"Horse attacked by arrows", engraving in cave Badanj near Stolac, c. 14000 BC.
Bosnia and Herzegovina hosts the oldest monument of the Paleolithic age in southeastern Europe, engravings in Badanj cave near Stolac in Herzegovina. The most famous engraving is the Horse attacked by arrows, preserved in fragments dated around 14000 - 12000 B.C.[1]
During the time when Neolithic and Copper cultures were starting to appear, MediterraneanPanonian cultures began to mix. Herzegovina was highly influenced by the impresso ceramics from the Western Mediterranean, as seen in Green Cave near Mostar, Čairi near Stolac, Lisičići near Konjic and Peć Mlini near Grude.
In the upper regions of the Bosna river and the Northeastern parts of Bosnia (Obre I near Kakanj) the local culture was influenced by Adriatic cultures in the South and the Starčević culture in the Northeast. Original expressions of that culture are ceramic pots on four legs, called Rhyton. They are also found in the Danilo culture on the Croatian coast.
Because of these influences, Kakanj culture is considered part of a wide circle of Neolithic tribes that followed a cult of life force (from northern Italy, Dalmatia and Epirus to Aegean). Butmir Culture near Sarajevo is distinctive with fine glazed ceramics and miscellaneous geometrical decorations, often spirals.[2][3]
Monumental city walls of Daorson near Stolac, 4th century BC.
From the 7th century BC onwards, bronze was replaced by iron, and only jewelry and art objects were still made out of bronze. The bronze culture of the Illyrians, an ethnic group with a distinct art form, started to organize itself in what is today Croatia, Serbia, Bosnia and Herzegovina. Different Illyrian tribes, under the influence of Halstat cultures from the North, formed original regional centers. With the notable exception of Pod near Bugojno in the upper valley of the Vrbas River, nothing is known of their settlements. In eastern Bosnia in the cemeteries of Belotić and Bela Crkva, the rites of inhumation and cremation are attested, with skeletons in stone cists and cremations in urns. Metal implements appear here side by side with stone implements. Most of the remains belong to the Middle Bronze Age.
A very important role played their death cult, evidence of which is seen in their careful burials and burial ceremonies. Japodian tribes (found around Bihać) produced heavy, oversized necklaces out of yellow, blue or white glass paste, large bronze fibulas, as well as spiral bracelets, diadems and helmets out of bronze foils.
In the 4th century BC, the first Celts arrived in the region, bringing with them the technique of the pottery wheel, new types of fibulas and different bronze and iron belts. However, their influence on Bosnia and Herzegovina's art is negligible.
Antiquity
Silver fibula cross from 7th century found on Buško Blato lake in Herzegovina.Stone baptistery from Drinovci near Grude, 4th century.
In Bosnia and Herzegovina, Romans built several small temples decorated with reliefs. They utilized Bosnia and Herzegovina's mineral deposits, particularly silver, to build military, civilian and industrial settlements.[4] The complex of step sanctuary in Gradac near Posušje from year 184 AD had marble temple dedicated to recently deceased emperor Marcus Aurelius. Late Roman art in B&H is marked most dominantly expressed by the construction of villas, Christian mausoleums, basilicas and oratories like the Mausoleum in Šipovo near Jajce and Villa Mogorjelo near Čapljina as well as sculptures.[5]
In Bosnia and Herzegovina the Romanesque influence came from Croatia although it was never fully accepted and thus only adopted some elements from it.
Influences of Gothic art in the 14th century are represented by preaching orders and knightly culture. In Bosnian culture, religion and nobility were the main perpetuating factors.
From the earliest times of Bosnian Kingdom the nobility was buried in large necropolises near roads with graves marked by monumental tombstones (stećak). A Stećak was sometimes engraved with reliefs showing all sorts of motifs, from figurative to symbols, and sometimes writings in Bosnian Cyrillic. They are strongly linked to the Bosnian Church and most of the motifs are derived from its particular belief system, although some are also derived from Romanesque (crosses, arcades with semi-circular arches, son, half-moon etc.) and Gothic (arcades with sharp arches, knight riders, shields, swords, lilies etc.) art of the West.
The two most extraordinary examples of illuminated manuscripts from medieval Bosnia are Hval's missionary in Zagreb, a lavishly decorated manuscript with many miniatures. Misal Hrvoja Vukčića Hrvatinića - a liturgical book of the Bosnian duke and ruler of Dalmatia - Hrvoje Vukčić Hrvatinić, today in Istanbul, is colourfully painted with many details of knightly culture. Both were painted in Split, Croatia.
Ottoman art in Bosnia and Herzegovina
A Svrzo house in Sarajevo, the typical Bosnian house from the Ottoman period.
However, the Ottoman period opened a new era in B&H art, that of Islamic Art which flourished until the 19th century. At that time three constant art traditions coexisted in B&H: Catholic-Western, Orthodox-Byzantine and the dominating Ottoman-Islamic one.
The Ottomans were quickly developing urban cities upon their conquest of B&H, enriched by Islamic and Byzantine influences. For example, in Foča in the 16th century, the Ottomans built 17 mosques, 29 public fountains, 6 public baths (hamam) and 13 caravanserai motels (han). Sarajevo is an example of a non-urban open city where the most important buildings are organized around one veining street, a čaršija (Persian chahar-su meaning all four sides). In Sarajevo the largest is famous Baščaršija with shops of 50 different crafts from the 15th century.
Islamic manuscripts, decorated in the Persian style with Islamic calligraphy, and many remain in Bosnian libraries to this day. In the 16th century, the Jews expelled from Spain came to Sarajevo, where they were allowed to settle. Beside their important influence on Bosnian culture, they brought with them a luxuriously decorated manuscript called Sarajevo Haggadah from the 14th century, which is now housed in the Sarajevo museum.
The bridge is an important part of Islamic art, not only because of the great skill required of an architect, but because of its symbolic meaning a mediator between Heaven and Earth. One of the most famous examples is the Old Bridge in Mostar, built by Hajredin, a pupil of the famous architect Mimar Sinan from Istanbul.
In Bosnian Islamic architecture, stone is reserved for religious, public buildings and fortifications, while private houses were built out of wood and ćerpić (native simple bonding material made of clay and straw). With often console constructions of the upper floors, these houses allowed for more open spaces and large windows. When the power of Ottomans started to descend in the middle of the 17th century, so did the influence of Islamic art in Bosnia and Herzegovina.
Art in the Austro-Hungarian period
National Library in SarajevoThe Sarajevo Academy of Arts, on the bank of the Miljacka
After the end of World War I, the society of artists from SHS (state of Serbians, Croats and Slovenians) was created and held numerous exhibitions and artistic gatherings like the Blažuj colony of Vladimir Becić. Participants o were Roman Petrović and Jovan Bijelić, both with abstract proclivities, while Karlo Mijić was devoted to colouristic landscapes.
However, art production in B&H was severely restricted, leading many artists to never return to B&H from their studies in Zagreb and Beograd, while many were leaving the country. The first renewal happened with the "Group of Four" and "engaged art" of Roman Petrović and his circle, "The children of the Street". Mijić and Đoko Mazalić founded an art association called Krug (The Circle) with a strong focus on urban aesthetics of nature. Vojo Dimitrijević painted the Spain in 37, a representative artwork of colouristic expression with traces of Picasso and Chagall.
In the 1930s, architects were influenced by ideas of functionalism, humane architecture and Bauhaus. Those buildings were uniting function, content and form, without unnecessary plastic decoration, and with a simple rhythm of windows and modern constructions.
Art in the Socialist Federal Republic of Yugoslavia
Right after World War II, Communist Yugoslavia was founded, which allowed artists to find a new expression through the themes of Revolution and War. Prominent representatives of this are Ismet Mujezinović and Branko Šotra. Architecture was also under the direct influence of Socialistic architecture, but never reached the monumentality of the original works.
In the 1950s, art slowly transformed to a more abstract outlook, based on industrial and economic motives. The first to do so was sculptor Mirko Ostoja who replaced classical modeling with iron welding. Even the Communist State changed its feeling toward modern art by commissioning large abstract monuments dedicated to famous battles in The War (Sutjeska, Kozara, Makljen etc.). Young architects gathered around Professor Juraj Neidhardt, and tried to connect modern architecture with B&H tradition and its surroundings. The result were buildings like The Mostar Mall, “Razvitak”, built in 1970 by A. Paljaga or the Jajce Mall in 1976 by R. Jadrić, Dž. Karić and N. Kurto.
In the 1960s many architects were leaving traditional boundaries and made important buildings in the manner of functionalism: The telecommunication building in Addis Abeba by Ivan Štraus and Zdravko Kovacević, or the Skenderija Hall in Sarajevo by Živorad Janković and Halid Muhasilović are exemplary.[6]
In the 1970s, an art expression inspired by old Bosnian culture and tradition appeared in the graphic work of Dževad Hozo and in the paintings of Mehmed Zaimović, Seid Hasanefendić and Mersad Berber. Opposite to that, the urban expression of Ismar Mujezinović's works is more related to modern film montage and photo-optics, while Braco Dimitrijević was a Conceptual artist who worked mainly outside B&H.
An example of architecture in the 1980s is the Holiday Inn Hotel built in 1983 and the Unis Twin Towers built in Sarajevo in 1986, designed by Ivan Štraus.
Art after the Bosnian War
Avaz Twist Tower 2009
Cultural preservation is under way in Bosnia and Herzegovina which can be seen with the most recent reconstruction of Stari Most in Mostar and many other structures of cultural and historical significance which were damaged or destroyed in the war.
Commercial construction in the years following the Bosnian War has seen a boom in Sarajevo. Sarajevo is one of the cities with the most construction in southeastern Europe. The Unis Twin Towers have been renovated completely. On the site of the former Oslobodjenje Towers, the Avaz towers have now been constructed. In the Hrasno residential area, the Bosnian Company Bosmal has constructed the Bosmal City Center, which includes the tallest set of twin towers in the Balkans at 120 meters each.
The Avaz Twist Tower located in Marijin Dvor, Sarajevo, is the tallest tower in Bosnia and Herzegovina. It is the new headquarters for Avaz, the most popular Bosnia and Herzegovina newspaper company.
Bosnia and Herzegovina, sometimes known as Bosnia-Herzegovina and informally as Bosnia, is a country in Southeast Europe, situated on the Balkan Peninsula. It borders Serbia to the east, Montenegro to the southeast, and Croatia to the north and southwest. In the south it has a 20 kilometres long coast on the Adriatic Sea, with the town of Neum being its only access to the sea. Bosnia has a moderate continental climate with hot summers and cold, snowy winters. In the central and eastern regions, the geography is mountainous, in the northwest it is moderately hilly, and in the northeast it is predominantly flat. Herzegovina, the smaller, southern region, has a Mediterranean climate and is mostly mountainous. Sarajevo is the capital and the largest city.
The Herzegovina-Neretva Canton is one of 10 cantons of the Federation of Bosnia and Herzegovina in Bosnia and Herzegovina.
The culture of Bosnia and Herzegovina encompasses the country's ancient heritage, architecture, science, literature, visual arts, music, cinema, sports and cuisine.
Mostar is a city and the administrative centre of Herzegovina-Neretva Canton of the Federation of Bosnia and Herzegovina, an entity of Bosnia and Herzegovina, and the historical capital of Herzegovina.
Stolac is an ancient city located in Herzegovina-Neretva Canton of the Federation of Bosnia and Herzegovina, an entity of Bosnia and Herzegovina. It is located in the region of Herzegovina. Stolac is one of the oldest cities in Bosnia and Herzegovina as well as one of the oldest continuously inhabited cities in the World.
Livno is a city and the administrative center of Canton 10 of the Federation of Bosnia and Herzegovina, an entity of Bosnia and Herzegovina. It is situated on the river Bistrica in the southeastern edge of the Livno Field at the foot of Kruzi plateau which are located beneath the Cincar mountain and rocky hill Crvenice. Livno is the centre of the Canton 10 which mainly covers an area of the historical and geographical region of Tropolje. As of 2013, it has a population of 37,487 inhabitants. The town, with its historic ruins and old town from the 9th century, was first mentioned in 892, developing at the crossroads between the Adriatic coast and inland, i.e., regions of Bosnia, Dalmatia, Herzegovina, and Krajina.
The architecture of Bosnia and Herzegovina is largely influenced by four major periods, when political and social changes determined the creation of distinct cultural and architectural habits of the region.
In Bosnia and Herzegovina, the smallest administrative unit is the municipality. Prior to the 1992–95 Bosnian War there were 109 municipalities in what was then Socialist Republic of Bosnia and Herzegovina. Ten of these formed the area of the capital Sarajevo.
Within the boundaries of today's Bosnia and Herzegovina, there have been many layers of prehistoric cultures whose creation and disappearance are linked to migrations of unidentified ethnic groups.
Tourism in Bosnia and Herzegovina is a fast-growing sector making up an important part in the economy of the country.
Bosniaks are a South Slavic ethnic group, native to the region of Bosnia of which the majority are Muslims (90%). The term Bosniaks was used to describe everyone in that region regardless of their religion until late 1800s. It was established again after decades of suppression in the Socialist Federal Republic of Yugoslavia. The Bosniak Assembly adopted the ethnonym to replace "Bosnian Muslims." Scholars believe that the move was partly motivated by a desire to distinguish the Bosniaks from the term Muslim to describe their nationality in the former Yugoslavia. These scholars contend that the Bosniaks are distinguishable from comparable groups due to a collective identity based on a shared environment, cultural practices and experiences.
The Jewish people of Bosnia and Herzegovina are one of the minority peoples of Bosnia and Herzegovina, according to country's constitution. The history of Jews in Bosnia and Herzegovina spans from the arrival of the first Bosnian Jews as a result of the Spanish Inquisition to the survival of the Bosnian Jews through the Holocaust and the Yugoslav Wars. Judaism and the Jewish community in Bosnia and Herzegovina have one of the oldest and most diverse histories of all the former Yugoslav states, and is more than 500 years old, in terms of permanent settlement. Then a self-governing province of the Ottoman Empire, Bosnia was one of the few territories in Europe that welcomed Jews after their expulsion from Spain.
The Croats of Bosnia and Herzegovina, often referred to as Bosnian Croats or Herzegovinian Croats, are native to Bosnia and Herzegovina and constitute the third most populous ethnic group, after Bosniaks and Serbs. They are also one of the constitutive nations of Bosnia and Herzegovina. Croats of Bosnia and Herzegovina have made significant contributions to the culture of Bosnia and Herzegovina. Most Croats declare themselves Catholics and speakers of the Croatian language.
Ali Pasha Rizvanbegović was a Herzegovinian Ottoman captain (administrator) of Stolac from 1813 to 1833 and the semi-independent ruler (vizier) of the Herzegovina Eyalet from 1833 to 1851. The eyalet had been created specifically for him as a reward for helping to suppress the local Gradaščević Rebellion against the Ottoman Empire. However, he was deposed and summarily executed when the authorities in Constantinople discovered that he was hatching plans to rule Herzegovina independently of the Porte.
Stećak is the name for monumental medieval tombstones, that lie scattered across Bosnia and Herzegovina, and the border parts of Croatia, Montenegro and Serbia. An estimated 60,000 are found within the borders of modern Bosnia and Herzegovina and the rest of 10,000 are found in what are today Croatia (4,400), Montenegro (3,500), and Serbia (2,100), at more than 3,300 odd sites with over 90% in poor condition. They are cut in a variety of recognizable stećak forms, with certain percentage being richly decorated and some individual stećci also containing inscriptions in form of epitaphs.
Radimlja is a stećak necropolis located near Stolac, Bosnia and Herzegovina. It is located in Vidovo polje, 3 km west of Stolac, on the Čapljina-Stolac road. The Radimlja necropolis is one of the most valuable monuments of the medieval period in Bosnia and Herzegovina. It is protected by UNESCO and designated as a part of the World Heritage List.
Herzegovina is the southern and smaller of two main geographical regions of Bosnia and Herzegovina, the other being Bosnia. It presently does not have strictly defined administrative borders, however in the past it was organized as Sanjak of Herzegovina and Herzegovina Eyalet (1833–1851).
Centuries before the Ottoman conquest of Bosnia, Mostar was a small hamlet situated at a strategic crossing of the Neretva river. Its hinterlands consisted of a broad agricultural plain on the west bank and steep terraces on the east bank surrounded by barren mountains. Mostar was a representative multi-ethnic and multi-cultural settlement in Bosnia and Herzegovina, which had possessed an independent political identity since the twelfth century. By the fifteenth century, most of the lands that would later become part of modern Yugoslavia were inhabited primarily by peoples of the same south Slavic heritage.
The Miloradović or later Stjepanović (Стјепановић), whose paternal parent house was Hrabren (Храбрен), were an Eastern Orthodox Bosnian Vlach noble family and a katun clan from Hum, and later Sanjak of Herzegovina, parts of present-day Bosnia and Herzegovina, and whose some later branches embraced the Bosnian Serb ethnic identity, while others converted to Islam and became Bosnian Muslims. The members of the family served the Kingdom of Bosnia, the Republic of Ragusa, and the Ottoman Empire. One branch of the Miloradović's established themselves as military leaders of Russian Empire and were adopted into the Russian nobility. The family left behind several cultural-historical monuments important to Bosnian and Herzegovinian heritage, protected as such by the KONS state agency and the UNESCO.
There were several notable noble families of Ottoman Bosnia, many of which have living descendants today who are predominantly Bosniaks. These families are commonly called begovske porodice and most were of Islamized Slavs of Christian origin, and some remained Christian as sipahi, while few were of Turkic origin. The descendants of these families are recorded in numerous anthropological studies and have held important public offices.
References
↑ Ivan Lovrenović 2001. Bosnia: a cultural history. New York. New York University Press. p. 13
↑ W. Radymský / M. Hoernes, Die neolithische Station von Butmir bei Sarajevo in Bosnien. Ausgrabungen im Jahre 1893 (Wien 1895).
↑ Z. Kujundzič-Vejzagič / J. Müller / K. Rassmann / T. Schüler, Okolište – Grabung und Geomagnetik eines zentralbosnischen Tells aus der ersten Hälfte des 5. vorchristlichen Jahrtausends. In: B. Hänsel (Hrsg.), Parerga Praehistorica: Jubiläumsschrift zur Prähistorischen Archäologie. 15 Jahre UPA. Universitätsforsch. Prähist. Arch. 100 (Bonn 2004) 69–81.
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