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Buoucr DA JE poDRUcyEApeninskog poluotoka uvijek bilo otvoreno

kulturnim strujanjimaiz Gr6ke, tradilije su se helenistiike umjetnosti proiirile
u mnoge krajeve Italije. I Rim, kao nosilacpolitidke mo6i, usprkos prividne
h o s t i l n o s t ip r e m a k u l t u r i d r u g i h s r e d i n a ,i p i k y eb e z s u m n j eu e c d o s t a r a n o
p o s t a op r i r o d n i b a i t i n i k i r a s i d n i k h e l e n i s i i e k e
u m j e t n o s t i ,n a j p r i i en a s a m o m
p o l u o t o k u .a
. k a s n i j ei z n a t n o 3 i r e .J e d n ao d o n i h I i k o v n i h m a n i f e r t a c i j a
h e l e n i z m .la< o j es u u R i m u p a l e n a p l o d n o r l o , s a d i n j e n oo d o d g o v a r a j u c i h
u m i e t n i c k i h .a l i , m o 2 d a ,i.o s v a 2 n i i ei o d d r u s t v e n i hs a s t o j a k aE. i o i . p o r r r e r .
Jvqm.ad.vo1!eda je rimski portrer svoju p_oietnuinspiraciju i poticanje primio
iz helenistiike
k u h u r e .P i t a n i ej e s a m ou ^ k o l i k o j e m j e r i t o b i l a i z v o r n o
helenisti6kakultura ili je u pitanju viSebio italsko-etrurskihelenizam.Nororno
je pri tome da..jeza razvoj rimskog portrera druitvena potka koja je mnogo
doprinijela prihva6anjui razvoju umjetni6kog prikazivanjalika poiedina.ib;lt
obidaj patricijata da,u ku6ama drZi voitane litorre predaka limagines maiorwm)
kojima se pokazivaladrevnosrloze. Vosak je, doduie, bio priklidan za
uzimanje otisaka s lica, ali je zato bio sasvim neprikladan ia dui.e iuvanje i
i z l a g . a n izeb o g l a k o g g u b l i e n l af o r m e . z 6 o g . t o g a ,a .o . s o b i t oz b . o gs v e s n a 2 n i j e g
r a z v l r K a . s K u t p t ucr e
l o, s t oJ ed o z a m l e n l l v a n ltaa k v r hl r k o v ao n r m ao d t v r d o g
riraterijala..Teskoie, s.druge srrane, vezivat:tpojavu r prrjanjanje.rr po.t."t"k.o
t o r m u s k u l p t u r a l n o gi z r a i a v a n i as a m o u z p a t r i c i j a ti t r a d i c i o n a l n en o s i o c e
p o l i t i c k o g i d r u s t v e n o g2 i v o t a ,j e r j e r a z m i e r n or a n a p o j a v ag r a d a n s k o gs l o j a
kao vaznog faktora svi ve6im i mo6nijim gradovimaibog irietka ste6e"nog'
trgovrnom, zanarstvomi drugim vidovima privredivaniaizazvalapotrebula
iskazivaniem
. v a Z n o s tpi o i e d i n i ho b i t e l j i n a i r a d i c i o n a l n in a ei n . g a i e r i j a m a
portreta.pravih,a katkada i izmiSljenjihpredaka.O tome portoJ"
karakteristi6nitekstovi kod antiikih pisaca,a paraleleiz kisnijih epoha (na
primjer gradanskoslikarstvoXVIII i XIX st.)-samopokazuje'druiivenu
ukorijen]enostportrera. eak i onaj suhi realiiam po.tr.t. devedesetihi
o s a m d e s e t igho d i n a I s t . . p r i i en . e . , k o j i p r e d s t a v l j at i p i i a n p r o d u k t r i m s k o g
I r y j , y 3 u . d o b a . s v o gv e l i k o g u s p o n a ,o i i i o j e d e r i v i r a oi z h e l e n i s t i i k o gp r i l ' , ' a
individualnom likubsobe, egzaitirajucizapravosamo fiziiku stranu lilnosti.
Takav tip. portreta, sasvimlogicno, nije otkriven ni u jednoj regiji u naioj
zemlji, iako su se Rimljani upleli u poslove na Balkanu ve6 po6eikom II it.
Meclutim, vojnickii politiiki dogadajijoi uvijek ie znaie i kulturnu
p.lj..
i n f i l t r".e.
a c i i u ,p a j e _s a s v i ml o g i c n o d a b e z p r i i u s t v a j a i e g s i o j a 2 i v l j a s r a z v i j e n i m
p o t r e b a m aa n t i c k ec i v i l i z a c - i inee .t r e b ao d e k i v a t in i p o * i e t a ks n a 2 n i j e gp r o d o r a
k u l t u r n i h u t j e c a j ap, a n a r a v n on i p o r r r e r a .
karakteristidanza potetak I st. prije n. e.,
.. Rimski se republikans.ki.portr.et,
nrje sasvrmugasioni onda kada je ponovno poraslo zanimanleza piiholo5ku
karakterizaciiu,negdie sredinom'I it. prije n. e, jer se u nekim prolvincijalnim
sredinamana veristicki na6in nastavljaju prikazivati lica, bez istraLivanja
psiholoSkogstanjai emocijamodeia. lJ znanstvenojse literaturi dosta
raspravljaloo tome da li je suhi verizam ranog I st. prije n. e. izraz
konzervativnih patricijskih druitvenih krugova ili, pak, malogradanitine
po,vooboga6enog.druiivenogsloja. Teiko.;'"e,m.edutim, reci tfo je favortzirao
l e d a ni l i d r u g i p r i s t u p i n i j e i i n i s e , p r a v i l n o s t i l s k ek o m p o n e n t e( a g o r e
n a v e d e n oj e u p r a v o s r i l i m o d a ) p r i p i s i v a t i s k l j u i i v o Z e l j i k o m i t e n t a la n e i
samom tvorcu porrreta, odnosno op6oj kulturnoj klimi. Kad je rijei o
druiwenom presti2u, l>ezobzira o kojem se sloju radi, znatno je vaZnijeda se
pojedinacdoista ,,ovjekovjedi",a stilsko je pitanje tek u drugom planu i viie je
s t v a r a u t o r a .K o m i r e n t m o 2 e i m a t i u t j e c a j a - n a
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intelektualca,vojnika, gradaninaitd.), dok je stil i umjetni6ki izraz srvaru koju
se naruiilac moZe malo petljati. Naravno da gore navedeno nema za cllj
umanjivanjedruitvenog momenta u razvoju portretne umejtnosti. Nema
sumnje da je sliinost s modelom bitna, ali je stupanj realnostisigurno
sporeoan.
Nekoliko desetlje6akasnije,tj. negdje sredinom I st. prije n. e., u rimskoj
sluZbenojportetistici zapo(inje proces ponovnog povratka na tekovine
h e l e n i z m a t. j . o p e t s e i s t r a 2 u i ed u h o v n i 2 i v o t i u n u t a r n i i i z r a z p o r t r e t i r a n e
osobe. Primjeri portreta toga doba, poput onih Pompeja, Cezara,Cicerona itd.
to lasno PoKazulu.
Ni iz tog vremenanema u naiim muLejima i kolekcijamanekog portreta
koji pripada tom pravcu. Medutim, to je doba kad se na Jadranu i u
Makedoniji poiinju stvaratinaseljas brojnim doseljenicimaiz ve(.
romaniziranih krajeva kojima, bez sumnje, nisu bile strane tekovine antiike
kulture. Takva naseljaimaju svoje osnivaie i patrone kojima su duZna javno se
zahvaliti, a najpogodniji na6in je bio podizanje statues poiasnim natpisom.
Direktno svjedo6anstvojedne takve statue jebaza s natpisom vai.nog rimskog
vojskovode i konzula Gaja Servilijalzaurika iz Narone. Da nije bio u pitanju
samo natpis, dokazuju ostaci stopalana gornjoj povriini djelomi6no oiuvanog
kubusa baze. S druge strane,kolonije koje osniva Cezar, kao 5to su Salona,
Pula, a vjerojatno i druge imale su sigurno i javni kip svog utemeljitelia,ali_se
takvi, na Zalost,nisu o6uvali.Javni likovi osnivaia, patrona i drugih za grad
vainih lidnosti sigurno su stvaralipovoljnu klimu i za podizanjeprivatnih
portreta.
Portretistikaiz doba nakon smrti Cezara,u vrijeme drugog triumvirata
slijedi tendencijekoje su vrijedile u prethodnom periodu. Nastavlja se
istraiivanje i fiksiranje unutrainjeg emotivnog i psiholoSkogstanjaosobe. Cini
se kao da se tada i.eh zattstavititrenutak doLivljavanjaportretirane osobe. Ona,
naime, nije osoba koja stoji ipozira pred majstorom, ve6 Ziva osoba u realnoj
situaciji.lJ tom pogledu osobito su karakteristiini portreti Oktavijana,
Antonija i drugih na kojima vibracija muskulaturelica odraiava nemir i
emocqe,a to je samozajedan tom naglaienijipristup psiholoikom nijansiranju
li6nosti nego 5to je to bio sluiaj u helenisti6kodoba.
Iz ovog doba kod nas postoji jedan portret koji proistiie iz gore spomenute
umjetniike orijentacije.To je portret Oktavijana iz Osora (kat. 34), izraden
negdjeu tre6oj decenijiI st. prije n. e. Muskulatura njegovoglica treperi od
unutrainjeg nemira. Portret pripada nevelikoj grupi portreta tzv. Akcijskog ili
C tipa, a kao svoju likovnu karakteristikudonosi i bogate slojevepiastike,
kako na licu tako i u kosi. U slidnoj maniri izradenje i portret Oktavijanskog
(Augustovog)vojskovode i zeta Agripe, moZda rzZadra ili Nina, danasu
Kopenhagenu,pa zbog toga, na Zalost,i nije na izloLbi. Ta je monumentalna
glavamorala nastatineposrednoprije Agripine smrti 12. godine prije n. e. i ona
predstavljavrhunski domet rimske portretistike. Zanimljl problem nudi jedna
vrlo kvalitetna gema iz Arheoloikog muzeja u Zagrebu (kat. 37) s tri lika
(Cezar, Antonije i jo5 jedna neidentificiranaosoba).Ona bi mogla biti iz tog
doba, jer je teiko zamisliti da se lik Antonija radi nakon njegovasilaskas
politi6ke pozornice. Medutim, valja ipak imati na umu da je primjerak mogao
nastatina temelju predloZakana novcu, pa ne treba odbaciti mogu6nostda je u
pitanju kasnija kreicija. U sluiaju da je to prikaz, doista raden zaL:ota Marka
Antonija, tada je to najranini primjerak geme s portretima istaknutih politidkih
i historijskih osoba, 5to 6e kasnije,pak, biti vrlo 6estapojava.Nije nemoguce
da se u ranijem periodu Augustova vladanja poiinju formirati i domace
radioniceu ve6im gradovima,posebicena obali i u Makedoni;'i,za potrebe
gradanskog sloja koji se b.og.atio podinjao iskazivati svoj narasli druStveni
_i
presuz r Javno;r pnvatnol' sferi. Joi je ve6abila nuZda stvaranjaradionica
bogatih nadgrobnih spomenika.Koncem stare ere nastajusigurno i izvanredni
portreti koji su realisti6kitretirani kao 5to je portret iz Pule, te, na Zalostvrlo

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oSte6enaglavaiz Zadra. Iz tog je vremenavjerojatno i monumentalnaglava

starije osobe tz marzoleja obitelji Lollia u Saloni (kat. 36), ali ie o.naviSe u
tradiciji suhog realizmaranijeg republikanskogPortreta nego Prethodno
spomenutr.
{J trenutku kad je preuzeo cjelokupnu vlast u drLavi Portreti Oktavijana,
kojemu je senatpodijilio potasni naziv Augusta, najednom dobijaju smireni i
i d e a l i z i r a nki l a s i i i s t i c k ii z r a z . R e p r e z e n t a t i v npi r i m i e r t o g s t i l a i e n i e g o v as t a t u a
JuZbenoj
iz Livijine vile u Prima Porti. Takav je izraz nesumnjirroLdgovaraocarskoj propagandi jer je caragotovo izjednatavao s boianstvom, ali pri tome .
treba imati t-t",r-r-,.da i drugehanifestaciierimske likovne umietnosti' poseZu6i
za klasiinim uzorima, osobiio onima polikletovske orijentacije,poprimaju
klasicisti6kiaspekt.U tom kontekstu ireba gledati i tendencije-razYo)a
augustovskog
p o r t r e t a .U A u g u s t o v o ip o l i t i c i o p c e n i t ov i S eo d g o v a r a
i d e " a l i z i r a nk i" l a s i c i s t i i k o - f i z i o i o m s knii g o h e l e n l s t i t k o - p s i h o l o i ktii p
portretiranja.Koliki je udio sluZbene(carske)intervencijeu.umjetnosti, a
k o l i k i m o d n o s t i l i s t i i k i , t e i k o j e k a z a t i ,a l i j e i p a k o i i t o d a i e s t i l s k o ip r o m i e n i
kumovala i oficijelnaintervencijau sferi likovnoga. Augustova idealistiika
koncepcijaportreta protegnut 6e se kroz prve decenij. I !t.-q. e. u.doba prvih.
Auguitovih nasljednika, simo 6e se izvorni poticaj visokih likovnih vrijednosti
premetnuti u pojedinostavljivanjei maniru koji dovode do-umrtvijivanja
?rajboljihodlika Augustove likovne umjetnosti. To se posebicedobro uoiava
zbog toga 5to se shematiziralu ranije bogate plasti6ke vrednote muskulature
li."jd"tilj"
giave, itd. podetno oduievljJnje plastikom polikletovske derivacije
brzo je splaslo (poietni znaci zamaranja zapaLaiuse ve6 pri koncu vladanja
samog Augusta) i vodilo u akademizam.
S Augustom su rimski kulturni obidaji penetrirali u sve pore..grailanskog-.
Livota u"balkanskim provincijama. U to doba nastajg iitave serije, kao javnih
tako i privatnih portieta. Posebnosu kao dru5tvenifenomen zna6ajnestatue
vladari i dlanovanjihovih obitelji koje su postavljaneu sluZbenesvrhe.
NajvaZnijafunkcija sluZbenihstatuabila je carskapropa.ganda,
.a nlen vai.ni
aspekt je'vezanuz potencijalneprestolonasljednikeda bi se pok-azaolegalitet
.railjedivanja trotr"l podiz,alanjihova popularnost u masama.Najzna6ajnija .
po.irrrg,trtovskagrupa je grupa iz Nina, s idealiziranim.iponeStoakademski
koncipira.,im likovima Ti6erija kao aktualnog,carai, otito, posthumnog
Auguita (tipa od Prima Porte) te dviju statua_bezglava.kojeje teiko
ideitificiiati. Visoke je vrijednosti portret malog Tiberiia izPtuia (kat. 35).koji
o6ito joi uvijek nije izgubio izvorne klasicistiikevrednote skulpture. Vaini su i
prili6no kvalitetni por;eti dje6aka Nerona iDruza Ce.zara.(sinoviGermanika).
iz Salone(kat. 55, Se;, koli su vrlo vjerovatno pripadali jednoj statuarnojgrupi.
Vrlo zanimljivi primjer obiteljskepropagandepredstavljaportret Tiberijeva sina
Druza Mladeg iiOsora (kat. 5a) koji-je - po Tacitovim rijeiima - boravio u
Dalmaciji s ciljem da postignepopularnost-medulegijamapripremaju6ise da
t.t"po.,..ii spadaliu okvirJcarske-prbpaglnde,o 6emu
postane'vladai.I Zens^ki
ivjedoie glaveAntonije Mlide i Agripine Starijeiz Pule (kat. 64), koje su .
tatoder ,rlsoke umjetni6ke vrijednolti. Svi su ti portreti vrlo srodni po svojoj
klasicistidkoj orijentaciji, ali se, usprkos tog", ,rd mogu zataiiti njihove visoke
I st. n. e. vrlo
plasti6kevrijednosti koje traju tijekom prvih nekoliko d_ecenija
je vjerojatno da su portrerne sratuedlanbvacarske.obiteljiu to doba dolazile
kao.import iz centira umjetni6ke produkcije antiikog sviieta,,prije svegaiz
Atene.Lokalna produkcija u sferi-carskogportrta,.6ini.se,nije jo5.zapoLela.
Medutim, u oblasti privatnog portreta u julijevsko-klaudijevsko.dobasu
lokalne radionice ,rrio aktiun"e.Naglo i kvalitetno poiinje produkcija titavih
serijaluksuznih nadgrobnih spomJnika koji sadrZivaiuport.ete. Odito je da ja
najznatajnrji...rt"r .ra isto6noj obali Jadrana glavni grad provincije Salona.
Tendencijekoje prevladavajumedu tim portretima su dvojake. s.jedne strane,
osje6a.senastavakrepublikanskihtradicija,o 6emu.je ve6 pethodno bilo rijeii,
a s druge
sa svollm snaznlm realizmom, uz minimalno emotivno doZivljavanj.e,
strane podinje prevladavatl izraz klasicistiike idealizacijekoja se oZivotvoruje

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Arheolo5ki muzej, Zagreb
[40]
Denar Seksta Pompeja Velikoga
Srebro
75-35. godine pre n. e.
Arheolo5ki muze| Zagreb

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Denar Lucije Vera

Srebro
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L 6 l - 1 6 2 . g o d i n en . e .
ArheoloSki muzej, Zagreb
[80]
Cistofor-tetradrahma Klaudija
Srebro
5 0 - 5 1 . g o d i n en . e .
Arheoloiki muzej, Zagreb

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Denarius of Caius Coelius Caldus

Silver
51 B. C.
Archaeological Museum, Zagreb

[40]

Denarius of Sextus Pompeius

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Denarius of Lucius Verus
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Archaeological Museum, Zagreb

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Museum,Zagreb
Archaeological

po uzoru na likove iz carske okolice, kao, na primjer, na steli Tita Fuficija iz

Salone.Sliinoe su karaktera i glave u punoi plastici isklesaneu lokalnim
radionicama, liao 5to je, na primjer, slniaj kod nekih glavaiz Salone.
Julijevsko-klaudijevske plastidke forme zadri.avaju ie sve do u drugu
polovinu I st. n. e. usprkos svjeZijem povjetarcu koji 6e zatalasativode
postaugustovskogportreta u doba Kaligule i Klaudija. Tada se, naime,
ponovno pojavljuju pokuiaji oLivljavanjalica emotivnim drhtajima koji se
pokazuju laganim mre5kanjem 6ela, zamiSljenim pogledom, pomacima
muskulature lica, 5to izdaleka nagovijeStavaunutra5nju uznemirenost, ali kao
da pri tome nedostaje one ranije psiholoike motivacije i intenziteta. Ipak, nema
dvojbe da je to osvjeZenjeiz"uklo portret iz zastojakoji je trajaonekbfiko
desetlie6a.
Nesumnjivo najimpresivniji portret toga doba je glava.starijeosobe iz Salone
(kat. 61.), na kojoj se^uoiavaiuivjeZi psiliolo5ko-realistidkiporivi, srodni
onima koji se javljaju na nekim portrelima cara Klaudija.Iako ie odito-rijed o
glavi koja ie izrad,enau lokalnim ateljeima, nema dvojbe da je inspiracija
fotekla na'temelju Klaudijeva lika, 5to se vidi Prema fizinomskim
karakteristikama'i detaliima frizure (raspored pramenova na ielu)' Tu se
izkazuje i.elja za podral.avaniem opieg lzgled'i cara, 5to je felomen koji je.ve6
ranije uoden i koji se sve vi5e afirmirJna iimskom port{etu. Treba, medutim,
istaknuti da doma6e radionice, usprkos povremenog oslanjanja na nove
tendencije, nisu napustile klasicistiike koncepcije post-augustovskog Portreta.
Dapate one 6e jo5 uvijek prevladavati, osobito medu nadgrobnim Portretima na
st.i"*". I na portretima u punoj plastici zadri.at 6e se tretman srodan
e. i"'mijenjati modni detalji, frizure i sl. Nastavak
klasicistiikim'pogledima,
"ii na nekoliko portreta iz Salone (kat. 62,.63).ranijih tendeniijJzapaLa se
.
Iiogatiji tretman .tlihone kose ponudii 6e jedan novi i fini plastidki efekat,
koji'U k6ntiastira sa spokojno56u iirazai pravilnoS6ukoStanestrukture thy".:..
doba flavijevske dinastije izranjaiu-razli6ite tendencijg _kojenis} ProiziSle
iz iste stilske orijentacije. lJ to se vrijeme mogu zaPaziti i klasicistidki i
veristidki akcenti, i to katkada samostalno,na razlilitim Portretima, a katkada
dak u medusobnoj povezanosti na jednoj te istoj kreaciji, 5to pokazuje
stanovitu nekonzistentnost sdlske koncepcije toga doba.
Nekoliko se carskih portreta saiuvalo ii aoVa flavijevske dinastiie u nalim
krajevima. Nedavno pronadeni vrlo fini portret Vespaziianaiz Narone (kat. S1)
pokazuie jo5 uvijek ptit.tt,rro klasicizma vladara puno-g Ylli."a. i liudske topline'
Novi odnos prema plastiinoj formi ogleda se u modelaciji jedne ivrste i
zatvorene strukture^glavekod koje kola ne stvara iluziiu odvojenog detalja. U
nastavku tog klasicizma je i izvanredna glava drugug Vespazijanovasina
Domicijana"iz Kotora (kat. 82), na kofof ie realittai jedan novi pikturalni
pristup. Kosa, naime, ima zadatakda stvori poseban ugodaj, Sto.,osim dubokog
plasti3nog sjen6enja,stvara jo5 i bojenje kojega su preostali jasni ragovi'
2n tno realistidkiji pristup modelu pokazuje glava Vespazijanaiz Beda.koja, na
Zalost nije ovdje na^izloZ6i. Lik se ostarjelog vladara,odito iz poslednjih
godina njego,n"vladanja, priklanja realistidkim akcentima koji su u skladu s
[rubo56u'clta profesionalnog vojnika i ciniinog vladara kakvog nam crtaju
antiiki izvori.
Bogatstvo plastike i visoku sofisticiranost flavijevskog Portreta pokazuju
likovilena. Zenska glavaiz Zadra (kat.94), s tipiEnom visokom frizurom nad
6elom, u kojoj srrrdlfne rupice imaju funkciju koloristiikog nijansiranja. To je,
meclutim, piilif"" skromni i beiivotna kreacija. Glava pak Leneiz Plomina
(kat. 95)'"i^tno je ve6e likovne vrijednosti. Gotov-o je bez koloristidkih
akcenata, ali je zato znatno bogatije i mekie modelirana nego Prethodno
sDomenuta.
'
eid se da se u flavijevsko doba podinje javljati i kulturno-historijski portret
u ovim naSim kulturnim ambijentima. ve6 ie raniie u Rimu postojao obidaj da
se reproduciraju originali grbkih pjesnika, filozola i govornika u svrhu swaranja
ugotlaja ,r odrede.riri gtadi'ttittama i dvoranama kulturne namjene. Portret

[53]

Portret mladog muSkarca

Bronza
Sentjur (Celje)
Prva polovina I veka n. e.
Narodni muzej, Ljubljana

nepo.znateliinosti iz grdke proslosti potjeaeiz Salone(kat. g6), a moZda malo

kasnt;e
iz zadra (kat. l l0), baziran kombiniranjem klasi6nihi
l!,p.,ortret,Solcrata
nelenlstlcKrhDredloZaka.
, .Na sitnoj plastici_dobaFlavijevacaposiZe se za portretom kao elementom
dekoraciie.U tu svrhu posebno se upotrebljavaopbrtret Lenana ukosnrcama,
'
ukrasnim.iglamai jantainom prstenj" 1k"t. 97-98j.Zenska frizura, bog"ro*
formom, bila je vrlo prikladni i dekorativnaza tu funckiju.
u tim se stilskim iasponima krecu i drugi portretizadnjih decenijaI st. n. e.
Doma6e su radioniceu io doba takoder'rrrl-oiiue i kondnuirano proizvode.
valja medu tom produkcijom istaknuti stelu iz ostrovice u dalmatinskom
zaledu, koja u. gornje.m nizu portreta -flavijevske
p,redstavljaosobe starije generacije,s
izrazitim karakterisrikama ranije faze
umjetnosti im"ulkarac'ji
privri.en izgledu. vespazijana), dok su u donjem delu likovi koji se porr'od. ,,
izrazom i modnim detaljima portrera Domicijana.
. Podetak vladanja Trajana obiljezava nasrayakklasicistiike orijentacije u
izradivaniu g.arskihporrreta. Trajanski portret je snaZnai robusina, ali u isto
doba i,zaobljenaskulptura. U
ryojip detaljimaona je plasdiki bogata,ali
manje koloristidka nego domicijanska.U kasnije doba Trajanovog"vladanja
dolazi do srernesintezeranijih nastojanjas jednim samosvjesnim]pomaloiak i
grubima, ali.ponosnim i misaonim iz.razom kojega je psiholoikakirakterizaciia
preglednoiskazana,iako_iepri
.tome izbjegnuto iitranJeosje6aja.Takav tip
portreta,caranastaoje 10.8,godine prilikom kreacijenjegovog-port.eta., Sast
oesetgodrsnrrce
vladan,a(decennalu trp).
U vrijeme.prelaska i na II rr. .trttao' j. u naioj zemlji niz izvanrednih
portreta' od.kojih nekoliko pripada ili samom caru ili, pak, osobamaoko njega.
je jedan od nijljepsih porrrera koji su'uop6esa6uvaniglara'
Nema sumnie
{a
starije osobe od bronze iz Kostola-(kat.-104),koja'se obidno interpreriri'kao
prrkaz Trajanova oca.Taj je lik vjerovatno ukrasavao mosr preko berdaoa.
Bogata plastika prelazamuskulature i koitane strukture glaue, re plastiiriost
kose koja ie tipiina za ovo doba osobito na partijamaoko sljepoinica i uSiju su

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[53]

Portrait of a young man

Bronze
Sentjur (Celje)
First half of the 1st century A. D.
National museum, Ljubljana

rn

oiito svje.doianstvomodelacije visoke umjetnidke vrijednosti. Nema sumnje da

su na oblikovanje ovog porrrera utj.iali i likovi filozofa. u Dalmaciji su
pronaclenai_dvalikasamog cara.Jedaniz Visa (kat. 105) iz ranijeg iI st.
pripada predecenalijskom tipu poitreta, koii maksimalno naelajavl
dostojanstvo-vladara idealizlrajili markantnost njegove glavE.Slitnog je
karaktera i fini portret Marcijane ili Matidije iz Sal6ne ([at. 120) r b6g"tofrizurom trajanskih Lenakoja se razvrja iz flaviievskih forma. Tipu diennalia
portreta pripada jedna bista iz Salone koia se duva u Umietnidko-historiiskom
muzeju u BeIu, pa, stoga, nije ni zastupljena na izloLbi.
Kroz ovo se doba nastavljaupotrebljavanje portreta u dekorativne svrhe.
Vrlo su lijepi primjeri jantarnog p_rstenjas likom koji ima frizuru popur
lrajanove Zene Plotine iz Zadri\kat. 122). U kasnije 6e doba obidaj'
dekorirania portretima znatno spiasnuti, ali 6e se llridski individualni likovi sve
viSepojavljivati na pedatnom prstenju (geme).
. .U doba Hadriian-apo.tretni skuiptuia dobija neke nove poticajekoji su, s
jedne strane, posljedicl carevog, ali i op6eg druitvenog oduievljavanja za

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Glava Druza Julija Cezara

Beli mramor

ff.ia of Drusus Julius Caesar

\White marble

l\lrevo

Kiievo
Seconddecadeof the 1st century A. D.
Archaeological collection of the
Franciscan monastery, Sinj

Druga decenijaI veka n. e.

Arheololki zbirka Franj evaiko g
samostana.Sini

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Glava iene
Mramor
Nin (Aenona)
3. ili 4. decenijaI veka n. e
Arheoloika zbirka, Nin
c-t

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[6e]

Female head
Marble
Nin (Aenona)
Third or fourth decadeof the
1 s t c e n t u r yA . D .
Archaeological collection, Nin

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Gr6ku i gr6ko, a, s druge strane,formalnog poja6avanjakoloristidkih

detali
S tim u iezi ie i jedan.karakteristi6an
skulpturinih naglasaka"(kontrasri).
koji^6e od sada biiti gotovo nezaobrlaznielemenat za oLivliauanjedu5evnog
stanja portretirane osobe. To je oaznatavanieSarenicei zjenice unutar
okvira oka.
Iako nema saduvanihlikova carskog bra6nog para, osim moZda jedne glave
SabineizZadra (kat. 121),ipak posjedujemoizuzetno bogatu baStinu
hadrijanskihportreta, od kojih neki vrlo Zivo pokazuiu promiene koie to
vrijeme donosi. Najzanimljiviji portreti s prelaza trajanskog na hadrijansko
doba saduvanisu u Makedoniji. IJ tom su pogledu najzna6ajniji likovi
gradaninaOresta iz Herakleje Linkestis, odnosno Stibere(kat. 113, 115). Statua
iz Herakleje bez sumnje je iz ranog hadrijanskog doba s joi prisutnom
trajanskomtradicijom, osobito u modelaciji kose, a hadrijanskipostupak odaje
izrada Sarenicai zjenica u oinim dupljama. Drugi portret iste osobe pokazuie s
jedne strane daljnju degradaciju staraikog lika s 6isto hadrijanskim tretmanom
kose, guste brade i reza biste. Na prelazu ta dva razdobljaje i lik mladi6a s
kratkom bradom iz Skoplja. Nema dvojbe da su ti portreti iz Makedonije
izradeni u jednoj ili viSe srodnih radionica koje pokazuju oiitu stilsku
srodnost, a moi.da i direktnu derivaciiu iz solunskih radionica.
U doba Trajana i Hadrijana intenzivira se i izrada likova grnkih pjesnika i
ftlozofa. Oni se javljaju osobito u Dalmaciji i u Makedoniji. Izvanredni su
primjerci Eshina i nepoznatog pjesnika iz Herakleje Linkestis koji se iuvaju u
Britanskom muzeju u Londonu. U Dalmaciji tada zapo6inje vrlo intenzivna
produkcija glava grikih pjesnika i filozofa koje imaju prvenstveno namjenu
dekoriranja arhitektonskih konstrukcija (monumentalni ulazi, ograde mostova,
loZa itd.). Poietnu fazu te produkcije obiljeZavaju likovi Aleksandra Velikog i
nekog ptolomejskog princa iz Salone kojih je funkcija u arhitekturi evidentna
ve6 po tome 5to im je na glavu postavljen abakus.
Medu nadgrobnim spomenicima trajansko-hadrijanskogdoba valja posebno
istaknuti portrete na grobnici Enijevaca iz Sempetra (kat. ll7). Glave ilanova
te obiteljf su vrlo zanimljive jer pokazuju mjeiavinu rimskih i lokalnih modnih
karakteristika. BliZi rimskim obiiajima je lik mu5karca, dok su Zene zadri.ale
neke elemente autohtone noinje. Modelacija tih skulptura odlikuje se
klasicizmom kojemu posebni Sarm daje jedna oiita originalna lokalna
interpretacija, te pikturalni efekti koji su karakteristiini zaII st. Iako figure
pokojnika nisu glavna likovna preokupacija majstora tih radionica koje su
formirane na podru6ju oko Celeie, portreti su ipak bili vaZan elemenatbez
kojega ne bi bila mogu6na njihova egzistencija.Steta je samo 5to je ve6ina
portretnih statua i reljefa slabo o6uvana. Zanimljive primjere nadgrobne
plastike iz tog doba susre6emou Makedoniji i juZnoj Srbiji, gde se pojavljuje
niz porteta na efektan nadin vrlo gusto nanizanih jedan pokraj drugog, 5to
odito predstavlja zanimljivu i originalnu formu likovnog osje6ajaprostora. Ti
spomenici, kao i drugi iztoga kraja, nacleni su s onima iz Soluna. Najzanimljivi
primjerak je fragment izDojrana iz hadrijanskog ili rano-antoninskog doba.
Yai.na je i stela s likom pokojnika Marka Herenija Valensa iz Vinkovaca
koja je takode vrlo visoke kvalitete. To pokazuje da je u doba Hadrijana
lokalna produkcija bogatih nadgrobnih spomenika s portretima dostigla visoki
nivo u mnogim krajevima na5ezemlje.
U minijaturi ovog doba javljaju se portreti koji seZu od likova filozofa i
drugih, medu kojima se posebno istidu geme s glavama Sokrata, Aleksandra
Velikog itd., bradnih parova i drugih privatnih lidnosti (kat. 129,128).
Tendencije koje su se manifestirale u doba Hadrijana kontinuiraju i kasnije,
tokom II st., samo se znatno intenziviraju. Pikturalne i plastiine kvalitete se
pojaiavaju zbog upotrebe iipkasto koncipiranih kosmatih dijelova glave (kosa i
bujna brada), te sjajno uglaiana povriina inkarnata lica.
NajvaZniji primjerak antoninskog carskog Portreta je -sjajnaglava Lucija
Yeraiz Ptuja (kat.'t34) zbog svog tipiinog postupka duboko osjen6enih
kosmatih dijelova na giavi, lioji su iiradent iavlaienjem brzo rotiraju6eg svrdla

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[81]
Glava Vespazijana
Vapnenac
Vid (Narona)
8. ili 9. decenijaI veka n. e.
Arheoloika zbirka, Vid
[81]
Head of Vespasianus
\X/hite limestone
Vid (Narona)
Eight or ninth decadeof the
1st century A. D.
Archaeologicalcollection,Vid

u n u t a r p o v r s i n es k u l p t u r ei s a r m am o d n i h d e t a l j a( d u g ab r a d ak o j a s e r a z d v a j a
u d v a p r a m e n a ,i b u j n a k o s a ) .T a k o t a m n i e f e k t i k o n t i a s t i r a j us a s j a j e m
u g l a i a n o gi n k a r n a r a N
. a g o t o v o i d e n t i i a n s e n a i i n p o s r u p ap l a s t i i k i m
sredstvimai na monumenialnoj glavtiz zadra (kat.-135).'5tetaje samo 5to joj
je lice teSkooite6eno. Iztoga su doba i glave dvaju mladi6aiz nekadainje
zbirke Danieli izZadra, od kojih se jedni 6uva u Kopenhagenu,pa nije'
izlo-i.ena.Obje glave oiito spadajuu'sferu privatnih portr.t"..
Monumentalni mramornipo.iret mladi6as paperjistom bradom iz Salone
(kat. 1a0).takoderje iz ovog vremena,iako nemJ rci,\ikoizrazito potcrtavanje
koloristi6kih efekata. vjerojatno je tome razlog 5to detalji kose dini se nisu
dovr5eni, jer tm zapravo nedostaje duboko svr"dlanje.Po'fizionomskim
karakteristikam^ tij je portret blizak likovima mladog Marka Aurelija, premda,
naravno, nije sigurno da ga zaistai prikazuje.
je 6injenica5ro se u antoninsko doba prvi put pouzdano javlja porrret
.Yai'na
vladaraizradenu doma6im radionicamaod domacegurpn.n.". Vr[o je
zanim.ijivai gotovo-karikaturalno radena glava Marlia Aurelija iz Zadra (kat.
138),\oj3 na specifiino stilizirani nadin oponaSakoloristi6ke efekte svoga
doba..Sdruge stranemonumentalnabistailadara iz Salone(kat. 137)-Xto..
moZe kazati na temelju insigniai odje6e- vjerovatno takoder Marka Aurelija
plastiiki.se iskazujedrastis6iim sredstvimaoptidkih efekatasvjetlai sjene.tini
se da je inspiracijaovog poslednjegportreta u ikonografskom i skulpiuralnom
pog]edu proistekla izprikaza na stupu Marka Aurelija u Rimu. U to doba,
medu.tim,na podruiju Jugoslavijejo5 uvijek Zive tendencijekoje traju joi od
hadrilans.kogdoba. To posvjedoiuju glavefilozofa, pjesnikai slidno koje su
ukraiavalelozu amfiteatrau Saloni (klt. 1al). Razlika u odnosu .r, r".,ij. dob"
kod tih je glavi samo u tome Sto se'u bjelooinicima pojavl juju naznatene
sarenlceI z)enrce.
_ U sferi.nadgrobneplastike s portrerima vrlo su vaZnestelebra6nogparaiz
Rupotine kod Salone(kat. 149),-testelaTita Aurelija Avita iz Osijekl loje,
kao odraz svog vremena, pokazuju sli6nost s izgledom i frizurama Antonina
Pija i FaustineMlade, suprugeAntoninovog naJljednikaMarka Aurelija.
Posebno mjesto medu nadgrobnim spomenicima ima reljef s likom divinizirane
djevojke
!"pq tr Sovi6a u Hercegovini, koji je izradio kipar Maksimin, o iijoj
djelatnostiu dalmatinskomzaledu ima ioi sa6uvanihsvieiodanstava.
I ranije seversko doba u naiim krajevima joi kroz stanovito doba zadri.ava
tendencijekoje su se manifestiraleu kasnoantoninskomrazdoblju, samo se
z a p a 2 a . u k r u i i v _ a ni joeg r u b l j i v a n j er a n i j i h f o r m a , d e t a l j ai S a b l o n i z a c i j e
pikturalnih efekata, alile u najboljim ostvarenjima javljaju izuzetno kvalitetne i
prefinjene skulpture.
Severskoje doba ponovno u prvi plan donijelo ranije toliko karakteristi6nu
j er, ' n a i m ep r o m i j e n i ov e 6 u h o d a n i ,
p . o j a v uo b i t e l j s k ep r o p a g a n d ec a i e v a . ^ S e v e
ali oiito preZivjelisisiem rzboracarevaizvan vlastit. bliZ. obitelji koji je,
d o d u 5 e ,v e c b i o p r e k r S i oM a r k o A u r e l i l ep o d i g a v i i v l a s t i t o gs i n a ' K o m o d an a
prijesto. Severje u6inio sve da afirmira'sinovekarakalu i ietu, a iedan od
naiina bio je da podti.epo6asnenarpisei kipove. Brojni natpisi iz naiih krajeva
svjedo6ekoliko je truda^uloZenou iarsku otiteljsku propagandu.Osim
natpisa, morale su postojati i carske statue. Likovi must itr Eh.roro"obitelji nisu
o.iuvani, osim na jednoj gemi i jednom kamenu (obje u privatnim kolekci.fama),
ali bi se zaro Karakalinolsupruzi Plautili mogle,'vjerouaino,pripisati dvije
izvanredne glaveiz Salone(kat. 177,128). U"pitanju .n dta'porir.ta vrh,rnske
kvalitete koji, bez sumnje, nadma5uju sve kreacije toga dobiiz ditave Rimske
Iqg..li;.q.Prvi portret.ima karakteristiinu frizuru koja je podijeljenapopur
kriSki dinje, omogucuiu6i tako fini i razrad,enikoloristi6kb-plasiidni i..i-rr,.
Kod ovih je portreta napuStensistemdubokog svrdlanjai optiikog
potcrtavanja.-Tei.nju za'kolorizmom pojadava%su i o6i od itaklen? paste koje
su, na Zalost, ispale. Ovaj se.p.orrretneito razlikuje
_odPlautiline friiure na
novcu, pa postoje stanovitedileme u pogledu pouzdaneinterpretacije.
Naprotiv, razlititi rrp {rizure drugog Zenskog portreta (kat. t78) gotovo je

#
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Portret Domicijana
Mramor
Kumbor kod Il. Novog
Kraj I veka n. e.
Lapidarijum muzeja, Kotor

[82]

Head of Domitianus
\Whitc marble
Kumbor near Herceg Novi
E n d o f t h e 1 s t c e n t u r yA . D .
Lapidarium of the Museum, Kotor

Literatura

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M. Bergmann, Studien zum rtimischen Portrit

des 3. Jahrhunderts n. Chr, Antiquitas 1'8,
Bonn 1.977.
I. I. Bernoulli, Rdmiscbe Ihonograpbie l: Die
" "
bildnisseberiibmter R6mer lnii Ausschlass
der Kaiser und ibrer Angeh6rigen, Stuttgart
18 8 2 .
'I . -J . B e r n o u fl i , R i t m i s c h eI h o n o g r a p b i el l l : D i c
Bildnisseder ri)mischenKaiser'und ibrer
Angehdrigen. 1. Das juliscbe-claudische
Kaiserhaus,Stuttgart 1886.
. Bernoulli, Rdmische lkonograpbie I1 2: Die
.f
' . .f
"
Bildnisse der riimischen Kais-er'undibrer
Angeb|rigen. 2. Von Galba bis Cotnmodus,
S t u t t g a r t1 8 9 1 .
."f. .'f . B e r n o u l l i , R o m i s c h eI k o n o g r a p b i el l 3 : D i e
Bildnisse der riimischen Kais-er'undihrer
Angeb6rigen. S. Von Pertinax bis
Tbeodosius,Stuttgart 1894.
O. Brendel, Ibonograpbie des Kaiers Augnstws,
N i . i r n b e r g1 9 3 1 .
G. Daltrop, lJ. Hausmann, M. Wegner, Die
Flavier', Das r6miscbe Herrscberbild II 1,
Berlin 1966.
G. Daltrop, Die stadtr6mischemi)nnlicben
Prio atb ildnis se traj aniscber un d
hadrianischer Zeit, Minster 1958.
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1974.
B. M. Felletti Maj, Iconografid romdna
imperiale da Sepero '4lessandro a M. Aurelio
Carino (222-285 d.C), Roma 1958.
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Portriits in den Capitoliniscben Museen und
den aderen hommunalen Sammlungeen der
Stadt Rom. Bd. I Kaiser und
Prinzenbildnisse,Mainz 1985.
K. Fittschen-P. Zanker, KataLog der romischen
Portriits in den Capitoliniscben Museen und
den anderen kotnmunalen Sammlungen der
Stadt Rom. Bd. lll Kaiserinnen undP rin z essinnen b iLdnisse Frauenp ortr lits, Mainz
19 8 3 .
Gesicbtergriecbiscbeund r|mische Bildnisseaus
Schu.,eizerBesitz, herausgegebenvon H.
\Willers, Ausstellung im
Jucker und D.
Bernischen Historischen Museum 6.
N o v e m b e r 1 9 8 2 b i s 6 . F e b r u a r 1 9 8 3 ,B e r n
1983 (3. erneut verbesserteAuflage).
V. H. Gross, Bildnisse Traians, Das rdmiscbe
Herrscherbild 2,2. Berlin 1940.
-I . I n a n - E . R o s e n b a u m ,R o m a n a n d E a r l y
Blzantine Portrait Sculpture in Asia Minor,
Ltndon 1966.
-[. Inan-E. Alfoldi Rosenbaum, Riimiscbe und
friibyzantinische Portriitplastik aus der
TilEhei - Neue Funde, Mainz 1979.
H. G. Niemever, Studien zur statuariscben
Darstellung der riimiscben Kaiser, Berltn
1968.
V. Poulsen, Les portraits romains l, Rdpublique
et dynastie jilienne, Copenhagen 1962.
V. Poulsen, Les portraits romains Il, De
Vespasieni fa Basse-Antiquitl, Kopenhagen
1974.
B. Schweitzer, Die bildniskunst der rdmischen
R e ou b l i k . ' $ ( e i m a r 1 9 4 8 .
K. Stemmer, IJntersuchungenzur Typologie,
Cbronologie und IkonograPhie der
Panzerstatuen,Berlin 1978.

identiian onoj na nekim emisijamanovca s Plautilinim likom, pa je, stoga,

identifikacijapouzdana.I ovaj drugi portret izuzetne je umjetniike kvalitete.Iz
ranijeg je severskogdoba vjerojatno posljednji lik nekog grdkog pjesnikaili
filozofa koji je pronaden u Saloni (kat. 1al). On pripada tipu portreta koji se
6estopripisuje Eshilu i on joi uvijek pokazuje kasnoantoninskina6in tretirani^
kose dubokim svrdlaniem, ali je on oiito ve6 znatno Sabloniziran i znatno pli6i.
lJ neito kasnijoj severskoj umjetnosti poiinju izranjari na povriinu neke
plasti6ke kvalitete u kojima struktura glave dobija ponovno zatvorenu formu, a
koloristiiki se naglascisniZavaju.To se osobito dobro uoiava na glavama
Karakale, Gete i Aleksandra Severa,te likovima nekih Zena iz Vladarske ku6e.
Iako se forma smiruje, unutrainj atenzlja sve vise raste,5to se posebicezapai.^
u pogledu, koji je pun tuge i tjeskobe.Te se tendencijepostupno iaia|ukroz
III st. i dostiZu vrhunac na izvanrednim portretima Maksimina Tradanina,
Filipa Arabljanina i Trajan Decija sredinom III st.
Tendencijekasnoseverskog
doba u na5im krajevima izvanrendodokumentira
jedna odliina glava od bronce cara Makrina iz Boleia kod Beograda(kat. 171'),
koja iskazuje spomenutu tenzijv i izvanredno grafiiko tretirante pramenova
kratke kose i guste duge brade. Na taj se portret nadovezujei sjajnastatua
gradaninau paliju iz Stobija (kat.192), koji ima joS tjeskobniji i tmurniji izraz.
Kad je rije6 o modnim detaljimakose i brade, ov^j ie portret blizak portretima
cara Pupijena,izabranog238. godine zavladara.Tim se portretima pridruZuju i
glavatz Beograda(kat. 181), koja ima tip frizure kasnoseverskihdama (Julia
Aquilia Severaitd.), te jedan fragment iz Splita, koji je bio monumentalnih
razm)erai izvanrednekvalitete (kat.209). Iz doba oko sredineIII st. odnosno
neposrednoiza toga je, pak, odliina glava uzidana u ku6u Juri6 u Vranjicu,
koja se ikonografski oslanjana likove MaksimijanaTraianina i Filipa
Arabljanina.
Kad su u pitanju portreti na nadgrobnim spomenicimau ovo doba u
Dalmaciji nema viSemonumentalnih stela.Portreti su, se medutim, preselili na
prednju stranu akroterija na poklopcima sarkofaga.Primjer izvanredne
portretistike toga doba su likovi Zenei mu5karcana jednom poklopcu. Osobito
je kvalitetanportret Zenekoji je po stilu i po modi srodan caricamaiz doba
neposrednoprije sredineIII st. Muikarac je, pak, i fiziiki sliian caru Balbinu.
S e k u n d i j a n ai z
I z k a s n i i e gl l I s t . j e i n a d g r o b n is p o m e n i kS p e k t a n c i j a
Sempetera,oiito jedna od posljednjih monumentalnih grobnica ove izvanredne
nekropole koju je uniStilapoplava po6etkom druge polovice III st.
Nakon kratke restauracijeklasicisti6ko-idealistiikogpristupa portretu koji se
manifestirau pone5to smirenoj i teatralnojdostojanstvenostibez unutarnjeg
nemira, te u povratku modi alla greca u doba Galijena, zapotin)e proces ulaska
u transcendentalne
vode portretne umietnosti. Portret poiinje teZiti ikoniinosti,
izbjegavanju
d e t a l . j an, . p o k r . t n o r t i i o k r u p n j a u a n j uz a w o r e n es t r u k t u r eg l a v e .
Nisu se, medutim, odmah ugasile sve vrednote antitke karakterrzacije,pa se u
drugoj polovini III st. po6inju javljati izvanredno zanimljivi portreti koji se jo5
uvijek zadri.avaju na tradicijama iz doba oko sredine III st.
U na5im krajevima gotovo da nema kamenih portreta koji pokazuju
karakteristikegalijenskeportretne plastike.NajlepSiprimjer te portretistike je
gema s likom mladog Galijena,vjerojatno iz Salone(kat 213), koja je vrhunski
gliptiiki rad. Medu kreacijama druge polovice III st. najzanimljivlja je glava iz
Beograda(kat.203), na kojoj se zapai.ajupostupci toga doba i neke
karakteristikenastupaju6etetrarhijskeumjetnosti. Ta glava ponovno donosi
neke svjetlosneefekte koji su prethodno nestali (buSenjezjentcasvrdlom). U
drugu polovicu III st. spadajujoS dosta kvalitetne glave Zeneiz Sinia (kat. 210)
i mladeg bradatog muikarca iz Zagreba(kat. 197) koji ima neke reminiscencije
galijenskeplastike.
O6ito je da je portretna plastika rimskog doba na podrudju Jugoslavije
slijedilanaputke koji su dolazili iz velikih centaraprodukcije. Mnogi portreti,
pogotovo kad su u pitanju portreti sluZbenogkaraktera,bez sumnje su bili
importirani, ali je ipak sigurno veliki broj nastaiaoi u doma6im radionicama.

M. \ilegner, Die Herrscherbildnisse in

antoninischer Zeit. Das riitniscb er
Herrscherbild 2, 4, Berlin '1939.
M. \fegner, Hadrian, Plotina, Marciana,
Matid.ia, Sabina, Berlin 1956.
M. Vegner, J. Bracker, lV. Real, Gordianus III
bis Carinus. Das r\miscbe Herrscberbild lll
3, Berlin 1929.
R. \fest, Riirniscbe PortrAt-Plastih, 2 vol.
Miinchen 1933-41.
H. B- lil/iggers-M. Vegner, Caracalla, Geta,
P l a n t i l l a ,M a c r i n u s b i s B a l b i n u s .D a s
RrimiscbeHenscherbild III 1, Berlin 1921.
\Wrede,.D_le
H.
spAtunilee Hermengallerie von
W eIschb i lli g,'B erlin 1972.
P. 7,anker, Studien zu den Augustus-Portriits. I.
Der. Actium-Typzs, Ccittingen I978. (zweire
Auflage).

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Bare5anikod Bitola
II vek n. e.
Muzej, Zavod i Galeriia, Bitola
[l46]
Bust of a soldier
Bronze
Bareiani near Bitola
2nd century A. D.
Museum, Institute and Gallerv. Bitola
Problem.atikaimporta i doma6ih.radionica joi se uvijek ne moze sagledatiu
svoj svoioi kompleksnosti.Iako je rije6 o provincijamaod koiih su"nekeleZalii
na samoi granici Carstva, ipak nema togakraja u
Jugoslaviji koji nije dao
znataian prilog baidni antiikog porrre; Vrhunslia "ost.rrare'ja,
iak, nesumnjivi
su prilog razvoju i poznavanju antiikog portreta
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RomanPortraiture
NenadCambi

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Tup, ITer-raN PENINSULAwas always open ro cultural influences emanating

from Greece, and it is therefore no wonder that the traditions of Hellenistic art
spreadinto many parts of ltaly. In spite of its apparenthostility towards the
cultures of othei peoples,Rome becime, at an."ily d"t., the natural inheritor
of Hellenistic art,-wh1chit spreadfirst on the peninsulaitself, and then over a
c o n s i d e r a b l yb r o a d e rr e g i o n .O n e o f t h e H e l l e n i s t i ca r t f o r m s w h i c h f o u n d
a fertile soil in Rome wis the portrait. There can be no doubt that Roman
portraiture received its first stimulus and inspiration from Hellenistic culture.
The only question is whether the inspiration was exclusivelyHellenistic or
Helleniitiiand Italian-Etruscan.It is^well known that a facior which
contributed greatly to the development of Roman porrraiture, and which
representsin fact its social basis,was rhe custom of the patriciateto keep in
t h e i r h o u s e sw a x e n i m a g e so f t h e i r a n c e s r o r s( i m a g e sm i i o r u m ) a s e v i d e n c eo f
the antiquity of the family. Vax is, it is true, suitible for the making of facemasks,but it does nor keep well becauseit can lose its form easily.Becauseof
that and as a result of rhe increasinglyvigorous developmentof stulpture, such
imageswere replacedby portraits made of hard materials.It is, however,
doubtful whether we ought to associatethe appearanceand popularity of the
portrait as a form of sculpture with the patriciate and the tridiiional ieadersof
the political and social life only. The comparatively early emergenceof the
citizln classas an important social group,^enrichedby ---..i.,
trade and
other economic activities,in the rapidly-developingtowns led to the demand
for_the glorification of some of thelr families in the traditional way, i. e. by
galleriesof portraits of genuineor, sometimes,fictitious ancesrors.There are
some passages
in class,ical
writers which make specificreferenceto this, and
analogieswith later epochs(e. g. the bourgeoispainting of the 1Sth and 19th
centuries)indicate the'socialroots of portraiture. Even the dry realism of the
portraits dating from the ninth and tenth decadesof the 1st century B. C.,
which represerittypical products of the Roman society in the time'of its great
prosperity, obviouily derive from the Hellenistic appioach to the persona"l
image and emphasizemerely the physical traits of a person. It is quite logical
that portraits of this type have not been discoveredin any part ofYugoslivia,
although the Romans-took an active part in the develop..r.nt. in the Ealkans as
early as the beginning of the 2nd ceniury B. C. Military and political
interference, h6-eu.i still does ,rot -.".r cultural infiliration. It is therefore
natural that without the presenceof a more substantial number of inhabitants
inured to the classicalcivilizarion one should nor expect the penetrationof
strong cultural infiuences,including that of making portraits.
The Roman republicanportrait,lypical of the befinning ot the 1st century
B. C., did not beiome completely extinct even in thi periJd when the inte.eit
in psychologicalcharactertiation'increased
again aboui the middle of the
century, for purely naturalistic representation of the face, without probing the
psychologicalstate and emotions of the person represented,continued to be
practisedin some provincial centres.There has been considerablecontroversy
in scholarly literature whether the dry naturalism of the early lst century B.'C.
rePresentsan expressionof the conservativismof the patrician circlesor of the
m e n t a l i t yo f t h e n e w l y e n r i c h e dm i d d l e c l a s s .l t i s d i f f i c u l t t o s a y w h o
favoured which approach; besides,it does nor seemcorrecr to attribute the
stylistic traits of *o.k (and the featuresmentioned above concern precisely
s t y l e a n d f a s h i o n" )s o l e i y t o r h e w i s h e so f t h e c l i e n t ,a n d n o t t o i t s a u t h o r o r t o
the generalcultural climate. If it is a question of social prestige,no marter

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Glava Zene
Beli mramor
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3.-4. decenijaII veka n. e.
Zavlhjni muzej Poreitine, Pored

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Female head
\flhite marble
Plominska luka
3rd or 4th decadeof the
2nd century A. D.
Regional Museum of Poreitina, Pore6

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Portret Trajanovog oca
Bronza
Kostol (Pontes)
Kraj I veka n. e.
Narodni muzej, Beograd

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Portiait of Trajan's father
Bronze
Kostol (Pontes)
End of the 1st century A. D.
National Museum, Belgrade

which classthe sitter belongsto, it is much more imporranr to "immortalize"

the individual than to decide.the quesri-onof style, which are really secondary
and left to the arrist'sdiscretion.ihe client mry influencethe externalform'of
the portrait.and its accompanyingfeatures(sucL as represenringindividual
perso.nsas deities,intelleciuals,r6ldiers, citizens, etc.), while th'e style and
artrstlcexpressionare_matters
in which the person commissioningthe portrait
can interfere linle. of course,this is not to depreciatethe imporln.. of th"
social elementin the developmentof portraituie. There can be no doubt that
a certain iikenesswas essenrial,but the degreeof naturalismwas certainly of
secondaryimoortance
Severaldeiadeslater, about the middle of the 1st century B. C., the official
R o m a n p o r t r a i r u r eb e g a nt o f o l l o w a g a i nH e i l e n i s t i ct r a d i t i o n sa n d t h e r e w a s
a r e n e w e di n t e r e s ti n t h e r e v e l a t i o no f t h e i n n e r l i f e o f t h e p e r s o nr e p r e s e n t e d .
T h i s i s c l e a r l ye v i d e n ti n s u c h e x a m p l e so f t h e p o r t r a i r u r eo i t h e t i m e a s t h e
representationsof Pompey,Caesaror Cicero.
The Yugoslav musumsand collectionsdo not possessexamplesof such
portraits. However, that was the period when settlementswith .tnm..ors
immigrants from the already Romanized regions were being founded on the
Adriatic coast and in Macedonia. They were undoubtedlv f"amiliarwith the
classicalculture. Such settlementshad'their founders
p"tro.rr. to whom the
"ndmost appropriate
inhabitantswere obliged ro pay pubiic homage,and the
way
of doing this was to Jre.t stjtne with a horiorary inscription.^A direct
testimony of the existence"of such statuesis the basewith the inscription
dedicated to an important general and consul, Galius Sentilius Isawricus, found
in Narona. The remains of rhe feet on the upper surface of the partly pieserrred
c u b e o f t h e b a s es h g w t h a t i t w a s n o t a n i n s c i i p t i o no n l v . T h e i o l o n i e i
fou.nded-byCaesar,such as Salona,Pula and probably others, must have also
had public statuesof their founder, but they 6ane .roi come down to us. public
i m a g e so f f o u n d e r s ,p a r r o n sa n d o t h e r i m p o r t a n t p e r s o n sc e r t a i n l yc o n t r i b u t e d
to tne developmentof prlvate potrarture,too.
The portriits made in the piriod after Caesar'sdeath, in the time of the
Second rriumvirate, followed the tendenciesprevalent in the previous age.
They sought to explore and registerthe emotional and psychologicalstaie of
t h e p e r s o nr e p r e s e n t e dl .t s e e m sa s i [ r h e a r t i s t s o u g h t t o a r r e s ta f l e e t i n g
experience.The person representedis not shown ai a conscioussitter, b"uta
lvlng person rn
a real situation. Expecially typical in this respectare rhe portraits of
octavianus, Antoniws a.td oihe.s, in which tire vibrations of the facial muscles
reflect the inner rension and the flow of emotions. This is only a slightly more
9\l,hpizea.approach to the psychologicalanalysisof characterthan that found

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Bista Filoksena
Beli mramor
Cepigovo (Styberra)
Prva polovina II veka n. e.
Muzeji Makedonije, Skopje
[15]
Bust of Philoxenes
White marble
eepigovo (Styberra)
First half of the 2nd century A. D.
Museums of Macedonia,Skopje

A portrait Lasedo' this artistic tradition and from this period has been
preservedin Yugoslavia.It is the portrait of Octapianasfound at Ossor
(cat.34), datingTrom about the third decadeof the 1st century B. C.
octaoianus's facial musclesseem to vibrate with internal restlessness.
The
portrait belo.ngsto the not very large group.of the so-called Actium of c type
portraits and its distinctive trait are lai.rc of plastic modelling both on the'face
and the hair. The portrait of oaaviamas's military .om-"ndJr and son-in-lavz
Agrippa, perhaps from Zadar or Nin, is modelled in a similar style. It is now
in Copenhagenand it is not shown at this exhibition. The monumental head of
Agrippa must have been sculptured shortly before his death in 12 B. C., and it
represents
a supremeexampleof Roman portraiture.
-An
i n t e r e s t i n gp r o b l e m i s p o s e db y a u e r y f i n e g e m f r o m t h e A r c h e o l o g i c a l
Museum of
-Za-gieb@al37). it showi threeiigures*- Caesar, Marc Antonit and
a_nunidentified person. lt may date from this iime, for it is difficuft ro suppose
rhat antony's portrait was carved after his political eclipse.It should be borne
in.mind, however,,that the gem may have been modellbd after the image on a
coin. So the possibility thatit is a larer work should not be discarded "

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altogether.if it is actually a representationmade during Marc Antony's

lifetime, it is the earliest example of a gem with portraits of eminent political
and historical oersons.which were to become ouite common later. It is not
impossiblethai the earlierphaseof Augwstws'siule saw the formation of local
workshops in major towns, especiallyon the Adriatic coast and in Macedonia,
which cateredfor the membersof. the middle classeswho had acquiredwealth
and were eagerto demonstratetheir new socialprestigein both the public and
the private spheres.The demand for the products of workshops making rich
sepulchral monuments was even gre^ter. Some exceptionally fine portraits,
sculpturedin a realisticwav - such as the portrait from Pula or the head
(unfbrtunateiy very damaged)fromZadar - drt. from the last years of the.lst
century B. C. The monumental head of an elderly person from the mausoleum
of the'Lollia family in Salona (cat. 36) probably beiongsto the sameperiod,
but it conforms more than the others to the realiste tradition of republican
o o r t r a i tu r e .
From the moment Octavianws, on whom the Senateconferred the honorary
title of Augustus, assumedabsolutepower in the state,his portraits got
a sereneand idealizedclassicalexpression.His statuefrom Livia's villa in
Prima Porta is a representati..eeximple of that style. It undoubtedly suited the
official imperial propaga.tdafor it almost identified the Emperor with
a divinitv. but we should also bear in mind that in this period other forms of
R o m a n i c u l p t u r e ,t o o , f o l l o w c l a s s i c am
l o d e l s ,e s p e c i a l i yt h o s eb e l o n g i n gt o
the school of Polycletws,and are, consequently, characterizedby classicizing
features.The development of Augustan po.triitrr.e should be viewed in this
context. In Augustan times classiial idealization of facial features was generally
more favoured than the Hellenistic style of psychologically penetrating
portraiture. It is difficult to say to what extent this tendency should be
attributed to official (imperial) influence, but it is obvious that the change of
style was not due to mere fashion.Augustws'sidealisticconceptionof the
portrait persistedinto the first decadesof the 1st century A. D., into the time
of Argritrts successors,
but the original creativeimpulse was spent, the
artistic values .weresimplified and a mannerism establisheditself, which led to
the extinction of the beit qualidesof Augustan art. This is especiallyevident in
the schematization of the rich olastic values of the facial muscles and of the
other details of the head. The initial enthusiasmfor the plastic values of
Polycletianderivation died out soon (the first signs of fitigue are apparent
already at the end of Awgustws'srule) and led to academism.
In the time of AwgwstusRoman cultural customs penetrated into all the
spheresof the civic life in the Balkan provinces. \(hole seriesof both public
and private portraits date from that period. Particularly noteworthy ai a social
phenomenon are the statuesof the rulers and members of their families placed
in to*.rr for official purposes. The most important function of official siatnet
was imperial propaganda, a.rd an important'aspect of it was associatedwith
prospective heirs to the throne, becauseit was meant to demonstrate the
legality of the planned successionand enhancethe popularity of the intended
successorwith the masses.The most important post-Augustiniangroup of
portraits in the territory of Yugoslavia is that from Nin. It consists of idealized
and slightly academicfigures of Tiberius as the reigning emperor and of
Augustus (obviously posthumous) and of two headlessstatueswhich are
difficult to identify. The portrait of small Tiberiws from Ptuj (cat. 35) is of
a high quality and still has some original values of classicalsculpture. The
portraits of Nero and Drwsus as boys (Germanicws'ssons) from Salona (cat. 55,
56), which were probably part of a sculptured group, are also noteworthy.
A very interesting example of family propaganda is the portrait of Tiberiws's
son DruswsJwnior from Osor (cat. 54); according to Tacitus, Drusus
spent some time in Dalmatia seeking to curry favour with the legions and thus
secure the throne. Female portraits were also a part of imperial propaganda, as
the fine heads of Antonia Jwnior and Agrippina Senior from Pula (cat. 64)

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Beli mramor
eepigovo (Styberra)
SredinaII veka n. e.
M u z e j i M a k e d o n i j e ,S k o p j e
N

[ 1l 6 ]
Bust of Orestes
White marble
Cepigovo (Stybcrra)
Middle of the 2nd century A. D
Museums of Macedonia,Skopje

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Mramor
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Sredina II veka n. e.
Pokraiinski muzej, Ptuj

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Head of Lucius Verus

Marble
Borl
Middle of the 2nd century A. D.
Regional Museum, Ptuj

testify. All these portraits ^re very similar in their classicizingorientation, but
they also have considerableplastic qualitieswhich remain in evidenceduring
the first decadesof the 1st century A. D. It is quite likely that the sculptured
portraits of the members of the imperial family dating from this time came as
imports from Greek centres,primarily from Athens. Local production in the
sphere of imperial portraiture does not seem to have begun yet. As regards the
production of private portraits, however, local workshops were very active in
the Julian-Claudian times. There was a sudden growth of the production of
high quality and luxurious sepulchral monuments with portraits. The major
centre on the eastern shore of the Adriatic was obviously the chief town of the
province, Salona.The tendenciesreflected by these portraits are twofold. The.
republican traditions, with their powerful realism and avoidanceof
emotionalism were still influential. On the other hand, these traditions were
being ousted out by tendenciestowards classicizingidealization,inspired by
the portraits from the imperial circles, as on the stela of Titus Fwficiwsfrom
S a l o , n aL. o c a l l y p r o d u c e dh e a d sm o d e l l e di n t h e r o u n d , s u c h a s t h e e x a m p l e s
from Salona, ire of a similar character.
The Julian-Claudian forms persisted into the latter half of the 1st century
A. D. rn spite of the fresh winil which was to stir the stagnant waters of postAugustan portraiture in the times of Caligula and Clawdius.It was in thii
period that efforts were renewed to animate the face with emotionai vibrations
expressedby a frowning forehead,a pensivelook or strainedfacial muscles.
Such details indicate inner unrest, but these portraits seem to lack the earlier
motivation and intensity. There can be no doubt. nevertheless.that this revival
ended the stagnationofpo.trait.r.e, which had lastedfor severaldecades.
The most impressive portrait from that dme is the head of an elderlv Derson
from Salona (ca^t.et;, which testifiesto a new interestin psychology, ti-il"r to
that manifested on some portraits of Emperor Claudiws. Although it is
obviously a work produced in a local workshop, there can be no doubt that
the inspiratior, .".n. from the figures of Claudius. This is particularly evident
in the facial features and the arrangement of the locks on the forehead. This
desire to imitate the general appe^ranceof the emperor is a phenomenon
noticeableon some earlierportraits, too, but it was to become especially
apparent in later Roman portraiture. It should be pointed out, however, that
local workshops had not completely abandoned the classicizingtendenciesof
post-Augustanportraiture. In fact, they remaineddominant, especiallyon
sepulchralportraits and stele.Portraits in the round also show a treatment in
c o n f o r m i t y w i t h t h e c l a s s i c i z i n cgo n c e p t i o n sb, u t t h e d e t a i l so f f a s h i o n ,
coiffure, etc. had changed. Severalportraits from Salona (cat. 62,63) testify to
the persistenceof the earlier tendencies.The richer treatment of the hair
p.ouid.r a new ind subtle olastic effect which sets off the serenitv
' of the
e"p."ssio., and the regulariiy of the bone structure of the head.
In the Flavian times there were various and stvlisticallv diverse tendencies.
Both classicizingand naturalisticapproacheswerl used. Sometimesthey appear
independently, in different portraits, and sometimes they are combined in the
same work, illustrating the stylistic inconsistency of the age.
Severalportraits from the Flavian times have been preserved in Yugoslavia.
The fine portrait of Vespaiianusrecendy discovered in Narona (cat. 81) still
shows a ruler full of human warmth. The new attitude to the plastic form is
reflected in the modelling of the firm and closed structure of the head, with the
hair which does not look- as a separatedetail. The splendid head of
Vespasianws's
second son Domitianus, from Kotor (cat. 82), is in the same
classicizingtradition, although it also exemplifies a new pictorial approach. The
hair was meant to create a separateeffect, basednot only on deep plastic shading,
but also on the use of coloui, clear traces of which are sdll visibli.
Vespasanws's
head from Vienna, not shown at this exhibition. evidences
a considerablymore naturalisticapproach.The figure of the old ruler,
obviously from the last years of his reign, is full of realistic details in harmony

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with the grim featuresof the professionalsoldier and the cynical ruler depicted
in classicalsources.
Femaleportraits show fully the rich plastic quality and the high
sophisticationof Flavian portraiture. The femaie head from Zadar (cat.94),
with a typical high coiffure above the forehead, has drilled holes meant to
indicate colour effects.This is, however, a rather modest and lifelesswork. The
head of a woman from Plomin (cat. 95) is of a considerablygreaterartistic
worth. It is almost without colour effects,but it is modelled in a richer and
softer way than the other sculptures.
Portraits from cultural history also seem to make their first appearancein
the Yugoslav territory in the Flavian times. In Rome it was already an
establishedcustom to place reproductionsof the originals of Greek poets,
philosophersand orators in certain buildings and halls used for cultural
activities.The portrait of an unknown Greek was found tn Salona(cat. 86) and
the portrait of SocratesfromZadar (cat. 110) is of a somewhatlater date and it
is bised on a combination of classicaland Helienistic models.
In the small-scalesculptureof the Flavian times the portrait frequently
featuresas an eiementof decoration.Especiallycommon are femaleportraits
on hair-pins, broachesand amber rings (cat. 97-98). The rich decorativeform
of Flavian female coiffure made such portraits particularly suitable for this
-D U T D O S e .
fhe other portraits from the final decadesof the 1st century A. D. are also
within this stylistic range.Local workshops were also very active at this time
and maintainedcontinuous production. Especiallyinterestingamong their
products is -a stelafrom Ostrovice in the Dalmatian hinterland which shows, in
ihe upper row of portraits, persons of an older generation with clear traits of
the earlier Flavian art (the external features of the man are similar to those of
Vespasianus),
while the figures in the lower row imitate the expressionand
fashionabledetailsof Domitianz.s'sDortraits.
The classicizingtendenciesin the making of imperial portraits persistedinto
the early years of Trajan. The Trajanic portrait is a powerful, robust, but also
rounded-off sculpture.It is full of plastic details,but it is lesscolourful than
the typical examplesof Domentianianportraiture. The later stageof Trajan's
rule saw the achievementof a h.ppy synthesisof the eariier tendencieswith
a self-conscious,almost arrogant and proud, but also psychologicallymotivated
and meditativeexpression.
This type of imperialportrait appearedin 108A. D.,
when the decennaliawas celebrated(the decennalia type).
Severalexceptionally fine portraits, either of the emperor himself or of
personsclose to him, date from the turn of the 2nd century A. D. There can
be no doubt that one of the noblest oortraits which have come down to us is
the bronze head of an elderly person from Kostol (cat. 104),which is usually
interpreted as representing Trajan's father. This figure probably adorned the
bridge acrossthe Iron Gates gorge. The rich plastic moulding of the transition
between the musclesand the bone structure of the head, and the representation
of the hair, typical of the age (especiallythe parts round the templei and ears)
clearly represent the work of a very gifted artist. There can be no doubt that
representationsof philosophersinfluencedthis portrait. Two portraits of the
emperor himself have been found in Dalmatia. One is from Vis (cat. 105) and
datesfrom the early 2nd century A. D. It belongsto the pre-decennaliantype
of portraits which emphasizesthe dignity of the ruler by idealizingthe striking
features of his head. The fine oortrait of Marciana or Matidia from Salona (cat
1 2 0 ) ,w i t h t h e r i c h c o i f f u r eo f ' t h e t i m e , i s o f a s i m i l a rc h a r a c t e rA. b u s t f r o m
Salona,now in the KunsthistorischesMuseum in Vienna and thereforenot
shov'n at this exhibition, belongs to the decennalia type of portraits.
In this period, too, portraits were used for decorative purposes. There are
some very fine exemplesof amber rings from Zadar, showing a figure with
a coiffure similar to that of Trajan's wife Plotina (cat. 122). The making of
decorative portraits becameconsiderably less popular, but individual human

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figures becameincreasinglycommon on seal-rings(gems).

In the Hadrianian times the making of sculptured portraits received a fresh
impulse from the admiration of the emperor and of the whole society for
Greeceand Greek values.Scuipturesqueand colour effects(contrasts)also
becamemore pronounced in this period. Associatedwith this was
a characteristicdetail - the marking of the iris and the pupil - which came to
be used almost invariably as a meansof indicating the inner stateof the person
-oortraved.
Although no portraits of the imperial couple have been preserved,except
perhaps a head of Sabina from Zadar (cat 1,21),we neverthelesspossessa yery
rich legacy of Hadrianian portraits, some of which show very clearly the
c h a n g e sw h i c h t o o k p l a c ei n t h a t p e r i o d . T h e m o s t i n t e r e s t i n gp o r t r a i t sf r o m
the period of transition from the Traianic to the Hadrianian times have been
prese.rredin Macedonia. The portraiis of Orestes, a citizen of Heraclea
L y n c e s t i so, r S t y b e r r a( c a t . l l 3 , 1 1 5 )a r e t h e m o s t i m p o r t a n t e x a m p l e sT. h e
statue from Heraclea is undoubtedly from the early Hadrianian times and still
containssome Trajanic elements,especiallyin the modelling of the hair. The
marking of the irises and pupils is, on the other hand, an elementof
Hadrianian portraiture. The other portrait of the sameperson shows the
further degradation of the old face, and its hair, thick beard and the form of
the bust are purely Hadrianian. The portrait of a youth with a short beard
from Skopje also datesfrom this transitionalperiod. There can be no doubt
that theseportraits from Macedoniawere made in one or severalassociated
workshopi, thy style of which .wasobviously similar to, or perhapseven
derived from, the Salonastudios.
The produciion of portraits of Greek poets and philosophersalso became
more intensive,inthe times of Tra:1anand Hadrianus. They were particularly
common in Dalmatia and Macedonia.Especiallvfine are the portraits of
Aeschines and an unknown Doet from Hbraclei L"vncestis.*hich are now in
r h e B r i t i s h M u s e u m i n L o n d b n . I n D a l m a t i a ,t o o , t h e r ew a s c o n s i d e i a b l e
production of the headsof Greek poets and philosophersin this period. They
were designedprimarily for the decoration of architectural structures
(monumental entrances,bridges,lodges,etc.).The initial phaseof this
production is marked by the portraits of Alexander the Great and a Ptolomaeic
prince from Salona. Their function in architecture is made quite evident by the
abacuson their head.
Among the sepulchralmonuments of the Trajanic-Hadrianianperiod
especiallynoteworthy are the portraits on the tomb of the Enniws family from
Sempeter (cat. 117). The heads of the members of this family are very
interesting becausethey show a mixture of Roman and local traits of fashion.
The figure of the man is closer to the Roman customs, while the women still
have s6me detailsof the autochtonousnative costume.The modelling of these
sculptures is characterizedby a classicismto which an obviously locil
interpretationand pictoral effectscharacteristicof the 2nd century A. D.
impart a special charm. Although the figures of dead persons were not the
main preoccupation of the masters from the workshops in the area round
Celeii, po.t.iitr were neverthelessan important product without which they
could not exist. It is a pity that the majo?ity of their sculptured portraits are in
a poor stateof preservation.Interestingexamplesof sepulchralsculpturescan
be found in Macedonia and southern Serbia, where there appear seriesof
portraits ranged very effectively close to one another, which is obviously
a sign of an interesting and original artistic conception of space.These
monuments, like some others from this region, were found together with those
from Thessalonica.The most interesting example is a fragment from Dojrane,
from the Hadrianian or early Antonine times.
Another noteworthy monument is a stela with the portrait of Marco
Hereniws Valens from Vinkovci. This fine work shows that the local
production of luxurious sepulchral monuments with portraits reached a high

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[56]
Glava Zene
Mramor
Solin (Salona)
lr.uga.polovina II v_ekan. e.
Arheoloiki muzej, Spht
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[l56]
Female head
Marble
Solin (Salona)
Second half of the 2nd century A. D.
Archaeologicai Museum, Split

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level in many parts of Yugoslavia in Hadrianian times.

The miniatures from thlis period show portraits of philosophers, rulers and
orher persons(cat. 1.29,128).Especiallyinterestingare the gems with the heads
Alexander the Great, married couplesand various private Persons'
of Socrates,
The tendenciesmanifestedin the Hadrianian period continued to develop
and becamedominant in the later decadesof the 2nd century A' D. The
pictorial and plastic qualities were given.greaterpromil.":9 pI the use of
iace-like ,eprese.rtationof the hair ind the beard, and by highly polished
surfacesof-the skin.
The most important example of Antonine imperial portraiture is the
splendid head oi LwciwsVeris from Ptuj (cat. 134). Especiallynoteworthy are
the deeply shaded details of the hair and the beard, made by the insertion of
a fast .otating bore under the surface of the.sc_ulpture,and the .gracefuldetails
of fashion (the thick hair and the long beard divided into two locks). Thus the
dark effectsset off the sloss of the polished skin surfaces.Almost identical
rrearment of plastic valies is evideni on a monumental head from Zadar
(cat. 135). It is a pity that its face is_sogreatly damaged.Th-eheadsof two
vorth, fiom the io.*.. Danieli Colleciion in Zadarl one of which is in
tlope.rhagenand thereforenot exhibited,date from the sametime. Both heads
o b u i o u s l yb e l o n g t o t h e c a t e g o r yo f p r i v a t ep o r t r a i t s .
The monumJntal marble iorirait bf a youth with a fluffy beard from Salona
(cat. l4O) also datesfrom this time, although its colour effectsare not so
be that the deiails of the hair are not finished, for
p.o.nirre.rt. The reason may
'boring.
are similar to those on the
Its facial_features
deep
ih.y r." without the
poit."it of young Mar.cusAurellus, although we cannot be sure that the
sculpturerepresentshrm.
Ii is impo.tant to mention that portraits of the ruler, made in iocal
workshopi and of local limesron", rpp.". for the first time in the Antonine
times. Aiery interestingand almosf iaricatural head of MarcwsAwrelius from
Zadar (cat. fl8; i-it"t"r*the colour effects of the age in a specific and stylized
*"y. C)n the oih". hand, a monumental head from Salona(cat. 137),showing
as ihe i.tsignia and the robes indicate, a ruler (probably Marcus.Awreliwsagarn),
reliesfor iis plastic effectson drastic conrrasrsof.light and shade.Its
iconographicand sculpturalinspiration seemsto have come from the pillar of.,,
Marcis Aurelius in Rome. However, tendenciesfrom the Hadrianian times still
th: .
ispersist
'head, in the therritory of Yugosiaviain this period. This shown !t
of philosopherr, po.,t ^*ttdoth..s which adornedthe loggia of the Salona
amphiteatre1cat.t+t;. The only differencefrom the earlier headsis that their
eyeshave marked irises and pupils.
Especiallyimportant among the sculpturedsepulchralmonuments with
po.r.ii,, are the'stelaof a mar'riedcouple from Rupotina near.Salona(cat. 1.49.)
and the stelaof TitwsAureliwsAz,itusfrom Osijek which are similar, as regards
the appearanceand coiffure, to Antoninws Piws and Fawstina-Jwnior,the t.'ifg of
Antoninws'ssuccessorMarcwsAureliws.The relief with the figure of the deified
girl Lupa from Sovi6 in Herzegovina is unique.amonS-the sepulchral
m o n u m e n t s .l t w a s m a d e l > y M a x i m i n z s .a i c u l p t o r o f w h o s e a c t i v i t y i n t h e
Daimatian hinterland there is other evidence,too.
The tendenciesmanifestin the late Antonine times persistedin the early
Severanage,but it is noticeablethat the earlier forms, detailsand pictorial
effectsbelame more rigid, coarseand stereotype.This age produced
neverthelesssome exce;tionallv fine and subtle portraits.
The imperial family'propaganda,which had 6een so typical.of the earlier
bi.r-. ,r.ry -id"ipiead in rhe Severantimes again..This was because
periods,
'S.,r...rr'abandoned
ihe ti-.-honoured but now obviously obsoletesystem of
the election of emperorsfrom outside the living ruler-'sfamily. This custom
had been, it is true, alreadyviolated by Marcus Aurelius, who placed his own
son on the throne.'seuerui did all he iould to glorify his sons Caracalla and
Geta, and one of the meanshe used to achievethis aim was to erect

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Glava devojke
Beli mramor
Solin (Salona)
PodetakIII veka n. e.
Arheoloiki nuzej, Zagreb

lr 77l

Head of a girl
White marble
Solin (Salona)
Beginning of the 3rd century A. D.
Archaeological Museum, Zagreb

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inscriptions and statuesin their honour. The numerous.inscriptionswhich have

b"en pres".,redin Yugoslaviatestify to the great effort investedin the imperial
family propaganda. A"part from the inscriptibns, there,must have been imperial
rt.t.t.r, too. illo porr;ir of the male membersof the.family.has come down to
us, exceprone on a gem and another on a stone (both in private.collections
now), but two exqui"siteheads from Salona(cat. 1'77,1.28)should probably beinterpreted as poriraits of Caracalla's wife Plawtilla, These two.portraits are of
r . r p . i b q'rt
u a l i t y ^ a n da r e p r o b a b l y s u p e r i o rr o a n y t h i n gd o n e i n t h e e n t i r e R o m a n
th"t time. The first portiait has the iharacieristiccoiffure divided
Empire
into webs like a melon, thus p?oviding for fine and elaboratecolour and plastic
e f f e c t sT
. h e t e c h n i q u eo f d e e p d r i l l i n g a n d o p t i c a l e m p h a s i sh a s b e e n
abandonedin theseportraits. The teridencyio*a.dr coilur effectswas
s t r e n g t h e n eb
d y t h e ' e y e sm a d e o f g l a s sp a i t , w h i c h a r e , u n f o r t u n a t e l / ,m i s s i n g .
The ioiffure on this portrait is sorie*hit different from that shown on the
portraits of Plautillabn coins, so that it is not quite certain that it represents
irer. The coiffure of the other female portrait (cat. 178) is, ho-urever,almost
identical with that on some coins showing Plautilla, so that the identification
indisputable.This portrait, too, is of exceptionalquality. The portrait of a
G . " " k p h i l o s o p h e r ' o rp o e r , f o u n d a t S a l o n a( c a t . i + t ) p r o b a b l y a l s o d a t e sf r o m
t h e S e v e r a nt i m e s .l t b e l o n g st o t h e t y p e o f p o r t r a i t sw h i c h a r e f r e q u e n t l y
hair is still representedin the late
interpretedas representing'Aeschylus.-its
Antonine ..rr.r.r"^.,by meins of deep drilling, but this treatment is obviously
alreadyconsiderablyschematized.
In ihe later Severanarr the structure of the head assumesa closedform
again,and the golour effectsare lessprominent. This is especiallyaPParenton
tfre heads of Caracalla, Geta and Alixander Seaerws,and on the portraits of
some women from the ruling family. Although the form becomescalmer,the
i n t e r n a lt e n s i o ni s i n c r e a s e d . " T h i is e s p e c i a l l ye v i d e n ti n t h e e y e s .w h i c h a r e
t u l l o f s o r r o w a n d a n x i e t y .T h e s et e n d e n c i e s ' b e c a mg er a d u a l l ys t r o n g e r
during the 3rd century A. D. to reach a climax in the splendid.portraitsof
Maxikinws of Thrace. Philipus of Arabia and TraianusDecius in the middle
of the century.
The fine bronze head of Emperor Macrinws,found at Bole6 near Belgrade
(cat. 17l), manifestsvery clearly the tendenciesof the late Severanart in the
the tension mentioned above and its short
ierritory'of Yugoslavia.'It expr'esses
Similar to this
in a very fine gr_aphic-way..
are
treated
beard
thick
l"ong
hair ani
portrait is the excelllentsrarueof a citizen in pallium from Stobi (cat. 1,,92),.
As regardsthe detaiis
which has an even more anxious and gloomy aPPearance.
of
the
represenrarions
io
is
close
this
portraii
beard,
the
hair
and
the
of
in 238 A. D. Other portraits,
who was electedern-Peror
Emperor Pwpienws,
belonging to this group include a head from Belgrade(cat..181),which had the
typ. Jf Joiff.rr. ty:pl."i of late Severanmarrons Qwlia Aquilia Sea.era,.etc.),and
artistic
r f^r"g-..rt from Split, which was 9f m.onumental_sizeand exceP_cional
q u a l i i v ( c a t .2 0 9 ) .A s p l e n d i dh e a db u i l t i n t o t h e J u r i i h o u s ea t V r a n i i c ,
iconogriphically basedon the portraits of Maximianus of Thrace.andPb.ilip.eus
of R.ibi", datei fro- the middle of the 3rd century or rhe years immediately
followine.
TherJare no sepulchralstelaewith portraits in Dalmatia from this period.
Portraits -e.e, ho-e,rer, transferredto the front side of the acroteriaon the
lids of sarcophagi.The figures of a woman and a man on the lid of
.J r..r".rt &quisite examplesof the_portraitureof this type..
",a.cophagrr,
Ti"e is the portrait of the woman, which is, as regardsits stylistic
Especiaily
feai,rres and traits of iashion, simiiar to the portraits of empressesfrom the
oeriod shortlv before 25AA. D. The man is, on rhe other hand, similar in
ipp.r."rr.. to Emperor Balbinus. From the later years of the 3rd century
from Sempeter,.
Secwndianus
A.^O. ir the sepulihral monument of Spectantiws
obviously o.r" tf the last monumental iombs in this important cemete!:y'which
was destroyedby a flood soon after 250 A. D.

[178]
Glava carice Plautile
Beli mramor
Solin (Salona)
PodetakIII veka n. e.
Arheoloiki muzej, Zagreb

tr78l
ilead of Empress Plautila
White marble
Solin (Salona)
Beginning of the 3rd century A. D.
Archaeological Mr.rseum,Zagreb

After a short revival of the classicizingand idealizineapproach,manifested

in a kind of calm, sereneand slightly theltrical dignity,"and a rerurn rc the alla
Graeca fashion in the time of G-alienus,portraituri began to seek to express
transcendentalvalues.The emphasiswas-laidon iconiJvalues: the portrait
avoided detailsand becamestitic, while the closed structure of the'head
becamelarger. However, the earlier manner of characterization did not
completely disappear,and some late 3rd century portraits were still based on
the old t.iditio"i.
. In the territory of Yugoslavia there are very few portraits which belong to
the Galienian
-porrraiture in stone. The most beautiful example is the gem"with
the.portrait of young Galienus, probably frqm Salona lcat.itl), a supreme
achievementof glyptlc art. The most inieresting portrait from ihe latter half of
the-3rd cenrurylsi head from Belgrade(cat. Zdis.ttillustrates some
techniques.of ihe time and also disllays certain features of the coming
Tetrarchial art. it shows the renewed use of some light effects which iad been
discarded(the boring of the pupils with a drill). Thi fairly competentheadsof
a w o m a n f r o m S i n j ( c a t . 2 1 0 )a n d o f a y o u n d b e a r d e dm a n f r o m Z a g r e b
(cat. 197), which show some traces of ihe inflnence of Galenian scuipt,l.", also
belong to the latter half of the 3rd century A. D.
It is obvious that the portrait sculpture of the Roman times in the territory
of Yugoslavia followed the impulses ioming from the major centres of
production. Many portraits, especiallythose of the official nature, were
undoubtedly impor^ted,but it ii also tertain that many others weie produced in
local workshopr. Th. question of imports and local p.oducts is too complex to
be discussedhere. Althbugh some pans of present-day Yugoslavia lay on the
very fringes of the Roman Empire, all of rhem made leait some valuable
"tportraiture.
contribution to the heritage of classical

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Sredina III veka n. e.
Muzeji Makedonije, Skopje
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Vhite marble
Cepigovo (Styberra)
Middle of the 3rd century A. D.
Museums of Macedonia,Skople

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Beli mramor
Debar
Sredina III veka n. e.
Narodni muzej, Ohrid

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Male portrait
\flhite marble
Debar
Middle of the 3rd centurv A.
National Museum, Ohrid
t

D.

KEnl-E.nIlo 9b_m96jeApeninskega polotoka vselej odprto za kulturne tokove

iz Grtrje, se je helenistidnaumetnost razlirila v Stevilneitaliianske kraie. Ena
od tistih likovnih manifestacij helenizma, ki so v Rimu naletele na poiebej
plodna tla, sestfr'ljenaiz ustreznih umetniSkih ali - kar je morda ie
pomembneje - tudi druZbenih prvin, ;'e bil portret. Ni dvoma, da je rimski
portret sprva navdihnila helenistilna kultura ali bolie italsko-etrurski
helenizem.
Najbolj intenzivno obdobje razvoja rimskega porrrera ie 6as devedesetihlet
I stol. pr. n. 5t. Celo ta goli realizem, ki na prvi pogled ni-, ,,r.r. ,
helenisti6nimi umetniSkimi usmeritvami, je vendadJposledica helenistidnega
odnosa do individualne podobe osebe.Bistvo portreinega realizma je
p:a.v.zaprav.sama
fiziina upodobitev osebe. Povsem razumljivo taklen porrret
ni bil odkrit na naSempodrotju, ieprav so se Rimljani zaieli zanimati'za
Balkan Le na za(etku II stol. or. n. 5t.
Rimski republikanski portret, zna6ilen za zatetek I stol. pr. n. St., ni
povs_emzamrl niti tedaj, ko je ponovno naraslo zanimanje zl psiholoiko
karakterizacijo (enkrat okoli sredine I stol. pr. n. 5t.), ker so v nekaterih
provinciialnih okoliih 5e naprej prikazovali osebeveristiino, brez raziskovanja
p.siholo5kegastanja in mod6lacijl 6ustev. e.p."r, je to obdobje, ko so se rimske
skupnosti qongkod na obmoiju Jugoslavije,posebej na obali, obiutno razvile,
pa vendar.doslej
.rimskih portretov-iz.tegao6do.bjanimamo. Taki portreti pa so
verjetno obstajali,saj so se mesta svoiirrrzavetnikom in ustanoviteliem
oddolz.evaliz dviganjem poiastirvenih kipov, porrrerov. o podobnih navadah
v mestrh govori podstavek,na katerem je stal kip rimskegavojskovodje in
konzula Gaia Seiviliialzaurika iz Narone.
Portretistikaiz obdobja po cezarjevi smrti - v dasutretjegatriumvirata ohrania Se.napreistilistiine^elemenre
prejsnjegaobdobja. NaJaJiujese namret
razlrkovan,eln utrtevan,eno.tranlegastaniaosebe,emotivnegain psiholoikega.
Portret je podoba trenutka doLivljanja portretirane osebe.Tlkini-portreti nim
kaZefo predvsem_oktavijana, Antonija in druge. Gibanje obtaznegamisidevja
oosevanemlr ln custva.
Plod takine umetni5ke.usmeritve je tudi portrer oktavijana iz osorja (kat.
34),.izdeIanegaokoli tetjega desetletjaI stol. pr. n. it. Ceprav.je
poSkodovan,le.na.obrazll j"as1o gdriia norranrl nemrr portretoanca. pripada
sorazmerno.qajhni s.k3pini t. i. akcijskegaporrrera ali portreta tipa C.
V ta-ias bi lahko sodila gema iz ArheoloSkiga muzeja v Zagrebu-(kat. 37) s
tremi podobami (Cezarjivo, Antonijevo in riajverjetnejeLefridouo). V 6"r'
neposredno.predkoncem-srareere nastajajotudi izjemni portreti, pojmovani
^
realistiino, kot kipi iz Pule in Zadra. Iz tega dasaje .rrerjeinotudi
osebeiz mauioleja Lollia v Saloni (kat. 35), ki pa
T,""."T.T.t1lna gliva srarejSe
izhaja boli iz vadicije realizma kot poznejsegarepublikanskesa porrreta.
. S.prevzemomcelotneobla.stiOktavijana lodllej idastnim ime""omAvgust),
dobiio liegovi portreti idealisti6enin klasiien izraz. Reprezentativni iir"t[i
vzor je.kip iz Livijine vile v Prima Porti. Avgustovi politiki je namred bolj
ustrezal klasicistiino - fiziognomiEni kot pa Lelenistiino - prhiloiki na6in'
portretiranja.
_. I A.vSustg.m
lo.rimski .kulturni obiiaji prodrli v vse pore me5ianskega
Livlieni,a,tudi v balkanskih provincah. V tim iasu nastajajo ."1" ,rrste tiko
javnih_kot zasebnih porrretov. Najpomembnej5a vloga uradnih kipov je bila
cesarskapropaganda. Njen pomernbni vidik je poveian s potencionalnimi
prestolonasledniki,s iemer naj bi se dokazovalalegitimnost dedovanjaprestola

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e
M"i"ji l,t"t.aoij.,Skopj
Ie6]

Male head
White marble
Demir kapiia
Middle of the 3rd centurY A' D'
Museums of Macedonia,SkoPje
N
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in na sploh dvigovala popularnost cesarskehi5e v Siriih druZbenih slojih.

Najpomemb.rejla postarrgnstonskaskupina, ki nadaljuje tradicijo Avgustove umelnosti, vendar z dolotenim Sabloniziranjem,so znani kipi iz Nina. Podoba
Tiberija (kat. 50) kot tedanjegacesarja1e idealizirana in nekoliko akademsko
zasnovana.Drug portret prik-azuieposthumnegacesarjaAvgusta (tip kot pri
Prima Porti, U^i. +0). Preostaladva^kipa te nin"skeskupine ia brez glav in ju je
teZko identificirati. VaZnejii portreti iz tega 6asaso 5e portret
prestolonaslednikaDruza Mlajlega iz Osorja (kat. 54) ter Pretendento\tza
prestol po Druzovi smrti - Nerona Cezarja in Druza Cezarjaiz Salone (kat.
5S, Se;.-Ceprav so vsi ti portreti po svoji usmeritvi zasnovani klasicistibno,
vendarle niso nepomembne njihove plastiine odlike. Zelo verietno so bili
uradni portreti uvoZeni, predvidoma iz Aten.
V tem 6asu zaieniaio z delovaniem doma6e delavnice, ki izdelujejo vrsto
luksuznih nagrobnikov s portreti. TeZnie pri teh nagrobni5kihPortretih se
giblieio med iealistiino usmeritvijo, pododovano 5e-izpoznorepublikanskega
obdobja ali pa so klasicisti6ni, prevzeti iz uradne cesarskeumetnosti.
Julijansko - klavdijske plastiine oblike se ohranjaio vse do druge polovice
I s t o l . , i n t o k l j u b b o l j s v e Z i ms a p i c a m k, i s o r a z g i b a l en e k o l i k o - p o s t a n o
portrbta v obdobju Kaligule in Klavdija. Nedvomno
vodovie postavgustovskega
naiboli impresivenportret tega 6asale glavastareisegamoSkegaiz Salone(kat.
psih"olo5ko- reai-istiinepobude, kakrlne se
6l), na kat'erije moi zaznati"sveZe
vidi tudi na glavi cesarjaKlavdija.
V 6asu flavijske dinastije se porajajo razli(ne teLnie, ki niso izSle iz iste
stilske usmeritve. V tem iasu je mogode opaziti tudi klasicistidnein veristiine
poudarke, in to viasih samostojno, na razlidnih portretih, kdajpakdaj pa celo
medsebojno povezane v eni in isti stvaritvi, kar kaZe na tedanio dolgotrajno
stilsko nekonsistentnosr.
Ohranilo se je vei cesarskihportretov iz omenjenegaobdobja. ,
Najpomembnejii so portreti Vespazijanaiz Narone in Domicijana iz ,Kotorja
(kat. St, 82). Oba iziaLata klasicizem, idealiziranega cesarja,polnega kreposti.
Bogastvo plastike in precejSnjovisoko sofisticiranost flavijskega P.ortreta
izriLajo pbdob" Zensk s tipidnimi frizrrami, npr. glavi Zenskeiz Zadra (k-at.
94) in'tiste iz Plomina 1kai. lS;. V tem 6asu se portret pojavlia tudi kot okras
drobne plastike. Podobe Zensk se pojavljajo poredvsem na lasnicah,okrasnih
iglah in jantarnih prstanih (kat.97,98).
Vse I stol. so t;di doma6e delavnice zelo Livahno proizvaiale portrete.
V tem smislu so posebej pomembni portreti na nagrobnih spomenikih (stele).
Zatetek Trajanove vladavine je zainarnovan z nadaljevanjem klasicistidnih
tei.enj pri izdelovanju cesarskihportretov. Trajanski portret je krepak, hkrati
pa tudi zaobljen kip, poln plastiinih detajlov. V poznejSemobdobju Trajanove
uladarrinepriie do ri"r.t. irreisniih prizaAevanii ttekak5nim samozavestnim,
celo nekoliko grobim, vendar ponosnim miselnim izrazom, kateregapsiholoika
karakterizacija je zelo r'azorno prikazana. Tipiien takien primer so Trajanovi
portreti, nastali na podlagi njegovegaportreta, narejeneganjemu v 6ast ob
ieseti obletnici vladanja I l.t"1og."Iz-zgodnejiega Trajinovega obdobja je
najbolj udinkovit portret bronaste glave starejiegamoSkegaiz Kostola na
Donavi (kat. 1Oa),potem glava zgodnejSegatipa cesarjevegaPortreta z Visa
(kat. 105). Tudi v Trajanovem dasu je 5e vedno v modi portre,t kot okras
drobnih dekorativnih predmetov (prim. jantarni prstan izZadra s frizuro,
kakrSno je imela Trajanova Zena Plotina).
V 6asu cesarjaHadrijana je portretno kiparstvo dobivalo nekaj novih
tudi sploinega
spodbud, ki so'po eni strani posledicacesarjevega,.pa
druzbeneganaviusenja nad Griiio in grskim, po drugim pa formalne krepitve
koloristit"nihkiparskih poudarkov (kontrasti).S.tem povezan.je.tudiznaiilen
detajl, ki bo zdaj nedvomno nezanemarliivaprvina pri podoZivljanjuduievnega
Sarenicin zenic v otesu'
stanjaportretiraneosebe.To je.ozna6evanje
NajzanimivejSiportreti s prehoda trajanskegav hadriiansko.obdobje.so
ohranjeni .r,Mairedoniji. V t6m smislu so naipomembnejiepodobe me56ana

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Statua Zene
Kamen
Beograd (Singidunum)
III vek n. e.
Narodni muzej, Beograd
[208]
Female statue
Stone
B e l g r a d e( S i n g i d u n u m )
3rd centruy A. D.
National Museum, Belgrade

oresta iz Herakleje Linchestisoziroma Stibere.Kip.iz Herakleje..ieiz

hadriianskeqaobdobia s 3e navzoio trljansko tradicijo, posebei
zsodneiSeea
las, hadr"iianskipostopek paizdajaizdelava Sarenicein zenic
oii
"bliko"""niu
duplinah. Drugi portiet iste osebe-po _enistrani.ispriiuie.nadaljno
i oEesnih
deeradaciiosiarie.rskepJdob. oziroma po drugi Povsemhadriianskoobdelavo
las"soste6rade in doprinih kipov. Ni dvoma, da so bili ti portreti iz
Maf,edoniie izdelani v eni ali ve6 sorodnih delavnicah, ki kaZejo na oditno
stilsko sorodnost. Morda izvirajo iz solunskih ateljejev'
v trajanovem in hadrijanovem obdobju se je.okrepila.tudi.izdelavl pgd".b_
grSkih filozofov in pesnikov. Pojavljajo se posebej v Dalmaciji inllakedoniji.
pesnika.iz Herakleje
izjemna sta p.irrrera govornika Ajshina in nezn_anega
Linchestis, ki ju hran"ijov londonskem British lutytg"ryl. Poleg t:ga velia.
ooozoriti iudi'na porrrete na nagrobnikih iz lokalnih delavnic v Dalmaciji,
Sioveniji (Sempeter;ter juZni Sr6ill in Makedoniji.
Tei.nje',izriL.ene'vhadrijanovemobdobju se nadaljujejotu.di pozneje v.II
stol., .\renia.obtutno okrepljene.Piktoralne in plastiine kvalitete se krepiio
zaradi uporabedipkastozasnovanihkosmatih delov.glave.terbleiieie zglajenih.
povrSin'koznebrrlre obraza.Naipomembnej5iprimerek portreta tega iasa ie
podoba cesariaLueiia Yeraiz Ptuja 1kat. 134),1n sicer zaradi svojegatipiinega
iortopk" - sloboko'osenienih zaraSienihdelov giave,ki so izdelani s hiro
irteii^m ,. si.d.o- ter oiarljivosti modnih detajlbv. Pomembno je dejstvo, da
se v antoninskem obdobju prvid pojavi portret vladatja, nedvomno izdelan
v domaiih delavnicah.V tem smiilu je fotovo zanimiva karikaturno izdelana
s" l a v aM a r k a A v r e l i i a i z Z a d r a ( k a t . 1 3 8 ) .
Tudi zgodnejSeseverijanskoobdobje ie v na5ih.kraiih 5e doloien ias
ohranilo iei.nje, ki so se'izraLalev poznoanroninskem obdobju, opraziti.jele,
da so postajaie oblike, detajli in iablonizacija.bolj to.gi, v.enda.rso najboljie
strrariwe izjemno kakovostni in umetelni kipi. Severijanskoobdobje.Ponovno
postavljav'ospredje cesarskodruZinsko propagando.Severje.namrei storil vse,
ia bi uveljaviis.uojasinova Karakalo in Geti R"dke.so pod.obecasarijaiztega
6asa,ve.rdar so se zato ohranile glave Plautille, Karakalove Zene,ki gotovo ni
mogla biti upodobl jena brez moLa. Izjemni so prim_erki.teh glav iz Salone, saj
presegatovse srvarrrvev rimskem sveru tega iaia. Na niih je opaziti diskretni
kolorT.iitn; postopek, hkrati pa tudi bogato plastiko. Pri teh portretih je
opu5ien sistem gl^obokegakoioristirnegi podertav"nja. Iz severiianskega.
obdobl" je verje;no tudi*podoba tragiinefa pesnika, ki ga 6esto prikazujejo kot
Aishila (kat. 141).
v nekoliko poznejSi severijanskiumernosti za(.eniajoprihajati na povrSino
Dosamezneplaiti6ne oblike, v katerih struktura glave dobiva zaPrto obliko'
'f..irririie"i'poudarki
pa se zmaniiuieio. To ie po.sebejoiitno na glavah. ..y'enskiz vladarskih his.
Karakale,G'etain Alelsandra Severaier na pod.ob.ah
e.pt"" se oblika umirja, notranja naPetost.vsebolj raste,ka-rje posebej
..
v pogledu, pol.rem Zaloiti in^tesnobe.Te. teZnie.v III- stol. se vse bolj
iiiiiti
krepiio in'do"sezejo'vrhunecna izjemnih portretih cesarjevMaksimina Tra6ana,
navzoie na portretih iz
Fiii'g,le.irUJega'in Traiana Deciia. Te teznie p.a_so
n . S i t ,t . r i . u , k l k r s . n i e ' M a k r i n o v i z B o l e i a p r i B e o g r a d u ( k a t . 1 7 1 ) , F i . .
o ,.r"oUo in izjemno grafiino obdelavbpramenov kratkih las in
ir"iif"l.'".tit
temu ie kip miscanav palifu iz Stobija (kat. 192),ki ima
Podoben
L.ra".
*-Jt..
5e bolj tesnobenizraz na obrazu.
Po'kratki obnovitvi klasicistidno - idealistidnegaodnosa do portreta, ki se
kaLe v nekoliko bolj umirjeni in teatralni dostojanstveno.stibrez notranjega
nemira ter vrnitvi -od. ,fi. greca v Galijenovem obdobju, se zate.n;avsto-panje
,, t."rrr"e.rd.ntalna obmodia iortretne umetnosti. 7a pottret postajajo znadilne
teZniepo ikonoiziranju, , ni^^ti^nju detajlov, negibnostiin povedevanju
k.. p" ut. ui.dnote anti6ni karakterizacijeniso zao'rle,
;;;;;r:;"[;"r.;["..
.r,i.rrei polovici III stol. naitajaio tudi izredno zanimivi Portreti' ki
traCicije portretov iz tasa sredine III stoletja'
ohttt'tltib
-fvf.J'*"riitvamii ki v tem obdobju izstopajo, velja opozoriti na podobo

mladega Galijena na eni od gem iz Salone (kat. 213), v veliki plastiki pa na

enegaod portretov iz Narodnegamuzeja v Beogradu(kat.203), na katerem je
Le opaziti nekaj znaiiinosti nastajajo6etetrarhijske umetnosti.
podro6ja
Oditno je portretna plastika rimskega6asaz jugoslovanskega
upoitevala navodila,ki so prihajalaiz velikih proizvodnih sredi56.Stevilni
portreti so nedvomno uvoZeni,posebejtisti uradne veijave,pa vendar jih je
veliko nastalov domaiih delavnicah.VpraSaniauvoza in doma6ih delavnicsi 5e
nemoremo razlasnitrv vsej njegovi kompleksnosti. eeprav gre za province, ki
so leZalena meji cesarstva,vendar ni kraja v Jugoslaviji,ki ne bi pomembno
prispevalk dediS6inianti6negaportreta. Po drugi strani so vrhunske stvaritve
nedvomni prispevekk razvoju in spoznavanjuanti6negaportreta v celoti.

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Venitori u borbi sa lavom
Kamen, malter, stakio
G amzigrad (Felix Romuliana)
PodetakIV veka n. e.
Memorijalni centarJosip Broz Tito,
Beograd
199r1
fighting with a lion
i{ntl.t.
Stone,pottery, glass
G a m z i g r a d( F e l i x R o m u l i a n a )
Besinning oI the 4th centurYA. D.
Me"moriaIcentreJosiP Broz Tito,
Belgrade

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Medaljon Gordijana III

Bronza
241-243. godine n. e.
Narodni muzej, Beograd
N
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Medallion of Gordian III

Bronze
241*213 A. D.
National Museum, Belgrade

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[168]
Aureus Pertinaksa
Zlato
Rim
193. godine n. e.
Narodni muzej, Beograd

l24ol

Aureus Licinija I
Zlato
Nikomedija
3 1 7 . g o d i n en . e .
Narodni muzej, Beograd

1243)

Medaljon Konstantina I
Zlato
Boria kod Panieva
325. godina n. e.
Narodni mtzej, Beograd

1246)

Medaljon Konstantina II
ZIarc
Boria kod Panieva
325. godina n. e.
Narodni muzej, Beograd

F68l

Aureus of Pertinax
Gold
Rome
1 9 3A . D .
National Museum, Belgrade

12401

Aureus of Licinius I
Gold
Nicomedia
3 1 7A . D .
National Museum, Belgrade

-+

[243)

Medallion of Contantine I
Gold
Boria near Panievo
3 2 6A . D .
National Museum, Belgrade

1246)

Medallion of Constantine II
Gold
Boria near Panievo
325A, D,
National Museum, Belgrade

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@rarcupamero Ha BHarperrrHara eMorr.rBHau rrcr{xoJroruxacocroj6a Ha
nraqnocr-a. ce uuuu, KaKo Aa ce caKa Aa ce 3arrpe MoMeHToTHa AoxI,IByBaIbe
Ha rr{rrHocra rrrTo ce loprperr{pa. Bo roj [orJreA oco6eHo ce
KapaKTepr,rcrhrrHr,r
[oprperr.rre ua Orranujan, Anronue n gpyru, vuja
nu6pa4uja Ha MycKyJrarypara Ha Jrr.rr{erorr{ o4pa3yBa HeMr{por u eMoqnnre,
a Toa e caMo 3a eAeH ToH rroHarJraceHnpucTan KoH rrclrxoJrorrrKoTo
uujancuparre Ha rr,rr{Hocra orKoJrKy ruTo 6eue cnyvaj Bo xeJreHr,Icrr,rrrKrror
ilepnoA.
O4 onoj ilepr{oA, oA Harrrara aeuja uuaue eAeH rroprper rxro [oreKHyBa
oA rope crroMeHarara yMerHr.rrrKaopueHTarluja. Toa e loprperor Ha
Oxrannjan og Ocop (xar.34), HarrpaBeHBo rperara qeqeHnja ua I rer
n.H.e. LlaKo orrrrereH, Ha nr4qero jacuo ce 3a6eJrexyBarpelepelbe
npeAr.r3Br,rKaHo
oA BHarperrreHHeMr.rp.Oaoj noprper uplruafa Ha rpy[ara Ha
TaKaHapeqeHr,roraKrllrcKraunra I-{-run iloprper. Og oroj fiepnoA 6u laoxena
Aa ce Aarrnpa r{ reMara oq ApxeororrrKr,ror uysej no 3arpe6 (rar. 37) co rprl
nnxa (I-{e:ap, Anronue lr nepojaruo Jlenug), 6ugejku rerrrKo 6r,ruoxcero ga
ce 3aMr{cJrr,r
AeKa rrocJreAH}rBe
ABe Jr}rqHocrrrrlpoAoJrx<nJreAa ce [opTpeTr.rpaaT

Ir no cl4MHyBarberooA flonurrlrrKara cr1eHa.Bo nepuogor He[ocpeAHo npel

KpaJor Ha crapara epa ce co3AaBaaT14r43BoHpelHr4
[opTperr4 TpeTrrpaHr4
peanrcrr4r{Kr4,KaBr4urro ce oHr4eoA flytau 3aqap. Bepojauro og roj
nepl{oA e 14MoHyMeHTaJrHara
rJraBaHa nocrapa rr4r{Hocr oq uan:olejor
Lollia so Canoua (rar. 36), Ho raa eerie He e Bo rpaAr{qujara Ha cyBrror
peaJII43aM,
TyKy rrpr{rraraHa rpy[ara Ha ,qorlHr{orpeny6.nuraHcKr4noprper.
O n u o v e n r o r K o f a j e n p e : e u a u e n o K y n H a r aB J r a c re o r e r n r j a r a .
fioprperr4Te na OrraeujaH, oA Toraul fioqecHo HaperreHAyrycr, HaeAHau
u KJracuqeHr,r3pa3.Penpe:enrarr4BeH[pr4MepoK oA
Ao6uBaar r4AeaJrr4crrrrrKr4
Puv e craryara oA Br4narana fIvaue no llpulra llopra. IrllreHo, Ha
rloJlr.rrr4Kara
Ha Ayrycr nose(e My oAroBapa lrAeaJrr43r,rpaHr4or
Knacl4lll,rcrr{vxo-$u:uouoMcKr4
Haqr4HHa noprperrrparbe orKonKy
XCJICHI{CTI4IIKO.TICI4XOJIOIIIKI,IOT

,!
(t)

al

HAqUH.

Co Ayrycr, pr{McKr4Te
KynrypHtl o6u\au [eHerplrBaa Bo cr4Te[opr4 Ha
rparancruor )KrlBor eo 6arraHcxr4Te rrpoBr4Hrllrra.
Bo roj neprao4ce co3AaBa
qera cepuja xaro jannn, raKa lr nprrBarHr{rroprperr{. Hajnaxua Synrqr.rja na
c r y x 6 e H u r e c r a r y r 46 u , r a q a p c r a r a n p o n a r a H g a a
. Hejruunoruajeaxeu
acneKT e Bp3aH:a uorenqujaJrHIlTenpecronoHacneAHr4rIl4,
3a Aa ce rroKa)Ke
nefaJII4TeTOT
Ha HaCneAyBarr,eTO
Ha TpoHoT r4 Aa ce v34ljra lo[ynapHocTa Ha
qapcKara xy*a no rxr4poKr{TecnoeBr,rHa onrurecrnoro. Hajnaxua
nocrayr-ycroBcKarpyna roja ja npo,qon)KyBa
rpagrqlrjara Ha yMerHocra Ha
Ayrycr, caMo co ogpeAeHarxa6roHu3ar{uja, ce [o3Harr4Tecraryrr og Hltr co
v1eanv3vpaH rr rroHeruToaKaAeMcKr4
KoHrlr4rrr4paH
JrrrKHa Tn6eprae, raro
aKTyeneHqap 14oqr4ureAHorrocrxyvaHo Ayrycr (rrau oq llpraua llopra) raxo
I,IEBe craryra Oes rrasu, rrrro re[rKo Mo)Kar Aa ce r4AeHTr.r$urynaar.Baxnu
[oprperrr og oeoj [epr4oA ce r4 oHr4eHa rrpecronoHac.]regHr{Kor
Apy3
llorraraquor og Ocop (rar. 54), KaKo 14rrpereHAeHrr4reHa [pecronor no
cMprra Ha [pys, Hepon IJe:ap r4Apy3 I-{esapog Caloua (rar.55,56).
Zaxo cure oBue [oprperr.r rro ceojara opueuraquja ce KJ'lacuql{crr4rrKr,t
KoHqI,IllIpaHI4,cerlaK HITBHI{Te
rrJracrr4rrHrr
KBaJrlITert{ne ce 6esHavajuu. Oeue
TeHAeHrIr4r,r
ce [poBneKyBaar Hrr3npBr4TeAer{eHr{trHa I eex n.H.e. Mnory e
BepoJarHoqera cly><6eHr4Te[oprperu 6yute rrMnoprr.rpaHr4
14Toa
Hajnepojarno og Arnua.
Bo oeoj [epr4o[ [or{HyBaar Aa r{Beraar r{ AoMarrrHr4Te
pa6oruluraqu,
npogyqupaj(u qena Hr43anyKcy3Hnnaqrpo6ru4 croMeHrrrlr4trrro coAp)Kar
rloprperr,r. Tengenqnrare Ha rue uaqrpo6uu c[oMeHr4rluce ABr-tx<ar
r4Jrr4
oKony
pearl{crl4r{Kara opr{eHTaqnjaHaclegeHa oA AorlHr4orpeny6luraucKr{ [epr4oA,
I{JIIIIraK KJraclrqlrcrrzr{Ka
opueHTaqrajanpereMeHaoA cly>r6euara qapcKa
yMeTHOCT.

rrl

v
,Q)
F

z<

Jyruercro-rnayAr{cKr4Tefiracrr4rrHuQopura ce 3aAp)KyBaarce Ao BTopara

roJroBr{Hana I eex u norpaj cBex}rre crpyerba ruro rr4 pas6pauynaar
cMI,IpeHI,tre
BoAr{Ha rrocrayfycroBcKr{or rroprper oA nepr{oAor ua Kalury:ra
u K n a y A u e .H e c o v u e u o H a j r . r u n p e c r a eneoHp r p e r o q r o j f l e p u o l e f r a B a r a H a
rocrap Ma)KoA CaloHa (rar. 61) KaAeruro Moxar Aa ce Booqar cBe)<r4
rlcr4xo"noltrKo-peaJrllcrr4alKl4
IIopt{Br{,KaKBtrrrITo ce sa6ele>rynaar Ha rnaBr.{Te
Ha caMr4orqap Klayqr.re.
Bo nepuogor ua SnaeueBcKaraguuacruja ce janynaar pa3nur{Hu
TeHAeHqr4r{
rrrro He npor{3neryBaar oA r{cra crr{.rrcKaopueHTarlnja. Bo roj
neplroA Mo)Kar ga ce :a6ele)<ar 14Knacr4qr4crr{rrKu
LI Bepucr}rrrKtraKI{eHTLI
rr
Toa noHeKoraru u caMocrojno, Ha pa3ruqHr4rroprperr4, a noHeKoraru Aypvr14
no uefyce6ua roBp3aHocr, Bo e[Ha r.rcraKpeaq]rja, urro ja goraxyna
HeKoH3r4creHTHocra
Ha cr[.ncKara KoHqe[rll4ja oq roa BpeMe.
Og roj repr4oA ce corryBaHr4
HeKoJrKyrlapcKrr[oprperr{. Hajsnavajura ce
noprperrrre ua Becnasr.rjauog Hapoua u florr.rraqujano4 Korop (rar. 81, 82).
14 gsara [opTpeTa [oKa)KyBaaT KJracuqr43aM,r{Aeanr,r3r/rpaH
rlap rroJrHco
go6pu oco6unu. Eorarcrnoro Ha rrJracrr,rKara
v Br4coKaTaco$ucrraqupanocr
na SnanuencKrror rroprper Moxe Aa ce Br{Ar,r
Ha JruKoBr{TeHa )KeHr,co
rl4rrr4rrHr4
Spra:ypra,KaKo Ha npr4MeprJraBara Ha )KeHaog 3aqap (xar. 94) lr

oHaa oA lllorr.run (xar. 95). Bo oeoj nepl4oAnoprperor ce jaByBa Ir KaKo

yKpac Ha crrrHaTarr.lracrr{Ka.oco6euo ce [pHcyrHh JII4KOBI{Te
Ha >KeHI4
rpercraBeHr4Ha uHoJrrr,yKpacHr4
Lrrruv [pcreHll oq janrap (rar. 97-98).
)KI4BonpoAyl{r{paar
Hu: qeruor rrpB BeK r{ AoMarxHr{Tepa6orr4nHl4ql4
noprperure Ha
rroprperr{. Bo onoj rrorneAoco6eHoce 3Ha.{ajHI4
(cre,'rn).
Hagrpo6unre cnoMeHhqra
Iloqeroror Ha BJrageerberoHa Tpajan e o6enexeuo co ilpoAon)<yBalr,eHa
'reHAeHqr,ru
KJracuqrrcrr,rr{Krrre
no raspa6orrara Ha rlapcKure [oprperr{.
lloprperor na Tpajan e jara, Ho Bo r{cro BpeMerr 3ao6neHacKyn[rypa
6orara co [racrr4qHrr Aeranr{. Bo nogoque)KHr,rorrrepr{oAoA BnageerberoHa
Tpajau qoaia qo cpe(na cr.rHTe3a
uefy uopanerrHl{TeHacrojynamaco eAeH
IlocaMocBeceH.
noManKy\ypt4 v rpy6. Ho ropA 14MHcroBeHutpaz uuja
rIcI4xoJIonKaKapaKTepr{3aqr.rja
e [perneAHo rrcKa)KaHa.Tunuqeu [pr,rMep 3a
oBa ce roprperr4re na Tpajan HarrpaBeHr4
rro yrJreAHa HeroBrror noprper
HarrpaBeHBo r{ecr Ha Aecerr-oAr,rrrrHr{Hara
oA BnageerberoBo 108 roglrua. Og
p a H u o r n e p u o l n a T p a j a H o s o r o B J r a [ e e r bcee K a K oH a j r . r H n p e o l e enH
oprper
rpercraByBa 6poHreuara rrraBa Ha flocrap Max( oA Kocro"lr ua flyuae (rar.
104), a loroa rJraBara Ha nopaHeu)KeHrr.rr Ha rlapeB roprper og Blrc (rar.
105). tr4eo Tpajanono BpeMecd yurre e Bo MoAanoprperor KaKo yKpac Ha
cr4rHuAeKoparr4BHr4
(cr. npcrenor og janrap oq 3agap) co
flpeAMerr,r
KaKBa
oHaa
Tpajauonara )KeHalhoruHa (rar. 122).
rrro
e
ua
$pra:ypara
Bo epeuero Ha rlap XagpujaH roprperHara cKynrrrypa Ao6uBa HoBu
noTTr4I{r4
r{oLIOAeAHaCTpaHaCe nocneAl4rlaHa rlapcKoTo, Ho r.1onruTofo
orrxrecrBeno oAyueByBalbe 3a fpquja u cd ruro e rpr{Ko, a oA Apyra crpaHa
locneAuqa na Qopuarnoro raj axnyBarle Ha Koropr4crurrKr{TecKyn[TyparHr4
geral xoj
aKrIeHTr4
(ronrpacrn). Bo npcxa co roa e rr eAeHKapaKTepncrr4r{eH
cera (e 6uge peur,rcnHeoAMr4Hnr4B
e.rreMeHT
3a oxlrByBan,e Ha AyueBHara
cocroj6a Ha noprperr4paHara rurrHocr. Toa e na:sar{yBa}L,eHa ruapeHr.rqara14
3eHHrIaTa BHaTpe BO OKOTO.

-7

H a j u H r e p e c H r r en o p r p e r h o A n p e M u H o ro , qr p a j a n c x o H a x a g p n j a u c x o
go6a ce coqyBaHr.r
eo Maregonuja. Hajruavajnr.r ce rruKoBr{Tena rpafanuuor
Opecr oq Xeparrea Jlunrecrlrc? oAHocHoog Crr.r6epa(rar. 113, 115).
Craryara og Xepaxnea e oA paHr{or xaApujaHcrraneplroA co cd yurre
lplrcyTHa TpaJaHcKaTpaArrrlrr]a,ocooeHo Bo MoAenr4palf,eroHa KocaTa, a
u:pa6orraa Ha rxapeHrrrlnTeH 3eHr,rqrrreBo orrHr4TeAy[Kr{ oAnaBaar
xagpnjancra flocrarrKa. Bropnor noprper Ha r{crara Jrrrr{HocroA eAHacrpaHa
IIOKa)KyBa[OHaTaMOnHaAefpaAaUnJaHa CTapCKr,rOT
Jrr{K,a OAApyfa CTpaHa
rrncro xaApujancru rperMaH Ha Kocara, rycrara 6paga u 3aceKor Ha
6ncrara. Heua corrueHr4eAeKa oBr,renoprperr{ oA Maxegonr.rja ce
u:pa6orenu Bo eAHalrru nosefe cpoAHr.rpa6orr4rHurlx Kor,rrroKa)<yBaar
orrr4rregHacrrrncKa cpoAHocr. Tue u ue Mo)Kar Aa AeBr{TrrpaaroA
coJryHcKI,ITe
aTelbea.
Bo npelrero ua TpajaH u Xagpujan ce r{HTeH3r,rBupa
u:pa6orKara Ha
JIr4KoBr4
Ha rpqKr4 $nno:oSr.r lr [oerr{. Tl.re ce janyeaar ocoBeHoBo
flanuaqnja u eo Maregorurja. I,I:eonpegnrace [pr{Mepoqr4TeHa roBopHr{Kor
Ecxnn r4 Ha eAeHHeno3Harnoer oA Xeparrea Jlnurecruc Kor4ce r{yBaar Bo
British Museum eo Jlougou. Onge rpe6a Aa ce cnoMeHar 14noprpernre oA
Hagrpo6Hlrre cnoMeHHrlr4
oA JroKaJrHnrepa6orurHr{qr{ Bo fia"nrtrarluja,
Croeenuja (Illeunerep), KaKo u no jyxHa Cp6uja n Maregonraja.
TengeHquure [rro ce uauuSecrr{paar Bo BpeMero ua Xa4pr,rjauce
npoAoJr)KyBaarr4 rrogoqHaBo reKor na II ne<, yrrrre nouHTeH3r{BHo.
lluxryparuure r{ rrJracrrrrrHrrre
KBaJrr,rrerr,r
ce :ajaruyeaar r{ Toa [opagr.{
ynorpe6ara Ha r{rrlKacro KoHr{r4nr{paHr{
AeJroBrlHa uraBara noKpr4eHrrco
Koca, KaKo I{ [opagr4 6recraso I{3Ma3HerlrreuopuI,rHI,IHa I,IHKapHarI4Te
Ha
Jrr4rlero.Hajnaxeu roprper og roj nepr4oAe Jrr4KorHa rlapor JlyqraeBepa oq
flryj (rar. 134), nopaqu cnojara rlr[]rr{Ha nocrarrKa na gna6oro ceHr{eHr4
AeJroBrrHa r.rraBaranoKplreHr{co Koca ruro ce u:pa6orynaar co gla6oro
3aBJreKyBarbe
Ha 6p:o porupar{Ko cBpAJro,KaKo r4nopaArr rxapMor Ha

J
(t)

r r')
'-)
-l
r-.)

F.
F

w.
,U
F

c.l

MoAHlrreAeraJrr4(xocara u 6pagara). Baxen e Qarror ruTo Bo BpeMero Ha

u:pa6oren no
AHronue 3a npBrrar ce jaeyaa noprper Ha ueroj BJIaAeTeJI
rJraBaraHa
AoMarxHapa6orr.rnnraqa.Bo roj noruregoco6eno e I4HTepecHa
Mapxo Aypenlre lr:pa6oreua pequcu KaprrKarypaJrHoBo 3agap (xar. 135).
BpeMeru 3aAp)<a
14 paHoro ceBepcKogo6a ao Harxrlre KpaeBI{3a I,I3BecHo
TeHAeHrlulrrerrrro ce uaur.rQecrupaaBo AoIIHoarIrHcKI,IornepuoA,
Ha $opunre, aerarr4Tev
eAr{HcrBeHoce :a6enexyBa cKor{aHyBarbe
ua6ronusaqrra Ha nxKTypanHr.rree$errra, no no uajgo6pure ocrBapyBarbace
janynaar r,r3BoHpeAHo
KBaJrr{rerHr{n npeQuueru cKyJr[TypI{.Bo cenepcruor
neplroA noBTopHoBo rrpB nraH us6usa qapcKara ceuejua [poilaraHAa.
Kapa6are n
I4rraeHo,Cenep npaBrr cd :a Aa rra a$uprtrupa cBoI{TeCLIHoBLI
lere. Perxu ce JruKoBr{TeHa qapeBr4og roj rrepnoA, Ho 3aToa ce coqyBaHI,I
uraBrlTe Ha llrtayrura, conpyra na Kaparane xoja curypHo He Mox<eJIaAa
oA
cror,r caMa 6e: crojor co[pyr. I,IenoHpeqnuce rrpuMepoqllTeHa TJIaBI,ITe
Carona urro rr,r HaAMr{HyBaarcr4re Kpeaquu Bo pI{McKI,Ior cBer og roj nepLIoA
(xar. 177, 178).
Bo nogoquara ceBepcKayMerHocr 3anoqHyBaarHa rIoBpIxrlua aa ll3Jraraar
gO6UNA
HA TJIABATA
HCKOI4TIJIACTI4TIHI'I
BO KOI' CTPYKTYPATA
KBAJII4TCTI4
loBTopHo 3arBopeHaQopr*.ra,AoAeKaKonopI{crI{yKI,ITeaKqeHTucla6ear. Toa
oco6eno go6po ce Boor{yBaHa rJraBnre Ha Kapaxare, fere u ArercaHgap
Cenep. KaKo H Ha Jrr,rKoBr,rre
sa x'euure oA BnaleaqKnre ceuejcrsa. Zaxo
ce
cMr,rpyBa,
BHarpeuHara
renruja ce none(e pacre, ruro oco6eHo
$oprtrara
ce ea6ene>ryBaBo rrorJrego'rrcoj e rroJrHco rara n rero6u. Onne ren4enqun
nocrojaHo ce sajaxHynaar Hr{3qeJrnor III ser I{ Aocrl{rHyBaar xynrruuaquja
Ha r{3BoHpeAHr,rre
rroprperr.r Ha qapeBr{TeMarcuu Tpavanr,rn, @uruu
Apa6janr,ru r.rTpajan fiequ og cpeAr4HaraHa III eer. Oaue rengeHllr{I{ ce
[prrcyrHn r{ Ha noprperr4Te oA Harrrr4TeKpaeBr.r,Ha npLIMep noprperor Ha
ar o 6 a
M a x p u H o g E o r e v r a j S e n r p a n ( r a r . l 7 l ) u a x o j e u c r a x a H a c r , r J r Hr e
14rr3BoHpeAHo
rperr.rparbeHa npaMeH?rreKparKa Koca I4 6paga. VI craryara
KapaKrepLIcrI4KI,IcaMo co
ua rpafanran og Cro6ra (rcar. I92) e co cJrHqHr,I
yrrrre rrorero6en lr:par Ha Jrr{qero.
flo rpaxara pecraypaquja rua Kracvr\vc'tvqKo-I,IAeaJII,IcrI,IqKIrorrlprrcrarl
KoH [oprperor rrrro ce vaHuQecrr,rpa Bo nocMr,rpeHou florearpaJrHo
AocrorrHcrBo 6es nnarpeureH HeMr{p, KaKo r,rnpu rpa(arrero Ha vogara alla
greca Bo rrepr{oAor ua farlreH, 3a[orrHyBarrpoqecor Ha BJleryBarbeBo
rpaHcrleHAeHTeJrHr.rre
BoAr{Ha floprperHara yMerHocr. floprperor 3a[oqHyBa
Aa ce crpeMr4KoH rrKoHurrHocr,xou ue6erHyBalbeHa AeraJlure,
HenoABr,r)GocT
r.r3aKpylHyBarbeHa 3aTBopeHaracTpyKTypaHa rJIaBaTa.
Mefyroa, He 3racHyBaarcr{TeBpeAHocrr4Ha aHTl{rrKaraKapaKTepl,Iraquja,na
I{HTepecHI,I
Bo BTopara rroJroBr,rHa
na III nex ce janynaar u I{3BoHpeAHo
Ha rIoprpeTI,ITe oA rlepnoAoT Ha
nopTpeTr.rKaAe ruTo e 3aApxaHa TpaAr{rIr4JaTa
cpeAlrHaraua III ser.
Ovuuegno e AeKa [oprperHara rrJracrr{KaHa pr{McKr4orrrepr{oAoA
uoqpavjero na Jyrocnaruja ru cJregeJra
flpr{MepnTeruro goafane oq
qeHTpr,r.Mnory [oprperr{, Kora craHyBa s6op :a
roJreMr,rrenpoAyKqr.roHr,r
oHI{e oA cnyx6eH KapaKTep, 6ea corranenne6rane r,rMrroprr,rpaHr,r,
Ho cerraK
roJreM 6poj og nus 6ure HarrpaBeHr{Bo AoMarrrHr{repa6orunnr,rqn.
flpo6nerrrarlrKara Ha r.rMrropror r{ AoMaruHlrre pa6orurHuqn cd ylure He
Moxe Aa ce corureAaBo cera caoja xounleKcHocr. l{axo ce pa6oru ra
lpoBr.rHqr,ru
Korr ce naofane Ha caMara rpaHr{qa Ha qapcrBoro, ceuaK HeMa
rpaj ro Jyrocnanuja rrrro He Aar 3HaqaeHnprlJror Bo HacJreAcrBoroHa
aHTr{rrKr{orrroprper. Og qpyra crpaHa, BpBHrIreocrBapyBarbace HecoMHeH
rrpr.rJrorxon pa:aojor r,rrro3naBarbero Ha aHTI{qKI{or Iroprper Bo IIenLrHa,