D I A N ACentre FCentre For Preventive Conseror Preventive Conservvaation - Nation - National Museum Belgrtional Museum Belgradeade

CentCentar za preventivnu zastitu - Narodni muar za preventivnu zastitu - Narodni muzej Beogrzej Beogradad

NUMBERNUMBER 9 9 ** 2003/2004 2003/2004 ** Broj 9Broj 9

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Pre skoro deset godina, grupa muzeologa po~inje da shvata da sudo{li poslednji mometi da poku{amo sa organizovanjem efikasne ivremenu i okru`enju primerene, slu`be za{tite arheolo{kih predmeta. U to vreme, to je izgledao kao alternativni pristup za{titi i muzeologi-ji; u okviru Nacionalne institucije, tradicionalne i usporene.Zapanjuju}e brzo, okupili smo oko sebe mlade ljude - studente arhe-ologije, istorije umetnosti, umetnosti, kolege iz manjih muzeja, ali idruge "misionare". Oni su, sa svom mladala~kom stra{}u i entuzijaz-mom, uronili u svet potpune posve}enosti brizi za kulturno nasle|e,iznala`enju i razra|ivanju odgovaraju}ih na~ina i metodologije za nje-govo o~uvanje. Oko nas se sve "ru{ilo", zemlja je tonula u sve dubljuekonomsku, i socijalnu krizu. A mi smo eleli i uspevali, da se pona{amo kaoda je sve u redu i normalno, u skladu sa izvornim principima svojeprofesije, sa zdravim razumom i shvatanjem kako treba da se brineza kulturno nasle|e. U takvom okru`enju, po~ela je da nastaje i rastejedna zna~ajna i kvalitetna energija, koja je po~ivala na mladim ljudi-ma i grupi muzealaca iz na{e zemlje i sveta. Njihova mladala~kaenergija i posve}enost zarazno je delovala i plenila razli~it svet, kakoiz zemlje tako i iz celog sveta. Oni su {irili pri~u o DIJANI i ona jestigla u mnoge delove sveta. Stekli su puno prijatelja u mnogimzna~ajnim svetskim institucijama, koji su prepoznali zna~aj onogo {toje DIJANA, kao sistem za{tite, po~ela da gradi i {to je od samogpo~etka bio prepoznatljiv sistem univerzalne brige za kulturno nasle|e,prepoznaljiv svima kojima je to bilo istinski ivotno opredeljenje. Na{ pristup za{titi i brizi za kulturno nasle|e treba da obuhvata sve akci-je unutar institucija, ali i izvan, u {iroj javnosti i odgovornim instituci-jama vlasti. Ove akcije moraju da budu obuhva}ene interdisciplinarn-im sistemom mera preventivne za{tite u muzeju i celom dru{tvu.U devastiranim sredinama, kao {to je na{a, sistem mera preventivneza{tite se mora postaviti vrlo {iroko, mora obuhvatiti sve ~injenice iakcije, koje direktno, ali i indirektno uti~u na sudbinu kulturnog dobra.

Sada DIJANA Centar ima jezgro - stalni tim, na koji ovo dru{tvo trebaozbiljno da ra~una. Oni nose jedan druga~iji, sveobuhvatniji i kom-pleksniji odnos prema kulturnom nasle|u i njegovoj za{titi. Ceo pro-jekat se dinami~no {iri, sa ozbiljnim mogu}nostima da svojimaktivnostima "pokrije" i regiju {ire od na{e zemlje. Ve} sadaodr`avamo i razvijamo partnersku saradnju u realizaciji zajedni~kihprograma edukacije, prezentacijama konzervatorskih rezultata i onihna za{titi uop{te, razmenama iskustava iz svih oblasti muzeologije iza{tite, posebno ona koja se odnose na procese promena u muze-ologiji i za{titi, u zemljama tranzicije. Druga strana na{ih aktivnostivezana je za partnere u razvijenim muzejskim sredinama i liderskiminstitucijama za{tite u svetu. Na{a iskustva, metodologija i na~in nakoji smo postavili sistem mera preventivne za{tite prate se sa velikimzanimanjem, jer su dala preventivnoj za{titi {iru dimenziju. DIJANA Centar je sada steci{te najboljih eksperata iz oblasti za{tite ikonzervacije, iz zemlje i sveta, koji mladim ljudima u DIJANA Centrui profesionalcima iz muzeja, prenose svoja znanja i iskustva.Svi na{i profesionalni zadaci, koje organizujemo i sprovodimo uDIJANA Centru, imaju za cilj kreiranje atmosfere me|usobnogdru`enja, rada, tra`enje novih puteva izlaska iz krize i kreiranje profi-la "novih" muzeja, uzdizanje na{e profesije i na{eg profesinalizma; ciljkoji je odredio nove pravce i pristupe za{titi ba{tine i kulturnih dobara. Mi smo ve} na putu da ostvarimo ono {to smo zapisali jo{ 1996.godine, u prvim dokumentima Projekta - da za{tita kulurnih dobarane sme imati lokalni karakter, da treba da objedinjuje i da obuhvatakompletno kulturno nasle|e, te da se sistemi za{tite moraju graditijedinstveno za {iru regiju. U jasno definisanom pristupu, razvijenojmetodologiji, zajedni~kom ose}aju pripadnosti, jedinstvenoj ideji, aku-muliranoj energiji, dinami~nosti, upornosti i entuzijazmu, lako se moguprepoznati na{i slede}i koraci i cilj - DIJANA kao regionalni centarpreventivne za{tite. Ovakav razvoj DIJANA Centra ve} su prepoznalezna~ajne doma}e i me|unarodne organizacije kulture i za{tite, ali ikolege i institucije u okolnim zemljama na{eg regiona.

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Almost ten years ago a group of museologists became aware it hadbeen high time to begin with establishing protection of archaeologi-cal objects, service that would be effective and answering the require-ments of the time and the environment. It looked then as an alter-native approach to protection and museology developed within anational institution, which was traditional and slow. It astonished howsoon young people joined us - they were students of archaeology,history of arts, colleagues from smaller museums, and other "mis-sionaries". Their youthful passion and enthusiasm made them enterthe dedicated world of care about cultural heritage, searching for anddeveloping appropriate ways and methods for its preservation.Around, the things were falling apart; the country was "sinking" intoeconomic and social crisis. And we wished to and behaved as ifeverything was normal, in accord with original principles of the pro-fession, using common sense and knowledge necessary in protec-tion of cultural heritage. In this atmosphere significant and high qual-ity energy was emerging, based on young people and a group ofmuseologists in the country. Their energy and dedication were "con-tagious" and winning over people both here and abroad. Theseyoung people were spreading the story about DIANA and it reachedmany corners in the world. We made many friendships in various andimportant institutions abroad as they recognized the importance ofour work in building a system of protection that was from the begin-ning a system of universal care for cultural heritage recognized by allthose who were genuinely dedicated to the issue.When protection and care of cultural heritage is concerned, it is ourattitude that they should encompass all activities in and out of insti-tutions, including the broader public and relevant authorities. Theseactivities should on the other hand be encompassed by the systemof interdisciplinary measures of Preventive Conservation in museumsand in the whole society. In the countries devastated as ours is, Preventive Conservation sys-tem of measures should be as broad as possible, it should includeall actions that directly or indirectly affect the life of cultural property. Now there exists a core within DIANA Centre - a permanent team,

which should be counted on by the society. They bring a different,more comprehensive and more complex approach to the culturalheritage and its protection. The project is developing dynamically; ithas capacities and abilities to "cover" the region broader than thecountry. We are already active in maintaining and developing part-nership cooperation in joint ventures in education, presentations ofconservation results and in protection in general, exchange of expe-rience in museology and protection, particularly with regard tochanges in these areas in transition countries. Another aspect of ouractivities relates to our partners in developed museum communitiesand in the leading institutions in this field. Our experience, method-ology and methods used in establishing the Preventive Conservationsystem is paid great attention due to the broader dimension we intro-duced into preventive conservation.DIANA Centre is now venue of the best experts in protection andconservation from the country and abroad. They share their knowl-edge and experience with both the young people from DIANA Centreand museum professionals. All our professional endeavours in DIANACentre are aimed at creating the atmosphere of socializing and work-ing together, searching for new ways to overcome the crisis we arefaced with and creating the profile of "new" museums, upgrading ofthe profession and professional behaviour. These aims set the direc-tions for new trends and approaches to protection of the heritage andcultural property.We are well down the road to the objectives written down in our firstdocuments in 1996, i.e. in our Project - protection of cultural prop-erty should not be locally limited, it should unite and encompasscomplete cultural heritage and the protection systems should bedesigned for a broader region. Our next steps and objectives -DIANA Centre as a regional centre for Preventive Conservation - caneasily be detected in our clearly defined approach, developedmethodology, communal feeling of affiliation to the unique concept,energy accumulated, driving forces, perseverance and enthusiasm.This development of DIANA Centre has already been recognized bysignificant national and international organisations in the field of cul-ture and protection as well as by our professional colleagues andinstitutions in the neighbouring countries of the region.

FFrroomm tthhee EEddiittoorrDr.. Taatjjaanaa Cvjjetii}aaniin

The process of reorganisation and reposition of the National Museum Belgrade, achange of its organizational structure and the revitalisation of its role in the community -as an active institution that informs, educates and inspires - modestly started in one ofthe most important segments of basic activities of museum, in the field of conservation,with Diana Summer School. Eight years later, a multidisciplinary method within a com-plex, comprehensive approach towards conservation, which implicates and recognizespreventive conservation as a fundamental commencement, has become a foundation ofour system of protection. Diana has matured from a bearer of progressive methods inconservation into an unavoidable actor in fostering of theory and practice of preventiveprotection which identifies problems, defines strategies and approaches and, on opera-tional level undertakes diverse measures - now as a special unit of the National Museum.The activities of Diana have developped in different directions, enhancing with newknowledge both amateurs - teaching them the importance and value of the heritage andefforts to preserve it - and experts as well, offering new methods, developping special-ized know-how and linking different specialities in wide-range attitude towards the pro-tection of the cultural heritage. Through Diana a preventive conservation hes been imple-mented in the museum network of Serbia.However, Diana - with its activities and goals identified, as well as the system that hasbeen applied - is nowadays recognized not only in Serbia. This number of DianaNewsletter is clearly presenting its international importance, not only a regional but abroader one. Diana has become a place that gathers different professionals, as texts inthis issue by authors originating from Romania, Macedonia, Slovenia, Lithuania, ChechRepublic, Belarus, Bulgaria and Croatia show. Diana's annual bulletin is not just a sum-mary of its activities, but it has become a source for an exchange of new ideas, a nec-essary periodical for all those searching for new systematic solutions in the museology.

RRee~~ uurreeddnniikkaadr Taatjjaanaa Cvjjetii}aaniin

Reorganizacija i repozicioniranje Narodnog muzeja, promena organizacione strukture irevitalizovanje njegove uloge u ivotu zajednice - aktivne ustanove koja informi{e,obrazuje, inspiri{e - u jednom od najva`nijih segemenata osnovne delatnosti muzeja, uoblasti konzervacije, zapo~ela je skromno, letnjom {kolom DIJANA. Osam godina kas-nije, multidisciplinarni metod u okviru kompleksnog, celovitog pristupa konzervaciji, kojipodrazumeva i prepoznaje preventivnu za{titu kao osnovno polazi{te, postaje osnovana{eg sistema za{tite. DIJANA je prerasla iz nosioca progresivnih pristupa za{titi u neza-obilaznog aktera u razvoju teorije i prakse preventivne za{tite koji identifikuje probleme,defini{e strategiju i pristupe i sprovodi na operativnom novou razli~ite mere - sada kaoposebna organizaciona jedinica unutar Narodnog muzeja. Delatnost DIJANE razvija se uvi{e pravaca, oboga}uju}i novim znanjima kako amatere, u~e}i ih o zna~aju i vrednos-tima kulturne ba{tine i naporima da se ona sa~uva, tako i stru~njake, nude}i nove pris-tupe, razvijaju}i specijalizovana znanja i povezuju}i razli~ite specijalnosti u svestran prist-up za{titi ba{tine. Preko DIJANE, preventivna za{tita implementirana je u muzejsku mre`uSrbije. Me|utim, kako posebno pokazuje ovaj broj biltena, DIJANA, njene aktivnosti i ciljevi kojisu postavljeni, sistem koji se primenjuje, prepoznaju se ne samo u Srbiji. Dijana je posta-la mesto koje okuplja raznorodne stru~njake iz regiona i {ire. U ovom broju nalaze setekstovi koji govore o razli~itim aspektima za{tite autora iz Rumunije, Makedonije,Slovenije, Litvanije, ^e{ke, Belorusije, Bugarske i Hrvatske. Godi{nji bilten Dijane nijesamo pregled delatnosti ovog centra, ve} je postao dragocen izvor pravovremenih infor-macija o za{titi ba{tine, mesto razmene novih ideja, glasilo koje postaje nezaobilazno,ukoliko se govori o novim, sistemskim re{enjima problema u muzeologiji.

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Photographs in this issue are property of its authors and are protected by copyrightSvi predmeti na fotografijama u ovom ~asopisu su vlasni{tvo autora koji zadr`avaju

svoja autorska prava.Photographs by Vlada Vukadinovi}, National museum Belgrade and collaborators of

DIANA centreFotografije: Vlada Vukadinovi}, Narodni muzej u Beogradu i saradnici DIJANA centra

Editor-iin-cchief / Glavni urednikTatjana Cvjeti}anin

Editor / UrednikMila Popovi}-@ivan~evi}

Editorial Board / Ure|iva~ki odborJim Black

Tatjana Cvjeti}aninMila Popovi}-@ivan~evi}

Pamela WarnerHelena JaesckeMalena Stoj~ev

Language Editors / Lektoriengleski

Malena Stoj~evAleksandra D`iki}-Nikoli}

srpskiZvezdana Popovi}

Maja @ivkovi}

Translated by / PrevodiociMalena Stoj~ev

Aleksandra D`iki}-Nikoli}Tamara LujakAna Kocjan

Uro{ Vasiljevi}Vesna @ivkovi}Todor Kondi}Veljko D`iki}

Irena Vuj~i}-Pavlovi}Ana Gli{i}

\or|e Iva~kovi}

Design and TypsettingDizajn i pripremaNemanja Mr|i}

Ana Vuji}Maja Frankovi}

Circulation / Tira`1800

Published by / Izdava~National Museum BelgradeNarodni muzej Beograd

UDK 7.025.4+902/904ISSN 1451-11800

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ForewordMila Popovi}-@ivan~evi}

From the EditorDr. Tatjana Cvjeti}anin

DIANA Centre for Preventive Conservation TodayAcademician Nikola Tasi}

DIANA Centre During 2003Mila Popovi}-@ivan~evi}

The Impact of Globalisation on Museum CommunicationIrena Vuj~i}-Pavlovi}

Contemporary Bulgarian MuseumsGabriela Petkova

Social Changes and Their Impact on the Romanian Museums (1990 - 2003)Dr.Virgil Stefan Nitulescu

The transformation of the museums in Macedonia under the changes in the new law of culture Gute Mladenovski

Lithuanian museums todayDr. Rasa Bertasiute

The Belarusian Museums in a Context of Social and Institutional TransformationsA.B.Stashkevich

Strategic Planning in the National Museum BelgradeDr. Biljana Rami}

Project of Urban Culture and Ceramics Through Centuries (Young people learning, researching and participating in protection of cultural heritage)Simonida Miljkovi}

From Cultural Property to Cultural Heritage Dr. Nicolas Stanly Price

Preventive Conservation of Cultural HeritageGlobalization and Role of Diana CentreMila Popovi}-@ivan~evi}

Preventive conservation: From current issues to common strategies, Course, Ottawa 2003Vesna @ivkovi}

Restoration and Preventive Conservation@elimir Laszlo

Preventive Conservation Issues Concerning Buildings ofMuseums and Galleries That Enjoy Preliminary ProtectionGoran Sovilj

Risk Assesment in MuseumsVesna @ivkovi}

Technical and Fire Protection of Museums and MovableCultural Heritage in ThemRanko Savi}

Diana Centre and Promotion of Preventive Conservation Development of Marketing and PartnershipAna Kocjan

Conference "Museums in transformation Process" UNESCOChair of Museology and World Heritage, Brno, 23rd-226thNovember 2003Mila Popovi}-@ivan~evi}

Conferences of ICOM -- CIMUSET, ICTOP and MPR, Slovenia, from 11th to 17th September 2003Mila Popovi}-@ivan~evi}

Participation of DIANA Centre in International WorkshopCeramics - Our Origins, Sarajevo, 2003Vesna Svoboda

Usage of New Materials in the Conservation of the Vessel from the Kale Krsevica SiteZvezdana Popovi}

Hydria from the Kale Krsevica siteIvana Stojkovi}, Zvezdana Popovi}

Copy or Original A Brief Review of the Activities of the Workshop for Producing Copies and Replicas of the Archaeological Ceramics\ur|inka Bogdanovi}

Preserving of Previous Restoring Prosses and Repeated Restoring of Ceramics and PorcelainJanja Slabe

Workshop on Conservation of Solid Ceramics - Removal of Old Restorations and Contemporary TreatmentsJana [ubic-Prislan

Conservation of Glass at Diana centre, HistoryTamara Lujak

The Problem of Glass Objects DisplayAleksandra D`iki}-Nikoli}

Collection of Coptic Textile from the National Museum of SloveniaGojka Pajagi}-Bregar

Archaeology of the Iron Gates Jelena Kondi}

Archaeological Museum of the Iron Gate - NewsJelena Kondi}

Experimental ArchaeologyTraditional Production of CeramicsMila Popovi}-@ivan~evi}, Vesna Svoboda

"From a fragment to an object"Author: Rade Pajovi}Exhibition in the Gallery of the Regional Museum Kraljevo October - December 2003Tatjana Mihailovi}

A conversation with Friso Lammertse, curator of the Museum Boijmans Van Beuningen in Rotterdam, or "Tracing Rubens' tapestries"Ana Glisi}

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Contents

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Uvodna re~Mila Popovi}-@ivan~evi}

Re~ urednikadr Tatjana Cvjeti}anin

Centar za preventivnu za{titu DIJANA danasAkademik NikolaTasi}

DIJANA Centar tokom 2003. godineMila Popovi}-@ivan~evi}

Uticaj globalizacije na muzejsku komunikacijuIrena Vuj~i} Pavlovi}

Savremeni bugarski muzejiGabriela Petkova

Dru{tvene promene i njihov uticaj na rumunske muzeje (1990-22003)dr Virgil Stefan Nitulescu

Transformacija muzeja u Makedoniji u okviru promena novog Zakona o kulturiGute Mladenovski

Litvanski muzeji danasdr Rasa Bertasiute

Beloruski muzeji u kontekstu dru{tvenih i institucionalnih transformacijaA. B. Sta{kevi~

Strate{ko planiranje u Narodnom muzeju u Beogradudr Biljana Rami}

Projekat urbana kultura i keramika kroz vekove(Mladi u~e, istra`uju i u~estvuju u za{titi kulturnog nasle|a)Simonida Miljkovi}

Od kulturnog dobra do kulturnog nasle|adr Nikolas Stenli Prajs

Preventivna za{tita kulturnog nasle|a, globalizacija i uloga DIJANA CentraKultura i kulturno nasle|e kao prioritet u globalnom svetuMila Popovi}-@ivan~evi}

Preventivna za{tita: Od teku}ih pitanja do zajedni~kih strategija, kurs, Otava 2003. Vesna @ivkovi}

Restauracija i preventivna za{tita@elimir Laszlo

Problem preventivne za{tite u zgradama muzeja i galerija koje u`ivaju prethodnu za{tituGoran Sovilj

Procena rizika u muzejima Vesna @ivkovi}

Preventivno-ttehni~ka i protivpo`arna za{tita pokretnih kulturnih dobara i muzeja u kojima su sme{teniRanko Savi}

Promocija preventivne za{tite i razvoj saradnje i marketinga u Dijana Centru Ana Kocjan

Konferencija "Muzeji u procesu transformacije", UNESCO Chairof Museology and World Heritage, Brno, 23. do 26. 11. 2003.Mila Popovi}-@ivan~evi}

Tri Konferencije IKOMa - CIMUSET, ICTOP I MPR,Slovenija, 11-117. septembar 2003.Mila Popovi}-@ivan~evi}

U~e{}e DIJANA Centra u me|unarodnoj radionici''Keramika - na{i korijeni'', Sarajevo, 2003.Vesna Svoboda

Primena novih materijala u konzervaciji lonca sa lokaliteta Kale Kr{evicaZvezdana Popovi}

Hidrija sa lokaliteta Kale Kr{evicaIvana Stojkovi}, Zvezdana Popovi}

Kopija ili originalKratak pregled aktivnosti Radionice za izradu kopija i replika arheolo{ke keramike\ur|inka Bogdanovi}

^uvanje starih na~ina restaurisanja i ponovno restaurisanje keramike i porcelanaJanja Slabe

Radionica konzervacije neporozne keramike - odstranjivanje starih restauracija i savremeni postupciJana [ubic-Prislan

Istorijat konzervacije stakla u DIJANA CentruTamara Lujak

O problemu izlaganja staklaAleksandra D`iki}-Nikoli}

Zbirka koptskih tkanina iz Narodnog muzeja SlovenijeStanje i planirani konzervatorski radoviGojka Pajagi~-Bregar

O arheologiji regije Gvozdenih Vrata - \erdapJelena Kondi}

Arheolo{ki muzej \erdapa: VestiJelena Kondi}

Uvod u projekat: Eksperimentalna arheologija - Tradicionalne proizvodnje keramikeMila Popovi}-@ivan~evi}, Vesna Svoboda

Izlo`ba "Od fragmenta do predmeta"autor Rade Pajovi}Galerija Narodnog muzeja u Kraljevuoktobar-ddecembar 2003.Tatjana Mihailovi}

Razgovor sa Friso Lamertsom, kustosom muzeja Bojmans Van Bouningen u Roterdamu, ili Traganje za Rubensovim tapiserijamaAna Gli{i}

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DDIIAANNAA CCeennttrree ffoorr PPrreevveennttiivvee CCoonnsseerrvvaattiioonn TTooddaayyAccaademiicciiaan Niikollaa Taasii}

If we paraphrase the Biblical sentence "In the beginning was the Word", we can say "In the beginning was huge amount of mate-rial excavated during long-lasting researches of the Iron Gate". The material was gathered in bags, bags were placed in boxes,boxes in cases, and cases in inappropriate stockrooms. Most ofthe material is still lying there, unprocessed, in conditions that area disgrace to those who financed the works in the attemp to salvage the sites from the future hydroelectric power plant accumu-lation, but also to those researchers who worked with great enthusiasm and in very difficult conditions.This situation however produced a positive result - DIANA Centre for Preventive Conservation, which initiated conservation ofarchaeological finds stored in the depots of Karata{. Today DIANA is a complex organization whose activities are based on mod-ern conservation-restoration science. It established broad network of cooperation with museums and workshops in our country aswell as with many institutions abroad working in the same or similar fields. It often happens that guests talking at seminars andlectures organized at DIANA Centre are experts from world known centres - from Italy, UK, etc.From the broad palette of activities of DIANA Centre we would like to point out a segment, which at first sight does not seem to bevery attractive, but is of utmost importance in the protection of cultural property. This segment is preventive conservation of materialskept in the storages of museums. Conditions in most of museums in Serbia, and one could generally say in most of the countries,do not answer modern requirements nor meet the adequate standards, so greater care for cultural heritage is most necessary.This was recognized by UNESCO, the world organization for protection and safeguarding of civilisational values all over the Earth.DIANA was the first to understand and start implementing this concept in our country. As a specialized centre it is engaged in pri-mary and secondary protection of cultural heritage in our country. For these activities DIANA Centre received significant professionaland even material support, both from UNESCO and many other institutions and renowned experts from related European institutions.Since 2000, this activitiy of DIANA Centre was included in the UNESCO Participation Programme. And in 2003 work of DIANA wasverified by the highest bodies of this international organisation and included in the long term programmes of UNESCO. UNESCOrecognized the significance of what DIANA was doing for promotion and implementation of preventive conservation principles asactivitiy of utmost importance not only for our country but for the entire region and even for UNESCO itself as it is an organisation whosebasic task is to help and support preservation of world cultural heritage. International affirmation of programmes of preventive con-servation of cultural property gavea stronger impetus to DIANA. Its programmes consist in the first place of education of museumand gallery professionals in order to make them able to establish better conditions for safekeeping cultural property, as well asraising the professional level of all those who care about heritage. This is done through seminars and by providing professionalliterature, by monitoring conditions in storages where the material is kept. In the long anticipated Law on Protection of CulturalProperty in Republic of Serbia these questions shouldbe strictly stipulated, obligations set as well as consequences for not abid-ing by them. This is the only way to provide adequate level of protection in museums and galleries in order to preven deteriora-tion of cultural property. No need to say that this situation today is more than bad. DIANA Centre has an important mission in thissense to fulfill. Regretfully, we have to say that this mission is better recognized and understood by DIANA's foreign partners thanby relevant authorities in the country, particularly by those whose objective is to care about cultural heritage from our country.

Iron Gate\erdapska klisura

CCeennttaarr zzaa pprreevveennttiivvnnuu zzaa{{ttiittuu DDIIJJAANNAA ddaannaassAkaademiik NiikollaaTaasii}

Da parafraziramo biblijsku sentencu "Na po~etku beja{e re~..." u "Na po~etku beja{e gomila materijala sa vi{egodi{njih istra`iva-nja na \erdapu". On se stavljao u kese, kese u kutije, kutije u sanduke, a sanduci u neprikladne magacine. On i danas u velikojmeri le`i u njima, uglavnom neobra|en, u uslovima koji ne idu na ~ast ni onima koji su finansirali radove spasavaju}i nalazi{ta odbudu}e akumulacije hidroelektrane, ali ni istra`iva~ima koji su sa puno entuzijazma radili ~esto pod vrlo te{kim uslovima. Me|utim, iz takve situacije nastao je pozitivan rezultat - Centar za preventivnu za{titu Dijana, koji je inicirao konzervaciju arheo-lo{kih nalaza iz depoa u Karata{u. Danas je DIJANA jedna razu|ena organizacija koja je svoju aktivnost postavila na osnovama savremene konzervatorsko-restaura-torske nauke. Ona je razvila {iroku mre`u saradnje sa muzejima i radionicama u na{oj zemlji, ali i sa brojnim organizacijama kojese bave istim ili sli~nim problemima u svetu. Nije retko da gosti na seminarima ili stru~nim predavanjima u DIJANI budu ekspertiiz evropskih centara - iz Italije, Engleske i drugih zemalja.Iz {irokog obima aktivnosti Centra DIJANA za ovu priliku izdvojili bismo jedan segment, koji na prvi pogled nije atraktivan ali je vrlova`an u procesu rada na za{titi kulturnih dobara. To je preventivna za{tita u depoima muzeja materijala koji im je poveren na~uvanje. Budu}i da su uslovi u ve}ini muzeja Srbije, a moglo bi se re}i generalno u ve}ini zemalja, takvi da ne odgovaraju mod-ernim standardima, neophodna je ve}a briga za kulturno nasle|e. To je shva}eno i u UNESCO-u, svetskoj organizaciji za za{titu i ~uvanje civilizacijskih vrednosti na celoj zemljinoj kugli. DIJANA seu ovaj zna~ajan posao prva uklju~ila u na{oj zemlji. Kao specijalisti~ki centar ona se bavi primarnom i sekundarnom za{titom kul-turne ba{tine na na{im prostorima. Za tu svoju aktivnost ona je dobila zna~ajnu materijalnu i stru~nu podr{ku, kako UNESCO-atako i brojnih drugih institucija i uglednih stru~njaka iz srodnih evropskih ustanova. Od 2000-te godine ova aktivnost Dijane u{la je u program participacije (finansijske podr{ke) UNESCO-a. A 2003. godine radDIJANE dobio je verifikaciju najvi{eg organa ove me|unarodne organizacije i u{ao je u program dugoro~nog finansiranja UNESCO-a. UNESCO je prepoznao zna~aj onoga {to DIJANA radi na promociji i implementaciji principa preventivne za{tite kao aktivnostod izuzetnog zna~aja ne samo za na{u zemlju, ve} i za ceo region, ali i za sam UNESCO, kao organizaciju ~iji je jedan od osnovnihzadataka da pomogne o~uvanju svetske kulturne ba{tine.Me|unarodna afirmacija programa preventivne za{tite kulturnih dobara zna~ila je ja~i stimulans za rad DIJANE u ovoj oblasti. Njenprogram sastoji se, pre svega, od edukacije stru~njaka muzeja i galerija na stvaranju boljih uslova za ~uvanje kulturnih dobara,podizanje stru~nog nivoa onih koji brinu o njima, kroz seminare i obezbe|uju}i stru~nu literaturu, sprovo|enje kontrole uslova udepoima u kojima se ~uva materijal. U dugoo~ekivanom Zakonu o za{titi kulturnih dobara u Republici Srbiji, ova materija moralabi strogo biti normirana sa predvi|enim obavezama, ali i konsekvencama, ukoliko se propisani normativi ne po{tuju. To je jedinina~in da se, ina~e vi{e nego lo{e, stanje u muzejima i galerijama dovede do nivoa spre~avanja od propadanja. Dijana u ovompravcu ima zna~ajnu misiju koju, na`alost bolje shvataju strani partneri, nego na{e nadle`ne institucije, posebno one koje bi moraleda vode brigu o ~uvanju kulturne ba{tine sa na{ih prostora.

7

Remains of Traian’s BridgeOstaci Trajanovog mosta

DDIIAANNAA CCeennttrree DDuurriinngg 22000033Miillaa Popovii}-@@iivaan~evii}, museum ccouncciillllor- cconservaator,Heaad of DIANA Centre for Preventiive Conservaatiion

EmployeesMila Popovi}-@ivan~evi} Vesna @ivkovi}Trainees: Aleksandra D iki} Nikoli}, Tatjana Vasi}, Maja Frankovi},Maja @ivkovi} and Ana KocjanCollaborators: Malena Stoj~ev, Ivana Stojkovi}, Ana Vuji}, SladjanaNovkovi}, Zvezdana Popovi}, Tamara Lujak, Vesna Svoboda, JelenaTucakovi}, Jovana Djordjevi}, Djordjina Bogdanovi}, SrdjanRadosavljevi}, Veljko D iki}, Danijela Stojkovi}, Igor Jonji}, MarijaMatej~i}, Dejan Milovanovi}, etc.Students: Jasmina Telak, Aleksandar Joksimovi}, Senka Jovanovi},Marija Radin, Tijana Pavlica, Tanja Mini}, Tijana A}imov, BrankaBelo{evi}, Miroslav Risti}

In accordance with the reorganization of the National MuseumBelgrade DIANA Centre has been established as integral Centre forPreventive Conservation for our country and beyond.The goal of DIANA Centre is to establish the system of preventiveconservation as the basic museological principle for preservation ofcultural heritage and to include preventive conservation into theEuropean Strategic Project (Vantaa 2000, ICCROM).By adopting this Project, museums of Europe have adopted preven-tive conservation as theirs and general strategy policy. Europeanmuseums develop philosophy and practice of preventive conserva-tion. This complex, multi-disciplinary approach to handling and man-aging the objects and museum collections encompasses effective,sound and economic measures in order to preserve the integrity ofheritage and reduce the losses of cultural heritage. Thus preventiveconservation becomes a cornerstone of European heritage conser-vation policy.DIANA Centre simultaneously develops both the theory and practicein preventive conservation. National Museum Belgrade as centralinstitution of protection carries out tasks and duties related to estab-lishing inter-museum network in Serbia aimed at building a function-al system of preventive conservation of moveable cultural property.Development strategies of DIANA Centre define its role in establish-ing an integral system of preventive conservation in the NationalMuseum Belgrade, in our country and beyond it. DIANA Centre hasbeen doing it through the following fields of its activities

I EDUCATIONII APPLICATION OF PASSIVE CONSERVATIONIII APPLICATION OF ACTIVE CONSERVATIONIV RESEARCHV DOCUMENTATIONVI PUBLICATIONSVII PROMOTION OF PREVENTIVE CONSERVATIONVIII PARTNERSHIP IX MARKETING

I EDUUCATIONTHEORETICAL EDUCATIONTheoretical lectures included the following fields:1. Museology: theory of cultural property, basic principles of protec-tion, codification of museological activities, museum standards, etc.2. Preventive conservation: handling, storing, environmental control,microclimate and collections, museum standards, air pollution,decaying agents, microbiology and pest control, storages, exhibitionsand transporting, fire and flood protection, emergencies, conditionanalysis and risk assessment in museums, rules of ethics and pro-fessional codes, safety at work, legislation and legal regulations3. Technology: nature and origin of materials, clay and its origin, pro-duction technology, preparing clay, shaping and firing, glazes andcoatings, glass and its nature, metal and alloys, metal corrosion, etc.4. Chemistry: basics of chemistry and conservation materials, chem-istry of inorganic and organic materials, organic solvents, polymers,cleaning materials, etc.

5. Geology with petrography: nature of stone, its origin, changes instone structure as result of atmospheric and climatic impacts,destructive processes affecting stone, etc.6. English for conservators and museum professionals, specialisedlectures professional vocabulary inclusive (conservation, protection,museology, archaeology, history of arts, ethnology, applied arts, etc.)7. Archaeology: historical survey of main culture segments from theprehistory, Mesolithic, Eneolithic, Neolithic, Bronze Age and Hallstatt,Greek, Hellenistic and Roman periods, Byzantian periods from theEarly to late Middle Ages. Part of these lectures covers artistic andhistorical approach to study of ceramics, glass, stone and otherarchaeological materials 8. Information Technology, obligatory body of information needed forkeeping records of all aspects of protection treatments and as astrong means in sharing and communicating knowledge and experi-ence 9. Theory of modelling and forms, drawing, artistic skills in modelling,sculpturing, painting, theory of colours, design, etc.Theoretical lectures were held by lecturers of interdisciplinary profileand experts from various faculties and institutions from the countryand abroad.

PRACTICAL TRAININGIt was a combination of practical conservation methods and theoret-ical explanations of methods and materials used. Practical part of the programme requires mastering of obligatory pre-ventive active conservation treatments and artistic skills: examination(macroscopic, microscopic, chemical, etc.), cleaning (mechanical andchemical), structure and surfaces stabilization (consolidation withchemicals) bonding of fragments, restoration, reconstruction, andretouching and final protection.

TYPES OF PRACTICAL TRAININGPractical training was done on inorganic and composite material.At present it is divided into following fields:

Conservation of ceramicsCeramics conservation programme requires acquiring basic knowl-edge in conservation of two main kinds of ceramics: soft body andsolid ceramics with painted and burnished coatings, glazes andglazed surfaces. This archaeological material originates from theNeolithic, Bronze and Iron Ages, Greek and Roman periods, early andlate Middle Ages.

Restoration of majolica and porcelainMedieval majolica from Italy, 18th and 19th centuries porcelain fromMiddle and West European manufactures. Particular attention waspaid to complex restoration problems in filling missing gaps and toretouching and preparation of glazed pigments and colours.

8

Theoretical lecture in DIANATeorijsko predavanje u DIJANI

DDIIJJAANNAA CCeennttaarr ttookkoomm 22000033.. ggooddiinneeMiillaa Popovii}-@@iivaan~evii}, muzejjskii saavetniik-kkonzervaatorRukovodiillaacc DIJJANA Centraa zaa preventiivnu zaa{tiitu

Saradnici : Mila Popovi}-@ivan~evi}Vesna @ivkovi}Volonteri pripravnici: Aleksandra Nikoli}-D iki}, Tatjana Vasi}, MajaFrankovi}, Maja @ivkovi} i Ana KocjanSpoljni saradnici: Malena Stoj~ev, Ivana Stojkovi}, Ana Vuji}, Sla|anaNovkovi}, Zvezdana Popovi}, Tamara Lujak, Vesna Svoboda, JelenaTucakovi}, Jovana \or|evi}, \ina Bogdanovi}, Sr|an Radosavljevi},Veljko D iki}, Danijela Stojkovi}, Igor Joni}, Marija Matej~i}, DejanMilovanovi}, i dr. Polaznici: Jasmina Telak, Aleksandar Joksimovi}, Senka Jovanovi},Marija Radin, Tijana Pavlica, Tanja Mini}, Tijana A}imov, BrankaBelo{evi}, Miroslav Risti}. DIJANA Centar, u skladu sa reorganizacijom Narodnog muzeja,formiran je kao jedinstven Centar za preventivnu za{titu za teritorijuna{e zemlje i {ire.Cilj DIJANA Centra je uspostavljanje sistema preventivne za{tite, kaoosnovnog muzeolo{kog principa o~uvanja kulturne ba{tine iuklju~ivanje preventivne za{tite u Evropski strate{ki projekat (Vanta2000, ICCROM).Ovim projektom muzeji Evrope su preventivnu za{titu usvojili kaosvoju i op{tu strate{ku politiku. Evropski muzeji razvijaju koncept ipraksu preventivne za{tite, a to zna~i multidisciplinarno upravljanje,rukovo|enje i rukovanje kulturnim dobrima, kako bi se redukovaligubici kulturne ba{tine. Na taj na~in preventivna za{tita postajekamen temeljac evropske politike za{tite kulturnog nasle|a.Teoriju preventivne za{tite DIJANA Centar ve} razra|uje kroz konkretneprojekte i zadatke. Sa tim u vezi, Narodni muzej, kao centralna muze-jska institucija za{tite, obavlja poslove i zadatke koji se odnose naformiranje me|umuzejske mre`e u Srbiji, ~iji je cilj postavljanjefunkcionalnog sistema preventivne za{tite pokretnih kulturnih dobara. Razvojne strategije DIJANA Centra defini{u njegovu ulogu uuspostavljanju jedinstvenog sistema preventivne za{tite u Narodnommuzeju, na{oj zemlji i {ire. DIJANA Centar to ve} ostvaruje krozslede}e oblasti svojih aktivnosti:

I EDUKACIJAII PRIMENA PASIVNE KONZERVACIJEIII PRIMENA AKTIVNE KONZERVACIJEIV ISTRA@IVA^KI RADV DOKUMENTACIJAVI STRU^NA PUBLICISTIKA I IZDAVA[TVOVII PREZENTACIJA I PROMOCIJAVIII PARTNERSTVO IX MARKETING

I EDUUKACIJJA

TEORIJSKA OBUKATeorijska predavanja su obuhvatala slede}e oblasti: 1. Muzeologija; teorija kulturnog dobra, osnovni principi za{tite, kod-ifikacija muzeolo{ke delatnosti, muzejski standardi i dr.2. Preventivna za{tita, rukovanje, deponovanje, kontrola sredine,mikroklima i zbirke, muzejski standardi, aerozaga|enja, faktoripropadanja, mikrobiologija i uni{tavanje {teto~ina, depoi, izlo`be itransport, za{tita od po`ara, poplava i drugih vanrednih prilika, anal-iza stanja u muzejima i procena rizika, eti~ka pravila i profesionalnikodeksi, za{tita na radu, pravna regulativa i zakonodavstvo;3. Tehnologija, priroda i poreklo materijala, glina i njeno poreklo,tehnologija proizvodnje, pripremanje gline, oblikovanje i pe~enje,glazure i prevlake, staklo i njegova priroda, metal i legure, korozijemetala i dr. 4. Hemija, osnovi hemije i materijali za konzervaciju, hemija neorgan-skih i organskih materijala, organski rastvara~i, polimeri, materijali za~i{}enje, i dr. 5. Geologija sa petrografijom, o prirodi kamena, njegovom poreklu,

promenama kamena usled uticaja atmosferskih i klimatskih faktora,destruktivni procesi na kamenu i sl.6. Engleski za konzervatore i muzeologe, specijalizovana predavanjasa stru~nim jezikom, terminologijom iz za{tite, konzervacije, muze-ologije, arheologije, istorije umentosti, etnologije, primenjene umet-nosti, muzeolo{ke komunikacije i dr. 7. Arheologija, istorijski pregled glavnih kulturnih grupa od praistorije,preko mezolita, eneolota, neolita, zatim bronzanog doba i hal{tata,gr~kog, helenisti~kog i rimskog perioda, vizantijskih epoha do ranogi kasnog srednjeg veka. Su{tinski deo ove teorije odnosi se na umet-ni~ko-istorijski pristup izu~avanja keramike, stakla, kamena i drugogarheolo{kog materijala kroz istorijski razvoj. 8. Informatika, obavezna znanja kao osnov kompletne dokumentaci-je, koja bele i sve aspekte aktivnosti na za{titi, i kao sna`no sredst-vo razvoja komunikacija i razmene znanja i iskustava. 9. Teorija modelovanja, oblikovanja i crtanja, umetni~ke ve{tine mode-lovanja, vajanja, crtanja, slikanja i teorije boja, dizajna, osnovi crtanja i dr. Teorijsku obuku su sprovodili interdisciplinarni profesori i stru~njaci sarazli~itih fakulteta i institucija, iz zemlje i inostranstva.

PRAKTI^NA OBUKASadr`aj prakti~ne obuke je bio kombinacija primene konzervatorskihprakti~nih metoda i teorijskih obja{njenja tih metoda i materijala kojisu se koristili. Prakti~ni deo programa mora da savlada primene obaveznih preven-tivnih aktivnih konzervatorskih tretmana i umetni~kih ve{tina: ispitivan-ja (makroskopska, mikroskopska, hemijska i dr.) ~i{}enje (mehani~koi hemijsko), stabilizacija strukture i povr{ine (konsolidacija hemijskimputem), spajanje fragmenata, restauracija, rekonstrukcija, retu{ izavr{na za{tita.

Vrste prakti~ne obukePrakti~na obuka se vr{ila na neorganskom i kompozitnom materijalu. Za sada je podeljena na slede}e oblasti obuke:

Konzervacija keramikeProgram konzervacije keramike pokriva sticanje osnovnih znanja izkonzervacije dve glavne konzervatorske grupe- tro{ne i ~vrste keramike, sa bojenim i gla~anim premazima, glazu-rama i gle|osanim povr{inama. Ovaj arheolo{ki materijal poti~e izneolita, bronzanog i gvozdenog doba, gr~kog i rimskog perioda,ranog i kasnog srednjeg veka. Restauracija majolike i porcelana, srednjovekovna majolika, poreklomiz Italije, porcelan 18. i 19. veka, iz manifaktura zapadne i sednjeEvrope. Re{avani su posebno kompleksni restauratorski problemipopunjavanja prostora koji nedostaju i retu{a sa pripremanjem glazi-ranih pigmenata i boja.

Konzervacija staklaOvaj deo programa obuhvatao je obuku iz konzervacije fragilnog idobro o~uvanog stakla, nestabilne i stabilne strukture i povr{ine, izrimskog i srednjovekovnog perioda. U obuku iz konzervacije staklabili su uklju~eni isklju~ivo stari polaznici (V,VI,VII sezona obuke), kojisu prethodno uspe{no savladali osnove konzervacije keramike.

9

Restoration of CeramicsRestauracija keramike

Conservation of glassThis part of the programme includes training in conservation of frag-ile and well-preserved glass, of stable or instable structure and sur-faces, from the Roman and mediaeval periods. Training in glass con-servation included seniors only (those who are in the fifth, sixth andseventh year of training) who have successfully mastered the basicsin conservation of ceramics.

Conservation of stoneConservation of stone artefacts was carried out. They are mainlymade of limestone, sandstone or marble, originating from theMesolithic and Roman periods such as inscriptions, sculptures, andarchitectural elements. This part was again designed for seniors only(those who are in the fifth, sixth and seventh year of training).

Making of Moulds and CopiesThis was the first year that classical method of making plaster mouldswas not used to greater extent. The students had to learn makingimpressions and preparing moulds with silicone resins and polyester,as well as casting clay and firing clay casts.

This course was opened both for beginners and seniors. However,students coming from the Faculty of Applied Arts and Design -Department for Ceramics and Sculpture were asked to participate init in order to share their knowledge and experience gained duringFaculty studies with students of archaeology, history of arts, etc.

Repair of Old ConservationsNowadays problems of original or old conservations represent a veryimportant issue and are part of particular studies. Collections of theNational Museum Belgrade contain archaeological material, particu-larly ceramics and glass that was once conserved or restored andnow required to be treated again. Conservation and remedy of plaster and other material copiesNational Museum Belgrade houses a significant collection of plastercopies of standing tombstones and various stone plastics. Thesecopies were made over decades ago and now show serious dam-ages and visible results of weathering. There are still no conditions for dealing with other kinds of archaeo-logical material as the working space and relevant equipment arelacking.

Three levels of education:- Basic introductory level for beginners- Advanced level for seniors- Specializations and upgrading

Education in cycles, by engaging experts from the country andabroad1. Winter-Spring DIANA Workshop, 16 weeks, February-May2. DIANA Summer School, 9 weeks, June-August

3. Autumn DIANA Workshop, 10 weeks, October-December4. Specializations5. Seminars, professional meetings

1. Winter-Spring DIANA Workshop was held from 1 February till 30May 2003It has become a practice that this cycle of activities follows the the-oretical and practical training from the preceding periods. It isdesigned for seniors and collaborators only. This season we hadsome 30 seniors and collaborators attending the Workshop. However,due to their great interest, 3 beginners were admitted also.

2. Summer School DIANA was held from 23 June till 23 August 2003The summer cycle is the most intensive part of educational activitiesat DIANA Centre. It is our experience that this heavy daily work last-ing for 10 hours, requiring full concentration is in fact the best pos-sible training and best method for selection of these young peoplewho wish to dedicate their lives for protection of cultural property. TheSummer School's objective is to give basic body of theoretical andpractical knowledge to the beginners. That is why this course isdesigned for beginners only.The seniors continued their education, which was designed as followup of the former cycles and of their specializations.There were about 60 students altogether, 35 seniors and 25 beginners.

The following courses were held:- Conservation of fragile ceramics- Conservation of solid and glazed ceramics- Conservation of Roman and mediaeval glass- Conservation of stone- Making moulds and copies- Remedying of old conservationsFor the first time this year we had during Summer School seniorsfrom the Crafts School Conservation Class and they answered ourexpectations.Particularly noteworthy was participation of group of renownedceramists such as Vesna Svoboda, Djordjina Bogdanovi} andJasmina Telak who contributed to designing and starting the projectin experimental archaeology, on old technologies of ceramicsproduction.Simonida Miljkovi} and Filip Fidanovski from Museum of Macedoniatook part in the Summer School work. They held series of lectureson ceramics production traditions in Macedonia from prehistoric totraditional ceramics. During their stay exhibition on "Traditional pro-ductions of ceramics in Macedonia" was organised and their projectpresented.Group of 5 artists, sculptors and ceramists, from Mexico also partic-ipated in educative programmes of the DIANA Summer School.

3. Autumn DIANA Workshop 1 October - 30 December 2003Activities of this workshop represent continuation of DIANA SummerSchool for those students who have successfully passed the selec-tion during the Summer School, and for seniors and collaborators ofDIANA.There are about 30 seniors and 5 beginners on average permanent-ly taking part in different educational activities.There were specialized programmes prepared for our collaboratorswith specific projects, such as:- Preparing museum material, particularly ceramics and glass for dis-playing in museums throughout the country (National MuseumBelgrade, Archaeological Museum Djerdap, Institute for ProtectionKotor, museums in ^a~ak, Kraljevo, Kru{evac, Pan~evo, etc.)- Designing projects for fundraising- Writing papers and reports- Preparing surveys for analyzing condition in museums- Preparing plans for organisation of protection institutions- Preparing conditions for plans of preventive conservation- Monitoring and risk assessment in museums- Preparing open workshops, etc.Our colleagues from Slovenia contributed to the autumn cycle by par-ticipating in educative and other activities of DIANA Centre.

10

Restored glass vesselRestaurisani stakleni sud

Konzervacija kamena Radilo se na obuci za{tite kamenih artefakata, od kre~njaka, pe{~araili mermera, iz mezolita i rimskog perioda, kao {to su skulpture, nat-pisi, delovi arhitekture. Na kursu konzervacije kamena u~estvovala jeisklju~ivo grupa starih polaznika (V,VI,VII sezone obuke)

Pravljenje kalupa i kopija Prvi put ove godine nismo primenjivali u ve}oj meri klasi~an na~inizrade kalupa od gipsa. Polaznici su morali da savladaju uzimanje oti-saka i pripremanje kalupa sa silikonskim smolama i poliesterom, azatim livenje gline i pe~enje glinenih odlivaka. Na ovom kursu su mogli da u~estvuju novi i stari polaznici. Me|utim,polaznici sa FPUID - odseka keramike i skulpture, bili su obaveznida se uklju~e, kako bi svoja fakultetska znanja i iskustvo preneli nastudente arheologije, istorije umetnosti, etnologije i sl.

Popravka starih konzervacija Problemi prvih ili starih konzervacija su danas veoma aktuelni i pred-stavljaju posebnu oblast izu~avanja. U zbirkama Narodnog muzejaima dosta arheolo{kog materijala, posebno keramike i stakla, koji jenekada pro{ao odre|eni proces konzervacije ili restauracije, a kojidanas mora ponovo da se tretira.

Konzervacija i sanacija kopija od gipsa i drugih materijalaNarodni muzej poseduje zna~ajnu kolekciju kopija od gipsa, ste}akai razli~ite kamene plastike. Ove kopije su pravljene pre vi{e decenijai sada su vidljive posledice protoka vremena i ozbiljna o{te}enja. Za druge vrste arheolo{kog materijala DIJANA Centar jo{ nema uslo-va; dok se ne re{e problemi odgovaraju}eg radnog prostora i opreme.

Tri nivoa obrazovanja:- osnovni nivo za nove polaznike- vi{i nivo za stare polaznike- specijalizacije i usavr{avanja

Realizacija obrazovanja u ciklusima, anga`ovanjem eksperata izzemlje i inostranstva:1. Zimsko-proletnja radionica DIJANA, 16 nedelja, februar-maj2. Letnja {kola DIJANA, 9 nedelja, jun-avgust 3. Jesenja radionica DIJANA, 10 nedelja, oktobar-decembar4. Specijalizacije5. Seminari, konferencije, savetovanja

1. ZIMSKO-PROLETNJA RADIONICA DIJANA, od 1. 2. do 30. 5. 2003.Ve} je uobi~ajeno da ovaj ciklus aktivnosti predstavlja nastavak teori-jske i prakti~ne obuke iz prethodnih sezona, i da se u nju uklju~ujuisklju~ivo stari polaznici i saradnici. Ove sezone u radu tog ciklusau~estvovalo je oko 30 polaznika i saradnika. Izuzetno, zbog posebnoginteresovanja, bila su uklju~ena i tri nova polaznika-po~etnika.

2. LETNJA [KOLA DIJANA, od 23. 6. do 23. 8. 2003.Letnji ciklus predstavlja najintezivniji deo edukativnih aktivnostiDIJANA Centra. Na{a iskustva su pokazala da ovaj te`ak svakodnevni

rad od 10 ~asova, pod punom koncentracijom, jeste najbolja {kola iselekcija mladih ljudi za opredeljenje i posve}enje za{titi kulturnihdobara. Letnja {kola se prvenstveno organizuje da pru i osnovnateorijska i prakti~na znanja za nove polaznike i u ovom ciklusu seisklju~ivo primaju novi polaznici.Edukacija za stare polaznike tekla je u kontinuitetu i predstavljala jenastavak obuke iz prethodnih ciklusa i njihove specijalizacije.U~estvovalo je ukupno oko 60 polaznika i saradnika, 35 starih i 25novih.

Odr`avali su se slede}i kursevi:- Kurs konzervacije tro{ne keramike- Kurs konzervacije ~vrste i gle|osane keramike- Kurs konzervacije rimskog i srednjovekovnog stakla- Kurs konzervacije kamena- Kurs pravljenja kalupa i kopija- Kurs obnavljanja starih konzervacija

U radu DIJANA Centra tokom Letnje {kole prvi put su ove godine biliuklju~eni maturanti Srednje zanatske {kole-konzervatorsko odeljenje,koji su u velikoj meri opravdali svoje u~e{}e u na{im edukativnimaktivnostima. Tako|e, posebno je bilo zna~ajno aktivno prisustvo grupe eminentnihkerami~ara. Vesna Svoboda, \ur|ina Bogdanovi} i Jasmina Telak,doprinele su kona~nom definisanju i pokretanju projekta iz oblastieksperimentalne arheologije, o starim tehnologijama proizvodnjekeramike. U radu Letnje {kole u~estvovali su i Simonida Miljkovi} i FilipFidanovski, iz Muzeja Makedonije. Dr`ali su cikluse predavanja otradicijama kerami~kih proizvodnji u Makedoniji, od praistorije doetnografske keramike. Tokom njihovog boravka organizovana jeizlo`ba i prezentacija projekta "Tradicionalne proizvodnje keramike uMakedoniji". Tako|e, u edukativne programe Letnje {kole DIJANA bila je uklju~enai grupa od 5 umetnika, vajara i kerami~ara, iz Meksika.

3. JESENJA RADIONICA DIJANA, od 1. 10. do 30.12. 2003.Aktivnosti ove radionice su predstavljale direktan nastavak rada Letnje{kole DIJANA, i to sa polaznicima koji su uspe{no pro{li selekciju, isa starim polaznicima i saradnicima. Prose~no oko 30 starih i 5 novih polaznika stalno u~estvuju urazli~itim edukativnim aktivnostima. Za starije polaznike i saradnike pravljeni su specijalizovani programi,koji su se odvijali po posebnim projektima, npr:- Pripremanje muzejskog materijala, posebno keramike i stakla, zaizlaganje i to za razli~ite muzeje u celoj zemlji (Narodni muzejBeograd, Arheolo{ki muzej Kladovo, Zavod za za{titu spomenika uKotoru, muzeji u ^a~ku, Kraljevu, Kru{evcu, Pan~evu, i dr.)- Pripremanje razli~itih projekata za konkurisanje- Pripremanje stru~nih tekstova i izve{taja- Pripremanje anketa za analizu stanja u muzejima- Pripremanje planova organizacije rada institucija za{tite- Pripremanje uslova za planove preventivne za{tite- Snimanje stanja i procena rizika u razli~itim muzejima- Pripremanje javnih radionica, otvorenih za publiku i dr. Jesenji ciklus bio je posebno obele`en u~e{}em na{ih kolega izSlovenije u edukativnim i drugim aktivnostima DIJANA Centra.

Specijalisti~ka predavanjaKao sastavni deo teorijske i prakti~ne obuke, DIJANA Centar orga-nizuje i specijalisti~ke kurseve i predavanja, koja su na poseban na~inobra|ivala pojedine probleme za{tite, konzervacije, arheologije iliarheolo{kih predmeta:1. Upotreba Lasera u konzervaciji, Vanja Jovanovi}, restaurator, [kolaumetni~kih zanata 2. Interdisciplinarnost u konzervaciji, Ramanska spektroskopija u muze-ologiji i za{titi, Silvio Ke~ke{ i Jelena Petrovi}, Fizi~ko-hemijski fakultet3. Arheolo{ki interdisciplinarni sadr`aji "Geopsysical survey", MarkFrensis, Univerzitet u Daramu, V.Britanija4. "Instrumentalne metode u konzervaciji", Vojin Nikoli}, Zavod zaza{titu spomenika kulture Srbije

11

Steam CleaningPrimena paro~ista~a

Specialist lecturesDIANA Centre also organizes special courses and lectures as part oftheoretical and practical education. Various issues of protection, con-servation, archaeology and archaeological objects were treated:1. Use of Laser in Conservation, Vanja Jovanovi}, restorer, ArtisticCrafts School2. Interdisciplinarity in conservation, Raman spectroscopy in museol-ogy and conservation, Silvio Ke~ke{ and Jelena Petrovi}, Faculty ofPhysical Chemistry3. Interdisciplinarity in archaeology "Geophysical Survey", MarkFrancis, Durham University, UK4. Instrumental methods in conservation, Vojin Nikoli}, Institute forProtection of Monuments of Culture of Serbia5. Causes of archaeological glass decay and prevention methods,Sandra Davison, United Kingdom Institute for Conservation of Historicand Artistic Works (UKIC), Davison Studio, UK6. Roman ceramics in Europe, production, trade, and cultural rela-tions in Europe and the Balkans, Dr Robin Symonds, Museum ofLondon, UK7. "Traditional productions of ceramics in Macedonia", from prehistoricto traditional ceramics, Filip Fidanovski and Simonida Miljkovi},Museum of Macedonia, Skopje, Macedonia8. Traditional ceramics production in Serbia "Zlakusa", Vesna Svobodaand Jasmina Telak, ceramists9. Conservation and condition of Coptic textile in the NationalMuseum Ljubljana, Gojka Pajagi}-Breger, National Museum Ljubljana,Slovenia

Specialist courses:1. Restoration of majolica and porcelain - held by Janja Slabe,National Museum Ljubljana and Jana Prislan [ubi}, Gori{ki Muzej,Gorica, Slovenia. Strictly speaking restoration of porcelain is not partof our basic programmes, however we opted for this course to com-plete the process of conservation and restoration from the prehistoricto modern materials. It must be noted that there are no profession-ally trained experts in restoration of porcelain in our country. That iswhy it might prove necessary to treat and adequately conserve thesevaluable and wonderful works of art.The course was well organised and very intensive, and students andcollaborators of DIANA Centre were very interested in it. It offered basicbody of knowledge for restoration of this kind of material and about20 students and collaborators of DIANA Centre participated in it.2. Conservation and remedying of plaster copies of standing tomb-stones and various stone plastics engaged many of our collabora-tors and students. Carrying out this programme was in charge of MilaPopovi}-@ivan~evi} and Maja Frankovi}. 8 students and collaboratorsattended the course. Remedying of very damaged plaster copies ofstanding tombstones requires a complex approach and combinationof different techniques and technological treatments. Conservationapproach requires that course participants treat these copies as orig-inals in the sense of documentation.

Other educative activitiesAs part of their training, our students and collaborators also took partin the following activities:- Survey and analysis of conditions for storing and displaying muse-um objects- Learning methodology used in designing projects for fundraising- Preparing informative posters on protection activities- Creating video presentations and other material needed for pre-senting projects or to be used in specialised lectures- Translation of foreign specialised literature- Keeping correspondence and cooperation with colleagues andinstitutions in the country and abroad- Creating information for and communication with media and thepublic- Exhibitions "DIANA - Why?" and "Work of Slovenian Conservatorsand Restorers 2003"- DIANA publications No 8 and 9, various pieces of information,Christmas cards, etc.

4. SPECIALIZATIONSa) Specializations- Vesna @ivkovi} attended the first course for museum professionalsin Preventive Conservation, Ottawa, Canada from 1st to 22nd June.This very specialised course was attended by 20 participants fromvarious countries and DIANA Centre got one place in it. It was organ-ised by ICCROM and Canadian Conservation Institute. Vesna @ivkovi}made thorough and systematic preparation for this course: learnedabout various experiences, gathered information and documentationfrom the museum network of Serbia and institutions of protection. Shealso prepared her presentations for the course dealing in the firstplace with condition in museum institutions and for storing cultural property.- We were granted three specializations in France that are to be real-ized in 2004: in Museum of Antique in Arles (stone conservation), lab-oratory for Conservation in Draguignan (archaeological objects, partic-ularly metal ones) and in the Centre for Conservation and Research ofthe Direction of Museums of France (conservation of organic materials).Several actions are taken for grants covering specialization in pres-entation of museum activities concerning heritage and protection, pre-

ventive conservation, museum marketing in museum institutions ofDenmark and Italy, which should be realized in 2004.b) Educative programmes - specializations- Proposals for joint programme of education between the Paris IUniversity, DIANA Centre (National Museum Belgrade) and BelgradeUniversity are almost ready- Upon invitation of the Team for Humanities of the Ministry ofEducation, we prepared a proposal for preventive conservation to beincluded as optional subject in the high school education

6. SEMINARS, CONFERENCES, MEETINGSOrganisation of seminars, conferences and meetings in the field ofpreventive conservation, conservation and museology make an inte-gral part of educational processes and international, regional andlocal cooperation of DIANA Centre. As a rule, this part of DIANACentre's activities is organised in cooperation with the NationalCommittee of ICOM of Serbia and Montenegro.1. In February 2003 we organised in the Gallery of Frescoes a sem-inar on museum documentation "From Documentation Card to theUser"2. In May 2003 DIANA Centre actively participated in all the activitiesmarking the 18th May - International Museum Day: a round table onpublishing and work of museum libraries, social role of museums,exhibition of donations to museums, etc.

STUDENTSThe interest for participating in educational activities of DIANA Centreis constantly rising both in the country and abroad. This only provesthat from the very beginning we have achieved one of our main goalsand that it was high time for building up the professional staff in thisspecific field of cultural property protection and preservation.

12

Practical work during DIANA Summer SchoolPrakti~an rad za vreme DIJANA Letnje {kole

5. "Uzroci propadanja arheolo{kog stakla i metode za spre~avanjepropadanja", Sandra Dejvison, UKIC, Dejvison studio, Velika Britanija6. "Rimska keramika u Evropi"; proizvodnja, trgovina i kulturne veze uEvropi i na Balkanu, Robin Sajmonds, Muzej grada Londona, VelikaBritanija7. "Tradicije kerami~kih proizvodnji u Makedoniji", od praistorijske doetnografske keramike, Filip Fidanovski i Simonida Miljkovi}, MuzejMakedonije, Skoplje, Makedonija8. "Tradicionalne proizvodnje keramike u Srbiji, "Zlakusa", VesnaSvoboda i Jasmina Telak, diplomirani kerami~ari9. "Konzervacija i stanje koptskih tkanina u Narodnom muzejuLjubljana", Gojka Pajagi~ Bregar, Narodni muzej Slovenije, Ljubljana,Slovenija

Specijalisti~ki kursevi10. Specijalisti~ki kurs "Restauracija majolike i porcelana".Ovaj kurs su vodile Janja Slabe iz Narodnog muzeja Ljubljana i Jana[ubic Prislan iz Gori{kog muzeja iz Gorice, Slovenija. Iako strogore~eno restauracija porcelana nije deo na{ih osnovnih sadr`aja,

odlu~ili smo da ovo organizujemo, zbog zatvaranja kruga konzervacijei restauracije od praistorijskog do savremenog materijala. Pored toga,profesionalno obu~eni stru~njaci za restauraciju porcelana kod nas nepostoje i zbog toga je dobro da se ovi, ponekad veoma vredni iizuzetno lepi, umetni~ki predmeti tretiraju i za{tite na odgovaraju}ina~in. Kurs je bio dobro organizovan i intenzivan, i izazvao je veliko intereso-vanje saradnika i polaznika DIJANA Centra. Kurs je pru io osnovnaznanja iz restauracije ovih materijala i u njemu je u~estvovalo oko 20saradnika i polaznika DIJANA Centra. 11. Specijalisti~ki kurs "Konzervacija i sanacija kopija ste}aka i arhitek-tonske plastike" uklju~io je veliki deo saradnika i polaznika. Za real-izaciju programa ovog kursa odgovorna je, pored Mile Popovi}-@ivan~evi}, Maja Frankovi}. U kursu u~estvuje grupa od osam sarad-nika i polaznika. Sanacija veoma o{te}enih kopija ste}aka od gipsazahteva kompleksan pristup i kombinivanje razli~itih tehnika i tehno-lo{kih postupaka. Kad je re~ o konzervatorskom pristupu, u~esnicikursa moraju da defini{u i tretiraju kopije kao originale, u doku-mentacionom smislu.

Posebne edukativne aktivnosatiPolaznici i saradnici u~estvovali su u slede}im aktivnostima kao sas-tavnim delovima svoje obuke: - snimanje i analiza stanja ~uvanja i izlaganja muzejskih predmeta- metodologija pripremanja projekata za konkurisanje - pripremanje informativnih postera o aktivnostima na za{titi- pripremanje videoprezentacija i drugog materijala za prezentacijeprojekata ili specijalizovana predavanja- prevo|enje inostrane stru~ne literature- doma}a i me|unarodna korespondencija i saradnja - pripremanje informativnog materijala i komuniciranje sa medijima i

javno{}u- pripremanje izlo`bi "DIANA Za{to?" i "Radovi slovena~kih konzerva-tora i restauratora 2003.", - pripremanje DIJANA publikacije 8 i 9, informativnog materijala,~estitki i dr.

4. SPECIJALIZACIJE a) Specijalizacije - Vesna @ivkovi} je u~estvovala u prvom profesionalnom kursu zamuzejske stru~njake iz Preventivne za{tite, u Otavi, Kanada, od 1. do22. juna. Ovaj vrlo specijalizovan kurs bio je organizovan za samo 20u~esnika iz celog sveta, i DIJANA Centar je dobio jedno mesto.Organizatori kursa su bili ICCROM i Kanadski konzervatrorski institut. Vesna @ivkovi} se veoma temeljno i sistematski pripremala zau~estvovanje u ovom kursu: razmena iskustava i prikupljanje infor-macija, dokumentacije muzejske mre`e Srbije i drugih institucijaza{tite, pripremala je prezentacije za prikazivanje na kursu, pre svegao stanju muzejskih institucija i uslovima ~uvanja kulturnih dobara. - Dobili smo tri specijalizacije u Francuskoj, koje treba da se realizu-ju 2004: u Muzeju Antike u Arlu (konzervacija kamena), Laboratoriji zakonzervaciju u Draginjanu (arheolo{ki predmeti, posebno metal) iCentru za konzervaciju i istra ivanja Direkcije muzeja Francuske(konzervacija organskih materijala). - U toku je vi{e procedura za specijalizacije o prezentaciji muzejskihaktivnosti na ba{titni i za{titi, preventivnoj za{titi, muzejskom mar-ketingu u muzejskim institucijama Danske, Italije, koje treba da serealizuju 2004. b) Razvoj Programa obrazovanja - specijalisti~kih edukativnih pro-gramaU zavr{noj fazi su predlozi zajedni~kog programa obrazovanjaizme|u Univerziteta Pariz 1 - DIJANA Centra (Narodni muzej) -Beogradskog UniverzitetaU okviru reforme srednjo{kolskog obrazovanja, na predlog Tima zadru{tvene nauke Ministarstva obrazovanja, pripremili smo predloguklju~ivanja preventivne za{tite u izborni nastavni program.

5. SEMINARI, KONFERENCIJE, SAVETOVANJASastavni deo edukativnih procesa i me|unarodne, regionalne i lokalnesaradnje u DIJANA Centru predstavlja organizovanje stru~nih semi-nara, konferencija i savetovanja iz oblasti preventivne za{tite, konzer-vacije i muzeologije. Ovaj deo svojih aktivnosti, DIJANA Centar, popravilu, realizuje u saradnji sa nacionalnim komitetom ICOM-a (NCICOM SCG).1. Decembra 2002. godine, u Galeriji fresaka organizovali smo save-tovanje o "Strate{kom planiranju u muzejima", o autoevaluaciji i evalu-aciji, strate{kom planu razvoja, novim organizacionim {emama i sis-tematizacijama radnih mesta i dr. Cilj ovog seminara je bio dapokrene unutra{nje reorganizacije u muzejskoj mre i SCG (napome-na: ovo savetovanje nije u{lo u Izve{taj aktivnosti za 2002.)2. Februara 2003. godine, u Galeriji fresaka organizovali smo semi-nar o muzejskoj dokumentaciji "Od kartona do informacije za korisnike" 3. Maj 2003. godine - DIJANA Centar je intezivno u~estvovao u orga-nizaciji ~itavog niza manifestacija povodom obele`avanja 18. maja -Me|unarodnog dana muzeja.: Okrugli sto o izdava~koj delatnosti iradu muzejskih biblioteka, dru{tvenoj ulozi muzeja, izlo`ba donacijamuzejima i dr.

POLAZNICIInteresovanje za poha|anje kurseva i uklju~ivanje u aktivnosti DIJANEneprestano raste u na{oj zemlji i svetu. To pokazuje da smo odsamog po~etka postigli jedan od glavnih ciljeva i da je bio krajnjimomenat za stvaranje profesionalnih kadrova u ovoj oblasti za{titekulturnih dobara.Imamo dve osnovne grupe polaznika:1. Studenti ili zavr{eni studenti Filozofskog fakulteta i to: arheologije,istorije umetnosti, etnologije, istorije; FPU- keramike, skulpture, konz-ervacije {tafelajnog i zidnog slikarstva, Konzervatorske akademijeSPC, dizajneri, i svet sa drugim umetni~kim sklonostima.2. Saradnici iz raznih muzeja iz na{e zemlje i okoline, kao {to suMuzej Rudni~ko-Takovskog kraja u Gornjem Milanovcu, Narodnimuzej Kraljevo, Muzej Makedonije u Skoplju) i dr.

13

Project “Kids in Museum”Projekat “Deca u muzeju”

We have two basic groups of students1. Graduates and undergraduates of the Faculty of Philosophy atBelgrade University (archaeology, history of arts, ethnology, history), ofthe Faculty of Applied Arts - ceramics, sculpture, conservation ofeasel and wall painting; Conservation Academy of the SerbianOrthodox Church; designers and individuals with artistic interests2. Collaborators/employees from various museums in the country(Museum of Rudnik and Toplice area in Gornji Milanovac, RegionalMuseum Kraljevo, Museum of Macedonia in Skopje)

Enrolling of studentsWe have several instances of selection for enrolling students for ourcourses and participating in DIANA Centre activities. The predisposi-tion of our candidates is their dedication to museology, adequateschool education and decision. We also keep assessing these atti-tudes of our candidates in daily contacts, through their interest in pro-tection and we pay particular attention to their ethical and moral atti-tudes when culture, cultural heritage and museum profession areconcerned. Engagement during the Winter-Spring period is consid-ered as the best "test" for most of DIANA Summer School students.In the past years we made choice from among the most suitable can-didates and now we have a group of about 35-40 collaborators andstudents whom we can consider as future conservators. In the com-ing years their schooling, training and specializations will continue.They also actively participate in all activities of DIANA Centre in theGallery of Frescoes during year and are engaged in all organisation-al and other tasks related to the work and development of our Project.

Other activities of studentsOur students are engaged in complete organisation of work andactivities of DIANA. Divided into groups they are engaged in acquir-ing materials and equipment for work, working out documentationand photo-documentation, care about computer equipment, care aboutthe library with acquisition of new books, contacting sponsor anddonors, PR, prepress work for all our publications and informationitems, multimedia and Internet presentations, CD ROMs, preparationof conservation exhibitions, organisation of gatherings and seminars,excursions, international contacts, translations from and to foreign lan-guages, ICOM, UNESCO, secretarial work, cashier service, dispatch-ing, etc. Thanks to this kind of organisation, it has been possible forDIANA to function as an independent and self-supporting system.We should particularly point out that the complete system of activi-ties at DIANA is based on strict carrying out of approved plans andon strict working and intellectual discipline, cherishing professionalethics, rules and morals, team work and developing sense of respon-sibility in work as well as in promoting the common goal and spirit,strong feeling of belonging to a common idea.It is through activities of DIANA that we want to develop and build,beside professional behaviour, strong ethical criteria and specific intel-lectual understanding of the importance of cultural heritage and itsrole in the development of the society.

Young people at DIANA Centre have readily accepted the opportu-nity offered after the General Assembly of ICOM held in 2000 inBarcelona to the students to become ICOM members. Now, we have25 ICOM members from DIANA Centre actively engaged in the workof Serbia and Montenegro National Committee of ICOM.

LECTURERS AND COLLABORATORSWe are constantly making efforts that both theoretical and practicaleducation at DIANA Centre includes the best experts in museology,preventive conservation, and technology, chemistry, conservation,archaeology, etc. regardless if they come from the country or abroad.DIANA Centre has gathered a permanent team of lecturers andexperts and the team are constantly being enlarged. Members of theteam are University lecturers and experts, those working in specialisedinstitutions or holding private studies in our country and in Europe:- Prof. Dr. Du{an Trifunovi}, Faculty of Metallurgy and Technology,Belgrade- Prof. Dr. Ubavka Mio~, Silvio Ke~ke{ and Jelena Petrovi}, Facultyof Physical Chemistry, Belgrade - Prof. Dr. Dragan Milovanovi}, Faculty of Mining and Geology,Belgrade- Vanja Jovanovi}, Artistic Crafts School- Vojin Nikoli}, Institute for Protection of Cultural Monuments of Serbia- Prof. Ljuba Dragi}evi}, Conservation Academy of the SerbianOrthodox Church- Filip Fidanovski and Simonida Miljkovi}, Museum of Macedonia- Jana Prislan-[ubi}, Gori{ki Museum, Slovenia - Janja Slabe, National Museum Ljubljana, Slovenia- Gojka Pajagi}-Bregar, National Museum Ljubljana, Slovenia- Sandra Davison, Davison Studio, UK- Dr Robin Symonds, Museum of London, UK- Mark Francis, Durham University, UK- Malena Stoj~ev, lecturer in English- Ranko Savi}, Neda Jevremovi}, National Museum Belgrade - Sreten Veljkovi}, Fire Brigade, Belgrade-Mila Popovi}-@ivan~evi}, National Museum Belgrade - DIANACentre

II PASSIVE CONSERVATION 1. Feasibility study on DIANA Centre as system of preventive con-servation completed for the National Commission of UNESCO andfor the existing and future partners2. Renovated text of the project on DIANA Centre as regional sys-tem of preventive conservation (for the National Museum Belgrade,Regional UNESCO office ROSTE, UNESCO, etc.)3. The project- feasibility study Plan of Preventive Conservation formuseums is being prepared (planning, surveying, condition analysis,situation evaluation, risk assessment, setting priorities, recommenda-tions, remedy actions and direct interventions, updating, controlling,etc.)4. A Survey - questionnaire was done on Preventive Conservation inMuseums on buildings conditions, surroundings, storages, displayrooms, conservation workshops, emergencies, fire protection, etc.5. The following Rule Books, Procedures Books and instructions arebeing prepared:- Rule Book, Procedures Books and instructions for receiving worksfor conservation and the conservation treatment- Rule Book/Instructions for keeping archaeological objects in stor-ages- Rule Book/Instructions for displaying archaeological objects- Rule Book/Instructions for transporting archaeological objects6. A Survey for self-evaluation of conditions in museology has beendone. It is focused on the situation in museology and in the profes-sion, and has been used with success by the Museum of the Cityof Belgrade, Regional Museum Kraljevo.7. Workshop - Analysis of condition in museums of Serbia: Fact-find-ing missions related to conditions in museum buildings, storing con-ditions in storages, display conditions, working conditions, etc. as wellas making reports with risk assessment and recommendations forremedy measures and adequate storing and display of cultural property.-National Museum Belgrade: fact-finding mission completed in all

14

Sandra Davison during Course on Glass ConservationSandra Dejvison za vreme Kursa konzervacije stakla

Prijem polaznikaSada ve} postoji vi{e nivoa selekcije pristupanja DIJANA Centru iupisa u Letnju {kolu. Ono {to smatramo predispozicajama jeste pos-tojanje muzeolo{ke pripadnosti, odgovaraju}eg {kolovanja i opredel-jenja kandidata. Zatim, stalno procenjivanje budu}ih polaznika, krozkontakte sa nama i pokazivanje izra`enog interesovanja za za{titu, itu se posebna pa`nja obra}a na eti~ko-moralnu komponentu odnosaprema kulturi, kulturnom nasle|u i muzeolo{koj profesiji. Anga`ovan-je u zimsko-proletnjem periodu predstavlja sjajan "prijemni ispit" zanajve}i deo novih polaznika Letnje {kole. U proteklih nekoliko godinave} se napravio prirodan odabir najpogodnijih kandidata, tako dasada imamo grupu od oko 35-40 saradnika i polaznika, za kojemo`emo pretpostaviti da }e se ozbiljno baviti za{titom. Narednihgodina njihovo {kolovanje, obuka i specijalizacije }e se nastaviti. Oniintenzivno u~estvuju u svim aktivnostima DIJANA Centra u Galeriji fre-saka tokom cele godine i direktno rade na svim organizacionim idrugim pripremama oko delatnosti i razvoja na{eg Projekta.

Posebne aktivnosti polaznikaPolaznici su uklju~eni u realizaciju svih aspekata organizacije rada iaktivnosti DIJANA Centra. Podeljeni su i rade u okviru razli~itih grupai timova za svaki potreban posao, kao {to su, na primer, nabavkamaterijala i opreme za rad, dokumentacija, fotodokumentacija,ra~unarska oprema, biblioteka, nabavka knjiga, kontakti sa sponzori-ma i donatorima, propaganda, kontakti sa javim glasilima, tehni~karedakcija za sve publikacije i drugi informativni materijal, multimedi-jalne i internet prezentacije, pripremanje i izrada CD ROM-a, pripremakonzervatorske izlo`be, organizacija razli~itih skupova i seminara,organizacija stru~nih ekskurzija, me|unarodni kontakti, prevodi sastranih jezika, ICOM, UNESCO, sekretarski poslovi, blagajna, kurirskiposlovi i dr. Zahvaljuju}i ovom na~inu organizacije aktivnosti, DIJANACentar funkcioni{e kao nezavistan i samostalan sistem.Treba ista}i, da se ceo sistem delatnosti DIJANE zasniva na striktnojrealizaciji ta~no odre|enih programa i na strogoj radnoj i duhovnojdisciplini, na negovanju profesionalne etike, pravila i morala, na tim-skom radu i razvijanju odgovornosti za obavljanje poslova, kao i nanegovanju zajedni~kog cilja i duha, sna`nog ose}anja pripadnostijedinstvenoj ideji.Kroz aktivnosti DIJANA Centra elimo da negujemo i razvijamo, poredstru~nog prakti~nog profesionalizma, stroge eti~ke kriterijume i speci-fi~nu duhovnu klimu o istinskom zna~aju kulturnog nasle|a i njegoveuloge u razvoju dru{tva.Mladi ljudi iz DIJANA Centra skoro momentalno su iskoristili prilikukoja im je pru`ena, posle Generalne skup{tine ICOM-a u Barseloni2000. godine, da i studenti mogu biti ~lanovi ICOM-a. Tako, u NCICOM SCG, aktivno radi 25 ~lanova iz DIJANA Centra.

PREDAVA^I I SARADNICITrudili smo se da se teorijska i prakti~na obuka u DIJANA Centrusprovodi sa najboljim ekspertima iz oblasti muzeologije, preventivneza{tite, tehnologije, hemije, konzervacije, arheologije i dr, iz na{e zeml-je i iz inostranstva. DIJANA Centar je oko sebe okupio stalni tim pre-

dava~a i eksperata, i taj krug se neprestano {iri. To su profesori ieksperti sa Univerziteta, specijalizovanih institucija i privatnih studija izna{e zemlje i Evrope. - Du{an Trifunovi}, Metalur{ko-tehnolo{ki fakultet - Ubavka Mio~, Silvio Ke~ke{ i Jelena Petrovi}, Fizi~ko-hemijski fakul-tet- Dragan Milovanovi}, Rudarsko Geolo{ki fakultet- Vanja Jovanovi}, [kola umetni~kih zanata- Vojin Nikoli}, Zavod za za{titu spomenika kulture Srbije- Ljuba Dragi~evi}, Konzervatorska Akademija SPC- Filip Fidanovski i Simonida Miljkovi}, Muzej Makedonije, Makedonija- Jana [ubic Prislan, Gori{ki muzej, Slovenija- Janja Slabe, Narodni muzej Slovenije, Slovenija - Gojka Pajagi~ Bregar, Narodni muzej Slovenije, Slovenija - Sandra Dejvison, UKIC, Dejvison studio, Velika Britanija- Robin Sajmonds, Muzej grada Londona, Velika Britanija- Mark Frensis,Univerzitet u Daramu, Velika Britanija- Malena Stoj~ev, prof. engleskog jezika, DIJANA Centar; - Ranko Savi}, Neda Jevremovi}, Narodni muzej- Sreten Veljkovi}, Vatrogasna brigada Beograd - Mila Popovi}-@ivan~evi}, Narodni muzej, DIJANA Centar

II PASIVNA KONZERVACIJJA

1. Ura|en elaborat o DIJANA Centru kao sistemu preventivne za{titera|en za Nacionalnu komisiju za UNESCO, za postoje}e i budu}epartnere2. Ura|en novi tekst projekta o DIJANA Centru kao regionalnom sis-temu preventivne za{tite, (za Narodni muzej, regionalnu kancelarijuUNESCO-a - ROSTE, UNESCO i dr. 3. Radi se na projektu-elaboratu Plan preventivne za{tite za muzeje(planiranje, snimanje, analiza stanja, procena situacije, procena rizika,odre|ivanje prioriteta, preporuke, saniranje stanja i neposredna inter-vencija, pra}enje, a`uriranje, kontrola i dr. 4. Ura|ena je Anketa-upitnik iz Preventivne za{tite za muzeje, o stan-ju zgrade, okru`enja, depoa, izlo`benog prostora, konzervatorskihradionica, za{tita od vanrednih prilika, protivpo`arna za{tita i dr.5. Radi se na izradi Pravilnika, Procedura i upustava:- Pravilnik, procedure i upustava za primanje dela na konzervaciju ikonzervatorski postupak - Pravilnika/upustva u uslovima ~uvanja arheolo{kih predmeta udepoima- Pravilnika/upustva o uslovima izlaganja arheolo{kih predmeta- Pravilnika/upustva o uslovima transporta arheolo{kih predmeta6. Ura|ena je Anketa za autoevaluaciju stanja muzejske delatnosti,koja je usmerena na stanje muzeologije i struke, i ve} je uspe{nokori{}ena u Muzeju grada Beograda, Narodnom muzeju u Kru{evcu 7. Radionica - Analiza stanja u muzejima Srbije: Snimanje stanjamuzejskih zgrada, uslova ~uvanja u depoima, uslova izlaganja i radai dr., zatim sastavljanje izve{taja sa procenom rizika i predlogom meraza saniranje i adekvatno ~uvanje i izlaganje kulturnih dobara. - Narodni muzej Beograd, obavljeno snimanje stanja svih depoa,izlo`benog prostora, konzervatorskih radionica, tehni~kih radionica, kance-larija i dr, u zgradi Narodnog muzeja. Pripremljen izve{taj i dokumentacioni mater-ijal za projektni zadatak predstoje}e rekonstrukcije zgrade.- Narodni muzej Kru{evac, obavljeno snimanje stanja zgrade (deli-mi~no) depoa, izlo`benog prostora, okoline, arheolo{kog parka, kera-mi~kih pe}i na arheolo{kom terenu. Pripremljen op{irni Izve{taj ostanju zgrade, muzejske postavke i predmeta, sa predlogom merasanacije, eliminisanja rizika i odgovaraju}e organizovanje.- Muzej grada Beograda, obavljeno snimanje zgrade, okoline, prais-torijskog depoa, kancelarije odgovornog kustosa, organizovano uzi-manje uzoraka i indentifikacije mikroorganizama. Napravljen op{iranIzve{taj o stanju prostora i predmeta, o rizicima, sa predlogomsanacije stanja sa prioritetima, sa predlogom organizovanja privre-menih i radikalnih uslova ~uvanja predmeta.- Muzej grada Vr{ca, obavljeno kompletno snimanje stanja svih zgra-da muzeja, okoline, radnog prostora, konzervatorskih slu`bi i depoa.Posebno je snimljeno stanje budu}e zgrade namenjene organizo-vanju stalne postavke. U toku je izrada elaborata o potrebnim uslovi-ma za izlaganje predmeta na novoj postavci i pripremanje Izve{taja o

15

Course on Conservation of PorcelainKurs konzervacija porcelana

storages, display rooms, conservation workshops, technical facilities,offices, etc. of the National Museum Belgrade. The report was writ-ten and documentation prepared for the project tasks in the forth-coming reconstruction of the building.- Regional Museum Kru{evac: fact-finding mission completed for thebuilding (partially), storages, display rooms, surroundings, andarchaeological park, ceramic kilns in situ. A comprehensive reportwas prepared on the building, museum display and objects condi-tion with proposals for remedy actions, elimination of risks and foradequate organisation.- Museum of the City of Belgrade: fact-finding mission completed forthe building, surroundings, prehistoric storage, office of the curator incharge, organised sampling and identification of microorganisms.Comprehensive report on condition of the space and of objects waswritten, including risks assessment and with recommendations forremedying the condition with indicating priorities and with suggestionsfor organising provisional and radical conditions for safekeepingobjects. - Museum Vr{ac: complete survey of all buildings of the museum,environment, working space, conservation services and storages wasdone. Particular attention was paid to the future building intended forthe permanent display. Work on a document regarding conditionsneeded for exhibiting objects in the new display is under way as wellas on the Report on the condition of the building, storage and muse-um material.8. Copies of various laws on heritage protection and on museumsfrom all over the world were collected. New French Law on Museums(2002) was translated into Serbian.9. Documentation and information concerning standards and organ-isation of centralized services for protection of movable heritage fromall over the world is being provided to be used in preparing the proj-ect of the National Centre for Protection.10. Various papers covering preventive conservation and conserva-tion were translated into Serbian.11. Sampling for identification of microorganisms on stone specimens

from the Vlasac site was organised, as well from ceramics in Museumof the City of Belgrade, copies of standing tombstones and of fres-coes in the Gallery of Frescoes. This is being done in cooperationwith the Biological Institute.12. Permanent control of climate in the objects of the NationalMuseum Belgrade (storages, display rooms, workshops and labora-tories).13. Preparation for the course "Introduction to PreventiveConservation" to be held in January 2004 was done in cooperationwith ICCROM, School of Conservation - The Royal Danish Academyof Fine Arts, and the Danish National Museum. It was designed formuseum staff, and the leaders of the training programme would beBent Eshoj and Morten Rhyl Svendsen.14. Preparing of programmes for Preventive Conservation workshops:Workshop for fire, floods, thefts and other emergencies protection,Workshop for archive material, Workshop for UV and Infra Red pro-tection, Protection in the Conservation Workshop, Storing of ethno-graphic textile, etc.

III ACTIVE CONSERVATIONActive conservation has been part of practical training and everydaywork of our trainees and collaborators engaged at DIANA Centre forseveral years.1.Conservation of ceramics, both soft-bodied and solid, from the col-lections of the National Museum Belgrade, its Roman and Greek col-lections, DIANA Karata{, Tekija (preparations for displaying), Dunji}collection, sites Vajuga-Pesak, Dubravica-Ora{je, Belovode, KaleKr{evica- Completed conservation of 204 objects or parts of ceramic objects- 14 objects are still being treated- Conservation of 19 objects for the third parties (Institute forProtection Kotor, Padina)Big and very fragmented archaeological objects that required specif-ic conservation treatments, skills, experience and knowledge: pithosfrom the Belo Vode and Djerdap sites, hydria from Kale Kr{evica site 2. Conservation of glass from the National Museum Belgrade collec-tions, from Kosmaj and Guberevac sites. Conservation of 11 glassobjects was completed, and 15 objects are still being treated- Conservation of glass objects for third parties (Institute for ProtectionKotor, Museum of the City of Belgrade, Regional museums in Kraljevoand Zaje~ar) with 22 glass objects conserved and 2 object in theconservation process3. Conservation of stone from the Vlasac site, Museum Majdanpek(contracts under preparation). The work on 9 sculptures of variouskinds of stone is completed. Maja Frankovi} coordinated the workand Ivana Stojkovi} was engaged in it. The protection and conser-vation of these stone artefacts were done by Prof. DraganMilovanovi}, Mining and Geology Faculty, Prof. Jelena Vukojevi} andassistant lecturer Milica Ljaljevi}, Biological Institute.4. Making copies and replicas of various ceramic objects both pre-historic and Roman ones. About 100 clay casts were being produced.There were over 500 copies and 26 new moulds made. New tech-nology was applied, which genuinely follows the original look andmethods of work.5. Remedy and conservation of copies of standing tombstones andstone plastics from the storage of the Gallery of Frescoes. Work wascompleted on 4 copies of standing tombstones, and 20 copies arebeing treated. It was planned that this course lasts for as manymonths as needed for the remedy actions for all the planned num-ber of copies to be completed during practical training. 6. Restoration of majolica and porcelain boomed after the specialcourse held in November 2003. It turned out that the customers hadgreat interest in having their damaged majolica, porcelain, faienceand the like repaired at DIANA Centre. This can be a good com-mercial opportunity for our young talented trainees. Restoration ofsome 20 objects from private collections were done free of charge,as part of their professional training.7. Conservations done for other museums and institutions for protection- Institute for Protection Kotor: vessels of painted medieval ceramics(14th C) and Venetian glass vessels from the 14th C were conserved- Regional Museum Kraljevo: conservation of very fragile grave finds

16

Kinds ofMaterial

Conservationsdone

On-going Conservations

Owner

Ceramics 204

19

14 National MuseumBelgrade

Institute for Prot.Kotor, site Padina

Glass 11

22

15

1

National MuseumBelgrade

Institute for Prot.Kotor

Museum of theCity of Belgrade,regional museumsin Kraljevo and

Zaje~ar

Stone 9 MuseumMajdanpek

Makingmoulds,

copies andreplicas

500 copies26 moulds

100 copies National Museum Belgrade

Remedyingcopies ofstanding

tombstones

4 20 National Museum Belgrade

Restorationof majolica

and porcelain

20 5 Private collections

TOTAL 289 conservations526 moulds and copies

55 conservations100 copies

Table: Survey of Conservations done in 2003

stanju zgrade, depoa i muzejskog materijala. 8. Prikupljen je veliki broj Zakona o za{titi ba{tine i muzejima iz celogsveta. Novi Francuski zakon o muzejima iz 2002, preveden je sa fran-cuskog jezika. 9. Prikuplja se dokumentacija i informacije o standardima i organi-zaciji centralizovanih slu`bi za{tite pokretnih dobara iz celog sveta, zapripremanje projektnog zadatka za Nacionalni centar za{tite.10. Ura|en je prevod ve}eg broja stru~nih tekstova iz oblasti pre-ventivne za{tite i konzervacije. 11. Organizovanje uzimanja uzoraka za indetifikaciju mikroorganiza-ma na uzorcima kamena sa lokaliteta Vlasac, sa keramike iz Muzejagrada Beograda, uzoraka kopija ste}aka i kopija fresaka iz Galerijefresaka. Ovaj posao se radi u saradnji sa Biolo{kim institutom. 12. Stalno merenje i pra}enje klime u objektima Narodnog muzeja(depoi, izlo`beni prostori, radionice i laboratorije.13. Pripremao se kurs "Uvod u preventivnu za{titu", za januar 2004,namenjen muzejskom osoblju, u saradnji sa ICCROM-om, School ofConservation -The Royal Danish Academy of Fine Arts, The DanishNational Museum. Kao glavni nosioci programa obuke planirani suBent Eskoj i Morten Ryhl Svendsen 14. Pripremali su se programi za radionice iz Preventivne za{tite:Radionica za za{titu od po`ara, kra|a, poplava i drugih vanrednih pri-lika, Radionica za arhivski materijal, Radionica za uticaj ultraljubi~astogi infracrvenog svetla, Za{tita u konzervatorskoj radionici, ^uvanjeetnografskog tekstila i dr.

III AKTIVNA KONZERVACIJJA

Aktivna konzervacija se sprovodila kao sastavni deo prakti~ne obukei kao redovan rad volontera-pripravnika i stalnih sradnika, koji su uDIJANA Centru na ovim poslovima du i niz godina. 1. Konzervacija keramike, tro{ne i ~vrste, iz zbirki Narodnog muzeja:gr~ka i rimska zbirka, Dijana Karata{, Tekija (pripremanje za izlo`bu),Zbirka Dunji}, Vajuga-Pesak, Dubravica-Ora{je, Belovode, KaleKr{evica.

- definitivno je zavr{ena konzervacija 204 predmeta ili delova pred-meta od keramike - u toku konzervatorskog procesa je 14 predmeta- konzervacija keramike za tre}a lica (Zavod za za{titu spomenika uKotoru, Padina) 19 predmetaVeliki arheolo{ki predmeti, veoma fragmentovani, koji su zahtevaliposebne konzervatorske metode, ve{tinu, iskustvo i znanje: pitos salokaliteta Belovode, \erdapa, hidrija sa lokaliteta Kale Kr{evica.3. Konzervacija stakla iz zbirki Narodnog muzeja, Kosmaj iGuberevac. Zavr{ena je konzervacija 11 staklenih predmeta, a u tokuje konzervacija jo{ njih 15.- Konzervacija stakla za tre}a lica (Zavod za za{titu spomenika uKotoru, Muzej grada Beograda, Narodni muzeji u Kraljevu i Zaje~aru)22 predmeta od stakla zavr{ena, a za 1 predmet proces je u toku. 4. Konzervacija kamena sa lokaliteta Vlasac, Muzej u Majdanpeku(ugovori u pripremi). Okon~an je rad na 9 skulptura od razli~itih vrstakamena. Ovaj posao koordinira Maja Frankovi}, a u njega je aktivnouklju~ena i Ivana Stojkovi}. Na za{titi i konzervaciji ovih kamenih arte-fakata direktno, interdisciplinarno su u~estvovali: prof. DraganMilovanovi} sa Rudarsko-Geolo{kog fakulteta, prof. Jelena Vukojevi}i asistent Milica Ljaljevi} iz Biolo{kog instituta.5. Izrada kopija i replika ve}eg broja razli~itih kerami~kih predmeta,praistorijskih i rimskih. U toku je proces izrade oko 100 glinenih odli-vaka. Definitivno je ura|eno preko 500 kopija i 26 novih kalupa, saprimenom nove tehnologije koja verno imitira originalnu izradu i izgled. 6. Sanacija i konzervacija kopije ste}aka i kamene plastike iz depoaGalerije fresaka. Zavr{en je rad na 4 kopije ste}aka, a u toku je radna 20 kopija. Planirano je da ovaj specijalisti~ki kurs traje vi{e mese-ci, sve dok se ne okon~a, kroz prakti~nu obuku, sanacija svih pred-vi|enih primeraka kopija. 7. Restauracija majolike i porcelana je naglo po~ela da se razvija,nakon okon~anja specijalisti~kog kursa, u novembru 2003. Pokazalose da se veliki broj privatnih lica interesuje da se o{te}eni porcelan,fajans, majolika i sl. popravlja u DIJANA Centru i da to mo`e bitidobro organizovan, komercijalni posao, koji mladim, talentovanimvolonterima pru`a mogu}nost odre|ene zarade.Ura|ena je restauracija oko 20 predmeta, iz privatnih kolekcija, bezfinansijske nadoknade, kao sastavni deo prakti~ne obuke. 8. Konzervacija za druge muzeje i institucije za{tite- Zavod za za{titu u Kotoru, ra|eno je na konzervaciji posuda slikanesrednjovekovne keramike iz 14. veka, i venecijanskih staklenih posu-da, tako|e iz 14. veka.- Narodni muzej Kraljevo, ura|ena konzervacija veoma tro{nog

grobnog nalaza, koji se sastojao od ko{tanih perli, {koljke, kosti istaklenog pehara iz 2. veka- Za lokalitet Padina radilo se na konzervaciji tro{ne neolitske keramike- Za Muzej grada Beograda, radilo se na konzervaciji staklenih pred-meta iz rimskog perioda- Za Narodni muzej u Zaje~aru radilo se na staklenim predmetima izrimskog perioda

IV ISTRA@IVA^KI RAD

1. Ura|en preliminaran elaborat za projekat Istra iva~ke laboratorije,u saradnji sa Fizi~ko-hemijskim fakultetom i prof.dr Ubavkom Mio~2. Stalne konsultacije - prof.dr Ubavka Mio~, Silvio Ke~ke{, Fizi~ko-Hemijski Fakultet; prof. Dragan Milovanovi}, Rudarsko-Geolo{ki fakul-tet; prof. Jelena Vukojevi} i asistent Milica Ljaljevi}, Biolo{kiFakultet, stru~njaci iz Regionalne Laboratorije Firenci i C2RDMF - u vezipreventivne za{tite, konzervatorskih tretmana, organizovanja istra iva-~kog rada.3. Tokom boravka u Francuskoj, u Parizu Mila Popovi}-@ivan~evi} iUbavka Mio~ su obi{le Istra iva~ko odeljenje i laboratorije Centra zaistra ivanja i konzervaciju Direkcije muzeja Francuske (C2RMF-DMF).Upoznale su se detaljno sa opremom i metodologijom rada, i dogov-orile saradnju i specijalizaciju mladih kadrova 4. Organizovanje petrografskih istra ivanja kamenih skulputra saVlasca, Majdanpek, i to: o mestu porekla kamena, stanju strukture ipovr{ine kamena, poreklu tragova boja, kao i o odgovaraju}oj meto-di za{tite kamena; Rudarsko-geolo{ki fakultet.5. Organizovanje mikrobiolo{kih i biolo{kih ispitivanja i identifikacije

17

Vrsta materijala

Gotove konzervacije

Konzervacije utoku

Vlasnik

Keramika 204

19

14 Narodni muzejBeograd

Zavod za za{tituu Kotoru,

arh.lokalitet Padina

Staklo 11

22

15

1

Narodni muzejBeograd

Zavod za za{tituKotor, Muzej

grada Beograda,Narodni muzeji uKraljevu i Zaje~aru

Kamen 9 Muzej uMajdanpeku

Izrada kalupa,kopija i replika

500 kopija26 kalupa

100 kopija Narodni muzejBeograd

Sanacijakopijaste}aka

4 20 Narodni muzejBeograd

Restauracijamajolike iporcelana

20 5 Privatne zbirke

UKUPNO 289 konzervacija526 kalupa

i kopija

55 konzervacija100 kopija

Tabelarni pregled ura|enih konzervacija u 2003.

consisting of bone pearls, shells, bones and a glass goblet, 2nd cen-tury- Site Padina: conservation of soft-body Neolithic ceramics- Museum of the City of Belgrade: conservation of Roman glass ves-sels- Regional Museum Zaje~ar: glass vessels from the Roman period

IV RESEARCH1. A preliminary study for the future Research Laboratory was donein cooperation with the Faculty of Physical Chemistry and Prof. Dr.Ubavka Mio~2. Permanent consultations held with Prof. Dr. Ubavka Mio~, SilvioKe~ke{ and Jelena Petrovi}, Faculty of Physical Chemistry, Prof. Dr.Dragan Milovanovi}, Faculty of Mining and Geology, Prof. JelenaVukojevi} and assistant lecturer Milica Ljaljevi}, Biological Institute,with experts from the Regional Laboratory Florence and C2RDMF onissues of preventive conservation, conservation treatments, organisa-tion of research work.3. During their stay in Paris, France Mila Popovi}-@ivan~evi} andUbavka Mio~ visited the Research Department and Laboratories ofthe Centre for Research and Conservation of the Direction ofMuseums of France (C2RDMF-DMF). They discussed in detail theequipment and methodology of work, and reached agreement onfuture cooperation and specialization of young professionals.4. Petrography research of stone sculptures from Vlasac, Majdanpekwere organised including provenance of the stone, condition of thestructure and surface of the stone, origin of paint traces as well asdiscussions concerning adequate protection methods, Faculty ofMining and Geology 5. Organising microbiological and biological examinations and iden-tification of microorganisms on stone sculptures from Vlasac, sam-ples of ceramics and bones from the Archaeological Collection of theMuseum of the City of Belgrade, copies of standing tombstones andfrescoes and mosaics from the Gallery of Frescoes

V DOCUUMENTATION1. Documentation concerning daily conservation activities: Logs, stan-dard and digital files, video and photographic documentation for 2003is being completed, and over 200 conservation documentation cardswere processed. Extensive digital and classical photographic docu-mentation: over 3000 photographs made in all stages of conserva-tion treatments and other activities of DIANA Centre2. Documentation on biological, microbiological and petrographyexaminations3. Five different video and CD presentations on activities of DIANACentre produced4.Systematic collecting of documentation on Preventive Conservation5. Documentation on equipment, instruments, materials, producers,suppliers, etc regularly gathered6. Producing numerous posters and panels on various activities ofDIANA Centre

VI PUBLICATIONSLibrary1. American Association, Intermuseum Conservation Association,Oberlin presented DIANA Centre large number of specialised publi-cations2. ICCROM and Studio Art Centres International (SACI) sent to DIANACentre large number of their publications3.Publications were also presented to DIANA Centre by ConservationNews, Conservator, Museum, Newsletter Care of Collections Forum,and Newsletter Sherman Fairchild Conservation Center for ObjectsConservation (Metropolitan Museum), Restauro, Museum Forum,ARGO, etc.4. Classical and computer catalogization of the library items is ongoing.

Publishing1. Conservation Dictionary is worked on2. "Conservation on Archaeological Excavations" is being prepared forpublishing

3. The first two volumes of the Edition "Science for Conservators"(Introduction to Materials and Cleaning Materials) are prepared forprinting4. The third volume of the Edition "Science for Conservators"(Adhesives and Coatings) is being translated. 5. Museum Ethics by Gary Edson, renowned theoretician of museol-ogy, is published. It was translated by the team from DIANA Centreled by Malena Stoj~ev and the publisher was "Clio" Publishing House6. Publication DIANA No 8, 63 pp. A4, circulation 1600,Serbian/English, illustrations in colour, with 20 contributions on muse-ology, preventive conservation, conservation, information on DIANACentre activities. Prepared by the team of DIANA Centre 7. Preparations for DIANA No 9 were started8. Catalogue "Works of Slovenian Conservators and Restorers", 24 pp,41 summaries of contributions by museum professionals from almostall museums and institutions for protection of Slovenia.

VII PROMOTION aand PRESENTATION1. Media- Radio and TV broadcasts (short reviews, programmes, etc.), arti-cles in the press on activities and events in DIANA Centre (RadioBeograd, Radio Novosti, Radio B92, News, Science and Educationprogrammes of RTS, TV Politika, Studio B TV, dailies Politika, Ve~ernjenovosti, Glas, Dan, weekly Bazar, etc.)- "Yu trash" - 20 minutes programme on the 3rd Channel RTS, 50minutes special programme on DIANA Centre broadcast on TVPolitika, various contributions (1, 10 and 15 minutes) on the Educationand Science Programme of RTS, special radio broadcasts- Media in Slovenia (TV, radio and newspapers) in September dur-ing the three ICOM conferences (CIMUSET, ICTOP, MPR)- Conservation News, London, January 2003 brought contribution bySandra Davison "National Museum of Belgrade, Yugoslavia, DIANACentre for Conservation" (3 pp and 4 photographs)- RESTAURO, Munich Erste Diplomarbeiten aus der TU Muenchen,September 2003, published information about DIANA Centre (fullpage with two photographs ("Das Diana Zentrum fuer preventive kon-servierung in Belgrad")- ICOM News Paris, December 2002 published half a page text onPreventive Conservation in Serbia and Montenegro and the role ofDIANA Centre - ICCROM Internet News, February 2003 contained a contribution onthe visit of Mila Popovi}-@ivan~evi} to ICCROM (with a photograph)

2. International and Regional PresentationsDuring the year, at many of the international and regional conferencesand in visits, CD presentations and poster exhibitions on the role andactivities of DIANA Centre and the National Museum Belgrade wereorganised; publications DIANA 7 and 8 and other publications ofNational Museum Belgrade were disseminated, new strategic objec-tives of the National Museum Belgrade presented particularly those

18

Lecture on application of spectroscopic methods in researchesPredavanje o primeni spektroskopskih metoda u istra`ivanjima

mikroorganizama kamenih skulptura sa Vlasca, uzoraka keramike ikosti iz Arheolo{ke zbirke Muzeja grada Beograda, kopija ste}aka ifresaka, kao i mozaika iz Galerije Fresaka.

V DOKUUMENTACIJJA

1. Dokumentacija redovnih konzervatorskih aktivnosti: Radni dnevnici,Klasi~an i Digitalni Dosije, Video i Fotodokumentacija. Teku}a doku-mentacija za 2003. je u zavr{noj fazi, a do sada je obra|eno preko200 konzervatorskih dosijea. Obimna digitalna i klasi~na fotodokumentacija. Snimljeno je i ura|enopreko 3000 fotografija konzervatorskih postupaka i drugih aktivnostiDIJANA Centra. 2. Dokumentacija o biolo{kim, mikrobiolo{kim i petrografskim ispiti-vanjima 3. Ura|eno je 5 razli~itih video prezentacija o aktivnostima DIJANACentra i preventivnoj za{titi 4. Sistematsko prikupljanje dokumentacije o Preventivnoj za{titi5. Dokumentacija o opremi, instrumentima, materijalu, proizvo|a~ima,snabdeva~ima i dr. 6. Briga o velikom broju postera i panoa o razli~itim aktivnostimaDIJANA Centra

VI STRUU^NA PUUBLICISTIKA

Biblioteka 1. Od ameri~ke profesionalne asocijacije Intermuseum ConservationAssociation, Oberlin, DIJANA Centar je dobio veliki broj stru~nih pub-likacija na poklon2. Deo literature iz fonda izdava~ke delatnosti ICRROM-a i SACI-a,koju je DIJANA Centar dobio na poklon 3. Stru~ne publikacije koje dobijamo na poklon: Conservation News,Conservatror, Museums, Newslletter CCF, Newslletter ShermanFairchild Conservation Center for Objects Conservation (Metropolitenmuzej), Restauro, Museum Forum, ARGO i dr. 4. Radi se na klasi~noj i kompjuterskoj katalogizaciji biblioteke

Izdava{tvo1. Radi se na Konzervatorskom re~niku2. Radi se na pripremama za publikovanje "Konzervacija na arheo-lo{kim iskopavanjima" 3. Zavr{ene su pripreme za {tampanje prve dve sveske Edicije"Nauka za konzervatore" Uvod u materijale i Materijali za ~i{}enje 4. Radi se na prevo|enju tre}e sveske edicije "Nauka za konzerva-tore": Lepkovi i omota~i 5. Iza{la je iz {tampe knjiga poznatog teoreti~ara muzeologije GarijaE{tona "Muzeji i Etika", koju je tim prevodilaca DIJANA Centra, na ~elusa Malenom Stoj~ev, preveo i priredio za {tampu za izdava~ku ku}u Klio. 6. Iza{la je iz {tampe publikacija DIJANA 8, 63 strane, Format A4, 1600tira`, dvojezi~na (englesko-srpski), dobro ilustrovana kolor fotografija-

ma, sa 20 stru~nih priloga iz muzeologije, preventivne za{tite, konz-ervacije, informacija o aktivnostima i programima DIJANA Centra.Publikaciju je u potpunosti realizovao tim DIJANA Centra.7. Radilo se na pripremama novog broja publikacije DIJANA 9.8. Katalog Radovi slovena~kih konzervatora i restauratora, 24 strane,sa 41 apstraktom stru~njaka iz skoro svih muzeja i institucija za{titeu Sloveniji

VII PROMOCIJJA, PREZENTACIJJA

1. MedijiVe}i broj radio emisija i priloga, TV priloga i posebnih TV emisija, tek-stova u novinama, o delatnostima i raznim aktivnostima DIJANACentra (Radio Beograd; Radio Novosti; Radio B92, RTS - Informativni,Nau~ni i obrazovni program, TV Politika, TV Studio B, dnevne novine:Politika, Ve~ernje novosti, Glas, Dan, Danas, revije: Bazar i dr.).- "Yu trash" na 3. kanalu RTS u trajanju od 20 minuta, TV Politika:posebna emisija o DIJANA Centru, u trajanju od 50 minuta, vi{e prilo-ga od 1-10-15 minuta u Obrazovnom i nau~nom programu RTS,posebne i duge emisije na radiju. - Mediji u Sloveniji (TV, radio i novine), tokom septembra na 3 ICOM-ove konferencije: CIMUSET, ICTOP i MPR - U ~asopisu Conservation News, London, januar 2003, objavljen jetekst Sandre Dejvison "National museum of Belgrade, Yugoslavia,DIANA Center for Conservation", na tri strane, sa 4 fotografije .. U ~asopisu RESTAURO, Minhen, Erste Diplomarbeiten aus der TUManchen, septembar 2003, publikovan je tekst o DIJANA Centru, naceloj strani, sa dve fotografije, pod nazivom "Das Diana-Zentrum furpraventive Konzervierung in Belgrad- U ICOM News, Pariz, iz decembra 2002, objavljen je tekst na polastrane o Preventivnoj za{titi u Srbiji i Crnoj Gori i ulozi DIJANA Centra - Na internet vestima ICROM-a, Rim, za februar 2003, dat je prilogsa tekstom i fotografijom o poseti Mile Popovi}-@ivan~evi} toj instituciji.

2. Me|unarodne i regionalne prezentacijea) Tokom cele 2003. godine, na ve}em broju me|unarodnih i region-alnih konferencija, kao i gostuju}ih poseta, organizovane su razli~itevideoprezentacije i posteri o ulozi i aktivnostima DIJANA Centra iNarodnog muzeja; Publikacije DIJANA 7 i 8, i drugih publikacijaNarodnog muzeja; prezentovana su nova strate{ka opredeljenjaNarodnog muzeja, posebno ona koja se odnose na za{titu kulturnihdobara; sada{nje stanje na{e muzeologije i kulturnih dobara; projek-te i planove revitalizacije i reorganizacije muzeja u na{oj zemlji i sl.Ove prezentacije su se odvijale u: SACI-u, Firenca; Muzejski forum uLjubljani, Slovenija; 3 ICOM-ove konferencije: CIMUSET, ICTOP i MPRu Sloveniji; Me|unarodna radionica na temu "Keramika-na{i korijeni"u okviru manifestacije "Dani Evropskog nasle|a", u Muzeju gradaSarajeva i Zavi~ajnom muzeju Visoko, BiH; UNESKO-va konferencijau Brnu; Univerzitet Jan Masarik u Brnu, ^e{ka; u Ambasadi SCG uTeheranu.

3. Prezentacije drugih-regionalnih institucija u DIJANA Centru 1. Izlo`ba i prezentacija "Tradicionalne proizvodnje keramike uMakedoniji", Muzej Makedonije Skoplje2. Izlo`ba " Radovi slovena~kih konzervatora 2003", kao rezultatsaradnje izme|u DIJANA Centra i Dru{tva Konzervatora i Muzejskogforuma Slovenije. Preko 40 postera, na ubedljiv dokumentacioni na~inprikazuju aktivnosti i rezultate rada skoro svih muzejskih institucija iinstitucija za{tite u Sloveniji.

4. Doma}e prezentacijea) Izlo`ba "DIJANA Za{to?" u Galeriji fresaka, koja je bila usmerenana uslove ~uvanja i stanje muzejskih zgrada kod nas, a posebnoNarodnog muzeja. b) Prezentacija projekata preko postera projekta "Deca u muzejima","Muzej bez prepreka", "Tradicionalne proizvodnje keramike"c) Prezentacije i videoprezentacije aktivnosti DIJANA Centra, vi{e putatokom godined) Javne Radionice za decu i odrasle :- " Tajne konzervacije", - " Kopije i replike",

19

Practical work at DIANA CentrePrakti~an rad u DIJANA Centru

related to cultural heritage protection as well as the present situationin our museology and cultural property condition, projects and plansfor revitalization and reorganization of museums in our country, etc.These presentations were organised in: Studio Art CentresInternational (SACI), Florence, Museum Forum in Ljubljana (Slovenia),ICOM Conferences (CIMUSET, ICTOP and MPR) in Ljubljana;International workshop "Ceramic - Our Roots" within the frame ofmarking "Days of European Heritage" in Museum of the City ofSarajevo and Homeland Museum Visoko (Bosna and Herzegovina);UNESCO Conference in Brno, Jan Masaryk University in Brno (CzechRepublic); Embassy of Serbia and Montenegro in Teheran

3. Presentation of regional institutions at DIANA Centre - Exhibition and presentation of Museum of Macedonia, Skopje- Exhibition "Works of Slovenian Conservators in 2003" resulting fromthe cooperation of DIANA Centre and Society of Conservators andMuseum Forum of Slovenia. More than 43 posters, clearly documentthe activities and results of work of almost all museum institutions andinstitutes of protection in Slovenia

4. Presentations at DIANA Centrea) Exhibition "DIANA - Why?" held in the Gallery of Frescoes wasfocused on keeping conditions and condition of museum building, inparticular in the National Museum Belgrade b) Poster presentation of projects "Kids in the Museum", "Museumwithout Obstacles", "Traditional Methods of Ceramics Production"c) Presentations and video presentations of activities of DIANA Centreseveral times during 2003d) Open Workshops for children and adults:- Secrets of Conservation- Copies and Replicas- Conservation of Copies of Standing Tombstonese) Within "Acquisition" event in the National Museum Belgrade, in the Gallery of Frescoes since December 2003 our work on reme-dying and conservation of standing tombstones and stone plasticwere treated as open workshops.f) New Internet presentation of DIANA Centre was createdg) We cooperated and prepared required documentation of the Website of the National Museum Belgrade for DIANA Centre 5. Other actionsa) Within "The Summer in the National Museum Belgrade" we organ-ised exhibition on conservation of glass - "Old Glass Conservations"and held two lectures: - Problems concerning old conservations of glass- Principles of glass conservation at DIANA Centre b) European Heritage Days - DIANA Centre participated withinNational Museum Belgrade activities with open workshops for chil-dren and the handicappedc) Within "Acquisitions" programme in the National Museum Belgradewe organised an open workshop "Conservation of copies of stand-ing tombstones", held lectures on importance and methods used inconservation of plaster copies.

VIII PARTNERSHIP

International, Regional and Local CooperationSystematic contacts and meetings on cooperation programmes areheld with experts and officials from ICCROM, Studio Art CentreInternational (SACI)) Florence, Regional Research LaboratoryFlorence, United Kingdom Institute for Conservation of Historic andArtistic Works (UKIC), UNESCO Paris and ROSTE Florence, Museumof Macedonia, National Museum Slovenia, Ethnographic MuseumSlovenia, City Museum Ljubljana, Gori{ki Museum Slovenia, Museumof the City of Sarajevo, Paris I University, University Jan Masaryk inBrno, UNESCO office in the Czech Republic, Centre for Conservationand Research of the Direction of Museums of France (C2RMF-DMF),Museum of the Antique in Arles, Metropolitan Museum - ShermanFairchild Conservation Center for Objects Conservation, FrenchCultural Centre in Belgrade, Museum Documentation Center inZagreb, etc.

1. International and regional activities and cooperationa) In February 2003 Mila Popovi}-@ivan~evi} visited Italy and severalmuseums and institutes of protection. During her stay contacts wereestablished and cooperation programmes agreed upon with:- Rome: Museo Nazionale Romano, Museo delle Terme Diocleziano,Vatican museums, ICCROM, I.C.R. (Istituto Centrale per il Restauro)- Florence: SACI, Archaeological Museum, Regional Laboratory,Universita Internazionale dell Arte, Centro Restauro Archeologico. Shealso held lectures with CD presentations: Preventive Conservation asFundamental Museological Principle, Preventive Conservation and TheRole of DIANA Centre and Safekeeping Conditions of InorganicMaterials - Microbiological Contamination of Archaeological Objectsin Museum Storages- Venice: ROSTE Regional Office of UNESCO where the possibilitiesfor participation of DIANA Centre and preventive conservation asstrategy in the long-term programme of UNESCO was discussed andagreed upon- Elba Island (Archaeological Museum, Conservation of underwaterobjects) and Archaeological park in Populonia (with experimentalschool in archaeology)b) In May 2003 Mila Popovi}-@ivan~evi} was in Ljubljana as guest ofthe Annual Assembly of Museum Forum and Society of Conservatorsof Slovenia. She held a series of lectures: Preventive conservation asregional system of heritage protection, and DIANA Centre as region-al centre. During her stay, she presented a CD, posters and publica-tions DIANA 7 and 8 and other publications of the National MuseumBelgrade the new strategic orientation of the National MuseumBelgrade particularly those related to protection of cultural heritage.She also visited the Restoration Centre, National and City museumsin Ljubljana and reached agreements on cooperation in various fields.d) In June 2003, Mila Popovi}-@ivan~evi} visited France (Paris, SaintGermain and Arles) upon invitation of the French Foreign AffairsMinistry. She reached agreements on cooperation with:- Centre for Research and Conservation and Sector for InternationalCooperation of the Direction of Museums of France (C2RMF-DMF)- University Paris I, Department for archaeology and arts, Chair forpreventive conservation and conservation- Museum of Antiques in Arlese) In June 2003 Mila Popovi}-@ivan~evi} took part in the annualmeeting of the Advisory Committee of ICOM in Paris, being regularmember as chair of the National Committee of ICOM of Serbia andMontenegro.f) In June 2003 Mila Popovi}-@ivan~evi} met with the ambassador ofSCG to UNESCO D. Najman and his associates in Paris. The agree-ments were reached on methodology for including PreventiveConservation and DIANA Centre in the long-term strategy of UNESCOg) In July 2003 DIANA Centre Summer School was host to FilipFidanovski and Simonida Miljkovi} from Museum of Macedonia inSkopje. On the occasion a presentation of their project "Traditionalproduction of ceramics in Macedonia" was organised, assorted withvideo material and an exhibition including posters and replicas ofarchaeological ceramics. It was agreed to design a joint project on

20

DIANA’s annual exhibition in Gallery of FrescoesDIJANINA godii{nja izlo`ba u Galeriji fresaka

- " Konzervacija kopija ste}aka", e) U okviru akcije Narodnog muzeja "Akvizicije", u prostoru Galerijefresaka, od decembra, na{i radovi na sanaciji i konzervaciji kopijaste}aka i kamene plastike, imaju karakter javne i otvorene radionice. f) Napravljena je nova Internet prezentacija DIJANA Centra g) Sara|ivali smo i pripremili svu potrebnu dokumentaciju za Web-site Narodnog muzeja o DIJANA Centru

5. Posebne akcije a) U okviru akcije Narodnog muzeja "Leto u Narodnom muzeju" orga-nizovali smo izlo`bu sa sadr`ajem koji se odnosio na konzervacijustakla - Stare konzervacije stakla U okviru ove akcije imali smo dva predavanja: - "Problemi starih konzervacija stakla" - " Principi konzervacije stakla u DIJANA Centru "b) "Evropski dani ba{tine", DIJANA Centar je u~estvovao u doprinosuNarodnog muzeja, javnim radionicama za decu i osobe sa posebn-im potrebama.c) U okviru akcije Narodnog muzeja "Akvizicije", organizovali smoJavnu radionicu "Konzervacija kopija ste}aka" u DIJANA Centru, dr`alipredavanja o zna~aju i na~inima konzervacije kopija od gipsa.

VIII PARTNERSTVO

Me|unarodna, regionalna i lokalna saradnja Redovni kontakti i dogovori oko programa saradnje sa stru~njacimai odgovornim licima: ICCROM, Studio Art Center Internacional (SACI)iz Firenze, Regionalna Istra iva~ka Laboratorija iz Firence, UKIC-a izVelike Britanije, UNESCO iz Pariza i ROSTE, Muzej Makedonije,Narodni muzej Slovenije, Etnografski muzej Slovenije, Mesni muzejLjubljana, Gori{ki muzej, Gorica u Sloveniji, Muzej grada Sarajeva,Univerzitet u Parizu (Pariz I), Univerzitet u Brnu, UNESKO-va kance-larija u ^e{koj, Centar za konzervaciju i istra ivanja Direkcije muzejaFrancuske (C2RMF-DMF), Muzej Antike u Arlu, Metropoliten muzej uNjujorku- Sherman Fairchild Conservation Center for ObjectsConservation, Francuski kulturni Centar u Beogradu, DokumentacioniCentar u Zagrebu i dr.

1. Me|unarodne i regionalne aktivnosti i saradnja (sumarno i hronolo{ki)a) U februaru je Mila Popovi}-@ivan~evi} boravila u Italiji i tom pri-likom posetila ve}i broj muzeja i institucija za{tite. Tokom ovog borav-ka uspostavljeni kontakti i dogovoreni programi saradnje sa DIJANACentrom - Rim: Museo Nationale Romano, Muzeo della Terme Diocleziano,Vatikanski muzeji, ICCROM, I.C.R. (Instituto Centrale per il Restauro)- Firenca: SACI, Arheolo{ki muzej, Regionalna Laboratorija, UniverzitaInternazionale dell Arte, Centro Restauro Archeologico. U Firenci jeodr`ala slede}a predavanja sa videoprezentacijama : "Preventive Conservation as Fundamental Museological principe","Preventive Conservation and the Role of DIANA Center","Safekiping Condition od Inorganic materials-microbiological con-

tamination of Archaeological Objects in Museum Storages" . - Venecija: Regionalna kancelarija UNESCO-a - ROSTE, dogovorenna~in uklju~ivanja DIJANA Centra i preventivne za{tite kao strategijeu dugoro~an program UNESCO-a- Ostrvo Elba (Arheolo{ki muzej-Konzervacija objekata iz mora) i iArheolo{ki park u Populoniji (sa eksperimantalnom {kolom arheologi-je).b) U maju, Mila Popovi}-@ivan~evi} je boravila u Ljubljani, kao gostGodi{nje Skup{tine Muzejskog foruma i Dru{tva konzervatoraSlovenije. Odr`ala je ciklus predavanja: " Preventivna za{tita kao regionalni sistem za{tite ba{tine" i" DIJANA Centru kao regionalni centar"

Tokom ovog boravka preko videoprezentacije, postera i PublikacijaDIJANA 7 i 8, i drugih publikacija Narodnog muzeja, prezentovalanova strate{ka opredeljenja Narodnog muzeja, posebno ona koja seodnose na za{titu kulturnih dobara.Posetila je Restauratorski Centar, Narodni muzej i Mesni muzej uLjubljani i dogovorila stru~nu saradnju u vi{e oblasti. c) U junu, Mila Popovi}-@ivan~evi} je boravila kao gost Francuskog

Ministarstva spoljnih poslova u Parizu, Sen @ermenu i Arlu. Tom prilikomobi{la je, uspostavila kontakte i dogovorila konkretnu saradnju sa: - Centrom za istra ivanja i konzervaciju i Sektorom za me|unarodnusaradnju, Direkcije muzeja Francuske (C2RMF-DMF).- Univerzitetom Pariz 1, Departman za arheologiju i umetnost, kate-dra za preventivnu za{titu i konzervaciju - Muzej Antike u Arlud) U junu je Mila Popovi}-@ivan~evi} u~estvovala na godi{njem sas-tanku Savetodavnog komiteta ICOM-a u Parizu, ~iji je redovan ~lan,kao predsednik nacionalnog komiteta ICOM-a Srbije i Crne Gore.e) U junu je Mila Popovi}-@ivan~evi} u Parizu imala sastanke saambasadorom Najmanom i njegovim saradnicima u Delegaciji Srbijei Crne Gore u UNESCO-u. Tom prilikom, napravljeni su dogovori okometodologije uklju~ivanja Preventivne za{tite i DIJANA Centra udugoro~nu UNESCO-vu strategiju. ) f) U julu, gosti Letnje {kole DIJANA su bili Filip Fidanovski i SimonidaMiljkovi}, iz Muzeja Makedonije u Skoplju. Ovom prilikom organizo-vana je prezentacija njihovog projekta "Tradicionalne proizvodnjekeramike", sa video materijalom i izlo`bom, koja se sastojala odpostera i replika arheolo{ke keramike. Dogovorili smo da formiramozajedni~ki projekat pod nazivom "Tradicionalne proizvodnje keramike", i da u njega uklju~imo i kolege iz drugih zemalja Balkana.g) U septembru, Mila Popovi}-@ivan~evi}, Ana Kocjan i ZvezdanaPopovi} su, u Sloveniji, u~estvovale na 3 konferencije ICOM-a:CIMUSET, ICTOP i MPR. Ovaj va`an skup se bavio strate{kim pitan-jima razvoja i perspektivama muzeja. Okupio je vi{e od 150 ugled-nih muzealaca iz celog sveta. Predstavnici DIJANA Centra su imali trizapa`ena izlaganja: Mila Popovi}-@ivan~evi}, dva referata: - "Principles of Education at DIANA Center for PreventiveConservation" i - "Prevention Conservation of Heritage, Globalisation and the RoleDIANA Center", a Ana Kocjan, jedan referat:- "DIANA Center and Promotion of Preventive Conservation,Depelopment of Partnership and Marketing"Na ovoj konferenciji se pokazalo, kroz mesto koje smo dobili uzvani~nom delu programa, zatim diskusije, kao i kontakte koje smoimali, da smo postali prepoznatljiv i strate{ki va`an deo op{teg sis-tema za{tite i razvoja muzeologije danas u svetu.h) U oktobru je Vesna Svoboda, kao predstavnik DIJANA Centra,u~estvovala u Sarajevu na Me|unarodnoj radionici na temu"Keramika-na{i korijeni" u okviru manifestacije "Dani Evropskognasle|a". Program manifestacije se odvijao u Muzeju grada Sarajevai Zavi~ajnom muzeju Visoko. Tom prilikom, Vera Svoboda je prezen-tovala na{ projekat "Tradicionalne proizvodnje keramike" preko videoprezentacije, predavanja i postera. Tokom tog skupa, Vera Svobodaje prikazala na{e publikacije, CD i postere o aktivnosti DIJANA Centrai) U novembru su u DIJANA Centru boravili stru~njaci iz Slovenije, izNarodnog muzeja Ljubljana i Gori{kog muzeja: Gojka Pajagi~ Bregar,Janja Slabe i Jana [ubic Prislan. Koleginice iz Slovenije su do{le pod

21

Centre for Research and Conservation - Direction Of Museumsof FranceCentar za konzervaciju i istra`ivanja Direkcija muzeja Francuske

Traditional Production of Ceramics and to invite to it other colleaguesfrom the Balkan region.g) In September 2003 Mila Popovi}-@ivan~evi}, Ana Kocjan andZvezdana Popovi} took part in three ICOM meetings in Slovenia(those of CIMUSET, ICTOP and MPR). This important gathering dis-cussed strategic issues of development and prospective for muse-ums. There were over 150 renowned museologists from all over theworld gathered there. DIANA Centre representatives held three lec-tures:- Mila Popovi}-@ivan~evi}: Principles of Education at DIANA Centrefor Preventive Conservation and Preventive Conservation of Heritage,Globalization and the Role of DIANA Centre, and Ana Kocjan DIANACentre and Promotion of Preventive Conservation, Development ofPartnership and Marketing.It became obvious at this conference from the position that was givento us in the agenda of the meetings, discussion and liaisons wemade that we developed into a recognized and strategically impor-tant part of the general system of protection and museology devel-opment in the world today.h) In October 2003 Vesna Svoboda took part as representative ofDIANA Centre in the International Workshop "Ceramics - Our Roots"in Sarajevo within the "European Heritage Days" manifestation. Theprogramme was organised in the City of Sarajevo Museum and inthe Homeland Museum Visoko. There Vesna Svoboda presented ourproject "Traditional Productions of Ceramics" assorted witha CD presentation, lecture and posters. She also pre-sented a choice of our publications, CDs and posterson the activities of DIANA Centre i) In November 2003 Gojka Pajagi}-Bregar, JanjaSlabe and Jana Prislan-[ubi} from the NationalMuseum Ljubljana and Gori{ki Muzej held atDIANA Centre a specialist course in restora-tion of majolica and porcelain, as well as lec-tures on conservation and condition ofCoptic textile kept in the collections of theNational Museum Ljubljana. The exhibitionwith 43 posters "Works of SlovenianConservators and Restorers in 2003" wasalso opened. The Ministry of Culture ofSlovenia supported their stay. During theirstay concrete programmes for cooperationwere designed as well as joint projects for2004.

Partnership programmes of cooperation - internationalThe following has been agreed upon:- Programme of cooperation with Studio ArtCentres International (SACI) Florence (upgrading,exchange of experts) - Programme of cooperation with the Centre for conser-vation and research of Direction of Museums of France (spe-cializations, upgrading, exchange of experts, implementation of pre-ventive conservation)- Programme of cooperation with the Conservation LaboratoryDraguignan, Archaeological Centre Var, Provence (upgrading,exchange of experts implementation of preventive conservation)- Programme of cooperation with Museum of Antiques in Arles (spe-cializations, upgrading, mutual presentation of activities, presentationof cultural contents from Provence and our country)- Programme of cooperation with ICCROM Rome is in the final stageof discussion (specializations, upgrading, education and implementa-tion of preventive conservation)- The programme of cooperation with ROSTE (Regional office ofUNESCO for the Balkans and SEE), Venice is being discussedincluding further development of DIANA Centre and preventive con-servation-Exchange of opinion was started with Munir Bushenaki, director ofthe UNESCO Committee for World Heritage on cooperation and fur-ther development of preventive conservation and DIANA Centre aspreventive conservation system.

Partnership cooperation programmes - regionalOn-going discussions on regional cooperation with:- Colleagues and institutions from Slovenia: National MuseumLjubljana, Gori{ki Museum, City Museum Ljubljana, Restoration Centre(education, exchange of knowledge and experience, mutual presenta-tion of activities and achieved results, joint projects "TraditionalProductions of Ceramics", "Preventive Conservation Plans", etc.- Museum Documentation Center, Zagreb (education and preventiveconservation implementation)- Colleagues form Macedonia: Museum of Macedonia, NaturalHistory Museum, ICOM Macedonia, education at DIANA Centre,plans and implementation of preventive conservation, seminars,mutual presentations of activities and achieved results, joint project"Traditional Productions of Ceramics"- With the National Centre for Conservation in Czech Republic onfounding, mutual cooperation, exchange of experience and knowl-edge, education at DIANA Centre - Talks were started on regional cooperation (education at DIANACentre, mutual presentation of activities and results achieved, imple-mentation of preventive conservation) with colleagues in Bosnia andHerzegovina (Museum of the City of Sarajevo), Romania (Ministry ofCulture - Cultural Heritage Dept.), Moldavia (National Museum ofMoldavia), Lithuania, Belarus

Local (inter-museum) cooperationa) Faculties

- Faculty of Metallurgy and Technology (education,technological examinations)- Faculty of Mining and Geology (education, petrog-raphy examinations)- Faculty of Physical Chemistry (education, physi-cal chemistry examinations)- Faculty of Biology (microbiological examinationsand analyses)b) Museums and Institutes for Protection- Regional Institute for Protection Kotor (activeconservation of ceramics and glass)- Regional Museums Kraljevo, Zaje~ar (activeconservation of glass)- Museum Majdanpek (active conservation ofstone)- Regional Museum Kru{evac (implementation ofpreventive conservation: building, environment,storages, display rooms, conservation on archaeo-

logical site, protection of interdisciplinary cultural andnatural heritage of the Mokrinska Gora site

- Museum of the City of Belgrade (active conservationof glass, implementation of preventive conservation:

building, environment, storages, working space; internalreorganization: evaluation of condition in museum activities)

- Nikola Tesla Museum (conditions of displaying and presentationof the new permanent display)- Town Museum Vr{ac (preventive conservation: building, environ-ment, working space, storages and new permanent display)- Regional museum [abac (evaluation of the situation and prepara-tion of strategic plan)c) Institutes- Agreement was reached with the Archaeological Institute and theFaculty of Philosophy on organising a singular Centre that would careabout effective and timely protection of archaeological objects. It hasbeen agreed that systematic education in preventive conservationshould start in the summer and that it should include archaeologicalexcavations, conservation in the field, transport and final conservation.It has been agreed that the reorganized Centre for Protection of theNational Museum Belgrade with DIANA Centre for Preventive Conser-vation should be the core of this new system of protection and of thefuture National Centre for Protection of movable cultural property.d) UNECO National Commission Permanent cooperation with UNECO National Commission is devel-oped. The Board for Culture of the Commission unanimously adopt-

22

pokroviteljstrvom Ministarstva kulture Slovenije i tokom boravka orga-nizovan je program specijalisti~kog kursa iz restauracije majolike iporcelana, predavanje o konzervaciji i stanju koptskih tkanina izNarodnog muzeja Ljubljana, i otvorena je izlo`ba od 43 postera"Radovi slovena~kih konzervatora i restauratora 2003. Tokom ovogboravka napravljeni su precizni programi saradnje i zajedni~ki projektiza 2004. godinu j) U novembru su gosti DIJANA Centra i nacionalnog komiteta ICOM-a bili predsednik i sekretar ICOM-a Makedonije. Razgovaralo se opotrebi uspostavljanja saradnje, posebno preko zajedni~kih akcija iprojekata. Kolege iz Makedonije predlo ile su da tokom obele`avan-ja 18. maja, u Muzeju Makedonije organizujemo poster izlo`bu oDIJANA Centru, sa video materijalom i predavanjima. Tako|e, dogov-orili smo se da krajem maja 2004. godine, dva predstavnika iz na{ezemlje u~estvuju u Skoplju na seminaru "O Muzejskoj dokumentacijii profesionalnoj etici". k) U novembru su Mila Popovi}-@ivan~evi} i Malena Stoj~ev borav-ile u Brnu i Pragu, ^e{ka Republika, i u~estvovale su u zvani~nomprogramu konferencije "Museums in Transformation Process" u orga-nizaciji UNESKO-a i UNESKO-ve kancelarije u ^e{koj. Imale su dvazajedni~ka izlaganja: "Presentation of DIANA Center" - predavanje sa videoprezentacijom,i "The Reasons Why We Started Changing Museums in Serbia andMontenegro" - predavanje sa videoprezentacijom. Od svih u~esnika Konferencije, mi smo dobili daleko najve}i prostori vreme za izlaganje.Pored toga, sa direktorom i predstavnicima Nacionalnog Centra zakonzervaciju ^e{ke Republike, koji je u osnivanju, razgovarali smo ostru~noj saradnji i pomo} kod edukacije njihovih kadrova u DIJANACentru . l) U novembru je Mila Popovi}-@ivan~evi}, na Univerzitetu JanMasarik u Brnu, na katedri za muzeologiju, odr`ala ciklus predavan-ja studentima muzeologije o "Preventivnoj za{titi kao osnovnom sis-temu za{tite ba{tine i ulozi DIJANA Centra ".

Partnerski programi saradnje - me|unarodni- Dogovoren je predlog programa saradnje sa SACI-em iz Firence,usavr{avanja, razmena stru~njaka.- Dogovoren je predlog programa saradnje sa Centrom za konzer-vaciju i istra ivanja Direkcije muzeja Francuske, specijalizacije iusavr{avanja, razmena stru~njaka, primena preventivne za{tite.- Dogovoren je predlog programa saradnje sa Laboratorijom zakonzervaciju iz Draginjana, Arheolo{ki Centar u Varu, Provansa,usavr{avanja, razmena stru~njaka, primena preventivne za{tite.- Zavr{en je predlog programa saradnje sa Muzejem Antike u Arlu,Provansa, specijalizacije i usavr{avanja, prezentacija me|usobnihaktivnosti, prezentacija kulturnih sadr`aja Provanse i na{e zemlje.- U toku su zavr{ni dogovori za program saradnje sa ICCROM-omiz Rima, specijalizacije i usavr{avanja, edukacija i primena preventivneza{tite.- U toku su dogovori za program saradnje sa ROSTE iz Venecije,Regionalna kancelarija UNESKO-a za Balkan i jugoisto~nu Evropu,oko daljeg razvoja preventivne za{tite i DIJANA Centra - Zapo~eti su dogovori sa Minirom Bu{nakijem, direktorom Komitetaza svetsku kulturnu ba{tinu u UNESKO-u, oko saradnje za dalji razvojpreventivne za{tite i DIJANA Centra, kao sistema preventivne za{tite.

Partnerski programi saradnje-regionalni - U toku su zavr{ni dogovori regionalne saradnje sa kolegama i insti-tucijama iz Slovenije: Narodni muzej Ljubljana, Gori{ki muzej, Mesnimuzej Ljubljana, Restauratorski centar (edukacija, razmena znanja istruke, prezentovanje me|usobnih aktivnosti i postignutih rezultata,zajedni~ki projekat "Tradicionalne proizvodnje keramike", "Plan preven-tivne za{tite" i dr. - U toku su zavr{ni dogovori regionalne saradnje saDokumentacionim Centrom u Zagrebu, edukacija i primena preven-tivne za{tite.- U toku su zavr{ni dogovori oko regionalne saradnje sa kolegamaiz Makedonije: Muzej Makedonije, Prirodnja~ki muzej, ICOMMakedonije; edukacija u DIJANA Centru, planovi i primena preven-tivne za{tite, seminari, prezentacije me|usobnih aktivnosti i postignu-

tih rezultata, zajedni~ki projekat "Tradicionalne proizvodnje keramike",- U toku su dogovori sa Nacionalnim Centrom za konzervaciju u^e{koj, u osnivanju, o zajedni~koj saradnji, razmeni iskustava i znan-ja, o edukaciji u DIJANA Centru.- Pokrenuti su dogovori oko programa regionalne saradnje sakolegama iz Bosne i Hercegovine (Muzej grada Sarajeva), Rumunije(Ministarstvo kulture - Sektor za kulturno nasle|e), Moldavije(Nacionalni muzej Moldavije), Litvanije, Belorusije; edukacija u DIJANACentru, prezentacija me|usobnih aktivnosti i postignutih rezultata, pri-mena preventivne za{tite i dr.

Lokalna (me|umuzejska) saradnjaa) Fakulteti - Metalur{ko-tehnolo{ki fakultet, edukacija, tehnolo{ka istra ivanja - Rudarsko-geolo{ki fakultet, edukacija, petrografska istra ivanja- Fizi~ko-hemijski fakultet, edukacija, fizi~ko-hemijska istra ivanja- Biolo{ki fakultet, mikrobiolo{ka istra ivanja i analizeb) Muzeji i Zavodi za za{titu- Regionalni zavod za za{titu u Kotoru, aktivna konzervacija keramikei stakla - Narodni muzej u Kraljevu, Zaje~aru, aktivna konzervacija stakla- Zavi~ajni muzej u Majdampeku, aktivna konzervacija kamena- Narodni muzej u Kru{evcu, primena preventivne za{tite: zgrada,okolina, depoi, izlo`beni prostor, konzervacija na arheolo{kom terenu,za{tita interdiciplinarnih sadr`aja kulturnog i prirodnog nasle|aMokrinjske gore.- Muzej grada Beograda, aktivna konzervacija stakla, primena pre-ventivne za{tite (zgrada, okolina, depoi, radni prostor), unutra{njareorganizacija: evaluacija stanja muzejske delatnosti.- Muzej Nikole Tesle, uslovi izlaganja i prezentovanja nove postavke- Gradski muzej Vr{ac, primena preventivne za{tite: zgrada, okolina,radni prostor, depoi i nova stalna postavka- Narodni muzej [abac, evaluacija stanja i pripremanje strate{kogplana.c) Instituti- Sa Arheolo{kim institutom i Filosofskim fakultetom napravljeni sudogovori oko organizovanja jedinstvenog Centra, koji bi se brinuo zapravovremenu i efikasnu za{titu arheolo{kih predmeta. Dogovorili smose da se ovog leta po~ne sa sistematskom edukacijom iz preven-tivne za{tite, koja se odnosi na arheolo{ka iskopavanja, terenskukonzervaciju, transport i kona~nu konzervaciju. Slo ili smo se da reor-ganizovan Centar za za{titu, Narodnog muzeja, sa DIJANA Centromza preventivnu za{titu, bude jezgro ovog novog sistema za{tite ibudu}eg Nacionalnog centra za za{titu pokretnih kulturnih dobara. d) Nacionalna komisija za UNESCOStalna saradnja sa Nacionalnom komisijom za UNESCO. Na Odboruza kulturu nacionalne komisije za UNESCO Projekat o razvoju DIJANACentra, kao regionalnog centra za preventivnu za{titu dobio je jedno-glasnu podr{ku. lanovi ovog odbora su vode}e li~nosti na{e kul-ture, institucija kulture i za{tite, Ministarstva kulture. Dogovoreno je

23

Course on Conservation of Porcelain, Majolica and FaienceKurs konzervacije porcelana, majolike i fajansa

ed the project on development of DIANA Centre as a regional cen-tre for preventive conservation. Members of this Board are leadingpersonalities of our culture, institutions of culture and protection,Ministry of Culture. It has also been agreed that the state shouldengage in providing participation and support of the neighbouringcountries for the project.In cooperation with the UNESCO National Commission and the del-egation of Serbia and Montenegro to UNESCO, DIANA Centre pre-pared a Declaration on preventive conservation as the fundamentalstrategy in heritage protection and DIANA Centre as the regional sys-tem that should organise and implement it.e) BALKANKULT (seminars, expected specializations abroad)f) National Committee of ICOM of Serbia and Montenegro, continu-ing cooperation in organisation of seminars, specialist courses, meet-ings, etc.

IXX MARKETING

- Keeping contacts with the existing and possible sponsors, donorsand foundations, participation in competitions, etc.- Leventis Foundation is providing donation for participation of SandraDavison in our programmes- Kress Foundation offers donation for participation of Lisa Pilosi,Metropolitan Museum, USA in our programmes. This opportunity wasnot used in 2003 due to other commitments of Ms Pilosi and waspostponed for a later period- Vesna @ivkovi} participated in the specialised course on preventiveconservation, Ottawa, Canada thanks to the grant provided byICCROM and the Canadian Conservation Institute- Mimark provided donations in material for conservation, chemicals,pigments, resins, etc.- Health Centre Rakovica provided us with some tools and instru-ments for work- Colleagues from UK and Slovenia donated material for conserva-tion of glass, ceramics and porcelain- Conservators Association, Ohio, as well as ICCROM and GettyConservation Institute donated literature

SPECIAL PROGRAMMES AND PROJJECTS

Collaborators of DIANA Centre participated in preparing and design-ing of several special projects.1. Completed are the texts (Serbian and English version) and pre-pared for applications to institutions and foundations:- Kids in the Museum- Museum without Obstacles - Museum for Handicapped- Experimental Archaeology - Traditional Productions of Ceramics- 2004 Summer School of Heritage Protection for the Young- Code of Professional Ethics for Conservators- Conservation of Roman Limes Glass2. On-going preparations of other projects:- How to make Plan of Preventive Conservation- Conservation on Archaeological Sites with subprojects on protec-tion of kilns and earth profiles- Organisational chart and methodological standards of work at theCentre for Conservation- Conservation Dictionary- Preventive Conservation Education

OF PARTICUULAR STRATEGIC IMPORTANCE

During the 32nd session of UNESCO General Conference, held inParis on October 2003, Commission IV, 32 C/74 on 16 October 2003accepted the Declaration of Serbia and Montenegro No 32 C/DR.35para 04210 (a) (ii) on preventive conservation as fundamental strate-gy in protection of heritage, prepared by DIANA Centre.

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National Museum Belgrade, as central museum institution for protection ofmoveable cultural property in Serbia, founded DIANA Centre forConservation of Archaeological Objects with School in 1997 to protectimmense archaeological treasures collected during 30 years of systematicresearch of the Djerdap region. It is named after the adjacent Roman mil-itary camp (STATIO CATARACTARUM DIANAE) Since then DIANA developed and was incorporated in the Museum asDepartment for Preventive Conservation - DIANA Centre in mid-2002Its seat is at the Gallery of Frescoes of the National Museum BelgradeWork started with the most numerous archaeological objects - ceramics. In1998 conservation of glass and stone were included and in 1999 first con-servation of organic material (amber) was madeThrough education and training, timely and high-standard professional pro-tection of archaeological objects is done DIANA is system of effective and modern protection service that impliesinterdisciplinary approach to preventive conservationProject anticipates development of DIANA into an international centre forconservation of archaeological objects that would cover the entire Balkanregion

DIANA CARRIES OUT ITS OBJECTIVES THROUGH:

Education i.e. building of future professionals and specialization of thosealready working as suchConservation of archaeological material Establishing and cherishing strict ethical and moral standards, profession-al spirit and conductTheoretical lectures include technology of ceramics and glass, technologyof corrosions, chemistry of conservation materials, basic museological prin-ciples of protection, preventive/passive conservation, surveys of prehistoric,Roman, Greek and mediaeval ceramics, English and French for conserva-tors, essentials of ITPractical training includes application of practical conservation treatments,developing of specialised conservation know-how, skills and crafts. It con-sists of documentation, conservation investigation, cleaning of ceramicsand other archaeological material, structure consolidation, bonding of frag-ments, restoration and final protection

TRAINEES

Students or graduates of archaeology, history of arts, ethnology, ceramics,sculpture, design, painting, etc.Conservators, technicians and archaeologists from museumsStudents and collaborators of DIANA are divided into working teams cov-ering all tasks related to organisation, promotion and programme activities

LECTURERS

DIANA gathers a permanent team of eminent domestic and foreign lectur-ers and experts from specialised institutions and faculties and other insti-tutions in compliance with current curriculum.

DIANA cooperates closely with the National Committee of ICOM, UNESCO,Laboratory for Conservation of Archaeological Objects in Draguignan(France), the British Museum, UK Institute for Conservation of Historic andWorks of Art (UKIC) and other domestic and foreign institutionsDIANA develops its Library that is also enriched by foreign professionalpublications translated and published by DIANADIANA publication in English and Serbian is published regularlyDIANA Textbooks are designed as professional handbooksConservation Dictionary (English - Serbian) is under preparationYearly multimedia and Internet presentations as well as CD ROM (Englishand Serbian version) and Conservation Exhibitions

All the activities of the DIANA Centre for Conservation with the School havebeen created and organized by Mila Popovi}-@ivan~evi}, museum coun-cillor- conservator at the National Museum Belgrade and head of DIANACentre.

DDIIAANNAA IIDDEENNTTIITTYY CCAARRDD

da se na dr`avnom nivou obezbedi u~e{}e i podr{ka okolnihzemalja za njihovo u~e{}e u Projektu. U saradnji sa Nacionalnom komisijom za UNESCO i DelegacijomSrbije i Crne Gore u UNESCO-u Parizu, DIJANA Centar jepripremio Deklaraciju o preventivnoj za{titi, kao osnovnoj strategijiza{tite ba{tine i DIJANA Centru, kao regionalnom sistemu kojitreba da je organizuje i implementirae) Balkankult, seminari, predstoje}e specijalizacije u inostranstvu f) Nacionalni komitet IKOM-a SCG, stalna saradnja na organizo-vanju seminara, specijalisti~kih kurseva, savetovanja i sl.

IXX MARKETING

- Stalni kontakti sa postoje}im i potencijalnim sponzorima, dona-torima i fondacijama, u~estvovanje u konkursima i sl.- Obezbe|ena je redovna donacija od Leventis Fondacije, VelikaBritanija, za u~e{}e Sandre Dejvison u na{im programima- Obezbe|ena je redovna donacija od Sidni Frenklin ^eriti trasta,za nabavku materijala za konzervaciju i sitnije opreme- Obezbe|ena je donacija od Kres Fondacije, za u~e{}e LizePilosi iz Metropoliten muzeja, USA. Ova donacija nije realizovanatokom 2003, zbog spre~enosti Lize Pilozi, ve} je pomerena zakasnije- Obezbe|eno je sponzorstvo od ICCROM-a i Kanadskog intitu-ta za konzervaciju, za u~e{}e Vesne @ivkovi} u specijalisti~komprofesionalnom kursu iz Preventivne za{tite u Otavi, Kanada- Obezbe|ene su potrebne donacije od "Minmarksa", u materijaluza konzervaciju (hemikalije, pigmenti, smole i sl.)- Obezbe|en je deo alata i instrumenata od Doma zdravljaRakovica- Obezbe|en je deo materijala za konzervaciju stakla, keramike iporcelana od kolega iz Velike Britanije i Slovenije- Obezbe|en je, od Konzervatorske asocijacije iz Ohaja,ICCROMa, Geti konzervatorskog instituta i dr., deo stru~ne litera-ture

POSEBNI PROJJEKTI I PROGRAMI

U pripremanju i kreiranju posebnih projekata u~estvovali su stalnisaradnici DIJANA Centra. 1. Zavr{eni su tekstovi slede}ih projekta, u srpskoj i engleskojverziji, i pripremljeni za konkurisanje kod razli~itih institucija i fon-dacija:- Deca u Muzeju - Muzej bez prepreka - muzej za osobe sa posebnim potreba-ma-Eksperimentalna arheologija - Tradicionalne proizvodnje keramike- Letnja {kola za{tite ba{tine 2004. za mlade- Kodeks profesionalne etike za konzervatore - Konzervacija stakla sa rimskog limesa2. Radi se na pripremanju ve}eg broja projekata: - Kako napraviti plan Preventivne za{tite- Konzervacija na arheolo{kom terenu, sa posebnim potprojekti-ma, koji se odnose na za{titu kerami~kih pe}i i zemljanih profila- Organizaciona {ema i metodolo{ki standardi rada Centra zaza{titu - Konzervatorski re~nik - Edukacija iz Preventivne za{tite

POSEBNO STRATE[[KI VA@NO

Na poslednjoj Generalnoj Skup{tini UNESKO-a, na 32. sesiji,odr`anoj oktobra u Parizu, u okviru Komisijije IV, 32 C/74 , 16.oktobra 2003. godine, prihva}ena je Rezolucija Srbije i Crne Gore,br. 32 C/DR.35, paragraf 04210 (a) (II) o preventivnoj za{titi kaoosnovnoj strategiji za{tite ba{tine, koju je pripremio DIJANACentar.

25

Narodni muzej u Beogradu, kao centralna muzejska ustanova za{tite u Srbiji,osnovao DIJANA Centar za konzervaciju arheolo{kih predmeta sa {kolom 1997.godine radi za{tite arheolo{kog blaga sakupljenog tokom trideset godina sis-tematskog istra`ivanja \erdapa. Ime dato po nazivu rimskog logora (STATIOCATARACTARUM DIANAE) u neposrednoj blizini Letnje {kole na Karata{u(\erdap)Razvoj DIJANE nastavljen i sredinom 2002. postaje Odeljenje za preventivnuza{titu-DIJANA Centar Narodnog muzejaSedi{te DIJANE je u Galeriji fresaka Narodnog muzeja u BeograduAktivnosti zapo~ele na najmnogobrojnijem arheolo{kom materijalu – keramici.Ve} 1998 uklju~ena je konzervacija stakla i kamena, a 1999. prve konzervacijeorganskog materijala - }ilibara.Kroz nastavu i obuku vr{i se blagovremena i visoko profesionalna za{tita arhe-olo{kih predmeta DIJANA je sistem efikasne, dinami~ne i savremene za{tite koji podrazumevainterdisciplinarni pristup preventivnoj za{titi Projektom je predvidjeno da se DIJANA razvije u me|unarodni centar za konz-ervaciju arheolo{kih predmeta koji bi pokrivao region Balkana i {ire.

DIJANA REALIZUJE SVOJE CILJEVE KROZ:

-Edukaciju, stvaranjem novih mladih kadrova i specijalizacijom postoje}ihstru~njaka-Konzervaciju arheolo{kog materijala-Uspostavljanje i negovanje strogih moralno-eti~kih normi, profesionalnog duhai esnafskog pona{anja

Teorijska predavanja obuhvataju tehnologiju keramike i stakla, tehnologiju koroz-ije, hemiju materijala koji se koriste u konzervaciji, osnovne muzeolo{ke principeza{tite, preventivnu/pasivnu konzervaciju, istoriju praistorijske, gr~ke, rimske isrednjovekovne keramike, engleski i francuski za konzervatore, uvod u infor-matikuPrakti~na obuka predstavlja primenu konzervatorskih prakti~nih metoda, stican-je specijalizovanih konzervatorskih znanja, ve{tina i zanatskog ume}a. ^ine je:dokumentacija, konzervatorska ispitivanja, ~i{}enje keramike i drugog arheo-lo{kog materijala, konsolidacija strukture, spajanje fragmenata, restauracija izavr{na za{tita

POLAZNICI

Studenti ili arheolozi, istori~ari umetnosti, etnolozi, kerami~ari, skulptori, dizajneri,slikari i sl.Konzervatori, preparatori i arheolozi iz muzejaPolaznici i saradnici DIJANE podeljeni su u radne timove koji ostvaruju sveposlove oko organizacije, promocije i svih programskih aktivnosti

PREDAVA^I

DIJANA okuplja stalni tim eminentnih doma}ih i stranih predava~a i eksperata,iz specijalizovanih institucija i fakulteta u skladu sa svojim nastavnim programom

DIJANA tesno sara|uje sa Nacionalnim komitetom IKOM-a, UNESCO-m,Laboratorijom za konzervaciju arheolo{kih predmeta u Draginjanu (Francuska),Britanskim muzejom, UKIC-om i drugim doma}im i stranim institucijamaDIJANA intenzivno {iri svoju stru~nu biblioteku koja se oboga}uje i stranimstru~nim naslovima koje DIJANA prevodi i objavljujeDIJANA redovno objavljuje informativnu publikaciju na engleskom i srpskomjeziku DIANADIJANA Radne sveske imaju karakter stru~nog priru~nikaU toku je izrada englesko-srpskog Konzervatorskog re~nikaSvake godine se prave multimedijalnai Internet prezentacija, CD ROM uengleskoj i srpskoj verziji i konzervatorske izlo`be polaznika DIJANE

Sve aktivnosti DIJANE Centra za konzervaciju sa {kolom programski je osmis-lila i organizovala Mila Popovi}-@ivan~evi}, muzejski savetnik-konzervatorNarodnog muzeja u Beogradu, rukovodilac DIJANE

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Globalisation is a new process for such a tra-ditional sector as museums. The fact thatmuseums react to the globalisation process-es by changing their mode of operation inaccordance with the dominant demands oftime is not a novelty. The museum reality haschanged many times throughout history. Themuseums have always been forced to mod-ify the way they work and what they work onin order to adapt to the social, economic andpolitical imperatives surrounding them. Theconsequences of the globalisation influencescan be compared with the influence of indus-trialization on the establishing of the first pub-lic museums. The industrialization processtransformed the very basis of human exis-tence and thinking. The Industrial Revolutionintensified the human experience in manyways. The progress of modern thinking camealong with the Industrial Revolution. The fac-tors identified as the most important for theformation of museum activity are: a highlyemphasized consciousness and the sense ofbelonging to one's own time, the increase ofpopulation, the urbanization and the new formof local government (a series of governmentsthat were able to take measures, which pro-vided a wide range of services, essential forthe management of an urban environment).There have been a number of changes inmuseum activity under the influence of glob-alisation processes of today and an adjust-ment to the demands of “the brave newworld” has occurred. Five aspects of muse-um activity that have been mostly affected bythese newly created changes can be singledout: the financing methods, collecting andcollections, the public, the museum staff, theapplication of new information and telecom-munication technologies.

Collections and CollectingThe museum collecting and collections havebeen mostly influenced by economic factors

throughout history. It goes back to the MediciPalace, which was identified as the nodalpoint in museum development in theresearch on early museum development con-ducted by E. Hooper-Greenhill. Its collectionof exotic objects was designed so as toemphasize the importance of the owner,because the economic independence,greater general welfare brought along into theforeground an emphasis on the importanceof living in the present as opposed to the for-mer contemplative ideal. The Medici Palacewas a private institution, available only to theones who ruled the world through trade andan amazing wealth. Therefore, the appear-ance of modern museums cannot beobserved without a debate on the economiccontext within which they were developing.Globalisation is mainly perceived as an eco-nomic phenomenon, which includes anincreased interaction, or integration, of nation-al economic systems through growth of theinternational trade, investments and capitalflows. Although globalisation cannot bereduced solely to its economic dimension,free trade and the accumulation of capital arestill its most important consequences. Theopening up of world trade, which began in1948, with the first General Agreement onTariffs and Trade and then continued withthe establishment of World TradeOrganization in 1995, is aimed at promo-tion of economic development and theincreasing of wealth in all the countriesthrough the reduction or complete elimi-nation of the artificial protective trade bar-riers. The general principle under GeneralAgreement on Tariffs and Trade does notpermit any kind of direct or indirect restric-tion or discrimination of the international trade.However, from the very beginning, most, if notall the states, insisted on one exception, “cul-tural exception”- on the measures aimed atpreservation and promotion of nationalcultural interests and values. Therefore,trade restrictions may be legal in areasendeavouring to promote national, culturaland moral values, or the language and theculture of nations and minorities. Since1995, certain powerful international commer-cial interest groups have been campaigning

for the abolition of the “cultural exception” inthe fields such as the support to the nation-al creative media and the control of nationalcultural heritage export, clandestine archaeol-ogy, etc. In the Ministerial Summit of theWorld Trade Organization, held in November2001, in Dohau, Qatar, the decision wasmade to uphold the regulation on “the cul-tural exception” of 1948. The fact, which ismore directly connected to the museums andmuseum collections, is that the states can puta limitation or a ban on the export of cultur-al property, such as antiques or works of artof national importance, on the consensus of“the cultural exception”. In that way, turningculture into merchandise is prevented and thedissipation of museum collections and of thesources of their enlargement can be stopped.However, “the cultural exception” has its ownexception too. In December 2002, 18 leadingworld collecting institutions, The RijksMuseum, The Hermitage, The Louvre, TheBerlin State Museum, The MetropolitanMuseum of Art and nine other museums inthe USA, signed a declaration proclaimingthemselves universal museums. Althoughthese institutions acknowledge and supportthe international conventions against the ille-gal purchase of cultural property, theyreached an agreement on not returning theartefacts that were seized during their colonialrule or during similar earlier periods in histo-ry. In defence of such a position they statedan argument that “the objects and monu-mental works of art installed decades andeven centuries ago in museums throughoutEurope and America, were acquired underconditions that are not comparable with cur-rent ones…We should acknowledge thatmuseums serve not just the citizens of onenation but the people of all nations”. The ideaof universal museums, however, raisedobjections from everywhere. Some called it “aclear cultural colonialism”. This declaration,initiated by The British Museum affects otherinstitutions that have in their possession theobjects of disputed ownership. This problem of legal and moral ownership ofobjects constituting the museum collections iscalled “the Parthenon dilemma”, in connec-tion to the long-standing dispute betweenEngland and Greece over the rights concern-ing the so-called “Elgin Marbles”, taken fromGreece, which was under Turkish occupation,by Lord Elgin in 1811 and exhibited in BritishMuseum. The solution to this dispute is yet tobe found.

The Ways of FinancingMuseum is an unprofitable organization bydefinition, as well as in its spirit, which is whyit has traditionally been financed from exter-nal sources, mostly from state budgets. But,the usual state funding merely enables themuseums to survive and cannot provide theirfurther progress and innovations. The state ismore willing to invest in building or restorationof museum premises, museum shops or set-ting of permanent displays, than to fund themuseum programmes or further education ofstaff. However, in the last couple of years, the

26

Museology

Museum building plan with additional museum facilitiesPlan muzejskih prostorija sa dodatnim muzejskim sadr`ajem

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Globalizacija je novi proces za jedan tradi-cionalni sektor kao {to su muzeji. To {to muzejireaguju na globalizacijske procese menjaju}isvoj na~in delovanja, u skladu sa dominantnimzahtevima vremena, nije novina. Realnost muze-ja se kroz istoriju menjala mnogo puta. Muzeji suuvek morali da modifikuju na~in na koji rade i {tarade, u skladu sa dru{tvenim, ekonomskim i poli-ti~kim imperativima, koji ih okru`uju. Poslediceglobalizacijskih uticaja mogu se uporediti sa uti-cajem industrijalizacije na otvaranje prvih javnihmuzeja. Proces industrijalizacije je iz osnova

transformisao na~in na koji su ljudi iveli ikako su mislili. Industrijska revolucija je inten-zivirala iskustvo ljudi na mnogo na~ina. Rukupod ruku sa industrijskom revolucijom, i{ao jei napredak prosvetiteljske misli. Faktori koji suidentifikovani kao klju~ni za formiranje muze-jskog delovanja su: jako izra`ena svest i pri-padnost svom vremenu, pove}anje popu-lacije, urbanizacija i novi oblik lokalne vlasti(niz vlada koje su mogle da sprovedu merekoje su omogu}ile {iroke domete usluga,koje su bile osnova za uspe{no vo|enjeurbanog mesta).Pod uticajem globalizacijskih procesa danas,do{lo je do niza promena u muzejskomdelovanju i prilago|avanjima zahtevima "vrlognovog sveta". Mo`emo da izdvojimo petaspekata muzejskog delovanja, koji sunajvi{e pogo|eni novonastalim promenama:na~in finansiranja, skupljanje i kolekcije, pub-lika, muzejsko osoblje, primena novih infor-macijskih i telekomunikacijskih tehnologija.

Sakupljanje i kolekcijeNa muzejsko sakupljanje i kolekcije krozistoriju najvi{e su uticali ekonomski faktori. Toda mo`emo pratimo jo{ od Palate Medi~i,

koju je E. Hooper-Greenhill, u svomistra ivanju razvoja ranih muzeja, identifikovalakao centralnu ta~ku u razvoju muzeja. Njenakolekcija egzoti~nih predmeta je dizajniranatako da istakne va`nost vlasnika, jer je, zajed-no sa ekonomskom nezavisno{}u i ve}imblagostanjem, u prvi plan izbilo nagla{avanjeva`nosti ivota u sada{njosti, za razliku odkontemplativnog ideala ranijeg doba. PalataMedi~i je bila privatna institucija, dostupnasamo onima koji su gospodarili svetom putemtrgovine i zadivljuju}eg bogatstva. Prematome, pojava modernih muzeja se ne mo`eposmatrati bez rasprave o ekonomskom kon-tekstu sa kojim se oni razvijaju.Mnogi vide globalizaciju, prvenstveno kaoekonomski fenomen, koji uklju~uje pove}anuinterakciju, ili integraciju, nacionalnih ekonom-skih sistema kroz porast me|unarodnetrgovine, investicija i protoka kapitala. Iako seglobalizacija ne mo`e svesti samo na svojuekonomsku dimenziju, ipak su slobodnatrgovina i akumulacija kapitala, njenenajva`nije posledice. Otvaranje svetske trgovine, koje je zapo~elo1948. godine, prvim Generalnim ugovorom ocarinama i trgovini, i preko ustanovljenjaSvetske trgovinske organizacije 1995. godine,ima za cilj da promovi{e ekonomski razvoj ipove}a bogatstvo u svim zemljama, krozsmanjenje ili potpuno uklanjanje ve{ta~kihza{titnih barijera trgovine. Op{te na~eloGeneralnog ugovora o trgovini i carinama nedozvoljava bilo kakvu vrstu direktnog ili indi-rektnog ograni~enja ili diskriminacijeme|unarodne trgovine. Me|utim, od samogpo~etka, ve}ina, ako ne i sve dr`ave, su insi-stirale na jednom izuzetku - "kulturnomizuzetku" - na merama ~ija je namena bila dasa~uvaju i promovi{u nacionalne kulturneinterese i vrednosti. Dakle, trgovinskaograni~enja mogu biti legalna u oblastimakoje se trude da promovi{u nacionalne kul-turne i moralne vrednosti, ili jezik i kulturunacija i manjina. Od 1995. godine, izvesnevrlo mo}ne me|unarodne komercijalneinteresne grupe, vodile su kampanju za uki-danje "kulturnog izuzetka", na poljima kao {tosu podr{ka nacionalnim kreativnim medijima ikontrola izvoza nacionalne kulturne ba{tine,amaterske arheologije itd. Na Ministarskomsamitu Svetske trgovinske organizacijeodr`anom u novembru 2001. godine, uDohau, Katar, odlu~eno je da se sa~uvaodredba o " kulturnom izuzetku", iz 1948.godine. Ono {to je direktnije vezano za muzeje imuzejske zbirke, je to {to, pod konsenzusom"kulturnog izuzetka", dr`ave mogu da stave iograni~enja ili zabrane na izvoz kulturneimovine, kao {to su antikviteti ili umetni~kadela, koja su od nacionalnog zna~aja. Na tajna~in se spre~ava pretvaranje kulture u robui odliv muzejskih zbirki i izvora njihovog dop-unjavanja. Me|utim, i "kulturni izuzetak" ima svoj izuze-tak. U decembru 2002. godine, 18 vode}ihsvetskih sakuplja~kih institucija, me|u kojimasu Rijks muzej, Ermita`, Luvr, Berlinski dr`avnimuzej, Metropoliten muzej i jo{ 9 drugihameri~kih muzeja, potpisalo je dekleraciju,

kojom se izja{njavaju kao univerzalni muzeji.Iako te institucije priznaju i podr`avajume|unarodne konvencije protiv ilegalnenabavke kulturnih predmeta, one su se usa-glasile da ne}e vratiti umetni~ke predmetekoji su zaplenjeni tokom kolonijalne vladavineili tokom sli~nih ranijih perioda u istoriji. Uodbranu ovakvog stava iznose tezu da su"predmeti i monumentalna dela, koji su umuzeje {irom Evrope i Amerike doneseni prenekoliko decenija ili nekoliko vekova, nabavl-jeni pod uslovima koji se ne mogu uporeditisa sada{njim… Treba da priznamo da muzejine slu`e samo gra|anima jedne nacije, ve}ljudima svih nacija."Ideja o univerzalnimmuzejima nai{la je, me|utim, na negodovan-je sa svih strana. Neki su to nazvali "jasnimkulturnim kolonijalizmom". Ova deklaracija,koju je inicirao Britanski muzej, uti~e i nadruge institucije koje imaju predmete ~ije jevlasni{tvo sporno. Ovaj problem originalnog pravnog i moralnogvlasni{tva, nad predmetima koji ulaze u sas-tav muzejskih kolekcija, nazvan je"Partenonska dilema", po dugotrajnoj raspraviizme|u Engleske i Gr~ke oko prava na tzv."Elginove mermere", koje je iz Lord Elgin,1811. godine, odneo iz Gr~ke, koja je tadabila pod turskom okupacijom i izlo io ih uBritanskom muzeju. A re{enje ovog problematek predstoji.

Na~in finasiranjaMuzej je i po definiciji i po duhu neprofitnaustanova, pa je njegovo finansiranje tradi-cionalno dolazilo iz spolja{njih izvora,uglavnom iz dr`avnih bud`eta. Uobi~ajenodr`avno finansiranje omogu}ava samopre ivljavanje, a nikako napredak i inovaciju.Dr`ava je spremnija da finansira investicije-podizanje ili obnavljanje i preure|enje muze-jskih prostorija, muzejskih prodavnica ilipostavljanje stalnih postavki, nego da ula`e umuzejski program ili dokvalifikaciju osoblja.Me|utim, poslednjih godina, javni novac zamuzeje i sli~ne servise smanjio se u gotovosvim regionima sveta, i u politi~kim i vlada-ju}im sistemima svih vrsta. Iako su smanjen-ja najvi{e pogodila zemlje u razvoju, neke odnajve}ih redukcija su se mogle videti i uveoma prosperitetnim zemljama, kao rezultatpolitike redukcije poreza, kolapsa me|unaro-dnog turizma i ekonomske resecije, koji sunastupili kao posledice doga|aja od 11. sep-tembra i ~itavog niza teroristi~kih napada.Lo{a finansijska situacija u muzejima nateralaje mnoge muzeje da razmi{ljaju o privatizaci-ji. To neminovno donosi isticanje komercijal-nih interesa u prvi plan i preti da ugrozi mis-iju muzeja. Odredbe Generalnog ugovora o trgovini iuslugama pod {irim Ugovorom Svetsketrgovinske organizacije, te`e privatizaciji javnihservisa. Me|utim, na ve} pominjanomMinistarskom samitu u Dohau zaklju~eno jeda dr`ave mogu same za sebe da odlu~e dali }e nastaviti da pru`aju javnu podr{ku imenad`ment tradicionalnih javnih servisa,kao {to su muzeji i drugi kulturni servisi.Strane vlade ili komercijalni interesi ne}e imatipravo da teraju na privatizaciju, ili da tra`e

27

Muzeologija

Informative museum signalizationInformativna muzejska signalizacija

amount of public money for museums and similar services hasdecreased in nearly all the world regions and in all kinds of politicaland governing systems. Although the developing countries weremostly affected by this process, some of the largestcut-backs have happened even in highly developedcountries as a result of the tax reduction policy, thecollapse of international tourism and the economicrecession as a consequence of the events ofSeptember 11, and the whole range of terroristattacks.Bad financial situation has forced many museums tostart thinking of privatisation. That imminently bringsabout emphasis on commercial interests and threat-ens to jeopardize the mission of museums. The reg-ulations of The General Agreement on Trade andServices within the Agreement of the World TradeOrganization lean towards the privatisation of publicservices. But, at the before mentioned MinisterialSummit in Dohau, it was concluded that the statesmight decide on their own accord whether theywould continue with public support and the management of traditionalpublic services such as museums and other cultural services. Theforeign governments or commercial interests have no right to forceprivatisation upon them or to seek financial compensation becausethey lost the opportunities to buy the privatised services through chal-lenging the WTO procedures. Therefore, the before mentioned defi-ciencies of state financing in museums and the dangers of privatisa-tion force museums to cover the major part of their expenses out oftheir own financial resources, such as commercial activities, fundrais-ing and membership fees.

The PublicIn a gradual and complex reorientation of its raison d'etre, which hasbeen going on for the last three decades, for a large number ofmuseums, serving the public comes first as their most important obli-gation and the enlargement of their collections is secondary. Perhaps,this change was expressed in the best way by Stephen E. Weil whosays that the museums must change "from being about somethingto being for somebody". Most of contemporary social theoreticiansagree that the globalisation relates to the basic changes in spatialand temporal contours of social existence. The geographical dis-tances are usually measured in time. Since time needed to connectthe remote geographical locations is reduced, distance or space issubjected to compression or "annihilation". The globalisation theoreti-cians agree that changes in human perception of space and timework in such a way so as to undermine the importance of local oreven national borders in many fields of human endeavour. The reduc-tion of time needed to move in space was especially beneficial to theincreased mobility of population, either in tourism or migrations.Tourism and migrations have redefined the museum audience. Justas museums aspire to determine their civic role and to build a part-nership with their users - often "local" orientation - they are alsoforced to serve the national and international audience and to com-municate with them - "global" orientation. Migrations and tourism havechanged the way museums operate. The interaction with varioususers, both trans-national and local, is a challenge for museums todevelop a new ways of communication. How will museums developsuccessful marketing tools so as to attract visitors with different inter-ests and cultural background? How will exhibitions communicate withand connect diverse minority cultures? Outside the USA and theBritish Commonwealth, many museums use English as lingua francato adapt to foreign visitors, and larger museums offer audio guidesin several languages. Museums all over the world understand thatthey must comply with the demands of their visitors regarding com-munication and the accessibility of contents or they risk losing a largepart of their audience.

The Museum StaffNot only visitors are the ones who have been internationalised; themuseum professionals have experienced that too. Their system of ref-erence has spread from local, through national, to international. Many

international professional associations have alleviated the cooperationand the exchange of information and experience between museumprofessionals. One of the oldest and largest organizations of this kind

is The International Council of Museums - ICOM. Inthe recent years, several other associations havebeen established in different parts of the world:Instituto Latinoamericano de Museos - ILAM in 1997and The International Council of African Museums-AFRICON in 1999.The cooperation of museum professionals on aninternational level has been alleviated by the reducedcosts of communication and travel. Networkingacross the institutional and national borders throughthe web has become customary. Intermediary mail-ing lists have created new communication channelsand information forums for museum professionalsthroughout the world. In this way, the internationalstandards, the professional ethics, the codes ofethics and directives have become widespread andhelp the development of entire museum practice.

The Application of the Information and Communication TechnologyThe time-space compression created by the new media and com-munication technologies has surmounted the former limitations ofspace and time, creating a global cultural village and a dramaticbreakthrough of global forces into every segment of life in every worldregion. The last two decades of the 20th century have been markedby a largely enthusiastic acceptance of these technologies in manyfields of museum activity, from the documentation on collections andmanagement, through general and operational management, to thepublic and educational communication and great changes in tradi-tional approaches to their organization and management, includingthe new constitutional structures and the policy on institutional level,and a rapid expansion of professional education and training on thelevel of an individual museum professional.The open-air museums and the traditional-life museums were the firstones to start using new technologies to create multimedia experiences.When they became aware of their success, the traditional indoormuseums adopted the methods for interpretation of "the living histo-ry". The redirection of museums towards the audience has put theemphasis on what a visitor could experience in a museum. Thusmuseums started to use multimedia to enhance visitor's experiencethrough an inspiring combination of the senses of sight, hearing andsmell: the light that dramatizes the presence of objects; audio toursthat tell their story; film and video introductions that offer historical sur-veys. But the technology has penetrated into the museum field to suchan extent, that it actually brought it out of the institution itself. Besidestheir premises, museums have now obtained a new space for theiractivities, a space of unlimited possibilities: the cyberspace and theWorld Wide Web within it. Museums can put on their websites the infor-mation about themselves, entire exhibitions and collections that are notsubject to time, space or ethnic limitations and which are, at least in the-ory, available to anyone. In a way, the Web has become a rather disor-ganized museum of mankind, in which its search engines are somewhatsloppy curators. The number of virtual museum visitors to some of thebiggest world museums and galleries has greatly exceeded the numberof real ones. If they stick to their mission of educating and informing,museums must take this online audience into consideration.The advance of technology has allowed the use of another virtual formfor museum purposes and the open-air museums were once again thepioneers. The Enam Museum in Belgium uses digital imagination tovisualise the Benedictine Abbey, which dominated the life of the FlemishArdennes from 1063 to 1795. The devices on the spot transport thevirtual reconstruction of successive structures and by means of reflec-tors set them above the previously dug foundations. These hologrampictures become the Potemkin villages providing to the visitor an illu-sion that this structure really exists. Thus the visit to an open-air muse-um becomes a time travel, fulfilling the museum's mission to recon-struct the past in the best possible way. There is, however, a dangerthat the turning to this simulated space might neutralize the borderbetween museums and amusement parks and lead to the

28

finansijsku kompenzaciju, zato {to su izgubili mogu}nost da kupe pri-vatizovane servise, kroz osporavanje procedura Svetske Trgovinskeorganizacije.Prema tome, navedni nedostaci dr`avnog finansiranja muzeja i opas-nosti privatizacije, teraju muzeje da obezbe|uju ve}i deo svojihtro{kova iz sopstvenih finansijskih resursa, kao {to su komercijalneaktivnosti, skupljanje nov~anih priloga i pla}anje ~lanarine.

PosetiociU postepenoj i slo`enoj reorijentaciji svog raison d'etre, koja sedoga|a tokom poslednje tri decenije, mnogi muzeji danas na prvomesto stavljaju slu`enje publici, kao svoju najva`niju obavezu, pa tekonda pove}avanje svojih kolekcija. Ovu promenu je mo`da najboljeizrazio Stephen E. Weil, koji ka`e da se muzeji moraju menjati "odtoga da su bili o ne~emu, ka tome da slu`e nekome".Ve}ina savremenih dru{tvenih teoreti~ara sla`e se da se globalizaci-ja odnosi na osnovne promene u prostornim i vremenskim kontura-ma dru{tvene egzistencije. Geografske razdaljine se obi~no mere uvremenu. Kako je vreme potrebno da se pove`u udaljene geografskelokacije, smanjeno, razdaljina ili prostor se podvrgava kompresiji ili"anihilaciji". Teoreti~ari globalizacije se uglavnom sla`u da promene uljudskom do ivljaju prostora i vremena deluju tako da podrivaju zna~ajlokalnih i ~ak nacionalnih granica, u mnogim oblastima ljudskognapora. Smanjenja vremena potrebnog za kretanje u prostoru jenaro~ito pogodovalo pove}anoj pokretljivosti stanovni{tva, bilo da seradi o turizmu ili migracijama. Turizam i migracije su redefinisale muzejsku publiku. "Kao {to muzejite`e da determini{u svoju gra|ansku ulogu i da izgrade partnerstvosa svojim korisnicima - ~esto "lokalna" orijentacija - oni su, tako|e,prinu|eni da slu`e nacionalnoj i me|unarodnoj publici i da sa njomkomuniciraju - "globalna" orijentacija. Migracije i turizam su promenilena~in na koji muzeji deluju. Interakcija sa razli~itim korisnicima, itransnacionalnim i lokalnim, je izazov za muzeje da razviju noveve{tine komunikacije. Kako }e muzeji razviti uspe{ni marketin{ki alat,kako bi privukli posetioce sa razli~itim interesima i kulturnim porek-lom? Kako }e izlo`be komunicirati sa manjinskim kulturama i povezi-vati razli~ite manjinske kulture? Izvan USA i Britanskog Komonvelta,mnogi muzeji koriste engleski kao lingua franca, da bi se prilagodilistranim posetiocima, a ve}i muzeji nude audio-vodi~e na nekolikojezika. Muzeji {irom sveta razumeju da moraju da udovolje zahtevi-ma posetilaca, koji se ti~u komunikacije i pristupa~nosti sadr`aja ilirizikuju da izgube veliki deo svoje publike.

Muzejsko osobljeNisu samo posetioci ti koji su se internacionalizovali; to su, tako|e, imuzejski profesionalci. Njihov referentni sistem se {iri od lokalnog,preko nacionalnog, do me|unarodnog.

Mnoge me|unarodne profesionalne asocijacije su olak{ale saradnju irazmenu informacija i iskustava me|u muzejskim profesionalcima.Jedna od najstarijih i najve}ih organizacija ove vrste je Me|unarodnisavet muzeja - ICOM. Poslednjih godina osnovano je jo{ nekolikoasocijacija u raznim delovima sveta, Instituto Latinoamericano deMuseos (ILAM), 1997. godine i Internacional Council of AfricanMuseums (AFRICON), 1999. godine.Saradnja muzejskih stru~njaka na me|unarodnom nivou olak{ana jesmanjenim cenama komunikacija i putovanja. Umre`avanje prekoinstitucionalnih i nacionalnih granica, uz pomo} interneta, postalo jeuobi~ajeno. Posredne mailling-liste su stvorile nove komunikacionekanale i informacione forume za muzejske profesionalce {irom sveta.Na takav na~in, me|unarodni standardi, slu`bena etika, eti~ki kodek-si i direktive postaju ra{ireniji i unapre|uju ~itavu muzejsku praksu.

Primena informacijskih i telekomunikacijskih tehnologija Vreme - prostor kompresija, koju su stvorili novi medii i komunikaci-jske tehnologije su nadvladale ranije granice prostora i vremena,stvaraju}i globalno kulturno selo i dramati~ni prodor globalnih snaga,u svaku oblast ivota u svakom regionu sveta. Poslednje dve deceni-je 20. veka u razvoju muzeja obele`ene su u velikoj meri entuzi-jasti~kim usvajanjem ovih tehnologija, u vezi sa mnogim oblastimamuzejskog delovanja, od dokumentacije o kolekcijama imenad`mentu kroz op{ti i operacionalni menad`ment, do javne iobrazovne komunikacije i velike promene u tradicionalnim pristupimanjihovoj organizaciji i menad`mentu, uklju~uju}i nove konstitucionalnestrukture i politiku na istitucionalnom nivou, i brzu ekspanziju pro-fesinalne edukacije i obuke na nivou individualnog muzejskog profe-sionalca. Muzeji na otvorenom i folk-life muzeji bili su prvi koji su po~eli dakoriste nove tehnologije da bi proizveli multimedijalna iskustva.Postav{i svesni njihovog uspeha, tradicionalni muzeji u zatvorenomprostoru preuzeli su metode interpretacije "`ive istorije".Preusmeravanje muzeja na publiku u prvi plan je stavilo do ivljaj kojiposetilac mo`e da ponese iz posete muzeju. Tako su muzeji po~elida koriste multimedijalne tehnologije, da poja~aju do ivljaj posetiocakroz inspirativnu kombinaciju ~ula vida, zvuka i mirisa: osvetljavanjekoje dramatizuje prisustvo objekata; audio ture koje pri~aju njihovupri~u; filmski i video uvodi, koji nude istorijske preglede. Ali tehnologi-ja je toliko pro`ela muzejsko polje da ga je izvukla izvan zidova sameinstitucije. Osim muzejskog prostora, muzeji su za svoje delovanjesada dobili jo{ jedan novi prostor neograni~enih mogu}nosti: cyber-prostor i u okviru njega World Wide Web. Muzeji na web sajtu mogupostaviti informacije o sebi, ~itave izlo`be i zbirke, koje ne podle`uvremenskim, prostornim i etni~kim ograni~enjima i koje su, bar uteoriji, svima dostupne. Na neki na~in, web je postao prili~no neor-ganizovan muzej ~ove~anstva, u kome su njegovi pretra iva~i poma-

lo aljkavi kustosi. Broj virtuelnih muzejskihposetilaca nekih od najve}ih svetskihmuzeja i galerija, u velikoj meri, prerastabroj onih realnih. Ukoliko se dr`e svojemisije da edukuju i informi{u, muzejimoraju uzeti u obzir i ovu online publiku.Napredak tehnologije omogu}io jekori{}enje jednog novog oblika virtuel-nosti u muzejske svrhe. Pioniri su opetbili muzeji na otvorenom. Muzej Enam uBelgiji koristi digitalnu imaginaciju davizuelizuje Benediktinsku opatiju, koja jedominirala ivotom Flamanskih Ardena,od 1063. do 1795. godine. Ure|aji nalicu mesta prenose virtuelnu rekonstruk-ciju uzastopnih struktura i putem reflek-tora ih postavljaju nad iskopane temelje.Ove hologramske slike postaju pozitivnaPotemkinova sela, daju}i posetiocimaviziju da ova struktura stvarno postoji.Tako poseta muzeju na otvorenompostaje putovanje kroz vreme, ispunjava-ju}i misiju muzeja da najbolje mogu}erekonstrui{e pro{lost. Postoji, me|utim,

29

ICOM MPR Conference’s subject was Impact of Globalization on Museum CommunicationTema Konferencije IKOM MPRa bila je Uticaj globalizacije na muzejsku komunikaciju

Disneyfication of culture. That largely depends on the level of the his-torical research and the precision in creating such simulations.The fear of the homogenizing and assimilating effects of globalisa-tion has put the question of cultural identity into the foreground. Thus,one of museum functions has been defined by generalizing this atti-tude: the development of cultural identity at times of rapid changes.Therefore, a museum is one of the factors in the globalisationprocess. This is why the museums are in a contradictory, ambivalentposition, because they aim at strengthening (the local) cultural iden-tity. Traditionally defined as local institutions with collections of globalorigin, museums are a global form of connecting the local and global.

Literature:1. P. Boylan, Culture and World Trade,http://icom.museum/pdf/gb_04.pdf0.2. P. Boylan, Some reflections on the Future of Museums, lecture atICTOP Conference, MPR, CIMUSET, Ljubljana 2003.3. E. Hooper- Greenhill, Museums and Shaping of Knowledge,New York 1992.4. N.G. Kotler, Creative Audiences and Creative Staff in Audience-Driven Museums, lecture at ICTOP Conference, MPR, CIMUSET,Ljubljana 2003.5. K. Muller, Going Global: Reaching Out for the Online Visitor,Museum News, September/October 2002, American Association ofMuseum, 2003, reprinted in www. kmlink.net. 6. K. Muller, The Culture of Globalisation, Can Museums Offer NewVersion of Globalised Socety, Museum News, May/June 2003,American Association of Museum, 2003, reprinted in www.kmlink.net7. M. Prosler, Muzeji in razvoj, Poziv k razmisleku, Muzeoforum,Collection of lectures on museology, 1991., Ljubljana 1993.8. Stanford Encyclopedia of Philosophy, www.plato.stanford.edu/entries/globalization/ 9. T. [ola, Ba{tinske ustanove na razme|u ili gdje je granicaizme|u pravog muzeja i njegove zabavlja~ke ina~ice, Archives,libraries, museums, Zagreb 2000. 10. T. [ola, Marketing u muzejima ili o vrlini i kako je obznaniti,Beograd 2002.11. A. Trigo, A Two Sided Coin? Globalization from the CulturalPerspective, www.globalresearch.ca/articles/TRI310A.html12 K. Walsh, Heritage reconsidered- The Representation of thePast, Museum and heritage in the Post- Modern world, New York1992.

CCoonntteemmppoorraarryy BBuullggaarriiaann MMuusseeuummssGaabriiellaa Petkovaa, Bullggaariiaa

During the UNESCO conference Museums in Transformation Process,held in Brno, Check Republic, November 25th - 27th it became obvi-ous that many of the ex-communist countries have similar problemsconcerning legislation, funding, lack of appropriate education, etc. Inthis paper I would like to draw the readers' attention to one charac-teristic of the museum institution in Bulgaria which is not less impor-tant and which, if not improved, could help further deterioration ofBulgarian museums - employees attitude towards heritage issues -where the term of "employees" embraces all levels in the hierarchy. The museums in Bulgaria experience a constant decline in all mean-ings since 1991 and this is a well known fact. The usual and mostcommon excuse for the present state of the museums in Bulgaria isthe lack of finances. In fact this is far from being the main reason. Manyof the now acting museums professional in Bulgarian museums arepeople who worked there for many years and are still working theway they used to during the communist regime when there was noneed for thinking but just doing what you were told to do. So it is acommon feature to have these people going at work and just wait-ing the time to come for the monthly salary. The excuse is: "There is nomoney for a good, European quality exhibition, there is no money togo abroad and study the foreign know-how, there is no money foradvertising of the existing exhibits, which could attract some visitorstherefore some money". So there is no enthusiasm, no imagination,

no creativity - just passive existence. And this starts from the top -the Ministry of the Culture. For my bewilderment there are no statis-tics in the Ministry about the number of the museums visitors annu-ally in Bulgaria as total. The National Statistical Institute updates infor-mation about museums in Bulgaria approximately every 3 years, butthe information collated by them concerns only the number of muse-ums, the number of the staff and the number of artefacts. This is notsufficient information to make informed decisions. My own results,which were obtained with some difficulty, were also quite a surprise.Many museums consider visitor numbers only in term of eitherBulgarians or foreigners. Once again, information that can be of littleuse. No information is obtained regarding the age or interests of vis-itors for example. Such a visitor profile is very important because itgives immediate answers to questions relating to which groups of thepopulation do or do not visit, which in turn would lead to work beingundertaken by the museum to attract visitors from the segments whodo not usually come. It is true that finance is a major factor here also. But this is not theonly possible way of improving the work of our museums. Lack ofenthusiasm can subdue good ideas or experiments aimed at improv-ing museums. The lack of funding then simply turns into a goodexcuse for not doing anything, and this of course leads to all sortsof negative impacts. The work of our museums is in such a stateand the resistance of museum directors to embrace new ways sopermanent that it is not easy for young people with knowledge andenthusiasm to penetrate the museum system and bring with themmuch needed fresh ways of thinking. I believe that changes can onlycome about if young professionals are given the chance to enterthese institutions and to use their knowledge, fresh ideas and enthu-siasm to create high quality attractive exhibitions. This again in partrelates to finances however as such people would need to be paidproperly in order to be able to put all of their enthusiasm and ener-gy into their work. Of course this negative trend is not always the case. Following is anexample that the most important factor for the success of a projectis the proactive approach. Strandja Mountain is situated in South East Bulgaria and is a NaturePark. It is the biggest protected area in Bulgaria and over 50% of theBulgarian flora is represented there with a big number of Red Bookspecies. The Strandja Rhododendron (Rhododendron ponticum),flowering with fabulously beautiful violet flowers, is a symbol of the

Park.The area of Strandja Park reveals also unique monuments of spiritual andmaterial culture. Many local rituals and crafts are still preserved in thesmall picturesque villages and attract thousands of tourists every year. Cultural evidences from the Aeneolithic and Bronze Age, fromThracian megalithic culture, from the Antiquity, the Middle Ages andthe National Revival Period and the modern history of the country canbe seen in the area. Special protection has been granted to 12 char-acteristics localities and nature sites, 12 churches, 254 houses, 4 dol-mens, several sanctuaries and necropolises, as well as vaultedtombs.

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Strandja ParkPark Stran|a

opasnost da okretanje simuliranom prostoru neutrali{e granicuizme|u muzeja i zabavnih parkova i tako dovede do "diznifikacije" kul-ture. To u velikoj meri zavisi od nivoa istorijskih istra ivanja i preciznostikoja je kori{}ena za ovakve simulacije.Strah od homogenizuju}ih i asimiluju}ih efekata globalizacije, postavi-la je pitanje kulturnog identiteta u prvi plan. Tako je jedna od funkci-ja muzeja definisana uop{tavanjem tog stava: razvijanje kulturnogidentiteta u trenucima brzih promena. Prema tome, muzej je jedan odfaktora u procesu globalizacije. Tako se muzeji nalaze u protivre~nomodnosno ambivalentnom polo`aju, jer tvrde da istovremeno ja~aju(lokalni) kulturni identitet. Tradicionalno definisani kao lokalne instituci-je sa kolekcijama globalnog porekla, muzeji su, dakle, globalan oblikpovezivanja lokalnog i globalnog.

Literatura:1. P. Boylan, Culture and World Trade,http://icom.museum/pdf/gb_04.pdf0.2. P. Boylan, Some reflections on the Future of Museums, preda-vanje na Zajedni~koj Konferenciji ICTOP, MPR, CIMUSET, Ljubljana2003.3. E. Hooper- Greenhill, Museums and Shaping of Knowledge,New York 1992.4. N.G. Kotler, Creative Audiences and Creative Staff in Audience-Driven Museums, predavanje na Zajedni~koj Konferenciji ICTOP,MPR, CIMUSET, Ljubljana 2003.5. K. Muller, Going Global: Reaching Out for the Online Visitor,Museum News, September/October 2002, American Association ofMuseum, 2003, reprinted in www. kmlink.net. 6. K. Muller, The Culture of Globalisation, Can Museums Offer NewVersion of Globalised Socety, Museum News, May/June 2003,American Association of Museum, 2003, reprinted in www.kmlink.net7. M. Prosler, Muzeji in razvoj, Poziv k razmisleku, Muzeoforum,Zbornik muzeolo{kih predavanj 1991., Ljubljana 1993.8. Stanford Encyclopedia of Philosophy, www.plato.stanford.edu/entries/globalization/ 9. T. [ola, Ba{tinske ustanove na razme|u ili gdje je granicaizme|u pravog muzeja i njegove zabavlja~ke ina~ice, Arhivi,knji nice, muzeji, Zagreb 2000. 10. T. [ola, Marketing u muzejima ili o vrlini i kako je obznaniti,Beograd 2002.11. A. Trigo, A Two Sided Coin? Globalization from the CulturalPerspective, www.globalresearch.ca/articles/TRI310A.html12 K. Walsh, Heritage reconsidered- The Representation of thePast, Museum and heritage in the Post- Modern world, New York 1992.

SSaavvrreemmeennii bbuuggaarrsskkii mmuuzzeejjiiGaabriiellaa Petkovaa, Buggaarskaa

Tokom Uneskove konferencije Muzeji u procesu tranzicije, odr`ane od25. do 27. novembra 2003. godine, u Brnu, ^e{ka Republika, posta-lo je jasno da sve eks-komunisti~ke zemlje imaju sli~ne probleme uvezi sa zakonodavstvom, finansiranjem, nedostatkom odgovaraju}egobrazovanja, itd. U ovom tekstu poku{ala bih da ~itaocu skrenempa`nju na jednu karakteristiku muzejskih institucija u Bugarskoj, kojanije manje zna~ajna i koja, ako se ne promeni, mo`e daljepogor{avati stanje u bugarskim muzejima - to je odnos zaposlenihu muzejima prema nasle|u - pri ~emu izraz "zaposleni" obuhvata svenivoe hijerarhije.Muzeji u Bugarskoj od 1991. godine stalno propadaju u svakomsmislu i to je poznato. Uobi~ajeno i naj~e{}e opravdanje za sada{njestanje u muzejima u Bugarskoj predstavlja nedostatak finansijskihsredstava. U su{tini, to je daleko od glavnog razloga. Mnogi oddana{njih muzealaca u Bugarskoj radili su dugi niz godina i jo{ uvekrade na na~in preostao iz doba komunisti~kog re ima, kada nisumorali da misle, nego da jednostavno rade {ta im se ka`e. Zato je zanjih normalno da idu na posao i da ~ekaju svoju platu. Obja{njenje glasi:"Nema novca za dobre izlo`be na evropskom nivou, nema para dase ide u inostranstvo i prou~avaju njihova dostignu}a, nema sredstavaza ogla{avanje postoje}ih izlo`bi, a {to bi dovelo publiku, a time i

novac." Nema entuzijazma, ma{tovitosti, kreativnosti - samo pasivnopostojanje. I to po~inje sa vrha - od Ministarstva kulture. Bila samzaprepa{}ena kada sam otkrila da u Ministarstvu ne postoji statisti-ka o ukupnim godi{njim posetama muzejima u Bugarskoj. Nacionalnistatisti~ki zavod obnavlja podatke o muzejima u Bugarskoj otprilikesvake tre}e godine, ali se te informacije odnose samo na broj muze-ja, broj zaposlenih i broj predmeta. To nije informacija za dono{enjekvalitetnih odluka. Moji podaci, koje sam dobila uz te{ko}e, tako|esu predstavljali iznena|enje. Mnogi muzeji bele`e broj posetilacasamo u odnosu na to da li su Bugari ili stranci. I opet, informacijaima malu vrednost. Na primer, nema informacija o starosnoj strukturiili interesovanjima posetilaca. Takav profil posetilaca je posebno bitan,jer daje neposredne odgovore na to koje grupe populacije pose}ujuili ne pose}uju muzeje, {to bi aktiviralo muzeje da privuku posetioceiz onih segmenata koji obi~no ne pose}uju muzeje.Istina je da i ovde glavni faktor predstavljaju finansijska sredstva. Alito nije i jedini na~in da se pobolj{a rad muzeja. Nedostatak entuzi-jazma gu{i dobre ideje ili poku{aje da se muzeji unaprede.Nedostatak finansijskih sredstava tada prostaje dobar izgovor zanerad, a to naravno dalje vodi nizu negativnih uticaja. Rad na{ihmuzeja je u takvom stanju i otpor direktora muzeja da prihvate novemetode je toliko uporan, da mladim ljudima sa znanjem i entuzijaz-mom nije lako da prodru u muzejski sistem i da unesu toliko potre-ban sve` na~in razmi{ljanja. Verujem da do promena mo`e da do|esamo ukoliko mladi stru~njaci dobiju priliku da u|u u ove institucije ida primene svoje znanje, nove ideje i entuzijazam u kreiranju atrak-tivnih izlo`bi visokog kvaliteta. Ovo se delom odnosi i na finansije, jertakve ljude treba odgovaraju}e platiti, kako bi mogli da ulo`e sav svojentuzijazam i energiju u rad.Naravno da ovakav negativni trend nije uvek prisutan. Slede}i primerpokazuje da je anga`ovani pristup najva`niji elemenat uspeha jednogprojekta.Planina Stran|a le i na jugoistoku Bugarske i progla{ena je nacional-nim parkom. To je najve}a za{ti}ena regija i Bugarskoj i preko 50%bugarske flore je tu zastupljeno, kao i brojne vrste sa Svetske listeugro`enih vrsta. Stran|a rododendron (Rhododendron ponticum) injegovi prekrasni ljubi~asti cvetovi simbol su tog Parka.Park Stran|a nudi i jedinstvene spomenike duhovne i materijalne kul-ture. Mnogi lokalni obi~aji i zanati jo{ uvek su o~uvani u malimslikovitim selima i privla~e hiljade turista svake godine.

Tu se mogu videti kulturni spomenici iz eneolita i bronzanog doba, iztra~ke megalitske kulture, iz antike, srednjeg veka, i perioda bugarskerenesanse i moderne istorije zemlje. Posebno je za{ti}eno 12 karak-teristi~nih lokaliteta prirodnih vrednosti, 12 crkava, 254 ku}e, 4 dol-mena, nekoliko svetili{ta i nekropola, kao i zasvo|enih grobnica.Najpose}eniji lokaliteti su graditeljsko-prirodni rezervat u selu Bra{lijani folklorni rezervat u selu Balgari. Bra{lijan je jedno od najmanjih selana Stran|i i graditeljski i istorijski rezervat. Selo je o~uvalo ne samo

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Sedianka ritual in the village of BrashlianObi~aj Se|anka (prelo) u selu Bra{lijan

The most visited sites are the architectural-historical reserve in the vil-lage of Brashlian and the folklore reserve in the village of Balgari.Brashlian is one of the smallest villages in Strandja and architecturaland historical reserve. This village has preserved not only the atmos-phere of old historical epochs but also the unique architecture of theold Strandja houses from the 18th-19th century, which have beenrecognized as architectural monuments.Balgari is the only village where the mysterious fire-dancing ritual hasbeen preserved in its authentic form, performed every year on theDay of St. Constantine and Helena- June 3d (old style).Apparently Strandja is an area where much could be seen and muchcould be done to attract foreign tourist and visitors from all social lev-els. So what are the actions of the local authorities and museum pro-fessionals? Do they wait passively for some funding to come fromsomewhere? The town of Malko Tarnovo is the municipal centre of the area. There is an architectural and museum complex in the town, anOrthodox Church bearing the name Dormition of the Holy Mother ofGod, which is an architectural and historical monument, an EasternCatholic Church of the Holy Trinity. The museum complex contains:historical museum, ethnographical museum and natural historymuseum in which numerous photographs and amusing games famil-iarize the visitors with the unique Strandja nature.When comparing this museum complex with other museums inBulgaria the difference is immediately noticeable. Malko Tarnovo andits authorities managed to create a high level exhibition of Europeanscale for education and entertainment. The funding and the know-how come from a Swiss - Bulgarian program for bio variety. The localauthorities did not wait for the insufficient funding coming from thestate but tried to find additional money and this proactive approachmade from the museum a unique on the Balkans institution whichattracted more than 10 000 visitors since its opening in August 2001.Many school groups visit the site, which means that the museumachieved one of its main function - education. Today the museumcomplex is part of many tourist itineraries together with the severalplaces in the area where rural tourism can be executed and is visit-ed by a large number of foreign tourists meaning additional fundingfrom entrance fees. Of course there is still what to be done in orderto increase the visitors' interest and to respond to the increasing vis-itors' demands. But Malko Tarnovo museum complex is a perfectexample that the passive existence is not the way leading to suc-cess. A proactive approach is needed. Waiting for a miracle and formoney to come from somewhere without efforts from our side won'tlead to other than further deterioration of the already deplorable stateof the most of our heritage sites. Bulgaria, one of the oldest Europeancountries, created in 681, has a lot to show to the world. But this willhappen only if its people start working actively to make the countryand its treasures known to the world to serve for education, enjoy-ment and entertainment.

References:Draganov, G. Spasov, ?. 1977 Muzeino delo I muzei v Balgaria.Bibliografia, NBKM, Sofia Hooper-Greenhill E. 2001 Museums and their visitor, LondonHooper-Greenhill E. 2003 Museums and the shaping of knowledge,London, New YorkNational Statistical Institute 2002, Statistical yearbook, SofiaThomson, K. 2002 Treasures on earth: Museums, collections andparadoxes, Faber & FaberStrandja Museum Complex 2001 Zavechtano ot drevnostta,Strandjanska palitra, M.TarnovoMap Strandja Nature Park 1999, Geosoft, SofiaPekova, Y 2003 Bulgaria museum towns, Touristreklama, SofiaBukinova, v. 2000 Starodavno Gramatikovo, Perl PP, Burgashttp://www.bgtravel.com

SSoocciiaall CChhaannggeess aanndd TThheeiirr IImmppaacctt oonn tthhee RRoommaanniiaannMMuusseeuummss ((11999900 - 22000033))Dr.. Viirggiill Stefaan Niitullesccu, Romaaniiaa

1. OverviewThe fall of the communist regime, in 1989, found the Romanianmuseums, as the entire society, in a profound crisis. People were dis-couraged and impoverished. So were the museums and their cura-tors. The individuals were depersonalised; seemingly, the museums:without brightness, dully and lifeless.The first year, after the change, brought a few things to Romanians:freedom and diversity. They were reflected, also, in museums. As inmany other former communist countries, these changes brought,also, a sense of anomy and a lot of despair, intermingled with hope.For the Romanian society, the very first three years of liberty (1990 -1992) were characterised by deep division: a people that was unitedonly in hate against the dictatorship, proved itself unprepared for thespirit of tolerance. Almost anyone who had different opinion was con-sidered an enemy. The communist indoctrination proved to be moreprofound than it looked like. A group of people wanted to start adebate about responsibilities during the years of communism. Anothergroup, with a large majority, wanted only to forget and to bury thepast. The social dialogue was almost inexistent. Inside the museumswas the same atmosphere - and this has affected the museum activ-ities a lot.Slowly, the society started to learn about differences. Some of itsmembers got rich, others became poorer. Anyway, the economy washeavily subsidised by the state and the very first signs of reform werestopped during the following two years (1993 - 1994), for the sakeof a macro-stabilisation. The highest and most important objectivewas calming down the inflation, that reached its highest level in 1993:296%! Privatisation and reform were re-started only in 1995 and veryshy! A hesitant management of the economy brought the country intoits deepest crisis in 1998, when unemployment reached, at the end of

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Malko Tarnovo museum complex, situated in houses with unique Revival architectureMuzejski komleks u Malkom Tarnovu, sme{ten u zgradama jedinstvene arhitekture iz perioda bugarske renesanse

Roman tomb in Strandja MountainRimska grobnica na planini Stran|a

atmosferu istorijskihepoha, ve} i jedistvenuarhitekturu starih ku}a izXVIII-XIXveka, koje sesmatraju spomenicimaarhitekture.Balgari je jedino selo ukome je o~uvan misteri-ozni ples oko vatre u aut-enti~nom obliku, a koji seizvodi svake godine napraznik Svetih Konstanti-na i Jelene - 3. juna (pojulijanskom kalendaru).Jasno je da je Stran|aregion koji pru`a mnogotoga i mnogo se mo`eu~initi da se privuku stranituristi i posetioci iz svihsocijalnih slojeva. Pa {tarade lokalne vlasti imuzealci? Da li pasivno~ekaju da im finansijskasredstva padnu u krilo?Grad Malko Tarnovo jeop{tinski centar ovog

kraja. U gradu postoji arhitektonski i muzejski kompleks, pravoslavnacrkva Uspenje majke Bo`je, koja je arhitektosni i istorijski spomenik,isto~no-katoli~ka crkva Svetog trojstva. Muzejski kompleks obuhvata:Istorijski muzej, Etnografski muzej i Prirodnja~ki muzej, sa brojnimfotografijama i zabavnim igrama, koji pribli avaju posetiocima jedin-stvenu prirodu Stran|e.Kada se ovaj muzejski kompleks uporedi sa drugim muzejima uBugarskoj, odmah se vidi razlika. Malko Tarnovo i njegova upravauspeli su da postave veoma kvalitetnu izlo`bu evropskog nivoa, kadje re~ o edukaciji i zabavi. Sredstva i tehnologiju obezbedio je {vaj-carsko-bugarski program biodiverziteta. Lokalne vlasti nisu ~ekale dadr`ava obezbedi ostatak sredstava, ve} su poku{ali da na|u dodatneizvore i ovakav aktivni pristup omogu}io je da muzej postane institu-cija jedinstvena na Balkanu, koju godi{nje pose}uje preko 10.000posetilaca, od kada je otvorena avgusta 2001. godine. Brojne {kolepose}uju ovaj lokalitet, {to zna~i da je muzej ostvario jednu od svo-jih glavnih funkcija - edukativnu. Danas je ovaj muzejski kompleksuklju~en u brojne turisti~ke ponude, uz nekoliko drugih mesta u ovomdelu zemlje, gde se neguje seoski turizam i gde su posete turistabrojne, {to sve zajedno donosi dodatni prihod od ulaznica. Naravnoda ima jo{ toga {to treba uraditi da bi se pove}ala zainteresovanostturista i da bi se zadovoljile njihove potrebe. Ali, muzejski kompleksu Malkom Tarnovu predstavlja izvanredan dokaz da pasivnost ne vodiuspehu. Neophodan je aktivni pristup. ekati da se ~udo dogodi i danovac sam do|e, bez na{eg napora, samo mo`e da dovede do dal-jeg propadanja ve} bednog stanja ve}eg dela na{eg kulturnognasle|a. Bugarska, jedna od najstarijih evropskih dr`ava, nastala 681.

godine, ima mnogo toga da poka`e svetu. No, to mo`e samo akose ljudi aktivno anga`uju da zemlja i njena blaga, koja svet poznaje,po~nu da slu`e obrazovanju, u ivanju i zabavi.

Literatura: Draganov, G. Spasov, E. 1977 Muzeino delo I muzei v Balgaria.Bibliografia, NBKM, Sofia Hooper-Greenhill E. 2001 Museums and their visitor, LondonHooper-Greenhill E. 2003 Museums and the shaping of knowledge,London, New YorkNational Statistical Institute 2002, Statistical yearbook, SofiaThomson, K. 2002 Treasures on earth: Museums, collections andparadoxes, Faber & andja Museum Complex 2001 Zavechtano otdrevnostta, Strandjanska palitra, FaberStrM.TarnovoMap Strandja Nature Park 1999, Geosoft, SofiaPekova, Y 2003 Bulgaria museum towns, Touristreklama, SofiaBukinova, v. 2000 Starodavno Gramatikovo, Perl PP, Burgashttp://www.bgtravel.com

DDrruu{{ttvveennee pprroommeennee ii nnjjiihhoovv uuttiiccaajj nnaa rruummuunnsskkee mmuuzzeejjee((11999900-22000033))dr Viirggiill Stefaan Niitullesku, Rumuniijjaa

1.Op{ti pregledPad komunisti~kog re ima 1989. zatekao je rumunske muzeje, kao icelo dru{tvo, u dubokoj krizi. Ljudi su bili demoralisani i osiroma{eni.Tako je bilo i sa muzejima i njihovim kustosima. Pojedinci su izgubilisvoje individualne crte, a to se desilo i sa muzejima - ostali su bezsjaja i ivota.Prva godina nakon politi~kih promena donela je nekoliko novinaRumunima - slobodu i raznolikost. Te novine su se odrazile i namuzeje. Kao i u mnogim drugim biv{im komunisti~kim zemljama, ovepromene su donele ose}anje zbunjenosti, o~aj, ali i nadu.Za rumunsko dru{tvo, prve tri godine slobode (1990-1992) bile suobele`ene dubokom podelom - narod koji je bio jedinstven u mr`njiprema diktaturi, pokazao se nespremnim za duh tolerancije. Gotovosvako ko je imao druga~ije mi{ljenje smatran je neprijateljem.Ispostavilo se da je komunisti~ka indoktrinacija zahvatila dublje nego{to se mislilo. Jedna grupacija je elela da raspravlja o pitanju odgov-ornosti za vreme komunisti~ke vladavine. Drugi deo dru{tva, ta~nijeve}ina, `eleo je samo da zaboravi i zakopa pro{lost. Dru{tveni dija-log gotovo da nije ni postojao. Unutar muzeja je vladala ista atmos-fera, {to je, naravno, mnogo uticalo na muzejske aktivnosti.Dru{tvo je polako po~elo da prihvata razlike. Neki su po~eli da sebogate, a neki su siroma{ili. U svakom slu~aju, dr`ava je ulagala veli-ka sredstva u ekonomiju i po~etne reforme su zaustavljene u tokuslede}e dve godine (1993-1994) u svrhu makro-stabilizacije. Najvi{ii najva`niji cilj je bio smirivanje inflacije koja je svoj najvi{i nivo dostigla1993 - ~ak 296%! Privatizacija i reforme ponovo su zapo~ete tek1995. i to veoma stidljivo! Neodlu~ne ekonomske strukture dovele suzemlju do najdublje krize 1998. godine, kada je nezaposlenost, kra-jem godine, dostigla ~ak 11,9%. Me|utim, slede}a godina je ozna~ilapo~etak oporavka, uprkos gotovo sveop{tim o~ekivanjima dr`avnogbankrota. Otada je na{a zemlja polako napredovala, dr`avni prihodisu rasli, nezaposlenost je stagnirala na manje od 8,5%, a inflacija se2003. spustila na 14%, {to je najni i nivo u poslednjih 14 godina. Ovakretanja se nisu potpuno podudarala sa promenom vlasti, iako je Ru-munija imala socijaldemokratsku vladu sve od 1989, sa pauzom od~etiri godine (1997-2000) kada je na ~elu dr`ave bila koalicija cen-tra.U poslednjih 14 godina rumunska populacija je porasla za oko 1,4miliona lica, uz porast penzionerske populacije i smanjenje brojabra~nih zajednica sa decom.Svih ovih godina, Rumunija je ulagala veliki napor kako bi bila priml-jena u Savet Evrope ({to se desilo 1993.) i Evropsku zajednicu ({to}e se desiti 2007.).Rumunski muzeji su sa manje ili vi{e odstupanja pratili ovu {emurazvoja.

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Revival (18th century) house in the village of BrashlianObnovljena ku}a (XVIII vek) u selu Bra{lijan

Brashlian villageSelo Bra{ilijan

the year, 11.9%. However, the next year was the very first one ofrecovery, in spite of an almost "universal" expectation for a generalbankruptcy of the country. Since then, the country had been slowlyadvancing, the gross domestic product steadily growing, the unem-ployment stagnating at less than 8.5% and inflation reaching, in 2003,14% - the lowest level in the last 14 years. These fluctuations did notcoincide exactly with the changes in government. However, Romaniahad social-democrat governments ever since 1989, with a break offour years (1997 - 2000), when it was lead by a Centre coalition.In the last 14 years the Romanian population decreased by about 1.4million persons, the proportion of retired people grew and the num-ber of married couples with children became smaller.During all these years, Romania had made important efforts in orderto be accepted in the Council of Europe (it happened in 1993) andin the European Union (it will happen in 2007).The Romanian museums had followed this scheme, more or lessaccurately.

2. LegislationIn February 1990, the Law for the Protection of the National CulturalHeritage was abrogated, mainly, because of the abuses that weredone in the last 15 years, in the name of this law: cultural heritageobjects were lifted from personal houses and stored in museums, inthe name of the need for a proper conservation.Several governmental ordinances were issued, starting with 1992, try-ing to fill this gap. All these documents were trying to establish anational system for protection of the whole range of cultural goods. Right now, the legislation consists of a complicated system of laws,ordinances and governmental decisions.First of all, we should mention the Law for the Protection of theMoveable National Cultural Heritage (182/2000), which was amend-ed by a governmental ordinance early, this year. The clear system ofclassifying the cultural goods in the legal category called the nation-al cultural heritage was changed, becoming more complicated, as,virtually, all the objects owned by museums became parts of thenational cultural heritage. What should have been the selection ofexceptional objects is just a group of mixed objects, as anythingshould be equally preserved. The Law is establishing a more logicaland efficient system that prevents the illicit traffic with cultural goods,in applying with the provisions of the 1970 UNESCO Convention,which was ratified by Romania in 1995. As a result, the illicit traffichas decreased dramatically in the last three years. Additionally, Ishould add that the thefts from museums are, currently, rather rare,in spite of the fact that the security devices are not very modern andin the small museums they are simply primitive.One important provision of this Law is the establishing of the NationalLaboratory for Conservation and Restoration of the Moveable NationalCultural Heritage. The Laboratory is going to become truly active onlyby late 2004 or beginning of 2005.Also, the law is establishing a national system for documentation,based on standardisation, headed by the Institute of Cultural Memory- a research institution with three decades of experience in this field. Secondly, we should mention a group of at least 8 laws and gov-ernmental ordinances defending the historical monuments, most ofthese acts being amended, at least once. A special law is the oneprotecting the archaeological heritage and establishing a national sys-tem of archaeological research. Of course, almost all these laws areconnected with the museums' activity.Finally, early this year, the Law on museums and public collections(311/2003) defined these institutions and set up a system of accred-itation. Also, the law has several provisions concerning the compul-sory insurance of all the museums' objects. The law was expectedby almost everybody in the profession, but when it was approved, itproduced a huge disappointment: it brought no bigger salaries orother important advantages. One could also mention a huge number of governmental decisionsfor organising the net of institutions concerning the research and pro-tection of the cultural heritage.The main trait of the legal system could be considered to be the rel-ative fluidity of the provisions. There is little chance for a law not to bechanged, somehow, during the first two or three years of enforcement.

The reasons are diverse: first of all, the need of the legislative to adaptitself, continuously, to a moving reality; secondly, the lack of experi-ence of the legislators and the still insufficient legal expertise - a char-acteristic for the entire Romanian legal system, not only for the partconcerning culture. Finally, one could mention that almost anytime adignitary is changed, the new one would like to create his own leg-islation, instead of continuing the old one.Still, the legislators are making noticeable efforts in order to harmonisethe Romanian legislation with the EU one, though, sometimes, thelatter is not fully understood, as is the case with the way in which theprovisions of the Directive 93/7 are applied by the Romanian gov-ernment.

3. Museum realitiesWith respect to the Law on museums and public collections, the fol-lowing terms are defined:a) museum - public cultural institution, in the service of the society,that collects, conserves, researches, restores, communicates andexhibits, for purpose of knowledge, education and enjoyment, mate-rial and spiritual testimonies of the human communities existence andevolution and of the environment;b) collection - assembly of cultural and natural goods, systematically andcoherently constituted, by physical or private or public legal persons.Also, the public collections are the collections that are accessible tothe public and to the specialist, irrespective of the holder of owners'rights, which are gathering goods that are significant for their artistic,documentary, historical, scientific, cultural and memorial value.The private collections accessible to the public are the collections thatare in private ownership of physical or private legal persons, wherethe public and the specialists have access only with the permissionof the holder.The Law, also defines the museum patrimony as the "totality ofgoods, rights and duties with patrimony value that are belonging toa museum or, as the case may be, to a public collection".Considering the territorial area coverage, the size and the importanceof the patrimony, the museums and the public collections are clas-sified as follows:a) museums and collections of national importance;b) museums and collections of regional importance;c) museums and collections of county importance;d) museums and collections of local importance. The Law, already shares out the first three categories, mentioning 29museums and collections of national importance, 14 of regionalimportance and 41 of county importance. It means that all the restare of local importance. The system is not freezed. A museum couldbe moved from one category to another, as its collections are grow-ing or diminishing in number and/or importance. Yet, there are no criteria established for accrediting museums andpublic collections. When the accreditation will start, it will be the basisfor a new method of deciding on financing the museums and pub-lic collections. Until the accreditation of museums will become a real-ity, it is very difficult to appreciate even the true number of museums.Thus, the National Institute of Statistics, considering the ICOM defini-tion on museums, has counted 548 museums, at the end of the lastyear. However, the specialised institute of research of the Ministry ofCulture and Religious Affairs, the Institute of Cultural Memory, hascounted, by the end of the month of September, 2003, 749 muse-ums. Thus, the future accreditation will be a sign of the increasingstandardisation of the cultural institutional network.It does not matter which calculation we are considering, it is clear thatthe vast majority of the museums are publicly owned, by the state orby local authorities. Most of the private ones are, in fact, small reli-gious collections, owned by monasteries and churches. No importantprivate museum has been established, so far, in Romania. The situ-ation is, somehow, in accordance with the entire Romanian econo-my, where the important investors have appeared only in 2003.However, some important public owned museums were opened orre-opened in the last decade, as is the case with the much praisedRomanian Peasant Museum, the new galleries of the National ArtMuseum of Romania (completely refurbished after the museum washeavily damaged in the very fist days of liberty, in December, 1989),

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2. ZakonodavstvoU februaru 1990. Zakon o za{titi kulturnih dobara je ukinut i to zbogzloupotreba koje su ~injene u poslednjih 15 godina u ime tog zakona:predmeti kulturne ba{tine su oduzimani privatnim licima i odno{eni umuzeje pod izgovorom da im je potrebna adekvatna za{tita. Po~ev od 1992. vlada je izdala nekoliko uredbi, nastoje}i da nado-mesti nedostatak zakona. Svi ti dokumenti su te ili uspostavljanjudr`avnog sistema za{tite nad mnogim kulturnim dobrima. U ovom trenutku, regulativu ~ini komplikovan sistem zakona, uredbi ivladinih odluka.Pre svega, tu je Zakon o za{titi pokretnih kulturnih dobara (182/2000),koji je po~etkom 2003. dopunjen vladinom uredbom. Jednostavansistem klasifikovanja kulturnih dobara u pravnu kategoriju koju nazi-vamo kulturnom ba{tinom sada je izmenjen i zakomplikovan odlukomda se svi predmeti koje poseduju muzeji nazovu nacionalnom kul-turnom ba{tinom. Ono {to je trebalo da bude izabrana grupaizuzetnih predmeta sada su veoma razli~iti predmeti koje treba pod-jednako ~uvati. Ovaj zakon uspostavlja, s druge strane, logi~niji iefikasniji sistem spre~avanja nezakonite trgovine kulturnim dobrima,primenjuju}i odredbe UNESKO-ve Konvencije iz 1970., koju jeRumunija ratifikovala 1995. Kao rezultat toga, ilegalna trgovina jeveoma smanjena u poslednje tri godine. @elim da napomenem dasu, uz to, kra|e u muzejima sada prili~no retke, uprkos ~injenici dasistemi obezbe|enja nisu modernizovani, a da su u manjim muzeji-ma ~ak veoma zastareli.Va`na tekovina ovog zakona je osnivanje Dr`avne laboratorije zakonzervaciju i restauraciju pokretnih kulturnih dobara. Ova laboratori-ja }e zaista za iveti negde krajem 2004. ili po~etkom 2005.Zakon, tako|e, predvi|a dr`avni dokumentacioni sistem, zasnovan nastandardizaciji kojom rukovodi Institut kulturnog se}anja - istra iva~kaustanova sa trodecenijskim iskustvom u ovoj oblasti.Kao drugo, treba pomenuti grupu od najmanje 8 zakona i vladinihuredbi koje se bave istorijskim spomenicima, od kojih je ve}ina barjednom dopunjavana. Poseban zakon odnosi se na arheolo{ko blagoi uspostavljanje dr`avnog sistema arheolo{kih istra ivanja. Naravno,skoro svi ovi zakoni su povezani sa muzejskom delatno{}u.Kona~no, po~etkom 2003., Zakon o muzejima i javnim zbirkama(311/2003) definisao je ove institucije i ustanovio sistem akreditacija.Zakon je, pored toga, doneo nekoliko odredbi o obaveznom osigu-ranju za sve muzejske predmete. Gotovo svi pripadnici na{e delat-nosti o~ekivali su ovaj zakon i kada je on usvojen, do{lo je do velikograzo~arenja - plate nisu bile ve}e, ba{ kao ni druge pogodnosti.Mo`emo da pomenemo i veliki broj vladinih odluka u cilju organizovan-ja mre`e ustanova koje se bave istra ivanjem i za{titom kulturnih dobara.Kao glavno obele`je ovog pravnog sistema mogla bi se izdvojitipromenljivost uredbi. Male su {anse da zakon ostane nepromenjenve} u prve dve do tri godine od njegovog dono{enja. Razlozi surazli~iti - pre svega, potreba regulative da se stalno prilago|ava real-nom stanju koje se menja. Drugo, nedostatak iskustva zakonodava-ca i jo{ uvek nedovoljna stru~nost u ovoj oblasti - {to je karakteris-tika celokupnog rumunskog zakonodavstva, a ne samo dela koji seodnosi na kulturu. Kona~no, kad god se zakonodavna garniturapromeni, nova ne nastavlja sa starim, nego donosi nove zakone.Bez obzira na sve, zakonodavci ~ine vidljive napore u ciljuuskla|ivanja rumunskog zakonodavstva sa zakonodavstvomEvropske zajednice, mada ponekad evropski zakoni nisu potpunoprotuma~eni, kao u slu~aju na~ina na koji rumunska vlada treba daprimeni odredbe Direktive 93/7.

3. Muzejska stvarnostZakonom o muzejima i javnim zbirkama definisani su slede}i pojmovi:a) muzej - javna kulturna ustanova u slu`bi dru{tva, koja se bavisakupljanjem, za{titom, istra ivanjem, restauracijom, komunikacijom iizlaganjem, u svrhu znanja, obrazovanja i u ivanja, materijalnih iduhovnih svedo~anstava postojanja i razvoja ljudskih zajednica i nji-hovog okru`enja;b) zbirka - skup kulturnih i prirodnih dobara koji sistematski i koher-entno sastavljaju fizi~ka, privatna ili pravna lica.Tako|e, javne kolekcije su dostupne javnosti i stru~njacima, bez obzi-ra na nosioca vlasni~kog prava, koji prikupljaju dobra umetni~kog,

dokumentarnog, istorijskog, nau~nog, kulturnog i spomeni~kogzna~aja.Privatne kolekcije dostupne javnosti su one koje su u privatnom vlas-ni{tvu fizi~kog ili privatnog lica, a javnost i stru~njaci imaju pristupsamo uz dozvolu vlasnika.Zakon tako|e defini{e i pojam muzejske ba{tine kao "sveukupnadobra, prava i du`nosti sa vrednostima ba{tine, koja pripadaju muze-ju ili, u nekim slu~ajevima, javnim zbirkama".Uzimaju}i u obzir teritorijalnu podelu, veli~inu i zna~aj nasle|a, muzejii javne zbirke su klasifikovani na slede}i na~in:

a) muzeji i zbirke od dr`avnog zna~ajab) muzeji i zbirke od regionalnog zna~ajac) muzeji i zbirke od oblasnog zna~ajad) muzeji i zbirke od lokalnog zna~aja

Zakon ve} pokriva prve tri kategorije, pominju}i 29 muzeja i zbirki oddr`avnog zna~aja, 14 regionalnog i 41 oblasnog. To zna~i da su sviostali lokalnog zna~aja. Ovaj sistem nije fiksan. Muzej mo`e da pre|eiz jedne kategorije u drugu, sa porastom ili smanjenjem broja ilizna~aja kolekcija u njemu.Me|utim, ne postoji kriterijum za akreditovanje muzeja i javnih zbirki.Kada akreditovanje otpo~ne, ono }e predstavljati osnovu za novna~in odlu~ivanja o finansiranju muzeja i javnih zbirki. Dok akreditaci-ja muzeja ne postane stvarnost, veoma je te{ko proceniti ~ak i pravibroj muzeja. Stoga je Nacionalni institut za statistiku, imaju}i u viduIKOM-ovu definiciju muzeja, prebrojao 548 muzeja krajem 2002.godine. Me|utim, posebni istra iva~ki institut Ministarstva za kulturu ireligijska pitanja - Institut kulturnog se}anja, izbrojao je do kraja sep-tembra 2003. ~ak 749 muzeja. Dakle, budu}e akreditacije }e biti znakrazvoja standardizacije mre`e kulturnih institucija. Bez obzira ~ije brojke prihvatamo, jasno je da je velika ve}ina muze-ja u javnom vlasni{tvu, dr`avnih ili lokalnih vlasti. Ve}ina privatnih su,u stvari, male religijske zbirke u vlasni{tvu manastira ili crkava. Zasada ne postoji nijedan zna~ajan privatni muzej u Rumuniji. Tasituacija je, na neki na~in, u skladu sa celokupnom rumunskomprivredom u kojoj su se prvi zna~ajni investitori pojavili tek u 2003.Me|utim, neki od bitnih javnih muzeja otvoreni su ili ponovo otvoreniu poslednjoj deceniji, kao {to je slu~aj sa veoma hvaljenim Muzejomrumunskog seljaka, novim galerijama Muzeja nacionalne rumunskeumetnosti (koje su potpuno renovirane nakon te{kih o{te}enja uprvim danima slobode, decembra 1989.), novim Muzejom savremenenacionalne umetnosti koji }e biti otvoren za javnost u slede}ih neko-liko meseci u velikom prostoru zgrade Parlamenta, novi prirodnja~kimuzeji u Galati i Bacau, i dr. Na alost, uspeha ima malo u pore|enjusa ambicijama projekata i u~injenim naporima.Treba tako|e pomenuti da nijedan va`an muzej nije zatvoren nakon1989. godine, sa izuzetkom biv{eg Muzeja istorije rumunske komu-nisti~ke partije. Neke druge veoma male lokalne zbirke zatvorene su,ali su u ve}ini slu~ajeva predmeti preneti u druge ustanove ili barpohranjeni u depoima.Javni muzeji su podre|eni jednoj od tri instance: centralnoj, oblasnojili lokalnoj vlasti. Godine 1990. nije bilo mnogo muzeja podre|enihcentralnim vlastima, npr. Ministarstvu kulture. Zatim se broj pove}ao1992. jer je Ministarstvo `elelo da pomogne muzejima, kroz poku{ajda im pru i ve}i dru{tveni presti i, ako je mogu}e, vi{e novca. U1994. do{lo je do ponovne centralizacije, ovog puta iz politi~kih razlo-ga, kako bi se uspostavila kontrola nad nekim oblasnim muzejima upodru~jima naseljenim uglavnom manjinskim ma|arskimstanovni{tvom. Do kraja 1996. Ministarstvu kulture je direktnopodre|eno 80 muzeja. Odmah nakon promene vlasti, do po~etka1997, proces je obrnut i sada{nja vlada ga je nastavila sve do danas.U ovom trenutku, ostalo je jo{ 13 muzeja koji zavise od Ministarstvaza kulturu i religijske poslove, a jedan je podre|en Ministarstvuodbrane. U su{tini, Ministarstvu kulture su podre|eni najva`niji muzejiu zemlji, kao {to su Nacionalna umetni~ka galerija Rumunije, Narodnimuzej rumunske istorije, Muzej narodnog sela "Dimitrie Gusti", Muzejrumunskog seljaka, Prirodnja~ki narodni muzej "Grigore Antipa",Narodni muzej savremene umetnosti. Naravno, mnogim manjimmuzejima rukovode razne javne ustanove, kao {to su pozori{ta ili{kole ili preduze}a u vlasni{tvu dr`ave, kao {to je slu~aj sa Narodnimmuzejom sirove nafte ili Narodnim tehni~kim muzejom "DimitrieLeonida", ali ve}ina muzeja je pod upravom dr`ave ili lokalnih oblasti.

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the new National Contemporary Art Museum, that would be opened,for the public, in a few months, in a generous space, in the Palaceof the Parliament, the new museums for natural history in Galati andBacau, etc. Unfortunately, the successes are rather poor, comparedwith the projects and with the efforts accomplished.I should, also, add that no important museums were closed, after1989, with the exception of the former museum of the history of theRomanian Communist Party. Some other very small local collectionswere closed, but, in most of the cases, the objects were transferredto other organisations or, at least, locked in some storerooms. There are several types of subordination, for the publicly ownedmuseums: to a central authority, to a county or to a locality. In 1990,there were not too many museums subordinated directly to a centralauthority - i.e. the Ministry of Culture. Then, the number increased in1992, the reason being that the Ministry wanted to help the muse-ums, trying to give them more social prestige and, if possible, moremoney. 1994 has been the witness of a major recentralisation, thistime, for political reasons, trying to keep under control the countymuseums from some regions that are inhabited, mainly, by theHungarian minority. By the end of 1996, 80 museums were directlysubordinated to the Ministry of Culture. Then, immediately after thechange in power, by the beginning of 1997, the process reversed andit was continued until now, by the today's Government. Right now,there are still 13 museums subordinated to the Ministry of Culture andReligious Affairs, and another one is subordinated to the Ministry ofDefence. In fact, the most important museums of the country arethose subordinated to the Ministry of Culture and Religious Affairs, asis the case for the National Art Museum of Romania, the NationalMuseum of History of Romania, the "Dimitrie Gusti" National VillageMuseum, the Romanian Peasant Museum, the "Grigore Antipa"National Museum of Natural History, the National Contemporary ArtMuseum. Of course, many small museums are run by different pub-lic institutions - as theatres or schools - or by limited companiesowned by the state - as is the case with the National Museum of theCrude Oil or the "Dimitrie Leonida" National Technical Museum, but mostof the museums are under control of the country and local counties.It is interesting to note a specificity of the Romanian museums.Starting with the late '70s, many county museums were "united" in socalled "museum complexes". The main reasons were those of savingdecision-jobs salaries and obtaining a better control of the employ-ees. Immediately after 1989, in most of the cases, these "complex-es" were crushed into the initial pieces, by the simple will of the cura-tors. It was the time of anomy and lack of authority. Some of thesemuseums, enjoying good management, have survived; some others,were re-united in the same "complexes" - this time, as a result of amanagerial thinking at the authority level, taking into consideration theshrinking financial resources.Considering the type of collections, most of the museums are small,local collections of ethnography, followed, in terms of numbers, bydifferent artistic and archaeological museums. An interesting featureof the beginning of the last decade is the appearance of the muse-ums devoted to the national minorities. Enjoying a full recognition ofrights, the 18 legally recognised national minorities of Romania havelooked for the emphasising of their national cultural identity. Severalcollections were opened by or with the help of Hungarians andSzeklers, Roma, Germans, Jews, Ruthenians, Ukrainians, etc., beingdevoted to their culture. However, these museums and collectionswere not welcomed with the same sympathy from the very beginning- i.e. the first five or six years. But, little by little, the general attitude ofthe museum professionals towards these museums and collectionshas changed and their existence is accepted as something normal.A different type of museums, represented by only one example, isthe Memorial of the Victims of the Communist Repression. TheMemorial was mounted in a former prison, where most of the mem-bers of the Romanian political, religious and intellectual elites wereimprisoned in the late '40s - beginning of the '50s. Being done withthe strong support of the Council of Europe and of the Romaniancivil society, the Memorial has certain resemblance with the HolocaustMemorial Museum in Washington D.C. - as concerns a part of itsarchitectural conception. However, it was criticised by some repre-sentatives of the traditional Romanian museology.

Apart of these examples, in fact, the general structure of the collec-tions remained unchanged in the last 14 years. The main reason forthis was the fact that the collections had very low figures of increas-ing. Leaving apart the archaeological museums, where the collectionsare enriched by research, for the museums that, usually are usingacquisitions as their main source of growing, the last 14 years wererather poor. All the museums' "patrons" - be they local or central -were extremely restrained in financing acquisitions. This situation ledthe museums into a very difficult situation. The only new exhibitions,by the end of the '80s, were those organised by the museums ofhistory, for a very simple reason: they were, in fact, pure propagan-da. The other museums had unchanged exhibitions since the middleof the '70s. Thus, in 1990, the museums of history needed a newface, in order to change the propagandistic content with a scientificone, and all the others, because the exhibitions were, simply, outdated.The very first three - four years were rather poor in creating new exhi-bitions, mainly, because of the lack of resources, but when they weredone, some of them were continuing the same way of mounting anexhibition, as it was used before 1990. However, slowly, museumshave learned a few tricks, in order to survive and to create, in thesame time. One of them was that of the common itinerary exhibitions:a few museums are uniting in doing an exhibition that is itinerated, then,in all the museums that have collaborated to it. If there are 6 or 7 muse-ums, such an exhibition could be itinerated at least two years. The otherone is, of course, sponsorship. Romania has a law on sponsorship since1994, after the civil society has put a huge pressure over theGovernment. Unfortunately, the law, after at least five major modificationsis still not favourable to the sponsors, so that its provisions are almostuseless for the museums. However, the museums have learned to cre-ate small circles of "friends of the museum" - most of all, completelyinformal, that are instrumental in helping the museum for each exhibitionopening or similar event. For many museums, the subsidy that coversfrom 50% up to 80% of the museum budget is used almost entirely forsalaries and maintenance. In spite of all odds, still, some private dona-tions were made for public owned museums.Some museums have adapted themselves to the new realities, bysigning contracts for research. Of course, the archaeological muse-ums are in advantage, because of the rescue archaeology, especially inthe last five years, when the investments started to be significant.

4. The personnelThe museum personnel have changed in many aspects. First of all,considering the age. Starting with the late '70s, the communist regimehas imposed a measure inspired by the Khmer Rouge ideas: no fac-ulty graduate was allowed to work in the first 15 cities and towns ofthe country, for at least three years after graduation. Also, all the grad-uates in humanistic sciences were forced to work only as teachers ingeneral schools or high schools. It was almost impossible to obtaina job in a museum, in a research institution or at an university. Animportant gap has appeared in the personnel of the museums, whichreceived no more young specialists. The tendency was reversed onlypartially and only by 1994 - 1995, when the first graduates of thenewly created departments of museology started to be interested byworking in museums. That is why, there are, still, very few curators intheir mid '40s. Still, not too many young researchers are eager towork in museums, because of the unattractive salaries. The very firstthree years have seen a major increasing in the number of the per-sonnel. Then, the number has been stabilised, until 1997, when itstarted to decrease, 2001 being the worst year in this aspect - withsome locale museums that were forced to dismiss up to a half oftheir auxiliary personnel, due to the diminishing subsidies. A second important change is in management. More and more, asmanagers are appointed persons that could be not so famous asresearchers, but they prove to be very good leaders. Some of theyounger managers have even graduated a master in cultural man-agement, in Romania or abroad.Finally, new other professions have appeared: as is the case with thePR officers or with the computer specialists.Some efforts are done, by a Centre for Training, Permanent Educationand Management in the Field of Culture, in order to offer to curatorsand other museum specialists proper training for the increasing

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Zanimljivo je pomenuti jednu specifi~nost rumunskih muzeja. Po~ev{iod kasnih 70-tih, mnogi oblasni muzeji bili su "ujedinjeni" u tzv."muzejske komplekse". Glavni razlog je bio o~uvanje plata narukovode}im pozicijama i bolja kontrola zaposlenih. Odmah nakon1989. ovi "kompleksi" su se, u ve}ini slu~ajeva, razbili na svoje inici-jalne delove jednostavnim odlukama kustosa. To je bilo vremenedostatka autoriteta. U nekim od ovih muzeja uprava je bila kvalitet-na, pa su pre iveli. Neki su se ponovo ujedinili u iste one "komplekse",ali ovog puta zahvaljuju}i menad`erskom na~inu razmi{ljanjarukovodilaca - zbog smanjenja finansijskih sredstava. [to se ti~e vrste kolekcija, uglavnom se radi o malim lokalnim etno-grafskim zbirkama, a odmah za njima, u kvantitativnom smislu, orazli~itim umetni~kim i arheolo{kim muzejima. Zanimljivu pojavu spo~etka pro{le decenije predstavljaju muzeji posve}eni nacionalnimmanjinama. U ivaju}i prava punog priznanja, 18 nacionalnih manjinaRumunije potra ilo je na~in da istakne svoj nacionalni kulturni iden-titet. Nekoliko zbirki su, iz odanosti prema svojoj kulturi, osnovali ilipomogli da se osnuju: Ma|ari i Sekleri , Romi, Nemci, Jevreji, Rusini,Ukrajinci i dr. Me|utim, ovi muzeji i zbirke nisu do~ekani sa podjed-nakim simpatijama od samog po~etka, prvih pet-{est godina. Zatimse, malo po malo, op{ti odnos muzejskih radnika prema ovim muze-jima i zbirkama menjao i sada su prihva}eni kao uobi~ajena pojava.Druga~iji tip muzeja predstavlja Memorijal `rtava komunisti~ke repre-sije, koji je ujedno i jedini primer ove vrste. Memorijal je sme{ten ubiv{u zatvorsku zgradu, gde je kasnih 40-tih i ranih 50-tih bilazatvorena ve}ina pripadnika rumunske politi~ke, religiozne i intelektu-alne elite. [to se ti~e arhitektonske koncepcije, Memorijal pokazujeizvesnu sli~nost sa Memorijalnim muzejom holokausta u Va{ingtonu,s obzirom da je izveden uz sna`nu podr{ku Saveta Evrope i rumun-skog gra|anskog dru{tva. Me|utim, predstavnici tradicionalnerumunske muzeologije su ga kritikovali.Izuzimaju}i ove primere, op{ta struktura zbirki je, u stvari, ostalanepromenjena poslednjih 14 godina. Glavni razlog le i u ~injenici dasu se zbirke neznatno {irile. Ako zanemarimo arheolo{ke muzeje ~ijese kolekcije bogate na osnovu istra iva~kog rada, vide}emo da jeposlednjih 14 godina pro{lo prili~no siroma{no kad je re~ o muzeji-ma kojima su akvizicije glavni izvor {irenja zbirki. Svi muzejski "oci", biloda je re~ o lokalnim ili dr avnim, imali su veoma ograni~ene finansijskemogu}nosti za akvizicije. To je dovelo muzeje u veoma te{ku situaciju.Jedine nove izlo`be, krajem 80-tih, bile su one koje su organizovali istori-jski muzeji i to iz veoma jednostavnog razloga - radilo se o ~istoj pro-pagandi. Ostali muzeji su imali stalne postavke nepromenjene jo{ odkasnih 70-tih. Stoga je 1990. godine istorijskim muzejima bilo neophod-no novo lice, kako bi se propagandisti~ki sadr aj zamenio nau~nim i svimostalim, jer su postavke bile jednostavno zastarele.Prve tri-~etiri godine nisu obilovale kreiranjem novih postavki,uglavnom zbog nedostatka sredstava, ali kada ih je i bilo, neke su idalje postavljane na stari na~in, uobi~ajen do 1990. Me|utim, muzejisu polako po~eli da se snalaze kako bi pre ivljavali i istovremenonudili ne{to novo. Jedan od trikova su bile putuju}e izlo`be - neko-liko muzeja zajedni~ki priprema izlo`bu kojai onda gostuje u svakomod njih. Ako je u pitanju 6-7 muzeja, takva izlo`ba mo`e da potrajenajmanje dve godine. Drugi trik je, naravno, bilo sponzorstvo.Rumunija ima zakon o sponzorstvu od 1994, kada je gra|anskodru{tvo izvr{ilo veliki pritisak na Vladu po tom pitanju. Na `alost, ovajzakon i nakon najmanje pet velikih modifikacija i dalje ne odgovarasponzorima, pa su njegove odredbe gotovo beskorisne za muzeje.Me|utim, muzeji su po~eli da stvaraju manje krugove "prijatelja muze-ja" koji su potpuno neformalni i slu`e kao ispomo} muzeju priotvaranju izlo`bi i sli~nih doga|aja. U mnogim muzejima, ta nov~anapodr{ka koja pokriva izme|u 50% i 80% muzejskog bud`eta koristise gotovo u celini za plate i odr`avanje. I pored svih te{ko}a, javnimuzeji dobijaju i privatne donacije.Neki muzeji su se prilagodili novonastaloj situaciji potpisivanjem ugov-ora o istra iva~koj delatnosti. Arheolo{ki muzeji su tu, naravno, uprednosti zbog preventivnih iskopavanja posebno u poslednjih petgodina, kada su zna~ajno porasle investicije.

4. OsobljeMuzejsko osoblje se promenilo u mnogim aspektima. Pre svega usmislu starosne dobi. Po~ev{i od kasnih 70-tih, komunisti~ki re im je

nametao mere koje su bile inspirisane idejama Crvenih Kmera -nikome sa diplomom fakulteta nije bilo dozvoljeno da radi u najve}ih15 gradova u zemlji najmanje tri godine nakon diplomiranja. Tako|e,svi koji su diplomirali na dru{tvenim naukama su bili prisiljeni da radekao nastavnici i profesori u osnovnim i srednjim {kolama. Bilo jegotovo nemogu}e dobiti posao u muzeju, istra iva~koj ustanovi ili nauniverzitetu. U muzejima koji nisu primali mlade stru~njake pojavila seogromna kadrovska praznina. Tendencije su promenjene samo deli-mi~no i to tek 1994/95, kada su prvi diplomci sa novoosnovane kat-edre za muzeologiju po~eli da se interesuju za posao u muzejima.Zbog toga jo{ uvek ima veoma malo kustosa srednjih godina.Me|utim, nema ni mnogo mladih nau~nika koji `ude za poslom umuzejima, jer su plate neprivla~ne. Prve tri godine promena donelesu veliko pove}anje broja zaposlenih. Zatim je broj stagnirao do 1997,kada je po~eo da pada, da bi 2001. godina bila najgora u ovomsmislu - neki lokalni muzeji su morali da otpuste gotovo pola svogpomo}nog osoblja zbog smanjenja sredstava.Druga velika promena se odnosi na upravu. Sve ~e{}e se narukovode}a mesta postavljaju ljudi koji nisu postigli ve}e uspehe uistra iva~kom radu, ali su se pokazali kao veoma dobri rukovodioci.Neki od mla|ih upravnika su ~ak magistrirali kulturni menad`ment uRumuniji ili inostranstvu.Kona~no, pojavile su se i neke nove profesije, kao {to je slu~aj saPR slu`benicima ili kompjuterskim stru~njacima.Centar za obuku, trajno obrazovanje i menad`ment u oblasti kulture~ini velike napore kako bi kustosima i drugim muzejskim stru~njaci-ma ponudio odgovaraju}u obuku u skladu sa uve}anim zahtevimanjihove profesije.Muzejski radnici su poku{ali da se pove`u kroz razli~ita udru`enja istrukovne saveze. Takav trend je potrajao skoro dve godine (1990 -1991). Odziv je bio veoma skroman zbog razlika u stavovima.Mogu}e je i da su ljudi prosto umorni od koletivnih struktura i `eleda samostalno pronalaze put.Zna~ajnu ulogu trebalo je da ima rumunski NK IKOM. Premda je nje-gov uticaj porastao u poslednjih 6 godina, Komitet je i dalje dostaslab, jer IKOM ipak nije op{te shva}en kao me|unarodna nevladinaorganizacija, ve} pre kao jedna grana UNESKO-a, dakle ne{to {tose ti~e vladinih poslova.Sli~no tome, Nacionalna komisija za muzeje i zbirke, osnovana 1990.kao autonomno telo koje imenuje Ministarstvo kulture i religijskihposlova, a slu i konsultacijama u vezi sa svim pitanjima iz ove oblasti,pretvorila se u birokratski organ bez ikakve uloge u pokretanju pitan-ja istinskih problema rumunskih muzeja. Iako je posedovala pravunezavisnost u prve dve godine svog postojanja, komisija je sada pot-puno podre|ena politici Ministarstva.

5. PublikaNajve}a promena se odnosi na publiku.Muzejskoj publici 80-tih je bilo dosadno. Poseta muzeju za publikuje predstavljala neku vrstu mu~enja po slu`benoj du`nosti. Izlo`be supose}ivala samo deca, u organizaciji {kole, ili osobe koje nisu imale{ta drugo da rade. Godina 1990. je donela mnogo razli~itih atrakci-ja: slobodnu umetnost, zabavu na televiziji, putovanja u inostranstvo,politiku, itd. Ljude nisu zanimali muzeji, a muzeji nisu imali gotovoni{ta da ponude. Situacija je po~ela da se stabilizuje sredinom pro-tekle decenije, kada su muzeji po~eli polako da se obnavljaju,otvarane su nove izlo`be, a kod publike se smanjio interes za poli-tiku i jeftinu zabavu. U prilog tome je i{la ~injenica da za najmla|upubliku muzeji nisu imali bilo kakvu negativnu konotaciju.Paralelno su se i stavovi kustosa menjali. Do 1990. mnogi kustosigledali su na muzejsku publiku kao smetnju u vr{enju njihoveosnovne du`nosti - nau~nog rada. Nova generacija kustosa je shvati-la da nema muzeja bez publike i da publika mo`e da bude izvor pri-hoda u vremenima smanjenih dotacija. Taj novi stav je vidljiv i una~inu na koji se prave izlo`be. Muzeji sve vi{e okre}u le|aumi{ljenosti i poku{avaju da se pribli e publici. Rezultat je mogao da sevidi u pove}anom broju poseta muzejima. Nakon {to se broj poseta pre-polovio 1990. u pore|enju sa 1989., broj je po~eo polako da raste, dabi 1997. dostigao skoro 8 miliona, a 2002. ~ak 11 114 000 posetilaca.Kreativni napori muzeja nagra|eni su ne samo pove}anim brojemposetilaca, ve} i me|unarodnim priznanjem, kao {to je bio slu~aj sa

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demands of their profession.Museum professionals have tried to unite in different associations ortrade unions. The fever lasted for almost two years (1990 - 1991).Still, the answer was very low, because the opinions were very dif-ferent. It is possible that people are tired of collective structures andwant to find a way by themselves. An important role should have played the ICOM Romanian NationalCommittee. Though its importance has grown in the last six years,the Committee is still weak, because ICOM is not universally per-ceived as an international non-governmental organisation, but ratheras a kind of branch of UNESCO - so, a business reserved for thegovernments.Similarly, the National Commission on Museums and Collections, thatwas created in 1990, as an autonomous body appointed by theMinistry of Culture and Religious Affairs, in order to deliver consul-tancy in all the problems concerning its field of activity, has trans-formed itself into a kind of bureaucratic organism with no role at allin launching debates about the real problems of the Romanianmuseums. While being truly independent in its two years of existence,now it is completely obeyed to the policy of the Ministry.

5. The publicBut the most important change is that related to the public.The museum public of the '80s was a bored one. A visit to a muse-um was a kind of mandatory torment for the public. The exhibitionswere visited only by children - taken there by their schools - or bypersons who had nothing else to do. 1990 came with a lot of dif-ferent attractions: free arts, entertainment at TV, travels abroad, pol-itics, etc. People were not interested in museums and the muse-ums had almost nothing new to offer. The situation started to sta-bilise by the middle of the last decade, when museums were slow-ly renewing - new exhibitions being opened - and the publicreduced its interest in politics and cheap entertainment. This atti-tude was favoured by the fact that, for the youngest generation,museums had no negative connotations at all.Simultaneously, the attitude of the curators has started to change.Before 1990, the museum public was seen, by many curators, assomeone impeding the curators to see their own business: makingfundamental research. The new generation of curators has under-stood that there is no museum without the public and that the pub-lic could be a source of revenues in times of shrinking subsidies.This new attitude is obvious, also, in the way exhibitions are done.More and more, museums are leaving apart the priggishness, try-ing to come closer to the visitor. The result was seen in the increas-ing number of visits in museums. After a halving of the number, in1990, compared with 1989, the number increased slowly, up toalmost 8 millions, in 1997, hitting 11,114,000 visitors in 2002.The creative efforts of the museums, were rewarded not only witha growing number of visitors, but, also, with international recogni-tion - as was the case with the European Museum of the YearAward, obtained, in 1996, by the Romanian Peasant Museum.

6. ConclusionSummarising, the museums were highly influenced by the socialchanges in the last 14 years. Not all of them have adapted, in thesame manner, to the new climate. A few museums are rather rich,being well subsidised; some of them are making huge efforts tosurvive from a month to another; most of them are poor, in absoluteterms, but, on a comparative scale, they are in a kind of lower mid-dle class. Usually, a lot of things are depending on the person wholeads the museum and on its collaborators. A few innovative man-agers have pushed the way of thinking over museums, with a hugeenergy that was, until 1990, suppressed by the regime. However,many others have lagged behind. A shift of generations is, now, vis-ible. The new generation of leaders have started its activity after1989 and is already accustomed with a non-inhibited way of think-ing and acting. For this generation, transition means normality andmuseum means exactly what the definition says: a cultural institu-tion, in service of society.

TThhee TTrraannssffoorrmmaattiioonn ooff tthhee MMuusseeuummss iinn MMaacceeddoonniiaa UUnnddeerr tthhee CChhaannggeess iinn tthhee NNeeww LLaaww ooff CCuullttuurree Gute Mllaadenovskii,Diirecctor of Naaturaall Hiistoryy Museum of Maaccedoniiaa

IntroductionFor the role of the museums in the society there are several defini-tions. According to ICOM the museum is a non-commercial, perma-nent social institution open for the public, and has a goal to collect,conserve, research, information and organise exhibitions with scien-tific, educational and recreational character. In the legislative formuseum activity in the Republic of Macedonia, museums are definedas institutions for systematic research, collection, scientific process-ing, protection, preservation, publication and presentation of themuseum materials and work. In Republic of Macedonia as a resultof protection and presentation of the rich cultural and natural heritagea wide museum network was created. The modern world today undergoes great socio-political and eco-nomic changes, of which Macedonia is also a part. The transition ofsocialist system towards market economy system has not onlyreflected on the society as whole, but has also affected the museumwork, management and structure of the cultural institutions and its rolein the society. Today, as a result of the transition museums inMacedonia suffer from limited financial budgets, absence of profes-sional staff and modern material and technical equipment. The presentsituation leads to reduction of the museum capability to fulfil its role insociety. Evidently, that the transformation of the museums is needed,which will enable them to enter the new modern era on a firm legs.Consequently, the Government of the Republic of Macedonia in orderto support and foster the process of museum transformation ispreparing a new legislative for museum activity, as a part of the law forculture. The new law for culture provides for decentralisation of the muse-ums, meaning their future financing not from government budget, buttheir full financing from the local communities all over Macedonia. Thesechanges in the legislative for museum activity are on one hand a poten-tial danger and on another a great challenge for their successful trans-formation and will the central topic of discussion in this paper.

Major challengesThe major challenges that await the museums in the transformationperiod are the following:- The economic recession of the region severely affects the financialsituation of the local communities in Macedonia. The financial weak-ened communities as a result of non-liquid factories and enterprises,high level of unemployment and inflation, do not have the necessaryfinancial capital to invest in public non-profit institution as such muse-ums. The museums in Macedonia with the transfer of their financingon the community level are losing their advantage of secure and reg-ular financial capital. Some of the communities in Macedonia are extre-mely poor leading to gradual extinction of the museums that are undertheir financial budget. Such a situation in the museums under local com-munities will force the museums to transform and find new creative solu-tions in order to reach their ultimate goal their financial independence.- New labour law forbidding new employments in the museums. Thegovernment of the Republic of Macedonia with its measures for finan-cial stabilisation of the economy introduced a new labour act forbid-ding new employments in the public sector, including the museums.This negatively influences the staff structure of the museums. Theolder and experienced museum staff was retired and could not bereplaced with new capable staff. Such a deficit in the museum staffnegatively affects the successful functioning of the museum as aninstitution of vital importance. - Very low cultural consciousness of the public for museum activities.In severe economic conditions the visiting of museums is extremelylow and the alternative source of financing through entrance fees isalmost eliminated. Furthermore, the limited number of the museumaudience makes local firms unwilling to sponsor museum activities.Consequently, the museums are left only with the minimal financialcapital from the government because the alternative sources offinancing can be hardly realised.

38

Muzejom rumunskog seljaka koji je dobio nagradu za Evropski muzejgodine 1996.

6. Zaklju~akJasno je, sve u svemu, da su muzeji pretrpeli sna`an uticaj dru{tvenihpromena u poslednjih 14 godina. Nisu se svi sa podjednakim uspe-hom prilagodili novoj klimi. Nekoliko muzeja ima bogate kolekcije, sobzirom da su dovoljno finansijski obezbe|eni. Neki od njih iz mese-ca u mesec ~ine velike napore da opstanu. Ve}ina ih je siroma{na,u op{tem smislu, ili ako napravimo komparaciju, pripadaju nekoj vrstini e srednje klase. Obi~no mnogo stvari zavisi od osobe koja upravl-ja muzejom i njegovih saradnika. Nekoliko domi{ljatih upravnika jepromenilo shvatanje muzejskih ustanova sa velikom energijom koju jesve do 1990. suzbijao re im. Me|utim, mnogi drugi su zaostajali.Danas je vidljiva smena generacija. Nova generacija rukovodilaca pojav-ila se 1989. i ve} potpuno prihvatila neinhibirani na~in mi{ljenja i delo-vanja. Za ovu generaciju, tranzicija je normalna stvar, a muzeji su upra-vo ono {to sadr i definicija - kulturne ustanove u slu`bi dru{tva.

TTrraannssffoorrmmaacciijjaa mmuuzzeejjaa uu MMaakkeeddoonniijjii uu ookkvviirruu pprroommeennaa nnoovvoogg ZZaakkoonnaa oo kkuullttuurriiGute Mllaadenovskii, diirektor, Priirodnjjaa~kii muzejj Maakedoniijje

UvodPostoji nekoliko definicija uloge muzeja u dru{tvu. Prema IKOM-u,muzej je neprofitabilna, trajna dru{tvena institucija otvorena premajavnosti, ~iji cilj je prikupljanje, za{tita i istra ivanje podataka, kao iorganizovanje izlo`bi nau~nog, edukativnog i rekreativnog karaktera.U zakonu Republike Makedonije, koji reguli{e muzejsku delatnost,muzeji su definisani kao institucije za sistematsko istra ivanje, priku-pljanje, nau~nu obradu, za{titu, o~uvanje, objavljivanje i prezentacijumuzejskog materijala i delatnosti. U Republici Makedoniji stvorena je{iroka muzejska mre`a, kao rezultat za{tite i prezentacije bogatogkulturnog i prirodnog nasle|a.Savremeni svet danas prolazi kroz velike dru{tveno-politi~ke iekonomske promene, a Makedonija nije izuzetak u tome. Prelazaksocijalisti~kog sistema u sistem tr i{ne ekonomije nije se odraziosamo na dru{tvo kao celinu, ve} je uticao i na muzejsku delatnost,upravljanje i strukturu kulturnih institucija, kao i na njihovu ulogu udru{tvu. Danas, kao posledica tranzicije, muzeji u Makedoniji se boresa ograni~enim finansijskim sredstvima, nedostatkom profesionalnogkadra, savremenih materijala i tehni~ke opreme. Sada{nja situacijasmanjuje sposobnost muzeja da ispune svoju ulogu u dru{tvu.O~igledna je potreba za transformacijom, koja bi ih osposobila dau|u u novo doba na ~vrstim nogama.Shodno tome, Vlada Republike Makedonije priprema nova zakonskaakta za muzejsku delatnost, kao deo zakonske regulative koja seodnosi na kulturu, ne bi li podr`ali i unapredili proces transformacijemuzeja. Novi zakon o kulturi predvi|a decentralizaciju muzeja, {tozna~i da se oni u budu}nosti ne}e finansirati iz bud`eta vlade, ve}potpuno iz sredstava lokalnih zajednica {irom Makedonije. Ovezakonske promene u muzejskoj delatnosti su, s jedne strane, poten-cijalna opasnost, a sa druge veliki izazov za uspe{nu transformacijumuzeja i predstavljaju glavnu temu rasprave u ovom radu.

Najve}i izazoviNajve}i izazovi koji o~ekuju muzeje u periodu transformacije suslede}i:- Ekonomska recesija regiona bitno uti~e na finansijsku situacijulokalnih zajednica u Makedoniji. Finansijski osiroma{ene zajednice,kao rezultat nelikvidnih fabrika i preduze}a, visokog stepena neza-poslenosti i inflacije, nemaju neophodan kapital za ulaganje u javneneprofitabilne institucije kao {to su muzeji. Prebacivanjem finansiran-ja na lokalni nivo, muzeji u Makedoniji gube prednost sigurnog iredovnog izvora finansiranja. Neke op{tine u Makedoniji izuzetno susiroma{ne, {to vodi zatvaranju muzeja koji se finansiraju iz njihovogbud`eta. Takva situacija u muzejima pri lokalnim zajednicama pod-sti~e muzeje na transformaciju i pronala`enje novih re{enja kako bipostigli svoj krajnji cilj - finansijsku samostalnost.

- Novi zakon o radu, koji zabranjuje zapo{ljavanje novih radnika umuzejima. Vlada Republike Makedonije, sa svojim merama finansi-jske stabilizacije u ekonomiji, donela je akt o zabrani zapo{ljavanjanovih radnika u javnom sektoru, koji uklju~uje i muzeje. To negativnouti~e na kadrovsku strukturu u muzejima. Stariji kadar sa ve}imiskustvom je penzionisan, ali njihova mesta nisu mogli da zauzmunovi i sposobni ljudi. Takav deficit muzejskog kadra negativno uti~ena uspe{no funkcionisanje muzeja kao institucije od vitalnog zna~aja.- Veoma nizak nivo svesti javnosti o muzejskim aktivnostima. Ute{kim ekonomskim uslovima muzeji imaju veoma slabu pose}enost,pa je alternativni izvor finansiranja, kroz ulaznice, gotovo zanemarljiv.[ta vi{e, ograni~en broj posetilaca obeshrabruje lokalne firme u even-tualnom sponzorisanju muzejskih aktivnosti. Shodno tome, muzejimapreostaju minimalna sredstva iz vladinih izvora, jer je ostalemogu}nosti te{ko realizovati.Izazovi koje donosi novi Zakon o kulturi podrazumevaju pravovremenui odgovaraju}u transformaciju muzeja, bez koje oni ne}e biti umogu}nosti da ostvare svoju ulogu u dru{tvu.

Kako izvesti transformaciju muzeja?Da bi odgovorili na velike izazove sopstvene transformacije, muzejimoraju da pro|u kroz radikalne promene.- Podizanje kulturne svesti muzejske publike. Ova mera zahtevaedukativnu kampanju na dr`avnom nivou, koja treba da po~ne odnajmla|e muzejske publike (dece pred{kolskog uzrasta) i da uklju~isve mogu}e ciljne grupe. Takav projekat treba najmla|ima da pru imogu}nost u~e{}a u muzejskim aktivnostima, kroz kreiranje sop-stvenih eksponata, informisanje o muzejskoj delatnosti i njenomzna~aju u dru{tvu. Muzeji treba da organizuju izlo`be sa eksponati-ma koje su deca kreirala, koja }e privu}i pa`nju njihovih roditelja, pri-jatelja i {ire publike. Tako }e ljubav prema muzeju biti negovana odnajranijih godina i vremenom uticati na {irenje muzejske publike. Dabi se zadr`alo interesovanje publike, potrebno je da takav projekatbude trajan i da uvodi nove ideje i organizuje izlo`be inspiri{u}ijavnost da redovno pose}uje takve manifestacije.- Obuka muzejskog kadra. Da bi muzejski kadar uhvatio korak sanovim svetskim standardima i transformacijama u dru{tvu, potrebanje odgovaraju}i program obuke. To se najbolje mo`e ostvariti krozme|unarodne projekte, u kojima muzejski kadar dobija informacije onovim pristupima i na~inima prezentacije i o~uvanja muzejskogmaterijala. [ta vi{e, razmena znanja i iskustva na me|unarodnomnivou mo`e da pro{iri vidike muzejskog kadra u smeru modernihmuzejskih aktivnosti.- Tehni~ka i tehnolo{ka modernizacija muzeja. Za uspe{no i savre-meno funkcionisanje muzeja u Makedoniji, neophodna je opse`namodernizacija opreme. Pristup internetu i drugim novim tehnologija-ma omogu}i}e muzejima bolje informisanje o najnovijim tendencija-ma u muzeologiji.- Uspostavljanje kontakta s privatnim sektorom. Paralelno s porastomstandarda muzejske delatnosti, kao i {irenjem muzejske publike,razvija}e se i interesovanje privatnog sektora za sponzorisanje muze-jskih manifestacija. Finansijska sredstva dobijena putem sponzorstvaomogu}i}e postepeno finansijsko osamostaljivanje muzeja inapu{tanje skromnih dr`avnih i op{tinskih bud`eta. Takva praksa,uobi~ajena {irom sveta, mora da se uvede i u makedonske muzeje.

Zaklju~ak:Danas su makedonski muzeji, suo~eni sa te{ko}ama transformacije,dostigli kriti~nu ta~ku svog razvoja i opstanka. Transformacija bi tre-balo da omogu}i finansijsku nezavisnost muzeja kroz modernizaciju,savremene na~ine prezentovanja muzejskih aktivnosti, obuku muze-jskog kadra, unapre|ivanje me|unarodne muzejske mre`e, zajednosa drugim institucijama. Potrebno je da dr`ava prona|e sredstva dabi se dostigao neophodan nivo modernizacije muzeja. Na taj na~in}e se pove}ati spremnost muzeja da prihvate promene i transforma-ciju, {to }e zna~iti i njihov po~etni i krucijalni korak ka finansijskomosamostaljenju.

39

The challenges of the new law for culture demand a timely and ade-quate transformation of the museums, without which the museumswill not be able to successfully fulfill their role in society.

How to manage museum transformation?In order to answer to the major challenges of their transformationmuseums have to make radical changes.- Rising of the cultural consciousness of the museum audience. Thismeasure requires educational campaign on national level, which willstart with the youngest museum audience (children with preschoolage) and incorporate all possible museum target groups. Such aproject must allow the youngest to be able to participate in the muse-um activities, creating their own exponents and informing themselvesabout the museum work and its significance to the society. Museumswill then organise exhibitions with the exponents created by the chil-dren, which will attract the attention of their parents, friends and widerpublic. Thus, love for the museum will be created in an early age andwill result in increase in the museum audience over time. In order tosustain the public interest, such projects should be constant, intro-ducing new ideas and exhibitions inspiring the public to regularly visitsuch manifestations. - Museum staff training. In order to enable the museum staff to gohand in hand with new world trends and the transformations in thesociety, an appropriate training program is needed. This can be bestachieved though international projects through which the museumstaff will be educated about the new trends and ways in presenta-tion and preservation of the museum material. Furthermore, theexchange of knowledge and experience on a international level willwiden the horizons of the staff for modern museum activities. - Technical and technological modernisation of the museums. Forsuccessful and modern work of the museums in Macedonia, signif-icant modernisation of the equipment is necessary. The access to theWorld Wide Web and other new technologies will enable the muse-ums to better inform themselves about the newest developments inmuseology. - Creation of a contact with the private sector. Together with theincrease of the standards of the museum work and increase in themuseum audience the interest of the private sector for sponsorshipof museum manifestation will boost. The financial capital acquiredthrough sponsorship will enable gradual financial independence of themuseums from the weak government and local community budgets.Such a practice which is popular over the world has to be introducedin the museum in Macedonia as well.

Conclusion:Today, the museums in Macedonia faced with a turbulent transfor-mation have reached a critical point for their development and sur-vival. The transformation should enable museum financial independ-ence through their modernisation, modern ways of presenting museum

activities, museum staff training, improving the international museumnetwork with other institutions. In order to achieve the necessary levelof modernisation for successful transformation, the governmentshould find the necessary financial capital and invest in the moderni-sation of the museums. In that way, the readiness of the museumsto embrace changes and transformation will be increased and willrepresent their initial and crucial step towards their financial inde-pendence.

LLiitthhuuaanniiaann MMuusseeuummss TTooddaayyDr.. Raasaa Bertaasiiute, Liithuaaniiaa,Open Aiir Museum

Museums are public institutions representing, protecting and keepinghuman or natural creation. Museums select material part of our envi-ronment trying to save it for future as part of historical memory. It isevident that during the decline of social evolution, museums, astreasuries of cultural historical memory, also empathize some crisis.Reappraisal, a new estimation of historical memory is in process.These changes are not very visible, more they are in our conscienceor thinking. What is happening with museums today?Analyzing the ongoing transformation process, relative to this issue,one can separate three parts: 1. Museum objects (exhibits) 2. Society (visitors)3. Museum workers (museums) Working in the museum we always deal with things and visitors. Museum objects or exhibits fill our storehouses and expositions.Picked from cultural or natural environment they include different infor-mation. This information of exhibits can be conveyed by material,technology, construction, form, function, and environment. It meansthat information (info structure) of every exhibit consists of six parts,every item has these characteristics.Museums deal with the value of exhibits; it means value of this infor-mation. This value is result of historical process and can be displayedinto three stages: First stage - idea of the creator.Second - realization, tangible implementation of this idea. Last stage - use during its existence. Information accumulated during these stages makes actual identity ofthings. It is not easy to recognize, take this information and return itto contemporary life. How we deal with this memory or informationhidden inside things? Long time things were considered most important in the museums.We have collected lot of different exhibits. During the Soviet periodundivided attention was paid to material features, to visible value.Museums did not care about intangible information such as technol-ogy, function, and surroundings. (If we look at this model, a very smallpart of information was regarded). Things taken from society, sepa-rated from owners and cultural environment lost their vitality becom-ing like ghosts from the past. Intangible information was ignored and

40

Lithuanian museums todayLitvanski muzeji danas

Museum objects (exhibits), museum workers (museums), society (visitors)Muzejski predmeti, (muzealije), muzeji (muzejski radnici), publika (javnost)

LLiittvvaannsskkii mmuuzzeejjii ddaannaassdr Raasaa Bertaasiiute, Liitvaaniijjaa,Muzejj naa otvorenom

Muzeji su javne institucije koje predstavljaju, {tite i ~uvaju dela ~ovekai prirode. Muzeji biraju materijalne delove na{eg okru`enja nastoje}ida ih sa~uvaju za budu}nost kao deo istorijskog se}anja. Evidentnoje da na prekretnicama dru{tvenog razvoja, muzeji, kao riznice kul-turno-istorijskog se}anja, tako|e pro ivljavaju krizu. Vrednosti seponovo utvr|uju, ponovo se procenjuju istorijska se}anja. Te promenenisu ba{ vidljive, pre bi se reklo da su u na{oj svesti ili razmi{ljanju.[ta se de{ava sa muzejima danas?Analiziraju}i transformacijske procese koji su u toku, a odnose se napomenutu temu, mo`emo izdvojiti tri oblasti:1. Muzejski predmeti (muzealije)2. Muzejska publika (javnost)3. Muzejski radnici (muzealci)Rade}i u muzeju, uvek se bavimo predmetima i publikom.Predmeti ispunjavaju na{e depoe i izlo`bene prostore. S obzirom dasu preuzeti iz kulturnog ili prirodnog okru`enja, oni sadr`e razli~iteinformacije. Materijal, tehnologija, struktura, oblik, funkcija i sredinamogu da prenose te informacije sadr`ane u muzealijama. To zna~ida se informacija (informativna struktura) svake muzealije sastoji od{est delova, tj. svaki predmet sadr i pomenute karakteristike.

Muzeji se bave vredno{}u muzealija. To se odnosi na vrednost infor-macije. Ta vrednost je rezultat istorijskog procesa i mo`e se prikazatikroz tri faze:Prva faza - ideja stvaraocaDruga faza - realizacija, materijalna implementacija ove idejeTre}a, poslednja faza - upotreba tokom postojanja.Informacije prikupljene kroz ove tri faze stvaraju su{tinski identitetpredmeta. Nije lako prepoznati, preuzeti ovu informaciju i vratiti jesavremenoj stvarnosti. Kako se mi ophodimo prema takvom se}anjuili informaciji skrivenoj unutar predmeta?Dugo vremena se smatralo da su u muzejima predmeti najva`niji.Sakupili smo mnogo razli~itih muzealija. Za vreme sovjetskog perio-da sva pa`nja bila je usmerena na materijalne pojave i vidljive vred-nosti. Muzeji nisu brinuli o nematerijalnim informacijama, kao {to sutehnologija, funkcija i okru`enje. (Ako se poslu imo ovim modelom,vide}emo da je veoma mali broj informacija uzet u obzir). Predmetiuzeti iz dru{tvene sredine, odvojeni od svojih vlasnika i kulturnogokru`enja gube svoju vitalnost i postaju poput duhova pro{losti.Nematerijalna informacija je zanemarena i zaboravljena. Predmeti,poput ljudi, gube svoju li~nost. Izlo`be su postale be ivotne i mi,muzejski radnici po~eli smo da li~imo na grobare. Na`alost, ovakvaslika muzeja i dalje je iva. Postoji jedna anketa obavljena me|u

gra|anima Kaunasa pre tri godine. ^ak 90% ispitanika je izabralo re~"dosadan" za opis muzeja.[ta mi ~inimo da bi se ova slika promenila? Danas se uvode mnogevelike promene, kako bi se pro{irila svest o muzejskim predmetima iprikupilo {to vi{e informacija o njima. Vi{e pa`nje se obra}a na aut-enti~an materijal, tehnologiju, funkciju i okru`enje. Razvilo se ve}epo{tovanje prema tradicionalnim zanatima. Reprodukovanjem istori-jskih predmeta dobijamo mogu}nost da pribli imo istorijski kontekstu materijalnom, emocionalnom i misaonom smislu. Postale su pop-ularne aktivnosti u okviru eksperimentalne arheologije i istorije. Sadakreiramo pri~e kako bismo o iveli muzealije i njihov kontekst, kakobismo se vratili u njihovo okru`enje, ideji s kojom su nastale, ideji nji-hovog stvaraoca.Postoje i tradicionalni na~ini izlaganja predmeta na uobi~ajenimizlo`bama. Me|utim i tu se stvari menjaju. Sada poku{avamo daiskoristimo ~ulo vida, kao i ~ulo dodira, sluha, mirisa i ukusa, sa istimciljem - da pro{irimo shvatanje nasle|a. Ove godine postavili smo jednuprostoriju sa otvorenim ognji{tem u Muzeju na otvorenom. Uprkos dimukoji je {tipao za o~i, posetiocima se dopao ovaj eksperiment.Neke re~i koje se vezuju za muzejske predmete imaju ulogu simbo-la. Ne radi se o onoj vrednosti ili informaciji predmeta koju smo ve}opisali. Dvostruki komunisti~ki svet je stvorio simboli~nu koncepcijunekih starina. One su predstavljale ideju nezavisnosti i kulturnog iden-titeta. Neki od muzeja osnovanih u sovjetskom periodu predstavljalisu simbole otpora u kontekstu propadanja tradicionalnih kulturnihvrednosti. Ideja muzejskog predmeta predstavlja glavni aspekat.Takav (naopak) primer "muzejskog predmeta kao simbola" imamodanas u parku Gruto. Tu su izlo`ene sovjetske skulpture koje supokupljene iz razli~itih gradova. Ve}ina ih nema pojedina~nu vrednost,ve} simboli~nu vrednost istorijskog se}anja.Kako preneti ovo se}anje dru{tvu?

41

Children making potteryDeca prave kerami~ke sudove

Ko`arski poslovi u istorijskom naseljuSkinner works in the ancient settlement

Ljudi prave starinski ~amac (koriste}i istorijske alatke i tehnologiju)People making ancient boat (using ancient tools, technology)

forgotten. Things, same as people. were depersonalized. Expositionsbecame lifeless and we, workers of museums resembled grave keep-ers. Regrettably this image of the museums is still alive. There was asurvey done among Kaunas city inhabitants three years ago. Theywere asked to point out or choose the word most associated withthe museums. And 90 percent chose the word "boring", as descrip-tion of a museum. What are we doing to change this image? Now there are big changestrying to expand the perception of things, to take more informationfrom exhibits. We pay more attention to authentic material, technolo-gy, function and environment. Traditional crafts become morerespectable, considered. By reproducing ancient things we have apossibility to recognize better the historical context by hands, heartand head. Activities in experimental archaeology and history becomepopular. We create artificial stories to revitalize exhibits and their con-text, to get back to the environment, to the idea of things, the ideaof their creator. There are also traditional ways to display things at regular expositionand exhibition. But here are also changes. We try to use seeing aswell as touching, hearing, smell, taste and other senses, with thesame aim - to widen perception of heritage. This year a successfulexposition of smoked dwelling was opened in the Open Air Museum.Despite a smoke stinging their eyes, visitors were contented with newexperiment. Some words about exhibits are like symbols. It is not the same valueor the same information of things as described before. Double com-munistic world has formed symbolic conception of some ancientthings. They embodied idea of independence and cultural identity.Some of the museums established during Sovietperiod have been like symbols of resistance in thecontext of decaying traditional culture. Mainaspect is an idea of exhibit. Such an (reverse)example "exhibit like symbol" we have now in theGruto Park. There is an exposition of Soviet stat-ues gathered from cities. Most of them are notvaluable as sculptures but they have symbolicalstrain and value of historical memory.How to communicate this memory to society? The second part what I wanted to talk about arevisitors or society who need to recognize exhibits.How are they changing? Visitors become ratherparticipants than observers. Theoretically weknow, that visitors use only 30 percent of the timefor watching exhibits. The rest, amounting to 70percent of time, they want to spend eating, tak-ing rest, playing, shopping or observing the sur-roundings. Practically we have not preparedenough suggestions for visitors. Some of themuseums still do not want to acknowledge thatthe visitor is the most important. In economic society museums appear on the

service market and attention to visitor becomes the main string forsurvival. Visitor is a customer and we have to respect his interests.We are used to pay attention to exhibits and here is a new demandto change our work and attitude. How do we meet these challenges?We, museum workers or museums are like brokers or mediatorsbetween things and people, between memory and action. Our taskis to recognize memory hidden in the things and to communicate itto the society. So we need mutual relation. What are we doing tobecome friends with visitors? There are traditional mass shows/festi-vals. But increasingly popular are becoming small particular feastsand events. Museums worker is going to be interpreter, teacher, actor,and guide. Work becomes more creative and individual. There arenew possibilities to work with different projects. New forms of workare: educational programs, lectures, practical seminars, thematic les-sons for pupils, special activities for disabled people and so on. Weturn to be preservers and conservators as well as educators, show-men or businessmen. Communication, media, marketing, and man-agement - that is new for our society also for the museums. We needmore specialized employees in this field. Also we need to cooperateusing our knowledge and experience in the context of contemporarymarketing. So, I finish my review with the idea about cooperation. We are dif-ferent and individual like flowers in the meadow and we are respon-sible for its vulnerable beauty - for memory of our common culture.I believe that, working together, we will succeed to recognize and pre-serve human memory for the coming generations.

TThhee BBeellaarruussiiaann MMuusseeuummss iinn aa CCoonntteexxtt ooff SSoocciiaall aanndd IInnssttiittuuttiioonnaall TTrraannssffoorrmmaattiioonnssA..B..Staashkeviicch, Execcutiive Seccretaaryy of ICOM-BBellaarus,Heaad of the Laaboraatoryy of Museum Projjeccts,Bellaarusiiaan Staate Instiitute of Cullture Probllems

Belarusian museological context, being a part of social-cultural sys-tem of a society, reflects the cardinal changes which took place inthe public life of Belarus in the last decade of the 20th century. Theywere the consequence of well-known political transformations themain of which were the formation of the Belarusian independent statein 1991 and the development of a wide democratic movement. Thecareful attitude to the national cultural heritage and to a museum asan institute providing its preservation, was determined by the priori-ties of the cultural strategy of the young state. During that periodsome laws, directly concerning cultural heritage were adopted. In par-ticular, " Law on Culture " (1991), "About Protection of Historical andCultural Heritage" (1992), " About Library Business " (1995), " AboutMuseums and Museum Collections" (1996) were among them.The public committee on restitution of cultural values was formed at

the Belarusian Cultural Fund. Since 1992, it issuedsix editions "Returning" containing the informationand lists of values from museums and private col-lections, which had been deprived of Belarus atvarious times. Foundations for creating the Belarusian museo-logical school were laid. In 1995-1996 threeUniversities started training specialists for muse-ums. In 1994 the system of retraining museumstaff was created on the basis of internal - corre-spondence biennial School of Museology of theBelarusian State Institute of Culture Problems.Museum construction advanced quickly. From1990 to 1995 more than thirty new museumsappeared, the typology of the museum networkbecame more various. Since 1996, however, thesituation has changed. Economic difficulties andthe change of the political course of the countryled to the delay of the process of museum devel-opment though as a whole the museum networkwas kept.Nowadays more than 200 state museums of thesystem of the Ministry of Culture of Belarus and

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Exposition of smoked dwelling in the Open Air MuseumIzlaganje prostorije sa otvorenim ognji{tem u Muzeju na otvorenom

Shrovetide feast in the Open Air MuseumPokladna proslava u Muzeju na otvorenom

Drugi momenat koji sam navela je publika koja treba da prepoznamuzejske predmete. Kako se oni menjaju? Posetioci postaju vi{eu~esnici nego posmatra~i. Mi teorijski znamo da posetioci samo 30% vremena u muzeju posve}uju izlo`enim predmetima. Ostatak od70% posve}en je hrani, odmoru, igrama, kupovini i posmatranju oko-line. U prakti~nom smislu, mi im nismo pripremili dovoljno sugestija.Neki muzeji i dalje ne `ele da priznaju da je posetilac najva`niji.U ekonomski razvijenim dru{tvima muzeji se pojavljuju na tr i{tuuslu`nih delatnosti i pa`nja posve}ena posetiocima postaje slamkaza pre ivljavanje. Posetilac je klijent i mi moramo da po{tujemo nje-gova interesovanja. Naviknuti smo da se bavimo predmetima, a sadase zahteva da menjamo poslovne navike i stavove. Kako se postavitiprema ovakvim izazovima?Mi, muzejski radnici smo poput brokera ili posrednika izme|u pred-meta i ljudi, izme|u se}anja i delanja. Na{ zadatak je prepoznavan-je informacije sakrivene u predmetima i preno{enje te informacijedru{tvu. Dakle, potreban nam je me|usobni odnos. [ta ~inimo kakobismo se zbli ili sa posetiocima? Tu su tradicionalni festivali. Me|utimsve popularnije su i manje proslave i doga|aji. Muzejski radnik }e bitiprevodilac, u~itelj, glumac i vodi~. Posao postaje kreativniji i individ-ualniji. Postoje nove mogu}nosti rada na razli~itim projektima. Noveforme rada su: edukativni programi, predavanja, seminari-radionice,tematska predavanja za {kolski uzrast, specijalne aktivnosti za ljudesa posebnim potrebama i dr. Sada smo ~uvari/konzervatori, ali iedukatori, zabavlja~i i poslovni ljudi. Komunikacija, mediji, marketing imenad`ment - to su novi pojmovi u dru{tvu, ali i u muzejima. Tako|e,potrebno je da sara|ujemo, koriste}i svoje znanje i iskustvo u smis-lu savremenog tr i{nog poslovanja.

Zavr{i}u svoje izlaganje idejom o saradnji. Svi se razlikujemo poputcve}a na livadi, ali svi smo odgovorni za njenu ranjivu lepotu - zase}anje koje nosi na{a zajedni~ka kulturna ba{tina. Verujem da }emozajedni~kim radom uspeti da uvidimo i sa~uvamo ljudsko se}anje zabudu}e generacije.

BBeelloorruusskkii mmuuzzeejjii uu kkoonntteekkssttuu ddrruu{{ttvveenniihh ii iinnssttiittuucciioonnaallnniihh ttrraannssffoorrmmaacciijjaaA.. B.. Staa{kevii~, Izvr{nii sekretaar IKOM-aa, Bellorusiijjaa,{ef Laaboraatoriijje muzejjskiih projjekaataa,Belloruskii dr`aavnii iinstiitut zaa kullturnaa piitaanjjaa

S obzirom da predstavlja deo dru{tveno-kulturnog sistema zajednice,beloruski muzeolo{ki kontekst odra`ava kardinalne promene koje suse desile u javnom ivotu Belorusije u poslednjoj deceniji XX veka.Bile su to posledice poznatih politi~kih promena od kojih se glavni-na odnosi na osnivanje nezavisne dr`ave Belorusije 1991. i razvoj{ireg demokratskog pokreta. Me|u prioritetima kulturne politike ovemlade dr`ave na{la se i briga za nacionalno kulturno nasle|e i muzejkao instituciju koja se bavi njegovim o~uvanjem. U tom periodu usvo-jeni su neki zakoni koji su se direktno odnosili na kulturno nasle|e.Me|u njima treba izdvojiti: Zakon o kulturi (1991), Zakon o za{titiistorijskog i kulturnog nasle|a (1992), Zakon o bibliote~koj delatnosti(1995), Zakon o muzejima i muzejskim zbirkama (1996).U okviru Beloruskog kulturnog fonda formiran je Javni odbor za resti-tuciju kulturnih vrednosti. Fond je od 1992. objavio {est svezaka ~asopisa"Povra}aj" sa informacijama i spiskovima predmeta iz muzeja i privatnihkolekcija, a koji su iz Belorusije odneti u razna vremena.Postavljene su osnove za belorusku muzeolo{ku {kolu. U toku 1995.i 1996. tri univerziteta su po~ela sa obukom muzejskih radnika. Sistemdodatnog obu~avanja muzejskih radnika zasnovan je 1994. na bazidopisne dvogodi{nje Muzeolo{ke {kole u okviru Beloruskog dr`avnoginstituta za kulturna pitanja.Muzejska mre`a je brzo napredovala. Od 1990. do 1995. pojavilo setrideset novih muzeja, a tipologija muzeja je postala raznovrsnija.Me|utim, od 1996. situacija se promenila. Ekonomske pote{ko}e ipromena politi~kog kursa zemlje doveli su do usporavanja procesarazvoja muzeja, iako je odr`ana celina muzejske mre`e. Danas u Belorusiji deluje vi{e od 200 muzeja u sistemu Ministarstvakulture i oko 1000 muzeja u okviru drugih sistema (uklju~uju}iakademske-visoko{kolske muzeje i {kolske muzeje). U muzejskojmre i postoje svi osnovni profili muzeja: istorijski, umetni~ki, knji evni,prirodnja~ki, memorijalni, kompleksni i dr.Ve}ina beloruskih dr`avnih muzeja (oko 64%) su regionalni zavi~ajnimuzeji, ~ije zbirke odra`avaju istorijske, kulturne i prirodne osobineposebne administrativno-teritorijalne oblasti. Njihova pojava 20tih i30tih godina XX veka na teritoriji biv{eg Sovjetskog Saveza bila jepovezana sa razvojem {ireg prou~avanja lokalnih predanja. Oni suprvi osetili ideolo{ki pritisak totalitarnog re ima s obzirom na svoju

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Pictures from the project "One Sunday afternoon in a village".Children together with museum workers and visitors tried to feel, tounderstand daily life of our grandparentsSlike projekta "Jedno nedeljno popodne u selu". Deca zajedno samuzejskim radnicima i ostalim posetiocima poku{avaju da shvatesvakodnevni ivot na{ih predaka

U~esnik seminara rezbari drvo (za pe~at)Participant of seminar making wooden carving (for stamps)

about 1000 museums of other departments (including academic, highschool and school museums) operate in Belarus. There are all basicprofile groups in the museum network: historical, art, literary, natural,memorial, complex, etc. The majority of the Belarusian state museum institutions (about 64 %)are regional homeland museums -- the museums the collections ofwhich reflect the history, culture and natural features of a specificadministrative-territorial region. Their appearance in the 1920-1930son the territory of the former USSR was connected with the devel-opment of wide study of local lore movement. They were first to feelthe ideological pressure of the totalitarian regime due to their role inthe cultural life of local community. During the Soviet time there weresome reorganizations of these museums which actually made them" an ideological voice" of the Communist Party and led to the sub-stantial monotony of their expositions when the true history was fal-sified, and the original objects reflecting the real development of cer-tain regions were replaced by their depersonalized copies.In 1990 the status of a regional museum changed due to significanttransformations of the museum sphere. Fortunately, the mass repro-filing of such museums have not taken place, their activity is diverse,but their social role has changed. Gradually, they are becoming thereal research and cultural centers of regions, expanding the sphereof their influence within the local community. Today many of them rep-resent not one museum, but the conglomerate of museums reflect-ing various aspects of the social history of the region and showing avariety of museum forms (from museums of collection type up toecomuseums).During the researched period there were essential changes in themuseums exhibitions sphere. Many museum exhibitions were simplyclosed because their scientific contents and art forms did not corre-spond to the new realities. Some of them were updated, but themajority of museums have not recovered from the crisis so far. Thefirst who have responded to the changes, and began to reconstructthe exhibition space, were literary museums. Among the most suc-cessful experiments of that time was the constant exhibition of theLiterary Museum of Maksim Bagdanovich and the exhibition "Call" inthe State Museum of the History of the Belarusian Literature (bothwere opened in 1991). The exhibition devoted to the remarkable Belarusian poet - lyricsMaksim Bagdanovich, has been awarded by the State Premium ofBelarus and to this day it is one of the most harmonious variants ofmuseum memorialization. The exhibition space has been made in amodernist style, according to the time in which the poet was work-ing. The author of the exhibition design, Edward Agunovich, widelyused the Belarusian traditional materials: straw, local timber, light,adequate to the "light image" of the poet.The national contents is clearly seen in all museum exhibitions of thattime. Introducing "the Belarusian idea", a revival of the national spir-it, returning the names and symbols which were forgotten wasextremely topical. The exhibition "Call" mentioned above was theresult of a new look at the problem of Stalin reprisals, formation ofthe social movement "Martirolog" and was devoted to the repressedpoets and writers of Belarus. The next exhibition of the State Museumof the History of the Belarusian Literature devoted to the anniversary ofthe well-known Belarusian writer Vasil Bykov was full of patriotic sound-ing too. Both exhibitions were organized in the style of constructivismwhich reflected the style of the Belarusian Literary Association of the1920s and the tendencies in the Belarusian design of the 1990s.Constructivism tendencies were characteristic for the new exhibitionof the Belarusian State Museum of the Second World War and themuseum of the Memorial Complex "Brest Fortress". The decision to the "main" military museum of the country wasupdate by the Belarusian government in 1988. The ideas of the "per-estrojka" influenced the concept and the design project of the newmuseum. They proposed to change the image of the museum, usenew technologies to update the exhibitions. They also planned toaccentuate the social interpretation of the events instead of the polit-ical one, to stress the significance of the pre-war events.Unfortunately, these ideas have not been realized because the publicconsciousness was not ready to such revolutionary changes. In resultonly the first three halls of the museum have been reconstructed.

Socio-political changes and further democratization of the societyhave warmed up the public interest to the so-called " blank spot" inthe Belarusian history. During the Soviet time many topics in the his-tory of Belarus were closed for researchers, not developed. Amongsuch topics are the history of the Belarusian aristocracy , the forma-tion of the Belarusian People's Republic in 1918, the Belarusian dem-ocratic movement at the beginning of the 19th century, and so on. Inthe 1990s a number of remarkable exhibitions prepared by theNational Museum of History and Culture of Belarus were organized.These were exhibitions: "Hundred Rarities of the Belarusian Culture","Ancient Heraldry of Belarus", "Heritage Which Belongs to Belarus",and others. All of them were very popular with the public as well asresearches of the academic science. One of them wrote: "You shouldhave seen the astonishment and admiration of venerable historians,critics, specialists in folklore and ordinary visitors when they are get-ting acquainted with the exhibitions of the museum. We must onlythank the museum staff collecting and keeping the fragments of thehistory of our fatherland during the very adverse time…"It is that positive example when the museum managed to be the ini-tiator of studying once "closed" themes. Thanks to these exhibitions,the museum staff could attribute the unknown documents and things. In the beginning of the 1990s similar projects were carried out alsoby many regional museums. The success of research and exhibition activity has provoked theerroneous opinion that a modern museum which should be open forpublic, dynamic and mobile does not a stationary exhibition.According to this opinion, only a temporary exhibition can correspondto the modern requirements, because it frequently changes and can-not become outdated either in contents, or in form. Nevertheless, onlya constant exhibition allows to generate a more complete model ofthe reality (historical, natural, art, depending on the profile of themuseum) with all its collisions and peripetias which is impossible tomake at the temporary exhibition. The understanding of universality ofthe world, its interrelations, directions of development, and also cul-tural specificity of a society occurs only while getting acquainted withthe finished museum product, and only it can generate synthetic,deep representation about the world and the people around.The last decade of the 20th century was marked by the creation ofa wide network of the memorial museums connected to the famousfigures in science and culture of Belarus, and also by the develop-ment of the so-called "museums - territories" (historical farm com-plexes, museums - reserves, memorial complexes and so on). In theexhibition design of the given types of museums ensemble methodprevailed. Architects, designers, theatrical artists were engaged in cre-ating the museum interiors. The exhibition stylistics started includingscenography, staging approaches. Soon the dramatic art andscenography became a distinctive feature of the exhibition design. Insome cases there were rather successful experiments, and in otherssuch exhibition looked too much decorative and stagy. The revival of the national self-consciousness in the beginning of the1990s arose the increase of public interest to the ethnic history, folkart and mythology. It resulted in creating numerous ethnographicexhibitions. It is in this profile group of museums that we can seevarious interpretations of an exhibition plot today. In them the func-tional approach still prevails, but there are exhibitions the authors ofwhich had used a semiotic principle of treatment of the cultural textof an ethnic history. Museum objects were considered from the pointof view of their symbolical value and being placed in a certain man-ner formed a complex, multilevel context of culture (the Museum ofNational culture of Mozyr Region).Exhibition creativity of the Belarusian museums more and moredevelops "from an exhibition of objects to an exhibition of concepts".Topics and their treatment by the author play more important role inthe exhibition than museum objects themselves. Museum specialiststry to find individual and unique decisions for an embodiment of theirplans. Another approach is applied to museums located in historicalpalaces, preserved as memorials. Restoring the interior, preservingthem and keeping them in harmony with the environment is the aim here. Speaking about museum presentation, it is necessary to mention themuseum interpretation of a modern history and culture. Certainly, it isa multifold problem, which includes both selecting of the objects of

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ulogu u kulturnom ivotu lokalnih zajednica. U sovjetskom periodu ovimuzeji su reorganizacijama pretvarani u "ideolo{ko glasilo"Komunisti~ke partije, {to je vodilo u izrazitu monotoniju njihovih izlo`bi,gde je prava istorija falsifikovana, a originalni predmeti, koji suodra`avali stvarni razvoj odre|enih oblasti, bili su zamenjeni bezli~nimkopijama.Status regionalnih muzeja se promenio 1990. zahvaljuju}i zna~ajnimtransformacijama muzejske delatnosti. Na sre}u, nije do{lo domasovnog menjanja profila ovih muzeja, njihova delatnost jeraznovrsna, ali se njihova dru{tvena uloga promenila. Oni se poste-peno pretvaraju u stvarna istra iva~ka i kulturna sredi{ta oblasti, {ire}isferu svojih uticaja u lokalnim zajednicama. Danas mnogi od njih nepredstavljaju samo jedan muzej, ve} konglomerate muzeja kojiprikazuju razli~ite aspekte dru{tvene istorije odre|ene oblasti iraznovrsnost muzejskih formi (od zbirki do eko-muzeja).U toku analiziranog perioda desile su se su{tinske promene u sferimuzejskog izlaganja. Mnoge muzejske postavke su jednostavnozatvorene, jer se njihov nau~ni sadr`aj i umetni~ke forme nisu uklop-ili u novu stvarnost. Neke od njih su obnovljene, ali ve}ina muzeja sejo{ uvek nije oporavila od tada{nje krize. Prvi muzeji koji su reagov-ali na promene i po~eli da obnavljaju svoj izlo`beni prostor suknji evni muzeji. Me|u najuspe{nijim eksperimentima tog vremenabila je stalna postavka Knji evnog muzeja Maksima Bogdanovi~a,kao i postavka "Poziv" u Dr`avnom muzeju istorije beloruskeknji evnosti (obe su otvorene 1991).Izlo`ba posve}ena sjajnom beloruskom pesniku MaksimuBogdanovi~u nagra|ena je Dr`avnom nagradom Belorusije, a i danaspredstavlja jednu od najskladnijih varijanti memorijalnog muzejskogkoncepta. Izlo`beni prostor je ure|en modernisti~ki, u skladu sa vre-menom u kome je ovaj pesnik stvarao. Dizajner izlo`be EdvardAgunovi~ je u velikoj meri koristio tradicionalne beloruske materijale:slamu, balvane, svetlo u skladu sa "svetlosnim likom" pesnika.Nacionalni kontekst je jasno vidljiv u svim muzejskim postavkama togvremena. Uvo|enjem "beloruske ideje", kroz o ivljavanje nacionalnogduha, do{lo je do masovnog vra}anja zaboravljenih imena i simbo-la. Ve} pomenuta izlo`ba "Poziv" je rezultat novog pogleda na prob-lem Staljinovih represalija i osnivanja dru{tvenog pokreta "Martirolog",a posve}ena je progonjenim pesnicima i piscima Belorusije. Slede}aizlo`ba Dr`avnog muzeja istorije beloruske knji evnosti, posve}enapoznatom beloruskom piscu Vasilu Bikovu, tako|e je bila puna patri-otskog prizvuka.Obe izlo`be su organizovane u konstruktivisti~kom stilu, u skladu sastilom Beloruskog knji evnog udru`enja 1920tih i tendencijamabeloruskog dizajna 1990tih.Konstruktivisti~ke tendencije su obele ile i novu izlo`bu Beloruskogdr`avnog muzeja Drugog svetskog rata, kao i Muzej memorijalnogkompleksa Tvr|ave Brest.Odluka koja se odnosila na "glavni" vojni muzej u zemljipodrazumevala je obnovu u organizaciji Beloruske vlade 1988. Ideje"perestrojke" su uticale na koncept i idejni projekat novog muzeja.Predlo`ena je promena celokupne slike muzeja, uz upotrebu novihtehnologija radi modernizovanja izlo`bi. Planirano je i da se istaknesocijalno tuma~enje doga|aja umesto politi~kog, kako bi se naglasiozna~aj predratnih doga|anja.Na `alost, ove ideje nisu realizovane, jer javno mnjenje nije bilospremno za tako revolucionarne promene. Rezultat toga je da susamo prve tri izlo`bene prostorije rekonstruisane.Dru{tveno-politi~ke promene i dalja demokratizacija dru{tva podstak-la je {ire interesovanje za tzv. "prazno mesto" u beloruskoj istoriji. Usovjetskom periodu mnoge teme beloruske istorije su bile zabranjeneza istra ivanje, pa nisu razvijane. Me|u takvim temama je i istorijabeloruske aristokratije, osnivanje Beloruske narodne republike 1918,beloruski demokratski pokreti po~etkom XIX veka i dr. Tokom 1990tihotvoreno je nekoliko sjajnih izlo`bi u organizaciji Nacionalnog istorij-skog muzeja Belorusije. To su izlo`be: "Stotinu retkosti beloruske kul-ture", "Stara beloruska heraldika", "Nasle|e koje pripada Belorusiji" idruge. Sve su nai{le na veliko interesovanje publike i privukle pa`njunau~nika. Jedan od njih je napisao: "Da ste samo videlizaprepa{}enje i divljenje renomiranih istori~ara, kriti~ara, etnologa iobi~nih posetilaca prilikom obilaska izlo`bi ovog muzeja. Mo`emosamo da zahvalimo muzejskom osoblju na sakupljanju i ~uvanju frag-

menata istorije na{e domovine u veoma te{kim vremenima..."Ovo je pozitivan primer muzeja koji je uspeo da inicira prou~avanjenekada zabranjenih tema. Zahvaljuju}i ovim izlo`bama, muzejskistru~njaci su uspeli da prona|u podatke o dotada nepoznatim doku-mentima i predmetima.Po~etkom 1990tih, sli~ne projekte su pokrenuli mnogi regionalnimuzeji.Uspeh istra ivanja i izlo`benih aktivnosti doveo je do pogre{nog stavada se moderan muzej, sa tendencijom otvaranja prema publici, dina-mi~an i pokretljiv, ne bavi stati~nim izlo`bama. Prema ovom stavu,samo privremena izlo`ba mo`e da odgovori na savremene zahteve,jer se ona redovno menja i ne zastareva ni po sadr`aju ni po formi.Ipak, jedino trajne postavke omogu}avaju da se generi{e kompletni-ja slika stvarnosti (istorijske, prirodnja~ke, umetni~ke - u zavisnosti odtipa muzeja) sa svim svojim sukobima i peripetijama koje jenemogu}e prikazati na privremenoj izlo`bi. Razumevanje univerzal-nosti sveta, njegovi unutra{nji odnosi, pravci razvoja, kao i kulturnaspecifi~nost dru{tva, sve se to javlja samo kada se upoznamo sazaokru`enim muzejskim proizvodom i samo on mo`e da stvori sin-tetizovanu, duboku sliku sveta i ljudi koji nas okru`uju.Poslednja decenija XX veka je bila obele`ena stvaranjem {iroke mre`ememorijalnih muzeja vezanih za zna~ajne li~nosti beloruske nauke ikulture, kao i razvojem takozvanih "muzeja-teritorija" (kompleksi istori-jskih imanja, muzeji-rezervati, memorijalni kompleksi itd). U dizajnuizlo`bi ovih tipova muzeja prevagnuo je ansambl-pristup. Arhitekte,dizajneri, pozori{ni umetnici - svi su oni bili anga`ovani na kreiranjumuzejskog enterijera. Izlo`bena stilistika je po~ela da uklju~uje iscenografiju, tj. scenski pristup. Uskoro su dramska umetnost iscenografija po~ele da igraju zna~ajnu ulogu u dizajniranju izlo`bi. Unekim slu~ajevima bilo je prili~no uspe{nih eksperimenata, a u nekimdrugim izlo`be su delovale preterano dekorativno i scenski.Obnova nacionalne svesti po~etkom 1990tih izazvala je interesovan-je javnosti za nacionalnu istoriju, etno umetnost i mitologiju. To jerezultovalo kreiranjem brojnih etnografskih izlo`bi. Upravo u ovoj grupimuzeja mo`emo da vidimo razli~ita tuma~enja izlo`benog konceptadana{njice. U njima jo{ uvek preovladava funkcionalni pristup, ali imaizlo`bi ~iji su autori koristili semioti~ki princip tretiranja kuturolo{kih tek-stova o nacionalnoj istoriji. Muzejski predmeti su posmatrani u smis-lu svog simboli~kog zna~aja i ,postavljeni na odre|eni na~in, ~inili sukompleksan, vi{eslojni kontekst kulture (Muzej nacionalne kultureoblasti Mozira).Izlo`bena kreativnost beloruskih muzeja sve vi{e se razvija "od izla-ganja predmeta ka izlaganju koncepta". Teme i na~in na koji ih autortretira igraju zna~ajniju ulogu na izlo`bi nego sami izlo`eni predmeti.Muzejski stru~njaci poku{avaju da na|u individualan i jedinstvenpristup koji bi otelotvorio njihove ideje. Druga~iji pristup sre}emo umuzejima koji su sme{teni u istorijskim palatama, sa~uvanim u formimemorijala. Tu je cilj restauracija enterijera, o~uvanje i odr`anje skla-da sa okolinom. Kada govorimo o muzejskom predstavljanju, neophodno je pomenutimuzejsko tuma~enje moderne istorije i kulture. Svakako da je to kom-pleksan problem, koji se odnosi i na izbor predmeta moderne istori-je i na na~in njihovog izlaganja. Na`alost, moramo da priznamo dau ovom smislu nema dobrih primera. Proces biranja materijala kojipredstavljaju modernizam je u ve}ini muzeja spontan i tu nemainteresantnijih primera. Beloruski muzeji se danas pribli avaju "etno-grafizmu". Pre se opredeljuju za stariju istoriju, ostavljaju}i po stranidru{tvene i politi~ke probleme. U stvari, ova ~injenica zabrinjava, jersvedo~i o krizi muzejske delatnosti. Ako muzej nije zainteresovan zamodernu istoriju i ne bavi se njome, on polako postaje anahron inezanimljiv za publiku.Postoje razlozi za ovakvu pojavu. Pre svega, to je ideologija kojadanas preovladava u beloruskim muzejima, kao i potvrda politi~kogre ima koji na taj na~in ja~a. Period politi~kog "otopljavanja"po~etkom 1990tih zamenjen je o~iglednim pra{tanjem starih dogmi ipristupa, posebno u odnosu muzeja i vlasti. Mnogi muzeji vi{e voleda uop{te ne dodiruju savremene probleme, nego da se njima baveu skladu sa ideolo{kim principima.Uprkos o~iglednoj krizi muzejske prezentacije danas, uloga muzeja uedukativnoj sferi i dalje je ogromna. Mo`emo ~ak re}i da muzejikonkuri{u novim informacionim tehnologijama i sistemu obu~avanja.

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modern history and the way of exhibiting them. Unfortunately, wemust admit that we have no good examples of this kind. The processof selecting of the materials of modernity in the majority of museumsis spontaneously, and there are no interesting exhibition decisions.The Belarusian museums today are getting closer to "ethnographism".They prefer to study ancient history, leaving aside social and politicalproblems. Actually, this fact arises concern because it is an evidanceof a crisis in the museum branch. If a museum is not interested inmodern history and does not deal with it, it gradually becomesanachronistical and uninteresting for public. There are some reasons for such a phenomenon. First of, all it is theideology prevailing nowadays in the Belarusian society and also theauthoritarization of political regime which is getting stronger. The peri-od of the political "thawing" of the beginning of the 1990s wasreplaced by an obvious remission of former dogmas and approach-es, especially in the relations between museum and authority. Manymuseums prefer not to touch upon modern problems at all, than todeal with them according to the ideological line. Despite the obvious crisis of museum presentation today the role ofmuseums in an educational sphere is still great. We can even saythat museums compete with new information technologies and train-ing systems. However nowadays, as before, the basic part of visitorsof museums are young people. The question under discussion is towhat degree should museums take part in educating young people.In my opinion, it will be in favour of a museum. We see that muse-ums stick to their usual objectives and their supporters and admirersfind new and new roles which the museum plays or can play in asociety. These are the role of an acsiological filter and institute ofsocial adaptation, center of intercultural communication and so on. The Belarusian museums today are not isolated from the world anddevelop in accordance with the tendencies which are characteristicfor world museum practice as a whole. In 1999 the BelarusianCommittee of the International Council of Museums (ICOM) wasfounded. Its priority is expanding the information horizons of themuseums of Belarus, letting the Belarusian museum specialists getto know the opportunities which the international museum communi-ty can give them. Keeping the originality of the Belarusian culture, ourmuseums are open for cultural cooperation, and intercultural integration.Museum is a social category. It is alive until the links between gen-erations are alive or according to Russian philosopher N.Fyodorov, "acult of ancestors" is alive. Our society, though notorious for badmemory, creates and keeps museums which may save the societyfrom all political adventures and cultural expansions which used totake place on the Belarusian land, because a museum is a way tonational self-identification and is also a way to overcoming artificialborders, to cultural communication between peoples.

SSttrraatteeggiicc PPllaannnniinngg iinn tthhee NNaattiioonnaall MMuusseeuumm BBeellggrraaddeeDr.. Biilljjaanaa Raamii}

Strategic planning is the fundamental element of cultural policy.Unless a state makes use of it, development cannot be based onprecisely defined strategic and programmatic objectives. It is neces-sary to define national priorities in cultural development as a startingpoint of structural reform of a cultural system. Therefore, a state isbound to produce this important document on strategy of culturaldevelopment with precisely defined short- and long-term priorities.The best and only possible method for creating cultural strategy forestablishing reconstructed state institutions would be if it comes fromthe institutions of culture themselves. Art and culture institutions needto create their own strategic plans of development, and when theconditions are ripe they should use them to carry out the strategy onthe republic level. It is not possible to create strategic developmentof culture without participation of people engaged in art and cultureinstitutions. Nor is it possible to provide unique planning or develop-ment without interactive relation between institutions and the man-agement.National Museum Belgrade represents a cultural institution of extraor-dinary social and national importance, institution that plays an impor-tant role in protection and presentation of cultural heritage and parti-

cularly in education field.Public institutions of culture, including National Museum Belgrade, arefaced with the problem of bureaucratized administration that is mostincapable of transforming these institutions into dynamic, modern,transparent and mobile institutions of culture, with well-defined mis-sions and capable of serving new needs of their public. That is whythe need for changes of the methods of organisation and function-ing is conditioned by the requirement that the administrative struc-tures and museological work are positioned within the generalEuropean policy of protection of cultural heritage. The principle of pre-ventive conservation, this new methodological and theoretical approachand its implementation in the general strategic development policy, rep-resent one of the basic elements of European strategy of cultural her-itage protection. It is very important that museums open themselveswidely to the public, to include public into all programmes and activ-ities of museums as essential informational and educational as wellas communicational mediator in intensive interaction with the public.Particularly important is the reform of national institutions of cultureand of the public sector generally and this asks for introduction ofnew methods in management and marketing.The objective of the internal reorganization is to provide transition frominstitutional logics of existence to project-organisational one. Thismeans that the National Museum Belgrade and museums in gener-al have to develop planning logic vision of their future, long-termstrategic visions of development, make long-term plans. In practicethis will be done through long-term strategic projects and not throughdepartmental planning. The departments will situate themselvesthrough these projects in the institution as a whole. The integrativefunction of the management should be attained, for a collective tobreathe as one, to share same or similar ideas, goals or tasks.National Museum Belgrade is developing into one of the few agentsin implementation of principles of preventive conservation of museumcollections. This national institution also gains international recognitionas the one that adopts preventive conservation as its new develo-pment strategy. Preventive conservation has been introduced into thegeneral UNESCO strategy of protection of cultural heritage. In thisperiod of transition, precise establishing of DIANA Centre forPreventive Conservation within the frame of new reorganization of theNational Museum should help interdisciplinary defining of other muse-um activities that are important for the development of the Museum.Strategic plan of development of the National Museum Belgrade is amost pregnant and comprehensive document. The basic strategy ofpreventive conservation is permeating the professional activities pri-marily as well as other auxiliary services in museum's operation. Theproject logics of organisation and long-term strategic planning wereused. Each organisational unit of the Museum worked out its proj-ects for a triennial period (2003-2005) with all needed resources andbeforehand defined results expected and monitoring mechanisms, aswell as ways for provoking the interest and attention of the public.The permanent museum exhibition is the core of professional activities,whose concept has to be contained in all the projects and main pro-

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National Museum BelgradeNarodni muzej Beograd

Me|utim danas, kao i ranije, osnovna grupacija muzejske publike sumladi ljudi. Pitanje o kojem se raspravlja jeste do koje mere muzejitreba da u~estvuju u obrazovanju mladih ljudi. Po mom mi{ljenju,rasprava }e zavr{iti u korist muzeja. Vidimo da se muzeji dr`e svojihuobi~ajnih ciljeva, a njihovi ljubitelji pronalaze stalno nove uloge kojemuzeji igraju ili mogu da igraju u dru{tvu. To je uglavnom uloga aksi-olo{kog filtera i institucije dru{tvene adaptacije, centra interkulturalnihkomunikacija itd.Beloruski muzeji danas nisu izolovani od ostatka sveta i razvijaju seu skladu sa tendencijama koje su karakteristi~ne za svetsku muze-jsku praksu u celini. Godine 1999. osnovan je Beloruski nacionalnikomitet IKOM-a. Njegov prioritet je {irenje informacijskih horizonatabeloruskih muzeja, kako bi se muzejskim stru~njacima pru io uvid umogu}nosti koje im nudi svetska muzejska zajednica. Na{i muzeji~uvaju originalnost beloruske kulture, ali su otvoreni za kulturnusaradnju i me|ukulturnu integraciju.Muzej je dru{tvena kategorija. On ivi dok ive i veze izme|u gen-eracija ili, prema ruskom filozofu N. Fjodorovu, "kult predaka". Na{edru{tvo, premda poznato po lo{im se}anjima, stvara i ~uva muzejekoji bi mogli da spasu dru{tvo od svih politi~kih avantura i kulturnihekspanzija kakve su se de{avale na beloruskoj teritoriji, jer muzej jeput ka pronala`enju sopstvenog nacionalnog bi}a i na~in za prevazi-la`enje ve{ta~kih granica ka kulturnoj komunikaciji izme|u naroda.

SSttrraattee{{kkoo ppllaanniirraannjjee uu NNaarrooddnnoomm mmuuzzeejjuu uu BBeeooggrraadduudr Biilljjaanaa Raamii}

Strate{ko planiranje je osnovni instrument kulturne politike. Ako gadr`ava ne koristi, onda razvoj nije zasnovan na jasno definisanimstrate{kim i programskim ciljevima. Na samom po~etku strukturalnihreformi kulturnog sistema, potrebno je definisati nacionalne prioriteteu oblasti kulturnog razvoja. Dakle, dr`ava mora da donese taj va`andokumenat o strategiji kulturnog razvoja, sa precizno definisanimkratkoro~nim i dugoro~nim prioritetima.U procesu uspostavljanja rekonstruisanih dr`avnih institucija, najboljeje, i jedino mogu}e, kreiranje kulturne strategije poteklo od samihustanova kulture. Institucije kulture i umetnosti treba da kreiraju sop-stvene strate{ke planove razvoja, a na osnovu njih bi, kad se steknuuslovi, mogla da se izvede strategija na republi~kom nivou. Ne mo`ese kreirati strate{ki razvoj kulture bez u~e{}a ljudi koji se nalaze uinstitucijama kulture i umetnosti, kao {to nema jedinstvenog planiran-ja ni razvoja, bez interakcije izme|u ustanova i organa upravljanja. Narodni muzej predstavlja instituciju kulture od izuzetnog dru{tvenogi nacionalnog zna~aja, koja ima va`nu ulogu za{tite i prezentacije kul-turnog nasle|a i posebnu ulogu edukacije. U javnim ustanovama kulture, pa tako i u Narodnom muzeju, prisu-tan je problem birokratizovane administracije, koja je potpuno nes-posobna da te ustanove transformi{e u dinami~ne, moderne, trans-parentne i mobilne ustanove kulture, sa jasno definisanom misijom,sposobne da zadovolje nove potrebe publike kojoj su namenjene. Zatoje neophodnost promena u na~inu organizovanja i funkcionisanja,uslovljena pre svega potrebom da se administrativna struktura i muze-olo{ki rad situiraju u op{tu evropsku politiku za{tite kulturnog nasle|a. Princip preventivne za{tite, novi metodolo{ki i teorijski pristup, njego-vo uklju~ivanje u op{tu strate{ku politiku razvoja, predstavlja jedan odosnovnih elemenata evropske strategije za{tite kulturnih dobara.Veoma va`no je i {iroko otvaranje muzeja prema javnosti - uklju~itijavnost u sve programe i aktivnosti muzeja, u cilju poja~ane brige zakulturno nasle|e i njegovu za{titu: muzej kao va`an informativno-edukativni i komunikacijski medij u intenzivnoj interakciji sa publikom.Posebno va`an segment predstavlja reforma nacionalnih ustanovakulture i javnog sektora u celini, {to, izme|u ostalog, zahteva iuvo|enje novih metoda upravljanja i marketinga.Zadatak unutra{nje reorganizacije jeste prelazak sa institucionalnelogike postojanja na projektno-organizacionu logiku. A to zna~i, daNarodni muzej i muzeji uop{te, moraju da imaju logiku planiranja,viziju budu}nosti, dugoro~ne strate{ke vizije razvoja, moraju da pravedugoro~ne planove. U praksi, to }e se sprovoditi kroz dugoro~nestrate{ke projekte, a ne kroz planove odeljenja, ve} }e se odeljenjakroz te projekte ugra|ivati u celinu institucije. Treba da se postigne

integrativna funkcija menad`menta, da jedan kolektiv di{e na istina~in, da ima iste ili sli~ne ideje, ciljeve ili zadatke. Narodni muzej u Beogradu postaje jedan od retkih aktera primeneprincipa preventivne za{tite muzejskih zbirki. Ova nacionalna instituci-ja i na me|unarodnom planu izbija u prvi red onih koji su preven-tivnu za{titu, zvani~no, usvojile kao novu strategiju svog razvoja.Preventivna za{tita je u{la u op{tu UNESCO-vu strategiju za{tite kul-turne ba{tine. U ovom periodu tranzicije, jasno postavljanje DIJANACentra u novoj reorganizaciji Narodnog muzeja treba da pomogneda se interdisciplinarno defini{u i ostale muzejske aktivnosti, bitne zanjegov dalji razvoj.Strate{ki plan razvoja Narodnog muzeja u Beogradu predstavljaveoma sadr`ajan i iscrpan dokumenat. Osnovna strategija preventivneza{tite je pro imaju}a u radu stru~ne delatnosti posebno, ali i drugihprate}ih delatnosti u muzejskom poslovanju. Primenjena je projektnalogika organizacije i dugoro~no strate{ko planiranje. Svaka organiza-ciona jedinica Muzeja je osmislila svoje projekte u trogodi{njem peri-odu (2003-2005) sa svim potrebnim resursima i unapred definisanimo~ekivanim rezultatima i kontrolnim mehanizmima, kao i na~inima ani-miranja javnosti. Jezgro stru~ne delatnosti predstavlja stalna muzejs-ka postavka, ~iji koncept mora da se ogleda u svim projektima iglavnim programima odeljenja. Kustosi nisu postigli taj jedinstvenikoncept, tako da je neophodno na tome poraditi. Tako|e, nisuosmi{ljavali velike projekte - velike zna~ajne teme.Strate{ki plan je bio prilika i da svaki zaposleni na|e sebi mesto, uko-liko dobro osmisli svoj rad u projektnoj organizaciji. Strate{ki plan se u potpunosti oslanjao na evaluacioni izve{taj, kojipredstavlja, zapravo, polaznu osnovu u njegovoj izradi. Tako, izme|uostalog, insistiranje na timskom radu }e stvoriti dobru atmosferu, {toje pre svega potreba, ali i taktika za prevazila`enje lo{ih me|uljud-skih odnosa.Strate{ki plan je i na~in mi{ljenja: isplanirati ciljeve, programe,aktivnosti, postoje}e i potrebne resurse, razmi{ljati i predvideti svakufazu projekta i povezati sa partnerima na zajedni~kom projektu.

Strate{ki postupakIzrada strate{kog plana podrazumeva tabelarni princip i sastoji se odosam tabela.

U tabeli 1. Strate{kog plana kroz glavne programe posebnim razvoj-nim strategijama }e se ostvarivati dugoro~ni ciljevi, a preko njih viz-ije i misije. Dakle, prvo treba odrediti viziju - definisati mestoNarodnog muzeja, u narednom periodu od 3-5 godina. Vizija odgo-vara na pitanje gde `elimo da budemo? Ona nije skup lepih `elja,niti snova. Narodni muzej u Beogradu je mati~na i centralna muze-jska ustanova u Republici Srbiji, koja vr{i delatnost za{tite pokretnihkulturnih dobara, ~iji je cilj, opredeljen novom strategijom razvoja, dapostane najva`niji muzeolo{ki centar na Balkanu, istaknuta muzejskainstitucija, ne lokalnog ve} regionalnog zna~aja. Muzej (sa muzejimau sastavu) sa svojim bogatim arheolo{kim, numizmati~kim i umetni~kim

47

Exhibition of glass vessels conserved in DIANA CentreIzlo`ba staklenih predmeta konzerviranih u DIJANA Centru

grammes of departments. Curators did not reach that unique con-cept, and this requires further work. There were no bigger projectsoffered - on big, important topics.Strategic plan offered chance for every employee to find a suitable placefor himself/herself, if able to set his/her work well in the project organisation.The strategic plan was based to the fullest extent on the evaluationreport, which represented the starting point in its creation. Amongother things, stressing the importance of teamwork will bring aboutgood atmosphere, which is in the first place need and tactics forovercoming inadequate human relations.Strategic planning is a way of thinking: to plan the objectives, pro-grammes, activities, the existing and needed resources, think overand foresee each stage of the project and connect with partners inthe common project.

Strategic procedureStrategic plan is done in eight tables.Table 1 of the Strategic plan: through main programmes and partic-ular development strategies long-term goals will be carried out, andthrough them visions and missions realized. So, first the vision shouldbe voiced - defining the place of the National Museum Belgrade inthe next 3 to 5 years. Vision answers the question: where we wantto be? It is not made of good wishes or dreams. National MuseumBelgrade is the central museum institution in the Republic of Serbiaand in charge of protection of moveable cultural property. Its goal, asdefined by the new development strategy is to become the mostimportant museological centre in the Balkans, and a recognizedmuseum institution not of local but of regional importance. TheMuseum (and its daughter museums) with its rich archaeological,numismatic and artistic collections will develop into a significant, rec-ognized, known and respected centre of protection, study and pres-entation of cultural heritage, based on modern principles and methodof preventive conservation. This is actually its vision. Vision shouldoffer strategic choices and values that define its purpose and objec-tives. Defining and accomplishing the vision is considered to be thekey task of the top management forces. If by simplification a vision of an institution is reduced to a statementon its wishes for the future, mission can then be expressed throughinternal perception of its future as related to the present one. Thiscontext offers relation between these two strategic points of an insti-tution.Mission defines the fundamental reason of existence of an institutionand it should answer the question: Why does the institution exist at all?Therefore, National Museum Belgrade, the leading - central and incharge - institution in protection of movable cultural heritage in Serbia,is a complex museum, dedicated to protection, interpretation andpromotion of multicultural heritage of the Balkans and Europe, of thecultures from the prehistoric times until the present, through archae-ological, numismatic and artistic material. Its mission is to be a rec-ognized institution for interpretation of historical and contemporarycultures, to serve as resource of knowledge and function as an activeeducational and communication centre in its community (environs).The basic tasks of the Museum are to:- Collect (archaeological researches, ransoms, gifts);- Safeguard (passive and active conservation);- Document (basic and accessory documentation);- Study (professional and scientific researches);- Present the archaeological, numismatic and artistic material (perma-nent and temporary exhibitions, scientific, expert and popular publica-tions and other activities for the public) - movable cultural property thatrepresents material and spiritual culture of communities and peoples whoexisted in the Central Balkan area or left their traces in its civilisationaldevelopment, in periods defined as prehistoric, antique and mediaeval,including the 20th C and documentary material defined as rare;- Perform educational role;-Given its in-charge function, along with the care of collections as partof the National Museum funds, to gather data on objects of the samekind (archaeological, numismatic, artistic) throughout the Republic ofSerbia and to give professional help and support in processing and pro-tecting this material, as well as to help in carrying out programmes and activ-ities of other museums in relation with the mentioned cultural property.

Goals represent conditions and results achieved by institutions thatare to be accomplished in the given time, supported by certain activ-ities and by investing funds. Activities to be carried out have to pro-vide survival, growth and development of an institution. The goals area starting point for definition of strategies, programmes and plans.Goals are the conditions or situations planned to be realized byactions taken. Set goals are not purposes and wishes only; they aredirectives and duties and exert essential influence on the future of aninstitution. They hold a time, space and any other measurable ordefined dimension. All goals must be coordinated and complemen-tary. Goals of one organisational unit are dependant on and limitedby activities and goals of other organisational units they are relatedwith. Goals must reflect the meaning of existence of an institution ina given socio-economic system. They have to be realistic andachievable. So, the goals of the National Museum Belgrade are:1. Affirmation of national heritage, being an inseparable part of theBalkans, European and world cultural heritage, through systematic,conceptually justified enriching of museum funds and their active mul-tileveled modern presentation.2. Implementing into the general strategic development policy theprinciples of preventive conservation, of the new methodological andtheoretical approach, which is one of the basic elements of Europeanstrategy of cultural property safeguarding.3. National Museum as important information-educational and com-municational means in intensive interaction with the public.Realisation of main programmes envisages the expected results aswell as criteria, i.e. indicators of success of the work done, i.e. actionstaken.Table 2: Triennial operation plan defines goals for a triennial period,main programmes that are divided into projects and activities and sit-uated into time frame, and for whose realisation human resources,material and financial resources, PR and advertising instruments, upto evaluation, monitoring and control of the work done are planned.Table 3 the existing resources includes human, technical, space,financial, public and other resources required for realisation of theprogrammes and activities.Table 4 Time schedule and survey of expenses is in fact a triennialplanning tool for programmes and activities and the planned budgetTable 5 Personnel resources defines the profile, knowledge and skills,educational needs and motivation plan of the employees, new needs,presence of volunteers, friends and colleagues, part-time collabora-tors, possibilities for addressing the Management Board.Table 6 Partnership and decentralization - connecting with partnersi.e. unobstructed and more independent work makes decentralizationpossible. Thus this table defines possible partners for carrying outprogrammes and activities, type of partnership, place of realisationand expected results.Table 7 PR and Marketing implies the concept, target groups, instru-ments to be used, expected results and partners, in particular withinmedia and budget plan of courseTable 8 Evaluation, monitoring, control refers to the quality of pro-grammes and accomplished results, transparency (procedure withinthe institution), public transparency and financial supervising; possi-ble criteria, indicators and methods.The monitoring and evaluation plan implies that the operation of aninstitution is followed up. This can be the task of the ManagementBoard, or of the project financing and policymaking party, or anexpert team who was engaged in creating the strategic plan. If thestrategic plan were poorly done, it would be impossible to monitorthe performances in relation to the planned tasks.The Strategic Plan of Development of the National MuseumBelgrade was adopted by the Management Board at its sessionheld on 20 August 2003 - Minutes, No. 77/14 of 26 August 2003.This is a document comprising 213 pages.Strategic plan of National Museum Belgrade development is nowbeing carried out. After three years it will be necessary to make asurvey of tasks carried out, to evaluate results and find out reasonsfor those tasks that had not been carried out. The best methodwould be to set up a commission. That would offer a clearer pic-ture of the personnel.

48

zbirkama, razvi}e se u zna~ajan, renomiran, poznat i priznat centarza{tite, prou~avanja, prezentacije kulturne ba{tine, zasnovan nasavremenim principima i metodama preventivne za{tite. To je zapra-vo i njegova vizija. Vizija treba da sadr i strate{ke izbore i vrednosti, koje defini{u pogledna svrhu i na~in postojanja. Definisanje i ispunjenje vizije se smatraklju~nim zadatkom vrhovnog menad`menta.Ako upro{}avanjem, viziju institucije svedemo na iskaz o tome {taona `eli da bude u budu}nosti, misija se onda mo`e iskazati krozinternu percepciju njene budu}nosti, u odnosu na ono {ta je onadanas. U tom kontekstu se nalazi i veza izme|u ove dve strate{keodrednice institucije.Misija defini{e osnovni razlog postojanja jedne institucije i treba daodgovori na pitanje za{to postoji neka institucijaDakle, Narodni muzej u Beogradu, vode}a - centralna i mati~na -ustanova u za{titi pokretne kulturne ba{tine u Srbiji, je muzej kom-pleksnog tipa posve}en za{titi, interpretaciji i promociji multikultur-alnog nasle|a Balkana i Evrope, kultura od praistorijskih vremena dodanas, kroz arheolo{ku, numizmati~ku i umetni~ku gra|u. Njegovamisija je da bude istaknuta ustanova za interpretaciju istorijskih isavremenih kultura, da slu i kao izvor znanja i aktivan obrazovni ikomunikacijski centar u svojoj zajednici (okru`enju).

Osnovni zadatak Muzeja je:- da prikuplja (arheolo{ka istra ivanja, otkupi, pokloni)- ~uva (pasivna i aktivna za{tita)- dokumentuje (osnovna i prate}a dokumentacija)- izu~ava (stru~no-nau~na istra ivanja)- prezentuje (osnovna i povremene postavke, nau~ne, stru~nei popularne publikacije i druge aktivnosti u radu sa pub-likom), arheolo{ku, numizmati~ku i umetni~ku gra|u -pokretna kulturna dobra koja predstavljaju materijalnu iduhovnu kulturu zajednica i naroda, koji su postojalina prostoru centralnog Balkana ili su ostavili traga unjegovom civilizacijskom razvoju, u periodimaodre|enim kao praistorijsko, anti~ko i sred-njovekovno doba, kao i novo doba, zaklju~no saXX vekom i dokumentarnu gra|u sa statusomretke gra|e-edukativna uloga muzeja

Mati~na funkcija Muzeja obavezuje ga da osimbrige o zbirkama, koje su deo fonda Narodnogmuzeja, ima obavezu i da prikuplja podatke opredmetima iste vrste (arheolo{ke, numizmati~ke iumetni~ke) na podru~ju Republike Srbije i da pru`astru~nu pomo} prilikom obrade i za{tite tog materi-jala, kao i pomo} prilikom realizacije programa iaktivnosti drugih muzeja, koji su u vezi sa navedenimkulturnim dobrima.Ciljevi su stanja i rezultati institucije, koji treba da bududostignuti u zadatom vremenu, uz pomo} odre|enihaktivnosti i ulaganjima odre|enih sredstava. Aktivnosti koje treba

realizovati moraju da obezbede opstanak, rast i razvoj institucije.Ciljevi predstavljaju polaznu ta~ku za definisanje strategija, programai planova. Ciljevi su nameravana stanja ili situacije u koje se `eli do}ina osnovu preduzete planske akcije. Formulisani ciljevi nisu samonamere i elje, oni su usmerenje i obaveza i bitno uti~u na budu}nostinstitucije. Imaju vremensku i prostornu ili bilo koju drugu normiranu,merljivu dimenziju.Svi ciljevi treba da budu me|usobno uskla|eni, dabudu komplementarni. Ciljevi odre|ene organizacione jedinice zavis-ni su i ograni~eni aktivnostima i ciljevima drugih organizacionih jedini-ca sa kojima su povezani. Ciljevi treba da odra`avaju svrhu postoja-nja institucije u odre|enom dru{tveno-ekonomskom sistemu. Morajubiti realni i ostvarivi. Tako su ciljevi Narodnog muzeja u Beogradu:Afirmacija nacionalne ba{tine, kao neodvojivog dela balkanske,evropske i svetske kulturne ba{tine, kroz sistematsko, koncepcijskiopravdano boga}enje muzejskih fondova i njihovu aktivnu vi{eslojnusavremenu prezentaciju.Uklju~ivanje u op{tu strate{ku politiku razvoja, principa preventivneza{tite, novog metodolo{kog i teorijskog pristupa, koji predstavljajedan od osnovnih elemenata evropske strategije za{tite kulturnihdobara.Narodni muzej kao va`an informativno-edukativni i komunikacijskimedij u intenzivnoj interakciji sa publikom.U daljem strate{kom postupku, realizacija glavnih programa predvi|ai o~ekivane rezultate, kao i kriterijume, odnosno indikatore uspe{nostiobavljenog posla, odnosno sprovedene akcije.Tabela 2. Trogodi{nji operativni plan defini{e trogodi{nje ciljeve, glavneprograme, koji se dalje razbijaju na projekte i aktivnosti, koji se stavl-jaju u vremenski raspored i za ~iju se realizaciju planiraju potrebniljudski resursi, materijalni i finansijski resursi, PR i instrumentiogla{avanja kao i evaluacija, monitoring i kontrola obavljenog posla.Tabela 3. Postoje}i resursi podrazumevaju ljudske, tehni~ke, pros-torne, finansijske, javne i druge resurse, potrebne za realizaciju pro-grama i aktivnosti.Tabela 4. Vremenski raspored i pregled tro{kova predstavlja trogo-di{nji planer programa i aktivnosti i planirani bud`et.Tabela 5. Kadrovski resursi defini{u profil, znanje i ve{tine, obra-zovne potrebe i motivacioni plan zaposlenih, nove potrebe, prisut-nost volontera, prijatelja i kolega, povremenih saradnika, mogu}nostkomentara na Upravni odbor.Tabela 6. Partnerstvo i decentralizacijaPovezivanje sa partnerima donosi neometano i nezavisnije obavljan-je delatnosti, posti e se i efekat decentralizacije. Tako, ova tabela defi-ni{e sa kojim partnerima se mogu sprovoditi programi i aktivnosti, kojije tip partnerstva, lokacija realizacije i o~ekivani rezultati.Tabela 7. PR i marketing plan podrazumeva koncept, ciljne grupekojima je namenjen, instrumente koji }e se koristiti, o~ekivane rezul-

tate i partnere, posebno medijske, i naravno, plan bud`eta.Tabela 8. Evaluacija, monitoring, kontrola se odnosi na

kvalitet programa i postignute rezultate, transparentnost(kakva je procedura unutar ustanove) javnu transpa-rentnost i finansijsku kontrolu; koji bi bili kriterijumi,indikatori i metode.Plan monitoringa i evaluacije podrazumevapra}enje rada institucije. Za to mo`e da budezadu`en Upravni odbor, onaj ko finansira projek-te i odre|uje kulturnu politiku, kao i stru~ni tim,koji je u~estvovao u izradi strate{kog plana. Akoje strate{ki plan lo{e osmi{ljen onda jenemogu}e pratiti performanse u odnosu naplanske zadatke. Strate{ki plan razvoja Narodnog muzeja uBeogradu, Upravni odbor je usvojio na sedniciodr`anoj 20.08.2002.godine, sa nastavkom23.08.2002.godine - Zapisnik, del.br. 77/14 od26.08.2002. godine i to je dokumenat od 213strana.

Strate{ki plan razvoja Narodnog muzeja je u fazirealizacije i sprovo|enja. Nakon tri godine, neophod-

no je videti {ta je ostvareno, kakvi su rezultati i za{toneki projekat nije relizovan. Najbolje je da se to uradi

komisijski. To }e dati ~istiju kadrovsku sliku.

49

Building of the National Museum in BelgradeZgrada Narodnog muzeja u Beogradu

PPrroojjeecctt ooff UUrrbbaann CCuullttuurree aanndd CCeerraammiiccss TThhrroouugghh CCeennttuurriieess(Youngg peoplle lleaarniingg, reseaarcchiingg aand paartiicciipaatiingg iin protecctiion of ccullturaall heriitaagge)Siimoniidaa Miilljjkovii}, Skopjje,Art hiistoriiaan aand aarcchaaeolloggiist,Museum of Maaccedoniiaa

Urban Culture and Ceramics through Centuries is a joint project ofMuseum of Macedonia and NGO Educational-Research Centre forUrban Culture in Skopje. Part of this project has been carried out incooperation with DIANA Centre.Museum of Macedonia is a cultural institution of a great national sig-nificance, having an important role in presentation of cultural heritagewith education of museum public as its specific task.Organization, creation and realization of educational activities inMuseum of Macedonia function through various forms of work (spe-cialized lectures and practical work) in museum workshops. Theseprojects are related to archaeology, history, history of art, ethnologyand museology. Participants are pre-school children, primary schooland high school children, disabled and general public.Museum of Macedonia has a continuous and rich cooperation withEducational-Research Centre for Urban Culture, and it has resultedwith the project of Urban Culture and Ceramics through Centuries.

PROJECT GOALS1. To find the way for improvement and enrichment of educationalprocess in Republic of Macedonia by defining of methodology ofeducational process through direct cooperation between schools andmuseums.2. To define methodology for successful realization of museum edu-cation and to organize museum workshops.3. To introduce young people with archaeological wealth of theircountry and the region, while researching ceramics through centuries.4. To raise awareness of young researchers about the necessity ofpromoting and safeguarding of cultural heritage.5. To enable contacts and communication between young peoplefrom Republic of Macedonia and young people of the region, as wellas to create common strategies in protection of cultural heritage.6. To organize participation of the young researchers in DIANA CentreSummer School.

DESCRIPTION OF THE PROJECTRealization of the Urban Culture and Ceramics through Centuriesproject is carried out through four phases.

First phase working program - preparationForming of a group of 20 "Orce Nikolov" Secondary School studentsand group of 5 students from the Institute for Classical Studies ofFaculty of Philosophy in Skopje that voluntarily applied. Providing offinancial resources for the work.

Second phase working program Active engagement of participants in educational activities related tothe presentation of ceramics through centuries.Young researchers meet once a week in Museum of Macedonia oron certain localities. With the help of museum educator, they are intro-duced into development of civilization through researching of ceram-ic artifacts.

Dynamics of activities realization in the second phase is describedbelow:1. Allowing young researchers and museum educators to get to knoweach other.2. Young researchers visiting Archaeological display in Museum ofMacedonia. Conversation and discussion on Archaeological wealth ofRepublic of Macedonia.3. Museum workshop: Discussion on the subject of "PrehistoricCeramics with Particular Attention Paid to the Neolithic Ceramics".Hands-on experiencing of the parts of ceramic vessels and theiridentification.4. Museum workshop: modeling in clay; clay composition, character-istics and functions of ceramic vessels, creation of vessels.5. Museum workshop: watching a documentary on the Neolithicceramics, attempts of young researchers to identify fragments ofNeolithic ceramics and assorting them together.6. Visit to ceramics conservation workshop in Museum of Macedonia;lecture and discussion on the conservation of ceramics.7. Workshop: constructing a Neolithic kiln; learning about the processof firing ceramics.8. Museum workshop: modeling in clay - a Neolithic askos.9. Lecture and discussion on Copper Age ceramics.10. Museum workshop: modeling of ceramic vessels of the Eneolith.11. Museum workshop: learning about potter's wheel and discussionon Bronze Age ceramics.12. Activities in the field: Visits to archaeological sites of Stobi andVardar Rid; visual examination and discussion.13. Lecture and discussion on Classical Age ceramics; demonstra-tion of ceramic vessels and tactile examination.14. Lecture and discussion on the contemporary ceramics in Republicof Macedonia.15. Workshop: construction of a tile stove; firing of ceramic vesselscreated in museum workshops.16. Active participation in celebrating Museum Day; presentation ofthe project results through exhibition of created vessels, photographsand video footage; rewarding diplomas and acknowledgements.

Third phase working programYoung researchers, the participants in the project, participate also atthe ceramics conservation course of DIANA Centre for PreventiveConservation.

Dynamics of activities realization1. Lecture: introduction to the conservation of ceramics.2. Workshop: conservation of ceramic objects - mechanical cleaning;lecture: technology of ceramics.3. Lecture: laser cleaning of ceramics; workshop: mechanical clean-ing.4. Lecture: basics of conservation treatment; workshop: mechanicalcleaning.5. Lecture: ceramics conservation process.6. Workshop: practical work.7. Lecture: technology of ceramics.8. Lecture: digital documentation of the archaeological site of Vin~aand lecture on problem of microorganisms on museum objects instorages and vaults.10. Visit to the archaeological site of Vin~a.12. Through evaluation of the project activities, it was concluded thatDIANA Centre conveys two activities in its own program: educationand conservation of archaeological material, so the working programof "Urban Culture and Ceramics through Centuries" corresponds withthe program of DIANA Centre; forming basis for realization of a jointregional project.

50

Exhibited pottery produced in the Museum Workshop izlo`eni predmeti proizvedeni u Muzejskoj radionici

PPrroojjeekkaatt uurrbbaannaa kkuullttuurraa ii kkeerraammiikkaa kkrroozz vveekkoovvee(Mllaadii u~e, iistraa`ujju ii u~estvujju u zaa{tiitii kullturnogg naaslle|aa)Miilljjkovii} Siimoniidaa, Skopjje,iistorii~aar umetnostii saa aarheolloggiijjomMuzejj naa Maakedoniijjaa

Projekat "URBANA KULTURA I KERAMIKA KROZ VEKOVE" zajedni~kije projekt Muzeja Makedonije i NVO Edukativno istra iva~kog centraza urbanu kulturu iz Skopja. Deo projekta realizovan je u saradnji saCentrom-Dijana.Muzej Makedonije je institucija kulture od izuzetnog nacionalnogzna~aja, koja ima va`nu ulogu prezentacije kulturnog nasle|a saposebnom ulogom edukacije publike.Organizacija, osmi{ljavanje i realizacija edukativnih aktivnosti u MuzejuMakedonije odvija se preko razli~itih formi rada (stru~na predavanja iprakti~ni rad) u muzejskim radionicama. Osmi{ljeni projekti su iz oblastiarheologije, istorije, istorije umetnosti, etnologije i muzeologije.U~esnicu su deca iz pred{kolskih ustanova, u~enici iz osnovnih i sred-njih {kola, studenti, gra|anstvo kao i lica sa posebnim potrebama.Muzej Makedonije sa Edukativno istra iva~kim centrom za urbanukulturu ima dugogodi{nju i bogatu saradnju, koja je rezultirala real-izacijom projekta "Urbana kultura i keramika kroz vekove".

CILJEVI PROJEKTA1. Istra ivanje modusa za unapre|enje i oboga}ivanje obrazovnogprocesa u Republici Makedoniji utvr|ivanjem metodologije eduka-tivnog procesa preko neposredne saradnje {kola i muzeja.2. Utvr|ivanje metodologije za uspe{nu realizaciju muzejske edukaci-je i organizovanje muzejskih radionica.3. Upoznavanje mladih sa arheolo{kim bogatstvom svoje zemlje iregiona, preko istra ivanja keramike kroz vekove.4. Razvijanje svesti kod mladih istra iva~a za promovisanje i ~uvanjekulturnog bogatstva.5. Ostvarivanje kontakta i dru`enje mladih iz Republike Makedonije samladima iz regiona i stvaranje zajedni~ke strategije o za{titi kulturnognasle|a.6. U~e{}e mladih istra iva~a u radu letnje {kole Dijana-Centra.

OPIS PROJEKTARealizacija projekta "Urbana kultura i keramika kroz vekove" odvija seu ~etri sesije (faze).

RADNI PROGRAM PRVE FAZE-PRIPREMAFormiranje grupe od 20 dobrovoljno prijavljenih u~enika iz DSUGimnazija "Orce Nikolov" iz Skopja i grupa od 5 dobrovoljno prijavl-jenih studenta iz Instituta za klasi~ne studije sa Filozofskog fakultetaiz Skopja. Obezbe|ivanje materijalnih uslova za rad.

RADNI PROGRAM DRUGE FAZE - AKTIVNO ANGA@OVANJEU^ESNIKA U EDUKATIVNIM AKTIVNOSTIMA PREZENTACIJEKERAMIKE KROZ VEKOVEMladi istra iva~i jednom nedeljno sastaju se u Muzeju Makedonije ilina terenu. Uz pomo} muzejskog edukatora upoznaju se sa razvitkomcivilizacije preko istra ivanja kerami~kih artefakta.Dinamika realizacije aktivnosti u drugoj fazi je slede}a:1. Upoznavanje mladih istra iva~a sa muzejskim edukatorima.2. Mladi istra iva~i pose}uju Arheolo{ku postavku MuzejaMakedonije. Razgovor i diskusija na temu "Arheolo{kobogastvo Republike Makedonije".3. Muzejska radionica - Diskusija na temu: Praistoriskakeramika sa posebnim akcentom na keramiku neolita.Taktilno upoznavanje sa delovima kerami~kih sudova injihova idetifikacija.4. Muzejska radionica: Modeliranje u glini. Sastav gline.Karakteristike i funkcije kerami~kih sudova. Izrada sudova. 5. Muzejska radionica: Projekcija dokumentarnog filma oneolitskoj keramici. Poku{aj mladih istra iva~a da identi-fikuju fragmente neolitske keramike i sastave kerami~ki sud.6. Poseta konzervatorskoj radionici za keramiku u MuzejuMakedonije. Predavanje i diskusija u vezi sa konzervacijomkeramike.

7. Radionica: Konstrukcija neolitske pe}i. Upoznavanje sa procesompe~enja keramike.8. Muzejska radionica: modeliranje u glini - neolitski sud za vodu(askos).9. Predavanje i diskusija o keramici iz bakarnog doba.10. Muzejska radionica: Modeliranje kerami~kih sudova iz eneolita.11. Muzejska radionica: Upoznavanje sa grn~arskim vitlom i diskusi-ja o keramici bronzanog doba.12. Terenska aktivnost: Poseta arheolo{kim lokalitetima-Stobi iVardarski Rid. Vizuelno upoznavanje i diskusija.13. Predavanje i diskusija o Anti~koj keramici. Demonstracija kera-mi~kih sudova i taktilno upoznavanje.14. Predavanje i diskusija o savremenoj keramici u RepubliciMakedoniji.15. Radionica: Konstrukcija kaljeve pe}i. Pe~enje kerami~kih sudovamodeliranih u muzejskim radionicama.16. Aktivno u~e{}e u obele`avanju Dana muzeja. Prezentacija pro-jektnih rezultata preko demonstracije izra|enih sudova, fotografija ivideosnimka. Podela diploma i zahvalnica.

RADNI PROGRAM TRE]E FAZEMladi istra iva~i, u~esnici u projektu u~estvuju na kursevima Centraza konzervaciju arheolo{kih predmeta DIJANA - kurs za konzervaci-ju keramike.Dinamika realizovanih aktivnosti:1. Predavanje: uvod o konzervaciji keramike.2. Radionica: konzervacija kerami~kih predmeta - mehani~ko~i{}enje; Predavanje: tehnologija keramike3. Predavanje: lasersko ~i{}enje keramike; Radionica: mehani~ko~i{}enje.4. Predavanje: osnove konzervatorskog postupka; Radionica:mehani~ko ~i{}enje keramike.5. Predavanje: proces konzervacije keramike.6. Radionica: prakti~ni rad.

7. Predavanje: tehnologija keramike8. Predavanje: kompjuterska dokumentacija arheolo{koglokaliteta Vin~a i prezentacija o mikroorganizmima na muze-jskim predmetima u depoima i trezorima.9. Poseta arheolo{kom lokalitetu Vin~a.10. Valorizacijom projektnih aktivnosti, utvr|eno je daCentar Dijana u svom programu realizuje dve vrstedelatnosti: edukaciju i konzervaciju arheolo{kog mateir-jala, te radni program projekta "Urbana kultura i kerami-ka kroz vekove" korespondira sa programom Dijane. Uspostavljanje osnove za realizaciju zajedni~kog region-alnog projekta.@elim da napomenem da je program Centra Dijana, nana{e veliko zadovoljstvo bio dopunjen izlo`benom, CD-

ROM i usmenom prezentacijom projekta "Urbana kultura ikeramika kroz vekove" kao i predavanjem o umetnosti i kul-

turi Republike Makedonije.

51

Workshop on ceramic vessels productionRadionica za izradu kerami~kih sudova

I would also like to mention that the program of DIANA Centre, toour great satisfaction, was enriched with the exhibition, digital, andverbal presentation of the Urban Culture and Ceramics throughCenturies project, as well as with the lecture on the art and cultureof Republic of Macedonia.

FORTH PHASE - ISSUING OF A BULLETINAfter the analysis and estimation of results obtained, we have reachedfollowing conclusions:1. Through finding ways for improving the educational system inRepublic of Macedonia, and defining methodology for successfulrealization of museum education, the cooperation among museums,schools and faculties has been established.2. Experimental and practical researches of possibilities and method-ology for improving direct cooperation between educational institu-tions and museums, has opened some new possibilities of cooper-ation between these institutions.3. Young researchers have learned about significance of preventiveconservation of cultural property, through researching of ceramicsthrough centuries.4.The contacts have been made between young people from Republicof Macedonia and from other countries with an aim of conductingsome joint actions in preserving of cultural heritage of the region.

THE FOLLOWING EXPERT TEAM CONDUCTED THE PROJECT:The coordinators of the project - Dr Olga Pe{evska-Zarevska(teacher of the Philosophy Teaching Methods at the PhilosophyInstitute of the Faculty of Philosophy in Skopje), Dr BlagorodnaLakinska (teacher of Didactics at the Pedagogy Institute of thePhilosophy Faculty in Skopje), Bojan Ivanov (director of the Museumof Macedonia), Simonida Miljkovic (art historian and archaeologist ofthe Museum of Macedonia), Filip Fidanovski as the coordinator of themuseum workshops (graduated ceramics designer), GordanaNikcevska as the coordina-tor for the cooperationbetween the school and themuseum (philosophy tea-cher in the SecondarySchool "Orce Nikolov" inSkopje), Dr SlobodankaMarkovska as the coordina-tor for the cooperationbetween the University andthe museum (anthropologyteacher at the PhilosophyInstitute of the Faculty ofPhilosophy in Skopje);Collaborators from the Museum of Macedonia: [teriov Vangel (arthistorian and archaeologist), Suzana Markovska (ethnologist), IrenaNasteva Koli{trkovska (archaeologist), Branko Velickovski (conserva-tor), Vladimir Bocev (ethnologist).

CONCLUSIONThe beginning of a joint action-project confirms the fact that educa-tion on cultural heritage and preventive conservation has universalsignificance and tends to build connections among all the peoplecaring for the future of cultural heritage.

MUSEUM OF MACEDONIAMuseum of Macedonia is situated in the Old Town of Skopje. Thebuilding was built for the museum purpose and it was finished in1976.The objects of cultural, historical and artistic significance for theRepublic of Macedonia are displayed in the Museum of Macedonia:archaeological, ethnological and historical in permanent exhibitions,with the Gallery of Icons as a separate display. Numerous originalobjects from archaeological sites are chronologically displayed inarchaeological exhibition - from prehistoric, Neolithic period till themigration of Slavs. The Historical exhibition displays the objects, his-torical maps, photographs and notes in the chronology that goesfrom the Ottoman period till the end of the World War II in 1944. TheEthnological exhibition presents the following subjects: folk costumes,folk customs and musical instruments, traditional economy, ethnolog-ical architecture and traditional way of weaving. The Gallery of Iconsis a collection of original icons, iconostases and frescoes from thechurches and monasteries of the Republic of Macedonia.

EDUCATIONAL-RESEARCH CENTRE FOR URBAN CULTURE,SKOPJEThe Educational-Research Centre for Urban culture (EICUK), as anassociation of individuals, was founded in 1997 by a group of uni-versity and secondary school professors, cultural professionals,experts in pedagogy, philosophy, teaching methodology, anthropolo-gy, psychology, culturology and information science.Basic activity of this association, as an academic and research insti-tution, is aimed at researches and improving teaching methodologyand technology, and in that way developing and modernizing theeducational system in Republic of Macedonia.Teaching program (of the subject of urban culture) was created andexperimentally checked through project activities. EICUK was imple-mented in the school year of 2002/03 as a subject in all reformedsecondary schools, under the name of Urban Culture. Since school

year 2003/04, thesubject of UrbanCulture is imple-mented as anoptional activity inall grades of refor-med secondaryschool system ofRepublic of Mace-donia.During the realiza-tion of its activities,EICUK establishedcooperation withnumerous gover-nmental and non-

governmental organizations. Among them are: Ministry ofEducation of Republic of Macedonia, Office forDevelopment of Education of Republic of Macedonia,Museum of Macedonia, University Library in Skopje, etc.The result of the cooperation with the Museum ofMacedonia is the realization of the joint projects:Archaeology and Museum Ethics (1999-2001), UrbanCulture and Ceramics through Centuries (2002-2003).EICUK also collaborated with the Museum of Macedoniain realization of the project of The Impact of Urban Culture

on Development of Citizenship Awareness of the Young inRepublic of Macedonia (2001-2002), which was granted the FordAward for the best project from Republic of Macedonia, aimedat young people.

52

Demonstration of ancient ceramics firing processDemonstracija starog procesa pe~enja keramike

^ETVRTA FAZA- IZDAVANJE BILTENAPo izvr{enoj analizi i proceni postignutih rezultata utvr|eno je slede}e:1. Uspostavljena je saradnja muzeja, {kola i fakulteta u okviruistra ivanja modusa za unapre|ivanje obrazovnog procesa uRepublici Makedoniji i utvr|ivanje metodologije za uspe{nu realizaci-ju muzejske edukacije.2. Eksepirimentalno - prakti~no istra ivanje mogu}nosti i metodologi-je za unapre|enje neposredne saradnje edukativnih institucija samuzejima, otvorilo je nove horizonte dalje saradnje ovih institucija. 3. Mladi istra iva~i su edukovani kad je u pitanju zna~aj preventivneza{tite kulturnog bogatstva, preko istra ivanja keramike kroz vekova.4. Ostvareni su kontakti izme|u mladih iz Republike Makedonije imladih iz drugih dr`ava sa ciljem da se ulo i zajedni~ki napor zao~uvanje kulturnog nasle|a regiona.

Projektom je rukovodio ekspertski tim:Koordinatori projekta: dr. Olga Pe{evska-Zarevska (nastavnikMetodike nastave Filozofije na Institutu za filozofiju pri Filozofskomfakultetu u Skopju) i dr. Blagorodna Lakinska (nastavnik Didaktikena Institutu za pedagogiju pri Filozofskom fakultetu u Skopju), mrBojan Ivanov (direktor Muzeja Makedonije) i Simonida Miljkovi}(dip.ist.sa arh. iz Muzeja Makedonije); koordinator muzejskihradionica: Filip Fidanovski ( akademski kerami~ar); koordinator zasaradnju {kole i muzeja: prof.Gordana Nik~evska (nastavnik filo-zofije u DSU Gimnazija "Orce Nikolov" iz Skopja); koordinator zasaradnju Univerziteta i muzeja: dr. Slobodanka Markovska (nas-tavnik Antropologije na Institutu za filozofiju pri Filozofskom fakul-tetu u Skopju) i koordinator za medije Sonja Ismail (student naInstitutu za filozofiju na Filozofskom fakultetu u Skopju); saradniciiz Muzeja Makedonije: [teriov Vangel (ist.umet.sa arh.), SuzanaMarkovska (etnolog), Irena Nasteva Koli{trkovska (arheolog),Branko Veli~kovski (konzervator), Vladimir Bocev (etnolog).

ZAKLJU^AK:Po~etak zajedni~ke akcije-projekta potvrda je da edukacija o kul-turnom dobru i preventivna za{tita imaju univerzalno zna~enje ipovezuju sve one koje se brinu za budu}nost kulturnog nasle|a.

MUZEJ NA MAKEDONIJAMuzej Makedonije nalazi se u Staroj skopskoj ~ar{iji. Objekt jenamenski projektovan i zavr{en 1976. godine.Eksponati od kulturnog, istorijskog i umetni~kog zna~aja za

Republiku Ma-kedoniju, izlo`enisu u MuzejuMakedonije -Arheolo{ki, Et-nolo{ki i Istorijskiu stalnim posta-vkama: arheo-lo{ka, istoriska,

etnolo{ka i galerija ikona.U arheolo{koj postavci hronolo{ki odpraistorije - neolita do dolaska Slovenaizlo`eni su mnogobrojni originalni predmetisa arheolo{kih nalazi{ta. Istoriskapostavka sadr`i predmete, istorijske karte,fotografije i zapise hronolo{ki odOsmanliskog perioda do kraja DrugogSvetskog rata 1944. god. Etnolo{kapostavka prezentuje slede}e tematske celine: narodne no{nje,narodne obi~aje i muzi~ke instrumente, narodnu privredu, naro-dnu arhitekturu i tradicionalno tkanje. Galerija ikona je zbirkaoriginalnih ikona, ikonostasa i fresko `ivopisa iz crkava i mana-stira u Republici Makedoniji.

EDUKATIVNO-ISTRA@IVA^KI CENTAR ZA URBANU KULTURU-SKOPJEUdru`enje gra|ana Edukativno istra`iva~ki centar za urbanu kultu-ru (EICUK) je osnovala 1997. godine grupa univerzitetskih i sred-njo{kolskih profesora, kulturnih radnika, eksperata iz oblasti peda-gogije, filozofije, nastavne metodike, antropologije, psihologije, kul-turologije i informatike.Osnovna delatnost udru`enja kao akademske i istra`iva~keustanove usmerena je na istra`ivanje i unapre|enje nastavnemetodologije i nastavnih tehnologija u pravcu razvijanja i osavre-menjivanja obrazovnog procesa u Republici Makedoniji.Nastavni program (za nastavni predmet Urbana kultura) osmi{ljeni empirijski proveren putem projektnih aktivnosti EICUK-a imple-mentiran je u {kolskoj 2002/3 godini kao predmet u svim reformi-ranim gimnazijama, pod naslovom Urbana kultura. Od {kolske2003/4 godine predmet Urbana kultura je zastupljen kao izbornaaktivnost u svim razredima reformiranih gimnazija u Republici. Tokom realizacije svojih aktivnosti EICUK ostvario je saradnju save}im brojem vladinih i nevladinih organizacija, me|u kojima i sa:Ministarstvom obrazovanja Republike Makedonije, Biroom za razvojobrazovanja R.M., Muzejom Makedonije, Univerzitetskom bib-liotekom u Skopju itd.Rezultat saradnje sa Muzejom Makedonije predstavlja realizacijazajedni~kih projekta Muzeja Makedonije i EICUK-a: Arheologija imuzejska estetika (1999-2001) i Urbana kultura i keramika krozvekove( 2002/3 god). EICUK je sara|ivao sa Muzejom Makedonijei na realizaciji projekta Uticaj urbane kulture na razvoj gra|anskesvesti mladih u Republici Makedoniji (2001/2 god), za koji je dobio

Fordovu nagradu za najbolji projekat izRepublike Makedonije posve}en mladi-ma.

53

Firing ceramic vesselsPe~enje kerami~kih sudova

FFrroomm CCuullttuurraall PPrrooppeerrttyy ttoo CCuullttuurraall HHeerriittaaggee Dr .. Niiccollaas Staanllyy Priicce, Diirecctor-GGeneraall, ICCROM, Rome

The wartime destruction of cultural heritage in Iraq has focused onthe losses of museum, library and archive collections. Surveys ofdamage to the built heritage and to archaeological sites await easieraccess to the country. Or, put another way, movable cultural property hasreceived more attention hitherto than immovable cultural property.The distinction between movable and immovable cultural property isa long-standing one. With its origins in legal terminologies, it hasbeen widely used - at the risk of oversimplifying -for distinguishingbetween portable items that constitute museum and archive collec-tions and the seemingly fixed assets of buildings. Is this distinctionstill a useful one? And why the term "property" when it seems thatnowadays everything is considered simply as "heritage"?

From property to heritageThe term "cultural property" was first used in English in a legal con-text in the UNESCO Hague Convention of 1954, and was subse-quently used for the illicit traffic Convention of 1970. It also featuresin the full title of ICCROM, founded in 1959, namely the InternationalCentre for the Study of the Preservation and Restoration of CulturalProperty.The older international documents use the terminology of cultural prop-erty and movable and immovable categories. The early Conventions andRecommendations of UNESCO, up to and including the 1970 illicit traf-fic Convention, refer to the protection of cultural property.Since then, the term "property" has tended to be superseded for gen-eral discourse by "heritage" (though its legal usage retains an impor-tant role in questions of restitution and, increasingly, in current issuesconcerning intellectual property). Whereas the term "property" conveysideas of ownership rights and sometimes of commercial value, "heritage"implies rather a legacy to inherit and to pass on to future generations.The term "heritage" grew increasingly popular in the 1960s. It first cameto be used in English in 1969 for an international agreement in theEuropean Convention on the Protection of the Archaeological Heritage;followed, significantly, by UNESCO's 1972 Convention concerning theProtection of the World Cultural and Natural Heritage (though the Listestablished to this end consists of "properties").With the shift from the term "cultural property" to "cultural heritage", theneed to distinguish between movable and immovable property wasmuch reduced. But the terminology is still widely used, especially inthe Romance languages. It is found in many legislations, titles and texts.National legislations often refer to cultural material as, for example,monuments, antiquities and works of art. None of these terms denoteexclusively either movable or immovable items. Even monuments canfall into either category. In English, a monument tends to be viewedas something immovable. But in many French, German, andSpanish-language legislations, the term "monument" can refer to bothimmovables and movables.

Movable or not?Apart from these terminological problems, the difficulties with themovable:immovable distinction are well-known. Items normally con-sidered to be immovable can sometimes be moved, whether legallyfor their protection and conservation, or illegally for sale. Buildings,machinery, and industrial installations are moved to open-air muse-ums in order to save them; or what would be considered fixtures ina building are detached and removed for their better conservation.Examples would include mosaics, wall paintings, sculptured reliefsand stelae found on archaeological sites. When detachment wasconsidered the only way of conserving such fixtures, they were treat-ed as movables to be conserved and displayed in museums. Asconservation techniques improved, and policies emphasized conser-vation in situ, such fixtures have become regarded as immovables.An interesting case is that of shipwrecks. A ship that is wrecked, andthen excavated and lifted for exhibition in a museum, has during itslifetime moved from a movable to an immovable and back to a mov-able status in our customary conceptual categories.

Does this matter? Are these categories not simply useful shorthanddescriptors, and anyway moribund as we move steadily towards "inte-grated conservation"? I suggest that they do still deserve attention, notbecause they are ultimately very useful, but because they underlie dis-tinctions in professional practice that are still very strong in many quarters. I amreferring to the traditional distinctions between those who work on theconservation of objects and those who work on buildings, two fields thatoften seem to be still surprisingly distinct from one another.How does ICCROM handle this distinction? Fortunately, ICCROM wasfounded as a centre for conservation of all cultural property, movableand immovable. In parenthesis, it is interesting to note that it was asub-committee of UNESCO's International Committee on Monumentsthat recommended in 1953 the establishment of a specialized centrefor conservation, and the committee was chaired by the Director ofICOM. In those days, at least, there was a good integration betweenthe monument and museum fields. Nevertheless, in subsequent yearsthey seem to have diverged, each creating its own specialized organ-izations and committees. In recent years there have been efforts tobring them together again. For instance, the International Committeeof the Blue Shield brings together four international NGOs (ICOM,ICOMOS, IFLA and ICA), with UNESCO and ICCROM holding con-sultative status.

Towards greater integrationA good example of the need for integration is the conservation of his-toric buildings and their contents as museums. Successful conserva-tion requires a fusion between different areas of expertise. The spe-cialists may have had rather different educations and may belong todifferent professional associations which have their origins in either thebuilt environment or the museum world. But for them to collaboratesuccessfully, good communication and understanding of each other'sconcerns is essential. This is all the more important when they comefrom different cultural backgrounds.In its professional education activities, ICCROM has long addressedaudiences of mixed disciplinary and cultural backgrounds. But it hasattempted to break new ground by treating this challenge as theobjective, and not only as an inevitable corollary of international work.Under the rubric of "sharing conservation", ICCROM is bringingtogether specialists from different disciplines and/or different culturalbackgrounds, all of whom find themselves responsible for takingdecisions about conservation.The activities so far have taken the form of a series of courses forprofessionals from different backgrounds. The first (held in Paris inJune 2001) adopted the title Sharing conservation science, with theaim of exploring with scientists and non-scientists the role that sci-ence could play in solving conservation problems. A broader aim waschosen for the second course, held at ICCROM in November 2002.This course on Sharing conservation decisions brought togetherselected applicants who included objects and archives conservators,architects, curators, and archaeologists. The purpose was to under-stand how decisions about conservation are made, within a histori-cal and cultural context that includes a wide jrange of stakeholders.It was also notable for bringing together as co-organizers the twoleading conservation institutes in Italy, namely the Istituto Centrale peril Restauro (ICR) in Rome and the Opificio delle Pietre Dure (OPD) ofFlorence. They helped provide for debate the essential case-studiesof decision-making in past and current conservation projects fromtheir own and other heritage bodies' experiences.After three weeks of crossing disciplinary boundaries, the class's abilityto bring an analytical and inter-disciplinary approach to any conserva-tion issue was put to the test. For half a day they joined the participants,mainly architects and planners, of the course on the management ofcultural landscapes that was simultaneously being run at ICCROM, todebate together decision-making in the context of disaster preparedness.These activities respond to two of ICCROM's strategic directionsidentified in 2000, namely "to adopt policies and activities that inte-grate the conservation of movable and immovable cultural property"and "to coordinate and promote interdisciplinary research into heritageconservation". In addition, they aim to cross cultural boundaries. Anotherexample of this strategy lies in the courses held regularly in Japan onthe conservation of oriental works of art on paper and of objects of

54

Preventive Conservation

OOdd kkuullttuurrnnoogg ddoobbrraa ddoo kkuullttuurrnnoogg nnaassllee||aadr Niikollaas Stenllii Praajjs, ggeneraallnii diirektor, IKKROM, Riim

Rezultat ratnih razaranja kulturnog nasle|a u Iraku predstavljaju igubici u muzejima, bibliotekama i arhivama. Uvid u nanetu {tetu gra-diteljskom nasle|u i arheolo{kim nalazi{tima mo`emo ostvariti tekkada im bude omogu}en pristup. Ili, druga~ije re~eno, dosad smopokretnim kulturnim dobrima poklanjali ve}u pa`nju nego nepokret-nim kulturnim dobrima.Razlika izme|u pokretnih i nepokretnih kulturnih dobara postojiodavno. Po~eci le`e u pravnoj terminologiji, a {iroko se koristi - makari po cenu preteranog pojednostavljivanja - da bi se pravila razlikaizme|u nosivih predmeta, koji ~ine muzejske i arhivske zbirke i priv-idno nepokretnih zgrada. Da li je ova razlika jo{ uvek korisna? I ~emutermin "kulturno dobro", kada se danas sve jednostavno smatra"nasle|em"?

Od dobra do nasle|aTermin "kulturno dobro" upotrebljen je prvi put u engleskom jeziku upravnom kontekstu u Uneskovoj Ha{koj konvenciji iz 1954.godine, akasnije je kori{}en u Konvenciji o nelegalnoj trgovini iz 1970. Terminpredstavlja sastavni deo punog naziva IKKROM-a, osnovanog1959.godine, koji glasi: Me|unarodni centar za o~uvanje i restauraci-ju kulturnih dobara.U starijim me|unarodnim dokumentima koriste se izrazi "kulturnadobra" i kategorije "pokretnih i nepokretnih dobara". Prve konvencije ipreporuke Uneska, uklju~uju}i i Konvenciju o nelegalnoj trgovini iz1970. godine, govore o za{titi kulturnih dobara.Kasnije, javlja se tendencija da se termin "dobro" u op{tim diskusija-ma zameni terminom "nasle|e" (mada u pravnim okvirima "dobro" idalje ima zna~ajnu ulogu kada se radi o restituciji, a sve ve}u i uaktuelnim raspravama o intelektualnim dobrima). Termin "dobro"ukazuje na pravo vlasni{tva, a ponekad i na tr i{nu vrednost, a ter-min "nasle|e" uvodi ideju ostav{tine, koju nasle|ujemo i prenosimobudu}im generacijama. Termin "nasle|e" je postao posebno popu-laran {ezdesetih godina pro{log veka. U engleskom jeziku prvi put jeupotrebljen 1969. ggodine, u vezi sa me|unarodnim sporazumom uEvropskoj konvenciji o za{titi arheolo{kog nasle|a; zna~ajno je da jeodmah zatim upotrebljen u Uneskovoj Konvenciji o za{titi svetskogkulturnog i prirodnog nasle|a iz1972.godine (mada se, u Listi koja jesa~injena, nalaze "dobra").Pomeranjem sa termina "kulturna dobra" na termin "nasle|e", sman-jila se potreba za razlikom izme|u pokretnih i nepokretnih dobara. Ali,terminologija je i dalje u {irokoj upotrebi, posebno u romanskim jezici-ma. Koristi se u mnogim pravnim odredbama, naslovima i tekstovima.Nacionalna zakonodavstva ~esto pominju kulturni materijal, kao {tosu, na primer, spomenici, antikviteti i umetni~ka dela. Nijedan od ovihtermina ne odnosi se isklju~ivo na pokretna ili nepokretna dobra. ^aki spomenici mogu da pripadaju obema kategorijama. U engleskom,spomenik se uglavnom tretira kao nepokretno dobro. Me|uti, umnogim zakonodavstvima na francuskom, nema~kom i {panskomjeziku, termin "spomenik" mo`e da se odnosi kako na pokretna takoi na nepokretna dobra.

Pokretna ili nepokretna?Kad se isklju~e ovi terminolo{ki problemi, ostaju i dalje oni koji seodnose na razliku izme|u pokretnih i nepokretnih dobara. Objekti kojise obi~no smatraju nepokretnim, ponekad se pomeraju, bilo legalnoradi za{tite i konzervacije, bilo ilegalno radi prodaje. Zgrade, ma{ine,industrijska postrojenja, prenose se u muzeje na otvorenom da bi sesa~uvali; ono {to se smatra opremom u zgradi pomera se i odnosi,radi bolje konzervacije. Primeri uklju~uju mozaike, zidno slikarstvo, re-ljefe i stele sa arheolo{kih nalazi{ta. Kada je pomeranje jedini na~inda se takvi objekti konzerviraju, tretiramo ih kao pokretna dobra, kojase konzerviraju i izla`u u muzejima. Unapre|enjem konzervatorskihtehnika i politikom koja se nagla{enije bavi za{titom in situ, takviobjekti su po~eli da se smatraju pokretnim dobrima.Interesantan je primer brodoloma. Brod koji je pretrpeo brodolom,kasnije izva|en i izlo`en u muzeju, prema na{im uobi~ajenim kon-ceptualnim kategorijama, promenio je svoj status od pokretnog do

nepokretnog i ponovo do pokretnog dobra.Da li je to bitno? Zar nisu ove kategorije jednostavno korisne oznakei zar ne odumiru, dok se postojano kre}emo ka "integralnoj za{titi"?Smatram da ih i dalje treba koristiti, ne samo zato {to su neospornokorisne, ve} zato {to ukazuju na razlike u profesionalnoj praksi, kojejo{ uvek postoje u pojedinim oblastima. Ovde mislim na tradicional-no razlikovanje onih koji rade na za{titi predmeta od onih koji radena zgradama, u dvema oblastima, koje su, za~udo, ~esto jo{ uvekveoma udaljene jedna od druge.Kako IKKROM tretira ove razlike? Na sre}u, IKKROM je osnovan kaocentar za za{titu svih kulturnih dobara, bilo da su pokretna ilinepokretna. Interesantno je napomenuti da je 1953. godinepotkomitet Uneskovog Me|unarodnog komiteta za spomenike pre-poru~io osnivanje specijalizovanog centra za za{titu, a direktor IKOM-a postao je predsednik komiteta. U to vreme, bar, postojala je efikas-na povezanost spomenika i muzeologije. Pa ipak, kasnije, kao da suse ove oblasti razdvojile, kao da je svaka stvarala sopstvene speci-jalizovane organizacije i komitete. Od nedavno, javljaju se napori dase ove oblasti opet spoje. Na primer, Me|unarodni komitet Plavog{tita objedinjuje ~etiri me|unarodne nevladine organizacije (IKOM,IKOMOS, IFLA i IKA), a Unesko i IKKROM imaju status konsultanta.

Ka ve}oj integracijiDobar primer neophodnosti integracije predstavlja za{tita istorijskihzgrada i njihovog sadr`aja kao muzeja. Uspe{na konzervacija zahte-va spajanje razli~itih stru~nih oblasti. Specijalisti mogu imati razli~itoobrazovanje i pripadati razli~itim profesionalnim udru`enjima, ~iji sukoreni bilo u gra|evinskom okru`enju bilo u muzejskom svetu. No,da bi uspe{no sara|ivali, neophodna je dobra komunikacija i uza-jamno razumevanje, kad se radi o problemima. Ovo je jo{ bitnije akodolaze iz razli~itih kulturnih okru`enja.IKKROM, u svoje profesionalne obrazovne aktivnosti, ve} odavnopoziva predstavnike iz razli~itih disciplinarnih i kulturnih okru`enja.Me|utim, za IKKROM to je bio na~in da otvori nove prodore tretira-ju}i ovaj izazov kao cilj, a ne kao neizbe`nu posledicu me|unarodnesaradnje,. U okviru tematike "u~e{}e u za{titi" IKKROM spaja speci-jaliste razli~itih disciplina i/ili iz razli~itih kulturnih okru`enja, pri ~emusvi oni moraju da preuzmu odgovornost za odluke koje se odnosena za{titu i konzervaciju.Aktivnosti su do sada bile u obliku serije kurseva za profesionalce izrazli~itih oblasti. Prva serija (u Parizu, juna 2001. godine) dobila jenaziv Zajedni~ko kori{}enje nauke u za{titi, a cilj je bio da se, zajed-no sa nau~nicima i onima koji to nisu, ispita uloga koju bi naukamogla imati u re{avanju konzervatorskih problema. [iri cilj je odabranza slede}i kurs, koji je odr`an u IKKROM-u novembra 2002. godine.Ovaj kurs o Zajedni~kom kori{}enju odluka poha|ali su izabraniu~esnici uklju~uju}i konzervatore predmeta i arhiva, arhitekte, kustosei arheologe. Namera je bila da se shvati na~in na koji se odnoseodluke u konzervaciji, u okvriru istorijskog i kulturnog konteksta, {touklju~uje ~itav niz zainteresovanih. Zna~ajno je {to su u ovomeu~estvovale i dve vode}e konzervatorske institucije u Italiji, IstitutoCentrale per il Restauro (ICR, Centralni institut za restauraciju) u Rimui Opificio delle Pietre Dure (OPD, Radionica za kamen) u Firenci. Onesu za diskusiju obezbedile bitne ranije primere odlu~ivanja i aktuelnekonzervatorske projekte iz sopstvenohg iskustva, ali i iz iskustvadrugih tela u oblasti za{tite nasle|a.Tokom tri nedelje, grupa je prelazila granice pojedinih disciplina, aonda su u~esnici testirani - u kojoj meri su usvojili analiti~ki i inter-disciplinarni pristup u re{avanju konzervatorskih problema. Pola danasu proveli sa u~esnicima, uglavnom arhitektama i planerima, sa kursao upravljanju kulturnim pejsa ima, koji se istovremeno odr`avao uIKKROM-u, i sa njima razgovarali o odlukama koje se donose urizi~nim situacijama.Ove aktivnosti predstavljaju odgovor na dve IKKROM-ove strate{kesmernice iz 2000-te, naime, "usvojiti politike i aktivnosti koje integri{uza{titu pokretnih i nepokretnih kulturnih dobara" i "koordinirati i pro-movisati interdisciplinarna istra ivanja za{tite nasle|a". Pored toga,one treba da premoste granice izme|u kultura. Drugi primer ovestrategije predstavljaju kursevi o konzervaciji orijentalnih umetni~kihpredmeta i lakova (urushi), koji se redovno odr`avaju u Japanu.Organizovani zajedno sa na{im partnerima iz Nacionalnog

55

Preventivna za{tita

lacquer (urushi). Organized with our partner the National ResearchInstitute for Cultural Properties (TNRICP) in Tokyo, these intensivecourses expose mainly western-trained conservators to the tradition-al manufacture, use and preservation of Japanese paper and lacquerobjects. The need on the course to cross cultural boundaries as wellas technical ones leads to a much better understanding by conser-vators from different cultural traditions of how to look after suchobjects. The course held this year in Kuala Lumpur adopted a sim-ilar approach to the conservation of flexible materials such as textilesand basketry. The ability of conservation professionals to work inter-culturally has never been more important. It is a skill that is increas-ingly in demand in their daily working contexts in our multiculturalsocieties. It is in even greater demand should they find themselvescalled upon to aid in recovery operations abroad when cultural her-itage is damaged by natural disaster or armed conflict. The prepa-ration of specialists who, irrespective of disciplinary background, showa sympathetic understanding of culturally diverse traditions while cop-ing with limited resources and difficult environments, remains a highpriority in the conservation field.Some of the reflections here on the movable-.immovable distinctionare drawn from my article due to be published in Conservation ofhistoric houses and their contents: addressing the conflicts (eds. Watt,D. and Colston, B.), Donhead Publishing, 2003.

Note: Text from ICCROM Newsletter, 29 June 2003ICCROM Newsletter 29, June 2003

PPrreevveennttiivvee CCoonnsseerrvvaattiioonn ooff CCuullttuurraall HHeerriittaaggeeGGlloobbaalliizzaattiioonn aanndd RRoollee ooff DDiiaannaa CCeennttrreeMiillaa Popovii}-@@iivaan~evii}, Museum ccouncciillor-cconservaatorHeaad of DIANA Centre for Preventiive Conservaatiion

CULTURE AND CULTURAL HERITAGE AS PRIORITY IN GLOBAL WORLD

The world has definitely changed.In the emerging and developing global world, culture has to supportequality in participation of poor and small nations and states. Withclearly voiced cultural identity, all nations, particularly those living inpoorer countries, can participate on equalfooting in building the global world.Culture makes the bridging of national,racial, social and other differencesbetween groups and nations most easy.They understand one another easily,exchange experience and knowledgethrough cultural connections and cultureitself. Culture seeks and finds partners notonly among the related and neighbouringpeoples, but also among the very distantones.By fostering its own identity, a nationbecomes a fair piece that makes multi-cultural and global mosaic of the world.The basis of cultural identity of a nation isits cultural heritage and patrimony.The basis of every culture lies in the cul-tural heritage and patrimony of a nation.Modern cultural identity of a nation can-not be created without established, well-defined and safeguarded cultural her-itage. That is why safeguarding culturalheritage is the basic strategy in formingand fostering cultural and national identi-ty including the cultural policy of a nation.It is a must that culture in the global worldbecomes a strategic priority in socialdevelopment.It is only through culture and cultural her-itage that small nations can be equal in

the global world, contribute to it and exert influence on its develop-ment. Cultural heritage can provide direct participation in the generalglobal development and also help those who are poor to overcometheir poverty and misery. The heritage is threatened by the current social environment itself.Cultural heritage today is endangered to such an extent that there ishardly any country that should not take specific steps for its safe-guarding and preserving its values.

This means that1. Only through cultural identity all people can participate in the glob-al world on equal footing.2. Cultural heritage and patrimony are fundaments of national identi-ty.3. Patrimony is endangered by the environmental conditions of thepresent society.4. Cultural heritage and patrimony are best preserved by well-organ-ized interdisciplinary system of measures within PreventiveConservation.

PREVENTIVE CONSERVATION AS GENERAL STRATEGYCultural heritage is threatened, damaged or destroyed by varioussources, spanning from war and natural disasters, through pollution,insects and disturbed environment, microorganisms up to individualacts of vandalism.No lesser threat is the lack of information, neglect and oblivion, pub-lic unawareness about the universal significance of cultural heritage,then inadequate handling and management, lack of articulated strat-egy of responsible authorities, irregular funding sources.Preventive conservation strategy is a general change of understand-ing protection, including complex care for cultural property, startingwith simple rules of effective "housekeeping" and basic methods ofstoring to the hi-tech and scientific interventions. It encompasses aneffective system of all caring measures, direct or direct ones, in themuseum or out of it and which bear influence on the destiny of cul-tural property. Cultural property can not stand improvisations as theyendanger their values and existence, and all measures of care andprotection have to be connected into an effective system - PreventiveConservation System.Safeguarding cultural heritage should be in the focus of all profes-

sionals. It should not be restricted only toprofessionals working in prevention, toactive conservation and conservators. Allwho are active in safeguarding heritageshould implement preventive conservationin accordance with their rank and respon-sibilities. European museums are involved in theprocess of developing the concept andpractice of preventive conservation,through a complex, multidisciplinary wayof handling and management of theobjects and museum collections to pre-serve the integrity of heritage and toreduce the losses of cultural heritage. In that way, preventive conservation isbecoming the cornerstone of Europeanpolicy of heritage preservation.European unity tends to be compact nowmore than ever. National governmentshave adopted similar structures and poli-cies concerning heritage.Preventive conservation is internationalissue and it is turning towards greateraccessibility and availability of museumcollections to the general public.Preventive conservation rests on scientificexchanges, free circulation of informationand education development.Preventive conservation starts with thelocal level, well-elaborated plans and me-

56

Archaeological depot in the National Museum Arheolo{ki depo u Narodnom muzeju

istra iva~kog instituta za kulturna dobra (TNRICP) u Tokiju, na ovimintenzivnim kursevima konzervatori, obrazovani uglavnom na zapad-nim tradicijama, upoznaju tradicionalnu proizvodnju, kori{}enje io~uvanje japanskih predmeta od papira i laka. Kursevi na kojima sebri{u granice kultura, ali i tehnike, doprinose mnogo boljemrazumevanju konzervatora iz razli~itih kultrnih tradicija, o tome kakotreba brinuti o ovakvim predmetima. Kurs koji je ove godine (2003.)odr`an u Kuala Lumpuru imao je sli~an pristup u konzervaciji mater-ijala kao {to su tekstil i korpe.Sposobnost profesionalnih konzervatora da deluju interkulturalnonikada nije imala toliki zna~aj kao sada. To je ve{tina koja je svepotrebnija, u kontekstu njihovog svakodnevnog rada u na{im multi-kulturnim dru{tvima. Ona je jo{ bitnija ako treba da pomognu u akci-jama sanacije u inostranstvu, kada je kulturno nasledje uni{teno, uprirodnim nesre}ama ili oru`anim sukobima. U za{titi i konzervaciji idalje je od prioritetnog zna~aja priprema stru~njaka koji, bez obzirana svoju obrazovnu strukturu, imaju razumevanja za kulturno razli~itetradicije, dok se bore sa ograni~enim resursima i te{kim uslovimaokru`enja.

N.B. Pojedini stavovi o razlikama izme|u pokretnih i nepokretnihdobara uzeti su iz mog ~lanka "Konzervacija istorijskih zgrada i nji-hovog sadr`aja: u uslovima oru`anih sukoba" (uredili Watt, D. iColston, B), Donhead Publishing, 2003

Napomena: lanak je preuzet iz ICCROM Newsletter od 29. juna2003. godine, uz saglasnost autora i IKKROM-a

PPrreevveennttiivvnnaa zzaa{{ttiittaa kkuullttuurrnnoogg nnaassllee||aa,, gglloobbaalliizzaacciijjaa ii uullooggaa DDIIAANNAA cceennttrraaMiillaa Popovii}-@@iivaan~evii}, muzejjskii saavetniik-kkonzervaator,rukovodiillaacc DIJJANA Centraa zaa preventiivnu zaa{tiitu

KULTURA I KULTURNO NASLE\E KAO PRIORITET U GLOBALNOM SVETU

Svet se definitivno promenio. Samo putem kulturnog identiteta svi ravnopravno u~estvuju u global-nom svetu.U modernom svetu koji nastupa i koji se razvija, kultura mora bitioslonac ravnopravnog u~e{}a siroma{nih i malih naroda i zemalja.Jasno izra`en nacionalni kulturni identitet pru`a svim narodima,posebno onima iz siroma{nijih zemalja, ravnopravno u~e{}e ugra|enju globalnog sveta.Uz pomo} kulture je najlak{e premostiti nacionalne, rasne, socijalnei druge razlike izme|u pojedinih grupa i naroda. Oni se najlak{erazumeju, razmenjuju iskustva i znanja upravo putem kulturnih veza.Ove veze tra`e i nalaze partnere ne samo u bliskim i susednim, ve}i u veoma udaljenim narodima. Negovanjem sopstvenog identiteta svaki narod postaje ravnopravnikami~ak multikulturalnog mozaika kulture u svetu.Osnovu kulturnog identiteta jednog naroda ~ini kulturno nasle|e iba{tina.Temelji svake kulture le`e u kulturnom nasle|u i ba{tini jednog nar-oda. Ne mo`e se postaviti savremeni kulturni identitet jednog narodabez dobro odre|enog, definisanog i o~uvanog kulturnog nasle|a.Zato je briga za o~uvanje kulturnog nasle|a osnovna strategija formi-ranja i negovanja kulturnog nacionalnog identiteta i kulturne politikejednog naroda. Kultura u globalnom svetu mora postati strate{ki prioritet dru{tvenograzvoja. Samo preko kulture i kulturnog nasle|a mali narodi mogu biti ravno-pravni u~esnici globalnog sveta, dati mu svoj doprinos i uticati na nje-gov razvoj. Siroma{nim narodima kulturno nasle|e mo`e omogu}itidirektno u~e{}e u op{tem globalnom razvoju i pomo}i u prevazi-la`enju njihovog siroma{tva i bede. Ba{tina je ugro`ena kompletnim okru`enjem sada{njeg dru{tva. Dana{nje kulturno nasle|e je toliko ugro`eno da nema zemlje kojane bi trebalo da preduzme odre|ene posebne mere za njegovofizi~ko o~uvanje i o~uvanje njegovih vrednosti.

Zna~i:1. Samo preko kulturnog identiteta svi ravnopravno u~estvuju u glob-alnom svetu.2. Osnovu kulturnog identiteta jednog naroda ~ini kulturno nasle|e iba{tina.3. Ba{tina je ugro`ena kompletnim okru`enjem dana{njeg dru{tva.4. Kulturno nasle|e i ba{tina se najbolje ~uvaju dobro organizovan-im interdisciplinarnim sistemom mera preventivne za{tite.

PREVENTIVNA ZA[TITA KAO OP[TA STRATEGIJAKulturnu ba{tinu ugro`avaju, o{te}uju ili uni{tavaju razli~iti izvori -poreme}eno okru`enje, zaga|enje okoline, neodgovaraju}a mikrokli-ma, mikroorganizmi, insekati i druge {teto~ine, vandalizam, ratne iprirodne katastrofe.Kulturno nasle|e ugro`ava i nepostojanje informacija, zanemarivanjei zaborav, nedostatak dru{tvene svesti o univerzalnom zna~aju kul-turne ba{tine. Zatim, neadekvatno rukovanje i rukovo|enje, neposto-janje artikulisane strategije odgovornih institucija vlasti, neregulisaniizvori finansiranja.Strategija preventivne za{tite podrazumeva generalnu promenu ushvatanju za{tite, od jednostavnog "ku}nog reda" i osnovnih tehnika~uvanja do visokotehnolo{kih i nau~nih intervencija. Obuhvataefikasan sistem svih mera brige, direktne ili indirektne, u muzeju i vannjega, koje uti~u na sudbinu kulturnog dobra. Kulturna dobra ne trpeimprovizacije, jer one ugro`avaju njegove vrednosti i postojanje. Zatosve mere brige i za{tite treba povezati u jedan efikasan sistem-sis-tem preventivne za{tite. O~uvanje kulturne ba{tine treba da bude u fokusu svih stru~njaka.Ne bi trebalo da se ograni~ava samo na profesionalce na poljuza{tite, na aktivnu konzervaciju i konzervatore. Svi koji su na bilo kojina~in uklju~eni u poslove u vezi sa za{titom kulturnog nasle|a trebada u~estvuju u preventivnoj za{titi, shodno njihovoj funkciji i odgov-ornosti.Evropski muzeji razvijaju koncept i praksu preventivne za{tite, prekokompleksnog, multidisciplinarnog pristupa u rukovanju i upravljanjuobjektima i muzejskim zbirkama, zarad o~uvanja integriteta nasle|a ismanjenja gubitka kulturne ba{tine. Na taj na~in preventivna za{titapostaje kamen temeljac evropske politike za{tite ba{tine. Vi{e nego ikad, evropsko jedinstvo te i zbli avanju. Nacionalne vladeodavno imaju sli~ne strukture i politike po pitanju ba{tine.Preventivna za{tita je internacionalna i orijentisana ka pove}anju pris-tupa~nosti i raspolo ivosti muzejskih zbirki {irokoj publici. Preventivnaza{tita po~iva na nau~nim razmenama, slobodnoj cirkulaciji informa-cija i razvoju obrazovanja. Preventivna za{tita po~inje na lokalnom nivou, sa dobro razra|enimplanovima i merama preventivne za{tite u svim muzejima i instituci-jama za{tite.^vrstim umre`avanjem svih institucija, preventivna za{tita se {irepovezuje na regionalnom nivou. Dobro razra|enim sistemom akcijapreventivna za{tita se mo`e brinuti o ba{tini {ire regije.Razvoj preventivne za{tite mora dobiti {iri regionalni karakter.Preventivna za{tita ne mo`e biti selektivna, ve} treba da bude inte-

57

Devastation of medieaval walls in an archaeological parkDevastacija srednjovekovnog bedema u arheolo{kom parku

asures of preventive conservation in all the museums and institutionsof safeguarding.By connecting all the institutions in a strong network, preventive con-servation covers effectively the regional level and through a carefullyplanned system of actions it can take care of heritage in the wholeregion.Development of preventive conservation must be regional. It cannotbe selective; it should be integrative instead and refer to completecultural heritage.This means that preventive conservation starts with complete care fornational heritage thus helping a nation to preserve its own nationalidentity. With well-preserved national cultures, it is easier and moreconvenient for nations to fit into the global world, as culture of anation is primarily an equal part of the regional, and secondarily partof the European and world's heritage.

PREVENTIVE CONSERVATION AS NATIONAL STRATEGYIn those countries that lived through dire economic, social and warcrises, their cultural heritage and institutions of culture and protectionhave become so devastated, traditional and almost non-respondingto current development trends in museology, that radical reforms areindispensable for rebuilding the entire system of safeguarding andcare of cultural heritage on a new basis. This reform should encom-pass not only all the activities of individual professionals and institu-tions, but also those oriented to broader public and those in stateorganisations. These activities have to be included in the interdisci-plinary system of measures of Preventive Conservation in museumsand in the entire society.In devastated societies, like ours, the system of PreventiveConservation measures should be implemented on a broad basis,including all facts and actions that have a direct as well as indirectimpact on the destiny of cultural property.It is only through well-organized system of preventive conservationthat we can stop deterioration of heritage. If we succeed in this, weshall have excellent grounds and resources coming from our owncultural identity, and supported by nationally aware nation we shallintroduce our culture into the global society, have our culture treatedon an equal footing with others and become part of world heritage.That will be our contribution to the overall multicultural picture of theworld and our contribution to its development.It seems that only by good care of its own cultural heritage a nation can,especially if it is a small one, participate in the global world and over-come its fear of globalization. In the first place, this is a task for profes-sionals in culture and heritage safeguarding, but also for the entire soci-ety of a nation. It is only through comprehensive and conscientious careof the entire society that nation's patrimony and national identity can besuccessfully saved, protected and constantly communicated. This isthe only way for a culture of a nation to become a constituent part ofthe great cultural mosaic and make its cultural property part of theregional, world and global cultural heritage and patrimony.

This means that we have to intensify the care for cultural heritage,particularly in the transition countries, in the Balkan region. If we per-severe in this, we should not have fears concerning the global world,the new emerging civilisation we could enter as nationally self-confi-dent nation and to offer the global world our rich and specific con-tribution and national heritage.More than evident is the responsibility of entire societies, particularlyprofessionals in the field of culture, for safeguarding cultural heritageand national identity of a nation. Huge is our responsibility for intro-ducing our countries into the new global system that is emerging.That is why we have to find the most appropriate methods, method-ological principles and strategies that would in the best possible wayanswer the requirements of these tasks. One of the fundamentalmethodological, theoretical and practical answers to this challengetoday, after two decades of defining and development, one of thebasic elements of every sound strategy in cultural heritage protectionis the preventive conservation.

CONDITION ANALYSIS OF SERBIA AND MONTENEGROPreventive conservation as strategy is extremely important for safe-guarding cultural heritage in transition countries, particularly in theBalkans. Long-lasting economic poverty, lack of investments inmuseum buildings and institutions of protection and development ofactivities, uncommunicativeness and inertia towards general socialtrends and changes in the world, non-existence of a defined statecultural policy and strategy - these were the reasons that causedalmost complete devastation of heritage so much so that there is areal danger of its devaluation, damaging, destruction and final loss.Well-developed, effectively and strictly implemented preventive con-servation system can be that realistic possibility that would diminishor even eliminate all potential risks threatening cultural heritage in thetransition countries and elsewhere.However, there are many people in our country who think that pre-ventive conservation is just a new name for procedure used in muse-ological practice, more or less unconsciously. Even the slightest sur-vey of conditions would show huge number of problems, which arefar from the set minimum of standards for museum functioning andsafeguarding of cultural property.

Conclusions on the condition of cultural property and museumbuildingsThe seminar on "Keeping conditions of cultural property in museumsof Yugoslavia" (held in 2002) offered a survey of Yugoslav museolo-gy at the moment. Discussions of over 150 representatives comingfrom over 40 museums in Serbia and Montenegro showed a signif-icant similarity of problems existing in almost all institutions. They are:- location of museum buildings- museum buildings ruined and needing urgent repairing- inadequate conditions concerning safekeeping, storing, transportingand displaying- use of adequate effective conservation treatments- working conditions in conservation workshops and centres- collecting, processing and documenting cultural property- adapting activities of museums to the current development trends,institutions outdated and inert in organisational sense- uncommunicativeness of museums towards public- lack of education in modern museology, protection and conservation- lack of strategic plans for development of preventive conser-vation system- lack of organised care by republic governments, communal author-ities, founders and the society in general concerning safety of cultur-al property storing conditions - lack of funds for even small-scale activities-professional depression, inability to guide personal ambitionstowards general interests and aims.If criteria required for usual functioning of museum profession are con-sidered, there is hardly any museum in Serbia and Montenegro thatwould meet the required safekeeping conditions of cultural property. When safekeeping conditions areconcerned, the present situation inour museology reached the critical point. Paradoxically, it is in thesame time a good starting point for organising and implementing pre-

58

Water coming through the windows of the Gallery of FrescoesProdiranje vode kroz prozore Galerije fresaka

grativna i da se odnosi na kompletno kulturno nasle|e i ba{tinu.Zna~i, preventivna za{tita po~inje sa kompletnom brigom za nacional-no nasle|e, i tako poma`e jednom narodu u o~uvanju sopstvenognacionalnog identiteta. Sa dobro o~uvanim nacionalnim kulturama,razli~iti narodi }e se lak{e i primerenije uklopiti u globalni svet i totako da kultura jedne nacije ~ini ravnopravni deo regionalne, evropskei svetske ba{tine.

PREVENTIVNA ZA[TITA KAO NACIONALNA STRATEGIJAU zemljama koje su prolazile te{ke ekonomske, dru{tvene, socijalnei ratne krize, kulturno nasle|e i institucije kulture i za{tite toliko su dev-astirane, tradicionalne i dobrim delom neosetljive na savremenetokove razvoja muzeologije, da je neophodno, kroz radikalne reforme,iznova postaviti ceo sistem za{tite ibrige za kulturno nasle|e, i to u {irokomrasponu koji obuhvata sve akcije unutarinstitucija i profesionalaca, ali i izvan njih- u {iroj javnosti i dr`avnim organizaci-jama. Ove akcije moraju bitiobuhva}ene interdisciplinarnim siste-mom mera preventivne za{tite u muze-jima i celom dru{tvu.U sredinama kao {to je na{a, sistemmera preventivne za{tite se morapostaviti vrlo {iroko, tako da obuhvatasve ~injenice i akcije koje direktno, ali iindirektno uti~u na sudbinu kulturnogdobra.Samo dobro organizovanim sistemompreventivne za{tite mo`emo zaustavitipropadanje ba{tine. Ako na ovaj na~inuspemo da o~uvamo ba{tinu, ima}emosjajne temelje i resurse sopstvenog kul-turnog identiteta i nacionalne svesti.Svoje kulturno nasle|e }emo ravno-pravno uvesti u globalni svet, svoju kul-turu postaviti ravnopravno sa drugima iu~initi je sastavnim delom svetskeba{tine. To }e biti na{ doprinos op{tojmultikulturalnoj globalnoj slici sveta injegovom razvoju.ini se da se samo ozbiljnom brigom za sopstveno kulturno nasle|e

jedna nacija, posebno ako je mala, mo`e na najbolji na~in uklopiti uglobalni svet i savladati strah od globalizacije. To je na prvom mestubriga profesionalaca, ali i dru{tva u celini. Samo kompletnom i sves-nom pa`njom celog dru{tva mogu se uspe{no sa~uvati, zaokru iti istalno {iriti sopstvena ba{tina i nacionalni identitet. Samo tako kulturajednog naroda predstavlja sastavni deo velikog multikulturalnogmozaika i uklapa svoja kulturna dobra u regionalno, evropsko i glob-alno kulturno nasle|e i ba{tinu.Zbog toga brigu za kulturno nasle|e moramo jo{ vi{e zao{triti,posebno u zemljama tranzicije, u Balkanskom regionu. Ako ovobudemo dosledno sprovodili ne bi trebalo da se bojimo globalnogsveta, a u novu civilizaciju koja se stvara mogli bi da u|emo sa sig-urno{}u nacionalno svesne nacije i da globalnom svetu pru imo svojbogati i specifi~an kulturni doprinos.Vi{e je nego jasna odgovornost celog dru{tva, a posebno profesion-alnih radnika iz oblasti kulture i za{tite na o~uvanju kulturne ba{tine inacionalnog identiteta jedne nacije. Na{a odgovornost za pravilnouvo|enje svoje zemlje u novi globalni sistem koji se uspostavlja jevelika.Zato treba prona}i najpodesnije na~ine, metodolo{ke principe istrategije za obavljanje ovih va`nih zadataka na najbolji na~in. Jedanod osnovnih metodolo{kih, teorijskih i prakti~nih odgovora na ovajizazov danas, nakon dve decenije definisanja i razvoja, jedan odosnovnih elemenata svake zdrave strategije za{tite kulturnih dobara jepreventivna za{tita.

ANALIZA STANJA U SRBIJI I CRNOJ GORIPreventivna za{tita kao strategija izuzetno je va`na za za{titu kulturnognasle|a u zemljama tranzicije, posebno u oblasti Balkana.

Dugogodi{nje ekonomsko siroma{tvo, nedostatak ulaganja u muze-jske zgrade i institucije za{tite, u razvoj aktivnosti; zatvorenost i tro-most u odnosu na op{te dru{tvene tokove i promene u svetu, nepos-tojanje jasne dr`avne kulturne politike i strategije, dovele su do skoropotpune devastacije ba{tine, tako da postoji velika opasnost odnjenog obezvre|ivanja, o{te}enja, uni{tenja i nestajanja.Dobrom razradom i primenom efikasnog i striktnog sistema preven-tivne za{tite, postoji realna mogu}nost smanjenja ili ~ak elimisanjasvih potencijalnih rizika po kulturno nasle|e u zemljama tranzicije, alii {ire. Me|utim, mnogi u na{oj zemlji misle da je preventivna za{tita samonovo ime za proceduru koja se primenjuje u muzeolo{koj praksi,manje ili vi{e nesvesno. I povr{an pregled stanja pokazuje veliki broj

problema koji su daleko od propisanihminimalnih standarda funkcionisanjamuzeja i brige za za{titu kulturnihdobara.

Zaklju~ci u vezi stanja kulturnih dobara imuzejskih zgrada Na Seminaru "Uslovi ~uvanja kulturnihdobara u muzejima Jugoslavije" dobije-na je op{ta slika jugoslovenske muze-ologije danas. Iz izlaganja skoro 150predstavnika iz preko 40 muzeja iz celeSrbije i Crne Gore pokazalo se da su uskoro svim institucijama problemi sli~ni iodnose se na:- lokacije muzejskih zgrada- ruinirano stanje i sanaciju samihmuzejskih zgrada- neodgovaraju}e uslove ~uvanja,pohranjivanja, transporta i izlaganja- sprovo|enje efikasnih i odgovaraju}ihkonzervatorskih tretmana- uslove rada u konzervatorskimradionicama i centrima- prikupljanje, obradu, dokumentacijukulturnih dobara- prilago|avanje delatnosti i aktivnostimuzeja sada{njim tokovima razvoja

muzeologije, organizaciono trome i zastarele institucije- zatvorenost muzeja prema javnosti - nedostatak edukacije iz moderne muzeologije, za{tite i konzervaci-je- nepostojanje strate{kih planova razrade sistema preventivne za{tite- odsustvo organizovane brige republi~kih vlada i zajedni~kih vlasti, osni-va~a i dru{tva uop{te za bezbednost uslova ~uvanja kulturnih dobara- nedostatak finansija za minimalne aktivnosti- profesionalnu depresiju, nesposobnost usmeravanja li~nih ambicijaka op{tim interesima i ciljevima.

Prema kriterijumima koji su potrebni za normalno funkcionisanjemuzejske delatnosti, skoro da nijedan muzej u Jugoslaviji ne ispun-java propisane uslove ~uvanja kulturnih dobara. Kada se radi o uslovima ~uvanja kulturnih dobara, sada{nja situaci-ja u na{oj muzeologiji predstavlja posebno kriti~nu ta~ku do koje sedo{lo, ali tako|e i dobar polazni osnov za organizovanje i primenupreventivne za{tite. Ovakva situacija je svakako posledica dugogo-di{njeg siroma{tva i zatvaranja prema svetu, ali i neblagovremenogprilago|avanja savremenim kretanjima muzeologije, sa jasno defin-isanom novom ulogom muzeja u dru{tvu. Muzeji u svetu su danas {iroko i otvoreni prema javnosti i kroz kom-pletnu brigu o kulturnom nasle|u preuzimaju na sebe jednu odvode}ih uloga u razvoju dru{tva. Nadamo se da }e dalji razvoj preventivne za{tite u DIJANA Centru ipro{irivanje njegovih aktivnosti na celu Balkansku regiju uticati ubliskoj budu}nosti da neadekvatno upravljanje kulturnim dobrima pri-padne pro{losti. Sa na{eg stanovi{ta, prvi znak promena bi}e imple-mentacija preventivne za{tite kao jednog od fundamentalnih eleme-nata op{te kulturne politike.

59

Leakage on the walls of the Gallery of FrescoesPosledice proki{njavanja u Galeriji fresaka

ventive conservation. This is evidently consequence of the long last-ing poverty and shutting off from the world, but also of the inabilityto adapt in time to modern criteria in museology, with preciselydefined new role of museums in society. Museums today are most open to the public and by taking completecare of cultural heritage they take over a leading role in social devel-opment.It is our hope that further development of preventive conservation inDIANA Centre and the widening of the span of its activities to coverthe whole Balkan region, will soon make inadequate management ofcultural property extinct. From our point of view, the first sign ofchanges would be the implementation of preventive conservation asone of the fundamental principles of cultural policy in general.

DIANA CENTRE FOR PREVENTIVE CONSERVATIONDEVELOPMENT OF DIANA CENTRE

1995/96 Organisational preparations for the Project1997 DIANA Summer School for Conservation of ArchaeologicalCeramics at Karata{1998 DIANA Summer School for Conservation of ArchaeologicalCeramics, Glass and Stone at Karata{1999 DIANA Centre for Conservation active round the year2000 DIANA Centre, one of few active in promotion and imple-mentation of preventive conservation in Yugoslavia2002 DIANA Centre for Preventive Conservation, officially posi-tioned within the frame of reorganization of the National MuseumBelgrade2003 UNESCO General Conference, at its 32nd session accept-ed Declaration of Serbia and Montenegro on Preventive Conservationas basic strategy in protection of heritage, prepared by DIANA Centre.

DIANA Centre simultaneously develops both the theory and practicein preventive conservation. DIANA Centre DIANA Centre excels in itsflexibility and energy, which is a proof that each community can devel-op basic principles of preventive conservation if adapted to its specif-ic needs and requirements. It is today a recognizable system that isefficiently contributing to the development of the profession.DIANA Centre represents a system of effective, modern safeguardingalong with implemention of interdisciplinary approach to preventiveconservation (museology, environmental control, conditions of safe-keeping, displaying and transport, microbiology, emergencies, legisla-tion, chemistry, physics, technology, petrography, archaeology, historyof arts, IT, specific artistic crafts, practical conservation treatments, etc.). Theory of preventive conservation is being developed through proj-ects and tasks. National MuseumBelgrade as central institution of pro-tection is carrying out tasks and dutiesrelated to establishing the inter-muse-um network in Serbia with the aim tobuild a functional system of preventiveconservation of moveable culturalproperty.Preventive conservation system atDIANA Centre is based on interdiscipli-nary theoretical and practical trainingand education, application of passiveand active conservation, developmentof applied research, publishing activi-ties and a powerful system of PR,communication with the public, sharingthe experience in preventive conserva-tion, raising awareness of the publicabout the care for cultural heritage,developing partnership relations withinterested institutions, building a net-work of sponsors and donors.DIANA Centre considers cultural prop-erty an international category, not alocal one. It creates preventive conser-vation integrally and regionally, aiming

at becoming centre of excellence for Serbia and Montenegro, theBalkans and Southeast Europe as well.DIANA Centre continues its work in building new, accomplished staffwho are adequately (in a multidisciplinary and specific way) educat-ed and trained so as to be able to take over tasks and duties ofmodern, timely and highest-quality preventive conservation of move-able cultural property.DIANA Centre gathers most renowned conservators and experts, whothrough specific theoretical and practical training share with interest-ed and talented students and conservators, the up-to-date body ofknowledge in preventive conservation and conservation skills.Other tasks include organization of seminars, conferences, work-shops, etc. with help of NC ICOM of SCG and in cooperation withother museums. They are aimed at education in order to help organ-ization of adequate preventive conservation of museum objects.DIANA Centre organizes conservation workshops (autumn-winter andspring ones) and summer schools, as well as publishing of profes-sional literature and appropriate translations, develops cooperationwith foreign partners (France, UK, USA, Italy, Slovenia, Croatia,Macedonia, etc.)DIANA Centre promotes application of passive conservation in muse-ums stressing the need for establishing optimal environmental con-ditions for museum collections and objects.In the same time, through education, active conservation is carriedout and timely and high quality professional protection of archaeo-logical objects is done under supervision of eminent experts.Collaborators of DIANA Centre also apply active conservation onarchaeological objects from the National Museum Belgrade collectionand from other musems and galleries.Diana Centre is starting preparations for applied research in preven-tive conservation, conservation, archaeology and arts.DIANA Centre is active in establishing, publishing and translating pro-fessional literature.DIANA Centre is developing significant international, reginal and localcooperation through partnership projects.DIANA Centre develops active attitude in promotion of preventiveconservation principles and raising awareness of the public about theincreasing need for safeguarding cultural heritage.Due to the specific nature of DIANA's activities, it can only partly relyon the National Museum Belgrade services when promotion of DIANACentre and PR are concerned. It is necessary for DIANA to developthese activities by organizing promotions, specific exhibitions and"open workshops", creating Internet sites and publications. All thisbrings the widest audience into the Museum, informs it about thenature of museum activities and thereby raises the awareness about

the importance of cultural heritage andthe care of it.Successful carrying out of these taskswill bring about a well-organized inter-museum network, as well as effectivesystem inside museums related to pre-ventive conservation. This will also pro-mote the knowledge on importance ofour heritage, which would in the endcontribute to general promotion of thecountry abroad.In the coming period, one of the mostimportant tasks will be to support effortsof the state to establish such legal sys-tem that would include preventive con-servation as one of the basic strategiesin safeguarding cultural heritage.Having organized DIANA Centre forPreventive Conservation the NationalMuseum Belgrade develops into one ofthe few promoters of preventive conser-vation principles in museum collections.This national institution is building itsplace on the international level by beingsmong the first that built preventive con-servation into their development strategy.

60

Flooding threatOpasnost od poplave

DIJANA CENTAR ZA PREVENTIVNU ZA[TITU-----------Razvoj DIJANA Centra

1995/96 Organizacione pripreme Projekta1997 DIJANA Letnja {kola za konzervaciju arheolo{ke keramike naKarata{u1998 DIJANA Letnja {kola za konzervaciju arheolo{ke keramike, stak-la i kamena na Karata{u1999 DIJANA Centar za konzervaciju koji funkcioni{e cele godine2000 DIJANA Centar jedan od retkih aktera promocije i primene pre-ventivne za{tite u Jugoslaviji2002 DIJANA Centar za preventivnu za{titu, zvani~no instituisan usklopu reorganizacije Narodnog muzeja2003 Generalna Skup{tina UNESKO-a, 32 sesija, prihvata DeklaracijuSrbije i Crne Gore o preventivnoj za{titi kao osnovnoj strategiji za{titeba{tine, koju je pripremio DIJANA Centar.

DIJANA Centar istovremeno razvija teoriju i praksu preventivne za{tite.DIJANA Centar poseduje elasti~nost i energiju kojima pokazuje dasvaka sredina mo`e razvijati osnovne principe preventivne za{tite, pri-lago|ene njenim specifi~nostima i razli~itostima. DIJANA Centar jedanas prepoznatljiv sistem koji pru`a istinski doprinos razvoju struke.DIJANA Centar je sistem efikasne, savremene za{tite koja se bazirana interdisciplinarnosti (muzeologija, kontrola sredine, uslovi ~uvanja,izlaganja i transporta, mikrobiologija, za{tita u vanrednim prilikama,zakonodavstvo, hemija, fizika, tehnologija, petrografija, arheologija,istorija umetnosti, informatika, posebne umetni~ke ve{tine, prakti~naaktivna konzervacija, itd.)Teoriju preventivne za{tite DIJANA Centar ve} razra|uje krozkonkretne projekte i zadatke. Narodni muzej, kao mati~na institucijaza{tite, preuzima poslove i zadatke koji se odnose na formiranjeme|umuzejske mre`e u Srbiji, ~iji je cilj postavljanje funkcionalnogsistema preventivne za{tite pokretnih kulturnih dobara. Sistem preventivne za{tite DIJANA Centra zasniva se na interdiscipli-narnoj teorijskoj i prakti~noj obuci, primeni pasivne i aktivne konzer-vacije, razvoju primenjenog istra ivanja, izdava~koj delatnosti isna`nom sistemu informisanja, otvorenosti prema javnosti i stavljanjana uvid svih aktivnosti u vezi sa za{titom, na animiranju javnosti zabrigu o kulturnom nasle|u, razvijanju partnerskih odnosa sa razli~itiminstitucijama, formiranju mre`e sponzora i donatora.DIJANA Centar nema lokalni karakter, ve} kulturno dobro shvata kaointernacionalnu kategoriju. Preventivnu za{titu kreira integralno naregionalnom nivou, te`e}i da se nametne u Srbiji i Crnoj Gori, naBalkanu - u zemljama jugoisto~ne Evrope.DIJANA Centar nastavlja svoj rad na formiranju novih, kvalitetnihkadrova koji }e biti adekvatno (multidisciplinarno i specifi~no) obra-zovani i obu~eni da mogu da preuzmu na sebe poslove savremene,blagovremene i najstru~nije preventivne za{tite pokretnih kulturnihdobara. DIJANA Centar okuplja najistaknutije konzervatore i stru~njake, kojispecifi~nom teorijskom i prakti~nom obukom prenose zainteresovan-im talentovanim u~enicima i konzervatorima najnovija znanja iz pre-ventivne za{tite i konzervatorskih ve{tina.Drugi zadaci podrazumevaju organizovanje (uz pomo} YU NC ICOM-a i u saradnji sa drugim muzejima) konferencija, seminara, saveto-vanja, radionica koje treba da obrazuju i pomognu u organizacijipravilne za{tite muzejskih predmeta; odr`avanje konzervatorskihradionica (jesenje-zimskih i proletnjih) i letnje {kole, kao i rad na pub-likovanju stru~ne i prevedene literature; razvijanje saradnje sa inos-tranim partnerima (iz Francuske, Velike Britanije, Amerike, Italije,Slovenije, Hrvatske, Makedonije i dr.). DIJANA Centar radi na primeni pasivne konzervacije u muzejima, saakcentom na ustanovljavanju optimalnog okru`enja za muzejskezbirke i zgrade (uslovi ~uvanja). Istovremeno, kroz obuku se sprovodi i aktivna konzervacija i vr{iblagovremena i visokoprofesionalna za{tita arheolo{kih predmeta,pod nadzorom eminentnih stru~njaka, kao i rad na aktivnim konzer-vacijama na arheolo{kim predmetima iz zbirki Narodnog muzeja, alii iz drugih muzeja i galerija sa saradnicima DIJANA Centra.

DIJANA radi na pripremama za uspostavljanje primenjenih istra ivan-ja iz oblasti preventivne za{tite, konzervacije, arheologije i umetnosti.DIJANA Centar radi na formiranju, publikovanju i prevo|enju stru~neliterature.DIJANA Centar razvija zna~ajnu me|unarodnu, regionalnu i lokalnusaradnju, kroz partnerske projekte.DIJANA Centar radi na promovisanju principa preventivne za{tite ianimaciji javnosti, sa ciljem da poja~a brigu za kulturno nasle|e.Zbog specifi~nosti svojih delatnosti DIJANA se samo jednim delomoslanja na muzejske slu`be kada su u pitanju promocija DIJANACentra i odnosi sa javno{}u. Ostaje potreba da DIJANA samostalnorazvija ove aktivnosti, i to organizovanjem promocija, izradom internetprezentacija i publikacija, organizovanjem posebnih izlo`bi i "otvorenihradionica" kojima se {iroka publika dovodi u muzej, upoznaje saprirodom muzejskih delatnosti i na taj na~in doprinosi {irenju svesti ozna~aju kulturnog nasle|a i brige za njega. Uspe{no realizovanje ovih poslova i zadataka stvori}e dobro organizo-vanu me|umuzejsku mre`u, ali i efikasan sistem unutar samih muze-ja vezan za preventivnu za{titu i uspe{nu afirmaciju svesti o zna~aju na{eba{tine, {to u krajnjem ishodu doprinosi i afirmaciji na{e zemlje u svetu.U narednom periodu jedan od najva`nijih zadataka }e biti zalaganjeda na{a dr`ava uspostavi pravni sistem koji }e uklju~iti preventivnuza{titu kao jednu od osnovnih strategija o~uvanja kulturnog nasle|a.Organizovanjem DIJANA Centra za preventivnu za{titu, Narodni muzeju Beogradu postaje jedan od retkih aktera primene principa preven-tivne za{tite muzejskih zbirki. Ova nacionalna institucija i na me|unar-odnom planu izbija u prvi red onih koje su preventivnu za{tituzvani~no usvojile kao novu strategiju svog razvoja.DIJANA Centar pokazuje da kulturno dobro i preventivna za{tita zaistaimaju univerzalno zna~enje i da ~vrsto povezuju sve one koji se brinuo budu}nosti i opstanku kulturnog nasle|a.Ve} smo na putu da ostvarimo ono {to smo zapisali jo{ 1996.godine, u prvim dokumentima Projekta - da za{tita kulurnih dobarane sme imati lokalni karakter, da treba da objedinjuje i da obuhvatakompletno kulturno nasle|e, te da se sistemi za{tite moraju graditijedinstveno za {iru regiju. U jasno definisanom pristupu, razvijenojmetodologiji, zajedni~kom ose}aju pripadnosti jedinstvenoj ideji, aku-muliranoj energiji, dinami~nosti, upornosti i entuzijazmu, lako se moguprepoznati na{i slede}i koraci i cilj - DIJANA kao regionalni centarpreventivne za{tite. Ovakav razvoj DIJANA Centra ve} su prepoznalezna~ajne doma}e i me|unarodne organizacije kulture i za{tite, ali ikolege i institucije u okolnim zemljama na{eg regiona. DIJANA Centar ve} uzima aktivno u~e{}e u promociji principa pre-ventivne za{tite, podizanja novoa javne svesti za brige o o~uvanjukulturnog nasle|a, a po~inje da se ose}a i njen direktan uticaj nazvani~nu kulturnu politiku na{e zemlje. Po{to u na{em okru`enju ne postoji institucija sli~nog profila, DIJANACentar je spreman da ponudi svoje znanje, iskustvo, energiju ikapacitete svima u ovoj regiji koji za to imaju potrebe i interes.

61

Inadequate storaging conditions for ceramicsNeadekvatni uslovi ~uvanja kerami~kih predmeta

In this period of transition, clearly defined position of DIANA Centrewithin the new organisation scheme of the National Museum Belgradeshould help other museum activities, which are fundamental for itsdevelopment, also to be interdisciplinary defined.DIANA Centre proves the assertion that cultural property and pre-ventive conservation are of universal meaning and that they closelyconnect all those thinking about the future and survival of cultural her-itage.We have already started realizing our ideas as given in the first doc-uments of the Project in 1996 - namely, that safeguarding of cultur-al property is not to be of local character, that it should unite andencompass complete cultural heritage, therefore safeguarding sys-tems should be integral for the whole region. Clearly definedapproach, developed methodology, communal sense of belonging toa unique idea, energy accumulated, dynamism, perseverance andenthusiasm, reveal clearly our next steps and goals - DIANA asregional centre for preventive conservation. This development ofDIANA Centre has already been recognized by significant nationaland international organisations and institutions in fields of culture andsafeguarding, as well as our by colleagues and institutions in theneighbouring countries in the region.DIANA Centre has already been actively participating in the promo-tion of preventive conservation principles, raising the awareness of thepublic about the care for safeguarding cultural heritage and its directimpact on the official cultural policy of thecountry is being noticed.As there exists no institution of similar profile inour neighbourhood, DIANA Centre is willing tooffer its knowledge, experience, energy andcapacities to all those in the region who needthem or are interested.

STRATEGIC GOALS AND DEVELOPMENTSTRATEGY OF DIANA CENTREVISION of the regional Centre for PreventiveConservation - DIANA for the Balkans regionand beyond.

MISSION-Establishing the preventive conservation sys-tem as the basic museological principle forsafeguarding cultural heritage and natinal iden-tity of our nation-Cultural identity contributes to achieving equalparticipation in the global world activities andmake contribution first to the regional and thento the general cultural picture of the world.

LONG-TERM GOALS- Including preventive conservation in europeanstrategic project- Developing the theory of preventive conser-vation through projects and strategic plans- DIANA Centre in accordance with the new organisational schemeof the National Museum Belgrade , as central institution in charge ofprotection, takes over tasks and duties related to establishing inter-museum network in Serbia focused on establishing an operationalsystem of preventive conservation of movable cultural property- Functional system of preventive conservation in Serbia andMontenegro should help implementation of the same regionally in theBalkans and beyond it- DIANA Centre continually works on building new, accomplished staffwho are adequately (in a multidisciplinary and specific way) educat-ed and trained so as to be able to take over tasks and duties ofmodern, timely and highest-quality preventive conservation of move-able cultural property.

DEVELOPMENT STRATEGIESDIANA Centre defines and conducts its own development strategiesaccording to the European strategy of preventive conservation adapt-ed to specific conditions in our country.

1. LeadershipGovernments take leadership and carry out policies of preservationof cultural heritage.2. Institutional planningMuseums include preventive conservation in long-term institutionalplanning. 3. TrainingAll those dealing with collections have appropriate and up-to-datetraining in preventive conservation.4. Passive conservationDefining standards and application of suitable methodologies forkeeping, storing, displaying and transporting cultural property. 5. Active conservationDefining standards and application of suitable methodologies of activeconservation treatments and conditions of safekeeping cultural heritage.6. ResearchDevelopment of research in preventive conservation, conservation,archaeology and arts.7. Access to informationAll those involved in collection care have awareness of and accessto the international body of information on preventive conservation.8. Public roleThe public is made aware of and has a role in preventive conservation.

MAIN PROGRAMMESA) EducationB) Application of passive conservationC) Application of active conservationD) ResearchE) Specialized publicationsF) Promotion of preventive conservationG) PartnershipH) Marketing

MAIN STRATEGIC OBJECTIVESDIANA Centre has defined following strategicobjectives and tasks for our country and theBalkan region:- Invite Ministries of Culture of Republic ofSerbia and Montenegro to appoint a group ofexperts in order to create a permanent charterof preventive conservation, in one word, stateConvention of Serbia and Montenegro.- Develop strategy of preventive conservationthat should be adopted by the Ministries ofCulture of Serbia and Montenegro, but also byMinistries in other countries in the region.- Promote a fundamental common concept ofsafeguarding, with active role of politicians,professionals and public in order to create astrong sense of responsibility for preventiveconservation.

- Help establishing educational programs and educative materialbased on existing resources.- Raise the level of education and methods of conservationthrough research.- Develop recommendations for planning strategy of museums thatinclude preventive conservation, and available models and experience.- Enable access to Internet under same criteria for all museumsin Europe.- Create a network of institutions responsible for collecting and dis-seminating information about preventive conservation, including exist-ing organizations such as national professional organizations; ICOM,Working Group for preventive conservation of InternationalConservation Committee of ICOM, ICCROM.- Share experience with other institutions considering initiatives for"activation" of media and the public and enhance those activities.- Create partnership in planning and application of preventive con-servation principles with adequate conservation sections in museumsand conservation institutions of the region.

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Inadequatly organized space in amuseum storageNeadekvatno organizovan prostor umuzejskom depou

STRATE[KI CILJEVI I RAZVOJNE STRATEGIJE DIJANA CENTRA

VIZIJARegionalni Centar za preventivnu za{titu - DIJANA za teritorijuBalkana i {ire.

MISIJAUspostavljanje sistema preventivne za{tite kao osnovnogmuzeolo{kog principa o~uvanja kulturne ba{tine i nacionalnog iden-titeta na{e nacije.Preko kulturnog identiteta doprineti formiranju ravnopravnog u~e{}a uglobalni svet i pru iti na{ doprinos prvo regionalnoj, a zatim, op{tojkulturnoj slici sveta.

DUGORO^NI CILJEVI- Uklju~ivanje preventivne za{tite u evropski strate{ki projekat.- Razrada teorije preventivne za{tite kroz konkretne projekte istrate{ke planove.- DIJANA Centar, u skladu sa novom organizacijom Narodnog muze-ja, kao mati~ne institucije za{tite, preuzima poslove i zadatke koji seodnose na formiranje me|umuzejske mre`e u Srbiji, ~iji je cilj postavl-janje funkcionalnog sistema preventivne za{tite pokretnih kulturnihdobara.- Uticati da se funkcionalni sistem preventivne za{tite u SCG imple-mentira i organizuje u regionalnom smislu i na novou Balkanske regi-je i {ire.- Uporedo sa ovim, DIJANA nastavlja svoj rad na formiranju novih,kvalitetnih kadrova koji }e biti adekvatno (multidisciplinarno i specijal-izovano) obrazovani i obu~eni da mogu da preuzmu na sebe poslovesavremene, blagovremene i najstru~nije preventivne za{tite pokretnihkulturnih dobara.

RAZVOJNE STRATEGIJEPrema evropskoj strategiji preventivne za{tite DIJANA centar odre|ujei sprovodi svoje strategije razvoja, prilago|ene specifi~nim uslovima istanju na{oj zemlji. 1. InicijativaVlade preuzimaju inicijativu i vode politiku za{tite kulturne ba{tine.2. Institucionalno planiranjeMuzeji uklju~uju preventivnu za{titu u institucionalno planiranje na dugirok.3. EdukacijaSve osobe koje imaju pristup zbirkama, moraju imati odgovaraju}e iosavremenjeno poznavanje preventivne za{tite4. Pasivna konzervacijaUtvr|ivanje standarda i primene odgovaraju}ih metodologija uslova~uvanja, pohranjivanja, izlaganja i transporta kulturnih dobara5. Aktivna konzervacijaUtvr|ivanje standarda i primene odgovaraju}ih metodologija preven-tivnih konzervatorskih tretmana za{tite kulturnih dobara. 6. Istra iva~ki radRazvoj istra iva~kog rada u oblasti preventivne za{tite, konzervacije,arheologije i umetnosti.7. Pristup informacijamaSve osobe uklju~ene u za{titu-konzervaciju zbirki poznaju i imajupristup skupu informacija o preventivnoj za{titi na me|unarodnomnivou.8. Uloga javnostiJavnost je obave{tena o preventivnoj za{titi i u njoj ima svoju ulogu.

GLAVNI PROGRAMIA) EdukacijaB) Primena pasivne konzervacijeC) Primena aktivne konzervacijeD) Istra iva~ki rad E) Stru~na publicistikaF) Promocija preventivne za{titeG) PartnerstvoH) Marketing

GLAVNI STRATE[KI CILJEVIDIJANA Centar je postavio, za na{u zemlju i Balkansku regiju,slede}e strate{ke ciljeve i zadatke:- Pozvati Ministarstva kulture Republike Srbije i Crne Gore da formi-raju grupu eksperata, kako bi se stvorila jedna trajna povelja preven-tivne za{tite, koja bi bila u osnovi dr`avne konvencije.- Razviti strategiju preventivne za{tite, koju treba da usvojeMinistarstva kulture Srbije i Crne Gore, ali i ona iz drugih okolnihzemalja ovog regiona. - Promovisati fundamentalni koncept zajedni~ke za{tite, aktivnouklju~uju}i politi~are, profesionalce i javnost, kako bi se stvorilo jakoose}anje odgovornosti za preventivnu za{titu kulturnih dobara.- Olak{ati etabliranje obrazovnih programa i edukativnog materijalabaziranih na postoje}im izvorima.- Podi}i nivo obrazovanja i metoda za{tite, kroz razvoj istra iva~kograda.- Razviti preporuke za planiranje strategije muzeja, koji uklju~uju pre-ventivnu za{titu, uklju~uju}i i raspolo ive modele i iskustvo.- Omogu}iti pristup internetu po istim kriterijumima za sve muzeje uEvropi.- Stvoriti jednu mre`u institucija, ~ija }e odgovornost biti da sakupl-jaju i {ire informacije o preventivnoj za{titi, uklju~uju}i postoje}e orga-nizacije kao {to su nacionalna strukovna muzeolo{ka udru`enja,ICOM, radna grupa za preventivnu konzervaciju Internacionalnogkonzervatorskog komiteta ICOM -CC, ICCROM-a.- Podeliti iskustva sa drugim institucijama o inicijativama "aktiviranja"medija i javnosti, i poja~ati te aktivnosti. - Upostaviti partnerske jasne odnose u planiranju i sprovo|enju prin-cipa preventivne za{tite sa odgovaraju}im slu`bama za{tite u muze-jima i institucijama za{tite na{eg regiona.

63

Lack of possibility for adequate storagingNedostatak mogu}nosti za adekvatno ~uvanje

OBJECTIVES AND GOALS REALIZED SO FAR - Establishment of the system of preventive conservation as funda-mental museological principle in safeguarding cultural heritage, whichimplies multidisciplinary management (governance and handling) ofcultural property, in order to reduce losses in cultural heritage andmaking our preventive conservation part of European strategic project;- National Museum as central protection institution takes over dutiesand tasks relating to establishment of inter-museum network inSerbia, with the aim to build a functional system of preventive con-servation of movable cultural property;- Establishing interdisciplinary approach system in preventive conser-vation (museology, environmental control, safekeeping, display andtransport conditions, microbiology, emergencies, legislation, chemistry,physics, technology, petrography, archaeology, history of arts, infor-matics, specific artistic skills, practical conservation, etc.);- Gathering of most eminent conservators and professionals aroundDIANA who teach students, conservators and curators, through spe-cific theoretical and practical training, the latest achievements in pre-ventive conservation and conservation skills;- Work on build up of new, professional staff who would be ade-quately (multidisciplinary and specifically) trained;- Regular and permanent educative workshops (autumn-winter andspring) and summerschools;- Participation in organisa-tion of educative seminarsin order to educate for andhelp in organisation ofproper protection of muse-um objects;- Help in introducing pas-sive conservation in muse-ums focused on providingoptimum environmentalconditions for museumobjects;

- Practical training done throughactive conservation treatments,whereby timely and highly profes-sional conservation of archaeolog-ical objects is provided;- Active attitude in providing andpublishing professional literatureboth original and translations; - Active attitude in promotion ofpreventive conservation principlesand making the public aware ofthe need for increased care aboutthe heritage;- Carrying out activities on thelocal, regional and internationallevel;- Active attitude in preparingresearches in preventive conserva-tion, conservation, archaeologyand arts.- Preparations for researches inpreventive conservation, conserva-tion, archaeology and artsThe influence of DIANA Centre

activities has been noted in improvement of museum profession, par-ticularly in safeguarding and conservation:- Affirmation of the profession: a coherent conservation strategy isgradually changing the understanding of safeguarding, as well as ofconservation as profession, extending to complete care about cultur-al property;- Influence exerted on raising awareness about preventive conserva-tion;- Theory of preventive conservation is developed through concretestrategic plans, projects, and activities;- National Museum Belgrade included preventive conservation into itsstrategic long-range planning;- National Museum Belgrade established DIANA Centre as the cen-tre for development and implementation of preventive conservation;- Institutional positioning of DIANA Centre is being followed by humanresources employed and by searching for adequate premises, as thisis all indispensable for its further development and expanding in thesense of a Regional centre for preventive conservation.DIANA Centre has become the nucleus of the new approach, under-standing, professional conduct in the organisation of protection serv-ice, raising the level of the profession in general and building its affir-mation.

OF PARTICULAR STRATEGIC IMPORTANCEDuring the 32rd session of UNESCO General Conference, held inParis on October 2003, Commission IV, 32 C/74 on 16 October 2003accepted the Resolution of Serbia and Montenegro No 32 C/DR.35para 04210 (a) (ii) on preventive conservation as fundamental strat-egy in protection of heritage, prepared by DIANA Centre

PPrreevveennttiivvee ccoonnsseerrvvaattiioonn:: FFrroomm ccuurrrreenntt iissssuueess ttoo ccoommmmoonn ssttrraatteeggiieess,, CCoouurrssee,, OOttttaawwaa 22000033Vesnaa @iivkovii}, ccuraator,DIANA Centre for Preventiive Coservaatiion

Canadian Conservation Institute and ICCROM organized course onpreventive conservation "From current issues to common strategies",held in Ottawa, from 2nd to 20th June, 2003.The course addressed the professionals for training and education inpreventive conservation, with an aim to improve understanding of dif-ferent aspects in preventive conservation, their application, as well asincluding of new methodologies in existing programmes for educa-tion.On the first day of the course participants (ten participants fromCanada and twelve from the rest of the world, including Serbia andMontenegro), course team, schedule, planned activities and basicideas of the course were presented. Intention was to acquaint par-ticipants with the process of course planning, its basic principles, rea-sons for organizing such a course and to introduce participants andthe organizers of the course.The course dealt with the process of making decisions refering todevelopment and application of preventive conservation. The aim ofthis segment of the course was to acknowledge basics elements ofdecision making. Stefan Michalski, CCI gave information on processitself and discussed memory, intuition, imagination, common sense,ethics and reason as six key elements in the process of decisionmaking.Stefan Michalski and Robert Waller from Canadian Museum of Natureexplained foundamental concepts of risk assessment process andpresented new methods of risk assessment for museum collections.Parameters related to characteristics of existing risks (frequency,severity, consequences) are codified and quantified. Total sum ofobtained values enables the comparison of all different risks, basedon nine factors of deterioration of museum objects, with an aim toset up priorities - to rank risks from the highest to the lowest one orto group them and minimize general risk.In the part of the course dealing with relative humidity and tempera-ture Stefan Michalski presented, discussed and elaborated currentdata and guidelines on these two subjects, explained notion of vul-nerability of an object and a whole group of technical problems relat-

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Copy of a fresco contaminated with microorganismsKopija freske kontaminirana mikroorganizmima

KOJI CILJEVI SU DO SADA POSTIGNUTI- Uspostavljanje sistema preventivne za{tite kao osnovnog muzeo-lo{kog principa o~uvanja kulturne ba{tine, {to zna~i multidisciplinarnoupravljanje (rukovo|enje i rukovanje) kulturnim dobrima, kako bi seredukovali gubici kulturne ba{tine iuklju~ivanje preventivne za{tite uevropski strate{ki projekat;- Narodni muzej kao mati~nainstitucija za{tite preuzima poslovei zadatke koji se odnose na formi-ranje me|umuzejske mre`e uSrbiji, ~iji je cilj postavljanjefunkcionalnog sistema preventivneza{tite pokretnih kulturnih dobara;- Uspostavljanje sistema interdis-ciplinarnog pristupa preventivneza{tite (muzeologija, kontrola sre-dine, uslovi ~uvanja, izlaganja i transporta, mikrobiologija, za{tita uvanrednim prilikama, zakonodavstvo, hemija, fizika, tehnologija, pet-rografija, arheologija, istorija umetnosti, informatika, posebne umet-ni~ke ve{tine, prakti~na konzervacija, itd.);- Okupljanje najistaknutijih konzervatora i stru~njaka, koji specifi~nomteorijskom i prakti~nom obukom prenose polaznicima, konzervatori-ma i kustosima najnovija znanja iz preventivne za{tite i konzerva-torskih ve{tina;- Rad na formiranju novih, kvalitetnih kadrova, koji }e biti adekvatno(multidisciplinarno i specifi~no) obrazovani;- Redovno odr`avanje stalne edukativne radionice (jesenje-zimske iproletnje) i letnje {kole; - U~e{}e u organizovanju edukativnih seminara, koji treba da obrazu-ju i pomognu u organizaciji pravilne za{tite muzejskih predmeta;- Rad na primeni pasivne za{tite u muzejima, sa akcentom naustanovljavanju optimalnog okru`enja za muzejske predmete i zbirke;- Istovremeno sprovo|enje i aktivne konzervacije i vr{enje blagov-remene i visoko profesionalne za{tite arheolo{kih predmeta - krozprakti~nu obuku; - Rad na formiranju i publikovanju stru~ne i prevedene literature;- Rad na promovisanju principa preventivne za{tite i animaciji javnostizarad poja~anja svesti o brizi za ~uvanje kulturnog nasle|a;- Realizacija svoje aktivnosti, ve} dobrim delom na lokalnom, region-alnom i me|unarodnom nivou;- Rad na pripremama za uspostavljanje istra ivanja iz oblasti pre-ventivne za{tite, konzervacije, arheologije i umetnosti.U svakom delu svojih aktivnosti DIJANA Centar je vidno uticao napobolj{anje muzejske struke, posebno u za{titi i konzervaciji.- Afirmacija struke: koherentna konzervatorska strategija polakopostaje generalna promena u shvatanju za{tite, ali i konzervacije kaoprofesije, obuhvataju}i kompletnu brigu za kulturna dobra.- Uti~e se na formiranje pove}ane svesti o preventivnoj za{titi.- Teoriju preventivne za{tite DIJANA Centar po~inje da razra|uje krozkonkretne strate{ke planove, projekte i aktivnosti.- Narodni Muzej je uklju~io preventivnu za{titu u strate{ko planiranjena dugi rok.- Narodni muzej je instituisao DIJANA Centar, kao centar za razvoj i pri-

menu preventivne za{tite.- Institucionalno organizovanje DIJANA Centra po~inje da prati ikadrovsko oja~avanje i re{avanje odgovaraju}eg prostora, {to je svenerophodno za njegov dalji razvoj i {irenje ka Regionalnom Centru zapreventivnu za{titu-DIJANA Centar je postao nukleus novog pristupa, shvatanja, profe-sionalnog odnosa u organizaciji slu`be za{tite, op{teg podizanjanivoa i afirmaciji struke, i dr.

POSEBNO STRATE[KI VA@NONa poslednjoj Generalnoj Skup{tini UNESKO-a, 32 sesija, odr`anojoktobra u Parizu, u okviru Komisijije IV, 32 C/74 , 16 oktobra 2003.prihva}ena je Rezolucija Srbije i Crne Gore br. 32 C/DR.35, paragraf04210 (a) (ii) o preventivnoj za{titi kao osnovnoj strategiji za{titeba{tine, koju je pripremio DIJANA Centar.

PPrreevveennttiivvnnaa zzaa{{ttiittaa:: OOdd tteekkuu}}iihh ppiittaannjjaa ddoo zzaajjeeddnnii~~kkiihh ssttrraatteeggiijjaa,, kkuurrss,, OOttaavvaa 22000033.. Vesnaa @iivkovii}, kustos,DIJJANA Centaar zaa preventiivnu zaa{tiitu

U organizaciji Kanadskog konzervatorskog instituta i ICCROM-a izRima organizovan je kurs o preventivnoj za{titi "Od teku}ih pitanja dozajedni~kih strategija", od 2. do 20. juna 2003. godine, u Otavi. Kurs je bio namenjen stru~njacima za obuku i edukaciju u oblastipreventivne za{tite, sa ciljem da se pobolj{a razumevanje razli~itihaspekata preventivne za{tite, njihove primene, kao i uklju~ivanje novihmetodologija u ve} postoje}e programe edukacije.Prvog dana kursa predstavljeni su u~esnici (deset u~esnika iz Kanadei dvanaest iz celog sveta, uklju~uju}i i Srbiju i Crnu goru), tim kursa,raspored, planirane aktivnosti i osnovne ideje kursa. Cilj je bilorazumevanje procesa planiranja kursa, njegovih osnovnih postavki irazloga za njegovo organizovanje, kao i upoznavanje u~esnika i orga-nizatora kursa.Kurs je podrazumevao razmatranje procesa dono{enja odluka kojise odnose na razvoj i primenu preventivne za{tite i cilj ovog seg-menta kursa je bio prepoznavanje osnovnih elemenata procesadono{enja odluka (Stefan Michalski, CCI). Dati su podaci o samomprocesu i razmatrani su se}anje, intuicija, imaginacija, zdrav razum,etika i razlog, kao {est klju~nih mehanizama u procesu dono{enjaodluka.Obja{njeni su osnovni koncepti koji ~ine su{tinu procesa procenerizika i predstavljeni su novi metodi procene rizika po muzejskekolekcije, bazirani na matemati~kim principima (Stefan Michalski, CCIi Robert Waller, Canadian Museum of Nature). Parametri koji seosnose na karakteristike postoje}ih rizika (u~estalost, ozbiljnost,posledice) kodifikuju se i iskazuju kvantitativno. Sabiranjem dobijenihvrednosti omogu}ava se upore|ivanje svih razli~itih rizika na osnovudevet faktora propadanja muzejskih predmeta, sa ciljem da se

65

Removal of microbs from a ceramic objectUklanjanje mikroorganizama sa kerami~kog predmeta

Contaminated Roman lampMikroorganizmi na povr{ini rimskog `i{ka

ed to relative humidity when building and cases are involved.In introductory lecture about light Jim Druzik, GCI gave informationabout history and commonly used norms for lighting in museums,and about new possibilities of reducing light produced damage. Newconcepts and data on light needed for adequate visibility and on fad-ing rates for objects affected by that light are presented. AndreBergeron, CCQ and Stefan Michalski showed different lamps andlighting systems used in museums around the world.Agnes Brokerhof, ICN led participants through seminar named"Critical Reading - an illuminating example" organized with an aim todemonstrate and apply simple model of critical reading on the exam-ple of four articles referring to museum lighting.In the segment about pollution, Jean Tétreault, CCI presented newconcepts in the control of pollution in museums and possibility of theiruse. In the new approach the key element is specification of accep-tible adverse effect of pollutants, i.e. quantification of sensibility of var-ious materials to airborne pollutants and application of this data indecision making process and planning of museum policy.The next lecture referred to problems with the control of pollution indisplay cases. Jean Tétreault gave data on materials for constructionand coatings as sources of indoor pollution, and recommendationson the way of avoiding them as contaminants and which coatings touse as insulators.The new approaches in pests control were also presented. TomStrang, CCI, considered Integrated Pest Management (IPM), whichincludes cleaning, blocking accesses, control of pest traces, use ofdifferent methods of disinfection and continuous improving of controlsystem. He introduced development of non-chemical methods during

the last decade - thermal methods and anoxic method.The part of the course dealt with new data on fire prevention.Likewise, the aim of this segment of the course was to present casestudy as a learning method used in education, in professions whosemain activity is decision making. Method is based on real situationsthat include decisions making, challenges, opportunities or problema person faces in an organization. It is used because it enables oneto get familiar with the position of certain individual who has to makea decision. In this case, application of different fire suppressing sys-tems and dilemma on fire risk and water risk when sprinklers areused was analyzed, based on the specific situation in Art Gallery.In the part of the course related to salvage issue the intent was toimply possible problems museum staff would have to deal with, inthe salvage during emergency situations and to suggest the waysof teaching basic principles of salvage.Problems which occur during transport of museum objects and basicprinciples of packing were presented as well.In the next part of the course purpose and use of collections, the roleof community and identification and development of resources andfinancing were discussed. Since decisions in preventive conservationdepend on understanding of context and community to which cultur-al heritage belong, this segment of the course dealt with current atti-tudes on these issues and specific purposes of collections in realtionwith local and national community.In the section named "Collection Purpose and CommunityExpectations: Lessons from Indigenous People" lecturers (Jim PepperHenry, National Museum of the American Indian Tom Hill, WoodlandCultural Centre in Brantford, Miriam Clavir, University of BritishColumbia), working in cultural centres of native people, presentedprocess of planning in these specific institution, in order to introduceunusual questions (for example, repatriation) and mechanisms ofcommunity functioning, which influences decision making in the cen-tres and their effect on preventive conservation.Lecture named "Government Policies and Programmes" referred toCanadian state programmes and their influence on implementation ofpreventive conservation in Canada in past 30 years (Brian LaurieBaumont, CCI).Siegfried Rempel, CCI gave a lecture on planning of collection safe-keeping in cultural institution and Micheal Harrington, CCI held lec-ture on guidelines needed for interventions on objects of heritagecharacter, which should provide reducing of considerable changes onan object. He used the example of reconstructing the building ofCanadian Parliament.One segment of the course dealt with methods of learning the mostcommonly used, less known alternative methods and issue of learn-ing effectiveness. Gisele Thompson, CCI discussed methods oflearning applied during the course, identified progress of learningskills of both lecturers and students and several tools helpful in thedevelopment of learning activity.Kathleen Dardes, CGI presented possibilities Internet provides and theways Internet can be used in education and Vicki Davis and JoyPatel, CCI introduced librarian services and bibliographical bases,which can be found on Internet and various searching tools for theiruse.The whole course was conceived as a demonstration of differentlearning methods, through their practical application, through expla-nation of different issues on preventive conservation. Participants, asa group, in smaller groups or individually, worked on different tasksrelated to presented subjects and then discussed them. Participantsused experience gained during the course in two surveys in localmuseums and suggested recommendations for improving theprocess of collection preservation. Furthermore, each participant hada task of creating and presenting a project on a subject within pre-ventive conservation of their own choice.Consequently, unofficial part of the course - visit to the national parkPetroglyphs Provincial Park, also had educational character.Participants had an opportunity to see and obtain basic informationon protective building constructed above the site, consisting of sev-eral hundred petroglyphes carved in a marble rock. This structure wasbuilt in order to control the number of visitors, to protect the site fromrain, snow and frost and to stabilize the condition of site.

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Stefan Michalski CCI and Andre Bergum CCQ - showed differentlamps and lighting systems used in museumsStefan Mihalski CCI i Andre Bergeron CCQ - provera ja~ine svet-losti i UV zra~enja razli~itih svetlosnih tela

Paul J. Marcon - art in transitPol J. Markon - transport umetni~kih dela

ustanove prioriteti - od najve}eg do najmanjeg rizika ili da se izvr{igrupisanje svih rizika sa ciljem da se umanji op{ti rizik.U segmentu kursa (Stefan Michalski, CCI) koji se odnosio na rela-tivnu vla`nost i temperaturu prezentovani su, preispitani i pro{irenipostoje}i podaci i smernice, koji se ti~u ova dva problema, razja{njenje pojam "ranjivosti" predmeta i niz tehni~kih problema vezanih za rel-ativnu vla`nost, kada se radi o prostoru zgrade i izlo`benim vitrinama. U uvodnom predavanju o svetlu (Jim Druzik, GCI) date su informa-cije o istorijatu i postoje}im normama za osvetljenje u muzejima, kaoi novim mogu}nostima za smanjenje {tete koju mo`e da nanesesvetlo. Predstavljeni su novi koncepti i podaci o svetlu, koje je potreb-no za dobru vidljivost i brzini kojom }e predmeti izbledeti izlo`eni tomosvetljenju. Prikazane su i razli~ite lampe i sistemi osvetljavanja kojisu u upotrebi u muzejima {irom sveta (Andre Bergeron, CCQ, StefanMichalski, CCI).Organizovan je seminar nazvan "Kriti~ko ~itanje: Prosvetljuju}i primer",~iji cilj je bio primena jednostavnog modela kriti~kog ~itanja naprimeru ~etiri ~lanka, koji se odnose na osvetljenje u muzejima(Agnes Brokerhof, ICN).Cilj segmenta kursa o zaga|iva~ima je bio predstavljanje novih kon-cepata, koji se odnose na problem kontrole zaga|iva~a u muzejimai mogu}nost njihove primene (Jean Tétreault, CCI). U novom pristupuklju~na je specifikacija prihvatljivog nepovoljnog efekta zaga|iva~a,odnosno kvantifikacija osetljivosti razli~itih materijala na zaga|iva~ekoji se prenose vazduhom i primena ovih podataka u procesudono{enja odluka i planiranju muzejske politike. Slede}e predavanje se odnosilo na podatke o problemima kontrolezaga|ivanja u vitrinama. Dati su podaci o materijalima za konstruk-cije i premazima kao izvorima unutra{njeg zaga|enja i preporuke nakoji na~in ih izbe}i kao zaga|iva~e, a koje premaze koristiti kao izo-latore (Jean Tétreault, CCI).Predstavljeni su i novi pristupi u borbi protiv {teto~ina. Tokom preda-vanja (Tom Strang, CCI) razmotrene su osnove kompleksne kontrolepojave {teto~ina, koji podrazumeva obezbe|ivanje odr`avanja~isto}e, blokiranje pristupa {teto~ina predmetima, redovnu kontroluznakova pojave {teto~ina, upotrebu razli~itih metoda dezinsekcije ineprestano usavr{anje sistema kontrole. Predstavljen je razvojnehemijskih metoda tokom poslednje decenije - termalne metode ianoksi~na metoda.Deo kursa se bavio i novim podacima o protivpo`arnoj za{titi. Ciljovog segmenta kursa je bio i predstavljanje metode u~enja "analizaslu~aja", koji se koristi u edukaciji u profesijama ~ija osnovna aktivnostje dono{enje odluka. Metod se bazira na "stvarnim" situacijama kojeuklju~uju dono{enjeodluke, izazov, mogu-}nost ili problem sakojim se suo~ava osobau nekoj organizaciji, akoristi se zato {toomogu}ava "u ivljavan-je" u poziciju odre|eneosobe koja donosiodluku. U ovom slu~aju,kroz analizu specifi~nesituacije u Galeriji slika,razmatrano je pitanjeupotrebe razli~itih pro-tivpo`arnih sistema idilema, koja se odnosina rizik od po`ara i rizikod vode u slu~ajuupotrebe sprinklera. Cilj dela kursa koji seodnosio na "spasavanje"(David Tremain, CCI) bioje da se uka`e namogu}e probleme sakojima muzejsko oso-blje mo`e da se sus-retne tokom akcija spa-savanja u vanrednim

situacijama i da se uka`e na na~ine na koji osnovni principi "spasa-vanja" mogu da se predaju. Predstavljeni su problemi do kojih dolazi prilikom transporta predmeta,kao i osnovni principi pakovanja.Postavljeno je i pitanje uloge i "kori{}enja" zbirki, uloga zajednice iidentifikacija i razvoj sredstava i finansiranja. Budu}i da odluke u pre-ventivnoj za{titi zavise od razumevanja konteksta i zajednice kojoj kul-turno nasle|e pripada, deo kursa se bavio i postoje}im pristupimaovim pitanjima i specifi~nostima uloga zbirki u odnosu na lokalnu inacionalnu zajednicu.U okviru segmenta nazvanog "Uloga zbirki i o~ekivanja zajednice:Pouke domorodaca" predava~i (Jim Pepper Henry, National Museumof the American Indian Tom Hill, Woodland Cultural Centre inBrantford, Miriam Clavir, University of British Columbia), koji rade ukulturnim centrima domoroda~kog stanovni{tva, predstavili su procesplaniranja u ovim specifi~nim ustanovama, sa ciljem da se uka`e na"neobi~na" pitanja (npr. repatrijacija) i mehanizme funkcionisanjazajednice, koji uti~u na dono{enje odluka u centrima i njihov uticaj napreventivnu za{titu. Predavanje "Dr`avne politike i programi" je bilo posve}eno kanadskimdr`avnim programima i njihovom uticaju na uklju~ivanje preventivneza{tite u Kanadi u proteklih 30 godina (Brian Laurie Baumont, CCI). Odr`ano je predavanje koje se odnosilo na planiranje ~uvanja zbirkiu kulturnim institucijama (Siegfried Rempel, CCI), a na primeru rekon-strukcije zgrade kanadskog parlamenta, predavanje o smernicamakoje je potrebno ustanoviti prilikom intervencija na objektima kojeimaju ba{tinski karakter i koje }e obezbediti ubla`avanje velikih prom-ena na objektu (Micheal Harrington, CCI).Jedan segment kursa je posebno bio posve}en metodama u~enja,koje se naj~e{}e koriste, alternativnim metodama koje su manje poz-nate i pitanju efektivnosti u~enja (Gisele Thomson, CCI). Razmatranesu metode u~enja kori{}ene tokom kursa, identifikovan razvoj ve{tinai kod predava~a i kod studenata i nekoliko "alatki", kao pomo} urazvoju aktivnosti u~enja.Ukazano je i na mogu}nosti koje internet pru`a u oblasti edukacije ina koji na~in se koristi u obrazovanju (Kathleen Dardes, CGI), a zatimsu predstavljene bibliote~ke slu`be i bibliografske baze, koje moguda se na|u na internetu i razli~ite tehnike pretra ivanja (Vicki Davis,Joy Patel CCI). Ceo kurs je zami{ljen kao svojevrsna demonstracija razli~itih metodau~enja, kroz njihovu prakti~nu primenu, tokom tuma~enja razli~itihpitanja o preventivnoj za{titi. U~esnici su, kao grupa, u manjim gru-pama ili individualno, re{avali razli~ite zadatke na predstavljene teme

i zatim diskutovali o njima.Organizovane su dveanalize stanja u lokalnimmuzejima sa ciljem dakori{}enjem iskustva ste-~enog tokom kursau~esnici istra`e lokalitete ipredlo`e preporuke zapobolj{anje procesa o~u-vanja dela kolekcija. Pri-tom, svaki u~esnik je imaozadatak da uradi i pred-stavi projekat na temu izoblasti preventivne za{titeprema svom izboru. Tako je i nezvani~ni deo kursa- poseta nacionalnom parkuPetroglyphs ProvincialPark, imao edukativnikarakter. U~esnici su imalipriliku da vide i dobijuosnovne informacije oza{titnoj gra|evini,podignutoj iznad lokaliteta,koji se sastoji od neko-liko stotina petroglifa ure-zanih u mermernu stenu.Sa ciljem da se kontroli{e

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Participants of the Course in OttawaU~esnici kursa u Otavi

During the course, each participant had an opportunity to present hisor her own experience and specifics of work in certain cultural con-text considering the education in the field of preventive conservation.That provided insight in different problems and approaches related toeducational programmes in preventive conservation, but also recog-nition of common starting points and solutions. Also, the basis forfuture collaboration and common projects dealing with education inpreventive conservation was set.Each working week ended with so called "Synthesis café" aiming atended activities survey (information, techniques, methods and sub-jects) and explaining or scrutinizing certain subjects unclear or spe-cially interesting to participants or lecturers (Frédérique Vincent,ICCROM).On the last day everyone included in the realization of the coursereviewed structure of the course, context, participants and lecturers,methodology of learning, in order to evaluate the course and esti-mate the need for a course organized in given way and dealing withpreventive conservation. Everyone agreed on the numerous advan-tages of the course context, great significance and complexity of pre-sented subjects, as well as the great functioning and communicationbetween participants and everybody else involved in the organizationand realization of the course.

Abbreviations:CCI The Canadian Conservation InstituteICCROM International Centre for the Study of the Preservation andRestoration of Cultural PropertyGCI The Getty Conservation InstituteICN Instituut Collectie Nederland/The Netherlands Institute for CulturalHeritageCCQ Centre du Conservation du Québec

RReessttoorraattiioonn aanndd PPrreevveennttiivvee CCoonnsseerrvvaattiioonn@elliimiir Laaszllo, Zaaggreb,Museum Doccumentaatiion Center

However simple and obvious the relation between restoration andpreventive conservation may seem, it is neither simple nor obviousand it is all but self-understanding. There are some who assumethese two activities intertwine, and the number of those who think thatpreventive conservation is duty of conservators only is even greater.It often happens (in museums, churches and private collections) thatthe care about the physical existence of cultural heritage is left in careof restorers. There can be no solution that is more wrong or harm-ful than this one. That is why it is necessary in my opinion to at leasttry to define the relation between restoration and preventive conser-vation in general.Restoration and preventive conservation make part of safeguardingcultural patrimony, cultural property and monuments of culture as wecall those valuable movables and immovables from the past. Bothserve the same purpose - preservation of heritage. Cultural propertyis divided into tangible and intangible, and restoration and preventiveconservation concerns safeguarding of tangible cultural heritage only.That they have in common. They are not the only measures in pro-tection of cultural property, though, as there exist also legal protec-tion, documenting as measure of protection, revitalisation, etc. We canconsider most of these measures as preventive conservation ones,as legal protection, for instance (law on protection of cultural proper-ty, legal registration act ...), which prevents devastation and regulatesconduct in relation to cultural property, while documentation makesidentification and search for objects easier after burglaries and thefts,etc. This proves that meaning of terms and phrases used are notstrictly separated, which also refers to the areas of various activitiesin protection. This, of course, brings confusion, however, there is noway out of it - we should manage within the given frame.Further, there is a complete and funny terminological confusion. Whenan Englishman or American says or writes conservation, he then namesthe activity which a German will refer to as restaurieren, and werestoration. Conservation for Germans and for us is not restoration, itis something else. Internationally accepted phrase and title of those

doing restoration treatments is restorer-conservator, so as to over-come this problem of differring implications in German and Americanlanguage areas. On the other hand, when we read about preventiveconservation in English texts, we should literally translate it as pre-ventive restoration. What this term implies partly at least, is notrestoration in our sense and meaning of the word. It is closer to whatwe call preventive protection.Along with the phrase preventive conservation, the phrase preventiveprotection is also often used in the Anglosaxon language area, whichcan rather literally and relatively accurately be translated into Croatianas preventive protection. Lately, one can read in papers the term pre-ventive care, which I find most suitable, but its translation soundsrather clumsy. That is why I shall stick to the accepted terminology. Ishall use the term resoration as the German restauration andAnglosaxon conservation, and international community conservation-restoration. The phrase preventive conservation will be used in theAnglosaxon meaning of preventive conservation, or preventive care.To make things worse, there exists no satisfying and monosemic def-inition of restoration or preventive conservation. Therefore I shall usetemporary and not quite sufficient formulations whose aim is not toprecisely define the area of restoration of preventive conservation, butonly to help note the basic differences existing among them.What is then restoration?Restoration implies all kinds of conservation-restoration works thatintervene in the material of the object. When the object is attackedby the ageing, by mechanical, chemical or any other cause, then therestorers take the floor. They renovate the object. To do that, theyintervene in the heart of the object of art. That is essential. Let's havea look at an object! The figure below represents the lower part of apainting (the altar palla) that was rather badly damaged: the coloursare darkened, entire parts of the painted layer are missing, thegroundwork and even the canvas are damaged.Excellent restoration, isn't it? Yes, but let us compare details in thepainting before and after the treatment. Lots of new material appearswhich was not seen on the damaged painting before the restorationtreatment. Even the canvas itself suffered intervention. This new mate-rial is not authentic though. Besides, there where we could only dis-cern a leg, a stone in the front and a swinging drapery, all amostwithout fine changes of light and shadow, without colour hues, we havenow entire collection of stones, a visibible second leg, fine shadowing,nuances of the ground - a whole new painting world. What is now vis-ible and was not visible before is result of restorer's intervention. However,waht we see now is not an original detail of a painting but inter-pretation of a restorer. But, who would be interested in a restorer andhis work? Nobody would. We are interested in the original author andoriginal painting. The question posed here is that of authenticity. Is thedetail of the painting and to which extent, if at all, authentic after therestoration treatment? We can say without doubts that the detail ofthe paitnig after the restorer's intervention is less authentic than before

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Painting before restoration processSlika pre procesa restauracije

broj posetilaca i da se lokalitet za{titi od ki{e, snega i mraza,sagra|ena je za{titna struktura, ~ije karakteristike omogu}avaju sta-bilizaciju stanja lokaliteta.Tokom kursa, svaki u~esnik je imao mogu}nost da predstavi svojaiskustva i specifi~nosti rada u odre|enom kulturnom konteksu, uodnosu na edukaciju u oblasti preventivne za{tite. To je omogu}ilouvid u razli~ite probleme i pristupe, koji se odnose na edukativne pro-grame iz preventivne za{tite, ali i prepoznavanje zajedni~kih polaznihta~aka i re{enja. Tako|e, postavljena je osnova za uspostavljanjesaradnje i izradu zajedni~kih projekata, koji se ti~u edukacije iz pre-ventivne za{tite.Svaka radna nedelja zavr{avala se takozvanim "Sintezis kafeom", ~ijiciljevi su bili pregled aktivnosti tokom nedelje (informacije, tehnike,metode i problematika protekle nedelje) i razja{njavanje ili produblji-vanje pojedinih tema nejasnih, odnosno posebno interesantnihu~esnicima ili predava~ima (Frédérique Vincent, ICCROM). Poslednjeg dana preispitana je struktura kursa, kontekst, u~esnici ipredava~i, metodologija u~enja, sa ciljem procene kvaliteta kursa ipotrebe za postojanjem kursa osmi{ljenog na taj na~in, koji se bavipreventivnom za{titom. Konstatovane su brojne prednosti konteksta ukome se kurs odr`ao (Kanadski konzervatorski institut), zna~aj islo`enost tema koje su obra|ivane, kao i odli~no funkcionisanje ikomunikacija u~esnika i svih koji su bili uklju~eni u organizaciju i real-izaciju kursa.

Skra}enice:CCI Kanadski konzervatorski institut (The Canadian ConservationInstitute)ICCROM Me|unarodni centar za prou~avanje o~uvanja i restauracijekulturnih dobara (International Centre for the Study of the Preservationand Restoration of Cultural Property)GCI Geti Institut za konzervaciju (The Getty Conservation Institute)ICN Holandski institut za kulturnu ba{tinu (Instituut CollectieNederland/The Netherlands Institute for Cultural Heritage)CCQ Centar za konzervaciju - Kvebek (Centre du Conservation duQuébec)

RReessttaauurraacciijjaa ii pprreevveennttiivvnnaa zzaa{{ttiittaa@elliimiir Laaszllo, Zaaggreb,Muzejjskii dokumentaacciionii ccentaar

Odnos restauracije i preventivne za{tite, unato~ tome {to se na prvipogled ~ini jednostavan i jasan, nije niti jednostavan, niti jasan i sveje prije nego samorazumljiv. Neki misle da se te dvije djelatnosti prepli}u,a jo{ je ve}i broj onih koji uporno misle kako je preventivna za{titaposao samo restauratora. Tako se ~esto (u muzejima, crkvama i privat-nim kolekcijama) sva briga oko fizi~ke opstojnosti kulturne ba{tinejednostavno prepu{ta restauratorima. Ni{ta nije pogre{nije i {tetnije

od toga. Zato mislim da je potrebno poku{ati barem okvirno odred-iti odnos restauracije i preventivne za{tite. Restauracija i preventivna za{tita dio su za{tite kulturne ba{tine, kul-turnog naslje|a, kulturnih dobara ili spomenika kulture, kako ve} svenazivamo vrijedne nekretnine i pokretnine iz pro{losti. I jedno i drugoslu i, dakle, istoj svrsi - o~uvanju ba{tine. Kulturna dobra dijelimo namaterijalna i nematerijalna, a restauracijom i preventivnom za{titom{titimo samo materijalna kulturna dobra. To im je zajedni~ko. One nisujedine mjere za{tite kulturnih dobara, jer postoji pravna za{tita, doku-mentiranje kao mjera za{tite, revitalizacija, itd. Istina ve}inu njihmo`emo promatrati i kao mjere preventivne za{tite, jer se primjericepravnom za{titom (zakonom o za{titi kulturnih dobara, pravnim aktomregistracije…) preveniraju devastacije i propisuje pona{anje premakulturnim dobrima, a dokumentiranjem olak{ava identifikacija ipronalazak predmeta poslije provale i kra|e itd. Kao {to se vidi,zna~enja termina i sintagmi koje upotrebljavamo nisu jasno odijelje-na, ba{ kao {to nisu niti podru~ja raznih djelovanja u za{titi strogoome|ena. To, dakako unosi zbrku, ali nema pomo}i, valja se snalaz-iti unutar danih okvira. Uz to postoji posvema{nja i vesela terminolo{ka zbrka. Kada jedanEnglez ili Amerikanac ka`e ili napi{e conservation onda on imenujedjelovanje koje }e jedan Nijemac nazvati restaurieren, a mi restauri-ranje. Za Nijemce i nas konzerviranje nije restauriranje nego ne{todrugo. Me|unarodna dogovorena sintagma i naziv za onoga koji sebavi restauriranjem je restaurator-konzervator, kako bi se ovaj prob-lem razli~itih zna~enja iste rije~i u engleskom i njema~kom govornompodru~ju prevladao. Ali zato kada u engleskom tekstu ~itamo pre-ventive conservation onda bismo to doslovno prevode}i trebali pre-vesti kao preventivno restauriranje. Ali ono {to se pod tim, baremdijelom misli, nije restauriranje u na{em smislu i zna~enju te rije~i, ve}je bli e onom {to mi nazivamo preventivna za{tita. Uz sintagmu preventive conservation u anglosaksonskom podru~ju se~esto upotrebljava i sintagma preventive protection, {to bismodoslovno i prili~no to~no mogli prevesti kao preventivna za{tita. Uposljednje vrijeme mo`e se u literaturi nai}i i na termin preventivecare, koji mi je nekako najdra i, ali koji preveden zvu~i rogobatnopreventivna briga. Zato }u ostati pri ustaljenoj terminologiji. Pod ter-minom restauriranje podrazumijevati }u ono {to Nijemac iskazujerje~ju restaurieren, a anglosaksonac conservation, me|unarodnazajednica konzerviranje-restauriranje, a pod sintagmom preventivnaza{tita ono {to anglosaksonac zove preventive conservation, preven-tive protection ili preventive care.Da stvar bude gora, ne postoje zadovoljavaju}e i jednozna~ne defini-cije ni restauriranja ni preventivne za{tite. Zato }u ovdje upotrijebitiprivremene ne sasvim dostatne formulacije, koje nemaju za svrhuto~no odrediti podru~je restauratorstva ili preventivne za{tite, ve} namsamo pomo}i da uo~imo temeljne razlike me|u njima. [ta bi bilo restauriranje?Restauriranje podrazumijeva sve konzervatorsko-restauratorskeposlove, kojima se intervenira u/na materijal predmeta. Kada je pred-met o{te}en zubom vremena, mehani~ki, kemijski ili bilo kojim drugimuzrokom, onda na scenu stupaju restauratori. Oni obnavljaju pred-met. Da bi to mogli interveniraju u tvar umjetnine. To je bitno.Pogledajmo primjer. Radi se o donjem dijelu slike (oltarne pale), kojije do ivio prili~no te{ka o{te}enja: boje su zatamnjene, nedostajucijele partije slikanog sloja, a o{te}eni su dijelom osnova, pa ~ak iplatno.Sjajan restauratorski rad zar ne? Da, ali usporedimo detalj slike prijei poslije. Ima tu mnogo novog materijala, kojeg nije bilo u o{te}enojslici prije restauratorskog zahvata. ^ak se i u platno interveniralo. Tajnovi materijal nije autenti~an. Osim toga, tamo gdje smo prije teknazirali jednu nogu, kamen u prednjem planu i vihore}u draperiju, svegotovo potpuno bez finih prijelaza svjetla i sjene, bez nijansi boje,sada imamo cijelu zbirku kamenja, jasnu drugu nogu, fine sjene, izni-jansirano tlo - cijeli jedan novi slikarski svijet. Sve {to prije nismo vid-jeli, a sada vidimo, manje ili vi{e, uradio je restaurator. No sada predsobom vi{e nemamo originalni detalj jedne slike, ve} interpretacijurestauratora. Ali koga zanima restaurator i njegov rad? Nikoga. Naszanima originalni autor i originalna slika. Pitanje koje se tu postavljaje pitanje autenti~nosti. Da li je i koliko, ako uop}e jest, detalj slikenakon restauracije autenti~an? Ono {to sa sigurno{}u, bez bojazni da

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After the restoration has been done, the same detail looks like this:Nakon restauracijske intervencije i obnove, isti detalj slike izgledaovako

it. The painting lost in its originality. If that is the case, then we canput the important question: was the restoration intervention neces-sary? In this case, I would think so. Could we put back into the alterthe painting damaged as it was? Restoration is often necessary andcannot be avoided.Generally speaking, this is the case whenever a restoration interven-tion is taken. E After any restoration treatment, the issue of authen-ticity of work is raised as wll as if it was really necessary. The fol-lowing, however, refers to each restoration intervention: the morerestoration interventions there are, the less authenticity and originalthere is. There are experts who claim that paintings we see even inthe greatest world art galleries to a greater extent represent the inter-pretation of the restorer than the original work itself. Some even crit-icise the art historians for not considering this fact seriously enoughwhen making analyses which leaves us without genuine interpretationof paintings of certain authors and periods. There is lot of truth inthese claims though. For quite a while, restores who were good atretouching were appreciated. They would renovate paintings byadding the missing or damaged parts in such a manner that it israther difficult today to tell the originally painted parts from those doneby a restorer. It was considered praiseful if a restorer had a baroquetouch, because he was able to repeat the brush of old masters. Hewas able to paint as they did. We can only be glad that this approachhas been given up. Present ethics of restoration profession requiresrespect for the original and prescribes when, how and to which extentintervention in an object is acceptable. A restorer is required to doc-ument precisely treatments done and material used in order to enableexperts to make easy disctinctions between the original and unorig-inal parts. However, the following statement is still valid: each restora-tion intervention diminshes the authenticity of a work of art (and of allother objects). Or better said, the more restoration treatment there is,the less originality of the object or the work of art is left. To that extent,every restoration intervention is but a necessary evil. Preventive conservation, on the contrary, never intervenes in the mate-rial, in the structure of cultural property. Its methods are not destruc-tive to the material a work of art is made from (or any other muse-um or sacral object for that matter). Preventive conservation is aimedat diminishing the cause of damages or decaying, by taking care ofrelative humidity of the air, temperature, light, handling of objects, nat-ural disasters, thefts, etc. All these have in common that no inter-vention into the material of cultural property is taken, and as result nodamage to its authenticity follows. It is not surprising that Europeanexperts who gathered in Finland wrote in the document TowardsEuropean Preventive Conservation Strategy (Vantaa, Finland, October2000): Preventive conservation is the concept and practice of multi-disciplinary management to reduce the loss of cultural heritage withthe aim of benefiting the public. Therefore it should not be surprisingthat the preventive conservation is seen as the basis of any Europeanpolicy of safeguarding heritage. This is only logical as preventive con-servation reduces risks and slows down the decay of an entire col-lection. Therefore the fundaments of each strategy aimed at preser-vation must be effective and economic means to save the integrity ofthe heritage, which also diminishes the need for additional treatmentsof given objects. Reduced need for additional treatments meansreducing the need for restorative interventions. There is an increasingnumber of professional museum workers, conservators and restorerswho are convinced that preventive conservation represents the best pos-sible, the highest and cheapest and the only acceptable form of protec-tion in the long run. We shall add to this - the most ethical one, too.The ideal of preventive conservtaion is to establish such an environ-ment that would prevent their deterioration and provide their existencead infinitum. This ad infinitum should be understood in its theoreticalcontext. In practice, this is not viable. What we can achieve thoughis to prolong its life. Nothing lasts forever, but measures of preven-tive conservation can prolong the life of many objects and therebyprovide the cultural patrimony to be inherited by our descendants liv-ing long after. We have no interest in years, decades, we are inter-ested in centuries and millenia. To save significant part of materialcultural heritage for the fourth, fifth and probably tenth millenium ofthe mankind. This is a valuable goal, isn't it?This is, however, not easily done, and in some cases not even possi-

ble to be achieved. There are works of art that have become so dete-riorated due to the fragility of their material that their quality as cul-tural heritage is challenged. There are some natural processes thatcan not be stopped. For instance, the natural lacquer that old mas-ters used as final, protective layer for their painting tends to becomeyellow and dark with time. So, we now have paintings where the orig-inal serene sunny landscape has turned into a stormy one, and ablue-eyed portrait into a brown-eyed one. There are old paintings thatare almost undiscernible. The lacquer changed its properties, lost itstransparency and there is nothing we can do. The darkening of thenatural lacquer is an implacable, natural and irreversible process.Such paintings require restorative cleaning. The old layer of the lac-quer has to be removed and a new one put on. The treatment doesnot belong to preventive conservation, but to restoration and can bedone by experienced restorers only. The procedure is justifiable(acceptable???) and indispensable if we really wish to see the paint-ing. It is true that the painting has lost some of its authenticity (par-ticularly when the material is concerned), but the new inauthentic lac-quer (synthetic, with better properties) is inevitable in this case. Thisis to say that preventive conservation is not omnipotent, and there willalways be the need for restoration interventions, but it is importantthat they are reduced to the lowest level possible. And that is actu-ally the aim od preventive conservation.There is another substantial difference between restoration and pre-ventive conservation. Restoration requires specialistic knowlegdegained at university. Restoration is a profession and a complicatedone requiring theoretical knowledge, knowledge of materials used inproducing heritage objects, of structure and many other skills.Knowledge is also necessary in preventive conservation, but most ofpreventive conservation measures are not too complicated and donot require specific knowledge and skills. They can be acquired incourses instead. The basics of preventive conservation can belearned by everybody - conservators, curators, collectionars, priests,all those who deal with material cultural heritage. Preventive conser-vation measures prolong significantly the life of an object by usingrelatively simple procedures, care and attention which in the sametime reduces the need for restoration intervention. While restoration isallowed only to highly specialised and enough trained experts, pre-ventive conservation can be and should be applied by all working inthe field. Or rather, all who come in touch with heritage, owners, usersand others have the ethic duty to apply measures of preventive con-servation. It is absolutely not acceptable to allow a monument of cul-ture to deteriorate in lack of preventive conservation measures imple-mentation. That is why the measures of preventive conservation arecommunicated among all, at least in the developed countries, andefforts are made that these measures are widely implemented. Thusthe world of those implementing preventive conservation is constant-ly increasing, and preventive conservation is resembling a generalmovement. The implementation of measures tends to be a mass one.It is understandable becasue the increase of preventive conservationattitude reduces the damages, deteriorations and needs for restora-tion. This is what makes preventive conservation so important. Andthat is why Europe recognised it as basics of any European policyof safeguarding heritage. May is stays so everywhere else and inevery corner of Europe.

PPrreevveennttiivvee CCoonnsseerrvvaattiioonn IIssssuueess CCoonncceerrnniinngg BBuuiillddiinnggss ooff MMuusseeuummss aanndd GGaalllleerriieess TThhaatt EEnnjjooyyPPrreelliimmiinnaarryy PPrrootteeccttiioonnGoraan Soviilljj, aart hiistoriiaan, Diirecctor, Reggiionaall Museum Rumaa

The second half of the 20th century in contemporary museology ofpeoples of former Yugoslavia is noted for establishing museum andgallery institutions with the aim to preserve and protect everything evercreated by man or nature in the territory.Helped by the state policy of socialist realism, which was advocatingaccessibility to culture for all, museum network building boomed andstate, national, regional, town, local, ethnic and specialist nuclei wereestablished - keepers of national wealth from the oldest memories of

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grije{imo, mo`emo konstatirati je da je detalj slike nakon intervencijerestauratora manje autenti~an negoli je bio prije. Slika je izgubila nasvojoj originalnosti. Ako je tome tako, onda se postavlja va`no pitan-je: da li je restauratorska intervencija bila nu`na? Mislim da u ovomslu~aju jest. Jer kako da vratimo sliku na oltar onako o{te}enu. estoje restauriranje neophodno i ne mo`e se izbje}i. Generalno uzev{i, tako je sa svakom restauratorskom intervencijom.Svaka za sobom povla~i pitanje autenti~nosti djela nakon restauriranjai pitanje nu`nosti restauratorske intervencije. No za svaku restaura-torsku intervenciju vrijedi tvrdnja: {to vi{e restauratorskih intervencija tomanje autenti~nosti i originala. Ima ozbiljnih stru~njaka koji tvrde kakosu slike koje gledamo i u najve}im pinakotekama svijeta ~esto vi{einterpretacija restauratora, a manje originalna djela. Neki ~ak zamjer-aju povjesni~arima umjetnosti da ovu ~injenicu ne uzimaju dovoljno uobzir, pri svojim analizama i da zato nemamo pravu interpretaciju slikapojedinih autora i razdobja. U tim prigovorima ima mnogo istine.Jedno vrijeme, u restauratorstvu, bili su u modi restauratori koji su bilidobri retu{eri. Oni su obnavljali slike tako da su nedostaju}e ilio{te}ene dijelove slike doslikavali i to tako da danas te{ko mo`emorazaznati koji su dijelovi slike originalno slikani a koji nisu, jer ih jedoslikao restaurator. Kao pohvala tada se govorilo kako neki restau-rator ima primjerice baroknu ruku, jer je bio u stanju ponoviti potezekistom starih majstora. Mogao je slikati kao oni. Danas je na sre}utakav pristup u restauratorstvu napu{ten. Dana{nja etika restauratorskestruke obvezuje na po{tovanje originala i propisuje kako, kada i kolikointervenirati. Restaurator mora to~no dokumentirati {to je i kako i kojimmaterijalima ura|eno, kako bi svaki stru~njak bez te{ko}a mogao lu~itioriginalne dijelove od neoriginalnih. Ali svejedno ostaje konstatacija:svaka restauratorska intervencija umanjuje autenti~nost umjetni~kogdjela (i svih drugih predmeta). Mo`emo slobodno re}i da {to ima vi{erestauracije to ima manje originalnosti predmeta ili umjetnine. U tomsmislu svaka restauratorska intervencija je nu`no zlo. Za razliku od restauracije preventivna za{tita nikada ne zadire u mate-rijal, u gra|u kulturnog dobra. Njene metode nisu destruktivne pomaterijal iz kojeg je neka umjetnina (ili bilo koji drugi muzejski ilicrkveni predmet) sa~injena. Preventivnom za{titom nastoje se uma-njiti uzroci o{te}enja i propadanja, pa se vodi ra~una o relativnoj vlazizraka, temperaturi, svjetlu, manipulaciji predmetima, prirodnim katas-trofama, kra|i itd. Svim tim obzirima zajedni~ko je to {to ni na kojina~in ne interveniraju u materijal kulturnog dobra, pa zato i nenaru{avaju njegovu autenti~nost. Stoga ne ~udi {to su europskistru~njaci okupljeni u Finskoj u dokumentu Prema europskoj strate-giji preventivne za{tite (Vantaa, Finska, listopad 2000. godine) zapisali:Preventivna za{tita je koncept i praksa multidisciplinarnog upravljan-ja, koji smanjuje gubitak kulturne ba{tine na dobrobit javnosti. Zatone ~udi {to preventivnu za{titu vide kao temelj svake europske poli-tike o~uvanja ba{tine. To je logi~no, jer preventivna za{tita smanjujerizike i usporava propadanje cijelih zbirki. Stoga je temelj svakestrategije o~uvanja, djelotvorno i ekonomi~no sredstvo da se o~uvaintegritet ba{tine, koje smanjuje potrebu za dodatnim zahvatima napojedina~nim predmetima. Smanjenje potrebe za dodatnim zahvati-ma zapravo zna~i smanjenje potrebe za restauratorskim intervencija-ma. Sve je vi{e stru~njaka muzealaca, konzervatora i restauratorauvjereno kako je preventivna za{tita najbolji, najvi{i i na dulji rok naj-jeftiniji i jedini ispravni oblik za{tite. Dodati }emo i najeti~niji.Ideal preventivne za{tite je stvaranje takve okoline djelima u kojoj onane}e propadati i u kojima }e trajati ad infinitum. Ovo ad infinitumtreba shvatiti ~isto teorijski. U praksi takvo {to nije mogu}e posti}i.Ono {to uspijevamo je produljiti vijek trajanja. Ni{ta ne traje vje~no,ali mjerama preventivne za{tite mo`emo znatno produljiti trajanjemnogim predmetima i tako osigurati da kulturnu ba{tinu naslje|e ioni na{i potomci koji }e ivjeti u dalekoj budu}nosti. Nas ne zani-maju godine, desetlje}a ve} stolje}a, pa i tisu}lje}a. Sa~uvati {to ve}idio materijalne kulturne ba{tine i za ~etvrto, peto a mo`da i desetotisu}lje}e ~ovje~anstva. Cilj je to vrijedan truda, zar ne? Ali ni to nije lako posti}i, a ima slu~ajeva i kada takvo {to uop}e nijemogu}e. Ima umjetnina koje su do nas, zbog slabosti materijala,stigle u toj mjeri promijenjene da u pitanje dolazi njihovo svojstvo kul-turne ba{tine. Postoje prirodni procesi koje ne mo`emo zaustaviti.Primjerice, prirodni lak koji su stari slikari upotrebljavali kao zavr{ni,za{titni sloj svojih slika, vremenom `uti i tamni. Tako su do nas do{le

slike u kojima je mirni sun~ani pejza` postao olujni, a plavooki portretse pretvorio u sme|ooki. Ima starih slika na kojima jedva da {tomo`emo razaznati. Lak je promijenio svoja svojstva, izgubio jeprozirnost i tu se ni{ta ne mo`e u~initi. Tamnjenje prirodnog laka jeneumitni, prirodni i ireverzibilni proces. Zato je za takve slike potreb-no restauratorsko ~i{}enje. Skida se stari sloj laka i stavlja novi. Ovajpostupak ne spada u preventivnu za{titu, nego u restauratorstvo ismiju ga raditi samo iskusni restauratori. Postupak je opravdan ineophodan, ako uop}e `elimo vidjeti sliku. Slika istina gubi na aut-enti~nosti (posebno u materijalu), ali je novi neautenti~an lak (sintet-ski s boljim svojstvima) u ovom slu~aju neizbje`an. Prema tome, pre-ventivna za{tita nije svemo}na, a potreba za restauratorskim inter-vencijama uvijek }e postojati, ali va`no ih je svesti na {to je mogu}emanju mjeru. Upravo to je cilj preventivne za{tite.Postoji jo{ jedna bitna razlika izme|u restauriranja i preventivneza{tite. Za restauriranje su potrebna specijalisti~ka znanja koja se u~ena fakultetu. Restauratorstvo je struka i to komplicirana koja tra i teori-jska znanja, poznavanje materijala iz kojih su predmeti ba{tinesa~injeni, poznavanje strukture i mnoge vje{tine. Za preventivnuza{titu tako|er je potrebno znanje, ali velika ve}ina mjera preventivneza{tite nisu tako komplicirane i ne tra`e posebna specijalisti~ka znan-ja i vje{tine, ve} se mogu nau~iti na te~ajevima. Osnove preventivneza{tite mogu savladati svi: konzervatori, kustosi, kolekcionari,sve}enici, svi koji dolaze u doticaj s materijalnom kulturnom ba{tinom.Mjerama preventivne za{tite se relativno jednostavnim postupcima,brigom i pa`njom znatno produljuje vijek trajanja predmeta i uman-juje potreba za restauratorskim intervencijama. Dok se restauriranjemsmiju baviti samo visokospecijalizirani i dugotrajno {kolovanistru~njaci, preventivnu za{titu mogu i trebaju provoditi svi. [tovi{e, svikoji dolaze u doticaj s ba{tinom, vlasnici, korisnici i drugi, imaju eti~kuobvezu provo|enja mjera preventivne za{tite. Dopustiti propadanjespomenika kulture propu{tanjem primjene mjera preventivne za{titenije prihvatljivo ni iz kojeg aspekta. Zato se s mjerama preventivneza{tite, barem u razvijenom svijetu, nastoje upoznati svi i nastoji seda ih svi primjenjuju. Tako je broj onih koji primjenjuju preventivnuza{titu sve ve}i i ve}i, a preventivna za{tita sve vi{e nalikuje pokretu.Primjena mjera nastoji se omasoviti. Razumljivo je to, jer {to imamovi{e preventivne za{tite to imamo manje {teta, propadanja i restauri-ranja. Otuda tako veliki zna~aj preventivne za{tite. Zato je ona u razvi-jenoj Europi prepoznata kao temelj svake europske politike o~uvanjaba{tine. Po`elimo da to postane i u svim drugim prostorima i usvakom kutku Europe.

PPrroobblleemm pprreevveennttiivvnnee zzaa{{ttiittee uu zzggrraaddaammaa mmuuzzeejjaa ii ggaalleerriijjaa kkoojjee uu`iivvaajjuu pprreetthhooddnnuu zzaa{{ttiittuuGoraan Soviilljj, iistorii~aar umetnostii,diirektor, Zaavii~aajjnii muzejj Rumaa

U savremenoj muzeologiji naroda biv{e Jugoslavije, druga polovinadvadesetog veka ozna~ena je kao period formiranja muzejskih igalerijskih ku}a, sa ciljem da se o~uva i za{titi sve {to su priroda i~ovek na toj teritoriji ikada stvorili.Uz pomo} dr`avne politike socrealizma, po kojoj je kultura bila dos-tupna svima, do{lo je do op{te ekspanzije stvaranja muzejske mre`e,u kojoj su nastajali dr`avni, regionalni, gradski i lokalni, etni~ki ilispecijalisti~ki nukleusi - ~uvari nacionalnog blaga, po~ev od najstar-ijih pomena ljudske civilizacije do modernog doba.Vremenom, mati~na zemlja je postajala sve manja, ali se, sre}om,broj ku}a koje su brinule o za{titi nacionalne ba{tine nije smanjivao,ve} se uve}ao, u manjem procentu u odnosu na prethodni period.Iako muzeologija, kao nau~na disciplina, po svojoj orijentaciji ne poz-naje granice i prepreke, moramo da se baziramo na analizi stanjamuzejskih objekata u Srbiji, mada je situacija na ~itavoj teritoriji neka-da{nje Jugoslavije apsolutno identi~na.U Srbiji danas postoji 140 muzeja i galerija. Izvestan broj deluje prekosvojih odeljenja, muzejskih jedinica, poput Narodnog muzeja uBeogradu, Muzeja grada Beograda, Muzeja Vojvodine iz NovogSada, Muzeja grada Novog Sada i dr. Bilo da su nacionalnog tipapoput Narodnog muzeja u Beogradu ili lokalnog nivoa kao muzejskejedinice ili zbirke u sastavu, zajedni~ki su im za{tita pokretnih kulturnih

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human civilisation to the modern times. With time, the mother country was shrinking.Luckily enough this did not refer to the institu-tions that cared about protection of nationalheritage. Their number even increased bysome percent in relation to the former period.Museology as scientific discipline does notrecognize borders or obstacles, however wehave to rely on the analysis of condition ofmuseum buildings in Serbia, although the sit-uation in the entire territory of formerYugoslavia is absolutely the same.There are 140 museums and many galleriestoday in Serbia. A number of them operatethrough their departments, museum units, asis the case with the National MuseumBelgrade, Museum of the City of Belgrade,Museum of Voyvodina in Novi Sad, Museumof the City of Novi Sad, etc. Regardless of theirbeing national institutions like the NationalMuseum Belgrade or local as museum unitsor collections within museums, they all have incommon protection of movable cultural prop-erty, their presentation and publicizing.Establishing of national museum network cov-ered the territory of Serbia with institutes ofprotection, which were in charge of protectionof a given area or were oriented to certain groups of national andworld heritage.When this system of museums and galleries was built, care wastaken that certain institutions be established. These were mostly oflocal type and their task was to care about tangible heritage protec-tion in their respective territories. Regretfully, there was no enoughattention paid to the ability of the newly formed institutions to sustainthemselves and take adequate care about exhibits. There is no doubtthat some of the local institutions of protection were established as a"ticket" for the long life and entrance into the "high society" of the localor national political moguls. Being among those who establishedinstitutions considered elitist would inscribe their name in the historybooks of their region, town or community. Among the founders one couldfind those who knew about museology and arts just enough to place astill life painting above a stove as it had fruit and the like painted.However, among them were those who had best intentions whenestablishing museum institutions, although the results of such worksoon turned out to be detrimental only to those the institutions wereestablished for - for the exhibits and for the staff.The past years proved that in Serbia (and one cannot eliminate theidea that the similar development was going on in other neighbour-ing countries as well), a museum or gallery was established andplaced in historical objects of importance for the region, state or anevent. Criteria applied in choosing such objects are not known, andthey differ from place to place and from one case to another. It isusually the most beautiful, although not the biggest building in thetown (the biggest would intentionally be used for the seat of the mag-istrate, later of the municipality and the like if there was no buildingalready built to this end), or an object of specific interest for the com-munity hosting the newly formed institution.The greatest percentage of museum and gallery institutions in Serbiaoccupies such objects, and only a small part of them was honouredwith intentionally built houses and in accordance with the then cur-rent museological standards (Museum of Contemporary Art Belgrade,Aeronautics Museum by the "Belgrade" airport, Museum of African ArtBelgrade, Memorial Collection of Pavle Beljanski Novi Sad...). Thespace was planned for the specific needs of each and every part ofthe museum or gallery, regardless of the domain it was intended for- be it conservation, storing, display or protection. Space arrange-ment used to be done according to the basic aim - museum andgallery activities. In some of the cases though there were mistakesmade that later caused problems in spite of the freedom architectshad in planning the space according to the purpose and needs ofthe user, both indoors and outdoors.

Considering the present situation and previouspurpose of the objects hosting some of muse-ums in Serbia, it could be said that buildingsfor these new inhabitants and users were cho-sen from among the courts, schools, barracks,banks, homes of rich people, etc. In this waythe National Museum Belgrade after manyyears and several relocations, finally foundshelter in the building of the former InvestmentBank, Ethnographic Museum in the building ofthe former stock exchange, Museum ofVoyvodina in Novi Sad in the court building,Gallery of Frescoes of Matica Srpska in NoviSad in the building of the Product StockMarket built in 1926 by Lazar Dundjerski,Museum of the City of Novi Sad in the build-ing known as "Artillery", Arsenal or Mamula'sBarracks built in the beginning of the secondhalf of the 18th C and located within thePetrovaradin Fortress. Museum of Srem inSremska Mitrovica is placed in the formercourt, Museum of Jagodina in the building ofthe former Scout organisation, RegionalMuseum Zrenjanin in the Financial Palace,Homeland Museum Ruma in the building ofthe former Franciscan High School built in1772, Town Museum Subotica in the old

Magistrate, Gallery of paintings of Rajko Mamuzi} in the home ofRadulovi} family that was designed Filip [mit architect from Novi Sadin 1922, Gallery of Painters' Meetings in Subotica in the Rajhl'sPalace, Gallery of Paintings of Sava [umanovi} in the home of thefamily [umanovi}, which was let to administration, etc.All mentioned objects, as many others, changed the original owner-ship by decree of state authorities and received new subtenants orowners, whose primary field of activities was in no way in accord withthe original intention when built. The new tenants had the problemthat had to be solved - to make the space functional in the senseof storing and keeping exhibits, for displaying, conservation, restora-tion, for a library, offices, etc.The first problem encountered was the fact that these objects thathad to host most of museums and galleries in Serbia, were inten-tionally built for the needs of their original owners. The second, maybeeven greater one as far as preventive conservation is concerned, wasthe age of the objects, which were made from the second half of the18th C till the first half of the 20th C (although these are far lessnumerous than the ones built in the 18th and 19th centuries). Mostof the objects were in bad condition at the moment when new ten-ants, museum professionals and museum objects moved in. Thisrelated both to the space and to the environmental conditionsrequired for exhibits.The real problem lies in the fact that specific legal regulations proclaimedall objects hosting museums and galleries in Serbia for immovable cul-tural property in various categories, from the lowest to the highest one,and as such generally put them under state protection. The question iswhether these decisions moved by the Institute for Protection of CulturalMonuments, and verified by the Republic Government, were good or badfor the objects themselves, be it a museum or gallery. From the protec-tion point of view, museum and gallery professionals are required to pro-tect movable cultural property. Their colleagues from the Institute forProtection of Cultural Monuments are also required to protect property,but they care about immovable monuments. Both have obviously thesame task. Both are closely related. For museum and gallery people theproblem is even greater as they, along with the exhibits in collections,have to take care about one additional exhibit - the building itself. It isan exhibit and according to all norms it is a protected cultural propertygiven in trust to a museum or gallery, i.e. to an institution in charge ofprotection as well, only of a different kind.Sometimes the issue arises for the owners of these buildings - arethey to save exhibits which are decaying well indicating the bad envi-ronmental conditions in the object, or are they to save the object itself,which is evidently the biggest and most expensive exhibit for keeping.

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Condition of the outer wallsStanje spoljnih zidova

dobara, njihova prezentacija i publikovanje.Formiranjem nacionalne muzejske mre`e, teritorija Srbije je pokrivenaustanovama za{tite, koje su teritorijalno nadle`ne za odre|enu oblastili su specijalisti~ki orijentisane na odre|ene grupe nacionalne isvetske ba{tine.U trenutku stvaranja ovog sistema muzeja i galerija, vodilo se ra~unao tome da se oforme izvesne ustanove, naj~e{}e lokalnog tipa, koje}e se starati o za{titi materijalne kulture sa teritorije koju pokrivaju.Na`alost, u takvim slu~ajevima najmanje je vo|eno ra~una o tomeda li }e novoformirane muzejske i galerijske ku}e biti sposobne dabrinu o eksponatima i o sebi. Bez sumnje je i tvrdnja da je osnivan-jem nekih ustanova za{tite lokalni ili nacionalni politi~ki vrh sebi "kupo-vao" kartu za dugove~nost i ulazak u "visoko dru{tvo", upisav{i se uistoriju svoga kraja, grada ili zajednice, kao jedan od osniva~a ku}ekoja svojim ugledom i funkcijom nosi u sebi izvesnu dozu elitizma.Bilo je me|u osniva~ima i onih koji su o muzeologiji i umetnosti znalitoliko da su likovna dela sa motivom mrtve prirode dr`ali isklju~ivo ukuhinji, jer je na njima naslikano vo}e, i sl. Me|u ovakvim slu~ajevima bilo je i onih koji su prilikom osnivanjamuzejskih ku}a imali najbolje namere, ali se ishod tog rada ubrzopokazao kao poguban, isklju~ivo za one zbog kojih je ovakva ustano-va osnovana - eksponate i osoblje.Godine koje su za nama pokazuju da se u Srbiji (a {to nije isklju~enoi u ostalim delovima na{eg okru`enja), muzejska ili galerijska ku}aformira i sme{ta, ve} po ustaljenom principu, u istorijske objekte odzna~aja za kraj, dr`avu ili za odre|eni doga|aj. Kriterijumi za odabirovakvih objekata nisu poznati, a razlikuju se od sredine do sredine iod slu~aja do slu~aja. Obi~no je to bila najlep{a, ali ne i najve}azgrada u gradu (jer je ova druga po principu namernog odabirapostajala zgrada magistrata, kasnije sedi{te op{tine i sl. ukoliko ugradu nije postojala ranije podignuta zgrada za ovakve namene), iliobjekat od posebnog interesa za sredinu u kojoj se novoformiranamuzejska ku}a nalazi.Procentualno uzev{i, najve}i broj muzejskih i galerijskih ku}a u Srbijisme{ten je u ovakve objekte, dok je samo mali broj dobio tu ~astda se useli u namenski gra|ene objekte, po tada va`e}im muzeo-lo{kim standardima (Muzej savremene umetnosti u Beogradu, Muzejjugoslovenskog vazduhoplovstva kraj Aerodroma ''Beograd'', Muzejafri~ke umetnosti u Beogradu, Spomen-zbirka Pavlja Beljanskog uNovom Sadu...). Arhitektonski prostor bio je unapred planiran zaposebne namene i potrebe svakog segmenta muzeja ili galerija, biloda je pokrivao oblast za{tite, skladi{tenja, izlaganja ili konzervacije.Funkcionalni raspored prostora diktirala je osnovna namena - delat-nost muzeja i galerija. Ali, i u nekim od ovih slu~ajeva bilo je pro-pusta, koji su se kasnije pokazali kao lo{e re{enje, i pored toga {toje arhitekta imao tu slobodu da prostor planira u skladu sa namenomi potrebama korisnika, bilo da je on spolja iliiznutra.Uzev{i u obzir sada{nje stanje i prethodnunamenu objekata u kojima su neki od muzejau Srbiji, dolazimo do zaklju~ka da su za objek-te koji }e primiti nove vlasnike korisnike, odabi-rane zgrade nekada{njih sudova, {kola,kasarni, banaka, ku}e bogatih gra|ana i sl.Tako je Narodni muzej u Beogradu, poslemnogo godina i nekoliko preseljenja, kona~nosvoje steci{te na{ao u zgradi nekada{njeInvesticione banke, Etnografski muzej u zgradinekada{nje berze, Muzej Vojvodine iz NovogSada u zgradi suda, Galerija Matice srpske izNovog Sada u zgradi Produktivne berze iz1926. godine, arhitekte Lazara Dun|erskog,Muzej grada Novog Sada u zgradi poznatojpod nazivom Topovnja~a, Arsenal ili Mamulinakasarna, koja je gra|ena po~etkom drugepolovine 18. veka i u okviru je Petrovaradinsketvr|ave, Muzej Srema iz Sremske Mitrovice uzgradi suda, Zavi~ajni muzej Jagodina u objek-tu nekada{njeg Sokolskog doma, Narodni muzejZrenjanin u zgradi Finansijske palate,Zavi~ajni muzej Ruma u zgradi nekada{nje

Franjeva~ke gimnazije iz 1772. godine, Gradski muzej Subotica uzgradi stare Gradske ku}e, Galerija likovne umetnosti Rajko Mamuzi}u ku}i porodice Radulovi}, koju je 1922. godine projektovao novosad-ski arhitekta Filip [mit, Galerija likovnih susreta iz Subotice u Rajhlovojpalati, Galerija slika Save [umanovi}a u ku}i porodice [umanovi}, kojaje slu ila za izdavanje, pre svega, u administrativne svrhe i dr. Svi navedeni objekti, i mnogi drugi, su odlukama dr`avnih organa ujednom trenutku promenili prvobitnog vlasnika i u svoje prostorijeprimili nove podstanare ili vlasnike, ~ija osnovna delatnost nije ni pri-bli no odgovarala onome ~emu su namenjeni kada su bili sagra|eni.Pred novim korisnicima pojavio se problem koji je trebalo re{iti -funkcionalnost prostora namenjenog za ~uvanje i sme{tanjeeksponata, izlaganje, konzervaciju i restauraciju, biblioteku, prostorijeza rad osoblja....Prvi problem je bio u tome {to su objekti u koje je useljen najve}ibroj muzeja i galerija u Srbiji zaista bili namenski gra|eni, ali zapotrebe prvobitnih vlasnika. Drugi, mo`da i zna~ajniji problem, kadase radi o preventivnoj za{titi, je starost objekata, koji poti~u od drugepolovine 18. veka do prve polovine 20. veka (iako je njihov brojveoma mali u odnosu na objekte podignute u 18. i 19. veku). Najve}ideo objekata je ve} prilikom stupanja novih korisnika, muzealaca imuzealija, u njih, bio u lo{em stanju koje je, kako sme{tajno tako iklimatski, najmanje odgovaralo eksponatima. Pravi problem je u tome {to su posebnim zakonskim aktima sviobjekti u kojima se nalaze muzeji i galerije Srbije redom postalinepokretna kulturna dobra raznih kategorija, od one najni e do onenajvi{e, generalno objekti pod za{titom dr`ave. Postavlja se pitanjekoliko je ovakva odluka Zavoda za za{titu spomenika kulture kaopredlaga~a, koju verifikuje republi~ka vlada, donela dobro, a kolikolo{e u samom odnosu objekat - muzej - galerija. Sa stanovi{taza{tite, stru~njaci muzeja i galerija imaju kao osnovnu delatnostza{titu pokretnih kulturnih dobara. Njihove kolege iz Zavoda za za{tituspomenika kulture imaju tako|e kao osnovnu delatnost za{titu, alinepokretnih kulturnih dobara. I jednima i drugima je zadatak o~igled-no isti. I jedni i drugi su tesno povezani. Sa stanovi{ta muzealaca izaposlenih u galerijama, problem je znatno ve}i, jer pored ekspona-ta koji ~ine kolekcije i zbirke, dobijaju kao ote`avaju}i faktor jo{ jedaneksponat - zgradu u kojoj su. Ona jeste eksponat, i po svimmogu}im normama predstavlja za{ti}eno kulturno dobro povereno na~uvanje i odr`avanje tako|e muzeju ili galeriji, dakle onome ko ve}kao primarnu delatnost ima za{titu, ali u drugom obliku. Ne tako ~esto, sopstvenici se, u ovakvim objektima, nalaze izme|u"dve vatre", ta~nije izme|u problema da li da spasavaju eksponatekoji propadaju i koji su odli~an pokazatelj lo{eg mikroklimatskog stan-ja u objektu, ili objekat, koji je zasigurno najve}i i najskuplji eksponatza odr`avanje. Tako|e, svaka promena stanja objekta u negativnom

kontekstu, bilo da se radi o mehani~kim,stati~kim ili hemijskim promenama, direktnougro`ava eksponate unutar njega. Na pojavukapilarne vlage, prvo reaguju papir i tekstil, odarhitektonskih o{te}enja stradaju svi, i gubitakje neminovan. U ovom slu~aju, ugro`eni su iobjekat i eksponati, a neretko i osoblje i pose-tioci. Zastra{uju}e zvu~i podatak da je u jed-nom od muzeja u Srbiji, gotovo svakodnevno,portir pre dolaska zaposlenih odlazio upodrum zgrade i uklju~ivao pumpu da biizvukla podzemnu vodu, koja se u toku no}ipojavljivala u podrumu muzeja. U svakom muzeju i galeriji rukovodstvo istru~no osoblje se, u odre|enom trenutku,suo~i sa sli~nim problemima. Cilj je poznat!Obezbediti funkcionalan i bezbedan prostor zarad, ~uvanje i izlaganje. Postavlja se otvorenopitanje da li je boravak jedne ustanove kultureu objektu koji je pod za{titom ~ast ili teret.Da sve nije tako jednostavno i da korisnici takvihobjekata nailaze na niz prepreka, govori ipodatak da adaptacija za{ti}enih nepokret-nosti u funkcionalan prostor, namenjen muze-jima i galerijama, predstavlja ''Sizifov posao''.

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Inadequate conditions in a workshopNeadekvatni uslovi u radionici

In addition, any negative change on the object, be it mechanical, stat-ic or chemical one, directly endangers exhibits within. Capillaryhumidity, first attacks paper and textile, architectural damages affectall and the loss in inevitable. In such a case both the object and theexhibits are endangered, and often even the staff and visitors. It is afrightening fact that in one of the museums in Serbia almost everyday, the doorman before the staff would arrive, has to go to the base-ment to have the underground water pumped out as during the nightit would penetrate the basement of the museum.The management and professional staff in every museum and galleryare faced with similar problems in one moment or the other. The goalis known! To provide a functional and safe working, storing and dis-playing space. The question should be raised, however, if locatinginstitution of culture in an object under protection is an honour or aburden.This is not an easy issue and users of these objects meet numer-ous obstacles, which makes a kind of Sisyphean toil the adaptationof protected immovables into operational space intended for muse-ums and galleries. Again we are caught in the middle when facedwith another aggravating factor. Users needs are often opposite tothe requirements as set by the authority in charge of protection of theimmovables. Legal papers are not flexible considering both parties,although they must cooperate. On the contrary, the decisions andrequirements issued by the authorities make obstacles in providingminimum conditions for work and organizing, and the set standardsand norms are unrealistic.In this case the looser is the owner of the immovables. Not beingable to comply with rules issued by the law, the owner has to applyalternative solutions without having informed the institution in chargeof protection. In some cases, in the long run these solutions mayresult with greater problems than benefits. The result may seem pos-itive at one moment, and the quality of work is certainly a short termone. The post-adaptation process, due to unprofessional and lowquality remedying of damages, soon results with bad conditions andthe problem that primarily provoked the works, remains unsolved.The looser looses again. The object will experience one more per-manent scarring due to unprofessional and low quality works. Andwhat's in it for the one starting the whole process? Such moves againthreaten the object and the exhibits. The momentary, bad remedyingof the object will surely bring bad results damaging the exhibits - ifnot momentarily but the decaying process is expanding.Without any distinction, by entering the new-old premises the userstry to change the given space into a functional one by akind of "surgery". However, the border between wishes andpossibilities is not great. Very often, even the first obstaclemakes that border and the user steps back. As a rule, thedisplay rooms have the best chances in such buildings whenthe unnecessary partition walls are removed, as their removalwill not endanger the static of the building. Storages as themost needed space for a museum or gallery are at risk.These safe vaults for the national wealth cannot be fit-ted into the interior architecture of the building and have to beremoved to the basements and cellars or to the attics of the

objects. And this is constantly being done in our museums and gal-leries. Not to mention that often storages are located in most limitedspaces, which do not meet either operational or climatic conditions.This always happens in small museums. Object with such a muse-um or gallery cannot answer all the needs required by the protectionsystem, as it was not designed for them.Let's go back for a moment to the beginning of our story about kindsand functions of object transformed into museums and galleries. Themost characteristic examples were those of former banks, stockexchanges, courts, schools, individual houses, magistrates and townhouses. Regardless of the time and material values used for theirbuilding, none of these buildings was intended for MUSEUMS ANDGALLERIES. The house of the Radulovi} family from Novi Sad, andtoday the Gallery of Rajko Mamuzi}, represents an ideal whole ofarchitectural forms and façade plastic designed for a respectablefamily living. The building of the Arsenal in the Petrovaradin Fortresswas designed for the military needs of the 18th century, not for theneeds of the Museum of the City of Novi Sad. For many years theobject has been under reconstruction, which required substantialmeans. The hall of the Scouts Home in Jagodina was designed foryoung sportsmen as training room, not as exhibition room. A noblefamily built the Franciscan High School in Ruma in the 1780's foreducation of the population, not for a museum. Its location by thechurch and the parish seat was designed after the design of middleEuropean towns. And other examples follow. With the exception ofseveral museums, lucky enough to be located in the building intend-ed for them, all others are faced with the same problem. Remedyingand maintaining, that is the stumbling block, burden, problem fearedby all who are in charge of any institution of culture.This years long fighting windmills, regardless of our wishes, remainsmainly to be a failure. In 2003 only there was quite a number ofremedies and adaptation of museums in Voyvodina going on. It wasnot the embellishment; it was fight for survival of objects. Extremelyworn-out, the objects could not any more answer the tasks of stor-ing or displaying exhibits. The following examples prove this state-ment. The building of Museum of Srem in Sremska Mitrovica hasbeen under repair since 2002. Roof works were priority as it was sodecayed that the whole floor part of the museum was exposed tomechanical damages. It was a mistake and negligence of the sur-veying authorities that the building was left without roof during2002/2003 winters. The only protection against precipitation (and theywere abundant that winter) was the insulation - tarred paper laid over

the roof beams and rafters. The museumstaff made a sad sight while placing buck-ets in the library, as the roof could not standthe abundant precipitation. One shouldbear in mind that just under the roof, i.e. onthe museum floor the storages, library, thehall and staff offices are located.Another example is the Homeland MuseumRuma. In December 2002, experts from theInstitute for Protection of Cultural Monumentsin Sremska Mitrovica made a survey on thesituation in the object during detailed fact-finding mission. It was stated the object wasendangered both from the inside and outsidecauses. The level of capillary humidity was ris-ing from 30 cm up to 2.5 meters, occasion-ally climbing up to the roof construction.Capillary humidity was spreading almostover all walls in the basement, and the

humidity level varied from part to part. This part of the object was intend-ed for the display rooms and the situation found was unacceptable.Mistakes done during capillary humidity remedying by the end of the1980's had only temporarily blocked the problem, but in the same timeit caused drastic damages as the humidity surpassed the treated area.All exhibits were transferred to already too crowded storages. So, we gotseveral various collections as well as all kinds of materials located in oneplace while the condition remains the same and disregarding rules. Thedocument done in 2000 indicated that the roof construction was dam-aged to such an extent that 70% of roof beams and rafters as well as

74

Damages on the facade of the MuseumO{te}enja na fasadi muzeja

Ponovo se nalazimo izme|u ''dve vatre'', jer ovoga puta nailazimo nadrugi ote`avaju}i faktor. Potrebe korisnika ~esto se ne poklapaju sauslovima koje izdaje nadle`ni organ za{tite nepokretnosti. Zakonskaakta do sada nisu pokazivala veliku fleksibilnost na relaciji jednih idrugih, iako su prirodno upu}eni na me|usobnu saradnju. Naprotiv,~esto su odluke i uslovi, koje izdajeza{titar nepokretnosti, kamen spoti-canja u ostvarivanju minimalnih uslovarada i organizovanja, a postavljenistandardi i norme su nedosti ni.U ovom slu~aju gubitnik je sopstveniknepokretnosti. Usled nemogu}nosti daispuni uslove propisane zakonom, pri-moran je da mimo znanja za{titaranepokretnosti primenjuje alternativnare{enja, koja u nekim slu~ajevima,gledano dugoro~no, izazivaju ve}eprobleme nego korist. Rezultat je poz-itivan trenutno, a kvalitet rada kratko-ro~an. Postadaptivni proces, uslednestru~nog i nekvalitetnog izvo|enjaradova na sanaciji o{te}enja, stvaranepovoljne uslove koji se pojavljujunakon izvesnog perioda na objektu ine re{avaju problem zbog kog supokrenuti. Na gubitku je ponovo sopstvenik. Objekat }e usled nestru~nog ili nek-valitetnog izvo|enja radova do iveti jo{ jedan u nizu trajnih o iljaka. I{ta dobija onaj koji ~itav postupak pokre}e? Ovakvim potezima naudaru su ponovo objekat i eksponati. Trenutna, lo{a sanacija objektagarantuje i lo{ ishod ~itavog procesa u kome su eksponati bez raz-like izlo`eni opasnosti, mo`da ne trenutno, ali je njihov procespropadanja u ekspanziji.Bez razlike, ulaskom u nove - stare prostore korisnici poku{avaju da"hirur{kom" adaptacijom enterijera (jer im je samo ona dozvoljena),pretvore dati prostor u sebi funkcionalan. Ipak, granice izme|u `eljai mogu}nosti nisu velike. Vrlo ~esto se zaustavljaju kod prve prepreke,nakon koje se korisnik povla~i. Gotovo po pravilu, u ovakvim objek-tima najbolje prolaze izlo`beni prostori, koji nastaju uklanjanjemnepotrebnih popre~nih zidova ~ije odstranjivanje ne}e uticati na sta-tiku objekta. Trpe depoi, kao najpotrebnije prostorije muzeja i galeri-ja. Upravo ti trezori nacionalnog blaga bivaju, usled nemogu}nostiuklapanja u arhitektonski sklop enterijera, dislocirani u koristizlo`benog prostora u suterene i podrume zgrada ili natavane objekata. Ovakav slu~aj je ustaljen u na{im muzejimai galerijama. Ne treba pominjati ~injenicu da je ~esto zadepoe odabiran i vrlo sku~en prostor, koji ne zadovoljava nifunkcionalne ni klimatske uslove. To su neminovna re{enja umalim muzejima. Objekat u kome se nalazi takav muzej iligalerija ne mo`e da primi sve potrebne elemente funkcionisan-ja sistema za{tite, jer za njih nije nikada ni bio projektovan.Vratimo se za trenutak na po~etak pri~e o vrsti i funkcijamaobjekata koji su pretvoreni u muzeje i galerije.Najkarakteristi~niji primeri bili bi nekada{nji objekti banaka,berzi, sudova, {kola, privatnih ku}a, magistrata i gradskihku}a. Svi oni su u trenutku nastajanja, bez obzira na vremei materijalnu vrednost ulo`enu u njihovu izgradnju, pravljeniupravo za navedene objekte, ali NE I ZA MUZEJE I GALER-IJE. Ku}a novosadske porodice Radulovi}, u kojoj je danasGalerija Rajka Mamuzi}a, je idealan sklop arhitektonskih formii fasadne plastike, za ku}u u kojoj je ivela jedna od ugled-nijih porodica. Zgrada Arsenala na Petrovaradinskoj tvr|avi jefunkcionalno odgovarala potrebama vojske u 18. veku, ali nei potrebama Muzeja grada Novog Sada. Objekat je ve} god-inama u fazi rekonstrukcije i adaptacije, koje iziskuju velikamaterijalna ulaganja. Dvorana Sokolskog doma u Jagodini je bilanamenjena mladim sportistima kao ve`baonica, a ne izlo`benomprostoru. Franjeva~ku gimnaziju u Rumi je podigla rumska vlastelin-ska porodica u osmoj deceniji 18. veka, za potrebe {kolovanjastanovni{tva, ali ne i za muzej. Njen prostorni sklop uz crkvu i `upnidvor je arhitektonsko re{enje koje je primenjivano u srednjoevropskim

gradovima. Ovakvih primera je na desetine. Izuzev nekoliko muzeja,koji su imali tu sre}u da dobiju namenski gra|ene objekte, svi ostalise od osnivanja bore sa istim problemom. Sanacija i odr`avanje,kamen spoticanja, balast oko vrata, problem od koga zaziru svi kojiimaju bilo kakvu nadle`nost nad ustanovom kulture.

Rezultat ovih dugogodi{njih "borbi sa vetrenja~ama", hteli mito da prihvatimo ili ne, je uglavnom negativan. Samo u 2003.godini, u Vojvodini se adaptira ili sanira veliki broj muzeja. Neradi se niokakvom estetskom doterivanju, ve} naprotiv ospasavanju objekta. Dotrajali do te mere, objekti vi{e nisuspremni ni za ~uvanje ni za izlaganje eksponata. Slede}iprimeri to potvr|uju. Zgrada Muzeja Srema u SremskojMitrovici, od 2002. godine je u fazi adaptacije. Sanacija krovaje bila prioritet, jer je on do te mere dotrajao da je ~itav sprat-ni deo muzeja bio izlo`en mehani~kom o{te}enju. Gre{komi nebrigom nadzornog organa, objekat je tokom cele zime2002./2003. ostao bez krovnog pokriva~a. Jedina za{tita kojaje spre~avala atmosferske padavine (te zime su bile obilne),bio je izolacioni materijal ter-papir, koji je bio postavljen prekokrovnih greda i letava. Tu`no je bilo gledati osoblje muzejakoje, da bi spaslo enterijer, postavlja kofe u biblioteci, jer krovne mo`e da podnese ogromnu koli~inu padavina. Trebasamo napomenuti i to da su ispod krova, dakle na spratnomdelu muzeja, sme{teni depoi, biblioteka, sve~ana sala i kabi-neti stru~nog osoblja. Drugi primer je objekat Zavi~ajnog muzeja Ruma. Decembra

2000. godine, stru~njaci Zavoda za za{titu spomenika kulture izSremske Mitrovice izradili su elaborat o zate~enom stanju objekta pri-likom detaljnog pregleda, kada je konstatovano da je on ugro`en ispolja i iznutra. Nivo kapilarne vlage u prizemlju objekta penjao se odtridesetak santimetara pa do vi{e od 2,5 m, zahvataju}i u pojedinimdelovima svodnu konstrukciju. Kapilarnom vlagom su zahva}enigotovo svi zidovi prizemlja, a nivo vlage je varirao od dela do dela.Ovaj deo objekta je bio namenjen stalnoj postavci, koju je bilonemogu}e zamisliti u uslovima koji su zate~eni. Nepravilno ura|enasanacija kapilarne vlage, krajem osamdesetih godina pro{log veka,privremeno je blokirala poreme}aj u strukturi zidova, ali i izazvaladrasti~na o{te}enja, jer se vlaga popela iznad zone koja je bila tre-tirana. Svi eksponati su preme{teni u ve} pretesne depoe, koji nemogu da ih prime. Tako na jednom mestu imamo nekoliko razli~itihzbirki i sve vrste materijala, koji se dr`e po identi~nim uslovima i vanpropisa. Elaborat na~injen 2000. godine nagovestio je i to da je krov-na konstrukcija u toj meri o{te}ena da je potrebno promeniti 70%

krovnih greda i letava, kao i sav crep.U toku 2002. godine, stru~njaci mitro-va~kog Zavoda su, uz pomo} stati~ara,utvrdili da se stanje u odnosu nadecembar 2000. godine drasti~nopogor{alo. Zaklju~ili su da je krovnipokriva~ prete`ak za objekat i da usledtoga dolazi do pritiska na tavanicu ipucanja plafona. Najve}e promenevidljive su u delu u kome su izlo`beneprostorije. Kao u sremskomitrova~komMuzeju, i ovde su u spratnom delusme{tene izlo`bene sale, depoi, bib-lioteka i prostorije za osoblje. I tu, nar-avno, nije kraj. Pre tridesetak godina,ispred zgrade muzeja je posa|endrvored lipe, koji je toliko gust dastvara neprobojan zeleni filter ve}imdelom godine i zadr`ava isparavanjevlage od atmosferskih padavina. Dobitidozvolu za uklanjanje ovog drvoredate`e je nego dobiti dozvolu za uklan-

janje zgrade. Ne{to novijeg datuma je "prinudni objekat" javnog toale-ta, koji samo {to nije naslonjen na zgradu Muzeja. Zbog neprestanognatapanja tla ispod Muzeja, koje je prouzrokovano pucanjem cevi zaodvod, statika objekta je poreme}ena. Iz pomenutog razloga, zapad-no krilo je puklo po vertikali. Toalet je i dalje na istom mestu, ~ak jejedan od biv{ih direktora JKP "Komunalac" predlagao da se iznad

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Floor in a paintings storagePod u jednom depou slika

Improvised air-conditioningImprovizovano provetravanje

all tiles needed replacement. In 2002, the experts of the Institute forProtection in Sremska Mitrovica and the static experts could only statethat the situation was drastically worsened as compared to the year2000. Their conclusion was that the roof cover was too heavy for theobject, which in turn makes pressure on the ceiling and makes itcrack. The changes are best visible in the display rooms. Here, as inthe Museum in Sremska Mitrovica, the display rooms, storage, libraryand staff offices are located on the floor part of the building. Somethirty years ago, an avenue of linden was planted in front of theMuseum. Today, the avenue is so thick that it forms an impenetrablegreen filter for the most part of the year, which in turn prevents evap-oration of dampness due to precipitation. It proved to be more diffi-cult to obtain a permit to remove this avenue than to put down thewhole building. Recently a "forced object" of a public WC was locat-ed most close to the Museum. The drainpipe break causes constantwatering of the ground under the Museum, which in turn disturbs thestatic of the object. This led to vertical break of the western wing. Thetoilet, however, stays in its place. One of the former directors of the"Komunalac" public company even proposed that above it a "mod-ern business centre" should be built.This refers to only two objects in Serbia, but we can rightfully con-clude that the general picture when endangerment of objects is con-cerned is pretty much the same everywhere, with only minor differ-ences. Functionality of objects is limited and depends on the actualarchitectural works done on an object. It is done with greater or less-er success, which depends on the static and construction of theobject. In such situation it is impossible to implement preventive con-servation in its full sense. In most of the cases the situation dependson the condition of the object enabling or (more often) making itsapplication difficult. Is it possible to discuss the ideal microclimaticconditions for storing and displaying exhibits in an object attacked bycapillary humidity? Is it possible to consider optimum temperature val-ues for storages, which are under the roof cover in the attic whereduring summer the temperature is higher than outdoors, and duringwinter below all norms? Not to talk about fire risks higher than in otherparts of the object. Should we mention that in majority of museumand galleries this space serves for storing displays?

RRIIiisskk AAsssseessmmeenntt iinn MMuusseeuummssVesnaa @iivkovii}, ccuraator,DIANA Centre for Preventiive Conservaatiion

Management, marketing and insurance, as well as ecology and med-icine comprise systematical risk analysis, conducted with an aim toprovide efficient plan to minimize negative influence of existing risksin organization's activities related to financials, incomes, public inter-ests, safety measures, ecological factors and legal aspects.(http://www.aria.org/rts/riskmgmt.htm). Process of risk managementincludes four interrelated aspects:1. Systematic and continuous investigation of exposure to the risk ofloss 2. Assessment of nature, frequency, severity and possible impact ofthe risk on an organization3. Planning and organization of appropriate risk control techniques inorder to efficiently minimize the impact of a loss on an organization4. Application of such techniques both in departments and manage-ment, as well as in collaboration with organizations, which controllosses (http://www.aria.org/riskpos.htm).In order to obtain understandable and compatible data models forquantitive risk analyses are developed. These models are considereda suitable mean of understanding, assessing and managing risks, aswell as a soild base for making informed, realistic and justified deci-sions, especially in the field of finances and insurance(http://www.risk-modelling.com/).Planning preservation of museum collections includes assessment ofcurrent condition in an institution and measures which promote long-term protection and preservation of collections at exhibition, in stor-age, in use or in transport. It is based on control of all factors orcauses which can damage or destroy collections (Rempel, Z. 2003:2). Request for resources to museum management involves information

about present level of risks (excepted losses and damage) andoptions for strategically and cost-effectively reducing of risk (Rempel,Z. 2003: 3, according to Waller, R.), so detailed initial plan must con-tain collections condition assessment- which part of collection isexposed to risk the most, which risks would affect objects the most- and specify priorities, enabling appropriate use of resources.Model of risk analysis, derived from management, is applied also inmuseums and two concepts based on mathematical principles, aredeveloped. In Canadian Conservation Institute, Stefan Michalskiestablished simple scales (Michalski, S. 2003), and in CanadianMuseum of Nature, during the past twenty years, Robert Waller'smethod of assesing and managing risks is used (Waller, R. 2003).These two museum approaches to risk analysis includes identifica-tion of risks for museums collections and their quantification. This isfoundation for conducting systematic control according to establishedpriorities and strategies to decrease risks in the best possible way.Identification of risks is conveyed according to examination, experi-ence, information on collections condition, as well as safeguardingconditions. Furthermore, Canadian Conservation Institute made aframework describing nine factors of museum collections deteriora-tion (direct physical forces; thieves, vandals and displacers; fire, water,pests; contaminants; light and UV, incorrect temperature; incorrect rel-ative humidity), means to control them, storaging objects and desir-able levels of control (Poster Framework for Preservation of MuseumCollection, 1994, Michalski S.1994: 8 - 11).Factors of deterioration systematized in this way used in risk analy-sis in museum facilitate recognition of all damage causes, enablesolving of disputable problems, provide understandable and completeanalysis and credibility from conservation decision maker's point ofview (Waller R. 2003). This systematical approach is applied in RobWaller's model too, except he also describes the tenth factor, com-prehending a loss of object because of staff negligance. After specific risks are recognized, one have to asses them accord-ing to specified parameters, to obtain final magnitude of risk.In Stefan Michalski's Simple scales there are four parameters, con-taining marks from 0 to 3 (Michalski S. 2003, Michalski S. 2003a). Inthe first parameter, the question is asked how soon (in 1, 10, 100 or1000 years) an object would be damaged, regarding separately typeof risk that occurs as a specific event (for example fire or flood) andtype of risk that accumulates gradually (for example light effect). Thisestimation is based on materials, characteristics of objects and his-tory of collections. The second parameter considers the level of dam-age of the object affected by the deterioration agent i.e. how muchof the value of the object is damaged. Two extremes are used asmeasures for this category - total loss of objects and moderate orreversible damage to each object, and middle value refers to signif-icant but limited damage to each artifact. Third parameter suggestshow much of the collection is affected. It can be only one object (0,1%), a small part of the collection (1%), a large part of the collection(10%) or whole collection (most of it -100%). Forth parameter is usedto assess how important the affected artifacts are. In relation withaverage significance for the collection, a point more is given for moreimportant objects (10 times the average value), a point more for muchmore important objects (100 times the average value), and a pointless for much less important objects (1/10 the average value). Whenone considers market value of objects, for example, more values canbe introduced (relations can range to one to million) and the scalecan go from one to five (Michalski S. 2003). In that case, the valuewould have extreme influence on determination of risk for each artifact.When specific risks, which can be easily identified, are assessed,every general risk on the list is marked and it is checked wether anyof individual risk have been neglected. Values (from 0 to 3) are selected to be logarithmic, so every pointmore has ten times higher significance than the preceding one.Results for each parameter are added up (that is in fact adding log-arithms of the parameters, which is mathematically equivalent to mul-tiplying of parameters in Waller's method) and the final sum repre-sents Magnitude of specific risk. This Magnitude of risk serves todetermine four categories of priorities (Michalski, S 2003).The extreme priority (9-10) refers to possible total loss of collection infew years or less. These results are usually connected with high fire or

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njega napravi "moderan poslovni prostor".Iako je re~ o samo dva objekta u Srbiji, s pravom mo`emo da kon-statujemo da je generalna slika, po pitanju ugro`enosti objekata,dosta sli~na, sa malim ili ve}im odstupanjima. Funkcionalnost objek-ta je zadovoljena samo u izvesnim granicama, a zavisi od konkret-nih arhitektonskih zahvata na postoje}em objektu. Ponekad je onauspe{nije izvedena, a ponekad ne, {to je u direktnoj vezi sa statikomi konstrukcijom objekta. Pod ovakvim uslovima nemogu}e je primenitipreventivnu za{titu, u pravom smislu te re~i. Stanje objekta naj~e{}ediktira kompletnu situaciju, i omogu}ava u najve}em broju slu~ajevaote`ava njenu primenu. Da li je uop{te mogu}e govoriti o idealnimmikroklimatskim uslovima za ~uvanje i izlaganje eksponata, u objek-tu koji je zahva}en kapilarnom vlagom? Da li je mogu}e razmi{ljati ooptimalnoj temperaturi u depoima koji se nalaze ispod krovnog pokri-va~a u tavanskom prostoru, u kome je u letnjim uslovima temper-atura ve}a nego spolja, a zimi ispod svih dozvoljenih normi? Da negovorimo o tome da su takvi delovi objekta izlo`eniji po`aru od ostal-ih. Da li treba pominjati da je kod ve}ine muzeja i galerija to prostorza sme{taj eksponata?

PPrroocceennaa rriizziikkaa uu mmuuzzeejjiimmaa Vesnaa @iivkovii}, kustos,DIJJANA Centaar zaa preventiivnu zaa{tiitu

Sastavni deo menad`menta, marketinga i osiguranja, ali i ekologije imedicine su sistemati~ne analize rizika, koje se sprovode sanamerom obezbe|ivanja efikasnog plana, kojim }e se umanjiti neg-ativan uticaj postoje}ih rizika na delovanje organizacije na polju finan-sija, zarada, javnih interesa, ljudske bezbednosti, ekolo{kih ~inilaca iprava (http://www.aria.org/rts/riskmgmt.htm). Proces tzv. upravljanjarizicima uklju~uje ~etiri me|usobno povezana aspekta:

1. Sistematsko i neprekidno ispitivanje izlo`enosti riziku gubitka2. Procenu prirode, u~estalosti, ozbiljnosti i potencijalnog uticaja rizikana organizaciju3. Planiranje i organizacija odgovaraju}ih tehnika kontrole rizika da bise efikasno umanjio uticaj gubitka na organizaciju4. Primenu takvih tehnika i u okviru odeljenja i me|u upravom i usaradnji sa organizacijama koje kontroli{u gubitke(http://www.aria.org/riskpos.htm).

Da bi se dobili lako razumljivi i kompatibilni podaci, razvijeni su mod-eli kvantitativnih analiza rizika, koji se smatraju pogodnim sredstvomza razumevanje, procenu i upravljanje rizicima i dobrom osnovom zadono{enje informisanih, realisti~nih i opravdanih odluka, naro~ito napolju finansija i osiguranja (http://www.risk-modelling.com).Planiranje o~uvanja muzejskih zbirki uklju~uje procenu trenutnog stan-ja u ustanovi i mere koje promovi{u dugoro~nu za{titu i o~uvanjezbirki na izlo`bi, depou, u upotrebi ili u transportu, i bazira se na kon-troli faktora ili uzroka koji ih o{te}uju ili uni{tavaju (Rempel Z. 2003,2). Zahtev za resurse muzejskoj upravi podrazumeva informaciju otrenutnom nivou rizika (o~ekivani gubici i {teta) i opcije za strate{ko ipovoljno umanjenje rizika (Rempel Z. 2003, 3, according to Waller R.)tako da detaljan inicijalni plan obuhvata procenu stanja u kome sezbirke nalaze - koji deo kolekcije je najvi{e izlo`en riziku, koji rizici biimali najve}i uticaj na predmete - i uspostavljanje prioriteta, koji }eomogu}iti pravilno kori{}enje resursa.Model analize rizika, potekao iz oblasti menad`menta, primenjen je ina nivou muzeja i razvijena su dva koncepta procene rizika baziranana matemati~kim principima. U Kanadskom konzervatorskom institu-tu Stefan Mihalski je postavio osnove takozvanih jednostavnih skala(Michalski S. 2003), a u Kanadskom prirodnja~kom muzeju u Otavi,ve} dvadeset godina, u primeni je metod procene i upravljanja rizici-ma Roberta Volera (Waller R. 2003).Ova dva muzejska pristupa analizi rizika podrazumevaju identifikacijurizika po muzejske zbirke, njihovo kvantitativno odre|ivanje i naosnovu toga sprovo|enja sistemske kontrole prema utvr|enim prior-itetima i strategijama da bi se rizici ubla ili na najpovoljniji na~in.Identifikacija rizika vr{i se na osnovu posmatranja, iskustva, informa-cija o stanju zbirki i uslovima u kojima se ~uvaju. Pritom, u Kanadskom

konzervatorskom institutu je napravljen Poster (Framework) na komeje predstavljeno devet faktora propadanja muzejskih zbirki (direktnefizi~ke sile; lopovi, vandali i gubitak predmeta usled zamene ili zatu-ranja; vatra; voda; {teto~ine; zaga|iva~i; svetlo i UV zra~enje; nead-ekvatna temperatura; neadekvatna vla`nost), sredstva njihove kont-role, sme{taj predmeta i po`eljni nivoi kontrole (Poster Framework forPreservation of Museum Collection, 1994, Michalski S.1994, 8 - 11).Postojanje ovako sistematizovanih faktora propadanja u okviru anal-ize rizika u muzeju olak{ava prepoznavanje svih uzroka o{te}enja,omogu}ava razre{avanje spornih problema, obezbe|uje razumljivosti kompletnost analize i daje kredibilitet iz perspektive onoga koodlu~uje o konzervaciji (Waller R. 2003). Ovaj sistemati~an pristup seprimenjuje i u modelu Roba Volera, s tim da on izdvaja posebno ideseti faktor, koji obuhvata gubitak predmeta zbog nemarazaposlenih.Nakon izdvajanja specifi~nih rizika vr{i se njihova procena premaodre|enim vrednosnim parametrima da bi se dobila kona~na veli~inarizika.U skalama Stefana Mihalskog postoje ~etiri parametra u okviru kojihse daju ocene od 0 do 3 (Michalski S. 2003, Michalski S. 2003a). Uprvom parametru se postavlja pitanje koliko brzo (za 1, 10, 100 ili1000 godina) }e do}i do o{te}enja predmeta, i to posmatraju}i odvo-jeno vrstu rizika koja se manifestuje kao odre|eni doga|aj (na primerpo`ar ili poplava), odnosno rizika ~iji efekat se postepeno uve}ava(na primer dejstvo svetla). Ova procena se bazira na materijalima,karakteristikama predmeta i istorijatu kolekcije. Drugi parametar raz-matra u kojoj meri je predmet o{te}en, koji je pod dejstvom faktorapropadanja, to jest koliko je "o{te}ena" vrednost predmeta. Zaizra`avanje ove kategorije kao merilo se koriste dva ekstrema - total-ni gubitak predmeta i "skromno" ili reverzibilno o{te}enje svakogpredmeta, a srednja vrednost podrazumeva zna~ajno, ali ograni~enoo{te}enje svakog predmeta. Tre}i parametar ukazuje koliki deo zbirkeje pod dejstvom faktora propadanja. To mo`e biti samo jedan pred-met (0, 1%), mali deo zbirke (1%), veliki deo zbirke (10%) ili cela(ve}ina) zbirka (100%). Kroz ~etvrti parametar se procenjuje kolika jeva`nost predmeta koji su ugro`eni. U odnosu na prose~an zna~aj zazbirku, jedan poen vi{e je dat za va`nije predmete (10 puta ve}a odprose~ne vrednosti), jo{ jedan poen za mnogo va`nije predmete (100puta ve}a od prose~ne vrednosti), a jedan manje za mnogo manjeva`ne predmete (1/10 prose~ne vrednosti). Kada se razmatra tr i{navrednost, na primer, mo`e se uvesti vi{e vrednosti (odnosi mogu bitijedan prema milion) i skala mo`e da ima raspon od jedan do pet(Michalski S. 2003). U tom slu~aju, vrednost }e imati izuzetan uticaju odre|ivanju rizika za svaki predmet.Posle procene specifi~nih rizika, koji se lako mogu identifikovati,ocenjivanjem svakog op{teg rizika na listi, vr{i se provera da li je nekipojedina~ni rizik zanemaren.Vrednosti (0-3) su odabrane da budu logaritmi~ne tako da svakipoen vi{e ima deset puta ve}i zna~aj nego prethodni. Rezultati zasvaki parametar se sabiraju, (~ime se zapravo sabiraju logaritmi para-metara, {to je matemati~ki jednako mno`enju parametara uVolerovom metodu) i ukupan zbir predstavlja Veli~inu odre|enogspecifi~nog rizika. Na osnovu veli~ine rizika se izvode ~etiri kategori-je prioriteta (Michalski, S 2003).Pod ekstremnim prioritetom (9 - 10) se podrazumeva mogu} totalnigubitak zbirke u nekoliko godina ili manje. Obi~no su ovi rezultatipovezani sa visokim rizicima od po`ara ili poplave. Hitni prioritet (6 -8) ukazuje na mogu}e zna~ajno o{te}enje ili gubitak va`nog delazbirke u narednih nekoliko godina. Ovi rezultati su povezani sa prob-lemima sa obezbe|enjem ili veoma visokim stepenom uni{tenja odjakog svetla, ultraljubi~astog zra~enja ili vlage. Umereni prioritet (4 -5) ukazuje na mogu}e umereno o{te}enje pojedinih predmeta unarednih nekoliko godina, ili zna~ajno o{te}enje ili gubitak poslenekoliko decenija. Ovi rezultati su uobi~ajeni u muzejima u kojimapreventivna za{tita nije prioritet. Kona~no, kategorija odr`avanjemuzeja (1 - 3) odnosi se na umereno o{te}enje i rizik od gubitka uperiodu od vi{e decenija. Ovi rezultati ukazuju na potrebu redovnihpobolj{anja, koje svi muzeji moraju primenjivati.U okviru Volerovog modela procene rizika nakon identifikacije speci-fi~nih rizika na osnovu liste deset faktora propadanja, vr{i se njihovogrupisanje prema u~estalosti i ozbiljnosti u tri tipa (Waller, R. 2003).

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flood risk. Urgent priority (6 - 8) suggests significant damage or lossof an important part of the collection in few years time. These resultsare related to security problems or very high level of strong light, UVor relative humidity caused deterioration. Moderate priority (4 -5) indi-cates possible moderate damage of individual objects in few yearstime, or significant damage or loss after few decades. These resultsare common for museums in which preventive conservation is not apriority. Finally, category of Museum maintenance (1 - 3) refers tomoderate damage and risk of loss in a period of several decades.These results imply need of regular improvements, obligational for allmuseums.In Waller's model of risk assessment after identification of specific riskbased on the list of ten factors of deterioration, they are classifiedaccording to their frequency and severity into three types (Waller, R.2003). First type are risks that rarely occur and these are catastro-phies. Type two are sporadic risks, intermediate in severity and typethree are constant and gradual/mild risks. Deterioration factors andtypes of risk constitute general risk (for example water/type 1, 2, 3),and there are, theoretically, 30 of those (30 factors x 3 types).To estimate magnitude of risk one uses, as in Stefan Michalski'smodel, four parameter. First parameter refers to the part of the col-lection susceptible to risk, i.e. part of the collection considered vul-nerable to the loss of value due to exposure to specific risk (fractionsusceptible). The second parameter includes loss in value - maxi-mum possible loss of utility for known or anticipated use of a part ofcollection, which is susceptible to risk. These two parameters are esti-mated in relation with susceptibility of an object, anticipated severityof the risk and storaging of the object. Third parameter is probabili-ty that event which causes damage would happen over period of 100years. It is possible to assess it according to statistic on the proba-bility of event. Forth parameter represents level - measure to whichspecific risk would result in loss of value in the part of the collectionsusceptible to risk over a period of 100 years (affected value of thefraction or the degree to which a potential loss in value is realised,or both). Estimatation of this parameter is based on experience andthe judgment of a conservator and the microclimate in which collec-tions are placed.Every parameter includes numerical values from 0 to 1. These canbe expanded into logarithmic scale divided into progressively small-er fractions (0.1, 0.01, 0.001, 0.0001...) when one deals with changesaffecting very small fractions of collection to very small extent (Waller,R. 2003).Magnitude of risk is calculated by multiplying obtained values, and itrepresents assessment of loss in value expected in the period of 100years and based on current situation.Both models of risk assessment in museums are based on variationof universal computational methods in risk management, but they donot represent precise science nor optimal models (Michalski S. 2003,Waller, R. 2003). They include use of common sense, intuition andexperience. However, the codification and quantification of establishedparameters gives useful estimatation of relative magnitude of major-ity of risks and enables comparison of all different risks with an aimto set up priorities - to rank risks according to their significance -from the highest to the lowest risk (prioritization) or to all the risk (sumup total score) with an intent to minimize general risk.Such method provides simple model for describing true condition ofcollection, for data evaluation and presenting information to investorsand identification of methods and levels of control as well as esti-mation of costs, risks and benefits of risk reducing (Waller R. 2003).

References:http://www.aria.org/rts/riskmgmt.htm http://www.aria.org/riskpos.htm http://www.risk-modelling.com Michalski S. 1994 A Systematic Approach to Preservation: Descriptionand Integration with Other Museum Activities, Preventive ConservationPractice, Theory and Research: Preprints of the Contributions to theOttawa Congress, 12 - 16 September, 1994, London, 8 - 11Michalski S. 2003 Risk assessment: Simple scales, ICCROM-CCIcourse, June 2003, OttawaMichalski S. 2003a Risk assessment of collections: Simple scales that

add up, November 2003, OttawaPoster Framework for Preservation of Museum Collection, 1994, CCI,Ottawa Rempel Z. 2003 Storage Planning for Cultural Institution, An ICCROMCCI Workshop, June 2003, OttawaWaller R. 2003 Risk Assesment: Excerpts from Waller's "Assesing andManaging Risks to Cultural Property", ICCROM-CCI course, June2003, Ottawa

TTeecchhnniiccaall aanndd FFiirree PPrrootteeccttiioonn ooff MMuusseeuummss aanndd MMoovvaabbllee CCuullttuurraall HHeerriittaaggee iinn TThheemmRaanko Saavii}, Heaad of Seccuriityy, Naatiionaall Museum Bellggraade

Museum professionals are facing a huge task to prepare documen-tation for building of new museums and adaptations of the existingones. During creation of project program it is important to deal witha number of mutually conditioned protection measures, having inmind large problems cultural institutions have been faced with in pro-tection of cultural heritage. Partly because of the lack of money, part-ly because of other reasons, museums are situated in inadequatebuildings. Even the intended museum buildings show many disad-vantages. Reconstructions were usually undertaken only when therewere some current political needs, big anniversaries and similarevents. Cultural heritage protection experts should win a right to par-ticipate in these programs in future.There is growing awareness of the need for protection of cultural her-itage in the world and it can be expected in the near future that someserious investments in preventive conservation of our cultural heritagewould be finally initiated. Unfortunately, enormous damage hasalready been done. Public is still not thoroughly informed of the scaleof war damages in Croatia, Bosnia and Herzegovina, Kosovo, as wellas of the bombing consequences. Thefts in Arandjelovac, Novi Pazar,National Museum Belgrade and many other places are still subject topolice investigations. The fire in Ni{ has destroyed the Cathedral withiconostasis and other precious objects in it for good. Conservatorsare making a great effort to repair and conserve the cultural heritagedamaged in savagery and devastation of the National Assemblybuilding. Apart from all that and far from the eyes of public, in inad-equate museum spaces and very poor climate and housing condi-tions, cultural property is deteriorating and this process has irre-versible consequences. Several decades of lack of investments in thefield of prevention brought us to the situation where none of themuseums fulfill even basic conditions for the protection of culturalheritage. Redirection of state sources towards conservation demandsgreat deal of effort. Ministry of Culture should be introduced intomuseums and informed of the problems on the spot. It should beforced to serve as a link between museums and the Government,international organizations, donors... Occasional meetings at exhibi-tion openings and similar events obviously have not yielded improve-ments. If the appointing of the Head of Department for Museums andProtection of Cultural Heritage can be considered the first step, thenit has been taken by the Ministry of Culture. The next step should betaken by cultural heritage protection specialists. Public should bethoroughly informed about the present condition, avoiding any sen-sationalism. It is necessary to educate the media in order to informnational and international public of the needs for protection of cultur-al heritage in the right way. They should be directed to deal with con-servation not only in the emergency situations, but also in everydaysituations. It is important that institutions dealing with the protection ofcultural heritage (museums, ICOM, DIANA) organize seminars for edi-tors and journalists working in cultural programs. It is unacceptablethat projects for protection of cultural heritage are concerned witheverybody else but experts in this field. Here is what should be takeninto consideration:

Macro locationWhen making a risk assessment in the process of choosing locationfor a museum, it is necessary to have in mind all possible threats.Our country is situated in a seismically active region. Earthquakes in

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Prvi tip su rizici koji se retko de{avaju i u pitanju su katastrofe. Drugitip su sporadi~ni rizici, srednje ozbiljnosti i tip tri su konstantni i poste-peni/blagi rizici. Faktori propadanja i tipovi rizika zajedno ~ine op{tirizik (npr. voda/tip 1, 2, 3), kojih teorijski postoji 30 (10 faktora x 3tipa). Da bi se procenila veli~ina rizika koriste se, kao i u modelu StefanaMihalskog, ~etiri parametra. Prvi parametar se odnosi na deo zbirkekoji je podlo`an riziku, odnosno deo zbirke koji se smatra podlo`nimgubitku vrednosti usled izlo`enosti specifi~nom riziku. Drugi parametarobuhvata gubitak vrednosti - maksimalni mogu}i gubitak "korisnosti"za poznatu ili predvi|enu upotrebu, dela zbirke koji je podlo`an riziku.Ova dva parametra se procenjuju u odnosu na "osetljivost" predmeta,koja mu je svojstvena, predvi|enu ozbiljnost specifi~nog rizika isme{taj predmeta. Tre}i parametar je verovatno}a da }e se doga|aj,koji prouzrokuje {tetu, desiti u periodu od 100 godina. Mogu}e ga jeproceniti na osnovu statistike o verovatno}i doga|aja. ^etvrti parametar predstavlja stepen - meru do koje }e specifi~ni rizikrezultovati gubitkom vrednosti kod dela zbirke kojije "osetljiv" na rizik u toku perioda od sto godina(vrednost dela kolekcije koji je "pogo|en" ili stependo koga je potencijalni gubitak vrednosti ostvarenili oboje). Procena ovog parmetra se bazira naiskustvu i proceni konzervatora i mikroklimatskimuslovima u kojima se nalaze zbirke.U okviru svakog parmetra postoje numeri~kevrednosti od 0 do 1, koji se mogu pro{iriti na log-aritamsku skalu podeljenu u progresivno manjefrakcije (0.1, 0.01, 0.001, 0.0001...), kada se radi opromenama koje uti~u ne veoma male delovezbirki u veoma malom stepenu.Mno`enjem dobijenih vrednosti izra~unava seVeli~ina rizika, koja predstavlja procenu gubitkavrednosti na osnovu teku}e situacije, a u perioduod 100 godina.Oba modela procene rizika u muzejima bazi-rana su na varijacijama univerzalnih ra~unskihmetoda u upravljanju rizicima, ali ne predstavl-jaju preciznu nauku, niti optimalne modele(Michalski S. 2003). Njihova upotrebapodrazumeva i upotrebu zdravog razuma, intu-icije i iskustva. Me|utim kodifikacija i iskazivanje postavljenihparametara kvantitativno daje korisne procene relativne veli~ineve}ine rizika i omogu}ava upore|ivanje svih razli~itih rizika saciljem da se ustanove prioriteti - rangiranje rizika prema va`nosti- od najve}eg do najmanjeg rizika ili da se izvr{i grupisanje svihrizika (svede ukupan rezultat) sa ciljem da se umanji op{ti rizik. Na taj na~in je obezbe|en jednostavan model za opisivanjerealnog stanja u kome se nalaze zbirke, za procenu podataka ipredstavljanje informacija ulaga~ima i identifikaciju metoda inivoa kontrole, kao i procenu cene, rizika i dobrobiti strategijaumanjivanja rizika (Waller R. 2003).

Literatura:http://www.aria.org/rts/riskmgmt.htm http://www.aria.org/riskpos.htm http://www.risk-modelling.com Michalski S. 1994 A Systematic Approach to Preservation: Descriptionand Integration with Other Museum Activities, Preventive ConservationPractice, Theory and Research: Preprints of the Contributions to theOttawa Congress, 12 - 16 September, 1994, London, 8 - 11Michalski S. 2003 Risk assessment: Simple scales, ICCROM-CCIcourse, Jun 2003, OtavaMichalski S. 2003a Risk assessment of collections: Simple scales thatadd up, Novembar 2003, OtavaPoster Framework for Preservation of Museum Collection, 1994, CCI,Otava Rempel Z. 2003 Storage Planning for Cultural Institution, An ICCROMCCI Workshop, Jun 2003, OtavaWaller R. 2003 Risk Assesment: Excerpts from Waller's "Assesing andManaging Risks to Cultural Property", ICCROM-CCI course, June2003, Ottawa

PPrreevveennttiivvnnoo-tteehhnnii~~kkaa ii pprroottiivvppoo`aarrnnaa zzaa{{ttiittaa ppookkrreettnniihh kkuullttuurrnniihh ddoobbaarraa ii mmuuzzeejjaa uu kkoojjiimmaa ssuu ssmmee{{tteenniiRaanko Saavii}, {ef odsekaa zaa obezbe|enjje,Naarodnii muzejj Beoggraad

Pred muzealcima je veliki posao. Potrebno je pripremiti dokumentacijuza izgradu novih i adaptaciju i pro{irenje starih muzeja. Prilikom izradeprojektnih programa veoma je va`no da se obrati pa`nja na nizme|usobno povezanih i uslovljenih mera za{tite, jer smo svedocivelikih problema koje imaju ustanove kulture u za{titi kulturnih dobara.Verovatno zbog besparice, ali i niza nekih drugih razloga, muzeji susme{teni u neadekvatne prostore. ^ak si i namenski gra|eni muze-jski objekti izgra|eni sa mnogo mana. Programi rekonstrukcija popravilu su po~injali u poslednjem ~asu - uo~i neke velike godi{njice,a ~esto i iz dnevno-politi~kih potreba. Stru~njaci za za{titu kulturnihdobara moraju se izboriti da se ti programi ubudu}e ne rade bez njih.

******Svest o potrebi za{tite kulturnog nasle|a sve jeprisutnija u svetu, pa se mo`e o~ekivati da se ubliskoj budu}nosti, napokon, otpo~ne sa ozbiljnimulaganjima u preventivu i za{titu na{e kulturneba{tine. Na`alost, ve} je napravljena ogromna{teta. Javnosti jo{ nisu poznate razmere {teta odratnih razaranja u Hrvarskoj, Bosni i Hercegovini,na Kosovu i od posledica bombardovanja. Kra|eu Aran|elovcu, Novom Pazaru, Narodnom muze-ju Beograd i niz drugih jo{ su predmet policijskihistraga. Po`ar u Ni{u je zauvek odneo Sabornucrkvu, sa ikonostasom i ostalim kulturnim dobrimau njoj. Konzervatori u`urbano rade na popravci ikonzervaciji kulturnih dobara posle vandalskogdivljanja i uni{tenja kulturnih dobara u Saveznojskup{tini. Me|utim, daleko od javnosti, u neadek-vatnim muzejskim prostorima, u veoma lo{immikroklimatskim i sme{tajnim uslovima, propadan-je kulturnih dobara je opasan proces, koji nanosinesagledive {tete. Vi{edecenijsko neulaganje upreventivu je dovelo do takvog stanja da danasprakti~no nijedan muzej ne ispunjava ni minimum

uslova za za{titu kulturnih dobara. Potrebno je ulo iti mnogo truda dabi se oko{tali dr`avni budd`etski tokovi preusmerili ka za{titi.Ministarstvo kulture treba uvesti u muzeje i na licu mesta ga upoz-nati sa celom problematikom. Ono mora biti primorano da bude spojsa Vladom, me|unarodnim organizacijama, donatorima... Susreti nasve~anim otvaranjima izlo`bi i prigodnim godi{njicama, o~igledno,nisu doneli pozitivne rezultate. Ako je imenovanje Na~elnika direkcijeza muzeje i za{titu kulturnih dobara prvi korak, Ministarstvo kulture gaje u~inilo. Slede}i korak moraju nametnuti stru~njaci za za{titu kul-turnih dobara. Bez senzacionalizma, javnost treba upoznati sa stvarn-im stanjem. Potrebno je osposobiti novinare da svetsku i doma}ujavnost afirmativno upoznaju o potrebi za{tite kulturne ba{tine. Trebaim pomo}i da se za{titom bave svakodnevno, a ne samo u eksces-nim slu~ajevima. Stru~ne seminare za urednike i novinare informa-tivnih i kulturnih rubrika moraju organizovati ustanove koje se baveza{titom kulturnih dobara (muzeji, zavodi, IKOM, DIJANA Centar...).Ne sme se dozvoliti da, u projektima za{tite kulturnih dobara, re{enjadaju svi drugi osim stru~njaka za za{titu.

MakrolokacijaKod izbora lokacije za muzejske objekte potrebno je, kod procenerizika, obuhvatiti sve opasnosti koje mogu zapretiti. Na{a zemlja senalazi u trusnom podru~ju. Na to nas opominju zemljotresi u Skoplju,Banja Luci, Kopaoniku, Rumuniji... Globalne klimatske promenedonose veliku opasnost, tako da vodotokovi i bujice mogu da buduvelika opasnost. Jedan od primera je buji~na poplava u Ni{u. Poplavevelikih razmera mogu da ugroze Muzej savremene umetnosti iArheolo{ki muzej u Kladovu. Muzeje ne bi trebalo planirati u bliziniklizi{ta, na podvodnim terenima, pored velikih {umskih kompleksa iliu blizini objekata koji proizvode mikrovibracije. Objekti muzeja mora-ju da budu dovoljno udaljeni od velikih skladi{ta lakozapaljivih te~nosti

79

Plumbing problems in a museumProblemi sa instalacijama

Skoplje, Banja Luka, Kopaonik, as well as inRomania should remind us of that fact. Globalclimate changes present a huge danger, sothat water courses and floods can be seriousthreats as well. The example is flood in Ni{.Floods of a great proportion can endanger theMuseum of Contemporary Art in Belgrade andArchaeological Museum in Kladovo. Museumshould not be located in the vicinity of land-slides, in areas with underground waters, nearlarge forests or close to the buildings produc-ing micro vibrations. Buildings must be at rea-sonable distance from large flammable fluidsand gas storages, gas stations, etc. The build-ings of the Museum of Contemporary Art, theMuseum of African Art and the ex Museum25th May are located away from the city cen-tre. These museums are badly connected withcity centre in the sense of public transport andthe number of their visitors reflects it. It is goodto plan a museum building to be situated in thecentre of a town, in pedestrian zones with well organized connec-tions, as well as car and coach parks.

Micro locationsWhen planning museum buildings one should have in mind that allthe museum activities have to be carried out independently. Accessway for transport of cultural property should be separated from therest of communications. Visitors should have easy access to a muse-um, with museum employees having their own entrance and com-munications. Whenever possible, museum should not share a build-ing with other institutions, further more, they should be physically sep-arated from other buildings too.

Architectural and constructional characteristicsAdaptations of old museum buildings show the importance of promptplanning. When creating a project program it is necessary to harmo-nize several factors that could be mutually opposed, such as thenumber of underground and ground floors, access ways andentrance ramps for disabled, transport of cultural property, workingplans for different services and activities, types of walls and floors,intermediate constructions, windows and doors, fire-protection sec-tors, evacuation ways, types and quantities of materials used in inte-rior design. A museum building must be planned in the optimal wayfor the protection of cultural property from all the possible threats, andthey must be divided into solid functional, fire-protective and securi-ty sectors.

Power and heating facilitiesIt is of great importance for the museums to have constant powersupplying so that micro climate parametres are maintained through-out a year. Power and heating facilities must not endanger securityof a museum (transformer stations, boiler rooms, air conditioningchambers, heat regulators, diesel generators, hydro stations, etc).Heating, air conditioning, plumbing, drainage and rain utilities act aspermanent flood threats, so their setting and realization should becarefully planned.

Materials usedMuseums, especially the complex ones, are forced, within their regularactivities, to carry out actions that are dangerous by themselves. All inter-ested persons are allowed access to displayed cultural property, eventhose with wrong intentions. It is extremely difficult to prevent intendeddamages and bringing explosives and other dangerous materials into amuseum. In conservation labs and ateliers many flammable and toxic chem-icals are used. Storaging and handling regulations for flammable liquidsand toxic materials must be strictly followed. All museum workshops arecrowded with electrical equipment presenting constant fire risk if they aredamaged or badly manipulated. Interior should be designed with mini-mum of flammable materials used and when inevitable, they should beimpregnated and their flammability should be reduced.

Natural disastersI have already mentioned that a museum designshould cover resistance to earthquakes and protec-tion from floods. Fires in Greece and Australia remindus that when choosing location for a museum it isnecessary to take into account possibility of big fires.Hail storms can make enormous damage if roofs,water drainage, windows and doors are not careful-ly planned, built or installed. Lightning rod must beperfectly set and regularly controlled.

Fire protectionFire is the worst enemy of cultural property andmuseums they are situated in. Nearly every fire iscaused by human error, whether it concerns anarchitect, building contractor, museum worker orsecurity. Fire experts usually say that if putting out isnot begun fifteen minutes after a fire started, dam-age evaluation panel is likely to come. Fires in theYugoslav Drama Theatre and the Cathedral of Ni{must not be forgotten, but should serve as a con-

stant warning. In both cases, negligence led to starting the fire andthe lack of functional and prompt alarm system led to its furtherprogress. It is also not too difficult to imagine how a museum looksafter the action of fire brigade and use of tens of tones of water andfoam. Fire protection in our museums is in extremely bad condition.In 1979, the Ministry of Culture gathered a team of experts in the fieldof protection of cultural heritage and experts of fire protection of Ministryof Internal Affaires that visited all the immovable heritage, treasuries and45 museums in Serbia, wrote reports and suggested priorities. Museumswere divided into three priority groups. The first one suggested the MOSTURGENT adaptation projects and measures against thefts and fire.National Museum Belgrade was in this group...Unfortunately, after 23 years this situation stays the same, or bettersaid - it is worsened because there are more risks, utilities are older,and museums are richer with collections. If the National MuseumBelgrade, as the most important museum institution in the country, isin the greatest danger, what can be expected in museums with small-er collections.

IS IT POSSIBLE?!?!We have been listening to this question for decades, coming fromdifferent state services, architects, inspectors, international experts,people of good will...Is it possible that central museum institution does not have fire alarmsystem?Is it possible that the museum that houses the most important col-lections of cultural heritage does not have automatic fire distinguish-ers in storages and the conservation department?Is it possible that, at the beginning of the 21st century, storages ofthe National Museum, in the very centre of the national capital, canbe easily flooded, and that the its roof leaks to such an extent thatpaintings of the permanent exhibition are being regularly moved toavoid contact with water? Is it possible that power has to be cut inthe little roof dome when raining, to avoid fire threats?There are many more questions like these, but yes, all that is possible.There is no need to analyze why it is possible, because it could leadto endless searching. The fact that for almost sixty years, since WorldWar II, state was not able to provide sources, and find adequatesolutions for protection of its own heritage is absolutely discouraging.

Flood preventionA museum does not have to be at a river bank to experience floodthreat. Cultural property is very sensitive to water, which can endangerit in various ways: as precipitation (storm, inundation, hail), meltingsnow or blocked drainage system. Museum buildings have manyflood threatening water sources, such as plumbing, heating ordrainage utilities. It is hard to imagine a scale of damage caused byflood in museum storages, but one thing is sure - it would be hugeand irreparable. So, together with fire alarm system, it is necessary toset flood detection utilities in storages and conservation workshops.

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Roof construction of the Museum Krovna konstrukcija muzeja

ili gasova, benzinskih pumpi, pretakali{a i sl. Muzej savremene umet-nosti, Muzej afri~ke umetnosti ili (biv{i) Muzej 25. maj, izme{teni sudalje od centra grada. Gradski i pe{a~ki saobra}aj do tih muzeja jelo{e razvijen i to se odra`ava na broj posetilaca. Treba planirati damuzej bude sme{ten u centralnom jezgru grada, u pe{a~kim zona-ma, sa dobro razvijenim okolnim saobra}ajem, sa parkinzima za ato-mobile i autobuse.

MikrolokacijaObjekti muzeja bi trebalo da budu planirani tako da se u njima, neza-visno, mogu obavljati sve muzeolo{ke aktivnosti. Pristupni putevi zatransport kulturnih dobara trebalo bi da budu nezavisani od ostalihkomunikacija. Trebalo bi da posetioci imaju jednostavan pristupmuzeju, a da osoblje i saradnici muzeja imaju svoju komunikaciju.Kada god je mogu}e treba insistirati na tome da muzeji ne budusustanari sa drugim ustanovama, da budu fizi~ki odvojeni od drugihobjekata.

Arhitektonsko-gra|evinske karakteristikePrilikom adaptacija starih objekata, u kojima su sme{teni muzeji,najbolje se vidi va`nost blagovremenog planiranja. Prikom izrade pro-jektnog programa potrebno je usaglasiti niz, ponekad me|usobnosuprostavljenih, zahteva, kao {to su broj nadzemnih i podzemniheta`a, pristupni putevi i rampe za invalide i transport kulturnih dobara,raspored slu`bi i delatnosti, vrste zidova i podova, me|uspratnekostrukcije, prozori i vrata, protivpo`arni sektori, evakuacioni putevi,vrste i koli~ine materijala, koji se koriste u enterijeru. Zgrade muzejamoraju da budu napravljene tako da kulturna dobra {tite od svihopasnosti, podeljene u ~vrste, funkcionalne, protivpo`arne i bezbed-nosne sektore.

Elektroenergetska i termoenergetska postrojenjaVeoma je va`no da muzeji budu dobro snabdeveni elektri~nomenergijom, da bi se mikroklimatski parametri za ~uvanje kulturnihdobara kontinuirano odr`avali preko cele godine. Elekto i termopostrojenja ne smeju da ugro`avaju bezbednost muzeja (trafo stan-ice, kotlarnice, klima komore, izmenjiva~i toplote, dizel agregati,hidrostanice i sl). Instalacije: grejne, klima, vodovodne, kanalizacionei ki{ne, permanentna su opasnost od poplava. Njihov raspored iizvo|enje moraju biti pa ljivo i studiozno planirani.

Opasne materije Muzeji, posebno kompleksni, prinu|eni su da pod istim krovomobavljaju niz aktivnosti koje su same po sebi veoma opasne.Izlo`enim kulturnim dobrima,pristup je omogu}en, svim zain-teresovanim osobama, pa i onimnedobronamernim. Uno{enjeminskoeksplozivnih i opasnihmaterija i namerna o{e}enjaveoma je te{ko spre~iti. U konz-ervatorskim laboratorijama i ate-ljeima, u procesu rada, koriste sehemikalije koje su veomazapaljive i otrovne. Propisanire im ~uvanja i rukovanja lakozapaljivim te~nostima i otrovimamora se striktno po{tovati. Cestosu radni muzejski prostori pretr-pani raznim elektri~nim ure|ajima,koji, kad se pokvare ili se sa njimalo{e rukuje, prestavljaju stalnupretnju od po`ara. Ure|enje enterijera treba izvesti sa {to manjegorivih materijala, a kada se to ne mo`e izbe}i, onda se ti materijalimoraju impregnirati i tako im smanjiti gorivost.

Elementarne nepogodeVe} je pomenuto da se muzeji moraju da se planiraju tako da buduotporni na zemljotrese, kao i da se biraju lokacije na kojima }e bitiza{ti}eni od poplava. Po`ari u Gr~koj i Australiji nas opominju da seprilikom izbora lokacija za muzeje mora voditi ra~una i o po`arima

velikih razmera. Gradonosne oluje mogu da nanesu veoma veliku{tetu, ako se pogre{no isprojektuju i izvedu krovovi, odvodi atmos-ferskih voda, stolarija i krovne i fasadne staklene povr{ine.Gromobranske instalacije moraju da budu propisno izvedene i ured-no kontrolisane.

Za{tita od po`araPo`ar je najve}e zlo koje mo`e da zadesi kulturno dobro ili muzej, ukome su kulturna dobra sme{tena. Skoro svi po`ari su posledicaljudskih propusta - od projektanata i izvo|a~a, pa do korisnika i~uvara. Stru~njaci za po`are obi~no ka`u da, ukoliko u roku od pet-naest minuta od po~etka po`ara, ne po~ne akcija ga{enja po`ara, tadadolaze komisije za procenu {teta. Po`ari na Jugoslovenskom dramskompozori{tu i Sabornoj crkvi u Ni{u se ne smeju zaboraviti, ve} treba dabudu stalna opomena. Obe tragedije, a posebno ona u Ni{u, nanelesu stra{nu i nenaknonadivu {tetu. U oba slu~aja, nemar je prethodionastanku, a nedostatak ispravne blagovremene dojave po`ara, razvo-ju po`ara. Nije te{ko zamisliti kako bi izgledao neki muzej posle akci-je ga{enja po`ara i upotrebe desetina tona vode i pene za ga{enje!Stanje za{tite od po`ara u muzejima je nedopustivo lo{e. Najgore odsvega je {to to stanje traje decenijama. Ministarstvo za kulturu je,daleke, 1979. godine, anga`ovalo ekipu stru~njaka iz za{tite kulturnihdobara i stru~njaka za za{titu od po`ara MUP-a, koji su obi{li svenepokretne spomenike, riznice i 45 muzeja u Srbiji, sa~inili izve{taje ipredloge prioriteta. Muzeji su razvrstani u tri prioritetne grupe: Prvagrupa - projektovanje i preduzimanje mera za{tite od kra|a ipo`ara: VRLO HITNO, a druge dve po stepenu hitnosti. Na`alost, za dvadest pet godina stanje se nije promenilo, ve} napro-tiv, za to vreme opasnosti su se samo namno ile, instalacije su zatoliko starije, muzeji su puniji... Ako je Narodni muzej Beograd kao najve}i muzej, istovremeno i naju-gro`eniji, {ta onda mo`e da se o~ekuje u muzejima sa manjimzbirkama?

DA LI JE MOGU]E?!?!Ovo pitanje, kao izraz ~u|enja i neverice, vec decenijama slu{amood raznih dr`avnih slu`benika, projektanata, inspektora, svetskiheksperata, dobronamernih ljudi...Da li je mogu}e da najve}i nacionalni muzej nema opremu za dojavupo`ara?Da li je mogu}e da taj muzej, koji ~uva najzna~ajnije zbirkenacionalne ba{tine, nema automatsko ga{enje po`ara u depoima icentru za konzervaciju?Da li je mogu}e da na po~etku dvadeset prvog veka, depoi

Narodnog muzeja na TrguRepublike mogu da budupoplavljeni, a da Muzejproki{njava do te mere da seslike na stalnoj postavci pomera-ju, jer ispod njih curi voda. Da lije mogu}e da se u maloj krovnojkupoli, kad kod po~ne ki{a,isklju~uje struja, jer preti opasnostod po`ara?Ima jo{ niz drugih "da li jemogu}e"? Mogu}e je.Ne mo`emo sada ulaziti u anal-izu za{to je to mogu}e, jer bi nasto odvelo u nedogled. Obesh-rabruje ~injenica da, od drugogsvetskog rata, ve} skoro {ezdestgodina, nikada nije pokazana

spremnost dr`ave da obezbedi finasijska sredstva i razre{i za{titusopstvene ba{tine na adekvatan na~in.

Za{tita od poplavaMuzej ne mora da bude na obali reke, pa da bude ugro`enpoplavom. Kulturna dobra su vrlo osetljiva na vodu, a ona mo`e daih ugrozi i kao atmosferska padavina, u slu~aju oluja, bujica ili grâda,topljenjem snega ili zagu{enjem kanalizacionih instalacija. I u sop-stvenim zgradama, muzeji imaju dovoljno opasnih izvori{ta vode. To su

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Lack of adequate conditions in a storageNedostatak adekvatnih uslova u depou

Thefts and pilferingPublic excitement is highest when a cultural object is stolen. However,this excitement does not last very long. According to the last inven-tory given in 1995 by Mirjana @ivkovi} and Milenko Todovi} in thebook Thefts of Yugoslav Cultural and National Heritage, there were92 archaeological objects, 228 graphics and drawings, 10630 coins,724 paintings, 344 icons and tens of sculptures, medals, jewelry, armsand clocks missing. Having in mind the wartime conditions in the lastdecade, today's inventory must be even more frightening. If we couldrestore these objects and add all those unregistered ones, stolenfrom archaeological sites, graveyards and churches, all of them wouldmake a very large museum collection. Unfortunately, barely one thirdof all stolen objects is restored. According to some data, almost 9,5billion dollars a year is made on the illicit market of cultural property,which is just a bit worse than with drugs and weapons. The bestexample of the new trend of armed robberies in our country is theone in Museum of Arandjelovac, when almost complete retrospectiveexhibition of our well-known painter Paja Jovanovi} was stolen.Museum can be protected from thefts in many different ways. Apartfrom the physical and technical protection, which is in bad condition,there is also documentation on cultural property, as a very importantsegment of preventive conservation. The next indispensable preven-tive segment in the protection of cultural heritage is the public. Theinformation on cultural property must be available to the publicthrough collection catalogues, exhibition catalogues, on the modernmedia such as Internet sites, CDs and the like.

Protection of cultural heritage in the conservation centresSpecific characteristics of protection impose necessity of implying variousmeasures in order to carry out the activities in a centre for conservationin the most adequate way. Interior of such a centre must be adequate-ly built - with fire-proof materials, divided into solid fire protection sec-tors, with adequate fire-proof doors and windows, automatically closingbefore fire-distinguishing system is activated. Highly flammable and poi-sonous chemicals must be kept in adequate fire-proof cupboards.Thermal devices should be safely set, as well as plumbing, heating anddrainage facilities, in order to prevent any possibility of fire or flood. UVprotection must be applied on every light source, artificial or natural. Everyworking place should have a poisonous gasses extraction facility, as wellas adequate climate conditions for people and objects.

VandalismWe are already used to graphites, individual destruction and damag-ing of smaller monuments, devastation of cultural sites, digging up ofarchaeological sites or damaging of paintings and icons in the casesof theft (Novi Pazar, Renoir's Bathing Woman, etc). Hardly anyonecould predict that a political act, such as breaking into the NationalAssembly on 5th November 2000, could inspire devastation of culturalheritage of a large scale. Museums have to start changing the ways ofexhibiting cultural property. There are many examples of vandalism anddestruction of cultural heritage in our country, as well as abroad.

Exhibiting cultural propertyAcquiring cultural property was always difficult for museums.Concerning this fact, it is expected that they want to display objects,once they acquire them. Displaying cultural property is always riskyin many ways, since it is hard to provide a full protection system.Nowadays, it is technically and technologically possible to create veryaccurate copies, electronic development has also shown that someof cultural property may be better presented through video or pho-tographs than if exhibited in inadequate conditions. Air pollution inurban environment can severely damage cultural property and,together with vandalism and theft risks, it presents a major reason fortraditional way of exhibiting cultural heritage to be changed.

Instead of conclusionWithin the Ministry of Civil Engineering there is State RevisionCommission that gathers some of the most eminent civil engineeringexperts in our country. Its task is to control and give permission forbuilding projects of national significance. My idea would be establish-

ing a commission of the same type within the Ministry of Culture,gathering experts in safeguarding cultural heritage, that would sepa-rately, or together with State Revision Commission, control buildingprojects for the objects of protection of cultural heritage.Ministry of Culture should promptly start financing the collecting ofdata for creation of registers of stolen cultural objects, translated intoall world languages and delivered through Interpol to all police officesin the world, which would also be presented on Internet site and reg-ularly updated.It is also necessary to repeat the 1969 action of the Ministry of Cultureand Ministry of Internal Affaires, when all buildings and institutions ofprotection of cultural heritage were surveyed, in order to get a morerealistic risk assessment and to define priorities more easily. The resultswould serve for creation of evacuation plans, long-term measures,activities and also the financial sources for protection of cultural her-itage that the Ministry would suggest to the Government of Republicof Serbia. We should take advantage of good will of Ministry of InternalAffaires' Fire Brigade and complete this task in the most efficient way.Ministry of Culture should also repeat the suggestion to theGovernment it already made before, concerning formation of a spe-cial service within Ministry of Internal Affaires that would exclusivelyinvestigate thefts of cultural heritage, as has already been done inItaly and other countries taking care of its own heritage.In my opinion, we should find the way to collect, centralize andorganize all the information concerning protection of cultural heritagein other countries, within DIANA's library, and make them accessibleto the public.

DDiiaannaa CCeennttrree aanndd PPrroommoottiioonn ooff PPrreevveennttiivvee CCoonnsseerrvvaattiioonn DDeevveellooppmmeenntt ooff MMaarrkkeettiinngg aanndd PPaarrttnneerrsshhiippAnaa Koccjjaan, aart hiistoriiaan,Collllaaboraator of DIANA Centre for Preventiive Conservaatiion

From the very beginning DIANA Centre for Preventive Conservationhas a clearly defined marketing strategy, which consists of severalguidelines:1) The role and purpose of DIANA Centre within the museum sys-tem and society in general: spreading and application of preventiveconservation of cultural heritage at every level. 2) Active realisation of projects and promotion of all activities throughmarketing system, which includes PR system and advertising.3) Incorporating of relevant institutions into the system of preventiveconservation: Ministry of Culture and Government of Republic ofSerbia 4) Raising awareness about preventive conservation within the muse-um system and determine target groups for preventive conservation:students of archeology, history of arts, faculties of applied and finearts, as well as potential museum users: teenagers, persons with dis-abilities, etc.Since the idea and principles of preventive conservation were com-pletely new and unknown concept in Serbian museology system, itwas not easy for DIANA Centre to get adequate help, either profes-sional or financial, from institutions of culture or the state authorities.Therefore, the first marketing steps were promotion activities of DIANACentre in relevant institutions abroad: UKIC, ICOM, CCF andUNESCO. These institutions were constantly informed about work andgoals achieved in DIANA Centre. Due to highly professional quality ofcontents and activities carried out in the field of preventive conserva-tion, DIANA Centre successfully participated in international confer-ences with lectures, video presentations, exhibitions, presentation ofpublications and CD ROMs.On the other hand, considering the marketing strategy rule sayingmarketing has to serve exclusively to preventive conservation, wehave built and developed network of sponsors and donors outside ofmuseum world. They understand that protection of cultural heritage isalso their concern and that they have ethical obligation to cooperatewith professionals working on the same task - preservation of cul-tural heritage. Our regular donors are:UNESCO Paris, Sidney Franklin II Trust in London, LeventisFoundation in London, Getty Conservation Institute L.A.,

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vodovodne, grejne ili kanalizacione instalacije. [tetu koju mo`e danapravi poplava u muzejskim prenatrpanim depoima te{ko jei zamis-liti, ali je sigurno da bi bila ogromna i nenadoknadiva.Paralelno sa dojavom po`ara, u depoima i konzervatorskim ateljeimaje nu`no izvesti detekciju polava.

Kra|e i potkra|eJavnost se najvi{e uzbudi kada se ukrade neko kulturno dobro.Me|utim, ta zabrinutost veoma kratko traje. Prema zadnjem popisu,koji su, u knjizi "Kra|a kulturnog i nacionalnog blaga Jugoslavije",1995. godine, objavili pokojna Mirjana @ivkovi} i Milenko Todovi},nedostaju: 92 arheolo{ka predmeta, 228 grafika i crte`a, 10.630primeraka novca, 724 slike, 344 ikone i jo{ desetine skulptura, medal-ja i odlikovanja, nakita, oru`ja, satova, panagija... Popis ukradenih kul-turnih dobara posle ovih ratnih godina sigurno je jo{ porazniji. Kadabi se ova ba{tina vratila i njoj dodali neimenovani arheolo{ki i crkvenipredmeti oplja~kani po arheolo{kim lokalitetima, grobljima i crkvama,mogao bi se otvoriti jedan veliki muzej. Na`alost, jedva tre}inaukradenih kulturnih dobara se prona|e. Prema nekim izvorima, usvetu je na ilegalnom tr i{tu kulturnim dobrima, godi{nji promet oko9,5 milijardi dolara, odmah iza droge i oru`ja. Svetski trend u razbo-jni~kim kra|ama stigao je i na na{a podru~ja. Najbolji primer jeklasi~na oru`ana razbojni~ka plja~ka, koja je izvedena uAran|elova~kom muzeju, kada je odneta skoro cela izlo`ba PajeJovanovi}a. Muzeji se od kra|a brane na razne na~ine. Pored fizi~kei tehni~ke za{tite, za koju se zna na kakvom je nivou, veoma va`anpreventivni vid za{tite je dokumentacija o kulturnim dobrima. Slede}a,nezaobilazna, preventivna karika u za{titi kulturnih dobara je javnost.Podaci o kulturnim dobrima moraju biti dostupni naj{iroj javnosti,preko kataloga zbirki, kataloga sa izlo`bi, na savremenim informa-tivnim sredstvima, kao {to su internet prezentacije, CD-romovima i sl.

Za{tita kulturnih dobara u centrima za konzervacijuSpecifi~nosti koje nose za{titarske delatnosti uslovljavaju nizraznorodnih mera, koje treba preduzeti da bi se mogla adekvatnosprovesti za{tita kulturnih dobara, koja se nalaze u centrima za konz-ervaciju. Veoma je va`no da prostor centra bude arhitektonskogra|evinski ure|en. To podrazumeva da prostor bude izgra|en odvatrootpornog materijala, podeljen u ~vrste protivpo`arne sektore, sapropisnim protivpo`arnim vratima i prozorima, koji se automatski zat-varaju pre aktiviranja automatskog ga{enja po`ara. Enterijer mora dabude re{en sa {to manje gorivih materijala, lako zapaljive otrovnete~nosti moraju da se ~uvaju u propisanim protivpo`arnim ormanima.Termi~ki ure|aji moraju da budu tako izvedeni da ne mogu da buduuzrok po`ara. Vodovodne, grejne i kanalizacione instalacije moraju dabudu tako izvedene da ne mogu da budu uzrok poplava. Za{tita odUV zra~enja mora da bude izvedena na svi svetlosnim izvorima i pro-zorskim oknima. Konzervatori moraju da imaju, na svakom radnommestu, propisane mikroklimatske uslove i za ljude i kulturna dobra,kao i posebno izvedeno odvodenje otrovnih gasova, kako bi sezdravlje zaposlenih za{titilo od posledica permanentnog trovanja.

VandalizamVe} smo "navikli" na grafite, pojedina~na ru{enja i o{te}enja manjihspomenika, devastiranje spomeni~kih kompleksa, prekopavanja arhe-olo{kih lokaliteta, ili o{te}enja prilikom kra|a slika i ikona (Renoarova"Kupa~ica", Viminacijum, Novi Pazar i dr.) Te{ko je ko mogao pret-postaviti da jedan politi~ki doga|aj mo`e da nanese toliko direktne{tete na kulturnim dobrima, kao {to se dogodilo u Saveznoj skup{tini,5. oktobra 2000. godine. Mnogo je primera vandalskih o{te}enja iuni{tenja kulturnih dobara, kod nas i u svetu. Muzeji moraju, dakle,ozbiljno da se pripreme za promenu na~ina izlaganja kulturnihdobara.

Izlaganje kulturnih dobaraMuzeji veoma te{ko dolaze do kulturnih dobara, a kada ih ve} pose-duju, `ele da ih prezentuju. Izlaganje kulturnih dobara je povezano savi{estrukim rizikom, jer potpunu za{titu je veoma te{ko ostvariti. Sadaje mogu}e, tehni~ki i tehnolo{ki, izraditi veoma verne kopije.Elektronika danas omogu}ava da se neka kulturna dobra mogu boljesagledati na video prezentacijama ili fotografijama, nego izlaganjem u

nekim lo{im vitrinama. Aero zaga|enje gradskih sredina nosi riziko{te}enja kulturnog dobra, {to, uz pretnju od vandalizama i kra|a,cini odlu~uju}e razloge da se tradicionalni na~ini izlaganja kulturnihdobara izmene.

Umesto zaklju~akaPri Ministrstvu gra|evina postoji Dr`avna reviziona komisija, sastavl-jena od na{ih najeminentnijih eksperata za gra|evinarstvo. Njenzadatak je da vr{i stru~nu kontrolu i daje saglasnosti na idejne pro-jekte za objekte od zna~aja za Republiku. Trebalo bi da se i priMinistarstvu kulture tako|e obrazuje sli~na komisija, sastavljena odeksperata za za{titu kulturnih dobara, koja bi samostalno ili saDr`avnom revizionom komisijom davala saglasnosi na idejne projek-te za objekte za za{titu kulturnih dobara.Ministarstvo kulture bi, {to hitnije, trebalo da otpo~ne sa finansiran-jem prikupljanja podataka za izradu Registara ukradenih kulturnihdobara. Registar bi morao da se prevede na sve svetske jezike ipreko Interpola dostavi svim svetskim policijama. Preko internetprezentacije Registar bi bio stalno dostupan, naravno, redovno a`uriran.Potrebno je ponoviti akciju Ministarstva kulture i MUP-a, iz 1969.godine, kada je izvr{en pregled svih objekata i ustanova za{titekulurnih dobara, kako bi se dobila {to realnija slika ugro`enosti kul-turnih dobara i objekata, od po`ara i kra|a, da bi se lak{e sagledaliprioriteti. Konkretni nalaz bi trebalo da poslu i za izradu programa hit-nih i dugoro~nih mera, aktivnosti i izvora finansiranja za za{titu kul-turnih dobara, koje bi Ministarstvo kulture trebalo da predlo i na usva-janje Vladi Republike Srbije. Treba iskoristiti i dobru volju Protivpo`arnepolicije MUP-a Srbije da se ovaj posao efikasno zavr{i.Ministarstvo kulture bi trebalo da obnovi predlog Vladi RepublikeSrbije za formiranje specijalizovane slu`be pri MUP-u, koja bi se bav-ila isklju~ivo istragama o kra|ama kulturnih dobara - kako je tou~injeno u Italiji i drugim zemljama, koje brinu o svojoj ba{tini. Kada se radi o ovim pitanjima u okviru aktivnosti DIJANA Centra, bilobi neophodno da se nadu mogucnosti da se za DIJANINU bibliotekuprikupljaju, centralizuju i grupi{u podaci o iskustvima drugih, u za{titikulturih dobara. Svi prikupljeni podaci treba da budu razvrstani pooblastima i dostupni svim zainteresovanima.

PPrroommoocciijjaa pprreevveennttiivvnnee zzaa{{ttiittee ii rraazzvvoojj ssaarraaddnnjjee ii mmaarrkkeettiinnggaa uu DDiijjaannaa cceennttrruu Anaa Koccjjaan, iistorii~aar umetnostii,DIJJANA Centaar zaa preventiivnu zaa{tiitu

DIJANA Centar za preventivnu za{tutu, od svog osnivanja, 1997.godine, ima jasno definisanu marketin{ku strategiju, koja sadr i neko-liko odrednica:1. Namena i uloga DIJANA Centra u okviru muzejskog sistema idru{tva: {irenje i primena preventivne za{tite kulturnih dobara na svimnivoima.2. Aktivno realizovanje projekata i promocija svih aktivnosti, putemmarketin{kog sistema koji obuhvata odnose sa javno{}u iogla{avanje. 3. Uklju~ivanje odgovornih institucija u sistem preventivne za{tite:Ministarstava kulture i Vlade Republike Srbije4. [irenje svesti o preventivnoj za{titi u okviru muzejskog sistema iodre|ivanje ciljnih grupa van muzeja, na koje bi preventivna za{titabila usmerena: studenti arheologije, istorije umetnosti, akademijelikovne i primenjene umetnosti, s tendencijom uklju~ivanja potencijal-nih korisnika muzeja: deca {kolskog uzrasta, lica sa invaliditetom itd. S obzirom da su pojam i principi preventivne za{tite bili apsolutno novi inepoznati u sistemu muzeologije na na{im prostorima, institucije kulturei dr`ave nisu mogle adekvatno da potpomognu DIJANA Centar, niprofesionalno ni nov~ano. Stoga su prvi marketin{ki koraci bili pro-mocija aktivnosti u nadle`nim institucijama u svetu: UKIC, ICOM, CCF,UNESCO. Ove institucije permanentno su dobijale sva obave{tenja oradu i postignutim ciljevima DIJANA Centra. Zbog visokoprofesionalnih ikvalitetnih sadr aja i ostvarenih aktivnosti na polju preventivne za{tite,DIJANA Centar je u~estvovao na me|unarodnim konferencijamaputem predavanja, video prezentacija, izlo`bi, prezentacija publikaci-ja i CD-ROMova. S druge strane, zahvaljuju}i marketin{koj strate-

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Archaeological Institute-Belgrade, UKIC- London, French CulturalCentre Belgrade, SACI Florence, Institute for Protection of CulturalMonuments of Serbia, Ministry of Culture of Republic of Serbia,Telecommunications Serbia, Ekstra Mimark- Belgrade, etc. During thelast few years we participated in some programs collaborating withother institutions in group projects.DIANA Centre has developed cooperation with international, regionaland local institutions in order to establish a professional network thusspreading and strengthening the principles of preventive conservation.During 2002 many eminent foreign experts visited DIANA Centre andparticipated in realization of our programmes: Sandra Davison fromDavison studio U. K., Robin Symonds from Museum of London, MarkFrancis from Durham University, Patrick Boylan from UNESCO.Regional cooperation includes cooperation with former Yugoslavrepublics: National Museum Ljubljana and Museum of Nova Goricain Slovenia, Zagreb University in Croatia, Museum of Macedonia inSkopje.Local cooperation refers to offering and receiving specialist servicesbetween DIANA Centre and other institutions: museums in Kru{evac,U ice, Pan~evo, Faculty of Chemistry in Belgrade, Faculty ofMetallurgy and Technology in Belgrade, Faculty of Physical Chemistry,Institute for Testing Materials in Belgrade, etc.

Public Relations and DIANA CentreAll DIANA's activities are absolutely accessible and known to the pub-lic. Collaboration with all social groups is necessary in order to makecultural heritage and its protection accessible to all of them. In thissense DIANA Centre organizes every year public multimedia presen-tations, which turned to be a good mechanism of presenting thebasic principles of preventive conservation to the public, attracting theirattention, making them aware of museum problems and contents.Internet presentation exists ever since 1998, and it is being constant-ly updated. CD ROMs are created every year. They also refer to our activities,goals and achieved results since the founding.DIANA Publication is published every year offering articles on basicprinciples of preventive conservation of cultural heritage, museology,as well as articles on conservation treatments carried out in DIANACentre. This publication is distributed to all cultural institutions in ourcountry and to many of them abroad. CONSERVATION EXHIBITIONS are also organized every year. Theexhibitions of DIANA Centre illustrate the preventive conservationmethodology, conservation methods, as well as results of activitiesconcerned with preservation of archeological objects.In July 2003, an exhibition was organized that was focused exclu-sively on preventive conservation. Around exhibited objects, illustrat-ing how to prevent cultural heritage from deteriorating and preserveit in the same time, there were posters demonstrating inadequatesafekeeping conditions in our museums.OPEN WORKSHOPS were set for the first time in 2002 and attract-ed significant public attention, especially of kids and young population.In these workshops, the public had an opportunity to directly participate

in conservation work and to carry out some of the conservation treat-ment phases. Two workshops were organized: "Secrets ofConservation" and "The Copy and The Original". In the first workshopvisitors could learn some of the basic conservation skills and treat-ments using recent ethnographic and modern ceramics: bondingfragments and restoration of missing parts. The second workshoppresented methods of making clay copies of Roman lamps. Everyparticipant could conduct the complete process, and after that theycould take home a copy to remind them of experience gained inDIANA Centre and how they should threat cultural heritage. Theseworkshops showed that public could get interested in museum con-tents and engaged in museum activities. Collaborators of DIANA Centre noticed that children were the mostinterested visitors at open workshops. Having in mind that there is alack of programs for children in our museums, apart from few indi-vidual programs in certain museums, we created the "Kids at theMuseum" project. This project provoked the creation of another one- "Museum Without Obstacles." It refers to work with small group ofdisabled - people with different kinds of invalidity. Both projects werecreated in order to introduce these social groups into museum activ-ities with the intention of giving them an idea of preventive conser-vation, as well as of contents and working methods of a museum. Several programs of these projects were presented at Cultural HeritageDays on 13th and 14th September 2003 in Belgrade. In our opinion,the realization of these projects will support activities in preventive con-servation of cultural property by making museum objects and meth-ods of preventive conservation accessible to the public. These proj-ects also helped us widen the network of organizations interested inthis kind of programs: Association of Students With Handicaps, greatnumber of schools for people with disabilities, nursery schools, etc.

SEMINARS:In close cooperation with the National Committee of ICOM, DIANACentre participated in numerous seminars (15 collaborators of DIANACentre are members of ICOM). The seminars dealt with problems of safekeeping conditions for cul-tural heritage, improving cultural property safeguarding conditions,defining professional duties of conservators, cultural and state insti-tutions (seminar "Safekeeping Conditions of Cultural Property inMuseums of Serbia and Montenegro"), problems of cooperationbetween museums and media in connection with opening museumto the public (seminar "Museums and the Public"), condition andtrends in development of museum documentation, establishing a uni-fied museum information system, making the functioning of themuseum network possible (seminar "From the Documentation Cardto the User"), the process of internal reorganization of institutions pro-tecting heritage and improvement of condition in museums of Serbiaand Montenegro (seminar "Strategic Planning for Museums"). The main objective of these seminars was to make museum profes-sionals aware of the problems of protection of cultural heritage and tolearn more about basic principles of preventive conservation. Thiswould result with a strong museum network that would adequatelyapply these principles. The public is informed about these activities through media: televi-sion, radio and newspapers. From the very beginning of DIANACentre, media were briefed about all our activities.This cooperation with media has both ways significance, becausemuseums need the media to reach the public while media needquality content museum programs to attract the same public.We also participated in many cultural TV programs presenting someof the conservation methods on archaeological materials, ceramicand glass, explaining the importance of preventive conservation. Thefact that journalists participate in our workshops and activities showstheir growing interest in our work. In collaboration with the NationalCommittee of ICOM, for International Museum Day 2003, we alsoawarded media for their support and contribution to understandingthe role of preventive conservation.DIANA Centre for Preventive Conservation will certainly continue withmarketing strategy and public relations activities in order to reach allthe objectives of cultural heritage preservation, turning it into a "nor-mal" and regular process.

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TV shooting in DIANATV snimanje u DIJANI

giji, koja nagla{ava da marketing mora bitiisklju~ivo u slu`bi preventivne za{tite,mre`a sponzora i donatora {irena je ufinansijskim i privrednim krugovima. Onimogu da razumeju da je za{tita kulturnognasle|a tako|e njihova briga i moralnaobaveza da zajedno sa profesionalcimarade na istom zadatku - na o~uvanju kul-turne ba{tine. Na{i stalni donatori su:UNESCO - Pariz, Sidni Franklin II Trast,Leventis fondacija - London, Geti konzer-vatorski institut - Los An|eles, EkstraMimark - Beograd, Media - Beograd, Arheolo{ki institut Beograd,Francuski kulturni centar - Beograd, SACI - Firenca, Zavod za za{tituspomenika kulture Srbije, Ministarstvo za kulturu Republike Srbije, PTTSrbija. Poslednjih nekoliko godina u~estvovali smo u programima par-ticipacija i u radu sa drugim institucijama na zajedni~kim projektima.DIJANA Centar za preventivnu za{titu je razvio saradnju sa srodnimme|unarodnim, regionalnim i lokalnim institucijama, kako bi se prin-cipi preventivne za{tite {to profesionalnije {irili i u~vr{}ivali. Tokom2002. godine u realizaciji pojedinih programa DIJANA Centrau~estvovao je veliki broj eminentnih stru~njaka iz sveta: SandraDejvison iz Dejvison Studija - Velika Britanija, Robin Sajmond - Muzejgrada Londona, Mark Frensis - Univerzitet u Daramu, Patrik Bojlan -UNESCO London. Regionalna saradnja pokriva saradnju sa institucijama iz biv{ihjugoslovenskih republika: Narodni muzej iz Ljubljane, Gori{ki muzej - Nova Gorica, Univerzitet- Zagreb, Muzej Makedonije - Skopje, Muzej grada Sarajeva.Saradnja na lokalnom nivou sastoji se od pru`anja specijalisti~kihusluga DIJANA Centra i obrnuto: Narodni muzeji u Kru{evcu,Pan~evu, U icu, Vr{ac, Muzej grada Beograda, Hemijski fakultet uBeogradu, Metalur{ko - tehnolo{ki fakultet u Beogradu, Fakultet zafizi~ku hemiju u Beogradu, Institut za ispitivanje materijala...

ODNOSI SA JAVNO[]U I DIJANA CENTARSve aktivnosti DIJANA Centra su poznate i dostupne {irokoj publici.DIJANA Centar razvija saradnju sa svim dru{tvenim segmentima,kako bi kulturna ba{tina i njena za{tita postale dostupne svima. Satim ciljem DIJANA Centar svake godine organizuje javne multimedi-jalne prezentacije, koje predstavljaju dobar mehanizam za upozna-vanje {iroke publike sa osnovnim principima preventivne za{tite, njenoanimiranje i pribli avanje muzejskoj problematici i sadr`ajima. INTERNET prezentacija DIJANA Centra postoji od 1998. godine iredovno se a`urira. CD-ROMovi se objavljuju svake godine. Oni tako|e prezentuju na{eaktivnosti, ciljeve i do danas ostvarene rezultate. DIJANA PUBLIKACIJA se objavljuje svake godine, a njen sadr`aj sumnogobrojni stru~ni tekstovi o osnovnim principima preventivneza{tite kulturnog nasle|a, muzeologiji, kao i tekstovi vezani za poje-dine konzervatorske tretmane koji su primenjivani u DIJANA Centru.Ova publikacija se dostavlja svim institucijama kulture u na{oj zemljii mnogim u svetu. Svake godine se organizuju JAVNE KONZERVATORSKE IZLO@BE.One ilustruju metodologiju primene preventivne za{tite, metodekonzervatorskih tretmana, kao i rezultate aktivnosti na poljuza{tite arheolo{kih predmeta. U julu 2003. godine organizovanaje izlo`ba fokusirana isklju~ivo na preventivnu za{titu. Oko izlo`enihpredmeta, koji ilustruju kako kulturno dobro treba preventivno za{tititiod propadanja i samim tim i sa~uvati, na panoima su izlo`enefotografije koje ilustruju u kakvom stanju se nalaze predmeti u na{immuzejima, gde ih ne treba ~uvati i kako ne treba postupati sa kul-turnim dobrom. Istovremeno su izlo`ene i fotografije koje prikazujustanje u nekim muzejima u svetu, kao primeri kako treba brinuti okulturnom nasle|u. JAVNE KONZERVATORSKE RADIONICE prvi put su organizovane2002. godine i izazvale su veliku pa`nju javnosti, posebno dece i mladih.Publika je putem radionica direktno u~estvovala u konzervatorskomradu i u primeni konzervatorskih tretmana. Organizovane su dve radion-ice: "Tajne konzervacije" i " Kopija i original". U toku prve

radionice publika je u~estvovala u savla|ivan-ju osnovnih konzervatorskih postupaka, naprimerima savremene ili etnografske keramike:spajanje fragmenata i restauracija keramike. Udrugoj radionici u~esnici su pravili kopije rim-skih svetiljki - i aka. Kopiju, koju su saminapravili, u~esnici su dobijali na poklon, kaouspomenu na saradnju sa DIJANA Centrom ikao podsetnik kako treba tretirati kulturnodobro. Radionice organizovane na ovaj na~inpokazale su da se publika mo`e animirati zan-imljivim muzeolo{kim sadr`ajima i da se mo`euklju~iti u aktivnosti muzeja. Primetili smo da su

najzainteresovaniji posetioci javnih radionica bila deca. S obzirom dau na{im muzejima ne postoje programi za rad sa decom, osim poje-dinih izdvojenih programa, saradnici DIJANA Centra su osmislili pro-grame projekta "Deca u muzeju". Iz ovog projekta proistekao je i pro-jekat "Muzej bez prepreka", koji bi obuhvatio rad sa manjom grupomlica sa invaliditetom: telesne invalide, slepe i slabovide osobe i osobesa o{te}enim sluhom. Oba projekta su ura|ena radi uklju~ivanja ovihsegmenata dru{tva u muzejske aktivnosti, s namerom da se boljeupoznaju sa principima preventivne za{tite i funkcionisanjem muzeja.Neki od programa ova dva projekta prezentovani su u Beogradu, naSvetskim danima kulturne ba{tine, 13. i 14. septembra. Realizacijaovih projekata }e unaprediti aktivnosti na preventivnoj za{titi kulturnihdobara, tako {to }e muzejski predmeti i metode njihove za{tite postatidostupne {irokoj publici. Tako|e, zahvaljuju}i ovim projektima pro{irilismo mre`u zainteresovanih organizacija koje bi se uklju~ile u oveprograme: Udru`enje studenata sa hendikepom, ve}i broj {kola zalica sa invaliditetom, obdani{ta itd. SEMINARI: Sara|uju}i sa jugoslovenskim nacionalnim komitetomICOM-a, DIJANA Centar je u~estvovao na mnogobrojnim seminari-ma (20 saradnika DIJANA Centra postali su ~lanovi ICOM-a). Naseminarima su razmatrani problemi uslova ~uvanja kulturnih dobara,definisanje na~ina pobolj{anja uslova za{tite kulturnih dobara i profe-sionalnih obaveza konzervatora, ustanova za{tite i dr`ave, kao i pro-mocija koncepta preventivne za{tite u koji treba da se uklju~e vlada,profesionalci i javnost (seminar "Uslovi ~uvanja kulturnih dobara umuzejima Srbije i Crne Gore"), zatim problemi saradnje muzeja samedijima u cilju "otvaranja" muzeja prema publici (seminar "Muzeji ipublika"), stanje i pravci razvoja muzejske dokumentacije, formiranjejedinstvenog muzejskog informacionog sistema, omogu}avanjefunkcionisanja muzejske mre`e (seminar "Od kartona do informacijeza korisnike"), proces reorganizacije ustanova za{tite i pobolj{anjeop{teg stanja u kome se nalaze muzeji u Srbiji i Crnoj Gori (seminar"Strate{ko planiranje u muzejima"). Cilj svih seminara je da se profesionalcima iz muzeja {to vi{e pribli iproblematika za{tite kulturne ba{tine i da se upoznaju sa osnovnimprincipima preventivne za{tite. Na ovaj na~in bi}e izgra|ena jakamuzejska mre`a koja bi kvalitetno sprovodila ove principe. O ovim aktivnostima {iroka publika se redovno obave{tava i prekosredstava javnog informisanja - televizije, {tampanih medija, radija.Mediji su od samog po~etka rada DIJANA Centra pratili sve njeneaktivnosti. Saradnja ima obostrani zna~aj: muzejima su potrebnimediji - da bi do{li do publike, a kvalitetni i sadr`ajni muzejski pro-grami potrebni su medijima - da bi osvajali publiku. DIJANA Centarje uspeo da uspostavi trajnu saradnju sa ve}im brojem medija, kojipermanentno prate njegov rad. Vi{e puta smo u~estvovali u emisija-ma o kulturi, gde smo na licu mesta pokazivali primenu konzerva-torskih metoda na arheolo{kom materijalu i obja{njavali za{to je pre-ventivna za{tita bitna. Novinari su postali veoma zainteresovani za na{rad, {to potvr|uje i ~injenica da oni tako|e u~estvuju u na{im radioni-cama i pojedinim aktivnostima. U saradnji sa nacionalnim konitetomICOM-a, za Me|unarodni dan muzeja 2003. godine, novinarima smododelili zahvalnice za podr{ku unapre|ivanja i {irenja uloge preven-tivne za{tite. DIJANA Centar za preventivnu za{titu }e nastaviti da sprovodi mar-ketin{ku strategiju, kako bi se ostvarili svi ciljevi vezani za o~uvanjekulturnog nasle|a i kako bi za{tita kulturne ba{tine postala "normalan"proces.

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CCoonnffeerreennccee “MMuusseeuummss iinn TTrraannssffoorrmmaattiioonn PPrroocceessss”UUNESCO Chaaiir of Museolloggyy aand WWorlld Heriitaagge, Brno, 23rd-226th November 2003Miillaa Popovii}-@@iivaan~evii}, Museum ccouncciillor-cconservaator,Heaad of DIANA Centre for Preventiive Conservaatiion

UNESCO Chair of Museology and World Heritage in Brno, CzechRepublic organized conference on "Museums inTransformationProcess" issues,which was held from 23rd till 26th November 2003.Invited to the conference were representatives of museums and insti-tutions of culture in Slovakia, Belarus, Lithuania, Croatia, Macedonia,Romania, Moldavia, Serbia and Montenegro and of the host country.Though invited, representatives of Letonia and Slovenia were notpresent.Mila Popovi}-@ivan~evi} and Malena Stoj~ev from DIANA Centre forPreventive Conservation of the National Museum Belgrade andAleksandra Savi} from the Natural History Museum were invited fromSerbia and Montenegro. Regretfully, Czech Museum professionals were not invited to partici-pate in the Conference, although the meeting was held in the prem-ises of the Technical Museum Brno. Those Czechs who attended themeeting did not participate in the discussions. Jan Dolak, head of theChair and organizer of the Conference, said laconically - in answerto our wonder where the Czech representatives were - "There is noneed for that. We shall inform them about all they should know".No wonder that most of the contributions dealt with the history ofrespective museums, and with the issue of interpretations of thesocialist past when problems were tackled at all. Another problem -financing museums, belongs mainly to the state budgets, with all ele-ments of such a system (programmes, control, wages, etc.). Namely,in all post-socialist countries, the state keeps financing museums andthere are no signs of greater changes towards more modern, mar-keting approach. It was obvious there was no wish or attempt toloose the pleasures of budget-financed life.Having this in mind, the contribution from colleagues of the MiningMuseum in Pribram was astonishing and most interesting. There wasan initiative from the state level for establishing a memorial dedicatedto political prisoners in the uranium mines there. As it happens, thestate did not provide necessary funds in time, but at the very end ofthe fiscal year Due to the banking regulations the money had to bereturned to the state budget, etc. Director of the Museum, faced withthe situation, did all possible to get things going - he asked the TVfor help, and for days on end they were broadcasting news and infor-mation on the issue. He also contacted various companies for support,wrote even to the prime minister. Finally, the problems was solved.From Bulgaria came a young woman who was finishing her PhDstudies in England. It should be noted that officially the Bulgarians didnot attend this meeting, and to our knowledge they had not evenanswered the invitation. Her contribution was also very interesting andillustrative. We have similar general problems - financing by the state,no new museological approach, valuable projects (revitalization of animportant village from the ethnological point of view) are lost due tothe lack of constant care, general apathy and waiting for someone tocome and solve the piling problems. It is interesting to note that herapplication for work was rejected in several institutions, and one ofthe directors even told her that she was "dangerous" due to herknowledge and new ideas.It goes without saying that contributions from our country and Croatiawere a kind of revelation for others. Our colleague from the MuseumDocumentation Center in Zagreb, @eljko Laszlo, made effort to prove,using charts, theses and antitheses, that nothing had changed inMuseum of Croatia since the socialist times as related to the meth-ods of work, programming and financing in museums. This analysiscould to a great extent and particualrly when legislation is concerned,be applied to our situation as well.Mila Popovi|-@ivan~evi} and Malena Stoj~ev participated in the offi-cial programme with two papers:"Presentation of DIANA Centre" (lecture with CD presentation) and"The Reasons Why We Started Changing Museum in Serbia andMontenegro".The organiser invited Mila Popovi}-@ivan~evi} to hold a lecture at the

Jan Masaryk University for the students of archaeology and arts.Contrary to the reactions of most of the Czech museum people, stu-dents almost breathlessly listened for three hours to the lecture onpreventive conservation as the fundamental museological approachand on experience of DIANA Centre.Our contributions, trying to depict the situation that preceeded andled to the moves of museum community to solve the pending prob-lems autonomously and in new way, as well as the role in the processplayed by the Yugoslav National Committee of ICOM, DIANA Centrefor Preventive Conservation and Association of Museums of Scienceand Technology, and the implementation of preventive conservationconcept as fundamental principle in the new approach to museolo-gy, provoked greatest interest. During the Conference, during thebreaks, and even during the social programme, the main topic wasconstantly the concept of DIANA Centre. Many of the colleagues wereinterested in cooperation and learnung in more detail about our work(Belarus, Lithuania, Croatia, Romania, Moldavia). Brno TechnicalMusuem, which is preparing a national Centre for Conservation (par-tricularly after the disastrous flooding they experienced last year)expressed wish to cooperate more closely with DIANA Centre and touse our experience in organisation of their centre.We have already started talks on regional cooperation with our col-leagues from Belarus, Lithuania, Croatia, Romania, Moldavia and theCzech Republic.

CCoonnffeerreenncceess ooff IICCOOMM:: CCIIMMUUSSEETT,, IICCTTOOPP aanndd MMPPRR,, Slloveniiaa, from 11th to 17th September 2003Miillaa Popovii}-@@iivaan~evii}, Museum ccouncciillllor-cconservaatorHeaad of DIANA Centre for Preventiive Conservaatiion

From 11th to 17th September 2003, Slovenian Ministry of Culture andtheir National Committee of ICOM organized annual conferences forthree ICOMs International Committees at the same time - ICTOP(International Committee for the Training of Personnel), CIMUSET(International Committee for Museums of Sciences and Technology)and MPR (International Committee for Marketing and PublicRelations).This joint conference, named 3-ICOM 2003, was held under thepatronage of Ministry of Culture of Slovenia and the Minister AndreaRihter herself.Members of the National Organising Committee of 3-ICOM 2003were: Nina Zdravi~ Poli~ as the president (Ethnographic Museum ofSlovenia), Jerneja Bati~ (Ministry of Culture of Slovenia), Orest Jarh(Menager of the Technical Museum of Slovenia), Teja Ali~ (CityMuseum of Ljubljana).The conferences were presided by the chairpersons of eachCommittee: Patrick Boylan (ICTOP), Paul Donahue (CIMUSET) andGrahame Ryan (MPR). There were more than 140 participants, muse-um experts and educators, from more than 30 countries around theworld: Slovenia, Croatia, Austria, Australia, UK, USA, Canada, Corea,China, Philipines, Ireland, Switzerland, Germany, Denmark,Netherlands, Finland, Norway, Sweden, Russia, Check Republic,Hungary, Romania, Serbia and Montenegro and other.Our country was presented by:Mila Popovi}-@ivan~evi}, head of DIANA Centre and chairperson ofYU NC ICOMa, with a report Ana Kocjan, collaborator of DIANA Centre, with a reportZvezdana Popovi}, collaborator of DIANA CentreSonja Zimonji}, director of the Museum of Science and TechnicsZorica Civri}, curator of the Museum of Nikola TeslaAleksandra Savi}, Museum of Natural HistoryThe work of 3-ICOM 2003 Conference was carried out through thePlenary session and working sessions of each international commit-tee separately.Plenary session was titled Towards Museums of the Future and wasdedicated to developing museums and future perspectives of thedevelopment. This was an opportunity to analize the possibilities ofprogress in different museum environments, but also of museums inSlovenia, with a special attention to the objectives and tasks of ICTOP,CIMUSET and MPR.

86

International AActivities

KKoonnffeerreenncciijjaa ""MMuuzzeejjii uu pprroocceessuu ttrraannssffoorrmmaacciijjee"",, UUNESCO Chaaiir of Museolloggyy aand WWorlld Heriitaagge , Brno, 23.. do 26.. 11..2003Miillaa Popovii}-@@iivaan~evii}, muzejjskii saavetniik-kkonzervaator,rukovodiillaacc DIJJANA Centraa zaa preventiivnu zaa{tiitu

UNESKOva Katedra za muzeologiju u Brnu, ^e{ka Republika, orga-nizovala je trodnevnu konferenciju na temu "Muzeji u procesu trans-formacije" od 23. do 26. novembra 2003. U~estvovali su, po pozivu,predstavnici muzeja i institucija kulture iz Slova~ke, Belorusije,Litvanije, Hrvatske, Makedonije, Rumunije, Moldavije, Srbije i CrneGore i zemlje doma}ina. Nisu do{li predstavnici Letonije i Slovenije.Iz na{e zemlje pozvani su bili Mila Popovi}-@ivan~evi} i MalenaStoj~ev iz DIJANA Centra za preventivnu za{titu Narodnog muzeja uBeogradu i Aleksandra Savi} iz Prirodnja~kog muzeja. Na`alost, muzealci iz ^e{ke nisu bili pozvani da prisustvujuKonferenciji, iako se sastanak odr`avao u Tehni~kom muzeju u Brnu.^esi koji su prisustvovali, nisu u~estvovali ni u diskusijama. Na na{epitanje Janu Dolaku, {efu Katedre i organizatoru Konferencije za{tonema muzealaca, lakonski odgovor je glasio: "Nema potrebe, mi}emo im preneti one zaklju~ke koji im trebaju". U takvoj situaciji, bilo je razumljivo {to je ve}ina priloga predstavljalazapravo istorijat muzeja iz koga su govornici do{li, a kada je i bilogovora o problemima, to se odnosilo uglavnom na prikaz tuma~enjasocijalisti~ke pro{losti. Drugi problem - finansiranje muzeja, uglavnomje vezan za dr`avni bud`et, uz sve ono {to takav na~in finansiranjaprati (programi, kontrola, plata, itd.). Naime, u svim post-socijalisti~kimzemljama, muzeje i dalje finansira dr`ava i nema zna~ajnijeg poma-ka u pravcu savremenijeg, marketin{kog pristupa. O~igledno, nemani `elje ni poku{aja da se odlepe od ugodnog bud`etskog ivota. Upravo zato, bio je iznena|uju}i i veoma interesantan prilog kolegaiz Rudarskog muzeja u Pribramu - sa nivoa dr`ave bila je pokrenu-ta inicijativa da se osnuje memorijalni deo posve}en politi~kimzatvorenicima u ovim rudnicima uranijuma. I kako to biva, dr`ava jezaboravila na vreme da obezbedi novac, pa ga je dala na kraju samefiskalne godine, {to je zbog bankarskih zavrzlama dovelo dopovra}aja para u bud`et, itd. itd. U toj situaciji, direktor Muzeja jepokrenuo sve poluge - pozvao je televiziju koja je danima objavlji-vala priloge o ovom problemu, obratio se kompanijama za pomo},pisao je i predsedniku Vlade. Na taj na~in uspeo da re{i problem. Iz Bugarske je do{la jedna mlada ena koja zavr{ava svoje doktorskestudije u Engleskoj. Treba pomenuti da zvani~no Bugara nije bilo nakonferenciji, nisu ni odgovorili na poziv, kako smo saznali. Njen prilogje bio tako|e veoma zanimljiv i ilustrativan. Op{ti problemi su sli~ni -dr`ava finansira, nema novog muzeolo{kog pristupa, vredni projekti(revitalizacija jednog etnolo{ki zna~ajnog sela) propadaju zbognedostatka stalne brige, op{ta apatija i ~ekanje da neko spolja re{iprobleme. Ono {to je indikativno, to je da su je na vi{e mesta unjenoj zemlji odbili kao mogu}eg saradnika, a jedan direktor muzejajoj je otvoreno rekao da je "opasna" zbog znanja i novih ideja kojedonosi.Naravno da su prilozi iz Hrvatske i na{e zemlje bili na neki na~in

otkrovenje za ostale. Kolega iz Muzejskog dokumentacionog centrau Zagrebu @eljko Laslo poku{ao je {ematski, kroz teze i antiteze, dadoka`e da se u muzejima u Hrvatskoj ni{ta bitno nije promenilo odvremena socijalizma u na~inu rada, programiranja i finansiranjamuzeja. Velikim delom, a posebno kada je re~ o zakonodavstvu,mogli bismo da ovu analizu primenimo i na na{u situaciju.Mila Popovi}-@ivan~evi} je zajedno sa Malenom Stoj~ev u~estvovalau zvani~nom programu konferencije sa dve teme : "Presentation of DIANA Centre"-predavanje sa videoprezentacijom, i "The Reasons Why We Started Changing Museums in Serbia andMontenegro", Organizator je tako|e pozvao Milu Popovi}-@ivan~evi} da odr i pre-davanje na Univerzitetu Jana Masarika, studentima arheologije iumetnosti. Nasuprot reakcijama ve}ine ~e{kih muzealaca, studenti sugotovo bez daha slu{ali tro~asovno predavanje o preventivnoj za{titikao osnovnom muzeolo{kom pristupu i iskustvima DIJANA Centra.Na{i prilozi na Konferenciji, u kojima smo poku{ali da opi{emosituaciju koja je prethodila i dovela do pokretanja muzejske zajedniceda samostalno i na druga~iji na~in re{ava nagomilane probleme, kaoi ulogu koju su u tom procesu imali nacionalni komitet IKOM-a Srbijei Crne Gore, DIJANA Centar za preventivnu za{titu i Zajednica muze-ja nauke i tehnike, te promocija i implementacija koncepta preven-tivne za{tite kao fundamentalnog principa u novom pristupu muze-ologiji, izazvali su izuzetno interesovanje. I tokom konferencije i u raz-govorima u pauzama, pa ~ak i tokom dru{tvenog programa, konceptDIJANA Centra bio je glavna tema. Mnogi su izrazili interes dasara|uju sa nama i da se detaljnije upoznaju sa na{im radom(Belorusija, Litvanija, Hrvatska, Rumunija, Moldavija). Tehni~ki muzej uBrnu koji priprema nacionalni Centar za konzervaciju (posebno posleogromnih poplava pro{le godine) izrazio je `elju da bli e sara|uje saDIJANA Centrom i da koristi na{a iskustva u organizaciji svog Centra. Sa predstavnicima iz Belorusije, Litvanije, Hrvatske, Rumunije,Moldavije i ^e{ke ve} smo zapo~eli dogovore oko organizovanjaregionalne saradnje.

TTrrii KKoonnffeerreenncciijjee IIKKOOMM-aa:: CCIIMMUUSSEETT,, IICCTTOOPP II MMPPRRSlloveniijjaa, 11-117 septembaar 2003..Miillaa Popovii}-@@iivaan~evii}, muzejjskii saavetniik- konzervaator,rukovodiillaacc DIJJANA Centraa zaa preventiivnu zaa{tiitu

Od 11-17. septembra 2003. Ministarstvo kulture Slovenije i Nacionalnikomitet IKOMa organizovali su godi{nje konferencije tri IKOMovamedjunarodna komiteta u isto vreme: ICTOP (Medjunarodni komitetza obuku personala), CIMUSET(Medjunarodni komitet muzeja zanauku i tehnologiju) i MPR (Medjunarodni komitet za marketing iodnose sa javno{}u). Ova velika zajedni~ka konferencija, pod nazivom 3-IKOM 2003,odr`ana je pod direktnim pokroviteljstvom Ministarstva kultureSlovenije i ministra kulture Andreje Rihter li~no.lanovi nacionalnog organizacionog komiteta 3-IKOMa 2003 bili su:

Nina Zdravi~ Poli~ - predsednik (Etnografski muzej Slovenije), JernejaBati~ (Ministarstvo kulture Slovenije), Orest Jarh (direktor Tehni~kogmuzeja Slovenije), Teja Ali~ ( Mesni muzej Ljubljane). Konferencije su sve vreme vodili predsednici komiteta: Patrik Bojland(ICTOP), Pol Danahju (CIMUSET) i Grajam Rajan (MPR). Prisustvovaloje preko 140 kolega, muzejskih eksperata i profesora, iz vi{e od 30zemalja: Slovenije, Hrvatske, Austrije, Australije, V.Britanije, SADa,Kanade, Koreje, Kine, Filipina, Irske, [vajcarske, Nema~ke, Danske,Holandije, Finske, Norve{ke, [vedske, Rusije, ^e{ke, Ma|arske,Rumunije, Srbije i Crne Gore i drugih. Na{u zemlju su predstavljali:Mila Popovi}-@ivan~evi}, rukovodilac DIJANA Centra i predsednik YUNK IKOMa, sa referatom;Ana Kocjan, saradnik DIJANA Centra, sa referatom; Zvezdana Popovi} saradnik DIJANA Centra; Sonja Zimonji}, direktor Muzeja nauke i tehnike;Zorica Civri}, kustos Muzeja Nikole Tesle;Aleksandra Savi}, Prirodnja~ki muzej.Konferencije 3-IKOMa 2003 su se odvijale kroz plenarnu sednicu iposebne radne sednice me|unarodnih komiteta.

87

Me|unarodne aktivnosti

Participants of the Conference in BrnpU~esnici Konferencije u Brnu

Slovenian representatives pointed out their aim of giving their owncontribution to the changed world of museums through these con-ferences of ICOM in the very centre of Europe. Today, we stand atthe crossroads, in the world that has been changing constantly, withmany dilemmas endangerung this new global conciousness andknowledge. Every change in the world is reflected in Slovenia, itsneighbouring countries, Central and South Europe and everywhereelse. Museums from all over the world stick to promotion and affir-mation of care for cultural heritage and building facilities for safe-keeping of the past. Nevertheless, dispite all the retorics of museumprofessionals and the efforts to put the importance of cultural her-itage and human survival ahead, it was said that museums are todaymore and more under the influence of consumer's society.At the plenary session, the participants were greeted by the Ministerof Culture of Slovenia Andreja Rihter and the chairperson of ICOM,Jacques Perot. They were involved in work of plenary session, as wellas in later working sessions discussing strategic development ofmuseums.

Working sessions of ICTOP, CIMUSET and MPRGreat number of experts from all over the world prepared reports ondifferent segments of museology. Among them: Paul Donahue fromCanada, executive manager of Canadian Corporation for Science andTechnology; Neil G. Kotler, the author and editor of five books on pol-icy of researches on communications and museum marketing; KlausMuler from Netherlands, international museum councillor, especiallyfor curator's projects, the author of many exhibitions and papers onculture and museums; Patrick Boylan from UK, professor of politicsand management of heritage at the University of London, the authorof over 180 professional and academic publications on cultural poli-tics and management, museums and art: Tomislav [ola from Croatia,professor at the Zagreb University, the author of many papers andpublications on museum marketing: Grahame Ryan from Australia,and many others. Over 60 papers were signed in all three commit-tees, the abstracts of which were presented in a special publication.Interdisciplinary discussions on different subjects in three segments ofICOM, ICTOP, CIMUSET and MPR sessions, promoted the idea ofdialogue on various problems, which these committees are especial-ly concerned with.The Representatives of DIANA Centre participated actively in ICTOPand MPR sessions. Significant part of ICTOP session was devoted tofinal definition of the project on intangible cultural heritage and prepa-rations of suggestions for UNESCO's Convention on protection ofintangible cultural heritage. Discussions dealt with different definitionsof intangible heritage that has to be included in the definition ofmuseum and academic education. Mila Popovi}-@ivan~evi} con-tributed to the conclusions of this session.Mila Popovi}-@ivan~evi} held a noticeable lecture with a multimedialpresentation, titled Principles of Education at DIANA Centre forPreventive Conservation at the working session of ICTOP dedicatedto Profession Training in Museums. Great number of participantsshowed special interest in this subject and recogniton for the progress

and specific way the professional training in DIANA Centre is beingorganized.At the MPR's working sessions titled Globalization Impact on MuseumCommunications, we had two lectures with multimedial presentations.Mila Popovi}-@ivan~evi} held a lecture titled: Preventive Conservationof Heritage, Globalization and the Role of DIANA Centre. In this paper,we tried to show that it is possible to organize protection of culturalheritage, which defines modern cultural indentity of a nation, throughelaborated system of preventive conservation, built on solid basis.Only through the means of clear and well defined cultural identity, anation or a state may become a constitutive and equal part of theglobal multicultural community, contributing to world's developmentwith its own significance.Ana Kocjan, art historian, collaborator of DIANA Centre for manyyears, presented another segment of our activity at the same ses-sion. Her subject was DIANA Centre and Promotion of PreventiveConservation, Development of Partnership and Marketing. Even veryexperienced museum marketing and PR experts were very interestedfor the ways DIANA Centre developed and attracts different levels ofpublic into museum activities, especially into the global care for pro-tection of cultural heritage.We have to say that our lectures, discussions and contacts attractedgreat deal of attention and positive comments throughout the con-ferences, thanks to the strategic functioning of DIANA Centre. Generalattitude was that the activities of DIANA Centre, especially education,theoretical and practical determination of preventive conservationconsisting of all the actions within a museum or out of it, and direct-ly or indirectly affecting destiny of cultural property, present a signifi-cant contribution to the development of global system of protectionand care for cultural heritage. One of the key objectives of these conferences was reached -Participants were given an opportunity to work together, in differentcommittees, to share ideas, and to use these contacts as basis forfuture actions.It also became obvious that the international committees successful-ly function in various professional areas dealing with museum collec-tions, profession, education, management, public relations, museolo-gy, conservation, etc.Participation at these conferences was a great opportunity to visit allthe leading Slovenian museums. CIMUSET and ICTOP Committeesalso visited some museums in Zagreb and the Department ofMuseology of Zagreb University.ICOM was once again acknowledged as the world's leader in muse-um field, as an institution whose attitude was widely respected andsignificantly influenced the protection of cultural heritage in the world.ICOM supports the exchange and share of professional expertise,internationalizes museum practice through mutual help, encouragesnew cooperation models, forms dynamic and consistent frame forcommunication and international presentations.

Recommendations of the Plenary SessionAt the joint session titled Towards Museums of the Future, CIMUSET,ICTOP and MPR adopted further recommendations:- It is neccessary to admit the fact that museums operate in the rap-idly world and should be made aware of the necessity to urgentlyrespond to these changes and the challenge of globalisation- Museum and their professionals should be call upon to work with-in these parameters of change (by means of training and education)- Museums should develop ability to anticipate changes, to respondto them and to influence them.

Recommendations of CIMUSETAs concluded at the conference of CIMUSET, it is indispensable:- to hold joint annual meetings with other ICOM Committees andrelated organisations whenever appropriate and/orpossible- to endeavour meetings and other training and educational activi-ties, such as workshops, seminars, exchange in association withCIMUSET members and their local organisations- to ensure that the main subject of each annual conference (otherthan triennial general conference) is to be agreed on the basis of con-sultation between the CIMUSET Board and local organising committee

88

Mila, Ana and Grahame RyanMila, Ana i Grejem Rajan

Plenarna sednica je bila naslovljena Ka muzejima budu}nosti, a njenatema se odnosila na muzeje u razvoju i perspektive tog razvoja. Toje bila prilika da se prou~e neki od glavnih razvojnih puteva urazli~itim muzejskim sredinama, ali i u muzejima Slovenije, uz istican-je ciljeva i zadataka ICTOPa, CIMUSETa i MPRa. Predstavnici Slovenije su istakli da ovim IKOMovim konferencijama usrcu Evrope `ele da pru`e konstruktivan doprinos izmenjenom svetumuzeja. Mi se danas u takvom svetu nalazimo na raskrsnici mnogihdilema koje svuda dovode u opasnost novu globalnu svest i spoz-naje. Sve {to se de{ava u svetu ogleda se i u Sloveniji, u susednimzemljama, Centralnoj i Ju`noj Evropi i bilo gde. Muzeji {irom svetaostaju privr`eni promovisanju i afirmisanju svesti o kulturnom nasle|ui gra|enju kapaciteta za ~uvanje svoje pro{losti. Me|utim, uprkosvrhunskoj retorici muzealaca i svim poku{ajima da se u prvi plan staviva`nost kulturnog nasle|a za razvoj i opstanak ljudske vrste, ~injeni-ca je, kako je zaklju~eno, da su danas muzeji sve vi{e pod uticajempotro{a~kog dru{tva. Na plenarnoj sednici u~esnike su pozdravili ministar kulture SlovenijeAndreja Rihter i predsednik IKOMa, @ak Pero. Oni su u~estvovali uradu plenarne sednice, kao i na radnim sednicama, gde se govoriloo strate{kom razvoju muzeja.

Radne sednice ICTOPa, CIMUSETa i MPRaVeliki broj u~esnika iz celog sveta pripremio je izlaganja u razli~itimoblastima muzeologije. Me|u njima su bili: Pol Danahju, izvr{ni direk-tor Kanadske koorporacije za nauku i tehnologiju ; Nil G. Kotler, autori urednik pet knjiga o politici istra ivanja komunikacija i muzejskogmarketinga; Klaus Miler, internacionalni muzejski savetnik, posebno zakustoske projekte, autor mnogih izlo`bi i tekstova o kulturi i muzeji-ma; Patrik Bojland, profesor politike i menad`menta ba{tine naLondonskom univerzitetu, autor vi{e od 180 profesionalnih i akadem-skih publikacija o kulturnoj politici i menad`mentu, muzejima i umet-nosti.; Tomislav [ola, profesor na Univerzitetu u Zagrebu, autormnogih tekstova i publikacija o muzejskom marketingu; Grajam Rajaniz Australije i mnogi drugi. Prilo`eno je preko 60 tekstova u sva trikomiteta, a apstrakti su objavljeni u posebnoj publikaciji koja je pred-stavljala sastavni deo konferencijskog materijala. U okviru tri sadr`ajno razli~ite oblasti IKOMovog delovanja, na sedni-cama ICTOPa, CIMUSETa i MPRa, vo|ene su interdisciplinarnediskusije o razli~itim temama koje su ukazale na potrebu za dijalo-gom o problemima struke, {to se i ina~e provla~i kroz sve aktivnostiovih komiteta. Predstavnici DIJANA Centra u~estvovali su aktivno u radu ICTOPa iMPRa. Zna~ajan deo rada ICTOPa bio je posve}en kona~nom defin-isanju projekta o nematerijalnom kulturnom nasledju i pripremanjupredloga za UNESKOvu "Konvenciju o ~uvanju nematerijalnog kul-turnog nasledja". Diskusija o ovom projektu je obuhvatala razli~itedefinicije nematerijalnog nasle|a koje treba uklju~iti u definiciju muze-ja i u univerzitetsko obrazovanje. Svoj doprinos dono{enju zaklju~akadala je i Mila Popovi}-@ivan~evi}.Mila Popovi}-@ivan~evi} je, u okviru radne sednice ICTOPaposve}ene Profesionalnom obrazovanju u muzejima, imala zapa`enoizlaganje sa multimedijalnom prezentacijom, pod naslovom Obrazovniprincipi u DIJANA Centru za preventivnu za{titu... Veliki broj u~esnikakonferencije pokazao je posebno zanimanje za ovo predavanje iodao priznanje za razvoj i specifi~an na~in na koji se organizuje pro-fesionalna obuka iz za{tite kulturnih dobara u DIJANA Centru.Na radnoj sednici MPRa pod nazivom Uticaji Globalizacije na muze-jske komunikacije imali smo dva predavanja sa multimedijalnimprezentacijama. Predavanje Mile Popovi}-@ivan~evi} je naslovljenoPreventivna za{tita ba{tine, globalizacija i uloga DIJANA Centra . Uovom izlaganju nastojali smo da poka`emo da je dobro razradjen ipostavljen sistem preventivne za{tite najefikasniji na~in da se o~uvaba{tina, na kojoj po~iva savremeni kulturni identitet naroda. Samojasno ustanovljen kulturni identitet mo`e omogu}iti jednoj naciji ilidr`avi da postane sastavni i ravnopravni deo globalnog, multuikultur-alnog sveta, ~ijem razvoju na taj na~in daje svoj zna~ajan i prepoz-natljiv deo. Ana Kocjan, istori~ar umetnosti, dugogodi{nji saradnik DIJANACentra, predstavila je na istoj radnoj sednici jo{ jednu oblast na{egdelovanja. Njena tema je bila “DIJANA Centar i promocija preventivne

za{tite, razvoj saradnje i marketinga”.^ak i vrlo iskusni muzejski eksperti za marketing i PR bili su veomazainteresovani za na~ine na koje DIJANA Centar uklju~uje razli~itenivoe javnosti i publike u muzejske aktivnosti, posebno u zajedni~kubrigu za o~uvanje kulturnog nasle|a. Mora se ista}i da su na{i nastupi i u~e{}e u diskusijama za vremeodr`avanja ovih konferencija, izazvali dosta pa`nje i pozitivnih ocenai to zahvaljuju}i strate{kom na~inu funkcionisanja DIJANA Centra.Op{ti zaklju~ak je da sve aktivnosti DIJANA Centra, posebno onevezane za edukaciju, teorijsko i prakti~no definisanje preventivneza{tite, koja obuhvata sve akcije unutar muzeja i van njega, a kojedirektno ili indirektno uti~u na sudbinu kulturnog dobra, predstavljajuzna~ajan doprinos razvoju op{teg sistema za{tite i brige za kulturnonasle|e.Postignut je jedan od klju~nih zadataka koji su bili postavljeni predove tri konferencije - u~esnicima je omogu}eno da rade zajedno urazli~itim komitetima, da izmenjuju ideje, a uspostavljanje me|usob-nih kontakata poslu ilo je kao osnov za budu}e akcije. Tako|e se pokazalo da me|unarodni komiteti uspe{no rade narazli~itim pitanjima iz specifi~nih oblasti vezanih za struku, kao {to sumuzejske kolekcije, profesionalni zadaci, edukacija, menad`ment,odnosi sa javno{}u, muzeologija, za{tita i dr. U~e{}e na ovim konferencijama pru ilo je sjajnu priliku u~esnicimada posete sve glavne muzeje u Sloveniji. CIMUSET i ICTOP imali suposetu i nekim muzejima u Zagrebu, kao i Odeljenju muzeologije naUniverzitetu u Zagrebu. Jos jedanput je potvr|eno da je IKOM me|unarodni lider u domenumuzeja, da se njegovo mi{ljenje po{tuje i da zna~ajno uti~e na za{titusvetskog kulturnog nasle|a. IKOM unapre|uje razmenu profesion-alnog znanja, internacionalizuje muzejsku praksu kroz uzajamnupomo}, aktivno podsti~e nove modele saradnje, stvara dinami~an ikonzistentan okvir za komunikaciju i zastupanje u me|unarodnimokvirima.

Preporuke Plenarne sedniceU okviru zajedni~ke sednice pod naslovom Ka muzejima budu}nosti,CIMUSET, ICTOP i MPR su usvojili slede}e zaklju~ke:- neophodno je prihvatiti ~injenicu da muzeji funkcioni{u u svetu kojise brzo menja i shvatiti potrebu da se hitno odgovara na ovepromene i na izazove globalizacije.- muzeji i stru~ni kadar u njima treba da prihvate obavezu delovan-ja u okviru parametara ovih promena (kroz obrazovanje i usavr{avanje)- muzeji treba da razviju sposobnost anticipiranja promena, kao ireagovanja i uticanja na njih

Preporuke CIMUSETA Na konferenciji CIMUSETA zaklju~eno je da je potrebno:- odr`avati zajedni~ke godi{nje sastanke sa drugim IKOMovimkomitetima i odgovaraju}im organizacijama kad god je mogu}e ilikorisno- organizovati sastanke i druge obrazovne, specijalizovane i stru~neaktivnosti kakve su radionice, seminari, razmena sa CIMUSETovim~lanovima i njihovim lokalnim organizacijama

89

Conference in LjubljanaKonferencija u Ljubljani

- to develop the capasity of the CIMUSET web site as: a forum forexchanging ideas and information, to promote and advertise activi-ties and as a consultation tool- to form a working group (6 members) that will promote the activ-ities of CIMUSET among museums and scientific institutions andencourage professionals to join the international committee.

Recommendations of ICTOPConclusions of this committee refered to:- encouraging various forms of cooperation in in the field of trainingof staff (between institutions and museums, museums between them-selves etc.)- encouraging specialized international training programs in all relat-ed areas (HRM - Management of Human Resources)- emphasising and developing: a planning system for training of staff,professionalisation, high quality standards, team work- recommending continuous work in relation to Curricula Guidelinesof ICTOP- informing and guiding museums and museum staff at every level

Recommendations of MPRMPR decided:- to ensure that marketing and public relations are viewed as a pri-ority to the purpose of museums- to develop professionalism in marketing and public relations bymeans of ongoing training of staff- to recognise that museum public is a global category- to develop adequate marketing tools to reach public and engagethe public- to support the development of museum communications- to offer the possibility of multi-level access to museums for local,regional and trans-national public - to give priority to serving the public rather than augmenting muse-um's collections- to reinforce the uniqueness and value of museums in all commu-nications- to broaden the presence of museums in public

During our visit to Slovenia we dis-cussed with representatives of theSlovenian Ministry of Culture, AndrejaRihter, the minister, and Jerneja Bati~,the deputy minister, as well as repre-sentatives and colleagues from differ-ent Slovenian museums, the impor-tance of establishing museum coop-eration between Slovenia and ourcountry. First steps toward this agree-ment were already made in November2003, through joint partnership activi-ties of different Slovenian institutionsand DIANA Centre of NationalMuseum Belgrade. The next stepstarted on 7th November 2003 inGallery of Frescoes, with the help ofSlovenian Ministry of Culture:- Specialized courses titled Old con-servations of archaeological objectsand Conservation of porcelain andmajolica held by Jana [ubic Prislan ofThe Museum of Gorica, the chairper-son of the Association of Conservatorsof Slovenia, and Janja Slabe ofNational Museum Ljubljana - The lecture and the exhibition titled Safekeeping and condition ofold Koptic textiles in National Museum Ljubljana, by Gojka Pajagi~-Bregar of National Museum Ljubljana- the lecture Conservation servise in Slovenia, held by Zoran Mili~ ofNational Museum Ljubljana- the exhibition of Slovenian Association of Conservators

PPaarrttiicciippaattiioonn ooff DDIIAANNAA CCeennttrree iinn IInntteerrnnaattiioonnaall WWorkshop Ceraamiiccs - Our Oriiggiins, Saaraajjevo 2003Vesnaa Svobodaa, cceraamiist, Collllaaboraator of DIANA Centre for Prevetntiive Conservaatiion

I was just finishing the plan for the project titled ExperimentalArchaeology - Traditional Production of Ceramics with Mila Popovi}-@ivan~evi}, head of DIANA Centre, when the Centre received an invi-tation from Museum of Sarajevo for the participation in an interna-tional workshop named Ceramics - Our Origins. The subject of ourproject completely coincided with the subject of this workshop, dealingwith ancient arts, forgotten knowledge and disappearing ornaments.As Mevlida Serdarevi}, director of Museum of Sarajevo and the chair-person of the Organizational Board of this meeting, pointed out::"Thebasic idea of the whole project of Our Origins, started in 2002 withinternational workshop devoted to textiles, was to gather as manyinterested individuals as possible and to point out the value of muse-um objects. The organizers aimed at directing attention of govern-mental and non-governmental organizations to the importance ofpromotion of museum property, in order to educate and to promotenational values. Workshops should collect information about the pos-sibilities and chances of improving of working system in our muse-ums and in general. They should also reestablish ceramics as cul-tural and artistic treasure, but also as an economic resource..."Arrival of the participants and signing in was on the 16th October, inMuseum of Sarajevo, in the House of Despi}s. We were given aworm welcome by Mrs. Serdarevi}, and also a tour around the muse-um chosen for this manifestation. All the participants spent the firstday almost entirely in the Museum, preparing their reports and exhi-bitions. In the exhibition hall, two collections of ethnological ceramicswere displayed: Ceramics of Vi{njica, from the collection of the StateMuseum of Sarajevo and collection of pottery from the village ofPulac, near Travnik. The posters presenting the project of TraditionalProduction of Ceramics, as well as the ones presenting the activitiesof DIANA Centre, were also set in the hall. In two additional exhibi-tion rooms, the displays of ceramics and posters of Museum of

Macedonia, titled Museums as the Sources ofKnowledge were presented, side-by-side with theexhibition of artistic ceramics by Sabaheta Unki}from Banja Luka, named Form, Drawing, Slip.The main program of the workshop started on17th October 2003, after the welcome speechesof deputy minister of culture and the director ofMuseum of Sarajevo.The first lecturer, with slides, was Mirza Hasan^eman M.A., archaeologist and art historian, withthe report on Some Aspects of the Developmentand Examination of Ceramics. His report was verydetailed and he was ambitious to mention andpresent all the aspects of ceramics, from its his-torical development, through the typology andtechnological categorization, to the artistic formsof ceramics,The next lecture, also with slide-presentation, wasgiven by the archaeologist Zilka Kujund`i}Vejzagi}, M.A., and was titled Figurines of ButmirCulture.Presenting some very illustrative examples, Mrs.Vejzagi} gave an extremely attractive lecture onornaments and motives on Butmir figurines, aspossible presentations of the clothes and fashiondetails of the time. This lecture was merely a seg-ment of quite elaborated researches on the phe-

nomenon of Butmir sculpture conducted by Zilka Kujund i}-Vejzagi}.Duda Ad`ovi}, an archaeologist from Montenegro, talked about TheUse of Ceramic Vessels in Funerary Cult at the Necropolis Gostilj inMontenegro. The lecturer presented Illyrian necropolis in Vele Ledine,south of Podgorica, belonging to the tribe of Labeate, from theHellenistic period, and the significance of ceramic vessels in theirfunerary cult.

90

Traditional kiln in Lije{evaTradicionalna pe} u Lije{evi

- posti}i da se glavna tema svake godi{nje konferencije (osim tro-godi{nje Generalne konferencije) utvrdjuje u konsultacijama SavetaCIMUSETa i lokalnog organizacionog komiteta- razviti CIMUSETov veb-sajt kao forum za razmenu ideja i infor-mosanje ~lanova, za unapredjenje i ogla{avanje aktivnosti i kao sred-stvo za konsultacije- formirati Radnu grupu od {est ~lanova koja }e promovisatiaktivnosti CIMUSETa medju muzejima i nau~nim centima i podsticatimuzealce na uklju~ivanje u rad ovog me|unarodnog komiteta.

Preporuke ICTOPAOdluke ovog komiteta se odnose na:- podsticanje razli~itih oblika saradnje u obrazovanju profesionalnogkadra (izmedju institucija i muzeja, izmedju samih muzeja itd.)- podsticanje medjunarodnih specijalisti~kih programa u svim odgo-varaju}im oblastima (HRM - upravljanje ljudskim resursima).- isticanje i planiranje sistema obrazovanja kadrova, profesionalizaci-je, visokih standarda kvaliteta, timskog rada - sugerisanje stalnog rada na smernicama za nastavne programe - informisanje i usmeravanje muzeja i muzejskih kadrova na svimnivoima.

Preporuke MPRMPR je odlu~io da treba:- marketin{ke delatnosti i odnose sa javno{}u tretirati kao centralnekad je u pitanju svrha muzeja- razviti profesionalizam u marketingu i odnosima sa javno{}u krozstalno obrazovanje kadrova- prihvatiti i shvatiti da je globalni karakter muzejske publike - razviti odgovaraju}a marketin{ka sredstva da se pri|e {iroj publicii da se ona anga`uje- podr`ati razvoj muzejskih komunikacija- ponuditi vi{eslojni pristup muzejima za lokalnu, regionalnu i transna-cionalnu publiku- naglasiti ve}i zna~aj slu`enja publici od uve}avanja muzejskih zbirki- naglasiti ili poja~ati u svim komunikacijama jedinstvenost i vrednostimuzeja- pobolj{ati prisustvo muzeja u javnosti.

Tokom boravka u Sloveniji, sa predstavnicima Ministarstva Slovenije -Andrejom Rihter, ministrom kulture i Jernejom Bati~, pomo}nikomministra, zatim predstavnicima i kolegama iz razli~itih muzeja uSloveniji, razgovaralo se o potrebama uspostavljanja muzejske sarad-nje izmedju Slovenije i na{e zemlje. Prvi koraci ovih dogovora su real-izovani ve} u novembru 2003. direktnom saradnjom izme|u razli~itihinstitucija u Sloveniji i DIJANA Centra, odnosno Narodnog muzeja uBeogradu. Ve} 7. novembra 2003. u Galeriji Fresaka je, uz pomo}Ministarstva kulture Slovenije, zapo~et program saradnje u okviru kojesu odr`ani:- specijalisti~ki kursevi Stare konzervacije arheolo{kog materijala iKonzervacija majolike, koje su vodile Jana [ubic Prislan, Gori{ki

muzej i predsednik Dru{tva konzervatora Slovenije i Janja Slabe,Narodni muzej Slovenije- predavanje i izlo`ba ^uvanje i stanje kopskih tkanina u Narodnommuzeju Slovenije, Gojka Pajagi~ Bregar, Narodni muzej Slovenije, - predavanje Konzervatorska slu`ba u Sloveniji, Zoran Mili~, Narodnimuzej Slovenije- Izlo`ba Konzervatorskog dru{tva Slovenije.

UU~~ee{{}}ee DDIIJJAANNAA cceennttrraa uu mmee||uunnaarrooddnnoojj rraaddiioonniiccii''''KKeerraammiikkaa - nnaa{{ii kkoorriijjeennii'''',, SSaarraajjeevvoo,, 22000033..Vesnaa Svobodaa, keraamii~aar, saaraadniik DIJJANA Centraa zaa preventiivnu zaa{tiitu

Poziv upu}en DIJANA Centru, iz Muzeja grada Sarajeva, za u~e{}eu Me|unarodnoj radionici na temu ''Keramika - Na{i korijeni" stigaoje ba{ u vreme kada smo, Mila Popovi}-@ivan~evi}, {ef DIJANACentra i ja, zavr{avale formiranje projekta pod nazivom''Eksperimentalna arheologija - Tradicionalne proizvodnje keramike''.Tema ovog projekta je u potpunosti odgovarala problematici kojomse bavila ova Me|unarodna radionica o starim ume}ima, zaboravl-jenim znanjima i motivima koji nestaju.''Osnovna ideja ~itavog projekta "Na{i korjeni'', zapo~etog2002.godine, me|unarodnom radionicom posve}enoj tekstilu, je daokupi {to vi{e zainteresovanih i uka`e na vrednosti onoga {to se ~uvau muzejima. @elja organizatora je bila da skrene pa`nju vladinim inevladinim organizacijama, na va`nost promocije muzejskog blaga, ucilju edukacije i afirmacije vlastitih vrednosti. Radionice bi trebalo daprikupe saznanja o tome gde su na{e mogu}nosti i {anse zaunapre|enje na~ina rada u muzejima, ali i {ire. Treba da obezbedereafirmaciju, u ovom slu~aju, keramike kao kulturnog i umetni~kogblaga, ali i kao privrednog resursa ...'' rekla je Mevlide Serdarevi},direktorka Muzeja grada Sarajeva i predsednica Organizacionog odb-ora ovog skupa.Dolazak u~esnika i registracija, 16. oktobra, u Muzeju grada Sarajeva,u "Despi}a ku}i". Direktorka Serdarevi} nas je srda~no do~ekala iupoznala sa prostorom muzeja, predvi|enim za realizaciju ove man-ifestacuje. Prispeli u~esnici su tu proveli ve}i deo dana, u pripremiuslova za izlaganje svojih projekata, kao i u realizaciji prate}ih izlo`bi.U izlo`benom prostoru ulaznog hola bile su sme{tene dve izlo`beetnolo{ke keramike: keramika iz Vi{njice, iz kolekcije Zemaljskogmuzeja Sarajevo i izlo`ba grn~arije iz sela Pulca, kod Travnika. Poster-panoi koji predstavljaju projekat ''Tradicionalne proizvodnje keramike'',kao i poster-panoi o aktivnostima DIJANA Centra, ta|e su postavl-jeni u tom holu. U dve bo~ne prostorije bile su postavljene izlo`beposter-panoa i prate}e izlo`be keramike Muzeja Makedonije ''Muzejikao izvori znanja'' i izlo`ba umetni~ke keramike amatera SabaheteUnki} iz Banja Luke '' Forma, crte`, engoba '' .Glavni program radionice po~eo je 17. oktobra, nakon pozdravnihgovora potpredsednice ministra za kulturu i direktorke Muzeja gradaSarajeva. - Uvodno predavanje, sa slajd projekcijom, prezentovao je mr MirzaHasan eman, arheolog i istori~ar umetnosti, sa temom ''Neki aspektirazvoja i prou~avanja keramike''. Izlaganje je bilo iscrpno. Autor jeambiciozno poku{ao da sagleda i prezentuje sve aspekte keramike,od istorijskog razvoja preko tipologije, teholo{kih podela, do umet-ni~ke keramke.- Slede}e predavanje, tako|e pra}eno slajd prezentacijom, odr`alaje arheolog mr Zilka Kujund i}-Vejzagi}, pod nazivom ''Sitno figural-na plastika Butmirske kulture''. Uz znala~ki odabrane primere, gospo|a Vejzagi} je odr`ala izuzetnoatraktivno predavanje o ornamentici i motivima na Butmirskim figuri-nama, kao mogu}im predstavama ode}e i modnim detaljima togdoba. Ovo predavanje je samo segment opse`nog istra ivanjafenomena butmirske plastike mr Zilke Kujund i}-Vejzagi}.- Arheolog Duda Ad`ovi}, iz Crne Gore, je uz slad projekciju govo-rila o ''Upotrebi kerami~kih posuda u pogrebnom kultu na nekropoliGostilj Crna Gora''. Predstavljena je Ilirska nekropola u VelimLedinama, ju`no od Podgorice, koja pripada plemenu Labeata, izhelenisti~kog perioda, kao i zna~aj kerami~kih posuda u njihovompogrebnom kultu.

91

Group of exhibited ethnological objects Grupa izlo`enih etnolo{kih predmeta

Ethnologist Lebiba D`eko presented very interesting oriental ceram-ics of Vi{njica, a part of the State Museum of Bosnia and Herzegovinacollection, displayed in exhibition hall. This group of various usableobjects (water jugs, bowls, decanters, jugs) proves the continuity ofthis kind of production from the antiquity to the modern times.The archaeologist at Museum of Tuzla, Mirsad Bakalovi}, presentedan elaborated project of Neolithic Ceramic Vessels for Filtration ofSalty Water, followed by multi-medial presentation. Project was imag-ined as a means of connecting archaeology and ethnology with con-temporary life. Eneolithic ceramic vessel for filtration of salty water, afragment of which was found in the 1950s, became a symbol of thecity of Tuzla, a souvenir and tourist attraction. This symbol is a partof the city arms, and a copy of this vessel will be displayed in thefuture Solni Trg (Salty Square) in Tuzla.Through video-presentation, detailed poster exhibition and lecture, thedirector of Museum of Travnik, Fatima Masli}, informed us on TheLast Potter From the Village of Pulce, near Travnik. This study dealswith the problem of disappearing of archaic techniques of ceramicsproduction on potter's wheel (the technique is the same as in the vil-lage of Zlakusa near U ice, but the case is different, as I pointed outin my report).Archaeologist and art historian Simonida Miljkovi}, from the Museumof Macedonia, presented, using a multimedia presentation, theMuseum's elaborated project titled Museums as the Sources ofKnowledge, referring to the museum's work with children and youngpeople. Within the lecture, she also talked about the participation ofthe group of colleagues from the Museum of Macedonia in DIANACentre Summer School. The last part of this lecture, illustrated by pho-tographs from DIANA Centre, was a good introduction for my report.Our presentation started with a short review on DIANA Centre and itsactivities, followed by multimedia show. Then we presented the proj-ect in complete. During the presentation, a CD on DIANA Centre wasplayed. Also, some illustrative examples of the experience that pre-ceded the project were given. The first example was the ExperimentalProduction of Neolithic Ceramics on the Archaeological Site of Vin~a- Belo Brdo 2001, and the second one was the International Colonyof Artistic Ceramics - Zlakusa, Successful Preservation of AuthenticPotter's Technique and Connecting With Tradition. Both reports werefollowed by multimedia presentation. The participants responded pos-itively and it was obvious that our project turned to be very illustra-tive. After the lecture, the director of the Museum of Sarajevo, MevlidaSerdarevi}, received presents from DIANA Centre - a number ofreplicas of Roman lamps, for which she sincerely thanked us.Museum of Sarajevo promoted the The3rd century patera from Ilid`a, nearSarajevo as a souvenir, and the archae-ologist Adnan Muftarevi} presented thisproject in a very creative way - by aninteresting, poetic archaeological film. Thispatera was found at the antique site ofIlid`a in 1950 and it is a ritual vessel, butalso a cup that athletes used to beawarded with.The film and the report on the LastLopi{ars from I` was presented byPredrag Petrovi}, a teacher from Zagreb,born in I`, who became a lopi{ar (potter)after even the last lopi{ars from thisAdriatic island stopped producing pottery.This was an impressive way of showing atransfer of an authentic potter's techniquefrom a lopi{ar to an amateur completelydevoted to this archaic way of production,eager to preserve this tradition and toconnect it with contemporary ceramic artthrough one's own devotion.The last lecture, also followed by avideo-presentation, was given bySvetlana Baji}, the ethnologist from theState Museum of BIH. The subject was theCeramics From Te{anj, pottery produced

on hand wheel, similarly as the previously mentioned examples ofethnological ceramics.The second day of the Workshop, the 18th October, was planned forthe visit to the Regional Museum in Visoko. We were welcomed bySenad Hodovi}, the director of the Museum and a member of theWorkshop's Organizational Board. Then the curator, Habiba Efendira,introduced us into the ceramics collection of the Museum, from thesite around Visoko. Museum has a rich archaeological collection, with49 registered sites in the vicinity of Visoko, originating from prehis-toric times to the Middle Ages. The exhibition of ceramics empha-sizes the essential characteristic of pottery, in technological, as wellas in decorative sense, which is crucial to the analyses of traditionalpottery, still very vivid in this area (Lije{eva, Vi{njica).After a tour around the museum, we visited a genuine potter, Orhan[aban, in the village of Lije{eva, who was one of the three remain-ing potters of this area. We witnessed the process of stocking thevessels in a very interesting round kiln, built of clay and encased inwicker in the backyard of his home. We were shown a special wayof firing ceramics in this kiln, quite different from familiar way of firingwith wood. We also had an opportunity to see a demonstration ofmaking an ibrik (traditional jug) on hand wheel, as another charac-teristic technique of the area.We went back to Visoko to visit the Atelier 76 Art Gallery, were wewatched a performance called Painting Pottery, played by children.After returning to Sarajevo, in the evening, we attended, in theBosniac Institute, the opening of the Traces - exhibition of terracottasculptures by Kenan Sokolovi}.On the last day, Sunday, 19th October, Prof. Dr Vesna Hodovi} hada report on Cultural Heritage in Tour Operating, and in the discussionthat followed conclusions and recommendations were given for fur-ther activities.

What were the main objectives of this workshop and our participa-tion in it?directing attention to the need of preservation and revitalization of oldceramic production techniques, with our significant contributionShowing some disappearing arts, but also the modern ways of usingthem, as we showed with Zlakusa example of preserving traditionand connecting it with contemporary ceramics designShowing possibilities and importance of resources in this field, espe-cially for tourism, which we also anticipated through our workshopfor the production of copies and replicas, as well as the departmentfor marketing and public relations.

What have we attained through this partici-pation ?- introduced the participants and Bosnianpublic into the activities of DIANA Centre forPreventive Conservation - National MuseumBelgrade.- enabled regional cooperation with themuseums of BIH, on the joint task of preser-vation of cultural heritage in general sense.- Presented the idea of forming travellingregional workshops on archaeological sitesor in ethno-centres.- preliminary agreed on possible exchangeof experts, organizing of training and lectures.- influenced the ideas for projects of protec-tion of cultural heritage in other countries ofthe region.- Checked our own position in the culturalheritage protection in the region- Got some new experiences and madeimportant contacts, as with the representativeof the World Bank in Sarajevo, who was will-ing to help us contact some other interna-tional organizations in order to register DIANACentre internationally and enable financiallysupported projects.

92

Ceramic vessels of Lije{evaKerami~ke posude iz Lije{eve

- Izuzetno zanimljivu orijentalnu keramiku iz Vi{njice u kolekcijiZemaljskog Muzeja BIH, postavljenu na izlo`bi, predstavila je etnologLebiba D`eko.Kolekcija se sastoji od razli~itih predmeta upotrebnevrednosti (bardaci, zdele, surahije, }upovi i sl.) koji potvr|uju kontinu-itet izrade ovakvih posuda od anti~kog perioda do savremenog doba.- Arheolog Muzeja Tuzle Mirsad Bakalovi} je, uz CD prezentaciju,izlo io veoma celovit projekat '' Tuzlanske neolitske kerami~ke posudeza isoljavanje slane vode''. Projekat je predvideo povezivanje arhe-ologije i etnologije sa savremenim ivotom. Eneolitska kerami~kaposuda za isoljavanje vode, ~iji fragment je na|en sredinom pro{logveka, postala je simbol grada Tuzle, suvenir i turisti~ka atrakcija. - Posuda kao znak je sastavni deo grba grada, a kopija ove posudebi}e sastavni deo budu}eg istorijskog Sonog trga u Tuzli.- Video prezentacijom, obimnom izlo`bom poster-panoa, kao i pre-davanjem, istori~ar umetnosti Fatime Masli}, direktorka Travni~kogMuzeja, predstavila je ''Poslednjeg lon~ara iz sela Pulca kodTravnika''. Izlo`ena studija ukazuje na problem odumiranja arhai~netehnike izrade keramike na ru~nom vitlu (tehnika je ista kao u seluZlakusa kod U ica, gde je slu~aj potpuno druga~iji, {to sam izlo ilau potonjem izlaganju).- Arheolog i istori~ar umetnosti Simonida Miljkovi}, uz CD prezentaci-ju, predstavila je op{irno celovit projekat Muzeja Makedonije ''Muzejikao izvori znanja'', o radu muzeja sa decom i omladinom, kao i ou~e{}u ekipe iz Muzeja Makedonije u letnjoj {koli DIJANA Centra.Zavr{ni deo izlaganja koleginice Miljkovi} ilustrovan fotografijama osaradnji sa DIJANA Centrom, bio je dobar uvod za moje izlaganje. - Na{e predstavljanje je zapo~eto kra}im uvodnim predavanjem, saCD prezentacijom, o DIJANI i njenim aktivnostima. Potom je napravl-jen uvod u projekat, a zatim je izlo`en i sam projekat u celosti. Svevreme izlaganja, prezentovan je CD o DIJANA Centru. Nakonprezentacije projekta pre{lo se na ilustrativne primere, kao iskustvakoja su mu predhodila. Prvi primer je bio ''Eksperiment proizvodnjeneolitske keramike na ahreolo{kom lokalitetu Vin~a - Belo Brdo2001.'', a drugi ''Me|unarodna kolonija umetni~ke keramike - Zlakusa- uspe{no o~uvanje autenti~ne grn~arske tehnike i povezivanje satradicijom''. Oba priloga su pra}ena CD prezentacijom. Reakcijaprisutnih je bila veoma pozitivna, {to je pokazalo da je predstavljeniprojekat bio, na razli~ite na~ine, stimulativan za sve u~esnike. Pozavr{etku izlaganja uru~ila sam Direktorki muzeja grada Sarajeva,Mevlidi Serdarevi}, na{ poklon - ve}i broj odlivenih replika rimskihi aka, na ~emu su nam se doma}ini veoma srda~no zahvalili.

- Muzej grada Sarajeva je promovisao ''Pateru iz 3. stole}a, sa Ilid`ekod Sarajeva'' kao suvenir, a arheolog Adnan Muftarevi} je prezen-tovao projekat na veoma kreativan na~in, zanimljivim poetsko-arheo-lo{kim filmom. Patera je iskopana na anti~kom lokalitetu, na Ilid i, 1950.godine i predstavlja kultnu posudu,ali i pehar koji se uru~ivao atleti~arima.- Video film i izlaganje o" Poslednjim I{kim Lopi{arima" predstavio jePredrag Petrovi}, ro|en na I`u, u~itelj iz Zagreba, koji je postaolopi{ar (grn~ar) nakon prestanka rada poslednjih lopi{ara na ostrvu.Veoma impresivan prikaz transfera znanja jedne autenti~ne lon~arsketehnike sa lopi{ara na amatera, zaljubljenika u tu arhai~nu tehniku,koji `eli da sopstvenim radom produ i i sa~uva ovaj tradicionalanna~in izrade keramike i pove`e je sa savremenim kerami~kim izra-zom.- Poslednje predavanje, uz video prezentaciju, odr`ala je etnologSvetlana Baji}, iz Zemaljskog muzeja BIH, o ''Keramici iz Te{nja'',grn~arskoj tehnici ru~nog vitla, sli~noj ve} pomenutim tehnikamaetnolo{ke keramike.- Drugi dan Radionice, subota 18. oktobra, bio je predvi|en zaodlazak u Visoko, u posetu Zavi~ajnom Muzeju. Direktor muzeja i ~lanOrganizacionog odbora Radionice Senad Hodovi} po`eleo nam jedobrodo{licu. Potom nas je kustos Habiba Efendira upoznala sakeramikom u fundusu Muzeja sa viso~kih lokaliteta. Muzej posedujebogatu arheolo{ku zbirku, sa 49 evidentiranih nalazi{ta sa podru~jaop{tine Visoko, od praistorije do srednjeg veka. Postavka keramikeisti~e karakteristi~nu nit grn~arstva, kako u tehnolo{kom, tako i udekorativnom smislu, {to je od izuzetne va`nosti za analizu tradi-cionalnog grn~arstva, jo{ uvek prisutnog u ovom krajuLije{eva,Vi{njica. - Nakon razgledanja muzeja, posetili smo grn~ara Ohran [abana, uselu Lije{eva, jednog od poslednja tri grn~ara tog kraja. Prisustvovali

smo slaganju lonaca u veoma zanimljivu okruglu pe}, ozidanu gli-nom i opletenu pru}em, sagra|enu u dvori{tu ku}e. Prezentovao namje i veoma specifi~an na~in pe~enja keramike u ovoj pe}i, koji seumnogome razlikuje od ve} poznatih na~ina pe~enja, u grn~arskimpe}ima na drva. Stari grn~ar nam je tako|e demonstrirao i izradu ibri-ka na ru~nom vitlu, kao jo{ jednu specifi~nost grn~arske tehnike togkraja.- Vratili smo se u Visoko, u Umetni~ku galeriju ''Likovni atelje '76'',gde smo prisustvovali de~ijem performansu na temu ''Oslikavanjegrn~arije'', gde nam je prire|en i sve~ani ru~ak. - Posle povratka u Sarajevo, u ve~ernjim ~asovima, u Bo{nja~komInstitutu, prisustvovali smo otvaranju izlo`be skulptura u terakoti''Tragovi'' Kenana Solakovi}a.- Poslednji dan, nedelja, 19. oktobra, bio je predvi|en za izlaganjeprof. dr Vesne Hodovi} - ''Kulturno nasle|e u turisti~koj ponudi'', apotom za panel diskuskusiju, usvajanje zaklju~aka i preporuke zadalje aktivnosti.

[ta su bili glavni ciljevi ove radionice i na{eg u~e{}a u njoj?- Skretanje pa`nje na potrebu o~uvanja i revitalizaciju starih ume}a ukeramici - ~emu smo mi na{im prezentovanim projektom zna~ajnodoprineli. - Ukazivanje na neka ume}a koja nestaju, ali i i na kori{}enje starihume}a na savremeni na~in; primerom o Zlakusi, mi smo najboljepokazali da je to mogu}e i da je od izuzetne va`nosti za o~uvanjetradicije i njeno povezivanje sa savremenim kerami~kim stvarala{tvom.- Ukazivanje na mogu}nosti i va`nost resursa u ovoj oblasti zaekonomski prosperitet, posebno turizam - {to smo mi predvideli, krozrad radionice za izradu kopija i replika, kao i odeljenja za marketingi odnose sa javnos}u.

[ta smo postigli ovim u~e{}em?- Upoznali smo prisutne i njihovu javnost sa radom DIJANA Centraza preventivnu za{titu, u sistemu Narodnog muzeja u Beogradu.- Otvorili smo vrata regionalnoj saradnji sa muzejima u BIH, na zajed-ni~kom projektu o~uvanja kulturne ba{tine, u naj{irem smislu. - Izneli smo ideju o mogu}nosti formiranja pokretnih regionalnihradionica, na arheolo{kim lokalitetima ili etno centrima.- Preliminarno smo se dogovorili o mogu}oj razmeni stru~njaka,organizovanju edukacija i potrebnih predavanja.- Uticali smo na njihova razmi{ljanje o pokretanju pojedinih projeka-ta za{tite ba{tine u sopstvenoj sredini.- Proverili smo koje je "na{e mesto" u toj oblasti u regionu - Stekli smo neka nova iskustva i napravili korisne kontakte, kao napr.sa predstavnicom Svetske banke u Sarajevu, koja `eli da nas pove`esa nekim me|unarodnim organizacijama oko me|unarodne regis-tracije DIJANA Centra, radi mogu}ih projekata sa finansijskim efek-tom.

93

Potter from Lije{evaGrn~ar iz Lije{eve

UUssaaggee ooff NNeeww MMaatteerriiaallss iinn tthhee CCoonnsseerrvvaattiioonn ooff tthhee VVeesssseell ffrroomm tthhee KKaallee KKrrsseevviiccaa SSiitteeZvezdaanaa Popovii},Collllaaboraator of DIANACentre for Preventiive Conservaatiion

Certain materials, new to the Diana Centre, were used in the con-servation of the vessel from the Kale Kr{evica site (3rd - 4th centu-ry BC). These materials were received from our Slovenian col-leagues, and were used according to their accompanying oraland written instructions.The vessel had been brought from the National Museum Belgrade,and arrived at the Diana Centre fragmented (23 pieces). The vesselis made of very high-quality, well-fired ceramics, olive-drab in colour.Upon inspection of the fragments, it became clear that the rim andneck were whole (8 fragments), and that there existed a large part ofthe shoulders, fragments of the belly and almost the entire bottom(one fragment). However, before joining the fragments, it was impos-sible to ascertain whether they fit together and whether the wholevessel was connected from the bottom to the rim. There were nei-ther traces of previous conservations nor obvious signs of washingon site, while the fractures were clear and not washed out. The frag-ments were relatively clean, although some did contain calcination aswell as stains of deep green colour, resembling algae.The fragments were first washed in a solution of deionised detergentin distilled water (short immersion, then washing using soft plasticbrushes). The green stains were then removed from the fragments withscalpels and dental tools; this procedure was, however, not entirelysuccessful, so that some fragments still have the stains. Finally, thefragments were rinsed under running water and left to dry well.The fragments were consolidated in a three-percent solution ofParaloid B67 in acetone, after which they were left to dry well.Reconstruction began with the fitting of fragments together usingadhesive tape (made by Tesa). The fragments fit together well, exceptfor two small ones, whose fractures seem to indicate that they do notbelong to the object (they were not built into the object and areenclosed separately). It transpired that the body of the vessel wasrelatively deformed to one side, as well as that all fragments whichcould link the bottom and the body were missing.The fragments were joined together with OHO glue (made byGrme~). Until the adhesive had dried, the fragments were heldtogether by paper adhesive tape. The adhesive was left to dry for 24hours, after which the tape was removed and all joints inspected; asthey were all good, there were no "fixes". Before the application ofplaster, the surface of the object was coated with rubber latex (madeby Stuart R. Stevenson, London), thus protecting the surface of the objectfrom plaster dust and mechanical damage possible during work.Before the application of the plaster, the edges were coated with athree-percent solution of Silakril (acryl dispersion, made by Sileks,Pan~evo) in distilled water. The plaster was made using a 0.75-per-cent solution of Silakril in distilled water.The plaster was poured into the grooves through a wide plastic straw,cut slantingly and shortened to about 10 cm, which provides formuch quicker and easier work with plaster, especially on narrow,curving and shallow surfaces such as grooves. The straw proved itsusefulness especially during work on the interior of the vessel, as itis much easier to work with a 10-centimetre straw than with, forexample, a knife or some other long-handled implement.The next phase of work involved casting the missing part of the vessel.However, as wet clay deforms and buckles even under its own weight,and especially after being coated with a layer of wet plaster, it was clearthat using a clay cast would be very difficult, bearing in mind that thewhole area between the bottom and the body was missing.It was decided not to use the traditional method of casting the plas-ter with a previously made clay cast but to try an alternative approach.The cast was made of Termoform, a material received from ourSlovenian colleagues. The Termoform was heated in boiling water (contrary to printedinstructions, the material did not perform as expected at 60° C, butonly when the water started to boil). The heated substance wasformed by "taking" the shape of the existing part of the vessel, theinclination of which was then altered to follow the logical shape of the

vessel. When the substance had cooled completely, it became veryhard, and yet very light, showing both qualities that had caused usto opt for Termoform in the first place. Unfortunately, there was notenough material to make the complete cast, or the missing "full cir-cle", at once, so the Termoform was heated and moulded three times,resulting in casts of approximately one-third of the missing surfaceeach. Termoform casts were attached in appropriate places usingpieces of clay, while the plaster was made in the usual way (with a0.75-percent solution of Silakril and distilled water).The result seen after removing the Termoform casts proved to be out-standing, as the vessel had been given good overall shape, and thenew plaster circle required very little adjustment to the shape of thevessel's bottom. After the plaster had dried, rough work was doneusing coarse- and medium-grain files, and the most suitable placewas determined for the bottom. In determining the bottom, a preciseparallel with the horizontal line of the rim was set using a spirit-level.The bottom was attached using wet plaster. Only then was the fullheight of the vessel seen: 26.5 centimetres. The wet plaster wasreworked using dental tools and scalpels. After drying, the plaster wasfirst shaped using coarse- and medium-grain files, after which sand-papers of various grains were used.Besides the Termoform, our Slovenian colleagues had also broughtus Polyfilla (made by Plasveroi S.p.A., Italy), used in delicate, finalwork on ceramic objects. They explained how to use Polyfilla, andtold us that the material was almost the same as plaster when dry,but that Polyfilla was much more convenient to work with, as itremained wet and elastic for about an hour. These qualities are veryuseful, especially for working with larger surfaces, as they enable asingle mixture to be worked on for a long period. This eliminates theproblem of working on surfaces of varying densities and material layers.Initially, two trial plaster tablets were made. After they had dried,Polyfilla was applied to them, in one case made with distilled water,in the other with a 0.75-percent solution of Silakril and distilled water.After drying, both tablets were tested to see how Polyfilla respondedto the actions of tools and sandpaper, how it absorbed retouching,consolidant, etc. The trials showed that both versions were very good,but that Polyfilla made with Silakril demonstrated better resistance tomechanical damage.It was decided to make the final layer of the plaster surfaces on theKale Kr{evica vessel of Polyfilla (with a 0.75-percent solution of Silakriland distilled water). All the surfaces were treated for the applicationof Polyfilla - a scalpel was used to remove about a millimetre or twoof the width of the entire surface layer of plaster. Then the pre-madePolyfilla mix was applied onto the previously well-moistened plasterusing a dental spatula. According to instructions given by ourSlovenian colleagues, the Polyfilla layer was somewhat thicker thanan ordinary plaster layer would have been, as Polyfilla contracts sig-nificantly while drying.After drying, the Polyfilla was shaped using sandpaper of varyinggrains. Polyfilla proved to be easy to sand, like plaster; still, theexpected improvement did show, as the entire surface was made usingthe same mix, eliminating irregular patches, or "islands", which usually

94

Conservation

Roman pot from the Kale-Kr{evica siteRimski lonac sa lokaliteta Kale-Kr{evica

PPrriimmeennaa nnoovviihh mmaatteerriijjaallaa uu kkoonnzzeerrvvaacciijjii lloonnccaa ssaa llookkaalliitteettaa KKaallee KKrr{{eevviiccaaZvezdaanaa Popovii}, saaraadniik DIJJANA Centraa zaa preventiivnu zaa{tiitu

Prilikom konzervacije lonca sa lokaliteta Kale Kr{evica (II-IV vek p.n.e.)kori{}eni su neki, u Dijana Centru, novi materijali, koji su dobijeni odkoleginica iz Slovenije, a prema usmenom i pismenom uputstvu kojeje pratilo materijale. Lonac je donet iz Narodnog muzeja u Beogradu, a u DIJANA Centarje stigao fragmentovan (23 komada). Lonac je od veoma kvalitetne idobro pe~ene keramike, sivomaslinaste boje. Po pregledu fragmena-ta bilo je jasno da su obod i vrat celi (8 fragmenata); da postoji ve}ideo ramena, fragmenti trbuha i skoro celo dno (jedan fragment).Me|utim, pre sastavljanja fragmenata nije bilo mogu}e utvrditi da lise me|usobno uklapaju tako da postoji veza svih delova posude, oddna do oboda. Nije bilo tragova stare konzervacije, kao ni upadljivihtragova pranja na lokalitetu, a prelomi su bili jasni i nisu bili isprani.Fragmenti su bili relativno ~isti, mada je na nekima bilo kalcinacije,kao i mrlja intenzivno zelene boje, poput algi.Fragmenti su prvo oprani u rastvoru dejonizovanog deterd`enta udestilovanoj vodi (kra}im potapanjem, zatim pranjem pomo}u mek{ihplasti~nih ~etkica). Zatim su zelene mrlje sa fragmenata skidaneskalpelom i dental alatkama, ali sa samo delimi~nim uspehom, takosu na pojedinim fragmentima zelene fleke i dalje primetne. Na krajusu fragmenti ispirani pod teku}om vodom i ostavljeni da se dobroosu{e.Konsolidacija fragmenata je ura|ena u troprocentnom rastvoruParaloida B67 u acetonu, posle ~ega su ostavljeni da se dobro osu{e. Rekonstrukcija je zapo~eta sastavljanjem fragmenata krep lepljivomtrakom (proizvodi TESA). Fragmenti su se dobro uklopili, osim dvamala, ~iji prelomi ukazuju na to da mo`da ne pripadaju ovom pred-metu. (Ti fragmenti nisu ugra|eni i prila`u se uz predmet). Pokazalose da je telo lonca relativno deformisano na jednu stranu, kao i danedostaju svi fragmenti koji bi ~inili vezu izme|u dna i trbuha. Lepljenje fragmenata ura|eno je OHO lepkom (proizvodi GRME^).Dok se lepak nije osu{io, slepljene fragmente dr`ala je krep lepljivatraka. Su{enje lepka je trajalo 24 sata, nakon ~ega je skinuta kreptraka, a zatim su pregledani svi spojevi. Po{to su bili dobri, nije bilo"popravki". Povr{ina predmeta je, pre nano{enja gipsa, namazanalateksom (Rubber latex, proizvodi Stuart R. Stevenson, London), ~imeje povr{ina predmeta za{ti}ena od gipsane pra{ine i eventualnihmehani~kih o{te}enja, do kojih mo`e da do|e tokom rada.Pre nano{enja gipsa, ivice su premazane troprocentnim rastvoromSilakrila (akrilna disperzija, proizvodi Sileks, Pan~evo) u destilovanojvodi. Gips je pravljen sa rastvorom Silakrila (0,75% u destilovanoj vodi).Gips je u fuge ulivan pomo}u {iroke plasti~ne slamke - ukosozarezane i skra}ene na du inu oko 10 cm, {to mnogo ubrzava iolak{ava rad sa gipsom, naro~ito na uskim, krivudavim i plitkimpovr{inama, kakve su fuge. Upotreba slamke se naro~ito dobropokazala tokom rada u unutra{njosti posude, jer je sa slamkom od10 cm mnogo lak{e raditi nego napr. no i}em ili nekom drugomalatkom sa duga~kom dr{kom.Slede}a faza rada je bila izlivanje nedostaju}eg dela posude. Ali,po{to se vla`na glina deformi{e i ugiba i pod svojom sopstvenomte inom, a pogotovu kada preko nje do|e jo{ i sloj mokrog gipsa,bilo je jasno da }e u ovom slu~aju upotreba kalupa od gline bitiveoma komplikovana, s obzirom na to da nedostaje ~itav predeoizme|u dna i trbuha. Zato je umesto uobi~ajenog na~ina - izlivanje gipsa u prethodnonapravljenom kalupu od gline - isproban druga~iji postupak. Kalup jepravljen od TERMOFORMA , materijala koji smo dobili od slovena~kihkoleginica. TERMOFORM je zagrejan u vreloj vodi (suprotno {tampanom uput-stvu, materijal nije dovoljno "reagovao" na 60�C, nego tek kada jevoda po~ela da vri!) Zagrejana masa je oblikovana tako {to je "uzet"oblik sa postoje}eg dela posude, a zatim je promenjen nagib, premalogi~noj liniji lonca. Kada se masa potpuno ohladila, postala je veoma~vrsta, a istovremeno veoma laka, ~ime je pokazala obe dobreosobine, zbog kojih smo se i odlu~ili za termoform. Na`alost, nije bilodovoljno termoforma da se odjednom napravi ceo kalup, tj. "pun krug"koji je nedostajao, nego je materijal tri puta zagrevan i oblikovan, a

kalupi pravljeni za pribli no tre}inu ukupne povr{ine. Kalupi od ter-moforma su pri~vr{}eni na odgovaraju}a mesta pomo}u komadagline. Gips je pravljen na uobi~ajeni na~in (sa 0,75% rastvoromSilakrila i destilovane vode). Nakon skidanja kalupa od termoforma, pokazalo se da je rezultatodli~an, jer je posuda dobila dobru ukupnu formu i novodobijenakru`nica od gipsa je zahtevala vrlo malo prilago|avanja obliku dnaposude. Nakon su{enja gipsa, ura|ena je gruba obrada krupnim i sred-njim turpijama, a zatim je dnu odre|eno najadekvanije mesto. Prilikompostavljanja dna, precizna paralela sa horizontalom oboda odre|ena jepomo}u libele. Dno je pri~vr{}eno mokrim gipsom. Tada se pokazalai puna visina lonca: 26,5 cm. Za obradu vla`nog gipsa kori{}ene sudental alatke i skalpeli. Nakon su{enja, gips je obra|en prvo krupnim isrednjim turpijama, a zatim brusnim papirom razli~ite fino}e.Osim Termoforma, koleginice iz Slovenije su donele i materijal POLIFI-LA (Polyfilla, Plasveroi S.p.A. Italija) - za finu, zavr{nu obradu povr{ina.Objasnile su da je nakon su{enja Polifila skoro ista kao gips, ali daje za rad mnogo bolja, po{to masa ostaje vla`na i elasti~na okojedan sat. Te osobine materijala su veoma korisne, naro~ito za radna ve}im povr{inama, jer omogu}avaju da se dugo radi sa istommasom. Time se izbegava problem obrade povr{ina na~injenih odgipsa razli~ite gustine. Prvo su napravljene dve probne plo~ice od gipsa, na koje je, poslesu{enja, naneta Polifila, s tim da je u jednom slu~aju pravljena sadestilovanom vodom, a u drugom sa 0,75% rastvorom Silakrila i des-tilovane vode. Nakon su{enja, na obe plo~ice je isprobano kako sePolifila pona{a prilikom obrade alatkama, {mirglama, kako primaretu{, konsolidant i sl. Probe su pokazale da su obe varijante jakodobre, ali se Polifila sa Silakrilom pokazala kao otpornija namehani~ko o{te}enje. Zato je odlu~eno je da na ovom loncu iz Kale Kr{evice, napovr{inama ura|enim od gipsa, finalni sloj bude od Polifile (sa 0,75%rastvorom Silakrila i destilovane vode). Sve povr{ine su pripremljeneza nano{enje Polifile, tako {to je skalpelom "skinut" ~itav povr{inskinivo gipsa za milimetar-dva. Zatim je, na dobro pokva{eni gips,pomo}u dental spatule, naneta pripremljena masa Polifile. Premauputstvu slovena~kih koleginica, nanet je ne{to deblji sloj Polifile nego{to bi bio da je od gipsa, jer se Polifila prili~no skuplja dok se su{i. Nakon su{enja, Polifila je obra|ena brusnim papirom razli~ite fino}e.Pokazalo se da se Polifila lako {mirgla, kao i gips, ali je do{la je doizra`aja i o~ekivana promena na bolje - cela povr{ina je ura|ena odiste mase, pa se prilikom {mirglanja nije pojavila neujedna~enost ukoloritu i tvrdo}i, {to je kod gipsa uobi~ajeno a posledica je nejed-nake gustine naknadnog nanosa mase. Za retu{ su kori{}eni zemljani pigmenti u troprocentnom rastvoruSilakrila u destilovanoj vodi. Retu{ je ura|en tako da se jasno razliku-ju originalni fragmenti od rekonstruisanih delova, ali ipak u tonu {topribli nijem originalnoj boji predmeta. Na sve povr{ine je naneta istaboja, u gustom nanosu, bez lazurnog premaza. Na kraju je ~itavapovr{ina predmeta premazana konsolidantom (3% Paraloid B67 uacetonu).

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Konzervacija

Pot from Kale-Kr{evica after restoration Lonac Kale-Kr{evica nakon restauracije

appear with plaster due to unequal densities of successively appliedlayers.Earth pigments in a three-percent solution of Silakril in distilled waterwere used in retouching. The retouching was done so as to differ-entiate clearly between the original fragments and the reconstructedparts, but still in a tint as close to the original colour of the item aspossible. All surfaces were coated with a thick layer of the same pig-ment, without varnish.Finally, the entire surface of the item was coated with a consolidant(three-percent solution of Paraloid B67 in acetone).

HHyyddrriiaa ffrroomm tthhee KKaallee KKrrsseevviiccaa SSiitteeIvaanaa Stojjkovii}, student of aarcchaaeolloggyy,Zvezdaanaa Popovii}, ccollllaaboraators of DIANA Centre for Preventiive Conservaatiion

An exhibition of archaeological finds and photographs from the KaleKr{evica site, near Bujanovac, was opened in the Atrium of theNational Museum Belgrade on 2 December 2003. To our greatdelight, one of the most exceptional items on display was the hydriawe had completed immediately before the exhibition. We were espe-cially pleased with the fact that the hydria was put on display imme-diately following conservation, a rare event in our museums, as lackof exhibition space means that conserved items are usually put intomuseum storage.The hydria was dated to between the second and fourth centuriesBC. The fragments were brought to the DIANA Centre from theNational Museum. At first glance it was evident that part of the rimand most of the neck was missing, as well as that the vessel waswell-fired, dark grey in colour, and made of high-quality clay. Belowthe handles are incisions resembling ears of grain. The fragmentswere relatively clean, although calcination deposits of various layerswere visible on some of them. There were neither traces of previousconservations nor noticeable traces of washing on-site. The fractureswere clean and were not washed out. According to a design ofarchaeologist Petar Popovi}, the width of the rim was set at 29 cen-timetres.The cleaning consisted of two phases. The fragments were firstwashed in a solution of de-ionised detergent and distilled water(soaking them for short period, then washing using soft plastic brush-es). Fragments with significant calcination deposits were then soakedin solution of distilled water and Calgon in order to soften calciumdeposits. These fragments remained submerged overnight, afterwhich the deposits were removed (though only partially)by scalpel as they were in the form of flakes.Although technical literature provided data on theusefulness of Calgon in removing calcinationfrom archaeological material, this, our first,attempt did not yield satisfactory results.The fragments were consolidated in athree-percent solution of Paraloid B72in acetone, after which they were left todry thoroughly.We began reconstruction by fitting thefragments together with paper-coatedadhesive tape (made by TESSA). Thefragments fitted well, with the exceptionof five very small ones, whose placescould not be found with certainty (thesefragments were not built into the objectand are shown separately with the hydria).It transpired that one side of the hydria wassignificantly deformed.The fragments were joined with OHO celluloseglue (made by Grmec). Paper-coated adhesive tapewas used to hold the fragments together until the glue dried. After the glue had dried and the tapes had been removed, all joinsproved to be good and there was no need for further work on them.Before the application of plaster, the object's surface was protectedwith rubber latex (made by Stuart R. Stevenson, London). The latex

protects the surface from mechanical damage resulting from the pro-cedure, as well as from plaster dust. In order for the plaster to bondwith the ceramic, before its application the edges were coated in athree-percent solution of Silakril (acrylic dispersion, made by Sileks,Pan~evo) and distilled water. The plaster was prepared using a 0,75%solution of Silakril and distilled water.Dental tools and scalpels were used in shaping the plaster. The rimwas made in accordance with a design received from the archaeol-ogist. A clay mould was made for casting the plaster. A typical prob-lem occurred in this phase - a large surface of wet clay deforms andbuckles even under its own weight, let alone after a layer of wet plas-ter is applied on top of it. After removing the mould, we did get thefull circle of the rim, which was, however, significantly deformed forapproximately one-fifth of its length. We sawed off this part andrepeated the procedure for it, this time getting excellent results.After drying, the plaster was first shaped using rough and mediumfiles, followed by sandpapers of various degrees of grain.For retouching we used earth-based pigments in a thirty-percentsolution of Silakril and distilled water. As agreed with the archaeolo-gist, the retouching was done so as to distinguish original fragmentsfrom reconstructed parts, yet in a tint as similar as possible to theitem's original colour. The same colour was applied to all surfaces, ina thick layer, without lazure coating.The final phase of conservation involved coating the whole surface ofthe item with a consolidant (three-percent Paraloid B72 in acetone).

CCooppyy oorr OOrriiggiinnaall A Briief Reviiew of the Acctiiviitiies of the WWorkshop for Producciingg Copiies aand Replliiccaas of the Arcchaaeolloggiiccaall Ceraamiiccs\ur|iinkaa Boggdaanovii}, cceraamiist ccollllaaboraator of DIANA Centre

The DIANA Centre for the Preventive Conservation of the NationalMuseum Belgrade organised, as one of the activities of its SummerSchool, a workshop with specialised courses for producing copiesand replicas of the archaeological ceramics, by using the technolo-gy of moulding clay in plaster casts. Initially, for the requirements of the Museum, original exhibits of asmaller size from the prehistoric and the Roman collection of theNational Museum Belgrade as well as from Karata{ (Djerdap/IronGate) were copied. Subsequently, courses for a wider public, working according to theso-called "open workshop" principles were devised, where practicalexperimental teaching named "Copy and Original" was demonstrated.By introducing a new strategic programming approach, the teach-

ing was adapted to groups of various educational levels andage, in order to popularize in a wider public the idea of thenecessity of knowing and protecting the cultural heritage,which is also an important prerequisite for its preventiveconservation. The course was conducted by the youngassociates of the DIANA Centre, who themselves hadbeen educated in the Summer School. A great number of people responded. Starting with theschoolchildren, university students and graduated pro-fessionals from the compatible fields (archaeologists, arthistorians, ethnologists, ceramists, historians, etc.) up tothe laymen citizens who were interested in it. Through moulding copies, predominantly Roman

lamps, the participants got acquainted with the wholeprocedure of this ancient technological process. As in a

"collective ritual game", they were repeating all the stages ofthe work, from the beginning up to the final product (casting,

finishing, retouching, drying, firing and tarnishing). In that way,they got directly acquainted with and revived the trade skill as an

aspect of the intangible cultural heritage, which is an integrative partof the civilisational achievement in the culture of every epoch. As cre-ators, in the interaction with the material, they virtually encountered thecreative experience, morals and messages of the ancestors. At the end of the course, the participants were allowed to take withthem the copy they themselves produced. In that way, the original

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HHiiddrriijjaa ssaa llookkaalliitteettaa KKaallee KKrr{{eevviiccaaIvaanaa Stojjkovii}, aapsollvent aarheolloggiijje,Zvezdaanaa Popovii}, saaraadniiccii DIJJANA Centraa zaa preventiivnu zaa{tiitu

U Atrijumu Narodnog muzeja Beograd, 2. decembra 2003. godine,otvorena je izlo`ba arheolo{kog materijala i fotografija sa lokalitetaKale Kr{evica, kod Bujanovca. Na na{e veliko zadovoljstvo, na tojizlo`bi je jedan od najreprezentativnijih predmeta bila hidrija, koju smozavr{ile neposredno pred izlo`bu. Posebno nas je obradovala ~injeni-ca da je predmet bio izlo`en odmah poslekonzervatorskog tretmana, {to je ina~eretka pojava u na{im muzejima, jer se,zbog nedostatka izlo`benog prostora,konzervirani materijal naj~e{}e odla`e udepoe. Hidrija je datovana u period od II do IVveka p.n.e. Fragmenti su iz Narodnogmuzeja doneti u DIJANA Centar. Ve} naprvi pogled je bilo jasno da nedostaje obodi ve}i deo vrata, kao i da se radi o dobrope~enoj posudi, tamno sive boje, odkvalitetne gline. U predelu ispod ru~kinalaze se urezi, u vidu klasja. Fragmenti subili relativno ~isti, mada su na nekima bilevidljive naslage kalcinacije, razli~itih slojeva.Nije bilo tragova stare konzervacije, kao niupadljivih tragova pranja na lokalitetu.Prelomi su bili jasni i nisu bili isprani. Premanacrtu arheologa Petra Popovi}a, odre|enoje da {irina oboda bude 29 cm. ^i{}enje se sastojalo od dve faze.Fragmente smo prvo oprali u rastvorudejonizovanog deterd`enta i destilovanevode (kra}im potapanjem, zatim pranjempomo}u mek{ih plasti~nih ~etkica). Zatimsmo, fragmente na kojima su postojaleve}e naslage kalcinacije, potopili u rastvor destilovane vode iKalgona, kako bi naslage omek{ale. U Kalgonu su odle`ali prekono}i, posle ~ega su se naslage skidale skalpelom, ali samo deli-mi~no, u obliku ljuspica. Nakon toga su fragmenti ispirani podteku}om vodom i na kraju ostavljeni da se dobro osu{e.Iako smo u literaturi na{li podatke o dobrim efektima kori{}enjaKALGONA u skidanju kalcinacije sa arheolo{kog materijala, ovaj na{prvi poku{aj nije dao zadovoljavaju}e rezultate. Konsolidacija fragmenata je ura|ena u troprocentnom rastvoruParaloida B72 i acetona, posle ~ega su ostavljeni da se dobro osu{e. Rekonstrukciju smo zapo~eli sastavljanjem fragmenata krep lepljivomtrakom (proizvodi TESA). Fragmenti su se dobro uklopili, osim petveoma malih, kojima nije moglo da se odredi ta~no mesto. (Ti frag-menti nisu ugra|eni u predmet i prila`u se uz Hidriju). Pokazalo seda je telo Hidrije dosta deformisano na jednu stranu. Lepljenje fragmenata ura|eno je OHO lepkom (proizvodi GRME^).Krep lepljiva traka je kori{}ena da dr i slepljene fragmente dok selepak ne osu{i. Nakon su{enja lepka i skidanja krep traka, svi spojevi su bili dobri inije bilo potrebe da se popravljaju. Pre nano{enja gipsa povr{inapredmeta je za{ti}ena lateksom (rubber latex, proizvodi Stuart R.Stevenson, London). Lateks {titi povr{inu predmeta od mehani~kiho{te}enja prilikom rada i od gipsane pra{ine.Da bi se gips vezao za keramiku, pre nano{enja, ivice su premazanetroprocentnim rastvorom Silakrila (akrilna disperzija, proizvodi Sileks,Pan~evo) i destilovane vode. Gips je pravljen sa 0,75% rastvoromSilakrila i destilovane vode. Za obradu gipsa kori{}ene su dental alatke i skalpeli. Obod je ura|enprema crte`u dobijenom od arheologa. Od gline je napravljen kalupza izlivanje u gipsu. U toj fazi se javio klasi~ni problem - velikapovr{ina vla`ne gline se deformi{e i ugiba i pod svojom sopstvenomte inom, a naro~ito kada se preko nje nanese jo{ i sloj mokrog gipsa.Tako smo, nakon skidanja kalupa, dobile pun krug oboda, ali sazna~ajnom deformacijom oblika, na delu koji je predstavljao pribli nopetinu ukupnog pre~nika. Taj deo smo odstranile testericom i zatim

smo na tom delu oboda ponovile ceo proces, koji je ovoga puta daoodli~an rezultat. Nakon su{enja, gips je obra|ivan prvo krupnim i srednjim turpijama,a zatim brusnim papirom razli~ite fino}e. Za retu{ smo koristile zemljane pigmente u tridesetoprocentnomrastvoru Silakrila i destilovane vode. Retu{ je, u dogovoru sa arheol-ogom, ura|en tako da se originalni fragmenti razlikuju od rekonstru-isanih delova, ali u tonu {to pribli nijem originalnoj boji predmeta. Istaboja je naneta na sve povr{ine, u gustom nanosu, bez lazurnog pre-

maza. U zavr{noj fazi konzervacije, ~itava povr{inapredmeta je bila premazana konsolidantom(3% Paraloid B72 i aceton).

KKooppiijjaa iillii oorriiggiinnaallKraataak pregglled aaktiivnostii Raadiioniicce zaaiizraadu kopiijjaa ii replliikaa aarheollo{ke keraamiike\ur|iinkaa Boggdaanovii}, keraamii~aar, saaraadniik DIJJANA Centraa zaa preventiivnuzaa{tiitu

DIJANA Centar za preventivnu za{titu-Narodni muzej Beograd, organizovao je, uokviru svoje Letnje {kole, i Radionicu saspecijalisti~kim kursevima za izradu kopija ireplika arheolo{ke keramike, tehnikom live-nja gline u gipsanim kalupima.U po~etku su, za potrebe Muzeja, kopiranioriginalni eksponati manjeg formata, iz prai-storijske i rimske zbirke Narodnog muzeja uBeogradu i Karata{u (\erdap). Kasnije su uvedeni i kursevi namenjeni {irojjavnosti, koji su radili po principu tzv."otvorene radionice", gde je demonstriranaprakti~na eksperimentalna nastava, pod

nazivom "Kopija i original". Novim strate{kim programskim pristupom nastava je prilago|enagrupama razli~itih obrazovnih profila i uzrasta, sa ciljem da u {irojjavnosti popularizuje ideju o potrebi poznavanja i ~uvanja kulturneba{tine, {to je tako|e jedan od va`nih uslova njene preventivneza{tite. Kurs su vodili mladi saradnici Dijana Centra, koji su i samiedukovani u Letnjoj {koli.Odazvao se veliki broj polaznika. Po~ev od dece {kolskog uzrasta,studenata i diplomiranih stru~njaka iz kompatibilnih oblasti (arheolo-ga, istori~ara umetnosti, etnologa, kerami~ara, istori~ara itd.), pa dozainteresovanih gra|ana, laika.Livenjem kopija, prete`no rimskih svetiljki " i aka", u~esnici su upoz-nali ceo postupak ovog drevnog tehnolo{kog procesa. Oni su, kaou nekoj "kolektivnoj ritualnoj igri", ponavljali sve etape rada, odpo~etka do finalnog proizvoda (livenje, doradu, retu{iranje, su{enje,pe~enje i patiniranje). Tako su neposredno upoznali i revitalizovanozanatsko ume}e, kao vid nematerijalne kulturne ba{tine, koja je inte-grativni deo civilizacijskog dometa u kulturi svake epohe. Kaostvaraoci, u interakciji sa materijalom, virtuelno su spoznali kreativnaiskustva, pouke i poruke predaka. a kraju kursa, polaznici su mogli da ponesu sa sobom kopiju, kojusu sami uradili. Tako se original iz muzeja, u vidu kopije, na{ao unovom okru`enju, sa edukativnom, misionarskom ulogom.Mali rimski " i ak" simboli~no je osvetlio retrospektivne tragove mater-ijalne kulture na{e daleke pro{losti. Sa muzeolo{ko-konzervatorskog aspekta, organizacija kurseva je bilauspe{na, ali na tome se nije stalo, jer se u Radionici za izradu kopi-ja i replika podrazumevaju permanentne inovacije u svim segmenti-ma njene delatnosti.U skladu sa tim, DIJANA Centar se priprema za realizaciju novogprojekta: "Eksperimentalna arheologija - Tradicionalne proizvodnjekeramike" (autori Mila Popovi} @ivan~evi}, rukovodilac DIJANA Centrai kerami~ar Vesna Svoboda).Primena ovog projekta predvi|a kompleksnu reorganizacijuRadionice, koja bi, pored muzeolo{ke funkcije, razvila i kulturolo{ko-

97

Team work on the pot from Kale-Kr{evicaTimski rad na loncu sa Kale-Kr{evice

from the Museum, in the form of a copy, was located in new sur-roundings, with an educational, missionary role. The small Roman lamp symbolically shed light on the retrospectivetraces of the material culture of our remote past. From the museological conservator's point of view, the organisationof the courses was successful, but the work was not stopped there,since in the Workshop for producing copies and replicas permanentinnovations in all segments of its activity were applied. In accordance with that, DIANA Centre is preparing a new project:

"Experimental Archaeology - Traditional Ways of Producing Ceramics"(Authors: Mila Popovi} - @ivan~evic and Vesna Svoboda). The application of the project anticipates a complete reorganizationof the Workshop, which would, besides its museological function, alsodevelop a cultural and tourist commercial production. For that purpose, a team of professionals, graduated ceramists(Vesna Svoboda, M.A. - co-coordinator, Jasmina Pej~i} andDjurdjinka Bogdanovi}) was formed, with the task to work on thepreparation of the professional implementation of the programplanned in the project. After the courses of the "Open Workshop" had been finished, a revi-sion showed the following: After the training, a considerable number of copies remained, butthose were not representative casts. The plaster moulds were wornout, the colour and the composition of the slip did not corespond tothe adequate old technology, while the tarnishing was applied byusing the so-called "cold process", by imitation (without glaze andmetal oxides). Due to the shortcomings quoted above, an analysis of the factorsinfluencing the quality of the copies and replicas began and experi-mental investigations of all inputs were undertaken. Three kinds of the slip, the optimum temperature of firing, the tar-nishing techniques, as well as the application of the "terra sigillata"(typical of a kind of the Roman archaeological ceramics) were test-ed. In relation with that, a cooperation with the technologist of thefactory "[amot" from Arandjelovac, Mr. @. Djordjevi}, was started. According to the schedule of activities in 2004, the following provi-sions for the realisation of the Project are being prepared: 1. Production of unique replicas of the archaeological ceramics, byapplying the corresponding technical and technological procedures.From the manual production up to the usage of the pottery hand andfoot wheel. From the "Barbotine" technique up to the usage ofengobe, glaze, metal oxides as well as other decorative techniques. 2. The serial production of copies and replicas of the archaeologicalceramics by the method of casting the slip in plaster moulds. In addition to the existing moulds (which can be used for practicalwork for beginners in the courses to follow), some new ones shouldbe produced, in order to enrich the selection with interesting forms. In cooperation with the museum experts, original exhibits should care-fully be chosen, They should be chronologically typical, aestheticallyattractive and technically suitable for taking samples (with non-invasivesynthetic masses), which would serve for producing the basic plaster

mould, the models, and, subsequently, plaster working casting mouldstoo. The supplementary conditions for production (drying, firing, stor-ing the stock, packing) should also be provided for. The distributionand an adequate marketing offer should be secured too. 3. The creation of a modern souvenir inspired by the verified valuesof the material culture of our native land, as a reaction to the touristmarket, which is flooded with quasi artistic offer of souvenirs. 4. Organising regular specialist courses for advanced training of theassociates of DIANA Centre, and occasional ones for new partici-pants in the "Open Workshops". As a subsidiary program, devising and realisation of the certificate,commercial catalogues, the wrapping material etc., has been antici-pated. As the cocoordinator of the "Total Design", Jelena Tucakovi}(graphic designer and an ethnology student about to graduate) hasbeen appointed. So far, a small series of boxes for packing copiesfrom the Roman Collection has been successfully produced. The project "Experimental Archaeology - Traditional Methods of

Production of Ceramics" had its first promotion in Sarajevo at theInternational Convention of the Sarajevo Museum Workshop: "The OldCrafts of Production of Ceramic Objects, Forgotten Knowledge, TheMotive and the Symbols, Similarities and Differences" (in Sarajevofrom October 17th to 19th, 2003). The Project was presented by Vesna Svoboda, and, on that occa-sion, she presented the organizer with a ceramic collection of copiesof the Roman lamps. Both the Project and the collection wereaccepted with interest by the participants of the Convention. Another collection of copies was given as a present to the Embassyof Serbia and Montenegro in Teheran, with which a segment of thepast of our culture from the Roman period was represented. The DIANA Centre also carries out the preparations for a promotionof the Project in Belgrade, where its detailed programs and funda-mental goals will be presented. From time to time, the following associates of the DIANA Centre tookpart in the work of casting copies: Branka Belo{evi}, tourismologistVera Koji}, student of the art history, Ljiljana Nikoli}, art historian, Sr|anRadosavljevi}, history student and Miroslav Risti}, archaeologist. The activities of the Workshop were also carried on during the man-ifestation "The Days of European Cultural Heritage" (in October, 2003);a practical support was given to the developmental project of theDIANA Centre "Children in the Museum" (authors: Vesna @ivkovi}, AnaKocjan, Bojan Georgievski), as well as to the project "The MuseumWithout Obstacles" (authors: Ana Kocjan, Milica Mari} - Stojanovi},Bojan Georgievski, Ana Vuji}), with the assistance of Vesna Svobodaand Djurdjinka Bogdanovi}. The team work and the participation ofall associates of the DIANA Centre who are interested in it is self-understood, since the replicas and copies are an integral part of thepreventive protection. There are many answers to the question "Why a copy?", but there isonly one aim: The copy is an alternative way of acquiring knowledge,through which the olden stories of the past and of the transience arehanded down, it preserves from oblivion the cultural heritage thatconnects the ancestors and the descendants. It keeps in memoryand generates the accumulated experience of civilisation even whenthe original is irrevocably lost. In the lack of written sources, the copybecomes a valid museum document. Furthermore, it can substitutethe original at exhibitions from the stationary ones to the travelling dis-plays. It also inspires the contemporary artists to build their creationson the experience of the past, in order to enrich the heritage for theirheirs. Ceramics, as one of the oldest sources of the material culture, has

realized a close anthropological connection with all generations. Itcontains in itself a permanent substance of recognizable roots of thecultural identity and provokes new creative impulses. In this sequence,the copy has its logical place. In a nutshell, the copy, although a "doublet", radiates the energy ofthe original, it substitutes the original and protects it from countlessrisks, from which the science of the preventive protection of the cul-tural heritage has arisen.

Copies of Roman lampsKopije rimskih `i`aka

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turisti~ku komercijalnu proizvodnju.Sa tim ciljem, tokom Letnje {kole (2003. godine), u DIJANA Centruje formiran stru~ni tim akademskih kerami~ara (mr Vesna Svoboda -koordinator, Jasmina Pej~i} i \ur|inka Bogdanovi}), sa zadatkom darade na pripremi stru~ne implementacije programa planiranih projek-tom.Po zavr{etku kurseva "otvorene radionice" revizijom je konstatovanoslede}e zate~eno stanje:- Tokom ve`bi ostao je znatan broj kopija, ali to nisu bili reprezenta-tivni odlivci. - Gipsani kalupi su bili istro{eni, - Boja i sastav mase za livenje odstupali su od adekvatne staretehnologije, a patina je nano{ena tzv. "hladnim postupkom", imitaci-jom (bez gle|i i metalnih oksida).Zbog navedenih nedostataka, otpo~eta je analiza faktora koji su uti-cali na kvalitet kopija i replika i preduzeta su eksperimentalnaistra ivanja svih imputa.Testirane su tri vrste {likera. Optimalna temperatura pe~enja, tehnikepatiniranja, kao i primena premaza "terra sigillate" (tipi~nog za vrsturimske arheolo{ke keramike). Sa tim u vezi, pokrenuta je i saradnjasa tehnologom fabrike "[amot" iz Aran|elovca, gospodinom\or|evi}em.Planom rada za 2004. godinu, pripremaju se slede}e pretpostavke zarealizaciju Projekta:1. Izrada unikatnih replika arheolo{ke keramike, primenom odgovara-ju}ih tehni~ko-tehnolo{kih postupaka: od ru~ne izrade, do upotrebegrn~arskog, ru~nog i no`nog to~ka (vitla, kola); od "barbotin" tehnike,do upotrebe engobe, gle|i, metalnih oksida, kao i ostalih dekorativnihtehnika.2. Serijska izrada kopija i replika arheolo{ke keramike tehnikom liven-ja {likera u gipsanim kalupima.Pored ve} postoje}ih kalupa (koji mogu da se koriste za ve`bepo~etnika na slede}im kursevima), treba uraditi i nove, kako bi sezanimljivim formama obogatio izbor. Potrebno je, u saradnji sa muzejskim stru~njacima, pa ljivo odabratioriginalne eksponate, tipolo{ki zna~ajne za odre|ene epohe, estets-ki atraktivne i tehni~ki pogodne za uzimanje otisaka (neinvazivnim sin-teti~kim masama), koji slu`e za pravljenje osnovnog gipsanog kalu-pa, modela, a potom i gipsanih radnih kalupa za livenje. Trebalo bitako|e obezbediti prate}e uslove za produkciju (su{enje, pe~enje,~uvanje zaliha, pakovanje), organizovati distribuciju kao i adekvatnumarketin{ku ponudu.3. Kreiranje savremenog suvenira inspirisanog potvr|enim vrednosti-ma materijalne kulture na{eg tla, kao odgovor turisti~kom tr i{tu, kojeje preplavljeno kvazi-umetni~kom ponudom suvenira.4. Odr`avanje redovnih specijalisti~kih kurseva za usavr{avanjesaradnika DIJANA Centra, i povremenih, za nove polaznike u"otvorenim radionicama".Kao prate}i program, predvi|a se izrada idejnog re{enja i realizacija:sertifikata, kataloga prodaje, ambala`e za pakovanje, itd. Za "total -design", kao koordinator odre|ena je Jelena Tucakovi} (dizajner

grafike i apsolvent etnologije). Do sada je uspe{no re{ena mala ser-ija kutija za pakovanje kopija iz rimske kolekcije.Projekat "Eksperimentalna arheologija - tradicionalne proizvodnjekeramike" imao je svoju prvu promociju, u Sarajevu, na me|unarod-nom skupu Radionice muzeja Sarajeva: "Stara umije}a izrade kera-mi~kih predmeta, zaboravljena znanja, motiv i simboli, sli~nosti i raz-like" (u Sarajevu, od 17.do 19. oktobra 2003. godine).Projekat je predstavila Vesna Svoboda, i tom prilikom poklonila orga-nizatoru jednu kolekciju eksperimentalnh kerami~kih kopija rimskihsvetiljki - " i aka". I Projekat i kolekcija su sa interesovanjem prih-va}eni me|u u~esnicima skupa.Jo{ jedna kolekcija kopija poklonjena je Ambasadi SCG u Teheranu.Tom kolekcijom je predstavljen jedan segment na{e kulturne pro{losti,iz rimskog perioda. DIJANA Centar vr{i pripreme za promociju projekta i u Beogradu. Natoj promociji }e biti predstavljeni njegovi detaljni programi i su{tinskiciljevi. U radu na livenju kopija povremeno su u~estvovali i saradnici DIJANACentra: Branka Belo{evi}, turizmolog, Vera Koji}, student istorijeumetnosti, Ljiljana Nikoli}, istori~ar umetnosti, Sr|an Radosavljevi},student istorije, i Miroslav Risti}, arheolog. Aktivnosti Radionice su nastavljene i tokom obele`avanja mani-festacije "Dani evropske kulturne ba{tine" (u oktobru 2003. godine),pru`ena je prakti~na podr{ka razvojnom projektu DIJANA Centra"Deca u muzeju" (autori: Vesna @ivkovi}, Ana Kocjan, BojanGeorgievski), kao i projektu "Muzej bez prepreka" (autori: Ana Kocjan,Milica Mari} - Stojanovi}, Bojan Georgievski, Ana Vuji}), uz asisten-ciju Vesne Svobode i \ur|inke Bogdanovi}. U Radionici sepodrazumeva timski rad i u~e{}e svih zainteresovanih saradnikaDIJANA Centra, jer su replike i kopije sastavni deo preventivne za{tite.Na pitanje "Za{to kopija?" odgovora ima mnogo, ali cilj je jedan:Kopija je alternativni put saznanja, kojim se prenose iskonske pri~e opro{losti i prolaznosti, ona ~uva od zaborava kulturno nasle|e kojevezuje pretke i potomke. Ona pamti i generi{e akumulirano civilizaci-jsko iskustvo i kad original nepovratno nestane. U nedostatku pisanihizvora, kopija postaje validan muzejski dokument. Sem toga, onamo`e da zameni original na izlo`bama, od stalnih do putuju}ihpostavki. Ona tako|e inspiri{e savremene umetnike da grade stvar-ala{tvo na iskustvima pro{losti, kako bi obogatili ba{tinu svojimnaslednicima.Keramika je, kao jedan od najstarijih izvora materijalne kulture, ost-varila blisku antropolo{ku, civilizacijsku vezu sa svim generacijama.Ona nosi u sebi trajnu supstancu prepoznatljivih korena kulturnogidentiteta i budi nove kreativne porive. Kopija u tom sledu ima logi~nomesto.Najkra}e re~eno, kopija, iako "dvojnik" zra~i energijom originala, onaga zamenjuje i {titi od nebrojenih rizika, zbog kojih je i nastala naukao preventivnoj za{titi kulturne ba{tine.

^uuvvaannjjee ssttaarriihh nnaa~~iinnaa rreessttaauurriissaannjjaa ii ppoonnoovvnnoo rreessttaauurriissaannjjee kkeerraammiikkee ii ppoorrcceellaannaaJJaanjjaa Sllaabe, Naarodnii muzejj Slloveniijjefoto: Raado Miikllaav~ii~

Konzervatori-restauratori se sve ~e{}e susre}u sa predmetima koji suu pro{losti ve} bili restaurisani. Uzroci su razli~iti. Naj~e{}i me|u njimaje propadanje materijala, koji su bili upotrebljavani prilikom restau-risanja, kao i sa dana{njeg stanovi{ta struke, neprecizne i estetskineprihvatljive konzervacije i restauracije. Ujedno dolazi i do promenau na~inu rada, budu}i da se konzervatorsko restauratorska struka svebr`e razvija.Danas su nam na raspolaganju primereniji materijali, nove alatke,ure|aji i uslovi, koji omogu}avaju druga~iji na~in rada, a prvenstvenobolje rezultate. Na{i prethodnici su radili marljivo i veoma su se trudili,u brizi za o~uvanje predmeta kulturne ba{tine, ali, na`alost, u mnogimslu~ajevima zub vremena uni{tio je njihov napor i trud. Materijali,prvenstveno organskog porekla, su ~esto propadali. Lepkovi i lakovi supo`uteli, popucali i popustili. Vrlo ~esto se pritom o{tetio i gornji slojpredmeta. To {to bismo hteli da sa~uvamo je rad anonimnih majs-tora iz pro{lih vremena, koji su ponekad popravljali predmete, da bi oni

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Making copies in the workshop for childrenPravljenje kopija u radionici za decu

PPrreesseerrvviinngg ooff PPrreevviioouuss RReessttoorriinngg PPrroosssseess aanndd RReeppeeaatteedd RReessttoorriinngg ooff CCeerraammiiccss aanndd PPoorrcceellaaiinnJJaanjjaa Sllaabe, Naatiionaall Museum of SlloveniiaaPhotos: Raado Miikllaav~ii~

Conservators - restorers often come across previously restoredobjects. The causes are diverse. Decomposition of materials used inrestoration process is the most frequent among them, and second-ly, esthetically unacceptable conservations or restorations from today'sprofessionals point of view. At the same time, working techniques arechanging, because of the dynamic development of conservation -restoration profession.Today, more suitable materials are available, as well as new tools,equipment and conditions, which allow us to use differ-ent working techniques and to achieve better results. Ourpredecessors worked very hard to preserve objects ofour cultural heritage, but unfortunately the time has, inmany cases, destroyed their enormous efforts. Materials,mainly organic, have often simply decayed. Adhesivesand lacquers turned yellow, cracked and loosened, while,very often, damaging upper layer of the object. What weare trying to preserve is the work of an anonymous

craftsman who tried to repair the objects, so they can be reused intheir original purpose, or no one should notice the fault. Today, pro-fessionals demand different working techniques.There has been more and more concern lately about preserving theevidence of the historic development of ceramics restoration, espe-cially if we want to gain recognition and to prove the significance ofour profession. The most authentic way to do it is to keep the exam-ples of old restorations.If we look at the objects from the Department of applied arts andhistory in the National Museum of Slovenia, we can see that many ofthem were restored in the past. Usually, they were brought in theMuseum in that state, so we do not have any written documentationon their previous treatment.Take for example a jug that cracked at the full of its length. To keepit from falling apart it was tied with a tin wire along the rim. Duringthe time the wire has corroded and now it is breaking on the curves.The plate was glued together and the crack was toned along withsome original ceramics' surface. The toned areas have eventuallyturned yellow and started to peal off. Adhesive was getting loose andthe only thing holding a plate together was a wire at the back of theobject.Second plate - the fragments were joined incorrectly and securedwith plumbs. The metal bands on the backside were intended forhanging the plate on the wall.The jug cracked at the full of its length, and it misses a fragmentfrom the rim. Due to the cracks on the neck and the foot, it waswound with a wire which corroded and left rust traces on the object.Second jug has anaesthetically and badly modelled filling, strength-ened with textile patch. The filling stands out and falls apart.Third jug - The missing parts were filled with something, which couldbe the mixture of gypsum, wax and resin. Due to the mixture's heat

sensitivity, some deformations occurred. The fillings were pealing off.A cup is missing a handle, which was wittily substituted with tin and wire.A teapot has a handle that was additionally joined to the body of thevessel with a wire that corroded badly.A jug was joined and additionally strengthened with a rope. Theadhesive is starting to loosen up and the object is at risk of falling apart.These are very interesting objects. I assume that other institutionshave similar examples. These objects are the proof of developmentof conservation - restoration science, and should be left as they are.At the same time, they are museum objects, which we are obligedto preserve for future generations, and to provide them with the bestpossible care they can get. We would like to have attractive lookingobjects for our exhibitions, and we would also like to preserve thematerial evidence of old restorations. So, new restorations remain an

open issue for conservators - restor-ers as well as for curators.What are we going to decide?There is no general rule we canapply because of the different statesof preservation of the objects. Weshould always bare in mind thesafety of the object. Regarding thesafety, we should remove the oldmaterials in these situations.If they are damaging the original -e.g. if they affect the original material,they corrode, cause stains.

If they decayed and no longer serve their purpose, and there is thepossibility of falling apart or to be otherwise damaged.If they are unsuitable, they have irregularly shaped fillings; if twoare made of one or the large area of the original surface hasbeen covered.If they damage the esthetical appearance, they have areas that turneddark and yellow, deformed shape, or bad and ugly layers of colour.We remove these old materials only in extreme cases. Everything thatdoes not endanger the object should be left as it is. For instance, thejug which was tied with a rope should be cleaned, rope cleaned fromdirt and fragments rejoined without removing the rope. Metal partsshould be protected against the corrosion. If the stability of the objectis jeopardized we will try to consolidate them and to join fragmentswith adhesive so the metal rods bears no weight. Deformed fillings,based on organic materials, should be rejoined and consolidated,and secondly, protected against the mould. To say in short, there aremany various possibilities.We cannot preserve all the examples of old restorations, becausesometimes the object itself is in danger due to the very restorationtechnique or there is very important information hidden underneath it.We should always consider the possibilities of all different degrees ofrestoration, from complete preservation of the old restoration to itscomplete removal. In any case, we are always trying to preserve asmuch data as we can.When I speak about preserving the old restorations, by any means Ido not think we should preserve every object that has once beenrestored. We could preserve, for instance, during the every repeatedrestoration, some of the old materials for further extensive testing.Accordingly, it is necessary to keep a complete photo and writtendocumentation, so we can get much information about it besidessimple appearance of the object.The problem of the old restorations is very interesting and broad sub-ject that deserves extensive research. It is not enough to leave it toconservators - restorers only. Curator of the collection as a guardianand researcher of the objects plays a very important role.For start, it would be good to decide whether we are going to havethe special division in some institutions for the objects that were oncerestored, or not. We should also decide whether we are going toinvestigate the history of each object, and study it from the point ofconservation development history.As far as ceramics from applied arts section is concerned, in theNational Museum of Slovenia, we decided with our curator to leavethe objects as they were. In time, we will gather a group of museumobjects that are still going to be part of the existing fund, but will be

Example of an old restoration of majolica Primer stare restauracije majolike

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ponovno slu ili svojoj prvobitnoj nameni, ili su ih pak popravljali, daniko ne bi primetio njihov nedostatak i o{te}enje. Stru~ni stav u odno-su na predmet danas zahteva druga~iji na~in rada. U poslednje vreme se sve vi{e budi svest da se moramo pobrinuti iza o~uvanje dokaza istorijskog razvoja restaurisanja keramike,pogotovo, ako `elimo da se afirmi{emo i doka`emo kaostru~njaci. To mo`emo najverodostojnije izvesti ~uvan-jem primeraka starog na~ina restaurisanja.Ako pogledamo predmete iz fonda Odelenja za pri-menjenu umetnost i istoriju u Narodnom muzejuSlovenije, vidimo da su mnogi predmeti bili restau-risani u pro{losti. Uglavnom su takvi i stigli umuzej, pa zato o radu na njima nemamo nikakvepismene dokumentacije.Mo`emo videti vr~ koji je raspuknut po ~itavoj visi-ni. Da se ne bi raspao, bio je povezan tankomicom po celom obodu. @ica je tokom vremena

korodirala i zato sada puca na prevojima.Tanjir je bio zalepljen a pukotina je bila prekrivena toni-ranjem koje je prelazilo i preko originalne povr{ine.Toniranje je tokom vremena po`utelo i po~elo da se lju{ti.Lepak je popustio. Fragmente zajedno dr i jo{ samo ica sa zadnjestrane.Drugi tanjir - fragmenti su neta~no spojeni i fiksirani metalnim plomba-ma. Limene trake na zadnjoj strani namenjene su ve{anju tanjira na zid.Tre}i tanjir ima sastavljene ili zalepljene fragmente, fiksirane metalnimsponama postavljenim u rupice. Rupice i prelomi su prekriveni gitom,koji je nanesen i preko originala.Kr~ag je pukao po ~itavoj visini, nedostaje mu fragmenat sa oboda.Zbog pukotina na vratu i na stopi, bio je spojen icom, koja je korodi-rala i ostavila tragove r|e. Drugi kr~ag ima neestetski i pogre{no oblikovanu dopunu, koja jearmirana tkaninom. Dopuna "odstupa" i raspada se.Tre}i Kr~ag - delovi koji nedostaju bili su dopunjeni ne~im {to bimogla biti me{avina gipsa, voska ili smole. Zbog osetljivosti na toplo-tu pojavile su se deformacije. Dopune se lju{te.^etvrti Kr~ag ima unutra{njost grubo oja~anu papirom i debelim slo-jem gipsa, koji je neprecizno toniran. Ponekad su za oja~anje tako|eupotrebljavali gazu ili jutu.Lon~i}u nedostaje ru~ka, koju su duhovito nadoknadili limom i icom.^ajnik ima ru~ku koja je na trup naknadno pri~vr{}ena icom, kojaje veoma korodirala.Vr~ je bio zalepljen i naknadno u~vr{}en kanapom. Sada lepakpopu{ta i predmetu preti opasnost da se raspadne.Kao {to vidimo, susre}emo se sa veoma zanimljivim predmetima.Pretpostavljam da je sli~no i sa predmetima u drugim ustanovama.Ovi primeri su dokaz razvoja konzervatorsko restauratorske struke ikao takvi bi trebalo da ostanu nedirnuti. Istovremeno, to su pre svegamuzealije, koje smo du`ni da sa~uvamo za budu}e generacije i dase za njih brinemo na najbolji mogu}i na~in. Hteli bismo da imamolepe predmete za izlo`be, a isto tako, hteli bismo da se o~uvaju imaterijalni dokazi starih na~ina restaurisanja. Zato je ponovno restau-risanje jo{ posve nedore~eno, kako sa stanovi{ta konzervatora-ras-tauratora, tako i sa stanovi{ta kustosa.

[ta }emo da odlu~imo?Op{teg pravila nema, a ne mo`e ni da ga bude, po{to su stepenio~uvanosti predmeta veoma razli~iti. Uvek moramo imati na umu sig-urnost predmeta. S obzirom na sigurnost, stare materijale odstranju-jemo u slede}im situacijama:Ako {tete originalu, na primer naru{avaju stari material, korodiraju,prouzrokuju mrlje;Ako su propali i vi{e ne obavljaju svoju funkciju i preti opasnost dapredmet raspadne ili da se druk~ije naknadno o{teti;Ako su neadekvatni, imaju nepravilno oblikovane dopune; od jednogsu napravljena dva ili je prekriven veliki deo originalne povr{ine;Ako naru{avaju estetski izgled, imaju potamnela ili po`utela toniran-ja, deformisani oblik, ili lo{e i ru`ne nanose boja.Uklanjanje takvih starih materijala vr{imo tek u najnu`nijim situacija-ma. Sve {to predmet ne ugro`ava mo`e da ostane tako kako jeste. Naprimer vr~, koji je uvezan kanapom, trebalo bi o~istiti; kanap o~istiti

od prljav{tine, fragmente zalepiti, a da pritom ne uklanjamo kanap.Metalne delove bismo morali da `a{titimo od r|e. Ako je njihova sta-bilnost sumnjiva, poku{a}emo da ih u~vrstimo, a fragmente keramikeda zalepimo lepkom, da metalni delovi ne bi nosili te inu.

Deformisane dopune, koje su izra|ene od organskih materijala,najpre treba da o~istimo i u~vrstimo, a posle da vodimo

ra~una da ne do|e do stvaranja bu|i. Ukratko,mogu}nosti je mnogo.Ne mo`emo da sa~uvamo sve primere starih restau-racija, zato {to je u nekim primerima ugro`en pred-met, ba{ zbog starog na~ina restaurisanja ili suzbog takvog postupka prekriveni neki veoma va`nipodaci. Uvek moramo da mislimo na to da su svistepeni restaurisanja mogu}i - od potpunogo~uvanja starog na~ina restaurisanja, do potpunoguklanjanja stare restauracije. U svakom slu~aju, uvekpoku{avamo da o~uvamo {to je mogu}e vi{e

podataka.Kad govorim o o~uvanju starih na~ina restaurisanja,

nikako ne mislim da je potrebno na takav na~in o~uvatisve predmete koji su ve} jednom restaurisani. Mogli bismo,

na primer, prilikom svakog naknadnog restaurisanja, sa~uvati ostatkestarih upotrebljenih materijala, koje }emo, kad to bude mogu}e,podvr}i temeljnoj analizi. Pri tom je neophodno napraviti pismenu ifoto dokumentaciju, koja treba da bude tako detaljna, da kasnije iznje mo`emo da dobijemo vi{e informacija, a ne samo to kako jepredmet izgledao.Problemi stare konzervacije i restauracije su vrlo zanimljiva i opse`natema, koja zaslu`uje temeljno prou~avanje. Nije dovoljno da se otome brine samo konzervator restaurator. Veoma va`nu ulogu igrakustos zbirke, kao ~uvar i istra iva~ predmeta.Za sam po~etak bi bilo dobro da se odlu~imo da li }emo, u pojedi-nim ustanovama, da stvorimo fond predmeta koji su jednom ve} bilirestaurisani. Tako|e treba da odlu~imo da li }emo istra iti istorijusvakog pojedina~nog predmeta, i prou~iti ga i iz ugla svedo~enjaistorijskog razvoja konzervacije.Kada se radi o keramici iz oblasti primenjene umetnosti, u Narodnommuzeju Slovenije, sa kustosom smo dogovorili, da te predmete zasada ne diramo. Vremenom }emo napraviti grupu muzealija, koje }ei dalje biti deo postoje}eg fonda, samo }e predmeti biti posebno evi-dentirani, i druga~ije tretirani. Po{to smo sa tom delatno{}u po~eli tek2001. godine, sada to poku{avamo da pro{irimo i na ostala podru~jamuzejskih predmeta, obuhvataju}i razli~ite materijale. U prole}e 2002.godine, sa koleginicom Janom Prislan [ubic, iz Gori{kog muzeja, naMuzeoforumu smo upozorile na ovu problematiku i {iru muzejskuslovena~ku javnost, a u jesen iste godine, i polaznike DIJANA Centraza preventivnu za{titu.Pre svega moramo odmah da reagujemo, jer mo`e da nam se desi,kao {to se ve} de{avalo, da marljivo restauri{emo sve muzealije, aposle da se pitamo kako i ~ime su to radili u pro{losti. A tada }e,na`alost, ve} biti prekasno!

101

Janja Slabe and Jana [ubic Prislan with Ana KocjanJanja Slabe i Jana [ubic Prislan sa Anom Kocjan

specially documented and treated differently. As we started this proj-ect from the year 2001 we are now trying to expand our work to otherareas in the museum, including different materials. In spring 2002,along with my colleague Jana [ubic Prislan from the Museum ofGorica, at Museoforum, we presented this problem to the broadermuseum public in Slovenia and later in the same year, to the stu-dents of Diana Centre for Preventive Conservation.First of all, we must act immediately, for after all our hard work withrestoring museum objects we might start asking ourselves how didour predecessors do it and with what, and by then, it would, ofcourse, be too late!

WWoorrkksshhoopp oonn CCoonnsseerrvvaattiioonn ooff SSoolliidd CCeerraammiiccss - RReemmoovvaall ooff OOlldd RReessttoorraattiioonnss aanndd CCoonntteemmppoorraarryy TTrreeaattmmeennttssJJaanaa [[ubiicc-PPriisllaanMuseum of Novaa GoriiccaaChaaiirperson of Conservaatiion aand Restoraatiion Secctiion,Assocciiaatiion of Slloveniiaan Museums

In November 2002, I was with my colleague Janja Slabe, of NationalMuseum of Slovenia, in DIANA Centre for Preventive Conservation,presenting visualy and verbaly some examples of old restorations ofceramic objects, that were inadequate for various reasons and hadto be repaired. In November 2003, in four short days, we tried topresent in practice the phases of conservation and restoration of solidceramics, that is - glazed ceramics and porcelain.Since we already knew that the time would be a problem, we hadprepared a large number of papers for participants of the course inadvance, so that they could have refreshed their knowledge in ourabsence. If they take some time to read through it and translate it,they will be able to find in it a list of materials, literature and manyuseful information. We also prepared a lecture not knowing whatwould be the examples of ceramics like. We were aware of the pos-sibility of not being able to show all the phases of treatment on thoseobjects, which could jeopardize our work in pedagogical sense. Itwas necessary to have that fact in mind, since we had to organizeour course from afar.We skipped the theoretical part of the course as the time give wasvery short and not we did not know the levels of theoretical knowl-edge students obtained before, and it turned out that they weregrateful to us for that. Glaze is glassy material by its structure, andporcelain has similar characteristics, so we presumed that they hadalready obtained some theoretical knowledge during their glass con-servation courses. We also assumed that they were already familiarwith this kind of approach, since they had some knowledge onrestoration materials and techniques different from soft body archae-ological ceramics. We also systematically skipped the lectures sincenot all the students were able to attend the course full time (facultyand other obligations). So, we were completely dedicated to practi-cal solutions to the problems, and through certain examples we sortof managed to explain some theoretical aspects, too.Working materials also presented a problem. Just in case, we hadbrought the most of them with us, but we found many of them in theglass conservation workshop as well. Naturally, our intention was tobring small quantities, just as samples, to show as many solutionsas possible, but for normal functioning of this workshop it would bemost convenient to find local producers of adequate materials or toimport them from abroad.Our working day would start early in the morning and end in the evening,and new objects kept coming in. Except several glazed jugs and aporcelain vase, the most of the objects were of modern production and"adequately" damaged, and some of them were already repaired before.The participants shared them in the way that everybody had a chanceto work with one porcelain and one glazed object, with, of course, dif-ferent requirements. Consequently, all the participants ended up listeningevery explanation we gave, and in that way they became familiar evenwith the processes they could not perform on their objects. Thus, veryimportant part of the course turned out to be individual conversation orconversation within smaller groups on certain examples.

The majority of the objects treated were not from museums, so weusually discussed two possibilities for restoration: one would refer toa museum object and the other to an object still in everyday use.Since those were mostly decorative objects, meant to keep theirbeauty, the repair should not have been visible. This is difficult toobtain, as well as the rules of museum conservation ethics, requiringthat restoration does not jeopardize general impression of an objectand that it stays recognizable from a distance. Both these elementsrequire great skill and enough practise.Our workshop was aimed at conservation and restoration of solidceramics, which is also called well fired ceramics for high tempera-ture of its firing process. It can be divided in two groups:

- porcelain, stoneware (substitute for porcelain), glass ceramics, etc.which are water resistant because of their compact structure- glazed ceramics, which becomes solid because of the glaze coat-ing on its surfaceThe application of various techniques and use of materials, also non-porous, hard and solid, depend on the characteristics of these mate-rials. In this case, they are mostly artificial resins, which in theory havemuch to do with chemistry and in practice with precision and clean-liness of the working area (dustless). Thus, we practised all the phases of a treatment with these objects:removal of old repairs, cleaning, joining, gap-filling and retouching.Of course, at the beginning we could not avoid removal of old mate-rials, first of all of adhesives. For practical reasons, we reminded par-ticipants of some topics we had aready talked about the previousyear. With this knowledge as the starting point, we tried to identifytraces of old adhesive and choose a separating technique with theuse of adequate solvent. We also had some examples of insolublecontemporary adhesives.

The archaeological ceramics is usualy dirty, but should not bewashed. Washing of solid ceramics, on the contrary, is a rule. Theuse of water means soaking and washing in tap or distilled water(possibly with certain additives), as well as the use of steam clean-er. In the case of porcelain, the particular care is needed because ofthe decoration above the glaze, which is, of course, always checkedpreviously. Glazed ceramics with undamaged surface is water resist-ant, which is always one of the objectives of its production, but if sur-face has cracks or other damages, water can penetrate inside anobject, moist it and make it dirty, since there is lot of dirt in the roomfrom the surroundings. Thus, we have to deal with a deep cleaningprocess in glazed ceramics conservation as well. Usually the same mate-rials are used for joining and gap-filling , such as various two-compo-nent artificial resins (acrylic, urea formaldehyde, epoxy), depending onwhat kind of surface is wanted. When filling gaps, choosing the right filleris also important, and they are usually silica-based. Having in mind thefinal appearance of an object, it is necessary to prepare samples ofvarious materials and to select the adequate one. The selection

102

During the course of Janja Slabe and Jana [ubic PrislanZa vreme kursa Janje Slabe i Jane [ubic Prislan

RRaaddiioonniiccaa kkoonnzzeerrvvaacciijjee nneeppoorroozznnee kkeerraammiikkee - ooddssttrraannjjiivvaannjjee ssttaarriihh rreessttaauurraacciijjaa ii ssaavvrreemmeennii ppoossttuuppcciiJJaanaa [[ubiicc-PPriisllaanGorii{kii muzejj, Novaa Goriiccaa,predsedniik sekcciijje zaa konzervaacciijju ii restaauraacciijju,Saavez muzejjaa Slloveniijje

U novembru 2002. godine, koleginica Janja Slabe (Narodni muzejSlovenije) i ja smo, u Diana Centru za preventivnu za{titu, u re~i i slicipokazale primere starih restauracija kerami~kih predmeta, koji su izrazli~itih razloga neprimereni i koji se, zbog toga, moraju odstraniti i/ilizameniti. U novembru 2003. godine, za ~etiri kratka dana, poku{alesmo da prakti~no poka`emo tok konzervacije i restauracije neporoznekeramike, dakle glazirane keramike i porcelana. Po{to smo znale da }e nam nedostajati vremena, za u~esnike kursasmo pripremile obimniji pisani materijal, uz pomo} kog }e u na{ojodsutnosti mo}i da osve`e se}anje na na{u obuku. Ako budu izd-vojili vreme i pregledaju ga, i ako ga prevedu sa slovena~kog jezika,u njemu }e tako|e prona}i spisak materijala, literature i mnogobro-jne druge korisne informacije. Tekst smo tako|e pripremile, jer nismounapred znale kakvi }e biti konkretni primeri kerami~kih posuda nakojima }emo raditi. Bile smo svesne da }e predmeti mo`da biti takvida ne omogu}uju prakti~ni prikaz svih mogu}ih varijanti jednogprocesa, odnosno sve faze postupka, {to bi moglo, sa pedago{kogstajali{ta, da nam ote`ava rad, odnosno ometa proces preno{enjaznanja. U slu~aju kada organizujemo radionicu "na daljinu", tosvakako treba uzeti u obzir.Zbog jako ograni~enog vremena, a tako|e i zato {to nismo ta~noznale koliko su studenti teorijski potkovani, teorijski deo smo izostavile,za {ta nam je ve}ina studenata bila zahvalna. Glazura je po sastavustaklasta masa, a porcelan ima sli~ne osobine, zbog ~ega smo pret-postavile da su neka osnovna znanja ve} dobili na kursevima konz-ervacije stakla. Pretpostavile smo tako|e, da znaju i razumeju taj malodruga~iji konzervatorski pristup, jer su ve} bili upoznati sa odgovara-ju}im restauratorskim materijalima i tehnikama, koji su sasvimdruga~iji nego kod porozne arheoloske keramike. Predavanja smotako|e planski izostavile, zato {to nisu svi u~esnici sve vreme bili prisut-ni u radionici (predavanja na fakultetu i druge obaveze). Posvetile smose pre svega prakti~nom re{avanju konkretnih problema, a taj na~in smokroz odre|ene primere vi{e puta ponovile i teorijski deo.Odre|eni problem su tako|e predstavljali i materijali, koji su nam bilipotrebni za rad. Za svaki slu~aj smo ve}inu donele sa sobom, ali dostatoga smo na{le u "bunkeru" radionice za staklo. Svakako da smomaterijal donele u malim koli~inama, kao uzorke, jer je na{a namerabila da se poka`e {to vi{e mogu}ih odgovaraju}ih re{enja, a zaredovan rad bi}e najbolje da odgovaraju}e materijale na|u nadoma}em tr i{tu, odnosno da obezbede njihovu nabavku iz inos-transtva.Rad u DIANA Centru trajao je od jutra do ve~eri i novi predmeti suneprestano dolazili u radionicu. Osim nekoliko glaziranih vr~eva iporcelanske vaze, ve}inom su bili novijeg datuma i "odgovaraju}e"o{te}eni, a neki su tako|e popravljani u pro{losti. U~esnici su ihpodelili tako da je svako imao mogu}nost da radi na jednom porce-lanskom i jednom glaziranom predmetu, koji naravno nisu bili pojed-nako zahtevni. Zato su na{a obja{njavanja odre|enog primera ili pos-tupka obi~no slu{ali svi i na taj na~in su upoznali postupke koje nasvom predmetu nisu mogli da isprobaju. Veoma va`an sastavni deoprocesa bio je individualni razgovor ili razgovor u manjim grupama uvezi konkretnog primera.Ve}ina predmeta nije bila muzejskog porekla, zbog ~ega smo uvekdiskutovali o dve mogu}nosti, naime, {ta bi uradili sa muzejskimpredmetom, a {ta u slu~aju kada je predmet u upotrebi. Po{to su tove}inom bili dekorativni predmeti, za koje je bitno da sa~uvanju svojulepotu zbog koje u njima u ivamo, popravka nije smela da budevidljiva. Taj poduhvat je podjednako te{ko ostvariti, kao i zahtevmuzejske konzervatorske etike, da restauratorski postupak ne ometaop{ti utisak koji predmet ostavlja na posmatra~a, a da ipak budeprepoznatljiv sa odre|ene daljine. I za jedno i za drugo je potrebnodosta spretnosti i prakse.Na{a radionica je bila namenjena konzervaciji i restauraciji neporoznekeramike, koju zbog visoke temperature pe~enja zovemo visoko

pe~ena keramika. Mo`emo je podeliti na dve grupe:- porcelani, kamenina (zamena za porcelan), staklokeramika itd, jerzbog svog kompaktnog sastava ne propu{taju vodu- glazirana keramika, koja zbog sloja staklaste glazure na povr{inipostaje neporozna.Sa osobinama tih materijala povezano je tako|e izvo|enje drugihpostupaka i upotreba materijala, koji su pre svega neporozni, tvrdi i~vrsti. Ovde se pre svega radi o upotrebi ve{ta~kih smola, pri ~emuse u teoriji sre}emo sa hemijom, a u praksi sa problemom preciznostii ~isto}e radne povr{ine (bez pra{ine). Tako smo sa predmetimapro{li kroz sve faze rada: uklanjanje starih popravki, ~i{}enje, lepljen-je, dopunjavanje i toniranje.Na po~etku naravno nismo mogle da izbegnemo odstranjivanja star-ih materijala, pre svega lepkova. Iz prakti~nih razloga obnovili smoneke teme iz pro{logodi{njih predavanja. Na osnovu toga smopoku{ali da identifikujemo stari lepak i da odredimo postupak razle-pljivanja prilikom upotrebe odgovaraju}eg rastavara~a. Susreli smo setako|e sa nemogu}no{}u razlepljivanja savremenih lepkova.Kao {to kod arheolo{ke keramike koja je po pravilu prljava, pranjevodom predstavlja problem, kod neporozne keramike upotreba vodeje pravilo. Kada ka`emo voda, mislimo na natapanje i pranje uobi~noj ili destilovanoj vodi (tako|e sa raznim dodacima), kao i naupotrebu parnog ~ista~a. Kod porcelana moramo da budemo opreznisa nepostojanom nadglazurnom dekoracijom, {to naravno uvekprethodno proveravamo. Tako|e, grupa glazirane keramike sazdravom povr{inom ne propu{ta vodu, {to je tako|e bila njenanamena prilikom izrade, ali voda mo`e kroz raspuklu ili o{te}enupovr{inu da prodre u unutra{njost predmeta i da ga navla i i zaprl-ja, jer u sobi ima razne prljav{tine iz okoline.Tako se kod glaziranekeramike tako|e susre}emo sa takozvanim dubinskim ~i{}enjem. Zalepljenje i dopunjavanje obi~no upotrebljavamo iste materijale, a to surazne dvokomponentne ve{ta~ke smole (akrilne, urea formaldehidneili epoksi), u zavisnosti od toga kakvu povr{inu `elimo. Kod dopunja-

103

Porcelain tea-pot before restorationProrcelanski ~ajnik pre restauracije

Restored porcelain plateRestaurisani porcelanski tanjir

depends on transparency and quality of the surface obtained. If wechoose to fill a glazed ceramic object with a gypsum-based materi-al (which is as porous as the inner layer of glazed ceramics), then itis necessary to strenghten the surface and obtain a finishing layersimilar to glaze, such as acrylic coatings (laquers, emulsions).For retouching process, usually finely grained pigments are used,whether they are mixed with gap-filling material or are applied in ade-quate layer onto the surface.Though porcelain and other kinds of decorative glazed and solidceramic objects are rarely treated in our workshops because of thelarge amount of more endangered ceramics in museums, in theprocesses of restoration of cultural-historical collections, conservatorsand restorers should find this experience quite valuable. We shouldnot forget rich antique collections, also needing well-trained and edu-cated experts, so that the valuable property, normally not used to ill-treating, would not fall into the hands of unskilled restorer!What about the participants of the course? DIANA is a phenomenonknown to the widest professional public thanks to Mila Popovi}-@ivan~evi}. Regardless to its difficult working conditions, DIANACentre is today a widely accepted and respected institution, still fullof energy and dedication, as a result of enthusiasm, honesty, human-ism and spirit of its members. Considering all this, I invite all the col-leagues, conservators and restorers from all over the world willing toshare their knowledge, to come to DIANA, because they would findit interesting and would surely wish to come back.

CCoonnsseerrvvaattiioonn ooff GGllaassss aatt DDiiaannaa cceennttrree,, HHiissttoorryyTaamaaraa Lujjaak, student of aarcchaaeolloggyyDIANA Centre for Preventiive Conservaatiion

Lecture held, as a part of manifestation ''Summer in NationalMuseum'', along with an exhibition ''Old and new conservation of

glass'', 2nd-7th September 2003, Belgrade

Diana Centre for Preventive Conservation started with conservation ofglass in 1998, at Karata{, near Kladovo, when Ms Pamela Warner,from Addington Studio, England, held a cours on conservation ofglass (medieaval glass from Belgrade City Museum).New laboratory was a small room with tables, one microscope anda great enthusiasm. Materials for work (glue, wax, silicone etc.) werefew, brought to us by Ms Pamela Warner and Mrs Mila Popovi}-@ivan~evi} from England. Plastic tanks and plates, glass sprinklers,grill sticks with the cotton on it (for cleaning dirt) etc, were all pur-chased in a day or two, and thus the laboratory was set.The first work was on glass vessels, six bottles and one beaker, fromthe site "Preradovi}eva" (it is a street in Taurunum) from XVIII centu-ry. Vessels are the property of the Belgrade City Museum. They wereall made by blowing in a mould, except one fragmented bottle, andthey all differ in shape and purpose.Before cleaning, the microscopic analyses were done, in order toestimate the state of the glass. All vessels were well preserved, andthus they could all go through the so called 'water bath'.In order to be cleaned, glass was put in a plastic tank with destiledwater with the complexon III (1l of destiled water with addition of 3spoons of complexon III), than in a tank with a destiled water plusalcohol (50-50%), alcohol and acetone (50-50%), and finally at pureacetone (100%). In each of these 'baths', glass was kept for 24 hours.When this procedure was finished, for additional cleaning of the ves-sels we used the grill sticks with the cotton on it. At the end, theglass was left to dry for ten hours.Before the joining process began, an additional microscopic analysiswere needed. We found the parts of the vessels that could be puttogether, and then we joined them.As to the question of the adhesive, we used Paraloid B72 (epoxyresin), dissolved in acetone (1:2). There are two ways of joining: 1)we put the adhesive on the edge of the fragment, put the fragmentstogether, and then strengthen the joint with the scotch tape; 2) firstwe put the fragments together with the scotch tape, and then pourthe adhesive in the joint. I shall give an example of a glass bottle, the only one that has been,

partially, restored by Ms Pamela Warner.The material used for restoration was Hyxtal (components A and B)dissolved in acetone (1:3). For mould, we used dental wax, with acoating of a transparent foil, formed in the shape of the bottle, andplaced horizontally. It took Hyxtal two days to dry (because of thehigh temperatures). Missing parts were cut to fit with a pair scissors,and joined together with Paraloid B72.In the last phase, Paraloid B 72 was used as a consolidant, dissolvedin acetone (1:5). Two thin layers were applied on the neck of the bottle,the only point where it was damaged, using a brush with a metal end. In the next two years, 1999-2000, over seventy glass vessels arrivedin Diana Centre, from all over Serbia, but mostly from the NationalMuseum of Belgrade.These were hard times for us, because of the high level of humidityinside the Gallery of Frescoes, were our laboratory was set, indoor andoutdoor climate conditions, and the lack of materials for conservation.And yet, this was the most interesting period at the same time. Thiswas the time when we had to be inventive and quick in order toclean, join, restore etc. As an example, we'll take a look at aribalos from Dunji} collectionfrom National Museum of Belgrade (site of Kosmaj). It arrived inour laboratory previously reconstructed. Thus the fragmentsneeded to be separated.It was done in the following order: aribalos was placed in the acetonefumes (in a large plastick tank, actually, with small bottles filled withacetone. All this was covered with aluminium foil, to prevent vaporizing).It was kept there seven to eight hours, untill all parts were separated.The cleaning process is the same as mentioned ('water baths'). Thehandle of the aribalos is worth mentioning. Additional cleaning wasdone with glass sprinkler, because the cracks in the handle, full ofdirt, could not be approached by grill sticks.After the consolidation with Paraloid B 72, which gave us great trou-ble, because the aribalos was thick and heavy and needed support,the fragments of the vessel was joined together.Handles were an additional problem. If they were to be joined sep-arately, they could not fit. But aribalos could not be joined all at once,because it was too heavy, and it would collapse in the process.Despite all this, vessel was joined successfully. We tried the recon-struction with Plastic Coating (components A and B, 1:4), and failed.Because of the high temperatures in the laboratory, there was aleakeage of the consolidant, inside and outside the vessel, which washard to clean.At the end, aribalos was left aside.At the begining of the year 2002, while Ms Sandra Davison, FIIC,ACR, held a course of conservation of glass, we separated this arib-alos again and removed all the traces of adhesive and consolidant.We joined it with Araldite 2020 (3:1) (epoxy resin). Hendles were leftfor the end of treatment. Vessel was joined with grill sticks, clay andscotch tape as a support.

104

Pamela Warner at Karata{ in 1998Pamela Vorner na Karata{u 1998.

vanja je tako|e va`an izbor punilaca, koji su obi~no na silikatnojosnovi. Po{to znamo kakav treba da bude kona~ni izgled predmeta,potrebno je da spremimo uzorke mogu}ih masa i da izaberemoodgovaraju}u. Izbor se vr{i prema `eljenoj prozirnosti i kvalitetu dobi-jene povr{ine. Ako glaziranu keramiku dopunjujemo masama na bazigipsa (porozna, kao sredi{nji sloj glazirane keramike), moramo ipovr{inu da u~vrstimo i da dobijemo zavr{ni sloj sli~an glazuri, npr.uz pomo} akrilnih premaza (lakovi, emulzije).Za toniranje obi~no upotrebljavamo kvalitetne, fino mlevene pigmente,kojima bojimo masu ili ih nanosimo pome{ane sa odgovaraju}omsupstancom.Iako predmeti od porcelana i drugi dekorativni predmeti od glaziranei ostale neporozne keramike nisu ~est predmet obrade u na{imradionicama, zbog obilja ugro`enijeg kerami~kog materijala u muze-jima, prilikom obnavljanja kulturno-istorijskih zbirki, ova znanja }ekonzervatorima i restauratorima biti jako dragocena. Ne smemotako|e da zaboravimo na bogat antikvarni asortiman, na dragocenosti"navikle" na lo{ tretman do sada, kome }e biti potrebni osposobljenii obrazovani stru~njaci, kako ne bi dospele u ruke neukog restaura-tora!I {ta da ka`em o u~esnicima? Dianovci su fenomen, koji zahvalju}igospo|i Mili Popovi}- @ivan~evi} poznaje sva stru~na javnost. To daje u skromnim razmerama, DIJANA Centar do~ekao dana{nji dan kaopriznata i cenjena ustanova, i da je jo{ uvek pun energije i zanosa,rezultat je pre svega entuzijazma, po{tenja, ljudske topline i smisla zahumor svih aktera. Kolege konzervatori-restauratori iz svih krajevasveta, ako ste spremni da svoje znanje podelite, do|ite u DIJANU,ne}e vam biti dosadno, i po`ele}ete da se ponovo vratite.

IIssttoorriijjaatt kkoonnzzeerrvvaacciijjee ssttaakkllaa uu DDIIJJAANNAA cceennttrruuTaamaaraa Lujjaak, aapsollvent aarheolloggiijje,saaraadniik DIJJANA Centraa zaa preventiivnu zaa{tiitu

(Predavanje odr`ano u okviru manifestacije Leto u Narodnommuzeju, uz izlo`bu Stare i nove konzervacije stakla, 02 - 07. sep-

tembra 2003. godine, u Beogradu)

Sa konzervacijom stakla u Dijana Centru po~elo se 1998. godine, naKarata{u kod Kladova, kada je gospo|a Pamela Vorner, iz Adingtonstudija u Engleskoj, odr`ala kurs konzervacije stakla na sred-njovekovnim primercima iz Muzeja grada Beograda.U jednoj od prostorija DIJANA centra formirana je laboratorija sa parstolova, jednim mikroskopom i velikom voljom za rad. Od materijala(lepkovi, vosak, silikon...) imali smo samo ono {to je gospo|a PamelaVorner donela sa sobom iz Londona i {to je gospo|a Mila Popovi}-@ivan~evi} godinama pre toga donosila iz Engleske - dakle, nemnogo. Sve plasti~ne posude i tanjire, staklene {priceve i gril {tapi}etrebalo je naknadno nabaviti. Sav materijal bio je prikupljen u roku oddva-tri dana, a laboratorija pripremljena za rad.U Centar je pristiglo {est staklenih boca i jedan pehar sa lokalitetaPreradovi}eva ulica u Zemunu, iz otpadne jame. Svi predmeti su bilirazli~itih dimenzija i namene, izra|eni duvanjem u kalup, i svi su, osimjedne boce, bili fragmentovani.Pre procesa ~i{}enja izvr{ena je mikroskopska analiza, kojom jeustanovljeno da je staklo u solidnom stanju i da nije dehidriralo. Daje slu~aj bio druga~iji, predmeti ne bi smeli da pro|u tretman tako-zvanog vodenog kupatila, koji }emo ovom prilikom opisati.Da bi se o~istilo, staklo je prvo potopljeno u destilovanu vodu, potomje preba~eno u rastvor alkohola i acetona (50/50 %), i na kraju u ~istalkohol. U svakom od ovih kupatila, predmeti su proveli oko 24 sata.Nakon zavr{enog procesa, dodatno su ~i{}eni gril {tapi}ima i vatomnatopljenom acetonom. Staklo se nakon ~i{}enja su{ilo desetak sati.Pre procesa lepljenja proverene su veze fragmenata i izvr{ena dodat-na mikroskopska analiza predmeta.Kao lepak je kori{}en Paraloid B72 (epoksi smola), rastvoren u ace-tonu (1:2). Primenjena su dva na~ina lepljenja: 1) lepak je nano{en naivice fragmenata, koji su potom spajani, a veze su dodatno oja~avanesko~ trakom; 2) drugi na~in podrazumeva prvo nano{enje sko~ trake,a zatim lepka preko ivice preloma. Predmeti su, zbog stabilnosti, sta-jali u posudi sa pirin~em 24 sata, jer je to vreme potrebno lepku da

se osu{i.Jednu bocu }emo izdvojiti, iz razloga {to je jedina restaurisana, madadelimi~no, a restauraciju je izvela gospo|a Pamela Vorner. Kao materijal za restauraciju je uzet Hxtal, dvokomponentni lepak,rastvoren u acetonu (1:3). Kao kalup za nalivanje poslu io je dentalvosak prevu~en providnom folijom, formiran prema obliku boce. Prinalivanju, kalup je postavljen u horizontalan polo`aj. Hxtal se su{iooko dva dana (zbog visokih temperatura), a zatim su delovi krojenimakazama i lepljeni Paraloidom B72.U zavr{noj fazi, posuda je konsolidovana Paraloidom B72 rastvoren-im u acetonu (1:5). Nano{en je ~etkicom sa metalnim oja~anjem, udva sloja, samo na o{te}enu povr{inu boce, u predelu grli}a.Tokom slede}e dve godine, 1999-2000., u DIJANA Centar je stiglopreko sedamdeset predmeta od stakla sa razli~itih lokaliteta {iromSrbije, ali uglavnom iz Narodnog muzeja u Beogradu.Ovo je bio te`ak period za nas polaznike, {to zbog izuzetno visokihspoljnih temperatura, {to zbog visoke vla`nosti unutar prostorijaGalerije fresaka u kojoj je laboratorija sme{tena, {to zbog manjkapotrebnih materijala za konzervaciju.Uprkos pote{ko}ama, ovo je i najinteresantniji period, jer smo moralida se na najrazli~itije na~ine dovijamo, kako bismo uspeli da o~isti-mo, zalepimo, restauriramo neki predmet.Za predstavljanje ovog perioda na{eg rada u Dijani uze}emo jedanaribalos iz zbirke Dunji} Narodnog muzeja u Beogradu (mesto nalazaje Kosmaj). U konzervatorsku laboratoriju je do{ao rekonstruisan, takoda je pre tretmana fragmente trebalo odlepiti.To je u~injeno na slede}i na~in. Aribalos je sme{ten u veliku plas-ti~nu posudu, a pored njega su pore|ane manje staklene posude sa~istim acetonom. Sve je prekriveno folijom, kako ne bi do{lo doisparavanja acetona. Predmet je ostavljen sedam do osam sati - dokse nisu svi delovi razlepili. Proces ~i{}enja je istovetan kao u prethodnom primeru (vodena kupati-la), samo bi trebalo izdvojiti da su dr{ke aribalosa, dok je bio u alkoholu,dodatno ~i{}ene pomo}u staklenog {prica, jer gril {tapi} nije mogaodopireti do zaprljanih pukotina na spojevima dr{ki i trbuha.Nakon konsolidacije, aribalos je zalepljen Paraloidom B72, jer je sta-klo debelo i te{ko, pa je trebalo napraviti potporu. Dodatan problemsu bile dr{ke koje ne nale`u dobro na vrat posude ako se lepe odvo-jeno. Zato je predmet zalepljen izjedna, iako se to u prvom trenutkuu~inilo nemogu}e, jer su delovi bili prete{ki i uru{avali se. Usledio jeneuspeo poku{aj rekonstrukcije uz pomo} Plastic Coating-a (4:1).Zbog visokih temperatura dolazilo je do curenja, kako sa spoljne takoi sa unutra{nje strane posude, {to je bilo te{ko ukloniti.Na kraju se odustalo od rekonstrukcije, a aribalos je ostavljen postrani.Vratiti smo mu se tek 2002. godine, kada je u Dijana centar do{lagospo|a Sandra Dejvison, iz Konzervatorskog studija u Engleskoj, iodr`ala dvonedeljni kurs konzervacije stakla. Tom prilikom je aribalos razlepljen i o~i{}en, a svi tragovi konsolidacijeuklonjeni. Zalepljen je Aralditom 2020 i to u dve faze: najpre su zale-

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Conserved glass vessels on display at the Gallery of FrescoesKonzervirani stakleni sudovi izlo`eni u Galeriji fresaka

The next example, the lacrimarium from National Museum Belgrade,was found in a grave, on the site of ^erine (near Mostar).The vessel was fragmented and in relatively good condition. We usedalcohol for cleaning the dirt. Inner walls began to flake, and because of it, we put the lacrimarium in5% solution of Paraloid B 72 for an hour. It was then left out to dry.Because of the high temperatures during the year, the fragments ofthe vessel could not be joined together with Paraloid as an adhesiveand it was left aside.During the course held by Ms Sandra Davison, we joined thelacrimarium with Araldite 2020 (3:1). First, we joined large peacestogether, and left them to dry. Then, we joined smaller ones, usingthe Sylmasta (components A and B) - only one component, with acoating of a transparent foil, as a support. When Araldite was dry, wedrilled the foil and got all the Sylmasta out with the small plastic spoon.At the end, we joined all other parts, with the exception of three frag-ments that could not be put together, because of the lack ofmanoeuvring space, and danger of braking the vessel. The next example presents a case of successful conservation andrestoration.Balsamarium (site unknown) is the property of the National MuseumBelgrade.Previously treated, vessel was in acetone fumes in order to be sep-arated. Next phase was the 'water baths', and then joining together,all at once, with Paraloid B72 (five fragments on whole). We werethinking of joining bottom and neck only separately, reconstructing themissing part, and then to join them with the rest of the vessel. Butwe were afraid that the fragments would not fit, so we decided not to.Plastic Coating (4:1) was mixed with the small quantity of vitreouscolour (acetone based). The colour of Plastic Coating was brighterthan glass.Scotch tape was attached from the inner side of the balsamarium,as a support. Plastic Coating was applied with a grill stick, in thin lay-ers, every hour, because it takes that long to dry. As the missing part of the vessel was too large, balsamarium wasrotated now and then to prevent leakage. Beeing fluent, PlasticCoating tended to take horizontal position. We had to add one morelayer, so, while shaping with emery, we could follow the curve of thevessel.Scotch tape was removed with tweezers.Next example is vessel conserved without any intervention.Sometimes glass is in such a condition, that the minimum of inter-vention would damage it. This beacker was discovered at the site of Lani{te-Korla}e, nearBaljevac on Ibar, and is property of Regional Museum Kraljevo.It arrived in our laboratory with bulk of ground around it, because it wasto thin to be taken out. All in all, it was decided thatthe beacker should be consolidated with the ground,because that is the only way to stop the decay.Urn (site unknown) from the National Museum ofBelgrade, is an example of a successful recon-struction. Part of a rim was missing. The dirt wasremoved with the destiled water.Wax mould was made, and filled with Fynebond,epoxy resin (10:3.2). Hairdryer was used to softenthe wax in order to follow the curve of the rim.Heating spatula was used to attach wax to the glass.This was done in order to prevent leakage. Once dry,mould was taken off with the scalpel and white spirit.This was done seventy two hours after filling themould. Fynebond was shaped with grindingmachine and fine emery. During this process, sur-face of the Fynebond went white. By applying a thinlayer of Fynebond on the surface, we obtained itstransparency again.Previously reconstructed cup, found at Terme site,property of Regional Museum ^a~ak, was separat-ed and joined together with Paraloid B72. The ves-sel was left aside, because of the lack of informa-tion and materials for reconstruction.At the course held by Ms Sandra Devison, cup was

joined with Araldite 2020 and reconstructed.The silicone mould was made in the following manner: first, the bot-tom part of the mould was made. original glass was attached on aclay model, and the silicone mould was cast (100 gr Wacker silicone: 95gr silicone + 5 gr hardener). Another 200 gr was made and added.Clay was removed, all but the parts were the glass was missing. Thenthe top part of the mould was made out of 300 gr of silicone in thesame proportion. When solid, it was taken out, clay was removed,and the mould brought back. Two parts of the mould were fixedtogether, and Araldit 2020 was filled in. Two straws were put in the mould,one for pouring the Araldit in, and another for the air to come out.When Araldit 2020 was dry, mould had to be cut out, because it wasstuck on the surface of the cup. Edges of the reconstructed part hadto be moulded again, with the help of dental wax.After all this, reconstructed part was shaped with the help of grind-ing machine. It took some time, but the job was done. During thisprocess, surface of the Araldite 2020 went white. Coating of adhe-sive in a thin layer brought back its transparency.Fragmented mediaeval bottle from St. Tripun Cathedral, in Kotor,property of Institute for the Protection of Cultural Monuments in Kotor,was cleaned with alcohol and acetone, and joined together withAraldite 2020. After the exhibition in Gallery of Frescoes, Belgrade,one fragment came apart. It was joined again and strenghten withfiberglass.Interesting thing was that the neck of the bottle mentioned above,belonged to another reconstructed bottle. As, the joints of this bottlewere so thin it could not stand on its own, so we had to use sheetsof fiberglass, to give it a necessary support.Fiberglass, like sheets of glass wool, was strenghten with thin layerof Araldite. It was put inside the bottle, as a cylinder, so it could holdthe top part of the vessel. For additional support and stability, weadded small quantities of plaster of paris into the cylinder and aroundit. Glass was protected with the double layer of fiberglass. Thusstrenghtened, top and bottom part of the bottle were joined, and thebottle could stand on its own.So, through this brief review, we showed that a conservator needs tohave knowledge, not only of archaeology, but also of history, math-ematics, chemistry, technology etc. We showed the development ofglass laboratory - in 1998 it had few tables and one microscope, andtoday electronic microscope, digital camera, ultra-sonic bath, digitalscale, grinding machine, instruments for extermination of insects fromthe laboratory etc. Beside materials mentioned above, we need goggles and masks, orbetter yet gas-masks (for protection from poisonous fumes), surgicalgloves, uniforms, fume extractors, metal closets, as a first aid kit.But, above all, love for this kind of work and great patience.

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At Sandra Davison’s courseNa kursu Sandre Dejvison

pljeni donji delovi posude, a dr{ke su ostavljene za kraj. Predmet jezalepljen uz pomo} gril {tapi}a, gline i sko~ trake kao potpore.Slede}i primer je lakrimarijum iz Narodnog muzeja u Beogradu,prona|en u grobu, na lokalitetu ^erine (okolina Mostara).Predmet je fragmentovan i relativno dobro o~uvan. O~i{}en je alko-holom od pra{ine koja je prekrila predmet tokom stajanja. Ve}ih prlj-av{tina nije bilo, s obzirom da je predmet ~i{}en pre nego {to jedo{ao u DIJANA centar.Po{to su unutarnji zidovi lakrimarijuma po~eli da se ljuspaju, poto-pljen je u petoprocentni rastvor Paraloida B72 na sat vremena, apotom izva|en da se osu{i. Zbog visokih temperatura tokom 2000. godine, predmet nije bilomogu}e zalepiti Paraloidom B72, tako da je ostavljen po strani.Vratiti smo mu se 2002. na kursu gospo|e Sandre Dejvison.Tom prilikom smo lakrimarijum zalepili Aralditom 2020 (3:1) u tri faze.Prvo su bili zalepljeni najve}i fragmenti predmeta i ostavljeni da seosu{e. U drugoj fazi smo lepili sitne fragmente na trbuhu. Upotrebilismo Sylmasta masu, koja se ina~e koristi za rekonstrukciju i dvokom-ponentna je. Ovde smo upotrebili samo osnovnu komponentu, kojaje dosta masna i lepi se za prste i staklo. Zato smo je uvili u provid-nu foliju i njome ispunili staklo, i time stvorili oslonac za lepljenje. Kadasu fragmenti zalepljeni i kada se Araldit osu{io, folija je probu{ena iSylmasta je malom, plasti~nom ka{i~icom izva|ena i uklonjena.Na kraju su, u tre}oj fazi, zalepljeni preostali fragmenti lakrimarijuma.Tri fragmenta nisu zalepljena zbog nedostatka manevarskog prosto-ra i bojazni da se predmet ne o{teti.Slede}i predmet je primer uspele konzervacije i rekonstukcije uz velikuimprovizaciju.Balsamarij je sa nepoznatog nalazi{ta, vlasni{tvo Narodnog muzeja uBeogradu. Prethodno lepljen predmet je stavljen u sredinu sa acetonskimisparenjem da se razlepi. Nakon toga je o~i{}en u vodenim kupatil-ima i zalepljen je odjednom Paraloidom B72, jer je u pitanju svegapet fragmenata. Nosili smo se mi{lju da prvo zalepimo donji, pa gornjideo posude, rekonstrui{emo nedostaju}i deo, pa tek onda zalepimocelu posudu. Zbog bojazni da se fragmenti ne}e dobro zalepiti isamim tim 'nale}i', od ove ideje se odustalo.U procesu me{anja Plastic Coating-a (4:1), dodata je izuzetno malakoli~ina vitra`ne boje na bazi acetona. Pri tom se vodilo ra~una daboja lepka bude svetlija od stakla, kako bi se videla razlika.Sa unutra{nje strane lakrimarijuma, po sredini trbuha, zalepljena jesko~ traka koja je poslu ila kao podloga za lepak (zamena zapunioc). Zatim je Plastic Coating nano{en gril {tapi}em u tankim slo-jevima, na svakih sat vremena, jer mu je toliko potrebno da se osu{i.Po{to je nedostaju}i deo bio velik, nalivanje je vr{eno u nekolikonavrata, pri tom je svaki put balsamarij okretan kako bi lepak {tomanje cureo. Pred sam kraj nalivanja, kada se Plastic Coating ste-gao, nalili smo jedan sloj vi{e, tako da je lepak prema{ivao debljinustakla. To je u~injeno jer te~nost kada se naliva zauzima vertikalanpolo`aj, pa se zakrivljenost zida nije mogla pratiti. Prilikom skidanjavi{ka {mirglom, lepak je oblikovan tako da prati oblik stakla.Sko~ traka je uklonjena pincetom. Slede}i predmet je primer za{tite stakla, iako na njemu ni{tanije radjeno. Ponekad je staklo u takvom stanju ras-padanja da i najmanja intervencija mo`e dovesti dopogor{anja stanja.Pehar o kojem je re~ prona|en je na lokalitetuLani{te-Korla}e, kod Baljevca na Ibru i vlasni{tvo jeNarodnog muzeja u Kraljevu.U DIJANA Centar do{ao je sa zemljom u kojoj jeprona|en, jer su fragmenti bili pretanki da bi se izzemlje izvadili bez ve}ih o{te}enja. Zbog svega toga jeodlu~eno da se pehar konsoliduje u stanju u kom senalazi, dakle sa zemljom, jer je to bio jedini na~in da se zau-stavi njegovo dalje propadanje. Primer uspe{ne rekonstrukcije je urna, bez podataka o mestu nalaza,iz Narodnog muzeja, u dosta dobrom stanju. Nedostajao joj je deooboda. O~i{}ena je od zemlje i pra{ine destilovanom vodom.Napravljen je kalup od voska, u koji je izliven Fynebond (epoksismola) (10:3.2). Vosak je prvo razmek{an fenom, potom oblikovan po`eljenoj formi predmeta i aparatom za topljenje voska prilepljen za

staklo. To se ~ini kako ne bi do{lo do curenja prilikom izlivanja lepkaza nadogradnju. Kada se lepak osu{i, kalup se uklanja skalpelom i{piritusom. Kalup je mogao da se skine sedamdeset i dva sata nakon ulivanja.Sama smola je obra|ivana brusilicom i finim {mirglama, kako bi sepostigao `eljeni oblik. Kada se radi sa brusilicom, povr{ina nado-gra|enog mesta pobeli, {to se re{ava premazivanjem tankog slojaFynebonda ~etkicom, kako bi mu se vratila transparentnost.^a{a, prona|ena na lokalitetu Terme, vlasni{tvo Narodnog muzeja u^a~ku, prethodno rekonstruisana, razlepljena je, o~i{}ena i ponovozalepljena Paraloidom B72. Po{to je to bilo sve {to smo mogli dau~inimo sa predmetom u trenutku prijema, zbog nedostatka znanja imaterijala za rekonstrukciju, predmet je ostavljen po strani.Ponovo je uzet u razmatranje na kursu koji je vodila gospo|a SandraDejvison, 2002. godine, kada je odlu~eno da se ponovo razlepi, o~istii zalepi Aralditom 2020, a potom rekonstrui{e.Kalup od silikona je napravljen na slede}i na~in: prvo je pravljenadonja strana kalupa, tako {to je na model od gline, na koji je naslon-jeno originalno staklo, izliven silikon. Pripremljeno je 100 gr Wackersilicone mase (95 gr silikona + 5 gr u~vr{}iva~a). Kada je o~vrsnla,pripremljeno je jo{ dvesta grama u istoj razmeri i izliveno.Kada je tako napravljen spoljni kalup, izva|ena je skoro sva glina,osim onog dela gde staklo nedostaje. Potom je napravljen unutarnjideo kalupa, od 300 gr silikona u istoj razmeri. Kada se kalup stvrd-nuo, izva|en je, a ~a{a je o~i{}ena od gline. Kalup je vra}en natragi spojen sa drugim delom, a potom je ulivan Araldit 2020. Od dveslam~ice zabodene u ivice kalupa, jedna je slu ila za ulivanje Araldita,a druga da vazduh, prilikom ulivanja, mo`e da iza|e.Kalup je izva|en, kada je smola o~vrsnula, tako {to je ise~en, jer sezalepio za povr{inu stakla. Ivice nadogra|enog dela nisu dobroispale, pa smo morali uz pomo} dental voska, kao kalupa, da ihdovr{imo.Kada je sve bilo gotovo, nadogra|eni deo trebalo je da se oblikuje,uz pomo} brusilice, {to je bio dugotrajan proces, jer su neki delovibili predebeli. Prilikom obrade brusilicom Araldite pobeli ali mu jetanko nano{enje smole ~etkicom vratilo transparentnost.Srednjovekovna boca iz katedrale Svetog Tripuna, u Kotoru, vlasni{tvoZavoda za za{titu spomenika kulture u Kotoru, primljena je fragmen-tovana. O~i{}ena je alkoholom i acetonom od prljav{tine i blata, izalepljena Aralditom 2020. Nakon izlaganja u Galeriji fresaka boca serazlepila, pa je zalepljena ponovo, uz pomo} staklenih vlakana, o~emu }e biti re~i kasnije.Interesantno je da je vrat ove boce pripadao drugoj posudi, koja jetako|e zalepljena Aralditom 2020, a koja je za nas interesantna pona~inu na koji je rekonstruisana. Po{to su spojevi kod ove bocemilimetarski, morali smo da se poslu imo listovima staklenih vlakana,kako bismo joj pru ili neophodan oslonac.List staklenih vlakana je oja~an premazom Araldita. Uvijen je u cilin-dar i postavljen u unutra{njost boce da pridr`ava gornji deo posude.Da bismo joj obezbedili potrebnu te inu, radi stabilnosti, dodali smomalu koli~inu gipsa u cilindar i oko njega. Tom prilikom staklo je

za{ti}eno duplim slojem staklenih vlakana. Ovako oja~ana, namestima gde se spajaju njen gornji i donji deo boca je zale-

pljena i mogla je samostalno da stoji.Kroz ovaj kratak pregled konzervacije stakla u DIJANACentru, videli smo kako je jednom konzervatorupotrebno ne samo znanje arheologije, ve} i istorije,matematike, hemije, tehnologije, itd. Videli smorazvojni put jedne laboratorije, koja se 1998. sasto-jala od samo par stolova i jednog mikroskopa, dodana{nje u kojoj radi preko deset polaznika, sa elek-

tronskim mikroskopom, digitalnim fotoaparatom, ultra-zvu~nom kadom, digitalnom vagom, elektri~nom brusili-

com, aparatom za dezinsekciju laboratorije itd.Za rad na staklu, pored pomenutih materijala, potrebne su nam iza{titne nao~ari i maska, ili jo{ bolje gas-maska (kao za{tita od otro-vnih isparenja), hirur{ke rukavice, radni mantili, ekstraktori za isparen-ja, metalni ormani za skladi{tenje acetona, alkohola, lepkova, kao iormari} za prvu pomo}.Pre svega, potrebna je ljubav prema ovakvoj vrsti posla i ogromnostrpljenje.

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TThhee PPrroobblleemm ooff GGllaassss OObbjjeeccttss DDiissppllaayyAlleksaandraa D iikii} Niikollii}DIANA Centre

For people dealing with protection of archaeological glass in ourcountry, conservation treatment is the principal, but not necessarily themost complicated part of the work. Due to the well known financialsituation in museum institutions of Serbia and Montenegro, as well asto the lack of understanding for the importance of preservation of cul-tural property, it is conservators who have to be resourceful in cre-ation and production (or better say - improvisation) of mounts for dis-playing glass objects, especially the ones which are not preserved whole.Where do ideas come from? Standard conservation literature doesnot provide us with much information or instructions on creation ofmounts for displaying glass objects after the conservation treatment.And I refer to the part of the literature that could be commonly calledconservation textbooks. Fortunately, today we are not limited exclu-sively to these textbooks. Now we also have papers from internationalexpert seminars, or from individual conservators, and even E-mailcorrespondence with professionals from all over the world. We arealso lucky to have opportunity for live communication, with SandraDavison especially. Nevertheless, we should not forget our own per-sonal experience which, being based on conservation process,should serve as a source of ideas and should guide our way. Finally,there is common sense. Combination of everything mentioned above,with substantial material backup, would give great results, at the sat-isfaction of museum professionals as well as the public.We all agree, naturally, that creation of mounts for displaying anymuseum object must meet aesthetic as well as safeguarding require-ments. However, the ratio and the compromise depend on many fac-tors regarding the individual object. Way back in 1989 CanadianConservation Institute (CCI) has organized a series of short courseson making mounts for displaying and safekeeping of museum objects.The courses were designed as workshops for preparators, techniciansand volunteers from smaller Canadian museums, with an aim of edu-cating them in creation of mounts. In theoretical part of the course,they considered reasons for putting an object on a mount, whether itis because of the state of the object or the very shape of the objectsuggests potential hazard. The practical part of the course was basedon the motto of the two lecturers saying it was easy to fulfill both ofthe basic needs in creation of mounts (aesthetic and functional/pro-tective) if you examine large number of techniques and materials avail-able (in given situation). Somewhere between theory and practice, aconceptual part of the course found its place, presuming a debate onpossible shapes of the mounts, or simply - their design. At this point,it was important to follow certain general rules in the process: themount should never alter the shape or the appearance of the object,an object should stay in the position suggested by its original func-tion or the concept of the exhibition, the mount should be stable anddurable enough to support the object for a long period of time, thesupporting points between the mount and the object should benumerous enough, carefully chosen, and buffered with soft and chem-ically stable material, and the mount itself should be made out ofchemically stable material, with a discreet shape and simple con-struction.What is our experience? Here is an example that is most illustrative.In the summer of 2002 we began the conservation treatment of agroup of medieval glass vessels found in a well of the cathedral ofSt. Tripun in Kotor. These objects had great cultural significance, butunfortunately, due to their extreme fragility and bad managing, theywere discovered in large number of fragments. We could not getwhole objects after joining the fragments and restoration was practi-cally impossible because glass walls were very thin. The conserva-tion process was finished as scheduled, but we ran into a problemwhen we found out that the objects were supposed to go on an exhi-bition immediately upon arrival in Kotor. We simply had to find a solutionfor appropriate displaying of these objects since there were no expertsto do the job and we felt responsible for the safety of the objects.As I mentioned earlier, improvisation was not one of the approaches,but the only available one. At that moment we were already familiar withgreat properties of Perspex and its usage in making mounts not only

for glass, but for museum objects in general, so it was to be our firstchoice if our budget had allowed it. We had to turn to other materi-als with similar properties instead. We carried out some experimentswith polyester resins, but we could not obtain a mass transparentenough to serve as a discreet support. After a number of tries withdifferent materials, even those used in restoration treatment, we foundthat none of them were solid enough, so we turned to a simple yetfunctional solution on whose aesthetic appearance and durability wehad some doubts: we made the mounts, where it was suitable, fromfirm but foldable black polished wire.Where do we go from this point? It is clear that we have ideas,knowledge and abilities. It is also clear that displayed glass objectsshould be treated with special attention. It is vague, however, whenwe are going to have that great number of techniques and materi-als, like our Canadian colleagues.

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Cultural heritage containing textile artefacts poses strictest require-ments for safeguarding, conservation and presentation by the merefact that it is of organic origin, i.e. of short lifetime and likely to decayfast. Being sensitive to many factors of destruction, textile requiresspecific treatment conditions.Preventive conservation starts in the storages, storerooms for textile,where the methods of folding and laying including the kind of paperwrap used are of greatest importance. The use of non-acidic paperused to be recommended, while recently some of the museums havealready started using various polyethylene products, such as Tayvek,Vrtek and the like.It is recommended that textile collections should be placed and keptin dry spaces. High humidity and inadequate temperature - and theyare almost always companions and faithful allies of old buildings (thisparticularly refers to the sacral textile kept in situ) - can trigger manydeformations such as swelling, shrinking of fibers, fast ageing andloss of pigments, and finally cause disintegration of chemical com-position of fibers. Inadequate temperature leads to high humidity val-ues and the combination makes excellent basis for development ofmicroorganisms and moulds, which can be detrimental to the object.Light protection is particularly important for the textile being a destruc-tive agent that degrades fibers and colours. Lasting chemical andphysical changes are caused by the natural or artificial light an most-ly by direct light as their invisible short-wave parts of UV spectrumand infra red radiation contribute to worsening of the condition, make

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Experiment with plaster model for casting of polyester resin supportEksperiment sa gipsanim modelom za izlivanje stalka od poli-esterne smole

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Za one koji se bave za{titom arheolo{kog stakla kod nas, konzerva-torski tretman jeste glavni, ali ne nu`no i najkomplikovaniji deo posla.Razlog le i u ~injenici da, zbog dobro poznate finansijske situacije umuzejima Srbije i Crne Gore, kao i nedostatka svesti o va`nostio~uvanja kulturnih dobara, konzervatori moraju da se snalaze nesamo u osmi{ljavanju, nego i u izradi (bolje re~eno improvizaciji) sta-laka za izlaganje predmeta, pogotovo onih koji nisu sa~uvani u celini.Odakle ideje? Standardna konzervatorska literatura ne daje op{irneinformacije ili uputstva o izradi stalaka za izlaganje predmeta pozavr{enom tretmanu. Pri tome mislim na onaj deo literature koji bi semogao, uslovno re~eno, nazvati konzervatorskim ud`benicima. Nasvu sre}u (ali i uz dosta truda) danas vi{e nismo ograni~eni samona "ud`benike". Tu su akti me|unarodnih stru~nih skupova, radovistru~njaka, elektronska prepiska sa konzervatorima iz raznih delovasveta. Tu je tako|e i iva komunikacija kakvu imamo sa SandromDejvison (Davison Studio, London). Me|utim, ne treba zaboraviti niudeo li~nog iskustva koje, s obzirom da je zasnovano na samomkonzervacijskom tretmanu, treba da deluje sugestivno i usmeravaju}e.Na kraju preostaje i zdrav razum, a kombinacija svega pomenutog biu solidnim materijalnim uslovima dala sjajne rezultate, na zadovoljst-vo kako muzejskih radnika, tako i publike. Svi se, naravno, sla`emo da je kod izrade stalaka za izlaganje svihmuzejskih predmeta neophodno zadovoljiti potrebe estetike, ali iza{tite. Me|utim u kom odnosu i kako napraviti taj kompromis, zav-isi od mnogih faktora vezanih za pojedina~ni predmet. Kanadski konzervatorski institut (CCI) je jo{ 1989. godine organizo-vao niz kratkih kurseva o izradi stalaka za izlaganje i ~uvanje muze-jskih predmeta. Kursevi su osmi{ljeni kao radionice namenjenepreparatorima, tehni~arima i volonterima iz manjih kanadskih muzeja,sa ciljem osposobljavanja ovog kadra da se samostalno anga`uje naizradi stalaka. U okviru teorijske nastave, razmatrani su razlozi zbogkojih je neophodno da neki predmeti budu postavljeni na stalak, bezobzira da li je u pitanju posledica o{te}enja ili sam oblik predmetapredstavlja potencijalni rizik. Prakti~ni deo se oslanjao na moto dvo-jice predava~a da je lako zadovoljiti obe osnovne potrebe pri izradistalaka (estetsku i funkcionalnu, tj. za{titnu) ako se ispita veliki brojtehnika i materijala koji su na raspolaganju (u datoj situaciji). Negdeizme|u teorije i prakse, smestio se i konceptualni deo kursa koji jepodrazumevao raspravu o mogu}im oblicima stalaka ili, jednostavni-je re~eno, njihovo osmi{ljavanje. Pri tome je svakako nu`no pridr`avatise op{tih pravila: stalak nikada ne sme ni na koji na~in da izmenistanje i izgled predmeta, predmet treba da ostane u polo`aju koji jeu skladu sa njegovom originalnom funkcijom ili konceptom izlo`be,stalak mora da bude dovoljno ~vrst i trajan kako bi mogao dapridr`ava predmet tokom du`eg vremenskog perioda, ta~ke dodiraizme|u predmeta i stalka moraju da budu dovoljno brojne, bezbed-no postavljene, oblo`ene mekim i hemijski stabilnim materijalom,zatim i sam stalak mora da bude od hemijski stabilnog materijala,oblikom diskretan i jednostavne konstrukcije.Kakva je na{a praksa? Nave{}u jedan veoma ilustrativan primer. Utoku leta 2002. godine zapo~eli smo konzervaciju grupe sred-njovekovnih staklenih posuda, prona|enih u bunaru katedrale Sv.Tripuna u Kotoru. Radi se o predmetima izuzetnog kulturnog zna~aja,koji su, na `alost, zbog svoje krhkosti i lo{eg tretiranja prona|eni uvelikom broju fragmenata. Spajanjem fragmenata nisu dobijene celeposude, a restauracija na ve}ini posuda je bila suvi{e rizi~na, jer suzidovi veoma tanki. Proces konzervacije je zavr{en u prihvatljivomroku, ali problem je nastao kada smo saznali da su predmeti pred-vi|eni za izlaganje i to odmah po povratku u Kotor. U takvim situaci-jama prosto mora da se na|e re{enje, jer za{tita predmeta je jedinizaista bitan faktor. Dakle, kao {to sam ve} pomenula - improvizaci-ja ne samo da ima udela, nego je i jedini na~in postupanja. Tadasmo ve} bili prili~no upoznati sa sjajnim karakteristikama i velikomupotrebom pleksiglasa za izradu stalaka, ne samo za staklene pred-mete, nego za muzealije uop{te i pleksiglas bi bio prirodno opredeljen-je, da su finansije to dozvoljavale. Dakle, po~eli smo da tra imo re{enjeu drugim materijalima sli~nih svojstava. Preduzeli smo nekoliko eksper-

imenata sa poliesternim smolama, ali nismo uspeli da dobijemodovoljno transparentnu masu, koja bi zadovoljila potrebu za diskret-nim podupira~em. Nakon mnogobrojnih razli~itih poku{aja, izme|uostalog i sa nekim materijalima koje koristimo u restauraciji, ali koji suse u ovom slu~aju pokazali kao nedovoljno ~vrsti, pribegli smo jed-nom veoma jednostavnom i funkcionalnom re{enju o ~ijem estetskomefektu i trajnosti postoje dileme - stalke smo, gde je to bilo mogu}e,napravili od savitljive, ali ~vrste ice, ofarbane crnim lakom. Kako dalje? Jasno je da imamo ideje, znanje i sposobnosti. Jasno jei da staklene predmete pri izlaganju treba tretirati sa posebnompa`njom. Nejasno je, me|utim, kada }emo, poput kanadskih kolega,imati na raspolaganju taj pove}i broj tehnika i materijala.

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Zbog svog organskog porekla i sklonosti ka brzom propadanju, teposledi~no kratkog veka trajanja, problem ~uvanja, konzerviranja,restaurisanja i prezentacije kulturne ba{tine tekstilnih artefakata je veli-ki. Ove karakteristike i izuzetna osetljivost na mnoge faktore kojidestruktivno deluju na tekstil, jasno zahtevaju tretman pod posebnimuslovima.Preventivna konzervatorska za{tita po~inje ve} u depoima, gde je odvelike va`nosti na~in zamotavanja i slaganja tkanina, kao i vrste papi-ra koje se tom prilikom koriste. Poznato je da se ve} du`e vremepreporu~uje beskiselinski papir, a u najnovije vreme poneki muzeji supo~eli sa upotrebom raznih proizvoda iz polietilena, pod nazivomTayvek, Vrtek i sli~no. Za ~uvanje i sme{taj tekstilnih zbirki preporu~uju se suvi prostori.Previsoka vla`nost i neadekvatna temperatura, koje su skoro stalnipratioci i "verni saveznici" prostorija u starim zdanjima (to posebnova i za sakralni tekstil, koji se ~uva in situ), mogu da izazovu po~etakmnogih deformacija, kao {to su bubrenje i skupljanje vlakna, ubrzanostarenje i gubitak pigmenta, a na kraju i razlaganje hemijskog sasta-va vlakna. Uz neadekvatnu temperaturu, prevelika vlaga stvara odli~neuslove za razvoj mikroorganizama i plesni, koji mogu da budu veomaopasni. Od posebne va`nosti je da se tekstil sa~uva od svetlosti,po{to ona destruktivno deluje i razgra|uje vlakna i boju. Prirodna ive{ta~ka, a prvenstveno direktna svetlost, koja sadr i nevidljivekratkotalasne delove UV spektra i infracrvenog zra~enja, izazivaju tra-jne hemijske i fizi~ke promene, koje dovode do pogor{anja stanja,ubrzavaju destrukciju i razgradnje vlakna, starenje i boja bledi.

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Solution for one of the Kotor vessels - support made of fibreglassstrenghten with Araldite 2020Re{enje za jedan od kotorskih sudova - stalak od staklenog vlaknau~vr{}en Aralditom 2020

destruction and decay of fibers faster, and lead to ageing and fad-ing of colours.Dust and other impurities from the air covering the textile surfacesdue to the changes of temperature, tend to enter the interior of fibersdeeper during shrinking and stretching of fibers and the sharp edgesof molecules tear and rip filaments causing irreparable damages.(Marina Bellini, Milan 1999).National Museum of Slovenia houses an extremely valuable collec-tion of Coptic textile, that survived thanks to the dry sand as well asto the care of curators and conservators later on. The collection, cov-ering the time span of the 3rd to 9th century, includes 52 fragmentsof garments, screens, covers, etc. In 1889, the curator Muellner bought the collection from the painterKarl Blumauer from Linz for 260 florints for the then State Museum(Darinka Zelinka, Ljubljana 1963). It is assumed to be result of workof Franc Bock, the archaeologist. There were actually two archaeol-ogists excavating in Egypt: Franc Bock and Vladimir Bock. FrancBock in 1888 worked for the towns of Trier and Dueseldorf, andVladimir Bock worked several years later for several European muse-ums. The best-known collection of the textile he excavated is nowkept in the Hermitage Museum in St. Petersburg. Judging by the factthat the Coptic textile came to our Museum in 1890, we couldassume it was result of Franc Bock's excavations form 1885. Wecould also agree with the hypothesis that Karl Blummauer bought thetextile fragments in Egypt where he stayed for some time painting.The textile from the National Museum of Slovenia documents thedevelopment of the Copt methods of weaving from the late antiqueto the typical Coptic style and Syrian-Persian influences.There are some opinions advocating the idea that Copts are genuineascendants of ancient Egyptians, some others think of them as mix-ture of people who lived in Egypt. The Arabs called them Qubt - Coptand this name survived to present times. The name denoted that partof the population in the area, which practiced Christian religion, defin-ing their ethical and religious affiliation. The Copts lived mostly in theNile delta and along its course and this is the area where most ofthe Coptic textiles sites are located.First excavations of the late antique textile were carried out duringNapoleon's conquests of Egypt in 1798-1801.These finds are kept in museums of Paris andTurin, however they were not given particular atten-tion at the time. It was only by the end of the 19thcentury that excavations in Egypt became subjectof vigorous interest. Commissioned by Prof.Karaba~ek in Vienna, Theodor von Graf had beenexcavating there, R. Forrer and many others aswell as the already mentioned Franc Bock andVladimir Bock. This was also the period whenmuseums of applied art were being establishedthroughout Europe, and the decoration propertiesof Coptic textile served as teaching material. Asthere were many excavations done, lots of mate-rial was found which enabled comparison of vari-ous styles. It is understandable that objects of wood,ceramics, glass, ivory, etc. were being dug up, too.The richest sites were those at the burial ground atSakkarah, in Akhmim (ancient Panopolis), at Antinoe, Arsinoe (ancientCrocodilopolis), in Fayyum, and near the ruins of the Bewit monastery.Otto von Falke was the first to research and process the textile found.Collections reached all bigger European and non-European museums,and passionate collectors were buying items for their collections.The huge amount of excavated textile offered insight into the con-temporary fashion in clothes and trimming of textile. Textile decora-tions illustrate the vigorous development of styles and the artefacts ofother materials cannot be compared with the textile in the sense ofthe artistic value. It is not surprising that many museums collectedtextile as basis for design studies in artistic and crafts schools.The preserved artefacts in the National Museum of Slovenia are thefragments belonging to garments, wall hangings, coverings, blanketsand pillows. From the remains of Egyptian excavations and from thefrescoes in catacombs it is obvious that the costume in the HellenisticMediterranean in the 3rd and 4th centuries was generally the same: it

consisted of pallium, toga and the Greek chymation. The Christianstook pallium for their clothing. It should be noted that figures of saintswore the pallium as can be seen on frescoes from the 4th and 6thcenturies in Bewit. In the fifth century there was a change as togawas replaced by tunic, which can be noted on the mosaics inRavenna. Dalmatica and cloaks resemble the dresses worn by ladiesin waiting of the empress Theodora in S. Apolinare Nuovo and SanVitale in Ravenna. Clothes resembling in cut that of Persian costumeswere also found.In some of the museum collections completely preserved specimensof male, female and children's tunics are kept. It seems that the styleof clothes all over the Mediterranean was unified - it was of simpleoblong shape. Decoration of the shirts-tunics was the same be it formales, females or children. The tunic was ornamented with verticalstripes (clavus) descending front and back from the shoulders, 2-10cm broad and with circular or leaf like endings (bula). Stripes can beattached to sleeves also. The circular or square ornaments on shoul-ders are called tabulae. The same ornament is sometimes runningalong the knee level. The end of the tunic is bordered with stripes,and it is called gammadion when decorated with corner ornaments.These tunics were woven in one piece and were not sewn from parts- they are so called "tunicae inconsutiles". The one-piece tunic wasplaced crosswise on the loom, and for the 130 cm long tunic a loomhad to be 280 cm wide. There is possibility that tunics were wovenon the Egyptian vertical loom. It was common belief until now thatthe textile was homemade or in smaller workshops, recent research-es however indicate that even complete manufactures producing tex-tile existed at the time (Marie-Helene Rutschowscaya, Paris 1990).Among the excavated papyri remains with weaving patterns werefound as well as booklets with design patterns. This allows for theconclusion that in some cases the warp was done by one weaverleaving space for decorations, and often another person would finishthe piece. The basic fabric used was made of cotton, and the dec-orative pieces were woolen. It is known that the flax was grown inEgypt already in the times of pharaohs. It was the most appropriatematerial for the climate there, as it keeps cool, it is stable andmicroorganisms neither do nor develop easily on it. It was usually

woven in the so-called linen cloth, i.e. thread ofthe warp is covered with thread of the weft; some-times they would make it in twill and rarely in satinweave. The ornaments were woolen in doubleface tapestry technique, which required verticallooms. For decorating the so-called silhouettetechnique was also used. Bright coloured threadcurves on the surface and thus makes a veryexpressive ornament. Sometimes ornaments wereattached to the tunics. There are also fabricswoven with supplementary looped weft pattern,thus giving the impression of a shaggy rug. Thesewere made for cold weather, as the loops held theair which warmed them. Copts made silk gar-ments as well, but we do not possess suchpieces in our collection. The flax used for linenwas not dyed, and sometimes it was bleached orfaded in the strong sun or by washing. The wool

used for decorating linen was dyed. Mostly primary colours wereused: red, blue, yellow and black and their nuances. The red, whichwas very appreciated, came form the roots of Rubia Tinctorum. It wasfirst used by the Egyptians. By diluting the paint and by mixingcolours the Egyptians produced numberless variants, thus creatingrich palette of various tints. The red paint was also gained from thelichen Rocella, which grows on the rocks along the Mediterranean coast.There were also ancient recipes for making the paint of eggs laid byinsects Querqus coccifera. Shades from crimson to purple and from darkpurple up to almost black and blue purple were produced from the shellMurex Brandoris. The procedure was most complicated and expensiveso they used this paint, especially in later periods, mainly for decoratinggarments of higher church dignitaries and nobility.For the blue colour they used the plant known as Indigofera tinctorreagrown mainly in India and Indigo Argentea grown in Nubia andAbyssinia.

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Pra{ina i druge ne~isto}e iz vazduha, koje se skupljaju na povr{initekstila zbog promene temperature, tokom procesa skupljanja irastezanja vlakana prodiru dublje u unutra{njost vlakna, o{trim ivica-ma molekula kidaju i paraju filamente i tako izazivaju nepopravljivu{tetu (Marina Bellini, Milano 1999).U Narodnom muzeju Slovenije ~uvamo izuzetnodragocenu zbirku koptskih tkanina, koja jesa~uvana zahvaljuju}i suvom pesku i kasnijoj brizikustosa i konzervatora. Zbirka obuhvata 52 frag-menta ode}e, zastora, pokriva~a i dr., nastalih urasponu od 3. do 9. veka posle Hrista. Zbirka je u muzej stigla davne 1889. godine, kadju je kustos Müllner kupio za 260 fl. od slikaraKarla Blumauera iz Linca za tada{nji De`elni muzej(Darinka Zelinka, Ljubljana 1963). Pretpostavlja seda je taj materijal rezultat rada arheologa FrancaBocka u Egiptu. U Egiptu su, naime, iskopavaladva stru~njaka sa istim prezimenom: Franc Bock iVladimir Bock. Franc Bock je 1888. godine radioza gradove Trir i Dizeldorf, a Vladimir Bock, neko-liko godina kasnije, za vi{e evropskih muzeja, a najpoznatija zbirkanjegovih tkanina danas se nalazi u Ermita`u u St. Petersburgu. Po{tosu koptske tkanine do{le u na{ De`elni muzej 1890. godine, do{la biu obzir iskopavanja Franca Bocka iz 1885. godine. Tako|e mo`emoda prihvatimo i pretpostavku da je Karel Blumauer fragmente tkani-na kupio u Egiptu, gde je neko vreme boravio kao slikar.Na tkaninama iz Narodnog muzeja Slovenije, koje obuhvataju periodod 3. do 9. veka posle Hrista, mo`emo da pratimo razvoj koptskogtkanja od kasne antike do tipi~no koptskih manira i sirijsko-persijskihuticaja. Neki smatraju da su Kopti ~isti potomci staroegipatskog stanovni{tva,dok drugi smatraju da su me{avina naroda koji su iveli u Egiptu.Arapi su ih zvali kipt - kopt i to ime je ostalo sve do dana{njih dana.Re~ kipt je ozna~avala deo stanovni{tva koji je na egipatskomgeografskom podru~ju ostao veran hri{~anstvu i definisala je njihovueti~ku i versku pripadnost. Kopti su uglavnom iveli na prostoru deltereke Nila i uz njegov tok, a na tom prostoru se nalazi i najve}i brojnalazi{ta koptskih tkanina. Prva iskopavanja kasnoanti~kih tkanina bila su u vremeNapoleonovog osvajanja Egipta, izme|u 1798. i 1801. godine. Te tka-nine se danas nalaze u muzejima Pariza i Torina, me|utim, u onovreme nisu pobu|ivale posebnu pa`nju. Tek krajem 19. veka javlja seveliko interesovanje za iskopavanja u Egiptu. Po narud`bini profeso-ra Karaba~eka iz Be~a iskopavanja je izvodio prvo Theodor von Graf,a zatim ve} spomenuti Franc Bock i Vladimir Bock, R. Forrer, temnogi drugi. To je ujedno i vreme kada su u Evropi osnovani muzejiprimenjene umetnosti, pa je dekorativnost koptskih tkanina i ma{tovi-tost njihovih uzoraka slu ila za {kolski program. Po{to se dostaiskopavalo, na|eno je dovoljno materijala koji je omogu}io da seizvede komparacija stilova. Osim tkanina iskopani su i predmeti oddrveta, keramike, stakla, slonove kosti, itd. Najbogatija nalazi{ta bila su na groblju kod Sakare, u Ahminu (staromPanopolisu), kod Antinoje, Arsinoje (starom Krokodilopoisu), uFajumu, kao i kod ru{evina manastira Bevit. Prvi je tkanine stru~noobradio i istra io Otto von Falke. Zbirke su do{le u sve ve}e evropskei vanevropske muzeje, a kupovali su ih i strasni kolekcionari za pri-vatne zbirke. Ta ogromna koli~ina iskopanih tkanina omogu}ila je uvid u tada{njina~in odevanja i ukra{avanja tekstila. Ukrasi na tekstilu prikazujubogat razvoj stila, tako da se artefakti drugih materijala ne moguporediti sa tkaninama po umetni~kom kvalitetu. Zato nas ne ~udi dasu ih mnogi muzeji skupljali kao osnovu za studije dizajna u umet-ni~ko-zanatskim {kolama. O~uvani artefakti u Narodnom muzeju Slovenije su fragmenti ode}e,zastora, pokriva~a, pokrova i jastuka. Iz ostataka egipatskih iskopina isa fresaka u katakombama, o~igledno je da je no{nja u helenisti~komSredozemlju u 3. i 4. veku bila svugde ista: nosio se pallium, toga igr~ki himation. Pallium su preuzeli i hri{~ani, {to je evidentno posebnou prikazima figura svetitelja (kao naprimer na freskama u Bevitu iz 5. i6. veka). U 5. veku je do{lo do promene, {to se uo~ava na mozaikuu Raveni, gde je toga iz~ezla i zamenjena je tunikom. Dalmatike i

ogrta~i podse}aju na ode}u koju nose `ene iz pratnje carice Teodoreu San Apolinare Nuovo i San Vitale u Raveni. Tako|e, prona|ena jeode}a koja po kroju podse}a na persijske no{nje. Nekoliko muzejskih zbirki u svetu ima potpuno sa~uvane primerke

mu{kih, `enskih i de~ijih tunika. ini se da je krojode}e u celom Sredozemlju bio jedinstven - jed-nostavnog pravougaonog oblika. Ukras ko{uljatunika bio je isti na mu{koj, enskoj i de~ijoj ode}i.Kao ukrasi, sa ramena se uglavnom spu{taju trakena grudi i le|a (clavus). [iroke su 2 - 10 cen-timetara i na kraju se zavr{avaju kru`no ili u oblikulista (bula). Trake mogu da se nalaze i na rukav-ima. Kru`ni ili ~etvorougaoni ukrasi na ramenimazovu se tabule. Isti ukrasi su ponekad stavljeni i uvisini kolena. Donja ivica tunike ukra{ena je traka-ma, a kada su zastupljeni ugaoni ukrasi govorimoo gamadiju. Te tunike su tkane u jednom komadui nisu naknadno {ivene od vi{e delova, takozvane"tunicae inconsutiles". Po{to je tunika iz jednogdela na razboju le`ala popreko, za tuniku dugu

130 cm bio je potreban razboj {irine 280 cm. Postoji mogu}nost dasu tunike tkali na egipatskom vertikalnom razboju. Do sada se tvrdi-lo da su tkanine tkali u doma}oj proizvodnji ili manjim zanatskimradionicama, me|utim, najnovija istra ivanja govore o tome da su uto vreme postojale ~ak i ~itave manufakture koje su se time bavile(Marie - Hélène Rutschowscaya, Paris 1990). Me|u papirusima kojisu iskopani prona|eni su ostaci sa predlo{cima za tkanje, kao i knjigesa uzorcima. Iz toga mo`emo da zaklju~imo da je u nekim primeri-ma osnovu tkao jedan tka~, a za ukrase je ostavljao slobodno mesto,koje je ~esto zavr{avao neko drugi. Osnovna tkanina je bilo platnoistkano od lanenih niti, a ukrasni delovi su bili izra|eni od vune.Poznato nam je da se lan proizvodio u Egiptu jo{ u vreme faraona.On je bio najprimernija tkanina za tamo{nje klimatske uslove, jer jehladan i postojan i na njemu se mikroorganizmi te`e zadr`avaju.Uglavnom su lan tkali u takozvanom platnenom tkanju, to jest jednunit osnove prekriva jedna nit potke, ponekad su tkali u kepru, a retkou atlasu. Ukrase su tkali od vune u tehnici goblena, tako da su licei nali~je isti, a za tu tehniku su morali da upotrebljavaju vertikalnerazboje. Tehnika ukra{avanja koja se ~esto pojavljuje je i takozvana"lete}a igla". To je tehnika kada nit svetle boje vijuganjem po povr{inistvara ornament vrlo ekspresivnog karaktera. Ponekad su ukrasena{ivali na tunike. Osim toga, me|u tkaninama susre}emo i tkanje u obliku spu{tenihpetlji koje su veoma guste i stvaraju utisak ~upavca. Takve tkanine su upotrebljavali za hladnije dane,jer se izme|u petlji zadr avao vazduh, koji ih je grejao. Kopti su tkali isvilenu ode}u, me|utim, na{a zbirka ne raspola`e takvim tkaninama. Lan,koji su upotrebljavali za osnovno tkanje, je uglavnom bio prirodneboje, a ponekad su ga izbeljivali ili je izbledeo sam na jakomsuncu i kroz pranje. Vuna kojom su ukra{avali lanene proizvode je bila bojena. Uglavnomsu upotrebljavali osnovne boje: crvenu, plavu, `utu, te crnu, kao i svenjihove nijanse. Crvenu boju, koja je bila na visokoj ceni, dobijali suiz korena biljke Rubia Tinctorum. Tako dobijenu crvenu boju prvi suupotrebljavali Egip}ani. Razre|ivanjem i dodavanjem drugih bojadobijali su bezbrojne nijanse, {to je stvaralo bogatu paletu razli~itihtonova. Crvenu boju su proizvodili i iz li{aja Roccella, koji raste nastenama uz mediteransku obalu. Osim toga, ovu boju dobijali suprema starim receptima, kori{}enjem jaja insekata Querqus cocciferana poseban na~in. Nijanse vinsko crvene, od ljubi~aste i braonljubi~aste do skoro crne i plavo ljubi~aste boje, su se dobijale izekstrakta {koljke Murex Brandoris. Postupak proizvodnje ovih boja bioje vrlo komplikovan i skup, zbog ~ega su tu boju, posebno u kasni-jim vremenima, upotrebljavali za ukra{avanje ode}e vi{ih crkvenih isvetovnih dostojanstvenika i pripadnika visokih dru{tvenih slojeva.Za proizvodnju plave boje koristili su biljku zvanu Indigofera tinctor-rea, koja uglavnom raste u Indiji, ali i iz Indigofere Argentee iz Nubijei Abisinije. U Narodnom muzeju Slovenije u toku su pripreme za stalnu postavkuizlo`be egipatske zbirke i koptskih tkanina u novim prostorijama, koje}emo dobiti nakon sre|ivanja suterenskih prostora muzeja. Za tu pri-liku pripremili smo plan opse`nih konservatorsko restauratorskihpoduhvata na predmetima iz starog Egipta.

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The National Museum of Slovenia is preparing the permanent displayof its Egyptian collection and of Coptic textile to be exhibited in thenew rooms. Underground works in part of the Museum will providethe space. An extensive conservation and restoration treatment planfor these objects has been done.The following damages were stated on the Coptic textile:- Oxidation and brown stains- Perforations due to nailing of the objects- Perforations as result of insects activity- Damages of the weft- Damages of the warp - Threads dissipated - Traces of underlying paperDoubled gauze providing firmness to the fragile materialIt is not possible at this moment to define what caused damages. Ithas been known that textile artefacts would be cut into pieces dur-ing excavations. This can be proved by analysis of analogous frag-ments kept in various museums throughout the world. As trading oftextile fragments was more lucrative, today complete objects savedare rarely to be found. This means that first damages were doneimmediately after the object was excavated. Another damage iscaused by the gluing. Namely, glue penetrates the fiber pores and isvery difficult to remove. Luckily in our case the glue comes fromstarch and in very thin layers, so there should be no bigger prob-lems removing it. The textile was also damaged by insects. Some ofthe materials were attacked by moths, and some by carpet beetlesand silverfish (a wingless insect). The rust and oxidized areas werefound in several places. It might have been caused by long lastingeffect of nails used for fastening the textile to the support. The pos-sible transfer of the oxidized iron to the fibers will be examined byXRF method in the laboratory of the National Museum of Slovenia.There is no explanation why some pieces of paper were glued to thefabric. On the backside one could see traces of pencils and water-colours used for making lines. Perforations that are visible in manypieces are due to the age and decay of threads woven. In places,there are additional deformations found where the pieces were gluedto the support and are due to stretching of the warp threads in var-ious irregular directions. Textile contains also various dirt, which hasto be examined.We have made detailed photo-documentation including the precisedocumenting of damages. Before starting anyconservation and restoration treatment it isnecessary to prepare substantial documenta-tion: description of the object and injuries,photo-documentation and sometimes it isnecessary to make drawings to provide higherlevel of veracity. We investigated the artefactsagain, loaded the data into the computer doc-umentation program Fundus and into conser-vation documentation programme Patina,which are constantly fed with data on theresearch, process of work and new findings.Quite a number of microscopic analyses of thefabric fibers, in this case of the flax, have beenalready done. There are researches yet to bedone. Such investigations tend to be preced-ing ones and are the component part of con-servation restoration treatment.We are planning electronic microscopic sur-veys (SEM) within the project carried out at theFaculty for Textile Technology, as well as FTIRand XRF analyses, in the laboratory of theNational Museum of Slovenia.When textile rarities are concerned and the Coptic textile from theNational Museum of Slovenia collections are such rarities, it is onlyundestructive methods that should be used even in the researching.The analyses are to be done within the project at the Faculty forTextile Technology in Ljubljana. Restoration will be done in the textileworkshop of the National Museum of Slovenia. The leading principle willbe that of reversibility and minimum intervention into the structure of arte-facts and their messages. Moral principles and professional attitude

are obliging. We shall carefully consider every step and assess theneed for it as well as the aim to be achieved. One should be awarethat even seemingly innocent but necessary treatments, such aswashing, could cause irreversible changes.It is not enough to conserve the material - the textile should be prop-erly and adequately stored.Ancient textile and cloth of special importance for national identitymust be protected during the exhibiting as well.Specific lights conditions are planned for the Coptic textile from theNational Museum of Slovenia collections. The exhibition rooms haveto be equipped with two systems of lights. The first one is the gen-eral system of lights in display rooms, and the second one shouldenable specific lights or, if needed, darkening of the space.Temperature of the lights should be 6500 K. The light should be atleast of 20 µ Wm2 or 75 µ W/lumen of radiation. The showcases withthe textile should have internal cold light with locally regulated lights(less than 50 lux). No daylight should be allowed in the display room.During exhibition of the textile the amount of light received by the tex-tile should be monitored and as soon as the values are reached thetextile artefacts must be removed from the display and placed understrict regime of storing.The climate properties should be constant and answer the needs ofsafe keeping textile artefacts. The RH values may be between50%±55%, and temperature between 19±2o C. Air-conditioningequipment should compensate for the presence of visitors effects tothe microclimate in the display rooms. Air let into the room should beclean of the dust up to 99,9%. Of great importance both for the vis-itors and for the objects is ventilation of the rooms. This is prescribedby specific regulations. As for the objects, it is most important thatthe air does not contain gasses (H2S, SO2, NOx) or at least theirvalues should be kept to given values. They are most harmful due tochemical reactions and transformation into other chemical com-pounds. All building materials and the material used for equipmentshould be neutral. They are not to produce acid or sulphuric vapoursin form of gas (wall to wall carpets such as Tapison or Itison, lac-quers, wall paints, metal and wood paints).We are fully aware that it is difficult to provide these requirements andthat it will significantly raise the costs. However, adequate safekeep-ing and displaying conditions of objects is part of the education andit is our duty to persist in this and defend these requirements by solid

arguments.All this is recommended by preventiveconservation centres. Greater attentionbeing paid to preventive conservationis a recent phenomenon in the pro-fessional community. It is only for thepast thirty years that the issue hasbeen discussed. Since the 1970's there were centralinstitutes established for researchingcultural heritage in various countries,such as Canadian ConservationInstitute, in Canada, GettyConservation Institute in USA, as wellas Institute for Cultural Heritage in theNetherlands. They connect with manyuniversities engaged in researching.Scientific research has already givenresults, regretfully more in theory forthe moment (Conservation Science,London 2002). Researches includeobjective considerations and attitudes

from the first moment we handle the object, then in storing, conser-vation treatment and displaying. All these segments are most impor-tant, but a dialogue between the curator and the conservator isinevitable for a complete and comprehensive approach to the object.Preventive conservation includes all aspects of condition analyses aswell as assessment of long time stability monitoring in collections andin time discovering of possible deterioration but also searching forsolutions leading to appropriate decisions and treatments.

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Na koptskim tkaninama smo do sada konsta-tovali slede}a o{te}enja:- Oksidacija i mrlje braon boje - Perforacije nastale kao posledicapri~vr{}ivanja ekserima- Perforacije nastale delovanjem raznih insekata- Prisutnost mikroorganizama- O{te}enja potke- O{te}enja niti osnove- Prore|enost niti- Tragovi podlepljenog papira- Duplirana gaza koja je davala potrebnu~vrstinu krhkom materijaluSada ne mo`emo da tvrdimo kako suo{te}enja nastala. Poznato je da su ve} pri-likom samog iskopavanja pojedini tekstilni arte-fakti bili razrezani na vi{e komada, o ~emu namgovore analogni fragmenti koji se nalaze urazli~itim muzejima {irom sveta. Po{to su trgov-ci o~ito vi{e zara|ivali prodajom tekstilnih frag-menata, danas su retki predmeti sa~uvani ucelini. Dakle, prve {tete nastale su neposrednonakon samog iskopavanja. Slede}a o{te}enjanastala su podleplivanjem. Lepak, naime,prodire u sve pore vlakana i veoma te{ko seodstranjuje. Sre}om, u na{em primeru radi seo skrobnom lepku, u veoma tankim nanosima,tako da nam to ne}e predstavljati ve}e pote{ko}e prilikom odstran-jivanja. Na tkaninama smo tako|e na{li, tragove o{te}enja prouzroko-vane insektima. Neke od materijala su na~eli moljci, a neke insektzvani srebrna ribica, kao i }ilimska buba (carpet beetle). R|a i oksidi-rane povr{ine prona|eni su na vi{e mesta. Mo`emo da pretpostavimoda je to posledica dugotrajnog delovanja eksera, kojima je pri~vr{}ivanatkanina. Da li se radi o preno{enju oksidacije gvo`|a na tkaninu, ispi-ta}emo XRF metodom u laboratoriji Narodnog muzeja Slovenije. Neposredno na samu tkaninu bili su, iz nepoznatih razloga, prilepljenii izvesni listi}i papira. Na pole|ini su viljivi tragovi obi~ne olovke i boji-ca, kojima su iscrtane linije. Perforacije, koje vidimo na mnogim tkan-inama, nastale su zbog starosti i raspada niti tkanja. Ponegde su, lep-ljenjem na osnovnu podlogu, nastale dodatne deformacije, koje suprouzrokovane zatezanjen niti potke i osnove u razli~itim nepravilnimsmerovima. Na tkaninama su prisutne i razne prljav{tine, koje trebada prou~imo. Do sada smo celu zbirku detaljno fotodokumentovali, uklju~uju}idodatnu, preciznu dokumentaciju o{te}enja. Pred po~etak bilo kogkonzervatorsko restauratorskog procesa potrebno je uraditi temeljnudokumentaciju: opis predmeta i o{te}enja, fotodokumentaciju, aponekad je potrebno, zbog ve}e verodostojnosti, dokumentovatistanje predmeta i vernim crte`om. Artefakte smo ponovno izmerili,uneli smo ih u dokumentacioni kompjuterski program Fundus i ukonzervatorski program za dokumentaciju Patina, u koji stalno doda-jemo nove podatke o istra ivanjima, procesu rada i novim saznanji-ma. Do sada je napravljen prili~an broj mikroskopskih analiza vlakanaosnovne tkanine lana iz na{e zbirke. Slede istra ivanja koja su svevi{e priprema konzervatorsko restauratorskih poduhvata i u svakomslu~aju su njihov sastavni deo. U planu imamo elektronsko mikroskopsko snimanje (SEM), koje}emo vr{iti u okviru projekta na Fakultetu za tekstilnu tehnologiju,zatim FTIR analize, te XRF analize, za koje }emo koristiti laboratorijNarodnog muzeja Slovenije. Za tekstilne raritete, a u tu grupu u svakom slu~aju spadaju i koptsketkanine iz zbirke Narodnog muzeja Slovenije, nu`no je koristitinedestruktivne metode - ve} i u samom istra ivanju. U tu svrhuizvr{i}e se analize u okviru projekta na tekstilnom fakultetu u Ljubljani.Restaurisanje }emo obaviti u tekstilnoj radionici Narodnog muzejaSlovenije i vodi}e nas na~elo reverzibilnosti i minimalne intervencije nastrukturi artefakta i njegove vekovne poruke. Moralna na~ela, kao iprofesionalnost u radu, nas u tome obavezuju. Dobro }emo razmislitio svakom postupku i njegovoj nu`nosti, te svrsi. Treba prihvatiti~injenicu, da i naizgled nevini postupci, koji su ~esto neophodni - kao{to je na primer pranje, mogu da prouzrokuju nepovratne promene.

Samom konzervacijom ni{ta nismo u~inili, akose ne pobrinemo da tekstil na odgovaraju}ina~in ne bude sme{ten u depo. Tekstil starosti vredne po{tovanja i tkanine odizuzetnog zna~aja za nacionalni identitetmoramo da za{titimo posebnim re imom i pri-likom pripremanja izlo`bi.Za koptske tkanine iz Narodnog muzejaSlovenije, zbog va`nosti zbirke, predvideli smoposeban re im osvetljenja. U prostorijama suplanirana dva sistema osvetljenja: generalni sis-tem za op{ti re im osvetljenja prostorija imogu}nost pojedina~nog osvetljenja ili popotrebi zatamnjenja u svakom prostoru.Temperatura boje svetlosti treba da bude 6500K. U svetlosti mora da bude manje od 20 µW/m² ili 75 µW/ lumen zra~enja. Vitrine u kojimasu izlo`ene tkanine moraju da imaju svoje inter-no, hladno osvetljenje, sa lokalnom regulacijomja~ine svetla (manje od 50 luxa). U prostoriji nesme da bude prisutna prirodna svetlost. Svevreme dok je tekstil izlo`en mora se kontrolisatii bele iti koli~ina svetlosti koju je tekstil primio.Kada koli~ina primljene svetlosti pre|e dozvol-jenu granicu, tekstilni artefakti se moraju sklonitisa izlo`be i premestiti u stro iji re im ~uvanja. Klima mora da bude konstantna i takva da

zadovoljava potrebe sigurnog ~uvanja tekstilnih artefakata. Vlaga smeda varira izme|u 50 % - 55%, a temperatura mora da bude19 ± 2ºC.Aparati za klimatizaciju (klima ure|aji) moraju da imaju kapacitet kojimbez te{ko}a kompenzuju uticaj prisustva posetilaca na klimu pros-torija u kojima se tkanine nalaze. Vazduh koji dovodimo u prostorposebnim sistemom mora da bude o~i{~en od pra{ine do 99,9 %.Provetravanje prostorija je od velike va`nosti kako za posetioce, takoi za same predmete. [to se ti~e predmeta, od velike je va`nosti dau vazduhu ne postoje gasovi (H²S, SO², NOx) koje u svakom slu~aju

moramo da snizimo na propisane vrednosti, jer su gasovi posebnoopasni zbog izazivanja hemijskih reakcija, vezivanja i transformisanjau druga hemijska jedinjenja. Na~ini i uslovi provetravanja prostorija zaposetioce odre|eni su posebnim propisima. Svi gra|evinski materijali i materijali od kojih je izra|ena oprema uprostorijama moraju da budu hemijski neutralni. tj. u svom sastavune smeju da imaju kiselih i sumpornih jedinjenja, koja mogu da ispar-avaju. Ne smeju da bude kiselih isparenja ili sumpora u obliku gasa(tapisoni, itisoni, lakovi, mineralne boje, boje za metal i drvo). Svesni smo da je te{ko istrajati u ovakvim zahtevima i da oni veomaposkupljuju ceo postupak. Postojanje adekvatnih uslova za ~uvanje iizlaganje predmeta sadr i i edukativan momenat i na nama je da uovim zahtevima istrajemo i da ih argumentovano branimo.Sve to je ujedno i preporuka svih centara koji se bave preventivnomza{titom. Pove}ana pa`nja koja se posve}uje preventivnoj konzervacijiprisutna je u stru~nom svetu tek od nedavno. Tek poslednjih tridese-tak godina o toj temi pridaje odgovaraju}i zna~aj. Sedamdesetih godina su u nekoliko zemalja osnovani centralni insti-tuti za istra ivanja u oblasti o~uvanja kulturne ba{tine, kao npr.Canadian Conservation Institut u Kanadi, Getty Conservation Institut uSjedinjenim Ameri~kim dr`avama, te Institut for Cultural Heritage uNizozemskoj. Oni su povezani sa mnogim univerzitetima na kojimase obavljaju istra ivanja. Nau~na istra ivanja ve} su dala rezultate, na`alost do sada vi{e na teorijskom nivou (Conservation Science,London 2002).Istra ivanja obuhvataju nau~no argumentovano posmatranje i pristuppredmetu od prvog momenta, sme{tanja u depo, konzervatorskeobrade do izlaganja. Svi ovi segmenti su od velike va`nosti, me|utim,bez plodnog dijaloga i saradnje izme|u kustosa i konzervatora, kom-pletan i sveobuhvatan pristup predmetu ne}e biti mogu}. Preventivnakonzervacija, naime, obuhvata sve aspekte i analize uslova i rezulta-ta dugogodi{njeg pra}enja faktora stabilnosti zbirke i pravovremenootkrivanje eventualnog pogor{anja, te tra`enje pravilnih odluka ire{enja.

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AArrcchhaaeeoollooggyy ooff tthhee IIIIrroonn GGaatteess JJellenaa Kondiicc, aarccheolloggiist/ museum ccounsellllor, Heaad of the Iron Gaate Arcchaaeolloggiiccaall Museum, heaad of the Dept.. of Arcchaaeolloggyy of the Naatiionaall Museum Bellggraade

The name Iron Gate (Djerdap) designates the region, which stretch-es along the bankline of the middle course of the river Danube, fromGolubac to the mouth of the river Timok, with immediate hinterland.In millions of years, the Danube was cutting its way through the rockymassive of Transylvannian Carpathes creating not only the biggest,but also one of the most beautiful gorges of Europe. This region islocated on the main and the most natural transit line, which travers-es Europe in east-west direction, representing the shortest connec-tion between the Black Sea coast and steppes east of the Danubiandelta and the Southeastern and Central Europe. From the ancient times,this is the area where cultural connections have spread in all directions,especially from eastern Mediterranean, Aegean and Black sea. Even inthe far Prehistory, these lands served as a bridge for numerous migra-tions. Hence, various influences both spiritual and material in natureflowed through this region and wars and destruction of existing cul-tures took place here. However, it was also the point of transitfor the lands beyond and of temporary or permanent habitation. This area is characterised by cultural and urban continuity from theearliest Prehistory, over Antiquity and Middle Ages, to the day pres-ent. The significance of rich cultural and historical heritage discoveredin the region dating from Prehistory to the Middle Ages, surpassesthe national bounds being integral part of the roots of the Europeancivilisation. Over eighty archaeological sites have been identified andinvestigated in continuity, during past three decades. Many of them areunder water today, because the river was elevated during the construc-tion of the hydroenergetic and the navigation system Djerdap. With somespecial measures taken, some of the international cultural heritage wasrescued: Lepenski Vir, Tabula Traiana, Traian's bridge.The beginning of the settlement process and hunting and gatheringeconomy, can be traced back to the end of Earlier Stone Age - thePaleolithic period and the Middle Stone Age - the Mesolithic period,that is 18 000 - 6 000 BC. Mesolithic period is a transition betweenthe hunting economy of Paleolithic nomads to agricultural and stock-breeding economy of the Neolithic. One of the important character-istics of those times was leaving the caves and forming of settle-ments in the open space, which also marks the beginning of theLepenski Vir culture.Researches in the Iron Gate Region gave numerous new finds of thePrehistoric civilisation, important, especially, for studying the Eneolithic,the Bronze Age and the Iron Age. Discovery of Lepenski Vir (at Donji Milanovac) sensationally resound-ed in international archaeology. The remains of an unknown highlydeveloped Mesolithic-Preneolithic culture were found in Europe forthe first time. It was the culture, which had developed monumentalstone plastic art and a previously unseen architecture, making thissite unique in Europe.For the first six centuries of our era, the river served as a limes divid-ing the Roman Empire and barbarian lands. Already at the beginningof the Tiberius' reign (14 - 37 AD) it became obvious that currentgeopolitical situation required establishing of the communication sys-tem between Panonia, Lower Danube and the Balkan par5t of theBlack Sea coast. So, the road through the Upper Gorge was tracedalready during the thirties. Its construction was started by the firstlegions of the Danubian Roman province Moesia (Moesia Superior inlater times) IV Schytica and V Macedonica. The tables of emperorsClaudius (46) and Domitian (92/93), carved into the rocky cliff abovethe road, bore testimony of later repairs and phases of construction.Today, both these inscriptions are under water. The most importantinscription, Tabula Traiana (100 AD) was rescued from submerging bycutting the part of the rock on which it was inscribed, and elevatingit at the higher level, above the rising Danube waters (it is located atTekija, Roman Transdierna). By the time of his preparations for theDacian Wars (100 AD), Emperor Traian had finished the most difficultsection of the road in the Lower Gorge. A year after this great featof the Roman engineers, the emperor built a channel bypassing thedangerous and overpowering cataracts at fortification Diana (Karata{).

Between the two Dacian wars 103 - 105, with the help of his archi-tect Apolodorus from Damascus, about 4 km from Kladovo down-stream, Traian builds the magnificent bridge over the Danube, one ofthe greatest construction wonders of the Roman architecture. Thebridge was supported by 20 monumental pillars in the riverbed andfour on the each bank. The full length of the bridge was 1139.90m.Besides stone fortifications, Traian also paid great attention to theconstruction of the port (Prahovo - Aquae). The most importantTraian' construction enterprises in the Iron Gate sector, together withDiana and Pontes, were, luckily, saved and preserved.Besides of the few Late Roman fortifications, downstream of Kladovo,near Negotin, there are well known representative Late Roman sitesGamzigrad (Felix Romuliana) and [arkamen as well as monumentsof national architecture and more recent monuments of culture Ourpast is important because it has determined what we became, whatwe are. Archaeology is the only instrument we have to discover ourmost ancient origin, material remains of the creativity of Man. Scientificand cultural value of ancient documents of several millenia long writ-ten and unwritten history, focuses in a few nodal points of history ofthe ancient Balkan and Europe.In Kladovo, the central point of the whole region, the ArchaeologicalMuseum was opened in 1996 (The museum was presented in theissue 7 of Diana newsletter). Continually displaying the best and mostsignificant finds discovered during the archaeological research of theIron Gate, together with the Museum of Lepenski Vir (located on thesite Lepenski Vir), it presents in best manner the process of birth anddisappearance of many European civilisations during more than tenmillenia.The work, which has been done until present, is enough to finish allstarted activities, especially regarding presentation, conservation, sci-entific processing and publication of huge collected data, which is along-term project. Still, presently, sufficient conditions were acquiredin this area, the centre of the Iron Gate region, to regard the NationalPark Djerdap and Archaeological Park, in every sense, as one of themost important and wealthiest regions of Danubian territory, and thatin the scope of its utilisation in scientific as well as cultural, econom-ic, tourist, education and sports - recreational purposes.

AArrcchhaaeeoollooggiiccaall MMuusseeuumm ooff tthhee IIrroonn GGaattee - NNeewwssJJellenaa Kondiicc, aarccheolloggiist/ museum ccounsellllor, Heaad of the Iron Gaate Arcchaaeolloggiiccaall Museum, heaad of the Dept.. of Arcchaaeolloggyy of the Naatiionaall Museum Bellggraade

This year, in this highly specialised museum of archaeology of theIron Gate region, several important projects and activities have beenrealised. Acting as a modern institution in the field of cultural heritageprotection, with the continuous support primarily from the Corp.Djerdap/ HP Djerdap, and then the Ministry of Culture and the localauthorities, with assistance of interinstitutional expert teams and

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Building with floor-heating at Diana CampObjekat sa hipokaustom na lokalitetu Diana-logor

OO aarrhheeoollooggiijjii rreeggiijjee GGvvoozzddeenniihh VVrraattaa -\\eerrddaappJJellenaa Kondii}, aarheollogg/muzejjskii saavetniikRukovodiillaacc Arheollo{kogg muzejjaa \erdaapaa/{ef Centraa zaa aarheolloggiijjuNaarodnogg muzejjaa u Beoggraadu

Pod imenom Gvozdena Vrata, podrazumeva se linija obale srednjegtoka Dunava, od Golupca do u{}a Timoka sa neposrednim zale|em.Na ovome prostoru, milionima godina Dunav je probijao svoj prolazkroz stenovite masive Transilvanskih Karpata stvaraju}i ne samonajve}u, nego i jednu od, svakako, najlep{ih klisura Evrope. SektorGvozdena vrata nalazi se na glavnoj, najkra}oj, prirodnoj saobra}ajni-ci, koja u pravcu istok-zapad preseca Evropu, vezuju}i takocrnomorsku obalu i stepe isto~no od delte Dunava sa jugoisto~nomi centralnom Evropom. Od najranijih vremena, ova oblast bila jepodru~je kojim su strujale kulturne veze u svim pravcima, a pre svegaod isto~nog Mediterana, Egeja i Crnog mora. Preko ovog prostora,kao preko nekog mosta, jo{ u dalekoj istoriji, prelazile su razne i bro-jne ljudske migracije, priticali uticaji materijalne i duhovne kulture, vodilise ratovi i uni{tavala postoje}a materijalna dobra, prelazilo prekonjega odlaze}i u druga, udaljenija podru~ja ili se tu, pak, privremenoili trajno naseljavalo, vr{ila se organizacija i ure|enje tog prostoraprema potrebama nosilaca vlasti.Ovo podru~je karakteri{e izrazit kontinuitet kulturnog i urbanog trajanjai to od najranije praistorije, preko antike i srednjeg veka, do dana{njihdana. Bogato kulturnoistorijsko nasle|e otkriveno na ovim prostorimapredstavlja ba{tinu od izuzetnog nacionalnog interesa, ali i za po~etkeevropske civilizacije. Na podru~ju Gvozdena vrata (Golubac - Negotin), u kontinuitetu, tokom protekle tri decenije, evidentirano je i nau~noistra`eno preko osamdeset lokaliteta, koji su danas, usled podizanjanivoa reke i stvaranja akumulacija za potrebe hidroenergetskog iplovidbenog sistema \erdap, pod vodama Dunava. Posebnim mera-ma, u cilju za{tite od potapanja, spaseno je svetsko kulturno nasle|e:Lepenski Vir, Tabula Traiana, Trajanov most.Po~etak procesa naseljavanja i lova~ko-sakuplja~ke ekonomike, pratise od kraja starijeg kamenog doba paleolita i srednjeg kamenogdoba mezolita, oko 18 000. do 6 000. godine stare ere. Mezolit je upraistoriji period prelaza od lova~ke privrede paleolitskih nomada nasedela~ku ekonomiju neolitskih zemljoradnika i odgajiva~a stoke.Jedno od bitnih obele`ja je napu{tanje pe}ina i formiranje naselja naotvorenom prostoru, kada po~inje kultura Lepenskog Vira.Mla|a razdoblja praistorijskih kultura, eneolitska, kao i kulture metal-nih doba, bronzanog i gvozdenog, posvedo~ene su na nizu |erdap-skih lokaliteta, od Golupca do Negotina. Prisustvo Kelta u ovoj oblasti,kojima se zavr{ava praistorijsko razdoblje ovoga dela Podunavlja,registrovano je mnogobrojnim pojedina~nim nalazima/ostavama,posebno izdvojenih u sklopu nekropola.Otkri}e Lepenskog Vira senzacionalno je odjeknulo u svetskoj arhe-ologiji. Prvi put u Evropi otkriveni su ostaci jedne dotad nepoznatevisoko razvijene mezolitsko-preneolitske kulture, koja je ostvarila mon-umentalnu kamenu plastiku i arhitekturu neponovljivih formi, {to ovajlokalitet ~ini jedinstvenim u Evropi.Prvih {est vekova na{e ere reka slu i kao granica izme|u RimskeImperije i varvarskih zemalja. Ve} na po~etku Tiberijeve vladavine (14- 37. n.e.), pokazalo se da tada{nja geopoliti~ka situacija zahtevaizgradnju komunikacija izme|u Panonije, gonjeg Dunava i balkanskeobale Crnog mora. Tako je, ve} tridesetih godina prvog veka noveere, trasiran put kroz Gornju Klisuru. Njegovu gradnju su po~ele prvelegije, III Schytica i V Macedonica, u rimskoj, podunavskoj provincijiMeziji (Moesia, kasnije Gornje Mezije - Moesia Superior). O kasnijimpopravkama i fazama izgradnje svedo~e table imperatora Klaudija(46.) i Domicijana (92. /93.), uklesane u ivu stenu iznad puta. Godine100., imperator Trajan (98. - 117. ), u vreme svojih priprema zakona~an obra~un sa Da~anima, gradi put u najte`em odse~ku Donjeklisure \erdapa, o ~emu svedo~i TRAJANOVA TABLA (kod dana{njeTekije), koja je sre}nim sticajem okolnosti spasena od potapanja.Posle izgradnje kanala 101, kojim je Dunav u~injen plovnim unajte`em delu za plovidbu - na kataraktama Gvozdenih Vrata, izme|u103. i 105. godine, uz pomo} svog arhitekte Apolodora iz Damaska,~etiri kilometra nizvodno od Kladova, gradi veli~anstveni most prekoDunava, jedno od najve}ih graditeljskih ~uda rimske arhitekture igra|evinarstva (Pontes). Nosilo ga je dvadeset monumentalnih stubo-

va u koritu reke i ~etiri na svakoj obali. Ukupna du ina je bila 1139,90 m. Pored izgradnje kamenih fortifikacija, Trajan je veliku pa`njupoklonio izgradnji pristani{ta ( Prahovo - Aque ). Najzna~ajnijaTrajanova graditeljska dela u sektoru Gvozdena Vrata su, pored tvr|avaDiana i Pontes, sre}nim sticajem okolnosti, sa~uvana i spasena.Pored nekoliko kasnoanti~kih utvr|enja nizvodno od Kladova, u blizi-ni Negotina su tako|e dobro poznati, reprezentivni, kasnoanti~kilokaliteti Gamzigrad ( Felih Romuliana ) i [arkamen, kao i spomeni-ci narodnog graditeljstva i spomenici kulture novijeg datuma.Na{a pro{lost je zna~ajna, jer je su{tinski odredila ono {to smo

postali i {to jesmo. Arheologija je jedino sredstvo koje imamo dabismo prona{li svoje najdrevnije poreklo, materijalne ostatke~ovekovog stvarala{tva i njegovih aktivnosti. Nau~na i kulturna vred-nost drevnih dokumenata, nepisane i pisane istorije, u vi{emilenijum-skom razdoblju, koncentri{e se ovde oko nekoliko ~vornih momena-ta istorije starog Balkana i Evrope.U Kladovu, sredi{njoj ta~ki ~itave regije, 1996. godine, otvoren jeArheolo{ki muzej. Stalnom izlo`bom najboljih i najzna~ajnijiheksponata otkrivenih tokom arheolo{kih istra ivanja regije GvozdenaVrata, pored muzeja Lepenski Vir ( na istoimenom lokalitetu ) nanajbolji na~in predstavlja proces nastajanja i nestajanja mnogih civi-lizacija na tlu Evrope, u dugom trajanju preko deset milenijuma.Dosada{njim radovima se nisu zavr{ile i ne mogu se do kraja zavr{itisve zapo~ete akcije - posebno na prezentaciji, konzervaciji, nau~nojobradi i publikovanju ogromne prikupljene gra|e - jer je to dugoro~anproces. Ipak, ovde, na ovim prostorima su, u sredi{tu regijeGvozdena Vrata, stvoreni svi uslovi da se Nacionalni park \erdap saArheolo{kim parkom, u u`em i {irem smislu, ve} danas tretira kaojedna od najzna~ajnijih i najbogatijih regija Podunavlja, na planu nje-govog punog kori{}enja, kako u nau~ne i kulturne, tako i privredne,turisti~ke, obrazovne i sportsko - rekreativne svrhe.

AArrhheeoolloo{{kkii mmuuzzeejj \\eerrddaappaa:: VVeessttiiJJellenaa Kondii}, aarheollogg/muzejjskii saavetniikRukovodiillaacc Arheollo{kogg muzejjaa \erdaapaa/{ef Centraa zaa aarheolloggiijjuNaarodnogg muzejjaa u Beoggraadu

Ove godine, u ovome specijalizovanom muzeju arheologije Dunava uRegiji Gvozdena Vrata, realizovano je nekoliko zna~ajnih nau~no-istra iva~kih projekata, akcija ili manifestacija. Deluju}i kao savremena institucija na polju za{tite i i istra ivanja kul-turnog nasle|a, svojim programskim aktivnostima, uz stalnu podr{ku,pre svega, JP \erdap/He \erdap, a zatim i Ministarstva kulture ilokalnih vlasti, sa interinstitucionalnim timovima stru~njaka/ekperata,zatim i mladih saradnika anga`ovanih na obradi i za{titi kao iprezentaciji kulturnih vrednosti \erdapa ( gde Diana Centar, odpo~etka, ima posebno mesto!), MUZEJ \ERDAPA je ve} danasjedinstven, interdisciplinarni istra iva~ki punkt za{tite, istra ivanja,prezentacije i arheolo{ke promocije i registracije ogromnog fonda

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\erdap gorge\erdapska klisura

young people engaged in processing and protection as well as inpresentation of the cultural values (with Diana Centre at an especial-ly prominent position!), it has indeed became an unique, interdisci-plinary research centre, presenting, promoting and revitalising hugefund of several millenia old cultural heritage of the Djerdap collectionwhich is one of the biggest and the most valuable archaeological col-lections in European proportions!Since its opening, it presents and integrally promotes cultural and nat-ural wealth of the European Danubian region, in collaboration withexpert scientific institutions and specialists (The Faculty of Philosophyand the Institute of Archaeology), under the common name Magnumest stare in Danubii rippa (It is magnificient to stand on the bank ofthe Danube, Pliny) as a monumental complex unique in Europe andthe potential which should be included in the plans of development atboth the republic and international level. This year's exibitions in theIron Gate Museum were again conceived taking into account theresults of archaeological excavations and investigation as well as thestrict and accurate interpretation of knowledge gained by scientific me-thods during the excavation and expertise of the scientific material.The other important part of every activity of the museum is theirdidactic and educational character, which is built in the mission of allmodern museums. Along with the content-rich and modern infomaterial publicly available, which was adjusted to a wide circle ofinterested visitors, interactive museum workshops were started for thefirst time, all of them finished with presentation-exibitions.Author of exibitions, texts, conception, organisation and coordinationis Jelena (Rankov) Kondic. On the monographic exhibition and cat-alogue worked Deana Ratkovic, M.A. Conservation was done at theCentre for Conservation and Restoration National Museum Belgrade(stone and metal, Slobodan-Bane Savic, Zoran Pavlovic) and DianaCentre for Preventive Conservaton (ceramics, glass). The profession-al part of preparations of exibition and the events as well as infomaterial was backed up by a team of young associates of theMuseum of the Iron Gate: Neda Mirkovic, Svetlana Radojkovic, EmilijaVujicic, Mirjana Kijametovic, Slobodan Tripkovic, Katarina Pantelic;Teachers of elementary and high schools of Kladovo, the Centre forCulture Kladovo, Tourist organisations of the County, the Youth CampDjerdap, private firm Tekijanka, etc. cooperated in workshops:. Alltechnical and, partially, financial assistance was provided byCorporation Djerdap/ HP Djerdap Kladovo.

EXXIBITION: TEKIJJA-RROMAN TRANSDIERNAFor the first time, the results of complete archaeological excavationsand investigations of Tekija (Roman Transdierna) were integrally pre-sented in this exibition. Tekija is an important Early Roman, LateRoman and Early Byzantian fortification, which were part of the UpperMoesian limes at the Danube. It had a settlement and a dock andwas located on the Via Traiana, near Traian' Table (Tabula Traiana). Bythe time it disappeared forever under the waters of the Danube, theRoman Transdierna was included, during the last decades of the 20thcentury, together with eighty other sites, in the largest research andsalvage projects in Europe of that time. In charge of these works andmonographic-scientific material of the Roman Tekija was Ph. D.Aleksandrina Cermanovic Kuzmanovic, professor of archaeology atthe Faculty of Philosophy, Belgrade. Even earlier, Tekija was wellknown for the accidental find of the rich Silver Hoard, deposited in abigger bronze vessel from the time of Domitian' and Traian' wars onthe Danube, the end of I AD. The contents of the hoard include arounda hundred coins, cult icons and luxurious vessels, a bracelet and a beltwith owner's name inscribed. Later, in the same building were thehoard was found, several sets of rare imported smaller Roman ves-sels in good shape, from the same period as some mas-terpiece bronze items (Jupiter and Mercury stat-uettes, a lamp with inscription from the Romansanctuary - nymphaeum) were found. Anexceptional relief, representing thePersian god Mithra killing the bull, wasfound in a later building. Exibition is,for the first time, supplemented withthe works of the travellers-first explorersof the Iron Gate and the admirers of

antiques: charts and technical sketches or paintings of the Count L.F. Marsigli and F. Kanitz which explored and described these partsby the end of 16th and in the second half of 19th century!

CONSERVATION: PRO TABULA Reproduction of the text of eng.D. M. Pavlovic about the dra-matic fate and terrible stateof the Traian' Table pub-lished in Glasnik SKA, in1891 represents a certainplea and announcement of awider action for permanentrevitalisation of the mentionedmonument of extraordinary impor-tance for Republic of Serbia, near the present day Tekija, from 100AD!Educational creative workshops: EUROPEAN HERITAGE DAYS (EHD)It was not the first time that the Iron Gate Archaeological Museumjoined the celebration of days dedicated to the European cultural her-itage. However, for the first time, on the 13th and 14th of September2004, the Iron Gate Museum, in cooperation with the City of Kladovoand young people of Kladovo - the pupils of local elementary andhigh schools, organised the celebration of the European HeritageDays, which was coordinated by the Ministry of Culture and Media,in an especially interesting way. The patrons of the celebration, apartfrom the Ministry of Culture and Media, the National MuseumBelgrade and the Corporation Djerdap/HP Djerdap (the part of whichis the Iron Gate Museum itself), were the local economic, tourist, cul-tural and educational organisations: Tourist organisation of theKladovo County, Djerdap Tourist, Youth Camp Djerdap/Karata�, thenthe Centre for Culture of Kladovo, Centre for Young Talents Kladovo. Going along with the theme EHD (Fortifications), the program includ-ed three most important monumental centres. These are the Romanand Early Byzantian Diana/Zanes and Pontes/Traian' bridge, the for-tifications of exceptional importance for the Republic of Serbia, thenthe medieval Fetislam and the cultural heritage exibited in the IronGate Museum in Kladovo. Since all of these forts were erected onthe bank of the Danube, the event was partly unfolding on the beau-tiful tourist ship Djerdap which was sailing for several hours along therelation Kladovo - medieval fortification Fetislam - Late Roman DonjeButorke - Roman Diana/Zanes - Transdiana to HP Djerdap and back,toward Pontes/Traian' bridge. There, on the ship, several millenia longpast of the Danubian banks was presented including the importanceof the greatest European river for its people and civilisation, then nav-igation and communications, cultural and economic prosperity as wellas including the illustrated presentation of ancient history layers ofpreserved forts, missing or submerged fortifications and settlements,islands, without neglecting the modern technical achievements of 20thcentury - gigantic HP Djerdap. With the assistance of specialists from different fields, educators fromKladovo' schools, in the scope of interactive education, then theeducative, interdisciplinary and interactive, archaeological, architectur-al as well as creative artistic, photo and painters workshops, curiousand eager talented pupils, around 300 of them, were exploring,researching, painting and taking notes as well as creatively express-ing their relationship to the rich cultural and natural heritage of theRegion Iron Gate and Kladovo.The local media, Radio Djerdap and some TV stations, had coveredthe event entirely and informed the public about the aim, content,number of participants inviting citizens to visit the event sites.

The organisation of the celebration was estimated as excel-lent by the Ministry of Culture, and the beautiful

photographs, taken by young KatarinaPantelic (HP Djerdap), with the youngest

participants in front of the flag ofEuropean Heritage Days (EHD) andfrom the workshops, were chosen bythe Ministry of Culture and Media for

the illustrations of EHD.As the confirmation of what was stated

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milenijumski starih kulturnih dobara Zbirke \erdap koja je jedna odnajve}ih i najvrednijih u evropskim razmerama! Od otvaranja, podzajedni~kim nazivom Magnum est stare in Danubii ripa( Plin. Ep. XVI2 ) ili Veli~anstveno je stajati na obalama Dunava, u saradnji sastru~no-nau~nim institucijama i stru~njacima najvi{eg renomea(Filosofski fakultet i Arheolo{ki Institut ), MUZEJ prezentuje i promovi{eintegralno, sveukupne kulturne i prirodne vrednosti evropskogPodunavlja kao spomeni~ke celine jedinstvene u Evropi i potencijalukoji treba da na|e mesto u svim razvojnim planovima zemlje i name|unarodnom planu.I ovogodi{nje izlo`be u MUZEJU \ERDAPA se zasnivaju nauva`avanju rezultata arheolo{kih iskopavanja i istra ivanja i doslednoji ta~noj interpretaciji saznanja do kojih se do{lo nau~nim metodama,prilikom iskopavanja i stru~no-nau~ne obrade gra|e. Druga zna~ajna predpostavka svih muzejskih izlo`bi/programa/mani-festacija je didakti~ko-edukativni karakter ugra|en u misiju modernihmuzeja. Uz sadr`ajan i savremeno prezentiran info-materijal dostu-pan svima, prilago|en {irokom krugu zainteresovanih posetilaca,delovale su, zaista masovno i po prvi put interaktivno, muzejskeradionice koje su zavr{ene prezentacijom-izlo`bama.Autor izlo`bi i tekstova; koncepcija, organizacija i koordinacija jeJelena ( Rankov ) Kondi}. Glavni stru~ni saradnik monografskeizlo`be na izradi kataloga je mr Deana Ratkovi}. Konzervacija: Centarza konzervaciju i restauraciju Narodnog muzeja u Beogradu( kameni metal, Slobodan-Bane Savi} i Zoran Pavlovi} ) i Diana Centar zapreventivnu za{titu( keramika, staklo ). Na realizaciji stru~nihpriprema izlo`bi i manifestacija, zatim info-materijala,pomogao je tim stalnih-mladih saradnika MUZE-JA \ERDAPA: Neda Mirkovi}, SvetlanaRadojkovi}, Emilija Vuji~i}, MirjanaKijametovi}, Slobodan Tripkovi}, KatarinaPanteli}. Na radionicama su aktivnosara|ivali profesori osnovnih i srednjih{kola Grada Kladova, zatim Centar zakulturu, turisti~ke organizacije op{tine iOmladinski kamp \erdap, trgovinskopreduze}e "Tekijanka", itd.Svu stru~nu i drugu tehni~ku, i delom ifinansijsku podr{ku, obezbedio je JP\erdap/HE \erdap Kladovo.

Izllo`baa: TEKIJJA-RRIMSKA TRANSDIERNANa ovoj izlo`bi su prezentovani, prvi put inte-gralno, rezultati ukupnih arheolo{kih iskopavan-ja i istra ivanja i nau~ne obrade Tekije-rimskeTransdierna/e, zna~ajne ranorimske, kasnoanti~ke iranovizantijske fortifikacije u sklopu gornjomezijskog limesana Dunavu, sa naseljem i pristani{tem, na Via Traiana, u bliziniTrajanove Table/Tabula Traiana. Tokom poslednjih decenija pro{logveka, pre nego {to je zauvek nestala pod vodama Dunava, rimskaTransdierna je bila uklju~ena, sa 80 drugih lokaliteta, u najve}eistra iva~ke i za{titne radove kulturnog i prirodnog nasle|a u Evropitoga vremena. Rukovodilac ovih radova i monografske-nau~ne gra|eanti~ke Tekije koja se ovde prezentuje je bila dr AleksandrinaCermanovi} Kuzmanovi}, profesor arheologije Filosofskog Fakulteta uBeogradu. Tekija je i od ranije bila dobro poznata po slu~ajnomnalazu bogate ostave srebra, pohranjene u ve}em bronzanom sudukrajem 1. veka n. e., u vreme Domicijanovih i Trajanovih ratova naDunavu. Sadr`aj ove bogate ostave ~ini oko stotinu primeraka novca,kultne ikonice i posude luksuzne izrade, narukvice i vojni~ki pojas saimenom vlasnika. U okviru gra|evine gde je prona|ena ostava,otkriveno je nekoliko kompleta, retkih i dobro o~uvanih, importovanih,rimskih posudica, iz istog perioda kao i nekoliko predmeta od bronze,me|u kojima su statuete Jupitera, Merkura i lampa sa urezanim nat-pisom-svi iz rimskog svetili{ta/nimfeima. Iz jednog kasnijeg poti~eizvanredan reljef sa predstavom persijskog boga Mitre, u trenutkukada ubija bika. Izlo`ba je, prvi put, dopunjena delima putopisaca-prvih istra iva~a iljubitelja starina u Regiji Gvozdena Vrata: kartama i tehni~kim skica-ma ili slikama-akvarelima, grofa L.F.Marsiljija i F. Kanica koji su ovekrajeve istra ivali i opisivali krajem XVI i u drugoj polovini XIX veka!

KONZERVACIJJA: PRO TABUULA Reprodukovanje teksta ing. D.M. Pavlovi}a o dramati~noj sudbini ilo{em stanju TRAJANOVE TABLE u vreme kada je pisan i objavljenu Glasniku SKA davne 1891. godine(!) , predstavlja svojevrstan apeli najavu pokretanja {ire akcije oko trajnog zbrinjavanja i revitalizacijeovog spomenika od izuzetnog zna~aja za Republuku Srbiju, u blizinidana{nje Tekije, iz 100 godine!

Edukaatiivno-kkreaatiivne raadiioniicceDANI EVROPSKE BA[[TINE: KLADOVSKE TVR\AVENije prvi put da se ARHEOLO[KI MUZEJ \ERDAPA pridru iobele`avanju dana koji su posve}eni evropskom kulturnom nasle|u.Prvi put, me|utim, u organizaciji ARHEOLO[KOG MUZEJA \ERDA-PA, uz u~e{}e Grada Kladova i mladih Kladovljana-u~enika osnovnihi srednjih {kola Kladova, 13. i 14 septembra 2004, na izuzetno zan-imljiv na~in, obele`eni su Dani evropske ba{tine koje je, ove godine,koordiniralo Ministarstvo kulture i medija. Pokrovitelji manifestacije su,pored Ministarstvo kulture i medija, Narodnog muzeja Beograd i JP\erdap-HE \erdap Kladovo( u ~ijem je sastavu MUZEJ \ERDAPA )jo{ i privredne, turisti~ke i kulturne i vaspitno-obrazovne organizacijekoje deluju u lokalnoj sredini: Turisti~ka organizacija Op{tine Kladova,\erdap-Turist, Omladinski kamp \erdap/Karata{, zatim Centar zakulturu Grada Kladova i Centar za mlade talente Kladova. U skladu sa temom(tvr|ave), programom su obuhva}ena tri najz-

na~ajnija spomeni~ka punkta, rimske i ranivizantijske tvr|aveod izuzetnog zna~aja za Republiuku Srbiju,

Diana/Zanes i Pontes/Trajanov most, zatimsrednjovekovni Fetislam kao i kulturna

ba{tina izlo`ena u MUZEJU \ERDAPA,u Kladovu. Budu}i da su sve tvr|avepodignute na samoj obali Dunavana, deo programa ove mani-festacije se odvijao i na prelepomturisti~kom brodu \erdap koji jenekoliko sati plovio na relacijiKladovo-srednjovekovna tvr|avaFetislam-kasnoanti~ka tvr|avaDonje Butorke-anti~ka Dijana/Zanes-Transdijana do HE \er-dap i nazad, prema Pontesu/

Trajanovom mostu. Na brodu jeprezentovana milenijumska pro{lost

dunavskih obala i zna~aj ove najve}eevropske reke za njene narode i civi-

lizaciju Evrope, komunikacijiju i plovidbu,kulturni, kao i ekonomski prosperitet prezento-

van ilustracijama milenijumski starih slojeva istorijesa~uvanih tvr|ava i/ili nestalih-potopljenih tvr|ava/naselja, ostrva, nezanemaruju}i ni prezentaciju savremenih tehni~kih dostignu}a 20veka: gigant HE \erdap.Uz pomo} eksperata/stru~njaka razli~itog profila i obrazovanja, zatimpedagoga/profesora klaodovskih {kola, u sklopu interaktivne nastave,edukativnih, interdisciplinarnih/interaktivnih, arheolo{kih, arhitektonskihili kreativno-umetni~kih foto i likovnih radionica, radoznali i raspolo`enii veoma nadareni u~esnici-njih oko 300 su otkrivali, istra ivali, slikalizatim i bele ili odnosno kreativno ispoljavali svoj odnos premabogatom kulturnom i prirodnom nasle|u Regije Gvozdena Vrata iGrada Kladova. Lokalni mediji-novinari Radio \erdapa i TV stanica, do kraja su pratilii informisali javnost o cilju, sadr`ajima, temama, broju u~esnika i pozi-vali gra|ane da posete mesta doga|anja. Manifestacija je, i prema oceni Ministarstva kulture, izuzetno uspe{noorganizovana, a prelepe, umetni~ko-kreativne fotografije sa najmla|imu~esnicima Pred zastavom DEB ili sa radionica, mlade KatarinePanteli}( HE \erdap ) odabralo je Ministarstva kulture i medija kaoilustracije Dani evropske ba{tine-Izvodi iz {tampe( tako|e i u posled-njem Glasniku konzervatora; Up. Izve{taj Maje Stojanovi}, koordina-tora DEB pri Ministarstvu kulture i medija Srbije ). A kao potrebasvega iznetog, grad Kladovo-SO Kladova je dobio poziv od straneMinistarstva kulture da se kandiduje da bude grad-doma}in ovogo-di{nje proslave!

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here, Kladovo was invited by the Ministry of Culture to apply for host-ing this year's celebration!Successful creative works of the participants were presented in thescope of the New Year workshops From Children to Children in theIron Gate Archaeological Museum opened on 27th of December 2003. It is also planned that this exibition visits afterwards the towns, whichwere participating in the activities, and furthermore, in the schools inthe country and abroad which cooperate with local schools. Theseare the towns with the population originating from Kladovo and theCounty of Kladovo.

From Children to ChildrenThe newly conceived and organised artistic-creative workshop andexibition was realised in cooperation with experienced museum'experts and young specialists of the Iron Gate Museum, school-teachers and professors. There was also a New Year's museumshop, where the selling exibition was organised, its funds collectedfor humanitarian purposes - the children with special needs.These actions of the Museum, schools and the City of Kladovo willbecome traditional!

From Children to Children, a ReviewNeda Mirkovic, archaeologist, assistant on the project Diana and theIron Gate MuseumOriginally, the idea of the workshop was to fashion utilitarian and dec-orational items, using modern materials, which should resemble theGreek/Helenistic and the Roman products. As the participants were,mainly, very talented, their creativity and talent as well as the aspira-tion toward new solutions could not be hindered. The museum work-shop had several themes: jewellery made of various glass, plastic,wooden and clay beads, leather strings and golden and silver metalwires; claylike material was used also in making of oil lamps, imag-inatively painted and decorated; ethnic pottery of local craftsmen waspainted; again the claylike material was used for oil lamps, medallions,and, baskets and glass were decorated using various materials.The respond of the pupils was outstanding! Although, due to the lackof space and furniture, the pupils were already organised in shifts,museums quarters and offices were too small, and furniture lent fromschools was not enough to accept all who were interested. Some ofthem wanted to stay even longer and to do more work! Young artistswere making first class artwork, for example Roman oil lamps deco-rated with pearls and various coloured wax candles, painted ceram-ic and glass vessels, ceramic crosses painted in gold, also decorat-ed with pearls, and, of course, amazing jewellery, earrings, necklaces,rings for every occasion.This selling, humanitarian exibition of more than 300 works which bytheir beauty and creativity do not fall behind their models, was pre-sented in for the first time opened New Year's Museum Shop. Theprices were symbolic, and sales will last until the end of the February.Iron Gate Archaeological Museum - Diana Centre for PreventiveConservation On Conserved Roman Oil lamps (lucernae) from the Danubian LimesNeda Mirkovic, archaeologist, assistant on the project Diana andthe Iron Gate MuseumIn Roman times, oil lamps were made of variousmaterials, mostly clay and bronze, however,there are some made of glass, iron,lead, silver, gold, marble. These oillamps are frequent finds on theRoman sites in our country. We willconcisely present here the conserved and most often copied exam-ples at Diana Centre, found on the site after which the Centre wasnamed - Diana/Zanes near Kladovo. Although they come in variousshapes, there are some basic elements of the Roman oil lamps: thebody infandibulum, rostra, and the shoulder margo, the disc discus,the handle ansa, manubrium In the production of the ceramic oil lamps three methods were used:manually, by wheel, and moulding. Oil lamps made manually werefound in all periods, whatsoever, this method was the only one untilthe 7th century BC. Wheel was used mainly until the Helenistic peri-od, in later times suppressed by moulding technique. In the Late

Roman period, wheel was again used in great measure. Moulding was documented by finds of the ceramic kilns and moulds.The first thing to do was to make the arch-model patrix, modelled inclay or wood. The patrix was used to make the mould. This was car-ried out by pressing the clay on the upper and lower part of the patrix.Then the clay was dried, but not too much, to prevent its falling apart.The other half was made in the same manner. Afterwards, they werefired. Oil and wick openings were emphasised with plastic rings. It isassumed, that in the Roman times, gypsum moulds were used ratherthan the clay ones, because they did not require firing and they driedfaster. When the mould was ready for use, wet clay was pressed thin-ly into both halves of the mould. The upper and the lower part of thelamp were joined by pressing both parts with a lump of wet claybetween. When the lamp dried out, the mould was removed andopenings were pierced. Joins were enhanced using wet clay. The laststep was to fasten the handle, if the lamp was not made as a wholefrom the mould. The lamp was then let to dry completely, usually forone day, and then varnished. After the varnish dried out too, it wasplaced with others in the kiln in a pyramidal arrangement. The lamp fuels were various oils and the quantity of an ounce burnedfor two or three hours.In the Roman times, lamps were used in all layers of the society, buttheir quality and the material differed depending on the wealth of theowner.The lamps were used for illumination of houses, workshops, mines,galleries, baths, sacred places, temples, etc. Religious festivals andgames were also occasions, which could not go without lamps. Theywere also used in large amounts as votive offerings in temples andwere part of burial inventory. Although there was a multitude of pur-

poses lamps could be used for, it seems that the same type ofa lamp could be employed in all of them. Probably, most ofthe Roman cities had night lighting, at least in the main andthe commercial streets. The cemeteries also had lighting.Fifteen oil lamps, from the rich fund of 292 intact or frag-mented lamps, from the site of Diana were conservedin the Diana Centre. These are completely preservedpieces, chronologically and typologically very diverse.In the scope of the graduate work The Ceramic oillamps of the principate period from the site Diana atthe Danube, ten conserved pieces were analysed:

Two pieces, type Loesche I - Ivanyi I, dated in 1st/2nd, or 1st/2nd - 2nd century are with triangle pointSix pieces, circular form, type Loesche VIII - Ivanyi VII, dated in the2nd or 3rd century. Besides so-called firm lamps, this type was verypopular and was produced in many provincial workshops of theRoman Empire. For most of our examples of this type, one mightascertain that they are of provincial origin. The circular, wheel-madelamp, with three semicircular openings and stripe handle is the IvanyiVIII type. Five pieces of the glazed Late Roman and Early Byzantine oil lampsare the object of the research in the scope of the complete analysisof this kind of finds from Diana.

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Days of Cultural HeritageDani kulturne ba{tine

Uspe{ni/zanimljivo kreativni radovi u~esnika, prezentovani su u sklopuprezentacije novogodi{njih radionica DECA DECI, u ARHEOLO[KOMMUZEJU \ERDAPA, otvorenoj 27. decembra 2003. Planirano je, tako|e, da ova izlo`ba potom gostuje u gradovima kojisu u~estvovali u ovoj manifestaciji kao i {kolama sa kojima kladovske{kole sara|uju na me|unarodnom planu.

DECA DECI Ova, prvi put osmi{ljena i organizovana umetni~ko-kreativna radionicakoja je realizovana u saradnji iskusnih muzejskih eksperata i mladihstru~naka i saradnika MUZEJA \ERDAPA kao i {kolskih profesora i pe-dagoga. U novogodi{njem museum shop- u, organizovana je prodajnaizlo`ba ovih radova ~iji je fond namenjenu humanitarne svrhe: ZA DECU SAPOSEBNIM POTREBAMA. Ove akcije MUZEJA, {kola i GradaKladova, posta}e tradicionalne!

Deccaa deccii, pregglledNedaa Miirkovii}, aarheollogg - staallnii saaraadniik

Prvobitno, ideja ove radionice bila je da se, pomo}u gotovih ele-menata izra|enih od savremenih materijala, po uzorima proizvodagr~ko/helenisti~kog i/ili anti~kog vremena, izrade utilitarni i ukrasnipredmeti koji bi li~ili dalekim uzorima. Kako su to bili, uglavnom,veoma nadareni u~esnici, njihova kreativnost i talenat, te`nja ka novimre{enjima, nije mogla biti sputavana. Muzejska radionica je imalanekoliko tema: nakit je pravljen od raznobojnih staklenih, plasti~nih,drvenih i glinenih perli, ko`nih vrpci i zlatnih i srebrnih metalnih ica;od smese glinamola, pored perli, izra|ivani su i{ci ili kopije anti~kihi aka, ma{tovito dora|ivani dalje oslikavani ili ornamentisani. Tako|e,

slikana je etno grn~arija lokalnih majstora; od glinamola i plastelina,u zavisnosti od uzrasta, pravljeni su sve}njaci, medaljoni, a raznimmaterijalima ukra{avane su ili slikane pletene korpice, staklo. Odziv u~enika je bio izuzetan! Iako su, zbog nedostataka prostora iname{taja, u~enici prethodno organizovani po grupama-na smenumuzejske prostorije/kancelarije su bile tesne, a name{taj koji je poza-jmila {kola nedovoljan da primi sve zainteresovane. Bilo je onih kojisu `eleli da ostanu {to du`e i urade vi{e i bolje! Mladi umetnici su napravili zaista prava remek-dela, npr. anti~kelampe/ i{ci ukra{eni perlicama ili sa umetnutim, raznobojnim vo{tanimsve}ama, naknadno oslikane posude od keramike i stakla, krstovi odkeramike obojeni zlatnim bojama, tako|e ukra{eni perlama, i, nar-avno, nakit, min|u{e, ogrlice, prstenje, za sve~ane prilike ili svakod-nevicu, neponovljivih formi. Ova prodajna, humanitarna izlo`ba vi{e od 300 radova koji po lepotii kreativnosti nimalo ne zaostaju za dalekim uzorima, prezentovana jeu, prvi put otvorenom, novogodi{njem Museum Shop-u. Cenaprizvoda je simboli~na, a prodaja }e trajati do kraja februara.

Arheollo{kii Muzejj \erdaapaa-DDiiaanaa Centaar zaa preventiivnu zaa{tiitu O konzerviiraaniim riimskiim svetiilljjkaamaa - ii cciiaamaa saa DiijjaaneNedaa Miirkovii}, aarheollogg

U anti~ko vreme lampe-svetiljke su pravljene od raznih materijala,posebno od gline i bronze, ali ih ima i od stakla, gvo`|a, olova, sre-bra, zlata, mermera i predstavljaju prili~no ~est nalaz iz rimskog dobakod nas. Postoji mno{tvo literature koja se na razli~ite na~ine bavi nji-hovom tipolo{kom i hronolo{kom klasifikacijom. Ovde }emo, ukratko,prezentovati konzervirane i naj~e{}e kopirane kerami~ke primerkeDiana Centra, sa lokaliteta po kome Centar nosi ime: Diana/Zanes,kod Kladova. Iako razli~itih oblika, osnovni elementi rimskih svetiljki su: telo(infandibulum), kljun (rostra), rame (margo), disk ( discus), dr{ka(ansa, manubrium).U produkciji kerami~kih i aka kori{}ena su tri na~ina: ru~no, na vitlui u kalupu. @i{ci ra|eni rukom karakteristi~ni su za sve periode, a toje jedini na~in proizvodnje do VII veka pre nove ere. Izrada na vitlu prak-tikovana je do helenisti~kog vremena, a javlja se i kasnije, iako su i kod

proizvo|a~a i kod potro{a~a bile popularnije svetiljke ra|ene ukalupu. Tek od kasnoanti~kog perioda ovaj na~in izrade je ponovoaktuelan u velikoj meri.Izrada u kalupima dokumentovana je nalazima lon~arskih pe}i i kalu-pa. Prvo je grn~ar izra|ivao pra-model, patrix, pravljen rukom od glineili rezbaren u drvetu, iz koga je kalup mogao biti uzet. Kalup je uzi-man pritiskom gline na gornji ili donji deo patrix-a. Glina se tadasu{ila, ali ne previ{e, da se ne bi raspala, a druga polovina je pravl-jena na isti na~in, a zatim su pe~ene. Otvori za ulje i fitilj nisu biliskroz otvarani i nagla{avani su plasti~nim prstenom. Pretpostavlja se,pak, da su u rimsko vreme, gipsani kalupi radije upotrebljavani negoglineni, jer nisu morali da se peku i brzo su se su{ili. Kada je kalup

bio spreman za upotrebu, vla`na glina pritiskana je u obe polovinekalupa u tankom sloju. Gornji i donji deo lampe je spa-

jan pritiskom dva dela jedan uz drugi komadomvla`ne gline iznutra. Kada se i ak osu{i, kalup

je uklanjan i bu{eni su otvori. Spojevi supopravljani vla`nom glinom. Poslednji

stupanj izrade bio je pri~vr{}ivanjedr{ke, ukoliko ona nije bila pravljenasa ostatkom u kalupu. Tada selampa potpuno su{ila, uglavnom

jedan dan, zatim je tretirana firnisom, akada se i on osu{i, slagana je sa drugim,

piramidalno u pe}. Kao gorivo su kori{}ena razna ulja, a koli~ina od jedne unce uljagorela je dva do tri sata.U anti~ko vreme, lampe su upotrebljavane u svim slojevima dru{tva,ali je kvalitet i materijal zavisio od imovne mo}i vlasnika.Kori{}ene su za osvetljenje u ku}ama, radionicama, rudnicima, galer-ijama, kupatilima, svetili{tima, hramovima... Religiozni festivali i igre sutako|e bili prilike na kojima je upotreba lampi bila uobi~ajena.Polagane su u velikom broju kao votivne ponude hramovima i biledeo grobnog inventara. I pored razli~itih funkcija, izgleda da je isti tiplampi mogao biti kori{}en za bilo koju od njih. Verovatno je ve}inarimskih gradova bila osvetljena no}u, barem glavne i komercijalneulice. Osvetljavale su se i grobnice-groblja.U Centru Diana konzervirano je 15 i aka iz bogatog fundusa od 292celih ili fragmentovanih svetiljki sa lokaliteta Diana. To su potpunoo~uvani primerci, hronolo{ki i tipolo{ki veoma raznovrsni. U okvirudiplomskog rada Kerami~ki i{ci vremena principata sa lokalitetaDiana-Karata{, obra|eno je 10 konzerviranih i aka:- Dva primerka imaju trougaoni kljun, tipa Le{ke I - Ivanji I, a dato-vani su u I / II, odnosno I / II - II vek. - [est primeraka je kru`nog tela sa malim zaobljenim kljunom, ukorenu razli~ito zavr{enim, tip Le{ke VIII - Ivanji VII, datovani su u IIili III vek. Pored tzv. firma lampi, ovaj tip je bio omiljen i izra|ivan umnogim provincijskim radionicama Rimskog Carstva. Za ve}inu na{ihprimeraka ovog tipa, mo`e se tvrditi da su provincijske proizvodnje.Primerak ra|en na vitlu, kru`nog tela sa tri slabo isturena polukru`nakljuna i trakastom dr{kom, spada u tip Ivanji VIII i datovan je u III vek.Isto datovanje ima primerak tzv. viminacijumskog tipa, Ivanji tip XVIII.Konzervirano je jo{ - Pet primeraka gle|osanih kasnoanti~kih i ranovizantijskih i aka supredmet izu~avanja u okviru kompletne analize ove vrste nalaza saovoga lokaliteta

119

EExxppeerriimmeennttaall AArrcchhaaeeoollooggyyTTrraaddiittiioonnaall PPrroodduuccttiioonn ooff CCeerraammiiccssMiillaa Popovii}-@@iivaan~evii}, museum ccouncciillor-cconservaatorVesnaa Svobodaa, ccollllaaboraator

Experiences obtained during participation in two workshops - one onart ceramics and the other on experimental archaeology, had inspiredme to think about possibilities of reconstructing the techniques andtechnologies of archaeological and ethnological ceramics, with an aimof preservation and promotion of cultural heritage, as well as the cre-ation of direct connection between tradition and contemporary artisticceramics. Apart from this, they were also good examples, favoring theproject of Experimental Archaeology - Traditional production of ceramics.The first experience initiating these thoughts of mine was participa-tion in International Colony of Art Ceramics in Zlakusa '98. Zlakusa isa village near town of U ice, well-known for its high-quality ceram-ics, of authentic production technology and technique (use of potter'swheel, with material made of local red clay and grained calcite, inproportion of 1:1, and using open fire, on temperature 650°C-750°C).This working method of Zlakusa potters is still surviving after 300years. Sofija Bunard`i}, ceramics designer, had a capability tounderstand, in a visionary way, the richness and cultural value ofthis ethnographic ceramics. In 1996 she founded theInternational Colony of Art Ceramics in Zlakusa, as part of alarge ethnological project of preservation of this prehistoricceramics technique and potters of Zlakusa. Since then, thisColony had eight gatherings and 200 artists from our country andabroad as participants, with their number increasing every year. Directcooperation of these artists with the potters, as well as creation ofmodern ceramic objects using this authentic ceramics technique in aspirit of old craftsmanship, influences the preservation and promotionof our cultural heritage.Another experience was more of a spontaneous sort and made memore interested in the possibilities of reconstruction of traditional pro-duction of ceramics. It was my participation in the ExperimentalProduction of Neolithic Ceramics at the archaeological site of Vin~a- Belo Brdo in 2001. This site was discovered by professor MilojeVasi} at the beginning of the 20th century, and he carried outresearches there on several occasions, until 1934. Although rich withalmost all archaeological layers, this site became famous and signif-icant for its rich Neolithic finds, and that is why this cultural-historicalperiod was named Vin~a culture.Later researches began in thelate 70-ties and lasted for 12years, and the latest periodbegan in 1998 and is stillgoing on. There are many rea-sons for the lack of continuityand the duration of reasearches:wartime, bad social situation.Still, the most important reasonfor the constant coming back tothis site is surely the richness ofits finds, discovered throughthese researches. Every piece ofinformation obtained, made a pic-ture of the way of living and tech-nological progress of this ancientcommunity more clear. Modernstrategy of Serbian Accademy ofSciences and Arts, who supportedthese researches from 1998 on, isinterdisciplinary, which makes theresults more reliable and complex.In October 2001 former direc-tor of Belgrade City Museum,archaeologist Sa{a Todorovi}, andNenad Tasi}, responsible for theexcavations at the site of Vin~a-Belo Brdo, initiated establishingof an experimental archaeo-

logical workshop, with an aim of reconstructing the production ofVin~a Neolithic ceramics, especially vessels of this period. What thisexperimental archaeological workshop was interested in most was therichness and beauty of the forms, their purpose, difference in quali-ty, significance of these vessels for the community of the NeolithicVin~a. The team was made mostly of archaeologists and conserva-tors, but there were also artists - sculptors and ceramics designers.Working process in the workshop was similar to a possible ceram-ics production process of Vin~a craftsmen. It would start with prepa-ration of clay mass with other ingredients, which would then be usedto make, quite successfully, numerous vessels of known Neolithicforms, by hand modeling on a rag, the predecessor of potter's wheel.A kiln was also built where, and after a long period of drying, ceram-ics would be fired by reduction process. Although never set again,and criticized for its informal scientific approach, this experimentalarchaeological workshop had some important results.Apart form the production of successful replicas of Vin~a ceramics,made in a manner close to authentic production, on the site wherethe first potters of this area made their original vessels, the most sig-nificant aspect of this experiment is awareness of a possibility of cre-ating this kind of workshops for reconstruction of traditional produc-tion of archaeological ceramics in our country and also abroad, whichhas already been done before. Experimental archaeology offersnumerous possibilities to the experts in different fields to obtain moreinformation, so that they would understand thoroughly technologicaldevelopment and wayof living of various cultural layers. Experimentalarchaeology can also promote these discoveries through workshopsintended for general public.The idea of the reconstruction of traditional production of ceramics asa project that would introduce a large number of experts in differentfields, imposed a question of the way, place and actors of its real-ization. My contacts with archaeologists and some other people involvedin conservation, helped me to find out about DIANA Centre for PreventiveConservation. Having been introduced into the basic principles of pre-ventive conservation of our cultural heritage, as well as the first stepsin conservation treatments in DIANA Centre Summer School, I real-ized that this was the most adequate place for starting the project.European strategy of preventive conservation, as well as the strategyof DIANA Centre as a core of preventive conservation in NationalMuseum Belgrade, are based on the openness and interdisciplinaryapproach to the field of conservation. Although reconstruction of tra-ditional production of ceramics is not a subject to preventive

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Workshop in ZlakusaRadionica u Zlakusi

UUvvoodd uu pprroojjeekkaatt:: EEkkssppeerriimmeennttaallnnaa aarrhheeoollooggiijjaa -TTrraaddiicciioonnaallnnee pprrooiizzvvooddnnjjee kkeerraammiikkeeMiillaa Popovii}-@@iivaan~evii}, muzejjskii saavetniik - konzervaatorRukovodiillaacc DIJJANA Centraa Vesnaa Svobodaa, saaraadniik DIJJANA Centraa

Iskustva proistekla iz u~e{}a u dve radionice: jedne umetni~ke kera-mi~ke i jedne eksperimentalne arheolo{ke, podstakla su u menirazmi{ljanja o mogu}nosti rekonstrukcije tehnika i tehnologija arheo-lo{ke i etnolo{ke keramike, u cilju o~uvanja i promovisanja kulturneba{tine, kao i stvaranja najdirektnije spone tradicije sa savremenimkerami~kim izrazom. Pored toga, ona su i dobri primeri, koji idu uprilog pokretanju projekta "Eksperimentalna arheologija -Tradicionalne proizvodnje keramike".Prvo iskustvo koje je iniciralo ova razmi{ljanja, nastalo je u "Me|unar-odnoj koloniji umetni~ke keramike - Zlakusa '98 ". Zlakusa, selonadomak U ica, poznato je po grn~ariji izuzetnog kvaliteta, autenti~netehnologije i tehnike izrade (rad na ru~nom vitlu, sa masom sastavl-jenom od autohtone crvene gline i mlevenog kalcita, u odnosu 1:1, ipe~enja keramike na otvorenoj vatri, na temperaturi izme|u 650ºC -750ºC) . Ovakav na~in rada Zlakuskih grn~ara kontinuirano opstajeve} 300 godina. Bogatstvo i kulturnu vrednost ove etnolo{ke keramikeosetila je, vizionarski, akademski kerami~ar Sofija Bunard i}. Osnovalaje, 1996. godine, Me|unarodnu koloniju umetni~ke keramike uZlakusi, kao deo opse`nog etnolo{kog projekta za{tite ove praistori-jske kerami~ke tehnike i Zlakuskih grn~ara. Kolonija je od tada okupi-la, kroz osam saziva, oko 200 umetnika iz zemlje i sveta, a brojgrn~ara u Zlakusi se svake godine pove}ava. Neposredan rad ovihumetnika sa grn~arima i stvaranje savremenih kerami~kih formi nana~in ove autenti~ne grn~arske tehnike u duhu pramajstora, najdi-rektnije uti~e na o~uvanje i {irenje na{e kulturne ba{tine.Drugo iskustvo, neposrednijeg karaktera, koje je produbilo mojeintresovanje za mogu}nosti rekonstrukcije tradicionalne proizvodnjekeramike, bilo je u~e{}e u "Eksperimentu proizvodnje neolitskekeramike" na arheolo{kom lokalitetu Vin~a.Belo Brdo 2001. godine. Arheolo{ko nalazi{te Vin~a - Belo Brdo jepo~etkom XX veka otkrio prof. Miloje Vasi}, koji je od tada u vi{enavrata, do 1934. godine, vr{io prvobitna istra ivanja na ovomlokalitetu. Pomenuti lokalitet, iako bogato nalazi{te skoro svih arhe-oloskih slojeva, svetsku slavu i zna~aj stekao je zahvaljuju}i bogat-stvu neolitskih nalaza, po ~emu je ceo kulturno-istorijski period dobionaziv - Vin~anska kultura. Potonja istra ivanja, u periodu od dvanaestgodina, zapo~ela su tek krajem 70-tih godina, a poslednji bloknajnovijih istra`ivanja traje od 1998.godine do danas. Razlozi za nekon-tinuiranost i du`inu arheolo{kihistra`ivanja na ovom lokalitetu su mno-gobrojni: rat, nepovoljne dru{tvene isocijalne prilike. Ipak, najzna~ajnijirazlog stalnog vra}anja ovom lokalite-tu sigurno je izuzetno bogatstvonalaza, koja su dala ova istra`ivanja.Svako novo saznanje davalo je jasnijusliku o na~inu `ivota i tehnolo{komrazvoju drevnih stanovnika Vin~e.Dana{nja strategija SANU, pod ~ijimokriljem su istra`ivanja zapo~ela 1998.godine, je interdisciplinarnost, kojanalaze i saznanja ~ini pouzdanijim ikompleksnijim. Oktobra 2001. godine, na inicijativutada{njeg direktora Muzeja gradaBeograda, arheologa Sa{e Todorovi}ai dr Nenada Tasi}a, koji vodi istra`ivan-ja na lokalitetu Vin~a Belo Brdo, nasta-la je eksperimentalna arheolo{karadionica, koja je imala za cilj rekon-strukciju na~ina proizvodnje vin~anskeneolitske keramike, prvenstveno posudatog perioda. Bogatstvo i lepota formi, njiho-va namena, razli~it kvalitet izrade i zna~aj

kerami~kih posuda za prastanovnike neolitske Vin~e, razlog suinteresovanja ove eksperimentalne arheolo{ke radionice. Ekipu su~inili, najve}im delom, arheolozi i konzervatori, ali je bilo i umetnika -vajara i kerami~ara. Proces rada radionice li~io je na mogu}i na~inizrade keramike vin~anskih pramajstora: zapo~et je pripremomglinene mase sa primesama, od koje je potom izra|en, veomauspe{no, ve}i broj posuda prepoznatljivih neolitskih formi, ru~nimmodelovanjem na asuri kao prete~i ru~nog to~ka. Formirana je i pe}u kojoj je, nakon du`eg perioda su{enja, ispe~ena napravljenakeramika, redukcionim procesom. Iako potom nikada ponovljena iosporavana, zbog slobodnijeg nenau~nog pristupa realizaciji, ovaeksperimentalna arheolo{ka radionica je dala zna~ajne rezultate. Pored pravljenja ve} pomenutih uspe{nih replika vin~anske keramike,izvedenih na na~in veoma blizak autenti~nom, na lokalitetu, gde supre nekoliko hiljada godina prvi grn~ari ovog podneblja stvarali orig-inalne posude, najzna~ajniji aspekt ovog eksperimenta je saznanje da bise kroz ovakve radionice mogle uspe{no rekonstruisati tradicionalneproizvodnje arheolo{ke keramike i u na{im okolnostima, kao u svetu, gdeje to ve} odavno praksa. Eksperimentalna arheologija mo`e da pru ivelike mogu}nosti stru~njacima raznih profila, da do|u do novih otkri}a,u cilju {to podrobnijeg upoznavanja sa tehnolo{kim razvojem ina~inom ivota stanovnika odre|enog kulturnog sloja. Pored togosnovnog cilja, ona mo`e tako|e da se bavi i popularizacijom tihotkri}a, kroz realizaciju radionica, namenjenih naj{iroj publici.Ideja o rekonstrukciji tradicionalnih proizvodnji keramike kao projektu,

koji bi uklju~io ve}i broj stru~njakarazli~itih profila, nametnula je pitanja:kako, sa kim i gde ga realizovati?Zahvaljuju}i kontaktima sa arheolozima,kao i pojedinim ljudima, koji su pro{li kroz{kolu konzervacije, do{la sam u DIJANACentar za preventivnu za{titu. Upoznaju}ise sa osnovnim principima preventivneza{tite kulturnih dobara na{e zemlje, kaoi sa prvim koracima primene konzerva-torskih tretmana u letnjoj {koli DIJANACentra, shvatila sam da je to pravo mestoza pokretanje pomenutog projekta.Evropska strategija preventivne za{tite,kao i strategija DIJANA Centra, kao nuk-leusa preventivne za{tite u Narodnommuzeju Beograd, po~iva na otvorenosti iinterdisciplinarnosti u pristupu problemati-ci za{tite. Iako rekonstrukcija tradicionalnihproizvodnji keramike nije problem preven-tivne za{tite u naju`em smislu, za{titaba{tine u celini, u koju spada i konzer-vacija, tehnika i tehnologija arheolo{ke ietnolo{ke keramike, bazi~ni je cilj preven-tivne za{tite u naj{irem smislu. [ef DIJANA Centra za preventivnu za{titu,Mila Popovi} - @ivan~evi}, muzejski savet-nik-konzervator Narodnog muzeja, osni-

121

Pottery workshop at the Vin~a siteKerami~arska radionica na lokalitetu Vin~a

Firing of ceramicsProces pe~enja keramike

conservation in the most direct sense, protec-tion of the heritage on whole includes alsoconservation of techniques and technologies ofarchaeological and ethnological ceramics and itis the basic aim of preventive conservation ingeneral sense.Head of DIANA Centre for PreventiveConservation, Mila Popovi}-@ivan~evi}, muse-um councilor-conservator of the NationalMuseum Belgrade, founder and driving force ofthis institution, accepted my suggestion on cre-ation of the project with great enthusiasm.Working in the Centre since 1997, in conserva-tion and protection of national cultural proper-ty, mostly archaeological ceramics, MilaPopovi}-@ivan~evi} has thought of a similarproject herself for a long time. DIANA Centreexpects to get a new complex of buildings atthe site of DIANA military camp at Karata{, nearKladovo, and in that way improve its workingconditions. Apart from already developed,highly elaborated theoretical and practical con-servation activities, it is planned that Centreextends its scientific research and introducesexperimental archaeological activities at the siteof DIANA - Karata{. A visit to recently discov-ered remains of Roman kilns at the archaeo-logical site near Kru{evac, during DIANASummer School, as well as my suggestion, gave good reasons toMrs Popovi}-@ivan~evi} to decide to start the project of ExperimentalArchaeology - Traditional Production of Ceramics.

PROJECT STRUCTUREA graphic scheme can present the structure of this project in the bestway. The core of the project would be a research centre, whose activ-ities and results would be promoted, developed and implemented bydifferent workshops, anticipated in the project. Centre should alsoorganize, coordinate and decide on all activities anticipated in theproject, as well as on the possibilities of extending its activities.

I RESEARCH CENTRE FOR EXPERIMENTAL ARCHAEOLOGYThe Research Centre would be made of a team of experts in differ-ent fields needed for the reconstruction of technologies and tech-niques of archaeological and ethnographic ceramics production, andthe firing process in adequately reconstructed kilns, from prehistorictimes till today. Team would convey some complex researches inorder to reach the results as relevant as possible for the reconstruc-tion of certain technologies and techniques, namely theoretical, lab-oratory and experimental researches.LABORATORY researches refer to physical-chemical and petrogra-phy researches in order to:- discover and identify original/local deposit of clay, which was usedin ancient times to make local ceramics- discover local recipes for preparation of clay, coatings, and the likeEXPERIMENTAL researches refer to:- preparation of clay in original/authentic way- modeling of an object: by hand, on a wheel, or by casting- application of original decoration- drying process in original way- building of authentic kilns:a)prehistoricb)Romanc)rural pottery kilns- firing in already mentioned, reconstructed kilns

II CENTRE FOR PREVENTIVE CONSERVATION OF ARCHAEOLOGICAL AND ETHNOLOGICAL CERAMICSThrough the theoretical and practical activity of this centre, the par-ticipants in the project learn more about necessity of conserving andreasons for including adequately conducted conservation treatmentsinto the system of preventive measures.

Education should be carried out through:1. Introducing physical chemical andmechanical characteristics of archaeologicaland ethnographic ceramics2. Discovering causes of damage and dete-rioration processes3. Learning how to stop or slow down dete-rioration processes on archaeological andethnological ceramicsTheoretical part of education is conveyedthrough lectures, multimedia presentations,conferences, etc.Practical part of education is conveyedthrough workshops and laboratories.

III EDUCATIVE WORKSHOPS FOR SPECIALISTSDIANA Centre organizes educative workshopsfor all interested specialists, willing to learnabout results of the Research Centre of thisproject. Education is conveyed through lec-tures, presentations and individual work onceramics production, with reconstructed tech-nology and techniques at three possiblelocalities: DIANA Centre - Gallery of Frescoes(Belgrade), archaeological site of Vin~a-BeloBrdo (Belgrade) and archaeological site ofDIANA - Roman camp at Karata{ (Djerdap).

These workshops could be of national, regional or international type,and could give an opportunity for exchange of experiences and workon joint projects.

IV WORKSHOP FOR THE PRODUCTION OF COPIES, REPLICASAND SOUVENIRSAlready established workshop for production of copies and replicashas multifunctional character and deals with:a) Production of UNIQUE replicas of archaeological and ethnograph-ic ceramics, by hand modeling or on potter's wheel, for museologi-cal purposes.b) SERIAL production of copies and replicas of archaeological andethnographic ceramics as souvenirs, by casting in plaster moulds.This type of work needs previous preparation, as well as process ofremoving of silicone prints from the original object, production of sil-icone moulds and plaster models, and production of plaster mouldsfor casting.c) EDUCATION of all individuals interested in this type of copies andreplicas production (especially collaborators of DIANA Centre),through organized, continuous and professional educationd) Possible serial production of CONTEMPORARY SOUVENIRS,inspired by archaeological ceramics

122

Vessels after firing processPosude nakon pe~enja

Ceramics production workshop at the Vin~a siteRadionica za proizvodnju keramike na lokalitetu Vin~a

va~ i pokreta~ka snaga ovog centra, spremno i otvoreno je do~ekalamoj predlog o pokretanju pomenutog projekta. Rade}i u ovomCentru, od 1997. godine, na problemima konzervacije i za{titenacionalnih dobara, prete`no arheolo{ke keramike, Mila Popovi}-@ivan~evi} je odavno do{la na sli~nu ideju. Na lokalitetu DIJANA-logor Karata{, Kladovo, trebalo bi da, DIJANA Centar za preventivnuza{titu, dobije novi kompleks zgrada i prostora, a samim tim i novemogu}nosti za rad u okviru ovog Centra. Pored ve} razvijenihvisokostrukturisanih teorijskih i prakti~nih konzervatorskih aktivnosti,predvi|eno je da Centar, na lokalitetu DIJANA-logor Karata{, pro{irinau~no-istra iva~ke i uvede eksperimentalne arheolo{ke aktivnosti.Poseta nedavno otkrivenim ostatacima kerami~kih pe}i iz rimskogperioda na lokalitetu kraj Kru{evca, tokom trajanja letnje {kole DIJANACentra, kao i moj predlog, bili su samo dobar povod Mili Popovi}-@ivan~evi} za dono{enje odluke o pokretanju projekta"Eksperimentalna arheologija - Tradicionalne proizvodnje keramike".

[[EMA PROJJEKTAGrafi~ka {ema najbolje pokazuje strukturu projekta "Eksperimentalnaarheologija - Tradicionalne proizvodnje keramike". Istra iva~ki Centar~ini nose}e jezgro projekta, ~ije aktivnosti i rezultate {ire, razvijaju iimplementiraju razli~ite radionice, predvi|ene projektom.Centar tako|e organizuje, kordinira i odlu~uje o svimaktivnostima predvi|enim projektom, kao i omogu}nostima njegovog pro{irenja.

I - CENTARa - ISTRA@IVA^KI CENTAR EKSPER-IMENTALNE ARHEOLOGIJEIstra`iva~ki Centar ~ini timstru~njaka raznih profila, potreb-nih za rad na rekonstrukcijitehnologija i tehnika izrade na{earheolo{ke i etnografskekeramike, kao i njenog pe~enjau adekvatnim rekonstruisanimpe}ima od praistorije do danas.Tim sprovodi kompleksnaistra ivanja, da bi do{ao do {torelevantnijih rezultata u rekonstru-isanju odre|enih tehnologija itehnika i to: teorijska, laboratorijska ieksperimentalna. LABORATORIJSKA istra`ivanja seodnose na fizi~ko- hemijska i petrografs-ka ispitivanja, radi:- utvr|ivanja i identifikacije originalnog - lokalnognalazi{ta gline, od koje je u aheolo{kim vremenimapravljena lokalna keramika - utvr|ivanja recepata za pripremu gline, premaza, engoba i sl.EKSPERIMENTALNA istra ivanja se odnose na :- pripremanje gline na originalan - autentican na~in - na modelovanje predmeta: ru~no, na ru~nom ili no`nom vitlu i livenjem- na primenu originalne dekoracije - na su{enje na tradicionalan na~in - na pravljenje autenti~nih pe}i:a) praistorijskih b) rimskih pe}i v) seoskih grn~arskih pe}i

- kao i na pe~enje u ve} pomenutim rekonstruisanim pe}ima

b - CENTAR ZA PREVENTIVNU ZA[TITU I KONZERVACIJU ARHEOLO[KE I ETNOGRAFSKE KERAMIKE Preko teorijskog i prakti~nog rada ovog centra obja{njava se i prib-li ava u~esnicima projekta za{to kulturno dobro mora da se konz-ervira i zbog ~ega je neophodno u sistem preventivnih mera za{titeuklju~iti pravilno vo|ene konzervatorske tretmane.Edukacija se sprovodi kroz :

1. Upoznavanje sa fizi~ko-hemijsko-mehani~kim svojstvima arheo-lo{ke i etnografske keramike2.Utvr|ivanje uzroka o{te}enja i destruktivnih procesa i

3. Saznavanje kako zaustaviti i usporiti destruktivne procese na arhe-olo{koj i etnografskoj keramiciTeorijski deo edukacije se odvija kroz: predavanja, videoprezentacije,okrugle stolove i slPrakti~ni deo edukacije se odvija kroz: radionice i laboratorije

II - RADIONICE EDUKATIVNOG KARAKTERA ZA STRU^NA LICADIJANA Centar formira edukativne radionice za sva zaiteresovanastru~na lica, koja `ele da se upoznaju sa rezultatima istraziva~kogcentra ovog ovog projekta. Edukacija se vr{i putem predavanja,demonstracija i individualnog rada na izradi keramike, na na~inrekonstruisane tehnologije i tehnike na tri mogu}e lokacije: DIJANACentar - Galerija Fresaka/Beograd, arheolo{ki lokaliteti Vin~a -Belobrdo/Beograd i arheolo{ki lokalitet DIJANA- rimski logor/Karata{/\erdap. Radionice mogu biti nacionalnog, regionalnog i me|unaro-dnog karaktera i pru`aju mogu}nost razmene iskustava i rada nazajedni~kim projektima.

III - RADIONICA ZA IZRADU KOPIJA, REPLIKA I SUVENIRAFormirana radionica za izradu kopija i replika ima vi{enamenskikarakter i bavi se:

a. Izradom UNIKATNIH replika arheolo{ke i etnografskekeramike - ru~nim modelovanjem, kao i modelovan-

jem pomo}u ru~nog ili no`nog vitla, u muzeo-lo{ke svrhe.

b. SERIJSKOM izradom kopija i replikaarheolo{ke i etnografske keramike -

kao suvenira, livenjem glinenog {lik-era u gipsane kalupe. Ovakav na~inrada podrazumeva prethodnupripremu, kao je rad na: skidan-ju silikonskih otisaka sa originala,izradi silikonskih kalupa i gip-sanih modela, kao i izradi gip-sanih kalupa za livenje.c. EDUKACIJOM svih zain-teresovanih za ovakav na~inizrade kopija i replika (prven-stveno saradnika DIJANACentra), kroz organizovanu kon-

tinuiranu specijalisti~ku edukaciju.d. Mogu}om serijskom izradom

SAVREMENOG SUVENIRA, inspirisa-nog arheolo{kom keramikom.

IV - POPULARNE EDUKATIVNE RADIONICERad ove radionice odvija se u dva pravca:

1. Popularne edukativne radionice za:a. decu b. osobe sa posebnim potrebamac. naj{iru publiku

Ove radionice predstavljaju naj{iroj javnosti, na jednostavan ipopularan na~in, rezultate rekonstruisane tehnike i tehnologijeizrade na{e arheolo{ke keramike, {ire}i na taj na~in zna~ajo~uvanja na{eg kulturnog nasle|a, putem predavanja, demon-stracija i individualnog rada.2. Nacionalne i me|unarodne radionice (kolonije) umetni~kekeramike Umetni~ke kerami~ke radionice (kolonije) sazivaju se jednomgodi{nje ili ~e{}e, po potrebi i okupljaju najeminentnije umetnikeiz zemlje i sveta, na dva arheolo{ka lokaliteta Vin~a - BeloBrdo/Beograd i DIJANA - rimski logor/Karata{/\erdap.Rad radionica (kolonija) se sastoji iz dva dela:a. OBAVEZNI DEO - podrazumeva izradu unikatnih replika aheolo{kekeramike, na na~in rekonstruisane tehnike i tehnologije odre|enogkulturno-istorijskog perioda. Na lokalitetu Vin~a je to praistorijskakeramika, a na lokalitetu DIJANA - Karata{, rimska keramika. b. SLOBODNI DEO - odnosi se na izradu umetni~ke keramike slo-bodnog izraza, ali inspirisane na{om arheolo{kom keramikom, unaj{irem smislu.

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V EDUCATIVE WORKSHOPSThis workshop should operate in two directions:1. Educative workshops for:a) Childrenb) Disabledc) General publicThese workshops should present, in a simpleand popular way, the results of reconstructedtechniques and technologies of archaeologi-cal ceramics production to general public,promoting the preservation of our cultural her-itage, through lectures, presentations andindividual work.2. National and international workshops(colonies) of artistic ceramicsArtistic ceramics workshops (colonies) areheld once a year or more often, when nec-essary, and they gather the most eminentartists from our country and abroad, at twoarchaeological sites: Vin~a-BeloBrdo/Belgrade and DIANA - Roman camp at Karata{ (Djerdap).These workshops (colonies) would operate in two directions:a) OBLIGATORY SEGMENT - refers to production of unique replicasof archaeological ceramics, through the means of reconstructedtechniques and technologies of certain cultural-historical period. Atthe site of Vin~a it would be prehistoric ceramics, and at the site ofDIANA - Karata{ it would be Roman ceramics.b) INDIVIDUAL SEGMENT - refers to production of artistic ceramicsof individual design, but inspired by our archaeological ceramics ingeneral sense.Organization of exhibitions of ceramics created in already describedway, in the most significant museums and galleries in our country andabroad, would be, by all means, part of planned activities within thisproject and would present the most direct link between traditional andcontemporary ceramics design.

VI MARKETING AND PR DEPARTMENTThe project anticipates continuous presentation of its progress andresults to professional and general public through the means of:1. Video and audio recordings, digital and classical photography2. Video and Internet presentations, CD-ROMs, posters, etc.3. Advertising material: posters, brochures, scientific publications, etc.4. Suitable packing material for copies, replicas and souvenirs: boxes,bags, paper, etc.5. Marketing and selling copies and replicas as souvenirs6. Exhibitions: photo-documentation, conservation, displays of copiesand replicas as souvenirs, artistic ceramics inspired by archaeologi-cal ceramics7. Contacts with media and conferences about the results of the proj-ect

VII TARGET GROUPSThis program is intended for:

- Especially young experts and students ofarchaeology, conservation, ethnology, geolo-gy, technology, ceramics design, design ingeneral, art historians, as additional training,with an aim of introducing them, on time, intoteam research and practical work on promo-tion and preservation of our cultural heritage.- All interested experts in the fields men-tioned above, museum professionals, as wellas experts in other fields, in our country orabroad, who wish to improve the realizationof the project and promote its objectives onevery level, in the country and abroad, withtheir own knowledge, experience andengagement. It is also intended for improv-ing their own knowledge in their field ofexpertise, or getting information on relatedsubjects, needed for their own project.- General public: children, disabled and oth-ers, in order to present them national cultur-al heritage in popular and attractive manner,

so that they would become familiar with its cultural-historical periodsin the right way.- All interested artists from our country and abroad, above all ceram-ics designers willing to learn about technologies, techniques, formsand decoration of ceramics of certain period, especially about authen-ticity of our prehistoric ceramics, through participation in artistic ceram-ics workshops and replicas and souvenirs production workshops,inspiring contemporary art by following the foot steps of our tradition.

VIII THE OBJECTIVES AND TASKSThis project should:- encourage the development of interdisciplinary approach inresearches, theoretical basis and practical application.- point out the significance of the nature of cultural property throughhistory, as part of heritage- warn about the sensibility and fragility of cultural property and howeasy it can be endangered, destroyed and become worthless - explain the necessity of protecting archaeological object or anyother cultural property in a special way and why it is important to putthem through conservation treatment- enhance and point out the influence of cultural heritage to estab-lishing of contemporary cultural identity- show the importance of promotion of contents and significance ofcultural heritage to general public in our country and abroad, throughpresentation of copies and replicas- show the importance of copies and replicas of archaeological andethnological ceramics, as continuous source of inspiration for con-temporary souvenir- show the importance of archaeological and ethnological ceramics,as a possible source of inspiration for contemporary art in general senseProject of Experimental Archaeology - Traditional Production is based,first of all, on the significance of copies and replicas as acquisitions(copy as a substitute for an original object; as the only remainingdocument on certain object; as a part of preventive conservation ofan object; copy and replica as intangible cultural heritage; as a wayof revitalizing ancient crafts; as a part of cultural identity; as a top-quality souvenir and inspiration for contemporary works of art). All thepurposes of copies and replicas mentioned are of utmost importancewhen it comes to the preservation of cultural heritage and thereforepoint out the significance of this project.Started in July 2003, or better say initiated, project began to developwith great enthusiasm of its authors and several collaborators. Someof its segments, such as workshop for production of copies and repli-cas, were elaborated with precision and began its work. Still, for therealization of the complete project, especially for the establishment ofthe Research Centre, we need adequate financial resources, expect-ed through donations which DIANA Centre has applied for.Meanwhile, team of collaborators in the project of ExperimentalArchaeology - Traditional Production keeps preparing the realizationof anticipated activities.

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Washing of vessels after reduction firing processPranje posuda nakon redukcionog pe~enja

Ceramic vessel at the site of Vin~aKerami~ki sud na lokalitetu Vin~a

Organizovanje izlo`bi ovako nastale umetni~ke keramike nanajzna~ajnijim muzejskim i galerijskim mestima u zemlji i inostranstvu,sastavni je dao predvi|enih aktivnosti ovog projekta i predstavlja najdi-rektniju sponu izme|u tradicionalnog i savremenog kerami~kog izraza.

V - ODELJENJE ZA MARKETING I ODNOSE SA JAVNO[]U Projekat predvi|a stalno prezentovanje, stru~noj i naj{iroj javnosti,razvojnih procesa i rezultata projekta putem:1. Videozvu~nih zapisa, kao i digitalnih i klasi~nih fotografija.2. Pripreme video i internet prezentacija, CD-ROM-a, postera i sl.3. Izrade propagandnog materijala: plakata, bro{ura, obimnije stru~nepublikacije i dr. 4. Projektovanja i izrade odgovaraju}e ambala`e za pakovanje kopi-ja i replika, kao suvenira: kutija, kesa, papira i sl.5. Plasiranja i prodaje kopija i replika kao suvenira.6. Organizovanja izlo`bi: foto-dokumentacionih, konzervatorskih, kopi-ja i replika kao suvenira i umetni~ke keramike inspirisane aheolo{komkeramikom.7. Kontakata sa medijima i organizovanjem okruglih stolova o rezul-tatima projekta.

VI - CILJNE GRUPEProgram je namenjen:- Prvenstveno mladim stru~njacima i studentima aheologije, konzer-vacije, etnologije, geologije, tehnologije, keramike, dizajna, istori~arimaumetnosti, kao dopuna znanja i iskustava ste~enog na fakultetima, saciljem pravovremenog uklju~ivanja u timski istra iva~ki i prakti~an radna problemu {irenja zna~aja i o~uvanja na{eg kulturnog nasle|a.- Svim zainteresovanim stru~njacima iz pomenutih oblasti, muze-jskim radnicima, kao i stru~njacima iz drugih oblasti, iz zemlje iinostranstva, koji `ele da svojim znanjem, iskustvom ianga`ovanjem, doprinesu stru~nom i kvalitetnom realizovanjuprojekta, kao i {irenju ciljeva ovog projeta, na svim nivoima, uzemlji i van nje. Tako|e je namenjen pro{irivanju i produbljivan-ju sopstvenih znanja iz oblasti kojom se bave ili sticanju znanjaiz pojedinih kompatibilnih oblasti, potrebnih u realizovanju nji-hovih zapo~etih ili mogu}ih projekata.-Naj{iroj populaciji: deci, osobama sa posebnim potrebama i publici,

kako bi se, na popularan i atraktivan na~in, upoznali sa kulturnimnasle|em svoje zemlje, i na neposredan i pravi na~in, stekli znanja onjegovim kulturno-istorijskim periodima. - Svim zainteresovanim umetnicima iz zemlje i inostranstva, a poseb-no kerami~arima, koji su zainteresovani da se, kroz u~e{ce u umet-ni~kim kerami~kim radionicama i kroz rad u radionici za izradu rep-lika i suvenira, upoznaju sa tehnologijama, tehnikama, formama imotivima keramike odre|enog kulturnog sloja, a posebnoautenti~no{}u na{e praistorijske keramike, nude}i neiscrpnu inspi-raciju za stvaranje savremene umetnosti nastavljanjem na korene itradiciju.

VII - CILJEVI I ZADACI PROJEKTA- Ovaj projekat treba da pomogne razvijanju interdisciplinarnog pris-tupa u istra iva~kom radu, teorijskoj osnovi i prakti~noj primeni. - Da uka`e na zna~aj prirode kulturnih dobara kroz istoriju, kao delanasle|a i i kulturne ba{tine. - Da upozori na osetljivost i krhkost kulturnih dobara i saznanje daih je lako ugroziti, obezvrediti ili ~ak uni{titi.- Da objasni za{to se arheolo{ki predmeti ili bilo koje kulturno dobromoraju {tititi posebnim merama za{tite, i za{to se moraju podvrgnutiposebnim konzervatorskim tretmanima.- Da produbi i podvu~e zna~aj kulturnog nasle|a i ba{tine na formi-ranje savremenog kulturnog identiteta - Da usmeri na va`nost otvaranja i pribli avanja promocije sadr`aja izna~aja kulturnog nasle|a naj{iroj javnosti u zemlji i inostranstvu,putem kopija i replika.- Da istakne zna~aj kopija i replika arheolo{ke i etnolo{ke keramike,kao neiscrpnog izvora inspiracije za savremeni suvenir.- Da poka`e zna~aj arheolo{ke i etnolo{ke keramike, kao mogu}einspiracije za savremenu umetnost, u naj{irem smislu.Projekat "Eksperimentalna arheologija - Tradicionalne proizvodnje"baziran je najpre na zna~aju kopija i replika kao akvizicija (kopija kaozamena za originalni predmet ; kao jedini sa~uvani dokument opredmetu; kao preventivna za{tita predmeta; kopija i replika kaonematerijalno kulturno nasle|e; kao revitalizacija starih zanata; kaodeo kulturnog identiteta; kao kvalitetni suvenir i kao inspiracija zasavremeno stvarala{tvo). Pomenute brojne uloge kopija i replika su

od izuzetne va`nosti zao~uvanje kulturne ba{tine isamim tim govore o zna~ajupomenutog projekta. Zapo~et u julu 2003. godine,idejnom postavkom, projekatje, zahvaljuju}i velikom entuz-ijazmu autora i nekolicinesaradnika, po~eo da se razvi-ja i razra|uje. Pojedini seg-menti projekta, kao {to jeradionica za izradu kopija ireplika, dobili su preciznorazra|en program, koji je ve}uspe{no zapo~et. Ipak, zarealizaciju celokupnog projek-ta, a naro~ito za osnivanjeIstra iva~kog Centra, potreb-na su zna~ajna sredstva, kojase o~ekuju od donacija zakoje DIJANA Centar konku-risao. U o~ekivanju pomenu-tih nov~anih sredstava, timsaradnika na projektu"Eksperimentalna arheologija- Tradicionalne proizvodnje"nastavlja sa radom napripremama za realizacijuplaniranih aktivnosti.

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Reconstruction of a prehistoric kilnRekonstrukcija praistorijske pe}i

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At the end of October 2003 we opened a conservation exhibitionnamed From a fragment to an object, created by Rade Pajovic,the preparator in the Conservation Department of the RegionalMuseum Kraljevo. This exhibition deserves special attention,being the first one of this kind in our museum.The idea was born after excavations of antique necropolis inLani{te, Korlace (Ra{ka), in 2002, when some valuable archae-ological objects from these burial complexes were brought to theconservation workshop. The object were mostly made of metals(iron, bronze, silver and gold) and ceramics, but also bone andglass. They were dug out and without any intervention of thearchaeologists transported straight to the conservation studio inKraljevo. Burial goods are, normaly, objects possible to conserveand reconstruct back to their original appearance, which turned tobe a real challenge for the conservator. He had a complete group ofobjects, hence he chose the exhibiting concept that would present lessknown treatments and procedures to the museum public, or better said- the path that an object has to pass from fragments to a restored object,such as visitors are able to see in museum showcases. Thus, ceramics and metal were chosen for the demonstration.Through photographs attached to several panels with glass on top,the conservation path was displayed: the moment of the discovery,in situ, in its primarly context, fragmented (in the case of ceramics)or under the layers or corosion that completely changed its originalshape (if it was metal), through conservation phases and finally itsreconstruction, including drawings for ceramic objects. In front ofthese panels showcases were set, with the objects conserved andreconstructed. Ceramics was especially illustrative in this sense. Therewere three showcases, put together, that deserve special attention.The first showcases contained a fragmented vessel displayed in asandy environment, the second one had a reconstructed vessel init, that is - the one returned into its original condition, and in the thirdone there was an emphasis on some other aspects of the care foran object, such as storing, with an object in a cross section of a stor-ing box. So, a visitor of the exhibition was introduced into the com-plexity and diversity of activities within a cultural heritage conservationtreatment, normaly done out of the public sight. In the showcases set in the centre of the exhibition hall, someiron age ceramic object from Kovanluk near Kraljevo, conservedby highly experienced conservator and senior curator MrsSlobodanka Pribakovi}-Kosti}, were displayed in order to showthe consistency in conservation treatments.There was also the exhibition catalogue divided into two parts in termsof the subject (ceramics and metal) in which the author described

some problems of the material, actions and methods applied, so ithad a value of an article useful to museum professionals. The invi-tations cards, the catalogue and the posters were all designed in thesame style (Studio R.A. Pe{i}).What distinguishes this exhibition is the appearance of the objectsthemselves - bronze, silver and gold jewelry, coins, stylish forms ofantique ceramics reached through patience and creative work full ofchallenges, which promote conservation profession in the best wayand make it attractive, emphasizing its significant social role in preser-vation of cultural heritage.Rade Pajovi}, originally a sculptor, was trained for a conservator inDIANA Centre for Preventive Conservation for several years, and inthat way obtained skills necessary to undertake, as a preparator, withgreat success, the conservation treatments of utmost significance forthe National Museum Kraljevo.

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The exhibition "The Life of Achilles" took place in the MuseumBoijmans Van Beuningen in Rotterdam from 30.8 -16.11.2003. It wasa joint project of the Museum in Rotterdam and the Museo Nacionaldel Prado in Madrid. The exhibition showed a series of tapestries andpre-studies by Rubens.Eight wall tapestries, with enormous dimensions (approx. 4 x 4-6meters), originating from Brussels in the 3rd decade of the 17th cen-tury, were designed by Rubens and produced under his supervisionfor an unknown commissioner. Beside the tapestries, the exhibitionpresented the eight related oil sketches on panels, as well as six ofthe following pre-studies, modelli, done by Rubens and/or his assis-tants. Unfortunately, the accompanying cartoons, the final preparationfor actually producing the tapestries got lost near the end of the 17thI century. The Museum Boijmans Van Beuningen owns seven of the sketches,one sketch is owned by the Detroit Institute of Art. This has been thefirst occasion since the 18th century to exhibit all eight sketchestogether, which made the exhibition unique. The tapestries belong to the late works of Rubens, or his late Flemishperiod. They represent main scenes from the life of Achilles, ThetisDipping Achilles in the River Styx, Chiron Educating Achilles, AchillesAmong the Daughters of Lycomedes, The Wrath of Achilles, TheReturn of Briseis, Thetis Receiving Arms for Achilles, Achilles SlaysHector and The Death of Achilles.The concept of this exhibition poses several questions; questionsfrom an art historical point of view, as well as questions of museology,conservation and restoration. The exhibition shows the complexity ofthe process of producing a tapestry: from the small sketch on a wood-en panel, via a more detailed painting on an enlarged panel, to the

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Impressions

Exhibition in KraljevoIzlo`ba u Kraljevu

A restored ceramic vessel with photo documentationRestaurisani kerami~ki sud sa foto-documentacijom

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Krajem oktobra otvorena je konzervatorska izlo`ba, pod nazivom "Odfragmenta do predmeta", autora Rada Pajovi}a, preparatora Odeljenjaza konzervaciju u Narodnom muzeju u Kraljevu, koja je prva ovakvevrste, ~ime posebno zaslu`uje pa`nju. Ideja je nastala nakon iskopavanja anti~ke nekropole Lani{te uKorla}u (Ra{ka), 2002. godine, kada je bogat arheolo{ki materijal izgrobnih celina u{ao u konzervatorsku radionicu. Re~ je o predmeti-ma od metala (gvo`|a, bronze, srebra i zlata) i keramike, ali i kosti istakla. Materijal je podignut iz zemlje, bez bilo kakvih intervencijaarheologa i odmah transportovan u konzervatorsku radionicu uKraljevu. Grobni prilozi, po prirodi stvari, su predmeti ~ija je konzer-vacija i rekonstrukcija mogu}a do prvobitnog stanja, {to je predstavl-jalo pravi izazov za konzervatora.S obzirom da je posedovao jednu kompletnu celinu, autor se opre-delio za koncept izlo`be koji }e muzejskoj publici prikazati poslove ipostupke malo poznate {iroj javnosti, odnosno pokazati put koji seprelazi od fragmenta do rekonstruisanog predmeta, koji posetiociobi~no sre}u u muzejskoj vitrini.Izabrana je keramika i metal, za demonstraciju ovih postupaka. Napanelima pod staklom, preko fotografija, ilustrovan je pomenuti putpredmeta: od trenutka otkri}a, in situ, u svom primarnom kontekstuu fragmentovanom stanju (ako je keramika u pitanju) ili pod slojevi-ma korozije koja je izobli~ila predmet, ako je metal u pitanju, prekokonzervatorskih postupaka sanacije materijala i finalno njegove rekon-strukcije, uklju~uju}i crte`e (kod keramike). Ispred ovih panoa su vit-rine u kojima je izlo`en materijal u svojoj konzerviranoj i rekonstru-isanoj formi. U tom smislu je keramika posebno re~ita. Tri vitrine,postavljene zajedno, kao celina, zaslu`uju posebnu pa`nju. U prvojvitrini izlo`ena je, u pesku, posuda u fragmentovanom stanju, a uslede}oj je rekonstruisana posuda, odnosno vra}ena u prvobitnostanje. U tre}oj vitrini je "data" posuda u preseku kutije u depou -tako da izlo`ba akcentuje i druge aspekte brige o predmetu, kao {toje trezoriranje. Time je poseticima omogu}eno da sagledaju svuslo`enost i raznolikost aktivnosti u poslovima za{tite kulturne ba{tine,koji se odvijaju nevidljivi za javnost. Na sredini sale u vitrinama je izlo`en kerami~ki materijal sa naseljastarijeg gvozdenog doba Kovanluk kod Kraljeva, rad dugogodi{njegkonzervatora Slobodanke Pribakovi}-Kosti}, vi{eg kustosa Narodnogmuzeja, radi pra}enja kontinuteta u konzervatorskom tretmanu.Izlo`bu prati katalog (26 str.: fotografije, tekst; 24 cm) podeljen u 2tematske celine (keramika, metal) u kojima se autor bavi problemimakonkretnog materijala, postupcima i metodama koje su primenjene ikao takav, tekst ima te inu ~lanka korisnog u`oj stru~noj javnosti.Pozivnica, katalog i plakat objedinjeni su jedinstvenim dizajnom (AteljeRA Pe{i}).

Ono {to ovoj izlo`bi daje posebnu lepotu je sjaj samih predmeta -nakita od bronze, srebra i zlata, novca, otmene forme anti~kekeramike - do ~ega se do{lo strpljivim, ali i kreativnim radom punimizazova, {to najbolje promovi{e profesiju konzervatora i ~ini je atrak-tivnom, ali istovremeno i nagla{ava njen veliki dru{tveni zna~aj u posluo~uvanja kulturne ba{tine.Rade Pajovi}, vajar, svoja konzervatorska znanja stekao je u DIJANACentru za preventivnu za{titu, tokom nekoliko godina obuke, da bikao preparator uspe{no krenuo u poslove od vitalnog zna~aja zaNarodni muzej u Kraljevu.

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Roterdamski muzej Bojmans Van Bouningen je u periodu od 30.8.do 16.11.2003 godine predstavio izlo`bu Ahilov ivot, projekat nastaosaradnjom Muzeja u Roterdamu i muzeja Prado u Madridu (MuseoNacional del Prado). Radi se o izlo`bi tapiserija koje su izra|eneprema Rubensovim skicama. Osam tapiserija, impozantnih dimenzija (oko 4 m x 4-6m), iskupocene izrade (svila, zlatne i srebrne niti), bilo je izvedenotridesetih godina XVII veka u Briselu, pod Rubensovim nadzorom, zadanas nepoznatog naru~ioca. Uporedo, na izlo`bi je bilo mogu}evideti i osam skica izvedenih u uljanoj tehnici, za koje se smatra dasu Rubensovo delo, kao i {est pripremnih slika, tako|e u uljanojtehnici, tzv. modeli (modelli), koje su izveli Rubens i/ili njegovi asis-tenti. Kartoni, koji su pratili slike i koji su bili kona~na priprema zaizradu tapiserija, danas su izgubljeni. Muzej Bojmans Van Bouningen poseduje sedam od ukupno osamRubensovih skica, dok se osma ~uva u Detroitu (Detroit Institute ofArt). Zanimljivo je da je ovo bio prvi put, od XVIII veka, da se svihosam skica izlo`e zajedno.Tapiserije iz ovog ciklusa pripadaju poznijim Rubensovim radovima,njegovom poznom flamanskom periodu. One prikazuju klju~ne sceneiz Ahilovog ivota: Tetida potapa Ahila u reku Stiks, Hiron podu~avaAhila, Ahil me|u Likomedovim k}erima, Povratak Briseide, Tetidapredaje oru`je Ahilu, Ahilov gnev, Ahil i Hektor i Ahilova smrt.Ovako koncipirana postavka osvetljava niz pitanja: od idejnih, istori-jsko-umetni~kih do muzeolo{kih, konzervatorskih i restauratorskih.Ona upu}uje na kompleksan proces izrade tapiserija, ~ije je stadi-jume bilo mogu}e paralelno sagledati: od skice na panelu, prekorazra|ene slike na uveli~anom panelu, modello, do monumentalnetapiserije. Na taj na~in, postavka otkriva i nagla{ava zna~aj samogprocesa nastanka dela. Razgovor sa gospodinom Friso Lamertsom daje uvid u osnovneprobleme sa kojima se suo~ava kustos/konzervator ovakve izlo`be,kao i u neophodne uslove potrebne za ~uvanje/restauraciju/izlaganjeovog osetljivog umetni~kog materijala.

127

Impresije

Ceramic fragments on displayIzlo`eni kerami~ki fragmenti

Metal objects on display at the Museum in KraljevoMetalni predmeti izlo`eni u Kraljeva~kom muzeju

monumental tapestry. It is possible to understand this exhibition as away of uncovering the creative process of producing a tapestry andemphasizing the different stages. What were the main problemswhich the curator/conservator had to solve, and what are the neces-sary conditions for storing/restoring/exhibiting such fine and delicatematerials? A conversation with the curator, Mr. Friso Lammertse, may give us abetter insight in these matters.-The Museum Boijmans van Beuningen owns seven of the sketchesmade for the Achilles Series. Just before the exhibition, the panelswere restored. What was their condition before restoration and whatkind of problems did you have ? -The panels were covered with an imprematura, a very thin layer ofoil, egg, and sometimes even a combination of water and charcoal,which make the outlook of the panels somewhat greyish. We pre-sume Rubens used egg to harden the layer. The major problem isthat egg dissolves easily. For this reason, when cleaning the panelwith water, using too much pressure, one may damage or evenremove the imprematura. Rubens used imprematura as a paint layer,and when cleaned improperly the sketch turns white. This problemoccurred with many of Rubens' sketches, creating disbalance. Besidesome small parts which were cleaned too much, most of our panelswere in good condition. We acquired them in 1933, and they werenever cleaned before, which is certainly one of the reasons why theyare in a such a good condition. Only very little retouching has been performed on our sketches.We contracted Annetje Boersma here in Rotterdam, working inde-pendently as a restorer, to do the job and we are very satisfied withthe results. -The exhibition also showed six pre-studies done on larger panels,so-called modelli. Have they also been restored before the exhibition?The modelli were restored shortly before the exhibition in The Prado,Madrid. When I started working on the exhibition, about two years before itactually took place, I intended to show as much as possible from thecomplete Achilles Series. Our own seven sketches was a good start.Next step was the one missing sketch kept in Detroit.The institute agreed to lend us their sketch for the exhibition withoutany objection. The Prado owns three of the large panels, but initially refused tocooperate, as they were of the opinion the panels could not be trans-ported to Holland because of their state. Amongst other problems,one of them had a big crack. When he payed us a visit, the Pradocurator was amazed by the work Annetje Boersma did on oursketches, and apparently got convinced a proper restoration of thethree panels in The Prado was feasible. Upon his return to Spain, thepanels were restored by three different restorers in a short period oftime. As I have witnessed personally, a light cleaning was sufficient,and also the crack was repaired satisfactory. -Conserving and exhibiting tapestries must be especially difficultbecause of their very delicate materials. What are the required con-ditions for exhibiting tapestries, and how difficult it was in this partic-ular case? Originally the Achilles Series was most probably produced at leasttwenty five times. We had tapestries from different editions of course.We had two from the very first edition. One of them was in a verybad condition, the colours were pale due to the ageing process,which cannot be stopped, of course. On the other hand, the tapes-tries from the first edition have very high quality because of the mate-rial which was used, silver and golden threads, and of coursebecause they are the closest to Rubens sketches. The borders ofthese tapestries show mythological sculptures. In later editions thesewere replaced by less complicated motives that required less effort.I worked on this project together with Guy Delmarcel, professor inLeuven and specialist in the history of Flemish tapestries. Via his con-tacts, we traced these two tapestries at a winery in France.We were aware of the fact that four tapestries of the first edition existin Portugal, but had not obtained them for the exhibition.The two remaining tapestries of the first edition are somewhere inFrance, but we could not trace them. Another thing is the fact that the tapestries are very sensitive to light.

Maximum acceptable for tapestries is 60-70 lux.This was the reason why it was so dark at the exhibition.The tapestries are made of wool and silk, and silk completely disin-tegrates with time. The colours become pale and it becomes impos-sible to determine what they were. Only at the backside of the tap-estries, hardly ever affected by light, we can still see some of theoriginal colours. It is an incredible experience to discover this whenremoving the protective cloth that covers the backside of the tapes-try, which, in fact, we did when restoring one of the tapestries fromFrance. Guy Delmarcel is convinced that Rubens thought his paintings weremore important than the tapestries as artifacts. Rubens used similar paints as for his paintings. Special pigments andmixes were made, never used before for the colouring of tapestries,and unfortunately not resistent enough, as it turned out, after such along time. The golden age for Brussels, as the centre of Weaving-Art , was the16th century. At the beginning of the 17th century, Brussels loses itsimportance in this respect. Rubens wanted to revive the golden age.This fact is really visible on the tapestries of the first edition, they arerevolutionary. Tapestries looked very flat before, contrary to Rubens'tapestries, which have a lot of depth. Rubens was really the first artistwho designed tapestries as paintings, with similar expression. In the catalogue, Guy Delmarcel refers to them as to the "the fres-coes of the North ".Rubens was the first one who also designed the borders of the tap-estries. Before him, painters designing tapestries, like Raphael, woulddo just the central composition and never the borders. An odd thing is, of course, that apparently nobody liked Rubens' bor-ders. This is occasionally visible from some of the contracts, in whichcommissioners stipulated the borders to be simple putti with flowersor garlands, creating again the impression of flatness. Considering all mentioned above, one may look now at Rubens' tap-estries in a different way. But this may be possible for future gener-ations only on very rare occasions, as it seems they can only be pre-served if not hanged and displayed, but rolled up, and stored in avery dark place.

128

AACCKKNNOOWWLLEEDDGGMMEENNTTSS

We would like to thank our friends

Intermuseum Conservation Association, Oberlin, USA National Museum, Ljubljana, Slovenia

For their great contribution (books and magazines)to our library:

Argo (Narodni muzej, Ljubljana)Studies in Conservation

(Intermuseum Conservation Association)Journal of the American Institute for Conservation

(Intermuseum Conservation Association)Art and Archaeology, Techical Abstracts(Intermuseum Conservation Association)

We would also like to invite anyone interested inbooks exchange, but also individuals or institutions

that could help us augment our library, to contact us.

- Muzej Bojmans Van Bouningen poseduje sedam Rubensovih skicaizra|enih za Ahilovu seriju. Neposredno pred samu izlo`bu ove skicena panelima bile su restaurisane. U kom su stanju bile skice prerestauracije i koji su bili problemi sa kojima ste se suo~ili? - Paneli su bili prekriveni veoma tankim slojem ulja, jaja, ponekad ~aki kombinacijom vode i ne{to uglja, usled ~ega paneli deluju sivkasto.Pretpostavljamo da je Rubens koristio jaje da bi u~vrstio sloj. Glavniproblem kod upotrebe jaja je taj {to se ona lako rastvaraju. Usled toga,pri ~i{}enju panela vodom i sa prejakim pritiskom, mo`e da se o{tetiili ukloni. Rubens je koristio kao bojeni sloj, koji postaje beo ako senepravilno ~isti. Ovaj problem se javlja kod mnogih Rubensovih skica,stvaraju}i jednu vrstu neravnote`e. Ve}ina na{ih panela je bila udobrom stanju, izuzev nekih manjih delova, koji su bili previ{e ~i{}eni.Mi skice posedujemo od 1933. godine, i do ove prilike one nisu bile~i{}ene. To je sigurno jedan od razloga {to su one danas u takodobrom stanju. Retu{ je ra|en tek ponegde. Mi smo imali ugovor saAnetje Bursmom (Annetje Boersma), samostalnim restauratorom iveoma smo zadovoljni rezultatima. - Na izlo`bi je bilo mogu}e videti i {est pripremnih studija, tako|era|enih na panelima, (tzv. modeli). Da li su i one bile restaurisane preizlo`be?- Modeli su restaurisani neposredno pre izlo`be u Pradu. Kada sampo~eo da radim izlo`bu, oko dve godine pre nego {to je postavlje-na, nameravao sam da poka`em {to je mogu}e vi{e iz cele serije.Na{ih sedam skica je bio dobar po~etak. Slede}i korak bila je skicakoja je nedostajala, a ~uva se u Detroitu. Institut je pristao da nampozajmi skicu za izlo`bu.Prado poseduje tri velika panela, ali su nas oni na po~etku odbili.Smatrali su da su paneli u takvom stanju da ne mogu da se trans-portuju za Holandiju. Izme|u ostalog, jedna od slika bila je napukla.Kada nas je kustos Prada posetio, bio je zadivljen radom AnetjeBursme na na{im skicama, i ubrzo je pristao da restauri{e panele uPradu. Po njegovom povratku u [paniju, panele su za veoma kratkovreme resturisala tri restauratora. Li~no sam video da su ovi panelibili lagano o~i{}eni i da je pukotina bila popravljena. - Konzervacija i izlaganje tapiserija su veoma problemati~ni, jer tapis-erije spadaju u veoma osetljive materijale. Koji su neophodni usloviza njihovo izlaganje i kako ste re{avali neke osnovne probleme?- Ahilova serija je bila izvedena najmanje dvadeset pet puta. Naravno,imali smo tapiserije iz razli~itih edicija. Imali smo dve, iz prve edicije.Jedna od njih bila je u veoma lo{em stanju, boje su bile blede usledstarosti, {to je naravno deo procesa koji se ne mo`e zaustaviti. Sadruge strane, tapiserije iz prve edicije su izuzetnog kvaliteta, izra|enesa srebrnim i zlatnim nitima. One su i najbli e Rubensovim skicama.Na njihovim okvirima prikazane su mitolo{ke skulpture. U kasnijimedicijama ove skulpture su zamenjivane nekim manje komplikovanimmotivima, koji iziskuju manje rada.Na projektu sam radio zajedno sa Gi Delmarselom (Guy Delmarcel),profesorom u Luvenu i stru~njakom za flamanske tapiserije. Prekonjegovih kontakata u{li smo u trag dvema tapiserijama, koje su senalazile u jednoj francuskoj vinari.Znali smo da su ~etiri tapiserije iz prve edicije u Portugaliji, ali njihnismo mogli da dobijemo za izlo`bu. Preostale dve tapiserije iz prveedicije su negde u Francuskoj, ali njima nismo uspeli da u|emo u trag.injenica je da su tapiserije veoma osetljive na svetlost. Dozvoljeni

maksimum za izlaganje tapiserija je 60-70 lux-a. To je razlog {to jebilo tako mra~no na izlo`bi. Tapiserije su izra|ene od vune i svile, a svila vremenom potpuno nes-taje. Boje blede i nemogu}e je zaklju~iti kako su one prvobitnoizgledale. Jedino ako se pogleda nali~je tapiserija, koje gotovo da inije bilo u kontaktu sa svetlom, mogu se videti prvobitne boje. Zaistaje bilo neverovatno, kada smo, pri restauraciji jedne od tapiserija uFrancuskoj, uklonili tkaninu koja je pokrivala nali~je tapiserije i kadasmo otkrili kolorit.Gi Delmarsel tvrdi da je Rubens smatrao svoje slike mnogo zna~ajni-jim od samih tapiserija. Rubens je koristio sli~ne boje kao za svojeslike. Pravljeni su specijalni pigmenti i me{avine, koje do tada nika-da nisu kori{}ene za tapiserije. Na`alost, kako se ispostavilo posletoliko vremena, ove boje nisu bile postojane.Zlatno doba Brisela, kao centra umetnosti tkanja, bio je XVI vek.Po~etkom XVII veka zna~aj Brisela u ovoj oblasti opada. Rubens je

`eleo da obnovi to zlatno doba. To je o~igledno na tapiserijama izprve edicije. One su revolucionarne. Ranije su tapiserije delovaleplo{no, dok Rubensove imaju dubinu. Rubens je bio prvi umetnik kojije radio tapiserije kao slike, tako da one imaju sli~nu snagu. U kat-alogu izlo`be, Gi Delmarsel ih naziva "freskama Severa".Rubens je, tako|e, bio prvi umetnik koji je sam osmi{ljavao okviretapiserija. Ranije bi umetnici, koji su radili skice za tapete, kaoRafaelo, radili samo centralnu scenu kompozicije, nikada okvire.^udno je {to se ti Rubensovi okviri nisu nikome dopali. O tomesvedo~e i neki ugovori, u kojima naru~ioci tra`e da se okviri zamenejednostavnim putima sa cve}em ili girlandama, stvaraju}i tako pono-vo utisak plo{nosti.Ako se uzme u obzir sve {to je pomenuto, mogu}e je posmatratiRubensove tapiserije na nov na~in. Me|utim, to }e za budu}e gen-eracije biti mogu}e samo u vrlo retkim prilikama, jer izgleda da ih jemogu}e sa~uvati samo ako su urolane i pohranjene na mra~nommestu, a ne oka~ene i izlo`ene.

129

ZZAAHHVVAALLNNIICCAA

Ovom prilikom `elimo da se zahvalimo na{im velikimprijateljima

Intermuseum Conservation Association, Oberlin, USA Narodnom muzeju, Ljubljana, Slovenija

na nesebi~nim poklonima u vidu knjiga i ~asopisa od velike vrednosti za na{u biblioteku:

Argo (Narodni muzej, Ljubljana)Studies in Conservation

(Intermuseum Conservation Association)Journal of the American Institute for Conservation

(Intermuseum Conservation Association)Art and Archaeology, Techical Abstracts (Intermuseum Conservation Association)

@elimo da pozovemo sve zainteresovane za razmenuknjiga, kao i sve one koji su u mogu}nosti da potpo-

mognu razvoj na{e biblioteke.

JJAANNUUAARRYY

From 20th JJaanuaaryy: WINTER - SPRING WORKSHOP DIANA

17th-224th JJaanuaaryy: PROFESSIONAL COURSE: INTRODUCTION TOPREVENTIVE CONSERVATION for colaborators and students ofDIANA Centre and professionals from museums, archives, librariesand related institutions. The lecturers: Bent Eshoj, School ofConservation, the Royal Danish Academy of Applied Arts and MortenRyhl Svendsen, the Danish National Museum, as representatives ofICCROM.

FFEEBBRRUUAARRYY

WINTER - SPRING WORKSHOP DIANA

5th Februaaryy: Theoretical lecture for students from Grenoble : Quellepolitique de conservation et de valorization du patrimoine, M.Popovi}-@ivan~evi}, Irina Suboti} (in collaboration with the French CulturalCentre in Belgrade)

20th Februaaryy: SEMINAR - part I, FIRE PROTECTION IN MUSEUMSAND GALLERIES, DITER Association of engineers and technicians formanaging of environmental risks, the lecturer Prof. Dr. MilovanVidakovi} and other experts.

MMAARRCCHH

WINTER - SPRING WORKSHOP DIANA

10th Maarcch: SEMINAR - part II, FIRE PROTECTION IN MUSEUMSAND GALLERIES, DITER Association of engineers and technicians formanaging environmental risks. The lecturers: Dr Milovan Vidakovi}and other experts.

Between 10th aand 20th Maarcch: Theoretical lectures : Tradition and itsinfluence on contemporary mosaics expression. The Lecturer: PredragPe|a Todorovi}

27th-228th Maarcch: participation of M. Popovi}-@ivan~evi} in Spring2004 Meeting of United Kingdom Institute for Conservation-UKICCGCG, Crystal Clear, Dudley, West Midlands, UK

AAPPRRIILL

WINTER - SPRING WORKSHOP DIANA

Paartiicciipaatiion of M. Popovi}-@ivan~evi} in Annual Meeting of Care forCollections Forum-CCF, London, UK

PROFESSIONAL COUURSE: TRADITIONAL PRODUCTION OFCERAMICS

At the end of Apriill: Promotion of the project EXPERIMENTALARCHAEOLOGY - TRADITIONAL PRODUCTION OF CERAMICS.Presenters: Vesna Svoboda, \ina Bogdanovi}, Mila Popovi}-@ivan~evi}

PROFESSIONAL COUURSE: CONSERVATION AND PROTECTION OFTEXTILES. The Lecturer: Gojka Pajagi} Bregar, National MuseumLjubljana, Slovenia

PROFESSIONAL TRAINING: ALEKSANDRA D@IKI]-NIKOLI] in theCentre for Conservation and Research of French Museums -C2RMF-DMF, France

MMAAYY

WINTER - SPRING WORKSHOP DIANA

PROFESSIONAL COUURSE: CONSERVATION OF MOSAICS. PatrickBlanc, Museum of Antiques in Arles. Assistant Maja Frankovi}

14th-116th Maayy: Conference on Museum Ethics, National Committeeof ICOM Macedonia,.M.Popovi}-@ivan~evi} participates with a reporton: Profesional Ethics and Protection of Cultural Heritage

17th- 21th Maayy: INTERNATIONAL MUSEUM DAY 2004, Museumsand Intangible Heritage, ICOM National Committee of Serbia andMontenegro

17th Maayy: Awarding media for the best TV show, radio program, ornewspaper article on museology and conservation of heritage,Museum of Science and Technology

18th Maayy: Assembly of NC ICOM of Serbia and Montenegro inGolubinjci, ethno village in Vojvodina. Main subject - Museums andIntangible Heritage. Presentation of Bulletin No 5. Annual museumawards of NC ICOM Serbia and Montenegro

19th Maayy: Conference on social and strategic significance of intangi-ble heritage, Etnographic Museum

20th Maayy: presentation of documentaries and movies on intangibleheritage in Museum of Cinematography

21th Maayy: Workshops and practical use of intangible heritage inmuseum activities, Gallery of Frescoes

PROFESSIONAL COUURSE: TRADITIONAL PRODUCTION OFCERAMICS

PROFESSIONAL TRAINING: ALEKSANDRA D@IKI]-NIKOLI] in theCentre for Conservation and Research of French Museums -C2RMF-DMF, France

JJUUNNEE28th JJune - 23th Auggust: DIANA SUMMER SCHOOL 2004

PROFESSIONAL TRAINING: MAJA FRANKOVI] in The Museum ofAntiques in Arles, France

JJUULLYY

DIANA SUMMER SCHOOL 2004

PROFESSIONAL COUURSE: CONSERVATION 0F GLASS. Held by Sandra Davison, Davison Studio, UK

PROFESSIONAL COUURSE: CONSERVATION ON ARCHAEOLOGICAL SITE, supported by ICCROM- conservation of Roman ceramic kilns (Kru{evac, Diana-Karata{,etc.)- conservation of archaeological profiles (Vin~a)- conservation of floors (Diana - Karata{, Vin~a)

PROFESSIONAL COUURSE: EXPERIMENTAL ARCHAEOLOGY- TRADITIONAL PRODUCTION OF CERAMICS - workshops for children and adults and disabled

PROFESSIONAL TRAINING: MAJA FRANKOVI] in The Museum ofAntiques in Arles, France

130

DIAANAA Calendar 2004

JJAANNUUAARR

Od 20.. jjaanuaaraa: ZIMSKO-PROLE]NA RADIONICA DIANA

17-224.. JJaanuaaraa: SPECIJALISTI^KI KURS: OSNOVI PREVENTIVNEZA[TITE, za saradnike i polaznike DIJANA Centra i profesionalce izmuzeja, arhiva, biblioteka i srodnih institucija. Predava~i: Bent Eshoj,Kraljevska danska akademija za primenjenu umetnost, Morten RyhlSvendsen, Danski Narodni muzej, kao predstavnici ICCROMa

FFEEBBRRUUAARR

ZIMSKO-PROLE]NA RADIONICA DIANA

5.. februaar: Predavanje studentima iz Grenobla: Quelle politique deconservation et de valorization du patrimoine, M.Popovi}-@ivan~evi},Irina Suboti} (saradnja sa Francuskim kulturnim centrom)

20. februar, SEMINAR, I deo : ZA[TITA OD PO@ARA U MUZEJIMA IGALERIJAMA, DITER - Dru{tvo in`enjera i tehni~ara za upravljanjerizicima u ivotnoj sredini, predava~ Prof. dr Milovan Vidakovi}

MMAARRTT

ZIMSKO-PROLE]NA RADIONICA DIANA

10.. maart: SEMINAR - II deo: ZA[TITA OD PO@ARA U MUZEJIMA I GALERIJAMA, DITER - Dru{tvo in`enjera i tehni~ara za upravljanje rizici-ma u ivotnoj sredini. Predava~: Prof. dr. Milovan Vidakovi} i drugi eksperti

Izme|u 10.. ii 20.. maartaa: Predavanja: Uticaj tradicije na savremenomozai~ko izra`avanje. Predava~: Predrag Pe|a Todorovi}

27.. - 28.. maart u~e{}e M. Popovi}-@ivan~evi} na Prole}nom sastankuUK Instituta za konzervaciju-UKIC CGCG, Crystal Clear, Dudley, WestMidlands, Velika Britanija

AAPPRRIILL

ZIMSKO-PROLE]NA RADIONICA DIANA

UU~e{}e M. Popovi}-@ivan~evi} na Godi{njem sastanku Foruma zabrigu o zbirkama - CCF, London, Velika Britanija

SPECIJJALISTI^KI KUURS: TRADICIONALNE PROIZVODNJEKERAMIKE-krajem aprila promocija projekta EKSPERIMENTALNA ARHEOLOGIJA-TRADICIONALNE PROIZVODNJE KERAMIKE.Predava~i: Vesna Svoboda, \ina Bogdanovi}, Mila Popovi}-@ivan~evi}

SPECIJJALISTI^KI KUURS: KONZERVACIJA I ZA[TITA TEKSTILA.Predava~: Gojka Pajagi~-Bregar, Narodni muzej Ljubljana

SPECIJJALIZOVANA OBUUKA: ALEKSANDRA D@IKI]-NIKOLI] uCentru za konzervaciju i istra ivanja muzeja Francuske C2RMF-DMF

MMAAJJ

ZIMSKO-PROLE]NA RADIONICA DIANA

SPECIJJALISTI^KI KUURS: KONZERVACIJA MOZAIKA. Patrick Blanc,Muzej Antike u Arlu. Asistent Maja Frankovi}.

14-116 maajj: Konferencija o muzejskoj etici, u organizaciji Nacionalnogkomiteta ICOMa Makedonije. M. Popovi}-@ivan~evi} u~estvuje satemom Profesionalna etika i za{tita kulturnih dobara.

17 ..- 21..maajjaa: NEDELJA OBELE@AVANJA ME\UNARODNOG DANAMUZEJA 2004, Muzeji i nematerijalno nasle|e, NK IKOM sa MDS

17.. maajj: dodela priznanja medijskim ku}ama i pojedincima zanajbolju TV ili radio emisiju, novinski ~lanak i sli~no, posve}en muze-ologi i za{titi, Muzej nauke i tehnike.

18.. maajj: Vanredna Skup{tina NK IKOMa u Golubinjcima, etno-selu uVojvodini. Glavna tema - Muzeji i nematerijalno kulturno nasle|e. P19.. maajj: Otvoreni okrugli sto o dru{tvenom i strate{kom zna~ajunematerijalnog kulturnog nasle|a, Etnografski muzej

20.. maajj: Prikazivanje dokumentarnih i igranih filmova sa sadr`ajem onematerijalnom kulturnom nasle|u u Muzeju Kinoteke

21.. maajj: Radionice i prakti~na muzeolo{ka upotreba nematerijalnogkulturnog nasle|a, Galerija Fresaka

SPECIJJALIZOVANA OBUUKA: ALEKSANDRA D@IKI]-NIKOLI] uCentru za konzervaciju i istra ivanja muzeja Francuske C2RMF-DMF

JJUUNNII

28.. jjunii - 23.. aavggust: DIANA LETNJA [KOLA 2004

SPECIJJALIZOVANA OBUUKA: MAJA FRANKOVI] u Muzeju Antike u Arlu

JJUULLII

DIANA LETNJA [KOLA 2004

SPECIJJALISTI^KI KUURS: KONZERVACIJA STAKLA.Sandra Davison, Davison Studio, Velika Britanija

SPECIJJALISTI^KI KUURS: KONZERVACIJA NA ARHEOLO[KOMTERENU, sa ICCROMom- konzervacija pe}i od keramike (Kru{evac, Dijana Karata{, i dr.)- konzervacija profila (Vin~a)- konzervacija podova (Vin~a)

SPECIJJALISTI^KI KUURS: EKSPERIMENTALNA ARHEOLOGIJA-TRADICIONALNE PROIZVODNJE KERAMIKE- radionice za decu, odrasle i osobe sa posebnim potrebama

SPECIJJALIZOVANA OBUUKA: MAJA FRANKOVI] u Muzeju Antike uArlu, Francuska

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DIANA LETNJA [KOLA 2004

SPECIJJALISTI^KI KUURS: KONZERVACIJE STAKLASandra Davison, Davison Studio, Velika Britanija

SPECIJJALISTI^KI KUURS: RESTAURACIJA FAJANSA, MAJOLIKE IPORCULANA, Pamela Warner, Addingtton Studio, Velika Britanija

SPECIJJALISTI^KI KUURS: KONZERVACIJA NA ARHEOLO[KOMTERENU, sa ICCROMom- konzervacija pe}i od keramike (Kru{evac, Dijana Karata{, i dr.)- konzervacija profila (Vin~a)- konzervacija podova (Dijana, Vin~a)

SPECIJJALISTI^KI KUURS: EKSPERIMENTALNA ARHEOLOGIJA-TRADICIONALNE PROIZVODNJE KERAMIKE-radionice za decu, odrasle i osobe sa posebnim potrebamaSSEEPPTTEEMMBBAARR

131

DIAANAA Kalendar 2004

AAUUGGUUSSTT

DIANA SUMMER SCHOOL 2004

PROFESSIONAL COUURSE: CONSERVATION 0F GLASS Held by Sandra Davison, Davison Studio, UK

PROFESSIONAL COUURSE: RESTORATION OF FAIENCE, MAJOLICAAND PORCELAINHeld by Pamela Warner, Addington Studio, UK

PROFESSIONAL COUURSE: CONSERVATION ON ARCHAEOLOGI-CAL SITE, supported by ICCROM- conservation of Roman kilns (Kru{evac, Diana -Karata{)- conservation of archeological profiles (Vin~a)- conservation of floors (Diana, Vin~a)

PROFESSIONAL COUURSE: EXPERIMENTAL ARCHAEOLOGY- TRADITIONAL PRODUCTION OF CERAMICS -workshops for children and adults, and disabled

SSEEPPTTEEMMBBEERR

“The Best In Heriitaagge”(3rd year)Annual presentation of the awarded projects in museums, heritageand conservation Dubrovnik, 16 - 18 (21) Sept. 2004under patronage of ICOM, UNESCO (NC), Europa Nostra, ICOMOSand the City of Dubrovnik"The Best in Heritage" is an international, annual presentation of thebest, awarded museum, heritage and conservation projects, now inits third successful year. Their representatives explain why theirachievements were proclaimed the best, either internationally ornationally. They do it in three days of attractive programme for thesteadily rising audience, coming last year from 27 countries.Dubrovnik, a world heritage site, offers thus excellence of prestigious,indeed, the best professional information and relaxed socialising in itsunique environment. After a day-trip to island Mljet - National Park, the programme con-tinues for two more days with the follow-on event "Heritologia" . Thisis a unique annual think tank for top practitioners and theoreticians.They present and discuss the handpicked projects that point into thefuture by their excellence in creativity, innovation and alternative solu-tions. The aim is quality future for the concerned professions. www.TheBestInHeritage.com

25th-229th (30th) Septembre: DIANA Centre as a guest of theMuseum Forum and The Association of Conservators in Slovenia.Lectures and poster exibiton on activities of DIANA Centre.Presentation of the project of Experimental Archaeology- Traditionalproduction of ceramics

PROFESSIONAL TRAINING: IVANA STOJKOVI] in the Laboratory forConservation of Archaeological Objects in Draguinan, ArchaeologicalCentre of Var, France

OOCCTTOOBBEERR

1th Occtober -115th Deccember: AUTUMN WORKSHOP DIANA

2th-88th Occtober: Participation of Mila Popovi}-@ivan~evi} in GeneralAssembly and Conference of ICOM in Seul, Corea

PROFESSIONAL TRAINING: IVANA STOJKOVI] in the Laboratory forConservation of Archaeological Objects in Draguinan, ArchaeologicalCentre of Var, France

PROFESSIONAL COUURSE: Traditional production of ceramics

NNOOVVEEMMBBEERR

1th Occtober - 15th Deccember: AUTUMN WORKSHOP DIANA

PROFESSIONAL COUURSES: colleagues- experts from Slovenia, TheRegional Museum of Gorica and National Museum Ljubljana.- exibitions, lectures, presentation of activities, etc. - conservation of faience, majolica, porcelain (Jana [ubic-Prislan iJanja Slabe)- repairing of old conservations, Jana [ubic-Prislan- conservation and protection of textiles, Gojka Pajagi~-Bregar

PROFESSIONAL COUURSE: PREVENTIVE CONSERVATION OFARCHAEOLOGICAL OBJECTS. Held by Jacques Rebiere, Laboratoryfor Conservation of Archaeological Objects in Draguinan,Archaeological Centre of Var, France

PROFESSIONAL COUURSE: TRADITIONAL PRODUCTION OFCERAMICS

DDEECCEEMMBBEERR

1th-115th Deccember: AUTUMN WORKSHOP DIANA

PROFESSIONAL COUURSE: TRADITIONAL PRODUCTION OFCERAMICS

Annuaall Assembllyy of NC ICOM of Serbia and Montenegro

132

AACCKKNNOOWWLLEEDDGGMMEENNTTSS

UNESCO - Paris

Sydney Franklin II Trust, London

Leventis Foundation, London

Ekstra Mimark, Belgrade

Intermuseum Conservation Association, Ohio

UKIC, London

French Cultural Centre

Archaeological Institute Belgrade

Institute for Protection of Cultural Monuments of Serbia

SACI, Florence

Government of Republic of Serbia - Ministry of Culture andMedia

Government of Republic of Serbia - Ministry of Foreign Affairs - Direction for International Cultural-EEducational-SSports Cooperation

Post and Telephone “Srbija”

Travelcom Company, Belgrade

Rasica Company, Belgrade

Yugoslav Airlines

The Best In HeriitaaggeGodi{nja prezentacija nagra|enih muzejskih, konzervatorskih i pro-jekata vezanih za nasle|e, Dubrovnik, 16 - 18 (21) septembar 2004,pod patronatom IKOM-a, UNESCO-a (NK), Europa Nostra -e, ICO-MOS-a i grada Dubrovnika."The Best In Heritage" ("Najbolje u nasledju") je internacionalnagodi{nja prezentacija najboljih nagradjenih muzejskih, konzervatorskihi projekata vezanih za nasledje, koja se ve} tre}u godinu uspe{noodr`ava. Dobitnici nagrada obja{njavaju za{to su njihova dostignu}aprogla{ena najboljim na me|unarodnom ili nacionalnom nivou.Program traje tri dana, a broj u~esnika je svake godine sve ve}i -pro{le godine je u~estvovalo ~ak 27 zemalja. Dubrovnik, kaozna~ajan deo svetskog kulturnog nasle|a, na taj na~in nudi vrhunskeprofesionalne informacije i opu{teno dru`enje u svom jedinstvenomambijentu.Nakon jednodnevnog izleta na ostrvo i nacionalni park Mljet, programse nastavlja jo{ dva dana sa prate}im doga|ajem pod nazivom"Heritologija". Ovaj doga|aj predstavlja jedinstvenu godi{nju priliku zarazmenu mi{ljenja za vrhunske prakti~are i teoreti~are. Oni su u prili-ci da prezentuju i da diskutuju pojedine projekte koji otvaraju vratabudu}nosti svojom kreativno{}u, inovativno{}u i pronala`enjem alter-nativnih re{enja. Cilj ovog okupljanja je obezbe|ivanje kvalitetnebudu}nosti pomenutih profesija.www.TheBestInHeritage.com

25..-229..(30) septembaar: DIJANA Centar u Sloveniji, kao gostMuzejskog Foruma i Konzervatorskog dru{tva. Serija predavanja iposter-izlo`ba o aktivnostima DIJANA Centra. Prezentacija projektaEksperimentalna arheologija-tradicionalne proizvodnje keramike.

SPECIJJALISTI^KA OBUUKA: IVANA STOJKOVI] u Laboratoriji zakonzervaciju arheolo{kih predmeta u Draginjanu, Arheolo{ki CentarVara, Francuska

OOKKTTOOBBAARR

1.. oktobaar -115.. deccembaar: JESENJA RADIONICA DIANA

2..-88.. oktobaar: u~e{}e Mile Popovi}-@ivan~evi} na Generalnojskup{tini i Konferenciji IKOMa u Seulu, Koreja.

SPECIJJALISTI^KA OBUUKA: IVANA STOJKOVI], Laboratorija za konz-ervaciju arheolo{kih predmeta u Draginjanu, Arheolo{ki Centar Vara,Francuska

NNOOVVEEMMBBAARR

1.. oktobaar -115.. deccembaar: JESENJA RADIONICA DIANA

SPECIJJALISTI^KI KUURSEVI: kolege iz Muzeja u Gorici i Narodnogmuzeja u Ljubljani - Izlo`be, predavanja, prezentacije i dr.- kurs konzervacije majolike i porculana, Jana [ubic Prislan i JanjaSlabe- popravka starih konzervacija, Jana [ubic Prislan- konzervacija i za{tita tekstila, Gojka Pajagi~-Bregar

SPECIJJALISTI^KI KUURS: PREVENTIVNA ZA[TITA ARHEOLO[KIH

PREDMETA. @ak Ribier, Laboratorija za konzervaciju arheolo{kihpredmeta u Draginjanu, Arheolo{ki Centar Vara, Francuska

SPECIJJALISTI^KI KUURS: TRADICIONALNE PROIZVODNJEKERAMIKE

DDEECCEEMMBBAARR

1.. oktobaar -115.. deccembaar: JESENJA RADIONICA DIANA

SPECIJJALISTI^KI KUURS: TRADICIONALNE PROIZVODNJEKERAMIKE

Godii{njjaa Skup{tiinaa NK IKOMaa SCG

133

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JJAATT

134

IIzzjjaavvaa oo mmiissiijjii

DIJANA Centar za preventivnu za{titu primenjujerazvijen multidisciplinarni pristup u obuci razli~itihnivoa polaznika. Visoko strukturisana teorijska i prak-ti~na nastava pokriva muzeologiju, preventivnuza{titu, mikroklimatske uslove, pravnu za{titu,tehnologiju materijala, petrologiju, hemiju, kao i kur-seve za prakti~nu obuku stru~njaka. Na taj na~inDIJANA Centar postaje zna~ajan promoter konceptapreventivne za{tite u zemlji.Jedan od bitnih zadataka DIJANA Centra je dajavnost postane svesna koncepcije preventivneza{tite.Kao nukleus novog Centra za preventivnu za{tituNarodnog muzeja, {to je nova pozicija u na{em sis-temu za{tite, DIJANA Centar }e prenositi iskustvo,znanje i energiju svim srodnim institucijama i daljerazvijati koncepciju preventivne za{tite u o~uvanjukulturnog nasle|a.DIJANA Centar }e i dalje raditi na formiranju novih,kvalitetnih kadrova, koji }e biti adekvatno (multidisci-plinarno i specifi~no) obrazovani i obu~eni da moguda preuzmu na sebe poslove savremene, blagov-remene i najstru~nije preventivne za{tite pokretnihkulturnih dobara.Uz pomo} Nacionalnog komiteta IKOM-a i u sarad-nji sa drugim muzejima, DIJANA Centar }e organi-zovati seminare, koji treba da pomognu u organi-zaciji pravilne za{tite muzejskih predmeta. U tom cilju, DIJANA Centra }e redovno organizovatiLetnju {kolu, konzervatorske radionice (jesenje-zimske i proletnje); organizova}e prevo|enje iobjavljivanje stru~ne lite- rature; razvija}e saradnju sadoma}im i stranim partnerima.Va`an zadatak DIJANA Centra je i primena pasivnekon-zervacije u muzeologiji, tj. ustanovljavanje opti-malnog okru`enja za muzejske predmete i zbirke(uslovi ~uvanja) i rad na aktivnim konzervacijamamuzejskih predmeta iz zbirki Narodnog muzeja, ali iiz drugih muzeja i galerija.Zbog specifi~nosti svojih delatnosti DIJANA Centarse samo jednim delom oslanja na muzejske slu`be,i delom sama organizuje promotivne delatnosti i pro-grame u okviru odnosa sa javno{}u (internetprezentacije, publikacije, posebne izlo`be i "otvoreneradionice").Cilj svih aktivnosti je stvaranje dobro organizovaneme|umuzejske mre`e u Republici, ali i efikasan sis-tem unutar samih muzeja vezan za preventivnuza{titu, koji bi uspe{no afirmisao svest o zna~ajuna{e ba{tine i time doprineo afirmaciji na{e zemlje uinostranstvu.DIJANA Centar }e prenositi svoje znanje i iskustvosvim institucijama koje su zainteresovane i odgov-orne za o~uvanje pokretnih kulturnih dobara i timedoprineti da ona budu za{ti}ena i sa~uvana zabudu}e nara{taje, ali i da se me|unarodna zajedni-ca upozna sa ovim izuzetnim kulturnim bogatstvom.Imaju}i u vidu da ne postoji sli~na institucija ovevrste u regionu, DIJANA Centar }e ponuditi svojeznanje, kapacitete i dobru volju svim zainteresovan-ima u regionu Balkana, sa krajnjim ciljem da sepretvori u regionalni centar za preventivnu za{titu.

MMiissssiioonn SSttaatteemmeenntt

DIANA Centre for Preventive Conservation applies devel-oped multidisciplinary approach in education and trainingof various types of students. Its highly structured theoreti-cal and practical teaching covers museology, preventiveconservation, environmental condition, legal protection, andtechnology of materials, petrology, chemistry as well aspractical training. All this should make DIANA Centre avaluable promoter of preventive conservation approach inthe country.One of the major tasks of DIANA centre is to raise publicawareness of the preventive conservation philosophy andconcept.As the nucleus of the new Preventive Conservation Centreof the National Museum Belgrade, DIANA Centre will shareits knowledge, experience and energy in preventive con-servation with all the relevant institutions and further devel-op the implementation of the preventive conservation con-cept in safeguarding cultural heritage. DIANA Centre will constantly engage in fostering new, highquality staff with adequate multidisciplinary and specifictraining who could be able to carry out modern, timely andprofessional activities in preventive conservation of move-able cultural property.With the help of the National Committee of ICOM DIANACentre will cooperate with other museums in organisingseminars covering fundamental issues of adequate organi-sation of preventive conservation of museum objects in thecountry.In order to carry out these objectives DIANA will regularlyorganize Summer School courses, as well as conservationworkshops (Autumn-Winter and Spring ones); organizetranslating and publishing of professional literature; devel-op further cooperation with domestic and foreign partners.It is also task of DIANA Centre to implement passive con-servation concept in museology, i.e. to establish optimalenvironment for museum objects and collections (safe-keeping conditions) as well as carry out active conservationtreatments of objects from the National Museum Belgrade col-lections and from other museums and galleries.Due to specific conditions of its work, DIANA is only part-ly relying on the National Museum Belgrade servicesorganising its own promotion and public relation pro-grammes (internet presentations, publications, specificexhibitions, "open workshops", etc.)The basic aim of activities of DIANA Centre is to establisha well organized intermuseum network in the Republic ofSerbia and help that effective preventive conservation sys-tem is built in the museums themselves which would allserve the fundamental objective of raising general aware-ness about the importance of our heritage and in turn con-tribute to building a positive image of the country abroad.DIANA Centre will share its knowledge and experience withall interested and in charge of safeguarding moveable cul-tural property in the country and thereby contribute to itspreservation for future generations as well as to the pres-entation abroad of the extraordinary cultural treasures exist-ing in this area.Bearing in mind that there exists no similar institution in theregion, DIANA Centre will offer its capacities, knowledge andgood will to all interested in the Balkan region with the finalaim of becoming a regional centre for preventive conserva-tion.

135

Povodom Dana za{tite spomenika kulture, Dru{tvo konzervatora Srbije je

dodelilo Mili Popovi}-@ivan~evi} nagraduRadomir Stani} za ukupan rad na

prou~avanju I za{titi arheolo{kih predmeta.

* * *On 22 February 2004, celebrated asThe Day of Protection of Cultural

Monuments, Mila Popovi} @ivan~evi}was awarded by

The Serbian Assosiation of Conservatorsfor the general contribution to research

methodology and protection of arcahaeological objects, as well as the

application of conteporary methods and educating conservators in

prevention of movable cultural heritage.

For further information please contactCenter for Preventive Conservation DIANA

Za sve bli`e informacije molimo Vas da kontaktirateCentar za preventivnu za{titu DIANA

Gallery of Frescoes / Galerija Fresaka

Cara Uro{a 2011000 Beograd

Serbia and Montenegro / Srbija i Crna Gora

Tel. (381 11) 182-9966, 2621-4491Fax (381 11) 183-6655

www.ccdiana.org.yuiccdiana@eunet.yu