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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Belaj, Juraj; Stingl, Sebastijan;

    During September and October 2017, after an eight-year break, archaeological research of the church of St. Martin at the site Prozorje (Martin-Breg) in Dugo Selo, continued. One probe (Probe 6) was explored, covering the entire surface of the church’s aisle. Below the humus layer that accumulated after the church went out of use, some paving and other structures, such as tombs, crypts, columns that held the choir and like, were discovered. Nineteen graves in total were explored and in most of them ‘special finds’ were discovered. In 47 % of them religious objects were found. They are mostly medallions, crucifixes, rosaries or parts of rosaries. Even more special finds was collected in the mixed layers. Among the abovementioned categories of finds there were also numerous coins, buttons, fragments of pottery and glass and the, especially outstanding, bronze breviary. The reason for such a large number of finds could lay in frequent digging and re-burying within the church’s aisle during which many graves were destroyed. A large number of human bones found in the mixed layer support this theory. Tijekom rujna i listopada 2017. godine nastavljena su – nakon osmogodišnje pauze – arheološka istraživanja crkve Sv. Martina na lokalitetu Prozorje (Martin-Breg) u Dugom Selu. Istraživana je jedna sonda (sonda VI) koja se prostirala cijelom površinom broda crkve. Ispod humusnog sloja nastaloga nakon napuštanja crkve, otkrivena su pojedina popločenja ali i druge strukture poput grobnica, kripte, baza stupova koji su držali kor i slično. Istraženo je 19 grobova, u većini grobova pronađeni su „posebni nalazi“, a u čak 47% njih pronađeni su nabožni predmeti. Uglavnom se radi o medaljicama, križevima, cijelim krunicama ili pojedinim njihovim zrnima. Još više posebnih nalaza prikupljeno je u izmiješanom sloju, tu su uz navedene kategorije nalaženi i brojni novci, gumbi, ulomci keramike i stakla, a osobito se ističe nalaz brončanog brevara. Razlog tako velikom broju moglo bi biti često prekopavanje i ponovno ukapanje unutar broda crkve, pri čemu su mnogi grobovi bili uništeni, a slično nam govori i velika količina ljudskih kostiju pronađena u izmiješanom sloju.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ RIARH - Repozitorij ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ RIARH - Repozitorij ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Živković Kuljiš, Loren; Belamarić, Josip; Korkut, Alem;

    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. 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.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ University of Split ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ University of Split ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ostojić, Lena;

    Kulturna baština predstavlja povijest naroda. DogaĎaji i način ţivota te običaji i drugi segmenti na koje je utjecao čovjek na odreĎenom području definiraju indentitet svake zajednice. Proučavanjem nasljeĎene baštine upoznajemo sebe i stvaramo sliku o svim materijalnim i nematerijalnim vrijednostima koje su posjedovali naši preci. Danas kulturu karakterizira puno više od samog učenja svog nasljeĎa. Pravilno upravljanje, valorizacija, revitalizacija, zaštita i drugi postupci omogućuju da se kulturna dobra sačuvaju i prepoznaju kao vrijednosti od iznimne vaţnosti. Na osnovi takvih atraktivnosti je i nastao kulturni turizam koji ima sve veţu vaţnost u Republici Hrvatskoj kao jedan od najznačajnijih selektivnih oblika turizma. Da bi se dugoročno i kvalitetno kulturna baština sačuvala osnovne su organizacije koje imaju za cilj očuvanje kulturnih dobara diljem svijeta od kojih je UNESCO svakoako najznačajnija organizacija. Baština koja je pod ingerencijom navedene organizacije spada u najvrijednija svjetska kulturna dostignuća. Republika Hrvatska koja je prostorno mala drţava ima iznimnu nasljeĎenu baštinu te sve više se ista prepoznaje kao potencijal budućeg turističkog razvoja. Uz pomoć EU fondova i jasnim smjernicama te projektima nadleţnih tijela vlasti u cilju kvalitetnog očuvanja i upravljanja istom napravljeni su veliki pomaci. Cilj ovog rada je upoznati se s hrvatskom kulturnom baštinom te ukazati na njenu vrijednost. Valorizacija, pravilno upravljanje i aktivno odrţavanje kulturnih dobara vrlo su bitni čimbenici koji sluţe kao uporište za stvaranje konkurentnih prednosti te ističu vaţnost baštine stvarane tijekom povijesti jer ona pokriva mnogo aspekata ţivota zajednice, kako prošlih tako i sadašnjih. Valoriziranje kulturne baštine moţe se postići na mnoge načine, a svi imaju za cilj povećanje atraktivnosti destinacije što je vaţno za razvoj u ekonomskom, turističkom, kulturnom, socijalnom i ekološkom smislu. Cultural heritage represents the history of nations. Events, way of life, customs and other segments influenced by man in a particular area defined the characteristics of the community. By studying inherited heritage we get to know ourselves and create a picture of all the tangible and intangible values that our ancestors visited. Today’s culture is characterized by much more than just learning its history. Proper management, valorization, revitalization, protection and other procedures enable cultural goods to be preserved and recognized as values of exceptional importance. Over time, cultural tourism has emerged as well as many other results that affect the growth and development of the entire community. In order to preserve long-term and quality cultural heritage, established organizations representing cultural good awareness, of which UNESCO is one of them. The heritage that mentioned the organization is on the list of the world’s most valuable cultural achievements. Croatia, which is a spatially small country, has a number of inherited heritage in which the potential future development is increasingly recognized. With the help of EU funds and a clear vision of the development of culture and all its forces, we will be the same as a great competitive other state. The aim of this paper was to get acquainted with the Croatian cultural heritage and point out its value. Valorisation, proper management and active maintenance of cultural assets are very important factors that serve as a bulwark for great competitive performance and emphasize the importance of heritage created throughout history as it has covered many aspect s of people’s lives, both past and present. The valorisation of cultural heritage can be achieved in many ways, and all aim to increase the attractiveness of the destination which is important for development in economic, tourist, cultural, social and environmental terms.

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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repository of Univer...arrow_drop_down
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    Authors: Poslon, Andrea;

    The subject of this graduate thesis is the constitutional protection of cultural property. At the very beginning, we are talking about the constitutional complaint, the deadline for bringing the lawsuit, etc. The fundamental law that governs the issue of cultural property is the Law on the protection and preservation of cultural property. In order to get a broader picture of how to protect cultural property, it is necessary to mention other regulations that are key to cultural property, so in addition to the basic law, the Constitution of the Republic of Croatia, which guarantees the preservation and protection of cultural property, is also important. Equally important is the Law on spatial planning, which in its spatial planning objectives also states the protection of cultural assets and values. And finally, judicial practice is very important to us, which is an indicator of the implementation of the constitutional protection of cultural property. Tema ovoga diplomskoga rada je ustavnosudska zaštita kulturnih dobara. U samom početku govorimo o ustavnoj tužbi, o roku za donošenje tužbe itd. Temeljni zakon koji uređuje pitanje kulturnih dobara je Zakon o zaštiti i očuvanju kulturnih dobara. Kako bismo dobili neku širu sliku u tome kako zaštititi kulturna dobra potrebno je navesti i druge propise koji su ključni za kulturna dobra, pa pored temeljnog zakona je bitan i Ustav Republike Hrvatske koji jamči očuvanje i zaštitu kulturnih dobara. Isto tako je bitan i Zakon o prostornom uređenju koji u svojim ciljevima prostornog uređenja također navodi zaštitu kulturnih dobara i vrijednosti. Sudska praksa je dobar pokazatelj provođenja ustavnosudske zaštite kulturnih dobara.

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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repository Faculty o...arrow_drop_down
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Barbarić, Damir;

    U članku se pledira za stav da je u cjelokupnoj dosadašnjoj povijesti čovječanstva opća kvaliteta ljudskog življenja u barem donekle adovoljavajućoj mjeri dostignuta upravo u suvremenoj Europi, i to unatoč stoljetnim napetostima, nemirima i sukobima te gotovo nevjerojatnim strahotama dvaju svjetskih ratova izazvanih upravo u njoj. Životna i kulturalna raznolikost, bogata policentričnost duhovnog i javnog života, razmjerno dugom tradicijom odnjegovani mehanizmi racionalnog raspravljanja i usklađenog odlučivanja, skrb oko što boljega javnog zdravstva i opće dostupnog obrazovanja, na koncu, ali ne i kao posljednje, puna sloboda stvaralaštva i javnog izražavanja stavova i misli – sve su to tekovine koje nisu samorazumljive i koje su u cjelokupnoj ljudskoj povijesti više dragocjena iznimka nego pravilo.Stoga bi se danas svako osporavanje osnovnih zasada Europe, ma kako u pojedinačnim aspektima bilo opravdano, moralo čuvati toga da se pri svojoj kritici oslanja i poziva na povijesno prevladane forme života i da tako budući tijek povijesti, ma i nehotice, usmjerava prema mogućem novom barbarstvu.

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    Authors: Živković Kuljiš, Loren; Mance, Ivana; Korkut, Alem;

    The content of the script consistently follows the curriculum. It is conceived in four phases and in fifteen teaching units, which are extensively elaborated in the script with explanations and examples. Through them, the student goes through all stages of conceptualization, realization and presentation of a sculptural work, in which the script serves as the basic literature. The script explains the goal and task of each teaching unit, elaborating the topic through a series of selected examples of works of art by Croatian and foreign sculptors. These examples further explain the artistic and technological problems that students face in their work: they explain different types of artistic themes ranging from classical to conceptual and self-referential, ways of their artistic interpretation, the relationship of sculpture to categories of space and time, different types of artistic motivation in choosing a topic, different connotational meanings of certain materials, aspects of performance in certain materials etc. With the help of the script, the students can more easily follow the contents of the course and rely on it when thinking and planning their own work, developing individual style and perception of their own position with unfettered treatment of ideas and clear interpretation of concepts. Sadržaj skripte dosljedno prati nastavni program te je koncipiran je u četiri faze i u petnaest nastavnih jedinica koje su u skripti opširno elaborirane objašnjenjima i primjerima. Kroz nijh student prolazi kroz sve etape konceptualizacije, realizacije i predstavljanja kiparskog djela, u čemu mu skripta služi kao temeljna literatura. Skripta objašnjava cilj i zadatak svake nastavne jedinice, elaborirajući temu kroz niz odabranih primjera umjetničkih djela hrvatskih i inozemnih kipara. Putem ovih primjera dodatno se razlažu umjetnički i tehnološki problemi s kojima se sreću studenti u svome radu: pojašnjavaju se različiti tipovi umjetničkih tema u rasponu od klasičnih tema do konceptualnih i autoreferencijalnih, načini njihove likovne interpretacije, odnos kiparskog medija prema kategorijama prostora i vremena, različite vrste umjetničke motivacije pri izboru teme, različita konotacijska značenja pojedinih materijala, aspekti izvedbe u pojedinim materijalima i slično. Pomoću skripte student može lakše pratiti sadržaje kolegija te se na nju osloniti pri promišljanju i planiranju vlastitog rada, razvoju individualnog stila i percepciji vlastite autorske pozicije s nesputanim tretmanom ideja i jasnom interpretacijom koncepata.

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    Authors: Barbarić, Damir;

    Odavno smo navikli na to da je kulturi prikladno mjesto negdje u posljednjim trenutcima dnevnika ili pak na margini margina dnevnih novina. Ali kultura je sve samo ne nešto rubno i sporedno u cjelini života. Ona je skrb za sam temelj smislena života kako svakog pojedinca tako i svake ljudske zajednice.

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    Authors: Dizdar, Marko;

    Within the research project of the Croatian Science Foundation Iron Age female identities in the southern part of the Carpathian Basin (FEMINE / IP-06-2016-1749), the Institute of Archaeology during the November 2017 carried out a trial archaeological excavation of Sotin – Zmajevac site (Fig. 1). Investigations were conducted to reveal the position of the cemetery from the Late Iron Age (La Tène culture), since three cremation burials were found at the beginning of the 20th century at Zmajevac which were dated to the Late La Tène (LT D1), respectively at the beginning of the 1st c. BC (Majnarić-Pandžić 1970; 1972/1973; Božič 1981; Guštin 1984; Ilkić 1999). Finds of weaponry belong to male burials, while female burials contained characteristic costume and jewellery items (Fig. 2). In burials ceramic and bronze vessels were also revealed indicating the existence of supra-regional distribution networks (Majnarić-Pandžić 1996; Dizdar, Radman-Livaja 2004; 2015). The mentioned burials from Sotin, although discovered more than a hundred years ago, are still the only known Late La Tène female burials in the eastern part of Croatia until today (Majnarić-Pandžić 1972/1973; Božič 1981: Guštin 1984). In the view of exceptional finds from Zmajevac, the existence of Late La Tène site was confirmed by results of field surveys and in the rescue excavation carried out in 2015 (Ložnjak Dizdar et al. 2016). The aim of the research was the discovery of female burials with characteristic finds that would testify about the different aspects of female social identities during the Late La Tène (i.e. Todorović 1972). During the research, traces of the Late La Tène (Figs. 3–5) and Late Medieval settlements (Figs. 6–8) were discovered, spreading along the edge of the loess plateau above the Danube. A large number of ceramic spindle whorls point to textile production at the site and testify to the different aspects of female social identities and everyday activities that female members of population performed in households during the Late Iron Age. Arheološko nalazište Sotin – Zmajevac, smješteno na rubu lesne zaravni istočno od sela Sotin, poznato je više od stoljeća. Mjesto je to pronalaska paljevinskih kasnolatenskih grobova (LT D1) s iznimnim nalazima naoružanja, ženske nošnje i nakita te keramičkim i brončanim posudama koji pokazuju postojanje supra-regionalnih kontakata. Ipak, točan položaj otkrivenih grobova danas nije poznat, zbog čega su provedeni terenski pregledi koji su pokazali kako se radi o nalazištu iz različitih razdoblja prapovijesti te kasnoga srednjeg vijeka. U okviru FEMINE projekta poduzeta su pokusna istraživanja na dostupnim površinama nalazišta u kojima su otkriveni tragovi kasnolatenskoga i kasnosrednjovjekovnog naselja, pri čemu su nalazi većega broja keramičkih pršljena iz kasnoga latena ukazali na vjerojatnu proizvodnju tekstila u naselju.

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    Authors: Barbarić, Damir;

    Dorađeni tekst predavanja održanog u Hrvatskoj akademiji znanosti i umjetnosti 19. travnja 2013. Oslanjajući se na uvide i argumentaciju Martina Heideggera, autor izlaže stav da tehnika nije ni čovjekovo djelo ni sredstvo za bilo koje svrhe. Zato jer sama postavlja ne samo sredstva za postizanje svekolikih svrha nego i te svrhe same, ona je sudbinsko zbivanje povijesti koje bitno nadilazi čovjeka. Tehnika se ne zbiva bez čovjeka i bez njegova činjenja, ali se ne zbiva ni samo njegovim djelovanjem. Kao totalno zbivanje povijesti, ona je odavno u sebe uključila i čovjeka. U tehničkom razdoblju svijeta čovjek je samom svojom biti naručen i ispostavljen u bit tehnike te stoji u njezinoj službi. Običnom oku ostaju skrivene goleme i dalekosežne promjene što se pod utjecajem tehnike zbivaju pod naoko mirujućom površinom stvarî. Rijetki shvaćaju da prometno i telekomunikacijsko uklanjanje svake razdaljine potire i uništava samu bit prostora i vremena, potajno stremeći tomu da ih konačno sažme u jednu jedinu točku imaginarne sveprisutnosti. Jedva se još sluti da jezik pod terorom agresivne prinude na „komuniciranje“, koje nije drugo do iznuđeno isprazno naklapanje, gubi svoju najvješćujuću, objavljujuću i pokazujuću bit. Ostajemo nijemo zatečeni i više se ne čudimo nad apsurdnim igrokazom u kojemu virtualna montaža zvučnih slika poput neprozirna omotača prekriva izvornu zbilju stvarî i sili je da se sama unutarnje preobražava ne bi li postajala tim slikama što sličnijom.

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    Authors: Šiljeg, Bartul; Kovačić, Vladimir; Kudelić, Andreja; Konestra, Ana;

    Historical and earlier archaeological works have already been published (Benčić 2006; Cuscito, Riavez 2008). This year we continued the work from 2008 in room 5 (Šiljeg 2009). After cleaning the probe, we continued removing the layers, but for the sake of the vertical stratigraphy, this time we left a control profile in the north-eastern part of the room (Fig. 1). The entire surface was covered by a layer of rubble SU 020. Under the 20-cm-thick layer of rubble, there was an extraordinarily dark layer of soot SU 021. In the layers beneath, there were exclusively late antiquity finds (coarse pottery with a wavy line and plastic decoration). Of particular significance is a pot with a plastic band (Fig. 4), which is characteristic of the 5th and 6th centuries in the region (Juroš-Monfardin 1986: T. III: 1; Marušić 1986: 83, Fig. 6: 1; Ruffieux 2010: 251–252, 254, 266, Fig. 6). The room’s northern wall ends on a layer of soot and the remains of a wall familiar from earlier excavations (Cuscito, Riavez 2008: Tal. 2. US 023). The remains of wall SU 027 (038), oriented north-south, and passing under SU 009, testify to the affluence of life in classical antiquity. The remains of two floors directly above sterile soil are also associated with this wall. Alongside the northern wall, the remains of a smaller wall SU 042 enclosing a smaller basin were found. The basin was covered by hydraulic mortar opus signinum SU 040 (Fig. 2). In room 5a, the removal of the 14th-century layer, in which there was still glass of the same shapes as in the 2008 excavations (Šiljeg 2009: 114–115), continued. Within the same layer, two small, almost entirely preserved ceramic bowls were unearthed (SF 75 and 79) (Fig. 3), decorated with engobe, over which a green coloured glaze had been coated. Their manufacture is associated with the Italian region of Veneto, and they are particularly widely distributed in north-eastern Italy. They can be dated to the 14th and 15th centuries. (Bradara 2006: 19–21, Gusar 2007: 178). From the same layer, there is also a pottery fragment, probably of the majolica type with multicoloured decoration on the outside and a maiolica policroma glaze on the inside (SF 77), also dating from the period of the Late Middle Ages. The excavations inside room 5 have enabled the relationship between the walls found there to be determined. The latest wall is southern wall SU 034, which divided the largest room into two: rooms 2 and 5 (Cuscito, Riavez 2008: Tav. 1). Older than this wall are walls SU 006 and SU 009, which were partly utilised in the structure of wall SU 034. Walls SU 036, 037 and SU 035 are mediaeval. Wall SU 027 (038), the smaller wall SU 042 and the wall below wall SU 034 belong to the classical antiquity stage. The numerous walls and layers discovered and defined in 2010 confirm assumptions concerning the affluence of life on the Stancija Blek site in classical antiquity and the Middle Ages. Arheološko-konzervatorska istraživanja lokaliteta Stancije Blek nastavila su se na radove iz 2008. godine. Radovi su nastavljeni u prostoriji 5 koja je prepoznata kao srednjovjekovna dogradnja unutar ovoga građevnog sklopa. Skidanjem srednjovjekovnog sloja u kome se 2008. godine pronašao veći broj staklenih predmeta došlo se do kasnoantičkih i antičkih slojeva te na jednom dijelu i do zdravice. Unutar antičkih slojeva pronađeno je keramičkih, staklenih i metalnih predmeta uglavnom kasnoantičkih odlika.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Belaj, Juraj; Stingl, Sebastijan;

    During September and October 2017, after an eight-year break, archaeological research of the church of St. Martin at the site Prozorje (Martin-Breg) in Dugo Selo, continued. One probe (Probe 6) was explored, covering the entire surface of the church’s aisle. Below the humus layer that accumulated after the church went out of use, some paving and other structures, such as tombs, crypts, columns that held the choir and like, were discovered. Nineteen graves in total were explored and in most of them ‘special finds’ were discovered. In 47 % of them religious objects were found. They are mostly medallions, crucifixes, rosaries or parts of rosaries. Even more special finds was collected in the mixed layers. Among the abovementioned categories of finds there were also numerous coins, buttons, fragments of pottery and glass and the, especially outstanding, bronze breviary. The reason for such a large number of finds could lay in frequent digging and re-burying within the church’s aisle during which many graves were destroyed. A large number of human bones found in the mixed layer support this theory. Tijekom rujna i listopada 2017. godine nastavljena su – nakon osmogodišnje pauze – arheološka istraživanja crkve Sv. Martina na lokalitetu Prozorje (Martin-Breg) u Dugom Selu. Istraživana je jedna sonda (sonda VI) koja se prostirala cijelom površinom broda crkve. Ispod humusnog sloja nastaloga nakon napuštanja crkve, otkrivena su pojedina popločenja ali i druge strukture poput grobnica, kripte, baza stupova koji su držali kor i slično. Istraženo je 19 grobova, u većini grobova pronađeni su „posebni nalazi“, a u čak 47% njih pronađeni su nabožni predmeti. Uglavnom se radi o medaljicama, križevima, cijelim krunicama ili pojedinim njihovim zrnima. Još više posebnih nalaza prikupljeno je u izmiješanom sloju, tu su uz navedene kategorije nalaženi i brojni novci, gumbi, ulomci keramike i stakla, a osobito se ističe nalaz brončanog brevara. Razlog tako velikom broju moglo bi biti često prekopavanje i ponovno ukapanje unutar broda crkve, pri čemu su mnogi grobovi bili uništeni, a slično nam govori i velika količina ljudskih kostiju pronađena u izmiješanom sloju.

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    Authors: Živković Kuljiš, Loren; Belamarić, Josip; Korkut, Alem;

    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. 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.

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    Authors: Ostojić, Lena;

    Kulturna baština predstavlja povijest naroda. DogaĎaji i način ţivota te običaji i drugi segmenti na koje je utjecao čovjek na odreĎenom području definiraju indentitet svake zajednice. Proučavanjem nasljeĎene baštine upoznajemo sebe i stvaramo sliku o svim materijalnim i nematerijalnim vrijednostima koje su posjedovali naši preci. Danas kulturu karakterizira puno više od samog učenja svog nasljeĎa. Pravilno upravljanje, valorizacija, revitalizacija, zaštita i drugi postupci omogućuju da se kulturna dobra sačuvaju i prepoznaju kao vrijednosti od iznimne vaţnosti. Na osnovi takvih atraktivnosti je i nastao kulturni turizam koji ima sve veţu vaţnost u Republici Hrvatskoj kao jedan od najznačajnijih selektivnih oblika turizma. Da bi se dugoročno i kvalitetno kulturna baština sačuvala osnovne su organizacije koje imaju za cilj očuvanje kulturnih dobara diljem svijeta od kojih je UNESCO svakoako najznačajnija organizacija. Baština koja je pod ingerencijom navedene organizacije spada u najvrijednija svjetska kulturna dostignuća. Republika Hrvatska koja je prostorno mala drţava ima iznimnu nasljeĎenu baštinu te sve više se ista prepoznaje kao potencijal budućeg turističkog razvoja. Uz pomoć EU fondova i jasnim smjernicama te projektima nadleţnih tijela vlasti u cilju kvalitetnog očuvanja i upravljanja istom napravljeni su veliki pomaci. Cilj ovog rada je upoznati se s hrvatskom kulturnom baštinom te ukazati na njenu vrijednost. Valorizacija, pravilno upravljanje i aktivno odrţavanje kulturnih dobara vrlo su bitni čimbenici koji sluţe kao uporište za stvaranje konkurentnih prednosti te ističu vaţnost baštine stvarane tijekom povijesti jer ona pokriva mnogo aspekata ţivota zajednice, kako prošlih tako i sadašnjih. Valoriziranje kulturne baštine moţe se postići na mnoge načine, a svi imaju za cilj povećanje atraktivnosti destinacije što je vaţno za razvoj u ekonomskom, turističkom, kulturnom, socijalnom i ekološkom smislu. Cultural heritage represents the history of nations. Events, way of life, customs and other segments influenced by man in a particular area defined the characteristics of the community. By studying inherited heritage we get to know ourselves and create a picture of all the tangible and intangible values that our ancestors visited. Today’s culture is characterized by much more than just learning its history. Proper management, valorization, revitalization, protection and other procedures enable cultural goods to be preserved and recognized as values of exceptional importance. Over time, cultural tourism has emerged as well as many other results that affect the growth and development of the entire community. In order to preserve long-term and quality cultural heritage, established organizations representing cultural good awareness, of which UNESCO is one of them. The heritage that mentioned the organization is on the list of the world’s most valuable cultural achievements. Croatia, which is a spatially small country, has a number of inherited heritage in which the potential future development is increasingly recognized. With the help of EU funds and a clear vision of the development of culture and all its forces, we will be the same as a great competitive other state. The aim of this paper was to get acquainted with the Croatian cultural heritage and point out its value. Valorisation, proper management and active maintenance of cultural assets are very important factors that serve as a bulwark for great competitive performance and emphasize the importance of heritage created throughout history as it has covered many aspect s of people’s lives, both past and present. The valorisation of cultural heritage can be achieved in many ways, and all aim to increase the attractiveness of the destination which is important for development in economic, tourist, cultural, social and environmental terms.

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    Authors: Poslon, Andrea;

    The subject of this graduate thesis is the constitutional protection of cultural property. At the very beginning, we are talking about the constitutional complaint, the deadline for bringing the lawsuit, etc. The fundamental law that governs the issue of cultural property is the Law on the protection and preservation of cultural property. In order to get a broader picture of how to protect cultural property, it is necessary to mention other regulations that are key to cultural property, so in addition to the basic law, the Constitution of the Republic of Croatia, which guarantees the preservation and protection of cultural property, is also important. Equally important is the Law on spatial planning, which in its spatial planning objectives also states the protection of cultural assets and values. And finally, judicial practice is very important to us, which is an indicator of the implementation of the constitutional protection of cultural property. Tema ovoga diplomskoga rada je ustavnosudska zaštita kulturnih dobara. U samom početku govorimo o ustavnoj tužbi, o roku za donošenje tužbe itd. Temeljni zakon koji uređuje pitanje kulturnih dobara je Zakon o zaštiti i očuvanju kulturnih dobara. Kako bismo dobili neku širu sliku u tome kako zaštititi kulturna dobra potrebno je navesti i druge propise koji su ključni za kulturna dobra, pa pored temeljnog zakona je bitan i Ustav Republike Hrvatske koji jamči očuvanje i zaštitu kulturnih dobara. Isto tako je bitan i Zakon o prostornom uređenju koji u svojim ciljevima prostornog uređenja također navodi zaštitu kulturnih dobara i vrijednosti. Sudska praksa je dobar pokazatelj provođenja ustavnosudske zaštite kulturnih dobara.

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    Authors: Barbarić, Damir;

    U članku se pledira za stav da je u cjelokupnoj dosadašnjoj povijesti čovječanstva opća kvaliteta ljudskog življenja u barem donekle adovoljavajućoj mjeri dostignuta upravo u suvremenoj Europi, i to unatoč stoljetnim napetostima, nemirima i sukobima te gotovo nevjerojatnim strahotama dvaju svjetskih ratova izazvanih upravo u njoj. Životna i kulturalna raznolikost, bogata policentričnost duhovnog i javnog života, razmjerno dugom tradicijom odnjegovani mehanizmi racionalnog raspravljanja i usklađenog odlučivanja, skrb oko što boljega javnog zdravstva i opće dostupnog obrazovanja, na koncu, ali ne i kao posljednje, puna sloboda stvaralaštva i javnog izražavanja stavova i misli – sve su to tekovine koje nisu samorazumljive i koje su u cjelokupnoj ljudskoj povijesti više dragocjena iznimka nego pravilo.Stoga bi se danas svako osporavanje osnovnih zasada Europe, ma kako u pojedinačnim aspektima bilo opravdano, moralo čuvati toga da se pri svojoj kritici oslanja i poziva na povijesno prevladane forme života i da tako budući tijek povijesti, ma i nehotice, usmjerava prema mogućem novom barbarstvu.

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    Authors: Živković Kuljiš, Loren; Mance, Ivana; Korkut, Alem;

    The content of the script consistently follows the curriculum. It is conceived in four phases and in fifteen teaching units, which are extensively elaborated in the script with explanations and examples. Through them, the student goes through all stages of conceptualization, realization and presentation of a sculptural work, in which the script serves as the basic literature. The script explains the goal and task of each teaching unit, elaborating the topic through a series of selected examples of works of art by Croatian and foreign sculptors. These examples further explain the artistic and technological problems that students face in their work: they explain different types of artistic themes ranging from classical to conceptual and self-referential, ways of their artistic interpretation, the relationship of sculpture to categories of space and time, different types of artistic motivation in choosing a topic, different connotational meanings of certain materials, aspects of performance in certain materials etc. With the help of the script, the students can more easily follow the contents of the course and rely on it when thinking and planning their own work, developing individual style and perception of their own position with unfettered treatment of ideas and clear interpretation of concepts. Sadržaj skripte dosljedno prati nastavni program te je koncipiran je u četiri faze i u petnaest nastavnih jedinica koje su u skripti opširno elaborirane objašnjenjima i primjerima. Kroz nijh student prolazi kroz sve etape konceptualizacije, realizacije i predstavljanja kiparskog djela, u čemu mu skripta služi kao temeljna literatura. Skripta objašnjava cilj i zadatak svake nastavne jedinice, elaborirajući temu kroz niz odabranih primjera umjetničkih djela hrvatskih i inozemnih kipara. Putem ovih primjera dodatno se razlažu umjetnički i tehnološki problemi s kojima se sreću studenti u svome radu: pojašnjavaju se različiti tipovi umjetničkih tema u rasponu od klasičnih tema do konceptualnih i autoreferencijalnih, načini njihove likovne interpretacije, odnos kiparskog medija prema kategorijama prostora i vremena, različite vrste umjetničke motivacije pri izboru teme, različita konotacijska značenja pojedinih materijala, aspekti izvedbe u pojedinim materijalima i slično. Pomoću skripte student može lakše pratiti sadržaje kolegija te se na nju osloniti pri promišljanju i planiranju vlastitog rada, razvoju individualnog stila i percepciji vlastite autorske pozicije s nesputanim tretmanom ideja i jasnom interpretacijom koncepata.

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    Authors: Barbarić, Damir;

    Odavno smo navikli na to da je kulturi prikladno mjesto negdje u posljednjim trenutcima dnevnika ili pak na margini margina dnevnih novina. Ali kultura je sve samo ne nešto rubno i sporedno u cjelini života. Ona je skrb za sam temelj smislena života kako svakog pojedinca tako i svake ljudske zajednice.

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    Authors: Dizdar, Marko;

    Within the research project of the Croatian Science Foundation Iron Age female identities in the southern part of the Carpathian Basin (FEMINE / IP-06-2016-1749), the Institute of Archaeology during the November 2017 carried out a trial archaeological excavation of Sotin – Zmajevac site (Fig. 1). Investigations were conducted to reveal the position of the cemetery from the Late Iron Age (La Tène culture), since three cremation burials were found at the beginning of the 20th century at Zmajevac which were dated to the Late La Tène (LT D1), respectively at the beginning of the 1st c. BC (Majnarić-Pandžić 1970; 1972/1973; Božič 1981; Guštin 1984; Ilkić 1999). Finds of weaponry belong to male burials, while female burials contained characteristic costume and jewellery items (Fig. 2). In burials ceramic and bronze vessels were also revealed indicating the existence of supra-regional distribution networks (Majnarić-Pandžić 1996; Dizdar, Radman-Livaja 2004; 2015). The mentioned burials from Sotin, although discovered more than a hundred years ago, are still the only known Late La Tène female burials in the eastern part of Croatia until today (Majnarić-Pandžić 1972/1973; Božič 1981: Guštin 1984). In the view of exceptional finds from Zmajevac, the existence of Late La Tène site was confirmed by results of field surveys and in the rescue excavation carried out in 2015 (Ložnjak Dizdar et al. 2016). The aim of the research was the discovery of female burials with characteristic finds that would testify about the different aspects of female social identities during the Late La Tène (i.e. Todorović 1972). During the research, traces of the Late La Tène (Figs. 3–5) and Late Medieval settlements (Figs. 6–8) were discovered, spreading along the edge of the loess plateau above the Danube. A large number of ceramic spindle whorls point to textile production at the site and testify to the different aspects of female social identities and everyday activities that female members of population performed in households during the Late Iron Age. Arheološko nalazište Sotin – Zmajevac, smješteno na rubu lesne zaravni istočno od sela Sotin, poznato je više od stoljeća. Mjesto je to pronalaska paljevinskih kasnolatenskih grobova (LT D1) s iznimnim nalazima naoružanja, ženske nošnje i nakita te keramičkim i brončanim posudama koji pokazuju postojanje supra-regionalnih kontakata. Ipak, točan položaj otkrivenih grobova danas nije poznat, zbog čega su provedeni terenski pregledi koji su pokazali kako se radi o nalazištu iz različitih razdoblja prapovijesti te kasnoga srednjeg vijeka. U okviru FEMINE projekta poduzeta su pokusna istraživanja na dostupnim površinama nalazišta u kojima su otkriveni tragovi kasnolatenskoga i kasnosrednjovjekovnog naselja, pri čemu su nalazi većega broja keramičkih pršljena iz kasnoga latena ukazali na vjerojatnu proizvodnju tekstila u naselju.

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    Authors: Barbarić, Damir;

    Dorađeni tekst predavanja održanog u Hrvatskoj akademiji znanosti i umjetnosti 19. travnja 2013. Oslanjajući se na uvide i argumentaciju Martina Heideggera, autor izlaže stav da tehnika nije ni čovjekovo djelo ni sredstvo za bilo koje svrhe. Zato jer sama postavlja ne samo sredstva za postizanje svekolikih svrha nego i te svrhe same, ona je sudbinsko zbivanje povijesti koje bitno nadilazi čovjeka. Tehnika se ne zbiva bez čovjeka i bez njegova činjenja, ali se ne zbiva ni samo njegovim djelovanjem. Kao totalno zbivanje povijesti, ona je odavno u sebe uključila i čovjeka. U tehničkom razdoblju svijeta čovjek je samom svojom biti naručen i ispostavljen u bit tehnike te stoji u njezinoj službi. Običnom oku ostaju skrivene goleme i dalekosežne promjene što se pod utjecajem tehnike zbivaju pod naoko mirujućom površinom stvarî. Rijetki shvaćaju da prometno i telekomunikacijsko uklanjanje svake razdaljine potire i uništava samu bit prostora i vremena, potajno stremeći tomu da ih konačno sažme u jednu jedinu točku imaginarne sveprisutnosti. Jedva se još sluti da jezik pod terorom agresivne prinude na „komuniciranje“, koje nije drugo do iznuđeno isprazno naklapanje, gubi svoju najvješćujuću, objavljujuću i pokazujuću bit. Ostajemo nijemo zatečeni i više se ne čudimo nad apsurdnim igrokazom u kojemu virtualna montaža zvučnih slika poput neprozirna omotača prekriva izvornu zbilju stvarî i sili je da se sama unutarnje preobražava ne bi li postajala tim slikama što sličnijom.

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    Authors: Šiljeg, Bartul; Kovačić, Vladimir; Kudelić, Andreja; Konestra, Ana;

    Historical and earlier archaeological works have already been published (Benčić 2006; Cuscito, Riavez 2008). This year we continued the work from 2008 in room 5 (Šiljeg 2009). After cleaning the probe, we continued removing the layers, but for the sake of the vertical stratigraphy, this time we left a control profile in the north-eastern part of the room (Fig. 1). The entire surface was covered by a layer of rubble SU 020. Under the 20-cm-thick layer of rubble, there was an extraordinarily dark layer of soot SU 021. In the layers beneath, there were exclusively late antiquity finds (coarse pottery with a wavy line and plastic decoration). Of particular significance is a pot with a plastic band (Fig. 4), which is characteristic of the 5th and 6th centuries in the region (Juroš-Monfardin 1986: T. III: 1; Marušić 1986: 83, Fig. 6: 1; Ruffieux 2010: 251–252, 254, 266, Fig. 6). The room’s northern wall ends on a layer of soot and the remains of a wall familiar from earlier excavations (Cuscito, Riavez 2008: Tal. 2. US 023). The remains of wall SU 027 (038), oriented north-south, and passing under SU 009, testify to the affluence of life in classical antiquity. The remains of two floors directly above sterile soil are also associated with this wall. Alongside the northern wall, the remains of a smaller wall SU 042 enclosing a smaller basin were found. The basin was covered by hydraulic mortar opus signinum SU 040 (Fig. 2). In room 5a, the removal of the 14th-century layer, in which there was still glass of the same shapes as in the 2008 excavations (Šiljeg 2009: 114–115), continued. Within the same layer, two small, almost entirely preserved ceramic bowls were unearthed (SF 75 and 79) (Fig. 3), decorated with engobe, over which a green coloured glaze had been coated. Their manufacture is associated with the Italian region of Veneto, and they are particularly widely distributed in north-eastern Italy. They can be dated to the 14th and 15th centuries. (Bradara 2006: 19–21, Gusar 2007: 178). From the same layer, there is also a pottery fragment, probably of the majolica type with multicoloured decoration on the outside and a maiolica policroma glaze on the inside (SF 77), also dating from the period of the Late Middle Ages. The excavations inside room 5 have enabled the relationship between the walls found there to be determined. The latest wall is southern wall SU 034, which divided the largest room into two: rooms 2 and 5 (Cuscito, Riavez 2008: Tav. 1). Older than this wall are walls SU 006 and SU 009, which were partly utilised in the structure of wall SU 034. Walls SU 036, 037 and SU 035 are mediaeval. Wall SU 027 (038), the smaller wall SU 042 and the wall below wall SU 034 belong to the classical antiquity stage. The numerous walls and layers discovered and defined in 2010 confirm assumptions concerning the affluence of life on the Stancija Blek site in classical antiquity and the Middle Ages. Arheološko-konzervatorska istraživanja lokaliteta Stancije Blek nastavila su se na radove iz 2008. godine. Radovi su nastavljeni u prostoriji 5 koja je prepoznata kao srednjovjekovna dogradnja unutar ovoga građevnog sklopa. Skidanjem srednjovjekovnog sloja u kome se 2008. godine pronašao veći broj staklenih predmeta došlo se do kasnoantičkih i antičkih slojeva te na jednom dijelu i do zdravice. Unutar antičkih slojeva pronađeno je keramičkih, staklenih i metalnih predmeta uglavnom kasnoantičkih odlika.

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