Adnan Busuladzic-Umjetnost Antickih Mozaika Na Tlu BiH

ZEMALJSKI MUZEJ BOSNE I HERCEGOVINE 1. februar 1888. – 1. februar 2008.

ADNAN BUSULADŽIĆ

UMJETNOST ANTIČKIH MOZAIKA NA TLU BOSNE I HERCEGOVINE

ANCIENT MOSAICS IN THE TERRITORY OF BOSNIA AND HERZEGOVINA

Pokrovitelj izložbe Gospodin Gavrilo Grahovac, ministar kulture i sporta Federacije Bosne i Hercegovine.

Exhibition sponsored byH. E. Gavrilo Grahovac, Ministry of Culture and Sports of the Federation of Bosnia and Herzegovina

Ancient Mosaics in the Territory of Bosnia and Herzegovina

Publisher National Museum of Bosnia and Herzegovina

For the publisher Aiša Softić, Ph.D.

Chief Editor Lidija Fekeža, M.A.

Reviewers Prof. Enver Imamović, Ph.D., Prof. Ljiljana Ševo, Ph.D.

Translated into English by Spomenka Beus, prof.

Preservation and conservation by Esad Vesković, M.A., Borivoj Žuža, Hamo Kerkel-ja, Azra Bečević – Šarenkapa, M.A., Jusuf Gadžo.

Exhibition designers Suad Zorlak, Mirsad Brdarić, Safet Fetahović,

Samir Avdić, Senad Krajina, Andrijana Pravidur, Anis Hasanbegović, Ernis Šljivo, Kemal Pervan,

Zdenko Kovačević, Damir Lazzari.

Photographs (T. I fig. 3, 4, T. XXVII, fig. 2, T. XXXII, T. XXXIII, fig. 1 and 2, T. XXXV, T. XXXVII, fig. 1 and 2, T. XXXVIII, T. XLII, fig. 1, T. XLVI, fig. 1 and 2, T.

XLVII, T. XLVIII, T. XLIX) Adnan Šahbaz

Technical Editor Mahir Sokolija

Cover page design Tatjana Mijatović

PrinterBemust

Printed in300 copies

Umjetnost antičkih mozaika na tlu Bosne i Hercegovine

Izdavač Zemaljski muzej Bosne i Hercegovine

Za izdavača Dr. sci. Aiša Softić

Glavni i odgovorni urednik Mr. sci. Lidija Fekeža

Recenzenti Prof. dr. Enver Imamović, prof. dr. Ljiljana Ševo

Prijevod na engleski Spomenka Beus, prof.

Konzervatorsko restauratorski radovi Mr. Esad Vesković, Borivoj Žuža, Hamo Karkelja,

Jusuf Gadžo, mr. Azra Bečević-Šarenkapa.

Tehnička postavka izložbe Suad Zorlak, Mirsad Brdarić, Safet Fetahović,

Samir Avdić, Senad Krajina, Andrijana Pravidur, Anis Hasanbegović, Ernis Šljivo, Kemal Pervan,

Zdenko Kovačević, Damir Lazzari.

Foto (T. I sl. 3, 4, T. XXVII, sl. 2, T. XXXII, T. XXXIII, sl. 1 i 2, T. XXXV, T. XXXVII, sl. 1 i 2, T. XXXVIII, T. XLII, sl. 1, T. XLVI, sl. 1 i 2, T. XLVII, T. XLVIII, T.

XLIX, T. ) Adnan Šahbaz

Tehnički urednik Mahir Sokolija

Idejno rješenje korica kataloga Tatjana Mijatović

ŠtampaBemust

Tiraž300 primjeraka

ADNAN BUSULADŽIĆ

UMJETNOST ANTIČKIH MOZAIKA NA TLU BOSNE I HERCEGOVINE

ANCIENT MOSAICS IN THE TERRITORY OF BOSNIA AND HERZEGOVINA

Zemaljski muzej Bosne i HercegovineSarajevo, 2008.

5

Introduction

Mosaic is a work of art composed of small pieces, tesserae, creating a picture or an

ornament based on a sketch or a design. The mosaic technique implies placing of tesserae or pieces of different form and ma-terials (stone, glass, marble, ceramics) onto a base (wall, ceiling, or, most frequently, floor), that is already prepared by mortar, glue or resin.

Mosaic, like many other works of art, was not originally perfect either by its style or technique. Its durability and value depended on the skill and experience of a craftsman. The mosaic is, in terms of its production, a very complicated technique which implies a team work based on distribution of tasks following precise rules and well established sequence of actions.

The history of studies in Roman mosaic in Bosnia and Herzegovina includes two periods. The first period dates back to the Hapsburg rule (1878 – 1914). The field studies on the localities of Stolac1, Domavia2 and Ilidža3 resulted in the discoveries of the first mosaics in Bosnia and Herzegovina.

The second period, much affluent, was the one after the World War II. The extensive and systematic field research of Roman villas in Višići nearby Čapljina4 and Panik, nearby Bileća5, as well as in Putovići, nearby Zenica6 and the continued field studies at Ilidža, Sara-jevo7, resulted in studies published. Most of the mosaics were found at the localities of 1 Ć. Truhelka 1893, 284, F. Fiala – C. Patsch 1895, 272, F. Fiala

1897, 170.2 V. Radimsky 1896, 210.3 J. Kellner 1897, 131.4 I. Čremošnik 1965, 170.5 I. Čremošnik 1976, 72.6 V. Paškvalin 1968, 154.7 E. Pašalić 1959, T. IV fig. 2, 3, 4.

Uvod

Mozaik predstavlja umjetnost čiji su sa-stavni dijelovi kockice (tesere) koje tvore

cjelinu izvedenu na osnovu skice ili nacrta. Pod izradom mozaika se podrazumijeva postav-ljanje kockica ili komadića različitog oblika i materijala (kamen, staklo, mramor, keramika) na podlogu (zidnu, stropnu ili najčešće pod-nu), koja je unaprijed pripremljena sa žbu-kom, ljepilom ili smolom.

Mozaik, kao i mnogi drugi segmenti umjet-nosti, na početku nije bio ni stilski ni tehnič-ki usavršen. Njegova trajnost i značaj ovisila je o vještini i iskustvu majstora – mozaičara. Mozaik je u izvedbenom smislu vrlo kompli-cirana likovna tehnika koja podrazumijeva timski rad, baziran na raspodijeli poslova koji se izvode prema tačno određenim pravilima i jasno ustanovljenom redoslijedu poteza.

Historijat istraživanja rimskih mozaika u Bosni i Hercegovini može se pratiti u dva pe-rioda. Prvi period predstavljao je vrijeme au-strougarske vladavine (1878.–1914.). Kao re-zultat navedenih istraživanja na području Sto-ca1, Domavie2 i Ilidže3 dolazi do otkrića prvih mozaika u Bosni i Hercegovini.

Drugi, znatno bogatiji period odnosio se na vrijeme nakon Drugog svjetskog rata. Velika i sistematska istraživanja rimskih lokaliteta u Višićima kod Čapljine4, Paniku kod Bileće5, Putovićima kod Zenice6, te nastavak istraži-vanja na skupini rimskih građevina na Ilidži kod Sarajeva7 rezultirali su novim otkrićima. Najveći broj ovih mozaika otkriven je na loka-1 Ć. Truhelka 1893., 284, F. Fiala – C. Patsch 1895., 272, F. Fiala

1897., 170.2 V. Radimsky 1896., 210.3 J. Kellner 1897., 131.4 I. Čremošnik 1965., 170.5 I. Čremošnik 1976., 72.6 V. Paškvalin 1968., 154.7 E. Pašalić 1959., T. IV sl. 2, 3, 4.

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Višići and Panik. In the area of field research of the localities with the ancient mosaics and their scientific analysis and evaluation, the most distinguished position is occupied by Irma Čremošnik, Ph.D. Her study, published in 1984, is still the referential point which can-not be contested in this domain.8

8 I. Čremošnik 1984.

litetima Višića i Panik. Na polju istraživanja lokaliteta sa antičkim mozaicima, te u oblasti njihove naučne analize i valorizacije najistak-nutije mjesto pripada dr. Irmi Čremošnik, čija studija, publicirana 1984. godine, predstavlja nezaobilaznu i do sada neprevaziđenu refe-rencu u ovom domenu.8

8 I. Čremošnik 1984.

7

Mosaic techniques

The oldest data about the mosaic techniques date back to the rule of the emperor Diocle-

tian (284 – 305), when edictum de pretiis was writ-ten. It regulates the daily fees of artists, crafts-men and workers. The head of the entire process of the production was a pictor imaginarius, who provided and painted the conceptual design of the mosaic. His design was then adapted and en-larged according to the planned size by a pictor parietarius. A calcis coctor was in charge of mix-ing the materials for the base. A lapidarius struc-tor prepared the material. A tessellarius made the less complicated parts, and a musavarius worked on the complex parts of the mosaic.9

Sos from Pergamon (2nd century BC), was one of the greatest ancient artists who in-vented the tesserae and discovered how to make emblems. Tessera is the basic structur-al element of a mosaic which may have in a square, rectangular, triangular or some other form. Tessera is never larger than 2 cm. The emblems are insertions pre manufactured in the workshop, fixed and framed and eventu-ally placed onto the floor within the entire mosaic composition. The details of the mosaic techniques can be found in Plinius Secundus Maior and Vitruvius. Since the mosaics were on floors and consequently exposed to intense wear-and-tear conditions, they had to be solid, flexible and made with high quality drainage. All this implied works in several layers, main-ly three. The first layer, statumen, was used as a support and drainage construction, the second, rudus, was made of lime and broken stones, and the third, nucleus, of ground brick and lime. The final layer was made of the mix-ture of lime and volcanic ash into which the tesserae (small pieces, usually cubes) would be 9 M. Farneti 1993, 83.

Tehnika izrade mozaika

Najstariji podatak o izradi mozaika ve-zuje se za vladavinu cara Dioklecijana

(284.–305.), za kojeg je napisan edictum de pretiis. Njime se određuju dnevnice umjet-nika, majstora i pomoćnih radnika. Vođa cjelokupnog procesa izrade, nazivan pictor imaginarius, osmišljavao je i slikao nacrt. Njegov nacrt i ideju prilagođavao je i po-većavao u zadane gabarite pictor parietarius. Calcis coctor je miješao materijal za podlogu. Lapidarius structor je pripremao materijal. Tessellarius je izvodio jednostavnije, a mu-savarius izrađivao kompliciranije dijelove mozaika.9

Sos iz Pergamona (II stoljeće stare ere), jedan od najvećih antičkih umjetnika, izu-mio je teseru i pronašao način izrade em-bleme. Tesera je osnovni konstruktivni ele-ment mozaika, kvadratičnog, pravougao-nog, trougaonog ili nekog drugog oblika. Tesera nije veća od 2 cm. Emblema je ume-tak napravljen u radionici koji je zatim fik-siran i uokvirivan, te na kraju postavljan u cjelinu poda. Detaljan način izrade mozaika nalazimo kod Plinija Starijeg i Vitruvija. S obzirom da se mozaik najčešće nalazio na podu, zbog čega je bio izložen intenzivnom korištenju i gaženju, morao je biti čvrst, ela-stičan, sa kvalitetno izvedenom drenažom. To se postizalo postavljanjem više slojeva, najčešće tri. Prvi sloj, statumen, je bio nosivi i drenažni, drugi, rudus, je pravljen od va-pna i lomljenog kamena, treći, nucleus, sa-stavljan je od mljevene opeke i vapna. Za-vršni sloj pravljen je od mješavine vapna i pucolana (vulkanski pepeo koji se miješao sa vapnom) i u njega su se polagale tesere (kockice). Nakon završetka, pod se fugirao 9 M. Farneti 1993., 83.

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laid. Once finished, the flooring was pointed up joints done a mixture of marble powder, lime and sand and then made smooth.

Different techniques of flooring developed with time. The most frequent ones are the fol-lowing:

Floors made of pebbles

This type of flooring dates back to the 4th century BC. Easy access to pebbles made this type of floorings very popular world-wide (Greece, England, Ireland, Spain, Por-tugal, America, China) for many centuries. The pebbled floors persisted until the 19th

century.10

Floors made of broken terracotta

The oldest examples of this type of floor-ing date back to the period from the 4th to the 2nd century BC found in Carthage. They were made by mixing ceramic waste, tiles and lime. The same mixture, besides being used for working surfaces, tanks, etc., was also used as a base for mosaics.

Cement floors

This flooring is made of the mixture of lime and sand, in different proportions. Add-ing different materials, like marble powder, broken bricks or coal dust helped in achiev-ing various colours.11

Floor made of tiles

The terraces, yards and other rooms often had flooring made of tiles mainly laid in a fish-bone pattern. Geometrical forms cut in different ways stayed in use until the end of the 2nd century BC.12 10 M. Garčević 2006, 220.11 M. Garčević 2006, 220.12 G. Becatti 1961, 255.

smjesom mramornog brašna, vapna i pijeska a potom brusio.

Vremenom su nastale različite tehnike izrade podova. Među njima najzastupljeniji su slijedeći:

Pod od oblutaka

Javio se još u periodu IV stoljeća stare ere. Dostupnost kamenih oblutaka uvjetovala je da ove podnice budu masovno izrađivane diljem svijeta (Grčka, Engleska, Irska, Špani-ja, Portugal, Amerika, Kina), kroz dugi niz stoljeća. Pod od oblutaka izrađivan je do XIX stoljeća.10

Pod od lomljene terakote

Najraniji primjeri ovakvog poda iz Karta-ge datirani su u periodu od IV do II stoljeća stare ere. Dobivali su se miješanjem keramič-kog otpada, crijepa i vapna. Ovakva smjesa, pored radnih površina, cisterni i sl., služila je i kao podloga za mozaike.

Cementni pod

Različito dozirane smjese vapna pomije-šanog sa pijeskom predstavljale su ovu vr-stu podnica. Boje ovog poda dobijale su se dodavanjem određenih materijala, kao što je mramorno brašno, lomljena opeka ili ugljena prašina.11

Pod od opeke

Za oblaganje terasa, dvorišta i drugih pro-storija korišten je način izrade poda od ope-ke. To je uglavnom podrazumijevalo oblik “riblje kosti“. Različito rezani geometrijski oblici korišteni su sve do kraja II stoljeća sta-re ere.12 10 M. Garčević 2006., 220.11 M. Garčević 2006., 220.12 G. Becatti 1961., 255.

9


Floors made of irregular pieces of stone or marble

The technique implies irregular pieces of stone or marble placed into a cement base. Such floorings predominated since mid 2nd century BC till the end of 1st cen-tury.13

Marble floor

The marble floor or floor intarsia implied a floor made of tiles or small pieces of marble of different size and the motifs varying from floral, geometrical to figurative.14

Floor made of tesserae

This type of flooring implies all types of monochrome and polychrome mosaics made of stone or marble tesserae size 2 × 2 cm.15

Asarotos oikos “untidy room”

According to Plinius Secundus Maior, this type of floor was invented by Sos from Pergamon in the 2nd century BC. Asarotos oikos was used in triclinia (Roman dining hall).

Floor made of rectangular tesserae with the design of a “weaved basket“

This type of floors includes two groups. One group is the flooring made of rectan-gular tesserae placed in groups with two tesserae in each, or sometimes three, opus figlinum.

The other group was made of monochrome or polychrome tesserae, opus pseudo figlinum. The method was used in Italy in the period from the 2nd to the 1st century BC. 13 M. Farneti 1993, 153.14 M. Farneti 1993, 152.15 I. R. Fiorentini 1994, 20.

Pod od nepravilnih komada

Ovaj pod pravljen je od nepravilnih fra-gmenata kamena ili mramora koji su se po-stavljali na cementnu podlogu. Pod od nepra-vilnih komada najviše se upotrebljavao od sredine II stoljeća stare ere pa sve do kraja I stoljeća.13

Mramorni pod

Mramorni pod, ili podna intarzija, izrađi-van je od pločica ili komadića mramora razli-čite veličine i motiva, floralnog, geometrijskog ili figuralnog karaktera.14

Pod od tesera

Ovakva vrsta podnica podrazumijevala je sve vrste monokromnih i polikromnih moza-ika, koji su se pravili od kamenih ili mramor-nih tesera, površine 2 × 2 cm.15

Asarotos oikos “nepospremljena soba”

Prema Pliniju Starijem, ovu vrstu poda izumio je Sos iz Pergamona u II stoljeću stare ere. Asarotos oikos se upotrebljavao u trikli-nijima (rimska blagovaonica).

Pod od pravokutnih tesera u stilu “pletene košare“

U sklopu ove vrste podnice razlikuju se dvije grupe. U prvu grupu spada pod sa pra-vokutnim teserama koje su bile organizirane u grupama dvije po dvije, ili tri po tri – opus figlinum.

Druga grupa izrađivana je od monokro-mnih ili polikromnih tesera – opus pseudofigli-num. Ovaj metod je prakticiran u periodu od II do I stoljeća stare ere u Italiji.13 M. Farneti 1993., 153.14 M. Farneti 1993., 152.15 I. R. Fiorentini 1994., 20.

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The artistic floor mosaics

This type of flooring implies mosaics made of stone tesserae in opus tessellatum technique. The technique consisted of placing the square mosaic pieces, most frequently the size of 1 × 1 cm, with very small space between individual pieces, resulting in almost invisible tuck-points. Gradually, the mosaic panels and fixed pseudo-emblematas were introduced. Glass tesserae were also introduced by mid 1st century.16

Tesserae placing technique

When ancient mosaics were made, there was a sketch done in sinopis in the first or second layer of the mortar. Sinopis is red pigment ob-tained from sinopite which was used to transfer the rough sketch of the future mosaic design. The method was a kind of guide how to place tesserae and distribute ornaments. Roman mo-saics, unlike those that preceded them, were more compact. Moreover, they were movable, and once they had been placed, there were sim-ple ornaments made framing them.

Different techniques, opuses, developed with time, depending on size, form and, pri-marily the tesserae placement technique. The ancient mosaic recognizes two methods: di-rect and indirect one.

The direct method is when tesserae are placed directly on a layer of fresh mortar on the floor. The tesserae are selected by colour, size and gradient, depending on the source of light.

Indirect method implies insertion of em-blematas pre manufactured in workshops.

Many of the ancient mosaics were found in-consistent and with irregularities which show that they were not made by applying direct method. Faults occurred when the parts of the mosaic were assembled, which could not be seen before the cloth from the obverse of the mosaic had been removed in situ. Some of the errors could have arisen due to retailoring of the mosaic in order to fit it into a smaller room.17 16 M. Garčević 2006, 221 and 222.17 M. Garčević 2006, 226-229.

Umjetnički podni mozaik

Pod ovom vrstom podnice se podrazumi-jevao mozaik napravljen od kamenih tesera u tehnici opus tessellatum. Ova tehnika se izvodila slaganjem mozaičkih djelića kvadratne površi-ne, dimenzija najčešće 1 × 1 cm, sa veoma ma-lim razmakom između, tako da su fuge gotovo neprimjetne. Postupno su se uvodili mozaički paneli i nepokretni pseudo-emblemati. Od sre-dine I stoljeća se uvode i staklene tesere.16

Način polaganja tesera

Prilikom izrade antičkih mozaika u prvom ili drugom sloju žbuke izvodila se skica sinopijom. Sinopija je bojeni pigment od zemljanog crvenka-stog okera koji se upotrebljavao za prenos nacrta grubih kontura budućeg mozaika. Ovakav me-tod služio je kao radni vodič uz pomoću kojeg su polagane tesere i razmještani motivi na mozai ku koji je nastajao. Rimski mozaici, za razliku od sta-rijih izvedbi, bili su zbijeniji i kompaktniji. Pritom, oni su bili prenosivi i, nakon postavljanja, oko njih su pravljeni jednostavni ornamentalni ukrasi.

Vremenom, zavisno od veličine, oblika i prvenstveno načina postavljanja tesera pro-izašle su različite tehnike – opusi. Ovisno o mjestu i načinu izrade mozaika razvile su se i različite metode. Antički mozaik poznaje di-rektnu i indirektnu metodu.

Direktna metoda sastoji se u direktnom po-stavljanju tesera u svježu žbuku na pod. Pri ovome se odabere boja, veličina i nagib tesera, ovisno o izvoru svjetlosti.

Indirektna metoda podrazumijevala je ume-tanje emblemata koji su se prethodno izrađiva-li u radionicama.

Kod znatnog broja antičkih mozaika uoče-na su odstupanja i nepravilnosti koje ukazuju da nisu rađeni direktnom metodom. Greške su se dešavale kada se mozaik montirao u di-jelovima, a to nije moglo biti vidljivo dok se ne bi skinula tkanina sa lica mozaika nakon postavljanja in situ. Greške su mogle nastati i prekrajanjem mozaika kako bi se uklopio u prostoriju manjih dimenzija.17 16 M. Garčević 2006., 221 i 222.17 M. Garčević 2006., 226–229.

11

Materials

From the very beginning, stone was most frequent material used in making mosa-

ics. This can be easily explained by the basic characteristic of stone (resistance, strength, and stability and weather resistance).18 Moreover, it is easy to cut and polish. The largest quarries in the ancient time were those in Greece, Asia Minor, Libya, Egypt, Morocco and Italy.19

There is evidence that glass was already used for mosaics in the 4th century BC on Le-vant, in Syria, Palestine and in the south of It-aly. Plinius Secundus Maior, in the Hellenistic era, named polychrome mosaic glass vitrum. In Rome, the production of stained opaque, or translucent, glass cut into tesserae or sticks started with the 1st century. Glass, produced in this way, was used to obtain shades.20 The largest glass intarsias were found nearby Co-rynth, in a Roman villa close to Tarragona.21

In ancient Rome, the ceramics that was used was predominantly the porcelain from Samos.22

The quality of the base was considered es-pecially important. Its binding and other quali-ties affected the durability of mosaic. Various technologies were applied in the long process, all aimed at obtaining the best methods possi-ble. The Sumerians used bituminous resins, the Egyptians plaster, while the Greeks used natural resin. The Romans, however, building on all the previous experiences, obtained hydraulic bind-ing and named it cementum. It was a mixture of slack-lime with ground bricks and volcanic ash. Vitruvius, in his book De architectura (libri decem) elaborates this technology in detail.23

18 M. Farneti 1993, 61.19 M. Garčević 2006, 233.20 W. Oakeshott 1977, 10.21 J. Price 2000, 218.22 M. Farneti 1993, 177.23 M. Garčević 2006, 241.

Vrste materijala

Za izradu mozaika od samih početaka naj-češće se upotrebljavao kamen. Osnovni

razlog leži u odlikama kamena (otpornost, čvrstoća, postojanost u svim vremenskim pri-likama).18 Pored toga, zahvalan je za poliranje i brušenje. Najveći antički kamenolomi nalazili su se u Grčkoj, Maloj Aziji, Libiji, Egiptu, Ma-roku i Italiji.19

Staklo se kao materijal za izradu mozaičkih površina dokazano koristi od IV stoljeća stare ere na Levantu, u Siriji, Palestini i južnoj Italiji. U helenističkom periodu višebojno mozaičko staklo Plinije Stariji naziva vitrum. U Rimu se od početka I stoljeća počinje proizvoditi obo-jeno prozirno i neprozirno staklo, rezano u kockice ili štapiće. Ovako proizvedeno staklo služilo je za nijansiranje.20 Najveće mozaičke staklene intarzije nađene su u blizini Korinta u rimskoj vili nadomak Tarragone.21

Keramika se u rimskom periodu upotreblja-vala uglavnom u vidu samoskog porculana.22

U izradi mozaika poseban značaj se pridavao kvaliteti vezivne podloge. Od njene kvalitete i svojstava ovisila je dugovječnost mozaika. U dugotrajnom procesu korištene su različite teh-nologije, pri čemu se nastojao dobiti što bolji me-tod. Tako su Sumerani upotrebljavali bitumen-ske smole, Egipćani gips, a Grci prirodne smole. Rimljani su, koristeći sva navedena iskustva, dobili hidraulično vezivo, nazvavši ga cemen-tum. Ova smjesa je mješavina gašenog vapna sa mljevenom opekom i pucolanom. Detaljan opis dobijanja ove smjese nalazimo kod Vitruvija u njegovom djelu De architectura (libri decem).23

18 M. Farneti 1993., 61.19 M. Garčević 2006., 233.20 W. Oakeshott 1977., 10.21 J. Price 2000., 218.22 M. Farneti 1993., 177.23 M. Garčević 2006., 241.

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Development of the mosaic art

Ever since the ancient times mosaic was considered to be a special art. The tech-

nique of decorating floors and walls with small pieces has existed since three thousand years BC. In Mesopotamia, small clay cone-shaped pieces were placed into mortar, thus creating various geometrical patterns. In the period that followed, in Assyria, the repre-sentations of the scenes from religious, ani-mal or everyday life appeared. Very impres-sive examples of encrustations/marquetry in Egyptian tombs or fragments of decorative objects date from that period. In the former mentioned period, those were wood or stone marquetries, whereas floor or wall decora-tions appeared only later.24 After the Persian occupation of Central Asia (in 546 BC) mosa-ics made of pebbles developed. As an impres-sive, cheap and readily available technique, it was first applied in Pella in the 5th century BC. In the 2nd century BC, the invent of cube shaped elements, marked a turn in the way mosaics were made, which was reflected in their form as well. Pergamon, Delos, Alexan-dria and Syracuse became new centres were mosaic were made. From these centres, the mosaics spread all over the Mediterranean territories. The essential changes in the proc-ess of making mosaics during this period were owe to the introduction of new materi-als, primarily the glass pastes. They were no longer exclusively placed on floor, now they were placed onto the walls as well. The colour of the background also changed with time, which from white to blue turned into golden shades.25 24 I. Čremošnik 1984, 13.25 M. Garčević 2006, 7 and 10.

Historijat razvoja mozaičke umjetnosti

Od davnina mozaik je predstavljao poseb-nu umjetnost. Tehnika ukrašavanja po-

dova i zidova sitnim kockicama poznata je još od prije tri hiljade godina stare ere. Tako su u Mezopotamiji glinene polikromne čunjiće umetali u žbuku, tvoreći različite geometrijske uzorke. U nešto kasnijem razdoblju javljaju se u Asiriji prikazi religioznih, životinjskih i pri-kaza iz svakodnevnog života. Iz tog perioda potiču vrlo impresivni primjerci inkrustacija u egipatskim grobnicama ili djelići ukrasnih predmeta. U prvom periodu riječ je bila o in-tarzijama u kamenu ili drvetu, dok se ukraša-vanje podova i zidova javlja kasnije.24 Nakon perzijske okupacije srednje Azije (546. godine stare ere) razvija se mozaik od oblutaka. Kao vrlo efektna, jeftina i pristupačna tehnika po-čeo se upotrebljavati u Pelli u V stoljeću stare ere. U II stoljeću stare ere, pronalaskom ele-menata oblika kockica, dogodio se veliki pre-okret u izradi i obliku mozaičke umjetnosti. Glavna središta za izradu mozaika postaju gradovi Pergamon, Delos, Aleksandrija i Sira-kuza. Iz ovih gradova izrada mozaika se širi po čitavom Mediteranu. Osnovne promjene u procesu izrade u ovom periodu odnosile su se na uvođenju novih materijala, prvenstveno staklenih pasta. Mijenja se i mjesto ugradnje jer se mozaici počinju, pored podova, izrađi-vati i na zidovima, a vremenom se mijenja i boja pozadine koja od bijele preko plave pre-lazi u ton zlatne boje.25

Stara tradicija oblaganja podnih površina dovela je do pokušaja da se izrade mozaici od oblutaka. Prethodnike ovakvih podnica treba tražiti u jednostavnim utabanim podovima 24 I. Čremošnik 1984., 13.25 M. Garčević 2006., 7 i 10.

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The tradition of panelling floor surfaces led to the first attempts of making pebble mosaics. The antecedents can be found in simple trodden floors made of clay and lime with no aesthetic aspirations. Plinius Secundus Maior had no doubts in his belief that mosaic was a Greek in-vent.26 Gradually, the mosaic moves from yards to closed rooms, and spreads to public facilities and temples. The oldest known mosaic made of pebbles was the Greek mosaic found in Gordia, Turkey dating back to the 8th century BC.27

Visible progress in the development of mosaic art took place during the rule of Alex-ander the Great (356 – 323 BC). As a patron to many famous artists – Lisip, Pamfilos, as well as those belonging to a younger generation (Appolodoros, Gnosis and others), Alexander the Great supported all the efforts in develop-ment of mosaic art.28

By the beginning of the 4th century BC29, the aspirations to provide as realistic presentations, resulted in cutting pebbles into smaller pieces. The major breakthrough, however, was the in-vent of tesserae (opus quadratum), or small piec-es in a shape of a cube. This change started with the Hellenistic period. Nevertheless, the pebble mosaic, despite the new technique invented, maintained till the 1st century BC. The first use of tesserae was a progress in representative and generally figurative context. The palette of col-ours became richer, the surface smoother, and in general, the mosaic became more precise in regard to the sketch made by the artist.30 The main characteristic of the Greek-Hellenistic mo-saics is their resemblance to carpets. Emblems – smaller pieces built into the central part of the surface of mosaic, reflected the influence of painting. This central panel was made of the finest and smallest pieces. The borders, however, were made of somewhat larger piec-es, and the remaining part of the mosaic was done in lime stone or marble.31 Emblems were the most expensive part and were pre manu-26 G. F. Pascarelli 2000, 12.27 C. Dauphin 1997, 2.28 J. G. Padley 1998, 309.29 A. Ovadiah 1980, 73.30 P. Fisher 1971, 42.31 H. Stern 1975, 45.

od gline i vapna koji nisu imali estetskih pre-tenzija. Plinije Stariji nimalo ne sumnja da je mozaik izum Grka.26 Iz dvorišta, mozaik po-stupno prelazi u zatvorene kućne prostorije, šireći se i na javne zgrade, hramove. Najstariji poznati mozaik od oblutaka, datiran u VIII stoljeće stare ere, otkriven je u gradu Gordiji u Turskoj.27

Osjetan napredak u razvoju mozaičke umjetnosti događa se u vrijeme Aleksandra Makedonskog (356.–323. g. stare ere). Kao mecena slavnim umjetnicima – Lizipu, Pamfi-lu, Filofenu te pojedinima iz mlađe generacije (Apolodoru, Gnosisu i drugima), Aleksandar Makedonski daje poticaj usavršavanju izrade mozaika.28

Iz želje da se motivi na mozaicima pri-kažu što preciznije, početkom IV stoljeća stare ere počeli su se sječi obluci na manje komade.29

Najvažniji iskorak u razvoju mozaične umjetnosti predstavlja izum tesere (opus quadratum – tessera – kocke). Ovakva promjena započinje sa helenističkim periodom. Uspr-kos izumu nove tehnike, mozaik od oblutaka zadržao se sve do I stoljeća stare ere. Početak korištenja mozaičkih pločica oblika tesere (kockice) značio je unaprjeđenje u predstav-ljačkom i uopće likovnom kontekstu – time je povećana paleta boja, dok je površina postala ravnija a mozaik sve precizniji u odnosu na umjetnikovu skicu.30 Glavna karakteristika grčko-helenističkih mozaika je izgled koji pod-sjeća na tepih. Pod uticajem slikarstva javljaju se i embleme – manji centralni dijelovi koji se ugrađuju u središnji dio mozaičke površine. Ovaj središnji panel je pravljen od najfinijeg i najsitnijeg materijala. Bordure su činili nešto veće kockice, dok je ostatak mozaika oblagan komadićima vapneneca ili mramora.31 Emble-ma je predstavljala najskuplji dio mozaika koji je rađen u radionici i in situ postavljan u prosto-riji. Razvojem ovakvog načina izrade mozaika 26 G. F. Pascarelli 2000., 12.27 C. Dauphin 1997., 2.28 J. G. Padley 1998., 309.29 A. Ovadiah 1980., 73.30 P. Fisher 1971., 42.31 H. Stern 1975., 45.

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factured in the workshop to be placed later on in situ. The newly developed technique is known as opus vermiculatum, characterized by minute tesserae size 1 to 4 mm.32 The tech-nique, applying one or more rows of tesserae, enables for outlining the contours which is in contract with the background. Thus mosaics became a kind of painting made in stone. In general, the way of living in Ancient Greece, becomes a trend. Drawings rooms became larger and decorated ceiling- to- floor by mo-saics.

In Roman era, based on Vitruvius, mosaics had become an integral part of architecture, together with sculpture and painting. The major role in spreading this art was played by so-called travelling mosaicists. They car-ried with themselves a book of samples with different motifs copied from various objects, vases, architecture, etc. Sometimes the mosa-ics were made to order.33 Opus segmentatum was a new technique that developed insert-ing irregular pieces of marble in various col-ours. The method consisted of combining small and large tesserae to obtain geometri-cal motifs. It has its origin in the technique of decorating floors by combining tiles with pieces of flickering stones.34 In the context of Roman art (painting and sculpture) the development of mosaic art can be divided into few chronological phases: republican-Hellenistic, monochrome, floral and poly-chrome.35

The originally oriental technique, opus setil, was first applied in Rome by the beginning o the 1st century BC, to become very popular in the Empire period. This technique implies use of larger pieces, purposefully cut, that re-placed the earlier use of tesserae. The mate-rials used were lime stone, volcanic rock, ce-ramics, and in most cases, polychrome marble plates of the same thickness, that were easy to combine creating diverse motifs bay contrast-ing them. The outburst of urban development 32 W. Daszewski 1985, 82.33 M. Garčević 2006, 24 – 25.34 A. Crovato 1994, 19.35 G. F. Pascarelli 2000, 29.

nastala je nova tehnika opus vermiculatum, čija je osnovna karakteristika korištenje sitnih tese-ra veličine od 1 do 4 mm.32 Ovom tehnikom, uz pomoć jednog ili više redova tesera, iscrtava se kontura, koja je u kontrastu u odnosu na po-zadinu. Mozaici postaju jedna vrsta slike u ka-menu. Širom svijeta postaje pomodarski trend oponašanja života u Grčkoj. Zbog mozai ka i gostinske sobe postaju veće i ukrašavaju se ovom tehnikom od stropa do poda.

U rimskom periodu, prema pisanju Vitru-vija, uz kiparstvo i slikarstvo, izrada mozaika postaje sastavni dio arhitekture. Najznačajni-ju ulogu u širenju ove umjetnosti imali su tzv. putujući mozaičari. Ovi majstori su sa sobom nosili knjigu uzoraka sa različitim motivima, koji su bili preuzeti sa različitih predmeta (vaza, arhitekture i sl.). Nekada su se po na-rudžbi izrađivali mozaici sa različitim moti-vima.33 Umetanjem različitih raznobojnih ne-pravilnih komadića mramora nastala je nova tehnika opus segmentatum. Ova mozaička teh-nika koristila je kombinirane male i krupne tesere za izradu geometrijskih motiva. Poti-če od tehnike ukrašavanja podova u kojoj se opeka kombinira sa komadićima svjetlucavog kamena.34 U kontekstu podjele rimske umjet-nosti (slikarstva i kiparstva) i izrada mozaika kao vida umjetničkog izražaja se može podi-jeliti na nekoliko hronoloških faza: republi-kansko-helenistička, monokromna, cvjetna i polikromna.35

Izvorno istočnjačka tehnika opus setile po-činje se u Rimu širiti početkom I stoljeća sta-re ere, a posebno se počinje cijeniti u doba Carstva. Riječ je o mozaičnoj tehnici u kojoj se umjesto sitnih kocki – tesera, koriste kru-pniji komadi, namjenski oblikovani/sječeni. U ovoj tehnici upotrebljavan je materijal vapne-nih škriljaca, vulkanskog kamenja, keramike, dok su u najvećem broju slučajeva to bile vi-šebojne mramorne ploče iste debljine, koje su oblikovale jednostavne motive na principu kontrasta. Naglim razvojem urbanih naselja u 32 W. Daszewski 1985., 82.33 M. Garčević 2006., 24–25.34 A. Crovato 1994., 19.35 G. F. Pascarelli 2000., 29.

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during the Empire led to a larger demand for mosaics. The monochrome mosaic gained in popularity owe to the easy way of making by placing black and white tesserae in a rhyth-mic manner. These mosaics were cheaper and faster to make, and the act of creation resulted from stylized patterns.36

36 M. Farneti 1993, 38.

doba Carstva raste i potreba za izradom mo-zaika. Zbog lakšeg načina izvedbe, sve popu-larniji postaje monokromni mozaik, koji na-staje ritmizacijom crnih i bijelih tesera. Izrada ovih mozaika postaje jeftinija i brža, a sam čin pravljenja proisticao je kao plod stilističke shematizacije.36

36 M. Farneti 1993., 38.

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Ancient mosaics in the territory of Bosnia and Herzegovina

Almost 50 different mosaics have been found in the territory of Bosnia and Herze-

govina.37 Most of the finds resulted from the archaeological field studies on many localities (Višići38, Panik39, Stolac40, Ilidža41, Putovići-Ograje42, Sarajevo43 and Domavia44).

The major locality, with 15 mosaics, pre-served as whole or in fragments, is the one in Višići nearby Čapljina. Many of the mosa-ics in Višići belong to the group of the oldest samples of this art in Bosnia and Herzegovi-na. Unlike the majority of monochrome mo-saics of the same type, the mosaics found in Višići are distinguished by the tesserae made of grey-blue carbonate material found in the close vicinity of the locality itself. This is the reason why these mosaics have softer and lighter colours. Besides black-and-white mo-saics, quite a few of polychrome mosaics were found with blue, red and yellow and light red colours. The motifs themselves are very in-teresting, with geometrical and mythological 37 Detailed description of the technique, composition and

comapartive analysis of details can be found in the study on mosaics by I. Čremošnik 1984.

38 I. Čremošnik 1965, 170 – 173. It is one of the largest villas in the territory of Bosnia and Herzegovina.

39 I. Čremošnik 1974, 72 – 80. The villa at the locality Panik, Bileća was also studied.

40 Ć. Truhelka 1893, 291 – 293, F. Fiala – C. Patsch 1895, 273 – 275, F. Fiala 1897, 170, V. Atanacković – Salčić 1979, 16. The mosaics from Stolac were discovered in the Roman villas within a larger complex of an ancient settlement.

41 I. Kellner 1897, 137 – 140. E. Pašalić 1959, 123 and 128. At the lo-cality of the urban settlement Aqua S.... at Ilidža, Sarajevo, the archeaological excavations and field studies of the settlement were undertaken in several phases. A number of mosaics was found in the urban villa, hospitalium and other facilities.

42 V. Paškvalin 1990, 53 and 54. Most probably the building was an early Christian church.

43 D. Sergejevski 1947, 16 – 23, E. Pašalić 1959, T. IV fig. 2, 3, 4. Two mosiacs in the building used as thermae were found on the site of once large urban, mining and economic centre.

44 V. Radimsky 1896, 211 and 223.

Antički mozaici sa prostora Bosne i Hercegovine

Na prostoru Bosne i Hercegovine do danas je otkriveno postojanje skoro 50 različitih

mozaika.37 Najveći broj ovih mozaika otkriven je kao rezultat arheoloških istraživanja različi-tih lokaliteta (Višići38, Panik39, Stolac40, Ilidža41, Putovići – Ograja42, Sarajevo43 i Domavia44).

Najznačajniji lokalitet sa 15 cijelih ili frag-mentiranih mozaika otkriven je na lokalitetu Višići kod Čapljine. Mnogi od mozaika iz Višića se mogu datirati u grupu najstarijih primjera-ka ove vrste umjetnosti na tlu Bosne i Hercego-vine. Za razliku od većine monokromnih mo-zaika ove vrste, višićki primjerci umjesto mr-kih posjeduju sivo-plave karbonatne kocke iz neposredne okolice. Zbog toga su ovi mozaici nježnijih i svjetlijih tonova. Pored crno-bijelih, konstatiran je i znatan broj višebojnih mozaika na kojima je uočeno prisustvo plave, crvene, 37 Detaljnu analizu izrade, kompozicije, komparacije i detalja

ukrasnih motiva mozaika u Bosni i Hercegovini dala je u svojoj studiji o mozaicima I. Čremošnik 1984.

38 I. Čremošnik 1965., 170–173. Riječ je o jednoj od najvećih vila na prostorima Bosne i Hercegovine.

39 I. Čremošnik 1974., 72–80. Na lokalitetu Panik kod Bileće također je istražena vila.

40 Ć. Truhelka 1893., 291–293, F. Fiala – C. Patsch 1895., 273– –275, F. Fiala 1897., 170, V. Atanacković – Salčić 1979., 16. Mozaici kod Stoca su otkriveni u rimskim vilama u sklopu većeg antičkog naselja.

41 I. Kellner 1897., 137–140. E. Pašalić 1959., 123 i 128 T. IV 2, 3, 4. Na lokalitetu urbanog naselja Aqua S... na Ilidži kod Sarajeva, u više vremenskih etapa, vršena su arheološka istraživanja različitih objekata koja su pripadala navedenom naselju. Tom prilikom, u objektima vile urbane, hospicija, kao i drugih pra-tećih objekata pronađen je i određen broj mozaika.

42 V. Paškvalin 1968., 154, isti 1990., 53 i 54. Na lokalitetu Pu-tovići kod Zenice je otkriven objekat koji je definiran kao rimska terma. Objekat je prošao više građevinskih faza. U prvoj fazi objekat je bio vila, dok je u drugoj fazi objekat pretvoren u termu.

43 D. Sergejevski 1947., 16–23. Navedeni objekat je najvjerovat-nije bio starokršćanska crkva.

44 V. Radimsky 1896., 211 i 223. Na lokalitetu velikog urbanog, rudarskog i privrednog središta, pronađeni su ostaci dva mozaika u objektu terme koja je pripadala ovom naselju.

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representations prevailing. The concept fol-lowed when making the mosaics in Višići in-dicates two basic patterns: one with the cen-tral motif and another, with the repetition of one motif or the combination of several motifs. The mosaic found in the corridor with the mo-tif of intersecting circles (catalogue, No. 14, T. XIII) distinguishes itself among the black-and-white mosaics. In another similar room, there is a mosaic with network of hexagons – “hon-eycomb“ motif (catalogue, No. 2, T. II).

One mosaic, with the fish as a central mo-tif, distinguishes itself among other mosaics with central motifs. The fish is on a plate and surrounded by a motif of scales concentri-cally placed. The rims of the circle and the square are in the form of a rope, whereas the outer border is composed of intersecting cir-cles. The circles are done in blue and white tesserae (catalogue, No. 15, T. XIV).

The pattern of another mosaic, with two fish in the central part, offers more details. The whole surface of the mosaic is of rectan-gular form. The central circle is divided into eleven concentric rows of rhombi. In the cen-tre, there is a motif with two fish. The border is made of ivy and lined up triangles (cata-logue, No. 4, T. IV).

The mosaic No. 16 (T. XV) has an eight-arm star with elongated arms around which there are squares, and the border at the out-side, made of a line of rhombi (catalogue, No. 16, T. XV).

On one mosaic there are stylized motifs of a shell or a fan, filled with a pattern of leaves and canthari and squares around the star (catalogue, No. 16, T. XV).

The mosaic in Višići has the combination of geometrical and floral elements. Its colours are more abundant and its pattern is com-posed of semicircles and quarters of circles with floral motifs, rimmed by a rope (cata-logue, No. 3, T. III).

The mosaic with central motif of a rhomb in the centre, of which there is a square, can also be categorized as a mosaic with central motifs. The halves of the eight-arm stars are

žute i svijetlocrvene boje. Vrlo interesantni su i sami motivi na mozaicima iz Višića. Do-minirajući prikazi odnose se na geometrijske i mitološke motive. Sama koncepcija izrade mozaika u Višićima pokazuje da su korište-na dva osnovna sistema: shema sa centralnim motivom i shema sa ređanjem jednog motiva ili kombinacija više motiva. Od crno-bijelih mozaika ističe se primjerak otkriven u hodni-ku koji posjeduje motiv krugova koji se sijeku (red. br. 14, T. XIII). U drugoj prostoriji slične namjene nalazi se motiv mreže šestorokuta – “pčelinje saće“ (red. br. 2, T. II).

Među mozaicima sa centralnim motivom izdvaja se mozaik sa ribom u središnjem dije-lu. Riba je prikazana na pladnju, a oko ribe je motiv krljušti u jedanaest koncentričnih redo-va. Okvir kruga i kvadrata čini pletenica, dok vanjski okvir čine krugovi koji se sijeku. Ovi krugovi izvedeni su bijelim i plavim kockica-ma (red. br. 15, T. XIV).

Više raznobojnih detalja pruža shema dru-gog mozaika u čijem se centralnom dijelu nalazi prikaz dvije ribe. Cjelokupan mozaik smješten je u formi pravougaonika. Krug u centralnom polju podijeljen je u jedanaest koncentričnih redova rombova. U centralnom dijelu je na-vedeni prikaz dvije ribe. Okvir čini bršljanova loza i niz trokuta (red. br. 4, T. IV).

Na mozaiku red. br. 16 (T. XV) nalazi se prikaz osmokrake zvijezde izduženih rombič-nih krakova oko koje su kvadrati, kao i vanj-ski okvir od niza rombova. Stilizacija motiva školjke ili lepeze, ispunjen većinom dvoboj-nim motivima sa shematski izrađenim listo-vima i kantarosima u kvadratima oko zvijez-de zastupljen je na ovom primjeru mozaika (red. br. 16, T. XV).

Jedan od mozaika iz Višića je kombinira-nog geometrijsko – floralnog karaktera. Boga-tijih je boja, sa uzorkom polukrugova i četvr-tine krugova sa biljnim motivima, uokviren pletenicama (red. br. 3, T. III).

U mozaike sa centralnim motivom uvr-štava se i onaj u čijem centru je motiv romba upisan u kvadrat. Duž kvadrata smještene su polovine osmokrakih zvijezda. U centralnom

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flanking the square. In the central part, the rhomb, there is a motif of a leaf (catalogue, No. 10, T. IX, fig. 1 and 2).

Very interesting mosaics are those with repeated geometrical motifs. This group in-cludes also mosaics with a network of cir-cles (catalogue, No. 13, T. XII), a network of squares bordered by ropes (catalogue, No. 7, T. VII), as well as those with repeated four-leaf rhomboid stars (catalogue, No. 12, T. XI).

The abundance of motifs and the form spe-cific for dining-rooms, and “T“ shaped dining room, distinguish the mosaic in the triclinium in Višići. The mosaic is composed of two richly decorated fields. The motifs of infinite mean-ders and rhombi prevail in one part, while in the other, there are motifs of hexagons, four-arm stars and squares. The border is made of ivy, ropes and crescent shields (catalogue, No. 9, T. VIII, fig. 1 and 2).

Those richly decorated mosaics from Višići, belonging to the group with lining up motifs, include the one with a hexagon in its centre. There are six more hexagons placed around the central one, which are bordered by a rope and with six-petal rosettes in their centres. The outside border is made of a line of rhombi, with the motifs of scales and dol-phins in the inside. In the corners, there are leaves and canthari, with ivy growing out of them (catalogue, No. 11, T. X, fig. 1 – 3).

Another mosaic from the same group has in-finite rosettes and intersecting circles in its cor-ners. The dolphins are placed at the side. The main border around the circle is made of a hear-shaped rope (catalogue, No. 6, T. VI, fig. 1 – 3).

The above mosaics from Višići vary in their decorations, motifs, technique and patterns. By composition and motifs they create a special group of mosaics from the Roman province of Dalmatia. Based on the comparative analysis, they can be dated to mid 2nd century.

The locality of Panik, nearby Bileća, occu-pies the second position based on its signifi-cance and number of mosaics described. There are 9 mosaics found in the locality, which have been preserved whole or in fragments.

dijelu – rombu nalazi se motiv lista (red. br. 10, T. IX, sl. 1 i 2)

Vrlo interesantan mozaik predstavlja si-stem ponavljanih geometrijskih motiva. U ovu grupu mogu se uvrstiti mozaici sa mre-žom poredanih krugova (red. br. 13, T. XII), mrežom poredanih kvadrata uokvirenih ple-tenicama (red. br. 7, T. VII), kao i ponavljanih četverolisnih rombičnih zvijezda (red. br. 12, T. XI).

Bogatstvo motiva i oblik specifičan za go-s tinske sobe i terpezarije u vidu slova “T“ iz dvajaju na posebno mjesto mozaik iz pro-storije triklinija u Višićima. Sastoji se od dva bogato ukrašena polja. U jednom dijelu do-miniraju motivi beskonačnog meandra i rom-bova, dok su u drugom motivi šestorokuta, četverokrake zvijezde i kvadrata. Okvir čine bršljani, pletenice i polumjesečasti štitovi (red. br. 9, T. VIII, sl. 1 i 2).

Među bogatije mozaike iz Višića, koji spa-daju u grupu primjeraka sa ređanjem motiva je i primjerak koji u centralnom dijelu ima še-storokut. Oko njega je poredano još šest še-storokuta. Uokvireni su pletenicom, a u nji-hovom centru se nalaze šestolatične rozete. Vanjski okvir je sastavljen od reda rombova, dok unutrašnji ima motiv krljušti i delfina. U uglovima su prikazi listova i kantarosa iz kojeg izlazi bršljanova loza (red. br. 11, T. X, sl. 1–3).

Na drugom mozaiku iz iste grupe prikaza-ni su u uglovima beskonačne rozete i krugovi koji se sijeku. Delfini su postavljeni sa stra-ne. Glavni okvir kruga čini srcolika pletenica (red. br. 6, T. VI, sl. 1–3).

Navedeni mozaici iz Višića su po svojoj ornamentici, motivima, tehnici izrade i she-matizaciji raznoliki. Po kompoziciji i izboru motiva predstavljaju posebnu grupu mozaika iz rimske provincije Dalmacije. Prema kom-parativnoj analizi, mozaici iz Višića se mogu datirati u sredinu II stoljeća.

Drugi po značaju i broju istraženih mo-zaika je lokalitet Panik kod Bileće. Na tom lokalitetu je pronađeno 9 mozaika cijelih ili fragmenata. U odnosu na veliki građevinski

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The mosaics have been preserved only in the bath facility and a part of living area within the entire complex. In one of the rooms, the damaged mosaic representing Orpheus has been found45. The mosaic is composed of two parts. In one part, there is a central figure of Orpheus, whereas the oblong part contains a portrait of a Muse. The mosaic with Orpheus belongs to the type of mosaics with central pattern. Orpheus is placed within an octagon created by crossing two squares. The border is decorated by twisted ropes and relief wind-ing straps (catalogue, No. 43, T. XLV, T. XLVI, T. XLVII, T. XLVIII, T. XLIX).

The field with the Muse is filled by multi-threaded rope. Calliope46 dressed in green tu-nica has feathers as a head decoration, which appears in late antiquity (catalogue, No. 43, T. XLVI).

The large mosaic is occupied, along with Or-pheus who dominates and Calliope, by the rep-resentations of a leopard and birds, and bounti-ful vegetation (catalogue, No. 43, T. XLVIII).

The geometrical mosaics in Panic include also both those with central pattern and those that are defined as mosaics with repeated motifs. Unlike the former mentioned mo-saic, these are made in two colours – white and grey-blue. The two mosaics found have a motif of a linear cross-like meander that is crossed in a form of a swastika thus filling the entire surface of the mosaic (catalogue, No. 37, T. XXXIX, No. 38, T. XL).

In the room next to the mosaic with Or-pheus, there is a geometrically shaped mosaic with a medallion in its centre, totally devas-tated. The medallion has a wide geometrical 45 Orpheus, the most famous mythological singer, player and

a poet, was a son of the Thrakian Eagros. The legend has it that he was given birth by the Muse, Calliope. Clio or Polyhymnia. He received the first instructions in singing by Calliope or Appolo. Fascinated by his music, birds followed him, fish jumped out of the water, and the beasts curled down at his feet. The trees bent down to protect him against the sun. Orpheus was frequently represented accompanied by animals and surrounded by trees. This was a favourite motif in Cristian iconography, which interpreted Orpheus as the impersonification of Christ.

46 Calliope was a daughter of Zeus and Mnemosi and was con-sidered to be the protectrice of art, poetry in particular. She had three sons with Eagros – Orpheus, Linos and Kimateon.

kompleks koji je istražen, mozaici su očuvani samo u prostorijama banje i dijelu stambenih prostorija. U jednoj od navedenih prostorija pronađen je oštećeni mozaik sa prikazom Orfeja.45 Ovaj mozaik se sastoji od dva dijela. U jednom dijelu nalazi se centralna figura Or-feja, dok je u duguljastom polju portret Muze. Mozaik sa Orfejem pripada tipu mozaika sa centralnom shemom. Orfej se nalazi u osme-rokutu koji je nastao ukrštanjem dvaju kva-drata. Okvir je ukrašen motivom pletenice i plastičnih vijugavih traka (red. br. 43, T. XLV, T. XLVI, T. XLVII, T. XLVIII, T. XLIX).

Površina sa prikazom muze popunjena je višestruko isprepletenom pletenicom. Muza Kaliopa46 odjevena je u zelenu tuniku sa per-jem na glavi kao ukrasom a što je atribut koji se pojavljuje u kasnoj antici (red. br. 43, T. XLVI).

Na ovom velikom mozaiku, pored Orfeja koji dominira, kao i prikaza Kaliope, nalaze se i predstave leoparda i ptica, te bogata ve-getacija (red. br. 43, T. XLVIII).

Među geometrijskim mozaicima u Paniku postoje i primjerci sa centralnom shemom, kao i oni koji se definiraju u grupu mozaika sa ponavljanjem motiva. Za razliku od pret-hodnog mozaika, ovi su dvobojni – u bijeloj i plavosivoj boji. Na dva mozaika konstatiran je motiv sa linearnim meandrom u obliku kri-ža, koji se siječe u obliku svastike, popunja-vajući cijelu površinu mozaika (red. br. 37, T. XXXIX, red. br. 38, T. XL).

U prostoriji do mozaika sa Orfejem otkri-ven je geometrijski mozaik sa medaljonom u centru, koji je potpuno uništen. Oko medaljo-na je vrlo širok geometrijski okvir u kome do-45 Orfej je najčuveniji mitski pjevač, svirač i pjesnik, sin Tra-

čanina Eagra.Prema nekim predanjima rodila ga je muza Kaliopa, Klia ili Polihimnija. Prve pouke o pjevanju je dobio od Kaliope ili Apolona. Zbog njegove pjesme i svirke pti-ce su kružile iznad njegove glave, ribe su iskakale iz vode, sve životinje skupljale su se kraj njegovih nogu, a drveće je prilazilo da ga zaštiti od sunca. Na mozaičnoj umjetnosti je često prikazivan u društvu životinja i drveća. Ovakav motiv je bio omiljen u kršćanskoj ikonografiji, gdje je Orfej shvaćan kao personifikacija Krista.

46 Kaliopa je bila najotmjenija od svih muza, Zeusova i Mne-mosinina kći. Smatrana je predstavnicom umjetnosti, oso-bito pjesništva i epske poezije. Sa Eagrom je rodila tri sina – Orfeja, Lina i Kimateona.

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border dominated by squares, rectangles, in-dented strap, rope and scales. (catalogue, No. 39, T. XLI).

Next to this room, there is a corridor with the mosaic decorated by a cheque-board mo-tif, which is also damaged. The border con-sists of a series of cascade triangles, whereas in the centre there is a heart-shaped twisted rope (catalogue, No. 40, T. XLII, fig. 1 and 2).

The mosaic with a central pattern in a shape of a square filled by triangles belongs to the same group as the preserved two coloured mo-saic from Panik (catalogue, No. 42, T. XLIV).

In one part of the room with the Orpheus mosaic there is a fragment of the mosaic with ambivalent motifs. The mosaic does not have a white base, it became a background included into the motif turning it into black-and white ornaments. This type of motifs is known as ambivalent. It has been recognized as the only known mosaic with this type of representa-tion found so far in the territory of Bosnia and Herzegovina (catalogue, No. 44, T. L).

The most recent mosaics from the locality in Panik include the fragment with octagon and square pattern. In the centre of the hexa-gon there is an inundated rosette in blue col-our. The fragment was found in the memorial building at Crkvina in Panik. Based on the studies of the building in which it was found, the mosaic can be dated to the first half of the 6th century (catalogue, No. 48, T. LIII, fig. 2).

As a result of studies of the locality Aqua S.... at Ilidža, Sarajevo in 1893 as well as those in the period from1950 to1959, 12 mosaics were found. The mosaic with eight-arm star distin-guishes itself by its motif. The arms are double rimmed. The square fields in the corners are decorated by canthari, stylized wine, squares and rectangles. Based on the analysis of the motifs and the composition it is possible to categorize it among the group of mosaics with pseudo pattern with a central motif (catalogue, No. 19, T. XVII). In the adjacent rooms, there were two more mosaics found. One of them is preserved in fragments only with squares within which there are parallelograms placed.

minira kvadrat, pravokutnici, zupčasta traka, pletenica i motiv krljušti (red. br. 39, T. XLI).

Uz prostoriju sa mozaikom čiji je medaljon oštećen nalazi se susjedna prostorija – hod-nik, gdje je pronađen mozaik ukrašen moti-vom šahovskog polja, također oštećen. Okvir ovoga mozaika se sastoji od niza stepeniča-stih trouglova, a u sredini je srcolika pletenica (red. br. 40, T. XLII, sl. 1 i 2).

Očuvanom dvobojnom mozaiku iz Panika može se pripisati i primjerak sa centralnom shemom u obliku kvadrata, koji je popunjen nizovima trouglova (red. br. 42, T. XLIV).

U jednom od krakova prostorije sa mozai-kom Orfeja pronađen je i fragment mozaika čiji ornament ima shemu ambivalentnih mo-tiva. U tom mozaiku ne postoji bijela osnova, nego se ona uključuje u motiv, tako da posto-je i crni i bijeli ornamenti. Takve motive – or-namente nazivamo ambivalentnim. Može se konstatirati da je to do danas jedini mozaik ovakvog prikaza na prostorima Bosne i Her-cegovine (red. br. 44, T. L).

Među najmlađe datirane mozaike sa lo-kaliteta Panik uvrštava se fragment mozaika sa shemom osmerokuta i kvadrata. U centru osmougaonika nalazi se virovita rozeta u pla-voj boji. Ovaj primjerak pronađen je u memo-rijalnoj građevini na Crkvini u Paniku. Na temelju analize građevine u kojoj je nađen, mozaik se može datirati u prvu polovinu VI stoljeća (red. br. 48, T. LIII, sl. 2).

Kao rezultat istraživanja lokaliteta Aqua S.... na Ilidži kod Sarajeva 1893. godine kao i od 1950. do 1959. otkriveno je postojanje 12 mozaika. Po svom geometrijskom motivu iz-dvaja se mozaik sa osmokrakom zvijezdom. Krakovi su dvostruko uokvireni. Kavadratna polja u uglovima su različito ukrašena pri-kazima kantarosa, stilizirane loze, kvadrata i pravougaonika. Analizom motiva i kom-pozicije ovoga mozaika može se definirati pripadnost grupi mozaika lažnih shema sa centralnim motivom (red. br. 19, T. XVII). U susjednim prostorijama istog objekta nađe-na su dva mozaika. Jedan mozaik očuvan je fragmentirano sa prikazom kvadrata u koje

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The field inside is decorated by a meander made of twisted ropes intersecting in the form of a cross. The square fields are bordered by ropes (catalogue, No. 17, T. XVI, fig. 1 and 2).

The other mosaic has been preserved in fragments only. There is still a visible motif of four peltas, facing one another, and creat-ing thus a parallelogram. The inner border is made of a double stranded rope. The ropes are done in lighter colour against a dark back-ground (catalogue, No. 18, T. XVI, fig. 3).

The best preserved mosaics from Ilidža include the mosaic that could be categorized as those with central motif. The decoration consists of a spherical rhomb, surrounded by the surface that is divided up into four elliptic and four trapezoid fields. These parts are bor-dered by a so-called infinite twisted rope. The mosaic is also decorated by dolphins, fish and pedum. In the central part, there is a nymph (catalogue, No. 20, T. XVIII).

Four more fragmented mosaics have been found on the locality of Ilidža. The charac-teristic these mosaics share is the presence of square fields within which there are figurative representations of birds, theatre masques, tra-ditional geometric motifs, rosettes, Gordian knot, fields filled by lined up triangles, border in a form of twisted ropes, etc. (catalogue, No. 21, T. XIX, fig. 1 and 2, T. XX, fig. 1 and 2).

The field studies in the period from 1950 to 1959 in the villa and hospitalium discovered mosaics with geometrical motifs of concentric squares in black-and-white technique (catalogue, No. 26, T. XXVI, fig. 1 and 2), the motif with the surface is divided up into squares, with a square placed inside and the diagonal arms growing out (catalogue, No. 25, T. XXV, fig. 1 and 2).

In the perystile, there is a fragmented mo-saic found which could be categorized into the group with pseudo pattern with a central motif and a square, flanked by an octagon on each side. The space surrounding the octa-gon is divided up into square and rhomboid fields among which there is a motif of an in-finite twisted rope. In one corner, there is still preserved, hardly visible though, a motif of a fish (catalogue, No. 24, T. XXIV, fig. 1 and 2).

su upisani položeni paralelogrami. Unutraš-nje polje je ukrašeno meandrom od pletenica koje se sijeku u obliku križa. Kvadratna polja imaju okvir od pletenica (red. br. 17, T. XVI, sl. 1 i 2).

Drugi mozaik je također očuvan fragmen-tarno. Na njemu je vidljiv motiv četiri pelte nasuprot postavljene, tvoreći pritom parale-logram. Unutrašnji okvir čini dvostruka ple-tenica. Pletenice su svjetlijih boja na tamnijoj osnovi (red. br. 18, T. XVI, sl. 3).

Među najbolje očuvane mozaike na Ilidži može se uvrstiti primjerak koji pripada tipu sa centralnim motivom. Ukras se sastoji od sfernog romba, oko kojeg je prostor podije-ljen u četiri eliptična i četiri trapezoidna po-lja. Navedeni dijelovi su uokvireni motivom tzv. beskonačne pletenice. Na mozaiku su još vidljivi prikazi delfina, ribe i peduma. U cen-tralnom dijelu nalazi se prikaz nimfe (red. br. 20, T. XVIII).

Na lokalitetu Ilidža konstatirano je posto-janje još četiri fragmentirana primjerka mo-zaika. Zajednička karakteristika ovih mozai-ka je postojanje četvrtastih polja u kojima se nalaze figuralne predstave ptica, pozorišnih maski, klasičnih geometrijskih motiva, roze-ta, Gordijevog čvora, polja ispunjenog nizom trokuta, okvira u vidu pletenica i sl. (red. br. 21, T. XIX, sl. 1 i 2, T. XX, sl. 1 i 2).

Istraživačkim radovima koji su se odvijali u periodu od 1950. do 1959. godine u objek-tima vile i hospicija otkriveno je postojanje mozaika sa geometrijskim motivima koncen-tričnih kvadrata u crno-bijeloj tehnici (red. br. 26, T. XXVI, sl. 1 i 2), motivom površina podi-jeljenih u kvadrate, sa kvadratom u centru iz kojeg izlaze dijagonalni kraci (red. br. 25, T. XXV, sl. 1 i 2).

U peristilnoj zgradi pronađen je fragmen-taran mozaik koji se svrstava u grupu moza-ika sa lažnom shemom centralnog motiva i kvadrata oko kojeg je sa svake strane po jedan osmerokut. Oko osmerokuta prostor je podi-jeljen u kvadratna, trapezasta i rombična polja između kojih je motiv beskonačne pletenice. U jednom uglu je ostao očuvan teško vidljiv motiv ribe (red. br. 24, T. XXIV, sl. 1 i 2).

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The mosaic has a very interesting repre-sentation of Cupid47 on a sea-lion, according to which the mosaic could be classified in the group with the pattern of pseudo central mo-tifs. The Cupid is placed in the spherical rhomb with rounded angles. This representation illus-trates a detail fro the thiasos scene, i.e. the wed-ding scene of Thetis48 and Poseidon49(catalogue, No. 22, T. XXI, fig. 1 – 3).

The other mosaic from Ilidža, with the same theme of thiasos has a visible motif of a sea snake. Along with this motif there are also visible dec-orative elements in the form of a heart-shaped and infinite twisted rope, double cross-like me-ander and an egg-shaped ornament (catalogue, No. 23, T. XXII, fig. 1 and 2, T. XXIII, fig. 1 and 2). The mosaic is made in bright and rich colours, because of the glass tesserae were used.

Mosaics from Ilidža date back to the end of the 2nd and the 3rd century.

The mosaics from Stolac deserve special attention due to their motifs and the state of preservation. The mosaic with Minotaur by its motif and technique distinguishes itself from the seven mosaics that have been found in Stol-ac.50 The doors and the towers are schematically represented, around the central scene with Mi-notaur. The Minotaur’s bust is done in white, grey and black colour. The plastic effect is ob-tained through nuances of all colours used and the direction in which the tesserae are placed. The mosaic with Minotaur, in all its aspects, re-flects the superior work by an experienced au-thor from mid 3rd century (catalogue, No. 35, T. XXXVI, fig. 1 and 2, T. XXXVII, fig. 1 and 2).

Other mosaics in buildings dating from ancient time in Stolac also show high level of 47 Cupid or Eros, ancient god of nature, who through love and

longing ensure continuous development and restoration of the world.

48 Thetis, daughter of Nereus and Doris, mother of the most famous Greek hero, Achilles. Both Zeus and Poseidon want-ed to marry Thetis.

49 Poseidon, the son of Chronos and Rhea, one of twelve gods from Olympus.

50 The legend has it that Minotaur was born out of love be-tween Pasiphae, the wife of Minos, king of Creta and the bull Poseidon sent to Minos. When Minotaur was born. Mi-nos incarcarated him in the labirynth. Since the Athenians had to sacrifice seven young girls and men to Minotaur, Theseus went into the labirynth and killed the monster.

Na Ilidži je otkriven i mozaik sa zanim-ljivo izvedenim prikazom Amora na mor-skom lavu.47 Spomenuti motiv svrstava mo-zaik u grupu sa lažnom shemom centralnog motiva. Amor se nalazi u sfernom rombu zaobljenih uglova. Prikaz ilustrira detalj sce-ne thiasosa, tj. vjenčanja Tetide48 i Posejdona (red. br. 22, T. XXI, sl. 1–3).49

Drugi mozaik sa Ilidže sa istom temom thiasosa je primjerak na kome je vidljiv motiv morske zmije. Pored ovog central-nog motiva, vidljivi su i ukrasni detalji sr-colike i beskonačne pletenice, duplog krsta-stog meandra i jajolikog ornamenta (red. br. 23, T. XXII, sl. 1 i 2, T. XXIII, sl. 1 i 2). Mo-zaik ima žive i bogate boje jer je u njegovoj izradi upotrebljavan materijal od staklenih tesera.

Mozaici sa Ilidže datiraju se na kraj II i III stoljeće.

Prema motivima i stepenu očuvanosti po-sebno se izdvajaju mozaici iz Stoca. Od do sada otkrivenih sedam stolačkih mozaika, po svojoj izvedbi i motivu ističe se mozaik sa prikazom Minotaura.50 Vrata i tornjevi dati su shematski, oko centralne scene Minotaura. Poprsje Minotaura dato je u tonovima bije-le, sive i crne boje. Plastičnost ovog mozaika postignuta je nijansama sivih boja i pravcem redanja kocki. U svim segmentima mozaik Minotaura odslikava rad iskusnog majstora iz sredine III stoljeća (red. br. 35, T. XXXVI, sl. 1 i 2, T. XXXVII, sl. 1 i 2).

Visoka razina umjetničkog dometa potvr-đena je i otkrivanjem drugih mozaika na ra-zličitim antičkim objektima u Stocu. Mozaik sa prikazom personifikacije godišnjih doba, 47 Amor ili Eros, staro božanstvo prirode, koje pomoću ljubav-

ne čežnje obezbjeđuje neprekidno stvaranje i stalnu obnovu svijeta.

48 Tetida, Nerejeva i Doridina kći, majka najslavnijeg grčkog junaka Ahila. Zeus i Posejdon su htjeli da se ožene Teti-dom.

49 Posejdon, Kronov i Rejin sin, jedan od dvanaest olimpijskih bogova.

50 Prema legendi, Minotaur je plod ljubavi Pasifaje, žene kralja Krete Minosa, i bika koga je bog Posejdon poslao Minosu da ga žrtvuje. Minos je nakon rođenja Minotaura zatvorio u labirint. S obzirom da su Atenjani morali žrtvovati po se-dam djevojaka i mladića Minotauru, heroj Tezej je izvršio pothvat prodiranja u labirint i ubistva čudovišta.

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artistry. The mosaic with the personification of the four seasons, of which only half of the spring and winter scenes have been preserved reaffirms the above statement. The square field has inside itself two irregular rhombi creating an octagon. The border is made of cross-like meanders, inundated strap and twisted rope motifs (catalogue, No. 33, T. XXXIV, fig. 1 – 3).

The group of richly decorated mosaics from Stolac include a mosaic with central motif of an octagon with another octagon within it. The space between them is divided up into the squares and hexagons. The border is made of twisted rope. On both sides of the central ornament, there are two narrow fields with rhomb motif. The rhom-bi have squares resting on all the four sides. The images of a tiger, leopard, lion, boar and ibex have been preserved. The quality in making the above animals indicates involvement of more craftsmen. The tiger, for example, is done in an excellent manner, whereas the same quality is absent in case of the boar (catalogue, No. 32, T. XXXI, T. XXXII, T. XXXIII, fig. 1 and 2).

In the same building there were three more geometrical mosaics found, which have not been preserved as whole. One of the mosaics must have had a square surface that was divided up by diagonally placed triangles into four fields filled by smaller triangles (catalogue, No. 30, T. XXIX). The second mosaic has for its pattern a square field filled diagonally by lines of small squares and the border is made of squares connected by lines (catalogue, No. 29, T. XXVIII, fig. 1 and 2). The third mosaic has diagonal undulating lines which, through intersecting, create squares with convex or concave sides (catalogue, No. 31, T. XXX). In the building with the four seasons mo-saic there is also much better preserved another, the fourth geometrical mosaic. The motif on this mosaic is made of a circle symmetrically divided into smaller concentric circles filled by spherical triangles (catalogue, No. 34, T. XXXV).

The mosaics discovered in Stolac include the one with a preserved detail of a dolphin and a lobster, which have not been published yet. The found mosaic had white, black and red tesserae (catalogue, No. 36, T.XXXVIII).

od kojih je sačuvana samo polovica sa moti-vom proljeća i zime, potvrda je gore iznese-ne činjenice. U četverokutno polje unesena su dva nepravilna romba koja čine osmoro-kut. Okvir mozaika predstavljen je motivima krs tastog meandra, valovite trake i pletenica (red. br. 33, T. XXXIV, sl. 1–3).

U grupu bogatijih mozaika iz Stoca uvr-štava se i primjerak mozaika sa centralnim motivom osmerokuta u koji je upisan osme-rokut, a prostor između njih podijeljen je u četverokute i šesterokute. Okvir sačinjavaju pletenice. Na obje strane centralne slike na-laze se dva uska polja sa motivom romba na koji se na sve četiri strane naslanjaju kva-drati. Očuvane su predstave tigra, leopar-da, lava, vepra i kozoroga. Kvalitet izrade navedenih životinja ukazuje na intervenci-je različitih majstora. Tako je tigar izrađen kvalitetno, dok je vepar oblikovan izrazito loše (red. br. 32, T. XXXI, T. XXXII, T. XXXIII, sl. 1 i 2).

Istoj zgradi pripadaju i tri geometrijska mozaika koja nisu očuvana u cijelosti. Na jed-nom mozaiku postojalo je četvrokutno polje, koje je dijagonalno postavljenim trokutima dijeljeno u četiri polja ispunjena redovima manjih trokutova (red. br. 30, T. XXIX). Dru-gi mozaik ima uzorak kvadratnog polja po-punjenog dijagonalnim nizovima malih kva-drata, a okvir se sastojao od niza kvadrata povezanih linijama (red. br. 29, T. XXVIII, sl. 1 i 2). Treći mozaik imao je valovite dijago-nalne linije koje presijecanjem čine četvero-kute ulegnutih i ispupčenih strana (red. br. 31, T. XXX). U objektu u kojem je mozaički prikazan motiv godišnjih doba nalazi se i bolje očuvan, četvrti mozaik geometrijskog karaktera. Motiv ovog mozaika sačinjava krug podijeljen na koncentrične krugove popunjene sfernim trokutima (red. br. 34, T. XXXV).

U primjerke koji su otkriveni u Stocu, ubraja se do danas nepubliciran očuvani de-talj delfina i jastoga. Mozaik je rađen bijelim, crnim, sivim i crvenim teserama (red. br. 36, T. XXXVIII)

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Based on the study into the found material and analogy, the above mosaics found in Stolac can be dated back to the period of the 3rd and the 4th century. The mosaics from Stolac, among other finds so far in the territory of Bosnia and Herzegovina, are certainly most lavishly deco-rated and can boast with superior technique.

A smaller number of mosaics, mainly frag-mented, have been found in the localities of Putovići – Ograje, Sarajevo and Domavia.

The monochrome black-and-white style, characteristic for Italic mosaics from the 1st and the 2nd century, is present on a preserved fragment of the mosaic from Putovići nearby Zenica. The plasticity has been achieved by a line made of white pieces shaping the figure. Owe to the rather poor base, the figure with still visible sandals and the hippocampus and the dolphin has been preserved in fragments only51 (catalogue, No. 1, T. I, fig. 1 – 4).

The most recent finds from the classical ep-och in Bosnia and Herzegovina include the mo-saics from Domavia, Srebrenica. Two buildings have been investigated; the municipality build-ing and thermae, and the found mosaics in the thermae were in a very fragmented condition. One of them has a representation of architec-ture, the exclusive example found so far in our territory. Most probably it was a portico with capitals and a frieze decorated by square fields and ceiling beams (catalogue, No. 45, T. LI).

The other mosaic from Domavia has a cen-tral pattern and a destroyed square-shaped medallion in the centre. There are two wide borders around it, with geometrical motifs in the form of a four-armed star made of rhombi. In between the arms there are rhombi placed. In the squares there are numerous representa-tions of Solomon’s knots, peltas, swastikas and rosettes. The motifs are made in various com-binations, diagonal, rhomboid or in a form of a chequer-board, etc. (catalogue, No. 46, T. LII).

The mosaics from Domavia date from the end of the 3rd and the 4th century.

Besides Aquae S..., the settlement at Ilidža, where many mosaics were found, there is yet

51 V. Paškvalin 1990, 53 – 54 with refernce literature.

Analogijom, kao i analizom pronađe-nog materijala navedene stolačke mozaike moguće je datirati u period III i IV stoljeća. Mozaici iz Stoca, među do sada pronađe-nim primjercima na tlu Bosne i Hercego-vine, svrstavaju se u likovna ostvarenja sa najbogatijom dekoracijom i najsolidnijom tehničkom izvedbom.

Na lokalitetima Putovići – Ograje, Saraje-vo i Domavia otkriven je manji broj mozaika, uglavnom fragmentiranih.

Monokromni crno-bijeli stil, karakte-rističan za italske mozaike I i II stoljeća, zastupljen je fragmentom mozaika iz Puto-vića kod Zenice. Plastičnost je postignuta linijom koju čine bijele kocke koje su dale oblik figure. Zbog slabe podloge očuvao se fragmentirani prikaz sa vidljivim sandala-ma, hipokampom i delfinom (red. br. 1, T. I, sl. 1–4).51

Među najkasnije nalaze mozaika klasične epohe u Bosni i Hercegovini spadaju mo-zaici iz Domavie kod Srebrenice. Istražena su dva objekta, općina i banja, a mozaici su pronađeni u vrlo fragmentiranom obliku u banji. Na jednom se nalazi prikaz arhitektu-re, jedini do sada otkriveni prikaz ove vrste u našim krajevima. Najvjerovatnije se radi o portiku sa kapitelima, frizom ukrašenim kvadratnim poljima i gredama tavanice (red. br. 45, T. LI).

Drugi mozaik iz Domavie ima centralnu shemu i destruirani četverokutni medaljon u sredini. Oko njega su dva široka okvira sa geometrijskim motivima u vidu četverokrake zvijezde koju čine rombovi, među čije su kra-kove upisani četverokuti. U četverokutima se nalaze mnogobrojni prikazi Solomonovog čvora, pelte, svastike i rozete. Ovi motivi su rađeni raznim kombinacijama dijagonalno, rombično, u vidu šahovskog polja i sl. (red. br. 46, T. LII).

Mozaici iz Domavie datiraju se na kraj III i IV stoljeće.

Pored naselja Aquae S... na Ilidži, oda-kle potiče više mozaika, na prostoru Sara-51 V. Paškvalin 1990., 53–54 sa literaturom.

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another mosaic found on the locality of Carina, east from the building of the National Museum of Bosnia and Herzegovina. The mosaic has been damaged to a great extent as a consequence of additional covering by earth. A fragmented part with a motif of a geometrical pattern has been pre served. The motif must have been composed of a series of alternating oblong and square rhom-bi, in white and blue colour, with a cross in the middle (catalogue, No. 47, T. LIII, fig. 1). Throu-gh analogy with other similar examples, it can be dated back to the period of late ancient Roman period within early Christian social context.

The mosaics from Japra and Crkvina in Panik could be ascribed to the period of the late ancient Roman Period, i.e. 5th and the 6th century. The mosaics from Japra were used as wall decorations on the front of the basilica. The mosaics, however, have been totally dev-astated as a consequence of intense taking of stones. Only the tesserae of grey stone, baked clay and glass have been found. A part of glass pieces had insertions in gold.52 The mosaic from Crkvina in Panik has also been preserved in fragments only. It has a pattern of repeated geometrical motifs. These have been the only traces indicating the existence of mosaic art in the territory of Bosnia and Herzegovina in the period from the 5th to the 6th century and both of them belong to the sacral architecture.

52 Đ. Basler 1977, 146.

jeva pronađen je još jedan mozaik koji je otkopan na lokalitetu Carina istočno od Zemaljskog muzeja Bosne i Hercegovine. Mozaik je dodatnim ukopavanjima u naj-većoj mjeri oštećen. Očuvan je fragmenti-rani dio sa motivom geometrijske sheme. Navedeni motiv se sastojao od niza izmi-jenjenih izduženih i četvrtastih rombova u bijeloj i plavoj boji sa križem u sredini (red. br. 47, T. LIII, sl. 1). Analogijom sa sličnim primjercima može se datirati u period ka-sne antike, nastao u starokršćanskom kon-tekstu.

Periodu kasne antike, osobito V i VI sto-ljeća, mogu se pridodati mozaici iz Japre i Crkvine u Paniku. Primjercima iz Japre su bile obložene zidne plohe pročelja bazilike. S obzirom na intenzivno vađenje kamena iz ovih kasnoantičkih objekata, mozaici su potpuno uništeni. Pronađene su samo tesere od sivog kamena, pečene zemlje i stakla koje ukazuju na njegovo postojanje. Jedan dio staklenih kocki imao je i uloške od zlata.52 Fragmentirano sačuvan mozaik sa lokaliteta Crkvine u Paniku posjeduje shemu ponav-ljanih geometrijskih motiva. Ovo su jedini tragovi do sada koji ukazuju na postojanje mozaične umjetnosti na tlu Bosne i Hercego-vine u periodu V i VI stoljeća i oba pripadaju sakralnoj arhitekturi.

52 Đ. Basler 1977., 146.

26

Conclusion

Based on the results of the studies so far, the mosaics in the territory of the present Bos-

nia and Herzegovina can be largely dated as belonging to the period from the 2nd to the 4th century. The only exceptions are the three mo-saics that are somewhat more recent and can be dated within the context of early Christianity.

By the technique, with black-and white col-ours prevailing, the two mosaics, from the area nearby Zenica and from Višići, Čapljina, could be dated as the oldest examples belonging to the 1st century.

Making of mosaics with geometrical and figurative elements started with the 2nd century. Most of the mosaics from Višići date back to this period.

Roman mosaics became more popular and widely spread with the 3rd century. This pe-riod marked the onset in the representations of individual figures.

The content of figurative representations is of a versatile nature. Floral and mythological motifs prevail, including scenes with panthers, personifications of four seasons, hippocam-pus, Minotaur, Neptune, fish, dolphins, thi-asos, snakes, nymphs, Calliope and Orpheus.

The geometrical motifs are represented as well: numerous squares, rectangles, concentric circles, triangles, meanders, various lines, semi-circles, infinite twisted ropes, inundated strips, rhombi, egg or heart-shaped elements, etc.

The decline of mosaic art started in the 4th century. The production in Bosnia and Herze-govina is represented by two mosaics from Domavia only. The mosaics from this period in Bosnia and Herzegovina are represented only by two examples from Domavia. The mosaics from the locality of Carina in Sarajevo, Crkvina in Panik and highly damaged fragments from

Zaključak

Na temelju rezultata dosadašnjih istra-živanja, mozaici sa prostora današnje

Bosne i Hercegovine mogu se u najvećoj mjeri datirati u period od II do IV stoljeća. Izuzetak predstavljaju samo tri primjerka koja se datiraju nešto kasnije, a stavljaju se u kontekst starokršćanske prisutnosti na ovim prostorima.

Po načinu izrade, u kojem dominira crno- -bijela tehnika, dva primjerka (iz okoline Ze-nice i iz Višića kod Čapljine) mogu se datirati kao najstariji primjerci iz I stoljeća.

Od II stoljeća počinju se izrađivati geome-trijski i figuralni mozaici u više boja. Iz ovog perioda potiču u najvećem broju mozaici iz Višića.

Popularizacija i širenje izrade rimskih mozaika počinje sa III stoljećem. Od tog pe-rioda dominiraju prikazi sa pojedinačnim likovima.

Vrlo su različiti i sadržaji figuralnih prika-za. Preovladavaju floralni i mitološki motivi sa scenama pantere, personifikacije godišnjih doba, hipokampa, Minotaura, Neptuna, ribe, delfina, morskog thiasosa (svadbene povor-ke), zmije, nimfi, Kaliope i Orfeja.

Zastupljeni su i geometrijski motivi sa veli-kim brojem kvadrata, pravougaonika, koncen-tričnih krugova, trouglova, meandra, različitih linija, polukrugova, beskonačnih pletenica, va-lovitih traka, rombova, jajolikih i srcolikih orna-menata i slično.

Od IV stoljeća dolazi do opadanja mozaič-ke umjetnosti. Ova vrsta umjetničke produk-cije zastupljena je u Bosni i Hercegovini sa samo dva primjerka iz Domavie.

Mozaici sa lokaliteta Carina u Sarajevu, Crkvina u Paniku i veoma oštećeni fra-gmenti iz Japre svjedoče o postojanju moza-

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Japra testify on the existence of mosaic produc-tion in the territory of Bosnia and Herzegovina in the context of early Christianity, belonging to the period from the 5th to the 6th century.

The most oustanding mosaic centre in the province of Dalmatia was in its capital Salona. Epidaurus and Narona, were two other centres, whose whorkshops were visited by craftsmen from Višići, Stolac, Panik, Ilidža and Domavia.

Given the great distances and the large inland territory belonging to the province of Dalmatia, it can be assumed that there must have been at least one workshop to satisfy the needs of inland mosaic production. It is quite likely that the settlement in Aqua S... may have had such a workshop owe to its geo-graphical position and status.53

53 B. Matulić 2000, 211.

ičke produkcije na tlu Bosne i Hercegovine u starokršćanskoj funkciji, u periodu V–VI stoljeća.

Najjače središte mozaičkog stvaralaštva u provinciji Dalmaciji je bilo u glavnom gra-du Saloni. Pored Salone, značajne radioničke centre iz kojih su dolazili majstori koji su izra-đivali mozaike na prostoru Višića, Stoca, Pa-nika, Ilidže i Domavie predstavljaju gradovi Epidaur i Narona.

S obzirom na veliku udaljenost i prostran-stvo unutrašnjosti provincije Dalmacije, može se pretpostaviti da je barem jedna takva radi-onica pokrivala potrebe mozaičkog stvaralaš-tva u unutrašnjosti, pri čemu bi položaj i sta-tus naselja Aqua S... mogao odgovarati takvoj radionici.53

53 B. Matulić 2000., 211.

* Kataloške jedinice su u najvećoj mjeri preuzete iz knjige “Mozaici i zidno slikarstvo rimskog doba u Bosni i Hercegovini“ autorice dr. Irme Čremošnik. U kataloškom opisu su navedeni novi podaci i literatura koja je o temi mozaika na tlu Bosne i Hercegovine u međuvremenu publicirana, kao i nadopune.

** Most of the catalogue units have been taken from the book “Mozaici i zidno slikarstvo rimskog doba u Bosni and Hercegovini“ [Roman Mosaics and Frescoe Painting in Bosnia and Herzegovina] by Irma Čremošnik, Ph.D. The catalogue descriptions, how-ever, list new data and references on the subject of mosaics in Bosnia and Hrezegovina published in the meantime, as well as the most recent additional data.

KATALOG*

CATALOGUE**

KATALOG*

CATALOGUE**

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PUTOVIĆI, Zenica, locality Ograje, thermae (T. I, fig. 1 – 4)

1. BUILDING C, thermae

State of preservation: fragments onlyColour: black and whiteReferences: V. Paškvalin 1968, 154, I. Čre moš-

nik 1984, 111, V. Paškvalin 1990, 53/54 and T. IX fig. 2 and 4.

The fragments representing the hippocampus and the sandals are at the locality.

The fragment with the dolphin is in the collection of the Museum in Zenica.

During the archaeological excavations in 1967, the fragments of two mosaics were found. A part of the mosaic representing a hippocampus has been preserved in the larger hypocaust’s room. The hip-pocampus is in black colour, with the details in white tesserae placed linearly and in a stylized manner.

The other fragment, in the style of black figures, was found in the smaller hypocaust’s room. Only the part representing legs in sandals has been pre-served. The line of white tesserae borders the soles of the sandals and the toe-to-foot-soles straps. The mosaics, most probably, date from the 1st century.

The third fragment has a preserved image of a dolphin. It is made of white and grey-black pieces. It also belongs to the 1st century.

VIŠIĆI, Čapljina, locality Kućišta, Roman villa.

BUILDING B (peristyle)

2. ROOM 1 (T. II)

Size: 3, 5 × 2, 20 mState of preservation: goodColour: white and grey-blueReferences: I. Čremošnik 1965, 170, fig. 4 Plan I

and II, I. Čremošnik 1984, 111. The mosaic is at the locality.

The surface of the mosaic is covered by a net-work of hexagons with heart-shaped leaves in the centre, with their faces randomly turned upwards or downwards. It dates from the mid 2nd century.

PUTOVIĆI kod Zenice, lokalitet Ograje, terme (T. I, sl. 1–4)

1. OBJEKAT C, terme

Očuvanost: samo fragmentiBoja: crna i bijelaLiteratura: V. Paškvalin 1968., 154, I. Čremoš-

nik 1984., 111, V. Paškvalin 1990., 53/54 i T. IX sl. 2 i 4.

Nalazi se: prikaz Hipokampa i sandala na lokalitetu, prikaz delfina u Muzeju u Ze-nici

U rimskim termama prilikom arheoloških iskopavanja 1967. godine, nađeni su fragmenti dva mozaika. U većoj hipokaustnoj prostoriji očuvao se dio mozaika sa prikazom hipokam-pa. Hipokamp je crne boje, a detalji su izvedeni bijelim kockama linearno i stilizirano.

Drugi fragment, u stilu crnih figura, nađen je u manjoj hipokaustnoj prostoriji. Od njega je sa-čuvan samo dio sa prikazom nogu u sandalama. Redom bijelih kocki date su konture potplata sandala i kaiši koji idu od prsta prema tabanu. Mozaici, vjerovatno, pripadaju I stoljeću.

Treći fragment ima očuvan prikaz delfina. Izra-đen je od bijelih i sivocrnih kocki. I ovaj primjerak pripada I stoljeću.

VIŠIĆI kod Čapljine, lokalitet Kućišta, rimska vila

OBJEKAT B (peristilna građevina)

2. PROSTORIJA 1 (T. II)

Veličina: 3,5 × 2,20 mOčuvanost: dobraBoja: bijela i sivoplavaLiteratura: I. Čremošnik 1965., 170, sl. 4 Plan I i

II, I. Čremošnik 1984., 111.Nalazi se: na lokalitetu

Površina mozaika pokrivena je mrežom šeto-ugaonika u čijoj su sredini srcoliki listovi proiz-voljno okrenuti gore i dolje. Pripada sredini II stoljeća.

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3. ROOM 2 (T. III)

Size: 3,5 × 3,5 mState of preservation: damaged in its central partColour: red, pale red, yellow, blue-grey and

whiteReferences: I. Čremošnik 1965, 171, T. XVI, I.

Čremošnik 1984, 111/112The mosaic is at the locality.

The central motif in the mosaic is a circle with-in a square. The surface of the square is separated by an infinite rope into a central circle, semicircles flanking the sides of the square and quarters of the circles at the angles. Between the central circle and the parts of the circle, there are spherical rhom-bi (with concave sides), with squares and heart-shaped leaves in the centre. The central circle has an eight-point star, with rhomboid arms and with rhombi and squares alternating between the end of the star arms and the circle. The arms are with dou-ble red or blue frames, whereas the parts are red. The rhombi with sides in small squares are placed within the squares. Within the rhombi, there are two lines of small squares placed to form a cross. The semicircles are rimmed by indented line, while in field there is a plant with long and narrow leaves in red, blue and yellow colour. The quarters of the circles are rimmed by triangles, and in the central field there is a flower with three petals.

4. ROOM 3 (T. IV, fig. 1 and 2)

Size: 3, 5 × 4,5 mState of preservation: well preservedColours: red, yellow, blue grey and whiteReferences: I. Čremošnik 1965, 170, T. XV, I.

Čremošnik 1984, 112The mosaic is at the locality.

The mosaic has three parts, and the central square shaped surface contains a circle rimmed by a twisted rope. There is one narrow section with two rows of intersecting circles. The segments of the circles are blue, with red or yellow rhombi in the centre. The central circle is divided up into eleven circles within which there are concentrical-ly arranged rhombi, reducing towards the centre and alternating in blue, red, yellow and pale red colour. There is a yellow plate with handles (cor-responding by its form to the Reinzabern sigillata

3. PROSTORIJA 2 (T. III)

Veličina: 3,5 × 3,5 mOčuvanost: oštećen u srediniBoja: crvena, svijetlocrvena, žuta, plavosiva i

bijelaLiteratura: I. Čremošnik 1965., 171, T. XVI, I.

Čremošnik 1984., 111/112.Nalazi se: na lokalitetu

Centralni motiv mozaika je krug koji je upisan u četverokut. Površina četverokuta podijeljena je beskonačnom pletenicom u centralni krug, polukrugove duž strana četverokuta i četvrtine krugova u uglovima. Između centralnog kru-ga i dijelova kruga smješteni su sferni rombovi (konkavnih strana) u koje su upisani četveroku-ti sa srcolikim listom u sredini. U centralni krug upisana je osmokraka zvijezda sa romboidnim krakovima, a između krajeva krakova zvijezda i kruga naizmjenično se redaju rombovi i kva-drati. Krakovi zvijezda imaju dvostruke crvene ili plave okvire, a jezgro je crveno. U kvadratima su rombovi čije strane čine nizovi kvadratića, a u rombovima su dva niza kvadratića postavljenih u obliku križa. Polukrugovi duž strana uokvireni su nizom vučijih zuba, a u polju je biljka dugih i uskih listova crvene, plave i žute boje. Četvrtine krugova oivičene su nizom trouglova, a u polju je cvijet sa tri latice.

4. PROSTORIJA 3 (T. IV, sl. 1 i 2)

Veličina: 3,5 × 4,5 mOčuvanost: dobraBoja: crvena, žuta, plavosiva i bijelaLiteratura: I. Čremošnik 1965., 170, T. XV, I.

Čremošnik 1984., 112.Nalazi se: na lokalitetu

Mozaik je trodijelan, a srednje četverokutno polje sadrži krug oivičen pletenicom. Sa obje stra-ne centralnog četverokuta sa krugom nalazi se po jedno usko polje sa dva reda krugova koji se sijeku. Segmenti krugova su plavi, a u centru su crveni ili žuti rombovi. Centralni krug je podijeljen u jeda-naest krugova koncentrično poredanih rombova, koji se prema centru smanjuju, a naizmjenično su plavi, crveni, žuti i svijetlocrveni. U centru kruga je žuti tanjir sa drškama (oblik odgovara tanjirima sigilata iz Rajncaberna (Reinzabern) iz polovine II

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plates dating from the mid 2nd century). The plate is geometrically stylized with two fish of a decora-tive nature placed on it. The body is dark red, the gills blue, whereas the belly of the fish is pale red. The blue ivy runs around the mosaic with a row of step-like triangles. The mosaic dates from the mid 2nd century.

5. CORRIDORS 5 and 19 (T. V, fig. 1)

Size: 3,70 × 0,70 mState of preservation: well preservedColour: grey-blue and whiteReferences: I. Čremošnik 1965, 170, fig. 6, I.


Simple white-blue mosaics in corridors 5 and 19 are decorated by two rows of blue crosslets within a plane rimmed by a simple line. The mo-saics date from mid 2nd century.

6. ROOM 8 (T. VI, fig. 1 – 3)

Size: 3,5 × 1,70 mState of preservation: well preservedColours: grey- blue, red, yellow, pale redReferences: I. Čremošnik 1965, 172/3, T. XVIII, 2

and XX, 2 and 4, I. Čremošnik 1984, 112/113The mosaic is at the locality.

The mosaic belongs to the group with repeated geometrical motifs. It includes half of the pattern of seven hexagons within a circle, which also ap-pears in room 17. Each of the hexagons is rimmed by a twisted rope. The semicircle is first rimmed by an indented strap to be followed by a frame with egg-shape motif (Eierstab), which is material-ized through the semicircles that are intersecting and bordered from the outside by a heart-shaped (Kelchflechtband) in white, red or yellow colour. In-side the hexagons there are rosettes with bent arms. The centre of the rosette is made of concentric cir-cles (blue, white, red), whereas the arms of the ro-settes are separated by white circles into the straps in different colours. In one corner of the mosaic parallelogram there is an infinite rosette with alter-nating blue, red and yellow arms, and in the other, a circle with four other circles that intersect creating a trilateral rosette in the centre. The circles are in

stoljeća). Tanjir je dat u geometrijskoj stilizaciji i na njemu su položene dvije ribe, koje su po obradi više dekorativne. Glavni dio tijela je tamnocrvene boje, škrge su plavičaste, a donji dio tijela svijetlo-crven. Okvir oko mozaika čini bršljanova loza u plavoj boji, a vanjski okvir niz plavih stepeničastih trouglova. Pripada polovini II stoljeća.

5. HODNICI 5 i 19 (T. V, sl. 1)

Veličina: 3,70 × 0,70 mOčuvanost: dobraBoja: sivoplava i bijelaLiteratura: I. Čremošnik 1965., 170, sl. 6, I. Čre-

mošnik 1984., 112.Nalazi se: na lokalitetu

Jednostavni bijeloplavi mozaici u hodnicima 5 i 19 imaju motiv kojeg čine dva reda plavih križića u polju uokvirenom jednostavnom linijom. Moza-ici pripadaju polovini II stoljeća.

6. PROSTORIJA 8 (T. VI, sl. 1–3)

Veličina: 3,5 × 1,70 mOčuvanost: dobraBoja: sivoplava, crvena, žuta, svijetlocrvenaLiteratura: I. Čremošnik 1965., 172/3, T. XVIII, 2

i XX, 2 i 4, I. Čremošnik 1984., 112/113.Nalazi se: na lokalitetu

Spada u grupu mozaika na kojima se ponav-ljaju geometrijski motivi. Sadrži polovinu sheme motiva sedam šesterokuta upisanih u krug, koja se pojavljuje i u prostoriji 17. Svaki od šesteroku-ta zasebno je uokviren pletenicom. Prvi okvir oko polukruga čini zupčasta traka, a oko njega je okvir sa jajolikim motivom (Eierstaba), koji nastaje presi-jecanjem polukrugova, a vanjski glavni okvir čini srcolika pletenica (Kelchflechtband) u bijeloj, crve-noj ili žutoj boji. U šesterokutima su rozete povije-nih krakova. Centar rozete čine koncentrični kru-govi (plavi, bijeli, crveni i bijeli), dok su krakovi rozete bijelim krugovima podijeljeni u pojaseve raznih boja. U jednom uglu paralelograma mozai-ka je beskonačna rozeta sa naizmjenično plavim, crvenim i žutim krakovima, a u drugom krug u koji su upisana četiri kruga koji se sijeku i u centru čine trostranu rozetu. Krugovi su obojeni crveno i plavo. Oko oba ova motiva je sa svake strane del-

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red and blue. Both of the motifs have a dolphin on each side, whose heads are looking in the direction of the motifs. The outside rim is composed of sim-ple blue motifs made of alternating rectangles and squares with a four-leaf rosette with heart-shaped petals. The mosaic dates from the mid 2nd century.

7. ROOM 10 (T. VII)

Size: 2,40 × 2,40 mState of preservation: well preservedColours: grey-blue, red, yellow, whiteReferences: I. Čremošnik 1965, 171, T. XIX, I.


This mosaic belongs to the type that is character-ized by repetition of geometrical motifs. It is divided up into twenty five squares by an infinite rope, which is white, red or yellow against the blue background. The squares bear a four-leaf rosette or a spherical rhomb in red or yellow, which alternate. There is only one field rimmed by indented strips with a blue rhomb inside. The rhomb has a white square in its centre. The mosaic dates from the mid 2nd century.

8. CORRIDORS 12 and 14 (T. V, fig. 2)

Size: 8 × 0,70 mState of preservation: well preservedColours: grey-blue and whiteReferences: I. Čremošnik 1965 170, fig. 7, I.


The mosaics, in these long and narrow corri-dors, are with grey-blue motifs, square by their shape. There are diagonal arms growing from the corners in a form of small squares. The mosaics in corridors 12 and 14 date from mid 2nd century.

9. ROOM 13 (T. VIII, fig. 1 and 2)

Size: diagonal arm 6,60 × 2,10 m, and the axial 4,50 × 3,50 m

State of preservation: minor damage in some parts

Colours: grey-blue, red, yellow, whiteReferences: I. Čremošnik 1965, 171/2, Tab. XVII

and XX, I. Čremošnik 1984, 113The mosaic is at the locality.

fin okrenut glavom prema motivu. Vanjski okvir ima jednostavne plave motive koji su sastavljeni od naizmjeničnih četverokuta sa upisanim pra-vougaonicima i kvadrata sa četverolisnom roze-tom srcolikih latica. Mozaik potiče iz sredine II stoljeća.

7. PROSTORIJA 10 (T. VII)

Veličina: 2,40 × 2,40 mOčuvanost: dobraBoja: sivoplava, crvena, žuta, bijelaLiteratura: I. Čremošnik 1965., 171, T. XIX, I.


Mozaik pripada tipu čija je karakteristika po-navljanje geometrijskih motiva. Podijeljen je besko-načnom pletenicom, koja je bijele, crvene ili žute boje na plavoj osnovi, u dvadeset i pet kvadrata. U kvadrate je naizmjenično upisana četverolisna rozeta ili sferni romb u crvenoj ili žutoj boji. Samo jedno polje ima okvir zupčaste trake a u njemu je plavi romb sa bijelim kvadratom u centru. Ovaj mozaik je također iz sredine II stoljeća.

8. HODNICI 12 i 14 (T. V, sl. 2)

Veličina: 8 × 0,70 mOčuvanost: dobraBoja: sivoplava i bijelaLiteratura: I. Čremošnik 1965. 170, sl. 7, I. Čre-


Mozaici u ovim dugim i uskim hodnicima ima-ju sivoplave motive reda kvadrata iz čijih uglova izlaze dijagonalni kraci u vidu niza malih kvadra-ta. Mozaici u hodnicima 12 i 14 su iz sredine II stoljeća.

9. PROSTORIJA 13 (T. VIII, sl. 1 i 2)

Veličina: poprečni krak 6,60 × 2,10 m, osovinski 4,50 × 3,50 m

Očuvanost: mjestimično manje oštećenBoja: sivoplava, crvena, žuta, bijelaLiteratura: I. Čremošnik 1965., 171/2, Tab. XVII

i XX, I. Čremošnik 1984., 113.Nalazi se: na lokalitetu

35


The mosaic is T-shaped and composed of a nar-row diagonal and the main axial part. The main part is made of repeated geometrical motifs. The hexago-nal decoration, rimmed by a rope against the blue background, alternates with a four-arm star and squares. The hexagons have six-arm rosettes with red and yellow petals, whereas the squares contain motifs in a shape of a calyx, Salomon’s knot, and four-leaf rosettes with heart-shaped leaves. The mosaic is, as usual, rimmed by a rope against the blue background, with a line of blue rope forming at the same time the exterior frame to the diagonal part of the mosaic.

The ornament in the diagonal part of the mosaic is in grey-blue colour only and contains a continuous line of swastikas bordering the sides of vertical and horizontal rhombi. Inside, the rim is composed of ivy tendrils. The mosaic dates from mid 2nd century.

10. ROOM 16 (T. IX, fig. 1 and 2)

Size: 3,20 × 3,20 mState of preservation: well preservedColour: grey-blue, red, yellow, whiteReferences: I. Čremošnik 1965, 171, fig. 13, T.

XIX, 2, I. Čremošnik 1984, 113/114The mosaic is at the locality.

It belongs to the type of mosaics with a charac-teristic pseudo central pattern, because its motif is repeated on larger mosaics. In the centre of a square surface there is a rhomb rimmed by a rope. In the centre of the rhomb, there is a yellow leaf. On all four sides of the square there are halves of eight-arm stars, and the squares placed in between the arms. The arms of the stars are divided up into the four rhombi of different colours: white, red, yellow. The squares are diagonally divided into four trapezoid and four triangular areas, alternating in white, red and yellow colour. The corners of the mosaic are decorated by ivy spirals. The inner border of the mosaic is in a form of a double rope, which is also in grey-blue, red and yel-low colours. The external border is made of two rows of peltas place to the sides of the border so that they touch in the arc sections. The motif is in grey-blue col-our. The mosaic dates from mid 2nd century.

11. ROOM 17 (T. X, fig. 1 – 3)

Size: 4,5 × 4,5 mState of preservation: rather well preservedColour: grey-blue, yellow, red, white

Mozaik je oblika slova “T“ i sastoji se iz uskog poprečnog i glavnog osovinskog dijela. Glavni dio čini tip mozaika sa ponavljanim geometrijskim motivima. Motiv šesterokuta, uokviren pleteni-com na plavoj osnovi, izmjenjuje se sa motivom četverokrake zvijezde i kvadratima. U šesterokute je upisana šestolisna rozeta crvenih i žutih latica, a u kvadrate motivi cvjetne čašice, Solomonovog čvora, četverolisne rozete sa srcolikim listovima. Okvir mozaika čini uobičajena pletenica na plavoj osnovi, a vanjski okvir niz plavih pelti koje su isto-vremeno vanjski okvir poprečnog dijela mozaika.

Ornament na poprečnom dijelu mozaika, izve-den samo u sivoplavoj boji, sastoji se od nepre-kidnih svastika koje uokviruju strane vertikalnih i horizontalnih rombova. Unutarnji okvir ovom dijelu čini motiv vitice bršljanove loze. Mozaik je iz sredine II stoljeća.

10. PROSTORIJA 16 (T. IX, sl. 1 i 2)

Veličina: 3,20 × 3,20 mOčuvanost: dobraBoja: sivoplava, crvena, žuta, bijelaLiteratura: I. Čremošnik 1965., 171, sl. 13, T. XIX,

2, I. Čremošnik 1984., 113/114.Nalazi se: na lokalitetu

Spada u tip mozaika sa pseudo centralnom shemom jer se njegov motiv ponavlja na većim mozaicima. U sredini kvadratnog polja mozaika upisan je romb uokviren pletenicom. U centru romba je motiv žutog lista. Na stranicama kva-drata smještene su polovine osmokrakih zvijezda, a među njihovim kracima su kvadrati. Kraci zvi-jezda podijeljeni su u četiri romba koji su različito obojeni: bijelo, crveno, žuto. Kvadrati su dijagona-lama podijeljeni u četiri trapezasta i četiri trokuta-sta polja, naizmjenično bijela, crvena i žuta. Uglovi mozaika ukrašeni su spiralno uvijenim bršljanom. Unutarnji okvir mozaika čini dvostruka pletenica koja je također sivoplave, crvene i žute boje. Vanj-ski okvir čine dva reda pelti položenih uz strane okvira tako da se dodiruju lukovima. Motiv je u sivoplavoj boji. Mozaik je iz sredine II stoljeća.

11. PROSTORIJA 17 (T. X, sl. 1–3)

Veličina: 4,5 × 4,5 mOčuvanost: dosta dobraBoja: sivoplava, žuta, crvena, bijela

36


References: I. Čremošnik 1965, 172/173, T. XVIII, 1 and XX, 3, I. Čremošnik 1984, 114

The mosaic is at the locality.

The mosaic belongs to those with a pattern of geo-metrically repeated motifs, i.e. there are seven hexa-gons in a circle. The same pattern is present in room 8 as well, the difference being that the hexagons are not individually bordered by a rope, but rather rimmed by an infinite rope. The internal border of the hexa-gon is made of indented band. The rosette with bent arms is the same as in room 8, whereas the arms are divided, by concentric circles, into straps of different colours. The central circle with hexagons is placed within a square field in the corners of which there are motifs of canthari and heart-shaped leaves and the ivy growing out of them. The rims inside the square field are composed of squares and rectangles, suc-ceeding one another. Within the rectangles, against the two sides of the mosaic, there are dolphins facing one another, while along the other two sides there is a series of motifs with scales. The squares contain the four-leaf rosettes and spherical rhombi. The outside borders are made of narrow strips of blue triangles with cascade sides, to be succeeded by a line of blue rhombi. It dates from mid 2nd century.

12. ROOM 18 (T. XI)

Size: 3 × 4,10 mState of preservation: damaged in its central partColour: grey-blue, red, yellow, whiteReferences: I. Čremošnik 1965, 172, T. XVII, 2, I.


The mosaic has the pattern of repeated geometri-cal motifs, i.e. four-arm stars with rhomb shaped arms inside which there are squares. The arms are, like in room 23, presented by two concentric blue borders. Spherical rhombi, or the four triangles with cascading sides in the centre of the interior square, decorate the interior surfaces of the squares. In the squares inside the central square surface there are spherical rhomb like motifs or the four triangles flanking the central square. The mosaic dates from mid 2nd century.

13. ROOM 20 (T. XII)

Size: 2,5 × 2,5 mState of preservation: preserved rather well

Literatura: I. Čremošnik 1965., 172/173, T. XVIII, 1 i XX, 3, I. Čremošnik 1984., 114.

Nalazi se: na lokalitetu

Mozaik pripada shemi ponavljanih geometrij-skih motiva, i to sedam šesterokuta u krugu, kako je to izvedeno i na mozaiku u prostoriji 8. Od mo-zaika prostorije 8 razlikuje se po tome što svaki še-sterokut nije posebno uokviren pletenicom, nego su svi zajedno obuhvaćeni beskonačnom plete-nicom. Unutarnji okvir šesterokuta čini zupčasta traka. Motivi rozeta povijenih krakova isti su kao i u prostoriji 8, a kraci su koncentričnim krugovima podijeljeni u pojaseve raznih boja. Centralni krug sa šesterokutima upisan je u kvadratno polje, u čijim su uglovima naizmjenično smješteni motivi kantarosa i srcolikog lista iz kojih izlazi bršljanova loza. Unutarnji okvir ovom četverokutnom polju čine četverokuti i pravougaonici koji se naizmjenič-no redaju. U pravougaonicima su, uz dvije strane mozaika, antitetski postavljeni delfini, uz druge dvije niz motiva krljušti. U četverokutima su če-tverolisne rozete i sferni rombovi. Vanjske okvire čini, prvo, uska traka sa nizom plavih trouglova, stepeničastih strana, a zatim niz plavih rombova. Potiče iz sredine II vijeka.

12. PROSTORIJA 18 (T. XI)

Veličina: 3 × 4,10 mOčuvanost: oštećen u srediniBoja: sivoplava, crvena, žuta, bijelaLiteratura: I. Čremošnik 1965., 172, T. XVII, 2, I.


Mozaik ima shemu sa ponavljanjem geometrij-skih motiva, i to četverokrake zvijezde rombičnih krakova, među kojima su kvadrati. Kao i kod pro-storije 23, krakovi su riješeni sa dva koncentrič-na plava okvira. U kvadratima su motivi sfernih rombova, ili četiri trougla stepeničastih strana po-redani oko strana u centru upisanog četverokuta. I ovaj mozaik je iz sredine II stoljeća.

13. PROSTORIJA 20 (T. XII)

Veličina: 2,5 × 2,5 mOčuvanost: dosta dobraBoja: sivoplava, crvena, žuta, bijela

37


Colour: grey-blue, red, yellow, whiteReferences: I. Čremošnik 1965, 171, fig. 8, I.


The mosaic belongs to those with rather simple pattern containing repeated geometrical motifs. The square surface of the mosaic is filled with in-tersecting circles, and the segments created in that way are done in blue colour. The centres of the circles are red and yellow spherical rhombi. The border at the inner side of the mosaic is the usual rope in three colours, while at the outer side, it is a line of grey-blue triangles with cascade sides. This mosaic also dates from mid 2nd century.

14. CORRIDOR 21 (T. XIII, fig. 1 and 2)

Size: 4,60 × 1,20 mState of preservation: well preservedColour: grey-blue and whiteReferences: I. Čremošnik 1965, 170, fig. 5, I.


Like in other corridors, the motif on this mosaic, i.e. the intersecting circles, is in grey-blue colour only, while the segments are in blue colour. This motif is very frequent on our mosaics, both in utility rooms and on the borders. It dates from mid 2nd century.

15. ROOM 22 (T. XIV)

Size: 3 × 3 mState of preservation: well preservedColours- light-blue, red, yellow, whiteReferences: I. Čremošnik 1965, 170, T. XV, 2, I.


The pattern is composed of a centrally placed circle with a dish with fish in the middle (the same motif as in room 3). The circle is filled with concen-tric rows of scales, gradually reducing towards the centre. One half of the scales is grey-blue, and the other white. The circle has a triple border, the first in a form of indented strip, and the second with an egg-shaped motif resulting from circles that inter-sect, and the third one the usual rope. The rope also borders the square field of the mosaic. The corners of

Literatura: I. Čremošnik 1965., 171, sl. 8, I. Čre-mošnik 1984., 114.


Spada među jednostavnije mozaike sa ponav-ljanim geometrijskim motivima. Kvadratno polje mozaika ispunjeno je krugovima koji se sijeku, a tako nastali segmenti su plave boje. U centru krugova su crveni i žuti sferni rombovi. Unutar-nji okvir mozaika čini uobičajena pletenica u tri boje, a vanjski niz sivoplavih trouglova stepeni-častih strana. Mozaik potiče također iz sredine II stoljeća.

14. HODNIK 21 (T. XIII, sl. 1 i 2)

Veličina: 4,60 × 1,20 mOčuvanost: dobraBoja: sivoplava i bijelaLiteratura: I. Čremošnik 1965., 170, sl. 5, I.


Kao i u ostalim hodnicima i u ovom je mo-tiv samo u sivoplavoj boji, i to motiv krugova koji se sijeku dok su segmenti plavi. Ovaj mo-tiv se na našim mozaicima često upotrebljava i u nusprostorijama i na okvirima. Iz polovine je II stoljeća.

15. PROSTORIJA 22 (T. XIV)

Veličina: 3 × 3 mOčuvanost: dobraBoja: svijetloplava, crvena, žuta, bijelaLiteratura: I. Čremošnik 1965., 170, T. XV, 2, I.


Mozaik ima shemu sa centralnim motivom kruga u čijem je središtu žuta posuda sa ribom, (isti motiv kao u prostoriji 3). Krug je popunjen koncentričnim redovima motiva ljusaka, koje se idući prema centru smanjuju. Jedna polovi-na ljuski je sivoplava, a druga bijela. Krug ima trostruki okvir – prvi je u vidu zupčaste trake, drugi ima jajoliki motiv koji je nastao presije-canjem polukrugova, a treći je uobičajena ple-tenica. Pletenica uokviruje i kvadratno polje mozaika. Uglove četverokuta ispunjavaju tri

38


this square surface are filled by three rows of blue tri-angles. The outer border of the mosaic contains a line of intersecting circles, the resulting segments made in blue colour (the same motif as on the previous mosaic in corridor 21). It dates from mid 2nd century.

16. ROOM 23 (T. XV)

Size: 4,5 × 4,5 m State of preservation: inferiorColour: grey-blue red, yellow, whiteReferences: I. Čremošnik 1965, 171, T. XVI, 2, I.

Čremošnik 1984, 115 The mosaic is at the locality.

The central pattern is very similar to that on the mosaic in room 2. The square is divided by an infi-nite rope into the central circle, the semicircles next to the sides of the square and quarters of circles in the corners. The central circle has the same eight-arm star whose arms have double blue rim and the centre in red colour. In the squares between the arms there are spherical rhombi, and within each rhomb, there is a four-leaf rosette. The spherical rhombi between the circle and semicircles have richer decoration. In the centre, there is a square. Within the squares, the yellow leaves and canthari alternate. The segments and the semicircles, how-ever, are only decorated by grey-blue beams end-ing in semicircles and representing a stylized mo-tive of a shell. The first rim around the central field in the mosaic is a rope, the second – a row of trian-gles with cascade sides, and the third one – a row of rhombi. The two external rims are in grey-blue colour. The mosaic dates from mid 2nd century.

ILIDŽA, SARAJEVOMosaic excavated in 1893

17. GROUP OF BUILDINGS I (T. XVI, fig. 1 and 2)

Size: 2,76 × 1,94 m (of the preserved part)State of preservation: in part onlyColours: shades of grey to black, red, yellow, white References: J. Kellner 1897, 137, T. LVIII, fig. 8a,

I. Čremošnik 1984, 115/116The fragments are in the collection of the National

Museum of BH in Sarajevo.

niza plavih trouglova. Vanjski okvir mozaika sadrži niz krugova koji se sijeku, a tako nastali segmenti su plave boje (isti motiv kao na pret-hodnom mozaiku hodnika 21). Iz sredine je II stoljeća.

16. PROSTORIJA 23 (T. XV)

Veličina: 4,5 × 4,5 m Očuvanost: slabaBoja: sivoplava, crvena, žuta, bijelaLiteratura: I. Čremošnik 1965., 171, T. XVI, 2, I.

Čremošnik 1984., 115. Nalazi se: na lokalitetu

Mozaik ima centralnu shemu sličnu mozaiku prostorije 2. Kvadrat je podijeljen beskonačnom pletenicom u centralni krug, polukrugove uz strane kvadrata i četvrtine krugova u uglovi-ma. U centralni krug je upisana ista osmokraka zvijezda čiji kraci imaju dvostruki plavi okvir i crveno obojeni centar. U kvadratima, među krakovima zvijezda, je sferni romb, a u rombo-vima četverolisna rozeta. Bogatije su ukrašeni sferni rombovi između kruga i polukrugova. U centar je upisan kvadrat. U kvadratima su naiz-mjenično žuti listovi i kantarosi. Odsječci i po-lovine krugova imaju, međutim, samo motiv u sivoplavoj boji, i to bijelih i sivih zraka, koji se završavaju polukrugovima i predstavljaju geo-metrijsku stilizaciju motiva školjke. Prvi okvir polja mozaika je pletenica, drugi – niz trouglova stepeničastih strana, a treći – niz rombova. Dva vanjska okvira su u sivoplavoj boji. Iz sredine je II stoljeća.

ILIDŽA KOD SARAJEVAMozaici iskopani 1893. godine

17. GRUPA GRAĐEVINA I (T. XVI, sl. 1 i 2)

Veličina: 2,76 × 1,94 m (očuvanog dijela)Očuvanost: samo djelimičnaBoja: nijanse sive do crne, crvena, žuta, bijelaLiteratura: J. Kellner 1897., 137, T. LVIII, fig. 8a,

I. Čremošnik 1984., 115/116.Nalazi se: Zemaljski muzej Bosne i Herce-

govine.

39


The only preserved parts include less than one third of the mosaic and a part of the upper left corner, with very rough mending still visible. Only along the nar-rower side of the mosaic there is the border decorated by a line of squares with four rectangles in them. The motif is in black pieces. The border is made of a series of black rhombi with white crosses in the middle. The central surface of the mosaic is filed with the motif of cross-like meander made of twisted ropes. The mean-der is surrounded by square fields rimmed by a rope with the Gordian knot or by squares with black cor-ners and a circle in the middle. The ropes alternate in yellow, red and white colour and white, reddish and yellow series of tesserae on the black base. Both the squares and the meander have a narrow rim made of three rows of tesserae (white, black, white). The field around the image picture is not made of white pieces, which is the usual fashion, but of greyish to black and white tesserae that are randomly placed. Generally, it is made very meticulously and precise-ly and dates back to the 2nd – 3 rd century.

18. GROUP OF BUILDINGS I (T. XVI, fig. 3)

Size: the border 0.46 m wide State of preservation: only a fragment of one

corner Colours: yellow, grey, light and dark red, white References: J. Kellner 1897, 137, T. LIX, fig. 8b,

I. Čremošnik 1984, 116 The mosaic is in the collection of the National Mu-

seum of BH in Sarajevo.

The border of one corner of the mosaic and a part of the circle have been preserved. Both the mo-saic and the circle are rimmed by a rope in two col-ours – white and red, and white and yellow. There is also another border made of a double-stranded rope, one strand is white-yellow-grey and the other one is white-light-red-dark red. The outside border is made of s series of groups with four black peltas in each which are lined up in a form of an elongated square. It belongs to the 2nd and 3rd century.

19. GROUP OF BUILDINGS I (T. XVII)

Size: 1,90 × 1,90 mState of preservation: left corner damaged Colours: brown, black, whiteReferences: J. Kellner 1897, 137-8, T. LX, fig. 8c,

I. Čremošnik 1984, 116.The mosaic is at the locality.

Od mozaika je očuvano nešto manje od jedne trećine i dio lijevog gornjeg ugla na kome se još vide vrlo grube popravke. Samo uz užu stranu mozaika postoji okvir ukrašen redom kvadrata u koje su upisana četiri pravougaonika. Motiv je izveden crnim kockama. Okvir mozaika čini niz crnih rombova sa bijelim križom u sredini. Polje mozaika ispunjeno je motivom meandra oblika križa sačinjenog od pletenica. Meandar okružuju kvadratna polja uokvirena pletenicom u kojima je motiv Gordijevog čvora ili kvadrata sa crnim uglovima i krugom u sredini. Pleteni-ce su naizmjenično od žutih, crvenih i bijelih, te bijelih, crvenkastih i žutih redova kocki na crnoj osnovi. I kvadrati i meandar su uokvireni uskim ramovima od tri reda kocki, (bijelih, crnih, bije-lih). Polje oko slike mozaika nije, kao što je to uobičajeno, od bijelih kocki, nego od sivkastih do mrkih i bijelih kocki, koje su nasumce naba-cane. Rađen je inače brižljivo i precizno, a potiče iz II–III stoljeća.

18. GRUPA GRAĐEVINA I (T. XVI, sl. 3)

Veličina: širina bordure 0,46 mOčuvanost: samo fragment jednog uglaBoja: žuta, siva, svijetlo i tamnocrvena, bijelaLiteratura: J. Kellner 1897., 137, T. LIX, fig. 8b, I.

Čremošnik 1984., 116.Nalazi se: Zemaljski muzej Bosne i Hercego-

vine.

Očuvao se okvir jednog ugla mozaika i uz njega dio motiva kruga. I mozaik i krug uokvi-reni su pletenicom u dvije boje bijelocrvenom, i bijeložutom. Drugi okvir mozaika čini dvostru-ka pletenica, jedan krak je bijelo-žuto-siv, drugi bijel-svjetlocrven-tamnocrven. Vanjski okvir čini niz grupa od po četiri pelte crne boje, poredane u obliku izduženog četverokuta. Pripada II–III stoljeću.

19. GRUPA GRAĐEVINA I (T. XVII)

Veličina: 1,90 × 1,90 mOčuvanost: oštećen lijevi ugaoBoja: smeđa, crna, bijelaLiteratura: J. Kellner 1897., 137–8, T. LX, fig. 8c,

I. Čremošnik 1984., 116.Nalazi se: na lokalitetu

40


It belongs to the type of mosaics with pseudo central pattern. Within a simple border there is an eight-arm star. The arms of the star have double borders, with a rectangle in the centre, or the centre which is divided into four rhombi coloured in an alternating fashion. The squares in the corners are decorated by vases, while within the square there are rectangles and diagonal rows of squares. One corner is damaged. The triangles between the arms are double rimmed, with a central black triangle. The decorative elements are black, placed onto a brownish-white base, and the surface surrounding the mosaic is in white-brown colour with darker scattered pieces. It belongs to the 2nd – 3rd century.

20. GROUP OF BUILDINGS IV (T. XVIII)

Size: 2,28 × 2,28 mState of preservation: only one quarter preservedColours: black, greenish, yellow, red, whiteReferences: J. Kellner 1897, 138-9, T. LXI, fig. 8d,

I. Čremošnik 1984, 116/117, M. H. Ćeman 2000, 146 and 147.

The mosaic is in the collection of the National Mu-seum of BH in Sarajevo.

The square field of the mosaic is divided up by an infinite rope into four elliptic medallions in the corners among which there are trapezoid fields, whereas the central part of the mosaic is occupied by a spherical rhomb. The rope is made of small black, white and red tesserae on a black base. The fields are additionally rimmed by narrow yellow or red lines, and the central field has somewhat wider frame made of rows of yellow, red, black and green tesserae. The elliptic medallions are decorated with the figures of fish in a white setting. Only two lat-eral trapezoid fields have been preserved in parts. The trapezoid field with yellow base is decorated by a black palmetta, and the preserved half of the other one with yellow–white base is decorated by a semicircle made of black, white and red tesserae on which there is a vase and a dolphin at the left side. In the central field, against the yellowish-white base, there is a bust, quite likely of a mythological charac-ter. There are flowers in the hair of the bust and it is lightly dressed. The other attributes surrounding the bust are not clear and could not be determined. The mosaic is bordered by a line of rhombi that are made of one row of black tesserae with a black cube in the centre. The surface around the image in the mosaic is made of limestone tesserae in different shades of green and yellow. It belongs to the 2nd – 3rd century.

Mozaik pripada tipu sa pseudocentralnom shemom. U jednostavni crni okvir upisana je osmokraka zvijezda. Krakovi zvijezda imaju dvo-struki okvir, a u centar je upisan pravougaonik ili je centar podijeljen u četiri romba naizmjenič-no obojena. Kvadrati u uglovima mozaika imaju motiv vaze, u kvadrat upisane pravougaonike i dijagonalno postavljene redove četverokuta, dok je jedan ugao oštećen. Trouglovi među krakovima imaju dvostruki okvir, a u centar je upisan crni trougao. Motivi su u mrkoj boji na smećkastobije-loj podlozi. I prostor oko mozaika je bijelo-smeđe boje sa tamnijim razasutim kockicama. Pripada II–III stoljeću.

20. GRUPA GRAĐEVINA IV (T. XVIII)

Veličina: 2,28 × 2,28 mOčuvanost: samo polovina očuvanaBoja: crna, zelenkasta, žuta, crvena, bijelaLiteratura: J. Kellner 1897., 138–9, T. LXI, f. 8d,

I. Čremošnik 1984., 116/117, M. H. Ćeman 2000., 146 i 147.

Nalazi se: Zemaljski muzej Bosne i Hercego-vine.

Četvrtasto polje mozaika izdijeljeno je besko-načnom pletenicom u četiri elipsasta medaljona u uglovima među kojima su trapezasta polja, dok sredinu mozaika zaprema sferni romb. Ple-tenica je od sitnih crnih, bijelih i crvenih kocki na crnoj osnovi. Polja su uokvirena još uskim žutim ili crvenim linijama, dok srednje polje ima širi ram od redova žutih, crvenih, crnih i zelenih kocki. U elipsastim medaljonima bijele osnove nalaze se predstave ribe. Od bočnih trapezastih polja očuvana su djelimično samo dva. Trape-zasto polje sa žutom osnovom ima motiv crne palmete, a očuvana polovina drugog, žutobijele osnove, ima motiv polukruga od crnih, bijelih i crvenih kocki na kojem stoji vaza, dok je lijevo od nje delfin. U centralnom polju, na žućkasto-bijeloj osnovi je poprsje, vjerovatno mitološkog karaktera. Poprsje je sa predstavom cvijeća u kosi i lagano je odjeveno. Atributi oko poprsja su nejasni i nisu se mogli odrediti. Okvir mo-zaika čini niz rombova koji su izvedeni jednim redom crnih kocki sa crnom kockom u centru. Pojas oko centralnog motiva mozaika čine koc-ke krečnjaka raznih nijansi tamnije zelene i žute boje. Pripada II–III stoljeću.

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21. GROUP OF BUILDINGS V (T. XIX, fig. 1 and 2, T. XX, fig. 1 and 2)

Size: 3, 85 × 3, 60 mState of preservation: four fragments of the

mosaic have been preserved Colours: black, red, pale red, yellow, bluish,

green, brown, purple References: J. Kellner 1897, 139-140, T. LXII,

LXIII, LXIV, fig. 8e1, e2, e3, e4, I. Čremošnik 1984, 117, M. H. Ćeman 2000, 149.

The mosaic is in the collection of the National Mu-seum of BH in Sarajevo.

The surface surrounding the mosaic is almost monochrome, greyish-blue at three sides, whereas the fourth side has a border (8e1) which is decorated by line of squares divided up into rectangles and squares. The squares are decorated by other squares and the rhombi in the middle. Judging by the preserved frag-ments, the mosaic must have been divided up by a twisted rope into a large central field and two rows of smaller square fields surrounding it (8e2, e3, e4). The inner row of square fields contain representations of birds, masks, fish tails, while the outer row is decorat-ed by geometrical motifs, like Gordian knot, four-arm star made of peltas, four-arm rosette in a circle, infi-nite rope, decorated by triangles placed around the centre, a line of squares creating a rhomb, a square divided into smaller squares and rectangles. There are legs and a tail preserved, most probably those of a lion. The twisted ropes are white-greyish-red and purple-white – bluish against the bluish background. The birds are red, white, green and black. The mosaic belongs to the 2nd – 3rd century.

ILIDŽA , SARAJEVOMosaics excavated in the period 19501959

22. BUILDING A, ROOM 21 (T. XXI, fig. 1 and 2)

Size: 8 × 10 mState of preservation: well preservedColour: no dataReferences: Fasti Archeologici VI, 1951 (1953),

457 fig. 169-171, E. Pašalić 1959, 123, T. II, I. Čremošnik 1984, 117/118, M. H. Ćeman 2000, 145 and 151.


21. GRUPA GRAĐEVINA V (T. XIX, sl. 1 i 2, T. XX, sl. 1 i 2)

Veličina: 3,85 × 3,60 mOčuvanost: sačuvana su četiri fragmenta mo-

zaikaBoja: crna, crvena, svijetlocrvena, žuta, pla vi-

časta, zelena, smeđa, ljubičastaLiteratura: J. Kellner 1897., 139–140, T. LXII,

LXIII, LXIV, fig. 8e1, e2, e3, e4, I. Čremošnik 1984., 117, M. H. Ćeman 2000., 149.

Nalazi se: Zemaljski muzej Bosne i Herce-govine.

Pojas oko mozaika je gotovo jednobojan, sivo-bijel sa tri strane, dok je uz četvrtu stranu slike okvir (8e1), koji je ukrašen nizom kvadrata koji su podijeljeni u pravougaonike i kvadrate. Kvadrati imaju ukras kvadrata i rombova u sredini. Koliko se po očuvanim fragmentima može suditi, mozaik je bio podijeljen pletenicom u veliko centralno po-lje i na dva reda manjih kvadratnih polja oko njega (8e2, e3, e4). Unutarnji red kvadratnih polja sadrži likovne prikaze ptica, maski, repa ribe, a vanjski red geometrijske motive, kao što su Gordijev čvor, zvijezda sa četiri kraka od pelti, četverokraka ro-zeta u krugu, beskonačna pletenica, polje ukraše-no nizom trouglova poredanih oko centra, nizom kvadrata koji čine romb, kvadrat izdijeljen na kva-drate i pravougaonike. U srednjem velikom polju očuvane su noge i rep najvjerovatnije lava. Osnova pletenice je plavičasta, a pletenice su bijeložućka-stocrvene i ljubičastobijele. Ptice su crvene, bijele, zelene i crne boje. Pripada II–III stoljeću.

ILIDŽA KOD SARAJEVAMozaici iskopani od 1950. do 1959. godine

22. OBJEKAT A, PROSTORIJA 21 (T. XXI, sl. 1 i 2)

Veličina: 8 × 10 mOčuvanost: dobraBoja: ne postoje podaciLiteratura: Fasti Archeologici VI, 1951 (1953).,

457 sl. 169–171, E. Pašalić 1959, 123, T. II, I. Čremošnik 1984., 117/118, M. H. Ćeman 2000., 145 i 151.


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The mosaic was excavated by dr. N. Andrijašević in 1949/50, and apart from the photographs there is no other data about it. The photograph of the cen-tral decoration is all that has been preserved from the mosaic, which makes it possible to conclude that the central field of the mosaic was divided up by an infinite rope, into the central spherical rhomb with rounded corners where the ellipses rimmed by ropes rest on the concave parts. In the spheri-cal rhomb, there is a Cupid riding a sea lion. It is a part of the pageant scene of Tritons, Nereidae, sea monsters, hippocampus, Cupids and others from the Ancient Greek scene of thiasos. The sea lion is somewhat difficult to be recognized, because of his rather stylized mane and the serpent-like back, like the one that other sea monsters have. He is repre-sented in a fierce movement, with his chest project-ed, his legs as if swimming, while his serpent-like body is twisted. There is a Cupid with wings stand-ing on his back, holding the reins. It is evident that the artist was not sufficiently skilful to represent bodies in movement – there are some errors both in portraying Cupid’s body and that of the sea lion, which are characteristic for declining technique in the 3rd century. Likewise, the interior details of the forms are unclear and unnatural, again owe to the inferior artistry of the author. The mosaic belongs to the firs third of the 3rd century.

23. BUILDING A, ROOM 22 (T. XXII, fig. 1 and 2, T. XXIII, fig. 1 and 2)

Size: ca 5 × 5 mState of preservation: well preservedColour: no dataReferences: Fasti Archeologici VI, 1951 (1953),

457 fig. 169-171 E. Pašalić 1959, 123, I. Čremošnik 1984, 118, M. H. Ćeman 2000, 150.


Next to the room with the thiasos mosaic, there is another mosaic with the sea snake, but this is where the patterns are indiscernable because it was only the central part that was captured. The pho-tograph reveals the field with the snake rimmed by a double meander, encompassing oblong fields filled with multi-stranded rope. To the left, there is another square field. Only the corner of the border is visible and is made of a heart-shaped rope and a plastic egg-shaped decoration. It belongs to rare

Mozaik je iskopao dr. N. Andrijašević 1949/50. god., a osim slika ne postoje nikakvi podaci o mo-zaiku (nije sačuvana analiza materijala, opis i sl.) Od mozaika je sačuvana samo slika centralnog motiva, po kojoj možemo suditi da je polje moza-ika bilo podijeljeno beskonačnom pletenicom – u centru na sferni romb zaobljenih uglova, a na nje-gova ulegnuća se u uglovima mozaika naslanjaju elipse uokvirene pletenicom. U sfernom rombu prikazan je Amor, koji jaše na morskom lavu. To je dio scene povorke tritona, nereida, morskih ne-mani, hipokampa, Amora i drugih, koji potiču od grčke scene thiasosa. Morskog lava je nešto teže prepoznati, jer mu je prikaz grive vrlo stiliziran, zadnji dio tijela je zmijolik kao i u drugih morskih nemani. Prikazan je u jakom pokretu, isturenog prednjeg tijela i sa uzdignutim nogama kao da pli-va, dok je zmijoliki dio tijela zavinut. Na leđima stoji Amor sa krilima i vodi ga na uzdi. U pred-stavama zaokreta tijela i kod morskog lava i Amo-ra javljaju se greške – umjetnik više nije dorastao komplikovanijim predstavama pokreta tijela, što je odlika opadanja tehnike u III stoljeću. Isto tako i unutarnji detalji formi su nejasni i neprirodni, usljed neumješnosti majstora. Pripada prvoj treći-ni III stoljeća.

23. OBJEKAT A, PROSTORIJA 22 (T. XXII, sl. 1 i 2, T. XXIII, sl. 1 i 2)

Veličina: cca 5 × 5 mOčuvanost: dobraBoja: ne postoje podaciLiteratura: Fasti Archeologici VI, 1951 (1953).,

457 sl. 169–171 E. Pašalić 1959., 123, I. Čremošnik 1984., 118, M. H. Ćeman 2000., 150.


Do prostorije sa mozaikom thiasosa je drugi mozaik sa predstavom morske zmije. I ovdje she-ma mozaika ostaje nejasna jer je snimljen samo centralni dio. Na slici se vidi da je polje sa pred-stavom zmije uokvireno duplim meandrom, koji obuhvata duguljasta pravougaona polja ispunjena višestrukom pletenicom. Lijevo od ovog je drugo četverokutno polje od kojeg se vidi samo ugao okvira koji čine srcolika pletenica i plastični jajo-liki ukras. Spada među rijetke trodimenzionalne motive na našim mozaicima. Mozaik pripada prvoj trećini III stoljeća.

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three-dimensional motifs on our mosaics. The mo-saic belongs to the first third of the 3rd century.

The indented border framing the central part, as well as the contours of the double meander with a rectangular field filled by multi-stranded twisted rope, indicate that this mosaic must have had another scene representing mythological creatures wit a goat head and the front legs and the floral circle placed centrally.

24. BUILDING A, ROOM 13 (T. XXIV, fig. 1 and 2)

Size: ca 6 × 6,70 mState of preservation: inferiorColours: black, red, pink, brown, whiteReferences: E. Pašalić 1959, 123, T. III, 1, 2, I.

Čremošnik 1984, 118, M. H. Ćeman 2000, 145


The mosaic was discovered in the explorations in 1955/56. The central medallion is completely de-stroyed, damaged on the edges as well. Traces of the scene can be hardly discerned in the medallion, that, according to the archaeologist, could be a Gor-gon. The mosaic is laid on the base made of lime mortar and fragmented bricks. The pattern has a pseudo central motif of a square, with an octagon on each side. An infinite rope divides the mosaic into the central square field with four octagons on each side, whereas in the corners there are square, trapezoid and rhomboid fields. A motif of a fish has been preserved in traces in one square field, while the trapezoid fields are decorated by two rows of rhombi or triangles. The rhomboid fields are double rimmed or divided up into four alternately coloured rhombi, like the rhomb-shaped star arms at Ilidža and Višići. The wide border in two colours around the mosaic is irregular. To the south, the wider part of the border is decorated by linear cross-like me-ander framing the square fields. To the north, east and west, the frame has a line of rosettes creating four peltas placed in a circle around the centre, which, in turn, has little squares placed crosswise. This frame is bordered by another one composed of diagonal lines of polychrome tesserae with no special pattern. The usual white field around the image in the mosaic is not white but made of white and dark tesserae randomly scattered. The mosaic dates back to the 3rd century.

Zupčasti okvir oko centralnog prikaza kao i konture duplog meandra sa pravougaonim poljem ispunjenim višestrukom pletenicom, upućuje na zaključak da ovom mozaiku pripada i još jedna scena na kojoj su prikazana mitološka zmijolika bića sa kozijom glavom i prednjim nogama i flo-ralnim krugom u sredini.

24. OBJEKAT A, PROSTORIJA 13 (T. XXIV, sl. 1 i 2)

Veličina: cca 6 × 6,70 mOčuvanost: lošaBoja: mrka, crvena, ružičasta, smeđa, bijelaLiteratura: E. Pašalić 1959., 123, T. III, 1, 2, I.

Čremošnik 1984., 118, M. H. Ćeman 2000., 145.


Mozaik je otkriven prilikom istraživanja 1955./56. godine Centralni medaljon je potpu-no uništen, a oštećen je i na obodima. U meda-ljonu se naziru tragovi neke predstave, što bi, po mišljenju istraživača, mogao biti Gorgoneon. Mozaik leži na podlozi od krečnog maltera sa dosta primjesa istucane cigle. Shema mozaika je sa lažnim centralnim motivom kvadrata, oko ko-jeg se nalazi sa svake strane po jedan osmerokut. Mozaik je neprekidnom pletenicom podijeljen u centralno četverokutno polje i četiri osmerokuta sa strane, a u uglovima su četverokutna, trape-zasta i rombična polja. U jednom četverokutnom polju očuvan je trag prikaza ribe, dok su trepeza-sta polja ukrašena sa dva niza rombova ili sa dva niza trouglova. Rombična polja imaju dvostruki okvir, ili su podijeljena u četiri naizmjenično obo-jena romba, kao i rombični krakovi zvijezda na Ilidži i u Višićima. Široki dvobojni okvir oko mo-zaika nije pravilan. Sa južne strane mozaika je širi okvir ispunjen motivom mrkog linearnog mean-dra u obliku križa koji uokviruje kvadratna polja. Sa sjeverne, istočne i zapadne strane je okvir sa nizom rozeta koje čine četiri pelte postavljene u krugu oko centra u kome su unakrst postavljeni kvadratići. Oko ovog okvira je uži okvir. Sasto-ji se od dijagonalnih redova sitnih polikromnih kocki bez nekog određenog motiva. I na ovom mozaiku uobičajeno bijelo polje oko slike moza-ika nije čisto bijelo, nego je načinjeno od bijelih i mrkih kocki, nasumce nabacanih. Mozaik je iz III stoljeća.

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25. BUILDING C – HOSPITALIUM 6 (T. XXV, fig. 1 and 2)

Size: ca 5 × 3,80 mState of preservation: in parts onlyColours: black and whiteReferences: E. Pašalić 1959, 128, T. IV, 3, I.


The mosaic was excavated in the period 1956-1958. The base is made of lime with ground bricks, and the pieces are impressed into the layer of fine mortar. The mosaic is of a geometrical shape, and the pieces/tesserae are large in size. The surface is covered by a net of black squares with another square inside out of which diagonal beams made of series of tesserae run. The same motif is found in Višići as well. The outer border of the mosaic is a simple line. The mo-saic dates back to the 3rd-4th century.

26. HOSPITALIUM, ROOM 7 (T. XXVI, fig. 1 and 2)

Size: 5 × 3,80 mState of preservation: preserved in parts onlyColour: black, whiteReferences: E. Pašalić 1959, 128, T. IV, 4, I.


The mosaic was excavated during the explora-tions in the 1956 – 1958 period. It is covered by a net of black squares that are divided into the squares and rectangles, the motif imitating the casings. In the centre of the square there is a rhomb with cascade sides. The mosaic dates back to the 3rd – 4th century.

27. HOSPITALIUM – ROOM 2b (T. XXVII)

Size: 5 × 3,5 mState of preservation: the west part significant-

ly damagedColour: black and whiteReferences: E. Pašalić 1959, 128, T. IV, 2, I.


Excavated in the explorations in the 1956 – 1959 period. There is no data about the geometrical motifs in the mosaic. Only one dolphin, out of the

25. OBJEKAT C – HOSPICIJ, PROSTORIJA 6 (T. XXV, sl. 1 i 2)

Veličina: cca 5 × 3,80 mOčuvanost: djelimičnaBoja: mrka i bijelaLiteratura: E. Pašalić 1959., 128, T. IV, 3, I.


Mozaik je iskopan u periodu od 1956.–1958. Podloga mozaika je od kreča sa zdrobljenom opekom, a kocke su bile utisnute u sloj finog maltera. Mozaik je geometrijski sa kockama ve-ćih dimenzija. Površina je prekrivena mrežom mrkih kvadrata, koji u centru imaju kvadrat iz čijih strana izlaze dijagonalni kraci od niza koc-ki, motiv koji nalazimo i u Višićima. Vanjski okvir mozaika je jednostavna linija. Mozaik je iz III–IV stoljeća.

26. HOSPICIJ, PROSTORIJA 7 (T. XXVI, sl. 1 i 2)

Veličina: 5 × 3,80 mOčuvanost: očuvan samo djelimičnoBoja: mrka, bijelaLiteratura: E. Pašalić 1959., 128, T. IV, 4, I.


Iskopan je tokom istraživanja u periodu od 1956. do 1958. Mozaik je prekriven mrežom mrkih četverokuta koji su podijeljeni u kvadrate i pravo-ugaonike, motiv koji imitira kasete stropa. U cen-tru kvadrata je romb stepeničastih strana. Mozaik je iz III–IV stoljeća.

27. HOSPICIJ – PROSTORIJA 2b (T. XXVII)

Veličina: 5 × 3,5 mOčuvanost: zapadni dio veoma oštećenBoja: mrka i bijelaLiteratura: E. Pašalić 1959., 128, T. IV, 2, I. Čre-


Iskopan je tokom istraživanja u periodu od 1956. do 1959. godine. Ne postoje podaci o ge-ometrijskim motivima mozaika. Spominje se samo motiv dvaju antitetski postavljenih del-

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two, has been preserved. The dolphins are done in black colour and face each other; the details are done in lines made of tiny pieces. The mosaic dates back to the 3rd – 4th century.

28. HOSPITALIUM – ROOMS 3a and 3c

References: E. Pašalić 1959, 128, I. Čremošnik 1984, 119


The mosaics in rooms 3a and 3c of the hospital-ium have been partly preserved. Their geometrical ornaments, similar to those in rooms 6 and 7, are all that is mentioned. There is no clear description of the ornaments, annotating that they will be dealt with once the explorations have been completed.

STOLAC

29. BUILDING 6, ROOM 1 (T. XXVIII, fig. 1 and 2)

Size: 4,40 × 4,90 mState of preservation: very well preservedColour: black and whiteReferences: Ć. Truhelka 1893, 291, fig. 50, 1, V.

Atanacković-Salčić 1979, 16, I. Čremošnik 1984, 119.

A fragment of the mosaic belongs to the collection of the National Museum of BH in Sarajevo.

The mosaic was excavated in 1892. It is covered by a net of rhombi the sides of which are made of a line of black tesserae, whereas the middle is marked by a small rhomb. The border is made of the series of squares interlinked by a line. In the centre of the square, there are small geometrical motifs of spherical rectangles, rhombi with cascade sides and chess fields in the shape of a rhomb. It belongs to the 3rd century.

30. BUILDING 6, ROOM 2 (T. XXIX)

Size: ca 4,80 × 3,80 mState of preservation: in parts onlyColours: black and white

fina, od kojih se samo jedan potpuno očuvao. Delfini su mrke boje sa detaljima ucrtanim bi-jelim linijama i od sitnih su kocaka. Mozaik je iz III–IV stoljeća.

28. HOSPICIJ – PROSTORIJE 3a i 3c

Literatura: E. Pašalić 1959., 128, I. Čremošnik 1984., 119.


Djelimično su se očuvali i mozaici u prostori-jama 3a i 3c hospitalijuma. Spominje se samo da njihovi geometrijski ornamenti podsjećaju na one u prostorijama 6 i 7. Ne postoji bliži opis tih mo-tiva, nego se napominje da će se obraditi pošto se završe istraživanja.

STOLAC

29. OBJEKAT 6, PROSTORIJA 1 (T. XXVIII, sl. 1 i 2)

Veličina: 4,40 × 4,90 mOčuvanost: vrlo dobraBoja: crna i bijelaLiteratura: Ć. Truhelka 1893., 291, sl. 50, 1, V.

Atanacković-Salčić 1979., 16, I. Čremošnik 1984., 119.

Nalazi se: jedan fragment u Zemaljskom muzeju Bosne i Hercegovine.

Mozaik je iskopan 1892. godine. Pokriven je mrežom rombova čije su strane od niza crnih koc-ki, a sredina je obilježena malim rombom. Okvir mozaika čini niz kvadrata povezanih među so-bom linijom. U centru kvadrata su mali geometrij-ski motivi sfernih četverouglova, rombova stepe-ničastih strana i šahovskih polja u obliku romba. Pripada III stoljeću.

30. OBJEKAT 6, PROSTORIJA 2 (T. XXIX)

Veličina: cca 4,80 × 3,80 mOčuvanost: samo djelimičnaBoja: crna i bijela

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References: Ć. Truhelka 1893, 291, fig. 50, 2, V. Atanacković-Salčić 1979, 16, I. Čremošnik 1984, 119/120.


The mosaic was excavated in 1892. The square field of the mosaic is diagonally divided up by the lines of larger triangles into the four triangles that are, in turn, filled by lines of smaller triangles. The decoration in the centre has not been preserved. The border of the mosaic is made of a row of squares with rectangles around the central square, which is quite common on our mosaics. It belongs to the 3rd century.

31. BUILDING 6, ROOM 3 (T. XXX)

Size: 5,40 × 3,80 mState of preservation: only a part of the edge of

the mosaic has been preserved Colours: black, whiteReferences: Ć. Truhelka 1893, 292, fig. 50,3, V.

Atanacković-Salčić 1979, 16, I. Čremošnik 1984, 120.


The mosaic was excavated in 1892. The field of the mosaic is covered by a net of undulating lines placed diagonally, creating squares with two con-vex and two concave sides at the intersections. In the middle of the square, there are small spherical parallelograms. The border of the mosaic is made as simple dark line. It belongs to the 3rd century.

32. BUILDING 6, ROOM 4 (T. XXXI, T. XXXII, T. XXXIII, fig. 1 and 2)

Size: ca 6 × 3,80 mState of preservation: the central field and one

side of the mosaic have been destroyed Colours: red, black, pink, light grey and dark

grey wine-red, yellowish, light brown and dark brown

References: Ć. Truhelka 1893, 292-3, T. III, V. Atanacković-Salčić 1979, 16, I. Čremošnik 1984, 120/121

Few fragments are in the collection of the National Museum of BH in Sarajevo.

The mosaic was excavated in 1892. It has a central pattern, the octagon with a smaller one in-

Literatura: Ć. Truhelka 1893., 291, sl. 50, 2, V. Atanacković-Salčić 1979., 16, I. Čremošnik 1984., 119/120.


Mozaik je iskopan 1892. godine. Četverokutno polje mozaika podijeljeno je dijagonalama od re-dova većih trouglova na četiri trougla, koji su po-punjeni redovima manjih trouglova. Motiv centra mozaika se nije očuvao. Okvir mozaika čini niz kvadrata u koji su upisani pravougaonici oko kva-drata u centru, što često nalazimo na našim moza-icima. Pripada III stoljeću.

31. OBJEKAT 6, PROSTORIJA 3 (T. XXX)

Veličina: 5,40 × 3,80 mOčuvanost: očuvan je samo dio ruba mo-

zaikaBoja: crna, bijelaLiteratura: Ć. Truhelka 1893., 292, sl. 50, 3, V.

Atanacković-Salčić 1979., 16, I. Čremošnik 1984., 120.


Mozaik je iskopan 1892. godine. Polje mozaika prekriveno je mrežom valovitih linija postavljenih dijagonalno, tako da presijecanjem ovih linija na-staju četverokuti sa dvije ulegnute i dvije ispup-čene strane. U sredini četverokuta su mali sferni paralelogrami. Okvir mozaika čini jednostavna tamna linija. Pripada III stoljeću.

32. OBJEKAT 6, PROSTORIJA 4 (T. XXXI, T. XXXII, T. XXXIII, sl. 1 i 2)

Veličina: cca 6 × 3,80 mOčuvanost: srednje polje i jedna strana mozai-

ka su uništeniBoja: crvena, crna, ružičasta, svijetlosiva i

mrkosiva, bordo, žućkasta, svijetlosmeđa i mrkosmeđa

Literatura: Ć. Truhelka 1893., 292–3, T. III, V. Atanacković-Salčić 1979., 16, I. Čremošnik 1984., 120/121.

Nalazi se: više fragmenata u Zemaljskom mu-zeju Bosne i Hercegovine

Mozaik je iskopan 1892. godine. Ima cen-tralnu shemu, i to osmerokut u koji je upisan

47


side it. Thus created narrow strip is divided up into four squares. The division into the fields is made by an infinite twisted rope. Based on the data in the publication, the squares included rep-resentations of birds, the hexagons with a horse inside, a lion, a bear and a jumping panther. Only the wolf and the boar have been preserved in the triangles. However, the drawing does not have all these animals, nor are they distributed in the same way. In the National Museum of Bosnia and Herzegovina, there are only the fragments of the mosaic representing a tiger, a leopard jumping, a lion, boar and an ibex. The leopard and the ibex were never mentioned in the publication, which raises some doubts concerning the publication. The representations of the tiger, in the tesserae in different shades of red with black stripes, and of the leopard, in the shades of light red, light blue and dark brown tint with black spots are certainly better in terms of the technique. Less successful are the lion in yellowish-grey and reddish tint, with a greyish mane, and the boar, with unnatural form in light-grey and dark-grey, yellowish and pinkish tint, while the contours of the body are wine-red and dark-grey. The ibex is given in grey, yellowish and reddish tints. The central medallion, where there was supposed to have been a floral ornament, is completely destroyed. However, numerous ani-mals around the central medallion indicate an im-age of Orpheus. The pattern of concentric hexagons is rare and, quite likely, of a Mediterranean origin.

The mosaic next to the central square field has a narrow field on each side and consequently, it is composed of three parts. In narrow fields, the rhombi surrounded by four squares alternate with hexagons decorated with stars. In the centre, there is a square. A wide and richly decorated border with cross-like meander made of ropes, frames the square fields with versatile motifs, like a chess field, Solomon’s knot, triangles aiming in different directions, series of rhombi, squares with parallel-ograms around the squares. In the centre, between the two lines of triangles, there are two lines of squares. On each side of the border, there is also a narrow field with a motif imitating the ceiling cassettes (square divided into parallelograms and squares). Some of the geometrical motifs indicate casual distribution of elements, and on the ropes, the grey tesserae are sometimes placed instead of the dark ones, which, again, indicates inconsist-ence of workmanship. The mosaic dates back to the 3rd century.

manji osmerokut. Ovako nastao uski pojas po-dijeljen je u četiri četverokuta. Ova podjela na polja izvedena je neprekidnom pletenicom. Po podacima u publikaciji u četverokutima su bile predstave ptica, u šesterokutima konj, lav, med-vjed i panter u skoku, a u trouglovima se saču-vao samo vuk i vepar. Na crtežu ne nalazimo sve navedene životinje niti tako raspoređene. U Zemaljskom muzeju Bosne i Hercegovine posto-je samo fragmenti mozaika, i to sa predstavama tigra, leoparda u skoku, lava, vepra i kozoroga. Pojavljuju se, prema tome, leopard i kozorog, koji se u publikaciji ne spominju, što znači da je opis u publikaciji upitan. Bolje radove predstav-ljaju tigar, u nijansama crvenih kocki sa crnim prugama, i leopard, u nijansama svijetlocrve-nih, svijetloplavih i mrkosivih tonova sa crnim pjegama. Slabije je uspio lav u žućkastosivim i crvenkastim tonovima sa sivkastom grivom, zatim vepar neprirodno prikazanih oblika svi-jetlosivih i tamnosivih, žućkastih i ružičastih to-nova, a konture tijela su bordo i mrkosive. She-matski je prikazan i kozorog sivih, žućkastih i crvenkastih tonova. Središnji medaljon, u kome je, pretpostavlja se, bio motiv cvijeća, potpuno je uništen. Mnoštvo životinja raspoređenih oko centralnog medaljona prije bi upućivao na pri-kaz Orfeja u centru. Ova shema koncentričnih šesterokuta je rijetka i vrlo vjerovatno medite-ranskog porijekla.

Mozaik uz centralno kvadratno polje ima i po jedno usko polje sa svake strane, te je tro-dijelan. U uskim poljima se izmjenjuju rombovi okruženi sa četiri kvadrata i šesterokuti ukraše-ni zvijezdama, a u sredini polja je kvadrat. Oko mozaika je širok i bogat okvir meandra u obliku križa od pletenica, koji uokviruje četverokutna polja sa različitim motivima, kao što su šahov-sko polje, Solomonov čvor, različito usmjereni trouglovi, nizovi rombova, motiv kvadrata sa upisanim paralelogramima oko četverokuta. U centru, a između dva niza trouglova, nalaze se dva niza kvadrata. Uz ovaj okvir je sa obje strane još po jedno usko polje sa motivom koji oponaša kasete tavanica (kvadrat podijeljen na paralelograme i kvadrate). Na geometrijskim motivima se ponegdje opaža nehat u rasporedu motiva, a na pletenicama, umjesto crnomrkih kocki djelimično se pojavljuju i sive, što poka-zuje nedosljednost u izvođenju. Mozaik pripada III stoljeću.

48


33. BUILDING 9, ROOM A (T. XXXIV, fig. 1 – 3)

Size: ca 3,8 × 3,2 mState of preservation: only one half of the mo-

saic has been preserved, the centre has been destroyed

Colours: red, yellow, black, dark green, green, grey, shades of red, blue

References:F. Fiala and C. Patsch 1895, 273-5, fig. 87, T. VIII and IX, V, Atanacković-Salčić 1979, 16, I. Čremošnik 1984, 121

Few fragments are in the collection of the National Museum of BH in Sarajevo.

The mosaic was excavated in 1893. The square field has two intersecting squares that create a star with eight arms. One square is rimmed by a twisted rope, the other by a plastic wavy band. The central field has been destroyed. However, in the corners of the squares there are female busts preserved, representing personifications of spring and winter, which can be ascertained by the usual attributes. The personification of spring has a wreath of flow-ers on the head, with a short transparent veil cover-ing the hair, falling onto the shoulders. There is a necklace around the neck as well. The face is nat-ural in beige-pink colours, while the eyes and the eyebrows are made of dark tesserae. The wreath is done in different shades of green, red and blue. The workmanship is very good, and the refined shading results in plasticity. The wreath itself is represented in an impressionistic manner. The personification of winter wears a white cloak covering the head as well. A naturalistic representation of the wreath of reeds in dull shades of green matches the prevail-ing tint of the representation. The face is in some-what dark shades of red. The eyebrows, eyes and shadows are in dark brown colour.

The square field is first framed by an indented rim, to be followed by a cross-like meander made of a rope around the square fields with twisted rope motifs, rhombi and triangles. The mosaic belongs to the end of the 1st or the beginning of the 2nd century.

34. BUILDING 9, ROOM B (T. XXXV)

Size: 3,80 × 3,80 mState of preservation: very well preservedColours: white and black (yellow and red in

corners)

33. OBJEKAT 9, PROSTORIJA A (T. XXXIV, sl. 1–3)

Veličina: cca 3,8 × 3,2 mOčuvanost: očuvana samo polovina mozaika,

centar uništenBoja: crvena, žuta, crna, zelenkastomrka, ze-

lena, siva, nijanse crvene, plavaLiteratura: F. Fiala – C. Patsch 1895., 273–5, sl.

87, T. VIII i IX, V. Atanacković-Salčić 1979., 16, I. Čremošnik 1984., 121.

Nalazi se: dijelovi su u Zemaljskom muzeju Bosne i Hercegovine

Mozaik je iskopan 1893. godine. U četvero-kutno polje mozaika upisana su dva četverokuta koji sijekući se, čine osmerokraku zvijezdu. Jedan četverokut ima okvir pletenice, a drugi plastičnu valovitu traku. Dok je centralno polje potpuno uništeno, u uglovima kvadrata sačuvala su se ženska poprsja koja predstavljaju personifikacije proljeća i zime, što se sigurno može odrediti po uobičajenim atributima. Personifikacija prolje-ća ima vijenac cvijeća na glavi, a ispod je krat-ki prozirni veo koji pada do ramena pokrivajući kosu. Na vratu ima ogrlicu. Lice je dato prirod-nim žućkastorumenim bojama, oči i obrve date su mrkim kockama, a vijenac raznim nijansama zelene, crvene i plave boje. Rad je vrlo dobar, sa finim nijansiranjem postignuta je plastičnost, dok je vijenac prikazan impresionistički. Personifika-cija zime je umotana u bijeli ogrtač koji pokriva i glavu. Na glavi je naturalistički prikazan vijenac od trske u zagasito zelenim bojama, koje i ina-če preovladavaju na prikazu. Lice je dato nešto zagasitijim crvenkastim tonovima. Obrve, oči i sjene su mrke boje.

Oko četverokutnog polja mozaika je najprije okvir zupčaste trake, a zatim meandra u obliku križa kojeg čine pletenica koji uokviruje četvrta-sta polja sa motivom pletenica, niza rombova i niza trouglova. Mozaik je iz kraja II ili početka III stoljeća.

34. OBJEKAT 9, PROSTORIJA B (T. XXXV)

Veličina: 3,80 × 3,80 mOčuvanost: vrlo dobraBoja: bijela i mrka (žuta i crvena u uglovima)Literatura: F. Fiala i C. Patsch 1895., 273, sl. 88,

I. Čremošnik 1984., 121.

49


References: F. Fiala and C. Patsch 1895, 273, fig. 88, I. Čremošnik 1984, 121

In the collection of the National Museum of BH in Sarajevo.

The mosaic was excavated in 1893. Its central dec-oration is in the form of a circle that is divided up into concentric circles of white and black spherical trian-gles reducing towards the centre. There is a four-leaf rosette in the centre. In the corners, the chequer-board motif alternates with lines of scales in white and black coloured halves alternate. The border is composed of a linear meander with squares inside which there are spherical rhombi placed centrally. The colour of the tesserae is not absolutely clear here either, and some-times instead of the white pieces, the greyish ones are placed, and the black pieces are frequently dark brown, which implies deliberate use of nuances. The mosaic dates back to the 3rd century.

35. BUILDING 14, ROOM A (T. XXXVI, fig. 1 and 2, T. XXXVII, fig. 1 and 2)

Size: 16 × 8 mState of preservation: only one quarter of the

mosaic has been preservedColours: black, different shades of grey and brown,

deep shade of yellowish, white References: F. Fiala 1897, 170, fig. 9-11, V. Atanacković-Salčić 1979, 16, I. Čremošnik 1984, 121/122.

The scene with Minotaur and the labyrinth is in the col-lection of the National Museum of BH in Sarajevo.

It was excavated in during the explorations dur-ing the 1894 -1895 period. Close to the middle of the central field covered by the linear cross-like mean-der ornament, there is a medallion with a Minotaur bust surrounded by a labyrinth. Minotaur is repre-sented as a strong male with horns. The labyrinth has a square basis with infinite maze of passages. It has a wall with fortifications and towers in the corners, while the gates are placed in the middle of the walls. The fortification is represented without a perspective, with stylized towers and gates. The bust is, however, an excellent piece of work, made in grey-brownish and tawny shades with refined tinting adding to the plastic impression. The mo-saic dates back to the 3rd century.

36. (T. XXXVIII)

Size of the preserved fragment: 64 × 49 cmState of preservation: Only a fragment of the scene

Nalazi se: Zemaljski muzej Bosne i Herce-govine

Mozaik je iskopan 1893. godine. Ima centralni motiv kruga koji je podijeljen na koncentrične kru-gove od niza bijelih i mrkih sfernih trouglova koji se prema centru smanjuju. U centru je četverolisna rozeta. U uglovima četverokuta su naizmjenično motivi šahovskog polja i nizova krljušti sa bijelo i mrko obojenim polovinama. Okvir čini motiv li-nearnog meandra u koji su upisani četverokuti sa sfernim rombovima u sredini. I ovdje boje kocki nisu apsolutno čiste umjesto bijelih ima i sivka-stih, a mrkocrne kocke su često mrkosmeđe, što znači da postoje razne nijanse i mrkih i svijetlih boja. Mozaik je iz III stoljeća.

35. OBJEKAT 14, PROSTORIJA A (T. XXXVI, sl. 1 i 2, T. XXXVII, sl. 1 i 2)

Veličina: 16 × 8 mOčuvanost: samo četvrtina mozaikaBoja: crna, razne nijanse sive i smeđe, zagasito-

žućkasta, bijelaLiteratura: F. Fiala 1897., 170, sl. 9–11 V.

Atanacković-Salčić 1979., 16, I. Čremošnik 1984., 121/122.

Nalazi se: prikaz Minotaura i labirinta je u Ze-maljskom muzeju Bosne i Hercegovine

Iskopan je prilikom istraživanja u periodu od 1894. do 1895. godine. Približno u sredini polja mozaika, pokrivenog motivom linearnog meandra oblika križa, nalazi se medaljon sa bistom Minota-ura oko koga je prikazan labirint. Minotaur je pri-kazan kao snažan muškarac sa rogovima na glavi. Labirint je četverokutne osnove sa ucrtanim besko-načnim stazama koje otežavaju izlaz iz ovog spleta staza. Oko labirinta je prikazan zid utvrđenja sa ku-lama u uglovima i kapijama u sredini zidova. Utvr-đenje je dato bez perspektive, rasprostrtih zidova, a shematski su date kule i vrata. Poprsje je, naprotiv, odlične izrade, u sivosmeđim i mrkim tonovima sa finim prelazima koji daju plastičnost prikazu. Mo-zaik je iz polovine III stoljeća.

36. (T. XXXVIII)

Veličina očuvanog dijela: 64 cm × 49 cm.Očuvanost: očuvan dio prikaza

50


Colours: White, black, grey and reddish Unpublished In the collection of the National Museum of BH

in Sarajevo

The fragment for which there is no detailed data on its discovery. The scene with a dolphin, and in the upper corner, a lobster, dominate. Most probably it dates back to mid 3rd century.

PANIK, BILEĆA, locality Crkvine

BUILDING I

37. ROOM 1 (T. XXXIX)

Size: 6 × 6 mState of preservation: only one half has been

preservedColours: grey-blue, whiteReferences: I. Čremošnik 1974, 72, fig. 9, T. IV,

2, I. Čremošnik 1984, 122The mosaic is at the locality.

The mosaic was excavated in 1967. In room 1 there is only one half of the mosaic preserved. The whole surface of the mosaic is covered with a grey-blue motif of double meanders crossed in the form of a swastika. It belongs to the last third of the 3rd century.

38. ROOM 3 (T. XL)

Size: 2,60 × 3 mState of preservation: only one corner of the

mosaic has been preservedColours: grey-blue, whiteReferences: I. Čremošnik 1974, 73-4, fig. 10 T. IV,

1, Plans II and III, I. Čremošnik 1984, 122The mosaic is at the locality.

The mosaic was excavated in 1967. Its sur-face is decorated by meanders intersecting in a form of a swastika. The colour is grey-blue. The mosaic dates back to the last third of the 3rd century.

Boja: bijela, crna, crvenkasta, siva NepubliciranNalazi se: Zemaljski muzej Bosne i Herce-

govine

Dio mozaika za kog se ne znaju pobliže okol-nosti pronalaska. Dominira prikaz delfina i u gornjem uglu jastoga. Najvjerovatnije je iz sred-ine III stoljeća.

PANIK KOD BILEĆE, lokalitet Crkvina

OBJEKAT I

37. PROSTORIJA 1 (T. XXXIX)

Veličina: 6 × 6 mOčuvanost: samo polovinaBoja: sivoplava, bijelaLiteratura: I. Čremošnik 1974., 72, sl. 9, T. IV, 2,


Mozaik je iskopan 1967. godine. U prosto-riji 1 je očuvana samo polovina geometrijskog mozaika. Cijelu površinu mozaika pokriva motiv sivoplavih dvostrukih meandara koji se sijeku u vidu svastike. Iz zadnje je trećine III stoljeća.

38. PROSTORIJA 3 (T. XL)

Veličina: 2,60 × 3 mOčuvanost: očuvao se samo jedan ugao mo-

zaikaBoja: sivoplava, bijelaLiteratura: I. Čremošnik 1974., 73–4, sl. 10

T. IV, 1, Plan II i III, I. Čremošnik 1984., 122.


Mozaik je iskopan 1967. godine. Površina je ukrašena jednostrukim meandrima koji se sijeku u vidu svastike u sivoplavoj boji. Mozaik je iz za-dnje trećine III stoljeća.

51


39. ROOM 17 (T. XLI)

Size: 3 × 3,20 mState of preservation: well preservedColours: light blue, red, whiteReferences: I. Čremošnik 1974, 73-4, fig. 10, T.

IV, 1, Plans II, III, I. Čremošnik 1984, 122.The mosaic is at the locality.

The mosaic was excavated in 1967. It has a cen-tral pattern with a medallion in the middle, which is totally destroyed, quite likely once representing a bust. The medallion is rimmed first by a rope, then a wide border of five rows of scales with halves alternately coloured white and blue. This frame has yet another border made of a blue and red rope, and another border of an indented band. A series of squares creates the external frame, with four parallelograms inside the central square. All the motifs are in grey-blue colour, except for the rope which has some shades of red. The mosaic dates from the last third of the 3rd century.

40. ROOM 19 (T. XLII, fig. 1 and 2)

Size: 17 × 3 mState of preservation: only the parts of the bor-

der have been preservedColour: grey-blue, red, whiteReferences: I. Čremošnik 1974, 74, fig.12 T. IV,

4, Plan II, III, I. Čremošnik 1984, 123.A fragment of the mosaic belongs to the collection of

the National Museum of BH in Sarajevo.

Excavated in 1967. The mosaic in the long room, which was a kind of a hall, is decorated by a chequer-board motif in red, blue and white col-our. There is a wide border with a line of trian-gles with cascade sides running along it. Between them, there is a heart-shaped rope on a blue base. The central part of the mosaic has been devastated, only the two ends have been preserved. The mo-saic dates back to the last third of the 3rd century.

41. CORRIDOR 25 (T. XLIII)

Size: 3,80 × 1 mState of preservation: well preservedColours: grey-blue, whiteReferences: I. Čremošnik 1974, 75, fig. 13, T. IV,

6, Plans II, III, I. Čremošnik 1984, 123The mosaic is at the locality.

39. PROSTORIJA 17 (T. XLI)

Veličina: 3 × 3,20 mOčuvanost: dobraBoja: svijetloplava, crvena, bijelaLiteratura: I. Čremošnik 1974., 73–4, sl. 10, T.

IV, 1, Plan II, III, I. Čremošnik 1984., 122.Nalazi se: na lokalitetu

Mozaik je iskopan 1967. godine. Ima centralnu shemu sa medaljonom u sredini, koji je potpuno uništen, a vjerovatno je i u njemu bio prikaz ne-kog poprsja. Medaljon je uokviren prvo pleteni-com, zatim širokim okvirom od pet redova motiva krljušti sa naizmjenično obojenim bijelim i plavim polovinama. Oko ovog okvira je opet okvir od pletenice plave i crvene boje, a onda još okvir od zupčaste trake. Niz kvadrata čini vanjski okvir u kojem su oko centralnog kvadrata upisana četiri paralelograma. Svi ovi motivi su u sivoplavoj boji, samo pletenica ima primjese crvene boje. Mozaik je iz zadnje trećine III stoljeća.

40. PROSTORIJA 19 (T. XLII, sl. 1 i 2)

Veličina: 17 × 3 mOčuvanost: očuvani su samo okvirni dijeloviBoja: sivoplava, crvena, bijelaLiteratura: I. Čremošnik 1974., 74, sl. 12 T. IV, 4,

Plan II, III, I. Čremošnik 1984., 123.Nalazi se: jedan fragment u Zemaljskom muz-

eju Bosne i Hercegovine

Iskopan je 1967. godine. Mozaik prostorije iz-dužene osnove, koja je bila neka vrsta predsoblja, ukrašen je motivom šahovskog polja u crvenoj, plavoj i bijeloj boji. Ima širok okvir duž čijih stra-nica je niz trouglova stepeničastih strana. Između njih je srcolika pletenica na plavoj osnovi. Central-ni dio mozaika je potpuno uništen, a očuvala su se samo oba kraja. Mozaik je iz zadnje trećine III stoljeća.

41. HODNIK 25 (T. XLIII)

Veličina: 3,80 × 1 mOčuvanost: dobraBoja: sivoplava, bijelaLiteratura: I. Čremošnik 1974., 75, sl. 13, T. IV,

6, Plan II, III, I. Čremošnik 1984., 123.Nalazi se: na lokalitetu

52


Excavated in 1967. The mosaic in the narrow corridor has the already familiar decoration com-posed of the line of squares with four rectangles around the central squares. The mosaic dates back to the last third of the 3rd century.

42. ROOM 26 (T. XLIV)

Size: 3,40 × 3,40 mState of preservation: well preservedColours: grey-blue, whiteReferences: I. Čremošnik 1974, 76, fig. 14 T. IV,

3, Plans II, III, I. Čremošnik 1984, 123The mosaic is at the locality.

Excavated in 1967. It is a two-colour geometrical mosaic with a central pattern. The square central part of the mosaic is divided up into four square fields by a line of large triangles. The fields are filled with four rows of small right-angled triangles. In the centre of the mosaic there is a square with a motif of Salomon’s knot. The border from the inside of the mosaic is made of two meanders crossing in a form of swastika, and the fields between them are decorated by three or four crosslets. The external border is decorated by a simple meander. In the centre of the meander field there are tiny diagonal crosses, rosettes in the form of four heart-shaped leaves, and a rhomb with chequer-board fields and a rhomb with cascade sides. The mo-saic dates back to the last third of the 3rd century.

43. CROSS-SHAPED ROOM (16) (T. XLV, T. XLVI, fig. 1 and 2, T. XLVII, T. XLVIII, T. XLIX)

Size: 4,5 × 6 mState of preservation: the southern half pre-

servedColours: grey-blue, shades of red and green,

yellow, brown, shades of grey to black References: I. Čremošnik 1974, 77, fig. 15, T. VI,

1, 2, 3, T. V, 1, 2: Plans II, III, I. Čremošnik 1984, 123/125.

The fragment with the scene representing Orpheus with the bull, snake, tree and the bird, Calliope, and the fragment of the braided pattern around Calliope and the segment with the birds, tiger and an ibex belong to the collection of the Na-tional Museum of BH in Sarajevo.

Excavated in 1967. It is the only mosaic with figures found in the villa. Only in the south-east

Iskopan je 1967. godine. Mozaik uskog hodni-ka ima već često kod nas zastupljen motiv reda kvadrata u koji su oko kvadrata u centru upisana četiri pravougaonika. Mozaik je iz zadnje trećine III stoljeća.

42. PROSTORIJA 26 (T. XLIV)

Veličina: 3,40 × 3,40 mOčuvanost: dobraBoja: sivoplava, bijelaLiteratura: I. Čremošnik 1974., 76, sl. 14 T. IV, 3,

Plan II, III, I. Čremošnik 1984., 123.Nalazi se: na lokalitetu

Iskopan je 1967. godine. Dvobojan je geometrij-ski mozaik sa centralnom shemom. Četverokutni centralni dio mozaika podijeljen je sredinom re-dom većih trouglova u četiri kvadratna polja koja su ispunjena sa četiri reda manjih pravokutnih trouglova. U centru mozaika je četverokut sa mo-tivom Solomonovog čvora. Unutarnji okvir moza-ika čine dva meandra koji se ukrštaju u vidu sva-stika, a polja među njima ukrašena su sa po tri ili četiri mala križića. Vanjski okvir ima motiv jedno-stavnog meandra. U sredini polja meandra nalaze se vrlo sitni motivi križa sa dijagonalno ukraše-nim krakovima, rozete u vidu četiri srcolika lista, romb sa šahovskim poljima i romb stepeničastih strana. Mozaik je iz zadnje trećine III stoljeća.

43. PROSTORIJA OSNOVE U OBLIKU KRIŽA (16) (T. XLV, T. XLVI, sl. 1 i 2, T. XLVII, T. XLVIII, T. XLIX)

Veličina: 4,5 × 6 mOčuvanost: očuvana južna polovinaBoja: sivoplava, nijanse crvene i zelene boje,

žuta, smeđa, nijanse sive do mrke boje.Literatura: I. Čremošnik 1974., 77, sl. 15, T. VI,

1, 2, 3, T. V, 1, 2: Plan II, III, I. Čremošnik 1984., 123/125.

Nalazi se: prikazi Orfeja sa bikom, zmijom, drvetom i pticom, prikaz Kaliope i fragment pletera oko Kaliope, dijelovi pletera kao i strana sa pticama, tigrom i kozorogom su u Zemaljskom muzeju Bosne i Hercegovine

Iskopan je 1967. godine. Jedini je mozaik sa figuralnom predstavom u vili. Samo u jugoza-padnom kraku krstoobrazne prostorije sačuvan

53


part of the cross-shaped room, there is a geometri-cal mosaic preserved in fragments.

The central mosaic is composed of two parts: a square field with the central figure of Orpheus and an elongated field in front of him, with a medallion in the middle and a bust of the Muse. Both mosaics are connected, first by a border of a heart-shaped twisted rope and then by a wide border decorated by right-angled triangles with cascade sides ar-ranged by fours in a group thus closing the square. The narrow border on the outside is decorated by a chequer-board field rimmed by simple lines.

The square field with Orpheus is first bordered by an indented strap and then by a double-stranded twisted rope. The central field has two squares in-side it, which, by crossing, create an eight-arm star with an octagon in the centre. The octagon is deco-rated by the motif of the top of a tent (Zeltdachband, Awning). One square with the star is bordered by a rope, and the other one, by an inundating strap which is the only geometrical motif with the three dimensional effect on the mosaic. The arms of the star also had geometrical motifs. In the two arms, there is still preserved Salomon’s knot, and one field is divided into white and blue triangles.

The figure of Orpheus is devastated, as well as the upper left corner of the medallion. What is left of Orpheus head is only a part of Phrygian cap. Orpheus is represented sitting on a reddish rock dressed in a green tunica, with a red belt and wrapped in a red cloak. He is turning to the right and only his right arm holding a lyre is visible. The arm is holding three green crosses one below another. The folds on his tunica are given in several shades of green. The cloak is wrapped around his back and legs. The folds are stylized in shades of dark-brown and red, reddish and bright-red, and the rims are underlined by a line of darker tesserae. The reddish-brown colour prevails on the entire mosaic. Apart from Orpheus, there is also a part of the tree and its crown preserved, in the nuances of green, grey-green and pink colour. Next to the tree, the legs of an animal can be discerned. On the right to Orpheus, there is a disproportionally small bull in the shades of red and grey colour. A snake hovers over the bull, turned towards Orpheus. The snake is in reddish and grey colours.

In the upper right corner, there is a bush similar to the acanthus, out of which, on the left side, a vine grows. The vine is made of a series of green and red tesserae with stylized star-shaped red, yellow and pink flowers. There is a bird sitting on the vine. Its head is represented in a naturalistic way and the

je vrlo fragmentarno mozaik sa geometrijskim motivom.

Centralni mozaik se sastoji iz dva dijela: kva-dratnog polja sa centralnom figurom Orfeja i du-guljastog polja ispred njega, sa medaljonom u sre-dini u kome je poprsje muze. Oba mozaika vezana su među sobom, prvo okvirom srcolike pletenice, zatim širim okvirom sa motivom ravnostranih trouglova stepeničastih strana poredanih po četi-ri u grupe tako da zatvaraju kvadrat. Vanjski uski okvir ima motiv šahovskog polja uokvirenog jed-nostavnim linijama.

Kvadratno polje sa predstavom Orfeja uo-kvireno je prvo zupčastom trakom, a zatim dvostrukom pletenicom. U ovo centralno polje upisana su dva kvadrata tako da se sijeku i čine osmokraku zvijezdu u čijem je centru osmero-kut uokviren rijetkim motivom šatorskog krova (Zeltdachband, Awning). Okvir jednog kvadra-ta zvijezde je pletenica, a drugog valovita pla-stična traka koja je jedini geometrijski motiv sa efektom trodimenzionalnosti ovog mozaika. U krakovima zvijezda bili su također geometrijski motivi. U dva kraka se očuvao Salamonov čvor, a u jednom je polje izdijeljeno u bijele i plave trouglove.

Figura Orfeja je oštećena, a uništen je gornji lijevi ugao medaljona. Od Orfejeve glave vidi se još samo dio frigijske kape. Prikazan je kako sje-di na crvenkastoj stijeni u zelenoj tunici sa crve-nim opasačem i ogrnut crvenim plaštem. Okre-nut je nadesno tako da se vidi samo desna ruka kojom drži liru. Na njoj su tri zelena znaka križa jedan ispod drugog. Nabori na tunici dati su u nekoliko nijansi zelene boje. Ogrtač je prebačen preko leđa i nogu. Nabori su dati stilizirano re-dovima nijansi od tamnosmeđe i crvene, crven-kaste i svijetlocrvene boje, a rubovi su podvuče-ni tamnijim redom kocki. Na cijelom mozaiku preovladava crvenkastosmeđa boja. Uz lik Or-feja sačuvan je dio stabla i krošnje u nijansama zelene, sivozelene i ružičaste boje. Uz drvo se vide noge neke životinje. Desno od Orfeja pri-kazan je nesrazmjerno maleni bik u nijansama crvene i sive boje. Iznad bika lebdi zmija okre-nuta prema Orfeju, a izrađena je u crvenkastim i sivim tonovima.

U gornjem desnom uglu prikazan je grm sličan akantu, iz kojeg lijevo izrasta loza sa-stavljena od niza zelenih i crvenih kocki sa zvjezdoliko stiliziranim cvijećem crvene, žute

54


wings are highlighted by parallel rows of tesserae leaving a decorative impression. The bird is pre-sented in the shades of light, bright and dull green and grey-green colour; wine red, yellow colours and the contours of the wings and the body are outlined by red tesserae. To the right from the acanthus bush, there is a plant growing out with three red leaves, with another bird sitting on it. The bird’s back is red-dish, and the belly is greenish, while the green wing is embroidered by a line of red tesserae. Evidently, the colours of the vegetation and the birds do not truly reflect those found in nature.

The lower corner to the south has a tree with a panther to the right and an ibex chased by a leopard, to the left. The leopard is presented in the shades of wine-red, red, pink, greyish-red and yellow colours and the spots are dark grey. The ibex is done in the shades of red, grey and green. The tree is pictured in an impressionistic manner. The crown of the tree creates a body, greenish at the edges, while in the centre the crown is made of randomly scattered yellow, red and green tesserae. The trunk is made of green and grey tesserae.

This casual approach to colours is present on geo-metrical motifs as well. While in Višići, for example, there is a consistency in using colours – the twisted ropes are always blue, red and yellow; the infinite rope on the Orpheus mosaic is inconsistent in colours and irregular alternations of the red, light-red and yellow colour. The same applies to the border around the bird motif, which is made of three rows of tesser-ae, one red, the second pink and the third yellow. This indicated greater freedom in selecting colours and de-parture from traditional rules and symmetry.

The narrow field with the medallion represent-ing the Muse is also bordered by indented strips. The whole field is occupied by a multi-stranded twisted rope motif. The Muse in the medallion is presented in a green tunica, with dark, grey and bright-green feather on the head. In the lower right corner, there is a diptych characterizing the Muse as one from the epic and literature, Calliope. The folds on the green tunica are not given in a plastic fashion and their direction is indicated by lines of darker tesserae, as well as the contours of the wavy hair. The face is no longer in natural shades of beige and pink, but rather in reddish-grey and yellow colours. The illuminated surfaces on the face are in greyish nuances, and the mouth, eyes and eyebrows, as well as the shaded parts of the face, are in red and wine-red colours. The colours, the red in particular, are not bright and clear, but rather dull and misty. The mosaic belongs to the last third of the 3rd century.

i ružičaste boje. Na lozi sjedi ptica sa naturali-stički prikazanom glavom, dok krila naznačena paralelnim redovima kocki djeluju više orna-mentalno. Data je u nijansama svijetle, tamne, jarke i prljavozelene boje kao i sivozelene, bor-do, žute, a konture tijela i krila su od crvenih kocki. Desno iz grma akanta izlazi stabljika sa po tri crvena lista, na njoj sjedi druga ptica cr-venkastih leđa i zelenkastog trbuha, a zeleno krilo je oivičeno redom crvenih kocki. Očito, da boje vegetacije i ptica ne odgovaraju uvijek onima u prirodi.

U donjem južnom uglu prikazano je drvo, desno od njega panter, a lijevo kozorog koga goni leopard. Leopard je dat u nijansama bordo, crvene, ružičaste, sivkastocrvene i žute boje, a pjege su mrkosive. Kozorog je izrađen u nijan-sama crvene, sive i zelene boje. Predstava drveta između ovih životinja data je impresionistički. Krošnja čini masu koja je po rubovima zelenka-sta, a središte je od nasumce nabacanih crvenih, žutih i zelenih kocaka, dok je stablo od zelenih i sivih kocki.

Ova ovlašnost u izboru boja vidi se i na geo-metrijskim motivima. Dok se, naprimjer, u Višići-ma vrlo dosljedno za pletenice upotrebljavaju iste boje (plava, crvena i žuta), kod beskonačne plete-nice na mozaiku Orfeja nedosljedno i nepravilno se izmjenjuju crvena, svijetlocrvena i žuta boja. Isto tako i od okvira oko motiva ptica, koji se sa-stoje od tri reda kocki, jedan je dio crvene, drugi roza a treći žute boje. To pokazuje slobodniji izbor boja i udaljavanje od klasičnih kanona pravilnosti i simetrije.

Usko polje sa medaljonom sa predstavom muze ima također okvir zupčaste trake. Cijelo polje prekriveno je motivom višestruke plete-nice. Muza u medaljonu je prikazana u zelenoj tunici, sa mrkim, sivim, i jarkozelenim perjem na glavi. U donjem desnom uglu prikazan je diptih koji je karakteriše kao muzu eposa i li-terature Kaliopu. Nabori na zelenoj tunici nisu dati plastično, nego je njihov pravac naznačen linijama tamnih kocki a isto tako i konture va-lovite kose. Lice više nije dato u prirodnim ni-jansama okerružičaste, nego crvenkastosivom i žutom bojom. Osvijetljene površine lica su u sivkastim nijansama, a usta, oči i obrve, kao i osjenčeni dijelovi lica, crvene i bordo boje. Boje, osobito crvena, nisu jasne i svijetle nego više mutne i zagasite. Mozaik je iz zadnje tre-ćine III stoljeća.

55


44. ROOM 16 A (T. L)

Size: 4,5 × 2 mState of preservation: only one corner preservedColours: grey-blue, whiteReferences: I. Čremošnik 1974, 79-80, fig. 16 T.

IV, 5, Plans II, III, I. Čremošnik 1984, 125The mosaic is at the locality.

Excavated in 1967. This geometrical mosaic is the only mosaic with ambivalent motif found in Bosnia and Herzegovina. This means that there is no white base – it is included in into the motif, resulting in blue-grey and white motifs. The wide border run-ning along the motif is made of two indented straps with series of semicircles next to it. The semicircles are tied by narrow ellipses in the middle, leaving white hexagons with cascade rhombi in the mid-dle. The central field of the mosaic is divided up by a series of rhombi into 14 square fields, with rhom-bi inside, and divided by four strips that divide the square into numerous small blue and white trian-gles and squares. Among the two-colour geometri-cal mosaics found, this one distinguishes itself by its densely distributed and versatile motifs. It be-longs to the last third of the 3rd century

DOMAVIA (Sase, Srebrenica)The thermae building

45. ROOM 4 (T. LI)

Size: ca 6,5 × 4,20 mState of preservation: well preservedColours: green, red, yellow, blue, whiteReferences: V. Radimsky 1896, 211, T. III, I.


The mosaic was excavated in 1892/93. It repre-sents an architectural motif of a colonnade on one skirt which, most probably, should have been be a portico in front of a building. Over the columns there is a frieze decorated by square fields. This is topped by the ceiling beams that are represented by wider and narrower strips of white, green, red, yellow and blue colour. The beams start from the middle and spread radially to the right and to the left, covering

44. PROSTORIJA 16 A (T. L)

Veličina: 4,5 × 2 mOčuvanost: samo jedan ugaoBoja: sivoplava, bijelaLiteratura: I. Čremošnik 1974., 79–80, sl. 16 T.

IV, 5, Plan II, III, I. Čremošnik 1984., 125.Nalazi se: na lokalitetu

Iskopan je 1967. godine. Ovaj geometrijski mozaik je jedini do sada nađeni mozaik u Bo-sni i Hercegovini sa ambivalentnim motivom, što znači da na ovom mozaiku ne postoji bijela osnova – ona je uključena u motiv, tako da ima-mo i plavosive i bijele motive. Široki okvir mo-tivu čine dvije zupčaste trake, uz koje su nizovi polukrugova vezani po sredini uskim elipsama, između kojih ostaju bijeli sferni šestouglovi sa stepeničastim rombovima u sredini. Centralno polje mozaika podijeljeno je nizom rombova u 14 kvadratnih polja, u koja su upisani rombovi podijeljeni sa četiri trake, koje dijele četverokut u brojne manje plave i bijele trouglove i kvadra-te. Među dvobojnim mozaicima, po svojim gu-sto nanesenim i raznovrsnim motivima, ovaj je sigurno jedan od najljepših do sada otkrivenih geometrijskih mozaika. Pripada zadnjoj trećini III stoljeća.

DOMAVIA (Sase kod Srebrenice) Zgrada banje

45. PROSTORIJA 4 (T. LI)

Veličina: cca 6,5 × 4,20 mOčuvanost: dobraBoja: zelena, crvena, žuta, plava, bijelaLiteratura: V. Radimsky 1896., 211, T. III, I.


Mozaik je iskopan 1892/93. godine. Prikazuje arhitekturni motiv niza stubova na jednom so-klu, koji bi trebalo, vjerovatno, da predstavlja-ju niz stupova portika pred jednom zgradom. Iznad stupova je friz ukrašen kvadratnim polji-ma (metopama). Iznad toga su prikazane grede tavanice koje su date širim i užim trakama bijele,

56


the apse part of the room. Since there is no perspec-tive in this representation, the details are difficult to determine. It dates back to the 3rd – 4th century.

46. ROOM 18 (T. LII)

Size: ca 7,6 × 7,6 mState of preservation: only in partsColours: dark grey, blue-grey, reddish, red-

brown, yellow and whiteReferences: V. Radimsky 1896, 223, T. IV, I.


It was excavated in 1892/3. The mosaic has a medallion in its centre, which has been totally dev-astated. The wide first border around the medal-lion has a pattern of repeated geometrical motifs, i.e. the four-arm stars; the arms are in a form of a rhomb with the squares in between them. The arms are with two concentric blue borders, the inner one sometimes yellow. The squares are decorated by numerous geometrical motifs like Salomon’s knot, pelta, swastika, four-leaf rosette, diagonal cross, rhomb with cascade sides, chequer-board, heart-shaped rosettes, circles with coloured segments, squares with diagonal arms growing out of their corners, spherical rhomb and the combination of all the above motifs. There are so many motifs and only very few of them are repeated. They are distrib-uted randomly, without any special order or sym-metry, which results in a distracting and colourful impression. The border on the outside is not even in by either a pattern or size. On three sides, there is a geometrical motif of the network of squares di-agonally divided up into the three multicoloured triangles within which the bluish-grey, white, dark grey and reddish colour repeat. The colours in the triangles within the squares are also distributed randomly and asymmetrically. The fourth side of the border has the motif of combined inundating lines and peltas in dark-grey colour. The peltas are placed both at the peak and the bottom of the un-dulating lines, facing one another. In the middle of this field there is an oblong square filed, almost totally devastated, with a scene of water and fish hardly discernable. The space surrounding the mo-saic, which is usually made in white tesserae, is, in one corner, made of blue tesserae, and on the two sides, of dark-grey tesserae. The mosaic dates back to the 3rd – 4th century.

zelene, crvene, žute i plave boje. One polaze od sredine radijalno desno i lijevo i pokrivaju apsi-dalni dio prostorije. Kako je prikaz bez perspek-tive, to je teško odrediti njegove detalje. Pripada III–IV stoljeću.

46. PROSTORIJA 18 (T. LII)

Veličina: cca 7,6 × 7,6 mOčuvanost: djelimičnaBoja: mrkosiva, plavosiva, crvenkasta, crve no-

smeđa, žuta i bijelaLiteratura: V. Radimsky 1896., 223, T. IV, I.


Iskopan 1892/93. godine. Mozaik ima me-daljon u centru koji je potpuno uništen. Široki prvi okvir oko medaljona ima shemu ponav-ljanja geometrijskih motiva, i to četverokrakih zvijezda sa rombičnim krakovima, među ko-jima su četverokuti. Krakovi su dati sa dva koncentrična plava okvira, a unutarnji okvir je ponekad žut. Četverokuti su ukrašeni brojnim geometrijskim motivima, kao što su Solomo-nov čvor, pelta, svastika, četverolisna rozeta, dijagonalni krst, rombovi stepeničastih strana, šahovsko polje, rozete sa srcolikim listovima, krugovi sa obojenim segmentima, četverokut iz čijih uglova izlaze dijagonalni kraci, sferni romb i kombinacije ovih motiva. Motivi su tako brojni da se samo mali broj ponavlja. Raspore-đeni su nasumce, bez reda i simetrije, što stvara vrlo nemiran i šarolik utisak. Vanjski okvir nije sa svih strana jednak i iste širine. Sa tri strane ima geometrijski motiv mreže četverokuta koji su dijagonalama podijeljeni na četiri raznoboj-na trougla, a u njima se ponavlja plavičastosi-va, bijela, tamnosiva i crvenkasta boja. Boje u trouglovima kvadrata raspoređene su isto tako proizvoljno i bez simetrije. Četvrta strana okvi-ra ima motiv kombinovan od valovnica i pelti tamnosive boje. Pelte su smještene u vrh i na dnu valovnica, i to tako da su okrenute jedna prema drugoj. U sredini ovog polja je dugulja-sto četvrtasto polje gotovo sasvim uništeno, u kojem se naziru predstava vode i ribe. Prostor oko mozaika, koji je obično od bijelih kocki, urađen je sa jedne strane od plavičastih kocki, a sa dvije strane od tamnosivih kocki. Mozaik pripada III–IV stoljeću.

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SARAJEVO, locality Carina

47. BUILDING ON THE NECROPOLE (T. LIII, fig. 1)

Size: no data availableState of preservation: inferiorColours: dark brown, white and grey-blueReferences: D. Sergejevski 1947, 16-23, fig. 7

and 8, I. Čremošnik 1984, 126The mosaic is at the locality. There are no details mentioned in the analysis

in the present paper. No documentation, or more precise data have been preserved.

Next to the wall in the north, there is a frag-ment of the geometrical mosaic. The motif con-sists of repeated elongated square rhombi against the dark-brown base. The rhombi alternate in white and light-blue colour. The workmanship is rather imprecise and superficial; the tesserae are irregular and uneven, which indicates the decline of technique in the late Antiquity. It is placed on an inferior base and patches of mortar are visible here and there. It belongs to the 4th – 6th century.

PANIK, Bileća, locality Crkvina

48. MEMORIAL BUILDING (T. LIII, fig. 2)

Size: only a fragment preservedState of preservation: inferiorColours: red, blue and whiteReferences: M. Popović 1973, 351, T. III, 3, I.

Čremošnik 1984, 126The fragment of the mosaic is at the locality.

Excavated in 1968. Its pattern is composed of repeated geometrical motifs, i.e. the octagons and the squares in red colour. In the centre of the octa-gon, there is a rosette with bending arms in blue colour. The motifs are done in a casual manner. The tesserae are not placed following a linear scheme, but rather follow the contours of the images and the forms. It dates back to the 6th century.

SARAJEVO, lokalitet Carina

47. GRAĐEVINA NA NEKROPOLI (T. LIII, sl. 1)

Veličina: ne postoje podaciOčuvanost: lošaBoja: mrkosmeđa, bijela i sivoplavaLiteratura: D. Sergejevski 1947., 16–23, sl. 7 i 8,


Mozaik je spomenut u navedenom radu bez veće analize. Nije očuvana nikakva dokumenta-cija niti precizniji podaci. Uz sjeverni zid jedne zgrade očuvan je fragment geometrijskog mo-zaika sa njegove periferne strane. Motiv čini ponavljanje izduženih četvrtastih rombova na tamnosmeđoj osnovi, naizmjenično bijelih i svi-jetloplavih. Izrada mozaika je dosta neprecizna i ovlašna, kocke nisu pravilne i jednake veličine, što upućuje na opadanje tehnoloških vještina u kasnoj antici. Nalazi se na slaboj podlozi i mjesti-mično se vide zakrpe od maltera. Pripada IV–VI stoljeću.

PANIK kod Bileće, lokalitet Crkvina

48. MEMORIJALNA GRAĐEVINA (T. LIII, sl. 2)

Veličina: sačuvan samo fragmentOčuvanost: lošaBoja: crvena, plava i bijelaLiteratura: M. Popović 1973., 351, T. III, 3, I.


Iskopan je 1968. godine. Ima shemu sa ponav-ljanjem geometrijskih motiva, i to osmougaonika i kvadrata crvene boje, a u centru osmougaonika je rozeta povijenih krakova u plavoj boji. I ovi motivi su nehajno izvedeni. Kocke se ne redaju po linear-noj shemi, nego po konturama slika i formi. Mo-zaik je iz VI stoljeća.

* Prilikom kompletiranja tabli, za mozaike koji se nalaze zatrpani na lokalitetu ili su devastirani, korištena je dostupna terenska i arhivska građa. Zbog toga su u table dijelom uvrštene rekonstrukcije i crnobijele fotografije.

** The available filed and archive materials were used in completing the tables for the mosaics that are in site filled up or devastated. The tables, consequently, partly include reconstructions and black-and-white photographs.

TABELE*

TABLES**

TABELE*

TABLES**

61


Putovići (prema V. Paškavlin)

Tabla I

62


Višići, rekonstrukcija (prema I. Čremošnik)

Tabla II

63



Tabla III

64


Višići, mozaik (prema I. Čremošnik)


Tabla IV

65



Tabla V

66



Višići, detalj mozaika (prema I. Čremošnik)


Tabla VI

67



Tabla VII

68




Tabla VIII

69




Tabla IX

70





Tabla X

71



Tabla XI

72



Tabla XII

73


Višići, rekonstrukcija (prema I. Čremošnik) Višići, mozaik (prema I. Čremošnik)

Tabla XIII

74



Tabla XIV

75



Tabla XV

76


Ilidža, detalj mozaika (prema I. Kellner)


Tabla XVI

77


Ilidža, mozaik (prema I. Kellner)

Tabla XVII

78


Ilidža, mozaik (prema I. Kellner)

Tabla XVIII

79




Tabla XIX

80




Tabla XX

81


Ilidža, detalj mozaika (prema dokumentaciji Kantonalnog zavoda u Sarajevu)

Ilidža, rekonstrukcija (prema M. H. Ćeman)

Tabla XXI

82


Ilidža, rekonstrukcija (prema M. H. Ćeman)

Ilidža, detalj mozaika (prema M. H. Ćeman)

Tabla XXII

83


Ilidža, rekonstrukcija detalja (prema M. H. Ćeman)

Ilidža, mozaik (prema I. Čremošnik)

Tabla XXIII

84


Ilidža, rekonstrukcija (prema I. Čremošnik)

Ilidža, detalj mozaika (prema E. Pašalić)

Tabla XXIV

85


Ilidža, mozaik (prema E. Pašalić)


Tabla XXV

86



Ilidža, mozaik (prema E. Pašalić)

Tabla XXVI

87


Ilidža, detalj mozaika (prema E. Pašalić)

Tabla XXVII

88


Stolac, Rekonstrukcija (prema Ć. Truhelka)

Stolac, detalj mozaika

Tabla XXVIII

89


Stolac, rekonstrukcija (prema Ć. Truhelka)

Tabla XXIX

90



Tabla XXX

91



Tabla XXXI

92


Stolac, mozaik

Tabla XXXII

93


Stolac, detalj

Stolac, detalj

Tabla XXXIII

94


Stolac, rekonstrukcija (prema I. Čremošnik)

Stolac, detalj mozaika zima i proljeće (prema F. Fiala – C. Patsch)

Tabla XXXIV

95


Stolac, mozaik

Tabla XXXV

96


Stolac, rekonstrukcija (prema F. Fiala)

Stolac, detalj mozaika sa prikazom Minotaura (prema F. Fiala)

Tabla XXXVI

97



Stolac, detalj mozaika (labirint)

Tabla XXXVII

98



Tabla XXXVIII

99


Panik, rekonstrukcija (prema I. Čremošnik)

Tabla XXXIX

100



Tabla XL

101



Tabla XLI

102



Panik, detalj mozaika

Tabla XLII

103


Pani

k, re

kons

truk

cija

(pre

ma

I. Č

rem

ošni

k)

Tabla XLIII

104



Tabla XLIV

105



Tabla XLV

106


Panik, muza Kaliopa i detalj okvira oko muze

Tabla XLVI

107



Tabla XLVII

108



Tabla XLVIII

109



Tabla XLIX

110



Tabla L

111


Domavia, rekonstrukcija (prema W. Radmisky)

Tabla LI

112


Domavia, rekonstrukcija (prema W. Radmisky)

Tabla LII

113


Sarajevo, mozaik (prema D. Sergejevski)

Panik, rekonstrukcija (prema M. Popović)

Tabla LIII

115

Ancient Mosaics in the Territory of Bosnia and Herzegovina KORIŠTENA LITERATURABIBLIOGRAPHYKORIŠTENA LITERATURABIBLIOGRAPHY

117


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BECATTI G. 1961. Scavi di Ostia IV: Mosaici e pavimenti marmorei. 2 voll. Insti-tuto Poligrafico dello Stato, Roma, 1961.

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1984. Mozaici i zidno slikarstvo rimskog doba. Sarajevo, 1984.ĆEMAN M. H. 2000. Res publica Aquarum S.... U monografiji Ilidža, Sarajevo, 2000.DAUPHIN C. 1997. Carpets of Stone, The Graeco – Roman Legacy in the Levant.

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FIALA F. – PATSCH C.

1895. Untersuchungen römischer Fundorte in der Hercegovina. Wissenschaftliche mitteilungen aus Bosnien und der Herze-govina III, Wien, 1895.

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FARNETI M. 1993. Glossario technico – storico del mosaico/Technical – Histori-cal Glosssary of Mosaic Art. Longo, Ravenna, 1993.

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mitteilungen aus Bosnien und der Herzegovina V, Wien, 1897.

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SADRŽAJ CONTENTS

Uvod 5 Introduction Tehnika izrade mozaika 7 Mosaic techniques Pod od oblutaka 8 Floors made of pebbles Pod od lomljene terakote 8 Floors made of broken terracotta Cementni pod 8 Cement floors Pod od opeke 8 Floor made of tiles Pod od nepravilnih komada 9 Floors made of irregular pieces of stone or marble Mramorni pod 9 Marble floor Pod od tesera 9 Floor made of tesserae Asarotos oikos “nepospremljena soba” 9 Asarotos oikos “untidy room” Pod od pravokutnih tesera 9 Floor made of rectangular tesserae u stilu “pletene košare“ with the design of a “weaved basket“ Umjetnički podni mozaik 10 The artistic floor mosaics Način polaganja tesera 10 Tesserae placing technique Vrste materijala 11 Materials Historijat razvoja mozaičke umjetnosti 12 Development of the mosaic art Antički mozaici sa prostora 16 Ancient mosaics in the territory Bosne i Hercegovine of Bosnia and Herzegovina Zaključak 26 Conclusion Katalog 29 Catalogue Tabele 59 Tables Korištena literatura 115 Bibliography

Realizaciju izložbe finansijski su omogućili Federalno ministarstvo kulture i sporta i BH Telecom.

The exhibition has been realized with the financial support of the Federal Ministry of Culture and Sport and BH Telecom.

CIP – Katalogizacija u publikacijiNacionalna i univerzitetska biblioteka Bosne i Hercegovine, Sarajevo

738.5(497.6)“652”

BUSULADŽIĆ, AdnanUmjetnost antičkih mozaika na tlu Bosne i Hercegovine = Ancient mosaics

in the territory of Bosnia and Herzegovina / Adnan Busuladžić ; [prijevod na engleski, translated into English by Spomenka Beus]. – Sarajevo : Zemaljski muzej Bosne i Hercegovine = National Museum of Bosnia and Herzegovina, 2008. – 118 str. : ilustr. ; 26 cm

Tekst uporedo na bos. i engl. jeziku. – Bibliografija: str: 115-118. – Bibliografske i druge bilješke uz tekst

ISBN 978-9958-502-05-7

COBISS.BH-ID 16245510

Documents

Adnan Busuladzic-Umjetnost Antickih Mozaika Na Tlu BiH