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Redefinition of protection and presentation methods of the architectural

heritage in the process of post-war rehabilitation – The Case of the Čaršija
Mosque in Stolac

Article · January 2005

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 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i

R e d e f i n i c i j a p r i m j e n e m e to d a z a š t i t e i
p r e z e n tac i j e g r a d i t e l j sko g n a sl i j e đ a u p ro c e su
p o sl i j e r at n e o b n ov e
-
S lu č a j Č a r š i j sk e d ž a m i j e u S to cu

R e d e f i n i t i o n o f p rot e c t i o n a n d p r e s e n tat i o n
m e t h o d s o f t h e a rc h i t e c t u r a l h e r i tag e i n t h e
p ro c e ss o f p o s t - wa r r e h a b i l i tat i o n
-
T h e c a s e o f t h e Č a r š i j a m o s qu e i n S to l ac

Amra HADŽIMUHAMEDOVIĆ
Uvod Introduction

Cilj ovog rada jeste izvijestiti o procesu
rekonstrucije Čaršijske džamije u Stocu, razlozima
koji pravdaju rekonstrukciju te građevine, sagrađene
1519. godine i srušene 1993. godine, kao i o
metodama rekonstrukcije.
Kroz rad je iskazano nastojanje dvojnog,
komplementaronog i cjelovitog pristupa
razumijevanju i vrednovanju baštine – sa fizičkog
i metafizičkog stanovišta, primjenom kriterija
određenja vrijednosti koji su zasnovani na
materijalnim iskazima i nematreijalnim sadržajima
graditeljskog naslijeđa.
Rekonstrukcija Čaršijske džamije u Stocu je
zvanično počela 2001. godine, ali su istraživanja i
priprema građe počeli već 1994. godine – kada je
bilo nedbvojbeno poznato da su hrvatske ratne vojne
i civilne vlasti HVO-a srušile sve stolačke džamije i
još tridesetak registriranih spomenika i cjelina u tom
gradu.
Zašto rekonstrukcija Čaršijske džamije u
Stocu može biti doprinos razumijevanju pristupa
zaštiti bosanskohercegovačkog naslijeđa? Brojni su
različiti mogući odgovori. Ovdje će biti ponuđeni
samo neki, koje smatramo ključnim:
1.  formalni okvir koji je korišten pri
odobravanju rekonstrukcije Čaršijske džamije u
The purpose of this paper is to report on the
process of reconstruction of the Čaršija mosque in Stol-
ac, the reasons justifying the reconstruction of a build-
ing erected in 1519 and destroyed in 1993, and the re-
construction methods applied.
The paper sets out the attempt to achieve a
dual, complementary and comprehensive approach to
understanding and valuing the heritage, from the physi-
cal and the metaphysical point of view, using the criteria
for determining values based on the tangible expression
and intangible elements of the architectural heritage.
The reconstruction of the Čaršija mosque in
Stolac officially began in 2001, but research and the
preparation of material began back in 1994, when it was
known beyond all possible doubt that the Croatian war-
time military and civilian authorities of the HVO had
destroyed all the mosques and another thirty or so listed
monuments and ensembles in Stolac.
Why is it that the reconstruction of the Čaršija
mosque in Stolac may contribute to an understanding
of the approach to heritage protection in Bosnia and
Herzegovina? There are several possible answers to this
question, but only those that we regard as key will be
addressed here:
1.  The formal context applied in granting
approval for the reconstruction of the Čaršija mosque

71 baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
Stocu bio je prototip i model praktičnog provođenja
Aneksa 8. u Bosni i Hercegovini, koji je do tada –
šest godina nakon stupanja na snagu – bio jedini dio
Okvirnog sporazuma za mir u Bosni i Hercegovini
koji nije imao ni jedan konkretan rezultat postignut
na njegovom provođenju;
2.  slučaj Čaršijske džamije u Stocu bio
je jedan od nekoliko ključnih slučajeva (Ferhadija
džamija u Banjoj Luci, Resulbegovića džamija u
Trebinju, pravoslavni samostan u Žitomislićima)
koji su usmjerili utvrđivanje oblika zakonskog i
institucionalnog okvira za provedbu Aneksa 8;
3.  rekonstrukcija Čaršijske džamije u Stocu
je prvi slučaj da je neki od bosanskohercegovačkih
spomenika koji je potpuno razoren, a njegovi ostaci
uklonjeni s mjesta na kome je bio rekonstruiran,
konsekventnom primjenom metode potpune
rekonstrukcije – anastiloze i repristinacije, gdje
anastiloza nije bila moguća;
4.  rekonstrukcija Čaršijske džamije je
promatrana i provođena kao dio procesa povratka
i uspostave pravde i okvira za dostupnost ljudskih
prava žrtvama progona u Stocu;
5.  Stočani – s obzirom na činjenicu da se
radi o maloj zajednici, tim pojmom označavamo
one kojima je Stolac mjesto porijekla i zavičaj – su
nedvosmisleno i odlučno zahtijevali rekonstrukciju
srušenih historijskih građevina i cjelina – na istom
mjestu, u istom obliku, od istih materijala od kojih
su izvorno bili;
6.  lokalna vlast je opstruirala rekonstrukciju,
a Vlada Federacije BiH je osigurala nedovoljna
sredstava za rekonstrukciju, i to tek nakon što su
radovi na njoj nezaustavljivo počeli;
7.  projekat rekonstrukcije, upravljanje
projektom, nadzor, istraživanje, dokumentiranje,
dekoracija itd., i najveći dio fizičkog rada na
rekonstrukciji bili su volonterski posao stručnjaka i
Stočana;
8.  najveći dio finansijskih sredstava osiguran
je prilozima Stočana i intelektualaca iz cijelog svijeta
koji su projekat podržali;
9.  rekonstrukcija je izvođena u krajnje
teškim uvjetima, uz minimalna raspoloživa sredstva
baština - - heritage
in Stolac was the prototype and model of practical im-
plementation of Annex 8 in Bosnia and Herzegovina,
which up to that time – six years after it came into force
– was the only part of the General Framework Agree-
ment for Peace in Bosnia and Herzegovina that had not
a single specific result to show for its implementation.
2.  The case of the Čaršija mosque in Stolac was
one of a number of crucial cases (the Ferhadija mosque
in Banja Luka, the Resulbegović house in Trebinje, and
the Orthodox monastery in Žitomislići were others) in-
tended to determine the shape to be taken by the legis-
lative and institutional framework for the implementa-
tion of Annex 8.
3.  The reconstruction of the Čaršija mosque
in Stolac was the first instance of one of Bosnia and
Herzegovina’s totally destroyed monuments, the re-
mains of which had been removed from the site, being
subsequently reconstructed using the method of full
reconstruction - anastylosis together with repristination
where anastylosis could not be applied.
4.  The reconstruction of the Čaršija mosque
was considered and carried out as part of the returns
process and the establishment of justice and a frame-
work for the victims of persecution in Stolac to exercise
their human rights.
5.  The people of Stolac – and since this is a
small town, we use the term to mean those who are na-
tives of Stolac and whose home town it is – unambigu-
ously and energetically called for the reconstruction of
the demolished historic buildings and ensembles, on the
same sites, in the same form, and of the same materials
as they were originally built from.
6.  The local authorities were obstruction the
reconstruction, and the Government of the Federation
of BiH provided insufficient funds, and then only after
the work on the mosque had reached the point at which
it could not be brought to a halt.
7.  The reconstruction project, project man-
agement, supervision, research, documentation, decora-
tion and so on, and the greater part of the physical re-
construction work, were carried out by volunteers, both
experts and local people.
8.  Most of the funding was provided by the
people of Stolac and intellectuals from around the world
72

i bez mogućnosti korištenja suvremenih tehnologija
i metoda istraživanja, snimanja, testiranja i obrade
materijala;
10.  s obzirom na nedostatnost
dokumentacije i brojnost ulomaka koji su nađeni
na deponijama, proces rekonstrukcije je bio složen,
zasnovan na metodi «igre slagalice»;
11.  ponovna ugradnja nađenog materijala
– izvorne supstance - bila je istovremeno ekonomski
racionalno rješenje i odraz jasnog metodološkog
pristupa;
12.  kroz rekonstrukciju su obnovljena
lokalna znanja o tradicionalnim metodama građenja
i pripravi i obradi građevinskih materijala;
13.  rekonstrukcija Čaršijske džamije je
postala poduhvat cijele lokalne zajednice Stočana,
uključujući i djecu, ali refleskije tog poduhvata su
dobile šire značenje.
Odgovorni konzervator za sve faze projekta
i voditelj projekta bila je Amra Hadžimuhamedović,
arhitekta. U toku istražnih radova i u toku građenja,
uspostavljena je stalna suradnja sa Zavodom za
zaštitu kulturno-historijskog i prirodnog naslijeđa
Bosne i Hercegovine i sa Zemaljskim muzejom
Bosne i Hercegovine. Suradnici, savjetnici i autori
pojedinih faza projekta su Muhamed Hamidović,
arhitekta, Emina Hašimbegović, građevinski
tehničar, Milorad Skoko, statičar (preliminarni
projekat na osnovi dokumentacije Zavoda za zaštitu
kulturno-historijskog i prirodnog naslijeđa), Sead
Hodžić, ekonomista, Esad Drljević, geometar
(elaborat fotogrametrijskih mjerenja), Mustafa
Humo, statičar (izvedbeno rješenje temelja i
krovne konstrukcije), Ahmed Šetka, inžinjer
elektrotehnike, Rusmir Mahmutćehajić, inžinjer
elektrotehnike (projekat elektro-instalacija,
gromobranskih instalacija i elaborat zaštite na radu;
pored toga, preliminarni istražni radovi, sakupljanje
i analiza arhivske građe i organizacija i promocija
projekta), Esad Vesković, konzervator za kamen
(konzervacija ulomaka kamena koji su ponovno
ugrađeni, rekonstrukcija tariha, rekonstrukcija
mihraba), Nihad Čengić, konzervator za zidnu i
drvenu dekoraciju, Elisa Stefanini, konzervator
73
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
who backed the project.
9.  The reconstruction was carried out in ex-
ceptionally difficult circumstances, with the minimum
of resources and with no opportunity of using modern
technology and methods of research, surveying, testing
and treating the materials.
10.  Given the lack of documentation and the
number of fragments found in various dumps, the re-
construction process was complex, and based on the
“jigsaw puzzle” method.
11. Reusing the materials that were found
– the original substance – was both the most economi-
cal solution and the reflection of a clear methodological
approach.
12.  The reconstruction revived local knowl-
edge of traditional building methods and of the prepa-
ration and treatment of building materials.
13.  The reconstruction of the Čaršija mosque
became an undertaking embraced by the entire local
Stolac community, including children, but the repercus-
sions of the undertaking took on a much broader sig-
nificance.
The conservator responsible for every stage of
the project, who was also the project manager, was Amra
Hadžimuhamedović, an architect. There was constant
cooperation during the investigative and building works
with the Institute for the Protection of the Cultural, His-
torical and Natural Heritage of Bosnia and Herzegovina
and with the National Museum of Bosnia and Herze-
govina. The associates, consultants and designers of the
various stages of the project were Muhamed Hamidović,
architect; Emina Hašimbegović, construction techni-
cian; Milorad Skoko, structural engineer (Preliminary
project based on documentation from the Institute for
the Protection of the Cultural, Historical and Natu-
ral Heritage); Sead Hodžić, economist; Esad Drljević,
surveyor (Study of photogrammetric surveys); Mustafa
Humo, structural engineer (working solution for the
foundations and roof structure); Ahmed Šetka, electri-
cal engineer; Rusmir Mahmutćehajić, electrical engineer
(Electricity installation project, lightning conductor in-
stallation and Safety at work project; in addition to the
above, R. Mahmutćehajić, preliminary research works,
collection and analysis of archive material and project
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
(konzervacija drveta, rekonstrukcija zidnih
floralnih dekoracija), Hazim Numanagić, kaligraf
(rekonstrukcija levhi), Lejla Hadžić, arhitekta,
Medina Hadžihasanović, arhitekta, Damir Hadžić,
arhitekta (suradnja na detaljnoj identifikaciji
ulomaka, grafičkom dokumentiranju i grafičkim
analizama, suradnja na izradi izvedbenog projekta),
Halida Mahmućehajić, arhitekta (opremanje
enterijera), Antonella Tucci, fizičar (stratigrafska
i fizička analiza maltera), Džihad Pašić, arhitekta
(nadzor implementacije finansijskih sredstava Vlade
Federacije BiH), Amer Medar, građevinski inžinjer
(nadzor nad provođenjem ugovora sa izvođačima),
Zahir Tuka, građevinski inžinjer (organizacija
gradilišta u toku istražnih radova), Nermin Tuka,
građevinski inžinjer (organizacija gradilišta i građenja
u toku rekonstrukcije), Zoran Čerkez (prezentacija
projekta i pravna pitanja), Nedžad Čerkez i Enisa
Čerkez (preliminirana identifikacija ulomaka), Huso
Duman i Salko Marić (organizacija i nadzor nad
volonterskim radom u pripremnoj i izvedbenoj fazi),
Amela Medar (organizacija rada sa djecom i mladima
u toku rekonstrukcije projekta), Adisa Isaković i
Sanel Marić (administrativni i finansijski poslovi),
Ognjen Materić, mašinski inžinjer (grafičke analize
– 3D rekonstrukcija), Vahid Tanović, mašinski
inžinjer (instalacije grijanja), Hazim Hrvatović,
geolog (ekspertiza o geomehaničkim svojstvima tla i
ekspertiza o vrstama i osobinama izvorno korištenog
kamena, kao i o nalazaštima odgovarajućeg kamena
za rekonstrukciju), Slobodan Kudra, arhitektonski
tehničar (snimanje i grafičke analize ostataka
džamije, grafičke analize dokumentacije).
Izvođenje je povjereno privatnim
poduzećima «Arhitekt» iz Mostara, čiji je vlasnik i
direktor Suada Hasanagić, arhitekta, i «Karadrvo»
iz Fojnice, čiji je vlasnik Omer Karaahmet. Svu
stolariju u bukvi i crnom boru, osim konstrukcije,
dolafa i ulaznih vrata u džamiju, izveo je ručno
Ćamil Haračić iz Stoca. Ulazna vrata u džamiju i
dolafi u javorovom i trešnjinom drvetu izvedeni
su ručno u drvorezbarskoj radionici «Nikšić» iz
Konjica. Sve dijelove od kovanog željeza – demire,
okove otvora, baglame, klinove itd., izveo je Bogdan
baština - - heritage
organization and promotion); Esad Vesković, stone
conserver (conservation of fragments of stone that were
re-used, reconstruction of the tarih – chronogram – re-
construction of the mihrab); Nihad Čengić, conserver
(reconstruction of murals and wood decoration); Elisa
Stefanini, conserver (wood conservation, reconstruction
of floral wall decorations); Hazim Numanagić, calligra-
pher (reconstruction of levhas); Lejla Hadžić, architect;
Medina Hadžihasanović, architect; Damir Hadžić, ar-
chitect (working on detailed identification of fragments,
graphics documentation and analysis, work on drafting
the working project); Halida Mahmućehajić, architect,
interior fittings; Antonella Tucci, physicist (stratigraphic
and physical analysis of plaster and mortar); Džihad
Pašić, architect (supervision of implementation of funds
provided by the Government of the Federation of BiH);
Amer Medar, structural engineer (supervision of contrac-
tors); Zahir Tuka, structural engineer (site organization
during investigative works); Nermin Tuka, structural
engineer (site organization and building during recon-
struction); Zoran Čerkez (project presentation and legal
issues); Nedžad Čerkez and Enisa Čerkez (preliminary
identification of fragments); Huso Duman and Salko
Marić (organization and supervision of volunteer work
in preparatory and executive stages); Amela Medar (or-
ganization of work with children and young people dur-
ing reconstruction project); Adisa Isaković, Sanel Marić
(administrative and financial affairs); Ognjen Materić,
computer engineer (graphic analysis – 3D reconstruc-
tion); Vahid Tanović, engineer (heating installation);
Hazim Hrvatović, geologist (expert opinion on the geo-
mechanical characteristics of the soil and expert opinion
on the types and characteristics of the stone originally
used and sites of suitable stone for reconstruction); Slo-
bodan Kudra, architectural technician (survey/record-
ing and graphic analysis of remains of mosque, graphic
analyses of documentation).
The works were entrusted to two private com-
panies: Arhitekt, of Mostar, of which the owner and
director is architect Suada Hasanagić, and Karadrvo,
of Fojnica, owned by Omer Karaahmet. All the wood-
work in beech and Austrian pine, apart from the sruc-
ture, dolafs and entrance doors to the mosque, was hand
made by Ćamil Haračić of Stolac. The entrance doors
74

Nikolić iz Stoca.
Majstori zidari, tesari i krovopolagači, kao
i njihovi pomoćnici, su bili Stočani. Više stotina
Stočana pomagali su volonterski svakodnevno, u
toku dvije godine, pri izvođenju fizičkih istražnih
i građevinskih radova; više stotina građana Stoca
je rekonstruciju Čaršijske džamije pomoglo
organiziranjem ishrane za radnike, organiziranjem
smještaja za stručnjake koji nisu Stočani,
organiziranjem izložbi, predavanja i predstava o
stolačkom kulturnom pamćenju za djecu i odrasle.
Istražne radove i rekonstrukciju su pratili i policija
UN-a i međunarodne vojne snage – Španski
bataljon, izrađujući svakodnevno detaljne i precizne
video i fotografske snimke, sa zemlje i iz zraka, svih
nalaza i svih faza rada. Rekonstrukciji Čaršijske
džamije svoj doprinos su radom dali Bošnjaci, Srbi,
Hrvati, Francuzi, Britanci, Amerikanci, Italijani –
muslimani, jevreji, katolici, pravoslavci, anglikanci
i drugi. Pristup očuvanju Čaršijske džamije u Stocu
kroz proces njene rekonstrukcije u potpunosti je
odslikao među ljudima koji su bili uključeni u taj
proces razumijevanje naslijeđa na način kako je
ono definirano članom 2. Okvirne konvencije o
vrijednosti kulturnog naslijeđa za društvo.
Historijski osvrt
Stolačka čaršija smještena je u središtu
stolačke kotline, neposredno ispod utvrđenog
Starog grada Stoca (u srednjovjekovnim i turskim
dokumentima spominjanog kao Vidoški), na lijevoj
obali Bregave. Dolina rijeke Bregave i stolački
kraj bili su naseljeni u kontinuitetu od paleolita
do suvremenog doba. Najraniji tragovi ljudskog
djelovanja mogu se smjestiti 12. 000 godina unatrag
u historiju.
Nema historijskih dokumenata niti
materijalnih izvora kojima je moguće pokazati da je
središte naselja i u jednom ranijem razdoblju bilo na
području sadašnje Čaršije. Središte se, u različitim
) Framework Convention on the Value of Cultural Heritage for Society,
Vijeće Evrope, Faro, 27. oktobar, 2005.
75
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
and dolafs were hand made in maple and cheery wood
in the Nikšić woodcarving studio in Konjic. All the
wrought iron elements – window bars, door and win-
dow furniture, hinges, nails etc.- were made by Bogdan
Nikolić from Stolac.
The masons, carpenters and roofers and their
assistants were all from Stolac. Several hundred Stolac
residents worked on a voluntary basis every day for two
years on the physical investigative and building works;
several hundred more Stolac residents helped in the re-
construction of the Čaršija mosque by organizing meals
for the workers, providing accommodation for experts
not from Stolac, and holding exhibitions, lectures and
presentations for children and adults on the cultural
memory of Stolac. The investigative and building works
were also assisted by the UN police and international
military force (the Spanish battalion), who daily carried
out accurate and detailed video and photographic re-
cordings on the ground and from the air of all the finds
and every stage of the works. Bosniacs, Serbs, Croats,
French, British, Americans and Italians – Muslims, Jews,
Catholics, Orthodox Christians, Anglicans and others
– all helped in the reconstruction of the Čaršija mosque.
The approach to the preservation of the Čaršija mosque
in Stolac through the process of reconstruction was per-
fectly reflected among the people involved in the proc-
ess of understanding the heritage as defined by Article 2
of the Framework Convention on the Value of Cultural
Heritage for Society..
Historical overview
The Stolac čaršija lies in the centre of the Stolac
valley, just beneath the old Stolac fort (referred to in me-
diaeval and Turkish documents as Vidoški), on the left
bank of the river Bregava. The Bregava valley and the
Stolac area have been inhabited without a break since
Palaeolithic times. The earliest human traces in the area
can be dated to 12,000 years ago.
There are no historical documents or material
sources to prove that the centre of the settlement was at
) Framework Convention on the Value of Cultural Heritage for Society,
Council of Europe, Faro, 27 October 2005.
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
historijskim razdobljima i različitim društvenoim i
političkim prilikama, premještalo (Badanj, Vrsnik,
Čairi, Koštun, Daorson, Zagrad, Luka...). Stari
naseljeni toponimi koji su izravno orijentirani na
sadašnju Čaršiju su Basilije, Ošanići, Dragovilje,
Humčine, itd. Nekropole stećaka u stolačkom kraju
su brojne i velike, što svjedoči da je kraj bio gusto
naseljen. Do sada, u središtu sadašnjeg Stoca, nisu
nađeni stećci, čak ni kao ugrađeni u dijelove kasnijih
građevina.
Ako je sadašnji središnji dio Stoca bio
u srednjovjekovnom razdoblju mjesto Stolac,
onda je taj dio u razdoblju stolačke historije prije
početka 16. stoljeća bio potpuno nenaseljen, ili je
prolazio fazu diskontinuiteta. U sumarnom popisu
Bosanskog sandžaka iz 1468/1469. godine, Stolac,
sa drugim imenom Viduška ili Vidoška, opisuje se
kao naselje sa 3 vinograda, 11 kuća, 6 neoženjenih
i 4524 akči prihoda, i pusto mjesto Stolac/Istolce
sa dva vinograda, polovinom mlina sa prihodom od
500 akči godišnje. Međutim, krajem 15. stoljeća,
stolačka Čaršija počinje svoj razvitak, oko velike
čatrnje, ispred sadašnje Čaršijske džamije. Vidoški
(ili utvrđeni Stari grad Stolac), bio je sve do polovine
17. stoljeća zapušten i nekorišten, što svjedoči
da Stolac nije bio vojno-strateški važno mjesto
u prvim stoljećima Osmanske imperije. Iz jedne
bibliografske bilješke iz 1593. godine, moguće je
utvrditi da je tvrđava Vidoški u vilajetu Hercegovini
1593. godine bila ruševna. Nema izvora u kojima
se spominju bojevi i bune u stolačkom kraju, niti
otpori uspostavi nove vlasti. Potreba za obnavljanjem
tvrđave i uspostavom straže i vojne postaje nastala je
nakon Kandijskog rata (1645-1699), kada su počeli
česti upadi uskoka iz Dalmacije u Stolac.
Početkom 16. stoljeća, započinje pretvaranje
u to doba nenaseljenog prostora u kasabu. Uz staru
čatrnju, na mjestu Stare musalle, započela je gradnja
Čaršijske džamije, poznate u narodu i kao Stari
) Azra Gadžo-Kasumović, «Stolac u osmanskom periodu”, Hercegovina,
Mostar, 2001.
)Hivzija Hasandedić, Muslimanska baština u istočnoj Hercegovini, El-Ka-
lem, Sarajevo, 1990.
baština - - heritage
one time on the site of the present-day čaršija. At vari-
ous historical periods and in differing social and politi-
cal circumstances, it shifted from place to place (Badanj,
Vrsnik, Čairi, Koštun, Daorson, Zagrad, Luka etc). Old
toponyms explicitly relating to the present-day čaršija
are Basilije, Ošanići, Dragovilje, Humčine, etc. There
are many sizeable stećak necropolises in the Stolac area,
which is evidence that the area was densely populated.
Thus far no stećak tombstone has been found in the
centre of present day Stolac, not even built in as part of
later buildings.
If the present day centre of Stolac was the set-
tled area of Stolac in the mediaeval period, then during
the period of Stolac’s history prior to the early 16th cen-
tury the area was wholly uninhabited or went through
a stage of discontinuity. In the summary census of the
Bosnian sanjak for 1468/69, Stolac, with its alternative
name Viduška or Vidoška, was described as a settlement
with three vineyards, eleven houses, six bachelors and
4524 akčas revenue, and the abandoned site of Stolac/Is-
tolce with two vineyards, half a mill with revenue of 500
akčas a year. However, in the mid fifteenth century the
development of the Stolac čaršija began around the great
well outside the present-day Čaršija mosque. Right up
to the mid seventeenth century Vidoška (or the fortified
old town of Stolac) was abandoned and unused, which
is evidence that Stolac was not a place of any military
strategic importance in the early centuries of the Otto-
man Empire. From a bibliographical note dated 1593 it
can be ascertained that the fortress of Vidoška in the vi-
layet of Herzegovina was in ruins in 1593. There are no
sources referring to battles or insurrections in the Stolac
area, nor to resistance to the establishment of the new
rule. The need to restore the fortress and post guards
and a military garrison there arose following the Can-
dian War (1645-1699) when frequent attacks on Stolac
) The earliest reference to the name Vidoška dates from 1444. It was
used to designate the Stolac nahija in Turkish documents right up to the
eighteenth century
) Azra Gadžo-Kasumović, “Stolac u osmanskom periodu” (Stolac in the
Ottoman Period), Hercegovina, Mostar, 2001
)Hivzija Hasandedić, Muslimanska baština u istočnoj Hercegovini
(Muslim Heritage in Eastern Herzegovina), El-Kalem, Sarajevo, 1990.
76

mesdžid, Carska džamija, Džamija jedanaset direka,
Džamija na Tepi, a u pisanim izvorima navedenim
imenima dodaju se imena tadašnjeg cara sultana
Selima Javuza. Čaršijska džamija je sagrađena
1519. godine i predstavlja najstariju poznatu veću
građevinu u stolačkoj Čaršiji i jednu od najvećih
džamija u Bosni. Dva su objekta u džamijskoj
cjelini, koja su po svemu sudeći stariji od džamije,
sačuvani do danas. U njezinom dvorištu, lijevo
od ulaza u sofe, sačuvani su stara čatrnja i kamen
usmjeren prema kibli, koji je služio kao namaz-taš.
Namaz-taš (kamen na kome se obavlja molitva na
otvorenom prostoru - kamena sedžada), kao oznaka
mjesta za obavljanje molitve i usmjerenja prema
kibli, smješten je lijevo od ulaza u džamijske sofe.
Sve do 1939. godine, kada je prekriven slojem
betona, stari namaz-taš služio je kao čisti kamen na
koji niko nečistom ili obuvenom nogom nije stao i
na kome je bilo osigurano mjesto klanjanja putniku
namjerniku. Postoji predaja da su još u 14. stoljeću
u Bosni i Hercegovini postavljani slični kamenovi,
koja se u Stocu dovodi u vezu sa nazivom koji je
taj prostor zadržao - «Stara musalla» ili «mjesto
obavljanja zajedničke molitve na otvorenom», ali
to ne može biti korišteno za utvrđivanje stvarnog
vremena postavljanja kamena koji je obilježavao
smjer kible u središtu današnjeg Stoca. (slika 1)
«U predtursko doba nalazio se na sred stolačke
čaršije pravoslavni manastir i groblje oko njega. Priča
se da je džamija sagrađena na temeljima manastira
i da se ova mahala ranije zvala Carina.» Navod iz
časopisa “Srđ”, s početka 1902. godine, koji Ivo
Banac pripisuje Milanu Rešetaru, skrivanom iza
pseudonima Šetar, prihvaćen je kroz cijelo stoljeće
kao nagađanje koje se usputno spominjalo i koje
nije bilo moguće provjeriti. Nakon što je 1993.
godine srušena Čaršijska džamija i cijela Čaršija u
Stocu, lokalne vlasti i lokalna katolička crkva su
se pozivali na navod iz “Srđa” kada su tvrdili da
je džamija bila sagrađena na temeljima katoličke
) Anonim, «Stolac i Rizvanbegovići», Srđ, Dubrovnik, I, broj 7 od 16.
aprila 1902.
77
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
by fugitives from Dalmatia began.
In the early 16th century the transformation be-
gan of this uninhabited area into a kasaba or town. The
construction of the čaršija mosque began alongside the
old well, on the site of the old musalla. The mosque is
also known to the local people as the Old Masjid, the
Carska or Imperial mosque, the Mosque with Eleven
Pillars, the Mosque in the Tepa, and these names are
joined in written sources by the name of the then Sul-
tan, Selim Yavuz. The Čaršija mosque was erected in
1519 and is the oldest known sizeable building in the
Stolac čaršija, and indeed one of the largest mosques in
Bosnia and Herzegovina. Two structures forming part
of the ensemble of the mosque, which to all appearances
are older than the mosque itself, have survived to this
day. In the courtyard, to the left of the entrance to the
sofas (porch), an old well and a namaz-taš or stone facing
the qibla, which served as a prayer stone, have been pre-
served. The namaz-taš, where prayers were performed
in the open, stands to the left of the entrance to the sofas
of the mosque. Until 1939, when it was covered with
a layer of concrete, the old namaz-taš served as a clean
stone on which no one would stand who was not in a
state of purity or who was wearing shoes, and at which
passers-by had a safe place to pray. There is a tradition
that similar stones were placed in Bosnia and Herzegovi-
na as long ago as the 14th century; in Stolac this tradition
is linked with the name the place retained, “old musalla”
or the place where communal prayers were performed
in the open, but this cannot be taken as confirmation of
the actual date when the stone was placed to mark the
direction of the qibla in the centre of present-day Stolac
(illus. 1).
“In pre-Ottoman times there was an Orthodox
monastery and surrounding graveyard in the middle of
the Stolac čaršija. It is said that the mosque was built on
the foundations of the monastery and that this mahala
was previously known as Carina.” This quotation from
the periodical Srđ from early 1902, which Ivo Banac
ascribes to Milan Rešetar, using the pseudonym Šetar,
was regarded throughout the century as speculation,
) Anon, “Stolac i Rizvanbegovići” (Stolac and the Rizvanbegović family),
Srđ, Dubrovnik, I, no. 7, 16 April 1902
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
crkve. Tokom 2001. godine su, prije pristupanja
rehabilitaciji srušene džamije, provedena sondažna
istraživanja, koja su pokazala da na prostoru objekta
džamije nema dubljih slojeva, da su džamijski temelji
kompaktni i rađeni istovremeno sa zidovima, da na
ostacima zidova nisu vidljive promjene (zazidavanje
otvora, prezidavanje i slično). Tokom radova na
rehabilitaciji džamije, snimljeni su svi iskopi koji
su rađeni; u zemlji su nađeni fragmenti od oko 200
nišana za koje nisu postojali raniji snimci, a nije
pronađen ni jedan trag starije gradnje. Navod iz
“Srđa” pokazao se potpuno neutemeljenim.
Uz Čaršijsku džamiju je sagrađen mekteb
(sibjan mekteb) i oko nje podignut harem. Stolačka
tepa nastala je neposredno ispred džamije, a okružena
je dućanima koji su struktuirali Čaršiju. Historijski
nastanak i razvoj javnih ustanova, dobrotvornih
institucija, javnih, trgovačkih, proizvodnih i drugih
objekata, koji su sačinjavali stolačku Čaršiju, vezan
je za uspostavu vakufa (zaklade). Brojni stolački
vakufi u Čaršiji, koja se razvija od kraja 15. stoljeća,
su zagubljeni i uništeni. Sačuvani su uglavnom
dokumenti o zakladama koje su održane u fizičkom
obliku do 1993. godine. U Stocu i okolici registrirano
je više od 80 vakifa, što znači više nego u svim ostalim
hercegovačkim mjestima, izuzev Mostara. Među
stolačkim vakifima najznačajnije zadužbine ostavili
su silahdar Husein-paša Šarić, hadži Salih Buro,
Ismail-kapetan Šarić, hadži Alija Hadžisalihović i
Ali-paša Rizvanbegović.
Najznačajnija građevina u Čaršiji –
musafirhana (prenoćište, gostinjac) pripada vakufu
najvećeg poznatog stolačkog vakifa silahdara Husein–
paše iz znamenite porodice stolačkih kapetana Šarića.
U musafirhani u Čaršiji svaki je putnik namjernik
imao osigurano besplatno prenoćište i hranu.
Silahdar Husein-paša je oko musafirhane sagradio
deset dućana, od čije se kirije osiguravala hrana za
namjernike i od čega se održavala musafirhana. Dio
) vidjeti, na primjer pamflete sa okruglog stola održanog 5. septembra
2001. godine, kada je počela rekonstrukija Čaršijske džamije, objavljene
u knjizi Stolac mjesto spora umjesto razgovora, Općinsko poglavarstvo
Stoca, Ured načelnika, Stolac, 2002.
baština - - heritage
mentioned in passing and impossible to verify. After
the destruction in 1993 of the Čaršija mosque and the
entire čaršija in Stolac, the quotation from Srđ was taken
up by the local authorities and local Catholic Church
when they claimed that the mosque had been built on
the foundations of a Catholic church. In 2001, exten-
sive investigations were made prior to embarking on
the rehabilitation of the demolished mosque, which
demonstrated that there were no deeper layers on the
site of the mosque, that the mosque foundations were
all of a piece and built at the same time as the walls,
and that there were no visible signs of alterations to the
walls (walling up apertures, building on etc.) During
the rehabilitation works on the mosque all the excava-
tions conducted were surveyed; fragments of about 200
nišan tombstones were found in the soil of which there
had been no previous record, and not one trace of ear-
lier construction was found. The quotation from Srđ
proved to be entirely without foundation.
A mekteb (sibjan mekteb) or Islamic primary
school was built alongside the mosque, and a harem
or courtyard was built around it. The Stolac tepa came
into being just outside the mosque, and was surrounded
by the shops that structured the čaršija. The historical
origins and development of the public and charitable
institutions, public buildings, commercial and manu-
facturing facilities and so on, which constituted the
Stolac čaršija, are associated with the establishment of
vakufs or perpetual endowments. Many of the Stolac
vakufs in the čaršija, which developed from the late 15th
century on, have been lost or destroyed. For the most
part the documents that have been preserved are those
pertaining to properties that survived until 1993. More
than 80 vakufs were registered in and around Stolac,
more than anywhere else in Herzegovina other than
Mostar. Among the vakifs of Stolac those who left the
most significant endowments were Silahdar Husein-
pasha, hajji Salih Buro, Ismail-kapetan Šarić, hajji Alija
Hadžisalihović and Ali-pasha Rizvanbegović.
) see, e.g., the pamphlets on the round table held on 5 September 2001,
when the reconstruction of the Čaršija mosque began, published in book
form as Stolac mjesto spora umjesto razgovora (Stolac, a Place of Discord rather
than Discussion), Stolac Municipality, Office of the Mayor, Stolac, 2002.
78

prihoda je bio namijenjen za plaću učitelja i posluge
u mektebu Čaršijske džamije. Silahdar Husein-
paša je živio u Istanbulu krajem 16. i početkom
17. stoljeća i obavljao je visoku dužnost na dvoru.
Njegovim vakufom upravljala je porodica Šarić.
Godine hidžr. 1226 (1811), izdat je carski berat
o upravljanju vakufom silahdara Husein-paše.
U skladu sa vakufnamom, vakufom je najprije
upravljao Osman-kapetan Šarić, a nakon njegove
smrti Ismail-kapetan Šarić, a nakon njegove smrti
Husein-kapetan Šarić.
Stolačka Čaršija je bila carska čaršija
“suki sultani” ili središnji javni gradski trg, na
kome su se čitale i javnosti obznanjivale carske
naredbe (fermani), vršile javne prodaje pokretne
i nepokretne imovine, pozivani ratnici u boj, i sl.
Daljnjim razvojem vakufa u Stocu, oko džamije su
sagrađeni dućani, a jugoistočno od nje prostirao se
harem. Veliki harem bio je smješten i iza niza dućana
i magaza sjeveroistočno od džamije.
Sjeverozapadno od ulaza u džamiju, na
prostoru omeđenom dućanima i musafirhanom,
održavala se trgovina poljoprivrednim proizvodima.
Taj prostor zove se tepa. Tu, kao i u većini
bosanskohercegovačkih čaršija, bili su izmiješani
sadržaji sakralnih, javnih humanitarnih ustanova,
zanatskih radnji, trgovine i zelene pijace. Dio
običajne predaje bio je pazarni dan, snažan etnološki
Sl.1/Ill.1
Namaz-taš – kamen za klanjanje usmjeren prema kibli – kamena sedžada
Namaztaš – prayer stone, facing the qibla – a stone prayer mat
79
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
The most important building in the čaršija
(the musafirhana) belongs to the vakuf of the greatest
known Stolac vakif (legator), Silahdar Husein–pasha of
the famous Stolac kapetan family Šarić. Every chance
traveller was entitled to free overnight accommodation
and food. Silahdar Husein-pasha also built ten shops
around the musafirhana, the rents from which were
used to maintain and repair the musafirhana, and part
of the revenue was also intended to pay the teacher and
staff of the mekteb of the Čaršija mosque. Silahdar Hu-
sein-pasha lived in Istanbul in the late 16th and early 17th
century and held high office at court. His vakuf was
managed by the Šarić family. In 1226 AH (1811 CE) an
imperial berat (decree) was issued on the management
of the vakuf of Silahdar Husein-pasha. Pursuant to the
vakufnama, the vakuf was originally managed by Os-
man-kapetan Šarić, followed after his death by Ismail-
kapetan Šarić, and after him Husein-kapetan Šarić.
The Stolac čaršija was an imperial čaršija, “suki
sultan”, or central public town square, on which firmans
or imperial decrees were read out in public, and the pub-
lic sale of movable and immovable property was con-
ducted, soldiers were summoned to battle, and so on.
With the further development of vakufs in Stolac, shops
were built around the mosque and the harem extending
south-eastwards from the mosque. The great harem was
located behind a row of shops and storerooms to the
north-east of the mosque.
To the north-west of the entrance to the
mosque, in an area surrounded by shops and the
musafirhana, agricultural products were traded. This
was the area known as the tepa. Here, as in the major-
ity of the čaršijas of Bosnia and Herzegovina, there was
a mixture of religious, public and charitable buildings,
artisans, merchants and traders and a vegetable market.
Part of everyday custom was market day, a powerful
ethnological factor in the formation of the Stolac herit-
age, when people from the surrounding area assembled
in the town centre and traded not only goods but also
the folk tales and customs comprised in costume, song,
the sale of hand-crafted items and dairy products made
in the traditional manner from goats’, sheep’s or cow’s
milk and meat. In Stolac this mixture of content, which
contributed to the highly public nature of the area, was
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
činitelj oblikovanja stolačkog naslijeđa, kada su se u
središtu grada okupljali stanovnici okolnih naselja, i
uz trgovinu razmjenjivali predaje, narodne običaje,
sadržane u nošnji, pjesmama, prodaji ručno rađenih
predmeta i na tradicionalan način pripremljenih
proizvoda od kozijeg, ovčijeg i kravljeg mlijeka
i mesa. U Stocu je miješanje tih sadržaja, što je
doprinosilo visokom stepenu javnosti prostora,
sačuvano do sedamdesetih godina 20. stoljeća, kada
je sagrađena nova tepa na mjestu Čaršijskog ili
Askerskog harema, jugoistočno od džamije.
Sredinom 17. stoljeća, Stolac je postao
kadiluk i obuhvatao je nahije Viduška i Dabri.
Vremenom je stolačka Čaršija razvijena duž
rijeke Bregave, zapadno i sjeverno od središta oko
Čaršijske džamije, koje danas nazivamo čaršijom
uz džamiju. Mala čaršija razvila se uz Podgradsku
džamiju, a Ćuprijska čaršija je razvijena oko hamama
i Ćuprijske džamije. Nizovi privrednih i javnih
građevina povezivali su Malu i Ćuprijsku čaršiju
sa Carskom i tako činili stolačku Čaršiju. Unutar
tako razvijene čaršije, oko tri središta različite snage
u strukturi grada, kroz historiju su nastajale javne
građevine: hamam, sahat-kula, dershana, kiraethana,
mektebi i tri hana.
Na osnovi deftera iz 18. stoljeća, moguće je
utvrditi da su u Stocu u to doba bili prisutni sljedeći
zanati: terzije, berberi, sarači, tabaci. Stolačka čaršija
sastojala se od oko 150-200 dućana, među kojima
je bilo i kafana i birtija. Stolački trgovci održavali su
trgovačke veze sa Gabelom, Dubrovnikom, pa čak i
Kairom.
Krajem 19. stoljeća, Čaršijska džamija i
stolačka Čaršija su bile u lošem stanju; krov džamije
je bio oštećen, a mnogi dućani zatvoreni, što svjedoči
i o teškim ekonomskim prilikama kroz koje je Stolac
prolazio u to doba. Početkom 20. stoljeća, Čaršiju je
zahvatio požar koji je značajno oštetio i džamiju.
U samom središtu Čaršije, uz Čaršijsku
džamiju, prostirali su se haremi sa starim grobljima,
od kojih su najveća bila smještena jugoistočno i
sjeveroistočno od džamije. Godine 1955, Državni
sekretarijat za poslove opšte uprave i budžeta NR
BiH, na prijedlog Narodnog odbora sreza stolačkog,
baština - - heritage
preserved until the 1970s, when a new tepa was built on
the site of the Čaršija or Asker harem, south east of the
mosque.
In the mid seventeenth century Stolac be-
came a kadiluk, taking in the nahijas of Viduška and
Dabri. Over time the Stolac čaršija expanded along
the river Bregava, west and north of the centre around
the Čaršija mosque that is now known as the čaršija
by the mosque. The small čaršija developed alongside
the Podgrad mosque, and the Ćuprija (bridge) čaršija
around the hammam and Ćuprija mosque. Rows of
commercial and public buildings linked the small and
Ćuprija čaršijas with the Carska or imperial čaršija to
form the Stolac čaršija. Within the čaršija in this form,
around three centres of various importance in the struc-
ture of the town over the centuries, public buildings
were erected: the hammam, clock tower, dershana where
classes were held, the kiraethana or recitation room, the
mekteb, and three hans (inns or hostels).
It has been established from 18th century defters
that at that time the following crafts were present in
Stolac: terzije (tailors in fine quality cloth), berberi (bar-
bers or barber-surgeons who also circumcized Muslim
boys), sarači (leather workers and saddlers), and tabaci
(tanners). The Stolac čaršija consisted of some 150 to
200 shops, among them coffee-houses and inns. The
traders of Stolac maintained trading links with Gabela,
Dubrovnik, and even Cairo.
At the end of the 19th century the Čaršija
mosque and Stolac čaršija were in very poor condition:
the roof of the mosque was damaged and many of the
shops were closed, evidence of the difficult economic
circumstances of Stolac at that time. In the early 20th
century the čaršija was swept by fire, which also caused
considerable damage to the mosque.
The harem with its old graves lay at the very
centre of the čaršija, alongside the Čaršija mosque; most
of the graves were to the south-east and north-east of
the mosque. In 1955 the State Secretariat for General
Administrative Affairs and Budget of NRBiH, at the
proposal of the National Committee of Stolac County,
issued a ruling for the expropriation of the harem of
the Čaršija mosque with an area of 1536 sq.m. for the
purpose of building a children’s playground. The old
80

donio je rješenje da bude izvršena eksproprijacija
harema Čaršijske džamije u površini od 1536 m2 u
svrhu izgradnje dječijeg igrališta. Tako je uništeno
staro Askersko groblje neposredno uz džamiju,
jugoistočno od nje. Iste godine, Državni sekretarijat
za poslove opšte uprave i budžet NR BiH donio je
rješenje kojim se odobrava Narodnom odboru sreza
stolačkog da izvrši potpunu ekspropijaciju groblja
smještenog sjeveroistočno od Čaršijske džamije,
na k. č. broj II/322, poznatog kao Veliki harem, u
ukupnoj površini od 8 340 m2 u svrhu izgradnje niže
realne gimnazije u Stocu. Tokom vođenja postupka
eksproprijacije, načelnik Upravno-pravnog odjeljenja
Državnog sekretarijata piše NO-u stolačkog sreza:
“Molite se da preispitate obim eksproprijacije, pošto je
mišljenje ovog Sekretarijata da je površina zemljišta
od 8340 m2 suviše velika za navedenu svrhu.” Na
to sekretar NO-a stolačkog sreza odgovara: “...
Smatramo da nije prevelika, obzirom da škola treba
da ima školsko dvorište, kao i to da se na tom prostoru
nalazi spomenik palim borcima iz II svjetskog rata.”
Pri izgradnji gimnazije i “spomenika palim
borcima iz II svjetskog rata” srušen je niz dućana i
magaza ispred Velikog harema, koji je pripadao
stolačkim vakufima i predstavljao dio stolačke
Čaršije.
Mekteb u dvorištu džamije je srušen u isto
vrijeme kada je vršena eksproprijacija džamijskog
zemljišta, a na njegovom mjestu je sagrađena
prodavnica sa ravnim krovom.
Sedamdsetih godina 20. stoljeća, nastavljeno
je razaranje stolačke Čaršije, kada je niz dućana
zamijenjen sadašnjom robnom kućom i trgovačko-
administrativnim objektom, u kome je smješten dio
općinskih službenih prostorija.
Čaršijska džamija u Stocu bila je pravno
zaštićena kao spomenik najviše vrijednosti za Bosnu
i Hercegovinu od 1952. godine, kako slijedi:
•  na osnovi zakonske odredbe, a rješenjem
Zavoda za zaštitu spomenika kulture i prirodnih
rijetkosti NR BiH u Sarajevu, broj 799/52 iz 1952.
godine, Careva džamija u Stocu zaštićena je kao
spomenik kulture;
•  na osnovi zakonske odredbe, a rješenjem
81
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
Asker (soldiers’) graveyard right by the mosque to the
south-east was destroyed in this way. That same year
the State Secretariat for General Administrative Affairs
and Budget of NR BiH issued another Ruling author-
izing the National Committee of Stolac county to ef-
fect the complete expropriation of the burial ground to
the north-east of the Čaršija mosque, on cadastral plot
II/322, known as the Great Harem, with a total area of
8340 sq.m., for the purpose of building a general pro-
gramme gymnasium high school in Stolac. During the
process of expropriation the head of the Administrative
and Legal Department of the State Secretariat wrote to
the National Committee of Stolac county: “Please recon-
sider the extent of the expropriation, since it is the view of
this Secretariat that the area of the site of 8340 sq.m. is too
large for the said purpose.” The Secretary of the National
Committee of Stolac county replied: “We are of the view
that it is not too large, given that the school should have
a school yard and that the monument to fallen soldiers of
World War II stands on the site.”
During the erection of the high school and the
“monument to fallen soldiers” a row of shops and store-
houses outside the Great Harem was demolished, which
belonged to the Stolac vakufs and were part of the Stolac
čaršija.
The mekteb in the mosque courtyard was de-
molished at the same time as the expropriation of the
mosque land, and a shop with a flat roof was erected on
the site.
In the 1970s the dismantling of the Stolac
čaršija continued when a row of shops was replaced by
the present day department store and business and of-
fice premises where part of the municipal offices were
also housed.
From 1952 on, the Čaršija mosque in Stolac
was subject to legal protection as a monument of the
highest value for Bosnia and Herzegovina, as follows:
•  Pursuant to the provisions of the law, and
by ruling of the Institute for the Protection of Cultural
Monuments and Natural Rarities of NR BiH in Sara-
jevo, no. 799/52, dated 1952, the Careva mosque in
Stolac was protected as a cultural monument.
•  Pursuant to the provisions of the law, and
by ruling of the Institute for the Protection of Cultural
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
Zavoda za zaštitu spomenika kulture i prirodnih
rijetkosti NR BiH u Sarajevu, broj 02-833-3 iz
1962. godine, Careva džamija u Stocu upisana je u
Registar nepokretnih spomenika kulture pod brojem
123;
•  Prostornim planom Republike Bosne i
Hercegovine do 2002. godine, Čaršijska (Careva)
džamija je evidentirana i valorizirana kao spomenik
I kategorije.
U ljeto 1993. godine, Čaršijska džamija
sa cijelom stolačkom Čaršijom je srušena, a njeni
ostaci su kamionima odvezeni u korita rijeka
Bregave i Radimlje.
Srušen je spomenik palim borcima iz II
svjetskog rata na Velikom haremu, a u njegovoj
blizini je postavljen spomenik četničkom vojvodi iz
19. stoljeća, pred kraj turske vladavine, katoličkom
svećeniku, don Ivanu Musiću, u čiji postament su
ugrađeni dijelovi kamena srušene džamije.
•  Na Privremenoj listi nacionalnih
spomenika Komisije za očuvanje nacionalnih
spomenika pod rednim brojem 579, Careva
džamija u Stocu registrirana je kao «Mjesto Careve
džamije i njenog bazara u starom gradu».
•  Federalno ministarstvo prostornog
uređenja i okoliša je donijelo rješenje (broj
UPI/02-23-2-83/01, od 26. septembra 2001.
godine) kojim se daje Odobrenje za građenje
– ponovnu uspostavu džamijske cjeline: Čaršijske
(Sultan Selimove, Careve) džamije sa pripadajućim
dvorištem i haremom, šadrvanom, čatrnjom,
ogradnim zidovima i ostalim uništenim dijelovima
graditeljske cjeline u Stocu na k.č. broj: II/218,
II/219, II/220, k.o. Stolac, općina Stolac, čija
ukupna površina iznosi 1436 m2 i koja je posjed
Islamske vjerske zajednice, Vakufskog povjerenstva
u Stocu.
baština -
Monuments and Natural Rarities of NR BiH in Sara-
jevo, no. 02-833-3 dated 1962, the Careva mosque in
Stolac was entered in the register of immovable cultural
monuments under serial no. 123.
•  The Regional Plan for the Republic of Bos-
nia and Herzegovina to 2002 recorded and listed the
Careva mosque as a Category 1 monument.
In the summer of 1993 the Čaršija mosque
and the entire Stolac čaršija was razed to the ground and
the remains taken away in lorries and dumped in the
Bregava and Radimlja riverbeds.
The monument to “fallen soldiers of World
War II” in the Great Harem was destroyed, and close
to it a monument to the nineteenth century Chetnik
military leader and Catholic priest Ivan Musić (active
towards the end of Turkish rule) was set up on a pedestal
built from the stone of the demolished mosque.
•  The Careva mosque in Stolac is registered as
the “site of the Careva mosque and its bazaar in the old
town” on the Provisional List of National Monuments
of the Commission to Preserve National Monuments,
under serial no. 579.
•  The Federal Ministry of Regional Planning
and the Environment issued a Ruling (no. UPI/02-23-
2-83/01 dated 26 October 2001) granting permission
for the construction or rebuilding of the mosque ensem-
ble of the Čaršija (Sultan Selim, Careva) mosque and its
accompanying courtyard and graveyard, fountain, well,
surrounding walls and other destroyed elements of the
architectural ensemble in Stolac (on cadastral plots nos.
II/218, II/219, II/220, cadastral municipality Stolac,
Stolac Municipality, with a total surface area of 1436 m2
and which is the property of the Islamic Community,
Vakuf Commission of Stolac).
- heritage 82

Opis graditeljske cjeline Čaršijkse
džamije
Graditeljska cjelina u čijem središtu se nalazi
Čaršijska džamija sastoji se od džamije sa haremom
i pratećim sadržajima: musafirhana, Tepa, tepica sa
vagom, dućani i kiraethana. Prostor Čaršijske džamije
je mjesto Stare musalle, oblikovane u formi sedžade,
s vrhom usmjerenim prema smjeru klanjanja (kibli).
(slika 2)
Vrlo je vjerovatno da je nenaseljeno središte
doline, kao njena najniža tačka, odabrano za izgradnju
prve džamije, oko koje je potom razvijeno naselje, sa
javnim sadržajima, neposredno uz džamiju, a privatnim
smještenim odvojeno i okrenutim prema džamiji. Takav
položaj džamije u najnižoj tački grada, dok su prema
njoj okrenute sve građevine koje je okružuju i koje su na
kotama višim od njenih, karakterističan je za strukturu
bosanskih gradova nastalih u ozračju muslimanske
tradicije, s obzirom da takav položaj središnje džamije
predodređuje i oblikovanje gradskog središta u dijelu
grada gdje se sustiču silnice gravitacije. Za razliku
od odabira mjesta džamija, crkve su (i pravoslavne i
katoličke) najčešće postavljene na najuzdignutijem
i najistaknutijem mjestu u gradu i one su okrenute
prema ostalim građevinama koje su ispod njih.
Džamijsku cjelinu čine džamija, čatrnja,
harem uz džamiju, šadrvan u osovini portala, gusulhana
Sl.2/Ill.2
Osnova stolačke Čaršije sa Čaršijskom džamijom u središtu (1)
Plan of the Stolac čaršija with the Čaršija mosque in the centre (1)
83
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
Description of the
architectural ensemble of the
Čaršija mosque
The architectural ensemble with the Čaršija
mosque at its centre consists of the mosque, its court-
yard and ancillary facilities, the musafirhana, the Tepa,
the pavilion with scales, shops, and the kiraethana. The
site of the Čaršija mosque was that of the old musalla,
laid out in the shape of a prayer mat, with the top fac-
ing the qibla or direction of prayer (illus. 2).
It is very likely that the uninhabited centre of
the valley, as the lowest point, was chosen to build the
first mosque, around which the settlement then de-
veloped with its various public buildings immediately
alongside the mosque and private buildings separate,
facing the mosque. The siting of the mosque at the
lowest point of the town with all the surrounding build-
ings facing towards it on higher elevations, is typical of
the structure of Bosnian towns that originated under
the influence of the Muslim tradition, given that this
position of the central mosque determines and shapes
the urban centre in the part of the town where all the
lines of force met. Unlike the sites chosen for mosques,
churches (both Orthodox and Catholic) were usually
placed on the highest and most prominent place in
town and facing the other buildings beneath them.
The mosque complex consisted of the mosque,
the well, the harem alongside the mosque, the šadrvan
fountain in line with the portal, the gusulhana (premis-
es for laying out the dead) and the harem walls.
The Čaršija mosque is the most common
name for the religious building in the centre of Stolac,
but it is also known as the old masjid, the mosque on
the old musalla, the mosque on the Tepi, the mosque
with eleven pillars, the Imperial mosque, and the
mosque of Sultan Selim Yavuz. It is one of the larg-
est mosques built in Bosnia and Herzegovina in the
16th century, measuring 18.30 x 15.30 metres (the
Ferhadija in Banja Luka measured 18.33 x 14.47, the
Ferhadija in Sarajevo measures 13.85 x 17.85, the Im-
perial mosque in Sarajevo measures 15.32 x 15.42, the
central mosque in Cazin 18.00 x 12.40 m. etc.)
The building that survived until 1993 was one
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
Sl.3/Ill.3
Dio oslikanih stabala na zidovima sofa Čaršijske džamije – fotografija
koju je prije rušenja džamije napravio Ćiril Rajić
Part of the painted trees on the walls of the sofas of the Čaršija mosque
– photographed by Ćiril Rajić prior to the destruction of the mosque
Sl.4/Ill.4
Skica mahfila Čaršijske džamije, sa planom bojenja, iz bloka
Mehmeda Šarića
Sketch of the mahfil of the Čaršija mosque, with plan of the colours,
from sketchbook by Mehmed Šarić
baština - - heritage
of the three mosques oldest in Herzegovina and among
the oldest in Bosnia and Herzegovina as a whole. The
way it was built clearly revealed the continuation of
mediaeval architecture in Bosnia and Herzegovina,
which is at its most evident in house building.
Evidence of this continuation of building style
in the area is the note of the Commission for entry in
the register of cultural monuments (reg. No. 799/52
dated 25 October 1952, registered as no. 123 pursuant
to ruling 02-833-3 dated 18 April 1962) stating that
the structure of the mosque reveals the work of local
craftsmen who made an elongated structure avoiding
a large span. All in all it can be seen that the shape of
the mosque conforms completely to the principles of
this type of construction, but that it has nothing to do
with imported building skills. On the other hand, the
mosque has deep and wide sofas, appropriate to the
climatic conditions in Stolac. The depth of the sofas
is 4.25m, somewhat less than half the span of the inte-
rior space. Although the interior gives the impression
of being a single space, structurally it is divided into
three transversal areas. The roof structure rests on the
mihrab wall, five strong wooden pillars arrayed along
the transverse axis within the space, the entrance wall,
and eight pillars on the sofas. The elongated inner
space of the mosque, despite inaccurate assertions that
it is of unusual shape, is to be seen in the majority of
early mosques. The need for a central form and square
ground plan derived from the structural regularity of
mosque building where spatial treatment imposed it-
self in the encounter with the Byzantine style of build-
ing monumental domed buildings of the central type.
There is not a single tradtionally built mosque about
which it can be said that the esoteric significance of its
expression is subordinate to the outward expression.
Since, consistent with the principles of ritual prayer,
the believer is directed to the centre of the world, the
qibla (particularly through the performance of the rit-
ual prayer and the pilgrimage to the Kaaba), the longer
the mosque, the greater the number of those who can
pray in the front row and thus be closer to the qibla.
The mosque is built of semi-dressed stone from
a majdan or quarry close to Stolac, with lime mortar
as binder. The walls are about 90 cm. thick and are
84

i haremski zidovi.
Čaršijska džamija je najčešći naziv za sakralnu
građevinu smještenu u sjedištu Stoca. Uz to ime koriste
se imena Stari mesdžid, Džamija na Staroj musalli,
Džamija na Tepi, Džamija jedanest direka, Carski
mesdžid, Džamija sultana Selima Javuza. Predstavlja
jednu od najvećih bosanskohercegovačkih džamija
sagrađenih u 16. stoljeću. Veličine njenih stranica
iznose 18.30 m x 15.30 m. (Veličine stranica Ferhadije
džamije u Banjoj Luci iznose 18.33 m x 14.47 m;
Ferhadije džamije u Sarajevu 13.85 m x 17.85 m,
Careve džamije u Sarajevu 15.32 m x 15.42 m, Gradske
džamije u Cazinu 18.00 m x 12.40 m i sl.).
Građevina koja se održala sve do 1993. godine
predstavljala je jednu od tri najstarije hercegovačke i
spadala među nastarije džamije u Bosni i Hercegovini.
U načinu njezinog građenja jasno je oslikano
produljenje srednjovjekovnog bosanskohercegovačkog
graditeljstva, najjasnije čitljivog u građenju kuće.
O kontinuiranju načina građenja na prostoru
gdje je nastala, svjedoči zapažanje Komisije za upis u
registar spomenika kulture, u kome se kaže da gradnja
džamije odaje domaće majstore, koji su pravili izdužene
građevine, izbjegavajući velike raspone. U svemu
je vidljivo da oblik džamije u potpunosti odgovara
počelima izgradnje takvih građevina, ali da se ne veže za
uvezena graditeljska umijeća. S druge strane, džamija
je imala duboke i prostrane sofe, što je primjereno
klimatskim uvjetima u Stocu. Dubina sofa iznosila
je 4.25 m, što je nešto manje od polovine raspona
unutrašnjeg prostora. Iako se u unutrašnjosti doimala
kao jedinstven prostor, konstruktivno je bila podijeljena
na tri poprečna dijela. Krovna konstrukcija se oslanjala
na mihrabski zid, 5 jakih drvenih stupova raspoređenih
po poprečnoj osovini unutrašnjeg prostora, ulazni
zid i na 8 stupova na sofama. Izduženost unutrašnjeg
prostora džamije, i pored pogrešnih tvrdnji da se radi
o neuobičajnom obliku, prisutna je u najvećem broju
ranih džamija, koje su izvođene kao hipostilne dvorane.
Potreba za centralnim oblikom i četvornom osnovom
proistječe iz konstruktivnih zakonitosti izvođenja
džamija čije se prostorno rješenje nameće u susretu
sa bizantijskim načinom gradnje monumentalnih
potkupolnih objekata centralnog tipa. Nema ni
85
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
bound with three rows of oak tiebeams. The alternat-
ing use of stone and wood is customary in traditional
Bosnian Muslim architecture, as could be ascertained
in particular after so many buildings were destroyed
between 1992 and 1996, when their inner anatomy
was revealed. (Since every form has its outward and its
inner meaning in religious architecture, the latter usu-
ally the remembrance of God, the Prophet, the angels,
the Ka’ba, the imams or Paradise, it is important here
to mention K. A. C. Creswell’s observation, based on
the earliest sources, that when the Ka’ba was rebuilt in
608 CE, when the Prophet Muhammad was 35 years
old, it was built of stone with inserts of horizontal lay-
ers of timber.)
The mosque has a hipped roof with hefty split
wood rafters in the shape of sloped studs. This was
probably originally clad with stone slabs, the usual
roofing for similar buildings in 16th century Stolac.
However, Hivzija Hasandedić cites the interesting fact
of an undated letter from the Nevesinje kadi sent to
the commissioner in the Gabela port ordering 3000
hollow tiles to be supplied for the Stolac mosque.
Based on historical data, Hasandedić concludes that
the letter could have been written prior to 1598. At
that time roof tiles were procured in Dubrovnik, and
the palaces of Dubrovnik were roofed with them. It
is not known whether the Stolac mosque was roofed
with the tiles that had been ordered. The northwest
pane of the roof sloped down over the sofas, and the
roof structure at that point rested on eight pillars with
moulded headtrees, on which the wooden tiebeam of
the purline rests. Against the right-hand wall of the
mosque, immediately next to the sofas, a twelve-sided
ashlar stone minaret was built, with a height of 25.8 m
to the alem (finial).
The pillars in the sofas were of hewn timber,
with an average size of 16 x 16 to 20 x 20 cm. The
stone bases of the pillars were set in hollows cut into
) K.A.C Creswell, A Short Account of Early Muslim Architecture, revised
and supplemented by James W. Allan, The American University in Cairo
Press, Cairo, 1989, pp. 3-4.
) Hasandedić, Hivzija, Sultan Selimova (Careva) džamija u Stocu (the
Sultan Selim of Imperial Mosque in Stolac), Slovo Gorčina, January
1996, Mostar
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i

jedne tradicionalno građene džamije kod koje je

moguće utvrditi da su ezoterijska značenja njezinog
iskaza podređena vanjskoj ekpresiji. Budući da je, u
skladu sa pravilima obreda klanjanja, vjernik upućen
na približavanje središtu svijeta - kibli (posebno kroz
obavljanje molitve i hodočašćenje Kabe), što je duža
džamija, to je veći broj onih koji mogu klanjati u prvim
redovima i tako biti bliži kibli.
Zidana je pritesanim kamenom iz majdana
u stolačkoj blizini, vezanim krečnim malterom.
Debljina zidova je bila oko 90 cm. Zidovi su bili
uvezani sa tri reda hrastovih hatula. Naizmjenično Sl.5/Ill.5
korištenje kamena i drveta u bosanskoj tradicionalnoj Kruna mihraba Čaršijske džamije sa mihrabskom levhom
muslimanskoj arhitekturi je uobičajno, što je posebno Crown of the mihrab of the Čaršija mosque with the mihrab levha
bilo moguće utvrditi nakon razaranja velikog broja
objekata u razdoblju 1992-1996. godine, kada je
njihova unutrašnja anatomija bila raskrivena. (Kako
u sakralnoj arhitekturi svaki oblik ima svoje pojavno
i svoje unutrašnje značenje, koje je obično sjećanje
na Boga, Poslanika, meleke, Kabu, imame ili Raj,
tako je ovdje značajno napomenuti tvrdnje K.A.C.
Creswella oslonjene na najranije izvore, da je pri
zabilježenoj rekonstrukciji Kabe u 608. godini poslije
Krista, kada je poslanik Muhammed imao 35 godina,
Kaba zidana kamenom, sa umetnutim horizontalnim
slojevima drveta.) Čaršijska džamija je bila pokrivena
četverostrešnim krovom, s drvenom krovnom
konstrukcijom od pritesane građe jakih presjeka u formi
kosih stolica. Izvorno je krovni pokrivač vjerovatno bila
kamena ploča. Kamene ploče su uobičajni pokrivač
koji je korišten na sličnim građevinama u 16. stoljeću
u Stocu, a vidljiv je na svim fotografijama Čaršijske
džamije iz 19. stoljeća. Međutim, Hivzija Hasandedić
navodi zanimljivu pojedinost iz nedatiranog pisma
nevesinjskog kadije upućenog povjereniku u skeli
Gabeli, u kojem se nalaže da se za stolačku džamiju
isporuči 3000 komada ćeremita. Na temelju historijskih
podataka, H. Hasandedić zaključuje da je pismo moglo
Sl.6/Ill.6
) K.A.C Creswell, A Short Account of Early Muslim Architecture, revised
and supplemented by James W. Allan, The American University in Cairo Alem na munari Čaršijske džamije
Press, Cairo, 1989, str. 3-4. Finial on the minaret of the Čaršija mosque

baština - - heritage 86

biti napisano prije 1598. godine. U to doba ćeremit
se nabavljao u Dubrovniku, i njime su pokrivane
dubrovačke palate. Ne zna se da li je stolačka džamija
pokrivena naručenim ćeremitom. Sjeverozopadna
ploha krova spuštala se preko sofa, a krovna konstrukcija
se u tom dijelu oslanjala na 8 stupova sa profiliranim
jastucima, na koje je nalijegala podužna drvena greda
podrožnjača. Uz desni zid džamije, neposredno do
sofa, bila je postavljena dvanaestougaona munara od
klesanog kamena pješčara, visine 25.80 m do alema.
Stupovi u sofama bili su rađeni od pritesanog
drveta sa presjekom veličine od 16 cm x 16 cm do 20
cm x 20 cm. Kamene baze stupova bile su postavljene u
udubljenja uklesana u velikim kamenim blokovima koji
su činili čela sofa. Podrožna greda se oslanjala na stupove
preko jednostavnih sedla, visine 20 cm. Sofe su bile
popločane klesanim pločama kamena živca, debljine 8
– 10 cm, a ulazni dio između sofa bio je popločan
velikim kamenim blokovima ravnih hodnih površina,
koji su ostali intaktni i nakon rušenja. Portal džamije
imao je profilirani okvir rađen u kamenu miljevini.
Luk portala je bio plitak i sastavljen od tri segmenta.
Na čeonom kamenu bili su isklesani ekscentrično dva
motiva: malo sunce (motiv koji se pojavljuje i ispod
struka munare) i ruža. Dva džamijska prozora okrenuta
prema sofama imala su profilirane okvire od kamena
miljevine sa demirima. Sofe su bile oslikane prikazima
stabala, koja najvjerovatnije odražavaju svedeni iskaz
Raja. ”Zamisao da je oslikavanje biljnim i arhitektonskim
motivima iskaz Raja je posebno izazovna, jer postoje i
drugi pokazatelji da je džamijsko dvorište ili otvoreni
prostor bio zamišljan kao prikaz Raja.” (slika 3)
Unutrašnje dimenzije džamije su bile: 9.18
m x 16.37 m, a visina središnjeg molitvenog prostora
bila je 4.72 m. Džamija je u unutrašnjosti imala 11
stupova, pet na koje se oslanjala središnja stropna greda
i 6 stupova na koje se oslanjao mahfil. Dimenzije
stupova su bile od 20 cm x 20 cm do 25 cm x 25 cm.
Svi stupovi su imali kamene baze i stepenaste temelje
) Hivzija Hasandedić, “Sultan Selimova (Careva) džamija u Stocu”, Slovo
Gorčina, 1997.
) Oleg Grabar, The formation of Islamic Art, Yale University Press, New
Heaven and London, 1987, str. 127.
87
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
the large stone blocks that form the front of the so-
fas. The purlin beam rested on the pillars via simple
headtrees 20 cm in height. The sofas were paved with
bedrock stone slabs 8 to 10 cm thick, and the entrance
area between the sofas is paved with large stone blocks
forming a level footway surface, which remained intact
even after demolition. The portal of the mosque had
a moulded frame of miljevina (local limestone). The
arch of the portal was shallow, consisting of three seg-
ments. Two motifs were carved excentrically on the
keystone: a sun (a motif that reappears below the band
of the minaret) and a rose. The two mosque windows
facing onto the sofas had moulded miljevina frames
and were fitted with bars. The sofas were painted with
images of trees, probably intended to reflect a reduc-
tive expression of Paradise. “The idea of a vegetal and
architectural decoration as an expresion of paradise is a
particuraly tempting one, for there are other indications
that a mosque’s courtyard or open area was meant to be a
sort of paradise.” (illus. 3).
The interior dimensions of the mosque were
9.18 x 16.37 m, and the height of the central prayer
space was 4.72 m. The mosque interior had eleven
pillars, five supporting the central roof beam and six
supporting the mahfil. The symbolism of the number
eleven (the eleven spiritual successors of the prophet
Muhammad and the 12th in occlusion and awaited,
etc.) was often used in the architectural expression of
old mosques (for example the Handanija mosque in
Prusac) particularly those built by gnostics. Structural
analysis indicates that in most cases the eleven pillars
were not required to ensure the load-bearing capacity
of the structure, but this supports the assertions that
architectural elements did not have a solely structural
role. The pillars measure from 20 x 20 to 25 x 25 cm.
All the pillars have stone bases and graduated footings
of circular section made of quarry stone. The beams
rest on the pillars via carved wooden headtrees 40 cm
high and 25 cm deep, serving as capitals, and in the in-
) Oleg Grabar, The Formation of Islamic Art, Yale University Press, New
Heaven and London, 1987, p. 127. Translator’s note: in the absence of
the originals, the quotations to which this footnote and notes 13, 14, 15,
16, 22, 23 and 25 pertain are “translations of translations,” and as such I
cannot vouch for their accuracy.
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
kružnoga presjeka od lomljenog kamena. Grede su se
oslanjale na stupove preko drvenih profiliranih jastuka
visine 40 cm i debljine 25 cm, koji su imali ulogu
kapitela, a u unutrašnjosti džamije njihov prelaz u
ravnu gredu tvorio je iskaz plitkih lukova koji su spajali
stupove.
Lijevo i desno od ulaza u džamiju bio je
smješten mahfil. Na desni se penjalo drvenim bukovim
stepeništem iz unutrašnjosti džamije, a lijevom mahfilu
se pristupalo preko drvenog stepeništa s lijevih sofa,
kroz mala vrata u dubini zida. Zidovi džamije su bili
malterisani krečnim malterom i ukrašeni krupnim
levhama. Na unutrašnjem ulaznom zidu iznad samog
portala bila je ispisana krupna levha Mir vama, na
dijelu tog zida u visini desnog mahfila O dobri Bilal
Habeši, a u visini lijevog mahfila O dobri Selman el
Farisi; na desnom dijelu mihrabskog zida Bog Uzvišeni,
a na lijevom Muhammed, desno, iza mimbera Nema
boga osim Boga i Muhammed je Božiji Poslanik, lijevo
u ćošku Ebu Bekr i Omer, na desnom zidu Osman i
Hasan, na lijevom zidu Alija i Husein. Levhe su bile
pisane krupnim nesh talik pismom. Na svim zidovima,
pri vrhu, ispod dijela gdje okomita ravan prelazi u
drvenu tavanicu – šiše, bio je ispisan friz sa devedeset
i devet Božijih imena kufskim pismom. Svi drveni
dijelovi, uključujući i tavanicu i konstruktivne vidljive
elemente i ogradu mahfila, su bili bojeni. Pojavljivala
se plava, crvena, zelena i žuta boja. Nije poznato da li
je polihromna obrada bila izvorna, ali s obzirom da je
Mehmed Šarić početkom 20. stoljeća obojio kameni
mihrab, sačinio rješenje bojenja kamenog mimbera,
izveo oslikane lunete sa floralnim ukrasom iznad 10
prozora, obnovio slikane elemente u trijemu, sudeći po
korištenom koloritu, vjerovatno je drvo tada obojeno.
Radne skice i plan bojenja dijelova Čaršijske džamije
sačuvani su u bilježnici Mehmeda Šarića, koja je
pohranjena u biblioteci u Tešnju. (slika 4) Iz tog razdoblja
vjerovatno je potjecao i friz u obliku beskonačnog niza
stiliziranih floralnih elemenata, koji je stajao na mjestu
friza sa devedeset i devet Božijih imena.
Mihrab je bio kameni; tijelo mihraba je bilo
zidano u donjem pojasu od kamena živca, a u gornjim
pojasevima od sedre, a potom malterisan krečnim
malterom sa dodatkom kozije dlake i bjelanceta.
baština - - heritage
terior of the mosque their transition to the level beam
created the expression of shallow arches linking the pil-
lars.
Inside the mosque on either side of the en-
trance were two mahfils. The right-hand mahfil was
reached via a beechwood staircase in the interior of the
mosque, and the left hand mahfil via a wooden stair-
case from the left sofa, through a small door in the
thickness of the wall. The walls of the mosque are plas-
tered with lime plaster and decorated with bold levhas.
On the interior entrance wall above the portal was a
levha “Peace be with you”, on the section of that wall at
the height of the right-hand mahfil was O worthy Bilal
Habeshi and at the height of the left-hand mahfil O
worthy Salman al Farisi; on the right side of the mihrab
wall God the Sublime and on the left Muhammad, to
the right above the mimbar There is no god but God and
Muhammad is God’s Messenger and to the left in the
corner Abu Bakr and Omar, on the right hand wall Os-
man and Hassan, on the left-hand wall Ali and Hussain.
The levhas were written in bold nasta’liq script. On all
the walls, near the top below the transition from the
vertical face to the wooden šiša (slatted) ceiling, there
was a frieze inscribed with the ninety-nine names of
God in kufic script. All the woodwork, including the
ceiling and the structurally visible elements and mahfil
railing, was painted in blue, red, green and yellow. It
is not known whether the polychrome treatment is au-
thentic, but since Mehmed Šarić, working in the early
twentieth century, painted the stone mihrab, worked
out the treatment of painting the stone mimbar, ex-
ecuted painted lunettes with floral decoration above
the ten windows, and renovated the painted elements
in the sofas, judging from the palette chosen, the wood
was probably painted at that time. Working draw-
ings and a plan for the painting of parts of the Čaršija
mosque have been preserved in Šarić’s notebook, which
is kept in the library in Tešanj (illus. 4). The frieze in
the form of an endless series of stylized floral elements,
which was where the frieze with the 99 Names of God
is, probably also dated from that time.
The mihrab was of stone, with the lower part
of the body of the mihrab built of bedrock, and the
upper part of tufa, which was then plastered over with
88

Vidljivi dio mihraba na kome su izvedene klesane
profilacije bio je rađen u kamenu miljevini. Okvir
mihraba je bio profiliran. U donjem dijelu niše
pojavljivali su se kanelirani pilastri, iznad kojih su se
nizali sedam horizontalnih pojaseva koji su se smicali
i susticali u jednoj tački u početnoj ravni zida. Svaki
pojas je bio izdijeljen na pravougaona, u kamenu
uklesana, polja. Kruna mihraba je imala polukružni
konveksni završetak, koji je na bočnim stranama
prelazio u blago izvijene konkavne lukove. U sredini
krune je bilo uklesano sjedište za levhu na kojoj je nesh
talik pismom pisalo: “On”. Mihrab je bio naknadno
bojen i u njegovoj dekoraciji prepoznavali su se utjecaji
baroka. (slika 5)
Mimber je bio kameni, klesan u velikim
komadima kamena živca. Nije poznat sličan primjer da
je mimber klesan u tako tvrdom kamenu.
Ćurs je bio drveni.
Uz desni zid džamije je bila prigrađena
kamena prizmasta munara visine 25.80 m do alema.
Visina munare sa alemom iznosila je 27 m. Munara je
bila rađena od klesanog kamena, vezanog tankoslojnim
malterom i željeznim klanfama, zalijevanim zagrijanim
olovom. Iznad struka, munara je bila ukrašena
dvostrukim nizom stiliziranih cvjetova lala. Isti motiv
se ponavljao ispod tordiranog vijenca pod šerefom. U
gornjem dijelu baze, ispod struka munare, pojavljivali
su se prelomljeni lukovi u kojima je bio isklesan niz
motiva visoke simboličke vrijednosti (mjesec, zvijezda,
rozete, Davudova zvijezda, šestokraki križ, prijestolje
ili Poslanikov trostepeni mimber, o čemu će dodatno
biti govora u kasnijim dijelovima teksta). Ograda
šerefe je bila puna, kamena, sa profiliranim gornjim i
donjim završecima. Ćup munare bio je pokriven sa tri
niza kamenih ploča, koje su se međusobno preklapale
) O sastavu tankoslojnog maltera koji je korišten za spajanje klesanih
dijelova kamena pri zidanju džamija – posebno munara, portala i mi-
hraba, moguće je naći zapise i u kartonima Zavoda za zaštitu kulturnog
i prirodnog naslijeđa Bosne i Hercegovine o registraciji džamija iz 15. i
ranog 16. stoljeća (Turhan Emin-begova džamija u Ustikolini, na prim-
jer). Taj su malter tradicionalni graditelji nazivali “lućum” i pravili su
ga miješanjem maslinovog ulja, negašenog kreča i pamuka, sve dok ne
dobiju finu smjesu. Tragovi “lućuma” nađeni su u donjim intaktnim slo-
jevima Čaršijske džamije u augustu 2001. godine.
89
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
lime plaster with an admixture of goat hair and egg-
white. The visible part of the mihrab, with carved
mouldings, was worked in sandstone-miljevina. The
frame of the mihrab was moulded. In the lower part
of the niche were grooved pilasters, above which were
seven horizontal bands converging into a single point
at the start of the flat wall. Each band was divided into
rectangular panels carved into the stone. The crown
of the mihrab terminated in a semicircular convexity
grading to the sides into slightly curved concave arch-
es. At the centre of the crown a place was cut for a
levha written in nasta’liq: He. The mihrab was painted
later, the decoration showing the influence of the ba-
roque (illus. 5).
The mimbar was made of large blocks of bed-
rock. There is no other known example of a mimbar
made of such hard stone.
The ćurs was made of wood.
The stone minaret of prismatic section, 25.80
m. high to the finial, and 27 m high overall, was built
against the right hand wall of the mosque. It was built
of ashlar stone set in a thin layer of mortar binder10
and held together with iron cramps set in lead. The
minaret was decorated above the waisted section with
double rows of stylized tulip flowers. The same motif
appeared below the twisted cornice under the šerefe
(balcony). In the lower half below the waisted par of
the minaret were depressed arches in which a number of
motifs of powerful symbolic value were carved (moon,
star, rosette, star of David, six-armed cross, throne or
the Prophet’s stepped mimbar, on which more later).
The parapet of the šerefe was solid stone with moulded
upper and lower edges. The cone of the minaret was
roofed with three rows of overlapping stone slabs held
10) There are records of the composition of the thin layer of mortar used
to bind the cut stone elements when building the mosque – in particular
the minaret, portal and mihrab – in the files of the Institute for the Pro-
tection of the Cultural, Historical and Natural Heritage of Bosnia and
Herzegovina on the registration of 15th and 16th century mosques (for
example, the Turhan Emin-bey mosque in Ustikolina). This mortar was
called “lućum” by traditional craftsmen, who made it by mixing olive
oil, unslaked lime and cotton until they achieved a fine blend. Traces of
“lućum” were found in the lower, intact courses of the Čaršija mosque
in August 2001.
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
i koje su bile stegnute sa tri čelična prstena. Na vrhu
munare je bio alem, rađen u bakru, sa pet jednakih
jabuka, prečnika 19 cm. Alem je završavao pljosnatim
bakarnim motivom – arapskim pismom kaligrafski
savijenim riječima ”O Bože” u obliku lista sa vrhom
okrenutim prema nebu. Taj motiv su tradicionalni
majstori nazivali japrak (list) i uvijek je bio okrenut
tako da se slova protežu poprečno na osovinu mihraba.
(slika 6)
U džamiji se čuvala jedna kaligrafska diploma
iz hidžr. 1271 (1854/1855) godine, koju su izdali
kaligrafu Mustafi Hilmiji njegova dva učitelja: Sa’atdži-
zade (Sahačića) Ibrahim Remzije i Hajrullaha Hajrije,
učenika Muhameda Tahira. Diploma je bila ispisana na
papiru veličine 27cm x 34 cm. Tekstovi su bili uokvireni
biljnim ornamentima u više boja. (Mujezinović, 1998,
str. 365-366)
Stara čatrnja pred džamijom duboka je 11 m.
Nadsvođena je i u unutrašnjosti obložena malterom
spravljenim od masnog kreča i zemlje crvenice.
Šadrvan pred džamijom izgradio je 1909.
godine hadži Salih Behmen. Bio je građen od kamena
i sastojao se od male kamene zdjele iz koje se voda
prelijevala u bazen osmougaone osnove. Na svakoj
stranici zida bazena bila je po jedna slavina. Šadrvan
je bio natkriven šatorastim krovom “na osam voda”,
pokrivenim limom, koji se oslanjao na osam drvenih
stupova vezanih lukovima.
Gasulhana je bila locirana u haremu džamije,
gdje je interpolirana 1967. godine. Objekat je imao
prilaze sa ulice i iz avlije, čime je bilo omogućeno
nesmetano obavljanje obreda pripreme tijela umrlih za
njihovu sahranu.
Objekat je ima četverostrešni krov pokriven
kamenom pločom, dersovane kamene zidove, demirli
prozore i lučne okvire vrata. Kao zid objekta bio
je iskorišten postojeći avlijski zid. Enterijer je bio
prilagođen namjeni objekta.
Interpoliranjem gusulhane nije bila narušena
cjelovitost džamijskog kompleksa.10
Harem džamije je nakon razaranja i
10) Zavod za zaštitu spomenika kulture Mostar, Gusulhana u Carevoj
džamiji u Stocu, nacrti, predračun, arhiva i spiskovi priloga, 1967.
baština - - heritage
together by three steel rings. The alem that tops the
minaret is copper, with five equal-sized pommels 19 cm
in diameter and ending in an upward-pointing copper
leaf motif etched with the words O God in Arabic cal-
ligraphic script. Traditional craftsmen called this motif
the japrak; it was always oriented so that the letters ran
transverse to the axis of the mihrab (illus.6).
A calligraphic diploma dating from 1271
AH (1854/55 CE) was kept in the mosque; this was
issued to the calligrapher Mustafa Hilmija by two of
his teachers, Sa’atdži-zada (Sahačić) Ibrahim Remzija
and Hajrullah Hajrija, a pupil of Muhamed Tahir. The
diploma is written on paper measuring 27 x 34 cm
and the texts are framed in polychrome floral designs
(Mujezinović, 1998, pp. 365-366).
The old well outside the mosque is 11 m deep.
It is roofed over, and the interior is plastered with a
mixture of rich lime and terra rossa.
The šadrvan fountain outside the mosque was
built in 1909 by hajji Salih Behmen. It was built of
stone and consisted of a small basin from which the
water flows into a larger, octagonal one, with a spigot
on each of the eight sides. It had an eight-paned py-
ramidal roof with sheet metal covering, supported by
eight wooden pillars linked by arches.
The gusulhana was in the mosque harem,
where it was added in 1967. The building could be
entered from the street and from the courtyard, so that
the ritual of laying out the dead before burial could be
carried out without interruption.
The building has a hipped roof clad with
stone slabs, stone walls with the pointing left exposed,
barred windows and an arched door frame. The exist-
ing courtyard wall was used as one wall of the build-
ing. The interior was arranged to suit the use of the
building.
The interpolation of the gusulhana was not
detrimental to the integrity of the mosque complex.11
After its destruction and expropriation, the
mosque harem was altered. The state of the harem prior
11) Institute for the Protection of Cultural Monuments of Mostar, Gu-
sulhana u Carevoj džamiji u Stocu (Gusulhana in the Imperial mosque in
Stolac), drawings, computation, archives and list of enclosures, 1967.
90

eksproprijacija izmijenjen. Stanje harema prije
razaranja 1993. godine opisuje Mehmed Mujezinović i
kazuje da harem okružuje džamiju sa tri strane i sastoji
se od nekoliko desetina nišana. M. Mujezinović je
evidentirao 27 nišana, od kojih su pet imali natpise.
Najveći broj nišana su osmougaone osnove i izrađeni su
od granitnog kamena. Neki od nišana su visoki i preko
2 m. Autor “Islamske epigrafike u Bosni i Hercegovini”
nije mogao utvrditi kada je počelo sahranjivanje u
haremu, ali na fragmentu jednog nišana je pročitao
riječi: “Ruhičun el-Fatiha, sene 1071”, na osnovi čega
je zaključio da je najstariji sačuvani datirani nišan
iz hidžr. 1071 (1660) godine. Najmlađi evidentirani
nišan potječe iz hidžr. 1295 (1878) godine. 11
V r i j e d n o s t  Č a r š i j sk e d ž a m i j e
u sl i c i S to c a
Čaršijska džamija u Stocu predstavlja
središte grada i mjesto koje u njegovoj strukturi ima
najsnažnije značenje. Ona je, svojim prostornim
određenjem, svojim položajem, svojim odnosom
prema svim ostalim činiteljima strukture Stoca, čvor
u koji je svezana struktura cijelog grada. Taj značaj
koji Čaršijska džamija ima za grad, s obzirom na
usmjerenost suvremene misli na cjelovitost iskaza
materijalnog i nematerijalnog naslijeđa, veći je nego
njen značaj za historiju stila i razvoj tipa sakralnih
građevina u Bosni početkom 16. stoljeća. Čaršijska
džamija je i u slici Stoca jedan od njenih najznačajnijih
odreditelja. (slike 7 i 8)
Slika grada je složeno i najuvjerljivije
određenje grada. Ona ne proističe iz čistog oblika;
njeno značenje predstavlja akumulaciju slojevitih
prostornih i vremenskih međudjelovanja u svakom
gradu. Sliku grada, kako to tvrdi K. Lynch, oblikuje
uzajamni odnos svakog pojedinca i njegovog
okruženja. Ona sadrži i predanja, i zvuk, i boje i
imena; ona je sažetak tvarnog i neopipljivog naslijeđa.
U njenom određenju najznačajniju ulogu ima sakralna
topografija svakog mjesta. Sakralna topografija
11) Mujezinović Mehmed, Islamska epigrafika BiH, knjiga III, Sarajevo,
1998, str. 367-368.
91
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
to the destruction in 1993 is described by Mujezinović.
The harem surrounds the mosque on three sides and
consists of several dozen nišan tombstones. According
to M. Mujezinović, 27 nišans were recorded, of which
five had epitaphs. In the old days prominent Stolac
inhabitants used to be buried in the mosque harem.
Most of the nišans are octagonal in section and made
of granite. Some of them are more than 2 m. tall. The
author of Islamska epigrafika u Bosni i Hercegovini (Is-
lamic Epigraphics in BiH) was unable to determine
when burials first began in the harem, but was able
to make out the words Ruhičun el-Fatiha, sene 1071
on part of one of the nišans, which suggests that the
oldest dated tombstone dates from 1071 AH (1660
CE). The most recent to be recorded dates from 1295
AH (1878).12
Value of the Čaršija Mosque in the
Image of Stolac
The Čaršija mosque in Stolac is the centre of
the town, and the place with the greatest significance
in its structure. In its layout, position, and relationship
with every other factor in the structure of Stolac, it con-
stitutes the hub of the entire structure of the town. The
importance of the Čaršija mosque for the town, in the
light of present-day ideas on the integrality of expression
of the tangible and intangible heritage, is greater than its
importance for the history of style and the development
of types of religious buildings in Bosnia in the early 16th
century. The Čaršija mosque is also one of the one of
the most significant features of the image of Stolac (illus.
7 and 8).
The complex image of a town is its most per-
suasive attribute. It does not derive purely from form;
in every town or city, its importance is composed of
an accumulation of stratified spatial and temporal in-
teractions. The image of the city, as K. Lynch puts it,
is shaped by the interrelationship between every indi-
vidual and their environment. It consists of tradition,
and sound, and colour, and names; it is the sum of the
12) Mujezinović Mehmed, Islamska epigrafika BiH, bk. III, Sarajevo,
1998, pp. 367-368.
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
Sl.7/Ill.7
Snimak jugoistočne fasade Čaršijske džamije u sklopu dokument-
acije kojoj pripada i slika 7
Blueprint of the south-east facade of the Čaršija mosque, part of the
documentation to which illus. 7 also belongs
Sl.8/Ill.8
Snimak sjeverozapadne fasade Čaršijske džamije, koji je sačinio
arhitekta Ismet Serdarević 1958. godine. Snimak obuhvata detaljne
arhitektonske crteže i sastavni je dio dokumentacije Zavoda za zaštitu
kulturnog i historijskog naslijeđa Bosne i Hercegovine.
Blueprint of the north-west facade of the Čaršija mosque by architect
Ismet Serdarević in 1958. The blueprints include detailed architec-
tural drawings and form an integral part of the documentation of the
Institute for the Protection of the Cultural and Historical Heritage of
Bosnia and Herzegovina.
baština - - heritage
material and the intangible heritage. Its most important
feature is the religious topography of each place. The
religious topography is also the most enduring factor of
the temporal and spatial totality of every town or city.
The array of sacred meanings in the town determines its
structure and, in giving the town direction, shapes the
topography of each individual house.
Considering only the separate components of
human settlements, including buildings, is detrimental
to the integrity of a scientific approach to the heritage,
and paves the way for reducing the approach to a purely
artistic evaluation of architecture. In this article, it is
important to highlight the focus on two broad areas in
the definition of the heritage – (1) architectural and cul-
tural landscapes, and (2) the intangible components of
the material heritage, bearing in mind that “more than
merely assemblages of bricks and mortar, buildings are in-
vested with meaning… ”13 The subject under consid-
eration in this article is the centre of the town of Stolac
– a place of continuity and change, a human settlement
with the longest-lasting continuity of traces of culture in
Bosnia. For more than half a millennium, the Čaršija
mosque was the attribute of that centre. The approach
that this article seeks to advance is best matched by the
elements determining settlements given by N. Egenter.
In line with this, a settlement is described by its material
appearance, its physical location and its environment,
its sacral topography, rituals and beliefs, and other cus-
tomary modes of conduct of its inhabitants, its social
structure, and its local history.14 This approach has been
adopted in order to initiate a discussion on the justi-
fiability, not only of the Čaršija mosque in Stolac, but
also of other buildings forming part of the architectural
heritage that shaped the cultural landscape and the cul-
tural memory in Bosnia, and that were destroyed during
the war.
It is of crucial importance here to remind that
13) Whelan, Yvonne, “Mapping Meanings in the Cultural Landscape”,
Senses of Place: Senses of Time (ed. G. J. Ashworth and Brian Graham,
Ashgate, Hants, 2005, p. 67.
14) Egenter, Nold, ARCHITECTURAL ANTHROPOLOGY Struc-
ture and Method - an Introduction to the International Congress of An-
thropological and Ethnological Sciences Mexico City/ Mexico Session
>Architectural Anthropology August 4th 1993
92

je istovremeno i najistrajniji činitelj vremenske i
prostorne ukupnosti svakog grada. Raspored svetih
značenja u gradu određuje njegovu strukturu i,
dajući smjer gradu, oblikuje topografiju svake kuće
pojedinačno.
Promatranje pojedinačnih dijelova ljudskog
naselja, pa makar su oni i građevine, razara cjelovitost
naučnog pristupa naslijeđu i otvara mogućnost
svođenja tog pristupa na puko umjetničko ocjenivanje
arhitekture. U ovom radu je značajno naglasiti
usmjerenost na dva široka polja definiranja naslijeđa
– (1) graditeljski i kulturni pejzaži i (2) nematerijalne
komponente materijalnog naslijeđa, imajući u vidu
da: «više nego što su samo slaganje opeka i maltera,
građevine su prožete značenjem...»12
Predmet promatranja ovog rada je središte
grada Stoca – mjesta kontinuiteta i promjena - ljudskog
naselja sa najdubljom istrajnošću kontinuiteta
tragova kulture u Bosni. Čaršijska džamija je više
od pola milenija odreditelj tog središta. Pristupu
koji se ovim radom namjerava afirmirati najviše
odgovaraju elementi određenja naselja koje daje N.
Egenter. U skladu s tim, naselje je opisano: njegovom
materijalnom pojavnošću, njegovim prostornim
položajem i neposrednim okruženjem, njegovom
sakralnom topografijom, obredima i vjerovanjima
i drugim običajnim ponašanjima njegovog
stanovništva, njegovom socijalnom strukturom i
njegovom mjesnom historijom.13 Ovaj pristup je
korišten kako bi bila otvorena rasprava o opravdanosti
ne samo Čaršijske džamije u Stocu, nego i ostalih u
ratu srušenih objekata graditeljskog naslijeđa, koji
su oblikovali i kulturni pejzaž i kulturno pamćenje
u Bosni.
“Ne postoje događaji i djelovanja bez konteksta
određenih mjesta. Mjesta su tako utkana u strukture
12) Whelan, Yvone, “Mapping Meanings in the Cultural Landscape”,
Senses of Place: Senses of Time (ed. G. J. Ashworth i Brian Graham, Ash-
gate, Hants, Bulingto, 2005, str. 67.
13) Egenter, Nold, ARCHITECTURAL ANTHROPOLOGY Struc-
ture and Method - an Introduction3th International Congress of An-
thropological and Ethnological Sciences Mexico City/ Mexico Session
>Architectural Anthropology August 4th 1993
93
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
there are no events or actions without the context of spe-
cific places. As Edward Relph stated we have to bear in
mind that “places are thus woven into the structure of intent
of the whole of human consciousness and experience.”15
The Čaršija mosque in Stolac is a place that,
in its relationship with all the other components of
the image of the town facing towards it, determines
the home town. For the people of Stolac, regardless of
where they are living and working, this home town is
the determining factor of their roots, their sense of be-
longing, and their identity. “The profound attachment
to the homeland appears to be a worldwide phenomenon.
It is not limited to any particular culture or economy. It
is known to literate and nonliterate peoples, hunter-gath-
erers, and sedentary farmers, as well as city dwellers.”16
One’s homeland or home town is a given, the value of
which is multiplied when it is lost or inaccessible. In
the summer of 1993, when the people of Stolac were
being subject to persecution, killings and deportation,
the deliberate physical destruction of their hometown
was also being carried out.
In theoretical considerations of architectural
anthropology, the presence of semiotic architecture has
been identified since the most ancient times of human
activity. Given its durability, its meaning in determin-
ing a town is of considerable importance. Semiotic ar-
chitecture consists of the buildings within a settlement
as a whole that mark out space, determine its central
point, and compose signs within the urban landscape.
Their function is inseparable from the social, cultural
and religious features of the landscape, as a result of
which buildings of semiotic architecture often coincide
with the central religious buildings of the town.17 In the
history of a town, the central religious buildings con-
stitute the zero point, as is the house to the individual,
15) Edward Relph, Place and Placelessness, Pion, London, 1976, p. 42.
16) Yi-Fu Tuan, Space and Place – The Perspective of Experience, The
University of Minnesota Press, Minneapolis, 2005, p. 154
17) Nold Egenter, ARCHITECTURAL ANTHROPOLOGY Structure
and Method – an Introduction, 13th International Congress of Anthro-
pological and Ethnological Sciences Mexico City/ Mexico Session >Ar-
chitectural Anthropology August 4th 1993, p. 21.
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
namjera čitave ljudske svijesti i iskustva.”14
Čaršijska džamija u Stocu je mjesto koje,
u odnosu sa svim drugim sadržajima slike grada
koji su joj usmjereni, određuje zavičaj. Taj zavičaj
je za Stočane, bez obzira na mjesto njihovog rada i
stanovanja, odredište ukorijenjenosti, pripadanja
i identiteta. “Čvrsta vezanost za zavičaj je prisutna
kao pojava u cijelom svijetu. Ona nije ograničena ni
za jednu kulturu niti privredu. Poznata je pismenim
i nepismenim narodima, lovcima, i zemljoradnicima,
jednako kao i stanovnicima gradova.”15 Zavičaj je
datost čija vrijednost biva umnožena onda kada
je izgubljen ili nedostupan. U ljeto 1993. godine,
kad su Stočani bili izloženi progonima, ubijanjima i
deporatciji, provođen je program i fizičkog uništenja
njihovog zavičaja.
U teoretskim razmatranjima arhitektonske
antropologije utvrđena je prisutnost semiotičke
arhitekture od najranijih stadija ljudskog djelovanja.
Njeno značenje u određenju grada je, s obzirom na
trajnost i istrajnost, od visoke važnosti. Semiotička
arhitektura predstavlja one građevine unutar cjeline
naselja koje obilježavaju prostor, utvrđuju njegove
središnje tačke i čine znake unutar gradskog pejzaža.
Njihova funkcija je neodvojiva od društvenih,
kulturnih i religijskih odreditelja tog pejzaža, pa se
objekti semiotičke arhitekture često podudaraju sa
središnjim sakralnim objektima.16 Središnji sakralni
objekti u historiji grada čine nulte tačke, kako kuću
za pojedinca definira Oto Fridrih Bollnow17 – to
jest tačke odlaska i dolaska, izlaska i ulaska, tačke
razumijevanja početka i kraja grada.
14) Edward Relph, Place and Placelessnes, Pion, London, 1976, str. 42.
15) Yi-Fu Tuan, Space and Place – The Perspective of Expiriance, The
University of Minnesota Press, Minneapolis, 2005, str. 154.
16) Nold Egenter, ARCHITECTURAL ANTHROPOLOGY Structure
and Method - an Introduction, 13th International Congress of Anthro-
pological and Ethnological Sciences Mexico City/ Mexico Session >Ar-
chitectural Anthropology August 4th 1993, str. 21.
17) Navedeno prema Nold Egenter, “Otto Friedrich Bollnow’s An-
thropological Concept of Space”, 5th International Congress of the
‘International Association for the Semiotics of Space’, Hochschule der
Kźnste Berlin, June 29 - 31, 1992, www.home.worldcm.ch~negenter/
012BollnowEH.html
baština - - heritage
as defined by Otto Friedrich Bollnow18 – the point of
departure and arrival, exit and entry, the point of under-
standing the beginning and end of the town.
A town or city is not a homogeneous space.
Its structure can be determined by Aristotle’s dualities
of polarization: right-left, in front-behind; above-below.
From the point of view of the urban structure, however,
a town is defined above all by the places that mark the
hubs within it. The hierarchy of places of central signifi-
cance in a town, even when not reflected in the hierar-
chy of forms of urban architecture, generates hierarchi-
cal relationships in the structure of the urban space.
The Čaršija mosque in Stolac – also known as
the Careva or Imperial mosque – was built in 1519 on
the site of a musalla, a place of prayer and supplication
to God. The two inscriptions above the entrance to the
mosque provide crucial details of its construction and
renovation. The originals were in Turkish; the following
is an English translation [made from the Bosnian trans-
lation of the Turkish original: trans.]:
This mosque was built by Sultan Selim-khan
In 925 AH [1519]
The light-filled mosque of lord Sultan Selim-khan,
conquerer of Egypt, was built in fine fashion,
but there came the need for repairs,
and everyone anxiously awaited its renovation;
and thus benefactors did renovate it in the name of God.
May God’s guidance and goodness be with them ever!
This edifice is painted with fine adornments
and resembles a beauty clad in silken garments.
The vaults of this mosque soar to the heights
and its foundations rest on sincerity.
No wonder the Eternal Abode itself envies its beauty!
Vehbija, may all those who devoted their efforts to renovat-
ing it
be ascribed a great award in the book of resurrection!
The renovation of sultan Selim’s mosque is expressed in a
18) Quoted from Nold Egenter, “Otto Friedrich Bollnow’s Anthropologi-
cal Concept of Space”, 5th International Congress of the International As-
sociation for the Semiotics of Space, Hochschule der Künste Berlin, June
29 - 31, 1992, www.home.worldcm.ch~negenter/012BollnowEH.html
94

Grad nije homogen prostor. Njegova
struktura odrediva je Aristotelovima dvojinama
polarizacije: desno-lijevo, ispred-iza, ispod-iznad.
Međutim, gledano sa stanovišta urbane strukture,
grad je određen prije svega mjestima čvorišnog
značenja u njemu. Hijerarhija mjesta središnjeg
značaja u gradu, i kad nije oslikana u hijerarhiji oblika
gradske arhitekture, proizvodi hijerarhijske odnose u
strukturi gradskog prostora.
Čaršijska džamija u Stocu – poznata i kao
Careva džamija - sagrađena je 1519. godine. Na
tom mjestu postojala je musalla, mjesto klanjanja i
obraćanja Bogu. Iz dva natpisa iznad njenog ulaza
saznajemo i najvažnije podatke o njezinom građenju i
obnavljanju. Ti natpisi su izvorno na turskom jeziku,
a ovdje su dati u prevodu na bosanski:
Ovu džamiju podigao je sultan Selim-han
Hidžretske 925 (1519) godine
Svijetla džamija gospodina sultana Selim-hana,
osvajača Misira,
sagrađena je na lijep način,
ali dospje do potrebe za popravkom,
pa joj obnovu i podizanje svi željno čekahu;
tako, činitelji dobra je, u ime Boga, i obnoviše.
Neka ih, zato, vazda prate Božija uputa i dobrina!
Lijepim uresima oslikano je ovo zdanje,
Pa sliči ljepotici odjenutoj u dibu.
Svodovi ove džamije uzdižu se visoko,
A temelji su joj na iskrenosti.
Nije začudno ako joj na ljepoti zavidi i Nastanjena kuća!
Vehbijo, svima koji ulože trud za njezinu obnovu,
neka se ogromna nagrada upiše u knjigu oživljenja!
Obnovi sultan Selimove džamije izrečen je hronogram:
Ushitna obnova visoke džamije u novom načinu!
Godina 1203 (1788)
Svojstveno je ljudskim zajednicama da svoj
zavičaj smatraju svojim središtem univerzuma.18 Taj
odnos prema zavičaju iskazan je u geometrijskom
18) Yi-Fu, Tuan, Space and Place – The Perspective of Expiriance, The
University of Minnesota Press, Minneapolis, 2005, str. 149.
95
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
chronogram:
the rapturous renovation of the mosque in a new mode!
1203 (1788).
One of the features of human communities is
that they regard their homeland as the centre of their
universe.19 This attitude towards the home town is ex-
pressed in the geometric order of the layout of Stolac.
In this layout, the Čaršija mosque is at the centre of an
astronomically determined spatial system. It stands at
the very centre of the three-branched layout of the town
(illus. 9). The town developed in a valley, with its first
branch towards the south, its second north-eastwards,
and its third to the north-west. The mosque is at the
centre of gravity of the urban space, and as such marks
the starting-point of the town. It is the point at which
all trajectories converge. Visible from every part of the
town, standing at its lowest point, it is a place of inspira-
tion and direction. In the sacred topography of Stolac,
it denotes “the supreme value of local ontology” and the
most significant feature in the quality of “place,” “sur-
roundings,” “form of the landscape,” which has always
been generated in an unrepeated mutuality of the resi-
dent-town relationship.20 More than any other symbol,
it is the means by which the town and its inhabitants are
identified. Places with this meaning, religious places in
every town and city, provide the indicators needed to
reveal how the local population interprets its surround-
ings.
The Čaršija mosque in Stolac is a marker and a
centre, and is thus of the nature of semiotic architecture.
It is a place of worship through the location of which
the customary continuation of religious meaning in the
topography of every town is reflected.
The entrance area faces the river. In front is the
central town square; to the right and left are the streets
along which the two urban subcentres – Podgrad and
Ćuprija – are located. The entrance face of the mosque
19) Yi-Fu, Tuan, Space and Place – The Perspective of Experience, The
University of Minnesota Press, Minneapolis, 2005, p. 149.
20) Egenter, Nold, “ARCHITECTURAL ANTHROPOLOGY Outlines of
a constructive human past”, International Semiotic Spectrum – publication
of the Toronto Semiotic Circle Nr. 14 (Sept. 1990)
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
redu planske osnove Stoca. Čaršijska džamija je u toj
osnovi u središtu astronomski određenog prostornog
sistema. Čaršijska džamija se nalazi u samom središtu
trokrako razvijanog grada. (slika 9) Grad se razvijao u
uvali – sa prvim krakom prema jugu, drugim prema
sjeveroistoku i trećim prema sjeverozapadu. Ona je
u težištu središnjeg gradskog prostora i tako označava
mjesto početka grada. Ona je tačka u koju se slijevaju
sve putanje. Vidljiva sa svih strana grada, smještena u
njegovu najnižu tačku, predstavlja prostor ulijevanja
i usmjerenja. U sakralnoj topografiji Stoca ona
označava “najvišu vrijednost mjesne ontologije” i
predstavlja najznačajniji biljeg prisutan u određenju
“mjesta”, “okruženja”, “forme krajolika”, koje uvijek
biva proizvođeno u neponovljivoj uzajamnosti odnosa
stanovnik - grad.19 Više od svih ostalih znakova, ona
je sredstvo identificiranja grada i njegovih stanovnika.
Mjesta takvog značenja - sakralna mjesta u svim
19)Egenter, Nold, “ARCHITECTURAL ANTHROPOLOGY Outlines of
a constructive human past”, International Semiotic Spectrum - publikacija
Toronto Semiotic Circle Nr. 14 (Sept. 1990)
Sl.9/Ill.9
Čaršijska džamija u Stocu smještena je u samom središtu susticanja
tri kraka gradske osnove
The Čaršija mosque in Stolac is at the very centre of the point at which
the three branches of the urban layout meet
baština - - heritage
thus opens up, with space extending outwards from it.
Following the axis of the qibla, a long street, Uzinovići,
runs from the mosque between two hills, suggesting as-
sembly and direction. This location of the mosque and
development of the town gives the entire area a form
facing the qibla, the centre of which is in the shape of a
prayer mat or horizontal mihrab.
With its location and orientation, the mosque
dictated the definition of the coordinate system in line
with which every urban feature was set with three per-
pendicular radii, which converge at the point where the
entrance to the mosque is located.
The Čaršija mosque, a semiotic building, a reli-
gious symbol, the heart of the urban compass, is thus the
basis of the features, image and structure of the town.
Original meaning of the Čaršija
m o s qu e – s ac r e d B e au t y
The criterion of aesthetic value, which art
historians often regard as the key criterion for evalu-
ating the heritage, regardless of the evolution of the
reception of the heritage, will be more broadly applied
in this article – once again, with the emphasis on the
indivisibility of the tangible and intangible expression
of each work. The definition of the aesthetic value
of the Čaršija mosque will be associated with the say-
ing ars sine scientia nihil, and based on the attribute of
aesthetic harmony as the fulfilment of the aspiration to
achieve perfection at both the surface and the depth of
the work, “for form reflects essence, and understanding
form arouses the need for it to be transcended according
to its essence or archetype.” 21 This article does not aim
to be an expression of full understanding of the form of
the Čaršija mosque and its transcendence, but to draw
attention to the necessity for a comprehensive evalua-
tion of the aesthetic expression of architecture so that,
by appealing to the values and overall significance of the
Čaršija mosque, the reasons why it was necessary to re-
construct it can be addressed.
One can understand the reasons for the choice
21) Frithjof Schuon, Esoterism as principle and as Way, Perennial Books
Ltd, Pates Manor, Bedfont, Middlesex, 1990, p. 183.
96

gradovima, osiguravaju potrebne pokazatelje o tome
kako mjesno stanovništvo interpretira svoje prostorno
okruženje.
Čaršijska džamija u Stocu je biljeg i središte,
pa tako nosi svojstva semiotičke arhitekture. Ona
je hram kroz čije se smještanje ogleda uobičajeno
kontinuiranje sakralnog značenja u topografiji svakog
grada.
Ulaznim dijelom je okrenuta prema rijeci.
Ispred nje je središnji gradski trg, desno i lijevo od
njega razvijaju se ulice, uz koje su smještena dva
gradska podsredišta – Podgrad i Ćuprija. Ulazna
strana džamije se tako otvara i prostor se od nje širi.
U smjeru osovine prema kibli od džamije se, između
dva brda, proteže duga ulica – Uzinovići, koja sugerira
skupljanje i usmjeravanje. Takvim smještajem džamije
i razvojem grada, cijeli prostor ima oblik usmjerenosti
prema kibli, koji u njegovom središnjem dijelu ima
oblik sedžade ili položenog mihraba.
Svojim smještajem i usmjerenošću džamija
je odredila definiranje koordinatnog sistema prema
kome se postavljaju svi gradski sadržaji sa tri okomite
poluprave, koje se sustiču u tački gdje je ulaz u
džamiju.
Tako, Čaršijska džamija, semiotička
građevina, sakralna oznaka, srce gradskog kompasa,
predstavlja temelj određenja i slike i strukture grada.
Izvorno značenje Čaršijske
džamije – sakralna Ljepota
Kriterij estetske vrijednosti, koji historičari
umjetnosti, bez obzira na razvoj recepcije naslijeđa,
vrlo često postavljaju kao ključni kriterij vrednovanja
naslijeđa, u ovom radu će biti šire primijenjen –
ponovno s naglašenim usmjerenjem na neodvojivost
materijalnog od nematerijalnog iskaza svakog djela.
Definiranje estetske vrijednosti Čaršijske džamije bit
će vezano za tvrdnju: ars sine scientia nihil i oslonjeno na
određenje estetskog sklada kao ispunjenja nastojanja
da bude postignuto savršenstvo i na površini i u
dubini djela. “...jer oblik odražava bit, a razumijavanje
oblika budi potrebu da on bude transcendiran prema
97
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
of position and form of a religious building only if both
the builder and those who preserve and study it know
the reasons for the beauty of the sacred and the criteria
for establishing it. The sacred is beautiful because it as-
pires to fulfil God’s commandments to us as vice-gerents
of the world, and one of them is beauty. Nader Arda-
lan cites three criteria as the attributes of the beauty of
religious architecture: goodness, truth and knowledge.22
The notion of sacred beauty as defined by Rudolf Otto
is based on fulfilment: devotion to truth, ethical com-
mitment (corresponding to Ardalan’s criterion of good-
ness) and recognition of that which is called holy (cor-
responding to Ardalan’s criterion of knowledge).23
Adopting the same criteria, Eric Gill, an early
20th century English artist, set out his dictum: “Look after
goodness and truth, and beauty will look after herself.”24
Frithjof Schuon says of the sacred that beauty
is Order and Mystery – which is the expression of good-
ness, and truth, and knowledge. Order and Mystery can
be read in space and numbers, embodied in the form
and rhythm of sacred spaces.25 The original form of the
Čaršija mosque in Stolac will be analyzed in this section
using the criteria of the beauty of the sacred referred to
above.
A consideration of the central location of the
Čaršija mosque enables one to clarify the entire develop-
ment of the urban ensemble of Stolac. All the old houses,
roads and lanes follow the development from the centre.
Having chosen the site, the old builder also determined
the form of the building. Since the branches of valley
and the slopes of the hills converge on it, and since its
disposition, including the rows of worshippers, is cor-
roborated by the course of the river, it is plain to see why
it fits so well, so unobtrusively into the ensemble. Any
overemphatic size or solidity would have the effect of
undermining the harmony and measure of the whole.
22) Nader Ardalan, “On Mosque Architecture”., Architecture and Commu-
nity (Renata Holod and Darl Rastorfer, editors), New York, 1983.
23) cf: Edward A. Sövik, Faia, “Remembrance and Hope”, Journal on Re-
ligion, Art &Architecture, Number 2, 1997.
24) Edward A. Sövik, Faia, “Remembrance and Hope”
25) Frithjof Schuon, Esoterism as principle and as Way, Perennial Books
Ltd, Pates Manor, Bedfont, Middlesex, 1990, p. 178.
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
njegovoj biti ili arhetipu.”20 Ovaj rad nema ambiciju
da bude iskaz potpunog razumijevanja oblika
Čaršijske džamije i njegovog transcendiranja, ali ima
za cilj ukazati na nezaobilaznost takvog cjelovitog
vrednovanja estetskog iskaza arhitekture, kako bi,
oslanjanjajući se na vrijednosti Čaršijske džamije i
20) Frithjof Schuon, Esoterism as principle and as Way, Perennial Books
LTD, Pates Manor, Bedfont, Middlesex, 1990, str. 183.
Sl.10/Ill.10
Fotografija srušenog prostora Čaršijske džamije koju su reporteri
«Feral Tribune» napravili u ljeto 1993. godine, neposredno nakon
rušenja stolačkih džamija, a prije odvoženja ostataka sa mjesta na ko-
jima su građevine bile
Photograph of the destroyed site of the Čaršija mosque taken by Feral
Tribune reports in the summer of 1993, immediately following the
destruction of the mosques of Stolac before the remains were removed
from their respective sites.
Sl.11/Ill.11
Fotografija srušenog prostora Čaršijske džamije napravljena iz zraka
1998. godine (fotografiju su napravili vojnici mirovnih snaga UN-a
u Bosni i Hercegovini)
Aerial photograph of the destroyed site of the Čaršija mosque taken
in 1998 by UN peace-keeping troops in Bosnia and Herzegovina.
baština - - heritage
Its interior, in which the illumination of the inner hu-
man being is affirmed, thus becomes the living heart of
the entire town, within the totality of the urban setting.
The Čaršija mosque is the measure of everything that
develops along the branches of the Stolac valley and on
the slopes of the hills.
The totality of the identity of Stolac is thus
inseparable from the presence of the Čaršija mosque at
its centre, with the position of a hub around which the
whole town and the entire social complex evolve. This
comprises its southward orientation, recognizable in the
layout of the entire čaršija, with the houses, shops and
side streets around it.
The entire form of the Čaršija mosque con-
sists of the response to two requirements: Order and
Mystery.
Order is wholly subordinate to the require-
ments of ritual and the disposition of the prayer space.
The entrance to the courtyard is in the middle
of the wall formed by the shops along the southern edge
of the Tepa (open central market). The passage through
the entrance is the start of the axis of orientation around
which extends the mosque ensemble: the axis which is
also the axis of the town. Between the courtyard gate-
way and the entrance to the mosque is a covered šadrvan
fountain, symbolizing the requirement to cleanse oneself
on the path from the expanse of the world to oneself or
the supreme principle. The passage “through” the foun-
tain constitutes a preparation for facing the mihrab, the
“centre of the centre.” In sacred doctrine on the mean-
ing of the mosque, this signifies travelling the path of
love. Once one has completed the outside path, from
the entrance to the courtyard, “through” the fountain,
to the space between the two sofas, one begins to surren-
der oneself to the certainty of the pillars supporting the
hipped roof, marking the passage to one’s own centre.
On entering the mosque, with the sense of harmony
and the absence of any tension, in the warmth provided
by the carpets, one begins to surrender oneself to the
peace suggested by everything that constitutes the inte-
rior of the mosque. Facing the mihrab, the passage to-
wards our supreme human potential, is expressed in two
ways – the universal human orientation towards the Su-
preme, and one derived from listening to the enduring
98

njen ukupni značaj, bilo moguće govoriti o razlozima
potrebe njenog rekonstruiranja.
Razumijevanje razloga odabira položaja i
oblika sakralne građevine moguće je samo ukoliko
i graditelj i onaj koji čuva i proučava građevinu
znaju razloge ljepote sakralnog i kriterije njenog
utvrđivanja. Sakralno je lijepo, jer teži ispunjenju
Božijih zapovijedi namjesnikovanja svijetom, a jedna
od njih je ljepota. Nader Ardalan navodi tri kriterija
za određenje ljepote sakralne arhitekture – dobro,
Sl.12/Ill.12
Identifikacija jedne od deponija sa srušenim ulomcima Čaršijske džamije
u koritu rijeke Radimlje. Identifikacija je napravljena uz prisutnost vo-
jnika mirovnih snaga u Bosni i Hercegovini u augustu 2001. godine.
Identification of one of the dumps with fragments of the Čaršija
mosque in the river Radimlja riverbed. The identification was made
in the presence of peace-keeping troops in Bosnia and Herzegovina
in August 2001.
Sl.13/Ill.13
Fotografija preliminarno identificiranih ulomaka Čaršijske džamije na
deponiji u koritu rijeke Radimlje napravljena u augustu 2001. godine
Photograph of fragments of the Čaršija mosque after preliminary iden-
tification in the dump in the Radimlja riverbed, taken in August 2001.
99
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
transmission of Divine speech. This is self-abnegation
before God Who is Merciful and Compassionate, Who
is Beautiful and Who loves beauty. The overall height of
the minaret of the Stolac mosque, for instance, is exactly
three times that of the mosque to the roof ridge, and the
length of the mosque is precisely twice its height to the
ridge – which means that the height of the minaret is
the sum of the length and height of the mosque. All this
means that everything constituting the Čaršija mosque
in Stolac follows the formula of sacred language. Not-
ing in its architecture or its surroundings was lacking in
harmony with these meanings.
Mystery lies in the multitude of relationships
that can be discerned by a long study of the geometry
of the mosque, its numeric regularities, and its decora-
tions. This article will refer to only a few possible read-
ings, since we believe that even an adumbration of the
immense value of the intangible content of its material
expression will contribute to the debate over the criteria
for evaluating Bosnia’s non-monumental mosques.
The Čaršija mosque has seven doorways – the
central gateway, two side gates, the door between the
sofas, the door to the left-hand mahfil, the door from the
mahfil to the minaret, and the door to the šerefe of the
minaret. These seven openings symbolize the potential
passage through the seven levels of cognition. The seven
verses of al Fatiha, the opening sura of the Qur’an, are
equal to the number of doors in the Čaršija mosque, as
are the seven words (in the Arabic) of the shahada, in
which Muslims bear witness of their devotion to God
(La ilaha illa-Llah, Muhammadun Rasulu-Llah),26 the
seven receptive apertures of the human body, and the
seven gates of Paradise. The Sufi definition of the mysti-
cal physiology of the human microcosm also pertains to
the symbolism of the seven veils of cognition: the seven
human organs correspond to the lineaments of the sev-
en messengers of God: the first (invisible) organ is the
Adam of every being; the second (the soul) is Noah, the
third (the heart) is Abraham, the fourth (the invisible
threshold of a higher consciousness) is Moses, the fifth
(Spirit) is David, the sixth is Jesus the Messiah (Jesus
Christ), and the seventh is Muhammad (the Praised
26) There is no god but God, Muhammad is the Messenger of God
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 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i

istina i znanje.21 Zamisao sakralne ljepote, kako je one).27 This inner hidden knowledge of the meaning of
definira Rudolf Otto, počiva na ispunjenju: odanosti the number seven is found in the number of horizontal
istini, etičkom opredjeljenju (što odgovara kriteriju bands of the mihrab as it narrows towards its crown, and
dobrog kod N. Ardalana), prepoznavanje svetog (što in the number of its duplications, the number of sides
odgovara kriteriju znanja kod N. Ardalana).22 of the minarets, and very likely in many more numeric
Uzimajući iste kriterije, Eric Gill, engleski relationships yet to be discovered.
umjetnik iz prvih desetljeća 20. stoljeća, utvrđuje The nine steps of the mimbar in the Čaršija
dictum: “Pobrini se za Istinu i Dobro; Ljepota će se mosque symbolize the nine degrees of mastery over the
sama pobrinuti za se.”23
Frithjof Schoun o sakralnom kazuje: ljepota 27) Jean Chevalier and Alain Gheerbrant, Riječnik simbola (Dictionary of
je Red i Skritost – što jest iskaz i dobra i istine i Symbols) Nakladni zavod MH, Zagreb 1989, pp. 587 and 588.
znanja. Red i Skritost čitljivi su kroz prostor i brojeve,
otjelovljene u obliku i ritmu sakralnih prostora.24
Primjenom navedenih kriterija ljepote sakralnog,
bit će u ovom dijelu teksta analiziran izvorni oblik
Čaršijske džamije u Stocu.
Uzimanjem u obzir središnjeg položaja
Čaršijske džamije, moguće je objasniti ukupnost
razvoja gradske cjeline Stoca. Sve stare kuće, ceste
i sokaci slijede razvoj iz tog središta. S obzirom na
takvu odabranost mjesta, stari graditelj je odredio i
oblik građevine. Budući da se prema njoj stiču krakovi
uvale i padine brda, te da njezinu rasprostrtost, u
Sl.14/Ill.14
koju se uključuju redovi klanjatelja, potvrđuje i tok
Prostor Čaršijske džamije 22. augusta 2001. godine, na dan kad je
rijeke, shvatljivo je zašto se ona blago i nenametljivo
počelo njegovo čišćenje
uključuje u tu cjelinu. Svaka prenaglašenost
Site of the Čaršija mosque on 22 August 2001, the day the site clear-
veličinom i tvrdoćom djelovala bi u toj ukupnosti kao ance began.
narušavanje sklada i mjere. Sama njena unutrašnjost,
u kojoj se zbiva potvrđivanje ljudske osvjetljenosti
iznutra, postaje na taj način živa jezgra cijelog grada.
Ta jezgra je unutar gradske ukupnosti. Čaršijska
džamija je mjera svega što se razvija u krakovima
stolačke doline i na padinama brda.
Ukupnost stolačkog identiteta jeste, prema
tome, neodvojiva od prisutnosti Čaršijske džamije u
središtu, i to s položajem čvora oko koga se razvija

21) Nader Ardalan,. “On Mosque Architecture”., Architecture and Com-

munity ( Renata Holod and Darl Rastorfer, editors), New York, 1983.
22) uporediti: Edward A. Sövik, Faia, “Rememberance and Hope”, Journal Sl.15/Ill.15
on Religion, Art &Architecture, Number 2, 1997. Preliminarno čišćenje i identifikacija ulomaka nađenih na prostoru
23) Edward A. Sövik, Faia, “Rememberance and Hope” džamije u toku čišćenja tog prostora
24) Frithjof Schuon, Esoterism as principle and as Way, Perennial Books Preliminary cleaning and identification of fragments found on the
LTD, Pates Manor, Bedfont, Middlesex, 1990, str. 178. mosque site during clearance.

baština - - heritage 100


Sl.16/Ill.16
Intaktna stopa jednog od pet stupova koji nose srednju stropnu
gredu. U udubljenju stope nađen je metalni zglob – trn, preko
koga je ostvarivana veza drvenog stupa i kamenog temelja. Nađeni
trn je poslužio kao uzor za izradu zglobova za sve stupove, u skadu
sa dimenzijama udubljenja u njihovim stopama.
Intact foot of one of the five pillars supporting the central ceil-
ing joist. A metal joint or spike was found in a hollow in the
foot; this formed the connection between the wooden pillar and
the stone footings. This spike was used as a model when making
the joints for all the pillars, in line with the size of the hollows in
their footings.
Sl.17/Ill.17
Sonde, širine 50 cm, otkopane uz sve nađene zidove s unutrašnje
strane. Nakon opservacija i snimanja i zida i strukture materijala,
sonde su zatrpane istim materijalom koji je iskopan.
50 cm wide trial trench excavated along the inside of all the walls
that were found. After observation and a survey of the walls and
the structure of the materials, the trenches were filled in with the
material that had been excavated from them.
101
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
human senses, the nine paths of communication with
the world in order to understand in full the ninety-nine
Divine Names. Penetrating the mysteries of the mean-
ing of the Čaršija mosque paves the way for each of us
who visit it to embark on the quest for what is myste-
rious. The nine ornaments carved on the nine visible
sides of the base of the minaret below its waisted section
where the minaret becomes detached from the horizon-
tal corpus of the mosque and stands erect, its upright
stance itself testifying to the sum of its different sides
into one, also proclaim the beginning and end – the
transition to a new level. These nine figures, containing
the symbols of the new moon rising and setting,28 Solo-
mon’s seal, David’s shield, a three-dimensional cross,29
a six-petalled flower, steps or a throne, an interlace, a
rhomb, a staff, a triangle, a hexagram, a staff and a star,
constitute a unique combination of symbols. It is not
the purpose of this article to interpret the meaning of
their interrelationships, although it would be important
in evaluating the Čaršija mosque as cultural heritage.
The base of the domed mosque in Počitelj, built forty
years after the Čaršija mosque in Stolac, is carved with
ornaments – four types of six-lobed rosettes – which can
indicate the trajectory of influences from the builder of
the Stolac mosque to that of the mosque in Počitelj, but
also to the identical sources of their knowledge and skills.
However, the complexity of the ornaments on the Stolac
mosque, the connection between their significance, the
number of symbols in distinct forms and in their interre-
lationships, are far more elaborate, and reveal how close
its builder was to understanding Beauty as defined by F.
Schuon. The simplest single reading of the complexity
28) For an understanding of the influential presence of the symbol of the
new moon in the old Bosnian heritage, see also the poem by Mehmedalija
Mak Dizdar entitled Mjesec (Moon), in Kameni spavač – Stone Sleeper,
trans. Francis R. Jones, Did, Sarajevo, 1999, pp. 56-59. The poem ends
with the lines Ureži njegov znak u mekoj bjelini miljevine/kako bi mogao
što vjernije upiti u sebe sliku/ Svoje neizrecive boli i nade – Carve his sign in
the soft white of limestone/so you may absorb as faithfully as can be/ The
image of your infinite pain and hope.
29) A separate article will deal with the symbolism of the three-dimen-
sional cross and the process whereby it was transformed into Solomon’s
seal, the six-pointed star or hexagram, and on the process whereby the
meanings of these forms was condensed by being sublimated into the
symbol of the three-dimensional (six-armed) cross.
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 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i

sva gradska i društvena cjelovitost. To sačinjavaju of these symbols could be reduced to the transition from
usmjerenost prema jugu, koja se prepoznaje u the level of Earth to that of Heaven, or the confluence
rasporedu cijele Čaršije, sa kućama, dućanima i of the sacred traditions in Muhammad’s prophethood.
sokacima oko nje. Nine is also the number associated with the nine heav-
Ukupnost oblika Čaršijske džamije sadržana enly spheres, concealed in the Čaršija mosque in Stolac
je u odgovoru na dva zahtijeva : Red i Tajnovitost. in many numeric relationships, sometimes multiplied
Red je u potpunosti podređen zahtjevima – doubled in the total number of pillars, tripled in the
obreda i uređenja molitvenog prostora.
Na sredini zida koji sačinjavaju dućani južne
granice Tepe (otvorene gradske tržnice) postavljen je
ulaz u njezinu avliju. Prolaskom kroz taj ulaz, započinje
osa usmjeravanja oko koje je razvijena džamijska cjelina,
koja istovremeno predstavlja i osu oblikovanja grada.
Od avlijskih vrata prema džamijskim je natkriveni
šadrvan. Time je simboliziran zahtjev očišćenja na
ljudskom putu od rasprostrtosti svijeta prema sebi ili
najvišem principu. Prolaskom «kroz» šadrvan zbiva se
priprema za usmjerenost prema mihrabu, ili «središtu
središta». To je u svetom nauku o značenju mesdžida,
prelaženje puta ljubavi. Nakon što je pređena staza
vanjskog dijela, od ulaza u avliju, «kroz» šadrvan,
do prostora između dviju sofa, započinje opuštanje Sonda, širine 50 cm, iskopana uz vanjske dijelove zidova džamije
pred sigurnošću stupova koje nose četverovodni 50 cm trial trench excavated along the outside of the mosque walls Sl.18/Ill.18
krov, kojim je označeno prilaženje vlastitom središtu.
Ulaženjem u unutrašnjost džamije, osjećanjem
sklada i nedostajanjem bilo kakve napetosti, u toplini
kojoj doprinose ćilimi, započinje opuštanje pred
mirom, o kojem govori sve što čini unutrašnjost
džamije. Okrenutost prema mihrabu, ili prolazu
prema najvišoj mogućnosti čovjeka, iskazuje se u dva
načina – jednom koje je opća ljudska usmjerenost
prema Najvišem, i drugom koja proistječe iz slušanja
ustrajnog prenošenja Božijeg govora. To je poniznost
pred Bogom Koji je Milostan i Premilostan, Koji je
Lijep i Koji voli ljepotu. Munara stolačke džamije,
na primjer, ima ukupnu visinu koja je tačno tri puta
veća od visine džamije do sljemena krova. Duljina
džamije je tačno dva puta veća nego njena visina
do sljemena – to jest visina munare odgovara zbiru Sl.19/Ill.19
Snimak inatktnih ostataka džamije in situ, nakon čišćenja prostora
dužine i visine džamije, itd. Sve što je činilo cjelinu od smetlja i rastinja (crtao Slobodan Kudra, Zemaljski muzej Bosne
Čaršijske džamije u Stocu slijedilo je obrazac svetog i Hercegovine)

jezika. Ništa ni u toj arhitekturi, niti u okruženju, Plan of the intact remains of the mosque in situ, after clearing the
nije bilo bez usklađenosti s tim značenjima. site of rubbish, litter and weeds (drawn by Slobodan Kudra, National
Museum of Bosnia and Herzegovina).
Tajnovitost je sadržana u mnoštvu

baština - - heritage 102


odnosa, koje je moguće iščitavati dugotrajnim
proučavanjem geometrije džamije, brojevnih
zakonitosti, ukrasa. Samo neka od mogućih čitanja
bit će data u ovom tekstu, jer smatramo da je makar
i nagovještavanje visoke vrijednosti nematerijalnog
sadržaja materijalnog iskaza bitan doprinos raspravi
o kriterijima vrednovanja nemonumentalnih
Sl.20/Ill.20
Snimak ostataka temelja i baze munare in situ (crtao Slobodan Ku-
dra, Zemaljski muzej Bosne i Hercegovine)
Plan of the remains of the footings and base of the minaret in situ
(drawn by Slobodan Kudra, National Museum of Bosnia and Her-
zegovina)
Sl.21/Ill.21
Preliminarno čišćenje i identificiranje ulomaka nakon njihovog
prenosa sa deponije na prostor džamije
Preliminary cleaning and identification of fragments after being
transported from the dump to the mosque site.
103
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
height of the minaret, and so on.30
Reference should be made here, too, to the
eleven pillars within the mosque. The symbolic mean-
ing of the number eleven (the eleven spiritual heirs of
the Prophet Muhammad, with the twelfth in occulta-
tion and still awaited, for instance), is often used in the
architectural expression of old mosques (for example,
the Handanija mosque in Prusac), particularly those
built by gnostics. Structural analyses reveal that in most
cases the eleven pillars were not required to ensure the
load-bearing capacity of the structure, but this supports
the assertion that architectural elements did not have a
purely structural role. In the Handanija mosque the re-
storers working in the 1980s removed the eleventh pil-
lar, failing to find a rational structural explanation for it.
The pillar was restored during rehabilitation works on
the mosque completed in 2005 (Tina Wik, chief project
designer). Structurally, five pillars of the Čaršija mosque
support the central ceiling joist and symbolize the five
ways of affirming faith, the five keys to the mystery of
the Qur’an, the five witnesses to the Covenant. The five
pillars taking the load of the roof divide the interior of
the mosque into two, conveying the symbolism of the
number of “the centre, harmony and balance.”31 Five is
the number of mandatory daily ritual prayers. Five is
related to the number six, which is predominant in the
ornaments on the base of the minaret, just as the micro-
cosm is related to the macrocosm.
Destruction and its aftermath
In the summer of 1993 the Čaršija mosque and
all the shops and public edifices surrounding it, as well
as the burial ground forming part of its harem, was dy-
namited. Following its destruction, parts of the mihrab
wall and the šadrvan fountain were left standing. The
entire area of the Stolac čaršija was then cleared of the
materials of which the monuments of Stolac had been
built. The remaining fragments of the walls were de-
30) “number symbolism.” Encyclopædia Britannica. 2007. Encyclopædia
Britannica Online. 11  Jan.  2007  <http://www.britannica.com/eb/arti-
cle-248166>.
31) Jean Chevalier and Alain Gheerbrant, Riječnik simbola, pp. 497-500.
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 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i

bosanskih džamija. molished, the area was “cleared,” and most of the mate-
Čaršijska džamija ima sedam vrata – središnju rial was taken away to nearby dumps. Some fragments
kapiju, dvije bočne kapije, vrata između sofa, vrata of the Čaršija mosque were found in the dry bed of the
na lijevom mahfilu, vrata sa mahfila na munaru, river Radimlja. Witnesses of the destruction said that
vrata na šerefe munare. Sedam otvaranja simbolizira there were some original fragments of the mosque in
mogućnost prolaska kroz sedam slojeva spoznaje. dumps near Stolac. In December 1999 an inspection
Broju vrata u Čaršijskoj džamiji jednak je broj was carried out of the piles of remains of the destroyed
sedam stavaka Fatihe - početne sure u Kur’anu - sure
Otvaranja - kao i sedam riječi svjedočenja predanosti
Bogu (La ilahe il Allah Muhammedun Ressul Allah25),
sedam receptivnih otvora na ljudskom tijelu, sedam
kapija Raja. O simbolici sedam omotnica spoznaje
govori i sufijsko određenje mističke fiziologije
ljudskog mikrokozmosa: sedam ljudskih organa
odgovara obličenju sedam Božijih poslanika: prvi
(nevidljivi) organ je Adem (Adam) svakog bića;
drugi (duša) je Nuh (Noa); treći (srce) je Ibrahim
(Abraham); četvrti (nevidljivi – prag nadsvijesti) je
Musa (Mojsije); peti (Duh) je Davud (David); šesti
je Isa Mesiah (Isus Krist), a sedmi je Muhammed Sl.22/Ill.22

(Hvaljenik).26 To unutrašnje skrito znanje o značenju Preliminarno identificiranje, sortiranje i priprema za detaljno sni-
broja sedam sadržano je u broju vodoravnih pojaseva manje nađenih metalnih ulomaka na prostoru džamije, kako bi bili
mihraba, kada se on sužava prema svojoj kruni, zatim osigurani uvjeti za rekonstrukciju

u njegovoj udvojenosti - u broju stranica munare, i Preliminary identification, sorting and preparation for detailed study
vjerovatno u velikom broju odnosa koji mogu dalje of metal fragments found on the mosque site, to provide the condi-
tions for its reconstruction.
biti otkrivani.
Devet stepenica mimbera Čaršijske džamije
simbolizira devet stepena svladavanja ljudskih
osjetila, devet puteva komuniciraja sa svijetom s
ciljem razumijevanje punine devedeset devet Božijih
imena. U odgonetanju tajnovitosti značenja Čaršijske
džamije, za svakog njenog posjetitelja otvoren je
put traženja onog što je tajna. Devet ornamenata
uklesanih u devet vidljivih stranica osnove munare
ispod suženja (struka), kojim se munara odvaja od
vodoravnog tijela džamije i uspravlja u okomicu koja
sama svjedoči sabiranje različitih strana u jedno, je
istodobna najava kraja i početka – prelaza u novi
nivo. Tih devet prikaza, u kojim su sadržani simboli Sl.23/Ill.23

Otkriveni ostaci džamije in situ, složen dio ulomaka – obrađenih

25) Nema Boga osim Boga, Muhammed je Božiji Poslanik. sjeverno i neobrađenih zapadno

26) Jean Chevalier i Alain Gheerbrant, Riječnik simbola, Nakladni zavod Uncovered remains of the mosque in situ, part of fragments laid out
MH, Zagreb 1989, str. 587. i 588. – processed to the north, unprocessed to the west.

baština - - heritage 104

 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i

mladog mjeseca na izlasku i zalasku27, Sulejmanovog buildings of Stolac in Sastavci and Masline and in the
pečata, Davudovog štita, trodimenzinalnog križa,28 Radimlja riverbed. It was found that some of the piles
cvijeta sa šest latica, stepeništa, ili prijestolja, prepleta, were biodegrading.
romba, štapa, trougla, heksaedra, štapa, i zvijezde, The foundations remained in the ground, and
jedinstvena su kombinacija simbola. Iščitavanje some traces of the walls, or the colour and type of veg-
značenja njihovih odnosa nije predmet ovog rada, etation growing over them, indicated the original posi-
iako ima važnost za vrednovanje Čaršijske džamije tion of the mosque. The first inspections of the site were
kao kulturnog naslijeđa. Na bazi potkupolne džamije
u Počitelju, koja je nastala četrdesetak godina poslije
Čaršijske džamije u Stocu, isklesani su ornamenti -
četiri tipa šestolatičnih rozeta - koji mogu ukazivati
na protok utjecaja od graditelja stolačke do graditelja
počiteljske džamije, ili na istovjetnost izvora njihovog
znanja i umijeća. Međutim, složenost ornamenata
na stolačkoj džamiji, povezanost njihovog značenja,
brojnost simbola u pojedinačnim oblicima i u njihovim
odnosima su daleko raskošniji i ukazuju na visoki
nivo približenosti njenog graditelja razumijevanju
Ljepote, kako je definira F. Schoun. Najjednostavnije Sl.24/Ill.24
zajedničko čitanje složenosti tih simbola moglo bi
Snimak ostataka džamijske cjeline in situ, napravljen u toku čišćenja
biti svedeno na prelaz iz nivoa Zemlje u nivo Neba, prostora. Snimak su u septembru 2001. godine napravili pripadnici
ili u susticanje svetih predanja u Muhammedovom mirovnih snaga UN-a u Bosni i Hercegovini iz helikoptera.
poslanstvu. Devet je i broj koji se vezuje za devet
Plan of remains of the mosque complex in situ, made during site
nebeskih sfera, a u stolačkoj Čaršijskoj džamiji skriven clearance in September 2001 by members of the UN peace-keeping
je u brojnim odnosima mjera; ponekad se pojavljuje force in Bosnia and Herzegovina.
i umnožen – udvojen u ukupnom broju stupova,
utrojen u visini munare, itd.29
Ovdje će biti spomenuto i jedanaest stupova
u unutrašnjosti džamije. Simbolično značenje broja
11 (11 duhovnih nasljednika poslanika Muhameda i
12. skriven, koji se čeka, i sl.) vrlo često je korišteno

27) O razumijevanju poticajne prisutnosti simbola mladog mjeseca u

starom bosanskom naslijeđu svjedoči i pjesma Mehmedalije Maka Dizda-
ra «Mjesec», Kameni spavač, Did, Sarajevo, 1999, str. 56-59. Pjesma
završava stihovima: Ureži njegov znak u mekoj bjelini miljevine/kako bi
mogao što vjernije upiti u sebe sliku/ Svoje neizrecive boli i nade.
28) O simbolizmu trodimenzionalnog križa i procesu njegovog trans-
formiranja u Sulejmanov pečat ili šestokraku rozetu, ili heksaedar, jedna- Sl.25/Ill.25
ko kao i o procesu sažimanja značenja tih oblika njihovim sublimiranjem
u simbol trodimenzionalnog (šestokrakog) križa, bit će govora u poseb- Identificiranje položaja ulomaka munare, prije određivanja načina nji-
nom radu. hove upotrebe u projektu, u skladu sa pravilima metode anastiloze

29) “number symbolism”, Encyclopædia Britannica, 2007. Encyclopædia Identification of the position of fragments of the minaret prior to de-
Britannica Online, 11  Jan.  2007  <http://www.britannica.com/eb/arti- termining how they were to be used in the project, in line with the
cle-248166>. principles of the merthod of anastylosis.

105 baština - - heritage

 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i

u arhitektonskim iskazima starih džamija (primjer carried out in December 1999, when it was found that
Handanije džamije u Pruscu), posebno onih koje the mosque site was buried under rubbish and rubble
su gradili gnostici. Statičke analize pokazuju da u but that it was possible to find a few fragments of the
većini slučajeva 11 stupova nije bilo potrebno da bi
se osigurala nosivost konstrukcije, ali to doprinosi
tvrdnji da arhitektonski elementi nisu imali isključivo
konstruktivnu ulogu. U Handanija džamiji su
restauratori osamdesetih godina 20. stoljeća uklonili
jedanaesti stup, jer za njega nisu pronašli racionalno
konstruktivno opravdanje. Taj stup je vraćen u toku
rehabilitacije džamije, koja je završena 2005. godine
(Tina Wik, odgovorni projektant). Pet stupova
Čaršijske džamije konstruktivno nosi središnju
stropnu gredu i simbolizira pet načina potvrđivanja
vjere, pet ključeva tajne Kur’ana, pet svjedoka Ugovora.
Pet stupova koji preuzimaju teret krova, dijeleći
unutrašnjost džamije na dvoje, prenose simbolizam Sl.26/Ill.26
broja «središta, sklada i ravnoteže».30 Pet je obaveznih Identificiranje položaja ulomaka munare, prije određivanja načina
dnevnih molitvi. Pet je u odnosu prema broju šest njihove upotrebe u projektu, u skladu sa pravilima metode anastiloze
– koji je dominantno prisutan na ornamentima na – dekorirani slojevi munare iznad struka
bazi munare, isto što je i mikrokosmos u odnosu na Identification of position of fragments of the minaret prior to deter-
makrokosmos. mining how they were to be used in the project, in line with the prin-
ciples of the method of anastylosis – decorated strata of the minaret
Rušenje i posljedice above the waisted section.

U ljeto 1993. godine, Čaršijska džamija

sa svim dućanima i javnim građevinama u njenom
okruženju, sa grobljem u sklopu njenog harema,
minirana je i srušena. Nakon rušenja, ostali su uspravni
dijelovi mihrabskog zida i šadrvana. Naknadno
je cijeli prostor stolačke čaršije očišćen od gradiva
stolačkih spomenika. Srušeni su preostali fragmenti
zidova, prostor je «počišćen», a najveći dio materijala
odvezen na deponije u blizini Stoca. Neki fragmenti
Čaršijske džamije nađeni su u presušjelom koritu
rijeke Radimlje. O postojanju izvornih fragmenta
džamije na deponijama uz Stolac, tvrdnje su iznosili Sl.27/Ill.27
svjedoci rušenja. U decembru 1999. godine, izvršena
Identificiranje položaja ulomaka munare, prije određivanja načina
su izviđanja na gomilama ostataka srušenih stolačkih
njihove upotrebe u projektu, u skladu sa pravilima metode anastiloze;
građevina u Sastavcima i na Maslinama, kao i u koritu slojevi munare ispod fišeka (kupe) ili krova munare
rijeke Radimlje. Tada je utvrđeno da se neke gomile
Identification of the position of fragments of the minaret prior to
organski razgrađuju.
determining how they were to be used in the project, in line with the
principles of the merthod of anastylosis – strata of the minaret below
30) Jean Chevalier i Alain Gheerbrant, Riječnik simbola, str. 497-500. the fišek (cone) or roof of the minaret.

baština - - heritage 106


Sl.28/Ill.28
Identificiranje položaja ulomaka munare, prije određivanja načina
njihove upotrebe u projektu, u skladu sa pravilima metode anastiloze;
ulomci sa ornamentima koji su bili ugrađeni ispod struka munare
Identification of the position of fragments of the minaret prior to
determining how they were to be used in the project, in line with the
principles of the merthod of anastylosis – fragments with ornaments
that were built in below the waisted section of the minaret.
Sl.29/Ill.29
Nišani pronađeni tokom čišćenja džamijske cjeline. Snimanje i evi-
dentiranje nišana, prepis, transkripciju i čitanje natpisa izvršio je
Hazim Numanagić
Nišan tombstones found on the site of the Čaršija mosque during site
clearance. The tombstones and epitaphs were identified, studied and
recorded in detail by Hazim Numanagić
10 7
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
minaret, walls and window jambs, as well as pieces of
broken nišan tombstones from the burial ground by the
mosque. Since 1993 the site of the mosque had been
used as a car park.
The destruction of the Čaršija mosque and its
immediate environs had a crucial impact on the reten-
tion of the image of Stolac. With the loss of its “trade
mark,” the place lost its character; the town was de-
stroyed. All distances were disrupted, all volumes and
sizes lost their proportions. The houses on the slopes
of the town, and every built-up area not completely
destroyed, lost their orientation, no longer looking like
the parts of a whole but like individual buildings. The
concentration that was a fundamental attribute of the
town vanished too as half of what constituted it was lost.
There was a complete loss of the sense of belonging to, of
being connected and intimate with, the area. After the
destruction of the Čaršija mosque and the urban centre,
the town no longer had the nature of a place. The area
was transformed into pure, unstratified, undecipherable,
inarticulate placelessness (illus. 10, 11, 12 and 13).
Since the ensemble of the Stolac čaršija with the
mosque at its heart was on the List of national monu-
ments of Bosnia and Herzegovina, established pursuant
to Annex 8 of the General Framework Agreement for
Peace in Bosnia and Herzegovina, the Islamic Commu-
nity in Stolac submitted a request for the enforcement
of Article V.5 of Annex 8, which requires the Entity in
which such a property is located to rehabilitate destroyed
properties. Rehabilitation duly began, pursuant to ap-
proval from the Federal Ministry of Regional Planning
and Environment. The project for which approval was
granted was a preliminary one, based solely on docu-
mentation from the Institute for the Protection of the
Cultural, Historical and Natural Heritage of Bosnia and
Herzegovina, in the shape of architectural drawings of
the condition of the mosque in 1958 by architect Is-
met Serdarević. This documentation was collated and
supplemented by a preliminary bill of quantities and
computation of the works and structural computations,
compiled without the opportunity for an on-site inspec-
tion or prior investigations, since the security situation
in Stolac still did not allow for this, based on a contract
between the investor and Muhamed Hamidović, head
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i

Temelji su ostali u zemlji i djelimično su

tragovi zidova, ili boja i vrsta vegetacije preko njih
ocrtavali izvorni položaj džamije. Prva izviđanja
lokacije izvršena su u decembru 1999. godine, kada
je utvrđeno da je na površini džamijskog prostora
zatrpanog smetljem i šutom moguće pronaći još
poneki fragment munare, zidova i doprozornika,
kao i dijelove razbijenih nišana iz groblja uz džamiju.
Prostor džamije je od 1993. godine korišten za
parkiranje automobila.
Rušenje Čaršijske džamije sa njenim
neposrednim okruženjem za održanje slike Stoca
imalo je presudan značaj. Nestankom biljega,
izgubljeno je određenje mjesta; grad je bio uništen.
Sve su udaljenosti poremećene i sve su veličine Sl.30/Ill.30
izgubile svoje mjerilo. Kuće na gradskim padinama, Identificiranje položaja ulomaka munare, prije određivanja načina
i svi izgrađeni prostori koji nisu potpuno uništeni, njihove upotrebe u projektu, u skladu sa pravilima metode anastiloze;
izgubili su usmjerenost, tako da su se iskazivali kao struk – suženje između baze i tijela munare
pojedinačne građevine, ne više kao cjelina. Svojstvo Identification of the position of fragments of the minaret prior to
koncentracije, koje je temeljna osobina grada, iščezlo determining how they were to be used in the project, in line with the
principles of the merthod of anastylosis – waisted section between
je, jer je su u strukturi nestali polovi koncentriranja.
base and shaft of minaret.
Potpuno je izgubljen osjećaj pripadanja prostoru,
povezanosti i bliskosti s njim. Nakon rušenja Čaršijske
džamije i gradskog središta, grad je izgubio osobinu
mjesta. Prostor se pretvorio u čistu, neslojevitu,
nečitljivu, nedorečenu bezmjesnost. (slike 10, 11, 12
i 13)
S obzirom da je cjelina stolačke čaršije, sa
džamijom u središtu, upisana na Listu nacionalnih
spomenika Bosne i Hercegovine, uspostavljenu na
osnovi Aneksa 8. Okvirnog sporazuma za mir u
Bosni i Hercegovini, Islamska zajednica u Stocu je
podnijela zahtjev za primjenu člana V, Aneksa 8, koji
utvrđuje obavezu ponovne uspostave – rehabilitacije
- srušenog dobra i, na osnovi odobrenja Federalnog Sl.31/Ill.31
ministarstva prostornog uređenja i okoliša, započeta je
njena rehabilitacija. Projekat na osnovi kojeg je izdato Identificiranje položaja ulomaka munare, prije određivanja načina
odobrenje za rekonstrukciju džamije bio je preliminarni njihove upotrebe u projektu, u skladu sa pravilima metode anastiloze;
uklapanje ulomaka sa složenim ornamentima ispod struka munare,
projekat – zasnovan isključivo na dokumentaciji
kako bi bilo moguće projektirati taj dio objekta
Zavoda za zaštitu kulturno-historijskog i prirodnog
Identification of the position of fragments of the minaret prior to
naslijeđa Bosne i Hercegovine, odnosno arhitektonskim
determining how they were to be used in the project, in line with the
snimcima stanja džamije 1958. godine, koje je sačinio principles of the merthod of anastylosis. Fitting in fragments with
arhitekta Ismet Serdarević. Ta dokumentacije je bila complex ornaments below the waisted section of the minaret, to en-
uređena i dopunjena preliminarnim predmjerom able that part of the structure to be designed.

baština - - heritage 108


i predračunom radova i statičkim proračunima,
sačinjenim bez mogućnosti uvida u stanje na terenu i
bez prethodnih ispitivanja, s obzirom na nepostojanje
sigurnosnih uvjeta u Stocu, na osnovi ugovora koje su
sa investitorom sklopili Muhamed Hamidović, direktor
Zavoda, Emina Hašimbegović, tehnička suradnica u
Zavodu, i Milorad Skoko, statičar.
Rekonstrukcija Čaršijske džamije
S obzirom na jasno uvjerenje da nije
moguće pristupiti rekonstrukciji samo na osnovi
arhitektonskih snimaka iz 1958. godine, započeli
su opsežni istražni radovi, koji su se sastoali iz
nekoliko faza.
I faza - preliminarni istražni radovi:
1.  prikupljanje i analiza fotografskog
materijala i razglednica iz različitih razdoblja iz
javnih i privatnih arhiva;
2.  analiza kartografske građe i geodetskih
podloga;
3.  analiza bibliografske i arhivske građe;
4.  analiza aerofotogrametrijskih snimaka
1989. i 1998. godine, s ciljem identificiranja
koordinatnog sistema za početne arheološke
radove;
5.  izrada Elaborata fotogrametrijskih
mjerenja na osnovi aerofotogrametsrijskog snimka,
koji je napravljen u martu 1989. godine (četiri
godine prije rušenja džamije). Na instrumentu
Wild A-7 izvršena su mjerenja visina svih vanjskih
dijelova džamije. Elaborat je sačinio Drljević Esad,
geodetski inžinjer, Geodetski zavod BiH, u junu
1997. godine;
6.  prikupljanje i analiza videozapisa –
dokumentarni film o stolačkim džamijama, izrađen
u produkciji Radio-televizije Bosne i Hercegovine,
koncem osamdesetih godina 20. stoljeća (koji je
nađen na smetljištu srušene kuće u Stocu) i dva
privatna amaterska videozapisa iz 1992. godine
– prije rušenja džamije;
7.  anketiranje preživjelih stanovnika o
njihovom pamćenju pojedinosti vezanih za džamiju;
međusobna uporedba svjedočenja i uporedba
10 9
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
of the Institute, Emina Hašimbegović, a technical asso-
ciate of the Institute, and Milorad Skoko, a designer.
Rehabilitation of the Čaršija
mosque
Given the conviction that it would be impos-
sible to embark on the reconstruction solely on the basis
of the 1968 architectural survey, comprehensive research
works began, consisting of:
Stage I: Preliminary Research
1.  Collection and analysis of photographic
material and postcards from various periods in public
and private archives;
2. Analysis of cartographic material and geo-
detic survey bases;
3. Analysis of bibliographical and archival ma-
terial;
4. Analysis of aerial photogrammetric surveys
in 1989 and 1998, to identify the system of coordinates
for initial archaeological works;
5.  Compilation of a study of photogrammet-
ric surveys based on the aerial photogrammetric survey
conducted in 1989 (four years prior to the destructioin
of the mosque). Using a Wild A-7 instrument, meas-
urements of the height of all the exterior elements of
the mosque were made. The study was compiled by
Drljević Esad, a geodetics engineers of the Geodetics In-
stitute of BiH, in June 1997;
6.  Collection and analysis of a video recording
of a documentary film on the mosques of Stolac pro-
duced by Radio Television of Bosnia and Herzegovina
in the late 1980s (found in the rubbish on the site of
a destroyed house in Stolac) and two private amateur
video recordings made in 1992, prior to the destruction
of the mosque;
7.  Questionnaire among surviving residents
on their recollection of features associated with the
mosque, a comparison and collation of their testimo-
nies, and a comparison of their testimonies with existing
documentation;
8.  Graphic analysis of old postcards and photo-
graphs (graphic analysis conducted by Slobodan Kudra
in line with instructions from the author);
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i

svjedočenja sa postojećom dokumentacijom;

8.  grafička analiza starih razglednica
i fotografija (grafičku analizu prema uputama
autorice, radio Slobodan Kudra);
9.  virtualna rekonstrukcija džamijske
cjeline - izrada digitalnog 3D modela na osnovi
raspoložive građe o džamiji (na osnovi uputa
autorice, 3D model džamije crtao je Ognjen
Materić), s ciljem identificiranja nedostajućih
informacija za rekonstrukciju; prezentacija 3-D
modela preživjelim stanovnicima Stoca s ciljem
anketiranja o nedostajućim pojedinostima.
Ova faza sistemski je provođena u toku
druge polovine 1999. godine, u toku 2000. i u
prvoj polovini 2001. godine, ali je nastavljena Sl.32/Ill.32
do kraja rekonstrukcije objekta, tako da su neki
izuzetno vrijedni podaci bili pronađeni i analizirani Postupak paralelan onom opisanom na slici 30 – slaganje snimaka
i u toku 2002, pa čak i 2003. godine. Posebno ulomaka koji su sačinjeni u mjerilu 1:1, kako bi bilo moguće ra-
zumjeti strukturu objekta i mjesto svakog ulomka, koji se ponovno
ističemo značaj crno-bijelih fotografija iz arhiva
ugrađuje u rekonstruirani objekat
Ćirila Rajića.
Procedure in parallel with that described in illus. 30 – layout of draw-
II faza - preliminarna istraživanja
ings of fragments scale 1:1 to facilitate an understanding of the struc-
fizičkih ostataka džamijske cjeline: ture and the position of each fragment being reincorporated into the
1.  prostor džamijske cjeline ograđen je 3. reconstructed building.
juna 2001. godine, kada je Općina Stolac najavila,
zajedno sa Zavodom za kulturno-historijsko
naslijeđe Herceg-Bosne, arheološka iskopavanja.
Ured Visokog predstavnika Međunarodne
zajednice u Bosni i Hercegovini naložio je Općini
Stolac poštovanje Aneksa 8, u kome stoji obaveza
suzdržavanja od radnji koje nisu usmjerene na
vraćanje objekta u stanje u kome je bio prije
rušenja. Tada je potvrđeno da pravo ulaza u
ograđeni prostor imaju samo vlasnici prostora i
lica ovlaštena za radove vezane za rekonstrukciju
objekta (slika 14);
2.  dana 21. augusta počelo je čišćenje
Sl.33/Ill.33
ograđenog prostora od nanosa šuta, smetlja i
rastinja. Na osnovi geodetskih podloga i snimaka Rekonstruirana munara, u koju su ugrađeni svi ulomci za koje je,
nakon analiza utvrđeno da imaju odgovarajuća mehanička i statička
stanja objekta, sačinjena je koordinatna mreža za
svojstva. Izvorni ulomci su ugrađivani nakon konzervacije, bez uk-
pretpostavljeni prostor džamije, na osnovi koje su lanjanja tragova oštećenja usljed rušenja.
otkopavanja vršena i sistemski praćena;
Reconstructed minaret with all fragments found after analysis to have
3.  na površini lokacije je pronađena velika suitable mechanical and structural characteristics. The original frag-
količina kabastog otpada i velika količina rastinja, ments were incorporated after conservation, without removing the
starog 8 godina – od rušenja džamije – koji su signs of damage caused by demolition.

baština - - heritage 110


uklonjeni i odvezeni na Gradsku deponiju. Očišćena
površina je dalje čišćena u skladu sa detaljnim
planom, pod strogim nadzorom i uz svakodnevno
vođenje dnevnika. Prvi dan su otkriveni ostaci baze
munare i konture cijelog jugozapadnog zida. Drugi
dan su otkrivene konture svih džamijskih zidova
i pod desne sofe. U nanosima zemlje i smetlja
nađeni su fragmenti, koji su, nakon preliminarnog
evidentiranja (fotografija i brojna oznaka), kao i
Sl.34/Ill.34
Zidanje džamije kamenom u krečnom malteru, u potpunosti u skladu
sa tradicionalnim metodama
Building the mosque in stone set in lime mortar, fully in accordance
with traditional methods
Sl.35/Ill.35
Izrada kamenog portala od kamena pješčara, ručnim klesanjem na
tradicionalan način
Making the stone portal out of sandstone, hand cut in the traditional
manner.
111
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
9. Virtual reconstruction of the mosque com-
plex creating a digital 3D model based on available ma-
terial on the mosque (3D model of the mosque drawn
by Ognjen Materić in line with instructions from the
author), designed to identify missing information re-
quired for reconstruction, and presentation of the 3D
model to surviving Stolac residents in order to question
them on missing features.
This stage was systematically carried out in the
second half of 1999, 2000 and the first half of 2001,
but was also continued through to completion of the
reconstruction of the property, as a result of which some
extremely important items of information were found
and analyzed in 2002 and even in 2003. Of particular
importance were the black and white photographs from
the archives of Ćiril Rajić.
Stage II: Preliminary investigations of the
physical remains of the mosque complex:
1.  The site of the mosque complex was fenced
off on 3 June 2001, when Stolac Municipality and the
Institute for the Cultural and Historical Heritage of
Herceg-Bosna announced architectural excavations.
The Office of the High Representative of the interna-
tional community in Bosnia and Herzegovina ordered
Stolac Municipality to observe the provisions of Annex
8, which require it to refrain from taking any deliber-
ate measures that might damage the property or are not
intended to restore the property to its condition prior to
destruction. It was stipulated that only the owners of
the site and persons authorized to carry out the works
associated with the reconstruction of the property had
the right to enter the fenced-off area (illus. 14);
2. On 21 August, work began on clearing the
fenced-off area, removing rubble, rubbish and weeds. A
coordinates network was established for the presumed
area of the mosque, based on geodetic survey bases and
the surveys of the condition of the property, and this
was used as the basis for conducting and systematically
monitoring the excavations;
3.  Large quantities of bulk waste and eight-
year-old weeds – going back to the destruction of the
mosque – were found on the site, removed and taken
to the town dump. The cleared area was then further
cleared in line with a detailed plan, under strict supervi-
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
utvrđivanja njihovog mogućeg položaja u građevini,
slagani na drvene palete. Sav lomljeni kamen iz
srušenih zidova, nađen na lokaciji džamije, i sve
kamene ploče sa krova razvrstavane su prema
veličini i nivou obrade – priklesavanja, i slagane
su u hrpe u obliku kupe u džamijskom dvorištu,
kako bi bilo moguće izvršiti njihovu ponovnu
ugradnju u rekonstruirani objekat. U toku čišćenja
vršena je detaljna selekcija svih nađenih ulomaka i
prosijavanje šuta prije njegovog odlaganja za odvoz
na deponiju (slike 15);
4.  nakon otcrtavanja konture zidova
izvršeno je iskopavanje nanosa šuta u unutrašnjosti
džamije do nivoa poda – koja je utvrđena na osnovi
tragova u sačuvanim dijelovima zidova i na osnovi
tri pronađene baze stupova, a potom izvan zidova
do geodetski utvrđene nulte kote harema i avlije
(slika 17);
5.  iskopavanje podužnih sondi, širine 50
cm oko svih zidova – s unutrašnje i vanjske strane,
kao i prstenastih sondi prečnika 1 m oko nađenih
baza stupova, s ciljem utvrđivanja stepena stilske i
hronološke homogenosti ostataka srušene džamije,
eventualnih spolija, kao i s ciljem utvrđivanja
strukture i stanja temelja i tla (slike 18 i 19);
6.  uzimanje uzoraka veznih maltera i
bojenih slojeva sa dijelova zidova koji su bili
očuvani;
7.  iskopavanje sonde, širine 50 cm, sa
sjeverozapadne strane namaz-taša, s ciljem provjere
o eventualnom postojanju ranijih slojeva;
8.  iskopavanje sonde širine 2 m oko
munare do dna temelja munare;
9.  snimanje ostataka temelja i zidova i
grafički prikaz snimka (grafički prikaz snimka
izradio Slobodan Kudra) (slike 20 i 21);
10.  čišćenje čatrnje – vađenje i preliminarna
selekcija i identifikacija ulomaka nađenih u čatrnji;
izrada snimaka čatrnje;
11.  identifikacija deponija sa ulomcima
Čaršijske džamije;
12.  vađenje ulomaka sa deponije, transport
na lokaciju džamiju, preliminarna identifikacija
(numeriranje i fotografiranje sa preliminarnom
baština - - heritage
sion and with the maintenance of a daily log. On day
one, the remains of the base of the minaret and the con-
tours of the entire south-west wall were uncovered. On
day two, the contours of all the mosque walls and the
floor of the right-hand sofa were uncovered. Fragments
were found in the heaps of soil and rubbish; following
preliminary recording (photographs and numbering)
and ascertaining their possible position in the building,
these were laid out on wooden pallets. All the quarry
stone from the destroyed walls found on the site of the
mosque, together with all the stone roofing slabs, were
classified by size and type of workmanship (masonry),
and laid in a conical pile in the mosque courtyard, so
that they could be reincorporated into the reconstruct-
ed building. During clearance, a detailed selection was
made of all the fragments found and the rubble was
sifted before being taken away to the dump (illus. 15);
4. After drawings were made of the contours
of the walls, the layers of rubble inside the mosque were
dug out down to floor level – identified on the basis of
traces on the surviving parts of the walls and three pillar
bases that were discovered – followed by the removal of
rubble outside the walls down to the geodetically deter-
mined zero level of the harem and courtyard (illus. 17);
5. Excavation of 50 cm wide longitudinal trial
trenches around all the walls both inside and out, and
ring trenches with a diameter of 1 m around the pillar
bases that were found, to ascertain the degree of stylistic
and chronological homogeneity of the remains of the
destroyed mosque, to find possible spolia, and to de-
termine the structure and condition of the foundations
and soil (illus. 18 and 19);
6.  Sampling the binder mortar and the plaster
and painted layers from the surviving parts of the walls;
7. Excavation of 50 cm wide trial trenches to
the north-west of the namaz-taš, to check for the pos-
sible presence of earlier strata;
8. Excavation of a 2 m wide trench around the
minaret down to its foundations;
9.  Survey of the remains of the foundations
and walls and graphic representation of the findings
of the survey (compiled by Slobodan Kudra) (illus.
20 and 21);
10.  Clearing the well – removal and prelimi-
112

identifikacijom pozicije) (slika 21);
13.  odvajanje metalnih dijelova (klinova,
klanfi, ključeva, trnova, olovnih komada, baglama,
demira, ulomaka ulazne kapije, ulomaka lustera,
zglobova sa trnovima iz baza stupova, itd.),
ulomaka od kamena (prema vrsti kamena, vrsti
obrade i pretpostavljenoj poziciji – doprozornici,
dovratnici, mihrab, mimber, munara, zidovi;
ulomaka sa tragovima bojenih slojeva; ulomaka
sa posebnom dekoracijom; nadgrobnika, itd.);
ulomaka drveta (drvena konstrukcija – hatule i
ulomci vrata) (slike 22 i 23);
III faza - analiza nalaza postignutih u
toku istraživanja ostataka džamijske cjeline:
1.  analiza sastava uzoraka veznih i
unutrašnjih površnih zidnih maltera, koji su uzeti iz
baze munare i sjeveroistočnog ćoška džamije, koji je
bio najmanje razoren. Stratigrafsku analizu uzoraka,
analizu nijhove strukture i sastava uradila je dr.
Antonella Tucci u laboratoriju u Bologni. Nalazi su
korišteni pri utvrđivanju recepture maltera u toku
rekonstrukcije;
2.  ni jedna od sondi nije ukazala na
potrebu daljnjeg arheološkog istraživanja prostora
pod objektima;
3.  izvršeno je detaljno snimanje svih
ulomaka u mjerilima 1:1 do 1:10 i izrada
identifikacijskih kartona za sve ulomke – kamene i
metalne (snimanje su vršili autorica rada i asistenti:
Medina Hadžihasanović, Damir Hadžić, Lejla
Hadžić i Slobodan Kudra. Sve crteže izradio je
Slobodan Kudra);
4.  analizom ulomaka, njihovog oblika,
međusobnih veza, obrade i detalja i uporedbom tih
analiza i detaljnih snimaka ulomaka sa postojećom
arhitektonskom i fotografskom dokumentacijom
utvrđeni su svi izvedbeni detalji. Slaganjem
ulomaka munare, utvrđivanjem njihove pozicije i
poređenjem sa fotografijama i snimcima munare
koji su napravljeni 1958. godine bilo je moguće
rekonstruirati tačnu visinu svakog sloja munare i
rekonstruirati u mjerilu 1:1 sve profilacije i plastične
ukrase na munari. (Grafičke analize i crteže profila
i klesanih elemenata izradili su arhitekti: Medina
113
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
nary selection and identification of fragments found in
the well. Survey of the well;
11.  Identification of dumps with fragments of
the Čaršija mosque;
12. Removal of fragments from the dump,
transport to the mosque site, preliminary identifica-
tion (numbering and photographing with preliminary
identification of position) (illus. 21);
13.  Separation out of metal parts (nails,
cramps, keys, spikes, pieces of lead, hinges, window
bars, fragments of entrance gate, fragments of light
fittings, joints with spikes from the bases of the pil-
lars, etc.), fragments of stone (by type of stone, type
of workmanship and assumed position – window
jambs, door jambs, mihrab, mimbar, minaret, walls;
fragments with traces of painted layers; fragments
with specific decoration; tombstones; etc.), and frag-
ments of wood (timber structure – tiebeams, and
pieces of doors) (illus. 22 and 23);
Stage III: Analysis of findings of investiga-
tive works on remains of the mosque complex
1. Analysis of the composition of samples
of binder mortar and plaster on inside walls, taken
from the base of the minaret and the north-east corner
of the mosque, where the destruction was least. The
stratigraphic analysis of samples, and analysis of their
structure and composition, were conducted by Dr. An-
tonella Tucci in a laboratory in Bologna. The findings
were use when determining the composition of the
mortar and plaster used during reconstruction;
2.  None of the soundings indicated any need
for further archaeological excavations of the area beneath
the buildings;
3.  Detailed recording of all fragments, scale
1:1 to 1:10, and compilation of identification records
for all fragments, stone and metal (recording by the
author and assistants: Medina Hadžihasanović, Damir
Hadžić, Lejla Hadžić and Slobodan Kudra. All drawings
by Slobodan Kudra);
4. All working details determined by analysis
of fragments, their form, interrelationships, treatment
and details, and a comparison of these analyses and de-
tailed records of the fragments with existing architectur-
al and photographic documentation. By laying out the
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
Hadžihasanović, Lejla Hadžić, Damir Hadžić i
Slobodan Kudra) (slike 24, 25, 26, 27, 28);
5.  samo je nekoliko prelomljenih nišana
ostalo na mjestima na kojima su bili, nakon što
je džamijska cjelina razorena u ljeto 1993. godine.
S obzirom na temeljito razaranje, tokom čišćenja
harema i u toku arheoloških opservacija, nađeni su
fragmenti od preko 200 nišana, koji su vremenom
najvjerovatnije bili utonuli u zemlji, ili su tamo
zapali nakon uništenja harema 1955. godine.
Tačno je 100 čitljivih i dokumentiranih, bilo
cjelovitih, bilo fragmentarnih natpisa na nišanima,
koji sada predstavljaju značajan doprinos pisanim
dokumentima o historiji Stoca. Svi nišani su
snimljeni, i, s obzirom da nije moguće utvrditi
njihovu lokaciju, bit će muzeološki tretirani u
sklopu nadstrešnice interpolirane u džamijsku
cjelinu. Snimanje i evidentiranje nišana, prepis,
transkripciju i čitanje natpisa izvršio je Hazim
Numanagić (slika 29).
IV faza - sadržaj i metode rehabilitacije
Čaršijske džamije:
1.  rehabilitacija Čaršijske džamije
obuhvata:
•  konzervaciju svih intaktnih dijelova
džamije, čatrnje i harema;
•  rekonstrukciju objekta džamije uz
upotrebu metode anastiloze i metode replike, gdje
god je to moguće (slika 30, 31, 32 i 33);
•  intrepolaciju instalacija električne
energije, hladnih usmjerenih reflektorskih
rasvjetnih tijela i sistema podnog grijanja;
•  konzervaciju i restauraciju dijelova
izvorno sačuvane kaldrme;
•  rekonstrukciju šadrvana;
•  rekonstrukciju zidova oko harema i
zidova između groblja i dvorišta džamije;
•  rekonstrukciju oblika gusulhane, uz
adaptaciju njene funkcionalne organizacije i
unutrašnjosti suvremenim uvjetima;
•  intrepolaciju dvije podužne nadstrešnice
uz sjeverozapadni i sjeveroistočni zid harema, pod
kojima je planirana prezentacija historije džamijske
cjeline, njenog rušenja i rekonstrukcije, uključujući i
baština - - heritage
fragments of the minaret, identifying their position and
comparing with the photographs and drawings of the
minaret made in 1958, the exact height of each course
of the minaret could be reconstructed and all mould-
ings and carved decorations on the minaret were recon-
structed to scale 1:1 (graphic analyses and drawings of
mouldings and carved elements by architects Medina
Hadžihasanović, Lejla Hadžić and Damir Hadžić, and
Slobodan Kudra) (illus. 24, 25, 26, 27 and 28);
5. Only a few broken nišan tombstones re-
mained in their former positions following the destruc-
tion and vandalization of the mosque complex in the
summer of 1993. Given the extent of the destruction,
the fragments of more than 200 tombstones found dur-
ing clearing of the harem and architectural observations
had probably become buried by soil or had fallen over
after the destruction of the harem in 1955. Precisely 100
legible, documented epitaphs on the nišan tombstones,
some intact, some fragmentary, were found, now form-
ing a major contribution to written documents on the
history of Stolac. All the tombstones were recorded and,
given that it was impossible to determine their locations,
they will be displayed museum-style under the canopy
roof interpolated within the mosque complex. The sur-
vey and recording of the tombstones, and the transcrip-
tion and deciphering of the epitaphs were by Hazim
Sl.36/Ill.36
Unutrašnjost džamije 23. augusta 2003. godine, deset godina nakon
njenog rušenja, kada je rekonstrukcija bila u završnoj fazi
Interior of the mosque on 23 August 2003, ten years after its destruc-
tion, when reconstruction was in the final stages.
114

prezentaciju ulomaka koji nisu mogli biti ugrađeni
i nadgrobnika otkopanih u toku istražnih radova na
prostoru džamijskog harema;
•  interpolaciju toaleta u sjevernom uglu
dvorišta;
•  sanaciju svih borova koji su iznikli u
haremu džamije nakon njenog razaranja i presađivanje
borova koji su iznikli na zidovima i u unutrašnjosti
objekta; restauraciju hortikulturnog rješenja harema.
Metodološki pristup rehabilitaciji zasnovan
je na sljedećim počelima:
•  integrirana rehabilitacija: projekat
rehabilitacije Čaršijske džamije trebao bi biti početni
korak u rehabilitaciji srušene historijske jezgre Stoca;
•  potpuna rekonstrukcija: rekonstrukcija
džamije je provedena primjenom metode anastiloze
koliko god je to moguće. Lomljeni kamen od kojeg
je zidan izvorni objekat je ponovno ugrađen u zidove,
kao izvorna supstanca objekta. Gdje god nije bilo
moguće primijeniti metodu anastiloze, s obzirom
na uništenost izvornog ulomka, korištena je metoda
replike;
•  prezentacija sloja rušenja: ponovno
upotrebljeni vidljivi ulomci su konzervirani, tako da
na njima ostanu vidljivi tragovi rušenja. Prezentacija
sloja rušenja je, osim kroz upotrebu oštećenih izvornih
ulomaka u toku rekonstrukcije, planirana i kroz
muzeološko predstavljanje neugrađenih fragmenta i
nađenih nišana, kao i kroz predstavljanje dokumenata
o historiji džamije, njenom rušenju i rekonstrukciji;
•  korištenje tradicionalnih metoda i
tehnika: konsekventno je provođena upotreba
izvornih materijala ili njima istovrsnih materijala,
istih recepata za vezivo i završne maltere, istih metoda
obrade i ugradnje meterijala kao što je to izvorno
činjeno (slike 34 i 35);
•  rekonstrukcija poznatog oblika:
svi dijelovi cjeline su rekonstruirani u poznati i
dokumentirani (najčešće posljednji oblik). (Izuzeci,
koji će ovdje biti navedeni, su uglavnom vezani za
otklanjanje promjena koje su značajno narušavale
cjelovitost džamije. Prozori su rekonstruirani u oblik
prije rušenja, ali su dodati drveni kapci s unutrašnje
strane, koji su skinuti koncem pedesetih godina
115
Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
Numanagić (illus. 29)
Stage IV: Content and method of the reha-
bilitation of the Čaršija mosque
1. The rehabilitation of the Čaršija mosque
consisted of:
•  conservation of all intact parts of the mosque,
well and harem;
•  reconstruction of the mosque by the meth-
ods of anastylosis and replica wherever possible (illus.
30, 31, 32 and 33);
•  interpolation of electric wiring, cool direc-
tional reflective lighting and underfloor heating;
•  conservation and restoration of parts of orig-
inal surviving cobbles;
•  reconstruction of šadrvan fountain;
•  reconstruction of walls around harem and
walls between burial ground and mosque courtyard;
•  reconstruction of the form of the gusulhana,
adaptation of its functional layout and interior to mod-
ern conditions;
•  interpolation of two longitudinal canopy
roofs by north-west and north-east harem walls; the
plan is to present beneath these roofs the history of the
mosque complex, its destruction and reconstruction,
and the fragments that could not be reincorporated,
along with tombstones excavated during investigative
works in the mosque harem area;
•  interpolation of toilets in the north corner of
the courtyard;
•  tree surgery on all pines growing in the
mosque harem since its destruction and replanting those
growing in the walls and inside the property. Restora-
tion of the horticultural treatment of the harem.
The methodological approach to the rehabilita-
tion was based on the following principles:
•  integrated rehabilitation: the rehabilitation
of the Čaršija mosque should be the first step in the res-
toration of the destroyed historic centre of Stolac;
•  full reconstruction: the reconstruction of
the mosque was carried out using the method of anasty-
losis wherever possible. The quarry stone used to build
the original mosque was rebuilt into the walls, as the
original substance of the building. Where it was not
possible to use the method of anastylosis because of the
baština - - heritage
 Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
20. stoljeća. Drveni kapci su izvorno bili jedini
način zatvaranja prozora u Čaršijskoj džamiji, a
rekonstruirani su na osnovi analogije. Rekonstruiran
je ulaz u lijevi mahfil sa vanjske sofe, koji je zatvoren
sedamdesetih godina dvadestog stoljeća, kada je
ispod mahfila ugrađena prostorija u džamiji, koju je
imam koristio kao kuhinju, odlagalište suđa i sobu
za sastanke. Procijenjeno je da su obje intervencije
izvedene sedamdesetih godina neprimjerene i da
degradiraju arhitektonsko i funkcionalno rješenje
džamije, pa je predviđena rekonstrukcija prethodnog
Sl.37/Ill.37
Džamijske sofe 23. augusta 2003. godine
Mosque sofas, 23 August 2003.
Sl.37/Ill.37
Pogled na džamijsku cjelinu 23. augusta 2003. godine
View of the mosque complex, 23 August 2003.
baština - - heritage
extent of damage to a fragment, the replica method
was used;
•  presentation of the stratum of destruc-
tion: the reused fragments remaining visible were con-
served in such a way as to preserve the visible traces
of destruction. In addition to the use of damaged
original fragments during reconstruction, the plan is
to present the destruction stratum through the mu-
seum-style presentation of fragments not reintegrated
and the nišan tombstones that were found, as well as
using documentation on the history, destruction and
reconstruction of the mosque;
•  use of traditional methods and tech-
niques: as a result, the use of original or similar mate-
rials, the same composition of binders and plaster, the
same finishes to the material and the same building
methods used for the original building were applied
(illus. 34 and 35);
•  reconstruction of the known form: all
parts of the complex were reconstructed to their
known, documented form (usually, their last). (The
exceptions, which will be noted here, were mainly as-
sociated with the elimination of changes that had been
markedly detrimental to the integrity of the mosque.
The windows were reconstructed in the form they had
prior to destruction, but with the addition of wooden
shutters on the inside – these had been removed in
the 1950s. The wooden shutters were originally the
only way in which the windows of the Čaršija mosque
could be closed, and were reconstructed on the basis of
analogy. The entrance to the left mahfil from the ex-
terior sofa, closed off in the 1970s when premises were
added within the mosque beneath the mahfil which
the imam used as a kitchen, pantry and meeting room,
was reconstructed. It was judged that both interven-
tions carried out in the 1970s were inappropriate and
damaging to the architectural and functional treatment
of the mosque, and the project therefore provided for
reconstruction of the condition prior to this. The layers
of concrete covering the original cobbles and the large
paved area outside the mosque entrance were removed.
Since part of the original cobbling was found intact on
the right-hand sofa, the sofas were rebuilt with cob-
bled surfaces instead of the wooden flooring that had
116

stanja. Skinuti su slojevi betona, koji su prekrivali
izvornu kaldrmu i velike kamene površine pred
ulazom u džamiju. S obzirom da je dio izvornog
kamenog popločanja nađen intaktan na desnoj sofi,
rekonstruiran je kameni umjesto drvenog poda sofa,
kojim je prekriven pod sofa i skrivene baze stupova
istodobno kada je zatvoren ulaz u ženski mahfil.
Otvorena je jugozapadna kapija, koja je zazidana
istodobno kada je mekteb srušen, a njegov prostor
otuđen. Objekti su pokriveni kamenim pločama
radi cjelovitosti njihovog arhitektonskog iskaza,
iako je posljednji pokrivač prije rušenja bio crijep i
djelimično lim.);
•  živo naslijeđe: rehabilitacija Čaršijske
džamije ima dokumentarni, simbolični, sociološki,
urbanistički i funkcionalni značaj. S obzirom da se cjelina
Čaršijske džamije aktivno koristi kao vjerski objekat i
s obzirom da je rekonstrukcijom predviđena i dodatna
muzeološka funkcija, predviđeno je interpoliranje
sanitarija i nadstrešnica, kao i funkcionalno uređenje
gasulhane. Interpolirani objekti su krajnje jednostavni
i izvedeni u istim materijalima kao i ostali objekti u
cjelini (slike 36, 37, 38).
Zaključak
Rekonstrukcija Čaršijske džamije u Stocu
je u vrijeme kada je počela bila osporavana, ali je
moguće ustvrditi da je nakon nje u Bosni i Hercegovini
postala neupitna potreba rekonstruiranja srušenih
znakova zavičaja. U toku su, ili su već završeni,
brojni projekti rekonstrukcije, i vjerovatno je da je
svaki od njih značajan doprinos razvoju recepcije
naslijeđa, ne samo u Bosni i Hercegovini, nego
u stručnoj svjetskoj zajednici. Nakon pristupa
«rekonstrukcija kao strategija poslijeratne obnove»,
koji je s puno udruženih intelektualnih napora
uspostavljen u Bosni, pitanje rekonstrukcije
srušenog naslijeđa na Kosovu, na primjer, nije ni
postavljano – rekonstrukcija namjerno srušenog
naslijeđa postavljena je kao neupitnost i kao jedini
način očuvanja kulturnog pamćenja koje biva
izloženo nasilnom preoblikovanju.
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Ko n z e rvato r sko - r e s tau r ato r sk i i zv j e š ta j i
covered the sofa floor and concealed the bases of the
pillars at the same time as the entrance to the wom-
en’s mahfil was walled up. The south-west gateway,
walled up when the mekteb was demolished and its
site expropriated, was reopened. The buildings were
clad with stone roofing slabs to provide them with an
integral architectural expression, although the last roof
cladding prior to destruction was tiles, and in places
sheet metal.)
•  living heritage: the rehabilitation of the
Čaršija mosque is of documentary, symbolic, sociolog-
ical, town planning and function significance. Since
the mosque complex is in active use as a religious
building, and that reconstruction provided for its ad-
ditional function as a museum, provision was made
for the interpolation of a toilet block and canopy roofs
and for the gusulhana to be updated. The interpo-
lated buildings are extremely simple, and built of the
same materials as the other buildings in the complex
(illus. 36, 37 and 38).
Conclusion
The reconstruction of the Čaršija mosque
in Stolac was in dispute when it began, but since it
has been completed there is no longer any doubt in
Bosnia and Herzegovina of the need to reconstruct
the destroyed signs and symbols of the homeland.
Numerous reconstruction projects are under way
or have already been completed, and it is likely that
every one of them has made a major contribution to
raising awareness of the heritage, not only in Bosnia
and Herzegovina but also in the professional commu-
nity abroad. After the “reconstruction as a strategy
of post-war revival” approach, which has become es-
tablished in Bosnia thanks to considerable combined
intellectual efforts, the question of the reconstruction
of the destroyed heritage in Kosovo, for instance, has
not even been raised – the reconstruction of the de-
liberately destroyed heritage has become a matter of
course, beyond question, as the only way to preserve
cultural memory that has been exposed to forcible
transformation.
baština - - heritage