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Apstrakt: Rad tematizira umjetničku i kulturno-historijsku vrijednost javne plastike postavljene na prostoru sarajevske Pionirske doline, s posebnim fokusom na četiri skulpturalna djela koja su obilježila ovaj prostor: „Majka i dijete“ Sretena Stojanovića, „Majka s djetetom“ Frane Kršinića, „Mali partizani u snijegu“ (autorstvo najvjerovatnije pripisano beogradskoj kiparici Milojević), te savremeno djelo „Dodirni me“ Pere Jakšića. U radu se, pored stilske analize skulptura, razmatra i širi historijski kontekst nastanka i transformacije prostora Pionirske doline, koji od sredine 20. stoljeća prelazi iz zoološkog u rekreativno-edukativni kompleks, kao i postojanje prvobitnog zoološkog vrta na Ilidži. Skulpture postavljene u okviru ove parkovne cjeline svjedoče o različitim fazama razvoja javne plastike u socijalističkoj Jugoslaviji, njihovom čestom pomjeranju s prvobitnih lokacija, ali i o promjenama u razumijevanju funkcije javne umjetnosti. Rani primjeri poput Kršinićeve skulpture evociraju estetiku poetskog realizma, pri čemu motiv majke i djeteta postaje metafora nježnosti, nade i postratnog preporoda. Stojanovićeva verzija istog motiva, iako oštećena i kasnije uklonjena, dodatno potvrđuje dominaciju ove ikonografije u jugoslavenskom javnom prostoru. Skulpturalna kompozicija „Mali partizani u snijegu“ nudi pogled na dječiji kolektivni identitet oblikovan u duhu revolucionarnog pamćenja, ali predstavljen u lirskom, introspektivnom tonu, dok savremena plastika Pere Jakšića kroz moderniziranu formu i jasno simboličku poruku afirmira kontinuitet teme majčinske nježnosti i zaštite, sada u postkonfliktnom kontekstu. Kroz analizu ovih skulptura i njihove prostorne integracije, rad problematizira odnos umjetnosti, memorije i urbanog pejzaža, te ukazuje na značaj očuvanja i valorizacije javne plastike kao važnog segmenta kulturne baštine. Posebna pažnja posvećena je dokumentaciji promjena, oštećenja i nestanaka pojedinih djela, što dodatno naglašava potrebu za sistematskom zaštitom i stručnom valorizacijom skulptura u javnom prostoru. Abstract: The paper explores the artistic and cultural-historical value of public sculpture installed in Sarajevo’s Pionirska Dolina, with a special focus on four sculptural works that have marked this space: “Mother and Child” by Sreten Stojanović, “Mother with Child” by Frano Kršinić, “Little Partisans in the Snow” (authorship most likely attributed to the Belgrade sculptor Milojević), and the contemporary piece “Touch Me” by Pero Jakšić. In addition to stylistic analysis of the sculptures, the paper examines the broader historical context of the emergence and transformation of Pionirska Dolina, which, since the mid-20th century, has transitioned from a zoo into a recreational-educational complex, as well as the existence of the original zoo in Ilidža. The sculptures placed within this park ensemble testify to various stages of development of public sculpture in socialist Yugoslavia, their frequent relocations from original sites, and changes in the understanding of public art’s function. Early examples such as Kršinić’s sculpture evoke the aesthetics of poetic realism, where the motif of a mother and child becomes a metaphor for tenderness, hope, and post-war renewal. Stojanović’s version of the same motif, although damaged and later removed, further confirms the dominance of this iconography in Yugoslav public spaces. The sculptural composition Little Partisans in the Snow offers a perspective on children’s collective identity shaped in the spirit of revolutionary memory but presented in a lyrical, introspective tone. Meanwhile, Pero Jakšić’s contemporary sculpture affirms the continuity of the theme of maternal tenderness and protection through a modernized form and a clear symbolic message, now within a post-conflict context. Through the analysis of these sculptures and their spatial integration, the paper problematizes the relationship between art, memory, and urban landscape, highlighting the importance of preserving and valorizing public sculpture as a significant segment of cultural heritage. Special attention is given to documenting changes, damages, and the disappearance of certain works, further emphasizing the need for systematic protection and professional valorization of sculptures in public spaces.