The coffin of the holy king Stefan the First-Crowned was made in 1607 by the "sinful master Antonje" on commission from Metropolitan Kyr Simeon. Since 1629, when the king's relics had been placed in it, the coffin witnessed the tumultuous Serbian history of the 17^th and 18^th centuries. Having been repeatedly moved far and wide in the territory of Serbia and Austria-Hungary, the coffin and the relics were returned to the monastery of Studenica in 1839. During World War I, the coffin was relocated once again, to be eventually placed in Studenica in 1919.

The coffin was subject to the necessary conservation treatment based on the expert assessment provided by the Institute for the Protection of Cultural Monuments of Kraljevo, in cooperation with the responsible institution, the National Museum in Kraljevo, and with the consent of the hegumen of Studenica, Tihon. The challenging conservation procedure, compliant with the current standards of museological practice, was carried out between November 2017 and November 2018 at the Conservation and Restoration Department of the Museum of Applied Art in Belgrade

After the condition of the wood and inlay elements, the body of the coffin and the metal casing had been assessed, all materials used in the making of the coffin were subject to analysis. Surface cleaning tests were carried out using chemical procedures adjusted to the type of deposits. The metal casing and nails were treated with acid. The condition of the coffin had been documented in detail, after which it was undertaken to reconstruct the missing fragments and glue them to the surface.

Graphic print has long been considered from the point of its aesthetic values, due to the conventional disciplinary boundaries, leaving its utilitarian values to the theory and history of graphic design. Its function defines its genres: devotional, decorative, didactic, political and propagandistic, illustrative, and similar, combined with its physical characteristics, its materiality, and formats. Prints gained their unprecedented scope in form, function and media in the 16^th century, finding their exquisite expression in the three-dimensional representations of human anatomy in anatomical atlases, especially in Andrea Vesalius' De humani corporis fabrica of 1543, and later on in Johann Remmelin's Catoptri Microcosmici of 1609. They reflect the strategies of opening the body and a look beneath the surface, the skin, expressed in the Renaissance art theory and practice, as well as in scientific research. In this paper, we would like to show that the illustrators of these atlases, owing to their artistic interests and knowledge that predated strictly scientific medical research, rejected the old models of schematized twodimensional images and introduced volumetric representations characterized by complexity and immediacy. With formal layering of these representations, achieved by specific overlapping of constituent parts that enable the insight into anatomical intricacies of the human body, the illustrators introduced new didactic methods into the process of acquiring and communication of knowledge. In cooperation with scientists, they found ways to translate information into recognizable and accessible models, giving them the cognitive structure. In this visualization of knowledge, in the creation of dynamic interactive patterns that could be manipulated according to need, artists also brought new and revolutionary, but still insufficiently known, solutions of book design.

На почетку рада констатује се да су предмети од керамике присутни како у техничким и естетским оквирима укуса, традиције, процеса и технике, тако и ширем културно-политичком контексту, и износи се тврња да су домаћи, функционални, декоративни предмети присутни на сасвим посебном нивоу постојања, укључујући и контекст историјског значаја, високополитизоване националне тежње, подстицање промена у званичној политици и борбу за независност. Примери којима се поткрепљује ова тврдња јесу сервис за чај Erin go Bragh (Ирска заувек), са представама водећих заговорника аграрне реформе у Ирској, и чајник Home Rule (Ирска аутономија), који слави коначно доношење Закона о аутономији Ирске 1920. године, којим је осигурана независност 26 ирских горфовија од Британије. У раду се надаље испитују предмети који нису везани за политичке тежње, а ипак имају друштвени и културни значај изван првобитне намене, односно употребе у домаћинству. Као пример се наводи ваза „Фонтхил“, због свог необичног путовања од Кине до Ирске кроз домове црквених великодостојника и краљева, кроз читаву Азију и неколико европских земаља, да би на крају постала најстарији примерак кинеског порцелана у европским колекцијама. Други пример је посуда из Балибрита која потиче из бронзаног доба, а откривена је тек у XX веку, када се отиснула на још једно номадско путовање преко Атлантског океана, у оба смера, у релативно кратком периоду од тридесет година. У раду се показује да захваљујући поменутим случа- јевима, догађајима и згодама везаним за ове сасвим обичне посуде, њихово присуство у савременој матери- јалној култури има далеко већи значај од онога који би могао проистећи из њихове изворне, скромне намене.

In this paper, garments and fashion collections are observed as a work of art or a text, whereas fashion itself is viewed as an artistic medium. The main hypothesis is that the 20^th -century fashion shows simultaneously intermediality and intertextuality. These two concepts are almost inseparable. The subject matter of this paper is, first and foremost, postmodern fashion, i.e. its strategies and methods, which are comparable to the strategies and methods used in visual arts, such as painting, architecture and sculpture, during the avantgarde, neo-avant-garde and post-avant-garde periods. Accordingly, the work of Rei Kawakubo, a conceptual fashion designer, during the 1980s and 1990s serves as a case study. The paper relies on the post-structuralist interpretation of the text, shaped by Julia Kristeva and Roland Barthes, Dubravka Oraić Tolić's quotation theory, as well as Irena Rajewsky's and Pavao Pavličić's theories.

The strategies of conceptual artists emerged in fashion practice at the end of the 20^th century. When Japanese fashion designers, among others Rei Kawakubo and Yohji Yamamoto, appeared on the Western European scene, they launched a reevaluation of accepted fashion rules and codes and the idea of toying with the Western European notions about the body. The hybrid created by joining elements of clothing from Japan and Western European fashion corresponds to what Julia Kristeva describes as the way in which the text reads history and incorporates itself into it. Rei Kawakubo uses Japan's heritage through quotations in order to make the reader face, among other things, the stereotypical representation of the Other in the Western post-colonial world. Kawakubo uses intermediality by applying structures and materials specific to a certain medium and transferring them to another medium, which is illustrated by the selected works. One of the selected examples is the collection Body Meets Dress, Dress Meets Body, which also provides an example of medial transformation.

The key conclusion derived from the concept of intertextuality is that the role of the reader is vital for the path the reception of the work will take. The reader finds that it is not a coincidence that they recognize the work/ text and that it coincides with their reading memories and knowledge, that the author has purposely planted other texts within the work, thereby creating a polysemic piece of art. On the other hand, intermediality, the relationship between two artistic media, leads to the “borrowing” of creating principles and their transfer into a different medium. In any case, the goal of both intermediality and intertextuality is the same – the establishment of a link that could be artistically productive, which the case of Rei Kawakubo certainly confirms.

Serbian artist Slavoljub–Slavko Vorkapić was educated as a painter but when he left Paris in 1920 for the USA, he dedicated himself to filmmaking. Not many of his applied art works have survived. One of his earliest works is a poster for the Serbian Concert and Exhibition in 1916 in Paris. This is a very rare Serbian war poster with a figural representation. It is also interesting as a World War I document.

When Serbia was attacked at the end of 1915 by Germany, Austro-Hungary and Bulgaria, most of the population, the government and the army went to exile. Vorkapić arrived in Paris. While Serbia was occupied, its government in exile undertook awareness campaigns to obtain help. The Serbian Concert and Exhibition were part of those efforts.

Vorkapić's poster, printed in Paris, was done in the style of academicism. He sought to inform but also to remind the audience of the tragic position of his homeland. Serbia is presented as a resurrected young woman in pain, in the clouds. Her head is turned to her left and it rests on her hand, whereas the other arm is outstretched. Around her feet, there is a crown of thorns; the traditional cup, jug and towel are laid beside her. Two young soldiers, lying on the battlefield, can be seen below. One of them grips a knife tightly, symbolizing the extreme devotion of Serbian soldiers in the struggle for freedom. Mountains and the bright sun, symbolizing the belief in a better future, can be seen above the figure. The scenes are framed by an architectural structure resembling an antique temple.

This was the first public presentation of Vorkapić's work in Paris and it helped him gain attention, just like his posters for movies helped him get noticed in his early days in the United States.

Recent scholarly paradigms eliminate the possibility of perceiving clothing items as primarily material objects, and enable a shift toward interdisciplinary constructs and fluid interpretations of the given object as a vision in line with interpretation. In the Museum of Arts and Crafts, in the Textiles and Fashion Collection, the “director's coat” which belonged to the famous Croatian director, writer and drama pedagogue, Tomislav Durbešić, challenges interpretation as it steps outside the discourse system pertaining to the history of dress and men's fashion. Throughout his life, Durbešić combined into a single form of expression the creation of drama performances, expressing attitudes through writing and the artist's way of life, and musings about theatre – the reasons why theatre is more than the basics of the profession. He worked it into the core of recognition of basic societal and individual needs for theatre, encompassing social, psychological and anthropological aspects. The analysis of the conceptual reworkings of his director's coat in line with Neo- Dada assemblage allows us to express an array of relations which govern the interweaving of various performative principles, which in turn interact through art, fashion and theatre.

In this paper we analyse two different approaches towards female body – the one in the works of the Impressionist painters Berthe Morisot and Mary Cassatt and the other in the photography of Francesca Woodman during the 1970s. We examine the development of female identity and how it was shaped by the specific social conditions during the 19^th and 20^th centuries. In the works of Morisot and Cassatt, women are represented as a part of their households, excluded from all major social events, with emphasis on their isolation, solitude and the lack of communication. Women are often depicted while resting, dressing, combing or rehearsing the pose in front of the mirror, staying at home as an “inferior race”. They are rarely represented in theatres, where they feel vulnerable to a compromising male gaze. In her photo series House (1976) and Self-deceit (1978), Francesca Woodman approaches female subjectivity in a radically new way: she questions her identity so as to break established and wellpreserved boundaries of ideological spaces of femininity.

Discussing the binary opposition private–public, feminine–masculine, Woodman often uses a mirror as mobile paraphernalia, carrying it with her through deserted rooms of Victorian houses. Her fragmented reflection and hidden face question the implicated sexual attractiveness of an invisible female model, which is typically regarded as a passive object of male pleasure. Her naked blurred body merges with the surrounding or is obscured by peeling wallpapers. She is often on the verge of disappearing, evading the slightest possibility of being caught in a fixed identity. As an extremely progressive feminine voice, Francesca Woodman seeks to escape Morisot and Cassattʼs historical formation of sexed and classed subjects, and succeeds in breaking the conventional representation of women as mere objects of beauty. She dismisses banal narratives and examines the limits of her own body, revealing new opportunities for women and their future artistic activity.

Parametrically generated geometric form is based on the interconnection of geometric elements, with parameterbased end results. The designer uses appropriate software tools to define the relationships between the different parameters of the model. When one or more parameters are altered, the rest of the model will respond by changing the original geometric shape according to pre-defined associative rules. The term 'parameter' is adopted from mathematics and it refers to the use of parameters that can be altered so as to manipulate or alter the end result of an equation or a system. Geometric parametric modelling in architecture is a process of exploring options provided by a 3D model in order to obtain an optimal solution according to pre-defined goals. Modern graphic software for geometric form modelling is necessary in all current and future efforts in this field.

There is no clear boundary between the analogue and digital approach to generating a geometric form in interior and furniture design. The design process often begins with sketches, which are later transposed into the field of digital geometric form modelling. Parametrically modelled architectural structure is too dominant to allow independent interior design, accordingly, it is not justified to interpret them as two separate processes. The design of an architectural structure and interior and furniture design within the structure is a unique creative enterprise guided by the parametric principles of design. The interior shaped according to parametric principles is perceived as a set of shapes with an authentic geometry, composition rules and spatial effects. This set is characterized by a sense of coherence in spite of the differences among the spatial structures and designed objects within. The design is not characterized by monotonous repetition as our field of vision is constantly altered, while the dense, intensely filled zones alternate with large calm areas. These compositions are usually polycentric and multidirectional. All these characteristics are a result of multiple perspectival projections enabled by projective geometry.

As design must satisfy both functional and formal demands, one cannot simply add elements onto geometric parametric modelling matrix without aiming for a comprehensive formal solution. Parametrically modelled geometric form in interior and furniture design is a generic component of design rather than an isolated, special place.