VJEČNE VODE

VJEČNE VODE: ŽIVOT & LJEPOTA

Hrvatski udio u europskoj baštini

ETERNAL WATERS: LIFE & BEAUTY

The Croatian Contribution to the European Heritage

VJEČNE VODE: ŽIVOT & LJEPOTA

Hrvatski udio u europskoj baštini

ETERNAL WATERS: LIFE & BEAUTY

The Croatian Contribution to the European Heritage

izdavač / publisher:
Hrvatski restauratorski zavod
za idavača / for the publisher:

Tajana Pleše
urednici / editors:
Tajana Pleše, Neven Budak, Maja Kocijan
Joško Belamarić, Nevena Tudor Perković, Davor Trupković
prijevod / transation:
Barbara Smith Demo, Boutique Lingua
lektura / proofreading:
Barbara Smith Demo, Rosanda Tometić

dizajn / design:
Ljubo Gamulin

tisak / printed by:
Novi Val

tekstovi / texts
Ivan Alduk (IA), Jacqueline Balen (JB), Joško Belamarić (JoB), Tamara Bjažić Klarin (TBK), Višnja Bralić (VB), Neven Budak (NB), Sanja Cvetnić (SC),

Vlatko Čakširan (VČ), Željka Čorak (ŽČ), Igor Čulig (IČ), Dragan Damjanović (DD), Zoraida Demori Staničić (ZDS), Ivan Dorotić (ID),
Matija Dronjić (MD), Velid Đekić (VĐ), Martina Ivanuš (MI), Ivana Janković (IJ), Zlatko Karač (ZK), Silva Kalčić (SK), Maja Kocijan (MK),
Darko Komšo (DK), Leonida Kovač (LK), Irena Krušić Tomaić (IKT), Zvonko Maković (ZM), Vesna Meštrić (VM), Sunčica Mustač (SM),

Hrvoje Potrebica (HP), Karin Šerman (KŠ), Nikolina Uroda (NU), Barbara Vujanović (BV), Alen Žunić (AŽ)

fotografije / photos
Zoran Alajbeg, Ivan Alduk, Živko Bačić, Robert Barilla, Ante Bionda, Vedran Božičević, Joco Čermak, Mladen Čulić, Tošo Dabac, Dušan Đorđević,
Jovica Drobnjak, Tomislav Dubravec, Damir Fabijanić, Ljubo Gamulin, Nenad Gattin, Boris Kačan, Miroslav Kiš, Alfio Klarić, Jovan Kliska, Ivan Kosić,
Renzo Kosinožić, Nina Koydl, Boris Magaš, Miro Martinić, Ante Milošević, Ivo Pervan, Matija Pospihalj, Aitor Ruiz-Redondo, Petra Slobodnjak,

Andrej Švoger, Goran Tomljenović, Igor Tomljenović, Natalija Vasić, Pavuša Vežić, Sana Vitas, Goran Vranić

Arheološki muzej Istre / Archaeological Museum of Istria, Arhiv Tošo Dabac / The Tošo Dabac Archive, Arhiva Vjenceslava Richtera / The Vjenceslav Richter Archive,
Bosnić+Dorotić, Cropix, Digitalni tisak, Etnografski muzej / Etnographic Museum, Filmerija | Rijeka 2020 – Europska prijestolnica kulture / Rijeka 2020 – European

Capital of Culture, Hrvatski državni arhiv / Croatian State Archives, Hrvatski muzej naivne umjetnosti /The Croatian Museum of NaÏve Art,
Hrvatski restauratorski zavod / Croatian Conservation Institute, Institut za povijest umjetnosti / Institute of Art History, Istarska županija / Istra County,
LADO Ansambl hrvatskih narodnih plesova i pjesama Hrvatske / LADO Natonal Folk Dance Ensemble of Croatia, Moderna galerija / National Museum of Modern Art,
Muzej Dvor Trakošćan / Castle Trakošćan Museum, Muzej grada Siska / Sisak City Museum, Muzej suvremene umjetnosti / Museum of Contemporary Art,

Atelijer Meštrović (Muzeji Ivana Meštrovića) / Meštrović Atelier (The Museums of Ivan Meštrović), NP Brijuni / Brijuni National Park,
NP Mljet / Mljet National Park, Romulić & Stojčić, Zagrebačka nadbiskupija / Zagreb Archdiocese

VJEČNE VODE: ŽIVOT & LJEPOTA

Hrvatski udio u europskoj baštini

ETERNAL WATERS: LIFE & BEAUTY

The Croatian Contribution to the European Heritage

HRVATSKI RESTAURATORSKI ZAVOD
Zagreb, 2020.



Knjiga kojom predstavljamo hrvatsku baštinu The book presenting Croatian heritage was developed
nastala je iz potrebe stvaranja svojevrsnog imagi- out of the need to create a kind of imagery that would
narija kojim bi se kroz vrijeme dao prikaz kulturne give a review of cultural heritage in all its fullness, diver-
baštine u svojoj njezinoj punini, raznolikosti i jedin- sity and uniqueness. It is not a complete, scientifically
stvenosti.  Ona nije cjelovita, znanstveno obrađe- processed and completed image that summarizes the
na i dovršena slika koja sažima cjelinu i povezuje entire heritage and connects each individual part. The
svaki dio. Namjera je bila istaknuti glavne teme i intention was to emphasize the main topics, to high-
dosege hrvatske prirodne i kulturne, materijalne light the highest achievements of Croatia’s natural and
i nematerijalne baštine. Sagledavajući tu baštinu cultural, tangible and intangible heritage. By seeing it in
na jednom mjestu, pratimo njezine specifičnosti u one place, we can follow its uniqueness in the national
nacionalnom kontekstu, no jednako tako slijedimo context, as well as its traces and links to the universal
tragove i poveznice s univerzalnim i europskim and European historical heritage.
povijesnim naslijeđem. I would like to thank all those who have contributed
Zahvaljujem svima koji su svojim profesional- to this project through their professional work and
nim radom i znanjem pridonijeli nastanku ovoga knowledge, in the year when Croatia presides over the
projekta, u godini u kojoj Hrvatska predsjeda Council of the European Union in order to confirm
Vijećem Europske unije, s ciljem da potvrdi the importance of joint cooperation and the Europe-
važnost zajedničke suradnje i europskog kulturnog an cultural identity, and, in particular, the initiators
identiteta; posebno Hrvatskom restauratorskom of the project, Croatian Conservation Institute and
zavodu i ravnateljici dr. sc. Tajani Pleše, inicijato- director Tajana Pleše, along with the members of
rima projekta te članicama i članovima uredništva.  editorial staff.

ministrica kulture Minister of culture
dr. sc. Nina Obuljen Koržinek Nina Obuljen Koržinek

5

UVODNA RIJEČ
INTRODUCTION

Vode su preduvjet života i odraz svijeta. Njihove Waters are a prerequisite for life and a reflection of the
su obale ljudima omogućile egzistenciju, a world. Its varied shores have enabled the human exist-
riječni tokovi i morski putovi bili su mjesta ence, and rivers and sea routes functioned as meeting
susreta onih koji su putovali u potrazi za uspje- places for those travelling in search of success or salva-
hom ili spasom. Uz rijeke, jezera i mora čovjek tion. Along rivers, lakes, and seas, humans left traces
je ostavljao biljege svojega postojanja, svoje of their existence, their skills, and their art. The union
vještine i svoje umjetnosti. Spoj onoga što je of what nature created and what countless generations
stvorila priroda i onoga što su ostavile nebrojene left behind while striving for a better and safer life
generacije u težnji za boljim i sigurnijim životom makes up our heritage. We have a duty to look after
tvori našu baštinu. Baštinu o kojoj smo se dužni this heritage, so that we can pass it on to those who
brinuti, kako bismo je predali onima koji dolaze follow us: unspoiled nature, preserved monuments, a
poslije nas: zaštićenu prirodu, očuvane spome- living tradition.
nike, živu tradiciju. Croatia, after Iceland and Norway, is the richest Europe-
Hrvatska je, nakon Islanda i Norveške, vodom an country in terms of water. Additionally, one third of its
najbogatija europska država. Osim toga, trećina surface area is the sea. Croatia is essentially defined by
njezine površine je more. Hrvatska je bitno odre- its water courses and bodies of water. Hence, Croatian
đena svojim vodotokovima i vodenim površina- regions bounded by the rivers and the sea guided this
ma. Stoga su hrvatske regije omeđene rijekama i overview of our heritage. Our eternal waters have seen
morem misao vodilja ovoga prikaza baštine. Na countless changes of cultures and civilisations that left
tim vječitim vodama smjenjivale su se kulture i behind traces of tangible and intangible heritage, recog-
civilizacije koje su ostavile tragove materijalne i nised as an important segment of European heritage in
nematerijalne baštine, prepoznate i kao važan its entirety.
udio u ukupnom europskom naslijeđu. This is the result of millennia of intermingling influences
Sve to rezultat je tisućljetnog prepletanja utjecajâ coming from both nearby and remote parts of Europe,
koji su dolazili iz bližih ili daljih krajeva Europe, whether as a part of the traditions of new settlers or
bilo kao dio tradicije novih doseljenika, bilo through models brought by missionaries, traders, artists,
putem predložaka koje su donosili misionari, or invaders. Additional value to the cultural heritage is

6 VJEČNE VODE: ŽIVOT & LJEPOTA / ETERNAL WATERS: LIFE & BEAUT Y

trgovci, umjetnici ili osvajači. Vrijednosti kulturne added through the preserved environment, as reflected
baštine pridonosi i očuvani okoliš o kojem govori in the fact that one tenth of the total Croatian land area
podatak da je jedna desetina hrvatskoga prosto- consists of protected national parks and nature parks,
ra zaštićena nacionalnim parkovima i parkovima and Croatia is also distinguished by its great biodiversity
prirode, a Hrvatska se ističe i velikom bioraznoli- and numerous endemic species of flora and fauna.
košću i brojem endemskih vrsta flore i faune. More than twenty Croatian urban, monumental, and
Više od dvadeset hrvatskih urbanih, spomeničkih landscape entities, as well as various phenomena
i krajobraznih cjelina, kao i fenomena nemateri- of the intangible heritage, have been added on the
jalne baštine upisano je na UNESCO-ove liste. UNESCO lists. Other than these, hundreds of no less
Osim njih postoje i stotine ne manje vrijednih valuable monumental complexes and entities exist,
spomeničkih sklopova i cjelina, običaja autentič- along with customs of authentic cultural and historical
ne kulturno-povijesne vrijednosti koji svi zajedno value, together making up a framework for a specific
sastavljaju sugestivan okvir specifičnom načinu manner of everyday life, fascinating even to those just
svakodnevnog života koji očarava namjernika. passing by.
Od ravničarskih krajeva uz Dunav, Savu i Dravu, From the lowland basins along the Danube, Sava, and
preko šuma i pašnjaka planinske Hrvatske i krša Drava Rivers, through forests and meadows of moun-
Dalmacije, do crvene istarske zemlje, plodnih tainous Croatia and rocky karst region of Dalmatia, to
priobalnih polja i tisuće otoka uronjenih u plavo the red soil of Istria, fertile coastal plains, and a thousand
more, razni su se utjecali miješali da bi stvorili islands across the blue sea, all of these influences have
nove, izvorne vrijednosti. One će biti utkane u blended to create new, original values. These values will
hrvatski identitet, istovremeno ga povezujući s remain intertwined with the Croatian identity, connecting
ostalim europskim identitetima. it with other European identities.

UVODNA RIJEČ / INTRODUCTION 7



SAVA – MURA – DRAVA – DUNAV
SAVA – MURA – DRAVA – DUNAV

ILOK – DVORAC, GRAD, UTVRDA
ILOK – PALACE, TOWN, FORTRESS

Na jedinstvenom položaju iznad Dunava podi- Ilok was built in a unique position above the Danube © Romulić & Stojčić
gnut je Ilok, dvorac, grad i utvrda moćnih velika- River, consisting of a palace, town, and fortress of the
ša Iločkih, ugarskih magnata, od kojih je jedan lords of Ilok, Hungarian magnates, one of whom was the
bio i naslovni kralj Bosne. Ilok je isprva utvrda titular King of Bosnia. Ilok was originally a fortress with
uz koju se razvilo podgrađe, a svoje zlatno doba a settlement that developed next to it, and its golden age
doseže u 15. i početkom 16. stoljeća. Nikola i was the 15th and beginning of the 16th century. Around
Lovro Iločki podigli su oko grada, u kojem je bilo the town, that had five churches and two monasteries,
pet crkava i dva samostana, i danas sačuvane Nicholas and Lawrence of Ilok built imposing ramparts
impozantne bedeme. Sagradili su i dvokatni that are still present today. They also built a two-story
palas koji se mogao mjeriti samo s kraljevskim palace that could only be compared to royal palaces. The
palačama. Franjevački samostan, u kojem je uz Franciscan monastery, where the famous preacher Saint
Iločke pokopan znameniti propovjednik Ivan John of Capistrano was buried along with members of
Kapistran, postao je važno mjesto hodočašća. the Ilok family, became an important pilgrimage site.
Ubrzo nakon izumrća Iločkih, grad se 1526. Shortly after the Ilok family died out, the city surrendered
predao Osmanlijama, u čijoj je vlasti ostao to the Ottomans in 1526, and it remained under their rule
do kraja 17. stoljeća, kad ga je kralj poklonio until the end of the 17th century, when the king gifted it to
rimskim knezovima Odescalchima. Iskoristiv- the Roman Princes Odescalchi. Utilizing the ruins of the
ši ruševni palas, oni su podigli barokni dvorac palace, they built a Baroque palace that is now the town
u kojem je danas muzej. Grad je unutar zidina museum. The town within the walls no longer exists,
nestao, osim franjevačke crkve, obnovljene except for the Franciscan church, renovated in the 19th
u 19. stoljeća, i osmanlijskog hamama. Stari century, and the Ottoman hammam (steam baths). The
iločki podrumi čuvaju izvrsna vina, po kojima je ancient Ilok wine cellars hold excellent wines, for which
poznat najistočniji dio Hrvatske. (NB) this easternmost part of Croatia is very well known. (NB)

10 VJEČNE VODE: ŽIVOT & LJEPOTA / ETERNAL WATERS: LIFE & BEAUT Y

SAVA – MURA – DRAVA – DUNAV / SAVA – MURA – DRAVA – DUNAV 11

MAESTRALNA JEDNOSTAVNOST Tošo Dabac, Vojin Bakić, rad na skulpturi Bika / Vojin Bakić working on the Bull sculpture, 1956. | Tošo Dabac © Arhiv Tošo Dabac (Muzej suvremene umjetnosti) / The Tošo Dabac Archive (Museum of Contemporary Art)
MASTERFUL SIMPLICITY

Vojin Bakić (1915. - 1992.) jedan je od najvećih Vojin Bakić (1915 – 1992) was one of the greatest Croa-
hrvatskih kipara prošloga stoljeća. Profesori na tian sculptors of the last century. His professors at the
Akademiji likovnih umjetnosti u Zagrebu bili Academy of Fine Arts in Zagreb were Ivan Meštrović
su mu Ivan Meštrović i Frano Kršinić, a upravo and Frano Kršinić, and the important school of Croa-
s Bakićem na maestralan način završava važna tian sculpture that had been articulated by his two
linija hrvatske skulpture koju su artikulirala professors ended in a masterful manner with Bakić.
dvojica njegovih profesora. S Bakićem se od From the middle of the century, a new language of
sredine stoljeća prihvaća nov plastički jezik koji plasticity was introduced with Bakić that respected the
poštuje formu, ali je oslobađa figurativnosti i form but liberated figuralism and abstraction, incorpo-
apstrakcijom se uključuje u visoki modernizam. rating itself into high modernism. He was the foremost
Bio je najistaknutiji autor na području memori- author in the field of memorial sculpture. A new under-
jalne skulpture, a upravo će se na takvom primje- standing of the language of sculpture was inaugurated
ru (Prijedlog za spomenik Marxu i Engelsu, 1953.) through one such example (The Proposal for a Monu-
i polemikama koje je on izazvao inaugurirati ment to Marx and Engels, 1953), and the controversies
novo razumijevanje kiparskoga jezika. Serijom that it caused. With a series of monuments (Monument
spomenika (Spomenik strijeljanima, Spomenik to the Executed, Monument to the Victory of the Revolu-
pobjedi revolucije naroda Slavonije, Spomen-park tion of the People of Slavonia, the Dotrščina Memorial
Dotrščina) promijenio je smjer u tome kiparskom Park), he changed the parameters in this sculptural
žanru. Njegove apstraktne skulpture izvedene u genre. His abstract sculptures made of marble and
mramoru i nehrđajućem čeliku visok su standard stainless steel represent a high standard of post-war
poslijeratne europske umjetnosti. (ZM) European art. (ZM)

12 VJEČNE VODE: ŽIVOT & LJEPOTA / ETERNAL WATERS: LIFE & BEAUT Y

SAVA – MURA – DRAVA – DUNAV / SAVA – MURA – DRAVA – DUNAV 13

GODIŠNJI PROLJETNI OPHODI KRALJICA
SPRING PROCESSIONS OF QUEENS

Kraljice ili ljelje iz slavonskoga sela Gorjani The Queens or ljelje from the Slavonian village of Gorjani Petra Slobodnjak © LADO Ansambl narodnih plesova i pjesama Hrvatske / LADO Natonal Folk Dance Ensemble of Croatia
(UNESCO-ov Reprezentativni popis nema- (UNESCO Representative List of the Intangible Cultur-
terijalne kulturne baštine čovječanstva) su al Heritage of Humanity) are a group of young women
djevojke koje obilaze selo na blagdan Duhova i who go through their village in a procession on Whitsun-
izvode niz specifičnih obrednih radnji. Skupina day and perform a series of specific rituals. The group
se sastoji od desetak djevojaka koje su kraljevi, consists of about ten young women who represent
odnosno nose muške šešire ukrašene cvije- kings, wearing men’s hats decorated with flowers and
ćem te su opremljene sabljama, i upola manje equipped with sabres, and five queens, with garlands
kraljica, čija oglavlja podsjećaju na oglavlja reminiscent of bridal headdresses. They visit village
mladenki. Pohode seoska dvorišta i pjevaju courtyards and sing to family members (mostly to
članovima obitelji (najčešće neudanim djevoj- unmarried girls and boys, but also to young brides),
kama i neoženjenim mladićima, ali i mladim after which kings perform a specific dance with sabres,
nevjestama), nakon čega kraljevi izvode speci- while queens comment on their dance in their song.
fičan ples sa sabljama, dok ga kraljice komenti- In the end, the household members join the dance,
raju pjesmom. Naposljetku se plesu priključuju followed by food and drinks offered to the girls.
ukućani, a slijedi čašćenje djevojaka hranom i Although the origin and meaning of this ritual have
pićem. Iako su podrijetlo i značenje toga običaja not yet been sufficiently determined, the community
i dalje nedovoljno utvrđeni, zajednica ga smatra considers it an important symbol of their local iden-
važnim simbolom lokalnog identiteta i sva se tity and every member takes part in preparing of the
uključuje u pripremu ophoda. (MD) procession. (MD)

14 VJEČNE VODE: ŽIVOT & LJEPOTA / ETERNAL WATERS: LIFE & BEAUT Y

SAVA – MURA – DRAVA – DUNAV / SAVA – MURA – DRAVA – DUNAV 15

VARAŽDIN – BAROKNI GRAD
VARAŽDIN – BAROQUE TOWN

Varaždinska utvrda bila je u 12. stoljeću sjedište In the 12th century, the Varaždin fortress was the seat © Andrej Švoger
župana, sa zadaćom obrane zapadne granice of the župan (prefect), which had the task of defending
kraljevstva. S vremenom je podignuta velika the western frontier of the kingdom. Over time, a large
četverokutna kula s koje se, uz ostalo, nadzi- square tower was erected supervising, among other
rala cesta koja je od Zagreba vodila do luke na things, the road leading from Zagreb to the port on the
Dravi. Grofovi Celjski, knezovi Svetog Rimskog Drava River. The Counts of Celje, princes of the Holy
Carstva, u 14. i 15. stoljeću proširili su utvrdu Roman Empire, expanded the fortress in the 14th and
gotičkim dogradnjama, a opasnost od Osman- 15th centuries with Gothic additions, while the danger
lija navela je baruna Ivana Ungnada da sredi- from the Ottomans led Baron Ivan Ungnad to build
nom 16. stoljeća podigne bedeme s okruglim walls with circular towers, add an earthen rampart,
kulama, doda zemljane bastione i iskopa jarak and dig a moat in mid-16th century. The granary and
s vodom. Unutar utvrde nalazili su se žitnica i armoury of the Headquarters of Varaždin part of the
arsenal Varaždinskoga generalata, zapovjednog Military Frontier, were inside the fortress. Towards the
mjesta dijela Vojne krajine. Potkraj istoga stolje- end of the same century, the fortress became the prop-
ća utvrda je postala vlasništvo grofova Erdödyja erty of Counts Erdödy, who partially renovated it in the
koji su je djelomično barokizirali i pretvorili u Baroque style and converted it into a luxurious residen-
reprezentativni stambeni objekt. I sam grad tial building. The town experienced its greatest advance
doživio je najveći uspon u doba baroka, kad je during the Baroque period, when it was the capital of
jedno vrijeme bio glavni grad Hrvatske. Nakon Croatia for a short time. In 1925, after the owners sold
što su vlasnici prodali utvrdu gradu Varaždinu, the castle to the city of Varaždin, it became the munici-
u njoj je 1925. osnovan gradski muzej s bogatim pal museum with a rich collection of material related to
fundusom građanske kulture. (NB) the life of the city. (NB)

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SAVA – MURA – DRAVA – DUNAV / SAVA – MURA – DRAVA – DUNAV 17

HLEBINSKA ŠKOLA
THE HLEBINE SCHOOL OF NAÏVE ART

Hlebinska slikarska škola naziv je za djelatnost The activity of a group of painters without formal Ivan Generalić, Jelen u šumi / Deer in the Woods, 1956. | Goran Vranić © Hrvatski muzej naivne umjetnosti / The Croatian Museum of NaÏve Art
skupine slikara bez formalnog obrazovanja koju education, initiated by Krsto Hegedušić in 1929 as
je 1929. u sklopu Udruženja umjetnika Zemlja part of the Association of Artists Zemlja (1929 – 1935)
(1929. - 1935.) pokrenuo Krsto Hegedušić. is called The Hlebine School of Naïve Art. He invited
Pozvao je seljake Ivana Generalića i Franju Mraza Ivan Generalić and Franjo Mraz, locals from Hlebine,
iz Hlebina, kojima se priključio Mirko Virius iz Mirko Virius from nearby Đelekovec, and gave them
obližnjega Đelekovca, te im dao osnovne poduke basic instructions on painting. He advised them not
u slikanju. Savjetovao im je da ne oponašaju to imitate works of art but to paint spontaneously
umjetnost, nego da rade spontano i prikazuju and to portray the world around them. He intro-
svijet oko sebe. Uveo ih je u tehniku slikanja duced them to the oil-on-glass technique, which was
uljem na staklu, što je u Podravini bilo rašire- widespread in the local folk culture in the Podravina
no u pučkoj kulturi. S vremenom su se ti slikari region (Drava River basin). Over time, these painters
profilirali u prepoznatljive umjetničke ličnosti. evolved into recognizable artistic personalities. Such
Takva se umjetnička djelatnost širila u njihovu artistic activity spread in their area after World War II,
kraju nakon Drugoga svjetskog rata, a budući and since it was accepted by a larger group of locals,
da ju je prihvatila veća skupina seljaka, stekla je it became known as a separate school of painting.
i naziv slikarske škole. Iako su slikali motive iz Although they painted motifs from their immedi-
neposredne okoline, postupno su unijeli u svoj ate surroundings, they gradually introduced imagi-
slikarski svijet elemente iz mašte. Osobito se nary elements into their artistic world. The activity
afirmirala djelatnost Hlebinske slikarske škole of the Hlebine School was particularly affirmed in
šezdesetih i sedamdesetih godina 20. stoljeća, the 1960s and 1970s, when other painters became
kad su se uključili i drugi slikari (Ivan Večenaj, involved (Ivan Večenaj, Ivan Lacković Croata, Mijo
Ivan Lacković Croata, Mijo Kovačić), a koja je tad Kovačić), and the school gained international recog-
ostvarila i međunarodnu reputaciju. (ZM) nition. (ZM)

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SAVA – MURA – DRAVA – DUNAV / SAVA – MURA – DRAVA – DUNAV 19

DVOR TRAKOŠĆAN
TRAKOŠĆAN CASTLE

U 13. stoljeću podignuta je mala utvrda na In the 13th century, a small fortress was constructed on © Muzej Dvor Trakošćan / Castle Trakošćan Museum
stijeni koja se nazivala Zmajski kamen (Drac- a rock called the Dragon Stone (Drachenstein) in order
henstein), da bi se s nje nadzirala važna cesta to control the important road that led towards the Holy
koja je vodila prema Svetom Rimskom Carstvu. Roman Empire. The fortress was added to over time, but
Utvrda je s vremenom dograđivana, ali je njezino its golden age began when it became the property of the
zlatno doba počelo kad je 1569. došla u vlasniš- Barons (later Counts) Drašković in 1569. They erected
tvo baruna (poslije grofova) Draškovića. Oni a Renaissance bastion, and the residential part of the
su podigli renesansni bastion, a stambeni dio castle with the outbuildings were also renovated in the
dvorca i gospodarske zgrade dograđivani su i u Baroque style. A thorough renovation of the castle in
baroku. Sredinom 19. stoljeća počela je temeljita the spirit of Romanticism began in mid-19thcentury, and
obnova dvorca u duhu romantizma, pa je Trako- Trakošćan castle received many neo-Gothic elements. In
šćan dobio mnoge neogotičke elemente. Osim addition, a large park with an artificial lake was designed
toga, u istom duhu uređen je i veliki perivoj s in the same style, and the palace chapel was restored.
umjetnim jezerom, a obnovljena je i dvorska Trakošćan castle was the residence of the Drašković
kapela. Trakošćan je služio za stanovanje sve family until 1944, so it still has a well-preserved inte-
do 1944., pa je ostao odlično sačuvan inventar rior with all the furniture, paintings, and an armoury,
s namještajem, slikama i oružarnicom, a dvorac while the castle was turned into a museum. The original
je pretvoren u muzej. Sačuvan je i izvorni izgled appearance of the Romanticism park and gardens has
romantičarskog perivoja. (NB) also been preserved. (NB)

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UMIJEĆE IZRADE DRVENIH TRADICIJSKIH IGRAČAKA
TRADITIONAL MANUFACTURING OF WOODEN TOYS

Drvene dječje igračke prepoznatljivi su proizvodi Children’s wooden toys are recognisable products
tradicijskog rukotvorstva stanovnika Hrvatsko- of traditional handicrafts made by inhabitants of the
ga zagorja (UNESCO-ov Reprezentativni popis Hrvatsko Zagorje region (UNESCO Representative
nematerijalne kulturne baštine čovječanstva), List of the Intangible Cultural Heritage of Humani-
koje se tijekom 19. stoljeća razvilo u sklopu ty), which was developed during the 19th century as a
kućnih radinosti u selima na hodočasničkom putu part of household crafts in villages on the pilgrimage
prema Mariji Bistrici. Vještina izrade prenosila se route to Marija Bistrica. Handicraft skills were passed
unutar obitelji, a od inicijalnog asortimana koji down through families, and while the initial assortment
je bio vrlo ograničen, pojedinci su u pojedinim was very limited, some individuals in certain periods
razdobljima proizvodili do oko 120 vrsta igračaka. produced up to 120 different types of toys. Men dealt
Muškarci su se bavili obradom drveta i oblikova- with the wood processing and shaped the final form
njem završne forme funkcionalne igračke, zatim of a functional toy, which women then painted and
su ih žene bojile i ukrašavale, dajući im karakte- decorated, giving them a typical appearance based on
rističan izgled, temeljen na specifičnom koloritu specific colours and recognisable motifs. Although
i prepoznatljivim motivima. Iako se suvremena the contemporary production of children’s traditional
proizvodnja tradicijskih dječjih igračaka promije- toys has changed in technological and organisational
nila tehnološki i organizacijski, ostala je duboko terms, it has remained deeply rooted in local traditions,
ukorijenjena u lokalnim tradicijama, što zajednica a fact recognised and wholeheartedly supported by the
prepoznaje i svesrdno podupire. (MD) community. (MD)

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Nina Koydl © Etnografski muzej / Etnographic Museum

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SINTEZA PLASTIČKE UMJETNOSTI
SYTHESIS OF PLASTICITY OF ART

Vjenceslav Richter (1917. - 2002.), umjetnik i arhi- Vjenceslav Richter (1917 – 2002), an artist and archi- Vjenceslav Richer, Jugoslavenski paviljon u Bruxellesu / Yugoslav Pavilion in Bruxelles, 1958.
tekt, cjelokupnim je stvaralaštvom obilježio drugu tect, marked the second half of the 20th century with his Joco Čermak © Arhiva Vjenceslava Richtera (Muzej suvremene umjetnosti) / The Vjenceslav Richter Archive (Museum of Conteporary Art)
polovicu 20. stoljeća. Jedan je od osnivača grupe opus. He was one of the founders of the EXAT 51 Group
EXAT 51 i aktivni sudionik međunarodnog pokreta and an active participant in the international movement
Nove tendencije. Ostvario je iznimne projekte, New Tendencies. He accomplished exceptional projects,
među kojima su jugoslavenski paviljon za svjetsku such as the Yugoslav Pavilion for the 1958 World Exhibi-
izložbu u Bruxellesu 1958., paviljon za izložbu u tion in Bruxelles, the exhibition pavilion in Turin (1961),
Torinu (1961.) i paviljon za XIII. trijenale u Milanu the pavilion for the 13th Triennial in Milan (1964),
(1964.), kojima je postigao velik međunarodni earning him great international fame. His designs for
uspjeh. Neizostavni su projekti objekata javne public buildings cannot be overlooked: Archaeological
namjene: Arheološki muzej u Aleppu, Tvornica Museum in Aleppo, Saponija Factory in Osijek, Museum
Saponija u Osijeku, Muzej revolucije u Beogradu, of the Revolution in Belgrade, Villa Zagorje in Zagreb,
Vila Zagorje u Zagrebu i dr. Radio je i na vizio- and others. He also worked on a visionary architectur-
narskom arhitektonsko-urbanističkom projektu al and urban design project, Sinturbanizam, and made
Sinturbanizam, a velik doprinos dao je tekstovima great contribution with his texts on synthesis-based
o sinteznim pristupima u arhitekturi, urbanizmu i approaches in architecture, urbanism, and art, with
likovnosti, kojima je postavio teorijsko-znanstve- which he set up the theoretical and scientific base for
nu podlogu svojim projektima. Dobitnik je niza his designs. He won a number of awards, both in the
nagrada i priznanja u zemlji i inozemstvu. (VM) country and abroad. (VM)

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BEĆARAC – TRADICIJSKI GLAZBENI ŽANR
BEĆARAC – A TRADITIONAL MUSICAL GENRE

Bećarac je popularni vokalno-instrumentalni Bećarac is a popular vocal and instrumental musical Petra Slobodnjak © LADO Ansambl narodnih plesova i pjesama Hrvatske / LADO Natonal Folk Dance Ensemble of Croatia
izričaj duboko ukorijenjen u kulturu Slavonije, expression deeply rooted in the culture of Slavonia,
Baranje i Srijema (UNESCO-ov Reprezentativni Baranja, and Srijem (UNESCO Representative List
popis nematerijalne kulturne baštine čovječan- of the Intangible Cultural Heritage of Humanity). It
stva). Karakteriziraju ga dinamični stihovi veselog is characterised by dynamic lyrics with a lively tone,
tona, prožeti metaforama i nerijetko lascivnim permeated with metaphors with lascivious allego-
alegorijama, čime na neizravan način zajednica ries, enabling the community to interpose its own
posreduje vlastite temeljne vrijednosti i relevantna fundamental values and relevant beliefs in an indirect
uvjerenja, a pjevači koji se natpjevavaju uz pratnju manner, while the singers, accompanied by instru-
instrumenata izriču ono što se inače smatra druš- ments, express what is otherwise considered socially
tveno neprihvatljivim. Bećarac je i dalje dio sveča- unacceptable. Bećarac remains a part of the festive
nih praksi stanovništva istočne Hrvatske, izvodi practices among the population of Eastern Croatia,
se i neformalno i formalno u svečanim prilikama. performed both informally and formally for various
Njegova opstojnost ponajprije se može pripisati occasions. Its endurance can be attributed to the
popularnosti samoga žanra, ali i činjenici da je popularity of the genre itself, and to the fact that it
očuvan zahvaljujući djelatnosti mnogih amater- has been preserved through the activity of numerous
skih kulturno-umjetničkih društava te folklornih i amateur folk ensembles and societies, as well as folk
glazbenih manifestacija. (MD) and music events. (MD)

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LJUDI S ULICE
PEOPLE IN THE STREET

Fotografski opus Toše Dapca (1907. - 1970.) The photographic oeuvre of Tošo Dabac (1907 – 1970) Tošo Dabac, Dječak pred roloom / Boy in Front of a Shutter, 1939. | Tošo Dabac © Arhiv Tošo Dabac (Muzej suvremene umjetnosti) / The Tošo Dabac Archive (Museum of Contemporary Art)
obuhvaća širok raspon tema: portrete, umjetnič- encompasses a wide range of themes: portraits, works
ka djela, prizore iz gradskog života, arhitekturu, of art, city life scenes, architecture, landscape, and
pejzaž, folklor. Široj javnosti najpoznatiji je po folklore. He is best known among the general public
ciklusu „Ljudi s ulice“ iz 1930-ih, pa ga se svrsta- for his 1930s series “People in the street“, hence
va u glavne predstavnike socijalnog smjera u he is ranked among the main representatives of the
hrvatskoj fotografiji. U poslijeratnom razdoblju, social genre in Croatian photography. In the period
njegove fotografije kulturne baštine Jugoslavi- after World War II, his photographs of cultural herit-
je imale su važnu ulogu u očuvanju baštine te age of Yugoslavia had an important role in the pres-
u stvaranju i promociji kulturnog identiteta u ervation of its legacy and the creation and promotion
svijetu. Fotografirao je brojna umjetnička djela of its cultural identity in the world. He photographed
za potrebe njihovih predstavljanja na prestižnim numerous art works for their presentation at prestig-
međunarodnim manifestacijama; istovremeno ious international events; at the same time, he partic-
je surađivao u sekcijama jugoslavenskih pavi- ipated in sections of the Yugoslav pavilions at interna-
ljona na međunarodnim sajmovima i izložba- tional fairs and exhibitions. His Zagreb atelier was a
ma. Njegov zagrebački atelijer bio je pedesetih i popular gathering place of intellectuals and artists in
šezdesetih godina 20. stoljeća kultno sastajalište the 1950s and 1960s, especially of the EXAT 51 Group,
intelektualaca i umjetnika, posebice oko grupe the Musical Biennale of Zagreb, and the New Tenden-
EXAT 51, Muzičkog biennala Zagreb i Novih cies group. He exhibited his works at more than a
tendencija. Izlagao je na više od stotinu izložaba hundred photography exhibitions in the country and
fotografije u zemlji i inozemstvu te je bio član abroad, and he was a member of numerous profes-
brojnih strukovnih udruženja. (IJ) sional associations. (IJ)

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ĐAKOVAČKA KATEDRALA
ĐAKOVO CATHERDRAL

Đakovačka katedrala sv. Petra jedina je hrvatska Đakovo Cathedral of St Peter is the only cathedral in © Miro Martinić
katedrala podignuta u cijelosti u 19. stoljeću i Croatia completely constructed in the 19thcentury and
jedan je od najmonumentalnijih primjera sakral- one of the most monumental examples of sacral architec-
ne arhitekture na prostoru tadašnje Austro-Ugar- ture in the area of what was then the Austro-Hungarian
ske Monarhije. Sagrađena je i opremljena u Monarchy. Thanks to the endeavours of Đakovo’s Bishop
kratkom razdoblju, između 1866. i 1882., nasto- Josip Juraj Strossmayer, it was erected and furnished in
janjima đakovačkog biskupa Josipa Jurja Stro- the short period between 1866 and 1882. The cathedral
ssmayera. Projektirali su je bečki arhitekti Karl was designed by Viennese architects Karl Rösner and
Rösner i Friedrich Schmidt, a na opremanju je Friedrich Schmidt, while a group of prominent Central
radio niz istaknutih srednjoeuropskih umjetnika European artists (Friedrich Overbeck, Alexander Maxi-
(Friedrich Overbeck, Alexander Maximilian Seitz, milian Seitz, Ludovico Seitz) were engaged in its furnish-
Ludovico Seitz). Biskup Strossmayer nadzirao ing. Bishop Strossmayer supervised the construction
je gradnju i opremanje katedrale koju je nasto- and furnishing of the cathedral, striving to turn it into a
jao pretvoriti u djelo kojim će početi preporod structure that would start a revival in 19th century Croa-
hrvatske umjetnosti 19. stoljeća. U tome je djelo- tian art. He partially succeeded in this endeavour, since
mično i uspio jer su na katedrali stasali majstori the cathedral was instrumental in perfecting the skill of
koji su poslije izveli projekte na području sakral- craftsmen who would later work on sacral art and archi-
ne umjetnosti i arhitekture u Hrvatskoj, poput tecture projects in Croatia, such as the renovation of the
obnove zagrebačke katedrale. (DD) Zagreb Cathedral. (DD)

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KAMENI CVIJET
STONE FLOWER

Spomenik „Kameni cvijet“ (1966.) podignut je u The Stone Flower Monument (1966) was erected at © Jovica Drobnjak
Jasenovcu, najvećem koncentracijskom logoru Jasenovac, the largest concentration camp in Croatia,
u Hrvatskoj, gdje su tijekom Drugoga svjet- where the Ustasha authorities killed tens of thou-
skoga rata ustaške vlasti ubile desetke tisuća sands of Serbs, Roma, Jews, and Croatian enemies
Srba, Roma, Židova i hrvatskih neprijatelja toga of the totalitarian regime during the World War II.
totalitarnog režima. Djelo je arhitekta Bogdana It is the work of architect Bogdan Bogdanović, with
Bogdanovića, uz znatnu pomoć arhitekta Lavo- considerable help from architect Lavoslav Horvat. It
slava Horvata. Jedan je od najvažnijih primjera is one of the most important examples of monumen-
spomeničke plastike na području bivše Jugosla- tal sculpture in the territory of former Yugoslavia. It
vije. Ističe se i visokim estetskim i simboličkim stands out because of its emphasized aesthetic and
vrijednostima. Kao osnovni motiv autor je, kako symbolic elements. The author, as he said, chose as
je rekao, izabrao „cvijet, znak vječnog obnavlja- the main motif “a flower, as the symbol of eternal
nja“. Korijen gigantskog cvijeta izdiže se iznad renewal”. The root of the giant flower rises above the
kripte, dok mu je kruna okrenuta prema suncu i crypt, with its crown turned to the sun and light as the
svjetlosti kao izvoru života. (ZM) source of life. (ZM)

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VELIKA DINAMIKA GRAĐENJA
PERIOD OF DYNAMIC CONSTRUCTION

Rezimirati arhitektonski opus Ivana Vitića (1917. Summing up Ivan Vitić’s architectural oeuvre (1917 Ivan Vitić, Paviljon 40, Zagrebački Velesajam / Pavillion 40, Zagreb Fair, 1957. | © Damir Fabijanić
- 1986.) znači sagledati najvažnija događanja u – 1986) means perceiving the most important occur-
arhitektonskoj produkciji Hrvatske i bivše Jugosla- rences in the architectural production of Croatia and
vije, od 1945. do kraja sedamdesetih godina 20. the former Yugoslavia from 1945 until the end of the
stoljeća. Naime, Vitić je autohtona arhitektonska 1970s. Vitić represents an autochthonous architectural
osobnost prepoznatljivog, postojanog rukopisa, s personality with a recognisable and consistent signa-
opusom natprosječno visoke kvalitete, iako je riječ ture and an oeuvre of an extraordinarily high quality,
o oko 150 natječajnih radova i više od sto objeka- even though it includes about 150 projects submitted
ta izvedenih po cijeloj bivšoj Jugoslaviji. Vitićeva to competitions, and more than a hundred buildings
karijera kreativni vrhunac doseže u razdoblju velike built across former Yugoslavia. Vitić’s career reached
dinamike građenja, pedesetih i šezdesetih godina its creative peak in the period of dynamic construction
20. stoljeća. Njegovi projekti izlagani su na svim in the 1950s and 1960s. His designs were exhibited
reprezentativnim izložbama jugoslavenske arhi- at every representative show of Yugoslav architecture
tekture u inozemstvu, dobio je brojne strukov- taking place abroad, and he won numerous profession-
ne nagrade, a i danas ga pamtimo ne samo kao al awards. He is still remembered today not only as a
vrhunskog arhitekta nego i kao čovjeka koji je znao superb architect, but also as a man who knew how to
živjeti i uživati u životu, brzim automobilima, jazzu, live and who enjoyed life, fast cars, jazz, the sea, boats,
moru, brodovima i osobito dobroj spizi. (TBK) and good food in particular. (TBK)

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KNEŽEVI ŽELJEZNOG DOBA
LORDS OF THE IRON AGE

Kneževi željeznog doba bili su vladari u vrijeme The lords of the Iron Age were rulers at the time when © Ljubo Gamulin
kad Homer stvara Ilijadu i Odiseju, a sustav Homer created the Iliad and the Odyssey, and the
komunikacija između moćnih, ali različitih zajed- system of communications between the powerful but
nica kojima su upravljali ti vladari stvorit će tkivo diverse communities governed by these rulers created
europske povijesti. Upravo na prostoru sjeverne the fabric of European history. Three major cultural
Hrvatske dodiruju se tri velika kulturna kruga: circles intersected in northern Croatia: Central Euro-
srednjoeuropski (u kojem dominira halštatski pean (dominated by the Hallstatt Culture), Balkan
kulturni kompleks), balkanski (preko kojega na (through which influences from the distant southern
taj prostor dopiru utjecaji s dalekog Sredozemlja) Mediterranean arrived), and the Eastern Danubian
i istočni podunavski (koji donosi odjeke dalekih circle (bringing elements from the distant steppes
stepa oko Crnog mora). Stoga ne iznenađuje što je around the Black Sea). Therefore, it is not surpris-
u Požeškoj kotlini, u srcu Slavonije, nastalo jedno ing that one of the most important European cross-
od najvažnijih europskih raskrižja na kojem su na roads emerged in the Požega basin (in the heart of
čudesan način konvergirali svi ti utjecaji. Moćni Slavonia), where all of these influences miraculous-
kneževi i stanovnici toga kraja imali su svojevr- ly converged. Powerful lords, as well as the inhabit-
sni monopol na kulturni transfer koji je povezi- ants of the region, had a monopoly of sorts on the
vao najudaljenije krajeve Europe i na taj način cultural transfers that connected the outermost
aktivno sudjelovali u stvaranju osnove onoga parts of Europe, thus actively participating in creat-
što danas zovemo europskom kulturom. Upravo ing the foundation of what we call European culture
na tom prostoru u grobovima moćnih kneževa today. This is the area where the northernmost Greek
Kaptola i Kagovca nalazimo najsjevernije grčke helmets in Europe can be found in the graves of the
kacige u Europi, rame uz rame s jedinstvenim mighty princes of Kaptol and Kagovac, side by side
posudama s bikovskim glavama premazanima with unique vessels featuring bulls’ heads covered in
sjajnim grafitom. (HP) shiny graphite. (HP)

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GROBLJE MIROGOJ
MIROGOJ CEMETERY

Zagrebačko gradsko groblje Mirogoj pripa- The Zagreb city cemetery, Mirogoj, belongs to the © Damir Fabijanić
da skupini monumentalnijih grobalja 19. sto- group of monumental cemeteries of the 19th century in
ljeća na području srednje Europe. Ute- Central Europe. It was founded in 1876 after the aboli-
meljeno je 1876. ukidanjem starih groblja tion of earlier cemeteries by churches, and from the
i od početka je bilo namijenjeno svim vjerskim very beginning, it was intended for all religious groups
grupacijama koje su tada postojale u Zagrebu: living in Zagreb at the time: Roman Catholics, Ortho-
katolicima, pravoslavcima, protestantima i Židovi- dox Christians, Protestants, Jews, and, since 1878,
ma, a od 1878. i muslimanima. Posebnost groblja Muslims. A special feature of the cemetery is its archi-
je njegov arhitektonski okvir – arkade s paviljoni- tectural framework – arcades with pavilions construct-
ma, sagrađene na njegovu zapadnom i sjevernom ed on its western and northern sides. They were built
rubu. Podignute su od 1879. i tridesetih godina 20. from 1879 and in the 1930s in the Neo-Renaissance
stoljeća prema projektu arhitekta Hermana Bolléa style, based on the design of architect Herman Bollé,
u neorenesansnom stilu, a služile su kao privat- serving as private grave vaults for Zagreb’s elite. The
ne grobnice zagrebačke građanske elite. Glavni main entrance to Mirogoj cemetery is crowned with the
ulaz na Mirogoj kruni monumentalna katolička ka- monumental Chapel of Christ the King, while the open
pela Krista Kralja, a na otvorenom dijelu groblja park of the cemetery features the Orthodox chapel of
nalazi se pravoslavna kapela svetih Petra i Pavla. Sts Peter and Paul. The tombstones at Mirogoj are a
Nadgrobni spomenici na Mirogoju pravi su muzej true museum of Croatian sculpture of the 19th and 20th
hrvatske skulpture 19. i 20. stoljeća. (DD) centuries. (DD)

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SLAVONSKI BURGOVI
SLAVONIAN CASTLES

Burgovi su se u kontinentalnoj Hrvatskoj počeli In continental Croatia, fortresses were built in the 12th © Matija Pospihalj
graditi u 12. stoljeću kao sjedišta župana, upra- century as seats of a župan (prefect), the administra-
vitelja pojedinih teritorijalnih jedinica, a slično tor of individual territorial units, as was the case else-
je bilo i drugdje u Europi. U početku su imali where in Europe. In the beginning, the fortresses had
branič-kulu i bedeme, a s vremenom su dodava- a keep and ramparts, while living quarters, chapels,
ni palas, kapela i gospodarski objekti. Podizani and outbuildings were added later. They were built on
su na vrhovima brda, uz rijeke ili u dolinama, the hilltops, along rivers, or in valleys, surrounded by
okruženi vodom. Jedan od najvećih je Ružica, moats. One of the largest is Ružica, located in Papuk
smještena u Parku prirode Papuk (UNESCO-ova Nature Park (UNESCO Global Geoparks). The occa-
svjetska mreža geoparkova). Povremeno slablje- sional weakening of royal authority and the strength-
nje kraljevske vlasti i jačanje velikaša omogućilo ening of the nobility made it possible to construct
je intenzivnije podizanje privatnih utvrda, koje private castles. They gained a new role during the
su novu ulogu dobile u vrijeme osmanlijskih Ottoman conquests in the 15th and 16th centuries,
osvajanja u 15. i 16. stoljeću, kad mnoge postaju when many became part of the Military Frontier. With
dijelom Vojne krajine. Slabljenjem ratne opasno- the decline of the danger of war in the 17th century,
sti u 17. stoljeću burgovi se napuštaju, jer se these castles were abandoned as aristocrats moved
plemstvo seli u nove, barokne dvorove. I pojava into new, Baroque mansions. The development of
djelotvornijeg topništva rezultirala je napušta- more effective artillery also led to the abandon-
njem utvrda s visokim kulama i zidinama. Neke ment of fortresses with tall towers and walls. Some
su utvrde u 20. stoljeću obnovljene, uglavnom of them were restored during 20th century, usually
kao muzejske ustanove, a neke su djelomično ili as museums, while some were partly or completely
potpuno konzervirane. (NB) conserved. (NB)

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TISUĆU VARIJACIJA ANTISLIKE
A THOUSAND VARIATIONS OF ANTI-IMAGE

Kad je Julije Knifer (1924. - 2004.), nakon više In 1960, when Julije Knifer (1924 – 2004), chose the Julije Knifer, Meandar u kut / Meander in the Corner, 1961. | © Muzej suvremene umjetnosti / Museum of Contemporary Art
godina istraživanja, izabrao 1960. meandar koji meander to be his sole motif after many years of
će mu postati jedinim motivom i izvodit će ga do research, and presented it in thousands of variations
smrti u tisućama varijacija na slikama, crtežima, through paintings, drawings, collages, and murals of
kolažima i muralima različitih dimenzija, smatrao various dimensions, he believed that he had created
je da je stvorio antisliku. Geometrijski precizno an anti-image. The geometrically precisely construct-
konstruiran meandar doima se kao da je vrlo ed meander seems a very simple structure, but the
jednostavne strukture, no paradoks i jest u jedno- paradox of Knifer’s art is in the simplicity that conceals
stavnosti koja krije niz složenih značenja koja je a number of eleborate meanings that make it complex.
čine kompleksnom. Vremenski i duhovni okvir u The chronological and spiritual framework in which
kojem se slikar formira, pripada pedesetim i šezde- the painter was formed, during the 1950s and 1960s,
setim godinama 20. stoljeća kad dominira egzi- was dominated by existentialism and the philosophy
stencijalizam i filozofija apsurda. U dnevnicima, of the absurd. Such an outlook can be clearly recog-
koje je vodio od sredine pedesetih godina, jasno nized in his diaries, which he systematically kept from
se prepoznaje takav svjetonazor. Predstavljao je mid-1950s to his death. He represented the Republic
Republiku Hrvatsku na Venecijanskom bijenalu of Croatia at the Venetian Biennale in 2001. Over the
2001. Tijekom godina, osobito nakon Kniferove years, and especially after Knifer’s death, his art has
smrti, njegova umjetnost ne gubi na važnosti, već not lost any of its importance, but has gained ever
dobiva sve veće međunarodne odjeke. (ZM) increasing international attention. (ZM)

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DVORAC ELTZ
THE ELTZ MANOR

Kompleks dvorca Eltz, jedan od najmonumen- The complex of Eltz Manor, one of the most monumen- © Hrvatski restauratorski zavod / Croatian Conservation Institute
talnijih primjera svjetovne feudalne arhitekture u tal examples of secular feudal architecture in Croatia,
Hrvatskoj, izgrađen je sredinom 18. stoljeća kao was constructed in mid-18th century as an early Neoclas-
ranoklasicistički dvor. Tijekom vremena dobio sicist structure. Courtyard wings, opulent neo-Baroque
je dvorišna krila, raskošna neobarokna pročelja façades (by Viennese architect Viktor Siedek), outbuild-
(bečki arhitekt Viktor Siedek), gospodarske zgrade ings, and Romanticist gardens that extended to the
i romantičarski oblikovan perivoj koji se prote- bank of the Danube were also added over time. It was
zao do obale Dunava. U vlasništvu grofova Eltz the property of the Counts of Eltz from 1736 (when Filip
bio je od 1736. (kad je posjed kupio Filip Karlo Karlo Eltz, an archbishop and count of Mainz, bought
Eltz, nadbiskup i knez iz Mainza) do 1945., kad it) to 1945, when it was nationalised. In the 1960s,
je nacionaliziran. Šezdesetih godina 20. stoljeća u the mansion became home to the Vukovar Municipal
dvorac je smješten Muzej grada Vukovara koji je Museum, one of the first victims of the deliberate destruc-
početkom Domovinskog rata (1991. - 1995.) bio tion of cultural heritage at the beginning of the Croatian
jedna od prvih žrtava namjernog razaranja kultur- Homeland War (1991 – 1995). The shelling of Eltz Manor
ne baštine. Bombardiranjem dvorca Eltz 25. kolo- on August 25, 1991 started the 87-day long battle, siege,
voza 1991. počela je 87 dana duga bitka, opsada and devastation of Vukovar. The manor was completely
i razaranje Vukovara. Dvorac je potpuno razoren destroyed and burnt, and part of the museum material was
i spaljen, muzejska građa dijelom odnesena u taken to Serbia and part of it was destroyed. The Museum
Srbiju, a dijelom uništena. Muzej je ponovno was reopened in 2013 in the Eltz Manor, restored with
otvoren 2013. u dvorcu obnovljenom sredstvima funding from the Government of the Republic of Croatia
Vlade RH i Razvojne banke Vijeća Europe. (MK) and the Council of Europe Development Bank. (MK)

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UMJETNOŠĆU ZA JEDNAKOST
ART FOR EQUALITY

Slikarica Nasta Rojc (1883. - 1964.) jedna je od Painter Nasta Rojc (1883 – 1964) was one of the
najosebujnijih figura u hrvatskoj umjetnosti prve most unique figures of Croatian art in the first half
polovice 20. stoljeća. Između dva svjetska rata bila of the 20th century. She was a highly regarded portrait
je iznimno cijenjena portretistica, no njezina se painter between the two world wars, but her character-
umjetnička specifičnost najjasnije očituje u nizu istics as an artist are most clearly evident in a series
autoportreta nastalih između 1908. i 1925. godine. of self-portraits made between 1908 and 1925. Aware
Od djetinjstva svjesna rodne nejednakosti, svoj of gender inequality since childhood, she expressed
otpor patrijarhalnoj heteronormativnoj represiji her resistance to patriarchal hetero-normative repres-
iskazuje upravo izvedbom autoportreta kojima sion by making self-portraits that clearly articulate
jasno artikulira transgresiju normi građanske žens- the transgression of norms of bourgeois femininity.
tvenosti. Primjer toga otpora je i Autoportret – Lovac An example of such resistance is the Self-Portrait –
u kojemu se s puškom na ramenu izravnim pogle- Hunter, in which she looks directly at the viewers with
dom sa slike obraća promatračima, te nadasve a shotgun on her shoulder, and above all the self-por-
autoportret Ja borac iz 1914. u kojemu se prikazuje trait I the fighter from 1914, in which she is portrayed
u muškom odijelu. To je i najraniji drag autoportret in a men’s suit. This is the earliest self-portrait in drag
u europskom slikarstvu, nastao devet godina prije in European painting, created nine years before the
onoga svjetski slavnog, koji je 1923. u Parizu nasli- world-famous, painted in 1923 in Paris by the Ameri-
kala Amerikanka Romaine Brooks. Boreći se protiv can Romaine Brooks. Fighting gender discrimination
rodne diskriminacije na području umjetnosti, osno- in the arts, she founded the Artists’ Club (for women)
vala je 1929. Klub likovnih umjetnica koji je redovi- in 1929, which regularly organized exhibitions in
to organizirao izložbe u Zagrebu i predstavljao rad Zagreb and exhibited works by Croatian female artists
hrvatskih umjetnica u inozemstvu. (LK) abroad. (LK)

46 VJEČNE VODE: ŽIVOT & LJEPOTA / ETERNAL WATERS: LIFE & BEAUT Y

Nasta Rojc, Autoportret – Lovac / Self-Portrait – Hunter, 1912. | Goran Vranić © Moderna Galerija / National Museum of Modern Art

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47

HRAM ZNANJA I SECESIJE
SHRINE OF KNOWLEDGE AND ART NOUVEAU

Zgrada bivše Nacionalne i sveučilišne knjižnice i The building of the former National and University © Hrvatski državni arhiv / Croatian State Archives
Hrvatskoga državnog arhiva u Zagrebu najvažnije Library, now the Croatian State Archives, in Zagreb is
je djelo hrvatske secesije. Podignuta je 1913. prema the most significant work of the Croatian Art Nouveau.
projektu arhitekta Rudolfa Lubynskog u jugoza- It was built in 1913 according to the design by architect
padnom dijelu zagrebačkog Donjega grada, koji Rudolf Lubynski in the southwestern part of the Lower
se formirao potkraj 19. i početkom 20. stoljeća, na Town, part of Zagreb formed in the late 19th and early
prostoru niza trgova i parkova te koji se zbog speci- 20th centuries, including an interconnected series of
fičnog oblika naziva Zelena (Lenucijeva) potkova. squares and parks called the Green (or Lenuci) Horse-
Jedna je od prvih građevina u Hrvatskoj djelomič- shoe because of its specific form. This was one of the
no izvedenih od armiranoga betona. U njezinu first buildings in Croatia partially constructed out of rein-
su opremanju sudjelovali tada najvažniji hrvat- forced concrete. The most important Croatian contempo-
ski umjetnici, koji su svojim djelima oplemenili rary artists contributed to its furnishings by embellishing
ulaznu dvoranu te veliku i profesorsku čitaonicu. the entrance hall, the grand and teachers’ reading rooms
Kao središnji motiv, Lubynski je odredio božicu with their works of art. As the central motif Lubynski
Atenu (Minervu) i njezine ambleme, sove, simbo- chose the goddess Athena (Minerva) and her emblems,
lički povezujući zgradu kao hram znanja s mudro- the owls, symbolically connecting the building, a shrine
šću i spoznajom. (DD) of knowledge, with wisdom and cognition. (DD)

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LJEVAČI EUROPSKE CIVILIZACIJE
MASTER CASTERS OF EUROPEAN CIVILISATION

Vučedolska kultura (Vučedol pokraj Vuko- The Vučedol Culture (after Vučedol, near Vukovar, on © Ljubo Gamulin
vara, smješten na Dunavu) razvila se na the Danube River) developed in Slavonia and Srijem
slavonsko-srijemskom prostoru potkraj bakreno- at the end of the Copper Age (2900 – 2400 BC),
ga doba (2900. - 2400. pr. n. e.), odakle se proši- from where it spread further throughout the area
rila područjem današnje srednje Europe. Uvelike of what is now Central Europe. It greatly influenced
je utjecala na ostale suvremene srednjoeuropske other contemporaneous Central European cultural
kulturne skupine, a svoj je trag u naslijeđe ostavi- groups, and left its trace in the communities of the
la i zajednicama ranoga brončanog doba. Temelj early Bronze Age. Its prosperity was based on devel-
njezina prosperiteta zasniva se na razvijenom oped animal husbandry and hunting economy, which
stočarskom i lovačkom gospodarstvu, koje je stva- enabled the creation and accumulation of surpluses,
ranjem i akumuliranjem viškova omogućilo razvoj in turn enabling the development of new crafts. A
novih zanata. Visokorazvijena metalurgija bakra highly developed copper metallurgy was the peak of
vrhunac je tehnologije onoga doba te se smatra technology at the time, considered to be the driver of
pokretačem razvoja zajednica, dok su rituali vezani development, while the rituals connected to it strongly
uz nju snažno utjecali na duhovni život zajednice. influenced the spiritual life of the community. Along
Uz majstore ljevače, vučedolskoj kulturi pridoni- with master metal casters, potters also made a contri-
jeli su i keramičari, učinivši je prepoznatljivom bution to the Vučedol Culture, making it recognisable
po karakterističnom stilu ukrašavanja mnoštvom through a typical style of decoration with numerous
razrađenih motiva. Vučedolska golubica (jarebica), elaborate motifs. The Vučedol dove (partridge), one of
jedan od suvremenih simbola hrvatskoga identite- the modern symbols of Croatian identity, is a perfect
ta, odličan je primjer zanatske vještine keramičara example of the craft skill of the potters, with their
istančanog umjetničkog dara. (JB) distinctive artistic talent. (JB)

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