MULTIcultural NS

Anica Draganić – Maria Silađi

MULTIcultural NS

Univerzitet u Novom Sadu Fakultet tehničkih nauka

MULTIcultural NS

Urednici | Editors dr Anica Draganić, dr Maria Silađi Odgovorni urednik | Responsible editor dr Darko Reba Kustosi izložbe | Curators dr Anica Draganić, dr Maria Silađi Umetničke fotografije | Art Photographs dr Silard Antal Selekcioni odbor | Selection committee dr Cristian Graure (RO) dr Tijana Palkovljević-Bugarski (SRB) dr Tamás Fejérdy (HU) dr Borut Juvanec (SL) mr Alan Braun (HR) Recenzenti | Recensents dr Mirjana Sladić, dr Marko Todorov Korice | Cover Milivoj Filipović, Nemanja Jović Izdavač | Publisher Univerzitet u Novom Sadu Fakultet tehničkih nauka University of Novi Sad Faculty of Technical Sciences Pristup katalogu | Access to the catalog http://www.arhns.uns.ac.rs ISBN 978-86-6022-027-3

Anica Draganić - Maria Silađi

MULTIcultural NS Nasleđe različitih kultura na području Novog Sada The Heritage of Various Cultures in Territory of Novi Sad

Univerzitet u Novom Sadu Fakultet tehničkih nauka

© Anica Draganić, Maria Silađi UNS Fakultet tehničkih nauka

Predmet | Subject Graditeljsko nasleđe, očuvanje i zaštita I | Architectural Heritage, Preservation and Protection I Departman za arhitekturu i urbanizam | Department of Architecture and Urbanism Mentori studentskih radova | Mentors of student work dr Anica Draganić, dr Maria Silađi Učesnici | Participants Aleksandar Asani, Bojan Kujundžić Anđela Sailović, Snežana Vujišić Teodor Šćepanović, Jovana Bošković, Stefan Milović Nemanja Jović, Milivoj Filipović Teodora Morača, Nevena Čalosević Marija Stanojević, Sara Stanić, Katarina Savić Dragana Vitić, Aleksandra Panić, Tamara Grujić Marianna Novaković, Svetlana Blagojević Nemanja Ćaćić, Sofia Rudan Jovana Bratić, Jovana Kužet Aleksandra Rakić, Jovana Jovičić, Nataša Apostolović Radiša Pavićević, Katarina Pavlić Jovan Milošević, Petar Baunović Filip Pajović Tanja Kljajić, Vanja Koplić, Višnja Pešić Jasna Radošević, Natalija Ostojić Marija Savić, Milica Terzin Mirjana Ivanović, Jovana Bogičević Milana Mitrović, Tatjana Prčić Anita Pete Mirjana Miščević, Mirjana Vulić, Kristina Marinković Dajana Ostojić, Milica Ninković Dragana Šaša, Nikola Horvat Sena Nikolić, Marija Blanuša Stefan Strajin, Marko Prodanović Ivana Pjević, Dušan Arsenijević Monika Borbaš, Jelena Jelača, Ivana Šanjević Marko Šarac, Stanislava Vučetić

Sadržaj | Contents 11

I Uvodna reč | Foreword

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II MULTIcultural Ns

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II 1 Nasleđe različitih kultura – materijalno i nematerijalno nasleđe | The heritage of various cultures – tangible and intangible heritage

20 22 24 26 28 30 32 34 36 38

Jermeni i njihovo nasleđe | Armenians and their Heritage Jezuiti u Petrovaradinu | Jesuits in Petrovaradin Pozorišni život Rusina u Vojvodini | Theatrical Life of the Rusyns in Vojvodina Stradanje Srba u Novom Sadu | The Suffering of the Serbs Nemačko nasleđe u Futogu | German Heritage in Futog Novosadske zanatlije | Craftsman in Novi Sad Formalno i neformalno obrazovanje Slovaka | Formal and In-formal Education of Slovaks Ornament | Ornament Slovačka tradicija | Slovak Tradition Sokolsko društvo u Novom Sadu | Sokol Society in Novi Sad 9

II 2 Nasleđe ličnosti različitih kultura | The heritage of personalities of various cultures Adolf Hempt | Adolf Hempt Nasleđe Marine Olenjine | Heritage of Marina Olenjin Danilo Kaćanski | Danilo Kaćanski Dragiša Brašovan | Dragiša Brašovan Duh Novog Sada u očima mađarskog arhitekte | Spirit of Novi Sad in the Eyes of Hungarian Architect Grof Andreas Hadik | Count Andreas Hadik Janika Balaž | Janika Balazs Korakom velikana | By the Path of the Great Ones Kulturna ostavština Marije Trandafil | Cultural Heritage of Marija Trandafil Lipot Baumhorn | Lipot Baumhorn Pravednici | Righeous

II 3 Urbanističko i arhitektonsko nasleđe različitih kultura | Urban and architectural heritage of various cultures Jevrejska ulica | Jewish street Kontraminski sistem Petrovaradinske tvrđave | Anti-mine System of Petrovaradin Fortress Kulturna ruta 62 | Cultural Route 62 Ajnfort kapije | Einfahrt Gates Austrougarski dvorci | Austro-Hungarian Castles Dunavska banovina | The Danube Banovina Trnovit put od blata do raskoši | Throny Path from Mud to Spendlor

II 4 Skriveno nasleđe različitih kultura | Hidden Heritage of Various Cultures

III Završna reč | Conclusions

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41 42 44 46 48 50 52 54 56 58 60 62

65 66 68 70 72 74 76 78

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I Uvodna reÄ? | Foreword

Uvodna reč | Foreword TEORIJSKI OKVIR

THEORETICAL FRAMEWORK

MULTIKULTURALIZAM. pojam sa nizom značenja u kontekstu sociologije, političke filozofije i kolokvijalnog korišćenja, sinonim je za etnički ili kulturni pluralizam, odnosno dijalog različitih etničkih grupa bez žrtvovanja sopstvenih specifičnih identiteta.

Promovisanje očuvanja specifičnosti različitih kultura, kroz različite državne politike, dovelo je do razvoja dve različite i naizgled neusaglašene strategije. Prva se fokusira na interakciju i komunikaciju između različitih kultura; ovaj pristup se često naziva i interkulturalizam. Druga se odnosi na raznovrsnost i kulturnu jedinstvenost koja ponekad može dovesti do interkulturne konkurencije.

MULTICULTURALISM. a term with a range of meanings in the context of sociology, political philosophy, and in colloquial use, a synonym for ethnic or cultural pluralism, the dialogue of different ethnic groups without sacrificing their own specific identities.

Promoting the preservation of the specificities of different cultures, through various national policies, has led to the development of two different and seemingly inconsistent strategies. The first focuses on the interaction and communication between different cultures; this approach is often called interculturalism.

The second relates to diversity and cultural uniqueness that can sometimes lead to intercultural competition.

INTERKULTURALNOST. prelazak iz pasivnog prihvatanja multikulturalnosti koja efektivno postoji u društvu na aktivan dijalog i interakciju između kultura.

Koncept je nastao kao odgovor na kritike postojeće politike multikulturalizma, kao što je naglašavanje specifičnosti određene kulture, bez uspešne inkluzije unutar društva. Zasnovana je na prepoznavanju razlika i sličnosti između kultura.

INTERCULTURALISM. transition from the passive acceptance of multiculturalism that effectively exists in society to active dialogue and interaction between cultures.

The concept was developed in response to criticism of the existing policy of multiculturalism, such as emphasizing the specificity of a particular culture, without successful inclusion within society. It is based on recognizing differences and similarities between cultures.

KULTURNA RAZNOLIKOST. kvalitet različitih kultura, odnosno raznolikost lјudskih društava ili kultura u određenoj regiji.

Univerzalna deklaracija o kulturnoj raznolikosti koju je UNESCO usvojio 2001. godine predstavlјa pravni instrument koji prepoznaje kulturnu raznolikost kao “zajedničko nasleđe čovečanstva” i smatra da je njegovo očuvanje konkretan i etički imperativ neodvojiv od poštovanja lјudskog dostojanstva.

CULTURAL DIVERSITY. the quality of different cultures, or the diversity of human societies or cultures in a particular region.

The Universal Declaration on Cultural Diversity adopted by UNESCO in 2001 is a legal instrument that recognizes cultural diversity as a “common heritage of humanity” and considers that its preservation is a concrete and ethical imperative inseparable from respect for human dignity.

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ISTORIJSKI OKVIR

HISTORICAL FRAMEWORK

VOJVODINA. termin koji označava teritoriju pod upravom vojvode, na ovim prostorima upotreblјava se još od 1690. godine, kada je Srbima u okviru Habzburške monarhije priznato pravo na vojvodu i zasebnu teritoriju.

Usled brojnih velikih seoba različitih naroda, počev od srednjeg veka pa sve do savremenog doba, prostor današnje Vojvodine dobio je karakter multinacionalne i multikulturalne sredine.

Nakon duge turske vladavine i brojnih ratnih pustošenja, ovo područje je tokom XVIII veka bilo izloženo ponovnoj evropeizaciji i modernizaciji, u cilju reintegracije u srednjoevropski društvenokulturni milje. U istorijskom prostoru Vojvodine tokom XVIII veka našli su se zajedno mnogi evropski narodi: Bugari, Cincari, Francuzi, Hrvati, Italijani, Jevreji, Jermeni, Mađari, Nemci, Romi, Rumuni, Rusini, Slovaci, Srbi, Španci. Migracije tokom XX veka vezane su prvenstveno za agrarne reforme nakon završetka svetskih ratova, kada je u Vojvodinu kolonizovano uglavnom srpsko stanovništvo iz Bosne i Hercegovine, Hrvatske i centralne Srbije.

Uprkos intenzivnim, često politički motivisanim, demografskim kretanjima, stanovništvo Vojvodine je uspelo da razvije i zadrži tradiciju zajedničkog života i uzajamnog poštovanja.

VOJVODINA. the term that denotes the territory under the leadership of the duke, has been used in this area since 1690, when the Serbs in the Habsburg Monarchy were granted the right to the duke and a separate territory.

Due to a number of great migrations of different nations, ranging from the Middle Ages right up to modern times, the territory of Vojvodina got the character of a multinational and multicultural environment. After a long Turkish rule and numerous war devastations, this area was exposed to re-Europeanization and modernization during the 18th century in order to reintegrate into the Central European socio-cultural milieu. In the historical area of Vojvodina, in the 18th century, many European nations were found together: Bulgarians, Aromanians, French, Croats, Italians, Jews, Armenians, Hungarians, Germans, Roma, Romanians, Rusyns, Slovaks, Serbs, and Spanish. Migration during the 20th century was primarily related to agrarian reform after the end of world wars, when Vojvodina was mainly colonized by Serbs from Bosnia and Herzegovina, Croatia and central Serbia.

Despite the intense, often politically motivated, demographic trends, the population of Vojvodina has managed to develop and maintain the tradition of coexistence and mutual respect.

NOVI SAD. grad utemeljen krajem XVII veka, na levoj obali Dunava, nasuprot Petrovaradinske tvrđave, kao mostobran i utvrđeno vojničko-zanatlijsko naselje.

Zahvaljujući povoljnom geografskom položaju i naseljavanju trgovaca i zanatlija na ovo područje, naselje je veoma brzo postalo vojnički, privredni i kulturni centar Srba. Nakon 1716. godine na teritoriju grada naseljavaju se Nemci iz Bavarske i Austrije, a od 1739. godine Grci, Jevreji, Jermeni i drugi narodi.

Jevreji su činili gradsko stanovništvo koje se bavilo trgovinom. U Novom Sadu je 1728. godine živelo svega 12 jevrejskih porodica, a 20 godina kasnije osnovana je jevrejska opština. Kolonizacija Slovaka počinje 1745 godine, kada je 2000 duša naseljeno u Petrovac u Bačkoj. Sa tog područja naseljenici su 1746. godine prešli u Kulpin, 1756. godine u Gložan, a 1773. godine u Kisač.

Doseljavanje pojedinih rusinskih porodica iz Krstura i Kucure u Novi Sad počelo je već šezdesetih godina XVIII veka, a 1780. godine u Novom Sadu je osnovana grčkokatolička parohija.

Od XVIII veka do danas brojni narodi definisali su kulturni milje šireg područja grada, a njihov kulturni doprinos je neprocenjiv. Iako su uticaji i tekovine nekih kultura prisutni i danas, multikulturalizam se prvenstveno odnosi na postojanje višenacionalne sredine.

NOVI SAD. a city founded at the end of the 17th century, on the left bank of the Danube, opposite the Petrovaradin fortress, as a bridgehead and fortified military-crafts settlement.

Thanks to the favorable geographical position and the settlement of traders and craftsmen in this area, the village quickly became the military, economic and cultural center of the Serbs. After 1716 the territory of the city was inhabited by Germans from Bavaria and Austria, and since 1739 by Greeks, Jews, Armenians and other nations. The Jews were engaged in trade. In 1728 only 12 Jewish families lived in Novi Sad, but twenty years later they had their own municipality. The colonization of the Slovaks begins in 1745, when 2000 souls were settled in Petrovac in Backa. From that area, settlers moved to Kulpin in 1746, to Glozan in 1756, and to Kisac in 1773. The arrival of certain Rusyn’s families from Krstur and Kucura to Novi Sad began already in the 60s of the 18th century, and in 1780 a Greek Catholic parish was founded in Novi Sad. Since the 18th century, many nations have defined the cultural milieu of the wider area of the city, and their cultural contribution is invaluable. Although the impacts and achievements of some cultures are present today, it seems that multiculturalism primarily refers to the existence of a multinational environment.

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SAVREMENI OKVIR

CONTEMPORARY FRAMEWORK

MULTICULTURAL NS. projekat promocije različitih kultura u cilju razvoja integrativnog pristupa multikulturalizmu.

U okviru predmeta Graditeljsko nasleđe, očuvanje i zaštita I studenti IV godine Departmana za arhitekturu i urbanizam imali su zadatak da prepoznaju, istraže, vrednuju i prezentuju značaj i kulturno-turistički potencijal materijalnih i/ili nematerijalnih komponenti nasleđa jedne od kultura karakterističnih za Vojvodinu. Potom su formirali kulturne staze na široj teritoriji grada Novog Sada.

Kulturne staze su definisali kao svojevrstan skup materijalnih i nematerijalnih komponenti nasleđa, na osnovu sistemskog istraživanja prirode mesta i značaja nasleđa, odnosno konzervatorskog i turističkog konteksta. Primenjujući različite metode istraživanja, počev od prikuplјanja, proučavanja i sistematizacije građe i literature, preko sprovođenja anketa i swot analiza, sve do obilaska lokacije, opservacije i izrade fotodokumentacije, studenti su prezentovali različite aspekte odabranih kultura.

Na osnovu unapred postavljenih kriterijuma izvršena je selekcija radova, koji su potom grupisani u tri celine: nasleđe različitih kultura – materijalno i nematerijalno nasleđe, nasleđe ličnosti različitih kultura i urbanističko i arhitektonsko nasleđe različitih kultura.

MULTICULTURAL NS. a project promoting different cultures in order to develop an integrative approach to multiculturalism.

In the course of the Architectural Heritage, Preservation and Protection I students of the IV year of the Department of Architecture and Urbanism were tasked to identify, explore, evaluate and present the significance, cultural and touristic potential of the tangible and/or intangible components of the heritage of one of the cultures characteristic for Vojvodina. Then they formed cultural routes on the wider territory of the city of Novi Sad. Cultural routes have been defined as a kind of tangible and intangible components of heritage, based on systematic research of the nature of the city and the importance of heritage, in fact the conservation and touristic context. Students were presented various aspects of selected cultures by applying various methods of research: collection, study and systematization of documentation and literature, surveys, swot analyses, site visits, observations, and photo documentation.

On the basis of pre-set criteria works were selected and divided into three groups: the heritage of different cultures - tangible and intangible heritage, the heritage of the personality of different cultures and the urban and architectural heritage of different cultures.

dr Anica Draganić

docent Fakulteta tehničkih nauka Univerziteta u Novom Sadu assistant professor of Faculty of Technical Sciences University of Novi Sad

dr Maria Silađi

istraživač u nauci Fakulteta tehničkih nauka Univerziteta u Novom Sadu research assistant of of Faculty of Technical Sciences University of Novi Sad

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II MULTIcultural NS

II 1 Nasleđe različitih kultura – materijalno i nematerijalno nasleđe | The heritage of various cultures – tangible and intangible heritage

Jermeni i njihovo nasleđe | Armenians and their Heritage Aleksandar Asani, Bojan Kujundžić

Uprkos činjenici da se Jermenija i Srbija, pa tako i njihovi narodi i kulture, nalaze na velikoj udaljenosti, oni su u jednom trenutku, sticajem okolnosti, živeli “pod istim krovom”. Otomansko Carstvo u ovom slučaju predstavlja taj spoljni faktor koji je povezao dva naroda. Kako se Otomansko Carstvo širilo, ono je zauzimalo velike površine i sve više država je bilo pokoreno. Jermenija je pala pod Otomansku vlast prva i njeni građani su postali većim delom vazali ili robovi. Ratujući sa Osmanlijama, Jermeni se prvi put susreću sa Srbima i staju na njihovu stranu u ratovima, boreći se protiv Osmanskog Carstva. Jermeni su se u Srbiji asimilirali relativno brzo. Grade svoj prvi manastir Jemenići u Sokobanji, škole, administrativna zdanja kao i poznatu Jermensku crkvu u Novom Sadu. Držali su važne pozicije u Novom Sadu poput, sudija, bankara, sveštenika i humanitaraca. Ulagali su dosta u objekte i svoj narod, kako u Srbiji tako i u drugim državama. U potrazi za boljim životom, Jermeni se vremenom sele ka bogatijim severnim krajevima (Mađarska, Nemačka, Austrija), ostavljajući svoju baštinu u Srbiji. Za mnoge objekte ovo se nije dobro završilo, jer su srušene u naletu urbanizacije i širenja gradova.

It’s obvious that two countries like Armenia and Serbia, their citizens and cultures are far away from each other, so it is a bit hard to imagine that they were living in one period of time under one roof. Ottoman Empire represented a factor that brought these two countries and their people together. Armenia was the first country to fall under Ottoman Empire rule, forcing its people to fight against other countries who Ottomans wanted to conquer.

That was how Armenians first came to Serbian territory and joined Serbs in the war to help them beat Ottomans. Armenian people assimilated relatively fast in everyday life of Serbian people. They built first monastery Jermenici in Sokobanja, administrative buildings, schools, and one of the most famous Armenian church in Novi Sad. Armenians were really important to society because some of them were very influential – judges, priests, bankers, humanitarians etc. They invested a lot in their citizens and buildings, both in Serbia and abroad. In search of a better life they moved to northern countries like Hungary, Austria and Germany. Because of the urbanization and city expansion, many of their material heritages were unfortunately destroyed.

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Jermenska crkva na razglednici

Jermenska crkva

Rušenje Jermenske crkve

Jezuiti u Petrovaradinu | Jesuits in Petrovaradin Anđela Sailović, Snežana Vujišić

1. Ko su u bili Jezuiti? - Jezuiti su bili rimokatolički muški red koji misionarski deluje na datom području. Spadaju u jedan od najbrojnijih crkvenih redova sa oko 20 000 članova, koji je i danas moćna verska, prosvetna i politička organizacija.

2. Dolazak Jezuita u Petrovaradin? - Jezuite je u Petrovaradin doveo kardinal Kolonić, za vreme isusovačkog generala Antella.

Koliku je važnost Kolonić pridavao jezuitskoj Misiji u Petrovaradinu, svedoči njegova darovnica iz 1698. godine, kojom je stvorio zakladu od 24 000 forinti da se kamatama pomaže spomenuta Misija.

3. Verski i školski rad - Svojim dolaskom jezuiti zatiču porazno versko i moralno stanje. Nedostatak klera, učitelja i škola, versko neznanje, nepismenost, materijalno i duhovno siromaštvo bile su posledice dugotrajne i iscrpljujuće borbe za opstanak. Rad jezuita u početku bio je isključivo misionarski.

4. Kada su ukinuti? - Ukidanje Družbe Isusove 1773. godine predstavljalo je nezamisliv poraz. Sva imovina biva rasprodana.

Godine kada je jezuitski red ukinut, baština je rasuta po celoj zemlji i u vrlo malom delu ostala u posedu Reda. Knjige i inventari dobrim delom i danas svedoče o tome kako su jezuitske kuće i crkve bile opremljene kvalitetnim nameštajem.

1. Who were the Jesuits? - The Jesuits were Roman Catholic male order which acted in a certain area. Jesuits belong to one of the largest religious orders with approximately 20,000 members which is still a powerful religious, educational and political organization.

2. Arrival of the Jesuits in Petrovaradin? - Jesuits in Petrovaradin led Cardinal Kolonic, during the Jesuit General Antella. How important Jesuit Mission in Petrovaradin was for Kolonic, testifies his gift from 1698, by which he created the foundation of 24,000 forints in order to help mentioned mission.

3. Religious and schoolwork - With their arrival, the Jesuits found devastating religious and moral state. The lack of clergy, teachers and schools, religious ignorance, illiteracy, material and spiritual poverty were the consequences of a long-lasting and exhausting struggle for survival. The work of the Jesuits in the beginning was exclusively missionary.

4. When were they abolished? - The abolition of the Society of Jesus in 1773, was an unimaginable defeat. All the property was being sold. When the Jesuit order was abolished, heritage was spread throughout the country and only a small part remained in the possession of the Order. Books and inventories are good examples of the fact that Jesuit houses and churches were equipped with quality furniture.

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Antonin Koniaš – Jezuitski sveštenik

Crkva svetog Juraja

Ignatius of Loyola Martin Luther

1. Crkva svetog Juraja 2. Letnjikovac/ barokna kapija 3. Jezuitska škola/ Špilerova kuća

Pozorišni život Rusina u Vojvodini | The Theatrical Life of the Rusyns in Vojvodina Teodor Šćepanović, Jovana Bošković, Stefan Milović

Pozorište Rusina u Vojvodini prešlo je dug put od njihovog dolaska na ove prostore sredinom XVIII veka pa do danas. Od skromnih početaka u vidu crkvenih i školskih izvedbi, preko razvijene delatnosti narodnog i amaterskog pozorišta, do poluprofesionalnog i profesionalnog današnjeg stvaralaštva.

Godine 2002. u okviru Novosadske matke, danas Rusinski kulturni centar, osniva se Festival monodrame. Uskoro je pokrenut Festival duodrame, a zatim su ova dva festivala spojena u jedan, pod nazivom Rusinski festival malih scenskih formi, koji od 2013. nosi ime svog tvorca, Đure Papharhaja. Festival se održava svake godine početkom decembra, u pozorišnoj Sali gimnazije Laza Kostić.

Dramski studio Rusinskog kulturnog centra iz Novog Sada, jedanput godišnje, odnosno u toku jedne sezone, postavi jedan pozorišni komad. Režiser tih pozorišnih predstava je Zvomimir Pavlović. Ove sezone je u pripremi predstava „Babuška“, sa 12 glumaca, kojoj će premijera biti krajem februara 2018.

Nažalost, za pozorišnu umetnost se dobija jako malo finansijskih sredstava, a radi se uz maksimalne ambicije i ljubav prema sceni.

The theatrical life of the Rusyns has come a long way since their initial immigration to the grounds of Vojvodina, from the middle of the XVIII century until present day, from rather modest beginnings such as church and school recitals, through developed engagement of public and amateur theatre, to semiprofessional and fully-professional present-day creativity.

In 2002, within the Novosadska matka (present day Rusyn cultural centre), the Festival of Monodrama is being established.

Soon comes the Festival of Fuodrama, and finally the two festivals join into one, named The Rusyn Festival of Small Scene Forms, which carries the name of its maker, Đura Papharhaj since 2013.

The festival is held annually, normally around the beginning of December, in the theatre hall of Laza Kostić Gymnasium.

The Drama Studio of the Rusyn cultural centre from Novi Sad has been showing a play annually or once per season. The producer of these plays is Zvonimir Pavlović. This season, the theatre has been preparing a play called “Babushka“ with 12 actors, which premieres by the end of February of 2018.

Unfortunately, the art of theatre receives an extremely low amount of funds, but the collective has been working with maximum ambition and pure love of the stage.

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„Umorna konjica“, Papharhaji, (A. Rac i N. Skuban), R. Krstur, 1977.

Scenografska skica za predstavu „Moj dvorac“, Jilek, Novi Sad, 1991

Fotografija sa predstave „Noć bogova“ Mira Gavrana, Novi Sad, 2017.

1. Gimnazija “Laza Kostić” - Rusinski festival malih scenskih formi “Šura Papharhaji” 2. Zavod za kulturu vojvođanskih Rusina 3. Rusinski kulturni centar

Stradanje Srba | The Suffering of the Serbs Nemanja Jović, Milivoj Filipović

Cilj kulturne staze ‘Stradanje Srba u Novom Sadu’ jeste obeležavanje, odnosno ukazivanje na ulice i javne prostore vezane, pre svega, za ulazak okupacionih vojnih snaga Hortijeve Mađarske u grad 13. aprila 1941. i masovna ubistva novosadskih Srba do kraja istog meseca.

Uz dalje patnje i stradanja građana, kao najgore se izdvaja zloglasna Racija iz januara 1942. godine tokom koje je ubijeno i pod led bačeno 1296 Novosađana, a oduzeta imovina nikad kasnije pronađena.

Nakon savezničkog bombardovanja grada tokom 1944. godine, i uz nadiranje Crvene armije i Narodnooslobodilačke vojske, okupator je napustio grad, koji je zvanično oslobođen 23. oktobra 1944. godine.

The goal of Cultural Route ‘Suffering of Serbian people in Novi Sad’ is commemorating and pointing at streets and public spaces, primarily connected to military forces of Horti’s Hungary, entering the city on April 13, 1941 and mass murders of Novi Sad’s Serbs, until the end of the same month.

Of all the torment and demise of the citizens, the notorious Raid in January, 1942 was said to be the worst. During that time 1296 people were killed and thrown under the ice, and the lost assets and property were never found.

After the alliance has bombarded the city during 1944, and with Red Army and National Liberation Army coming into the town, the occupier left the city, which was officially released on October 23, 1944.

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Ulazak mađarskih trupa u Novi Sad, aprila 1941.

Žrtve racije januara 1942. godine u dvorištu kasarne XVI bataljona pograničnih lovaca

Racija u Novom Sadu januara 1942. godine u Miletićevoj ulici

I Ulazak okupatorskih vojnih snaga iz pravca Futoške ulice II Proslava ispred zgrade Izvršnog veća III Streljanja na Ratnom ostrvu IV Bacanje pod led tokom Racije V Racija na igralištu NAK-a VI Racija na Uspenskom groblju VII Racija u Miletićevoj ulici

Nasleđe Nemaca u Futogu | German Heritage in Futog Teodora Morača, Nevena Čalosević

Razni narodi su se kroz istoriju doseljavali na područje Vojvodine.

Svaka epoha nosi sa sobom svoju priču i ostavlja neizbrisive tragove. Mnogi od tih tragova vidljivi su i danas, a to je ono što našu kulturu čini bogatom.

Tako je XVIII vek obeležilo doseljavanje nemačkih kolonista, u cilju odbrane južne granice Austrougarske monarhije. U to doba, naselje Futog je, s početka, imalo ulogu vojnog kampa, ali je vremenom postalo bitan trgovinski centar, okupljajući različite narode Evrope i Azije. Sve ove okolnosti utiču na razvoj i izgradnju samog naselja, čiji su svedoci mnoge građevine očuvane i dan danas.

Međutim, nakon II svetskog rata, odlaskom Nemaca sa ovih prostora, priče o Futogu kao takvom naselju počinju da blede.

Ono što bi danas oživelo Futog, jeste obnova postojećih objekata, naročito sakralnih, budući da nose veliki potencijal u razvoju turizma.

Many different nations have been settled on the territory of Vojvodina through history. Each historical period carries its own story and leaves its indelible marks behind. Many of those marks are still visible today, and that’s what makes our culture wealthy.

In that manner, XVIII century is marked by immigration of German colonists, with purpose of defending the southern border of AustroHungarian monarchy. At that time, the village of Futog was, at first, a military camp, but over time, it has become an important trading center, gathering different nations of Europe and Asia. All these circumstances affect the development and growth of the village itself, witnessed by many buildings preserved until today.

However, after the Second World War and Germans being departed from this region, the stories of Futog as such village begin to fade. Renewal of existing buildings, especially sacred ones, is what could revitalize village Futog today, since they carry great potential in the development of tourism.

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Futog s početka 20-og veka. Ulica Cara Lazara, pogled na pravoslavnu crkvu Svetih Vračeva

Razglednica Futoga iz 1905. godine

Rimokatolička crkva Srce Isusovo (objekat levo) i Župni dvor (objekat desno), razglednica iz 1912. godine

1. Rimokatolička crkva Srce Isusovo.

2. Župni dvor.

3. Futoški dvorac 4. Rudolfinum 5. Nemačko – evangelističko groblje 6. Marianum 7. Nemačko groblje 8. Vašarište 9. Crkva Svetog Trojstva 10. Rimokatoličko i reformatorsko groblje

Novosadske zanatlije | Craftsman of Novi Sad Marija Stanojević, Sara Stanić, Katarina Savić

Da li ste znali da je Novi Sad u XVIII Veku bio najjači zanatski i trgovački centar u južnoj Ugarskoj? Znate li i da su ulice poput Miletićeve, Njegoševe ili Trga Marije Trandafil nekada bile deo zanatske četvrti? Tragovi nekih zaboravljenih vremena i dalje postoje u našem gradu, a mi smatramo da su vredne pomena i sećanja.

Novi Sad 1748. godine stiče zvaničan status slobodnog, kraljevskog grada i taj trenutak u istoriji označio je privrednu transformaciju.

Poljoprivredno stanovništvo biva smenjeno brojnim zanatlijama, kao što su kujundžije, ćurčije, hirurzi, sapundžije, cipelari, čizmari, staklari, kapadžije, krojači, obućari, kovači i mnogi drugi.

Novosadske zanatlije pripadale su ugledanom staležu i bile su udružene u cehove ili esnafe. Godine 1872. cehovi se transformišu u zanatska udruženja. Postojala su dva velika udruženja - mađarsko i srpsko.

Zanatski Dom u Novom Sadu se nalazi na adresi Trg Marije Trandafil broj 14. Ovaj objekat sagrađen je u periodu 1937-1938.

Godine po projektu Stevana Frajsta u duhu moderne. Prepoznatljiv je po ukrasnom reljefu i impozantnom natpisu Zanatski dom na fasadi, kao i grbovima velikog broja različitih zanata u unutrašnjosti.

Nekada je bilo potreba, a u modernom dobu zanatstvo spada u domen tradicije i kulturnog nasleđa i kao takvo ga treba čuvati i negovati.

Did you know that Novi Sad was the largest trading center in Southern Kingdom of Hungary? Did you know that Miletićeva and Njegoševa Street, and Marija Trandafil Square were part of crafts area in Novi Sad? Traces of forgotten times still exist in our city, and we think that they are worth mentioning and remembering.

In 1748, Novi Sad has officially gained the status of a free city and that moment in the history marked the beginning of an economic transformation. Agricultural citizens were replaced with numerous craftsman and artisans, such as cobblers, glassmakers, campaigners, tailors, shoemakers, blacksmiths and many others.

Craftsmen of Novi Sad were in a group of highly renowned and respectable citizens and were a part of artisanal organizations guilds. In 1872 guilds were transformed in associations. There were two leading associations – Hungarian nad Serbian.

Craft House in Novi Sad is placed on the adress Marija Trandafil Square no. 14. This building has been built from 1937 to 1938. It was designed by Stevan Frajst in the modern style. It is recognisable by the decorative relief and the imposing inscription Zanastki dom on the facade, as well as by the coats of arms of numerous crafts in the inside.

Crafts used to be the need, and in modern times it belongs to the traditional and cultural heritage and as such it should be preserved and nurtured.

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Članovi udruženja

Zanatski dom

Berberska radnja

Formalno i neformalno obrazovanje Slovaka | Formal and In-formal Educations of Slovaks Dragana Vitić, Aleksandra Panić, Tamara Grujić

Krajem XVIII veka, u Vojvodinu pristižu prvi doseljenici Slovačke nacionalnosti, koji su se pretežno bavili zanatskim delatnostima.

Svoju prvu samostalnu školu stiču 1920, zahvaljujući čemu je omogućeno širenje formalnog obrazovanja na slovačkom jeziku.

Bitnu ulogu u reformama školstva imali su Pavel Jozef Šafarik i Andreas Volni, koji su kao direktori gimnazija uveli nove katedre, biblioteku i zavode za učenike. U pogledu neformalnog obrazovanja, Ljudovit i Štefanija Mičatek bili su zaslužni za nastanak čuvenih „slovačkih večeri“, koje nastavljaju da neguju dugu tradiciju u Bačkom Petrovcu. Ovaj grad je ujedno postao i kulturno stecište Slovaka zbog postojanja Matice Slovačke, prve javne biblioteke i galerije slovačke akademske slikarke Zuske Medveđove. Pored toga, Petrovac je poznat i po pozorišnim svečanostima, gde se svake godine održava „Smotra slovačkih pozorišta Vojvodine“.

Među brojnim slovačkim udruženjima, ističu se udruženja žena u Gložanu, Kisaču i Bačkom Petrovcu, čije se članice aktivno bave humanitarnim radom, edukacijom, organizacijom radionica i predavanja na teme iz svakodnevnog života. Učesnice su velikog broja izložbi i etno postavki, a poznate su po svojim događajima među kojima su najposećeniji „Dan kisačke sarme“ i „Kulenijada“.

At the end of XVIII century, Slovak immigrants who mostly worked as craftsmen, slowly started moving to Vojvodina. By 1920 Slovak school became eligible independent and as a result of this, formal education started to expand broadly. Two principals of grammar schools - Pavel Jozef Safarik and Andreas Volni had significant roles in school reforms, by establishing new curriculum subjects, a library, and students’ affiliations. Regarding informal education, Ljudovit and Stefanija Micatek were entitled to the creation of remarkable “Slovakian evenings“, whose long-lasting tradition is still cherished in Backi Petrovac. This town has also become the den of Slovakian culture, due to the building of Matica Slovacka, first public library and a gallery of the Slovakian academic painter Zuska Medvedova. In addition, Backi Petrovac is wellknown for its theatre ceremony “Smotra slovackih pozorista Vojvodine“ which is held every year. Among numerous Slovakian associations, the Associations of Slovakian Women truly stand out in cities of Glozan, Kisac, and Backi Petrovac. Their members are engaged in charity work, education and organisation of workshops and lectures on everyday life topics. These women are also participants in various exhibitions and traditional folk installations, but definitely are the most famous for their most visited festivals “Dan kisacke sarme“ and “Kulenijada“.

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Slovačka gimnazija u Bačkom Petrovcu

Slovačke večeri

Udruženje slovačkih žena

Ornament | Ornament

Marianna Novaković, Svetlana Blagojević

Prvi slovački doseljenici su na prostor Vojvodine počeli da dolaze početkom XVIII veka, a njihovo naseljavanje je trajalo cela tri veka.

Slovaci nikada nisu gubili svest i poštovanje prema dijalektu, kulturi i tradiciji koju su nosili iz Matične zemlje, međutim i pored toga je došlo do određenih promena u kulturi i tradiciji a naročito u dijalektu.

Nešto po čemu su Slovaci prepoznatljivi je plava boja. Među osnovne karakteristike Slovaka u Vojvodini pored vere, običaja i jezika ubraja se i ornament, karakteristična nošnja, zanimljiva arhitektura, izuzetno dekorisan enterijer, raznobojna primenjena umetnost, ali i specifična kuhinja (ljut kulen i sarma). Nešto što razlikuje slovačku kuću od ostalih kuća u Vojvodini, slovačku nošnju od nošnje bilo koje druge kulture, enterijer slovačke kuće od enterijera kuće bilo koje druge nacije jeste upravo ornament. Ornament je jedinstven jezik svake kulture, pored toga je čitljiv bez obzira na jezik kojim dati posmatrač govori.

Ornament Slovaka je prvenstveno floralan, raznobojan i veseo.

Kao takav je karakterističan u dva oblika, u obliku veza na nošnji, zavesama, stolnjacima, peškirima, jastučnicama, krpama, malim platnenim maramicama, i kao oslikavanje u dekoraciji zidova, na glinenim predmetima: krčazima, bokalima, tanjirima.., na raznom nameštaju u enterijeru: hoklicama, razboju, vretenu.

The first Slovakian immigrants started coming to the territory of Vojvodina at the beginning of the XVIII century and their immigration lasted for three centuries. They have never lost consciousness and respect for the dialect, culture and tradition they were carrying from their motherland. However, in spite of that, there have been some changes in culture and tradition, and especially in the dialect.

Something that the Slovaks are recognizable is a blue color. Among the basic characteristics of Slovaks in Vojvodina, besides religion, customs and language, there is also an ornament, a characteristic costume, interesting architecture, pre-decorated interiors, a multicolored applied art, and a specific kitchen (“kulen” and “sarma” ). Something that distinguished a Slovak house from other houses in Vojvodina, a Slovak custom from any other culture, the interior of a Slovakian house from interior of any other nation is just an ornament.

Ornament is the unique language of every culture; in addition it is legible regardless of the language the observer is speaking. The ornament of the Slovaks is primarily floral, colorful and cheerful. As such it is characteristic in two forms: in the form of knitwear, curtains, tablecloths, towels, pillows, small cloth wipes and painting in the decoration of walls, on clay objects: squeals, jugs, plates; on various furnishings in the interior: hockey, debauchery, spindle, and etc.

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Dekoracija zabata

Dekoracija predmeta

Ornament na narodnoj nošnji

Slovačka tradicija | Slovak Tradition Nemanja Ćaćić, Sofia Rudan

Tokom više od 260 godina, slovačka zajednica u Srbiji izgradila je vlastitu autohtonu kulturu i teži da je u najvećoj meri i danas održava i unapređuje. U Vojvodini Slovaci predstavljaju treću najbrojniju etničku grupu nakon Srba i Mađara.

Priča o Slovacima u Vojvodini počinje krajem XVII veka, kada oni u velikom broju migriraju na jug. U novoj sredini Slovaci osnivaju vlastita sela, ili se naseljavaju u već osnovana naselja. Najveći centri slovačke zajednice u Srbiji danas su Bački Petrovac u Bačkoj, Stara Pazova u Sremu i Kovačica u Banatu. Oličenje slovačke narodne arhitekture iz vremena naseljavanja Slovaka na teritoriju današnje Vojvodine predstavlja jedan od najvažnijih spomenika kulture najstarija kuća u Bačkom Petrovcu sagrađena 1799. godine.

Danas, vojvođanski Slovaci organizuju brojne festivale, manifestacije i različite događaje koji imaju za cilj da predstave široj javnosti najkvalitetniju produkciju koja je u datoj oblasti nastala u toku jedne godine. Na ovaj način, oni prenose svoju tradiciju na nove generacije dok istovremeno prezentuju jedinstvenost i lepotu svoje kulture.

Rad doprinosi očuvanju i afirmaciji materijalnog i nematerijalnog kulturnog nasleđa Slovaka kao zajednice koja duboko uvažava svoje korene, čuva tradicije i nezavisno razvija nove stvaralačke potencijale.

For the last 260 years, Slovak minority has been present in Serbia with its own indigenous and unique culture. Slovaks mainly live in Vojvodina, where they constitute the third largest ethnic group after Serbs and Hungarians. The story of Slovaks living in Vojvodina has its beginning in the end of XVII century when Slovaks moved south. In their new homeland, the Slovaks established their own villages or moved into communities where other nationalities were already living. The largest Slovak center in Backa is considered to be Báčsky Petrovec. In Sriem it would be Stará Pazova and in Banát it would be Kovačica. The best representation of Slovak rustic architecture since the big Vojvodina settlement of Slovaks is The Oldest House in Báčsky Petrovec which was established in 1799. Nowadays, Slovaks in Vojvodina organize numerous festivals, manifestations and various events on which they can show their effort and works that have been done during the year. It is a method by which the established values are transmitted on new generations representing their folk culture, traditions and cultural heritage.

This work contributes in preservation and affirmation of tangible and intangible culture of Slovaks that are known as a mature minority which deeply respects its roots, preserves its traditions and independently develops its own abilities and creativity.

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Porodica u slovačkoj nošnji

Najstarija kuća u Bačkom Petrovcu

Žena u slovačkoj nošnji

Sokolsko društvo u Novom Sadu | Sokol Society in Novi Sad Jovana Bratić, Jovana Kužet

Sokolsko društvo je nastalo 1862. godine u Pragu, po originalnoj ideji Miroslava Tirša. Sokolska misao razvijala se i širila po svim slovenskim zemljama te je samim tim stigla i do Jugoslavije. Ovaj pokret nije imao za cilj samo telesni odgoj svojih članova, već je želeo svestrani i potpuni razvoj pojedinaca, a samim tim i čitavog naroda.

Sokolsko društvo u Novom Sadu osnovano je po ideji nekoliko uglednih građana, a prethodila su mu neka manja društva, kao što su gimnastička, veslačka i vatrogasna zadruga. Tokom različitih perioda javljali su se određeni problemi, kao što je zabrana rada društvu tokom I svetskog rata, nedostatak novčanih sredstava za izgradnju doma, kao i preuzimanje doma i pretvaranje u „Levente otthon“ od strane mađarskih okupatora. Bilo je veoma zanimljivo istraživati gde su to sve članovi društva vežbali kroz različite periode, dok nisu dobili svoj dom, te na osnovu toga mapirati objekte i napraviti kulturnu stazu.

Uprkos svim poteškoćama Sokolsko društvo je uspelo da održi kontinuitet sve do danas. Za 111 godina postojanja kroz ovo društvo prošlo je na desetine hiljada članova, kako starijih, tako i mladih, koji su se ovde ne samo telesno već i moralno razvijali.

Sokol Society was founded in 1862 in Prague, by original idea of Miroslav Tirš. Their thought spread throughout all of Slavic countries therefore it reached Yougoslavia. This movement for its cause didn’t have just members’ physical development but the goal was on individual, as well as public, full and complete growth.

Sokol Society in Novi Sad was founded on the idea of several prominent citizens and preceded by some smaller societies, such as gymnastic, rowing and firefighting cooperatives. During the history there have been some problems, such as the prohibition of the work of the society during World War I, the lack of funds for building, and the takeover of the building and the conversion in the “Levente Otthon” by the Hungarian occupiers. It was interesting to explore the places where they were practicing before they got their own building and to mark houses and make cultural route.

Despite all the difficulties Sokol Society has managed to maintain the continuity until today. In its 111 years of existence this society shaped thousands of people, young, old, no matter the age, not just physically but mentally in the way of becoming better individuals.

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Sokolski dom u izgradnji

Ignjat Pavlas

Završen sokolski dom

1. Kafana „Bela lađa“ 2. Hotel „Fabri“ 3. Nikolajevska porta 4. Srpska pravoslavna velika gimnazija 5. Matica srpska 6.Kafana „Tri krune“ 7. Spomen dom Kralju Aleksandru I Ujedinitelju

II 2 Nasleđe ličnosti različitih kultura | The heritage of personalities of various cultures

Adolf Hempt | Adolf Hempt

Aleksandra Rakić, Jovana Jovičić, Nataša Apostolović

Adolf Hempt je rođen u Novom Sadu 21. septembra 1874. godine kao sin Adolfa Hempta, belgijskog reformatorskog sveštenika i Marije Tewely, rodom iz Budimpešte. Studije medicine završio je u Gracu i Minhenu 1989. godine.

Godine 1905. napušta aktivnu vojnu službu i postaje opštinski lekar u Lukavcu (BiH). U ovom rudarskom gradiću razvija ideje o načinu transporta vakcine protiv besnila. Po početku Velikog rata iz Lukavca odlazi u Trst, gde je postaje komandant vojne bolnice, sa činom potpukovnika. Od sredine 1925. godine Hempt primenjuje potpuno inaktivisanu, odnosno mrtvu vakcinu. Po tome je bio prvi u svetu. Ova primena Pasterove vakcine je objavljena u mnogim publikovanim radovima, a sam je dao detaljan izveštaj tadašnjim učesnicima Prve međunarodne konferencije o besnilu, u Parizu 1927. godine. Ubrzo ovaj metod počinje masovno da se koristi u Evropi, a pre svega u Kraljevini SHS, Mađarskoj i Čehoslovačkoj. Godine 1935. proveo je 3 meseca u Beringovom institutu u Nemačkoj, uvodeći tamo svoju tehnologiju proizvodnje vakcine.

Hemptov život se završava 1943. godine. Sahranjen je na Reformatorskom groblju u Novom Sadu, a njegov grob je pod zaštitom Zavoda za zaštitu spomenika kulture grada Novog Sada.

Adolf Hempt was born in Novi Sad, on September 21, 1874, as the son of Adolf Hempt, a Belgian Protestant missionary and Maria Tewely, born in Budapest. He graduated in medicine in at the Universities of Gratz and Munich in 1889.

In 1905 he left military service and became a municipal doctor in Lukavac (Bosnia and Herzegovina). In this mining city he first started developing an idea to transport the vaccine against rabies. At the beginning of the Great War, he left Lukavac and went to Trst, where he became the commander of the military hospital, ranked as a lieutenant colonel. Since the middle of 1925 Hempt used a completely inactive, aka dead vaccine. He was the first in the world to do it. This practice of the Paster vaccine was part of a number of published works, and he personally gave a detailed statement to the then participants of the First International Conference about Rabies, Paris 1927.

Very soon, this practice was widely used in all Europe, especially in the Kingodom of Serbs, Croats and Slavs (SHS), Hungary and Czechoslovakia. In 1935, he spent three months in the Bering institute in Germany, where he introduced his vaccine producing technology.

His life ended in 1943, and was buried in the Protestant cemetery in Novi Sad. His grave is under the protection of the Institute for the Protection of Cultural Monuments of the City of Novi Sad. 42

Davanje vakcine

Modifikacija vakcine

Adolf Hempt i Milan Nikolić, 1935

Nasleđe Marine Olenjine | Heritage of Marina Olenjin Radiša Pavićević, Katarina Pavlić

Balet Srpskog narodnog pozorišta je osnovan 8. marta 1950.

Osnovala ga je Marina Olenjina koja je ujedno bila i prvi šef i koreograf baleta. Poreklom iz Rusije, ona je preko Beograda sa još 30-ak ljudi došla u Novi Sad sa namerom da formira balet.

Radila je koreografije za dela: „Šeherezada“, „Divertisman“, „Noć na golom brdu“, „Bahčisarajska“, „Đavo u selu“, „Noć na pruzi“, „Ohridska legenda“, „Romeo i Julija“.

Rođena je u Moskvi 1907. godine. Otac joj je bio jedan od tvoraca operske režije u Rusiji, što je svakako uticalo i na njen rad u budućnosti. Školovala se u Moskvi, pozorišne i koreografske škole, usavršavala u Pragu I Parizu. Nakon toga odučila je da se priključi baletskom ansamblu Narodnog pozorišta u Beogradu, gde se razvila u primabalerinu, postala je najistaknutija solistkinja u baletskoj trupi. Za vreme Drugog svetskog rata bila je hapšena, neko vreme provela u okupatorskom logoru, a potom bila partizanska bolničarka u Crnoj Gori.

U čast 60. godišnjice od osnivanja Baleta Srpskog narodnog pozorišta, podignut je spomenik od belog mermera ispred zgrade pozorišta. Takođe postoji nagrada koja nosi njeno ime i koja se godišnje dodeljuje najboljoj balerini SNP-a za izuzetno vrhunsko profesionalno stvaralaštvo u oblasti baletske umetnosti.

The ballet of the Serbian National Theater was founded on March 8, 1950 by Marina Olenjina, who was also the first chief and choreographer. Born in Russia, she came to Novi Sad with 30 more people through Belgrade with the intention of forming a ballet. She worked on choreographies for works: “Sheeherezada”, “Divertisman”, “Night on the bare hill”, “Bahčisarajska”, “The devil in the village”, “Night on the line”, “Ohrid legend”, “Romeo and Juliet”.

She was born in Moscow in 1907. Her father was one of the creators of opera regime in Russia, which certainly influenced her work in the future. She was educated in Moscow, theater and choreographic schools; afterwards she was trained in Prague and Paris. After that she learned to join the ballet assemble of The National Theater in Belgrade, where she developed into a primabalerina, namely she became the most prominent soloist in the ballet troupe. During the World War II she was arrested, spent some time in an occupation leaguer and then became a Partisan’s nurse in Montenegro.

In honor of the 60th anniversary of the founding of the Ballet of the Serbian National Theater, a monument of white marble was erected in front of the Serbian National Theater. There is also a prize bearing her name, which is awarded annually to the best ballerina of Serbian National Theater for exceptionally high professional creativity in the field of ballet art. .

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Balet “Noć na pruzi”

Najava baleta - plakat

Balet Olenjine

Danilo Kaćanski | Danilo Kaćanski Jovan Milošević, Petar Baunović

Studirao na Tehničkom fakultetu u Budimpešti (1914) i Visokoj tehničkoj školi u Pragu (1919-1925). Zaposlen kao ovlašćeni inženjer u Beogradu (1925-1927) a potom u Novom Sadu , u građevinskom preduzeću Dake Popovića (1927-1931). U periodu 1935-1941 vodi sopstveno preduzeće za inženjersko projektovanje i gradnju.

Kaćanski je podigao, uglavnom u Novom Sadu, više porodičnih kuća i vila, stambenih višespratnica, javnih i industrijskih objekata.

Sopstvena stambeno-poslovna zgrada na Bulevaru Mihajla Pupina (1931) prva je u nizu moderno koncipiranih građevina ravne krovne konstrukcije i bezornamentalnog fasadnog platna.

U istom modernističkom maniru projektuje Dom jugoslovenskog učiteljskog udruženja (1934), masivnu stambeno-poslovnu zgradu, smeštenu na obodu Dunavskog parka.

U projektima porodičnih vila primetan je uticaj praških studija.

Stambena zgrada Starateljskog fonda Velike srpske gimnazije (1936) u Grčkoškolskoj ulici pripada retkim novosadskim objektima projektovanim u nacionalnom stilu. Pored arhitektonske prakse bavio se inženjerstvom, vršio nadzor nad izgradnjom jednoporodičnih i višeporodničnih objekata u Novom Sadu. Kaćanski je izvodio veliki broj objekata za vodne zadruge, hidrotehničke radove, uređenje kupališta, utvrđivanje obala i sl.

He studied at the Technical University in Budapest (1914) and the Technical University in Prague (1919-1925). Worked as a certified engineer in Belgrade (1925-1927) and then in Novi Sad, in a construction company of Daka Popovic (1927-1931). In the period 1935-1941 wad leading own company for engineering and construction planning. Kacanski lifted, mainly in Novi Sad, multi-family houses and villas, high-rise residential, public and industrial buildings.

His residential and commercial building in Boulevard Mihajlo Pupin is the first in a series of his modern facilities with the flat roof structure.

The House of the Yugoslav Teachers Association (1934), a massive residential and business building, located on the periphery of the Danube Park, was designed in the same modernist manner.

In the projects of family villas the influence of Prague studies was noticed. Residential building of Trust Fund of Great Serbian gymnasium (1936) in Grčkoškolska Street belongs to rare buildings designed in the national style. In addition to architectural practice, he also worked on engineering, supervised the construction of single-family and multi-family facilities in Novi Sad. Kacanski has performed a large number of facilities for water co-operatives, hydrotechnical works, bathing, coasting, etc.

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Danilo Kaćanski

Dom Jugoslovenskog učiteljskog udruženja

Fabrika Albus

1.Fabrika Albus,Privrednikova 10.

2.Novosadski Sajam sarađivao u projektovanju pomoćnih objekata sa Branislavom Ristićem,Hajduk Veljkova 11 3.Stambena zgrada Starateljskog fonda Velike srpske gimnazije, Grčkoškolska ulica 4.

4.Stambeno poslovna zgrada “Fruška Gora” ,Bulevar Mihajla Pupina 13 5.Stambena zgrada porodice Gutman ,Petra Drapšina 14 6. Stambeno poslovna zgrada , Železnička 4 7. Stambeno poslovna zgrada,Železnička 12 8.Vila Gutman ,Pavla Simića 9 9.Stambena zgrada u Maksima Gorkog 25.

10. Stambena zgrada porodice Jakovljević,Sonje Marinkovic 2 11.Stambena zgrada porodice Jovanović,Vojvode Mišića 18 12.Stambena zgrada u Maksima Gorkog 57.

Dragiša Brašovan | Dragiša Brašovan Filip Pajović

Rodio se i školovao u Vršcu, studije je završio 1912. godine na Arhitektonskom fakultetu Tehničkog univerziteta u Budimpešti.

Njegova lična arhitektonska filozofija bila je pragmatična i podložna zaokretima. Uklapajući različite stilske elemente u čvrste i dopadljive celine, njegov stil se vremenom približavao principima moderne arhitekture.

Nakon prelaznog perioda Brašovan se okreće modernoj arhitekturi i odstupa od načela dosledne funkcionalnosti i pribegava dekorativnosti. Pod uticajem Bauhausa hvatao je korak sa savremenim tokovima arhitekture, ali uvek dajući svom izrazu obeležja domaće sredine. Projektovanjem objekata u tom periodu je prošao fazu ekspresionizma, simbolizma i približio se strukturalizmu.

Na delima koja čine Brašovanovu novosadsku triologiju - Zgrada Pošte (1958-1962), Banska palata i Banski dvor (1936-1939) i Zgrada Radničke Komore (1929-1931) - moguće je pratiti razvoj njegovog arhitektonskog stila, od detalja ekspresionizma, preko međuratnog modernizma do posleratnog funkcionalizma.

He was born and raised in Vršac, studied Architecture on Technical faculty in Budapest, which he graduated in 1912. His personal architectural philosophy was pragmatic and susceptible to turbulence.

By joining various stylistic elements into solid and appealing wholes, his style gradually approached the principles of modern architecture.

After the transition period, Brasovan turns to modern architecture and deviates from the principle of consistent functionality and resort to decorativeness. Under the influence of Bauhaus he took a step forward with modern architecture flows, but always giving his expression the hallmark of the local environment. Designing objects in that period has passed through the stage of expressionism, symbolism, and was approaching structuralism.

On the works that make up Brašovan’s Novi Sad trilogy - Building of the Post office (1958-1962), Bansko Courtyard and Bansko Palace (1936-1939) and Working Chamber (1929-1931) - it is possible to follow the development of his architectural style, from the details of expressionism, through inter-modern modernism to post-war functionalism.

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Dragiša Brašovan

Zgrada glavne pošte

Zgrada Radničke komore

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1. Zgrada poĹĄte 2. Banovina 3. Zgrada RadniÄ?ke komore

Duh mađarskog arhitekte u Novom Sadu | Spirit of Novi Sad in the Eyes of Hungarian Architect Tanja Kljajić, Vanja Koplić, Višnja Pešić

Arhitekte iz cele Evrope i sa Balkana došli su u Novi Sad 1850. godine kao graditelji koji treba da pomognu da se grad obnovi nakon bombardovanja 1849. Među njima je bio i arhitekta Đerđ Molnar. Godine 1852. on stiče status građanina Novog Sada i u njemu podiže kuću, u kojoj je živeo sa porodicom.

U periodu između 1850. i 1863. na tlu grada podiže veći broj građanskih kuća, većinu u samom srcu grada - u Zmaj Jovinoj, Dunavskoj, Miletićevoj, Pašićevoj ulici.

Javni objekti koje je Molnar gradio bili su: Reformatorska crkva (18651867), Gradska bolnica (1867-1871), Srpska osnovna škola (1871.1874.), pozorište ,,Građanska dvorana’’ (1871), Gradska klanica (1882), Gradska kuća (1874-1894) i Katolička crkva (1891-1896). Većina objekata postoji i danas, dok su drugi, nažalost, srušeni.Među sačuvanim objektima nalaze se Gradska kuća i Katolička crkva, koje se nalaze na trgu u centru grada, i objekat Srpske osnovne škole u širem centru grada.

Kada pomislimo na Novi Sad, pomislimo na Gradsku kuću, Katoličku crkvu (koju Novosađani nazivaju ,,Katedrala’’), na Zmaj Jovinu i Dunavsku ulicu... I tada shvatimo da je Molnar u velikoj meri zaslužan za identitet našeg grada, da Novi Sad ne bi bio to što jeste bez vizije u očima mađarskog arhitekte – Đerđa Molnara.

Architect from all over Europe and from Balkan came to Novi Sad as constructors who should help to restore the city after the bombing 1849. Among them was the architect Georg Molnar. In 1852 he acquired the status of citizen of Novi Sad, and built his house where he lived with his family.

Between 1850 and 1863 a large number of civic houses were built on the territory of the city, most of it in the very heart of the city - in Zmaj Jovina, Dunavska, Miletićeva, Pašićeva Street.

The public buildings that Molnar built were: the Reformation Church (1865-1867), the City Hospital (1867-1871), the Serbian Elementary School (1871-1874), the theatre ,,The Civil Hall’’ (1871), the City Slaughterhouse (1882), the City Hall (1874-1894) and the Catholic Church (1891-1896). Most of the buildings still exist, while others, unfortunately, have been demolished. Among the preserved buildings are the City Hall and the Catholic Church, located on the square in the city center, and the facility of the Serbian Elementary School in the wider city center.

When we think of Novi Sad, we think of the City Hall, the Catholic Church (called ,,Cathedral’’ by citizens of Novi Sad), Zmaj Jovina and Dunavska Street. And then we realize Molnar is mostly responsible for the identity of our city, and Novi Sad wouldn’t be what he is now without a vision in the eyes of the Hungarian architect – Georg Molnar.

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Građanske kuće u Dunavskoj ulici

Rimokatolička crkva

Gradska kuća

2 2

5 4

3

1 2

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1. Početna tačka putanje 2. Građanske kuće 2. Osnovna škola 3. Crkva imena Marijinog 4. Gradska kuća 5. Krajnja tačka putanje

Grof Andreas Hadik | Count Andreas Hadik Jasna Radošević, Natalija Ostojić

Grof Andreas Hadik rođen je 16. oktobra 1710. godine na Žitnom ostrvu, a umro je 12. marta 1790. godine u Futogu. Bio je značajna ličnost za istoriju Habzburške monarhije. Svojim kvalitetima i sposobnošću uspeo je da se, od nižeg plemića i zastavnika u husarskom puku, znanjem i veštinom uzdigne do carskog maršala Marije Terezije i predstavnika Ratnog dvorskog saveta u Beču.

Kao ličnost formirana u duhu prosvećenog apsolutizma vodio je vrlo sadržajan život, o kojem je pisao u svojim dnevnicima.

Njegovo nasleđe u Futogu čine tri građevine.

Dvorac Hadik sagrađen je 1777. godine po projektu Franciscusa de Paola Manetha. Od početka XIX veka menjao je vlasnike, sve do 1947. godine kada u ovom objektu počinje sa radom Poljoprivredna škola. Dvorac je proglašen za spomenik kulture 2001. godine, kao jedna od najstarijih plemićkih rezidencija Vojvodine.

Rimokatoličku crkvu Presvetog trojstva i župni dvor podigao je 1778. godine u baroknom stilu. Ovaj hram je porušen, a na njegovom mestu grofica Kotek je između 1906. i 1908. godine, sagradila novi, posvećen Srcu Isusovom. U novoj crkvi sačuvano je nekoliko relikvija koje svedoče o istoriji objekta. U njoj se nalaze mošti Andreasa Hadika.

Count Andreas Hadik was born on October 16, 1710 in Zito Island, and died on March 12, 1790 in Futog. He was a significant personality for the history of the Habsburg Monarchy. With his qualities and abilities, he succeeded in reaching, from the lower noblemen and clerks in the Husar’s regiment, with knowledge and skill to the Imperial Marshal of Maria Theresa and the representative of the War Council in Vienna. As a person formed in the spirit of enlightened absolutism he led a very contentious life, about which he wrote in his diaries.

His legacy in Futog consists of three buildings.

Hadik Castle was built in 1777 according to the project of Franciscus de Paolo Manetha. Since the beginning of the nineteenth century, the owners have been changed, until 1947, when the Agricultural School started operating at this facility. The castle was declared a cultural monument in 2001, as one of the oldest noble residences of Vojvodina.

He built the Roman Catholic Church of the Holy Trinity and the parish house in 1778 in the Baroque style. This temple was demolished and replaced. The new temple, built by the Countess Kotek between 1906 and 1908, was dedicated to the Heart of Jesus. The new church preserves several relics that testify to the history of the building. It contains the relics of Andreas Hadik.

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Grof Andreas Hadik

Razglednica Futoga sa crkvom i dvorcem

Dvorac grofa Hadika u Futogu

Janika Balaž | Janika Balazs

Marija Savić, Milica Terzin

Janika Balaž, vojvođanski tamburaš iz muzičke romske porodice mađarskog porekla. Bio je pravi primer da je uz veliki trud, posvećenost i ljubav prema poslu moguće napraviti čuda.

Započeo je svoju karijeru u simfonijskom orkestru u Titogradu, ali je 1951. godine prešao u Radio Novi Sad i ostao mu veran do kraja života. Svoje dane provodio je u studiju radeći sa tamburaškim orkestrom, a noći su bile rezervisane za kafanu, gde je po njegovim rečima ‘bio važan trenutak, trenutni osećaj za publiku, njene sklonosti i očekivanja’. Atmosfera koju su njegovi tamburaši pravili na Petrovaradinskoj tvrđavi, ostaće zauvek upamćena zahvaljujući pesmi ‘8 tamburaša s Petrovaradina’ koja im je posvećena. Rečenica kojom je sebe opisao govori sve o ovom izuzetnom čoveku: “Kafana i tambura su mi duševna hrana, jer samo sam sa njima u stanju da ljude makar na trenutak, učinim srećnim, a moto mog života je živeti skromno,veselo i vedro”.

Pomerao je granice tamburaške muzike. Zahvaljujući učešću u filmu Skupljači perja uspeo je da vojvođansku tamburašku muziku prezentuje svetu.

Janika Balaž obeležio je jedan period tamburaške muzike koji se ne može ponoviti, a koliko je on bio značaj za Novi Sad svedoči rečenica da su Janika Balaž i tamburica za Novi Sad, ono što su za Beč – Štraus i opera.

Janika Balaz was a musician from Vojvodina, born in Gipsy family from Hungary. He was a great example that with effort, commitment and passion for what you do, one can achieve true greatness.

He started his career in symphony orchestra in Titograd, but in 1951 he joined Radio Novi Sad and stayed there until he died. He spent his days in studio with orchestra, but nights were reserved for pub where, as he would use to say “it was all about being in the moment, feeling the audience, its preferences and expectations”.

Atmosphere which his musicians use to make in Petrovaradin fortress will be remembered forever thanks to the song “8 tamburasa s Petrovaradina”. A sentence which offers the best description of this man, is the one Janika uttered himself “Pub and tambura are food for my soul, because only with them I can make people happy even for a moment, and my life motto is to live modestly, happily…”

His virtuosity in tamburica music knew no limits. Thanks to the movie “Skupljači Perja” tamburica music from Vojvodina got its worldwide recognition.

Janika Balaz marked one period of tambura music which cannot be repeated, and his importance can be described with a sentence which you can often hear locals saying, that he was as important for Novi Sad as Strauss was for Vienna.

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Janika Balaz sa svojim orkestrom na jednoj od zabava tadasnjeg predsednika SFRJ, Josipa Broza Tita

„Osam tamburasa s Petrovaradina“

Omot za jedan od diskova Zvonka Bogdana i orkestra Janike Balaža

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1. Tanurdžićeva palata (zgrada u kojoj je Janika stanovao) 2. Udruženje građana “Tambura Janike Balaža” 3. Radio Novi Sad 4. Spomenik Janiki Balažu 5. Kafana na Petrovaradinskoj tvrđavi “8 tamburaša”, koju je Janika Balaž sa svojom orkestrom proslavio

Korakom velikana | By the Path of the Great Ones Mirjana Ivanović, Jovana Bogičević

Karlovci, grad muzej, čvor ukrštanja velikih istorijskih priča i koraka slavnih, onih koji su podigli stub naše kulture, danas, kao i kroz vekove iza nas, predstavljaju barokni vremeplov, kroz čija sećanja i kroz čije vreme čuvamo beskrajno bogatstvo i lepotu naše prošlosti. Sa velikim brojem znamenitih građevina i spomenika, ova varoš predstavlja jedno od najlepših i najznačajnijih naselja u Srbiji. U samom centru, pored niza monumentalnih i velelepnih kuća, nalazi se i zgrada Karlovačke gimnazije, jedne od tri škole od nacionalnog značaja u našoj zemlji i samim tim jednim od najvažnijih obrazovnih centara na ovim prostorima. Karlovačka gimnazija osnovana je 1791. godine u tadašnjoj staroj zgradi latinske škole, od strane mitropolita Stevana Stratimirovića i tadašnjeg poznatog i imućnog trgovca Dimitrija Anastasijevića Sabova. Današnju zgradu gimnazije podigao je patrijarh Georgije Branković uz pomoć braće Anđelić i od tada je čuva svoj autentičan izgled. Još od njenog nastanka, gimnaziju su pohađale ličnosti koje su ostavile ogroman trag na istoriju i kulturu našeg naroda. Danas ova škola predstavlja filološku gimnaziju, veoma cenjenu i značajnu za ceo region, a samim tim i veliki koren i polazište za naredne generacije i sve ispred nas.

Karlovci, the museum-town, the knot of crossing great historical stories and the steps of the Great Ones, those who have raised the pillar of our culture, today, as well as through the centuries behind us, represent Baroque timeline, through whose memories and through which time we preserve the infinite richness and beauty of our past. With a large number of famous buildings and monuments, this town is one of the most beautiful and most important settlements in Serbia. In the very center, in addition to a series of monumental and magnificent houses, there lies a building of the Gymnasium of Karlovci, one of the three schools of national importance in our country and therefore one of the most important educational centers in this region. Gymnasium of Karlovci was founded in 1791 in the then old building of the Latin school, by the Metropolitan Stevan Stratimirovic and well-known merchant Dimitrije Anastasijevic Sabov. The current building which the gymnasium occupies was built by the patriarch Georgije Brankovic, with the help of the brothers Anđelić, and has since maintained its present appearance. Since the beginning the gymnasium has been attended by individuals who have left a huge mark on the history and culture of our people. Today this school represents a philological gymnasium, highly valued and significant for the entire region, and therefore a great root and starting point for the generations to come and beyond.

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Prvobitna zgrada karlovačke gimnazije

Karlovačka gimnazija

Kuća Dimirtija Arsenijevića Sabova

A Karlovačka gimnazija B Kuća Vase Stajića V Kuća Dejana Medakovića G Kuća Dimitrija Anastasijevića Sabova D Kuća Branka Radičevića

Kulturna ostavština Marije Trandafil | Cultural Heritage of Marija Trandafil Milana Mitrović, Tatjana Prčić

Istraživački rad stavlja akcenat na najveću srpsku dobrotvorku i zadužbinarku, kao i na njen filantropski doprinos zajednici, s ciljem podizanja kulturne svesti građana i sprečavanja plemenitih postupaka od pada u zaborav.

Istraživanje se temelji na obilaženju zadudžbina Marije Trandafil u centru Novog Sada i prikupljanja informacija koje istraživački rad dele u dve celine. U prvom delu rada upoznajemo se sa tragičnom biografijom Marije Trandafil, u kojoj saznajemo ko je zapravo ona bila, te koje su je to životne okolnosti nagnale da se nesebičnom empatijom posveti drugima (deci, bolesnima, siromašnima). U drugom delu rada navedeni su i istorijski objašnjeni arhitektonski objekti i spomenici koji čine kulturnu ostavštinu Marije Trandafil.

Research places the accent on the biggest serbian benefactress and endowment raiser as well as her philanthropic contribution to the community, with the aim of raising the cultural awareness of citizens and preventing noble practices from falling into oblivion.

The research is based on itineration of Marija Trandafil’s endowments in the center of Novi Sad and collecting information that divides research work in two parts. In the first part of the paper, we are introduced to the tragic biography of Marija Trandafil, in which we find out who she was and what life circumstances caused her to be selflessly empathetic to the others (children, sick, poor). In the second part of the paper architectural structures and monuments that make the cultural legacy of Marija Trandafil are mentioned and historically-explained.

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Nikolajevska crkva

Marija Trandafil

Matica srpska

A Matica srpska B Nikolajevska crkva C Kuća “kod ikone” D Saborna crkva E Uspenska crkva F Jermenska crkva

Lipot Baumhorn | Lipot Baumhorn Anita Pete

Lipot Baumhorn je arhitekta iz Mađarske, jevrejskog porekla. Na teritoriji Austrougarske monarhije projektovao je više od 22 sinagoge, po čemu je i bio najpoznatiji. Najznačajnije su u Segedinu, Budimpešti, Temišvaru, Solnoku i Egeru. Na teritoriji Jugoslavije podignute su po njegovom projektu sinagoge u Novom Sadu, Zrenjaninu, Rijeci ( poslednje dve su srušene u Drugom svetskom ratu).

Najpoznatije Lipotovo delo u Novom Sadu je kompleks sinagoge koje čine zgrada hrama, škola i jevrejska opština. Ova tri objekta čine jedan versko-društveni kompleks jevrejske zajednice.

U Novom Sadu je projektovao dve velike stambene zgrade Menratovu palatu za trgovca Jozefa Menrata i palatu za advokata Tomina, kao i banku-štedionicu na glavnom gradskom trgu.

Kao najpoznatiji predstavnik mađarske secesije ostavio je značajan trag u istorijskom jezgru grada, dajući mu reprezentativan karakter kakav i danas ima.

Lipot (Leopold) Baumhorn was a Hungarian architect of Jewish origin. He designed more than 22 synagogues on the territory of the Austro-Hungarian Empire; therefore, he was best known for his buildings. His well-known synagogues can be found in Szeged, Budapest, Szolnok, Eger and Temesvar. On the territory of Yugoslavia, he designed synagogues in Novi Sad, Zrenjanin and Rijeka – the last two had been destroyed during the World War II. In Novi Sad, the most famous work of Lipot is the synagogue complex, which consists of the building of the church, the school and the Jewish municipality. These three buildings represent a religious–social complex of the Jewish community.

He built two huge residential buildings - the Menrat palace for a trader Jozef Menrat and a palace for a lawyer named Tomin Borivoj, as well as a building of a bank at the main square.

As the most famous representative of the Hungarian secession, he left a significant mark in the historical core of the city, giving it a representative character.

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Arhitekta Lipot Baumhorn

Finansijska palata, 1905

Kompleks sinagoge, 1909

1. Palata Tomin (1909) 2. Vojvođanska banka Finansijska palata (1904) 3. Menratova palata (1908) 4. Kompleks sinagoge (1906-1909)

Pravednici | Righeous

Mirjana Miščević, Mirjana Vulić, Kristina Marinković

Izraelski parlament – Kneset, osnovao je 1953. godine “Jad Vašem” muzej sećanja na žrtve Holokausta. Hrabra dela ljudi širom porobljene Evrope, koji su poput građana Srbije reskirali svoje živote u nameri da spasu bar jedan jevrejski život, bila je osnova da ustanove ’’Komisiju za proglašenje Pravednika među narodima’’. Priznanja, u vidu medalje i povelje dodeljuju se isključivo nejevrejima, koji su tokom Drugog svetskog rata spasavali osobe jevrejskog porekla. Jedna od njih je i Marija Šanc. Živela je pre rata u Novom Sadu. Bila je udata za Ljubomira Tomića.

Rođen kao Jevrejin, zbog problema, promenio je prezime Kon u Tomić. Ljubomir je imao mnogobrojnu familiju i prijatelje koji su živeli u Beogradu. Marija je rešila da im pomogne. Nemica po poreklu, uspela je da nagovori jednog nemačkog vojnog šofera da joj pomogne da prebaci grupu Jevreja iz Beograda u Novi Sad. Prvi put je bilo najteže. Nemački vozač je nastavio da prevozi Jevreje iz Beograda a Marija i Ljubomir su ih slali dalje u Budimpeštu. Marija je krajem 1944. završila u logoru Ravensbrik. Ljubomir se sa partizanima izborio za slobodu, a Marija se iz zarobljeništva vratila u Novi Sad. Iako za vreme svog života nije bila nagrađena za svoja dobročinstva, 14.07.2009. godine proglašena za Pravednika među narodima. Ključni dokaz za proglašenje pravednika bio je pismo Eve Đorđević, kojoj je spasila život.

In 1953 the Israeli Parliament – the Knesset, founded “Yad Vashem” – the Museum of Holocaust Victim’s Remembrance. The deeds of courageous people throughout Europe who, like citizens of Serbia, risked their lives in the effort to save at least one Jewish life became the foundation for establishing the “Commission for Proclaiming the Righteous among Nations”. Acknowledgement, in the form of a medal and diploma is bestowed solely to non-Jews who, during World War II, saved lives of people of Jewish descent. One of them was Marija Šanc.

Prior to WWII she lived in Novi Sad. At the time she was married to Ljubomir Tomić. Because of his problems, Ljubomir, a Jew by birth, had changed his surname Kon to Tomić. Ljubomir had a large family and many friends in Belgrade. Marija decided to save them. By birth a German, she managed to persuade a German Army driver to help her transfer a group of Jews from Belgrade to Novi Sad. That first trip was the hardest. Notwithstanding the initial trepidation, the German driver continued to transport Jews from Belgrade to Marija and Ljubomir’s flat, from where the pair organized their transfer further on, to Budapest. The mission Marija had undertaken ended in her imprisonment in Ravensbrick camp at the end of 1944. Ljubomir, who had joined the Partisans, fought battles right up to liberation.

Succeeding to survive internment, Marija returned to Novi Sad. Although she was not rewarded for her charity during her lifetime, on July 14, 2009 she was proclaimed for the Righteous among Nations. Key proof for proclamation the Righteous was Eva Đorđević’s letter, wich life was saved by Marija.

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Plaketa za pravednika među narodima

Marija Šanc sa suprugom, Ljubomirom Tomićem

Sertifikat Mariji Šanc, pravedniku među narodima

II 3 Urbanističko i arhitektonsko nasleđe različitih kultura | Urban and architectural heritage of various cultures

Jevrejska ulica | Jewish Street Dajana Ostojić, Milica Ninković

Nakon što je Novi Sad proglašen slobodnim kraljevskim gradom 1748. javila se potreba za osnivanjem jevrejskog kvarta unutar grada. Za potrebe stvaranja geta i iseljenja Jevreja je bio određen deo Osječke ulice, koja je pretstavljala pređašnju Futošku. Deo grada od Gradske kuće do Uspenske ulice nazvan je Jevrejska ulica / Judengasse / Zsidó utca ili Čivutski sokak, a kasnije su ga Novosađani popularno zvali Mala futoška. Posle II svetskog rata ulica je dobila ime Jugoslovenske narodne armije, a nakon rušenja jednog dela zbog izgradnje zgrade Srpskog narodnog pozorišta, ovaj deo je postao Pozorišni trg, a deo nekadašnje Futoške, od robne kuće NORK do Futoške pijace nazvan je Jevrejska ulica.

Pogled na panoramu Jevrejske ulice sa katedrale 1905. godine

After Novi Sad was declared a free royal city, there was a need for the establishment of a Jewish quarter within the city. For the needs of the creation of the ghetto and the eviction of the Jews, it was a certain part of the Osjecka Street, which represented the former Futoska. Part of the city from the City Hall to Uspenska Street is called Jewish Street, and later it was popularly called Little Futoska. After the Second World War, it was named the Yugoslav People’s Army, and after one part was destroyed due to the construction of the building of the Serbian National Theater, this part became the Theater Square, and part of the former Futoska, from the NORK department store to the Futoska market, is called the Jewish Street.

Karta Novog Sada, Jevrejske ulice iz 1877. godine

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Pogled iz Jevrejske ulice, leva strana je trajno uklonjena 1979. godine da napravi mesto za SNP

1. Jevrejska 1 2. Jevrejska 4 3. Jevrejska 7 4. Jevrejska 9 5. Jevrejska 11 6. Jevrejska 18 7. Jevrejska 21

Kontraminski sistem Petrovaradinske tvrđave | Anti-mine System of Petrovaradin Fortress Dragana Šaša, Nikola Horvat

Ratna, borbena, glavna vojno komandujuća, carsko kraljevska tvrđava Slavonije i Srema, tvrđava Petrovaradin. Građena kao isključivo vojni objekat tokom XVII i XVIII veka od strane Austrije - svetog Rimskog carstva u stilu baroka, tvrđava Petrovaradin predstavlja jednu od najvećih, najočuvanijih i najsavremenijih tvrđava sagrađenih tokom XVIII veka.

Hornverk je deo tvrđave u kojem je najvećim delom smešten kontraminski sistem napravljen u vojne svrhe, u doba ratova Austrije i Turske. Služio je za odbranu hrišćanske Evrope od Otomanskog carstva. Sistem je izgrađen prema planu austrijskog inženjera majora A. Hajnrih Šredera. Ukupna dužina tunela je oko 20 kilometara. Podeljen je na četiri linije odbrane, dok ukupno podzemlje ispod tvrđave ima jedanaest nivoa. Najniža tačka sistema je Kajzer bunar koji se nalazi na dubini od oko 40 metara ispod zemlje. Bunar je dobio naziv po habzburškom caru Jozefu II, koji je prvi iz njega pio vodu. Geometrijski centar sistema je ,,Đavolja raskrsnica“ za koju su vezane legende.

Tokom 20. veka na ovoj raskrsnici su izvođeni satanistički rituali. Ceo sistem sastoji se iz niza podzemnih galerija različite namene.

O značaju ovog sistema govori podatak da je kontraminski sistem Petrovaradinske tvrđave najveći takav sistem u svetu po očuvanosti.

Lead military commanding, royal-imperial fortress of Slavonija and Srem, fortress Petrovaradin. It was built exclusively as a military object during the XVII and XVIII century by Austria - the holy Roman empire in the style of Baroque. Fortress Petrovaradin presents one of the biggest most preserved and modern fortresses built during the XVIII century.

Hornverk is part of a fort where the largest part is the anti-mine system designed for military purposes, during the wars of Austria and Turkey. It served as a defense of Christian Europe against the Ottoman Empire. The system was built according to the plan of an Austrian engineer major A. Heinrich Schreder. The whole length of the tunnel is 20 kilometers. The anti-mine system is divided into four lines of defense, while the entire underground of the fortress has 11 levels. The lowest point of the anti-mine system is the Kajzer well that finds itself at a depth of 40 meters underground. The well got its name by the Habsburg emperor Joseph II, who was the first person to drink water out of it. The geometrical center of the system is “The devil’s intersection” that has legends. During the XX century satanic rituals were performed. The entire system is comprised in a string of underground galleries for different purposes.

The importance of this system is solidified by the fact that the anti-mine system of the Petrovaradin Fortress is the biggest such system in the world by preservation.

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Petrovaradinska tvrđava, XIX vek

Kontraminski sistem, fotografija: Miloš Pavkov

Hodnik kontraminskog sistema

1 6

4 2

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4 35

1. Kajzer bunar 2. Đavolja raskrsnica 3. Tri prozora 4. Zemljani hodnici 5. Kružno stepenište 6. Galerije-puškarnice

Kulturna ruta 62 | Cultural Route 62 Sena Nikolić, Marija Blanuša

Kulturna ruta 62 povezuje reperne tačke između Sremskih Karlovaca i Novog Sada. Cilj ovog projekta je sagledavanje nasleđa različitih kultura na široj teritoriji grada Novog Sada, kroz jednu autobusku liniju koja prati neke od najznačajnijih primera arhitekture od XVIII veka sve do moderne arhitekture XX veka.

Ova studija slučaja pruža dobar uvid u različite istorijske periode i uticaje drugih kultura i civilizacija na celo područje grada. Rad ukazuje na glavne arhitektonske karakteristike i menjanje istih kroz vreme, na kulturne uticaje, uticaje različitih naroda, različitih politika, vlasti, moći, ekonomije itd. To su sve faktori koji su oblikovali Novi Sad kakav poznajemo danas.

Ova ruta će omogućiti ljudima da za kratko vreme sagledaju istoriju grada kroz neke od najznačajnijih objekata, kako danas tako i u vreme kada su nastajali, a ujedno i da nauče nešto što nisu znali o arhitektama, stilovima, razdobljima, poznatim ličnostima, objektima… Svaki od ovih objekata je autentičan i ima svoju vrednost, kako istorijsku tako i duhovnu, svoj integritet, tradiciju i senzibilitet. Svaki od njih ima svoje vrednosti, svoj značaj kao i potencijale.

The Cultural Route 62 connects the landmarks between Sremski Karlovci and Novi Sad. The aim of this project is to examine the heritage of different cultures on the wider territory of the city of Novi Sad through a bus line that follows some of the most important examples of architecture from the 18th century until the modern architecture of the 20th century.

This case study provides a good insight into the different historical periods and the impacts of other cultures and civilizations on the entire area of the city. The work points to the main architectural characteristics and changing them over time, on cultural influences, the influences of different nations, different policies, power, power, economy, etc. These are all factors that have shaped Novi Sad as we know it today.

This route will allow people to see the history of the city in a short time through some of the most important objects, both today and at the time they were created, and at the same time to learn something they did not know about architects, styles, periods, celebrities, objects ...

Each of these objects are authentic and have their own value, both historical and spiritual, their integrity, tradition and sensibility. Each of them has its own value, its significance as well as potentials.

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Železnička stanica, izgradnja Bulevara oslobođenja

Zgrada Dnevnika

Zgrada glavne pošte

1. Železnička I Autobuska stanica 2. Zgrada Dnevnika 3. SNP 4. Zgrada glavne pošte 5. TC Bazar 6. Banovina-pokrajinska vlada Vojvodine 7. Petrovaradinska tvrdjava 8. Beogradska kapija 9. Crkva Snezne Gospe na Tekijama 10. Patrijarski dom 11. Karlovacka Gimnazija

Ajnfort kapije | Einfahrt Gates Stefan Strajin, Marko Prodanović

Nakon završetka sukoba između Austrije i Turske u XVII i XVIII veku, Austrija je započela proces naseljavanja i urbanizacije Vojvodine. Kuće su bile građene od nabijene zemlje, krov je bio izrađen od trske. Organizacija objekta podrazumevala je sobu koja je bila do ulične strane, dok se u dvorištu nalazila kuhinja sa ognjištem i ostavom. Tipovi švapskih kuća koje postoje su: uzdužna kuća “kuća na brazdu”, kuća na lakat i preka kuća.

Najrazvijeni oblik ˝švabske kuće˝ se javlja početkom XX veka. To su dvojne kuće pod jednim krovom koje deli ajnfort kapija (nem.

Einfahrt). Primarna funkcija kapije bila je ekonomski ulaz, pa su stoga i dimenzije kapije bile velike, najčešće 3,5m širine i 4,5m visine. Promenom delatnosti stanovništva kapija gubi svoju funkciju i poprima reprezentativnu ulogu. Materijali koji su imali najveću primenu pri izradi kapija su drvo, staklo i kovano gvožđe. Svi materijali su obrađivani ručno što je činilo svaka vrata unikatnim, ali su se međusobno mogla raspoznavati po majstoru koji ih je izrađivao.

Glavna razlika među kapijama ogledala se u morfologiji elemenata (broj krila vrata, oblik nadsvetla...), stilskoj obradi (antički, floralni, geometrijski motivi) i obradi materijala (drvo-duborez, reljef; staklo-vitraž, češka obrada).

After the end of the war between Austria and Turkey in the XVII and XVIII centuries, Austria began the process of settling and urbanization of Vojvodina. The houses were built from rammed earth, the roof was made of reed. The organization of the building meant a room which was to the street side, while in the courtyard there was a kitchen with fireplace and pantry. Types of swap houses that exist are: long-haul home house, house on the elbow and across the house.

The most developed form of the “German House” appears at the beginning of the XX century. These are dual houses under one roof shared by the einfort gate. The primary function of the gate was the economic entrance, so the dimensions of the gate were large, usually 3.5m wide and 4.5m high. By changing the field of work, function of the Einfahrt Gates loses its significance and takes on a representative role only. The materials that had the greatest application in the construction of gate are wood, glass and wrought iron. All the materials were manually processed, making each door unique, but they could distinguish one another by the master who made them.

The main difference between the gates was in the morphology of the elements (number of door wings, the shape of the supernova...), the stylistic processing (Antique, floral, geometric motifs) and material processing (wood-carving, relief, glass-stained glass, Czech processing).

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Fotografija detalja ajnfort kapije

Položaj ajnfort kapije u sklopu kuće

Detalj izgleda ajnfort kapije

1. Pavla Papa 4 2. Pavla Papa 25 3. Pavla Papa 32 4. Pavla Papa 36 5. Pavla Papa 29 6. Slovačka 9 7. Vojvode Bojovića 22 8. Lukijana Mušickog 14 9. Lukijana Mušickog 15 10. Lukijana Mušickog 16/18 11. Lukijana Mušickog 24 12. Kisačka 19 13. Kisačka 15 14. Kisačka 20

15. Kisačka 23 16. Vuka Karadžića 31 17. Masarikova 1/3 18. Masarikova 27/29 19. Stevana Sremca 25 20. Arse Teodorovića 12 21. Svetozara Miletića 41 22. Nikolajevska 1 23. Svetozara Miletića 22 24. Svetozara Miletića 16 25. Svetozara Miletića 6

26. Zlatne grede 6 27. Zlatne grede21/23 28. Zlatne grede 10 29. Save Vukovića 8 30. Save Vukovića 12 31. Svetosavska 10 32. Matice srpske 19 33. Temerinska 24 34. Temerinska 18 35. Temerinska2 36. Jovana Subotića 10

Austrougarski dvorci | Austro-Hungarian castles Ivana Pjević, Dušan Arsenijević

U drugoj polovini XVIII veka, nakon odbrane teritorija od Osmanlijskog carstva, počela je kolonizacija Nemaca na prostore današnje Vojvodine, tačnije Novog Sada i okoline. Da bi učvrstila svoju vlast Monarhija naseljava dosta porodica iz svoje države u ove krajeve. Tako na posed u Futogu dolazi grof Andreas Hadik, a u Beočin porodica Špicer.

Dvorci su građeni pod uticajem novih stilova koji su se razvijali u Evropi. Iako građeni u različitim periodima, Hadikov 1777., a Špicerov 1898., oni su bili odraz ondašnjeg načina života austrougarskih porodica. Donoseći novitete iz same Monarhije, nemačko stanovništvo je povezivalo Vojvodinu sa ostatkom Evrope.

In the second half of the XVIII century, after defending the territories of the Ottoman Empire, the colonization of the Germans started at the territory of present-day Vojvodina, at Novi Sad and the surrounding area. In order to consolidate its power, the Monarchy has settled many families from its own country to this region. So the count Andreas Hadik comes in possession of estate in Futog, as well as Špicer family did in estate in Beočin.

Castles were built under the influence of new styles that developed in Europe. Although built in different periods, Hadik castle in 1777, and Špicer castle in 1898, they were a reflection of the way of life of the Austro-Hungarian families. Bringing novelties from the Monarchy itself, the German population linked Vojvodina with the rest of Europe.

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Futog na mapi drugog vojnog premera

Hadikov dvorac, Futog

Špicerov dvorac

1. Hadikov dvorac, Futog 2. Dvorac Špicerovih, Beočin Zelena linija - Glavna putanja Plava linija - Alternativna putanja preko reke (Čamcem)

Dunavska banovina | The Danube Banovina Monika Borbaš, Jelena Jelača, Ivana Šanjević

Nekada su je zvali ,,bela krstarica”. Kada je sagrađena, bila je zgrada sa najviše prozora u Evropi. Impozantno javno zdanje.

Jedinstvenu kompoziciju čine dve odvojene zgrade. Nalazi se na području malog Limana, nekadašnjeg Bulevara Kraljice Marije, danas Bulevar Mihajla Pupina 16.

Građevina je podignuta uz novi bulevar, u obliku potkovičaste osnove duge 185m, a široke 42,5m. Visina, (osim “kule”) je oko 20m. Zgrada ima pet etaža, od suterena do potkrovlja. Raspolaže sa pet ulaza. U zgradi se nalazi 569 odeljenja (prostorija), pretežno kancelarijskih prostora, raspoređenih uz spoljna pročelja. Čitava arhitektonska kompozicija palate akcentovana je 42m visokom kulom na severoistočnom uglu.

Prvobitna ideja je bila da se fasada obloži opekom, ali je jednoglasnom odlukom rešeno da se umesto opeke oblaganje fasade izvede belim kamenom. ”Svako, bio stručan ili ne mora, potvrditi da je mramor na fasadi daleko lepši materijal od opeke. Zato je odlučeno da Banska palata bude obložena zbog estetike na celoj fasadi mramorom” , bilo je zvanično saopštenje graditelja, uz komentar: ,,Uostalom zamislite zgradu dužine od oko 180m od crvene cigle. To pomalo dreči”.

They used to call it a “white cruiser”. When it was built, it was the building with the largest number of windows in Europe. An imposing public building. The unique composition consists of two separate buildings. It is located in the area of little Liman, the former Boulevard of the Queen of Mary, today Boulevard of Mihajlo Pupin 16.

The construction was built next to the new boulevard, in the shape of a horseshoe base of 185m long and 42.5m wide. Its height, (except “tower”) is about 20m. The building has five floors, from the basement to the attic. It has five entrances. In the building there are 569 departments (rooms), mostly offices, arranged with outside facades. The entire architectural composition of the palace is accentuated by a 42m high tower in the northeast corner.

The original idea was to make the facade covered with bricks, but it was decided by a unanimous decision that instead of brick the facade should be made of the white stone.

“No matter whether an expert or not, everyone has to confirm that the marble on the facade is far more beautiful than the brick material. Thus, it was decided to cover the entire façade of the Banovina Palace with the marble”. That was an official announcement by the builders, with the comment: “After all, imagine a red brick building, about 180m long. It does not fit in.”

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Čitava arhitektonska kompozicija Banovine akcentovana je 42m visokom kulom na severoistočnom uglu, 1970. godina

Najviši profani objekat u Vojvodini do “soliterizacije”, 1941.godina

Monumentalno stepenište, 1944 godina

Trnovit put od blata do raskoši | Thorny Path from Mud to splendor Marko Šarac, Stanislava Vučetić

Početak razvoja područja Vojvodine počinje postepenim doseljavanjem naroda u XVIII i XIX veku. Prvobitne seoske kuće pravljene su od blata, a pokrivane su trščanim krovovima, te zbog strukture materijala nije bilo moguće ukrašavati fasade. Postepenim ekonomskim razvojem sela, razvija se i tehnologija gradnje, pa se uvode i daščani zabati, a vremenom su standardni materijali zamenjeni čerpićem, pleterom i nabojem.

Sva pravila važila su za sve, a asimilacija stanovništva i postepen uticaj različitih etničkih grupa menjaju izgled objekata. Kao finalni oblik tehnologije građenja, javlja se građenje objekata opekom, što je omogućilo izražavanje etničkih grupa ukrasima, raznim bojama, detaljima i ličnim obeležjima na zabatnim zidovima.

Sve učestalija urbanizacija, kao i nedostatak mesta socijalizacije i kulturnih sadržaja, dovode do pustošenja seoskih naselja i odlazak velikog broja mladih ljudi u veće gradove. Ipak, potrebno je očuvati seosku strukturu, ne narušavajući identitet mesta i vrednosti građene vekovima i decenijama. Delimičnom obnovom starih fasada i prenamenom seoskih objekata u nove, modernije sadržaje, inkorporirali bismo “novo u staro”, dobivši novi seoski izgled, turistički i životno prihvatljiv, dok bi se stari duh mesta (genius loci) u potpunosti očuvao kao glavni reper za dalju izgradnju.

The beginning of Vojvodina’s territory growth began all the way back in XVIII and XIX century, with the gradual settlement of different nations. Original houses had been made of mud and covered with reed roofing, both bad-structured materials; therefore houses’ facades couldn’t have been decorated. The building technology develops with villages’ economy growth, which leads to up rise of goblet walls made of wooden planks, and as the time was passing by, standard materials were replaced with new ones - unpainted bricks, rock braiding and pise.

Building rules had been the same for everyone, and structures had gotten new looks, due to assimilation and gradual influence of different ethnic groups. Houses being built of bricks appear as the final form of building technology, which provided ethnic groups new type of selfexpression, by using facade decoration, different colors and details.

More and more frequent urbanization, as well as lack of places for socializing and cultural happenings, brings to villages’ devastation and youth emigration to bigger cities.

However, it is needed to keep rural structure as it is, by not wiping out its identity and century-old values. With partial reconstruction of old iconic facades, and repurpose of rural structures into new, modern ones, we would incorporate “new and old”, getting new sights and villages’ appearances – livable and tourist-friendly, while completely keeping the old spirit of the places (genius loci), as the landmark for future building.

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Stara fotografija iz 19. veka, kuća od blata sa trščanim krovom

Primer slovačke kuće u Kisaču – jarka plava boja kao akcenat,

Primer hrvatske kuće na Petrovaradinu – blage i tople boje sa bogatim ornamentima na zabatu

Svetlo siva: Analizirana naselja Tamno siva: Okolna naselja Analizirana naselja: Crvena: Novi Sad - Čvorište kulturne staze Plava: Kisač - Slovaci Crna: Futog - Nemci Žuta: Petrovaradin : Hrvati Zelena: Budisava - Mađari Smeđa: Kovilj - Srbi

II 4 Skriveno nasleÄ‘e razliÄ?itih kultura | Hidden heritage of various cultures

Skriveno nasleđe različitih kultura | Hidden Heritage of Various Cultures umetničke fotografije segmenata graditeljskog nasleđa Novog Sada – nasleđa različitih kultura na području Novog Sada artistic photographs of the segments of the architectural heritage of Novi Sad – the heritage of various cultures in the area of Novi Sad Dinamika se ne može zaustaviti samo misaonim kategorijama.

Izvanredno sredstvo postavljanja pitanja je fotografija, budući da zaustavlja procesno. Vreme percepcije postaje ravno beskonačnom, pa nam se otvara mogućnost zapažanja i sinteze doživljenog, a svakako i konzerviranja trenutaka. Besmrtnost u tragovima.

Dynamics can be halted not just by men- tal categories; photography is an excellent tool for raising questions since it provides a paused image of the perpetual. In this moment, the perception time at hand equals the indefinite. That is, we get the chance to observe, and – last, but not least – to conserve the moment.

Novi Sad. Granica: na mestu susretanja severa i juga, istoka i zapada. Zona sukoba i suživota u prošlosti, sadašnjosti i budućnosti. Životni prostor i kategorija identiteta.

Újvidék. Border: at the meeting point of north and south, east and west. Buffer zone: regarding the past, present and future. Life space and identity category.

Fotografija. Analogno sećanje, analogija sećanja. Dve dimenzije, jedan trenutak: trgovi, ulice, ljudi, gestovi, stanja. Promene.

Photography. Analogue recollection, the analogy of recollection.

Two dimensions, one moment: squares, streets, people, gestures, states. Changes.

Moj Novi Sad. Moj grad. Moja uspomena. Uspomena ostaje. Sve ostalo se menja, formira, živi i umire. Nestaju gradske četvrti, haotično nagomilane klonirane zgrade od stiropora. Nekadašnji gradotvorni identitet iščezava.

My Újvidék. My city. My memory. The memory stays. Everything else shifts, changes. City parts disappear, cloned streets on top of one another. The once urban identity fades out.

Čuvate li grad? Upitate li se za njegovo stanje? Na paradoksalan način, ruši se upravo ono što treba da se sačuva. Ostaju požutele razglednice iz vremena monarhije, čini se jedine vredne za primerenu identifikaciju samoga grada. A osim toga nam ostaju objekti, ulice i duh lišen svakog estetskog kriterijuma, strana lica i prazni pogledi.

Are you taking care of the city? Ask of its well-being? Paradoxically, you all cry for the good ol’ times, but do not preserve it. Foxed postcards remain from the time of the Monarchy; ruins, crumbling plaster, strange faces and gesticulations from the present.

Disappearing objects, glances and memories out of negligence and intent.

dr Antal Silard

profesor Akademije umetnosti Univerziteta u Novom Sadu professor of the Academy of Arts University of Novi Sad

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III Završna reč | Conclusions

Završna reč | Conclusions Iako tradicija multikulturalizma u Vojvodini traje 300 godina unazad, danas se sve češće suočavamo sa nekom vrstom ’’dekorativnog’’ multikulturalizma, koji se odnosi na manifestacije i festivale manjinskih naroda. Postavlja se pitanje održivosti tog multikulturalizama u zajednici i društvu.

Multikulturalizam postoji u smislu mnoštva nacija koje žive na određenom prostoru. Međutim, bogatstvo koje takva sredina pruža bez kvalitetnih odnosa, uvažavanja i poštovanja, nema mogućnost da razvije svoj pravi multikulturalni potencijal.

Integracija manjina u društvo je veoma složen zadatak, bez univerzalnog rešenja. Stoga je veoma važno razviti integrativni pristup različitim kulturama, pristup koji će obezbediti njihovo prožimanje.

Upravo je to težnja projekta MULTIcultural NS.

Although the tradition of multiculturalism in Vojvodina lasts for 300 years, today we are increasingly faced with some sort of “decorative” multiculturalism, which refers to manifestations and festivals of minorities. The issue of sustainability of this multiculturalism in the community and society is being raised.

Multiculturalism exists in the sense of many nations living in a certain space. However, the wealth that such an environment provides without quality relationships and mutual respect, has no opportunity to develop its true multicultural potential. Integration of minorities into society is a very complex task, without a universal solution. It is therefore very important to develop an integrated approach to different cultures, an approach that will ensure their permeation.

This is exactly the aim of the project MULTIcultural NS. 109

CIP - Каталогизација у публикацији Библиотека Матице српске, Нови Сад 316.722(497.113 Novi Sad)(083.824) 323.15:316.722(497.113 Novi Sad)(083.824) MULTICULTURAL NS [Elektronski izvor] : nasleđe različitih kultura na području Novog Sada = the heritage of various cultures in territory of Novi Sad / [urednici] Anica Draganić, Maria Silađi ; [umetničke fotografije Silard Antal]. - Novi Sad : Faculty of Technical Sciences Način dostupa (URL): http://www.arhns.uns.ac.rs. - Opis zasnovan na stanju na dan 13.2.2018. - Nasl. s naslovnog ekrana. - “Izabrani radovi su postali deo programa MULTIcultural NS... Selektovane kulturne staze ... će biti prikazane u okviru izložbe NS CULTours u Izložbenom pavilјonu Rektorata u februaru 2018. godine” --> str. 109. - Str. 13-15: Uvodna reč ; Foreword / Anica Draganić, Maria Silađi.

ISBN 978-86-6022-027-3 a) Културно наслеђе - Нови Сад - Изложбени каталози b) Мултикултуралност - Нови Сад - Изложбени каталози HYPERLINK “http://www.vbs.rs/scripts/cobiss?command=DISPLAY&base=COBIB&RID=321181447” \n

ISBN 978-86-6022-027-3