Depiction of St. Sava reconciles his brothers in the Serbian 19th century church painting

Tema studije je likovna predstava Sveti Sava miri braću koja se javlja u sakralnom slikarstvu XIX veka na teritoriji Kneževine/Kraljevine Srbije i Karlovačke mitropolije. Cilj studije je predočavanje mogućih razloga koji su uslovili odabir i njeno prikazivanje u srpskom crkvenom slikarstvu XlX veka, prikaz ikonografskog razvoja, razumevanje njenog značenja i funkcije koju je imala u pravoslavnim hramovima XlX veka, što je sve sagledavano kroz nacionalno-propagandni rad Srpske pravoslavne crkve, jačanje kulta Svetog Save u XIX veku i percepciju ovog događaja iz srpske nacionalne prošlosti u propovedima XIX veka. U studiji se daje okvir za dalja istraživanja i kontekstualna tumačenja predstave Sveti Sava miri braću.As one of important national institutions, the church found in the medieval past elements to confirm their continuity, the grounds of legitimacy and the arguments of their activities with reference to the figure of the first Serbian archbishop, St. Sava. Although St. Sava was respected in earlier times his cult rose in the 19th century when he was seen not only as saint but also as national hero. The national cult of St. Sava enabled an appropriate production of visual arts and the formulation of relevant subjects, one of the most important being a scene St. Sava reconciles his brothers Stefan and Vukan. Literary sources important for the iconography development of this scene were the medieval lives of St. Sava (by Theodosius, Domentian, Stephan the Firstcrowned), theological literature (especially 19th century sermons) and 19th century histories. By depicting this scene in the temples on the territory of Vojvodina and the Kingdom of Serbia, numerous painters such as Arsenije Teodorović, Pavle Simić, Stevan Todorović, Milija Marković, Pasko Vučetić and Paja Jovanović gave their own contribution to its iconography and pictorial poetics. As icons from the Bishop's thrones and iconostases, or as frescoes from the walls of numerous churches, depictions of St. Sava reconciles his brothers Stefan and Vukan had a special relation to the believers. It was a positive example from the national past which the church used as a visual form for sending a moral-didactic message about the importance of brotherly love and unity for the progress of the Serbian nation and state. On the other hand, the depictions of St. Sava reconciles his brothers Stefan and Vukan functioned as an example of Christian virtues such as love of one's neighbor, respect for authority and forgiveness that were presented visually through the personas of St. Sava, Stefan and Vukan. In both cases, the church used this event from the national medieval past to shape the reality of the nation and thus ensure its future life, which was all in accordance with its national propaganda work in the 19th century. The depictions of St. Sava reconciles his brothers Stefan and Vukan was used by the high church hierarchy to highlight the importance of bishops in the life of the Serbian people, but this scene was also an historical foundation for political action of Serbian bishops in the 19th century

Religious Art and the Public in the Principality of Serbia (1830–1882)

У раду се разматрају утицаји које је друштевна и културна јавност имала, посредством штампаних медија, на развој и уобличавање црквеног живота и црквене уметности у Кнежевини Србији (1830-1882). Иако је у ранијој историографији уочено да је уметничка критика изношена у штампи 19. века била важан фактор њеног уобличавања, није посвећена посебна пажња црквеној уметности и утицајима јавности на њу. Кроз преглед ставова и коментара изречених у новинама и периодици у вези са црквеном архитектуром, сликарством и разним црквеним активностима усмереним на изградњу, обнову и украшавање храмова у Кнежевини Србији, циљ је да се актуелизује значај утицаја штампаних медија на развој црквене уметности 19. века у даљим истраживањима.In the Principality of Serbia in the 19th century, the Orthodox Church represented a significant entity and had a privileged position as a state and national institution. This all affected its place in public life, as well as the public control of all the church activities regarding the churches’ construction, equipping, painting, and renovation. Thus, the aesthetical criteria, demands, and effects of the cultural and scientific public were a tremendous factor in making church art common during the 19th century. The public had an influence on art development through various forms in the Principality of Serbia, and some of the instruments were both daily and periodical (printed) press. The public’s attitude towards the church art was stated in the press and humongously affected the people’s consciousness of the Church and church art’s significance in relation to the state and nation, as well. Also, the ordering parties’ tastes had thus been formed, which also had an impact on the complex mechanisms of the general church art trends during the 19th century. This kind of practice was characteristic of 19th-century Europe and Russia, and from there it was also accepted and developed in Serbia. Despite the fact that in the 19th century the Serbian people had lived in the territory of three states – the Ottoman Empire, the Principality/Kingdom of Serbia, and Austria, the periodical literature and newspapers had been available to the Serbian social and cultural elite at the mentioned territories. Since the press had not been strictly limited by the state boundaries, a wider reading audience had been familiar with the information and attitudes about art presented in both the newspapers and periodical literature, which were printed in Serbia and Austria, as well. The newspapers coming out in the period 1830–1882, such as Šumadinka, Srbske novine, Novine Čitališta beogradskog, Sion, Podunavka, Golubica, Orao, and others, contained different aesthetical attitudes on the church painting and architecture, but also considered various problems on the topics of erecting and painting the churches. The public significance of the works regarding the construction and equipping of the churches had been highlighted. Certain models of the church architecture and painting had been promoted, along with the individual artists’ works. By reading the daily and periodical press, the reading public had been informed about the church heritage from the past through the reports about medieval churches and some debates on their renovation. Finally, the public of experts promoted, by using the (printed) press, certain advisable behavior models, such as the contribution activities towards the Church which were seen as the ultimate patriotic endeavor

Sacral architecture and church builders in the Principality of Serbia during the first rule of prince Miloš Obrenović (1815–1839)

У време прве владавине кнеза Милоша Обреновића (1815–1839), у Кнежевини Србији je подигнут и обновљен велики број цркава. Активности везане за подизање и обнављање храмова биле су део кнежеве државотворне и личне политике, те су разгранавање парохијске мреже и обезбеђивање градитеља за тај подухват били један од императива. Иако на дoсадашњем ступњу истражености сакралног градитељства овог периода за велики број храмова није могуће утврдити ко су били градитељи, захваљујући сачуваној, и у великој мери публикованој, архивској грађи о многим градитељима постоје сачувани подаци, иако некад непотпуни. Намера је да се овим радом употпуне досадашња знања о сакралном градитељству и градитељима цркава у Србији од 1815. до 1839. године, идентификовањем одређених историјских оквира који су омогућили појаву и доминацију појединих градитељских струја, са акцентом на најзначајнија градитељска имена и њихове појединачне опусе.In the period of the first rule of Prince Miloš Obrenović (1815–1839), many churches were erected and renovated in the Principality of Serbia. These activities included the personal political moves of the Prince toward forming the state. Thus, making a network of parishes and finding the builders had been of the utmost importance. During this politically, economically, and culturally dynamic period of the first rule of Prince Miloš Obrenović, the conditions affecting the development of the sacral building had been changing. As a result, in a relatively short time (three decades), hundreds of churches different in their typology had been built and renovated – starting from the wooden churches, single-nave churches without a bell tower, to those containing bell towers. Te rising need to have more churches was met by hiring the builders from the Ottoman Empire, the southern Balkans – Ohrid, Bitolje, Veles, Vraneš, Kruševo, Carigrad (Constantinople), but also from Bosnia, mainly from Osat. Among these builders, the most renowned were Kosta Dimović, Andrija Sotirović, Janja Mihajlović, Nikola Đorđević, Hadži Nikola Živković, Dimitrije Sotirović, Nastas Stefanović, Sima Vironja, Miroslav Buljugija, Novak, Milutin Gođevac and his sons Aleksa, Đura, and Petar. This southern Balkans’ building impact was dominant until the period 1837-1840 when the Cathedral Church in Belgrade was built by the educated builders from the Habsburg Empire, Friedrich Adam Querfeld and Franz Dobi. After building the Cathedral Church in Belgrade, upon the change in the government in 1842, but also the change in the cultural policy and church reformation, the dominant were the architects and the engineers educated in Europe. They were trusted with making plans, supervising, and building the churches in the Principality of Serbia. This shift represents the end of a dynamic and in many ways unique period in the sacral architecture of the Principality of Serbia

Светитељи и кризе: култ Стефана Првовенчаног за време Кочине Крајине (1788 - 1791) и ратног периода српске револуцоије (1804-1815)

The history of the relics and the cult of St Stephen the First-Crowned, especially the one from the late 18th and early 19th century, shows how crises can bring about the development of a cult and visual culture that accompanies these processes. Carefully guarded during the wars, from Kočina Krajina up to the Serbian Revolution, the relics of St Stephen the First-Crowned shared an unfortunate fate with the people and its army. By building the old church-folk tradition with new legends about St Stephen the First-Crowned and his relics, the insurgents gradually created a symbol of freedom and the renewal of Serbian statehood out of the first Serbian king. After the final liberation from the Turks, his relics became the most important national relics of the state. Visual culture had its place in all of these developments of his cult.Нововековна историја моштију и култа Стефана Првовенчаног, посебно с краја 18. и почетка 19. века показује како кризе могу условити и управљати развојем култа и визуелном културом која ове процесе прати. Брижљиво чуване и склањане током ратних дешавања, од Кочине Крајине (1788–1791), па кроз ратни период Српске револуције (1804–1815) мошти Стефана Првовенчаног су делиле худу судбину са народом и војском поставши тако један од важних актера актуелних политичких дешавања. Надограђујући стару црквено-народну традицију новим легендама о Св. Стефану Првовенчаном и његовим моштима за време Првог српског устанка постепено се ствара од првог српског крунисаног краља симбол слободе и обнове српске државности. У то време ће мошти Стефана Првовенчаног попримити статус светитеља заштитника српких устаника и патрона устаничке државе. Његове мошти током ратних криза бивају симбол божје подршке за намере устаника у формирању слободне државе, те њихово измештање са устаничке територије симбоички најављује продубљивање кризе – пропаст, док њихово поновно присуство симболише смиривање ситуације и повраћај божанксе благодати над српским народом. Зато је њихова судбина током ратова била од велике иделошке важности за устанике. По коначном ослобођењу од Турака мошти Св. Стефана Првовенчаног постају најзначајнија национална реликвија земље, оставши то кроз читав 19. век

Financial Position and Sustainability of Associations in Croatia

This paper emphasizes the economic importance of the civil society sector in the national socio-economic context. There is a systematic neglect of the economic and financial components of civil society organizations and non-profit sector in Croatia even though a significant volume of civil society organizations’ activities is funded from public sources and there is a high possibility of exploitation of their relatively privileged tax position. The purpose of this paper is to present research results of the funding sources, the financial potential and the elements of economic performance of citizens’ associations in the Republic of Croatia. The survey sample includes over 20,000 citizens’ associations which have submitted financial reports to the Registry of Non-profit Organizations in accordance with the statutory obligation. The research is based on aggregated data reported in the Balance Sheet and Performance Report for 2015 and 2016. The scientific contribution of the paper is reflected in the assessment of the financial performance and financial transparency of the activities of civil society organizations in the Republic of Croatia and their sustainability in comparison with Serbia and Slovenia. &nbsp

TREATMENT OF BLUNT LIVER INJURIES IN CHILDREN

Liver is the largest parenchymatous organ, well vascularized, weighing approximately 1.8-3.0% of the whole body weight. Among all abdominal traumas liver injuries account for 25%. For more serious liver injuries the mortality is around 40% in children below 10 years of age. For lesions of the juxtahepatic veins (three major hepatic veins or the retrohepatic portion of v. cava) or for complex, combined intraabdominal injuries, the mortality is even up to 70%.This work analyzed the period 1988-2000 during which there were 19 children admitted and treated for blunt liver injuries at the Clinic of Pediatric Surgery and Orthopedics in Nis; I, II and III scale injuries prevailed (17 cases; 89.4%). These injuries were surgically treated for the most part (17 cases; 89.4%). In 7 children (36.8%) there were combined injuries. The lethality was 26.3%-5 cases, with three major complications: two intrahepatic hematomas and one biliary fistula associated with biliary peritonitis and biloma formation

Domestico Bakery Interior Design [STRAND 2022]

The main focus of the interior, through which brand recognition is built, is the sales section. Using Domestico colors and motifs in the design, the interior is composed of flat, linear and circular geometric forms, which in their appearance contribute to the scenic nature of the tasting and sales space. The goal was to move away from the stereotypical experience of a bakery and create an exhibition space aimed at presenting characteristic products and craftsmanship. Overlapping spatial zones simultaneously contributes to greater transparency of production and communication with customers on a sensory level (overlapping smells, tastes, visual experiences, touch)

Mobilizing the Image: Ideological Narrative in The Interior Design of The Sava Center

The paper will examine the process of design and construction of the Sava conference center in Belgrade and its role in the creation of the ideological narrative on the disciplinary level through the conceptions of space. During the Cold war, Yu goslav cultural space was in a unique position between East and West, building its international image on the idea of political neutrality and the Non-aligned movement. The Sava center was built in 1977, for the purpose of hosting the second Conference on Security and Co-operation in Europe, and the Non-Aligned Movement in 1983. The building of the conference center was not only the functional necessity but was also an important factor in presenting Yugoslavia on the international lev el. By questioning the critical theory and the postmodern condition in the domain of representation of architecture, the main aim of the research is to trace the pos sible aspects of reading the aesthetic and symbolic layers within the interior de sign of Sava center. The main hypothesis is that that interior space was a crucial el ement in the creation of the continual simulacrum, which embodies the idea of political neutrality and self-managing socialism, presenting the Yugoslavian poli tics as diplomatic and open unlike its communist counterparts in the USSR. The Sava center is typically considered through the prism of political and econom ic aspects while neglecting the design approaches, images and conceptions of space. The idea of building the new center can be related to the postmodern un derstanding of losing imposed centrality in the vision of history and the dominance of the single image as a condition for the unquestionable way of interpretation. By analyzing primary sources stemming from the period of its construction and nu merous visual materials, the research aims to discover the possible influences and conditions by which the architectural approach to designing was determined. In general, it the awareness of the importance of critical examination of the social ist heritage in the modern context for the current understanding of the discipline

Klijavost semena i porast ponika uljane repice u uslovima sonog stresa

Oilrape is used for human consumption, domestic animal consumption, for biodiesel production, as bee pasture and as an important green manure. This crop is tolerant to many soil types (including saline soils) in the growing regions across the globe. Testing was done on three oilrape winter varieties: Ana, Slavica and Ilia. The influence of salinity on seed quality was determined after the harvest using standard laboratory methods under laboratory conditions. Seed germination in the control ranged from 92.75 % do 96 %. As NaCl concentration increased from 150 mmol/l to 250 mmol/l, germination decreased, and statistically the lowest values were obtained at the concentration of 300 mmol/l in Slavica and Ilija varieties (57-84 %). In all studied genotypes, the first seedlings emerged after three days of testing in the control and at NaCl concentrations of 75 mmol/l, 100 mmol/l, 150 mmol/l and 200 mmol/l. The seed germinated on the medium moisturized with 250 mmol/l NaCl started to germinate after four days of testing, while the seed germinated on the medium moisturized with 300 mmol/l NaCl started germination after five days. The length of seedlings was statistically the most significant in the control in all three varieties. Statistically the lowest values were obtained in the seedlings at NaCl concentration of 300 mmol/l. For successful production under stress conditions, adaptable genotypes which have pronounced positive interaction with environmental conditions should be chosen.Uljana repica je biljna vrsta koja je tolerantna na mnoge tipove zemljišta u regionima gajenja širom sveta, koja dobro podnosi zaslanjena zemljišta. Ispitivanja su izvedena na tri sorte ozime uljane repice: Ana, Slavica i Ilia. Nakon žetve, utvrđen je uticaj zaslanjenosti na kvalitet semena primenom standardnog laboratorijskog metoda. Filter papir je kvašen destilovanom vodom (kontrola) i različitim koncentracijama NaCl (75 mmol/l, 100 mmol/l, 150 mmol/l, 200 mmol/l, 250 mmol/l i 300 mmol/l). Nakon 7 dana utvrđeni su klijavost semena, brzina klijanja semena i dužina ponika. Klijavost semena u kontroli se kretala od 92.75% do 96%. Sa povećanjem koncentracije NaCl od 150 mmol/l do 250 mmol/l klijavost se smanjivala i statistički najniže vrednosti dobijene su na koncentraciji od 300 mmol/l kod sorti Slavica i Ilija (57%-84%). Kod svih ispitivanih genotipova prvi klijanci su se pojavili nakon tri dana ispitivanja i to u kontroli i na koncentracijama NaCl od 75 mmol/l, 100 mmol/l, 150 mmol/l i 200 mmol/l . Seme naklijavano na podlozi kvašenoj sa 250 mmol/l NaCl počelo je da klija nakon 4 dana ispitivanja, a nakon 5 dana na podlozi kvašenoj sa 300 mmol/l NaCl. Dužina ponika je bila statistički značajno najveća u kontroli, kod sve tri sorte. Statistički značajno najniže vrednosti su dobijene kod ponika na koncentraciji 300 mmol/l NaCl. Za uspešnu proizvodnju u stresnim uslovima treba odabirati genotipove koji su adaptabilni i imaju izraženu pozitivnu interakciju sa uslovima spoljne sredine

OUR EXPERIENCE WITH TUBULARIZED INCISED PLATE URETHROPLASTY FOR DISTAL AND MID-PENILE HYPOSPADIAS

Hypospadias does not present an isolated genital anomaly but a complex urological, sex-ual, psychological and psychiatric, reproductive and aesthetic problem. Although there are over 200 operative techniques, this great surgical challenge presently does not have ideal operative solution. Nowadays, the use of urethral plate for urethroplasty, through various surgical tech-niques, presents a revolutionary concept in hypospadias surgery and it is being accepted by an ever-increasing number of hypospadiologists.Tubularized incised plate urethroplasty (TIP) -Snodgrass procedure was performed on a total of 22 boys; 16 distal (72.7%), 5 mid-penile (22.7%) and 1 proximal hypospadias in period from 1.1.2000 to 30.08.2003, by the same surgical team. The average patient age was 4.5 years (6 mon. to 12 years). All reconstructions have been done as primary urethroplasty while one distal hypospadias had one previous, unsuccessful MAGPI procedure. Complication included small urethrocutaneous fistulas in 4 (18%) and meatal stenosis in 1 (4.5%) child. Snodgrass pro-cedure is a successful method for reparation of distal hypospadias for it provides an excellent aesthetic result with acceptable complications. In order to evaluate the success of this method in reparation of mid- and proximal hypospadias, as well as the possibility of its application on previously unsuccessful or circumcised patients, it is necessary to gain additional experience al-though the first results are encouraging