Bosnia has been shaped as a separate imagological space in the conjunction of local and foreign political, social, scientific, cultural and artistic practices.

In terms of the European reception of works from the Islamic cultural circle in the Balkans, ballad Hasanaginica is certainly one of the most interesting works for analysis.

Foreign travel writers, painters and architects of the Land Government who stayed in Bosnia at the turn of the 20th century expressed a great interest in a distinctive phenomenon of Bosnian culture.

Damir Nikšić, If I wasn't Muslim, video creation, 2005.

Slovenian poet Anton Aškerc (1856–1912) is one of the poets who searched for spirituality as a refined and cognitive zenith of knowledge.

Elči Ibrahim-pasha served as a Bosnian vizier in Travnik from 6 March 1704 to August 1705. During his service in Travnik he commissioned several public and business buildings, a maktab and a madrasa.

When the central Ottoman rule began to weaken in the late 17th century, Europeans showed an increased interest in circumstances in Bosnia and Herzegovina, which was then part of the Eyalet of Bosnia and broader Ottoman Empire.

In Glasnik of the Islamic Community of 1969, a text by Ibrahim Kemura entitled “Bosna i muslimani u očima jednog posmatrača iz sredine XIX stoljeća” (Bosnia and Muslims in the Eye of a Beholder from the mid-19th Century) was published.

In the encounter with Bosnia, its citizens and their way of living, through travelogues and newspaper descriptions, through architecture of Bosnian pavilions at large world exhibitions of the late 19th century, through graphic maps, drawings and paintings, European authors, artists and architects often discover Orientalist approach and discourse.

The art collection of the Heritage Museum of Travnik holds a collection of 24 print sheets by British artist Bernard Rice.

Pseudomauric style, 1901