/ 1968
pdf

SUFFERING OF THE BODY AS A WAY TO WORSHIP ON THE EXAMPLE OF ANTIPSALM BY NOVICA TADIĆ

/in /by

The paper discusses the concept of Christian suffering of the body as a worship motive on the example of the poem Antipsalm by Novica Tadić. Following Byzantine aesthetics and the aesthetics of asceticism,we interpret suffering of the body as a kind of Christian struggle which strengthens our faith in God. The stronger the suffering of the body, the greater the faith in the Lord. The more numb the body, the stronger the soul. In most previous interpretations, the poem Antipsalm has been proclaimed as the highest kind of a poet’s aesthetics of the ugly, as a painting of the demonic and evil world. This paper aims to show that this Tadić’s poem is actually an inverted psalm, and that invoking torment and evil in this song is only for the purpose of strengthening faith in the Lord and bringing pagans to faith.

/ 1968
pdf

МЕТАESTHETICS OF THE TRANSFIGURATED BODY

/in /by

Man is a corporal being whose life is fulfilled not only through spiritual, but also through bodily experience. One’s relationship towards the body is often divided between two opposites – from rejection and devaluation to magnification of the flesh as the source of pleasure and enjoyment. Christian point of view determines that the body is not an isolated object that only has sensory and aesthetic function but is an integral part of one’s personality, with which one has to be transfigured into a new dimension of being. There is a vast number of testimonies regarding saints reaching that graceful state that is manifested as radiant godly light representing the visible character of God’s energies. That is why the basic category of Christian ethics sees the other side as transcendental beauty that spreads like innate godly light. Traditional aesthetic theory is not sufficient for understanding the metaphysical status and aesthetics of the body in Christian experience and theology.That is why it is essential that the term of aesthetics includes more adequate and comprehensive term of metaesthetics. With a metaesthetic experience, the viewer does not see the body as an exterior material object that represents, reflects and radiates the unspeakable divine beauty, but also, as its recipient, become integral part.

/ 1968
pdf

THE OTHER FACE OF THE ONE

/in /by

The problem of resurrection of the body was and has remained the cornerstone of the Christian faith and hope, but also a crossing point of different doctrinal attitudes that marked the entire history of Christianity.This paper tries to illuminate the phenomenon of the body from several angles, through perspective of the doctrine of the resurrection of the dead, providing some of the modern theological answers. References are also made to the Christian iconography of the East and the West,regarding the aesthetics of Christ’s resurrected body, which with the sum of symbolic relations opens a completely new epistemological,theological and aesthetic field for understanding the resurrection as the most important secret of human existence.

/ 1968
pdf

FROM THE ICONISATION OF THE BODY TO THE LIKENESS WITH CHRIST

/in /by

Representing humans in visual arts is one of the oldest, most accessible,and theoretically thoroughly studied modes of semiotic interchange.Only lately, though, attention of researchers has been drawn to the fact that the relation of likeness between the image and the person (or event) represented by the same image is not a one-directional cognitive formula, and that people often tend to identify their behaviour and their bodies with (their own) images. In other words, together with the basic semiotic proposition implying that the (mimetic/artistic) images are supposed to represent the bodies, it is possible to notice the representational processes through which bodies are becoming images of those very images. The ways this alternative representational mode has been used in Late Antiquity, together with the ways this kind of semiotic interchange influenced the bodily expressions of piety in those periods – resulting in gradual erasure of the cognitive borderlines between bodily and iconic modalities of presence – are the topics of this research.

/ 1968
pdf

EDITOR’S NOTE

/in /by
/ 1968
pdf

ЕCONOMIC MEASURES OF CULTURAL POLICY IN THE FUNCTION OF BOOSTING PHILANTROPY AND BEQUESTS

/in /by

The paper deals with analysis of economic measures of cultural policy in Serbia from the perspective of their influence on boosting philanthropy and promoting bequests. The first part of the paper explains conceptual terminology of the basic dimensions of philanthropy. The second part of the paper discusses economic measures of cultural policy from the perspective of theirs role in creating institutional framework for development and sustainability of philanthropy and bequests. At the end of the paper cultural policy recommendations for improvement of national cultural policy are presented.

/ 1968
pdf

LEGACY IN THE SERBIAN MUSEUMS PRACTICE

/in /by

This paper deals with the status of bequest in the Serbian museums practice. The first part covers understanding of the concept of be quest by several authors, as well as legal interpretation and valid legislation related to bequests. Special attention is drawn to the lack of a definitive legal procedure which would regulate what museums should do with such bequests. The second part of the paper covers the treatment and position of bequests at the Belgrade City Museum – a museum institution which manages twenty-eight bequests. All the be quests currently managed by the Museum are listed and detailed analyses of several bequests are given as examples of good and poor practice.In the end, an interpretation of different treatments of such museum collections after WW2 are reviewed from the angle of historic legal regulations and practical approaches.

/ 1968
pdf

MEMORIAL ETHNOGRAPHIC COLLECTION OF HRISTIFOR CRNILOVIĆ, LEGACY AND REMINDER

/in /by

Hristifor Crnilović (Vlasotince) (1886-1963) was a painter, professor of painting, ethnographer and collector of objects of material culture and folk knowledge. He offered his great collection to the City of Belgrade to establish a permanent exhibition. From the first negotiations with there presentatives of the City of Belgrade in 1958, when it was decided that the collection had great cultural and historical value, the realization of his original idea was completed after 10 years i.e. unfortunately 5 years after his death. In accordance with modern tendencies and theories of museum and museology development as well as new visions of understanding the role of museums in the society, in addition to already established forms of activities, organization of occasional exhibitions, lectures, educational and pedagogical work, Ethnographic Museum experts have recognized potential for new ways of working with their audience through educational programmes of old crafts, various skills, folk handicrafts and old artistic techniques. This innovative form of involving the public in the process of preserving intangible cultural heritage and cooperation with other cultural institutions has also been part of the work plan of the House of Manak, from the 1990s to this day.

/ 1968
pdf

BEQUEST OF STEVAN KRAGUJEVIĆ AT THE MUSEUM OF YUGOSLAVIA

/in /by

The subject of this paper is presentation of the photographic be quests of Stevan Kragujević at the Museum of Yugoslavia and its cultural, historical, social and artistic significance. It also covers processing and digitalisation of the material, with presentations and communication potential. Establishment of the Bequest of Stevan Kragujević in 2014 was of importance to the development of the funds of the Museum of Yugoslavia, whose photographic material grew in scope and importance.With its spatial limits for safeguarding of cultural assets and thanks to improvements brought by digitalisation, effective communication with the public was enabled. A specific model of cooperation was established with Tanja Kragujević, as a valuable example of joint efforts on primary protection of funds of great historic value and work on their wider accessibility and valorisation.