I visited the town of Mostar in Bosnia and Herzegovina during my two month long Balkans trip back in September 2017. The town is one of the highlights of the country and is easily accessible from either Sarajevo or the historic Croatian town of Dubrovnik. I took the train from Sarajevo, which I highly recommend. On most bus journeys its not uncommon to hear the latest chart music playing on the speakers. Instead during this two hour train journey I was treated to a non stop 60s and 70s rock n roll extravaganza of Thin Lizzy, Free, Deep Purple, Credence Clearwater Revival, The Rolling Stones and lots more classic music from that era.
Mostar is well known for its famous Ottoman era landmark bridge in the old part of town. During the Bosnian war in the 1990s the bridge was completely destroyed as was much of the town. In fact if you take a good walk around Mostar you will see many remnants of bombed out and dilapidated buildings from that awful time. The current bridge is a beautiful and meticulous reconstruction of the original bridge.
There’s a popular restaurant in the old part of town close to the bridge called Sadrvan, which serves delicious and inexpensive traditional Bosnian cuisine. Look out for the Mostarian Sahan (a traditional local mixed hot pot) and the Duvec (a rich vegetable stew).
This is a pleasant and charming old historical town in a beautiful setting. Most places are walking distance away and you can easily spend 2-3 leisurely days here. Away from the main tourist drag there are some good bakeries selling cheap and tasty pastries. The best thing to do here is to walk and explore the streets and side streets. Lots of interesting nooks and crannies can be unearthed. Below I am sharing with you all some of my photographs from this interesting slice of the Balkans…
Earlier this year in September, I spent many days in Sarajevo. Whilst exploring the city I made sure that I set aside a decent portion of time to investigate and discover some of the city’s art. The first place I visited was a cultural centre called the Bosniak Institute. When I visited one Saturday afternoon, there were not many visitors, which was a shame as it has so much to offer and the entrance fee is only a few KMs. One wing of the institute over a few floors consists of a permanent collection of paintings from different decades of the 20th century by Bosnian artists. There is a street painting of a corner of the historic Ottoman style Baščarsija district of the city dating back to 1920 by an artist called Doko Mazalić. Elsewhere there are two Expressionist style paintings from the mid 1950s by the artist Rizah Stetić, one of which is of the main square of Baščarsija where the famous wooden Sebilj fountain is located.
1920 painting of the historic Ottoman style Baščarsija district of the city by Doko Mazalić
Paintings from the mid 1950s of the Baščarsija district by Rizah Stetić
Two other paintings from the early 1960s catch my eye by the artist Ibrahim Ljubovic. The first painting is of a woman with heavy, tired and anxious eyes. A black half chimp half crow beast clings to her shoulders. The background is sombre and bleak; like a vulture’s playground.
Paintings from the early 1960s by Ibrahim Ljubovic
In another corner is a Naive Art style painting by an unknown artist likely created sometime around the middle part of the 20th Century and a tapestry on the wall by one of the stairs. Back on the ground floor level at the entrance is a small but powerful temporary exhibition of drawings documenting the 1992-5 Bosnian War by the artist Mevludin Ekmečić.
Drawings documenting the 1992-5 Bosnian War by Mevludin Ekmečić.
The exhibition, entitled “Drawing the War: Bosnia 1992-1995”, features a selection of barbaric, graphic and nightmarish chronicles of pain, reminiscent of Francisco Goya’s “Disasters of War” drawings he created between 1810-1820 at a time when Spain was struggling with many domestic and global conflicts. Spain is very similar to former Yugoslavia in that both countries are unions of different countries with deep roots. History sadly has a habit of repeating itself and today, with the current push for independence in Catalunya, Spain, in the worst outcome, could face a similar fate to Yugoslavia’s, perish the thought. Examining and studying these drawings in greater detail, they further convey to me the futility and insanity of war. Everybody suffers. There are no winners. In fact life for the so called ‘conquerors’ for me is hell on Earth; I wouldn’t want to be in the shoes of Ratko Mladić or Radovan Karadžić and the rivers of blood on their hands. The drawings show victims tortured, dead bodies on the ground with severed heads, a blood thirsty war general clutching a freshly decapitated head by its hairs and the destruction of the historic bridge in the city of Mostar. Each drawing also has written notes by Ekmečić where he describes the horrific images of the war (which he saw broadcasted on TV and in the newspapers when living in exile in Paris) and would then furiously sketch them with black ink.
In another area of the institute is the Mersad Berber green salon featuring a permanent display of paintings donated by Berber. Mersad Berber is one of the best known and greatest Bosnian artists of the 20th century and true master artist in the classic sense. His works have an epic and profound quality to them spanning the great periods of art history from the Classical Greek and Roman periods to the Byzantine, Renaissance and Ottoman eras. His paintings are also spiritual, human and timeless. Observing his works in greater detail, he is a descendent of the old masters and there are subtle echoes of some of the greats like Caravaggio, Zurbarán and even Bosch. This broad palette of art history combined with his own mixed media techniques have positioned Berber as a unique artist with a distinct style. From 1978 until his death in 2012 he taught at the Academy of Fine Arts in Sarajevo and his work is featured in London’s Tate Gallery collection.
The Mersad Berber green salon located inside the Bosniak Institute
Paintings by Mersad Berber
The Ars Aevi Museum of Contemporary Art, a concrete Brutalist style building in a part of the city reminiscent of the Barbican in London, has a collection of donated works by global contemporary artists. It is a modest space over two floors with plywood interiors and a transient atmosphere, and gave the impression that the museum is lacking in funds and operating on a tight budget.
The Ars Aevi Museum of Contemporary Art
Yet in spite of this I have read that there are plans to relocate the existing museum and its collection into a new building to be designed by the Italian architect Renzo Piano. There is a work by the legendary German artist Joseph Beuys in the collection of 100 bottles of olive oil. Two Spanish artists, sculptor Juan Muñoz and Txomin Badiola, each have a work in the museum. Muñoz’s piece is a hanging blue sculpture of a man and two smaller suspended white figures touching the right palm of the blue man.
Joseph Beuys: Ölflasche (100 bottles of olive oil) (1984)
Juan Muñoz: L’Appeso (1998)
Txomin Badiola: Double Trouble 2 (1990)
The Russian-American artist duo Komar & Melamid are featured with their 1995 installation, “50 Proposals for the United Nations”. The historical context of the work is interesting. During the Bosnian War in July 1995, the Bosnian town of Srebrenica fell and experienced the biggest genocide in Europe since the Second World War where over 8,000 civilians were killed. The United Nations had designated Srebrenica a safe zone but failed to protect the town and its civilians from the Bosnian Serb Army. At the time the UN was also approaching its 50th anniversary, yet this anniversary coincided at a time when the UN was experiencing great difficulties and challenges not just with the situation in Bosnia, but also the genocide in Rwanda, which the UN also failed to prevent. The installation features three head busts of Joseph Stalin, George Washington and Jesus Christ.
Komar & Melamid: 50 Proposals for the United Nations (1995)
There are works by some notable Bosnian conceptual artists. The artist Braco Dimitrijević has an installation piece comprising of three black and white framed photographs of historical figures alongside six pairs of black shoes each positioned by the left and right sides of each photograph. Dimitrijević was a key figure in the development of conceptual art in former Yugoslavia during the 1970s. His best known work is his Triptychas Post Historicus installation series of works by famous artists in dialogue with everyday objects and fruits and vegetables.
Braco Dimitrijević: Heralds of Past History (1997)
Two other Bosnian conceptual artists, both contemporaries of Dimitrijević; Edin Numankadić and Dean Jokanović-Toumin, have also donated works to the collection. Numankadić’s installation piece “Yesterday, Today, Tomorrow, Never” has those words each individually written on four framed black stone slabs propped on wooden crates. He is also the director of the 24th Winter Olympics Museum in Sarajevo, which opened on the year of the Winter Olympic Games in the city in 1984 to commemorate them.
Edin Numandkadić: Yesterday, Today, Tomorrow, Never (1996)
Toumin’s work on display is simply a quote from an 18th century writer called Avigdor Pawsner, “If you are looking for hell, ask the artist where it is. If you don’t find the artist, then you are already in hell”. This quote is also engraved on the wall by the entrance to the museum.
Dean Jokanović-Toumin: If You Are Looking For Hell… (1993/98)
Elsewhere in the museum are two photographs by the Bosnian artist Nebojsa Seric Shoba entitled “Sarajevo-Monte Carlo”. Shoba lived through the 1992-5 Siege of Sarajevo when the city was surrounded by Bosnian Serb Army troops and it was very difficult for civilians to leave the city. In this period Shoba volunteered as a soldier protecting the city and it’s civilians against attacks from the BSA. The photograph on the right shows the artist as a soldier during the siege and the photograph on the left is of the artist in a similar pose in Monte Carlo wearing casual clothes taken after the war. In the first photograph the artist is thinner and in a constant state of tension and uncertainty with no end in sight to the war. In the Monte Carlo photograph, the artist has put on weight and is more relaxed and non defensive wearing funky clothes. Not so long ago he was in a war zone in a constant state of fight or flight and didn’t know whether he would live or die.
Nebojsa Seric Shoba: Sarajevo – Monte Carlo (1998)
The National Gallery of Bosnia and Herzegovina, located in an old Austrian-Hungarian era building, has a collection of over 6,000 art works. When I visited there were two exhibitions on display that interested me. The first exhibition on the top floor, entitled Intimacies Of Space, is a permanent exhibition of works by modern and contemporary Bosnian artists and artists from other parts of former Yugoslavia. This exhibition is divided into five themes; “Garden”, “Interior”, “Atelier”, “Landscape” and “Window”. The Bosnian artist Behir Misirlic’s painting Small Part of the Garden (1969) is an ethereal and sensitive composition of meta-morphing forms and nuances, subtle colours and light and dark shades; of captured moments of fleeting beauty most naked eyes fail to perceive.
Bekir Misirlić: Small Part of the Garden (1969)
Green, Green Grass of Home (2002) by the Sarajevo born artist Maja Bajević is a video installation with a poignant story around the themes of identity and loss. In the video the artist is walking in a green field describing her apartment in Sarajevo where her grandparents lived and where she subsequently lived before the Bosnian war. Since the war other people have occupied her apartment and have refused to vacate it. All attempts to get it back have been in vain. In the film, as the artist is walking in the field, she tries to remember the flat and all the memories she has of it in as much detail as she can going from one room to the next with just the mental map of her memory to guide her.
Maja Bajević: Green, Green Grass of Home (2002)
In the “Interior” section of the city exhibition there are three paintings by artists from former Yugoslavia which stand out. Mensur Dervisević’s oil painting “Space” is a desolate vacuum of black, burnt brown umber, pewter, green-brown olive and pale grey hues. In the darkest area of the painting is a lone mirage-like figure; an eternal spirit nailed to its place; stationary and ambiguous. It’s power and presence is augmented by the claustrophobic dark landscape enfolding it.
Mensur Dervisević: Space
Ordan Petlevski’s oil composition “From the Interior” is similar in spirit to Dervisevic’s painting; a highly introspective work in dialogue with the core of the subconscious. The white, beige, dark and light brown middle area of Petlevski’s painting, for me, represents a process of animal metamorphosis. I see a head forming at the top of this area, like the head of a rabbit. A wing is developing at the bottom of the painting protruding the left side of the figure and at the bottom right, if you study it closely enough, you may be able to decipher a vague face with a fire-red opel eye. In the bottom left of the painting there is a gash of orange-red like a ray of light. Look closely and the face of a woman may appear.
Ordan Petlevski: From the interior (1957)
Ljubisa Naumović’s “Interior” oil painting from 1943 represents a well furnished and comfortable living room. It’s painted in a style which reminds me of some of the great early 20th century French painters, especially the Fauvist painters Raoul Dufy and Henri Matisse. “Interior with Open Windows” has a similar loose and free brushwork style and subject matter. Red is the prominent colour in many of Matisse’s interior paintings. In his landmark “The Red Studio” painting, everything is drowning in red. In Naumović’s painting, the dominant colour is green in three different hues; the blue cedar green front wall and three chairs, the olive green floor and right-side wall and the warm spring green bed by the blue cedar green front wall.
Ljubisa Naumović: Interior (1943)
There are three works in the “Atelier” part of the exhibition, which register with me. Two of these works are oil paintings by artists from former Yugoslavia. Antun Sojat’s “From the Studio” is a painting of the artist’s studio with a cold, threadbare, dark and musty tone; a studio with limited to no natural light. Beautiful and tasteful objects such as the vase of flowers or the small grey-green statue and stand of fruits on the desk or the brown painting easel featuring a head bust resting on the bottom are all within a limited framework from which they can shine. There is abundant beauty buts it’s all entrapped and frozen. On the other hand, in Emanuel Vidivić’s “My Old Studio” painting, natural light bathes his studio. He is not kept in darkness. His studio is ample in space with many paintings leaning next to one another by the studio walls. It feels just as much a home than an artist’s studio.
Antun Sojat: From the Studio
Emanuel Vidivić: My Old Studio (1936-8)
Artist Edin Numankadić features again here. The third work of the “Atelier” segment I am going to focus on is an installation by Numankadić called Traces Of War from 1993. This work is significant since it shows the artist’s studio as it was in Sarajevo when the city was under siege. In the other two works I focused on aesthetics and natural light. In this work, those subjects take a back seat. When you are creating art in a war zone and your city is surrounded, questions such as whether you are going to live or die or when will the war end are always at the fore of the mind’s landscape. There is a perpetual state of tension and anxiety.
Edin Numankadić: Traces of War (1993)
In the “Landscape” theme of the exhibition the Bosnian artist Gabrijel Jurkić’s painting “Blooming Plateau” is an epic wide and open landscape space painting of blooming bright yellow white floors under a pure cloudless ultramarine blue sky. The blooming landscape is punctured with snaking blue streams. Distractions are limited but the space offers one the opportunity to reflect and become connected and in touch with their surroundings; like climbing down from the intellect to the earth. Another painting featured in the same theme is Bosnian artist Bekir Misirlić’s “The White Plateau”. The white minimalism associated with the works of the American artists Robert Ryman and Agnes Martin springs to my mind when I study Misirlić’s painting. The lines on the white background, for me, are the metaphysical counterpart to Jurkić’s “Blooming Plateau” painting. It’s as if Misirlić’s “The White Plateau” is a reading and analysis of the heartbeat and vitality of the blooming plateau field in Jurkić’s work. The lines are rarely disturbed and undulate only at occasional intervals. There is little disturbance and volatility.
Gabrijel Jurkić: Blooming Plateau (1914)
Bekir Misirlić: The White Plateau
In the final “Window” section, there is a relief painting by the artist Narcis Kantardzić. Seeing the work from a distance, one could be under the illusion that they are inside one of the traditional old white houses on the Greek island of Santorini. Yet examining the work closer up, the two white buildings on the left and right edges of the painting appear more modern than traditional and the illusion slowly fades away.
Narcis Kantardzić: Landscape (1986)
On another floor of the art museum there is a separate temporary exhibition featuring contemporary artists from Sarajevo and Zurich, Switzerland called “Sarajevo-Zurich: Unlimited 2017”. The first work I see on display in the exhibition is an installation entitled “Nostos Algos/Return Suffering” by an artist from Sarajevo called Adela Jusić, who is also a founder of Association for Culture and Art CRVENA, which focuses on various cultural and feminist projects. She is also a graduate of the Academy of Fine Arts in Sarajevo. Her installation recreates a living space comprising of a dated Tito era clock, furniture, a framed black and white photograph of a young boy, and three open suitcases and miscellaneous objects scattered across the floor. The artist lives in a house which she rents from a Bosnian family who fled during the start of the Bosnian war in 1992. The family ended up as refugees in Denmark where they still live. The difference now is that they are not refugees any more but Danish citizens. Once a year the family return to the house they left in Bosnia for a week or two. The objects left behind when they fled the war remain. Even though the family come back for such a short period each year, all these objects which they left behind are firmly connected to their memories. The clock and furniture may remind the family of happy times before the war broke out; of perhaps sitting down to meals together with three generations of family members set around the table. Each object has its own energy and connection to the family and triggers mental pictures of moments and events from the past each time the family return to their former home; returning to what they reluctantly and painfully had to leave behind, due to circumstances beyond their control, and to memories they’d since become detached from as they began their new life in Denmark.
Adela Jusić: Nostos Algos/Return Suffering (2017)
The next work from the exhibition I am drawn to is another installation by the well known Bosnian artist Jusuf Hadzifejzović. His work, “Shop of Emptiness”, features two tables and a shelf with used consumer grocery goods such as empty bottles, tins and cardboard containers (originally used to package these goods) transformed into artworks. Some of Marcel Duchamp’s (arguably the father of Conceptual Art) most well known works are his “readymades”; everyday mass produced consumer objects he appropriated and repositioned, turning them into works of art. Duchamp’s iconic 1917 “Fountain” urinal work is one fine example where he appropriated an everyday nondescript mass produced urinal fountain and signed it “R.Mutt”. In Hadzifejzović’s installation the empty disposable objects he presents are his own little readymades directly connected to his daily life. The curator and writer Jonathan Blackwood describes the displayed objects as “mute witnesses to the life of the artist”. Often when we consume, we consume mindlessly and with no awareness. We take for granted what we are consuming. These mass goods fill a very temporary need or urge and once it has been satisfied we forget about what we consumed and almost automatically dispose of the empty contents with no attachment to them. By retaining the empty objects, at least one can contemplate on them even after, in the words of Blackwood, “their original purpose has been filled”. “Shop of Emptiness” is a mindful report on Hadziferzuvić’s quotidian consumption over a period of time in his life; a meditation on his consumption and the particular memories, feelings and mental pictures each empty object conveys to him when they were consumed during those intervals in time.
Jusuf Hadzifejzović: Shop of Emptiness (2012-15)
The established young Bosnian artist Bojan Stojčić, who’s also a professor at Sarajevo’s Academy of Fine Arts, has a photographic display series entitled “No Trace Promises The Path”. The photographs are visual extensions of lines from a book of poems of the same name written by Stojčić. Each photograph is a fleeting execution of specific interventions, situations, locations and emotional reactions. Of the montage of different photographs, one photograph is of a border crossing with queueing cars. At the crossing, the artist intervenes with a small vertical slip of paper with the words, “Fear Has No Border”.
Bojan Stojčić: No Trace Promises The Path (2013-15)
Towards the end of the exhibition, there is a short video installation by the Sarajevo born and Academy of Fine Arts graduate Lana Čmajčanin. Like Adela Jusić, she is also a co-founder and member of the Association for Culture and Art CRVENA. The video, entitled “Geometry of Time”, features 35 different historical maps of the location of Bosnia and Herzegovina from Roman times until the Dayton Peace Agreement of 1995 which ended the war in Bosnia and led to the current formation of Bosnia and Herzegovina. During this time period Bosnia’s borders changed frequently. For over 400 years it was part of the Ottoman Empire, then after it was under the rule of the Austrian-Hungarian Empire before becoming part of Yugoslavia. The fall of Yugoslavia and the ensuing Bosnian war leading to the Dayton Peace Agreement resulted in the current Bosnia and Herzegovina state. The numerous interventions in Bosnia and Herzegovina during its history and the changes in its borders are a reflection on the ambitions and desire for power of its colonisers. Bosnia is a country that has always been colonised, never becoming a colonial power itself. In the video, the country becomes increasingly submerged in blackened marks enfolding all of South Eastern Europe. For a country that has been invaded and colonised throughout its history what do these borders really mean?
Lana Čmajčanin: Geometry of Time
By the main city cathedral, I one day visited Galerija 11/07/95, a memorial gallery preserving the memory of the Srebrenica massacre of 11th July 1995 where over 8,000 civilians lost their lives. The permanent exhibition on display features a series of powerful black and white photographs by the Bosnian photographer Tarik Samarah, which documents the aftermath of the massacre. His photographs include graphic images of the skulls and dismembered bones and body parts of the victims dug up from multiple unidentified mass graves.
Photograph by Tarik Samarah from 2002 documenting the aftermath of the 1995 Srebrenica massacre
In the History Museum of Bosnia and Herzegovina opposite the American Embassy, I visit another photography exhibition, 15 years, of photographs by the Scottish photographer Jim Marshall. The photographs are of specific locations in Sarajevo in 1996, a year after the Bosnian war, and of those same locations 15 years later in 2011. The photographs from 1996 were taken on a modest Nikon 35mm film camera. The effects of the war are very vivid in these photographs; buildings are badly damaged and the city is scarred and mutilated. Yet slowly civilians were beginning to recover from the traumatic and devastating three year siege of the city and could finally experience a level of freedom which they were long denied. They didn’t need to run or hide any more and live under the constant threat of danger. Civilians could at last travel outside of the city. It was during this time that Sarajevo was beginning to heal.
Photography by Jim Marshall from his solo exhibition 15 Years
When Marshall revisited the city 15 years later in 2011, he revisited those exact same locations and took new photographs with a digital Nikon camera. The differences are very noticeable. There are now few traces of the war and almost all of buildings which had been destroyed have been transformed and reconstructed.
Sarajevo is a fascinating city to explore and get under the skin of. Yet knowing a handful of authentic and inexpensive places to eat at enhances the experience greatly. In this article I am including, of course, a burek and cevapi place, but also a historical eatery serving traditional Bosnian cuisine for a modest splurge (though still very affordable) and a special local patisserie and ice cream parlour for delicious and cheap sweet treats. Let’s begin with the bureks…
1. Buregdžinica ASDŽ
On a street lined with burekerias, as I like to call them, this small eatery is my pick. The Bosniaks who run it are burek experts with enormous spiral disks of fresh piping hot meat, cheese, potato and spinach bureks ready to go from the morning until the late hours of the evening. I stumbled upon this place by accident on my first night in Sarajevo walking aimlessly in the Baščarsija district. This eatery is a local favourite and for good reason. I settled on a mixture of three not insubstantial spiral slices of meat, potato, and spinach bureks served on a metal plate with lashings of some white yoghurt sauce. And it all came to just 4KMs (2 euros).
Plate of bureks
Check out the oven. The bureks and other dishes are cooked in giant closed metal pans covered in coals. The meat and chicken with potato dishes are tasty here too but for me this place will always be remembered for its satellite dish sized spiral bureks.
Whilst I was tucking into my bureks, a group of young Bosnians were sitting opposite me. A boy in the group who looked no older than 17/18 fancied himself a homie from Compton. One moment everyone is talking in Bosnian then apropos of nothing the boy riffs in English, ‘I am gonna bust a cap in yo ass n**ga!’. I almost choked on a morsel of spinach burek when I heard that chestnut.
Cevapi at Nune
On Ferhadija street past the big cathedral is this small family run cevapi place. It is owned by the father of a young local tour guide named Edin who does superb free daily morning walking tours with the local tour company Meet Bosnia Travel. If you want good and cheap cevapi in a hole in the wall no frills setting this is a good place. For as little as 3KMs (€1.50), you get a plate of small mini cevapi sausages in warm pitta bread and chopped onions.
3. Kod Secka
This eatery located somewhere in the heart of the Baščarsija district is a solid reference point if you are watching the KMs and have had enough of cevapis and bureks. Kod Secka’s piece de resistance is roast half chicken and potatoes for 5KM (€2.50). It is heavenly. Cheap, tasty and very filling. And a perfect dose of midday rocket fuel for those long walks discovering and unearthing the rich history of Sarajevo.
Half chicken and potatoes at Kod Secka
4. Inat Kuca
Inat Kuca restaurant is located in an historic building
This restaurant is located in an old house dating back to 1895 by the main Miljacka river. It serves genuine and tasty traditional Bosnian cuisine. This is a solid restaurant to eat at if you fancy a modest splurge, although compared to similar restaurants in other western countries, the prices are inexpensive.
When I visited, I ordered the “Bosanski lonak”, a delicious traditional Bosnian stew consisting of beef and veal, potatoes, vegetables and spices. It was also beautifully presented in a metal bowl with chopped parsley. For just 10KMs (5 euros) this is a very good deal. Other staples on the menu include the “Sarajevski Sahan” for a few KMs more which is a mix of traditional Bosnian dishes and “Japrak Dolma” which is similar to the Polish dish “Golabki” and consists of minced meat, veg and rice wrapped in cabbage leaves.
On a blue day it is delightful to sit at a table on the outside terrace facing the river. But inside, the restaurant is aesthetically very tasteful in the old Ottoman era style; beautiful Turkish copper lamps hang from the ceiling and other Ottoman style artefacts and old black and white photographs adorn the walls.
5. Slasticarna Egipat
This Macedonian owned family patisserie has been serving customers since 1949
Ice cream parlours and sweet shops are plentiful in the city but not many can match the authenticity, quality, spirit, and even prices of this local ice cream parlour and patisserie run by a Macedonian family. Located on Ferhadija Street like Nune, this sweet treats place has a history dating back to 1949. Entering Egipat is like travelling back in time to former Yugoslavia of the Tito era during the 1960s and 70s. The walls are covered in retro tiles and it is a corner of the city unaffected and little changed by rampant globalisation.
The spirit here is purely local and reminds me of the old school Jewish bagel shops on Brick Lane in the East End of London. And like those bagel shops, the service can sometimes be indifferent and abrupt but we wouldn’t want it any other way.
There are six flavours of homemade ice cream. On two occasions I tried the “Egyptian Vanilla” and “Egyptian Chocolate”. Both were excellent and have a flavour and texture that is different to any other kind of ice cream I’ve ever had. But I must warn you the sugar content is off the scales but who cares with ice cream this good. Since tasting their ice cream, I made many repeat visits to sample some of their traditional cakes and other local sweet delights.
Sampita is a very sweet Bosnian white cake, like the French Ile Flotante but much heavier with more texture and flavour and less anaemic; a dangerous sugar bomb. The čokoladni rolat is an irresistibly decadent rich and creamy chocolate roll. I also had some rich and tasty heavy cream and chocolate cake. And they also have the famous traditional Turkish baklava cake, which can be found throughout the country owing to its Ottoman past. A scoop of ice cream like most of the other ice cream parlours of Sarajevo will set you back only 1KM (50 cents) and most of the cakes can be purchased for just half a KM more per slice.
Visiting Sarajevo was an enriching and memorable experience. Even though I am a seasoned traveller who has already traversed across a sizeable chunk of this crust, Sarajevo impressed and inspired me. This city gave my accumulated travel experiences another exotic dose of red hot spice. Sarajevo is sometimes referred to as the “Jerusalem of Europe” owing to its rich multi religious and cultural history.
I stayed at a modest but homely and warm family guesthouse located up on a hill in the Bistrik district south of the Miljacka river and only a few minutes walk from the Ottoman era Baščarsija old bazaar district. This historic district was constructed in 1462 by the Ottoman Empire general Isa-beg Ishaković just after the Ottomans arrived. Before they arrived, the biggest settlement then in Sarajevo was a village square called Tornik located today at the junction between Marsala Tita and Relisa Dzemaludina Čauševica streets where the Ali Pasha mosque is situated several blocks west of the Baščarsija district. Ishaković built a mosque named “Careva Džamija” (the Emperor’s Mosque) in 1457, which is the oldest mosque in Sarajevo. The original structure was destroyed by the end of the 15th century before being rebuilt in 1565.
Sarajevo City Hall
Crossing over the Miljacka river and walking past the large Moorish style City Hall building, I commenced my adventure through the old Baščarsija streets. Most of the places along the first street I walked across are small eateries selling bureks; spiral pastry pies filled with potato, meat, cheese, or spinach and even pumpkin. On my first evening in Sarajevo, I took a chance on an authentic looking burek place with a magnificent open coal oven where the bureks and other specialities are cooked in large closed circular pans covered in crushed coals. The bureks here at Buregdžinica Asdž are very good and cheap.
Buregdžinica Asdž: Great burek eatery in the Baščarsija district
I venture down another smaller street and the oldest street in Baščarsija named Kazandžiluk street, better known as “Coppersmith Street” where small shops sell copper cups, plates, bowls and tankard-like jugs. Walking through this street feels like walking through one of London’s medieval streets around Fleet Street or St Bartholomew’s church with an Arabian tinge. At the end of this street there is an antique wooden coffeehouse where you can drink authentic Bosnian coffee.
Coppersmith Street: the oldest street in Baščarsija
On Coppersmith street
Wooden coffeehouse on Coppersmith street
Anyone who visits Baščarsija will unavoidably cross paths with the main square or Pigeon Square as it’s sometimes better known as, because of the large concentration of pigeons at any given moment just like in London’s Trafalgar Square. In the middle of this square is an old Ottoman style wooden fountain called the Sebilj. It was originally built by Mehmed Pasha Kukavica in 1753 and then in 1891, during the Austrian-Hungarian era, it was repositioned by the Austrian architect Alexander Wittek.
“Pigeon Square”: The main square in Baščarsija
By the Sebilj
Close to the Sebilj on Mula Mustafe Baseskije street is the old Orthodox Church of the Holy Archangelo Michael and Gabriel. It is a Serbian Orthodox Church and the oldest church in the city dating back to 1539 (although it’s original structure may date back even earlier).
Old Serbian Orthodox church: The oldest in the city dating back to 1539
An integral part of my experience in Baščarsija was delving into the area’s history associated with Gazi Husrev-beg. Gazi was born in 1480 in Serres, Greece where his father, Ferhad-beg, was a governor. From 1521 until his death twenty years later in 1541, he was the Ottoman governor of Bosnia and had contributed immensely in the establishment of the city of Sarajevo. By the time of his death, Sarajevo had already developed into a thriving and successful trading center at the crossroads between east and west. He had invested most of his fortune (his endowment or ‘waqf’) towards the development of the city and was a great philanthropist and humanist who cared deeply about the welfare of his people.
Gazi Husrev Beg mosque: built in 1531 and the largest in the country
The most notable landmark associated with Husrev beg is the Gazi Husrev beg mosque built in 1531 and located in the heart of Baščarsija. It is the largest mosque in Bosnia and Herzegovina and an outstanding example of Ottoman architecture from that time. Within the mosque compound in the courtyard is an old fountain (‘shadirwan’) similar to the fountain in the main square yet this fountain is over 200 years older dating back to 1530. Situated on the west side of the mosque is the tall stone Sahat Kula clock tower built in the 17th century. It was restored after being damaged in a fire in 1697. The clock shows the lunar time meaning that the day ends at sunset after which a new day begins. Close to the clock tower, there is a water system created by Husrev beg for the city (he also built a public toilet in 1529 which back then was very rare) where the water was transported via ceramic pipes from a wooden aqueduct under the ground. Even today the water system is still in operation and locals (and tourists) continue to come to the fountain to drink the water. I drank from the fountain and I have to say that the water is some of the purest and freshest I’ve ever tasted. Also within the mosque complex is Husrev beg’s mausoleum.
The Sahat Kula clock tower
The old ‘Shadirwan’ fountain by the Gazi Husrev Beg mosque dating back to 1530
The mausoleum of Gazi Husrev Beg
Drinking from the Gazi Husrev Beg fountain. The water is excellent and comes from the oldest water system in the city dating back to 1529 and engineered by Gazi Husrev Beg
Opposite the mosque is the Ghazi Husrev beg Madrassa (or learning institute) built and established in 1537 for the education of the local population. Husrev beg stated that any money remaining after the madrassa had been built should go towards buying good quality books for the madrassa. Today the collection of those original books is housed in the new modern Gazi Husrev beg library which opened in 2014 and was financed via a $8m grant from Qatar. Within the old madrassa complex is the small Ghazi Husrev beg Museum, which is an excellent place to learn and understand more about him and his unique and generous contribution to the city of Sarajevo.
By the entrance of the old Gazi Husrev Beg Madrassa which today houses the Gazi Husrev Beg museum
Gazi Husrev Beg museum
Gazi Husrev Beg library
Yet the Gazi Husrev Beg journey isn’t over yet. Halfway between the mosque and the Sebilj is the Morića Han which was a ‘caravanserai’ or roadside inn. In its day it was able to accommodate as many as 300 travellers and 70 horses. It was built in 1551, 11 years after Gazi’s death, and funded using his endowment or ‘vakuf’. Since during this time Sarajevo was an important international trading centre, it was important to establish lodging facilities to accommodate travelling traders who travelled long distances via their horses often from other parts of the Ottoman Empire (which around the time the inn had been built had covered all of modern day Turkey and other parts of the Middle East, North Africa and almost all of south Eastern Europe). Today the Morića Han is transformed into a lovely historic courtyard with cafes and a small market bazaar selling textiles and various crafts.
By the outside of the old Morića Han
Inside the courtyard of the Morića Han
Heading towards the western edge of Baščarsija is Gazi Husrev Beg’s Bezistan which is an indoor bazaar. The original structure of the bazaar was likely built around 1540 financed via Gazi’s endowment. During the period of the Ottoman Empire, the shops inside the bazaar traded textiles. Running parallel to the Bezistan is the old goldsmith street (Zlatarska) today known as Gazi Husrev Begova street where goldsmiths and jewellery shops owned by metal workers sold gold and silver jewellery.
The entrance of Gazi Husrev Beg’s Bezistan
Inside Gazi Husrev Beg’s Bezistan
The old goldsmith street of Baščarsija
The ruins of the original Tašlihan stone inn, constructed around the same time as the Bezistan to accommodate travelling merchant traders like the Morića Han, can be found in the summer garden of the historic Hotel Europe.
The ruins of the original Tašlihan stone inn
Leaving the Baščarsija and the eastern Ottoman part of the city we literally cross over to the western part of the city over the “East-West: Sarajevo Meeting of Cultures” line.
The “East-West: Sarajevo Meeting of Cultures” line marking the border between the Ottoman eastern part of the city and the western part of the city
Our first port of call is the old stone Jewish synagogue built sometime towards the end of the 16th century. Since it’s establishment it was damaged several times before being reconstructed again. The current physical structure of the synagogue dates back to 1813. In 1941 it was raided and occupied by the Nazis and subsequently demolished. The Nazis detained Sarajevo’s remaining Jewish community here before they were taken to concentration camps. After enormous reconstruction, in 1966 the synagogue was turned into the Jewish Museum of Bosnia and Herzegovina.
The old stone Jewish synagogue. In 1966 it was turned into the Jewish Museum of Bosnia and Herzegovina
Inside the museum, there are various artefacts and fragments of traditional Jewish life in Sarajevo. There are moving and poignant displays and photographs from the time of the Nazi occupation in Sarajevo. Some of the written displays include stories of gifted Jewish teachers and intellectuals in Sarajevo whose lives were cut short by the Nazis. There is one black and white photograph from 1941, when it was a very dangerous time to be a Jew in Sarajevo (as in many other parts of Europe), showing a Jewish mother and her two children walking alongside two Muslim women. The Muslim woman in the right of the photograph is covering the Jewish woman’s Star of David symbol which she is wearing on her left arm.
Paraphenalia in Sarajevo’s Jewish museum dating back to WW2 when the Nazis occupied Sarajevo and the city’s Jewish population was rounded up and sent to concentration camps. The postcards in the photograph are postcards from the concentration camps
Black and white photographs of captured Sarajevo Jews
Photograph dating back to 1941 showing a Jewish mother and her two children walking alongside two Muslim women. The Muslim woman on the right of the photograph is covering the Jewish woman’s Star of David symbol which she is wearing on her left arm
The history of the Jewish community in Sarajevo (and the rest of Bosnia and Herzegovina) dates back to 1492, the year when Christopher Columbus discovered the New World, and also the year when the first wave of Jews arrived in Bosnia escaping the Spanish and Portuguese Inquisitions. They were welcomed by the Ottoman Empire ruler of the time, Sultan Bayezid II. In the time when Bosnia and Herzegovina was part of the Ottoman Empire, the Jewish community prospered and were well-treated living peacefully with the Bosnian muslims. They had a large amount of freedom and rights including the right to buy property and land and establish trade in any part of the Ottoman Empire. By 1856, a law was passed within the Empire granting Jews (and other non muslims) full equality. The Jewish community continued to flourish during the subsequent Austrian-Hungarian Empire rule until the beginning of World War One. The rise of Nazism and the Second World War caused many Jews to flee Sarajevo and Europe. By 1940 there were around 14,000 Jews in Bosnia of which 10,000 were in Sarajevo. When former Yugoslavia was invaded by the Nazis in April 1941 most of the remaining Jewish population were deported to Auschwitz or concentration camps in Croatia. After the war, most of the Jewish survivors emigrated to Israel. Today only about 1000 Jews are living in all of Bosnia and Herzegovina. If you have some time, I recommend a visit to the city’s Jewish cemetery located outside of the city. The local tour agency Funky Tours combine a visit to the Sarajevo Tunnel Museum with a visit to the cemetery.
Photographs from Sarajevo’s Jewish cemetery. You can see the effects of the 1992-5 Bosnian War from the shelling marks on the gravestones
The western part of the city is full of elegant and ornate buildings dating back to the era of the Austrian-Hungarian empire hand in hand with austere, brutalist architecture from the post WW2 communist Tito years. If you look closely, you may notice many buildings still scarred by intense shelling when Sarajevo was under siege during the Bosnian War from 1992-5. You may also see shelling scars on the streets you walk on. Some of these scars are painted red and known as ‘Sarajevo Roses’ marking the location where civilians died from mortar explosions during the war.
Architecture dating back to the time of the Austrian-Hungarian empire
Brutalist architecture in the city
Scars from the 1992-5 Bosnian War
‘Sarajevo Roses’: red painted street scars from the war marking the locations where civilians died from mortar explosions during the war
On the corner of Obala Kulina Bana street by the main river and Zelenik Beretki street is the Museum of Sarajevo 1878-1918 and the location from where the young Bosnian revolutionary Gavrilo Princip assassinated Archduke Franz Ferdinand who led the Austrian-Hungarian empire. His assassination was the catalyst for the First World War and the collapse of the empire. The museum documents the period of Austrian-Hungarian rule in Sarajevo as well as the assassination featuring photographs of the Archduke with his wife in their car after they were both shot, and original artefacts like the trousers Gavrilo Princip was wearing and the gun he used to assassinate the archduke.
At the location from where Gavrilo Princip assassinated Archduke Franz Ferdinand
Inside the Museum of Sarajevo 1878-1918 which houses the trousers Gavrilo Princip was wearing and the gun he used to assassinate the Archduke
Original photograph of the Archduke with his wife in their car just after they were both shot
Walking back towards Ferhadija street and west, you will eventually come face to face with the Sacred Heart Cathedral of Sarajevo, which is the largest cathedral in Bosnia and Herzegovina dating back to 1884, only a few years after the city came under Austrian-Hungarian rule. Viennese contractor Baron Karl Schwarz along with supervising architect Josip Vancaš designed the cathedral in a neo-Gothic style.
The Sacred Heart Cathedral of Sarajevo: the largest cathedral in Bosnia and Herzegovina dating back to 1884
Close to the cathedral is the Orthodox Church of the Most Holy Mother of God, which faces Liberation Square. Here you will see locals playing chess like they have all the time in the world; un-restless and un-hurried.
Orthodox Church of the Most Holy Mother of God
Chess on Liberation Square
Not far from the square is the Museum of Crimes Against Humanity and Genocide which the documents the 1990s war in Bosnia and Herzegovina. Amongst the many photos documenting this horrific period there is a display of a dug up mass grave where one can see a human skull, bones and miscellaneous scattered personal items. During the war 34,946 civilians went missing in Bosnia and Herzegovina and more than 5,000 locations containing body parts and mass graves have been discovered across the country. Through conventional methods of clothes/items recognition and more advanced DNA analysis, about 23,000 victims have been identified. Yet around 7,000 people as of today are still missing. Elsewhere there is a display of torture methods and devices used on victims during the war. On one wall there are graphic photographs of victims exposing shocking injuries inflicted on various parts of their bodies and photographs of war refugees cramped and lying on the floor of a building in sleeping bags to keep warm. On another wall there is a framed letter from Arnold Schwarzenegger to a Bosnian heavy weights star who lost members of his family in the war. In the letter Arnold tells him, in spite of all the trauma and destruction from the war, to move forward and take care of his mother. He also mentioned enclosing gifts in the letter. As I near the end of the Museum there is a sculpture of a man made from slices of bread by Mensud Kečo dedicated to the victims of the May 27th 1992 bread queue massacre. 26 civilians were killed and over 100 were wounded as they queued for bread on Ferhadija street.
Mass grave display at the Museum of Crimes Against Humanity and Genocide
A sculpture of a man made from slices of bread by Mensud Kečo dedicated to the victims of the May 27th 1992 bread queue massacre on Ferhadija street
To gain a good understanding of the Siege of Sarajevo, I embarked on a half day tour with Funky Tours. My guide was a middle aged man named Adnan who experienced and lived through the siege and was injured in his hip by flying shrapnel. With his unique experience he is also a charismatic and engaging guide, and it was riveting to listen to his stories. On this tour we visited the Sarajevo Tunnel located on the outskirts of the city. It was built discreetly by the Bosnian Army to link the neighbourhoods of Butmir and Dobrinja. At the time the entire city was surrounded by the Bosnian Serb army and it was very difficult to escape. Civilians were trapped and the tunnel enabled them to flee and get access to essential humanitarian aid. Today the house whose cellar acted as the entrance to the tunnel has now been transformed into the Sarajevo Tunnel Museum. When we entered the house we walked down the narrow 20 metre length portion of the original tunnel from its entrance. Inside the house there are photographic displays and War artefacts like military uniforms and equipment and also some examples of the humanitarian aid and food staples smuggled via the tunnel.
By the Sarajevo Tunnel Museum
Inside the Sarajevo Tunnel
Afterwards, Adnan drove us to the bobsleigh track built for the 1984 Sarajevo Olympics. Eight years later from the start of the Bosnian War, the track was destroyed by the Bosnian Serb Army and also utilised as an artillery position. Today the track is a heavily graffitied relic. One area of the track has been graffitied with the image of a young girl crying wearing a yellow shirt with a flower. She’s holding two signs in each hand. The right sign features the John Lennon and Yoko Ono slogan ‘Give Peace A Chance’ whilst the left sign continues the sentence with ‘For All Kids’.
Bobsleigh track photographs
View over Sarajevo
Close by the track we stopped at the side of a mountain road from where we had an incredible vista of the city of Sarajevo and its surroundings. All of the city is located in a valley surrounded by mountains. As magnificent as the scenery is, the heartbreaking truth is that such as setting made it relatively easy for Bosnian Serb Army troops to almost completely surround and lock the city.
The countryside of Serbia is truly extraordinary. After experiencing Belgrade, I decided to spend a week in the southern Serbian mountain town of Zlatibor. At around a kilometre above sea level, it has a cooler climate and made a welcome change to the melting Satan-hot summer temperatures of Belgrade. It has been said that Zlatibor has some of the cleanest air in all of Europe. Zlatibor is a resort town and is a very popular skiing destination for Serbians in winter. For a week I had my own mini studio-cube apartment at the top level of a warm family home on the outskirts of town.
Zlatibor is also a launchpad from which to visit the region’s surrounding areas of which there are many gems. However without your own vehicle it can be challenging to visit these places. Fortunately I met a very interesting and knowledgeable young man named Bogdan who has his own small tour business. It was already the beginning of September when I arrived in Zlatibor and by then much of the peak August crowds had left meaning the town wasn’t over crowded and finding/extending accommodation was never a problem.
One day I embarked on a day tour with Bogdan and a small group of Serbian tourists to the nearby region of Mokra Gora close to the Bosnian border. Mokra Gora is an authentic and traditional slice of the Balkan country with some magnificent vistas. For the first leg of our Mokra Gora excursion, Bogdan drove us from Zlatibor to Mokra Gora railway station, from where we would travel on an old school train on the short but memorable Sargon Eight narrow-gauge railway line. This line was originally built in 1921 just after the First World War. It took four years to build and is over 15km long. The construction of the line was increasingly gruelling and often life threatening. 3,000 – 5,000 workers were involved in its construction and 200 died. As well as laying down the track, 22 tunnels and 5 bridges were built to make way for the line. The longest tunnel has a length of 1669 metres.
By the Ćira train on the Sargon Eight narrow-gauge railway line
Rather tragically, not long after the railway line was completed, it became abandoned and defunct. It was only in 1999 when it re-opened as a tourist attraction. The classic and vintage narrow gauge train is known as the “Ćira” train. Being on this train brings back happy childhood memories of riding the famous Bluebell Railway train in East Sussex. The spirit of Thomas the Tank Engine throbs. All that is missing is Ringo Starr. I can imagine him being the conductor of that train in another life, taking ample swigs from a cheap bottle of plum rakija in the colder winter months whilst entertaining passengers with off-beat anecdotes via the tannoy.
The landscape and views throughout the train journey are sublime. It is a true joy to ride on this train and simple stare and marvel at the fertile green mountain scenery. All that hard graft to build the railway line was not all in vain. The first station we stop at is called the Ninth Kilometre. It is so-called since there are nine kilometres between the station and the Bosnian border. Then we stop at Jatare Station. Here I take a short hike up a small rocky hill with a young Serbian couple from Belgrade for some lovely vistas. Jatare used to be a water station and resting place and is also known by the fact that not one ticket was ever sold at the station.
In Jatare with some Serbian friends
We make a few more stops to admire the country scenery before returning to Mokra Gora station where we are reunited with Bogdan. From here we travel to a nearby small village called Bela Voda, which is well known for its natural spring with healing water. The water is known to cure and treat skin diseases. What is also unique about the water here is it is highly alkaline with a pH of 11.5 and is ranked as 5th in the world in terms of its pH level. In addition to treating skin diseases, the water can be drunk in small doses and can cure stomach ulcers and gastritis. It is good for digestion and is also known as ‘eye water’ since it can treat eyelid inflammation.
Bela Voda is a paradise of a place with an attractive cherry-red stone church by the water stream, which augments the beauty and etherealness of this special village. I fill my empty bottle with some of this water from the well. Nearby there are wooden huts that are available to rent. I think to myself how delightful it would be to spend a long summer here completely forgetting any notions of time and space.
From Bela Voda, Bogdan drives us to a hillside village not far from Mokra Gora railway station called Drvengrad. This completely wooden village was built by the Serbian filmmaker Emir Kusturica for his 2004 film Life Is A Miracle. It’s a unique, brilliant and unusual place with small streets and squares named after famous filmmakers, writers, visionaries, revolutionaries, sports-stars etc. I’ve written a separate article on the wonders of this magical place in another article which can be viewed here.
Early in the morning the next day, I meet up again with Bogdan for another tour this time visiting the historical Bosnian town of Višegrad. Višegrad is famous for its landmark Ottoman-era Mehmed Paša Sokolović Bridge, which is a UNESCO world heritage site and was the bridge immortalised in the Nobel prize winning writer Ivo Andrić’s novel The Bridge On The Drina. It is also the site of another village complex built by Kusturica called Andrićgrad after Ivo. Unlike Drvengrad, this village is completely made from stone and there is a statue of Andrić.
Before crossing the Bosnian border, we make a stop at the old monastery of Dobrun, which was constructed in 1343 by Duke Pribil and his sons Stefan and Peter. Originally all of the interior of the monastery was decorated with frescoes. Today, just a fraction of those original frescoes survive. Fortunately the one of Tsar Dušan with his wife Jelena and their son Uros still remains. Tsar Dušan, who was also known as Dušan the Mighty (born in 1308 – died on 20 December 1355), was the King of Serbia from 8 September 1331 and the Emperor of the Serbs and Greeks from 16th April 1346 until his death in 1355. This was the golden age of Serbia and at the time of his death, the Serbian Empire included most of modern day Greece, Albania and large swathes of former Yugoslavia.
14th century fresco of Tsar Dušan with his wife Jelena and their son Uros inside the monastery
Unfortunately since the era of Tsar Dušan, the monastery was under attack on several occasions. The first attack came in 1393 when the Ottoman Turks occupied Bosnia. Yet it faced the greatest destruction during the Second World War when it was used by the Germans to store ammunition. On their withdrawal in 1945 at the end of the war, they blew up the monastery. It was restored the following year. In spite of the monastery’s turbulent history, it is a handsome and immaculate building in beautiful surroundings. The decoration of the front facade of the monastery is a work of art.
Afterwards we cross the border and head to Višegrad. In 1454 Višegrad was conquered by the Ottoman Empire headed by Osman Pasha. The town remained under the empire for over four centuries until 1878 when the Austro-Hungarian Empire controlled Bosnia and Herzegovina. More recently, the town suffered greatly during the Bosnian War from 1992-5. Much of the town was bombarded by JNA (Yugoslavian National Army) troops and many houses were destroyed and an estimated 3,000 Bosniaks were killed.
The landmark Ottoman-era Mehmed Paša Sokolović Bridge in Višegrad
Most of the arches of the famous bridge were badly damaged (and some even completely destroyed) during both world wars. The bridge was also the scene for the killing of hundreds of Bosniaks by Bosnian Serb forces during the Bosnian War.
Filmmaker Emir Kusturica’s nearby village complex, Andrićgrad (also referred to as Kamengrad or ‘Stonetown’), officially opened on 28th June 2014 to mark the 100th year anniversary of the assassination of Archduke Franz Ferdinand by the young Bosnian revolutionary, Gavrilo Princip. When you enter the complex and walk along the Main Street with cafes, you may notice two large rectangular mosaic murals by the Multiplex Dolly Bell cinema. The first one features Gavrilo Princip with other members of the Young Bosnian movement who wanted to end Austrian-Hungarian rule in Bosnia by assassinating the Archduke. This led to the start of the First World War. In the other mural a group of men featuring Kusturica appear to be engaged in a ‘tug of war’. In a way this mural is a homage to the perseverance and resilience in realising Kusturica’s vision of Andrićgrad. Looking at the mural more closely, you may notice the Serbian tennis star Novak Djokovic in the background.
Mural of Gavrilo Princip and members of the Young Bosnian movement
Mural of Kusturica (with Milorad Dodik, president of the Republika Srpska) and Novak Djokovic in the background
The town’s style is a mix of Ottoman, Byzantine, Renaissance and Classical periods of architecture which reflect the history of Višegrad. There are statues of Ivo Andric, scientist and visionary Nikola Tesla and Petar II Petrović-Njegoš, who was a Prince-Bishop of Montenegro as well as an important poet and philosopher who’s works are seen as some of the most significant in Montenegrin and Serbian literature. In addition to his literary talents, Njegoš is seen as one of the fathers of the modern Montenegrin state and Kingdom of Montenegro, and for his struggles with the Ottoman Empire as he tried to expand Montenegro’s territory. His poem Gorski Vijenak (The Mountain Wreath) is considered a classic and it became the Montenegrin national epic. It had a big influence on Gavrilo Princip, who knew it off by heart. The poem is significant for many Serbians as its a reminder for them of their solidarity with Montenegro against the Ottoman Empire.
Statue of the writer Ivo Andrić whom Andrićgrad is named after
Statue of Petar II Petrović-Njegoš by the Crkva Svetog Cara Lazara orthodox church
Aside from the bridge and Andricgrad, Višegrad is a small but interesting city to explore on foot. If you have the time, walk along the bridge to the other side of the river. From there you can take a walk up one of the hills along a heavily debris laden path. From the top you have an incredible birds eye view over Višegrad.
On the way back down, keep on walking along the other side of the river and very soon you will stumble upon the childhood home of Ivo Andrić. It is a crimson-pink house, but it’s not possible to enter since it is a private residence.
The childhood home of Ivo Andrić in Višegrad
Just before I left Višegrad for Zlatibor, I was at a small cafe close to the bridge where I had an exceedingly good slice of baklava cake. Oh boy it was so good. If I could remember the name of the place I would tell you, but alas I can’t.