• 2013-2022close
• Open Access close
• HR close
• University of Split Repository close
• Digital Humanities and Cultural Heritage close

U ovome radu interpretirani su svjetovni i vjerski običaji, život i religijski obredi koji su se odvijali u srcu Dalmatinske zagore – u Brštanovu i u Gornjem Vinovu. Na početku rada govori se o životu stanovnika Zagore, tradicionalnim igrama koje su se odvijale na tim područjima, nadijevanju imena i nadimaka, potom se skroz zanimljive dvostihove ojkalica i gangi ukazuje na bogatu tradicijsku kulturu toga područja. Nakon toga, u radu se na svojevrstan način govori o predajama, običajima i ophodima vezanima uz blagdane, a sami kraj rada upotpunjen je molitvama i usmenoknjiževnim strukturama tih kulturno bogatih mjestašaca. Opisani tradicijski obredi najčešće nose panspermijski i apotropejski karakter te ujedno predstavljaju neizostavan dio života svih stanovnika Dalmatinske zagore. Primjeri koji su potkrijepljivali zapise kazivača sadrže iznimno veliko tradicionalno, etnološko i lingvističko blago. Običaji koji su zapisani u ovome radu godinama su čuvani i prenošeni s koljena na koljeno, a na nama ostaje da ih i dalje nastavimo njegovati i prenositi jer jedino tako možemo sačuvati vlastiti nacionalni identitet. In the paper are interpreted secular and religious customs and rituals, life and religious ceremonies that took place in the heart of Dalmatian hinterland: in Brštanovo and Gornje Vinovo. At the beginning of the thesis, the accent is on the life of the inhabitants of Zagora, traditional games that took place in these areas, naming and nicknames, then through interesting couplet of ojkalica and ganga, the thesis shows the rich traditional culture of the area. After that, the paper shows in a unique way traditions, customs and ceremonies related to the legends, and the end of the work is completed by prayers and oral literary structures of these culturally rich towns. The described traditional rituals most often have a panspermic and apotropaic character and at the same time represent an indispensable part of the life of all the inhabitants of the Dalmatian hinterland. Examples that substantiating informant's records have a significant traditional, ethnological and linguistic wealth. Customs that are written in this paper are preserved and transmitted from generation to generation for years, and it is up to us to continue to nurture and transmit them, because only in this way we can preserve our own national identity.

In the middle of the 1st century intensive construction activities were conducted on the north-western boundary of the Roman military camp at Burnum. An amphitheatre, along with some additional military structures, was erected by the XI Legion CPF (Legio XI CPF) in that period. A natural doline was modified for the purposes of the amphitheatre construction, and therefore the physical and cultural landscape settings were permanently altered. The task of the interdisciplinary research team was to define the effect of the geomorphological and geological landscape settings on the formation of the Burnum agglomeration and to determine the physical and cultural landscape changes in the past.

We present the first results of an on-going research project on a decorative stone that might have been one of the main ornamental stones in Roman Spain’s inland, the limestone and conglomerate from Espejón. Within the framework of exploitation and uses of other Hispano-Roman stone resources, these results will add significant data to the whole picture of non-foreign marmora exploitation and use in Hispania. So far, the archaeological materials of several sites have been inspected, a survey to locate quarrying evidence has been undertaken and a multimethod analytical protocol has been initiated. Thus, we have established the basis for an archaeometric reference corpus, which will be henceforth enlarged and used as tool for comparison with archaeological items in order to determine the extent of this limestone and multi-coloured conglomerate’s distribution and use.

Saint-Béat marble (Central French Pyrenees) is considered one of the most famous Roman Gaul marbles by archaeomaterials researchers. White, grey and banded greyish varieties were exploited during Roman times, to be used mainly in sculpture (including sarcophagi), decorative architecture and epigraphy, primarily in Southern Gaul, but they were also distributed beyond the Hispanic border. A multi-method approach combining petrography, spectrophotometry, cathodoluminescence with EDX spectroscopy and stable C and O isotope analysis was applied to a new collection of samples from quarries along both banks of the Garonne River, next to Saint-Béat village. This work aims to highlight the most useful parameters to discriminate one of the Saint-Béat marble varieties (the coarse-grained white), from other Classical and Hispanic marbles of similar features. This updated characterisation has been successfully checked with Roman artefacts from different archaeological sites of the Hispania Tarraconensis Province.

Brojni ratovi i epidemije kuge obilježili su grad Šibenik kroz 17. stoljeće, što je prouzročilo lošu sliku grada koja je utjecala na domenu likovnosti kao i na nabavu slika i slikarsku produkciju. Slikarska baština 17. stoljeća bila je raznovrsna, a najviše primjera sakralne tematike pripada importnom slikarstvu. Veliku ulogu u narudžbama slikarskih djela imali su biskupi, crkveni redovi, bratovštine i ugledni predstavnici dalmatinskog društva. Početak 17. stoljeća obilježen je i podizanjem pozlaćenih i drvenih oltara, od kojih su i danas brojni sačuvani. Iako je sačuvano nekoliko djela lokalnih majstora, najviše se ističu djela kasnorenesansnog slikarstva i nastavak tradicije tzv. zlatnog stoljeća mletačkog slikarstva. Posebno se ističu slike Palme Mlađega kao i sljedbenika njegove maniere. Od velike važnosti su i slike Mattea Ponzonea, vještog venecijanskog baroknog slikara, koje se danas čuvaju u crkvi sv. Frane. U gradu se ističu i tri slike koje se temeljem stilskih karakteristika povezuju s radionicom Bassano koja pripada venecijanskom slikarskom krugu. Detaljnijom analizom vidljivo je da je kroz 17. stoljeće bio dominantan utjecaj mletačkih predložaka. O lokalnim majstorima poput Mihovila Parkića i Antuna Moneghina nema puno podataka, ali izrazito su značajni u kontekstu sagledavanja načina funkcioniranja bratovštinskih udruženja u manjim dalmatinskim gradovima u razdoblju poslijetridentske obnove. Numerous wars and plague epidemics have marked the city of Šibenik through the 17th century, which caused a bad image of the city, which affected the field of art as well as the acquisition of paintings and painting production. The painting heritage of the 17th century was diverse, and most examples of sacral themes belong to imported painting. Bishops, church orders, fraternities and prominent representatives of Dalmatian society played a major role in the orders of paintings. The beginning of the 17th century was also marked by lifting of gilded and wooden altars, many of which are still preserved today. Although several works by local masters have been preserved, the works of late Renaissance painting and the continuation of the tradition of the so-called the golden age of Venetian painting stand out the most. The paintings of Palma Junior as well as the followers of his manner stand out in particular. Of great importance are also the paintings of Matteo Ponzone, a skilfully Venetian Baroque painter, which are kept today in the church of St. Francis. Three paintings stand out in the city, which are based on stylistic characteristics and are connected with the Bassano workshop, which belongs to the Venetian painting circle. A more detailed analysis shows that throughout the 17th century the influence of Venetian templates was dominant. There is not much information about local masters such as Mihovil Parkić and Antun Moneghin, but they are extremely important in the context of understanding the functioning of fraternal associations in smaller Dalmatian towns in the period of post-Tridentine reconstruction.

Skripta za kolegij Kiparstvo 2 na Diplomskom studiju Odsjeka kiparstvo Umjetničke akademije u Splitu nastavlja se na skriptu za kolegij iz prethodnog semestra, Kiparstvo 1. Petnaest nastavnih jedinica nižu se slijedom sukladnim realnoj kiparskoj praksi, što predstavlja važno iskustvo za studente, osobito u kolegiju Kiparstvo 2 koji nastavno na prethodni kolegij omogućuje studentima daljnje razvijanje znanja i iskustva. Mogućnost percepcije i artikulacije novih sadržaja je jedan od najvažnijih aspekata razvoja procesa autorskog rada. Naglasak je na njegovoj otvorenosti i unaprjeđivanju, kao nadogradnji znanja iz prethodnog semestra. Kroz čitavu skriptu se utvrđuje osnovna struktura stvaralačkog procesa, no sada na zahtjevnijoj razini. Pažnja posvećena likovnom jeziku, kao temeljnom i objedinjujućem aspektu rada, u ovom semestru je dodatno naglašena i prezentirana nizom odabranih vizualnih primjera, kao i primjera citata autora koji se mogu tumačiti kao temelji izjave o radu. Skripta olakšava studentima ostvarivanje očekivanih ishoda učenja, odnosno osvješćivanje potpunog procesa realizacije suvremene autorske skulpture, od osmišljavanja ideje do izvedbe rada i promišljanja njegova postava u prostoru. The script for the course Sculpture 2 at the Graduate Study of the Department of Sculpture of the Art Academy in Split continues on the script for the course Sculpture 1 from the previous semester. Fifteen teaching units are arranged in sequences consistent with real sculptural practice. The possibility of perception and articulation of new content is one of the most important aspects of the development of the author's work process. The emphasis is on its openness and improvement, as an upgrade of knowledge from the previous semester. Throughout the script, the basic structure of the creative process is determined, but now at a more demanding level. The attention paid to the language of art, as a fundamental and unifying aspect of the work, this semester is further emphasized and presented by a series of selected visual examples, as well as examples of quotations from authors that can be interpreted as the basis of the artist’s statement. The script makes it easier for students to achieve the expected learning outcomes, i.e. awareness of the full process of realization of contemporary author's sculpture, from conceiving an idea to performing the work, and thinking about its layout in exhibition space.

The production of the mosaic core of the Diocletian’s palace in Split is attributed to the Salonitan mosaic workshop. A previous comparative analysis of individual samples of mosaic components and certain decorative motifs done according to a catalogue model (a globally accepted scientific method) has proven that thesis. To make progress in this research, with the goal of continued examination of influence models of the same mosaic workshop, research and mapping of the materials utilized is required, in which limestone, marble and dolomite dominate quantitatively. This article gives the results of the first (pilot) laboratory processing and a comparison of several mosaics’ structural matter in Diocletian’s Palace. The broader agenda of the article is to form catalogues of the materials used and to map their distribution inside the Salonitan workshop’s area of influence.

Rad obrađuje nematerijalnu kulturnu baštinu duvanjskog kraja. U prvom dijelu rada predstavljaju se nekadašnji svadbeni običaji. Sastojali su se od niza nepisanih pravila. Bili su vrlo raskošni, bogati tradicijom koja se prenosila s koljena na koljeno. Drugi dio obrađuje običaje unutar crkveno-pučke baštine. Svaki blagdan, svetac u duvanjske je obitelji unosio poseban žar, krepost i duhovno bogatstvo. Vjera je u duvanjskim obiteljima bila iznimno važna. Obitelj je bila povezana zahvaljujući običajima blagdana i molitve. Treći dio daje prikaz nekadašnjeg duvanjskog života. Usprkos velikoj materijalnoj neimaštini većine, ljudi su izgledali spokojno, štoviše sretno. Zemlja je davala život. Ostatak rada bavi se predajama, legendama, prenjima koja su bogatila svakidašnji život Duvnjaka. Priče i pričanja nikad nije nedostajalo. Duvnjak je uvijek našao načina da progovori o svojoj patnji, ljubavi, radost i žalosti. Tradicija je usko povezana pričama ljudi koji se živjeli na određenom mjestu u određeno vrijeme. Sama ta tradicija je nerazdvojan dio obitelji i dan danas. Kultura, priče, glazba, običaji ljudi i sl. čine obiteljsku tradiciju besmrtnom. Obiteljska hijerarhija je igrala veliku ulogu u svakoj kući te nam pomaže da vidimo kako se tradicija mijenja i napreduje tijekom vremena. This paper describes intangible culture of Duvno area. The first part of the paper aims to present some of the old wedding customs. These customs consisted of a set of unwritten rules. They were very luxurious, rich in tradition that has been passed from generation to generation. The second part of the paper presents customs within the church and folk heritage. With every holiday, or saint a special glow, virtue and spiritual wealth touched families of Duvno. Faith and religion was extremely important in these families. The family was connected due to the traditions of holidays and prayers. The third part presents an overview of the former Duvno life. Despite great material poverty of the majority, people looked serene, even happy. The country was giving them life! Rest of the paper deals with the traditions, legends and stories which enriched daily life of people from Duvno. Stories and testimonies never lacked. A person from Duvno (Duvnjak) has always found a way to speak about their sufferings, love, joy and sadness. Tradition depends a lot on narrative stories of the people who lived in particular place at certain point of life. These old and rich traditions are inseparable part of the families nowadays. Culture, narrative stories, music, habits of people etc. keep family traditions immortal. Family hierarchy was a big part of every household, and it helps us to see how some of the traditions changed as well as evolved during time.

Šezdesete godine označavaju burno razdoblje, obilježeno brojnim društvenim i političkim događajima, koji su snažno utjecali i na zbivanja u polju kulture. Pojava i razvoj omladinskih supkultura, te uz njih vezanih novih životnih stilova posljedica su otpora prve generacije mladih ljudi rođene krajem ili nakon Drugog svejtkosg rata racionalnom i tehnokratskom svijetu njihovih roditelja, njihovim društvenim vrijednostima i neuspjehu stvaranja boljega i pravednijega svijeta, koji su doveli do pojave radikalnih socijalnih pokreta i studentskih prosvjeda 1968. godine. Potreba za političkim angažmanom i mijenjanjem svijeta, a pod utjecajem marksizma, maoizma i anarhizma s jedne strane, te popularna kultura vezana uz rock i pop glazbu, afirmacija novih alternativnih načina života i novih oblika duhovnosti (budizam, zen-budizam), postali su okvir omladinske supkulture, globalne protežnosti. Njezina pojava koincidira s značajnim promjenama u jugoslavenskom društvu šezdesetih godina, kojeg – uz ekonomske i društvene reforme – obilježava i žestoka, javna kritika dotadašnjeg razvoja samoupravnog socijalizma. Usko vezana uz djelovanje skupine filozofa markističko-revizionističke orijentacije okupljenih oko časopisa Praxis i Korčulanske ljetne škole, ona je postala rodnim mjestom društvenog nezadovoljstva i studentskih nemira 1968. godine čiji utjecaj nije zaobišao ni umjetnost toga razdoblja. Promjene na likovnoj sceni, obilježene su propitivanjem ideologije visokog modernizma, društvene pozicije i društvene odgovornosti umjetnika, a u konačnici će rezultata pojavom konceptualne umjetnosti i artikulacijom omladinske subkulture kao mjesta otpora i alternative oficjelnoj kulturi i oficijelnim kulturnim politikama. Splitska umjetnička scena šezdesetih ostala je relativno imuna na većinu spomenutih promjena, a kao osnovni razlozi mogu se navesti nedostatak materijalnih sredstava, okoštalost institucionalne infrastrukture, ali i konzrvativizam same sredine. Nasuprot inertnosti likovne scene, nalazi se, međutim, amatersko filmsko stvaralaštvo (Kinoklub Split) čiji iskorak i sklonost prema eksperimnetu ima najveći utjecaj na previranja u omladinskoj kulturi. Tim iskoracima, na tragu pitanja što ih je postavio studentski pokret, može se povezati i uz mekoliko omladinskih časopisa (Vidik, Studentska tribina, Gdje), aktivnosti Kulturno-umjetničkog društva Student i Tribine mladih splitskog Narodnog sveučilišta. U atmosferi stalne borbe za opstanak i u uvjetima rdaikalnih društvenih i političkih promjena, dogodit će se i prvi konceptualni umjetnički čin, akcija Crveni Peristil i osnivanje umjetničke grupe pod istim nazivom, koja ocrtava granice potencijalnog prostor alternativne, omladinske subkulture splitske kulture 60-ih godina. The nineteen-sixties were a tumultuous time, marked by numerous societal and political developments which radically reconfigured intergenerational relations. The appearance and growth of youth subcultures, and their corresponding lifestyles, arose as a consequence of youth resistance, namely of those born towards the end or shortly after the Second World War, towards the rationalist and technocratic world-view of their parents, and their failure to create a more equal and just world; this led to a rise of radical social movements and student protests in 1968. The need for political engagement and enacting change in the world became the core frame-work of these globe-spanning youth movements, influenced on one side by Marxism, Maoism, and Anarchism, and pop culture, connected to rock and pop music, on the other, as well as an affirmation of alternative lifestyles and new forms of spirituality, such as Buddhism and Zen-Buddhism. Its rise also coincides with a series of equally important changes in 1960's Yugoslav society which is, in addition to economic and societal reforms, marked by scathing public criticism of the development of self-managing socialism thus far. It was tightly bound to the work of Marxist-revisionist-oriented philosophers, gathered around the academic journal Praxis and Korčula Summer School of Philosophy. Praxis’s criticism became the stronghold of student’s objections on the direction the development of Yugoslav political system, which culminated with student unrest in 1968. Societal changes induced changes in the art scene as well, marked by a questioning of high modernist ideology, social positions, and social responsibility of the artist. Their outcome was the appearance of conceptual art and the articulation of youth subculture as alternative to official culture and official cultural politics. The art scene of Split in the 1960's proved itself to be relatively immune to the aforementioned events and the changes which they brought, with the core factors contributing to such developments being the financial neglect of cultural production, outdated institutional infrastructure, and an inherently conservative environment. Amateur artistic 124 works stood at odds with the internalized official cultural scene, fronted primarily by the actions of Kinoklub Split, whose experimental inclination had the largest effect on the articulation of youth subculture. Alongside of the Kinoklub there are also a several magazines that have to be mentioned (Vidik, Studentska tribina, and Gdje), because of their notable openness towards the critical discussion of social and cultural problems, as well as the activities of the Student art and culture society, and the Public lecture tribune of Split People’s University. Consequently, the first conceptual art movement will arise from these circumstances, tempered in conditions of constant financial struggles and profound changes in the societal and political landscape, under the name of Crveni Peristil; this would further develop into an eponymous art collective, which marked the boundaries of the potential territory available to Split's alternative youth subcultures of the time.

The Winged Victory of Samothrace has long been recognized as a masterpiece of Hellenistic art. Composed of a base in gray marble and a statue in white marble, made of several blocks sculpted separately and assembled, it was entirely restored in 2013-2014. It had been previously thought that the monument might have been sculpted from Proconnesian or Pentelic marble, but laboratory analysis by Yannis Maniatis proved that a sample from a feather housed in the museum of Samothrace was Parian. During its conservation in 2013-14 and at the request of the Louvre, the different marbles constituting the monument were analyzed to confirm recent hypotheses and to get a more complete set of precise information. Fifteen samples were taken and complementary methods were used so that the different results could be compared and cross-checked: measurement of the MGS, analyses of the stable isotopes of the marble, petrography, and cathodoluminescence.