Hrvatska umjetnost u drugoj polovici IX. stoljeća

In Croatia there are a great number of precisely dated sculptures and architectural monuments from the second half of the ninth century. It was a time following the delimitation of spheres of interest on the eastern Adriatic between the Carolingians and Byzantium, and when the Croatian dukedom (kneževina) developed into a state under the rule of Dukes Trpimir, Branimir and Muntimir. Their names were carved in some reliefs on church furniture, which makes it possible to precisely follow the development in architecture and sculpture from the middle to the end of the ninth century. Pre-Romanesque buildings in the second half of the ninth century, indirectly dated by sculptured inscriptions, belong to two types: the hexaconchal oratory under the influence of the older Mediterranean architectural heritage, and longitudinal structures with a triapsidal or triconchal sanctuary, external buttresses and a westwork, as the most important characteristic. All the buildings were vaulted, with cross vaults or barrel vaults and domes. Members of the ruling class possessed goldwork of a high level of craftsmanship. Some of it was dated by a Lothar I coin, which indirectly allowed another group of similar very valuable objects to be dated to the second half of the ninth century. We refer to the well-known gold jewelry from Trilj, gilded royal spurs and a like set of child\u27s spurs from Crkvina in, Biskupija near Knin, and other similar contemporary objects found in richly-equipped royal graves that also had Byzantine gold coins of Constantine IV and Leo V

Dvije Nerijeve vješte ikonografske interpretacije biblijskoga teksta

Nerio’s initial D(e ventre matris mee...) from Gradual D of the Zadar Franciscans has been misinterpreted in scholarly literature, earning the miniaturist a bad reputation as an iconographer. L. Mirković did not recognize that the initial depicts simultaneously two connected events from Luke’s Gospel: Annunciation to Zechariah (Lk 1:5-25) and the Birth of John the Baptist (Lk 1:57-66). This article aims to prove the opposite, namely that Nerio was unusually skilled in translating the liturgical text into visual language. This opinion is supported by the analysis of Nerio’s cutting preserved at the British Library, depicting Christ, an apostle, and an executioner taking a sheep to be slaughtered. So far, no correct interpretation of this scene has been offered. The author considers it to be a visual interpretation of the First Response of the nocturnal Mass for Holy Saturday. The citation is taken from Isaiah (53/7) and reads: Sicut ovis ad occisionem ductus est et, dum male tractaretur non aperuit os suum (“He was led like a lamb to the slaughter, and as a sheep before its shearers is silent, so he did not open his mouth”). Nerio wanted to depict Christ’s silence and succeeded in doing so by introducing an apostle into the scene to enter into a dialogue with the executioner, indirectly emphasizing Christ’s silence. Christ seems to distance himself from the event, turning his back to it. Nevertheless, he turns his head back towards the executioner, recognizing his own fate in the sheep and accepting it without a word.Nerijev inicijal D(e ventre matris mee…) iz graduala D kod zadarskih franjevaca u literaturi je pogrešno interpretiran, a sam je minijaturist ocijenjen kao loš ikonograf. Naime, L. Mirković nije prepoznao da su u tom inicijalu istodobno prikazana dva povezana događaja iz Lukina evanđelja, Navještenje Zahariji (Lk, 1, 5–25) i Rođenje Ivana Krstitelja (Lk, 1, 57–66). Autor, naprotiv, smatra da je Nerije neobično vješt u prevođenju liturgijskog teksta u likovni jezik. To dodatno argumentira analizom Nerijeva ostriška u British Library na kojem su prikazani Krist i apostol te krvnik koji odvodi ovcu na klanje. Do sada nije ponuđeno ispravno tumačenje ovog prizora. Autor zaključuje da je to likovna interpretacija prvog responzorija nokturna na Veliku subotu. Preuzet je od Izaije (53/7), a glasi: Sicut ovis ad occisionem ductus est et, dum male tractaretur non aperuit os suum, dakle: „Ko jagnje na klanje odvedoše ga, ko ovca, nijema pred onima što je strižu nije otvorio usta svojih". Nerije je inzistirao na prikazu Kristove šutnje, a to uspijeva time što u scenu uvodi apostola koji uspostavlja dijalog s krvnikom čime se naglašava Kristova šutnja. Krist se pritom nastoji udaljiti od događaja, pa mu je okrenut leđima. Ipak, okreće glavu unatrag prepoznajući u ovci vlastitu sudbinu, prihvaćajući je bez riječi

CROATIAN TOPONYM Ž D R E L A C AND ITS ROMANCE SEMANTIC PARALLEL IN THE YUGOSLAV ADRIATIC TOPONYMY OF THE MIDDLE AGES

The Slavic metaphoric toponym Ž d r e l a c is frequently found in the coastel toponymy of the Yugoslav Adriatic, confirmed also by the historic sources from 13th century. As a rule it is applied to donote sea straits having its semantic parallel in T i s n o. The recent investigations into the archives point also to the Romance parallel in the Ž d r e l a c toponym, which this paper is dealing with. The topographic ubiety of two toponyms from the Middle Ages registered in sources as Joche, Jochum, Coch, Zogo, Zogum and the like (in the Magnum and Parvum variants) correspond thoroughly to the Veliki and Mali Ždrebac localities on the island of Ugljan. It is sugested to solve it etimologically from the Latin Jugum, through Jogum = yoke. It is again the question of the metaphoric toponym with an altogether counter-conceptualization for the same subject matter. The strait (tjesnac) is a narrow space or passage connecting two bodies of water (jaram) and also a narrow opening (ždrijelo = gorge, gulf) that separates the same dry-land

Vannes quondam Bernardi de Firmo: Zasebna isprava i Regesti registra

2 poglavlja: 1) Zasebna isprava (latinski jezik) 2) Regesti registra (talijanski jezik; od str.153

There was no erected church during the time of Prince Muncimir in the village Uzdolje near Knin

U članku se komentiraju rezultati arheoloških istraživanja srednjovjekovne crkve u Uzdolju te se zaključuje da je crkvu podigao župan Ivan u 12. stoljeću što je ostalo zabilježeno i u natpisu nadvratnika. Brojni predromanički reljefi pronađeni na tom lokalitetu potječu uglavnom s nekoliko kilometara udaljenog položaja na Crkvini u Biskupiji kod Knina, a manji je broj reljefa i s Lopuške glavice u Biskupiji. Trabeacija oltarne ograde iz 895. godine s natpisom kneza Muncimira podrijetlom je također s Crkvine u Biskupiji. Vrlo kvalitetan zabat s Muncimirovim natpisom isklesan je u Benediktinskoj klesarskoj radionici koja je djelovala i ranije, u razdoblju vladavine kneza Branimira.Archaeological research of the mediaeval church of St. John in Uzdolje near Knin in 2001 and 2002 provided for the first time a complete insight into the remains of the mediaeval structure and its architectural features. The interior of the single-nave rectangular building with semi-circular apse was divided into four vaulted traves by half-columns, situated along the lateral walls. These are features that are characteristic for Romanesque architecture at the Adriatic coast, in particular in the rural landscape. The famous inscription, which has been known for a long time, with the chiselled name of Prince Muncimir from 895 was discovered in the remains of the church. Along with this inscription, numerous other reliefs were also discovered there which indicate to the fact that they were carved during the 9th century. The Church of St. John in Uzdolje was built by the local prefect in the 12th century who also gave instructions to compose the concise Latin inscription about this event, which reads as follows: IVAN IVPANVS ABATI PETRI IVPANVS ABIRlT. This inscription is carved into an architrave of an altar screen from the 9th century. Based on the style, it is evident that it is an architrave that was originally placed in the church, of which the remains were explored at Crkvina in Biskupija near Knin, an archaeological site only a few kilometres away from Uzdolje. It is the mausoleum of Croatian rulers from the 9th century, which became the cathedral of Croatian bishops in the 11th century. Theauthor therefore concludes that an entire group ofpre-Romanesque reliefs was taken from Crkvinain Biskupija during the 12th century to be used to furnish the Church of St. John in Uzdolje. These reliefs from the 9th century were no longer in usein the cathedral of the Croatian bishops since theywere replaced by others in the last quarter of the 11thcentury, which is a well-known fact.Most reliefs discovered in Uzdolje reveal features of the so-called Benedictine stonemasonry workshop, whose works were noticed at several sites in the Croatian Principality. Thanks to the dedicatory inscriptions in Nin, Muć and Otres, the activity of this stonemasonry workshop coincides with the reign of Prince Branimir (879-892). The reliefs discovered in Uzdolje confirm its activity also at the time of his successor Prince Muncimir. It thus becomes clear that the Benedictine stonemasonry workshop supplied the mausoleum of Croatian princes at Crkvina in Biskupija near Knin with liturgical furnishings also during the reign of Prince Muncimir. The author draws the attention to one group of reliefs from Crkvina in Biskupija which reveal features of the Benedictine stonemasonry workshop. At the same time he also indicates to the fact that the use of discarded pre-Romanesque reliefs is a common phenomenon and that many of them were discovered at sites for which they were not originally intended for

Materijalni odrazi Kolomanove vojne u Sjevernoj Dalmaciji

U raspravi se predočuju materijalna svjedočanstva Kolomanova pohoda na Dalmaciju. Riječ je o poznatom zvoniku zadarskih benediktinki s presvođenom kapelom u prvom katu i natpisom koji spominje Kolomanov trijumfalni ulazak u Zadar. Velika se pozornost pridaje i ostavi s više od 2.000 komada Kolomanovih novčića iz Lepura kod Benkovca. Topografskom se analizom utvrđuje da su Lepuri u prostoru srednjovjekovnog Podgrađa , gdje je bilo ročište dvanaest hrvatskih plemenitih rodova tijekom cijelog srednjeg vijeka. Tome se pridodaje i arheološka argumentacija s posljednjih istraživanja iz 1997. godine na tom mjestu. Zaključuje se da su hrvatska plemena primila Kolomana upravo u Podgrađu, prihvativši vazalski odnos, a postižući oslobođenje od poreznih podavanja, čime su (p)ostali zaseban sloj unutar hrvatskog srednjovjekovnog društva. Materijalni ostaci pokazuju da je Koloman u svom pohodu na Dalmaciju uložio znatne diplomatske aktivnosti i materijalnih sredstava što je i rezultiralo pokoravanjem dalmatinskih gradova bez značajnijih vojnih sukoba