Journal 19 / 2023 (Museum of Applied Art. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Printed edition)
PDF of the printed edition 
(9.8 MB)
Editor in Chief: Biljana Joti?
Issue Editor: Biljana Crvenkovi?, Mila Gaji?
Editorial Board:
Nikola uica, PhD (University of Belgrade, Faculty of Philosophy, Belgrade)
Maja Stankovi?, PhD (Singidunum University, Faculty of Media and Communications, Belgrade)
Vladana Putnik Prica, PhD (University of Belgrade, Faculty of Philosophy, Belgrade)
Sla?ana Petrovi? Varagi?, MA (Art Historian, Poega)
Biljana Joti? (Museum of Applied Art, Belgrade)
Mila Gaji? (Museum of Applied Art, Belgrade)
Biljana Crvenkovi? (Museum of Applied Art, Belgrade)
Issue Editorial Assistant: Ana Samardi?
All the papers in the sections Contributions, Polemics, Critic Reviews and Reviews are peer reviewed.List of Reviewers:
Vesna Biki?, PhD, Scientific Advisor, Institute of Archaeology, Belgrade
Dragana Pavlovi?, PhD, Assistant Professor, University of Belgrade, Faculty of Philosophy Department of Art History
Jelena Pera?, MA, Museum Advisor, Museum of Applied Art, Belgrade
Milan Popadi?, PhD, Professor, University of Belgrade, Faculty of Philosophy Department of Art History
Bojan Popovi?, PhD, Museum Advisor, National Museum, Belgrade
Bojana Popovi?, MA, Museum Advisor, Museum of Applied Art, Belgrade
Jelena Popovi?, Senior Curator, Museum of Applied Art, Belgrade
Una Popovi?, MA, Senior Curator, Museum of Contemporary Art, Belgrade
Milan Prosen, PhD, Assistant Professor, University of Arts in Belgrade, Faculty of Applied Arts Department: Art History
Dragana Pavlovi?, PhD, Assistant Professor, University of Belgrade, Faculty of Philosophy Department of Art History
Jelena Pera?, MA, Museum Advisor, Museum of Applied Art, Belgrade
Milan Popadi?, PhD, Professor, University of Belgrade, Faculty of Philosophy Department of Art History
Bojan Popovi?, PhD, Museum Advisor, National Museum, Belgrade
Bojana Popovi?, MA, Museum Advisor, Museum of Applied Art, Belgrade
Jelena Popovi?, Senior Curator, Museum of Applied Art, Belgrade
Una Popovi?, MA, Senior Curator, Museum of Contemporary Art, Belgrade
Milan Prosen, PhD, Assistant Professor, University of Arts in Belgrade, Faculty of Applied Arts Department: Art History
Contents of the Jouurnal 19 / 2023 (Museum of Applied Art. Online)
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Impressum
Impressum
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Contents
Contents
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About Journal
About Journal
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INTERIORS BY DUAN JANKOVI?
INTERIORS BY DUAN JANKOVI?
Abstract (original language):
????????? ?? ????? ??????????? ????? ?? ??????????? ????????? (19181921) ? ??????????? ????????? ??????????? ?????? ??????? ?? ?? ?? ?? ????? ???????? (18941950) ??????? ? ??????? ???????? ???????????? ????????. ? ??????? ???????? ??????????? ????? ???????? ?? ? ?????????? ?????? ?? ???????? ??????????, ???? ? ?????????? ???? ? ? ????????. ??? ?? ? ??????? ????????? ???? ?? ?????? ?? ?????????? ?????????? ?????????? ????????, ???????????? ?????? ????????? ? ??????, ??? ? ??, ??????????????? ?? ?????, ?????????? ?????? ????????. ???? ? ?????? ?? ????????? ????????, ?????????? ?????? 20. ???? ?????????? ??? ?? ??????? ?? ???? ?????, ??? ?? ? ???????? ????????, ?????? ?? ??????????? ????????? ????????? ????????, ????? ???????? ? ????????????????? ???????? ?????????????? ????????????. ? ??? ??????? ???? ???????? ???????????? ????????? ???? ???? ??????????? ?????? ?????? ??????? ?? ????????? ??? ?????? ? ????? ??? (1923), ???? ???-??? ???????? ??????? ????? ??? (1925) ? ???? ???????? ?? ??? ? ??? ???? (19321934).
Key words (original language):
?? ????, ?????????, ????? ????????, ??????????, ????????
Summary:
Dealing with interior and furniture design, as well as other areas of creativity, Duan Jankovi? (18941950) consistently expressed his modernist sensibility. The styles of the past are not the origin of his work, except for the effort to modernize Yugoslav folk ornamentation, which was in accordance with the taste of the era. His interiors from the twenties are the epitome of Art Deco. Richly painted walls and ceilings, with an abundance of floral and geometric ornamentation, they are characteristic of the authors entire work during the first decade of his creativity. Figural compositions, and in the spirit of de-radicalized Cubism, he rarely represented (Kasina, 1923; Moulin rouge, 1925). The painting of wall surfaces will remain relevant even during the thirties, when Jankovi? left the previous patterns. The surviving sketches for the villa in Saint- Cloud (1934) show that he devised a discrete geometric ornament of a series of short parallel lines by combining, which achieved dynamism and variety. The furniture designed by Jankovi?, from the very beginning in 1924, is extremely functional, reduced in form and devoid of ornamentation, while decorativeness is achieved by a covering with veneers of an interesting structure and contrasting color. With rare exceptions (the project for Jovan Cviji?s house, 1925), he will create in this manner in the 1930s, when furniture design will occupy a more important place in his work. Like his contemporaries inclined to modernization trends, Jankovi? thought about the rationalization of space and its functional furnishing, that is, about multi-purpose, easily portable and foldable furniture, in the production of which new materials and technologies have a corresponding importance. It is the furniture that shows how consistent Jankovi? remained with his youthful conviction that the goal of applied art is the harmony of the purpose of the object with the material from which it is made, as well as striving for harmony of the whole and details, whereby decorative elements are unnecessary.
Translated by Tatjana Nii?
Translated by Tatjana Nii?
???? ???????
???????????? ?????? ????????? ???????? ?????? ?????? (19422017)
THE WORK OF FASHION DESIGNER MILORAD MIKI IGNJI? (19422017)
THE WORK OF FASHION DESIGNER MILORAD MIKI IGNJI? (19422017)
Abstract (original language):
???? ???? ????? ???????????? ?????? ????????? ???????? ?????? ?????? (19422017), ???? ?? ? ??????? ?? ??????? ?????????? ?? ??????? ??????????? ?????? ?? ???? ???????? ???????? ????? ??? ????? ??? ??????? ?????????. ??? ???? ?? ?? ?? ???? ??? ??????? ???? ???????? ??????, ???? ?? ??? ?? ???? ???? ??????? ???? ???????? ????????, ? ???? ?? ???????? ??????? ? ?????? ????????????? ????? ?????????? ?? ???????? ??????? ? ????????? ??????? ??? ????????. ???????? ???????? ???????? ?? ?? ????????? ???????????, ????? ?? ???????? ????????? ??????????? ?? ??????? ? ????????? ?????????????? (??? ?? ????? ????? ??? ? ???????? ???????????? ? ???????? ????????? ? ????????), ? ????? ?????????? ?? ?????? ????????? ??????????? ???????????? ?? ????? ??????. ??? ???????? ??????????? ? ??? ?????? ???????? ???? ??? ??????? ?????? ???????: ?? ???????? ?????? ????????, ???????, ?????? ? ?????? ????????? ?????, ?????????, ?? ??????????? ?????? ? ??????? ????? ? ?????? ?????. ??????????? ??????? ???? ????????? ?? ??????????? ???????????? ?????? ?????? ???? ?? ???? ? ?????? ????????? ????????? ? ????????, ? ? ????? ?? ?????? ??????? ?????? ???????? ???????? ?????????, ???????, ??????????? ???????????? ??????, ????? ???????????...
Key words (original language):
????????, ?????????? ??????????, ?????????? ?????, ??????? ???? ?????, ????? ??????, ?????????????
Summary:
The subject of this paper is the work of fashion designer Milorad Miki Ignji? (1942 - 2017), who in the period from the mid-sixties to the mid-nineties of the 20th century achieved extraordinary success, primarily as a designer of accessories. The aim of this work is to show, for the first time, the entire work of Milorad Ignji?, whose name was known, until now, only among experts, and whose contribution to the development and success of the Yugoslav fashion industry on the world market, in the mentioned period, was significant. Ignji?s career began with architecture studies but then, due to circumstances, he started to create film and theater costumes (for a while he was an assistant costume designer at the National Theater in Belgrade) and after his encounter with the fashion designer Aleksandar Joksimovi?, he started to work in fashion design. At the same time, his career shows the path of a designer through all areas of fashion design: from the creation of work uniforms, womens, mens and childrens clothing collections, knitwear, to the design of mens and womens handbags and travel bags. In this work we tried to represent Ignji?s entire creativity in fashion design from haute couture as, in his words, the essence of artistic expression, from which then arise the variations for the textile industry and ready-made clothing, the fields in which he also worked in. We tried to define the basic characteristics of his style in creating accessories, but also in fashion illustration as an important part of his work. The variety of his work opens the possibility for further researches of the individual parts of Ignji?s fashion design.
Translated by the author
Translated by the author
VESNA MADOSKI
BEING (A) NEGATIVE: THE SPECTRE OF SOCIALISM IN PHOTOGRAPHIC ARCHIVES
???? ???????(??): ????? ??????????? ? ???????????? ????????
???? ???????(??): ????? ??????????? ? ???????????? ????????
Abstract (original language):
In rare anthropological interpretations of the glass smashing custom in the Balkan Peninsula, it is written that this could be understood as a manner in which one informs his/her environment of transiting to a different state of consciousness. This article analyses, on one side, the questions encountered while working on the exhibition Fragile: Glass Narratives, Broken Histories (Public Space With A Roof Amsterdam and Skver Magazin Zaje?ar, December 2022, Museum of Applied Art Belgrade), and on the other the possibility of interpreting socialist history from the fragments found in the former glass and crystal factory Kristal Zaje?ar. The focus is on the discovery of several hundred rolls of discarded photographic negatives, a key tool of understanding the glass production in Serbia after World War II. In an unusual dialectics, the glass fragments become readable thanks to the survived images of the past, while the history narrative created by the found negatives becomes destabilized by this smashed glass. The theory of photo negatives is fragmentary in the history of photography and this article is an attempt to change this. Namely, the potential of negatives to offer different versions of one recorded moment also offers a unique possibility to write versions of history not complying with the official narratives. This way, a new plane of understanding the new post-socialist normality is created.
Key words (original language):
Kristal-Zaje?ar, glass smashing, photo negatives, Walter Benjamin, history of photography
Summary:
? ?????? ?????????? ????????????? ???????? ??????? ??????? ????????? ???? ? ???????? ?? ????? ?????????? ?????? ?? ? ???????? ??????????? ??????? ? ???????? ? ???????? ????? ??????. ???? ??? ???? ??, ?? ????? ??????, ???????? ?????? ???????? ????? ??????????? ?? ??????? ???? ???????: ???????? ????????, ????????? ???????? (Public Space With A Roof ????????? ? ????? ??????? ???????, ??????? ? ?????? ????????? ????????? ???????, 29. ???????? 2022 15. ?????? 2023) ?, ?? ????? ??????, ???????????? ?????? ? ???????? ?????????????? ????????? ?? ?????? ?????????? ?????????? ? ?????????? ??????? ??????? ???????. ??????? ????? ????????? ?? ??????? ???????? ??????? ????? ???????????? ????????, ?????????? ? ????????? ????????? ??????? ????????, ??? ????? ?? ?????????? ?????????? ?????? ? ?????? ????? ?????? ???????? ???? ???? ?????????. ???? ???????? ???????????, ????????? ?????? ??????? ??????? ??????????? ?????????? ??????? ?? ?????????, ??? ??????? ???????? ???? ????????? ???????? ???????? ??????? ?????????????? ???? ????? ?? ????????. ????? ????, ??????????? ?? ?? ?? ????????? ?????????? ??????? ???????? ? ???????? ??????????? ???????????? ? ?????? ???????????, ? ??? ??????? ???? ??? ???? ?? ???????. ?????, ?????????? ???????? ?? ????? ????????? ??????? ??????????? ???????? ????? ??? ? ??????????? ????????? ?????? ??????? ???????? ???? ????????? ?? ????????? ????????, ?????????? ???? ???? ?? ?????????? ???????? ? ????, ?????????????????? ??????????, ? ????? ??? ????? ?????? ???? ?????????? ?????????? ??????.
???? ????????
?????????????? ????????? ?????*
THE TRANSFORMATION OF CERAMIC PAINTING
THE TRANSFORMATION OF CERAMIC PAINTING
Abstract (original language):
??????? ????? ? ??????????? ??????? ????????? ?????? ????????? ????????? ????????, ???? ?? ????????? ?????????? ???????????? ??????????? ???? ????????. ???????? ??????????? ????????? ???????? ?????????????? ????????? ????? ??????????? ?? ???? ?? ???????? ????????? ?? ???????? ????? ?? ?? ???????? ????? ??????? ??????? ????????? ?????, ????? ?? ????? ????? ???? ?? ???????? ? ???????????? ???????????? ???????, ????? ???? ???? ????????? ????????????? ? ????????????????? ??????????, ?? ?????????? ??????????? ???????? ? ????????? ???????? ??????. ??? ???? ???? ????? ?? ????? ?? ??????? ? ?????? ?????, ? ????? ?? ?? ?????? ???????????? ????????? ?????????? ???????? ?? ??????????? ???? ???????? ?????????????? ?????????, ???????????? ? ?????????????? ????????? ????? ? ????????? ?? ???? ?????????? ?? ????? ???????? 20. ???? ?? ?????.
Key words (original language):
????????? ????????, ????, ????????? ?????, ????? ???????????
Summary:
The National Museum in Arandjelovac has been bequeathed a valuable collection of contemporary artistic ceramics, formed due to the activities of the international World of Ceramics Symposium from 1974 until today. By means of this collection, we can follow the development of the Yugoslav/Serbian art scene, as well as the influence of foreign creative tendencies on the artistic ceramics practice in this region. The forming of this collection was influenced by numerous factors such as the general social, political and economic conditions in the country, although the role of the selectors was practically the most conclusive. During the implementation of the 2022 exhibition Transformation of ceramic painting by the National Museum in Arandjelovac in 2022, artworks were selected from the museum collection with the main goal of completing the general analysis of the ceramic painting development, starting with the first panels that were made with a potentially decorative purpose to those that contain modernist and postmodernist tendencies and finally, to the installation artworks created during the past few years. The aim of this work is to point out the beginnings and possible role models and then to present the existence, representation and transformation of ceramic painting in the art in this region from the seventh decade of the 20th century by using exclusive museum material created at the World of Ceramics Symposium. The transformation has been occurring gradually, by means of expanding the conventional boundaries of the ceramic material to the including of new ones, and the application of different methodological approaches which have given art objects numerous new meanings.
Translated by the author
Translated by the author
??????? ?????????
??? ?????? ? M?????: ???????? ????????? ? ???? ? ?????? ? XIX ? ???????? XX ????
THE THREE DRESSES IN THE MUSEUM: MUSEUM THESAURI AND FASHION IN SERBIA IN THE 19TH AND EARLY 20TH CENTURIES
THE THREE DRESSES IN THE MUSEUM: MUSEUM THESAURI AND FASHION IN SERBIA IN THE 19TH AND EARLY 20TH CENTURIES
Abstract (original language):
????? ?????? ????? ???????????? ????? ?? ???????? ?????? ?? ??????? ???? ? ?????? ? XIX ? ???????? XX ????. ??????? ?????????? ????????? ???????? ????????? ??? ?????? ???? ?? ???????? ? ????????? ???????? ?????? ????????, ??? ? ?????? ?????????? ?????????. ???? ???? ?? ??????????? ???? ? ?????? ? XIX ? ???????? XX ???? ????? ????????? ?? ????????? ?????????????? ? ???????????????? ???????????, ???????????? ?????????????? ? ????????????? ???????????. ??????? ????????????? ????????? ???? ???? ???? ????????? ??????? ????? ???? ?????????? ???????????? ????????, ???? ?? ?? ????? ?? ??? ????? ?? ????? ?? ?? ?? ? ???? ?????, ???? ?? ?????? ? ???????? ?????? ???? ??? ??? ?????????? ???????. ?? ??????? ??? ???????? ????? ????????: ?????? ???, ???. ??. 5593, 5207 ? 22891 ?? ?????? ?????? ????????? ????????? ? ????????, ???? ?? ??????? ? ?????? ??? ??????? ?????? ? ?????? ? ??????? ?? 1878. ?? 1911. ??????, ???? ??? ????? ??????? ? ???????????? ?????? ??????????????? ???? ???? ?????????????? ? ???????????? ?? ?????????? ????????? ?????????.
Key words (original language):
???????? ?????????, ????????????? ????, ??????????????? ????, ????????????????, ??????????????, ????????????
Summary:
Public collections of clothes are one of the main sources for the studies of fashion in Serbia during the 19th and early 20th centuries. The basic selection criteria during the formation of these collections were the aesthetic and artistic values of fashion items, as well as their national symbolics. For that reason, researchers of 19th and early 20th-century Serbian fashion often have to cope with insufficiently documented and systematized thesauri, undeveloped terminology, and a lack of information. The biographies of individual items are a segment of the thesaurus documentation that has not been given enough attention; today for many of them we have no information when and by whom they were worn. Using the example of three museum fashion items dresses, MAA, accession nos. 5593, 5207, and 22891 from the collection of the Museum of Applied Art in Belgrade, which were made and worn as wedding dresses in Serbia in the period from 1878 to 1911 this paper follows the use and development of their documentary measure through interpretation and communication at various museum exhibitions. By comparing the dynamics of their presentation, we can conclude that, in addition to the collecting and exhibition policy of the museum, as well as the properties of the object itself, the documentary measure has an important role in the interpretation and communication of museum thesauri and fashion. In the present time, the three dresses in the Museum, as fashion items worn in Serbia in the past, not only inform us about changes in fashion trends. Considered a part of visual culture, they testify to different cultural models, ideological and social frameworks in which trends were created and developed.
Translated by the author
Translated by the author
??????? ???????????
??????? ?? ???????? ???????? ???????????? ????? ? ????? ????????
HEADDRESS ON THE KTITORS PORTRAIT OF THE CHURCH OF THE VIRGIN MARY IN DONJA KAMENICA
HEADDRESS ON THE KTITORS PORTRAIT OF THE CHURCH OF THE VIRGIN MARY IN DONJA KAMENICA
Abstract (original language):
????????????? ????????? ?????????? ? ?????? ?????????? ???????????, ??? ????????? ?????? ??????????? ????????????, ?????????? ???????? ????? ???? ??? ??????? ????? ?? ??? ????? ??????? ? ?????????? ????????????? ????????. ??????? ??????????? ????? ??????? ???????? ? ????????????? ????? ? ????? ???????? ? ??? ????? ?????????? ???? ???????, ??? ? ??????? ???? ?????????? ?????? ? ?????????? ??????-???????? ??????????????????? ???????. ????????????? ??????? ????????????? ???????? ?????? ?? ???? ??????? ?????? ??????, ????????? ???????? ? ???????? ??????????, ????????????? ????????????? ?????? ?? ????? ???????? ? ??????????? ?????? ????. ?? ????????? ??????????? ??????? ? ??????????? ?????? ????????? ????? ??? ???? ? ?????????? ??????-?????????? ?? ???????? ?????? ??????????? ???????? ????? ? ??????????? ??????? ??????. ??????????? ????????? ?????????? ????????????? ???????, ? ??????? ?????? ??? ? ????????? ????????, ? ?????????? ??????????? ? ?????????, ?????? ?? ??????? ????????? ???????? ?? ???????? ????????????? ????????, ??? ???? ????????????? ??????? ? ??????????? ????? ??????? ????? ????????????? ??????? ? ???? ???? ???????? XIV ????. ????????? ???????? ??????? ?? ? ?? ????????????? ??????? ????????????? ???????? ???? ?? ??????? ?? ???????????? ????? ?????????, ????? ??????, ???? ?? ????????????? ? ?? ?????? ????????????? ?????????, ? ???? ??? ?????????? ??????? ? ???? ?????, ???? ??????? ????? ??????? ? ??????????? ???????? ???????? ???????.
Key words (original language):
????????, ????????? ???????????, ?????, ????????, ???????, ???????
Summary:
The portrait of the founder of the Church of the Virgin Mary in Donja Kamenica has attracted attention by its unusual exemplar of covering and decorating the head, i.e. the headdress. It consists of a cap, two scarves and jewelry in the form of earrings, as well as a diadem and metal applications. The unusualness of this headdress is reflected in the combination of elements that form a complex structure with no adequate example in 14th century medieval portrait fresco painting. The ktitor wears a cap of an unusual shape, for which it is impossible to find similar examples among the portraits of the landlady. It is difficult to determine the material from which it was made, although it was unquestionably a template in the styling of the headpiece with two scarves. The case of wearing two scarves is well known, albeit not in combination with a cap. The shape of the cap of the founder of Donja Kamenica remains unidentified, but examples of folk clothing in the area of the Timok Valley point to a regional variety that may have originated from folk costumes. This complex headdress is decorated with expensive jewelry in the form of lunula earrings, combined with metal applications. Compared with the portraits of other noblewomen and archaeological findings, it has been established that it involves a more recent type of jewelry made using complex techniques of gold or silver and with the application of pearls. The portrait, or more precisely the headdress of the founder of Donja Kamenica, reflects a womans desire and need for beautification, though in accordance with the potentials of her family and following current trends, while at the same time making a connection with the local forms of clothing.
Translated by the author
Translated by the author
?????? ??????????
?????????? ???? ?????? ?. ?????? ? ????????? ?????? ??????? ?????????? ??????
THE HETEROGENEOUS OPUS OF JOVAN J. PEI? IN THE GRAPHIC COLLECTION OF THE NATIONAL LIBRARY OF SERBIA
THE HETEROGENEOUS OPUS OF JOVAN J. PEI? IN THE GRAPHIC COLLECTION OF THE NATIONAL LIBRARY OF SERBIA
Abstract (original language):
??????? ??????? ????? ?. ????? (18861936), ???? ?????????? ????????? ???????? ?????? ?? 1897. ?? 1934, ??????? ?? ?? ????? ?????a ?????? ?????? ?? ??????? ???????????, ?????????? ? ?????????. ?????? ????? ?? ?????????? ????????? ?????, ???? ?? ???? ???? ???????? ? ??????????? ????????, ???? ?? ???????? ?????? ??????? ?????????? ?????? ? ????? ?? ???? ?????? ????????? ????????? ??????, ?????, ?????????? ? ?????????????? ?????????, ??????????? ?? ?????? ?? ??????? ????? ???????? ????, ??? ? ?????? ?? ?????? ????????? ?? ?????????? ???????. ? ???? ?? ???????? ?????? ????? ????????? ?????????????? ???? ?? ?????? ???????? ?????????? ?????, ??? ? ?????????? ?????????? ? ????? ?? ???????????? ?????? ????????? ???? ????????? ?????????? ????????. ? ???????? ????????? ?????? ???????? ?????? ? ??????? ?? ?????????? ??????? ???????? ?? ???? ????? ????????? ?? ?????? ?????? ? ????????. ????? ????? ?? ??????? ?? ???? ???????? ??? ????????? ???????? ???????????? ????????, ??? ?? ??? ??? ? ????????? ???? ?? ???????? ??, ??????? ????????????? ???????, ??????? ???????? ?????? ????????? ? ???????? ???? ? ??? ?????? ?????????? ??????????. ?????? ??????? ?? ??????? ????? ?????????????? ?????????, ??? ? ??? ?????? ?????? ?????????? ? ??????????? ??????? ?????? ??????????? ????????? ?? ??????? ??????? ? ????????? ????????? ?????? ?? ????????? ??????????? ?????????? ????????. ??????? ????? ????? ?? ????????????? ???????? ?????? ???????? ????? ???????, ??? ? ?????????? ????????? ? ????????? ????????. ???????????? ?? ????????????? ???????? ?????????? ??????? ? ?????? ????????? ????????? ? ?????????, ????????? ?? ?? ????????? ?? ?? ????? ???? ????? ? ????? ???????? ?????? ????????? ? ?????????? ?? ??????? ?????????? ????.
Key words (original language):
????? ?????, ???????? ??????, ??????????, ????????, ??????
Summary:
Self-taught artist Jovan J. Pei? (1886-1936), whose heterogeneous activity covers the period 1897-1934, left behind a number of ideas in the fields of architecture, caricature and sculpture. The main source for the study of Pei?s oeuvre, which has not been systematically researched until now, was the Graphic Collection of the National Library of Serbia, which stores three hundred and ninety of Pei?s drawings, sketches, caricatures and architectural projects, as well as photographs from the front from the period of World War I and sketches of weapons from the interwar period. The paper maps the key points of Pei?s professional path based on a review of the original material, as well as a relevant literature in which the activity of this insufficiently researched artist is mentioned in fragments. In the interpretation of the artists designs of armored vehicles and vessels from the interwar period, the assistance of experts from the Military Museum in Belgrade was significant. Jovan Pei? cannot be categorized as a classic profiled artist but rather a visionary who, following Inkiostris idea, transmits elements of Serbian spiritual tradition and folk character. He will be remembered for a large number of unrealized projects, but also as the creator of different and innovative conceptual solutions of varying quality in the field of fine and applied arts. Trying to understand Pei?s ambitious ideas in the field of applied art and craftsmanship, we are faced with the fact that his oeuvre remained in the shadow of the great Serbian sculptures and cartoonists from the beginning of the twentieth century.
Translated by the author
Translated by the author
????? ??????
?????????-?????????? ?????? ??????? ?????? ????? ?? ????????? (19672009)
ARTISTIC AND HISTORICAL DEVELOPMENT OF THE GLASS FACTORY UKRAS FROM ALIBUNAR (19672009)
ARTISTIC AND HISTORICAL DEVELOPMENT OF THE GLASS FACTORY UKRAS FROM ALIBUNAR (19672009)
Abstract (original language):
??????? ?????? ????? ? ????????? ????????? ?? 1966. ?????? ??? ???????? ??????????? ??????? ?????? ???????? ? ???????????. ?? ????? ?????????, ???????? ? ?????? ?? ???????? ??????????? ?? ?????? ??????????, ? ???? ????????? ??????????? ???????? ?? ?????? ???????? ??????? ?????? ????? ?? ? ???????? ???? ?? ????????? ?????????? 1967. ??????. ?? ????????? ?????? ????? ??????? ?? ???????? ????????? ??????????? ????? ???????????, ??????? ? ?????????? ?????? ?? ??????? ????????? ? ????????????? ?? ??? ??????? ????. ????? ????? ???????? ???????????? ?????? ? ??????? ????? ? ???? ????????? ???????? ????? ??????????, ???? ?????? ????????? ??????? ??????????? ????????. ??????????? ???????? ??????? ? ?????????? ????????? ?? ??? ??? ????? ?????? ????? ?????????????? ????????????, ?????? ?? ?? ?? ? ??? ????????? ??????? ?? ??????????? ??????? ?? ????????, ???????? ? ??????? ???????. ?? ?? ???????? ????????? ??? ?? ??????? ????? ????? ??????????? ??????, ?????? ? ?? ?????? ???????? ?? ?? ??????? ?? ??????? ???????????? ??????????? ?????????? ?? ????????????. ????????, ??????? ?? ?????? ??????? ??????? ????????? ???? ?? ??????? ????? ??????? ??????????. ???? ?? ??????? 2009. ??????, ? ??????? ?? 2012. ???? ? ?????? ?? ???? ?????? ???? ??????. ???? ????? ???? ??????? ???? ????? ?????? ? ??????????? ???????? ?? ???? ??????? ?????, ??? ?? ?? ?? ??????? ?????????-?????????? ?????? ??? ????????. ?????? ??????? ?? ?????? ? ?????????? ???????????, ????????? ?? ?????????? ????????? ??????? ? ????????? ????, ?????????? ?? ?????? ?????? ??????? ?? ???????? ??????? ????????? ???? ?? ??????????? ????? ?????? ??????.
Key words (original language):
????????, ????? ??????????, ??????,
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Summary:
The Glass Factory Ukras (Ornament) from Alibunar was built in 1966 as an interstate cooperation project between Hungary and Yugoslavia. Its production system was established with the help of technologists, engineers and equipment from Hungary, and eight top glass masters from four Hungarian glass factories came to Alibunar to start production in May 1967. In a relatively short time, the factory mastered the techniques of high-quality hand-shaped, blown and pressed glass for household and hospitality industry needs, working on two pot furnaces which used natural gas as fuel. In the second half of the 70s, Milo Krsmanovi? (b. 1957) joined the factory staff, and became and remains its chief designer. In its zenith, the glass factory exported products to Germany, Italy, France and the USA, though most of its goods were marketed on the territory of Yugoslavia. During the second half of the 1980s, the Alibunar glass factory achieved significant cooperation with the famous Sebastijan Gallery and designer Emilia Marodi?. Unfortunately, the factory shared the fate of the numerous factories that failed during the transition period. Its furnaces were shut down in 2009, and the factory went into bankruptcy in 2012, from which it never recovered. The Glass Factory Ukras was the smallest modern glass factory in Serbia and the former Yugoslavia and the only producer of hand-blown and pressed glass in the province of Vojvodina. In its 42-year history, it has produced millions of tons of glass for the domestic and foreign markets, with the production of almost 1,000 items.
Translated by the author
Translated by the author
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