Diana 13

Dr Mila POPOVI]-@IVANÊVI]
savetnik konzervator, {ef OPZ Dijana
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 dràve. 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 ìvot,
o na~inu o~uvanja njegovog integriteta u okviru odrìvog
razvoja, o tome kako nasle|e preneti narednim generacijama u svoj njegovoj vrednosti, lepoti i celovitosti.
Naàlost, 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
Dr Mila POPOVI]-@IVANÊVI]
councillor-conservator, Chief OPZ Diana
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 pruà 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
sloène 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
sadràje ba{tine i koji koristi metodologiju preventivne
konzervacije za svoju primenu u praksi. Dijana pomera
teì{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, ìvo, 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
2
02
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.
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 teì{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 zaokruùju 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 sadràje iz konzervacije ba{tine;
sada je jasno da moèmo 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 sadràje
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 istraìvanja, 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
Sadràj | 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]-@IVANÊVI]
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 istraìvanja 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 â~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 â~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 staìranju 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 staù u INP-u (Institut national du patrimoine)
107 Report on Training at the Institut National du Patrimoine (INP)
Ivan CVEJI], Zvezdana POPOVI]
110 Radionica iz oblasti konzervacije pozlate na drvetu
111 Workshop Dedicated to the Conservation of a Gilded Object Made of Wood
Ana KOCJAN, Aleksandar JOKSIMOVI]
114 Male ruke i velika dela
115 Small Hands, Great Work
Suzana POLI]-RADOVANOVI]
118 Multidisciplinarna istraìvanja u arheometriji
119 Multidisciplinary Research in Archaeometry
Azra BEÊVI]-[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]-@IVANÊVI]
138 Regionalni projekti i aktivnosti u jugoisto~noj Evropi koje su pokrenuli, koje relizuju, koordiniraju i ~iji su
organizatori Odeljenje za preventivnu konzervaciju Dijana i ICOM-SEE, u saradnji s raznim 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 odràna 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 moè 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
samoposluìvanjem za posetioce, knjiàre itd.
U okviru radionice raspravljalo se i o dva izuzetno va`na pitanja. Prvo pitanje odnosilo se na mogu}nost sprovo|enja novih kulturnih strategija, s obzirom na to da 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 nadilaènja koncepta muzeja kao izolovane celine i njegovog razmatranja kao
dela mreè 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 èli
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 istraìvanja 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-
06
zeja, sada se ve}i zna~aj pridaje njihovom zadatku komunikacije u vezi s kulturnim sadrìnama. 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 podiù 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 ìvi.
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.
MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE
DIANA #13
Fabrizio AGO, architect and museologist, Italy
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
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 moè 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 trì{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 èlezni~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
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 ìvota oìvljavala 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 izlaù. Tokom poslednjih nekoliko godina muzej je u~inio zna~ajne napore kako bi se prostorije
osavremenile, {to se moè 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 uzdiè 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 èli 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 odrìvosti
predloènih aktivnosti.

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

Mila KARAS, vi{i kustos pedagog
Prirodnja~ki muzej u Beogradu
OBNOVA NARODNE LITIJE, ZAPISA

I OBIÂJA U OKOLINI BEOGRADA POLA VEKA
POSLE PREKIDA VI[EVEKOVNOG KONTINUITETA
ÛVANJA NEMATERIJALNE I DUHOVNE BA[TINE SRBIJE
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 vaì
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 loìti ili koristiti za sticanje dobiti.
Kao i u drugim mestima po Srbiji, zapisi su se svake godine obnavljali. U Malom Mokrom Lugu svake godine odràvane 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 odràvao 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.
Stanje posle Drugog svetskog rata

Posle oslobo|enja litija je odràna 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
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 Hadì 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 obeleèna su crnim krstovima
(17). To je prva rekonstrukcija i rasvetljavanje sudbine
mokrolu{kih zapisa posle Drugog svetskog rata. Naàlost,
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 odràvao
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, leì 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.
DIANA #13
Mila KARAS, senior curator-pedagogue

Natural History Museum, Belgrade
PRESERVING THE SPIRITUAL HERITAGE OF SERBIA:

LITIJA (SACRED PROCESSION), AND ZAPIS TREES
IN THE VICINITY OF BELGRADE:
THE RETURN OF SOME ANCIENT CUSTOMS
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 Hadì 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
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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, poloèna su tri kamena sa svetih mesta: sa Gore ku{anja u Jerusalimu, iz Hilandara i iz Studenice. Od 1994. godine litija se odràva 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).
Obnavljanje litije i zapisa

u Malom Mokrom Lugu 19942007
Posle dugog perioda, u vreme izolacije, kada je komunisti~ki
reìm 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 (dànariku 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
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 dànarici. 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, Boè, daj! (Napomena: prema obi~ajnom pravu,
krstono{a je odabrani mu{karac koji jedini, osim sve{tenika,

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.
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
Sl. 3. Zapis iz 1994

stablo divlje {ljive
na seoskom imanju
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
Fig. 3. Zapis since 1994

tree of Wild Cherry in a
village household
Sl. 5. Najmla|i u~esnici litije

uzeli su iz hrama ikone
koje }e nositi u povorci
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
Sl. 7. Mile{evski Beli an|eo

u rukama onih koje je
Gospod najvi{e voleo
Fig. 5. The youngest

participants of the Litija
took the icons from the
temple in order to carry
them in the Procession
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
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Fig. 7. The White Angel

of Mile{eva in the hands
of those most beloved by God
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. 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
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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 posluènje za u~esnike litije: bombone, kola~i, sokovi i ponude za decu. Posipali su povorku
ìtom i bombonama iz sita. Ose}ala se velika radost svih
prisutnih i doma}ina koji su do~ekivali litiju i u~esnika
krsnog hoda.
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
Molitva je ponovljena kod dànarike (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. 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
beleènje zapisa i uzvikuje
deo obredne litijske molitve
Sl. 14. Stariji me{tani

u~estvuju u litiji tako {to
s ponudama sa~ekuju
povorku ispred svojih domova
Sl. 15. Obnavljanje zapisa na

divljoj {ljivi kod Jekmekluka
drugo mesto zajedni~ke
molitve
Sl. 16. Tre}a molitva ~ita se

ispred zapisa metalnog krsta
podignutog u Malom Mokrom
Lugu 1998. godine
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
Fig. 14. The community

elders participate in the
Procession by offering gifts
in front of their homes
Fig. 15. Renewal of Zapis

at the wild plum near
Jekmekluk is the second site
of communal prayer
Fig. 16. The third prayer

is being read in front of the
Zapis the metal cross raised
at Mali Mokri Lug in 1998
14
Sl. 17. Krsni hod iza âsnog

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
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-
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
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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
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
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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 ège. 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 odloèni. 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 èlja 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.
Odràni su svi postupci, kretanje litije, molitve, svrha i
smisao litije oni su isti kao {to su bili i pre stotinu ili vi{e
godina. Snaàn 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 ège
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
16
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
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 uvaènom 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 ìvih 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 èlje da se litija odrì
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
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

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

Mila POPOVI]-@IVANÊVI], savetnik konzervator
{ef OPZ Dijana, predsednik ICOM-SEE-ja
DIJANA I ICOM-SEE U OKVIRU REGIONALNE SARADNJE

U JUGOISTO^NOJ EVROPI
REGIONALNA ORIJENTACIJA DIJANE
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
dràva 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 sadràja 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 traènju 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,
moè bez problema povezati u jedinstven kulturni krug. @elimo da ukaèmo na to da se jedinstven regionalni balkanski
kulturni i prirodni prostor moè kvalitetno uklju~iti u evropski i dati sopstveni snaàn i ubedljiv doprinos razvoju evropskog dru{tva i savremene civilizacije uop{te.
18
Regionalna saradnja otvara siguran put i prostor za me|usobno razumevanje i po{tovanje raznolikosti izraàvanja.
Ona }e pomo}i u razvijanju procesa koegzistencije i 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 moè razviti jedinstven regionalni kulturni
sadràj. 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, moèmo stvoriti snaàn 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.
Naàlost, pokazalo se da je regionalna organizacija ICOM
EUROPE suvi{e glomazna i neelasti~na, da ne moè da zadovolji zahteve kompleksnih i razli~itih strategija, niti da
pruì 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
DIANA #13
Mila POPOVI]-@IVANÊVI], 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
ozbiljnog odraza na stanje u pojedinim zemljama. To jeste

dobro za globalnu politiku i op{te strategije, ali se takvo delovanje veoma te{ko moè 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 traènje 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 do-
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 izraàja posebne regionalne potrebe, koje traè formalno udruìvanje 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 udruìvanje. 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 preobraène u regionalne alijanse. ICOM-SEE je
pruìo 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 èle 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 traìti sopstvene puteve i re{enja oslanjaju}i se na ICOM-ove
Sastanak Borda ICOM-SEE-ja u Muzeju selja~kih buna,

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

april 2008
Meeting of the Board of ICOM-SEE in Peasants revolt Museum,

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

Croatia, April 2008
20

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
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 odràvanja 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 odràn je i sastanak
Radne grupe za regionalne alijanse i regionalne pridruène
organizacije ICOM-a. Na tom sastanku ve}ina prisutnih
podràla 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 odrànom 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
22
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), dràvni 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.
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

pruìli 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, sadrìna 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 vaè 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 mreù 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
DIANA #13
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.
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
^lanovi Borda ICOM-SEE-ja u tipi~no {umadijskom ambijentu,

decembar 2008
One of the medieval monasteries in the Rudnik mountain, visited

by the members of the Board of ICOM-SEE, December 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
Trijenalni skup ICOM-a Srbije, Bosne i Hercegovine i Hrvatske

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

u Prijepolju, maj 2008
Triennial meeting of ICOM Serbia, Bosnia and Herzegovina

and Croatia in Prijepolje, May 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 sadràja 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 odraàvaju {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 nezadrìvo {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 ène 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,
24
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 sluì, ali koji izaziva razdor u dotad skladnoj zajednici, svakako simbolizuje borbu protiv negativnih uticaja
globalizacije.
Nije, me|utim, potrebno ìveti u Namibiji da bi se osetio
poguban uticaj globalizacije na kulturni identitet bilo koje
zajednice. Dovoljno je pripadati nekom od evropskih naroda.

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
I ovde su posledice sasvim uo~ljive. Bezli~ne majice, plasti~ni kanisteri i beskorisna ambalaà {ire se nezaustavljivo.
Sve ono {to su generacije pre nas osmi{ljavale, 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 ìvota koji povezuje pojedince i grupe iz razli~itih
etni~kih, kulturnih, verskih i jezi~kih okruènja 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 oìvljavanje
tradicionalnih zanata i o~uvanje njihovih proizvoda, pro{irenje kruga lica koja se njima bave, kao i unapre|ivanje njihovog ekonomskog i socijalnog poloàja. 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 ukaù i da im u tome pomognu.
***
Nedavno sam pro~itala kratku pri~u Dòela Barkera
Baca~ zvezda, inspirisanu istoimenom pripovetkom antropologa Lorena Ajslija.4 Pri~a govori o mudracu koji na dugoj
pe{~anoj plaì 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 ìvot.
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, angaòvanih 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

Dràve ~lanice Saveta Evrope i druge dràve potpisnice ove konvencije:
polaze}i od toga da je cilj Saveta Evrope ostvarenje {to ~vr{}e unije izme|u njegovih ~lanica radi o~uvanja i unapre|ivanja ideala i principa koji ~ine njihovu zajedni~ku ba{tinu i podsticanja njihovog ekonomskog i dru{tvenog napretka,
imaju}i u vidu Evropsku kulturnu konvenciju, potpisanu u Parizu 19. decembra 1954. godine, a posebno njene
~lanove 1 i 5,
svesne toga da su stari i tradicionalni zanati, i to kako znanja i ve{tine koji ih ~ine, a koji su izgra|ivani, preno{eni i unapre|ivani kroz generacije, tako i proizvodi koji su rezultat tih znanja i ve{tina, a koji su tako|e nastajali i ~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
ìvota, obi~ajima, potrebama, shvatanjima i ukupnoj duhovnosti naroda u razli~itim epohama, a i o kulturnim proìmanjima 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

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.
***
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.
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.
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
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 moè 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 istraìvanjem 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 proìmanju me|u narodima, te da i danas saradnja na o~uvanju starih i tradicionalnih zanata i njihovih proizvoda moè i treba da doprinese sli~nom proìmanju
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 dràva 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 proìmanja 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
dràva potpisnica ove konvencije postojali u duèm 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 oìvljavanje starih i tradicionalnih zanata;
o~uvanje znanja i ve{tina koji te zanate ~ine, kao i dalje usavr{avanje tih znanja i ve{tina i njihovo {irenje;
prikupljanje, za{titu i o~uvanje proizvoda tih zanata;
pro{irenje kruga lica koja se bave tim zanatima profesionalno ili amaterski;
unapre|ivanje ekonomskog i socijalnog poloàja lica koja se profesionalno bave tim zanatima;
pruànje materijalnog i drugog podsticaja za amatersko bavljenje tim zanatima,
kao i uop{te o~uvanje ili oìvljavanje u sada{njosti ili u pro{losti dostignutog kvantitativnog i kvalitativnog nivoa
u bavljenju ovim zanatima i podizanje tog nivoa u budu}nosti.
pod {irenjem znanja podrazumevaju se sve organizovane kolektivne ili pojedina~ne aktivnosti i mere nau~noistraìva~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
Dràve potpisnice obavezuju se da }e preduzimati sve mere i aktivnosti potrebne za ostvarivanje ciljeva ove konvencije. Dràve potpisnice }e radi toga sara|ivati, kako kroz mehanizme koje predvi|a ova konvencija tako i na druge na~ine koji se pokaù korisnim.
28
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
NACIONALNI KOMITETI
^lan 4
Najdalje u roku od {est meseci od stupanja na snagu ove konvencije svaka od dràva potpisnica oformi}e svoj nacionalni komitet za za{titu starih i tradicionalnih zanata (dalje: nacionalni komitet). Dràve 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 dràvnih 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 udruènja i drugih pojedinaca koji bi mogli bitno da doprinesu uspe{nom radu nacionalnog komiteta date zemlje.
Zadatak nacionalnih komiteta bi}e osmi{ljavanje i predlaganje mera i akcija za ostvarivanje ciljeva ove 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.
Dràve 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 zaduène 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 dràva potpisnica delegirati po
jednog predstavnika u to telo na period od ~etiri godine, s mogu}no{}u reizbora.
Nacionalni komiteti dràva koje budu naknadno pristupile ovoj konvenciji delegira}e svoje predstavnike u 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 dràvama potpisnicama sa istim ciljem.
U Evropskom komitetu sve odluke bi}e dono{ene prostom ve}inom, s tim {to }e se uvek nastojati da se kroz 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 odràva}e se dva puta godi{nje. Komitet moè zasedati i vanredno ako tako
sam odlu~i, odnosno na zahtev najmanje jedne tre}ine ~lanova Komiteta.
Evropski komitet moè, ukoliko to smatra potrebnim, da formira stru~ne odbore zaduène za pojedine zanate ili
pojedina stru~na pitanja, kao i druga pomo}na tela.
SARADNJA
^lan 6
Radi {to uspe{nijeg ostvarivanja ciljeva ove konvencije, izme|u nacionalnih komiteta i Evropskog komiteta bi}e
odràvana {to intenzivnija komunikacija i saradnja, i to kako preko nacionalnih predstavnika u Evropskom komitetu
tako i na sve druge na~ine koji se pokaù potrebnim i pogodnim.
Radi {to uspe{nijeg ostvarivanja ciljeva ove konvencije, nacionalni komiteti }e odràvati stalnu i intenzivnu me|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 odràvati 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 dràva potpisnica sa~ini}e i dostavi}e Evropskom komitetu inventar starih i tradicionalnih zanata koji postoje ili su postojali na njenoj teritoriji (dalje:
30
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
nacionalni inventari starih i tradicionalnih zanata ili nacionalni inventari). Dràve 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
dràva ~lanica konstatuje i popisuje stanje na vlastitom prostoru u pogledu starih i tradicionalnih zanata. Nacionalni inventari posebno sadrè:
popis zanata koji se upra`njavaju ili koji su ranije upra`njavani na teritoriji date dràve;
popis podru~ja u datoj dràvi na kojima se pojedini zanati upra`njavaju ili su ranije upra`njavani, uklju~uju}i
i podatke o meri u kojoj se ti zanati upra`njavaju ili su ranije upra`njavani na tim podru~jima;
podatke o broju lica na teritoriji date dràve koja se bave pojedinim zanatima, podatke o njihovoj starosnoj,
polnoj, obrazovnoj i drugoj strukturi, o njihovom socijalnom poloàju, kao i druge releventne podatke u vezi s
tim licima;
podatke o postojanju i rasprostranjenosti proizvoda starih i tradicionalnih zanata na teritoriji date dràve, 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 dràvi i koji mogu biti od zna~aja
za ostvarivanje ciljeva ove konvencije;
podatke o promenama i kretanjima u pogledu svega navedenog u prethodnom duèm i kra}em periodu;
druge bitne statisti~ke ili sli~ne podatke u vezi sa starim i tradicionalnim zanatima i njihovim upra`njavanjem
na prostoru date dràve.
^lan 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 dràve
potpisnice. U roku od najvi{e tri meseca od dostavljanja nacionalnih inventara dràva koje kasnije pristupe Konvenciji u Evropski inventar bi}e unete dopune koje proizlaze iz nacionalnih inventara tih dràva.
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 moè odlu~iti i o vanrednom razmatranju Evropske strategije.
Polaze}i od Evropske strategije, svaka dràva potpisnica }e u roku od {est meseci od usvajanja Evropske 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 ukaè posebna potreba, nacionalne strategije mogu se razmatrati i modifikovati i nezavisno od razmatranja i modifikovanja Evropske strategije.
Evropska strategija i nacionalne strategije sadrè osnovna usmerenja i osnovne na~ine ostvarivanja ciljeva ove
konvencije na evropskom i nacionalnom planu.
GODI[NJI PROGRAMI
^lan 10
Na osnovu Evropske strategije i na osnovu vlastite nacionalne strategije svaka dràva potpisnica sa~injava}e i
ostvariva}e svoje nacionalne godi{nje programe za{tite starih i tradicionalnih zanata; oni }e predvi|ati 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
Dràve 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).
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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,
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DIANA #13
Dràve potpisnice }e svoje godi{nje izve{taje dostavljati Evropskom komitetu i, preko Evropskog komiteta, svim
drugim dràvama potpisnicama.
Evropski komitet }e svoje godi{nje izve{taje dostavljati dràvama 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 dràvama 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
Dràve 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 istraìva~kih projekata koji se odnose na razli~ite aspekte problematike starih i
tradicionalnih zanata;
organizovano sakupljanje i za{titu proizvoda starih i tradicionalnih zanata;
organizovanje i podsticanje izlaganja u muzejima, na izlo`bama i sajmovima proizvoda starih i tradicionalnih
zanata;
fiskalne i druge olak{ice, kao i druge podsticajne mere, za subjekte koji finansijskim i drugim doprinosima pomaù ostvarivanje ciljeva ove konvencije;
podsticanje i pomaganje rada udruènja i drugih neprofitnih organizacija koje se bave za{titom i unapre|ivanjem starih i tradicionalnih zanata;
sve druge mere i aktivnosti za koje dràve potpisnice ocene da doprinose ostvarivanju ciljeva ove konvencije.
Dràve potpisnice }e navedene mere i aktivnosti preduzimati i ostvarivati kako na nacionalnom tako i na me|unarodnom planu, u me|usobnoj saradnji, kao i u saradnji s dràvama koje nisu potpisnice ove konvencije.
Evropski komitet }e podsticati, planirati i koordinirati saradnju izme|u dràva potpisnica i subjekata u njima
na realizaciji mera i aktivnosti usmerenih ka ostvarivanju ciljeva ove konvencije, posebno se staraju}i o tome da {to
{iri krug tih mera i aktivnosti poprimi evropski karakter, koji }e doprineti daljem kulturnom i civilizacijskom proìmanju i razvijanju svesti o jedinstvu duhovnog nasle|a na ovom planu.
FINANSIRANJE
^lan 14
Dràve potpisnice }e u svojim nacionalnim budètima predvideti odgovaraju}a sredstva za ostvarivanje svojih
nacionalnih strategija i nacionalnih godi{njih programa za{tite starih i tradicionalnih zanata.
Ovom konvencijom osniva se Evropski fond za za{titu starih i tradicionalnih zanata (dalje: Fond). Sredstva Fonda ~ini}e:
doprinosi dràva potpisnica i
doprinosi i pokloni koje daju drugi subjekti.
Evropski komitet }e odrediti kriterijume po kojima }e se godi{nje utvr|ivati finansijski doprinos Fondu svake
dràve potpisnice, u skladu s njenim mogu}nostima.
O kori{}enju sredstava Fonda odlu~iva}e Evropski komitet, u skladu s ciljevima ove konvencije.
Sredstva iz Fonda koristi}e se za:
a) ostvarivanje saradnje i preduzimanje zajedni~kih, evropskih mera i aktivnosti radi ostvarivanja ciljeva konvencije;
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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.
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DIANA #13
b) pruànje pomo}i pojedinim dràvama 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
dràvama potpisnicama i u kom iznosu biti pruàna pomo}, vode}i posebno ra~una o mogu}nostima dràva
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 teì}e se
ostvarivanju {to ve}eg stepena samofinansiranja.
OZNAÂVANJE 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 dràva }e odrediti svoj sistem ozna~avanja i sertifikacije proizvoda starih i tradicionalnih zanata sa svojih prostora.
Oznaka kojom }e se obeleàvati proizvodi starih i tradicionalnih zanata s prostora dràva potpisnica sastoja}e
se od jedinstvenog evropskog znaka, koji }e utvrditi Evropski komitet, kombinovanog s nacionalnim znakom, koji }e
odrediti svaka od dràva potpisnica.
Svaki proizvod starih i tradicionalnih zanata s prostora dràva 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.
Sadràj sertifikata odre|uju dràve ~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 dràvi potpisnici.
Evropski komitet }e odrediti datum koji }e biti progla{en za Evropski dan starih i tradicionalnih zanata.
POTPISIVANJE I STUPANJE NA SNAGU

^lan 17
Ova konvencija bi}e otvorena za potpis svim evropskim dràvama koje se obrate generalnom sekretaru Saveta
Evrope sa èljom da budu njene potpisnice.
Ova konvencija podleè ratifikaciji, prihvatanju i odobrenju.
Instrumenti o ratifikaciji, prihvatanju i odobrenju bi}e deponovani kod generalnog sekretara Saveta Evrope.
Ova konvencija stupi}e na snagu po{to kod generalnog sekretara Saveta Evrope bude deponovano pet instrumenata o ratifikaciji, prihvatanju ili odobrenju, ali samo u odnosu na dràve koje su navedene instrumente deponovale.
PRISTUPANJE
^lan 18
Nakon njenog stupanja na snagu ovoj konvenciji moè pristupiti svaka evropska dràva koja se obrati generalnom sekretaru Saveta Evrope sa èljom da bude njena potpisnica.
U odnosu na dràve koje naknadno pristupe Konvenciji, ona stupa na snagu onog dana kada se njihovi 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
Dràva potpisnica moè u svako doba otkazati ovu konvenciju pismenim obave{tenjem upu}enim generalnom
sekretaru Saveta Evrope. Otkaz stupa na snagu godinu dana od dana kada generalni sekretar primi to obave{tenje.
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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.
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DIANA #13
POSMATRAÎ
^lan 21
Odlukom Evropskog komiteta bilo kojoj zainteresovanoj evropskoj dràvi koja nije potpisnica ove konvencije ili
bilo kojoj zainteresovanoj vanevropskoj dràvi moè se, na zahtev te dràve, dati status posmatra~a.
Dràve sa statusom posmatra~a mogu da {alju svoje predstavnike na zasedanja Evropskog komiteta i ti predstavnici
mogu, nakon izlaganja predstavnika dràva potpisnica, uzimati re~ na zasedanjima, ali bez prava u~e{}a u odlu~ivanju.
Evropski komitet }e, u koordinaciji s predstavnicima dràva posmatra~a, utvrditi na~ine i mehanizme u~e{}a
dràva posmatra~a u merama i aktivnostima koje dràve potpisnice budu preduzimale u primeni ove konvencije na
nacionalnom i evropskom planu, kao i druge oblike saradnje izme|u dràva potpisnica i dràva posmatra~a.
NOTIFIKACIJA
^lan 22
Generalni sekretar Saveta Evrope obave{tava}e sve dràve potpisnice, kao i sve druge dràve ~lanice Saveta
Evrope o:
a) svakom potpisu;
b) deponovanju svakog instrumenta o ratifikaciji, prihvatanju, odobrenju i pristupanju;
c) svakoj odluci o dodeli statusa posmatra~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 dràvama potpisnicama, kao i ostalim dràvama ~lanicama Saveta Evrope.
OBRAZLO@ENJE
U obrazloènju predloènog teksta Evropske konvencije o za{titi starih i tradicionalnih zanata bi}e izloèni (a)
osnovni podaci o predlaga~ima Konvencije, motivima za podno{enje predloga i o pravnom osnovu na kojem se predlog zasniva i (b) obrazloènje pojedinih odredaba predloène Konvencije.
(a) O predlaga~ima, motivima za podno{enje predloga i pravnom osnovu
Predlaga~i ove konvencije su studenti Pravnog fakulteta Univerziteta u Beogradu, ~lanovi Stru~ne grupe 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. ûvanje onoga {to su nam ostavili
preci, dakle konzervacija onoga zbog ~ega prostor na kojem ìvimo s ponosom nazivamo Starim kontinentom, ni na
koji na~in ne predstavlja konzervativizam i beànje od modernog. ûvanje starog i dobrog zapravo je jedini ispravan a verovatno i jedini mogu}i na~in na koji se moè 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:
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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.
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DIANA #13
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 predloèna 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 najbliìh 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 najbliè prehranjivao bave}i se jednim od zanata {to ih sada smatramo starim, tradicionalnim i, naàlost, ugroènim. Moè se ~ak re}i da je do pre ne
vi{e od jednog veka ìvot u evropskim gradovima, a u nimalo zanemarljivoj meri i u evropskim seoskim sredinama,
bio ìvot starih i tradicionalnih zanata. Zato je za{tita starih i tradicionalnih zanata vi{e od obi~ne kulturne potrebe. Ona je dug svakog od nas prema na{im najbliìm precima.
Konvencija se posebno oslanja na ~lanove 1 i 5 Evropske kulturne konvencije iz 1954. godine, koji glase:
^lan 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
zadràvanje 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 ìvota, obi~ajima, potrebama, shvatanjima, duhovnosti pojedinih
naroda i kulturnim proìmanjima 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 dràva 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) Obrazloènje 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 proìmanja izme|u evropskih naroda na ovom planu.
^lan 2 U ovom ~lanu definisani su pojmovi sadràni u ~lanu 1 i u daljem tekstu Predloga Konvencije, a to su
pojmovi stari i tradicionalni zanati, za{tita i unapre|ivanje i {irenje znanja. Ovim ~lanom upotpunjuju se smisao i
zna~enje ~lana 1.
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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.
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DIANA #13
^lan 3 Ovim ~lanom dràve potpisnice obavezuju se da }e, preduzimanjem svih potrebnih mera i aktivnosti,
raditi na ostvarivanju ciljeva Konvencije i da }e radi realizacije tih ciljeva ostvarivati me|usobnu saradnju kroz mehanizme predvi|ene Konvencijom, kao i van tih mehanizama.
^lan 4 ^lanom 4 dràve potpisnice obavezuju se na uspostavljanje, na nacionalnom planu, odgovaraju}eg institucionalnog sredi{ta zaduènog 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 dràvi potpisnici ostavljeno je da vlastiti nacionalni komitet uspostavi u skladu s vlastitim dràvnim ustrojstvom,
ali uz obavezu davanja tim komitetima realnih i efektivnih ovla{}enja koja }e im omogu}iti da stvarno i efikasno doprinose ostvarivanju ciljeva Konvencije. S obzirom na sloènost problematike za{tite starih i tradicionalnih zanata,
predvi|ena je i mogu}nost da nacionalni komiteti po potrebi oforme odgovaraju}a pomo}na tela za razli~ita 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
zaduèno 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 dràva 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, moè 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 odraàva u bitnoj meri na nacionalni suverenitet i politi~ki presti` dràva, a u
kojem, s druge strane, li~ni ugled, kreativnost i angaòvanost pojedinaca mogu biti od velikog zna~aja za uspe{an
rad tela o kojem je re~.
^lan 6 Institucionalna mreà koja se uspostavlja po osnovu ~lanova 4 i 5 Konvencije predstavlja centralni doprinos Konvencije ostvarivanju ciljeva predvi|enih u njenom ~lanu 1. Kroz tu mreù 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 mreà 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 odràvati stalnu komunikaciju s glavnim i drugim zainteresovanim organima ove me|unarodne organizacije.
^lanovi 7 i 8 Da bi se utvrdilo stanje u pogledu postojanja i stepena rasprostranjenosti i o~uvanosti starih i
tradicionalnih zanata i njihovih proizvoda u pojedinim zemljama, a zatim i ukupno, na prostoru svih dràva potpisnica, u ~lanu 7 predvi|eno je da svaka dràva 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 sadràn presek stanja u ovom domenu u vreme kada su dràve 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 sadràna 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 dràve, 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 dràve potpisnice tako i Evropski komitet, s tim {to dràve potpisnice svoje godi{nje
izve{taje dostavljaju Evropskom komitetu i drugim dràvama potpisnicama, a Evropski komitet svoje godi{nje izve{taje dostavlja dràvama potpisnicama i organima Saveta Evrope Parlamentarnoj skup{tini i Komitetu ministara.
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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
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^lan 12 Ovaj ~lan polazi od ~injenice da je ostvarivanje ciljeva Konvencije, ~ak i u onom delu gde se radi o nacionalnim aktivnostima na tom planu, jedinstven proces, koji ne trpi preteranu heterogenost ni u utvr|ivanju po~etnog stanja u dràvama ~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 dràvama potpisnicama uputstva za izradu nacionalnih inventara, nacionalnih strategija, nacionalnih godi{njih programa i nacionalnih godi{njih izve{taja.
^lan 13 ^lan 13 propisuje obavezu dràva potpisnica da u svojim godi{njim programima predvide konkretne
mere i aktivnosti za ostvarivanje ciljeva Konvencije. U ovom ~lanu je exempli causa navedena lista takvih mera i aktivnosti, s tim {to je dràvama potpisnicama ostavljena mogu}nost da predvide i druge mere i aktivnosti koje ocene kao
korisne za ostvarivanje ciljeva Konvencije. Dràve 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 dràvama 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 dràva potpisnica da u svojim nacionalnim budètima 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 dràva potpisnica, kao stalni i redovni izvor finansiranja Fonda (godi{nji doprinosi dràva potpisnica odre|uju se prema kriterijumima koje treba da utvrdi Evropski
komitet, imaju}i u vidu posebno mogu}nosti svake dràve), 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 dràva potpisnica na rad na ostvarivanju ciljeva Konvencije, ima sistem pruànja finansijske pomo}i dràvama 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 dràvama potpisnicama (o tome kome se sredstva dodeljuju i u
kom iznosu) Evropski komitet }e posebno voditi ra~una o mogu}nostima dràva 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 dràvama ~lanicama ne predstavljaju supstitut, ve} dodatak sredstvima koja same dràve odre|uju za tu svrhu u svojim nacionalnim budètima.
Kona~no, budu}i da je jedan od klju~nih ciljeva Konvencije to da se stari i tradicionalni zanati oìve i u~ine sposobnim za samostalan opstanak i napredak, a ne da ostanu trajno zavisni od pomo}i dràva i evropskih institucija,
ovim ~lanom predvi|eno je i da }e Evropski komitet i dràve potpisnice prilikom izrade Evropske strategije i nacionalnih strategija i evropskih i nacionalnih godi{njih programa teìti ostvarivanju {to ve}eg stepena samofinansiranja.
To zna~i da }e se nastojati, gde god je to mogu}e, da se prilikom realizacije nacionalnih i evropskih mera i 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 teìti
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 pruè samo
onim predmetima koji ispune uslove {to ih propi{e Evropski komitet. Za proizvode koji ispune te uslove svaka dràva
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 dràva potpisnica za proizvode sa svog prostora. Uz proizvode koji ispune navedene uslove i koji }e biti ozna~eni navedenim oznakama izdava}e se odgovaraju}i sertifikati, ~iju }e sadrìnu odre|ivati dràve potpisnice 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 sadrì 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.
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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
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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 angaòvanosti na ostvarivanju ciljeva Konvencije i postignutih rezultata samog
tog mesta, te regiona i dràve 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 dràve potpisnice. To ne zna~i da }e dràva ~iji je grad jednom bio
Evropska prestonica morati da ~eka da po jedan grad iz svih drugih dràva potpisnica bude Evropska prestonica kako
bi opet na nju do{ao red. Aktivnije i angaòvanije dràve ~e{}e }e davati Evropsku prestonicu starih i tradicionalnih
zanata od pasivnijih dràva, ali }e ipak biti spre~eno da neka dràva ili grupa dràva stekne monopol na davanje
evropskih prestonica starih i tradicionalnih zanata, a da druge dràve na tom planu budu ostavljene po strani.
Da bi se, pored prostornog, i na vremenskom planu utvrdila centralna ta~ka evropske saradnje i nacionalnih 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 pruì poseban podsticaj anga`manu dràva potpisnica,
zajedno i ponaosob, na sprovo|enju aktivnosti kojima se ti ciljevi realizuju. Trebalo bi da taj datum bude i sve~ani
momenat u kojem }e se posebno konstatovati rezultati {to su ih pojedine dràve, regioni, mesta, institucije i pojedinci ostvarili na planu za{tite starih i tradicionalnih zanata i u kojem }e se odràvati 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 dràvama koje nisu potpisnice (~lan 21), notifikacija (~lan 22) i odnosa s drugim propisima (~lan 23).
Sva navedena pitanja regulisana su na na~in uobi~ajen za konvencije usvojene u okviru Saveta Evrope. S 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 dràvama potpisnicama tako i prema dràvama koje nisu ili koje i ne mogu biti potpisnice, ali koje su spremne i zainteresovane da doprinesu ostvarivanju ciljeva Konvencije.
Opisanim odredbama predloèna konvencija uspostavlja jasnu i ~vrstu obavezu dràva potpisnica da, polaze}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, dràve 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 predloèni tekst zahteva dodatni rad i da }e mo`da krajnji rezultat procesa koji èlimo da iniciramo biti potpuno razli~it od teksta koji podnosimo telima Saveta Evrope na razmatranje. Na{a je èlja 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 ugroèn 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 ìvota biti ispunjena u granicama na{ih skromnih mogu}nosti. Na onima ~ije su mogu}nosti ve}e jeste da dovr{e preostalo.
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determined by each signatory state according to the general instruction issued by the European Committee. A 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.
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Biljana \OR\EVI]
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 istraìvanja.
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 ìvota 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 âjkanovi}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 pruà. 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 istraìvanjima
postala je op{teprihva}en metod rada. Mogu}nosti koje nam
pruàju 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
istraìvanjima 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 teè se uspostavljaju. Pove}ano interesovanje za mogu}nosti koje pruà 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
48
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 ulaènja u njihovu analizu i polemika s njihovim autorima, moèmo 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 moè re}i jeste
to da su etnoarheolo{ka istraìvanja, kao vid indirektnog
eksperimenta, nezaobilazna u savremenoj arheologiji. Ona
nam omogu}uju da detaljnije i preciznije sagledamo mnoge
aspekte ìvota u pro{losti.
Specifi~nost etnoarheologije leì u pristupu, tako da se
samo mali deo klasi~ne etnolo{ke/etnografske literature moè iskoristiti, ali ona, svakako, treba da sluì 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 istraìvanjima.
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-istraìva~ki projekat
Interkulturna komunikacija u paleobalkanskim dru{tvima (Ministarstvo za nauku, br. 147040), koji vodi doc. dr Sta{a Babi}, tako|e
okuplja istraìva~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.
ARCHEOLOGY AND ART HISTORY
DIANA #13
Biljana DJORDJEVI]
National Museum in Belgrade
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 âjkanovi}]3 and even in the mid 20th
century [Milenko Filipovi} (1951), Cvetko \. Popovi} (1959,
1960) and others]. In the second half of the 20th 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
oslonac prilikom etnoarheolo{kih istraìvanja. Drugi problem

jeste udaljavanje etnologije od materijalne kulture, od koje
arheolog u svojim istraìvanjima 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. îni 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 èna 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 ène 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 istraìvanja (]irkovi} 2005), a ne
etnolo{kih. Kazivanja tih èna su zabeleèna, ali etnolozi
propu{taju da uz pomo} novih tehnologija, kao {to su digitalni snimci i video zapisi, zabeleè i sliku, kojom bi dopunili
ono {to su njihove starije kolege pre vi{e decenija opisale i
ilustrovale prvo crteìma, a potom i crnobelim fotografijama, koje su ~esto, iz objektivnih razloga, lo{eg kvaliteta.
Pored toga {to svojim specifi~nim pristupom otvara
novo polje istraìvanja u oblasti arheologije, etnoarheologi-
50
ja moè 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 istraìvanja 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
ìve 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 istraìvanja 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 ìvotu 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 istraìvanja u krajevima u kojima su se
arhai~ni grn~arski centri jo{ uvek odràli, 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 zadràla
([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 zasluùju da im i istraìva~i i sistem za{tite
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 istraìvanja 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).

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
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
DIANA #13
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
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 dràva
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 proìmanja izme|u evropskih naroda u okviru ~itavog ~ove~anstva.13 Tim dokumentom
predvi|eno je osnivanje nacionalnih komiteta i Evropskog
komiteta sa odborima zaduènim 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 poloàja
lica koja se profesionalno njima bave i drugo.14 Konvencija, izme|u ostalog, u okviru mera i akcija predvi|a i organizovanje i podsticanje istraìva~kih projekata koji se bave raz-
li~itim aspektima problematike starih i tradicionalnih zanata,

kao i organizovanje savetovanja i stru~nih skupova nau~nih 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 istraìvanje i prou~avanje, kao i da omogu}i podr{ku i finansiranje projekata ~iji je predmet istraìvanja
upravo ova tematika.
I time se krug zatvara.
10] ICOM je svoju Dvadesetu generalnu konferenciju, odrànu 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 podràlo {est zemalja:
Engleska, Nema~ka, [panija, Finska, Litvanija i Kipar (http://www.
mfa.gov.yu).
13] ^lan 1 Predloga Evropske konvencije o za{titi starih i 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
DIANA #13
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})
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

Eva CINCAR, apsolvent arheologije
Fran~esko ÎNI, 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.
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
pronalaènju 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
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 obloèna 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 uìh 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 posluìo 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. Duìna 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 stiè 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 posluìli su primeri s bogatog nalazi{ta kulture Terramare iz bronzanog doba u blizini Modene. Na lokalitetu
Montale (Modena) prona|eni su fragmenti zaobljenih cevi,
duìne oko pet santimetara, za koje se veruje da su sluìle
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 sluìla 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 sluìlo za
precizno ulivanje otopljenog bakra u prethodno izra|eni
kalup.
DIANA #13
Eva CINCAR, student of archaeology

Francesco CINI, geologist
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
3. Mehovi
Mehovi su izra|eni od koè 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 koè, pa je gotovo nemogu}e
ustanoviti njihove tragove na arheolo{kim lokalitetima.
zduha u vatru bio konstantan, a èljena temperatura ostvarena je brè. 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 èljena forma [no` (sl. 3), sekira itd.].
4. Kalup
Kalup kori{}en u eksperimentu izra|en je od pe{~ara ru~no,
udubljivanjem èljene 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 pronalaèni na arheolo{kim lokalitetima, npr. na lokalitetima pomenute kulture
Terramare, na lokalitetu Manciano u blizini Groseta 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, èleli 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
sluìle 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 moè interpretirati kao jama za otapanje metala jesu
crvena pe~ena zemlja i fragmenti staklastih povr{ina koji
govore o dostizanju visokih temperatura.
Proces otapanja bakra

Na vertikalni zid jame prislonjene su cevi sa zaobljenim
krajevima okrenutim nadole, tako da vazduh moè 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 istraìvanja na ovom lokalitetu je dug i seè do
1926. godine, kada su, prilikom izgradnje èlezni~ke pruge
Ni{Pri{tina, svetlost dana ugledali prvi pokazalo se va`ni materijalni ostaci iz preistorijskog doba. Tada{nja Direkcija Jugoslovenskih èleznica 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 istraìvanjima na tom nalazi{tu.
Ugroèna 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 istraìvanja zapo~inje 1960. godine. Dr Blaènka Seka Stalio istraìvala 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 èlez-
56
ni~ke stanice. Interesovanja ovog istraìva~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, Blaènka 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 istraìvanja 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 istraìvanja 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 istraìvanja jesu mesta nalaza
plo~ni~kih ostava. Njihovim kartiranjem ustanovljeno je da
DIANA #13
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).
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].
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
Sl. 3. No` u kalupu

Fig. 3. Knife in the mould
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 Blaènka 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
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 poàra. Broj od
45 bakarnih alatki koje su tu prona|ene do 1978. godine
presudio je da se planirana istraìvanja 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 uè 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 poàru. 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, istraìvanja u Plo~niku, koja traju gotovo jedan
vek, nisu dala situacije bilo koje sadrìne na osnovu kojih
bi se mogao celovito determinisati ijedan segment ~ovekovog
58
ìvota ili aktivnosti. Tako je bilo sve do pro{logodi{njih istraìvanja u sondi XX. Insistiranje i istrajavanje istraìva~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 inènjer 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,

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
koliko su iznosile dimenzije sonde, uo~avao se jedan pravac

objekta uni{tenog u intenzivnom poàru. 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 sadràj te konstrukcije i ostaci nadzemnih delova, u
ovom stadijumu istraìvanja, 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 istraì}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
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 sadràj, 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 predloèna,
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.
Ksenija \uri{i}, vi{i konzervator restaurator

Centar za arheolo{ka istraìvanja 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 duè niz ruku, do lakta. Inkarnat je dosta svijetao, bez one sveta~ke zelene boje lica, osim na glavi
koju svetitelj drì u ruci. Slova na svitku dosta su nevje{to
60
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 moè 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}).

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
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)
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 moè
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.
Moè se re}i da je ikonopis u crkvi Svetog Luke stilski
i hronolo{ki veoma raznovrstan i da je potrebno prona}i
62
daleko vi{e podataka, jer oskudna dokumentacija ne moè

pruìti jasan uvid u cjelokupno stanje tog ikonopisa. Jedno
je sigurno gr~ki majstor je ostavio svoj pe~at, iako se moè
pretpostaviti da nije bio dovoljno upu}en u ~itavu problematiku ikonografije.
Naàlost, 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.
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.
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
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, izloèni 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.
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 duìni 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.
Prevela i priredila Aleksandra Dìki}-Nikoli}, konzervator

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,
64
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 mreù 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, odràvanje, indirektna prezervacija, aktivna konzervacija, konzervacija, direktna konzervacija, interventivna konzervacija,
remedijalna konzervacija, kurativna konzervacija, stabilizacija, tretman, direktna prezervacija, popravka, rehabilitacija, renovacija, konzervacija restauracija itd.
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
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 okruènja (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-
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 moè da predstavlja
i restauraciju i kurativnu konzervaciju, primena za{titnih
obloga moè da bude istovremeno i restauracija i preventivna konzervacija, a zatrpavanje mozaika moè 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 angaòvanje 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).
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-
66
bljani, u Musei Provinciali di Gorica (Italija) i u Gori{kom

muzeju u Novoj Gorici.1
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
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 izloì izvoru ultravioletnog svetla.
Neki zraci se reflektuju, menjaju talasnu duìnu 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 ùtim filterom na objektivu fotoaparata dobija se fotografija UV fluorescencije uglavnom ùtozelene nijanse.
Neki pigmenti daju fluorescenciju tipi~ne boje, na primer
cink bela daje kanarskoùtu, azur karmincrvena ruì~astonarandàstu, a indijskoùta zlatnoùtu 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 crteà fotografisanog pod UV svetlom
(foto: A. Sirk Faku~)
Fig. 1. A. Paroli, The Death of St. John, oil on canvas,
190 96 cm. The detail of the painting photographed under
UV light (photo: A. Sirk Faku~)
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 ùtozelenoj, ùtonarandàstoj i beloùtoj 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 moè 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
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
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. Sloènije je posmatranje donjeg dela
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 olovnoùtim 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 posluè kao dobra polazna ta~ka za dalja istraìvanja.
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.
70
Crkva je predmetima potrebnim za bogosluènje 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.
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 odràn 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 Boìju 1902. godine, kada je oìvela 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 najugroènijih u rudni~ko-takovskom kraju tog
vremena. Za rekonstrukciju je bilo prioritetno uraditi prekrivku, zbog o{te}enja krovne konstrukcije, spoljnu drenaù, jer je u crkvu ulazila voda (stvarala se vlaga). Voda je
o{tetila zidove u unutra{njosti crkve, a tako|e je ugroàvala 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
predloìo sredstva koja mogu da se primene za ~i{}enje i za-
72
{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 niòj 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 teàk metal koji zauzima mesto istopljenog voska. Za ukra{avanje predmeta od metala koriste
se razli~ite tehnike i postupci: iskucavanje, cizeliranje, aùriranje, 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 â~ku 11, â~ak 1981, 1619.
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 â~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 podleè
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 pomaè 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 sadrì 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 obloèna folijom da bi se zadràla 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 drà~a kao nose}eg dela kadionice,
pi{e na staroslovenskom jeziku: Priloì vrhovni srpski knez
Milo{ Obrenovi} 1822.
Cela povr{ina kadionice prekrivena je ornamentima. Posle podrobnog opisivanja i dokumentovanja zapaènih detalja kadionica je ponovo potopljena u destilisanu vodu, u dublju
posudu, kako bi se do kraja odstranile sve ne~isto}e. Bilo je
74
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. Sadrì 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 moè nabaviti u D.O.O. Elisa pro u Pan~evu.
Tri ka{ike paste pome{ane su sa dva litra destilisane vode,
rastvor je prome{an da bi se pasta istopila i potom je 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 drà~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
CONSERVATION
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
DIANA #13
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
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 zadràla. 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
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.
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, naàlost, dosta o{te}eni zbog neodgovaraju}eg na~ina
~uvanja tokom proteklih dvesta godina. Zbog toga je i konzervatorski tretman bio oteàn 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 odràvan.
[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
76
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
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
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),
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 moè 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 èljeni 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.
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 podràva, ali se,
naàlost, 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 predloènog tretmana. Konsultacije na relaciji arheologkustoskonzervator potrebno je odràvati povre-
78
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 traì 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
CONSERVATION
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
DIANA #13
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
Example 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 vaì za materijal
koji stiè 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-
80
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 ùriti 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.
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
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}.
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}.
Slobodan BOGOJEVI], konzervator

Narodni muzej u â~ku
NOV PRISTUP KONZERVACIJI I UNAPRE\IVANJE

USLOVA ÛVANJA METALNIH ARHEOLO[KIH PREDMETA
U NARODNOM MUZEJU U Â^KU
ÛVANJE 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, odràvanja), 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 produìti ìvot 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.
82
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 sloèn i zahtevan.
Smatra se da starenje predmeta zapo~inje od trenutka njegovog nastanka. Metali su najnestabilniji neorganski materijali, koji teè da se vrate u stanje minerala.
Korozija metala deli se na hemijsku i elektrohemijsku.
Osnovna karakteristika korozije metala jeste to {to ona po~inje na njegovoj povr{ini, odakle se brè ili sporije {iri 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 razlaè 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.
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 â~ak
A NEW APPROACH TO CONSERVATION

AND A FURTHER IMPROVEMENT OF CONDITIONS
FOR TAKING CARE OF METAL ARCHEOLOGICAL OBJECTS
IN THE NATIONAL MUSEUM OF ÂÂK
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 â~ku

Fig. 1 i 2. Silver fibula before and after conservation treatment, National museum of â~ak
Stanje predmeta najve}im delom zavisi od reakcije
predmeta na spolja{nju sredinu, jer izme|u njih tokom
vremena nastaje neka vrsta ravnoteè (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
okruùje, ali tu podr{ku gube kada se otkopaju, tako da vi{e nisu u stanju da iznesu svoju teìnu. 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 ugroàvaju 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 sloènija, 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. êsto
84
postoje zahtevi u pogledu ostvarivanja odre|ene estetike na

predmetu, kao i zahtevi za hipoteti~kom rekonstrukcijom,
ali i èlja da se tretman obavi u {to kra}em roku. Sve to moè 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 zakaù. 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
sluè 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 izloèn 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 ambalaù, 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 koè,
Arhiv Srbije, Beograd 2000, 114.
CONSERVATION
PROPADANJE / DETERIORATION
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.
ravnoteà /
Equilibrium
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
DIANA #13
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 â~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 â~ak. The oldest
archaeological sites belong to the Neolithic period. Of greater
than local importance is the barrow at Atenica. Two tumuli
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
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 â~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 â~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 istraìvanja vo|ena su radi stvaranja
kompletne slike o prethodnim epohama na teritoriji koju
svojim radom obuhvata Narodni muzej u â~ku. Najstarija arheolo{ka nalazi{ta pripadaju vremenu neolita. Od izuzetnog je zna~aja otkri}e nekropole u Atenici. Istraène su
dve kneèvske 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 moè predvideti istraìva~ka, izlaga~ka i komunikacijska delatnost.
Vrste metalnih predmeta
Metalni predmeti koji se nalaze u Narodnom muzeju u
â~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 boànstava, 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, moè 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
86
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.
PREDLO@ENI TRETMAN
BROJ PREDMETA
Konzervacija
Rekonzervacija
Restauracija
Ispitivanje (mati~ni muzej)
Ispitivanje (druga ustanova)
Fotodokumentacija
Preventivna za{tita
20
Tabela 1. Predloèni 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 â~ku i u Narodnom muzeju u
Beogradu. Na povr{ini petnaest predmeta moè 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 ambalaù, 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 odràva. Za zidove je kori{}en
kre~ni malter, sada veoma star; u zidovima stoga postoji
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
NUMBER OF OBJECTS
Conservation
Re-conservation
Restauration
Analysing (museum itself)
Analysing (other institution)
Photo documentation
Preventive conservation
20
Table 1. The suggested treatments for metal objects

on the day of the condition check up
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 â~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
87
DIANA #13
KONZERVACIJA
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 istraìvanja 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
mogli bi se predloìti 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 moè 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 ugroàvaju
ZAGA\IVAÎ
KARAKTERISTIKE
I LOKACIJA DEPOA
KARAKTERISTIKE
I LOKACIJA DEPOA
OPREMA U DEPOU
OSCILACIJE USLED
SEZONSKOG GREJANJA
NAÎN PAKOVANJA
NEDOSTATAK
PROGRAMA
KONZERVACIJE
PROPADANJE
METALNIH PREDMETA
ZAHTEVI KOJI NISU

U SKLADU S
PO[TOVANJEM
ADEKVATNIH
KONZERVATORSKO-RESTAURATORSKIH
PROCEDURA
NEADEKVATAN TRANSPORT
NEÎSTO]E USLED RUKOVANJA
NEDOSTATAK PROCEDURE
NEDOSTATAK
DOKUMENTACIJE
KONZERVATORSKO-RESTAURATORSKI
TRETMANI
KARAKTERISTIKE
I LOKACIJA DEPOA
MANIPULACIJA
Sl. 4. Faktori koji uti~u na propadanje analiziranih metalnih predmeta
88
CONSERVATION
INAPPROPRIATE
ENVIRONEMENT
CONDITIONS
DIANA #13
POLLUTANTS
CHARACTERISTICS AND
THE STORAGE LOCATION
CHARACTERISTICS AND
THE STORAGE LOCATION
STORAGE
HEATING SYSTEM
OSCILLATIONS
WRAPPING
DETERRIORATION
OF
METAL OBJECTS
LACK OF
CONSERVATION
PROGRAM
INAPPROPRIATE TRANSPORTATION
REQUESTS THAT DO NOT

REFFER TO RESPECTING
THE APPROPRIATE
CONSERVATIONRESTAURATION
PROCEDURES
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
AKtivnost
Revizija
Utvrditi brojno stanje predmeta, pregledati

postoje}u dokumentaciju i dopuniti je
Ustanoviti stanje predmeta
Detaljno analizirati stanje prema utvr|enim formularima
Napraviti plan i sastaviti spisak predmeta kojima je

neophodna detaljna analiza prema rezultatima pregleda
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
Napraviti plan po kojem }e se obaviti neophodni

konzervatorsko-restauratorski tretmani
prema rezultatima pregleda
Obaviti odgovaraju}i konzervatorsko-restauratorski tretman

za predmete koji zahtevaju intervenciju prema planu
i rezultatima pregleda
AMBIJENTALNI USLOVI I SME[TAJ

Nabavka termohigrografa obaviti analizu
postoje}ih ambijentalnih uslova
Neprekidno pratiti parametre u depou

tokom godinu dana
Kondicionirati predmete u depou
Premestiti predmete u adekvatnu ambalaù
Pobolj{ati ambijentalne uslove na osnovu analize

i njihovog sistematskog merenja
Adaptirati postoje}i depo (adekvatne karakteristike

i oprema) i u taj depo smestiti predmete
ili pripremiti depo na novoj, odgovaraju}oj lokaciji
Ostvariti funkcionalni raspored u depou
Pripremiti plan sme{taja predmeta
Predvideti prostor za {irenje zbirke
Proceniti veli~inu prostora za sme{taj novih predmeta

(na osnovu procene kustosa)
INSTITUCIONALNE MERE ZA[TITE

Smanjiti rizik u vanrednim situacijama
Pripremiti plan za vanredne situacije
Pobolj{ati na~in rukovanja zbirkom
Izraditi procedure za rukovanje predmetima,

nabaviti odgovaraju}u opremu
Ustanoviti reìm kontrole zbirke
Pripremiti pravilnik za sprovo|enje kontrolnih pregleda
Unaprediti rad konzervatorsko-restauratorske slu`be
Nabaviti opremu; stru~no usavr{avanje
Ustanoviti reìm pristupa zbirci
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 dostiù 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 ugroàvali 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 moè izazvati strukturne promene. Neki predmeti dodatno su uvijeni u pamu~nu ili papirnu vatu. Manji
90
deo njih sme{ten je neposredno u kartonske kutije ili na

police. Taj vid pakovanja ne moè umanjiti spoljne uticaje.
Promene na predmetima usled kontakta s materijalom za
pakovanje nisu prime}ene. Na osnovu analize ambalaè, 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 moè
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 poàra 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 poàra 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.
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
ACTIVITY
Revision
Confirm the number of objects, consider

and make additions to the existing documentation
Confirm the object condition
Detailed condition analyses as per established forms
Make the plan and list of objects that need the detailed
analyses considering the analyses results
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
Make the plan for performance

of the necessary conservation
restauration treatments considering the check up results
Perform the appropriate conservation

restauration treatment for objects requiring the intervention
as per plan and check up results
ENVIRONMENT CONDITIONS AND STORAGE

Purchase of thermohygrograph
analyses of the existing environment conditions
Continiously monitor the parameters

in the storage in the time limit of one year
Conditioning the objects in the storage
Transfer to appropriate wrapping material
Impove the environment conditions

based on the analyses and their systematic measurements
Transfering the objects into the existing storage, adjusted

refference to appropriate characteristics and equipment
or organize the storage on the new appropriate location
Accomplish the functional schedule in the storage
Preparing the plan for placing the objects
Forsee the space for expanding the collection
Make an estimation of space size for storing the new objects

(curator estimation)
INSTITUTIONAL PROTECTION MEASURES

Reduce the risk in extraordinary situations
Prepare the plan for extraordinary situations
Improve the handling of the collection
Make the procedure for handling the objects as well as

purchase of appropriate equipment for this need
Establish the system of the collection control
Prepare the book of rules how to carry out the controlled check ups
Improving the operation of the conservation-restauration service
Purchasing the equipment and professional training
Determine the conditions for approaching the collection
Prepare the book of rules of how to approach the collection
91
DIANA #13
KONZERVACIJA
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
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 moèmo 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 predloènih zadataka neophodno je angaòvati i stru~njake iz drugih oblasti i institucija.
Analiza stanja metalnih predmeta i izrada primenjenog formulara mogu posluìti 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 Dìki}-Nikoli}, konzervatoru Odeljenja za
preventivnu za{titu Dijana, Narodnog muzeja u Beogradu
Predloèni tretman
Skala
Stepen 0
Stepen 1
Stepen 2
Stepen 3
Konzervacija
Tretman nepotreban
Tretman poèljan
dugoro~ni plan
Tretman potreban
srednjoro~ni plan
Tretman urgentan
kratkoro~ni plan
Rekonzervacija
Tretman nepotreban
Tretman poèljan
dugoro~ni plan
Tretman potreban
srednjoro~ni plan
Tretman urgentan
kratkoro~ni plan
Restauracija
Tretman nepotreban
Tretman poèljan
dugoro~ni plan
Tretman potreban
srednjoro~ni plan
Tretman urgentan
kratkoro~ni plan
Ispitivanje
(mati~ni muzej)
Nema potrebe za
specifi~nim ispitivanjima
Ispitivanje
dugoro~ni plan
Ispitivanje neophodno Ispitivanje neophodno

za potrebe restauracije, za potrebe konzervacije,
urgentno
urgentno
Ispitivanje
(druga ustanova)
Nema potrebe za
specifi~nim ispitivanjima
Ispitivanje
dugoro~ni plan
Ispitivanje neophodno Ispitivanje neophodno

za potrebe restauracije, za potrebe konzervacije,
urgentno
urgentno
Fotodokumentacija
Nema potrebe za
dodatnom
foto-dokumentacijom
Izrada
fotodokumentacije
predmeta neophodna
na svakih pet godina
Izrada
fotodokumentacije
predmeta neophodna
na tri godine
Izrada
fotodokumentacije
predmeta neophodna
svake godine
Preventivna za{tita
Nema potrebe za
dodatnim zahtevima
Neophodno adekvatno
pakovanje
Neophodno pobolj{anje
ambijentalnih uslova
Neophodno adekvatno
pakovanje
i pobolj{anje
ambijentalnih uslova
Tabela 3. Rangiranje predloènih tretmana prema hitnosti izvr{enja, odnosno prema stanju metalnog predmeta
92
CONSERVATION
Suggested treatment
DIANA #13
Scale
Stepen 0
Stepen 1
Stepen 2
Stepen 3
Conservation
Treatment not necessary

on the day of condition
analyses
Treatment desired
long term plan
Treatment necessary
medium term plan
Treatment urgent
short term plan
Repeated conservation

analyses
Treatment desired
long term plan
Treatment necessary
medium term plan
Treatment urgent
short term plan
Restauration

analyses
Treatment desired
long term plan
Treatment necessary
medium term plan
Treatment urgent
short term plan
Analyses
(museum itself)
No need for specific

analyses
Analyses
long term plan
Analyses necessary
for restauration, urgent
Analyses necessary for

conservation, urgent
Analyses
(another institution)
No need for specific

analyses
Analyses
long term plan
Analyses necessary
for restauration, urgent
Analyses necessary for

conservation, urgent
Photo documentation
No need for additional

photo documentation
Photo documentating
of the object necessary
every five years
Photo documentating
every three years
Photo documentating
every one year
Preventive conservation
No need for additional

requirements
Appropriate packing
necessary
Necessary improvement
of environement
conditions
Appropriate packing
necessary as well as
improvement of
environement conditions
Table 3. Ranking the suggested treatments as per its urgency i.e. metal object condition
made, must be considered. Here are given tasks and 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
Dìki}-Nikoli}, conservator of Department for Preventive
Conservation Diana, National Museum in Belgrade.
93
DIANA #13
Marija RADIN, konzervator

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 staève u muzejima i konzervatorskim
centrima i laboratorijama. U jesen 2007. provela sam dva meseca u Centru za istraìvanje 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 Istraìva~ke laboratorije Direkcije muzeja Francuske i Konzervatorske slu`be Direkcije muzeja Francuske. Centar ~ine ~etiri
odeljenja Laboratorija, Konzervacija, Preventivna za{tita i
Dokumentacija. Tokom staà 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 pretraìvanje sadràja 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 istraùju, 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 istraìva~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 dràvama 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 pruìo 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
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.), èljenog tipa i formata dokumenta (tabela, samo slika, HTML format, hronolo{ki redosled itd.); broj rezultata pretrage moè 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 traènom 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
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), sloèni su u posebnu tabelu i svaki termin ima svoj kod ili {ifru. Klikom na taj
kod pojavljuje se padaju}i meni koji sadrì listu prevoda tog
termina na nekoliko jezika koji postoje u bazi. Upravo taj
vi{ejezi~ki tezaurus pomaè prevodiocu ukoliko postoji nedoumica u vezi s nekim zna~enjem, jer se moè 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 pretraìvanje svih tekstova u bazi na osnovu kori{}ene terminologije prevodilac moè 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
staà 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 istraìva~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.

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
[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 pruìo uvid u na~in funkcionisanja obimne baze podataka.
Princip po kojem je EROS napravljen sveobuhvatan je,

funkcionalan i lak za kori{}enje, pa zato moè da posluì
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.
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 istraìvanja 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 staìrala 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 istraìvanja u Draginjanu Arheolo{kog centra regiona Var. U toku staìranja 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
98
na na~in funkcionisanja u tom depou.1 Obra|ivan je materijal sa ovogodi{njih sistematskih iskopavanja2 U depou su
obavljani trijaà, klasifikacija, inventarisanje, kondicioniranje i odlaganje pokretnog arheolo{kog materijala pristiglog s terena.3
Nakon zavr{ene trijaè 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 ambalaù, u zavisnosti od vrste i sektora kojem pripada. Staklo
i metal odlaù 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 istraìvanja
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 sadrì broj sektora i otkopnog sloja.

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
odlaè 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 brèg postizanja èljenog stepena relativne vla`nosti i lak{e manipulacije.
Fauna se odlaè 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 odlaù u ve}e polipropilenske kutije sa istim
brojem sektora (sl. 1). Nakon zavr{enog rekondicioniranja
kutije se odlaù 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
du koja je nekad pripadala àndarmeriji; obuhvata nekoliko manjih prostorija u kojima su montirane drvene police.
Tokom staà Danijela Stojiljkovi} u~estvovala je u programu revizije i rekondicioniranja materijala, {to je podrazumevalo potpuno ili delimi~no zamenjivanje postoje}e
ambalaè polietilenskim kesicama i polipropilenskim kutijama (sl. 2). Predmeti su ranije bili odlagani u neadekvatnu
ambalaù: 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 odlaù 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 Freìsu (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.
Fig. 1. Polypropylene boxes of a modulatory type

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 odloèn na drvene police ili spakovan u neadekvatnu ambalaù (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 stiè 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 trijaà, zatim depo na
6] Monmorilonit (Montmorillonite Al2O3-4SiO2-H2O) jeste

vrsta gline fine granulacije, koja ima sposobnost da apsorbuje velike koli~ine vode. Moè se na}i na trì{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
DIANA #13
Sl. 2. Rekondicioniranje u depou u Le Muju
Sl. 3. Izgled depoa u Viltelu
Fig. 2. Reconditioning in the depot in Le Muy
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 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 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 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
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 odloèn 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 obeleàvanje kutija koji omogu}uje lak pristup i pronalaènje 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 odlaè na drvene palete, koje se postavljaju u odgovaraju}a leì{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 odlaè 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 odloène na najvi{e police doseù do instalacija i lampi. Na
ovom nivou predvi|ena je i radionica za konzervaciju. Trijaà, 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
102
problemima koji se susre}u u pojedinim depoima. Mogle

smo da zaklju~imo da su organizacija i vo|enje arheolo{kog
depoa vrlo sloèn proces, koji podrazumeva saradnju veli-
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 vaàn 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.

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
Ana @IVKOVI], konzervator

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 dràvnog 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 staà 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 staà ~inila je i poseta Laboratoriji za konzervaciju, restauraciju i istraìvanje 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 staà 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, montaù, 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.
î{}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,
104
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. î{}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).
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.
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-
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
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
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-
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.
Montaà (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 moè 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.
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 duè vreme provedu u presti`nim francuskim institucijama za{tite i edu-
106
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
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.
DIANA #13
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
na najizraènije 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 angaòvanja 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 staà
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 staà,
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 Dìki} (prvi sa desne strane)

sa studentima Odseka za konzervaciju fotografija INP-a
i profesorom @eromom Monijeom
Fig. 1. Veljko Dìki} (first from the right)
with students of the Department for Conservation
of Photography at INP and professor Jrome Monnier
108
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
posluè 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 staà 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 pruìla 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-
Sl. 2. Obuka u ateljeu za restauraciju fotografija u INP-u

Fig. 2. Training in studio for the restoration
of photographs of INP

restoration this year. The activities of Diana have 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
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, blaè re~eno, poèljno 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 Roè-Viole (Roger-Violet) bavi se digitalizaci-
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 istraìvanja. 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 zasluùje sistematsku brigu, s kojom se mora otpo~eti {to pre. Cilj mog staà,
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 aùriranu evidenciju kolekcija
u muzejima. Odmah nakon toga bilo bi neophodno napraviti i procenu stanja, koja bi posluìla 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 poèljno napraviti i valorizaciju fotografskih kolekcija po njihovom kulturnoistorijskom zna~aju, {to nam moè 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 sadràju, ali i po zna~aju za istoriju fotografije u Srbiji. Zbog toga, ako èlimo {to kompletniju za{titu
fotografskog nasle|a u Srbiji, ti kolekcionari moraju biti
uklju~eni u isti onaj sistem koji èlimo da primenimo u na{im muzejima.
Ivan CVEJI], konzervator

direktor Nove Vizantije, ~lan IIC
Zvezdana POPOVI], konzervator tehni~ar
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-
110
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

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
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.
112
Konzervatorski tretman
î{}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.

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. î{}enje povr{ine predmeta

i uno{enje elementa za konsolidaciju od drveta
Fig. 3 and 4. Cleaning of the surface
and consolidation with veneer pieces
Sl. 5. Popunjavanje o{te}enja u sloju preparature
punilom na bazi akrila
Fig. 5. Crack filing with acryl filler
113
DIANA #13
Sl. 6. Ornament iz kalupa
Sl. 7. Poliranje posrebrenog segmenta
Fig. 6. Ornament from the mould
Fig. 7. Polishing of silvered segment
Za{titni lak: lak na bazi Zappon laka, rastvorljiv u metil-hloridu i metanolu.
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.
***
Radionica je realizovana tako {to je svaka faza konzervatorskog tretmana propra}ena obja{njenjem i prakti~nom
demonstracijom postupka. Polaznici radionice bili su aktiv-
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, istraùju i prezentuju predmete materijalne i nematerijalne kulture, imaju jo{ jedan, podjednako vaàn 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
114
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
ìvota i stanovanja u rimskom periodu; rimski na~in stanovanja predstavljao je polaznu ta~ku za upore|ivanje s razli~itim aspektima ìvota 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 odràvaju 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

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.
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
***
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
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
Sl. 1. Konzervacija keramike

Fig. 1. Conservation of ceramics
bi dobila predstavu o izgledu predmeta. To im omogu}uje

da zatim brè 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 (ì{ci, {olje, fi{ pot,
pehari itd.). I ova radionica podrazumeva teorijska predavanja i prakti~an rad. Teorijska predavanja odràvaju 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
116
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 ìvota.
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 Udruènjem 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
DIANA #13
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
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
Sl. 5. Izvedene kopije i replike
Fig. 4. The casting technique
Fig. 5. The copies and replicas created
117
DIANA #13
u doba Rimljana jeste nastavak projekta Ishrana u pro{losti

i predstavlja jedan od programa ~ija je svrha upoznavanje
sa ìvotom 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 ìvota 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 predloàka. Nakon izvo|enja crteà 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], inènjer

Me|unarodni kulturni centar YUBIN
MULTIDISCIPLINARNA ISTRA@IVANJA U ARHEOMETRIJI

POÊTKOM APRILA 2007. GODINE u Istanbulu (Istanbul
Kltr University) odràn 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 istraìvanja 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 istraìvanja u kojima su prime-
118
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.
Istraìvanja 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.

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
Sl. 1. Radovi predstavljeni u okviru poster-sekcije

Fig. 1. Works presented within the poster-section
Veoma interesantni radovi odnosili su se na istraìvanje anti~kog srebrnog novca na tlu Albanije, istraìvanja
{tampe iz perioda Otomanskog carstva, zidnog slikarstva u
Rumuniji, rane metalurgije u Bugarskoj.
Radovi dva istraìva~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 istraìvanje 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 sadrìne, 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 istraìvanja bitno
suàvaju 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 istraìvanja, 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
120
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 (sadrìne),
koji oslikava spolja{nje opti~ke fenomene, na jednoj strani,
i konstruktivni aspekt, neku vrstu metafore ili formalizovane strukture koja sadrì nekonvencionalno, primereno re{enje, s druge strane.
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 istraìvanja, 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.

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
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 istraìva~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 BEÊVI]-[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, ê{koj Republici, Njema~koj, Ma|arskoj, Makedoniji, Moldovi, Crnoj Gori, Poljskoj,
Rumuniji, Srbiji, Slova~koj Republici i Sloveniji.
Na simpozijumu je bilo preko 120 u~esnika iz 22 zemlje.
Prvog i drugog dana simpozijuma odràna su predavanja o historiji i konzervaciji fotografija u zemljama regiona. Svaka
zemlja predstavila je i opisala historiju fotografije, va`ne fo-
122
tografske kolekcije i na~ine konzerviranja i za{tite fotografskih kolekcija. Tre}eg dana simpozijuma, osim predavanja
eminentnih stru~njaka iz oblasti konzervacije fotografija,
odràn 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 èljeza, 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

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 BEÊVI]-[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
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.
Moè se re}i da je cilj simpozijuma bio da on posluì 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 odràn 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 moè da primi veliki broj
ljubitelja umetnosti. Upravo zbog toga {to povezuje suprotnosti ta galerija je izabrana za mesto odràvanja 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.
124
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 istraìvanja 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 istraìvanja. 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

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.
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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
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DIANA #13
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 èljene 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 moè povezati. Kao primer
naveo je va`nost razvoja avio-industrije za arheologiju, {to
je ilustrovao zanimljivim snimcima Stounhendà iz balona,
nastalim 1906. godine, i snimcima iz aviona iz 2006. godine.
126
Ova metoda daljinske detekcije (analize terestri~nih avionskih i satelitskih snimaka) relativno je nova u istraìvanju
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 preìveti ovaj vek ukoliko se ne preduzmu mere za{tite. Kao jedan od primera navedeni su Rembrantovi
crteì 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.
Istraìva~i iz Italije govorili su o kori{}enju lasera pri
uklanjanju patine s bronzanih skulptura. Ta metoda se ve}
duè vreme primenjuje kod ~i{}enja predmeta od kamena,
dok to doskora nije bilo mogu}e na metalnim 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 odràne 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 druènje, {to se moè videti iz
priloène slike.
Istraìvanja predstavljena na ovom seminaru, kompletne informacije o u~esnicima, kao i fotografije, mogu se na}i na adresi: http://www.srs.ac.uk/scienceandheritage/

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

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 sadrìne 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.
128
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 sadràjno 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.
Merenje svetlosnog zra~enja u muzeju kurs o osvetljenju

u muzejima odrào je @an-@ak Ezrati iz Francuske
Monitoring of illumination in a museum, course on 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
DIANA #13
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
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 èle 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 mreè
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-
130
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 sadràju 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.
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/.
DIANA #13
Bezbednost u muzeju, ve`ba kurs su odràli

Adalberto Bijazioti, Italija, i Dragoslav Filipovi}, Srbija
Uticaj zaga|enja na muzejske predmete, ve`ba kurs

o zaga|iva~ima odrào je Morten Ril-Svendsen, Danska
Exercise on security in a museum, course held by

Adalberto Biasiotti, Italy, and Dragoslav Filipovi}, Serbia
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
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 uzdiè 10 spomenika, tematski povezanih s tragi~nim doga|ajem iz 1941. godine.
îtav kompleks moè se obi}i kru`nim asfaltnim putem,
dugim sedam kilometara. Pored toga, tu je i veliki broj pe{a~kih staza koje povezuju pojedine tematske celine.
Kulturno-istorijsko spomeni~ko nasle|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 ìvota. 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 odràvanje 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 èna Nada Naumovi}. Izveden je od jednog komada
belog mermera, a predstavlja mu{karca i ènu. Jedna figura
skrhana je bolom, dok druga stoji uspravno, izraàvaju}i na
taj na~in prkos smrti. Autor dela je vajar Ante Grèti}.
Slede}i spomenik na koji nailazimo kre}u}i se kroz
Spomen-park Kragujeva~ki oktobar posve}en je streljanim
132
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 odràva 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. îtavo
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
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/
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 Grèti} 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
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 ìvota 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 ìvotno 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 ìvot; glava
mu je na grudima. Iz figure se izdiè 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 Grèti}.
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, zaokruùje se jedna celina. Pomenuta skulptura prikazuje tri ène koje u crnoj marami drè
bebu, simbol novog ìvota 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.
Okruèno 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
pred prednje linije groblja na kojem su sahranjeni srpski i

okupatorski vojnici. Lav stoji na postolju s natpisom Pro
patria. Prikazan je kako leì, s glavom poloènom na prednje {ape, tako da izgleda kao da je na straì.
Grobnica pogubljenih Slovaka koji su 1918. godine podigli pobunu protiv Austrougarske monarhije nalazi se u
jugoisto~nom delu spomen-kompleksa. Slovaci su traìli 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 moè 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 breùljcima, 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 zasluùju 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 angaòvati turisti~ki menad`ment na njegovom
dodatnom afirmisanju.
Elementi valorizacije kao {to su turisti~ko-geografski
poloàj i uklopljenost u turisti~ke sadràje 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 poloàj, pa sama ambijentalna
celina moè biti kompatibilna s drugim turisti~kim vrednostima u bliòj 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 angaòvanje 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
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 Grèti}.
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
Prednosti
Slabosti
Mogu}nosti
Pretnje
KULTURNI TURIZAM
kulturno-istorijska ba{tina velikog zna~aja

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

turisti~kog razvoja Spomen-parka Kragujeva~ki oktobar.
Kroz princip intregrativne za{tite ba{tine sa odrìvim 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,
moè 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
STRUKTURA POSETILACA
BROJ POSETILACA
U~enici
142.328
Odrasli
35.712
Strani turisti
1.159
Doma}e delegacije (53)
993
Strane delegacije (212)
3.711
Ukupno
183.903
Registrovane posete Muzeju 21. oktobar

i Spomen-kompleksu Kragujeva~ki oktobar
od 2001. do 2007. godine1
136
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 pruà 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 odràti postoje}e stanje i ulaganjima stvoriti nove
sadràje, 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 moè 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 moè posluìti 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.
1] Podaci su dobijeni od slu`be za obradu podataka Muzeja

21. oktobar u Kragujevcu.
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
STRUCTURE OF VISITORS
NUMBER OF VISITORS
Students
142.328
Adults
35.712
Foreign tourists
1.159
Domestic delegation (53)
993
Foreign delegation (212)
3.711
Summary
183.903
Registered visits to the October 21st museum

and October of Kragujevac monument complex
from 2001 to 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
Strengths
Weaknesses
Opportunities
Threats
DIANA #13
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.
1] Statistics of Service data for museum October 21st in

Kragujevac.
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)
137
DIANA #13
REGIONALNA SARADNJA
Mila POPOVI]-@IVANÊVI], 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 leì 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 sadràja. 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 zaokruèni 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-
138
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
ugroène 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
REGIONAL COOPERATION
DIANA #13
Mila POPOVI]-@IVANÊVI], 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
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 èle da ~ekaju da se zvani~ni organi pojedinih dràva 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 leì 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 tiraù od 1.600 prime-
140
raka. Najzna~ajniju finansijsku pomo} pruìli su UNESCO-BRESCE i Narodni muzej u Beogradu. Pored toga, Narodni muzej je u velikoj meri doprineo da se tako sloèn 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 zaokruì}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 odrì od 9. do 13. novembra 2009.
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
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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 (poàr, poplava, kra|e,
vandalizam, rat).
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. Predloèno 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. Sadrìna 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 poàra, poplave i drugih
vanrednih prilika, aerozaga|enja, faktore propadanja. Reali-
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 sadràje
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, odràn 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 konzer-
Predavanje u okviru uvodne radionice, projekat

SEE TIEM-MEP, novembar 2007, Ohrid, Makedonija
Prakti~ni rad u okviru uvodne radionice, projekat

SEE TIEM-MEP, novembar 2007, Ohrid, Makedonija
A lecture during Introductory workshops SEE TIEM MEP,

November 2007, Ohrid, Macedonia
Exercise during Introductory workshops SEE TIEM MEP,

November 2007, Ohrid, Macedonia
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DIANA #13
Ve`ba u okviru zavrne radionice, projekat SEE TIEM-MEP,

oktobar 2008, Gornja Stubica, Hrvatska
Predavanje 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
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.
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.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.
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.
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REGIONALNA SARADNJA
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 leì 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), odràn tokom Generalne skup{tine ICOM-a
u Be~u. Cilj seminara bio je da se direktorima muzeja obja-
144
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 odràvanja 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
Studija izvodljivosti za Centralni institut za konzervaciju

Feasibility study for Central Institute for Conservation
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
DIANA #13
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.
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REGIONALNA SARADNJA
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
angaòvani 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 pruìli 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.
Ovaj vaàn 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 odràna 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, istraìvanja, 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.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.
I.12. Eksperimentalna arheologija

Tradicionalne proizvodnje keramike
Projekat koji je pokrenula i razvijala Dijana, a povezan s
nau~noistraìva~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 ukaù
na bliske kulturne i istorijske veze koje izme|u njih postoje.
Arheologija Balkana na ovaj na~in moè 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.
Kurs arheoloke konzervacije na lokalitetu DijanaKarata
Kurs arheoloke konzervacije u Sremskoj Mitrovici
Course on Archaeological conservation

on site DianaKarata
Course on Archaeological conservation

in Sremska Mitrovica
146
Konzervacija keramike
Sandra Dejvison
Conservation of ceramic
Sandra Davison
DIANA #13
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~noistraìva~kih institucija i fakulteta, kao i istraìva~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 ìvi 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 okruènju. Projekat }e tako|e pomo}i da se tradicionalni staklarski zanat postavi u okvir odrìvog razvoja i da se uklopi u savremeni ìvot lokalne zajednice, bez ugroàvanja 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 ìvotne 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 ìvotne sredine.
Radnu grupu za pokretanje i realizaciju projekta ~ine:
Draèn 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 Boìdar ]ur~i}, predsednik Uneskovog MAB komiteta Srbije.
I.15. Letnja {kola konzervacije Dijana
U realizaciji programa letnjih {kola konzervacije Dijana
zna~ajnu finansijsku pomo} pruàli 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).
148
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 istraìva~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 istraìvanja 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 pretraìvanje
sadràja 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} pruà Francuski kulturni centar u Beogradu.
are: Draèn Kotro{an from Bosnia and Herzegovina, Branislava Mihajlova from Macedonia and Ljiljana Proti} from
Serbia. It is planned to involve Professor Dr Boìdar ]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
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 okruènju
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~noistraìva~ki multidisciplinarni rad, preventivnu
za{titu, konzervatorski tretman, dokumentaciju, prezentaciju i marketing.
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 istraìvanje
dostupne dokumentacije i razli~itih informacija, istraìvanja 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 istraìvanja 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 odràvanjem 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,
Master iz preventivne konzervacije,

predavanje Gaela de Giana

ve`ba s Denijem Gimarom
Master studies in preventive conservation,

a lecture held by Gal de Guichen

exercise with Denis Guillemard
150
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

predavanje @an-@aka Ezratija
a lecture held by Jean-Jacques Ezrati
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.
151
DIANA #13
REGIONALNA SARADNJA
koja treba da pruì 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
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-
Studenti mastera ispred Prirodnja~kog muzeja u Beogradu
Grupa studenata mastera na pauzi
Students of Master studies in front of

a Museum of Natural History
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 brè 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.
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.
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 pruà pomo} u svim
oblastima dru{tvenog ìvota, pa i u kulturi. Kada je re~ o
muzejskim programima, on je ve} sproveden u Ma|arskoj,
ê{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
152
IV. KULTURNI TURIZAM

Program projekta kulturnog turizma izuzetno je vaàn 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 ìvot ugroàva potrebe budu}ih generacija i izvan je konteksta odrìvog 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 odrè radionice pod nazivom Uloga muzeja u odrìvom
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.

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Diana 13

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Dr Mila POPOVI]-@IVAN^EVI]

savetnik konzervator, {ef OPZ Dijana

THE WORD OF EDITOR

responsible institutions of government and protection

mnogim stru~njacima iz muzeja i institucija za{tite iz

Diana mostly realizes its programes and projects as

ARHEOLOGIJA I ISTORIJA UMETNOSTI

EDUKACIJA I STRU^NI SKUPOVI

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

Fabrizio AGO, architect and museologist, Italy

A WORKSHOP ON MUSEUM DESIGN

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

ura|eno, kao i napore koji su u~injeni da bi se to nasle|e

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

inestimably valuable relics, particularly in Ohrid Museum.

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

OBNOVA NARODNE LITIJE, ZAPISA

Stanje posle Drugog svetskog rata

krom Lugu su zabranjene. O tome nema sa~uvanih podataka

Mokrolu{ki zapisi s po~etka XIX veka do kraja

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

Mila KARAS, senior curator-pedagogue

PRESERVING THE SPIRITUAL HERITAGE OF SERBIA:

end of Second World War, even continuing during German

Situation after the Second World War

Zapis trees from Mokri Lug

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Nisu poznata ni imena ostalih streljanih, ali se zna da su

Obnavljanje litije i zapisa

Krsni hod litije na duhovski petak 2007. godine

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

The names of the other persons are unknown, but it is known

Sl. 1. Najstariji zapis u Malom Sl. 2. Zapis iz 1994

Sl. 3. Zapis iz 1994

Fig. 1. The oldest Zapis

Fig. 2. Zapis since 1994

Fig. 3. Zapis since 1994

Sl. 5. Najmla|i u~esnici litije

Sl. 6. Sa ikonom Svetog

Sl. 7. Mile{evski Beli an|eo

Fig. 5. The youngest

Fig. 6. With the icon of St.

Fig. 7. The White Angel

Sl. 4. Zapis iz 1998

Sl. 8. Diploma Muzi~ke

MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Sl. 9. Obi~ajno ki}enje

Sl. 10. Molitva sve{tenika

Molitva je ponovljena kod d`anarike (sl. 15), kao i kod

Sl. 11. Obnavljanje zapisa

Sl. 12. Na ~elu litije

Sl. 13. Ispred povorke

Sl. 14. Stariji me{tani

Sl. 15. Obnavljanje zapisa na

Sl. 16. Tre}a molitva ~ita se

Fig. 13. In front of the

Fig. 14. The community

Fig. 15. Renewal of Zapis

Fig. 16. The third prayer

MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE

Sl. 17. Krsni hod iza ^asnog

Sl. 18. I bake koje pamte