Page 70 - Herojska doba Histrov

Herojska doba Histrov

omogočeni prepletanje družbeno in ideološko različnih sense of an interaction between reciprocity and creativity,
svetov, približevanje novih kontrapunktov ter zbliževa- we can posit that even in this distant past it provided for
nje kompozicij drugačnih ustvarjalnosti z združevanjem the commingling of socially and ideologically disparate
prostorskih in kulturnih razdalj. Globalna povezanost ta- worlds, a rapprochement of novel counterpoints, and the
kratnega sveta je dinamično spreminjala podobo družbe convergence of compositions of contrasting creativity by
posameznih skupnosti, ki so jo podedovale, in še bolj per- bridging spatial and cultural distances. The globalism of
spektivo s katero so se razvijale. V takšnem procesualnem the time actively altered the social makeup of the various
prepletanju mnoge eksotike doživljajo svojo metamorfozo, communities that subscribed to these arrangements and,
even more so, the prospects of their future development.
in sicer v lokalizem, ki je postal del prepoznavne metafore In a thus contrived processual interplay, much that was
kulturne kode predmetnega območja.
exotic metamorphosed into a localism, becoming an
evident metaphor for the local cultural code.
Na ta način postanejo jasnejše tudi posebne prakse histr-
skih pogrebnih protokolov, s katerimi so izražali ideale In this regard, we have a clearer representation of the
vodilnih članov njihove družbe, kot so to počeli na svoj particularities of Histrian funereal protocols, which ex-
način tudi pri praksah heroizacije svojih pokojnikov. To pressed the ideals of the leading members of the society
nam je znano iz mnogih kontekstov, v povezavi z različni- as, in their own way, they comprehended and upheld the
mi predmetov, vendar predvsem iz situlske umetnosti in practice of heroizing their dead. We learn this from many
monumentalne kamnite plastike. Prav kamnita skulptura, contexts, various artefacts, but primarily from the Situla
večinoma iz Nezakcija, ter posamezni primerki iz Picugov art and the monumental stone sculpture. It is this work
in Kaštela pri Bujah (Mihovilić 2001a, 117–13; 2003; 2014, in stone, largely from Nesactium, with isolated exam-
ples from Picugi and Kaštel near Buje (Mihovilić 2001a,
340–350), predstavljajo posebno ideološko reprezentacijo 117–130; 2003; 2014, 340–350), that constitutes a rep-
in umetniški dosežek na območju vzhodnega Jadrana ter resentation of ideology and artistic achievement on the
bližnjega zaledja. eastern Adriatic shores and the proximate hinterland.

Monolitne kamnite plošče ali stele so okrašene z vkle- Monolithic stone panels or stela are decorated with carved
sanimi geometrijskimi motivi, s spiralami, z meandri in s geometric patterns, spirals, meanders, and swastikas,
svastikami, zelo podobnimi ali enakimi tistim na keramičnih very similar or identical to those found on the pottery and
posodah in kovinskih predmetih (kat. št. 183). V polni pla- metal ware (cat. no. 183). Sculpture in the round includes
stiki so predstavljeni torzi mladeničev (kat. št. 181–182) the torso of a young man (cat. nos. 181–182), a woman,
in žensk, konjenikov in žrtvenikov, nekateri pa so dodatno a horseman, and an altar, some further decorated with
spirals and meanders. The large sculpture is composite
okrašeni s spiralami in z meandri. Največja skulptura je and syncretic, depicting a nurturing mother with a small
kompozitna in sinkretična, saj prikazuje žensko, negoval- child, and a horseman. All three figures, although static
ko z malim otrokom in konjenika. Vse tri figure, čeprav and schematic, are active in evoking their own seman-
statične in shematizirane, so aktivne pri prikazovanju tic composition. As this was freestanding and public
pomena spomenika. Ker gre za prostostoječo skulpturo sculpture, read from all sides while in ambulation, it is
javnega značaja, kjer je vsebino mogoče prebrati z vseh convincingly appropriate to the architectural ensemble
strani, se prepričljivo povezuje z arhitekturnimi celotami of the cultic setting of the necropolis at Nesactium. Thus,
kultnega mesta grobišča Nezakcija. Zato se, kljub temu despite the fact that they were all found in a secondary
da so bile vse skulpture odkrite v sekundarnem položaju position at the necropolis, they have been interpreted
na grobišču, interpretirajo kot nagrobne stele, inventar as grave stelae, the inventory of a cemetery shrine, and
grobiščnega svetišča in zavetni spomeniki, ki so vsi služili votive monuments celebrating the heroisation and apo-
heroizaciji in apoteozi plemenitih pokojnikov, najpogosteje theosis of the virtuous dead – usually rulers, aristocrats,
vladarjev, aristokratov, bojevnikov in herojev. Uveljavljeno je warriors, and deceased heroes. The consensus opinion
mnenje, da stele pripadajo avtohtoni umetniški in estetski is that these stelae are indigenous artistic and aesthetic
ustvarjalnosti pod vplivom umetnosti sosednjih italskih ter works influenced by the art of the neighbouring Italic and
Etruscan cultural milieus of the 8 /7 centuries BCE,
th
th
The Heroic Age of The Histri
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