Status of monument -> National monument
Pursuant to Article V para. 4 of Annex 8 to the General Framework Agreement for Peace in Bosnia and Herzegovina and Article 39 para. 1 of the Rules of Procedure of the Commission for Preservation of National Monuments, at a session held on 21 January 2003 the Commission adopted a
The architectural ensemble of the Šarić house (Branko Šotra Gallery) with permanent museum exhibition (92 graphics by Branko Šotra and 11 works by other artists) is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument comprises cadastral plot 215, 216, 224 and 225, cadastral municipality Stolac, municipality Stolac, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina
The provisions relating to protection and rehabilitation measures set forth by the Law on the Implementation of the Decisions of the Commission for Preservation of 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 and 27/02) shall apply to the National Monument.
The Government of the Federation of Bosnia and Herzegovina (hereinafter: Government of the Federation) shall be responsible for providing the necessary technical documentation for the rehabilitation of the Šarić house.
The Government of the Federation shall be responsible for providing funds for the drafting and implementation of the necessary executive urban palnning documentation for the National Monument for the purpose of restoring the building of the Branko Šotra Museum in Stolac to its pre-1992 condition.
The Federation Ministry of Culture and Sports is responsible for collecting data on movable property previously kept in the building and arrange for its return. The owner of the movable property, the BiH Gallery, is responsible for ensuring that the movable items are kept in safe keeping until such time as they are returned to the rehabilitated monument referred to in Clause 1 of this Decision.
The Commission for Preservation of National Monuments of Bosnia and Herzegovina (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and setting up of signboards containing the basic data on the monument and the Decision to proclaim the property a National Monument.
The following measures shall be enforced:
Protection Zone 1 covers the area defined under Clause 1 para 2 of this Decision:
To carry out an analysis of structural damage and draft and carry out project for the urgent consolidation of the existing walls to prevent their further deterioration;
Based on results obtained by previous research to draw up a rehabilitation project aimed at restoring the building to its original condition as far as possible
To remove all elements applied on the gallery premises which by their appearance, choice of material and other elements spoil its original appearance;
Permitted use: original – residential or cultural (gallery);
The groundfloor selamluk is to be restored, oriented towards the courtyard selamluk and used and may be used for catering purposes (national restaurant);
To prohibit demolishing, reconstruction, expansion and other construction works except for works on rehabilitation, conservation and presentation of the building, approved and carried out under the supervision of competent and professional bodies
Original materials are to be used- the same materials for the building as well as application of the same original methods for material treatment and building;
The erection of advertising hoarding, placards and signs detrimental to the appearance of the building and its surroundings is prohibited;
All applied methods and degrees of intervention must be clearly visible.
Protection Zone II comprises cadastrial plots No.: 207, 208, 209, 212, 213, 214, 226, 228, 229, 230, 231, 232, on which
No new buildings may be erected that did not exist prior ti 1992
During rehabilitation and conversion works the original external appearance of the building in question must be preserved (stone and whitewashed plastered walls, stone slabs for roofing, wooden slanted roofs of maximum inclination up to 30 degrees).
Interior renovation of the existing buildings is permitted to meet modern conditions of living and work and for the new purpose-interventions in internal layout and decoration in order to put new installations, bathrooms and modern furniture.
Infrastructure works are only permitted pending approval of the relevant Federation Ministry, in accordance with and under supervision of the competent service for the protection of heritage at the level of the Federation of Bosnia and Herzegovina.
The removal of the movable property 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 property 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.
Permission for the temporary removal of the movable property from Bosnia and Herzegovina 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 collection in any way. In granting permission for the temporary removal of the collection, the Commission shall stipulate all the conditions under which the removal may take place, the date by which the collection shall be returned to Bosnia and Herzegovina, 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.
All executive and area development planning acts not in accordance with the provisions of this Decision shall be revoked.
Everyone, and in particular the competent authorities of the Federation of Bosnia and Herzegovina, the Canton, and urban and municipal services, shall refrain from any action that might damage the National Monument or jeopardise the protection and rehabilitation thereof.
The Government of the Federation of Bosnia and Herzegovina, the Federal Ministry responsible for urban planning, the Federal Ministry responsible for cutulre, the Institute for the Protection of the Heritage of the Federation of Bosnia and Herzegovina, and the Municipal Authorities in charge of urban planning and land registry affairs, shall be notified of this Decision in order to carry out the measures stipulated in Articles II and V of this Decision, and the Authorised Municipal Court shall be notified for the purposes of registration in the Land Register.
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 to Preserve National Monuments (http://www.aneks8komisija.com.ba).
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.
This Decision shall enter into force on the date of its adoption and shall be published in the Official Gazette of BiH and the Official Gazette of the Federation of Bosnia and Herzegovina.
This Decision has been adopted by the following members of the Commission to Preserve National Monuments: Dubravko Lovrenović, Amra Hadžimuhamedović, Ljiljana Ševo, Tina Wik, Zeynep Ahunbay.
Chairman of the Commission
6 May 2003.
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 as property entered on the Provisional List of National Monuments of Bosnia and Herzegovina until the Commission reaches a final decision on its status, the former not being time limited or conditioned by submittal of a petition for the property in question.
At a session held on 22-23 September 1999 the Commission issued a Decision to add the Šarić house (Branko Šotra Gallery) to the Provisional List of National Monuments of Bosnia and Herzegovina, numbered as 593, and proceeded to carry out the procedure for reaching a final decision to designate the Property as a National Monument, pursuant to Article V of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.
II – PROCEDURE PRIOR TO DECISION
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 location and current owner and user of the property (copy of cadastral plan and copy of land registry entry)
Details of legal status of the property to date as regards protection,
Data on the current condition and use of the property, including a description and photographs, details of war damage, data on restoration or other works on the property if any, etc.
Information on movable items within the ensemble.
Historical, architectural and other documentary material on the property, as set out in the bibliography forming part of this Decision.
The findings based on the review of the above documentation and the condition of the property are as follows:
1. Information on the historic monument
The Šaric house (Branko Šotra Gallery) is situated in the down town area, in the centre of the town of Stolac, to the south-east of the Čaršija Mosque and covers cadastrial plot No. 215, 216, 224, 225, cadastrial municipality Stolac, the Municipality Stolac, Federation of Bosnia and Herzegovina. Land registry entry no.. 183: house with surroundings and courtyard – social ownership; building erected on c.p. no. 11/215 - Esad Behlilović, Fehima Behlilović, Vesna Čolak, Narcis Šarić, Mustafa Resulović and Nevzeta Ćustović.
b) Historical data
It is clear from the inscription engraved on the plate above the main door of Šaric house (Branko Šotra Gallery ) that it was built in 1147 A.H. (1734/35 CE).
The Šaric family is one of the oldest and most distinguished Muslim families in Herzegovina and Stolac. In the first half of the eighteenth-century the Šarics were a kapetan family. They built valuable endowments. One of the most prominent members of this family was Ismail-Captain who was at one point a duke in Ljubinje and late the Captain of Stolac from 1731 to 1761. He built in Stolac a mosque,sibjan-mekteb (school), čatrnja(water reservoir) and several shops. Particularly significant is the house of Ismail-captain Šarić in which he lived and died. (Hasandedić, 1997, p.96)
In 1961 the haremluk of the Šarić house was turned into the Branko Šotra Gallery.
c) Legal protection to date
Pursuant to the law and by Ruling of the Institute for the Protection of National Cultural Monuments of NR BiH in Sarajevo No. 758/52 of 1952, the Šaric house in Stolac is protected as a cultural monument.
Under the Regional Plan of the Republic of Bosnia and Herzegovina to 2002 the Šaric house is registered as a category III monument.
The Commission for Preservation of National Monuments registered the Šaric house in Stolac under number 593 on the Provisional List of National Monuments, under the following name: “Šaric house (Branko Šotra Gallery)”.
2. Description of monument
The architectural ensemble consists of the main residential building, a number of outhouses in the courtyard, and a fountain.
The architectural ensemble is approached from the northeast side, from the direction of the Čaršija Mosque, through the courtyard gate under a rounded arch. The stone portal is composed of the arch, moulded stone cornice, infill of dressed stone with pointed-up joints, projecting beyond the arch line and the stone doorstep of 20 cm height. In the infill, above the arch line, there is a plaque with inscription. The arch is made of finely dressed stone with four engraved ornaments in the rise of the arch and one ornament (two birds facing each other) on the right side of the arch-line. Three ornaments in the rise of the arch have geometric motifs (six-pointed stars inscribed in circles of various dimensions), whereas the fourth (second to the left) in shaped as a crescent, its ends pointing downwards. The two-wing wooden gates are composed of a load-bearing frame, its interior and exterior side being different. On the exterior side of the gates the wooden frame is moulded and composed of two vertical infill boards following the arch line in the upper internal corner and two horizontal ones, also moulded infill boards. In the interior corner of the upper field doorknockers are placed on both wings. The centre of the gates is emphasised by a carved wooden vertical bar. On the interior side the load-bearing frame of the wing is composed of two horizontal and two vertical boards and a horizontal bar in the middle and two wooden braces. The load-bearing frame is hinged to the stone wall of the portal. The wooden infill boards are set vertically and attached to the crossbars with wrought-iron nails. The right wing of the gates, when viewed from the courtyard was inclined to the left and longer due to the closing system by means a krekun - upper and lower (an old-fashioned kind of lock). The movable part of the krekun, a metal plate, penetrated into the stone arch at the upper side and into the floor at the lower side. Closing of both wings was done by means of a horizontally placed krekun catch at the central part of the gates. Wooden eaves with a row of stone slabs abut the gates. The courtyard wall at the main entrance is 4m high. In the courtyard, approximately 2.0m from the entrance gates, there is a wall placed vertically to the walking line. i.e. in parallel with the courtyard wall. This wall is approx. .0.50 m thick and 3.40m high.
The main residential building is one-storey building with a corner oriel (doksat) facing the street and the Čaršija Mosque. It belongs to the type of residential building with a covered exterior hall (hajat) resting on pillars. In terms of its layout, the residential quarters are arranged in an L shape around an open corridor (hajat).
The exterior dimensions of the building are approx. 13.0 x 11.0 m. The entrance to the building was through a stone-paved corridor (hajat). There is access to three rooms on the ground floor from the main hajat. Access to the upper floor was through two-flight spiral stairs (under 90 degrees). The staircase was located along the courtyard wall towards the Mosque (the first flight) and along the open side of the hajat (facing the courtyard). The first flight of the stairs (five stairs), landing and the first step of the second flight were made of stone. The remaining part of the staircase was made of wood abutting against the stone part and three wooden pillars with stone bases. These pillars also supported the wooden structure of the hajat. The layout of rooms on the ground floor and the upper floor was identical. There was originally no wall or window on the northeastern and southeastern part of the wing facing the courtyard. Form a photograph of the Gallery showing the courtyard and renovated hajat (following refurbishment), it is evident that the wing was additionally enclosed by a wall-čatma with four windows on the front facade, facing the courtyard and one on the side wall. All five windows ended in broken arches. The čatma construction is also visible on the extension of this wall, in the attic-tavan (the space of tavan on the upper floor is closed) with five rectangular windows facing the courtyard. The entire wing facing the courtyard had an upper flor oriel projecting from the wall by approx. 0.80 m. This projection was supported by six wooden pillars with moulded bolster and stone base. The hajat on the ground floor was later closed in by wooden partition walls.
The facing wall of the building was made of roughly dressed stone with prominent pointings. The oriel was made of čatma and plastered. On the ground floor there are no openings, whereas on the floor there are two rectangular openings in the wall to the right from the entrance and six openings on the oriel. There were four windows on the front side of the oriel and one on each side. All windows of the oriel ended in broken arches. The side walls of the building were made of quarry stone with ashlar quoins. The walls were not plastered or whitewashed except the northwest- facing wall. There were eight rectangular windows on this facing wall. The location, shape and dimensions of the windows on the ground and upper floor are the same. The windows of the main building on the inner façade terminate in pointed stone arches finished with mortar moulding, and those of the outer façade are rectangular. All windows on the facing walls were fitted with demire – wrought iron bars.
On the side facing walls, on the floor with the view to the Mosque, adjacent to the window of the oriel, there was a niche measuring 50 x 25 x 20 cm framed in fine ashlar in bedrock. A lamp would be put in this niche every night to light the way for passers-by, and was kept burning until the end of the nineteenth century. The existence of the niche may indicate that Stolac had public lighting by 1734. or even earlier. (Hasandedić, 1997, p.98) Above the niche on the anta of the same wall, immediately below the eaves, was the carved motif of a cypress with two birds facing each other on top. Above the birds are two apples. There are almost identical niches with finely moulded frames of miljevina (local limestone) on the wing (the north-east and north-west walls of the wing). The motif of the apple is also carved on the south-east end of the same wall, near the top.
Characteristic brackets supporting the projecting eaves above the windows recall the zigzag borders near the top of some stećaks representing a stylised form of similar eaves. (Čelić, 1997, p. 138)
Stone was used solely as a structural element. The building was made of quarry stone, with walls approx. 0.60m thick. Lime mortar was used as the binding material. The façades of the interior walls were plastered and whitewashed. Dressed stone was used for the quoins of the building, and for the window and doorframes.
Wood was used as: a structural element (roof structure, floors and ceiling structure, wooden partition walls structure, catmas, hajats and tavans, as hatulas or tiebeams in the walls and to build the staircase), for joinery and for the interior.
The building had a shallow-pitched hipped roof with prominent roof frame above the oriels. The roof structure is made of wood and represents a simple solution of the traditional building style (tie-beams, main and subsidiary rafters, and beams). The structure was overlaid with limestone slabs bonded with lime mortar.
The outhouse units within the complex may be divided into two groups. One storey building opposite the main building is composed of two rooms measuring approx. 4.0 x 3.60m. Both rooms had direct access to the courtyard and one window each facing the courtyard as well as another window on the opposite wall. The windows opposite to the main entrance are of different dimensions compared to all other openings. Thus, it is supposed that these openings were made subsequently or previous openings enlarged. The building was made of quarry stone with a simple wooden roof structure (double pitched roof clad with tiles). Remains of the ceiling structure independent of the roof structure are visible. The building adjacent to the main one is a one-storey structure with a single-pitched roof clad with roof tiles. Given the structure of the wall and the view and location of the structure in question it can be supposed that the floor of this service structure was built subsequently. The facade of this structure facing the courtyard was plastered, whereas the facing walls towards the street (the rear part of the structure) were made of quarry stone. At the time when the Šaric house was transformed into the Branko Šotra Gallery these service buildings were used as atelier facilities.
In addition to these buildings, there was a drinking fountain with a stone trough in the courtyard, placed next to the kapidžik or small door leading to the garden. The drinking fountain now in the courtyard is made of concrete and has the following dimensions: width 0.50 m, length 0.90 m and height. 0.40 m.
When the haremluk was transformed into a gallery in 1961, changes were made: building works in the interior, closing of the hajats and tavans, structural works using new materials (concrete, bricks, roof tiles, etc). The external dimensions of the building were preserved, but a study of the authenticity of materials and structure must be carried out for all other elements. The selamluk is completely separate from the haremluk. The ground floor of the street building has been altered (arched apertures have been pierced on the facace) and turned into a shop. The upper floor was a flat.
In October 1961 the Executive Council of the People’s Republic of Bosnia and Herzegovina adopted on a Decision on the Art Gallery in Sarajevo, entrusting the Gallery with the task of “organizing and opening permanent branches in the larger towns of Bosnia and Herzegovina”. The first branch gallery was opened in Stolac on 28 July 1963 in the hometown of Branko Šotra. The Gallery, named after him, was located in the Šaric house. Šotra’s graphic works (a total of 92) that he gifted to the Art gallery in Sarajevo in the late 1950s constituted the permanent exhibits. In addition to Šotra’s works, the Gallery had eleven works by different artists(1) .
Inventory of the art works In the Branko Šotra Gallery in Stolac:
1. Branko Šotra: «Stolac Begovina», inv. no. 40
2. Branko Šotra: «Trebinje», inv. no. 1582
3. Branko Šotra: «Stara kuća», inv. no. 2678
4. Branko Šotra: «Motiv sa sela», inv. no. 2679
5. Branko Šotra: «Motiv sa stećaka», inv. no. 2682
6. Branko Šotra: «Okolina Trebinja», inv. no. 2684
7. Branko Šotra: «Stolac», inv. no. 2685
8. Branko Šotra: «List 10», inv. no. 2687
9. Branko Šotra: «List 11», inv. no. 2688
10. Branko Šotra: «List 15», inv. no. 2692
11. Branko Šotra: «List 16», inv. no. 2693
12. Branko Šotra: «List 17», inv. no. 2694
13. Branko Šotra: «Hercegovka», 1/10, inv. no. 2307
14. Branko Šotra: «Proplanak», 1/10, inv. no. 2309
15. Branko Šotra: «Poslastičarnica», 1/10, inv. no. 2310
16. Branko Šotra: «Pogorela šuma», 1/10, inv. no. 2314
17. Branko Šotra: «Vrhovi», 1/10, inv. no. 2317
18. Branko Šotra: «Iz krša», 4/10, inv. no. 2326
19. Branko Šotra: «Iz krša», 1/10, inv. no. 2329
20. Branko Šotra: «Kamenjar», 5/10, inv. no. 2330
21. Branko Šotra: «Krš», 1/10, inv. no. 2332
22. Branko Šotra, «Čobanice», 1/10, inv. no. 2335
23. Branko Šotra: «Krš», 5/10, inv. no. 2336
24. Branko Šotra: «Krš», 1/10, inv. no. 2342
25. Branko Šotra: «Div stena I», 1/10, inv. no. 2344
26. Branko Šotra: «Kopaonik», 1/10, inv. no. 2346
27. Branko Šotra: «Iz mrtve šume», 1/10, inv. no. 2353
28. Branko Šotra: «Iznad Sutjeske», 4/10, inv. no. 2355
29. Branko Šotra: «Krš», 1/10, inv. no. 2356
30. Branko Šotra: «Sa Krekova», 4/10, inv. no. 2358
31. Branko Šotra: «Planinski motiv», 1/10, inv. no. 2360
32. Branko Šotra: «Počitelj», 1/10, inv. no. 2361
33. Branko Šotra: «Na vetrometini», 1/10, inv. no. 2364
34. Branko Šotra: «Bačije», 1/10, inv. no. 2367
35. Branko Šotra: «Iz šume», 1/10, inv. no. 2370
36. Branko Šotra: «Prenos ranjenika», 1/10, inv. no. 2372
37. Branko Šotra: «Kolona», 1/10, inv. no. 2375
38. Branko Šotra: «Koren», 1/10, inv. no. 2377
39. Branko Šotra: «Pećina», 1/10, inv. no. 2378
40. Branko Šotra: «Krš», 6/10, inv. no. 2382
41. Branko Šotra: «Alija Kaplan», 1/10, inv. no. 2386
42. Branko Šotra: «Motiv iz Mostara», 1/10, inv. no. 2397
43. Branko Šotra: «Posthum», 3/10, inv. no. 2401
44. Branko Šotra: «Autoportret», 1/10, inv. no.2417
45. Branko Šotra: «Posthum», 1/10, inv. no. 2419
46. Branko Šotra: «Cvijeće», 1/10, inv. no. 2421
47. Branko Šotra: «Iz Jajca», 1/10, inv. no. 2423
48. Branko Šotra: «Posthum», 4/10, inv. no. 2425
49. Branko Šotra: «Posthum», 1/10, inv. no. 2133
50. Branko Šotra: «Posthum», 10/10, inv. no. 2441
51. Branko Šotra: «Stari Musliman», 4/10, inv. no. 2445
52. Branko Šotra: «Položaj», 1/10, inv. no. 2447
53. Branko Šotra: «Jablanička brana», !0/10, inv. no. 2449
54. Branko Šotra: «Orlovska klisura», 10/10, inv. no. 2451
55. Branko Šotra: «Posthum», 6/10, inv. no. 2453
56. Branko Šotra: «Posthum», 1/10, inv. no. 2464
57. Branko Šotra: «Kroz šumu», 4/10, inv. br2467
58. Branko Šotra: «Posthum», 1/10, inv. no. 2477
59. Branko Šotra: «Selo», 1/10, inv. no. 2479
60. Branko Šotra: «Masline», 4/10, inv. no. 2481
61. Branko Šotra: «Starica iz Hercegovune», 1/10, inv. no. 2483
62. Branko Šotra: «Posthum», 4/10, inv. no. 2485
63. Branko Šotra: «Partizanka», 5/10, 2493
64. Branko Šotra: «Mesečina», 2/10, inv. no. 2499
65. Branko Šotra: «Kolona», 1/10, inv. no. 2501
66. Branko Šotra: «Motiv iz Hercegovine», 1/10, inv. no. 2503
67. Branko Šotra: «Jama», 1/10, inv. no. 2509
68. Branko Šotra: «Posthum», 8/10, inv. no. 2512
69. Branko Šotra: «Devojka», 6/10, inv. no. 2518
70. Branko Šotra: «Posthum», 5/10, inv. no. 2520
71. Branko Šotra: «Iz Hercegovine», 1/10, inv. no. 2522
72. Branko Šotra: «Beograd», 3/10, inv. no. 2544
73. Branko Šotra: «Portret», 4/10, inv. no. 2546
74. Branko Šotra: «Posthum», 6/10, inv. no. 2548
75. Branko Šotra: «Krš», 6/10, inv. no. 2551
76. Branko Šotra: «Vodonoše», 1/10, inv. no. 2554
77. Branko Šotra: «Krš», 1/10, inv. no. 2557
78. Branko Šotra: «Posthum», 6/10, inv. no. 2559
79. Branko Šotra: «Vodonoše», 6/10, inv. no. 2560
80. Branko Šotra: «Posthum», 2/10, inv. no. 2562
81. Branko Šotra: «Posthum», 5/10, inv. no. 2564
82. Branko Šotra: «Motiv iz Stoca», 1/10, inv. no. 2568
83. Branko Šotra: «Mjesečina», 7/10, inv. no. 2571
84. Branko Šotra: «Panjevi», 6/10, inv. no. 2573
85. Branko Šotra: «Sutjeska», 1/10, inv. no.2575
86. Branko Šotra: «Februarski pohod», 1/10, inv. no.2577
87. Branko Šotra: «Timor», 3/10, inv. no.2583
88. Branko Šotra: «Sa planine», 1/10, inv. no.2584
89. Branko Šotra: «Drvo», 1/10, inv. no.2589
90. Branko Šotra: «Krš», 1/10, inv. no.2591
91. Branko Šotra: «Iz šume», 4/10, inv. no.2592
92. Branko Šotra: «Kanjon Sutjeske», 4/10, inv. no.2594
93. Sokić Ljubica: «Starica», inv. no. 2627
94. Bešević Nikola: «Ženski akt»inv. no. 2630
95. Križanić Pjer: «Trojica», inv. no. 2642
96. Sokić Ljubica: «Stari seljak»inv. no. 2645
97. Petrović Miodrag: «Konjanik» inv. no. 2648
98. Zlamalik Mate: «Ženski akt», inv. no. 2649
99. Lukić Šotra Šana: «Studija», inv. no. 2651
100. Graovac Nikola: «Djevojka»- minijatura, inv. no. 2668
101. Graovac Nikola: «Pejzaž»- minijatura, inv. no. 2669
102. Graovac Nikola: «Starac»- minijatura, inv. no. 2670
103. Stanojević Veljko: «Pejzaž s Lapada», inv. no. 2673
The Stolac gallery was required to organize travelling exhibitions from its holdings and display them throughout Yugoslavia. At the same time it made space available to visiting exhibitions.
The painter Branko Šotra was born in the village of Kozice near Stolac. He graduated from the Royal Art School in Belgrade in 1929. During his studies he made contact with the Communist Party of Yugoslavia. He fought in World War II in Hercegovina, Montenegro, Kosovo and Metohija, and Serbia. After the wr he worked on forming the Yugoslav National Army Centre in Belgrade, and was later chosen to head it. He was appointed full professor and first Rector of the Academy of the Applied Arts in Belgrade in 1948, a post he held until 1956. He died in Stockholm on 21 May 1960.
Šotra was known to the general public primarily for his graphics, which capture the attention by their black and white contrast. At first, in quest of his own artistic expression, he worked in oils and made icons; he continued wood-carving and linocuts until the end of his life. During the 1940s, his stage of socialist realism, he used his graphics to represent motifs and regions from the war. Later he moved on to representations of the karst, mountains, mills and old people of Herzegovina. With time, in his sixties, these motifs departed from the realm of reality into abstraction. With this stage he became closer to Yugoslavia’s greatest graphic artists of the day, Đorđe Andrejević Kun and Pivo Karamatijević.
The Šarić house was set on fire and demolished on 26 Julz 1993, and the works on display were expropriated and taken away by the «war authorities» (Hadžimuhamedović, 1997, p. 68, Memorandum of the Art Gallery of Bosnia and Herzegovina no. 01-30/2).
Of these 92 graphic prints by Šotra, to the knowledge of the Gallery of Fine Arts of Bosnia and Herzegovina, the graphics under serial nos. 1-12 no longer exist, for there was only one print of each. The Gallery of Fine Arts of Bosnia and Herzegovina still has one or more prints of each of the graphics under serial nos. 13-92.
3. Research and works of conservation and restoration
- The conversion of the building for the purposes of the gallery was completed in 1963, when interventions to the interior were made to suit its new use.
4. Current state of the site
- The building was set on fire and destroyed in July 1993 and no works of consolidation and protection have been carried out since;
- All that survives is the stone walls up to the roof structure;
- All parts of the structure made of wood have been totally destroyed;
- The structure is directly affected by the position of the Stolac-Trebinje road running right alongside the plot. The building of the road and embankment led to the destruction of the garden wall, and the entire area has been buried to a depth of about 2 m, so that the weight of the embankment directly endangers the structural stability of the building. The material from the embankment has already begun to encroach into the interior of the building and the courtyard. Since the area behind the building, the garden, is no longer in use since the embankment was built, the site has been turned into a garbage dump.
- To the rear of the outhouses, on the embankment, the terrace of the next door catering place has been constructed, directly abutting on the wall of the outhouses and jeopardizing its structural stability.
- The building is endangered by the construction of new buildings in its vicinity that in size, elevation and treatment are out of harmony with and detrimental to the surroundings. Their height is particularly pronounced since these buildings are built on the embankment.
- Due to lack of maintenance and neglect the site is exposed to weathering factors, further affecting its condition and accelerating its deterioration.
III – CONCLUSION
Applying the Criteria for the adoption of a decision on proclaiming an item of property a national monument, adopted at the fourth session of the Commission to Preserve National Monuments (3 to 9 September 2002), the Commission has enacted the Decision cited above.The Decision is based on the following criteria:
A. Age determinants
B. Historical value
C. Artistic and aesthetic value
C. iv Composition
C. v. Value of details
D.iii. Works by a prominent artist
D.iv. Evidence of a particular type, style or regional manner
D.v. Evidence of a typical way of life at a specific period
E. Symbolic value
F. Landscape value
F.i. Relation to other elements of the site
F. ii. Meaning in the townscape
F.iii The building or group of buildings is part of a group or site
G. i. Form and design
G.ii. Material and content
G.iii.. Tradition and technique
G.iv. Position and location
G.vi.. Other internal or factors
H. Rarity and representavity
H.ii. An outstanding artistic or architectural work
The following photographs and drawings form an integral part of this Decision:
1. GRAPHIC ATTACHMENTS
1.1. Protection Zone,
1.2. Copy of Land Registry entry for the Šarić house,
1.3. Decision of the Institute for Protection of Monuments,
1.4. Ground plan,
1.5. Detail of the main, entry gate,
1.6. Detail of the engraving.
2.1. Photographs of the site before destruction – to 1993,
2.2. Photographs of the site after destruction – 2002.
3. DOCUMENTATION OF THE ART GALLERY OF BOSNIA AND HERZEGOVINA
3.1. Letter from Joldžo Kemal to the Artistic Gallery,
3.2. Letter from Smiljan Vicenco Popović to the Artistic Gallery,
3.3. Inventory list of graphics owned by Gallery,
3.4. Graphics made by Branko Šotra - excerpt.
The documentation annexed to the Decision is public and available for view by interested persons upon written request to the Commission to Preserve National Monuments of Bosnia and Herzegovina.
Ayverdi, Dr. Ekrem Hakki, Avrupa'da Osmanli Mimari Eserlera Yugoslavya II, 3. kitab, Istanbul, 2000
Čelić, Džemal, Trajanje u drvetu i kamenu, (Duration in Stone and Wood) Slovo Gorčina '82, Slovo Gorčina, Mostar, 1997
Damjanović Danka, Monografija «Branko Šotra», Art Gallery of Bosnia and Herzegvoina 1991, Sarajevo, 1991
Group of authors, Umjetnička galerija u Sarajevu- 40 godina od osnivanja, (The Art Gallery in Sarajevo – 40 years from its founding) Art Gallery in Sarajevo, 1986.
Group of authors, Umjetnička galerija Bosne i Hercegovine 1986- 2001, (The Art Gallery of Bosnia and Herzegovina 1896-2001) Art Gallery of Bosnia and Herzegovina, Sarajevo, 2001.
Hadžimuhamedović, Amra, Mogući pristupi obnovi historijskih gradskih područja u Bosni i Hercegovini s posebnim osvrtom na Stolac, (Possible approaches to the renovation of historic urban areas in BiH with particular reference to Stolac) Heritage and Identity, Sarajevo, 1997
Hasandedić, Zadužbine Ismail-kapetana Šarića u Stocu, (Endowments of Ismail-kapetan Šarič in Stolac) Hivzija, Slovo Gorčina '96, Slovo Gorčina, Mostar, 1997
Institute for architecture, town planning and regional planning of the Faculty of Architecture in Sarajevo, Stage B: Evaluation of Natural, Cultural and Historical Valuables, Regional plan for Bosnia and Herzegovina, Sarajevo, 1980
Institute for the Protection of the Historical and Cultural Heritage of BH, Heritage Centre, Tradicionalni detalji sa objekata kulturno-historijskog naslijeđa u Bosni i Hercegovini, (Traditional details from buildings of the cultural and historical heritage in BiH) technical recordings, Sarajevo, 1956
Mønnesland Svein, Vipotnik Matjaž, 1001 dan – Bosna i Hercegovina slikom i rječju kroz stoljeća, (BiH in images and words through the centuries) Sypress Forlag 2001, Oslo – Norway, 2001
Mujezinović, Mehmed, Islamska epigrafika Bosne i Hercegovine, (Islamic Epigraphy of BiH) bk III, Sarajevo – Publishing, Sarajevo, 1998
Pašić Amir, Prilog proučavanja islamskog stambenog graditeljstva u Jugoslaviji na primjeru Mostara, koliko je stara stambena arhitektura Mostara autohtona pojava, (Contribution to the study of Islamic residential architecture in Yugoslavia from the example of Mostar, how far is the old residential architecture of Mostar an indigenous phenomenon) doctoral dissertation, Zagreb, 1989