Redefinition of Protection and Presentation of Cultural Heritage in The Process of Post-War Rehabilitation

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i
R e d e f i n i c i j a p r i m j e n e m e to d a z a t i t e i
p r e z e n tac i j e g r a d i t e l j sko g n a sl i j e a u p ro c e su
p o sl i j e r at n e o b n ov e
S lu a j a r i j sk e d a m i j e u S to cu
R e d e f i n i t i o n o f p rot e c t i o n a n d p r e s e n tat i o n
m e t h o d s o f t h e a rc h i t e c t u r a l h e r i tag e i n t h e
p ro c e ss o f p o s t - wa r r e h a b i l i tat i o n
T h e c a s e o f t h e a r i j a m o s qu e i n S to l ac
Amra HADIMUHAMEDOVI
Uvod
Introduction
Cilj ovog rada jeste izvijestiti o procesu

rekonstrucije arijske damije u Stocu, razlozima
koji pravdaju rekonstrukciju te graevine, sagraene
1519. godine i sruene 1993. godine, kao i o
metodama rekonstrukcije.
Kroz rad je iskazano nastojanje dvojnog,
komplementaronog
i
cjelovitog
pristupa
razumijevanju i vrednovanju batine sa fizikog
i metafizikog stanovita, primjenom kriterija
odreenja vrijednosti koji su zasnovani na
materijalnim iskazima i nematreijalnim sadrajima
graditeljskog naslijea.
Rekonstrukcija arijske damije u Stocu je
zvanino poela 2001. godine, ali su istraivanja i
priprema grae poeli ve 1994. godine kada je
bilo nedbvojbeno poznato da su hrvatske ratne vojne
i civilne vlasti HVO-a sruile sve stolake damije i
jo tridesetak registriranih spomenika i cjelina u tom
gradu.
Zato rekonstrukcija arijske damije u
Stocu moe biti doprinos razumijevanju pristupa
zatiti bosanskohercegovakog naslijea? Brojni su
razliiti mogui odgovori. Ovdje e biti ponueni
samo neki, koje smatramo kljunim:
1. formalni okvir koji je koriten pri
odobravanju rekonstrukcije arijske damije u
The purpose of this paper is to report on the

process of reconstruction of the arija mosque in Stolac, the reasons justifying the reconstruction of a building erected in 1519 and destroyed in 1993, and the reconstruction methods applied.
The paper sets out the attempt to achieve a
dual, complementary and comprehensive approach to
understanding and valuing the heritage, from the physical and the metaphysical point of view, using the criteria
for determining values based on the tangible expression
and intangible elements of the architectural heritage.
The reconstruction of the arija mosque in
Stolac officially began in 2001, but research and the
preparation of material began back in 1994, when it was
known beyond all possible doubt that the Croatian wartime military and civilian authorities of the HVO had
destroyed all the mosques and another thirty or so listed
monuments and ensembles in Stolac.
Why is it that the reconstruction of the arija
mosque in Stolac may contribute to an understanding
of the approach to heritage protection in Bosnia and
Herzegovina? There are several possible answers to this
question, but only those that we regard as key will be
addressed here:
1. The formal context applied in granting
approval for the reconstruction of the arija mosque
71
batina -
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Stocu bio je prototip i model praktinog provoenja

Aneksa 8. u Bosni i Hercegovini, koji je do tada
est godina nakon stupanja na snagu bio jedini dio
Okvirnog sporazuma za mir u Bosni i Hercegovini
koji nije imao ni jedan konkretan rezultat postignut
na njegovom provoenju;
2. sluaj arijske damije u Stocu bio
je jedan od nekoliko kljunih sluajeva (Ferhadija
damija u Banjoj Luci, Resulbegovia damija u
Trebinju, pravoslavni samostan u itomisliima)
koji su usmjerili utvrivanje oblika zakonskog i
institucionalnog okvira za provedbu Aneksa 8;
3. rekonstrukcija arijske damije u Stocu
je prvi sluaj da je neki od bosanskohercegovakih
spomenika koji je potpuno razoren, a njegovi ostaci
uklonjeni s mjesta na kome je bio rekonstruiran,
konsekventnom primjenom metode potpune
rekonstrukcije anastiloze i repristinacije, gdje
anastiloza nije bila mogua;
4. rekonstrukcija arijske damije je
promatrana i provoena kao dio procesa povratka
i uspostave pravde i okvira za dostupnost ljudskih
prava rtvama progona u Stocu;
5. Stoani s obzirom na injenicu da se
radi o maloj zajednici, tim pojmom oznaavamo
one kojima je Stolac mjesto porijekla i zaviaj su
nedvosmisleno i odluno zahtijevali rekonstrukciju
sruenih historijskih graevina i cjelina na istom
mjestu, u istom obliku, od istih materijala od kojih
su izvorno bili;
6. lokalna vlast je opstruirala rekonstrukciju,
a Vlada Federacije BiH je osigurala nedovoljna
sredstava za rekonstrukciju, i to tek nakon to su
radovi na njoj nezaustavljivo poeli;
7. projekat rekonstrukcije, upravljanje
projektom, nadzor, istraivanje, dokumentiranje,
dekoracija itd., i najvei dio fizikog rada na
rekonstrukciji bili su volonterski posao strunjaka i
Stoana;
8. najvei dio finansijskih sredstava osiguran
je prilozima Stoana i intelektualaca iz cijelog svijeta
koji su projekat podrali;
9. rekonstrukcija je izvoena u krajnje
tekim uvjetima, uz minimalna raspoloiva sredstva
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in Stolac was the prototype and model of practical implementation of Annex 8 in Bosnia and Herzegovina,
which up to that time six years after it came into force
was the only part of the General Framework Agreement for Peace in Bosnia and Herzegovina that had not
a single specific result to show for its implementation.
2. The case of the arija mosque in Stolac was
one of a number of crucial cases (the Ferhadija mosque
in Banja Luka, the Resulbegovi house in Trebinje, and
the Orthodox monastery in itomislii were others) intended to determine the shape to be taken by the legislative and institutional framework for the implementation of Annex 8.
3. The reconstruction of the arija mosque
in Stolac was the first instance of one of Bosnia and
Herzegovinas totally destroyed monuments, the remains of which had been removed from the site, being
subsequently reconstructed using the method of full
reconstruction - anastylosis together with repristination
where anastylosis could not be applied.
was considered and carried out as part of the returns
process and the establishment of justice and a framework for the victims of persecution in Stolac to exercise
their human rights.
5. The people of Stolac and since this is a
small town, we use the term to mean those who are natives of Stolac and whose home town it is unambiguously and energetically called for the reconstruction of
the demolished historic buildings and ensembles, on the
same sites, in the same form, and of the same materials
as they were originally built from.
6. The local authorities were obstruction the
reconstruction, and the Government of the Federation
of BiH provided insufficient funds, and then only after
the work on the mosque had reached the point at which
it could not be brought to a halt.
7. The reconstruction project, project management, supervision, research, documentation, decoration and so on, and the greater part of the physical reconstruction work, were carried out by volunteers, both
experts and local people.
8. Most of the funding was provided by the
people of Stolac and intellectuals from around the world
72
i bez mogunosti koritenja suvremenih tehnologija

i metoda istraivanja, snimanja, testiranja i obrade
materijala;
10. s
obzirom
na
nedostatnost
dokumentacije i brojnost ulomaka koji su naeni
na deponijama, proces rekonstrukcije je bio sloen,
zasnovan na metodi igre slagalice;
11. ponovna ugradnja naenog materijala
izvorne supstance - bila je istovremeno ekonomski
racionalno rjeenje i odraz jasnog metodolokog
pristupa;
12. kroz rekonstrukciju su obnovljena
lokalna znanja o tradicionalnim metodama graenja
i pripravi i obradi graevinskih materijala;
13. rekonstrukcija arijske damije je
postala poduhvat cijele lokalne zajednice Stoana,
ukljuujui i djecu, ali refleskije tog poduhvata su
dobile ire znaenje.
Odgovorni konzervator za sve faze projekta
i voditelj projekta bila je Amra Hadimuhamedovi,
arhitekta. U toku istranih radova i u toku graenja,
uspostavljena je stalna suradnja sa Zavodom za
zatitu kulturno-historijskog i prirodnog naslijea
Bosne i Hercegovine i sa Zemaljskim muzejom
Bosne i Hercegovine. Suradnici, savjetnici i autori
pojedinih faza projekta su Muhamed Hamidovi,
arhitekta, Emina Haimbegovi, graevinski
tehniar, Milorad Skoko, statiar (preliminarni
projekat na osnovi dokumentacije Zavoda za zatitu
kulturno-historijskog i prirodnog naslijea), Sead
Hodi, ekonomista, Esad Drljevi, geometar
(elaborat fotogrametrijskih mjerenja), Mustafa
Humo, statiar (izvedbeno rjeenje temelja i
krovne konstrukcije), Ahmed etka, ininjer
elektrotehnike, Rusmir Mahmutehaji, ininjer
elektrotehnike
(projekat
elektro-instalacija,
gromobranskih instalacija i elaborat zatite na radu;
pored toga, preliminarni istrani radovi, sakupljanje
i analiza arhivske grae i organizacija i promocija
projekta), Esad Veskovi, konzervator za kamen
(konzervacija ulomaka kamena koji su ponovno
ugraeni, rekonstrukcija tariha, rekonstrukcija
mihraba), Nihad engi, konzervator za zidnu i
drvenu dekoraciju, Elisa Stefanini, konzervator
73
who backed the project.

9. The reconstruction was carried out in exceptionally difficult circumstances, with the minimum
of resources and with no opportunity of using modern
technology and methods of research, surveying, testing
and treating the materials.
10. Given the lack of documentation and the
number of fragments found in various dumps, the reconstruction process was complex, and based on the
jigsaw puzzle method.
11.Reusing the materials that were found
the original substance was both the most economical solution and the reflection of a clear methodological
approach.
12. The reconstruction revived local knowledge of traditional building methods and of the preparation and treatment of building materials.
became an undertaking embraced by the entire local
Stolac community, including children, but the repercussions of the undertaking took on a much broader significance.
The conservator responsible for every stage of
the project, who was also the project manager, was Amra
Hadimuhamedovi, an architect. There was constant
cooperation during the investigative and building works
with the Institute for the Protection of the Cultural, Historical and Natural Heritage of Bosnia and Herzegovina
and with the National Museum of Bosnia and Herzegovina. The associates, consultants and designers of the
various stages of the project were Muhamed Hamidovi,
architect; Emina Haimbegovi, construction technician; Milorad Skoko, structural engineer (Preliminary
project based on documentation from the Institute for
the Protection of the Cultural, Historical and Natural Heritage); Sead Hodi, economist; Esad Drljevi,
surveyor (Study of photogrammetric surveys); Mustafa
Humo, structural engineer (working solution for the
foundations and roof structure); Ahmed etka, electrical engineer; Rusmir Mahmutehaji, electrical engineer
(Electricity installation project, lightning conductor installation and Safety at work project; in addition to the
above, R. Mahmutehaji, preliminary research works,
collection and analysis of archive material and project
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(konzervacija drveta, rekonstrukcija zidnih

floralnih dekoracija), Hazim Numanagi, kaligraf
(rekonstrukcija levhi), Lejla Hadi, arhitekta,
Medina Hadihasanovi, arhitekta, Damir Hadi,
arhitekta (suradnja na detaljnoj identifikaciji
ulomaka, grafikom dokumentiranju i grafikim
analizama, suradnja na izradi izvedbenog projekta),
Halida Mahmuehaji, arhitekta (opremanje
enterijera), Antonella Tucci, fiziar (stratigrafska
i fizika analiza maltera), Dihad Pai, arhitekta
(nadzor implementacije finansijskih sredstava Vlade
Federacije BiH), Amer Medar, graevinski ininjer
(nadzor nad provoenjem ugovora sa izvoaima),
Zahir Tuka, graevinski ininjer (organizacija
gradilita u toku istranih radova), Nermin Tuka,
graevinski ininjer (organizacija gradilita i graenja
u toku rekonstrukcije), Zoran erkez (prezentacija
projekta i pravna pitanja), Nedad erkez i Enisa
erkez (preliminirana identifikacija ulomaka), Huso
Duman i Salko Mari (organizacija i nadzor nad
volonterskim radom u pripremnoj i izvedbenoj fazi),
Amela Medar (organizacija rada sa djecom i mladima
u toku rekonstrukcije projekta), Adisa Isakovi i
Sanel Mari (administrativni i finansijski poslovi),
Ognjen Materi, mainski ininjer (grafike analize
3D rekonstrukcija), Vahid Tanovi, mainski
ininjer (instalacije grijanja), Hazim Hrvatovi,
geolog (ekspertiza o geomehanikim svojstvima tla i
ekspertiza o vrstama i osobinama izvorno koritenog
kamena, kao i o nalazatima odgovarajueg kamena
za rekonstrukciju), Slobodan Kudra, arhitektonski
tehniar (snimanje i grafike analize ostataka
damije, grafike analize dokumentacije).
Izvoenje
je
povjereno
privatnim
poduzeima Arhitekt iz Mostara, iji je vlasnik i
direktor Suada Hasanagi, arhitekta, i Karadrvo
iz Fojnice, iji je vlasnik Omer Karaahmet. Svu
stolariju u bukvi i crnom boru, osim konstrukcije,
dolafa i ulaznih vrata u damiju, izveo je runo
amil Harai iz Stoca. Ulazna vrata u damiju i
dolafi u javorovom i trenjinom drvetu izvedeni
su runo u drvorezbarskoj radionici Niki iz
Konjica. Sve dijelove od kovanog eljeza demire,
okove otvora, baglame, klinove itd., izveo je Bogdan
batina -
- heritage
organization and promotion); Esad Veskovi, stone

conserver (conservation of fragments of stone that were
re-used, reconstruction of the tarih chronogram reconstruction of the mihrab); Nihad engi, conserver
(reconstruction of murals and wood decoration); Elisa
Stefanini, conserver (wood conservation, reconstruction
of floral wall decorations); Hazim Numanagi, calligrapher (reconstruction of levhas); Lejla Hadi, architect;
Medina Hadihasanovi, architect; Damir Hadi, architect (working on detailed identification of fragments,
graphics documentation and analysis, work on drafting
the working project); Halida Mahmuehaji, architect,
interior fittings; Antonella Tucci, physicist (stratigraphic
and physical analysis of plaster and mortar); Dihad
Pai, architect (supervision of implementation of funds
provided by the Government of the Federation of BiH);
Amer Medar, structural engineer (supervision of contractors); Zahir Tuka, structural engineer (site organization
during investigative works); Nermin Tuka, structural
engineer (site organization and building during reconstruction); Zoran erkez (project presentation and legal
issues); Nedad erkez and Enisa erkez (preliminary
identification of fragments); Huso Duman and Salko
Mari (organization and supervision of volunteer work
in preparatory and executive stages); Amela Medar (organization of work with children and young people during reconstruction project); Adisa Isakovi, Sanel Mari
(administrative and financial affairs); Ognjen Materi,
computer engineer (graphic analysis 3D reconstruction); Vahid Tanovi, engineer (heating installation);
Hazim Hrvatovi, geologist (expert opinion on the geomechanical characteristics of the soil and expert opinion
on the types and characteristics of the stone originally
used and sites of suitable stone for reconstruction); Slobodan Kudra, architectural technician (survey/recording and graphic analysis of remains of mosque, graphic
analyses of documentation).
The works were entrusted to two private companies: Arhitekt, of Mostar, of which the owner and
director is architect Suada Hasanagi, and Karadrvo,
of Fojnica, owned by Omer Karaahmet. All the woodwork in beech and Austrian pine, apart from the sructure, dolafs and entrance doors to the mosque, was hand
made by amil Harai of Stolac. The entrance doors
74
Nikoli iz Stoca.
Majstori zidari, tesari i krovopolagai, kao
i njihovi pomonici, su bili Stoani. Vie stotina
Stoana pomagali su volonterski svakodnevno, u
toku dvije godine, pri izvoenju fizikih istranih
i graevinskih radova; vie stotina graana Stoca
je rekonstruciju arijske damije pomoglo
organiziranjem ishrane za radnike, organiziranjem
smjetaja za strunjake koji nisu Stoani,
organiziranjem izlobi, predavanja i predstava o
stolakom kulturnom pamenju za djecu i odrasle.
Istrane radove i rekonstrukciju su pratili i policija
UN-a i meunarodne vojne snage panski
bataljon, izraujui svakodnevno detaljne i precizne
video i fotografske snimke, sa zemlje i iz zraka, svih
nalaza i svih faza rada. Rekonstrukciji arijske
damije svoj doprinos su radom dali Bonjaci, Srbi,
Hrvati, Francuzi, Britanci, Amerikanci, Italijani
muslimani, jevreji, katolici, pravoslavci, anglikanci
i drugi. Pristup ouvanju arijske damije u Stocu
kroz proces njene rekonstrukcije u potpunosti je
odslikao meu ljudima koji su bili ukljueni u taj
proces razumijevanje naslijea na nain kako je
ono definirano lanom 2. Okvirne konvencije o
vrijednosti kulturnog naslijea za drutvo.
Historijski osvrt
Stolaka arija smjetena je u sreditu
stolake kotline, neposredno ispod utvrenog
Starog grada Stoca (u srednjovjekovnim i turskim
dokumentima spominjanog kao Vidoki), na lijevoj
obali Bregave. Dolina rijeke Bregave i stolaki
kraj bili su naseljeni u kontinuitetu od paleolita
do suvremenog doba. Najraniji tragovi ljudskog
djelovanja mogu se smjestiti 12. 000 godina unatrag
u historiju.
Nema historijskih dokumenata niti
materijalnih izvora kojima je mogue pokazati da je
sredite naselja i u jednom ranijem razdoblju bilo na
podruju sadanje arije. Sredite se, u razliitim
) Framework Convention on the Value of Cultural Heritage for Society,
Vijee Evrope, Faro, 27. oktobar, 2005.
75
and dolafs were hand made in maple and cheery wood

in the Niki woodcarving studio in Konjic. All the
wrought iron elements window bars, door and window furniture, hinges, nails etc.- were made by Bogdan
Nikoli from Stolac.
The masons, carpenters and roofers and their
assistants were all from Stolac. Several hundred Stolac
residents worked on a voluntary basis every day for two
years on the physical investigative and building works;
several hundred more Stolac residents helped in the reconstruction of the arija mosque by organizing meals
for the workers, providing accommodation for experts
not from Stolac, and holding exhibitions, lectures and
presentations for children and adults on the cultural
memory of Stolac. The investigative and building works
were also assisted by the UN police and international
military force (the Spanish battalion), who daily carried
out accurate and detailed video and photographic recordings on the ground and from the air of all the finds
and every stage of the works. Bosniacs, Serbs, Croats,
French, British, Americans and Italians Muslims, Jews,
Catholics, Orthodox Christians, Anglicans and others
all helped in the reconstruction of the arija mosque.
The approach to the preservation of the arija mosque
in Stolac through the process of reconstruction was perfectly reflected among the people involved in the process of understanding the heritage as defined by Article 2
of the Framework Convention on the Value of Cultural
Heritage for Society..
Historical overview
The Stolac arija lies in the centre of the Stolac
valley, just beneath the old Stolac fort (referred to in mediaeval and Turkish documents as Vidoki), on the left
bank of the river Bregava. The Bregava valley and the
Stolac area have been inhabited without a break since
Palaeolithic times. The earliest human traces in the area
can be dated to 12,000 years ago.
There are no historical documents or material
sources to prove that the centre of the settlement was at
) Framework Convention on the Value of Cultural Heritage for Society,
Council of Europe, Faro, 27 October 2005.
batina -
- heritage
historijskim razdobljima i razliitim drutvenoim i

politikim prilikama, premjetalo (Badanj, Vrsnik,
airi, Kotun, Daorson, Zagrad, Luka...). Stari
naseljeni toponimi koji su izravno orijentirani na
sadanju ariju su Basilije, Oanii, Dragovilje,
Humine, itd. Nekropole steaka u stolakom kraju
su brojne i velike, to svjedoi da je kraj bio gusto
naseljen. Do sada, u sreditu sadanjeg Stoca, nisu
naeni steci, ak ni kao ugraeni u dijelove kasnijih
graevina.
Ako je sadanji sredinji dio Stoca bio
u srednjovjekovnom razdoblju mjesto Stolac,
onda je taj dio u razdoblju stolake historije prije
poetka 16. stoljea bio potpuno nenaseljen, ili je
prolazio fazu diskontinuiteta. U sumarnom popisu
Bosanskog sandaka iz 1468/1469. godine, Stolac,
sa drugim imenom Viduka ili Vidoka, opisuje se
kao naselje sa 3 vinograda, 11 kua, 6 neoenjenih
i 4524 aki prihoda, i pusto mjesto Stolac/Istolce
sa dva vinograda, polovinom mlina sa prihodom od
500 aki godinje. Meutim, krajem 15. stoljea,
stolaka arija poinje svoj razvitak, oko velike
atrnje, ispred sadanje arijske damije. Vidoki
(ili utvreni Stari grad Stolac), bio je sve do polovine
17. stoljea zaputen i nekoriten, to svjedoi
da Stolac nije bio vojno-strateki vano mjesto
u prvim stoljeima Osmanske imperije. Iz jedne
bibliografske biljeke iz 1593. godine, mogue je
utvrditi da je tvrava Vidoki u vilajetu Hercegovini
1593. godine bila ruevna. Nema izvora u kojima
se spominju bojevi i bune u stolakom kraju, niti
otpori uspostavi nove vlasti. Potreba za obnavljanjem
tvrave i uspostavom strae i vojne postaje nastala je
nakon Kandijskog rata (1645-1699), kada su poeli
esti upadi uskoka iz Dalmacije u Stolac.
Poetkom 16. stoljea, zapoinje pretvaranje
u to doba nenaseljenog prostora u kasabu. Uz staru
atrnju, na mjestu Stare musalle, zapoela je gradnja
arijske damije, poznate u narodu i kao Stari
one time on the site of the present-day arija. At various historical periods and in differing social and political circumstances, it shifted from place to place (Badanj,
Vrsnik, airi, Kotun, Daorson, Zagrad, Luka etc). Old
toponyms explicitly relating to the present-day arija
are Basilije, Oanii, Dragovilje, Humine, etc. There
are many sizeable steak necropolises in the Stolac area,
which is evidence that the area was densely populated.
Thus far no steak tombstone has been found in the
centre of present day Stolac, not even built in as part of
later buildings.
If the present day centre of Stolac was the settled area of Stolac in the mediaeval period, then during
the period of Stolacs history prior to the early 16th century the area was wholly uninhabited or went through
a stage of discontinuity. In the summary census of the
Bosnian sanjak for 1468/69, Stolac, with its alternative
name Viduka or Vidoka, was described as a settlement
with three vineyards, eleven houses, six bachelors and
4524 akas revenue, and the abandoned site of Stolac/Istolce with two vineyards, half a mill with revenue of 500
akas a year. However, in the mid fifteenth century the
development of the Stolac arija began around the great
well outside the present-day arija mosque. Right up
to the mid seventeenth century Vidoka (or the fortified
old town of Stolac) was abandoned and unused, which
is evidence that Stolac was not a place of any military
strategic importance in the early centuries of the Ottoman Empire. From a bibliographical note dated 1593 it
can be ascertained that the fortress of Vidoka in the vilayet of Herzegovina was in ruins in 1593. There are no
sources referring to battles or insurrections in the Stolac
area, nor to resistance to the establishment of the new
rule. The need to restore the fortress and post guards
and a military garrison there arose following the Candian War (1645-1699) when frequent attacks on Stolac
) Azra Gado-Kasumovi, Stolac u osmanskom periodu, Hercegovina,

Mostar, 2001.
) Azra Gado-Kasumovi, Stolac u osmanskom periodu (Stolac in the

Ottoman Period), Hercegovina, Mostar, 2001
)Hivzija Hasandedi, Muslimanska batina u istonoj Hercegovini, El-Ka-
)Hivzija Hasandedi, Muslimanska batina u istonoj Hercegovini
lem, Sarajevo, 1990.
(Muslim Heritage in Eastern Herzegovina), El-Kalem, Sarajevo, 1990.

batina -
- heritage
) The earliest reference to the name Vidoka dates from 1444. It was
used to designate the Stolac nahija in Turkish documents right up to the
eighteenth century
76
mesdid, Carska damija, Damija jedanaset direka,

Damija na Tepi, a u pisanim izvorima navedenim
imenima dodaju se imena tadanjeg cara sultana
Selima Javuza. arijska damija je sagraena
1519. godine i predstavlja najstariju poznatu veu
graevinu u stolakoj ariji i jednu od najveih
damija u Bosni. Dva su objekta u damijskoj
cjelini, koja su po svemu sudei stariji od damije,
sauvani do danas. U njezinom dvoritu, lijevo
od ulaza u sofe, sauvani su stara atrnja i kamen
usmjeren prema kibli, koji je sluio kao namaz-ta.
Namaz-ta (kamen na kome se obavlja molitva na
otvorenom prostoru - kamena sedada), kao oznaka
mjesta za obavljanje molitve i usmjerenja prema
kibli, smjeten je lijevo od ulaza u damijske sofe.
Sve do 1939. godine, kada je prekriven slojem
betona, stari namaz-ta sluio je kao isti kamen na
koji niko neistom ili obuvenom nogom nije stao i
na kome je bilo osigurano mjesto klanjanja putniku
namjerniku. Postoji predaja da su jo u 14. stoljeu
u Bosni i Hercegovini postavljani slini kamenovi,
koja se u Stocu dovodi u vezu sa nazivom koji je
taj prostor zadrao - Stara musalla ili mjesto
obavljanja zajednike molitve na otvorenom, ali
to ne moe biti koriteno za utvrivanje stvarnog
vremena postavljanja kamena koji je obiljeavao
smjer kible u sreditu dananjeg Stoca. (slika 1)
U predtursko doba nalazio se na sred stolake
arije pravoslavni manastir i groblje oko njega. Pria
se da je damija sagraena na temeljima manastira
i da se ova mahala ranije zvala Carina. Navod iz
asopisa Sr, s poetka 1902. godine, koji Ivo
Banac pripisuje Milanu Reetaru, skrivanom iza
pseudonima etar, prihvaen je kroz cijelo stoljee
kao nagaanje koje se usputno spominjalo i koje
nije bilo mogue provjeriti. Nakon to je 1993.
godine sruena arijska damija i cijela arija u
Stocu, lokalne vlasti i lokalna katolika crkva su
se pozivali na navod iz Sra kada su tvrdili da
je damija bila sagraena na temeljima katolike
by fugitives from Dalmatia began.

In the early 16th century the transformation began of this uninhabited area into a kasaba or town. The
construction of the arija mosque began alongside the
old well, on the site of the old musalla. The mosque is
also known to the local people as the Old Masjid, the
Carska or Imperial mosque, the Mosque with Eleven
Pillars, the Mosque in the Tepa, and these names are
joined in written sources by the name of the then Sultan, Selim Yavuz. The arija mosque was erected in
1519 and is the oldest known sizeable building in the
Stolac arija, and indeed one of the largest mosques in
Bosnia and Herzegovina. Two structures forming part
of the ensemble of the mosque, which to all appearances
are older than the mosque itself, have survived to this
day. In the courtyard, to the left of the entrance to the
sofas (porch), an old well and a namaz-ta or stone facing
the qibla, which served as a prayer stone, have been preserved. The namaz-ta, where prayers were performed
in the open, stands to the left of the entrance to the sofas
of the mosque. Until 1939, when it was covered with
a layer of concrete, the old namaz-ta served as a clean
stone on which no one would stand who was not in a
state of purity or who was wearing shoes, and at which
passers-by had a safe place to pray. There is a tradition
that similar stones were placed in Bosnia and Herzegovina as long ago as the 14th century; in Stolac this tradition
is linked with the name the place retained, old musalla
or the place where communal prayers were performed
in the open, but this cannot be taken as confirmation of
the actual date when the stone was placed to mark the
direction of the qibla in the centre of present-day Stolac
(illus. 1).
In pre-Ottoman times there was an Orthodox
monastery and surrounding graveyard in the middle of
the Stolac arija. It is said that the mosque was built on
the foundations of the monastery and that this mahala
was previously known as Carina. This quotation from
the periodical Sr from early 1902, which Ivo Banac
ascribes to Milan Reetar, using the pseudonym etar,
was regarded throughout the century as speculation,
) Anonim, Stolac i Rizvanbegovii, Sr, Dubrovnik, I, broj 7 od 16.

aprila 1902.
) Anon, Stolac i Rizvanbegovii (Stolac and the Rizvanbegovi family),

Sr, Dubrovnik, I, no. 7, 16 April 1902
77
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crkve. Tokom 2001. godine su, prije pristupanja

rehabilitaciji sruene damije, provedena sondana
istraivanja, koja su pokazala da na prostoru objekta
damije nema dubljih slojeva, da su damijski temelji
kompaktni i raeni istovremeno sa zidovima, da na
ostacima zidova nisu vidljive promjene (zazidavanje
otvora, prezidavanje i slino). Tokom radova na
rehabilitaciji damije, snimljeni su svi iskopi koji
su raeni; u zemlji su naeni fragmenti od oko 200
niana za koje nisu postojali raniji snimci, a nije
pronaen ni jedan trag starije gradnje. Navod iz
Sra pokazao se potpuno neutemeljenim.
Uz arijsku damiju je sagraen mekteb
(sibjan mekteb) i oko nje podignut harem. Stolaka
tepa nastala je neposredno ispred damije, a okruena
je duanima koji su struktuirali ariju. Historijski
nastanak i razvoj javnih ustanova, dobrotvornih
institucija, javnih, trgovakih, proizvodnih i drugih
objekata, koji su sainjavali stolaku ariju, vezan
je za uspostavu vakufa (zaklade). Brojni stolaki
vakufi u ariji, koja se razvija od kraja 15. stoljea,
su zagubljeni i uniteni. Sauvani su uglavnom
dokumenti o zakladama koje su odrane u fizikom
obliku do 1993. godine. U Stocu i okolici registrirano
je vie od 80 vakifa, to znai vie nego u svim ostalim
hercegovakim mjestima, izuzev Mostara. Meu
stolakim vakifima najznaajnije zadubine ostavili
su silahdar Husein-paa ari, hadi Salih Buro,
Ismail-kapetan ari, hadi Alija Hadisalihovi i
Ali-paa Rizvanbegovi.
Najznaajnija graevina u ariji
musafirhana (prenoite, gostinjac) pripada vakufu
najveeg poznatog stolakog vakifa silahdara Husein
pae iz znamenite porodice stolakih kapetana aria.
U musafirhani u ariji svaki je putnik namjernik
imao osigurano besplatno prenoite i hranu.
Silahdar Husein-paa je oko musafirhane sagradio
deset duana, od ije se kirije osiguravala hrana za
namjernike i od ega se odravala musafirhana. Dio
mentioned in passing and impossible to verify. After

the destruction in 1993 of the arija mosque and the
entire arija in Stolac, the quotation from Sr was taken
up by the local authorities and local Catholic Church
when they claimed that the mosque had been built on
the foundations of a Catholic church. In 2001, extensive investigations were made prior to embarking on
the rehabilitation of the demolished mosque, which
demonstrated that there were no deeper layers on the
site of the mosque, that the mosque foundations were
all of a piece and built at the same time as the walls,
and that there were no visible signs of alterations to the
walls (walling up apertures, building on etc.) During
the rehabilitation works on the mosque all the excavations conducted were surveyed; fragments of about 200
nian tombstones were found in the soil of which there
had been no previous record, and not one trace of earlier construction was found. The quotation from Sr
proved to be entirely without foundation.
A mekteb (sibjan mekteb) or Islamic primary
school was built alongside the mosque, and a harem
or courtyard was built around it. The Stolac tepa came
into being just outside the mosque, and was surrounded
by the shops that structured the arija. The historical
origins and development of the public and charitable
institutions, public buildings, commercial and manufacturing facilities and so on, which constituted the
Stolac arija, are associated with the establishment of
vakufs or perpetual endowments. Many of the Stolac
vakufs in the arija, which developed from the late 15th
century on, have been lost or destroyed. For the most
part the documents that have been preserved are those
pertaining to properties that survived until 1993. More
than 80 vakufs were registered in and around Stolac,
more than anywhere else in Herzegovina other than
Mostar. Among the vakifs of Stolac those who left the
most significant endowments were Silahdar Huseinpasha, hajji Salih Buro, Ismail-kapetan ari, hajji Alija
Hadisalihovi and Ali-pasha Rizvanbegovi.
) vidjeti, na primjer pamflete sa okruglog stola odranog 5. septembra

2001. godine, kada je poela rekonstrukija arijske damije, objavljene
u knjizi Stolac mjesto spora umjesto razgovora, Opinsko poglavarstvo
Stoca, Ured naelnika, Stolac, 2002.
) see, e.g., the pamphlets on the round table held on 5 September 2001,
when the reconstruction of the arija mosque began, published in book
form as Stolac mjesto spora umjesto razgovora (Stolac, a Place of Discord rather
than Discussion), Stolac Municipality, Office of the Mayor, Stolac, 2002.
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78
prihoda je bio namijenjen za plau uitelja i posluge

u mektebu arijske damije. Silahdar Huseinpaa je ivio u Istanbulu krajem 16. i poetkom
17. stoljea i obavljao je visoku dunost na dvoru.
Njegovim vakufom upravljala je porodica ari.
Godine hidr. 1226 (1811), izdat je carski berat
o upravljanju vakufom silahdara Husein-pae.
U skladu sa vakufnamom, vakufom je najprije
upravljao Osman-kapetan ari, a nakon njegove
smrti Ismail-kapetan ari, a nakon njegove smrti
Husein-kapetan ari.
Stolaka arija je bila carska arija
suki sultani ili sredinji javni gradski trg, na
kome su se itale i javnosti obznanjivale carske
naredbe (fermani), vrile javne prodaje pokretne
i nepokretne imovine, pozivani ratnici u boj, i sl.
Daljnjim razvojem vakufa u Stocu, oko damije su
sagraeni duani, a jugoistono od nje prostirao se
harem. Veliki harem bio je smjeten i iza niza duana
i magaza sjeveroistono od damije.
Sjeverozapadno od ulaza u damiju, na
prostoru omeenom duanima i musafirhanom,
odravala se trgovina poljoprivrednim proizvodima.
Taj prostor zove se tepa. Tu, kao i u veini
bosanskohercegovakih arija, bili su izmijeani
sadraji sakralnih, javnih humanitarnih ustanova,
zanatskih radnji, trgovine i zelene pijace. Dio
obiajne predaje bio je pazarni dan, snaan etnoloki
Sl.1/Ill.1
Namaz-ta kamen za klanjanje usmjeren prema kibli kamena sedada
Namazta prayer stone, facing the qibla a stone prayer mat
79
The most important building in the arija

(the musafirhana) belongs to the vakuf of the greatest
known Stolac vakif (legator), Silahdar Huseinpasha of
the famous Stolac kapetan family ari. Every chance
traveller was entitled to free overnight accommodation
and food. Silahdar Husein-pasha also built ten shops
around the musafirhana, the rents from which were
used to maintain and repair the musafirhana, and part
of the revenue was also intended to pay the teacher and
staff of the mekteb of the arija mosque. Silahdar Husein-pasha lived in Istanbul in the late 16th and early 17th
century and held high office at court. His vakuf was
managed by the ari family. In 1226 AH (1811 CE) an
imperial berat (decree) was issued on the management
of the vakuf of Silahdar Husein-pasha. Pursuant to the
vakufnama, the vakuf was originally managed by Osman-kapetan ari, followed after his death by Ismailkapetan ari, and after him Husein-kapetan ari.
The Stolac arija was an imperial arija, suki
sultan, or central public town square, on which firmans
or imperial decrees were read out in public, and the public sale of movable and immovable property was conducted, soldiers were summoned to battle, and so on.
With the further development of vakufs in Stolac, shops
were built around the mosque and the harem extending
south-eastwards from the mosque. The great harem was
located behind a row of shops and storerooms to the
north-east of the mosque.
To the north-west of the entrance to the
mosque, in an area surrounded by shops and the
musafirhana, agricultural products were traded. This
was the area known as the tepa. Here, as in the majority of the arijas of Bosnia and Herzegovina, there was
a mixture of religious, public and charitable buildings,
artisans, merchants and traders and a vegetable market.
Part of everyday custom was market day, a powerful
ethnological factor in the formation of the Stolac heritage, when people from the surrounding area assembled
in the town centre and traded not only goods but also
the folk tales and customs comprised in costume, song,
the sale of hand-crafted items and dairy products made
in the traditional manner from goats, sheeps or cows
milk and meat. In Stolac this mixture of content, which
contributed to the highly public nature of the area, was
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initelj oblikovanja stolakog naslijea, kada su se u

sreditu grada okupljali stanovnici okolnih naselja, i
uz trgovinu razmjenjivali predaje, narodne obiaje,
sadrane u nonji, pjesmama, prodaji runo raenih
predmeta i na tradicionalan nain pripremljenih
proizvoda od kozijeg, ovijeg i kravljeg mlijeka
i mesa. U Stocu je mijeanje tih sadraja, to je
doprinosilo visokom stepenu javnosti prostora,
sauvano do sedamdesetih godina 20. stoljea, kada
je sagraena nova tepa na mjestu arijskog ili
Askerskog harema, jugoistono od damije.
Sredinom 17. stoljea, Stolac je postao
kadiluk i obuhvatao je nahije Viduka i Dabri.
Vremenom je stolaka arija razvijena du
rijeke Bregave, zapadno i sjeverno od sredita oko
arijske damije, koje danas nazivamo arijom
uz damiju. Mala arija razvila se uz Podgradsku
damiju, a uprijska arija je razvijena oko hamama
i uprijske damije. Nizovi privrednih i javnih
graevina povezivali su Malu i uprijsku ariju
sa Carskom i tako inili stolaku ariju. Unutar
tako razvijene arije, oko tri sredita razliite snage
u strukturi grada, kroz historiju su nastajale javne
graevine: hamam, sahat-kula, dershana, kiraethana,
mektebi i tri hana.
Na osnovi deftera iz 18. stoljea, mogue je
utvrditi da su u Stocu u to doba bili prisutni sljedei
zanati: terzije, berberi, sarai, tabaci. Stolaka arija
sastojala se od oko 150-200 duana, meu kojima
je bilo i kafana i birtija. Stolaki trgovci odravali su
trgovake veze sa Gabelom, Dubrovnikom, pa ak i
Kairom.
Krajem 19. stoljea, arijska damija i
stolaka arija su bile u loem stanju; krov damije
je bio oteen, a mnogi duani zatvoreni, to svjedoi
i o tekim ekonomskim prilikama kroz koje je Stolac
prolazio u to doba. Poetkom 20. stoljea, ariju je
zahvatio poar koji je znaajno otetio i damiju.
U samom sreditu arije, uz arijsku
damiju, prostirali su se haremi sa starim grobljima,
od kojih su najvea bila smjetena jugoistono i
sjeveroistono od damije. Godine 1955, Dravni
sekretarijat za poslove opte uprave i budeta NR
BiH, na prijedlog Narodnog odbora sreza stolakog,
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preserved until the 1970s, when a new tepa was built on

the site of the arija or Asker harem, south east of the
mosque.
In the mid seventeenth century Stolac became a kadiluk, taking in the nahijas of Viduka and
Dabri. Over time the Stolac arija expanded along
the river Bregava, west and north of the centre around
the arija mosque that is now known as the arija
by the mosque. The small arija developed alongside
the Podgrad mosque, and the uprija (bridge) arija
around the hammam and uprija mosque. Rows of
commercial and public buildings linked the small and
uprija arijas with the Carska or imperial arija to
form the Stolac arija. Within the arija in this form,
around three centres of various importance in the structure of the town over the centuries, public buildings
were erected: the hammam, clock tower, dershana where
classes were held, the kiraethana or recitation room, the
mekteb, and three hans (inns or hostels).
It has been established from 18th century defters
that at that time the following crafts were present in
Stolac: terzije (tailors in fine quality cloth), berberi (barbers or barber-surgeons who also circumcized Muslim
boys), sarai (leather workers and saddlers), and tabaci
(tanners). The Stolac arija consisted of some 150 to
200 shops, among them coffee-houses and inns. The
traders of Stolac maintained trading links with Gabela,
Dubrovnik, and even Cairo.
At the end of the 19th century the arija
mosque and Stolac arija were in very poor condition:
the roof of the mosque was damaged and many of the
shops were closed, evidence of the difficult economic
circumstances of Stolac at that time. In the early 20th
century the arija was swept by fire, which also caused
considerable damage to the mosque.
The harem with its old graves lay at the very
centre of the arija, alongside the arija mosque; most
of the graves were to the south-east and north-east of
the mosque. In 1955 the State Secretariat for General
Administrative Affairs and Budget of NRBiH, at the
proposal of the National Committee of Stolac County,
issued a ruling for the expropriation of the harem of
the arija mosque with an area of 1536 sq.m. for the
purpose of building a childrens playground. The old
80
donio je rjeenje da bude izvrena eksproprijacija

harema arijske damije u povrini od 1536 m2 u
svrhu izgradnje djeijeg igralita. Tako je uniteno
staro Askersko groblje neposredno uz damiju,
jugoistono od nje. Iste godine, Dravni sekretarijat
za poslove opte uprave i budet NR BiH donio je
rjeenje kojim se odobrava Narodnom odboru sreza
stolakog da izvri potpunu ekspropijaciju groblja
smjetenog sjeveroistono od arijske damije,
na k. . broj II/322, poznatog kao Veliki harem, u
ukupnoj povrini od 8 340 m2 u svrhu izgradnje nie
realne gimnazije u Stocu. Tokom voenja postupka
eksproprijacije, naelnik Upravno-pravnog odjeljenja
Dravnog sekretarijata pie NO-u stolakog sreza:
Molite se da preispitate obim eksproprijacije, poto je
miljenje ovog Sekretarijata da je povrina zemljita
od 8340 m2 suvie velika za navedenu svrhu. Na
to sekretar NO-a stolakog sreza odgovara: ...
Smatramo da nije prevelika, obzirom da kola treba
da ima kolsko dvorite, kao i to da se na tom prostoru
nalazi spomenik palim borcima iz II svjetskog rata.
Pri izgradnji gimnazije i spomenika palim
borcima iz II svjetskog rata sruen je niz duana i
magaza ispred Velikog harema, koji je pripadao
stolakim vakufima i predstavljao dio stolake
arije.
Mekteb u dvoritu damije je sruen u isto
vrijeme kada je vrena eksproprijacija damijskog
zemljita, a na njegovom mjestu je sagraena
prodavnica sa ravnim krovom.
Sedamdsetih godina 20. stoljea, nastavljeno
je razaranje stolake arije, kada je niz duana
zamijenjen sadanjom robnom kuom i trgovakoadministrativnim objektom, u kome je smjeten dio
opinskih slubenih prostorija.
arijska damija u Stocu bila je pravno
zatiena kao spomenik najvie vrijednosti za Bosnu
i Hercegovinu od 1952. godine, kako slijedi:
na osnovi zakonske odredbe, a rjeenjem
Zavoda za zatitu spomenika kulture i prirodnih
rijetkosti NR BiH u Sarajevu, broj 799/52 iz 1952.
godine, Careva damija u Stocu zatiena je kao
spomenik kulture;
na osnovi zakonske odredbe, a rjeenjem
81
Asker (soldiers) graveyard right by the mosque to the

south-east was destroyed in this way. That same year
the State Secretariat for General Administrative Affairs
and Budget of NR BiH issued another Ruling authorizing the National Committee of Stolac county to effect the complete expropriation of the burial ground to
the north-east of the arija mosque, on cadastral plot
II/322, known as the Great Harem, with a total area of
8340 sq.m., for the purpose of building a general programme gymnasium high school in Stolac. During the
process of expropriation the head of the Administrative
and Legal Department of the State Secretariat wrote to
the National Committee of Stolac county: Please reconsider the extent of the expropriation, since it is the view of
this Secretariat that the area of the site of 8340 sq.m. is too
large for the said purpose. The Secretary of the National
Committee of Stolac county replied: We are of the view
that it is not too large, given that the school should have
a school yard and that the monument to fallen soldiers of
World War II stands on the site.
During the erection of the high school and the
monument to fallen soldiers a row of shops and storehouses outside the Great Harem was demolished, which
belonged to the Stolac vakufs and were part of the Stolac
arija.
The mekteb in the mosque courtyard was demolished at the same time as the expropriation of the
mosque land, and a shop with a flat roof was erected on
the site.
In the 1970s the dismantling of the Stolac
arija continued when a row of shops was replaced by
the present day department store and business and office premises where part of the municipal offices were
also housed.
From 1952 on, the arija mosque in Stolac
was subject to legal protection as a monument of the
highest value for Bosnia and Herzegovina, as follows:
Pursuant to the provisions of the law, and
by ruling of the Institute for the Protection of Cultural
Monuments and Natural Rarities of NR BiH in Sarajevo, no. 799/52, dated 1952, the Careva mosque in
Stolac was protected as a cultural monument.
Pursuant to the provisions of the law, and
by ruling of the Institute for the Protection of Cultural
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Zavoda za zatitu spomenika kulture i prirodnih

rijetkosti NR BiH u Sarajevu, broj 02-833-3 iz
1962. godine, Careva damija u Stocu upisana je u
Registar nepokretnih spomenika kulture pod brojem
123;
Prostornim planom Republike Bosne i
Hercegovine do 2002. godine, arijska (Careva)
damija je evidentirana i valorizirana kao spomenik
I kategorije.
U ljeto 1993. godine, arijska damija
sa cijelom stolakom arijom je sruena, a njeni
ostaci su kamionima odvezeni u korita rijeka
Bregave i Radimlje.
Sruen je spomenik palim borcima iz II
svjetskog rata na Velikom haremu, a u njegovoj
blizini je postavljen spomenik etnikom vojvodi iz
19. stoljea, pred kraj turske vladavine, katolikom
sveeniku, don Ivanu Musiu, u iji postament su
ugraeni dijelovi kamena sruene damije.
Na Privremenoj listi nacionalnih
spomenika Komisije za ouvanje nacionalnih
spomenika pod rednim brojem 579, Careva
damija u Stocu registrirana je kao Mjesto Careve
damije i njenog bazara u starom gradu.
Federalno ministarstvo prostornog
ureenja i okolia je donijelo rjeenje (broj
UPI/02-23-2-83/01, od 26. septembra 2001.
godine) kojim se daje Odobrenje za graenje
ponovnu uspostavu damijske cjeline: arijske
(Sultan Selimove, Careve) damije sa pripadajuim
dvoritem i haremom, adrvanom, atrnjom,
ogradnim zidovima i ostalim unitenim dijelovima
graditeljske cjeline u Stocu na k.. broj: II/218,
II/219, II/220, k.o. Stolac, opina Stolac, ija
ukupna povrina iznosi 1436 m2 i koja je posjed
Islamske vjerske zajednice, Vakufskog povjerenstva
u Stocu.
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Monuments and Natural Rarities of NR BiH in Sarajevo, no. 02-833-3 dated 1962, the Careva mosque in
Stolac was entered in the register of immovable cultural
monuments under serial no. 123.
The Regional Plan for the Republic of Bosnia and Herzegovina to 2002 recorded and listed the
Careva mosque as a Category 1 monument.
In the summer of 1993 the arija mosque
and the entire Stolac arija was razed to the ground and
the remains taken away in lorries and dumped in the
Bregava and Radimlja riverbeds.
The monument to fallen soldiers of World
War II in the Great Harem was destroyed, and close
to it a monument to the nineteenth century Chetnik
military leader and Catholic priest Ivan Musi (active
towards the end of Turkish rule) was set up on a pedestal
built from the stone of the demolished mosque.
The Careva mosque in Stolac is registered as
the site of the Careva mosque and its bazaar in the old
town on the Provisional List of National Monuments
of the Commission to Preserve National Monuments,
under serial no. 579.
The Federal Ministry of Regional Planning
and the Environment issued a Ruling (no. UPI/02-232-83/01 dated 26 October 2001) granting permission
for the construction or rebuilding of the mosque ensemble of the arija (Sultan Selim, Careva) mosque and its
accompanying courtyard and graveyard, fountain, well,
surrounding walls and other destroyed elements of the
architectural ensemble in Stolac (on cadastral plots nos.
II/218, II/219, II/220, cadastral municipality Stolac,
Stolac Municipality, with a total surface area of 1436 m2
and which is the property of the Islamic Community,
Vakuf Commission of Stolac).
82
Opis graditeljske cjeline arijkse

damije
Graditeljska cjelina u ijem sreditu se nalazi
arijska damija sastoji se od damije sa haremom
i prateim sadrajima: musafirhana, Tepa, tepica sa
vagom, duani i kiraethana. Prostor arijske damije
je mjesto Stare musalle, oblikovane u formi sedade,
s vrhom usmjerenim prema smjeru klanjanja (kibli).
(slika 2)
Vrlo je vjerovatno da je nenaseljeno sredite
doline, kao njena najnia taka, odabrano za izgradnju
prve damije, oko koje je potom razvijeno naselje, sa
javnim sadrajima, neposredno uz damiju, a privatnim
smjetenim odvojeno i okrenutim prema damiji. Takav
poloaj damije u najnioj taki grada, dok su prema
njoj okrenute sve graevine koje je okruuju i koje su na
kotama viim od njenih, karakteristian je za strukturu
bosanskih gradova nastalih u ozraju muslimanske
tradicije, s obzirom da takav poloaj sredinje damije
predodreuje i oblikovanje gradskog sredita u dijelu
grada gdje se sustiu silnice gravitacije. Za razliku
od odabira mjesta damija, crkve su (i pravoslavne i
katolike) najee postavljene na najuzdignutijem
i najistaknutijem mjestu u gradu i one su okrenute
prema ostalim graevinama koje su ispod njih.
Damijsku cjelinu ine damija, atrnja,
harem uz damiju, adrvan u osovini portala, gusulhana
Sl.2/Ill.2
Osnova stolake arije sa arijskom damijom u sreditu (1)
Plan of the Stolac arija with the arija mosque in the centre (1)
83
Description of the
architectural ensemble
arija mosque
of
the
The architectural ensemble with the arija

mosque at its centre consists of the mosque, its courtyard and ancillary facilities, the musafirhana, the Tepa,
the pavilion with scales, shops, and the kiraethana. The
site of the arija mosque was that of the old musalla,
laid out in the shape of a prayer mat, with the top facing the qibla or direction of prayer (illus. 2).
It is very likely that the uninhabited centre of
the valley, as the lowest point, was chosen to build the
first mosque, around which the settlement then developed with its various public buildings immediately
alongside the mosque and private buildings separate,
facing the mosque. The siting of the mosque at the
lowest point of the town with all the surrounding buildings facing towards it on higher elevations, is typical of
the structure of Bosnian towns that originated under
the influence of the Muslim tradition, given that this
position of the central mosque determines and shapes
the urban centre in the part of the town where all the
lines of force met. Unlike the sites chosen for mosques,
churches (both Orthodox and Catholic) were usually
placed on the highest and most prominent place in
town and facing the other buildings beneath them.
The mosque complex consisted of the mosque,
the well, the harem alongside the mosque, the adrvan
fountain in line with the portal, the gusulhana (premises for laying out the dead) and the harem walls.
The arija mosque is the most common
name for the religious building in the centre of Stolac,
but it is also known as the old masjid, the mosque on
the old musalla, the mosque on the Tepi, the mosque
with eleven pillars, the Imperial mosque, and the
mosque of Sultan Selim Yavuz. It is one of the largest mosques built in Bosnia and Herzegovina in the
16th century, measuring 18.30 x 15.30 metres (the
Ferhadija in Banja Luka measured 18.33 x 14.47, the
Ferhadija in Sarajevo measures 13.85 x 17.85, the Imperial mosque in Sarajevo measures 15.32 x 15.42, the
central mosque in Cazin 18.00 x 12.40 m. etc.)
The building that survived until 1993 was one
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Sl.3/Ill.3
Dio oslikanih stabala na zidovima sofa arijske damije fotografija
koju je prije ruenja damije napravio iril Raji
Part of the painted trees on the walls of the sofas of the arija mosque
photographed by iril Raji prior to the destruction of the mosque
Sl.4/Ill.4
Skica mahfila arijske damije, sa planom bojenja, iz bloka
Mehmeda aria
Sketch of the mahfil of the arija mosque, with plan of the colours,
from sketchbook by Mehmed ari
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of the three mosques oldest in Herzegovina and among

the oldest in Bosnia and Herzegovina as a whole. The
way it was built clearly revealed the continuation of
mediaeval architecture in Bosnia and Herzegovina,
which is at its most evident in house building.
Evidence of this continuation of building style
in the area is the note of the Commission for entry in
the register of cultural monuments (reg. No. 799/52
dated 25 October 1952, registered as no. 123 pursuant
to ruling 02-833-3 dated 18 April 1962) stating that
the structure of the mosque reveals the work of local
craftsmen who made an elongated structure avoiding
a large span. All in all it can be seen that the shape of
the mosque conforms completely to the principles of
this type of construction, but that it has nothing to do
with imported building skills. On the other hand, the
mosque has deep and wide sofas, appropriate to the
climatic conditions in Stolac. The depth of the sofas
is 4.25m, somewhat less than half the span of the interior space. Although the interior gives the impression
of being a single space, structurally it is divided into
three transversal areas. The roof structure rests on the
mihrab wall, five strong wooden pillars arrayed along
the transverse axis within the space, the entrance wall,
and eight pillars on the sofas. The elongated inner
space of the mosque, despite inaccurate assertions that
it is of unusual shape, is to be seen in the majority of
early mosques. The need for a central form and square
ground plan derived from the structural regularity of
mosque building where spatial treatment imposed itself in the encounter with the Byzantine style of building monumental domed buildings of the central type.
There is not a single tradtionally built mosque about
which it can be said that the esoteric significance of its
expression is subordinate to the outward expression.
Since, consistent with the principles of ritual prayer,
the believer is directed to the centre of the world, the
qibla (particularly through the performance of the ritual prayer and the pilgrimage to the Kaaba), the longer
the mosque, the greater the number of those who can
pray in the front row and thus be closer to the qibla.
The mosque is built of semi-dressed stone from
a majdan or quarry close to Stolac, with lime mortar
as binder. The walls are about 90 cm. thick and are
84
i haremski zidovi.
arijska damija je najei naziv za sakralnu
graevinu smjetenu u sjeditu Stoca. Uz to ime koriste
se imena Stari mesdid, Damija na Staroj musalli,
Damija na Tepi, Damija jedanest direka, Carski
mesdid, Damija sultana Selima Javuza. Predstavlja
jednu od najveih bosanskohercegovakih damija
sagraenih u 16. stoljeu. Veliine njenih stranica
iznose 18.30 m x 15.30 m. (Veliine stranica Ferhadije
damije u Banjoj Luci iznose 18.33 m x 14.47 m;
Ferhadije damije u Sarajevu 13.85 m x 17.85 m,
Careve damije u Sarajevu 15.32 m x 15.42 m, Gradske
damije u Cazinu 18.00 m x 12.40 m i sl.).
Graevina koja se odrala sve do 1993. godine
predstavljala je jednu od tri najstarije hercegovake i
spadala meu nastarije damije u Bosni i Hercegovini.
U nainu njezinog graenja jasno je oslikano
produljenje srednjovjekovnog bosanskohercegovakog
graditeljstva, najjasnije itljivog u graenju kue.
O kontinuiranju naina graenja na prostoru
gdje je nastala, svjedoi zapaanje Komisije za upis u
registar spomenika kulture, u kome se kae da gradnja
damije odaje domae majstore, koji su pravili izduene
graevine, izbjegavajui velike raspone. U svemu
je vidljivo da oblik damije u potpunosti odgovara
poelima izgradnje takvih graevina, ali da se ne vee za
uvezena graditeljska umijea. S druge strane, damija
je imala duboke i prostrane sofe, to je primjereno
klimatskim uvjetima u Stocu. Dubina sofa iznosila
je 4.25 m, to je neto manje od polovine raspona
unutranjeg prostora. Iako se u unutranjosti doimala
kao jedinstven prostor, konstruktivno je bila podijeljena
na tri poprena dijela. Krovna konstrukcija se oslanjala
na mihrabski zid, 5 jakih drvenih stupova rasporeenih
po poprenoj osovini unutranjeg prostora, ulazni
zid i na 8 stupova na sofama. Izduenost unutranjeg
prostora damije, i pored pogrenih tvrdnji da se radi
o neuobiajnom obliku, prisutna je u najveem broju
ranih damija, koje su izvoene kao hipostilne dvorane.
Potreba za centralnim oblikom i etvornom osnovom
proistjee iz konstruktivnih zakonitosti izvoenja
damija ije se prostorno rjeenje namee u susretu
sa bizantijskim nainom gradnje monumentalnih
potkupolnih objekata centralnog tipa. Nema ni
85
bound with three rows of oak tiebeams. The alternating use of stone and wood is customary in traditional
Bosnian Muslim architecture, as could be ascertained
in particular after so many buildings were destroyed
between 1992 and 1996, when their inner anatomy
was revealed. (Since every form has its outward and its
inner meaning in religious architecture, the latter usually the remembrance of God, the Prophet, the angels,
the Kaba, the imams or Paradise, it is important here
to mention K. A. C. Creswells observation, based on
the earliest sources, that when the Kaba was rebuilt in
608 CE, when the Prophet Muhammad was 35 years
old, it was built of stone with inserts of horizontal layers of timber.)
The mosque has a hipped roof with hefty split
wood rafters in the shape of sloped studs. This was
probably originally clad with stone slabs, the usual
roofing for similar buildings in 16th century Stolac.
However, Hivzija Hasandedi cites the interesting fact
of an undated letter from the Nevesinje kadi sent to
the commissioner in the Gabela port ordering 3000
hollow tiles to be supplied for the Stolac mosque.
Based on historical data, Hasandedi concludes that
the letter could have been written prior to 1598. At
that time roof tiles were procured in Dubrovnik, and
the palaces of Dubrovnik were roofed with them. It
is not known whether the Stolac mosque was roofed
with the tiles that had been ordered. The northwest
pane of the roof sloped down over the sofas, and the
roof structure at that point rested on eight pillars with
moulded headtrees, on which the wooden tiebeam of
the purline rests. Against the right-hand wall of the
mosque, immediately next to the sofas, a twelve-sided
ashlar stone minaret was built, with a height of 25.8 m
to the alem (finial).
The pillars in the sofas were of hewn timber,
with an average size of 16 x 16 to 20 x 20 cm. The
stone bases of the pillars were set in hollows cut into
) K.A.C Creswell, A Short Account of Early Muslim Architecture, revised
and supplemented by James W. Allan, The American University in Cairo
Press, Cairo, 1989, pp. 3-4.
) Hasandedi, Hivzija, Sultan Selimova (Careva) damija u Stocu (the
Sultan Selim of Imperial Mosque in Stolac), Slovo Gorina, January
1996, Mostar
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jedne tradicionalno graene damije kod koje je

mogue utvrditi da su ezoterijska znaenja njezinog
iskaza podreena vanjskoj ekpresiji. Budui da je, u
skladu sa pravilima obreda klanjanja, vjernik upuen
na pribliavanje sreditu svijeta - kibli (posebno kroz
obavljanje molitve i hodoaenje Kabe), to je dua
damija, to je vei broj onih koji mogu klanjati u prvim
redovima i tako biti blii kibli.
Zidana je pritesanim kamenom iz majdana
u stolakoj blizini, vezanim krenim malterom.
Debljina zidova je bila oko 90 cm. Zidovi su bili
uvezani sa tri reda hrastovih hatula. Naizmjenino
koritenje kamena i drveta u bosanskoj tradicionalnoj
muslimanskoj arhitekturi je uobiajno, to je posebno
bilo mogue utvrditi nakon razaranja velikog broja
objekata u razdoblju 1992-1996. godine, kada je
njihova unutranja anatomija bila raskrivena. (Kako
u sakralnoj arhitekturi svaki oblik ima svoje pojavno
i svoje unutranje znaenje, koje je obino sjeanje
na Boga, Poslanika, meleke, Kabu, imame ili Raj,
tako je ovdje znaajno napomenuti tvrdnje K.A.C.
Creswella oslonjene na najranije izvore, da je pri
zabiljeenoj rekonstrukciji Kabe u 608. godini poslije
Krista, kada je poslanik Muhammed imao 35 godina,
Kaba zidana kamenom, sa umetnutim horizontalnim
slojevima drveta.) arijska damija je bila pokrivena
etverostrenim krovom, s drvenom krovnom
konstrukcijom od pritesane grae jakih presjeka u formi
kosih stolica. Izvorno je krovni pokriva vjerovatno bila
kamena ploa. Kamene ploe su uobiajni pokriva
koji je koriten na slinim graevinama u 16. stoljeu
u Stocu, a vidljiv je na svim fotografijama arijske
damije iz 19. stoljea. Meutim, Hivzija Hasandedi
navodi zanimljivu pojedinost iz nedatiranog pisma
nevesinjskog kadije upuenog povjereniku u skeli
Gabeli, u kojem se nalae da se za stolaku damiju
isporui 3000 komada eremita. Na temelju historijskih
podataka, H. Hasandedi zakljuuje da je pismo moglo
) K.A.C Creswell, A Short Account of Early Muslim Architecture, revised
and supplemented by James W. Allan, The American University in Cairo
Press, Cairo, 1989, str. 3-4.
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Sl.5/Ill.5
Kruna mihraba arijske damije sa mihrabskom levhom
Crown of the mihrab of the arija mosque with the mihrab levha
Sl.6/Ill.6
Alem na munari arijske damije
Finial on the minaret of the arija mosque
86
biti napisano prije 1598. godine. U to doba eremit

se nabavljao u Dubrovniku, i njime su pokrivane
dubrovake palate. Ne zna se da li je stolaka damija
pokrivena naruenim eremitom. Sjeverozopadna
ploha krova sputala se preko sofa, a krovna konstrukcija
se u tom dijelu oslanjala na 8 stupova sa profiliranim
jastucima, na koje je nalijegala poduna drvena greda
podronjaa. Uz desni zid damije, neposredno do
sofa, bila je postavljena dvanaestougaona munara od
klesanog kamena pjeara, visine 25.80 m do alema.
Stupovi u sofama bili su raeni od pritesanog
drveta sa presjekom veliine od 16 cm x 16 cm do 20
cm x 20 cm. Kamene baze stupova bile su postavljene u
udubljenja uklesana u velikim kamenim blokovima koji
su inili ela sofa. Podrona greda se oslanjala na stupove
preko jednostavnih sedla, visine 20 cm. Sofe su bile
poploane klesanim ploama kamena ivca, debljine 8
10 cm, a ulazni dio izmeu sofa bio je poploan
velikim kamenim blokovima ravnih hodnih povrina,
koji su ostali intaktni i nakon ruenja. Portal damije
imao je profilirani okvir raen u kamenu miljevini.
Luk portala je bio plitak i sastavljen od tri segmenta.
Na eonom kamenu bili su isklesani ekscentrino dva
motiva: malo sunce (motiv koji se pojavljuje i ispod
struka munare) i rua. Dva damijska prozora okrenuta
prema sofama imala su profilirane okvire od kamena
miljevine sa demirima. Sofe su bile oslikane prikazima
stabala, koja najvjerovatnije odraavaju svedeni iskaz
Raja. Zamisao da je oslikavanje biljnim i arhitektonskim
motivima iskaz Raja je posebno izazovna, jer postoje i
drugi pokazatelji da je damijsko dvorite ili otvoreni
prostor bio zamiljan kao prikaz Raja. (slika 3)
Unutranje dimenzije damije su bile: 9.18
m x 16.37 m, a visina sredinjeg molitvenog prostora
bila je 4.72 m. Damija je u unutranjosti imala 11
stupova, pet na koje se oslanjala sredinja stropna greda
i 6 stupova na koje se oslanjao mahfil. Dimenzije
stupova su bile od 20 cm x 20 cm do 25 cm x 25 cm.
Svi stupovi su imali kamene baze i stepenaste temelje
) Hivzija Hasandedi, Sultan Selimova (Careva) damija u Stocu, Slovo
Gorina, 1997.
) Oleg Grabar, The formation of Islamic Art, Yale University Press, New
Heaven and London, 1987, str. 127.
87
the large stone blocks that form the front of the sofas. The purlin beam rested on the pillars via simple
headtrees 20 cm in height. The sofas were paved with
bedrock stone slabs 8 to 10 cm thick, and the entrance
area between the sofas is paved with large stone blocks
forming a level footway surface, which remained intact
even after demolition. The portal of the mosque had
a moulded frame of miljevina (local limestone). The
arch of the portal was shallow, consisting of three segments. Two motifs were carved excentrically on the
keystone: a sun (a motif that reappears below the band
of the minaret) and a rose. The two mosque windows
facing onto the sofas had moulded miljevina frames
and were fitted with bars. The sofas were painted with
images of trees, probably intended to reflect a reductive expression of Paradise. The idea of a vegetal and
architectural decoration as an expresion of paradise is a
particuraly tempting one, for there are other indications
that a mosques courtyard or open area was meant to be a
sort of paradise. (illus. 3).
The interior dimensions of the mosque were
9.18 x 16.37 m, and the height of the central prayer
space was 4.72 m. The mosque interior had eleven
pillars, five supporting the central roof beam and six
supporting the mahfil. The symbolism of the number
eleven (the eleven spiritual successors of the prophet
Muhammad and the 12th in occlusion and awaited,
etc.) was often used in the architectural expression of
old mosques (for example the Handanija mosque in
Prusac) particularly those built by gnostics. Structural
analysis indicates that in most cases the eleven pillars
were not required to ensure the load-bearing capacity
of the structure, but this supports the assertions that
architectural elements did not have a solely structural
role. The pillars measure from 20 x 20 to 25 x 25 cm.
All the pillars have stone bases and graduated footings
of circular section made of quarry stone. The beams
rest on the pillars via carved wooden headtrees 40 cm
high and 25 cm deep, serving as capitals, and in the in) Oleg Grabar, The Formation of Islamic Art, Yale University Press, New
Heaven and London, 1987, p. 127. Translators note: in the absence of
the originals, the quotations to which this footnote and notes 13, 14, 15,
16, 22, 23 and 25 pertain are translations of translations, and as such I
cannot vouch for their accuracy.
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krunoga presjeka od lomljenog kamena. Grede su se

oslanjale na stupove preko drvenih profiliranih jastuka
visine 40 cm i debljine 25 cm, koji su imali ulogu
kapitela, a u unutranjosti damije njihov prelaz u
ravnu gredu tvorio je iskaz plitkih lukova koji su spajali
stupove.
Lijevo i desno od ulaza u damiju bio je
smjeten mahfil. Na desni se penjalo drvenim bukovim
stepenitem iz unutranjosti damije, a lijevom mahfilu
se pristupalo preko drvenog stepenita s lijevih sofa,
kroz mala vrata u dubini zida. Zidovi damije su bili
malterisani krenim malterom i ukraeni krupnim
levhama. Na unutranjem ulaznom zidu iznad samog
portala bila je ispisana krupna levha Mir vama, na
dijelu tog zida u visini desnog mahfila O dobri Bilal
Habei, a u visini lijevog mahfila O dobri Selman el
Farisi; na desnom dijelu mihrabskog zida Bog Uzvieni,
a na lijevom Muhammed, desno, iza mimbera Nema
boga osim Boga i Muhammed je Boiji Poslanik, lijevo
u oku Ebu Bekr i Omer, na desnom zidu Osman i
Hasan, na lijevom zidu Alija i Husein. Levhe su bile
pisane krupnim nesh talik pismom. Na svim zidovima,
pri vrhu, ispod dijela gdje okomita ravan prelazi u
drvenu tavanicu ie, bio je ispisan friz sa devedeset
i devet Boijih imena kufskim pismom. Svi drveni
dijelovi, ukljuujui i tavanicu i konstruktivne vidljive
elemente i ogradu mahfila, su bili bojeni. Pojavljivala
se plava, crvena, zelena i uta boja. Nije poznato da li
je polihromna obrada bila izvorna, ali s obzirom da je
Mehmed ari poetkom 20. stoljea obojio kameni
mihrab, sainio rjeenje bojenja kamenog mimbera,
izveo oslikane lunete sa floralnim ukrasom iznad 10
prozora, obnovio slikane elemente u trijemu, sudei po
koritenom koloritu, vjerovatno je drvo tada obojeno.
Radne skice i plan bojenja dijelova arijske damije
sauvani su u biljenici Mehmeda aria, koja je
pohranjena u biblioteci u Tenju. (slika 4) Iz tog razdoblja
vjerovatno je potjecao i friz u obliku beskonanog niza
stiliziranih floralnih elemenata, koji je stajao na mjestu
friza sa devedeset i devet Boijih imena.
Mihrab je bio kameni; tijelo mihraba je bilo
zidano u donjem pojasu od kamena ivca, a u gornjim
pojasevima od sedre, a potom malterisan krenim
malterom sa dodatkom kozije dlake i bjelanceta.
batina -
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terior of the mosque their transition to the level beam

created the expression of shallow arches linking the pillars.
Inside the mosque on either side of the entrance were two mahfils. The right-hand mahfil was
reached via a beechwood staircase in the interior of the
mosque, and the left hand mahfil via a wooden staircase from the left sofa, through a small door in the
thickness of the wall. The walls of the mosque are plastered with lime plaster and decorated with bold levhas.
On the interior entrance wall above the portal was a
levha Peace be with you, on the section of that wall at
the height of the right-hand mahfil was O worthy Bilal
Habeshi and at the height of the left-hand mahfil O
worthy Salman al Farisi; on the right side of the mihrab
wall God the Sublime and on the left Muhammad, to
the right above the mimbar There is no god but God and
Muhammad is Gods Messenger and to the left in the
corner Abu Bakr and Omar, on the right hand wall Osman and Hassan, on the left-hand wall Ali and Hussain.
The levhas were written in bold nastaliq script. On all
the walls, near the top below the transition from the
vertical face to the wooden ia (slatted) ceiling, there
was a frieze inscribed with the ninety-nine names of
God in kufic script. All the woodwork, including the
ceiling and the structurally visible elements and mahfil
railing, was painted in blue, red, green and yellow. It
is not known whether the polychrome treatment is authentic, but since Mehmed ari, working in the early
twentieth century, painted the stone mihrab, worked
out the treatment of painting the stone mimbar, executed painted lunettes with floral decoration above
the ten windows, and renovated the painted elements
in the sofas, judging from the palette chosen, the wood
was probably painted at that time. Working drawings and a plan for the painting of parts of the arija
mosque have been preserved in aris notebook, which
is kept in the library in Teanj (illus. 4). The frieze in
the form of an endless series of stylized floral elements,
which was where the frieze with the 99 Names of God
is, probably also dated from that time.
The mihrab was of stone, with the lower part
of the body of the mihrab built of bedrock, and the
upper part of tufa, which was then plastered over with
88
Vidljivi dio mihraba na kome su izvedene klesane

profilacije bio je raen u kamenu miljevini. Okvir
mihraba je bio profiliran. U donjem dijelu nie
pojavljivali su se kanelirani pilastri, iznad kojih su se
nizali sedam horizontalnih pojaseva koji su se smicali
i susticali u jednoj taki u poetnoj ravni zida. Svaki
pojas je bio izdijeljen na pravougaona, u kamenu
uklesana, polja. Kruna mihraba je imala polukruni
konveksni zavretak, koji je na bonim stranama
prelazio u blago izvijene konkavne lukove. U sredini
krune je bilo uklesano sjedite za levhu na kojoj je nesh
talik pismom pisalo: On. Mihrab je bio naknadno
bojen i u njegovoj dekoraciji prepoznavali su se utjecaji
baroka. (slika 5)
Mimber je bio kameni, klesan u velikim
komadima kamena ivca. Nije poznat slian primjer da
je mimber klesan u tako tvrdom kamenu.
urs je bio drveni.
Uz desni zid damije je bila prigraena
kamena prizmasta munara visine 25.80 m do alema.
Visina munare sa alemom iznosila je 27 m. Munara je
bila raena od klesanog kamena, vezanog tankoslojnim
malterom i eljeznim klanfama, zalijevanim zagrijanim
olovom. Iznad struka, munara je bila ukraena
dvostrukim nizom stiliziranih cvjetova lala. Isti motiv
se ponavljao ispod tordiranog vijenca pod erefom. U
gornjem dijelu baze, ispod struka munare, pojavljivali
su se prelomljeni lukovi u kojima je bio isklesan niz
motiva visoke simbolike vrijednosti (mjesec, zvijezda,
rozete, Davudova zvijezda, estokraki kri, prijestolje
ili Poslanikov trostepeni mimber, o emu e dodatno
biti govora u kasnijim dijelovima teksta). Ograda
erefe je bila puna, kamena, sa profiliranim gornjim i
donjim zavrecima. up munare bio je pokriven sa tri
niza kamenih ploa, koje su se meusobno preklapale
) O sastavu tankoslojnog maltera koji je koriten za spajanje klesanih
dijelova kamena pri zidanju damija posebno munara, portala i mihraba, mogue je nai zapise i u kartonima Zavoda za zatitu kulturnog
i prirodnog naslijea Bosne i Hercegovine o registraciji damija iz 15. i
ranog 16. stoljea (Turhan Emin-begova damija u Ustikolini, na primjer). Taj su malter tradicionalni graditelji nazivali luum i pravili su
ga mijeanjem maslinovog ulja, negaenog krea i pamuka, sve dok ne
dobiju finu smjesu. Tragovi luuma naeni su u donjim intaktnim slojevima arijske damije u augustu 2001. godine.
89
lime plaster with an admixture of goat hair and eggwhite. The visible part of the mihrab, with carved
mouldings, was worked in sandstone-miljevina. The
frame of the mihrab was moulded. In the lower part
of the niche were grooved pilasters, above which were
seven horizontal bands converging into a single point
at the start of the flat wall. Each band was divided into
rectangular panels carved into the stone. The crown
of the mihrab terminated in a semicircular convexity
grading to the sides into slightly curved concave arches. At the centre of the crown a place was cut for a
levha written in nastaliq: He. The mihrab was painted
later, the decoration showing the influence of the baroque (illus. 5).
The mimbar was made of large blocks of bedrock. There is no other known example of a mimbar
made of such hard stone.
The urs was made of wood.
The stone minaret of prismatic section, 25.80
m. high to the finial, and 27 m high overall, was built
against the right hand wall of the mosque. It was built
of ashlar stone set in a thin layer of mortar binder10
and held together with iron cramps set in lead. The
minaret was decorated above the waisted section with
double rows of stylized tulip flowers. The same motif
appeared below the twisted cornice under the erefe
(balcony). In the lower half below the waisted par of
the minaret were depressed arches in which a number of
motifs of powerful symbolic value were carved (moon,
star, rosette, star of David, six-armed cross, throne or
the Prophets stepped mimbar, on which more later).
The parapet of the erefe was solid stone with moulded
upper and lower edges. The cone of the minaret was
roofed with three rows of overlapping stone slabs held
10) There are records of the composition of the thin layer of mortar used
to bind the cut stone elements when building the mosque in particular
the minaret, portal and mihrab in the files of the Institute for the Protection of the Cultural, Historical and Natural Heritage of Bosnia and
Herzegovina on the registration of 15th and 16th century mosques (for
example, the Turhan Emin-bey mosque in Ustikolina). This mortar was
called luum by traditional craftsmen, who made it by mixing olive
oil, unslaked lime and cotton until they achieved a fine blend. Traces of
luum were found in the lower, intact courses of the arija mosque
in August 2001.
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i koje su bile stegnute sa tri elina prstena. Na vrhu

munare je bio alem, raen u bakru, sa pet jednakih
jabuka, prenika 19 cm. Alem je zavravao pljosnatim
bakarnim motivom arapskim pismom kaligrafski
savijenim rijeima O Boe u obliku lista sa vrhom
okrenutim prema nebu. Taj motiv su tradicionalni
majstori nazivali japrak (list) i uvijek je bio okrenut
tako da se slova proteu popreno na osovinu mihraba.
(slika 6)
U damiji se uvala jedna kaligrafska diploma
iz hidr. 1271 (1854/1855) godine, koju su izdali
kaligrafu Mustafi Hilmiji njegova dva uitelja: Saatdizade (Sahaia) Ibrahim Remzije i Hajrullaha Hajrije,
uenika Muhameda Tahira. Diploma je bila ispisana na
papiru veliine 27cm x 34 cm. Tekstovi su bili uokvireni
biljnim ornamentima u vie boja. (Mujezinovi, 1998,
str. 365-366)
Stara atrnja pred damijom duboka je 11 m.
Nadsvoena je i u unutranjosti obloena malterom
spravljenim od masnog krea i zemlje crvenice.
adrvan pred damijom izgradio je 1909.
godine hadi Salih Behmen. Bio je graen od kamena
i sastojao se od male kamene zdjele iz koje se voda
prelijevala u bazen osmougaone osnove. Na svakoj
stranici zida bazena bila je po jedna slavina. adrvan
je bio natkriven atorastim krovom na osam voda,
pokrivenim limom, koji se oslanjao na osam drvenih
stupova vezanih lukovima.
Gasulhana je bila locirana u haremu damije,
gdje je interpolirana 1967. godine. Objekat je imao
prilaze sa ulice i iz avlije, ime je bilo omogueno
nesmetano obavljanje obreda pripreme tijela umrlih za
njihovu sahranu.
Objekat je ima etverostreni krov pokriven
kamenom ploom, dersovane kamene zidove, demirli
prozore i lune okvire vrata. Kao zid objekta bio
je iskoriten postojei avlijski zid. Enterijer je bio
prilagoen namjeni objekta.
Interpoliranjem gusulhane nije bila naruena
cjelovitost damijskog kompleksa.10
Harem damije je nakon razaranja i
10) Zavod za zatitu spomenika kulture Mostar, Gusulhana u Carevoj
damiji u Stocu, nacrti, predraun, arhiva i spiskovi priloga, 1967.
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together by three steel rings. The alem that tops the

minaret is copper, with five equal-sized pommels 19 cm
in diameter and ending in an upward-pointing copper
leaf motif etched with the words O God in Arabic calligraphic script. Traditional craftsmen called this motif
the japrak; it was always oriented so that the letters ran
transverse to the axis of the mihrab (illus.6).
A calligraphic diploma dating from 1271
AH (1854/55 CE) was kept in the mosque; this was
issued to the calligrapher Mustafa Hilmija by two of
his teachers, Saatdi-zada (Sahai) Ibrahim Remzija
and Hajrullah Hajrija, a pupil of Muhamed Tahir. The
diploma is written on paper measuring 27 x 34 cm
and the texts are framed in polychrome floral designs
(Mujezinovi, 1998, pp. 365-366).
The old well outside the mosque is 11 m deep.
It is roofed over, and the interior is plastered with a
mixture of rich lime and terra rossa.
The adrvan fountain outside the mosque was
built in 1909 by hajji Salih Behmen. It was built of
stone and consisted of a small basin from which the
water flows into a larger, octagonal one, with a spigot
on each of the eight sides. It had an eight-paned pyramidal roof with sheet metal covering, supported by
eight wooden pillars linked by arches.
The gusulhana was in the mosque harem,
where it was added in 1967. The building could be
entered from the street and from the courtyard, so that
the ritual of laying out the dead before burial could be
carried out without interruption.
The building has a hipped roof clad with
stone slabs, stone walls with the pointing left exposed,
barred windows and an arched door frame. The existing courtyard wall was used as one wall of the building. The interior was arranged to suit the use of the
building.
The interpolation of the gusulhana was not
detrimental to the integrity of the mosque complex.11
After its destruction and expropriation, the
mosque harem was altered. The state of the harem prior
11) Institute for the Protection of Cultural Monuments of Mostar, Gusulhana u Carevoj damiji u Stocu (Gusulhana in the Imperial mosque in
Stolac), drawings, computation, archives and list of enclosures, 1967.
90
eksproprijacija izmijenjen. Stanje harema prije

razaranja 1993. godine opisuje Mehmed Mujezinovi i
kazuje da harem okruuje damiju sa tri strane i sastoji
se od nekoliko desetina niana. M. Mujezinovi je
evidentirao 27 niana, od kojih su pet imali natpise.
Najvei broj niana su osmougaone osnove i izraeni su
od granitnog kamena. Neki od niana su visoki i preko
2 m. Autor Islamske epigrafike u Bosni i Hercegovini
nije mogao utvrditi kada je poelo sahranjivanje u
haremu, ali na fragmentu jednog niana je proitao
rijei: Ruhiun el-Fatiha, sene 1071, na osnovi ega
je zakljuio da je najstariji sauvani datirani nian
iz hidr. 1071 (1660) godine. Najmlai evidentirani
nian potjee iz hidr. 1295 (1878) godine. 11
V r i j e d n o s t a r i j sk e d a m i j e
u sl i c i S to c a
to the destruction in 1993 is described by Mujezinovi.

The harem surrounds the mosque on three sides and
consists of several dozen nian tombstones. According
to M. Mujezinovi, 27 nians were recorded, of which
five had epitaphs. In the old days prominent Stolac
inhabitants used to be buried in the mosque harem.
Most of the nians are octagonal in section and made
of granite. Some of them are more than 2 m. tall. The
author of Islamska epigrafika u Bosni i Hercegovini (Islamic Epigraphics in BiH) was unable to determine
when burials first began in the harem, but was able
to make out the words Ruhiun el-Fatiha, sene 1071
on part of one of the nians, which suggests that the
oldest dated tombstone dates from 1071 AH (1660
CE). The most recent to be recorded dates from 1295
AH (1878).12
Value of the arija Mosque in the
Image of Stolac
arijska damija
u Stocu predstavlja
sredite grada i mjesto koje u njegovoj strukturi ima
najsnanije znaenje. Ona je, svojim prostornim
odreenjem, svojim poloajem, svojim odnosom
prema svim ostalim initeljima strukture Stoca, vor
u koji je svezana struktura cijelog grada. Taj znaaj
koji arijska damija ima za grad, s obzirom na
usmjerenost suvremene misli na cjelovitost iskaza
materijalnog i nematerijalnog naslijea, vei je nego
njen znaaj za historiju stila i razvoj tipa sakralnih
graevina u Bosni poetkom 16. stoljea. arijska
damija je i u slici Stoca jedan od njenih najznaajnijih
odreditelja. (slike 7 i 8)
Slika grada je sloeno i najuvjerljivije
odreenje grada. Ona ne proistie iz istog oblika;
njeno znaenje predstavlja akumulaciju slojevitih
prostornih i vremenskih meudjelovanja u svakom
gradu. Sliku grada, kako to tvrdi K. Lynch, oblikuje
uzajamni odnos svakog pojedinca i njegovog
okruenja. Ona sadri i predanja, i zvuk, i boje i
imena; ona je saetak tvarnog i neopipljivog naslijea.
U njenom odreenju najznaajniju ulogu ima sakralna
topografija svakog mjesta. Sakralna topografija
The arija mosque in Stolac is the centre of

the town, and the place with the greatest significance
in its structure. In its layout, position, and relationship
with every other factor in the structure of Stolac, it constitutes the hub of the entire structure of the town. The
importance of the arija mosque for the town, in the
light of present-day ideas on the integrality of expression
of the tangible and intangible heritage, is greater than its
importance for the history of style and the development
of types of religious buildings in Bosnia in the early 16th
century. The arija mosque is also one of the one of
the most significant features of the image of Stolac (illus.
7 and 8).
The complex image of a town is its most persuasive attribute. It does not derive purely from form;
in every town or city, its importance is composed of
an accumulation of stratified spatial and temporal interactions. The image of the city, as K. Lynch puts it,
is shaped by the interrelationship between every individual and their environment. It consists of tradition,
and sound, and colour, and names; it is the sum of the
11) Mujezinovi Mehmed, Islamska epigrafika BiH, knjiga III, Sarajevo,

1998, str. 367-368.
12) Mujezinovi Mehmed, Islamska epigrafika BiH, bk. III, Sarajevo,

1998, pp. 367-368.
91
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Sl.7/Ill.7
Snimak jugoistone fasade arijske damije u sklopu dokumentacije kojoj pripada i slika 7
Blueprint of the south-east facade of the arija mosque, part of the
documentation to which illus. 7 also belongs
Sl.8/Ill.8
Snimak sjeverozapadne fasade arijske damije, koji je sainio
arhitekta Ismet Serdarevi 1958. godine. Snimak obuhvata detaljne
arhitektonske crtee i sastavni je dio dokumentacije Zavoda za zatitu
kulturnog i historijskog naslijea Bosne i Hercegovine.
Blueprint of the north-west facade of the arija mosque by architect
Ismet Serdarevi in 1958. The blueprints include detailed architectural drawings and form an integral part of the documentation of the
Institute for the Protection of the Cultural and Historical Heritage of
Bosnia and Herzegovina.
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material and the intangible heritage. Its most important

feature is the religious topography of each place. The
religious topography is also the most enduring factor of
the temporal and spatial totality of every town or city.
The array of sacred meanings in the town determines its
structure and, in giving the town direction, shapes the
topography of each individual house.
Considering only the separate components of
human settlements, including buildings, is detrimental
to the integrity of a scientific approach to the heritage,
and paves the way for reducing the approach to a purely
artistic evaluation of architecture. In this article, it is
important to highlight the focus on two broad areas in
the definition of the heritage (1) architectural and cultural landscapes, and (2) the intangible components of
the material heritage, bearing in mind that more than
merely assemblages of bricks and mortar, buildings are invested with meaning 13 The subject under consideration in this article is the centre of the town of Stolac
a place of continuity and change, a human settlement
with the longest-lasting continuity of traces of culture in
Bosnia. For more than half a millennium, the arija
mosque was the attribute of that centre. The approach
that this article seeks to advance is best matched by the
elements determining settlements given by N. Egenter.
In line with this, a settlement is described by its material
appearance, its physical location and its environment,
its sacral topography, rituals and beliefs, and other customary modes of conduct of its inhabitants, its social
structure, and its local history.14 This approach has been
adopted in order to initiate a discussion on the justifiability, not only of the arija mosque in Stolac, but
also of other buildings forming part of the architectural
heritage that shaped the cultural landscape and the cultural memory in Bosnia, and that were destroyed during
the war.
It is of crucial importance here to remind that
13) Whelan, Yvonne, Mapping Meanings in the Cultural Landscape,
Senses of Place: Senses of Time (ed. G. J. Ashworth and Brian Graham,
Ashgate, Hants, 2005, p. 67.
14) Egenter, Nold, ARCHITECTURAL ANTHROPOLOGY Structure and Method - an Introduction to the International Congress of Anthropological and Ethnological Sciences Mexico City/ Mexico Session
>Architectural Anthropology August 4th 1993
92
je istovremeno i najistrajniji initelj vremenske i

prostorne ukupnosti svakog grada. Raspored svetih
znaenja u gradu odreuje njegovu strukturu i,
dajui smjer gradu, oblikuje topografiju svake kue
pojedinano.
Promatranje pojedinanih dijelova ljudskog
naselja, pa makar su oni i graevine, razara cjelovitost
naunog pristupa naslijeu i otvara mogunost
svoenja tog pristupa na puko umjetniko ocjenivanje
arhitekture. U ovom radu je znaajno naglasiti
usmjerenost na dva iroka polja definiranja naslijea
(1) graditeljski i kulturni pejzai i (2) nematerijalne
komponente materijalnog naslijea, imajui u vidu
da: vie nego to su samo slaganje opeka i maltera,
graevine su proete znaenjem...12
Predmet promatranja ovog rada je sredite
grada Stoca mjesta kontinuiteta i promjena - ljudskog
naselja sa najdubljom istrajnou kontinuiteta
tragova kulture u Bosni. arijska damija je vie
od pola milenija odreditelj tog sredita. Pristupu
koji se ovim radom namjerava afirmirati najvie
odgovaraju elementi odreenja naselja koje daje N.
Egenter. U skladu s tim, naselje je opisano: njegovom
materijalnom pojavnou, njegovim prostornim
poloajem i neposrednim okruenjem, njegovom
sakralnom topografijom, obredima i vjerovanjima
i drugim obiajnim ponaanjima njegovog
stanovnitva, njegovom socijalnom strukturom i
njegovom mjesnom historijom.13 Ovaj pristup je
koriten kako bi bila otvorena rasprava o opravdanosti
ne samo arijske damije u Stocu, nego i ostalih u
ratu sruenih objekata graditeljskog naslijea, koji
su oblikovali i kulturni pejza i kulturno pamenje
u Bosni.
Ne postoje dogaaji i djelovanja bez konteksta
odreenih mjesta. Mjesta su tako utkana u strukture
there are no events or actions without the context of specific places. As Edward Relph stated we have to bear in
mind that places are thus woven into the structure of intent
of the whole of human consciousness and experience.15
The arija mosque in Stolac is a place that,
in its relationship with all the other components of
the image of the town facing towards it, determines
the home town. For the people of Stolac, regardless of
where they are living and working, this home town is
the determining factor of their roots, their sense of belonging, and their identity. The profound attachment
to the homeland appears to be a worldwide phenomenon.
It is not limited to any particular culture or economy. It
is known to literate and nonliterate peoples, hunter-gatherers, and sedentary farmers, as well as city dwellers.16
Ones homeland or home town is a given, the value of
which is multiplied when it is lost or inaccessible. In
the summer of 1993, when the people of Stolac were
being subject to persecution, killings and deportation,
the deliberate physical destruction of their hometown
was also being carried out.
In theoretical considerations of architectural
anthropology, the presence of semiotic architecture has
been identified since the most ancient times of human
activity. Given its durability, its meaning in determining a town is of considerable importance. Semiotic architecture consists of the buildings within a settlement
as a whole that mark out space, determine its central
point, and compose signs within the urban landscape.
Their function is inseparable from the social, cultural
and religious features of the landscape, as a result of
which buildings of semiotic architecture often coincide
with the central religious buildings of the town.17 In the
history of a town, the central religious buildings constitute the zero point, as is the house to the individual,
12) Whelan, Yvone, Mapping Meanings in the Cultural Landscape,

Senses of Place: Senses of Time (ed. G. J. Ashworth i Brian Graham, Ashgate, Hants, Bulingto, 2005, str. 67.
15) Edward Relph, Place and Placelessness, Pion, London, 1976, p. 42.
13) Egenter, Nold, ARCHITECTURAL ANTHROPOLOGY Structure and Method - an Introduction3th International Congress of Anthropological and Ethnological Sciences Mexico City/ Mexico Session
>Architectural Anthropology August 4th 1993
17) Nold Egenter, ARCHITECTURAL ANTHROPOLOGY Structure

and Method an Introduction, 13th International Congress of Anthropological and Ethnological Sciences Mexico City/ Mexico Session >Architectural Anthropology August 4th 1993, p. 21.
93
16) Yi-Fu Tuan, Space and Place The Perspective of Experience, The
University of Minnesota Press, Minneapolis, 2005, p. 154
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namjera itave ljudske svijesti i iskustva.14

arijska damija u Stocu je mjesto koje,
u odnosu sa svim drugim sadrajima slike grada
koji su joj usmjereni, odreuje zaviaj. Taj zaviaj
je za Stoane, bez obzira na mjesto njihovog rada i
stanovanja, odredite ukorijenjenosti, pripadanja
i identiteta. vrsta vezanost za zaviaj je prisutna
kao pojava u cijelom svijetu. Ona nije ograniena ni
za jednu kulturu niti privredu. Poznata je pismenim
i nepismenim narodima, lovcima, i zemljoradnicima,
jednako kao i stanovnicima gradova.15 Zaviaj je
datost ija vrijednost biva umnoena onda kada
je izgubljen ili nedostupan. U ljeto 1993. godine,
kad su Stoani bili izloeni progonima, ubijanjima i
deporatciji, provoen je program i fizikog unitenja
njihovog zaviaja.
U teoretskim razmatranjima arhitektonske
antropologije utvrena je prisutnost semiotike
arhitekture od najranijih stadija ljudskog djelovanja.
Njeno znaenje u odreenju grada je, s obzirom na
trajnost i istrajnost, od visoke vanosti. Semiotika
arhitektura predstavlja one graevine unutar cjeline
naselja koje obiljeavaju prostor, utvruju njegove
sredinje take i ine znake unutar gradskog pejzaa.
Njihova funkcija je neodvojiva od drutvenih,
kulturnih i religijskih odreditelja tog pejzaa, pa se
objekti semiotike arhitekture esto podudaraju sa
sredinjim sakralnim objektima.16 Sredinji sakralni
objekti u historiji grada ine nulte take, kako kuu
za pojedinca definira Oto Fridrih Bollnow17 to
jest take odlaska i dolaska, izlaska i ulaska, take
razumijevanja poetka i kraja grada.
as defined by Otto Friedrich Bollnow18 the point of

departure and arrival, exit and entry, the point of understanding the beginning and end of the town.
A town or city is not a homogeneous space.
Its structure can be determined by Aristotles dualities
of polarization: right-left, in front-behind; above-below.
From the point of view of the urban structure, however,
a town is defined above all by the places that mark the
hubs within it. The hierarchy of places of central significance in a town, even when not reflected in the hierarchy of forms of urban architecture, generates hierarchical relationships in the structure of the urban space.
The arija mosque in Stolac also known as
the Careva or Imperial mosque was built in 1519 on
the site of a musalla, a place of prayer and supplication
to God. The two inscriptions above the entrance to the
mosque provide crucial details of its construction and
renovation. The originals were in Turkish; the following
is an English translation [made from the Bosnian translation of the Turkish original: trans.]:
This mosque was built by Sultan Selim-khan
In 925 AH [1519]
16) Nold Egenter, ARCHITECTURAL ANTHROPOLOGY Structure

and Method - an Introduction, 13th International Congress of Anthropological and Ethnological Sciences Mexico City/ Mexico Session >Architectural Anthropology August 4th 1993, str. 21.
The light-filled mosque of lord Sultan Selim-khan,

conquerer of Egypt, was built in fine fashion,
but there came the need for repairs,
and everyone anxiously awaited its renovation;
and thus benefactors did renovate it in the name of God.
May Gods guidance and goodness be with them ever!
This edifice is painted with fine adornments
and resembles a beauty clad in silken garments.
The vaults of this mosque soar to the heights
and its foundations rest on sincerity.
No wonder the Eternal Abode itself envies its beauty!
Vehbija, may all those who devoted their efforts to renovating it
be ascribed a great award in the book of resurrection!
The renovation of sultan Selims mosque is expressed in a
17) Navedeno prema Nold Egenter, Otto Friedrich Bollnows Anthropological Concept of Space, 5th International Congress of the
International Association for the Semiotics of Space, Hochschule der
Knste Berlin, June 29 - 31, 1992, www.home.worldcm.ch~negenter/
012BollnowEH.html
18) Quoted from Nold Egenter, Otto Friedrich Bollnows Anthropological Concept of Space, 5th International Congress of the International Association for the Semiotics of Space, Hochschule der Knste Berlin, June
29 - 31, 1992, www.home.worldcm.ch~negenter/012BollnowEH.html
14) Edward Relph, Place and Placelessnes, Pion, London, 1976, str. 42.
15) Yi-Fu Tuan, Space and Place The Perspective of Expiriance, The
University of Minnesota Press, Minneapolis, 2005, str. 154.
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94
Grad nije homogen prostor. Njegova

struktura odrediva je Aristotelovima dvojinama
polarizacije: desno-lijevo, ispred-iza, ispod-iznad.
Meutim, gledano sa stanovita urbane strukture,
grad je odreen prije svega mjestima vorinog
znaenja u njemu. Hijerarhija mjesta sredinjeg
znaaja u gradu, i kad nije oslikana u hijerarhiji oblika
gradske arhitekture, proizvodi hijerarhijske odnose u
strukturi gradskog prostora.
arijska damija u Stocu poznata i kao
Careva damija - sagraena je 1519. godine. Na
tom mjestu postojala je musalla, mjesto klanjanja i
obraanja Bogu. Iz dva natpisa iznad njenog ulaza
saznajemo i najvanije podatke o njezinom graenju i
obnavljanju. Ti natpisi su izvorno na turskom jeziku,
a ovdje su dati u prevodu na bosanski:
Ovu damiju podigao je sultan Selim-han
Hidretske 925 (1519) godine
Svijetla damija gospodina sultana Selim-hana,
osvajaa Misira,
sagraena je na lijep nain,
ali dospje do potrebe za popravkom,
pa joj obnovu i podizanje svi eljno ekahu;
tako, initelji dobra je, u ime Boga, i obnovie.
Neka ih, zato, vazda prate Boija uputa i dobrina!
Lijepim uresima oslikano je ovo zdanje,
Pa slii ljepotici odjenutoj u dibu.
Svodovi ove damije uzdiu se visoko,
A temelji su joj na iskrenosti.
Nije zaudno ako joj na ljepoti zavidi i Nastanjena kua!
Vehbijo, svima koji uloe trud za njezinu obnovu,
neka se ogromna nagrada upie u knjigu oivljenja!
Obnovi sultan Selimove damije izreen je hronogram:
Ushitna obnova visoke damije u novom nainu!
Godina 1203 (1788)
Svojstveno je ljudskim zajednicama da svoj
zaviaj smatraju svojim sreditem univerzuma.18 Taj
odnos prema zaviaju iskazan je u geometrijskom
18) Yi-Fu, Tuan, Space and Place The Perspective of Expiriance, The
University of Minnesota Press, Minneapolis, 2005, str. 149.
95
chronogram:
the rapturous renovation of the mosque in a new mode!
1203 (1788).
One of the features of human communities is

that they regard their homeland as the centre of their
universe.19 This attitude towards the home town is expressed in the geometric order of the layout of Stolac.
In this layout, the arija mosque is at the centre of an
astronomically determined spatial system. It stands at
the very centre of the three-branched layout of the town
(illus. 9). The town developed in a valley, with its first
branch towards the south, its second north-eastwards,
and its third to the north-west. The mosque is at the
centre of gravity of the urban space, and as such marks
the starting-point of the town. It is the point at which
all trajectories converge. Visible from every part of the
town, standing at its lowest point, it is a place of inspiration and direction. In the sacred topography of Stolac,
it denotes the supreme value of local ontology and the
most significant feature in the quality of place, surroundings, form of the landscape, which has always
been generated in an unrepeated mutuality of the resident-town relationship.20 More than any other symbol,
it is the means by which the town and its inhabitants are
identified. Places with this meaning, religious places in
every town and city, provide the indicators needed to
reveal how the local population interprets its surroundings.
The arija mosque in Stolac is a marker and a
centre, and is thus of the nature of semiotic architecture.
It is a place of worship through the location of which
the customary continuation of religious meaning in the
topography of every town is reflected.
The entrance area faces the river. In front is the
central town square; to the right and left are the streets
along which the two urban subcentres Podgrad and
uprija are located. The entrance face of the mosque
19) Yi-Fu, Tuan, Space and Place The Perspective of Experience, The
University of Minnesota Press, Minneapolis, 2005, p. 149.
20) Egenter, Nold, ARCHITECTURAL ANTHROPOLOGY Outlines of
a constructive human past, International Semiotic Spectrum publication
of the Toronto Semiotic Circle Nr. 14 (Sept. 1990)
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redu planske osnove Stoca. arijska damija je u toj

osnovi u sreditu astronomski odreenog prostornog
sistema. arijska damija se nalazi u samom sreditu
trokrako razvijanog grada. (slika 9) Grad se razvijao u
uvali sa prvim krakom prema jugu, drugim prema
sjeveroistoku i treim prema sjeverozapadu. Ona je
u teitu sredinjeg gradskog prostora i tako oznaava
mjesto poetka grada. Ona je taka u koju se slijevaju
sve putanje. Vidljiva sa svih strana grada, smjetena u
njegovu najniu taku, predstavlja prostor ulijevanja
i usmjerenja. U sakralnoj topografiji Stoca ona
oznaava najviu vrijednost mjesne ontologije i
predstavlja najznaajniji biljeg prisutan u odreenju
mjesta, okruenja, forme krajolika, koje uvijek
biva proizvoeno u neponovljivoj uzajamnosti odnosa
stanovnik - grad.19 Vie od svih ostalih znakova, ona
je sredstvo identificiranja grada i njegovih stanovnika.
Mjesta takvog znaenja - sakralna mjesta u svim
19)Egenter, Nold, ARCHITECTURAL ANTHROPOLOGY Outlines of
a constructive human past, International Semiotic Spectrum - publikacija
Toronto Semiotic Circle Nr. 14 (Sept. 1990)
Sl.9/Ill.9
arijska damija u Stocu smjetena je u samom sreditu susticanja
tri kraka gradske osnove
The arija mosque in Stolac is at the very centre of the point at which
the three branches of the urban layout meet
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thus opens up, with space extending outwards from it.

Following the axis of the qibla, a long street, Uzinovii,
runs from the mosque between two hills, suggesting assembly and direction. This location of the mosque and
development of the town gives the entire area a form
facing the qibla, the centre of which is in the shape of a
prayer mat or horizontal mihrab.
With its location and orientation, the mosque
dictated the definition of the coordinate system in line
with which every urban feature was set with three perpendicular radii, which converge at the point where the
entrance to the mosque is located.
The arija mosque, a semiotic building, a religious symbol, the heart of the urban compass, is thus the
basis of the features, image and structure of the town.
Original meaning of the arija
m o s qu e s ac r e d B e au t y
The criterion of aesthetic value, which art
historians often regard as the key criterion for evaluating the heritage, regardless of the evolution of the
reception of the heritage, will be more broadly applied
in this article once again, with the emphasis on the
indivisibility of the tangible and intangible expression
of each work. The definition of the aesthetic value
of the arija mosque will be associated with the saying ars sine scientia nihil, and based on the attribute of
aesthetic harmony as the fulfilment of the aspiration to
achieve perfection at both the surface and the depth of
the work, for form reflects essence, and understanding
form arouses the need for it to be transcended according
to its essence or archetype. 21 This article does not aim
to be an expression of full understanding of the form of
the arija mosque and its transcendence, but to draw
attention to the necessity for a comprehensive evaluation of the aesthetic expression of architecture so that,
by appealing to the values and overall significance of the
arija mosque, the reasons why it was necessary to reconstruct it can be addressed.
One can understand the reasons for the choice
21) Frithjof Schuon, Esoterism as principle and as Way, Perennial Books
Ltd, Pates Manor, Bedfont, Middlesex, 1990, p. 183.
96
gradovima, osiguravaju potrebne pokazatelje o tome

kako mjesno stanovnitvo interpretira svoje prostorno
okruenje.
arijska damija u Stocu je biljeg i sredite,
pa tako nosi svojstva semiotike arhitekture. Ona
je hram kroz ije se smjetanje ogleda uobiajeno
kontinuiranje sakralnog znaenja u topografiji svakog
grada.
Ulaznim dijelom je okrenuta prema rijeci.
Ispred nje je sredinji gradski trg, desno i lijevo od
njega razvijaju se ulice, uz koje su smjetena dva
gradska podsredita Podgrad i uprija. Ulazna
strana damije se tako otvara i prostor se od nje iri.
U smjeru osovine prema kibli od damije se, izmeu
dva brda, protee duga ulica Uzinovii, koja sugerira
skupljanje i usmjeravanje. Takvim smjetajem damije
i razvojem grada, cijeli prostor ima oblik usmjerenosti
prema kibli, koji u njegovom sredinjem dijelu ima
oblik sedade ili poloenog mihraba.
Svojim smjetajem i usmjerenou damija
je odredila definiranje koordinatnog sistema prema
kome se postavljaju svi gradski sadraji sa tri okomite
poluprave, koje se sustiu u taki gdje je ulaz u
damiju.
Tako, arijska damija, semiotika
graevina, sakralna oznaka, srce gradskog kompasa,
predstavlja temelj odreenja i slike i strukture grada.
Izvorno
znaenje
arijske
damije sakralna Ljepota
Kriterij estetske vrijednosti, koji historiari
umjetnosti, bez obzira na razvoj recepcije naslijea,
vrlo esto postavljaju kao kljuni kriterij vrednovanja
naslijea, u ovom radu e biti ire primijenjen
ponovno s naglaenim usmjerenjem na neodvojivost
materijalnog od nematerijalnog iskaza svakog djela.
Definiranje estetske vrijednosti arijske damije bit
e vezano za tvrdnju: ars sine scientia nihil i oslonjeno na
odreenje estetskog sklada kao ispunjenja nastojanja
da bude postignuto savrenstvo i na povrini i u
dubini djela. ...jer oblik odraava bit, a razumijavanje
oblika budi potrebu da on bude transcendiran prema
97
of position and form of a religious building only if both

the builder and those who preserve and study it know
the reasons for the beauty of the sacred and the criteria
for establishing it. The sacred is beautiful because it aspires to fulfil Gods commandments to us as vice-gerents
of the world, and one of them is beauty. Nader Ardalan cites three criteria as the attributes of the beauty of
religious architecture: goodness, truth and knowledge.22
The notion of sacred beauty as defined by Rudolf Otto
is based on fulfilment: devotion to truth, ethical commitment (corresponding to Ardalans criterion of goodness) and recognition of that which is called holy (corresponding to Ardalans criterion of knowledge).23
Adopting the same criteria, Eric Gill, an early
20th century English artist, set out his dictum: Look after
goodness and truth, and beauty will look after herself.24
Frithjof Schuon says of the sacred that beauty
is Order and Mystery which is the expression of goodness, and truth, and knowledge. Order and Mystery can
be read in space and numbers, embodied in the form
and rhythm of sacred spaces.25 The original form of the
arija mosque in Stolac will be analyzed in this section
using the criteria of the beauty of the sacred referred to
above.
A consideration of the central location of the
arija mosque enables one to clarify the entire development of the urban ensemble of Stolac. All the old houses,
roads and lanes follow the development from the centre.
Having chosen the site, the old builder also determined
the form of the building. Since the branches of valley
and the slopes of the hills converge on it, and since its
disposition, including the rows of worshippers, is corroborated by the course of the river, it is plain to see why
it fits so well, so unobtrusively into the ensemble. Any
overemphatic size or solidity would have the effect of
undermining the harmony and measure of the whole.
22) Nader Ardalan, On Mosque Architecture., Architecture and Community (Renata Holod and Darl Rastorfer, editors), New York, 1983.
23) cf: Edward A. Svik, Faia, Remembrance and Hope, Journal on Religion, Art &Architecture, Number 2, 1997.
24) Edward A. Svik, Faia, Remembrance and Hope
Ltd, Pates Manor, Bedfont, Middlesex, 1990, p. 178.
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njegovoj biti ili arhetipu.20 Ovaj rad nema ambiciju

da bude iskaz potpunog razumijevanja oblika
arijske damije i njegovog transcendiranja, ali ima
za cilj ukazati na nezaobilaznost takvog cjelovitog
vrednovanja estetskog iskaza arhitekture, kako bi,
oslanjanjajui se na vrijednosti arijske damije i
LTD, Pates Manor, Bedfont, Middlesex, 1990, str. 183.
Sl.10/Ill.10
Fotografija sruenog prostora arijske damije koju su reporteri
Feral Tribune napravili u ljeto 1993. godine, neposredno nakon
ruenja stolakih damija, a prije odvoenja ostataka sa mjesta na kojima su graevine bile
Photograph of the destroyed site of the arija mosque taken by Feral
Tribune reports in the summer of 1993, immediately following the
destruction of the mosques of Stolac before the remains were removed
from their respective sites.
Sl.11/Ill.11
Fotografija sruenog prostora arijske damije napravljena iz zraka
1998. godine (fotografiju su napravili vojnici mirovnih snaga UN-a
u Bosni i Hercegovini)
Aerial photograph of the destroyed site of the arija mosque taken
in 1998 by UN peace-keeping troops in Bosnia and Herzegovina.
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Its interior, in which the illumination of the inner human being is affirmed, thus becomes the living heart of
the entire town, within the totality of the urban setting.
The arija mosque is the measure of everything that
develops along the branches of the Stolac valley and on
the slopes of the hills.
The totality of the identity of Stolac is thus
inseparable from the presence of the arija mosque at
its centre, with the position of a hub around which the
whole town and the entire social complex evolve. This
comprises its southward orientation, recognizable in the
layout of the entire arija, with the houses, shops and
side streets around it.
The entire form of the arija mosque consists of the response to two requirements: Order and
Mystery.
Order is wholly subordinate to the requirements of ritual and the disposition of the prayer space.
The entrance to the courtyard is in the middle
of the wall formed by the shops along the southern edge
of the Tepa (open central market). The passage through
the entrance is the start of the axis of orientation around
which extends the mosque ensemble: the axis which is
also the axis of the town. Between the courtyard gateway and the entrance to the mosque is a covered adrvan
fountain, symbolizing the requirement to cleanse oneself
on the path from the expanse of the world to oneself or
the supreme principle. The passage through the fountain constitutes a preparation for facing the mihrab, the
centre of the centre. In sacred doctrine on the meaning of the mosque, this signifies travelling the path of
love. Once one has completed the outside path, from
the entrance to the courtyard, through the fountain,
to the space between the two sofas, one begins to surrender oneself to the certainty of the pillars supporting the
hipped roof, marking the passage to ones own centre.
On entering the mosque, with the sense of harmony
and the absence of any tension, in the warmth provided
by the carpets, one begins to surrender oneself to the
peace suggested by everything that constitutes the interior of the mosque. Facing the mihrab, the passage towards our supreme human potential, is expressed in two
ways the universal human orientation towards the Supreme, and one derived from listening to the enduring
98
njen ukupni znaaj, bilo mogue govoriti o razlozima

potrebe njenog rekonstruiranja.
Razumijevanje razloga odabira poloaja i
oblika sakralne graevine mogue je samo ukoliko
i graditelj i onaj koji uva i prouava graevinu
znaju razloge ljepote sakralnog i kriterije njenog
utvrivanja. Sakralno je lijepo, jer tei ispunjenju
Boijih zapovijedi namjesnikovanja svijetom, a jedna
od njih je ljepota. Nader Ardalan navodi tri kriterija
za odreenje ljepote sakralne arhitekture dobro,
Fotografija preliminarno identificiranih ulomaka arijske damije na

deponiji u koritu rijeke Radimlje napravljena u augustu 2001. godine
transmission of Divine speech. This is self-abnegation

before God Who is Merciful and Compassionate, Who
is Beautiful and Who loves beauty. The overall height of
the minaret of the Stolac mosque, for instance, is exactly
three times that of the mosque to the roof ridge, and the
length of the mosque is precisely twice its height to the
ridge which means that the height of the minaret is
the sum of the length and height of the mosque. All this
means that everything constituting the arija mosque
in Stolac follows the formula of sacred language. Noting in its architecture or its surroundings was lacking in
harmony with these meanings.
Mystery lies in the multitude of relationships
that can be discerned by a long study of the geometry
of the mosque, its numeric regularities, and its decorations. This article will refer to only a few possible readings, since we believe that even an adumbration of the
immense value of the intangible content of its material
expression will contribute to the debate over the criteria
for evaluating Bosnias non-monumental mosques.
The arija mosque has seven doorways the
central gateway, two side gates, the door between the
sofas, the door to the left-hand mahfil, the door from the
mahfil to the minaret, and the door to the erefe of the
minaret. These seven openings symbolize the potential
passage through the seven levels of cognition. The seven
verses of al Fatiha, the opening sura of the Quran, are
equal to the number of doors in the arija mosque, as
are the seven words (in the Arabic) of the shahada, in
which Muslims bear witness of their devotion to God
(La ilaha illa-Llah, Muhammadun Rasulu-Llah),26 the
seven receptive apertures of the human body, and the
seven gates of Paradise. The Sufi definition of the mystical physiology of the human microcosm also pertains to
the symbolism of the seven veils of cognition: the seven
human organs correspond to the lineaments of the seven messengers of God: the first (invisible) organ is the
Adam of every being; the second (the soul) is Noah, the
third (the heart) is Abraham, the fourth (the invisible
threshold of a higher consciousness) is Moses, the fifth
(Spirit) is David, the sixth is Jesus the Messiah (Jesus
Christ), and the seventh is Muhammad (the Praised
Photograph of fragments of the arija mosque after preliminary identification in the dump in the Radimlja riverbed, taken in August 2001.
26) There is no god but God, Muhammad is the Messenger of God
Sl.12/Ill.12
Identifikacija jedne od deponija sa sruenim ulomcima arijske damije
u koritu rijeke Radimlje. Identifikacija je napravljena uz prisutnost vojnika mirovnih snaga u Bosni i Hercegovini u augustu 2001. godine.
Identification of one of the dumps with fragments of the arija
mosque in the river Radimlja riverbed. The identification was made
in the presence of peace-keeping troops in Bosnia and Herzegovina
in August 2001.
Sl.13/Ill.13
99
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istina i znanje.21 Zamisao sakralne ljepote, kako je

definira Rudolf Otto, poiva na ispunjenju: odanosti
istini, etikom opredjeljenju (to odgovara kriteriju
dobrog kod N. Ardalana), prepoznavanje svetog (to
odgovara kriteriju znanja kod N. Ardalana).22
Uzimajui iste kriterije, Eric Gill, engleski
umjetnik iz prvih desetljea 20. stoljea, utvruje
dictum: Pobrini se za Istinu i Dobro; Ljepota e se
sama pobrinuti za se.23
Frithjof Schoun o sakralnom kazuje: ljepota
je Red i Skritost to jest iskaz i dobra i istine i
znanja. Red i Skritost itljivi su kroz prostor i brojeve,
otjelovljene u obliku i ritmu sakralnih prostora.24
Primjenom navedenih kriterija ljepote sakralnog,
bit e u ovom dijelu teksta analiziran izvorni oblik
arijske damije u Stocu.
Uzimanjem u obzir sredinjeg poloaja
arijske damije, mogue je objasniti ukupnost
razvoja gradske cjeline Stoca. Sve stare kue, ceste
i sokaci slijede razvoj iz tog sredita. S obzirom na
takvu odabranost mjesta, stari graditelj je odredio i
oblik graevine. Budui da se prema njoj stiu krakovi
uvale i padine brda, te da njezinu rasprostrtost, u
koju se ukljuuju redovi klanjatelja, potvruje i tok
rijeke, shvatljivo je zato se ona blago i nenametljivo
ukljuuje u tu cjelinu. Svaka prenaglaenost
veliinom i tvrdoom djelovala bi u toj ukupnosti kao
naruavanje sklada i mjere. Sama njena unutranjost,
u kojoj se zbiva potvrivanje ljudske osvjetljenosti
iznutra, postaje na taj nain iva jezgra cijelog grada.
Ta jezgra je unutar gradske ukupnosti. arijska
damija je mjera svega to se razvija u krakovima
stolake doline i na padinama brda.
Ukupnost stolakog identiteta jeste, prema
tome, neodvojiva od prisutnosti arijske damije u
sreditu, i to s poloajem vora oko koga se razvija
one).27 This inner hidden knowledge of the meaning of

the number seven is found in the number of horizontal
bands of the mihrab as it narrows towards its crown, and
in the number of its duplications, the number of sides
of the minarets, and very likely in many more numeric
relationships yet to be discovered.
The nine steps of the mimbar in the arija
mosque symbolize the nine degrees of mastery over the
27) Jean Chevalier and Alain Gheerbrant, Rijenik simbola (Dictionary of
Symbols) Nakladni zavod MH, Zagreb 1989, pp. 587 and 588.
Sl.14/Ill.14
Prostor arijske damije 22. augusta 2001. godine, na dan kad je
poelo njegovo ienje
Site of the arija mosque on 22 August 2001, the day the site clearance began.
21) Nader Ardalan,. On Mosque Architecture., Architecture and Community ( Renata Holod and Darl Rastorfer, editors), New York, 1983.
22) uporediti: Edward A. Svik, Faia, Rememberance and Hope, Journal
on Religion, Art &Architecture, Number 2, 1997.
Sl.15/Ill.15
23) Edward A. Svik, Faia, Rememberance and Hope
Preliminarno ienje i identifikacija ulomaka naenih na prostoru

damije u toku ienja tog prostora

LTD, Pates Manor, Bedfont, Middlesex, 1990, str. 178.
Preliminary cleaning and identification of fragments found on the

mosque site during clearance.
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100
Sl.16/Ill.16
Intaktna stopa jednog od pet stupova koji nose srednju stropnu
gredu. U udubljenju stope naen je metalni zglob trn, preko
koga je ostvarivana veza drvenog stupa i kamenog temelja. Naeni
trn je posluio kao uzor za izradu zglobova za sve stupove, u skadu
sa dimenzijama udubljenja u njihovim stopama.
Intact foot of one of the five pillars supporting the central ceiling joist. A metal joint or spike was found in a hollow in the
foot; this formed the connection between the wooden pillar and
the stone footings. This spike was used as a model when making
the joints for all the pillars, in line with the size of the hollows in
their footings.
Sl.17/Ill.17
Sonde, irine 50 cm, otkopane uz sve naene zidove s unutranje
strane. Nakon opservacija i snimanja i zida i strukture materijala,
sonde su zatrpane istim materijalom koji je iskopan.
50 cm wide trial trench excavated along the inside of all the walls
that were found. After observation and a survey of the walls and
the structure of the materials, the trenches were filled in with the
material that had been excavated from them.
101
human senses, the nine paths of communication with

the world in order to understand in full the ninety-nine
Divine Names. Penetrating the mysteries of the meaning of the arija mosque paves the way for each of us
who visit it to embark on the quest for what is mysterious. The nine ornaments carved on the nine visible
sides of the base of the minaret below its waisted section
where the minaret becomes detached from the horizontal corpus of the mosque and stands erect, its upright
stance itself testifying to the sum of its different sides
into one, also proclaim the beginning and end the
transition to a new level. These nine figures, containing
the symbols of the new moon rising and setting,28 Solomons seal, Davids shield, a three-dimensional cross,29
a six-petalled flower, steps or a throne, an interlace, a
rhomb, a staff, a triangle, a hexagram, a staff and a star,
constitute a unique combination of symbols. It is not
the purpose of this article to interpret the meaning of
their interrelationships, although it would be important
in evaluating the arija mosque as cultural heritage.
The base of the domed mosque in Poitelj, built forty
years after the arija mosque in Stolac, is carved with
ornaments four types of six-lobed rosettes which can
indicate the trajectory of influences from the builder of
the Stolac mosque to that of the mosque in Poitelj, but
also to the identical sources of their knowledge and skills.
However, the complexity of the ornaments on the Stolac
mosque, the connection between their significance, the
number of symbols in distinct forms and in their interrelationships, are far more elaborate, and reveal how close
its builder was to understanding Beauty as defined by F.
Schuon. The simplest single reading of the complexity
28) For an understanding of the influential presence of the symbol of the
new moon in the old Bosnian heritage, see also the poem by Mehmedalija
Mak Dizdar entitled Mjesec (Moon), in Kameni spava Stone Sleeper,
trans. Francis R. Jones, Did, Sarajevo, 1999, pp. 56-59. The poem ends
with the lines Urei njegov znak u mekoj bjelini miljevine/kako bi mogao
to vjernije upiti u sebe sliku/ Svoje neizrecive boli i nade Carve his sign in
the soft white of limestone/so you may absorb as faithfully as can be/ The
image of your infinite pain and hope.
29) A separate article will deal with the symbolism of the three-dimensional cross and the process whereby it was transformed into Solomons
seal, the six-pointed star or hexagram, and on the process whereby the
meanings of these forms was condensed by being sublimated into the
symbol of the three-dimensional (six-armed) cross.
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sva gradska i drutvena cjelovitost. To sainjavaju

usmjerenost prema jugu, koja se prepoznaje u
rasporedu cijele arije, sa kuama, duanima i
sokacima oko nje.
Ukupnost oblika arijske damije sadrana
je u odgovoru na dva zahtijeva : Red i Tajnovitost.
Red je u potpunosti podreen zahtjevima
obreda i ureenja molitvenog prostora.
Na sredini zida koji sainjavaju duani june
granice Tepe (otvorene gradske trnice) postavljen je
ulaz u njezinu avliju. Prolaskom kroz taj ulaz, zapoinje
osa usmjeravanja oko koje je razvijena damijska cjelina,
koja istovremeno predstavlja i osu oblikovanja grada.
Od avlijskih vrata prema damijskim je natkriveni
adrvan. Time je simboliziran zahtjev oienja na
ljudskom putu od rasprostrtosti svijeta prema sebi ili
najviem principu. Prolaskom kroz adrvan zbiva se
priprema za usmjerenost prema mihrabu, ili sreditu
sredita. To je u svetom nauku o znaenju mesdida,
prelaenje puta ljubavi. Nakon to je preena staza
vanjskog dijela, od ulaza u avliju, kroz adrvan,
do prostora izmeu dviju sofa, zapoinje oputanje
pred sigurnou stupova koje nose etverovodni
krov, kojim je oznaeno prilaenje vlastitom sreditu.
Ulaenjem u unutranjost damije, osjeanjem
sklada i nedostajanjem bilo kakve napetosti, u toplini
kojoj doprinose ilimi, zapoinje oputanje pred
mirom, o kojem govori sve to ini unutranjost
damije. Okrenutost prema mihrabu, ili prolazu
prema najvioj mogunosti ovjeka, iskazuje se u dva
naina jednom koje je opa ljudska usmjerenost
prema Najviem, i drugom koja proistjee iz sluanja
ustrajnog prenoenja Boijeg govora. To je poniznost
pred Bogom Koji je Milostan i Premilostan, Koji je
Lijep i Koji voli ljepotu. Munara stolake damije,
na primjer, ima ukupnu visinu koja je tano tri puta
vea od visine damije do sljemena krova. Duljina
damije je tano dva puta vea nego njena visina
do sljemena to jest visina munare odgovara zbiru
duine i visine damije, itd. Sve to je inilo cjelinu
arijske damije u Stocu slijedilo je obrazac svetog
jezika. Nita ni u toj arhitekturi, niti u okruenju,
nije bilo bez usklaenosti s tim znaenjima.
Tajnovitost je sadrana u mnotvu
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of these symbols could be reduced to the transition from

the level of Earth to that of Heaven, or the confluence
of the sacred traditions in Muhammads prophethood.
Nine is also the number associated with the nine heavenly spheres, concealed in the arija mosque in Stolac
in many numeric relationships, sometimes multiplied
doubled in the total number of pillars, tripled in the
Sonda, irine 50 cm, iskopana uz vanjske dijelove zidova damije

50 cm trial trench excavated along the outside of the mosque walls
Snimak inatktnih ostataka damije in situ, nakon ienja prostora

od smetlja i rastinja (crtao Slobodan Kudra, Zemaljski muzej Bosne
i Hercegovine)
Plan of the intact remains of the mosque in situ, after clearing the
site of rubbish, litter and weeds (drawn by Slobodan Kudra, National
Museum of Bosnia and Herzegovina).
102
Sl.18/Ill.18
Sl.19/Ill.19
odnosa, koje je mogue iitavati dugotrajnim

prouavanjem geometrije damije, brojevnih
zakonitosti, ukrasa. Samo neka od moguih itanja
bit e data u ovom tekstu, jer smatramo da je makar
i nagovjetavanje visoke vrijednosti nematerijalnog
sadraja materijalnog iskaza bitan doprinos raspravi
o kriterijima vrednovanja nemonumentalnih
Sl.20/Ill.20
Snimak ostataka temelja i baze munare in situ (crtao Slobodan Kudra, Zemaljski muzej Bosne i Hercegovine)
Plan of the remains of the footings and base of the minaret in situ
(drawn by Slobodan Kudra, National Museum of Bosnia and Herzegovina)
height of the minaret, and so on.30

Reference should be made here, too, to the
eleven pillars within the mosque. The symbolic meaning of the number eleven (the eleven spiritual heirs of
the Prophet Muhammad, with the twelfth in occultation and still awaited, for instance), is often used in the
architectural expression of old mosques (for example,
the Handanija mosque in Prusac), particularly those
built by gnostics. Structural analyses reveal that in most
cases the eleven pillars were not required to ensure the
load-bearing capacity of the structure, but this supports
the assertion that architectural elements did not have a
purely structural role. In the Handanija mosque the restorers working in the 1980s removed the eleventh pillar, failing to find a rational structural explanation for it.
The pillar was restored during rehabilitation works on
the mosque completed in 2005 (Tina Wik, chief project
designer). Structurally, five pillars of the arija mosque
support the central ceiling joist and symbolize the five
ways of affirming faith, the five keys to the mystery of
the Quran, the five witnesses to the Covenant. The five
pillars taking the load of the roof divide the interior of
the mosque into two, conveying the symbolism of the
number of the centre, harmony and balance.31 Five is
the number of mandatory daily ritual prayers. Five is
related to the number six, which is predominant in the
ornaments on the base of the minaret, just as the microcosm is related to the macrocosm.
Destruction and its aftermath
In the summer of 1993 the arija mosque and
all the shops and public edifices surrounding it, as well
as the burial ground forming part of its harem, was dynamited. Following its destruction, parts of the mihrab
wall and the adrvan fountain were left standing. The
entire area of the Stolac arija was then cleared of the
materials of which the monuments of Stolac had been
built. The remaining fragments of the walls were de-
Sl.21/Ill.21
Preliminarno ienje i identificiranje ulomaka nakon njihovog
prenosa sa deponije na prostor damije
Preliminary cleaning and identification of fragments after being
transported from the dump to the mosque site.
103
30) number symbolism. Encyclopdia Britannica. 2007. Encyclopdia

Britannica Online. 11 Jan. 2007 <http://www.britannica.com/eb/article-248166>.
31) Jean Chevalier and Alain Gheerbrant, Rijenik simbola, pp. 497-500.
batina -
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bosanskih damija.
arijska damija ima sedam vrata sredinju
kapiju, dvije bone kapije, vrata izmeu sofa, vrata
na lijevom mahfilu, vrata sa mahfila na munaru,
vrata na erefe munare. Sedam otvaranja simbolizira
mogunost prolaska kroz sedam slojeva spoznaje.
Broju vrata u arijskoj damiji jednak je broj
sedam stavaka Fatihe - poetne sure u Kuranu - sure
Otvaranja - kao i sedam rijei svjedoenja predanosti
Bogu (La ilahe il Allah Muhammedun Ressul Allah25),
sedam receptivnih otvora na ljudskom tijelu, sedam
kapija Raja. O simbolici sedam omotnica spoznaje
govori i sufijsko odreenje mistike fiziologije
ljudskog mikrokozmosa: sedam ljudskih organa
odgovara oblienju sedam Boijih poslanika: prvi
(nevidljivi) organ je Adem (Adam) svakog bia;
drugi (dua) je Nuh (Noa); trei (srce) je Ibrahim
(Abraham); etvrti (nevidljivi prag nadsvijesti) je
Musa (Mojsije); peti (Duh) je Davud (David); esti
je Isa Mesiah (Isus Krist), a sedmi je Muhammed
(Hvaljenik).26 To unutranje skrito znanje o znaenju
broja sedam sadrano je u broju vodoravnih pojaseva
mihraba, kada se on suava prema svojoj kruni, zatim
u njegovoj udvojenosti - u broju stranica munare, i
vjerovatno u velikom broju odnosa koji mogu dalje
biti otkrivani.
Devet stepenica mimbera arijske damije
simbolizira devet stepena svladavanja ljudskih
osjetila, devet puteva komuniciraja sa svijetom s
ciljem razumijevanje punine devedeset devet Boijih
imena. U odgonetanju tajnovitosti znaenja arijske
damije, za svakog njenog posjetitelja otvoren je
put traenja onog to je tajna. Devet ornamenata
uklesanih u devet vidljivih stranica osnove munare
ispod suenja (struka), kojim se munara odvaja od
vodoravnog tijela damije i uspravlja u okomicu koja
sama svjedoi sabiranje razliitih strana u jedno, je
istodobna najava kraja i poetka prelaza u novi
nivo. Tih devet prikaza, u kojim su sadrani simboli
molished, the area was cleared, and most of the material was taken away to nearby dumps. Some fragments
of the arija mosque were found in the dry bed of the
river Radimlja. Witnesses of the destruction said that
there were some original fragments of the mosque in
dumps near Stolac. In December 1999 an inspection
was carried out of the piles of remains of the destroyed
Sl.22/Ill.22
Preliminarno identificiranje, sortiranje i priprema za detaljno snimanje naenih metalnih ulomaka na prostoru damije, kako bi bili
osigurani uvjeti za rekonstrukciju
Preliminary identification, sorting and preparation for detailed study
of metal fragments found on the mosque site, to provide the conditions for its reconstruction.
Sl.23/Ill.23
25) Nema Boga osim Boga, Muhammed je Boiji Poslanik.
Otkriveni ostaci damije in situ, sloen dio ulomaka obraenih

sjeverno i neobraenih zapadno
26) Jean Chevalier i Alain Gheerbrant, Rijenik simbola, Nakladni zavod

MH, Zagreb 1989, str. 587. i 588.
Uncovered remains of the mosque in situ, part of fragments laid out

processed to the north, unprocessed to the west.
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104
mladog mjeseca na izlasku i zalasku27, Sulejmanovog

peata, Davudovog tita, trodimenzinalnog kria,28
cvijeta sa est latica, stepenita, ili prijestolja, prepleta,
romba, tapa, trougla, heksaedra, tapa, i zvijezde,
jedinstvena su kombinacija simbola. Iitavanje
znaenja njihovih odnosa nije predmet ovog rada,
iako ima vanost za vrednovanje arijske damije
kao kulturnog naslijea. Na bazi potkupolne damije
u Poitelju, koja je nastala etrdesetak godina poslije
arijske damije u Stocu, isklesani su ornamenti etiri tipa estolatinih rozeta - koji mogu ukazivati
na protok utjecaja od graditelja stolake do graditelja
poiteljske damije, ili na istovjetnost izvora njihovog
znanja i umijea. Meutim, sloenost ornamenata
na stolakoj damiji, povezanost njihovog znaenja,
brojnost simbola u pojedinanim oblicima i u njihovim
odnosima su daleko raskoniji i ukazuju na visoki
nivo priblienosti njenog graditelja razumijevanju
Ljepote, kako je definira F. Schoun. Najjednostavnije
zajedniko itanje sloenosti tih simbola moglo bi
biti svedeno na prelaz iz nivoa Zemlje u nivo Neba,
ili u susticanje svetih predanja u Muhammedovom
poslanstvu. Devet je i broj koji se vezuje za devet
nebeskih sfera, a u stolakoj arijskoj damiji skriven
je u brojnim odnosima mjera; ponekad se pojavljuje
i umnoen udvojen u ukupnom broju stupova,
utrojen u visini munare, itd.29
Ovdje e biti spomenuto i jedanaest stupova
u unutranjosti damije. Simbolino znaenje broja
11 (11 duhovnih nasljednika poslanika Muhameda i
12. skriven, koji se eka, i sl.) vrlo esto je koriteno
buildings of Stolac in Sastavci and Masline and in the

Radimlja riverbed. It was found that some of the piles
were biodegrading.
The foundations remained in the ground, and
some traces of the walls, or the colour and type of vegetation growing over them, indicated the original position of the mosque. The first inspections of the site were
Sl.24/Ill.24
Snimak ostataka damijske cjeline in situ, napravljen u toku ienja
prostora. Snimak su u septembru 2001. godine napravili pripadnici
mirovnih snaga UN-a u Bosni i Hercegovini iz helikoptera.
Plan of remains of the mosque complex in situ, made during site
clearance in September 2001 by members of the UN peace-keeping
force in Bosnia and Herzegovina.
27) O razumijevanju poticajne prisutnosti simbola mladog mjeseca u

starom bosanskom naslijeu svjedoi i pjesma Mehmedalije Maka Dizdara Mjesec, Kameni spava, Did, Sarajevo, 1999, str. 56-59. Pjesma
zavrava stihovima: Urei njegov znak u mekoj bjelini miljevine/kako bi
mogao to vjernije upiti u sebe sliku/ Svoje neizrecive boli i nade.
28) O simbolizmu trodimenzionalnog kria i procesu njegovog transformiranja u Sulejmanov peat ili estokraku rozetu, ili heksaedar, jednako kao i o procesu saimanja znaenja tih oblika njihovim sublimiranjem
u simbol trodimenzionalnog (estokrakog) kria, bit e govora u posebnom radu.
29) number symbolism, Encyclopdia Britannica, 2007. Encyclopdia
Britannica Online, 11 Jan. 2007 <http://www.britannica.com/eb/article-248166>.
105
Sl.25/Ill.25
Identificiranje poloaja ulomaka munare, prije odreivanja naina njihove upotrebe u projektu, u skladu sa pravilima metode anastiloze
Identification of the position of fragments of the minaret prior to determining how they were to be used in the project, in line with the
principles of the merthod of anastylosis.
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u arhitektonskim iskazima starih damija (primjer

Handanije damije u Pruscu), posebno onih koje
su gradili gnostici. Statike analize pokazuju da u
veini sluajeva 11 stupova nije bilo potrebno da bi
se osigurala nosivost konstrukcije, ali to doprinosi
tvrdnji da arhitektonski elementi nisu imali iskljuivo
konstruktivnu ulogu. U Handanija damiji su
restauratori osamdesetih godina 20. stoljea uklonili
jedanaesti stup, jer za njega nisu pronali racionalno
konstruktivno opravdanje. Taj stup je vraen u toku
rehabilitacije damije, koja je zavrena 2005. godine
(Tina Wik, odgovorni projektant). Pet stupova
arijske damije konstruktivno nosi sredinju
stropnu gredu i simbolizira pet naina potvrivanja
vjere, pet kljueva tajne Kurana, pet svjedoka Ugovora.
Pet stupova koji preuzimaju teret krova, dijelei
unutranjost damije na dvoje, prenose simbolizam
broja sredita, sklada i ravnotee.30 Pet je obaveznih
dnevnih molitvi. Pet je u odnosu prema broju est
koji je dominantno prisutan na ornamentima na
bazi munare, isto to je i mikrokosmos u odnosu na
makrokosmos.
Ruenje i posljedice
U ljeto 1993. godine, arijska damija
sa svim duanima i javnim graevinama u njenom
okruenju, sa grobljem u sklopu njenog harema,
minirana je i sruena. Nakon ruenja, ostali su uspravni
dijelovi mihrabskog zida i adrvana. Naknadno
je cijeli prostor stolake arije oien od gradiva
stolakih spomenika. Srueni su preostali fragmenti
zidova, prostor je poien, a najvei dio materijala
odvezen na deponije u blizini Stoca. Neki fragmenti
arijske damije naeni su u presujelom koritu
rijeke Radimlje. O postojanju izvornih fragmenta
damije na deponijama uz Stolac, tvrdnje su iznosili
svjedoci ruenja. U decembru 1999. godine, izvrena
su izvianja na gomilama ostataka sruenih stolakih
graevina u Sastavcima i na Maslinama, kao i u koritu
rijeke Radimlje. Tada je utvreno da se neke gomile
organski razgrauju.
30) Jean Chevalier i Alain Gheerbrant, Rijenik simbola, str. 497-500.
batina -
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carried out in December 1999, when it was found that

the mosque site was buried under rubbish and rubble
but that it was possible to find a few fragments of the
Sl.26/Ill.26
Identificiranje poloaja ulomaka munare, prije odreivanja naina
njihove upotrebe u projektu, u skladu sa pravilima metode anastiloze
dekorirani slojevi munare iznad struka
Identification of position of fragments of the minaret prior to determining how they were to be used in the project, in line with the principles of the method of anastylosis decorated strata of the minaret
above the waisted section.
Sl.27/Ill.27
njihove upotrebe u projektu, u skladu sa pravilima metode anastiloze;
slojevi munare ispod fieka (kupe) ili krova munare
Identification of the position of fragments of the minaret prior to
determining how they were to be used in the project, in line with the
principles of the merthod of anastylosis strata of the minaret below
the fiek (cone) or roof of the minaret.
106
Sl.28/Ill.28
ulomci sa ornamentima koji su bili ugraeni ispod struka munare
principles of the merthod of anastylosis fragments with ornaments
that were built in below the waisted section of the minaret.
Sl.29/Ill.29
Niani pronaeni tokom ienja damijske cjeline. Snimanje i evidentiranje niana, prepis, transkripciju i itanje natpisa izvrio je
Hazim Numanagi
Nian tombstones found on the site of the arija mosque during site
clearance. The tombstones and epitaphs were identified, studied and
recorded in detail by Hazim Numanagi
10 7
minaret, walls and window jambs, as well as pieces of

broken nian tombstones from the burial ground by the
mosque. Since 1993 the site of the mosque had been
used as a car park.
The destruction of the arija mosque and its
immediate environs had a crucial impact on the retention of the image of Stolac. With the loss of its trade
mark, the place lost its character; the town was destroyed. All distances were disrupted, all volumes and
sizes lost their proportions. The houses on the slopes
of the town, and every built-up area not completely
destroyed, lost their orientation, no longer looking like
the parts of a whole but like individual buildings. The
concentration that was a fundamental attribute of the
town vanished too as half of what constituted it was lost.
There was a complete loss of the sense of belonging to, of
being connected and intimate with, the area. After the
destruction of the arija mosque and the urban centre,
the town no longer had the nature of a place. The area
was transformed into pure, unstratified, undecipherable,
inarticulate placelessness (illus. 10, 11, 12 and 13).
Since the ensemble of the Stolac arija with the
mosque at its heart was on the List of national monuments of Bosnia and Herzegovina, established pursuant
to Annex 8 of the General Framework Agreement for
Peace in Bosnia and Herzegovina, the Islamic Community in Stolac submitted a request for the enforcement
of Article V.5 of Annex 8, which requires the Entity in
which such a property is located to rehabilitate destroyed
properties. Rehabilitation duly began, pursuant to approval from the Federal Ministry of Regional Planning
and Environment. The project for which approval was
granted was a preliminary one, based solely on documentation from the Institute for the Protection of the
Cultural, Historical and Natural Heritage of Bosnia and
Herzegovina, in the shape of architectural drawings of
the condition of the mosque in 1958 by architect Ismet Serdarevi. This documentation was collated and
supplemented by a preliminary bill of quantities and
computation of the works and structural computations,
compiled without the opportunity for an on-site inspection or prior investigations, since the security situation
in Stolac still did not allow for this, based on a contract
between the investor and Muhamed Hamidovi, head
batina -
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Temelji su ostali u zemlji i djelimino su

tragovi zidova, ili boja i vrsta vegetacije preko njih
ocrtavali izvorni poloaj damije. Prva izvianja
lokacije izvrena su u decembru 1999. godine, kada
je utvreno da je na povrini damijskog prostora
zatrpanog smetljem i utom mogue pronai jo
poneki fragment munare, zidova i doprozornika,
kao i dijelove razbijenih niana iz groblja uz damiju.
Prostor damije je od 1993. godine koriten za
parkiranje automobila.
Ruenje arijske damije sa njenim
neposrednim okruenjem za odranje slike Stoca
imalo je presudan znaaj. Nestankom biljega,
izgubljeno je odreenje mjesta; grad je bio uniten.
Sve su udaljenosti poremeene i sve su veliine
izgubile svoje mjerilo. Kue na gradskim padinama,
i svi izgraeni prostori koji nisu potpuno uniteni,
izgubili su usmjerenost, tako da su se iskazivali kao
pojedinane graevine, ne vie kao cjelina. Svojstvo
koncentracije, koje je temeljna osobina grada, iezlo
je, jer je su u strukturi nestali polovi koncentriranja.
Potpuno je izgubljen osjeaj pripadanja prostoru,
povezanosti i bliskosti s njim. Nakon ruenja arijske
damije i gradskog sredita, grad je izgubio osobinu
mjesta. Prostor se pretvorio u istu, neslojevitu,
neitljivu, nedoreenu bezmjesnost. (slike 10, 11, 12
i 13)
S obzirom da je cjelina stolake arije, sa
damijom u sreditu, upisana na Listu nacionalnih
spomenika Bosne i Hercegovine, uspostavljenu na
osnovi Aneksa 8. Okvirnog sporazuma za mir u
Bosni i Hercegovini, Islamska zajednica u Stocu je
podnijela zahtjev za primjenu lana V, Aneksa 8, koji
utvruje obavezu ponovne uspostave rehabilitacije
- sruenog dobra i, na osnovi odobrenja Federalnog
ministarstva prostornog ureenja i okolia, zapoeta je
njena rehabilitacija. Projekat na osnovi kojeg je izdato
odobrenje za rekonstrukciju damije bio je preliminarni
projekat zasnovan iskljuivo na dokumentaciji
Zavoda za zatitu kulturno-historijskog i prirodnog
naslijea Bosne i Hercegovine, odnosno arhitektonskim
snimcima stanja damije 1958. godine, koje je sainio
arhitekta Ismet Serdarevi. Ta dokumentacije je bila
ureena i dopunjena preliminarnim predmjerom
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Sl.30/Ill.30
struk suenje izmeu baze i tijela munare
principles of the merthod of anastylosis waisted section between
base and shaft of minaret.
Sl.31/Ill.31
uklapanje ulomaka sa sloenim ornamentima ispod struka munare,
kako bi bilo mogue projektirati taj dio objekta
principles of the merthod of anastylosis. Fitting in fragments with
complex ornaments below the waisted section of the minaret, to enable that part of the structure to be designed.
108
i predraunom radova i statikim proraunima,

sainjenim bez mogunosti uvida u stanje na terenu i
bez prethodnih ispitivanja, s obzirom na nepostojanje
sigurnosnih uvjeta u Stocu, na osnovi ugovora koje su
sa investitorom sklopili Muhamed Hamidovi, direktor
Zavoda, Emina Haimbegovi, tehnika suradnica u
Zavodu, i Milorad Skoko, statiar.
Rekonstrukcija arijske damije
S obzirom na jasno uvjerenje da nije
mogue pristupiti rekonstrukciji samo na osnovi
arhitektonskih snimaka iz 1958. godine, zapoeli
su opseni istrani radovi, koji su se sastoali iz
nekoliko faza.
I faza - preliminarni istrani radovi:
1. prikupljanje i analiza fotografskog
materijala i razglednica iz razliitih razdoblja iz
javnih i privatnih arhiva;
2. analiza kartografske grae i geodetskih
podloga;
3. analiza bibliografske i arhivske grae;
4. analiza aerofotogrametrijskih snimaka
1989. i 1998. godine, s ciljem identificiranja
koordinatnog sistema za poetne arheoloke
radove;
5. izrada Elaborata fotogrametrijskih
mjerenja na osnovi aerofotogrametsrijskog snimka,
koji je napravljen u martu 1989. godine (etiri
godine prije ruenja damije). Na instrumentu
Wild A-7 izvrena su mjerenja visina svih vanjskih
dijelova damije. Elaborat je sainio Drljevi Esad,
geodetski ininjer, Geodetski zavod BiH, u junu
1997. godine;
6. prikupljanje i analiza videozapisa
dokumentarni film o stolakim damijama, izraen
u produkciji Radio-televizije Bosne i Hercegovine,
koncem osamdesetih godina 20. stoljea (koji je
naen na smetljitu sruene kue u Stocu) i dva
privatna amaterska videozapisa iz 1992. godine
prije ruenja damije;
7. anketiranje preivjelih stanovnika o
njihovom pamenju pojedinosti vezanih za damiju;
meusobna uporedba svjedoenja i uporedba
10 9
of the Institute, Emina Haimbegovi, a technical associate of the Institute, and Milorad Skoko, a designer.
Rehabilitation
mosque
of
the
arija
Given the conviction that it would be impossible to embark on the reconstruction solely on the basis
of the 1968 architectural survey, comprehensive research
works began, consisting of:
Stage I: Preliminary Research
1. Collection and analysis of photographic
material and postcards from various periods in public
and private archives;
2.Analysis of cartographic material and geodetic survey bases;
3.Analysis of bibliographical and archival material;
4.Analysis of aerial photogrammetric surveys
in 1989 and 1998, to identify the system of coordinates
for initial archaeological works;
5. Compilation of a study of photogrammetric surveys based on the aerial photogrammetric survey
conducted in 1989 (four years prior to the destructioin
of the mosque). Using a Wild A-7 instrument, measurements of the height of all the exterior elements of
the mosque were made. The study was compiled by
Drljevi Esad, a geodetics engineers of the Geodetics Institute of BiH, in June 1997;
6. Collection and analysis of a video recording
of a documentary film on the mosques of Stolac produced by Radio Television of Bosnia and Herzegovina
in the late 1980s (found in the rubbish on the site of
a destroyed house in Stolac) and two private amateur
video recordings made in 1992, prior to the destruction
of the mosque;
7. Questionnaire among surviving residents
on their recollection of features associated with the
mosque, a comparison and collation of their testimonies, and a comparison of their testimonies with existing
documentation;
8. Graphic analysis of old postcards and photographs (graphic analysis conducted by Slobodan Kudra
in line with instructions from the author);
batina -
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svjedoenja sa postojeom dokumentacijom;

8. grafika analiza starih razglednica
i fotografija (grafiku analizu prema uputama
autorice, radio Slobodan Kudra);
9. virtualna rekonstrukcija damijske
cjeline - izrada digitalnog 3D modela na osnovi
raspoloive grae o damiji (na osnovi uputa
autorice, 3D model damije crtao je Ognjen
Materi), s ciljem identificiranja nedostajuih
informacija za rekonstrukciju; prezentacija 3-D
modela preivjelim stanovnicima Stoca s ciljem
anketiranja o nedostajuim pojedinostima.
Ova faza sistemski je provoena u toku
druge polovine 1999. godine, u toku 2000. i u
prvoj polovini 2001. godine, ali je nastavljena
do kraja rekonstrukcije objekta, tako da su neki
izuzetno vrijedni podaci bili pronaeni i analizirani
i u toku 2002, pa ak i 2003. godine. Posebno
istiemo znaaj crno-bijelih fotografija iz arhiva
irila Rajia.
II faza - preliminarna istraivanja
fizikih ostataka damijske cjeline:
1. prostor damijske cjeline ograen je 3.
juna 2001. godine, kada je Opina Stolac najavila,
zajedno sa Zavodom za kulturno-historijsko
naslijee Herceg-Bosne, arheoloka iskopavanja.
Ured Visokog predstavnika Meunarodne
zajednice u Bosni i Hercegovini naloio je Opini
Stolac potovanje Aneksa 8, u kome stoji obaveza
suzdravanja od radnji koje nisu usmjerene na
vraanje objekta u stanje u kome je bio prije
ruenja. Tada je potvreno da pravo ulaza u
ograeni prostor imaju samo vlasnici prostora i
lica ovlatena za radove vezane za rekonstrukciju
objekta (slika 14);
2. dana 21. augusta poelo je ienje
ograenog prostora od nanosa uta, smetlja i
rastinja. Na osnovi geodetskih podloga i snimaka
stanja objekta, sainjena je koordinatna mrea za
pretpostavljeni prostor damije, na osnovi koje su
otkopavanja vrena i sistemski praena;
3. na povrini lokacije je pronaena velika
koliina kabastog otpada i velika koliina rastinja,
starog 8 godina od ruenja damije koji su
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Sl.32/Ill.32
Postupak paralelan onom opisanom na slici 30 slaganje snimaka
ulomaka koji su sainjeni u mjerilu 1:1, kako bi bilo mogue razumjeti strukturu objekta i mjesto svakog ulomka, koji se ponovno
ugrauje u rekonstruirani objekat
Procedure in parallel with that described in illus. 30 layout of drawings of fragments scale 1:1 to facilitate an understanding of the structure and the position of each fragment being reincorporated into the
reconstructed building.
Sl.33/Ill.33
Rekonstruirana munara, u koju su ugraeni svi ulomci za koje je,
nakon analiza utvreno da imaju odgovarajua mehanika i statika
svojstva. Izvorni ulomci su ugraivani nakon konzervacije, bez uklanjanja tragova oteenja usljed ruenja.
Reconstructed minaret with all fragments found after analysis to have
suitable mechanical and structural characteristics. The original fragments were incorporated after conservation, without removing the
signs of damage caused by demolition.
110
uklonjeni i odvezeni na Gradsku deponiju. Oiena

povrina je dalje iena u skladu sa detaljnim
planom, pod strogim nadzorom i uz svakodnevno
voenje dnevnika. Prvi dan su otkriveni ostaci baze
munare i konture cijelog jugozapadnog zida. Drugi
dan su otkrivene konture svih damijskih zidova
i pod desne sofe. U nanosima zemlje i smetlja
naeni su fragmenti, koji su, nakon preliminarnog
evidentiranja (fotografija i brojna oznaka), kao i
Sl.34/Ill.34
Zidanje damije kamenom u krenom malteru, u potpunosti u skladu
sa tradicionalnim metodama
Building the mosque in stone set in lime mortar, fully in accordance
with traditional methods
Sl.35/Ill.35
Izrada kamenog portala od kamena pjeara, runim klesanjem na
tradicionalan nain
Making the stone portal out of sandstone, hand cut in the traditional
manner.
111
9.Virtual reconstruction of the mosque complex creating a digital 3D model based on available material on the mosque (3D model of the mosque drawn
by Ognjen Materi in line with instructions from the
author), designed to identify missing information required for reconstruction, and presentation of the 3D
model to surviving Stolac residents in order to question
them on missing features.
This stage was systematically carried out in the
second half of 1999, 2000 and the first half of 2001,
but was also continued through to completion of the
reconstruction of the property, as a result of which some
extremely important items of information were found
and analyzed in 2002 and even in 2003. Of particular
importance were the black and white photographs from
the archives of iril Raji.
Stage II: Preliminary investigations of the
physical remains of the mosque complex:
1. The site of the mosque complex was fenced
off on 3 June 2001, when Stolac Municipality and the
Institute for the Cultural and Historical Heritage of
Herceg-Bosna announced architectural excavations.
The Office of the High Representative of the international community in Bosnia and Herzegovina ordered
Stolac Municipality to observe the provisions of Annex
8, which require it to refrain from taking any deliberate measures that might damage the property or are not
intended to restore the property to its condition prior to
destruction. It was stipulated that only the owners of
the site and persons authorized to carry out the works
associated with the reconstruction of the property had
the right to enter the fenced-off area (illus. 14);
2.On 21 August, work began on clearing the
fenced-off area, removing rubble, rubbish and weeds. A
coordinates network was established for the presumed
area of the mosque, based on geodetic survey bases and
the surveys of the condition of the property, and this
was used as the basis for conducting and systematically
monitoring the excavations;
3. Large quantities of bulk waste and eightyear-old weeds going back to the destruction of the
mosque were found on the site, removed and taken
to the town dump. The cleared area was then further
cleared in line with a detailed plan, under strict supervibatina -
- heritage
utvrivanja njihovog mogueg poloaja u graevini,

slagani na drvene palete. Sav lomljeni kamen iz
sruenih zidova, naen na lokaciji damije, i sve
kamene ploe sa krova razvrstavane su prema
veliini i nivou obrade priklesavanja, i slagane
su u hrpe u obliku kupe u damijskom dvoritu,
kako bi bilo mogue izvriti njihovu ponovnu
ugradnju u rekonstruirani objekat. U toku ienja
vrena je detaljna selekcija svih naenih ulomaka i
prosijavanje uta prije njegovog odlaganja za odvoz
na deponiju (slike 15);
4. nakon otcrtavanja konture zidova
izvreno je iskopavanje nanosa uta u unutranjosti
damije do nivoa poda koja je utvrena na osnovi
tragova u sauvanim dijelovima zidova i na osnovi
tri pronaene baze stupova, a potom izvan zidova
do geodetski utvrene nulte kote harema i avlije
(slika 17);
5. iskopavanje podunih sondi, irine 50
cm oko svih zidova s unutranje i vanjske strane,
kao i prstenastih sondi prenika 1 m oko naenih
baza stupova, s ciljem utvrivanja stepena stilske i
hronoloke homogenosti ostataka sruene damije,
eventualnih spolija, kao i s ciljem utvrivanja
strukture i stanja temelja i tla (slike 18 i 19);
6. uzimanje uzoraka veznih maltera i
bojenih slojeva sa dijelova zidova koji su bili
ouvani;
7. iskopavanje sonde, irine 50 cm, sa
sjeverozapadne strane namaz-taa, s ciljem provjere
o eventualnom postojanju ranijih slojeva;
8. iskopavanje sonde irine 2 m oko
munare do dna temelja munare;
9. snimanje ostataka temelja i zidova i
grafiki prikaz snimka (grafiki prikaz snimka
izradio Slobodan Kudra) (slike 20 i 21);
10. ienje atrnje vaenje i preliminarna
selekcija i identifikacija ulomaka naenih u atrnji;
izrada snimaka atrnje;
11. identifikacija deponija sa ulomcima
arijske damije;
12. vaenje ulomaka sa deponije, transport
na lokaciju damiju, preliminarna identifikacija
(numeriranje i fotografiranje sa preliminarnom
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sion and with the maintenance of a daily log. On day

one, the remains of the base of the minaret and the contours of the entire south-west wall were uncovered. On
day two, the contours of all the mosque walls and the
floor of the right-hand sofa were uncovered. Fragments
were found in the heaps of soil and rubbish; following
preliminary recording (photographs and numbering)
and ascertaining their possible position in the building,
these were laid out on wooden pallets. All the quarry
stone from the destroyed walls found on the site of the
mosque, together with all the stone roofing slabs, were
classified by size and type of workmanship (masonry),
and laid in a conical pile in the mosque courtyard, so
that they could be reincorporated into the reconstructed building. During clearance, a detailed selection was
made of all the fragments found and the rubble was
sifted before being taken away to the dump (illus. 15);
4.After drawings were made of the contours
of the walls, the layers of rubble inside the mosque were
dug out down to floor level identified on the basis of
traces on the surviving parts of the walls and three pillar
bases that were discovered followed by the removal of
rubble outside the walls down to the geodetically determined zero level of the harem and courtyard (illus. 17);
5.Excavation of 50 cm wide longitudinal trial
trenches around all the walls both inside and out, and
ring trenches with a diameter of 1 m around the pillar
bases that were found, to ascertain the degree of stylistic
and chronological homogeneity of the remains of the
destroyed mosque, to find possible spolia, and to determine the structure and condition of the foundations
and soil (illus. 18 and 19);
6. Sampling the binder mortar and the plaster
and painted layers from the surviving parts of the walls;
7.Excavation of 50 cm wide trial trenches to
the north-west of the namaz-ta, to check for the possible presence of earlier strata;
8.Excavation of a 2 m wide trench around the
minaret down to its foundations;
9. Survey of the remains of the foundations
and walls and graphic representation of the findings
of the survey (compiled by Slobodan Kudra) (illus.
20 and 21);
10. Clearing the well removal and prelimi112
identifikacijom pozicije) (slika 21);

13. odvajanje metalnih dijelova (klinova,
klanfi, kljueva, trnova, olovnih komada, baglama,
demira, ulomaka ulazne kapije, ulomaka lustera,
zglobova sa trnovima iz baza stupova, itd.),
ulomaka od kamena (prema vrsti kamena, vrsti
obrade i pretpostavljenoj poziciji doprozornici,
dovratnici, mihrab, mimber, munara, zidovi;
ulomaka sa tragovima bojenih slojeva; ulomaka
sa posebnom dekoracijom; nadgrobnika, itd.);
ulomaka drveta (drvena konstrukcija hatule i
ulomci vrata) (slike 22 i 23);
III faza - analiza nalaza postignutih u
toku istraivanja ostataka damijske cjeline:
1. analiza sastava uzoraka veznih i
unutranjih povrnih zidnih maltera, koji su uzeti iz
baze munare i sjeveroistonog oka damije, koji je
bio najmanje razoren. Stratigrafsku analizu uzoraka,
analizu nijhove strukture i sastava uradila je dr.
Antonella Tucci u laboratoriju u Bologni. Nalazi su
koriteni pri utvrivanju recepture maltera u toku
rekonstrukcije;
2. ni jedna od sondi nije ukazala na
potrebu daljnjeg arheolokog istraivanja prostora
pod objektima;
3. izvreno je detaljno snimanje svih
ulomaka u mjerilima 1:1 do 1:10 i izrada
identifikacijskih kartona za sve ulomke kamene i
metalne (snimanje su vrili autorica rada i asistenti:
Medina Hadihasanovi, Damir Hadi, Lejla
Hadi i Slobodan Kudra. Sve crtee izradio je
Slobodan Kudra);
4. analizom ulomaka, njihovog oblika,
meusobnih veza, obrade i detalja i uporedbom tih
analiza i detaljnih snimaka ulomaka sa postojeom
arhitektonskom i fotografskom dokumentacijom
utvreni su svi izvedbeni detalji. Slaganjem
ulomaka munare, utvrivanjem njihove pozicije i
poreenjem sa fotografijama i snimcima munare
koji su napravljeni 1958. godine bilo je mogue
rekonstruirati tanu visinu svakog sloja munare i
rekonstruirati u mjerilu 1:1 sve profilacije i plastine
ukrase na munari. (Grafike analize i crtee profila
i klesanih elemenata izradili su arhitekti: Medina
113
nary selection and identification of fragments found in

the well. Survey of the well;
11. Identification of dumps with fragments of
the arija mosque;
12.Removal of fragments from the dump,
transport to the mosque site, preliminary identification (numbering and photographing with preliminary
identification of position) (illus. 21);
13. Separation out of metal parts (nails,
cramps, keys, spikes, pieces of lead, hinges, window
bars, fragments of entrance gate, fragments of light
fittings, joints with spikes from the bases of the pillars, etc.), fragments of stone (by type of stone, type
of workmanship and assumed position window
jambs, door jambs, mihrab, mimbar, minaret, walls;
fragments with traces of painted layers; fragments
with specific decoration; tombstones; etc.), and fragments of wood (timber structure tiebeams, and
pieces of doors) (illus. 22 and 23);
Stage III: Analysis of findings of investigative works on remains of the mosque complex
1.Analysis of the composition of samples
of binder mortar and plaster on inside walls, taken
from the base of the minaret and the north-east corner
of the mosque, where the destruction was least. The
stratigraphic analysis of samples, and analysis of their
structure and composition, were conducted by Dr. Antonella Tucci in a laboratory in Bologna. The findings
were use when determining the composition of the
mortar and plaster used during reconstruction;
2. None of the soundings indicated any need
for further archaeological excavations of the area beneath
the buildings;
3. Detailed recording of all fragments, scale
1:1 to 1:10, and compilation of identification records
for all fragments, stone and metal (recording by the
author and assistants: Medina Hadihasanovi, Damir
Hadi, Lejla Hadi and Slobodan Kudra. All drawings
by Slobodan Kudra);
4.All working details determined by analysis
of fragments, their form, interrelationships, treatment
and details, and a comparison of these analyses and detailed records of the fragments with existing architectural and photographic documentation. By laying out the
batina -
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Hadihasanovi, Lejla Hadi, Damir Hadi i

Slobodan Kudra) (slike 24, 25, 26, 27, 28);
5. samo je nekoliko prelomljenih niana
ostalo na mjestima na kojima su bili, nakon to
je damijska cjelina razorena u ljeto 1993. godine.
S obzirom na temeljito razaranje, tokom ienja
harema i u toku arheolokih opservacija, naeni su
fragmenti od preko 200 niana, koji su vremenom
najvjerovatnije bili utonuli u zemlji, ili su tamo
zapali nakon unitenja harema 1955. godine.
Tano je 100 itljivih i dokumentiranih, bilo
cjelovitih, bilo fragmentarnih natpisa na nianima,
koji sada predstavljaju znaajan doprinos pisanim
dokumentima o historiji Stoca. Svi niani su
snimljeni, i, s obzirom da nije mogue utvrditi
njihovu lokaciju, bit e muzeoloki tretirani u
sklopu nadstrenice interpolirane u damijsku
cjelinu. Snimanje i evidentiranje niana, prepis,
transkripciju i itanje natpisa izvrio je Hazim
Numanagi (slika 29).
IV faza - sadraj i metode rehabilitacije
arijske damije:
1. rehabilitacija
arijske
damije
obuhvata:
konzervaciju svih intaktnih dijelova
damije, atrnje i harema;
rekonstrukciju objekta damije uz
upotrebu metode anastiloze i metode replike, gdje
god je to mogue (slika 30, 31, 32 i 33);
intrepolaciju
instalacija
elektrine
energije, hladnih usmjerenih reflektorskih
rasvjetnih tijela i sistema podnog grijanja;
konzervaciju i restauraciju dijelova
izvorno sauvane kaldrme;
rekonstrukciju adrvana;
rekonstrukciju zidova oko harema i
zidova izmeu groblja i dvorita damije;
rekonstrukciju oblika gusulhane, uz
adaptaciju njene funkcionalne organizacije i
unutranjosti suvremenim uvjetima;
intrepolaciju dvije podune nadstrenice
uz sjeverozapadni i sjeveroistoni zid harema, pod
kojima je planirana prezentacija historije damijske
cjeline, njenog ruenja i rekonstrukcije, ukljuujui i
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fragments of the minaret, identifying their position and

comparing with the photographs and drawings of the
minaret made in 1958, the exact height of each course
of the minaret could be reconstructed and all mouldings and carved decorations on the minaret were reconstructed to scale 1:1 (graphic analyses and drawings of
mouldings and carved elements by architects Medina
Hadihasanovi, Lejla Hadi and Damir Hadi, and
Slobodan Kudra) (illus. 24, 25, 26, 27 and 28);
5.Only a few broken nian tombstones remained in their former positions following the destruction and vandalization of the mosque complex in the
summer of 1993. Given the extent of the destruction,
the fragments of more than 200 tombstones found during clearing of the harem and architectural observations
had probably become buried by soil or had fallen over
after the destruction of the harem in 1955. Precisely 100
legible, documented epitaphs on the nian tombstones,
some intact, some fragmentary, were found, now forming a major contribution to written documents on the
history of Stolac. All the tombstones were recorded and,
given that it was impossible to determine their locations,
they will be displayed museum-style under the canopy
roof interpolated within the mosque complex. The survey and recording of the tombstones, and the transcription and deciphering of the epitaphs were by Hazim
Sl.36/Ill.36
Unutranjost damije 23. augusta 2003. godine, deset godina nakon
njenog ruenja, kada je rekonstrukcija bila u zavrnoj fazi
Interior of the mosque on 23 August 2003, ten years after its destruction, when reconstruction was in the final stages.
114
prezentaciju ulomaka koji nisu mogli biti ugraeni

i nadgrobnika otkopanih u toku istranih radova na
prostoru damijskog harema;
interpolaciju toaleta u sjevernom uglu
dvorita;
sanaciju svih borova koji su iznikli u
haremu damije nakon njenog razaranja i presaivanje
borova koji su iznikli na zidovima i u unutranjosti
objekta; restauraciju hortikulturnog rjeenja harema.
Metodoloki pristup rehabilitaciji zasnovan
je na sljedeim poelima:
integrirana rehabilitacija: projekat
rehabilitacije arijske damije trebao bi biti poetni
korak u rehabilitaciji sruene historijske jezgre Stoca;
potpuna rekonstrukcija: rekonstrukcija
damije je provedena primjenom metode anastiloze
koliko god je to mogue. Lomljeni kamen od kojeg
je zidan izvorni objekat je ponovno ugraen u zidove,
kao izvorna supstanca objekta. Gdje god nije bilo
mogue primijeniti metodu anastiloze, s obzirom
na unitenost izvornog ulomka, koritena je metoda
replike;
prezentacija sloja ruenja: ponovno
upotrebljeni vidljivi ulomci su konzervirani, tako da
na njima ostanu vidljivi tragovi ruenja. Prezentacija
sloja ruenja je, osim kroz upotrebu oteenih izvornih
ulomaka u toku rekonstrukcije, planirana i kroz
muzeoloko predstavljanje neugraenih fragmenta i
naenih niana, kao i kroz predstavljanje dokumenata
o historiji damije, njenom ruenju i rekonstrukciji;
koritenje tradicionalnih metoda i
tehnika: konsekventno je provoena upotreba
izvornih materijala ili njima istovrsnih materijala,
istih recepata za vezivo i zavrne maltere, istih metoda
obrade i ugradnje meterijala kao to je to izvorno
injeno (slike 34 i 35);
rekonstrukcija
poznatog
oblika:
svi dijelovi cjeline su rekonstruirani u poznati i
dokumentirani (najee posljednji oblik). (Izuzeci,
koji e ovdje biti navedeni, su uglavnom vezani za
otklanjanje promjena koje su znaajno naruavale
cjelovitost damije. Prozori su rekonstruirani u oblik
prije ruenja, ali su dodati drveni kapci s unutranje
strane, koji su skinuti koncem pedesetih godina
115
Numanagi (illus. 29)

Stage IV: Content and method of the rehabilitation of the arija mosque
1. The rehabilitation of the arija mosque
consisted of:
conservation of all intact parts of the mosque,
well and harem;
reconstruction of the mosque by the methods of anastylosis and replica wherever possible (illus.
30, 31, 32 and 33);
interpolation of electric wiring, cool directional reflective lighting and underfloor heating;
conservation and restoration of parts of original surviving cobbles;
reconstruction of adrvan fountain;
reconstruction of walls around harem and
walls between burial ground and mosque courtyard;
reconstruction of the form of the gusulhana,
adaptation of its functional layout and interior to modern conditions;
interpolation of two longitudinal canopy
roofs by north-west and north-east harem walls; the
plan is to present beneath these roofs the history of the
mosque complex, its destruction and reconstruction,
and the fragments that could not be reincorporated,
along with tombstones excavated during investigative
works in the mosque harem area;
interpolation of toilets in the north corner of
the courtyard;
tree surgery on all pines growing in the
mosque harem since its destruction and replanting those
growing in the walls and inside the property. Restoration of the horticultural treatment of the harem.
The methodological approach to the rehabilitation was based on the following principles:
integrated rehabilitation: the rehabilitation
of the arija mosque should be the first step in the restoration of the destroyed historic centre of Stolac;
full reconstruction: the reconstruction of
the mosque was carried out using the method of anastylosis wherever possible. The quarry stone used to build
the original mosque was rebuilt into the walls, as the
original substance of the building. Where it was not
possible to use the method of anastylosis because of the
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20. stoljea. Drveni kapci su izvorno bili jedini

nain zatvaranja prozora u arijskoj damiji, a
rekonstruirani su na osnovi analogije. Rekonstruiran
je ulaz u lijevi mahfil sa vanjske sofe, koji je zatvoren
sedamdesetih godina dvadestog stoljea, kada je
ispod mahfila ugraena prostorija u damiji, koju je
imam koristio kao kuhinju, odlagalite sua i sobu
za sastanke. Procijenjeno je da su obje intervencije
izvedene sedamdesetih godina neprimjerene i da
degradiraju arhitektonsko i funkcionalno rjeenje
damije, pa je predviena rekonstrukcija prethodnog
Sl.37/Ill.37
Damijske sofe 23. augusta 2003. godine
Mosque sofas, 23 August 2003.
Sl.37/Ill.37
Pogled na damijsku cjelinu 23. augusta 2003. godine
View of the mosque complex, 23 August 2003.
batina -
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extent of damage to a fragment, the replica method

was used;
presentation of the stratum of destruction: the reused fragments remaining visible were conserved in such a way as to preserve the visible traces
of destruction. In addition to the use of damaged
original fragments during reconstruction, the plan is
to present the destruction stratum through the museum-style presentation of fragments not reintegrated
and the nian tombstones that were found, as well as
using documentation on the history, destruction and
reconstruction of the mosque;
use of traditional methods and techniques: as a result, the use of original or similar materials, the same composition of binders and plaster, the
same finishes to the material and the same building
methods used for the original building were applied
(illus. 34 and 35);
reconstruction of the known form: all
parts of the complex were reconstructed to their
known, documented form (usually, their last). (The
exceptions, which will be noted here, were mainly associated with the elimination of changes that had been
markedly detrimental to the integrity of the mosque.
The windows were reconstructed in the form they had
prior to destruction, but with the addition of wooden
shutters on the inside these had been removed in
the 1950s. The wooden shutters were originally the
only way in which the windows of the arija mosque
could be closed, and were reconstructed on the basis of
analogy. The entrance to the left mahfil from the exterior sofa, closed off in the 1970s when premises were
added within the mosque beneath the mahfil which
the imam used as a kitchen, pantry and meeting room,
was reconstructed. It was judged that both interventions carried out in the 1970s were inappropriate and
damaging to the architectural and functional treatment
of the mosque, and the project therefore provided for
reconstruction of the condition prior to this. The layers
of concrete covering the original cobbles and the large
paved area outside the mosque entrance were removed.
Since part of the original cobbling was found intact on
the right-hand sofa, the sofas were rebuilt with cobbled surfaces instead of the wooden flooring that had
116
stanja. Skinuti su slojevi betona, koji su prekrivali

izvornu kaldrmu i velike kamene povrine pred
ulazom u damiju. S obzirom da je dio izvornog
kamenog poploanja naen intaktan na desnoj sofi,
rekonstruiran je kameni umjesto drvenog poda sofa,
kojim je prekriven pod sofa i skrivene baze stupova
istodobno kada je zatvoren ulaz u enski mahfil.
Otvorena je jugozapadna kapija, koja je zazidana
istodobno kada je mekteb sruen, a njegov prostor
otuen. Objekti su pokriveni kamenim ploama
radi cjelovitosti njihovog arhitektonskog iskaza,
iako je posljednji pokriva prije ruenja bio crijep i
djelimino lim.);
ivo naslijee: rehabilitacija arijske
damije ima dokumentarni, simbolini, socioloki,
urbanistiki i funkcionalni znaaj. S obzirom da se cjelina
arijske damije aktivno koristi kao vjerski objekat i
s obzirom da je rekonstrukcijom predviena i dodatna
muzeoloka funkcija, predvieno je interpoliranje
sanitarija i nadstrenica, kao i funkcionalno ureenje
gasulhane. Interpolirani objekti su krajnje jednostavni
i izvedeni u istim materijalima kao i ostali objekti u
cjelini (slike 36, 37, 38).
Zakljuak
Rekonstrukcija arijske damije u Stocu
je u vrijeme kada je poela bila osporavana, ali je
mogue ustvrditi da je nakon nje u Bosni i Hercegovini
postala neupitna potreba rekonstruiranja sruenih
znakova zaviaja. U toku su, ili su ve zavreni,
brojni projekti rekonstrukcije, i vjerovatno je da je
svaki od njih znaajan doprinos razvoju recepcije
naslijea, ne samo u Bosni i Hercegovini, nego
u strunoj svjetskoj zajednici. Nakon pristupa
rekonstrukcija kao strategija poslijeratne obnove,
koji je s puno udruenih intelektualnih napora
uspostavljen u Bosni, pitanje rekonstrukcije
sruenog naslijea na Kosovu, na primjer, nije ni
postavljano rekonstrukcija namjerno sruenog
naslijea postavljena je kao neupitnost i kao jedini
nain ouvanja kulturnog pamenja koje biva
izloeno nasilnom preoblikovanju.
11 7
covered the sofa floor and concealed the bases of the

pillars at the same time as the entrance to the womens mahfil was walled up. The south-west gateway,
walled up when the mekteb was demolished and its
site expropriated, was reopened. The buildings were
clad with stone roofing slabs to provide them with an
integral architectural expression, although the last roof
cladding prior to destruction was tiles, and in places
sheet metal.)
living heritage: the rehabilitation of the
arija mosque is of documentary, symbolic, sociological, town planning and function significance. Since
the mosque complex is in active use as a religious
building, and that reconstruction provided for its additional function as a museum, provision was made
for the interpolation of a toilet block and canopy roofs
and for the gusulhana to be updated. The interpolated buildings are extremely simple, and built of the
same materials as the other buildings in the complex
(illus. 36, 37 and 38).
Conclusion
The reconstruction of the arija mosque
in Stolac was in dispute when it began, but since it
has been completed there is no longer any doubt in
Bosnia and Herzegovina of the need to reconstruct
the destroyed signs and symbols of the homeland.
Numerous reconstruction projects are under way
or have already been completed, and it is likely that
every one of them has made a major contribution to
raising awareness of the heritage, not only in Bosnia
and Herzegovina but also in the professional community abroad. After the reconstruction as a strategy
of post-war revival approach, which has become established in Bosnia thanks to considerable combined
intellectual efforts, the question of the reconstruction
of the destroyed heritage in Kosovo, for instance, has
not even been raised the reconstruction of the deliberately destroyed heritage has become a matter of
course, beyond question, as the only way to preserve
cultural memory that has been exposed to forcible
transformation.
batina -
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Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

Cilj ovog rada jeste izvijestiti o procesu

The purpose of this paper is to report on the

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

Stocu bio je prototip i model praktinog provoenja

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

i bez mogunosti koritenja suvremenih tehnologija

who backed the project.

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

(konzervacija drveta, rekonstrukcija zidnih

organization and promotion); Esad Veskovi, stone

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

and dolafs were hand made in maple and cheery wood

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

historijskim razdobljima i razliitim drutvenoim i

) Azra Gado-Kasumovi, Stolac u osmanskom periodu, Hercegovina,

) Azra Gado-Kasumovi, Stolac u osmanskom periodu (Stolac in the

)Hivzija Hasandedi, Muslimanska batina u istonoj Hercegovini, El-Ka-

)Hivzija Hasandedi, Muslimanska batina u istonoj Hercegovini

lem, Sarajevo, 1990.

(Muslim Heritage in Eastern Herzegovina), El-Kalem, Sarajevo, 1990.

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

mesdid, Carska damija, Damija jedanaset direka,

by fugitives from Dalmatia began.

) Anonim, Stolac i Rizvanbegovii, Sr, Dubrovnik, I, broj 7 od 16.

) Anon, Stolac i Rizvanbegovii (Stolac and the Rizvanbegovi family),

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

crkve. Tokom 2001. godine su, prije pristupanja

mentioned in passing and impossible to verify. After

) vidjeti, na primjer pamflete sa okruglog stola odranog 5. septembra

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

prihoda je bio namijenjen za plau uitelja i posluge

The most important building in the arija

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

initelj oblikovanja stolakog naslijea, kada su se u

preserved until the 1970s, when a new tepa was built on

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

donio je rjeenje da bude izvrena eksproprijacija

Asker (soldiers) graveyard right by the mosque to the

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

Zavoda za zatitu spomenika kulture i prirodnih

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

Opis graditeljske cjeline arijkse

The architectural ensemble with the arija

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

of the three mosques oldest in Herzegovina and among

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

jedne tradicionalno graene damije kod koje je

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

biti napisano prije 1598. godine. U to doba eremit

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

krunoga presjeka od lomljenog kamena. Grede su se

terior of the mosque their transition to the level beam

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

Vidljivi dio mihraba na kome su izvedene klesane

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

i koje su bile stegnute sa tri elina prstena. Na vrhu

together by three steel rings. The alem that tops the

Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e ta j i

eksproprijacija izmijenjen. Stanje harema prije

to the destruction in 1993 is described by Mujezinovi.

The arija mosque in Stolac is the centre of