In Bosnia and Herzegovina and the world, few people know that the only European winner of the prestigious Aga Khan's Award for innovative developments in the contemporary architecture of mosques is an architect from Bosnia and Herzegovina, academician Zlatko Ugljen, who was awarded this prize in 1983 for the design of Šerefudin's White Mosque in Visoko.

The late 20th and the early 21st century brought about a significant change in the view and perception of the traditional Bosnian and Herzegovinian music and its most representative genre – sevdalinka.

Built on the waqf of Gazi Husrev-beg, the Administrative Building of the Riyasat of the Islamic Community in Bosnia and Herzegovina has more than 5,000 square meters, ie dozens of offices, an amphitheater, meeting rooms, but also beautiful terraces overlooking Baščaršija.

Examples of modern sevdah performance.

The relationship between modernity and tradition is complex and multifaceted, though not necessarily excluding. The idea of a creative synthesis of the contemporary and the traditional in the architecture of Bosnia and Herzegovina experiences its full recognition in Zlatko Ugljen's architectural solutions.

Artist Šemsa Gavrankapetanović (Sarajevo, 1945.) completed the Academy of Fine Arts in Belgrade in 1968, in the class of professor Nedeljko Gvozdenović. She then completed postgraduate studies at the same Academy, in the class of professor Stojan Ćelić.

International architectural contest for the design of Islamic Cultural and Religious Center in Ljubljana (MVKC) was assessed in public as the most significant architectural contest in 2011.

The tradition of woodcarving in the Konjic region dates back to the end of the 19th century, when the works of woodcarvers from Konjic were presented for the first time at major world exhibitions in Budapest (1896), Brussels (1897), Vienna (1898) and Paris (1900).

Of the Nikšić and Mulić family in Konjic.

“Why is the Bosnian Oriental architecture in Sarajevo connected to the contemporary one?”, it is with this sentence that a renowned Slovenian architect and theoretician of architecture Dušan Grabrihan (1899–1952) began his study Bosanska orijentalna arhitektura u Sarajevu (The Bosnian Oriental Architecture in Sarajevo) in 1951.

Šerefuddin’s Mosque (or White Mosque) in Visoko (conceptual design 1969 – implementation 1979) is an outstanding example of creative and original transformation of basic postulates of shaping the traditional Bosnian mosque into the language of contemporary architecture.

Vitality of Islamic spirituality and its openness in the encounter with the contemporary is also manifested in the sphere of modern architecture, art and design. In recent years, we have been witnessing an increasingly great number of young students who, as topics of their graduation theses in the area of one-of-a-kind design within the curriculum at the Academy of Fine Arts in Sarajevo.

A significant number of modern and contemporary artists in Bosnia and Herzegovina have found an incentive and motifs in the rich treasury of Islamic art, which has been intensely present in architecture of cities, mosques, homes, in interior design, way of dressing, calligraphy, artistry of decorating books until the early 20th century.

Livno, Bosnia and Herzegovina

Turalibeg (Polish) Mosque is part of the rich waqf of Turali-bey and was originally built in the second half of the 16th century.

Leaving the plane of daily life and busy life of the town core, we descend to the entrance porch of the White Mosque at Visoko, beginning communication with notions, desires and strivings woven into the work of Zlatko Ugljen.

Sarajevo, Bosnia and Herzegovina