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Records of togetherness and intimacy
Banovina and Kostajnica

Cultural landscapes

HRVATSKO ZAGORJE (The hilly northwestern part of Croatia)
Sleepy landscape

Nino Vranić, 1973.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of cultural heritage
Nino Vranić’s legacy
PODSUSED (Today, a Zagreb settlement)
The area of Rožman
Above the settlement, from where there is a view of the valley of the recently bridged Sava river, excursionists enjoy it.

Joseph Löwy, 1890.

Ministry of Culture and Media og the Republic of Croatia
Photo archive of cultural heritage
Inv. No. 8527
OGULIN (a town on the border between the Plitvice Lakes National Park, the wooded Gorski Kotar and the northern Adriatic)
A view of the town under Klek (1182 meters),
with reapers in the foreground, from the time just before the imperial railway was to be routed through this area in the seventies of the 19th century

Joseph Löwy, 1872.

Ministry of Culture and Media og the Republic of Croatia
Photo archive of cultural heritage
Inv. No. 7400a
BAKARAC (Bakar, northern coast of the Adriatic Sea)
Takale
The organization of the vineyard area with dry stone construction on the imposing slopes above the Bay of Bakar dates back to the 18th century during the reign of Empress Maria Theresa. This form of painstaking economy, which combined the construction of dry stone walls and the cultivation of vines in demanding terrain, was women’s work, since the husbands were at the sea for most of the year.

Vinko Malinarić, 1967.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Rijeka
Inv. No. 23778, neg. I-12230
BRIBIR (Skradin, Dalmatia)
Cultural landscape
Within the settlement of Bribir on the rugged plateau of Bukovice, there is the archaeological site Bribirska glavica, which bears witness to the extremely long historical continuity of this imposing and seemingly desolate area. Here, we record life in continuity from prehistoric times within the Liburnian ramparts, through the Roman municipium Varvariae, then the Christanisation under tutelage of Skradon diocese, then the medieval principality and the Bribir castrum which were especially flourished for the centuries-long rule of the Šubić princes, until the Turkish occupation at the end of the first quarter of the 16. century, resulting in a mass exodus of the Croatian population.
With the cessation of the Turkish threat in the second half of the 17th century, the newly arrived Orthodox population from Bosnia settled at the foot of the Glavice hill in the area of today’s Bribir.
Bribirska glavica has been called the Croatian Troy since the time of the research by Fr. Luja Marun, in 1908. In the foreground on horseback is probably the famous Danish and Split architect, archaeologist and conservator Ejnar Dyggve.

From the Photo archive of Ejnar Dyggve, 20s of the 20th century

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Split
STARA BAŠKA (on the northern Adriatic island of Krk)
Traditional organization of agricultural and livestock land by dry wall construction in the Oprna area in the hinterland of the settlement

Vinko Malinarić, 1972.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Rijeka
Inv. No. 50362 neg. I-26942

LIMS CHANNEL (The west coast of Istria, between Vrsar and Rovinj)
A panoramic view of the Lim channel, 35 kilometers long, which, together with the karst valley in its hinterland, forms the longest bay in Croatia, Limska draga, forty kilometers long in total. This morphological peculiarity very likely has distant common roots with the Pazin abyss and the river Pazinčica. In the foreground, a female figure in half profile, from behind.

Giuseppe Greatti, 1933.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Rijeka
Inv. No. 1774

SPLIT
View from the sea

Franz Thiard de Laforest, 1873.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Split
KLIS
Cultural landscape
The medieval fortress of Klis, at the same time the first Croatian capital and the royal center of the Trpimirović dynasty (9th century), developed on a gorge that dominates the wider Split area and to which it owes its name. The settlement at the foot of the fortress also bears the same name. View from the northeast side with the sea in the background.

From the photo archive of Ejnar Dyggve, approx. 20s of the 20th century

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Split
TROGIR
Shore at dusk with a sleeping man
In the background, from left to right, you can see The tower of chains (end of the 14th century), the Venetian fortress-castle Kamerlengo (first quarter of the 15th century) and the bell tower of the church of St. Michael (end of the 16th century).

Ćiril Metoda Iveković, početak 20. st.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Zadar

Other Chapters
Cultural landscapes
A valid phrase describing the concept of a cultural landscape is “a space with identity.” In other words, the most concise definition of a cultural landscape is: a combined work of nature and humans. Although the term “cultural landscape” has been present in geographical terminology since the early 20th century, the key year for its international legal protection is 1992, when it was recognized as a distinct category of cultural heritage.
Banovina and Kostajnica
This heritage conservation photograph takes you into the historic noble seat of the Zrinski and Frankopan families, but also into the folk world of wooden, ornamented, ever-anchored boats.
Fishing, maritime, and river navigation
Fishing, maritime, and river navigation have been an integral part of human life since time immemorial, so it is no surprise that they are captured in old black-and-white conservation photographs with a hint of sepia. Beyond documenting the traditional activities of this economic sector, they continue to play a role in modern economic life, possessing a notable potential for societal development.
Traditional agriculture
Farming has always been the backbone of rural areas. It forms the foundation of food security and economic sovereignty for every region and nation, and it is inseparably linked to the diligent, calloused hands of our people. Conservation heritage photography tells this story in its own distinctive way.
Vedutas and scenes
Vedutas are painterly or (photo)graphic works that depict a part of the landscape—rural or urban, a square, street, or similar—in a detailed and faithful manner, regularly employing perspective to convey a sense of spatial depth. Vedutas become even more striking and lively when they include context, such as scenes with people and/or animals, whether these figures serve as nearly equal participants in the spatial composition or merely as its embellishment. Conservation photography often captures such veduta views, frequently and enthusiastically.
Spaces of intimacy
Alongside monumental cultural heritage—shared treasures of the broader community, the nation, and even the world—conservation heritage photography also gladly records another form of heritage: the opposite extreme of communal life, namely human intimacy. This represents the inalienable and unique inner and emotional world of an individual person.
Portraits
Whether in literature, painting, or photography, the portrait—one of the most direct literary or visual expressions of human intimacy—can either offer only a superficial engagement with the subject, presenting merely the model’s appearance, or it can pursue a deeper, more thoughtful, and intimate approach, contributing to the subject’s individualization and characterization.
Musical organs
Organs, queens among musical instruments, companions of St. Cecilia and symphonic ensembles, which originated in antiquity as hydraulis (the distant ancestors of today’s sea organs in Zadar!) and were gilded during the Baroque period—especially thanks to Bach’s virtuosity—were the focus of systematic study and protection during the Musical Instrument Protection campaign carried out by the national conservation service from 1972 to 1975. During this three-year fieldwork, aimed at documenting, systematizing, evaluating, and appropriately safeguarding musical instruments across the Republic of Croatia, just under 800 organs—mostly of monumental significance—were recorded, and a total of 5,462 photographs were taken. This effort formed the basis for the creation of the Unique National Register of Historic Organs.
Intangible cultural heritage
Intangible cultural heritage refers to practices, performances, expressions, knowledge, and skills that communities, groups, and individuals recognize as part of their cultural heritage, transmitting them from generation to generation. Unlike tangible heritage (monuments, objects), intangible heritage is “living,” constantly evolving, and provides a sense of identity and continuity. The following photographs, taken in the early 1960s, illustrate that the recognition of the importance of intangible heritage among Croatian conservators preceded UNESCO’s Recommendation on the Safeguarding of Traditional Culture and Folklore (1989), the UNESCO Masterpieces of the Oral and Intangible Heritage of Humanity (1998), and the Convention for the Safeguarding of the Intangible Cultural Heritage (2003) by two decades or more. These international frameworks ultimately led, in 2006, to the adoption of the Convention for the Safeguarding of the Intangible Cultural Heritage, following ratification by a sufficient number of states.
Tourism and culture
Heritage photographs in general, including those presented in our virtual exhibition, although created long before the establishment of cultural tourism, should be valued not only for their contribution to our culture and tourism—since they promote our regions, monuments, and people—but also more broadly as a powerful national and social reference. They raise awareness of our identity and uniqueness in increasingly globalized and challenging times ahead.
Chiaro-scuro photographs
Must conservation photography be solely functional and documentary, or is it sometimes allowed the freedom to venture into interpretative realms? Reflect on this question in light of the following photographs…
Sign-off
The conservators and the eKultura team of the Ministry of Culture and Media thank you for your attention!
Impresum
Author of the exhibition: M.Sc. Sanja GrkovićMinistry of Culture and Media – Photo archive of cultural heritage The virtual exhibition was prepared by the Cultural Heritage Digitization OfficeMinistry of Culture and Media Photo preparation: DIGITAL FOTO ART, Dragutin Škreblin
Cultural landscapes
A valid phrase describing the concept of a cultural landscape is “a space with identity.” In other words, the most concise definition of a cultural landscape is: a combined work of nature and humans. Although the term “cultural landscape” has been present in geographical terminology since the early 20th century, the key year for its international legal protection is 1992, when it was recognized as a distinct category of cultural heritage.
Banovina and Kostajnica
This heritage conservation photograph takes you into the historic noble seat of the Zrinski and Frankopan families, but also into the folk world of wooden, ornamented, ever-anchored boats.
Fishing, maritime, and river navigation
Fishing, maritime, and river navigation have been an integral part of human life since time immemorial, so it is no surprise that they are captured in old black-and-white conservation photographs with a hint of sepia. Beyond documenting the traditional activities of this economic sector, they continue to play a role in modern economic life, possessing a notable potential for societal development.
Traditional agriculture
Farming has always been the backbone of rural areas. It forms the foundation of food security and economic sovereignty for every region and nation, and it is inseparably linked to the diligent, calloused hands of our people. Conservation heritage photography tells this story in its own distinctive way.
Vedutas and scenes
Vedutas are painterly or (photo)graphic works that depict a part of the landscape—rural or urban, a square, street, or similar—in a detailed and faithful manner, regularly employing perspective to convey a sense of spatial depth. Vedutas become even more striking and lively when they include context, such as scenes with people and/or animals, whether these figures serve as nearly equal participants in the spatial composition or merely as its embellishment. Conservation photography often captures such veduta views, frequently and enthusiastically.
Spaces of intimacy
Alongside monumental cultural heritage—shared treasures of the broader community, the nation, and even the world—conservation heritage photography also gladly records another form of heritage: the opposite extreme of communal life, namely human intimacy. This represents the inalienable and unique inner and emotional world of an individual person.
Portraits
Whether in literature, painting, or photography, the portrait—one of the most direct literary or visual expressions of human intimacy—can either offer only a superficial engagement with the subject, presenting merely the model’s appearance, or it can pursue a deeper, more thoughtful, and intimate approach, contributing to the subject’s individualization and characterization.
Musical organs
Organs, queens among musical instruments, companions of St. Cecilia and symphonic ensembles, which originated in antiquity as hydraulis (the distant ancestors of today’s sea organs in Zadar!) and were gilded during the Baroque period—especially thanks to Bach’s virtuosity—were the focus of systematic study and protection during the Musical Instrument Protection campaign carried out by the national conservation service from 1972 to 1975. During this three-year fieldwork, aimed at documenting, systematizing, evaluating, and appropriately safeguarding musical instruments across the Republic of Croatia, just under 800 organs—mostly of monumental significance—were recorded, and a total of 5,462 photographs were taken. This effort formed the basis for the creation of the Unique National Register of Historic Organs.
Intangible cultural heritage
Intangible cultural heritage refers to practices, performances, expressions, knowledge, and skills that communities, groups, and individuals recognize as part of their cultural heritage, transmitting them from generation to generation. Unlike tangible heritage (monuments, objects), intangible heritage is “living,” constantly evolving, and provides a sense of identity and continuity. The following photographs, taken in the early 1960s, illustrate that the recognition of the importance of intangible heritage among Croatian conservators preceded UNESCO’s Recommendation on the Safeguarding of Traditional Culture and Folklore (1989), the UNESCO Masterpieces of the Oral and Intangible Heritage of Humanity (1998), and the Convention for the Safeguarding of the Intangible Cultural Heritage (2003) by two decades or more. These international frameworks ultimately led, in 2006, to the adoption of the Convention for the Safeguarding of the Intangible Cultural Heritage, following ratification by a sufficient number of states.
Tourism and culture
Heritage photographs in general, including those presented in our virtual exhibition, although created long before the establishment of cultural tourism, should be valued not only for their contribution to our culture and tourism—since they promote our regions, monuments, and people—but also more broadly as a powerful national and social reference. They raise awareness of our identity and uniqueness in increasingly globalized and challenging times ahead.
Chiaro-scuro photographs
Must conservation photography be solely functional and documentary, or is it sometimes allowed the freedom to venture into interpretative realms? Reflect on this question in light of the following photographs…
Sign-off
The conservators and the eKultura team of the Ministry of Culture and Media thank you for your attention!
Impresum
Author of the exhibition: M.Sc. Sanja GrkovićMinistry of Culture and Media – Photo archive of cultural heritage The virtual exhibition was prepared by the Cultural Heritage Digitization OfficeMinistry of Culture and Media Photo preparation: DIGITAL FOTO ART, Dragutin Škreblin
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