Page 151 - Blečić Kavur, Martina. Povezanost perspektive / A coherence of perspective. Koper: Založba Univerze na Primorskem, 2015.
P. 151
dijelo«, nakit, status, simbol
»Clothing«, jewelry, status, symbol
Tijekom čitavog mlađeg željeznog doba, od 4. Throughout the Late Iron Age, from the 4th to 151
pa do 2. st. pr. Kr., pojedini elementi nošnje i the 2nd cent. BC, individual elements of cos-
nakita, zbog svoje su funkcionalnosti ili jed- tumes and jewellery, due to their functional-
nostavnosti, nepromijenjeno dugo ostajali u modi ta- ity or simplicity, remained unchanged for a long time
mošnjeg stanovništva. No pojedini se ipak razvijaju in fashion of the local population. But were develop-
i usavršavaju u korist novoprispjelih kulturnih utje- ing and improving due to the benefit of newly arrived
caja i manifestacija. Zorno nam to pokazuju upravo cultural influences and manifestations. This is clear-
kasni oblici i varijante fibula tipa Certosa kojih je na ly demonstrated to us by the late forms and variants of
Osoru zabilježen uistinu impozantan broj. Istu tradi- Certosa type fibula which were recorded in Osor in a
ciju slijede i varijante fibula tipa Baška. One su, u luk- truly impressive number. The same tradition is followed
suznim baroknim formama, nerijetko bile izrađiva- by the variants of Baška type fibula. They were in luxu-
ne od srebra, uklapajući se tako u širenje masovnije rious, baroque forms, often produced from silver, thus
uporabe srebra, odnosno u tzv. srebrni horizont tijeka matching the spread of massive application of silver or
3. st. pr. Kr.285 the so-called silver horizon during the 3rd cent. BC.285
On the other hand, in the entire area of Kvarner were
S druge strane, na čitavom prostoru Kvarnera bili su accepted indirect influences from the Celtic cultural
prihvaćeni i posredni utjecaji iz keltskog kulturnog milieu. Their reflection was followed in accepting the
miljea. Njihov se odraz slijedi u preuzimanju osnov- basic forms in the production of the so-called La Tène
nih obrazaca kod izradbi tzv. fibula latenske sheme. scheme fibulae. These were cultural influences pen-
Kulturni su to dotoci koji su prodirali iz zaleđa, od sje- etrating from the hinterlands – from northern Italy,
verne Italije, ponajviše Furlanije i jugoistočnog alp- most from Friuli and the south-eastern Alpine region
285 Blečić Kavur 2014a. 285 Blečić Kavur 2014a.
»Clothing«, jewelry, status, symbol
Tijekom čitavog mlađeg željeznog doba, od 4. Throughout the Late Iron Age, from the 4th to 151
pa do 2. st. pr. Kr., pojedini elementi nošnje i the 2nd cent. BC, individual elements of cos-
nakita, zbog svoje su funkcionalnosti ili jed- tumes and jewellery, due to their functional-
nostavnosti, nepromijenjeno dugo ostajali u modi ta- ity or simplicity, remained unchanged for a long time
mošnjeg stanovništva. No pojedini se ipak razvijaju in fashion of the local population. But were develop-
i usavršavaju u korist novoprispjelih kulturnih utje- ing and improving due to the benefit of newly arrived
caja i manifestacija. Zorno nam to pokazuju upravo cultural influences and manifestations. This is clear-
kasni oblici i varijante fibula tipa Certosa kojih je na ly demonstrated to us by the late forms and variants of
Osoru zabilježen uistinu impozantan broj. Istu tradi- Certosa type fibula which were recorded in Osor in a
ciju slijede i varijante fibula tipa Baška. One su, u luk- truly impressive number. The same tradition is followed
suznim baroknim formama, nerijetko bile izrađiva- by the variants of Baška type fibula. They were in luxu-
ne od srebra, uklapajući se tako u širenje masovnije rious, baroque forms, often produced from silver, thus
uporabe srebra, odnosno u tzv. srebrni horizont tijeka matching the spread of massive application of silver or
3. st. pr. Kr.285 the so-called silver horizon during the 3rd cent. BC.285
On the other hand, in the entire area of Kvarner were
S druge strane, na čitavom prostoru Kvarnera bili su accepted indirect influences from the Celtic cultural
prihvaćeni i posredni utjecaji iz keltskog kulturnog milieu. Their reflection was followed in accepting the
miljea. Njihov se odraz slijedi u preuzimanju osnov- basic forms in the production of the so-called La Tène
nih obrazaca kod izradbi tzv. fibula latenske sheme. scheme fibulae. These were cultural influences pen-
Kulturni su to dotoci koji su prodirali iz zaleđa, od sje- etrating from the hinterlands – from northern Italy,
verne Italije, ponajviše Furlanije i jugoistočnog alp- most from Friuli and the south-eastern Alpine region
285 Blečić Kavur 2014a. 285 Blečić Kavur 2014a.
