359 research outputs found

    The gallery of the Matica Srpska the image of cultural identity throught the presentation of artistic works

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    Галерија Матице српске основана је под окриљем Матице српске, најстарије књижевне, културне и научне институције код Срба, те се не може посматрати одвојено од друштвених и политичких прилика у којима је она деловала и у којима се налазио целокупан српски народ од почетка XIX века до данашњих дана. Музеј Матице српске основан је 1847. године на предлог Теодора Павловића, тадашњег секретара Матице српске а подстакнут даром од 11 породичних портрета Саве Текелије, првог великог добротвора и почасног председника Матице српске. Замишљен као место прикупљања и чувања артефаката значајних за историју и културу српског народа, Музеј је у првим деценијама свог постојања настајао постепено и лагано. Заснован углавном на поклонима знаменитих Срба, зависио је од њиховог интересовања, могућности и укуса, те није имао јасно дефинисан карактер нити одређен правац будућег попуњавања. Пресељењем Матице српске у Нови Сад, пресељена је и до тада прикупљена збирка и започето њено увећавање. На прелазу векова збирка музеја бројала је стотинак предмета а тај број нагло је почео да се увећава након отварања Музеја за јавност 1933. године. Те године започиње професионализација делатности музеја која је поред сталне поставке, обухватала вођење документације о постојећим делима и приређивање изложби...The Gallery of the Matica srpska was founded under the auspices of the Matica srpska, the oldest literary, cultural and scholarly institution among the Serbs. It cannot be considered thus as something outside of the societal and political situations in which it operated and in which the entire Serbian nation found itself from the beginning of the 19th century until today. The Museum of the Matica srpska was founded in 1847 by a proposal of Teodor Pavlović, secretary general of the Matica srpska at the time, and it was supported by the gift of 11 family portraits of Sava Tekelija, the first great patron and honorary president of the institution. Conceived as a place to gather and preserve artifacts of significance for the history and culture of the Serbian nation, in the early decades of its existence the Museum developed gradually and slowly. Founded mostly on gifts from prominent Serbs, it depended on their interests, situations and tastes, and therefore it did not have a clearly defined character or a definite direction for its forthcoming development. When the Matica srpska was moved to Novi Sad, the gathered collection was also moved and work began on expanding it. At the turn of the century, the Museum held about a hundred works of art, but that number began to increase radically after it opened to the public in 1933. That year, the activities of the Museum were professionalized, and it began to keep careful documentation about the existing pieces and to hold exhibitions in addition to the permanent one..

    INTERKULTURALNI DIJALOG U OBRAZOVANJU - KRITIČKA REFLEKSIJA U MUZEJSKOM KONTEKSTU

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    The paper underlies the importance of the museum and international scientific partnership to promote and add value to the regional cultural heritage, as a condition for developing greater awareness of the civilisational framework of cultural inheritance at the global level. The goal of the action research carried out in parallel in Italy and Serbia and involving 170 children was to devise, realise and evaluate and educational programme that would bring museums closer to children. Reflexivity and triangulation were used in this research endeavour based on a constructivist theoretical framework. Reflecting on the activities carried out and the data collected, the authors of this paper, as participants in the research, are able to validate several important roles of the museum as a place that facilitates the development of an awareness of the cultural heritage of one’s own country, skills and capabilities, the social and individual construction of meaning, as well as the development of international partnership. The research findings confirm that the field of qualitative educational discourse offers museums a respectable future in terms of linking theory and practice. In other words, museums will make it possible for scientific results to be more closely applied for the purpose of improving educationa lpractice.U tekstu se objašnjava značaj muzeja i međunarodnog znanstvenog partnerstva u promociji i valorizaciji regionalnog kulturnog nasljeđa, kao preduvjetu razvijanja svijesti o civilizacijskom okviru kulturnih tekovina na globalnom nivou. S ciljem osmišljavanja, realizacije i evaluacije edukativnog programa radi približavanja djece muzejima, paralelno je u Italiji i Srbiji provedeno akcijsko istraživanje kojim je bilo obuhvaćeno 170 djece. Istraživački projekt, utemeljen u konstruktivistički teorijski okvir, odlikuje refleksivnost i triangulacija. Refleksije provedenih aktivnosti i prikupljenih podataka omogućuju autoricama teksta da, kao sudionice istraživanja, vrednuju važnu ulogu muzeja kao mjesta razvijanja svijesti o kulturnoj baštini vlastite teritorije, vještina i sposobnosti, socijalne i personalne konstrukcije značenja, te oblikovanja međunarodnog partnerstva. Istraživački nalazi potvrđuju da polje kvalitativnog obrazovnog diskursa, muzejima nudi respektabilnu perspektivu u pogledu povezivanja teorije i prakse, odnosno mogućnosti neposrednije primjene znanstvenih rezultata u funkciji unapređivanja obrazovne prakse

    Multianalytical Study of the Blue Pigments Usage in Serbian Iconography at the Beginning of the 18th-Century

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    Traditional Serbian religious art originated in Byzantine culture and conserved Byzantine elements until modern times. However, since the end of the 17th century, many changes in traditional icon painting have been introduced. Previous studies focused on the changes in iconography and style, but very little attention was paid to the changes in painting materials and techniques. This research focuses on the blue pigments on icons from the first half of the 18th century. Eight icons with blue areas of a different hue were selected for the study. Due to its rarity in nature, price, and iconographical importance, the blue pigment was particularly praised by painters. Therefore, the choice of the blue pigment can be related to historical information to trace influences and the development of the painter’s practice. Imaging techniques, several portable, non-destructive analytical techniques, such as XRF and FTIR, followed by optical microscopy and SEM-EDX analysis of the samples were used to characterize blue pigments and the painting technique. An analysis showed that icon painters at the beginning of the 18th century used pigments such as azurite, an indigo-organic colourant of plant origin, and Prussian blue. Contrary to the traditional belief that natural ultramarine blue was used, it was not confirmed in any studied examples

    Музеји данас : Галерија Матице српске – жив музеј

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    Галерија Матице српске је један од примера како је једна традиционална и конзервативна музејска установа на почетку XXI века, у не тако лаким друштвеним приликама, успешно трансформисана. У Галерији је процес трансформације започет кроз неколико праваца деловања. Етапна реконструкција зграде и увођење музејских стандарда у изложбене просторије, депое и конзерваторске радионице и атељее. Перманентна едукација запослених како научна, кроз подстицање стручњака за стицање научних звања, тако и практична, кроз континуирано учешће и приређивање разноврсних стручних скупова и радионица из различитих области музејског деловања. Креирање нових сталних поставки као основне идентитетске категорије сваке музејске установе, са тежњом креирања националног идентитета кроз излагање уметничких предмета. Проширење програмских активности увођењем едукативних програма за децу, тинејџере и особе са инвалидитетом и развијањем међународне сарадње кроз реализацију изложби и размену знања и искустава са великим европским музејским установама, а све у циљу унапређења улоге музеја у образовању и културној дипломатији. Отварање ка различитим областима друштвеног деловања преко сарадње са медијима, сродним установама и привредним субјектима у циљу бољег позиционирања музеја у ширем друштвеном контексту. Све ово било је могуће захваљујући подршци Матице српске, оснивача Галерије, и Министарства културе Републике Србије и Секретаријата за културу АП Војводине као финансијера Галерије, али изнад свега захваљујући јасној стратегији, континуитету идеја и тежњи челних људи куће и активног учешћа чланова Управног и Надзорног одбора, уз велики ентузијазам и креативност запослених. Пажљивом анализом могућности определили смо се за мале али прецизно усмерене кораке до јасно дефинисаног циља – националне галерије која примењује високе музејске стандарде и идеје савремене музејске праксе, а све у циљу грађења државног и националног идентитета излагањем уметничких дела.The Gallery of Matica Srpska can serve as an example of how to transform a traditional and conservative museum institution at the beginning of the 21st century, under conditions less than favorable. Such process of transformation was initiated in the Gallery of Matica Srpska, branching out into several directions: Phased reconstruction of the building and introduction of museum standards in exhibition rooms, storerooms, conservation workshops and studios. Continuous education of employees, both professional, through encouraging the specialists to obtain scientific degrees, and practical, through continuous participation in the organization of conferences and workshops on various aspects of museum activities. New approaches in the presentation of permanent collections viewed as the foundation of the museum’s identity, in aspiration to contribute to the creation of national identity through the exhibition of art objects. Broadening of program activities by introducing educational programs for children, teenagers and the disabled, developing international cooperation through the realization of exhibitions and exchange of experiences with prominent European museums, with the aim of promoting the role of the museum in education and cultural diplomacy. Embracing new social roles through various forms of activities, such as cooperation with the media and/or parallel institutions and corporate subjects, thus contributing to the better positioning of the museum in wider social contexts. All this was made possible thanks to the support received from Matica Srpska, the founder of the Gallery, and from the Ministry of Culture of the Republic of Serbia, as well as the Provincial Secretariat of Culture, Public Information and Relations with Religious Communities of AP Vojvodina, who is the financier of the Gallery, but above all thanks to clear strategy, continuity of ideas and endeavor of the leading personnel in the Gallery and active participation of the members of the management and the executive board, combined with great enthusiasm and creativity of all employees in the Gallery. By carefully analyzing all the possibilities we came to the decision to take small, however precisely targeted steps towards attaining our clearly defined goal – a national gallery adhering to high museum standards and conceptions of contemporary museum practice, in order to foster the creation of national and state identity through exhibiting works of art.Научни скупови / Српска академија наука и уметности, Београд, ISSN 0354-4850 ; књ. 166. Одељење историјских наука ; књ. 39Прихваћено за објављивање на IX седници Одељења друштвених наука, одржаноj 7. новембра 2017. године, на основу реферата академика Косте Чавошког и дописног члана Александра Костић

    Copyright Protection of 3D Digitized Artistic Sculptures by Adding Unique Local Inconspicuous Errors by Sculptors

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    In recent years, digitization of cultural heritage objects, for the purpose of creating virtual museums, is becoming increasingly popular. Moreover, cultural institutions use modern digitization methods to create three-dimensional (3D) models of objects of historical significance to form digital libraries and archives. This research aims to suggest a method for protecting these 3D models from abuse while making them available on the Internet. The proposed method was applied to a sculpture, an object of cultural heritage. It is based on the digitization of the sculpture altered by adding local clay details proposed by the sculptor and on sharing on the Internet a 3D model obtained by digitizing the sculpture with a built-in error. The clay details embedded in the sculpture are asymmetrical and discreet to be unnoticeable to an average observer. The original sculpture was also digitized and its 3D model created. The obtained 3D models were compared and the geometry deviation was measured to determine that the embedded error was invisible to an average observer and that the watermark can be extracted. The proposed method simultaneously protects the digitized image of the artwork while preserving its visual experience. Other methods cannot guarantee this

    Copyright Protection of 3D Digitized Artistic Sculptures by Adding Unique Local Inconspicuous Errors by Sculptors

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    In recent years, digitization of cultural heritage objects, for the purpose of creating virtual museums, is becoming increasingly popular. Moreover, cultural institutions use modern digitization methods to create three-dimensional (3D) models of objects of historical significance to form digital libraries and archives. This research aims to suggest a method for protecting these 3D models from abuse while making them available on the Internet. The proposed method was applied to a sculpture, an object of cultural heritage. It is based on the digitization of the sculpture altered by adding local clay details proposed by the sculptor and on sharing on the Internet a 3D model obtained by digitizing the sculpture with a built-in error. The clay details embedded in the sculpture are asymmetrical and discreet to be unnoticeable to an average observer. The original sculpture was also digitized and its 3D model created. The obtained 3D models were compared and the geometry deviation was measured to determine that the embedded error was invisible to an average observer and that the watermark can be extracted. The proposed method simultaneously protects the digitized image of the artwork while preserving its visual experience. Other methods cannot guarantee this

    Portreti vladara obitelji Habsburg u plemićkim zbirkama istočne Hrvatske

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    This paper analyses the portraits of Habsburg rulers that were disseminated through different art media (paintings, sculptures, prints, crafts…) as an expression of power and propaganda across the Monarchy, including the area of modern-day eastern Croatia. Portraits of rulers and dignitaries were part of aristocratic collections in palaces that were built on estates established in the first decades of the 18th century, after the Ottomans had left the area. Apart from portraits of the ruling Habsburg dynasty and portraits of dignitaries, these art collections also contained portraits of the representatives of secular and ecclesiastical authority – electors, popes and archbishops – as well as portraits of the rulers from other ruling families. The majority of the preserved portraits of rulers are found in the collections of the foreign aristocratic families Odescalchi, Eltz, Hilleprand von Prandau and Normann-Ehrenfels.Razvoj likovne umjetnosti u novovjekovnom razdoblju na području istočne Hrvatske u međuriječju Dunava, Drave i Save, vezan je uz oslobođenje tih krajeva od osmanlijske vlasti i ponovnu uspostavu vladavine Habsburške Monarhije. Nositelji toga razvoja bili su svećenstvo, vojne i civilne elite među kojima su posebno mjesto imale strane plemićke obitelji, kneževi Odescalchi, baruni Hilleprand von Prandau, grofovi Normann-Ehrenfels, grofovi Eltz, grofovi Pejačević. Te su obitelji u sjedištima svojih posjeda, u Iloku, Valpovu, Vukovaru, Našicama, Retfali, Virovitici, Podgoraču i Rumi već tijekom 18. stoljeća, a osobito u 19. stoljeću pa sve do Drugoga svjetskog rata, imale značajne zbirke umjetnina, među kojima se brojnošću ističu portreti. Osim obiteljskih portreta, galerija predaka, u zbirkama nalazimo i portrete vladara iz obitelji Habsburg te visokodostojanstvenika po funkciji svjetovne i crkvene vlasti, knezova-izbornika, papa, nadbiskupa, a pojavljuju se i portreti vladara iz drugih vladarskih obitelji (Romanov i Bourbon). S obzirom da su plemići na tom području dobivali titule i posjede zahvaljujući obitelji Habsburg, portreti vladara zauzimali su istaknuta mjesta u njihovim zbirkama. Riječ je uglavnom o djelima srednjoeuropske provenijencije, ponajprije bečke, a njihovi autori djelovali su u krugu dvorskih slikara. Uz niz ulja na platnu u zbirkama su sačuvani i grafički listovi s portretima vladara iz obitelji Habsburg, najčešće Karla VI., Marije Terezije i njezina supruga Franje Stjepana Lotarinškog te Josipa II. Najviše vladarskih portreta nalazimo u vukovarskoj zbirci grofova Eltz, gdje se uz vladare pojavljuju i knezovi-izbornici, kraljevi, vicekancelari i nadbiskupi, što svjedoči o suodnosu i jakim društveno-političkim vezama te obitelji s bečkim dvorom. Portreti vladara u svim navedenim plemićkim zbirkama naručivani su i nabavljani prvenstveno kao potvrda društvenog položaja obitelji, pa se njihovo postojanje mora promatrati u širim okvirima odnosa umjetnosti i politike

    The effect of power on the degradation of propranolol by nonthermal plasma reactor

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    Propranolol (PRO) is a beta-blocker that is readily detected in surface water and hospital wastewater. This pharmaceutical poses a danger for aquatic animals because it is commonly prescribed for heart diseases and anxiety issues. Advanced oxidation processes are commonly tested for the decomposition of pharmaceuticals because they produce various reactive species at room conditions. A liquid-falling film dielectric barrier discharge (DBD) reactor was used for the treatment of a PRO solution, with no catalysts added. A coaxial construction, accompanied by a peristaltic pump, enables the recirculation of the treated liquid. Ambient air was selected as a feed-gas for nonthermal plasma generation under three levels of power dissipated in plasma. Direct contact of liquid film with plasma in this coaxial reactor enables the efficient transfer of reactive oxygen and nitrogen species generated in plasma to the liquid phase. The degradation rate of PRO, pH value, and conductivity were monitored after every cycle of treatment of PRO solution (100 mg/dm3), and in the presence of scavengers (t-butanol and p-benzoquinone). The PRO concentration was monitored by HPLC-DAD, at 213 nm. As expected, the highest applied power (60 W) contributed to the highest degradation rate (100%). At the same time, in these extreme conditions, pH values dropped from 6 to 2.5 and conductivity increased from 20 µS/cm to almost 1450 µS/cm in the tenth cycle of plasma treatment. Moreover, a high power yielded an excessive decontamination level, but also in the grand production of nitric acid. On the other hand, lower values of power lead to less successful endpoints, over 85% and less than 60% of degraded PRO when 35 W and 15 W were applied, respectively. Accordingly, under these conditions, the total production of ions was less intensive. The maximum conductivity value was less than 500 µS/cm for PRO treated with plasma generated by 35 W of power, and under 130 µS/cm for 15 W. To elude the exact role of reactive species, a pair of scavengers were added to a PRO solution. Both t-butanol and p-benzoquinone cut down the degradation efficiency to roughly 50%, which is 35% less than without scavengers. This result indicates an important role of hydroxyl radicals and superoxide anion radicals in air¬-generated nonthermal plasma. Advanced oxidation using this type of nonthermal plasma reactor enables the production of active species in situ while working in ambient conditions. The effectiveness of plasma treatment was confirmed with the degradation of propranolol, as a model compound for common waterborne pharmaceuticals.This conference paper was presented at the 21st European Meeting on Environmental Chemistry, held in Novi Sad, Serbia (30th of November - 3rd of December, 2021). https://emec21.rs

    An application of Groebner bases to planarity of intersection of surfaces

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    In this paper we use Groebner bases theory in order to determine planarity of intersections of two algebraic surfaces in R3{\bf R}^3. We specially considered plane sections of certain type of conoid which has a cubic egg curve as one of the directrices. The paper investigates a possibility of conic plane sections of this type of conoid

    Searching for a lost identity: Serbian librarianship at the beginning of the twenty-first century

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    There are three related aspects of the problem of identity that beset Serbian librarianship after 1991: 1) identity as survival during the war crisis and subsequent sanctions; 2) identity as change during the time of a global information and communication revolution; and 3) identity as self-awareness during a time of change in status, social responsibility, and professionalism for library personnel. Judging by the difference in the conditions under which libraries operated in Serbia during the 1990s and 2000s, the two decades can be characterized as the antipodes of each other. At the same time, they are also two sides of the same whole, in that the old system of librarianship collapsed and has not yet been replaced with a new one. This paper offers a survey of the situation in Serbia through an analysis of the present state of the difficulties currently besetting the various activities of Serbian libraries: automation, digitization, communication, scientific research, and continuing education. The need to develop a new discourse on librarianship in Serbia is crucial so that librarians may have a voice in the processes of formal and public education and the acceleration of economic, scientific, and cultural growth in Serbia.published or submitted for publicatio
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