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P U T N I » A S O P I S n I N F L I G H T M A G A Z I N E

V A © V L A S T I T I P R I M J E R A K n Y O U R P E R S O N A L C O P Y

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Nakladnik/Publisher

Croatia Airlines

Hrvatska zrakoplovna tvrtka

Bani 75b, Buzin

10 010 Zagreb, Croatia

tel. +385-1-616-00-66

faks +385-1-616-01-53

E-mail: pr@croatiaairlines.hr

URL: www.croatiaairlines.com

Direktor/President & C.E.O.

SreÊko ŠimunoviÊ

Glavna urednica/Editor-in-chief

Ksenija Ælof

Suradnici glavne urednice/

Editor-in-chief assistants

Ana ∆ulumoviÊ i Davor JanuπiÊ

Uredniπtvo/Editorial staff

Silvana Jakuπ, –uro TomljenoviÊ,

Ksenija ÆlofRoman Gebauer, Miljenk-

bravka

Urednik fotografije/Photo editor

Damir FabijaniÊ

Dizajn/Design

Ivana IvankoviÊ PrliÊ, Nenad VujoπeviÊ

Prijelom/Layout

Nenad VujoπeviÊ

Lektorica/Proof reader

Mirjana Miholek

Prijevod na engleski/

English translation

Lancon d.o.o.

Oglaπavanje/Advertising

Croatia Airlines

Gabrijela Lochert

tel. +385-1-616-00-17

E-mail: advertising@croatiaarlines.hr

Promocija/Promotion

Croatia Airlines

tel. +385-1-616-01-26

Priprema/Photolitography

Zrinski d.d., »akovec

Tisak/Print

Zrinski d.d., »akovec

ISSN 1330-6278

DOBRO DO©LI U ZRAKOPLOV! WELCOME ABOARD!

SreÊko ©imunoviÊPresident & C.E.O.

Poštovani put ni ci! Dear passengers,

D. F

abija

niÊ

Æelim vam najsrdaËniju dobrodoπlicu u naπem zrakoplovu i nadam se da se osjeÊate ugodno

i opuπteno. Vjerujem da Êe vam let s nama proteÊi joπ bræe, prolistate li ovaj zimski broj naπega putnog Ëasopisa.

Teme koje objavljujemo i ovaj su put raznolike, pa Êe zacijelo svatko naÊi poneπto za sebe. Na poËetku objavljujemo intervju s naπom mezzosopranisticom Renatom PokupiÊ, sad veÊ proslavljenom divom svjetskih pozornica. Od tekstova o kontinentalnoj Hrvatskoj istiËemo priËu o dvorcu pod zaπtitom zmaja, Valpovu, te tekst o parku prirode Papuku. Nedirnute ljepote prirode blistaju i na uπÊu Mure, koju neki zovu i hrvatskom Amazonom. A πto se tiËe Jadrana, piπemo o Kornatima te predstavljamo nesvakidaπnji, robinzonski æivot jedne tamoπnje obitelji. Od naπih odrediπta, Ëitaj-te o gradu nepresuπnog πarma, Parizu, u kojemu, ma koliko ga puta posjetili, uvijek moæete otkriti neπto novo. Onda se opet vraÊamo u Zagreb, u jedinstveni muzej na svijetu, Muzej prekinutih veza.

Cijenjeni putnici, dopustite mi takoer zahvaliti na povjerenju, jer u listopadu sam dobio Ëast prihvatiti mjesto glavnog direktora hrvatske zrakoplovne tvrtke. Tru-dit Êu se tu odgovornu duænost obavljati s glavnim ciljem da budete πto zadovoljniji naπom uslugom, koju Êemo nastojati joπ viπe poboljπati te prilagoditi vaπim po-trebama. Eto, u studenom su i naπe stanice London Gatwick i Kopenhegen uvrπtene u sustav web check ina, a u sklopu ponude FlyOnLine uvedena su nova træiπta. PodsjeÊamo, traje i promidæbena akcija tijekom koje moæete kupiti dvije povratne karte za letove unutar Hrvatske po cijeni veÊ od 800 kuna. Pozivamo vas i da se koristite co-brand karticama Diners Club Croatia Airlines i Visa Croatia Airlines, koje vam omoguÊuju skupljanje nagradnih milja i druge pogodnosti, πto Êe vam, vjerujem, dobro doÊi u blagdanskim danima.

ÆeleÊi vam mnogo uspjeha i osobne sreÊe tijekom cijele 2011. godine, te u nadi da Êemo se sretati na naπim letovima, zahvaljujem vam πto i ovom prigo-dom letite Croatia Airlinesom. Sretan vam BoæiÊ i nova godina!

SreÊko ŠimunoviÊ

I wish you a warm welcome on our aircraft and I hope that you feel comfortable and relaxed! I

believe that time will pass even quicker during your flight with us as you flip through this winter issue of our travel magazine. We have chosen many diverse topics to publish; therefore everyone will surely be able to find some-thing of interest. At the beginning you will find an interview with our mezzo-soprano Renata PokupiÊ, who has already become a celebrated Prima Donna on stages around the world. Among the texts about continental Croatia, we highlight a story about a castle that is under a dragon’s protection, named Valpovo, as well as an article about the Papuk Nature Park. The untouched beauty of nature shines at the mouth of the Mura River, which some people refer to as the Croa-tian Amazon. From the Adriatic Sea we write about

the Kornati islands, and we pres-ent to you the unusual Robinson lifestyle of one family. In the section on our destinations, you can read about the city of unfailing charm, Paris. No matter how many times you visit this city you will always discover something new. Then we once again return to Zagreb, to one of the most unique muse-ums in the world, the Museum of Broken Relationships.Esteemed passengers, let me expres my gratitude for the trust in me, as I had the honour of accepting the position as the

President & C.E.O. of Croatia Airlines. I will work hard to carry out my responsibilities and duties in a way in which you will be as satisfied with our services as possible, which we will continue to improve to meet all of your needs. In November our stations in London Gatwick and Copenhagen were included in the web check in system, and our FlyOnLine offer introduced new markets. Let us remind you that our promotional activities are still going on and you can buy two return tickets for flights within Croatia at the starting price of 800 kuna. We invite you to use our co-brand cards, Diners Club Croatia Airlines and Visa Croatia Airlines, which enable you to collect award miles and other privileges, which we believe you will quite welcome during the holiday season.I wish you much success and personal happiness in 2011. We hope to meet you on our flights and we thank you for flying with Croatia Airlines on this occa-sion. Merry Christmas and Happy New Year!

2 CROATIA AIRLINES

■ SADRÆAJ

Zima/Winter 2010/2011 www.croatiaairlines.com

6 Razgovor: Renata PokupiÊ UNATO» PREZAPOSLENOSTI, kATkAd kRAdEm vRIjEmE SAmO ZA SEbE Na opernoj sceni otprve se nametnula joπ za studentskih dana i postala istinska diva svjetskih pozornica.14 TradicijamUO − SNAgA TRAdICIONALNIh vRIjEdNOSTI Od osnutka muzeja za umjetnost i obrt u Zagrebu 1880.g., njegov se fundus planski i sustavno poveÊavao. Novi stalni postav predstavljen 1995., prostor muzeja otvorio je afirmaciji mladih umjetnika…26 kontinentalna hrvatskavALPOvO, dvORAC POd ZA©TITOm ZmAjAUtvrde i dvorci Ëak i iz najdaljih ili najstarijih vre-mena Ëuvaju neko svjetlo, iskustvo i pouku. To vrijedi i za valpovaËku utvrdu i dvorac.40 Parkovi prirodePAPUk, kUTAk PRIROdE ZA OkREPU dU©EPark prirode Papuk, osnovan 1999. g., odræava se s mnogo znanja i ljubavi. gusta zelena trava i veliko staro drveÊe poput vijeÊa seoskih staraca okruæuju i πtite dolinu postojanoπÊu i mudroπÊu.50 RijekeU©∆E mURE, hRvATSkA AmAZONA UπÊe mure savrπen je primjer suæivota Ëovjeka i prirode. Znanost je dokazala jasnu materijalnu korist oËuvane rijeke. 60 baštinaKaæuni, ObNOvA kAmENOg SImbOLA ISTARSTvAkako je kaæun, mala poljska kuÊica, posljednjih godina postao jedan od simbola istarstva, u Istri se rodila inicijativa ne samo za obnovom starih kaæuna, nego i za gradnjom novih. 66 OtocikORNATSkI RObINZONI Samo je sedam ljudi prijavljeno s boraviπtem na kornatima. bez obzira na razvoj turizma, oni æive svoj, nepromijenjeni æivot. Zimi love palamite, u proljeÊe hobotnice, ljeti rakove i dobru ribu, a u jesen lignje… 72 ObalaZAdAR, gRAd mNOgIh mLAdOSTIAlfred hitchcock doæivio je Zadar kao grad s najljepπim zalaskom sunca na svijetu. U posljednje vrijeme Zadar je meu najprivlaËnijim turistiËkim odrediπtima, a u njemu se sve ËeπÊe nastanjuju mlade obitelji. Zadar je in…100 Naše odredištevjE»NA »AROLIjA PARIZAProËitajte nekoliko praktiËnih savjeta koji Êe vam moæda pomoÊi da se previπe ne umorite i ne izgu-bite previπe vremena ËekajuÊi u dugim redovima te da uæivate u vjeËnoj Ëaroliji Pariza.114 meridijanihUNdERTWASSER, NAdAhNUT PRIROdOmhundertwasserove kreacije i izreke toga po-znatoga beËkog arhitekta nikoga ne ostavljaju ravnoduπnim. 120 muzejimUZEj PREkINUTIh vEZANa gornjem gradu, u povijesnom srcu Zagreba, na uglu baroknoga katarinskog trga, smjestio se jedan od najneobiËnijih muzeja na svijetu, muzej prekinutih veza.

CROATIA AIRLINES 3

4 CROATIA AIRLINES

■ CONTENTS

Ovo je vaπ vlastiti primjerak This is your personal copy

6 Interview: Renata PokupiÊdESPITE A bUSy SChEdULE, I SOmETImES STEAL TImE fOR mySELf She has been on the opera scene since her stu-dent days. Renata PokupiÊ has become a true Prima donna on stages around the world. 16 TraditionmUO − ThE POWER Of TRAdITIONAL vALUESSince its opening in 1880, the museum of Arts & Crafts in Zagreb has expanded in a systematic and planned manner. A new permanent exhibit was promoted in 1995; the museum opened an area for the affirmation of young artists.26 Inland Croatia vALPOvO, A CASTLE UNdER A dRAgON’S PROTECTION fortresses and castles, even those from the most remote and ancient times, still preserve some light, they offer an experience and a lesson to impart. This is also true for the valpovo fortress and castle. 40 Nature Parks PAPUk − A CORNER Of ThE WORLd WhERE NATURE fEEdS ThE SOUL Papuk was proclaimed a nature park in 1999. It is very beautifully maintained, with lots of love and knowledge. The grass is green; the imposing old trees sit around the valley like a council of village sages, and protect it with their wisdom. 50 RiversThE mOUTh Of ThE RIvER mURA, ThE CROATIAN AmAZONThe mouth of the mura is an excellent example of how humans can coexist with nature. Science has proven that there is a clear material benefit from an unspoiled and well preserved river flow.60 heritage Kaæuni, A REvIvAL Of ThE STONE SymbOL Of ISTRIAAs the kaæun, a small hut in a field, has become one of the symbols of Istria. An initiative was la-unched in Istria not only to renew the old kaæun, but to build new ones as well. 86 IslandsRObINSONS fROm ThE kORNATI ARChIPELAgOThere are only seven people registered as living on the kornati islands. They continue to live their lives, unchanged. In the winter they go fishing for bonito, in the spring for octopus, in the summers they fish for crabs and good quality fish, while squid are caught in the autumn...72 CoastZAdAR, CITy Of yOUNgSTERSAlfred hitchcock described Zadar as the city with the most beautiful sunset in the world. Zadar is among the most attractive tourist destinations. more and more young families are moving to Zadar from other parts of Croatia, Zadar is in...100 Our destinations ETERNAL mAgIC Of PARISRead some very practical advice on how not to waste too much time in queues, while at the same time not tiring yourself out unnecessarily. Enjoy the eternal magic of Paris.114 meridians hUNdERTWASSWER, INSPIREd by NATUREhundertwasser’s truly unusual and innovative works, as well as the sayings by this vienna-born artist have never gone unnoticed.120 museums mUSEUm Of bROkEN RELATIONShIPSIn the Upper Town, the historic heart of Zagreb, on the corner of the baroque St. Catherine’s Square is one of the most unusual museums in the world, the museum of broken Relationships.

CROATIA AIRLINES 5

6 CROATIA AIRLINES

■ RAZGOVOR: RENATA POKUPI∆ Piπe/By Zlatko Madžar

CROATIA AIRLINES 7

INTERVIEW: RENATA POKUPI∆ ■Fotografije/Photos Damir FabijaniÊ

8 CROATIA AIRLINES

enata PokupiÊ diplomirala je pjevanje u razredu prof. Zdenke ÆabËiÊ Hesky na MuziËkoj akademiji u Zagrebu, a

nastavila se usavrπavati kod ugledne peda-goginje Eve Blachove u Bratislavi. Na opernoj sceni otprve se nametnula joπ za studentskih dana (1999.), kad je publiku i kritiËare oduπevila sjajnim nastupom u zagrebaËkoj produkciji Händelove opere Julije Cezar. Otad je proteklo deset sezona, koje su znaËile deset divov-skih stuba Renatina stalnog uspona na vrh meunarodne pjevaËke scene. Ona je danas istinska primadona; miljenica engleske, francu-ske i sjevernoameriËke publike, ali i tamoπnjih strogih kritiËara. Prethodno se potvrdivπi kao vrhunska operna i koncertna pjevaËica baro-kne glazbe, mlada hrvatska mezzosopranistica zarana se iskazala i u romantiËnom repertoaru, i to kao Anna u spektakularnoj pariπkoj produk-ciji Berliozove opere Trojanci pod vodstvom maestra Johna Eliota Gardinera (2003.). U oæujku ove godine umjetnica je debitirala i na sceni londonske Kraljevske opere kao Irene u Händelovoj operi Tamerlano. Tom prigodom britanski kritiËari odreda su se sloæili u tome kako je mlada hrvatska mezzosopranistica Renata PokupiÊ zvijezda veËeri.Nakon niza zajedniËkih nastupa s Plácidom Domingom u atraktivnoj madridskoj produkciji Händelove opere Tamerlano (travanj, 2008.), veliki πpanjolski tenor postao je iskreni zago-vornik velikih pjevaËkih i glumaËkih kvaliteta Renate PokupiÊ, kojoj je ∑ kao dirigent aktualne nove produkcije Mozartova Figarovog pira u Los Angelesu ∑ sada povjerio i u glumaËkome pogledu vrlo delikatnu ulogu paæa Cherubina. Poslije svrπetka posljednje predstave Renata je iz Los Angelesa odletjela u London, zbog jednodnevnog pokusa s pijanistom Rogerom Vignolesom s kojim priprema tri razliËita recitala πto Êe se odræati u tamoπnjoj prestiænoj kon-certnoj dvorani Wigmore Hall, a veÊ sutradan nakratko je svratila u Zagreb. ■ U tri ste dana zaredom pjevali posljednju od predstava s maestrom Domingom, imali zahtjevan pokus s pijanistom Vignolesom i uzastopno putovali na relaciji Los Angeles ∑ London ∑ Zagreb. Umjesto umora na koji se æalite, na Vaπem licu jedino vidim πirok i blistav osmijeh. ©to je izbrisalo umor?- Umor nestaje Ëim shvatim da sam napokon doma, pa makar to bilo samo na dan ili dva… UnatoË stresnom naËinu æivota, publici se i glazbi u bilo kojem gradu i baπ u svakom trenutku morate davati bez ostatka. Zato su moji povremeni bjegovi u Zagreb i u rodnu Podravinu oni kratki i tim dragocjeniji trenuci toliko mi potrebne samoobnove: prisni krajolici djetinjstva, odani prijatelji i drage zagrebaËke ulice… Prirodom posla u inozemstvu veÊ dese-

tak godina svaki dan komuniciram s mnoπtvom raznoraznih ljudi, pa se po sebi razumije da sam i izvan Hrvatske stekla nekoliko istinskih prijatelja, zbog kojih se, osobito u Engleskoj, uvelike osjeÊam doma. UnatoË tomu baπ se niπta ne moæe mjeriti s mojim radosnim uzbuenjem kad se barem nakratko zaputim u Hrvatsku, a ako pritom joπ i letim zrakoplovom Croatia Airlinesa, onda bih svojim sluËajnim suputnicima svaki put najradije djetinjasto do-viknula: Ljudi dragi, pa i ja govorim hrvatski!... Takav osjeÊaj imam Ëak i onda kad se vraÊam u inozemstvo; dokle sam god u zrakoplovu naπe kompanije, dotle se osjeÊam kao da nisam napustila domovinu… ■ Odnedavni blistavi poËetak svoje sjever-noameriËke karijere na opernim scenama Chicaga i Washingtona ove ste jeseni u Los Angelesu okrunili tumaËeÊi Mozarto-va Cherubina i to pod ravnanjem maestra Plácida Dominga. Pretpostavljam da Vam je meu uistinu velikim dirigentskim supotpi-sima koje ste dobili u dosadaπnjoj karijeri, John Eliot Gardiner, Paul McCreesh, Kent Nagano, Kurt Masur, Roger Norrington, Christopher Hogwood… zacijelo najdraæi ovaj najnoviji dobiven od maestra Plácida Dominga; u njegovu jedinstvenom sluËaju ujedno je posrijedi i nadasve kompetent-na prosudba vaπih pjevaËkih kvaliteta, zar ne?- Svaki veliki glazbenik ima neπto osobito, pa ih ne bih usporeivala. Ali, kad me nakon naπe madridske suradnje u Händelovu Ta-merlanu maestro Domingo osobno angaæirao za operne produkcije u Washingtonu i Los Angelesu, pomislila sam da sve to samo sa-njam, makar i otvorenih oËiju… A ove se jeseni u Los Angelesu taj san na najljepπi moguÊi naËin pretvorio u stvarnost. Biti na sceni glasom i tijelom Cherubino pod nadahnutim dirigentskim vodstvom pjevaËkoga genija Plácida Dominga neusporedivo je poticajno iskustvo, makar je tu ujedno posrijedi i golema odgovornost za osobnu pjevaËku razinu. U toj ambicioznoj postavi Mozartova Figarova pira osobito se inzistiralo na scenskoj uvjerljivosti mnogo zamrπenih i u konaËnici vrlo komiËnih scenskih spletaka, pa ako se moæe suditi po razdraganom smijehu auditorija baπ na svakoj od naπih sedam predstava, zadani je cilj potpu-no postignut. Bila je to vrhunska scenska pro-dukcija s naglaskom na uvjerljivosti glumaËke igre i dojmljivosti kazaliπnih efekata, no nakon svega moram priznati da je meni kao glazbenici miliji stroæi europski pristup produkciji, osobito glazbenom dijelu.■ U posljednje ste vrijeme, nakon niza baroknih opera, ponajviπe zaokupljeni Mozartovim ulogama. Kanite li svoj scenski

RTijekom nekoliko posljednjih

sezona troje vrsnih hrvatskih

pjevaËa kontinuirano niæe

zapaæene uspjehe na vodeÊim

opernim pozornicama i

koncertnim podijima diljem

svijeta. Posrijedi su tenor

Tomislav Muæek i kontratenor

Max Emanuel CenËiÊ ∑ koje

smo u iscrpnim razgovorima

veÊ predstavili na stranicama

naπega putnog Ëasopisa

∑ te mezzosopranistica

Renata PokupiÊ, kojoj, sa i

te kako valjanim razlozima,

posveÊujemo intervju u naπemu

aktualnome zimskom broju.

Over the past few seasons,

three excellent Croatian

singers have had back-to-

back successes on the leading

opera stages and concert

halls worldwide. Our in-flight

magazine has already published

lengthy interviews with two of

them, tenor Tomislav Muæek

and contra tenor Max Emanuel

CenËiÊ. The third Croatian

opera and concert star, mezzo-

soprano Renata PokupiÊ, quite

rightfully deserves the top

interview in our winter issue.

CROATIA AIRLINES 9

obitelji, prirodi pa i jelu. Za to sam uvijek kadra majstorski ukrasti vrijeme, ali kad radim, onda doista radim!■ U Zagrebu Êete 28. prosinca svojim koncertom s Hrvatskim baroknim ansam-blom inaugurirati originalno zamiπljenu umjetniËku akciju koja bi trebala potaknuti dovrπenje cjelovite obnove jedinstvene PalaËe GvozdanoviÊ na zagrebaËkome Gornjem gradu…Posrijedi je znaËajan projekt Glazbeni salon GvozdanoviÊ koji bi se trebao ostvariti u suor-ganizaciji Muzeja za umjetnost i obrt (pod Ëijom je ingerencijom ta prelijepa palaËa) i Hrvatske televizije. U taj je projekt ukljuËeno πestero hrvatskih glazbenika Ëija imena neupitno neπto znaËe na meunarodnoj glazbenoj sceni, a koji ovom zajedniËkom akcijom æele privuÊi potencijalne donatore za potpuni dovrπetak obnove te jedinstvene graanske palaËe, u kojoj se, u prvim desetljeÊima proπlog stoljeÊa, odvijao zavidan druπtveni i kulturni æivot. »ast mi je biti u druπtvu petero meunarodno ci-jenjenih hrvatskih glazbenih kolega: kornista Radovana VlatkoviÊa, kontratenora Maxa Emanuela CenËiÊa, violonËelistice Monike Leskovar, pijanistice Martine Filjak i gitarista Petrita Çekua. Bit Êu vrlo sretna uspijemo li do BoæiÊa 2011. godine ovaj projekt ostvariti toËno onako kako smo ga i zamislili, jer ne smijemo zaboraviti kako bi bogata kulturna baπtina kao i dinamiËna aktualna umjetniËka scena trebale napokon postati trajnom hrvat-skom iskaznicom za cijeli svijet, u kojemu smo zasad prepoznatljivi jedino kao privlaËno turi-stiËko odrediπte i zemlja nesluËajnih πportskih uspjeha. Povijest nas uËi da su u svakome od razdoblja najbolji reprezentanti Hrvatske u svijetu bivali veliki znanstvenici, literati, slikari i osobito planetarno poznati glazbenici. ■

enata PokupiÊ studied singing with Professor Zdenka ÆabËiÊ Hesky at Zagreb’s Music Academy, and then

relocated to Bratislava to perfect her singing technique with the famous singing pedagogue Eva Blachova. She conquered the opera stage already as a student in 1999 when she de-lighted both audiences and music critics with a stunning performance in the Zagreb produc-tion of Handel’s opera Julius Caesar. The ten seasons which have elapsed since then have been ten giant stepping stones on Renata’s uninterrupted ascent to the very pinnacle of the international singing scene. She is a true Prima Donna; a darling to British, French and North American audiences, as well as to tough music critics in those countries. Having made a name for herself as a top-class opera and concert singer of Baroque music, the young

repertoar obogatiti i nekim naslovima iz 19. i 20. stoljeÊa?- U fokusu moje operne karijere sada su pri-marno Mozartovi likovi: Sesto u La clemenza di Tito (Chicago), Annio u La clemenza di Tito (Lyon), Idamante u Idomeneu (Beaune) i Che-rubino u Le nozze di Figaro (Washington i Los Angeles). Premda Êe opere baroknih majstora i Mozarta i nadalje ostati mojom kazaliπnom konstantom, svoj scenski repertoar kanim πiriti prema romantici pa i poËecima 20. stoljeÊa. Uskoro Êu se pozabaviti dvjema novim uloga-ma: Pepeljugom u istoimenoj Massenetovoj operi i Octavianom u Kavaliru s ruæom Richarda Straussa. Radujem se πto Êu 2012. ∑ o stotoj obljetnici Massenetove smrti ∑ u Operi u Lilleu pjevati naslovnu ulogu u njegovoj Pepeljugi. Poput opere jednako oboæavam i solo pjesmu, jer to je forma u kojoj se na najsuptilniji naËin proæimaju glazba i poezija. Osobit je to uæitak, pogotovo ako je za klavirom vrhunski pijanist poput Rogera Vignolesa s kojim nastupam veÊ nekoliko godina, a snimili smo i nosaË zvuka s popijevkama Schumanna, Faurea i Barbera. Ovoga ljeta odræali smo recitale na nekoliko festivala u Engleskoj, a iduÊe godine naπ Êe duo napokon debitirati u glasovitoj londonskoj dvorani Wigmore Hall, u kojoj Êemo se, sve u svemu, predstaviti s tri programski razliËito koncipirane koncertne veËeri.■ Kad Vas god upitam za najznaËajnije umjetniËke projekte koji Vas oËekuju u sko-rijoj buduÊnosti, malo se namrπtite i nevolj-ko mi kaæete da doista ne znate napamet svoj gusto popunjen poslovni raspored. Je li to neka vrsta obrane od vremena daleko unaprijed ispunjenog obvezama? - Tako najvjerojatnije nesvjesno pokuπavam saËuvati onaj nuæni mir i energiju, koji su mi potrebni kako bih se mogla usredotoËiti na projekte koji su neposredno preda mnom. Dakako, uvijek moram razmiπljati unaprijed, ali potpuno se posveÊujem iskljuËivo trenutaËnim umjetniËkim zadacima i onomu πto mi nepo-sredno predstoji. U protivnome, posve bih se rasplinula… Kad neπto radim, onda sam sva u tome. Kad vjeæbam, silno sam disciplinirana i samokritiËna, a kad se napokon prepustim dokolici, tada se ni na koji naËin ne æelim optereÊivati poslom. Pred publikom mogu uæivati samo ako sam prethodno temeljito obavila svoj posao, a u æivotu pak mogu uæivati samo ako barem nakratko potpuno zaboravim na svoj pjevaËki posao i onaj podulji popis sadaπnjih i buduÊih obveza. To se mora moÊi razdvojiti, jer ne moæete biti privatno frustrirana osoba i spontan umjetnik na sceni, baπ kao πto frustriran umjetnik ne moæe u svakidaπnjici biti spontana osoba, sretan Ëovjek… A ja se veo-ma volim od srca smijati, uæivati u prijateljima,

Croatian mezzo-soprano has also displayed enviable qualities as a singer of the romantic repertoire, primarily as Anna in the spectacular Paris production of the opera Trojans by Ber-lioz, in which she was conducted by maestro John Eliot Gardiner (2003). Last March, the artist made her debut on the stage of the Royal Opera in London as Irene in Händel’s opera Tamerlano. The British music critics all agreed that the young Croatian mezzo-soprano Re-nata PokupiÊ was the star of the evening. After a series of joint appearances with Plácido Domingo in an attractive Madrid production of Handel’s opera Tamerlano (in April 2008), the great Spanish tenor became a sincere admirer of Renata PokupiÊ’s singing and acting qualities. As the conductor of the current, new production of Mozart’s opera The Marriage of Figaro in Los Angeles, he offered her the role of the young boy Cherubino, a role quite delicate in terms of acting. After the last show, Renata flew from Los Angeles to London for a one-day rehearsal with pianist Roger Vignoles, with whom she is currently working on the pro-gramme for three upcoming different recitals at the prestigious Wigmore Hall. She paid a short visit to Zagreb the following day. ■ Mrs. PokupiÊ, over the past three days you have done so many things: you com-pleted the last performance with Maestro Domingo; you had a demanding rehearsal with pianist Vignoles; and you travelled from Los Angeles to London and on to Za-greb. You complain about being tired, but all I see on your face is a wide and radiant smile. Where has the tiredness gone? - As soon as I realize that I am finally home, albeit even for a day or two, the exhaustion disappears. Despite the stressful lifestyle, you have to give your best to the audiences and do your best for music in every city, at all times. That is why my occasional escapes to Zagreb and my native Podravina are short and precious moments which provide the so much needed rejuvenation: the familiar countryside from my childhood, my loyal friends and the beloved streets of Zagreb. By virtue of my job, I have been in constant communication with a lot of different people abroad for nearly ten years now, so it goes without saying that I have acquired a few very dear and true friends outside of Croatia, people who make me feel at home, especially in England.However, nothing compares even remotely to the feelings of joyful expectation as when I travel to Croatia, even for the shortest of stays. At the same time, if I am flying Croatia Airlines, my inner child wants to share the joy with my fellow travellers by shouting, Hey everybody, I

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speak Croatian as well... The feeling continues even when I return abroad. For as long as I am on board a Croatian national airline aircraft, I feel like I am still at home. ■ Your impressive career in North America, recently launched on the opera stages of Chicago and Washington, was crowned in Los Angeles this autumn with the role of Cherubino in Mozart’s play, in which you were conducted by Maestro Plácido Domingo. I suppose that among the seals of approval you have received from re-ally great conductors such as John Eliot Gardiner, Paul McCreesh, Kent Nagano, Kurt Masur, Roger Norrington, Christo-pher Hogwood, the approval from Maestro Domingo must be the most precious one. In his particular case, we are also talking about an undeniably competent judgement of your singing qualities, right?- Every great musician is great in their own way, so I would hesitate to draw any comparisons. However, when Maestro Domingo personally offered me a role in the opera productions in Washington and Los Angeles after our coop-eration on the Madrid production of Handel’s Tamerlano, I thought I was only dreaming, with my eyes wide open. This autumn this dream came true in a most beautiful way: I found myself on stage, portraying Cherubino with my voice and body, while being conducted by such a genius as Plácido Domingo. The experience was fantastic, but it was also a huge responsibility with regard to my own sing-ing competence! The ambitious production of Mozart’s opera The Marriage of Figaro insisted on the stage credibility of the opera’s many complicated, but ultimately very comical plots. If one judges by the earnest laughter of the audiences during each and every of our seven performances, the goal was fully achieved. It was a top stage production which highlighted the credibility of the acting and the theatrical effects. However, now that that experience is behind me, I must admit that as a musi-cian I prefer the stricter European approach to music production, particularly regarding a musical piece. ■ After a series of Baroque operas, you have recently been preoccupied with Mo-zart’s roles. Do you intend to add some 19th and 20th century pieces to your stage repertoire? - You are right. I am currently focused on Mo-zart’s characters: Sesto in La clemenza di Tito (The Clemency of Titus) (Chicago), Annio in La clemenza di Tito (Lyon), Idamante in Idomeneo (Beaune) and Cherubino in The Marriage of Fi-garo (Washington and Los Angeles). Although operas by Baroque composers and Mozart’s

operas will remain a constant in my opera rep-ertoire, I intend to expand my stage repertoire with romantic pieces and even music from the beginning of the 20th century. I will have two new roles to study very soon: Cinderella in Massenet’s name sake opera, and Octavian in Rosen Cavalier by Richard Strauss. I am very happy that in 2012, for the anniversary of Massenet’s death, I will have the leading role in his production of Cinderella at the Opera of Lille. Besides opera, I also love singing solo - an artistic form which is the most subtle combina-tion of music and poetry. Solo singing is my special joy, especially if I am backed by a top pianist such as Roger Vignoles, with whom I have been appearing for a few years now, and with whom I have released an album featuring songs by Schumann, Faure and Barber. Last summer we had recitals at several festivals in England, and next year our duo will finally make its stage debut at the coveted Wigmore Hall of London. The plan is to perform for three nights with three different programs. ■ Whenever I ask you about the most im-portant musical projects that are awaiting you in the near future, you frown a little and then you tell me that you really do not know your busy schedule by heart; is that some kind of defence mechanism against a life filled with business commitments that stretch far into the future? - I suppose that this is my subconscious way of trying to preserve the peace and energy I so dearly need in order to focus on the projects which are immediately ahead of me. Of course I have to think a bit further ahead than that, but I am fully focused only on the immediate artistic tasks and on those things which are imminently present; if I did not do that, I would fall apart completely... When I do something, I immerse myself in it fully; when I practice I am very disciplined and self-critical. When I find the time for leisure and pleasure, I do not want to burden myself with anything else. I can enjoy my public appearances only if I have done my homework properly; I can enjoy my private life only if I manage to put my singing career and long list of present and future commitments aside, at least for a brief moment. One should be able to separate the two. Being a frustrated person and a spontaneous artist on stage ∑ these two are simply mutually incompatible. And vice versa: a frustrated artist cannot be a spontaneous person and a happy human being in their everyday life... And I like a good, hearty laugh; I love spending quality time with my friends and family; I enjoy nature and even food. I am a master thief when it comes to stealing time for those things. But when I work, I really work hard!

■ On 28 December you are scheduled to appear in a concert with the Croatian Baroque Ensemble to launch an original artistic campaign that will help to complete the project to thoroughly renovate the unique GvozdanoviÊ Palace in Zagreb’s Upper Town.- Yes, the very important GvozdanoviÊ Music Salon project is co-organized by the Museum of Arts and Crafts (the institution in charge of the beautiful palace) and Croatian Television. The project involves six Croatian artists whose names carry a certain weight on the inter-national music scene. The goal of their joint action is to attract potential donors and raise funds for the completion of the unique resi-dential palace, the former scene of impressive social and cultural life during the first decades of last century. It is my honour to join my five fellow internationally acclaimed Croatian musi-cians: horn player Radovan VlatkoviÊ, contra tenor Max Emanuel CenËiÊ, cellist Monika Leskovar, pianist Martina Filjak and guitarist Petrit Çeku. I will be very happy if we manage to reach our objective by Christmas 2011, exactly as we planned it. We must not forget that our rich cultural heritage, as well as the dynamic current artistic scene, should finally become a permanent Croatian trademark for the entire world. For the time being, Croatia exists on world maps only as an attractive tourist destination and a country of sport successes. History has taught us that the best representatives of Croatia in the world, throughout different time periods, have been great scientist, writers, artists, and especially globally renowned musicians. ■

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To je HrvatskaRe pu bli ka Hrvat ska smjeπte na je uz istoË ne oba le Ja dran skog mo ra i u nje go vu za le u. Pro teæe se od obro na ka Al pa na sje ve ro za pa du do Pa non - ske rav ni ce na isto ku. Povrπina je nje zi na kop na 56.542 Ëe tvor na ki lo me tra, a povrπina te ri to rijal- nog mo ra 31.067 Ëe tvor nih ki lo me ta ra. U Hrvat-skoj æivi, pre ma po pi su iz 2001. go di ne, 4,437.460 lju di. Duæina je mor ske oba le 5835 km za jed no s oto ci ma, oto Ëi Êi ma i gre be ni ma.

HRVATSKA CROATIAR e p u b l i k a Republicof

Oto ka, oto Ëi Êa i gre be na ima 1185, a na se lje no je 47 oto ka. Sluæbe ni je zik je st hrvat ski, a pi smo la ti niË no. Nov- Ëa na je di ni ca - ku na.Glav ni je grad Za greb (779.145 sta nov ni ka), ko ji je ujed no ad mi ni s tra tiv no, kul tur no, aka dem sko i trgo vaË ko sre diπte zem lje. Ustav Re pu bli ke Hrvat ske iz gla san je 22. pro sin ca 1990., a me u na rod no je pri zna ta 15. si jeË nja 1992. go di ne.

This is CroatiaThe Re pu blic of Cro a tia li es along the ea st co a st of the Adri a tic Sea and its hin ter land. It stret ches from the slo pes of the Al ps in the nor th-we st to the Pan no ni an Pla in in the ea st. Its land area is 56,542 km2 and the area of its ter ri to ri al sea is 31,067 km2. By the 2001 cen sus, Cro a tia’s popu-la ti on is 4,437,460. The len gth of its sea co a st is 5835 km, in clu ding islan ds, islets and re efs.The re are 1185 islan ds, islets and re efs, of which 47 islan ds are in ha bi ted. The of fi ci al lan gu a ge is Cro a ti an, and the of fi ci al script is La tin. The cur ren cy is the Ku na. The ca pi tal is Za greb (779,145 in ha bi tan ts), which is al so the co un try’s ad mi ni s tra ti ve, cul tu ral, aca-de mic and eco no mic cen ter. The Con sti tu ti on of the Re pu blic of Cro a tia was adop ted on 22 De cem ber 1990, and the co untry re ce i ved in ter na ti o nal re cog ni ti on on 15 Ja nu ary 1992.

Nacionalni parkovi Hrvat ska ima osam na ci o nal nih par ko va, od kojih su Ëe ti ri u pla nin skom po dru Ëju (Pa kle ni ca, Pli tvi-Ëka je ze ra, Ri snjak i Sje ver ni Ve le bit), a Ëe ti ri na obal nom po dru Ëju (Bri ju ni, Kor na ti, Krka i Mljet). Nji-ma, kao pro stor oso bi to vri jed ne pri rod ne baπti ne, tre ba pri do da ti i po dru Ëja pod stro gom zaπti tom pri ro de, re zer va te, spo me ni ke pri ro de, par ko ve pri-ro de. Zbog svih za jed no Hrvat sku mno gi sma tra ju jed nim od naj ljepπih eu rop skih vrto va.

National parksCro a tia has eig ht na ti o nal par ks, fo ur of which are lo ca ted in the mo un ta in re gi on (Pa kle ni ca, Pli tvi ce La kes, Ri snjak and Nor thern Ve le bit), and fo ur in the co a stal re gi on (Bri ju ni, Kor na ti, Krka and Mljet). Be si des the se, cer ta in are as un der strict na tu re pro tec ti on ∑ re ser ves, na tu ral mo nu men ts and na tu ral par ks ∑ sho uld be men ti o ned as a na tu ral he ri ta ge of spe ci al va lue. They ha ve all con tri bu-

ted to Cro a tia’s be ing con si de red one of the mo st be a u ti ful gar dens of Eu ro pe.

Proπlost za sadaπnjost Hrvat ska obi lu je kul tur no-po vi je snim spo me-ni ci ma iz svih ra zdob lja, zbog bur nih po vi je snih zbi va nja i pre pli ta nja utje ca ja ra zli Ëi tih kul tu ra. Nje zi nu oba lu ka rak te ri zi ra ju utje ca ji me di te ran-ske kul tu re, mno gi an tiË ki spo me ni ci, spo me-ni ci rim skog ra zdob lja i ra no ga sred njeg vi je ka, ro ma niË ko sa kral na baπti na, te niz oËu va nih ka rak te ri stiË nih me di te ran skih ur ba nih cje li na. Kon ti nen tal na Hrvat ska dio je sred njo e u rop sko-ga kul tur nog kru ga i isti Ëe se mno gim pra po vi-je snim na la zi ma sv jet ske vaæno sti, sta rim gra-do vi ma, utvrda ma i dvor ci ma ka sno ga sred njeg vi je ka i kul tur nim spo me ni ci ma i ar hi tek tu rom iz ra zdob lja ba ro ka.Tri hrvat ske ur ba ne cje li ne i dva spo me niË ka kom plek sa ima ju sta tus spo me ni ka sv jet ske kul tur ne baπti ne, ko ji do dje lju je Une sco. To su ka sno an tiË ka Di o kle ci ja no va pa la Ëa, pre gra e na ti je kom sto lje Êa u sred njov je kov ni Split, gra do vi Du brov nik i Tro gir te Eu fra zi je va ba zi li ka u Po re Ëu i ka te dra la sv. Ja ko va u ©ibe ni ku.Na ci o nal ni park Pli tviË ka je ze ra, naj ljepπi i naj-pozna ti ji hrvat ski na ci o nal ni park, ta ko er je dio Une sco ve Sv jet ske baπti ne.

ZEMLJOVID HRVATSKEMAP OF CROATIA

Izravne domaÊe linijeDirect domestic routes

Odrediπta Croatia AirlinesaCroatia Airlines’ destinations

stalne / regular

sezonske zimske / seasonal in winter ............................................

CROATIA AIRLINES 13

A past for the presentCro a tia is rich in cul tu ral and hi sto ri cal monuments from all eras, due to the tur bu lent even ts of hi story and the in ter la cing of in flu en ces of dif fe rent cul tu-res. Its co a st is cha rac te ri zed by the in flu ences of Me di ter ra ne an cul tu re, nu me ro us an ci ent re ma ins, mo nu men ts of the Ro man era and ear ly Mid dle Ages, a Ro ma ne sque chur ch he ri ta ge and a num-

ber of di stin cti ve Me di ter ra ne an ur ban en ti ti es that ha ve be en pre ser ved. Inland Cro a tia is a

part of the Cen tral Eu ro pe an cul tu ral circle and is di stin gu i shed by nu me ro us

u 2009. go di ni po sje ti lo oko 11 mi li ju na tu ri sta od ko jih je ino zem nih bi lo oko 9,3 mi li ju na. Os tva re no je ukup no oko 56,3 mi li ju na no Êe nja. Pri tom je broj ino zem nih no Êe nja bio oko 50,5 mi li ju na. Tra di ci o nal no naj broj ni ji go sti, Ni jem ci, prvo su mje sto za dræa li i u 2009. go di ni, a njih sli je de go sti iz Slo ve ni je, Italije, Austrije, »e πke, Polj ske, Nizozemske... Ho te li, tu ri stiË ka na se lja, kam po vi i sve dru ge vrste smjeπta ja kao i mo der ni na u tiË ki cen tri oprem lje ni su u skla du s me u na rod nim tu ri stiË-

kim stan dar di ma. Bo ga ta kul tur - na po nu da, wellness po nu da, spor t- sko-re kre a tiv ni i

za bav ni sa dræaji, mno gi ki lo me tri ure e nih pjeπaË kih sta za ili pak vin ske sta ze, izle ti

ko ji uk lju Ëu ju ra z gle da va nje pri rod nih i kul tur nih vri jed no sti ili pak pra vi spoj

doæiv lja ja i avan tu rizma po ve Êa va ju adre na lin...

well-kept fo ot pat hs or wi ne ro ads, ex cur si ons in clu ding sig ht-se e ing of na tu ral and cul tu ral tre-a su res, or the right com bi na ti on of ex pe ri en ce and adven tu re to ra i se the adre na lin le vel... Cro a tia is clo se by, not ju st ge o grap hi cal ly, but thanks to its air port net work and the high-qu a lity ser vi ce of its na ti o nal air com pany, Cro a tia Air lines, be si des ot her air com pa ni es. The net work of ne wly bu ilt fre e ways and se mi-fre e ways me ans that Cro a tia is ea si er to re ach by ro ad than ever. If you ha ve cho sen to spend yo ur va ca ti on on one of Cro a tia’s many islan ds, the cro ssing by fer ry or hydro fo il bo at will ta ke you ∑ even for the mo st re mo te islan ds ∑ le ss than two ho urs. Yet the ir bea uty and the im me di a te con tact with vir gin na tu re will be un for get ta ble, as if you we re mi les and mi les away from the ever yday wor ld...

Novac i naËin plaÊanja Ku na (kn) je na ziv nov Ëa ne je di ni ce Re pu bli ke Hrvat ske. U op tje ca ju su nov Ëa ni ce ku na i ko va ni no vac ku -na i li pa (lp) ∑ sto ti dio ku ne. Nov Ëa ni ce su izda ne u slje de Êim apo e ni ma - 5, 10, 20, 50, 100, 200, 500 i 1000 ku na, a ko va ni no vac - 1, 2 i 5 ku na, te 1, 2, 5, 10, 20 i 50 li pa (100 li pa = 1 ku na). Mo gu Êe je pla-Êa nje kre dit nim kar ti ca ma (Di ners, Vi sa, Ame ri can Ex pre ss, Eu ro card i Ma ster card) i eu ro Ëe ko vi ma. No vac se moæe po di za ti i na ban ko ma ti ma.

Currency and payment methodsThe cur ren cy of the Re pu blic of Cro a tia is cal led the Ku na (kn). In cir cu la ti on are ban kno tes in Ku na and co ins in Ku na and Li pa (lp) ∑ one hun dred th of a Ku na. The ban kno tes are issu ed in the fol lo wing de no mi na ti-ons: 5, 10, 20, 50, 100, 200, 500 and 1000 Ku na, whi le the de no mi na ti on struc tu re of the co ins is 1, 2 and 5 Ku na and 1, 2, 5, 10, 20 and 50 Li pa (100 Li pa = 1 Ku na). Pay men ts can be ma de by cre dit card (Di ners, Vi sa, Ame ri can Ex pre ss, Eu ro card and Ma ster card), as well as eu ro-chec ks. Ca sh can be wit hdrawn from AT Ms.

Hrvat ska je bli zu ne sa mo zbog nje zi ne geograf - ske bli zi ne, ne go i zbog mreæe zraË nih lu ka i kva li-tet nih uslu ga na ci o nal nog avi o pri je vo zni ka Croatia Air li ne sa, kao i dru gih zraË nih pri je vo zni ka. Na te -me lju mreæe au to ce sta i po lu a u to ce sta, Hrvat ska je i ce stom bliæa ne go ikad. Ako ste pak oda bra li od mor na jed no me od mno gih hrvat skih oto ka, pri je voz tra jek tom ili hi dro gli se rom s kop na tra jat Êe - i kad su po sri je di oni na ju da lje ni ji - ma nje od 2 sa ta. Ali nji ho va lje po ta i ne po sre dan do dir s iskon-skom pri ro dom bit Êe ta ko ne za bo rav ni kao da ste od sva kod ne vi ce mi lja ma i mi lja ma da le ko...

Croatia - a Mediterranean tourism successCro a tia has be en a hit de sti na ti on and the bigge st to u ri st sur pri se in the Me di ter ra ne an in the pa st few ye ars, say sta ti sti ci ans and in ter na ti o nal ex-per ts in to u ri sm. To u ri st anal ysts are agre ed that a se ri es of suc ce-s sful ye ars is due to con ti nue in 2009. Ac cor ding to da ta pro vi ded by the Cro a ti an Bu-re au of Sta ti stics, Cro a ti an to u ri st de sti na ti ons on the islan ds, co a st and in the in te ri or, in clu ding the ca pi tal Za greb 2009 we re vi si ted by nearly 11 million to u ri sts, of whom 9.3 mil li on we re fo-re ign gu e sts. The to tal num ber of over nig ht stays was more than 56.3 mil li on, of which fo re ign vi si tors ac-co un ted for 50.5 mil li on. The lar ge st number of fo re ign gu e sts ca me from Ger many, fol lo wed by Slo ve nia, Italy, Austria, the Czech Re pu blic, Po land, the Net her lan ds... Ho tels, to u ri st si tes, cam ps and ot her types of ac com mo da ti on, as well as mo dern na u ti cal cen ters, are equ ip ped in li ne with in ter na ti o nal to u ri sm stan dar ds. The re is a rich cul tu ral of-fer, to get her with wel lne ss, spor ts, re cre a ti o nal and en ter ta in ment fa ci li ti es, many ki lo me ters of

pre hi sto ric fin din gs of wor ld sig ni fi cance, by old tow ns, for tre sses and ca s tles da ting from the la te Mid dle Ages, and cul tu ral mo nu men ts and ar chi tec tu re from the Ba ro que era.Three Cro a ti an ci ti es and two mo nu men tal com -ple xes ha ve the sta tus of mo nu men ts of wor ld cul tu ral he ri ta ge ac cor ded by UNE SCO. The se are the La te An ti que Pa la ce of Di o cle ti an, re mo-de led thro ugh the cen tu ri es in to the me di e val city of Split, the ci ti es of Du brov nik and Tro gir, the Ba si li ca of Eup hra si us in Po reË and the Cat he dral of St. Jacob in ©ibe nik.The na ti o nal park of the Pli tvi ce La kes, Cro a tia’s mo st be a u ti ful and ce le bra ted na ti o nal park, is al so a part of UNE SCO’s wor ld he ri ta ge.

Hrvatska - turistiËki hit na SredozemljuHrvat ska je po sljed njih go di na - ocje nju ju me-u na rod ni tu ri stiË ki znal ci i sta ti sti Ëa ri - naj ve-Êe tu ri stiË ko izne na e nje te hit odre di πte na

Sre do zem lju.Niz us pjeπnih go di na na stav lja se ∑ su gla sni

su ana li ti Ëa ri tu ri stiË kih pri li ka ∑ i u 2009. go di ni.

Pre ma po da ci ma Dræav nog za vo da za sta ti sti ku, hrvat ska je tu ri stiË ka

odre diπta na oto ci ma, u pri -o ba lju te u kon ti ne tal nom

di je lu zem lje uk lju Ëu ju Êi i glav ni grad Za greb,

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■ TRADICIJA TRADITION

CROATIA AIRLINES 15

Piše/By Anelka MustapiÊ

Fotografije/Photos Damir FabijaniÊ

Monumentalna historicistiËka palaËa Muzeja

za umjetnost i obrt u Zagrebu, s proËeljem u

duhu njemaËke renesanse, prva je u Hrvatskoj

namjenski graena i jedna od prvih, odnosno

najstarijih takvih institucija u Europi. Mnogi su

argumenti koji potvruju tezu da je Muzej za

umjetnost i obrt prerastao nacionalne okvire i

postao relevantnom europskom institucijom...

With its façade in the spirit of German renais-

sance, the monumentally historicistic palace that

houses the Museum of Arts & Crafts in Zagreb is

the first purpose built museum building in Croatia

and one of the oldest such institutions in Europe.

There are a number of arguments which confirm

the thesis that the Museum of Arts & Crafts has

outgrown its national borders and has become

a relevant European institution...

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izloπke Krπnjavi je kupio Strossmayerovim novcem osam godina prije sluæbenog otvore-nja muzeja, i to na aukciji zbirke katalonskog slikara i kolekcionara Mariana Fortunyja u Parizu. Od osnutka muzeja njegov se fundus planski i sustavno poveÊavao, πto kupnjom djela diljem Europe, πto razliËitim donacijama domoljubnih skupljaËa umjetnina. Zanimljiv je podatak da je prvi stalni postav otvoren u iznajmljenoj i neprikladnoj kuÊi u danaπnjoj Praπkoj ulici veÊ 20. lipnja 1880., samo pola ljeta nakon utemeljenja muzeja, a napokon je prezentiran u palaËi 1909. godine. Tijekom vremena na Ëelo muzeja dospijevali su iskljuËivo znameniti ljudi, a svaki od njih dono-sio je svoju koncepciju. Istaknuto mjesto imao je ravnatelj Gjuro Szabo, za Ëijega je mandata u muzeju otvorena Moderna galerija (1919.), a kad je muzej predao etnografsku grau novoosnovanomu Etnografskomu muzeju, orijentirao se samo na umjetnost i umjetniËki obrt kroz povijest. U nizu istaknutih ravnatelja izdvaja se i Vladimir TkalËiÊ, s dugim staæom, od 1933. do 1952., i novim muzeoloπkim standardima koje je uveo. Za njegova vremena osnovani su muzeoloπki odjeli fotografije, gra-fike, tiskarstva i knjigoveπtva kao i majstorske restauratorske radionice, koje su dale poticaj stvaranju Restauratorskog zavoda Hrvatske. TkalËiÊu, kao i svima prije i poslije njega, u prvome je redu cilj bio poveÊavanje muzej-skih zbirki, prije svega, oËuvanje povijesne, kulturne i umjetniËke nacionalne baπtine. U TkalËiÊevo vrijeme osobita paænja pridavana je primijenjenoj umjetnosti i tehnici, tako da je u Muzeju za umjetnost i obrt stvoren zapravo i inicijalni fundus TehniËkog muzeja, osnova-noga u muzejskoj palaËi 1954. godine. Tada veÊ Muzej za umjetnost i obrt postaje, po sudu aktualnog ravnatelja Miroslava GaπparoviÊa, jednim od najznaËajni j ih i najuglednij ih izloæbenih prostora i jednim od kljuËnih mjesta kreiranja kulturne scene Zagreba i Hrvatske, pogotovo u vrijeme ravnateljice Zdenke Munk, Ëiji se stalni postav, otvoren 1962., kako tvrdi ravnatelj GaπparoviÊ, joπ i sad smatra jednim od najveÊih muzeoloπkih dosega toga doba. Tada je fundus proπiren izloπcima iz stilskih razdoblja historicizma i secesije kao i drugim umjetniËkim pravcima prvih dvaju desetljeÊa 20. st. U tom razdoblju muzej je podræao osnivanje Centra za industrijsko oblikovanje (CIO) i, πtoviπe, primio ga pod svoj krov, a tada prvorazrednim slikarima Josipu Vaniπti, Miljen-ku StanËiÊu, Ljubi IvanËiÊu, Ivanu KoæariÊu, Antunu Motiki, Edi MurtiÊu… legendarnom fotografu Toπi Dabcu ∑ organizirao izloæbe, ne zanemarujuÊi ni keramiËare. Odræana je i prva velika izloæba Minijatura u Hrvatskoj od 16. do 19. st. i 1962. antologijska izloæba hrvatskoga

uzej za umjetnost i obrt djelo je Nijemca Hermanna Bolléa. Bio je arhitekt koji je, poslije toga svoga

reprezentativnog djela, viπe od pola stoljeÊa bitno utjecao na urbanistiËko oblikovanje Za-greba i bio jedan od glavnih arhitekata hrvat-skoga nacionalnoga graditeljskog programa, πto ga je inicirao slikar, povjesniËar umjetnosti i sveuËiliπni profesor Izidor Krπnjavi, pod po-kroviteljstvom biskupa, politiËara i mecene kulture Josipa Jurja Strossmayera, jednoga od najutjecajnijih ljudi 19.st. u Hrvatskoj. Æivotni put arhitekta Bolléa bio je uobiËajen za ondaπnje vrijeme i prilike imuÊnijih. Nakon zavrπene graditeljske obrtne πkole u rodnome Kölnu, zavrπio je arhitekturu u BeËu, radeÊi istodobno u atelijeru arhitekta Heinricha Wiethasea, gdje je svladao izradu nacrta crkava i crkvene obnove, πto Êe u Hrvatskoj vjeπto realizirati. Joπ je znaËajniji bio njegov rad u atelijeru glasovitoga beËkog arhitekta Friedricha von Schmidta, sklonoga neogotici i zasluænoga za njezin procvat, koji je kao pripadnik ceha graditelja kölnske katedrale, na kojoj je radio punih 15 godina, od cara dobio titulu baruna. Kao πkolovan i joπ æeljan usavrπavanja, Bollé se 1875./76. naπao u Italiji, gdje je sreo biskupa Strossmayera i sprijate-ljio se s njim, i vrπnjaka Krπnjavija. Na njihov poziv Bollé se, veÊ koji mjesec poslije, naπao u –akovu i pridruæio svomu nekadaπnjem uËitelju i uzoru Schmidtu u radu na zavrπetku obnove akovaËke katedrale sv. Petra, a zatim u Zagrebu preuzeo prvi samostalni projekt ∑ muzejsku palaËu koja, uz Hrvatsko narodno kazaliπte, zatim zgradu TrgovaËke komore i danaπnji Muzej Mimara dominira u prekra-snom prostoru Donjega grada.- Muzej za umjetnost i obrt osnovan je 1880. godine na inicijativu Druπtva umjetnosti i njegova tadaπnjeg predsjednika Izidora Krπnjavija ∑ naglasio je ravnatelj Muzeja Miro-slav GaπparoviÊ. ∑ S osloncem na teoretske postavke pokreta Arts&Crafts u Engleskoj te idejne postulate Cottfrieda Sempera, muzej je zamiπljen radi stvaranja zbirke uzoraka za majstore obrtnike i umjetnike koji treba da ponovno unaprijede proizvodnju predmeta svakodnevne upotrebe. Ali na toj idejnoj osno-vi Krπnjavi ne stvara temelje obrtnome muzeju, nego tu instituciju koncipira mnogo progresiv-nije, otvarajuÊi sintagmom umjetnost i obrt moguÊnost πireg podruËja njezina buduÊeg djelovanja. Strategija muzeja bila je usmjerena k oËuvanju tradicionalnih vrijednosti narodnog obrta, ali i stvaranju nove estetiËke kulture graanskog sloja, te je 1882. godine uz Muzej osnovana i Obrtna πkola, tj. danaπnja ©kola za primijenjenu umjetnost i dizajn.Iako je palaËa muzeja sagraena 1888., prve

M

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designed this representative building, for more than half a century he continued to have a strong influence on the urban design of Za-greb. He was one of the main architects of the Croatian national civil engineering program, which was initiated by the painter, art histo-rian and university professor Izidor Krπnjavi. This was all done under the auspices of the bishop, politician and patron of culture Josip Juraj Strossmayer, one of the most influential people in Croatia in the 19th century.The life of architect Bollé was quite typical of a young man of means living at that time. After completing the vocational school of civil engineering in his hometown of Cologne, he finished the school of architecture in Vienna, while at the same time worked in the atelier of architect Heinrich Wiethase, where he mastered the craft of designing and renovat-ing churches, which he quite capably applied in Croatia. Even more significant was his work in the ate-lier of renowned Viennese architect Friedrich von Schmidt, a proponent of Neogothic revival style who takes credit for its surge. As a member of the guild of builders of the cathedral in Cologne, on which he worked for 15 years, he was given the title of baron by the emperor. As a young man seeking to further in his education, Bollé visited Italy in 1875 and 1876, where he met and became friends with bishop Strossmayer and his peer Krπnjavi. At their request, just a few months later, Bollé joined Schmidt, his one-time teacher and idol, in –akovo to work on the completion of the restoration of the cathedral in –akovo, St. Petar. Afterwards, in Zagreb, he accepted his first independent project ∑ the museum palace, which together with the Croatian National Theatre, the building of the Chamber of Commerce, and today’s Mimara Museum, dominate a beautiful area of the Lower Town.- The Museum of Arts & Crafts was founded in 1880 at the initiative of the then Arts Associa-tion and its president, Izidor Krπnjavi, says the director of the museum, Miroslav GaπparoviÊ. Relying on the theoretical concepts of the Arts and Crafts movement in England, as well as the ideological postulates of Cottfried Semper, the museum was intended to create a collection of models and patterns for master craftsmen and artists who were supposed once more to improve the production of items used every day. However, Krπnjavi did not use that idea to lay the foundations of a crafts mu-seum; he took it further to create a much more progressive concept; by coining the syntagm arts and crafts he provided the museum with a scope of expansion in its future work. The T

grafiËara i slikara Ivana Picelja, inaËe kreatora vizualnog identiteta stalnog postava i logotipa Muzeja za umjetnost i obrt.Nezaboravan je i ravnatelj Vladimir MalekoviÊ, Ëijom je zaslugom Muzeju vraÊeno i obnov-ljeno juæno krilo zgrade, koje je desetljeÊima bilo oduzeto Muzeju i dano nekim drugim djelatnostima. Adaptiran je podrumski prostor, gdje je smjeπten dio restauratorskih i prepa-ratorskih radionica, adaptiran je prostor za depoe, restauriran je interijer i proËelje muzeja. PoveÊavan je broj restauratorskih radionica, uvedene su dokumentacijska i informatiËka sluæba i dana velika uloga sluæbi za odnose s javnoπÊu i marketingu. Novi stalni postav predstavljen je 1995., prostor muzeja otvorio se za afirmaciju mla-dih umjetnika i bio im odskoËna daska, a etabliranim umjetnicima prireivao je velike retrospektivne izloæbe. U tzv. inozemnom izloæbenom programu muzej je ugostio mno-ge znaËajne izloæbe, primjerice, arhitekturu Chicaga, Picassa i novu tapiseriju, Léona Gischija… i sam predstavljao djela iz svog fundusa u inozemstvu, ali i u Hrvatskoj. Velikom izloæbom Skriveno blago Muzeja za umjetnost i obrt obiljeæeno je 125 godina njegova postojanja, u kojima je izrastao u trokatnicu, s fundusom od oko 100.000 izloæaka ∑ od 14. do 21. st., tj. od gotike do art décoa, od kojih stalni postav tvori 3000 njih, postavljenih na treÊem katu na viπe od 2000 Ëetvornih metara muzejskog prostora, i daju, πto je naglasio ravnatelj Miroslav GaπparoviÊ, uvid u smjene stilova i πirinu duhovnih i intelek-tualnih kretanja vremena. Izloæbene dvorane u prizemlju obuhvaÊaju oko 1000 Ëetvornih metara, pri ulazu suvenirnica je bogata repli-kama muzejskih izloæaka i, πto malo tko zna, Muzejska knjiænica koja obuhvaÊa 60.000 raritetnih Ëasopisa i priruËnika iz povijesti umjetnosti i umjetniËkog obrta. Mnogi su argumenti koji potvruju tezu da je Muzej za umjetnost i obrt prerastao nacional-ne okvire i postao relevantnom europskom institucijom, a da ne spominjemo koncepciju Izidora Krπnjavija, toga sjajnog Ëovjeka koji je u vrijeme strahovlade bana Khuen-Hé-derváryja u Hrvatskoj uspio dovesti Bolléa i ispred nosa modernizirati mu πkolstvo, inici-rati gradnju stotinjak πkola, zgradu danaπnje Hrvatske akademije znanosti i umjetnosti, obnovu zagrebaËke katedrale, franjevaËke i remetske crkve, nekoliko desetaka kapela… objaπnjavajuÊi to vlastitim geslom: Katkad je bolje imati prst vlasti, nego πaku prava! n

he Museum of Arts & Crafts in Zagreb is the work of German ar-chitect Hermann Bollé. After having

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strategy of the museum was to focus on the preservation of the traditional values of the national crafts, as well as the creation of a new aesthetic culture in the middle class. For this purpose, in 1882 the Craft School, today called the Applied Art and Design School, was founded along with the museum. Even though the museum palace was built in 1888, Krπnjavi bought the first exhibit with Strossmayer’s money eight years before the official opening of the museum. This was at an auction in Paris of the collection by Catalan painter and collector Mariano Fortuny. From the moment the museum was officially opened, its exhibit has expanded in a system-atic and planned manner, through purchases made across Europe as well as through dona-tions of patriotic art collectors. An interesting fact is that already on 20 June 1880, the first permanent exhibit was displayed in a rented and poorly suited house in today’s Praπka Street, only half a year after the museum was founded, and it was finally housed and presented in the palace in 1909. Throughout time, those that have held the position of head of the museum were exclu-sively well-known people, and each of them had their own strategy. Gjuro Szabo occupied a prominent place among them. During his mandate the Modern Gallery was opened at the museum (1919). When the museum handed over the ethnographic materials to the newly founded Ethnographic Museum, he was able to orientate the museum towards only art and applied arts throughout history. Vladimir TkalËiÊ stands out from the list of distinguished directors as a result of his long mandate, from 1933 to 1952, and for the new museological standards he set. During his time, many new departments were es-tablished, such as the museological depart-ment of photography, graphics, printing and bookbinding, as well as the establishment of the master restoration workshops, which encouraged the creation of the Croatian Restoration Institute. TkalËiÊ, as well as those before and after him, made it his priority to increase the museum’s collection and, above all, preserve the historical, cultural and artistic national heritage. During TkalËiÊ’s time, spe-cial attention was given to the applied arts and technology, and so the Museum of Arts & Crafts actually created the initial holdings of the Technical Museum, founded in the museum palace in 1954. According to the current director, Miroslav GaπparoviÊ, at that time the Museum of Arts & Crafts became, one of the most significant and most presti-gious exhibition spaces, and one of the key locations where the cultural scene of Zagreb

floor on more than 2,000 m2. The director, Miroslav GaπparoviÊ, specially emphasizes that these items give, an insight into the change of styles and the range of spiritual and intellectual developments over time. The exhibition hall on the ground floor includes roughly 1,000 m2, and at the entrance you can find a souvenir shop offering an impressive choice of replicas of the museum’s items. Also, few people know that the museum’s library includes 60,000 collector item maga-zines and reference books about the history of art and applied arts. There are a number of arguments which confirm the thesis that the Museum of Arts & Crafts has outgrown its national borders and has become a relevant European institution without even mentioning Izidor Krπnjavi’s conception of the museum. This great man succeeded to bring Bollé to Croatia during the reign of terror by Ban Khuen Hedervary. Right under Hedervary’s nose, he modernized the education system, initiated the building of roughly a hundred schools, constructed the building of today’s Croatian Academy of Sciences and Arts, restored the cathedral in Zagreb, as well as the Franciscan church and the church in Remete, and about a dozen or so chapels... and he explained all of that with his own motto: Sometimes it is better to have a finger of power than a fistful of rights. n

and Croatia were created, especially during the time of director Zdenka Munk, whose permanent exhibit, which opened in 1962, is still considered one of the greatest museo-logical achievements of that period, confirms Mr. GaπparoviÊ. At that time, the holdings were expanded with items in the style of the historicism and secession periods, as well as the other art movements of the first two decades of the 20th century. During that time, the museum supported the foundation of the Industrial Design Centre, and moreover, took the centre in under its own roof. The first-class contemporary painters: Josip Vaniπta, Miljenko StanËiÊ, Ljubo IvanËiÊ, Ivan KoæariÊ, Antun Motika, Edo MurtiÊ…, and legendary photographer Toπo Dabac, all had exhibits organized here, as well as the ceramists. The museum exhibited the first great exhibition of miniatures in Croatia, spanning a period from the 16th to the 19th century, as well as the 1962 anthology exhibition of works by Croatian print artist and painter Ivan Picelj, the author of the permanent exhibit’s visual identity and the Museum of Arts and Crafts’ logo. Also quite unforgettable was the director Vladimir MalekoviÊ, who is credited for re-claiming and reconstructing the south wing of the museum building, which for decades the museum had been deprived of, as it was being used for other activities. He was also responsible for the adaptations to the basement, where a part of the restoration and preservation workshops were located, the adaptation of the storages, as well as the restoration of the interior and the façade of the museum. He increased the number of restoration workshops, introduced docu-mentation and information services, and increased the role of the public relations and marketing department. A new permanent exhibit was promoted in 1995; the museum opened an area for the affirmation of young artists. A springboard for the young, the museum staged large retrospectives of well established artists. In the so-called foreign exhibit program, the museum has hosted a number of significant exhibitions, for example, architecture in Chicago, Picasso, new tap-estries, Léon Gischia...as well as presented works from its own holdings abroad, but also in Croatia. The Museum of Arts & Crafts marked the 125th year of its existence with the great exhibition Hidden Treasures. During that period the building had grown to cover three floors, housing holdings of more than 100,000 items spanning a period from the 14th to the 21st century, that is, from Gothic to Art Deco, of which the permanent exhibition includes 3,000 items, displayed on the third

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■ KONTINENTALNA HRVATSKA INLAND CROATIA

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Piše/By Goran StojanoviÊ

Fotografije/Photos Saša PjaniÊ

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Uz gradnju srednjovjekovne utvrde s dvorom, nastajalo je manje naselje, iz kojega je s vremenom izra-

sao grad - Valpovo. Utvrda i grad stoljeÊima su usporedno stasali, upuÊeni jedno na drugo povijesnim

okolnostima koje su ih zbliæile dubokim sponama zajedniπtva. NemoguÊe je toËno saznati tko je koga

bræe gradio, je li to bila tvrava-dvorac, koja je okolne stanovnike osnaæivala svojim postojanjem, ili su

to Ëinili najamni radnici i mjeπtani koji su se uz nju trajno nastanili.

A settlement that emerged along with the building of the mediaeval fortress and the castle has grown

to become the city of Valpovo over time. The fortress and the city have developed simultaneously; they

supported each other for centuries, relying on one another while historical circumstances connected

them with strong bonds of community. It is impossible to know exactly who built what faster; did the

presence of the fortress-castle perhaps give strength to the dwellers around it or did the building

advance through the labour of the journeymen and locals who decided to settle around it.

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Kome Êeπ ostaviti visinu toga tornja,od sjemena put tjemena?

Komu tu visinu joπ nedosegnutu,tu æelju za rastom, nepognutu?

(V. KrmpotiÊ ’108 x 108’ - 87,77)tvrde i dvorci ne pruæaju svojim domaÊinima samo puki zaklon i mir-no prebivaliπte. »ak i oni iz najdaljih

ili najstarijih vremena Ëuvaju joπ neko svjetlo, iskustvo i pouku. Probuena svijest razapinje kupolu spoznaja pod svodovima dvorskih dvorana i πetnica, u perivojima i vrtovima… U srednjem vijeku, kad i poËinje naπa priËa o Valpovu i njegovu dvorcu, Ëesto se ratovalo te su vlasteli i njihovim podanicima fortifikacijski objekti osiguravali sigurnost, dugotrajan mir, Ëuvali ognjiπta, a neËasnim namjernicima jasno pokazivali da ih obrambena snaga tvrava mu-dro odvraÊa od nakane uzaludnog ratovanja.PriËa o valpovaËkoj utvrdi, poslije dvorcu koji je u nju urastao, poËinje pojavom iznimne osobe koja vrlinama, snagom duha i odvaænom hrabroπÊu budi prostor i ljude koji u njemu obi-tavaju. Bio je to maËvanski ban Ivan MoroviÊ, hrvatski velikaπ 15. stoljeÊa. VeÊ kao mladiÊ Ivan se odlikovao okretnoπÊu duha i snagom tijela, jasno iskazujuÊi izrazitu sposobnost rat-nika i vojskovoe. Kao odani pristaπa i hrabar ratnik hrvatsko-ugarskog kralja Sigismunda Luksemburgovca (1387.∑1437.) stekao je njegovo povjerenje i veliku naklonost. SliËan liku starog Daga iz Gulbranssenove knjiæevne trilogije, Ivan MoroviÊ neumorno je iskazivao hrabrost i usmjerenu spremnost na ærtvu. Nakon mnogih pobjeda nad turskom vojskom, izrastao je u vodeÊu liËnost svog doba te takav ulazi u red najmoÊnijih velikaπa u zemlji. Darovnicom kralja Sigismunda ban MoroviÊ ulazi u veliki posjed Walpo (danaπnje Valpovo), ujedno stekavπi i pravo sudbenosti, crkvenog patronata, te neograniËenog prava koriπtenja zemljiπta, livada, paπnjaka, πuma, vinograda, mlinova i ostalih koristi davno utvrenih grani-cama svojih posjeda.Davne 1405.,uz desnu stranu donjeg toka rijeke Drave, u prostranoj slavonskoj ravnici prekrivenoj πumskim pokrovom, MoroviÊ poËinje dizati utvrdu, graevinu koja osmiπljava srediπte svoje okoline, a okruæuje ju predivan obzor. S gradnjom utvrde nastaje i naselje, iz kojega s vremenom izrasta grad ∑ Valpovo. Slikovita urbanost tada uranja u æivopisni krajolik te odaje smiraj ljudi i prirode koji u njemu obitavaju. Utvrda i grad stoljeÊima su se podræavali, upuÊeni jedno na drugo povijesnim okolnostima koje su ih zbliæile dubokim spona-ma zajedniπtva. NemoguÊe je toËno znati tko je koga bræe gradio, je li to bila tvrava∑dvorac koja je okolne stanovnike osnaæivala svojom nazoËnoπÊu ili su to Ëinili najamni radnici i

U

mjeπtani koji su se uz nju trajno nastanili. Godi-ne 1438., nakon dovrπetka gradnje utvrde, tzv. nizinskog Wasserburga, nazvanoga oppidum i castrum Walpo, okolno podruËje valpovπtine poËinje æivjeti kao organizirano naselje te biva proglaπeno trgoviπtem. Tek roena utvrda okruæena dubokim obrambenim opkopima s vodama obliænje rijeke Karaπice odavala je svijest u vijesti: poruku sigurnosti i snage.Iz toga doba saËuvan je trokatni obrambeni toranj Ëiju unutraπnjost Ëuva gotovo neta-knut srednjovjekovni interijer: kasnogotiËko kameno stubiπte uklesano u debljini zida, niπe s kamenim sjedalima, kupolasti svodovi. Tlocrt utvrde gradio se kroz oblik nepravilno izduæenog trokuta i sa po nekoliko metara debelim vanjskim zidovima, koji su diktirali sve kasnije pregradnje. Premda su djelomice ostali prekriveni baroknim plaπtem, gotovo potpuno oËuvani su do danas. U kupolastom svodu na prvom katu trokatnog obrambenog tornja osobito se istiËe zaglavni kamen s reljefnim prikazom grba obitelji MoroviÊ, oko kojega se ovija zmaj. Neπto skromnije izveden je zaglavni kamen u svodu drugog kata s prikazom stiliziranog Sunca. Re-ljefan prikaz zmaja oznaËava pripadnost bana MoroviÊa viteπkom Redu zmajskih vitezova, u Slavoniji zvanih joπ i Zmajonosci. Navedeni red osnovao je hrvatsko-ugarski kralj Sigismund 1408. godine, a njegovi Ëlanovi bili su velikaπi s nakanom zaπtite europske kraljevske loze, te zaustavljanja prodora turske vojske na pro-stor kraljevstva. »lanovi reda svoj su zmajski znak, simbol neustraπive hrabrosti, srËanosti, mudrosti i snage, ponosno nosili na odjeÊi i obiteljskim grbovima. Danas, po uzoru na taj red, u Hrvatskoj djeluje druæba BraÊa hrvat-skog zmaja, Ëija je misija njegovanje hrvatske povijesne i kulturne baπtine. Po pradavnim vjerovanjima zmajeviti ljudi, u koje se ubraja i ban MoroviÊ, imali su pozitivan karakter, πtitili su zajednicu, a svoju zmajevitost iskazivali u obrambenim ratovima. Tada su, uz veliku snagu bili najbolji ratnici, ulijevajuÊi hrabrost u srca svojih vojnika. Po mnogim je priËama ban Ivan MoroviÊ bio ugledan Ëlan tog reda. Hrabra mu je i odluËna bila i supru-ga Urπula, koja je velikim naporima, tijekom njegova petogodiπnjega turskog zatoËeniπtva, prikupljala i na kraju i prikupila veliki iznos od 40.000 zlatnika za njegovu otkupninu te ga 1420. i izbavila iz turske tamnice. Nakon osloboenja, Ivan MoroviÊ u dvoriπtu utvrde podiæe kapelu sv. Ladislava kralja i smjeπta je u blizini tornja. To je danas najstarija saËuvana crkva u Valpovu, baroknog stilskog obiljeæja. Nakon smrti bana MoroviÊa, njegova supruga, s kÊeri Anom i sinom Ladislavom, te unucima Ludovikom i Matijaπem, nastavlja upravljati

velikim imanjima i dvorskom utvrdom. No bez nasljednika 1481. godine loza MoroviÊ pre-staje postojati, a tvrava i dvor s valpovaËkim trgoviπtem te svi obiteljski posjedi ponovno prelaze u kraljev posjed, koji je opet imao pravo slobodno s njima raspolagati. Iste godine kralj Matija tvravu, dvor i trgoviπte s pripadajuÊim posjedima daruje slavonskom banu Matiji i njegovu bratu Petru Gerebu od Wingartha, a nekoliko godina poslije ona se prenosi na tadaπnjeg bana Perenya. Ali vrijeme mirnog æivota bilo je veÊ na izmaku. S istoka pribliæavala se osvajaËka oluja koja Êe se sruËiti na prostor izmeu Dunava, Drave i Save. Odredi turskog konjaniπtva upadaju u valpovaËka sela, a vrhunac je okupacije 1534. godine kad Valpovo brani vojskovoa Mihajlo Arky, opskrbivπi utvrdu i dvor s dovoljno hrane, streljiva i odluËnih vojnika. Pod æestokim na-padima, iscrpljeni dvomjeseËnom opsadom, polaæu oruæje pa se utvrda s cijelim podruËjem predaje Turcima, koji su je dræali pod oku-pacijom pune 144 godine - do osloboenja 1687. godine. U poËetku 18. stoljeÊa vrijeme utvrda pola-ko iπËezava. Povijest, kao i uvijek, mnoæi i rasporeuje svoju arhitekturu. Razara je i gradi. Graenje je namjera, svjesna metamorfoza. Graditelj je pjesnik, slikar i glazbenik, aktivist koji osvjeπÊuje povijest, premostitelj jedne stvarnosti u drugu. Tako se i utvrda pretvara u dvorac, u njega se utapa, njega poËinje æivjeti. PoËinje preobrazba arhitekture ratnika u mirnodopskog plemiÊa.Kralj Karlo VI. ustupa 1721. godine valpovaËki okrug darovnicom barunu Petru II. Antunu Hilleprandu od Prandaua (1676.-1767), svomu dvorskomu i komorskom savjetniku. Barun Prandau i dalje ostaje æivjeti u BeËu, a upravu golemog posjeda prepustio je vlastelinskim upraviteljima. NajveÊi dio prihoda tada troπi za nadogradnju dvora, ureenje i opremanje dvorske kapelice i uredskih prostorija, podiza-nje gospodarskih zgrada te sadnju ukrasnog bilja i ureenje vrta oko dvorca. Na ostacima juænog krila utvrde gradi monumentalnu ba-roknu proËelnu palaËu s centralno isturenim tornjem, a nizovi prostorija boËnih dvoriπnih krila temeljito su obnovljeni i presvoeni baË-vastim svodovima. Utvrda se, sreÊom, kao rijetko koja u Slavoniji, velikim dijelom uspjela saËuvati i stoga πto je Turci, prilikom osvajanja i napuπtanja, nisu posve uniπtili, pa je novi barokni dvorac skladno urastao u srednjo-vjekovni tlocrt i njezine zidine. Cijeli prostor dvorca poËinje odisati porukom æivota, razvoja i nadahnuÊa. Obnovitelj utemeljuje bit mjesta jedinstvom prostora u vremenu.Kad je dvorac veÊ obnovljen i dograen, kad i æivot mirnije pulsira, u puËanskom Valpovu

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rodio se Matija Petar KatanËiÊ (1750.∑1825.), poznati latinist, hrvatski knjiæevnik i znanstve-nik koji je kao mladiÊ uπao u franjevaËki red. Studirao je bogoslovlje i estetiku u Budimu te prvi preveo Sveto pismo na hrvatski jezik. Prijevod je prvi put objavljen u πest svezaka u Budimu, poslije njegove smrti, 1831. godine, a Ëetiri prevedene knjige iz Petoknjiæja na jeziku slavno-iliriËkom izgovora bosanskoga nalaze se i u izloæbenim prostorima danaπnjeg dvorca. Na ruπevinama MoroviÊeve kasnogotiËke ka-pele sv. Ladislava Petar von Prandau podiæe baroknu kapelu sv. Trojstva, koja je zadræala svoje oËuvane dijelove poligonalnoga gotiËkog svetiπta s kontraforima. U njoj se nalaze i oso-bito vrijedne mehaniËke orgulje, rad glasovitog orguljara Josefa Angstera iz 1876. godine, koje i danas, tijekom koncerata, divnim zvucima ispunjavaju sakralni prostor. Kapela iskazuje snagu prolaznoga i trajnoga, priopÊenje koje se intenzivira u preobraæavanju, u osjetnoj snazi πto pliva prema Izvoru postojanja.Godine 1765. barun Prandau oporuËno ostavlja lijepo ureeno valpovaËko vlastelin-stvo sinu Josipu Ignatzu (1749.∑1816.). Kako se, nakon barunove smrti, Ignatz iskazao u BeËu kao veseli barun rastroπne prirode, od carskog okruæja prisiljen je povuÊi se na imanje u Valpovu. Upravljanje vlastelinstvom preuzeo je osobno i zatim ostao na njemu trajno æivjeti s groficom Marijom PejaËeviÊ, novom supru-gom. Odmah poslije dolaska primio se posla, pokazujuÊi odluËnu sposobnost upravljanja vlastelinstvom. KoristeÊi se svim pogodno-stima feudalnog druπtva, ubrzo je poËeo ostvarivati prihode dovoljne za pokrivanje svih troπkova. Uskoro obnavlja dvorsku kapelicu, podiæe æupnu crkvu te prvu zidanu zgradu πkole u Valpovu, zatim i zavjetnu kapelicu sv. Roka, koju je njegov sin Gustav poslije pretvo-rio u kapelicu s obiteljskom kriptom.ProËelna palaËa baroknog dvorca teπko je stradala u poæaru koji je izbio na Silvestrovo 1801. godine. Vatra je progutala poznatu dvorsku knjiænicu kao i Ëitav vlastelinski arhiv. Ubrzo obnovljena i dograena sa 62 prostorije i mnogim salonima, uredima za vlastelinsku upravu, knjiænicom te obiteljskom i poslovnom arhivom ∑ palaËa dobiva nova klasicistiËka obiljeæja s isturenim peterokatnim tornjem. I da-nas se u unutraπnjosti palaËe, na svakom katu koje povezuje πiroko kameno stubiπte, nalazi niz meusobno povezanih velikih prostorija s pogledima na dvoriπte i perivoj, πto predstav-ljaju nekad reprezentativni dio dvorca.Prostorije dvorca na katovima dvoriπnih krila sluæile su kao spavaonice, u jednom krilu za vlastelinsku obitelj, u drugom za dvorsku po-slugu. U unutraπnjosti boËnih krila saËuvana je obrada podova s kraja 19. stoljeÊa te neko-

liko ukrasnih kaljevih peÊi. Dvorac zajedno s unutraπnjim dvoriπtem krase tri sunËana sata, a njegova tlocrtna povrπina od 4031 m2 ostaje do danas. Taj se dvorac po tome svrstava meu najveÊe u Hrvatskoj i za njim uvelike zaostaju svi ostali slavonski dvorci.Po uzoru na zapadnu Europu, podignut je najveÊi i najbolje ureeni perivoj u Slavoniji, koji tvori jedinstvenu i nedjeljivu cjelinu. U poËetku 19. stoljeÊa dio nekadaπnje barokne park-πume i loviπta preoblikovan je u prostrani pejzaæni pe-rivoj koji se na 25 hektara πiri od dvorca prema jugu i, takav, jedinstveni je spomenik hrvatske barokne parkovne arhitekture. Nakon smrti baruna Josipa Ignatza 1816. godine, upravljanje posjedom preuzima nje-gova supruga ∑ grofica Prandau, a nasljeuju ga sinovi Karlo i Gustav. BaveÊi se glazbom, barun Karlo von Prandau dulje boravi u PeËuhu i BeËu, a poznat je po skladanju JelaËiÊeva marπa koji se tada Ëesto svirao πirom tadaπnjeg carstva, a i danas se moæe Ëuti u muzejskim prostorima dvorca. Ukidanjem feudalizma u Hrvatskoj 1848. godi-ne, odlukom bana JelaËiÊa te uspostavom no-vih druπtvenih odnosa, valpovaËko vlastelinstvo izgubilo je viπe od polovice svoje imovine. Sva kmetska zemlja pripala je seljacima, nestalo je besplatnog rada, desetine i drugih davanja, pa se u valpovaËkom dvorcu poËelo æivjeti mnogo manje dvorski. Nakon smrti grofice Prandau i nedugo zatim njezina sina Karla, Gustav po-novno sjedinjuje nekad podijeljeno vlastelinstvo. Kao sposoban veleposjednik i mecena podiæe i novu palaËu u srediπtu Osijeka, pomaæe grad-nju orgulja u beËkom Musikvereinu, a sluæbeni je pokrovitelj i valpovaËke osnovne πkole. Godine 1873. podiæe i KatanËiÊev spomenik pred ulazom u svoj dvorac.SvjedoËanstva o neobiËnim dogaajima ne zaobilaze ni valpovaËki dvorac. Naime, prema pripovijedanju Ëasnika Kuschmana, zabiljeæenome u Ljetopisu kapucinskog sa-mostana biskupijskog arhiva u PeËuhu, dok je boravio u dvorcu u gostima kod baruna Gu-stava von Prandaua, imao je oko pola noÊi pet puta isto privienje duha u liku mlade djevojke odjevene u haljinu ruæiËaste boje, prekrivenu plaπtom obavijenim oko sjenovita tijela. Kod treÊeg pojavljivanja duh mlade dame zamolio ga je neka se zauzme kod baruna Gustava von Prandaua da se njezine kosti u dvoriπtu dvorca iskopaju i prenesu na blagoslovljeno mjesto. Dama je obznanila da je ubijena te pokazala na mjesto gdje je tada bila pokopana. Pojavljivala se ona i prije, ali Ëim su je ugledali, svi su od straha pobjegli. Nakon Kuschmanova izvjeπÊa o vienome, barun Gustav naredio je da se 14. listopada 1840. kopa na mjestu koje je poka-zao duh i ondje su, na dubini od dvije stope,

naπli æenski kostur te ga prenijeli u dvorsku kapelicu. O sluËaju javljeno je dijecezanskom biskupu peËuπkom Ivanu SÊitavskom, koji je odobrio pokop posmrtnih ostataka uz uo-biËajene pogrebne obrede dvorskog kapelana Marijana Bazelskog na groblju.Kako Gustav u braku nije imao muπkih po-tomaka, muæ najstarije kÊeri Marijane 1852. godine postaje grof Heinrich Normann od Ehrenfelsa, kraljevski kapetan koji naslijeeno valpovaËko vlastelinstvo ostavlja sinu grofu Rudolfu. Prohujao je tu i Prvi svjetski rat, kad veÊi dio obitelji Normann odlazi na svoje dobro Rothenthurm u Koruπkoj, u kojemu njihovi na-sljednici æive i danas, a Rudolf s obitelji ostaje u Valpovu, gdje i umire 1942. godine. U njegovoj ostavπtini osobito se istiËe knjiænica s viπe nego 9000 vrijednih knjiga, veÊim dijelom pohranje-nih u Muzeju Slavonije u Osijeku.ValpovaËka srednjovjekovna utvrda s barok-nim dvorcem ubraja se meu najvrednije povijesne arhitektonske sklopove profane ar-hitekture u sjevernoj Hrvatskoj. U njemu danas djeluje Muzej Valpovπtine, Ustanova za kulturne djelatnosti Ante EvetoviÊa Miroljuba, Glazbena πkola te Hrvatsko pjevaËko druπtvo KatanËiÊ. Kulturna zbivanja, koncerti i predstavljanja Ëesto ispunjavaju njegov dvoriπni atrij, dvorane i velike sobe. Dvorac s utvrdom snaæno odiπe snagom sjeÊanja. U njemu se osjeÊa energija ispletenih uspomena kad se ljubilo, skladno æivjelo ali i ratovalo za obranu svojih ognjiπta. Sluπa li se pozorno, moæe se Ëuti djeËja cika ali i muk nestalih, tuga ostavljenih i samoÊa napuπtenih. Kad bi zidine mogle govoriti, iz njih bi izvirali slikoviti prizori vjenËanja, æivljenja, roenja i odlaæenja. U njima bi bio satkan film æivota podijeljen razredima mnogih stoljeÊa. Vidjeli bi se mnogi glumci i razliËiti kostimi. Samo bi utvrda ostala ista, sama, uzdignuta u prostor neba, iπËekujuÊi zrake sunca ∑ pod svjesnoπÊu zmaja pod kojim je nastala. n

To whom will you bequeath the height of That tower from seed to vertex?

To whom this height still unattainedThis desire for growth unbended?(V. KrmpotiÊ ’108 x 108’ - 87,77)

ortresses and castles do not offer their hosts only mere shelter and a peace-ful abode. Even those from the most

remote and ancient times still preserve some light, they offer an experience and a lesson to impart. The awoken consciousness stretches the dome of cognition under the crafted vaults of the castle’s halls and walkways, through its parks and gardens... In the Middle Ages, when our story about Valpovo and its castle begins, there were often battles and the fortified objects

F

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ensured security and long-term peace to the noblemen and their vassals; they protected the hearts of their homes while making it very clear to ill-intended travellers that the defensive powers of the forts were there to wisen them up and deter them from pointless warfare. The story about Valpovo fortress, or the Val-povo castle as it has come to be known as the original fortress kept on being extended and added to until all the parts blended into a har-monious whole, started with the appearance of one unique person, who with his virtues, the power of his mind and bold courage woke up the area and the people who dwelt there. He was Ban Ivan MoroviÊ of MaËva, a Croatian nobleman who lived in the 15th century. Already as a young man, Ivan distinguished himself by the dexterity of his mind and the power of his body; clearly demonstrating exceptional abilities as a warrior and military commander. As a devoted follower and brave soldier of the Croatian-Hungarian king Sigismund of Luxemburg (1387 ∑ 1437), he earned his trust and great affection. Similar to the character Old Dag from Gulbranssen’s trilogy, Ivan MoroviÊ unflaggingly showed his bravery and acute readiness to make sacrifices. After many victories over the Turkish army, he grew into a leading figure of his time, and in that way entered the ranks of the most powerful great leaders in the country. With a charter from King Sigismund, Ban MoroviÊ entered the great estate of Walpo (today Valpovo), acquiring at the same time the right to jurisdiction, of church patronage, as well as the unlimited right to use the land, fields, pastures, forests, vineyards, mills and the other benefits which had been established by the borders of his estate long before he took possession of it.

Long ago in 1405, along the right side of the lower stream of the Drava River, in the great Slavonian plains covered by forests, MoroviÊ began to erect his fortress, a building which provided a focus to its surrounding, with a beautiful horizon extending around the construction site. A settlement that emerged along with the building of the fortress has grown into the city of Valpovo over time. The picturesque urban features have blended with the bucolic countryside to reflect the serenity of the people and nature which inhabited it. The fortress and the city supported each other for centuries, relying on one another while historical circumstances connected them with strong bonds of community. It is impossible to know exactly who built what faster; did the presence of the fortress-castle perhaps give strength to the dwellers around it or did the building advance through the labour of the journeymen and locals who decided to settle around it. In 1438, after the completion of the construction of the fortress, the so called lowland Wasserburg, named oppidum and castrum Walpo, denoting the region around the future Valpovo, began to live as an organized settlement and was soon proclaimed a market place. The newly built fortress, surrounded by deep defensive trenches filled with water from the nearby Karaπica River, conveyed a mes-sage of awareness to the world: a message of security and power. A few original period features are still pre-served: a three-storey defensive fortress with an almost intact medieval interior; a late gothic stone staircase carved deep into the thick wall; niches with stone seats; and dome-shaped ceilings. The layout of the fortress is in the shape of an irregular elongated triangle, whose

outer walls, up to several metres thick, dictated all subsequent alterations and reconstructions. Although partly covered by a Baroque mantle, they have been almost completely preserved to this day.The most prominent feature in the crown of the dome-shaped ceiling on the first storey of the three-storey defensive fortress is the key-stone depicting the MoroviÊ family crest with a dragon coiled around it. Somewhat more modest in appearance is the keystone in the crown of the second storey ceiling depicting a stylized sun. The relief depiction of a dragon marks Ban MoroviÊ’s affiliation with the Order of the Dragon Knights, also known as the Dragon Bearers in Slavonia. The order was established by the Croatian-Hungarian king Si-gismund in 1408. Its members were noblemen whose purpose was to protect the European royal families and to stop the Turkish onslaught onto the territory of the kingdom. The members of the Order used to proudly wear their dragon insignia on their clothes and depicted them as part of their family crests. It was a symbol of their dauntless bravery, audacity, wisdom and strength. The Brethren of the Croatian Dragon is an association which models itself after this order. The association is very active in Croatia today and its mission is to foster and cherish Croatian historical and cultural heritage. According to old beliefs, dragon-men, includ-ing Ban MoroviÊ, had a positive character; they protected their community and proved their dragon-like nature in defensive wars. Their strength allowed them to be the best warriors, while at the same time they instilled courage into the hearts of their soldiers. Many stories describe Ban Ivan MoroviÊ as a prominent member of the Order. His wife Urπula was

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also quite a determined and feisty lady. While he was incarcerated in a Turkish prison for five years, through huge efforts on her part, she managed to raise a staggering amount of 40,000 gold coins to pay bail so that finally, in 1420, she could set him free from the Turkish dungeons. After regaining his freedom, Ivan MoroviÊ erected the Chapel of King St. Ladis-laus in the courtyard very close to the fortress. The church is the oldest in Valpovo, and it depicts many original Baroque features.After Ban MoroviÊ’s death, his widow con-tinued to manage the large estates and the fortress together with her daughter Ana, son Ladislaus and grandsons Ludovic and Mat-thias. In 1481, without any more heirs, the

family ceased to exist. The fortress and the court with the Valpovo market place and all the family possessions again became the property of the king, who, in his turn, had the right to freely dispose of them. That same year, King Matthias donated the fortress, the court and the market place together with the estate to the Slavonian Ban Matthias and his brother Peter Gereb of Wingarth. A few years later, the entire estate was transferred to Ban Pereny. Sadly enough, the days of peaceful living were drawing to an end. A stormy invasion came from the east and finally descended upon the area between the Danube, the Drava and the Sava rivers. Turkish cavalry detachments pil-laged the villages in the Valpovo region. The

occupation campaign peaked in 1534 when Commander Mihajlo Arky was in charge of Val-povo’s defence. He had supplied the fortress and the court with enough food, ammunition and determined soldiers, yet under constant fierce attacks, exhausted by a siege that had lasted for two months, they finally laid down their arms. The fortress, with the entire area, thus surrendered to the Turks who occupied it for as long as 144 years ∑ until its liberation in 1687.At the beginning of the 18th century, fortresses slowly began to vanish. History is a great multiplier and distributor of architectural structures. Buildings are constructed and then destroyed. Construction is a planned,

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Dragi naπi kolege, gosti i prijatelji!

Dear business partners, guests and friends,

Koristimo se prilikom da vam zahvalimo na iskazanom povjerenju pri odabiru hotela Park kao vaπe stalne

splitske adrese. Uistinu nas veseli πto godinama razvijamo dobre poslovne, ali i prijateljske odnose.Ovim putem æelimo zahvaliti svim Ëlanovima Udruge hrvatskih putniËkih agencija na Ëasti koju su nam iskaza-li nominiravπi i nagradivπi hotel Park nagradom Simply the best u kategoriji Mali gradski hotel Jadrana (kopno). Uisti-nu nam ta nagrada mnogo znaËi jer to nam je priznanje od vas, naπih uvaæenih kolega iz struke, a i dokaz da posao koji radimo, radimo sa zadovoljstvom i da se rezultati takva rada vide i cijene. Trudit Êemo se da iskazano povjerenje opravdamo, a ova nagrada svakako Êe nam biti poticaj da nastavimo raditi najbolje πto moæemo.S naπim dragim gostima æelimo podijeliti naπu sreÊu na osvojenoj nagradi, jer mislimo da na nju nemamo iskljuËivo pravo samo mi, nego svi vi, naπi dragi gosti - prijatelji. Upravo ste vi razlog zbog kojega se uvijek trudimo biti bolji i raditi posao najbolje πto znamo i umijemo. Stoga, æelimo vam i zahvaliti na ovoj nagradi, jer ona je jednako vaπa kao i naπa.Veselimo se ponovnom susretu u hotelu Park! www.hotelpark-split.hr ■

We would like to use this opportunity to thank you on your given trust in choosing our hotel, hotel Park,

as your permanent Split address. It truly makes us happy to have developed good business relations through years and becoming friends after all. We would like to thank all the members of UHPA - As-sociation of Croatian Travel Agencies on the nomination of hotel Park and the award Simply the best in the category of small city hotel Adriatic (mainland). This award means a lot to us because it comes from you, our esteemed colleagues from the profession. It is a proof that the work we do, we do with pleasure and that it is recognized and appreciated like that. We will do our best to justify your trust given to us and this award will certainly be our mo-tivation to continue doing the work in the same direction, the best we can and know.As for our dear guests, we want to share our happiness with you for the received award. We think we share the same right on this award as you, our dear guests - friends.You are the reason why we always try to be better! There-fore, we would like to thank and congratulate you on this award because it is equally yours like it is ours.We are looking forward meeting you again in hotel Park.www.hotelpark-split.hr ■

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deliberate metamorphosis. A builder is a poet, an artist, a musician, and an activist who shapes history, and connects one world with another. As a result, the fortress was turned into a castle; the latter blended with the for-mer and assumed its life. That was the start of another metamorphosis: the architecture of a warrior started to transform into that of a peacetime nobleman.In 1721, King Charles VI donated the Valpovo district to Baron Peter II Anton Hilleprand von Prandau (1676-1767), his court and chamber advisor. Baron Prandau continued to live in Vienna while the governance of his huge estate was left to the estate managers. The largest part of his income at the time was spent on expanding the castle, designing and furnish-ing the castle’s chapel and offices, erecting outbuildings, as well as planting greenery and arranging the gardens around the castle. On the remains of the southern wing of the fortress he built a monumental baroque palace with a jutted central tower; the strings of rooms in the lateral wings were thoroughly renovated and covered with barrel vaults. Unlike so many other castles in Slavonia, this castle was for the most part successfully preserved mainly due to the fact that the Turks had not completely destroyed it, thus the new Baroque castle fit in harmoniously with the pre-existing medieval layout and the former castle’s thick walls. The entire complex started to exude new life, thriv-ing on the wings of development and inspiring awe. Its restorer gave meaning to the place by making it a wholesome structure in keeping with the time.After the castle was renovated and expanded, while life pulsated at a somewhat more peace-ful rate, the famous Croatian writer and Latinist, Matija Petar KatanËiÊ (1750 ∑ 1825), was born in Valpovo. As a young man he joined the Franciscan order. He studied theology and aesthetics in Budim, and was the first to translate the Scriptures into Croatian. The translation was first published in 1831 and four books from the five-volume Bible translated into old-Croatian can be found on display in the castle today. On the ruins of MoroviÊ’s late-gothic chapel consecrated to St. Ladislaus, Peter von Prandau erected the Baroque Chapel of St. Trinity, which retained the preserved elements of a polygonal gothic shrine with buttresses. Here you can find an exceptionally valuable mechanical organ from 1876, the work of the renowned organ maker Josef Angster. Even during concerts today, the magnificent sounds fill the sacral space. The chapel demonstrates the power of transience and permanence, a message which is intensified in transformation,

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in the palpable force which swims towards the origins of existence.On his death bed in 1765, Baron Prandau bequeathed the beautifully arranged Valpovo manor to his son Josip Ignac (1749-1816). Reportedly, after the baron’s death, in Vienna Ignac behaved like a happy baron with a spendthrift nature, and the courtiers forced him to retreat to the estate in Valpovo. He personally took over control of the manor and then remained on the estate for the rest of his life with Countess Marija PejaËeviÊ, his new wife. As soon as he arrived he took to his work very seriously, demonstrating extreme competence in running the estate. Drawing upon all the conveniences of feudal society he quickly started to earn enough income to cover all of his expenses. He soon renovated the castle’s chapel, erected a parish church, and built the first brick building for a school in Valpovo, and afterwards the votive chapel St. Rocco, which his son Gustav later turned into a chapel for the family crypt. The façade palace of the baroque castle complex was terribly damaged in a fire which broke out on New Year’s Eve in 1801. The fire engulfed the castle’s famous library, as well as the entire archive of the manor. It was quickly renovated and 62 new areas were added on, including a number of salons, offices for the manor’s administrators, a library, and a fam-ily and business archive ∑ and new classicist features were added to the manor, including a jutted five-storey tower. Today, the interior of the palace, of which every floor is connected with a wide stone stairway, contains rows of rooms connected by large hallways from which you have a view of the courtyard and garden, which represent the one-time representative part of the castle. The areas of the castle on the floors of the wings overlooking the courtyard served as bedrooms, one wing was for the owner’s family and the other was for the castle’s servants. The interiors of the wings feature original flooring from the 19th century, as well as a few deco-rative tiled stoves. Since then, the castle and the inner courtyard have been adorned with three sundials, and its layout of 4031 m2 still remains today, which makes this castle one of the biggest in Croatia, and far bigger than any other castle in Slavonia.Modelled after beautiful parks in Western Eu-rope, the biggest and best arranged park in Slavonia was built, which constitutes a unique and indivisible whole. At the beginning of the 19th century, a part of the once Baroque park-forest and hunting grounds were redesigned into a large, landscaped park which spread out from the castle for 25 hectares towards the

south, therefore becoming a unique monument to Croatian Baroque park architecture.After the death of Baron Josip Ignac in 1816, the running of the estate was taken over by his wife ∑ Countess Prandau, and then it was inherited by his sons, Karlo and Gustav. Since he was a musician, Baron Karlo von Prandau spent long stretches of time living in Pecs and Vienna. He was known for his composition of JelaËiÊ’s March, which at that time was often played around the kingdom, and which today can be heard in the castle’s museum. With the abolition of feudalism in Croatia in 1848 by Ban JelaËiÊ, as well as the establish-ment of a new social order, Valpovo’s manor lost more than half of its possessions. All of the land previously held in tenure was passed on to the peasants, therefore eliminating free labour, tithes and other duties. As a result, life became less courtly within the Valpovo castle. After the death of Countess Prandau, and the death of her son Karlo soon thereafter, Gustav once again merged the fragmented manor parts into one estate. As a capable landowner and patron, he erected a new palace in the centre of Osijek, helped with the building of the organ in the Viennese Musikverein (Music As-sociation), and officially sponsored the primary school in Valpovo. In 1873, he also erected a monument to KatanËiÊ in front of the entrance to his castle. Testimonials about unusual events have not bypassed the Valpovo castle. The story of the military officer Kuschman, recorded in the annals of the capuchin monastery in the diocese’s archives in Pecs is one of them. While Kuschman was staying in the castle as Baron Gustav von Prandau’s guest, the same vision appeared to him five times, always around midnight: that of a young girl wearing a pink dress and a cape wrapped around her shadowy body. When she appeared the third time, the ghost of the young girl begged him to appeal to Baron Gustav von Prandau to dig up her bones that were buried in the courtyard and move them to a sacred place. The young lady told him that she had been murdered and showed him the place where her body had been buried. She had appeared even before that, but as soon as someone saw her they ran away in sheer terror. After Kuschman told the Baron what he had seen, Baron Gustav gave an order to start digging on 14 October 1840 at the place the officer showed him. At two feet deep, they found a woman’s skeleton and moved it to the court’s chapel. The case was then reported to Ivan SÊitavski, the then Bishop of the Pecs Diocese who gave his blessing for the mortal remains to be buried at the local cemetery after all the necessary

rites were administered by the court chaplain Marijan Bazelski. As there were no male heirs in Gustav’s marriage, in 1852 the husband of his eldest daughter, Marijana, became Count Heinrich Normann von Ehrenfels, a royal captain who bequeathed the inherited Valpovo estate to his son Rudolph. World War I came rushing through, during which most of the Normann family left for their estate in Rothenthurm in Carinthia where the family descendants live to this very day. Rudolph and his family stayed in Valpovo where he died in 1942. A prominent part of his legacy is a library with over 9,000 valuable books, most of which are stored in the Museum of Slavonia in Osijek.The medieval fortress in Valpovo with its Ba-roque castle ranks among the most valuable historical complexes of profane architecture in the northern part of Croatia. Today it houses the Museum of the Valpovo Region, the Ante EvetoviÊ Miroljub Institute for Cultural Activi-ties, the Music School and the Croatian choir KatanËiÊ. Cultural events, concerts and book presentations are often staged in the court atrium, its halls and great rooms. The castle with its fortress exudes a powerful feeling of the past. It emanates the energy of the interwoven memories of the times when love was made, when people lived in harmony but also waged wars to defend their homes. If you listen carefully, you can hear the sound of children playing but also the silence of those who have disappeared, the sorrows of the abandoned and the solitude of the forsaken. If the walls could talk, they would describe vivid scenes depicting weddings, lives being lived, children being born and people leaving. The images would unfold like a fine cloth of life divided into compartments across many centuries. You could see actors wearing dif-ferent costumes. Only the fortress would be the same, all alone, rising towards the sky; it would be waiting for the rays of sun - under the careful attention of the dragon for which it was first created. n

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Odvojite li vikend za posjet Parku prirode Papuk, s noÊenjem u

planinarskom domu, neÊete poæaliti. Jer uistinu vrijedi zastati ondje,

osluhnuti i odmoriti se. Dolazite li iz Zagreba automobilom, vozite

do Poæege i mjesta Velika, koje je jedan od ulaza u srediπte Parka

prirode. Tijekom boravka u Jankovcu moæda Êete dvojiti biste li samo

upijali raskoπ prirode i zvukove ili se posvetili podacima o svijetu

prirode zabiljeæenima na didaktiËki savrπeno opremljenim ploËama.

©to god od toga odabrali, ne moæete pogrijeπiti…

You will never regret the day you decide to take a weekend break

in Papuk Nature Park and spend the night in the mountain lodge. It

is definitely a place where you must stop, rest and just listen. If you

are coming from Zagreb by car, drive to Poæega and then onwards

to a place called Velika, which is one of the entrances to the heart of

the nature park. While staying at Jankovac you may be faced with a

dilemma: whether to simply savour the lavish beauty of nature with

wanton abandon or try to become informed about the wild nature

by reading the perfectly displayed information boards. You cannot

go wrong with either choice.

PARKOVI PRIRODE NATURE PARKS ■

Piše/By Anika Reπetar

Fotografije/Photos Saπa PjaniÊ

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ad bi postojala knjiga postignuÊa osobenjaka plemenita porijekla, na vrhu bi bili Neuschwanstein i

Jankovac i njihovi tvorci: Ludvik II. i Josip pl. JankoviÊ. Iako je Neuschwanstein i danas veleban dvorac, a Jankovac park πuma (na mjestu nekadaπnjega lovaËkog dvorca nalazi se lijep planinarski dom koji arhitekturom podsjeÊa na πvicarski chalet), duh njihovih kreatora snaæno se osjeÊa u njihovim djeli-ma. Ludvik II. (1845.−1886.) bio je bavarski kralj i potjecao iz poznatije i znatno bogatije velikaπke loze, pa je i mogao sagraditi jedan od najzanimljivijih dvoraca, a Josip pl. JankoviÊ (1780.−1861.) potomak je loze kojoj je tek Ma-rija Terezija dodijelila grofovski naslov. Obojica su bili gospodska porijekla, πto je u ono doba znaËilo u prvom redu obvezu, a tek zatim povlasticu. PlemiÊko obrazovanje obuhvaÊalo je baratanje jeziËnim (gramatika, retorika, logika) i numeriËkim vjeπtinama (aritmetika, glazba, geometrija, astronomija), umjeπnost maËevanja i doliËnog vladanja. Obojica su teπko podnosila stegu i formalno obiljeæje mnogih protokolarnih obveza. Ludvik II. izbjegavao je bavarski dvor u Münchenu, a grof JankoviÊ, poruËnik austrijske vojske s pristupom na beËki dvor, ostavio je vojnu karijeru i dvorske Ëari i povukao se u osamu Jankovca, koji je kultivirao s ljubavlju. I jedan i drugi bili su obrazovani i obuËavani za vla-dare, doduπe, razliËito velikih imanja, a od dvorskih su kako se dolikuje i priliËi pravila ponaπanja bjeæali u brda. Ludvik II. u Alpe, a grof JankoviÊ na Papuk. Odgajani da bljesnu kao vladari, obojica su bili plahe Êudi, ljude su izbjegavali, nisu se æenili i dobivali potomke, a utjehu i smisao nalazili su u osami prirode i lijepim umjetnostima.Kad 1817. godine umire otac - Ivan Nepomuk pl. JankoviÊ, obiteljski posjed dijeli se na veÊi dio sa sjediπtem u VoÊinu, koji preuzima stariji Josip, i na manji dio sa sjediπtem u Terezovcu (danaπnjem Suhopolju), koji preuzima mlai Stjepan (koji se æeni i dobiva nasljednika Josipa, a ovaj Elemira, koji ima sina Andriju, a taj 1931. prodaje imanje). I dok Ludvika II. zovu joπ i kraljem bajki (Märchenkönig), Josipa pl. JankoviÊa mnogi su doæivljavali kao kralja vilenjaka (Erlkönig) koji je æivio po πumama, a grobnica mu je po vlastitoj æelji smjeπtena u πpilji strme litice. No ipak najprije valja reÊi kako Êete stiÊi do Jankovca. Dolazite li iz Zagreba (187 km), vozite do Poæege i mjesta Velika, koje je jedan od ulaza u srediπte Parka prirode. Park je od Osijeka, pak, udaljen 96 km. Lijepi su i slikoviti takoer i ulazi VoÊin i Orahovica, a kad napu-stite asfaltiranu cestu i poËnete voziti πirokom kamenom i poπljunËanom cestom, dovoljno

K

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πirokom a ipak zavojitom i mjestimice priliËno strmom, bit Êete prisiljeni usporiti i tako po-malo ulaziti u mitski svijet Jankovca. Premda se osjeÊa ljudski boravak, zapanjit Êe vas starost drveÊa (neki su dijelovi stari viπe od stotinu godina), a ponegdje i izgled praπume. Ovdje je otkriveno oko 500 vrsta biljaka i viπe od 1500 æivotinjskih vrsta. Prevladavaju gorske bukove πume (80%), a na manjim dijelovima i juænim pristupima raste hrast kitnjak. ©ume gorskog javora i jasena pokrivaju najhladnije dijelove podruËja na kojima se i snijeg dulje zadræava. I dok vozite cestom, diskretno Êe vas poËeti pratiti æubor potoka s lijeve strane i straπiti liπÊe divovskih grmastih paprati koje izgleda poput golemih lepeza. Baπ nasuprot slapu Skakavac (35 m) morat Êete zastati i bliæe priÊi velebnom bloku migmatita, najstarijeg stijenja, staroga otprilike 260,000.000 godina, iz vremena potkraj paleozoika. Tu valja izaÊi i rukom prijeÊi po stijenju i potraæiti odraze nekadaπnjih biljki i æivotinja. Tà nalazite se zapravo na dnu nekadaπnjega Panonskog mora! Nemojte se æuriti, naime, na podruËju JankovaËke doline vidljive su stijene nastale u razliËitim razdobljima geoloπke proπlosti, a i na-lazite se na podruËju jedinoga geoparka u Re-publici Hrvatskoj. Na informativnim stranicama www.pp-papuk.hr i www.papukgeopark.com saznat Êete mnoge podatke na temelju kojih Êe vam boravak biti osobito pouËan i pomoÊi vam pri odabiru jedne od pet edukativnih staza opremljenih interpretacijskim ploËama.To je moæda i mjesto i prilika da se raskrsti s mitom kako je Slavonija satkana samo od ravnica. Bilogora, a pogotovo Papuk i Krndija, kraljeænica su nizinskih udova i izvor snage kojom struji Slavonija. Ispod na izgled dobroÊudnih osobina dikã i lolã skriva se stamen karakter vjeËnoga gorja i nepropusnih πuma s mnogim izvorima vode. A onda, kad stignete u dolinu, zastat Êe vam dah od ljepote. Gusta zelena trava i veliko i staro drveÊe poput vijeÊa seoskih staraca okruæuju i πtite dolinu postojanoπÊu i mudroπÊu. Sve je vrlo lijepo odræavano s mnogo znanja i ljubavi. Park prirode Papuk osnovan je 1999. godine i vjerujem da grof JankoviÊ sada mirno spava jer ustanovom upravlja tim struËnjaka koji su rekonstruirali sva grofova postignuÊa i dodali joπ neka primjerena naπem dobu. U dolini je planinarski dom koji nudi okrepu i smjeπtaj, a ako ne moæete uzeti sabbatical i odmoriti duπu i tijelo na dulji rok, provedite u domu tjedan dana i bit Êete kao novi. Zbog prekrasnog krajolika i mira u kojemu duπa moæe otpoËinuti, poËet Êete smiπljati naËine kako da u dolini ostanete πto dulje ili barem navraÊate πto ËeπÊe. I tad zamiπljate kako bi bilo lijepo πetati i imati moæda i teËajeve

slikanja i maËevanja, turnire bridæa ili πaha, uvjeæbavanje pjevanja, sviranja ili dramskih djela, teËajeve za uËenje jezika i vezenja zlatnim koncem, baπ kao πto je nekoÊ Ëinilo plemstvo u svojim ladanjskim dvorcima. Tijekom boravka u Jankovcu u Ëovjeku se zbiva neprestana borba bi li iskljuËio mozak i samo upijao prirodu i zvukove ili se posvetio poda-cima o svijetu prirode na didaktiËki savrπeno opremljenim ploËama, kojih je ukupno 23, a nose primamljive naslove poput: Putovanje jedne kapljice, Geoloπki stup, Gozba na panju, ©umska kraljica itd. Grofova je staza pouËna staza u najljepπem dijelu Park πume Jankovac i kreÊe neposredno ispred planinarskog doma. Laganom πetnjom uz ponegdje strme uspone raËunajte s dva i pol sata hoda uz dva prelijepa jezera. Dao ih je sagraditi grof JankoviÊ, pot-puno u stilu s ureenjem okoliπa, po naËelima Kulturlandschafta, a u njima plivaju divovske pastrve. Jezera su Ëista i prozirna, na dnu raste trava, a divlje su se patke razgoropadile jer viπe ih ne love plemenita gospoda. Iako im idilu katkad prekine poneka ptica grabljivica! Nedaleko od drugog jezera poËinje gustiπ praπume i uspon uza strmu liticu, kojoj se moæe priÊi uz pomoÊ drvene konstrukcije stuba. Grofova se grobnica obnavlja i zaπtiÊuje jer veÊ je dvaput u posljednjem stoljeÊu bila metom razbojni-ka u potrazi za blagom. Nalazi se u litici, na popriliËno strmome mjestu i njezina opora ljepota kao da vas transponira u vjeËnost u kojoj poslovni rokovi i obveze viπe ne postoje, nego se samo Êuti prisutnost zanesenjaka koji je sve to sagradio. I pitate se kakav bi æivot bio kad bi se barem na tren mogao æivjeti posve bez obveza, osim onih koje vam nametne srce i vaπe osobno nagnuÊe! U blizini je i brlog grofova suvremenika, neki izvori kaæu i dobra druga, slavonskog Robina Hooda, poznatog hajduka Maksima BojaniÊa, za kojega se zna da je u tim krajevima hajduko-vao od 1850. do 1862. godine i da se nakon razbojniπtva Ëesto skrivao u πumi i πpilji nad izvorom u Jankovcu. Ulaz u πpilju priliËno je dug i uzak, a unutraπnjost malena. Pazite da vas ne iznenadi letom i krikom koji πiπmiπ, jer i njih je na Jankovcu mnogo.Putanja Grofove staze vijugava je i uska, penje se u visinu, a katkad i prekrita palim drvetom koje trune i tako nudi staniπte drugim æivim biÊima∑njih tristotinjak stoluje u na izgled mr-tvom deblu i na njemu. U parku se ne sijeku i ne sklanjaju sruπena stabla, poπtuje se prirodni tijek stvari. ProÊi Êete i pokraj nekadaπnje jazbine urednog jazavca kojega je istjerala lukava lija, a zapanjit Êe vas i prava praπuma boæikovine koja je u Hrvatskoj zbog rijetkosti zaπtiÊena vrsta. Iako viπe nema risova, vuko-

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va i dabrova, πumsko obilje obuhvaÊa divlje svinje, jazavce, veprove, jelene, srne i 110 vrsta ptica.U πumi raste i crni tartuf, ali ne eksploatira se. Uza stazu mogu se zapazitii crvene glji-ve s bijelim toËkicama, kao iz slikovnice o Snjeguljici, koje narod zbog otrovnosti zove ludarama ili muharama. NekoÊ su se brale i stavljale visoko na ormare, daleko od dohva-ta djece, kao prirodni insekticid na koji bi se lovile muhe i moljci. Na drugoj polovici staze, na malom proplanku, nalaze se tri groba u kojima poËivaju upravitelj staklane Ivan Ga-steiger, njegova supruga Katarina i sin Karlo. Jankovac se, naime, i spominje prvi put kao Staklana na Skakavcu − zapisano je tako 16. rujna 1801. u matiËnim knjigama u VoÊinu. Staklana je radila sve do 1841. na Jankovcu, a tada je preseljena u ZveËevo. Bukva je bila vaæan sastojak u proizvodnji stakla, pa je to i razlog πto su u Jankovac doπli Ëeπki i austrijski staklari, tu radili, æivjeli i umirali. Ali za mnoge je najveÊa atrakcija slap Skakavac i stijene koje ga okruæuju. Ima neπto velebnoga u slapovima i iznenadnim proplancima, mogu prikovati ljudsku duπu na daπËicu vjeËnosti na koju se ona nasloni kao da je rijeË o mekoj mahovini, i postane jednostavno nepomiËna. OpËinjena. A oËi okovane u kapljice koje prπte poput nestaπnih DomaÊih iz bajke Ivane BrliÊ MaæuraniÊ. Grof je volio slap i okolno stijenje prekriveno mahovinom pa je dao sagraditi πetnicu do slapa sa stubama isklesanima u sedri. Æivio je na Jankovcu od 1840. do 1861. godine, kad je i umro. Posvud se osjeÊa trag njegove preda-nosti i potpune posveÊenosti voljenom imanju. Zato i pokuπajte odvojiti cijeli vikend za Park prirode Papuk s noÊenjem u planinarskom domu. Jer vrijedi zastati, osluhnuti i odmoriti se. Bilo bi idealno da to moæete uËiniti i tako bez æurbe posjetiti Rupnicu, prvi hrvatski geoloπki spomenik prirode (oko 1 km od VoÊina). Na lokalitetu Rupnica nauËit Êete mnogo o fenomenu stijena − vulkanskih stupova. »etverostrani i πesterostrani prizmatski stupovi nastali su kao posljedica stvaranja pukotinskih sustava pri hlaenju magme na prolazu prema povrπini Zemlje. Danas je sve mirno, ali Êuti se potmula snaga Zemljine utrobe, koja kao da poruËuje: Sa mnom nema πale! U blizini je takoer i spomenik prirode Stari hrastovi. RijeË je o divovskim hrastovima koji su visoki oko 33 m, a stari izmeu 420 i 500 godina! Ma kako uæurbani bili i ma kako vam se vaæni Ëinili vaπi poslovi, osjeÊa se neki memento mori kao daπak koji zaπuπti kroz kroπnje i sve se u njemu smiri. Staloæi. I Ëeka − jer otiÊi od ovih divova nije lako! U blizini je joπ i specijalni re-zervat πumske vegetacije SekulinaËke planine

i spomenik prirode Staniπte tise, a na svakome od navedenih lokaliteta isplati se zastati i bo-raviti neko vrijeme kako bi duπa upila ljepotu pa s mirom Slavonije, kao da je rijeË o biseru u najdubljoj nutrini biÊa, nastavila okrijepljena i osnaæena svoje putovanje kroz æivot. n

f there were ever a book with a list of achievements by eccentrics of noble birth, at the top of that list would surely

be Neuschwanstein and Jankovac and their creators: Ludwig II and Josip von JankoviÊ, respectively. Although Neuschwanstein is a magnificent castle, and Jankovac is a forest park (a lovely mountain lodge in the style of a Swiss chalet has been erected in the place of the former hunting manor), their creators’ spirit still powerfully presides over their works. Of the two, Ludwig (1845 ∑ 1886) was a Ba-varian king who hailed from a better known and much more affluent noble family, and was thus capable of building one of the most intriguing castles in the world. By contrast, Josip von JankoviÊ (1780 ∑ 1861) was born to a family who owed their noble title as counts to Empress Maria Theresa. At their time, having noble descent primarily implied responsibilities, and only then privileges. The education of a child born into a noble family included linguistic skills (grammar, rhetoric and logic), numeric skills (arithmetic, music, geometry and astronomy), fencing and good manners. Both of them resented the discipline and formal nature of many of their protocol obligations. Ludwig II shunned the Bavar-ian court in Munich, and Count JankoviÊ, a second lieutenant in the Austrian Army with access to the Viennese court, abandoned his military career and the lures of the court and retreated into the solitude of Jankovac, which he continued to cultivate with love. They were both educated and groomed to be future rulers, albeit of differently sized estates; and they both ran from the conventions of proper court behaviour into the hills. Ludwig II found refuge in the Alps, while Count JankoviÊ chose Mt. Papuk. Although groomed to dazzle the world as rulers, they were both timid and shied away from people. Neither of them married nor fathered successors. They found conso-lation and meaning in the solitude of nature and the arts. The death of the father of the family, Ivan Nepomuk von JankoviÊ in 1817, split the family estate in two: the larger part with the centre in VoÊin was inherited by the elder son Josip, and the smaller part with the centre in Terezovac (modern-day Suhopolje) was taken over by the younger Stjepan (who got married and begot a successor Josip, who in his turn

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fathered Elemir; Elemir’s son Andrija finally sold the estate in 1931). While Ludwig II was also popularly known as the king of fairytales (Märchenkönig), many saw Count Josip JankoviÊ as the king of the fairies (Erlkönig) who lived in the forests. His grave is exactly where he wanted it, in a cave burrowed into a steep rock. Let us start with how to get to Jankovac: if you are coming from Zagreb (187 km), drive to Poæega and then on to a place called Velika, where one of the entrances to the centre of the nature park is located. The park’s distance from Osijek is 96 km. Two other equally beau-tiful and picturesque entrances to the park are VoÊin and Orahovica. As you leave the asphalt and continue driving along a stone and pebble-covered road, admittedly wide enough, but nevertheless winding and quite steep at places, you will be forced to slow down and thus gradually enter the mythical world of Jankovac. Despite the fact that a human presence can be felt, you will be astonished by the age of the trees (some parts of the for-est are over a hundred years old) and the way the landscape looks like a proper rainforest at places. Over 500 plants and over 1500 animal species have been discovered here. Mountain birch trees prevail (80 per cent), whereas Sessil oaks can be seen in smaller areas along the southern slopes. Sycamore maple trees and ash trees cover the coldest parts in the areas where snow tends to stay the longest. While slowly negotiating the road, you will be dis-creetly followed by the murmur of the creek on the left hand side, and spooked by the leaves of the giant nephrolepis plants which look like giant fans. You will be compelled to stop in a place across from the Skakavac Waterfall (35 metres) and come closer to the magnificent block of migmatites, the oldest rocks, which are about 260 million years old and date back to the Palaeozoic era. You should certainly get out of your car to caress the rocks with the palm of your hand, and look for the reflections of former plants and animals. You are actu-ally at the bottom of the one-time Pannonian Sea. Do not rush! The rocks in the Jankovac valley span different geological eras ∑ this ter-ritory contains the only geological park in the Republic of Croatia. Search the web pages at www.pp-papuk.hr and www.papukgeopark.com to learn a number of other details which will make your visit particularly edifying and help you choose from one of the five educational trails equipped with information panels. This may also be the place to dispel the myth that Slavonia is one flat plain after another. Mount Bilogora, and particularly Papuk and Krndija, constitute the backbone of the low-

lying extremities and the source of strength that flows through Slavonia. The seemingly benevolent nature of Slavonian beaus and carousers hides a sturdy character shaped by eternal hills, impermeable forests and numer-ous sources of water.The beauty of the scenery will take your breath away when you arrive at the valley. The grass is lush and green; the imposing old trees sit around the valley like a council of village sages, and protect it with their steadfastness and wis-dom. Everything is very beautifully maintained, with lots of love and knowledge. Papuk was proclaimed a nature park in 1999. I believe that Count JankoviÊ can rest in peace as the park is managed by a team of experts who have reconstructed all of the count’s achievements and added a few more as well, which are typi-cal of our own times. A mountain lodge in the valley offers food and lodgings. Even if you are not in the posi-tion to take a sabbatical long enough to fully recharge your batteries, you will still emerge reinvigorated having spent only a week in the lodge. The lovely countryside and tranquillity provide your soul with coveted rest and quiet, and soon make you ponder ways and reasons that would enable you to stay in the valley for as long as possible, or at least to come as often as possible. You start imagining how lovely it would be to go for long strolls; or maybe at-tend painting or fencing courses; participate in bridge or chess tournaments; practice singing, playing an instrument or perhaps acting in a drama; how lovely it would be to learn a foreign language here or the skill of embroidery with a golden thread in the fashion of the former nobility who did exactly that in their country-side retreats. During a stay in Jankovac, you are subjected to a constant personal struggle: whether to turn off your brain and abandon yourself to the sights and sounds of nature, or, quite the opposite, pay attention to the information about nature on the perfectly equipped educational panels, a total of 23 of them, which all bear attractive titles: Travels of a drop of water, Geological column, Feast on a trunk Forest queen, etc. The count’s trail is an educational path in the most beautiful part of the Jankovac Forest Park and it starts right in front of the mountain lodge. In just two and a half hours you can take an easy countryside stroll, with some steep climbs, as well as walk along two of the most beautiful lakes, which Count JankoviÊ had had built completely in keeping with the Kulturlandschaft principles, even down to the giant trout swimming in them. The lakes are clean and transparent; grass grows at their bottoms, and the wild ducks have gone totally berserk as there are

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no noblemen out there to hunt them. Admit-tedly though, their idyll can be interrupted by an occasional bird of prey! A thick virgin forest starts not far from the second lake, just a short climb up a steep rock that is accessible via a wooden staircase construction. The count’s grave has been restored and protected after having been vandalized twice during the last century by thieves in search of treasure. It is located in a rock on a rather steep slope. Its coarse beauty seems to take you to a place where business deadlines and commitments no longer exist. The only thing you can feel is the presence of the eccentric who built all of this. It makes you wonder how lovely it would be to live, just for a brief moment, without any other commitments but those chosen for you by your own heart and inspiration! Not far from here is the den of the count’s contemporary and good comrade, according to some sources, the Slavonian Robin Hood, the well known bandit Maksim BojaniÊ, who is known to have roamed the area between 1850 and 1862. On his return from plundering pursuits, he often hid in the forest and the cave above the source in Jankovac. The entrance to the cave is quite long and narrow, and its interior is confined. Do not get startled by the flying and shrieking of bats ∑ there are a lot of them in Jankovac! The count’s trail is winding and narrow, always ascending. It can be covered by a fallen tree trunk which rots away and provides residence to other living creatures: approximately three hundred of them live on and in the seemingly dead trunks. There is no felling in the park; fallen trees are not removed; nature is allowed to follow its course. You will also pass by the former nest of a neat badger which had been chased out by a cunning fox. You will be startled by a virgin holly forest, a protected rare species in Croatia. Although there are no more lynx, wolves and beavers, the forest abounds in boar, badgers, deer, doe and 110 bird species. The forest is also a habitat for black truffle, but the mushroom is not exploited here. As I followed the trail, I had my first encounter with the red mushroom with white spots (like the ones you find in the Snow White fairytale book), popularly known as fly agaric or fly amanita, a poisonous mushroom that people used to pick and store on top of cupboards, out of children’s reach, as a natural insecticide that attracted flies and moths. A little opening along the second half of the trail is the loca-tion of three graves ∑ the resting places of the glassworks’ manager Ivan Gasteiger, his wife Katarina and son Karlo. The first written reference to Jankovac as Glassworks at Skakavac was entered in

VoÊin’s register on 16th September 1801. The glassworks operated in Jankovac until 1841 when it was moved to ZveËevo. Beech was an important ingredient in glass manufacturing, which is why Czech and Austrian glassmakers came to Jankovac; they worked there, lived and died there. For many, the biggest attraction is Skakavac Waterfall and the rocks that surround it. There is something awesome about waterfalls and glades which suddenly open before one’s eyes. They are capable of riveting one’s soul to a little board of eternity on which the soul reclines, as if on soft moss, and then becomes simply still. Mesmerized. And one’s eyes are enchanted by the drops which splatter like the playful Brownies from Ivana BrliÊ MaæuraniÊ’s fairytale. The count loved the waterfall and the surrounding rocks covered in moss, which is why he had a trail built all the way up to the waterfall with a stairway chiselled in the trav-ertine. He lived at Jankovac from 1840 until he died in 1861. You can witness the traces of the good count’s dedication and full commitment to his beloved estate every step of the way. That is why you should try to spare a whole weekend for the Papuk Nature Park and stay in the mountain lodge. It does pay to stop, listen and relax. It would be ideal if you could do it at your leisure and visit Rupnica, the first Croatian geological park of nature (about 1 kilometre from VoÊin). At Rupnica you will learn a lot about the phenomenon of rocks: the four and six-sided prismatic volcanic columns were created by hot magma rising to the surface of the earth and cooling down in the process. Although everything is calm today, one can still feel the ominous force fuming in the belly of the earth. It seems to be sending us a message: There is no joking with me!Not far from here is a nature monument Old Oaks. The giant oak trees are about 33 metres high and between 420 and 500 years old! However busy one may be and however im-portant one’s chores may seem, they cannot escape the acute awareness of a Memento Mori as a soft breeze rustles through the tree tops. There is an overwhelming feeling of calm. Everything falls into place. And one waits ∑ it is not easy to leave these giants behind! Nearby is also a special forest reserve on the Sekuli-naËke Mountains and a larch habitat (natural monument). All these localities deserve a visit. You should spend some time at each of them to allow your soul to absorb their beauty. And then, with the calm of Slavonia resting in you like a pearl in the deepest depth of one’s being, you can move on with your soul invigorated and braced for its journey through life. n

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Tekst i fotografije/Text and photos Goran ©afarek

Drugdje su nizinske rijeke pod bremenom regulacija odavno izgubile prirodni izgled, no ovaj saËuvani

dragulj izmeu Podravine i Meimurja ostao je nedirnut. Gotovo nigdje viπe na starom kontinentu ne

nalazimo tako oËuvane obale, sprudove, rukavce i πume.

Unlike elsewhere, where lowland river basins have long lost their original appearance under the burden

of river regulation projects, this jewel has remained pristine, nestled between Podravina and Meimurje

and well protected from human influences. Almost nowhere else does the old continent offer banks,

shoals, river armlets and forests that are so well preserved.

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U proljeÊe ribe u ovim jaslicama ostavljaju jaja koja se zatim razvijaju te, dok odrastu, vraÊaju u maticu.Na ovako zdravim ekoloπkim sustavima æivi mnogo vrsta. Ptice su izvrstan indikator, a kao uvelike istraæena skupina æivotinja, dobar su pokazatelj oËuvanosti staniπta. Na uπÊu Mure meu njima su i crne rode, πtekavci i ostale pti-ce grabljivice, pjevice... To su sve rijetke vrste s popisa zaπtiÊenih vrsta. Primjerice vodomar, πtekavac i Ëigre temelj su za uspostavljanje Nacionalne ekoloπke mreæe svih znaËajnih prirodnih podruËja u naπoj zemlji te Êe biti dio NATURE 2000, mreæe vaænih prirodnih podruËja Europske unije.Ovako divan kraj nije mogao promaknuti ni ljudima. RibiËi su odavno otkrili sve draæi uπÊa i pohode rijeci u rana jutra i veËeri. Podnose i vruÊinu i komarce i loπe vrijeme, samo da mogu promatrati kljuËanje vode pri zalasku sunca, u kojoj boleni u pliÊini love kedere i ostale ribice. U novije doba i kupaËi su nahrupili na obale. Ljeti na kupaliπtu Halasz Csarda sve vrvi od ljudi. Nije im dosadno: skaËu u vodu s konopca, spuπtaju niz tobo-gan, puπtaju da ih nosi struja, plivaju protiv struje… Plaæa SIP dodatno pruæa klackanje, ljuljanje, odbojku… i, dakako, sunËanje na Ëistom πljunku. UπÊe Mure savrπen je primjer suæivota Ëovjeka i prirode. Znanost je dokazala jasnu materi-jalnu korist oËuvane rijeke, a mnogi izletnici dokazuju ono πto se ne moæe iskazati novcem, a to je kvaliteta zdravoga i Ëistog æivota! n

here is something about beginnings and ends, something that makes them particularly memorable. Wheth-

er we are talking about the birth and death of a human being, the creation or demise of an empire, the source or the mouth of a river − we seem to be impressed by all of them and strive to mark them in a special way. The mouth of the Mura River is one such special place, the place where the river dies, but at the same time continues to live in the Drava River. It seems as if the river wants to preserve its identity for just a little bit longer as its dark tongues flicker in the waters of the more transparent Drava for a kilometre further downstream until the two finally merge into one river. Only here can one see herds of deer crossing the swollen and wide Drava. They struggle as they swim across the water, but they man-age to get through unscathed. A fox is seen rollicking along the bank scouring for a bite to eat. It stops for a moment.... very still with its ears upright − it has spotted an intruder. Even more cautiously, a doe negotiates the shoal; its antenna-like ears pinned back to

vaki se poËetak i kraj osobito pam-te. Bilo da je rijeË o roenju i smrti Ëovjeka, nastanku i propasti nekog

carstva ili izvoru i uπÊu rijeke, Ëovjek je uvijek njima opËinjen i obiljeæava ih. Tako je i uπÊe rijeke Mure osobito mjesto, mjesto gdje ona umire, ali u ovom sluËaju nastavlja æivot u rijeci Dravi. Kao da æeli saËuvati joπ barem neko vrijeme svoj identitet, Murini tamni jezici palucaju u bistrijoj Dravi dok se nakon kilometra napokon zauvijek ne pomijeπaju i postanu jedno.Samo se ovdje moæe vidjeti stado jelena kako prelazi nabujalu i πiroku Dravu. S velikom mukom plivaju, no sretno izlaze iz rijeke. Lisica oprezno trËkara πljunËanim sprudom i traæi kakav zalogaj. Za trenutak staje, Êuli uπi i primiri se ∑ ugledala je uljeza. Na sprud joπ opreznije dolazi srna, njezine uπi poput antena osluπkuju svaki zvuk. Ipak, sigurna je, ljudi ovdje gotovo i nema. Tu vlada prava divljina na rijeci, tako rijedak prizor u staroj, odavno uljuenoj Europi. Drugdje su nizin-ske rijeke pod bremenom regulacija odavno izgubile prirodni izgled, no ovaj saËuvani dragulj izmeu Podravine i Meimurja ostao je nedirnut. Gotovo nigdje viπe na starom kontinentu ne nalazimo tako oËuvane obale, sprudove, rukavce i πume. ©toviπe, i da nije rijetko, opet bi se uπÊe Mure isticalo nekom osobitom bujnoπÊu, obdareno stvaralaËkom snagom dviju rijeka. Usporedbe su ovdje sve do veliËanstvene amazonske tropske kiπne πume. Kad bi Ëovjeka netko usred Londona uzeo za ruku i s povezom na oËima dovezao avionom i spustio padobranom na dravske sprudove, ne bi znao nalazi li se u Podravini ili na obalama neke divlje amazonske rijeke. Jedino πto je Podravina pitoma, za razliku od zelenog pakla Amazone.OËuvano i netaknuto uπÊe Mure u Dravu veÊ je sada æivi muzej. Ono nas podsjeÊa i uËi kako bi trebala izgledati prirodna nizinska rijeka te budi nadu da Êemo shvatiti kakvo su Mura i Drava blago ako nestanu jednog dana. Uspo-redbu s muzejom opravdava joπ jedan razlog: prirodnih nizinskih rijeka u Europi davno je nestalo pa ovaj saËuvani komadiÊ zasluæuje da se Ëuva i ponosno pokazuje baπ kao i cijenjeni arheoloπki nalaz ili izloæak.Suvremena je znanost pokazala da rijeka nije samo voda izmeu dviju obala. Njezine granice, ako se uopÊe mogu odrediti, idu daleko od korita. Rijeka cirkulira podzemljem koje tvori svijet za sebe. Voda iz rijeke prelijeva se u rukavce, zalijeva poplavne πume ili livade. Uz pomoÊ sunca voda se isparava u zrak i stvara oblake. Ta ista voda nosi sa sobom sediment ∑ πljunak i pijesak koji grade ne samo korito, nego i tlo kilometrima daleko. Samo je

takva rijeka æiva, a to dokazuju mnoge biljne i æivotinjske vrste na njezinim obalama, bilo Drave ili Mure. »igre, bregunice, vidre, biljke kebraËi u poplavnoj πumi vrbe i topole samo su mali dio njezinih stanovnika. Ove dvije rijeke njihova su æivotna linija, a uπÊe Mure njihovo srce i duπa. UπÊe Mure u Dravu osobiti je fe-nomen kojim se Hrvatska moæe podiËiti pred cijelom Europom. Vaæno obiljeæje nizinske rijeke njezina je pri-rodna dinamika. Ona u dugom razdoblju slo-bodno krËi put kroz meko tlo ∑ zemlju, pijesak ili πljunak. Na jednoj strani obale rijeËna voda taloæi sediment, a na drugoj nagriza obalu. Centimetar po centimetar i tijekom godina rijeka se na tome mjestu proπiri i desetak metara. Zavoj se nakon nekoliko desetaka ili stotina godina poveÊava poput balona za napuhavanje, tako da poËetak i kraj mogu biti vrlo blizu. Visoka voda moæe tada preko noÊi probiti novi put te spojiti poËetak i kraj zavoja. Umjesto meandra ostaje rukavac u kojemu voda slabije teËe. Takvi rukavci djeluju kao mali pritoci, no oni se prije ili poslije spajaju opet s maticom. Grananje rijeke na poviπenim sprudovima doima se poput opuπtene pletenice. Rijeka se tada πiri ∑ i postaje nestalna granica kopna i vode. Danaπnje stanje s dominantnim glavnim tijekom u veÊine europskih rijeka rezultat je regulacija. Prirodna dinamika poput one na uπÊu Mure stvara mnogo raznolikih i oËuvanih staniπta na relativno malom prostoru. S popisa Nacionalne klasifikacije staniπta Hrvatske, ovdje nalazimo tekuÊice, povremene tekuÊice, staniπta amfibijskih zajednica, strme rijeËne obale, trπËake, πaπ i plutajuÊu vegetaciju, gotovo neprohodnu πumu vrba i topola... ©toviπe, ta se staniπta mijeπaju ∑ rukavci vijugaju duboko u πumi, sprudovi dopiru do topola i vrba. Usto, stvaralaËka snaga rijeka neprestano ih mijenja, pomlauje, ne dopuπta da svugdje zagospodari πuma. Osobito su vaæni sprudovi, na izgled goli πljunak, no zapravo jedinstveno staniπte prilagoenih vrsta æivotinja i biljaka. Ptice kulici, Ëigre i prutke ondje polaæu jaja, jednaka kao i obluci πljunka oko njih. Gnijezdo nije umekπano nikakvim granËicama ni travkama, da ne bi privukli paænju grabeæljivaca. Isto tako, strme, oderane obale dom su bregunica-ma, vodomarima i pËelaricama. Te ptice buπe duboke, uske tunele s kuglastim proπirenjem na kraju ∑ jaslicama za mladunce. Veoma su vaæni i rukavci ∑ spona kopna i vode, gdje se sreÊu i lisice i Ëaplje, i jeleni i vodene zmije. Tu pleπu vretenca u svadbenom grËu, Ëaplje gacaju traæeÊi kukce, æabe. Rukavci sa spo-rijom vodom i mnogo mjesta za skrivanje u vegetaciji osobito su vaæni za mrijeπtenje riba.

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hear every sound. Nevertheless, it feels safe; there are hardly any people here. Wilderness reigns supreme along the river, which is an incredibly rare sight in Europe, an ancient continent which has been civilized for a long time. Unlike elsewhere, where lowland river basins have long lost their original appear-ance under the burden of river regulation projects, this jewel has remained pristine, nestled between Podravina and Meimurje and well protected from human influences. Almost nowhere else does the old continent offer banks, shoals, river armlets and forests that are so well preserved. Even if the scenery were not such a rare vision, the mouth of the Mura would still stand out in terms of its exu-berance, drawing from the creative energy of the two rivers. Not uncommonly, a reference to the magnificent Amazon tropical rainforest comes to mind when people try to describe the scenery of the mouth of the Mura. If one were to be taken by the hand in the middle of London, blindfolded and brought by plane to parachute onto the shoals of the Drava, they would have a hard time guessing whether they were in Podravina or on the banks of the wild Amazon River. The only difference lies in the fact that Podravina is a tame and amenable region, unlike the green inferno of the Amazon. The well preserved and intact confluence of the Mura and Drava rivers is already consid-ered a living museum. It reminds and teaches us of the way a lowland river should look if nature were not tampered with by humans, and it sparks a hope that we will learn to ap-preciate the treasures that the Mura and Drava rivers represent before those treasures disap-pear forever. There is another good reason to call the area a living museum: natural lowland rivers in Europe are long gone, so this well preserved corner of the world deserves to be cherished and proudly displayed as any other valuable archaeological find or exhibit.Modern science has demonstrated that the term river denotes much more than just a body of water flowing between two banks. Its borders, if they can be identified at all, reach far beyond its bed. A river has an underground world unto its own. River waters fork off into armlets; they irrigate flooded forests and meadows. With the sun’s help, water evapo-rates and creates clouds. That same water contains sediments − pebbles and sand which serve as building material, not only of the river bed itself, but for the soil which surrounds the river and stretches for kilometres on both sides. Only in that way does a river really live, and that life is reflected in the myriad of plant and animal species which inhabit the banks

of both the Drava and Mura. Terns, martins, otters, tamarisks and willow and poplar trees in the flooded forests are but a few of the rivers’ inhabitants. The two rivers are their lifeline, and the mouth of the Mura their heart and soul. The confluence of the Mura and Drava represents a special phenomenon and something that Croatia can boast of before the whole of Europe.An important characteristic of a lowland river is its natural dynamics. Every such river flows freely over a long period of time and negoti-ates its way through soft terrain − soil, sand or pebbles. The river water deposits sediments on one of the banks, while eroding the soil on the other. Centimetre by centimetre, over the years, the river widens in such places by a dozen metres. Over decades or centuries, such a bend increases like an inflated balloon so much so that its beginning and end can come really close to each other. High waters often burrow a new path almost overnight, thus connecting the beginning and the end of such a bend. The former meander is replaced by an armlet through which water does not flow with equal vigour and power. Such armlets look like small tributaries, but sooner or later they merge with the main body of water. In such places, the river becomes particularly wide − and forms a volatile border between the land and water. The present state of a majority of European rivers which have a dominant main flow is the result of extensive regulation. The natural dynamics of rivers, such as the mouth of the Mura, create a number of diverse natural habitats in a relatively small space. Of the habi-tats highlighted by the National Classification of Croatian Habitats, we can find here perma-nent streams, temporary streams, amphibian habitats, steep river banks, cane, reed and floating vegetation, almost impassable willow and poplar forests… These habitats often mix, as armlets meandering through the forests and shoals reach as far as the poplar and willow trees. Additionally, the creative force of the river constantly changes and regenerates the forests and prevents them from growing totally wild. Particularly important areas are shoals, seem-ingly composed of nothing else but bare pebbles; actually, these are the unique habitats of well adapted animal and plant species. Lapwings, terns and common sandpipers lay their eggs here, and the eggs blend with the smooth surface of the pebbles which surround them. Their nests are not made soft and cushy with twigs or grass blades − all those would attract birds of prey. The steep eroded river banks are the habitat of sand martins, kingfish-ers and bee-eaters. These birds burrow deep

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and narrow tunnels with a ball-shaped space at the end − this serves as a nest for the young. Very important features are the armlets − the links between the land and the water, the stomping ground for foxes and herons, deer and water snakes. This is where dragonflies swirl in their mating dance, herons puddle scouring the water for insects and toads. The armlets with their slow-flowing waters and an endless number of places to hide in the vegetation are particularly important spawning places. Come spring, fish will deposit their eggs in these nest-like spots; the eggs continue to develop and grown-up fish return to the main body of water. Healthy eco-systems are natural habitats of a number of different animal species. Birds are an excellent indicator of that. They have been thoroughly studied in the Mura region and the results of the studies prove that their habitats have indeed been well preserved. The aviary inhabitants of the mouth of the Mura include black storks, white-tailed eagles and other birds of prey and song-birds. They are all rare species featured on the protected animal lists. Kingfishers, white-tailed eagles and terns, for example, represent the foundation for the creation of the national ecological network of all the important natural areas in our country and will be part of the NATURA 2000 network of the most important natural habitats of the European Union. A beautiful spot like this could hardly go un-discovered by people. Anglers, who have long tapped into the charms of the confluence, flock to the river banks early in the morn-ing or at sunset. They gladly bear the heat, mosquitoes or bad weather, just to be able to observe the churning of the water at dusk as asps hunt for minnow and other small fish in the shallows. As of recently, swimmers have also started coming in droves. The Halasz Csarda bathing spot is overrun by them in the summer. They have found a number of ways to entertain themselves: they jump into the water from the swinging ropes, they slide down the toboggans, they let themselves be carried by the current or swim against it. The SIP beach offers other additional entertainments: seesaws, swings, volleyball… and last but not least, sunbathing on the clean and pleasantly warm pebbles. The mouth of the Mura is an excellent example of how humans can coexist with nature. Sci-ence has proven that there is a clear material benefit from an unspoiled and well preserved river flow, and numerous excursionists are the best proof that there are things whose value cannot be expressed in monetary terms − the quality of a healthy and clean living! n

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vatko tko je ikad zavirio u unutraπnjost Istre, malo skrenuo s uobiËajenih turi-stiËkih ruta uz more, napustio vrevu i

guævu poreËkih, pulskih ili rovinjskih ulica, uro-nio je u posve specifiËan svijet bujnoga zelenog raslinja, uskih cesta i putiÊa opasanih kamenim zidovima, iza kojih su masline i - kaæuni. Moæete proÊi pokraj jednoga, moæda i pokraj drugoga, ali kod treÊega Êete zacijelo stati, izaÊi iz auto-mobila, potraæiti pogledom unaokolo nekoga od domaÊih ljudi da vam objasni o kakvoj je to bajkovitoj kamenoj kuÊici rijeË.Naslonjen na suhozid ili posve sâm, kaæun je pravo remek-djelo jednostavnosti, koje odiπe onim vjeËnim graditeljskim zanosom da se iz jednoga materijala, praktiËki iz jednoga poteza, od kamena napravi neπto za vjeËnost. Kaæun je, zapravo, po svojoj svrsi mala poljska kuÊica, tj. skloniπte za pastira ili Ëovjeka koji je cijeli dan u polju, napravljena od okolna kamena, koji se ionako morao skupiti s polja i s njega ukloniti. Za krov su se birale tanke kamene ploËe, koje su se bez ikakva veziva slagale u sve uæe koncentriËne krugove kako bi se dobila laæna kupola. Ulaz je malen pa se valja sagnuti, ali sasvim dovoljan da se u kaæunu ostavi alatke i ostali pribor kojim se radilo na polju.

Naslonjen na suhozid ili posve sâm, kaæun je pravo remek-djelo

jednostavnosti, koje odiπe onim vjeËnim graditeljskim zanosom da

se iz jednoga materijala, praktiËki iz jednoga poteza, od kamena

napravi neπto za vjeËnost.

Leaning against a wall or standing on its own, the kaæun is a mas-

terpiece of simplicity, which emanates the builders’ desire to create

something that would last for eternity, from a single type of material,

almost in a single stroke.

BA©TINA HERITAGE ■

Piše/By Andrej Lehotsky

Fotografije/Photos Romeo IbriševiÊ

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OBNOVA KAMENOG SIMBOLA ISTARSTVA

A REVIVAL OF THE STONE SYMBOL OF ISTRIANSHIP

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Ali, kaæune je s vremenom snaπla sliËna sudbina kao i veliki dio kulturne i puËke baπtine, pa su se zbog nekoriπtenja polako poËeli zaboravljati. Mnogi su se uruπili, zarasli u grmlje i πikaru... No, kako je baπ kaæun posljednjih godina postao jedan od simbola istarstva, a tako i Ëest suvenir, u Istri se rodila inicijativa ne samo za obnovom starih kaæuna, nego i za gradnjom novih. IdentiËnih i napravljenih jednako kao oni romantiËni, stari.PodruËje oko Vodnjana, nedaleko od Pule, poznato je kao dio s najveÊom koncentracijom kaæuna u Istri. Kamen koji se vadio iz istarskih polja, kako bi se dobilo πto viπe obradive zemlje, upotrebljavao se na tri naËina: za gradnju su-hozida (masiere) kojima su se ograivala polja, slagao se na gromaËe (groumasi) te za gradnju kaæuna (casite).Grad Vodnjan ima i najveÊu koncentraciju kaæuna na Sredozemlju, po nekim procjena-ma ima ih otprilike dvije tisuÊe. Te kamene poljske kuÊice veÊ su stoljeÊima strukturalni elementi vodnjanskoga ruralnog prostora. Nakon oblikovanja gradskog naselja, poËela se obraivati zemlja, koju su poljoprivrednici trebali iskrËiti. Uredno i strpljivo naπi djedovi prenosili su na rubove polja sav kamen na koji je njihov plug nailazio i odgrtao iz tla, slagali su ga geometrijskom preciznoπÊu u suhovezu sitnom kamenom graom. Ove je godine grad Vodnjan pokrenuo akciju Moj kaæun ∑ La mia casita i otvorio prvu radi-onicu kaæuna u Istri. Svakoga petka i subote odræavane su besplatne edukacijske radionice u kojima su se polaznici upoznavali s tehnikama gradnje kaæuna i suhozida. Projektom je uprav-ljala Nensi Giachin MarsetiË, struËna suradnica za druπtvene djelatnosti grada Vodnjana. Lani je poËelo obnavljanje kaæuna uz trasu istarskog ipsilona, ali akcija je vrlo brzo uzela maha i poËela je obnova svih i gradnja novih kaæuna u okolici Vodnjana.Akcija je poËela na Santolini, oko dva kilometra udaljenom podruËju od Vodnjana, pokraj nekad mistiËne zemlje zvane Meumjesto. Proπlo se kroz Gajanu, a na zavrπetku velike nizbrdice bila je ploËa i skroman putokaz koji je usmjeravao sve zainteresirane prema jednome od najveÊih kaæuna toga kraja. Na ulazu u Santolinu bila je Nensi Giachin i dijelila majice, rukavice i bedæeve sa zaπtitnim znakom akcije, a zainteresirane graditelje kaæuna doËekali su gradonaËelnik Vodnjana Klaudio VitasoviÊ, Ëlanovi Poglavar-stva i - meπtar od kaæuni Branko OrbaniÊ iz æminjske tvrtke Kapitel, koji je vodio cijeli projekt. I kamen po kamen, iz ruke u ruku, u okolici Vodnjana poËeli su nicati novi kaæuni.Kaæuni su specifiËni za Istru, toËnije, rijeË je o tzv. paleomediteranskome kulturnom elemen-tu, πto nije vezano ni uz jednu etniËku grupu, jer starije je od bilo koje poznate kolonizacije

istarskog poluotoka. NajËeπÊe se mogu vidjeti u juænome i zapadnom dijelu Istre, a srodne kuÊice posijane su i diljem Europe, npr. u Pro-vansi, GrËkoj, na britanskom otoËju, u Irskoj, Skandinaviji... A u talijanskoj regiji Puglia sluæili su Ëak i za stanovanje.A koliko su se suvremeni Istrani suæivjeli s ovom svojom starinom svjedoËe i mnoge replike kaæuna, koje mjeπtani grade po svojim dvoriπtima ili na ulazu u restorane. Dakako, ne kako bi umorni odloæili alat poslije povratka s polja ili se sklonili od proloma oblaka i oluje, nego kako taj simbol istarstva ne bi prepustili zaboravu i propadanju. n

nyone who has ever ventured into the Istrian inland, took a stroll off the beaten seaside tourist paths, left the

commotion and rush of the streets of PoreË, Pula or Rovinj, has plunged into a very specific world of lush green vegetation, narrow roads and paths lined by stone walls, behind which one finds olive trees and − kaæuni. Maybe you will pass by the first one, maybe even by the second one, but at the third one you will have to stop, get out of your car and look around for a local to tell you something more about this dreamy stone cottage.Leaning against a wall or standing on its own, the kaæun is a masterpiece of simplicity, which emanates the builders’ desire to create some-thing that would last for eternity, from a single type of material, almost in a single stroke. A kaæun is in fact a small house in the fields, a shelter for a shepherd or a person working on the land all day. It was built out of the stones found nearby which had to be picked up and removed from the fields. The roof was made out of thin stone slabs, put together in ever narrower concentric circles without any bond-ing material, in order to achieve a fake dome. The entrance is tiny, so one must crouch to enter, yet large enough for the farm tools to be brought in and left in the kaæun.And yet, kaæuni have met the fate of a great many folk heritage artefacts and, due to a lack of use, slowly became neglected and forgotten. Many have collapsed, disappeared into bushes and high grass... However, as the kaæun has become one of the symbols of Istrianship and a popular souvenir in recent years, an initiative was launched in Istria not only to renew the old kaæuni, but to build new ones as well. They are identical and identically constructed to the romantic old ones.The region around Vodnjan near Pula is the area with the most kaæuni in Istria. Some estimates say there are as many as 2000! The stones removed from the Istrian fields to give place to arable land was used in three different ways:

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to build stone suhozidi (masiere) to fence-in the fields, to create gromaËe (groumasi), and to build kaæuni (casite).The town of Vodnjan is the area with the most kaæuni in the Mediterranean, and according to some estimates there are around two thousand. These stone field cottages have been the fea-tured structural elements of the Vodnjan rural area for centuries. Once the town was settled the land was to be farmed, but it had to be cleared first. Meticulously and patiently our grandfathers hauled away all the stone their ploughs would run into and dig them out from the soil, they put them one on top of the other with geometrical precision, filling the gaps with smaller stones. Last year the town of Vodnjan launched a project called Moj kaæun ∑ La mia casita (My kaæun) and opened the first kaæun workshop in Istria. Free educational workshops were held on Fridays and Saturdays which intro-duced the participants to the kaæun and suhozid building techniques. The project manager was Nensi Giachin MarsetiË, the Town of Vodnjan Professional Assistant for Social Events. Last year the reconstruction of the kaæuni along the Istrian Y Road began, as well as the construc-tion of the new ones around Vodnjan.The project started in Santolina, some two kilometres away from Vodnjan, near the once mystical area called Meumjesto (Middleland). They passed through Gajana, and at the foot of the hill a modest sign directed the visitors to one of the largest kaæuni in the area. Nensi Giachin stood at the entrance and gave away t-shirts, gloves and pins bearing the project logo, and the kaæun builders were also met by the mayor of Vodnjan, Klaudio VitasoviÊ, the members of the town assembly, and the kaæun master of ceremony, Branko OrbaniÊ, from the Æminj-based company Kapitel, who was in charge of the project. Stone by stone, from hand to hand, new kaæuni mushroomed around Vodnjan.Kaæuni are typical of Istria. More precisely, this is the so-called paleo-Mediterranean cultural ele-ment, not associated with any ethnic group be-cause it is older than any known colonisation of the Istrian peninsula. They can most often be seen in the southern and western parts of Istria, whereas similar cottages are scattered around Europe, for example in Provence, Greece, the British islands, Ireland, Scandinavia... whereas in the Italian region of Puglia they were even lived in.The contemporary Istrians have embraced this part of their heritage, which is illustrated by the numerous kaæuni replicas they build in their front yards or at restaurants. Of course these kaæuni are not there for the tired farmers to put their tools in or take shelter from a storm, but as a way of not allowing for this symbol of Istrianship to be forgotten. n

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osljednji dan stvaranja odluËio je Bog okruniti svoje djelo, i tako iz suza, zvijezda i daha stvori Kornate.

Zapisao je to veliki irski poet i dobitnik Nobe-love nagrade za knjiæevnost George Bernard Shaw kad je u poËetku 20. stoljeÊa posjetio Ëudesni arhipelag Kornata, koji je 1981. godi-ne proglaπen nacionalnim parkom. Legenda kaæe da su bogovi stvorili kornatsko otoËje od suza zvijezda, a moru koje ih miluje zadnjega dana stvaranja podarili sjajno plavetnilo. Iz zraka taj se arhipelag bezbroja otoËiÊa doista doima poput svjeæih bisera razbacanih po staklenom podu. Iz velikih visina gube se iz vida prepoznatljivi detalji, valovi, usamljene masline, nastambe, brodovi i zidovi - poznati kornatski suhozidi koji πaraju cijeli otok i tako dijele πkrtu zemlju izmeu njezinih vlasnika. Iz duboka plavetnila mora istiËu se samo neobiËne, razvedene lini-je kopna. Razabire se kako je strana okrenuta kopnu blaga, plitka, vijugava s pitomim zavoji-ma, kako ljubi more i klanja mu se. Druga pak strana otoka, okrenuta nemiloj puËini, koja iz visine izgleda joπ straπnije neobuhvatljiva, uzdiæe se iz mora strmim liticama, kao da bjeæi i uzmiËe, zaprepaπtena mora beskraja. Koliko god ti biseri, poæutjeli i omirisali od smilja, izgledaju pusto i beæivotno, oni u svojim njedrima kriju riznicu æivota. Ponad mnoπtva divljeg bilja, njeænoga poput orhideja i trno-vitoga poput ruæa ili pak zvijeri poput kune ili mekuπaca iz podmorja, okoliπem Kornata kraljuje Ëovjek. »ovjek koji veÊ naraπtajima æivi na kamenu i od kamena, uz more i od mora. »ovjek koji uËi zanat od svojih djedova i preno-si ga na svoje sinove. Tito Jeæina doËekuje me na trijemu svoga staroga kamenog kuÊerka, a iz drugog plana pozdravljaju dva odrasla sina, Marino i Damir. Jeæine kao da su stopljeni sa svojim okoliπem, zamrznuti u vremenu. Dubo-ke vijugave bore na njihovim licima, jednako kao i pukotine u kamenu, ispunjene su sitnim kristalima soli koje je vjetar godinama nanosio s pjenuπavih kresta burnih valova. Dok razgovaramo na terasi njihove stare ka-mene kuÊe bez struje, Marino se hvali onime πto i ja slutim: - Mi smo istinski Kurnatari. Na posljednjem popisu stanovniπtva samo je sedam ljudi prijavljeno s boraviπtem na Korna-tima, a Tito i njegovi sinovi gotovo su polovica. Marino mi ponosno pokazuje osobnu kartu s adresom Kornata i kaæe da poπta zbog toga i ne dolazi redovito, ali to ih ne spreËava da svake godine prezime na osamljenom otoËju daleko od ljudi. Samo je nekoliko obitelji na ci-jelom arhipelagu koji se time mogu pohvaliti. Zaboravljam u kojemu se stoljeÊu nalazim dok tako Êaskamo uz bevandu pod svjetlom

TisuÊe posjetitelja doplovljava na Kornate ljeti, dive se zamamnoj

pustoπi udaljenog arhipelaga i svirepoj draæesnosti prirodnih ljepota,

blaguju darove kristalnog podmorja i oËijukaju s domaÊinima, redom

vrsnim ribarima. No kad proe dugo ljeto, nitko viπe ne dolazi na

otoke, a i njihovi vlasnici s njih odlaze na ugodnije kopno. Nekoliko

Kurnatara ostaje. Iz godine u godinu, preko zime u ljeto. Æive od

kamena i mora kao i naraπtaji prije njih.

Thousands of visitors sail around Kornati in the summers, admiring

the seductive desolateness of the distant archipelago and the cruel

charm of its natural beauty. They savour the gifts of the crystal clear

sea and they flirt with the locals, to the last excellent fishermen.

However, when the long summer comes to an end, nobody comes

to the islands anymore. The owners leave for the more comfortable

mainland. A few Kornati islanders remain behind. From year to year,

from summer to winter. They live from the stones and sea, as did

the generations before them.

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Tekst i fotografije/Text and photos Davor Rostuhar

P

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tim sitnim æivotinjama te mnogim morskim organizmima: ribom, πkoljkaπima, puæevima, rakovima, sipama i jeæincima. Do prvog tisuÊljeÊa prije Krista tim su po-druËjem zagospodarili vrsni pomorci Liburni, sukobljavali se s Grcima i Rimljanima, bavili se pomorstvom i trgovinom, ali i gusarstvom. Kad su zadarski otoci, a tako i Kornati, doπli pod rimsku upravu, ljudi su se uz tradicionalno stoËarstvo poËeli baviti i maslinarstvom, uz-gojem vinove loze, iskoriπtavanjem kamena, solanama i ribarstvom. Kornati su zatim dopali Bizantu, pa Veneciji. Do kraja 19. stoljeÊa Kor-nati su bili u vlasniπtvu zadarskih vlastelina, a na njima su teπkim æivotom æivjeli kmetovi. Kad je neki vlastelin ostao bez nasljednika, seljaci su se zaduæili i otkupili tu πkrtu zemlju na kojoj su æivjeli i radili. Meu tim seljacima bili su i Titovi pradjedovi.Bez mnogo obaziranja na moderno vrijeme, na razvoj turizma i sve ËeπÊe brodice koje prolaze ispred njihova otoka, Tito i njegovi sinovi idu svojim poslom preko godine, preko cijele kor-natske godine. Zimi love palamitu i manje ribe poput bugve, πaruna, skuπe. Do proljeÊa su hobotnice veÊ dovoljno krupne za lov. Nakon toga diæu gajete na kopno pa ih boje, masline gnoje i obrezuju, a ovcama zbog obiljeæavanja kidaju uπi. Ljeti πiπaju i kolju janjce, a u moru love rakove i dobru ribu. S jeseni poËinje migracija cipla, pa su lignje spremne za lov, masline za berbu… A oko polja i kuÊe uvijek ima nekog posla.Marino Jeæina odrastao je na Kornatima, ali πkolovao se u Zagrebu - Moga sam osta u Zagrebu, vjerojatno bi se dobro zaposlia - reËe mi. - Ali πta Êu kad ovo volim! Teæak je æivot, ali kad to zavoliπ u djetinjstvu, onda samo tu æeliπ bit i umrit. E, a ima i onih koji se tu rode, pa zamrze to ko dite, pa cili æivot biæe po svitu, πto dalje odavde. E, oni se tek pod smrt vraÊaju! Ne mogu nigdi drugdi umrit! n

n the last day of the Creation God desired to crown His work and thus created Kornati Islands out of tears,

stars and breath, wrote the great Irish poet and winner of the Nobel Prize for Literature, George Bernard Shaw, when in the early 20th century he visited the enchanting Kornati archipelago, which in 1981 was named a national park. Legend has it that the gods created the Kornati islands from tears of the stars, and on the last day of Creation, the sea that caresses them was given its sparkling blueness. From the air, the archipelago of countless islands has the appearance of clear pearls scattered across a glass floor. From high up above, you lose sight of the recognizable details, the waves, lonely

mjeseËine, ali ne zadugo. Tito po nekome Ëvrsto uhodanome mehanizmu nestane na poËinak odmah poπto se mrak podebljao, a i sinovi nedugo zatim. Tu se lijeæe s mrakom i budi sa zorom. Svako jutro valja poÊi u ribe, o tome gotovo ovisi dan. Kad nas probudi sunce, Tito se veÊ odavno vratio iz ribolova. Poslije marende kreÊu u lov na ovce. Na njihovoj zemlji od suhozida do suhozida koji presijecaju otok po πirini, slo-bodno luta stotinjak ovaca. Bilo je to veoma suπno ljeto, pa iako su te ovce navikle na krπku æegu, valja ih natjerati u kut, zatvoriti na dan, dva u tor i napojiti vodom iz cisterne. Potjera uhodanim naËinima potraje sat∑dva, ali onih nekoliko neposluπnih ovaca treba ganjati i dulje. Ne vjerujem svojim oËima kad vidim sedamdesetπestogodiπnjeg Tita Jeæinu kako trËi po kamenjaru za ovcom. Da je nije stjerao u stupicu od suhozida, ne bih se zaËudio ni da ju je korakom dostigao. - »itavu godinu jedemo svoju janjetinu i ribu - kazuje mi Marino kad poslije popodne sjedamo u hlad vinove loze na terasi njihove kuÊe. - Tu je i malo zemlje, posadimo krumpir, ka-pulu, graπak, blitvu…Toga su jutra uhvatili poveÊeg jastoga, pa su ga skuhali na brudet. Hrana koja u restoranu stoji viπe od 500 kuna, tim je materijalno siromaπnim ljudima kruh svagdaπnji.Sutradan ujutro ustajem sa zorom, ali Tito je veÊ na svojoj gajeti i petlja neπto oko vrπa i mreæa. Isplovim s njim i Marinom, na more rav-no, kao da je zaleeno. Motor tiho brunda dok Tito i Marino putuju od poπte do poπte, vade mreæe i otpetljavaju uhvaÊenu ribu krupnim, kvrgavim, teæaËkim prstima. Tu i tamo Titu se oπtar pogled izgubi u daljini, traæeÊi pliËine i brakove gdje bi trebalo biti ulova. Beπtima sebi u bradu kako nema viπe ribe kao nekada, no, kad iz mreæe izvuËe poveÊeg kovaËa ili poneku rumenu πkarpinu, oblizne se i zaπuti. Potpuno se preda otpetljavanju ribe i kamenca iz mreæe, dok se gajeta lagano ljuljuπka na prvim jutarnjim valiÊima. Gledam ih opËinjeno kako skladno obavljaju radnje koje ponavljaju Ëitav æivot, kao i naraπtaji prije njih.Najstariji dokazi o Ëovjeku na Kornatima seæu unatrag 43.000 godina, kad su nam nean-dertalci ostavili kamene alatke kojima su se koristili. Tada su joπ svi ti otoci bili dio kopnene mase. Jadransko more bilo je stotinu metara niæe, pa su danaπnji otoci tad bili gorska bíla odvojena dolinama gdje su æivjele i arhaiËne æivotinje koje je lovio kornatski neandertalac ∑ stepski bizoni, pragoveda, nosorozi, jeleni, divokoze… Do prije 10.000 godina more je veÊ razdvojilo otoke od kopna, a Ëovjek se veÊ popriliËno prilagodio æivotu na Kornatima. Pripitomio je psa, a prehranjivao se razliËi-

O

olive trees, dwellings, boats and walls − the famous Kornati dry walls which decorate the entire island and in that way separate each owner’s plots of harsh land. Only the unusual, indented coastline of the mainland stands out from the deepness of the blue sea. You can see that the side facing the mainland is mild, shallow, meandering with gentle curves, as if kissing the sea and bowing to it. The other side of the island, which faces the merciless open sea, looks even more unfathomable, it emerges from the sea in steep cliffs, as if run-ning away, retreating from the astonishingly endless sea. However lifeless and desolate they may seem, these pearls, yellow and smelling of immortelle, in their bosom they hide the treasure trove of life. A man reigns supreme over the Kornati environment; above the plenitude of self-grown plants, tender like orchid flowers and thorny like roses; above beasts such as marten or mol-luscs at the bottom of the sea. A man that has lived for generations on the stones and from the stones, with the sea and from the sea. A man that learned a trade from his grandfather and passed it on to his sons. Tito Jeæina was waiting for me on the porch of his old stone house, while his two adult sons, Marino and Damir, greeted me from the background. The Jeæina men seem to be one with their environ-ment, frozen in time. The deep lines on their faces, just like crevices in the stone, are filled with minute crystals of salt from the crests of the foamy waves which have been carried by the wind for years. While we chat on the terrace of their old house without electricity, Marino boasts about the things I myself could have guessed, We are true Kornati islanders. According to the last census, there are only seven people registered as living on the Kornati islands, and Tito and his sons make up almost half of that. Marino proudly shows me his identification card with the address Kornati, and says that the mail doesn’t come very often, but it does not seem to prevent them from spending every winter on the lonely island far away from civilization. There are only a few families on the entire archipelago that can boast about that. For a moment I forgot what century we were in while we chatted away with a drink of wine and water under the moonlight, but not for too long. Following his strict routine, Tito disappeared to go to sleep immediately after the dusk got thicker, and his sons soon thereafter. Here they go to sleep when night falls and wake up when the sun rises. Every morning one has to go fishing; the day almost depends on that. When the rays of the sun woke us, Tito had already returned from fishing. After eating a late

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morning meal, the hunt for the sheep started. On their land, from dry wall to dry wall which cut across the width of the island, there are about one hundred sheep roaming freely. Last summer was exceptionally dry. Although the sheep have grown accustomed to sweltering on the karst land, they need to be forced into a corner, closed up for a day or two in a corral and given water to drink from a cistern. The chase follows a routine and can last for an hour or two, but there are a few maverick sheep that you need to pursue even longer. I could hardly believe my own eyes when I saw how seventy-nine year old Tito Jeæina ran on the karst terrain after the sheep. If he hadn’t rounded them up in a trap of dry wall already, I would not have been surprised to see him catch them and grabbed them with his hands. We eat our own lamb and fish all year long, Marino told us in the late afternoon while we sat in the shade of the grape vines on the ter-race of their house. There is little land here. We plant potatoes, onions, peas, Swiss chard... That morning they had caught a rather large lobster, which they made a stew out of and ate. Food which cost more than 500 kunas in a restaurant, to these poor people is like anybody else’s daily bread. The next morning I got up with the sun, but Tito was already on his boat, fiddling with his traps and nets. I sailed with him and Marino on a sea so calm it seemed to be frozen. The motor of the boat quietly hummed while Tito and Marino travelled from one fishing post to the next, pulling out the nets and detangling the trapped fish with their burly, rough, tough fingers. Here and there, Tito’s sharp gaze seems lost in the distance, in search of shallow waters where there should be fish to catch. He mutters swear words saying that there is not as much fish as there was before, but when he pulls a large John Dory fish or several red groupers from the nets, he licks his lips and stops muttering. He becomes totally absorbed in the detangling of the trapped fish and little stones from the net, while the boat gently rocks on the first morning waves. I watch them with fascination, how they melodiously carry out the work they have repeatedly done their entire lives, as the generations before them. The oldest proof of man on Kornati goes back 43,000 years, when the Neanderthals left us the stone tools they had used. At that time all of these islands were still part of the mainland. The Adriatic Sea was hundreds of meters lower, and so today’s islands had been mountains that were separated by valleys where the archaic animals lived that the Nean-derthals of Kornati hunted ∑ the long-legged buffalo, aurochs, rhinoceros, deer, chamois...

By 10,000 years ago, the sea had already separated the islands from the mainland, and man had already adapted to life on Kornati. Dogs were domesticated and fed with a variety of different small animals, as well as numer-ous sea organisms: fish, shells, snails, crabs, cuttlefish and echinoids. Excellent seafarers, the Liburni tribes, con-quered the area before the first millennium B.C.; they battled with the Greeks and the Roman Empire, they engaged in seafaring and trade, as well as in piracy. When the islands off the coast of Zadar, including the Kornati archipelago, fell under the Roman administration, the population added olive husbandry and vine growing to the traditional forms of cattle breading. They also learnt how to exploit the stone and salt and they started fishing. The Roman Empire was succeeded by Byzantine rule, and then Venetian. Up to the end of the 19th century, the Kornati isles were the property of the Zadar nobility, while they were inhabited by poor serfs whose life was anything but easy. When one of the noble-men died without a successor, the peasants united and bought off the poor land on which they lived and worked. Tito’s ancestors were among those peasants. Without paying much heed to modern devel-opments, the surge of tourism, and the ever more frequent passage of boats in front of their island, Tito and his sons mind their business the whole year, the whole long Kornati year. In the winter, they go fishing for the Atlantic bonito and smaller fish such as bogue, bastard mackerel, and mackerel. Come the spring, octopuses are big enough to catch. After that, they pull their boats onto shore to be painted; they fertilize and prune the olives; and they mark their sheep’s ears. In the summer, lambs are sheared and slaughtered, and they go fishing for crabs and good quality fish. In the autumn, they are ready for the mullet migration; squid are the right size to be caught, and the olives are ripe enough to be picked. And there is always something to do around the house and in the field. Marino Jeæina grew up on Kornati, but he was educated in Zagreb. He tells us, I could have stayed in Zagreb. I would probably have landed a good job. But I love it here! Life is difficult, but when you fall in love with something in your childhood, that is the place you want to be and the place you want to die. There are those who were born here and hated it as children, and they have spent their entire lives travelling around the world, just to be as far away from here as possible. They only come back before they die! I do not want to die anywhere other than here! n

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Ivo Pervan

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■ OTOCI ISLANDS

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Piπe/By Davorka Vukov ColiÊ Fotografije/Photos Damir FabijaniÊ

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U europskim medijima Zadar opisuju kao vodeÊe lifestyle odrediπte na Jadranskoj obali. Opetovano

se dokazuje kao æilav, inventivan i kreativan grad koji ne æivi samo od proπlosti i naslijea, nego se

u hrvatskome kulturnome i druπtvenom prostoru Ëesto oglasi nekom inovacijom ili nesvakidaπnjom

gestom.

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The European media have described Zadar as the leading lifestyle destination on the Adriatic coast.

It is repeatedly being shown as a tough, inventive and creative city which does not rest on the laurels

of its past and heritage. Quite the contrary, every now and then it appears on the Croatian cultural

and social scene with an innovation or an unordinary gesture.

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avne 1994. godine putovala sam au-tomobilom iz Splita u Zagreb. Rat je joπ trajao i do hrvatske se metropole

moglo jedino uz obalu, pa preko Paga do Senja i Josipdola. Uz rub okupiranog zalea iπlo se noÊu, na vlastitu odgovornost. Mrak se mogao rezati noæem, jer zbog opasnosti od granatira-nja sva su svjetla bila ugaπena. Za ©ibenik ste mogli naslutiti da diπe, ali nije postojao. Poslije ponoÊi stigli smo pred Zadar. Ni njega nije bilo, samo se na nevidljivu obzoru propeo golemi, crveni, goruÊi zastor. Na radiju smo poslije doznali da je to u plamenu gorjela ZraËna luka Zadar u Zemuniku, pogoena okupatorskim jugo-granatama. Te je noÊi Zadar joπ jedanput proæivljavao svoju apokalipsu.Ali Zadar se, poput feniksa, uzdignuo iz pe-pela i ne samo to… Preobrazio se u omiljeno odrediπte turistiËkih nomada. Posljednjih godi-na Zadar je in odrediπte. I samo zbog Zadra, ali i zbog obliænjih PetrËana koji doæivljavaju pravi procvat, Nina, koji proæivljava malu renesansu, Ugljana s 200.000 stabala maslina, Paga, otoka soli, Ëipke i sira, Molata, Oliba ili pitome Silbe, rajskog otoka za domaÊe vikendaπe. Grad nije privlaËiv samo turistima. Hrvati vrlo teπko mijenjaju æivotnu sredinu, ali nekoliko se mladih, roenih ZagrepËana, u posljednje vrijeme odluËilo preseliti i osnovati obitelj u tom gradu srednjeg Jadrana, jer ondje je, kaæu, jednostavno spokojnije i ugodnije æivjeti. Broj je stanovnika posljednjih godina porastao na gotovo stotinu tisuÊa, Ëime se ubraja u jedan od najbræe rastuÊih gradskih srediπta na hrvatskoj obali Jadrana. U mnogim europskim medijima Zadar se opisuje kao vodeÊe lifestyle odrediπte na Jadranskoj obali, jer uz baziliku sv. Donata ili rimske iskopine nudi i takve sadræaje kao πto je The Garden Festival u obliænjim PetrËanima, jedan od danas najæivljih festivala, pretvarajuÊi se svakoga srpnja u europsko srediπte klupske glazbene scene. U zaleu je bogata prostrana

D ravnica Ravnih kotara, zbog koje je zadarska trænica zacijelo najzelenija i najbogatija na Jadranu, a ispred arhipelag zadarskih otoka koji ga πtiti od utjecaja otvorena mora − to je idealan smjeπtaj, osobito u stoljeÊima domina-cije pomorskog prometa, pa nije sluËajno πto je grad sa starom lukom Foπom vjekovima bio pomorsko, gospodarsko, trgovaËko, kulturno, vjersko i politiËko srediπte Dalmacije. Kolonizirali su ga Grci, zatim su doπli Rimljani, a bio je upravno srediπte bizantske provincije Dalmacije, ostavπi sve do 1918. glavni grad tog dijela Jadrana. Gospodar prostora od Kvarnera do Kaπtelanskog zaljeva, bio je trn u oku moÊne Venecije i nerijetko ærtva krvavih mletaËkih napada, no u njegovu povijesnom sjeÊanju najveÊa je trauma ostala nakon bjesomuËnog paljenja, pljaËke i progona stanovniπtva πto su ga proveli kriæari 1202. godine, koje su MleÊani iskoristili da se osvete gradu-suparniku. Krvavi ratni pir osudila je tadaπnja meunarodna zajednica, te je Ëak papa Inocent III. ekskomu-nicirao sve MleËane i kriæare koji su sudjelovali u divljaËkom pohodu. UnatoË opsadama i stradanjima, bila su to zlatna stoljeÊa Zadra. Niknule su crkve, samo-stani, palaËe uglednih obitelji, a 1396. godine dominikanci su osnovali prvo sveuËiliπte na hrvatskom tlu. ipak, ono πto nije mogao buËni rat, uËinilo je 100.000 dukata, za koliko ga je u poËetku 15. stoljeÊa Venecija otkupila od Ladislava Napuljskoga. Zatim su stigli Turci. Iz osvojenoga zalea, Zadar je bio stalna meta turskog topniπtva, zbog Ëega je trebalo sagradi-ti novi sustav utvrda, zidina, obrambenih kanala i javnih gradskih cisterni, vojarnica i skladiπta. Nakon 40 godina gradnje, Zadar je postao najveÊi grad-utvrda u MletaËkoj Republici. Desetkovan je u nekoliko naleta kuge, a 1813. godine u nj je umarπirala Austrija. U njezino je vrijeme dobio gimnaziju (1816.), otvoren je prvi javni perivoj, cestom preko Velebita povezan je sa Zagrebom i BeËom, sagraen je suvremeni

gradski vodovod, a poπto je 1868. prestao biti grad-utvrda, raπirio se na sve strane. Sagraeni su javni i privatni objekti, novo kazaliπte, bogate trgovine, luksuzne kavane i hoteli, uspostavljena prva sustavna elektriËna mreæa u Hrvatskoj, otvorene knjiænice i Ëitaonice. U to je doba imao Ëak πest tiskara, izlazilo je Ëetrdesetak novina i Ëasopisa, meu njima i Narodni list, danas najstarije æivuÊe hrvatske novine.Rapallskim ugovorom 1920. godine Zadar je postao talijanska enklava na istoËnoj obali Jadrana, a Split preuzeo ulogu glavnoga grada Dalmacije. Talijanska epizoda u Ëud-noj atmosferi laænog obilja brzo je skonËana savezniËkim bombardiranjima 1943. i 1944. godine, kad je sravnjeno sa zemljom 80 posto Zadra. Od glavne ulice Calelarge ostao je kamen na kamenu, te su poslije rata sablasne rupe ispunjene novom arhitekturom. Ipak, Calelarga moje mladosti, kako joj je melanko-liËno tepao pjevaË Tomislav IvËiÊ, za Zadrane je bila i ostala kultna ulica, æila kucavica, os oko koje se okreÊe grad. UnatoË straπnom razaranju, u staroj jezgri ostataka proπlosti ima na sve strane − zidine, kule, osobito Kapetanova, gradska vrata, npr. Kopnena, to remek-djelo kasne renesanse, rimski forum iz 1. st., poznata bazilika sv. Donata iz 9. st., simbol Zadra, obnovljene crkve sv. Krπevana iz 12. st. i zvonik sv. Marije iz 1105., katedrala sv. Anastazije iz 13. st… Uostalom, velebna stalna izloæba Zlato i srebro Zadra u sklopu samostana benediktinki sv. Marije, taj kapitalni objekt hrvatske kulture, sa svim srebrnim i zlat-nim relikvijarima i kaleæima, kipovima i slikama, vezovima, tapiserijama i rukopisima od 8. do 18. stoljeÊa, najrjeËitije govori o jedinstvenoj proπlosti grada.U tim stoljeÊima sjaja i muke u gradu su djelovali neki od najveÊih stupova hrvatske kulture. Otu-da je poznati kipar i graditelj Juraj Dalmatanac, velika imena renesansne umjetnosti − braÊa Lucijan i Franjo Vranjanin, slikar Andrija MeduliÊ,

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Petar ZoraniÊ tu je napisao prvi hrvatski roman Planine. Mnogo poslije doπli su Ivo VojnoviÊ, Milan BegoviÊ, Vladimir Nazor.To je zacijelo najljepπi zalazak sunca na svijetu, promrmljao je Alfred Hitchcock prije viπe od Ëetiri desetljeÊa, promatrajuÊi sa zadarske rive blagi suton uz Ëaπicu Rosolje ili SunËane rose. PoetiËni redovnici zadarskoga Dominikanskog samostana tim su nazivom u 16. stoljeÊu krstili slatko-gorki liker od krupnih plodova i mladih granËica poznate zadarske viπnje maraske, koji je zatim nazvan Maraschino. Slavni redatelj uæivao je u Maraschinu poput mnogih prije njega, od Napoleona i ruskog cara Nikole I. do britanskog kralja –ure IV. U zadarskoj je luci ukrcavan na engleske brodove po narudæbi engleske kraljice Viktorije, a rado se ispijao na svim dvorovima diljem Europe, od beËkoga, do francuskoga i danskoga. A uz aromu opojnog likera, Hitchcock bi moæda jednako uæivao i u svjetlosnoj igri u ritmu valova, nazvanoj Pozdrav suncu, nedavno postavljenoj urbanoj instalaciji na vrhu zadarskog poluotoka. Autor instalacije, arhitekt Nikola BaπiÊ, postavio je tristo viπeslojnih staklenih ploËa u razini s kamenim poploËenjem rive, u krugu promjera 22 metra, a ispod njih ugradio fotonaponske solarne module. Oni danju apsorbiraju SunËevu energiju i pretvaraju je u elektriËnu, koja noÊu po programiranu scenariju proizvodi Ëudesnu svjetlosnu igru u ritmu valova i zvukova Morskih orgulja. Morske orgulje joπ su jedan, raniji pro-jekt arhitekta BaπiÊa, instaliran u blizini novog pristaniπta za cruisere, u sklopu zadarske rive, a odmah poslije zavrπetka gradnje postale su nezaobilazno mjesto u svim turistiËkim itinera-rima grada. Orkestar Prirode, kako ih joπ zovu, neobiËnom konstrukcijom kamenih stuba, polietilenskih cijevi razliËitih duæina, promjera i nagiba, kanala i komora tvori jedinstven instru-ment na kojemu svira more svojim bezbrojnim izmjenama oseke i plime, silinom i smjerom valova, izvodeÊi vjeËnu glazbu u neponovljivim varijacijama. Tako se Zadar dokazuje kao æilav, inventivan i kreativan grad koji ne æivi samo od proπlosti i naslijea, nego se u hrvatskome kulturnome i druπtvenom prostoru Ëesto oglasi nekom inovacijom ili nesvakidaπnjom gestom. To nije samo prije godinu i pol otvoren Muzej antiËkog stakla u obnovljenoj i dograenoj palaËi obitelji Cosmecendi. To je i vijest da je ovoga listopada zadarski nadbiskup monsinjor Æelimir PuljiÊ predstavnicima Jeruzalemskoga grËko-pravoslavnog patrijarhata predao relikviju sv. ©imuna Bogoprimca, jednoga od Ëetiriju zaπtitnika grada. KatoliËki Zadar, naime, ima relikviju, neraspadnuto tijelo novozavjetnog sveca, a grËko-pravoslavni Jeruzalem njegov grob, te je predaja djeliÊa relikvije simboliËna

gesta, kojom su Zadrani æeljeli naglasiti suradnju dviju krπÊanskih crkava, dokazati meusobnu vjersku ljubav i nastaviti graditi most izmeu Istoka i Zapada. ■

t seems like a long time ago when I drove from Split to Zagreb during the early part of 1994. It was still war time and you could

only reach the Croatian metropolis by driving along the coast, across Pag to Senj and on to Josipdol. Along the outskirts of the occupied hinterland you could travel at night, but at your own risk. You could cut the darkness with a knife because all of the lights throughout the entire trip were off due to the danger of shelling. You could sense that the city of ©ibenik was breathing, but it didn’t exist. Shortly after mid-night we approached Zadar. However, Zadar also wasn’t there. There was only a huge, red, burning curtain stretched out on an invisible ho-rizon. While listening to the radio later, we found out that Zadar Airport in Zemunik had been burning in those flames, hit by the shells of the Yugoslav occupying forces. That night Zadar once again passed through its Apocalypse. Zadar, just like a Phoenix, rose from those ashes, and then some... The city transformed into a favourite destination for tourist nomads. For the last few years, Zadar has been the in destination. However, not just Zadar: the neigh-bouring town of PetrËane has experienced a true revival; Nin has passed through a mini Re-naissance; Ugljan and its 200,000 olive trees; Pag, the island of salt, lace and cheese; Molat; Olib; and serene Silba, the paradise island to domestic weekenders. Zadar is not only alluring to tourists. Croatians are very stubborn when it comes to changing their living environment, but I know a few young people, born in Zagreb, who have recently decided to move and start their families in this town located in the central Adriatic. They say that Zadar is simply more peaceful and more comfortable to live in. In the last few years, the number of residents has climbed to almost 100,000, which makes it one of the fastest proliferating city centres on the Croatian Adriatic coast. Many European media have described Zadar as the leading lifestyle destination on the Adriatic coast. Along with St. Donat’s Basilica and the Roman excavations, the city also offers contents such as The Garden Festival in nearby PetrËane, currently one of the liveliest boutique festivals, which every July transforms the town into the centre of the European club music scene. The hinterland is made up of the rich, great plains of Ravni Kotari, which makes the market in Zadar probably the greenest and most copious on the Adriatic. In front of the city is an archipelago of islands which protect the city from the powers

of the open sea. This has always been an ideal location, especially during the centuries that were dominated by maritime trade. It is no coincidence that for centuries the city with the wooden harbour Foπa has been the maritime, economic, trading, cultural, religious and politi-cal centre of Dalmatia. The city was colonized by the Greeks, and afterwards the Romans arrived. It was the administrative centre of the Byzantine prov-ince of Dalmatia, and all the way until 1918 it remained the main city in that part of the Adriatic. The rulers of the area from Kvarner to the Kaπtela Bay were a thorn in the eye of powerful Venice and were occasionally the victims of bloody Venetian attacks. However, the most memorable and greatest trauma in the city’s history occurred after the rampant burning, plundering and exile of the residents by the crusaders in 1202, who the Venetians used in order to take revenge on the rival city. The bloody feast of war was condemned by the then international community, and even Pope Innocent III excommunicated all of the Venetians and crusaders who had participated in the barbaric campaign. In spite of the episodes of suffering at the hands of different enemies who besieged the city time and time again, Zadar still experienced its golden centuries. Churches, monasteries and palaces belonging to notable families were sprouting up everywhere, and in 1396 the Dominicans established the first university on Croatian soil. Still, what they could not do with a tumultuous war, the Venetians did with 100,000 gold coins, when they bought the city from King Ladislav of Naples in the beginning of the 15th century. The Turks arrived afterwards. Zadar was a constant target of Turkish artillery coming from the conquered hinterland, which is why the city had to build a new system of fortification, new city walls, defensive canals, public cisterns, barracks and warehouses. After forty years of building, it became the greatest city-stronghold in the Venetian Republic. It was decimated by a few outbreaks of the plague, and in 1813 Austria marched into the city. During that period, the city got a high school (1816), the first public park was opened, a road was built over the Velebit mountain range which connected the city with Zagreb and Vienna, a modern waterworks system was built in the city, and after it ceased to be a city-stronghold in 1868, the city spread out in all directions. Public and private objects were built, such as a new theatre, rich shops, luxurious cafes and hotels. The first systematic electric network in Croatia was established, and libraries and reading rooms were opened. There were as many as six printing houses at that time which

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put out forty newspapers and magazines, including Narodni List, today the oldest living Croatian newspaper. With the Treaty of Rapallo in 1920, Zadar be-came an Italian enclave on the eastern coast of the Adriatic, and Split took over the role as the main Dalmatian city. The Italian episode in a strange atmosphere of false affluence was quickly ended with the allied bombing in 1943 and 1944, when 80 per cent of the city was levelled to the ground. The only thing that remained of the main street Kalelarga were stones on top of stones, and after the war the ghastly holes were filled with new architecture. Still, Kalelarga of My Youth, as the melancholy singer Tomislav IvËiÊ sang, was and still re-mains a cult street to the people of Zadar, its throbbing artery, the axis around which the city spins. Despite the horrible destruction, there are remains of the past throughout the city centre: city walls; towers, particularly Captain’s Tower; city gates, especially Land Gate, a late Renaissance masterpiece; the Roman forum from the 1st century; the famous St. Donat’s Basilica from the 9th century, the symbol of Zadar; the renovated church of St. Krπevan (Grisogonus) from the 12th century; the Bell-tower of St. Mary from 1105; the Cathedral of St. Anastasia... The magnificent permanent exhibition Gold and Silver of Zadar, on display within the Church of St. Mary and Benedictine Convent, a major object of Croatian culture, with all of its silver and gold reliquaries and chalices, sculptures and pictures, embroidery works, tapestries and manuscripts from the 8th to the 18th centuries, is the most eloquent testimony to the city’s remarkable history. Some of the greatest pillars of Croatian culture worked in the city during those centuries of glory and suffering. One of the natives was famous sculptor and builder Juraj Dalmatanac, a great name in Renaissance art, as well as the Vranjanin brothers, Lucijan and Franjo, and the painter Andrija MeduliÊ. The first Croatian novel, Planine (Mountains), was written here by Petar ZoraniÊ. Other artists came much later, such as Ivo VojnoviÊ, Milan BegoviÊ and Vladimir Nazor.That has to be the most beautiful sunset in the world, muttered Alfred Hitchcock more than four decades ago as he watched the gentle sunset from Zadar’s waterfront while sipping a glass of Rosolja or SunËana Rosa (translated roughly as sunny morning dew). That was the 16th century name the poetic monks from Zadar’s Dominican monastery gave to the bitter-sweet liquor that was made from the colossal fruits and young twigs of Zadar’s famous sour cherries Maraska, the same which was later called Maraschino. The famous director enjoyed a glass of Mara-

schino as did many others before him, from Napoleon and the Russian emperor Nicholas I to the British king George IV. The liquor was loaded onto English ships in Zadar’s harbour by order of Queen Victoria, and was happily enjoyed at courts throughout Europe, from Vienna to France and Denmark. Along with the intoxicating aroma of the liquor, Hitchcock would have also equally enjoyed the show of lights in harmony with the waves, known as Greeting to the Sun, a recently set up urban installation at the tip of the Zadar peninsula. The author of the installation, archi-tect Nikola BaπiÊ, erected the three hundred multilayered glass panels on the same level as the stone pavement of the waterfront. They form a circle with a diameter of 22 meters, and embedded below the glass are photovoltaic solar modules. By day they absorb the sun’s energy and convert it into electricity. At night, based on special programming, they produce a marvellous show of lights that is in harmony with the waves and sounds of the Sea Organ. The Sea Organ is another, earlier project by architect BaπiÊ, which is installed near the new dock for cruisers on Zadar’s waterfront. Im-mediately upon completion of its construction it became a must-see sight on all the tourist itineraries in town. The Orchestra of Nature, as it is also called, is an unusual construction of stone steps, polyethylene pipes of different

lengths, diameters and slants, canals and chambers which form a unique instrument that can only be played by the sea. The sea’s infinite changes of high and low tides, and the intensity and direction of the waves produce everlasting music in unrepeatable variations. Thus, Zadar repeatedly proves it is a tough, inventive and creative city which does not rest on the laurels of its past and heritage. Quite the contrary, every now and then it appears on the Croatian cultural and social scene with an innovation or an unordinary gesture. And this does not mean just the opening, a year and a half ago, of the Museum of Ancient Glass in the renovated and reconstructed palace of the Cosmecendi family. There has also recently been an announcement, in the month of October, that the Zadar archbishop, Mons. Æelimir PuljiÊ, handed over relics of St. Simon the Tanner, one of the city’s four patron saints, to representatives from the Jerusalem Greek-Orthodox patriarch. The Catholic Church of Zadar was in possession of relics of the non-decomposed body of the New Testament saint, but his grave is kept by the Greek Orthodox Church in Jerusalem. By handing over pieces of the relics as a symbolic gesture, the people of Zadar wanted to emphasize the cooperation between the two Christian churches, testify to their mutual love of faith, and continue building a bridge between East and West. ■

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ajveÊi problem imaju oni koji u Pariz dolaze tek na nekoliko dana. Æele ga πto bolje upoznati, ali kako? Stoga

evo nekoliko praktiËnih savjeta koji Êe vam moæda pomoÊi da se previπe ne umorite i ne izgubite previπe vremena ËekajuÊi u dugim redovima. A ti savjeti mogli bi vam biti osobito korisni ako putujete s djecom mlae dobi.Agencije nude voænju autobusom za obilazak najvaænijih spomenika. Vjerujte, to je vrlo dobro, jer tijekom dva i pol do tri sata voænje proete pokraj veÊine poznatih spomenika: Eiffelova tornja, katedrale Notre-Dame, Opere Garnier, trga Concorde, Elizejskih poljana. Sluπate objaπnjenje na izabranom jeziku (na æalost, ne i na hrvatskome), a poπtedjeli ste noge. Autobus se zaustavlja nekoliko puta, pa voænju moæete prekinuti, detaljnije razgledati neki od spomenika i voænju nastaviti sljedeÊim autobu-som. Sada otprilike znate gdje se πto nalazi, kakve su udaljenosti, pa ako bude vremena, vratit Êete se.Moæete samo sanjati da Êete se brzo popeti na vrh Eiffelova tornja. Satima Êete Ëekati u redu sluπajuÊi u poËetku zainteresirano i smireno jezike kojima govore ljudi oko vas, ali uskoro Êete potiskivati rastuÊe nestrpljenje i ljutnju. A kako je tek u prepunoj kabini ili na samom vrhu gdje se ljudi guraju i sudaraju u uskom prostoru, a razdraæena djeca plaËu.Zacijelo dojam nije isti, ali æelite li vidjeti Pariz odozgo, postoje i neka druga mjesta na koja dolazi manje ljudi.Najprije, to je toranj Montparnasse u 15. Ëe-tvrti. Crna graevina, visoka 210 m, najviπa je zgrada u Parizu i u Francuskoj, uoËljiva sa svih strana. Toranj se gradio od 1969. do 1973. i trebao je postati simbolom novoga, moder-nog Pariza, jer u to se doba poticala gradnja nebodera. Kad je bio gotov, a tijekom gradnje postao je i neπto viπi nego πto je projektom bilo predvieno, oduπevljenje je splasnulo, jer govorilo se da se nametnuo Parizu i promijenio njegovu sliku.Otad je gradnja tornjeva zakonom zabranjena, a visoke zgrade niËu samo u predgraima. S najviπega, 64. kata vrlo je lijep panoramski pogled na Pariz. U podnoæju su tornja trgovine: od Galeries Laffayete, koje nisu tako velike kao one u 9. Ëetvrti, do poznatih ili manje poznatih svjetskih marki. Nedaleko je poznata ulica Rennes, raj za æene zbog stotina trgovina odjeÊom. Svuda naokolo mnoπtvo je restora-na, bistroa, malih kavana, jer uz toranj jedna je od najveÊih æeljezniËkih stanica, stanica Montparnasse. U Ëetvrti oko tornja nekoliko je velikih kino-dvorana i popularnih manjih kazaliπta s dugom tradicijom. Treba svakako napomenuti da nije lako nabaviti karte za kazaliπne predstave,

Sve πto biste æeljeli i mogli ispripovijedati o Parizu beznaËajno je u

odnosu na njegovu kompleksnost i Ëaroliju. Putujete li prvi put u

Pariz, ili ste veÊ boravili ondje nekoliko puta? Svejedno, uzbuenje

je jednako. Uvijek je mnogo planova i æelja, a vremena premalo.

Whatever you wish to say, or indeed can say about Paris, just does

not reflect its complexity and magic. Is this your first trip to Paris or

are you already familiar with it? Whatever the case may be, the excite-

ment level is the same. There are always a lot of plans and wishes,

and the time in which to squeeze all this in is never enough.

NAŠA ODREDIŠTA OUR DESTINATIONS ■

Piše/By Nada Majer

Fotografije/Photos Ivo Pervan

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rasprodane su jer, osim pariπke publike, gle-datelji autobusima dolaze iz provincije. Dakle, zbog putnika i kupaca danju, a posjetitelja kina i kazaliπta naveËer, ta je Ëetvrt osobito æiva. Ovdje postoji moæda najviπe malih restorana u kojima moæete kuπati bretonske palaËinke i jabukovaËu (cidre), u sjeÊanje na nekadaπnje vrijeme, s kraja 19. stoljeÊa, kad su mnogi mla-di Bretonci i Bretonke vlakom iz svoje daleke Bretanje dolazili u Pariz trbuhom za kruhom, upravo na æeljezniËku stanicu Montparnasse, gdje su ih prihvaÊali njihovi sunarodnjaci i po-magali im da se snau. Ako ste sluËajno poæeljeli mali predah ili malo tiπine, naÊi Êete ih na groblju Montparnasse, na kojemu poËivaju mnoge poznate liËnosti, meu kojima pjesnik Charles Baudelaire, ili Jean-Paul Sartre i Simone de Beauvoir ... Drugo je mjesto takoer u 15. Ëetvrti, u parku André-Citroën. To je najveÊi balon na svijetu, Air de Paris (pariπki zrak), koji na inicijativu Airparifa, tijela zaduæenoga za kontrolu kva-litete zraka, spaja ugodno s korisnim sluæeÊi kao pokazatelj koji mijenja boju od zelene za dobru kvalitetu, preko naranËaste za osrednju do crvene za loπu i, podiæuÊi putnike na visinu od 150 metara, odakle je prekrasan pogled na Pariz, Seinu koja je ispod njega i posebice na Eiffelov toranj.

Rijedak doæivljaj moæe biti i plovidba brodom kanalom Saint-Martin, vrlo razliËita od voænje Seineom. U duæini od 4,5 km kanal prolazi kroz 10. i 11. Ëetvrt spajajuÊi spremnik za vodu Villette, preko kanala del’Ourcq, sa Seineom. Visinska je razlika 25 metara, pa zato postoji devet ustava za promjenu razine vode i dva pomiËna mosta da brodovi mogu prolaziti. Sagraen je 1825. zbog opskrbe Pariza pitkom vodom, ali i za prijevoz robe i graevnog materijala. VeÊim je dijelom otvoren, na nekim mjestima nadsvoen, ili Ëak prolazi ispod zemlje, kao na primjer ispod trga Ba-stille. Godine 1993. proglaπen je povijesnim spomenikom. Nad njega se nadvijaju redovi platana koji djelomiËno skrivaju pogled na nekadaπnje siromaπne radniËke Ëetvrti, Ëiji se izgled mijenja. Na æeljeznim mostovima u obliku poluluka uvijek je mnogo ljudi koji promatraju brodove. Kanal Saint-Martin ovjekovjeËili su slikari i mnogi glazbenici.Poete li s polazne stanice u blizini trga Bastille prema sjeveru, doÊi Êete do Parka Villette, u 19. Ëetvrti, uz takozvani periferni bulevar, prsten oko Pariza.Park povrπine 55 hektara gradio se od 1984. do 1987. na mjestu nekadaπnjih pariπkih klaonica, kao dio planskoga urbanog raz-voja. Bio je to arhitektonski eksperiment u

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prostoru, s razliËitim oblicima graevina i ljudskom sposobnoπÊu da ih prepozna i ue u interakciju. Kad je rijeË o oblicima, osobito treba spome-nuti kinodvoranu La Géode - kuglu promjera 36 metara sagraenu od 6433 ËeliËna kuglasta trokuta koji odraæavaju svjetlo, poput zrcala. Pred polukruænim ekranom formata IMAX, promjera 26 metara, povrπine 1000 Ëetvornih metara, gledatelj je u srediπtu zbivanja s vrlo jakim efektima. Cité des Sciences et de l’industrie najveÊi je prirodoslovni muzej u Europi. Pariπki, francuski i strani umjetnici neprestano prireuju izloæbe i druga dogaanja. U mega koncertnoj dvorani Zenith sa 6300 sjedala prireuju se veliki kon-certi. Sva ta zbivanja privuku na godinu deset milijuna domaÊih i stranih posjetitelja.Bezbrojni pariπki muzeji i galerije nude svoje stalne postave i izloæbe. Nikako se ne smiju zanemariti ni kulturni centri mnogih dræava, koji organiziraju vrlo vrijedne, tematske izloæbe ka-rakteristiËne za njihove zemlje. Sada je u Grand Palaisu (nedavno obnovljenoj Velikoj palaËi), u blizini najljepπega pariπkog mosta Alexandre III, u tijeku izloæba djela velikoga impresionistiËkog slikara Claudea Moneta, 200 slika pristiglih iz cijelog svijeta. To je samo mali dio, jer taj je slikar ostavio 2500 slika i crteæa. Pripremite se

na nekoliko sati Ëekanja. Ali, volite li impresi-oniste, neÊe vam biti preteπko. S obzirom na viπe od πest tisuÊa posjetitelja na dan, oËekuje se da Êe ta izloæba nadmaπiti onu o Picassu 2008. godine. Usput reËeno, imate li vremena, posjetite Monetovu kuÊu i prekrasne vrtove u Givernyju, mjestu udaljenome osamdesetak kilometara od Pariza, prema Normandiji, gdje Êete vidjeti poznato jezerce s lopoËima.Joπ jedno neobiËno, oËaravajuÊe mjesto koje dovoljno ne poznaju Ëak ni Pariæani, a joπ manje stranci: natkriveni (a moglo bi se reÊi i skriveni) prolazi. Svi su bili sagraeni u prvoj polovici 19. stoljeÊa, toËnije oko 1830. s desne strane Sei-ne u prvoj, osmoj i devetoj Ëetvrti u blizini velikih bulevara Madeleine, Opera, Italiens. Zamislite ondaπnji Pariz s uskim ulicama i koËijama sa sedamdesetak tisuÊa konjskih zaprega. Tre-balo je nekako zaπtititi bogate kupce od buke i prljavπtine, pa su graene te oaze mira koje su povezivale dvije ulice, ili ulicu i ono πto se veÊ tada nazivalo bulevarom. Bili su natkriveni ËeliËnom konstrukcijom, sa staklenim krovom razliËita oblika i boje, koji je πtitio od nevre-mena i bacao ugodno polusvjetlo na trgovine i restorane. Bila su to mjesta na kojima se sastajalo, besposliËarilo, kupovalo. U njima je bila postavljena nova plinska rasvjeta. No kad

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je barun Haussmann, upravitelj grada Pariza od 1853. do 1870. godine, poËeo velike radove na gradnji πirokih bulevara i kad su se poËele graditi velike robne kuÊe, veÊina je prolaza sruπena. Od njih oko 150 danas ih preostaje tek dvadesetak. U njima su prekrasne trgovine s robom koju ne nalazite posvuda, antikvarijati s rijetkim knjigama, galerije sa slikama, trgovine sa starinskim djeËjim igraËkama, malim resto-ranima. U njima i dalje vlada osobita atmosfera mira i ljepote. I, na kraju, nekoliko neizbježnih rijeËi o - fran-cuskoj kuhinji i restoranima.Francuzi su s pravom ponosni na svoju boga-tu, raznovrsnu, profinjenu kuhinju i veoma se ljute na globalizaciju, zbog koje moraju raditi ustupke pred istoËnjaËkim kuhinjama ili brzom hranom. Svaka regija ima svoja tradicionalna jela, uz koja svakako treba piti i odgovarajuÊa vina. A tek sir! Kako ukratko govoriti o svemu tome? Restorana ima na tisuÊe, od najskromnijih do najotmjenijih, mnogi nude specijalitete pojedinih francuskih regija i odabir je teæak. Karte su istaknute pa najprije dobro prouËite cijene, ali pogledajte i ureenje, jer i ono utjeËe na cijenu, kao i Ëetvrt u kojoj se nalaze. U ot-mjenim, skupim restoranima cijena po osobi nekoliko je stotina eura, bez piÊa. Stoga evo

posljednjega praktiËnoga savjeta: dobro se jede i u takozvanim bistroima, gdje Êete naÊi jednostavniju, pravu francusku kuhinju. Na internetu je popis bistroa s cijenom niæom od 40 eura. Kuπajte specijalitet s jugozapada Francuske, cassoulet, bijeli grah sa zapeËenim paËjim batacima u masti. Nema okus graha kakav mi poznamo, ali neÊe vas razoËarati. A prije toga moæete kuπati i foie gras, πto se, pogreπno, prevodi kao gusja paπteta. Ne, to su jetra tovljene patke s jugozapada Francuske, koja Francuzi jedu i cijene mnogo viπe od jetre tovljene guske u pokrajini Alsace. A kad je rijeË o pokrajini Alsace, treba svakako kuπati chou-croute, kiseli kupus osobita okusa, a kaæu da je tajna u pivu, sa suhom slaninom, buncekom, kobasicama. A πto mislite o juhi od oπtriga? Ali o tome moæda drugi put… n

hose who come to Paris on a short visit must face an almost insurmount-able problem. They will inevitably

want to take in as much as possible, and therefore need to figure out the best way to do that. We thought we might help you by sharing some very practical advice on how to achieve as much as possible and not waste too much time in queues, while at the same time not tiring yourself out unnecessarily. This

T

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advice might come in particularly handy if you are travelling with young children.Taking an organized sightseeing tour is an excellent choice. There are agencies that specialize in this. During the two and half to three hours, you will pass by the most famous landmarks: the Eiffel Tower, the Cathedral of Notre Dame, Opera Garnier, Concorde Square, Champs-Elysées, while listening to commentary in the language of your choice (unfortunately, Croatian is still not one of them), and giving your legs a welcome rest. Along their routes, the sightseeing buses make sev-eral stops at places where you can hop off near a monument, take a more detailed look at it, and hop on the next bus that comes by. Having experienced a sightseeing bus tour, you will have a good idea of where things are and the distances between the landmarks. If you have any free time later on during your stay, you will know how to get back to the sights.You can only dream that you will reach the top of the Eiffel Tower quickly. You will find your-self waiting for hours in a long queue before you can fulfil that dream. At first, your curious mind will be entertained by the multitude of the languages spoken by the like-minded, Eiffel Tower climbers around you. You will start off patiently waiting. However, your patience will wear thin very quickly, only to be replaced by growing edginess and frustration. Those feel-ings will continue in the overcrowded lift cabin on the way up, as an overture to what awaits you at the very top − even more people push-ing and elbowing in a very limited space, with little children crying inconsolably. Arguably, the view is perhaps worth the trouble. However, if you really wish to see Paris from up high, there are some other, less popular but still wonderful places from which to do that. The first one is the Montparnasse Tower in the 15th district. The black 210 meter-high edifice is indeed the tallest building, not only in Paris, but in all of France, and the only one which can be seen from anywhere in Paris. The construction of the tower, which was sup-posed to become the symbol of a new, modern Paris in the era when high-rise buildings were all the rage, lasted from 1969 to 1973. When it was completed, even taller than originally planned, the feeling of initial enthusiasm and delight wore off quickly: the tower was seen as a building which had imposed itself upon Paris and changed its skyline. Since then, there has been a legal ban on the construction of high-rise buildings in Paris. Tall buildings may only be built in the suburbs. Still, the 64th and top floor of the Montparnasse Tower commands a wonderful panorama

view of Paris. Its ground floor is taken up by shops and department stores ranging from the renowned Galeries Lafayette, albeit not as spacious as the flagship department store in the 9th district, to the famous and somewhat less well known international brands. Not far from there is the famous shopping street, Rue Rennes, a retail paradise featuring hundreds of clothing shops. The area is beaming with restaurants, bistros and little cafés owing to the fact that one of the largest railway and underground stations, Montparnasse, is right next to the tower. The neighbourhood around the tower boasts several large cinemas and popular smaller-sized theatres that have long traditions. It should be noted that theatre tickets are not easy to get hold of. Theatre shows are sold out well in advance, not only to Parisians but also to theatre goers from the suburbs who descend upon the city in busloads. Shoppers and travellers during the day, and theatre and cinema goers in the evening make this area a bustling and lively place.This is also the place to taste Breton pan-cakes and cider in any one of the many little restaurants. In this way you can pay homage to times past, to the late 19th century, when many young men and women came to Paris from Brittany (Bretagne) in search of livelihood. They arrived at the Montparnasse train station, where they were met by their fellow country-men who had already made it in the big city and wanted to offer the newcomers help with getting settled. If you need a break and some peace and silence, you will find it at the Montparnasse Cemetery, the final resting place of many great and famous people, such as the poet Charles Baudelaire or Jean-Paul Sartre and Simone de Beauvoir... Another place in the 15th district is André Cit-roën Park, where you will find Air de Paris (Paris Air), the biggest hot air balloon in the world. At the initiative of Airparifa, the body in charge of air quality control, the balloon combines business with pleasure. While lifting people 150 metres up in the air, a height from which they can enjoy breathtaking views of Paris, the Seine River directly below and particularly the Eiffel Tower, the balloon changes colour, which indicates the current air quality level: green means the quality is good, orange indicates that the air quality is mediocre, while red is an indication of poor air quality. Another suggestion is a boat ride along the Saint Martin Canal, an experience quite differ-ent from a boat ride on the Seine. The 4.5 kilo-metre canal passes through the 10th and 11th districts and connects the Vilette water basin

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with the Seine River via the Ourcq Canal. The difference in the height at the beginning of the canal and at its end is 25 meters. That is why a total of 9 locks and two moving bridges have been constructed to allow the boats passage. The canal was constructed in 1825 to supply Paris with drinking water, as well as for the transport of construction materials and other goods. The canal is mostly open, although there are some covered stretches. At certain places the canal even passes underground, for example under Bastille Square. In 1993 it was proclaimed a cultural monument. The tops of the planes lining the canal partly block the view of the former poor workers quarters, which have been given a new lease of life and a new look. The arched iron bridges are always crowded with boat spotters. The Saint Martin Canal has been an inspiration to many painters and musicians. A northbound boat tour which boards near Bastille Square will take you to Vilette Park in the 19th district, along the so called Pe-ripherique − the ring around Paris. The 55 hectare-large park was constructed between 1984 and 1987 in the place of the former slaughterhouses of Paris, as part of the urban development plan. Its construction was an architectural experiment in space, as the dif-ferent architectural features invite visitors to notice and interact with them. When talking about architectural forms and de-signs, we need to mention the Géode cinema − a sphere with a diameter of 36 metres con-sisting of 6433 steel triangles which reflect light like mirrors. The films projected on the IMAX format of the giant spherical screen, whose diameter is 26 metres and surface 1000 m2, put the spectators in the centre of the action, and the experience is additionally enhanced by very powerful special effects. Cité des Sciences et de l’industrie is the largest natural history museum in Europe. Parisian, French and foreign artists constantly stage their exhibitions and other events there. Ze-nith, the mega concert hall with 6,300 seats, is the venue of big concerts. All those events combined attract as many as 10 million guests, both French and foreign. The numerous Parisian museums and galler-ies offer permanent exhibits and exhibitions. One should certainly not forget the national cultural centres which also organize valuable, thematic exhibitions typical of their countries. Currently on show in the Grand Palais (the recently renovated Grand Palace), within a stone’s throw from the most beautiful bridge in Paris, Alexandre III, is an exhibition of works by the great impressionist painter Claude Monet, whose opus is represented by 200 paintings

borrowed from all over the world. This is only a small portion of the 2500 pictures and draw-ings that Monet created. Again, be prepared to wait in line for several hours. However, if you are an impressionist art aficionado, your patience will be rewarded. Considering that more than six thousand people visit this exhibi-tion on a daily basis, it is expected to outdo the Picasso exhibition in 2008. By the way, if you have time, you should visit Monet’s house and exquisite gardens in Giverny, a village only 80 kilometres east of Paris, towards Normandy, where you will certainly recognize the epony-mous lake with lotus flowers. There is another unusual, yet fascinating place that not even Parisians know much about, let alone foreigners: the covered (one could even say hidden) arcades.The arcades were all built in the first half of the 19th century, more precisely in 1830. They are located on the right side of the Seine River in the 1st, 8th and 9th districts, near Boulevard de la Madeleine, Avenue de l’Opera and Boule-vard des Italiens. Try to imagine Paris at that time, with its narrow streets and about seventy thousand horse-drawn carriages. The wealthy shoppers had to be protected from the noise and filth in some way, so these oases of peace were built which connected the streets, or a street with what was already at that time called a boulevard. The passageways were covered with a steel construction and had glass roofs of different shapes and colours which sheltered the people from bad weather and produced pleasant lighting that was reflected onto the shops and restaurants. The arcades were a place for people to meet, pass the time and shop. New gas lamps were installed within the passageways. Nevertheless, when Baron Haussmann, the mayor of Paris from 1853 to 1870, started his great projects to build the wide boulevards, and when the construction of the large shopping centres began, many of the arcades were destroyed. Out of the 150 passageways that existed, only about 20 remain today. Inside these arcades you can find beautiful stores with unique items that can’t be found elsewhere, antiques shops with rare books, picture galleries, old-fashioned toy stores and quaint restaurants. The arcades still exude a special atmosphere of tranquillity and beauty in the arçades.And finally, let us mention a few essential words about the French cuisine and restaurants. The French are proud of their rich, varied and refined cooking, and quite rightly so. They are also quite annoyed that globalization has forced them to make concessions to Oriental cuisines and fast food. Every region has its own traditional dishes, and of course there is

always a special wine that compliments the food. Not to mention the cheeses! How can we possibly summarize all of this? There are literally thousands of places to eat, ranging from the most modest diners to the plushest of restaurants, many specializing in regional French cuisine, which makes your choice that much more difficult. Menus and prices are always visibly displayed so you would be well advised to study those first. Moreover, take a look at the decor, because that will also have an impact on the cost of your meal, as well as the area in which the restaurant is situated. A meal in an expensive and elegant restaurant can set you back several hundred euro, not including drinks. What follows is the last piece of really practical advice: you can eat well in the so-called bistros, which offer somewhat sim-pler but nevertheless genuine French cuisine. The internet is a good source of information about bistros that offer menus for less than 40 euro. We recommend a speciality from the southwest of France − cassoulet − a casserole of duck and white haricot beans cooked in fat. It tastes nothing like the beans we know from our cuisine, but you will certainly not be disappointed. Before that, treat yourself to a starter of foie gras, which is erroneously trans-lated as goose pâté. Actually, it is the liver of a fattened duck from the southwest of France, which is much more popular and appreciated than goose liver from the Alsace region. While we are on the subject of the Alsace region, one should definitely try the choucroute, an exceptionally tasting sauerkraut dish with dry cured bacon, pork hocks and sausages. They say the secret ingredient is beer. And what do you think about oyster soup?But maybe we should save that for next time... n

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Hundertwasser460 HOMMAGE AU TACHISME, 1961 ∂ KUNST HAUS WIEN, 2010

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d modernistiËkih tendencija koje su na scenu arhitekture i dizajna stupile dvadesetih godina proπlog

stoljeÊa, preko svevremenskog minimalizma i tzv. tehnoloπkog stila u dizajnu ∑ veliki dio arhi-tekture i dizajna dvadesetog stoljeÊa moæemo opisati Ëesto citiranom izrekom Ludwiga Miesa van der Rohea Manje je viπe! Dakle, prevlada-vaju jednostavnost, ravne linije, geometrijske forme, koriπtenje palete osnovnih boja i hladnih neutralnih tonova, materijali poput metala i stakla. Ukratko, neutralnost, preciznost i raci-onalnost u projektiranju. BuduÊi da u prirodi i druπtvu svaka akcija izaziva reakciju, isto se dogaa i s trendovima u oblikovanju. Mnoga istraæivanja pokazala su da æudimo za povratkom u prirodu, πto se manifestira i sve veÊom pojavom ekoloπkog razmiπljanja prilikom kreiranja. Zelene povrπine svoje mjesto pronalaze Ëak i na krovovima te tako stvaraju ugodniji æivotni okoliπ koji je sve samo ne jednostavan. Toplina i raznolikost oblika u kojima dolaze prirodni materijali protuteæa su preciznosti geometrijskih formi i hladnoÊi modernistiËkih materijala. Dakle, ljepota prirode nalazi se upravo u bogatstvu kolorita, raznolikosti i zaobilaæenju preciznih πablona stvaranja. Upravo tu filozofiju ekoloπkog stvaranja pove- zujemo i s Friedensreichom Hundertwsserom, jednim od najistaknutijih austrijskih umjetnika suvremenog doba, roenim u BeËu 15. pro-sinca 1928. pod imenom Friedrich Stowasser. Godine 1949. promijenio je ime u Hunder-twasser (njem. stotinu voda) jer voda je za nj predstavljala slobodu, a poslije je dodao joπ dva jednako slikovita imena ∑ Regentag i Dunkelbunt. Taj karizmatiËni slikar, grafiËar i arhitekt na-stojao je u svojim djelima maksimalno zaobiÊi bilo kakvu strogoÊu geometrijskih oblika i jednostavnost minimalizma, i nadahnjivati se nepravilnoπÊu prirodnih oblika. Od 1953. godine, kad je naslikao svoju prvu spiralu, takav oblik umjetniËkog izraæavanja proæimao je veliki dio njegova stvaralaπtva. Intenzivne boje i komplementarne koloristiËke sheme dominiraju na slikama toga æivopisnog krea-tivca, kao i na ostalim djelima. Tanke srebrne i zlatne folije takoer Ëesto pronalaze mjesto na njegovim slikama. ©aroliko, obilno, mnogostruko, uvijek je bolje od osrednjeg sivila i uniformiranosti, Hundert-wasserove kreacije i izreke nikoga ne ostavljaju ravnoduπnim, jer zaista su nesvakidaπnje i inovativne. U vienju arhitekture toga beËkog umjetnika, naglasak je na neravninama, upotrebi prirodnih materijala, poπumljavanju krovova, raznobojnim proËeljima, mozaicima koji svojom πarolikoπÊu ukraπavaju sve ∑ od

Filozofiju ekoloπkog stvaranja

povezujemo s Friedensreichom

Hundertwasserom, jednim

od najistaknutijih austrijskih

umjetnika suvremenog doba,

nadahnutim prirodom.

Ecological and creative

philosophy is typical of

Friedensreich Hundertwasser,

one of the most prominent

modern Austrian artists.

MERIDIJANI MERIDIANS ■

Piše/By Danica MariËiÊ

Fotografije/Photos Kunst Haus Wien / Wolfgang Simlinger

O

zidova i podova, preko stubiπta i ograda, do namjeπtaja i detalja u prostoru. Vjerovao je da svaki pojedinac ima pravo samostalno dizajnirati dio proËelja oko svog prozora. U svojim mnogim govorima i javnim nastupima gorljivo se zalagao za oËuvanje okoliπa. Svoj svestran pristup umjetnosti pokazao je i 1959. godine kad je u druπtvu Ernsta Fuchsa i Arnulfa Rainera osnovao Pintorarium, univerzalnu aka-demiju na kojoj su bila zastupljena sva podruËja artistiËkog stvaralaπtva. Tijekom svoga stvaralaËkog æivota Hundert-wasser je proputovao veÊinu svijeta, a meu njegovim najËeπÊim odrediπtima svakako treba izdvojiti Veneciju, Pariz, Japan, te Novi Zeland, gdje se nalazi i njegovo posljednje poËivaliπte. Godine 1975. u Musée d’Art Moderne de la Ville de Paris poËinje njegova svjetska izloæbena turneja, koja je do 1983. godine proputovala kroz 27 zemalja i 43 muzeja. Svjetska izloæba njegova grafiËkog opusa startala je u beËkoj Albertini, a do 1992. godine posjetila je 15 zemalja, u kojima je bila izloæena u 80 mu-zeja i galerija. Govorimo li o putovanjima tog umjetnika svjetskoga glasa, treba spomenuti i jedrenjak zanimljiva naziva Regentag (njem. kiπni dan), na kojemu je deset godina plovio svjetskim morima i kreirao svoja legendarna djela. ©toviπe, naziv Regentag postao je i jedno od umjetnikovih imena.

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KUNST HAUS WIEN

∂ Wolfgang Simlinger / KUNST HAUS WIEN, 2010

KUNST HAUS WIEN

∂ Wolfgang Simlinger / KUNST HAUS WIEN, 2010

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Muzej Hundertwasser, koji se nalazi u sklopu BeËke kuÊe umjetnosti, otkriva artistiËki svijet Friedensreicha Hundertwassera. Zgrada u kojoj je smjeπten muzej nekad je bila tvornica namjeπtaja tvrtke Thonet, poznate po mno-gim inovacijama u obradi drva prilikom izrade pokuÊstva. VeÊ i eksterijer otkriva Hundert-wasserovu umjetniËku filozofiju, jer nakon prenamjene funkcije zgrade, preoblikovano je i mnogo arhitektonskih elemenata, i to upravo prema nacrtima slavnog umjetnika. ProËelje je dekorirano mozaicima u tamnim i svijetlim neutralnim tonovima, te pomalo podsjeÊa na πahovsku ploËu. Dakako, tamna i svijetla podruËja razliËitih su dimenzija i omeena neravnim linijama. Isto pravilo odnosi se i na mnogo prozora ∑ razliËite veliËine i raznoboj-nosti. Dvoriπte ispred muzeja obiluje biljem i kreativno osmiπljenim detaljima.U unutraπnjosti muzeja posjetitelje, prije svega, oËekuje nadasve zanimljiv interijer oblikovan po uzoru na zakonitosti prirode. Boje, materijali i oblici kreiraju razigran prostor u kojemu vrijedi glavno pravilo da niπta nije savrπeno ravno i teh-niËki precizno, jer, na kraju krajeva, ni u prirodi niπta nije savrπeno ravno i tehniËki precizno, a Ëovjek bi svoje kreacije trebao maksimalno uskladiti s prirodnim normama. Primjerice, pod obiluje brojnim breæuljcima, udubinama i svim ostalim nepravilnostima na kakve nailazimo prilikom πetnje livadom ili πumom. Na ulazu se nalazi prekrasna fontana izraena od jedanaest vrsta kamena dopremljenih iz Europe, Afrike, Australije i Juæne Amerike.Hundertwasserove slike, grafike, arhitektonski projekti izloæeni u muzeju nadopunjuju tu priËu o prirodi kao umjetnikovu nadahnuÊu. Jedan od najzanimljivijih izloæaka svakako je maketa projekta naselja, potpuno ukomponirana u prirodni okoliπ. Nekoliko minuta hoda od muzeja nalazi se KuÊa Hundertwasser - Krawina, iduÊa atrakcija u upoznavanju toga neobiËnog kreativca. Pro-jektirali su je Hundertwasser i Joseph Krawina, a dovrπena je 1985. godine. Viπe od 70.000 posjetitelja prisustvovalo je Otvorenju kuÊe. Sagraena je od opeke i drva te zdruæena s mnogo biljaka. Kao i kod zgrade muzeja, tu je proËelje takoer vrlo artistiËko. Dominiraju primarne boje (plava, æuta, crvena) i bijela (ne)boja, a dodatan su ukrasni element i minija-turni balkoni s ogradama od kovana æeljeza. Kako je posrijedi naseljena stambena zgrada, posjetitelji se uglavnom dive samo njezinu vanjskom dijelu.TreÊa je turistiËka atrakcija tzv. Hundertwas-serovo selo smjeπteno odmah preko puta kuÊe. Taj maleni trgovaËki centar u sebi sjedinjuje nekoliko velikana austrijske kulture i umjetnosti. VeÊ prilikom ulaska u tu oazu

Hundertwasserova dizajna doËekuje vas Mozartov kutak s raznolikim suvenirima, a samo nekoliko metara dalje nalazi se Seoska galerija, u kojoj su najzastupljeniji suveniri i de-korativni predmeti izraeni prema predloπku umjetniËkih djela Gustava Klimta, majstora secesijskog slikarstva. ©toviπe, i Hundertwas-ser je Ëesto nadahnuÊe pronalazio upravo u Klimtovoj umjetnosti. Na kraju ove pripovijesti o velikom umjetniku nadahnutome prirodom, Friedensreichu Hun-dertwasseru, navodimo njegove rijeËi: Volio bih biti poznat kao Ëarobnjak vegetacije ili neπto sliËno. Potrebna nam je Ëarolija. Ja punim sliku dok se ne ispuni Ëarolijom, kao πto netko drugi puni Ëaπu vodom. n

rom the modernist tendencies which entered the architecture and design scene in the 1920s, to universal mini-

malism and so-called technological design ∑ much of the 20th century architecture and design can be described by the often quoted saying by Ludwig Mies van der Rohe, Less is more! It stands for the prevalence of simplicity, clear lines, geometric shapes, basic colours and cold neutral tones in materials such as metal and glass. In short, designs which are neutral, precise and rational.Just as every action causes a reaction in nature, the same applies to trends in design. Much research has confirmed our desire to return to nature, which is manifested in an in-creasingly ecological creative mindset. Nowa-days, even rooftops are covered in greenery, creating a more pleasant living environment, which is anything but simple. The warmth and diversity of the shapes of natural materials are in contrast with precise geometric shapes and cool modern materials. Therefore, the beauty of nature can be seen in the rich colours, diver-sity and the sidestepping of strictly determined creative schemes.This ecological and creative philosophy is typical of Friedensreich Hundertwasser, one of the most prominent modern Austrian art-ists. He was born Friedrich Stowasser on 15 December, 1928, in Vienna. In 1949 he changed his name to Hundertwasser (German for one hundred waters) because he viewed water as freedom. Later he added another two equally picturesque names ∑ Regentag and Dunkelbunt. This charismatic painter, drawing artist and architect did his best to avoid any and all sharp geometric forms and minimalist simplicity in his artwork. Instead, he looked for inspiration in irregular natural forms. From the time he painted his first spiral in 1953, this form of artistic expression permeated much of his work. Bright colours and complementary

colour schemes dominate the paintings and other artwork of this extraordinary artist. Thin, silver and gold foil has also often found a place in his paintings. The colourful, the abundant, the manifold is always better than dull grey and uniform. Hundertwasser’s truly unusual and innovative works and sayings have never gone unnoticed. The architecture of this Vienna-born artist features undulating surfaces, natural materi-als, forested roofs, colourful façades, bright mosaics that decorate all surfaces ∑ from walls to floors, to staircases and railings, to furniture and interior design details. It was his belief that each individual had the right to independently decorate the façade around their own win-dows. In his numerous public speeches he fervently promoted environmental protection. His versatile approach to art was displayed in 1959, when, together with Ernst Fuchs and Arnulf Rainer, he founded the Pintorarium, a universal academy covering all areas of artistic creation.In the course of his life in art, Hundertwasser travelled the world, with his most frequent destinations being Venice, Paris, Japan and New Zealand, where he was buried. The year 1975 saw the beginning of his world exposi-tion tour at the Musée d’Art Moderne de la Ville de Paris, which then continued through 27 countries and 43 museums. The world exposition of his graphics opened at the Vi-enna Albertina and, by 1992, the exhibition had visited 80 museums and galleries in 15 countries. When talking about the travels of this world-famous artist, it is worth mentioning the sailboat curiously named The Regentag (The Rainy Day) on which he sailed the seas for ten years and created his legendary works. In addition, Regentag became one of the artist’s own names.The Hundertwasser Museum, which is part of the Vienna KunstHaus, reveals the artistic world of Friedensreich Hundertwasser. The building that today houses the museum used to be the Thonet furniture factory, famous for its many innovations in wood processing for furniture making. The exterior design itself rep-resents Hundertwasser’s artistic philosophy, since the new purpose of the building also meant the reshaping of many architectural ele-ments according to the great artist’s designs. The façade is decorated with neutral dark and light coloured mosaics, which slightly resemble a chess board. Naturally, the dark and the light parts are different sizes and are outlined with curvy lines. The same rule applies to the numerous windows ∑ all of different sizes and colours. The courtyard at the front is abundant with plants and creative details.

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Upon entering the museum, visitors encounter extremely interesting interior design elements which are shaped based on the natural laws. Colours, materials and shapes give life to a playful atmosphere, with the main rule being that nothing is perfectly straight or technically precise because, after all, nature is not straight or technically precise either, and man should harmonize his creations with the laws of na-ture as much as possible. For example, the floor is alive with mounds, potholes and other irregularities one may come across while tak-ing a stroll on a grassy field or in a forest. The entrance features a beautiful fountain made of eleven types of stone transported from Europe, Africa, Australia and South America. Hundertwasser’s paintings, graphics and ar-chitectural designs that are presented at the museum also bear witness to nature as the artist’s inspiration. One of the most interesting items on display is the model of a settlement that is in perfect harmony with the surrounding natural environment. As you take a stroll away from the museum, after several minutes you will reach the Hun-dertwasser - Krawina House, the next stop on the tour to understanding this unusual and creative man. The house was designed by Hundertwasser and Joseph Krawina, and the construction was completed in 1985. More than 70,000 visitors attended the House In-auguration. The house was built of brick and wood, with lush vegetation incorporated into it. Just like the museum building, the facade is very artistic. It is dominated by the primary colours (blue, yellow and red) and the (non) colour white, and it is also adorned with tiny balconies with wrought iron fences. As this is a residential building, visitors can only admire its exterior.The third tourist attraction, the Hundertwas-ser Village, is located across the road from the house. This small shopping mall bears the marks of several great personalities of Austrian culture and art. At the entrance to this Hundertwasser oasis one finds the Mozart Corner and its many souvenirs. A few meters away is the Village Gallery which mostly features souvenirs and decorations similarly made to the artwork of the Art Nou-veau master painter Gustav Klimt. Indeed, Hundertwasser himself often found inspira-tion in Klimt’s art.We would like to end this story of Friedensreich Hundertwasser, the great artist who was in-spired by nature, by quoting his words: I would like to be known as a magician of vegetation or something of the sort. We need magic. I fill the painting until it is filled with magic, just like one would fill a glass with water. n

Hundertwasser

691 IRINALAND OVER THE BALKANS, 1969

∂ KUNST HAUS WIEN, 2010

KUNST HAUS WIEN

∂ Wolfgang Simlinger / KUNST HAUS WIEN, 2010

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vi znamo da je uæasno jednostavno zaljubiti se, ali i da je jednostavno uæasno prekinuti vezu. NauËili smo i

to da se od slomljenoga srca ne umire, ali da vam se Ëini kako Êe se upravo to dogoditi. A opet, rekli bi cinici, srca postoje da bi se lo-mila…Drugi pak kaæu da ne znaju zbog Ëega se za srce kaæe da je slomljeno, kad vam se nakon raspada ozbiljne veze Ëini da su i svi ostali dijelovi vaπeg tijela slomljeni. O raskidima veza umovao je i Sokrat: I najvruÊa ljubav ima ledeni kraj, govorio je.

Ako vam je srce slomljeno, poite u Zagreb, u Hrvatskoj! PoruËivale su to naslovnice πirom svijeta

posljednje Ëetiri godine. Mediji poput Guardiana, New York Timesa, NBC-ja, DW, Spiegela i mnogi

drugi, pisali su ili govorili o Zagrebu i Hrvatskoj upravo zbog jednoga tek osnovanog muzeja: Muzeja

prekinutih veza. Pitate li se πto uËiniti s tugom zbog ljubavnoga gubitka? Odgovor je jednostavan: U

muzej s njome!

If you are heartbroken, come to Zagreb, Croatia! Newspaper covers from all over the world have been

conveying this message for the last four years. Media such as the Guardian, New York Times, NBC,

DW, Spiegel and many others have either written or spoken about Zagreb and Croatia because of a

recently opened museum: the Museum of Broken Relationships. Are you wondering how to cope with

the pain of a love lost? The answer is simple: Take it to the museum!

■ MUZEJI MUSEUMS

Piše/By Dubravka Belas Fotografije/Photos Robert RajtiÊ

S Znamo, dakle, da je ljubav bezuvjetna, ali da odnosi to nikad nisu i da iza svake prekinute veze stoji neki propali, iznevjereni sporazum… Teπko je izgubiti ljubav, ali æivot je prekratak da biste mu zbog toga dopustili da samo prolazi pokraj vas. Zato, kazuje pjesma, nemojte pla-kati svaki put kad sunce zae, jer moglo bi se dogoditi da od suza ne vidite zvijezde. A zvijezde sjaje i dalje, bez obzira na to πto vi na-kon rastanka niste i nikad viπe neÊete biti isti. Pa πto onda! I πto uËiniti s tugom zbog ljubav-noga gubitka? U muzej s njome!

Ako vam je srce slomljeno, poite u Zagreb, u Hrvatskoj! PoruËivale su to naslovnice πirom svijeta posljednje Ëetiri godine. Mediji poput Guardiana, New York Timesa, NBC-ja, DW, Spiegela i mnogi drugi, pisali su ili govorili o Zagrebu i Hrvatskoj upravo zbog jednoga tek osnovanog muzeja.A ondje, na Gornjem gradu, u povijesnom srcu Zagreba, ljupkom, nezaobilaznom kriæanju svih romantiËnih i turistiËkih gradskih putova, na uglu baroknoga Katarinskog trga, smjestio se jedan od najneobiËnijih muzeja na svijetu,

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Muzej prekinutih veza. U prizemlju palaËe gro-fova Kulmer, pradavnom prostoru zaobljenih, kupolastih svodova, smjestio se stalni postav te jedinstvene izloæbe.Jedinstvene, jer rijeË muzej obiËno asocira na vitrine pune numeriranih, Ëesto praπnih izloæaka suhih opisa, na poæutjele cedulje s inventarnim brojevima, sa πkrtim podacima o nalaziπtu, ili vrsti ili tehnici...I dok vas u drugim muzejima od izloæaka odvaja hladno staklo vitrina, iznenadit Êe vas πto su ovdje eksponati izloæeni posve bez zaπtite, prepuπteni vaπem prouËavanju s ganutljivim povjerenjem.Kad s ulice uete u taj logiËan, dobro osvijetljen prostor, u prvi biste tren mogli pomisliti da ste u lijepoj trgovini preskupe rabljene robe, toliko precijenjene da je izloæena poput umjetniËkih djela.Koriπteni bicikl, malo zapraπen zeËiÊ, noπena vjenËanica, krhotine slomljenoga zrcala, jedna, Ëini se, vrlo funkcionalna sjekira, ogrlica za maËku, dotrajala proteza potkoljenice, pisma, slike, stotinjak raznovrsnih predmeta ima ovdje svoje zasebno mjesto. Rasporeeni su vrlo ravnopravno: ovdje nema vaænijih i manje vaænih stvari, nema obiËnih ili neobiËnih, nije bitno jesu li banalni ili bizarni, imaju li uporabnu funkciju ili ne. Liπeni svoje materijalne dimenzije, i vrijednosne i estetske, ti odabrani predmeti nisu tu zbog toga da se divimo njihovoj sta-rosti, umjetniËkom dojmu ili dizajnu. Potpuno je nevaæno ubrajaju li se u onome drugome, vanjskome svijetu u jeftini kiË ili su skupocjeni objects d’art. Nebitno je jesu li iznoπeni ili novi, lijepi ili ruæni, u koju sferu æivota pripadaju, jesu li ih donirali homo ili heteroseksualni partneri.Izloπci nose oznaku mjesta i vremena u kojemu se odvijala veza o kojoj govore. Svaki predmet ne samo da ima svoju punokrvnu priËu, bolno proæivljenu povijest πto ga odreuje i daje mu smisao - komadu razbijenog stakla, pseÊoj ogrlici, ovome i samo ovom priboru za brijanje. Kriju u sebi taj osjeÊajni naboj, tu razliku zbog koje je baπ ta emajlirana zdjela posve posebna meu svim emajliranim zdjelama na svijetu, a zaustavljeni sat posve drukËiji od svih drugih zaustavljenih satova, Ëak i ako letimiËnom promatraËu izgledaju jednako. PriËa je ono πto im pridaje posve novo znaËenje, ono πto ih oplemenjuje i puni energijom propaloga dvoj-stva koje je jednom bilo, koje viπe nije i neÊe se viπe ponoviti. Ili hoÊe. Ali ovdje i sada, ono je zamrznuto u izloæenim stvarima. IπËitavati njihove poruke snaæno je, katkad i potresno emotivno iskustvo. To viπe nije samo vjenËani-ca koja je plesala pred osam stotina uzvanika, a brak svejedno nije uspio, nije samo mobitel πto ga je deËko ostavio djevojci da ga viπe na nj ne bi mogla zvati, nije tek bilo koji kirgiski

kalpak ili razbijeno zrcalo s ljubavnim pismom zalijepljenim na poleini.Bremeniti tom dodanom vrijednoπÊu, izloπci posve ogoljuju intimu svojih donatora, a ipak, ta vam se ogoljenost nipoπto neÊe Ëiniti bestid-nom i nametljivom, Ëak i onda kad otkriva stvari koje se neznancima inaËe ne govore. Unijet Êete se u njihova druga znaËenja bez imalo voajerske nelagode, jer vaπa su radoznalost, prisutnost i paænja ovdje poæeljni. ZaπtiÊeni anonimnoπÊu, ljudi koji iza njih stoje s vama æele podijeliti svoj doæivljaj rastanka. I ma koliko se na krilima njihovih signatura sve te ljubavne priËe Ëinile zavrπene, morale su ipak nastati zbog nekog otpora, nemirenja s konaËnoπÊu, zbog potrebe da jednom dijelu æivota, ma koliko bio potroπen, ma koliko po-glavlja njime zatvorili, na drugi naËin produlje trajanje. Da mu daruju buduÊnost koja nije bila moguÊa u realnome svijetu. Iz Ëega se mogla roditi ideja o takvome muzeju, ako ne iz jedne prekinute veze? Njegovi tvorci, svestrana i inventivna umjetnica i producentica Olinka Viπtica i kipar Draæen GrubiπiÊ, bivπi su par koji se dobro nosio s razoËaranjem i ljutnjom poslije prekida, uspjevπi zadræati prijateljstvo i profesionalno partnerstvo. U vlastitoj su potrebi da oËuvaju uspomenu na nekadaπnju ljubav smislili ovaj projekt koji je, prije situiranja u stalni zagrebaËki postav, u nekoliko godina obiπao svijet ∑ od San Francisca i New Yorka preko Sarajeva, Istanbula i Cape Towna do Manile i Singa-porea, ukupno 19 gradova Amerike, Europe, Afrike i Azije. Na turneji, izloæbu su vidjele stotine tisuÊa posjetilaca, a samo u prvom tjednu otvaranja stalnog postava zagrebaËkog muzeja, razgledalo ga je viπe od tisuÊu ljudi. Ne treba ni napominjati da pozivi za gostovanje i dalje dolaze i sve ih paæljivije treba planirati kako bi im se moglo udovoljiti.Svakomu bi gostovanju prethodila najava i poziv na donaciju, tako da u sadaπnjem postavu ima mnoπtvo izloæaka prikupljenih na turnejama. Na svim su meridijanima ljubavni brodolomnici jedva doËekali moguÊnost da nekamo smjeste svoje ljubavne ostatke osta-taka, za koje je u njihovim æivotima ponestalo mjesta. Snaga tih stvari postala bi teret, balast kojega se æelite otarasiti, ali nije ga uvijek lako baciti u smeÊe ili spaliti, osim u stanju afek-tivnog vandalizma, kako ga nazivaju autori izloæbe. Darivanje muzeju pritom nimalo ne zaostaje svojim katarziËnim efektima. PriËa se zaokruæuje, dovrπava, ostavlja iza sebe kako bi se moglo dalje. Za utjehu i pouku sebi i svima drugima. Ali Muzej prekinutih veza nije samo izloæba. RijeË je o πirem umjetniËkom konceptu na tragu kreiranja zaπtiÊenog prostora sjeÊanja, polazeÊi

od zamisli da predmeti posjeduju zdruæena polja ∑ holograme sjeÊanja i osjeÊaja. I kako se veze svaki dan prekidaju i nestaju, i ovaj je projekt u stalnom nastajanju. Uvjetno je podi-jeljen u tri segmenta ∑ u virtualni web muzej ∑ www.brokenships.com., u postav materijalnih ostataka i u ispovjedaonicu. U virtualnome muzeju svaki brodolomac registracijom na web stranici muzeja postaje njegov korisnik i donator, osiguravajuÊi si virtualni prostor u kolektivnoj memoriji, u koji moæe pohraniti svoje priloge, svoje izloπke, sve ono πto smatra okidaËima bolnih sjeÊanja. Postav materijalnih ostataka pretpostavlja fiziËki prostor, iz kojega se stariji izloπci, s priljevom novih, pohranjuju u depo i katalogizirani odlaze u virtualni muzej na web. Ispovjedaonica je interaktivni dio muzeja u kojemu se odmah i izravno mogu deponirati sms-poruke, vlastite ispovijesti i sliËno. Svi su muzeji zamiπljeni kao pouËna mjesta, pa i od ove izloæbe moæete neπto nauËiti. Na pri-mjer, kako se brzo i lako ljubav moæe izgubiti. Ili to da vas nitko ne moæe povrijediti bez vaπega dopuπtenja. I da vam nerijetko na kraju ipak neÊe nedostajati osoba koja vas je ostavila, samo slika koju ste u svom srcu o njoj stvorili. I da bi moglo moæda joπ malo boljeti, ali vas zacijelo viπe nikad neÊe moÊi zaista povrijediti. PoduËava nas da nema nikakvih jamstava, ma koliko da ste dali od sebe. Postav je osmiπljen tako da je podijeljen u poglavlja, zasebne prostore, ovisno o stanju svijesti brodolomaca ili situaciji najznakovitijoj za pojedini par. Tako postoji soba za vjenËanja, soba za strast, ona za ljutnju, bijes i razoËa-ranje, za putovanja i razonodu, kao i soba za æalovanje u vezama koje je prekinula smrt. U sobi putovanja nalazi se i prva donacija, mali, bijeli zeko, emotivna baπtina zakljuËene veze Olinke i Draæena, ujedno i jedinog izloπka poznate atribucije. Isti je zeko na fotografiji snimljen kako osamljen ËuËi u praπini nepre-gledne iranske pustinje. PriËa je kratka i glasi: Zeko je trebao proputovati svijet, ali nije stigao dalje od Irana. Ljubavna bol, ogorËenje, tuga, toliko su izvorni i istiniti da se bez napora uspjela izbjeÊi sladu-njavost i patetika. Naprotiv, ponajviπe je zdra-voga, duhovitog odmaka od vlastitih sudbina s dobrom mjerom autoironije i suzdræanosti koja pretpostavlja razumijevanje. U ozbiljnoj osjeÊajnoj vrtoglavici veÊina izloæaka izmamit Êe vam stoga iskreni osmijeh, a priËe iz sobe æalovanja, naprotiv, duboko Êe vas dirnuti.Interkontinentalne ljubavnike, na primjer, tre-bali su zbliæiti avioni. Nisu uspjeli, iako je par proveo sate i sate u avionskim sjedalima i aerodromskim Ëekaonicama, putujuÊi jedno drugomu s kraja na kraj svijeta. Prikladno, poslije svega, sve πto je ostalo od njih zbirka je

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ogorËenje, na vedrinu i suÊut, na njeænost i razoËaranje, katkad Ëuenjem, ali uvijek iskljuËene ravnoduπnosti, Ëinit Êe vam se da ste upravo sreli stotinu novih prijatelja koji su vam otprve, u nemoguÊem odsjeku vremena, uspjeli povjeriti svoje bolno æivotno iskustvo. Kakvo neobiËno, neoËekivano, neizrecivo dirljivo putovanje! Na izlazu moÊi Êete kupiti poneku sitnicu, pravi suvenir kako i dolikuje putovanjima, poput olovke s imenom muzeja, predviene da se u nastupu bijesa slomi, ili velike gumice za brisanje ∑ kako autori tvrde, efikasnog brisaËa loπih uspomena.I za kraj, joπ jedna priËa poslije koje Êe sve dru-ge rijeËi biti neumjesne i suviπne: o svjetleÊem privjesku za psa, koji je stigao iz Berlina. PriËa poËinje obiËno. On ju je ostavio, a ostavio joj je i psiÊa. PsiÊ bi, dok su joπ bili zajedno, katkad odlutao u mraËnim zimskim noÊima, pa mu je kupila mali privjesak za ogrlicu s lampicom Ëije se svjetlo palilo i gasilo. Tako su ga, po pulsirajuÊem svjetlu, lakπe pronalazili. Ona je, joπ neko vrijeme, pokuπavala obnoviti vezu, on se baπ i nije dao, iako ni njemu nije bilo posve svejedno. Godinu dana nakon prekida, u nekome nepoznatom gradu, sama, u praznoj hotelskoj sobi, oduzela si je æivot. On je dvije godine privjesak nosio posvuda sa sobom, dræao ga u toaletnoj torbici. Svaki put kad bi ga pogledao, slomio bi mu srce. Onda ga je predao muzeju, sa sljedeÊom molbom: Bu-dete li se koristili njime, ostavite ga da svijetli ∑ podsjeÊa me na otkucaje srca. Baterije se mogu zamijeniti. n

e all know how incredibly simple it is to fall in love, as well as how incredibly hard it is to break up.

We have also learned that you cannot die from a broken heart, even though it may seem that way. Then again, a cynical person would say, hearts are meant to be broken... Others say they do not know why the heart is referred to as broken because after a serious relationship fails all the other body parts seem to be broken as well. Socrates pondered over break-ups as well. The hottest love has the coldest ending, he used to say.So, we know that love is unconditional, but we also know that relationships never are, and that behind every break-up is some kind of failed, betrayed agreement... Losing love is hard, but life is too short to allow love to simply pass you by. Therefore, as the song goes, don’t cry every time the sun goes down; the tears might prevent you from seeing the stars.The stars keep shining, regardless of the fact that after a break-up you will never be the same. So what! And what should you

vreÊica za povraÊanje s logom raznih avionskih kompanija. Iz Beograda su stigle muËne umjetne grudi, relikt trogodiπnje veze. Kupio ih je on jer mu njezine nisu bile dovoljno velike i tjerao ju je da ih nosi za vrijeme seksa. Zbog tih ga je laænih grudi na posljetku ostavila. Kakvo olakπanje! Æena iz Zagreba donirala je retrovizor. Skinula ga je u bijesu s njegova automobila one noÊi kad je bio parkiran pred pogreπnom kuÊom. Ujutro je lagao da su mu neki vandali na posve drugome mjestu potrgali retrovizor. Isprva mu je htjela priznati, ali on to nije uËinio, pa onda nije ni ona. To je, kaæe, bio poËetak kraja.DeËko iz Turske predao je valjak s ljepljivom vrpcom za ËiπÊenje odjeÊe. U kuÊi je imao dvije maËke i djevojku koja je donijela svoj valjak za ËiπÊenje maËjih dlaka. Jednoga je dana valjak ostavila i nikad se viπe nije vratila. DeËko kaæe: tako je i bolje.Neki su tekstovi dugi, neki lakonski. Iz Bloomingtona, Indiana, stigla je Limenka s tamjanom za ljubav. Duhovita popratna poruka glasi: Ne djeluje. Izloæene gumene cipele nekad su hodale po Manili. Poruka pouËava: ne valja za BoæiÊ daro-vati cipele, jer ta Êe te osoba napustiti. Bapske priËe? Otiπla sam, kaæe njihova bivπa vlasnica, joπ hodam, ali ne u tim cipelama.Uz boËicu πampona za intimno pranje piπe: Kad smo prekinuli vezu, moja majka ga je rabila za pranje prozora. Tvrdi da je izvrstan.GlaËalo je pripadalo nekomu iz Stavangera u Norveπkoj. Poruka: ovo je glaËalo izglaËalo moje vjenËano odijelo. Od svega je ostalo samo glaËalo.Nepravilan komad razbijena stakla prilog je iz Berlina. U posljednjemu emocionalnom izljevu nakon raskida stradala su dva prozora i jedna ulazna vrata. S vremenskim i emocionalnim odmakom, smirenije se obavlja inventura πtete.Neku je BerlinËanku prevarila njezina ljubav-nica. InaËe povuËena i nepovjerljiva, zaljubivπi se, dopustila joj je da se useli i donese svoj namjeπtaj. Nedugo zatim ljubavnica je obja-snila da se zaljubila u treÊu i otiπla s njome na dvotjedno putovanje, najavivπi da Êe po svoje stvari doÊi poslije povratka. Prevarena je u bijesu kupila sjekiru, rascijepala njezin namjeπtaj u komade i sloæila ih u uredne hrpe. ©to su hrpe rascijepana drveta bile veÊe, sve su viπe sliËile njezinoj duπi, ali ona se osjeÊala sve bolje. Bivπa je partnerica umjesto namjeπtaja morala iznijeti svoje ured-no sloæeno smeÊe, a na zidu muzeja danas visi ta sjekira u dobru stanju, unaprijeena u terapeutsko pomagalo.Na kraju obilaska, pomijeπanih osjeÊaja, jer nezadræivo rezonirate i na ljutnju i na

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do with the pain of a love lost? Take it to the museum!If you are heartbroken, come to Zagreb, Croa-tia! Newspaper covers from all over the world have been conveying this message for the last four years. Media such as the Guardian, New York Times, NBC, DW, Spiegel and many others have either written or spoken about Zagreb and Croatia because of a recently opened museum.In the Upper Town, the historic heart of Za-greb, the lovely and inevitable crossroads of all romantic and sightseeing city routes, on the corner of the Baroque St. Catherine’s Square is one of the most unusual museums in the world, the Museum of Broken Relationships. The permanent display of this unique exhibi-tion is found on the ground floor of the noble Kulmer family’s palace, an ancient space with rounded, domed arches.We use the word unique because the word museum usually evokes an image of display cases filled with numbered, often dusty exhibits with dull captions written on yellowish tags with inventory numbers, containing limited informa-tion about a discovery or type or technique...And while in other museums the glass of the cold display cases physically separates you from the exhibits, you will be surprised by the fact that these exhibits are displayed without any protection, left for you to study them with emotional intimacy.When you first enter this logical, well-lit space, it may seem as though you have walked into a beautiful shop of overpriced used goods which sells things so precious that they are displayed like artworks.Around one hundred diverse objects have found a place for themselves, such as: a used bicycle, a slightly dusty bunny, a worn wedding dress, pieces of a broken mirror, a very useful axe (so it seems), a collar for a cat, a below-knee prosthesis that is worn out, letters and pictures. They are all equally meaningful: there are no things of greater or lesser importance, no common or uncommon objects, it does not matter whether they are banal or bizarre, or if they are useful or not. Deprived of their material dimension, as well as their value and aesthetics, it is not the age, artistic impres-sion or design of these selected objects that we admire. It is completely irrelevant whether they are used or brand new, beautiful or ugly, which aspect of life they belong to, or whether they were donated by homo or heterosexual partners.The exhibits include information about the time and place of the relationship. Each object has its own full-blooded story, a history of painful experiences that defines it and gives it sense

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∑ a piece of broken glass, a dog collar, this particular shaving kit and no other. They carry an emotional charge, a difference that makes precisely this enamel bowl that much more special than all the other enamel bowls in the world. There is the clock that has stopped working, which is completely different from all the other clocks that have stopped working, even though it may seem the same at first glance. The stories behind the objects give them an entirely new meaning. The objects are enriched and filled with the energy of a union that has failed, is no longer and will never be again. Or maybe it will. But here and now the relationships are frozen in these displayed objects. Reading their messages is a powerful, sometimes even disturbing emotional experi-ence. It is no longer just a wedding dress that danced at a reception in front of eight hundred people, signalling the beginning of a failed marriage. It is no longer just a cell phone that a boyfriend gave a girlfriend so she could not call him anymore. It is no longer just a Kyrgyz hat or a cracked mirror with a love letter glued to the back.Burdened with this added value, the exhibits completely expose their donor’s intimacy. However, this exposure will never seem bra-zen or pushy, even when it reveals things that are not usually shared with strangers. You will relate to their deeper meanings without the slightest touch of voyeuristic discomfort, because your curiosity and attention are more than welcome.Protected by anonymity, the people behind the items wished to share with you their experiences with separation. And no matter how much these love stories appear finished based on their captions, they originated from some kind of difficult, inability to make peace with finality, from the need to make a period of one’s life live on, no matter how exhaust-ing it may seem or how many chapters it may close.What was the inspiration for such an idea, if not a failed relationship?Its creators, the versatile and inventive artist and producer Olinka Viπtica and sculptor Draæen GrubiπiÊ, are a former couple who coped with post-breakup anger and disap-pointment rather well, and they successfully remained friends and professional partners. Out of their own need to preserve the mem-ory of love lost, they designed this project, which toured the world for a few years ∑ San Francisco, New York, Sarajevo, Istanbul, Cape Town, Manila, Singapore, a total of 19 American, European, African and Asian cities, before its permanent exhibition was set up in Zagreb. Hundreds of thousands of visitors

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saw the exhibition on tour, while more than one thousand visitors came to the Zagreb location in the first week after the opening. Needless to say, invitations for the tour keep coming in, and this requires the most careful planning in order to satisfy all of them.Each tour was preceded by an announcement and invitation for donations, which is why the permanent exhibition contains so many exhibits that were collected on the tours. On all latitudes, the broken-hearted jumped at the opportunity to contribute the remainders of their shattered love-lives which they no longer needed. The power of those things had become a burden, a load one wished to get rid of, but could not easily throw away or burn, except in a state of emotional vandal-ism, as the museum authors call it. Making a donation exerts a similar cathartic influence. A story gets closure and is left behind so one can move on. This act is a comfort and a les-son, for themselves and for others.However, the Museum of Broken Relationships is not just an exhibition. It is a broader artistic concept based on creating a place to protect memories, starting from the idea that objects possess unified fields ∑ holograms of memories and emotions. The exhibition is divided into three segments, so to speak: a virtual web-based museum ∑ www.brokenships.com; a display of material reminders; and a confession room. In the virtual museum, every mourner can register on the museums website and become its user and donor, ensuring a virtual space in the collective memory to store their contributions, exhibits and anything else they consider triggers of bad memories. The dis-play of material reminders requires a physical space. As new exhibits arrive, older ones will be archived and catalogued in the virtual web museum. The confession room is the interac-tive part of the museum, meant for people to directly store text messages, personal confes-sions, etc. All the segments of the museum are created to be educational, so you can also learn something by visiting them. For instance, you can learn how easily and quickly one can lose love. Or, that no one can hurt you without your permission. Or, that quite often one will eventually not miss the person that left them, but rather only the image created about them in one’s heart. And you can learn that it might still hurt a bit, but no one will be able to hurt you that much ever again. The museum teaches us that there are no guarantees, even though you tried your best.The displays are divided into chapters, separate areas, depending on the mourner’s state of mind or a situation that was of great importance to a particular couple. There is a

wedding room, a passion room, anger, rage and disappointment room, travel and leisure room, as well as a mourning room for those relationships that were terminated as a result of death.The travel room contains the very first do-nation, a small white bunny, the emotional legacy of Olinka and Draæen’s relationship, at the same time the only exhibit of known at-tribution. The same bunny was photographed sitting alone in the dust of an endless Iranian desert. The short caption reads: The bunny was supposed to travel the world, but never got farther than Iran.The love-induced pain, bitterness and sorrow are so genuine and authentic that the exhibition

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so effortlessly succeeded in avoiding sentimen-tality and cheesiness. On the contrary, there is a prevailing touch of healthy, witty detachment from personal destinies with a fine touch of self-irony and restrain that presumes understand-ing. In a more serious emotional dizziness, most of the exhibits will bring a sincere smile to your face, while you will find the stories from the mourning room deeply touching.Intercontinental lovers, for instance, were sup-posed to be brought together by planes. Their relationship failed, even though the couple spent endless hours on plane and in airport waiting rooms, travelling to meet on the other side of the world. Rightfully so, the only thing left when the relationship was over was a col-lection of airsickness bags with airline logos.Troublesome fake breasts came from Bel-grade, a relic of a three year relationship. A man had bought them because he did not think her breasts were big enough and he made her wear them during sex. She finally left him because of those breasts. What a relief!A woman from Zagreb donated a side-view mirror. Enraged, she ripped it off his car the night he was parked in front of the wrong house. The next morning he lied when he said that some vandals had torn it off in another part of town. At first she was tempted to admit her actions, but since he did not admit his, neither did she. It was the beginning of the end, she said.A young man from Turkey donated a lint roller. At home he had two cats and a girlfriend who had brought her own lint roller to clean the cat hair. One day she left the roller and never came back. It was for the best, said the ex boyfriend.Some captions are longer, some are more concise.A can of love incense came from Bloomington, Indiana. The humorous text simply reads: Doesn’t work.The pair of rubber shoes on display used to walk the streets of Manila. The text reads: It is no good to give anyone shoes as a Christmas present, because then that person will walk away from you forever. An old wives’ tales? I left, said their former owner, and I’m still walk-ing, but not in those shoes.The caption next to the bottle of intimate wash reads: After we broke up, my mother used this to wash windows. She claims it’s absolutely great.The iron belonged to someone in Stavanger, Norway. The text: This iron was used to iron the suit for my wedding. Now it is the only thing left.A broken piece of glass was a donation from Berlin. In the last emotional outpour after the

breakup, two windows and one door paid the price. Time and emotional detachment help to calmly assess the damage.A woman from Berlin was cheated on by her girlfriend. Normally reserved and untrusting, having fallen in love, she let the woman move in with her and bring her own furniture. Shortly afterwards, her lover announced that she had fallen in love with a third woman and was go-ing on a two-week trip with her. She planned to pick up her things when she returned. Enraged, the woman that was cheated on bought an axe, chopped her lover’s furniture into pieces and arranged them in piles. The larger the heaps of chopped wood grew, the more they resembled her soul, but the better she felt. Instead of furniture, the ex partner had to take out her neatly piled garbage. The axe hangs on the museum wall today in a good state, and is considered to be a therapy tool.As you reach the end of the museum, you are filled with mixed emotions. You are bound to respond to the exhibits with both anger and resentment, happiness and compassion, tenderness and disappointment, sometimes with wonder, but never indifferently. It will seem as though you have just met a hundred new friends who, in an impossible stretch of time, entrusted you with their painful experi-ences. What an extraordinary, unexpected, inexpressible and touching journey!On your way out you can purchase some knick knacks, real souvenirs, as if you had been on a journey, like a pencil with the Mu-seum’s logo that is meant to be broken in an attack of anger, or a large eraser ∑ an efficient tool to erase bad memories.And finally, just another story after which all other words will seem pointless and super-fluous: it is about a dog collar that contains a light. It came from Berlin. The story begins in the usual manner. He left her, but he let her take their little dog. When they were still together, the dog sometimes wandered off on dark winter nights, so she bought her a collar pendant with a blinking light, making it easier to find her. She tried to rekindle the relationship for a while but he remained firm, even though not completely indiffer-ent. A year after the breakup, alone in an empty hotel room in a strange city, she took her own life. For two years he carried that pendant around wherever he went, keeping it in his toiletry bag. Every time he looked at it, his heart broke. Then he donated it to the museum with the following request: If you use this, please let it continue to blink while it is hanging − it reminds me of a heartbeat. The battery can be replaced. n

Olinka Vištica i Dražen GrubišiÊ, osnivaËi muzeja.

Olinka Vištica and Dražen GrubišiÊ, the founders of the museum.

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ikada joπ nisam doæivio da publi- ka diπe s nama od prvoga tre-nutka, kao te veËeri u Budimpeπti,

koment i rao je d i r igent Ve l jko ©kor -vaga nastup u svi jetu jedinstvenoga, hrvatskog orkestra 100 tamburaπa u maarskoj Nacionalnoj koncertnoj dvorani. U impresivnoj glazbenoj dvorani novosagraene PalaËe um-jetnosti (Muvészetek Palotája), jednoj od pet naj-veÊih i najakustiËnijih u Europi, te je veËeri prvi put otkad je otvorena prije pet godina odjekivao zvuk tamburice, pa je utoliko bio znaËajniji

Tamburica nije bila samo dangubica, nego prosvjetiteljski medij preko kojega se puku nastojala prib-

liæiti glazbena kultura europskog zapada. U vrijeme Ilirskog preporoda znaËila je mnogo viπe od same

glazbe, jer njome se gradila i jaËala nacionalna svijest.

The tamburitza was not just a dangubica, an instrument to dilly dally with, but also a tool of enlight-

enment which was used to reach out to the common people and raise their awareness of Western

European musical culture. During the Illyrian revival movement it meant more than just the music itself,

as it served to awaken and enhance people’s awareness of their own nation.

UMJETNOST ART ■

Piše/By Davorka Vukov ColiÊ Fotografije/Photos Arhiva Šokadije Zagreb

N njihov nastup u gradu mostova, Ëardaπa i vio-lina. Na tamburaπki spektakl privukli su viπe od 1200 posjetitelja, ponudivπi maarskoj publici klasiËna djela skladana za tamburaπke orkestre, obrade tradicijskih pjesama i kola, ali i Lisztovu Maarsku rapsodiju, Mozartovu Malu noÊnu muziku, koraËnicu iz Bizetove Carmen, pa hi-tove Beatlesa i sastava ABBA, a trosatnu svirku okrunili temperamentnim BeÊarcem. Publiku su, piπe neki izvjestitelj, ostavili bez daha i joπ se jedanput dokazali izvrsnim promicateljem hrvatske kulture i turizma.

U poËetku godine orkestru sastavljenome od ponajboljih tamburaπa iz svih krajeva Hrvatske stiglo je i neobiËno priznanje iz Londona. U sjediπtu Guinnessa i sluæbeno je potvreno da Hrvatska ima najveÊi tamburaπki orkestar na svijetu. Neki su se pritom prisjetili kon-certa Prvoga varaædinskoga graanskoga tamburaπkog zbora odræanoga davne 1901., na kojemu je sudjelovalo 120 tamburaπa. Bila je to ipak rijetka iznimka. Na starome tradicijskom glazbalu, zbog moguÊnosti i prirode zvuka, po pravilu sviralo se u malim

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ansamblima i orkestrima, rijetko ili nikad u najveÊim europskim koncertnim dvoranama. No taj neobiËni orkestar, nastao iste godine kad je otvorena i velebna budimpeπtanska dvorana, veÊ je proπlogodiπnjim nastupom u beËkom hramu glazbe, Wiener Konzerthaus, navijestio sasvim nove uzlete tamburice. Ideja o formiranju tamburaπkog megaorkestra roena je prilikom priprema za proslavu 95. godiπnjice osnutka ©okadije-Zagreb, druπtva zagrebaËkih Slavonaca za promicanje hrvat-ske kulture i baπtine. Predsjednik Druπtva Martin VukoviÊ, inaËe dugogodiπnji novinar i urednik na HRT-u, zamolio je skladatelja Josi-pa IvankoviÊa da za obljetnicu napiπe sveËanu pjesmu, no umjesto pjesme on mu je predloæio da okupi najveÊi tamburaπki orkestar u zemlji, a onda i u svijetu. - Bojao sam se neizvedive misije, jer to do-tad nikomu nije uspjelo - priznao je Martin VukoviÊ. Malo-pomalo i uz pomoÊ iskusnog tambura-πa iz Pittsburgha Jerryja Grcevicha, oduπev-ljenoga idejom, stvar se poËela kotrljati. Na sveËanome obl jetniËkom koncer tu druπtva, nazvanom ©okadijska rapsodija - sto tamburaπa, u zagrebaËkoj Koncertnoj dvorani Vatroslava Lisinskog, tog svibnja 2006. na pozornici se naπlo ne stotinu, nego Ëak 154 tamburaπa od 17 do 77 godina, iz jedanaest hrvatskih gradova, Tuzle, Pittsburgha i Chica-ga, pet dirigenata, orguljaπice i Ëembalistice, Mjeπoviti zbor HRT-a od 49 Ëlanova i Vokalni ansambl TreπnjevËanke s 15 pjevaËica. Otad se svakog svibnja u dvorani Vatroslava Li-sinskog sastaju ponajbolji tamburaπi sa svih strana Hrvatske, pa i dijaspore, da svirkom tradicionalnih djela, ali i obrade klasike, popa, Ëak i jazza pokaæu nove moguÊnosti hrvat-skoga nacionalnoga glazbala. Pokazali su da na tamburama ne zvuËi dobro samo domaÊi folklor, nego i dixieland, blues i ragtime.- Bila je to doista prava rapsodija, a tamburaπa je na pozornici bilo oko sto dvadeset. Popunili su cijelu pozornicu, a kad su zasvirali, to je zvuËalo poput rascvjetane, joπ nepokoπene, livade ili poput njihanja zreloga, æitnog polja, s Ëak dvanaest berdaπa koji su, stojeÊi, strπili u pozadini i zvuËali pouzdano poput debele hladovine kroπnji dvanaest hrastova - opisuje glazbeni kritiËar Branimir Pofuk dojmove s jednoga od tih koncerata. U njihovoj interpre-taciji i Oda radosti zvuËi snaæno i uvjerljivo, a opet mekanije.Zvuk tambure ili, od milja, tamburice, doista je zvuk panonskih ravnica i slavonskih salaπa, a ©okci njome od davnine opjevavaju sva svoja veselja, sve ljubavi, melankolije i tuge. Upitate li tamburaπe otkud im tamburica, mnogi Êe kratko odgovoriti od Boga, pozivajuÊi se na

staru tibetansku legendu o bogu Tamburu, zaπtitniku glazbe i glazbenika, koji je napravio prvo takvo glazbalo i dao ga u ruke ljudima. Za tamburu se zna joπ iz vremena prije Krista, jer postoji crteæ asirske tambure iz 3. stoljeÊa prije Krista. PodsjeÊa na rusku balalajku, ukrajinsku banduru i talijansku mandolinu. Poznata je u GrËkoj (tambouras), Sjevernoj Indiji (tambura), Iranu (tanbur), Turskoj (tambur), a u ove krajeve najvjerojatnije su je donijeli Turci preko Bosne, jer iz Bosne potjeËe najstariji pisani dokument iz 1551., u kojemu se spominje, kao i slika bosanskog janjiËara s tamburom iz 1557. godine. Otuda se migracijama ©okaca i Bu-njevaca preko rijeke Save proπirila Hrvatskom i sjevernim dijelom Srbije, a suvremeni je oblik u 20. stoljeÊu dobila u Madæarskoj. U zaËetku bila je samica, omiljeno pastirsko glazbalo malog tijela i dugaËkog vrata, s jednom æicom, a ako ih je bilo viπe, sve su bile ugoene na istom tonu. To malo seosko trzalaËko glazbalo (zvano i dangubica) skro-mne izradbe, no vrlo æivahno u rukama dobra sviraËa, prethodilo je kasnijim razvijenijim instrumentima. Od nje je nastao prim, a od prima ili bisernice njegovi veÊi roaci braË, bugarija, ËeloviÊ i Ëelo te na kraju berda, u kajkavskom podruËju zvana bajs. Hrvati su je prihvatili kao svoje narodno glaz-balo, a s vremenom je postala jedino narodno glazbalo od kojega se, po uzoru na gudaËki, moæe sastaviti pravi orkestar. S vremenom se na njoj svirala sve raznovrsnija i kompleksnija glazba, sve do danas, kad moæe svladati i razigranog Mozarta. Za razliku od gudaËkih glazbala nepromijenjenih stoljeÊima, jer vrhu-nac su postigli u vremenu kad su ih izraivali poznati majstori iz Cremone, Stradivari, Guarneri i Amatti, tambura joπ ima prostora za razvoj.VeÊ u poËetku 19. stoljeÊa u BaËkoj je bilo tamburaπkih sastava i ansambala, a to je potaknulo i hrvatskog skladatelja Vatroslava Lisinskog da napiπe pjesmu Tamburaπka. U Osijeku, toj Meki tamburice, ponosno istiËu godinu 1847. kad je njihov sugraanin Pajo KolariÊ, prvi poznati skladatelj tamburaπke glazbe, osnovao prvi amaterski tamburaπki orkestar, a u osjeËkome Muzeju Slavonije Ëu-vaju najstariju tamburu u Hrvatskoj, izraenu iste godine. Ali tamburica u to vrijeme nije bila samo dangubica, nego prosvjetiteljski medij preko kojega se puku nastojala pribliæiti glaz-bena kultura europskog zapada. U vrijeme Ilirskog preporoda tamburica je znaËila mnogo viπe od same glazbe, jer njome se gradila i jaËala nacionalna svijest. Nije stoga Ëudno πto je meu nacionalnim manjinama Hrvata u Austriji, Madæarskoj i SlovaËkoj bila i ostala Ëvrsta poveznica sa starom doma-

jom, pa otuda tolika popularnost amaterskih tamburaπkih sastava meu gradiπÊanskim i bunjevaËkim Hrvatima. Tamburica je bila i ostala do danas neizbrisiv dio njihovoga naci-onalnoga, kulturnoga i povijesnog identiteta.Svuda u svijetu gdje se rasula mnogobrojna hrvatska dijaspora, od Australije do Kanade, od Argentine i »ilea, do NjemaËke, Austrije i Sjedinjenih AmeriËkih Dræava, jedinstvena je veza s domovinom, zvuk staroga rodnog kraja, potvrda i sjeÊanje na hrvatske korijene. Tamburica Trajπtof iz istoimenog sela jedan je od najstarijih tamburaπkih ansambala u GradiπÊu. Osebujni vinar Mate KlikoviÊ iz gradiπÊanskog mjestaπca Zagersdorf neu-morno svira u Tamburici Cagerπtof, a s njim i supruga i sve tri kÊeri. U Berlinu neumorno djeluje tamburaπki orkestar Wellebit, osnovan joπ 1902. godine. Pokrenuo ga je Hrvat Franjo Krznar podrijetlom iz Like, potomci i danas Ëuvaju tradiciju, stare instrumente i pjesme, a u njemu svira i 17 Nijemaca. Jedan od njih, Henning Witt, s tamburicom u ruci veÊ 36 godina ponavlja s prijateljima Hrvatima refren Vesela je Šokadija. Tamburaπ, skladatelj i aranæer Jerry Grcevich nedavno je dobio najveÊe ameriËko priznanje za svoj æivotni doprinos bogatom naslijeu Sjedinjenih AmeriËkih Dræava, a dodjeljuje ga Nacionalna zaklada za umjetnost (National Endowment for the Art). Grcevich je treÊi naraπtaj Hrvata roenih u Turtle Creeku kraj Pittsburgha, ali neumorno njeguje glazbeni izriËaj pradjedova. Primjera je bezbroj.A kod kuÊe tamburaπka se scena iz dana u dan mijenja. Nakon osamostaljenja, Hrvat-sku je, kako to neki æivo opisuju, zapljusnuo pravi tamburaπki tsunami. Pop-tamburica zamijenila je novokomponirani kiË s istoka, iako su brojni novonikli tamburaπki sastavi i pjesme katkad vrijeali ukus. Na podruËju Slavonije i πire djeluju mnogobrojni bendovi bez kojih se, za razliku od prijaπnjih vremena, ne moæe zamisliti prava svadba, a ni bilo koje veliko veselje. Nedavno preminuli Julije Njikoπ bio je neumor-ni skupljaË tisuÊa narodnih pjesama, dirigent i skladatelj ponajboljih tamburaπkih djela (Slavonska rapsodija, O tamburici, Podrav-ska rapsodija, ©okaËka predigra, Baranjska rapsodija), osnivaË festivala u Slavoniji, te neprijeporna institucija. Tamburaπki susreti i festivali, televizijske emi-sije i pjev zlatnih æica tamburica na lokalnim radiopostajama dio su danaπnjega glazbe-no-kulturnog krajobraza. I neki skladatelji ozbiljne glazbe vrlo ozbiljno uzimaju u obzir tamburaπko naslijee, poput predsjednika RH Ive JosipoviÊa, u Ëijemu se skladatelj-skom opusu nalazi i Drmeπ za Pendereckog.

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Hrvati su takoer dobili i tamburaπku inaËicu beËkoga novogodiπnjeg koncerta u izvedbi Tamburaπkog orkestra HRT-a i pod ravna-njem maestra Siniπe Leopolda, a odræava se u uglednome zagrebaËkom HNK. »esto se osnivaju novi amaterski ansambli. ZagrebaËki tamburaπi osnovani su prije tri godine, Varaædinski tamburaπi prije pet, Gradski tamburaπki orkestar u Slavonskom Brodu prije tri. U tom gradu otvoren je i Mu-zej tambure. Ipak, struËnjaci kaæu da se broj velikih tamburaπkih orkestara smanjuje, a tako i sustavno i kultivirano njegovanje vrhunskog muziciranja na tamburi, pa su orkestar Sto tamburaπa i njihove raspjevane πokadijske rapsodije na pravom putu da tamburici daju novi kvalitetni uzmah. n

efore that evening in Budapest, I had never experienced such a feeling as the audience breathing in unison

with us from the very beginning, said the conductor Veljko ©korvaga, referring to the spring performance at the Hungarian National Concert Hall of the Croatian orchestra 100 Tamburitzas. This type of ensemble is unique in the world. The sounds of the tamburitza resounded across the magnificent music hall which is located in the newly built Art Palace (Muvészetek Palotája). This hall is one of the top five biggest halls in Europe, with supreme acoustics to match. This was the first time that the sounds of the tamburitza were heard in the hall since it opened its doors to the public five years ago, making the Croatian musicians’ appearance in the city of bridges, czardas and violins that much more important. The tamburitza spectacle attracted over 1,200 visitors. The Hungarian public was treated to a range of classical pieces composed spe-cially for tamburitza orchestras, also covers of traditional songs and dances, as well as Liszt’s Hungarian Rhapsody, Mozart’s Little Night Music, the march from Bizet’s Carmen, and also hits from the Beatles and ABBA. The three-hour programme was crowned by an energetic BeÊarac. According to a news report, the breathtaking performance proved that the reputation the tamburitza orchestra enjoys as an excellent promoter of Croatian culture and tourism is more than well deserved.At the beginning of this year, the orchestra, which is composed of the most prominent tamburitza players from all over Croatia, re-ceived an unusual recognition from London. The Croatian band had been entered into the Guinness Book of Records as the biggest tamburitza orchestra in the world. This oc-casion made some people recall the concert

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by the First Civic Tamburitza Band of Varaædin which was held back in 1901 and featured as many 120 tamburitza players. However, that was a rare exception. The old traditional instrument has always been played in small ensembles and bands, as they are best suited to make the most of its performance capabili-ties and the nature of the sound it produces. Only rarely, if ever at all, are tamburitzas heard being played in the largest European concert halls. The establishment of the unique tam-buritza orchestra, the biggest in the world as a matter of fact, coincided with the opening of the impressive concert hall in Budapest. Last year, the band heralded new highs for tamburitza music by performing a concert in the Viennese temple of music, the Wiener Konzerthaus. The idea to assemble a tamburitza mega-or-chestra was first born during the preparations for the celebration of the 95th anniversary of ©okadija-Zagreb, an association of Slavonians with Zagreb addresses, whose main purpose and goal is to promote Croatian culture and heritage. The association’s president, Martin VukoviÊ, a seasoned career journalist and an editor at HRT, had commissioned a hymn for the anniversary from composer Josip Ivank-oviÊ. Instead, the composer suggested that he try to assemble the biggest tamburitza orchestra in the country, and then the biggest in the world. - At first I was very apprehensive. The idea sounded like an impossible mission: nobody in the world had ever done it before, admitted Martin VukoviÊ. Little by little, with the help of an experienced Pittsburgh-based tamburitza player, Jerry Grcevich, who jumped at the idea, they got the ball rolling. At the association’s anniver-sary concert, which was held under the name The ©okadija Rhapsody ∑ 100 Tamburitzas, at Zagreb’s Vatroslav Lisinski Concert Hall in May 2006, not 100 but as many as 154 tamburitza players appeared on the stage. Their age span ranged from 17 to 77; they had come from 11 different Croatian towns, and from Tuzla, Pittsburgh and Chicago; they were conducted by five different con-ductors; they were joined by organ players and cembalists; as well as the 49-singer strong HRT choir and the vocal ensemble TreπnjevËanke, featuring 15 female singers. Every May since then, the Vatroslav Lisinski Music Hall has continued to open its doors to the gatherings of the most prominent tamburitza players from all over Croatia and the Croatian diaspora. They play traditional pieces, as well as the covers of classical music, pop music and even jazz pieces in

order to demonstrate the new and exciting potential of the Croatian national instrument. So far they have proven that the sound of the tamburitza is as appropriately suited for Dixieland, blues and ragtime music as for local folklore melodies. - That was indeed a veritable rhapsody played by approximately 120 tamburitza players. The stage was almost too small to accommodate them all, and when they struck their chords the music sounded like a blossoming meadow waiting to be mowed, like the swaying of a ripe golden wheat field; the twelve berda players (the equivalent of the bass in a tamburitza band) were standing in the back and sounded as dependable and comforting as the thick shade of twelve oak trees. This is how music critic Branimir Pofuk de-scribed his impressions of the concert. When interpreted by the tamburitza orchestra, even the Ode to Joy sounds powerful and convinc-ing, and at the same time soft and mellow. The sound of the tambura, or the tamburitza as it is most often called by its pet name, is the sound of Pannonian plains and Slavonian granges. For as long as the local people, known as ©okci, can remember, they have used the instrument to express their joys and loves, melancholies and sorrows. If you ask tamburitza players where they got their tamburitzas from, many will say matter-of-factly ∑ from god, referring to an old Tibetan legend about the god Tambur, the patron of music and musicians, who made the first such instrument and put it in human hands. The tambura was known even before Christ, as testified to by the drawing of an Assyr-ian tambura dating back to the 3rd century B.C. It conjures up the image of the Russian balalaika, the Ukrainian bandura or the Italian mandolin. It is known in Greece (tambouras), Northern India (tambura), Iran (tanbur) and Turkey (tambur). Judging by the oldest written document from 1557, in which the tambura is mentioned and depicted in the hands of a Bosnian soldier, it was probably brought over to these parts by the Turks via Bosnia. From there, as the ©okci and Bunjevci populaces migrated across the Sava River, the tambura has spread across Croatia and the northern part of Serbia. The instrument as we know it today assumed its shape in Hungary in the 20th century. In the early days of its existence it was a solo instrument, a sheepherders’ small-bodied, long-necked, one-stringed darling. Even if there were more than one, they were all tuned to the same tone. The small, modestly crafted rural instrument, also known as dangubica (an instrument to dilly dally with), became a

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spirited tool if the pick was in the hands of a gifted player. It preceded all subsequent, more elaborate instruments. Its first successor was the prim, also known as bisernica, which has developed into its somewhat bigger cousins, such as the braË, bugarija, ËeloviÊ and Ëelo and finally the berda, known also as the bajs in rural Kaikavian areas. Croats have adopted it as their national instrument, and with time it has become the only national instrument which can make up a proper orchestra, not very different from a string orchestra. As time has gone by, more and more varied and complex musical pieces have been played on the tamburitza. Today, even Mozart’s playful music is a piece of cake. Unlike string instru-ments which have not changed for centuries, ever since they were perfected by the famous Cremona craftsmen Stradivari, Guarneri and Amatti, the tambura still has a lot of room for development. Tambura bands and ensembles existed in BaËka already in the early 19th century and

inspired Croatian composer Vatroslav Lisin-ski to compose a song called Tamburaπka (The Tambura Song). Osijek, the Mecca of tamburitza music, proudly remembers the year 1847 when one of its citizens, Pajo Ko-lariÊ, the first known composer of tamburitza music, founded the first amateur tamburitza orchestra. Amongst its other exhibits, the Osijek-based Museum of Slavonia boasts the oldest tambura in Croatia, which was made that same year. However, at that time the tamburitza was not just a dangubica, an instrument to dilly dally with, but also a tool of enlightenment which was used to reach out to the common people and raise their awareness of Western European musical culture. During the Illyrian revival movement it meant more than just the music itself, as it served to awaken and enhance people’s aware-ness of their own nation. It is therefore not surprising that it has always been a strong link between the homeland and the Croatian national minorities in Austria, Hungary and Slovakia, which explains the huge popular-ity of amateur tamburitza bands among the Burgerland (GradiπÊe) and Bunjevci Croats. The tamburitza has remained a deeply rooted part of their national, cultural and historical identity. All over the world, wherever members of the large Croatian diaspora have scattered, from Australia to Canada, from Argentina to Chile, Germany, Austria and the United States of America, the tamburitza is a unique tie with the homeland; it is the sound of the old country, the proof and reminder of their Croatian roots. Tamburica Trajπtof, from the namesake village, is one of the oldest tamburitza en-sembles in Burgenland. The unconventional winemaker Mate KlikoviÊ from Zagersdorf in Burgerland is a relentless tamburitza player in another band, the Tamburica Cagerπtof, together with his wife and all of their three daughters. Berlin’s Wellebit tamburitza band has been going strong ever since it was first founded in 1902 by a Croat, a native of Lika, Franjo Krznar. His successors still cherish the tradition, the old instruments and songs, and there are even 17 Germans playing in the band. One of them is Henning Witt. For 36 years, with a tamburitza in his hands, he has been repeating the joyful words of the song Vesela je Šokadija with his Croatian friends. Tamburitza player, composer and ar-ranger Jerry Grcevich has recently received the highest National Endowment for the Art recognition for his life-time contribution to the rich cultural heritage of the United States of

America. Grcevich is a third generation Croat, born in Turtle Creek near Pittsburgh, and he continues to cherish and nurture the musical expression of his great grandfathers. There are many other such examples. At the same time, the local tamburitza scene has been anything but boring. After Croatia gained its independence the country was hit by what some like to describe in very vivid terms as a genuine tamburitza tsunami. Pop-tamburitza music replaced kitsch, newly composed tunes which came from the East, although some of the numerous fledgling ensembles and the songs they played were nothing short of an insult to good taste. All over Croatia, particularly in Slavonia, there are currently numerous ac-tive tamburitza bands which have become staples at weddings and other festive oc-casions, unlike in the past when that was not the case. Julije Njikoπ, a conductor and a keen collector who has saved thousands of national songs from oblivion, as well as the author of some of the best tamburitza music (Slavonska rapsodija, O tamburici, Podravska rapsodija, ©okaËka predigra, Baranjska rapsodija), and the founder of the tamburitza festival in Slavonia, is a legend and an institution in Slavonia. Tamburitza extravaganzas and festivals, television shows and the sounds of golden tamburitza strings coming from local radio stations are part of the contemporary musical and cultural landscape. Some classical music composers have taken keen and serious inter-est in the tamburitza heritage. One of them is Croatian president Ivo JosipoviÊ, whose musical opus includes a composition entitled Drmeπ for Penderecki. Croatians now have their own tamburitza version of the Viennese New Year’s Concert which takes place in the impressive Croatian National Theatre where the Croatian Radio and Television tamburitza orchestra is conducted by maestro Siniπa Leopold. New amateur ensembles are often being established. The Varaædin tamburitza band was founded five years ago, whereas Zagreb tamburitzas, as well as the Tamburitza Band of Slavonski Brod, have been in existence for three years now. Slavonski Brod now boasts a newly opened Tambura Museum. However, experts note that the number of big tamburitza orchestras is actually dwindling and that a systematic and cultivated approach to the tradition of tamburitza music is suffering as a result. That is why the orchestra 100 Tamburit-zas and their joyful Šokadija rhapsodies are on the right road to giving tamburitza music a new lease of life. n

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■ GASTRONOMIJA GASTRONOMY

Najradosnija svetkovina u nas poËinje na Badnjak. Badnjak se u

razliËitim narodima razliËito i zove. U Hrvatskoj je uvrijeæen naziv

Badnja veËer ili Badnjak, jer u davna se vremena u toj noÊi do ognjiπta

donosio golemi panj, zvan badnjak ili banjak. Globalizacija je uËinila

svoje pa su danas obiËaji za blagdane diljem svijeta sve sliËniji.

Croatian most joyful festivities start on Christmas Eve. Different

peoples have different names for Christmas Eve. The name used

in the Croatian language is Badnjak, after a big log that would be

brought home that night, and was called badnjak or banjak. Global-

ization has taken its toll on society so that today’s holiday traditions

are becoming more similar all around the world.

noge hrvatske tradicionalne sveËa-nosti izravno su povezane s hra-nom, bez obzira na to odnose li

se na naporni rad (æetva ili vrπenje æita, berba groæa ili krπtenje vina, dovrπenje kuÊe), na vjerske blagdane: BoæiÊ, Uskrs, proπtenje, proslave dana mjesnih svetaca zaπtitnika ili pak na znaËajne trenutke u æivotu pojedinca (krπtenje, vjenËanje, roendan, imendan, bdjenje itd.). Neke su sveËanosti javne, poput dionizijskog dana sv. Martina, koji se slavi u poËetku studenoga na imanjima, u vinskim podrumima i restoranima ili pak spekta-

kularnih doËeka nove godine na glavnim trgovima u gradovima diljem Lijepe naπe. Druge blagdanske svetkovine (BoæiÊ, Uskrs, krπtenja, vjenËanja itd.) obiljeæavaju se u krugu obitelji pa je i jelovnik drukËiji i prilagoen za svaku prigodu. Svaki blagdan karakterizira jedno jelo. Tradicionalno, gulaπ od svinjetine i krumpira jede se na proπtenjima i sajmovima, bakalar se priprema na Badnjak i Veliki petak, uπtipci su neodvojivo povezani s karnevalskim priredbama, a na jugu pripremaju sliËan ko-laË, hrostule. ©unka i kuhana jaja sa zelenim povrÊem posluæuju se za Uskrs, a desert su tradicionalni kolaËi (npr. pinca). Kulen se nudi u doba æetve, guska na dan sv. Martina, a purica i druga perad te sarma posluæuju se na BoæiÊ. Na vjenËanjima posluæuje se niz jela s kolaËi-ma i keksima, kao πto su breskvice, medvjee πape, paprenjaci, fritule. Mnogima su u svakoj prilici omiljena jela janjetina i odojak s raænja, riba na gradele, lignje na razliËite naËine, meso s roπtilja: raænjiÊi, ÊevapËiÊi i mijeπano meso, prπut i ovËji sir, dimljena πunka i svjeæi sir s kiselim vrhnjem, riblji paprikaπ, teletina... Za Novu godinu najËeπÊe se jede svinjetina, odnosno odojak, a u ponudi je bogati izbor priloga, od francuske salate do peËenih krumpira, mlinaca te salate od cikle ili graha, zatim tu je Ëesto i hladetina te neizostavna novogodiπnja sarma. Najradosnija svetkovina u nas poËinje na Badnjak. Badnjak se u razliËitim narodima razliËito i zove. U Hrvatskoj je uvrijeæen naziv Badnja veËer ili Badnjak, jer u davna se vre-mena u toj noÊi do ognjiπta donosio golemi panj, zvan badnjak ili banjak. Nije bilo bora koji bi se okitio, nego bi otac i sin poπli u πumu i sasjekli kakav hrast (mladi). Æene u kuÊi sveËano bi ga doËekale, premazale tamja-nom i mirodijama pa omotale u rubac. Prema narodnom vjerovanju taj je panj trebao, poput drvene stube, pomoÊi malome Kristu da sie na Zemlju. Tijekom noÊi s Badnje veËeri na BoæiÊ panj bi se bacio u vatru ognjiπta i grijao kuÊu do jutra. Danas su stvari u nas bitno drukËije. Naime, danas, u doba globalizacije, cijeli krπÊanski svijet kiti bor. U nas je obiËaj kititi ga na Badnjak ili uoËi njega. Ukraπeni, svjetlucavi borovi, okiÊeni prozori i vrata i, sve ËeπÊe u posljednje vrijeme, okiÊene kuÊe i stabla uo-kolo njih po uzoru na Amerikance, jasno nam pokazuju da je groznica u oËekivanju BoæiÊa poËela. Obuzeti smo ukraπavanjem doma i zamatanjem darova za naπe najmilije, koje slaæemo podno bora. Iz restorana, trgovina i kuÊa dolaze nam poznati mirisi jelovnika tipiËnoga za Badnjak. U Dalmaciji, Istri ali i u kontinentalnom dijelu Hrvatske, tradicionalno se na Badnjak priprema bakalar na razliËite

Piše/By Davorka Pπenica

Fotografije/Photos Damir FabijaniÊ M

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naËine, najËeπÊe bakalar u bilo ili pak brodet. U kontinentalnom dijelu Hrvatske, poglavito u Slavoniji, ËeπÊe se priprema rijeËna riba, a omiljen je peËeni πaran s riæom. Poslije veËere posluæuju se blagdanski kolaËi i kolaËiÊi koje su vrijedne domaÊice ispekle nekoliko dana prije. Badnja se veËer odvija u krugu obitelji i najmilijih, a zatim se ide na polnoÊku, na svetu misu. I na kraju svega dolazi ono πto najviπe raduje najmlae - otvaranje darova!Globalizacija je uËinila svoje pa su danas obiËaji za blagdane diljem svijeta sve sliËniji. U Americi sve je jednako ali mnogo veÊe pa je u skladu s time i slavlje veÊe, barem πto se tiËe raskoπi, okiÊenih ulica, izloga, trgova i kuÊa. Poznato je, naime, da Amerikanci ne kite samo drvce i dom, nego i cijelu svoju ulicu, proËelje kuÊe i drveÊe pred njom. Prije toga, baπ kao i svuda drugdje danas, ljudi uæivaju u ludoj kupnji u posljednji tren. No ono πto slijedi bogati je stol i najfinije slastice birane i spravljane samo za osobite blagdanske dane, za BoæiÊ i Novu godinu.ProπeÊimo malo i pogledajmo kako je drug-dje. Najprije Êemo skoknuti do otoka, Velike Britanije. Santa Claus ili Djed BoæiÊnjak 25. prosinca donosi darove kroz dimnjak, a za to vrijeme Britanci uæivaju u purici pripremljenoj na engleski naËin, ali i u deliciji zvanoj Chris-tmas pudding te mince pies (torticama od prh-koga tijesta punjenima suhim voÊem). Rusima darove donosi SnjeguroËka, odnosno Snjeæna æena, a Djeda BoæiÊnjaka zovu - Tatica Mraz. Njega prate djevojËica (Pahuljica) i djeËak (Nova godina). Britanci tijekom boæiÊnoga slavlja posjeÊuju i tzv. pantomime, lude izvedbe bajki ili povijesnih dogaaja. OzraËje je dodatno naglaπeno mnogim svjetleÊim ukrasima na ulicama i trgovima. U Covent Gardenu Father Christmas pali svjetiljke. Na poznatom trgu Trafalgar Square nalazi se prekrasan bor. I, dakako, imela. Stari je to anglosaksonski obiËaj, tek nedavno uveden i u nas. VjenËiÊima imele ukraπena su vrata i domovi, a svatko tko se zatekne ispod vijenca, moæe biti poljubljen ili nekoga poljubiti. Neπto juænije, u Francuskoj, stvari su neπto toplije i πarmantnije. Na primjer, u njihovoj izvedbi jaslica sveci koji stoje oko maloga Boga zapravo su veseli obrtnici, seljaci, ribari i pralje, svi odjeveni u odore iz 19. stoljeÊa. Vrhunac je Badnjaka, tj. boæiÊnoga slavlja, Le Reveillon, odnosno boæiÊni objed. La Buche de Noël, to jest Ëokoladni biskvit ili rolada u obliku debla, smjeπtena ispred okiÊena bora, simbolizira onaj naπ panj iz davnina. Ovdje su takav panj u neka druga vremena spaljivali kako bi se tim svjetlom rastjeralo duhove. No, kad veÊ neprestano spominjemo okiÊeni bor, valja spomenuti onoga tko ga je prvi posta-

vio. Prvo drvce zasvijetlilo je u Francuskoj u pokrajini Alsace, i to u poËetku 17. stoljeÊa. Godine 1840. vojvotkinja od Orleansa prenijela je boæiÊno drvce u Pariz. Dodajmo cijeloj ovoj priËi joπ i to da francuska djeca na Badnjak pokraj kamina (peÊi) ostavljaju oËiπÊene cipele i jedva Ëekaju da proe noÊ, jer ujutro Êe ih doËekati darovi u Ëistim cipelama.A sad, joπ juænije. Kad vam Talijani zaæele sretne blagdane, reÊi Êe Buon Natale. U Italiji u srediπtu sveËanosti nije bor, nego jaslice. Svatko nastoji napraviti πto ljepπe jaslice, po moguÊnosti i najljepπe u mjestu. Prema ka-toliËkom obiËaju, 24 sata prije Badnje veËeri valja strogo postiti. Nakon zalaska sunca pucanj iz topa na Aneoskoj tvravi u Rimu oznaËava poËetak blagdana. Nakon mise ide se na blagdanski objed u krugu obitelji i dijele se darovi. Zanimljivo je da se ponegdje u Italiji darovi dijele i na Sveta tri kralja. BoæiÊ se sve viπe slavi i u Japanu. Iako su prevladavajuÊe religije budizam i πintoizam, BoæiÊ je postao neka vrsta komercijaliziranog blagdana Ëijemu se slavlju pridruæuju svi. Glavni je ipak Badnjak. Djeca dobivaju bezbroj darova, kite se bor i proËelje kuÊe. Ako ste djevojka-samica u Japanu, veÊ od listopada traæit Êete pratitelje, jer nema gorega nego Badnju veËer provesti u samoÊi. BožiÊne slasticePred BoæiÊ, iz desetljeÊa u desetljeÊe, iz go-dine u godinu, u kuhinji vlada slatka groznica. Vade se poæutjeli recepti i izabiru tradicionalni kolaËi. Kupuju se najfiniji i najaromatiËniji sastojci. Sjecka se uπeÊerena korica limuna i naranËe, smokve i datulje, krckaju se ora-si, bademi i ljeπnjaci, melje cimet, klinËiÊi i zvjezdice anisa. Pritom se i u najsuvremenijim kuhinjama strogo poπtuju pravila naπih baka. Ponajprije, za boæiÊne kolaËe treba imati do-voljno vremena, strpljenja i ljubavi. Sve mora biti pripremljeno dan prije i niπta, pa Ëak i ono propisano na vrh noæa, ne smije nedostajati. Svuda u Europi uz BoæiÊ se veæu osobita peciva i kruh. Tijesto je pojaËano sa svim nesvakodnevnim namirnicama: maslacem, jajima i πeÊerom. A tu su, dakako, i orasi, ljeπnjaci, bademi, suho i uπeÊereno voÊe. Redovito se taj slatki boæiÊni kruh, zaËinjen mirisnim zaËinima od umbira do cimeta, peËe u paru, jer obiËaj je da se jedan daruje najdraæima.Posvuda u Europi, pa tako i u nas, slatki kruh sve viπe zamjenjuju kolaËi i slastice. Danas se rijetko gdje priprema neko jednostavno jelo poput zeljenjaka ili zelenjaka s dalmatinskih otoka ili pak poznati zeljenik poznatiji kao so-parnik iz Poljica. Soparnik ili uljenak, kako ga joπ zovu, pravi se od blitve, braπna, malo luka i ulja. To autohtono jelo stare PoljiËke republike

upisano je na Listu zaπtiÊenih nematerijalnih kulturnih dobara u Hrvatskoj. Na Visu se radio tzv. hib, slatki zalogajËiÊ pripravljen od suhih smokava i zaËinjen mirisnim biljem. DomaÊica umaËe ruke u rakiju i oblikuje male kruhove od mljevenih smokava te ih suπi na prozraËnu mjestu. Na Badnji dan i BoæiÊ hib se posluæuje uz Ëaπicu rakije. Od slatkiπa na otocima rade se fritule, kroπtule i razliËita obredna peciva i kruh. U vrijeme BoæiÊa nastaju jednostavno Ëarobni kolaËi, makovnjaËe i orehnjaËe sa savrπeno zmijolikim nadjevom, πtruce prema-zane rastopljenim maslacem i izdaπno posute πeÊerom u prahu. Uz njih na boæiÊnom stolu mora se naÊi joπ barem pet-πest vrsta slastica: maarica, bijela pita, bajadera, polumjeseci, breskvice, kuglice, salama u oblatnu, kokos-salama i æarbo kocke. Tu su i mali, πareni kolaËiÊi s podjednako vaænom ulogom u boæiÊnoj bajci. Neodoljivo su opojni, ukusni i privlaËni, te uglavnom miriπu na cimet, vaniliju, klinËiÊe, spokoj, sreÊu i djetinjstvo. SoparnikPriredite: za tijesto - 500 g braπna, 3 ælice maslinova ulja, 1/2 æliËice soli, 250 ml vode;za nadjev - 1 sveæanj perπina, 1 kg blitve, 1 vezicu mladog luka, 4 Ëeπnja Ëeπnjaka, ma-slinovo ulje, solBlitvu operite, odstranite stapke tako da ostane samo zeleni dio lista, osuπite, nareæite na vrpce te odloæite u duboku zdjelu. Dodajte usitnjeni mladi luk i perπin. Posolite i prelijte maslinovim uljem i promijeπajte. Zatim zami-jesite tijesto od navedenih namirnica. Tijesto se tradicionalno mijesilo rukom, ali moæe se izmijeπati mikserom, dok se ne dobije polu-tvrdo tijesto. Podijelite ga na dva dijela jednake veliËine i na pobraπnjenoj dasci razvucite u oblik kruga odgovarajuÊeg promjera. Razvaljanu polovicu tijesta stavite na pobraπnjen lim za peËenje. Rasporedite blitvu, pa preklopite soparnik drugom korom. Drugu koru prstima razvucite da bude jednake veliËine kao i donja kora, pa obje kore zajedno podvijte prema unutra (prema limu za peËenje) i malo prsti-ma pritisnite. Viljuπkom izbodite gornju koru na nekoliko mjesta da izae para. Soparnik pecite u veÊ zagrijanoj peÊnici na 200°C oko 20 minuta. PeËen je kad porumeni. Izvadite ga iz peÊnice te premaæite maslinovim uljem, u koje ste stavili protisnuti Ëeπnjak. (Izvor: www.recepti.hr)Fritule Priredite: 2 jaja, 2 jogurta, 0,3 dl rakije, 5 dag groæica, 2 ælice πeÊera, 1 vanilin πeÊer, 1 praπak za pecivo, malo soli i koru od limunaIzmijeπajte sve sastojke, æliËicom vadite fritule i præite ih u vruÊem ulju. VruÊe pospite πeÊerom u prahu. (Izvor: www. kuharica.hr)

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Prhka orehnjaËa Priredite: za tijesto - 1 vreÊicu suhog kvasca ili 3 dag svjeæeg kvasca, 40 dag braπna, 28 dag margarina, 1 jaje, 1 æutanjak, 6 dag πeÊera; za nadjev - 40 dag oraha, 2 ælice meda, 15 dag πeÊera, limunovu koricu, 8 dag groæica, rum, cimet, muπkatni oraπËiÊ, 2-3 dl mlijeka, jaje za premazivanje, πeÊer za posipanjeKvasac pomijeπajte s malo braπna, πeÊera i mlakog mlijeka te ostavite na toplome mjestu da se uzdigne. Margarin dobro izmrvite u braπnu, dodajte jaje, æutanjak, πeÊer i dignuti kvasac, te umijesite tijesto.Ostavite da odstoji oko pola sata. Zatim tijesto kratko premijesite i razreæite na πest komada. Svaki razvaljajte (oko 35 x 25 cm), premaæite nadjevom i savijte male savijaËe. Sloæite jednu pokraj druge u namaπÊenu tepsiju i premaæite izmijeπanim jajem. Pecite oko 45 minuta na temperaturi od otprilike 190°-200°C. PeËenu toplu orehnjaËu zaπeÊerite. Mljevene orahe za nadjev prelijte kipuÊim mlijekom, umiješajte med, πeÊer, groæice, limunovu koricu, rum, cimet i muπkatni orah. Sve dobro promijeπajte i ohladite. (Izvor: www. kuharica.hr) n

any of Croatia’s traditional cel-ebrations are directly associated with food, regardless of whether

a party is thrown to mark the end of gruelling work (harvesting or threshing, picking grapes or blessing wine, completing a house), or to celebrate religious holidays: Christmas, Eas-ter, village feasts, the day of a patron saint or even significant moments in a person’s life (christenings, weddings, birthdays, name days, wakes, etc.). Some celebrations have more of a public nature, such as the Dionysian day of St. Martin, which at the beginning of November is celebrated at country estates, in wine cellars and restaurants, or even the spectacular New Year’s Eve celebrations on the main squares of cities all around our beautiful country. Other holiday festivities (Christmas, Easter, christenings, weddings, etc.) are celebrated with family, and so the menus are different and adapted to each occasion. Every holiday is characterised by one dish. Traditionally, a stew of pork and potatoes is eaten during pilgrimages and at fairs, codfish is prepared at Christmas Eve and Good Friday, doughnuts are an integral part of carnival events, while in the southern part of the country they prepare a similar treat, hrostule. Ham and hard boiled eggs along with green vegetables are served at Easter, along with a traditional dessert, that is, pinca (Easter bread). Kulen sausages are eaten during harvest season, goose on St. Martin’s Day, while turkey and other fowl and stuffed cabbage known as sarma are served

at Christmas. At weddings there are always a variety of cakes and cookies, such as breskvice (peach cookies), bear paws, gingerbread cookies and fritule (fritters). For many people, the favourite meals for any and every occasion are lamb and roasted suckling pig, grilled fish, squid prepared in a variety of ways, grilled meats: shish kebab, ÊevapÊiÊi and platters of mixed meat, prosciutto and goat cheese, smoked ham and fresh cottage cheese with sour cream, fish stew, veal... A staple at New Year’s is pork, that is roasted suckling pig, along with a rich choice of side dishes, from French salad (cold salad of vegetables and mayonnaise) to roasted potatoes, mlinci (pasta tatters) as well as beet or bean salad, and this is often followed by aspic and the staple New Year’s sarma (stuffed cabbage).Our most joyful festivities start on Christmas Eve. Different peoples have different names for Christmas Eve. The name used in the Croatian language is Badnjak, after a big log that would be brought home that night, and was called badnjak or banjak. There were no fir trees to decorate, rather fathers and sons would go out into the woods and chop down young oak trees. The women would be ceremoniously waiting for them at the house, and then they would rub the tree with incense and spices and wrap it in a kerchief. According to folktales, that yule log would serve as a staircase to help young Christ come down to Earth. During the night from Christmas Eve to Christmas, the yule log was thrown into the fireplace in order to heat the house until the morning.Today things are considerably different. Namely, in today’s world of globalization, the entire Christian world decorates fir trees or pine trees. Our tradition is to decorate the tree on Christmas Eve or the night before. Decora-tions, glimmering trees, ornate windows and doors, and more and more often recently, decorated houses and the trees around them, based on the American style, clearly show us that Christmas fever has started. We have our hands full decorating houses and wrap-ping presents for our loved ones which we put under the Christmas tree. The familiar smells of typical Christmas Eve dishes fill the air as they come from restaurants, shops and houses. In Dalmatia, Istria and the continental part of Croatia, it is traditional on Christmas Eve to prepare codfish in a variety of ways, most often as the so-called white cod or as a cod brodetto. In the continental part of Croa-tia, specifically in Slavonia, river fish is often prepared, the favourite being oven-baked carp with rice. After dinner the holiday cakes are served which hard working housewives have baked the days before. Christmas Eve

is spent with close family members and our most loved ones. Afterwards everyone goes to midnight mass. Finally comes everyone’s favourite part, especially the youngest family members ∑ opening presents!Globalization has taken its toll on society so that today’s holiday traditions are becoming more similar all around the world. The festivities in America are the same as in Croatia except that everything is much larger and therefore the celebrations are bigger - at least in terms of grandeur - the decorated streets, shop windows, town squares and houses. It is well-known that Americans do not only decorate the Christmas tree and their houses, but also their entire street, the fronts of their houses and the trees in their yards. Beforehand, just like everywhere else today, people enjoy the craziness of last minute shopping. What fol-lows is a rich dining room table and the finest delicacies that are chosen and prepared only for the special holidays, for Christmas and New Year’s. Let’s explore a little and take a look. First we will hop over to the island of Great Britain. On 25 December, either Santa Claus or Father Christmas come down the chimney bringing presents while the British enjoy eating turkey prepared in their traditional way, as well as a delicacy called Christmas pudding and mince pie (a pie made with a flaky crust and filled with dried fruit). In Russia, the gifts are brought by a woman called Snjeguroπka or Snow Maiden and Father Christmas ∑ known as Grandfather Frost, who are accompanied by a young girl (Snow Flake) and a young boy (New Year). During the Christmas celebration, the British attend the so-called pantomimes, musical-comedy theatrical productions based on fairytales or historical events. The atmo-sphere is even more enhanced by the number of illuminated decorations on the streets and squares. In Convent Garden, Christmas lights decorations are lit by Father Christmas. There is a decorated tree on the famous Trafalgar Square. There is also mistletoe, of course. That is an old Anglo-Saxon tradition that we adopted not too long ago. Wreaths of mistletoe decorate the doors and houses, and everyone who stands under the mistletoe may be kissed or should kiss someone else. As we move towards the south, we find that things are somewhat warmer and more charming in France. For example, in their performances of the nativity scene, the saints who stand around baby Jesus are really happy craftsmen, villagers, fishermen and washer-women all dressed in 19th century costumes. The culmination of Christmas Eve, that is, of the entire Christmas celebration is Le Reveillon,

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i.e. the Christmas meal. La Buche de Noël, which is a chocolate sponge cake or roll in the shape of a log, is put in front of the decorated Christmas tree, as a symbol similar to our yule log from ancient times. In France, that same yule log was at one time set on fire so that the light would chase away spirits. Since we keep mentioning the decorated tree, it is important to mention the first person who put it up. The first Christmas tree was lit in France in the region of Alsace in the beginning of the 17th century. In 1840, the Duchess of Orleans brought the Christmas tree to Paris. Also part of this whole story is that on Christmas Eve the French children leave their clean shoes near the fireplace and can hardly wait until the morning because their presents will be waiting for them!And now, going even more south. When the Italians wish you happy holidays, they will say Buon Natale. In Italy, the centre of the celebra-tion is not the tree, but rather the nativity scene. Everyone tries to make the most beautiful nativity scene hoping theirs will be the nicest in the area. According to Catholic customs, one should fast for the 24 hours leading up to Christmas Eve dinner. After the sun goes down, a cannon is fired from Castel St. An-gelo in Rome marking the start of the holiday. Mass is followed by enjoying the holiday meal with one’s family and the sharing of gifts. It is interesting to note that in some parts of Italy gifts are also exchanged on the Epiphany. Christmas is being celebrated more and more in Japan! Even though the prevailing religions are Buddhism and Shinto, Christmas has be-come some kind of commercialized holiday in which everyone joins the celebration. However, the main holiday is still Christmas Eve. Children receive a number of presents and the trees and façades of houses are decorated. If you are a single young girl in Japan, you will already start looking for a potential escort in October, as there is nothing worse than spending Christ-mas Eve alone. Christmas Desserts For centuries and centuries, from year to year, kitchens during the time leading up to Christmas are filled with sweet fervour. Old, time-tested recipes are taken out and the tradi-tional cakes are selected. The finest and most aromatic ingredients are bought. Sugar-coated lemon and orange peels are chopped up, as well as figs and dates. Walnuts, almonds and hazelnuts are cracked, and cinnamon, cloves and anise seeds are ground. At the same time, even in the most modern kitchens, the rules of our grandmothers are strictly observed. Notably, to make Christmas cakes one must have enough time, patience and love. Every-

thing must be prepared a day ahead of time, and nothing, not even those things listed as a mere pinch of, can be missing. All across Europe Christmas is associated with special rolls and breads. Bread dough is enhanced with all kinds of unconventional ingredients: butter, eggs and sugar. Of course there are also walnuts, hazelnuts, almonds, dry and sugar-coated fruits! The custom is to always bake two loaves of these sweet Christmas breads, flavoured with aromatic spices, from ginger to cinnamon, so that the other can be given to your dearest ones. All across Europe, as well as in Croatia, sweet breads are being gradually replaced by pastries and sweets. Today it is rare to find a place where they prepare some kind of simple dishes, such as zeljenjak or zelenjak from Dalmatian islands or the famous zelje-nik better known as soparnik from Poljica. Soparnik or uljenak, as it is sometimes called, is made of Swiss chard, flour, onions and oil. This indigenous dish from the old Poljica Republic is on the list of Protected Intangible Assets in Croatia. On the island of Vis they make the so-called hib, a sweet snack that is prepared using dried figs and the flavourings of fragrant herbs. Housewives immerse their hands in rakija (brandy) and shape small balls of minced figs and then put them out to dry in a well ventilated place. On the day of Christmas Eve and on Christmas, hib is served with a glass of rakija. The sweets that are made on the islands include fritule, kroπtule (Dalmatian fried pasty), and various ritual rolls and breads. Marvellous pastries are made at Christmas time, such as the pastry rolls containing poppy seed or walnut fillings in a perfectly snakelike shape, coated with melted butter and then generously sprinkled with powdered sugar. Along with them, on the Christmas table you will also find at least five or six different kinds of small, colourful bite-size sweet titbits which play an equally important role in the Christmas fairytale. They are especially intoxicating, tasty and tempting, and generally smell of cinna-mon, vanilla, cloves, tranquillity, happiness and childhood. Soparnik ∑ Swiss chard pieIngredients for dough: 500 g flour; 3 table-spoons olive oil; 1/2 teaspoon salt; 250 ml waterIngredients for filling: 1 bunch parsley; 1 kg Swiss chard; 1 bunch spring onions; 4 garlic cloves; olive oil; saltDirections: Remove the white part of the Swiss chard, leaving only the green leaves, wash well and dry the leaves. Cut the leaves into strips, place them in a deep bowl and add the finely chopped spring onions and parsley. Add salt

and olive oil. Stir and set aside. Then make the dough: flour, salt, two tablespoons of olive oil and water as needed. The dough is traditionally kneaded by hand, but you may use a mixer. Kneed or mix until the dough is semi-soft, mak-ing sure it does not become too hard. Divide the dough into two equal-sized parts. On a floured wooden board, roll out the dough into an adequately sized circle. Put the rolled half of the dough on a floured baking sheet. Spread the Swiss chard mix over the dough and cover with the other half. Stretch out the second half of the dough with your fingers until it is the same size as the bottom half, then fold both layers of the dough towards the inside of the baking sheet and squeeze it together. Pierce the top layer of the dough several times with a fork to release steam. Bake the pie in a pre-heated oven at 200° C for 20 minutes. The pie is finished when it is golden brown. Remove it from the oven and brush it with a combination of minced garlic and olive oil.

(Source: www.recepti.hr)Fritule - FrittersIngredients: 2 eggs; 2 yogurts; 0.3 dl rakija (brandy); 5 dag raisins; 2 tablespoons sugar; 1 package vanilla sugar; 1 package baking powder; pinch of salt; lemon peelDirections: Mix all of the ingredients together. Using a teaspoon, scoop out the fritule and fry them in hot oil. While still hot, sprinkle with powdered sugar.

(Source: www.kuharica.hr)Prhka orehnjaËa ∑ Crumbly Walnut RollIngredients for dough: 1 package dry yeast or 3 dag fresh yeast; 40 dag flour; 28 dag mar-garine; 1 egg; 1 egg yolk; 6 dag sugarIngredients for filling: 40 dag walnuts; 2 table-spoons honey; 15 dag sugar; lemon peel; 8 dag raisins; rum; cinnamon, nutmeg; 2-3 dl milk; eggs to brush on; sugar to sprinkle on topDirections: Mix the yeast with a little flour, sugar, luke-warm milk and put it aside in a warm place to rise. Crumble the margarine in flour, add eggs, yolk, sugar and the yeast, and then knead the dough.Leave the dough aside for about half an hour. Afterwards divide it into 6 parts. Roll out each part (about 35 x 25 cm), spread on the filling and shape it into small rolls. Place one next to the other in a greased pan and brush them with beaten eggs. Bake for about 45 minutes at 190°-200° C. Sprinkle the baked, hot walnut roll with powdered sugar. Pour hot milk over the ground walnuts, and then add honey, sugar, raisins, lemon peel, rum, cinnamon and nutmeg. Mix well and cool. (Source: www.kuharica.hr) n

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VodiË za dobar tek Gourmet guide

Restoran Gradska kavana

Restoran Gradska kavana nudi vam jedinstveni gurmanski doæivljaj u srediπtu grada Zagreba, na Trgu bana Josipa JelaËiÊa. Na Vama je samo da odaberete koji Vam je dio dana omiljen za gastronomske uæitke.

Restaurant Gradska Kavana offers a unique gourmet experience in the centre of Zagreb, on Ban Josip JelaËiÊ Square. All you have to do is choose your favourite time of day to enjoy a gourmet pleasure!

Informacije i rezervacije / Information and reservations: tel. +385 (0)1 4832 310 i / ili / and www.gradskakavana.hrinfo@gradskakavana.hr

Radno vrijeme / Working hours:Ponedjeljak / Monday - subota / Saturday: 8:30 - 23:30 / Nedjelja / Sunday: 9:00 - 22:00

Restoran Kaptolska klet

Najpoznatiji restoran tradicionalne hrvatske kuhinje prezentirane novom kreativnoπÊu posluæivanja. Kaptolska klet nalazi se nasuprot zagrebaËke katedrale, zaπtitnog znaka Kaptola i nezaobilaznoga turistiËkog odrediπta. Posluæujemo sve vrste mesa, ribe i vegetarijanska jela.

The most famous restaurant for traditional Croatian cuisine presented in new and creative ways. Kaptolska Klet is located across from the Zagreb cathedral, the trademark of Kaptol and a must see tourist attraction. We offer a variety of meat, fish and vegetarian meals.

Rezervacije na tel. / Make reservations at: tel. + 385 (0) 14814 838Pogledajte galeriju slika na naπoj web stranici: /Take a look at our photo gallery on our web site: www.kaptolska-klet.hrKontakt osoba / Contact person: Snjeæana MikuliÊ, direktorica & vlasnica / Director & Owner

Restoran KorkyraRestoran Korkyra nalazi se nedaleko od srediπta Zagreba, a tradicionalno je okupljaliπte ljubitelja dalmatinske kuhinje. Restoran Korkyra nudi vam vrhunsku ponudu svjeæe ribe iz Jadranskoga mora, domaÊih dalmatinskih mesnih specijaliteta te biranih domaÊih vina svjetske prepoznatljivosti. Uæivanje u gastronomskoj ponudi uljepπat Êe i zvuci hrvatske klapske glazbe. S veseljem vas oËekuju Aleksandar i Svjetlana Dæaja s osobljem.

Restaurant Korkyra is located near the centre of Zagreb, and is a traditional gathering place for admirers of Dalmatian cuisine! Restaurant Korkyra offers high-quality fresh fish from the Adriatic Sea, homemade Dalmatian meat specialities, and a choice of world renowned domestic wines! Your enjoyment of the gastronomic offer will be made even more pleasur-able by the sounds of Croatian Klapa music! We look forward to seeing you: Aleksandar and Svjetlana Dæaja and staff!Informacije i rezervacije / Information and reservations:Korkyra, ugostiteljski obrt / Restaurant Korkyra, CateringAdæijina 26, Zagrebtel. + 385 (0) 1 3646 101, mob. +385 (0)91 3646 101www.korkyra.hr, korkyra.zg@inet.hr

Restoran VinodolRestoran Vinodol u srediπtu grada Zagreba. Idealno je mjesto za one koji æele uæivati u bogatoj gastronomskoj ponudi hrvatskih vrhunskih jela i vina, u mirnom ambijentu ispod ciglenih lukova starih svodova, uz priguπenu glazbu u pozadini. VeÊ petnaestu godinu zaredom Restoran Vinodol nalazi se na vrhu ljestvice najboljih restorana u Hrvatskoj. Æelite li biti dio ambijenta kultnoga zagrebaËkoga gastronomskog prostora, posjetite nas u srediπtu grada Zagreba.

Restaurant Vinodol is located in the centre of Zagreb.It is the ideal place for those who would like to enjoy the rich Croatian gastronomic offer of high-quality food and wines while sitting in a pleasant ambiance under the arches of old brick vaults with the relaxing sounds of music in the background. For fifteen years in a row, Restaurant Vinodol has been at the top of the list of the best restaurants in Croatia.Visit us in the centre of town and be part of the ambience while enjoying quintessential Zagreb cuisine!

Informacije i rezervacije / Information and reservations:Restoran Vinodol / Restaurant VinodolTeslina 10, Zagreb, Hrvatskatel. + 385 (0)1 4811 427 www.vinodol-zg.hr, vinodol@vinodol-zg.hr

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ajpoznatiji su u Londonu, ali njima se ponose isto tako u Oslu i Mo-skvi, u Buenos Airesu i Tokyju, u

Ateni i Sofiji… RijeË je o poËasnim gardama, u povijesne odore uniformiranim vojnicima i Ëasnicima koji obavljaju smjenu straæe ispred palaËe vladara ili vlade. Posvuda su turistiËka atrakcija, posjetitelji se zabavljaju gledajuÊi ih netremice i iπËekujuÊi treptaj oka ili trzaj ruke koji bi potvrdili da doista diπu.Od ljeta 2010. godine Zagreb ponovno ima svoju sveËanu, ceremonijalnu postrojbu. Za sada svake subote i nedjelje, toËno u podne, kreÊu ispred crkve sv. Marka. O kome je zapravo rijeË? Na koje se povijesno razdoblje iz bogate vojne i ratne hrvatske proπlosti po-zivaju ti vojnici?Kravat-pukovnija zasniva se na tradiciji hrvat-ske lake konjice iz 17. stoljeÊa, toËnije iz vre-mena Tridesetogodiπnjega rata (1618.∑1648.),

■ Zagreb

Piše/By Nikola Albaneže

Fotografije/Photos –uro Gavran N koja se uvelike istaknula na mnogim ratiπtima diljem zaraÊene Europe. Nakon toga u Fran-cuskoj je osnovana Pukovnija kraljevskih Hrvata (Royal-Cravates). Premda je postojala od 1643., sluæbeno se uzima 1667. kao godina utemeljenja, jer tada je kraljevskom odlukom regimenta reformirana i reorganizirana. Kon-kretno, kralj Luj XIV. te je godine povjerio zapovjedniπtvo vojvodi od Vivonnea, svomu bliskom pratiocu, πto je pokazatelj politiËke vaænosti koja je pridana toj regimenti.Strojni korak, sablja u ispruæenoj ruci, oπtri zvuk trube i ritam bubnja prekidan zapovjed-nikovim prodornim naredbama: Nadesno raav-naj! Vijorenje grimiznoga barjaka sa zlatom izvezenom latinskom devizom Pro Cruce Venerabili et Libertate Aurea. Poglede privlaËi kolorit otvorenih boja; istiËu se crveni rupci na modrim, zelenim i crvenim surkama. Kakva je to osobitost?

PoËasna satnija Kravat-pukovnije prenosi priËu o povijesnim poËecima kravate, njezinu hrvatskom

podrijetlu i vrijednostima koje simboliËki predstavlja. To je ujedno i priËa o Zagrebu ∑ svjetskoj prije-

stolnici kravate.

The Company of Honour of the Cravat Regiment conveys the story about the historical beginnings of

the cravat, its Croatian roots and the values it symbolically represents. At the same time it is the story

of Zagreb ∑ the cravat capital of the world.

CROATIA AIRLINES 143

PoËasna satnija Kravat-pukovnije, osno-vana na inicijativu Marijana BuπiÊa koji je prije dvadeset godina pokrenuo autorski projekt Hrvatska ∑ domovina kravate, u sklopu kojega se istodobno poËinju razvijati i elementi povijesne postrojbe, njeguje i ob-navlja sjeÊanje na Ëvorovani rubac hrvatskih konjanika iz 17. stoljeÊa, koji je tada nazvan kravata, a danas je jedan od kljuËnih simbola suvremene civilizacije. U rekonstrukciji odora i kreiranju zastave PoËasne satnije upotri-jebljeni su kao predloæak rijetki saËuvani primjerci odora i zastava hrvatskih vojnika iz Tridesetogodiπnjega rata. PoËasna satnija Kravat-pukovnije prenosi priËu o povijesnim poËecima kravate, njezinu hrvatskom podri-jetlu i vrijednostima koje simboliËki predstav-lja. To je ujedno i priËa o Zagrebu ∑ svjetskoj prijestolnici kravate.∑ Kako volim zvuk bata konjskoga kasa po ploËniku ∑ povjerila se gospoa sluËajnim pro-laznicima na Kaptolu, dok su Ëetiri konjanika prolazila ispod visokoga stupa s pozlaÊenom skulpturom Majke Boæje, koja je u srediπtu trga ispred katedrale. Nenavikli na ovakve vojnike ∑ za spomenutim konjanicima (zapovjednikom, stjegonoπom i dvojicom arkebuzira) stupalo je osam pjeπaka, oruæar, trubaË i bubnjar ∑ ljudi su se, zateËeni, razmicali, ali i sa zanimanjem pa i oduπevljenjem promatrali polusatnu pa-radu i dvosatni ophod.Srediπnje obiljeæavanje ovogodiπnjeg Dana kravate ∑ manifestacije koja je sve viπe prihvaÊena i u drugim zemljama svijeta ∑ zbilo se 16. listopada u Zagrebu, na Markovu trgu, sveËanim programom PoËasne satnije Kravat-pukovnije, u organizaciji ustanove Academiae Cravaticae i uz sponzorsku podrπku TuristiËke zajednice grada Zagreba. n

he most famous ones are in Lon-don, but no less proud of their own are the cities of Oslo and Moscow,

Buenos Aires and Tokyo, Athens and Sofia... We are talking about the Ceremonial Guard, sentries in historical attire who perform the changing of the guard ceremonies in front of royal palaces and seats of governments. They have become a major tourist attraction every-where they exist, as passers-by stare at them and marvel, expecting to see the blinking of an eye or the twitching of a hand which would confirm that they are really breathing. Since the summer of 2010, Zagreb once again has its formal, Ceremonial Guard. For now they begin their ritual every Saturday and Sunday exactly at noon in front of St. Mark’s Church. What are we really talking about? Which period of Croatia’s rich military and war past do these soldiers conjure up?

T

The Cravat Regiment is based on the tradi-tion of the 17th century Croatian cavalry who were incredibly prominent on a number of battlefields throughout war-struck Europe during the Thirty Years’ War (1618-1648). Afterwards, the Croatian regiment of the Royal Cravates was established in France. Although it had been in existence from 1643, the official year of establishment was 1667, which was the year when the regiment was reformed and reorganized pursuant to a royal decree. Specifically, that year King Louis XIV entrusted the command of the regiment to his close companion, the Duke of Vivonne, which was an indication of the political importance attached to that regiment. A marching step, a sabre in the hand of an outstretched arm, the sharp sound of trumpets and the rhythm of tenor drums are interrupted by the commanding and clear instructions: Right face! A red standard flag depicting the Latin maxim Pro Cruce Venerabili et Libertate Aurea embroidered in gold thread flutters in the air. The eyes of the observers are drawn to the harmony of vivid colours; red scarves stand out from the backdrop of navy, green and red jackets. What makes these scarves so special? The Company of Honour of the Cravat Regi-ment was established twenty years ago at the initiative of Marijan BuπiÊ who launched the project Croatia ∑ Homeland of the Cravat. A part of the project was the development of a historical unit aimed at reviving and nurtur-ing memories of the 17th century Croatian cavalry and their knotted scarves which were named cravats. Today, they are one of the key

symbols of modern civilization. The rare pre-served samples of the soldiers’ uniforms and the standard of the unit which fought in the Thirty Years’ War were used as the templates for the present-day uniforms and standard. The Company of Honour of the Cravat Regi-ment conveys the story about the historical beginnings of the cravat, its Croatian roots and the values it symbolically represents. At the same time it is the story of Zagreb ∑ the cravat capital of the world. - How I love the sound of stomping horses as they gallop on the pavement, confessed a woman to the fellow on-lookers who happened to find themselves on Kaptol while four mount-ed sentries were passing by the tall column topped by the gilded sculpture of the Mother of God which occupies the central position at the cathedral square. Unaccustomed to such a sight ∑ eight foot soldiers, an armourer, a trumpeter and a drummer, marched behind the aforementioned mounted sentries (a com-mander, a standard bearer and two Harquebu-siers) - people were taken by surprise at first, but then continued to watch with interest and awe as the guards performed their half an hour parade and a two hour march. The central event of this year’s Cravat Day ∑ a manifestation which has gradually gained recognition in a growing number of countries worldwide, was staged on Octo-ber 16th on St. Mark’s Square in Zagreb. A ceremonial programme performed by the Company of Honour of the Cravat Regiment was organized by the institution Academia Cravatica and sponsored by the Tourist Board of the City of Zagreb. n

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U ovo blagdansko vrijeme uhvatili ste se kako sjedite na aerodromu ili u avionu i

razmiπljate o nekim proπlim i nekim buduÊim poslovnim troπkovima? Godina na izmaku bila je teπka, a troπkovi telekomunikacija i uredske opreme svakako su na vrhu liste prioriteta s kojima Êete se morati suoËiti u u 2011. go-dini? Ova situacija i inaËe je realnost mnogih hrvatskih poduzetnika i tvrtki, a na kraju godine mnogi se zapitaju kako si pomoÊi u sljedeÊoj godini.Kako bi izaπao u susret potrebama korisnika, HT je pripremio posebnu ponudu za vas, poslovne korisnike, koja donosi znatne uπtede u 2011. godini. Jedinstvena boæiÊna ponuda HT-a omoguÊuje vam sve na jednom mjestu - πiroku paletu usluga potrebnih za kvalitetno i uËinkovito poslovanje. U sklopu ove ponude kao poslovni korisnici HT-a potpisivanjem ugovora za odabranu uslugu do 31. prosinca 2010. godine moæete ostvariti Ëak 50 posto popusta kroz iduÊih dvanaest mjeseci. Bilo da vi i vaπi zaposlenici viπe koristite tele-fon, mobilni Internet ili ste stalno u pokretu pa mailove odmah pregledavate na svom Black-Berry ureaju, meu poslovnim uslugama iz boæiÊne ponude HT-a moæete izabrati onu koja najviπe odgovara vaπim potrebama. Tako se popust u iznosu od 50 posto tijekom prvih 12 mjeseci od potpisivanja ugovora odnosi na mjeseËnu naknadu za sve Flex Team tarifne pakete, uslugu BlackBerry Instant e-Mail, MAX-adsl pakete prometa i pristup, Mobile Internet kao i usluge Office Fax i Office e-Mail.Za vas koje u 2011. oËekuje i neizbjeæna zamjena informatiËke opreme HT je u istom razdoblju unutar ove usluge omoguÊio najam i odræavanje informatiËke opreme po 50 posto povoljnijim cijenama. Tako, uz potpisivanje ugovora na 36 mjeseci, moæete unajmiti in-formatiËku opremu po 50% niæim cijenama, a prijenosno raËunalo Lenovo Thinkpad R500 za svega 147 kuna mjeseËno tijekom prve godine od potpisivanja ugovora. Usluge je moguÊe dobiti i pojedinaËno, takoer uz popust od 50 posto.

VodeÊi brigu o potrebama i æeljama svojih poslovnih korisnika, HT je i ove godine pripremio ponudu koja Êe na njih odgovoriti na najbolji naËin.Sretan vam put i uspjeπna 2011. godina! Dodatne informacije moæete dobiti na besplatnom telefonu 0800 9100. ■

IIt’s holiday time and you find yourself sitting at an airport or on a plane and thinking about

past and future business costs? The year that is about to end was difficult and the cost of telecommunications and office supplies are for sure at the very top of the list of priorities you will have to face in 2011? This situation is actually the reality of many Croatian undertak-ings and companies. As the end of the year draws closer, many ask how they can help themselves in the following year.In order to meet the needs of its customers, HT has prepared a special offer for business customers that brings considerable savings in 2011. A unique Christmas offer of HT to customers provides everything at one spot − a wide range of services necessary for high-

quality and efficient business operations. As part of this offer, business customers of HT can realize a 50 percent discount for the fol-lowing twelve months if they sign a contract for a selected service by 31 December 2010.If either you or your employees use telephone or mobile Internet a lot or are constantly on the move so you check your e-mails on your BlackBerry, you may choose among business services included in the HT’s Christmas offer the one that best suits your needs. The 50 percent discount during the first 12 months from contract signing applies to the monthly fee for all Flex Team tariff packages, BlackBerry Instant e-Mail service, MAXadsl traffic and ac-cess packages, Mobile Internet, and Office Fax and Office e-Mail services.As to those who cannot avoid the replacement of computer equipment in 2011, in the same period and as part of this service HT provides the lease and maintenance of computer equip-ment at 50 percent more favorable prices. Accordingly, customers may lease computer equipment at 50% lower prices, provided they sign a 36-month contract. They can also lease Lenovo Thinkpad R500 notebook for only HRK 147 during the first year from contract signing.Services can be procured individually, also at a 50 percent discount.Taking into account the needs and wishes of its business customers, also this year HT has prepared a special offer that will suit them best.Have a nice trip and a successful 2011!You may receive additional information on the free telephone number 0800 9100.. ■

TELEKOMUNIKACIJSKE USLUGE HT-a - 50% POSTO POVOLJNIJE

HT TELECOMMUNICATIONS SERVICES − AT 50% MORE FAVORABLE PRICES

CROATIA AIRLINES 145

146 CROATIA AIRLINES

MARTINA FILJAKPIJANISTICA ZALJUBLJENA U KNJIGE

PIANIST IN LOVE WITH BOOKS

■ POZNaTI U Na©eM ZraKOPLOVU CELEBRITIES IN OUR AIRCRAFT

Martini Filjak zacijelo predstoji duga umjetniËka buduÊnost i trajno

pozicioniranje na vrh svjetskog pijanizma.

Martina Filjak clearly has a long artistic future ahead of her. She is

headed for a permanent position at the pinnacle of world pianism.

Mlada zagrebaËka pijanistica Martina Filjak danomice niæe velike uspjehe na

meunarodnoj glazbenoj sceni (Zapadna Eu-ropa, SAD, Kanada, Kina), prireujuÊi recitale i solistiËke nastupe uza znamenite orkestre i dirigente u poznatim koncertnim dvoranama svjetskih kulturnih metropola (Pariz, Amster-dam, Strasbourg, Berlin, Barcelona, Cleve-land, Torino, ©angaj…). Tijekom posljednje tri godine izrijekom je pobjeivala i osvajala posebne nagrade na najuglednijim svjetskim pijanistiËkim natjecanjima, πto joj je donijelo niz laskavih poziva za koncertne nastupe diljem svijeta, koji redovito bivaju popraÊeni kritiËkim panegiricima. Uskoro Êe javnosti biti predstavljen prvi od dvaju solistiËkih albuma koje je umjetnica studijski snimila za vodeÊu ameriËku diskografsku etiketu Naxos (sonate Antonija Solera). Za dosadaπnji umjetniËki rad u Hrvatskoj dobila je tri znaËajne nagrade (Milka Trnina, Vladimir Nazor i Orlando), a 2009. godine odlikovana je Redom hrvatskog pletera za postignuÊa u glazbi. Premda bi sve πto je spomenuto bilo sasvim dostatno za res-pektabilno zaokruæenu veliku glazbeniËku karijeru, valja naglasiti kako mladoj i neu-mornoj Martini Filjak zacijelo predstoji duga umjetniËka buduÊnost i trajno pozicioniranje na vrh svjetskog pijanizma. U prilog tome najuvjerljivije govori njezin gusto ispunjen koncertni kalendar koji je uvelike unaprijed obiljeæen gostovanjima u vodeÊim kulturnim metropolama u Europi, Sjevernoj Americi i Aziji. Umjetnicu smo sreli u poËetku listopada kad je ∑ dan za danom ∑ odræala dva reper-toarno razliËita i podjednako sjajna koncerta na festivalu Samoborska glazbena jesen.

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Tom prigodom nasmijeπena Martina poneπto nam je rekla o najznaËajnijim nastupima koji joj predstoje u 2011. godini, a osobito se pak osvrnula na svoj skitniËki æivot obiljeæen stalnim putovanjima zrakoplovom.- Ove i sljedeÊe godine svaki drugi mjesec imam zakazane koncerte u SAD-u, tako da Atlantik prelijeÊem najmanje πest puta na godinu. Nakon nedavnih znaËajnih nastupa u Musikvereinu (BeË), Teatru Carlo Felice (Genova), Carnegie Hallu (New York) i Kon-zerthausu (Berlin), u iduÊim mjesecima meu inim oËekuje me Ëetvrta sjevernoameriËka turneja, nastupi uz niz tamoπnjih orkestara, gostovanja u Libanonu i Hong Kongu, te vaæni recitali u Münchenu (Residenztheater) i Bar-celoni (Palau de la Músic) ∑ kaæe umjetnica.- Premda mi se koncerti doslovce niæu jedan za drugim, veoma se veselim πto Êu svojim recitalom poduprijeti obnovu predivne PalaËe GvozdanoviÊ na zagrebaËkome Gornjem gradu, a pritom sam poËaπÊena πto Êu se u sjajno zamiπljenome Glazbenom salonu GvozdanoviÊ naÊi u druπtvu svojih svjetski uglednih hrvatskih kolegica i kolega: Mo-nike Leskovar, Renate PokupiÊ, Radovana VlatkoviÊa, Maxa Emanuela CenËiÊa i Petrita Çekua… Pitali ste me kako podnosim Ëesta putovanja i na koji naËin tada kratim vrijeme... Volim putovati, osobito zrakoplovom, ali Ëak i to vrijeme nastojim racionalno iskoristiti. Uvijek sam mislila da su daleka putovanja dobra za one ljude koji umiju Ëekati na pravi naËin, a odnedavna sam shvatila joπ i to kako je sve vrijeme provedeno na putu ∑ svejedno je li posrijedi samo jedan sat ili cijeli dan ∑ zapravo neka vrsta iluzije. Neprestano se mijenja scenografija: stalno novi gradovi i njihove zraËne luke, lica uvijek novih suput-nika, drugaËiji krajolici gledani kroz oblake… ∑ nasmijeπeno Êe Martina.- No ono esencijalno ∑ tijek mojih misli, i dok putujem, ostaje nepromijenjen. Za tih sati provedenih u Ëekaonicama i u zrakoplovi-ma svoj unutraπnji mir nastojim saËuvati na razliËite naËine: odgovaram na poslovne i privatne e-mail poruke te uglavnom Ëitam. Kao pravome knjiπkome moljcu, uvijek mi je neizostavna popudbina barem nekoliko knjiga dragih mi autora poput Kundere, Rushdieja ili recimo Orhana Pamuka. Na festivalu u ameriËkoj UmjetniËkoj koloniji Chautauqua ljetos sam svirala Ravelov Koncert u G-duru i tom sam prigodom saznala kako je upravo u mojoj hotelskoj sobi nekoliko dana prije mene boravio slavni Salman Rushdie. Po-taknulo me to da odmah kupim joπ nekoliko njegovih knjiga, koje sam temeljito proævakala tijekom sljedeÊih putovanja… Dakako, za dugih cjelodnevnih letova ne moæete sve

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vrijeme Ëitati, pa se osjeÊam upravo bla-goslovljenom πto mirno mogu zaspati bilo kad i bilo gdje. Rijetko sam i uglavnom na-kratko doma u svom Zagrebu, zato su moja najljepπa buenja ona kad zrakoplov dotakne pistu zagrebaËke zraËne luke! ■

The career of Martina Filjak, a young pianist from Zagreb, is marked by a string of

successes on the international music scene (Western Europe, United States, Canada and China). She has been conducted by some of the best conductors in the world and performed with renowned orchestras as her numerous recitals and solo appear-ances occurred in famous concert halls in cultural metropolis around the world (Paris, Amsterdam, Strasbourg, Berlin, Barcelona, Cleveland, Torino, Shanghai...). The special awards she won at the most prestigious world piano competitions throughout the last three years have brought her a number of flattering invitations for concert appearances around the world, which have regularly garnered criti-cal accolades. The leading American record label Naxos will soon release the first of her two solo albums featuring Antonio Solera’s sonatas. She has been recognized for her artistic work in Croatia where she has won three important awards (Milka Trnina, Vladimir Nazor and Or-lando), and in 2009 she was decorated with the Order of the Croatian Wattle for achieve-ments in music. Everything we have already mentioned would be more than enough to describe a very respectable career in music, but the tireless Croatian pianist Martina Filjak clearly has a long artistic future ahead of her. She is headed for a permanent position at the pinnacle of world pianism; this is corroborated by her extremely full concert schedule with guest appearances in the leading cultural metropolises in Europe, North American and Asia booked far in advance. We met with the artist at the beginning of October when she held two, equally wonderful concerts on two consecutive evenings with completely different repertoires at the Samobor Autumn Music Festival. On that occasion, the cheerful Martina told us something about the most important appearances in 2011; she also shared with us her reflections of her nomad lifestyle and how flying has become part of her life.∑ Every other month of this year and next year I am scheduled to perform concerts in the United States, and so I have to cross the At-lantic at least six times a year. After my recent and important appearances at Musikverein (Vienna), Teatro Carlo Felice (Genoa), Carn-

egie Hall (New York) and Konzerthaus (Berlin), in the next few months I am scheduled to tour North American for the fourth time with the backing of different local orchestras; I am also due for guest appearances in Lebanon and Hong Kong, as well as important recitals in Munich (Residenztheater) and Barcelona (Palau de la Músic), says the artist.∑ Although my concerts are literally scheduled back to back, I am very excited about my recital which will support the renovation of the beautiful GvozdanoviÊ Palace in Zagreb’s Upper Town, while at the same time I am hon-oured that I will find myself in the company of other world renowned Croatian colleagues: Monika Leskovar, Renata PokupiÊ, Radovan VlatkoviÊ, Max Emanuel CenËiÊ and Petrit Çeku, who will also perform at the brilliantly conceived Music Salon GvozdanoviÊ… You asked me how I deal with frequent travels and how I pass the time... I love to travel, es-pecially by plane, and even during that time I try to use my time wisely. I used to think that long trips were good for those people who have the right attitude to waiting, but I have recently realized that the time one spends on trips ∑ whether it is for one hour or the entire day ∑ is really like some kind of illusion. The scenery is constantly changing: always a new city and its airport, there are always the new faces of fellow travellers, there are different landscapes as you look through the clouds..., laughs Martina. ∑ The essential thing, however, is that my flow of thoughts remains unchanged even while travelling. During the hours that are spent in waiting rooms and in the plane I try to pre-serve my inner peace in a number of different ways: answering business and private e-mail messages and mostly reading. Like a true bookworm, I never forget to pack at least a few books written by my favourite authors, such as Kundera, Rushdie or Orhan Pamuk. Last summer, at a festival at an artist colony in America in Chautauqua I played Ravel’s Piano Concerto in G major. On that occasion I found out that just a few days earlier the famous Sal-man Rushdie had actually stayed in the same hotel room that I was in. That inspired me to immediately buy a few more of his books, which I literally gobbled down during my fol-lowing trips... Of course, on flights that last all day it is impossible to read the entire time, and I feel especially blessed that I am able to peacefully fall asleep whenever and wherever I am. It is quite rare that I am at home in Za-greb, and even when I am it is only for a short time, therefore the best wake∑up call is when the airplane touches down on the runway at Zagreb’s airport! ■

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KaLeNDar DOga–aNJa U HrVaTSKOJ CALENDAR OF EVENTS IN CROATIA

Urban - BoæiÊni koncert/Urban Christmass Concert(22. prosinca/22 December) Hypo Expo XXI Koncert Rade ©erbedæija i Miroslav TadiÊ/Concert Rade ©erbedæija and Miroslav TadiÊ (23. prosinca/23 December) Koncertna dvorana Vatroslava Lisinskog/Vatroslav Lisinski Concert Hall

SIJE»ANJ/JANUARY

Rijeka The Revival Beatles Band+Pete Lynch (28. sijeËnja/28 January) Palads

Zagreb Audi FIS svjetski kup VIP Snow Queen Trophy/Audi FIS World Cup VIP Snow Queen Trophy(4.-6. sijeËnja/4-6 January) Sljeme EPICA - Europski festival kreativ-nosti i dodjela nagrada EPICA/EPICA - Festival of creativity and EPICA awards

(21. sijeËnja/21 January) Muzej suvremene umjetnosti/Museum of contemporary art Festival brutalnosti/Festival of brutality (27. sijeËnja/27 January) Klub MoËvara/MoËvara Club, nastupaju/line-up: Nile, Melechesh, Dark Rise, Dew-Scented, Zonaria Koncert - Pozdrav Azri/Concert- Greetings to Azra (28. sijeËnja/28 January) Boogaloo ClubPBZ Zagreb Indoors - ATP World Tour (29. sijeËnja-6. veljaËe/29 January-6 February) Dom Sportova, meunarodni teniski turnir/international tennis tournament

VELJA»A/FEBRUARY

Zagreb Koncert Neno Belan & Fiumens/Concert Neno Belan & Fiumens(12. veljaËe/12 February) Dom sportova

PROSINAC/DECEMBER

OsijekKoncert Dubioza kolektiv/Concert Dubioza kolektiv(27. prosinca/27December) Miniteatar

Pula BoæiÊni Hand Made sajam/Christmass Hand Made Fair(19.-24. prosinca/19-24 December)GiardiniKoncert Brkovi/Concert Brkovi(25. prosinca/25 December) MonteparadisoDoËek Nove godine/New Year Party (31. prosinca/31 December) Forum

Zadar Koncert Tomislav BraliÊ i Intrade/Concert Tomislav BraliÊ and Intrade(25. prosinca/25 December) Arsenal

Zagreb BoæiÊni sajam/Christmass Fair(21.-30. prosinca/21-30 December) ZagrebaËki velesajam

OÆUJAK/MARCH

Zadar Izloæba Stakleni sjaj - zbirka stakla Muzeja Slavonije/Exhibition Glass Luster - Glass collection of the Museum of Slavonia(do 26. travnja/until 26 April) Gradska loæa/City Lodge

Zagreb 8. faπnik u Zagrebu/8th Carnival in Zagreb(5. oæujka/5 march) Cvjetni trgHGM Jazz Orchestra Zagreb & Donny McCaslin (6. oæujka/6 March) VIP Music Jazz Club

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CROATIA AIRLINES 153

SADRÆAJ/CONTENTS

154

NOVOSTI/NEWS

157

NAGRADITE SVOJU VJERNOST/ LET YOUR LOYALTY BE REWARDED

162

U NA©EM ZRAKOPLOVU/ABOARD OUR AIRCRAFT

165

FLOTA/FLEET

167

ZEMLJOVID ODREDI©TA/A MAP OF DESTINATIONS

169

ZRA»NA LUKA ZAGREB/ZAGREB AIRPORT

170

ZA©TO VOLITE PUTOVATI/WHY DO YOU LOVE TO TRAVEL

172

ADRESE/ADDRESSES

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CROATIA AIRLINES NOVOSTI CROATIA AIRLINES NEWS

Dvije povratne karte unutar Hrvatske za samo 800 kn

Pokrenuli smo promidæbenu akciju u kojoj moæete kupiti dvije povratne zrakoplovne karte za letove unutar Hrvatske po cijeni veÊ od 800 kuna, i to za dvije osobe koje putuju zajedno u oba smjera, a djeca do dvije godine ne plaÊaju kartu. Ponuda se odnosi na letove subotom i nedjeljom iz Zagreba prema Dubrovniku, Puli, Splitu, Zadru i obrnuto, a traje do 29. svibnja 2011. godine. Navedena cijena ukljuËuje pris-tojbe zraËnih luka i naknadu za izdavanje karte (TSC). Osim letova po promidæbenim cijenama, u sklopu ove akcije nudimo i dodatne pogod-nosti. Tako putnici koji putuju u Zagreb imaju pravo na besplatnu Zagreb Card, koja vrijedi 24 sata i kojom se ostvaruju mnoge pogodnosti i popusti u brojnim muzejima, restoranima i trgovinama. Zagreb Card moæete preuzeti uz predoËenje zrakoplovnih karata kupljenih u sklopu ove akcije u zagrebaËkome Turis-tiËkome informativnom centru na Trgu bana J. JelaËiÊa. Takoer, predoËenjem zrakoplovnih karata ostvarujete pravo na posebne cijene u dubrovaËkim hotelima Importanne Resort, Rixos Libertas Dubrovnik i Radisson Blu Resort & Spa, splitskom hotelu Park te u zagrebaËkim hotelima Dubrovnik i Aristos. Viπe informacija o akciji i posebnim ponudama moæete pronaÊi na www.croatiaairlines.com > posebne ponude > unutar Hrvatske dvoje za 800 kn.

two return tickets for fligHts witHin croatia from 800 kn only

We have launched a promotional offer whereby you can buy two return airline tickets for flights within Croatia for 800 Kn only. The offer applies to two persons flying together on both flights, whereas children up to two years of age fly free. The offer applies to flights on Saturdays and Sundays from Zagreb to Dubrovnik, Pula, Split, Zadar and back and it is valid until 29th May 2011. The fare includes airport taxes and TSC charges. In addition to flights at promotional prices, there are other benefits tied to this pro-motional offer. Passengers flying to Zagreb will receive a free Zagreb Card valid for 24 hours which entitles holders to many benefits and discounts in a number of museums, restaurants and stores. Zagreb Cards may be claimed at Zagreb Tourist Information Centre in Ban JelaËiÊ Square by showing the TIC staff airline travel documents purchased as part of this promotional offer. Also, the tickets purchased at promotional prices entitle passengers to discounted prices at Dubrovnik’s hotels Im-portanne Resort, Rixos Libertas Dubrovnik and

Radisson Blu Resort & Spa, at Split’s Hotel Park and Zagreb’s hotels Dubrovnik and Aristos. To learn more about this and other promotional offers go to www.croatiaairlines.com > special offers > two fly within Croatia for 800 Kn.

croatia airlines e-commerce novosti

U studenome 2010. godine stanice London Gatwick i Kopenhagen uvrπtene su u sustav web check ina, Ëime je ta usluga omoguÊena s 20 stanica.U istome mjesecu u sklopu ponude FlyOnLine internetske prodaje uvedena su nova træiπta i proπirena neka postojeÊa, tako da odsad moæete kupiti kartu i za odrediπta koja prije nisu bila dostupna za online kupnju, jer poveÊan je broj polaziπta i odrediπta koja moæete odabrati. U izbornike polaziπta i odrediπta nadodano je novih 826 gradova s podruËja Albanije, Austrije, Belgije, Bugarske, Cipra, Danske, Estonije, Francuske, Irske, Italije, Letonije, Lit-ve, Maarske, Maroka, Luksemburga, Malte, Nizozemske, NjemaËke, Norveπke, Poljske, Portugala, Rumunjske, Rusije, SlovaËke, ©pa- njolske, ©vedske, Tunisa, Ujedinjenog Kraljev-stva i Ukrajine, kao i SAD-a, Kanade i Australije, tako da sada nudimo ukupno 2515 parova gradova koji su moguÊe polaziπte i odrediπte vaπeg putovanja.Uskoro Êe vam biti dostupna moguÊnost koriπtenja usluga Croatia Airlinesa preko Maxtv-a, gdje Êete u interaktivnim sadræajima moÊi provjeriti trenutaËno stanje letova, informi-rati se o redu letenja, platiti rezervaciju, provjeriti πto trebate uËiniti prije leta, poslati besplatne sms-ove, te ostaviti poruku Kontakt centru da vas nazove. Ova usluga predstavlja æelju Croatia Airlinesa da svim svojim putnicima omoguÊi πto kvalitetnije koriπtenje njegovih usluga. Croatia Airlines uskoro uvodi joπ jednu moguÊ-nost plaÊanja svojih usluga. RijeË je o usluzi NetPay unutar Erste NetBankinga Erste banke, koja vam omoguÊuje fleksibilnost plaÊanja i oznaËava poboljπanje cjelokupne ponude Croatia Airlinesa.

croatia airlines e-commerce news

In November of this year, London Gatwick and Copenhagen Stations were included into the system of web check-in, and thus the number of such stations has been brought up to 20. In the same month, new markets have been introduced into the FlyOnLine internet sale offer, and some of the existing ones have been ex-panded. This means that you can now purchase

your online ticket for destinations for which that service previously did not exist, as the number of departure stations and destinations you can choose from has been increased. A total of 826 has been included into the search fields for departure points and destinations in Albania, Austria, Belgium, Bulgaria, Cyprus, Denmark, Estonia, France, Ireland, Italy, Latvia, Lithu-ania, Hungary, Morocco, Luxembourg, Malta, The Netherlands, Germany, Norway, Poland, Portugal, Romania, Spain, Sweden, Tunisia, the United Kingdom and Ukraine, as well as in the United States of America, Canada and Australia, so that now we offer a total of 2,515 pairs of cities representing possible departure points and destinations of your travel. Very soon Croatia Airlines services will become available on the MaxTv interactive pages where you will be able to check the current status Croatia Airlines flights, find information about flight schedules, pay for your reservation, check what you need to do before boarding your flight, send text messages free of charge as well as leave a message for the Contact centre to call you back. This cooperation is a reflection of Croatia Airlines’ efforts to give its passengers the most user-friendly access to its services. Croatia Airlines will soon offer its passengers another possibility to pay for any of its airline services via the NetPay system within the Erste Bank NetBanking service. The payment sys-tem’s flexibility will greatly enhance the overall Croatia Airlines offer.

Co-brand suraDnja croatia air-linesa i erste carD cluba

Predstavljamo vam kartice Diners Club Croatia Airlines i Visa Croatia Airlines, co-brand kartice koje vam omoguÊuju prikupljanje nagradnih milja u programu Miles & More. Kartica Diners Club Croatia Airlines omoguÊuje vam kupnju na rate bez kamata i naknada na mnogim prodajnim mjestima. Visa Croatia Airlines karticu moæete upotrijebiti na mnogobrojnim prodajnim mjesti-ma diljem svijeta, a omoguÊuje vam i koriπtenje revolving zajma.

croatia airlines co-branDs witH Diners club anD visa

We present Diners Club Croatia Airlines Card and Visa Croatia Airlines Card, co-brand cards which allow you to collect Miles & More reward miles.You can use your Diners Club Croatia Card for interest free instalment purchases at many points of sale. Visa Croatia Airlines Card may be used at a vast number of points of sale worldwide and you can also use it for a revolving credit.

Vrhunski talijanski muški modni brand

Petrinjska 26, +385 1 48 16 268

www.palzileri.com

Vrhunski ženski modni brand

Trg bana JelaËiÊa 6, Prolaz Harmica, +385 1 48 11 456

www.laurel.de

Popust 30%

CROATIA AIRLINES 155

Vrhunski talijanski muški modni brand

Petrinjska 26, +385 1 48 16 268

www.palzileri.com

Vrhunski ženski modni brand

Trg bana JelaËiÊa 6, Prolaz Harmica, +385 1 48 11 456

www.laurel.de

Popust 30%

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Nadia PeriÊ MilatiÊ: OdgovornoπÊu, profe-sionalnosÊu i ljubaznosÊu do zadovoljnih putnika

Nadia PeriÊ MilatiÊ, specijalistica za odnose s korisnicima u Sluæbi promotivnih aktivnosti Croatia Airlinesa, na sveËanoj dodjeli nagrada projekta Volim Hrvatsku, odræanoj na Danima hrvatskog turizma u Rovinju od 20. do 22. listo-pada 2010. godine, proglaπena je djelatnikom godine u kategoriji djelatnik u zraËnome prije-vozu. Ponosni smo πto je upravo naπa kolegica dobila to vrijedno priznanje s obzirom na to da je rijeË o akciji koju svake godine tradicionalno provodi Hrvatska turistiËka zajednica. Svrha akcije obuhvaÊanje je svih djelatnosti koje sudjeluju u stvaranju slike gostiju o Hrvatskoj kao turistiËki usmjerenoj zemlji, a mogu utjecati na podizanje kvalitete turizma kao najvaænijega hrvatskog izvoznog proizvoda te na podizanju informiranosti gostiju. Nadia je joπ tijekom studija na Ekonomskom fakultetu u Zagrebu poËela raditi u agenciji za istraæivanje træiπta Puls kao koordinatorica. Potkraj 1999. godine, nakon godinu i pol rada u Pulsu, Nadia se preko studentskog servisa zapoπljava u Croatia Airlinesu na tajniËkim i administrativnim poslovima, a nakon stjecanja fakultetske diplome u veljaËi 2001. godine pre-lazi u Sluæbu promotivnih aktivnosti, na radno mjesto specijalistice za odnose s korisnicima, na kojemu radi i danas.

Iako je vrlo stresan i odgovoran, Nadia uvelike voli svoj posao, jer

svodi se na svakodnevnu komunikaciju s ljudima, πto joj je veoma

vaæno.

Although the job is very stressful and demands a high level of re-

sponsibility, Nadia loves her job very much because it requires daily

communication with people, which is very important to her.

Nadia je veoma vedra i pozitivna osoba, πto je vaæno za nekoga Ëiji se posao sastoji od rjeπavanja prituæbi putnika nezadovoljnih uslugom Croatia Airlinesa, koje se najËeπÊe odnose na neregularnosti vezane za prtljagu te na neregularnosti u prometu uzrokovane kaπnjenjem ili otkazivanjem letova. Iako je vrlo stresan i odgovoran, Nadia uvelike voli svoj po-sao, jer svodi se na svakodnevnu komunikaciju s ljudima, πto joj je veoma vaæno. Takoer voli izazove svakodnevnog rjeπavanja nezgodnih situacija, što obavlja s najveÊom ozbiljnoπÊu i sigurnoπÊu u pozitivan ishod. Odgovornost, profesionalnost i ljubaznost naËela su kojih se Nadia dræi, a najveÊe joj je profesionalno zadovoljstvo rjeπavanje prituæbi putnika na njihovo zadovoljstvo. Privatno vrijeme Nadia dijeli sa suprugom i dvije kÊerkice, a omiljena joj je razbibriga spravljanje slastica za svoje najmilije. ■

Nadia PeriÊ MilatiÊ: Responsibility, profes-sionalism and good manners to customer satisfaction

Nadia PeriÊ MilatiÊ is a specialist in customer relations in the Promotional Department at Croatia Airlines. At the award ceremony for the project Volim Hrvatsku (I love Croatia), which was held in Rovinj during the Days of Croatian Tourism, 20-22 October 2010, she was named Employee of the Year in the category of Airline

Employees. We are proud that one of our employees was the recipient of that valuable recognition considering the fact that every year this action is traditionally carried out by the Croatian Tourist Board. The goal of the action is to include all of the activities which contribute to creating a picture of Croatia as a tourism-oriented country. This includes everything which could have an influence on improving the quality of tourism, as it is Croatia’s most important export product, as well as raise the awareness level of our guests.While still studying at the Faculty of Economics in Zagreb, Nadia began working in the market research agency Puls as a coordinator. At the end of 1999, after having worked in Puls for a year and a half, Nadia was hired by Croatia Airlines as a temporary secretary and administrator. After graduating from university in February 2001, Nadia was transferred to the Promotional Department as a specialist in customer relations, the position she still holds today.Nadia is an exceptionally bright and positive person which is important for someone whose job is to handle complaints from customers who are unsatisfied with the services they received from Croatia Airlines. These com-plaints are most often related to lost luggage and to air traffic problems which result in delayed or cancelled flights. Although the job is very stressful and demands a high level of responsibility, Nadia loves her job very much because it requires daily communication with people, which is very important to her. She also loves the challenge of everyday solving un-comfortable situations, which she approaches with ultimate seriousness and confidence that she will be able to achieve positive results. Responsibility, professionalism and good manners are the principles Nadia adheres to. Her greatest professional satisfaction comes from solving the customers’ problems in a way which makes them happy. Nadia spends her private time with her hus-band and their two daughters, and she most enjoys preparing sweets for those people who are dearest to her. ■

Piše/By Gloria Gelo

CROATIA AIRLINES 157

OsnO­ve­Mi­les­&­MO­re­prO­gra­Ma

Mi les & Mo re naj ve Êi je pro gram na gra i va nja put ni ka u Eu ro pi i nu di Ëla no vi ma ra zli Ëi te mo guÊ no sti pri kup lja nja mi lja i ko ri πte nja na gra - da, kao i mno ge priv laË ne po god no sti. »la no vi pri kup lja ju mi lje ko ri ste Êi se uslu ga ma broj nih par tne ra u pro - gra mu. Mi lje se bi lje æe za le to ve svih Ëla ni ca Star Al li an cea i dru gih kom pa ni ja par tne ra, ali i za unaj mlji va nje vo zi la, od sje da nje u ho te li ma ili po tro-πnju pre ko kre dit nih kar ti ca Mi les & Mo re.

Za­tra­æi­te­svo­ju­Di­ners­Club­Cro­a­tia­Air­li­nes­kre­dit­nu­kar­ti­cu!n 5­ku­na­=­1mi­lja - za sva kih 5 ku na po tro πe nih pre ko ove kar ti ce, bi lje æi vam se 1 na grad na mi lja n Dvo­s­tru­ke­mi­lje - osva ja te za pla Êa nje tu ri stiË kih aran æma na i zra ko plov nih ka ra ta u Di ners Club Tra ve lu n Pri­kup­ljaj­te­na­grad­ne­mi­lje­svug­dje­- jed no stav no pla Êaj te svo jom Di ners Club kar ti com na bi lo ko jemu od 12,000.000 DC pro daj nih mje sta u zem lji i ino zem s tvu. n Osvo­ji­te­joπ­vi­πe­mi­lja - ko ri πte nje osta lih po god no sti Di ners Clu ba po put be s plat nih onli­ne uslu ga, e-pla Êa nja ili traj nih na lo ga do no si vam do dat ne mi lje. n 2­kar­ti­ce­-­1­ra­Ëun­Mi­les­&­Mo­re - ko ri sti te se isto dob no pri vat nom i po slov nom kar ti com Di ners Clu ba i Cro a tia Air li ne sa, pri kup lje ne na grad ne mi lje zbra ja ju se na va πemu ra Ëu nu Mi les & Mo re.

Zatražite­svoju­VISA­Croatia­Airlines­kreditnu­karticu!n 7­kuna­potrošenih­u­inozemstvu­=­1­miljaU suradnji s Erste Card Clubom, Croatia Airlines objavio je prvu companion karticu u Hrvatskoj! Svi postojeÊi i buduÊi korisnici Diners Club Croatia Airlines kreditne kartice mogu zatraæiti i svoju Visa kreditnu karticu. Za­tra­æi­te­svo­ju­kre­dit­nu­kar­ti­cu­Cro­a­tia­Air­li­nes­American­Express!n 4­ku­ne­=­1­mi­lja - za sva ke 4 ku ne po tro πe ne pre ko Pre mi um kar-ti ce bi lje æi se 1 na grad na mi lja, od no sno za sva kih 5 ku na po tro πe nih pre ko Stan dard kar ti cen 2500­mi­lja­do­bro­do­πli­ce - za no ve osnov ne Pre mi um ko ri sni ke i 1250 mi lja do bo do πli ce za no ve do dat ne Pre mi um ko ri sni ken 1500­mi­lja­do­bro­do­πli­ce za no ve osnov ne Stan dard ko ri sni ke i 750 mi lja do bro do πli ce za no ve do dat ne Stan dard ko ri sni ken Dvo­s­tru­ke­na­grad­ne­mi­lje - za po tro πnju u po slov ni ca ma Cro a tia Air li ne sa i Jum bo Tra vel Ser vi ces PBZ Car dan UËla­nje­nje­u­Pri­o­rity­Pa­ss­bez­nak­na­de te pri stup u vi πe od 450 VIP sa lo na u zraË nim lu ka ma

Ra­zre­di­Ëlan­s­tva­i­po­god­no­stiKo ri πte njem uslu ga par tne ra u pro gra mu pri kup lja te na grad ne mi lje ko je za mje nju je te za na gra de i sta tu sne mi lje ko je odre u ju vaπ Ëlan ski sta tus i po god no sti πto ih os tva ru je te. Sta tu sne mi lje pri kup lja ju se re do vi tim le to vi ma slje de Êih zra ko plov-nih kom pa ni ja: Cro a tia Air li nes, Adria Air ways, Au s tri an Air li nes, LOT Po li sh Air li nes, Luf than sa (uk lju Ëu ju Êi Luf than sa Re gi o nal i Luf than sa Pri va te Jet), SWI SS i svi zra ko plov ni par tne ri iz mre æe Star Al li an ce, te Cir rus Air li nes, Air Dolomiti i Luxair. Sva ka ta ko os tva re na mi lja bi lje æi se i kao sta tu sna i kao na grad na mi lja. Mi lje HON Cir cle sta tu sne su mi lje ko je se pri kup lja ju le to vi ma slje de-Êih kom pa ni ja: Cro a tia Air li nes, Adria Air ways, Au s tri an Air li nes, Air Dolomiti, Brussels Airlines, LOT Po li sh Air li nes, Luf than sa (uk lju Ëu ju Êi Luf than sa Re gi o nal i Luf than sa Pri va te Jet), Luxair i Swiss International Airlines.

in­trO­du­cing­Mi­les­&­MO­re

Mi les & Mo re is the gre a te st fre qu ent flyer pro gram me in Eu ro pe of fe ring its mem bers nu me ro us po ssi bi li ti es for col lec ting and re de-e ming mi les, as well as many at trac ti ve pri vi le ges. Mem bers col lect mi les by using the ser vi ces of many par tners in the pro gram me. Mi les are cre di ted for flig hts of all Star Al li an ce mem bers and ot her air li ne par tners, but al so for ren ting ve hi cles from rent-a-car par tners or sta ying in par ti ci pa ting ho tels.

Ap­ply­for­yo­ur­Di­ners­Club­Cro­a­tia­Air­li­nes­cre­dit­card!n 5­HRK­=­1mi­le - for every 5 HRK spent via this card, you col lect 1mi le. n Earn­do­u­ble­mi­les - for pa ying pac ka ge to urs and flig ht tic kets at Di ners Club Tra vel n Col­lect­award­mi­les­ever­ywhe­re - sim ply pay with yo ur Di ners Club Card in any of 12 mil li on DC of fi ces

in Cro a tia or abro adn Col­lect­ex­tra­award­mi­les - by using ot her Di ners Club be ne fits, such as free onli ne ser vi ces, in ter net ban king and e-pa ying, standing or ders etc.n 2­cre­dit­car­ds­-­1­Mi­les­&­Mo­re­mem­ber­ship­ac­co­unt - use yo ur pri va te and bu si ne ss card to col lect award mi les on the sa me mem-ber ship ac co unt.

Apply­for­your­VISA­Croatia­Airlines­credit­card!n 7­kuna­spent­abroad­=­1­mileCroatia Airlines and Erste Card Club have issued the first companion credit card in Croatia! All current and future Diners Club Croatia Airlines credit card holders have an opportunity to apply for the VISA credit card as well.

Ap­ply­for­yo­ur­Cro­a­tia­Air­li­nes­American­Express­cre­dit­card!n 4­HRK­=­1mi­le - for every 4 HRK spent via Pre mi um card, you col lect 1mi le, and for every 5 HRK spent via Stan dard card you col lect 1 mi le.

n 2.500­wel­co­me­mi­les - for new ba sic Pre mi um card users and 1.250 wel co me mi les for new ad di ti o nal Pre- mi um card users.n 1.500­wel­co­me­mi­les - for new ba sic Stan dard card users and 750 wel co me mi les for new ad di ti o nal Stan-dard card users.

n Earn­do­u­ble­award­mi­les - using the card to pay for tra vels at Cro-a tia Air li nes sa les of fi ces and Jum bo Tra vel Ser vi ces of PBZ Card.n Free­Pri­o­rity­Pa­ss­enrol­lment- it ena bles you to ac ce ss in to mo re than 450 VIP air port lo un ges

Ti­ers­and­be­ne­fitsBy using the Mi les & Mo re par tners’ ser vi ces mem bers col lect award mi les, which are tra ded in for awar ds; and sta tus mi les, which de ter-mi ne a mem ber’s mem ber ship sta tus and pri vi le ges. Sta tus mi les can be ac cru ed on sc he du led flig hts ope ra ted by Cro a tia Air li nes, Adria Air ways, Au s tri an Air li nes, LOT Po li sh Air li-nes, Luf than sa (in clu ding Luf than sa Re gi o nal and Luf than sa Pri va te Jet), SWI SS, all Star Al li an ce par tners, Cir rus Air li nes, Air Dolomiti and Luxair. Every mi le ac cru ed is re cor ded as both a sta tus and an award mi le.HON Cir cle mi les are sta tus mi les that you col lect on flig hts ope ra-ted by Cro a tia Air li nes, Adria Air ways, Au s tri an Air li nes, Air Dolomiti, Brussels Airlines, LOT Po li sh Air li nes, Luf than sa (in clu ding Luf than sa Re gi o nal and Luf than sa Pri va te Jet), Luxair and Swiss International Airlines.

158 CROATIA AIRLINES

Uz 35.000 sta tu snih mi lja pri kup lje nih u jed noj ka len dar skoj go di ni, ste Êi Êe te sta tus Fre­qu­ent­Tra­vel­ler, a za 100.000 sta tu snih mi lja u ka len dar skoj go di ni oËe ku je vas sta tus Se­na­tor. »la no vi ko ji pri ku pe naj ma nje 600.000 HON­Cir­cle mi lja u ra zdob lju od dvi je uza stop ne ka len dar ske go di ne, stje Ëu sta tus HON­Cir­cle.

Po god no sti sta tu sa Fre­qu­ent­Tra­vel­ler- Exe­cu­ti­ve­Bo­nus - 25 po sto mi lja na zaista pri je e-ni ili stan dar dni iznos za le to ve slje de Êih kom pa ni ja: Luf than sa (uk lju Ëu ju Êi Luf than sa Re gi o nal i Luf than sa Pri va te Jet), Adria Air ways, Air Ca na da, Air Do lo mi ti, Au s tri an Air li nes, Cro a tia Air li nes, LOT Po li sh Air li nes, SWI SS, US Air ways, United, Brussels Airlines, Luxair i Continental- ne o gra ni Ëe na va lja no st na grad nih mi lja za tra ja nja sta tu sa - upo ra ba Luf than sa Bu si ne ss Cla ss Lo un gea pri li kom le to va s ne kom od Ëla ni ca Star Al li an cea - pred no st na li sti Ëe ka nja - pri ja va za let (check­in) na πal te ru po slov nog ra zre da- 40 kg prtlja ge bez na pla te ovisno o odredištu i zrakoplovnoj kom-paniji

Po god no sti sta tu sa Se­na­tor- Exe­cu­ti­ve­Bo­nus - 25 po sto mi lja na zaista pri je- e ni ili stan dar dni iznos za le to ve slje de Êih kom pa ni ja: Cro a tia Air li nes, Adria Air ways, Air Ca na da, Air Do lo-mi ti, Au s tri an Air li nes, LOT Po li sh Air li nes, Luf than sa (uk lju Ëu ju Êi Luf than sa Re gi o nal i Luf than sa Pri va te Jet), SWI SS, US Air ways, United, Brussels Airlines, Luxair i Continental. - ne o gra ni Ëe na va lja no st na grad nih mi lja za tra ja nja sta tu sa- pre du jam od 50.000 mi lja - upo ra ba Luf than sa Se na tor Lo un ge te Star Gold Lo un ge par tne ra u Star Al li an ceu - vi πi pri o ri tet na li sti Ëe ka nja - pri ja va za let (check­in) na πal te ru prvog ra zre da - osi gu ra no mje sto na le tu za re zer va ci je do 48 sa ti odnosno do 72 sata una pri jed, ovisno o razredu putovanja - 50 posto ma nje mi lja za su put ni ka na na grad nom le tu, ovisno o zrakoplovnoj kompaniji- do dat nih 20 kg ili do dat ni ko mad prtlja ge bez na pla te, ovisno o odredištu i zrakoplovnoj kompaniji - dva elek tron ska va u Ëe ra za pre mje πtaj u vi πi ra zred pu to va nja (up­gra­de), te joπ dva za svako zadræavanje statusa

Po god no sti sta tu sa HON­Cir­cle - sve po god no sti sta tu sa Se­na­tor - Exe­cu­ti­ve­Bo­nus od 25 po sto - pre du jam od 100.000 mi lja - Sta­tus­Se­na­tor za su pru æni ka ili par tne ra, ovisno o zrakoplovnoj kompaniji- πe st elek tron skih va u Ëe ra za pre mje πtaj u vi πi ra zred pu to va nja (up­gra­de), te joπ šest prigodom zadræavanja statusa - do dat ne po god no sti ko je nu de par tne ri pro gra ma osi gu ra va ju Êi je din s tve no isku s tvo pu to va nja

Tro­πi­te­mi­ljePri kup lje ne na grad ne mi lje za mje nju je te za mnoge na gra de: nagradne kar te, pre mje πtaj u vi πi ra zred pu to va nja (up­gra­de), ra zli Ëi te nagra de ko ji ma se mo æe te ko ri sti ti pri pu to va nju (ho tel ski smje πtaj, unaj mlji-va nje vo zi la).

With 35,000 sta tus mi les col lec ted in one ca len dar ye ar mem bers earn the Fre qu ent Tra vel ler sta tus, with 100,000 sta tus mi les the Se na tor sta tus, and mem bers who col lect at le a st 600,000 HON Cir cle mi les wit hin two con se cu ti ve ca len dar ye ars, earn the HON Cir cle sta tus.

Fre­qu­ent­Tra­vel­ler­pri­vi­le­ges - Exe cu ti ve Bo nus of 25 per cent on the ac tu al flown mi les or stan dard mi le a ge amo un ts on flig hts ope ra-ted by Luf than sa (in clu ding Luf than sa Re gi o nal and Luf than sa Pri va te Jet), Adria Air ways, Air Ca na da, Air Do lo mi ti, Au s tri an Air li nes, Cro a tia Air li nes, LOT Po li sh Air li nes, SWI SS, US Air ways, United, Brussels Airlines, Luxair and Continental.

- Ac cru ed award mi les ha ve no ex piry da te - Use of the Luf than sa Bu si ne ss Cla ss Lo un ges whi le flying with a Star Al li an ce Mem ber- Wa i ting li st pri o rity - Check-in at the Luf than sa Bu si ne ss Cla ss co un ter - Free bag ga ge al lo wan ce of 40 kg depending on the destination and the airline

Se­na­tor­pri­vi­le­ges- Exe cu ti ve Bo nus of 25 per cent on the ac tu al flown mi les or stan dard mi le a ge amo un ts on flig hts ope ra ted by Cro a tia Air li nes, Adria Air ways, Air Ca na da, Air Dolo-mi ti, Au s tri an Air li nes, LOT Po li sh Air li nes, Luf than sa (in clu ding Luf than sa Re gi o nal and Luf than sa Pri va te Jet), SWI SS, US Air ways, United, Brussels Airlines, Luxair and Continental.

- Ac cru ed award mi les ha ve no ex piry da te - 50,000 mi les in advan ce- Ac ce ss to the Luf than sa Se na tor Lo un ge as well as to the Star Gold Lo un ges of Star Al li an ce par tners- High wa i ting li st pri o rity - Fir st Cla ss check-in - Bo o king gu a ran tee up to 48 or 72 ho urs in advan ce depending on the booking class - A 50 per cent mi le a ge di sco unt for an ac com pan ying per son on flig ht awar ds depending on the airline- Ad di ti o nal 20 kg bag ga ge al lo wan ce or an ad di ti o nal bag depending on the destination and the airline - 2 elec tro nic up gra de vo uc hers and two more for every status retention

HON­Cir­cle­pri­vi­le­ges - All exi sting Se na tor pri vi le ges - Exe cu ti ve bo nus of 25 per cent - 100,000 mi les in advan ce - Se na tor sta tus for yo ur spo u se or par tner depending on the airline- 6 elec tro nic Up gra de Vo uc hers and 6 more for every status retention

- Ad di ti o nal be ne fits of fe red by Mi les & Mo re par tners, ro un ding off the tra vel ex pe ri en ce

Spend­mi­lesYou can ex chan ge col lec ted award mi les for awar ds pre pa red for you: award tic kets, up gra des, va ri o us tra vel awar ds.

CROATIA AIRLINES 159

160 CROATIA AIRLINES

Croatia Airlines nagrauje autora najoriginalnijefotografije.

Letite Croatia Airlinesom, fotografirajte i osvojite zrakoplovne karte.

Autor najoriginalnije fotografije bit Êe nagraen dvjema povratnim meunarodnim zrakoplovnim kartama Croatia Airlinesa.

Zaπto volite putovati ?Budite kreativni. Fotografijom i jednom reËenicom izrazite zaπto volite putovanja.Najbolju fotografiju izabrat Êe Sluæba promotivnih aktivnosti Croatia Airlinesa, a fotografiju Êemo objaviti u sljedeÊem broju putnog Ëasopisa.

Crno-bijele, fotografije u boji ili dijapozitive dostavite do 15. veljaËe 2011.godine na adresu:Croatia Airlines, Sluæba promotivnih aktivnosti, Bani 75b, Buzin, 10010 Zagreb, Hrvatska.

Ne zaboravite priloæiti kupon s dna stranice.

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g. ga gica

IME

PREZIME

DATUM RO–ENJA

ULICA I BROJ

PO©TANSKI BROJ

GRAD

DRÆAVA

TEL.

E-MAIL

Uvjeti nagradne igre:- fotografije postaju vlasniπtvo Croatia Airlinesa- Croatia Airlines ne preuzima nikakvu odgovornost u sluËaju gubitka materijala- Croatia Airlines zadræava pravo koriπtenja fotografija u promidæbenim materijalima Croatia Airlinesa bez naknade- nagrada ne moæe biti zamijenjena za novac - djelatnici Croatia Airlinesa te Ëlanovi njihove uæe obitelji nemaju pravo sudjelovanja u nagradnoj igri

Ivan

a M

artin

oviÊ

Fotografirajtei otputujte

Croatia Airlinesis rewarding the author of the most original photograph.

Fly Croatia Airlines, take photographs and win two air tickets.

The winner will receive 2 Croatia Airlines international round trip tickets.

Why do you love to travel ?Be creative. In one sentence and a single photograph express why you love to travel. Selection of the most original photograph will be made by the Croatia Airlines Promotion Department and the photograph will be published in the next issue of our inflight magazine. You should send us your B/W or color photographs and/or slides by 15th February 2011 to the following address: Croatia Airlines, Promotion Department, Bani 75b, Buzin, 10010 Zagreb, Croatia.

Do not forget to include the coupon from the page bottom.

Mr. Mrs. Miss.

NAME

SURNAME

DATE OF BIRTH

ADDRESS

POSTAL CODE

CITY

COUNTRY

TEL. NO.

E-MAIL

Conditions for participation:- photographs become the property of Croatia Airlines- Croatia Airlines does not assume any responsibility in case of the possible loss of the material- Croatia Airlines reserves the right to use the material in the Croatia Airlines promotional activities and materials, without an additional payment.- reward cannot be exchanged for money- employees of Croatia Airlines as well as the members of their immediate families, are not allowed to participate

Take a photo and travel

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Adr

ian

Dan

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Jednostavno je prijaviti se za Ëlanstvo:• preko interneta na web stranici www.miles-and-more.com/croatia • poπtom• telefaksom na broj +49 - 52 41 - 80 60 200 • kod osoblja u zrakoplovuBit Êe nam zadovoljstvo ubiljeæiti vam milje za trenutaËni let kao i za bilo koji drugi let kojiste ostvarili u posljednjih 6 mjeseci s Croatia Airlinesom, kompanijom Lufthansa ili nekimdrugim partnerom u programu. Molimo vas da gore unesete podatke o trenutaËnom letu.Retroaktivno ubiljeæavanje milja za druge letove moæete zatraæiti na straniciwww.miles-and-more.com. Molimo vas da uvijek Ëuvate originalnu kartu za ulazak uzrakoplov (boarding pass) i kopiju putne karte dok vam se milje ne ubiljeæe na raËun.

It’s so easy to register:• Online at www.miles-and-more.com/croatia • By post• By fax +49 - 52 41 - 80 60 200 • With one of your flight attendantsWe will be happy to credit your account with the miles for this flight and for any other flightstaken in the last 6 months with Croatia Airlines, Lufthansa or another Miles & More partner.Enter your current flight above. To have the miles for the other flights credited to youraccount, go to www.miles-and-more.com. Please retain your original boarding card andpassenger receipt (copy of your ticket) until the miles have been credited to your account.

Miles & More

Ime/First name Prezime/SurnameTitula/Title

Ulica i broj/Street and number Poπtanski broj/Postcode

Grad/Town Dræava/Country

Molimo vas da unesete ime kompanije/Please enter name of company here Odjel/Department

Poπtanski pretinac/PO Box

e-mail adresa/E-mail address

ga/Ms g./Mr

Datum roenja/Date of birthDan/ Day

Mjesec/ Month

Godina/Year

Privatna/Home

Poslovna/Business

Privatni/Home

Poslovni/Business

Jezik za komunikaciju/Preferred correspondence languageNjemaËki/ German

Engleski/ English

Datum/Date Potpis/Signature

Odabrani naËin komunikacije za Miles & More News i izvjeπtajo stanju milja na raËunu/Preferred means of communicationfor Miles & More News and Miles & More account statements:

Elektronski/Online

Poπtom/Post

Francuski/ French

Talijanski/ Italian

Poljski/ Polish

©panjolski/ Spanish

Japanski/ Japanese

Ovime potvrujem* da od sljedeÊih (dolje oznaËenih) kompanija æelim primati SMS poruke s vaænim i najnovijim informacijama u vezi s mojim letom tijekom putovanja. /I hereby give my permission* forthe following listed companies (ticked below) to send me important and up-to-date information regarding my travel itinerary by SMS during my travels.

Deutsche Lufthansa AG, kompanija iz koncerna Lufthansa ili kompanije koje sudjeluju u programu Miles & More (ukljuËujuÊi Croatia Airlines) Drugi partneri programa Miles & MoreDeutsche Lufthansa AG, a company of the Lufthansa Group or joint operators of the Miles & More programme (including Croatia Airlines) Other Miles & More partner corporations

Ovime potvrujem* da od sljedeÊih (dolje oznaËenih) kompanija æelim elektronskom poπtom primati obavijesti o ponudama, promocijama, novim uslugama i drugim zanimljivim temama vezanima uzLufthansu, grupu Lufthansa i partnerske kompanije. /I hereby give my permission* for the following listed companies (ticked below) to send me information by e-mail about offers, promotions, new services and other interesting topics from Lufthansa, the Lufthansa Group, as well as partner corporations.

Deutsche Lufthansa AG, kompanija iz koncerna Lufthansa ili kompanije koje sudjeluju u programu Miles & More (ukljuËujuÊi Croatia Airlines) Drugi partneri programa Miles & MoreDeutsche Lufthansa AG, a company of the Lufthansa Group or joint operators of the Miles & More programme (including Croatia Airlines) Other Miles & More partner corporations

Mobilni telefon/Mobile number

Conditions of participation in our Frequent Flyer Programme Miles & Morecan be obtained on request on the Internet at www.miles-and-more.comand www.lufthansa.com This registration places you under no obligation.

If you no longer wish to receive our special offers, you can withdraw yourpermission to use your personal information for advertising purposes bycontacting us on +49 -18 05 - 59 59 (€0.12/min. from a German landline).

* I am aware that I can revoke this permission from Deutsche Lufthansa AGat any time.

Uvjete Ëlanstva u programu Miles & More moæete pronaÊi na webstranicama www.miles-and-more.com ili www.lufthansa.com. Ova vasprijava ne obvezuje ni na koji naËin.

Ne budete li viπe htjeli primati obavijesti o naπim posebnim ponudama,u svakom trenutku moæete povuÊi pristanak za koriπtenje vaπih osobnihpodataka u promotivne svrhe pozivom na telefonski broj + 49-1805-5959(€0.12/min. preko fiksne mreæe u NjemaËkoj)

* Znam da dopuπtenje dano Deutsche Lufthansi AG mogu povuÊi u svakom trenutku.

POU

01

KuÊna/Home

Adresa (molimo vas da navedete samo jednu adresu)/Address (please state only one address) Poslovna/

Business

Datum polaska/Date of departure

Broj leta/Flight number

Klasa knjiæenja/Booking class

Razred putovanja/Service class

Linija (npr. Frankfurt–Pariz)/Route (e.g. Frankfurt–Paris)

TrenutaËni let/Current flight

First Class

Economy ClassBusiness Class

Telefon/Telephone

Broj karte/Document number

Miles & More – veÊ sad poËnite prikupljati milje

Miles & More – start collecting miles now

Prostor za marku.

Please affix stamp here.

Miles & MorePostfach 14 3433309 GüterslohALLEMAGNE

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»im se poËnete koristiti svojom privremenom karticom Miles & More,milje Êe vam se biljeæiti na raËun. Molimo vas da pri svakoj rezervacijinavedete broj svoje kartice Miles & More. Trajnu karticu dobit Êetepoπto prikupite najmanje jednu milju na svom raËunu.

Milje za danaπnji let bit Êe vam ubiljeæene na raËun ako na prednju stranu unesete sve potrebne podatke o letu.

Miles will start landing in your account immediately after you start to use your temporary Miles & More Card. Please remember to state your personal Miles & More number every time you make a reservation. You will receive your proper Miles & More Card once you have collec ted one mile.

We will credit the miles for your current flight to your account once youhave provided all the details of the current flight on the front.

Trajnu karticu dobit Êete poπto prikupite najmanje jednu miljuna svom raËunu.We will send you your regular Miles & More Card as soon as you have earned one mile.

Razred putovanja/Service class

Broj leta/Flight number

Broj karte/Document number

Klasa knjiæenja/Booking class

Ime/First name

Prezime/Surname

At work I don’t have a choice of where I sitBut with Star Alliance Upgrade AwardsAcross 20 member airlines worldwideNow I do.I’ve earned it.

Takuma SatoInternat ional racing dr iver and Star Al l iance Gold Status

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162 CROATIA AIRLINES

U NA©EM ZRAKOPLOVU

PO©TOVANI PUTNICI!

Vaπe zadovoljstvo naπa je prva i najvaænija za-daÊa. Stoga stalno nastojimo poboljπati naπe usluge u zrakoplovu i na zemlji. Osluπkujemo vaπe æelje preko anketa, pisama te vaπih pis-menih i usmenih prijedloga i, vjerujte, uvijek ih smatramo dragocjenima.Znajte da nam je svaki vaπ prijedlog dobro doπao, a svaka napomena vrlo vaæna. Piπite nam stoga na adresu uredniπtva: Croatia Air-lines, Ëasopis Croatia, Bani 75b, Buzin, 10010 Zagreb, e-mail: pr@croatiaairlines.hr

Molimo proËitajte nekoliko uputa vaænih za vaπu sigurnost i udobnost tijekom puto-vanja. Raduje nas πto ste za let izabrali upra-vo zrakoplov naπe kompanije. Potrudit Êe- mo se da vam let protekne πto ugodnije.

UvaæavajuÊi svjetske zdravstvene i ekoloπke trendove, 1996. godine Croatia Airlines uvela je nepuπaËke letove na svim linijama. Za- hvaljujemo vam πto se pridruæujete naπim nastojanjima da svijet bude zdraviji, ËiπÊi i ljepπi.

RED SJEDENJA

Vaπe je sjedalo rezervirano samo za vas. Na-puπtate li sjedalo tijekom leta, molimo da se prije svakog slijetanja vratite na sjedalo.

RU»NA PRTLJAGA

Sva Ëekirana prtljaga mora imati putnikovo ime. Besplatne oznake za prtljagu mogu se dobiti u svim prodajnim uredima Croatia Airlinesa. Oznaku za prtljagu stavite i unutar prtljage. Sve vrijedne stvari i predmete nosite sa sobom u zrakoplov. Osobnu ruËnu prtljagu odloæite iznad svojeg sjedala ili ispod njega, tako da teæi komadi idu ispod, a lakπi iznad, a da istodobno ne smeta drugim putnicima i posadi zrakoplova.

UPUTE ZA SIGURNOST

Prije uzlijetanja zrakoplova osoblje Êe vam dati nekoliko uputa πto valja Ëiniti u sluËaju opasnosti. One se odnose na tip zrakoplova pa ih paæljivo prouËite. Prigodom uzlijetanja i slijetanja svi putnici, ukljuËujuÊi i djecu, moraju se vezati sigurnosnim pojasima. PreporuËujemo da zbog vaπe sigurnosti i udobnosti ostanete privezani tijekom cijelog leta. Pri slijetanju molimo da ostanete na svojim sjedalima sve dok se ne iskljuËi znak obvezatnog vezivanja.

Prilikom ulaska u neke zemlje valja popuniti odreene obrasce. Oni su vam dostupni u aerodromskoj zgradi pri ulasku u zemlju. Kako bismo vam olakπali i ubrzali taj postupak, naπe Êe vam ih kabinsko osoblje rado podijeliti tijekom leta.

UPORABA TELEFONSKIH NAPRAVA

Sadaπnje odredbe zabranjuju uporabu odre-enih prenosivih elektronskih naprava tijekom komercijalnih letova, zbog moguÊnosti ometa-nja navigacijske i komunikacijske opreme. Na letovima Croatia Airlinesa zabranjena je uporaba ovih elektronskih naprava: prijenosnih telefona, komercijalnih dvovalnih prijenosnika (npr. walkie talkie); amaterskih prijenosnih ureaja; CB prijenosnih ureaja: prijenosnih ureaja koji emitiraju RF energiju na odreenoj frekvenciji, perifernih ureaja za raËunala ili igre. Ovi se ureaji mogu rabiti kad zrakoplov nije na pisti, uzletu, poËetnom penjanju, prilazu ili fazama slijetanja: osobna raËunala (periferni ureaji kao πto su πtampaËi, vanjski disc driveovi itd. nisu dopuπteni); osobna raËunala s igrama, VHF skenerski prijamnici; CD diskovi; kasetofoni,videorekorderi; kalkulatori. SljedeÊi ureaji mogu se rabiti sve vrijeme: sluπni aparati, ugraeni medicinski aparati, elektronski satovi, elektronski stimulatori æivaca.

ZABRANJENI PREDMETI

Zakonom je zabranjeno noπenje opasnog materijala i u predanoj i u ruËnoj prtljazi. U takve se ubrajaju eksplozivi, lako zapaljive tekuÊine, radioaktivni materijali i otrovi, oruæje, stlaËeni plinovi, korozivna i oksidirajuÊa sredstva.

USLUGA TIJEKOM LETA

U zrakoplovu raspolaæemo s raznim vrstama alkoholnih i bezalkoholnih piÊa kojima Êe vas stjuardese posluæiti zajedno s jelom. Prigodom kupnje karte, ali svakako 24 sata unaprijed, moæete naruËiti specijalnu vrstu obroka (ozna-ka: SPML), kao npr. vegetarijanski, musliman-ski, dijetalni, a kosher 48 sati unaprijed. Ako ste naruËili poseban obrok, molimo vas da o tome na vrijeme izvijestite osoblje.Putnicima nije dozvoljeno konzumiranje vlastitih alkoholnih piÊa. Osoblje zrakoplova neÊe po-sluæiti alkoholna piÊa alkoholiziranim putnicima. Prije slijetanja osoblje Êe ukloniti sve πalice i Ëaπe. Puπenje nije dopuπteno tijekom cijelog leta, a u toaletima postoje i detektori za dim koji se aktiviraju u sluËaju puπenja.

MEDICINSKA POMO∆

U zrakoplovu imamo priruËnu ljekarnu sa svim potrebnim lijekovima za prvu pomoÊ (s lijeko-vima protiv bolova, flasterima i ostalim osnov-nim medicinskim sredstvima).Za medicinsku pomoÊ obratite se kabinskom osoblju.

CROATIA AIRLINES 163

SERVICE ON BOARD

Both alcoholic and non-alcoholic beverages are available on board and are served with your meal. If you wish to order a special kind of meal such as vegeterian, dietary etc., you can do so when buying your ticket but must be 24 hours in advance. Kosher meals should be ordered 48 hours in advance. Make sure that your flight attendant is aware that you have ordered a special meal.Passengers are prohibited from consuming their own alcoholic beverages on board. The cabin crew are instructed to discontinue ser-ving passengers who appear to be intoxicated. All cups and glasses will be removed from the passenger areas prior to take-off and landing. Smoking is not permitted on any of Croatia Airlines’ flights. A fresh air vent and smoke detectors are located in toilletes and will be activated if smoking.

MEDICAL AID

Painkillers, Band Aid and other essential medi-cal items are kept on the aircraft. Ask your flight attendant should you need any assistance.

SKY SHOP

Duty free goods can be paid for in major currencies such as: Euro, US Dollar, British Pounds, Swiss Franks and national currency Kuna, whilst Diners, Visa, American Express and Euro-Master Card are also welcome. ■

ABOARD OUR AIRCRAFT

SKY - SHOP

U avionu moæete kupiti bescarinsku robu. Glede cijena, obratite se domaÊici zrakoplova. Roba se moæe platiti u sljedeÊim konverti-bilnim valutama: euro, ameriËki dolar, funta, πvicarski franak i u nacionalnoj valuti kunama, te sljedeÊim karticama: Diners, Visa, American Express i EuroMaster Card. Zbog teæine aviona ili trenutaËnog nedostatka prostora ponuda moæe biti ograniËena, pa vas molimo da to uzmete u obzir. ■

DEAR PASSENGERS!

Your satisfaction is our first and foremost concern. That is why we are always striving to improve our services on board our aircraft and on the ground. We study your wishes by means of questionnaries, letters and spoken suggestions, which, believe us are always given every consideration. The mentioned improvements are an answer to your requests. With every new timetable we try to adapt our-selves increasingly to your needs, as well as to improve the existing services.Each one of your suggestions is most wel-come, and every comment carefully read and very important to us. So please do not hesitate to write to us to the following address: Croatia Airlines, Inflight Magazine, Bani 75b, Buzin, 10010 Zagreb, E-mail: pr@croatiaairlines.hr

Please read the instructions below, impor-tant for your safety and comfort during the flight. We are happy that you have chosen Croatia Airlines for your flight and shall do our best to make it as pleasant as possible.

In accordance with health and environmental trends accepted throughout the world, Croatia Airlines introduced nonsmoking flights to all destinations in 1996. Thank you for joining our efforts in making the world a better, cleaner and healthier place to live in.

SEAT ASSIGNMENT

Your seat has been especially reserved for you. Should you leave your seat during the flight, please return to it before each landing.

BAGGAGE

All checked-in baggage must have the passen-ger’s name on the outside. Free identification cards are available at all OU ticket offices. We suggest that you place an identification tag inside your luggage as well. Carry all valuable and important items with you on the plane. Hand

luggage must be stowed under the passenger seat or in the overhead compartment - heavy pieces below and lighter above the seat - in a way not to disturb other passengers or the cabin crew.

SAFETY INSTRUCTIONS

Prior to take-off the cabin crew will give you instructions regarding your safety and how to act in case of an emergency. The instrucions vary according to the type of the aircraft, so please pay attention to the flight attendant’s predeparture announcements and safety demonstrations. During take-off and landing all passengers, including children, are required to fasten their seat belts. For your safety and comfort, we recommend that you keep the safety belt fastened during the whole flight.Some countries require that passengers complete a form on arrival. These forms are available at arrival terminals on entering the country. In order to facilitate this procedure, our cabin crew will be pleased to distribute such forms during the flight.

USE OF ELECTRONIC DEVICES

Current regulations prohibit the use of certain types of portable electronic devices (PFDs) on board commercial flights, due to potential interference with navigational and communica-tions equipment. On Croatia Airlines’ flights it is prohibited to use the following electronic devices: cellular telephones, commercial two-way transmitters (e. g., walkie-talkies); ama- teur radio transmitters; Citizen Band (CB) transmitters; 49-MHz transmitters, devices designed to radiate RF energy on a specific frequency; peripheral devices for computers or computer games.The following devices may be used when the aircraft is not in the taxiing, take-off, initial climb, approach or landing phases: personal computers (cable-connected peripheral devices such as printers, external disc drives, etc. are not permitted); personal computer games, VHS scanner receivers; compact disc players; cassette tape players; video recorders; calculators. The followingmay be operated at all times: hearing aids,implanted medical devices, electronic watches, electronic nerve stimulators.

RESTRICTED ITEMS

The law prohibits the transport of hazardous items in either checked-in or hand luggage. Such items are: explosives, flammable liquids and solids, radioactive materials and poisons, firearms, compressed gases, corrosive pro-ducts and oxidizers.

164 CROATIA AIRLINES

I travel the world for inspirationand with global access to over 970 loungesI can even be inspired before boarding.I’ve earned it.

Gracinha Viterbo, Senior Designer at Graça Viterbo Inter ior Design and Star Al l iance Gold Status

staral l iance.com

CROATIA AIRLINES 165

Zrakoplovi A320-200, A319-100, i

Dash8 - Q400 Ëine naπu flotu.

Our fleet consists of A320-200, A319-100and Dash8 - Q400 aircraft.

Specifikacije / Specifications

Raspon krila / Wing span (m/ft)

Duljina trupa / Fuselage length (m/ft)

NajveÊa dopuπtena teæina u polijetanju / Maximum take off weight (kg)

NajveÊa visina leta / Maximum cruising altitude (m/ft)

Povrπina krila / Wing area (m2/ft

2)

NajveÊa letna brzina / Maximum cruising speed (km/h)

Pogonska grupa / Power-plants

Broj zrakoplova u floti / Number of aircraft in fleet

A319-100

34,1 / 111

33,84 / 111

70 000

11 900 / 39 000

122,40 / 1318

834 (450 KTS)

motori / engines x 2 CFM 56

4

Dash8 - Q400

28,42 / 93,24

32,83 / 107,71

29 257

7620 / 25 000

63,08 / 679

667 (360 KTS)

motori / engines x 2 PW 150A

6

A320-200Jedan od najsuvremenijih putniËkih zrakoplovasrednjeg doleta u svijetu. Raspored poslovnog iekonomskog razreda razlikuje se od jednog dodrugog leta.

One of the most modern midrangeaircraft in the world. Flexible cabinlayout, the ratio of business to economyclass seating depends on actual booking.

A319-100Jedan od najsuvremenijih putniËkih zrakoplovasrednjeg doleta u svijetu. Raspored poslovnog iekonomskog razreda razlikuje se od jednog dodrugog leta.

One of the most modern midrange aircraft in theworld. Flexible cabin layout, the ratio of business toeconomy class seating depends on actual booking.

Dash 8-Q400Jedan od najsuvremenijih turbopropelerskihzrakoplova kratkog doleta kanadske proizvodnje.Raspored poslovnog i ekonomskog razredarazlikuje se od jednog do drugog leta.

One of the most modern turbo-prop short rangeaircraft, manufactured by Canadian manufacturer.Flexible cabin layout, the ratio of business toeconomy class seating depends on actual booking.

A320-200

34,1 / 111

37,6 / 123

73 500

11 920 / 39 100

122,40 / 1318

834 (450 KTS)

motori / engines x 2 CFM 56

3 (1 unajmljen / 1 leased)

FLOTA FLEET

166 CROATIA AIRLINES

CROATIA AIRLINES 167

bmi

Palermo

Catania

Bari

RijekaGenoa

Turin

Chisinau

St. Petersburg

Lyon Osijek

Tel Aviv

Atena

ZEMLJOVID ODREDI©TA A MAP OF DESTINATIONS

Partneri / Partners:

168 CROATIA AIRLINES

CROATIA AIRLINES 169

ZRA»NA LUKA ZAGREB ZAGREB AIRPORT

Prijevoz iz grada u zraËnu luku i pristojbaPrijevoz iz grada (s terminala) u zraËnu luku u veÊini je gradova u svijetu dobro organiziran. Cijena tog prijevoza nije uraËunana u cijenu leta.

Ground Transportation and Passenger Service and ChargesIn most cities of the world, transportation between the city terminal and airport is well organized. The fare for such transportation is not included in the amount paid for the air ticket.

U DUBROVNIKU autobusi za zraËnu luku polaze 90 minuta prije polijetanja zrakoplova, a u ZADRU 60 minuta prije leta. Autobusi iz zraËnih luka prema gradu polaze ubrzo nakon slijetanja zrakoplova.

In DUBROVNIK airport buses leave 90 minutes before the flight, and in ZADAR 60 minutes before the flight. The buses from the airports leave shortly after the aircraft’s landing.

Kombi RIJEKA (ispred Autotroleja na JelaËiÊevu trgu) - Zagreb (zraËna luka) - Polazak u 5 sati. Kombi Zagreb (zraËna luka) - Rijeka - Polazak u 15.30 sati. Cijena karte u jednom smjeru: 145 kuna.

Minibus service from RIJEKA (in front of the Autotrolej at JelaËiÊ Square) - Zagreb Airport - Departure at 5.00. Minibus service from Zagreb Airport - Rijeka - Departure at 15.30. Price of a one-way ticket: 145 Kunas.

TAKSI

3

1

4 4Gates 11-21Izlazi 11-21International Arrivals & Departures

Meunarodni dolasci i odlasci

Check-in “B”Registracija putnika “B”

Accessible topassengers only/Samo za putnike

Accessiblefor all/Dostupnoposjetiteljima

Check-in “A”Registracija putnika “A”

P

C

DD

PC

S

B

B

1

2

3

Business Class Lounge ZrinjevacProstorije poslovnog razreda Zrinjevac

V.I.P. Salon, Conference RoomSalon za konferencije

Diners Club Business Class LoungeProstorije poslovnog razreda Diners Cluba

4 Restaurant Faust VranËiÊ

CROATIA AIRLINESTicket Counter and Welcome ServiceProdaja karata i Sluæba za skrb o putnicima

C

N NewstandNovinarnica

Customs ControlCarinska kontrola

P

D Duty Free ShopBescarinska trgovina

Passport ControlKontrola putovnica

S ShopsProdavaonice

B Bank, Exchange OfficeBanka, mjenjaËnica

Restaurant, Self-Service RestaurantRestauracija, samoposluæivaonica

Coffee BarKavana

Bar

Post Office, Telephone, FaxHPT (poπta, telefon, faks)

BaggagePrtljaga

Flight InformationInformacije o letovima

Tourist InformationTuristiËke informacije

Rent-a-Car OfficesNajam automobila

Panoramic ViewPanoramski pogled

5

A

S

A

N

Parking Area/Parkiraliπte

Domestic Arrivals & DeparturesDomaÊi dolasci i odlasci

Gates 1-7Izlazi 1-7

BUS

5

2

5.00 7.00 9.00 12.00 14.00 16.00 18.00 20.00 5.30 7.30 10.00 12.30 14.30 16.30 18.30 6.00 8.00 11.00 13.00 15.00 17.00 19.00 6.30 8.30 11.30 13.30 15.30 17.30 19.30

AUTOBUSI do zraËnih luka / AIRPORT BUSES

ZAGREB - Polasci svakog dana s gradskog terminala (Autobusni kolo- dvor) prema ZraËnoj luci Zagreb (do 26. ožujka 2011.):Departures daily from the Town terminal (Main Bus Station, DræiÊeva St. bb) to the Airport Zagreb (until 26 March 2011):

ZAGREB - Polasci svakog dana iz ZraËne luke Zagreb prema gradskom terminalu (Autobusni kolodvor):Departures daily from the Airport to the Town Terminal (Main Bus Station, DræiÊeva St. bb):

7.00 9.00 11.30 13.00 14.30 16.00 17.30 19.00 8.00 9.30 12.00 13.30 15.00 16.30 18.00 19.30 8.30 10.30 12.30 14.00 15.30 17.00 18.30 20.00

Informacije o polascima autobusa / Bus departure information:Zagreb tel. (01) 6331-982, Split tel. (021) 203-119,Rijeka tel. (051) 330-207, 336-757, 098 472-539, Dubrovnik tel. (020) 773-377, 772-232, Zadar tel. (023) 250-094www.plesoprijevoz.hr

Cijena jednosmjerne karte u Zadru iznosi 25 kn, u Zagrebu 30 kn, a u Dubrovniku 35 kn. The price of a one-way ticket in Zadar is 25 Kunas, in Zagreb is 30 Kunas and in Dubrovnik 35 Kunas.Autobusi iz ZAGREBA polaze sat i pol prije domaÊih letova te dva sata prije meunarodnih letova.Bus departures in ZAGREB are an hour and a half prior for domestic flights and two hours prior for international flights.

170 CROATIA AIRLINES

ZA©TO VOLITE PUTOVATI?

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lade

n O

rliÊ

Tanj

a K

lariÊ

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Dragi putnici! I u ovome vas broju pozivamo da s nama podijelite svoje najljepπe tre-nutke ovjekovjeËene fotografijom. Uæivajte u bajkovitoj zimi, maπtajte i poπaljite nam svoje najljepπe fotografije uz jednu reËenicu u kojoj objaπnjavate zaπto volite putovati. Autora najoriginalnije fotografije nagradit Êemo dvjema povratnim kartama Croatia Airlinesa prema vlastitom izboru. Autoricu fotografije Tanju KlariÊ odabrali smo kao najbolju u ovom broju te je nagraujemo dvjema povratnim zrakoplovnim kartama Croatia Airlinesa. Promidæbenim poklon-paketom nagradit Êemo Toveya Jamesa i Denisa Peπuta.Pozivamo vas da nam nastavite slati svoje fotografije jer vas i u iduÊem broju oËekuju vrijedne nagrade.

Dear Passengers,

In this issue we invite you to share your most beautiful moments with us that you have captured in a photo. Enjoy the fairytales of winter, let your mind run wild and send us your most beautiful photo along with one sentence which explains why you love to travel. We will award the author of the most original photo with two return tickets on Croatia Airlines to the destination of your choice.Tanja KlariÊ is the author of the photo that has been chosen as the best in this issue. She will receive two return tickets on Croatia Airlines.Tovey James and Denis Peπut will receive our promotional gift baskets.We invite you to continue sending us your photographs because a valuable prize awaits you in our next issue.

Putujem da pomaknem granice ljepote, doæivljaja i svakodnevice.I travel to move the borders of beauty, to experience the little things.

BeËki æuti valcer kakvog nema u Dalmaciji. Zato volim putovati.The Viennese Waltz that you can’t find in Dalmatia. That is why I love to travel.

Volim putovati jer tada bolje razumijem ptice.I love to travel because I can then better understand the birds.

Volim putovati zbog pustolovine.I love to travel for the adventure.

CROATIA AIRLINES 171

WHY DO YOU LOVE TO TRAVEL?

Car

la L

lam

as P

en a

Den

is P

eπut

Jele

na K

napi

Ê

Tove

y Ja

mes

Kratki trenuci, razmijenjeni pogledi, zabaËene ulice i sitni detalji, to su one stvari koje su za mene prva asocijacija i omiljene uspomene s putovanja. Brief moments, exchanged glances, remote streets and tiny details; those are the things that are my first associations and favourite memories from travelling.

Igor

Kal

aba

Lina

Ern

jak

Putovati se mora! To travel is necessary!

Putovanja avionom uvijek se isplate, jer egzotiËna iskustva duπu bogate. Travelling by plane always pays off because exotic experiences enrich your soul.

Volim putovati jer... volim upijati nebo.I love to travel because ... I like to drink the sky.

Volim putovati jer mogu otkrivati mjesta kao što je ovo na slici.I love travelling because I can discover places like the one in this picture.

Volim putovat jer tada se doæive nezaboravna iskustva kao penjanje po ledenjaku Perito Moreno u Argentini.I love to travel because then I can experience unforgettable adventures like climbing the Perito Moreno Glacier in Argentina.

172 CROATIA AIRLINES

ADRESE ADDRESSES

Direkcija / Head officeBani 75b, 10 010 Buzin, Zagreb,Tel. (+385-1) 616-00-66Fax (+385-1) 616-01-53

E-mail adrese / E-mail addressesPresident’s Office/ugd@croatiaairlines.hrPublic Relations/pr@croatiaairlines.hrMarketing/advertising@croatiaairlines.hrCustomer Relations/customer.rel@croatiaairlines.hrSales/sales@croatiaairlines.hrCargo/cargo@croatiaairlines.hr

Kontakt centar / Contact CenterTel. (+385-1) 66 76 555 pon - pet/Mon - Fri 08:00 - 20:00sub, ned, praznik / Sat, Sun, Holiday 09:00 - 18:00 contact@croatiaairlines.hr

Sluæba za korisnike / Customer Relations Dept.Fax (+385-1) 616-01-52

Miles & More kontakt centar / Miles & More Service Team

Tel. +385 (0) 91 77 312

Brojevi telefonskog check in-a /Telephone check-in

Dubrovnik 020-77 31 71Pula 052-53 01 05Split 021-20 31 83Zagreb 01-456 21 05

PutniËka prodaja / Passengers salesFax (+385-1) 61-60-270BerislaviÊeva 1, 10 000 Zagreb

Informacije o prijevozu robe /Cargo information office

Tel. (+385-1) 61-64-573Fax (+385-1) 61-64-575

Obzor putovanja / Obzor Holidays LtdTel. (+385-1) 487 31 68, 487 31 69, 481 96 38

Poslovnice / Town and airport officesIdentifikacijski kod poslovnica u Hrvatskoj je/Identification code for offices in Croatia is: HR-B-01-080037012Amsterdam

WTC, Tower B, Level 4,Schiphol Boulevard 207,1118 BH Luchthaven SchipholTel. (+31-20) 316-42-80Fax (+31-20) 316-42-81amsto@croatiaairlines.hr

BeË / WienAirport OfficeObjekt / Building 645, Room 115-116,A-1300 Wien FlughafenTel. (+43-1) 7007 359-62, 361-63Fax (+43-1) 7007 359-63, 361-64vieap@croatiaairlines.hr

BruxellesBrussels AirportBox 31, 1930 ZaventemAirport office:Tel. (+32-2) 753-5133Airport counter:Tel. (+32-2) 753-5132Fax (+32-2) 753-5130bruap@croatiaairlines.hr

Dubrovnik ZraËna luka, Airport Dubrovnik20 117 »ilipi, DubrovnikTel. (+385-20) 773-232Fax (+385-20) 772-240dbvap@croatiaairlines.hr

FrankfurtSchillerstrasse 42-44,60 313 Frankfurt,Tel. (+49-69) 92-00-520Fax (+49-69) 92-00-52-51frato@croatiaairlines.hr

London2 The Lanchesters,162-164 Fulham Palace Road,London, W6 9ER,Tel. (+44-20) 8563-00-22, 0844 3710 310 (UK only)Fax (+44-20) 8563-2615Airport Heathrow,

Room 531, Terminal 1, Zone KHounslow, Middlesex, TW6 1JZTel. (+44-20) 8745-46-83Fax (+44-20) 8754-73-77lonto@croatiaairlines.hr

MünchenFlughafen Franz Josef-Strauss,Terminal 2, Verwaltungsgebäude Nord Büro B.4.1322, 85 356 München,Tel. (+49-89) 97-592-730/731Fax (+49-89) 97-592-736mucap@croatiaairlines.hr

Paris Roissypôle, Le Dôme 1, 3th floor Rue de la Haye BP 18913 Tremblay en France 95731 ROISSY CDG CEDEX

Tel. (+33-1) 48-16-4000Fax (+33-1) 48-16-5511parto@croatiaairlines.hr

PulaUlica Carrarina 8, 52100 Pula, Tel. (+385-52) 218-909 (+385-52) 218-943 Fax (+385-52) 211-998puyto@croatiaairlines.hr

Rijeka JelaËiÊev trg br. 5,51 000 Rijeka,Tel. (+385-51) 330-207, 336-757Fax (+385-51) 335-931rjkto@croatiaairlines.hr

Rim / RomaZraËna luka, Aeroporto Leonardo da VinciTorre Uffici 2, Room 51800054 FiumicinoTel. (+39-06) 5421-0021Fax (+39-06) 5923-792romto@croatiaairlines.hr

SarajevoZraËna luka Sarajevo, AirportKhurta Schorka 36,71 210 Sarajevo,Tel. (+387-33) 789-600Fax (+387-33) 789-602sjjto@croatiaairlines.hr

SkopljeUl. Dame Gruev 3, 1000 Skoplje,Tel. (+389-2) 3115-858, 3296-967Fax (+389-2) 3114-203ZraËna luka, AirportTel. (+389-2) 3148-390Fax (+389-2) 2520-921skpto@croatiaairlines.hr

SplitObala hrv. nar. preporoda 9,21 000 Split,Tel. (+385-21) 362-997, 362-055 (komercijala)Fax (+385-21) 362-567sputo@croatiaairlines.hrZraËna luka, Airport Tel. (+385-21) 203-305, 895-298Fax (+385-21) 203-125spuap@croatiaairlines.hr

ZadarPoljana Natka Nodila 7,23 000 Zadar,Tel. (+385-23) 250-101Fax (+385-23) 250-109ZraËna luka, Airport Tel. (+385-23) 343-045Fax (+385-23) 312-930zadto@croatiaairlines.hr

Zagreb Zrinjevac 17, 10 000 Zagreb,Tel. (+385-1) 48-19-633Fax (+385-1) 48-19-632ZraËna luka Zagreb, Zagreb Airport,10 150 Zagreb, PlesoTel. (+385-1) 61-64-581Fax (+385-1) 61-64-585posl.zrinjevac@croatiaairlines.hr

Zürich Limmatquai 138, 8001 Zürich, Tel. (+41-44) 261-08-40Fax (+41-44) 261-08-83zrhto@croatiaairlines.hr

Prodajni zastupnici / Sales agentsEuropa / EuropeAtena / Athens

Intermodal Air (GSA)25, Filellinon Str.105 57 Athens, GreeceTel. (+30-210) 32-17-679, 32-17-750Fax (+30-210) 32-49-152

BarcelonaGlobal Representacion Turistica (GRT)c/Valencia, 266, 4/1a08007 BarcelonaTel. (+34-934) 875-775Fax (+34-934) 880-121

Bratislava CK Blue Sky Travel (GSA)1. poschodie, Rajska 15, 811 08 Bratislava Tel. (+421) 5262 2375

IstanbulZENITH Services (GSA)Head Office:Ordu Caddesi, No. 206/1, Laleli34134 IstanbulTel. (+90-212) 513-2667Fax (+90-212) 512-4234Airport Office:Istanbul Ataturk AirportInternational Terminal Departure FloorYesilkoy 34149 IstanbulTel. (+90-212) 465-50-23, 465-40-92Fax (+90-212) 465-40-92

Podgorica OKI AIR INTERNATIONAL (GSA)Ivana VujoševiÊa 46, 81 000 PodgoricaMontenegro Tel. (+382-20) 201-201Tel./Fax (+382-20) 241-154

Prag / Praha / PragueCK Blue Sky Travel (GSA)Na Perštýne 1, 11 000 Praha 1 Tel. (+420-2) 2222-2235Fax (+420-2) 2222-0237

Priπtina / Prishtina Airtour (GSA)Head Office:St. Luan Haradinaj #2710031 Prishtina, Kosovo Tel. (+381-38) 233-833Fax (+381-38) 245-845Airport Office:Prishtina International Airport Tel. (+381-38) 594-111Fax (+381-38) 594-222

Bliski istok / IzraelBiaf Aviation Services Ltd (GSA)1 Ben Yehuda St., Migdalor blgd. 12th Floor, Tel Aviv 63802 Tel. (+972-3) 516-7181, 516-7140Fax (+972-3) 516-7174

SAD / USANetworld Inc. / Croatia America (GSA)

300 Lanidex Plaza, Parsippany NJ 07054, Tel. (+1-973) 884-3401Fax (+1-973) 428-3929Toll free 888-462-7628

Australija / AustraliaSky Air Services (GSA)

7/24 Albert Road, Sth. Melbourne Vic. 3205,Tel. (+61-3) 9699-9355Fax (+61-3) 9699-9388

Novi Zeland / New ZealandCroatia Times Limited Ltd. NZ (GSA)

PO Box 104-056; Lincoln North,Suite, 1/182 Lincoln Road, Henderson, Auckland, NZTel. (+64-9) 837-9897Fax (+64-9) 837-9898

JapanDaruma Corporation (GSA)

106 Liberty Hill 3, 3-30-5 Yakumo,Meguro-Ku Tokyo 152Tel. (+81-3) 5701-5651Fax (+81-3) 5701-5652