Professional Documents
Culture Documents
Designing Identities
Reshaping the Balkans in the First Two Centuries: The Case of Serbia
Bratislav Pantelić
It is not an easy task to imagine one’s nation in the Balkans. The elusive and complex
interrelation of ethnicities and shared traditions in this region are the result of centuries of
mixing and blending in complex social and cultural processes. Nationalism imposed ethnic
and religious denominators upon these vague cultural entities, writing ethnic and national
histories, appropriating and inventing traditions to impart ethnic exclusivity. Imaginaries of
© The Author [2007]. Published by Oxford University Press on behalf of The Design History Society. All rights reserved. 1
Bratislav Pantelić
traditions, ranging from religious beliefs and customs, Obradović, the rational-minded advocate of the
dress, songs and cuisine, to ethical standards and Enlightenment, contested the deep-rooted clerical-
moral values. To these ethnic attributes we should ism, he provoked an intellectual discourse that was to
add ancient heroes, sacred places and monuments disrupt traditionalist values. New generations brought
that testify to the glory of the nation’s past.2 These new challenges—from Josephine anticlericalism to
markers of cultural identity are shaped into a visual Romanticism and ideals of nation. The most con-
framework using a formal and symbolic language that tended issue that arose in the early nineteenth century
is believed to be innate to the group or to echo was the linguistic reform of Vuk Karadžic´; despite
ancient traditions, an ‘aesthetic’ that reflects affilia- violent opposition from the conservative ecclesiastical
tion with broader cultural contexts with which the establishment, his new ‘Serbian’ language, constructed
group may claim affinity or descent: it is a visual code out of one of the Slavic dialects, set the groundwork
that defines identity.3 for linguistic-based nationalism amongst the South
For two centuries now, perceptions of nationhood Slavs of the Habsburg empire: the Serbs, Croats and
in the Balkans have been in constant flux; over and Slovenes.4
over ‘national’ histories have been written, traditions The story that these Romantics told was not unlike
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Designing Identities
Frescoes and icons painted in this period suggest a Indeed, this was a dramatic confrontation between
continuing veneration of the Nemanyid saints among two worlds, quite literally an encounter between lib-
the church elite, but that does not say much about eral cultural nationalism and an archaic breed of
the general population. Are we to assume — as ethno-religious patriotism. It is not difficult to appre-
nationalist historiography would have us believe— ciate the lack of interest of the Serbs from the princi-
that such memories of the medieval past were sus- pality in these inventions coming from the ‘other
tained among the Orthodox population, and that side’. When they had rebelled in 1804, their goals
they reflected a widespread national sentiment main- were not revolutionary: they had not demanded social
tained by the church?6 If we refer to the oral poetry reforms or national emancipation but protection from
collected by Vuk Karadžić, we shall notice that the the excesses of the local Ottoman officials (dahis).
Nemanyid times, celebrated in the nationalist dis- Events, however, unfolded in unexpected ways and
course as the high point of the Serbian achievement, they ended up with a state of their own hopelessly
are not as prominent as one would expect; it would entangled in the complex political and military con-
appear that the common people, dispersed in self- frontation of the great powers.
sustaining kinship communities, did not relate to the Adding to the shock was the new visual language
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Bratislav Pantelić
terms ‘Ottoman’ or ‘Turkish’). This involved the Indeed, a national heritage was imagined as the
destruction of the previous identity: by the second visual counterpart to the narrative-in-the-writing.
half of the nineteenth century only one mosque out Since the eighteenth century the medieval monaster-
of thirty remained standing in Belgrade. Without the ies dispersed throughout the Ottoman Balkans had
numerous minarets the skyline of the city assumed a been built into the imaginary of the Habsburg Slavs as
more European appearance; it was now dominated holy sites of Orthodoxy. Engravings showing vedutas
by the bell tower of the new Baroque Cathedral. of the revered ancient sites mapped the sacred and
Such shifting of identities was a continuing pro- rooted it firmly into the popular imagination. As the
cess. It was not long before immersion into Western idea of nation gained prominence in the nineteenth
culture came to be perceived as a threat to the peren- century, pious reverence was replaced by reverence
nial cultural traditions and customs. Perhaps in a for history, and the holy sites were transformed into
sense this was even true: this was a radical interrup- monuments of national glory. Journalists, antiquarians
tion of traditions. A much larger question would be and historians ventured deep into the Ottoman
what is the perennial tradition of a people, especially domain of ‘Old Serbia’ (Kosovo). Their travelogues
one whose cultural traditions were formed within and reports charted the imagination of the budding
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Morava ‘style’ was swiftly incorporated in the national have a design that, although historicist, fits in the
imaginary as an indigenous idiom singular to the national imaginary as a product of the indigenous
Serbs. A decorative design derived from these monu- ethnic community.11
ments was included in the curricula of the Depart- Indeed, folklore was seen as the most substantial
ment of Architecture and the Department of evidence of national existence since Vuk Karadžic´
Ornamental Design (Ornamentika), both at the published his epic poems. As Karadžić had uncovered
Technical School in Belgrade. The latter programme the ‘original voice of the people’, so it was the task of
was led by Branko Tanazević , an architect who did patriotic designers to discover that ‘original’ design
much of the research and endeavoured to promote principle that arose from the collective unconscious of
the idiom in public architecture. But how did he the Serbian people. One such designer was Dragutin
apply this medieval idiom in contemporary design? In Inkiostri, who employed designs from a miscellany of
his most prominent work, the Telephone Exchange overlapping regional traditions, from Croatia to Bul-
in Belgrade (designed in 1906), Tanazević inter- garia, which he believed reflected the primeval tradi-
spersed motifs and devices from the repertory of the tions of the Slavs. These indigenous forms, as he
Secession with stylized elements adapted from elaborated with great passion in his writings, would
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eration’, which they imagined would lead to the ful- Schmitz’s colossal Monument to the Battle of the
filment of their dreams of unity. Nations, the Völkerschlachtdenkmal, built to cele-
A series of exhibitions of Yugoslav art were orga- brate the centenary of the 1813 Battle of Leipzig. It is
nized in European capitals to promote, mainly through this kind of ideal that Meštrović pursued in his Kosovo
the symbolism of Kosovo and the Serbian epic tradi- Temple. He envisioned an immense structure replete
tion, the ‘poetry and idealism of the Yugoslav race’, with sculptures of intertwining bodies of epic heroes,
as a British official saw Meštrović’s heroic and awe- sphinxes and caryatids, all exaggerated in scale and
inspiring figures in 1919 at an exhibition in the proportion. The Kosovo Temple, as its German
Victoria and Albert Museum; for him these ‘inherent’ counterpart, can but cause wariness amongst viewers
Slavic qualities were a ‘counterpose to the heritage of today, not for its ostentatious monumentalism, but
German materialism’.15 Meštrović was indeed central for its meaning: this was not meant to be a monument
to the South Slav ideal: international success, particu- to an ideal as much as a shrine to a race. Such racial
larly at the 1911 International Art Exhibition in Rome fantasies came to an end with unification and the
where he and the other artists—mainly Croats from temple, intended to be built on the site of the Battle
the Austro-Hungarian Empire—defiantly chose to of Kosovo, was never carried beyond the planning
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images, such as Uroš Predić’s Maiden of Kosovo where the coarseness that was so often associated with the
traditional folk costume and jewellery imbues this primeval and uncorrupted spirit of the common peo-
historical scene with a vernacular flavour [6]. Both ple, such as in Lubarda’s vision, was rendered ‘clean’
such autographic images of Balkan life and history in the colourful ‘naive art’ of peasant artists that was
that convey ethnic pride, moral integrity and heroism internationally promoted in the 1970s to demon-
of the Volk and Meštrović ’s epic messianism were strate the optimism of socialist Yugoslavia’s peas-
carried into mainstream academic modernism. For antry. 21 This image of ‘modern folklorism’ was
example, Petar Lubarda’s rugged expressionist forms constructed through the promotion of folk dance
in glaring colours evoke visions of primeval heroism ensembles and products of traditional arts and crafts
and the uncontrollable stamina of the Balkan peoples. mainly by the Narodna Radinost (Folk Arts and
In his Gusle Player, a blind bard of epic poetry accom- Crafts), a state-run cooperative that marketed an
panied by his primitive instrument seems as if verses assortment of handicrafts, including Pirot rugs from
from the mythical depths of time immemorial are Serbia, coffee sets from Bosnia, wood carvings from
gushing forth from his gaping mouth [7].19 Croatia, and a selection of products such as crockery,
Folklore is a persistent theme in the self-percep- musical instruments, filigree jewellery, lace and
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the large ethnic groups that emerged in the nineteenth century fact it was only after their publication in Vienna that these epics
and that we more or less encounter today (as nations). It is were transformed from popular lore into a powerful tool in the
unlikely that these disconnected communities could have construction of national memory. From there, they were
developed identities other than those shaped by kinship transmitted back to the population in the Serbian principality
loyalties, regional and local customs and traditions; when they as part of the national narrative.
did extend beyond the local milieu they referred to the shared 7 For the history of the Balkans under Ottoman and Habsburg
pool of traditions such as language, social organization and rule, see L. S. Stavrianos, The Balkans since 1453 with a New
remnants of ancient beliefs that subsisted as part of religion and Introduction by Traian Stoianovich, New York University Press,
custom. But these transcended political and religious boundaries: New York, 2000.
Catholic and Orthodox Slavs (and later Muslim) would have
had some sense of mutual affinity (not necessarily loyalty) based 8 This was stated in a public lecture at the university in 1890.
on this shared heritage. (See below, notes 2 and 6.) Two articles appeared in the same year where he expounded
his views on national art and architecture: Andra Stevanović,
2 These traditions were often extracted from a common pool of ‘Umetnost i arhitektura’ [Art and Architecture], parts 1 and 2,
traditions and assigned to the cultural heritage of one or another Srpski tehnićki list, no. 10, 1890, pp. 159–63 and nos. 11–12,
ethnic group. Such appropriated traditions correspond in part pp. 179–82.
to Hobsbawm’s definition of ‘invented traditions’. Eric
Hobsbawm, ‘Introduction: Inventing Traditions’, in Eric 9 The different strains of historicist architecture in Serbia and
Hobsbawm & Terence Ranger (eds.), The Invention of Tradition, their relation to national ideology are discussed in Bratislav
Cambridge University Press, Cambridge and New York, 1983, Pantelić, ‘Nationalism and Architecture. The Creation of a
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is a historicism of academic neo-Byzantine provenance, such as preserving medieval culture and ‘popular taste’ would ‘…
Aleksandr Pomerantsev’s St Alexander Nevsky Cathedral in strengthen the resistance of the people in that battle’. Quoted
Sofia, which finds closest parallels in Serbia. from Dušica Živanović, ‘Počeci proučavanja vizantijske
14 For a summary treatment of the ideological and political impact arhitekture u Srbiji’ [The Beginning of Research of Byzantine
of these art movements, see Ivo Banac, The National Question in Architecture in Serbia], in Proceedings of the Second Conference
Yugoslavia: Origins, History, Politics, Cornell University Press, ‘Niš i Vizantija’, Miša Rakocija (ed.), Niš, 2005, pp. 400–1.
Ithaca and London, 1984, pp. 203–8. 24 In Serbia, as elsewhere in the Balkans, opposition to official
15 As stated by Lord Robert Cecil, Undersecretary of Foreign academic styles and calls for a return to archetypal cultural
Affairs at the opening of the exhibition. Quoted from Branka models lack the utopian and revolutionary ideals of John
Magaš, ‘The Politics of Ethnic Cleansing’, Against the Current, Ruskin and William Morris or even the religious and moralistic
no. 48, 1994. outlook of the Cambridge Camden Society and Augustus
Pugin. Rather than being in opposition to the institutional
16 The Kosovo Temple is summarily treated in surveys of Yugoslav framework and the nationalist mainstream, intellectuals and
art and in some popular monographs on Meštrović. For a brief artists in the Balkans were usually part of it. In this respect,
analysis of this monument in the context of national ideologies, perhaps, the Serbian situation could be compared with the
see Banac, The National Question, op. cit., pp. 204–5. nationalist discourse in Germany and August Reichensperger.
17 Despite fierce opposition from proponents of socialist realism, Parallels can be found also in neighbouring Hungary where
modernism prevailed: abstract art officially represented harking back to the rural simplicity of the ethnic past was
Yugoslavia at the Venice Biennale in 1954. For the ideological motivated by a desire to resist foreign influence. For Hungary,
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