Journal 13 / 2017 (Museum of Applied Art. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Printed edition)
PDF of the printed edition (12.6 MB)
Editor in Chief: Ljiljana Miletić Аbramović, MA
Issue Editor: Jelena Perać, MA
Sarita Vujković, PhD (Academy of Arts, Banja Luka)
Marta Vukotić Lazar, PhD (Faculty of Philosophy, Priština)
Ljiljana Miletić Abramović, MA (Museum of Applied Art, Belgrade)
Jelena Perać, MA (Museum of Applied Art, Belgrade)
Јelena Popović (Museum of Applied Art, Belgrade)
Vladimir Simić, PhD (Faculty of Philosophy, Belgrade)
Maja Studen, MA (Faculty of Applied Arts, Belgrade)
Issue Editorial Assistant: Jelena PopovićAll the papers in the sections Contributions, Polemics, Critic Reviews and Reviews are peer reviewed.
Sarita Vujković, Ph.D., Assistant Professor, University of Banja Luka, Academy of Arts – Graphic Design Department
Marta Vukotić Lazar, Ph.D., Assistant Professor, University of Priština, Faculty of Philosophy – History of Art Department
Tatjana Dadić Dinulović, Ph.D., Professor, University of Novi Sad, Faculty of Technical Sciences – Chair of Applied Arts in Architecture and Design
Slobodan Jovanović, Senior Curator, Museum of Applied Art, Belgrade
Sylvie Legrand-Rossi, Chief Curator, Museum Nissim de Camondo, Paris, France
Draginja Maskareli, Senior Curator, Museum of Applied Art, Belgrade
Ljiljana Miletić Abramović, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Jelena Perać, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Mirjana Prošić Dvornić, Ph. D., Professor, Northwood University, Midland, Michigan, USA
Radosav Pušić, Ph.D., Professor, University of Belgrade, Faculty of Philology – Oriental Languages, Literatures and Cultures
Maja Studen, MA, Associate Professor, University of Arts in Belgrade, Faculty of Applied Arts – Costume Design Department
Vladimir Simić, Ph.D., Assistant Professor, University of Belgrade, Faculty of Philosophy – History of Art Department
Rastko Ćirić, Professor, University of Arts in Belgrade, Faculty of Applied Arts – Applied Graphics Department
Biljana Crvenković, Senior Curator, Museum of Applied Art, Belgrade
Contents of the Jouurnal 13 / 2017 (Museum of Applied Art. Online)
AUCTION-INDUCED FORGETTING: the Question of Alienated and Expatriated Legacy of the House of Obrenović
The sales of dynastic effects on domestic soil were but an overture to a far wider auction activities abroad. Thus, on 8 December 1904, Queen Draga's property, consisting of costumes and jewels, was auctioned at Christie's of London, in favour of the late queen's sisters. It sparked interest among bidders and merchants trading in luxuries, who were attracted by the possibility of adding unique items to their collections, whose high-quality craftsmanship was granted by the fact that they had once belonged to a royal persona. Nevertheless, despite the initial pomp, the prices realised were far below expectation.
The subsequent sale at the Viennese Dorotheum, from 10 to 16 October 1905, was not only the largest in terms of quantity of the Obrenović memorabilia, but also in number of items offered to this auction house up to that point. Comprised of complete suites of furniture, silver, glass, and porcelain services, decorative objects, gifts of crowned heads and statesmen, and works of art, this auction was unparalleled in attesting to the court culture during the reign of the last Obrenović rulers. It was initiated for fundraising purposes by Queen Nathalie, but motives of a more personal nature – primarily, the necessity of forgetting the tragic past these articles evoked – prompted her to make such a decision, the decision which has once again underlined that the meanings with which we invest objects most often prevail over their artistic and utility features.
Though on a much smaller scale, assets related to members of the House of Obrenović have continued to be subject to trade and auction transfers over the course of the 20th and into the 21st centuries. Rare instances in which a portion of the 'expatriated' legacy managed to find its way back to Serbian museum collections are primarily the result of private initiatives, rather than due to a wider cultural platform.
MUSEUM OF APPLIED ART IN BELGRADE AND THE BEGINNINGS OF FASHION MUSEOLOGY IN SERBIA: Department of Textile and Costume 1950–1980
Over the years, the Department's fashion collection was supplied with new items through purchase and gifts. The acquisitions included clothing items such as gowns, cloaks, underwear and suits, as well as various accessories: caps, hats, head adornments, footwear, belts, bags, umbrellas, handkerchiefs, walking sticks or business card boxes. The acquisition policy was primarily focused on the items of Serbian provenance, although the collection also included objects from other regions and cultures. This period was completed and closed in 1980 by a major study exhibition curated by Dobrila Stojanović – Urban Dress in Serbia in the 19th and Early 20th Century. Together with the extensive exhibition catalogue, it is still a reference point for further study of the history of Serbian fashion. From today's perspective, it can be concluded that the Museum achieved significant results in this pioneering work, providing a solid foundation for the modern development of museology in general and particularly fashion museology.
CONTEMPORARY CURATORIAL PRACTICES AND STAGE DESIGN
MARIJA DRAGOJLOVIĆ: a Retro-View on a Family Photo Archive
This is, in brief, the procedure used in creating Marija Dargojlović's paintings from the series Nostalgia and Fragments of Time, exhibited in galleries and museums in Novi Sad, Subotica, Belgrade and Banja Luka in 2015 and 2016. The above-mentioned multimedia works should be seen as artefacts and relics of a family history, transferred to the repository of postmodern art after these interventions. The retro-perspective and empathy for the family photo archive, extended to the public space of galleries and museums, endowed the painting workshop of Marija Dragojlović not only with retro-techniques, such as retouching, rephotographing and enlarging analogue photographs, but also with an intention to shape a new visual format: a profane family icon.
TRACING THE ORIGINS OF A DECORATION: from a Parisian Mansion toArt Objects. Exchanges among European Workshops in the 17th Century
La Suite de pièces ornementales, un recueil de douze planches, signé par François Bignon (ca.1620-post1668) et Zacharie Heince (1611–1669), semble s'inspirer des décors de l'hôtel parisien du chancelier Pierre Séguier (1588–1672). Aujourd'hui disparu, l'hôtel Séguier fut réaménagé au milieu du XVIIème siècle. En quelques années, ces décors furent repris par les artisans de deux centres de production de céramiques parmi les plus importants en Europe aux XVIIème et XVIIIème siècles: Nevers et Castelli.
La ville de Nevers, située au centre de la France, a pu profiter d'une position stratégique, au milieu des routes commerciales entre Paris et Lyon. Les recherches récentes confirment que les artisans nivernais étaient très actifs sur le chantier versaillais. En Italie, les céramistes de Castelli utilisent, aux mêmes dates que leurs homologues français, les sujets de la Suite de pièces ornementales. Il s'agit d'une trace des contacts existants entre les deux ateliers, confirmés par le partage d'autres sources iconographiques inattendues.
Počev od XVII veka, francuska umetnost prolazi kroz proces transformacije koja se odvija u znaku istinske autonomije, pre svega u odnosu na italijanski model. Kraljevska moć Luja XIV (1638–1715) i izgradnja grandioznog zdanja kao što je Versajska palata najpotpuniji su izraz ove emancipacije. Novi dekorativni modeli razvijeni u radionicama francuske prestonice, koji su se koristili i prilikom preuređivanja aristokratskih rezidencija, uticali su i na dekorativne umetnosti i izvan državnih granica.
Izgleda da je Niz ornamentalnih scena (Suite de pièces ornementales), serija od dvanaest grafičkih listova koje potpisuju Fransoa Binjon (François Bignon, oko 1620–1668) i Zahari Ens (Zacharie Heince, 1611–1669), inspirisana pariskim privatnim zdanjem kancelara Pjera Segjea (Pierre Séguier, 1588–1672). Kuća porodice Segje, koja danas više ne postoji, preuređena je sredinom XVII veka. Tokom nekoliko godina, ukrašavanje ove zgrade preuzele su zanatlije iz dva centra za proizvodnju keramike, Nevera (Nevers) i Kastelija (Castelli), koji su u XVII i XVIII veku spadali u najznačajnije evropske centre u ovoj oblasti proizvodnje.
Grad Never, u centralnoj Francuskoj, iskoristio je strateški položaj na raskrsnici trgovačkih puteva koji spajaju Pariz i Lion. Rezultati novijih istraživanja potvrđuju da su zanatlije iz Nevera bile veoma aktivne na versajskom gradilištu. S druge strane granice, u Italiji, keramičari iz Kastelija koriste teme iz Niza ornamentalnih scena u isto vreme kada i njihove francuske kolege iz Nevera. To je još jedan trag kontakata koji su postojali između ove dve radionice, a koji su potvrđeni i uvidom u druge, krajnje neočekivane ikonografske izvore.
The Suite of Ornamental Pieces (Suite de pièces ornementales), a set of twelve engraved plates, signed by François Bignon (ca. 1620 – after 1668) and Zacharie Heince (1611–1669), seems to be inspired by the decorations made in the mid-17th century in the Parisian mansion of the chancellor Pierre Seguier (1588–1672) which are now non-existent. In the following years, these patterns were adopted by craftsmen in the two most important European centres of pottery production in the 17th and 18th centuries: Nevers and Castelli.
The city of Nevers, in central France, benefited from a strategic location close to trade routes, halfway between Paris and Lyon. Moreover, recent research proves that the artisans of Nevers were active participants at the construction site of Versailles. At the same time, the Italian potters working in Castelli introduced subjects from the Suite. This study tracks the contacts and active communication between the two studios, confirmed by the fact that they shared other unexpected iconographic sources.
A GUILD BOOK COVER OR A LUXURIOUS MEMORIAL ALBUM? Contribution to the Study of Luxury Bookbinding
The thorough analysis of the object has brought to light new data. The discovery of legends in German, inscribed on the background of all four miniatures, has made it possible to explain the miniature scenes in medallions; they represent Commerce (Handel), Banking (Bankhaus), Accounting (Buchhaltung, Beamte), and Industry (Industrie). During the research, close analogies were found in a group of bindings designed as decorative albums in the collections of the Austrian National Library in Vienna, the Museum of Applied Art in Budapest, and the Museum of Vojvodina in Novi Sad. The analogies have enabled the author of the article to identify the luxurious binding as a memorial album made as a gift to an unidentified owner of the monogram and to establish the identity of the craftsman who made it. It was József Morzsányi, the leading bookbinder and medalist in Budapest, active from 1870 until the late 1930s. The author also argues that the painter of the miniatures may have been Ernst August Krahl (1858–1926), a German painter who resided in Vienna, but was comissioned to design a throne chair for the Hungarian Millenial Exposition in 1896, the very year the album in the Jagodina museum is dated to.
ZAOGRNUTI SREĆOM: japanski štampani dezeni za tekstil sa kineskim amuletima u zbirci Biblioteke Muzeja kostima u Madridu
Donji deo dezena ukrašen je božurima i leptirima na žutoj pozadini. I cvetovi i insekti imaju simboličko značenje.
U gornjoj zoni dezena nalazi se osam amuleta. Prema istočnjačkim predanjima, osam je broj koji donosi sreću i vezuje se za večnost. Svi amuleti prikazani na otisku jesu amajlije u obliku novčića; kružnog su oblika, kao i novčići, a na sredini imaju prorez, iako na njima nema numizmatičkih natpisa, nego su ukrašeni likovnim predstavama i kratkim tekstovima za koje se verovalo da donose sreću. Zanimljivo je da su prikazani amuleti zaista postojali. To su predstave pravih kineskih amuleta iz dinastije Sung (960–1279). U radu se analiziraju svi prikazani amuleti, kao i njihova značenja.
Svrha ovog kompleksnog dezena, jednog od najsloženijih u čitavoj zbirci hinagata-bon knjiga iz Muzeja kostima, ne može se sa sigurnošću utvrditi. Ipak, imajući u vidu mnoštvo simboličkih elementata, verovatno se koristio za svadbenu odeću. Životinje i cveće, magijski zapisi i stihovi iz klasične kineske književnosti prizivaju lepe želje i magijsku zaštitu koji su sasvim prikladni za svadbene tkanine.
BECOMING-A-TITLE-SEQUENCE: Digital Animation in Television Series Title Sequences