BOSANSKOHERCEGOVAKOPOKRETNONASLIJEEURASIJANJU

THEDISPERSALOFBOSNIAANDHERZEGOVINA'SMOVABLEHERITAGE

byAleksandraBuni

Source: Heritage(Batina),issue:IV/2008,pages:441462,onwww.ceeol.com.

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Bosanskohercegovako pokretno naslijee u rasijanju

B o s a n s ko h e rc e g ova ko p o k r e t n o n a s l i j e e u rasijanju t h e d i s pe r s a l o f B o s n i a a n d h e r z e g ov i n a s m ov a B l e h e r i tag e

Aleksandra BUNI

Diljem svijeta, u privatnim kolekcijama sakupljaa umjetnina, arhivima i muzejima, glasovitim zbirkama i manje poznatim galerijama, na pergamentnim listovima, stecima i slikama, ispisana je povijest jednog vremena i povijest Bosne. Kao svjedoanstvo, kao putokaz. Meunarodne odredbe o zatiti izvezenih kulturnih dobara i institucije odgovorne za njihovo uvanje na tom e putokazu biti stalni i jedini suradnici: u pronalaenju dobara, u njihovom identificiranju, njihovoj zatiti i prezentaciji. U tabelarnom prikazu, dat je pregled do sada identificiranih spomenika, s podacima o vrsti i datiranju spomenika, kao i dravi u kojoj se nalazi. Nakon prikupljanja i obrade podataka o ovim spomenicima, slijedi izrada katalokih jedinica s preciznim podacima za svaku pojedinanu umjetninu. Kljune rijei: Bosanskohercegovaka batina, meunarodne odredbe, rukopisne knjige, slike, steci i niani

The history of a time, the history of Bosnia is written as testimony, as a signpost, throughout the world, in the private collections of art collectors, in archives and museums, in renowned collections and little-known galleries, on parchment, on mediaeval steak tombstones and in paintings. International instruments for the protection of exported cultural property and the institutions responsible for safeguarding it are our constant and our only companions on the way, as this property is discovered, identified, protected and presented. The table at the end of this paper provides an overview of the artefacts identified to date, with a brief description and date, along with the state where they are located. The collection and processing of the information on these artefacts is followed by the process of cataloguing them, with exact details of each work or art or artefact. Key words: Bosnia and Herzegovinas heritage, international instruments, manuscript books, paintings, steak and nian tombstones
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the dispersal of Bosnia and herzegovinas movaBle heritage

uvod

Od davnina plodonosno tlo bosanskohercegovake batine iznjedrilo je umjetnika djela skromnog likovnog izraaja, ali neprocjenjive vrijednosti za rekonstrukciju likovnoga stvaralatva nae zemlje. S obzirom da je kroz povijest likovna batina nastajala i nestajala u inspirirajuim stvaralakim poletima i nemilosrdnim destruktivnim momentima, potrebno je ukazati na spomenike koji su obiljeili pojedine povijesne epohe ili su pak vezani za ugledne i mone linosti. Pod naletom povijesnih valova, bitki i ratova, smjenama carstava i monarhija, pokretna su dobra odnoena kao svjedoanstva nae povijesti. Vremensko datiranje bosanskohercegovakih spomenika, koji su rasijani diljem svijeta, protee se od onih nastalih u prapovijesti i srednjem vijeku do onih koji su obiljeili protekla desetljea. Stoga, cilj je ovoga rada ukazati na spomenike koji se nalaze u zbirkama europskih galerija i muzeja, koji su nastali na podruju nae zemlje, uvaavajui promjenu njezinih granica kroz povijest. Takoer, poetna faza rada na ovome podruju podrazumijeva identifikaciju naslijea nastalog tijekom srednjeg vijeka, koje je pod razliitim okolnostima izneseno iz Bosne i Hercegovine. Nakon prikupljanja podataka o ovim spomenicima, slijedi izrada katalokih jedinica i objedinjavanje liste bosanskohercegovakih pokretnih spomenika koji se nalaze izvan zemlje. Na ovom mjestu potrebno je ukazati na jo jednu injenicu. S obzirom da je rije o pokretnom naslijeu nae zemlje koje se nalazi u muzejima i galerijama drugih zemalja, sagledavanje meunarodnog pristupa identifikaciji i zatiti naslijea ne smije biti izostavljeno. Svako kulturno dobro jeste i mora ostati posebno i pravno zatieno. meunarodni pristup Upravo razliiti meunarodni propisi, zakonske regulative i akti obrauju pravnu zatitu kulturnih dobara, bilo da se radi o ukradenim ili nezakonito izvezenim dobrima. Ova problematika aktualizirana je jo 1926. godine u okviru Meunarodnog instituta za unifikaciju privatnog prava UNIDROIT. Znaajan doprinos zatiti kulturnih dobara na meunaBatina - BA[TINA - heritage

introduction Since ancient times the fertile soil of Bosnia and Herzegovinas heritage has nourished art works of modest artistic expression but inestimable value for the reconstruction of this countrys art. Throughout history, the artistic heritage has come into being and been lost in creative bursts of inspiration and ruthless moments of destruction; it is important, therefore, to draw attention to the art and artefacts that have marked certain periods of history or that are associated with eminent or powerful persons. Movable property, as evidence of our history, has been swept away on the waves of history, in battles and wars, in the fall of empires and monarchies and the rise of others. The artefacts of Bosnia and Herzegovina now dispersed around the world range in date from prehistoric and mediaeval to those of recent decades. The purpose of this paper is thus to highlight the artefacts, now in European galleries and museums, that originated in this country, taking into account its shifting borders over the centuries. The initial stage of this work also entails identifying the mediaeval heritage that has been removed from Bosnia and Herzegovina in varying circumstances. The collection of information on these artefacts is followed by the process of cataloguing them and collating the various lists of Bosnia and Herzegovinas movable artefacts now outside its borders.. There is another point to be made here. Since the movable heritage in question is housed in the museums and galleries of other countries, it is vital to include an overview of the international approach to the identification and protection of the heritage. Every cultural property is and must remain distinct and legally protected. The international approach Warious international instruments, laws and other acts govern the legal protection of cultural property, including that which has been stolen or illicitly exported. The issue was addressed back in 1926 under the auspices of the International Institute for the Unification of Private Law (UNIDROIT). A significant contribution was made over the next few decades to the protection of cultural property at the international
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rodnoj razini postignut je u narednim desetljeima, kada su date jasnije odrednice. Tako se u Rimskom sporazumu o osnivanju Evropskih ekonomskih zajednica iz 1957. godine napominje da je mogue uvesti zabrane uvoza, izvoza i tranzita robe ako su one opravdane razlozima javnog morala, javnog poretka, ili javne bezbednosti, zatite zdravlja i ivota ljudi, ivotinja i biljaka, zatite nacionalnog kulturnog dobra umetnike, istorijske i arheoloke vrednosti ili zatite industrijske i trgovake svojine.1 Identifikaciju i zatitu kulturnih dobara, koja su pod razliitim okolnostima izmjetena iz zemlje matice u druge zemlje, posebno obrauje UNESCO-va Konvencija o mjerama za zabranu i spreavanje nedozvoljenog uvoza, izvoza i prijenosa svojine kulturnih dobara iz 1970. godine. U jednoj od odredbi napominje se da nedozvoljeni uvoz, izvoz i prenos kulturnih dobara predstavlja jedan od glavnih uzroka osiromaenja kulturne batine zemalja porekla.2 Krajem osamdesetih i poetkom devedesetih godina prologa stoljea usvojene su jo dvije odredbe o identifikaciji i zatiti kulturnih dobara, pri emu se sve manje inzistira na povratu, a sve vie na punoj zatiti kulturnog dobra u drugoj zemlji. Godine 1988., Vijee Europe usvojilo je Preporuku o meunarodnoj zatiti kulturne imovine i prometa umjetnikih djela. Nekoliko godina kasnije (1995.) potpisana je UNIDROIT Konvencija o ukradenim i protupravno izvezenim kulturnim dobrima. Odredbe Svjetskog udruenja za meunarodno pravo (ILA) iz 2006. godine takoer sadravaju privatno-pravnu zatitu kulturnih dobara. Iako razliite po vremenu nastanka (od 1926. do 2006. godine), sadraj svih navedenih odredbi nastoji postaviti jasne okvire kako bi se sprijeio nedoputeni izvoz i trgovina kulturnim spomenicima. Osim ove stavke, zemlje matice i zemlje u koje su kulturna dobra izmjetena nastoje kroz meunarod1) Vilus, Jelena, Pravna zatita kulturnih dobara, u Zbornik radova Prve regionalne konferencije o integrativnoj zatiti, Kulturni pejza savremeni pristup zatiti kulturnog i prirodnog naslijea na Balkanu, ur., Anika Skorvan i Nataa Ostoji Ili, Beograd: Evropski centar za mir i razvoj (ECPD) Univerziteta za mir Ujedinjenih nacija, 2008.: 49. 2) Vilus 50.
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level by the provision of more explicit guidelines. The 1957 Treaty of Rome establishing the European Economic Community does not preclude prohibitions or restrictions on imports, exports or goods in transit justified on grounds of public morality, public policy or public security; the protection of health and life of humans, animals or plants; the protection of national treasures possessing artistic, historic or archaeological value; or the protection of industrial and commercial property.1 The identification and protection of cultural artefacts taken abroad in various circumstances from their native country are governed in particular by the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, which states that the illicit import, export and transfer of ownership of cultural property is one of the main causes of the impoverishment of the cultural heritage of the countries of origin of such property.2 In the late 1980s and early 1990s, two more instruments governing the identification and protection of cultural property were adopted, with less emphasis on return and increasing emphasis on the full protection of cultural property in other countries. In 1988 the Council of Europe adopted Recommendation 1072 (1988) on the international protection of cultural property and the circulation of works of art, and 1995 saw the signing of the UNIDROIT Convention on Stolen or Illegally Exported Cultural Objects. The 2006 provisions of the International Law Association also address the protection of cultural property under the terms of private international law. Though differing in their dates of origin (from 1926 to 2006), the provisions of all these instruments
1) Vilus, Jelena, Pravna zatita kulturnih dobara, IN Zbornik radova Prve regionalne konferencije o integrativnoj zatiti, Kulturni pejza savremeni pristup zatiti kulturnog i prirodnog naslijea na Balkanu, ed., Anika Skorvan and Nataa Ostoji Ili, Belgrade: European Centre for Peace and Development, UN University for Peace, 2008, 2008.: 49.[Original text, from Article 30 of the Treaty, taken from http://eur-lex.europa.eu/ en/treaties/dat/12002E/htm/C_2002325EN.003301.html . Trans.] 2) Vilus 50. [The passage in question is in Article 2 of the Convention. Trans.]
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ne odredbe postii i podstai suradnju kroz razliite vidove razmjene dokumentacije, prezentacije spomenika i dr. specifinosti bosanskohercegovake likovnosti U prouavanju fenomena bosanskohercegovake likovnosti otkrivaju nam se dvije spoznaje. Prva se odnosi na likovne utjecaje, koji su s razliitim intenzitetom oplodili bosanskohercegovako tle, nosei u sebi duh romanike i gotike s Zapada, te bizantijski i orijentalni duh s Istoka.3 Druga se pak odnosi na meusobno proimanje ovih razliitih likovnih tradicija i pukog shvatanja umjetnosti, stvarajui tako svoj vlastiti, specifini likovni vokabular. Sa druge strane, umjetnika djelatnost u srednjovjekovnoj Bosni ima dva karaktera. Bilo da se radi o iluminiranim rukopisima ili slikama, svjetovni karakter iskazan je kroz lik naruitelja, koji je, u veini sluajeva, pripadnik bosanske vlastele. Meutim,
3) D. Lovrenovi u knjizi Na klizitu povijesti napominje da se srednjovjekovna Bosna nalazila na raskriju triju vrsta kulturnih utjecaja: romansko-mediteranskih, istono centralnoeuropskih, te srpsko-bizantijskih. (401.)

seek to establish a clear framework for the prevention of the illicit export and transfer of ownership of cultural property. The countries of origin and destination of cultural property also seek, on the basis of international law, to encourage and achieve cooperation through various forms of exchange of documentation, the presentation of property, etc. specific features of the art of Bosnia and herzegovina Two features come to light in the study of the art of Bosnia and Herzegovina. The first consists of the artistic influences that, to a greater or lesser extent, found fertile soil in Bosnia and Herzegovina, bringing with them the Romanesque and Gothic from the West and the Byzantine and oriental from the East.3 The other is that these different artistic traditions mingled with the indigenous approaches to art to create an artistic vocabulary specific to Bosnia and Herzegovina. Art in mediaeval Bosnia itself has two facets. Whether in illuminated manuscripts or paintings, its secular character is expressed through the persons commissioning the works, who were usually from the Bosnian landed nobility. Interestingly, however, almost every surviving work of art discovered to date in European museums is of a purely religious nature. One such is Hvals Miscellany (illus. 1), a Bosnian krstjan (Bosnian Church) codex commissioned by Duke Hrvoje Vuki Hrvatini.4 Hvals Miscellany was compiled in bosanica [Bosnian Cyrillic] by krstjanin Hval, hence its name, and consists of 353 high quality, smooth sheets of parchment with illuminations that are Gothic in origin. There are good grounds for the hypothesis that the manuscript is a transcript of an earlier Glagolitic m/s, and that it was very likely illuminated by two artists. Certain works of art constitute representative examples of the art of the region, such as Miroslavs
3) In his Na klizitu povijesti D. Lovrenovi notes that mediaeval Bosnia lay at the crossroads of three cultural influences: the Romano-Mediterranean, the eastern and central European, and the Serbo-Byzantine (401.). 4) Hvals Miscellany. Mediaeval illuminated m/s, 1404, parchment, 170 x 105 mm. Bologna: Biblioteca Universitaria di Bologna. For more see: Goi, Nevenka, ed., Zbornik Hvala Krstjanina, Sarajevo: Svjetlost Academy of Sciences and Arts of Bosnia and Herzegovina, 1986.
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Sl. 1 Minijaturist je na dominirajuoj plavoj pozadini, preko cijele stranice, ispred Djela apostolskih oslikao Uzaae. Hvalov zbornik, srednjovjekovni iluminirani rukopis, 1404. godina, pergament, 170 x 105 mm. Bologna, Biblioteca Universitaria di Bologna. Illus. 1 The miniaturist has depicted the Ascension against a mainly blue ground, over the full width of the page, preceding the Arts of the Apostles. Hvals Miscellany. Mediaeval illuminated m/s, 1404, parchment, 170 x 105 mm. Bologna: Biblioteca Universitaria di Bologna.
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zanimljivo je ukazati na injenicu da gotovo sve sauvane umjetnine dosada pronaene u zbirkama europskih muzeja imaju iskljuivo religijski karakter. Kao primjer moemo navesti Hvalov zbornik (slika 1), kodeks bosanskih krstjana, nastao po narudbi vojvode Hrvoja Vukia Hrvatinia4. Hvalov zbornik ispisao je bosanicom krstjanin Hval, po emu je ovaj zbornik nazvan. Rukopis sadri 353 fino obraena i uglaena pergamentna lista, sa iluminacijama gotikoga porijekla. Opravdana je pretpostavka da je rukopis nastao prepisivanjem starijeg glagoljskog predloka, a oslikala su ga vjerojatno dvojica majstora. Takoer, pojedine umjetnine spadaju u reprezentativne primjere u odnosu na likovno stvaralatvo regije, naprimjer Miroslavljevo evanelje5, dok su druge vane u prouavanju razliitih utjecaja u odreenoj sredini (ekonomskih, socijalnih, religijskih i dr.). Naruitelj Miroslavljevog evanelja (slike 2-6) je humski knez Miroslav, pa je i datiranje rukopisa izvreno na temelju perioda njegove vladavine, tj. rukopis se datira u XII. stoljee. Pretpostavlja se da je majstor Gligorije, koji se potpisao na dva mjesta u rukopisu, ispisao i/ ili oslikao ovaj reprezentativni manuskript. Tamnom crnom tintom, u dvije kolone, majstor je ispisao tekst Evanelja i oslikao ukupno 296 minijatura. Izuzetak ovom nizu spomenika ini velianstvena zbirka orijentalnih rukopisa, koju je 1924. godine Safvet-beg Baagi prodao Univerzitetskoj biblioteci u Bratislavi.6 Zbirka se sastoji od rukopisa i tiskanih knjiga, nastalih u periodu od XVI. do XIX. stoljea.
4) Hvalov zbornik, srednjovjekovni iluminirani rukopis, 1404., pergament, 170 x 105 mm, Bologna, Biblioteca Universitaria di Bologna. Detaljnije u: Goi, Nevenka, ur., Zbornik Hvala Krstjanina, Sarajevo: Svjetlost Akademija nauka i umjetnosti Bosne i Hercegovine, 1986. 5) Miroslavljevo evanelje, srednjovjekovni iluminirani rukopis, 428 x 297 x 75 mm, kraj XII. stoljea, pergament, Beograd, Narodni muzej. Detaljnije u: Miroslavljevo jevanelje, Fototipsko izdanje, ur. Veljko Topalovi, Duan Mrenovi, Branislav Brki, Beograd: AIZ Dosije i JP Slubeni list SRJ, 1998. 6) Kompletan popis knjiga iz zbirke koji je sainio sam Safvet-beg vidi u: Baagi, Safvet-beg, Popis orijentalnih rukopisa moje biblioteke, Glasnik Zemaljskog muzeja, svezak 3. i 4., Sarajevo, 1916.: 207. 290. Za ostale detalje o kolekciji, koja je uvrtena na Listu UNESCO-a, Pamenje svijeta (Memory of the world) vidi http://www.ulib.sk/index/ go.php?id=1379&lang=en (21. svibanj 2008. godine).
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Gospel,5 whereas others are important for the study of the various influences acting upon a certain area or environment (economic, social, religious and so forth). Miroslavs Gospel (illus. 2-6) was commissioned by Prince Miroslav of Hum, and thus dates to the time of his rule in the 12th century. Master Gligorije, whose name is signed twice in the m/s, was probably either the scribe or the illuminator of this representative m/s, where the text, written in thick black ink, is in two columns accompanied by a total of 296 miniatures. One exception to such artefacts is the magnificent collection of oriental manuscripts sold by Safvet beg Baagi to the University Library of Bratislava in 1924.6 The collection consists of manuscript and printed books ranging in date from the 16th to the 19th century, 284 of them in Arabic, Turkish and Persian, with a grand total of 598 volumes (illus. 7 and 8). Printed works number 496 in all, bound into 365 volumes. This valuable collection brings together manuscripts dealing with various matters, from commentaries on the Quran, religion and tradition to metaphysics, philology, astronomy, law, mathematics and so on. Bosnia and herzegovinas heritage in european collections The identification and inventorying of Bosnia and Herzegovinas dispersed heritage is an ongoing and complex process designed to determine the number and type of artefacts now located abroad and to compile a list of the countries and institutions responsible for their safekeeping and presentation. Thus far the information that has been assembled pertains mainly to mediaeval illuminated manuscripts
5) Miroslavs Gospel. Mediaeval illuminated m/s, 428 x 297 x 75 mm, late 12th century, parchment. Belgrade: National Museum. For more see: Miroslavljevo jevanelje, Phototype edition, ed. Veljko Topalovi, Duan Mrenovi, Branislav Brki, Beograd: AIZ DOSIJE and Official Gazette of SRY, 1998. 6) Safvet beg himself compiled a full list of the books in the collection: see: Baagi, Safvet-beg, Popis orijentalnih rukopisa moje biblioteke, Jnl of the National Museum, vols 3 and 4, Sarajevo: 1916: 207290. For further details of the collection, which is listed under the UNESCO Memory of the World Programme, see http://www.ulib.sk/index/ go.php?id=1379&lang=en (21.05.2008).
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Sl. 2 Folio 1r, sa prikazima evanelista Marka, Luke i Ivana. Miroslavljevo evanelje, srednjovjekovni iluminirani rukopis, 428 x 297 x 75 mm, kraj XII. stoljea, pergament, Beograd, Narodni muzej. Preuzeto s internetske stranice http://www.miroslavljevojevandjeljefaksimil.com/komentari.htm (20. svibanj 2008. godine) Illus. 2 Folio 1r, portraying the evangelists Mark, Luke and John. Miroslavs Gospel. Mediaeval illuminated m/s, 428 x 297 x 75 mm, late 12th century, parchment. Belgrade: National Museum. From http://www.miroslavljevojevandjeljefaksimil.com/komentari.htm (20. 05. 2008)

or fragments of m/s, which constitute an important part of Bosnia and Herzegovinas mediaeval heritage, but some information also relates to paintings, shahids (fallen soldiers) nian tombstones and steak tombstones. Bosnia and Herzegovina is in cooperation with the institutions responsible for the safekeeping of these artefacts in Croatia, Italy, Russia, Slovakia, Slovenia, Serbia and the Vatican. The preliminary list of dispersed property thus far identified, drawn up by the Commission to Preserve National Monuments, consists of 27 artefacts, counting Safvet beg Baagis collection of oriental manuscripts as one (Table 1). Here it should be noted that there is a written record, for some of these artefacts, of their

Sl. 3 Inicijali s ljudskim likovima. Miroslavljevo evanelje, srednjovjekovni iluminirani rukopis, 428 x 297 x 75 mm, kraj XII. stoljea, pergament, Beograd, Narodni muzej. Preuzeto s internetske stranice http://www.miroslavljevojevandjeljefaksimil.com/komentari.htm (20. svibanj 2008. godine) Illus. 3 Historiated initials, Miroslavs Gospel. Mediaeval illuminated m/s, 428 x 297 x 75 mm, late 12th century, parchment. Belgrade: National Museum. From http://www.miroslavljevojevandjeljefaksimil.com/komentari. htm (20. 05. 2008)

Sl. 5 U najrazliitijim varijantama, u inicijalima se pojavljuju ivotinje iz srednjovjekovnog bastijarija. Miroslavljevo evanelje, srednjovjekovni iluminirani rukopis, 428 x 297 x 75 mm, kraj XII. stoljea, pergament, Beograd, Narodni muzej. Preuzeto s internetske stranice http://www.miroslavljevojevandjeljefaksimil.com/komentari.htm (20. svibanj 2008. godine) Illus. 5 Extremely diverse zoomoorphic initials based on creatures from the mediaeval bestiary. Miroslavs Gospel. Mediaeval illuminated m/s, 428 x 297 x 75 mm, late 12th century, parchment. Belgrade: National Museum. From http:// www.miroslavljevojevandjeljefaksimil.com/komentari.htm (20. 05. 2008)

Sl. 4 Bogata ornamentika isprepletenih inicijala u obliku ptice. Miroslavljevo evanelje, srednjovjekovni iluminirani rukopis, 428 x 297 x 75 mm, kraj XII. stoljea, pergament, Beograd, Narodni muzej. Preuzeto s internetske stranice http://www.miroslavljevojevandjeljefaksimil.com/komentari.htm (20. svibanj 2008. godine) Illus. 4 An elaborate decoration of intertwining zoomorphic initials in the form of birds. Miroslavs Gospel. Mediaeval illuminated m/s, 428 x 297 x 75 mm, late 12th century, parchment. Belgrade: National Museum. from http:// www.miroslavljevojevandjeljefaksimil.com/komentari.htm (20. 05. 2008)
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Sl. 6 Mrea gustih isprepletenih floralnih motiva, kojima su ukraeni pojedini inicijali. Miroslavljevo evanelje, srednjovjekovni iluminirani rukopis, 428 x 297 x 75 mm, kraj XII. stoljea, pergament, Beograd, Narodni muzej. Preuzeto s internetske stranice http://www.miroslavljevojevandjeljefaksimil.com/komentari. htm (20. svibanj 2008. godine) Illus. 6 A network of densely interwined floral motifs decorating various initials. Miroslavs Gospel. Mediaeval illuminated m/s, 428 x 297 x 75 mm, late 12th century, parchment. Belgrade: National Museum. From http://www. miroslavljevojevandjeljefaksimil.com/komentari.htm (20. 05. 2008)
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Rukopisi, koji su napisani na arapskom, turskom i perzijskom jeziku, pohranjeni su u 284 knjige, a ukupni broj iznosi 598 (slike 7 i 8). Tiskani rukopisi pohranjeni su u 365 knjiga, a njihov ukupni broj iznosi 496. Ova vrijedna kolekcija objedinjuje rukopise razliitoga sadraja, od komentara Kurana, religije i tradicije, do metafizike, filologije, astronomije, prava, matematike i dr. Bosanskohercegovaka batina u europskim zbirkama Identifikacija i popis bosanskohercegovake batine u rasijanju zahtijeva kontinuiran i sloen proces, kojim se treba ustanoviti broj i vrsta spomenika koji

acquisition by European galleries and museums. Some were sold or donated, but others were removed from Bosnia on the pretext of safekeeping. This is true in particular of the valuable paintings and other artefacts from the Kraljeva Sutjeska monastery, now in the Strossmayer Gallery in Zagreb (illus. 9-13). They were removed by Bishop Josip Juraj Strossmayer, as he relates in a letter dated 1873: These old things are being saved in this way for the people and for Bosnia itself, for I personally undertake, and commit the Academy of Sciences and our government, to return all Bosnias things when, God willing, Bosnia becomes its own

Sl. 7 Diplomu, ispisanu kaligrafskim arapskim pismom, za Muhamed ar Raidija napisao je Hasan al Waf 1706. godine. Tekst diplome ispisan je u jednom stupcu na 24 lista, prosjene veliine oko 165 x 110 mm. Rukopis je dio zbirke koju je Safvet-beg Baagi prodao Univerzitetskoj biblioteci u Bratislavi. Illus. 7 A diploma in the Arabic script, in calligraphy, by Hasan al Waf for Muhamad ar-Rashidiya, 1706. The text is in a single column and covers 24 pages averaging 165 x 110 m in size. The m/s is partof the collection sold by Safvet beg Baagi to the University Library of Bratislava.
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Sl. 8 Neznani autor. Vakifnme-i Sokollu Ferhd Paa, XVIII. stoljee, papir, 185 x 120 mm. Tekst vakufname na osmanskom turskom ispisan je u jednom stupcu na 50 stranica. Rukopis je dio zbirke koju je Safvet beg Baagi prodao Univerzitetskoj biblioteci u Bratislavi. Illus. 8 Anonymous author. Vakifnme-i Sokollu Ferhd Paa, 18th century, paper, 185 x 120 mm. The text of the vakufnama, in Ottoman Turkish, covers 50 pages in single columns. The m/s is part of the collection sold by Safvet beg Baagi to the University Library in Bratislava.
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se nalaze u inozemstvu, kao i spisak zemalja, odnosno institucija odgovornih za njihovo uvanje i prezentaciju. Dosada, prikupljeni podaci odnose se uglavnom na srednjovjekovne iluminirane rukopise i njihove fragmente, koji su vaan segment bosanskohercegovakog srednjovjekovlja, ali i podatke koji se odnose na slike, ehidske niane i steke. Takoer, uspostavljena je suradnja s institucijama koje su zaduene za uvanje ovih eksponata u Hrvatskoj, Italiji, Rusiji, Slovakoj, Sloveniji, Srbiji i Vatikanu. Na preliminarnom spisku identificiranih dobara u rasijanju, koji je nainjen u sklopu Komisije za ouvanje nacionalnih spomenika, nalazi se 27 spomenika, raunajui zbirku orijentalnih rukopisa Safvetbega Baagia kao jednu cjelinu (Tabela 1). U ovom pregledu potrebno je ukazati da za pojedine umjetnine postoje pisani podaci o njihovom dospijeu u zbirke europskih galerija i muzeja. Neke od njih prodate su ili poklonjene, dok su pak druge sklonjene iz Bosne na uvanje. Ovo uvanje ponajvie se odnosi na vrijedne slike i predmete iz samostana u Kraljevoj Sutjesci, sada u Strossmayerovoj galeriji u Zagrebu (slike 9-13). Njih je, kako navodi u svom pismu iz 1873. godine, donio biskup Josip Juraj Strossmayer: Take stare stvari ovim se nainom spaavaju za naroda i za samu Bosnu, jerbo ja sebe i Akademiu znanosti, a i nau vladu obvezujem, da se jedno, kad Bog dade, da Bosna svoja postane, Bosni sve njezine stvari povrate.7
7) Kraljeva Sutjeska Samostan i upa sv. Ivana, Franjevaka provincija Bosna Srebrena, 12. svibanj 2008. <http://www.bosnasrebrena.ba/php/ modules.php?name=Sections&op=viewarticle&artid=162>. Kompletan sadraj pisama u kojima u dva navrata biskup Strossmayer obeava povrat slika izmjetenih iz samostana u Bosni i Hercegovini vidi u: Gavranovi, Berislav, Sudbina vanijih starih dragocjenosti iz naih triju historijskih samostana i biskup Strossmayer, Dobri pastir, Sarajevo, 1964.: 225. 270. U istom tekstu, pored popisa umjetnina iz Fojnikog i Kreevskog samostana, nalazimo i popis umjetnina iz Samostana u Kraljevoj Sutjesci, koje je Strossmayer zadrao za svoju galeriju: 1. Od Kazule koju je posliednja kraljica darovala komad jedan, Burza, tola i manipuo, sve umjetno i krasno srmom vezeno. 2. Jedna slika na daski Gospa dri Isusa djetace. 3. etvrta na daski Isus gol s ranamih ukazo se Tomau Kralju bosanskomu. 4. esto 3i slike od iste forme na daski, 1va prikazuje smrt Spasitelja na kriu, 2a skinutje s kria 3a Okrunjenje Gospino. 5. Slika kralja bosanskoga Tomaa na bezu. Napominjem da Svetlana Raki u katalogu izlobe Blago franjevakih samostana navodi postojanje pet srednjovjekovnih slika na dasci i portret
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[country].7 The paintings depict scenes from the lives of Christ and the Virgin, and are mainly from Styrian art circles. On the back of the painting of Christ and a donor8 (illus. 11) is the family tree of the aristocratic Ohmuevi family, written on parchment in the 16th century by Peter of Istia (Ivelia?). Since one branch of this old Bosnian family moved first to Herzegovina and then to Dalmatia (Slano), there are firm grounds for supposing that the painting was commissioned in the artists studio of Lovro Marinov Dobrievi. In 1459 the same artist undertook to produce two paintings for the Bosnian Franciscans. Christ is set in a desert landscape, and is portrayed wearing the crown of thorns and with a halo, arms outstretched towards the donor, who is traditionally believed to be Bosnias King Stjepan Toma. Another painting that stands out on account
7) Kraljeva Sutjeska Samostan i upa sv. Ivana, Franjevaka provincija Bosna Srebrena, 12. May 2008. <http://www.bosnasrebrena.ba/php/ modules.php?name=Sections&op=viewarticle&artid=162>. For a complete list of the letters in which Bishop Strossmayer twice undertook to return the paintings taken from monasteries in Bosnia and Herzegovina, see: Gavranovi, Berislav, Sudbina vanijih starih dragocjenosti iz naih triju historijskih samostana i biskup Strossmayer, Dobri pastir, Sarajevo, 1964: 225 270. The same article provides not only a list of the works of art from the Fojnica and Kreevo monasteries but also those from the Kraljeva Sutjeska monastery, which Strossmayer retained for his gallery: 1. Of the chasuble given by the last Queen, one, Bursa, stole and maniple, all artistically and handsomely embroidered in silver. 2. One painting on panel of Our Lady holding the infant Jesus. 3. Fourth, on panel, Jesus naked with wounds, revealing himself to King Toma of Bosnia. 4. Sixth 3 paintings of the same form on panel, the 1st depicting the death of the Saviour on the cross, the 2nd the descent from the cross, the 3rd the Coronation of Our Lady. 5. Painting of King Toma of Bosnia on cloth. In her catalogue of the exhibition Treasures of the Franciscan Monasteries, Svetlana Raki refers to the existence of five mediaeval paintings on panel and a portrait of Bosnias King Stjepan Toma. The information received from the Strossmayer Gallery omits any reference to the portrait of Stjepan Toma. For more on the paintings and other artefacts from the Sutjeska monastery, see: Raki, Svjetlana, Slikarstvo i skulptura u AA. VV, Blago franjevakih samostana Bosne i Hercegovine, Sarajevo: Institute for the Protection of the Cultural, Historical and Natural Heritage of Bosnia and Herzegovina, 1988. 8) Lovro Dobrievi, Christ and a Donor, 15th century, oil on panel, 51.8 x 23.8 cm. Zagreb: Strossmayer Gallery (originally in the monastery of St John the Baptist in Kraljeva Sutjeska).
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Sl. 9 Neznani tajerski umjetnik, Raspee, XV. stoljee, tempera na dasci, 33 x 24,4 cm, Zagreb, Strossmayerova galerija (izvorni smjetaj: Samostan sv. Ivana Krstitelja u Kraljevoj Sutjesci). Illus. 9 Anonymous Styrian artist, Crucifixion, 15th century, tempera on panel, 33 x 24.4 cm. Zagreb: Strossmayer Gallery (originally in the monastery of St John the Baptist in Kraljeva Sutjeska).

Sl. 11 Lovro Dobrievi, Krist i donator, XV. stoljee, ulje na dasci, 51,8 x 23,8 cm, Zagreb, Strossmayerova galerija (izvorni smjetaj: Samostan sv. Ivana Krstitelja u Kraljevoj Sutjesci). Illus. 11 Lovro Dobrievi, Christ and a Donor, 15th century, oil on panel, 51.8 x 23.8 cm. Zagreb: Strossmayer Gallery (originally in the monastery of St John the Baptist in Kraljeva Sutjeska).

Sl. 10 Neznani tajerski umjetnik, Krunjenje Bogorodice, XV. stoljee, tempera na dasci, 32,9 x 23,8 cm, Zagreb, Strossmayerova galerija (izvorni smjetaj: Samostan sv. Ivana Krstitelja u Kraljevoj Sutjesci). Illus. 10 Anonymous Styrian artist, Coronation of the Virgin Bogorodice, 15th century, tempera on panel, 32.9 x 23.8 cm. Zagreb: Strossmayer Gallery (originally in the monastery of St John the Baptist in Kraljeva Sutjeska).
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Sl. 12 Neznani tajerski umjetnik, Oplakivanje (verso: Aneo s bakljom), XV. stoljee, tempera na dasci, 32,8 x 23 cm, Zagreb, Strossmayerova galerija (izvorni smjetaj: Samostan sv. Ivana Krstitelja u Kraljevoj Sutjesci). Illus. 12 Anonymous Styrian artist, Lamentation (verso: Angel with Flambeau), 15th century, tempera on panel, 32.8 x 23 cm. Zagreb: Strossmayer Gallery (originally in the monastery of St John the Baptist in Kraljeva Sutjeska).
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Slike prikazuju pojedine prizore iz Kristova i Bogorodiina ivota, a po likovnom tretmanu uglavnom pripadaju tajerskom likovnom krugu. Na poleini slike Krist i donator8 (slika 11), susreemo geneaoloko stablo velikake obitelji Ohmuevi, koje je na pergamentu u XVI. stoljeu ispisao Petar od Istije (Ivelije?). Kako je jedan ogranak ove stare bosanske obitelji preselio u Hercegovinu, a zatim u Dalmaciju (Slano), u potpunosti je opravdana pretpostavka da je slika naruena u slikarskom ateljeu Lovre Marinova Dobrievia. Isti slikar, godine 1459., obavezao se izraditi bosanskim franjevcima dvije slike. U nepominom, pustom predjelu, oslikan je Krist sa trnovom krunom i aureolom na glavi. Probodene Kristove ruke rairene su prema donatoru, koji je po tradiciji bosanski kralj Stjepan Toma. Od ostalih slika, svojom ljepotom i briljivim likovnim tretmanom posebno se izdvaja slika na ijoj je jednoj strani oslikano Oplakivanje Krista9 (slika 12), a na drugoj Aneo s bakljom (slika 13). Donja polovica slike optereena je svetakim likovima, dok je gornja rastereena prikazom pet anela na zlatkastoj podlozi. Slikar je spretno gornji i donji dio povezao usmjeravanjem likova na tijelo mrtvog Krista. Na verso strani, potpuno osamljen, prikazan je Aneo s bakljom (svijeom). U Giljferding rukopisnom odjelu biblioteke u Saint Petersburgu pohranjeni su srednjovjekovni iluminirani rukopisi religijskoga karaktera. Kako navodi Herta Kuna, Giljferding, koji je bio ruski konzul u XIX. stoljeu u Bosni i Hercegovini, bavio se i prikupljanjem starih rukopisa, koji su nakon zavretka
bosanskog kralja Stjepana Tomaa. U podacima dobivenim od Strossmayerove galerije, izostavljen je podatak o portretu Stjepana Tomaa. Ostale podatke o slikama i predmetima iz Sutjekoga samostana vidi u: Raki, Svetlana, Slikarstvo i skulptura u AA. VV, Blago franjevakih samostana, katalog izlobe Blago franjevakih samostana Bosne i Hercegovine, Sarajevo: Zavod za zatitu kulturno-istorijskog i prirodnog naslijea Bosne i Hercegovine, 1988. 8) Lovro Dobrievi, Krist i donator, XV. stoljee, ulje na dasci, 51,8 x 23,8 cm. Zagreb, Strossmayerova galerija (izvorni smjetaj: Samostan sv. Ivana Krstitelja u Kraljevoj Sutjesci) 9) Neznani tajerski umjetnik, Oplakivanje (verso: Aneo s bakljom), XV. stoljee, tempera na dasci, 32,8 x 23 cm. Zagreb, Strossmayerova galerija (izvorni smjetaj: Samostan sv. Ivana Krstitelja u Kraljevoj Sutjesci)
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of its beauty and careful artistic treatment is one that depicts, on one side, the Lamentation of Christ9 (illus. 12), and on the other an Angel with a flambeau (illus. 13). The lower half of the painting is crammed with the figures of saints, and the top half consists of a less crowded depiction of five angels against a gold ground. The artist has skilfully linked the top and bottom halves by having the figures face the body of the dead Christ. The reverse side is an isolated figure of an Angel with a flambeau. The Giljferding manuscript section of the St Petersburg library contains mediaeval illuminated manuscripts of a religious nature. As Herta Kuna relates, Giljferding, who served as Russian consul in Bosnia and Herzegovina in the 19th century, was also a collector of old manuscripts, which he took back to Russia
9) Unidentified Styrian artist, Lamentation (verso: Angel with flambeau), 15th century, tempera on board, 32,8 x 23 cm. Zagreb: Strossmayer Gallery (originally in the monastery of St John the Baptist in Kraljva Sutjeska).

Sl. 13 Neznani tajerski umjetnik, Aneo s bakljom (verso: Oplakivanje), XV. stoljee, tempera na dasci, 32,8 x 23 cm, Zagreb, Strossmayerova galerija (izvorni smjetaj: Samostan sv. Ivana Krstitelja u Kraljevoj Sutjesci). Illus. 13 Anonymous Styrian artist, Angel with Flambeau (verso: Lamentation), 15th century, tempera on panel, 32.8 x 23 cm. Zagreb: Strossmayer Gallery (originally in the monastery of St John the Baptist in Kraljeva Sutjeska).
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njegovog mandata odneseni u Rusiju.10 Neki od ovih rukopisa sauvani su u cjelosti, dok su drugi pak jako oteeni i sadravaju samo pojedine stranice. Naprimjer, kodeks Pripkovievog evanelja11 ili Evanelja No6, koji je paljivo ispisan na pergamentu, u jednom stupcu na 260 strana sadri dobro ouvan i cjelovit tekst sva etiri evanelja. Pratei ispisani sadraj, iluminator Pripkovievog evanelja ukrasio je tekst inicijalima, zastavicama i prepletenim geometrijsko-floralnim motivima. (slike 14 i 15) Zanimljivo je spomenuti da se u ovom rukopisnom odjelu uva dio tzv. Grigorovi Giljferdin10) Detaljnije o rukopisima koji se uvaju u biblioteci u Saint Petersburgu, u rukopisnom odjelu Giljferding vidi u: Kuna, Herta, Srednjovjekovna bosanska knjievnost, Sarajevo: Forum Bosna, 2008. 11) Pripkovievo evanelje ili Evanelje N06, srednjovjekovni bosanski iluminirani rukopis, 197 x 155 mm, XIV. ili XV. stoljee. Saint Petersburg, Gosudarstvena Publina Biblioteka (GPB), Rukopisni odjel.

when his term as consul came to an end.10 Some of these manuscripts have survived in their entirety, but others are badly damaged, with only a few pages surviving. The codex of Pripkovis Gospel or Gospel no. 6,11 for example, consisting of 260 singlecolumn pages neatly written on parchment, is a wellpreserved, intact copy of all four Gospels. The illuminator of Pripkovis Gospel has echoed the text with his initials, banners and interlinked geometric and floral motifs (illus. 14 and 15). This manuscript section houses part of the GrigorovitchGiljferding fragments, which belong to
10) For more on the m/s in the St Petersburg librarys Giljferding manuscript section, see: Kuna, Herta, Srednjovjekovna bosanska knjievnost, Sarajevo: Forum Bosna, 2008. 11) Pripkovis Gospel or Gospel no. 6. Mediaeval Bosnian illuminated m/s, 197 x 155 mm, 14th or 15th century. St Petersburg: State Public Library (SPL), manuscript section.

Sl. 14 Pripkovievo evanelje ili Evanelje No.6, folio 2, Evanelje po Mateju, inicijal K, srednjovjekovni bosanski iluminirani rukopis, 197 x 155 mm, XIV. ili XV. stoljee, Saint Petersburg, Gosudarstvena Publina Biblioteka (GPB), Rukopisni odjel. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 14 Pripkovis Gospel or Gospel No. 6, folio 2, Gospel according to Matthew, initial K. Mediaeval Bosnian illuminated m/s, 197 x 155 mm, 14th or 15th century. St Petersburg: State Public Library (SPL), manuscript section. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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Sl. 15 Pripkovievo evanelje ili Evanelje No.6, folio 198v, poetak Evanelja po Ivanu, zastavica s biljnim ornamentom, srednjovjekovni bosanski iluminirani rukopis, 197 x 155 mm, XIV. ili XV. stoljee, Saint Petersburg, Gosudarstvena Publina Biblioteka (GPB), Rukopisni odjel. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 15 Pripkovis Gospel or Gospel No 6, folio 198v, beginning of the Gospel according to John, banner with floral ornament. Mediaeval Bosnian illuminated m/s, 197 x 155 mm, 14th or 15th century. St Petersburg: State Public Library (SPL), manuscript section. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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govih odlomaka, koji pripadaju najstarijem pronaenom religijskom rukopisu srednjovjekovne Bosne.12 Iako samo dio ovoga rukopisa, ouvani fragmenti mogu posvjedoiti o velikom broju iluminacija uz tekst. (slika 16) U ovom odjeljenju uva se i Evanelje iz Dovolje ili Evanelje No7.13Rukopis je u biblioteku
12) Grigorovi Giljferdingovi odlomci (est listova), fragmenti bosanskog srednjovjekovnog iluminiranog rukopisa, 277 x 205 mm, XIII. stoljee. Saint Petersburg, Gosudarstvena Publina Biblioteka (GPB), Giljferdingova zbirka. Druga dva lista uvaju se u Moskvi, u Rukopisnom odjelu Grigorovieve zbirke. Detaljnije o karakteristikama ovoga rukopisa vidi u: Kuna. 13) Evanelje iz Dovolje ili Evanelje No7, srednjevjekovni bosanski iluminirani rukopis, 215 x 145 mm, XIV. stoljee. Saint Petersburg, Gosu-

the earliest mediaeval Bosnian religious manuscript yet found.12 Though only part of the m/s, the surviving fragments indicate that the text was lavishly illuminated (illus. 16). Also in this manuscript section is the Dovolja Gospel or Gospel no. 7.13 The manuscript reached the library in very poor condition, with some folios and
12) GrigorovitchGiljferding fragments (six folios). Fragments of a mediaeval Bosnian illuminated m/s, 277 x 205 mm, 13th century. St Petersburg: State Public Library (SPL), Giljferding collection. Another two sheets are in Moscow, in the m/s section of Grigorovis collection. For more on the nature of this m/s se: Kuna. 13) Dovolja Gospel or Gospel No7. Mediaeval Bosnian illuminated m/s, 215 x 145 mm, 14th century. St Petersburg: State Public Library (SPL), manuscript section.

Sl. 16 Grigorovi Giljferdingovi odlomci (est listova), fragmenti bosanskog srednjovjekovnog iluminiranog rukopisa, folio 6, inicijal V, 277 x 205 mm, XIII. stoljee, Saint Petersburg, Gosudarstvena Publina Biblioteka (GPB), Giljferdingova zbirka. Druga dva lista uvaju se u Moskvi u Rukopisnom odjelu Grigorovieve zbirke. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 16 GrigorovitchGiljferding fragments (six folios). Fragments of a mediaeval Bosnian illuminated m/s, folio 6, initial V, 277 x 205 mm, 13th century. St Petersburg: State Public Library (SPL), Giljferding collection. Another two folios are housed in Moscow in the m/s section of the Grigorovitch collection. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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Sl. 17 Evanelje iz Dovolje ili Evanelje No7, folio 30, kraj Evanelja po Mateju i poetak Evanelja po Marku, srednjovjekovni bosanski iluminirani rukopis, 215 x 145 mm, XIV. stoljee, Saint Petersburg, Gosudarstvena Publina Biblioteka (GPB), Rukopisni odjel. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 17 Dovolja Gospel or Gospel No 7, folio 30, end of the Gospel according to Matthew and beginning of the Gospel according to Mark. Mediaeval Bosnian illuminated m/s, 215 x 145 mm, 14th century. St Petersburg: State Public Library (SPL), manuscript section. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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dopremljen u veoma loem stanju, nedostajali su pojedini listovi i prednja korica. Bijeli konac, kojim je proiven ostatak ovoga skromnog rukopisa, otkriva nam namjeru vlasnika da rukopis ipak sauvaju. Jer, Evanelje iz Dovolje pripada rijetkim bosanskim rukopisima pisanim na papiru. (slika 17) U izuzetno vrijedne primjere bosanskih srednjovjekovnih religijskih rukopisa ubrajaju se jo dva evanelja. Prvo se uva u Univerzitetskoj biblioteci u Ljubljani, pod signaturom 24, a poznatije je kao Kopitarovo evanelje (slike 18 i 19).14 Na ukupno 235 listova ovoga rukopisa, koliko je sauvano do danas,
darstvena Publina Biblioteka (GPB), Rukopisni odjel. 14) Kopitarovo evanelje, srednjevjekovni bosanski iluminirani rukopis, 190 x 155 mm, kraj XIV. ili poetak XV. stoljea. Ljubljana, Univerzitetska biblioteka. Cijelu biblioteku Jerneja Kopitara poslije njegove smrti otkupila je austrijska vlada, te darovala Biblioteci Ljubljanskog liceja (danas Univerzitetska biblioteka u Ljubljani). Kuna 104.

the front cover missing. The white thread that had been used to stitch the rest of this modest m/s together shows that the owner intended to preserve it. The Dovolja Gospel is a rare example of a Bosnian m/s on paper (illus. 17). Another two Gospels also constitute outstanding examples of mediaeval Bosnian religious manuscripts. The first is housed in the University Library in Ljubljana, shelf mark 24, and is better known as the Kopitar Gospel (illus. 18 and 19).14 The 235 surviving folios of this m/s bring to life a world of fabulous beasts, adorning the header of each chapter, often accompanied by a fantastic diversity of ornamentation. The other is in Dublin, in the famous Chester Beatty
14) The Kopitar Gospel. Mediaeval Bosnian illuminated m/s, 190 x 155 mm. Late 14th or early 15th century. Ljubljana: University library. Jernej Kopitars entire library was purchased, after his death, by the Austrian government, and donated to the Ljubljana Lyce library (now the University Library of Ljubljana. Kuna 104.

Sl. 18 Kopitarovo evanelje, folio 66, poetak Evanelja po Marku, srednjovjekovni bosanski iluminirani rukopis, 190 x 155 mm, kraj XIV. ili poetak XV. stoljea, Ljubljana, Univerzitetska biblioteka. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 18 Kopitar Gospel, folio 66, beginning of the Gospel according to Mark. Mediaeval Bosnian illuminated m/s, 190 x 155 mm. Late 14th or early 15th century. Ljubljana: University Library. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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Sl. 19 Kopitarovo evanelje, folio 176, poetak Evanelja po Ivanu, inicijal I, srednjovjekovni bosanski iluminirani rukopis, 190 x 155 mm, kraj XIV. ili poetak XV. stoljea, Ljubljana, Univerzitetska biblioteka. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 19 Kopitar Gospel, folio 176, beginning of the Gospel according to John, initial I. Mediaeval Bosnian illuminated m/s, 190 x 155 mm. Late 14th or early 15th century. Ljubljana: University Library. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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oivljen je svijet fantastinih ivotinja, koje su nositelji poetaka novih poglavlja, nerijetko u drutvu najrazliitijeg spleta ornamenata. Drugo evanelje uva se u Dublinu, u glasovitoj zbirci Sir Chester Beatty pod signaturom W 147. Relativno je mali broj podataka o dospijeu ovoga rukopisa u daleki Dublin, s obzirom da se smatralo da je rukopis nakon Prvog svjetskog rata zagubljen. Danas je rukopis poznat kao Nikoljsko evanelje (slike 20 i 21).15 Tekst evanelja briljivo je ispisan na 147 pergamentnih listova, a u oslikavanju iluminacije prisutna je istona, ali i zapadna tradicija. Ne toliko po svojoj umjetnikoj kvaliteti, koliko po znaaju, valja izdvojiti Povelju Kulina bana dokument koji je izdat u tri primjerka. Originalni tekst Povelje ispisao je i potpisao irilicom 29. kolovo15) Nikoljsko evanelje, srednjovjekovni bosanski iluminirani rukopis, 165 x 105 mm, XIV. ili poetak XV. stoljea. Dublin, Sir Chester Beatty kolekcija.

Library, shelf mark W 147. Little is known of how this m/s, which was thought to be lost after World War I, came to distant Dublin. It is now known as the Nikolj Gospel (illus. 20 and 21).15 Neatly transcribed onto 147 sheets of parchment, it is illuminated in both the eastern and the western tradition. A document that stands out not so much for its artistic qualities as for its significance is Kulin Bans charter, of which three copies were issued. The original Charter was written and signed in Cyrillic on 29 August 1189 by the scribe Radoje. Another two copies were made in the 13th century, one earlier, one later. Until 1832 the original and two copies of this document were housed in the Dubrovnik Archives, the contents of which were twice taken to Vienna only to be returned to Dubrovnik. It is not clear how one copy of this document came to the archives of the Russian
15) Nikolj Gospel. Mediaeval Bosnian illuminated m/s, 165 x 105 mm. 14th or early 15th century. Dublin: Chester Beatty Library.

Sl. 20 Nikoljsko evanelje, folio 47 (48), poetak Evanelja po Marku, srednjovjekovni bosanski iluminirani rukopis, 165 x 105 mm, XIV. ili poetak XV. stoljea, Dublin, Sir Chester Beatty kolekcija. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 20 Nikolj Gospel, folio 47 (48), beginning of the Gospel according to Mark. Mediaeval Bosnian illuminated m/s, 165 x 105 mm. 14th or early 15th century. Dublin: Chester Beatty Library. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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Sl. 21 Nikoljsko evanelje, folio 136v, Obraz (=lik) svetoga Jovana, srednjovjekovni bosanski iluminirani rukopis, 165 x 105 mm, XIV. ili poetak XV. stoljea, Dublin, Sir Chester Beatty kolekcija. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 21 Nikolj Gospel, folio 136v, Face (figure) of St John. Mediaeval Bosnian illuminated m/s, 165 x 105 mm. 14th or early 15th century. Dublin: Chester Beatty Library. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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za 1189. godine Radoje dijak. Tokom XIII. stoljea, nastala su jo dva prijepisa, jedan stariji i jedan mlai. Original i dvije kopije ovoga dokumenta do 1832. godine nalazili su se u Arhivu grada Dubrovnika, ija je arhivska graa dva puta izmjetena u Be i vraana u Dubrovnik. Nije sasvim poznato kako se jedan primjerak ovoga dokumenta naao u arhivu Ruske akademije znanosti i umjetnosti, ba kao to nije poznato da li je upravo to original ovoga znaajnog dokumenta. Naunici, koji su se bavili prouavanjem rukopisa, o problemu originala i kopija imaju suprotstavljene stavove. Gregor remonik, u svojoj detaljnoj studiji rukopisa, navodi razloge zbog kojih povelju koja se uva u Sankt Petersburgu smatra originalom. Ovom miljenju dugo se suprotstavljalo miljenje Josipa Vrane. Naposljetku, nakon detaljnih i dugih analiza, u akademskim krugovima prihvaeno je miljenje da je povelja u Sankt Petersburgu original iz 1189. godine. (slike 22 i 23) Za potrebe izlobe u eksterijeru Vojnog muzeja u Beogradu, ezdesetih je godina prologa stoljea iz nae zemlje izmjeteno ukupno est steaka

Academy of Sciences and Arts, nor is it certain whether this is in fact the original of this important document. Scholars involved in the study of manuscripts have differing views on which is the original and which the copies. In his detailed study of manuscripts, Gregor remonik sets out his reasons for believing that the St Petersburg copy of the Charter is the original. His view was long opposed by Josip Vrana. Finally, following lengthy and detailed analyses, it is accepted in academic circles that the Charter in St Petersburg is the 1189 original (illus. 22 and 23). In the 1960s, a total of six steak and nian tombstones were removed from this country to be displayed outside the Military Museum in Belgrade. The tombstones are described in detail by efik Belagi.16 (illus. 24-27). The oldest steak, dating
16) Belagi, efik, Izbor steaka i niana za novu stalnu izlobu Vojnog muzeja JNA, Jnl of the JNA Military Museum 6-7, Belgrade, 1962: 3754. Information on these steak and nian tombstones was also provided by the management of the Military Museum in Belgrade.

Sl. 22 Povelja Kulina bana, XII. stoljee, Dubrovnik, Dravni arhiv. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 22 Kulina Bans Charter, 12th century. Dubrovnik: State Archives. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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Sl. 23 Povelja Kulina bana, 28. kolovoz 1189. godime, Sankt Petersburg, Ruska akademija znanosti i umjetnosti. Porijeklo ilustracija: Herta Kuna, Srednjovjekovna bosanska knjievnost, Sarajevo, Forum Bosna, 2008. Illus. 23 Kulin Bans Charter, 28. 08. 1189. St Petersburg: Russian Academy of Sciences and Arts. Illustration courtesy of Herta Kuna. Srednjovjekovna bosanska knjievnost. Sarajevo: Forum Bosna, 2008.
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i niana, o emu iscrpne podatke iznosi efik Belagi.16 (slike 24-27) Najstariji steak, datiran u XIV. stoljee, izmjeten je s nekropole Humac iz Ljusia kraj Uloga (u gornjem toku rijeke Neretve), sa srednjovjekovne nekropole na kojoj se nalazilo 70 steaka. Prema dimenzijama, koje iznose 50 x 79 x 180 cm, ubrajamo ga u skupinu steaka koji imaju oblik sanduka. Sa bone strane, starobosanskom je irilicom ispisan natpis, koji spominje neznanog feudalca Tvrtkovog doba.17 Iz skupine steaka koji imaju oblik sanduka, svakako treba izdvojiti i visoki sanduk iz Krekova (slika 25), sa nekropole na kojoj se nalazilo 300 steaka. Kako po dimenzijama (136 x 88 x 202 cm), tako i po izrazito bogatom ornamentu, ovaj se steak ubraja u najljepe primjerke inventara Vojnog muzeja. Dajui osnovne stilske karakteristike steka, efik Belagi nastavlja: Na istonoj eonoj strani
16) Belagi, efik, Izbor steaka i niana za novu stalnu izlobu Vojnog muzeja JNA, Vesnik Vojnog muzeja JNA, 6-7, Beograd, 1962.: 37.-54. Podatke o ovim stecima i nianima ustupila je i uprava Vojnog muzeja u Beogradu. 17) Detaljan opis ovoga steka kao i kompletan tekst natpisa vidi u: Belagi 48.

from the 14th century, was taken from the Humac necropolis of Ljusii near Ulog, in the upper Neretva valley, a mediaeval necropolis where there were seventy steak tombstones. Its measurements of 50 x 79 x 180 cm place it in the group of chest-shaped tombstones. One one side is an epitaph in old Bosnian, in the Cyrillic script, referring to an unidentified feudal lord of Tvrtkos time.17 Also belonging to the chest-shaped group of steak tombstones is a tall tombstone from Krekovo (illus. 25), taken from a necropolis where there were 300 steak tombstones. Both in size (136 x 88 x 202 cm) and in its markedly elaborate decoration, this tombstone is one of the finest examples in the Military Museum. After describing its basic stylistic features, efik Belagi writes: The east end bears a frieze of carved twining lines with trefoils, below which is a sizeable rectangular shield with a diagonal crossband and a crescent moon in the top corner, and a long straight sword below the shield, the handle of which overlays the frieze. At the other end, below the same frieze, is a deer-hunting scene, with a hunter on horseback aiming his spear at a deer with several points to its antlers. This scene is framed by a cable-twist. The
17) For a detailed description of this steak and the full text of the epitaph see: Belagi 48

Sl. 24 U pozadini je vidljiv steak s nekropole kod grada Kljua u Gatakom polju, prva polovina XV. stoljea, krenjaki kamen, gornja duina 160 cm, donja duina 145 cm, gornja irina 82 cm, donja 74 cm i visina od vrha do zabata 130 cm, Beograd, eksterijer Vojnog muzeja (izvorni smjetaj: Nekropola steaka kod grada Kljua). Illus. 24 The steak that can be seen in the background is from a necropolis near the town of Klju in the Gacko plain, first half of 15th century, limestone, length (top) 160 cm, (base) 145 cm, width (top) 82 cm, (base) 74 cm, height from top to gable 130 cm. Belgrade: Outside the Military Museum (original location: necropolis of steak tombstones near Klju)
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Sl. 25 Steak s Nekropole u selu Krekovo, druga polovina XV. stoljea, krenjaki kamen, 136 x 88 x 202 cm, Beograd, eksterijer Vojnog muzeja (izvorni smjetaj: Nekropola steaka Krekovo, Nevesinjsko polje). Illus. 25 Steak from necropolis in the village of Krekovo, latter half of 15th century century, limestone, 136 x 88 x 202 cm. Belgrade: Outside the Military Museum (original location: necropolis of steak tombstones, Krekovo, Nevesinje plain).
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ima friz od plastino povijene linije s trolistovima, a ispod njega ovei pravougaoni tit sa kosom prekom i polumjesecom u jednom gornjem uglu, i dugaak prav ma ispod tita. Drka maa prelazi u povrinu friza. Na suprotnoj eonoj strani ispod istog takvog friza vidimo scenu lova na jelena. Lovac je na konju. On kopljem gaa jelena sa razgranatim rogovima. Oko scene je okvir od tordirane vrpce. Na sjevernoj bonoj strani, takoer, u okviru ispod friza prikazana je scena turnira u kojoj su 4 viteza 2 s jedne a 2 s druge strane s kopljima, titovima i maevima. Na glavama vitezova su ljemovi na iljak, vjerovatno s elenkama. Konji su u hodu, vrlo ponosnog dranja. Koplja vitezova su ispruena. Juna bona strana je takoer vrlo zanimljiva. Tu je u gornjoj polovini uokvirenog prostora prikazano kolo od 11 figura (5 ena i 6 mukaraca). Prema pravcu kretanja vidi se da je ena kolovoa, to je vrlo rijedak sluaj. Svi dre neto uzdignute ruke. Mukarci imaju haljetke do koljena i utegnuti su u pasu, a na glavama su im iljaste kape,

north side is also decorated below the frieze, this time by a jousting scene with four knights two on one side and two on the other with lances, shields and swords, wearing pointed helmets, probably plumed. The horses are depicted in motion, in an extremely proud stance. The knights are holding their lances in the jousting position. The south side is also of great interest. Here the upper half of the framed panel bears a kolo (round-dance) scene with eleven figures (five women and six men). The direction of the dance shows that it is being led by a woman, a highly unusual feature. All the dancers have their hands raised. The men are wearing knee-length tunics, belted at the waist, and pointed caps; the women have long, flared, full-length dresses, to ground level at the back and slightly raised at the front. The points on the mens caps probably represent plumes or other decoration of some kind. The lower half of the framed panel, in a separate rectangle, contains a jousting scene with two knights on horseback and a woman between them,

Sl. 26 Nian iz sela Borije, poetak XVI. stoljea, krenjaki kamen, 150 x 40 x 170 cm, Beograd, eksterijer Vojnog muzeja (izvorni smjetaj: Mezarje u selu Borije). Illus. 26 Nian from the village of Borije, early16th century, limestone, 150 x 40 x 170 cm. Belgrade: Outside the Military Museum (original location: burial ground in the village of Borije).
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Sl. 27 Nian iz sela Popovii, kraj XV. stoljea, krenjaki kamen, 200 x 40 x 36 cm, Beograd, eksterijer Vojnog muzeja (izvorni smjetaj: Mezarje u selu Popovii). Illus. 27 Nian from the village of Popovii, late 15th century, limestone, 200 x 40 x 36 cm. Belgrade: Outside the Military Museum (original location: burial ground in the village of Popovii).
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dok ene imaju dugake, dole ire haljine koje su pozadi do zemlje, a sprijeda neto podignute. Mislim da iljci na kapama mukaraca predstavljaju elenke ili neki drugi nakit. U donjoj polovini uokvirenog prostora, zapravo u drugom pravougaoniku, prikazana je scena turnira dvojice vitezova na konjima, izmeu kojih je ena koja pridrava oba konja. Vitezovi imaju titove, a ne vidi se ta dre u drugoj ruci. Iza jednog i drugog viteza stoji po jedan mukarac, koji jednom rukom pridrava koplje, a drugom ma za pojasom.18 Ovom korpusu steaka pridruena su i dva niana. Jedan (slika 26) je izmjeten s zaboravljenog i zaputenog mezarja kod sela Borije (na putu Kalinovik Foa), a drugi (slika 27) iz sela Popovii (na putu Sarajevo Kalinovik). Prvi nian datiran je u poetak XVI. stoljea, dok datiranje drugoga nije mogue precizno utvrditi, pa ga Belagi smijeta u kraj XV. ili poetak XVI. stoljea. Povrina niana iz sela Borije reljefno je tretirana ornamentima u obliku pravokutnog tita, kijae i sablje, te motivima polumjeseca i jabuka s druge strane. Nian se razvija u visinu, gdje je zakljuen ornamentiranim cik-cak zavretkom. Nian iz sela Popovii po tretmanu ornamenta spada u izrazito lijepe primjere nadgrobnih spomenika. Povrina niana, oblikovana kao etverostrana prizma, propinje se u visinu, koja je u vrhu zakljuena turbanom i mudevezom. Slobodne povrine prizme ukraene su konjem na zapadnoj strani, baltom i zastavom na junoj strani, te lukom sa strijelom i dugakom sabljom, koju pridrava ruka na istonoj strani.

holding both horses. The knights have shields, but it is not clear what they are holding in their other hand. Behind each knight a man is standing, holding a lance in one hand and a sword and belt in the other.18 These steak tombstones are joined by two nian tombstones. One of these (illus. 26) was taken from an abandoned and neglected burial ground near the village of Borije, on the Kalinovik to Foa road, and the other (illus. 27) from the village of Popovii, on the Sarajevo to Kalinovik road. The first dates from the early 16th century, but it has not been possible to give an accurate date for the second, which Belagi dates to the late 15th or early 16th century. The nian from Borije bears relief ornaments in the form of a rectangular shield, cudgel and sabre, with a crescent moon and demi-orb on the other side. The nian widens towards the top, which bears a zigzag design. As regards its ornamentation, the nian from the village of Popovii is an extremely fine example of this kind of tombstone. In shape it is a four-sided prism, topped by a turban and mudevez [protrusion at the top of the turban]. The surfaces of the prism are decorated with a horse on the west side, an axe and pennant on the south, and a bow and arrow and a hand holding a long sword on the east.

18) Belagi 44.

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18) Belagi 44
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Tabela 1 Popis dobara po dravama s nazivom spomenika, datiranjem i vrstom spomenika Table 1 List of properties by state, with name of the artefact, date, and type of artefact

zemlja/ countrY

naziv spomenika/ name of artefact

datiranje/ date

vrsta spomenika/

Republika Hrvatska Republic of Croatia Republika Hrvatska Republic of Croatia Republika Hrvatska Republic of Croatia Republika Hrvatska

Odlomci Mihanovievog apostola XII. stoljee Part of Mihanovis Acts of the 12th century Apostles Odlomci Grkovievog apostola XII. stoljee Part of Grkovis Acts of the Apostles Povelja Kulina bana Kulin Bans Charter 13th century XIII. stoljee 13th century

Lovro Dobrievi, Krist i donator, XV. stoljee ulje na dasci, 51,8 x 27,8 cm Lovro Dobrievi. Christ and Do- 15th century nor, oil on panel, 51.8 x 27.8 cm Neznani tajerski umjetnik, Krunjenje Bogorodice, tempera na dasci, 32,9 x 23,8 cm Anonymous Styrian artist, Coronation of the Virgin, tempera on panel, 32.9 x 23.8 cm Neznani tajerski umjetnik, Oplakivanje (verso: Aneo s bakljom), tempera na dasci, 32,8 x 23 cm Anonymous Styrian artist, Lamentation of Christ (verso: Angel with flambeau), tempera on panel, 32.8 x 23 cm Neznani tajerski umjetnik, Raspee, tempera na dasci, 33 x 22,4 cm XV. stoljee

Republic of Croatia

Republika Hrvatska

Republic of Croatia

15th century

Republika Hrvatska

XV. stoljee

Republic of Croatia

15th century

tYpe of artefact Odlomak bosanskog srednjovjekovnog iluminiranog rukopisa Part of a mediaeval Bosnian illuminated manuscript Odlomak bosanskog srednjovjekovnog iluminiranog rukopisa Part of a mediaeval Bosnian illuminated manuscript Srednjovjekovni bosanski administrativno-pravni dokument Mediaeval Bosnian administrative-cum-legal document Slika iz Franjevakog samostana sv. Ivana Krstitelja, Kraljeva Sutjeska Painting from the Franciscan monastery of St John the Baptist in Kraljeva Sutjeska Dio oltarske pale iz Franjevakog samostana sv. Ivana Krstitelja, Kraljeva Sutjeska Part of an altar piece from the Franciscan monastery of St John the Baptist in Kraljeva Sutjeska Dio oltarske pale iz Franjevakog samostana sv. Ivana Krstitelja, Kraljeva Sutjeska Part of an altar piece from the Franciscan monastery of St John the Baptist in Kraljeva Sutjeska Dio oltarske pale iz Franjevakog samostana sv. Ivana Krstitelja, Kraljeva Sutjeska Part of an altar piece from the Franciscan monastery of St John the Baptist in Kraljeva Sutjeska

Republika Hrvatska

XV. stoljee

Republic of Croatia

Anonymous Styrian artist, Cruci- 15th century fixion, tempera on board, 33 x 22.4 cm
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zemlja/ countrY

naziv spomenika/ name of artefact

Republika Italija Republic of Italy Republika Italija Republic of Italy

Hvalov zbornik Hvals Miscellany Mletaki zbornik Venetian Miscellany

Republika Italija Republic of Italy Ruska Federacija Russian Federation Ruska Federacija Russian Federation Ruska Federacija Russian Federation Ruska Federacija Russian Federation Ruska Federacija Russian Federation Ruska Federacija Russian Federation

Listii iz Montepadona Folios from Montepadone Povelja Kulina bana Kulin Bans charter Pripkovievo evanelje ili Evanelje No6 Pripkovis Gospel or Gospel no. 6 Evanelje iz Dovolje ili Evanelje No7 Dovolja Gospel or Gospel no. 7 Grigorovi Giljferdingovi odlomci (osam folija) Grigorovitch Giljferdings fragments (eight folios) Batalovo evanelje Batals Gospel Evanelje Qn I No26 Evanelje Qn I no. 26

tYpe of artefact XV. stoljee Srednjovjekovni bosanski iluminirani rukopis th 15 century Mediaeval Bosnian illuminated manuscript Kraj XIV. ili Srednjovjekovni bosanski ilumipoetak XV. st. nirani rukopis Late 14th or Mediaeval Bosnian illuminated early 15th manuscript century XV. stoljee Fragmenti srednjovjekovnog bosanskog iluminiranog rukopisa th 15 century Fragments of a mediaeval Bosnian illuminated manuscript 29. 11. 1189. Srednjovjekovni bosanski admigodine nistrativno-pravni dokument 29. 11. 1189. Mediaeval Bosnian administrative-cum-legal document XIV. ili XV. Srednjovjekovni bosanski ilumistoljee nirani rukopis th th 14 or 15 Mediaeval Bosnian illuminated century manuscript Izmeu 1387. Srednjovjekovni bosanski ilumii 1389. godine nirani rukopis Between 1387 Mediaeval Bosnian illuminated and 1389 manuscript XIII. stoljee Fragmenti bosanskog srednjovjekovnog iluminiranog rukopisa th 13 century Fragments of a mediaeval Bosnian illuminated manuscript 1393. godine Srednjovjekovni bosanski iluminirani rukopis 1393 Mediaeval Bosnian illuminated manuscript XIV. stoljee Srednjovjekovni bosanski iluminirani rukopis th 14 century Mediaeval Bosnian illuminated manuscript

datiranje/ date

vrsta spomenika/

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zemlja/ countrY

naziv spomenika/ name of artefact

datiranje/ date

vrsta spomenika/

Republika Slovenija

Kopitarovo evanelje

Republic of Slovenia

The Kopitar Gospel

Republika Slovaka Republic of Slovakia Republika Srbija Republic of Serbia Republika Srbija Republic of Serbia Republika Srbija Republic of Serbia Vatikan Vatican Vatikan Vatican

Zbirka orijentalnih rukopisa Collection of oriental maniscripts Miroslavljevo evanelje Miroslavs Gospel Manojlovo (Mostarsko) evanelje

Kraj XIV. ili poetak XV. stoljea Late 14th or early 15th century XVI. XIX. stoljea 16th 19th century XII. stoljee 12th century

tYpe of artefact Srednjovjekovni bosanski iluminirani rukopis Mediaeval Bosnian illuminated manuscript Orijentalni rukopisi Oriental manuscripts Srednjovjekovni iluminirani rukopis Mediaeval illuminated manuscript Srednjovjekovni bosanski iluminirani rukopis Mediaeval Bosnian illuminated manuscript Bosanskohercegovaki kameni nadgrobni spomenici Stone tombstones from Bosnia and Herzegovina Srednjovjekovni bosanski iluminirani rukopis Mediaeval Bosnian illuminated manuscript Srednjovjekovni bosanski iluminirani rukopis Mediaeval Bosnian illuminated manuscript

Poetak XIV. stoljea Manojlos (Mostar) Gospel Early 14th century ehidski niani i steci, ukupno XV. i XVI. est spomenika stoljee Shahids nian tombstones and ste- 15th and 16th ak tombstones, 6 in all century Vatikansko evanelje XIII. stoljee Vatican Gospel Radoslavljev zbornik Radoslavs Miscellany 13th century Sredina XV. stoljea Mid 15th century

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literatura / BiBliographY: Baagi, Safvet-beg, Popis orijentalnih rukopisa moje biblioteke, Glasnik Zemaljskog muzeja, svezak 3. i 4., Sarajevo, 1916.: 207. 290. Belagi, efik, Izbor steaka i niana za novu stalnu izlobu Vojnog muzeja JNA, Vesnik Vojnog muzeja JNA, 6-7,Beograd, 1962.: 37.-54. Kraljeva Sutjeska Samostan i upa sv. Ivana, Franjevaka provincija Bosna Srebrena, 12. svibanj 2008. <http://www.bosnasrebrena.ba/php/modules.php?name=Sections&op=viewarticle&artid=162> Gavranovi, Berislav, Sudbina vanijih starih dragocjenosti iz naih triju historijskih samostana i biskup Strossmayer, Dobri pastir, Sarajevo, 1964.: 225. 270. Goi, Nevenka, ur., Zbornik Hvala Krstjanina, Sarajevo: Svjetlost Akademija nauka i umjetnosti Bosne i Hercegovine, 1986. Kuna, Herta, Srednjovjekovna bosanska knjievnost, Sarajevo: Forum Bosna, 2008. Lovrenovi, Dubravko, Na klizitu povijesti, Zagreb-Sarajevo: Synopsis, 2006. Miroslavljevo jevanelje, Fototipsko izdanje, ur./ed. Veljko Topalovi, Duan Mrenovi, Branislav Brki, Beograd: AIZ Dosije i JP Slubeni list SRJ, 1998. Raki, Svetlana, Slikarstvo i skulptura u AA. VV, Blago franjevakih samostana, katalog izlobe Blago franjevakih samostana Bosne i Hercegovine, Sarajevo: Zavod za zatitu kulturno-istorijskog i prirodnog naslijea Bosne i Hercegovine, 1988. Vilus, Jelena, Pravna zatita kulturnih dobara, u Zbornik radova Prve regionalne konferencije o integrativnoj zatiti, Kulturni pejza savremeni pristup zatiti kulturnog i prirodnog naslijea na Balkanu, ur., Anika Skorvan i Nataa Ostoji Ili, Beograd: Evropski centar za mir i razvoj (ECPD) Univerziteta za mir Ujedinjenih nacija, 2008.

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