Page 152 - Blečić Kavur, Martina. Povezanost perspektive / A coherence of perspective. Koper: Založba Univerze na Primorskem, 2015.
P. 152
skog područja današnje Slovenije. Po uzoru na njih, of today’s Slovenia. Following their example in Kvarner
na Kvarneru su bile vrlo popularne fibule tzv. srednjo- were very popular so-called fibulae of the middle La
latenske sheme. Ističu se fibule tipa Kastav i Nezakcij, Tène scheme. Especially fibulae of the type Kastav and
od kojih je upravo na Osoru poznat najveći broj, a koje Nesactium, of which is the greatest number known in
svojom prostornom raširenošću ukazuju na regional- Osor. Their geographic distribution indicates the re-
nu produkciju tog tipa umjetničkog zanatstva. gional production of this type of artistic crafts.
povezanost perspektive ■ a coherence of perspective 152 Miješanje stilova, moda, utjecaja ili inspiracija bilo je Mixing styles, fashions, influences or inspirations was
izuzetno snažno u tome vremenu na čitavom prosto- very strong at that time in the entire area of Kvarner,
ru Kvarnera, ali na Osoru se očitovalo na najživopisni- but on Osor it was evident in the most colourful way.
ji mogući način.
Late variants of Certosa type fibulae
Kasne varijante fibula tipa Certosa
The youngest forms of Certosa type fibulae were
Najmlađe će oblike fibula tipa Certosa obilježavati oni marked by specimens which appear at the end of the
primjerci koji se javljaju na samom kraju starijeg želje- Early Iron Age, which is already with fibulae of middle
znog doba, odnosno već s fibulama srednjolatneskih La Tène scheme. In a certain way were they squeezed
shema. Tako su na neki način istisnule iz uporabe stari- from use the older types and variants of Certosa type
je tipove i varijante Certosa fibula, ali i obilježile već sa- fibula and marked the completely new era of Late Iron
svim novo vrijeme mlađeg željeznog doba čiji se obli- Age with its formative turnaround starting to happen
kovni preobrat počinje događati od 300. g. pr. Kr. pa from 300 BC and onwards. Among these main forms
nadalje. U te se vodeće oblike ubrajaju XII i pogoto- were included XII and VII variants of Certosa fibula of
vo VII varijante fibula tipa Certosa čija će manifestaci- whose manifestations will depend on the spatial and
ja ovisiti o prostornom, odnosno kulturnom raspore- cultural schedule (Fig. 21; 54-56).286
du (sl. 21; 54-56).286 In the area of K varner Certosa type fibula XII variants
were, conventionally, very poorly represented. Among
Na prostoru Kvarnera fibule tipa Certosa XII varijan- them was the fibula from Grobnik, which, however,
te bile su, konvencionalno, vrlo slabo zastupljene. Pri- could be closer, linked with their sumptuous baroque
družena im je bila tek fibula iz Grobnika, koja se ipak XIIa variant. These were fibulae that marked the area
bliže povezuje uz njihovu raskošniju, barokniju XIIa of Dolenjska cultural circle in the final phases of Nego-
varijantu. Naime, riječ je o fibulama koje su obilježi- va horizon of the late HaD3 and the early La Tène peri-
le područje dolenjskog kulturnog kruga završnih faza
286 Teržan 1976, 371-372, sl. 41; 42. 286 Teržan 1976, 371-372, sl. 41; 42.
na Kvarneru su bile vrlo popularne fibule tzv. srednjo- were very popular so-called fibulae of the middle La
latenske sheme. Ističu se fibule tipa Kastav i Nezakcij, Tène scheme. Especially fibulae of the type Kastav and
od kojih je upravo na Osoru poznat najveći broj, a koje Nesactium, of which is the greatest number known in
svojom prostornom raširenošću ukazuju na regional- Osor. Their geographic distribution indicates the re-
nu produkciju tog tipa umjetničkog zanatstva. gional production of this type of artistic crafts.
povezanost perspektive ■ a coherence of perspective 152 Miješanje stilova, moda, utjecaja ili inspiracija bilo je Mixing styles, fashions, influences or inspirations was
izuzetno snažno u tome vremenu na čitavom prosto- very strong at that time in the entire area of Kvarner,
ru Kvarnera, ali na Osoru se očitovalo na najživopisni- but on Osor it was evident in the most colourful way.
ji mogući način.
Late variants of Certosa type fibulae
Kasne varijante fibula tipa Certosa
The youngest forms of Certosa type fibulae were
Najmlađe će oblike fibula tipa Certosa obilježavati oni marked by specimens which appear at the end of the
primjerci koji se javljaju na samom kraju starijeg želje- Early Iron Age, which is already with fibulae of middle
znog doba, odnosno već s fibulama srednjolatneskih La Tène scheme. In a certain way were they squeezed
shema. Tako su na neki način istisnule iz uporabe stari- from use the older types and variants of Certosa type
je tipove i varijante Certosa fibula, ali i obilježile već sa- fibula and marked the completely new era of Late Iron
svim novo vrijeme mlađeg željeznog doba čiji se obli- Age with its formative turnaround starting to happen
kovni preobrat počinje događati od 300. g. pr. Kr. pa from 300 BC and onwards. Among these main forms
nadalje. U te se vodeće oblike ubrajaju XII i pogoto- were included XII and VII variants of Certosa fibula of
vo VII varijante fibula tipa Certosa čija će manifestaci- whose manifestations will depend on the spatial and
ja ovisiti o prostornom, odnosno kulturnom raspore- cultural schedule (Fig. 21; 54-56).286
du (sl. 21; 54-56).286 In the area of K varner Certosa type fibula XII variants
were, conventionally, very poorly represented. Among
Na prostoru Kvarnera fibule tipa Certosa XII varijan- them was the fibula from Grobnik, which, however,
te bile su, konvencionalno, vrlo slabo zastupljene. Pri- could be closer, linked with their sumptuous baroque
družena im je bila tek fibula iz Grobnika, koja se ipak XIIa variant. These were fibulae that marked the area
bliže povezuje uz njihovu raskošniju, barokniju XIIa of Dolenjska cultural circle in the final phases of Nego-
varijantu. Naime, riječ je o fibulama koje su obilježi- va horizon of the late HaD3 and the early La Tène peri-
le područje dolenjskog kulturnog kruga završnih faza
286 Teržan 1976, 371-372, sl. 41; 42. 286 Teržan 1976, 371-372, sl. 41; 42.
