The more ‘humble’ Albanian lapidars

September 1942 - Lec Shkreli

September 1942 – Lec Shkreli

More on Albania …..

The more ‘humble’ Albanian lapidars

To date the majority of the lapidars that have appeared in this blog have been those which have had an artistic or architectural ‘merit’, that is they have been designed by those who have had training in their art and wanted to express meaning via the structure itself rather than have the reason for the monument written on an attached plaque.

However, this is not the basis of the vast majority of the lapidars identified in the almost 700 locations in the Albanian Lapidar Survey. As is described in Evolution of lapidars in Albania – part of the struggle of ideas along the road to Socialism the concept had a very humble beginning, often the simple marking of a grave of a fallen Partisan/s and as time, and prosperity, developed the grave taking on a focal point to celebrate important dates and the lapidar being made more elaborate over time. This story of the lapidars is shown in the short film ‘Lapidari’.

This means that probably more than two thirds of all the lapidars in the country were structures that could have been created by competent bricklayers and others in the building trade. But even in that style they would range from something akin (and the same size as) to a trig point on a mountain to something that comprised of a short wall to the side of which there would rise a pillar, or two. On the pillar would be attached a red star and to the wall a plaque with the names, dates and occasion the lapidar had been constructed at that particular place.

It was towards the latter part of the 1960s that sculptors, artists and architects started to really get involved in the construction of the lapidars. This was the occasion of Albania’s ‘Cultural Revolution’ and this lasted from, roughly, 1966 to 1986. At some time in the future I’ll try to put together a chronological table of the artistic lapidars to illustrate how they developed in both scale and complexity.

That doesn’t mean to say there weren’t public works of art, over and above the simple lapidars, before the 1960s. Andrea Mano’s Monument to the Partisan in Tirana was inaugurated in 1949. Odhise Paskali’s Shoket – Comrades was installed in Përmet Martyrs’ Cemetery in 1964. But both these sculptors were from the pre-liberation, pre-revolutionary era. Their approach was traditional, especially that of Paskali’s creation in Përmet which is very reminiscent of countless images of the deposition of the Christ from the cross to be seen in innumerable art galleries and Catholic churches throughout Europe.

It was only when the sculptors and artists, who had been trained by the likes of Mano and Paskali, reached their maturity as artists, together with the campaign of the Cultural Revolution (which was in essence a campaign to change the mentality of the Albanian workers and peasants) did a uniqueness, an innovativeness, appear in the public monuments that were created throughout the country. This was a twenty year period when sculptors such as Muntaz Dhrami, Hector Dule, Shaban Hadëri, Kristaq Rama and many others created their finest work.

BUT we should not forget the less ‘impressive’ structures that were in virtually every town and village (as well as in isolated locations in the countryside and mountains) in Albania as these were all monuments to the memory of those men and women who had fought against the fascist invaders from Italy and Germany and whose sacrifice made the Liberation of the county on 29th November 1944 at all possible.

On the other hand to talk about all of them would serve no purpose and would be very repetitive. Tragically, many of them have been either damaged by outright political vandalism or have just been allowed to lose the battle against the elements. For those interested in a particular lapidar or area of the country one or two images of all those listed in the Albanian Lapidar Survey can be seen in Volumes 2 and 3 produced at the conclusion of the project.

However, in order to give an idea of these simpler lapidars what follows is a description of those that still exist in Tirana. The fate, condition and respect given to these monuments in the capital is indicative of that in the rest of the country.

Perhaps one thing to stress here is that of the creators of these more ‘humble’ lapidars there is no record of who designed, created or constructed them.

To the victims of Fascism – Tirana market

The first one on the list you won’t be able to see. It existed up until 2016 when a new and very un-Albanian market was created on the site. In place of incorporating the lapidar into the design of the new structures the local/national governments sanctioned the demolition of the monument.

Victims of Fascism - 01

Victims of Fascism – 01

You couldn’t say that the lapidar (and those whom it commemorated) was being treated with a great deal of respect, as it would have been in the days of Socialist Albania, but it was being ‘tolerated’. It consisted of a pillar (about 4 metres high), which was wider at the top that at the bottom and from the lower part of the pillar, at 90 degrees to each other, there extended two short, low walls (again about 4 metres long).

This monument was meant to be seen from the outside of the space created by the walls as it was upon this front there were attached two marble plaques into which had been carved – and then painted in gold the following;

Victims of Fascism - 03

Victims of Fascism – 03

Më 22 tetor 1942 u var në litar Shyqyri Ishmi

meaning

On October 22, 1942, Shyqyri Ishmi was hanged

and

Victims of Fascism - 02

Victims of Fascism – 02

Më 29 shkurt 1944 u var në litar Muhamet Gjollesha

meaning

On February 29, 1944, Muhamet Gjollesha was hanged

This indicates that the reason for the lapidar to these victims of the Nazis being in this location was because they would have been hung in public, as was the norm of first the Italian and then the German fascists in an (in the Albanian context, failed) effort to intimidate the local population. This would seem to indicate that this space (just off what is now called Avni Rustemi Square), therefore, had long been a public market.

This is not exactly the monument that was first constructed here.

Victims of Fascism - 06

Victims of Fascism – 06

Notice here that the wording on the face of the walls is different from the more modern picture. Although it’s difficult to say from such a poor reproduction (the only I’ve so far been able to acquire) the lettering could well have been made up of individual bronze letters, inset into the concrete. When chaos and anarchy replaced the stability of Socialism in the 1990s anything that wasn’t nailed down, and often that which was, would be stolen by someone desperate enough to gain a few lek.

However, someone at some time in the intervening years had paid for and had had installed two simpler plaques to commemorate the two young people who had died at the hands of the Fascists. It had also been painted white (whereas the original seems to have been just the bare concrete) and the indented star at the top of the pillar – on two sides – had been painted red (the southern facing side slightly more faded than its northerly companion). This indicates that there was some sort of respect for the past. What changed to allow it to be demolished I don’t know.

Victims of Fascism - 04

Victims of Fascism – 04

But in its latter days it provided an anchor point for an electricity cable and a bit of shadow for the goods in the summer. If, as is obviously the case with this one, a lapidar had survived the chaos of the 90s it was more than likely just accepted as part of the environment, few caring especially of its significance but at the same time not doing any conscious damage.

Victims of Fascism - 05

Victims of Fascism – 05

The authorities saw an end to that.ast

Past location

GPS

41.33026198

19.82448704

Altitude

121.2m

Fighters who fell from the bullets of the Nazi occupiers

The next lapidar is a very simple affair, being a tall, narrow, truncated pyramid which commemorates those from the neighbourhood who died in a confrontation with the Nazis at the beginning of 1944.

Fallen fighting the Nazis - 03

Fallen fighting the Nazis – 03

On one of its faces there’s a large marble plaque bearing the date and the names of those who died in the battle.

Fallen fighting the Nazis - 02

Fallen fighting the Nazis – 02

The wording is;

Në shënje kujtimi luftëtarëve që ranë nga plumbat e pushtuesve naziste me 28 shkurt 1944. Gjergj A. Frashëri, Skënder A. Kosturi, Trajan S. Pekmezi, Viktor S. Gjokoreci

meaning

In memory of the fighters who fell from the bullets of the Nazi occupiers on February 28, 1944.

Gjergj A. Frashëri, Skënder A. Kosturi, Trajan S. Pekmezi, Viktor S. Gjokoreci

This looks like the original plaque. Now the letters are filled in with gold paint (not done very professionally) which I don’t think would have been the case originally.

The colouring of the stone work is ‘interesting’. Originally it would have been just the plain, unadorned concrete – or perhaps painted white. The present colouring is to go with the building beside it. Monuments to those killed in the struggle for national liberation from the fascists are now become colour co-ordinated to fit in with the chosen colour scheme of the bar beside which it stands.

Fallen fighting the Nazis - 01

Fallen fighting the Nazis – 01

It will be interesting to see if, in the future, the new (or present) bar owner decides on a different colour scheme the change will be applied to the lapidar as well.

Location

GPS

41.33455703

19.82600098

Altitude

122.9m

Place where Qemal Stafa was killed

Qemal Stafa was one of the founding members of the Albanian Communist Party (later to be called the Party of Labour of Albania) on 8th November 1941 and was the head of its Youth Section until his death, in this location, on 5th May 1942. After Liberation that date was chosen as Martyrs’ Day, to commemorate all those who had fallen in the War for National Liberation against the Italian and German fascists.

Qemal Stafa 03

Qemal Stafa 03

This is a simple structure, with slight embellishments. It consists of a low wall (about 4 metres long) and on the left hand side two rectangular columns rise up to about the same height, that is about 4 metres. These columns are on either side of the wall and the one at the back is slightly taller. On the face of the wall is a plaque with the words;

Këtu më 5 maj 1942 me lufte me fashiste ra Heroi i Popullit Qemal Stafa

meaning

Here on May 5, 1942, during the anti-fascist war, the People’s Hero Qemal Stafa fell

Qemal Stafa 02

Qemal Stafa 02

This is not original as there are signs that there had been other attachments, possibly individual letters, carrying the same message. This plaque is well made and the lettering, which has been coloured in gold paint, is done professionally.

Another point to make is that the whole structure was made of concrete and then faced, on all sides, by white marble. Apart from a missing piece at the top of the front column the monument is generally intact.

I would have thought that in the original design there would have been a red star attached somehow at the top of the columns. There’s no indication of anything being attached to the faces so it might have been a stand alone, metal star attached to the very top.

There’s a little bit of graffiti to the left of the plaque but there are no signs of any substantial damage.

Although originally this would have been standing alone, with little close by. Now it’s right in the middle of a large street market.

However, dying as he did before Liberation Stafa doesn’t have the same enemies as those who survived to fight for the construction of Socialism. There are a number of locations, including the main sports stadium (which was demolished in 2016 and I don’t know if a new one that had been proposed was eventually built, where it might be if built and what it might now be called) and a high school on the Durrës Road in Tirana that bear his name.

I think this element of respect which he still has in Albanian society accounts for the fact that even though getting close no street trader has the nerve to use the space in front of the actual monument (which isn’t the case in other locations I’ve visited in the country), prime though it might be.

Location

GPS

41.34165298

19.82614196

Altitude

106.8m

Monument to Mina Peze

‘Humble’ is not really an appropriate word to describe the lapidar to the honour of Mina Peza. Although not particularly large it’s different from virtually all other lapidars in the country. Unfortunately, I don’t have any information about when it was created as that would say a lot.

Unlike the other lapidars in this post the one in the street that still bears her name has obviously been designed. There are four distinct, component parts.

First it sits on a small platform that’s three steps up from street level. This platform and steps are all faced with red (steps) and cream (platform) marble. There’s a bit of careless damage to one corner of the steps but that’s about all.

Then there’s a tall, rectangular column, perhaps three metres high. This is faced in white marble. This stands separate from the rest of the monument, a metre or so in front.

Then we have a huge piece of stone where the rough edges are clear to seen but the top has been levelled off to take the final part of the structure which is a curved piece of concrete that has been faced with white speckled, red marble. Towards the top left corner of this curved marble a white marble plaque takes the place of the red slabs, thereby maintaining a smooth surface.

On this plaque are the words;

Këtu në 17 shtator 1942 u vra ne krye të demostratës së grave nëna patriote Mine Peza

which translates as

Here on September 17, 1942, the patriotic mother Mine Peza was killed at the head of the women’s demonstration

The stand-alone column has indications of some small holes towards the top and this is where a star might have been placed. (As I’ve written elsewhere the stars were the first target of the reactionary, counter-revolutionary hoards when the breakdown of order in the 1990s provided them with the opportunity to carry out their vandalism.) Also someone has painted a red and black (anarchist) sash from just below the base, diagonally, to just below the top. This has now faded somewhat.

This wouldn’t look out of place in a minimalist art collection, very much out of character to all other Albanian lapidars. But who designed it or when is still a mystery. It all feels very locked in now, there being bars and fast food outlets very close (there are a lot of bars and fast food places in Tirana). I assume originally it would have stood on the corner of the street with very little close by and with a much greater opportunity to appreciate the design.

The story of the demonstration

In the summer of 1942 the National Liberation Movement had assumed broad proportions. The prisons were full of patriots. To ease the situation, the fascists exiled some of them to the desolate islands of Italy. In conformity with the instructions of the Albanian Communist Party the secret anti-fascist organizations of the prisoners which operated inside the prisons organized protests and resistance to the fascist measures. Protests were held in February 1942, in the prison of Elbasan, in May and August in the prison of Tirana, and later, in Vlora. The biggest demonstration was the one held by the prisoners of Tirana, which took place in the afternoon of the 17th of September, 1942, just one day after the opening of the National Liberation Conference at Peza. This demonstration was of particular importance because it was coordinated with a demonstration held by the anti-fascist women of Tirana, in support of their imprisoned sons and brothers.

The events took place as follows: the prisoners refused to give up their comrades who were to be deported. Fighting with the carabinieri broke out in the prison. The prefect of Tirana was called to the scene. Meanwhile, about 100 women began a demonstration outside, in front of the prison. The fascists were in a critical situation. The order was given to break up the demonstration of the women by force. From their fortified posts, the guards opened fire on the women. Several were wounded, while one of them, the Heroine of the People, Mine Peza, was mortally wounded. Her comrades lifted her and carried her through the city streets. Mine Peza died while the demonstration was still going on. The people have dedicated a song to the heroism of Mine Peza and her comrades: Down with the terror, oust the occupier, we Mothers can no longer bear it! Let us smash the cruel iron bars!

New Albania, No 5, 1977

Location

On the corner of Rruga Mina Peze and Rruga e Bogdanëve.

GPS

41.331718

19.81121102

Altitude

99.3m

National Anti-Fascist Liberation War Headquarters

This is a squat, square monolith about 2 metres high sitting on a platform, twice as wide as the monolith, which is four steps up from pavement level. Each corner is inset to break the monotony of the square and at each changing angle there is a strip decoration of light brown marble. At the base there is the effect of three thin layers, the middle inset from the other two, which replicates the decoration of the sides of the block. On the left side of the platform there is a thin border with small, low, circular laurel bushes. At each end of this border there’s a small, low level light to illuminate the area at night.

On the side facing the road there’s a white marble plaque with the words;

Këtu ka qenë baza më e rëndësishme e L.A.N.Ç. (Lufta Antifashiste Nacional Çlirimtare) me emrin Baraka e Nushajve nga këtu jepeshin orientime për luftën e qarkut të Tiranës dhe mbarë vendit

which translates as

Here was located the L.A.N.C’s (National Anti-Fascist Liberation War) most important base by the name of Baraka i Nushajve. From here were sent out orders for the Tirana district and the whole country

This plaque looks original and although there are some marks on the marble it is in a generally good condition.

This is a strange one in that although given its own space it is so hemmed in with the surrounding trees (much more substantial than when the lapidar was erected) it seems to be made invisible, especially in the day time when I’m sure that many people pass by without even knowing it’s there.

Location

In Rruga Sami Freshëri, just a short distance on the Lana River side from the new police station.

GPS

41.32364597

19.81337003

DMS

41° 19′ 25.1255” N

19° 48′ 48.1321” E

Altitude

111.5m

More on Albania …..

Monument to the Partisan – Tirana

Monument to the Partisan - Tirana

Monument to the Partisan – Tirana

More on Albania …..

Monument to the Partisan – Tirana

The ‘Monument to the Partisan’, the work of sculptor Andrea Mano, was created in 1949. It is one of the oldest lapidars in Albania created in the Socialist period and is the monument that has survived (relatively undamaged) the longest in its original location.

The monument consists of a larger than life size figure of a Communist Partisan in full uniform and fully armed. He’s depicted running forward, the element of speed being indicated by the right edge of his jacket flapping in the wind. In his left hand he carries a rifle (his hand is gripped around the barrel in front of the trigger mechanism) but his arm is fully extended downwards so it’s not ready to be used – this rush of his is not to join the battle but to join the celebration of the victory.

His right arm is raised above his head, slightly bent so his hand is pointing behind him but the fist is clenched. This is a visual representation of ‘We have done it’, and a sight that is quite common in present day sporting events. His mouth is wide open and so we know he is shouting but to whom and what we do not know. However, we are given a clue to the event by the inscription – and also the actual location of the statue.

For it was in this area of Tirana, on 17th November 1944, where the last remnants of the Nazi invaders were either killed or surrendered to the Partisan army.

Bukurosh Sejdini - 17 November 1944 - 1957

Bukurosh Sejdini – 17 November 1944 – 1957

He’s not a particularly young man and might be an officer, his uniform is quite smart and over his left shoulder is a strap to which is attached a satchel – which rests on his right hip. However, he doesn’t have a pistol – a normal sign of an officer. (It might be worth commenting here that although the Partisan force was very much a Communist organisation, organised along Communist lines, there still existed a hierarchy of officers and ‘men’ – although a huge percentage of the ‘men’ were female.) On a belt around his waist are a number of pouches with reserve ammunition.

It’s difficult to see (without climbing up the plinth) exactly what he has on his feet but it appears to be the more traditional Albanian footwear than an otherwise more usual heavy boot of the majority of the armies fighting in the Second World War.

However, what we can be certain of is his political allegiance. On the front of his cap can be seen the star and around his neck a scarf, both of which would have been red in actuality. This partisan is a Communist. Perhaps, as his political status is clear – and would have been to all who knew this statue at the time of the reactionary uprising of 1990 – I’m slightly surprised he didn’t suffer any serious vandalism.

The statue of Enver Hoxha, which was pulled down on 20th February 1991, was only a few minutes walk from where the Partisan still stands and it wouldn’t have been too much of a surprise if some neo-fascist (having pulled itself from its hiding hole) hadn’t tried to damage a representation of Communist success. At the same time all the failings in Albanian society were being placed on Enver’s shoulders and personalising matters was a useful tactic for both the reactionaries and those in the higher leadership of the Party of Labour of Albania.

I’m afraid I’m not a big fan of this statue – and didn’t really like it when I first saw it just under nine years ago. At the time I thought he looked too angry – but not in a good way. That was before I fully realised what the statue represented – which was the liberation of Tirana and the soon to be victory of the Partisans over the fascist invaders.

However, it is still important in that it was one of the very first lapidars to be installed in the country – and the first one that attempted to tell the story of the National Liberation War (the earlier statues were of Joseph Stalin).

Bas reliefs

On either side of the statue, on the plinth, there are two bas reliefs. They are not in a particularly good condition and are showing the signs of wear but through time rather than any vandalism. Nonetheless they play an important role in the history of Albanian lapidars as they start to establish artistic ‘tropes’ which were emulated, with various adaptations, by later Albanian sculptors.

Monument to the Partisan - Bas relief 1

Monument to the Partisan – Bas relief 1

The one on the right of the monument as you look face on to the Partisan (i.e., on the left of the statue itself) depicts a small squad of Partisans – in this case seven – in the middle of a battle. However, the juxtaposition of the figures seem to represent more than one event.

The backdrop to the scene is the Communist flag. This is a red flag upon which, in the centre, is a black, double-headed eagle. This symbol was taken from the emblem used by Skenderbeu in the nationalist battle against the Ottoman’s in the 15th century. It was brought into the 20th century with the addition of a gold, five pointed star, which sits exactly in the central space between the two heads. This flag was later adopted as the national flag of Albania after the defeat of the fascists on 29th November 1944. (The present national flag has exactly the same arrangement but without the gold star.)

The principal figure in this panel is a full length, left profile of a Partisan officer. He’s in a full partisan uniform, military jacket and trousers, with the jacket unbuttoned and the left edge being pulled away from his body by the action of his raised left arm. As is usual we know he’s a Communist as there’s a star on his cap – but he doesn’t have a scarf around his neck.

Hanging from his left shoulder, and going across his chest, is an ammunition belt. We can see three clips with five bullets each which are for the rifle he holds in his right hand. We can’t see it but his right arm is fully extended downwards and he must be holding the rifle around the trigger mechanism as we only see the spurting end of the barrel and a small piece of the strap attached to the wooden stock.

The rifle could be a Delaunay-Belleville Model 1907-15 (there’s an example of it in the National Historical Museum (National Liberation War room) in Tirana). The company was a luxury car maker before the First World War but went into war production after 1914. The fact that the Partisans used, in the main, either such old weapons or those they took off the fascist invaders (first Italian and the German) gives an indication of the nature of the force that destroyed Nazism in Albania – using anything and everything to defeat the invaders.

On the belt around his waist there’s a pistol holster thus indicating his officer status (as mentioned above when talking about the statue). His left arm is raised fully above his head and his partially open hand is indicating for all those behind him to come forward for battle.

Finally for this figure we can see that although in full military uniform he is wearing opinga on his feet – the traditional Albanian shoe with a distinctive turned up nodule at the toe.

Above the left shoulder of this officer we can see two partial faces of two male Partisans. Neither is wearing a cap. The figure at the back is the standard bearer as we can see his right hand gripping the flag pole just beneath where the material is attached to the pole. The other figure has a gun raised closed to his face as if he is aiming. Part of the gun is seen running parallel to the top of the officer’s shoulder and the end of the barrel appears behind his face, at the level of his mouth.

This could be a Bereta, 1938, 9mm calibre, automatic rifle. Again there’s one of those in a glass case in the Tirana National History Museum, just in front of the impressive ‘Death to Fascism’ mural. This would more than likely have been taken off a dead Italian invader earlier in the campaign.

The Partisan with the automatic rifle seems to be wearing the traditional trousers called tirq, which don’t quite extend to the ankle and are split the last few inches. He also appears to be barefooted.

Behind of, and seen below the raised arm of, the officer is a female fighter – the first of two on this panel. Her face is in profile, she has long hair (tied up) and she appears to be wearing a cap and I think there’s a hint of a star on the front of the cap. (The problem here is that wear and tear makes some of the detail difficult to make out.) She’s dressed in military uniform but all we can see is an ammunition clip (the same sort as we saw on the officer’s belt) at her waist. We can’t see anything else of her as she’s hidden by the other figures but we have to assume that she too is armed.

The next part I don’t fully understand. This is, if you like, a tableau within a tableau and is reminiscent of the sculpture in Permët Martyrs’ Cemetery called ‘Shoket – Comrades’ by Odhise Paskali.

In the centre is a male figure who has obviously recently been seriously injured as he is slumped backwards although still (just) on his feet. He is depicted as if he were crumbling, without the strength to stand up by himself. Both his knees are bent and his body is so close to the ground his left hand almost touches the earth. The reason he is not on the ground is that another of his comrades has his hands linked so that he provides a supportive loop around the body of his wounded comrade’s waist. The other reason the wounded Partisan is not on the ground is that a female fighter has her left hand gripping his left arm, high up by the armpit and we have to assume her other hand, unseen, is supporting him on his right side.

There is no evidence of any weapons for the two males and it’s difficult to make out exactly how they are dressed. They appear to be in uniform but the male really struggling to keep his comrade from falling down has the sleeves of his shirt rolled up to the elbow. Again strangely, for me, he is also looking forward, in the direction of the advance rather than looking down at his comrade.

There’s also a difference in what they are wearing on their feet. The wounded man is wearing the opinga whilst the ‘healthy’ fighter has the more recognisable military boot.

The female Partisan is the only one we see in full face. In supporting the fallen soldier she has turned so that she is the only one not looking in the direction of the battle, whether taking place or about to start – although the injured Partisan indicates that bullets have already started to fly. She is also in full uniform, seems to be wearing boots but not a cap to cover her long hair. There are two straps coming from both her shoulders across her chest, one of which supports a bulging satchel resting on her left hip the other on the end of which is a huge rifle (almost like a cannon) the end of the barrel of which points to the edge of the panel.

What I don’t understand here is why are they supporting him in the middle of an attack. The bulging satchel indicates she might be a medic but the big rifle indicates she’s definitely a fighter and not a non-combatant. Are they, perhaps, taking the wounded man away from the action but if so, again, why? Yes you want to look after your fallen and injured comrades but if the two carrying the wounded man are also combatants then three, and not just one, fighter is being taken out of the fight at a crucial time. Perhaps he represents the last to die in the liberation of Tirana and only days away from the liberation of the whole country. Whatever the idea it’s a bit of a mystery to me – and something I’ve not come across elsewhere, as far as I can remember.

Finally we have more of a silhouette than a bas-relief. Between these last male and the female, and just above the body of the falling man, is the shape of another male Partisan. Again the figure is in left profile and appears to be in uniform, including a cap. But further than that it’s difficult to say.

Monument to the Partisan - Bas relief 2

Monument to the Partisan – Bas relief 2

If the story in the first bas relief is, at times, difficult to follow the second one is much more basic and straightforward. Here we also have seven partisans (this time all male) in a full on attack. Here no one is holding back and it’s full of action.

All seem to be in full Partisan uniform. Half of them have caps, with signs of the red star, but half do not.

Mallakaster Partisans - possibly 1943

Mallakaster Partisans – possibly 1943

(Here it might be worthwhile to say that before the beginning of the organised Partisan onslaught against the Italian invaders, following the Peze Conference of 16th September 1942, the Albanian forces were more of a guerrilla force. Their tactics were very much that of hit and run – and they were very successful at that even before the Conference. However, the Conference gave structure to the struggle and as part of that uniforms started to become more common. Whether that brings with it certain negatives is a debate for another time but what it did lead to was a more organised opposition and by the time of the liberation of Tirana, on 17th November 1944, most of the troops that entered the city would have been in uniform.)

At the front we have two Partisans, one kneeling one standing, both with their rifles on their shoulders and they are firing whilst looking through the sights. Those two are heavily armed, both have extra ammunition on their belts and the one who is kneeling has a pistol holster on his right hip.

Behind them, also standing and firing with his rifle at his shoulder, is another Partisan. Again heavily armed but this time with a grenade attached to his belt. This is, in fact, a Mills bomb, a British made grenade. This is the grenade that looks like a very small (yet lethal) pineapple. The end of the barrel of his rifle pokes out behind the standing marksman in the front rank.

As the British weren’t fighting the Nazis in mainland Europe until June 1944 – whilst the Albanian Communists had been fighting them for almost two years – the Partisans were more than happy to take any weapons that came their way. Consignments of Mills bombs were part of that ‘support’. The problem was that the British thought that by providing such assistance they had the right to determine what sort of society should be developed in Albania after the end of hostilities. The Albanians didn’t agree and had to endure decades of attempts by the British imperialists to subvert Albanian Socialism.

We only see part of the head of the next fighter so we can only speculate what he is doing, but probably the same as the first three.

The next figure is the most dynamic of the lot. The strap across his chest is for his rifle and the top of the barrel can be seen over his left shoulder. He is leaning back and his right arm is slightly bent but extended behind him. In his hand he holds a Mills bomb and his stance is one that will give his body the greatest chance of throwing the grenade with the greatest force to where he wants it to land. To make sure he is steady he has his legs wide apart giving extra stability as well as more force for his throw. As on the other panel there is a variation in the clothing and this ‘grenadier’ is wearing traditional tirq trousers (short of the ankle and split at the bottoms) as well as wearing the opinga. He is also the only one with his mouth open – announcing to the Nazis what they could expect from his British present.

Although he doesn’t wear a cap he has a scarf around his neck indicating, yet again, that he is a Communist. Always, on Albanian lapidars, the star and scarf, both of which would have been red, indicate a Communist. Although not all Partisans were Communists they were the majority in the National Liberation Front.

The next figure is also rushing forward, indicated be the bottom edge of his jacket being thrown back in his haste. This allows us to see that he, too, has extra rifle ammunition clips (two) on his belt. But he’s not seen with a rifle but with another grenade.

However, this is not one ‘kindly donated’ by the British, this one is a present he is returning to the original owners as this is a German made stick grenade. He isn’t ready to throw yet so he just grips it tightly in his right hand, his arm extended downwards. The advantage the stick grenade had over the British version (unless the thrower was good at cricket) was that the long stick provided a lever motion and so increased the distance thrown. However, its size went against it as less could be carried. But here we are shown that the Partisans used weapons from all sources, none being rejected.

Finally, and barely discernible, behind the two grenadiers is part of the head of another male Partisan. The star can be made out on his cap but there’s little else that can be said about him.

Establishing the artistic ‘tropes’

The ‘Monument to the Partisan’ was, as I’ve already said, the very first true sculptural lapidar. The sculptor, Andrea Mano, also spent a great deal of his working life teaching his art – first in a High School and then at the finest Art School in the country, the University of Arts in Tirana (from 1954-1982) – and therefore coming into contact with the young and upcoming, post-Liberation trained sculptors. So there’s no real surprise that some of the images he used in his early work re-appeared in an often more sophisticated manner.

Those artistic ‘tropes’ I think can be seen in this monument are;

the raised arm, often with the individual looking in the opposite direction to where the action was taking place, signalling for those unseen in the work of art to come and join the fight, battle or general struggle. This can be seen in the Arch of Drashovicë,

armed women, of all ages. If the lapidar (be it a sculpture, bas relief or mosaic) is telling a story of armed conflict then the women (if not all the men) will be armed. This references the fact that if women want true liberation they will have to be prepared to take arms to achieve and/or retain those gains. This can be seen in ‘The Albanians’ mosaic on the facade of the National Historical Museum in Tirana, the Martyrs’ Cemetery in Lushnjë and the statue of Liri Gero, in the ‘Sculpture Park’ behind the National Art Gallery in Tirana.

the footwear telling a story. The traditional opinga mixing with the European boot (indicating the changing culture as well as a connection with the past), or even sometimes individuals will be barefooted, referencing the extreme poverty of a huge part of the population, yet still prepared to fight for freedom and liberation from oppression.

images of traditional clothing. This is similar to the issue with the footwear but from a slightly different angel. Clothing would indicate from which part of the country an individual might call home. This was in an effort to indicate to the viewer that the revolution, and the war against the invader, was something that involved all of the country, with its different ethnic groups. This also helped to show that the struggles involved men and women of all ages, with the older perhaps still hanging on to the traditional when it came to dress but prepared to fight together with the young with more modern ideas of fashion.

its quite interesting to see how often the clothing being shown as if it has been caught in the wind so as to give the impression of speed, especially when rushing to a battle. This was often seen in conjunction with ‘the hand calling to action’ motif.

Although I wouldn’t go as far as to say that visiting the ‘Monument to the Partisan’ will mean you have seen all that the lapidars have to offer but it would be a good place to start to compare with any you might encounter in other parts of the country.

Inscription

Plaque on the Monument to the Partisan

Plaque on the Monument to the Partisan

If you look at the picture at the very top of this post you will notice the inscription (although the same wording) is different from what is in place today. I have no information about when the old, stand alone metal letters and numbers might have been removed. It might have been political vandalism at some time in the 1990s or it might have been simple theft – all societies will always have scumbags who will steal the smallest items for a minor profit – in the past, the present and the foreseeable future.

Whatever the fate of the inscription what is noticeable is that the star did not reappear on the replacement marble plaque. I have seen it in other locations, where a carved star will be at the top of the new plaque but not here. (I’ll have to write a post one day bringing together the fate of the ‘Communist Star’ in Albanian lapidars.) Here it might be enough to just say that for the reactionaries in Albania the Red Star is second only in the hate league table to Enver Hoxha. But as Chairman Mao said ‘To be attacked by the enemy is not a bad thing but a good thing’.

The wording on the front of the monument, originally and at present is

in Albanian;

Populli i Tiranës partizanëve të rënë për çlirimin e kryeqytetit 28/X–17/XI/1944

which translates as;

The People of Tirana to the Partisans who fell during the Liberation of the capital, 28th October to 17th November 1944

Sculptor

Andrea Mano (1919-2000) was a pre-liberation sculptor, in the sense that he was born in 1919 and followed his education in Italy – before the Italians decided to invade Albania on 7th April 1939 as part of the Fascist plan to take control of Europe. That would seem to indicate he came from a relatively privileged background. He returned to Albania in 1942. I have no information whether he took an active part in the National Liberation War – or not. He couldn’t have been all that bad as, in 1946, he was given a scholarship to study in Zagreb, Yugoslavia – before Tito decided that he could take the country on a road to ‘Socialism’ different from that of the one indicated by Marxism-Leninism. This meant Mano had to return to Albania in 1948 and that must have been when he was awarded the commission for the Partisan Monument.

He was involved (together with Odhise Paskali and Janaq Paço) in the major sculpture of the equestrian Skanderbeu, which was installed in the central square in Tirana which bears his name in 1968 – the 500th anniversary of his death. In the process ousting the Soviet made statue of Joseph Stalin to a little bit down the road.

He was also one of the sculptors responsible for ‘The Four Heroines of Mirdita’ (1970) – together with Fuat Dushku, Perikli Çuli and Dhimo Gogollari. Tragically this amazing structure was one of the first victims of the reaction and was destroyed in 1993.

Four Heroines of Mirdita, Rreshen

Four Heroines of Mirdita, Rreshen

Although he produced smaller works that have been displayed in the National Art Gallery in Tirana he seems to have devoted most of his time to the teaching of his craft.

Location

Sheshi Sulejman Pasha

Tirana

This square is behind the building that houses the Opera House and the National Library and also where the buses leave to go to the airport and those that will take you to the cable car of Dajti.

(This is just beside Rruga George W Bush – which makes me almost want to vomit to type the words. There’s even a statue to ‘GW’ in Fushe Krujë, can you believe it?)

GPS

41.32813901

19.82198697

DMS

41° 19′ 41.3004” N

19° 49′ 19.1531” E

Altitude

113.1m

More on Albania …..

Resistance – Monument to the struggle against Fascist invasion in Durres

Resistance - Durres

Resistance – Durres

More on Albania ……

Resistance – Monument to the struggle against Fascist invasion in Durres

Being the main port of invasion by the Italian Fascists on 7th April 1939 it’s not a surprise that in commemoration of that event, and especially the resistance that was shown by a significant proportion of the population (but not the self-proclaimed ‘King’ Zog who ran away as soon as the Italian ships came into sight) that there are a few monuments to this, constructed in the Socialist period. One is to the individual sacrifice of Mujo Ulqinaku (that used to stand close by the Venetian tower at the bottom end of town) and the other is to the general principle of ‘Resistance’ in Durrës, which is located right next to the waterfront and very likely one of the places the Italian fascists would have landed.

But in 2017 the population of Durrës doesn’t have much respect for Resistance to any foreign invasion. In fact the more foreign goods, foreign fast food and foreign culture they can access the better. In some senses more of a necessity than a wish as they have overseen the wholesale destruction of any industry which might provide them with the basic necessities of life. And, of course, how can anyone possibly survive without the internationally recognised destroyer of teeth and promoter of obesity, the obnoxious fluid sold under the name of Coca Cola?

But back to a time when Albanians had dignity, knew what true independence was and embodied the principles of resistance in their daily lives.

When a monument ceases to have relevance then it no longer gets treated with respect and that has been the fate of this lapidar – as well as with many others throughout the country. Apart from physical damage to some of the elements of the structure it is a constant victim of graffiti attack, the mindless, illiterate scribblings of those with nothing meaningful to say but say it anyway. At least political graffiti would demonstrate some form of human thought.

‘Resistance’ has architectural elements as well as sculptural.

You approach the monument via a few very low, but very wide steps. You are then in a circular space with a series of eleven columns on your right which rise to a height of about 3 metres and on that highest column stands the personification of ‘Resistance’ in the form of a Partisan fighter. Radiating out at 90 degrees to these columns, gradually coming down to ground level even as each of the columns gets higher is a feathering effect. This effect is also produced on the left hand side as you look at the statue but here the feathering is much lower to start with and much wider as well.

If you can imagine the furled wing of a bird you might understand the impression the architect is attempting to re-create. For this is a symbolic reference to the eagle, the double-headed version of which is, and has been for a few centuries now, the national emblem of Albania. This device has been used in the most recent development of the Martyrs’ Cemetery in Borove, just to the south of Ersekë, and for the construction of (the now derelict) mausoleum and museum to Enver Hoxha in Tirana.

The problem with this idea is that it is very difficult to appreciate the idea from ground level. It might well be more evident from an aerial view but that is not possible for the vast majority of onlookers. So in Durrës (as in Borove and Tirana) you have to use a little bit of imagination.

On the facade of four of theses columns, facing the inner circle, are images which tell a little bit of the history of Durrës and Albanian Resistance.

Resistance to the Romans

Resistance to the Romans

On the 7th from the right we have the ancient, Greco-Romano history of the town. Carved into the stone is a circular, Roman shield and surrounding it the weapons that would have been used at the time: a short sword, an axe and a number of different types of spears, together with a helmet with a crest.

Resistance to the Ottomans

Resistance to the Ottomans

On the 8th one in we are brought a little closer up to date. This is the time of the nationalist ‘hero’ Skenderbeu. We know that as the large shield towards the right has a double-headed eagle design (it was from the time of Skenderbeu that this symbol was adopted as a sign of Resistance to any foreign invader). This was in the 15th century. Here we have the weapons in use in warfare from that period: a long, broadsword, possibly arrows, spears and the curved blade, long poled axe that was used to hack away at the enemy. Examples of these can be seen in the National Historical Museum in Tirana.

The third lesson in history is on the next column, the ninth and this brings us up to the 20th century. At the bottom there’s a symbolic reference to the waves on the sea. This references Durrës as this image is part of the town’s coat of arms. Curving from the top left to the centre is an ammunition belt – eight clips with five bullets apiece. On the right hand side, taking up the whole height of the panel, is a rifle.

Resistance to Italian Fascism

Resistance to Italian Fascism

The top end of the barrels of a couple of rifles peek out from behind the ammunition belt on the left hand side. This modern weaponry frames an axe, a pickaxe and a couple of pitchforks. This, to me covers a couple of inter-related periods. It makes reference to the war for National Liberation (which took place between 1939 and 1944) and also to the construction of Socialism where the use of arms would be necessary to defend the revolution from attack, both from within and without.

The final symbol, which is on the facade of the column upon which the Partisan statue stands, is a large, black metal plaque of a double-headed eagle. Unlike the one on the shield of the Skenderbeu era this one has a star above the two heads. This is the star of Communism which was added to the national symbol from 1944 to 1990. This star, whether it was red originally or not I don’t know, is missing, whether as a result of political vandalism, opportunist souvenir hunting or by someone to care for it so that it can be returned in a future Socialist Albania.

The statue itself embodies many of the attributes seen on a number of lapidars throughout the country. The figure itself is rushing forward, weapon at the ready, but he is also looking backwards calling upon others, out of sight to come and join the fight. This is depicted elsewhere on Albanian lapidars such as the monumental Arch of Drashovicë and the statue of Mujo Ulqinaku in Durrës itself – but exact location unknown at this moment.

But there’s much more dynamism, more urgency here. He cannot stretch his legs any further, he gives the impression of needing to rush to the front, to engage the enemy. When there’s an invasion there’s no time to consider the options. Only those who are prepared to live under a foreign yoke, the future collaborators, the sycophants and cowards, will hesitate, ‘weigh up the options’ and then capitulate. This fighter, this Communist, this patriot does not hesitate.

He doesn’t wear a uniform as such as at the time of the Italian invasion in 1939 the so-called Royal Albanian Army was so much in a collaborative role with the Italians that official resistance melted away. It was up to a few individual soldiers, such as Mujo Ulqinaku, or armed civilians to resist the invasion. Although they were far too outnumbered in 1939 to succeed in preventing the country from being occupied the action of workers such as those at the tobacco factory and the growing number of those who joined the Partisans in the subsequent five years meant that the country was finally liberated at the end of November 1944.

He’s bare-chested and it looks like his shirt has been torn off his body and it hangs in shreds, flowing behind him as he rushes forwards. In general there’s nothing to distinguish him from any other national hero, racing to take on the enemy but there’s one little, unique indication that this is an Albanian patriot.

'Opinga' bag

‘Opinga’ bag

Hanging from a thin leather strap, that goes around his neck and rests against his left thigh, is a small bag. It looks very much like an opinga (the traditional leather shoe) with decoration on its facing and edges. I’ve not seen this elsewhere and can only think that when modern dress became more common, especially in a city like Durrës where more people would have been involved in manufacturing industry or dock related activities, these reminders and remainders of the past would have taken on a secondary role.

The official name of the monument is:

“Monumenti i Rezistencës.”

Which translates as:

‘Resistance Monument.’

Which was ‘dedicated to the armed struggle of the Albanian people against the fascist occupation of Italy on April 7, 1939.’

This lapidar is the combined work of Hektor Dule and Fuat Dushku (1930-2002) but I don’t know which of them (if either) was the originator of the architectural aspect of the monument. Dule also created the Mushqete Monument at Berzhite and the bas-relief to Skenderbeu in Gjirokaster. Dushku was one of the sculptors who worked on the ‘Four Heroines of Mirdita’ that was created in 1971 and used to stand in Rrëshen. That was criminally destroyed by the local reactionary so-called ‘democrats’.

Signatures

Signatures

This is quite a late lapidar as, according to the inscription under the right foot of the fighter, the statue was created in 1989. This inscription is also quite unusual. It has the names of the two sculptors, H[ector] Dule and F[uat] Dushku and then the letters QRVA followed by the number 89 (for the year 1989). QVRA stands for Qendra e Realizimit te Veprave te Artit, translating to Art Work Realization Centre. This is the name of the (State) foundry in Tirana where virtually all the lapidars in the country, from the late 60s to the end of the 80s, were forged. It’s also the place where many of those that were torn down in the 90s were melted down to construct some of the monstrosities that is contemporary, capitalist Albanian sculpture. This foundry at one time employed 40 people, more or less, full time. That went down to just 5 a few years ago and then was torn down to make way for expensive, luxury flats.

This is the first time I’ve seen these initials on a lapidar (but not the last, the large statue of the Partisan and child in Lushnjë Martyrs’ Cemetery and the bas relief outside the vandalised museum in Bajram Curri being two other, late Socialist period examples). In the post on Liri Gero and the 68 Girls of Fier I made a bit of a digression discussing the idea of the artists NOT putting their names on their work. This did not mean that their work was not appreciated or respected but the artist was only one cog in the machine. The finished work of art was the culmination of the work of many and if one name should be on it why not all the others?

It was only when that principle was being challenged, especially after the death of Enver Hoxha in 1985, that the sculptors’ names started to appear on the finished work. And here, in addition, we have the place it was made. This no more or less than branding. If they had been able to continue making such statues they would have been stamping the © (copyright) sign on the base.

They didn’t realise that the more they adopted capitalist methods the shorter would be their future. Such foundries, workshops only exist in the capitalist countries with the patronage of the rich – just as it was in the Renaissance. There aren’t many of those in Albania and so the foundry died. I don’t have much sympathy for those with such myopia – whether they be foundry workers or sculptors.

Condition:

As can be seen from the pictures the plinth and the surrounds are uncared for and there’s various graffiti on the columns. The columns provide steps for children to climb and they often do. However, the statue itself seems to be untouched by the vandalism and is in a good condition.

Location:

In the park beside the water, in the older part of town, beside Rruga Taulantia, and a hundred metres or so west of the Venetian Tower (and the original location of the monument to Mujo Qlqinaku).

GPS:

N41.30936204

E19.44467501

DMS:

N41º 18′ 33.70”

E19º 26′ 40.83”

Altitude:

1.7m

More on Albania …..