Thursday, August 13, 2015

Serbian Belt With Carnelians - Srpski pojas sa karneolima

 As a great fan of ethnic and tribal jewelry and costume, recently, I have sent an enquiry to become a member of a  Facebook group "Ethnic Jewelry Research Syndicate"  devoted to it. After a warm welcome, I have been encouraged, by the founder of the group, as he figured out that I am from Serbia,  to do some research about the belt with red carnelians, and see if the sample of the belt could be found in some of the Serbian museums

Kako sam veliki ljubitelj etničko-plemenskog nakita i kostima, nedavno sam poslala zahtev za članstvo u FB grupi "Ethnic Jewelry Research Syndicate", posvećenoj upravo takvoj tematici. Nakon tople dobrodošlice, bila sam ohrabrena, od strane osnivača grupe (nakon što je shvatio da sam iz Srbije), da preduzmem istraživanje o pojasu koji je poznat kao Pojas sa crvenim karneolima, i da vidim da li se primerak pomenutog pojasa može pronaći u nekom od muzeja u Srbiji. 

⋘ This type of belt is very popular among the lovers of ethnic/tribal jewelry, and is widely "known" and "recognized", on various internet forums, as a Balkan Belt With Red Carnelians.  There are various comments about the origin of the belt or the influences that left their mark on the overall esthetics, some of them being: Ottoman, Illyric or simply - Balkanic. No mention of authentic Serbian origins

 Ovaj tip pojasa je veoma popularan medju ljubiteljima i na raznim internet forumima, poznat je pod nazivom Balkanski pojas sa crvenim karneolima. Na njima se mogu naći različiti komentari o poreklu pojasa, kao i uticajima koji su ostavili traga na njegovoj sveukupnoj estetici, pa se tako pominju uticaji poput: otomanskog, ilirskog ili naprosto - balkanskog. Ni pomena o autentičnom srpskom poreklu pojasa
⋘ There are also some photo "proofs" that the belt was worn by Albanian population, just as well as by "Herzegovinians", "Bosnians", "Montenegrians", Dalmatians, etc., in XIX century. I have put quotation marks because all of the mentioned "ethnicities", back in XIX century, were just a geographical determinants for the Serbian population who lived in Bosnia, Herzegovina, Montenegro, Dalmatia/Croatia, etc. For centuries. I have nothing against newly composed nationalities, but I feel awkward about the appropriation of national heritage.

 U opticaju su takođe i foto "dokazi" da je pojas bio nošen, tokom XIX veka, od strane Albanskog stanovništva, kao i da su ga, tokom istog perioda nosili i "Bosanci", "Hercegovci", "Crnogorci", Dalmatinci, itd. Sve pomenute "etničke" odrednice sam stavila pod znake navoda, zbog toga što su to sve novokomponovane etničke tvorevine, nastale nakon ratova i raspada Jugoslavije. Pre toga su to naprosto bile geografske odrednice srpsko stanovništvo koje je naseljavalo Bosnu, Hercegovinu, Crnu Goru, Dalmaciju, itd. Nemam ništa protiv nokomponovanih nacionalnosti, ali se pomalo čudno osećam u vezi prisvajanja nacionalnog nasleđa
⋘ That's why I've decided to ask for help and make sure that help is provided by professionals - I have contacted researchers from Ethnographic museum in Belgrade and they have been more than helpful. Prior to communication with them, I have visited the museum and found the belt in a regular/permanent museum exhibition. I took a lot of shoots, from various angles. It is little to say that it is a magnificent piece of art. And here's a story about it, directly from the Executive Director of Ethnographic Museum in BelgradeMrs Dr Mirjana Menković. I would use this opportunity to thank her, once again,  for her selfless assistance.

 Zato sam odlučila da potražim pomoć i da se za istu obratim profesionalcima - kontaktirala sam istraživače iz Etnografskog muzeja u Beogradu i oni su bili više nego voljni da pomognu. Pre komunikacije sa njima, posetila sam muzej, pronašla pojas u regularnoj/stalnoj muzejskoj postavci i islikala ga iz različitih uglova. Malo je reći da se radi o veličanstvenom umetničkom delu. Evo priče o njemu, direktno od Direktorke Etnografskog Muzeja u Beogradu, gospođe Mr Mirjane Menković, kojoj se ovom prilikom još jednom zahvaljujem na nesebičnoj pomoći. 
⋘ According to Mrs Menković, back in 2009, she have had a very similar inquiry about the belt, from her colleague from Ethnographic Museum, Vienna. If I understood correctly, he has had some issues about the origins of the belt and has sent her the following photos which are in favor of Albanian origins, or at least that it has been worn by Albanian population, too. 

⋙ Prema Gospođi Menković, u Avgustu 2009-te godine, i sama je dobila sličan upit od kolege iz Etnografskog muzeja u Beču. Ukoliko sam dobro razumela, dotični kolega se takođe zanimao za poreklo pojasa, pri čemu joj je poslao sledeće fotografije, koje idu u prilog dokaza da je pojas albanskog porekla, ili da su ga bar nosili i Albanci. 

⋘  With the approval of Mrs Menković, I will here just forward the document with her own reply to her colleague. Since Blogger doesn't allow to attach Word documents, I will copy/paste the text from her reply:
Belgrade, August 13th 2009.

Dear M******

And now the answers to your questions about this really special specimen of women’s belt worn by Serbian community from Herzegovina, Montenegro, and the border area with Albania, Vraka: The inhabitants of Vrake, considering the period when the belts were worn (XIX and early XX century), were Serbs. It was a large enclave which was preserved to the recent time in traces, as the Islamization process was always present.

The belt you are interested in is a representative specimen of leather belt, known as BELT WITH CARNELIANS. Its folk name is OKOVANICI (something shackled with iron or some other metal).

The leather belts as parts of dress and jewelry were without doubt known since the ancient past, as the main material was animal skin, which was provided by immediate everyday surroundings. According to the study results these belts were worn in a very large area, from the Balkan Peninsula to the Eastern and Northern Europe, by pre-Slavic as well as Slavic peoples, who both came upon them and brought them from their previous lands.

In the Central Balkan area (Bosnia and Herzegovina, northern part of Montenegro, southwestern Serbia with Kosovo and Metohija), the leather belts, worn both by men and women, appear as common parts of dress since the Iron Age, and their use was continued into the later periods. The records are scarce, and the museum collections include the later specimens, from XVII and XVIII century, decorated with numerous accessories made of bronze, brass, with gold film, with stylized dragons or rosettes, or with inserted semi-precious stones etc. This tradition was continued in the XIX and early XX century, as the leather belts were a very important timely part of dress and jewelry.

The belts with carneols/okovanici are very monumental heavy leather belts, richly decorated with large shackled carneols, so they were known in public as okovanici, but also as hakikovci or akikovci, after the Arabian name for the semi-precious jewel carneol used to decorate them. They were worn by Serbian brides and wives in XIX and early XX century within the borders of ancient and present-day Herzegovina (the southern parts), in Montenegro and by the Serbian community at Vraka. The red stones, as well as the red color in general, were considered a sign of happiness and health, and the red stones in particular were used to defend from the evil powers, from which it was particularly important to guard the young woman and her offspring. Belts of this type with large agate stones and carneols, made in the XVII century, were probably connected with the expensive belts with precious stones, which were distributed in the area of Montenegro in Middle Ages and named like the Montenegrin belt kolan. It is assumed that they were made by the master belt-makers from Kotor and Skadar who supplied the outback of Balkans.

The tradition of making these belts was continued in the later centuries, so for example the treasury of Monastery Studenica (legacy by the founder of Serbian Medieval dynasty Simeon Nemanja from the early XII century) stores a leather belt with jewels from the XVIII century. 

There are also the artistic representations of belts decorated by carneols from the same time, supporting the hypothesis of their use in these areas. During his stay in Montenegro around 1810, Napoleon’s Colonel, De Somieres noticed this type of belt and included a drawing in his book on Montenegro (V. De Somieres, Voyage historique et politique au Montenegro, Paris 1820.). The drawings made by the researchers in late XIX century in Eastern Herzegovina also show a carneol belt in the bridal dress of young Serbian women.

According to some Serbian researchers, the workshops for making these belts were situated in Podgorica, Skadar and Gusinje in the XIX century. When the English traveler V. Denton had visited the settlements in vicinity of Skadar Lake in 1865, he noticed small buildings where men were making belts with large red carneols.

In nature carneol appears in lovely tones of red, but also yellow, giving a special colorist effect to these belts.

The greatest numbers of preserved specimens are stored in Zemaljski Museum in Sarajevo, Ethnographic Museum in Belgrade and the Ethnographic Museum in Split. This type of belt is remarkable for its size and weight, as it was made out of thick cattle skin in several layers, so they were almost as thick as a finger, up to 150 cm long and 11 cm wide. There could be up to 40 carneols and each of them was embedded in a special brass bed. At the rear part of the belt the whole surface bore applications of larger, rectangular, mostly brass plates, sometimes as many as 15. The belt was closed at one side with a large massive circular 
hook-bearing buckle. Carneols were sometimes matched with multicolored glass.

Source: Др Братислава Владић-Крстић, Сеоски накит у Босни и  Херцеговини у XIX и првој половини XX века, Књига 2, Етнографски музеј у Београду, Београд, 1995, 555-558.

(Dr Braтislava Vladić-Krstić, Village jewelry in Bosnia and Herzegovina in XIX and first half of XX century, Tome 2, Ethnographic Museum in Belgrade, Belgrade, 1995, 555-558.)

I feel free to drow your attention to another interesting detail about the photographs you sent me. They are signed by P. Marubbi. As one of my areas of expertise is town dress at Kosovo and Metohija, Prizren is certainly the most important center. I have studied the photo-documentation of Ethnographic Museum and found numerous photographs signed by Marubbi. It turned out that Pietro Marubbi, an Italian, was one of the Garibaldi’s co-fighters and he escaped to Skadar, where in 1858 he open a photographic shop. Around 1860 first photographs were made in all the Albania, where he was the author. That photographic shop worked until the 1980s when it was taken over by state, and today it is one of the largest and best photo-documentation archives in the southeastern Europe. The Serbian researchers did not notice the Marubbi collection yet. I believe that it would be particularly interesting for studying the culture of dress in the South Slavic Balkan area. Serbs were also present in this town since XVI-XVII centuries. So, just for your information, once you have an opportunity to visit Skadar, you should know that it hosts one of the largest and most important photo-documentations in Europe. I am looking for a way to visit Skadar and check all these data.

I hope that this will be enough to at least clear the basic dilemmas about this remarkable piece of jewelry from XIX or maybe even some earlier century. I send you my cordial greetings and I hope that we will meet in Belgrade very soon.

Send my greetings to Dr S******

Best wishes,

Mirjana Menković " 
Note: Mrs Menkovic provided this translation of her correspondence in English, too. 

⋙  Uz dozvolu G-đe Menković, ja ću ovde samo proslediti dokument sa njenim vlastitim odgovorom kolegi iz Beča. Kako Blogger ne omogućava da se prikače dokumenti u Word-u, ja ću kopirati tekst iz njenog odgovora:

Beograd, 13. 08 2009.


A sada, odgovor na tvoja pitanja vezana za ovaj izuzetan primerak ženskog pojasa srpskog stanovništva iz oblasti Hercegovine, Crne Gore i graničnih delova sa Albanijom, Vrake. Stanovnici Vrake, vezano za period za koji je vezano i nošenje pojasa, a to je XIX i početak XX veka, su Srbi, velika enklava koja je do današnjih dana sačuvana u tragovima jer je proces islamizacije uvek bio prisutan.

Pojas koji te interesuje je reprezentativni primerak kožnog pojasa, poznatog kao POJAS SA KARNEOLIMA, narodni naziv, OKOVANICI (nešto što je okovano metalom, gvožđem ili slično).

Kožni pojasevi kao delovi odeće i nakita nesumnjivo su bili poznati još u dalekoj prošlosti, s obzirom na to da je kožu, osnovni materijal za izradu, pružala i neposredna okolina. Prema dosadašnjim rezultatima istraživanja nošeni su na veoma širokom prostoru, od Balkanskog poluostrva do istočne i severne Evrope praslovenski, ali i slovenski narodi, koji su ih i doneli i zatekli.

Na centralnobalkanskom području (Bosna i Hercegovina, severni deo Crne Gore, jugozapadna Srbija sa Kosovom i Metohijom) kožni pojasevi, muški i ženski, pominju se kao redovni delovi odeće još u gvozdeno doba, a njhova primena nastavljena je tokom kasnijih perioda. O njima nema brojnih nalaza, a po muzejskim zbirkama čuvaju se kasniji primerci, iz XVII i XVIII veka, koji su ukrašeni mnogim dodacima od bronze, mesinga, pozlate, sa stilizovanim zmajevima, rozetama, ali sa puludragim kamenim ulošcima i slično. Tradicija će se nastaviti i u XIX i početkom XX veka, jer su i kožni popjasevi bili veoma značajan i aktuelan deo odeće i nakita.

Pojas sa karneolima  -  okovanici, su izrazito monumentalni i teški kožni pojasevi, bogato ukrašeni velikim okovanim karneolima, zbog čega su u narodu poznati kao okovanici, ali i hakikovci, akikovci, prema arapskoj nazivu za poludragi karneol kojim su ukrašavani. Nosile su ih srpske neveste i žene tokom XIX i početkom XX veka u granicama stare i današnje Hercegovine, i to južne, Crne Gore i srpsko stanovništvo u Vraki. Crveni kamen, kao uopšte crvena boja, znak je sreće i zdravlja, a posbeno crveni kamen karneol služi za odbranu od zlih moći, od čega, posebno, treba čuvati mladu ženu i njen porod. Pojasevi ovog tipa sa velikim ahatima i karneolima, koji su izrađivani i u XVII veku, verovatno se oslanjaju na skupocene pojaseve sa dragim kamenjem iz srednjeg veka koji su bili rasprostranjeni na području Crne Gore, zbog čega su i dobili naziv crnogorskog pojasa kolana. Predpostavlja se da su ih izrađivali majstori iz Kotora i Skadra i koji su snabdevali balkansko zaleđe. 

Tradicija izrade ovih pojaseva nastavljena je i tokom kasnijih vekova jer se, na primer, u riznici manastira Studenica (zadužbini osnivača srpske srednjovekovne dinastije Simeona Nemanje iz početka XII veka) čuva kožni pojas s draguljima iz XVIII veka.

Iz istog vremena potiču i likovne predstave pojaseva ukrašenih karneolima, što potvrđuje njihovu primenu u pomenutim oblastima. Prilikom boravka u Crnoj Gori, oko 1810. godine, Napoleonov pukovnik, Viala de Somjer (izvinjavam se zbog srpske transkripcije, ne govorim francuski) uočio je takav pojas i dao je crtež u svojoj knjizi o Crnoj Gori (V. De Somieres, Voyage historique et politique au Montenegro, Paris 1820.). I na crtežima koje su istraživači načili krajem XIX veka u istočnoj Hercegovini, u nevestinskoj nošnji srpkinja ističe se pojas sa karneolima. 

Prema nekim srpskim istraživačima, radionice za izrdau ovih pojaseva bile su u XIX veku u Podgorici, Skadru i Gusinju. Kada je englski putopisac V. Denton 1865. godine posetio naselja u okolini Skadarskog jezera, uočio je kućice u kojima su muškrci izrađivali pojaseve sa krupnim crvenim karneolima. 

Karneol se inače, u prirodi javlja u lepim tonovima crvene, ali i žute boje, što ovim pojasevima daje poseban koloristički efekat. 

Najbrojniji sačuvani primerci nalaze se u Etnološkom odeljenju u Zemaljskom muzeju u Sarajevu, u Etnografskom muzeju u Beogradu i u Etnografskom muzeju u Splitu. Ovaj tip pojasa, više od svih, izdvaja se veličinom i težinom, a to je upravo zato što su izrađivani od debele goveđe kože iz više slojeva, pa su bili debeli gotovo kao prst, dugi do 150, a široki do 11 cm.Karneola je moglo biti i do 40 i svaki je bio uložen u posebno mesingano ležište. Na zadnjem delu pojasa, takođe celom površinom, u nizu su aplicirane veće četvorougaone, najčešće mesingane pločice, kojih je moglo biti i do 15. Zatvaran je sa jedne strane velikom masivnom kružnom kopčom sa kukom. Karneoli su mogli biti komponovani i sa raznobojnim staklom.

Izvor: Др Братислава Владић-Крстић, Сеоски накит у Босни и  Херцеговини у XIX и првој половини XX века, Књига 2, Етнографски музеј у Београду, Београд, 1995, 555-558.

Slobodna sam da ti ukažem na još jedan interesantan detalj vezano za fotografije koje si poslao. One su potpisane sa P. Marubbi. Kako sam se bavila i bavim odevanjem u gradovima na Kosovu i Metohiji, Prizren je svakakao najznačajniji. Obradila sam fototeku Etnografskog muzeja i pronašla veći broj fotografija sa potpisom Marubbi. Ispostavilo se da se radi o Pietro Marubbi, italijanu koji, kao Garobaldijev saborac, beži u Skadar gde 1858. godine otvara fotografsku radnju. Oko 1860. godine napravljene su i prve fotografije u Albaniji uopšte čiji je on autor. Do kraja osamdesetih godina prošlog veka taj Atelje je radio kada ga je preuzela država da bi dans to bila jedna od najvećih i najboljih fototeka u jugoistočnoj Evropi. Marubbi kolekciju srpski istraživči do sada nisu uočili, moja procena je, da bi bila izuzetno interesantna za izučavanje kulture odevanja na južnoslovenskom balkanskom prostoru. 

Mirjana Menković

⋘ Now, a very strange thing happened the same day I visited Ethnographic Museum, Belgrade. After I took the shoots of the belt, I went to the Museum Bookstore to see if there is any referral literature about it. It seemed that I won't be lucky and before I was about to leave the store, I have spotted a booklet/catalogue, it was actually the title that captured my attention: "Bridal jewelry with Serbs in XIX and first half of XX century" by Ms Jelena Tešić, who was the author of the exhibition devoted to Serbian bridal jewelry. The booklet was printed to be distributed among the visitors of the exhibition and the one I spotted was, obviously, a leftover. I have made a brief preview and realized that the book is a jewel, a must have, for people like myself. It's packed with good quality photos, printed on a luxury paper, with a lot of textual information, based on dedicated research. And it costs only 400 RSD (less than $ 4.00)! 

⋙ A sad, veoma čudna stvar se dogodila istog dana kada sam posetila Etnografski muzej u Beogradu. Nakon što sam islikala pojas, svratila sam u muzejsku knjižaru da vidim da nema neke literature na temu pojasa. Taman kad sam pomislila da nemam sreće i krenula da napustim knjižaru, primetila sam jednu knjižicu/katalog, zapravo naslov je bio taj koji mi je bio privukao pažnju: "Nevestinski nakit kod Srba u XIX i prvoj polovini XX veka" autora Jelene Tešić, koja je istovremeno bila i autor izložbe posvećene srpskom svadbenom nakitu. Katalog je štampan za potrebe izložbe, a ja sam očigledno naletela na jedan od preostalih komada. Nakon što sam prelistala katalog shvatila sam da se radi o pravoj poslastici za ljude poput mene, o nečemu što se MORA imati:). Katalog je prepun fotografija nakita dobrog kvaliteta, štampanih na luksuznom papiru, sa obiljem tekstualnih informacija baziranih na predanom istraživačkom radu. A košta svega 400 RSD! 
⋘ All happy, with the booklet tucked under my armpit, I decided to ask for additional assistance - and this is interesting: whenever in my life I was genuinely and wholeheartedly interested in something I have had almost instant fulfillment of my wishes:). And here's what have happened - I dared to go to the employee entrance and ask to speak to someone who can help (having in my mind Ms Jelena Tešić...). I told the lady on a receptionist desk why and what I came for, and asked if she can make me an appointment with some of employees. As she was just about to help and was making a call, a woman stepped out from the elevator, and it happened it was Ms Jelena Tešić, herself:)! She asked me if I was the one who have sent an email enquiry about the belt and that she was almost about to answer me, but decided she would leave it for tommorow, since she had had to leave her office.

⋙ Sva srećna, sa knjižicom stegnutom pod miškom, odlučila sam da potražim dodatnu pomoć - i evo šta mi je interesantno: kad god sam u svom životu bila iskreno i svesrdno zainteresovana za nešto, skoro istog trenutka su mi se ispunjavale želje:). A evo šta se desilo: usudila sam se da uđem na ulaz za zaposlene i zamolim da razgovaram sa nekim ko bio mogao da pomogne (imajući u vidu G-dju Jelenu Tešić). Obratila sam se za pomoć ženi za prijemnicom, objasnila joj zašto sam došla i taman što je krenula da zove nekog od osoblja, iz lifta je izašla žena - i to Jelena Tešić, glavom i bez brade, naravno:)! Pitala me je da li sam ja poslala email sa upitom u vezi pojasa i rekla da taman što se spremala da mi odgovori,ali je morala da napusti kancelariju, pa je mislila da to ostavi za sutradan. 
⋘ However, she took her time to show me something even more interesting. She took a booklet and turned the page I missed to spot - it was a page with the photo of the belt with red carnelians, a version that was worn among the Serbs in Bosnia and Herzegovina. On the other side of the page, there are some valuable textual information about the belt, which are pretty much the same with those provided by Mrs Menković, so I won't repeat them here. Instead, I'll attach the photos of the booklet, which I recommend to all jewelry designers who want to be inspired with Serbian Bridal Jewelry. Ms Tešić encouraged me to visit Museum Library and see if I can find more information on belt, which I will certainly do. I wish to use this opportunity to say "Thanks a lot!" to Ms Jelena Tešić, too.

⋙ Pa ipak, odvojila je malo vremena da mi pokaže nešto još interesantnije. Uzela je katalog i okrenula stranu koju sam propustila da zapazim - a to je bila strana sa fotografijom pojasa sa crvenim karneolima, verzija koja je nošena među srpskim stanovštvom Bosne i Hercegovine. Na sledećoj strani su štampane vredne informacije o pojasu koje se poklapaju sa onim koje je navela G-đa Menković, pa ih ovom prilikom neću ponavljati. Umesto toga priložiću fotografije knjižice, koju preporučujem svim dizajnerima nakita koji žele da se inspirišu srpskim svadbenim nakitom. G-đa Tešić me je ohrabrila i da posetim muzejsku biblioteku i sama potražim dodtane informacije o pojasu, što ću svakako i da učinim. Ovom prilikom bih još samo uputila i jedno veliko HVALA i G-đi Tešić! 
A museum booklet/catalogue "Bridal jewelry with Serbs in XIX and first half of XIX Centutry" - by Ms Jelena Tešić
The photo of belt with red carnelians - a version worn by Serbian population in Bosnia and Herzegovina
Enlarged photo 
⋘ Did I mention that the sample of the belt available in Ethnographic Museum in Belgrade is from Lijeva Rijeka, Montenegro

⋙ Da li sam pomenula da je primerak pojasa dostupan u Etnografskom muzeju u Beogradu iz Lijeve Rijeke, u Crnoj Gori?
⋘ As for the founder of the FB group "Ethnic Jewelry Research Syndicate", Mr Waqar, who made the inquiry about the belt, I want to thank him for letting me know about this magnificent piece of art. And for the encouragement to ask for more info on it.

⋙ Što se tiče osnivača pomenute FB grupe "Ethnic Jewelry Research Syndicate", G-dina Waqar-a, koji je inicirao da se raspitam o pojasu, želim da mu se zahvalim što mi je skrenuo pažnju na ovo zadivljujuće umetničko delo i što me je  ohrabrio da se raspitam za više informacija o njemu. 
 ⋘ Finally, based on the following info:

" The tradition of making these belts was continued in the later centuries, so for example the treasury of Monastery Studenica (legacy by the founder of Serbian Medieval dynasty Simeon Nemanja from the early XII century) stores a leather belt with jewels from the XVIII century. " - provided by Mrs Dr Menković, I have made a simple Google search and have found this link 

If you scroll down, almost all the way to the bottom, you will see the small icon of the leather belt with jewels. When you click the icon you will get somewhat enlarged photo of not so good quality. However, the photo is good enough to see that it is almost the same type of belt as the one with red carnelians, only the embellishment is more  expensive, since it has been worn by the members of Serbian nobility.  These type of belts obviously served as a source of inspiration for the folks who embellished their belts with semi-precious stones that were more affordable, like carnelians.

⋙ Konačno, na bazi sledećih informacija:

"Tradicija izrade ovih pojaseva nastavljena je i tokom kasnijih vekova jer se, na primer, u riznici manastira Studenica (zadužbini osnivača srpske srednjovekovne dinastije Simeona Nemanje iz početka XII veka) čuva kožni pojas s draguljima iz XVIII veka." - koje je obezbedila G-đa Menković, jednostavnom pretragom na Google-u, došla sam do sledećeg linka: 

Ukoliko skrolujete na dole, skoro skroz na dnu, videćete ikonicu sa kožnim pojasem sa draguljima. Kada kliknete na nju dobićete nešto uvećanu fotografiju, ne baš najboljeg kvaliteta. Međutim, fotografija je ipak dovoljno dobra da se na osnovu nje zaključi da se radi o skoro istovetnom tipu pojasa, poput onog sa crvenim karneolima, jedino što je dekoracija skupocenija, pošto su takve pojaseve nosili članovi srpskog plemstva. Oni su očigledno poslužili običnom narodu kao izvor inspiracije za pojaseve koji su ukrašavani poludragim kamenjem poput karneola, koje im je bilo pristupačnije. 
⋘ Once again, I would use this opportunity to say "Thanks a lot!" to Mrs Dr Mirjana Menković, the Executive Director of Ethnographic Museum in Belgrade, and to Ms Jelena Tešić, the Museum Advisor, for their selfless assistance regarding a belt. Another " Thank You!" goes to Mr Waqar, the founder of the FB group "Ethnic Jewelry Research Syndicate" devoted to ethnic and tribal jewelry, for introducing me with this belt and initiating to find more info on it. 

⋙ Želela bih još jednom da iskoristim priliku da se veoma zahvalim na nesebičnoj pomoći u pogledu pojasa, direktorki Etnografskog Muzeja, G-đi Dr Mirjani Menković, kao i G-đi Jeleni Tešić, muzejskom savetniku.  Takođe želim da se zahvalim i G-dinu Waqar-u, osnivaču FB grupe "Ethnic Jewelry Research Syndicate" posvećene etničkom i plemenskom nakitu, koji mi je skrenuo pažnju na ovaj pojas i inicirao da potražim više informacija o njemu.
⋘ My next post will be about other beautiful pieces of Serbian bridal and festive jewelry and costume that are available to see and study in Ethnographic Museum in Belgrade.

⋙ Moj sledeći post biće posvećen drugim predivnim primercima srpske nevestinske i svečane odeće i nakita, koji su izloženi na stalnoj postavci Etnografskoj muzeja u Beogradu, i koje vredi videti i prostudirati. 


  1. Thanks for your post, very interesting information.

    1. Thanks a lot :)! Happy to hear that you liked the post. I have stumbled across your Pinterest board, it's great :)!