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Musical organs
Tourism and culture

Intangible cultural heritage

RUKAVAC (OPATIJA, Region of Kastavština, area between the city of Rijeka and the Učka mountain)
Zvončari
Traditional local carnival processions equipped with sheepskins and bells pass through the wider area of Kastavština, moving in a peculiar way and ringing bells, evoking the age-old custom of invoking livestock magic.
This traditional custom was declared an intangible cultural asset of importance for the Republic of Croatia in 2007, and then in 2009 it was included in UNESCO’s representative list of intangible cultural heritage of the world.)

Vinko Malinarić, 1966.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Rijeka
Inv. No. 20270, neg. I-9363
NOVI VINODOLSKI
Novalja mesopust, Carnival event on the main square
A special ceremony in the series of Novljan mesopust customs is the Novljan kolo, which is played on the three main days of Carnival – on Sunday, Monday and Tuesday, before Ash Wednesday. It begins in the afternoon when a procession of women, men and children, dressed in national costumes, led by the sound of sopils and singers of the round, kolo, comes to the square in front of the town hall. The singers start singing Uskok heroic folk songs and invite the people in round which soon create around them. The performance lasts until the evening hours, so the whole town is in and around the kolo. On the facade of the town hall is placed Mesopust, a straw mannequin representing a well dressed man with a top hat on his head in a sitting position, who will be tried and who will be burned on Mesopust Tuesday for everything that is wrong in and around Novog, the day before Ash Wednesday.

Vinko Malinarić, 1966.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Rijeka
Inv. No. 20253, neg. I-93463
KLIŠEVO (Konavle, Dubrovnik area)
Wedding in Dubrovnik seaside area
The traditional seaside wedding in the villages of the Dubrovnik coast lasted five full days, from Thursday to Monday, and culminated on blessed Sunday. The wedding ceremony was announced by gunshots from holsters in the stillness of the day and female singers who described the very act of marriage with a song. The male and female wedding procession, led by a flag bearer, met in front of the church where the bride would be taken after the ritual negotiations. Traditional wedding ceremonies are still bursting with symbols of well-being, happiness and health. There was always a toast at the table, and the return to the front of the church was reserved for the big wedding linđo, a round that the old respectable groom would start with the bride, and soon they would be joined by the other guests, and associated guests and spectators.

Dubravka Beritić, 1966.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Dubrovnik
Inv. No. 892-8
DUBROVNIK
Festives celebrating the day of Dubrovnik’s patron St. Blasius in the area of Pile
The feast of St. Blaise in Dubrovnik has more than a thousand years of tradition since it began to be celebrated in 972, according to legend, a year after the saint defended the city from the attack of the Venetians. The festival begins on Candlemas or Kandelor and lasts until the first Sunday after the feast of St. Blaise. In addition to the residents of Dubrovnik, residents of Rijeka Dubrovačka, Dubrovačka Župa and Konavalo participate in the Festa with equal enthusiasm and joy. In general, the Feast of St. Blaise is a celebration of banners, church or fraternal, their flag bearers and the entire regiment accompanying the banners. The number of flags at Festa is not limited. The Waving of the flag is the most visually effective part of the Festa, so it is not surprising that the protocol pays the most attention to it. According to the Festa protocol, the flags are flown in front of the city gates, in front of the cathedral, in front of the statue and in front of the church of St. Blaise. Flying the flag is not an easy task and requires a lot of skill.
In 2012, the Feast of St. Blaise was included in the UNESCO’s list of world intangible cultural heritage.

Dubravka Beritić, 1966.

Ministry of Culture and Media of the Republic of Croatia
Photo archive of the Conservation Department in Dubrovnik
Inv. No. 573-2
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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