669 research outputs found
Zlatko Bourek’s Bećarac – A Monument to Ourselves
No full textBourekov tretman glumca kao lutke, odnosno kao žive figure, predstavljen je na primjeru predstave Bećarac iz 1998. godine u kojoj se Bourek predstavlja kao autor koncepta, kao likovnjak i kao redatelj te glumačko kazalište pretvara, upravo likovnom dramaturgijom, u teatar figura – teatar nakaza. Primjer je to Bourekove predstave s ljudima, ali i predstave u kojoj se umjetnikova dramaturgija ukupne vizualnosti, od promišljenog i simbolima nabijenog oblikovanja sveukupne likovnosti komada i mizanscena do scenskog pokreta, rukovodi upravo lutkarskim načinom razmišljanja, no u velikim razmjerima igranoga glumačkog teatra.
Bećarac (1998.), koji prema idejnoj koncepciji Zlatka Boureka i Sanje Ivić na veliku pozornicu Hrvatskoga narodnog kazališta u Osijeku dovodi tipske maske slavonskog folklora, vrhunski je primjer intrinzičnog kreativnog nagona Zlatka Boureka, njegove majstorske figuracije i stilizacije kojom žive glumce, tretirajući ih poput figura ili lutaka u prirodnoj veličini, izjednačava s idealom Craigova idola, nadmarionete. Predstava je, poput scenskog oživotvorenja umjetnikove neiscrpne životne i kreativne energije, Bourekov spomenik narodu i duhu Slavonije, ali i sebi samom.Bourek’s way of treating actors as puppets or as live figures has been presented using the example of the play entitled Bećarac (1998), in which Bourek, as author of the concept, visual artist and director, transformed the acting theatre – or the very visual dramaturgy thereof – into the theatre of figures or the theatre of freaks. It is an example of Bourek’s performance with people, but also of a play in which the artist’s dramaturgy of the overall visual character – from the well thought-through and richly symbolic shaping of the overall visual quality of the piece itself and mise-en-scène to stage movement – follows the way of thinking characteristic for puppetry, however in the grand proportions of the acting theatre.
Bećarac (1998), conceived and created by Zlatko Bourek and Sanja Ivić, brought to the grand stage of the Croatian National Theatre in Osijek typical masks from the Slavonian folklore. It is a paramount example of Zlatko Bourek’s intrinsic creative instinct, and his masterful figuration and stylisation, by the means of which he put living actors, treating them as life-size figures or puppets, on an even footing with the ideal of Craig’s idol – the super-puppet. The performance – staging of the artist’s inexhaustible life and creative energy – represents Bourek’s monument not only to the people and the spirit of Slavonia, but to himself too
MODEL OF BASIC REFRIGERATION CYCLE
No full textU završnom radu prikazan je proces proračuna jednostavnog rashladnog ciklusa za duboko hlađenje manjih predmeta, kao na primjer epruveta za ispitivanje žilavosti materijala. U uvodnom dijelu završnog rada opisan je princip rada osnovnog rashladnog ciklusa, te su opisane pojedine komponente rashladnog ciklusa. U praktičnom dijelu rada dimenzionirana je rashladna komora malih dimenzija, izrađeni su pripadajući termodinamički proračuni, te su dimenzionirani i odabrani svi sastavni dijelovi rashladnog ciklusa. Konačno, predloženo je idejno rješenje izgleda modela osnovnog rashladnog ciklusa koji bi se u konačnici i izradio te koristio u edukacijske svrhe.The aim of the final thesis is to present the process of designing and dimensioning a basic refrigeration cycle for deep cooling of smaller objects, such as test tubes for material toughness testing. In the theoretical part of the thesis the principle of operation of basic refrigeration cycle is presented, while the individual components of the refrigeration cycle are described. In the practical part of the thesis, a small-sized cooling chamber was dimensioned, corresponding thermodynamic calculations were made, and all components of the cooling cycle were also dimensioned and selected. Finally, a preliminary design of the layout of the basic refrigeration cycle model was proposed, which would ultimately be designed and used for educational purposes
The Destiny of Zlatko Tomičić as a Participant of the cxroatian Spring and his travelogue Prose
No full textThis work studies fourteen travelogue collections by Zlatko Tomičić who was isolated from public literary life for a long period of time due to his participation in the movement called Croatian spring. His literary work was forbidden to be published. The stylistic and contentual analysis of the characteristics of Tomičić’s work indicates that the author’s ideas have completely opposite meanings from the political labels engrafted upon him.
Within the Croatian travelogue prose, Zlatko Tomičić creates his recognisable structure of travelogues which represents a peculiar genre-bastard. Tomičić’s travelogue contains a wicker of different literary genres, and interweaves the form of the travelogue with elements of memoirs, literary essays, feuilletons, documentary structures, philosophic discourses, historical descriptions, legends and poetic expressions. We can conclude that all later travelogues written by Tomičić reflect a special spiritual capacity of accepting past times and sources of ancient cultures, which the author experiences as burdened mythical places from which the energy of past times emerges and reveals the meaning of the mythical cognition of the past. An important constant in Tomičić’s travelogue is the aspiration for polyphonic and polyhistoric models of experiencing the world. His rich narrative technique of interwoven associative comparative jumps (civilisational traces of different historical nations within Croatia and traces of Croatian cultural dwellers and artists in other countries) gives us a mosaic of connections between people and nations, as well as the richness of a spiritually spread poetic consciousness whose spiritual artistic cognition does not know the borders of real social-political barriers. In his best travelogues the author reaches the epiphanic moment of the declaration of humanistic connection with various positive civilisational heritages; and his work shows that a valuable literary thought cannot be permanently stopped by political repression and prohibition of publishing
BASIC REFRIGERATION SYSTEM
No full textDidaktički modeli primjenjuju se u svrhu edukacije o pojedinim sustavima kako bi se prikazao princip rada nekog sustava na jednostavan i vizualno prihvatljiviji način. Osnovne karakteristike modela su jasno vidljivi svi funkcionalni elementi sustava i komponente za prikaz stanja na karakterističnim mjestima. Zadatak rada je dimenzionirati i konstruirati didaktički model osnovnog rashladnog sustava. S obzirom na širinu polja rashladne tehnike, u ovom radu obrađen je osnovni rashladni ciklus, a na kojemu principu se temelji rad hladnjaka. Rad jednostupanjskog rashladnog ciklusa prikazan je pomoću dijagrama i proračuna radnih komponenti.Didactic models are applied for the purpose of educating on particular systems in order to show the principle of operation of a system in a simple and visually acceptable way. The basic characteristics of the model are clearly visible all the functional elements of the system and components for displaying the situation in characteristic places. The task of this work is to design and construct a didactic model of a refrigeration unit. Given the breadth of the refrigeration field, this paper will deal with the basic refrigeration cycle on which refrigerator operation is based. The operation of a single-stage cooling cycle will be illustrated using diagrams and working component calculations. When designing, modelling and calculating the model, it is necessary to find the optimal solution with respect to thermodynamic, structural and operational requirements
Sacral architecture of Zlatko Ugljen
No full textU doktorskom radu Sakralna arhitektura Zlatka Ugljena predstavljene su sakralne građevine koje je projektirao arhitekt Zlatko Ugljen od početka njegova stvaralaštva krajem 60-ih godina 20. stoljeća do danas. U radu su analizirani, istraženi i interpretirani svi Ugljenovi realizirani i nerealizirani sakralni projekti. Objašnjeni su izvori Ugljenova specifičnoga arhitektonskog izričaja koji sintetizira modernizam – kao osnovno stilsko polazište – ali i postmodernizam i tradicijsko graditeljstvo bosanskohercegovačkog prostora. Pozornost je stavljena na interpretaciju eksterijera i dizajna interijera, a građevine su promatrane u teološkom, povijesnom, teritorijalnom i kulturološkom kontekstu prostora u kojima su sagrađene. Pored popisa i analize, u radu se donose i valoriziraju postojeće interpretacije Ugljenovih sakralnih objekata od strane istraživača iz zemalja nekadašnje Jugoslavije, ali i drugih svjetskih teoretičara arhitekture i publicista. Ugljenova sakralna arhitektura (realizirani i nerealizirani projekti za islamske i katoličke bogomolje) postavljena je u teorijski okvir kritičkog regionalizma, ali i kulture sjećanja jer je ona – sa svojim specifičnostima – bitan čimbenik pri promatranju tradicijskih prepleta različitih vjerskih i identitetskih zajednica koje obitavaju na istom prostoru. Svi objekti popraćeni su fotografijama, skicama, tlocrtima i prikazima projekata te njihovim eventualnim objašnjenjima. U radu je pozornost stavljena na proces nastanka i realizacije projekata te su ti procesi potkrijepljeni sadržajima iz arhivskih dokumenata i brojnih intervjua koje su dali sudionici i svjedoci nastanka projekata. Sadržaj disertacije zaokružen je katalogom u kojem se donose pojedinosti o projektima te intervjuom sa Zlatkom Ugljenom u kojem autor govori o osobnim i profesionalnim iskustvima te razmišljanjima o sakralnoj arhitekturi. U širem smislu, disertacija se bavi analizom moderne i postmoderne islamske i katoličke sakralne arhitekture u Bosni i Hercegovini, ali i u regiji i svijetu, uz osvrt na društvene i političke prilike koje su utjecale na nju.Zlatko Ugljen's religious architecture represents an indispensable segment not only of the author’s creative work, but also of the overall contemporary catholic and islamic religious architecture in Bosnia and Herzegovina and in the region. Zlatko Ugljen designed more than 200 buildings in his career, and was presented with various awards both at local and international level. As a professor at the Faculty of Architecture in Sarajevo, he educated many generations of architects. However, the greatest contribution to the regional architecture Ugljen gave through his 28 projects for 29 religious buildings. Considering that Ugljen's work in religious architecture is, regardless of this fact, underrepresented in professional and scientific journals, the primary goal of this doctoral dissertation is to consolidate, analyze and evaluate Ugljen's realized and unrealized sacral projects. One of the objectives of this paper is to present them and place them into the context of both the world and regional architectural frameworks in order to get a clearer picture of the author's contribution and significance in contemporary architecture of Bosnia and Herzegovina. The intention of this paper is, inter alia, to systematize Ugljen's sacral oeuvre in chronological terms, then to research and analyse the documentation that is available concerning his sacral projects, as well as the articles published on those projects, and to offer an interpretation of the design features and point out to different circumstances and needs in which those designs were developed. Ultimately, the aim of the dissertation is to lay foundations for stylistic distinction between modernism and postmodernism in Ugljen's oeuvre, and to point out to significant influence of critical regionalism on his creative work . In the broad sense, the dissertation analyzes modern and postmodern religious architecture in Bosnia and Herzegovina (Catholic and Islamic) in social and political contexts that influenced its development, construction and deterioration. The dissertation is structured around a thematic-chronological framework. It is composed of an introduction, six sections and a conclusion. The introduction, set as the first section, is followed by the second section with a historical overview of modern architecture in Bosnia and Herzegovina and the region in the 20th century. The historical overview opens with an analysis of the development of the Bosnian style at the beginning of the 20th century, which marked the birth of modernism, the protagonists of which influenced Ugljen's understanding and creation of architecture. Furthermore, a brief insight follows into the history of architecture in Bosnia and Herzegovina between the two world wars. This period is presented more broadly in theoretical terms through the analysis of the history of architecture in Europe in the 1920s and 1930s through an overview of developments in architecture in the Kingdom of Serbs, Croats and Slovenes, respectfully, the Kingdom of Yugoslavia in that period. After overview of the European and regional architectural scene, special attention is devoted to the history of the architecture in Bosnia and Herzegovina between the two world wars, with information on the most important architects, buildings and stylistic features, followed by an insight into history of architecture in Bosnia and Herzegovina after the World War II. Considering that development of the prewar architecture was heavily influenced by the world and regional ideological and stylistic tendencies, this section focuses primarily on the world's most important theoretical guidelines, stylistic tendencies and architects. In the third section, the social and political events after the World War II in Yugoslavia and Bosnia and Herzegovina are discussed, because they directly affected the position of the Islamic Community and the Catholic Church, which commissioned Ugljen's projects. Furthermore, the dissertation provides an insight into the position of the Islamic Community and the construction of Islamic religious buildings in Bosnia and Herzegovina from the end of the World War II to the present, considering that the position of the Islamic Community directly and indirectly defined the conditions for designing mosques. Before moving to the analysis of stylistic features of the mosques in that period, the dissertation lists the ideas and guidelines for the construction of modern mosques in the second half of the 20th century in the world. The fourth section describes and analyzes Zlatko Ugljen’s life and career, followed by description and interpretation of his sacral projects. Sections 5 and 6 elaborate on the projects for realized and unrealized religious buildings of Zlatko Ugljen following the same methodological approach, meaning that projects are analyzed chronologically, by the year of their creation, divided along the two phases: projects made in the 20th century (Section 4) and those made in the 21st century (Section 5). The sixth thematic unit applies the same approach and deals with the projects created in the 21st century, when the architect in some works moved away from modernism as a stylistic expression and adopted contemporary stylistic tendencies following the idea of critical regionalism. After the analysis and interpretation of the design features of the religious buildings, the Section 7 focuses on the specifics of the stylistic expression of Zlatko Ugljen, analyzing the sources of Ugljen's specific architectural expression, which synthesizes modernism, as a basic stylistic starting-point, postmodernism and the influence of traditional architecture through the theoretical guidelines of critical regionalism. Furthermore, the sources and features of Ugljen's sacral opus are explained, taking into consideration the stylistic genesis and influences in his work, resulting in an analysis of the design features of the religious buildings. Considering that co-authoring was an important segment of Ugljen’s career, the paper also elaborates on his associates/co-authors and their influence on each other. The interiors for churches, the use of symbols and iconography, the treatment of the climate interrelation, the choice of materials and spatial concepts were also analyzed. The time determinant as a parameter according to which the sacral projects were analyzed was derived from the stylistic features of Ugljen’s projects. They were analyzed with regard to the placement of the realized or unrealized facility in a certain environment, the analysis being supported with an explanation of the needs and reasons for which the facilities were designed, as well as the historical context in which they were built or should have been built. In addition, Ugljen’s sacral projects are placed within the framework of religious architecture in BiH. This content is additionally enriched with excerpts from interviews with Ugljen's most important associates and co-authors (Nina Ugljen Ademović, Branko Tadić, Husejn Dropić and Fr. Marko Karamatić). The research is based on the heterogeneous materials, such as: encyclopedias, books, archival and project documentation, critical reviews, newsletters, notes, interviews, newspaper articles and photo-documentation, taken from the Archives of the Episcopal Ordinariate in Mostar, Franciscan Library in Mostar, Historical Archives in Sarajevo, Archives of the Riyasat of the Islamic Community in Sarajevo, the Matica Srpska Library in Novi Sad, the National and University Library in Zagreb and the City Library in Mostar. Significant documents were provided by the Archives of the Behram-Bey’s Madrasa and the Islamic Center in Tuzla, as well as by the Franciscan Parish Archives in Tuzla, Žeravac and Zabilje. These archives contain various documents that helped us to get more information and a better understanding of the processes of creation and construction of the facilities: conceptual or detailed design projects, work diaries, tenders, contracts, opinions of commissions, changes, offers, invoices and sketches. Design sheets for churches and mosques built before the 1990s, with the exception of St. Peter and Paul’s Church in Tuzla, are not available any more, as they were mostly destroyed during the war. The completeness of the processing of the material was affected by the fact that certain documentation was nonexistent, because if it had been available, it could have significantly supported the precise analysis of the proportions and other constructive values of these realized objects and thus contributed to the formal analysis of Ugljen's religious projects. The description and analysis of the construction of Ugljen's sacral projects presented in this paper, relying on projects and personal insights from the field research, can help further evaluation and research of his work in the future. Ugljen has won numerous domestic and international awards and some of its sacral buildings can be found in world-renowned publications on this topic. The religious architecture of Zlatko Ugljen belongs to the most praised, but also the most disputed parts of his work. Religious projects, built during the six-decade long creative period of Zlatko Ugljen, had different fates: two buildings were left unfinished, one was destroyed in the war, eighteen were realized, whereas eight projects remained unrealized. Thus, Ugljen's sacral opus is not large, but viewed within the history of contemporary architecture of Bosnia and Herzegovina, it has attracted the greatest interest of the world and regional public
Zlatko Bourek – Once Upon a Time There Was Sculpture
No full textFigurativni repertoar i imaginarij Zlatka Boureka (1929. – 1918.) iznimno je kompleksan segment hrvatskoga stvaralaštva likovnih, primijenjenih i kazališnih umjetnosti te animiranoga filma. Njegov kreativni rukopis odlikovao je prepoznatljiv sardonični, hedonistički i groteskni karakter upotpunjen specifičnom mogućnošću naracije fantastičnih i erotskih sadržaja te trajnom fascinacijom rodnim krajem – Slavonijom. Za razumijevanje tog opusa i rukopisa valja uzeti u obzir kako je autor često volio istaknuti da nije pismen nego rismen. Bourekova široka likovna erudicija počiva na poznavanju klasične tradicije plastike, počela japanskoga teatra lutaka, njemačkog ekspresionističkog slikarstva i grafike, a iznimno su mu bliske poetike koje su odredile Neue Sachlichkeit, metafizičko slikarstvo, moderno talijansko kiparstvo i nadrealizam. Skulptura, to jest razmišljanje o skulpturi, animiranje volumena (animirani film), stavljanje u pokret (lutkarsko kazalište), trajno je odredila Bourekovo kreativno razmišljanje i interese. U tom smislu izlaganje će razmotriti genezu kiparstva Zlatka Boureka i njegovo koreliranje s drugim medijima u kojima je ostvario velik doprinos.The figurative repertoire and imaginarium of Zlatko Bourek (1929–1918) represents an exceptionally complex segment of the Croatian visual and applied arts, theatre and animated film. His creative manuscript was of a recognisable sardonic, hedonistic and grotesque character, supplemented by a specific narrative of fantastic and erotic nature, as well as by lasting fascination with his native Slavonia. In order to comprehend his oeuvre and manuscript, it ought to be taken into account the fact – as the author himself frequently stressed – that he could only draw, not write. Bourek’s learnedness in visual arts rests upon his mastering the classic tradition of sculpture, the principles of the Japanese puppet theatre, and the German expressionist painting and print art. He felt a particular closeness to the poetics that had defined the Neue Sachlichkeit, metaphysical painting, modern Italian sculpture and surrealism. Sculpture or rather the rethinking thereof, animation of volume (animated film), and putting in motion (puppet theatre) – permanently determined Bourek’s creative thinking and interests. In this sense, the speech will offer an analysis of the genesis of Zlatko Bourek’s sculpture and his correlation with other media, in which his contribution is remarkable as well
The Basic Spatial Indicators of Tourism in Yugoslavia
No full textNa osnovi podataka po republikama i za pojedine općine obrađen je intenzitet osnovnih pokazatelja turističke razvijenosti Jugoslavije (smještajni kapaciteti, broj turista -ukupno i stranih, broj noćenja turista - ukupno i stanih i prosječno zadržavanje turista - ukupno i stranih) i na sedam karata Jugoslavije prikazan njihov prostorni raspored po općinama.On the basis of data by republic and by county there is shown the intensity of the basic indicators of the touristic development of Yugoslavia /(accomodation capatities, number of tourists - total and foreign, number if nights spent by tourists - total and foreign and the avarage lenght of stay of all and foreign tourists) and on the seven maps of Yugoslavia there are shown their extent by county
Construction and production of mini excavator
No full textIzrada mini bagera temeljena je na potrebama obiteljskog gospodarstva gdje se takva vrsta stroja može koristiti u izvršavanju poljoprivrednih i manjih građevinskih radova. Osnovna dokumentacija nabavljena je putem interneta, a obuhvaćala je samo osnovne nacrte čelične konstrukcije. Smještaj, raspored i karakteristike pogonskih komponenti dimenzionirane su od strane autora završnog rada. Sve ugrađene komponente nabavljene su od lokalnih dobavljača, a izrada čeličnih dijelova povjerena je lokalnoj bravarskoj radionici. Prije početka izrade pripremljena je detaljna radionička dokumentacija od strane autora. Dizajn pogonskog i upravljačkog dijela osmišljen je od strane autora. Sve faze izrade pojedinih sklopova upravljane su i nadzirane od strane autora. Po završetku sklapanja dijelova u jedinstvenu funkcionalnu cjelinu izvršeno je testiranje stroja u stvarnim uvjetima te su provedena potrebita podešavanja. Nakon testiranja mini bager je korišten 50 radnih sati u kategorijama zemljišta I – III, te je potvrdio svoju funkcionalnost.The construction of the mini excavator is based on the needs of the family farm where this type of machine can be used in the execution of agricultural and small construction works. The basic documentation was acquired online, and included only the basic drawings of the steel structure. The location, arrangement and characteristics of the drive components are dimensioned by the author of the final project. All installed components were bought from local suppliers, and the production of steel parts was entrusted to a local locksmith workshop. Before the start of production, detailed workshop documentation was prepared by the author. The design of the drive and control part was designed by the author. All phases of making individual assemblies are managed and supervised by the author. Upon completion of the assembly of parts into a single functional unit, the machine was tested in real conditions and the necessary adjustments were made. After testing, the mini excavator was used for 50 working hours in land categories I - III, and it confirmed its functionality
Basic analysis of the urban and architectural development of Vukovar; Compendium of research to date
No full textU sklopu prikaza urbanog razvoja Vukovara uvodno su definirani
temeljni utjecajni činitelji nastanka i razvoja naselja na tlu
današnjega grada (položaj, prirodni habitus, antropogene
odrednice). Daljnom morfološkom analizom izdvojene su tri
strukturno diferentne gradske cjeline što su nastale u različitim
povijesnim okolnostima (Stari i Novi Vukovar, Borovo naselje).
Prema preliminarno postavljenoj periodizaciji, prostorni razvoj
grada može se pratiti kroz deset osnovnih razdoblja. Iz bogatoga
naseobinskog supstrata kao potencijalno najzanimljiviji sloj za
buduća se istraživanja predlaže skupina prapovijesnIh staništa
kojih je na relativno malom području grada indicirano tridesetak.
Istražujući probleme naseobinskog kontinuiteta, utvrđeno je da
je još od ranog neolitika, tijekom 7000 godina življenja na tlu
Vukovara, prekid u stacionarnom naseljavanju bio moguć samo
za rimske vladavine i u doba seobe naroda (1-8.st.). Kronološke
granice promatranih perioda vežu se uz markantne povijesno političke promjene (npr. doba osmanske vladavine, 1526-1687),
a u mikroperiodizaciji su relevantne i lokalne pojave stilova te
godine većih regulatornih zahvata (klasicistička obnova grada
kao posljedica velike kuge 1796. i požara 1822).
Zbog radikalnih pregradnji koje su uslijedile nakon teškog razaranja grada u vrijeme turskog rasapa (1687), najstarija skupina spomenika što ju je na terenu danas moguće identificirati pripada baroknome građevnom korpusu (najstariji očuvani objekt
u Vukovaru potječe iz 1722). Stoga je sve do ovog rata u slici
grada bio dominantno prisutan upravo duh baroknoga graditeljstva.
I po brojnosti i po kvaliteti očuvane arhitekture to je
najvredniji stliski sloj povijesnog Vukovara. U novim dijelovima
grada kao vrlo kvalitetna realizacija ističe se kompleks
satelitskoga industrijskog naselja Bata-ville u Borovu.This presentation of Vukovar's urban development begins with a definition of the basic factors that influenced the origin and development of a settlement on the site of today's town (position, natural environment, human elements). Further morphological
analysis singles out three structurally different town entities that had been developed under different historic circumstances (Old and New Vukovar, Borovo naselje).
Preliminary periodization divided the town's development into ten basic periods. A group of about thirty prehistoric settlements on the relatively small town area is proposed as potentially the most interesting stratum for future research. People have lived in the area of Vukovar for 7000 years, from the early Neolithic, with possible interruptions in stationary settlement only during Roman rule and at the time of the migration of peoples (1st-8th century). Periods are chronologically bounded by important historical and political events (e.g. the time of Turkish occupation, 1526-1687), and on the level of microperiodization bythe local appearance
of architectural styles and by years when greater changes were made in the town (classicist renewal of the town after the great plague epidemic in 1796 and the fire in 1822).
The Turks with drew from the town in 1687 leaving it in ruins. After that it was rebuilt, so the oldest architectural monuments, still standing, belong to the baroque period (the oldest building in Vukovar is from 1722). Vukovar was thus a town in which the baroque spirit prevailed before this war. In number of buildings and their beauty, this was the most important style of historic Vukovar. Outstanding among newer parts of the town is the very fine industrial suburb of Bata-ville in Borovo
BASIC OPERATORS OF VECTOR ANALYSIS - GRADIENT, DIVERGENCE, ROTOR
No full textOsnovni operatori vektorske analize su gradijent skalarnog polja, divergencija i rotacija vektorskog polja, a dobiju se djelovanjem diferencijalnog operatora ∇ (nabla) na skalarna i vektorska polja. Komponente gradijenta skalarnog polja odgovaraju parcijalnim derivacijama polja u smjeru pripadajućih osi. Gradijent je vektor koji pokazuje smjer najstrmijeg porasta određene vrijednosti, čija se vrijednost mijenja od jedne točke u prostoru do druge. Operator gradijent dobiva se djelovanjem operatora nabla ∇ na skalarna polja čiji se gradijent želi odrediti. Gradijent skalarnog polja je vektorsko polje. Divergencija vektorskog polja je skalarno polje, a dobiva se kao skalarni umnožak (nable) ∇ i polja. Rotor vektorskog polja je vektorsko polje, a dobiva se kao vektorski produkt (nable) ∇ i vektorskog polja. Laplaceov ili delta operator definiran je kao divergencija gradijenta i označava se s ∆ (delta). Tri osnovna operatora, neophodna za matematičko opisivanje temeljnih fizičkih zakona svijeta u kojemu živimo su, dakle, gradijent, divergencija i rotacija polja. Radi se u stvari o jednom operatoru čije se djelovanje očituje na tri načina ovisno o objektima na koje djeluje.The basic operators of vector analysis are the gradient of the scalar field, divergence, and curl of the vector field, and are obtained by the action of the differential operator ∇ (nabla) on scalar and vector fields. The components of the scalar field gradient correspond to the partial derivations of the field in the direction of the associated axes. A gradient is a vector that shows the direction of the steepest increase in a certain value, the value of which changes from one point in space to another. The gradient operator is obtained by the action of the nabla operator ∇ on the scalar field whose gradient is to be determined. The gradient of a scalar field is a vector field. The divergence of a vector field is a scalar field and is obtained as a scalar product (nabla) ∇ and fields. A vector field rotor is a vector field and is obtained as a vector product (nabla) ∇ and vector field. The Laplace or delta operator is defined as the divergence of the gradient and is denoted by ∆ (delta). The three basic operators, necessary for mathematically describing the fundamental physical laws of the world in which we live, are, therefore, gradient, divergence and curl. It is actually a single operator whose action is manifested in three ways depending on the objects on which it acts
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