Page 145 - Blečić Kavur, Martina. Povezanost perspektive / A coherence of perspective. Koper: Založba Univerze na Primorskem, 2015.
P. 145
družiti Seriji 1 prema istome istraživaču,276 i tako još Finally are worthy of attention the remaining structur- povezanost ... ■ a coherence ... 145
više učvrstiti vezu s bolonjskim prostorom. al elements of situlae and cysts, such as lead rods, clamps
and couplings also made of lead (Fig. 53B).277 Lead rods
Naposljetku vrijedni pozornosti su i preostali kon- filled the edges and bottoms of situlae and cysts to in-
strukcijski elementi situla i cista, što se odnosi na nala- crease their strength and stability. Lead clamps were
ze olovnih šipki, stezaljki i spojki također od olova (sl. used in turn largely for effective repair of long used ves-
53B).277 Olovne šipke ispunjavale su rubove i dna situla sels, which is a characteristic of Istrian metal vessels.278
i cista čime se nastojalo pojačati njihovu čvrstoću i sta- In any case, lead elements clearly demonstrate that
bilnost. Olovne stezaljke koristile su se pak najvećim Osor also must have had a workshop with craftsmen
dijelom pri popravcima kod dugotrajnijeg korištenja, specialized in this kind of pretentious jobs.
što je i odlika istarskih metalnih posuda.278 U svakom
primjeru, olovni elementi jasno svjedoče da se i na In the interpretation of the importance of Situla Art
Osoru morala nalaziti zanatska radionica s majstori- (Fig. 51), which was developed on a large area of prehis-
ma specijaliziranim za takvu vrstu zahtjevnih poslova. toric cultures and in inspiring contacts with bloom-
ing Mediterranean civilizations, they were most
U interpretaciji vrijednosti situlske umjetnosti (sl. 51), commonly referred to as a statement of development
koja se razvijala na velikom prostoru prapovijesnih and status of then contemporary archaic society.279 In
kultura, ali u inspirativnom doticaju s rascvjetanim accordance with the archaism of culturally extreme-
sredozemnim civilizacijama, najčešće se podrazumi- ly heterogeneous territories, artistic achievements
jeva kao iskaz razvijenosti i statusa onodobnog arha- of Situla Art are characterized by a striking conser-
ičnog društva.279 Sukladno arhaičnosti kulturno izra- vatism both in performance as well as in the narra-
zito heterogenih područja, umjetnička ostvarenja tion. The spectrum of motifs, iconographic content
situlske umjetnosti odlikuje izrazita konzervativnost and method of repetition of scenes, symbols or signs
kako u izvedbi tako i u naraciji. Spektar motiva, iko- was strengthened in a tradition of almost four centu-
nografskog sadržaja te metoda ponavljanja scena, pri- ries. The composition of the performance of individ-
zora, simbola ili znakovlja, učvrstila se u tradiciji dugoj ual decorations was as a rule symmetrical, rhythmic
gotovo četiri stoljeća. Kompozicija izvedbe pojedinih or flat so, together with only shallow reliefs depict-
ukrasa u pravilu je bila simetrična, ritmična ali plošna ed in profile, it became a canonized and a common-
pa je, zajedno s isključivo plitko reljefnim prikazima u ly accepted way of artistic expression.280 Neverthe-
276 Stjernquist 1967, 30, Abb. 1. 277 Blečić Kavur 2010, T. 54, 889.
277 Blečić Kavur 2010, T. 54, 889. 278 Mihovilić 2013, 316-318, sl. 252 (with earlier literature).
278 Mihovilić 2013, 316-318, sl. 252 (sa starijom literaturom). 279 Teržan 2007, 81-83 (with earlier literature).
279 Teržan 2007, 81-83 (sa starijom literaturom). 280 Teržan 1997; Teržan 2001; Teržan 2007; cf. Koch 2003; Càssola Guida, Vitri
2012; Bondini 2012.
više učvrstiti vezu s bolonjskim prostorom. al elements of situlae and cysts, such as lead rods, clamps
and couplings also made of lead (Fig. 53B).277 Lead rods
Naposljetku vrijedni pozornosti su i preostali kon- filled the edges and bottoms of situlae and cysts to in-
strukcijski elementi situla i cista, što se odnosi na nala- crease their strength and stability. Lead clamps were
ze olovnih šipki, stezaljki i spojki također od olova (sl. used in turn largely for effective repair of long used ves-
53B).277 Olovne šipke ispunjavale su rubove i dna situla sels, which is a characteristic of Istrian metal vessels.278
i cista čime se nastojalo pojačati njihovu čvrstoću i sta- In any case, lead elements clearly demonstrate that
bilnost. Olovne stezaljke koristile su se pak najvećim Osor also must have had a workshop with craftsmen
dijelom pri popravcima kod dugotrajnijeg korištenja, specialized in this kind of pretentious jobs.
što je i odlika istarskih metalnih posuda.278 U svakom
primjeru, olovni elementi jasno svjedoče da se i na In the interpretation of the importance of Situla Art
Osoru morala nalaziti zanatska radionica s majstori- (Fig. 51), which was developed on a large area of prehis-
ma specijaliziranim za takvu vrstu zahtjevnih poslova. toric cultures and in inspiring contacts with bloom-
ing Mediterranean civilizations, they were most
U interpretaciji vrijednosti situlske umjetnosti (sl. 51), commonly referred to as a statement of development
koja se razvijala na velikom prostoru prapovijesnih and status of then contemporary archaic society.279 In
kultura, ali u inspirativnom doticaju s rascvjetanim accordance with the archaism of culturally extreme-
sredozemnim civilizacijama, najčešće se podrazumi- ly heterogeneous territories, artistic achievements
jeva kao iskaz razvijenosti i statusa onodobnog arha- of Situla Art are characterized by a striking conser-
ičnog društva.279 Sukladno arhaičnosti kulturno izra- vatism both in performance as well as in the narra-
zito heterogenih područja, umjetnička ostvarenja tion. The spectrum of motifs, iconographic content
situlske umjetnosti odlikuje izrazita konzervativnost and method of repetition of scenes, symbols or signs
kako u izvedbi tako i u naraciji. Spektar motiva, iko- was strengthened in a tradition of almost four centu-
nografskog sadržaja te metoda ponavljanja scena, pri- ries. The composition of the performance of individ-
zora, simbola ili znakovlja, učvrstila se u tradiciji dugoj ual decorations was as a rule symmetrical, rhythmic
gotovo četiri stoljeća. Kompozicija izvedbe pojedinih or flat so, together with only shallow reliefs depict-
ukrasa u pravilu je bila simetrična, ritmična ali plošna ed in profile, it became a canonized and a common-
pa je, zajedno s isključivo plitko reljefnim prikazima u ly accepted way of artistic expression.280 Neverthe-
276 Stjernquist 1967, 30, Abb. 1. 277 Blečić Kavur 2010, T. 54, 889.
277 Blečić Kavur 2010, T. 54, 889. 278 Mihovilić 2013, 316-318, sl. 252 (with earlier literature).
278 Mihovilić 2013, 316-318, sl. 252 (sa starijom literaturom). 279 Teržan 2007, 81-83 (with earlier literature).
279 Teržan 2007, 81-83 (sa starijom literaturom). 280 Teržan 1997; Teržan 2001; Teržan 2007; cf. Koch 2003; Càssola Guida, Vitri
2012; Bondini 2012.
