Journal 15 / 2019 (Museum of Applied Art. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Printed edition)
PDF of the printed edition (3.3 MB)
Editor in Chief: Ljiljana Miletić Abramović, МА
Issue Editor: Andrijana Ristić, МА
Jelena Erdeljan, PhD (University of Belgrade, Faculty of Philosophy, Belgrade)
Claudia Casali, PhD (International Museum of Ceramics; Faenza, Italy)
Miroslav Karić (Remont – Independent Artistic Association, Belgrade)
Slobodan Danko Selinkić (University of Novi Sad, Faculty of Technical Sciences, Novi Sad)
Ljiljana Miletić Abramović, МА (Museum of Applied Art, Belgrade)
Slobodan Jovanović (Museum of Applied Art, Belgrade)
Andrijana Ristić, МА (Museum of Applied Art, Belgrade)
Issue Editorial Assistant: Slobodan JovanovićAll the papers in the sections Contributions, Polemics, Critic Reviews and Reviews are peer reviewed.
Mila Gajić, Senior Curator, Museum of Applied Art, Belgrade
Slobodan Jovanović, Senior Curator, Museum of Applied Art, Belgrade
Professor Dragan Jocić, PhD, University of Belgrade, Faculty of Technology and Metallurgy – Department of Textile Engineering
Miroslav Karić, Independent Curator, Belgrade
Vesna Lakićević Pavićević, Independent Curator, Belgrade
Čedomila Marinković, PhD, Independent Researcher, Belgrade
Ljiljana Miletić Abramović, Museum Advisor, Museum of Applied Art, Belgrade
Milorad Mladenović, PhD, Associate Professor, University of Belgrade, Faculty of Architecture – Department of Architecture
Draginja Maskareli, Senior Curator, Museum of Applied Art, Belgrade
Bojan Popović, PhD, National Museum in Belgrade
Zoran Rakić, PhD, Associate Professor, University of Belgrade, Faculty of Philosophy – Department of Art History
Mirjana Roter Blagojević, PhD, Associate Professor, University of Belgrade, Faculty of Architecture – Department of Architecture
Predrag Terzić, PhD, Associate Professor, Singidunum University in Belgrade, Faculty of Media and Communications – Department of Digital Arts
Aleksandar Čučković, PhD, Professor, University of Novi Sad, Faculty of Economics in Subotica – Department for European and International Cooperation and Business
Jasmina Čubrilo, PhD, Associate Professor, University of Belgrade, Faculty of Philosophy – Department of Art History
Contents of the Jouurnal 15 / 2019 (Museum of Applied Art. Online)
ACCESSORIES ON THE PORTRAITS OF SERBIAN NOBILITY IN THE MIDDLE AGES
DRESSING AND IDENTITY: Representations of Lay Ktetors in Serbian Painting of the 16th and 17th Centuries
The clothing of male lay ktetors depicted in Serbian painting has all the elements of the civic dress of the higher social strata in the 16th and 17th centuries. It consisted of a white collarless shirt, a kaftan opened at the front and fastened with small buttons, with a firm large collar; a wide belt made of textile, tied in the front in a large knot; the upper part of their garments is long and wide, in the form of a robe or a coat with the sleeves slit under the armpits, often decorated with expensive fur. In some cases, the clothing is complemented by a cap. In terms of dress, besides certain milder influences from the West, the portraits of laymen ktetors – represented mainly on frescos – mirror the clothing practices of prominent members of the Ottoman society. This is due to the fact that there was an ideal model of a Levantine-Balkan citizen, although ktetor representations do have some extraordinary portrait features. A comparative analysis juxtaposing these ktetor portraits with others from the territory of the Balkans seems to confirm the hypothesis about the emergence of syncretism in culture, as well as the role of dressing as a factor of identity and means of social communication.
FROM CONCEPTUAL TO DIGITAL PHOTOGRAPHY
POZICIJA ISTRAŽIVANJA ZANATA I PRAKTIČNOG ISTRAŽIVANJA UNUTAR AKADEMSKOG SVETA: utemeljena teorija problema i rešenja
By generating a grounded theory about the field of craft- and practical research in Sweden, the field can be discussed and understood as a part of the academic world. The generated theory shows that the main concern for researches within the field is a lack of acceptance of their research by other parts of the scientific community. The grounded theory highlights four important areas that need to be established and discussed within the field itself and with the rest of the academic world. This is important in order to understand and accept practical knowledge as a base for both theory and method in scientific research. These areas are: economy, scientific validity, communication and research purpose.
The finished theory and theoretical model can be used as a tool for growing the potential of practical research within the field of applied arts and for gaining acceptance from the broader scientific community. The theory is grounded in the Swedish field of practical research, but it can also be used in the international context and be modified thereafter.
U okviru generisane teorije o oblasti Praktičnog istraživanja u Švedskoj, više od bilo čega drugog razmatra se znanje praktičnog istraživača, njegov identitet i važnost prihvatanja od strane ostatka akademskog sveta. Osim toga, razmatraju se i pitanja u vezi sa načinom na koji istraživači unutar oblasti mogu da dopru do željenog nivoa prihvatanja. Generisana teorija se sastoji iz šest kategorija, pri čemu su sve one važne za praktične istraživače i Praktično istraživanje u okviru akademskog sveta. Ova teorija se može porediti sa tkaninom u kojoj su osnovne kategorije, naime Ekonomija, Naučna validnost, Komunikacija i Svrha istraživanja, međusobno isprepletane kroz teoretski okvir i kategoriju Znanje u praksi – identitet praktičnog istraživača. Ovaj teoretski splet predstavlja model za razumevanje i za rad sa važnom središnjom kategorijom teorije – Prihvatanjem. Teoriju, kao model za razumevanje oblasti Praktičnog istraživanja, mogu koristiti kako ljudi koji su deo pomenute oblasti, tako i oni koji to nisu. U okviru ove studije se istražuje oblast Švedske, ali je i ovu, kao i bilo koju drugu Utemeljenu teoriju, moguće modifikovati, proširivati ili koristiti kao osnovu za dalja istraživanja ili kao drugi izvorni materijal. Kao takva, može biti korisna i u međunarodnom kontekstu. Oblasti se mogu razlikovati od zemlje do zemlje, ali i ne moraju. To treba da otkrije neki novi istraživač, a ova studija mu, nadam se, u tome bar malo može pomoći.
JOURNAL CRTEŽI – DRAWINGS (1956 – 1965): The Significance of Affirmation of Artistic Expression among the Teachers and Students of the Faculty of Architecture of the University in Belgrade
THERMOCHROMIC INKS IN APPLIED ARTS AND DESIGN
Textile designers Linda Worbin, Joanna Berzowska and Maggie Orth study smart materials and interactive textiles. Within the projects, which have been analysed in this work, they develop methodologies for working with dynamic patterns on textiles equipped with smart systems. Experiments conducted by the mentioned authors aim both to explore expressive possibilities of fabrics in terms of colour dynamics and to develop innovative methods as well as their application possibilities when working with electronic textiles and reactive garments.
Design studio NunoErin (Nuno Goncalves Ferreira and Erin Hayne) and German architect Jürgen Mayer are interested in thermosensitive materials used in the field of furniture and interior design. One of the most interesting findings of NunoErin is the fact that thermochromic materials have both functional and therapeutic effect on children with special needs. Jürgen Mayer also involves the viewer, i.e. participant as a focal point of his work, placing him/her in the central part of his installations.
One of the materials that serve as the basis for observation of design and thermochromism in this work is the leather (being the substantial material). The wide scope of research and experimenting on upgrade of the leather surface using thermochromic inks represents a challenge in terms of art and technology, and indicates the elaborate design process in upgrade of the leather surface while forming the unique aesthetic unity.
PROFESSIONAL CONTRIBUTION TO PROBING AND RESEARCH WORKS, CONSERVATION AND RESTORATION OF ICONS DEESIS WITH ST NICHOLAS, ST SPYRIDON AND ST DANIEL THE STYLITE FROM THE MUSEUM OF APPLIED ART IN BELGRADE
The access to analytical testing allowed consideration of the wider problem involving the work of art – the icons Deesis with St Nicholas, St Spyridon and St Daniel the Stylite. The obtained results provide a clear insight into the style characteristics, painting technologies, construction of paint layer, selection of substrate, and the application of pigment, binder and varnish for protection. Dry cleaning of lacquer and paint layer is done using DMSO + ethyl acetate + citric acid, with thickener (in stages).
The paint layer reconstruction – retouching was carried out using watercolour palette and oil paint palette. Retouching was done using the tratteggio technique. In this way, the unity of retouched surface and the original surfaces was achieved. The work on the icons lasted for almost a year. First, it was necessary to look at the work of art as a whole, starting from pencil drawings, visible in certain segments of the paint layer, to the massive ornamental frame. During the operation, certain hidden details were discovered, especially when it comes to the painted details and decorative elements on clothes of the saints.
This enabled the selection of the most efficient, most harmless and overall minimum treatment in terms of conservation and restoration. Such treatment with minimal intervention gave us the maximum results.
LIST OF REVIEWERS / JOURNAL 15/2019