Portraits of the nobility on wall paintings and icons of medieval Serbia testify to the custom of wearing different types of dress accessories (belts, handkerchiefs, pouches) and jewellery (earrings, rings, necklaces, brooches). These accessories and jewellery are visible on representations of Serbian noblemen and noblewomen, as well as of their male and female descendants. The results of research have shown that the selection, presence and amount of dress accessories and jewellery depended on several factors: the gender of the depicted person, type and cut of attire, as well as on personal choice and taste of every individual, his or her skills and affinities. Thus, some types of jewellery, such as necklaces and earrings, were elements of female fashion. On the other hand, only males are depicted with pouches, while rings, brooches, belts and handkerchiefs were worn by both noblemen and their wives. Since some accessories, such as belts and handkerchiefs, were represented on the portraits of the aristocrats of different hierarchical levels, it can be concluded that the presence of that type of accessories was not related to the social rank of the person depicted. However, in some cases, the absence of such accessories depended on the specific cut of the noble dress. Furthermore, the presence and, at the same time, the absence of some dress accessories and jewellery on the portraits of the noblemen of the same social rank, even on the portraits of the same person in various churches, can be explained by the lack of firm rules that would be consistently obeyed when the portraits of these noblemen are in question. Undoubtedly, the above mentioned accessories and jewellery were the designation of the nobility and had a certain social connotation. They were used to accentuate the position of depicted noblemen and their family members in medieval society, to indicate their status and aesthetic criteria, even to emphasise the individuality of a certain person compared to other members of the family.

Portraits of lay ktetors represent authentic sources that testify both to the historical costume and history of clothing throughout the centuries, as well as to the social identity of displayed personalities, their social status, and gender structure. The paper analyses the dressing of laymen and laywomen presented on Serbian portraits of the 16^th and 17^th centuries: voivode Radoje Hrabren in Saint Nicholas Church in Trijebanj near Stolac (the fourth decade of the 16^th century), knez Vukić Vučetić in the Morača Monastery (1574), sipahi Vojin and goldsmith Jovan in the Holy Trinity Monastery near Pljevlja (1592), “servant of God” Nikola in the Monastery of Crna Reka (1599/1600), a married couple from the Church of the Assumption of the Virgin in Divlje near Skopje (1603/1604), an unknown ktetor from the Piva Monastery (1604-1606), sipahi Milisav Hrabren from the Žitomislić Monastery (1609), sipahi Jovan in the Church of Saint Demetrius at the Patriarchate of Peć Monastery (1619/1620) and an unknown ktetor from the Littoral depicted on the icon of Theotokos Kyriotissa and Saint Nicholas kept at the National Museum in Belgrade (Inv. No. 2105).

The clothing of male lay ktetors depicted in Serbian painting has all the elements of the civic dress of the higher social strata in the 16^th and 17^th centuries. It consisted of a white collarless shirt, a kaftan opened at the front and fastened with small buttons, with a firm large collar; a wide belt made of textile, tied in the front in a large knot; the upper part of their garments is long and wide, in the form of a robe or a coat with the sleeves slit under the armpits, often decorated with expensive fur. In some cases, the clothing is complemented by a cap. In terms of dress, besides certain milder influences from the West, the portraits of laymen ktetors – represented mainly on frescos – mirror the clothing practices of prominent members of the Ottoman society. This is due to the fact that there was an ideal model of a Levantine-Balkan citizen, although ktetor representations do have some extraordinary portrait features. A comparative analysis juxtaposing these ktetor portraits with others from the territory of the Balkans seems to confirm the hypothesis about the emergence of syncretism in culture, as well as the role of dressing as a factor of identity and means of social communication.

From the earliest interpretations of photography, when it used to be identified with the print of nature and objectivity, through alignment with the modernist doctrine and painting as the dominant medium and the idea of media specificity, the so-called art photography, through various experiences of documentary photography, and then by the neo-avant-garde slip into non-media, all the way to digital photography, what has been recognized as the constant, that Walter Benjamin also used to write about, is its openness for manipulation. This paper analyses different art strategies belonging to conceptual experience through comparative analysis of different approaches to photography, analysis of the Flusser's (Vilem Flusser) concept of programming and introduction of case studies. Two case studies related to conceptual art have also been included: Edward Ruscha, Twentysix Gasoline Stations, 1963, and Bernd and Hilla Becher, Anonyme Skulpturen: Eine Typologie technischer Bauten and Typologien, Industrieller Bau, 1963–1975. The main thesis of the research is that the conceptual approach to photography is the most subversive towards the manipulative nature of photography. The main objective is to point out the continuity between analogue and digital photography that includes all previous approaches to photography – objectivity, documentarity, media specificity. Nowadays, we are in the constant process of programming by the images we are surrounded by, which confirms the algorithmic way of modus operandi of digital images as the dominant feature of photography in contemporary art.

Током последњих шездесетак година, област научног истраживања је доживела драматичне промене и развој. Уведени су нови интердисциплинарни теоретски оквири и методе истраживања, који захтевају да добију своје место унутар академског света. Пошто сам и сама део једне од тих нових области истраживања, посматрала сам борбу која се унутар ове области води како би она пронашла своје место у оквиру академског света. Та област је у овом тексту названа „Практично истраживање“ и дефинишу је њене методе истраживања, тј. практично знање, познавање заната и практично искуство као методе које омогућавају разумевање изворног материјала у оквиру научних истраживања у области хуманизма. Кроз оквир Утемељене теорије, у овој студији се истражује та борба унутар области.

У оквиру генерисане теорије о области Практичног истраживања у Шведској, више од било чега другог разматра се знање практичног истраживача, његов идентитет и важност прихватања од стране остатка академског света. Осим тога, разматрају се и питања у вези са начином на који истраживачи унутар области могу да допру до жељеног нивоа прихватања. Генерисана теорија се састоји из шест категорија, при чему су све оне важне за практичне истраживаче и Практично истраживање у оквиру академског света. Ова теорија се може поредити са тканином у којој су основне категорије, наиме Економија, Научна валидност, Комуникација и Сврха истраживања, међусобно испреплетане кроз теоретски оквир и категорију Знање у пракси – идентитет практичног истраживача. Овај теоретски сплет представља модел за разумевање и за рад са важном средишњом категоријом теорије – Прихватањем. Теорију, као модел за разумевање области Практичног истраживања, могу користити како људи који су део поменуте области, тако и они који то нису. У оквиру ове студије се истражује област Шведске, али је и ову, као и било коју другу Утемељену теорију, могуће модификовати, проширивати или користити као основу за даља истраживања или као други изворни материјал. Као таква, може бити корисна и у међународном контексту. Области се могу разликовати од земље до земље, али и не морају. То треба да открије неки нови истраживач, а ова студија му, надам се, у томе бар мало може помоћи.

This paper examines the origin and the way of editing the journal “Crteži – Drawings”, founded in 1956 at the Faculty of Architecture, University of Belgrade, which, as a special fine art edition, was later added to the Annual of the Faculty of Architecture. During the decade between 1956 and 1965, ten issues of this unique artistic edition were published. The volume “Crteži – Drawings” was created on the initiative of Professor Aleksandar Deroko and three younger associates, Branislav Milenković, Zoran Petrović and Đorđe Petrović. They were also the founders of 'The Drawing Club', which influentially spreaded the ideas about the role and significance of drawings in wider architectural and artistic creation. This quartet was joined by a number of faculty teachers, including painters from the subjects Free Drawing and Watercolor, who complemented the concepts and contents of the editions with their contributions. When the publication included students' works, the Faculty declared the edition “Crteži – Drawings” a regular institutional edition. Based on the conceptual determination of this edition, authors were given freedom to choose the works, counting on their ethical attitude towards creativity and on the quality of the attached works. Pointing to the presence of various artistic sensibilities and visual expressions, the poetics of the six most represented authors among the architects is presented in this paper.

This work presents the complex designer procedure of thermochromic ink application which is used for upgrade of textile and non-textile materials in the process of creation of new aesthetic unities with the aim to produce “smart materials”. Thermochromic inks are temperature sensitive materials that, while heated, change colour either from colourless to coloured state or from coloured to colourless, or from one tone to another. Inspired by the possibilities for development of new and creative designer directions with respect to interaction, responsibilities and ultimate functionality, artists and designers show an intensively growing interest in smart materials. This work presents several contemporary artists who use thermochromism in analysis of spectral reflexivity and sensory impressions which are the consequence of external stimuli.

Textile designers Linda Worbin, Joanna Berzowska and Maggie Orth study smart materials and interactive textiles. Within the projects, which have been analysed in this work, they develop methodologies for working with dynamic patterns on textiles equipped with smart systems. Experiments conducted by the mentioned authors aim both to explore expressive possibilities of fabrics in terms of colour dynamics and to develop innovative methods as well as their application possibilities when working with electronic textiles and reactive garments.

Design studio NunoErin (Nuno Goncalves Ferreira and Erin Hayne) and German architect Jürgen Mayer are interested in thermosensitive materials used in the field of furniture and interior design. One of the most interesting findings of NunoErin is the fact that thermochromic materials have both functional and therapeutic effect on children with special needs. Jürgen Mayer also involves the viewer, i.e. participant as a focal point of his work, placing him/her in the central part of his installations.

One of the materials that serve as the basis for observation of design and thermochromism in this work is the leather (being the substantial material). The wide scope of research and experimenting on upgrade of the leather surface using thermochromic inks represents a challenge in terms of art and technology, and indicates the elaborate design process in upgrade of the leather surface while forming the unique aesthetic unity.

The research works were carried out in two phases: the multispectral recording, and physical and chemical tests, which provided main direction to conservation and restoration treatment.

The access to analytical testing allowed consideration of the wider problem involving the work of art – the icons Deesis with St Nicholas, St Spyridon and St Daniel the Stylite. The obtained results provide a clear insight into the style characteristics, painting technologies, construction of paint layer, selection of substrate, and the application of pigment, binder and varnish for protection. Dry cleaning of lacquer and paint layer is done using DMSO + ethyl acetate + citric acid, with thickener (in stages).

The paint layer reconstruction – retouching was carried out using watercolour palette and oil paint palette. Retouching was done using the tratteggio technique. In this way, the unity of retouched surface and the original surfaces was achieved. The work on the icons lasted for almost a year. First, it was necessary to look at the work of art as a whole, starting from pencil drawings, visible in certain segments of the paint layer, to the massive ornamental frame. During the operation, certain hidden details were discovered, especially when it comes to the painted details and decorative elements on clothes of the saints.

This enabled the selection of the most efficient, most harmless and overall minimum treatment in terms of conservation and restoration. Such treatment with minimal intervention gave us the maximum results.