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FACULTY OF PHILOSOPHY
UNIVERSITY OF BELGRADE
Edited by Nenad Makuljević
Culture of Remembrance,
Visuality, and Crisis
in the Balkans
(17th-20th Century)
HUMANS AND SOCIETY IN TIMES OF CRISIS
Faculty of Philosophy, University of Belgrade │ 2021
ulture of
Remembrance, Visuality,
and Crisis in the Balkans
(17th-20th Century)
Edited by Nenad Makuljević
C
Edition Humans and Society in Times of Crisis
Culture of Remembrance, Visuality, and Crisis
in the Balkans
(17th-20th Century)
Edited by Nenad Makuljević
Belgrade 2021
Publisher
Faculty of Philosophy, University of Belgrade
Čika Ljubina 18–20, Beograd 11000, Srbija
www.f.bg.ac.rs
For the publisher
Prof. Dr. Miomir Despotović
Dean of the Faculty of Philosophy
Referees
Dr. Ljiljana Stošić,
Institute for Balkan Studies
Prof. Dr. Milan Ristović,
Faculty of Philosophy
Dr. Radomir Popović,
The Institute of History in Belgrade
Cover art and design by
Ivana Zoranović
Set by
Dosije studio, Belgrade
Printed by
JP Službeni glasnik
Print run
200
ISBN 978-86-6427-191-2
This collection of papers was created as part of the scientific research project
Humans and Society in Times of Crisis, which was financed
by the Faculty of Philosophy – University of Belgrade.
CONTENTS
7 | Nenad Makuljević
Introduction
9 | Saša Brajović
Epidemics in Early Modern European Culture:
The Case of the Bay of Kotor during the Venetian
and Austrian Government
31 | Milena Ulčar
The 1667 Earthquake in the Bay of Kotor:
A History of Resilience
49 | Nenad Makuljević
Destruction, Transformation, and Fragmentation of Serbian
and Balkan Visual Culture at the End of the 17th and
the First Half of the 18th Century
65 | Ana Kostić
Saints and Crises: The Cult of St Stephen the First-Crowned
in Kočina Krajina (1788–1791) and the Wartime of Serbian
Revolution (1804–1815)
87 | Predrag N. Dragojević
Folk Worldview, Theories, Art:
The Concept of Vila as the Cause of Suffering
103 | Irena Ćirović
Orientalism, Nationalism, and the Balkans:
The Image of the Montenegrin Woman
123 | Katarina Jović
The Conquered Land: Representations of Bosnia and
Herzegovina in Kriegs-Bilder-Skizzen aus dem
Bosnisch-Herzegowinischen Occupations-Feldzugе 1878.
139 | Vuk Dautović
Artification of Memory: “Trench Art” and Remembering
Serbian Soldiers from the Great War
INTRODUCTION
Understanding complex relations between different political, social,
cultural, and religious events, and the development and functions of visual
culture, is at the forefront of the modern and contextual history of art.
The present global crisis caused by the coronavirus pandemic brought up
the question of how visual culture changes in a crisis, and what role does
it play. This edited collection, written by authors pertinent to the circle of
historians of the art of the early modern period from the Faculty of Phi-
losophy in Belgrade, is an attempt at answering that question.
The collection CULTURE OF REMEMBRANCE, VISUALITY, AND
CRISIS IN THE BALKANS (17TH-20TH CENTURY) is devoted to un-
derstanding the relationship between crises and visual culture in the early
modern and modern periods in the Balkans. Natural disasters, communi-
cable diseases, and wartime crises have marked the social and cultural his-
tory of the Balkans. Crises in the Balkans encumbered this geographical
region, and not only in the past. This is precisely why this region is most
relevant for studies of the relationship between crises and visual culture.
The authors of this collection of papers shed light on numerous ex-
amples of the relationship between crises and visual culture from the Bal-
kan region, along with those from the Bay of Kotor and southern Hun-
gary, between the late 17th century and WWI. Research has shown that
visual culture was influenced by infectious diseases such as the plague and
cholera, natural disasters such as earthquakes, and numerous wars. At the
same time, visual culture suffered the direct consequences of the crises in
question, but also helped overcome them, commemorate them, and even
manipulate them.
The collection resulted from a scientific project by the Faculty of Phi-
losophy. We owe a debt of gratitude to our reviewers, Milan Ristović, Ljil-
jana Stošić, and Radomir Popović.
Katarina Jović*
THE CONQUERED LAND: REPRESENTATIONS
OF BOSNIA AND HERZEGOVINA IN
KRIEGSBILDERSKIZZEN AUS DEM
BOSNISCHHERZEGOWINISCHEN
OCCUPATIONSFELDZUGЕ 1878.
Abstract: This paper deals with representations of Bosnia and Herzegovina
in the publication Kriegs-Bilder-Skizzen aus dem Bosnisch-Herzegowinischen
Occupations-Feldzugе 1878, analyzing illustrations based on photographs captured
during the occupation of Bosnia and Herzegovina by the Austro-Hungarian
Empire in 1878. The paper analyzes the arrangement of the illustrations in the
publication and their depictions of the Bosnian landscape aimed at a contemporary
Austro-Hungarian audience. By extension, the paper explores representational
issues surrounding the Bosnian crisis, namely the Austro-Hungarian gaze on the
Bosnian territory, culture, and population, and its influence on the political and
social reality of Bosnia and Herzegovina.
Key-words: Bosnia and Herzegovina, The Austro-Hungarian Empire, Illustra-
tions, War, Landscape
The publication Kriegs-Bilder-Skizzen aus dem Bosnisch-Herzegowini-
schen Occupations-Feldzugе 1878.1 compiles sketches that trace the route of
the Austro-Hungarian army during the occupation of Bosnia and Herzego-
vina. This set of illustrations was intended for intimate readings by Austro-
Hungarian citizens, and was simultaneously representative of the construction
of identity created by the occupier’s gaze and designed to elicit an identifica-
tion with the occupied territory among Austro-Hungarian citizens.
* Katarina Jović (1994), Junior Research Assistant at Departent of the History of Art,
Faculty of Philosophy, University of Belgrade, E-mail: katarina_jovic@outlook.com
1 Österreichische Nationalbibliothek. Retrieved March, 2021. https://onb.digital/
result/11334EF5
124 | Katarina Jović
The publication was supported by the Imperial and Royal Technical
Military Academy and issued by J. Löwy in 1879. It was created by Carl
Balog von Mankobück (Buda, 1848 – Pécs, 1920), first lieutenant in the re-
serve of the 37th infantry regiment of Archduke Josef, and was dedicated to
his comrades. The publication represents scenes from the daily life of this
military formation among the natural and cultural landscapes of Bosnia
and Herzegovina. Balog von Mankobück was awarded the Order of the Iron
Crown, Second Class in 1914. Throughout his lifetime he pursued artistic
interests, mainly poetry, painting, and illustrations created for diverse publi-
cations, ranging from children’s books to sketches of the war (Balogh, 1996).
Nevertheless, the sketches in Kriegs-Bilder-Skizzen cannot be attrib-
uted exclusively to Balog von Mankobück, as they are based on a set of
photographs signed with the name “J. Löwy”. Due to an inscription “k.k.
Hof-Photograph” it is plausible to assume that the name refers to Josef
Löwy (Pressburg, 1834 – Vienna, 1902), a notable Viennese lithographer,
photographer, and publisher. In 1856, he opened a studio that would
become one of the most respected companies in Vienna. For his works
(mainly portraits and landscapes) he used mostly collotype, autotype, and
photogravure techniques (Burgenkron & Maier, 1971, pp. 296–297). As
one of the pioneers of the collotype high-speed press in Austria, Löwy
became a member of the Photographer Association in Vienna in 1864.
Alongside Oscar Kramer, Gustav Jägermayer, György Klösz, and Michael
Frankenstein, he participated in the World Exhibition in Vienna in 1873
and recorded photographs of the event (Pemsel, 1989). Due to his reputa-
tion within Viennese photography circles, he soon gained the title of court
photographer. Preserved photographs of Bosnia and Herzegovina taken
by Löwy in 1878 prove his presence during the first post-invasion months.
Kriegs-Bilder-Skizzen consists of illustrations that are equal in size, with
text reserved only for captions. Among the 28 illustrations in Kriegs-Bilder-
Skizzen, only five do not refer to particular places: the representations of
Insurgent chief Hadschy Loja (Hadži Lojo), Abandoned Turkish residential
house, Bosnian-Turkish field wagon, Imperial officers’ field kitchen, and Impe-
rial canopy-shelter. The majority of the illustrations in the publication depict
the cultural and natural landscape of Bosnia visited by the Austro-Hungarian
forces.2 The front page introduces the reader/spectator to some of the most
historically significant settlements on the route: Brod, Sarajevo, Višegrad, and
the Lim River. The publication also provides illustrations of Derventa, Doboj,
Maglaj, Vrandug near Zenica, Mokro, Mountain Romanja, Odžak, and Ro-
gatica. Apart from Bosnian towns and settlements, the sketches focus on the
natural landscapes of the Romanja Mountain, the Rakitnica Canyon near Ro-
gatica, and the Lim River near Strnica, Ducović, and Rudo.
2 Austro-Hungarian Army Engagement Calendar – Occupation of Bosnia-Herzegovina
1878. Retrieved April, 2021. http://www.austro-hungarian-army.co.uk/cal1878.htm
e Conquered Land | 125
The publication’s landscape illustrations can be grouped into three
sub-categories: mainly-urban, mainly-natural, and scenes where both
urban and natural motifs are present with an emphasis on Bosnian and
Austro-Hungarian ethnicity and culture. The majority of the illustrations
fall into the last category, compiling depictions of Bosnian towns and set-
tlements alongside depictions of everyday life of Bosnian people and the
Austro-Hungarian army set in nature. The mainly-urban landscapes rep-
resent veduta-sketches and cityscapes that, apart from residential zones,
incorporate cultural monuments, such as fortresses in Maglaj, Doboj, and
Vranduk, mosques in Maglaj and Višegrad, and the bridge over Drina in
Višegrad. Some illustrations, however, focus on cultural monuments part-
ly isolated from their surroundings (the mosque on the square in Sarajevo,
the Turkish cemetery in Sarajevo, and the mosque on the main street in
Višegrad). The sequence of illustrations creates a map-like structure that
depicts the most important landscapes on the route of the occupational
forces. As paintings began to be experienced cartographically around the
beginning of the 19th century, landscape representations came to be con-
sidered a form of mapmaking (Elkins & DeLue, 2010, p. 129). This type
of map-like structure was produced by a selective gaze that searched for
“significant forms” in actual nature (Cosgrove, 1998, p. XXI).
In spite of being naturalistically represented, the view of the cultural
monuments is obscured by local houses and the activities of local people.
In fact, their presence is merely suggested by architectural details such as
minarets. This lack of cultural monuments, as well as the emphasis on
daily life, national costumes, and peasantry, such as wagons and huts, sug-
gests that the Bosnian territory was presented through a prism of over-
simplified traditionalism and underdevelopment regardless of the reforms
that shaped the culture of living and the visual culture in Bosnia and Her-
zegovina after 1850 (Makuljević, 2011). Thus, the spectator is introduced
to a biased interpretation of Bosnian culture, that generated a Bosnian
“otherness” – suggested by the “pastoral” and “simplified” representation
of the land (Mitchell, 1998, pp. 455–572). Bosnian “otherness” is framed
and staged in the sketches through the chosen motifs and their frequency.
This question of “framing” (or representational selection) often occupied
intellectuals visiting Bosnia during the 19th century (Abadžić-Hodžić,
2016, pp. 11–18), who tended to create and disseminate a perceived “char-
acter” of the territory through the projection of an ethnographic topogra-
phy. The selection of motifs and framing in the book aimed to propagate
a specific interpretation of the Bosnian land and its people in visual terms
rather than to provide a documentary report. This approach to the visual
representation of the occupied Bosnian territory remained a long-term
project – an institutional program of inventing a narrative about the “Ori-
126 | Katarina Jović
ental” Bosnia and Herzegovina (Makuljević, 2013, p. 78). Published dur-
ing the year following the invasion, the arrangement of the illustrations in
Kriegs-Bilder-Skizzen helped establish a new interpretation of the political
and cultural “reality” of Bosnia and Herzegovina.
None of the original photographs of the represented landscape are
preserved, but other collections of Löwy’s records of Bosnia and Herze-
govina from 1878 have been found.3 Due to a desirable authenticity and
accuracy, illustrations based on photographic originals became widely
popular during the 19th century. While the power of looking through the
camera obscura was regarded as superior to the human eye (Mauer, 2013,
p. 99), the illustrative potential of “re-designs” enabled further renditions
of the “atmosphere” (D’Arcy Wood, 2001, pp. 186–194). Both photography
and illustrations, however, depended on a human gaze. A “visual order”
(a fixed point of view, perspective, and a sense of depth and composition)
were principles of landscape photography and illustration, derived from
the tradition of landscape painting in Western art history. “The laws of
perspective” could evoke a sense of familiarity with the once unknown
(“other,” “mysterious”) landscape (Mitchell, 1998, p. 467).
The composition and framing of the illustrations in Kriegs-Bilder-
Skizzen imply a “detached observer” (photographer/illustrator) that is
invisible to the captured/depicted people (who are occupied with their
affairs: horse riding, marching, cooking, working in the field, etc.). This
framing provides a distance between the artist/spectator and the object
and furthermore creates an illusion of “the whole scene” (Barromi-Perl-
man, 2020, p. 565). Apart from the undifferentiated physiognomies (both
Austro-Hungarian and Bosnian, who are distinguished only by their gar-
ments and activities), the lack of individualization is, more so in the il-
lustrations than in the photographs, a product of the distance to the de-
picted scenes and the high-angle that obscured the depicted figures in the
shadows. Tall hills, spacious fields, towns, and rivers create a hierarchy
between the landscape and its inhabitants, reducing proportionally the
size of the latter.
Some of Löwy’s preserved photographs depict the same places that
are represented in the publication. Their comparison reveals a cer-
tain idealization (“design”) in the illustrative material. For example, the
photography of Vranduk near Zenica (Figure 1) depicts the same place
(though from a different perspective) as one of the illustrations in the
book (Figure 2). However, the illustration diverts from the actual land-
3 Photographs are digitally documented by “Albertina” and Austrian Centre for Digital
Humanities and Cultural Heritage. Retrieved March, 21.
https://sammlungenonline.albertina.at/?query=Inventarnummer=%5BFoto2000/112
/20%5D&showtype=record#/query/094188f4–590a-4f2f-bc05–3914355dac7a
e Conquered Land | 127
Fig. 1: Occupation of Bosnia-Herzegovina by Austria-Hungary in 1878:
Vranduk near Zenica (canton Zenica-Doboj), Josef Löwy, 1878.
Albertina. Retreived March, 2021.
https://sammlungenonline.albertina.at/?query=Inventarnummer=%5BFoto2000/
112/20%5D&showtype=record#/query/094188f4-590a-4f2f-bc05-3914355dac7a
Fig. 2: Fortress in Vranduk, Kriegs-Bilder-Skizzen aus dem Bosnisch-
Herzegowinischen Occupations-Feldzugе 1878, J. Löwy, C. Balog von Mankobück
1878–1879. Österreichische Nationalbibliothek. Retrieved March, 2021.
https://onb.digital/result/11334EF5
128 | Katarina Jović
scape, draping the stripped, rocky landscape in trees and bushes. The ac-
tual landscape, with its craggy slope, disappeared in the idealized repre-
sentation of the recently conquered land. Further comparisons between
the photographs and the illustrations demonstrate a certain simplification
of the Bosnian heritage. The Ottoman-Balkan-style residences captured
in some photographs are clearly substituted in the illustrations for old-
fashioned wooden huts and houses. Rather than through artistic inter-
ventions, a sublime atmosphere is indicated by the choice of the depicted
landscape. The sketch of the Rakitnica Canyon near Rogatica (Figure 3)
provides a steep scenery suggesting a dramatic atmosphere which is un-
derscored, through an inscription, by a reference to the historical nar-
rative of Hadži Loja’s arrest in this “impassable” piece of nature. The ar-
rangement of these sublime and pastoral landscapes is quoting a past that
was significant to the occupiers, resting on criteria of “social spatializing.”
It provides an understanding of the past within a concrete geographi-
cal location shaping – “a sense of history by not telling a single grand
narrative,” but rather “under the auspices of visuality” (Mauer, 2013, pp.
117–118; 136).
Fig. 3: Rakitnica canyon near Rogatica, Kriegs-Bilder-Skizzen aus dem Bosnisch-
Herzegowinischen Occupations-Feldzugе 1878, J. Löwy, C. Balog von Mankobück
1878-1879.Österreichische Nationalbibliothek. Retrieved March, 2021.
https://onb.digital/result/11334EF5
e Conquered Land | 129
Another example of the “perceived” character of the land is seen in
one of the non-landscape illustrations, the sketch of Insurgent chief Hadschy
Loja (Hadži Lojo). Here we see the wounded insurgent leader Hadži Lojo,
born Salih Vilajetović (1834–1887, Mekka), completely detached from the
surrounding landscape (Figure 4). During the occupation, Lojo was one of
the most prominent leaders of the insurgent forces, which comprised Bos-
nian Muslims as well as other religious groups and which caused signifi-
cant and unexpected losses to the Austro-Hungarian army. In spite of be-
ing depicted wounded on a stretcher, this is not an image of the battlefield.
Furthermore, the illustration is inspired by a story of Lojo accidentally be-
ing wounded by his own gun. Like in other illustrations from that time he
is represented in a generalized “Bosnian” fashion with a long beard, Ot-
toman cloak, fur, and a turban. Without significant individualization, the
portrait of Lojo does not deviate from the stereotypical representation of a
“Bosnian Muslim” cultivated in Austro-Hungarian media, a representation
that lacked facial distinctions and used a generalized “Ottoman” physiog-
nomy and anatomical features to depict Muslims from Bosnia and Her-
zegovina. During his hospitalization, illustrations of Lojo appeared in the
Fig. 4: Hadschy Loja, Kriegs-Bilder-Skizzen aus dem Bosnisch-Herzegowinischen
Occupations-Feldzugе 1878, J. Löwy, C. Balog von Mankobück 1878-1979.
Österreichische Nationalbibliothek. Retrieved March, 2021.
https://onb.digital/result/11334EF5
130 | Katarina Jović
Austro-Hungarian press in a similar fashion with the wounded Bosnian
leader being depicted without individual characteristics.4
This kind of generalized representation was not uncommon in Aus-
tro-Hungarian media. A publication like the Viennese Illustrirtes Wiener
Extrablatt daily provided a wide range of war-illustrations from Bosnia
in 1878 ranging from maps, battle scenes, and celebrations of victory to
portraits of renowned Austro-Hungarian leaders5 and representations of
the local people and land. The imagery of leisure culture (such as tradi-
tional Bosnian coffee houses), physiognomies, and generalized Bosnian
Muslim-fashion was widely popular in Illustrirtes Wiener Extrablatt, as
were ethnic depictions of the Roma population.6 Guardhouses, residences,
and mosques were represented as well, while Orthodox churches were
sometimes described as “Greek-Oriental.”7 The perceived character of the
occupied territory was further expressed through historical scenes and
“morally-declined” figures, such as executions of “Bosnian spies” or “Bos-
nian thieves” in traditional garments.8
By the end of 1878, these scenes were accompanied by references to
the modernization that was achieved in Bosnia upon the arrival of the
Austro-Hungarian forces, like depictions of the first locomotive in Bos-
nia and representations of Austro-Hungarian institutions.9 Landscapes
and cityscapes were isolated, but were also used as backgrounds incor-
porated into these scenes. The heterogeneity of the illustrations in the
Austro-Hungarian media was meant to provoke a public response to the
war (Damjanović , 2017, pp. 199–214; Wilke, 2005, pp. 83–104), to create
an interest in the conquered land, provide “information” about its culture
and people, and invoke a sense of national pride and cohesion within the
Austro-Hungarian population. Furthermore, the illustrations were de-
signed to evoke a sense of pathos in relation to those who lost their belov-
ed on the battlefield, through depictions of sorrowful families and tearful
wives with young children lamenting their deceased husbands.10
4 Illustrations in: Illustrirtes Wiener Extrablatt (1878) 7(263; 265; 297), p. 1. Retrieved
April, 2021.
https://books.google.de/books/about/Illustriertes_Wiener_Extrablatt.
html?id=UUREGwizUuUC&redir_esc=y
5 See maps in: Ibid, 7(208; 257; 263; 268; 270; 285), p. 1. Portraits: Ibid, 7(243; 244/2),
p. 1. Fighting scenes and celebrations: Ibid, 7(248; 220; 251), p. 1. About Julius Löwy,
reporter from Bosnia and Herzegovina and editor of Illustrirtes Wiener Extrablatt:
Burgenkron & Maier, 1971, p. 297.
6 See: Illustrirtes Wiener Extrablatt (1878), 7(263; 265; 277; 328), p. 1.
7 See: Ibid, 7(250; 254; 321), p. 1.
8 See: Ibid, 7(258; 330), p. 1.
9 See: Ibid, 7(322; 354), p. 1.
10 See: Ibid, 7(266), p. 1.
e Conquered Land | 131
In Kriegs-Bilder-Skizzen this pathos is not visually explicit but rather
implicitly suggested. On the front page, it is noted that the book is in-
tended to support the army foundation established by Major F. Jaitner for
the benefit of the families of the mobilized reservists who lost their lives
to injuries and illnesses on the battlefields in 1878. During the occasional
battles that occurred almost three months after the arrival of the Austro-
Hungarian army on July 29, 1878, the Austro-Hungarian forces faced an
unexpected loss of 5000 soldiers (Slipičević, 1954; Milojković-Đurić, 2002;
Medlicott, 1963, pp. 26–29; Donia, 2021, pp. 135–145; Preshlenova, 2021,
pp. 128–135). That the book was published in support of Major F. Jaitner’s
army foundation resonated with a broader sentiment within the Austro-
Hungarian Empire – the experience of collective loss that required an
emotional response and an active sympathy with the victims of the war.
The lack of textual descriptions in the publication contributes to the rhe-
torical value of the landscapes that appear as silent carriers of memories
and collective experiences. The particular landscape thus becomes associ-
ated with a specific historical moment.
For the sake of the dignified memory of the victims of the war and the
sympathy with their families, illustrations of death and disease are not in-
cluded in Kriegs-Bilder-Skizzen. However, it is plausible to assume that the
inscription on the front page had potential to disturb Austro-Hungarian
readers who were overwhelmed by reports of Bosnian health issues. Dur-
ing the occupation months, the Bosnian healthcare system was not suffi-
ciently equipped to provide treatment for Austro-Hungarian soldiers who
were facing syphilis, cholera, variola, typhus, and dysentery (Masić, 2018,
pp. 374–388; Jolić, 2015, pp. 187–213). References to deaths caused by ill-
nesses in the book act as a tribute to the dead, but also as an annunciation
of the forthcoming Austro-Hungarian bio-policy that sought to improve
the healthcare infrastructure of Bosnia – a policy that was deemed neces-
sary for the establishment of Austro-Hungarian businesses in the territory.
In spite of being global threats during the 19th century, acute infectious
diseases such as the plague, cholera, and variola were, in public discourse,
associated only with marginalized groups, thus producing “enemy images”
of “Eastern peoples” (Duraković, 2016, pp. 79–80) and by extension to a
so-called “polygamic moral decay” in Bosnia and Herzegovina. Diseases
such as osteomalacia and progressed endemic syphilis were, during the
Austro-Hungarian sanitary mission, described as “national epidemics” of
Bosnia and Herzegovina (Volk s krankhe i t ), or as “Muslim diseases” in Aus-
tro-Hungarian medical records (Fuchs, 2008, pp. 72–79; Fuchs, 2016, pp.
68–72). Interestingly, syphilis remained an issue even after the Annexa-
tion of Bosnia and Herzegovina in 1908.11
11 See: Österreichische Zeitschrift für Pharmacie (1913), 51 (35), p. 422. Retrieved April,
2021. https://anno.onb.ac.at/ozp.htm.
132 | Katarina Jović
This bio-policy was part of a larger official Austro-Hungarian “civiliz-
ing mission” that was partly fueled and justified by the representational
production and utilization of stereotypes about the local society in Bosnia
(Milojković-Đurić, 2002, pp. 80–112; Zişan Furat, 2012, pp. 63–84; Reyn-
olds-Cordileone, 2015, pp. 29–50; Volarić, 2019, pp.183–198; Lovrenović ,
2016, pp. 1–4). These helped enable the interpretation of the insurgent re-
sistance primarily as a sign of religious fanaticism on the part of the local
Muslims (Damjanović, 2017, pp. 200). Contrary to original orientalist dis-
course, that considers the Orient as a fixed structure and a unified zone,
it is more fruitful to talk about multiple “Orients” when it comes to the
Austro-Hungarian perspective on Bosnia and Herzegovina (Said, 1978;
Hall, 1997; pp. 234–240; Chakravorty-Spivak, 1999; Bhabha, 1994; Todor-
ova, 1997; Fleming, 2000, pp. 1218–1233). From the Austro-Hungarian
perspective, Bosnia represented both a difference and a sameness, it was
simultaneously a “distant Orient” and an Orient that was “close to home.”
This dichotomy resulted in a picture of so-called “bad Orientals” (Otto-
man Muslims) and “good Orientals” (“Islamized Slavs” and other reli-
gions) respectively, which was significantly linked to the land: it depended
on the geographical proximity of the occupied land, establishing what was
considered a zone of “shared experiences” (Heiss, Feichtinger, 2013, pp.
148–150). This “frontier Orientalism” (Gingrich, 2015, pp. 60–66) affected
the interpretation of the border zone between the two Empires, regarding
Bosnia as a “space of transition” – a zone of simultaneous exclusion of
those who were, from an Austro-Hungarian point of view, considered to
be “beyond civilization” and inclusion of “those who could be civilized.”
The Austro-Hungarian Empire cultivated a self-image of being a state
that could peacefully encompass a broad variety of religions and national-
ities by conceiving of the Bosnian land as a zone of possibility where they
could vicariously exhibit and demonstrate their ability to establish “order”
between different religious groups, through an idea of the heterogeneous
population belonging to the same soil (Zisan Furat, 2012, pp. 63–64). By
treating Bosnian peoples as religious units rather than politically informed
communities, the Austro-Hungarian “enlightenment administration” ech-
oed the rhetoric of “new Imperialism” and used Bosnia as “a model of co-
lonial rule for other European great powers” (Reynolds-Cordileone, 2015,
pp. 29–31).
While the Austro-Hungarian Empire viewed themselves as liber-
ating southern Slavs from “the Orient,” they simultaneously enjoyed
the remnants of Ottoman material culture in Bosnia and Herzegovina.
In tandem with operating within the Bosnian territory (as a mission of
“progress” based on Austro-Hungarian laws and technologies), the “civi-
e Conquered Land | 133
lizing mission” was fed back into the Austro-Hungarian consciousness
through media, museum exhibitions, bazaars, performances portraying
Bosnian troops, “Bosnian peddlers,” etc. Thus, this “Otherness,” this Ori-
ent “close to home,” became entirely familiar and visible, resulting in a
“pride” among Austro-Hungarian citizens “in the good work being done
in Bosnia” (Reynolds-Cordileone, 2015, p. 48; Reynolds-Cordileone, 2010,
171–187).
The illustrations in Kriegs-Bilder-Skizzen were designed to provide
information about the recently conquered land and to launch a narra-
tive about the Bosnian crisis. In spite of the absence of war images, the
publication served as a memorial of the war-time, that was designed to
evoke the collective past and call to emotional participation and stimulate
the active response, manifested through the Austro-Hungarian “civilizing
mission.”
Every landscape is a place of distinct coexisting trajectories – time,
people, and identities (Massey, 2005, pp. 64–71) – and as such Kriegs-
Bilder-Skizzen interprets the landscape of Bosnia as a collision of histori-
cal dynamism, natural fixity, and “orientalist” fantasy. Based on collective
memories (war, diseases, loss, and triumph), this landscape acted as me-
dium rather than a genre (Mitchell, 2002, pp. 1–5). It is more than merely
a background to history, it is a zone of human activity, experience, and
discourse.
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Катарина Јовић*
ПОКОРЕНА ЗЕМЉА:
ПРЕДСТАВЕ БОСНЕ И XЕРЦЕГОВИНЕ У
KRIEGSBILDERSKIZZEN AUS DEM BOSNISCH
HERZEGOWINISCHEN OCCUPATIONSFELDZUGE 1878.
Апстракт: Публикација Kriegs-Bilder-Skizzen aus dem Bosnisch-Herzegowini-
schen Occupations-Feldzuge 1878. намијењена је Аустро-Угарској јавности и
представља амбијент Босне и Херцеговине из ракуса окупатора. Илустро-
вани су културни и природни пејзажи Босне и Херцеговине који указују
на својства крајолика и маршуту Аустро-Угарске војске. Премда засноване
на фотографском веризму, илустрације су одабране и уређене у складу са
односом окупатора према „заузетој” земљи и сопственом идентитету, су-
геришући на колективно искуство и памћење унутар Двојне Монархије.
* Катарина Јовић, истраживач-приправник на Одељењу за историју уметности,
Филозофског факултета Универзитета у Београду. katarina_jovic@оutlook.com
e Conquered Land | 137
Босански простор посматра се кроз призму „оближње другости” која под-
стиче „цивилизаторску мисију” Аустро-Угарске администрације, са одје-
ком на политичку, економску, културну и статусну стварност Босне и Хер-
цеговине.
Илустрације одликује посредност и суздржаност. Упркос називу, пуб-
ликација не нуди представе сукоба, смрти и болести, већ суптилно на њих
подсјећа. Недостатак приказа сукоба и људске патње у „скицама рата“ ука-
зује на дубља значења представљене земље. Босански простор у компила-
цији Kriegs-Bilder-Skizzen истиче се као нешто више од представе или жанра
– као збирка сјећања која позива на емоционални, контемплативни и актив-
ни одговор.
Kључне ријечи: Босна и Херцеговина, Аустро-Угарска, илустрације, рат, пејзаж
CIP – Каталогизација у публикацији –
Народна библиотека Србије, Београд
7.01(082)
CULTURE of remembrance, visuality, and crisis in the
Balkans (17th–20th Century) / edited by Nenad Makuljević.
– Belgrade : Faculty of Philosophy, University, 2021 (Beograd :
Službeni glasnik). – 160 str. ; 25 cm
“This collection of papers was created as part of the scientific
research project humans and society in times of crisis ... “ -->
kolofon. – Tiraž 200. – Str. 7: Introduction / Nenad Makuljević. –
Napomene i bibliografske reference uz radove. – Bibliografija uz
svaki rad. – Апстракти.
ISBN 978-86-6427-191-2
а) Филозофија уметности -- Зборници б) Уметност -- 17в– 20в
COBISS.SR-ID 50853385
The past of the Balkans spanning from the 17th to the 20th centuries, seen from the
viewpoints of cultural memory, visuality, and identity in the eight papers comprising
this collection, is a methodologically innovative, theoretically well-founded and
modern approach to the study of the past. Apart from wartime crises, no less grave
were the crises precipitated by natural disasters, epidemics of communicable
diseases, permanent fear of hunger, supernatural powers, the Other…, which
altogether impacted the creation of the “imaginary” picture of the Balkans in the
eyes of the Europeans as a territory encumbered with perpetual conflict and
unsettledness.
Radomir Popović (excerpted from his review)
The collection of papers entitled Culture of Remembrance, Visuality and Crisis in the
Balkans: 17th–20th Century is comprised of a corpus of eight studies whose topics,
from different angles, shed more light on the specific features of visual culture in
times of crisis in Serbia and the Balkans between the mid-17th century and the early
20th century. The changes to visuality in times of crisis are summed up and their key
features revealed … which boil down to three basic dominant characteristics:
destruction, transformation, and fragmentation.
Ljiljana Stošić (excerpted from her review)
With its diversity of themes, its methodological solutions, and reliably researched
and presented results, the collection is a significant contribution to the study of the
relationship between cultural memory, visual culture, and the influence exerted on
societies and their beliefs by dramatic historical processes and natural disasters,
including epidemics.
Milan Ristović (excerpted from his review)
FACULTY OF PHILOSOPHY
UNIVERSITY OF BELGRADE
ISBN 978-86-6427-191-2
9 788664 271912
