IDEJNA ZASNOVA STALNE POSTAVITVE
SEM - GALERIJSKI DEL
Andrej Dular
KRITERIJA
Osnovna kriterija za predstavitev v galerijskem delu muzeja sta:
- predmeti morajo biti postavljeni in prikazani tako, da bodo zadostili potrebam
raziskovalcev pri preučevanju v muzeju shranjene dediščine
- predmeti in predstavitve dejavnosti morajo biti prikazani tako, da bodo dajali
splošne in tudi posebne informacije o kulturi tudi drugim muzejskim obiskovalcem
Prvi kriterij zahteva:
- predstavitev predmetov oziroma zbirk po običajnih klasifikacijah: krajevni,
časovni, tipološki, uporabno-namembni, oblikovno-estetski; razen tega še: opis velikosti
predmeta (mere), opis materialov (vrste, iz katerih je predmet narejen) in opis razširjenosti
predmeta (prostor njegove uporabe - kulturni krog in morebitne paralele).
Drugi kriterij zahteva:
- predstavitev predmetov in z njimi povezane gospodarske, družbene in duhovne
dejavnosti (zlasti kmečkega, to je večinskega prebivalstva do 2. sv. vojne) po načelih
didaktičnosti za različne stopnje vzgojno-izobraževalnega procesa v vzgojno-varstvenih
in izobraževaliuh ustanovah (za predšolsko, osnovnošolsko in srednješolsko stopnjo
izobraževanja) in za andragoške potrebe (potrebe izobraževanja starejših ljudi - "tre^a
univerza").
GRADIVO
I) ZNAČAJ GRADIVA
A) - zbirke in gradivo, pridobljeno na slovenskem etničnem ozemlju - (premična
dediščina)
B) - zbirke in gradivo "slovenskega značaja", pridobljeno izven slovenskega
etničnega ozemlja, ter neevropske zbirke - (premična dediščina)
C) - gradivo o posameznih značilnostih in dejavnostih, pomembnih za kulturo
Slovencev, ki v muzeju rüso dovolj opredmetene oziroma so s predmeti zastopane le
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Andrej Dular
delno; poudarek tudi na regionalni tipiki (alpski, panonski in mediteranski) slovenskega
etničnega prostora
D) - gradivo nepremične dediščine
II) VRSTA GRADIVA
A) predmetno gradivo iz muzejskih depojev
B) arhivsko gradivo (pisni in tiskani viri) iz dokiunentacije SEM in od drugod
C) drugo dokumentarno gradivo iz dokumentacije SEM in od drugod:
1) fotografsko gradivo
2) risbe in načrti, zemljevidi, grafikoni
3) avdio in vizualno gradivo
D) originalni eksponati nepremične dediščine, replike in makete nepremične
dediščine
IDEJNA ZASNOVA
Galerijski del Slovenskega etnografskega muzeja bi obsegal:
A) Prikaz regionalnih značilnosti slovenskega etničnega ozemlja s pomočjo
zemljevida in vrisanih območij alpskega, panonskega in mediteranskega kulturnega
prostora. Primerna bi bila predstavitev arhitekturnih značilnosti in/ali značilnosti noše,
ki sta tudi najbolj raziskani in bi dali zadostno začetno informacijo o značaju kulture
skozi čas.
Na ti dve predstavitvi bi lahko navezali tudi druge elemente sociahie in duhovne
kulture (na primer jezikovne posebnosti, šege). Cilj bi bil prikazati osnovne in regionalne
značilnosti celotnega slovenskega etničnega prostora in njegovo vpetost v širši evropski
okvir (parelele med posameznimi kultuminu prvinami oziroma značilnostmi).
Uvodna predstavitev naj ne bi vsebovala predmetov, bila bi kartografska, s
fotografijami, risbami, video/avdio gradivom in s tekstovrüm sklopom o značaju
slovenske kulture.
B) Razstavo posameznih muzejskih zbirk (predmetov): zbirke bi razvrstili po
klasični muzejski klasifikaciji na zbirke materialne, socialne in duhovne kulture (splošna
delitev), in sicer tako, da bi bila v tem sklopu razstavljena tvarim s slovenskega etničnega
ozemlja, na primer poljedelsko orodje - orna orodja in priprave - plugi, oselniki; prometna
sredstva - smuči; notranja oprema - svetua, skrinje, lončenina, pletarski izdelki; noša -
pokrivala, obuvala, nakit; votivi, panjske končnice, sUke na steklo itn.
Ta predstavitev bi zahtevala predstavitev celotnih zbirk ali le predstavitev izbranih
predmetov. Razstavljeno gradivo zbirk bi moralo biti razvrščeno po kolikor mogoče
enotnih kriterijih, npr. po materialih, oblikah predmetov, po njihovih namembnostih, po
vsebinsko pričevalnih, motivnih, stilnih značilnostih, po časovnih, socialruh, regionalnih
določenostih itd. Predstavitev bi bila opremljena s kratkim historiatom zbirke (osnovna
informacija o prihodu zbirke v muzej), tekstovnim delom, kartami razprostranjenosti.
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Idejna zasnova stalne postavitve SEM - galerijski del
primerjalnimi fotografijami in risbami, povzetimi iz literature (vsi ti prikazi bi morali
biti neodvisni od elektronske razstavne tehnike, ki se prerada pokvari). Tem informacijam
bi bil lahko dodan pano z zaslonom oziroma video posnetki, s pomočjo katerega bi
spoznavali predmete in zbirke tudi r\a bolj igriv in zanimiv način. Poudarek bi bil na
pedagoških potrebah za šole.
C) Razstavo nepremične dediščine, ki bi obsegala predstavitve tipičnih
stanovanjskih in gospodarskih objektov (v regionalnih posebnostih in značilnostih), tako
začasnih (npr. gozdarskih, pastirskih, solinarskih, vinogradniških itd.) bivališč kot stalno
naseljenih (tipi hiš); gospodarskih objektov (kozolcev, skednjev, hlevov, kašč, čebelnjakov,
sadnih sušilnic; mlinov in žag...).
Ta predstavitev bi zahtevala makete, ki bi prikazovale splošno tipiko nepremične
dediščine, nato pa tudi originalne stavbne elemente in detajle (portale, oker\ske mreže,
stenske poslikave, okna, vrata, kljuke in druge drobne predmete, originalne detajle
stavbnih spojev (vogale hiš, gospodarskih poslopij), vrste kritin in dimnikov, tipologijo
prezračevalnih odprtin pri gospodarskih poslopjih itd. Sem bi sodila nadalje predstavitev
nepremične notranje hišne opreme, na primer peči, kurišč, tudi odprtin za odvajanje
dima in za svetlobo (prikazano v razmerjih do drugih stavbnih elementov). Za
predstavitev bi bile potrebne tudi fotografije in barvni posnetki stavbarstva v naravnem
okolju ter videoprojekcije, ki bi kazale načine gradnje tovrstnih objektov.
Stavbno nepremično dediščino bi bilo potiebno umestiti tudi v širši prostor, zato
naj bi predstavitvam posameznih stavbnih tipov sledile stilizirane oziroma poenostavljene
makete vasi in zaselkov v obliki lesenih raznobarvnih (glede na gradbeno tvarino ali
socialni status lastnikov objektov) kubusov v primemo velikem merilu (npr. gručaste
vasi, raztresena naselja, obcestiie vasi, samotne kmetije), predstavljena pa bi morala biti
tudi razporeditev hiš v naselju (socialno in poklicno, npr. bajtarji na obrobju, obrtniki v
sredini vasi; primer Krope in Kamne Gorice - kovačnice in delavske eno in večstanovanjske
hiše, npr. Idrija, Jesenice, Trbovlje, Galjevica, Zelena jama) in gospodarskih poslopij v
naselju in izven naselja (primer vasi Bibije pri Kranju). Maketam naselij bi morale biti
pridane enakovrstne informacije kakor pri stavbni dediščini.
D) Abecedarij gospodarskih in drugih dejavnosti značilnih, tipičnih, tudi posebnih
za slovenski etnični prostor.
Abecedarij galerijskega dela stalne postavitve Slovenskega ehiografskega muzeja
bi predstavljal vrsto manjših zaključenih razstav z vsemi didaktičnimi možnosbni, ki jih
takšne postavitve omogočajo. Te razstave bi lahko dopolnjevali, izpopolnjevali ali jih
spreminjali glede na stopnjo preučenosti določene teme, dopolnjevali pa bi jih tudi z
novimi raziskovanji in dognanji.
Namen abecedarija bi bil prikaz dejavnosti, delovanja posameznikov in različnih
socialnih in poklicnih skupin. V središču pozornosti bi bili torej človek, delo, delovni
postopki in načini, torej tista živa tvarina, ki jo zgolj s predmeti ne moremo pokazati, je
pa nujna za celovito razumevanje kulture in načina življenja.
V praksi bi to izgledalo tako, da bi posamezna črka abecede uvajala neko
gospodarsko ali drugo dejavnost (delo, delovanje), ki je bila, oziroma je značilna in/ali
splošna za ves slovenski prostor ali samo za en njegov del.
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Andrej Dular
Vsaka taka dejavnost bi imela (glede na pomembnost oz. raziskanost) določeno
razstavno površino in bi büa koncipirana kot samostojna razstava. Koncept vsake razstave
naj bi bil medsebojno primerljiv, ker nas abecedarij navaja na sistematiko (kot slovar), v
kateri moramo najti vse za neko gospodarsko ali drugo dejavnost relevantne podatke.
Abecedarij bi bil torej neke vrste "muzejski etnološki slovar opravil in dejavnosti", ki bi
zaradi značilnosti tvarine predstavljal dinamičen del galerijskega dela stalne postavitve,
v katerem bi ob obravnavanih temah potekale vzporedne aktivnosti (učne delavnice,
raziskovalni kotički).
Kakor pri prikazu zbirk bi bilo tudi pri abecedariju mogoče uveljaviti načela klasične
etnološke (materialno-socialno-duhovno kulturne) sistematike; na primer: nabiranje,
lovljenje in ribarjenje, čebelarjenje, gozdarjenje - steljeraja, poljedelsko delo - oranje,
kolobarjenje, košnja, sejanje, žetev, trgatev, paša živine; mlinarstvo, žagarstvo, solinarstvo,
običaji - koledovanje, pustovanje itd.). Možne so tudi drugačne razporeditve obravnavanih
tem, ki bi se bolj harmonično navezovale na zadnji sklop galerijskega dela stable
postavitve, in sicer na razstavo Slovenci in svet.
E) Razstavo - Slovenci in svet
V njej bi pozornost obiskovalcev preusmerili v prikaz odnosa Slovencev do tujih,
(glede na zbrano gradivo v muzeju) predvsem neevropskih kultur.
Prikazani bi bili misijonarji in drugi darovalci predmetov neevropskih kultur in
njihove donacije. Postavitev zbirk neevropskih kultur bi sledila enakim kriterijem kot so
določeni pri "slovenskih" zbirkah. Sistematika znotraj posameznih zbirk pa je lahko
tudi historična - prikazana tako, kakor so bile zbirke klasificirane ob prihodu v muzej.
Tudi v tem sklopu so ob predstavitvi predmetnega gradiva zlasti za pedagoške
potrebe možne številne in raznovrstne dopolnitve in dejavnosti. Kažejo se v predstavitvi
različnega primerjalnega pisnega, slikovnega in avdio/videogradiva, ki s pomočjo
dotikabih ekranov odpirajo nove možnosti za spoznavanje razUčnih kultur.
V razstavni sklop Slovenci in svet bi gotovo soduo tudi gradivo, ki govori o življenju
in kulturi Slovencev po svetu. Žal je tovrstnega gradiva v našem muzeju manj, kot bi si
želeli.
F) V sklop galerijskega dela stalne postavitve Slovenskega etnografskega muzeja
bi sodila tudi posebna raziskovalna soba za "raziskovalno" delo in rezvedrilo mlajših
muzejskih obiskovalcev. Koncept in vsebina takšne sobe bi büa seveda lahko mnogo
pestrejša in prijaznejša, kakor si jo lahko zamišljamo z vidika strogih znanstvenih kriterijev
in etnoloških klasifikacij.
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PROPOSAL SCHEME OF THE PERMANENT
EXHIBITION OF THE SLOVENE
ETHNOGRAPHIC MUSEUM,
GALLERY SECTION
Andrej Dular
CRITERIA
The basic criteria for the presentation in the museum's gallery section are:
- the objects have to be the set up and presented in a way that will meet the
requirements of researchers who want to study the heritage held by the museum.
- the objects and presentations of activities have to be installed in a manner that
will also provide general and special information on culture to other visitors of the
museum.
The first criterion requires:
- that the objects and collections are presented according to the usual classifications
of place and time, typology, use and function, form and aesthetics; furthermore, the
following data will be added for every object: descriptions of its size (dimensions), of the
material it is made of, and of its spread (the area where it was used, the cultural area and
possible parallels)
The second criterion requires:
- that the objects are presented in the context of the economic, social and spiritual
activities connected with them (with special reference to the peasant population which
formed the majority of the Slovenes until the Second World War) and according to didactic
principles befitting the different stages of the educational process and system I system
(that is for the pre-school, elementary and secondary levels of education) as well as for
the requirements of adult education (that is the needs seniors citizens, members of tine
so-called "tiiird university").
MATERIAL
I) THE NATURE OF THE MATERIAL
A) - Collections and material, acquired in the Slovene ethnic territory - (movable
heritage)
B) - collections and material of a "Slovene" natiire, but acquired outside the Slovene
etiinic territory and including non-European collections - (movable heritage)
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Andrej Dular
C) - material on individual characteristics and activities that are of major importance
for the culture of the Slovenes, but are not physically or only partly represented by
objects in the museum; special emphasis is to be on the regional (Alpine, Pannorüan and
Mediterranean) specifics of the Slovene ethnic territory
D) - material of the immovable heritage
II) KIND OF MATERIAL
A) Objects from the museunas' depositories;
B) archived material (written and printed sources) from the museimi's documen-
tation and from elsewhere
C) other documentary material from the museum's documentation and from elsewhere:
1) photographic material
2) drawings, plans, maps, graphs
3) audio-visual material
D) original exhibits of the immovable heritage, replicas and models
CONCEPT OF THE EXHIBITION'S CONTENTS
The gallery section of the Slovene Ethnographic Museum should comprehend:
A) A presentation of the regional characteristics of the Slovene ethnic territory by
meai\s of a map with accentuated Alpine, Pannonian and Mediterranean cultural areas.
Equally relevant would be a presentation of architectural characteristics and/or
characteristics of costumes since these two fields have been researched most thoroughly
and would provide sufficient introductory information on the nature of culture in the
course of time.
Other elements of social and spiritual culture (for instance linguistic particularities,
customs) could be linked to these two presentations. The aim would be to present Uie
basic, regional characteristics of the entire Slovene ethnic territory and how they are
embedded in the broader European framework (parallels between individual cultural
elements and characteristics)
The introductory presentation should not feature actual objects, but maps,
photographs, drawings, audio-visual material and texts on the nature of Slovene culture.
B) An exhibition of the museum's individual collections (objects): the collections
would be arranged according to classical museum classification principles into collections
of material, social and spiritual culture (general division: This should be done in a way that
would allow to exhibit "material from the Slovene ethnic territory", for instance agriciiltural
implements - ploughing tools and implements - ploughs, whetstone holders; means of
transportation - skis; interior furnishings - lights, chests, pottery, woven products; costumes -
head-dresses, shoes, jewelry, votive offerings, beehive panels, paintings on glass and the üke.
This presentation would require to exhibit either entire collections or only selected
objects. The exhibited material from the collections should be arranged as much as possible
according to imiform principles, for instance according to material, form, function.
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Proposal scheme of the permanent exhibition of the SEM - gallery section
communicative contents, motifs, stylistic featiires, specifics related to period, society or
region and so on. The presentation is to include a brief history of the origin of the collections
(basic information on how they were acquired by the museum), texts, maps showing
geographical spread, comparative photographs and drawings, taken from the existing
literatiire (all these presentations should not depend on electronic exhibition techniques
because they tend to malfunction). To this information a panel could be added with a
display or video films that would lead - in a more playful and interesting way (the emphasis
being on the educational requirements of schools) - to various levels of knowledge about
the collections and objects, to parallels with other, even non-European cultures. The objects
should also be accompanied with fuU information, necessary for scientific study.
C) An exhibition of the immovable heritage would encompass presentations of
typical houses and outbuildings (according to regional specifics), including temporary
dwellings (for instance of shepherds, forestry, saltworks and vineyards workers),
permanentiy occupied dwellings (types of houses); outbuildings (kozolci /hayracks/ bams,
stables, granaries, beehives, fruit-drying stmctures; nulls and saw-mills).
This presentation would in the first place require a presentation of models that
would provide basic knowledge on the types of immovable heritage; furthermore, original
architectural elements and details (portals, window grilles, wall paintings, windows,
doors, door handles and other small objects, original details of architectural joints (comers
of houses and outbuildings), types of roofs and chimneys, typology of ventilation openings
in outbuildings and the like. Also to be included is a presentation of immovable
fiomishings, for instance stoves, fire-places, openings diverting smoke or letting in light
(presented in proportion to other architectural elements). The presentation will also require
photographs and slides of architecture in a concrete envirorunent and video projections
highlighting the methods used in building such structures.
The architectural, immovable heritage would also have to be set in a broader context;
therefore, ä\e presentations of individual types of architecture should be followed by
stylised or simplified models of villages and hamlets in the form of wooden, multi-
coloured cubes (depending on tiie buildings materials and Ü\e social status of the owners
of the buildings), made to appropriate scale (e.g. cluster villages, scattered seti:lements,
long-ribbon villages, isolated farms), including a presentation of how tiie buildings were
arranged within a settlement (socially and occupationaUy; for instance crofl:ers on the
outskirts, craftsmen in tiie cenh-e; examples are Kropa and Kamna gorica - smitiiies and
workers' houses - one-family houses, blocks of flats, for instance in Idrija, Jesenice, Trbovlje,
Galjevica), outbuildings in and outside the setiilement (e.g. Ü\e village of Bibije near
Kranj). The models of settlements should be enhanced by data of tiie same natiire as
those accompanying the architectural heritage.
D) An ABC of economic and other activities tiiat are characteristic, typical and
even special of tiie Slovene eüinic territory
The ABC in the gallery section of tiie Slovene Etiinographic Museum's permanent
exhibition would consist of a range of small self-contained exhibitions, pro^^ding all tiie
didactic possibilities exhibitions of this kind can offer. These exhibitions could be
completed, widened or modified according to the level of achieved knowledge about a
certain tiieme, and could be enhanced regularly witii new research and findmgs.
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Andrej Dular
The aim of the ABC would be to present the activities of individuals and various
social and occupational groups. It would therefore focus on people, work, work processes
and methods, that is on the live "material" which objects fail to present and which is
indispensable for a complete imderstanding of a culture and a way of living.
The practical execution would consist of every letter of the alphabet introducing
some economic or other activity (work or activity) that was (or still is) characteristic
and/or common of the whole Slovene territory or part of it.
Every activity of this kind would have a certain exhibition space - based on its
sigiüficance or on the level to which it has been researched - and be conceived as a
individual exhibition. The concepts of every individual exhibition should be comparable
since "alphabet" is associated with a systematic approach (like in a dictionary)and the
user has to be able to find all relevant data related to a certain economic of other activity.
The ABC would thus be some kind of a "museimi's ethnologic dictionary of jobs and
activities"; because of its nature it would be a dynamic part of the gallery section of the
permanent exhibition in which parallel activities on the same themes would run
(workshops, research nooks).
As is the case vnth the presentation of U\e collections, the ABC would follow the
principles of classical ethnologic systematics (material, social, spiritual culture); for
instance: gathering, hunting and fishing, bee-keeping, forestry, - fodder-growing, working
the land - ploughing, rotation of crops, hay-harvest, sewing, harvest, wine-harvest, pasture,
cattle; milling, saw-mills, saltworks, customs - carol-singing, Shrovetide etc.. Other and
different arrangements of the mentioned themes are also optional and might contribute
harmonious links to the final part of the permanent exhibition's gallery section:
E) An exhibition called "The Slovenes and the World"
in which the attention of the visitors would be drawn to the attitude(s) of the
Slovenes to foreign (compared with the material acquired by the museum), especially
non-European cultures.
This part would present Slovene missionaries and other donors of objects from
non-European cultures and their donatioi\s. The presentation of the collection of non-
European cultures would observe the same criteria as the "Slovene" collections. The
systematic approach v«thin individual collections could also be a historical one, presenting
the ways the collections were classified upon their arrival at the museum.
In this section, too, along with the presentation of the objects, numerous and various
complementary activities are possible, especially for educational needs. They can be in
the form of various comparative material (written, pictorial and audio-visual) which -
with the help of touch screens - open up new options for learrung about different cultures.
The theme "The Slovenes and the World" should also include material related to
the life and culture of Slovenes Uving abroad. Unfortunately, the museum possess very
limited material on this subject, much less than it would wish.
F) The gallery section of the Slovene Ethnographic museum's permanent exhibition
could also include a special room for "research", and entertainment of young visitors.
The concept and contents of such a room would of course be much more varied and
user-friendly as we might dare imagine from the point of view of strict scientific criteria
and ethnologic classifications.
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