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Eneolithisation of the human figures: figural imagery in the Early Eneolithic Bubanj-Hum I culture
Get PDFOne of the most important traits of the Late Neolithic Vinča culture, widespread in the territories of the central Balkans and the southern Carpathian basin, was rich figural imagery. Anthropomorphic, zoomorphic and hybrid figurines were particularly frequent, and there are also findings of prosopomorphic lids, zoomorphic vessels, and altars and other vessels with zoomorphic protomes. These types of objects were frequent on all Vinča culture sites; reaching up to several hundred of figurine fragments, and often display high quality of production. Early Eneolithic Bubanj-Hum I culture, widespread in the parts of previous Vinča culture areas, on the other hand, has very limited evidence for figural imagery. Clay figurines are scarce, and usually produced with limited labour investment. On the other hand, stone figurines, rare in the Vinča culture, now disappear completely, but figurines are now occasionally produced from bone – raw material that was never used in the Vinča culture. This change in quantity, quality and stylistic characteristics points to the significant changes in the symbolic value of the figural imagery, as well as overall changes in social and ritual lives of these prehistoric communities. However, Eneolithic figurines received very little attention in the archaeological literature thus far. In this paper will be provided an overview of evidence for figural imagery from the Early Eneolithic Bubanj-Hum I culture, part of the Bubanj-Sălcuţa-Krivodol cultural complex, from the sites on the territory of central Balkans. Figurines will be presented from stylistic and technological viewpoint, and also their place in the context of the Early Eneolithic will be discussed.An International Conference dedicated to the 100th anniversary of the first archaeological research on the Sultana tell site (Romania
Mosaics of Romuliana: A Time Capsule of Tetrarchic Artistic Expression
No full textThe mosaics of the imperial palace of tetrarchic ruler Galerius (305-311) in Gamzigrad-Romulana near Zajecar (SRB) represent a remarkable treasure trove of Late Antique artistry that offers a unique and invaluable comparative perspective within the Roman world. Created during the reign of Emperor Galerius between 309 and 311 CE, these mosaics provide a glimpse into the influence of artistic workshops from both the Eastern and Western parts of the Roman Empire, which many researchers have highlighted in their works.
Our paper delves into various facets of Romuliana’s mosaic art, with a specific focus on the hunting scenes, as symbols of lifestyles of the military and affluent classes – themes emblematic to Galerius, who, despite his humble provincial origins, ascended to the imperial throne through his military prowess. The paper places particular emphasis on the depiction of venatores, aiming to identify potential workshops or influences that shaped the selection of these thematic motifs and symbols in the mosaic designs of the most important rooms of the palace in Romuliana. Historical sources documenting Galerius’ military career and imperial rise could provide critical insights into the motives behind the choice of specific mosaic themes, especially with potential connections to the Eastern Mediterranean realm and their workshops, including those in Egypt and Syria, in the provinces where the emperor stayed for shorter or longer periods and where he achieved significant military successes
The Socialist Heritage in Demagog Studio's Video Games
No full textThe Socialist Heritage in Demagog Studio's Video Games
Our research aims to indicate how cultural heritage can be effectively implemented in commercial
video games outside the context of Serious games and in the narrower sense of games whose
purpose is primarily educational.
The paper will analyze the representations of socialist tangible heritage in the studio trilogy of
Demagog - Highwater, Golf Club-Nostalgia, and The Cub. Neglected brutalist architecture, socialist
urbanism, NOB monuments, cars, and other tangible remains from the time of the SFRY are a
paradigmatic element in the creation of the post-apocalyptic world in which the action of all three
games takes place. Instead of a neutral, "objective" approach to the presentation of cultural heritage and the discourse on its preservation, heritage in these games has the function of evoking the Yugoslav past and taking a critical stance towards its systematic persecution in contemporary
Serbian culture, but at the same time also presenting an unknown (or insufficiently known) culture/
heritage to a global audience.
Relying on design concepts and models of environmental storytelling and world-building, the
authors of this trilogy have created a consistent post-apocalyptic world largely based on current
tangible cultural heritage.
The Demagog Studio trilogy is an example of how video games, often condemned by the public as
trivial entertainment, can serve as an artistic medium, which conveys a message and comments on social trends, without renouncing its commercial character
Теренска документација: последњи траг наслеђа, први корак одговорности – од прекршаја до могућности
No full textДокументовање података које сакупљамо приликом археолошких ископавања варирају од периода, типа локалитета, доступне опреме и знања, материјалних средстава, али и флексибилно перципиране личне одговорности како приликом документовања на самом терену, тако и приликом депоновања копија документације након ископавања у надлежне музеје и/или заводе за заштиту споменика. Правилник о обрасцима, садржају и начину вођења дневника радова и друге документације која се води о археолошким ископавањима и истраживањима не помиње депоновање документације након истраживања, али члан 117. Закона о културним добрима („Службени гласник РС”, бр. 71 од 22. децембра 1994 … 76 од 7. септембра 2023 - др. закон) наводи да је достављање документације у надлежни Завод за заштиту споменика дужност Министарства Културе републике Србије. Ипак различите околности у претходних 100 година довеле су до уништења (или чак отуђења) неког дела теренске документације, коју даље прати и неадекватно чување у дигиталном облику. Ситуације у којима теренске документације једноставно нема, пре свега посматрам као мале тренутке губитака знања, али и могућности за његову даљу употребу у креативним индустријама, тренутно понајавише актуелним видео играма. Игре попут No mans sky, Assassin’s Creed Unity или чак домаће продукције као што је Golf Club Wasteland истичу се квалитетом и аутентичности елемената културног наслеђа тиме креирајући светове у којима милиони играча свакодкевно проводе своје време. Израдом 3Д документације високог квалитета омогућавамо да резултати нашег рада на терену уз адекватну одбраду досегну до шире публике, али и јачамо везу са тржиштем изван заштитних ископавања
Viminacium between East and West
No full textViminacium, the capital of the Roman province Moesia Superior, a significant military
stronghold where the Roman legion Legio VII Claudia Pia Fidelis was stationed, was a meeting place
of Eastern and Western cultures. The exploration of the Roman city and military encampment during
the last several decades gave lots of material evidences to confirm flowering craftsmanship and art in
Viminacium as a place where merchants from the entire Roman Empire came to exchange their goods.
The strong economy of this city, whose products could be traced quite far outside the limits of the home
province, increased the variety of crafts and artistic workshops. The city, built on territory belonging
to the Celtic tribe Scordisci, had a remarkably favorable geographical position at the intersection of
roads, river and trade networks. The number of Roman emperors who passed through Viminacium
or stayed for certain periods was also outstanding. There was virtually no Roman emperor who did
not pass through Viminacium; mentioned should certainly be Hadrian, Septimius Severus, Gordian
III, Philip the Arab, Trebonianus Gallus, Hostilianus, Diocletian, Constantine the Great, Constantius
I, Julian and Gratian. Archaeological excavations that yielded over 14.000 discovered graves with more
than 40.000 archaeological artifacts gave the unique opportunity to analyze the influences from all
over the Roman Empire, whether it came through the funeral custom, type of grave, grave inventory or
anthropological analysis. Combining this evidence with those from written sources, we are getting closer
to building a picture of the developing social and demographic structure of what we call a Roman city
Land subdivision, land allocation, centuriation, settlement and agricultural development in the 3rd century CE in the countryside of Sirmium
No full textAs part of a comprehensive archaeological survey of the area around the site of Glac in the north-west of Serbia, a detailed examination has been undertaken of the pattern of rural settlement associated with Roman era drainage and canal works east of Roman Sirmium. The research question posed is whether there is any archaeological evidence for land subdivision including cadastration and centuriation during the late Roman period associated with the drainage and land reclamation works attributed to the emperor Probus. The context of any land subdivision and allocation and their implications for agricultural development during the late Roman period are explored
Bjeli Pavle: U početku…
No full textBjelopavlići tribe represents one of the seven hill tribes
that inhabit today’s territory of Montenegro. Together with the other tribes
(Vasojevići, kuči, Bratonožići, Piperi, Moračani and Rovci), they form historical
and ethnogeographical region known as the hills. Bjelopavlići tribe
is situated in the valley of river Zeta (today’s Danilovgrad municipality).
Progenitor of this tribe is believed to be Paul The White (Bijeli Pavle).
Who was Paul The White, why did he come and for what reasons, as well
as his heritage, are questions which were always quite interesting for members
of this tribe. Even though many authors tried to answer these questions
through tradition analysis, we are offering a little different aproach
in this paper
Le paquet Néolithique osseux : les influences du Asie du sud-ouest dans l’industrie osseuse de la culture de Starčevo
Get PDFLe Néolithique ancien en Europe du Sud a apporté des innovations nombreuses – non seulement l’agriculture et l’élevage, de nouvelles espèces végétales et animales, mais aussi des changements dans les modes de subsistance, dans les modes de vie et dans les visions du monde. La culture matérielle a aussi apporté de nouveaux matériaux, de nouvelles technologies et de nouveaux types d’objets.
L’industrie osseuse est généralement considérée comme conservatrice, traditionnelle, ainsi que chronologiquement et culturellement non-sensible. Quand même, tout comme d’autres technologies, la technologie de l’industrie osseuse dépend des préférences culturelles ; ainsi, dans l’industrie osseuse, on peut aussi remarquer des changements : des nouveaux matériaux, de nouvelles techniques et de nouveaux types d’objets. Dans l’ article présent, on analyse l’industrie osseuse de la culture de Starčevo, qui montre des traditions mésolithiques, mais aussi des innovations qui peuvent être liées aux influences d’origine de Asie du sud-ouest. Ces influences comprennent des outils tranchants en tibia de petits ruminants, des crochets, des corps de faucille, boucles de ceinture et notamment des spatules-cuillers. Ces techno-types, pourtant, ne sont pas repris sans changements, mais modifiés et adaptés localement. Cela montre que les influences dans la technologie ne sont pas simples, mais sont sous l’impact des préférences culturelles locales et que la technologie n’est pas prédéterminée, mais qu’elle change parallèlement aux autres changements culturels et sociaux
Gamzigrad - severno naselje 2012
No full textАрхеолошка истраживања на простору северног насеља код Гамзиграда у 2012. години.A database of archaeological excavations since the year 2000: https://www.fastionline.or
