{"id":1409,"date":"2026-10-21T21:49:02","date_gmt":"2026-10-21T21:49:02","guid":{"rendered":"https:\/\/beyondyesterday.org\/ro\/?page_id=1409"},"modified":"2026-10-22T05:43:47","modified_gmt":"2026-10-22T05:43:47","slug":"journal","status":"publish","type":"page","link":"https:\/\/beyondyesterday.org\/ro\/journal\/","title":{"rendered":"Jurnal"},"content":{"rendered":"\n<div class=\"byj\"><header class=\"byj-hero\"><div class=\"byj-hero-img\"><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_eu_arhiva2.webp\" alt=\"C\u0103t\u0103lin D. Constantin cercet\u00e2nd o plac\u0103 de sticl\u0103 la Arhiva din Bitola\"><\/div><div class=\"byj-hero-txt\"><p class=\"byj-kicker\">Jurnal de arhiv\u0103 \u0219i de teren<\/p><h1>Ce se vede \u00een fundal<\/h1><p class=\"byj-lead\">Fotografiile fra\u021bilor Manakia nu se termin\u0103 \u00een ram\u0103. Un detaliu din fundal pune o \u00eentrebare. O arhiv\u0103, un munte sau un om \u00eent\u00e2lnit pe drum \u00eei r\u0103spunde, uneori dup\u0103 un secol. Notez aici descoperirile, pe m\u0103sur\u0103 ce vin.<\/p><\/div><\/header><nav class=\"byj-index\"><a href=\"#londra\"><span>01<\/span><b>Londra, 1907<\/b><i>B\u0103rbatul din fa\u021ba teatrului<\/i><\/a><a href=\"#bitola-1909\"><span>02<\/span><b>Bitola, 1909<\/b><i>Doi ofi\u021beri n\u0103scu\u021bi \u00een acela\u0219i an<\/i><\/a><a href=\"#plovdiv\"><span>03<\/span><b>Plovdiv, 1916\u20131919<\/b><i>Ce era \u00een rame<\/i><\/a><a href=\"#sliven\"><span>04<\/span><b>Sliven<\/b><i>Mun\u021bii nu se potriveau<\/i><\/a><a href=\"#laista\"><span>05<\/span><b>Laista, 1898<\/b><i>Acela\u0219i minut, \u00een trei \u021b\u0103ri<\/i><\/a><a href=\"#korce\"><span>06<\/span><b>Kor\u00e7\u00eb<\/b><i>O turl\u0103 \u0219i un turn<\/i><\/a><a href=\"#bitola-1911\"><span>07<\/span><b>Bitola, 1911<\/b><i>Casa unei singure vizite<\/i><\/a><\/nav><section class=\"byj-ch\" id=\"londra\"><header class=\"byj-head\"><span class=\"byj-no\">01<\/span><span class=\"byj-stamp\">Londra \u00b7 1907<\/span><h2>B\u0103rbatul din fa\u021ba teatrului<\/h2><p class=\"byj-where\">Arhiva Manakia, Bitola<\/p><\/header><div class=\"byj-scrolly\"><div class=\"byj-fig\"><div class=\"byj-frame\"><div class=\"byj-stage\"><img data-k=\"london\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_london.webp\" alt=\"Negativ pe sticl\u0103 spart: Ianaki Manakia \u00een fa\u021ba Criterion Theatre, Londra\" loading=\"lazy\" decoding=\"async\"><span class=\"byj-ring\"><\/span><\/div><\/div><p class=\"byj-cap\"><\/p><\/div><div class=\"byj-text\"><p data-f=\"london|50|50|1\" data-cap=\"Negativ pe sticl\u0103, arhiva Manakia, Bitola.\">Printre negativele pe sticl\u0103 de la Bitola, una dintre pl\u0103ci nu se potrive\u0219te cu restul. E spart\u0103 \u00een cinci buc\u0103\u021bi, lipite c\u00e2ndva la loc, cu golurile negre ale cioburilor pierdute. Pe trotuar st\u0103 un b\u0103rbat cu melon \u0219i palton \u00eenchis, cu ceva str\u00e2ns sub bra\u021b. \u00cen toat\u0103 imaginea nu e niciun fes, nicio cupol\u0103, niciun minaret. \u00cen spatele lui se vede o fa\u021bad\u0103 cu arcade, coloane \u0219i statui \u00een ni\u0219e, al\u0103turi un birou de dactilografie \u0219i o tr\u0103sur\u0103 care a\u0219teapt\u0103. Firmele sunt \u00een englez\u0103. E una dintre pu\u021binele fotografii din arhiva Manakia \u00een care Balcanii lipsesc.<\/p><p data-f=\"london|47|80|2.6\" data-cap=\"Ianaki Manakia, pe trotuar.\">B\u0103rbatul e Ianaki. Se \u0219tia c\u0103 fusese la Londra dup\u0103 aparatul care avea s\u0103-i schimbe via\u021ba: o camer\u0103 de filmat Bioscope, cu num\u0103rul de serie 300, de la care \u00ee\u0219i ia numele festivalul de film documentar de la Bitola. Nu se \u0219tia c\u00e2nd. Enciclopediile spun 1905, unii istorici 1906.<\/p><p data-f=\"london|50|64|3.4\" data-cap=\"Charles Wyndham \u00b7 Criterion Theatre \u00b7 Miss Mary Moore.\">R\u0103spunsul era pe pere\u021bi. Am m\u0103rit afi\u0219ele bucat\u0103 cu bucat\u0103, printre fisurile sticlei. Pe banda de deasupra u\u0219ii, <em>Charles Wyndham<\/em> \u0219i <em>Miss Mary Moore<\/em>, directorul teatrului \u0219i actri\u021ba lui principal\u0103. Pe placa de al\u0103turi, <em>Criterion Theatre<\/em>.<\/p><p data-f=\"london|52|56|3.6\" data-cap=\"\u201eThe Liars\u201d, comedia lui Henry Arthur Jones.\">Deasupra intr\u0103rii, cu majuscule, titlul piesei: <em>The Liars<\/em>. Mincino\u0219ii.<\/p><p data-f=\"london|50|50|1.15\" data-cap=\"Criterion Theatre, Piccadilly Circus, 1907.\">Comedia lui Henry Arthur Jones a fost jucat\u0103 la Criterion de dou\u0103 ori. Prima dat\u0103 \u00een 1897, cu alt\u0103 distribu\u021bie. Atunci Ianaki era la Ioannina \u0219i abia \u00eencepea s\u0103 fotografieze. A doua oar\u0103, <em>The Liars<\/em> a revenit pe 13 aprilie 1907 \u0219i a \u021binut o sut\u0103 de seri, p\u00e2n\u0103 pe 15 octombrie, c\u00e2nd i-a luat locul <em>The Mollusc<\/em>. <a href=\"https:\/\/www.criterion-theatre.co.uk\/documentdownload.axd?documentresourceid=3\" target=\"_blank\" rel=\"noopener\">Arhiva teatrului<\/a> a fixat fotografia \u00eentre aprilie \u0219i octombrie 1907.<\/p><p data-f=\"london|42|62|1.8\" data-cap=\"La patru minute de Rupert Street nr. 48.\">A mai r\u0103mas harta. \u00cen 1907, Charles Urban, care fabrica \u0219i vindea camerele Bioscope, \u00ee\u0219i avea firma pe Rupert Street, la num\u0103rul 48. De la u\u0219a lui p\u00e2n\u0103 la intrarea \u00een Criterion sunt patru minute de mers. Ianaki nu e un turist r\u0103t\u0103cit prin Piccadilly. E la c\u00e2\u021biva pa\u0219i de magazinul de unde \u00ee\u0219i cump\u0103r\u0103 camera.<\/p><p>De aici se mut\u0103 o dat\u0103 din istoria filmului. Primul film al fra\u021bilor, cu bunica lor, Maia Despa, torc\u00e2nd l\u00e2na la Avdela, nu poate fi din 1905. E f\u0103cut dup\u0103 \u00eentoarcerea lui Ianaki de la Londra, \u00een 1907, cum propune \u0219i Emil \u021a\u00eercomnicu \u00een <em>Ioan D. Manakia \u00een documente din arhiva Societ\u0103\u021bii de Cultur\u0103 Macedo-Rom\u00e2n\u0103 (1906\u20131948)<\/em>, ap\u0103rut\u0103 \u00een 2024. Cel mai probabil a fost filmat la sf\u00e2r\u0219itul verii, \u00eenainte ca arom\u00e2nii din Avdela s\u0103 coboare cu turmele la iernat.<\/p><\/div><\/div><figure class=\"byj-film\"><video src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_despa.mp4\" muted loop playsinline preload=\"metadata\"><\/video><figcaption>Maia Despa torc\u00e2nd la Avdela. Filmul fra\u021bilor Manakia, 1907. Sursa: Cinemateca Macedoniei de Nord.<\/figcaption><\/figure><p class=\"byj-coda\">O comedie despre minciuni, jucat\u0103 o sut\u0103 de seri la Londra, a \u00eendreptat o dat\u0103 pe care enciclopediile o repet\u0103 de un secol.<\/p><\/section><section class=\"byj-ch\" id=\"bitola-1909\"><header class=\"byj-head\"><span class=\"byj-no\">02<\/span><span class=\"byj-stamp\">Bitola \u00b7 1909<\/span><h2>Doi ofi\u021beri n\u0103scu\u021bi \u00een acela\u0219i an<\/h2><p class=\"byj-where\">Arhivele de Stat, Bitola \u00b7 14\u201315 septembrie 2026<\/p><\/header><div class=\"byj-scrolly\"><div class=\"byj-fig\"><div class=\"byj-frame\"><div class=\"byj-stage\"><img data-k=\"s1417\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_1417-scaled.webp\" alt=\"Elevi ai liceului militar din Monastir, placa 1417\" loading=\"lazy\" decoding=\"async\"><img data-k=\"s515\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_515.webp\" alt=\"\u0218ase tineri ofi\u021beri, placa 515\" loading=\"lazy\" decoding=\"async\"><img data-k=\"st1\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_st1-scaled.webp\" alt=\"Sosirea delega\u021biei lui von der Goltz \u00een gara din Bitola\" loading=\"lazy\" decoding=\"async\"><img data-k=\"tent\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_tent-scaled.webp\" alt=\"Ofi\u021beri \u00een fa\u021ba corturilor, la manevre\" loading=\"lazy\" decoding=\"async\"><img data-k=\"st3\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_st3-scaled.webp\" alt=\"Gara din Bitola, fanfara \u0219i delega\u021bia\" loading=\"lazy\" decoding=\"async\"><span class=\"byj-ring\"><\/span><\/div><\/div><p class=\"byj-cap\"><\/p><\/div><div class=\"byj-text\"><p data-f=\"s1417|50|50|1\" data-cap=\"Curtea liceului militar din Monastir. Placa 1417.\">Milton Manakia a repetat toat\u0103 via\u021ba c\u0103 l-a fotografiat pe Mustafa Kemal. Avea temei s\u0103 cread\u0103 asta. Kemal \u00eenv\u0103\u021base la liceul militar din Monastir, iar fra\u021bii fotografiau tot ce trecea prin ora\u0219: elevi, ofi\u021beri, pa\u0219ale, sultani. Arhiva l-a crezut, iar dou\u0103 pl\u0103ci de sticl\u0103 au intrat \u00een registre drept \u201eelevi ai liceului militar, cu Kemal Atat\u00fcrk\u201d.<\/p><p data-f=\"s515|50|50|1\" data-cap=\"\u0218ase tineri ofi\u021beri, \u00een atelier. Placa 515.\">Placa 1417 arat\u0103 o curte de \u0219coal\u0103: aproape cincizeci de elevi \u00een uniform\u0103, cu fesuri \u0219i s\u0103bii, pe trei r\u00e2nduri, \u00een fa\u021ba unei cl\u0103diri cu geamuri sparte. Placa 515 e un portret de atelier: \u0219ase tineri ofi\u021beri, cu s\u0103biile sprijinite de cizme, \u00eentre o draperie grea \u0219i un tapet cu flori. Am trecut prin fiecare chip, r\u00e2nd cu r\u00e2nd. Kemal nu e \u00een niciuna dintre ele.<\/p><p data-f=\"s515|77|27|3.6\" data-cap=\"Ismail Enver, \u00een dreapta. Placa 515.\">Era altcineva. Am pornit de la o b\u0103nuial\u0103 simpl\u0103: dintre acei tineri, mul\u021bi ajunseser\u0103 cineva \u00een istorie. Ofi\u021berul din dreapta extrem\u0103, pe placa 515, l\u00e2ng\u0103 fereastr\u0103, cu musta\u021ba sub\u021bire \u0219i privirea dreapt\u0103, e Ismail Enver, viitorul Enver Pa\u0219a, unul dintre conduc\u0103torii Junilor Turci.<\/p><p data-f=\"s1417|18|60.5|4.2\" data-cap=\"Ismail Enver, \u00een st\u00e2nga. Placa 1417.\">Acela\u0219i om apare \u0219i pe placa 1417, \u00een st\u00e2nga, pu\u021bin desprins de r\u00e2ndurile de elevi.<\/p><p data-f=\"s515|77|27|2.2\">Enver \u0219i Kemal se n\u0103scuser\u0103 \u00een acela\u0219i an, 1881. Erau ofi\u021beri \u00een aceea\u0219i armat\u0103, \u00een garnizoanele aceluia\u0219i imperiu care se destr\u0103ma, \u0219i rivali \u00eenc\u0103 de tineri. Enver avea s\u0103 conduc\u0103 Imperiul \u00een r\u0103zboi. Kemal avea s\u0103 fac\u0103 din ruinele lui Turcia.<\/p><p data-f=\"st1|50|50|1\" data-cap=\"Gara din Bitola, 1909.\">Dac\u0103 fotografia lui Kemal exista, trebuia c\u0103utat\u0103 mai t\u00e2rziu: nu printre elevi, ci dup\u0103 ce se \u00eentorsese \u00een zon\u0103 ca ofi\u021ber. Le-am propus aceast\u0103 pist\u0103 colegilor mei de la Arhiva din Bitola, Goce, Dimitar \u0219i Maria. Ei au g\u0103sit fotografiile.<\/p><p data-f=\"st1|50|62|1.3\">Suntem \u00een 1909. Revolu\u021bia Junilor Turci din 1908 \u00eel silise pe sultan s\u0103 repun\u0103 \u00een vigoare constitu\u021bia. Contrarevolu\u021bia din prim\u0103vara lui 1909 fusese \u00een\u0103bu\u0219it\u0103 de o armat\u0103 pornit\u0103 din Salonic, iar Abdulhamid fusese detronat. Imperiul \u00ee\u0219i chema \u00eenapoi instructorul cel mai respectat, generalul german Colmar von der Goltz, Goltz Pa\u0219a, ca s\u0103-i reformeze armata. Goltz face un tur de inspec\u021bie prin garnizoanele din Balcani. Monastirul e una dintre ele, iar fra\u021bii Manakia sunt acolo.<\/p><p data-f=\"st1|64.4|54|4.2\" data-cap=\"Gara din Bitola: ofi\u021berul din primul r\u00e2nd.\">Prima plac\u0103: gara. Un tren de c\u0103l\u0103tori, cu u\u0219ile vagoanelor deschise \u0219i capete curioase la ferestre. \u00cen fa\u021b\u0103 st\u0103 delega\u021bia: mantale lungi, unele \u00eenchise, altele deschise la culoare, fesuri, cizme. \u00cen primul r\u00e2nd, strivit \u00eentre doi ofi\u021beri superiori, e un ofi\u021ber t\u00e2n\u0103r, cu musta\u021b\u0103 sub\u021bire \u0219i privire fix\u0103.<\/p><p data-f=\"tent|54.4|50.4|3\" data-cap=\"Manevre: Colmar von der Goltz, \u00een centru.\">A doua plac\u0103: un c\u00e2mp de manevre. \u00cen spate, corturi mari cu stegule\u021be pe catarge, iar \u00een fa\u021b\u0103 cizme pline de noroi. \u00cen centru, un b\u0103rbat v\u00e2rstnic, cu ochelari, \u00een manta deschis\u0103 la culoare: von der Goltz.<\/p><p data-f=\"tent|46.7|50.2|5\" data-cap=\"Manevre: acela\u0219i ofi\u021ber, \u00een r\u00e2ndul al doilea.\">\u00cen r\u00e2ndul al doilea, pe jum\u0103tate ascuns, e acela\u0219i chip din gar\u0103.<\/p><p data-f=\"st3|50|55|1.2\" data-cap=\"Gara din Bitola, aceea\u0219i zi.\">A treia plac\u0103 e tot din gar\u0103, din aceea\u0219i zi. O fanfar\u0103 cu instrumente de alam\u0103 a\u0219teapt\u0103 trenul.<\/p><p data-f=\"st3|64.4|55.2|5.5\" data-cap=\"Ianaki Manakia, printre ofi\u021beri.\">Printre oameni, aproape ascuns \u00eentre ofi\u021beri, st\u0103 Ianaki Manakia. Dac\u0103 Ianaki e \u00een fotografie, aparatul \u00eel \u021binea Milton. Milton a fost deci acolo, cu camera, \u00een ziua \u00een care un t\u00e2n\u0103r ofi\u021ber pe nume Mustafa Kemal st\u0103tea pe peron. Fotografia de care vorbea toat\u0103 via\u021ba exista. Doar c\u0103 nu era cea pe care o ar\u0103ta.<\/p><p data-f=\"st1|64.4|54|6\" data-cap=\"Chipul comparat de expert.\">O b\u0103nuial\u0103, oric\u00e2t de solid\u0103, r\u0103m\u00e2ne o b\u0103nuial\u0103. Am cerut o expertiz\u0103. Artistul criminalist Aurelian B\u0103dulescu a comparat chipul din fotografiile de la Bitola cu portrete sigure ale lui Atat\u00fcrk: forma capului, desenul spr\u00e2ncenelor \u0219i al urechilor, linia nasului, buza de jos, ridurile dintre spr\u00e2ncene. Concluzia lui: e aceea\u0219i persoan\u0103.<\/p><\/div><\/div><div class=\"byj-after\"><p>\u00cen toamna aceasta am mers la Bitola cu trenul, pe vechea linie Salonic\u2013Monastir, deschis\u0103 de otomani \u00een 1894. Pe ea a venit delega\u021bia lui von der Goltz \u00een 1909, pe ea avea s\u0103 vin\u0103 sultanul doi ani mai t\u00e2rziu. Era o linie bun\u0103, cu trenuri frumoase. Ast\u0103zi trenul se opre\u0219te la Florina, la grani\u021ba dintre Grecia \u0219i Macedonia de Nord. Ultimii dou\u0103zeci \u0219i cinci de kilometri p\u00e2n\u0103 la Bitola nu mai au tren \u0219i nici alt transport \u00een comun. E, \u00een mic, o istorie a Balcanilor din ultimul secol: linia a r\u0103mas, drumul s-a rupt.<\/p><p>Gara e tot acolo. Aceea\u0219i cl\u0103dire galben\u0103, acelea\u0219i arcade de c\u0103r\u0103mid\u0103 ro\u0219ie \u00een jurul ferestrelor. Pe zid, o plac\u0103 de marmur\u0103 aminte\u0219te data: 13 iulie 1894.<\/p><\/div><div class=\"byj-trio\"><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_gara_front.webp\" alt=\"Gara din Bitola, 2026\" loading=\"lazy\"><figcaption>Bitola, o diminea\u021b\u0103 de septembrie 2026.<\/figcaption><\/figure><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_gara_peron_v2.webp\" alt=\"Peronul g\u0103rii din Bitola\" loading=\"lazy\"><figcaption>Peronul, \u00een aceea\u0219i diminea\u021b\u0103.<\/figcaption><\/figure><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_gara_placa_v2.webp\" alt=\"Placa: linia Salonic\u2013Bitola, 13 iulie 1894\" loading=\"lazy\"><figcaption>Iulie 1894. Septembrie 2026.<\/figcaption><\/figure><\/div><p class=\"byj-doc\"><a href=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/Expertiza_Ataturk_Badulescu.pdf\" target=\"_blank\" rel=\"noopener\">Expertiza criminalistic\u0103 \u00b7 Aurelian B\u0103dulescu (PDF)<\/a><\/p><div class=\"byj-pair\"><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_eu_arhiva.webp\" alt=\"Arhiva din Bitola, septembrie 2026.\" loading=\"lazy\"><figcaption>Arhiva din Bitola, la mijlocul lui septembrie 2026.<\/figcaption><\/figure><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_eu_camera.webp\" alt=\"Arhiva din Bitola, septembrie 2026.\" loading=\"lazy\"><figcaption>Arhiva din Bitola, aceea\u0219i zi de septembrie 2026.<\/figcaption><\/figure><\/div><p class=\"byj-coda\">Treisprezece publica\u021bii din Macedonia de Nord \u0219i Turcia au preluat descoperirea. Arhiva din Bitola a anun\u021bat cercet\u0103ri noi.<\/p><\/section><section class=\"byj-ch\" id=\"plovdiv\"><header class=\"byj-head\"><span class=\"byj-no\">03<\/span><span class=\"byj-stamp\">Plovdiv \u00b7 1916\u20131919<\/span><h2>Ce era \u00een rame<\/h2><p class=\"byj-where\">Plovdiv \u00b7 aprilie 2026<\/p><\/header><div class=\"byj-scrolly\"><div class=\"byj-fig\"><div class=\"byj-frame\"><div class=\"byj-stage\"><img data-k=\"p2336\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_2336.webp\" alt=\"Ianaki Manakia \u00een izmene, \u00een fa\u021ba portretelor, Plovdiv\" loading=\"lazy\" decoding=\"async\"><img data-k=\"p3387\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_3387.webp\" alt=\"Ianaki Manakia \u00een costum, \u00een fa\u021ba portretelor, Plovdiv\" loading=\"lazy\" decoding=\"async\"><span class=\"byj-ring\"><\/span><\/div><\/div><p class=\"byj-cap\"><\/p><\/div><div class=\"byj-text\"><p data-f=\"p2336|50|50|1\" data-cap=\"Plovdiv, 1916\u20131919.\">\u00centre 1916 \u0219i 1919, Ianaki Manakia a tr\u0103it la Plovdiv, pe atunci Philippopolis, \u00een domiciliu for\u021bat. Era departe de Bitola, de atelier, de fratele lui, \u0219i nu avea voie s\u0103 plece din ora\u0219. Un om care \u00ee\u0219i petrecuse via\u021ba pe drumuri, cu aparatul pe cat\u00e2r, nu mai putea c\u0103l\u0103tori.<\/p><p data-f=\"p2336|45|35|3\" data-cap=\"Prima ipostaz\u0103: \u00een izmene.\">Din acei ani, arhiva de la Bitola p\u0103streaz\u0103 multe fotografii ale lui. Dou\u0103, f\u0103cute \u00een acela\u0219i loc, sunt ca dou\u0103 ipostaze ale aceluia\u0219i om. \u00cen prima st\u0103 \u00een curte, \u00eentre portrete, \u00een izmene.<\/p><p data-f=\"p3387|46|38|2.6\" data-cap=\"A doua ipostaz\u0103: \u00een costum.\">\u00cen a doua e \u00een costum, cu \u021binuta unui fotograf respectabil. \u00cen am\u00e2ndou\u0103 pare foarte bine dispus, aproape jovial. Nimic din ele nu spune c\u0103 e un om \u021binut sub paz\u0103. Dimpotriv\u0103: pare un om care \u0219i-a g\u0103sit o clientel\u0103 \u0219i un rost. \u00cen jurul lui, sprijinite de un zid de piatr\u0103, sunt portrete mari, \u00eenr\u0103mate: b\u0103rba\u021bi cu must\u0103\u021bi, femei cu coafuri \u00eenalte. Ianaki a f\u0103cut la Plovdiv ce \u0219tia: portrete.<\/p><p data-f=\"p3387|50|50|1\">Fotografiile erau cunoscute, dar fuseser\u0103 citite ca documente biografice: Ianaki \u00een exil. Pe mine m\u0103 interesau ramele. Le-am privit la Plovdiv \u00eempreun\u0103 cu Petko Todorov, etnolog al Muzeului Etnografic Regional, \u0219i am spus cu voce tare ce m\u0103 urm\u0103rea de mult: dac\u0103 aceste portrete au fost f\u0103cute aici, unele ar trebui s\u0103 mai existe. Petko s-a uitat lung la imagine. \u201eCred c\u0103 am mai v\u0103zut unul. Dar nu sunt sigur.\u201d<\/p><p data-f=\"p3387|54.6|36|3.4\" data-cap=\"Rama din spatele lui Ianaki.\">Primul portret a ap\u0103rut chiar \u00een ziua aceea. Un b\u0103rbat cu p\u0103rul alb tuns scurt, must\u0103\u021bi r\u0103sucite \u0219i dou\u0103 decora\u021bii pe piept. E chipul din rama de l\u00e2ng\u0103 um\u0103rul lui Ianaki.<\/p><p data-f=\"p2336|43|32|3.4\" data-cap=\"Rama cu portretul femeii, l\u00e2ng\u0103 capul lui Ianaki.\">Al doilea a ap\u0103rut a doua zi: o femeie cu coafur\u0103 \u00eenalt\u0103. Pe am\u00e2ndou\u0103, \u00een col\u021bul din dreapta jos, aceea\u0219i semn\u0103tur\u0103 cu cerneal\u0103: <em>Manaki<\/em>, numele ora\u0219ului prescurtat, <em>Phil.<\/em>, \u0219i anul.<\/p><\/div><\/div><div class=\"byj-trio byj-port\"><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_barber_found.webp\" alt=\"Portretul, a\u0219a cum a fost g\u0103sit.\" loading=\"lazy\"><figcaption>Portretul, a\u0219a cum a fost g\u0103sit.<\/figcaption><\/figure><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_barber.webp\" alt=\"Konstantin Giorgiev Iakumidis, frizerul \u021barului Ferdinand. Semnat Manaki, Philippopolis.\" loading=\"lazy\"><figcaption>Konstantin Giorgiev Iakumidis, frizerul \u021barului Ferdinand. Semnat Manaki, Philippopolis.<\/figcaption><\/figure><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_woman.webp\" alt=\"Portret de femeie, semnat Manaki, Philippopolis.\" loading=\"lazy\"><figcaption>Portret de femeie, semnat Manaki, Philippopolis.<\/figcaption><\/figure><\/div><div class=\"byj-after\"><p>Pe b\u0103rbat \u00eel putem numi: Konstantin Giorgiev Iakumidis, frizerul principelui \u0219i apoi al \u021barului Ferdinand al Bulgariei, de la care primise decora\u021biile din piept. Atelierul lui apare \u00eentr-o alt\u0103 fotografie Manakia: pe firma de deasupra vitrinei scrie <em>\u041f\u0440\u0438\u0434\u0432\u043e\u0440\u0435\u043d \u043a\u043e\u0430\u0444\u044c\u043e\u0440<\/em>, frizer al cur\u021bii. Din anticariatele ora\u0219ului am cump\u0103rat apoi alte fotografii \u00een care apar aceia\u0219i oameni. Tr\u0103iser\u0103 un secol fiecare pe drumul lui: prin case, mo\u0219teniri, mut\u0103ri, r\u0103zboaie \u0219i schimb\u0103ri de regim. Se \u00eent\u00e2lneau acum din nou \u00een aceea\u0219i poveste.<\/p><\/div><figure class=\"byj-cmp\"><div class=\"byj-cmp-box\"><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_plov_azi2.webp\" alt=\"Plovdiv, 2026\" loading=\"lazy\"><div class=\"byj-cmp-top\"><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_3289.webp\" alt=\"Plovdiv, 1916\u20131919\" loading=\"lazy\"><\/div><span class=\"byj-cmp-l\">Plovdiv, 1916\u20131919<\/span><span class=\"byj-cmp-r\">Plovdiv, 2026<\/span><input type=\"range\" min=\"0\" max=\"100\" value=\"50\" aria-label=\"Trage de cursor: strada frizeriei cur\u021bii, atunci \u0219i acum.\"><\/div><figcaption>Trage de cursor: strada frizeriei cur\u021bii, atunci \u0219i acum.<\/figcaption><\/figure><div class=\"byj-after\"><p>Mai e o fotografie din aceea\u0219i strad\u0103, f\u0103cut\u0103 \u00een sens invers. Ianaki st\u0103 \u00een spatele unei por\u021bi de fier forjat, cu p\u0103l\u0103ria pe cap, \u021bin\u00e2ndu-se de gratii ca un de\u021binut. Deasupra por\u021bii, o firm\u0103: <em>\u0424\u043e\u0442\u043e\u0433\u0440\u0430\u0444\u0438\u044f<\/em>, fotografie. Pentru un om aflat \u00een domiciliu for\u021bat, e greu de spus dac\u0103 e o glum\u0103 sau o m\u0103rturisire. Probabil am\u00e2ndou\u0103.<\/p><p>Poarta st\u0103tea \u00eentre cele dou\u0103 cl\u0103diri din imaginea de mai sus. Prin gratii se vede casa de vizavi, iar casa aceea exist\u0103 \u0219i ast\u0103zi. Poarta e \u0219i ea tot acolo, \u00eentre o cafenea \u0219i un magazin: alb\u0103 acum, cu un automat de cafea al\u0103turi.<\/p><\/div><div class=\"byj-solo byj-port\"><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_5324.webp\" alt=\"Ianaki Manakia \u00een spatele por\u021bii atelierului, Plovdiv\" loading=\"lazy\"><figcaption>Ianaki Manakia \u00een spatele por\u021bii, Plovdiv, 1916\u20131919.<\/figcaption><\/figure><\/div><p class=\"byj-coda\">Fundalul fotografiei nu mai era decor. Devenise prob\u0103.<\/p><\/section><section class=\"byj-ch\" id=\"sliven\"><header class=\"byj-head\"><span class=\"byj-no\">04<\/span><span class=\"byj-stamp\">Sliven \u00b7 2026<\/span><h2>Mun\u021bii nu se potriveau<\/h2><p class=\"byj-where\">Sliven \u00b7 aprilie 2026<\/p><\/header><div class=\"byj-scrolly\"><div class=\"byj-fig\"><div class=\"byj-frame\"><div class=\"byj-stage\"><img data-k=\"sl1916\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_sliven1916.webp\" alt=\"Panorama cu Ianaki Manakia, trecut\u0103 \u00een registru drept Plovdiv\" loading=\"lazy\" decoding=\"async\"><span class=\"byj-ring\"><\/span><\/div><\/div><p class=\"byj-cap\"><\/p><\/div><div class=\"byj-text\"><p data-f=\"sl1916|50|50|1\" data-cap=\"\u00cen registru: \u201epanorama Plovdivului\u201d.\">\u00cen registrul arhivei de la Bitola, fotografia scrie \u201epanorama Plovdivului, cu Ianaki \u00een prim-plan\u201d. Ianaki st\u0103 \u00een fa\u021b\u0103, ora\u0219ul se \u00eentinde \u00een spatele lui, iar la orizont se ridic\u0103 un munte. Oamenii din Plovdiv c\u0103rora le-am ar\u0103tat-o au zis c\u0103 e Plovdiv.<\/p><p data-f=\"sl1916|42|80|2.6\" data-cap=\"Ianaki Manakia, \u00een prim-plan.\">M-am uitat la ea cu ora\u0219ul real \u00een fa\u021b\u0103, \u0219i ceva nu se lega. Plovdivul e un ora\u0219 de coline, cu dealuri \u00eentre case, nu un ora\u0219 la poalele unui zid de piatr\u0103.<\/p><p data-f=\"sl1916|60|22|2.4\" data-cap=\"Muntele de la orizont.\">A fost \u00eent\u00e2i o senza\u021bie, apoi o b\u0103nuial\u0103. Muntele avea o form\u0103 pe care o mai v\u0103zusem: Sinite Kamani, Pietrele Albastre, masivul care st\u0103 deasupra ora\u0219ului Sliven. Le cuno\u0219team din drumurile din anii pandemiei.<\/p><p data-f=\"sl1916|50|55|1.5\">Am mers la Sliven cu fotografia \u0219i am c\u0103utat unghiul. Blocurile socialiste au schimbat cu totul silueta ora\u0219ului, a\u0219a c\u0103 la prima vedere panorama de azi pare alt loc. Compar\u00e2nd, au ie\u0219it totu\u0219i la iveal\u0103 trei cl\u0103diri din imaginea lui Ianaki, \u00eenc\u0103 \u00een picioare, iar printre ele zona vechiului turn cu ceas. Fotografia nu e din Plovdiv. E din Sliven.<\/p><\/div><\/div><figure class=\"byj-cmp\"><div class=\"byj-cmp-box\"><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_sliven2026.webp\" alt=\"Sliven, 2026\" loading=\"lazy\"><div class=\"byj-cmp-top\"><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_sliven1916.webp\" alt=\"Ianaki Manakia, 1916\u20131919\" loading=\"lazy\"><\/div><span class=\"byj-cmp-l\">Ianaki Manakia, 1916\u20131919<\/span><span class=\"byj-cmp-r\">Sliven, 2026<\/span><input type=\"range\" min=\"0\" max=\"100\" value=\"50\" aria-label=\"Trage de cursor: Sliven \u00een anii lui Ianaki \u0219i Sliven azi.\"><\/div><figcaption>Trage de cursor: Sliven \u00een anii lui Ianaki \u0219i Sliven azi.<\/figcaption><\/figure><div class=\"byj-after\"><p>O enigm\u0103 se \u00eenchide \u0219i se deschide alta. Oficial, \u00eentre 1916 \u0219i 1919, Ianaki nu avea voie s\u0103 ias\u0103 din Plovdiv. Cum a ajuns la Sliven, la o sut\u0103 de kilometri, cu aparatul de fotografiat? Poate a primit o derogare. Poate exist\u0103 un document pe care nu l-a g\u0103sit \u00eenc\u0103 nimeni. Sau poate, cum s-a \u00eent\u00e2mplat de at\u00e2tea ori \u00een Balcani, distan\u021ba dintre regul\u0103 \u0219i realitate a fost mai mic\u0103 dec\u00e2t las\u0103 s\u0103 se \u00een\u021beleag\u0103 actele.<\/p><\/div><\/section><section class=\"byj-ch\" id=\"laista\"><header class=\"byj-head\"><span class=\"byj-no\">05<\/span><span class=\"byj-stamp\">Laista \u00b7 1898<\/span><h2>Acela\u0219i minut, \u00een trei \u021b\u0103ri<\/h2><p class=\"byj-where\">Zagori, 2017 \u00b7 Bitola, 2024 \u00b7 Xanthi, 2025\u20132026<\/p><\/header><div class=\"byj-scrolly\"><div class=\"byj-fig\"><div class=\"byj-frame\"><div class=\"byj-stage\"><img data-recalc-dims=\"1\" data-k=\"laista2\" src=\"https:\/\/i0.wp.com\/beyondyesterday.org\/wp-content\/uploads\/2025\/04\/Laista2.webp?ssl=1\" alt=\"S\u0103rb\u0103toare \u00een pia\u021ba din Laista, fotografie p\u0103strat\u0103 de familia Papathanasiou\" loading=\"lazy\" decoding=\"async\"><img data-recalc-dims=\"1\" data-k=\"laista0\" src=\"https:\/\/i0.wp.com\/beyondyesterday.org\/wp-content\/uploads\/2025\/04\/Laista0.webp?ssl=1\" alt=\"Fragment de negativ pe sticl\u0103 cu aceea\u0219i scen\u0103, arhiva din Bitola\" loading=\"lazy\" decoding=\"async\"><span class=\"byj-ring\"><\/span><\/div><\/div><p class=\"byj-cap\"><\/p><\/div><div class=\"byj-text\"><p data-f=\"laista2|50|50|1\">Laista, Laka \u00een arom\u00e2n\u0103, e cel mai izolat sat din mun\u021bii Zagori. Pe la 1900 avea peste dou\u0103 mii de locuitori. Ast\u0103zi, iarna, mai stau acolo nou\u0103. Fra\u021bii Manakia au fotografiat satul de dou\u0103 ori: o panoram\u0103 larg\u0103 \u0219i o s\u0103rb\u0103toare \u00een pia\u021b\u0103.<\/p><p data-f=\"laista2|50|40|1.4\">Panorama o datasem aproximativ: pe la 1900. \u00cen 2017 i-am ar\u0103tat-o lui Takis Tzimas, fotograf atenian originar din Laista, care a publicat-o \u00een revista satului. C\u00e2teva luni mai t\u00e2rziu, revista a ajuns la Bucure\u0219ti, iar fotografia avea un an exact: 1898. Localnicii \u0219tiau fiecare c\u00e2nd i se ridicase casa. Dup\u0103 casele care apar \u0219i dup\u0103 cele care lipsesc din imagine au datat-o mai precis dec\u00e2t orice arhiv\u0103. O comunitate care nu \u0219i-a scris niciodat\u0103 istoria o \u021binuse minte la an.<\/p><p data-f=\"laista2|50|60|1.8\" data-cap=\"Copia familiei Papathanasiou, Laista.\">Fotografia s\u0103rb\u0103torii a avut alt\u0103 soart\u0103. \u00centr-o cas\u0103 din sat, a familiei Papathanasiou, se p\u0103stra o imagine aproape identic\u0103, f\u0103cut\u0103 probabil la c\u00e2teva minute distan\u021b\u0103, cu aceia\u0219i oameni u\u0219or muta\u021bi.<\/p><p data-f=\"laista0|50|50|1\" data-cap=\"Fragmentul de negativ de la Bitola.\">Apoi, \u00een 2024, \u00een arhiva de la Bitola, am dat peste un fragment de negativ pe sticl\u0103, spart, cu aceea\u0219i scen\u0103. Erau trei fotografii ale aceluia\u0219i minut, p\u0103strate un secol \u00een trei \u021b\u0103ri, Rom\u00e2nia, Grecia \u0219i Macedonia de Nord, f\u0103r\u0103 s\u0103 \u0219tie una de alta.<\/p><\/div><\/div><div class=\"byj-trio\"><figure><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/beyondyesterday.org\/wp-content\/uploads\/2025\/04\/Laista0.webp?ssl=1\" alt=\"Bitola\" loading=\"lazy\"><figcaption>Bitola<\/figcaption><\/figure><figure><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/beyondyesterday.org\/wp-content\/uploads\/2025\/04\/Laista1.webp?ssl=1\" alt=\"Alt\u0103 versiune a aceleia\u0219i scene\" loading=\"lazy\"><figcaption>Alt\u0103 versiune a aceleia\u0219i scene<\/figcaption><\/figure><figure><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/beyondyesterday.org\/wp-content\/uploads\/2025\/04\/Laista2.webp?ssl=1\" alt=\"Laista, familia Papathanasiou\" loading=\"lazy\"><figcaption>Laista, familia Papathanasiou<\/figcaption><\/figure><\/div><div class=\"byj-after\"><p>Pe doamna Chariklia Margaritopoulou, n\u0103scut\u0103 la Laista, am cunoscut-o la Xanthi, \u00een noiembrie 2025. \u00cei scrisesem pe mail cu mult timp \u00eenainte, f\u0103r\u0103 s\u0103 primesc r\u0103spuns. R\u0103spunsul a venit fix \u00een singura zi \u00een care m\u0103 aflam, din \u00eent\u00e2mplare, \u00een ora\u0219, pe drumul dintre Skopje \u0219i Istanbul, mut\u00e2nd expozi\u021bia. Pornise de la h\u00e2rtiile dintr-un cuf\u0103r de familie \u0219i scrisese o carte groas\u0103 despre neamurile satului, risipite \u00een toat\u0103 lumea. \u00cen copil\u0103rie mergea c\u0103lare de la Grevena la Laista, dou\u0103 zile de drum prin p\u0103durile Pindului.<\/p><p>Ne-am rev\u0103zut \u00een februarie 2026, \u00een prima zi de post, a doua zi dup\u0103 Carnavalul de la Xanthi, la lipie \u0219i la multe feluri de halva, cum cere tradi\u021bia \u00een Grecia. C\u00e2teva zile mai t\u00e2rziu am aflat c\u0103 a murit.<\/p><\/div><div class=\"byj-wide\"><figure><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_xanthi.webp\" alt=\"Xanthi, 23 februarie 2026. Doamna Chariklia Margaritopoulou, \u00een centru.\" loading=\"lazy\"><figcaption>Xanthi, 23 februarie 2026. Doamna Chariklia Margaritopoulou, \u00een centru.<\/figcaption><\/figure><\/div><\/section><section class=\"byj-ch\" id=\"korce\"><header class=\"byj-head\"><span class=\"byj-no\">06<\/span><span class=\"byj-stamp\">Kor\u00e7\u00eb \u00b7 2025<\/span><h2>O turl\u0103 \u0219i un turn<\/h2><p class=\"byj-where\">Kor\u00e7\u00eb \u00b7 octombrie 2025<\/p><\/header><div class=\"byj-scrolly\"><div class=\"byj-fig\"><div class=\"byj-frame\"><div class=\"byj-stage\"><img data-k=\"k1900\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_korce_1900.webp\" alt=\"Kor\u00e7\u00eb v\u0103zut de sus, fotografie a fra\u021bilor Manakia\" loading=\"lazy\" decoding=\"async\"><img data-k=\"kazi\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_korce_azi7193.webp\" alt=\"Kor\u00e7\u00eb azi, din acela\u0219i unghi\" loading=\"lazy\" decoding=\"async\"><img data-k=\"kcontur\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_korce_contur.webp\" alt=\"Conturul bisericii Sf\u00e2ntul Gheorghe \u00een pavaj\" loading=\"lazy\" decoding=\"async\"><span class=\"byj-ring\"><\/span><\/div><\/div><p class=\"byj-cap\"><\/p><\/div><div class=\"byj-text\"><p data-f=\"k1900|50|50|1\" data-cap=\"Kor\u00e7\u00eb, \u00eenceputul secolului XX. Negativ pe sticl\u0103, arhiva Manakia, Bitola.\">Fotografia lui Milton arat\u0103 Kor\u00e7\u00eb de sus: acoperi\u0219uri de \u021bigl\u0103, cur\u021bi, str\u0103zi drepte care urc\u0103 spre deal, iar \u00een fund, sub muntele gol, minaretul Moscheii Mirahori, una dintre cele mai vechi din Albania. La prima vedere pare f\u0103cut\u0103 dintr-o dron\u0103.<\/p><p data-f=\"k1900|31|31|3.4\" data-cap=\"Minaretul Moscheii Mirahori.\">M-am \u00eentrebat de unde fusese f\u0103cut\u0103. Unghiul nu las\u0103 multe variante. Pe la 1900, \u00een Kor\u00e7\u00eb nu exista nicio cl\u0103dire at\u00e2t de \u00eenalt\u0103. Un singur loc putea ridica un fotograf deasupra acoperi\u0219urilor: turla Bisericii Sf\u00e2ntul Gheorghe, terminat\u0103 \u00een 1905.<\/p><p data-f=\"kazi|50|50|1\" data-cap=\"Kor\u00e7\u00eb, octombrie 2025.\">Biserica nu mai exist\u0103. La sf\u00e2r\u0219itul anilor \u201960, regimul comunist a demolat-o, ca s\u0103 fac\u0103 loc bibliotecii. Am ref\u0103cut fotografia din singurul punct \u00eenalt r\u0103mas \u00een preajm\u0103: un turn ridicat \u00een aceea\u0219i epoc\u0103, la c\u00e2teva zeci de metri. \u00cen st\u00e2nga se vede din nou minaretul Moscheii Mirahori; \u00een fa\u021b\u0103, blocurile anilor \u201970. O turl\u0103 a fost \u00eenlocuit\u0103 de un turn. Ora\u0219ul se recunoa\u0219te, de\u0219i minaretul e altul: distrus \u0219i el sub regimul lui Enver Hoxha, a fost reconstruit \u00een 2014.<\/p><p data-f=\"kcontur|50|52|1\" data-cap=\"Conturul bisericii, desenat \u00een pavaj.\">De sus, din acela\u0219i turn, am v\u0103zut \u0219i urma bisericii. Conturul ei e desenat ast\u0103zi cu piatr\u0103 alb\u0103 \u00een pavajul str\u0103zii, absida \u0219i pere\u021bii, tra\u0219i ca pe un plan de arhitect. \u00cen fiecare zi cineva aprinde acolo o candel\u0103, pe locul unei biserici \u00een a c\u0103rei turl\u0103 a urcat, acum un secol, un fotograf arom\u00e2n cu aparatul \u00een spate.<\/p><\/div><\/div><figure class=\"byj-cmp\"><div class=\"byj-cmp-box\"><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_korce_azi7193.webp\" alt=\"Kor\u00e7\u00eb, 2025\" loading=\"lazy\"><div class=\"byj-cmp-top\"><img decoding=\"async\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_korce_1900.webp\" alt=\"Kor\u00e7\u00eb, dup\u0103 1905\" loading=\"lazy\"><\/div><span class=\"byj-cmp-l\">Fra\u021bii Manakia<\/span><span class=\"byj-cmp-r\">Kor\u00e7\u00eb, 2025<\/span><input type=\"range\" min=\"0\" max=\"100\" value=\"50\" aria-label=\"Kor\u00e7\u00eb atunci \u0219i acum\"><\/div><figcaption>Trage de cursor: Kor\u00e7\u00eb din turla disp\u0103rut\u0103 \u0219i Kor\u00e7\u00eb din turnul de azi.<\/figcaption><\/figure><\/section><section class=\"byj-ch\" id=\"bitola-1911\"><header class=\"byj-head\"><span class=\"byj-no\">07<\/span><span class=\"byj-stamp\">Bitola \u00b7 1911<\/span><h2>Casa unei singure vizite<\/h2><p class=\"byj-where\">Bitola \u00b7 noiembrie 2025<\/p><\/header><div class=\"byj-scrolly\"><div class=\"byj-fig\"><div class=\"byj-frame\"><div class=\"byj-stage\"><img data-k=\"su1911\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_sultan1911.webp\" alt=\"Sultanul Mehmed Re\u0219ad al V-lea la Bitola, 1911\" loading=\"lazy\" decoding=\"async\"><img data-k=\"suazi\" src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_sultan_azi.webp\" alt=\"Cl\u0103direa azi, v\u0103zut\u0103 de la fereastra Arhivelor\" loading=\"lazy\" decoding=\"async\"><span class=\"byj-ring\"><\/span><\/div><\/div><p class=\"byj-cap\"><\/p><\/div><div class=\"byj-text\"><p data-f=\"suazi|50|45|1\" data-cap=\"Azi: rectoratul universit\u0103\u021bii.\">Am fotografiat-o de la fereastra Arhivelor, printre brazi. Cl\u0103direa a fost ridicat\u0103 pentru o singur\u0103 vizit\u0103: a sultanului Mehmed Re\u0219ad al V-lea, \u00een vara lui 1911. A fost ultima c\u0103l\u0103torie a unui sultan de la Constantinopol \u00een Balcanii \u00eenc\u0103 otomani.<\/p><p data-f=\"su1911|50|50|1\" data-cap=\"Bitola, vara lui 1911.\">Fra\u021bii Manakia au fotografiat ceremonia \u00een fa\u021ba casei: ofi\u021beri, func\u021bionari \u0219i notabili a\u0219eza\u021bi cu o precizie de protocol, fiecare la locul lui. E imaginea unei ordini care se arat\u0103 sigur\u0103 pe ea. Un an mai t\u00e2rziu \u00eencepea Primul R\u0103zboi Balcanic, iar Bitola era printre primele ora\u0219e pierdute de Imperiu.<\/p><p data-f=\"su1911|58|40|1.8\" data-cap=\"Fa\u021bada neoclasic\u0103.\">Casa e ast\u0103zi rectoratul universit\u0103\u021bii. Fa\u021bada e neoclasic\u0103, european\u0103, cum cerea gustul politic al vremii. Planul e otoman, \u00eentors spre interior, cu ierarhii de \u00eenc\u0103peri pe care fa\u021bada nu le tr\u0103deaz\u0103. Pe dinafar\u0103 e Europa, pe din\u0103untru Imperiul. Ca ora\u0219ul \u00eentreg.<\/p><p>Fra\u021bii au \u0219i filmat vizita: sultanul, alaiul, mul\u021bimea de pe str\u0103zi. Sunt c\u00e2teva secunde de film dintr-o lume care avea s\u0103 dispar\u0103 peste un an.<\/p><\/div><\/div><figure class=\"byj-film\"><video src=\"https:\/\/beyondyesterday.org\/wp-content\/uploads\/2026\/10\/j_sultan.mp4\" muted loop playsinline preload=\"metadata\"><\/video><figcaption>Vizita sultanului Mehmed Re\u0219ad al V-lea la Bitola, 1911. Film de fra\u021bii Manakia. Sursa: Cinemateca Macedoniei de Nord.<\/figcaption><\/figure><\/section><footer class=\"byj-end\"><p>Jurnalul continu\u0103. Descoperirile noi apar aici, pe m\u0103sur\u0103 ce vin.<\/p><\/footer><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Jurnal de arhiv\u0103 \u0219i de teren Ce se vede \u00een fundal Fotografiile fra\u021bilor Manakia nu se termin\u0103 \u00een ram\u0103. Un [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1444,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"page-builder","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-1409","page","type-page","status-publish","has-post-thumbnail","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.6","language":"ro","enabled_languages":["en","ro","el","sq","mk","tr","bg","ka"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ro":{"title":true,"content":true,"excerpt":false},"el":{"title":true,"content":true,"excerpt":false},"sq":{"title":true,"content":true,"excerpt":false},"mk":{"title":true,"content":true,"excerpt":false},"tr":{"title":true,"content":true,"excerpt":false},"bg":{"title":true,"content":true,"excerpt":false},"ka":{"title":true,"content":true,"excerpt":false}}},"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/beyondyesterday.org\/ro\/wp-json\/wp\/v2\/pages\/1409","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/beyondyesterday.org\/ro\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/beyondyesterday.org\/ro\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/beyondyesterday.org\/ro\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/beyondyesterday.org\/ro\/wp-json\/wp\/v2\/comments?post=1409"}],"version-history":[{"count":15,"href":"https:\/\/beyondyesterday.org\/ro\/wp-json\/wp\/v2\/pages\/1409\/revisions"}],"predecessor-version":[{"id":1489,"href":"https:\/\/beyondyesterday.org\/ro\/wp-json\/wp\/v2\/pages\/1409\/revisions\/1489"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/beyondyesterday.org\/ro\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/beyondyesterday.org\/ro\/wp-json\/wp\/v2\/media?parent=1409"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}