Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
Зборник Народног музеја - археологија / Recueil du Musée National - archéologie, 22-1, Београд / Belgrade 2015, 217–232.
During the 2007 systematic archaeological investigations at Mediana (Brzi Brod near Niš, Naissus, Dacia mediterranea), a find was made of a black glass bead of 1.6 cm by 1.3 cm by 0.5-0.8 cm in size. The bead is of an irregular oval shape, flattened, with a cylindrical groove running parallel to a figural depiction in relief on the top side. It is a representation of a frog as viewed from above, rather finely modelled and motionless. Its front legs, with clearly accentuated webbed toes, are depicted at a right angle. The abdomen is swollen, with the hind legs, which are depicted in less detail, clinging to it. Clockwise around the animal is the following Greek inscription in capital letters: ZO –[Η]N. The Mediana bead is so far a unique find of black glass. Its parallels from Pannonia (the Keszthely necropolis), found in two burials from the third decade of the 4th century AD are actually discoid pendant medallions with a link for fastening, and are made of yellow and brownish glass. Further parallels are found in the Israel Museum in Jerusalem, where three such pendants, also of translucent, yellowish or blue glass, are dated to a somewhat later period, i.e. from the mid-4th to the mid-5th centuries, based on their stylistic features. The Mediana bead of black glass bearing a depiction of a frog and the inscription ZO–Η[N] (Latin vivas), denoting good health and happiness, most likely represents an amulet intended to protect its owner from evil and disease and bring them happiness. The workshop in which it was made is unknown. However, based on the finds of beads and pendants depicting other animals, symbols or human figures, its origins are probably in Syria, Palestine or Egypt. The cult of the frog was deeply rooted in these lands and in Late Antiquity it experienced a strong revival. We suppose that the bead reached Mediana from one of the workshops in the said lands and that it was used at a time when the settlement reached the peak of its economic and social prosperity, and enjoyed a lively circulation of people from various parts of the Empire during the 4th century AD, most probably during the second building phase, between AD 320 and 378.
Зборник Народног музеја (Ниш) / Papers of the National Museum of Niš 23, 2014, 35–64.
About one interesting masonry grave in Naissus (Serbian, with English summary)2014 •
During the archaeological researches in 2012, in the area of “Benetton” Factory, which represents the eastern and southeastern part of a large late-antiquity necropolis in Niš-Naissus (Jagodin Mala city quarter), 75 tombs have been recorded. Amongst the graves, particular attention of the researchers was drawn by a grave with a field label G-6. Up to the socle level it was dug into the subsoil layer. It was built in a shape of sarcophagus, of bricks (41 x 28 x 4 cm and 40 x 27 x 3,5 cm) and mortar while on the outer side it had pebble plating. The grave measures are 2,74 x 1,30 m (external), 1,90 x 0, 60 m (internal) and is 0,71 m high. The grave covering was made of the large format bricks, probably 56 x 56 x 6 cm, arranged in a shape of a double-pitch roof, with vertically placed brick on the eastern gable, additionally fixed by a large stone, connected with mortar to the socle. In the western part the grave was damaged; however, on the basis of the neighboring graves shape, we assume that it was built of brick, stone and mortar in the form of an arched pediment. The brick built grave number 6 was originally designed for burial of one individual person. However, due to certain historical, familial, economic or other circumstances, there was later buried more than one person in the grave, so that the grave, in terminological and functional terms, actually represents a family/collective tomb. The smallest number of individual persons buried in that grave, according to results of anthropological analysis, was five: - two males (individual no.1, 45-55 years old and individual no. 2, 25-30 years old), - two females (individual no. 3, a girl 6-7 years old and individual no. 4, about 20 years old) - one person of unknown gender (individual no. 5, 20-24 years old). For now, the only reliable data is that remains of individual no.1 represent the oldest funeral. With caution, we could assume that having laid the individual no. 1 (a male 45-55 years old), along the southern and northern edge of the grave two individuals were laid (no. 2, a male, 25-30 years old and no. 3, a girl, 6-7 years old), and then individual no. 4 (a female, about 20 years old), over the primary buried person, because of which bones of the man (no. 2) and the girl (no. 3) were probably slightly moved aside. It is unknown relative relation of the individual’s no. 5 funeral, a person of unknown gender, 20-24 years old, of whom only a few bones of the right leg and two teeth have been recorded. Such level of preservation of the bones could have been influenced by a number of factors: soil acidity, fragility and very nature of the bone material as well as high rate of burials in one place. Movable finds from the tomb are relatively modest. There were found remains of a gold embroidery fabric, three silver needles, frame of the lead mirror, four bronze rings and several glass vessels, in a very fragmented state. Next to the main individual no. 2, on the left, a fragment of a bottom of a glass vessel was found (cat. 9) and fragments of a glass balsamarium (cat. 10). The biggest number of objects is associated with the girl, buried with two or three silver pins (cat. 2-4), four bronze rings (cat. 5-8), the lead mirror from which the preserved frame remained (cat. 1) and a glass vessel (cat. 11). Frame of the lead mirror, made of one-piece mold, could have been manufactured in some local workshop (officina plumbaria). Placing mirror in the tomb in the funeral practice, through reflection of the glass, could have represented a link between the worlds of the living and the dead, as well as desire to preserve symbolically the figure of the deceased through that reflection. Finds of silver pins represent indirect confirmation that the youngest deceased female head a veil over her head, or that she was wrapped in a shroud. She was buried with personal jewelry consisting of four bronze rings of the same type (circular link and rounded head with a relief representation), which represent typical products of the local fourth century workshops, available to wider range of social classes. According to finding of the bronze coins from 355-361 that probably belonged to some of the younger funerals, we comes to data that funerals had been conducted in that grave before and around IV century, in the time of greatest prosperity of Naissus, encountered in the time of Constantine I and his successors.
2012 •
The archaeological site “Roman baths” is located in downtown Čačak, 200 meters southwest of the National Museum of Čačak. Remains of bigger edifice’s foundation from Roman period were discovered in 1970 when the foundations for a residential - commercial building were dug. In the same year a systematic archaeological excavation was taken, after which the object was preserved (1970-1972). According to the archaeological research, above the remains of Roman building in the 12th century Christian necropolis was formed and the area was used since the middle Ages, through the Turkish times to the present day, which caused the devastation of older archaeological layers and findings. The building that was discovered in 1970 represents the late Roman bath (balneum), built most likely at the end of 3rd or in the early 4th century, which was in use until the year AD 378 and the invasion of the Western Goths. Two phases are evident in the construction of the building. The building was built on an elevated river plateau sloping to the southeast, 600 m from the Morava river bed towards the south. Rectangular in shape, longitudinally oriented east-west and its eastern part turns 5 degrees to the north. The maximum length of the building along the east-west axis is 22.60 m, along the north-south axis 18.45 m, with total area of 340 square meters. Building has had at least eight rooms of various sizes and purposes, organized into three series (northern, central and south). In the construction of the baths parts of the epigraphical limestone monuments, probably gravestones, from the 2nd or 3rd century were secondarily used. Hypocaust piers, vaulting over the canals, door frames and floors were built of brick. In order to isolate from the moisture, the walls are coated with hydrostatic mortar. In the rubble of the building the remains of fresco decoration (traces of blue, red and ocher colours) were registered. Portable findings from the late Roman baths in Čačak are quite humble. These are the findings of pottery and glass vessels, a small number of glass jewellery and metal objects (tools, calk, bronze sheaths) and coins. Considering that the archaeological research found only baths, it is difficult to assume whether it represented part of a rural estate (villa rustica) or a settlement (vicus). It is less likely that it was a part of a military fortification or a fortified road station.
Гласник Српског археолошког друштва / Journal of Serbian Archaeological Society, 30, Београд/Belgrade 2014, 83–108.
Grave of a wealthy female citizen from the Late Roman Naissus (Serbian with English summary)In 2012 during protective-systematic archeological investigations were discovered 75 grave units in the “Benetton Serbia” factory complex in Jagodin Mala, Niš, Serbia. Burials belonged to the part of the eastern city’s necropolis of Naissus that lasted for three centuries from IV to the end of VI / beginning of VII century. Various grave forms were recorded during excavations (simple pits, graves of bricks and tegulae, masonry tomb constructions for individual or group funerals). The largest number of burial structures had been devastated before the moment of discovery. However, among the graves that were left unlooted, a grave of the deceased buried in a simple pit (grave 66) in the southern part of the investigated area stands out for the richness of the grave inventory. A female aged 20–24 was buried in a shallow burial pit. She was interred in a barrel-vaulted tomb. In contrast to the modest grave form, its inventory deserves full attention because of its richness. The inventory consists of the deceased’s personal jewelry, made of precious metals and glass as well as glass balsamarium placed to the right of the head. The set of jewelry consisted of silver pin, a pair of gold earrings, a glass bead necklace, two silver bracelets – one on each hand, gold and silver finger-rings on the fingers of the left hand. The sliver pin with a polyhedral head was used for fastening the fabric which covered women’s heads at the necropolis of Jagodin Mala, as was noted in the two other cases at the nearby grave units. A pair of gold earrings belongs to the type with open tapered ends and a smaller hoop with a pendant, ending in a double coil. There were three golden circular hoops with six granules on the pendant, among which there was a glass bead of hexagonal section. This type of earrings was quite common among the grave inventory in Jagodin Mala, and the late Roman Pannonia (Sirmium) or Dardania (Vindenae, Ulpiana). They were manufactured locally and were par-ticularly popular in IV century. A necklace made of 18 gold bowl-shaped beads and 100 green glass beads of hexagonal section, identical to those on the glass earring's pendant, with a gold tin fastening mechanism is a product of the local, provincial manufacture that was popular and produced for a bigger market at the end of III and during IV century. Massive silver bracelets with open and slightly tapered ends belong to lo¬cal specimens of luxurious jewelry, which, judging by numerous analogies, were usually made of bronze and far more rarely of silver. An undecorated closed-ended silver finger-ring made of thin foil is chronologically insensitive. On the other hand, a golden finger-ring with a circular hoop and a large pair of granules opposite each other, a circular bezel with a motif of astragalus and a box-setting for a semispherical inlay for a cyan-blue glass is a ring of standard form, popular during IV century. Such rich collection of personal jewelry made of precious metals could indicate a certain status – affiliation to higher circles of society that the deceased could have had in life, but it may reflect the desire of relatives or persons that bur¬ied her to display the desired status, rather than the real one, by using luxurious items. Based on analogies of jewelry from the already dated units from Jagodin Mala and other sites, the most exact time of this young woman’s burial would be around the middle and the second half of the fourth century, when the Naissus experienced its economic growth, visible in many spheres of social life and when, the state, municipal and private manufacture thrived.
Народни музеј Ниш/National museum Nis
Јагодин мала, касноантичка некропола/Late Antique necropolis Jagodin mala2014 •
2018 •
Summary The aim of this research, focusing on representations of light and the symbolism of early Christian lamp decorations, has been to examine and summarise the existing knowledge of the symbolism of light in the Mediterranean region and the models by which this symbolism was manifested in the early Christian visual culture. Lamps with Early Christian representations, whose cult significance and decoration are in direct relation with the symbolic aspects of light, are considered in the context of transculturality of Late Antiquity, as well as political and religious changes that marked the period. Thus, the research focus has been transferred from iconographic analysis to interdisciplinary iconological research, which, apart from the meaning of the image, examines the role of objects in certain cultural and religious contexts, as well as the observer's attitude towards the lamp as the vessel of light. In order to identify the aspects of light symbolism it was necessary to observe the beginnings of the interaction of man with fire, the first source of artificial light, presumed to instigate the earliest cult actions. The cult role of light and fire as archetypal symbols, as well as of the lamps perceived as mediators through which light symbolism is manifested, was subsequently analysed within the various religious practices of the Mediterranean. Particular attention is dedicated to the meaning of light, fire and lamps in the Old and New Testaments, being the direct source of Christian symbolism of light. The research has confirmed that in the Mediterranean religious practice, cult actions related to light and fire occupy a prominent place, and that similar aspects of light and light objects’ symbolism are manifested in various civilisations. The basic aspects of light symbolism in Christianity were borrowed from Judaism, however, precisely during the period of the Late Antiquity the Christian thought was strongly influenced by Neoplatonism, which manifested itself both in the light symbolism and in Christian visual culture as a whole. In Christianity, light is one of the constitutive phenomena, particularly explored in theological thought, where light is perceived as divine emanation and material phenomenon whose nature is closest to the transcendental divine essence. In addition, light had a very important role in the formation of sacral space, where the practical and symbolic functions of light were inextricably intertwined, which is most directly expressed through ever-burning altar lamps, as a reminder of Christ’s perpetual presence in the temple and among the faithful. Thus, the tradition of perceiving the lamp as a divine symbol in the Mediterranean has gained a new dimension in Christianity through direct identification of the lamp with God. Lamps also had a significant status in cults of martyrs and relics, likewise being the most common votive gifts. The amalgam of the flame being the symbol of Christ with Christian motifs represented on decorated lamps transformed these objects into miniature portable sanctuaries, always at the believer’s disposal. The research has confirmed the assumption that the symbolic meaning of the lamp surpasses its practical function, and that the lamp is a symbol in itself. Although the quality of the craftsmanship or embellishment of lamps did not affect their basic role, the production and decoration of lamps intended for sacral context were given special attention. Being a utility object, the lamp represents a marker of Christian identity, in similar fashion it symbolised the idea of romanitas at the time of Roman expansion. In Christian homes the very lighting of the lamp bore a symbolic meaning and was associated with moments reserved for prayer. Finally, the lamp was often laid into graves, being one of the rare funerary contributions accepted in Christianity. By means of their function, decoration and context of findings, the lamps from Central Balkans fit into the currents of the Mediterranean world. Similar to other parts of the Empire, these lamps illustrate the general phenomena and tendencies present in the visual culture of Late Antiquity. The lamps display a gradual disappearance of pagan and secular themes in favour of Christian themes. In addition, the motifs on the lamps reflect the cultural syncretism of the period and show the ways in which pagan images were incorporated into Christian visual culture and received new Christian meanings through the process of interpretatio christiana. The lamps testify about modifications in cult practices, and the formation of new religious habits, such as pilgrimage for the sake of piety or healing, as well as the importance of olive oil in Christian cult practice. Simultaneously, they show that some aspects of the light and lamps symbolism are archetypal and universal, able to endure despite religious changes. The research likewise indicated the possible connection between representations on lamps and other objects of Christian visual culture, guarding the collective memory of local Christian martyrs, documenting the existence of cults forgotten over time. The particular attention was dedicated to objects that reflect the mentioned aspects and tendencies, through their decoration, symbolism and context of findings. Shifts in the manner of using lamps and lamp equipment testify about the needs of the new religion related to the organisation of sacred space, where various lighting effects are used to show that Christ the True Light is always with those who believe in Him. For the purpose of illuminating new Christian churches, the older types of lamps were gradually being abandoned in favour of glass lamps, which better corresponded to the requirements of Christian cult practice, for symbolic, but also practical reasons. The importance of light in Christian sacral buildings is demonstrated by the fact that in the late antique period, the lighting of private spaces was becoming more and more simple, returning to primitive ways of illumination and to improvised lamps, while at the same time lighting in sacral buildings received greater attention, hence the lighting of churches became regulated by imperial laws. The research proved that the meaning of the glass lamp lit on the altar – being a symbol of eternal light and the presence of immanent and transcendent God, whose nature is fully expressed through light – was formed in Late Antiquity and has endured in unaltered form until today despite great changes in the artificial lighting systems introduced by contemporary age. Finally, the cease of oil lamp and olive oil usage in the domestic context during the first half of the seventh century, signified a sort of interruption with the ancient tradition in this region. The connections were to be re-established after the Christianisation of the Slavs, who, upon accepting the Christian religion, became involved in the spiritual and cultural tradition of the Mediterranean. Key words: light, lamp, Mediterranean, Late Antiquity, Christianisation, Central Balkans, private piety, creation of identity Scientific area: History of Art The narrow scientific field: History of Medieval Art
Late antique necropolis Jagodin mala, Introductory text G. Jeremić, National Museum in Niš, Niš
Naissus necropolis - exhibition catalogue2014 •
The largest necropolis of Naissus (modern Niš, Serbia) in the late antiquity period was formed on the right bank of the river Nišava, east of the fortification, along the road that led to Ratiaria. It is located on the site of today's city district of Jagodin Mala, after which it became known in literature. This area had been intensively used for burials from IV to the end of VI or beginning of VII century. The necropolis of Naissus in Jagodin Mala represents a well organized cemetery, with regular rows of graves and tombs, whose number is the largest in the vicinity of grave basilicas, which were erected at a small distance one from another. Five such buildings were registered so far by the archaeological research and the most important one is the basilica with a crypt (V-VI c.). The most luxury grave constructions belong to barrel vaulted tombs and tombs with arcosolia and calotte, sometimes decorated with wall painting (representations of St Paul and St Peter, IV-V c.; Christ monogram in the laurel wreath, cca 382 AD; etc). Richness of the grave goods and inventory indicates that city population lived in socially and economically prosperous times.
Glasnik Srpskog arheološkog društva 30
Poznosrednjovekovne kopče zapadnog porekla na centralnom Balkanu/Late Medieval Buckles of Western Origin from the Central Balkans2014 •
2011 •
Zbornik radnova Narodnog muzeja Čačak / National Museum Čačak Journal 40, 2010.
Rimski bronzani Merkur iz Bresnice / Res. Roman Bronze Mercury from Bresnica2014 •
2013 •
2012 •
Serbian Studies Research
Ljubiša Vasiljević, „SVEDOČANSTVA O ZAPISIMA FELIKSA KANICA VEZANIM ZA POZNAVANJE I KORIŠĆENJE LEKOVITIH VODA U RIMSKOM PERIODU NA TERITORIJI DANAŠNJE SRBIJE", Serbian Studies Research, vol. 9, no. 1, 2018, 251-278.2018 •
2011 •
Vizantijsko nasleđe i srpska umetnost I. Procesi vizantinizacije i srpska arheologija
Vizantijski predlošci i stil gotike-internacionalnost srpskog zanatskog izraza, u: Procesi vizantinizacije i srpska arheologija, ur. V. Bikić. Vizantijsko nasleđe i srpska umetnost I. Beograd 2016.2016 •
ВЛАСТ И МОЋ – ВЛАСТЕЛА МОРАВСКЕ СРБИЈЕ OД 1365. ДО 1402. ГОДИНЕ
УТВРЂЕНИ ВЛАСТЕОСКИ СТАН У ЖУПАЊЕВЦУ FORTIFIED NOBLE’S LODGING IN ŽUPANJEVAC2014 •
Зборник Народног музеја (Београд) 24-1, Археологија, 2019: 207–229.
Архитравна греда с посветом Хекати из Сингидунума / Architrave with dedication to Hecate from SingidunumЗборник Народног музеја - археологија / Recueil du Musée National archéologie 20-1, Београд / Belgrade 2011, 291-304.
Representations of hunting dogs on the mosaics from the palace in Romuliana
Gordana Jeremic