Zbornik 13 / 2017 (Muzej primenjene umetnosti. Online)

ISSN 2466-460X (Online)

ISSN 0522-8328 (Štampano izdanje)
PDF štampanog izdanja (12.6 MB)

Glavni i odgovorni urednik: mr LJiljana Miletić Abramović

Urednik broja: mr Jelena Perać

Uređivački odbor:
dr Sarita Vujković (Akademija umjetnosti, Banja Luka)
dr Marta Vukotić Lazar (Filozofski fakultet, Priština)
mr LJiljana Miletić Abramović (Muzej primenjene umetnosti, Beograd)
mr Jelena Perać (Muzej primenjene umetnosti, Beograd)
Jelena Popović (Muzej primenjene umetnosti, Beograd)
dr Vladimir Simić (Filozofski fakultet, Beograd)
mr Maja Studen (Fakultet primenjenih umetnosti, Beograd)

Sekretar redakcije broja: Jelena Popović

Svi tekstovi u rubrikama Prilozi, Polemike, Kritike i Prikazi se recenziraju.
Lista recenzenata:
Doc. dr Igor Borozan, Univerzitet u Beogradu, Filozofski fakultet – Odeljenje za istoriju umetnosti
Doc. dr Sarita Vujković, Univerzitet u Banja Luci, Akademija umjetnosti – Smer Grafički dizajn
Doc. dr Marta Vukotić Lazar, Univerzitet u Prištini, Filozofski fakultet – Odeljenje za istoriju umetnosti
Prof. dr Tatjana Dadić Dinulović, Univerzitet u Novom Sadu, Fakultet tehničkih nauka – Katedra za umetnost primenjenu u arhitekturi, tehnici i dizajnu
Slobodan Jovanović, viši kustos, Muzej primenjene umetnosti, Beograd
Silvi Legran – Rosi, glavni kustos, Muzej Nisim de Kamondo, Pariz, Francuska
Draginja Maskareli, viši kustos, Muzej primenjene umetnosti, Beograd
Mr LJiljana Miletić Abramović, muzejski savetnik, Muzej primenjene umetnosti, Beograd
Mr Jelena Perać, muzejski savetnik, Muzej primenjene umetnosti, Beograd
Prof. dr Mirjana Prošić Dvornić, Univerzitet Nortvud, Midlend, Mičigen, SAD
Prof. dr Radosav Pušić, Univerzitet u Beogradu, Filološki fakultet – Katedra za orijentalistiku
Prof. mr Maja Studen, Univerzitet umetnosti u Beogradu, Fakultet primenjenih umetnosti – Odsek Kostim
Doc. dr Vladimir Simić, Univerzitet u Beogradu, Filozofski fakultet – Odeljenje za istoriju umetnosti
Prof. Rastko Ćirić, Univerzitet umetnosti u Beogradu, Fakultet primenjenih umetnosti – Odsek Primenjena grafika
Biljana Crvenković, viši kustos, Muzej primenjene umetnosti, Beograd

Časopis je indexiran:

Sadržaj Zbornika 13 / 2017 (Muzej primenjene umetnosti. Online)

O Zborniku
About Journal
AUKCIJSKI ZABORAV: pitanje otuđene i ekspatrisane zaostavštine dinastije Obrenović
AUCTION-INDUCED FORGETTING: the Question of Alienated and Expatriated Legacy of the House of Obrenović
Destrukcija i otuđenje materijalnih svedočanstava sastavni su deo aktivnog zaborava u uslovima kada kulturnu politiku diktira rezon ustoličen ishodom radikalnih društveno-političkih previranja. Tako je i „vartolomejskom“smenom na srpskom prestolu 1903. primat često ustupan ideološkim slojevima dokumen
Ključne reči:
заоставштина Обреновића, аукција, заборав, експатријација, репатријација
Destruction and alienation of heritage traces are an integral part of active forgetting introduced by the outcome of political overthrows. In determining the status of the legacy of the House of Obrenović in the aftermath of the 1903 change of rulling dynasty on the Serbian throne, an analogous raison d'être was put into force. Following the bloody coup, a large amount of movable goods of the deposed royal house was either vandalised or plundered, either ended up as auction lots.

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.
Modne izložbe u velikim muzejskim centrima danas dobijaju status blokbastera, dok veliko interesovanje za muzealizaciju mode, koje vlada u domaćoj i međunarodnoj stručnoj javnosti, ukazuje na potrebu za istorizacijom ove oblasti. Rad prati i analizira ulogu Muzeja primenjene umetnosti u Beogradu u poč
Ključne reči:
мода, музејске колекције, историја моде, музеализација моде, Музеј примењене уметности у Београду
Fashion exhibitions in large museum centres nowadays get the blockbuster status, whereas the great interest in including fashion in museums, which can be observed both among the local and international professional audiences, highlights the need for a historical analysis of this area of study. The study tracks and analyzes the role of the Museum of Applied Art in Belgrade in the earliest period of fashion museology in Serbia. The Museum of Applied Art was founded in 1950 as the first specialized museum of this type in Serbia. The Department of Textile and Costume was established on the same occasion. Its first curator was the art historian Dobrila Stojanović. Along with collection building and sistematization, during the first three decades, the activities of the Department of Textile and Costume included various exhibitions and accompanying programmes. The first thematic museum exhibition dedicated to fashion in Serbia, Women's Fashion from the mid- 19th Century until the 1930s, was organized in 1966.

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.
Ovaj prilog ukazuje na teorijske postavke termina scenski dizajn i njegovog proučavanja u našoj sredini, kao i kustoske prakse koje su se razvijale u saradnji s Muzejom primenjene umetnosti u Beogradu u okviru Bijenala scenskog dizajna (1996–2006), prateći kulturnu produkciju u našoj zemlji k
Ključne reči:
Бијенале сценског дизајна, кустоске праксе, Прашко квадријенале, Србија, сценски дизајн
As a complex artistic and cultural practice, stage design lies at the crossroads of at least two research areas within the framework of culture (art) studies: visual culture studies and performing arts studies, as a discursive area focused on the (artistic and theoretical) problem of stage performance. This makes it an exceptionally complex area of applied art and a research subject that requires expertise from all of the abovementioned fields. Nevertheless, in the modern culture of the West, the development of theatre has traditionally implied the dominance of the drama text over other "stage texts" (including stage design), which has resulted in neglecting the visual component in performing arts and the status of stage design as a "less important" art field. The first section of the paper outlines the genesis of the term stage design, sets the theoretical platform for its use in the local context and examines the historical genesis of this paradox. The second section presents an analysis of the curatorial practices developed in collaboration with the Museum of Applied Art in Belgrade within the framework of the Biennial of Stage Design (1996–2006), while tracking the country's cultural production, developed under the circumstances of acute social crisis and its consequences. At the same time, the paper identifies the reasons for the success (and failure) of this project dedicated to the improvement of professional standards in performing arts in the local context. The paper also discusses the theoretical concepts underlying the conceptualization of new curatorial practices in the field of stage design. The Prague Quadrennial, the world's largest exhibition dedicated to stage design, is discussed in the third section of the paper as a specific laboratory of contemporary curatorial practices in this field. It also traces its historical development and changes in the exhibition practices and the curatorial approaches to the selection process for the Prague Quadrennial. The exhibition practices associated with stage design in the local context (and their ups and downs) are thereby set in a wider, contemporary context of the global(ized) world of performing arts.
MARIJA DRAGOJLOVIĆ: retro pogled na porodični arhiv slika
MARIJA DRAGOJLOVIĆ: a Retro-View on a Family Photo Archive
Marija Dragojlović, umetnica koja sa svakim novim umetničkim projektom preispituje granice slike, ukazala je na mogućnosti sinteze dva različita vizuelna jezika: analogne fotografije i crteža. U ciklusima slika Nostalgija (2005) i Fragmenti vremena (2015), ona je komplikovanim postupcima aproprijaci
Ključne reči:
Марија Драгојловић, фотографија, слика, породични архив слика, постмодерна, меморија
According to the manuals for the safeguarding of archival materials, the primary task of all guardians of family photo archives is to provide at least three copies for selected images and to place them in different places. Marija Dragojlović fully complies with this instruction. Therefore, she had her old family photos rephotographed by the master of modern photography, Vlada Popović. The rephotographing process was carried out as a retro-technique, as an analogue photography procedure in a period marked by the dominance of digital images. Meticulous interventions using colour pencils in the final stage of "refurbishing", or retouching, shape the coloured structure of the final image, which far outstrips the format of photo albums and private histories in pictures.

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.
A partir du XVIIe siècle, l'art français est engagé dans un processus de transformation sous le signe d'une véritable autonomie, notamment face au modèle italien. Le pouvoir monarchique de Louis XIV (1638–1715) et le chantier grandiose de Versailles sont l'expression la plus aboutie de cette émancipation. Les nouveaux modèles décoratifs conçus par les ateliers de la capitale française, utilisés également pour le réaménagement de résidences aristocratiques, influencent aussi les arts décoratifs, même au-delà des frontières nationales.

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.
Ključne reči:
architecture, céramiques, décor d'intérieur, hôtel particulier, Pierre Séguier / архитектура, керамика, унутрашња декорација, градска приватна здања, Пјер Сегје
In the 17th century, French art came through a campaign of renewal and emancipation from Italian artistic models. The artists of this period, mainly working at the construction site of Versailles, sought to disseminate new models, already tested when furnishing aristocratic residences. These new decorative models, developed in the studios of the French capital, also affected the development of decorative arts, even beyond the borders of France.

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.
POVEZ ESNAFSKE KNJIGE ILI LUKSUZNI SPOMEN ALBUM? Prilog izučavanju unikatnog knjigoveštva
A GUILD BOOK COVER OR A LUXURIOUS MEMORIAL ALBUM? Contribution to the Study of Luxury Bookbinding
U članku se obrađuje muzejski predmet koji se dugo smatrao Esnafskom knjigom za varoš Jagodinu. Reč je o bogato opremljenom povezu od štavljene kože, pozlaćenog okvira od mesinga izvedenog u livu i perforaciji, sa ukrasima od višebojne paste u emajlu i četiri kružna medaljona sa minijaturama u akvarelu. Na gornjoj korici je kartuš sa troslovnim monogramom i lentom sa ugraviranim godinama 1874–1896. Nakon analize predmet se ukazao u novom svetlu: nakon što su otkrivene legende na nemačkom jeziku na poleđini minijatura, postala je jasnija ikonografija medaljona, dok je uočavanje analogija u grupi spomen albuma darivanih članovima društvene elite pomoglo prilikom utvrđivanja identiteta autora poveza: bio je to Jožef Moržanji (József Morzsányi), jedan od vodećih budimpeštanskih dizajnera, knjigovezaca i medaljera u periodu od 1870. godine do poznih tridesetih godina XX veka.
Ključne reči:
повез, књиговештво, албум, минијатура, Јожеф Моржањи (József Morzsányi)
The paper deals with an object long considered to be a guild book of the town of Jagodina; it is kept in the Regional Museum in Jagodina. It has the form of a luxurious leather binding framed in gilt brass with cast and pierced ornaments, additionally adorned with floral designs in multicolored enamel paste and four medallions in the corners with miniatures painted in watercolour. The central position on the front cover is occupied by an elaborate cartouche containing a monogram with three letters “PJC“ in blue, white and red. Below the letters, there is a metal ribbon engraved with the years 1874–1896.

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.
WRAPPED IN LUCK: a Japanese Textile Design with Chinese Amulets in the Collection of the Costume Museum Library (Madrid)
ZAOGRNUTI SREĆOM: japanski štampani dezeni za tekstil sa kineskim amuletima u zbirci Biblioteke Muzeja kostima u Madridu
The Costume Museum Library in Madrid holds an exquisite collection of old Japanese textile design books or hinagata-bon. The paper discusses in detail an interesting print from one of these books, a volume of the Nihon (“Japan”) series, printed in Kyoto on the first day of the tenth month of the 37th year of the Meiji era (1 October 1904). The design includes several coin-shaped amulets of Chinese origin and is laden with an intricate symbolism. Animals and flowers, magical inscriptions and lines from the Chinese Classics conjure up the idea of good wishes and magical protection for the textile design, which was probably intended to serve as a wedding gift and an auspicious present.
Key words:
Japan, China, textiles, amulets, design books
U zbirci Biblioteke Muzeja kostima u Madridu čuva se izuzetna zbirka starih japanskih knjiga sa štampanim dezenima za tekstil – hinagata-bon. Štampane su početkom XX veka, a svrstavaju se u tri različite serije: Shima shima (縞縞, Pruge), Keika zuan (京華図案, Kjotski dezeni) and Nihon (日本, Japan). U ovom radu detaljno se analizira otisak a iz jednog od tri toma iz serije Nihon.

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.
POSTAJANJE-ŠPICOM: digitalna animacija u uvodnim špicama televizijskih serija
BECOMING-A-TITLE-SEQUENCE: Digital Animation in Television Series Title Sequences
U radu interpretiramo poetike digitalne animacije u uvodnim špicama televizijskih serija novije produkcije koje prikazuju delezovski (Gilles Deleuze) čin postajanja, odnosno proces promene flukseva svesti ili oblika neke jedinke, predmeta ili partikule. Postajanje u uvodnim špicama serija predstavljeno je, najčešće, digitalnom animacijom koju realizuju timovi od nekoliko desetina autora u okviru produkcijskog studija. U ovom radu razmatraju se uvodne špice u kojima se predstave ljudi, životinja, teksta, predmeta ili raznih pojava, digitalnom animacijom transformišu u neki novi vid postojanja. Autori špica koriste nasleđe raznorodnih vizuelnih umetnosti da bi stvorili nove narative, imanentne digitalnoj animaciji u uvodnim špicama televizijskih serija. Na ovaj način, špice serija, kao integralni oblik primenjene umetnosti koji služi da najavi pojedinu seriju, ispunjavaju svoju ulogu na sasvim nov komunikacijski način, pri čemu istovremeno teže da postanu samostalno umetničko delo.
Ključne reči:
дигитална анимација, постајање, телевизијска серија, уводна шпица, Патрик Клер
The improved production quality of drama series in the early 2000s, primarily on American cable television networks such as HBO, Showtime, AMC, Starz and FX, and, recently, on streaming websites, such as Hulu, Netflix and Amazon, has been accompanied with an improved environment for designing TV series title sequences. In collaboration with the authors of TV series, teams consisting of several dozen authors are engaged by production studios; they are led by designers and directors of title sequences who use digital animation to show the period in which the events presented in the series unfold and the changing fluxes of consciousness in the main characters and relationships among them during the series. This change is an important aspect of Deleuze's concept of becoming, which implies the movement of one form of life, the condition of an object or the way of thinking about another, the pursued one. The intention of the authors of title sequences is to symbolically depict, in a condensed art form and using digital animation, the deviation to which characters or objects are subject in the process of becoming in the series. Furthermore, the authors of TV series title sequences use the heritage of diverse visual arts to create new narratives, immanent to digital animation in TV series title sequences. In this way, a title sequence, as an integral form of applied art that announces a series, fulfils its role in a completely new way in terms of communication, while at the same time seeking to become an independent work of art.