra`iva~ka, izlaga~ka i komunikacijska delatnost. Vrste metalnih predmeta Metalni predmeti koji se nalaze u Narodnom muzeju u ^a~ku nastali su, kao {to je pomenuto, u preistorijskom, anti~kom i srednjovekovnom vremenu. U zbirkama su metalni predmeti od zlata, srebra, bronze, gvo`|a i olova, izra|eni razli~itim tehnikama. Podataka o ta~nom broju metalnih predmeta nema, s obzirom na to da do sada nije ra|ena revizija. Za jedan deo predmeta postoji arheolo{ka dokumentacija (A kartoni), kao i inventarski brojevi, a za drugi deo samo terenska dokumentacija (C brojevi). Predmeti se, prema osnovnoj nameni, mogu podeliti na: statuete bo`anstava, sitnu figuralnu plastiku, nakit, posu|e, upotrebne predmete, merne, medicinske, kozmeti~ke i druge instrumente, vojnu opremu i novac. Stanje konzervacije metalnih predmeta U okviru projekta utvr|ivanja stanja metalnih predmeta, kao i mogu}nosti njihovog pobolj{anja, napravljen je formular, to jest anketni list. Taj formular nam, pored op{tih, daje i podatke o generalnom stanju predmeta na dan analize, kao i podatke o preporu~enim tretmanima, koji su rangirani prema hitnosti obavljanja (tabela 3). Na osnovu ovih formulara mogu}e je praviti planove za pobolj{avanje postoje}ih uslova ~uvanja, kao i programe konzervacije metalnih predmeta. Testiranjem je utvr|eno da je formular primenljiv u praksi i da se, dakle, mo`e koristiti kao anketni list u okviru programa redovne kontrole zbirke metalnih predmeta u arheolo{kom depou. Analiza je obavljena na reprezentativnom uzorku od dvadeset predmeta. Ispitivanje stanja predmeta obuhvatalo je pregled dokumentacije i razgovor s kustosima. Prakti~ni deo odnosio

PREDLO@ENI TRETMAN Konzervacija Rekonzervacija Restauracija Ispitivanje (mati~ni muzej) Ispitivanje (druga ustanova) Fotodokumentacija Preventivna za{tita

BROJ PREDMETA 3 7 0 1 3 8 20

Tabela 1. Predlo`eni tretmani za metalne predmete na dan analize stanja

Analizirani su slede}i predmeti: osam predmeta od gvo`|a, devet bronzanih, jedan srebrni i dva koja su kombinacija razli~itih metala (gvo`|e, srebro, zlato, bronza). Petnaest predmeta ima A kartone, a pet C brojeve, odnosno terensku dokumentaciju. [est predmeta je fragmentirano, a devet prati fotografska dokumentacija. Ni za jedan testirani predmet ne postoji konzervatorsko-restauratorska dokumentacija; ukoliko postoji, nedostupna je. Tri predmeta nisu pro{la konzervatorski tretman, dok su ostali konzervirani u Narodnom muzeju u ^a~ku i u Narodnom muzeju u Beogradu. Na povr{ini petnaest predmeta mo`e se uo~iti prisustvo oksida i soli, dok samo jedan pokazuje strukturne promene. Za sve predmete trebalo bi pobolj{ati mere preventivne za{tite, to jest obezbediti odgovaraju}u ambala`u, u skladu sa standardima, kao i ambijentalne uslove. Za tri nekonzervirana predmeta neophodan je hitan konzervatorski tretman, a za sedam rekonzervacija, i to za pet predmeta dugoro~ni i za dva srednjoro~ni plan rekonzervacije. Jedan predmet zahteva detaljnije ispitivanje u mati~noj ustanovi, dok je za tri predmeta neophodno ispitivanje u drugim ustanovama. To se odnosi na rendgenska snimanja. Za osam predmeta potrebno je vo|enje fotografske dokumentacije u odre|enim vremenskim intervalima radi pra}enja njihovog stanja. Na jednom delu metalnih predmeta postoje inventarski brojevi koji su odre|enim supstancama nano{eni neposredno na predmete i premazivani, dok su za drugi deo metalnih predmeta terenski brojevi pisani na nalepnicama koje su lepljene na njih. Uslovi ~uvanja metalnih predmeta Arheolo{ki depo u kojem se nalaze metalni predmeti sme{ten je na prvi sprat zgrade, u prostor povr{ine 25 m, s jednim spoljnim zidom i dva prozora. Depo nije izolovan. To je prolazna prostorija izme|u istorijskog, umetni~kog i etnolo{kog depoa, a iznad njih je potkrovlje, koje nije u upotrebi. Kanalizacione i vodovodne cevi ne prolaze kroz zidove depoa. Na podu je rasu{en parket, s mno{tvom rupica i proreza, zbog kojih se te{ko odr`ava. Za zidove je kori{}en kre~ni malter, sada veoma star; u zidovima stoga postoji

86

CONSERVATION
have been investigated belonging to the VIth to Vth century B.C. The objects found have one of the most important positions in the permanent exhibition of the Museum. The archaeological metal in the storage belongs to the pre-historic, antique and medieval periods. Based on the objects style and manufacturing technique the metal is of historic, cultural and aesthetic value, and based on the museums use, the research, exhibiting and communication activities could be predicted. Kinds of metal objects The collection has objects made of gold, silver, bronze, iron and lead, applying different techniques. There is no information about the precise number of metal objects since an audit has not been performed until now. Some of the objects have archaeological documentation (A cards) and inventory numbers, while others have only terrain documentation (C numbers). The objects could be classified as: statues of gods; tiny figural plastics; jewellery; kitchen ware; consumption objects; measuring implements; medical; cosmetic; instruments; military equipment; coins; and others. Condition of metal objects conservation As part of the project to establish the condition of metal objects, as well as the possibility of their improvement, a questionnaire has been compiles. This form provides general information about the objects condition on the day of analysis as well as information about recommended treatments, ranked according to urgency (contained in a separate table, table 3). From this form it is possible to make plans to improve the existing storage conditions as well as making a conservation program for the metal objects. Testing has proved that the questionnaire is practically applicable and as such could be used in the regular audit of collections of metal objects in the archaeological storage. Analyses have been performed on a representative sample of 20 (twenty) objects. Analysing the objects condition has been done through examining documentation and discussion with curators. The practical part comprises a visual examination, measurements, and testing with optical instruments (magnifying glass and microscope). Tested samples are made of silver, bronze and iron as well as composite objects consisting of at least two metals. The following objects have been analysed: 8 objects made of iron, 9 made of bronze, 1 made of silver, and 2 that
SUGGESTED TREATMENTS Conservation Re-conservation Restauration Analysing (museum itself) Analysing (other institution) Photo documentation Preventive conservation NUMBER OF OBJECTS 3 7 0 1 3 8 20

DIANA #13

are a combination of different metals (iron, silver, gold, bronze). Fifteen objects have A cards, and five of have the C numbers i.e. terrain documentation. Six objects are in fragments and nine have photo documentation. All tested objects either do not have the conservation-restoration documentation or it is not accessible. Three objects did not pass the conservation treatment, but all the others have been conserved in the National museum in ^a~ak and the National museum in Belgrade. On the surface of fifteen objects the presence of oxides and salt could be seen, and only one has structural changes. For all the objects measures of preventive conservation ought to have been improved, i.e. appropriate packing reference to standards, as well as environmental conditions. For three objects that are not conserved it is necessary to perform conservation treatment, while for seven of them it is necessary to repeat conservation (five in a long-term conservation plan and two in a medium-term conservation plan). One object needs more detailed analysis in the museum itself, but three objects need to be analysed in other institutions by x-ray scanning. For eight objects it is necessary to compile photo documentation at regular intervals in order to follow up their condition. Some metal objects have a stock number placed directly them by applying substances, but several metal objects have numbers written on stickers. Storing conditions for metal objects Archaeological storage for metal objects is located on the buildings first floor in a space of 25m, having one outer wall and two windows. The storage is not insulated. It is actually the corridor between the historical, artistic and ethnology storage areas, and above them there is the roof space, which is not in use. Sewerage or water supply pipes do not pass through the storage walls. The floor is made of uneven wooden parquet tiles which make it difficult to clean and the walls are made of very old lime mortar. The walls have series of cracks and holes that are the result of vibrations and the most recent earthquake. Between the archaeological and historical storage there is no door, but between the archaeological and artistic depots there is wooden door. The metal objects are placed in wooden cupboards on chipboard shelves. The greatest part of these metal objects is still in cardboard boxes, and only a few of the objects are placed directly on the shelf. A limited number of objects are taken out of the storage from time to time for research and exhibitions. For these processes there are no packing, transportation, and handling procedures. The space is not equipped with equipment for regulating environment conditions and pollution. Climatic factors have not been systematically monitored because of the lack of a thermo-hygrograph. Analyses of the environmental conditions have been performed by instant measurements and observations. For this it is necessary to acquire appropriate measuring instruments in order to perform wide analyses and to monitor all parameters, based on which activities and certain projects would be suggested to improve characteristics, equipment, and also the conditions for storing the objects in storage. Instant

Table 1. The suggested treatments for metal objects on the day of the condition check up

87

DIANA #13

KONZERVACIJA
mogli bi se predlo`iti projekti i aktivnosti za pobolj{avanje karakteristika i opreme, a samim tim i uslova za ~uvanje predmeta u depou. Trenutna merenja termohigrometrom, u zavisnosti od godi{njeg doba, pokazivala su vrednosti relativne vla`nosti od 30% do 75%, dok je temperatura varirala od 10 do 35C. Primetne su dnevne i sezonske fluktuacije parametara, s vrednostima iznad dozvoljenih. Variranja parametara umanjena su uvo|enjem centralnog grejanja s mogu}no{}u pode{avanja temperature. Primetne su visoke temperature tokom letnjeg perioda. Povi{ena relativna vla`nost mo`e biti inicijator aktivne korozije. Na metalne predmete ne uti~u ni ja~ina osvetljenja ni ultraljubi~asto zra~enje, to jest dnevna svetlost, budu}i da se gotovo svi predmeti nalaze u ormanima i kartonskim kutijama. Ve{ta~ko (neonsko) svetlo retko se uklju~uje jer je prostorija preko dana svetla. Pomenuti parametri ne ugro`avaju

niz pukotina i rupica, nastalih usled dejstva vibracija i nedavnog zemljotresa. Izme|u arheolo{kog i istorijskog depoa nema vrata, dok se izme|u arheolo{kog i umetni~kog depoa nalaze drvena vrata. Metalni predmeti sme{teni su u drvene ormane s policama od univera. Najve}i deo nalazi se u kartonskim kutijama, dok je poneki predmet sme{ten neposredno na policu. Izvestan broj predmeta povremeno se iznosi iz depoa radi istra`ivanja i izlaganja. Za te postupke ne postoji procedura pakovanja, transporta i manipulacije. Prostor nije opremljen instrumentima za regulaciju ambijentalnih uslova i zaga|enja. Klimatski parametri nisu sistematski pra}eni jer muzej ne poseduje termohigrograf. Analiza ambijentalnih uslova obavljena je trenutnim merenjima i posmatranjem. Za taj deo analize neophodna je nabavka odgovaraju}ih mernih instrumenata, kako bi se obavili opse`na analiza i pra}enje parametara; na osnovu toga

NEODGOVARAJU]I AMBIJENTALNI USLOVI

ZAGA\IVA^I

KARAKTERISTIKE I LOKACIJA DEPOA

KARAKTERISTIKE I LOKACIJA DEPOA

OSCILACIJE USLED SEZONSKOG GREJANJA

OPREMA U DEPOU

NA^IN PAKOVANJA

PROPADANJE METALNIH PREDMETA

NEDOSTATAK PROGRAMA KONZERVACIJE

ZAHTEVI KOJI NISU U SKLADU S PO[TOVANJEM ADEKVATNIH KONZERVATORSKO-RESTAURATORSKIH PROCEDURA

NEADEKVATAN TRANSPORT

NE^ISTO]E USLED RUKOVANJA

NEDOSTATAK PROCEDURE

NEDOSTATAK DOKUMENTACIJE

KARAKTERISTIKE I LOKACIJA DEPOA

KONZERVATORSKO-RESTAURATORSKI TRETMANI

MANIPULACIJA
Sl. 4. Faktori koji uti~u na propadanje analiziranih metalnih predmeta

88

CONSERVATION

DIANA #13

INAPPROPRIATE ENVIRONEMENT CONDITIONS

POLLUTANTS

CHARACTERISTICS AND THE STORAGE LOCATION

CHARACTERISTICS AND THE STORAGE LOCATION

HEATING SYSTEM OSCILLATIONS

STORAGE

WRAPPING

DETERRIORATION OF METAL OBJECTS

LACK OF CONSERVATION PROGRAM

REQUESTS THAT DO NOT REFFER TO RESPECTING THE APPROPRIATE CONSERVATIONRESTAURATION PROCEDURES

INAPPROPRIATE TRANSPORTATION

AFTER HANDLING DIRT

LACK OF PROCEDURE

LACK OF DOCUMENTATION

CHARACTERISTICS AND STORAGE LOCATION

CONSERVATIONRESTAURATION TREATMENTS

HANDLING
Fig. 4. The factors influencing the deterrioration of the analysed metal objects

measurements with a thermo-hygrometer have shown the values of relative humidity from 30 to 75%, depending on the season, and the temperature fluctuates from 10 to 35C. Daily and seasonal parameter fluctuations are noticeable and they are above the approved limits. These fluctuations have been reduced somewhat by the installation of central heating with the possibility of temperature adjustment. High temperatures are noticeable during summer time. The increased relative humidity could initiate active corrosion. The light intensity and ultra violet rays (i.e. the action of daylight) do not influence metal objects since almost all are stored in cupboards and cardboard boxes. Artificial (neon) light is almost not introduced at all because of having sufficient natural light. These parameters do not influence metal objects, apart from the fact that during summer months the storage temperatures become rather high.

The storage windows overlook a street with busy traffic and the highest pollution levels (just one kilometre from an industrial area). Having in mind that the windows have been changed this year, but do not seal perfectly, and that there is no special procedure for storage ventilation, there is the increased danger of harmful gasses being present in the storage area, which influence the appearance of corrosion. Disinfection, deinsectation and deratization (since last year) is carried out by a company that uses reduced quantities of chemical means, which is safe for the museum objects and the employees. The same company takes necessary precautionary measures for pest and biological control. Although the windows and doors are not sealed and the floor and walls are not in a satisfactory condition, we have not noticed the presence of pests and insects that would endanger the metal objects.

89

DIANA #13

KONZERVACIJA

ZBIRKE METALNIH PREDMETA

ZADATAK Revizija Ustanoviti stanje predmeta Napraviti plan i sastaviti spisak predmeta kojima je neophodna detaljna analiza prema rezultatima pregleda AKtivnost Utvrditi brojno stanje predmeta, pregledati postoje}u dokumentaciju i dopuniti je Detaljno analizirati stanje prema utvr|enim formularima Detaljno ispitati predmete u postoje}im laboratorijskim uslovima; ukoliko je neophodno, obaviti analizu u drugim ustanovama; trebalo bi voditi fotodokumentaciju radi utvr|ivanja stanja predmeta Obaviti odgovaraju}i konzervatorsko-restauratorski tretman za predmete koji zahtevaju intervenciju prema planu i rezultatima pregleda

Napraviti plan po kojem }e se obaviti neophodni konzervatorsko-restauratorski tretmani prema rezultatima pregleda

AMBIJENTALNI USLOVI I SME[TAJ

Nabavka termohigrografa obaviti analizu postoje}ih ambijentalnih uslova Kondicionirati predmete u depou Pobolj{ati ambijentalne uslove na osnovu analize i njihovog sistematskog merenja Ostvariti funkcionalni raspored u depou Predvideti prostor za {irenje zbirke Neprekidno pratiti parametre u depou tokom godinu dana Premestiti predmete u adekvatnu ambala`u Adaptirati postoje}i depo (adekvatne karakteristike i oprema) i u taj depo smestiti predmete ili pripremiti depo na novoj, odgovaraju}oj lokaciji Pripremiti plan sme{taja predmeta Proceniti veli~inu prostora za sme{taj novih predmeta (na osnovu procene kustosa)

INSTITUCIONALNE MERE ZA[TITE

Smanjiti rizik u vanrednim situacijama Pobolj{ati na~in rukovanja zbirkom Ustanoviti re`im kontrole zbirke Unaprediti rad konzervatorsko-restauratorske slu`be Ustanoviti re`im pristupa zbirci Pripremiti plan za vanredne situacije Izraditi procedure za rukovanje predmetima, nabaviti odgovaraju}u opremu Pripremiti pravilnik za sprovo|enje kontrolnih pregleda Nabaviti opremu; stru~no usavr{avanje Izraditi pravilnik pristupa zbirci

Tabela 2. Zadaci i aktivnosti za pobolj{anje stanja i smanjenje faktora rizika po metalne predmete

metalne predmete, osim {to u letnjim mesecima temperature u depou dosti`u visoke vrednosti usled zra~enja. Prozori depoa okrenuti su ka jednoj od najprometnijih i najzaga|enijih ulica u gradu (koja je udaljena samo jedan kilometar od industrijske zone). Prozori su ove godine zamenjeni, ali nisu i posebno zaptiveni, a posebna procedura o provetravanju depoa ne postoji, pa se pojavljuje opasnost od pove}anog prisustva {tetnih gasova, onih koji izazivaju pojavu korozije. Dezinfekciju, dezinsekciju i deratizaciju od pro{le godine obavlja preduze}e koje tretman sprovodi uz redukciju hemijskih sredstava; koriste se sredstva ne{kodljiva za muzejske predmete i radnike. U saradnji s tom firmom preduzimaju se i preventivne mere za kontrolu {teto~ina i biolo{ku kontrolu. Iako prozori i vrata nisu zaptiveni, a pod i zidovi se nalaze u lo{em stanju, do sada nije prime}eno prisustvo {teto~ina i insekata koji bi ugro`avali metalne predmete. Najve}i deo predmeta upakovan je u polietilenske kesice, a zatim u kartonske kutije. U kutijama se naj~e{}e nalazi veliki broj predmeta, za koje, osim polietilenskih kesica, ne postoji posebno obezbe|enje u pogledu podr{ke i stabilnosti, {to naro~ito mo`e izazvati strukturne promene. Neki predmeti dodatno su uvijeni u pamu~nu ili papirnu vatu. Manji

deo njih sme{ten je neposredno u kartonske kutije ili na police. Taj vid pakovanja ne mo`e umanjiti spoljne uticaje. Promene na predmetima usled kontakta s materijalom za pakovanje nisu prime}ene. Na osnovu analize ambala`e, to jest na~ina pakovanja metalnih predmeta, zaklju~eno je da je ona delom adekvatna, ali i nepotpuna i nedovoljna u odnosu na odgovaraju}e standarde, i da, kao takva, ne mo`e umanjiti negativne spoljne uticaje. Za obezbe|ivanje povoljne mikroklime potrebna su manja finansijska ulaganja, a mere bi se mogle sprovesti tokom kra}eg perioda, pa bi ta aktivnost bila prvi korak kojim bi se mogli povoljno izmeniti postoje}i uslovi. Za{tita od vanrednih prilika odnosi se na za{titu od po`ara i utvr|ena je pravilima vatrogasne slu`be, bez posebne procedure o za{titi predmeta u takvom slu~aju. U susednom depou nalazi se aparat za ga{enje po`ara na bazi praha pod pritiskom. Aparate na bazi suvog praha pod pritiskom, koji su najvi{e u upotrebi u na{im muzejima, trebalo bi izbegavati, s obzirom na to da je u slu~aju ekscesa gotovo nemogu}e ukloniti prah s predmeta. Posebnu pa`nju trebalo bi obratiti na postoje}e elektri~ne instalacije. Ne postoji posebna procedura ili obezbe|enje u slu~aju drugih ekscesnih situacija.

90

CONSERVATION
Most objects are packed in polyethylene bags and then in cardboard boxes. In most boxes there are a large number of objects, and except for the polyethylene bags they have no other protection to support the stability and significantly reduce structural changes. Some objects are additionally wrapped into cotton or paper wadding. A small number of these are directly placed in cardboard boxes or on shelves. This kind of packing cannot prevent external influences. The object may change as a result of direct contact with the wrapping material. By analysing the wrapping material (i.e. the way in which metal objects have been packed), it has been concluded that it is partially appropriate but incomplete and inadequate to fulfil necessary standards, and as such cannot absorb negative external influences. In order to provide a satisfactory microclimate some minor financial investment is necessary as well a small period of time to implement the changes. This action would present the first step to satisfactorily modify existing conditions. Protection from extraordinary circumstances refers to protection against fire, and it has been established according to the rules of the fire protection service, without separate

DIANA #13

procedures for the protection of objects in this case. In the next storage there is a dry powder fire extinguisher operating under pressure. Such apparatuses ought to be avoided because in the event of an accident it is almost impossible to remove the powder from the objects. Special attention ought to be paid to the existing electrical installations. There is no special procedure or security in case of other accidents. SUGGESTIONS AND DISCUSSION The tasks and activities for improving the condition and reduction of risk factors to metal objects cannot be considered as an isolated system, since they present a whole with other materials found in the storage. Besides metal objects, here are also objects made of ceramics, but objects of organic origin and stone are stored elsewhere. In further consideration, a series of actions and tasks are suggested in order to improve the condition of metal objects and their protection and also to improve their storage conditions. Some measures could be applied at the level of the whole storage, but for some actions the presence of other material, for which considerable analysis has to be

Table 2. Tasks and activities for improving the condition and reduction of risk factors to metal objects METAL OBJECT COLLECTIONS
TASK Revision Confirm the object condition Make the plan and list of objects that need the detailed analyses considering the analyses results ACTIVITY Confirm the number of objects, consider and make additions to the existing documentation Detailed condition analyses as per established forms It is necessary to make the detailed analyses of objects in the existing laboratory conditions; and if necessary to make the check up in other institutions; the photo documentation ought to be led in order to establish the facts of the object condition Perform the appropriate conservation restauration treatment for objects requiring the intervention as per plan and check up results

Make the plan for performance of the necessary conservation restauration treatments considering the check up results

ENVIRONMENT CONDITIONS AND STORAGE

Purchase of thermohygrograph analyses of the existing environment conditions Conditioning the objects in the storage Impove the environment conditions based on the analyses and their systematic measurements Accomplish the functional schedule in the storage Forsee the space for expanding the collection Continiously monitor the parameters in the storage in the time limit of one year Transfer to appropriate wrapping material Transfering the objects into the existing storage, adjusted refference to appropriate characteristics and equipment or organize the storage on the new appropriate location Preparing the plan for placing the objects Make an estimation of space size for storing the new objects (curator estimation)

INSTITUTIONAL PROTECTION MEASURES

Reduce the risk in extraordinary situations Improve the handling of the collection Establish the system of the collection control Improving the operation of the conservation-restauration service Determine the conditions for approaching the collection Prepare the plan for extraordinary situations Make the procedure for handling the objects as well as purchase of appropriate equipment for this need Prepare the book of rules how to carry out the controlled check ups Purchasing the equipment and professional training Prepare the book of rules of how to approach the collection

91

DIANA #13

KONZERVACIJA
predmeta, tu su jo{ i predmeti od keramike, dok se predmeti organskog porekla i oni od kamena nalaze u drugom depou. U tabeli 2 dat je niz aktivnosti i zadataka ~iji je cilj pobolj{avanje stanja metalnih predmeta i njihove za{tite, kao i uslova u kojima se predmeti nalaze. Pojedine mo`emo primeniti na nivou celog depoa, dok se prilikom sprovo|enja nekih aktivnosti mora uzeti u obzir i postojanje drugog materijala, za koji se mora obaviti opse`na analiza. Ovde su navedeni zadaci i aktivnosti bez oznake prioriteta i bez sme{tanja u vremenski okvir, budu}i da je za to potrebna analiza celokupnog arheolo{kog materijala u depou, kao i procena rizika po predmete i odre|ivanje prioriteta. Tabela 2 organizovana je prema nivoima za{tite; u njoj nisu navedena potrebna finansijska sredstva, kao ni stru~njaci i ostali zaposleni koji bi sproveli navedene aktivnosti ({to bi se odnosilo na kustose, konzervatore, tehni~ku slu`bu, upravu muzeja i pravnu slu`bu). Za neke od predlo`enih zadataka neophodno je anga`ovati i stru~njake iz drugih oblasti i institucija. Analiza stanja metalnih predmeta i izrada primenjenog formulara mogu poslu`iti kao uzor za analizu stanja celokupne arheolo{ke zbirke. Po istom principu, uz izvesna prilago|avanja, mogu se obavljati i analize drugih zbirki u muzeju, a zatim i redovni kontrolni pregledi. Na taj na~in postigla bi se znatna efikasnost u radu muzeja, ostvarili bi se uslovi za sprovo|enje odgovaraju}ih projekata, ali i ekonomska u{teda, dok bi predmeti istovremeno dobili stru~nu i adekvatnu za{titu, {to je jedna od osnovnih funkcija muzeja. Autor se zahvaljuje na stru~noj pomo}i Aleksandri D`iki}-Nikoli}, konzervatoru Odeljenja za preventivnu za{titu Dijana, Narodnog muzeja u Beogradu

PREDLOZI I DISKUSIJA Aktivnosti kojima bi se pobolj{alo stanje metalnih predmeta i smanjili faktori rizika po njih ne mogu se posmatrati kao izolovan sistem, jer ti predmeti ~ine neraskidivu celinu sa ostalim materijalom u arheolo{kom depou. Pored metalnih

Predlo`eni tretman

Skala Stepen 0 Tretman nepotreban na dan analize stanja Tretman nepotreban na dan analize stanja Tretman nepotreban na dan analize stanja Nema potrebe za specifi~nim ispitivanjima Nema potrebe za specifi~nim ispitivanjima Nema potrebe za dodatnom foto-dokumentacijom Stepen 1 Tretman po`eljan dugoro~ni plan Tretman po`eljan dugoro~ni plan Tretman po`eljan dugoro~ni plan Ispitivanje dugoro~ni plan Ispitivanje dugoro~ni plan Izrada fotodokumentacije predmeta neophodna na svakih pet godina Neophodno adekvatno pakovanje Stepen 2 Tretman potreban srednjoro~ni plan Tretman potreban srednjoro~ni plan Tretman potreban srednjoro~ni plan Stepen 3 Tretman urgentan kratkoro~ni plan Tretman urgentan kratkoro~ni plan Tretman urgentan kratkoro~ni plan

Konzervacija

Rekonzervacija

Restauracija Ispitivanje (mati~ni muzej) Ispitivanje (druga ustanova)

Ispitivanje neophodno Ispitivanje neophodno za potrebe restauracije, za potrebe konzervacije, urgentno urgentno Ispitivanje neophodno Ispitivanje neophodno za potrebe restauracije, za potrebe konzervacije, urgentno urgentno Izrada fotodokumentacije predmeta neophodna na tri godine Neophodno pobolj{anje ambijentalnih uslova Izrada fotodokumentacije predmeta neophodna svake godine Neophodno adekvatno pakovanje i pobolj{anje ambijentalnih uslova

Fotodokumentacija

Preventivna za{tita

Nema potrebe za dodatnim zahtevima

Tabela 3. Rangiranje predlo`enih tretmana prema hitnosti izvr{enja, odnosno prema stanju metalnog predmeta

92

CONSERVATION

DIANA #13

Suggested treatment

Scale Stepen 0 Treatment not necessary on the day of condition analyses Treatment not necessary on the day of condition analyses Treatment not necessary on the day of condition analyses No need for specific analyses No need for specific analyses No need for additional photo documentation Stepen 1 Treatment desired long term plan Treatment desired long term plan Treatment desired long term plan Analyses long term plan Analyses long term plan Photo documentating of the object necessary every five years Stepen 2 Treatment necessary medium term plan Treatment necessary medium term plan Treatment necessary medium term plan Analyses necessary for restauration, urgent Analyses necessary for restauration, urgent Photo documentating of the object necessary every three years Necessary improvement of environement conditions Stepen 3 Treatment urgent short term plan Treatment urgent short term plan Treatment urgent short term plan Analyses necessary for conservation, urgent Analyses necessary for conservation, urgent Photo documentating of the object necessary every one year Appropriate packing necessary as well as improvement of environement conditions

Conservation

Repeated conservation

Restauration Analyses (museum itself) Analyses (another institution)

Photo documentation

Preventive conservation

No need for additional requirements

Appropriate packing necessary

Table 3. Ranking the suggested treatments as per its urgency i.e. metal object condition

made, must be considered. Here are given tasks and actions without priority designation and time limits, having in mind that for this the analysis of all stored archaeological material is necessary. Table 2 is organized according to levels of protection, and the necessary financial parameters and necessary human resources (i.e. curators, conservators, technical staff, museum management and legal department) are not presented. For some tasks suggested it is necessary to engage professionals from other fields and institutions. The analysis of metal object conditions as well the necessary forms for this need, could be implemented into the analysis of the whole archaeological collection condition. By the same principle, the analyses of other collections in this museum could be made with some modifications, followed by regular check ups. In this way a higher operational efficiency of the museum could be reached as well as providing conditions to fulfil appropriate projects. There would also be economic savings, while at the same time the objects would receive appropriate professional protection, which is one of the basic museum functions. The author wishes to express his gratitude to Aleksandra D`iki}-Nikoli}, conservator of Department for Preventive Conservation Diana, National Museum in Belgrade.

93

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

Marija RADIN, konzervator saradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

PREVO\ENJE TEZAURUSA BAZE PODATAKA EROS NA SRPSKI JEZIK

ODELJENJE ZA PREVENTIVNU ZA[TITU Dijana Narodnog muzeja u Beogradu i Francuski kulturni centar u Beogradu ve} nekoliko godina sprovode projekte stru~nih usavr{avanja muzealaca iz Srbije u kulturnim institucijama u Francuskoj. Saradnja izme|u ovih institucija stvorila je mogu}nost za zaposlene i saradnike Odeljenja Dijana da realizuju vi{emese~ne sta`eve u muzejima i konzervatorskim centrima i laboratorijama. U jesen 2007. provela sam dva meseca u Centru za istra`ivanje i konzervaciju muzeja Francuske C2RMF (Centre de Recherche et de Restaurations des Muses de France) u Parizu, gde mi je zadatak bio da prevodim termine tezaurusa baze podataka EROS na srpski jezik. Centar je osnovan 1998. godine spajanjem Istra`iva~ke laboratorije Direkcije muzeja Francuske i Konzervatorske slu`be Direkcije muzeja Francuske. Centar ~ine ~etiri odeljenja Laboratorija, Konzervacija, Preventivna za{tita i Dokumentacija. Tokom sta`a u Odeljenju za dokumentaciju ostvarila sam dobru saradnju sa @enevjev Etken (Genevive Aitken), {efom Odeljenja za dokumentaciju, i Ruvenom Pilejem (Ruven Pillay), programerom i glavnim administratorom sistema EROS. EROS (European Research Open System) jeste otvorena baza podataka, odnosno otvoren vi{ejezi~ni sistem za pretra`ivanje sadr`aja slika, posve}en razmeni konzervatorsko-

-restauratorskih podataka izme|u institucija kulture (Open Source Multilingual Research System for Image Content Retrieval dedicated to Conservation-Restoration exchange between Cultural Institutions). Evropska zajednica je 1990. godine finansirala projekat pod nazivom NARCISSE (Network of Art Research Computer Image Systems in Europe). On je bio osmi{ljen kao vi{ejezi~na baza podataka (osam evropskih jezika) za dokumentaciju muzejskih konzervatorskih radionica (laboratorija) koje se bave konzervacijom i restauracijom slika na platnu. Nastao je kao rezultat potreba konzervatora da istra`uju, klasifikuju i razmenjuju podatke. Cilj je bio da se u bazu NARCISSE smeste svi izve{taji, ~lanci i komentari o kulturnim dobrima koja su pro{la kroz laboratorije konzervatorsko-restauratorskog odeljenja muzeja Luvr od nastanka odeljenja 1931. godine, kao i svaka digitalizovana fotografija ili radiografski snimak, dosije svake konzervatorske intervencije i obavljene fizi~ko-hemijske analize. C2RMF je 2001. godine konstruisao EROS,1 bazu podataka s mnogo ve}im kapacitetom. EROS je dizajniran za potrebe muzejskih i istra`iva~kih konzervatorskih radionica (laboratorija), kako bi se efikasno koristila velika koli~ina podataka, pre svega vi{ejezi~kih metapodataka (uklju~uju}i i one na ruskom, japanskom, arapskom, {panskom, italijanskom, gruzijskom, estonskom jeziku), kao i kolorimetrijski i multispektralni snimci veoma visoke rezolucije. Zasad je 300.000 fotografskih i radiografskih snimaka, 10.000 tehni~kih izve{taja, 500 trodimenzionalnih objekata i 200.000 analiza 56.000 umetni~kih dela2 dostupno u digitalnoj formi, putem Interneta, svim institucijama u sistemu muzeja Francuske, kao i svim onim stranim dr`avama iz ~ijih su institucija muzejski profesionalci preveli na maternji jezik bazi~ni tezaurus, to jest re~nik osnovnih pojmova. EROS je sistem kompletno otvorenog koda i dostupan pod GNU-ovom op{tom javnom licencom3 (engl. GNU General Public License; skra}eno GNU GPL ili samo GPL). Bazira se na vode}em industrijskom softveru Linux, Apache, MySQL, PHP. Baza EROS svojim domenom obuhvata keramiku, fotografiju, {tampu, crte`, organske materijale, metal, slike

1] U saradnji sa Hewlett-Packardom, koji je pru`io logisti~ku podr{ku. 2] 14th Triennial Meeting The Hague, 1216 September 2005, ICOM Committee for Conservation, Vol. I, 16. 3] GNU-ova op{ta javna licenca {iroko je kori{}ena licenca za slobodni softver; prvobitno ju je napisao Ri~ard Stolman za potrebe projekta GNU. To je licenca koja se koristi za Linuks.

94

EDUCATION AND PROFESSIONAL MEETINGS

DIANA #13

Marija RADIN, conservator Associate of the Departmant for preventive conservation Diana, National Museum in Belgrade

TRANSLATING THE THESAURUS OF THE EROS DATABASE INTO SERBIAN

THE DEPARTMENT for Preventive Conservation Diana, National Museum in Belgrade, together with the French Cultural Centre in Belgrade have been conducting for several years projects for professional training of Serbian museum experts in cultural institutions of France. The cooperation between the two institutions has given the employees and associates of Diana an opportunity for receiving monthslong internships in centres for conservation and laboratories. In the autumn of 2007, I spent two months at the Research and Conservation Centre of French Museums C2RMF (Centre de Recherche et de Restaurations des Musees de France), in Paris, where I was given a task to translate terms from the thesaurus of the EROS database into Serbian. The Centre was established in 1998 by the merge of the Research Laboratory of the French Museums Management and the Conservation Office of the French Museums Management. The Centre consists of departments the Laboratory, Conservation, Preventive Protection, and Documentation. During the course of my internship at the Department for Documentation I have established a close cooperation with Genevieve Aitken, Head of the Department, as well as with Ruven Pillay, programmer and chief administrator of the EROS system. EROS (European Research Open System) is an open database, i.e. an open multilingual research system for image content retrieval, dedicated to conservation-restoration exchange between cultural institutions. In 1990 the European Community funded a project by the name of NARCISSE (Network of Art Research Computer Image Systems in Europe). It was designed as a multilingual database (in eight European languages) for documenting museum conservation workshops (i.e. laboratories) whose activity is conservation and restoration of canvas paintings. The objective was to archive within NARCISSE all reports, articles and commentary on cultural heritage treated in the laboratories of the Conservation-Restoration Department at Louvre ever since its opening in 1193, as well as all digitalised photographs, radiographic recordings, dossiers on all conservation interventions and performed physicochemical analyses. In 2001 C2RMF constructed EROS1, a database with a considerably larger capacity. EROS was designed for the needs of museum and research conservation workshops (i.e. laboratories) in order to handle efficiently a substantial amount of data, mainly multilingual methadata (including data in Russian, Japanese, Arabic, Spanish, Italian, Georgian, Esthonian languages) as well as the ultrahigh resolution colorimetric and multispectral imaging. 300.000 photographic and radiographic images, 10.000 technical reports, 500 three-dimensional objects, and 200.000 analyses of 56.000

works of art2 are thus far available in digital form, on the Internet, to all institutions within the system of museums in France. They are also available to all foreign countries from whose institutions museum professionals have translated into their mother tongues the basic thesaurus i.e. the dictionary of basic terminology. EROS is a system of a completely open code, available within the GNU general public licence3 (abbreviated either as GNU GPL or simply GPL). It is based on the leading industrial software Linux, Apache, MySQL, PHP. EROS database encompasses ceramics, photography, prints, drawings, organic materials, metal, canvas paintings, stone, minerals, i.e. sculptures, textile, and glass. However, upon the first glance, it is apparent that most of the data is currently dedicated to canvas paintings. In the EROS database, data are primarily divided into three main groups data on the very work of art, data on recordings, and documents about cultural heritage. Each of the general categories is divided into several more exact and elaborate subcategories, the details about all subcategories being available to database users. The main groups are: Museum and historical data, as well data on materials of which works of art are made the title, the authors name, school, where it was made, dimensions, dating, materials, techniques, commentaries on the support material or the used technique, locations, marks, signatures and seals, the place where the conservational treatment was conducted, the owner, the place where the object was discovered, the information about the acquisition, the internal C2RMF number, the C2RMF dossier number, the state in which the object is, bibliography, the date of the entry, the data on the author of the entry; Technical data on photodocumentation, i.e. the data regarding every type of recording (photographic, digital, or radiographic) of a work of art the technique of examination, the type of a recording, technical data on a recording, the dating of a recording or video, the photographers name, the purpose of a recording, the place where a recording was archived, the owner and his place of domicile, whether it is an

1] In cooperation with Hewlett-Packard, which provided logistical support 2] 14th Triennial Meeting The Hague, 1216 September 2005, Icom Committee for Conservation, Vol. I, 16 3] The GNU general public licence is a widely used licence for free software. It was originally written by Richard Stallman for the needs of GNU Project. This licence is used for Linux.

95

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

EROS je konstruisan kao vi{ejezi~na baza podataka radi uspe{ne komunikacije izme|u profesionalaca. Termini za prevo|enje grupisani su u tri pomenute kategorije: muzeolo{ki i istorijski podaci i podaci o materijalima, tehni~ki podaci o fotodokumentaciji i tehni~ki podaci o dokumentima. Svaka od tih kategorija podeljena je u vi{e potkategorija, a termini koji pripadaju svakoj potkategoriji prevodiocu su ponu|eni u formi tabele. Svi termini koji se odnose na jednu kategoriju, na primer na kategoriju podloge (od pojma lan do pojma {raf ili lepak za drvo), slo`eni su u posebnu tabelu i svaki termin ima svoj kod ili {ifru. Klikom na taj kod pojavljuje se padaju}i meni koji sadr`i listu prevoda tog termina na nekoliko jezika koji postoje u bazi. Upravo taj vi{ejezi~ki tezaurus poma`e prevodiocu ukoliko postoji nedoumica u vezi s nekim zna~enjem, jer se mo`e proveriti kako je termin preveden na neki drugi jezik. Meni je od najve}e koristi bila engleska terminologija. Tako|e, baza podataka EROS omogu}uje i spoznaju {ireg konteksta u kojem se koristi neki termin. Pomo}u funkcija za pretra`ivanje svih tekstova u bazi na osnovu kori{}ene terminologije prevodilac mo`e da dobije na uvid svaki dokument, konzervatorski dosije, ~lanak ili opis umetni~kog dela u kojem se dati termin koristi. Uvidom u {iri kontekst u kojem se koristi neka re~ sti~e se i bolje razumevanje zna~enja tog termina. Dakle, prevo|enje tezaurusa EROS-a olak{ano je samom strukturom i funkcijama baze. Pored francuskog, najzastupljeniji jezik u bazi jeste engleski. Iako su neki termini prevedeni i na vi{e od deset jezika, ni za jedan jezik nije ura|en kompletan prevod svih termina. Moj boravak je bio previ{e kratak ~ak i za prevo|enje polovine tezaurusa baze. Zato smo @. Etken, R. Pilej i ja napravili izbor osnovnih kategorija koje je trebalo da prevedem. Prevode sam unosila na }iliri~kom pismu. Prvo sam prevela termine interfejsa cele baze podataka. Iz svake od tri glavne kategorije izdvojili smo grupu najop{tijih termina u vezi s podlogom, bojenim slojem, izmenama nastalim na podlozi i bojenom sloju, tehnikama i metodama konzervacije, tehnikama i aparatima za snimanje i tipovima filma, vrstama i tipovima dokumenata i izve{taja. Pri kraju sta`a po~ela sam da prevodim na srpski jezik listu od 300 najzastupljenijih naslova u bazi EROS. Sve je to ura|eno da bi se dalje prevo|enje u najve}oj meri olak{alo i ubrzalo, s obzirom na to da }e ono biti izvedeno putem Interneta. Tek prevo|enje kompletne terminologije tezaurusa baze EROS omogu}i}e automatsku zamenu svih originalnih termina srpskim terminima u svim postoje}im dokumentima koji su uneti u bazu. Svrha tog prevo|enja jeste da stru~njaci u Srbiji mogu da pristupe bazi podataka EROS i da je koriste, {to, pre svega, podrazumeva: mogu}nost pristupa informacijama na srpskom jeziku iz ustanove sa savremenim istra`iva~kim i konzervatorskim laboratorijama; olak{avanje i podsticanje potencijalne profesionalne saradnje; mogu}nost kori{}enja baze EROS kao velikog uporednog profesionalnog re~nika stru~ne terminologije na nekoliko svetskih jezika.

na platnu, kamen i minerale, to jest skulpture, tekstil i staklo. Ipak, na prvi pogled jasno je da je trenutno najvi{e podataka posve}eno upravo slikama na platnu. U bazi EROS podaci su podeljeni, pre svega, u tri osnovne grupe: na podatke o samom umetni~kom delu, podatke o snimcima i izve{taje i dokumente o kulturnim dobrima. Svaka od tih uop{tenih kategorija podeljena je na vi{e preciznijih i detaljnijih potkategorija, a pojedinosti o svakoj od potkategorija lako su dostupne korisniku baze. Osnovne grupe su: muzeolo{ki i istorijski podaci i podaci o materijalima od kojih su izra|ena kulturna dobra naslov, ime umetnika, {kola, mesto nastanka, dimenzije, datiranje, materijali, tehnike, komentari o podlozi ili tehnici izrade, lokacija, oznake, potpisi i pe~ati, mesto obavljanja konzervatorskog tretmana, vlasnik, mesto na kojem je otkriveno, podaci o akviziciji, C2RMF interni (radni) broj, broj dosijea C2RMF-a, stanje u kojem se nalazi, bibliografija, datum unosa podataka, podaci o autoru unosa; tehni~ki podaci o fotodokumentaciji, to jest o svakom snimku nekog dela (fotografskom, digitalnom ili radiografskom) tehnika ispitivanja, tip snimka, tehni~ki podaci o snimku, datiranje snimka ili filma, ime fotografa, svrha snimka, mesto arhiviranja snimka, vlasnik i njegova lokacija, da li je re~ o originalu ili kopiji, kanali boja, podaci o unosu u bazu, to jest vreme i ime osobe; tehni~ki podaci o dokumentima identifikacioni broj dokumenta, tip dokumenta, vreme nastanka i ime autora izve{taja, eventualne napomene, naslov, sastavni elementi podloge, izmene na bojenom sloju, intervencije na podlozi, intervencije na bojenom sloju, tehni~ka bibliografija, ISSIN/ISBN, institucija, to jest vlasnik dokumenta, mesto arhiviranja dokumenta, podaci o datumu i autoru unosa. Pored tih osnovnih kategorija, koje se nalaze u prvom planu, postoji jo{ nekoliko va`nih grupa podataka: kategorija o preme{tanju kulturnog dobra razlozi za preme{tanje, administracija, to jest zahtev, navo|enje odgovornih osoba, izve{taji i sli~no; kategorija o preventivnoj za{titi predmeta; kategorija o analizama i uzorcima; zahtev za obavljanje konzervacije; logisti~ka potpora, odnosno kori{}eni softver. Kori{}enje i pretraga baze izuzetno su laki. Na po~etnoj strani nalaze se tri izdvojene celine. U prve dve nalaze se polja za odabir jezika na kojem }e se podaci ~itati, za odabir domena ili kategorije objekta (na primer: slika na platnu, skulptura, metal itd.), `eljenog tipa i formata dokumenta (tabela, samo slika, HTML format, hronolo{ki redosled itd.); broj rezultata pretrage mo`e se ograni~iti. Zatim slede tri tabele osnovnih kategorija po kojima se obavlja pretraga podaci o kulturnom dobru, o snimcima i podaci o dokumentima. Pored svake od tih kategorija nalazi se ikona za padaju}i meni, na kojem su ponu|ene opcije ograni~ene izborom domena, to jest kategorije objekta. Da bi proces pretrage baze otpo~eo, dovoljno je da se unese podatak o tra`enom delu u bilo koje od tih polja i da se klikne komanda za pretragu (ili tipka enter). Dobijeni rezultati opet su podeljeni u tri glavne kategorije i korisnik bira ono {to mu je potrebno, na primer izve{taj o konzervatorskoj intervenciji ili tehni~ke podatke o tipu snimka.

96

EDUCATION AND PROFESSIONAL MEETINGS

original or a copy, the colour channels, the data regarding the base entry, i.e. who made the entry and when; Technical data regarding documents identification number of a document (document ID), document type, the time of creation and name of the reports author, possible comments, the title, original elements of the support, painted layer alteration, support restorations, interventions on the coloured layer, technical bibliography, ISSIN/ISBN, institution, i.e. the documents owner, where it was archived, the data regarding the date of the entry and its author. Apart from the basic categories, included in the first plan, there are several more data groups: The category of the transfer of objects the reasons for the transfer, administration, i.e. the motion, naming the persons in charge, reports, and similar; The category of preventive conservation of objects; The category of analyses and specimens; The request to perform conservation; The logistical support, i.e. the utilised software. Using and searching the database is rather simple. There are three separate wholes on the opening page. In the first two there are fields for choosing the language in which the data will read, for choosing the object domain and category (for instance: canvas painting, sculpture, metal, etc.), the desired type and format of a document (i.e. tables, the painting only, HTML format, chronological order, etc). The number or search results can be limited. Then follow three tables with main categories on the basis of which the search is conducted the data about the work of art and recordings as well as the data about the documents. Next to every of the three categories there is a dropping menu icon, which offers options limited by choice of the domain, i.e. the objects category. To initiate the search process it is sufficient to enter the information about the needed piece in any of the three fields and click the search control (or the enter key). The obtained results are again divided into three main categories and the user chooses the ones he or she needs for instance the report on the conservation intervention or technical information on the type of recording. EROS is constructed as a multilingual database for successful communication amongst professionals. The terminology due to be translated is divided into three abovementioned groups: museological, historical, and the data on materials; technical data on photo documentation; and technical data on the documents. Each of the categories is divided into several subcategories, whilst the terms belonging to every subcategory are offered to the translator as tables. All terminology relating to one category the support category (from the word linen, to the words bolt or wood glue) is sorted in a separate table and every term has its own name and code. By clicking the code a dropping menu appears which contains a list of its translations into several languages existing within the database. This particular multilingual thesaurus aids the translator if certain senses are unclear, because he can check how the term translates into another language. For me English terminology was of the utmost importance. Furthermore, the EROS database enables cognition of a broader context in which a given term is used. By using functions for searching all da-

DIANA #13

tabase texts, the translator can get an insight into every document, conservation dossier, article, or the description of a work of art in which the given term was used. By this insight into the broader contexts of its use, we gain a better understanding of the terms meaning. Therefore the translation of the EROS thesaurus is facilitated by the databases very structure and functions. With the exception of French, the English language is the most present within the base. Although some terminology has been translated into more than ten languages, the complete translation of all terms has not yet been performed for any of the languages. My stay in Paris was of such brevity that I was not able to translate even half of the database thesaurus. Therefore J. Eiken and I made a selection of the basic categories that I was supposed to translate. I entered the translations in Cyrillic. First I translated the interface terminology of the entire database. From all of the three main categories we selected a group of the most general terms regarding support materials, painted layer, the changes made on the support an the painted layer, conservation techniques and methods, recording techniques and devices, types of film, types of documents and reports. At the end of my internship I started translating into Serbian a list of 300 most numerous titles in the EROS database. This was all performed to maximally facilitate and expedite further translations, for it will be conducted through the Internet. The translation of the entire terminology of the EROS thesaurus database will enable automatic replacement of all original terms with terms in Serbian in all existing documents, which are entered into the database. The aim of this translation is to enable the access of Serbian experts to the EROS database, which chiefly includes: The possibility to access the data from an institution with contemporary research and conservation laboratories, in Serbian language; The facilitation and stimulation of potential professional cooperation; The possibility to use the EROS database as a comprehensive professional dictionary of technical terminology in several world languages. What is needed for the use of EROS in Serbia? To access via the Internet that level of the database that allows entering changes into the thesaurus, the administrators permission and some technical requirements, such as a fixed IP address, are needed.4 A cultural Institution from Serbia establishes cooperation with C2RMF and is assigned a user name and password for Internet access to the database. And ultimately, to ensure that the translation of the terms is correct, a close cooperation is established among the translator and the database administrators and conservers specialised for all materials, as well as with other experts in the field of physico-chemical analyses, techniques of photographing, etc. The internship has offered me an insight

4] The IP address is a unique number that registers the Internet presence of a particular device at a given moment, by using the Internet protocol.

97

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

Princip po kojem je EROS napravljen sveobuhvatan je, funkcionalan i lak za kori{}enje, pa zato mo`e da poslu`i kao model za konstruisanje nekih drugih baza u budu}nosti. Smatram da su zaposleni u C2RMF veoma zainteresovani za stru~nu saradnju i razmenu iskustava. Konstruisanje tako obimne baze podataka i njeno funkcionisanje najbolja su preporuka za ulogu savetodavca.

[ta je potrebno da bi se EROS koristio i u Srbiji? Da bi se putem Interneta pristupilo onom nivou baze na kojem je dozvoljeno uno{enje izmena u tezaurus, potrebna je dozvola administratora, uz neke tehni~ke pretpostavke, kao {to je fiksna IP adresa.4 Kulturna institucija iz Srbije uspostavlja saradnju sa C2RMF i dobija korisni~ko ime i lozinku za pristup bazi putem Interneta. I, na kraju, da bi prevod termina bio ta~an, neophodna je bliska saradnja prevodioca i administratora baze s konzervatorima specijalizovanim za sve materijale, kao i s drugim stru~njacima iz oblasti fizi~kohemijskih analiza, tehnika fotografisanja itd. Sta` mi je pru`io uvid u na~in funkcionisanja obimne baze podataka.

4] IP adresa je jedinstven broj kojim se registruje prisustvo odre|enog ure|aja na Internetu u datom trenutku, uz kori{}enje Internet protokola.

Danijela STOJILJKOVI], konzervator Nata{a KRSTI], konzervator saradnici Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

POSETE DEPOIMA ARHEOLO[KOG MATERIJALA U FRANCUSKOJ

ODELJENJE ZA PREVENTIVNU ZA[TITU Dijana Narodnog muzeja u Beogradu ve} nekoliko godina aktivno sara|uje s Francuskim kulturnim centrom u Beogradu u sprovo|enju edukativnih programa u oblasti preventivne za{tite, konzervacije i restauracije kulturnih dobara. Kao dugogodi{njim saradnicima Dijane i stipendistima francuske vlade, bilo nam je omogu}eno stru~no usavr{avanje iz oblasti preventivne i arheolo{ke konzervacije. Sta` Nata{e Krsti} u Laboratoriji za konzervaciju, restauraciju i istra`ivanja Arheolo{kog centra u Varu (Laboratoire de Conservation Restauration et de Recherches du Centre Archologique du Var) trajao je tri meseca, od oktobra do decembra 2007. godine. Danijela Stojiljkovi} je od 3. do 21. septembra 2007. godine sta`irala na arheolo{kom lokalitetu Marijana na Korzici, u okviru projekta Laboratorije za srednjovekovnu arheologiju na podru~ju Mediterana, Mediteranski centar dru{tvenih nauka (C.N.R.S. Laboratoire dArchologie Mdivale Mditerranenne, Maison Mditerranenne des Sciences de lHomme). Drugi deo obuke odvijao se u depou u Le Miju (Le Muy), region Var, od 2. do 18. oktobra 2007. godine i podrazumevao je u~e{}e u programu kondicioniranja materijala s razli~itih arheolo{kih lokaliteta. Na{a stru~na usavr{avanja organizovao je @ak Ribijer (Jacques Ribire), mentor, direktor Laboratorije za konzervaciju, restauraciju i istra`ivanja u Draginjanu Arheolo{kog centra regiona Var. U toku sta`iranja imale smo priliku da posetimo nekoliko depoa arheolo{kog materijala. Depo na arheolo{kom lokalitetu Marijana, Korzika Obuka Danijele Stojiljkovi} podrazumevala je upoznavanje sa osnovnim principima preventivne za{tite i dokumentacije, kao i sa svim drugim aktivnostima koje su se odnosile

na na~in funkcionisanja u tom depou.1 Obra|ivan je materijal sa ovogodi{njih sistematskih iskopavanja2 U depou su obavljani trija`a, klasifikacija, inventarisanje, kondicioniranje i odlaganje pokretnog arheolo{kog materijala pristiglog s terena.3 Nakon zavr{ene trija`e i sortiranja po vrsti sav materijal pakuje se u polietilenske4 kesice s nazna~enim jedinstvenim brojem US,5 koji se unosi u bazu podataka. Tako obra|en materijal dalje se raspore|uje u odgovaraju}u ambala`u, u zavisnosti od vrste i sektora kojem pripada. Staklo i metal odla`u se u hermeti~ki zatvorene polipropilenske transparentne kutije, a keramika se, s obzirom na koli~inu,

1] Depo je privremenog karaktera i nalazi se u prizemlju privatne ku}e, a zgrada u koju }e predmeti biti trajno sme{teni jo{ uvek nije renovirana i opremljena na odgovaraju}i na~in. 2] Re~ je o vi{egodi{njim sistematskim iskopavanjima rimske kolonije koja je osnovana u I veku p. n. e. i u diskontinuitetu naseljavana do XIII veka n. e. Ove godine obavljena su istra`ivanja ju`nog dela anti~kog grada, paleohri{}anskog episkopskog kompleksa i jo{ nekoliko manjih konstrukcija. 3] Po preporuci @aka Ribijera, od pro{le godine i na terenu se koriste polipropilenske kutije modularnog tipa, {to umanjuje uticaj klimatskih faktora na arheolo{ke predmete (nagle promene relativne vla`nosti i temperature, prisustvo svetla i aerozaga|enja itd.) od njihovog va|enja iz zemlje do trenutka kada se trajno kondicioniraju. Kutije se tako|e mogu koristiti u kombinaciji s polietilenskim zip kesicama, {to je neophodno kada je re~ o fragilnom materijalu, poput stakla i metala. 4] PE skra}enica koja se dalje koristi u tekstu. 5] US unite stratigrafie, stratigrafska jedinica ta skra}enica koristi se u nastavku teksta. Broj US-a sadr`i broj sektora i otkopnog sloja.

98

EDUCATION AND PROFESSIONAL MEETINGS

into how large databases function. The underlying principle of EROS is all encompassing, functional and user-friendly. Thus it can be used as a model for constructing some other databases in the future. My opinion is that the employees

DIANA #13

at C2RMF are rather interested in cooperation among experts and in sharing experience. The construction of such a broad database and its successful functioning are the best recommendation for their role of adviser.

Danijela STOJILJKOVI], conservator Nata{a KRSTI], conservator The associates of Department for Preventive Conservation Diana, National Museum, Belgrade

VISITS TO DEPOTS OF ARCHAEOLOGICAL MATERIAL IN FRANCE

DEPARTMENT FOR PREVENTIVE CONSERVATION Diana, National Museum, Belgrade has been actively cooperating for several years with Belgrades French Cultural Centre. They cooperated on the organisation of educational programmes in the field of preventive protection, conservation, and restoration of cultural treasures. Being both associates of Diana and scholarship holders of French government for many years, we were given the opportunity of a professional specialisation in the field of preventive and archaeological conservation. Natas Krsti}s internship at the Laboratory for Conservation, Restoration, and Research of the Archaeological Center in Var (Laboratoire de Conservation Restauration et de Recherches du Centre Archologique du Var) lasted three months from October to December 2007. Danijela Stojiljkovi} held from 3rd October to 21st September 2007 an internship at the archaeological site of Mariana, Corsica, as part of a project called the Laboratory for Medieval Archaeology in the Mediterranean, of the Mediterranean Center for Social Sciences (C.N.R.S. Laboratoire dArchologie Mdivale Mditerranenne, Maison Mditerranenne des Sciences de lHomme). The second part of training took place at Le Muy Depot, Var region, from 2nd August to 18th October 2007. It involved participation in a programme of conditioning materials from different archaeological sites. Our professional specialisations were organised by a mentor, Jacques Rebier (Jacques Ribire), the manager of the Draguignans Laboratory for Conservation, Restoration and Research, of the Archaeological Center at Var. During our internship we were given an opportunity to visit several depots of archaeological material. The depot at the archaeological site of Mariana, Corsica Danijela Stojiljkovi}s training involved getting acquainted with the basic principles of preventive protection and documentation, as well as all other activities pertaining to the manner in which the depot functioned.1 The material obtained during this years systematic excavations was processed.2 Triage, classification, inventory making, conditioning,

and filing away of the movable archaeological material gathered from fieldwork3 were conducted in the depot. After the conducted triage and the sorting of materials according to their type, all the material is packed into polyethylene bags4 marked with the unique US 5 number, which is entered into the database. Thus processed material is then placed into suitable containers, depending on its type and sector. Glass and metal are stored into hermetically sealed polypropylene transparent boxes, whereas ceramics is, due to its quantity, put into large polypropylene boxes. Into the boxes filled with metal a relative humidity indicator and a desiccant are placed, as well as silica gel and clay6, which is being increasingly utilised due to the fact that it can reach a wanted degree of relative humidity and that it is more pliable.

1] The depot was temporary. It was on the ground floor of a private house, whereas the building in which all the items were supposed to be placed had not yet been renovated and adequately furnished. 2] These excavations are systematic excavations of a Roman colony founded in 1st century BC, discontinuously populated since 13th century AD. Explorations of the south part of this ancient city, the Paleochristian episcopal complex and several smaller constructions were conducted this year. 3] On Jacques Rabiers recommendation, polypropylene boxes of a modulatory type are also utilised in fieldwork, starting from last year. This reduced the influence of climatic factors (sudden changes of relative humidity and temperature, the presence of light and aero pollution, etc) on archaeological items-from their excavation until the moment they are permanently conditioned. The boxes may also be utilised in combination with polyethylene zipper bags- necessary for fragile materials, such as glass and metal. 4] Further on in the text the abbreviation PE will be used. 5] The abbreviation US unite stratigrafie, i.e. stratigraphic unit, will be used further on in the text. This number consists of the number of sector and the excavation layer. 6] Monmorilonit (Montmorillonite Al2O3-4SiO2-H2O) is a type of finely granulated clay, capable of absorbing great quantities of water. It can be found on the market under different names, depending on the manufacturer. It comes in bags of various sizes. Its great advantage is that it is not toxic, unlike silica gel.

99

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

du koja je nekad pripadala `andarmeriji; obuhvata nekoliko manjih prostorija u kojima su montirane drvene police. Tokom sta`a Danijela Stojiljkovi} u~estvovala je u programu revizije i rekondicioniranja materijala, {to je podrazumevalo potpuno ili delimi~no zamenjivanje postoje}e ambala`e polietilenskim kesicama i polipropilenskim kutijama (sl. 2). Predmeti su ranije bili odlagani u neadekvatnu ambala`u: kartonske kutije, metalne kutije za cigarete, drvene fioke, koverte i PVC7 kese. Materijal je odvajan po vrsti i odlagan u polietilenske kesice i manje polipropilenske kutije, a zatim u kutije ve}ih dimenzija. Na kutije i u kese stavljene su etikete na kojima su nazna~eni: naziv lokaliteta i kontekst, godina iskopavanja i vrste materijala u kutiji. U zavisnosti od lokaliteta kojem materijal pripada, kutije se raspore|uju u nekoliko manjih prostorija i odla`u na drvene police. Ni u ovom depou ne postoji klimatizacija, a kontrola i regulacija vlage u kutijama obavlja se samo u slu~aju kondicioniranja metala, i to pomo}u kesica s glinom i indikatora relativne vla`nosti. Po istom principu organizovani su sme{taj i rekondicioniranje materijala i u depou u Fre`isu (Frjus), koji tako|e pripada regionu Var. Depoe o kojima }e biti re~i obi{le smo u okviru kratkih jednodnevnih poseta i tom prilikom upoznale smo se sa osnovnim principima njihove organizacije i funkcionisanja. Depo u Viltelu Regionalna arheolo{ka slu`ba, region LangedokRusijon [Dpt Villetelle Service Rgional de lArchologie (SRA), rgion LanguedocRoussillon] Depo je sme{ten u neodgovaraju}i prostor, u staru ku}u kamenih zidova i s drvenom krovnom konstrukcijom. S obzirom na to da se kontrola i regulacija vlage i temperature ne obavljaju, nivo vla`nosti je povi{en. Veliki deo materijala samo je odlo`en na drvene police ili spakovan u neadekvatnu ambala`u (kartonske kutije i PVC kese) (sl. 3). U istoj prostoriji, pored polica, nalaze se i alatke, kao i razli~ita oprema koja se koristi na terenu. Re~eno nam je da se od pro{le godine materijal koji sti`e sa iskopavanja odmah pakuje na adekvatan na~in u polietilenske kesice i polipropilenske kutije. Odnedavno se obavlja i rekondicioniranje materijala s ranijih iskopavanja. Svi podaci se digitalizuju i unose u odgovaraju}u bazu podataka. Depoi u Muzeju antike Arla i Provanse (Dpts Muse de lArles et de la Provence antiques) Prilikom ove posete imale smo priliku da prvi put vidimo na koji na~in funkcioni{e i kako je organizovan jedan muzejski depo u Francuskoj. Postoji zaseban prostor u koji se materijal doprema i u kojem se obavlja trija`a, zatim depo na

odla`e u velike kutije od polipropilena. U kutije u koje je sme{ten metal stavlja se indikator relativne vla`nosti i desikant, silika gel ili glina,6 s tim {to je glina sve vi{e u upotrebi zbog br`eg postizanja `eljenog stepena relativne vla`nosti i lak{e manipulacije. Fauna se odla`e u polietilenske kese i ~uva u kartonskim kutijama na kojima je nazna~en broj sektora. Nalazi kao {to su {koljke i karbonizovani ostaci tako|e se pakuju u polietilenske kese ili manje polietilenske/polipropilenske kutije; zatim se zajedno odla`u u ve}e polipropilenske kutije sa istim brojem sektora (sl. 1). Nakon zavr{enog rekondicioniranja kutije se odla`u u metalne ormane ili na drvene police. U bazu podataka Microsoft Access unose se podaci koji su neophodni za identifikaciju predmeta: inventarski broj, stratigrafska jedinica i sektor u kojem je predmet prona|en, tipologija i koli~ina. Depo u Le Miju Oblasna arheolo{ka slu`ba, region Var (Dpt Le Muy Ple Archologique dpartemental, rgion Var) Sam depo je kompleksnog tipa jer se, za razliku od arheolo{kog depoa na Marijani, u njemu nalazi materijal s vi{e lokaliteta. Depo je privremenog karaktera i sme{ten je u zgra-

Sl. 1. Polipropilenske kutije modularnog tipa Fig. 1. Polypropylene boxes of a modulatory type

6] Monmorilonit (Montmorillonite Al2O3-4SiO2-H2O) jeste vrsta gline fine granulacije, koja ima sposobnost da apsorbuje velike koli~ine vode. Mo`e se na}i na tr`i{tu pod razli~itim nazivima, u zavisnosti od proizvo|a~a. Pakuje se u vre}ice razli~itih veli~ina, a velika prednost je to {to nije toksi~na, za razliku od silika gela. 7] PVC skra}enica za polivinil-hlorid.

100

EDUCATION AND PROFESSIONAL MEETINGS

DIANA #13

Sl. 2. Rekondicioniranje u depou u Le Muju Fig. 2. Reconditioning in the depot in Le Muy

Sl. 3. Izgled depoa u Viltelu Fig. 3. The depot in Villetelle

Fauna is placed into polyethylene bags and kept in cardboard boxes, marked with the sector number. Findings such as shells and carbonised remains are also packed into polyethylene boxes or smaller polyethylene/polypropylene boxes, upon which they are placed into bigger polypropylene boxes with the same sector number (Fig. 1). After reconditioning is completed, the boxes are stored into metal cabinets or onto wooden shelves. Into Microsoft Access database the data necessary for identification of items is entered: the inventory number, stratigraphic unit, the sector where the item was found, typology, and quantity. The depot in Le Muy the District Archaeological Service, in the Var Region (Dpt Le Muy Pole Archologique dpartemental, rgion Var) This depot is a complex of buildings. Unlike the archaeological depot in Mariana, it contains materials from numerous archaeological sites. This depot is of a temporary character. It is situated in a building that formerly belonged to the gendarmerie. It consists of several not particularly spacious rooms, with wooden shelves installed inside. During her internship, Danijela Stojiljkovi} participated in a programme of material revision and reconditioning, which involved complete and partial substitution of existent containers with polyethylene bags and polypropylene boxes (Fig. 2). Those items were previously placed into inadequate containers: cardboard boxes, metal cigar boxes, wooden drawers, envelopes, and PVC7 bags. The material was sorted according to its type and placed into polyetelyne bags and smaller polypropylene boxes, and subsequently into boxes of greater dimensions. Onto the boxes and bags labels were placed with the name of the site and its context, the year of excavation and the type of the material in the box. Depending on the site to which the material pertains, the boxes are divided into several smaller rooms, and placed onto the wooden shelves. There is no climatisation in this depot as well, thus the control and regulation of humidity in the boxes is conducted solely in the case of metal conditioning with the use of clay bags and the relative humidity indicator.

The position and recondition of materials are conducted in the same principle as in the depot at Frejus, which also belongs to the Var Region. We visited the depots that will be discussed during brief daily rounds. That is when we got acquainted with the basic principles of their organisation and functioning. The depot in Villetelle the Regional Archaeological Service, the Langduedoc-Roussillon Region [Dpt Villetelle Service Rgional de lArchologie (SRA), rgion LanguedocRoussillon] The depot is situated in an inadequate space in an old house with stone walls and a wood roof construction. Due to the fact that the control and regulaion of humidity and temperature are not conducted, the level of humidity is increased. A big portion of the material is simply set aside on woodem shelves or placed into inadequate containers (cardboard boxes or PVC bags) (Fig. 3). In the same room, apart from the shelves, there are tools, as well as divesre equipment used in the fieldwork. We were told that ever since last year, the material gathered in excavations is immediately packed adequately into polyeylene bags and polypropylene boxes. And of lately the reconditioning of materials from previous excavations is also conducted. All data is digitalised and entered into an appropriate database. The depots in the Arles and Provence Museum of Antiquities (Dpts Muse de lArles et de la Provence antiques) We were given the opportunity to see for the very first time how a museum depot in France functions and how it is organised. There is a separate room into which material is delivered and triage conducted. There is also a depot upstairs for storing and preserving movable archaeological material, and one depot on the ground level for storing stone sculptures, mosaics, and other movable materials of

7] PVC the abbreviation for polyviniychlorid

101

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

problemima koji se susre}u u pojedinim depoima. Mogle smo da zaklju~imo da su organizacija i vo|enje arheolo{kog depoa vrlo slo`en proces, koji podrazumeva saradnju veli-

spratu za sme{taj i ~uvanje pokretnog arheolo{kog materijala i depo u prizemlju za odlaganje kamene plastike, skulpture, mozaika i drugog pokretnog materijala ve}ih dimenzija. Dobra organizacija prostora ostvarena je postavljanjem kliznih polica (sl. 4) za odlaganje pokretnog materijala, kao i kliznih panoa za fragmente mozaika. U muzeju postoji centralni sistem za klimatizaciju njime se reguli{u vrednosti Rh i T tako da zadovoljavaju uslove za odlaganje i ~uvanje arheolo{kih predmeta sme{tenih u depo.8 Proces rekondicioniranja nije zavr{en, ali je ve}i deo materijala adekvatno spakovan i odlo`en u nove kutije, PE kesice, a u nekim slu~ajevima kori{}ena je PE pena za izradu podloga i podupira~a, kako bi se ostvarila fizi~ka stabilnost predmeta. Osmi{ljen je sistem za obele`avanje kutija koji omogu}uje lak pristup i pronala`enje relevantnih podataka unetih u bazu podataka FileMaker Pro. Regionalni arheolo{ki depo u Le Milu, podru~je Provansa Alpi Azurna obala (Dpt Archologique Regionale Les Milles, rgion Provence Alpes Cote dAzur) Depo se nalazi u nenaseljenoj oblasti u blizini Eks an Provansa i predvi|en je za sme{taj velike koli~ine materijala iz ~itavog regiona. Zgrada depoa namenski je projektovana, a zavr{ena je 2006. godine; funkcionalno je podeljena na vi{e celina. Ispred zgrade nalazi se prostor za parkiranje, a sa strane su slu`bene prostorije. Postoji stalno fizi~ko obezbe|enje, kao i sigurnosna kapija na ulazu u dvori{te. U blizini se nalaze ve}i broj skladi{ta i benzinska pumpa. Sam depo zapravo je velika hala, podeljena na dva nivoa koja su povezana stepenicama i liftom. Postoji samo ve{ta~ko osvetljenje, a klima je regulisana centralnim sistemom. Ulaz u depo projektovan je tako da omogu}uje pristup ve}im vozilima kojima se doprema materijal, a on se potom dalje razvozi transportnim kolicima. Na donjem nivou materijal se odla`e na drvene palete, koje se postavljaju u odgovaraju}a le`i{ta na metalnoj konstrukciji. Po tom principu lako i brzo dobijaju se monta`ne police pogodne za sme{taj materijala razli~itih dimenzija. Materijal se odla`e u PE i PP kutije razli~itih veli~ina ili u PE kese, koje se sme{taju u drvene monta`ne kutije ve}ih dimenzija. Deo materijala spakovan je i u kartonske kutije. Ve}i predmeti, kao amfore, postavljaju se neposredno na drvene palete i fiksiraju komadima PE pene, mada je to samo privremeno re{enje (sl. 5). Na gornjem nivou nalaze se klizne i monta`ne metalne police za sme{taj predmeta manjih dimenzija, prethodno spakovanih u PP ili kartonske kutije. Budu}i da je visina monta`nih polica neadekvatna, kutije koje su odlo`ene na najvi{e police dose`u do instalacija i lampi. Na ovom nivou predvi|ena je i radionica za konzervaciju. Trija`a, pranje i su{enje fragmenata keramike obavljaju se u zasebnom prostoru u prizemlju zgrade. Svi podaci o predmetima i mestu njihovog odlaganja unose se u bazu podataka FileMaker Pro. Zahvaljuju}i obilasku pomenutih depoa i obavljenoj praksi u nekima od njih, upoznale smo se s razli~itim sistemima odlaganja i ~uvanja arheolo{kog materijala, kao i s

Sl. 4. Klizne police u jednom od depoa muzeja u Arlu Fig. 4. The sliding shelves in one of the depot in Arles

kog broja stru~njaka, po~ev od arhitekte, kustosa, konzervatora itd. Ta saradnja je neophodna kako bi namena i funkcija samog depoa bile u potpunosti ostvarene, a sme{taj i ~uvanje materijala propisno i adekvatno sprovedeni. U praksi se, me|utim, pokazalo da neki depoi u Francuskoj ne zadovoljavaju sve standarde, kao i to da postoje brojni nedostaci prouzrokovani lo{im planiranjem i organizovanjem depoa. Postupak rekondicioniranja koji se intenzivno sprovodi u tim depoima ipak zna~ajno doprinosi pobolj{avanju uslova odlaganja i ~uvanja predmeta njihovoj za{titi od dejstva neadekvatnih mikroklimatskih uslova i svo|enju rizika od mehani~kih o{te}enja na minimum. Zahvaljuju}i posetama pomenutim institucijama, bolje smo se upoznale s razli~itim segmentima sprovo|enja adekvatne za{tite pokretnog arheolo{kog materijala, koja je veoma va`an aspekt o~uvanja kulturnog nasle|a.

8] U depou u koji su sme{teni keramika, staklo i metal Rh je 37%, a temperatura 29C; u vezi s drugim depoom, u koji su sme{teni kamena plastika, mozaici, sarkofazi i skulpture, nemamo nikakvih podataka.

102

EDUCATION AND PROFESSIONAL MEETINGS

bigger dimensions. The room was well organised due to the set sliding shelves (Fig. 4) for storing movable materials and to sliding boards for mosaic fragments. There is a central air-conditioning system in the museum, which regulates the Rh and T values so as to meet the requirements for storing and preserving the archaeological items stored at the depot8. The process of reconditioning is not completed, but the majority of the material is adequately packed and set aside into new boxes and PE bags. In certain cases PE foam was used for the making of bases and pillars in order to achieve physical stability of the objects. A system was designed for the labelling of boxes, which enabled easy access and the finding of relevant data entered into the FileMaker Pro database. The Regional Archaeological Depot in Les Milles, the Provence-Alps-Cote dAzur district (Dpt Archologique Regionale Les Milles, rgion Provence Alpes Cote dAzur) The depot is situated in an unpopulated area near Aix-anProvence and it is supposed to store large quantities of materials from the entire region. The depot building was projected for this designated purpose, being completed and functionally divided into several units in 2006. There is a parking lot in front of the building, with offices surrounding it. There are security guards at all times and a security gate at the yard entrance. A considerable number of warehouses and a gas station are nearby. The depot itself is in fact a hall of considerable dimensions, divided into two levels linked by stares and a lift. There is only artificial lighting and the air conditioning is regulated by a central system. The entrance into the depot is projected in such a manner that it enables access to bigger vehicles, used for shipping the material that is later on hauled off by transport carts. On the ground level, the material is placed onto wooden palettes, set into suitable bearings on a metal construction. Thus prefabricated shelves suitable for storing materials of various dimensions are easily and quickly created. The material is also stored into PE and PP boxes of different size or into PE bags, placed into wooden boxes of larger dimensions. One part of the material is packed into cardboard boxes. Bigger items, such as amphorae, are placed directly onto wooden palettes and fixed with the use of PE foam, though this is just a provisional solution (Fig. 5). On the upper floor there are sliding and prefabricated metal shelves used for storing materials of smaller dimensions, previously packed into PP or cardboard boxes. Because the height of the prefabricated shelves is inadequate, those boxes placed onto the highest shelves reach up to the installations and lamps. A workshop for conservation is planned to be located on this floor. The triage, washing and drying of ceramic fragments are conducted into a separate room on the buildings ground floor. All the data on the items and their storing place are entered into the FileMaker Pro database. Owing to the visits to the abovementioned depots and the internship in some of them, we got acquainted with various systems of storing and preserving archaeological material, as well as with the problems existing in each of

DIANA #13

these depots. We were able to realise that the organisation and management of archaeological depots is a rather complex process that involves cooperation among a substantial number of experts, from architects to custodians, conservators, etc. This cooperation is crucial so that the purpose and function of the depot are fully realised, and the storing

Sl. 5. Izgled depoa u Le Miju Fig. 5. The depot in Les Milles and preservation of material duly and adequately performed. However, practice proved that some depots in France do not meet all the standards, and that there are numerous shortcomings caused by inadequate planning and organisation of the depots. The procedure of reconditioning, intensively performed in the depots, significantly contributes to the creation of better conditions for storing and preservation of the items, and also to their protection from the influence of inadequate microclimatic conditions and minimalisation of the risks of mechanical damage. We became more familiar with the diverse segments of the execution of adequate protection of the movable archaeological material, which is an important aspect of the cultural heritage preservation.

8] In the depot where ceramics, glass and metal are stored Rh is 37%, whereas the temperature is 29C. We have no data on the other depot in which stone sculptures, mosaics, sarcophaguses, and sculptures are stored.

103

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

Ana @IVKOVI], konzervator saradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

IZVE[TAJ O STA@IRANJU U REGIONALNOJ LABORATORIJI ZA KONZERVACIJU I RESTAURACIJU A.R.R.E.P. U FRANCUSKOJ

STA@ KOJI SAM OBAVLJALA u Regionalnoj laboratoriji za konzervaciju i restauraciju A.R.R.E.P. (Atelier rgional de restauration des lments du patrimoine) u Seru (Seurre), u Francuskoj, trajao je dva meseca, od 1. oktobra do 30. novembra 2007. godine, i obuhvatao je obuku iz konzervacije i restauracije stakla, porcelana i fajansa. Laboratorija za konzervaciju i restauraciju ARREP formirana je 1985. godine u okviru dr`avnog plana iz 19841988. godine, radi unapre|ivanja, ~uvanja i prezentacije kulturnog nasle|a. U njoj se obavlja konzervatorski i restauratorski tretman predmeta iz muzeja u regionu i iz privatnih kolekcija. U laboratoriji, kojom rukovodi direktorka Ivona @iboto (Yvonne Giboteau), konzervator arheolo{ke keramike, stalno je zaposlen i konzervator za porcelan i fajans. U okviru ARREP-a nalaze se biblioteka, kancelarija, sala za sastanke, manji depo za sme{taj konzerviranih predmeta i foto-studio. Moja obuka sastojala se od svakodnevnog prakti~nog rada na konzervaciji i restauraciji predmeta od stakla, porcelana i fajansa. Tokom dvomese~nog sta`a stekla sam teorijska i prakti~na znanja koja se ti~u upotrebe razli~itih materijala i tehnika u konzervaciji, zatim za{tite predmeta, za{tite na radu i dokumentacije. Deo sta`a ~inila je i poseta Laboratoriji za konzervaciju, restauraciju i istra`ivanje u Draginjanu (Laboratoire de conservation, restauration et recherches de Draguignan, centre archologique du Var). Laboratorija je sastavni deo Arheolo{kog centra u Varu. Prilikom posete upoznala sam se s metodama rada koje se primenjuju u toj laboratoriji, a ti~u se konzervacije i restauracije keramike i metala, preventivne za{tite i za{tite na radu. Konzervacija stakla U toku sta`a konzervirala sam {est predmeta od stakla i staklene paste. Re~ je o nekoliko fragmenata anti~kog stakla, medaljonu i perli od staklene paste koji pripadaju Arheolo{kom muzeju @ire u Lon le Sonijeu (Le Muse dArchologie du Jura Lons-le-Saunier). Tretman tih predmeta podrazumevao je ~i{}enje, konsolidaciju, monta`u, lepljenje i restauraciju. Svaki predmet zahtevao je poseban konzervatorski pristup, a radila sam na na~in koji je druga~iji od onog praktikovanog u Odeljenju za preventivnu za{titu Dijana; pri lepljenju sam koristila metalne spojnice, dok se u Dijani upotrebljava sko~-traka. ^i{}enje stakla obavlja se pod mikroskopom, a ivice preloma ~iste se etanolom, uz upotrebu meke ~etkice, kojom se otklanja prljav{tina iz pukotina. Ostali delovi predmeta od stakla, u zavisnosti od dekoracije, pozlate i stabilnosti,

parcijalno se ~iste me{avinom vode i etanola (u jednakim razmerama), a potom se odmah bri{u papirnom vatom. Konsolidacija stakla u ARREP-u radi se pomo}u rastvora paraloida B721 i B44 (20%) u etil-acetatu.2 Na deo predmeta koji se konsoliduje stavlja se par~e japanskog papira, a zatim se ~etkicom nanosi tanak sloj konsolidanta. Za popunjavanje sam upotrebljavala poliestersku smolu, koja se ne koristi u Srbiji, a veoma je jednostavna za rad i laka za obradu.3

Konzervacija perle od staklene paste, koja je ranije bila tretirana, zahtevala je druga~iji konzervatorski pristup. Na povr{ini su bili vidljivi tragovi smole4 koja je kori{}ena u prethodnoj konzervaciji. Perla je prekrivena japanskim papirom i premazana gelom5 koji, zahvaljuju}i svom apsorpcionom svojstvu, upija ne~isto}u. ^i{}enje je zatim nastavljeno acetonom. Ostali predmeti od staklene paste samo su o~i{}eni etanolom i konsolidovani preko japanskog papira.

1] Paraloid B72 je kopolimer metil-akrilata i etil-metakrilata. Rastvorljiv je u acetonu, ksilolu, toluenu, diaceton-alkoholu, metilen-hloridu, etilen-dihloridu, trihloretilenu, etil-acetatu i dimetilformamidu, v. S. Buys, V. Oakley, Conservation and Restauration of Ceramics, Oxford 1990, 191. 2] Granule ovog paraloida me{aju se u odnosu 70% paraloida B72 prema 30% B44, a zatim se 20 g te me{avine rastvara u etil-acetatu. 3] Poliesterska smola, fabri~ki naziv: rsine pour inclusion type GTS Pro pracclre super transparente. 4] Nema podataka o prethodnoj konzervaciji. 5] Gel se pravi u laboratoriji po odre|enom receptu: alkohol 20 ml, aceton 80 ml, enomen C25, gorbopol 2 g, voda 6 ml (Benzy/ Alcool 20 ml, Acetone 80 ml, Enhomen C25, Gorbopol 2 g, Eau 6 ml).

104

EDUCATION AND PROFESSIONAL MEETINGS

DIANA #13

Ana @IVKOVI], conservator Associate of the Department for Preventive Conservation Diana, National Museum in Belgrade

REPORT ON TRAINING IN THE ATELIER REGIONAL DE RESTAURATION DES ELEMENTS DU PATRIMOINE (Laboratory for Conservation and Restoration), A.R.R.E.P. in France
THE TRAINING THAT I RECEIVED in the regional laboratory for conservation and restoration ARREP in Seurre, France, lasted for two months, from October 1st to November 30th 2007. It included training in the conservation and restoration of glass, porcelain and faience. This laboratory was formed in 1985, within the 19841988 state plan, in order to improve, protect and present cultural heritage. Since then, the conservation and restoration of objects from museums in the region and from private collections have been carried out there. The director of the laboratory is Yvonne Giboteau, conservator of archeological ceramics, and there is one full-time conservator for porcelain and faience. The additional facilities of ARREP include a library, meeting room, a small storage room to store conserved objects, a photo studio and offices.

gique du Jurq situ Lons-le-Saulnier). Treatment of those objects implied cleaning, consolidation, assembling and restoration. Each item required a different conservation approach and I worked in a manner different from the one in practice in the Diana Department for Preventive Conservation. In joining fragments, I used metal clamps instead of the scotch tape that is used in Diana. Cleaning of glass is done under a microscope, and the edges of fragments are cleaned with ethanol, using a soft brush to remove dirt from the cracks. The remaining parts of the glass object, depending on their decoration, gilding and stability, are partially cleaned with a mixture of water and ethanol (proportion 50:50) and dried immediately with absorbent paper. Consolidation of glass in ARREP is done with a 20% solution of Paraloid B721 and B44 in ethyl acetate.2 A piece of Japanese paper is placed over the part of the object to be consolidated, then covered with a thin layer of consolidant which is applied with a brush. Missing parts were filled in with polyester resin. This is not used in Serbia, but it is very easy to work and model with.3 Conservation of the glass bead, which had been treated before, required a different conservation approach. Traces of resin4 used in its previous conservation were visible on the surface. The bead was covered with Japanese paper and an absorption gel5 was applied, which removed dirt. Cleaning proceeded with acetone. The other glass objects were cleaned with ethanol and consolidated with Japanese paper. Conservation of Porcelain and Faience Parallel with the work on glass, I worked on the conservation of a porcelain plate and two faience objects. The faience objects belonged to a private collection; data regarding

My training comprised everyday practical instruction on the conservation, protection and restoration of glass objects, porcelain and faience, using different materials and techniques, as well as documentation dealing with safety at work. The training included a visit to the Laboratory of conservation, restoration and research in Draguignan (Laboratoire de conservation, restauration et recherches de Draguignan, centre archeologique du Var). This laboratory forms an integral part of the Archeological Institute in Var. During the visit, I became acquainted with additional work methods relating to the conservation and restoration of ceramics and metal, preventive conservation, and safety at work. Conservation of Glass Within my training, I conserved six glass objects, comprising fragments of antique glass, and one glass bead, belonging to the Museum of Archeology in Lons-le Saulnier (Archolo-

1] Paraloid B72 is copolymer methyl-acrylate and ethyl methacrilate. This is soluble in acetone, xylene, toluene, diaceton alcohol, methylene chloride, ethylene dichloride, trichloroethylene, ethyl acetate and dimethylformamide, v. S. Buys, V. Oakley, Conseration and Restoration of Ceramics, Oxford 1990, 191 2] Granules of Paraloid are mixed in proportion 70% of Paralodi B72, 30% of B44 and afterwards, 20 g is dissolved in a solution of ethyl acetate. 3] Polyester resins factory name is: rsine pour inclusion type GTS Pro pracclre super transparente 4] There is no data regarding previous conservation 5] Gel is made in the laboratory using the following recipe: Benzy/Alcool 20 ml. Acetone 80 ml, Enhomen C25, Gorbopol 2g, Eau 6ml.

105

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

meta da se ne bi o{tetila pozlata na licu. Nakon razlepljivanja ostaci lepka sa ivica uklonjeni su mehani~ki, pomo}u skalpela i gela.. Lepljenje je obavljeno uz pomo} metalnih spojnica. Monta`a (uklapanje fragmenata) predmeta trajala je jedan dan; upotrebljena je sko~-traka, preko koje su postavljane metalne spojnice. Za lepljenje je kori{}en dvokomponentni araldit 2020.6 Priprema tog lepka obavljena je uz pomo} pipete (20 kapi komponente A i 12 kapi komponente B). Mesta na kojima su nedostajali delovi popunjena su poliester smolom.7 Poliester je oker boje i ve} posle trideset minuta dovoljno je ~vrst da mo`e da se obra|uje. U ovoj laboratoriji retu{ se obavlja isklju~ivo sa air brushom, a koriste se poliuretanske boje (polietiran autocryl plus MM i katalizator) i pigmenti da bi se dobila odgovaraju}a nijansa, dok se tokom rada dodaje diluant sredstvo koje usporava su{enje boje. Pored toga {to sam sprovela konzervatorski tretman porcelanskog tanjira, radila sam i na konzervaciji dva predmeta od fajansa: fragmentovanog tanjira s predstavom viteza i kerami~ke plo~ice s perforacijama. Postupak konzervacije fajansa u osnovi je isti kao kod porcelana, ali se kao lepak koristi paraloid B72 (70%) i B44 (30%) u etil-acetatu. Tokom obuke u Regionalnoj laboratoriji za konzervaciju i restauraciju ARREP upoznala sam se s metodama i materijalima u konzervaciji koji se u toj laboratoriji primenjuju, {to je veoma zna~ajno za moj dalji profesionalni rad. Sta` je bio dobra prilika za kontakte s kolegama iz Francuske i za uspostavljanje saradnje radi razmene iskustva na polju konzervacije stakla, porcelana i fajansa. Zahvaljujem Francuskom kulturnom centru u Beogradu, francuskoj vladi, stru~njacima u ARREP-u i svima onima koji su pomogli da se moj sta` uspe{no ostvari.

Konzervacija porcelana i fajansa Osim na predmetima od stakla, radila sam i na konzervaciji porcelanskog tanjira i dva predmeta od fajansa. Predmeti od fajansa su u privatnom vlasni{tvu, a podaci o manufakturi, poreklu i drugom nisu dostavljeni. Porcelanski tanjir iz XIX veka poreklom je iz Japana; dekorisan je floralnim motivima crvene i plave boje i pozlatom. Predmet je ranije bio konzerviran i tada su na pole|inu postavljene tri metalne {ipke kao stege, a one su s vremenom korodirale. Pole|ina je bele boje, s plavom floralnom dekoracijom. Razlepljivanje fragmenata obavljeno je uz pomo} paro~ista~a (Steam cleaner), s tim {to je ra|eno na pole|ini pred-

6] Araldit 2020 je prozirna epoksi smola. 7] Poliester koji se koristi u za{titi brodova, fabri~ki naziv: Mastic polyester spcial sous ligne de flottaison; yachtcare.

Veljko D@IKI], volonter pripravnik Odeljenje za preventivnu za{titu Dijana, Narodni muzej u Beogradu

IZVE[TAJ O STA@U U INP-u (INSTITUT NATIONAL DU PATRIMOINE) od 15. novembra do 14. decembra 2007. godine
ODELJENJE ZA PREVENTIVNU ZA[TITU Dijana Narodnog muzeja u Beogradu, kao {to je poznato, ve} dugi niz godina veoma dobro sara|uje s Francuskim kulturnim centrom u Beogradu. Plod ove saradnje jeste to {to su u Beograd dolazili brojni stru~njaci iz oblasti konzervacije i restauracije kulturnog nasle|a. S druge strane, na{im sada{njim i budu}im stru~njacima omogu}eno je da kra}e ili du`e vreme provedu u presti`nim francuskim institucijama za{tite i edu-

kacije. Sve to je tokom poslednjih godina imalo nemerljiv uticaj na podizanje nivoa stru~nosti i kvaliteta rada saradnika i zaposlenih u Dijani, a samim tim i celog Odeljenja za preventivnu za{titu. Ove godine pet saradnika Dijane imalo je tu izuzetnu priliku da se usavr{i u raznim oblastima konzervacije i restauracije. Dosada{nje aktivnosti Dijane bile su usredsre|ene

106

EDUCATION AND PROFESSIONAL MEETINGS

DIANA #13

manufacturer and origin were not submitted. The porcelain plate dated from the XIX century and originated from Japan; it was decorated with floral red, blue motives and gilding. The object had previously been conserved with three metal rivets, used as clamps, fixed on its back. These had corroded over time. The back of the plate was white, with blue floral decoration.

The fragments were unglued, using a steam cleaner on the back of the plate to prevent damage to the gilded decoration on the face. The glue remains were cleaned using a scalpel and gel. The fragments were rejoined with metal clamps. Reattachment of the fragments lasted for one day; scotch tape was used, with metal clamps over the tape. Two-component epoxy resin araldite 20206 was used as adhesive, prepared with a pipette (20 drops of component A and 12 drops of component B). Polyester resin7 in ochre colour was used to fill in the missing parts. The polyester resin is sufficiently cured after 30 minutes and can then be worked on. In this laboratory, retouching is done solely with an airbrush and polyurethane paint (polystyrene autocryl plus MM and catalyst). Pigments are used to obtain an adequate shade, while during the work a dilutant is added to slow down drying. Simultaneously to the conservation treatment on porcelain plate, I worked on the conservation of two faience objects: a fragmented plate with a picture of a knight, and a ceramic tile with perforations. The treatment procedure for faience is the same as for porcelain, but a solution of paralod B72 (70%) and B44 (30%) in ethyl acetate is used as the adhering agent. As well as my training and introduction to other methods and materials used in conservation, which will be very important for my future professional work, my time at ARREP was a good opportunity to make contacts and cooperate with French colleagues in order to exchange our experience in the field of glass, porcelain and faience conservation. I would like to thank the French Cultural Center in Belgrade, the French government, experts from ARREP and all others that helped me complete my training successfully.

6] Araldite 2020 is a transparent epoxy rinse 7] Polyester is used in the protection of ships; its manufacturing name is: Mastic polyester special sous ligne de flottaison; yachtcae.

Veljko D@IKI], trainee volunteer Diana Department for Preventive Conservation in Belgrade

REPORT ON TRAINING AT THE INSTITUT NATIONAL DU PATRIMOINE (INP) November 15 to December 14, 2007

IT IS WELL KNOWN that the Diana Department for Preventive Conservation of the National Museum in Belgrade has cooperated successfully with the French Cultural Center in Belgrade for a number of years. As a result, our experts and trainees have been given the chance to spend some time, shorter or longer, in prestigious French educational conser-

vation institutions. All this has immeasurably improved the professional skills of co-workers and employees in Diana and the Department of Preventive Conservation in recent years. Five co-workers from Diana were given the opportunity to improve their skills in various fields of conservation and

107

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

karakteristika (fizi~kih i hemijskih) pojedinih procesa. Ponekad je to prili~no o~igledno, dok je ponekad veoma komplikovano i ~ak nedoku~ivo. Tokom obuke upoznao sam se s ve}inom alata i materijala koji se koriste u restauraciji fotografija. Deo tih alata i materijala sam, shodno finansijskim mogu}nostima, uspeo da donesem u Beograd, gde }e mo}i da poslu`e kao odli~na referenca za budu}e snabdevanje potrebnom opremom. Svakog utorka i srede mogao sam da koristim izuzetno bogatu biblioteku INP-a, pa i da fotokopiram sve relevantne ~lanke i ~ak cele knjige. Pored toga, moj boravak u Parizu bio je idealna prilika za nabavku knjiga iz oblasti konzervacije fotografija. Nakon povoljnog odgovora Egidea na moju molbu da dobijem dodatna sredstva za nabavku knjiga, kupio sam nekoliko nezamenljivih naslova iz te oblasti, kao {to su, na primer, nova knjiga B. Laverdena (B. Lavedrin) (Re)Connatre et conserver les photographies anciennes i Nouvelle histoire de la photographie, koju je uredio M. Frizo (Michel Frizot). Obe knjige sublimiraju sva teorijska znanja, pa i prakti~na, neophodna za upoznavanje s fotografskim procesima i za njihovo prepoznavanje. Tokom celog mog sta`a u fotografskom ateljeu na konzervaciji se nalazio album fotografija iz zbirke cole des Beaux-Arts. Pored troje studenata i profesora \ulije Ku}inele Brijan (Giulie Cucinelle Briant), i sam sam imao priliku da radim na konzervaciji fotografija iz tog albuma. Tako sam mogao da se upoznam sa svim etapama u restauraciji ovog tipa fotografija (albumen, phototypie, aristotypie), kao i sa osnovnim procedurama, zajedni~kim za veliki broj procesa. Suvo ~i{}enje, ~i{}enje vodenim rastvorima, retu{ i rekonstrukcija, konsolidacija samo su neki od procesa koji se primenjuju u restauraciji fotografija. Mesec dana svakako je nedovoljno da bi se sve te tehnike uve`bale do zadovoljavaju}eg nivoa, ali je bilo veoma korisno oprobati se u svim navedenim tehnikama restauracije. Kao {to sam pomenuo, utorak i sreda su bili dani koje sam mogao da iskoristim za rad u biblioteci, ali i za posete raznim muzejima i institucijama. Moram napomenuti da mi je gospo|a An Kartije Breson pru`ila svu potrebnu pomo} i da mi je omogu}ila sve posete koje sam mogao da zamislim. Jedna od njih bila je poseta Muzeju fotografija Nijeps u [alo-

na najizra`enije probleme za{tite kulturnih dobara na{e zemlje, pre svega preventivne za{tite, zatim arheolo{ke konzervacije i konzervacije keramike i stakla. I pored toga, cilj Odeljenja za preventivnu za{titu Narodnog muzeja uvek je bilo obuhvatanje celokupnog kulturnog nasle|a u jedan sistem za{tite. U tom smislu, pojavila se potreba za stru~nom osobom koja bi se bavila problemima konzervacije fotografskog materijala. Zbog mog dugogodi{njeg iskustva u Dijani i anga`ovanja u domenu fotografije i fotodokumentacije izbor je pao na mene. Kontakt je ostvaren s vode}om institucijom u obrazovanju restauratora kulturnih dobara u Francuskoj INP-om (Institut National du Patrimoine), sme{tenim u Parizu (St. Denis). Iako je jedan mesec kratak period za bilo koju vrstu usavr{avanja, INP nam je iza{ao u susret i omogu}io sta` u fotografskom ateljeu od 15. novembra do 14. decembra 2007. godine. S obzirom na to ograni~enje, sta` je zami{ljen kao osnovno upoznavanje s principima konzervacije i samim procesom restauracije fotografskog materijala. U tom okviru jedan od prvih koraka svakako je identifikacija procesa nastanka fotografija i negativa, to jest materijala od kojih se sastoje. Drugo polje mog interesovanja bili su preventivna konzervacija zbirki i stanje depoa pojedinih institucija i muzeja. I, na kraju, trudio sam se da {to vi{e saznam o procesu digitalizacije fotografskih kolekcija, koji je veoma razvijen u Parizu. Napominjem da je obuka za restauratora fotografija u INP-u organizovana na principu ~etvorogodi{njih studija. U vreme mog dolaska u ateljeu su radila dva studenta tre}e i jedan student druge godine. Provizorni program mog sta`a sastavila je An Kartije Breson (Anne Cartier Bresson), moj mentor, a on je bio potpuno prilago|en upravo programu studija druge i tre}e godine odseka fotografije. Na po~etku obuke, kao, uostalom, i tokom celog sta`a, sticao sam osnovna znanja i iskustvo u identifikaciji fotografskih procesa. Fotografski atelje poseduje veoma bogatu didakti~ku kolekciju, koja je bila idealna za upoznavanje

Sl. 1. Veljko D`iki} (prvi sa desne strane) sa studentima Odseka za konzervaciju fotografija INP-a i profesorom @eromom Monijeom Fig. 1. Veljko D`iki} (first from the right) with students of the Department for Conservation of Photography at INP and professor Jrome Monnier

Sl. 2. Obuka u ateljeu za restauraciju fotografija u INP-u Fig. 2. Training in studio for the restoration of photographs of INP

108

EDUCATION AND PROFESSIONAL MEETINGS

restoration this year. The activities of Diana have concentrated on tackling problems in the protection of cultural heritage, especially preventive conservation, archeological conservation, and the conservation of ceramics and glass. The Department of Preventive Conservation has always included all aspects of cultural heritage in its one system of protection. In this respect, a professional was needed to deal with the conservation of photographic material. Having in mind my long-standing experience in Diana and my engagement in the field of photography and photo documentation, I was chosen to do this work and to undergo suitable additional training. We contacted the leading institution for the education of restorers of cultural property in France INP (Institut National du Patrimoine), situated in Paris (St. Denis). Although a one-month period is short for any specialized training (at INP the training course for photography restoration takes four years) the INP was very cooperative and provided training in their photographic studio from November 15th to December 14th 2007. Since it was short, the training served as a basic introduction to the principles of conservation and restoration of photographic material. One of the first steps was to identify photographic processes from photography and negatives, and the materials used for these. Another field of interest was the preventive conservation of collections and the examination of storage conditions in certain institutions and museums. Finally, I enthusiastically learned as much as I could about the process of digitizing photographic collections, which is developed to a high degree in Paris. Two third-year students and one second-year student were working in the studio at the time of my visit. My mentor, Anne Cartier Bresson, had prepared a provisional program for my training, adapted to the syllabus of the second and third year of studies at the Department of Photography. Throughout my training I was given basic tuition and experience in identifying photographic processes. The Photographic studio has a very rich didactic collection, ideal for becoming familiar with the physical and chemical characteristics of certain processes, sometimes obvious, but sometimes very complicated or even inconceivable. During my training, I was introduced to almost all tools and materials used for the restoration of photographs, some of which I was able to purchase and bring to Belgrade. They could be used as a reference for the purchase of necessary equipment in the future. Every Tuesday and Wednesday I was able to use the rich INP library, and to photocopy relevant articles and books. My stay in Paris was also an ideal chance for me to buy further literature dealing with the conservation of photography. Thanks to a grant from Egide, I bought some invaluable books: of B. Levedrins ReConnatre et conserver les photographies anciennes; and Nouvelle histoire de la photographie, by Michel Frizot. The theoretical and practical knowledge provided by these volumes are priceless for recognizing and understanding photographic processes. During my training I had the opportunity to work on some photographs from a photo album from the collection of Ecole des beaux, which was undergoing conservation treatment in the photo studio. In this way, I was able to get

DIANA #13

Sl. 3. Pravilan na~in ~uvanja dagerotipije nakon konzervacije Fig. 3. Adequate safe keeping conditions of daguerreotype after conservation

to know all stages of that type of restoration (albumen, phototype, aristotype) as well as basic procedures common for a great number of processes. Dry cleaning, cleaning with water solution, retouch, reconstruction, and consolidation are just some of the processes applied in the restoration of photographs. One month was certainly not sufficient to practice all these techniques to a satisfactory level, but it was very useful to try ones skill at all of them. On my free Tuesdays and Wednesdays, not only could I use the library but I was also able to visit various museums and institutions. Mrs. Anne Cartier Bresson helped me a great deal in this and fitted in all the visits I could have imagined. One such visit was to the Museum of Photography in Chalon-sur-Sane. This museum is unique in France regarding the richness of its collection. A visit to that museum is a unique journey through the history of photography, from the first techniques and photographs to exhibitions of work by modern photographers. My visit to the storerooms was an extremely useful experience, because of the numerous and various materials stored there. The museum had rooms with a controlled climate, but others demonstrated the permanent compromise between ideal conservation conditions and financial restraints, present all over France (and all over the world, for that matter). During my stay in Paris, I also visited the storage facilities of the Albert Kahn Museum, the National Archive of France and Socit Francaise de Photographie (SFP). All those institutions have very rich collections but face a number of problems, ranging from

109

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

jom fotografskih kolekcija grada Pariza. Krajnji cilj digitalizacije tih kolekcija jeste, pored preventivne konzervacije, i distribucija fotografija putem Interneta. Dakle, obavljaju}i va`nu funkciju o~uvanja fotografskog nasle|a, ta agencija je napravila neverovatan korak ka dostupnosti tog materijala kako publici tako i profesionalcima kojima su ti fondovi klju~ni za istra`ivanja. To je veoma bitno jer smatram da digitalizacija mora da bude prvi korak u za{titi bilo koje fotografske zbirke. Prvi, ali svakako ne i jedini! U suprotnom, bogati fondovi takvih zbirki mogu ostati ve~ito za~aureni u svojim depoima i dostupni samo malom broju privilegovanih. Na kraju, mogu re}i da sam mnogo toga nau~io, ali i da je isto tako to samo mali deo onoga {to treba da se nau~i. Nadam se, tako|e, da }u imati jo{ prilika da pro{irim znanja iz ove oblasti, te da }u to znanje u budu}nosti mo}i i da primenim. Smatram i da na{e fotografsko nasle|e, iako nije veliko a mo`da upravo zbog toga zaslu`uje sistematsku brigu, s kojom se mora otpo~eti {to pre. Cilj mog sta`a, kao i svakog sli~nog njemu, jeste da ta briga bude savremena, profesionalna i, {to je najva`nije, ve} isprobana. Kada je re~ o fotografskom nasle|u u Srbiji, smatram da bi bilo klju~no formirati a`uriranu evidenciju kolekcija u muzejima. Odmah nakon toga bilo bi neophodno napraviti i procenu stanja, koja bi poslu`ila kao po~etna referenca za budu}e pra}enje uslova ~uvanja fotografija i promena koje se na njima pokazuju. Za ta prva dva koraka neizostavno je vezan i tre}i, a to je procena rizika, koja je veoma zna~ajna za preventivnu konzervaciju samih kolekcija. Zatim bi bilo po`eljno napraviti i valorizaciju fotografskih kolekcija po njihovom kulturnoistorijskom zna~aju, {to nam mo`e mnogo pomo}i (uz procenu rizika) u izboru prioriteta za konzervaciju na op{tem nivou. Na kraju, ne smemo zaboraviti ni privatne kolekcionare, nad kojima nacionalne slu`be za{tite nemaju ingerenciju, ali svakako mogu da pomognu kako savetima tako i prakti~no. Upravo se u tim kolekcijama, sasvim sigurno, nalaze fotografije neprocenjive vrednosti po svom sadr`aju, ali i po zna~aju za istoriju fotografije u Srbiji. Zbog toga, ako `elimo {to kompletniju za{titu fotografskog nasle|a u Srbiji, ti kolekcionari moraju biti uklju~eni u isti onaj sistem koji `elimo da primenimo u na{im muzejima.

Sl. 4. Suvo ~i{}enje korica albuma Fig. 4. Dry cleaning of bookbinding of albums nu (Chalon-sur-Sane). To je jedinstven muzej u Francuskoj po bogatstvu kolekcija i samoj koncepciji stalne postavke. Naime, poseta tom muzeju svojevrsno je putovanje kroz vreme i istoriju fotografije, po~ev od prvih tehnika i prvih fotoaparata, pa sve do izlo`bi savremenih autora. Poseta depoima bila je posebno korisno iskustvo upravo zbog brojnosti i raznovrsnosti materijala koji se u njima ~uva. U muzeju se nalaze i prostorije s kontrolisanom klimom, ali i one druge, {to ukazuje na ve~iti kompromis izme|u konzervatorski idealnih re{enja i finansijske situacije koji postoji svuda u Francuskoj (kao, uostalom, i svuda u svetu). Tokom boravka u Parizu posetio sam jo{ i depoe Muzeja Alberta Kana, Muzeja Orsej, Nacionalnog arhiva Francuske, Dru{tva francuskih fotografa (SFP). Iskreno govore}i, sve te institucije imaju izuzetno bogate zbirke, ali, s druge strane, i brojne probleme, po~ev od neadekvatnog prostora, pa sve do starih ko{uljica u kojima se fotografije nalaze. Iako se sve one suo~avaju s mnogobrojnim prakti~nim problemima, svuda postoji veoma visoka svest o merama ~ije je sprovo|enje neophodno ili, bla`e re~eno, po`eljno radi {to boljeg o~uvanja fotografskog nasle|a u Francuskoj. Osim muzeja, posetio sam i veoma zanimljivu agenciju koja u svojim depoima ima ~ak {est miliona fotografija i negativa. Agencija Ro`e-Viole (Roger-Violet) bavi se digitalizaci-

Ivan CVEJI], konzervator direktor Nove Vizantije, ~lan IIC Zvezdana POPOVI], konzervator tehni~ar saradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

RADIONICA IZ OBLASTI KONZERVACIJE POZLATE NA DRVETU

U OKVIRU REDOVNE SARADNJE Odeljenja za preventivnu za{titu Dijana i Radnje za negovanje tradicionalnih umetni~kih zanata Nova Vizantija od 5. februara do 27. marta 2007. godine realizovana je radionica iz oblasti konzervacije pozla}enih predmeta od drveta. Radionicu je vodio Ivan Cve-

ji} iz Nove Vizantije, a polaznici su bili saradnici Dijane. Tehnika konzervacije demonstrirana je na pozla}enom zidnom ogledalu, vlasni{tvu Narodnog muzeja u Kru{evcu. Ogledalo poti~e s kraja XIX veka, a muzej ga je 1973. godine otkupio

110

EDUCATION AND PROFESSIONAL MEETINGS

inadequate storage to the old envelopes used for keeping photographs. Despite these numerous practical problems, these institutions are all completely aware of the measures which need to be taken to improve the preservation of the French photographic heritage. Apart from museums, I visited a very interesting agency, which has over six million photographs and negatives in its storage rooms. The Roger Violet Agency deals with the digitization of photographic collections from the city of Paris. Besides preventive conservation, the final aim of digitization is the distribution of photographs by Internet. By performing such an important role in the protection of photographic heritage this Agency has made incredible progress towards the accessibility of that material to both professionals and the general public, all of whom use those collections as vital material for research. This is very important, for in my opinion digitizing should be the first step in the protection of any collection of photographs, last but not least! Otherwise rich collections might stay locked in their storage and remain accessible to only a small number of privileged individuals. Finally, I can say that I have learned a great deal, this being just a small portion of all that remains to be learnt in the future. I hope that I will have further opportunity to broaden my knowledge in this field, and to use this knowledge in the future. In my opinion, since our photographic heritage is not large, it deserves systematic care, which should start immediately. The objective of my training is that the care of any collection is up-to-date, professional, and what is most important, tried and tested. Regarding the photographic heritage in Serbia, I believe it is most important to form updated documentation of collections in museums. An assessment of conditions should be made immediately. This could be used as the starting reference for the future control of safe storage conditions and the changes that occur in them. The third step is inevitably connected to the previous two: the assessment of risk, which is very important for the preventive conservation of collections themselves. Afterwards, it is desirable to valorize photographic collections according to their cultural and historical significance. That could be of

DIANA #13

Sl. 5. Stari na~in ~uvanja fotografija u depoima Fig. 5. The old way of storing photographs in storage rooms

great help in deciding priorities for conservation at a general level, in the context of risk assessment. Finally, we shouldnt forget private collections. Although they are not responsible for the care of such collections, national authorities could help by providing advice and assistance in practical matters. Those collections have certainly had priceless photographs regarding both their content and their value for the history of photography. Therefore, if we want to have the most complete protection for the photographic heritage in Serbia, those collectors need to be included in the system that we want to implement into our museums.

Ivan CVEJI], conservator Director of New Byzantium Studio, Member of IIC Zvezdana POPOVI], conservator technician Associate of Diana Department for Preventive Conservation, National Museum in Belgrade

WORKSHOP DEDICATED TO THE CONSERVATION OF A GILDED OBJECT MADE OF WOOD

WITHIN THE SCOPE of regular cooperation between Diana and the New Byzantium studio for the care of traditional arts and crafts, a workshop took place from February 5th to March 27th 2007, dedicated to the conservation of a gilded object made of wood, led by Ivan Cveji} of New Byzantium, with participation by members of Diana. Techniques and processes were presented, including the conservation of a

111

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

Sl. 1 i 2. Zate~eno stanje i stanje nakon zavr{ene konzervacije Fig. 1 and 2. Condition and after conservation

od Dobrile Petrovi} iz Kru{evca. Predmet se pre konzervatorsko-restauratorskog tretmana nalazio u depou muzeja. Opis predmeta Vrsta materijala: nosa~ drvo ~etinara, floralna dekoracija od {tukature; preparatura kalcijum-karbonat i organsko vezivo; finalna obrada {lag metal i srebrni listi}i; tehnika izrade: konstrukcija, struktura ram, grubo linijski profilisan, izra|en vezama na ~ep i pro~ep, fiksiran organskim vezivom, ukru}en dodatnim ramom fiksiranim na pole|inu organskim vezivom. Floralna dekoracija od {tukature fiksirana je na ram organskim vezivom. Preparatura je naneta u sloju od oko tri milimetra na sve povr{ine, osim na floralnu dekoraciju. Dekorativna tehnika posrebrenje, segmentno, tehnikom vodene pozlate. Imitacija pozlate {lag metalom tehnikom primene veziva. Finalna tehnika patinizacija pigmentom. Za{tita organskim lakom. Opis o{te}enja Povr{inska o{te}enja. Vidljiva je pojava korozije dekorativnog sloja od oba metala, usled ~ega je do{lo do potpunog probijanja sloja. Postoji sloj originalne patine, posebno na delovima floralne dekoracije. Za{titni lak gotovo da ne postoji. Strukturna o{te}enja. Vidljiva su o{te}enja floralne dekoracije (pukotine i fragmenti koji nedostaju). Preparatura je ispucala i mestimi~no nedostaje. Postoje o{te}enja drvenog nosa~a, kako mehani~ka, usled promena u drvetu, tako i ona koja su posledica inokulacije insektima, trenutno neaktivne. Vidljive naslage: masno}a.

Konzervatorski tretman ^i{}enje hemijskim sredstvima: sme{a metil-hlorida, metanola i tenzida u parafinskoj emulziji. Rastvoreni materijal ispiran je etil-alkoholom (96%) pomo}u ~etke od tvrde ~ekinjaste dlake. Mehani~ko ~i{}enje: razlabavljeni delovi preparature i drveta uklonjeni su mehani~ki. Konsolidacija drvenog nosa~a: umetanjem tankih listova drveta u otvore i pukotine i vezivom na bazi PVAC-a, rastvorljivim u metil-hloridu i metanolu. Sastavljanje fragmenata, izrada fragmenata koji su nedostajali: fragmenti koji nedostaju izra|eni su u kalupu od silikona, od sme{e modelarskog gipsa i PVAC-a, i fiksirani na povr{inu vezivom na bazi PVAC-a, rastvorljivim u metil-hloridu i metanolu. Popuna o{te}enja, konsolidacija pukotina, retu{: dublja o{te}enja popunjena su masom na bazi poliestera, rastvorljivom u metil-hloridu i metanolu; povr{inska o{te}enja popunjena su masom na bazi akrila, rastvorljivom u metil-hloridu i metanolu. Sloj za odvajanje postoje}eg od novonanesenog (izolacija): na segmentima koji su bili posrebreni sme{a kalcijum-karbonata, kaolina i PVAC-a, rastvorljiva u metil-hloridu i metanolu. Preparatura: bolonjska kreda, kaolin i organsko vezivo (ze~je tutkalo) na segmentima koji su bili posrebreni. Finalna tehnika: posrebrenje listi}ima pravog srebra tehnikom vodene pozlate, imitacija pozlate {lag metalom, tehnikom podlepljivanja uljanim mikstionom, rastvorljivim u metil hloridu i metanolu. Patina: bitumenska patina.

112

EDUCATION AND PROFESSIONAL MEETINGS

gilded wooden mirror frame from the National Museum in Krusevac. The mirror was made towards the end of the 19th century and was acquired by the museum in 1973 from a local resident. This object had been stored in the museum depot prior to conservation treatment. Object survey Material type: the holder was made of coniferous wood, with stucco floral decoration, the gesso comprising calcium carbonate powder and organic adhesive, probably Fish-eye glue. Final coating: This comprised silvering and imitation gilding using schlag metal foil. Manufacturing technique and structural analysis: The wooden holder, roughly linearly profiled was connected by a traditional wooden binding and organic adhesive. It was additionally held in place by a smaller frame, adhered to the back surface of original frame with organic adhesive. Decoration and decorative technique: Floral ornaments made of stucco were adhered to the surface with organic adhesive. All surfaces were covered with gesso, approximately 3 mm thick, except for the floral decoration. The surface of the frame was silvered using water gilding technique and decorated with imitation gilding, applying schlag metal foil. Finishing technique: patina with pigment and protective organic lacquer layer.

DIANA #13

Condition Surface damage. The decorative covering layer made of both metals was corroded, resulting in perforations of the foil. A layer of the original patina was present, especially on floral surfaces. The layer of protective lacqer was present in only a few places. Structural damage. The floral decoration was roughly cracked, with some pieces missing. The gesso was cracked and partly missing. There was some damage to the wooden holder, both mechanical and caused by insect inoculation, not active at the moment. Deposit: Grease Conservation treatment: Chemical Cleaning: A mixture of methyl chloride, methanol, cellulose powder, and paraffin oil was used to clean the object. The dissolved substances were rinsed with 96% ethyl alcohol, using a firm hairbrush. Mechanical Cleaning: Loose pieces of stucco and wood were removed mechanically. Consolidation: veneer pieces were inlayed, adhered with PVAC adhesive dissoluble in methyl chloride and methanol. Stucco treatment: Missing ornaments were copied, using a silicon mould. Modelling plaster and PVAC were used

Sl. 3 i 4. ^i{}enje povr{ine predmeta i uno{enje elementa za konsolidaciju od drveta Fig. 3 and 4. Cleaning of the surface and consolidation with veneer pieces Sl. 5. Popunjavanje o{te}enja u sloju preparature punilom na bazi akrila Fig. 5. Crack filing with acryl filler

113

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

Sl. 6. Ornament iz kalupa Fig. 6. Ornament from the mould Za{titni lak: lak na bazi Zappon laka, rastvorljiv u metil-hloridu i metanolu. *** Radionica je realizovana tako {to je svaka faza konzervatorskog tretmana propra}ena obja{njenjem i prakti~nom demonstracijom postupka. Polaznici radionice bili su aktiv-

Sl. 7. Poliranje posrebrenog segmenta Fig. 7. Polishing of silvered segment no uklju~eni u svaku fazu prakti~nog rada i imali su priliku da prikazanu tehniku sami primene na svom delu rama ogledala. Nova Vizantija donirala je svoj rad, Narodni muzej u Kru{evcu omogu}io je nabavku materijala, a saradnici Dijane dobili su priliku da upotpune svoja znanja u jo{ jednoj oblasti konzervacije organskih materijala.

Ana KOCJAN, konzervator Aleksandar JOKSIMOVI], istori~ar umetnosti saradnici Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

MALE RUKE I VELIKA DELA

MUZEJI KAO INSTITUCIJE kulture u slu`bi dru{tva, pored toga {to ~uvaju, {tite, istra`uju i prezentuju predmete materijalne i nematerijalne kulture, imaju jo{ jedan, podjednako va`an zadatak, a to je edukacija publike. Danas muzeji {irom sveta imaju razvijen sistem rada s publikom, koji obuhvata niz raznolikih aktivnosti izlo`be, radionice, stru~na vo|enja, okrugle stolove, koncerte, predstave itd. Tim putem prezentuju se mnogobrojne muzejske aktivnosti, ali i raznovrsni aspekti kulturne ba{tine i njenog o~uvanja. Tokom svog razvoja Odeljenje za preventivnu za{titu Dijana Narodnog muzeja u Beogradu izgradilo je sistem edukacije koji podrazumeva aktivan pristup obrazovanju mladih stru~njaka i muzejskih profesionalaca u oblasti konzervacije, muzeologije, preventivne za{tite itd. Taj sistem obuhvata i edukativne programe za publiku, koji su tokom poslednjih nekoliko godina postali deo redovnih aktivnosti Dijane. Prve aktivnosti na tom polju ostvarene su 2002. godine u okviru Letnje {kole Dijana, radi formiranja muzejske publike sa izgra|enom sve{}u o za{titi kulturnog nasle|a i izgra|enim razumevanjem delatnosti i uloge muzeja. Postignuti rezultati uslovili su dalji rad na osmi{ljavanju programa za upoznavanje publike s na~inima za{tite kulturnih dobara, kao

i usmeravanje na edukaciju mladih, pre svega dece pred{kolskog i {kolskog uzrasta. Do sada su razvijena tri segmenta programa: Tajne konzervacije, Kopija i replika i Stanovanje u doba Rimljana, koji se ostvaruju u okviru radionica. Prve dve radionice neposredno su usmerene na za{titu kulturnog nasle|a. Tre}a radionica bila je fokusirana na aspekte kulture `ivota i stanovanja u rimskom periodu; rimski na~in stanovanja predstavljao je polaznu ta~ku za upore|ivanje s razli~itim aspektima `ivota od preistorije do dana{njih dana. Radionica Tajne konzervacije realizuje se od 2002. godine i obuhvata primenu konzervatorskog tretmana na primerima savremene etnografske keramike. Program se sastoji od teorijskih predavanja i prakti~nog rada. Predavanja se odr`avaju istovremeno sa odvijanjem prakti~nog rada. Na njima se obja{njavaju faze konzervatorskog tretmana i razja{njava se nekoliko klju~nih pitanja: zbog ~ega se obavlja konzervacija arheolo{kih predmeta, kakvu ulogu imaju muzeji u o~uvanju kulturnog nasle|a i za{to je va`no sa~uvati kulturnu ba{tinu. Prakti~ni deo sastoji se od slede}ih faza: spajanja fragmenata, restauracije i retu{a. U toku prve faze deca probno spajaju sve fragmente sko~-trakom kako

114

EDUCATION AND PROFESSIONAL MEETINGS

as stucco material. Newly made ornaments were adhered to the surface using PVAC adhesive dissoluble in methyl chloride and methanol. Crack filing: Polyester filer was used as a fill for deeper cracks, and acryl filler for surface cracks. Both fillers are soluble in methyl chloride and methanol. Isolation layer: On gilded areas a mixture of calcium carbonate in fine powder form (Bologna chalk), kaolin powder and PVAC dissoluble in methyl chloride and methanol was used. Gesso: A mixture of technical whiting, kaolin and rabbit skin glue was applied to gilded areas. Finishing technique: A water gilding technique was used, with genuine silver leaf, while gilding imitation was done using schlag metal leaf size technique, soluble in methyl chloride and methanol. Retouching: tar patina. Protective layer: Zappon lacquer based coat soluble in methyl chloride and methanol. *** The workshop was conducted so that every phase of the conservation treatment was followed by explanations and a practical demonstration of the treatment. The participants actively participated in every phase of the practical work

DIANA #13

and each had an opportunity to use the technique on their part of the mirror frame. New Byzantium donated its work and time, the National museum in Krusevac financed the materials, and members of Diana received an opportunity to broaden their knowledge of the conservation of organic materials. Sl. 8. Patiniranje Fig. 8. Patina

Ana KOCJAN, conservator Aleksandar JOKSIMOVI], art historian Associates of the Department for Preventive Conservation Diana, National Museum in Belgrade

SMALL HANDS, GREAT WORK

BESIDE PRESERVING, safeguarding, exploring, and presenting items of material and intangible culture, museums, as cultural institutions serving society, have an additional important task: the education of the public. Nowadays, museums worldwide have developed ways of working with the public, encompassing a series of activities exhibitions, workshops, guided tours, conferences, concerts, or plays. Such events not only promote the museum, but also diverse aspects of cultural heritage and its preservation. In the course of its development, the Diana Department for Preventive Conservation, National Museum Belgrade, has established an education programme which involves an active approach to the education of young experts and museum professionals in the field of conservation, museology, preventive conservation an so on. This system also encompasses educational programmes for the public, which have become part of regular Diana activities over recent years. The initial activities in this field were accomplished in 2002 during the Diana Summer School, with a view to creating a museum public, conscious of the protection of cultural heritage and understanding the activities and roles of museums in this. The results achieved stimulated fur-

ther work on the creation of a programme to introduce ways of cultural heritage protection, as well focusing on educating the young, mainly pre-school and school-age children. Thus far, three segments of the programme have been developed: The Secrets of Conservation, The Copy and the Replica, and Living in the Roman Ages, presented as workshops. The first two are directly oriented towards cultural heritage protection while the third focuses on aspects of cultural life and living conditions in Roman times. The Roman way of life was the starting point for the comparison of various aspects of life, from prehistoric times to the present. The Secrets of Conservation workshop has been organised since 2002 and encompasses the application of conservation methods to examples of contemporary ethnographic ceramics. The programme comprises both theoretical lectures and practice, held simultaneously. During these lectures the phases of conservation treatment are explained and several key issues addressed, such as: why the conservation of archaeological objects is performed, what the role of museums in the protection of the cultural heritage is,

115

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

Sl. 1. Konzervacija keramike Fig. 1. Conservation of ceramics

bi dobila predstavu o izgledu predmeta. To im omogu}uje da zatim br`e i s manje gre{aka spajaju fragmente OHO lepkom. U toku lepljenja OHO lepkom pojedini fragmenti se uklanjaju (12) kako bi ti delovi bili restaurisani u drugoj fazi, u fazi restauracije. Restauracija se obavlja uzimanjem otiska pomo}u vo{tanih plo~ica koje se stavljaju na postoje}e fragmente i prebacuju na deo koji nedostaje. Ti delovi popunjavaju se gipsom, koji se nakon su{enja obra|uje abrazivnim papirom. Nakon obrade povr{ine deca rade retu{ akrilnim bojama. Postupci koji se primenjuju sli~ni su uobi~ajenom konzervatorskom tretmanu, s tom razlikom {to je postupak pojednostavljen i izbegnuto je kori{}enje hemijskih sredstava. Radionica Kopija i replika realizuje se od 2004. godine i obuhvata izradu kopija i replika preistorijske i rimske keramike po uzoru na originalne muzejske eksponate koji se ~uvaju u Narodnom muzeju u Beogradu (`i{ci, {olje, fi{ pot, pehari itd.). I ova radionica podrazumeva teorijska predavanja i prakti~an rad. Teorijska predavanja odr`avaju se istovremeno sa odvijanjem prakti~nog rada i na njima se obja{njavaju metode izra|ivanja kopije i replike. Predavanja obuhvataju i odgovore na nekoliko klju~nih pitanja o tome za{to se izra|uju kopije muzejskih predmeta, koliko su kopije zna~ajne kada je original uni{ten i za{to su va`ne u o~uvanju kulturne ba{tine. Prakti~ni deo sastoji se iz tri faze: izrade posuda od gline na tradicionalan na~in, modelovanjem slobodnom rukom (tzv. tehnika iz ruke), izrade posuda od gline tehnikom kve~ovanja i izrade kopija arheolo{kih predmeta tehnikom livenja. U prvoj fazi deca izra|uju kopije predmeta od gline na osnovu posmatranja originalnih muzejskih predmeta. Druga faza kve~ovanje obuhvata utiskivanje gline u dvodelni gipsani kalup, pomo}u kojeg se dobija kopija predmeta, dok tre}a faza obuhvata ulivanje mase za livenje u gipsane kalupe za dobijanje kopija originalnih muzejskih predmeta. Izvedene kopije i replike u zavr{noj fazi dora|uju se razli~itim vrstama alatki, peku u kerami~kim pe}ima i dekori{u tehnikom tera sigilate i akrilnim bojama po slobodnom izboru. Na kraju programa u~esnici radionica dobijaju diplome, kao i bro{ure, u kojima su, u tekstovima propra}enim

Sl. 2 i 3. Tehnika modelovanja iz ruke i tehnika kve~ovanja Fig. 2 and 3. Hand-building and press-moulding technique

fotografijama, obja{njene sve metode rada primenjene u radionicama Tajne konzervacije i Kopija i replika. Svake godine svi izvedeni radovi prezentuju se na De~ijoj izlo`bi, a nakon nje deca radove nose ku}i, kao uspomenu na u~estvovanje u muzejskim aktivnostima. Jo{ jedan od klju~nih segmenata ovih radionica jeste to {to deca imaju priliku da posete konzervatorske radionice u OPZ Dijana, ~ime dobijaju kompletnu sliku o za{titi predmeta u muzejima. I sam ambijent Galerije fresaka, u kojoj se radionice odvijaju i gde je sme{tena Dijana, omogu}uje deci da razumeju i prepoznaju zna~aj i vrednost na{eg kulturnog nasle|a u odnosu na svetsku kulturnu ba{tinu, kao i u odnosu na sve segmente `ivota. Pojedini segmenti radionice Kopija i replika realizovani su povodom Evropskih dana kulturne ba{tine 2004. i 2005. godine, zatim 2005. i 2006. godine u okviru projekta Odeljenja za edukaciju Narodnog muzeja u Beogradu Ishrana u pro{losti, kao i u okviru programa Kopija ili original, koji je ovo odeljenje realizovalo u saradnji sa Udru`enjem slepih i slabovidih Srbije Beli {tap 2006. godine. Jo{ jedan od programa namenjenih uklju~ivanju mladih u muzejske aktivnosti jeste Stanovanje u doba Rimljana, a on se tako|e ostvaruje u saradnji sa Odeljenjem za edukaciju Narodnog muzeja u Beogradu. Projekat Stanovanje

116

EDUCATION AND PROFESSIONAL MEETINGS

and why it is important to preserve cultural heritage. The practical part comprises the bonding of fragments, restoration, and retouching. During phase one, children experimentally join all the fragments together with scotch-tape in order to get an idea what the object looks like. Afterwards, this enables them to bond the fragments together with glue more rapidly and with fewer mistakes. In the process of bonding, certain fragments (12) are removed so that these parts can be restored in phase two, the restoration phase. The restoration is performed by making moulds, using small wax tiles, placing these on the existing fragments, and then transferring them to the missing parts. These are then filled in with plaster and treated with sandpaper upon drying. After treating the surface, the children perform retouching with acrylic paint. These procedures are similar to standard conservation treatment, except that this procedure is simplified and the use of chemical agents avoided. The Copy and the Replica workshop has been organised since 2004 and encompasses making copies and replicas of both prehistoric and Roman ceramics, modelled on original museum exhibits kept at the National Museum in Belgrade (Roman lamps, cups, fish pots, and goblets). This workshop also involves theoretical lectures held alongside the practical work, explaining how copies and replicas are made. These lectures also answer several key questions, such as why copies of museum objects are made, how crucial these are when the original has been destroyed, and why they are important in cultural heritage protection. The practical work comprises three phases: making pottery in a traditional way; modelling (the so-called hand-building technique); making pottery using the press-moulding technique; and making copies of archaeological objects using the casting technique. In phase one, children make copies of clay objects based on observing original museum objects. Phase two

DIANA #13

press-moulding involves pressing clay into a two-part plaster mould, which produces a copy of the object. Phase three involves pouring casting mass into plaster moulds in order to get copies of the original museum objects. In the last phase, the created copies and replicas are worked on using various types of tools, baked in kilns, and ornamented by using the tera sigilate technique and acrylic paints, by choice. At the end of the programme, the workshop participants receive certificates and brochures in which all the work methods applied in The Secrets of Conservation and The Copy and the Replica workshops are explained, illustrated with photographs. All produced works are presented every year at The Childrens Exhibition, after which children take them home to remind them of their participation in the museum activities. Another key element of the workshops is that the children have an opportunity to visit Dianas conservation workshops, which gives them a complete picture of museum object conservation. The atmosphere of the Gallery of Frescoes, where the workshops are held and where Diana is situated, enables children to understand and recognise the importance and value of our own cultural heritage in the context of world cultural heritage and other aspects of life. Certain segments of The Copy and Replica workshop were conducted in 2004 and 20005 to mark the European Days of Cultural Heritage, and in 2005 and 2006 as parts of Nutrition in the Past, a project of the Education Department of the National Museum in Belgrade, and the Copy or the Original programme, organised in 2006 by this Department in cooperation with The White Cane, The Association of The Blind and Partially Sighted of Serbia. Another programme aimed at involving young people in museum activities is Living in the Roman Ages, also organised in cooperation with the Education Department of the National Museum in Belgrade. This project is a continuation

Sl. 4. Tehnika livenja iz kalupa Fig. 4. The casting technique

Sl. 5. Izvedene kopije i replike Fig. 5. The copies and replicas created

117

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

u doba Rimljana jeste nastavak projekta Ishrana u pro{losti i predstavlja jedan od programa ~ija je svrha upoznavanje sa `ivotom u pro{losti na teritoriji Srbije, ali i razumevanje uloge i delatnosti jedne od institucija za{tite Narodnog muzeja u Beogradu. Projekat se sastoji od teorijskog i prakti~nog dela. Teorijski deo ostvaruju edukatori u {kolama, na predavanjima koja predstavljaju pripremu za odvijanje prakti~nog dela. Na predavanjima se deci prikazuju reprodukcije i ona se upoznaju s na~inom `ivota od preistorije do dana{njih dana, s naglaskom na rimskom periodu i mozaiku kao podnoj dekoraciji. Prakti~an rad obuhvata pravljenje mozaika po motivima rimskih mozaika s teritorije Srbije. Deca na podlozi od lesonita (15 15 cm) prvo crtaju motiv na osnovu datih predlo`aka. Nakon izvo|enja crte`a deca lepkom lepe kockice. Treba naglasiti da je tehnika izrade mozaika prilago|ena deci. Za izradu se koriste kockice pravljene od cementa i pigmenata pome{anih s vodom, ~ime je izbegnuto kori{}enje kamena i deci je rad olak{an. Tu tehniku izrade kockica za mozaik osmislio je tim OPZ Dijana, pri ~emu je pomoglo iskustvo kolega iz Odeljenja za edukaciju Muzeja antike Arla i Provanse iz Arla (Francuska). Smesa se pravi na isti na~in kao {to je prave francuske kolege, s tim {to mi masu izlivamo u drvene ramove odre|enih dimenzija, a na osnovu njih seku se kockice veli~ine 1 1 cm. Nakon se~enja kockice se ostavljaju da se osu{e i posle toga su spremne za upotrebu. Osim u {kolama, ovaj program ostvaruje se i u okviru redovnih aktivnosti De~ijeg kluba Narodnog muzeja u Beogradu. Tim OPZ Dijana nastavi}e da stvara, sprovodi i razvija programe za publiku, a posebno za decu. Za ovu godinu tako|e planiramo publikovanje stru~ne literature namenjene deci {kolskog uzrasta, a ona }e se odnositi na pomenute teme u vezi sa za{titom kulturnih dobara. Predvi|eno je da se za navedene teme uradi i animacija na CD-u, koja bi bila propratni materijal uz publikaciju. Tako|e, do sada nije iz-

Sl. 6. Kockice za izradu mozaika Fig. 6. The mosaic cubes

vedena evaluacija pomenutih aktivnosti. Planira se da se u toku 2008. godine sprovede anketa kojom }e se proceniti zainteresovanost dece za ovakve programe, za osmi{ljavanje i razvijanje drugih programa za publiku mla|eg uzrasta, kao i to kakva su o~ekivanja od ovakvih programa u budu}nosti. Na{e dosada{nje iskustvo pokazalo je da muzejski programi namenjeni edukaciji dece izazivaju veliko interesovanje i pa`nju, posebno kada je re~ o prakti~nom radu, jer su u~esnici na neposredan na~in uklju~eni u za{titu kulturne ba{tine. To je jedan od primera animiranja publike i formiranja novih posetilaca muzeja, ali i dobar na~in obrazovanja budu}ih generacija za{titara. Tako|e moramo da naglasimo da sve ove radionice izazivaju veliku medijsku pa`nju i da ih televizija, radio i {tampa redovno prate. Na taj na~in dodatno se populari{u na{e aktivnosti, a to nam istovremeno potvr|uje da dobro obavljamo posao edukatora.

Suzana POLI]-RADOVANOVI], in`enjer Me|unarodni kulturni centar YUBIN

MULTIDISCIPLINARNA ISTRA@IVANJA U ARHEOMETRIJI

PO^ETKOM APRILA 2007. GODINE u Istanbulu (Istanbul Kltr University) odr`an je Me|unarodni kongres o primeni spektroskopskih metoda u konzervaciji kulturne ba{tine. Osnovna tema skupa odnosila se na multidisciplinarnu oblast arheometrije, koja dominantno obuhvata istra`ivanja u oblastima arheologije i fizike, ali i u ~itavom spektru prirodnih i dru{tvenih nauka. Predstavljeni nau~ni radovi pokazali su kako se primenom modernih eksperimentalnih tehnika dolazi do zna~ajnih podataka o datiranosti predmeta izra|enih od raznovrsnih materijala, izvedenih u raznorodnim tehnikama, tokom razli~itih istorijskih perioda. Predstavljeni su rezultati istra`ivanja u kojima su prime-

njene multianaliti~ke tehnike XRF, XRD, opti~ka mikroskopija SEM i TEM, magnetna rezonanca, X-ray radiometrija, neutronska analiza, ED XRF spektroskopija, laserski indukovana Ramanova spektroskopija, m-Raman spektroskopija i druge va`ne analiti~ke i dijagnosti~ke tehnike koje imaju visoku selektivnost i visok nivo senzitivnosti. Istra`ivanja su obuhvatila identifikaciju prirodnih i sinteti~kih pigmenata i njihovih varijacija u podlogama fresaka, ikona i manuskripata, identifikaciju organskih veziva, boja, glazura, keramike i stakla, kao i ispitivanje tekstila, metala i kamena.

118

EDUCATION AND PROFESSIONAL MEETINGS

of Nutrition in the Past, the purpose of which is to learn about life in the past in Serbia, as well as the role and activities of institutions of protection i.e. the National Museum in Belgrade. The project consists of theoretical and practical parts. The first is conducted by museum educators, through lectures, serving to prepare participants for the practical part. At these lectures children are shown reproductions and get familiar with ways of life from prehistory to the present, with an emphasis on the Roman period, using the mosaic as floor-decoration. The practical work involves mosaic making, following Roman mosaics in Serbia, but adapted for children. First, the children draw a motif on a plywood surface (15 15 cm), copying the offered model. After that they glue together the mosaic cubes, made of cement and pigments mixed with water. The use of stone is avoided, thereby making the childrens work easier. This technique was worked out by the Diana team, aided by the experience of colleagues from the Education Department of the Muse de lArles et de la Provence antiques (France). The mixture is made the way French colleagues do it, except that we pour the mass into wooden frames of certain dimensions and then cut the cubes to a size of 1 1 cm. Afterwards they are left to dry, upon which they are ready to use. This programme is not only carried out in schools, but also as part of the regular activities of The Childrens Club of The National Museum in Belgrade. The Diana team will continue to create, implement, and develop programmes for the public, and especially for children. This year we also plan to publish literature for schoolage children, which would deal with subjects pertaining to the protection of cultural heritage. We plan to make a CD animation for these themes to accompany the publication. An evaluation of the said activities has not been carried out so far, so in 2008 we plan to conduct a survey that would assess childrens interest for such programmes and show whether the development of future programmes targeted

DIANA #13

Sl. 7. Izvedeni mozaici Fig. 7. The mosaics created

at younger museum visitors would be feasible, and what these might be. Our experience so far has shown that museum programmes for the education of children attract interest and attention, especially regarding practical work, because participants are involved indirectly in the protection of cultural heritage. That is one way to animate the public and attract more museum visitors, providing a fine means of educating future generations of conservators. Furthermore, we have to point out that all the workshops have attracted considerable media attention, with the television, radio, and press reporting regularly on them. This makes our activities even more popular and assures us that we have been successful educators.

Suzana POLI]-RADOVANOVI], engineer International Cultural Center YUBIN

MULTIDISCIPLINARY RESEARCH IN ARCHAEOMETRY

IN EARLY APRIL 2007, the International Congress on Applying Spectroscopic Methods in Cultural Heritage Conservation was held in Istanbul (Istanbul Kltr University). The main topic of the congress was the interdisciplinary field of archaeometry, which mainly encompasses research in archaeology and physics, but also in the wider spectrum of social and natural sciences. The research papers presented at the congress showed how the application of contemporary experimental methods leads to significant data on the dating of objects made of various materials, created using diverse techniques, in different historical periods. Research results were presented in which multi-analytic

techniques were applied, such as XRF, XRD, SEM and TEM optical microscopy, magnetic resonance, X-ray radiometry, neutron analysis, ED XRF spectroscopy, laser induced Raman spectroscopy, m-Raman spectroscopy and other important analytic and diagnostic techniques that are highly selective and sensitive. Research encompassed the identification of natural and synthetic pigments and their variations on the surfaces of frescoes, icons and manuscripts, the identification of organic binders, colours, glazes, ceramics and glass, as well as the testing of textiles, metal and stone.

119

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

umetnika {to je cela postala stil, kako to opisuje Lui|i Parison govore}i o umetnosti kao figuraciji materije. S tog stanovi{ta, laser kao sredstvo koje ne naru{ava materijal predmeta kulturne ba{tine, a time ne unosi promene ni u ideje opredme}ene u unikatnom ili jedinstvenom artefaktu, jeste zna~ajno tehnolo{ko dostignu}e koje samom procesu za{tite daje nov smisao. Pri tom, tehnolo{ki proces kao posledica tragala~kog napora, kao i sam totalni mit traganja, ima ~etiri stadijuma: problem ili osnovni sukob (agon), isparavanje ili neophodni otklon (patos), destrukciju ili potrebno razaranje (sparagmos) i obnavljanje kao prepoznavanje (anagnorisis). Tim asocijativnim kompariranjem univerzalnih stvarala~kih stadijuma i stadijuma tehnolo{ke obrade umetni~kih materijala u stvari apostrofiramo to da proces restauracije umetni~kog dela, uprkos primarnoj tehnologi~nosti, ima u sebi i druge neosporno va`ne identifikacije. Ovde se, pre svega, misli na postojanje deskriptivnog aspekta (sadr`ine), koji oslikava spolja{nje opti~ke fenomene, na jednoj strani, i konstruktivni aspekt, neku vrstu metafore ili formalizovane strukture koja sadr`i nekonvencionalno, primereno re{enje, s druge strane.

Sl. 1. Radovi predstavljeni u okviru poster-sekcije Fig. 1. Works presented within the poster-section

Veoma interesantni radovi odnosili su se na istra`ivanje anti~kog srebrnog novca na tlu Albanije, istra`ivanja {tampe iz perioda Otomanskog carstva, zidnog slikarstva u Rumuniji, rane metalurgije u Bugarskoj. Radovi dva istra`iva~ka tima iz Srbije odnosili su se na ispitivanje rane srednjovekovne keramike u Srbiji (Lj. Damjanovi}, M. Stojanovi}, V. Andri}, I. Holclajtner-Antunovi}, U. B. Mio~) i istra`ivanje semanti~kog kapaciteta spektralnih analiza u okviru studije o primeni lasera na objektima kulturne ba{tine (S. Poli}-Radovanovi}, Z. Nedi}, M. Sre}kovi}). U prvom radu analizirani su uzorci posuda s lokaliteta Ras i Novo Brdo iz XIV i XV veka kombinovanjem multianaliti~kih tehnika X-ray fluorescencije, FTIR spektroskopije, X-ray difrakcije i diferencijalne termalne analize. Predmet drugog rada iz Srbije bila je kamena figurina iz Gabona, ~iji je materijal komparativno analiziran s rezultatima iz studije sa Federalnog univerziteta Roraima (Brazil), u kojoj je ispitivan materijal pedra sabo. U opservaciji semanti~kog kapaciteta spektralnih analiza koje je potrebno sprovesti u okviru studija o primeni lasera na objektima kulturne ba{tine neki od najva`nijih pokazatelja odnose se na probleme prezentnosti reprezentovanog materijala, probleme intencionalnih korelata, probleme supstancijalnosti sadr`ine, supstitucionog kapaciteta dijagnosti~kih metoda i probleme redukcije informacija. Zna~ajna su pitanja o primenljivosti metoda, o tehnolo{kim granicama tuma~enja dela, stohasti~nosti procesa, o odnosu medija i procesa, kao i pitanja transparencije dobijenih rezultata. Iako navedeni problemi tokom istra`ivanja bitno su`avaju prostore opservacije, egzaktni rezultati o prirodi materije dobijeni spektralnim analizama, pokazalo se, imaju zna~ajan semanti~ki kapacitet u procesu tehnolo{kog planiranja upotrebe lasera na objektima kulturne ba{tine. Analiza problema sondiranja podataka originalnih eksperimentalnih istra`ivanja, kao i studija laserske dijagnostike, obrade i za{tite materijala kulturne ba{tine, pokazuje da se delovanjem lasera na umetni~ki predmet ne deluje samo na materiju u smislu njene strukture ve} i na materiju oblikovanu na neponovljiv na~in u oblik koji je sama duhovnost

Sl. 2. U~esnici Me|unarodnog kongresa o primeni spektroskopskih metoda u konzervaciji kulturne ba{tine Fig. 2. The participants of the International Congress on Applying Spectroscopic Methods in Cultural Heritage Conservation

Zato u procesu primene lasera u konzervaciji predmeta kulturne ba{tine predmet istra`ivanja, objekat delovanja, sredstvo delovanja, prostor opservacije i dokazni instrumentarijum moraju biti funkcionalno povezani. Njihova veza ima potpuni kauzalitet, pa primenu lasera u re{avanju problema za{tite predmeta kulturne ba{tine nije mogu}e izvesti ukoliko bilo koji od tih ~inilaca nema odgovaraju}u funkciju. Razmatranjem mesta spektralne analize u okviru subjektno-objektne slike odnosa izgra|enih u procesima deskripcije, analize, prospekcije, konstrukcije i rekonstrukcije komponenata koje ~ine konkretan zadatak laserske za{tite predmeta kulturne ba{tine aktualizovano je pitanje semanti~kog kapaciteta te metode.

120

EDUCATION AND PROFESSIONAL MEETINGS

Some very interesting papers focused on researching antique silver coins on Albanian territory, printing from the period of the Ottoman Empire, wall painting in Romania, and early metallurgy in Bulgaria. The works of two research teams from Serbia focused on early medieval ceramics in Serbia (Lj. Damjanovi}, M. Stojanovi}, V. Andri}, I. Holclajtner-Antunovic, U. B. Mio~) and on researching the semantic capacity of spectral analyses within a study on applying the laser to cultural heritage objects (S. Poli}-Radovanovi}, Z. Nedi}, M. Sre}kovi}). The first paper analyzed vessel samples from Ras and Novo Brdo dating from the 14th and 15th centuries, combining the multi-analytic techniques of X-ray fluorescence, FTIR spectroscopy, X-ray diffraction and differential thermal analysis. The topic of the second Serbian paper was a stone figurine from Gabon, whose material was analyzed comparatively with the results of a study from Roraima Federal University (Brazil), which focused on pedra sabo material. In the observation of the semantic capacity of spectral analyses that need to be carried out within studies of applying the laser to cultural heritage objects, some of the most significant indicators refer to the problems of the presentability of representative material, international correlation, content substantiality, the substitutional capacity of diagnostic methods, and the problems of information reduction. The questions of method applicability, technological limits of work interpretation, process stochasticity, and mediumprocess relations are of great significance, as are questions relating to the transparency of findings. Although the above-mentioned problems in research to a great extent narrow the observation field, the exact results on the nature of the material acquired through spectral analyses have been shown to have significant semantic capacity in the process of technological planning the use of laser on cultural heritage objects. Analysing the problem of sounding data from original experimental research, as well as the study of laser diagnostics and processing and the conservation of cultural heritage material, demonstrate that the laser not only affects the structure of the material of an art object but also the mate-

DIANA #13

Sl. 3. Figurina iz Gabona Fig. 3. The figurine from Gabon

rial shaped in a unique way, into a form that represents the very inspiration of the artist which has entirely grown into the style, as Luigi Parison describes it, speaking of art as the figuration of imagination. From this viewpoint, the laser is a means that does not jeopardize the material of the cultural heritage object, and therefore does not cause changes to the idea created in the single or unique artifact. It represents a significant technological achievement that gives a whole new meaning to the very process of conservation. In addition, the technological process resulting from researching endeavors, and the total myth of research itself, contain four phases: the problem or the basic conflict (agon), evaporation or necessary distancing (patos), destruction or necessary ruination (sparagmos), and restoration as recognition (anagnorisis). Through this associative comparison of the universal phases of creation and the phases of technological processing of artistic material, we emphasize the fact that despite the primary technological aspect, the process of artifact restoration also contains other unquestionably significant forms of identification. This primarily refers to

Sl. 4. IC rezultati ispitivanja brazilskog kamena pedra sabo Fig. 4. The IC results of the research on the Brazilian pedra sabo stone

121

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

Sl. 5. Transmisioni spektri ispitivanja kamena figurine iz Gabona Fig. 5. Transmission spectra of the research on the stone figurine from Gabon

Primenom komparativnih analiza materijala figurine i materijala pedra sabo istra`iva~i su dokazali da spektralne analize imaju dovoljan semanti~ki kapacitet za utvr|ivanje geografskog porekla umetni~kog predmeta, te da se u razmatranju primene lasera u restauraciji predmeta kulturne

ba{tine svakako mora po}i od analize spektralnih podataka. Drugim re~ima, u ispitivanju fenomena primene lasera u za{titi materijala predmeta kulturne ba{tine re~ je o putu koji zapo~inje ispitivanjem tehnologije umetnosti, a zavr{ava se u ispitivanju umetnosti tehnologije.

Azra BE^EVI]-[ARENKAPA, konzervator Zemaljski muzej BiH

SIMPOZIJUM FOTOGRAFSKO NASLJE\E U CENTRALNOJ, JUGOISTO^NOJ I ISTO^NOJ EUROPI: PRO[LOST, SADA[NJOST I BUDU]NOST 49. 11. 2007, Bratislava, Slova~ka Republika
ME\UNARODNI SIMPOZIJUM Fotografsko naslje|e u centralnoj, jugoisto~noj i isto~noj Europi: pro{lost, sada{njost i budu}nost fokusirao se na fotografiju kao integralni dio kulturnog naslje|a, kao i na razvijanje strategija za za{titu fotografskih kolekcija koje se nalaze u centralnoj, jugoisto~noj i isto~noj Europi. Simpozijum su organizirali Institut za konzervaciju Geti (GCI) iz Los An|elesa, Akademija likovnih umjetnosti i dizajna iz Bratislave i Slova~ka nacionalna biblioteka iz Martina u Slova~koj Republici. Tema ~etvorodnevnog simpozijuma bile su historija i konzervacija fotografija u Albaniji, Bjelorusiji, Bosni i Hercegovini, Bugarskoj, Hrvatskoj, ^e{koj Republici, Njema~koj, Ma|arskoj, Makedoniji, Moldovi, Crnoj Gori, Poljskoj, Rumuniji, Srbiji, Slova~koj Republici i Sloveniji. Na simpozijumu je bilo preko 120 u~esnika iz 22 zemlje. Prvog i drugog dana simpozijuma odr`ana su predavanja o historiji i konzervaciji fotografija u zemljama regiona. Svaka zemlja predstavila je i opisala historiju fotografije, va`ne fo-

tografske kolekcije i na~ine konzerviranja i za{tite fotografskih kolekcija. Tre}eg dana simpozijuma, osim predavanja eminentnih stru~njaka iz oblasti konzervacije fotografija, odr`an je i okrugli stol na kojem se razgovaralo o potrebama u okviru kolekcija i institucija u zemljama u~esnicama. Tako|er smo imali priliku da slu{amo predavanje pod nazivom Prva fotografija na~in analiziranja, smje{taja i izlaganja. Prva fotografija View from the Window at Le Gras delo je @ozefa Nisefora Nijepsa (Joseph Nicphore Nipce) i nastala je 1826. godine. To je prvi primjer trajne slike napravljene izlaganjem fotosenzitivne plo~e (izra|ene od legure olova, bakra, nikla i `eljeza, s premazom bitumena) u kameri opskuri. Ona je sada dio fotografske kolekcije Harry Ransom Humanities Research Center na Univerzitetu Teksas u Ostinu. U junu 2002. godine fotografija je stigla u Institut za konzervaciju Geti radi nau~nih analiza koje do tada nisu bile obavljene, iako je proces stvaranja fotografije

122

EDUCATION AND PROFESSIONAL MEETINGS

the existence of a descriptive aspect (content), which, on one hand, reflects external optical phenomena, and on the other, a constructive aspect, a kind of metaphor or formalized structure that contains the unconventional, suitable solution. This is why the research topic, the object requiring action, the means of action, the observation area, and the evidence instrumentarium must be functionally connected in the process of applying the laser in the conservation of cultural heritage objects. Their relationship is characterized by complete causality, so the application of laser techniques in solving problems in the conservation of cultural heritage objects is not possible if any of these factors do not have a suitable function. By considering the place of spectral analysis within the subjective-objective picture built in the processes of descrip-

DIANA #13

tion, analysis, prospection, construction, and reconstruction of the components that comprise the concrete task of laser protection of cultural heritage objects, the issue of this methods semantic capacity is made more topical. Applying comparative analyses of the figurine and the pedra sabo material, researchers have proved that spectral analyses have sufficient semantic capacity to establish the geographic origin of an artifact and that, therefore, the analysis of spectral data should definitely be the starting point when considering the application of the laser in the restoration of cultural heritage objects. In other words, research on the phenomena of applying the laser in the protection of cultural heritage objects material is all about a development that starts with investigating the technology of art and ends with investigating the art of technology.

Azra BE^EVI]-[ARENKAPA, conservator National Museum of BiH

SYMPOSIUM PHOTOGRAPH HERITAGE IN CENTRAL, SOUTHERN AND EASTERN EUROPE: PAST, PRESENT AND FUTURE 49. November 2007, Bratislava, Republic of Slovakia
THE INTERNATIONAL SYMPOSIUM on the Photograph Heritage in Central, Southern and Eastern Europe: Past, Present and Future focused on photographs being integral components of cultural heritage, and on developing preservation strategies for photograph collections located in Central, Southern, and Eastern Europe. The Symposium was organized by the Getty Institute for Conservation (GCI), Los Angeles, the Academy of Fine Arts and Design, Bratislava, and the Slovak National Library, Martin, Slovakian Republic. The four-day symposium considered the history of photography and photograph conservation in Albania, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Germany, Hungary, Macedonia, Moldova, Montenegro, Poland, Romania, Serbia, Slovak Republic, and Slovenia. Over 120 participants from 22 countries attended the symposium. During the first two days, participants gave lectures on the history and conservation of photography in the countries of the region. Each country represented and described the history of its own photography, significant photographic collections, and methods of conservation and protection of photographic collections. On the third day, in addition to lectures given by eminent experts in the field of photograph conservation, there was a roundtable discussion about the needs of photograph collections, and about existing institutions in participating countries. We had a chance to listen to the stimulating lecture First Photography Method of Analyzing, Storage and Display. One of the earliest photographs was taken by Joseph Nic-

phore Nipces in 1826 (View from a window at La Gras). This was the first example of a permanent picture made by exposing a photosensitive slab (made from lead, copper, nickel and iron alloy covered with bitumen) inside a camera obscura. It now forms part of the photographic collection of Harry Ransom Humanities Research Center at Texas University, Austin. In June 2002, the photograph came to Getty Conservation Institute (GCI) for scientific analysis since this had not been done before, although the procedure for taking a photo had been documented (supported by documentary evidence). The scientific team of GCI used nondestructive analytic methods that included XRF (X-Ray

123

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

bio dokumentovan. Nau~ni tim GCI koristio je nedestruktivne analiti~ke metode, koje su uklju~ivale XRF (X-ray fluorescente) i FTIR (Fourier-transform infrared spectrometry). Tim GCI tako|er je izradio i specijalnu vitrinu za izlaganje, napunjenu inertnim gasom, s kontrolom mikroklime. Institut za konzervaciju Geti, Akademija likovnih umjetnosti i dizajna iz Bratislave i Slova~ka nacionalna biblioteka iz Martina 8. novembra 2007. godine u Ameri~koj ambasadi u Bratislavi potpisali su sporazum o me|uinstitucionalnoj saradnji i daljoj edukaciji na polju konzervacije fotografija. Mo`e se re}i da je cilj simpozijuma bio da on poslu`i kao katalizator za me|unarodnu saradnju i da omogu}i zasnivanje edukacije na polju konzervacije i za{tite fotografija u bogatom naslje|u centralne, jugoisto~ne i isto~ne Europe. Tako|er je omogu}io stru~njacima iz regiona i svijeta da se upoznaju i razmjene iskustva u na~inu pristupanja problemima deponovanja, za{tite, konzervacije i digitalizacije fotografskih kolekcija.

Ubavka MIO^ Fakultet za fizi~ku hemiju Univerziteta u Beogradu

STUDENTI BEOGRADSKOG UNIVERZITETA NA SKUPU U SUSRET PRO[LOSTI: NAUKA I KULTURNO NASLE\E

KRAJEM NOVEMBRA 2006. GODINE u Galeriji Tejt modern (Tate Modern Gallery) u Londonu odr`an je jednodnevni seminar pod nazivom U susret pro{losti: nauka i kulturno nasle|e (Looking Forward to the Past: Science and Heritage). Seminar je organizovao CCLRS (Council for the Central Laboratory of the Research Councils) u saradnji sa Arts & Humanities Research Council, a u okviru evropskog projekta COST. Na ~elu organizacionog odbora bio je prof. dr Manolis Pantos sa Univerziteta u Barseloni. Cilj skupa bilo je povezivanje nau~nika iz oblasti prirodnih nauka, restauratora, konzervatora, istori~ara umetnosti i arheologa koji se na multidisciplinaran na~in bave o~uvanjem kulturnog nasle|a, kao i razmena ideja izme|u njih. Galerija Tejt modern otvorena je 2000. godine i jedan je od najpoznatijih muzeja savremene umetnosti u Evropi. Nalazi se na desnoj obali Temze, u neposrednoj blizini Milenijumskog pe{a~kog mosta, koji je podignut povodom ulaska u tre}i milenijum. Galerija Tejt modern impresivno je zdanje, koje je nekada bilo elektrana, i mo`e da primi veliki broj ljubitelja umetnosti. Upravo zbog toga {to povezuje suprotnosti ta galerija je izabrana za mesto odr`avanja skupa. Seminar je okupio veliki broj u~esnika iz mnogih zemalja Evrope: Francuske, Nema~ke, Belgije, Austrije, Italije, Slovenije, Rumunije, Izraela, [panije, Portugalije i Srbije, a najbrojniji su bili u~esnici iz Velike Britanije. Teme predavanja bile su veoma raznovrsne, iako su se sve odnosile na primenu fizi~kohemijskih metoda u ispitivanju i za{titi umetni~kih dela.

Na skupu su u~estvovali i Olgica Marjanovi} i Neboj{a Peri{i}, apsolventi na Fakultetu za fizi~ku hemiju Beogradskog univerziteta, sada diplomirani fizikohemi~ari. Oni su rezultate svojih diplomskih radova Bojena neolitska keramika vin~anske kulture (Neboj{a Peri{i}) i Spektroskopsko ispitivanje ikona slikanih na platnu (Olgica Marjanovi}) predstavili na skupu kao postere. Prezentovani radovi deo su istra`ivanja grupe beogradskih nau~nika koji razvijaju multidisciplinarni pristup u ispitivanju umetni~kih dela. Tu grupu ~inili su prof. dr Ubavka Mio~ i doc. dr Ljiljana Damjanovi} sa Fakulteta za fizi~ku hemiju, diplomirani hemi~ar Milica Stojanovi} iz Narodnog muzeja u Beogradu i diplomirani fizikohemi~ar Velibor Andri} iz Instituta za nuklearne nauke Vin~a. Bojena neolitska keramika vin~anske kulture s lokaliteta Plo~nik bila je predmet jednog od istra`ivanja. Cilj rada bili su rekonstrukcija tehnologije pe~enja i utvr|ivanje porekla pigmenata kori{}enih za ukra{avanje. U tu svrhu primenjeno je nekoliko metoda fizi~kohemijske analize: infracrvena (IC) spektroskopija, rendgenska fluorescentna analiza (XRF) i difrakcija rendgenskog zra~enja na kristalnom prahu (XRPD). Na osnovu IC analize otkriveno je prisustvo kalcijum-ortofosfata u pigmentima bele boje, {to ukazuje na kori{}enje samlevenih kostiju kao belog pigmenta. Na osnovu XRF analize odre|ena je koli~ina gvo`|a u pigmentima crvene i crne boje, na osnovu ~ega je zaklju~eno da je crveni pigment hematit (Fe2O3), a crni FeO. Uz pomo} XRPD

124

EDUCATION AND PROFESSIONAL MEETINGS

fluorescence) and FTIR (Fourier-Transform Infrared) spectrometry. The GCI team also constructed a special showcase filled in with inert gas to control its microclimate. On November 8th 2007, the Getty Institute for Conservation (USA), Academy of Fine Arts and Design Bratislava, and the Slovakian National Library, Martin (Republic of Slovakia), signed an Agreement on International Cooperation and Further Education in the Field of Photography Conservation.

DIANA #13

Conclusion: the goal of this symposium was for it to serve as a catalyst for international collaboration in order to promote the conservation and preservation of photography within the established photographic heritage of Central, Southern, and Eastern Europe. This symposium enabled experts from the region and elsewhere to get to know one another and exchange their experience in solving the problems of storage, protection, conservation and digitization of photograph collections.

Ubavka MIO^ Faculty for Physical Chemistry, University of Belgrade

STUDENTS OF BELGRADE UNIVERSITY AT THE MEETING LOOKING FORWARD TO THE PAST: SCIENCE AND HERITAGE

TOWARDS THE END OF NOVEMBER a one day seminar on Looking Forward to the Past: Science and Heritage was held in the Museum of Contemporary Art at Tate Modern Gallery in London. The seminar was organized by CCLRS (Council for the Central Laboratory of Research Councils) in cooperation with the Arts & Humanities Research Council, within the European COST project. The chairman of the organizing committee was Professor Manolis Pantos from the University of Barcelona, Spain. The goal of this meeting was the communication and exchange of the ideas among natural sciences, restoration, and conservation scientists, historians of art, and archeologists, all dealing with the conservation of cultural heritage in a multidisciplinary manner. Tate Modern Gallery was opened to the public in 2000 and is one of the most famous museums of modern art in Europe. It is situated on the south bank of the River Thames, close to the Millennium Footbridge, built on the occasion of entering the third millennium. Tate Modern Gallery is an impressive building that used to be a power station and is able to hold a great number of art admirers. Since the gallery itself connects opposites, it was chosen to be the venue of the meeting. The seminar was attended by a large number of participants from various European countries: France, Germany, Belgium, Italy, Slovenia, Romania, Israel, Spain, Portugal and Serbia, but participants from Great Britain were participants from Great Britain were overwhelmingly superior in number. Lecture topics were heterogeneous, although they all dealt with the application of physico-chemical methods in testing and conserving works of art. Students from Belgrade University, Faculty of Physical Chemistry, Olgica Marjanovi} and Neboj{a Peri{i}, now graduate physico chemists, attended this seminar and presented results of their final examination papers: (Neboj{a Peri{i}) and Spectroscopic Testing of Icons Painted on Canvas (Olgica Marjanovi}), as posters. The presented papers form part of the research work of a group of scientists from Bel-

grade who are developing a multidisciplinary research approach to works of art. The group of scientists performing this research consisted of Professor Dr. Ubavka Mio~ and senior lecturer Dr. Liljana Damjanovi} from the Faculty of Physical Chemistry, graduate chemist, Milica Stojanovi} from the National Museum in Belgrade, and graduate physico-chemist, Velibor Andri} from the Institute for Nuclear Science Vin~a. The aim of the research on the Painted Neolithic Ceramics of Vin~a Culture, Plo~nik site, was to reconstruct the technology of firing and discover the origin of pigments used for adornment. For this purpose, several methods of physico-chemical analysis have been used: (IC) infrared spectroscopy, Roentgen fluorescent analysis (XRF) and diffraction of Roentgen rays on crystal dust (XRPD). During basic IC analysis, the presence of calcium orthophosphate in the pigments of white color was discovered, which indicate that ground bones were used as white pigment. On the basis of XRF analysis, the quantity of iron was defined in the pigments of red and black color, which proved that red pigment is hematite (Fe2O3) and black FeO. By the means of XRPD analysis, the composition of ceramic material was discovered and this was used to estimate the temperature of firing. In another paper, spectroscopic testing of icons painted on canvas showed the use of the spectroscopic method in analyzing pigment and other painting material used for making three icons painted on canvas. The tested icons Godmother and Christ, Saint Petka Paraskeva and Madonna belong to the Museum of the Serbian Orthodox Church. It is supposed that they originate from the end of XIX century and beginning of XX century. By means of an optic microscope, a cross section of all samples was photographed and the chronology of applied layers of colour was established. By combining results obtained from physico chemical methods (XRF and IC spectroscopy), identification of the painting

125

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

Ova metoda daljinske detekcije (analize terestri~nih avionskih i satelitskih snimaka) relativno je nova u istra`ivanju arheolo{kih lokaliteta, a posebno je korisna za lociranje te{ko pristupa~nih arheolo{kih lokaliteta. Dr Jana Kolar iz Slovena~ke nacionalne biblioteke govorila je o uzrocima degradacije, nedestruktivnoj hemijskoj analizi i za{titi papira (raznih dokumenata i pisama), knjiga i pergamenata od velike vrednosti. Mikroramanska spektroskopija i rendgenska fluorescentna analiza (XRF), prema Jani Kolar, predstavljaju najprikladnije metode za ovakav vid ispitivanja, jer ispunjavaju stroge uslove vezane za nedestruktivnost i osetljivost, {to je neophodno prilikom analize vrednih umetni~kih dela. Veliki broj starih dokumenata i knjiga koji se ~uvaju u bibliotekama {irom sveta nalazi se u veoma lo{em stanju i, prema oceni stru~njaka, verovatno ne}e pre`iveti ovaj vek ukoliko se ne preduzmu mere za{tite. Kao jedan od primera navedeni su Rembrantovi crte`i koji su na ivici propadanja. Tako|e je ukazano na va`nost ispitivanja mastila na starom papiru. Na osnovu poznavanja hemijskog sastava kori{}enog mastila mogu}e je utvrditi, osim uzroka propadanja papira, i autenti~nost dokumenata i starih spisa. Istra`iva~i iz Italije govorili su o kori{}enju lasera pri uklanjanju patine s bronzanih skulptura. Ta metoda se ve} du`e vreme primenjuje kod ~i{}enja predmeta od kamena, dok to doskora nije bilo mogu}e na metalnim skulpturama zbog topljenja i promene boje legure usled lokalnog zagrevanja predmeta. Taj problem uspe{no je razre{en primenom pulsnih lasera, jer je na taj na~in izbegnuto kontinualno izlaganje metala visokoenergetskom zra~enju. Na poster-sekcijama koje su odr`ane u pauzama predavanja prikazani su rezultati velikog broja ispitivanja umetni~kih dela. Metode koje su kori{}ene u tim ispitivanjima u najve}oj meri su spektroskopske i nuklearne. Objekti koji su ispitivani veoma su raznovrsni, po~ev od nov~i}a, nakita, gr~kih i rimskih {lemova, preko drevnih kerami~kih predmeta, srednjovekovnih slika i fresaka, fasada katedrala i zgrada, do potopljenih brodova i skulptura kojima je potrebna restauracija. Na seminaru U susret pro{losti: nauka i kulturno nasle|e pokazano je na veoma zanimljiv na~in da nauka i umetnost imaju mnogo zajedni~kih tema. Na osnovu toga jasno se vidi da je ispitivanje umetni~kih dela pre{lo veliki put od ideje o mogu}nosti primene egzaktnih nauka do njene realizacije. [irom sveta nau~nici iz oblasti prirodnih nauka ve} su ostvarili dobru komunikaciju s nau~nicima iz oblasti humanisti~kih nauka, dok je kod nas takav vid saradnje na samom po~etku. U~e{}e na{ih nau~nika na skupovima sa ovakvom tematikom doprinosi razvoju prilaza o~uvanju kulturne ba{tine koji je za na{u sredinu nov, kao i upoznavanju novih egzaktnih metoda i razvoju saradnje nau~nika iz dve grupacije, kako u na{oj zemlji tako i sa onima iz inostranstva. Pored novih saznanja, ste~enog iskustva i uspostavljanja kontakata sa stru~njacima iz razli~itih oblasti i zemalja, nije izostalo ni fantasti~no dru`enje, {to se mo`e videti iz prilo`ene slike. Istra`ivanja predstavljena na ovom seminaru, kompletne informacije o u~esnicima, kao i fotografije, mogu se na}i na adresi: http://www.srs.ac.uk/scienceandheritage/

analize ustanovljen je sastav minerala u keramici, na osnovu kojeg je procenjena temperatura pe~enja. U radu Spektroskopsko ispitivanje ikona slikanih na platnu prikazana je primena spektroskopskih metoda u analizi pigmenata i drugog slikarskog materijala kori{}enog za izradu tri ikone na platnu. Ispitivane ikone Bogorodica sa Hristom, Sveta Petka i Madona pripadaju Muzeju Srpske pravoslavne crkve i pretpostavlja se da poti~u s kraja XIX ili po~etka XX veka. Uz pomo} opti~kog mikroskopa snimljeni su popre~ni preseci svih uzoraka, na osnovu ~ega je

Gore, s leve strane, prof. dr Manolis Pantos i Olgica Marjanovi}; dole, prvi zdesna, Neboj{a Peri{i} In the upper row from the left to the right, Prof. Dr. Manolis Pantos, Olgica Marjanovic. At the bottom, first from the right Nebojsa Perisic

utvr|en redosled nano{enja razli~itih slojeva. Kombinacijom rezultata dobijenih fizi~kohemijskim metodama (XRF i IC spektroskopija) identifikovani su kori{}eni slikarski materijali. Zaklju~eno je da je na sve tri ikone kao vezivo kori{}eno laneno ulje, dok se me{avina kalcita i olovnobele koristila kao podloga (u podlozi ikone s likom svete Petke prona|en je i barit). Utvr|eno je da su na ikonama kori{}eni pigmenti kao {to su prusko plavo, oksidi gvo`|a (hematit, getit), zelena zemlja, dok se cinkova bela koristila za dobijanje `eljene nijanse. Na osnovu identifikovanog slikarskog materijala potvr|ena je pretpostavka o vremenu nastanka ikona. Ovaj skup dao je pregled multidisciplinarnog pristupa ispitivanju najrazli~itijih umetni~kih predmeta kulturnog nasle|a. Profesor Dejvid Majls (David Miles) s Birmingemskog univerziteta pokazao je u svom predavanju da ne postoji nauka s kojom se arheologija ne mo`e povezati. Kao primer naveo je va`nost razvoja avio-industrije za arheologiju, {to je ilustrovao zanimljivim snimcima Stounhend`a iz balona, nastalim 1906. godine, i snimcima iz aviona iz 2006. godine.

126

EDUCATION AND PROFESSIONAL MEETINGS

material used was made. It was concluded that for all three icons, linseed oil was used as connective tissue, while the compound of calcite and led white was used as a base (in the base of the icon Saint Petka, barite was found). It was established that pigments such as Prussian blue, ferrous oxides (Hematite Goethite), and green earth were used for icons, while Zinc white was used to obtain desired shades. The identified painting material confirmed a hypothesis regarding the date of origin of these icons. This meeting provided a survey of the multidisciplinary approach in testing heterogeneous works of art forming part of the cultural heritage. In his lecture, Professor David Miles from Birmingham University conveyed that there is no science that archeology could not be connected to. As an example, he stated the importance of the development of the aviation industry for archeology and illustrated it with interesting photos of Stonehenge taken from a balloon in 1906 and from a plane in 2006. This method of remote detection (analysis of terrestrial plane and satellite photos) is relatively new in researching archeological sites. It is especially useful in locating archeological sites that are difficult to access. . Dr. Jana Kolar from the Slovenian National Library talked about causes of degradation, about non-destructive chemical analysis, and the conservation of paper (various documents and letters), books, and parchment of great value. According to Dr. Kolar, Micro-Raman spectroscopy and Roentgen fluorescent analysis (XRF), present the most appropriate methods for this kind of research, since they fulfill severe conditions connected to non-destructiveness and sensitivity, necessary during analysis of valuable works of art. Numerous old documents and books kept in libraries all over the world are in very bad condition and, according to the estimation of experts, will not survive this century, if conservation measures are not undertaken. Rembrandts drawings, which are on the brink of ruin, were given as one of the examples. Dr. Kolar also pointed out the importance of testing ink on old paper. By knowing the chemical composition of used ink, it is possible to determine, not only

DIANA #13

the cause of paper decay, but also facts regarding the authenticity of documents and old papers. Researchers from Italy talked about the use of lasers in cleaning patina from bronze sculptures. This method for cleaning stone objects has been used for some time, but this has not been possible recently because of melting and changes in the colour of alloys, caused by localized heating of the object. This problem has been successfully overcome by using pulse lasers, since in this way continuous exposure of metal to high-energy radiation sources was avoided. At poster workshops, held during break time between the lecturers, results obtained from testing various works of art, were presented. Methods used in testing were mostly spectroscopic and nuclear. Tested objects were heterogeneous, beginning with coins, jewelry, Greek and Roman helmets, through ancient ceramic objects, medieval paintings, frescoes, cathedral and building facades, to sunken boats and sculptures that needed restoration. The seminar, Looking Forward to the Past: Science and Heritage, presented in a very interesting way that science and arts have very much in common. Accordingly, it is obvious that testing works of art has come a long way from the first ideas of applying exact sciences to its realization. Worldwide, scientists from natural sciences have already had good communication with humanities scholars, while in our country, this type of communication is still at an early stag. The participation of our scientists at meetings dealing with this subject contributes to our developing new approaches to the protection of cultural heritage in our country, to our introducing new exact methods, and to developing cooperation between scientists from those two groups, both in our country and abroad. Besides new knowledge, obtained experience, and contacts with experts from various fields and countries, we also had a good time, which is obvious from the photos included here. The research work presented at this seminar, complete information about participants and photos can be found on the web page http://www.srs.ac.uk/scienceandheritage/

Vesna @IVKOVI], curator for Preventive Conservation Diana Department for Preventive Conservation, National Museum in Belgrade

THE ESTABLISHEMENT OF A MASTERS DEGREE IN PREVENTIVE CONSERVATION IN BELGRADE

THE MASTERS DEGREE in Preventive Conservation was officially launched on 24th November 2008 at the Centre for Multidisciplinary Studies, Belgrade University. The establishment of this Masters program is connected with the introduction of preventive conservation principles within cultural heritage preservation in Serbia and a new approach to conservation education, four years after the creation of

the Diana Department for Preventive Conservation at the National Museum in Belgrade, the direct result of the departments activities. Since current study programs in conservation at universities in Serbia are oriented towards the conservation of paintings on canvas and wood, mural paintings, mosaics,

127

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI Vesna @IVKOVI], kustos za preventivnu za{titu Odeljenje za preventivnu za{titu Dijana, Narodni muzej u Beogradu

RAZVOJ DIPLOMSKIH AKADEMSKIH STUDIJA PREVENTIVNE KONZERVACIJE (MASTER) U BEOGRADU

U NOVEMBRU 2008. GODINE na Univerzitetu u Beogradu, u okviru multidisciplinarnih poslediplomskih studija, zvani~no je zapo~eto s realizacijom diplomskih akademskih studija iz preventivne konzervacije (master). Osnivanje master studija iz preventivne konzervacije povezano je sa uklju~ivanjem koncepta i principa preventivne konzervacije u procese za{tite kulturne ba{tine u Srbiji, kao i s primenom novog pristupa u edukaciji iz konzervacije. Diplomske akademske studije (master) osnovane su ~etiri godine nakon ustanovljenja Odeljenja za preventivnu za{titu Dijana u Narodnom muzeju u Beogradu i to je rezultat aktivnosti ovog odeljenja u domenu konzervacije i edukacije u konzervaciji. Budu}i da se postoje}i studijski programi iz konzervacije na univerzitetima u Srbiji odnose na konzervaciju slika na platnu i drvetu, zidnih slika, mozaika, skulptura i umetni~kih dela na papiru, uz usredsre|ivanje na prakti~ni aspekt procesa konzervacije,1 bilo je o~igledno da postoji potreba za daljim razvojem formalnih edukativnih programa iz konzervacije drugih materijala i u skladu s razvojem konzervacije i statusa profesije. Bilo je neophodno da se tim programima obuhvati i teorija konzervacije, kao i druge teme, poput eti~kih principa u konzervaciji, istorije konzervacije i restauracije, pravnih aspekata konzervacije, menad`menta zbirki, komunikacije, preventivne konzervacije itd. Deo aktivnosti Odeljenja za preventivnu za{titu podrazumeva i organizaciju edukativnih programa u koje su, pored prakti~ne obuke iz konzervacije, uklju~ene i teme iz teorije konzervacije i preventivne konzervacije. Veliki deo programa ostvaren je u saradnji sa institucijama za konzervaciju iz Francuske i uz podr{ku francuske vlade. Ideja o osnivanju akademskog programa iz konzervacije koji bi obuhvatio problematiku konzervacije razli~itih materijala i specifi~no preventivne konzervacije rezultat je saradnje u edukaciji konzervatora s Laboratorijom za konzervaciju i restauraciju Arheolo{kog centra Vara u Draginjanu i s njenim sada{njim direktorom @akom Ribijerom. Godine 2003. ostvareni su prvi kontakti sa Univerzitetom Pariz 1 Panteon, Sorbona; diskutovalo se o razli~itim mogu}nostima dalje edukacije konzervatora u Srbiji i Francuskoj i o zasnivanju studija konzervacije i preventivne konzervacije u Beogradu, a u saradnji sa Univerzitetom Pariz 1 i na osnovu iskustava u razvoju studijskih programa u domenu konzervacije ste~enih na tom univerzitetu. Pregovori, administrativne i organizacione pripreme i razvoj sadr`ine programa zvani~no su zaklju~eni nakon pet godina 25. novembra 2008. godine potpisivanjem sporazuma izme|u Beogradskog univerziteta i Univerziteta Pariz 1; tada je na diplomske akademske studije (master) iz preventivne konzervacije na Beogradskom univerzitetu upisana prva generacija studenata.

Program se realizuje u okviru delatnosti Ve}a za multidisciplinarne studije. Odluka da se najpre zapo~ne s realizacijom programa iz preventivne konzervacije bila je uslovljena potrebama u razvoju preventivne konzervacije u muzejima u Srbiji i logisti~kim razlozima, budu}i da odvijanje tog programa ne zahteva postojanje specijalizovanih radionica i laboratorija, ~ije je formiranje povezano sa osnivanjem Centralnog instituta za konzervaciju.2 Osnovni cilj studija iz preventivne konzervacije na Beogradskom univerzitetu jeste uklju~ivanje koncepta preventivne konzervacije u aktivnosti muzeja, arhiva i biblioteka u Srbiji. Program je prvenstveno namenjen profesionalcima iz institucija za{tite i svima onima koji u~estvuju u za{titi kulturnih dobara; tako|e je u skladu s promenama u oblasti konzervacije koje treba da donesu Zakon o muzejskom nasle|u u Srbiji i njegov o~ekivani uticaj na status profesije konzervatora, kao i na zahteve u za{titi. Na diplomske akademske studije iz preventivne konzervacije upisano je jedanaest studenata razli~itih profila i edukacije. Finansiranje tih studija omogu}eno je zahvaljuju}i podr{ci i donacijama Ambasade Francuske i Ambasade Kraljevine Holandije u Beogradu. Studije su konceptualno i sadr`ajno zasnovane na edukativnom programu iz preventivne konzervacije koji je od 1994. godine formiran na Sorboni. Koncept prevencije u procesu konzervacije postoji ve} trideset godina. Od 1977. godine ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property Me|unarodni centar za prou~avanje o~uvanja i restauracije kulturnih dobara) organizuje kurseve za muzejske profesionalce koji se bave tom temom. Zatim je, 1986. godine, zapo~eto s projektom PREMA (Prevention in Museums in Africa Prevencija u muzejima u Africi), u okviru kojeg je razvijana metodologija preventivne konzervacije i didakti~kog pristupa koji odgovara specifi~nosti oblasti. Projekat je zami{ljen kao proces edukacije muzejskih profesionalaca u konzervaciji, s tim {to oni mogu da preuzmu dalju edukaciju.

1] Odsek za konzervaciju i restauraciju na Fakultetu primenjene umetnosti, Univerzitet umetnosti u Beogradu; Visoka {kola Pravoslavne crkve za umetnost i konservaciju, u okviru ~ijeg programa postoji kurikulum koji se odnosi na konzervaciju i restauraciju, odnosno na ~uvanje i obnovu pravoslavne crkvene ba{tine; na Akademiji umetnosti Univerziteta u Novom Sadu, Departman likovnih umetnosti, Katedra za slikarstvo, postoji izborni predmet Osnovi konzervacije i restauracije. 2] Na predlog Ministarstva kulture, vlada Republike Srbije donela je 22. januara 2009. godine odluku o formiranju Centralnog instituta za konzervaciju u Beogradu.

128

EDUCATION AND PROFESSIONAL MEETINGS

DIANA #13

Merenje svetlosnog zra~enja u muzeju kurs o osvetljenju u muzejima odr`ao je @an-@ak Ezrati iz Francuske Monitoring of illumination in a museum, course on lighting in museums held by Jean-Jacques Ezrati, France

sculpture and graphic arts and are focused on the craft aspect of conservation and practical training,1 the need to further develop another formal study program in conservation in accordance with the development of conservation and status of the profession, was obvious. It was also necessary to include courses on theoretical and other practical elements of conservation, such as ethical principles, history of conservation-restoration, legal issues, management of collections, communication, preventive conservation etc. The Department for Preventive Conservation has among other practical activities fostered training programs covering the theory of conservation and preventive conservation. These were partly realized in collaboration with French institutions for conservation and with the support of the French government. The idea for the establishment of a new academic program in conservation, to encompass topics dealing with the conservation of different materials and specifically preventive conservation, is the result of cooperation on training of conservators with the Laboratory for conservation and restoration of the Archaeological Centre of Var in Draguignan, France and its current director Jacques Rebiere. First contacts were made with University Paris 1Pantheon Sorbonne in 2003, to explore the possibilities of furthering the education of conservators in Serbia and in France and to mount a joint project on establishing a study programme in conservation and preventive conservation in Belgrade, based on the experience of University Paris 1 in the development of educational programmes in conservation. Negotiations, administrative and organizational procedures and the development of the content of the programme were finally concluded after five years on 25 November 2008 when the convention between the Universities of Sorbonne and Belgrade was signed and the first generation of students was officially enrolled. The program has been established within the Counsel for Multidisciplinary Studies. The main reason for this is to address the issue of preventive conservation in museums in Serbia, while the logistics of the program in preventive conservation do not require specialized workshops and

laboratories. Its establishment is connected with the foundation of the Central Institute for Conservation.2 The principle aim of the studies is to introduce the concept of preventive conservation into museums, archives and libraries in Serbia. The programme is primarily open for professionals from the institution of protection as well as for all those active in the conservation of cultural heritage. It is in accordance with the changes which should be introduced with the acceptance of the new Law on museum heritage in Serbia and its expected impact on the status of conservators and conservation demands. There are currently 11 students in the first generation, from different backgrounds. The programme is funded through donations of the French Embassy and the Royal Embassy of the Netherlands in Belgrade. The study program is based on the Masters in preventive conservation established at the Sorbonne in 1994. The concept of prevention has been included in conservation for 30 years. Since 1977 the ICCRM (International Centre for the Study of the Preservation and Restoration of Cultural Property) has been organizing courses dealing with the subject. Furthermore, in 1986 the project PREMA (Prevention in Museums in Africa) started, where the methodology of preventive conservation, as well as a didactic approach for this specific area, was developed. The project was conceived as an educational one for museum professionals in conservation, and future educators. Paris University 1 took part in the creation of courses and curricula and delivered academic diplomas to its graduates. At the beginning of the 1990s the approach to conservation changed in France and the concept of preventive conservation was introduced as a topic in the study programme (MST Matrise de science et technique). Preventive conservation was accepted as an alternative to curative conservation and restoration in accordance with the ethical principle of minimal intervention, introduced in conservation practice by Canadian experts. As a result, the study programme in preventive conservation was established DESS for preventive conservation (Diploma of the Higher Specialist Studies for Preventive Conservation of Cultural Property-Diplme dtudes suprieures spcialises en conservation prventive des biens culturels) intended for professionals who wanted to broaden their knowledge in processes of evaluation and control of collection environments. The program in preventive conservation in Paris 1 was transformed into a Masters degree in preventive conservation according to the Bologna process for

1] Department of Conservation and Restoration at the Faculty of Applied Arts, University of Arts in Belgrade. The College of Serbian Orthodox Church for Art and Conservation runs a program which currently consists of an undergraduate degree in conservation and restoration (referred to as Reconstruction and safeguarding). At the Academy of Arts of the University of Novi Sad, students can follow the basics of conservation and restoration as an optional course at the Department for painting. 2] The decision on the establishment of the Central Institute for Conservation was made by the Government of the Republic of Serbia on 22nd January 2009, upon the proposal of the Ministry of Culture.

129

DIANA #13

EDUKACIJA I STRU^NI SKUPOVI

zervacije i preventivne konzervacije, uklju~uju}i eti~ka i pravna pitanja u konzervaciji, zatim na komunikaciju, sredinu u kojoj se nalaze zbirke i fondovi, na upravljanje zbirkama i preventivnu konzervaciju pojedinih materijala. Studije traju godinu dana, s obzirom na to {to je program, na prvom mestu, namenjen profesionalcima koji su zavr{ili ~etvorogodi{nje osnovne studije. Tako|e je ve}ina fakulteta na koje se sada upisuju potencijalni kandidati za diplomske akademske studije iz preventivne konzervacije i koji su prihvatili promene prema Bolonjskoj deklaraciji usvojila program sa ~etvorogodi{njim osnovnim studijama. Odlu~eno je da master studije budu organizovane kao diplomske akademske studije, {to omogu}uje prohodnost ka doktorskim studijama, a s obzirom na to {to preventivna konzervacija ne predstavlja samo strukovnu disciplinu. Za razliku od organizacije studija na Sorboni, gde je mogu}e nakon profesionalnog mastera nastaviti dalju edukaciju na doktorskim studijama,3 na Univerzitetu u Beogradu ta mogu}nost u potpunosti je isklju~ena. Predava~i su odabrani me|u stru~njacima za specifi~ne oblasti iz Srbije, regiona i evropskih institucija i organizacija za{tite. Odabir predava~a jedan je od osnovnih uzroka problema koji se pojavio u pogledu usagla{enosti s regulativom Beogradskog univerziteta; njegovim statutom predvi|eno je da je u realizaciju programa potrebno uklju~iti 70% profesora zaposlenih na tom univerzitetu. Isto se tako postavilo i pitanje broja predmeta, budu}i da jednogodi{nje master studije dozvoljavaju samo ograni~en broj predmeta. Pri tom nije uzeto u obzir to {to su predmeti tretirani kao kursevi koji traju najvi{e pet {kolskih dana i {to je struktura studija iz preventivne konzervacije druga~ija od uobi~ajenih programa koji ve} postoje u okviru Beogradskog univerziteta. Otvoreno pitanje ostaje i sistem polaganja ispita koji ne omogu}uje polaganje ispita na osnovu analiza studija slu~aja, ve} je potrebno organizovati ispitivanja kroz seminarske radove, pisane i usmene ispite i sli~no. Budu}i da je re~ o prvoj godini realizacije programa, o~ekuje se da }e rezultati aktivnosti i reakcije studenata i predava~a omogu}iti neophodna pobolj{anja u sadr`aju i organizaciji ovih studija iz preventivne konzervacije. Isto je tako potrebno da program pro|e akreditaciju u okviru procesa akreditacije visoko{kolskih ustanova Ministarstva prosvete i sporta Republike Srbije. Iako nije u potpunosti prilago|en zahtevima administracije univerzitetskog obrazovanja u Srbiji, program je uskla|en s preporukama za edukaciju u domenu konzervacije u Evropskoj uniji.4 Na koji }e na~in Ministarstvo prosvete odlu~iti o prihvatljivosti diplomskih akademskih studija preventivne konzervacije u okvirima visokog obrazovanja u Srbiji, ostaje da se vidi u junu 2009. godine, kada }e komisija za akreditaciju razmatrati program ovih studija.

Univerzitet Pariz 1 u~estvovao je u pripremi kurseva i kurikuluma u okviru projekta, a izdaje i diplome za u~esnike projekta. Po~etkom devedesetih u Francuskoj se menja pristup konzervaciji i uvodi se koncept preventivne konzervacije kao samostalne discipline u okviru edukativnog programa iz konzervacije (MST Matrise de science et technique diploma nauke i tehnike). Preventivna konzervacija prihva}ena je kao alternativa kurativne konzervacije i restauracije, u skladu sa eti~kim principom minimalne intervencije na predmetu, koji su u praksu konzervacije uveli kanadski stru~njaci. Kao rezultat tog procesa formiran je studijski program iz preventivne konzervacije DESS preventivne konzervacije (Diplme dtudes suprieures spcialises en conservation prventive des biens culturels diploma vi{ih specijalisti~kih studija preventivne konzervacije kulturnih dobara); namenjen je profesionalcima koji `ele da steknu dodatno znanje o proceni i kontroli uslova u sredini u kojoj se nalaze predmeti. U skladu s bolonjskim procesom u visokom {kolstvu u Evropi, DESS je 2005. godine postao profesionalni master iz preventivne konzervacije (Master Professionnel Spcialit Conservation prventive du patrimoine profesionalni master, specijalnost Preventivna konzervacija ba{tine). Pojam preventivne konzervacije (preveden kao preventivna za{tita) ulazi u edukaciju i praksu konzervacije u Srbiji tokom 2000. godine. Tema preventivne konzervacije uklju~ena je u kurseve konzervacije u okviru Letnje {kole za konzervaciju Dijana. Osnivanjem Odeljenja za preventivnu za{titu Narodnog muzeja u Beogradu preventivna konzervacija i njena sistematska primena zvani~no postaju deo obaveznih aktivnosti Narodnog muzeja. U saradnji sa ICCROM-om, organizovan je i prvi uvodni kurs o preventivnoj konzervaciji za profesionalce iz muzejske mre`e Srbije, a zatim i niz kurseva u vezi s razli~itim temama koje obuhvata preventivna konzervacija. Iskustva zaposlenih u Odeljenju za preventivnu za{titu, zavr{en master iz preventivne konzervacije jednog od njih na Sorboni, kao i znanje {to su ga svi oni stekli rade}i na me|unarodnim projektima koji se odnose na preventivnu konzervaciju, i to ne samo znanje o materiji ve} i o razli~itim didakti~kim pristupima, predstavljali su jo{ jedan bitan element za razvoj programa diplomskih akademskih studija iz preventivne konzervacije. Razvoj diplomskih akademskih studija u Beogradu na osnovu postoje}eg programa i iskustava sa Univerziteta Pariz 1 olak{ao je uspostavljanje kurikuluma modula i na~ina bodovanja u skladu sa zahtevima reforme {kolstva u Evropi. Ipak, bilo je neophodno da se program prilagodi kontekstu i zahtevima administracije Beogradskog univerziteta. Pojedine teme razra|ene su detaljnije, na primer organizacija depoa, menad`ment vanrednih situacija, {teto~ine i zaga|iva~i, a uklju~eni su i novi kursevi (Uvod u menad`ment i Metodologija menad`menta rizika po muzejske zbirke). U program su, prema uslovima Beogradskog univerziteta, uvr{teni i izborni predmeti, oni koji se odnose na preventivnu konzervaciju specifi~nih grupa materijala. Program se sastoji od kurseva u vezi sa specifi~nim temama iz preventivne konzervacije; oni su grupisani u {est osnovnih modula koji se odnose na teoriju i istoriju kon-

3] Podatak je dobijen od Denija Gijmara, direktora master studija iz preventivne konzervacije na Univerzitetu Pariz 1 Panteon, Sorbona. 4] http://www.encore-edu.org/encore/DesktopDefault.aspx? tabindex=1&tabid=172 http://www.ecco-eu.org/.

130

EDUCATION AND PROFESSIONAL MEETINGS

DIANA #13

Bezbednost u muzeju, ve`ba kurs su odr`ali Adalberto Bijazioti, Italija, i Dragoslav Filipovi}, Srbija Exercise on security in a museum, course held by Adalberto Biasiotti, Italy, and Dragoslav Filipovi}, Serbia

Uticaj zaga|enja na muzejske predmete, ve`ba kurs o zaga|iva~ima odr`ao je Morten Ril-Svendsen, Danska Exercise on the influence of pollution on museum objects, course on pollutants held by Morten Rhyl-Svendsen, Denmark

higher education in 2005 (Master Professionnel Spcialit Conservation prventive du patrimoine). The notion of preventive conservation was introduced into education and conservation practice in Serbia in 2000. The subject of preventive conservation was included in Summer school courses for conservation organized by Diana. The establisment of the Department for Preventive Conservation in the National Museum in Belgrade meant that preventive conservation and its systematic application offically became part of the activities of the museum. In colaboration with ICCROM, Diana organised the first introductory course on preventive conservation for museum professionals in Serbia and then a series of courses covering differnet preventive conservation topics. The experience of employees in the Department, the fact that the one of the curatores obtained a Masters degree in preventive conservation from Paris University 1, Pantheon Sorbonne, as well as the knowledge they gained working on international projects on preventive conservation, not only on the topic itself , but also on a pedagogical approach, were further important elements in the development of the Masters program in Belgrade. This development facilitated the preparation of the curricular modules and the introduction of the system of credits in accordance with higher education reform in Europe. However it was necessary to adjust the program to the context and administrative requirements of Belgrade University. Certain subjects, like storage organization, emergency management, pest management, and pollution, were developed in detail and new courses were introduced (Introduction in management and Methodology of risk management for collections). The module on preventive conservation of specific materials has been organized as a set of optional courses according to University of Belgrade regulations. The courses are organized in six modules, dealing with the following subjects: theory of conservation and preventive conservation, including ethical and legal issues; communication; collections environment; conservation management; and preventive conservation of different types of

museum and archive materials. The fact that the programme is aimed at graduates following a four-year study system induced the one-year only program for the Masters degree. Furthermore, most of the faculties where potential candidates for the Masters are enrolled now and which accepted the Bologna reforms, also adopted a four-year system for basic studies. It was also decided that the Belgrade Masters, as stated in the University Statute, should be an academic master, i.e. leading to PhD studies, having in mind that education in preventive conservation is not only a professional specialization. Unlike the organization of the Masters in Sorbonne which allows the possibility to continue PhD studies after the professional Masters,3 at the University of Belgrade that option is excluded. Lecturers have been chosen among experts from regional and European universities and institutions for conservation of cultural property. This raised an important issue at Belgrade University, whose regulations require that 70% of lecturers in every programme are employees of this university. Remarks were also made concerning the number of subjects, since for the one-year masters only a limited number of subjects are expected. It was not taken into account that some subjects are considered as courses even though they last at the most five school days, and that the structure of the curriculum in preventive conservation is different from usual programs at Belgrade University. There is also the question of how exams should be organized, since every subject has to be covered by both written and oral exams and it is not possible to cover the topics by exams based on practical case study analysis. Since this is the first year of the programme, it is expected that the results of activities and students and teachers reactions will enable necessary improvements in the content and organization of the studies in preventive

3] The information gave by Denis Guillemard, director of the Master in Preventive Conservation, University Paris 1 Pantheon Sorbonne

131

DIANA #13

KULTURNI TURIZAM Aleksandar TODOROVI]

TURISTI^KA VALORIZACIJA SPOMEN-PARKA KRAGUJEVA^KI OKTOBAR

SPOMEN-PARK KRAGUJEVA^KI OKTOBAR najve}a je zelena povr{ina u gradu i prostire se na 352 hektara. Poznat je pod nazivom [umarice. Nalazi se u severozapadnom delu grada, na putnom pravcu koji Kragujevac povezuje s Gornjim Milanovcem. Spomen-kompleks predstavlja ambijentalnu celinu i simbol posve}en kragujeva~kim `rtvama koje su streljane 21. oktobra 1941. godine. Na velikom prostranstvu, na mestima na kojima su Kragujev~ani streljani, nalazi se 30 humki; tom broju mogu se dodati jo{ tri u okolini grada. Oko Erdoglijskog potoka nalazi se 16 humki, a oko Su{i~kog potoka 14. Pojedine humke s vremenom su umetni~ki oblikovane, pa se danas na tom prostoru uzdi`e 10 spomenika, tematski povezanih s tragi~nim doga|ajem iz 1941. godine. ^itav kompleks mo`e se obi}i kru`nim asfaltnim putem, dugim sedam kilometara. Pored toga, tu je i veliki broj pe{a~kih staza koje povezuju pojedine tematske celine. Kulturno-istorijsko spomeni~ko nasle|e Na ulazu u spomen-park nalazi se Muzej 21. oktobar. Muzej je nastao 1953. godine. Zgrada je podignuta naknadno 1976. godine. Muzej predstavlja kamen temeljac u nastajanju ~itavog spomen-parka. Iako je re~ o muzeju, zgrada je sama po sebi svojevrstan spomenik. Sagra|ena je po projektu arhitekte Ivana Anti}a. Sti~e se utisak da izranja iz zemlje kao znak novog `ivota. Spoljna fasada izvedena je od crvenih cigala koje asociraju na prolivenu krv, a 33 vertikale razli~itih visina simboli~no povezuju 33 humke. Osnova muzeja je u obliku krsta, hri{}anskog simbola stradanja. Unutra{njost muzeja ~ine dva nivoa. U prizemnom delu prikazana je revolucionarna pro{lost Kragujevca, a u gornjem ustanak i Kragujeva~ki oktobar. Pored toga {to u muzeju postoje stalne postavke, on se bavi i prikupljanjem, ~uvanjem, obradom i prezentacijom dokumenata u vezi sa istorijom grada i streljanjem Kragujev~ana. Muzej tako|e organizuje stalne i povremene manifestacije koje opominju i podse}aju na taj tragi~ni doga|aj kako se tako ne{to nikada ne bi ponovilo. Najpoznatija takva manifestacija jeste Veliki {kolski ~as, koji se prire|uje svake godine 21. oktobra. Uz to, muzej je pokrenuo odr`avanje me|unarodne likovne kolonije Mostovi Balkana. Prvi spomenik s kojim se posetioci susre}u prilikom razgledanja spomen-kompleksa jeste Spomenik bola i prkosa. Podignut je 1958. godine. Nalazi se na mestu na kojem su streljani radnici Vojno-tehni~kog zavoda, a me|u njima i jedna `ena Nada Naumovi}. Izveden je od jednog komada belog mermera, a predstavlja mu{karca i `enu. Jedna figura skrhana je bolom, dok druga stoji uspravno, izra`avaju}i na taj na~in prkos smrti. Autor dela je vajar Ante Gr`eti}. Slede}i spomenik na koji nailazimo kre}u}i se kroz Spomen-park Kragujeva~ki oktobar posve}en je streljanim

u~enicima i profesorima; poznat je pod nazivom Peto tri. To je najpoznatije umetni~ko delo u okviru kompleksa. Podignut je 1963. godine i dominira okolinom. Sme{ten je na mesto na kojem je streljana najve}a grupa |aka i profesora Kragujeva~ke gimnazije. Spomenik je podignut u znaku rimskog broja pet jer su u to vreme u~enici vi{ih razreda gimnazije bili, zapravo, u petom razredu. Kada se spomenik posmatra iz daljine, sti~e se utisak da je re~ o stilizovanim slomljenim pti~jim krilima. Time se simboli~no ukazuje na zauvek slomljenu i zaustavljenu mladost jedne generacije. Autor dela je Milorad @ivkovi}. Prostor oko spomenika stilski je oblikovan. Na kamenju razli~itog oblika ispisane su poruke stradalih |aka i profesora, a na jednom kamenu je i tekst Krvave bajke, pesme koju je Desanka Maksimovi} posvetila tom tragi~nom doga|aju. Budu}i da spomenik predstavlja simbol ~itavog spomen-parka, svake godine na tom mestu odr`ava se manifestacija Veliki {kolski ~as. U daljem obilasku spomen-parka nailazi se na spomenik Kristalni cvet, posve}en ~ista~ima obu}e. Na tom mestu su, s ve}om grupom Kragujev~ana, streljani i de~aci romske nacionalnosti, starosti oko 15 godina. Spomenik je podignut 1968. godine i predstavlja pupoljak razdvojen na dva dela. Gornji deo spomenika je bele boje, dok je postament tamniji, {to ukazuje na put stradalih de~aka. Autor ovog umetni~kog dela je arhitekta Neboj{a Delja. U neposrednoj blizini Kristalnog cveta podignut je spomenik Protiv zla. On spada u grupu mla|ih ostvarenja u okviru kompleksa po{to je podignut 1991. godine. ^itavo delo izvedeno je u belom mermeru. Reljef uklesan u spomenik tematski se povezuje s hri{}anskom ikonografijom Stra{nog suda, a po na~inu prikazivanja neodoljivo podse}a na indijansku kulturu starih naroda Ju`ne i Srednje Amerike jer je autor meksi~ki vajar Migel Roma. Na kraju obilaska prvog dela spomen-kompleksa nailazi se na spomenik Sto za jednoga, koji je podignut 1980. godine. Naziv je dobio po naredbi nema~kog glavnokomanduju}eg generala Franca Bemea, koji je u proglasu objavio da }e se za jednog ubijenog nema~kog vojnika streljati sto gra|ana. Spomenik predstavlja drvo ~ija se kro{nja grana u mno{tvo ljudskih tela. Po{to je udaljen od asfaltnog puta, ure|ena je staza koja vodi do njega, a u blizini se nalazi spomen-plo~a. Autor spomenika je vajar Nandor Glid. Po{to se pre|e magistralni put koji povezuje Kragujevac i Gornji Milanovac, a koji ujedno deli spomen-kompleks na dva dela, nailazi se na spomenik pod nazivom Kameni spava~, podignut 1969. godine. Na tom mestu je, pored ostalih, streljana grupa seljaka. Zato on simboli~no prikazuje {umadijsko seosko doma}instvo. Ograda tog doma}instva predstavljena je u vidu betonskih stubova nejednake visine, tlo je poplo~ano

132

CULTURAL TOURISM
conservation in Belgrade. It is also necessary to pass through an accreditation procedure according to the Ministry of Culture and Sports of the Republic of Serbia. Although the programme is not completely adapted administratively to the regulations in Serbia, it is adapted to the European Union approach to higher education in conservation.4 How the Ministry of education will decide on the acceptability of the Masters in preventive conservation within the system

DIANA #13

of higher education in Serbia remains to be resolved in June 2009, when the commission for accreditation will discuss the programme.

4] http://www.encore-edu.org/encore/DesktopDefault.aspx? tabindex=1&tabid=172 http://www.ecco-eu.org/

Aleksandar TODOROVI]

TOURIST VALORIZATION OF THE OCTOBER OF KRAGUJEVAC MONUMENT PARK

THE OCTOBER OF KRAGUJEVAC monument park is the largest local urban green area and lies within a 352 ha. Monument park known as [umarice. It is located in the northwest part of the city on the route that connects Kragujevac and Gornji Milanovac. The monument complex is an atmospheric symbolic space dedicated to the victims of shot on October 21st 1941. About 30 headstones are placed on the large area where the shootings took place, while to this number can be added 3 more from a neighboring town. Around the Erdoglian stream there are another 16, and around the stream of Su{ica 14 more headstones. Some headstones were artistically sculptured and today there are 10 that are thematically connected to the tragic events of 1941. The whole complex is encircled by an asphalt path 7 km long. In addition there are many paths for walkers, connecting each thematic part. Culture-historical monumental inheritance At the entrance to the monument park stands the October 21st museum, created in 1953, while the museum building was constructed in 1976 from the same stone as that of the monuments, as a monument in its own right. The architect was Ivana Anti}. The museum seems to be sculpted from the ground, as a sign of new life. The front wall is made of red brick, associated with spilled blood, and vertical stumps of different heights symbolically connect the 33 headstones. The base of the museum is in the form of a cross, a symbol of Christian suffering. The interior of the museum is on two levels. In the lobby there is a presentation of the revolutionary past of Kragujevac while at the higher level there is display of the October uprising. Besides museums permanent exhibition it collects, keeps, cultivates, and presents documents relating to the history of the town and the shooting of the Kragujevac people. The museum also organizes regular and occasional events to remind visitors of this tragic event, so that it will never happen again. The most famous of these is the Big school class, which take place on October 21st

every year. Lately, the museum has initiated the international drawing colony Bridge of the Balkans. The first monument that visitors see is the Monument of pain and defiance, built in 1958 on the site where the workers of the Military-technical institute, including one woman Nada Naumovi}, were shot. In was created of white marble by the sculptor Ante Gr`eti} and show the figures of a man and woman. One figure is destroyed by pain, while other stands erect, expressing defiance to death. The next monument along the visitors route is dedicated to school children and teachers of the grammar school who were shot, known as Fifth three. It is the most famous sculpture within the complex. It was built in 1963. The Monument is carved in the shape of the Roman numeral five, because the pupils were actually in the fifth grade. Viewing the monument from a distance, one gets the impression of a stylized bird wing, forever broken, the youth of one generation stopped. The artist was Milorad @ivkovi}. The area around the monument is shaped, and on stones of various shapes there are messages by the school children and teachers that were shoot. One stone contains the text of Bloody fairytale, a poem which Desanka Maksimovi} dedicated to this tragic event. Because this monument represents the symbol of the whole monument park, the Big School class event is held on this spot every year. Walking further through the monument park, one can see the monument Crystal flower dedicated to gypsy boys, about 15 years old, who were shoot with numerous people at the place were the monument is placed today. It was built in 1968. It represents bloom, divided into two parts. The higher section of the monument is in white, while the base is darker and represents the skin colour of the shot boys. The artist was Neboj{a Delja. Close to the Crystal flower, there is a monument entitled Against evil. It is one of the latest creations in the complex, built in 1991. The work is carved in white marble and its carved relief is thematically connected with

133

DIANA #13

KULTURNI TURIZAM
pred prednje linije groblja na kojem su sahranjeni srpski i okupatorski vojnici. Lav stoji na postolju s natpisom Pro patria. Prikazan je kako le`i, s glavom polo`enom na prednje {ape, tako da izgleda kao da je na stra`i. Grobnica pogubljenih Slovaka koji su 1918. godine podigli pobunu protiv Austrougarske monarhije nalazi se u jugoisto~nom delu spomen-kompleksa. Slovaci su tra`ili prekid rata i slobodu za sve porobljene narode. Pobuna je ugu{ena, a 44 vojnika i pet civila osu|eni su na smrt streljanjem. Na mestu na kojem su 8. juna 1918. godine Slovaci streljani podignut je 1924. godine spomenik, a njegova okolina je ure|ena. Turisti~ka valorizacija Turisti~ka valorizacija ambijentalne celine kao {to je Spomen-park Kragujeva~ki oktobar predstavlja kompleksnu ocenu antropogenih ali i prirodnih vrednosti koje su od zna~aja za turisti~ki razvoj. Na osnovu primenjene kvantitativno-kvalitativne metode i najva`nijih elemenata turisti~ke valorizacije kulturno-istorijskih spomenika mo`e se re}i da Spomen-park Kragujeva~ki oktobar ima dobru turisti~ku vrednost. Ambijentalna celina predstavlja najve}u gradsku zelenu zonu, to jest park koji je uokviren blago zatalasanim bre`uljcima, s travnom vegetacijom i me{ovitim {umama. U njemu se nalazi 10 prepoznatljivih kulturno-istorijskih spomenika, kao i gra|evina muzeja, koja zbog svojih arhitektonskih re{enja predstavlja kuriozitet sa simboli~nim zna~enjem. Na osnovu toga, a primenom kvantitativno-kvalitativne metode turisti~ke valorizacije, zaklju~uje se da element turisti~ke vrednosti ambijenta i element umetni~ke vrednosti zaslu`uju najvi{u ocenu. Za razliku od njih, elementi izgra|enosti i opremljenosti prostora i turisti~ke atraktivnosti i prepoznatljivosti nisu na tako zavidnom nivou. U Kragujevcu ne postoji turisti~ka signalizacija, a u okviru nje morala bi se na}i i analizirana ambijentalna celina. Osim toga, infrastrukturna izgra|enost prostora nedovoljna je i dotrajala, te su dodatna ure|enja i ulaganja nephodna. Turisti~ka atraktivnost i prepoznatljivost su nezadovoljavaju}e naspram potencijala koji Spomen-park Kragujeva~ki oktobar poseduje, te se u tom smislu mora anga`ovati turisti~ki menad`ment na njegovom dodatnom afirmisanju. Elementi valorizacije kao {to su turisti~ko-geografski polo`aj i uklopljenost u turisti~ke sadr`aje na zadovoljavaju}em su nivou. U Kragujevcu se nalazi i Milo{ev venac, jo{ jedna turisti~ki potencijalna ambijentalna celina. Osim toga, u neposrednoj blizini su manastiri Dra~a i Divostin, a ne{to dalje i Voljav~a i Blagove{tenje. Grad Kragujevac ima povoljan turisti~ko-geografski polo`aj, pa sama ambijentalna celina mo`e biti kompatibilna s drugim turisti~kim vrednostima u bli`oj i daljoj okolini grada. U cilju turisti~kog unapre|ivanja analizirane ambijentalne celine, a time i pove}anja ocene turisti~ke valorizacije, neophodno je dodatno anga`ovanje u sferi turisti~kog marketinga, ali i u revitalizaciji i izgradnji infrastrukture. Pre svega, potrebno je uvesti turisti~ku signalizaciju kako na gradskom nivou tako i u okviru samog spomen-parka, a potrebno je izgraditi i pe{a~ke staze. Posebna pa`nja mora se

kamenim plo~ama, a uzdignuti betonski blokovi predstavljaju stogove sena. Iz sredi{njeg dela dve poplo~ane staze vode do dve humke. Autori su supru`nici Gradimir i Jelica Bosni}, arhitekte. Sledi Spomen-obele`je hrvatskog naroda. Podignuto je 1981. godine sredstvima Republike Hrvatske. Sastoji se od sedam krugova nejednake veli~ine, a oni simbolizuju kretanje `ivota i prirode. Od tog spomenika, izra|enog od ner|aju}eg ~elika, odbija se svetlost i {iri u svim pravcima, {to ozna~ava razli~ito `ivotno doba `rtava. Ispod njega nalazi se kamen monolit s posvetnim tekstom. Re{enje za spomen-obele`je uradile su arhitekte Josip Seisel i Silvana Seisel. Neposredno uz Su{i~ki potok, s njegove leve strane, postavljen je Spomenik otpora i slobode iz 1966. godine. To je monumentalna figura ~oveka koji se bori za `ivot; glava mu je na grudima. Iz figure se izdi`e beli obelisk, ~ija visina iznosi ~etiri metra, a koji se zavr{ava simbolom slobode latini~kim slovom V. Ovo umetni~ko delo izradio je, kao i spomenik Bola i prkosa, Ante Gr`eti}. Na samom izlazu iz spomen-kompleksa, nedaleko od prethodno opisanog, nalazi se Spomenik prijateljstva. To je najmla|i spomenik u okviru kompleksa, podignut 1994. godine kao poklon rumunskog grada Pite{tija gradu Kragujevcu. Prikazuje otvorenu knjigu s brojem 21, ~ime se pokazuje da }e zlo~in po~injen u Kragujevcu ostati trajno zapisan u literaturi i da }e ve~no ostati urezan u pam}enje svih posetilaca Spomen-parka Kragujeva~ki oktobar. Autor ovog dela je poznati rumunski vajar Nikolaj Stoj~eu.

Povratkom do Muzeja 21. oktobar, ispred kojeg se nalazi skulptura Su|aje, zaokru`uje se jedna celina. Pomenuta skulptura prikazuje tri `ene koje u crnoj marami dr`e bebu, simbol novog `ivota i boljeg vremena u kojem se nikada i nikome ne sme dogoditi ono {to se desilo stradalima u [umaricama 1941. godine. U okviru spomen-parka nalazi se Srpsko vojni~ko groblje, jedno od najstarijih vojni~kih grobalja u [umadiji. Okru`eno je {umom, a nastalo je u vreme srpsko-turskih ratova. U blizini groblja postavljena je figura lava, isklesana u mermeru. Taj spomenik poru~io je kralj Petar Kara|or|evi} za hram Svetog \or|a na Oplencu, ali su okupacione vlasti 1915. godine naredile da se jedna od dve lavlje figure prenese u Kragujevac, sredi{te okruga, i postavi is-

134

CULTURAL TOURISM
Christian iconography of Judgment Day, while by its imagery is reminiscent of the culture of south and central middle American Indians, because the author is the Mexican sculptor Miguel Roma. At the end of the tour through this first part of the monument complex lies the monument Hundred for one. It was erected in 1980. It got its name from the order of the German commander-in-chief, general France Beme, who declared that the German army would shoot one hundred local citizens for each German soldier killed. The Monument represents a tree whose top spreads into many human bodies. Because is not near the asphalt way, there is a path which leads to it, near a smaller monument. The author of this work is the sculptor Nandor Gild. Where the highway which connects Kragujevac and Gornji Milanovac separates the monument complex into two parts, there is monument Stone sleeper. It was erected in 1969 at the site of the shooting of a group of peasants. It therefore symbolizes typical peasants from the [umadija district. The defense of this land is represented as stumps of a different sizes, symbolizing a haystack. From the middle two paths lead to two headstones. The sculptors of these monuments were architects Gradimir and Jelica Bosni}. The next monument in the complex is the Monument complex of the Croatian people, erected in 1981, with money given by the Republic of Croatia. It consists of seven circles of different size that symbolize circulating life and nature. From this monument light is reflected in different ways, representing victims of different ages. It is made of stainless steel. Beyond the monument there is a monolithic stone with an inscription. The authors of this work were Josip Seisel and Silvana Seisel. To the right of the Su{ica stream there is the next monument of resistance and freedom, built in 1966. It represents the monumental figure of a man, whose head is on his breast, fighting for life. From it rises a white obelisk 4 meters high, ending with the letter V, a symbol of victory The artist was also Ante Gr`eti}. Nearby, at the exit of the monument complex, there is a Monument of friendship the last to be built, in 1994. It is a gift to Kragujevac from the Romanian town of Pitesti. It shows an open book on which October 21st is written, indicating that the crime committed in Kragujevac, will stay in literature and in the memory of all visitors to the monument park October of Kragujevac forever. The author of this work is the Romanian sculpture Nicolaj Stoj~eu. Returning to the museum October the 21st, in front of which there is the sculpture Sudjaje, the first section ends. On this sculpture there are three women holding a baby in a black kerchief. This baby is a symbol of new life and better times, when the 1941 shooting and suffering of [umarice must not happen again. In the monument park, there is also the Serbian Military cemetery, one of the oldest in [umadija. It is surrounded by woodland, and dates back to the Serbian-Turkish wars. Close to cemetery there is a figure of a lion carved in marble. This monument was ordered by King Petar Karadjordjevi} for the temple of Saint George in Oplenac, but in 1915 the occupation government ordered that one of two lions heads

DIANA #13

be moved to the front row of the cemetery in Kragujevac, which was then the center of the district, and where the Serbian and occupation soldiers were buried. The lion is placed on a pedestal with the inscription Pro patria. Its head rests on its upper paw, giving the impression that it is on watch. The tomb of the Slovakian rebels, who raised the revolt in 1918 against the Austro-Hungarian Monarchy, lies in the south-east part of the monument complex. These rebels requested an end of the war and freedom for all enslaved nations. The revolt was suppressed and 44 soldiers and 5 civilian were condemned to death. The monument was built in 1924 on the spot where the Slovakian people were executed on July 8th 1918. Tourist valorisation The tourist valorisation of such an emotive monument park represents a complex classification of anthropogenic, but also natural values, important for tourist development. By using quantity-qualifying methods starting from the most important elements of tourist valorisation of cultural-historical monuments, it can be concluded that the October of Kragujevac monument park is valuable in terms of tourism. The atmospheric entirety is situated in the largest green area, actually a park placed in some small hills, with grass vegetation and mixed woodland. At the same time, within it there are 10 recognized cultural-historical monuments and museums, representing a curiosity with symbolic meaning. For this reason, in applying tourist valorisation criteria, elements of ambience and art value deserve the highest grade. However, in Kragujevac there is no tourist signalisation. Also, the parks infrastructure old and insufficient, so supplemental arrangement and investments are necessary. As a fully recognized tourist attracttion, with great potential, the Monument park requires better tourist management. Elements of valorisation such as its geographic position and content are at a satisfactory level. In Kragujevac there is one more atmospheric park, the Square of Milo{, and close to Kragujevac there are two monasteries, Dra~a and Divostin, while a few kilometres away lie Voljav~a and Blagove{tenje. Besides, Kragujevac has a positive tourist-geographic position, so its attractions are compatible with other surrounding tourist values. For tourist promotion purposes, and an increasing grade of tourist valorisation, supplemental arrangements in tourist marketing and revitalisation and construction of infrastructure are necessary. Above all, it is necessary to erect tourist signalisation, both in the town and in the monument park, as well as paths for walkers. Attention should be paid to the environment, which forms the basis of tourist development of the October of Kragujevac Monument park Through the principle of integrative protection of heritage on the one side, and sustained development on the other, tourist development and utilization of this ambient entirety could be faster. By affirmation of this principle, concern for and protection of others cultural and natural values placed in the territory of Kragujevac could be achieved.

135

DIANA #13

KULTURNI TURIZAM

Prednosti

kulturno-istorijska ba{tina velikog zna~aja velika povr{ina pod vegetacijom, pre svega drvenastim biljkama i travnjacima kompatibilnost s drugim gradskim turisti~kim vrednostima, kao i sa onima u bli`oj i daljoj okolini razvijena saobra}ajna infrastruktura za prilaz ambijentalnoj celini povoljan polo`aj u okviru grada stru~njaci zaposleni u spomen-kompleksu nedovoljna pa`nja u politici organizovanja i menad`menta u turizmu neadekvatna turisti~ka signalizacija ili njeno nepostojanje nezadovoljavaju}a saobra}ajna infrastruktura u okviru samog spomen-kompleksa (nedostatak pe{a~kih i biciklisti~kih staza, lo{ kolovoz, nedovoljan prostor za stacionarni saobra}aj) nejasni ciljevi i strategija turisti~kog razvoja spomen-kompleksa nedostatak finansijskih ulaganja u procese za razvoj turizma nedovoljno pa`nje posve}eno za{titi `ivotne sredine adekvatna iskori{}enost spomen-kompleksa kao turisti~ke vrednosti ve}a ulaganja u turisti~ki razvoj ambijentalne celine uklju~ivanje spomen-komleksa u regionalni turisti~ki proizvod mogu}nosti za razvoj razli~itih vidova turizma (kulturni, manifestacioni, rekreativni, ekskurzioni) ve}a saradnja s doma}im i inostranim turisti~kim i privrednim organizacijama pobolj{anje infrastrukture kori{}enje spomen-parka u turisti~ke svrhe tokom ~itave godine opasnost od zaga|ivanja `ivotne sredine (zemlji{ta, vodotokova, vazduha) nezainteresovanost i skromna ulaganja u turisti~ki marketing nedostatak inovacija i neprimenjivanje dostignu}a savremenih turisti~kih tokova na gradskom nivou nedovoljno anga`ovanje na turisti~koj prezentaciji spomen-parka postoji pretnja gubitka kontinuiteta u prezentaciji istorijskih doga|aja koji su s njim povezani (gubitak prepoznatljivosti)

Slabosti

Mogu}nosti

Pretnje

posvetiti o~uvanju `ivotne sredine, koja je, zapravo, osnova turisti~kog razvoja Spomen-parka Kragujeva~ki oktobar. Kroz princip intregrativne za{tite ba{tine sa odr`ivim razvojem mogu se znatno unaprediti ali i ubrzati turisti~ki razvoj i eksploatacija ove ambijentalne celine. Afirmacijom tog principa ostvaruju se negovanje i za{tita drugih kulturnih i prirodnih vrednosti na teritoriji grada Kragujevca. U okviru spomen-parka nalazi se hotel [umarice, koji doprinosi turisti~koj atraktivnosti kompleksa. Osim toga, tu je, neposredno uz muzej, i restoran nacionalne kuhinje Palisad. Ako se tome dodaju i zatvoreni sportski tereni Olimp, mo`e se zaklju~iti da Kragujeva~ki oktobar ima povoljne uslove za razvoj turisti~ke delatnosti. Broj posetilaca govori o tome da spomen-park poseduje odgovaraju}e turisti~ke potencijale. Izneti podaci mogu se

uve}ati za oko 25-30%, jer je realna pose}enost za toliko ve}a. Svi posetioci ne zaustavljaju se kod muzeja i ne koriste njegove usluge, tako da ne mogu biti registrovani. Pored toga, ovaj prostor pru`a povoljne uslove za razvoj rekreacionog turizma. Hotel, restoran i sportski objekti samo upotpunjuju kulturno-istorijsku ponudu koju spomen-park nesumnjivo ima. Za dalji razvoj turizma na tom prostoru potrebno je odr`ati postoje}e stanje i ulaganjima stvoriti nove sadr`aje, a turisti~kim marketingom afirmisati postoje}e, kako bi se postizali jo{ bolji rezultati u turisti~kom sektoru. Nikako se ne sme zaboraviti ~injenica da je spomen-park jedan od simbola grada i to u budu}em turisti~kom razvoju mo`e biti samo ~inilac unapre|ivanja i daljeg razvoja. SWOT analiza S obzirom na savremene tokove u razvoju svetske turisti~ke politike, za Spomen-park Kragujeva~ki oktobar ura|ena je SWOT analiza. Ta analiza mo`e poslu`iti kao jedan od instrumenata za stvaranje strategije daljeg turisti~kog razvoja. Na osnovu SWOT-a analizirane ambijentalne celine mogu se prepoznati pozitivni i negativni ~inioci koji imaju uticaja na stvaranje odgovaraju}e strategije, ali i odrediti na~ini njihovog blagovremenog modifikovanja ili prilago|avanja radi ostvarivanja uspe{nijeg turisti~kog razvoja.

STRUKTURA POSETILACA U~enici Odrasli Strani turisti Doma}e delegacije (53) Strane delegacije (212) Ukupno

BROJ POSETILACA 142.328 35.712 1.159 993 3.711 183.903

Registrovane posete Muzeju 21. oktobar i Spomen-kompleksu Kragujeva~ki oktobar od 2001. do 2007. godine1

1] Podaci su dobijeni od slu`be za obradu podataka Muzeja 21. oktobar u Kragujevcu.

136

CULTURAL TOURISM
Inside the monument park there is a hotel [umarice, which further contributes to the tourist attraction of this complex. Near the hotel there is the Palisad restaurant which has a national cuisine. If one adds to this the Olympia

DIANA #13

STRUCTURE OF VISITORS Students Adults Foreign tourists Domestic delegation (53) Foreign delegation (212) Summary

NUMBER OF VISITORS 142.328 35.712 1.159 993 3.711 183.903

is bigger. Not all visitors stop at the museum or use its services, so not all visits are registered. The hotel, restaurant and sports facilities supplement the cultural-historical offer. For the further development of tourism in this space, the present stage needs to be maintained and new content created by investment. Also, the tourist potential must be marketed at a higher level. These proposals will bring better results. It must not be forgotten that the monument park is one of the symbols of the town and in future development can only be a means of promotion and further development. SWOT analysis SWOT analysis of the monument park was carried out according to the latest trends in the development of world tourism policy. Such analysis can be used as an instrument for the creation of a strategy for further tourist development. Progressive and regressive factors can be found, which influence the creation of the right strategy. Also, this is way to modify and adjust these factors to improving the quality of tourism in the vicinity.

Registered visits to the October 21st museum and October of Kragujevac monument complex from 2001 to 2007 1

closed sports facility it can be said that the October of Kragujevac has favoured conditions for the further development of tourism. The number of visitors to the Monument park shows that it does have tourist potential. These statistics can be increased by 25%30% because the true numbers of visits

1] Statistics of Service data for museum October 21st in Kragujevac.

Strengths

Cultural-historical hereditary of huge importance Large green vegetated area, especially trees and grass Compatibility with other tourist values of the town, especially with those in closer and more distant surroundings Developed approaching traffic infrastructure Favourable position in town Educated human resources employed in the monument complex Unsatisfactory attention to policy of organization and management of tourism Inadequate tourist signalisation Insufficient traffic infrastructure within the monument complex (lacks of paths for walkers, bad roads, small space for stationary traffic, nonexistent paths for bicycles) No defined aims and strategy for tourist development of the Monument complex Lack of investment to process developing tourism Unsatisfactory attention to the protection of the environment Adequate usage of monument complex as a tourist value Bigger investment in tourist development Implementation of the monument complex into the regional tourist product Possibilities for developing different kinds of tourism (culture, creation, excursions) Better cooperation with domestic and international tourist and business organisations Improving infrastructure Using the monument park for tourist purposes throughout the year Risk of pollution of the environment (ground, water, air) Lack of interest and investments in tourist marketing Absence of innovation and implementation of modern tourist trends at town level The unsatisfactory arrangements for tourist presentation of the monument park may lead to lost continuity in the presentation of historic events connected with it (lost individuality)

Weaknesses

Opportunities

Threats

137

DIANA #13

REGIONALNA SARADNJA Mila POPOVI]-@IVAN^EVI], savetnik konzervator {ef OPZ Dijana, predsednik ICOM-SEE-ja

REGIONALNI PROJEKTI I AKTIVNOSTI U JUGOISTO^NOJ EVROPI koje su pokrenuli, koje realizuju, koordiniraju i ~iji su organizatori OPZ Dijana i ICOM-SEE, u saradnji s raznim partnerima
SPECIFI^NOST RADA u Dijani le`i i u ~injenici da je ona sve svoje aktivnosti povezala i ispreplela sa aktivnostima Narodnog muzeja, ICOM-a, ICOM-SEE-ja. Profesionalne ciljeve Dijana stalno uskla|uje sa strategijama na globalnom nivou, koje dolaze od ICOM-a, Uneska, ICCROM-a i drugih organizacija. Projekti i metodolo{ki elementi koje ona razvija da bi sprovodila profesionalne ciljeve i delatnosti dosledno se realizuju uz pomo} jasno definisanih strate{kih planova i sadr`aja. Zbog toga se, s jedne strane, na{i projekti i aktivnosti lako prilago|avaju razli~itim okolnostima i stvarnim situacijama, dok se, s druge strane, uklapaju u op{te strategije i ciljeve. Regionalna saradnja predstavlja onu sponu koja povezuje na{e nacionalne potrebe i interese sa onima na me|unarodnom, globalnom nivou. I. REGIONALNI PROJEKAT REVITALIZACIJA KULTURNOG I PRIRODNOG NASLE\A U REGIONU BALKANA JUGOISTO^NE EVROPE, 20062012 (dr M. Popovi}-@ivan~evi}, autorski projekat, OPZ Dijana, avgust 2005) projekat strate{ke platforme i akcioni plan, kratkoro~ni i dugoro~ni, za region jugoisto~ne Evrope. Posebno treba ista}i zna~aj projekta u postavljanju integrativnog koncepta za{tite ba{tine u regionu jugoisto~ne Evrope. Projekat se sastoji od tri osnovne faze: Faza I. Analiza stanja i definisanje problema Stanje kulturne i prirodne ba{tine u regionu Balkana, 20062008; Faza II. Procena rizika, identifikacija rizika, odre|ivanje prioriteta i programa sanacije Procena rizika po kulturnu i prirodnu ba{tinu u regionu Balkana, 20082010; Faza III. Kontrola rizika, predupre|enje pojave potencijalnih rizika Upravljanje rizicima kod kulturne i prirodne ba{tine u regionu Balkana, 20102012. Veoma je bitna ~injenica da je Unesko ovaj projekat prihvatio kao strategiju za re{avanje zapu{tenog stanja ba{tine u regionu jugoisto~ne Evrope i kao potencijalnu osnovu za dalji razvoj. Projekat je veoma elasti~an, lako se prilago|ava postoje}im prilikama i u njega se na jednostavan na~in uklapaju mnogobrojni manji zaokru`eni projekti ili potprojekti, koji tako ~ine aktivan mozai~ki organizam razli~itih aktivnosti. Skoro sve regionalne aktivnosti i programi koje ICOM-SEE sprovodi u regionu uklju~uju se u metodologiju projekta. U okviru ovog dugogodi{njeg strate{kog projekta ve} postoji ~itav niz potprojekata, koji se lako uklapaju u njegovu osnovnu strategiju. U realizaciji potprojekata, neposredno ili posredno, u~estvuju mnogobrojni partneri pored nacionalnih ko-

miteta iz regiona, to su ~esto i ICCROM, UNESCO-BRESCE, Konzervatorski centar Geti, Kanadski konzervatorski institut, zna~ajne institucije za{tite i muzeji iz Francuske, Holandije i drugi. Mnogi od ovih projekata za~eti su pre vi{e godina u Srbiji i Dijani, sa u~esnicima iz regiona, a sada se kao dobro razra|eni i etablirani preme{taju u druge zemlje regiona: u Albaniju, Makedoniju, Rumuniju, kao, na primer, projekat Arheolo{ka konzervacija, preventivna konzervacija Procena i kontrola rizika, SEE TIEM-MEP. Ostali primeri su: Problem ilegalne trgovine i drugih nedozvoljenih radnji kod ba{tine; Zajedni~ka za{tita prirodnog i kulturnog nasle|a; Eksperimentalna arheologija Tradicionalne proizvodnje keramike; Tradicionalne tehnologije stakla u regionu Balkana; Akademski programi obrazovanja; Organizacija regionalne institucije za{tite; Za{tita anti~kih mozaika; Metode za{tite arheolo{kog stakla; Preventivna za{tita arheolo{kog metala; Novi materijali kod konzervacije arheolo{ke keramike, majolike, fajansa i porculana; Za{tita prirodne ba{tine kao model za o~uvanje ~ovekove okoline; Zajedni~ka baza podataka za oblast za{tite ba{tine; Kreiranje pozitivnog dru{tvenog ambijenta za oblast za{tite ba{tine; projekti MATRA i drugi. I.1. Prva regionalna konferencija Stanje kulturne i prirodne ba{tine u regionu Balkana, Kladovo, 2327. oktobar 2006 Organizovanje prve regionalne konferencije u Kladovu u oktobru 2006, s temom Stanje kulturnog i prirodnog nasle|a u regionu Balkana jugoisto~ne Evrope, predstavlja po~etak realizacije prve faze projekta Revitalizacija kulturnog i prirodnog nasle|a u regionu Balkana jugoisto~ne Evrope. Konferencija je postavljena kao platforma za diskusiju kojom je trebalo da se odrede dalji pravci snimanja i analiziranja stanja kulturne i prirodne ba{tine u regionu jugoisto~ne Evrope. Na taj na~in u narednim fazama ustanovi}e se uzroci, proceni}e se rizici, odredi}e se prioritetne mere sanacije ugro`ene prirodne i kulturne ba{tine u na{im zemljama i ustanovi}e se sistemi kontrole rizika. Na konferenciji je u~estvovao izuzetno veliki broj profesionalaca iz regiona i oni su pokazali zna~ajno interesovanje za zajedni~ke regionalne aktivnosti u svim oblastima razvoja institucija, struke i za{tite nasle|a. Bilo je prisutno 86 u~esnika iz osam zemalja regiona: Slovenije, Hrvatske, Bosne i Hercegovine, Srbije, Albanije, Makedonije, Bugarske i Rumunije. Tako|e, u radu konferencije u~estvovali su predstavnici Regionalne kancelarije UNESCO-BRESCE iz Venecije, ICCROM-a iz Rima i Italijanskog nacionalnog

138

REGIONAL COOPERATION

DIANA #13

Mila POPOVI]-@IVAN^EVI], museum councillor conservator Head of Diana Department for Preventive Conservation, President of ICOM SEE

REGIONAL PROJECTS AND ACTIVITIES IN SOUTH EAST EUROPE initiated, coordinated and organised by Department for Preventive Conservation and ICOM SEE in cooperation with various partners
WHAT IS SPECIAL about the work in Diana is the fact that it has combined all its activities and intertwined them with the activities of National Museum, ICOM and ICOM SEE. Diana constantly matches its professional goals with global strategies, which come from ICOM, UNESCO, ICCROM and other organisations. Diana develops projects and methodological elements to reach its professional goals, and activities are implemented with the help of clearly defined strategic plans and content. That is why, on one hand, our projects and activities adapt flexibly to different circumstances and real situations, while on the other hand, they easily fit into general strategies and goals. Regional cooperation represents that bond that connects our national needs and interests with those on the international, global level. I. REGIONAL PROJECT REVITALISATION OF CULTURAL AND NATURAL HERITAGE IN THE REGION OF BALKANS SOUTH EAST EUROPE, 20062012 (PhD M. Popovi}-@ivan~evi}, author project, OPZ Diana, August 2005). This project has a strategic platform and action plan, both short-term and long-term, for South East Europe. The significance of the project is in establishing a regional, integrative concept of heritage conservation. The project consists of three different phases: Phase I. Condition assessment and defining the problem The Condition of Cultural and Natural Heritage in the Region of Balkans, 20062008; Phase II. Risk assessment, identifying priorities and programs of rebuilding Evaluation of Risk to Cultural and Natural Heritage in the Region of Balkans, 20082010; Phase III. Risk Control, prevention of occurance of potential risks Managing Risks to Cultural and Natural Heritage in the Region of Balkans, 20102012. The fact that UNESCO accepted this project as a strategy for solving the neglected state of heritage in the region of South East Europe and as a potential base for further development is very important. The project is very flexible, adapts easily to individual circumstances, and numerous smaller finished projects fit into it, making an active mosaic-like organism of different activities. Almost all the regional activities and programs that ICOM-SEE implements in the region fit into the project methodology. Within this long-term strategic project a number of sub-projects have been done, which fit into its basic strategy. In the implementation of these sub-projects, many partners are involved directly or indirectly, as well as regional national committees, often ICCROM, UNESCO-BRESCE, Conservation Centre

Getty, Canadian Conservation Institute, important institutions of conservation and museums from France, The Netherlands and others. Many of these projects were initiated several years ago by Diana in Serbia, with regional participants, but now that they are well established they are being moved to other countries in the region: to Albania, Macedonia, Romania as was the case with the project Archaeological conservation, preventive conservation Risk assessment and control, SEE TIEM MEP. Other examples are Problem of illegal trade and other unauthorised actions with heritage; Joint protection of natural and cultural heritage; Experimental archaeology Traditional production of ceramics, Traditional technology of glass in the region of Balkans; Academic programs of education; Organisation of regional institution of protection; Protection of antique mosaics; Methods of protection of archaeological glass; Preventive protection of archaeological metal; New materials in conservation of archaeological ceramics, majolica, faience and porcelain; Protection of natural heritage as model of protection of human environment; Joint database for the domain of protection of heritage; Creating positive social environment in the domain of protection of heritage; projects MATRA and others. I.1. First Regional conference on the State of cultural and natural heritage in the region of Balkans, Kladovo, October 2327th 2006 The first regional conference in Kladovo was organized in October 2006, with the subject State of cultural and natural heritage in the region of Balkans South East Europe. The conference was set up as a platform for panel discussions to determine the future monitoring and analysis of the state of cultural and natural heritage in the region of South East Europe. In the following phases, causes will be determined, risk will be evaluated, and priority measures for the prevention of endangered natural and cultural heritage in our countries and the system of Risk Control will be established. A large number of professionals from the region participated and showed interest in joint regional activities in all areas: the development of institutions, trade and heritage protection. There were 86 participants from eight countries of the region: Slovenia, Croatia, Bosnia and Herzegovina, Serbia, Albania, Macedonia, Bulgaria and Romania. Representatives of the Regional office UNESCO-BRESCE from Venice, ICCROM from Rome and Italian national committee ICOM were also present at the conference. Participants

139

DIANA #13

REGIONALNA SARADNJA
raka. Najzna~ajniju finansijsku pomo} pru`ili su UNESCO-BRESCE i Narodni muzej u Beogradu. Pored toga, Narodni muzej je u velikoj meri doprineo da se tako slo`en posao uspe{no privede kraju. Federalno Ministarstvo kulture Bosne i Hercegovine tako|e je u~estvovalo u pripremama publikacije s manjim iznosom. Publikacija je prvi put javno predstavljena, u obliku makete, na Generalnoj skup{tini ICOM-a u avgustu 2007. u Be~u, gde je izazvala veliko interesovanje i dobila pohvale za konkretne strate{ke rezultate koje donosi. ICOM-SEE i Dijana veoma su zadovoljni ~injenicom da su predstavnici nekih zemalja Afrike i Evrope smatrali da iskustva iz ove publikacije mogu biti dragocena i za njihove zemlje i regione. I.3. Regionalna publikacija Stanje kulturne i prirodne ba{tine u regionu Balkana I, sveska 2, ~ije je publikovanje planirano za februar/mart 2009 Druga regionalna publikacija, sveska 2, treba da obuhvati teme koje nisu bile zastupljene na konferenciji u Kladovu i koje nisu publikovane u svesci 1. To su teme koje se odnose na stanje arhivske i bibliote~ke ba{tine, stanje kinote~kog i filmskog materijala, stanje nematerijalne ba{tine, na povezanost i interaktivnu vezu izme|u kulturne i prirodne ba{tine, stanje prirodne ba{tine, stanje profesije i struke, stanje industrijske ba{tine i drugo. Na osnovu prispelih radova zaklju~uje se da }e publikacija imati izme|u 350 i 400 strana. Obuhvati}e oko dvadeset pet tekstova, radova autora iz svih zemalja jugoisto~ne Evrope. Publikovanjem sveske 2 zaokru`i}e se, u obliku pisanih dokumenata, sagledavanje stanja ba{tine u regionu jugoisto~ne Evrope iz ugla profesionalaca. Time }e biti zaklju~ena prva faza strate{kog regionalnog projekta Revitalizacija kulturnog i prirodnog nasle|a u regionu jugoisto~ne Evrope. Objavljivanje sveske 2 predvi|eno je za kraj 2009, a o~ekuje se finansijska pomo} od UNESCO-BRESCE i Ministarstva kulture Srbije, kao i ministarstava kulture iz zemalja ~lanica ICOM-SEE-ja. Ure|iva~ki odbor ICOM-SEE-ja Ure|iva~ki odbor je stalno telo, sastavljeno od predstavnika nacionalnih komiteta iz regiona; ~ini ga ukupno devet ~lanova: dr Mila Popovi}-@ivan~evi}, ICOM Srbije, urednik, Janja Rebolj, ICOM Slovenije, Vlatka Filip~i}-Maligec, ICOM Hrvatske, Azra Be~evi}-[arenkapa, ICOM Bosne i Hercegovine, Branislava Mihajlova, ICOM Makedonije, Albana Hakani, ICOM Albanije, Ljiljana Zekovi}, ICOM Crne Gore, dr Simeon Nedkov, ICOM Bugarske, Elena Doina Punga, ICOM Rumunije, Maja Frankovi}, ICOM Srbije, sekretar redakcije. I.4. Druga regionalna konferencija s temom Procena rizika kod kulturne i prirodne ba{tine u regionu jugoisto~ne Evrope treba da predstavlja razradu druge faze regionalnog projekta Revitalizacija kulturne i prirodne ba{tine u regionu jugoisto~ne Evrope. Planirano je da se Druga regionalna konferencija odr`i od 9. do 13. novembra 2009.

komiteta ICOM-a. U~esnici konferencije upoznali su se, na osnovu ~etrdeset tri prezentacije, sa op{tim i vrlo specifi~nim problemima za{tite prirodne i kulturne ba{tine u regionu jugoisto~ne Evrope. Konferencija je predstavljala zna~ajan uspeh jer je pokazala da profesionalci iz zemalja regiona vi{e ne `ele da ~ekaju da se zvani~ni organi pojedinih dr`ava i vlasti stabilizuju i preduzmu strate{ko definisanje ba{tine, njeno saniranje i revitalizaciju. Predstavnici zemalja regiona iskazali su zna~ajan interes za to da zajedni~ke regionalne aktivnosti po~nu da predstavljaju osnovu za strate{ki razvoj svih oblasti ba{tine, posebno za{tite nasle|a. I.2. Regionalna publikacija Stanje kulturne i prirodne ba{tine u regionu Balkana, sveska 1 (Beograd, oktobar 2007) Ova publikacija je zbornik radova iznetih na Prvoj regionalnoj konferenciji u Kladovu, a njen naslov je Stanje kulturnog i prirodnog nasle|a u regionu Balkana jugoisto~ne

Regionalna publikacija Stanje kulturne i prirodne batine u regionu Balkana Regional publication Condition of the cultural and natural heritage in the Balkan region

Evrope. Tu se prvi put na jednom mestu iznose realno stanje i analiza stanja ba{tine u velikom broju oblasti u regionu jugoisto~ne Evrope. Posebna vrednost publikacije le`i u ~injenici da su svi pogledi i mi{ljenja koji su izneti plod profesionalnih pristupa, stavova i razmi{ljanja, a ne neke zvani~ne politike. Ova obimna publikacija, na preko 600 strana, pripremljena je na devet nacionalnih jezika regiona Balkana, s paralelnim engleskim prevodom, i u tira`u od 1.600 prime-

140

REGIONAL COOPERATION
became acquainted with the general and specific problems of conservation of cultural heritage in the region of South East Europe, based on forty-three presentations. The conference was especially significant because it showed that professionals from countries of the region no longer want to wait for the official bodies of certain states and governments to become stable and undertake the strategic definition of heritage, its protection and revitalisation. Representatives expressed particular interest in joint regional activities as a base for the strategic development of all domains of heritage, especially conservation. I.2. Regional publication Condition of the cultural and natural heritage in the Balkan region, volume I (Belgrade, October 2007) This publication is a collection of works discussed at the First Regional Conference in Kladovo. For the first time, the real state of heritage in many areas in South East Europe was made known and analyzed. The special value of this publication is that all views and opinions expressed are the fruit of professional thought, and not part of official policies. This extensive publication, over 600 pages in length, has been published in nine national languages of the Balkans, with parallel English translations, and a circulation of 1,600 copies. The greatest financial assistance came from UNESCO-BRESCE and the National Museum in Belgrade. The National Museum has largely contributed to accomplishing this complex task. The Federative Ministry of Culture of Bosnia and Herzegovina also participated in the preparation of publication with a smaller financial contribution. The publication was presented publicly for the first time, as a model, in the General assembly of ICOM in August 2007 in Vienna, where it aroused great interest and was positively appraised for the concrete strategic results it brought. ICOM SEE and Diana were very satisfied that some representatives of Africa and Europe believed that this publication could be valuable for their countries and regions. I.3. Regional publication Condition of the cultural and natural heritage in the Balkan region, volume II, publishing of which is planned for February/March 2009 Second regiaonal publication, Volume 2 of the publication, should cover all subjects not included in the conference in Kladovo and which were not published in volume 1.Those mainly refer to the condition of archive and library heritage, cinema and film material, and intangible heritage, and the connection and interactive link between cultural and natural heritage, the condition of natural heritage, the state of the profession, the state of industrial heritage and so on. Based on the works we received the publication will have between 350 and 400 pages. It will enclose around twenty five texts, works by authors from all the countries of South East Europe. With publishing this Volume II the state of heritage in the region of South East Europe will be recognised in the form of written documents from the viewpoint of professionals. With it the first phase of strategic regional project Revitalisation of Cultural and Natural Heritage in the Region of South East Europe will be concluded. The publi-

DIANA #13

shing of Volume II is planned for the end of the year 2009 and financial aid from UNESCO-BRESCE is expected as well as from the Ministry of Culture of Serbia and from Ministries of culture of member states of ICOM-SEE. Editorial board of ICOM SEE The Editorial board is a permanent body consisting of representatives from national committees from the region. It consisted of nine members: Dr Mila Popovi}-@ivan~evi}, ICOM Serbia, editor, Janja Rebolj, ICOM Slovenia, Vlatka Filip~i}-Maligec, ICOM Croatia, Azra Be~evi}-[arenkapa, ICOM Bosnia and Herzegovina, Branislava Mihajlova, ICOM Macedonia, Albana Hakani, ICOM Albania, Ljiljana Zekovi}, ICOM Montenegro, Dr Simeon Nedkov, ICOM Bulgaria, Elena Doina Punga, ICOM Romania, Maja Frankovi}, ICOM Serbia, the secretary of editorial office. I.4. Second regional conference with the subject The assessment of risk in cultural and natural heritage in the region of South East Europe should represent the elaboration of the second phase of the regional project Revitalisation of Cultural and Natural Heritage in the Region of South East Europe. It is planned to have Second regional conference from 9th till 13th of November 2009. It was suggested that the host should be ICOM Croatia (Gornja Stubica, October 2010). Programs of preventive conservation I.5. Introductory courses from preventive conservation Diana and ICOM of Serbia and Montenegro have organized a number of different educational programs in all areas of theory and practice in preventive conservation since 2004, and in cooperation with ICCROM. Within those programs, two specialist introductory courses in preventive conservation are noteworthy, along with programs conducted by experts from ICCROM. These courses included preventive conservation as a strategy, the basic system of measures of preventive conservation in museums, the theory of condition assessment in those museums, risk assessment and control, museum buildings, the problems and privileges of the museum profession, depots, exhibitions and transport, handling, depositing, environmental control, microclimate and collections, museum standards, fire protection, floods and other unpredicted circumstances, air pollution, and agents of deterioration. Special programs relate to microbiology, micro organisms, fungi, mould, vermin and insect control in museums, protection in cases of emergency, and accidents (fire, flood, theft, vandalism, war etc). I.6. Reducing Risks to Collections Risk Assesment Programs of preventive conservation under the title Reducing Risks to Collections Risk Assessment will be further developed in South East Europe. This is an international project

141

DIANA #13

REGIONALNA SARADNJA
zovani su i posebni programi koji su se odnosili na mikrobiologiju, mikroorganizme, gljivice, bu|i, plesni, {teto~ine u muzejima, insekte, dezinfekciju, deratizaciju, dezinsekciju, za{titu od vanrednih prilika i nesre}a (po`ar, poplava, kra|e, vandalizam, rat). I.6. Smanjivanje rizika po muzejske kolekcije Programi preventivne za{tite pod nazivom Reducing Risks to Collections Risk Assesment (Smanjivanje rizika po muzejske kolekcije) razvija}e se dalje u jugoisto~noj Evropi. To je me|unarodni projekat ICCROM-a Risk Assesment in Museums (Procena rizika u muzejima), u kojem se Dijana pojavljuje kao partner. U tom edukativnom projektu stru~njaci iz Dijane u~estvuju ne samo u organizaciji ve} i u realizaciji kompletnog programa. Tako je juna 2007. u Sibiuu, u Rumuniji, organizovan specijalisti~ki kurs koji se odnosio na ovu temu i na kojem je Vesna @ivkovi}, mladi stru~njak iz Dijane, bila jedan od nosilaca glavnih programa. Iako je kurs imao me|unarodni karakter, najve}i broj u~esnika bio je iz regiona jugoisto~ne Evrope. I.7. Teorija i praksa preventivne konzervacije Programe iz preventivne za{tite Dijana je od 2007. po~ela da organizuje i s drugim partnerima, kao {to je organizacija Kultura bez granica (Cultural Heritage Without Borders) iz [vedske. Tim stru~njaka iz Dijane, s Vesnom @ivkovi} na ~elu, samostalno je programski postavio i realizovao sve sadr`aje programa iz preventivne za{tite, odredio me|unarodne predava~e i drugo. Program je po~eo da se organizuje kao regionalni seminar za 1820 polaznika profesionalaca iz muzeja iz regiona zapadnog Balkana. Prvi ciklus bio je Uvodni seminar iz teorije i prakse preventivne za{tite, odr`an u decembru 2007. u radnim prostorima Dijane, u Galeriji fresaka u Beogradu. I.8. Primena procene rizika u praksi Ove godine otpo~elo se sa sprovo|enjem edukativnog projekta pod nazivom Primena procene rizika u praksi (autor projekta je Vesna @ivkovi}, kustos za preventivnu konzerPrakti~ni rad u okviru uvodne radionice, projekat SEE TIEM-MEP, novembar 2007, Ohrid, Makedonija Exercise during Introductory workshops SEE TIEM MEP, November 2007, Ohrid, Macedonia

Predavanje u okviru kursa Umanjenje rizika po muzejske zbirke, junjul 2007, Sibiu, Rumunija A lecture during course Reducing risks to collections, JuneJuly 2007, Sibiu, Romania

godine. Predlo`eno je da doma}in bude ICOM Hrvatske (Gornja Stubica, oktobar 2010). Programi preventivne za{tite I.5. Uvodni kursevi iz preventivne konzervacije Dijana i ICOM Srbije i Crne Gore od 2004. godine, u saradnji sa ICCROM-om, organizuju vi{e razli~itih edukativnih programa iz svih oblasti teorije i prakse preventivne za{tite. U okviru tih programa isti~u se dva specijalisti~ka uvodna kursa iz preventivne za{tite, s programima koje su realizovali stru~njaci ICCROM-a. Sadr`ina tih kurseva obuhvatala je preventivnu za{titu kao strategiju, osnovni sistem mera preventivne za{tite u muzejima, teoriju analize stanja u muzejima, procenu i kontrolu rizika, muzejske zgrade, probleme i pogodnosti za muzejske delatnosti, depoe, izlo`be i transport; rukovanje, deponovanje, kontrolu sredine, mikroklimu i zbirke, muzejske standarde, za{titu od po`ara, poplave i drugih vanrednih prilika, aerozaga|enja, faktore propadanja. RealiPredavanje u okviru uvodne radionice, projekat SEE TIEM-MEP, novembar 2007, Ohrid, Makedonija A lecture during Introductory workshops SEE TIEM MEP, November 2007, Ohrid, Macedonia

142

REGIONAL COOPERATION

DIANA #13

Ve`ba u okviru zavrne radionice, projekat SEE TIEM-MEP, oktobar 2008, Gornja Stubica, Hrvatska Exercise during Closing workshops SEE TIEM-MEP, October 2008, Gornja Stubica, Hrvatska

Predavanje u okviru zavrne radionice, projekat SEE TIEM-MEP, oktobar 2008, Gornja Stubica, Hrvatska A lecture during Closing workshops SEE TIEM-MEP, October 2008, Gornja Stubica, Hrvatska

of ICCROM Risk Assessment in Museums in which Diana is a partner. Experts from Diana will participate not only in organisation, but also in the implementation of complete program. In June 2007, a specialist course relating to this subject was organized in Sibiu, Romania, at which Vesna @ivkovi}, a young expert from Diana, was one of the mentors of the main programs. Even though the course had an international character, most participants were from South East Europe. I.7. Theory and practice of preventive conservation Diana started organizing programs of preventive conservation in 2007 in collaboration with other partners, and with the organisation Cultural Heritage Without Borders from Sweden. A team of experts from Diana, led by Vesna @ivkovi}, has conducted all program contents of preventive conservation independently, and invited international lecturers. The program started as a regional seminar for 1820 participants, professionals from museums in the west Balkans. The first cycle was an introductory seminar on the theory and practice of preventive conservation, held in December 2007 in the premises of Diana and the Gallery of Frescoes in Belgrade. I.8. The change of risk assesment in practice This year the implementation of educative project named The Application of Risk Assesment in Practice (author of the project is Vesna @ivkovi}, curator for preventive conservation from OPZ Diana). The project stresses the importance of management of risk as the key element when bringing decisions related to the protection of heritage, considering that it anticipates all that could happen to the collections in next forty years. The assesment of risk is a phase of management of risk, it is constantly conducted , and it is comprised of a number of decisions which are brought in accordance with present circumstances. Based on constant monitoring of possibility of damage and consequences that can occur in the area that is monitored the magnitude of risk is established and it is reacted and planned accordingly.

It is necessary to have instructions on how risk analysis is methologically conducted and which elements are taken into consideration, so that based on it the treatment of risk can be defined and management of risk planned. The basis of this process is in education. That means that training is necessary in order to begin and implement the phase of risk assesment. It is planned to inlude as many museums as possible in the project. After defining the mutual parameters for the analysis of the state, which is conducted by ICOM-SEE, the elaboration of mutual methodology of risk assesment and its possible application in practice in the region are already introducing the implementation of the second phase of the project Revitalisation of cultural and natural heritage in the region of South East Europe. Through educative program Application of Risk Assessment in the Practice OPZ Diana and ICOM SEE will be included in planning further activities in elaboration of the second phase of regional project. In October of 2008 the project Application of Risk Assessment in the region is applied to organisations ICOM and UNESCO-BRESCE for co-financing in 2009. I.9. SEE TIEM-MEP TIEM MEP, Teamwork for integral managing in a state of emergency Museum programs for state of emergency. The main organiser of this project was ICCROM, Rome. That is a regional project for South East Europe, which involves all countries from the region. Partners in this project are ICCROM, UNESCO-BRESCE, the Getty Conservation institute and ICOM SEE, as well as the regional coordinator. The project was established to answer the needs expressed by museum professionals from all over the world, and to develop expertise in preparations for and reactions to states of emergency. The aim of the project is to provide the staff of institutions with skills for conserving heritage and for risk evaluation and management. Nine museums and two university programs from Albania, Bulgaria, Bosnia and Herzegovina, Croatia, Macedonia, Montenegro, Moldova, Serbia and Slovenia are involved in this project.

143

DIANA #13

REGIONALNA SARADNJA
sni projekat MEP, da se podigne svest o va`nosti muzejskih programa za vanredne prilike i da se obezbedi dalja saradnja s direktorima muzeja u realizaciji i sprovo|enju projekta u muzejskoj praksi. Edukativni redosled TIEM-MEP ~inila su tri modula: uvodna radionica (1531. novembar 2007, Ohrid, Makedonija); Distance mentoring (januarseptembar 2008); zavr{na radionica (1317. oktobar 2008, Gornja Stubica, Hrvatska). Prilikom odr`avanja zavr{ne radionice u Gornjoj Stubici predstavnici ICOM-a, ICCROM-a, Instituta Geti i UNESCO-BRESCE izrazili su zadovoljstvo povodom uspe{nog okon~anja ove faze MEP-a. U zavr{nim diskusijama i razgovorima posebno je nagla{ena pozitivna uloga ICOM-SEE-ja kao regionalnog partnera i koordinatora aktivnosti, pri ~emu je istaknuto da }e se aktivnosti pomenutih organizacija u regionu jugoisto~ne Evrope nadalje sve vi{e oslanjati na partnerstvo sa ICOM-SEE-jem. Kada je re~ o razvoju TIEM-MEP-a, od ICOM SEE-ja o~ekuje se da defini{e, razradi i koordinira njegovu primenu u institucionalnoj praksi u regionu jugoisto~ne Evrope. I.10. Centralni institut za konzervaciju CIK Nakon institucionalne i kadrovske analize koju su obavili predstavnici Evropskog saveta 2002. zaklju~eno je da u Beogradu postoji institucionalna i kadrovska baza za razvoj regionalnog sredi{ta za{tite ba{tine. Predstavnici Evropskog saveta tada su preporu~ili da se u Beogradu osnuje nova institucija za{tite, koja }e po~ivati na obrazovanju i nauci i

vaciju iz OPZ Dijana). Projekat isti~e va`nost menad`menta rizika kao klju~nog elementa pri dono{enju odluka u vezi sa za{titom kulturne ba{tine, budu}i da predvi|a sve ono {to bi zbirkama moglo da se desi tokom narednih ~etrdeset godina. Procena rizika jeste faza menad`menta rizika; ona se stalno sprovodi iznova, a sastoji se od niza odluka donetih u skladu s trenutnim okolnostima. Na osnovu stalnog pra}enja verovatno}e {tete i posledica koje se mogu pojaviti u oblasti koja se prati ustanovljava se veli~ina rizika i reaguje se ili planira u skladu s tim. Potrebno je da postoje uputstva o tome kako se metodolo{ki sprovodi analiza rizika i koji se elementi uzimaju u obzir da bi se na osnovu toga odredio tretman rizika i planirao menad`ment rizika. Osnova tog procesa le`i u edukaciji. To zna~i da je neophodna obuka kako bi se uop{te zapo~ela i realizovala faza procene rizika. Predvi|eno je da se u projekat uklju~i {to vi{e muzeja. Nakon odre|ivanja zajedni~kih parametara za analizu stanja, {to sprovodi ICOM-SEE, razrada zajedni~ke metodologije procene rizika i njena mogu}a primena u praksi u regionu ve} uvode u realizaciju druge faze projekta Revitalizacija kulturne i prirodne ba{tine u regionu jugoisto~ne Evrope. Kroz edukativni program Primena procene rizika u praksi OPZ Dijana i ICOM-SEE uklju~i}e se u planiranje daljih aktivnosti u razradi druge faze regionalnog projekta. U oktobru 2008. godine projekat Primena procene rizika u regionu prijavljen je organizacijama ICOM i UNESCO-BRESCE za sufinansiranje u 2009. godini. I.9. SEE TIEM-MEP TIEM-MEP Timski rad za integralno upravljanje u vanrednim situacijama Muzejski programi za vanredne situacije. Glavni organizatori ovog projekta jesu ICCROM i ICOM. To je regionalni projekat za jugoisto~nu Evropu, u koji se uklju~uju sve zemlje iz regiona. Partneri u projektu su ICCROM, ICOM, UNESCO-BRESCE, Konzervatorski institut Geti i ICOM-SEE kao regionalni koordinator. Projekat je nastao kao program koji odgovara potrebama {to su ih iskazali muzejski profesionalci iz celog sveta, a kako bi se razvila stru~nost u pripremama za vanredne prilike i u reagovanju na njih. Zadatak projekta jeste razvijanje sposobnosti u institucijama za{tite ba{tine za preduzimanje procene rizika i za upravljanje rizicima. U TIEM-MEP uklju~eno je devet muzeja iz regiona, kao i po dva univerzitetska programa iz Albanije, Bugarske, Bosne i Hercegovine, Hrvatske, Makedonije, Crne Gore, Moldavije, Srbije i Slovenije. U pripremama projekta u martu 2007. u Rimu u~estvovale su i dr M. Popovi}-@ivan~evi} i Vesna @ivkovi}. ICOM-SEE je istakao da je regionalna analiza pokazala da se u muzejima u regionu, kada je re~ o vanrednim situacijama, ~esto pojavljuje problem neodgovaraju}eg pona{anja direktora i da se problemi u vezi sa sprovo|enjem i primenjivanjem projekta mogu nalaziti i u tome {to direktori i odgovorna lica u ministarstvima kulture ne}e u dovoljnoj meri razumeti ove va`ne teme. Zbog toga su direktori muzeja i obrazovnih sistema koji su izabrani da u~estvuju u TIEM-MEP-u pozvani na dvodnevni seminar (17. i 18. avgusta 2007), odr`an tokom Generalne skup{tine ICOM-a u Be~u. Cilj seminara bio je da se direktorima muzeja obja-

Studija izvodljivosti za Centralni institut za konzervaciju Feasibility study for Central Institute for Conservation

144

REGIONAL COOPERATION

DIANA #13

Deo u~esnika zavrne radionice SEE TIEM-MEP u Gornjoj Stubici, Hrvatska, oktobar 2008 Some of participants in Closing workshops SEE TIEM-MEP, October 2008, Gornja Stubica, Hrvatska

Dr Popovi}-@ivan~evi} and Vesna @ivkovi} participated in preparing the project in Rome, in March 2007. ICOM SEE pointed out that regional analysis shows that when it comes to states of emergency, there is often a problem in museums of the region because of the unprofessional behaviour of museum directors; problems with implementing and applying project may be due to directors and Ministries of Culture not understanding this important subject. That is why museums directors and educational principals were chosen to participate in TIEM MEP and invited to the twoday seminar (August 17th and 18th 2007), which was held during the General Assembly of ICOM in Vienna. The aim of the seminar was to explain the MEP project to directors, to raise awareness of the importance of museum programs for states of emergency and to ensure further cooperation in the implementation of the project in museum practice. Educative timeline TIEM-MEP is consistent of three modules: introductory workshops (15th to 31st November, Ohrid, Macedonia); distance learning (januaryseptember 2008) closing workshops(1317 October 2008, Gornja Stubica, Hrvatska) During the closing workshop in Gornja Stubica the reporesentatives of ICOM, ICCROM, Getty Institute and UNESCO-BRESCE have expressed their satisfaction because of the successful ending of this phase of MEP. In closing discussions and talks the positive role of ICOM SEE as regional partner and coordinator of activities was stressed, it was also emphasised that activities of above mentioned organisations in the region of South East Europe will in future increasingly rely on partnership with ICOM SEE. When the development of TIEM-MEP is in question, ICOM SEE is expected to define, elaborate and coordinate its application in institutional practice in the region of South East Europe. I.10. Central Institute for Conservation CIC After an institutional and human resources analysis done by representatives of the European council of 2002, it was concluded that there is a suitable base for the development

of a regional center for heritage conservation. Representatives of the European Council recommended that Belgrade should establish a new institution of conservation, based on science and education, and oriented towards the region, mainly the Western Balkans. During 2005, intensive work on that significant regional project began, given the name Central Institute for Conservation in Belgrade CIC. A joint expert group from the Ministry of Culture worked on a feasibility study, comprising experts from institutions for conservation and representatives from the Ministry of Foreign Affairs of Italy. On the Serbian side, active members of the expert team were especially engaged in making the Feasibility study, Report on justification, and other documents and procedures: Dr Mila Popovi}-@ivan~evi}, Miladin Luki}, Radmila Petrovi} and Branka [ekari}, and on the Italian side: Donatella Cavezzali from the Central Institute for Conservation in Rome and Michele Morana from the ministry of Foreign Affairs in Italy. The SerbianItalian version of the Feasibility study was published in December 2007 and publicly presented at the Italian Cultural Centre Belgrade. The Procedure of founding CIK has reached its end and it is expected that during year 2009 the Government of Republic of Serbia will officially establish a new institution of protection. Associates from Diana have made a special contribution in defining and implementing the new institutional organization of a conservation service, and in preparing all documents, studies, and analyses. The establishment of this institute, which envisages all categories of heritage and all conservation activities in one system, received professional support from experts from ICOM, UNESCO, ICCROM and institutions of conservation in France, The Netherlands, Great Britain and other countries. I.11. Archaeological conservation Conservation at archaeological site is one of the most important regional projects. It is done by ICCROM, as the main organiser and Diana Department for Preventive Conservation as national and regional partner and coordinator. UNESCO-BRESCE Venice has also participated in the implementation of this important educational program, provided in the form of conservation courses over a threeyear period, from 2004 until 2007, at Dianas HQ in the Gallery of Frescoes in Belgrade and on archaeological sites in Serbia: DianaKarata{ on location, and in Sremska Mitrovica. The final part of the introductory part of the course took place in the Butrint Archaeological park in October 2007. Representatives from countries in South East Europe participated in all the programmed courses, including Slovenia, Croatia, Bosnia and Herzegovina, Montenegro, Albania, Romania, Bulgaria, Greece and Serbia. At the General assembly of ICCROM held from 7th to th 9 of November in Rome, Archaeological conservation was represented as a long term regional project for the region of South East Europe, which is included in the long term plans of ICCROM for the following period. The special educative significance is that it envisages all the elements of planning, managing, conservation and presentation of archaeological sites.

145

DIANA #13

REGIONALNA SARADNJA
Ovaj va`an edukativni program odvijao se tokom tri godine, od 2004. do 2007, u vidu kurseva konzervacije u Dijani, u Galeriji fresaka u Beogradu, i na arheolo{kim terenima u Srbiji: na lokalitetu DijanaKarata{ i u Sremskoj Mitrovici. Zavr{nica uvodnog dela kursa odvijala se u Albaniji, u Arheolo{kom parku Butrint, u oktobru 2007. U svim dosada{njim programima kurseva u~estvovali su predstavnici iz vi{e zemalja regiona jugoisto~ne Evrope: iz Slovenije, Hrvatske, Bosne i Hercegovine, Crne Gore, Albanije, Rumunije, Bugarske, Gr~ke i Srbije. Na Generalnoj skup{tini ICCROM-a koja je odr`ana od 7. do 9. novembra 2007. u Rimu Arheolo{ka konzervacija prezentovana je kao dugoro~ni regionalni projekat za region jugoisto~ne Evrope, uklju~en u dugoro~ne planove ICCROM-a za naredni period. Poseban edukativni zna~aj projekta jeste to {to on obuhvata sve segmente planiranja, upravljanja, istra`ivanja, za{tite i prezentacije arheolo{kog lokaliteta. Sa ekspertima iz ICCROM-a ve} se radi na formiranju novog programa iz ove oblasti, programa koji }e predstavljati dalji razvoj edukacije i njenu primenu u praksi arheolo{ke konzervacije u na{em regionu. I.12. Eksperimentalna arheologija Tradicionalne proizvodnje keramike Projekat koji je pokrenula i razvijala Dijana, a povezan s nau~noistra`iva~kim projektom Vin~a, ve} je dao zna~ajne rezultate u Srbiji. Dijana inicira pokretanje sli~nih projekata i u Bosni i Hercegovini (Muzej grada Sarajeva), Makedoniji (Muzej Makedonije), Sloveniji (Gori{ki muzej). Dijana i ICOM-SEE nameravaju da u ovaj projekat uklju~e i ostale zemlje regiona i da pomo}u tradicionalne keramike uka`u na bliske kulturne i istorijske veze koje izme|u njih postoje. Arheologija Balkana na ovaj na~in mo`e da do|e do zna~ajnih nau~nih podataka i rezultata, koji }e tako|e pomo}i da se tradicionalna keramika plasira kao regionalni identitet i savremeni komercijalni i turisti~ki proizvod. Projekat je povezan sa analizama keramike s preistorijskog lokaliteta Vin~a kod Beograda i sa analizama nalazi{ta gline u okolini lokaliteta.

koja }e biti regionalno orijentisana, pre svega na podru~je zapadnog Balkana. Tokom 2005. otpo~elo se sa intenzivnijim radom na tom zna~ajnom regionalnom projektu i on je dobio naziv Centralni institut za konzervaciju u Beogradu CIK. Na Studiji izvodljivosti radila je zajedni~ka ekspertska grupa Ministarstva kulture Srbije, koju su ~inili stru~njaci iz institucija za{tite u Srbiji i predstavnici Ministarstva inostranih poslova Italije. Aktivni ~lanovi ekspertskog tima, koji su posebno bili anga`ovani oko izrade Studije izvodljivosti, Elaborata o opravdanosti i drugih osniva~kih dokumenata i procedura, jesu, sa srpske strane, dr Mila Popovi}-@ivan~evi}, Miladin Luki}, Radmila Petrovi} i Branka [ekari}, a sa italijanske Donatela Kavecali iz Centralnog instituta za konzervaciju u Rimu i Mikele Morana iz Ministarstva inostranih poslova Italije. Studija izvodljivosti u srpsko-italijanskoj verziji publikovana je u decembru 2007, kada je i organizovana njena sve~ana javna prezentacija u Italijanskom kulturnom centru u Beogradu. Procedura osnivanja CIK-a pri samom je kraju i o~ekuje se da }e tokom 2009. godine vlada Republike Srbije i formalno osnovati novu instituciju za{tite. Poseban doprinos u definisanju i realizaciji ideje o novom institucionalnom organizovanju slu`be za{tite, u pripremanju svih dokumenata, studija, analiza i gotovih radova neposredno su pru`ili saradnici OPZ Dijana. Osnivanje ovog instituta, koji objedinjuje u jedan sistem za{tite sve kategorije ba{tine i sve aktivnosti na za{titi, dobilo je profesionalnu podr{ku stru~njaka iz ICOM-a, Uneska, ICCROM-a, iz institucija za{tite iz Francuske, Holandije, Velike Britanije i drugih zemalja. I.11. Arheolo{ka konzervacija Konzervacija na arheolo{kom lokalitetu jeste jedan od najva`nijih regionalnih projekata. Sprovode ga ICCROM, kao glavni organizator, i OPZ Dijana, kao nacionalni i regionalni partner i koordinator. U realizaciji programa u~estvuje i UNESCO-BRESCE iz Venecije.

Kurs arheoloke konzervacije na lokalitetu DijanaKarata Course on Archaeological conservation on site DianaKarata

Kurs arheoloke konzervacije u Sremskoj Mitrovici Course on Archaeological conservation in Sremska Mitrovica

146

REGIONAL COOPERATION

DIANA #13

Konzervacija keramike Conservation of ceramic

Sandra Dejvison Sandra Davison

A new program in this domain is already being developed with the help of experts from ICCROM, which will represent further development of education and its application in the practice of archaeological conservation in our region. I.12. Experimental archaeology Traditional production of ceramics This project was established and developed by Diana in cooperation with Project Vin~a and has already brought some significant results in Serbia. Diana has initiated similar projects in Bosnia and Herzegovina (City Museum of Sarajevo), Macedonia (Museum of Macedonia), and Slovenia (Museum Gori{ki). Diana and ICOM SEE intend to involve this project in other countries of the region and to show the close cultural and historical bonds that exist between them, with the help of traditional ceramics. Archaeology in the Balkans can reveal important scientific data and obtain results that will also help traditional ceramics by representing regional identity and producing contemporary commercial products for tourists. The project is linked with the analysis of ceramics from the prehistoric site of Vin~a near Belgrade and the analysis of clay in the site surroundings. After two years, knowledge about old technologies and techniques has been acquired, which at the same time determines precise methods for the conservation of archaeological ceramics. The interdisciplinary character of the project needs to be emphasised: it involves several different institutions of scientific research and universities, as well as researchers, conservationists, archaeologists, and potters. The bearers of the project are Mila Popovi}-@ivan~evi} and M.A. Vesna Svoboda. I.13. Traditional glass production, in cooperation with the Serbian factory of glass in Para}in. This project should help to preserve and revitalise one of the rare original old technologies of glass in the region of South East Europe. This traditional technology still continues in its unchanged, original form as an important part of the industrial production of glass in Para}in. Preservation of that old technology, craft skills, and knowledge has been approached in an integrative

Konzervacija stakla Conservation of glass

manner, as a unique system of protection of intangible heritage and its material products in their natural surroundings. The project will also help include traditional glass-related crafts in sustainable development and fit it into the contemporary life of the local community without threatening the original technology of glass production. The project is implemented within the joint regionalEuropean project which includes different countries, with the help of the EU and the main mentor of this project the European University in Ravel. The project was prepared by Mila Popovi}-@ivan~evi}, T. Nedeljkovi}, M. @ivkovi} and M. Brzakovi}. I.14. Conservation of natural heritage ICOM SEE is preparing a proposal for a regional project for the conservation of natural heritage and environment. The main goal is to create a conservation project for famous natural locations in the region of Balkans, to work it out as a model, and to offer a suitable general approach to the conservation of heritage and environment. Members of the working group for initiating and implementing this project

147

DIANA #13

REGIONALNA SARADNJA

Posle dve godine razvoja projekta ve} su ste~ena zna~ajna saznanja o starim tehnologijama i tehnikama, koje istovremeno odre|uju i precizne metode za{tite i konzervacije arheolo{ke keramike. Posebno treba ista}i interdisciplinarnost projekta, u kojem u~estvuje veliki broj razli~itih nau~noistra`iva~kih institucija i fakulteta, kao i istra`iva~a, konzervatora, arheologa i prakti~ara kerami~ara. Nosioci projekta su dr Mila Popovi}-@ivan~evi} i mr Vesna Svoboda. I.13. Tradicionalne proizvodnje stakla, u saradnji sa Srpskom fabrikom stakla u Para}inu. Projekat treba da pomogne u o~uvanju i revitalizaciji jedne od retkih sa~uvanih originalnih starih tehnologija stakla u regionu jugoisto~ne Evrope. Ova tradicionalna tehnologija jo{ uvek `ivi u nepromenjenom, izvornom obliku kao sastavni deo fabri~ke proizvodnje u Para}inu. U za{titarskom smislu, o~uvanje te stare tehnologije, zanatskih ve{tina i znanja postavljeno je integrativno, kao jedinstven sistem za{tite nematerijalne ba{tine i njenih materijalnih proizvoda u prirodnom okru`enju. Projekat }e tako|e pomo}i da se tradicionalni staklarski zanat postavi u okvir odr`ivog razvoja i da se uklopi u savremeni `ivot lokalne zajednice, bez ugro`avanja ili opasnosti po opstanak originalne tehnologije proizvodnje stakla. Projekat se sprovodi u okviru zajedni~kog regionalno-evropskog projekta, koji uklju~uje razli~ite zemlje Evrope, pod pokroviteljstvom EU, a glavni nosilac projekta je Evropski univerzitet u Ravelu. Projekat su pripremile M. Popovi}-@ivan~evi}, M. @ivkovi}, T. Nedeljkovi} i M. Brzakovi}. I.14. Za{tita prirodnog nasle|a ICOM-SEE priprema predlog regionalnog projekta za za{titu prirodnog nasle|a i `ivotne sredine. Osnovni cilj jeste da se kreira projekat za{tite jednog od o~uvanih prirodnih lokaliteta u regionu Balkana, da se on kao model razradi i da se ponude odgovaraju}a re{enja u generalnom pristupu o~uvanju prirodnog nasle|a i `ivotne sredine. Radnu grupu za pokretanje i realizaciju projekta ~ine: Dra`en Kotro{an iz Bosne i Hercegovine, Branislava Mihajlova iz Makedonije i Ljiljana Proti} iz Srbije. Predvi|eno je da se u projekat uklju~i i prof. dr Bo`idar ]ur~i}, predsednik Uneskovog MAB komiteta Srbije. I.15. Letnja {kola konzervacije Dijana U realizaciji programa letnjih {kola konzervacije Dijana zna~ajnu finansijsku pomo} pru`ali su od 2001. godine Unesko iz Pariza, s dva programa participacije, i od 2005. UNESCO-BRESCE iz Venecije. Ti programi obuhvataju teorijska predavanja [sa ciklusima iz preventivne konzervacije (uslovi ~uvanja kulturnih dobara, za{tita od vanrednih prilika, priprema planova preventivne za{tite i drugo), muzeologije i teorije za{tite, kulturne politike, etike, zakonodavstva, arheologije i arheolo{ke konzervacije, prirodnih nauka (fizike, hemije, tehnologije), aktivnih konzervatorskih tretmana] i prakti~nu obuku (savladavanje primene mera preventivne za{tite u muzejskoj praksi, savladavanje konzervatorskih ve{tina, znanja i tretmana).

Polaznici Letnje kole Dijana Attendants of Diana Summer School

Realizacija programa obrazovanja u letnjim {kolama Dijana odvija se u kontinuitetu svake godine od 1997, tradicionalno od juna do septembra. U tim aktivnostima u~estvuje veliki broj mladih, studenata, konzervatora, kustosa i istra`iva~a iz muzeja i drugih institucija za{tite, kao i mladih razli~itog profila. U realizaciji programa u~estvuju predava~i iz zemlje i sveta; to su eksperti sa univerziteta, iz specijalizovanih institucija i privatnih studija. Formiran je stalni tim od trideset predava~a i eksperata, u koji ulaze i mladi edukatori iz Dijane. I.16. Dokumentacija za{tite ba{tine Zavr{ava se pripremanje projekta jedinstvenog dokumentacionog sistema za oblast za{tite ba{tine, jedinstvene baze podataka za sve aktivnosti na za{titi nasle|a, kao i stvaranja baze podataka za konzervatorsku dokumentaciju. Novi dokumentacioni digitalni sistem za{tite ba{tine treba da bude povezan s me|unarodnom bazom podataka u oblasti konzervacije nasle|a. Projekat predvi|a razvoj stru~nih biblioteka i izdava~ke delatnosti u oblasti za{tite i obezbe|ivanje tehni~ke opreme za dokumentaciju. Zavr{ena je specijalizacija jednog mladog stru~njaka iz Dijane u Centru za konzervaciju i istra`ivanja muzeja Francuske (C2RMF), {to treba da pomogne u kona~nom definisanju jedinstvene baze podataka za oblast za{tite ba{tine EROS (European Research Open System); to je otvoren vi{ejezi~ni sistem za pretra`ivanje sadr`aja slika, posve}en razmeni konzervatorsko-restauratorskih podataka izme|u institucija kulture (Open Source Multilingual Research System for Image Content Retrieval dedicated to Conservation-Restoration exchange between Cultural Institutions). I.17. Akademski program obrazovanja iz za{tite ba{tine definisanje, organizacija i primena akademskog programa obrazovanja iz oblasti za{tite ba{tine. Program se sprovodi u saradnji s Beogradskim univerzitetom (u okviru multidisciplinarnih studija) i Sorbonom Pariz I. U pripremanju novih studija za{tite dragocenu pomo} pru`a Francuski kulturni centar u Beogradu.

148

REGIONAL COOPERATION
are: Dra`en Kotro{an from Bosnia and Herzegovina, Branislava Mihajlova from Macedonia and Ljiljana Proti} from Serbia. It is planned to involve Professor Dr Bo`idar ]ur~i}, the president of UNESCOs MAB committee of Serbia. I.15. Diana Summer schools of conservation Significant financial help for the implementation of Dianas summer schools of conservation has been received from UNESCO in Paris since 2001, with two programs of participation, and since 2005 from UNESCO-BRESCE in Venice. Those programs contain theoretical lectures with cycles in preventive conservation (the conditions of preserving cultural goods, protection in cases of emergency, preparation of plans of preventive conservation and others), museology and theory of conservation, cultural policy, ethics, law, archaeology and archaeological conservation, science (physics, chemistry, technology), active conservation treatments and practical training (the application of measures of preventive conservation in museum practice, learning conservation skills and treatments). Implementation of Dianas educational program in summer schools has taken place continuously every year since 1997, traditionally from June to September. Many young people, students, conservationists, curators, and researchers from museums and other institutions of conservation have taken part. Many lecturers from Serbia and abroad, academic experts from universities, specialist institutions and private studies have been involved. A permanent team of thirty lecturers and experts has been formed, including young instructors from Diana. I.16. Documentation on heritage conservation Preparation of this project for the unique documentation system for heritage conservation and the preparation of a unique database for all activities in conservation of heritage and the creation of a database for conservation documentation are in their final phase. New digital system of protection of heritage should be connected to international database in the domain of heritage conservation. The project undertakes the development of expert libraries, publishing in the field of conservation, and providing technical equipment for documentation. One young expert from Diana has finished specialization in the Centre for conservation and research of the Museum of France (C2RMF), which should help finally to define a unique database for the field of conservation of heritage EROS (European Research Open System) e.g. Open Source Multilingual Research System for Image Content Retrieval dedicated to Conservation-Restoration exchange between Cultural Institutions. I.17. Academic program of education in heritage conservation The design, organisation and application of academic educational programs are included in heritage protection. This program is implemented in collaboration with the University of Belgrade (within multidisciplinary studies) and the Sorbonne, Paris. The French Cultural Centre in Belgrade has been of invaluable help in the preparation of new studies of conservation.

DIANA #13

Undergraduate and Master studies, based on the principle 3 + 2 are being prepared, envisaging programs of preventive conservation and conservation treatment. First phase started in November 2008 it is a one-year academic master programme in preventive conservation, in its realisation experts from Europe and the region of South East Europe are taking part. In second phase during 2009, it is planned to continue academic programs of education and to expand it with one-year master studies in conservation treatment. The third phase should start in 20102011 with academic program of protection of heritage-both undergraduate and master studies on the principle 3 + 2. In the first phase studies will relate to the conservation of archaeological locations and museum objects. It is planned that a one year Masters program in preventive conservation will start in 2008, followed by a one year Masters in conservation treatment. From 2009 a Master of Heritage academic program will continue with basic and Master studies on the principle 3 + 2. The practical implementation of studies will be done in cooperation with the newly founded CIC, and all programs starting with 2009 have a regional character when it comes to students. I.18. Integrative system of conservation and methodology of preventive conservation The design, organization and application of the integrative concept use a methodology of preventive conservation in practice. The integrative concept should be based on the organization of a broad, interdisciplinary, multidisciplinary and unique system of conservation in Serbia and the region. In this unique system of protection all categories of cultural goods are included in their natural surroundings and mutually connected, including: architectural and monument heritage, archaeological sites, museum objects, archive and library material, film, audiovisual and digital material, and intangible heritage. The unique system of protection also includes all activities regarding the conservation of heritage: education, scientific research, preventive conservation, conservation treatments, documentation, presentation, and marketing. I.19. Analysis of the state of mosaics in the region of South East Europe The authors of the project are young experts Maja Frankovi} from OPZ Diana and Branislava Lazarevi}, the conservationist. It is planned to develop it as a regional project which will cover areas with mosaics in South East Europe. Methodology of designing the analysis of the state of mosaic within this project has largely relied on cooperation with individuals from institution, on direct or indirect research of available documentation and different information, and research in institutions and archaeological sites. Three types of questionnaires were used for colleagues from the region: for mosaics in situ, mosaics in museums and for conservation of mosaics. After several months of research the need for changing the way of managing sites was evident, also that the number of specialists for conservation of mosaics is insufficient in most countries, that there is a need for professional training and contemporary methods of conservation,

149

DIANA #13

REGIONALNA SARADNJA
I.19. Analiza stanja mozaika u regionu jugoisto~ne Evrope Autori projekta su mladi stru~njaci Maja Frankovi} iz OPZ Dijana i Branislava Lazarevi}, konzervator. Planirano je da se tokom 2009. on razvije kao regionalni projekat koji }e pokriti podru~ja s mozaicima u jugoisto~noj Evropi. Metodologija razrade analize stanja mozaika u okviru ovog projekta velikim se delom oslanjala na saradnju s pojedincima u institucijama, na posredno ili neposredno istra`ivanje dostupne dokumentacije i razli~itih informacija, istra`ivanja u institucijama i na arheolo{kim lokalitetima. Kori{}ene su tri vrste upitnika za kolege iz regiona: za mozike in situ, mozaike u muzejima i za konzervaciju mozaika. Posle nekoliko meseci istra`ivanja pokazalo se da postoji potreba za promenom na~ina rukovo|enja i upravljanja lokalitetima, da je broj specijalista za konzervaciju mozaika u ve}ini zemalja regiona nedovoljan, da postoji potreba za profesionalnom obukom i savremenim konzervatorskim metodama, za obukom tehni~ara koji bi se prvenstveno bavili odr`avanjem mozaika na arheolo{kom lokalitetu, za boljom stru~nom saradnjom i slobodnom razmenom informacija u okviru pojedinih zemalja, kao i u regionu, a i potreba da se javnosti skrene pa`nja na kulturni zna~aj ove oblasti i va`nost njenog o~uvanja. II. BORBA PROTIV ILEGALNE TRGOVINE ICOM-SEE je pokrenuo definisanje regionalnog projekta za borbu protiv ilegalne trgovine i drugih nelegalnih radnji na ba{tini u na{em regionu. Nosilac projekta je ICOM Slovenije, a koordinator dr Dragan Mati} iz Inspektorata Ministarstva kulture Slovenije, stru~njak koji poseduje veliko iskustvo u ovoj oblasti i koji je ostvario zna~ajne rezultate. U toku je prou~avanje zakonodavstva u regionu u vezi sa ilegalnom trgovinom, pripremaju se elementi za predloge zakona o zabrani ilegalne trgovine kulturnim dobrima. Zapo~elo se i s prikupljanjem odgovaraju}ih podataka, kako bi se na osnovu njihovog razmatranja postavio dalji razvoj projekta. D. Mati} je u tu svrhu posebno pripremio anketu upitnik,

Pripremaju se osnovne i master studije na principu 3 + 2, koje obuhvataju programe preventivne za{tite i konzervatorskog tretmana. S prvom fazom otpo~elo se u novembru 2008. godine to je jednogodi{nji akademski master program iz preventivne konzervacije; u njegovu realizaciju uklju~eni su eksperti iz Evrope i regiona jugoisto~ne Evrope. Planirano je da se u drugoj fazi, tokom 2009, akademski programi obrazovanja nastave i pro{ire jednogodi{njim masterom iz konzervatorskog tretmana. Trebalo bi da tre}a faza zapo~ne 2010/2011. godine sa akademskim programom za{tite ba{tine osnovnim i master studijama na principu 3 + 2. U prvoj fazi studije }e se odnositi na konzervaciju arheolo{kih lokaliteta i muzejskih predmeta. Planirano je da se 2008. zapo~ne s jednogodi{njim programom postdiplomskih studija iz preventivne konzervacije, a potom i s jednogodi{njim postdiplomskim studijama iz konzervatorskog tretmana. Od 2009. akademski programi za{tite ba{tine nastavi}e se sa osnovnim i master studijama i na principu 3 + 2. Prakti~na realizacija studija obavlja}e se u saradnji s novoosnovanim CIK-om, a svi programi }e od 2009, kada je re~ o studentima, dobiti izrazito regionalni karakter. I.18. Integrativni sistem za{tite i metodologija preventivne za{tite definisanje, organizacija i primena integrativnog koncepta koji koristi metodologiju preventivne konzervacije za svoju primenu u praksi. Integrativni koncept treba da po~iva na organizovanju sveobuhvatnog, interdisciplinarnog, multidisciplinarnog i jedinstvenog sistema za{tite u Srbiji i regionu. U jedinstven sistem za{tite uklju~uju se sve kategorije kulturnih dobara u prirodnom okru`enju i me|usobno se povezuju: arhitektonsko i spomeni~ko nasle|e, arheolo{ki lokaliteti, muzejska gra|a, arhivski i bibliote~ki materijal, kinote~ki, filmski, audio-vizuelni i digitalni materijal, nematerijalna ba{tina. Jedinstven sistem za{tite tako|e uklju~uje i sve aktivnosti na za{titi ba{tine: edukaciju, nau~noistra`iva~ki multidisciplinarni rad, preventivnu za{titu, konzervatorski tretman, dokumentaciju, prezentaciju i marketing.

Master iz preventivne konzervacije, predavanje Gaela de Giana Master studies in preventive conservation, a lecture held by Gal de Guichen

Master iz preventivne konzervacije, ve`ba s Denijem Gimarom Master studies in preventive conservation, exercise with Denis Guillemard

150

REGIONAL COOPERATION
for the training of technicians who would primarily work on maintaining mosaics on archaeological sites, the need for better expert cooperation and free exchange of information within certain countries, as well as in region, but also the need to focus the attention of public on the cultural importance of this domain and the importance of its preservation. II. COMBATING ILLEGAL TRADE ICOM-SEE has initiated a regional project to fight illegal trade and other criminal activities related to heritage in our region. The bearer of the project is ICOM Slovenia, and coordinator is Dr Dragan Mati} from the Inspectorate of Ministry of Culture of Slovenia was appointed project coordinator; he has significant experience and has accomplished notable results in this field. Research into laws in the region relating to illegal trade is in process, forming elements for draft legislation: The Law on the Prohibition of the Illegal Trade of Cultural Goods. The phase of gathering suitable data has also begun, so that the further development of this project can be planned. Dragan Mati} has prepared a special survey-questionnaire for this purpose, which should provide data on the people responsible for problems of illegal trade in the countries of the region, then on kinds and categories of legal acts and international treaties which are accepted on national level. This survey is a part of preparation for the conference on illegal trade in Europe which is planned in 2010. Since there is evident need for harmonization of laws in the region of South East Europe, due to this, the legal situation from the domain of illegal trade in the region should be presented on this conference. The aim of the project is to make the legislation of countries in the region more accessible to the public. The idea is to gather together all laws on cultural property in one place, so that illegal activities can be reacted to more quickly and simply, to protect cultural heritage. One of the goals of the project should be to update data on stolen goods and illegal trade, to process and publish them within the well-known ICOMs editions dedicated to

DIANA #13

illegal trade and stolen cultural goods. That is why we expect ICOM from Paris to become directly involved in the project. The portal EU customs control for cultural heritage will be used for this purpose. III. MATRA The MATRA Project has been implemented with the help of the Museum Association in The Netherlands, with ICOM SEE as coordinator. The program is directed towards social transformation in countries that are candidates for EU membership and it offers assistance in all areas of social life, including culture. It has already been implemented in museum programs in Hungary, Czech Republic, Slovenia, Russia, Ukraine and Poland. Last year preparations began in Croatia. The program is very practical and can easily be adapted to countries in which it is applied. In some areas of the region three-year projects have taken place, relating to museums capacity to develop management and marketing. At a meeting in Amsterdam in 2007, it was agreed that implementation of the new MATRA regional program should continue in the region of South East Europe. As Slovenia completed the program several years ago, and Croatia began preparations for the new MATRA program in 2006, it has been decided that Croatia should organize this phase, Slovenia will be a consultant, and Bosnia and Herzegovina and Serbia co organizers. According to the data of the Museum Association of Netherlands, the bearer of the project, the implementation of MATRA project in our region should start during 2009. It is planned for project MATRA to be developed and implemented in other parts of the region of South East Europe. IV. CULTURAL TOURISM The Program of the project of cultural tourism is very important for the whole region of South East Europe. Its basic goal is accurate definition of the role of cultural tourism, because of the evident fact that presentation of heritage is increasingly abused, thus jeopardizing security, stability and protection of heritage. Inadequate managing of cultural tourism increasingly destroys its very resources and inadequate inclusion of heritage in contemporary life jeopardizes the needs of future generations and it is not within the context of sustainable development. The project should have an educational character and it will include professionals from the domain of heritage protection, tourismologists, urbanists, scientists, different institutions and organisations from local communities etc. The first phase of the project should begin with the regional conference in Croatia when general attitudes will be defined. It is planned to organise workshops in December 2010 with the name The Role of Museums in Sustainable Development of Cultural Tourism. The main goal of the workshops will be analysis of cultural tourism in the region, and it will use a methodology of different forms of discussions and case studies. Its activities will include the representatives from the whole region of South East Europe. The bearer of the project is NC ICOM Slovenia and NC ICOM Austria. Coordinator of the project is Gorjanka Horjan, the director of the Museum of Croatian Zagorje.

Master iz preventivne konzervacije, predavanje @an-@aka Ezratija Master studies in preventive conservation, a lecture held by Jean-Jacques Ezrati

151

DIANA #13

REGIONALNA SARADNJA
pro{la kompletan program pre nekoliko godina, a Hrvatska je u toku 2006. ve} zapo~ela s pripremama za novi program MATRA, odre|eno je da Hrvatska u ovoj fazi bude organizator, Slovenija konsultant, a Bosna i Hercegovina i Srbija koorganizatori. Prema podacima Muzejske asocijacije Holan-

koja treba da pru`i podatke o licima odgovornim za probleme ilegalne trgovine u zemljama regiona, zatim o vrstama i kategorijama nacionalnih pravnih akata i me|unarodnih sporazuma koji su prihva}eni na nacionalnom nivou. Ova anketa upitnik deo je priprema za konferenciju o ilegalnoj

Studenti mastera ispred Prirodnja~kog muzeja u Beogradu Students of Master studies in front of a Museum of Natural History

Grupa studenata mastera na pauzi Students of Master studies taking a break

trgovini u Evropi koja se planira za 2010. Kako postoji realna potreba za uskla|ivanjem zakona u regionu jugoisto~ne Evrope, na toj konferenciji zbog toga bi trebalo predstaviti pravnu situaciju iz domena ilegalne trgovine u regionu. Cilj projekta jeste i da se zakonodavstvo zemalja regiona u~ini dostupnim javnosti. Zami{ljeno je da se na jednom mestu okupe svi zakoni o kulturnim dobrima kako bi se moglo br`e i jednostavnije reagovati na krivi~ne prestupe kada je re~ o za{titi kulturnog nasle|a. Jedan od ciljeva projekta treba da bude i kompletiranje podataka o ukradenim dobrima i ilegalnoj trgovini njihova obrada i objavljivanje u okviru poznatih ICOM-ovih edicija posve}enih ilegalnoj trgovini i ukradenim kulturnim dobrima. Zbog toga o~ekujemo i da se ICOM iz Pariza neposredno uklju~i u projekat. Za potrebe projekta koristi}e se i portal EU Customs Control for Cultural Heritage. III. MATRA Projekat MATRA sprovodi se pod pokroviteljstvom Muzejske asocijacije Holandije, sa ICOM-SEE-jem kao koordinatorom. Program je usmeren na dru{tvenu transformaciju u zemljama kandidatima za prijem u EU i pru`a pomo} u svim oblastima dru{tvenog `ivota, pa i u kulturi. Kada je re~ o muzejskim programima, on je ve} sproveden u Ma|arskoj, ^e{koj, Sloveniji, Rusiji, Ukrajini i Poljskoj. Pro{le godine otpo~elo se i s pripremama u Hrvatskoj. Program je veoma prakti~an i lako se prilago|ava zemlji u kojoj se odvija. U jednoj oblasti regiona projekti se odvijaju tokom tri godine i odnose se na muzejske kapacitete za razvoj menad`menta i marketinga. Na sastanku u Amsterdamu u maju 2007. dogovoreno je da se u regionu jugoisto~ne Evrope nastavi s realizacijom novog regionalnog programa MATRA. Kako je Slovenija

dije, nosioca projekta, realizacija projekta MATRA u na{em regionu trebalo bi da zapo~ne tokom 2009. Predvi|eno je da se projekat MATRA razvija i sprovede i u drugim delovima regiona jugoisto~ne Evrope. IV. KULTURNI TURIZAM Program projekta kulturnog turizma izuzetno je va`an za ceo region jugoisto~ne Evrope. Njegov osnovni cilj jeste pravilno definisanje uloge kulturnog turizma, zbog o~igledne ~injenice da se prezentacija ba{tine sve vi{e zloupotrebljava na ra~un sigurnosti, stabilnosti i za{tite ba{tine. Neprimerenim sprovo|enjem kulturnog turizma sve se vi{e ru{e i uni{tavaju upravo resursi za kulturni turizam, a neodgovaraju}e uklju~ivanje ba{tine u savremeni `ivot ugro`ava potrebe budu}ih generacija i izvan je konteksta odr`ivog razvoja. Projekat treba da ima edukativan karakter i uklju~iva}e profesionalce iz oblasti za{tite ba{tine, turizmologe, urbaniste, prirodnjake, razne institucije i organizacije iz lokalnih zajednica itd. Trebalo bi da prva faza projekta otpo~ne s regionalnom konferencijom u Hrvatskoj, a tada }e biti odre|eni op{ti stavovi. Planira se da se u decembru 2010. godine odr`e radionice pod nazivom Uloga muzeja u odr`ivom razvoju kulturnog turizma. Osnovni cilj radionica bi}e analiza kulturnog turizma u regionu, a one }e koristiti metodologiju razli~itih oblika diskusija i studija slu~aja. U svoje aktivnosti uklju~iva}e predstavnike iz celog regiona jugoisto~ne Evrope. Nosilac projekta je NC ICOM Hrvatske, a u njegovo sprovo|enje uklju~i}e se jo{ i Komitet za regionalne muzeje ICOM-a, NC ICOM Slovenije i NC ICOM Austrije. Koordinator projekta je Goranka Horjan, direktor Muzeja Hrvatskog Zagorja.

152