Two fragments of roman friezes from Pula

Dva ulomka antičko rimskog friza koji čine cijelinu, na kojima su prikazani Sfinga, itifalička Herma i dva grifona s kantarosom pripadaju bogatoj baštini arhitekturne dekorativne skulpture (opera ornamenta) pronadene u Puli. U Istri su veoma rasprostranjeni orijentalni kultovi, a tom ozračju pripada i dio puljskog friza povezan s Dionizijskim misterijem. Likovno reljef pripada rimskoj umjetnosti, oslanjajući se na ranoklasične predloške i bujnost kasno klasičnog razdoblja grčke skulpture. Izraden je od istarskog vapnenca, a djelo je jedne od radionica iz Pule, koje su sudjelovale u graditeljskom i kiparskom usponu kolonije od 1. do 3. stoljeća . Kvaliteta reljefa upućuje da je friz bio dio vrijednog spomenika, kultne ili sepulkrane namjene, postavljen na svetom mjestu (locus sacer) , dionizijske provenijencije. Na temelju likovne analize, ikonografskog odredenja i usporedbe s djelima iste tematike u Puli i Istri, te s primjerima grčke i rimske antičke baštine, kojima je srodan, zaključujemo da su ulomci arhitekturnog friznog reljefa iz Pule nastali u drugoj polovici 1. stoljeća ili u 2. stoljeću.Colonia lulia Polentia Herculanea, Pula was not only an important colony in the 10th century Italiana region of Venetia et Histria but had achieved an extremly important position in Roman art. The high-point of Pula\u27s development was from the 1st the 3rd century. Two fragment of friezes date from that time showing sphinxes, itiphallic hermea and a griffin with a cantharos. Sphinx and griffins are imaginary mythical creatures know in both Greek and Roman art. They are not real but belong to the imaginary world, brought to life only by artistic imagination. The two fragments from Pula under consideration were part of a limestone frieze. The carving is in moderate relief, high quality and exceptionally precise work, with great attention paid to anatomy and the presentation of the creatures, clear liines and uncluttered surfaces. In interpreting the relief we must recall that the Istria of the time was settled by Italian citizens, veterans, colonists, freed-men coming from the east, who brought with them their religions and their gods who they continued to honour in their new location, Eastern cults and varied religious beliefs were very widespread especially from the end of the 1st century. It is within this context that we must consider the Pula frieze which will help is date and place it. Sphinxes, Hermae and griffons indicate a link with the Dionysian mysteries, spiritual cleansing, a new life and ressurection. From the artistic point of view the fragments show traces of Roman art under the influence of early classical archaism and the more florid models of late classical art. They must have been part of some important religious building, connected with the Dionysian cult. They are made in local limestone and the product of one of the Pula workshops which modeled themselves on the patterns of Roman reliefs. Stylistic analysis and comparison with similar work allows us to date them from the second half of 1st century or to the 2nd century. Their tension, various artistic mannerisms, passion for elegance, and at the same time craftsmanship, and feeling make them unique among Roman art works of Istria

SELECTED EXAMPLES OF ROMAN SEPULCHRAL ARAE IN ISTRIA

Autor obrađuje reljefnu skulpturu na odabranim primjercima devet rimskih ara iz lstre nastalih u vremenskom razdobjlu od I. do III. stoljeća. Are su obrađene kao sepulkralni spomenici, a njihove ikonografske sastavnice ukazuju na opće uvriježeni antički simbolički govor grobnih spomenika, dok klesarska obrada i likovno izražavanje upućuje većinom na regionalne majstorske radionice. Rimske are istarskog područja pokazuju široki raspon likovnog izraza od rustičnog karaktera do visoke i precizne obrade arhitektonike, reljefne skulpture i epigrafskih dijelova spomenika. Autor razlikuje dvjie grupe ara: jedne iz Pule i okolice, druge iz unutrašnjosti sa središtem u Buzetu.On the territory of Roman Histria one can find almost all types of sepulchral sculpture known in archeology and art history, a fact testifying to the care given to burial rites. It is the aim of this paper to throw more light on the Roman arae in Istria, where they form a separate group of sepulchral monuments, and stress their basic iconographic and artistic characteristics. The ara is a sepulchral object in the form of a cube-shaped stone altar found on all elevated spots and places of sacrifice (where offerings were burned). They consist of an elaborated base, cubic body with a conical trabeation and an attic with pulvinus. The body and attic are usually decorated with reliefs often bearing an inscription at the front, with sculptures in relief on the sides and attic. On the arae surviving along the coast of Istria there are no representations of human figures. On the other hand, those located in the hinterland are marked by richer and more varied relief ornamentation including floreal-vegetable motifs and animal and human figures. On this basis the author divides the surviving arae of Istria into two groups: a smaller group located in the coastal Pula area, and the other located inland in the Buzet area and influenced by the workshops of Aquileia. The author stresses the difference between imported items and those of local origin. These artifacts are contrasted: the imports tend to be more classical in motifs and shape. However, one group of imported items came from some larger and better known workshops located in provincial centres; they were not completely finished, receiveding the final touches (carved inscriptions or reliefs) in the local workshops. The 9 arae presented in this paper show a certain regularity of modelling and artistic expression corresponding to characteristics commonly found in Roman sepulchral sculpture

DIANA\u27S TORSO IN POREČ

Autor obrađuje sklupturu božice Diane iz Poreča, od bjielog mramora, datiranu u I. st. po Kr. Iako je sačuvan samo torzo, ipak se kakvoćom ističe među sačuvanim spomenicima skulpture antičkorimskog razdoblja u Istri. Božica je prikazana kao lovkinja u trku, djelomično obnaženih prsa, te je nedvojbeno, dio rimske kopije i varijacija skulpture Artemide tipa Versailles iz 4. st. pr. Kr. koja pripada repertoaru kasnoga klasičiog razdoblja. Predlaže rekonstrukciju djela s formalnog i ikonografskog stajališta na osnovi komparativne analize sa skulpturama iz klasičnog, kasno klasičnog i helenističkog doba. Kao jedinstven i rijedak primjerak rimske kultne skulpture na sjevernoj hrvatskoj obali, porečki torzo Diane omogućuje preispitivanje odnosa originala i kopjie, slobodnijega pristupa ikonografskoj temi, pripadnost određenom tipu prikazbe Artemide — Diane, izvedbe ženskog tijela i draperije, te prijenosa predloška iz bronce u mramor.Almost all that we know about the types and styles of classical Greek and Roman sculpture depends on the identification of copies. An exceptionally large number of surviving Roman sculptures are Classical, Late Classical or Hellenistic copies of Greek originals. Since the second century B.C. the greatest Greek artists worked for Rome, providing the market with marble and bronze sculpture crafted in the best techniques and styles for their Roman clients in a wide range of types: from nobilia opera, copies and versions of famous works by the best artists, to ornamenta, i.e. decorative sculpture. We should distinguish between copies and variations of sculptural models and types: the former concentrating on a certain individual item, usually made in the past, the latter marked by a more general formal and iconographic memory. The Greek component in Roman art must be seen as an integral, even regulative factor, especially in the presentation of human figures. The Roman studios in which copies were made created a broad spectrum of "Greek" sculpture, from recognizable copies to pale imitations. Studying the torso of the goddess Diana in Poreč, made of white marble, dated in the first century A.D., one must ponder the relations of original and copy, (noticing a freer approach to the iconographic theme), ways of representing certain standard types, the quality of execution of the female body, the transfer from one medium to another, all of which involves a broad spectrum of possible variations starting from a certain prototype which can be changed several times. The surviving fragment of this sculpture represents Diana in movement, her body gently rotated, with her right breast exposed, dressed in a doubly girt hiton arranged in rich folds. The head, arms and legs below her thighs have not survived, nor have any potential animal figures of the composition. Although so much of it is missing this sculpture shows remarkable quality of execution and represents a unique specimen of classical Roman cult sculpture quite rare in the northern part of the Croatian Adriatic coast. The torso of Diana in Poreč is undoubtedly the relic of a Roman copy and a Late Classical variation of Artemis of the Versailles type. In that period numerous new types of sculpture were created by the copyists of the Roman Empire. The goddessArtemis, or Diana, was first represented as a huntress in the fourth century B.C. Artemis as running huntress, accompanied by a dog or deer - and owing to several related copies known as the Versailles type - dates from the middle of the same century. Its original is attributed to the sculptor Leochares. This sculpture of a partly nude female body is thus a combination of a sculptural type marked by Late Classical stylistic traits, and of the iconographic (narrative) type of a running virgin huntress-goddess. The preference for a "sub-classical" manner in the statues of gods and goddesses is a reflection of the Roman taste and cultural choices especially characteristic of the first century. The Poreč sculpture of Diana is of Greek provenance, made either in a Greek studio on Italic soil or even more probably in Greece herself from where it was imported. The presence of a work of such high quality in Poreč testifies to the presence of an afluent strata of Roman citizens in Istria which increased the import of art works and intensified their local production

A contribution to the Research into Istrian Roman sarcophagi

Autor objavljuje 25 dosad neobrađenih i u znanosti slabo poznatih reljefa rimskih sarkofaga iz Istre nađenih većinom na gradskim i prigradskim područjima Pule i Poreča. Uglavnom pripadaju jednostavnoj grupi s prikazima genija, ali i tipovima sarkofaga klasične i ranokršćanske ikonografije. Autor ih smatra djelima provincijalne umjetnosti važnim po simbiozi istočnjačke i zapadnjačke likovne kulture unutar stvaralaštva rimske države 2. i 3. stoljeća. Naglašava značaj te skupine spomenika unutar inventara klasične skulpture na Jadranu, stavljajući ih u kontekst starorimskih običaja ukopavanja mrtvaca. Iz tog izvlači osobitosti niza motiva i tema što tumače narav romanizacije istarskog poluotoka i vezanost uz opća strujanja kultumih i umjetničkih shvaćanja carskog razdoblja.The author discusses 25 hitherto little known reliefs on Roman sarcophagi in Istria. After iconographic and stylistic analysis, he determines their provenance and date of origin. The reliefs are works of provincial art important because it is a symbiosis of Eastern and Western art within the Roman state in the 2nd and 3rd centuries. The author stresses the significance of such monuments in the inventory of classical sculpture in the Eastern Adriatic region, placing them in the context of ancient Roman burial customs. He points to the specific characteristics of motifs and themes that illuminate the process of Romanization of the Istrian Peninsula and its close link to mainstream cultural and artistic currents in the Imperial period. The author also surveys the development of this type of monument that has always intrigued archeologists, but still needs to be properly studied. Sarcophagi from Antiquity appear in the region of lstria during the 2nd century, and their manufacture and use coincides with that of other types of sepulchral monuments. The monuments presented here are part of the art of Antiquity in the Roman period. The underlying polarity between the Hellenistic and Roman rationalism and non-plastic linear sculpture is found in these monuments, too. The sarcophagi on the Istrian Peninsula differ to some extent from the pure recognizable forms of Roman Empire art, but local traits are less pronounced than in more remote provinces of the Roman Empire

Sustainable tourism development in the Carpathian region in Serbia

This paper analyzes natural and anthropogenic tourism resources in the Carpathian region in Serbia, as well as legal and institutional frameworks which need to be strengthened with the aim of ensuring sustainable tourism development of the region. The sustainable tourism development will necessitate the linking of stakeholders within and at the level of the region, along with an adequate support at the national level in order to take advantage of numerous opportunities offered by an increasingly intense cross-border cooperation. Taking into account the greater number of protected areas and those planned to be protected in the Carpathian region, as well as specificities of tourism development in these areas, special attention in the paper has been given to sustainable tourism development of protected areas

NMR Spectroscopy as a Tool for Studying Asphaltene Composition

Asphaltenes are the most polar oil components with molecular weights between 500 and 1000 Da, which primarily consist of carbons and hydrogens, some heteroatoms, such as nitrogen, sulphur, oxygen and traces of nickel, vanadium and iron. Owing to their extreme complexity, it is almost impossible to completely identify all the compounds present in asphaltene samples. Various analytical techniques and approaches were used to characterize asphaltenes but their structure and composition are still a matter of thorough investigations. NMR spectroscopy can reveal useful information on asphaltene molecular architecture and aggregation process. In that respect, one- and two-dimensional NMR techniques have widely been employed. Although NMR spectra of these complex mixtures are difficult to interpret, they still can provide valuable data, especially in combination with statistical methods. Some distinctive examples of using NMR spectroscopy to study asphaltenes are given in this review. This work is licensed under a Creative Commons Attribution 4.0 International License

Integrated apporach to service quality management in rural tourism in the Republic of Serbia

The services sector has experienced great expansion and has become the dominant sector in many economies. Over time, interest in service quality has grown, as studies have shown that it is a prerequisite for the success and survival of companies in a competitive environment, in other words, providing quality service to customers creates an opportunity for companies to gain a competitive advantage in the market. Tourist satisfaction can be viewed in five phases as expected, experienced, given, desired and quality prescribed by the business system. There are variations between phases, and the goal is to eliminate differences in order to reduce this "gap", that is, to connect certain phases. There are several interest groups in the destination for quality assurance: entrepreneurs, management, employees, guests, locals and society (state) as a whole. It is necessary to coordinate the interests of all and find the level of quality that will satisfy them. In recent years, an integrated approach to managing the quality of a tourist destination has developed. Integral Quality Management (IQM) is a leading European initiative that aims to strengthen the development and implementation of sustainable development and quality-oriented tourism. The authors analyze the conditions of application of IQM in rural tourism with special reference to the situation in the Republic of Serbia