Published in the “Official Gazette of BiH”, no. 28/10.
Pursuant to Article V para. 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and Article 39 para. 1 of the Rules of Procedure of the Commission to Preserve National Monuments, at a session held from 1 to 4 December 2009 the Commission adopted a
D E C I S I O N
I
The movable property consisting of a collection of works of art by Dževad Hozo in Bihać is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Collection).
The National Collection consists of 30 prints by academic graphic artist Dževad Hozo:
- Centaur woman (1960)
- Seven white nišan tombstones (1969)
- Bosnian monument (1965)
- Fiery moresca (1965)
- Kilim (1963)
- Rug (1960)
- Red nišan (1965)
- Rubinski (1964)
- Silver mountain (1965)
- Silver mountain (1965)
- Golden mountain (1965)
- Black – white (1965)
- Red (1971)
- Marked in dark blue (1970)
- Untitled (1971)
- Golden rosette (1965)
- Three (1967)
- Green stone (1965)
- Female symbol (1963)
- Woman’s nišan (1963)
- Golden hearts (1968)
- Golden sail (1965)
- Red turban (1964)
- Pair (1967)
- Symbolic landscape (1964)
- Symbolic landscape (1964)
- Golden monuments (1965)
- Medal (1968)
- With three insignia (1969)
- Golden clasp (1968)
The National Monument is housed in the Una Sana Cantonal Museum at no. 2, V Corps street in Bihać, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.
The provisions relating to protection measures set forth by the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina (Official Gazette of the Federation of BiH nos. 2/02, 27/02, 6/04 and 51/07) shall apply to the National Monument.
II
The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible for providing the legal, scientific, technical, administrative and financial measures necessary for the protection, conservation and presentation of the National Monument.
The Commission to Preserve National Monuments (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and erecting signboards with basic details of the monument and the Decision to proclaim the property a National Monument.
III
To ensure the on-going protection of the National Monument, the Government of the Federation shall provide suitable physical and technical conditions for the safekeeping of the National Monument and in particular the conditions for the expert conservation and restoration of the paintings and drawings.
The display and other forms of presentation of the National Monument in Bosnia and Herzegovina shall be carried out on the basis of conditions to be stipulated by the federal ministry responsible for culture (hereinafter: the relevant ministry).
Oversight of the implementation of the measures to protect the movable heritage shall be exercised by the relevant ministry.
IV
The removal of the collection or individual items thereof (hereinafter: the movable heritage) from Bosnia and Herzegovina is prohibited.
By way of exception to the provisions of paragraph 1 of this Clause, the temporary removal from Bosnia and Herzegovina of the movable heritage for the purposes of display or conservation shall be permitted if it is established that conservation works cannot be carried out in Bosnia and Herzegovina or can be carried out to a higher standard and more quickly and cheaply abroad.
Permission for temporary removal under the conditions stipulated in the preceding paragraph shall be issued by the Commission to Preserve National Monuments, if it is determined beyond doubt that it will not jeopardize the movable heritage in any way.
In granting permission for the temporary removal of the movable heritage, the Commission shall stipulate all the conditions under which the removal from Bosnia and Herzegovina may take place, the date by which the items shall be returned to the country, and the responsibility of individual authorities and institutions for ensuring that these conditions are met, and shall notify the Government of the Federation of Bosnia and Herzegovina, the relevant security service, the customs authority of Bosnia and Herzegovina, and the general public accordingly.
V
Everyone, and in particular the competent authorities of the Federation of Bosnia and Herzegovina, the Canton, and urban and municipal authorities, shall refrain from any action that might damage the National Monument or jeopardize the preservation thereof.
VI
The Government of the Federation, the relevant ministry and the Federation heritage protection authority shall be notified of this Decision in order to carry out the measures stipulated in Articles II to V of this Decision.
VII
The elucidation and accompanying documentation form an integral part of this Decision, which may be viewed by interested parties on the premises or by accessing the website of the Commission (http://www.kons.gov.ba)
VIII
Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, decisions of the Commission are final.
IX
This Decision shall enter into force on the day following its adoption and shall be published in the Official Gazette of BiH.
This Decision has been adopted by the following members of the Commission: Zeynep Ahunbay, Martin Cherry, Amra Hadžimuhamedović, Dubravko Lovrenović, and Ljiljana Ševo.
No.04.2-2.2-40/2009-61
2 December 2009
Sarajevo
Chair of the Commission
Ljiljana Ševo
E l u c i d a t i o n
I – INTRODUCTION
Pursuant to Article 2, paragraph 1 of the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, a “National Monument” is an item of public property proclaimed by the Commission to Preserve National Monuments to be a National Monument pursuant to Articles V and VI of Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and property entered on the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of BiH no. 33/02) until the Commission reaches a final decision on its status, as to which there is no time limit and regardless of whether a petition for the property in question has been submitted or not.
On 23 December 2008 the Una Sana Cantonal Museum submitted a petition to designate the property as a national monument.
Pursuant to the provisions of the law, the Commission proceeded to carry out the procedure for reaching a final decision to designate the said property as a National Monument, pursuant to Article V para. 4 of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.
Statement of Significance
The collection consists of 30 graphics ranging in date from 1960 to 1968, some donated by the artist, and some purchased from him for the newly-formed collection of the AVONOJ and Una Valley Museum collection. The graphics from the cycle entitled Nišani belong to an early stage in the artistic career of this academic graphic artist, when he was studying in Ljubljana. The formation of the collection was strongly influenced by the artist’s childhood in Bihać, in a house beside a burial ground. Translated into graphics, the nišan tombstones, a perpetual source of inspiration, illumine “the distinctive traits of their world, a symbol of life and death.”
Dževad Hozo (1938-) is one of Bosnia and Herzegovina’s most highly regarded graphic artists. He began his art training in 1957 at the Faculty of the Humanities in Belgrade, Art History Department, but abandoned the course in 1958 and enrolled at the Fine Arts Academy in Ljubljana.
On completion of his studies, he exhibited in solo and joint exhibitions at home and abroad (Celje, 1965, Ljubljana, 1966, Bremen, 1967, Stolac, 1972, Tokyo, 1966, Alexandria, 1967, Cracow, 1971, Tokyo, 1973, etc.).
He has received 18 national and international awards (Zagreb, 1966, Vienna, 1967, Ljubljana, 1967, Friedrichstadt, 1970, Frechen, 1973, etc.).
Since 1979 Dževad Hozo has taught as a professor at the Fine Arts Academy in Sarajevo, Chair of Graphics. In 1981 he became a member of the Academy of Arts and Sciences of Bosnia and Herzegovina.
II- PRELIMINARY PROCEDURE
In the procedure preceding the adoption of a final decision to proclaim the property a national monument, the following documentation was inspected:
- documentation on the property in question from the Una Sana Cantonal Museum,
- details of the current condition and use of the property, including a description and photographs,
- an inspection of the current condition of the property,
- available reference works dealing with the property in question.
The findings based on the review of the above documentation and the condition of the site are as follows:
1. Details of the property
Location
The collection of works of art by academic graphic artist Dževad Hozo is housed in the Una Sana Cantonal Museum at no. 2, 5 Korpusa street in Bihać, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.
Historical information
The Una Sana Cantonal Museum in Bihać is the continuation of productive museum work lasting without a break for more than half a century.
It was founded on 30 March 1953, by ruling of Bihać Municipality no. 3692/53, as the City Museum. As its activities extended beyond the town, its name was changed, first to the Bihać Museum and then to the wider region of the Una valley, to the Pounje Museum in Bihać, by decision of Bihać Municipality no. 18/46/1-1961 of 23 December 1961.
Another museum was at work in Bihać at the same time and even in the same premises – the AVNOJ Museum (Museum of the First AVNOJ Session). Over the years the museums shared certain services, the curators of the Pounje Museum often acting on behalf of the AVNOJ Museum and vice versa. As a result, at a session held on 13 April 1964 the two museums decided to merge, calling themselves the AVNOJ and Pounje Museum.
As time passed, however, and in particular as the Pounje Museum developed, the two split up again. With the agreement of the other municipal councils of the Una and Sana valleys (Bosanska Krupa, Bosanski Petrovac, Bosansko Grahovo, Cazin, Drvar, Sanski Most and Velika Kladuša), who assumed the rights of co-founders, Bihać Municipal Council issued a ruling (no. 02-631-10/71, of 9 April 1971) founding the Pounje Regional Museum in Bihać, which took over the staff, collections and basic resources of the Pounje Museum. Following these changes, two branch museums were formed as part of the Regional Museum:
- the Jovan Bijelić Museum, in Bosanski Petrovac;
- the permanent exhibition of the Second ZAVNOBiH Session and Sanski Most and its environs in the War of National Liberation, in Sanski Most.
After the 1992-1995 war in Bosnia and Herzegovina came to an end, Bihać Municipal Council adopted decision no. 01-023-11/96 of 25 November 1996 by which it assumed founders’ rights and merged the Museum of the First AVNOJ Session with the Pounje Regional Museum in Bihać.
By decision of the Assembly of Una Sana Canton on the designation of cultural institutions of cantonal importance, no. 01-1-108/97 of 29 December 1997, the Pounje Regional Museum in Bihać was designated as an institution of cantonal importance.
After the adoption by Bihać Municipal Council of decision no. 0/01-023-29 of 31 March 1998 transferring founders’ rights and obligations in regard to the Pounje Regional Museum from Bihać to the Una Sana Cantonal Assembly, the Cantonal Assembly adopted decision no. 01-1-49/98 of 12 June 1998, assuming founders’ rights and obligations in regard to the Pounje Regional Museum in Bihać, which continued operating under the new name, prescribed by the same decision, of the Una Sana Cantonal Museum.
Dževad Hozo was born on 10 May 1938 in Užice. After matriculating from Bihać grammar school he enrolled at the Department of Art History of the Faculty of the Humanities in Belgrade. From the very outset, he realized that he was attracted by the tangible, material side of art, as evidenced by his decision to give up studying art history. In 1958, he enrolled at the Fine Arts Academy in Ljubljana, where he worked under two highly-regarded professors of graphics (Božidar Jakc and Rik Debenjak).
On completion of his studies, which included study tours in France and Poland and specialist studies in Italy, Germany, Austria, Morocco and Switzerland, Hozo became “an artist with his own particular notions of the world and of the essence of graphic art.”
2. Description of the property
In his first graphics, Hozo sought his own individual artistic language, experimenting with various graphics techniques. His particular value to the art of Bosnia and Herzegovina is that he opted from the outset for indigenous art.(1)
Hozo drew his multifaceted creative inspiration and preoccupations from the past – in the physical heritage and in the work of authors from Bosnia and Herzegovina writing about those times (Mak Dizdar, Ivo Andrić). From the very beginning of his artistic journey, then, Hozo has been particularly associated with the nišan and stećak tombstone as his subject. He first broke up the traditional rectangular form of graphics, clearing away everything that was not the monument, but retaining the very active effects of white. There then remained the task of transforming the monument into a polysemic symbol (Alone and Bosnian Monument I, 1965)(2).
Characteristic of Hozo is his new, different artistic expressivity, fused with modern graphic techniques, which pulsate dynamically over the page with their powerful line and colour.
The formation of his next cycle of graphics was marked by the encounter with Mak Dizdar and his time at the Počitelj art colony, during which Hozo visited the necropolises of stećak tombstones around Mostar, Stolac and Počitelj.
In 1972, he introduced various novelties into the graphics process – phototransposition, grids – which can be seen in a new cycle dedicated to the poetry of Mak Dizdar and to stećci [pl. of stećak], “seeing them as a dormant, secret worlds, signs and symbols with a message needing to be conveyed in a contemporary graphic language and form.” (3)
In 1973 the first literary commune in Mostar published Mak Dizdar’s Kameni spavač(4), with graphic design by Dževad Hozo.
Over the next two years he worked on a manuscript on manual graphic techniques, with a history and terminology, published in 1975 with the title Umjetnost multioriginala.
Dževad Hozo has staged about 40 solo exhibitions at home and abroad, participated in numerous art events, and is the recipient of many awards and prizes. In 1964 he received first prize in Ljubljana for a poster.
His extensive, representative work was from the outset inspired by the wealth and beauty of Bosnia’s past, to which his new approach gave a greater force of symbolism and potential for allegorical narrative.(5)
In some works from the cycle Nišani, form loses its specific density and materialization; “abstract” form becomes independent, revealing as it does so its separate existence and autonomous structure.(6)
In his overview of the graphics of the young artist, Aleksandar Bassino notes that Dževad Hozo is a typical product of the Ljubljana school, writing that “along with the immediate, thought-provoking inspiration of Hozo’s work, we must admit that the history of one kind of Bosnian graveyard, those where Muslims are buried, is not as familiar to us as it could be. In this regard, it is important above all to draw attention to a factor that Hozo highlights in his work, and which leads him to investigate further, to bring up to date the ancient messages that go back four centuries. Unlike a Christian graveyard, a Muslim burial ground is always part of the landscape or townscape; it is not a place of mourning, to be marked by white or black marble slabs and tombstones. Nišan tombstones used to be painted, though the traces of colour have already worn away; in their anthropomorphic and other similar forms, in their reality, they are the proponents of a new existence. The artist’s mission is to unravel their messages, to convey the truth of another time to the modern age.”(7)
Hozo exploits inner expression to the full with the pronounced graphism of anthropomorphic forms that impose themselves on countless variations and contrasts between concavities and convexities, hollows and protuberances, slashes and incisions on the plate which here penetrate and emerge from the forms in a subtle meld, there create sharp cuts in the “fabric” of the material, coming to rest in cultivated planes, lost in shadows and contrasting relief structures to bring forth a new dimension of expression and the artistic tension of the graphics.(8)
Graphics from the Cycle Nišan Tombstones by academic graphic artist Dževad Hozo:
1. Dževad Hozo, Centaur Woman, 1960, print on paper (original etching), 63 x 45.5 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre and bottom right, “orig. bakropis, Hozo.” The print is in black-and-white. The centre foreground is occupied by a woman with wing-like arms raised and the body of a horse. This is one of the first and finest prints in the Nišan Tombstones cycle.
2. Dževad Hozo, Seven white nišan tombstones, 1969, colour print, intaglio print, 67.5 x 52.5 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom right, bottom centre, bottom left, eau forte, Etat I, Bon à tirer, 1969, Hozo43. The print entitled Seven white nišan tombstones is one of Hozo’s creations that is reduced to a graphic-art symbol, in the form of a reddish-brown crescent moon on which are seven white nišan tombstones.
3. Dževad Hozo, Bosnian monument, 1965, colour print, intaglio print, 66 x 53 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom right, EA 1965, HOZO. The print depicts a single stylized nišan of simple form where the green of the nišan cuts through the light brown area to the left and dark brown to the right.
4. Dževad Hozo, Fiery moresca, 1965, colour print, intaglio print, 66.5 x 51.5 cm. Bihać: Una Sana Cantonal Museum; signed on the print: top left, DŽ. HOZO, EA 1965. Colour print in the form of a Romanesque arch in red, with two crescent moons facing each other, forming a fish shape, within which are three whitish-yellow nišan tombstones.
5. Dževad Hozo, Kilim, 1963, colour print, intaglio print, 75 x 53 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom left, bottom right, EA, HOZO, 1963. Colour print depicting a decorative stylized red kilim above which floats a black crescent moon surmounted by two black-and-white vertical panels.
6. Dževad Hozo, Rug, 1960, colour print, intaglio print, 75 x 53 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom left, bottom centre, bottom right, EA, HOZO DŽ, 1960. The print depicts a decorative stylized patterned rug on a grey ground, over which floats a white crescent moon, carrying with it two vertical black-and-white panels.
7. Dževad Hozo, Red nišan tombstone, 1965, colour print, intaglio print, 64.5 x 50 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, EA, 1965, HOZO DŽ. The centre of the print depicts a nišan as a graphic symbol. The top of the turban is rectangular in form, and crisscrossed with vertical and horizontal lines. The shaft of the nišan is dark brown, overlaid by a Y-shaped dark red area surrounded by the white of the paper with the artist’s signature.
8. Dževad Hozo, Rubinski, 1964, colour print, intaglio print, 75 x 52.5 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, épreuve d’artiste-eau forte, 1964, HOZO. The centre of the print depicts a nišan on a white ground as a graphic symbol. The nišan is in dark red, with wavy red lines on the upper part and a golden elliptical form extending down the shaft from mid point.
9. Dževad Hozo, Silver mountain, 1965, colour print, intaglio print, 64.5 x 50 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom right, bottom centre, bottom left, EA, 1965, HOZO DŽ. Four small cloud-like circles are depicted on a red ground, with a rounded silver shape in the form of a high hill in the middle, and a substantial structure in which two long dark verticals alternate from right to left, forming a graphic symbol with the shorter vertical lines of the nišan symbol.
10. Dževad Hozo, Silver mountain, 1965, print, intaglio print, 64 x 50.5 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre (Etat II), HOZO. The background is black-and-white, with four circles “shining through” from the top left corner, above an arch. The design is the same as that of Silver mountain I, with the exception of the colour, where in addition to the two dark verticals on the hill, here there is an ellipse to the left containing two short verticals in white forming a contrast to the black.
11. Dževad Hozo, Golden mountain, 1965, colour print, intaglio print, 65.5 x 50 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom right, Etat II, 1965, DŽ. HOZO. The same plate and motif as in Silver mountain, except for the colour, which is gold. The background is dark, with four rounded golden forms forming an arch suggesting a mountain. In this case there are more white verticals at random distances apart, with one red, angled stain.
12. Dževad Hozo, Black – white, 1965, colour print, intaglio print, 62 x 50 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, EA 1965, DŽ. HOZO. Two nišan tombstones in intaglio print technique: to the right a white one on a black ground, and to the left a black one on a white ground, with gold printed across both. The top of the turbans are marked with a number of vertical white lines, with below a golden circle in the form of a flower, bleeding gold down the shaft.
13. Dževad Hozo, Red, 1971, colour print, intaglio print, 75.5 x 53 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, épreuve d’artiste-eau forte, 1971, HOZO. The print depicts a nišan with an outspread red carapace. The top of the nišan is vermilion and the bottom the colour of an over-ripe cherry. The background is white. The nišan is set in a thin gold frame, and the body with a yellow-orange belt around the middle.
14. Dževad Hozo, Marked in dark blue, 1970, colour print, intaglio print, 69.5 x 49.5 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, EA 1970, HOZO. The image is reduced to a graphic symbol in the form of a black semicircle suggesting a helmet. In the middle is a light grey V cut-out with a dark blue border, suggesting a waistcoat, with a golden band around the waist, and below a bifurcate section in dark blue.
15. Dževad Hozo, Untitled, 1971, colour print, intaglio print, 65 x 50 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom right, orig. HOZO. The centre of the print, against a rose-pink ground, bears a graphic symbol in blue-red in the form of a wide torso with three parallel, gently undulating bands in blue as waist-band, in the middle of which is a rhomboid in the form of a large, silver-patinated belt button, on which is a smaller golden rhomboid.
16. Dževad Hozo, Golden rosette, 1965, colour print, intaglio print, 67 x 51 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom right, EA 1965, HOZO. The print depicts two nišan shafts, the first of which has a golden rosette, behind which are herringbone lines. The other nišan is similar except that here the rosette and herringbone design are in red-black, and are at the top. The first is on a black ground and the other on the white of the paper.
17. Dževad Hozo, Three, 1967, colour print, intaglio print, 74 x 52 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, EA 1967, HOZO. Three stylized nišan tombstones side by side occupy the middle of the print, across the base of which extends a red rectangle, on which in turn is a white square with a dark stamp or brand in the middle. The ground of the paper is white.
18. Dževad Hozo, Green stone, 1965, colour print, intaglio print, 67 x 51 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom right, DŽ. HOZO, EA 1965. A nišan, reduced to a graphic symbol in the shape of a mushroom, occupies the middle of the print on the white ground of the paper. The arch representing the nišan cap is olive green, with parallel lines between which is a dark brown patina. At the bottom of the nišan is a small circular hole on the left, through which light is passing.
19. Dževad Hozo, Female symbol, 1963, colour print, intaglio print, 62 x 50 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, HOZO. Three geometric forms and one bifurcated are arrayed on the horizontal surface of the paper. The first from the left is dark, and is in the shape of a narrow rectangle with a small light brown square at the bottom. To the right is a pale square with button and flower motifs, and in the middle a patterned, black-and-white bifurcated form above which is a black, patterned rectangle.
20. Dževad Hozo, Woman’s nišan, 1963, colour print, intaglio print, 54.5 x 46.5 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, EA 1963, DŽ. HOZO. A black perpendicular rectangle on a white vertical ground, overlaid with a woman’s nišan in olive-brown engraved with white elements – a ewer at the top and a rosette and the bottom, with pale wavy lines across the middle as if separating the top and bottom halves.
21. Dževad Hozo, Golden hearts, 1968, colour print, intaglio print, 59.5 x 50 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, EA, 1968, HOZO DŽ. A graphic symbol of a nišan occupies the middle of the print, stylized into two light red-brown arches one above the other, above which is a black-shadowed arch. At the bottom is a button-like motif consisting of upside-down hearts in silver.
22. Dževad Hozo, Golden sail, 1965, colour print, intaglio print, 61 x 52.5 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom right, EA 1965, HOZO. The middle of the print is occupied by a large graphic symbol in the form of a grey-brown circle with a central golden circle, bursting into flame at the top. To left and right of the golden sail are two irregular green areas.
23. Dževad Hozo, Red turban, 1964, colour print, intaglio print, 65.5 x 50 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom left, bottom centre, bottom right, eau forte, 1964, DŽ. HOZO. The print depicts a red turban transformed into a red bell-shaped graphic symbol set diagonally on the vertical surface of the paper, with a dark ground below which golden hieroglyph-like ornaments protrude, and a golden crescent moon forming a boat, bottom front.
24. Dževad Hozo, Pair, 1967, colour print, intaglio print, 73 x 52 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, EA 1967, HOZO. The print depicts two stylized nišan tombstones on a horizontal surface, one black, the other white, linked by a diagonal gold band crossing the lower half of the shaft of the white nišan, its right-hand end touching the black nišan and casting a shadow across the white nišan below the gold band.
25. Dževad Hozo, Symbolic landscape, 1964, colour print, intaglio print, 65 x 50 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom left, EA, eau forte, 1964, DŽ. HOZO. This print is in the form of a diptych of which the two halves interact, despite being separated by a thin white gap. The larger area to the left is brownish-ochre, with irregular elements, while to the right is a stylized vertical man’s nišan in dark brown with no coloured ornamentation.
26. Dževad Hozo, Symbolic landscape, 1964, colour print, intaglio print (original etching), 75 x 53 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom left, orig. Etching, HOZO.
27. Dževad Hozo, Golden monuments, 1965, colour print, intaglio print, 73.5 x 51 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom left, EA 1965, HOZO. Two stylized nišan tombstones: the one to the left dark on a white ground, the one to the right in white with a gold turban on a dark ground.
28. Dževad Hozo, Medal, 1968, colour print, intaglio print, 70.5 x 50.5 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, EA 1968, DŽ. HOZO. The print depicts a graphic symbol consisting of a red oval surrounded by a thick black line, in front of which are patinated geometrical rectangles in light and dark tones.
29. Dževad Hozo, With three insignia, 1969, colour print, intaglio print, 75 x 53 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, EA 1969, HOZO. A small nišan with a large black turban and short shaft connected by a red-black rectangular geometric form is set against a white ground. The shaft bears three yellow and white insignia with stylized floral motifs.
30. Dževad Hozo, Golden clasp, 1968, colour print, intaglio print, 74 x 52 cm. Bihać: Una Sana Cantonal Museum; signed on the print: bottom centre, épreuve d'artiste, eau forte, 1968, HOZO. The print consists of a graphic symbol or monument in the middle of a white vertical ground, with sharp regular and irregular geometric lines in light and dark tones and gold. Perpendicular, light grey elements occupy the middle of the paper, meeting perpendicular golden areas to left and right.
3. Legal status to date
The movable property consisting of a collection of works of art by Dževad Hozo has not previous enjoyed protected status.
4. Current condition of the property
The findings of an inspection of the collection of works of art by Dževad Hozo are as follows:
- the prints are in good condition;
- the prints are housed in a makeshift storeroom;
- if the prints are to be preserved in their present condition they should be cleaned and housed in premises provided with optimal conditions
III – CONCLUSION
Applying the Criteria for the adoption of a decision on proclaiming an item of property a national monument of Bosnia and Herzegovina (Official Gazette of BiH nos. 33/02 and 15/03), the Commission has enacted the Decision cited above.
The Decision was based on the following criteria:
A. Time frame
B. Historical value
C. Artistic and aesthetic value
C.i. quality of workmanship
C.iv. composition
C.v. value of details
D. Clarity
D.ii. evidence of historical change
D.iii. work of a major artist or builder
D.iv. evidence of a particular type, style or regional manner
E. Symbolic value
E.v. significance for the identity of a group of people
G. Authenticity
G.i. form and design
G.vi. spirit and feeling
H. Rarity and representativity
H.iii. work of a prominent artist, architect or craftsman
The following documents form an integral part of this Decision:
- documentation from the Una Sana Cantonal Museum,
- photodocumentation.
Bibliography
During the procedure to designate the collection of works of art by Dževad Hozo in the Una Sana Cantonal Museum in Bihać as a national monument of Bosnia and Herzegovina the following works were consulted:
1974 AA. VV. Umjetnost Bosne i Hercegovine 1945. – 1974 (Art of Bosnia and Herzegovina 1945-1974). Sarajevo: Art Gallery of Bosnia and Herzegovina, 1974
1982 Protić B, Miodrag, Karamehmedović, Muhamed. Dževad Hozo (monograph). Sarajevo: Svjetlost, 1982
2006 Exhibition catalogue: Hozo: Grafički listovi iz umjetničke zbirke Muzeja Unsko – sanskog kantona u Bihaću (Hozo: Prints from the art collection of the Una Sana Cantonal Museum in Bihać). Bihać: Una Sana Cantonal Museum, 2006
http://www.bhdani.com/arhiva/239/opservatorij.shtml (13. 11. 2009)
(1) AA. VV, Umjetnost Bosne i Hercegovine 1945. – 1974., Sarajevo: Art Gallery of Bosnia and Herzegovina, 1974.
(2) idem.
(3) idem.
(4) Translator’s note: now available in English translation as Stone Sleeper, Francis R Jones, DID Sarajevo, 1999 (bilingual bibliophile edition, also with graphic design by Dževad Hozo) and in paperback, Anvil Press, 1999
(5) AA. VV, op.cit, 1974.
(6) AA.VV, Dževad Hozo, opus data, Sarajevo: Art Gallery of Bosnia and Herzegovina, 2002, 54
(7) Idem, 54
(8) Idem, 56
