Museum “Ras” - Chronicles and today’s facts

The initiative for the establishment of the Museum in Novi Pazar was launched at the meeting
of the Committee for Education and Culture, held on Jun 27th, 1952, when the decision was
taken for the Museum to be founded. In the beginning of 1953, a Coordination Board for the
Establishment of the City Museum was formed, and the question of the museum was discussed
at the meeting on February 26th, 1953. It was said that such an institution needed to be set up
since the 'city was rich in historical remains', and the finances were made available.
As regards the acquisition of objects, the position was taken that 'all antiquities were to be
collected – old vases, money, papers, and various objects'. At the extended session of the
managing board of the City Museum, held on March 28th, 1953, it was confirmed that region
boards had been formed for collecting museum pieces and that they held sessions.

In October 1959 for the part-time director of the Rascian Museum was named Ejup Mušović, a
history teacher at the Teachers’ Secondary School.

On October 13th 1971, the Rascian Museum was registered with the District Commercial
Court in Kragujevac; the problem of the building was solved as well. The Municipality Council of
Novi Pazar decided that has to cede to the Museum the building of the former Polytechnic
School, valued at 1 500 000 dinars, free of compensation. The building on No.5 Stefana
Nemanje Street which the Museum has for its needs dates from the middle of the 19th century.
For a while, it used to be a ‘ruzdia’ – a Turkish grammar school; on August 10th, 1959 it was
nationalized from the owner, Alija Ćorović from Novi Pazar. Afterwards, it housed the City
Board, then a primary school and the Polytechnic School. How the building did not suit to the
Museum needs and also was ruined it was necessary to do adaptation. However, museum
artifacts were immediately transferred into new premises.

Finally, twenty years after the museum collection was formed, the Hometown Museum in
Novi Pazar was opened to visitors on November 28th 1973.

The Museum is housed in the building with the total floor area of 332 m2; too cramped for all
exhibits that could be put in front of the eyes of visitors. The issue of proper premises was to be
solved under the Program of Work of the Republic Board for the Study of Old Ras with the
Sopoćani. With this program was anticipated to build new building of the Museum or
eventually to adapt existed one what was not allowed by the economic and political situation in
the country.

Soon after the official start of work problems with building started on which walls damp
appeared which griped all walls of the ground floor. Problem was solved only in 2002 when
horizontal incisions were made in the walls and damp proofing was installed.
 The Museum received a number of awards for its work such as: the Merit Award from the
Institute for the Protection of Cultural Monuments from Kraljevo (1975); Friendship Award
from the Primary School 'Ivo Lola Ribar' of Vojvodina (1975); the November Diploma from MC
of Novi Pazar for Outstanding Achievement (1981); the Merit Award from the Primary School
'Stanika Radovanović-Cana' (1981); the Merit Award from Serbian Archeological Society, on the
occasion of 100 years of its existence and work (1983), the Merit Award from the National
Museum in Belgrade (1984); the Charter from MC Novi Pazar on the occasion of the 40th
anniversary of the liberation of the town (1984); the Plaque from the Republic SUBNOR (1988).

In its fifty-five years work, the Museum Ras made remarkable achievements. It acquired over
6 000 artifacts, the most of them elaborated skillfully and arranged them in collections.
However, in the Museum are not placed exhibits from archeological finds: the Peter’s Church
(the National Museum in Belgrade), Djurdjevi Stupovi (the National Museum in Belgrade), the
Sopoćani (the Republic Institute for the Protection of Cultural Monuments), Naprelja (the
National Museum in Kragujevac), the locality Ras-Postenje (the Centre for Archeological
Research of the Philosophy Faculty in Belgrade), as well as from localities treated by the sonde
(mostly at Archeological Institute in Belgrade). The acquisition of new exhibits conditioned in
complete or partial changes in the permanent exhibition of the Museum.

The Hometown Museum was also the organizer of the research conferences: the Symposium
about the Ras and the Monuments in the Raška Valley (1977), the Conference of Museum
Workers of Serbia, the XV Annual Conference of Ethnological Societies of Yugoslavia, the
Congress of Conservers of Yugoslavia (part), three Annual Conferences of the Serbian
Archeological Society (1978, 1988 and 2003) and the Meeting of the Section for Medieval
Archeology of Serbian Archeological Society (1988). On occasion of the tenth anniversary of the
death of the long-time director of the Museum, at the end of March 2006, a scientific
conference was organized called: 'Historical Overview of the Area where was born and worked
Ejup Mušovic'. Most eminent names in social sciences took part in the conference, and the
whole issue 29 of the 'Novopazarski Zbornik' was dedicated to it. In a shape of the gathering
was organized a large exhibition of paintings and graphics by the academic painter from Novi
Pazar M.A. Mehmed Slezović.

Ethnological features and its artifacts…

The region covered by the activities of the 'Ras' Museum is a high mountainous area open to
the northeast. A large number of settlements are located at the absolute height above sea level
of over 1,000 metres. Based on long-term meteorological indicators we can say that this area,
especially the territory of Sjeničko-Pešterska highlands the coldest and snowiest area in Serbia.
This territory has moderately continental and continental climate, despite the closeness of the
Adriatic Sea (138 km air distance) and the Aegean Sea (375 km). The barrier of penetration of
the Mediterranean influences are presenting the high mountains surrounding this area, as well
as local factors, primarily specific relief characteristics and the height above sea level.

The climate used to be much more severe, which is reflected in the folk legend still told in
almost all of the villages: 'Here lived the Greeks and then, on St. George''s Day, they stuck a
plough into hard snow and left for good.' Many data have been preserved referring to the
periods of the harsh cold popularly named the 'Little Ice Age'. These climate changes affecting
most parts of Europe, started at the beginning of 14th and lasted until the end of 17th century.

Climate conditions had a significant impact on the activities of the local population. Therefore,
the population of the vast Sjeničko-Pešterska highlands, including quite a large part of the
territory of Tutin as well, mostly raised livestock, while farming was much less present, which is
the situation today as well. Farming is mostly present in Novopazarska basin and the river
valleys of the river Raška tributaries. The first inhabitants of the Raška valley were also the first
farmers in the Neolithic. Part of the population started mining as early as the antiquity,
especially in the mountains of Rogozna and Golija, in the area between the towns Ras and
modern Tutin, or mediaeval Gluhavica.

The data recorded in travel journals include the data on the activities of the population and
their way of life. An Italian, Katarin Zeno, recorded that Novi Pazar is a large trading place
where goods from all parts of the world arrived, and where merchants from Dubrovnik, as well
as Serb, Turkish and Venetian merchants traded. He recorded that living in the town was cheap,
that there were a lot of mosques, several hans (inns) and caravansaries. Venetian travel writer
Pavle Kontarino, reached Novi Pazar in 1580, having passed through the village of Dubnica,
south of Sjenica. Unlike his predecessor, he recorded that the town had 6,000 houses, 16
mosques and a very long bazaar street with many various shops, but also that 'there were
especially craftsmen making iron morning star maces, Turkish locks of every kind and valued
sheep bells, and they mined for iron in Gluhavica'.

During 17th century, like many Turkish towns, Novi Pazar also prospered rapidly, mostly due
to the development of trade. In those times, regardless of uprisings, unrests, hajduks (outlaws)
and hardships, trade developed in the Balkans and the towns flourished. In 17th century the
merchants from Dubrovnik strengthened their positions in Novi Pazar, which, in addition to
Prokuplje, became their most important trade centre in south Serbia, as well as the principal
export centre for wool. The quantities of wool exported are best illustrated by the fact that
3,500 horses loaded with merchandise left Novi Pazar for Dubrovnik in September of 1613.
 Novi Pazar had commercial relations with Skadar and Dubrovnik where it exported wool, wax
and skins. Novi Pazar was also in the midst of trade in colonial goods between Thessalonica and
Sarajevo, and it traded in livestock with Serbia. The merchants imported luxurious fabrics,
oriental carpets, jewels, spices, salt, and they exported wool, wax, skins, ores and other raw
materials.

The mentioned specific characteristics of the area, the style of life and ethnic diversity
influenced also the features of the articles in the Ethnography Department. Various different
tools used by numerous craftsmen living and working in Novi Pazar can be seen in the Museum.
Most interesting is the collection of tools used by a Novi Pazar barber, Usta Hadzi Rušo, who
pulled out teeth and performed smaller surgical interventions. Besides him almost all barbers
extracted teeth. A large number of shoemakers’ tools are also in the Museum, but
unfortunately they have not been conserved, so that they are not represented in the
permanent Museum exhibition.

In addition to barbers many other craftsmen worked in Novi Pazar as well: terzije (tailors),
curcije (furriers), blacksmiths, tinkers, silversmiths and coppersmiths, farriers, slipper makers,
quilt makers, leather crafters, potters, goat hair weavers, saddlers, masons, fullers, clog makers,
razor makers, knife makers, rifle makers, tobacconists, but also bakers (ekmedzije), sweets
makers, kebab makers, chefs (ascije), coffee house keepers, inn keepers. The products made by
most of these craftsmen are part of our collection as well.

The most attractive for sure are the products of the terzije (tailors), who made various
traditional garments for poorer and middle classes, while the well-off bought their clothes from
the master tailors from Prizren, Skadar and Sarajevo. The Novi Pazar craftsmen made clothes
from various fabrics: baize, velvet, silk, silk brocade, velour, atlas silk, and the clothes were
decorated with srma – silver or gold plated cord embroidery, metal and silk bikma (bućma), as
well as with silk threads and cords. The exhibits of misiraba, or a type of jelek (short jacket) with
'čepken' sleeves (slit, hanging sleeves) with rich gold embroidery and motifs, are particularly
attractive due to excellent craftsmanship. Especially beautiful are also examples of miltan,
whose name comes from the Persian word 'nimten', which short robes were reaching waist
with long and tight sleeves, open in the lower part. They were made from baize of various
colours and richly decorated by gold embroidery. The jelek was worn by females regardless of
age and national or ethnic origin; it too was made of velour or baize and richly decorated by
gold embroidery. The jelek of other materials, like satin or brocade was worn by the poorer
classes.

The misiraba, miltan and jelek with gold embroidery were parts of urban Moslem costume.
Serb women wore a miltan of a more specific look, the miltan-saltu, which was made after the
urban attire of Belgrade and central Serbia. The džube was also part of the Serbian population
costume. It was worn over the shirt and made of baize in different colours and richly decorated
by gold embroidery, with the 'dragon' (ala) motif in the skirts. It was made in the shape of a bell
and reached the knees.

Integral part of the urban women’s attire were also dimije (pantaloons), made of baize (for
the richer ones), silk and brocade, 12 m in length. The upper part featured the učkur (belt
band), whose narrower parts were embroidered in gold. The lower part had openings for legs
decorated by embroidered 'pačaluci' (tapered legs). Since the poorer classes could not afford
such luxury garments, the dimije made for them were of more common fabrics and 6 m in
length. Such dimije were called 'tumajlije’. Both types of dimije were worn by all the women in
town, regardless of their religious or national background. The dimije were complemented by
košulje – svilenice (silk shifts) worn by ladies of both confessions on special occasions. Košulje
(shifts) which were worn every day were made of cotton fabrics and less decorated. Women’s
urban costume included also the following: šamije (scarves), paralante (bridal scarves), trabolos
(belt), kolan (strap), and the tepeluk were the headdress. Moslem women used to wear čaršav
(sheet scarf) with peč (veil), and when leaving home they also put on the terluk, upper garment
quite similar to the džube, but with sleeves.

Men’s urban attire included the čakšire (Jodhpur type trousers) made of baize, dark blue or
dark red in colour. Around the pockets, seat and leg openings were amply decorated by cotton
or wool cords, the so-called 'bikma' or 'bućma'. Woven belts or sashes held the trousers. The
shirts had long wide sleeves, but were without a collar and made of cotton material, or of
material made from cotton and linen or hemp. The male jelek or džamadan, made of baize and
richly decorated with bikma or gold embroidery, was worn over the shirt. Richer merchants
wore the red or dark blue baize misiraba, richly decorated by motifs of stitched cords and with
'čepken' sleeves. Their headwear was called the Fes (fez). This type of clothes was worn by men
of both confessions in Novi Pazar.

As for the rural area, the following should be mentioned. During 18th and 19th centuries, the
region covered by the 'Ras' Museum, i.e. the area between the Mokra Gora in the South and
the Golija in the north, were abandoned by large numbers of Serbian population who moved to
northern parts, and the deserted areas were populated by emigrants from the Kosovo and
Metohija area and from Montenegro. This was reflected by the costume as well, which now had
the characteristics of both the remaining inhabitants’ and the emigrants’ costumes. In both
cases the garments were made at homes, especially in rural areas.

Analyzing the costume in the second half of 19th and first half of 20th centuries, Jasna
Bjeladinović concluded that the costume in a wider Novi Pazar area was 'typically uniform with
the costume in Kosovo and Metohija – in the south, and through the Kopaonik it belongs to the
Central Balkans region of Kosovo and Resava costumes.' Characteristics garments are zubun
(ćurdija) – sleeveless dress, cloth 'aljina (robe), embroidered 'oplećak' (upper garment) over
women's and men's shirts made of hemp. The džamadan (waistcoat), miltan, džube, dolama
(type of caftan), talagan (raincoat) and 'ćulav' (type of hat) were made from white cloth and
decorated with black cords, and they were worn by people of both confessions.

In the period from 1912 and the First and Second World Wars, there were changes in the
manner of clothing, but also in other aspects of life. Certain clothes from Serbia were adopted:
šajkača hat, male clothes made of brown cloth and soldiers’ pants with 'guša'.

Economic and social changes during the Second World War and immediately after the
liberation resulted in different customs when it comes to wearing national costume, and urban
clothes of modern fashion became predominant. Therefore, craftsmen like valjavičari (baize-
makers), terzije, opančari (makers of traditional shoes opanci) were no longer present.

Weaving was an important factor in the economy of rural and to a certain extent urban
population in this area as well, and the Museum collection includes articles used for treating
wool and hemp: combs, hemps, spindles, spinning wheels, distaffs, but also finished products:
ćilimi (rugs), sheets, hay mattresses, pillowcases, harnesses, belts. Serbian women worked
mostly on horizontal looms, while Moslem women weaved on vertical looms. Rural population
both made and wore various garments: long socks, ankle socks, gloves, knitted of wool and
decorated by embroidery of colourful wool or cotton.

The Ethnography Department of the Museum boasts a rich collection of towels, towel-
scarves, kerchiefs, pillow-cases, čevra (fine kerchief with gold or silver embroidered branches in
the corners), and učkuri (part of a belt). All the mentioned items were made of bought
materials which were then decorated by hand in gold embroidery or embroidery in silk and
cotton threads. In rural areas the towels were woven also from hemp or linen, and
embroidered with colourful threads as well. Most of the mentioned items were part of the
trousseau kept in special chests, 'sehari', which were decorated on the outside with leather and
metal fittings.

A consisting part of the Department is also the room 'laturka', decorated in Oriental style,
similar to the room which could be found in all Moslem houses. The interior of such a room
included the following: minderluk (long wood bench) with cushions, šiljte (woollen mat),
mangal (ash-pan holding embers), dušekluk (quilt cupboard), ćilim, and various copperwares:
ibrici (ewers), sahani (plates), tablje (trays), dishes for various purposes, tepsije (baking pans),
leđeni (wash basins), etc. Serbian urban room is represented by pieces of furniture: cupboard-
cabinet, table and chairs, cast iron stove, chest for clothes, icons.
 The Ethnology Department boasts also the collection of objects from a dervish tekija (house,
seminary). The collection also includes part of weapons: džide – spears and teberi – axes similar
to medieval halberds. According to the order members, the arms were once used for defence,
and they kept them in the teki as sacred objects. Sacred objects were also wooden clubs – ASE,
with one end spirally curved, which represent a sacred tree from Arabic countries and which
are of various sizes. Amongst the objects used in religious ceremonies were the following:
kudumi – drums, large wooden prayer beads, wooden stick in the shape of a baton, and
needles for piercing the body. Some are thin and their ends differ, while others are quite thick
and end with wooden balls with metal chains attached to them. Dervish headgear is also highly
interesting, usually very large and some look like čalme (turbans).

PICTURES OF ETHNOLOGICAL ARTIFACTS

Novi Pazar – The city on the crossroads of diverse civilizations…
Novi Pazar has a turbulent and rich history. Archaeological finds indicate that the area was
inhabited since the Stone Age - finding Naprelje through the Iron Age - finding Smolučka caves
and early-antic era - Novi Pazar find, and finding the remains of late antique and medieval
fortifications Jeleč and Ras. Among the most important cultural-monuments surely is it
necessary to include:

-City fortress with a tower from the 15th century, built on the orders of the founders of Novi
Pazr by Isa Beg Ishaković

-Altun-alem mosque from the 16th century, the work of the famed architect-builder Muslihudin
Abdulganija

-Amir-agin Han (dormitory) from 17th century

-Peter's church was built in the 10th century of Illyrian princely tumulus and the remains of an
early Christian object as a rotunda inscribed with shape of fourleaf.

-Hamam (bath) from the 15th century, the legacy of Isa Beg Ishaković, founder of the city

-Đurdevi columns, the endowment of Stefan Nemanja, the 12th century

-Sopoćani Monastery, founded by King Uros I, the 13th century

Architecture of Novi Pazar

Islamic (Otoman) architecture

U nizu objekata islamske arhitekture u Novom Pazaru, koji su nastali u širokom vremenskom
rasponu od polovine XV veka, pa sve do 1912. godine, kada je ovo područje bilo pod direktnim
uticajem islamske kulture, svojom brojnošću se posebno izdvajaju džamije.

Sedamnaest postojećih džamija predstavljaju samo deo izgrađenih objekata ove vrste u
navedenom periodu, čiji broj usled nedostatka istorijskih izvora nije moguće sasvim tačio
utvrditi. Od postojećih džamija moguće je utvrditi kontinuitet postojanja od XVI veka za čak njih
dvanaest, jedna se pominje u XVII, dve priiadaju periodu XIX veka, a dve su izgrađepe početkom
XX veka, 1911. godine. Međutim, arhitektura ovih zdanja ukazuje na njihovo trajanje, ali i na
menjanje kroz burnu i ratovima bremenitu prošlost Novog Pazara. Većina postojećih džamija je
u obnovama dobijala delimično drugačiji izgled, najmanje dve su obnovljene iz temelja nove,
zadržavajući pri tom ime prvobitnog zadužbina-ra, vakifa, a retke su one koje su zadržale
neizmenjen svoj prvo-bitni izgled, kao što je slučaj sa Altun-alem džamijom.
Proces promsne izgleda i arhitekture iostojećih džamija traje, na žalost, i u novije vreme kroz
različite nestručne obnove u kojima se zaobilazi služba zaštite. Zbog lošeg stanja porušene su tri
stare bogomolje sa četvorovodnim krovom i pa njihovom mestu izgrađene nove, od kojih je
samo kod jedne donekle ispoštovana autentična arhitektura (Iskender čelebi), dok su dve
podignute kao stilski potpuno nedefinisana kupolna zdanja (Tabak Ishak i Palanka džamija).

Upravo zato sagledavajući džamije u Novom Pazaru kroz istorijat i arhitektonske karakteristike i
osobenosti ukazujemo na njihove svekolike vrednosti. Poseban akcenat i primat je dat Altun-
alem džamiji. Zabeležene su i tako otrgnute od zaborava i sve porušene džamije.

English - In a series of objects of Islamic architecture in Novi Pazar , which were created in a
wide range from half of the fifteenth century , until , 1912. , when this area was under the
direct influence of Islamic culture , the number of its particular emphasis on the mosque .

Seventeen existing mosque is just part of the built facilities of its kind in the mentioned
period , the number of which due to the lack of historical sources can not be completely
determined Tachi . Of the existing mosque is possible to determine the continuity of the
existence of the sixteenth century to even twelve , one referred to in the seventeenth , two
priiadaju period of the nineteenth century , and the two are izgrađepe early twentieth
century , 1911th year . However , the architecture of these buildings indicates their duration ,
and the changing of the turbulent wars and burdened past Novi Pazar . Most of the existing
mosque in renovations received partially different look , at least two have been rebuilt from
the ground up new , while retaining the name of the original endowment annually,
benefactors , and the lines are the ones that are kept unchanged its first bit set , as is the case
with Altun - alem mosque .

The process promsne looks and architecture iostojećih mosque is , unfortunately , in recent
times through various improper restoration in which circumvents protection service . Due to
the poor condition of the demolished three old churches with a hipped roof and so their new
place built , of which only one is somewhat respected authentic architecture ( Iskender Çelebi
) , while two raised as stylish completely undefined dome structures ( Tabak Ishak and
Palanka Mosque ) .

That is why viewing the mosque in Novi Pazar through history and architectural features and
characteristics indicative of their overall value . Special emphasis is given primacy and Altun -
alem mosque . Were recorded and so wrenched from oblivion and all the destroyed mosque .