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Domed synagogues in Yugoslavia (From graduation paper the author defended at the Belgrade Faculty of Philosophy in June 1982)
Get PDFSubotica je u periodu kraja XIX i početka XX veka bila najpre treći, a zatim četvrti grad po veličini u tadašnjoj Mađarskoj. Kao i u mnogim drugim gradovima tadašnje Ugarske, istoricizam u arhitekturi (barokna katedrala, klasicističko pozorište) bio je veoma omiIjen, ali je u razdoblju od 1891. do 1914. nastala jedna neuobičajena grupa objekata u samom centru Subotice i na obali jezera Palić. Njihovi tvorci su Lehner (Odon Lechner 1845-1914) i njegovi sledbenici koji su nastavili istraživanja u ovom pravcu. Te građevine, pretežno zgrade za javnu namenu, zatim nekoliko manjih stambenih zgrada, nastale su u vreme prodiranja secesije u vojvođanske krajeve, ali osobene secesije koja se ne može upoređivati sa bečkom. Veoma često je nazivaju i "mađarskom varijantom" ili "nacionalnim stilom"...The synagogue is a proportioned, symmetric one-floor building. The central dome has a diameter of 25 meters and has a dominant position relative to the four smaller corner domes built on raised lateral expanses. The western facade with the main entrance in it is facing the October Revolution Square. It is very richly indented. On the ground floor level has a three-part portal above which at the first-floor level there is a wide attic ending with a lacelike two-part arch. In the middle of the attic, a wide rosette with a stained glass window is placed. The northern and southern parts of the building are identical and the basic elements of the front are repeated in them, the portal, the attic, the rosette etc. The dome is the domineering element of the building. It has three parts. Raises from an octagonal tambour with wide windows which allow plenty of light to enter the inside. The first part is made up of eight slender ribs covered with two-colour ceramic bricks. The ribs are narrowed at their top ends where the dome’s second part begins with eight ribs in baroque style which again have on their top-end a convex-shaped lantern. The dome's construction is a masterpiece and a rarity in that area at that time.
The decoration is rich, both inside and outside. Outside is well measured, harmonious, while the inside is many-coloured and this is made even more expressive by the light which penetrates through many windows. The terracotta decorative pieces and the coloured enamelled bricks were made in the Zsolnai factory in Pecs, Hungary. The stained glass is the work of Miksa Rot, a local craftsman. Due to its exterior, innovations in construction and well-selected decorations the Subotica synagogue is given a special place in the development of synagogal architecture in Vojvodina. The fact that the Hungarian secessionist style was selected serves to indicate the taste and predilection of the Jewish community in Subotica and the influence it was exposed to at the beginning of the century
Između lokalnog i univerzalnog: Daniel Kabiljo, sefardski umetnik u Sarajevu uoči Holokausta
Get PDF"In 1942 Daniel Kabiljo (Sarajevo, March 6, 1894 - concentration camp Jasenovac, 1944), today an almost forgotten Sephardi artist from Sarajevo, was among a group of Jewish prisoners including three painters and a sculptor. They worked in a ceramic workshop belonging to the notorious Jasenovac camp system, established in the summer of 1941, after the foundation of the Independent State of Croatia, a puppet state of Nazi Germany ruled by the fascist Ustasha movement..."„Daniel Kabiljo (Sarajevo, 6.03.1894. - logor Jasenovac, 1944.), danas gotovo zaboravljeni sefardski umetnik iz Sarajeva, bio je 1942. godine među grupom jevrejskih zarobljenika, među kojima su bila tri slikara i vajar. Radili su u keramičkoj radionici koja je pripadala zloglasnom sistemu logora Jasenovac, uspostavljenom u ljeto 1941. godine, nakon osnivanja Nezavisne Države Hrvatske, marionetske države nacističke Nemačke kojom je vladao fašistički ustaški pokret...“This article is based on the paper presented at the 15th World Congress of Jewish Studies, held at the Hebrew University in Jerusalem, August 2-6, 2009. It is a result of the research supported by a grant from the Israel Science Foundation (no. 87/07)
Autochthonous children of Bosnia and "kuferaši": Sephardim and Ashkenazim in Zembilj, humorous-satirical column by Sava Skarić
Get PDF“Ovaj rad bavi se analizom odnosa Save Skarića, tvorca i glasnogovornika srpskog javnog mnjenja u BiH za vreme austrogarske okupacije, prema bosanskim Jevrejima. U istoriji srpske političke književnosti Skarić je poznat kao advokat srpsko-muslimanske sloge te kao žestok protivnik austrijske okupacije i posebno, hrvatskih pretenzija na BiH u sklopu austrougarske monarhije. Do sada se, međutim, niko nije pozabavio pitanjem njegovog odnosa prema jevrejskoj populaciji u BiH i ovaj rad teži popunjavanju te praznine...”"This paper deals with the analysis of the attitude of Sava Skarić, the creator and spokesman of Serbian public opinion in BiH during the Austro-Hungarian occupation, towards Bosnian Jews. In the history of Serbian political literature, Skarić is known as a lawyer of Serbian-Muslim unity and as a fierce opponent of the Austrian occupation and especially of the Croatian pretensions to Bosnia and Herzegovina within the Austro-Hungarian monarchy. So far, however, no one has addressed the issue of his attitude towards the Jewish population in Bosnia and Herzegovina, and this paper seeks to fill that gap ...
Synagogue in Pančevo (1907-1956)
Get PDF"Ostaci pančevačke sinagoge nalaze se u ulici dr Svetislava Kasapinovića broj 30 - nekada Korvinovoj 16, (Korvin utcza). Ovi ostaci sastoje se od nagorele urušene kuće, koja je nekada služila za okupljanje jevrejske zajednice i koja se neuobičajenošću svojih formi ističe u ovom inače rezidencijalnom delu Pančeva. O nekadašnjoj sinagogi svedoče sačuvane fotografije iz različitih perioda njenog postojanja, kao i projekti za njeno podizanje. Sinagoga sa dvorištem zauzimala je površinu od 234m2. Objekat je bio centralnog tipa, pravougaone osnove, sa uličnom fasadom orijentisnom ka severozapadu...”"The remains of the Pancevo synagogue are located at 30 Dr Svetislava Kasapinovića Street - formerly Korvinova 16, (Korvin utcza). These remains consist of a burnt down collapsed house, which once served for the gathering of the Jewish community and which stands out in this otherwise residential part of Pancevo due to the unusualness of its forms. Preserved photographs from different periods of its existence, as well as projects for its construction, testify to the former synagogue. The synagogue with a courtyard occupied an area of 234m2. The building was of the central type, with a rectangular base, with a street facade oriented to the northwest ...
Collection of amulets of the Jewish Historical Museum
Get PDF"Jezgro današnje muzejske zbirke konstituisano je posredstvom legata Hinka Lederera. Među raznolikim predmetima koje je priložio, pominju se i amuleti od zlata, srebra i drugih metala, koji su bili izloženi u
Jevrejskom istorijskom muzeju, na otvaranju memorijalne sobe posvećene kolekcionaru. Potom u habilitacionom radu iz 1978. godine izvršena je katalogizacija i unos kolekcije. Tom prilikom, među predmetima svrstanim pod primenjenu umetnost, od rednog broja 35. do rednog broja 48. pomenuti su amuleti od srebra i zlata, zatim od br. 50 do br. 55 nalaze se geme od poludragog kamena, metala i ahata, što čini ukupno dvadeset amuleta. Ovoj zbirci pridruženo je još pet, među njima i Jemenski kutub sa svitkom na pergamentu u unutrašnjosti, kao i tri druga kutuba i jedan mali jad. Ovi predmeti čine zbirku amuleta Jevrejskog istorijskog muzeja...""The core of today's museum collection was constituted through the legacy of Hinko Lederer. Among the various items he donated are amulets made of gold, silver and other metals, which were exhibited at the Jewish History Museum at the opening of a memorial room dedicated to the collector. Then, in the habilitation work from 1978, the cataloguing and entry of the collection were performed. On that occasion, among the items classified as applied art, from number 35 to number 48, amulets made of silver and gold were mentioned, then from no. 50 to no. 55 there are gems of semi-precious stone, metal and agate, making a total of twenty amulets. This collection is joined by five more, among them the Yemeni Qutub with a scroll on parchment in the interior, as well as three other Qutubs and a small Torah pointer. These objects make up the collection of amulets of the Jewish Historical Museum ...
Jevrejska umetnost i tradicija - radionica na Filozofskom fakultetu Univerziteta u Beogradu
Get PDF"The first in a series of workshops entitled 'Jewish Art and Tradition' was held at the Faculty of Philosophy, University of Belgrade, between January 27th and February 10th, 2008. It was organized by the Department of Art History, Faculty of Philosophy, University of Belgrade, the Jewish Historical Museum of Belgrade and international experts from Israel and Europe. Being the first of its kind at the host institution and in Serbia in general, it presented to the students
and the broader academic community an academic curriculum that strove to introduce a wide range of subjects related to Jewish history, literature, art and religion. By studying the various aspects of the local Jewish community, as well as Jewish communities worldwide and their relations with nations among which they lived from Antiquity to the present, students attending this workshop gained a new understanding of Jewish history, religion, and cultural heritage...""Prva u nizu radionica pod nazivom 'Jevrejska umetnost i tradicija' održana je na Filozofskom fakultetu Univerziteta u Beogradu od 27. januara do 10. februara 2008. godine u organizaciji Odeljenja za istoriju umetnosti Filozofskog fakulteta Univerziteta u Beogradu, Jevrejskog istorijskog muzeja iz Beograda i međunarodnih stručnjaka iz Izraela i Evrope. Kao prva institucija koja je bila domaćin takve vrste u Srbiji uopšte, predstavila je studentima i široj akademskoj zajednici akademski program koji je težio uvođenju širokog spektra predmeta vezanih za jevrejsku istoriju, književnost, umetnost i religiju. Proučavajući različite aspekte lokalne jevrejske zajednice, kao i jevrejskih zajednica širom sveta i njihovih odnosa sa narodima među kojima su živeli od antike do danas, učenici koji su pohađali ovu radionicu stekli su novo razumevanje jevrejske istorije, religije i kulturnog nasleđa...
Uvod [Krhke slike: Jevreji i umetnost u Jugoslaviji, 1918-1945]
Get PDFIn "Fragile Images: Jews and Art in Yugoslavia, 1918-1945", Mirjam Rajner traces the lives and creativity of seven artists of Jewish origin. The artists - Moša Pijade, Daniel Kabiljo, Adolf Weiller, Bora Baruh, Daniel Ozmo, Ivan Rein and Johanna Lutzer - were characterized by multiple and changeable identities: nationalist and universalist, Zionist and Sephardic, communist and cosmopolitan. These fluctuating identities found expression in their art, as did their wartime fate as refugees, camp inmates, partisans and survivors. A wealth of newly-discovered images, diaries and letters highlight this little-known aspect of Jewish life and art in Yugoslavia, illuminating a turbulent era that included integration into a newly-founded country, the catastrophe of the Holocaust, and renewal in its aftermath.U delu „Krhke slike: Jevreji i umetnost u Jugoslaviji, 1918-1945“ Mirjam Rajner prati život i stvaralaštvo sedam umetnika jevrejskog porekla. Umetnici - Moša Pijade, Danijel Kabiljo, Adolf Vajler, Bora Baruh, Danijel Ozmo, Ivan Rajn i Johana Lucer - odlikovali su se višestrukim i promenljivim identitetima: nacionalistički i univerzalistički, cionistički i sefardski, komunistički i kosmopolitski. Ovi promenljivi identiteti našli su izraz u njihovoj umetnosti, kao i njihova ratna sudbina izbeglica, logoraša, partizana i preživelih. Mnoštvo novootkrivenih slika, dnevnika i pisama naglašava ovaj malo poznati aspekt jevrejskog života i umetnosti u Jugoslaviji, osvetljavajući turbulentno doba koje je uključivalo integraciju u novoosnovanu zemlju, katastrofu Holokausta i obnovu nakon njega.Balkan Studies Library, ISSN 1877-6272; volume 26
Visualizando el pasado: el papel de las imágenes en la promoción de la identidad sefardí de los judíos de Sarajevo
Get PDFThis article explores the use of photographs in Moritz Levy’s book dedicated to the history of Sephardic Jews in Bosnia, published in Sarajevo in 1911. While the photographs accompany the historical narrative and aim to prove the preservation and continuity of the unique Bosnian Sephardic identity throughout the centuries, they were, as the article argues, distinctly modern creation. Visually prominent and imbued with an aestheticized quality, they relied on Ottoman official albums of promotional photography, Austro-Hungarian orientalized images of occupied Bosnia and Herzegovina, and the new Jewish art. As a result of this novelty, Levy’s book became a model for the way in which later Yugoslav Jewish publications presented Bosnian Sephardim. Due to the turbulent historical events in the region these images became politicized, assumed a memorial role, and have also recently inspired a renewal.El presente artículo examina el uso de las fotografías en el libro de Moritz Levy, dedicado a la historia de los sefardíes de Bosnia, que fue publicado en 1911. Aunque las fotografías acompañan la narrativa histórica intentando demostrar la preservación y continuidad de la identidad singular de los sefardíes bosnios a lo largo de los siglos, fueron, como se demuestra en el artículo, claramente una creación moderna. Visualmente destacadas e impregnadas de esteticismo, y fundadas en los álbumes oficiales otomanos de fotografía promocional, las orientalizadas imágenes austro-húngaras de la Bosnia ocupada y el nuevo arte judío. Como el resultado de esa novedad el libro de Levy sirvió de modelo para la representación de los sefardíes bosnios en las publicaciones judías yugoslavas posteriores. Sin embargo, debido a los eventos históricos turbulentos en la región, esas imágenes fueron politizadas y asumieron un papel conmemorativo y recientemente también han inspirado una renovación
Jewish cementeries in Belgrade
Get PDFŽivot jevrejskih zajednica u dijaspori bio je vekovima određen postojanjem izdvojene četvrti grada, geta, sinagoga i jevrejskog groblja, tri celine koje su predstavljale međe života zajednice, podređenog manje ili više verskim pravilima.
U ovom radu, čija je tema vezana za jevrejska groblja na području Beograda od prvih zabeleženih naseljavanja Jevreja u ovaj grad do danas, pratićemo taj vid aktivnosti beogradske jevrejske zajednice. Jer mada su groblja povezana sa idejom smrti i nestajanja, posmatrana sa jednog istorijskog, pa i istorijsko-umetničkog gledišta, ona mogu pružiti dragocene podatke upravo o životu Ijudi, o određenom razdoblju njihovog delovanja.The introductory part of this essay expounds on the historical origin of the Jewish cemeteries and the data on the types of tombstones. The symbols on the Ashkenazic and Sephardic tombstones are also described.
By comparison of the XVII century plans of the Belgrade town and its fortress the oldest Jewish cemetery in Belgrade can be located on the bank of the Sava river; a few XVII century gravestones are still existent. There are conjectures that during the XVII century the impact of the great number of Sephardim who have settled in Belgrade has caused the transferring of the Jewish quarter onto the bank of the Danube river and thus the cemetery was also moved to that part of town. The third Jewish cemetery situated in Belgrade since the beginning of the XVII century is the Palilula Jewish cemetery and its existence can be followed in continuity since the town plans from 1668 till the thirties of the present century. In 1820 on this cemetery was held the ceremony of genizah, i.e. the burial of the old Jewish books. The lot where the cemetery was situated was sold and the cemetery was relocated as part of the realization of The Belgrade General Plan. On July 1, 1928 on this cemetery was ceremoniously laid the founding stone for the mausoleum which was intended as the memorial above the crypt on the old cemetery's location. Although planned the monument above the crypt was never built. The lot in the Ruzvelt street where the Sephardic cemetery is located today was bought in 1888. Right on the other side of the same street is the Ashkenazic cemetery. Some older and more important grave markers have been transferred from the old Palilula cemetery. On the new Jewish cemetery are the gravestones relevant for their ornamental decorations, shape, and symbols; there are also some monuments designed by eminent sculptors like Petar Palavicini, Nandor Glid, and Aleksandar Zarin. On the cemetery are also the monuments commemorating the victims of the First and Second World Wars
Braća Pijade i „srpska renesansa“
Get PDFIn 1907, David S. Pijade (1881-1942), a young poet, writer, and translator of Sephardic Jewish origin from Belgrade, published a lengthy text entitled “Serbian Renaissance” in the cultural review "Pregled", founded and edited by him and Velimir Rajić. Pijade composed the text himself to introduce a Serbian audience to novel ideas, opening a series in what would prove to be an innovative literary and artistic, albeit short-lived, journal. The essay “Serbian Renaissance” can be understood as a wake-up-call that Pijade addressed to his future readers, young Serbian intellectuals, in whom he hoped to awaken an appreciation for the autochthone Serbian folk culture and artistic heritage, and thus arouse their national pride. Pijade, referring to himself as a native Serb, opened by criticizing the so-called city intelligentsia who, according to him, spoil the natural ingenuity and creativity of the simple folk.Godine 1907. David S. Pijade (1881-1942), mladi pesnik, pisac i prevodilac sefardskog jevrejskog porekla iz Beograda, objavio je opširni tekst pod naslovom „Srpska renesansa” u časopisu za kulturu „Pregled”, čiji je osnivač i urednik Velimir Rajić. Pijade je sam komponovao tekst kako bi srpsku publiku upoznao sa romanesknim idejama, otvarajući seriju u nečemu što će se pokazati kao inovativan književno-umetnički, iako kratkotrajan časopis. Esej „Srpska renesansa” može se shvatiti kao uzbuna koju je Pijade uputio svojim budućim čitaocima, mladim srpskim intelektualcima, u kojima se nadao da će probuditi poštovanje prema autohtonoj srpskoj narodnoj kulturi i umetničkom nasleđu i na taj način pobuditi njihov nacionalni ponos. Pijade je, nazivajući sebe starosedeocem Srbinom, započeo kritiku takozvane gradske inteligencije koja, po njemu, kvari prirodnu domišljatost i kreativnost prostog naroda.Series: Jews and Slavs, ISSN 1580-1985; Vol. 27. (Ljubljana : Scientific Research Center of the Slovenian Academy of Sciences and Arts ; Jerusalem : Hebrew University)
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