Page 202 - Blečić Kavur, Martina. Povezanost perspektive / A coherence of perspective. Koper: Založba Univerze na Primorskem, 2015.
P. 202
ezanost perspektive ■ a coherence of perspective 202 ukrasom lovorove vitice (?), ulomak tijela posude (vrča of a crater decorated with laurel tendrils (?), a fragment
ili kratera?) s prikazanom nogom u povijenom stavu s of the body of a vessel (jug or crater?) with a foot depict-
ravnotežom na dva oslonca (mač ili štap?) (sl. 71C),402 ed in a curved position to balance the two arms (sword
ulomak ruba čaše tipa skyphos ili kantharos sessile s pri- or stick?) (Fig. 71C),402 rim of the skyphos or kantharos
kazom meandra (sl. 71D), ulomak posude s djelomič- sessile type cup depicting a meander (Fig. 71D), the frag-
nim prikazom muškog tijela i desne ruke403 i dr. (sl. 71). ment of a vessel with a partial representation of the male
Srodni primjerci mogu se naći kod nalazišta iz Istre,404 body and right arm403 and others (Fig. 71). Similar exam-
unutrašnjosti jugoistočnog alpskog zaleđa405 i zapad- ples can be found at the sites in Istria,404 in the interior
nobalkanskog područja.406 Izuzev izravnog doprema- of the south-eastern Alpine hinterland405 and the west-
nja iz južnoitalskih gradova, određena trgovina tom ern Balkan region.406 Except for direct delivery from
luksuznom keramikom pretpostavljena je posredniš- the south Italic cities, certain trade with this pottery is
tvom emporija na zapadnoj, italskoj obali Jadrana.407 assumed by the intermediation of the emporia on the
western, Italic coast of the Adriatic.407
Uistomkontekstu,odsredine4.st.pr.Kr.pristižuiprve In the same context, since the middle 4th cent. BC, ar-
posude južnoitalske slikane proizvodnje tipa Gnathia. rived the first painted vessels of southern Italian pro-
S vremenom je ta keramika stekla takvu popularnost duction of Gnathia style. In the course of time, this
da je postala najraširenija keramika helenističkog raz- pottery received such popularity that it has become
doblja u i izvan njezinih središta proizvodnje, osobito the most widely used ceramic of the Hellenistic peri-
u međujadranskim trgovačko-posredničkim odnosi- od in and also outside of its centres of production, es-
ma.408 I kod ovog se tipa keramike izdvajaju ulomci ve- pecially in the trans-Adriatic trade.408 And with this
likih zdjela tzv. bacino s crnim sjajnim premazom koje the type of pottery should be put forward fragments
su oslikavane svjetlijom (žutom ili bijelom) i crvenom/ of large bowls of the so-called bacino with black glossy
bordo bojom (sl. 72). Prevladavaju geometrijski i bilj- slip painted with lighter (yellow or white) and a red/ma-
ni motivi, vitice loza, bršljana i listića, zatim mitološki roon colour (Fig. 72). Prevalent are geometrical and flo-
i životinjski motivi te ženski profili između vitica. Na-
402 Faber 1980, sl. 12, 1; Mihovilić 2002. Najvjerojatnije je posuda bila oslikana dva- 402 Faber 1980, sl. 12, 1; Mihovilić 2002. Most likely the vessel was painted with two
ma mladićima u razgovoru, mitološkog ili svakidašnjeg karaktera, scenom ti- young men in conversation of mythological or everyday character - a scene
pičnom za južnoitalsku crvenofiguralnu keramiku (Trendall 1989, 13, 18, 25). typical of the southern Italian red figure pottery (Trendall 1989, 13, 18, 25).
403 Faber 1980, sl. 12, 2. 403 Faber 1980, sl. 12, 2.
404 Mihovilić 2002, 504-505; Mihovilić 2013, sl. 202; 204-205. 404 Mihovilić 2002, 504-505; Mihovilić 2013, sl. 202; 204-205.
405 Teržan 1995, 88. 405 Teržan 1995, 88.
406 Sanski most, g. 77, Fiala 247-248, sl. 86; Parović-Pešikan 1986, 42-43, T. 1, 4. 406 Sanski most, grave 77, Fiala 247-248, sl. 86; Parović-Pešikan 1986, 42-43, T. 1, 4.
407 Teržan 1995, 88; usp. Guzzo 1993; Landolfi 1996; Bonomi 2000; Attische Vasen 407 Teržan 1995, 88; cf. Guzzo 1993; Landolfi 1996; Bonomi 2000; Attische Vasen
2004. 2004.
408 Miše 2012, 234. 408 Miše 2012, 234.
ili kratera?) s prikazanom nogom u povijenom stavu s of the body of a vessel (jug or crater?) with a foot depict-
ravnotežom na dva oslonca (mač ili štap?) (sl. 71C),402 ed in a curved position to balance the two arms (sword
ulomak ruba čaše tipa skyphos ili kantharos sessile s pri- or stick?) (Fig. 71C),402 rim of the skyphos or kantharos
kazom meandra (sl. 71D), ulomak posude s djelomič- sessile type cup depicting a meander (Fig. 71D), the frag-
nim prikazom muškog tijela i desne ruke403 i dr. (sl. 71). ment of a vessel with a partial representation of the male
Srodni primjerci mogu se naći kod nalazišta iz Istre,404 body and right arm403 and others (Fig. 71). Similar exam-
unutrašnjosti jugoistočnog alpskog zaleđa405 i zapad- ples can be found at the sites in Istria,404 in the interior
nobalkanskog područja.406 Izuzev izravnog doprema- of the south-eastern Alpine hinterland405 and the west-
nja iz južnoitalskih gradova, određena trgovina tom ern Balkan region.406 Except for direct delivery from
luksuznom keramikom pretpostavljena je posredniš- the south Italic cities, certain trade with this pottery is
tvom emporija na zapadnoj, italskoj obali Jadrana.407 assumed by the intermediation of the emporia on the
western, Italic coast of the Adriatic.407
Uistomkontekstu,odsredine4.st.pr.Kr.pristižuiprve In the same context, since the middle 4th cent. BC, ar-
posude južnoitalske slikane proizvodnje tipa Gnathia. rived the first painted vessels of southern Italian pro-
S vremenom je ta keramika stekla takvu popularnost duction of Gnathia style. In the course of time, this
da je postala najraširenija keramika helenističkog raz- pottery received such popularity that it has become
doblja u i izvan njezinih središta proizvodnje, osobito the most widely used ceramic of the Hellenistic peri-
u međujadranskim trgovačko-posredničkim odnosi- od in and also outside of its centres of production, es-
ma.408 I kod ovog se tipa keramike izdvajaju ulomci ve- pecially in the trans-Adriatic trade.408 And with this
likih zdjela tzv. bacino s crnim sjajnim premazom koje the type of pottery should be put forward fragments
su oslikavane svjetlijom (žutom ili bijelom) i crvenom/ of large bowls of the so-called bacino with black glossy
bordo bojom (sl. 72). Prevladavaju geometrijski i bilj- slip painted with lighter (yellow or white) and a red/ma-
ni motivi, vitice loza, bršljana i listića, zatim mitološki roon colour (Fig. 72). Prevalent are geometrical and flo-
i životinjski motivi te ženski profili između vitica. Na-
402 Faber 1980, sl. 12, 1; Mihovilić 2002. Najvjerojatnije je posuda bila oslikana dva- 402 Faber 1980, sl. 12, 1; Mihovilić 2002. Most likely the vessel was painted with two
ma mladićima u razgovoru, mitološkog ili svakidašnjeg karaktera, scenom ti- young men in conversation of mythological or everyday character - a scene
pičnom za južnoitalsku crvenofiguralnu keramiku (Trendall 1989, 13, 18, 25). typical of the southern Italian red figure pottery (Trendall 1989, 13, 18, 25).
403 Faber 1980, sl. 12, 2. 403 Faber 1980, sl. 12, 2.
404 Mihovilić 2002, 504-505; Mihovilić 2013, sl. 202; 204-205. 404 Mihovilić 2002, 504-505; Mihovilić 2013, sl. 202; 204-205.
405 Teržan 1995, 88. 405 Teržan 1995, 88.
406 Sanski most, g. 77, Fiala 247-248, sl. 86; Parović-Pešikan 1986, 42-43, T. 1, 4. 406 Sanski most, grave 77, Fiala 247-248, sl. 86; Parović-Pešikan 1986, 42-43, T. 1, 4.
407 Teržan 1995, 88; usp. Guzzo 1993; Landolfi 1996; Bonomi 2000; Attische Vasen 407 Teržan 1995, 88; cf. Guzzo 1993; Landolfi 1996; Bonomi 2000; Attische Vasen
2004. 2004.
408 Miše 2012, 234. 408 Miše 2012, 234.
