Keywords Change this

Yugoslavian Modernism, Monument

Project timeline

1968 – 1969


Monument & Memorial

Location Change this

Bosnia and Herzegovina

Architect Change this


Article last edited by Bostjan on
May 15th, 2019

Monument Vogošća Change this

Vogošća, Bosnia and Herzegovina
by Ruben B. Ugljen, Petar Krstić Change this
1 of 7

Description Change this

This monument is a memorial to the fallen Partisan fighters from area of Vogošća, Bosnia, while also being a crypt where their remains are interred. In addition, this monument was built in remembrance of the illegal workers (led by Trifko Đokić and Radovan Šućur) who, in 1943, killed Chetnik leader Spasu Tadić.


In the late 1960s, it was decided a monument should be built to memorialize those who fought and gave their lives for the liberation of Vogošća from fascist forces during WWII. As a result, a large memorial complex was built by designers Petar Krstić and Zlatko Ugljen, having its official unveiling to the public on July 21st, 1969, which was accompanied by a large ceremony. The primary element of the memorial complex is a wide elevated concrete sculpture (~8m wide) supported in the air by several concrete feet at its center.


The two main faces of this wide flat memorial sculpture have engravings and designs spread across it, with its central feature being a wide copper-lined 'wound' shape at the center of both faces. Next to this memorial sculpture are three horizontal pylons criss-crossing each other, engraved with the names of 62 fallen Partisan soldiers originally from this region, most of who were involved in the Zvijezda Detachment, the Visoko-Fojnica Detachment and the 6th Krajina Brigade. On the east facing side there is an engraving: "To stomp on the neck of tyranny and to hold it up to the face of justice, this is the holiest of endeavors." This verse was written by Petar II Petrović-Njegoš, a 19th century poet-philosopher from Montenegro. The works of Njegoš are often considered some of the most culturally important pieces of literature to the historical culture of Serbia and Montenegro.


The intended symbolism imbued into this work by the creators appears to most centrally focused around the two large copper-lined openings on either side of the monument. Set into the sculpture's facade around the large 'wound' motifs are small pressed relief scenes depicting soldiers fighting and civilians in the turmoil of war, as well as scene of peaceful village life and kolo dancing. In addition, there are a strange series of stamped symbols (on both sides of the monument) whose meanings or significance is not immediately clear. While some of these symbols are clearly religious in nature, some are difficult to interpret, perhaps being astrological or traditional symbols, or even maybe simply decorative.


Register to join to conversation.