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Grcki i helenistiGkiportret
Ljubi5aB. Popovic

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Poynlt PoRTRETA ozna(ava suStinskopoimanie individue. Podsticaii za

predstaveportrera kod Grka nisu potekli iz religioznih pobuda kao'kod
E.gip6ana,vee iz divljenja prema ljudskim vrednostima, odnosno telesnim i
duhovnim vrlinama. Iz arhajskog perioda potidu prvi rezultati: ovladano je
predstavljanje ljudskog tela, razri5ena su ftanja inatomije, javljaju se
nagove5tajislobodnijegpokreta, odstupa se od nasledenetradicije egipatske
frontalnosti i ukoienoiti likova. U umetnosti Egipta i Mesopotamili poStovalo
se pravilo po kome je predstavljan tip, a ne pojJdinac. Arhajska gr8k" .r*.tnort
nij- stvorill porrrer. Ona je 6ovekapredstavijaiasamo u Upifnim] glavnim
tormama, sa ograniiavanjemna naiupadlfiviie spoljne oblike, kao 5to su frizura
i brada. Razliki izmedu boZanstvaiioveka bili ie'u tome Sto ie tovek samo
imao kra6u kosu. S druge strane, na sraruamadevojaka iz zrelog arhajskog
perioda, ukodenih likovi, sa karakteristidnim arhajikim osmehim, n i^tr"r,
natpisi koji oznadavajukojoj se boginji posve6eni.Ukratko, umetniike
predstave likova iz tog perioda, na kuroiima i korama, kretale su se u okvirima
najopitijih naznaka. Krajem arhajskog perioda grdki umetnik je ovladao
anatomijom.ljudskog tela, a istovremeno je do5lo i do primene novih ideja u
POrtretrsanJu..
Gr6ka urnetnost V veka pre n.e. nije dosegla istinski portret. Pogled na svet
ljudi ove epohe bio je usmeien ka lepoti i haimoniji, o.ri su instinkiivno
odbijali svi svojstva'koja su pretila d^arazruSeokvire tipiinog. Zavreine
persijskih latova, umetnici nisu teZili otkrivanju i oduvinju forme lidnog: o
tome najbolje svedoie portreti bradatih straregadiji 5lemovi pokazuju dl je red
o odvaZnim'ratnicima, a iskrinlle.ra usta jedinisu znak liinog.
Nagoveitaji individualizovanog portreta mogu se zapaziti na starui
Aristogejtona,koja je bila postavljenana atinskoj agori 477/476.g. pre n.e. i
koja jJpoznata po nekolikim rimskim kopijama.'Pirtret Temistoila (oko 528462. g. pre n.e.), iz druge detvrtine V veka n.e. veoma se istide uprkos
tragovima arhaizma u obradi lica. Sve Ee56irealistiEki pokuiaji, liako u
skulpturi tako i u slikarstvu navazama iz tog vremeni, bili su potisnuti novim
prav_cemi,teZnjom ka idealizovanju, koji uvode Fidila (oko 49tj. g. pre n.e.) i
Poliklet (druga polovina V veka pre n.e.), kao i mnogi drugi njihovi
savremenici.I pored. toga.,interes za prikaziuanje karaktera i
.osobenostilidnosti
uo6ava se na portretima Anakreona (572487. g. pre n.e.), Miltijada (oko 550488. g. pre n.e.) i Perikla (oko 495420_.g. pre n.e.), zatim.na prvim
pnmercima na gemama i novcu, u predstavamaTisaferna (kraj V i podetak IV
veka pre n.e.) i"Farnabaza(41,3-37rj.g. pr. n.e.). Na po-itrrrtip6rtretima
dolazi do proZimanja tipidnog sa individualizovanim,-5to im daje posebnu drai.
Portreti od IV veka pre n.e., pa i kasnije radeni portreti, odlikuju se sve
izra,i,enijomindividualizacijom, o demu svedodemnogi primeri portreta
istaknutih lidnosti iz tog vremena. Pre svega,porrreti-Herodota-$54430. g.
pre n.e.) i Tukidida (oko 460-400. g. pre ne.e.), dvojice najve6ih isroriiara
antidkog sveta,zatim Lisije (oko 445-380.g. pre n.e.), iuvenog govornika i, na
kraju, dvojice velikih umova, Plarona(oko1il-l+7. g. pre n.e;i Sokrata(469399. g. pre n.e.), a tvorac portreta te dvojice filozof.amoi.daje iuveni vajar
Lizip. Podaci iz pisanih izvorakazuju da je Likurg (kraj IV veka pre n.e.),
drZJvnik i orator-, za l1O. olimpijadu (oko 340-33d.'g. tt. n.e.) u atinskom
teatru postavio bronzane statue Eshila (525/24456. g. pre n.e.), Sofokla (96406. g. pre n.e.) i Euripida (oko 480-406. g. pre n.e.). Sva tri portreta
identifiliovan" in po-b6n rimskih kopija i. L^tt^n
i Napulia.
NajdeS6aforma portreta u grdkoj umetnosti, bila je statua - portret,

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odnosno ceia ljudska figura, sa svim individualnim osobenostima.Sa6uvani

natpisi na jednostavnimniskim bazama(postamentima)ukazuju da su statue
postavljenena mestima na kojima su odrlavane raznesvedanosti,posebno u
vreme helenizma. Isto tako, veoma rano se javljatel.nla da se ljudska glava
predstaviposebno,u novoj formi, odnosno hermi. U podetku se to odnosilo na
predstavuboga Hermesa da bi, tokom svog oslobadanjaod prvobitnih
reiigioznih osnova,herma dobila lik, odnosno predstavu6oveka.Naj6e56esu
postavljenena jednostavnestubove na kojima je, kao velelepanukras, bila
ljudska glava.Herme su najde56e
postavljeneu salama-hermama,
pored bazena.
Na freskamaiz Pompeja (ku6a Marka Lukrecija Fronta) herme su elementi
dekoracijapejza2a,a 6uveni i veliki nalaz hermi iz Velibilga deo je ukrasa
jedne rimske vile (sadau muzeju u Trijeru). I, na kraju; poslednjaforma
portreta na po6etku helenizmajeste bista - 5to je u6injeno i iz praktiinih
razloga.Skra6ivanjem,6estoveoma glomaznih hermi, dobijala ie tektonska
forma, koja je ostala.Helenistiiki skulptori se viSenikada nisu vratili
naturalisti6kimpredstavamalludskog tila kao 5to se to dogodilo kod Rimljana.
U sklopu ostalih umetni6kih dostignu6a grike umetnosii, zapai.amo da je
gr6ka umetnost porrrera kra;'emV veka pre n.e. bila zaokupljenapromenamau
prikazivanju - od. tipiinog ka li6nom. T.akv.anastojanjai.nipori blli su
usmerenrka osvajanjui usavrSavanju
prirodnih formi, ali i potpuno novom
vrednovanju n.pr.uilnog, rrenurnog i^ruZnog.Takva otkri6a poseb.rose odnose
na diferencijaciju fizionomil'e, odno:sno izraia, a takode i na psihidka svojstva.
Drugim re6ima,ustal;'eniideal harmoni6nelepote i mere, kao najviSiideal, viSe
ne vai). Osnovni zadatak skulptora je da svojim figurama predstavi delatnost
duie, estetski zahtev u Sokratovoi formulaciii.
_IdejeSokrata(436-338.g. pre n.e.) o velikoj imperiji zapotinje da ostvaruje
Filip II, kralj Makedonije (359-336.g. pre n.e.), da bi ih njegov naslednik
AleksandarIII (Veliki) - (336-323.g. pre n.e.) ostvario u poipunosti. Velika
Aleksandrovaosvajanja,upoznavanjedrugih naroda, kultura i civilizacijadoveli
su do medusobnih uticaja t proLimanja, do tada nepoznarih. Ova pojava u
umetnosti n zyanaje helenizmom,5to pre svegazna6i Sirenjegr6k1 umecnosti
van gr6kih ostrva i kopna, a njen rodona6elnikje Aristotelov Q84-322. g. pre
n.e.) u6enik AleksandarVeliki, iijom pojavom zapoiinje helenistiiki period.
A l e k s a n d r o v ae p o h a u j e d n o j e e p o h a L i z i p a , v e l i l i o gs k u l p t o r a .P o j a m
helenistidki, za razliku od helenski, oznaAva novi duh i ve6 u zadetku bitno
menia.pogledegrdkih y-Ti!i,
Sto.se.posebno
odnosi na realizam,kofi
zapoirn;e u tom periodu. Re6 belenist|s,umesto hel6n, prvi put je pomenura u
B i - b l i i i J. e v r e i is u p r i h v a t i l i g r c k i j e z i k i g r i k u c i v i l i z a c i j uk a o k o n r a s t s v o j o j
civilizaciji i hebrejskom jezlku.
, U'poznavanjem stranih zemalja, kultura i jezika proiiruju se helenistidki
horizonti u odnosu na klasi6anperiod. Nastal'eprocvar nauke i filozofije.
Prouiavanje Zivota drugih ljudi dovelo je do predstavljanja njihovih osobenosri,
karakteristika (poznato je da su Grci u klasiinom periodu sve druge narode
smatrali varvarima). Helenisti6ka umernost predstavlja Gale, crnce, Italike sa
dubokim razumev'anjem.Prvi put su u helenisti6koj umetnosti prikazani robovi,
ribari, sto6ari,seljaci,sa iznenaduju6imnaturalizmom, koji je, ujedno, bitna
odlika u odnosu na idealizam klasidne umetnosri. Studiranie prirode podsti6e
s t v a r a o c en a p o r t r e t i s a n j eU. t o m p e r i o d u j a v l j as e v e l i k o z a n i m a n j eu m e t n i k a
za individuu, karakter i osobenostiindividue.
Jedan od najval.nl1ihvidova literature u ranom helenisti6kom periodu jeste
nova komedija, sa Menandrom pre svih, u kasnom IV veku pre n.e., 5to je
najbolji primer poja6anoginteresovanjaza sudbinu obiinog gradanina.Jedna
od odlika tog vremena jeste i kontrast u komedljama: izmedu starosti i
mladosti, lepog i rui.nog, snaZnogi slabog. Drugim redima, pored lepote, koja
je bila glavnapreokupacijaklasidneumetnosti, novi motivi i uzori, do tada
nepoznati, sve viSepobuduju interes umetnika. Taj interes je preovladao u
realistiikoj koncepciji ljudske figure i ne samo to - modeluju se anatomski
detalji ljudskog tela. Svakakoje u tome prednja6ioLizip, koji je izradio veliki

broj statuai portreta. Njegovu kolosalnu bronzanu statuu F{erakla,koja se

nekada nalazllau Tarentu, opisao je Niketa Akominatos iz Hone (1150-1210),
koji kaZe: Njegove grwdi i ramena su iirolei, leosagusta, zadnjica debela, a ruke
miiitaae. Sasvimje sigurno da je svemu tome najviSedoprineo Lizip,
produbljuju6i interesLa prirodu i individualizam,5to je dovelo do inaZnog
procvata.realisti6kog portreta.,To potvr.duju mnogi radovi, od kojih izdvajamo
samo najznaiajnije:portret Sokrata,koji je bio postavljenu Atini (po ovom
uzor:u izrad.enesu glave koje se danas nalaze u muzejima Vatikana, Rima i
Pariza), zatim glava SeleukaI Nikatora (oko 358-280. g. pre n.e.) 6iji tip
prepoznajemou bronzanoj glavi iz Herkulanuma, i, na kraju, nekoliko portreta
AleksandraVelikog. Aleksandarje bio toliko oduievljen Lizipovim radovima
da je naredio da saitro on moZe daizradrle njegove li'kove. erlrr.n" herma
Azara (sada u Luvru), kao i predstave na novcu, bez sumnje su inspirisane
Lizipovim ume6em.
Prate6i dalji razvoj portretistike iz poslednjetre6ineIV veka pre n.e.,
ponovo moiemo da uoiimo pove6aninteres za individualnost.Zahvaljuju6i
tome, u III i II veku pre n.e. izrad,enaje galerlja sjajnih srarua- portreta. Tu su
Demosten (384-322.g. pre n.e.), Polieukat i Epikur (342/41-271/70.g. pre
n.e.), zatim Hrisip (oko 280-205. g. pre n.e.) i imaginarni Homer. Zapal.amo
d a i e _ H o m e r o vp o r t r e t u s u i t i n i u r a d e nn a i s r i n a i i n n a k o j i s u s e p e s n i c i
anti6kog sveta iikazivali u sferama imaginarnog. Vecina njegovih porrreta u
s t , r a r i e b i l o k o i i p e s n i k ,d o k s e j e d i n i p r i m e r i k z a k o i i s e f r e t i r o i t a v l j ad a
predstavlja Homera i koji se danas nalazt u Minhenu, odlikuje veoma
izrai.enrr;' individualnim karakteristikama u obradi lika.
Grdki skulptori helenistidkog.perioda suJ popur glumaca,_
6esto boravili u
raznlm mestima,ne zadr|.ava1u6i
se ni u jednom preteranodugo. I pored toga,
postoje pouzdani podaci o pojedinim 5kolama,kojima su svoj peiat naj6ei6e
davali isiaknuti vajari tog .'ri.-.,-,.. Klasi6nim't^dtrii^^^ najviSese odiikovala
atinska 5kola, dok je deloska ikola postigla rzuzetne uspehe r izradi portrera,
kirenska je majstorski sledilakopiranje starijih vajarskihdela, a sikionska Skola
je rLivala.joi mnogo ranije stedenuslavu uizradi skulptura u kamenu
I U DrOnZl.

Sve 5to je odlikovalo skulpturu helenisti6kogvremenamoZe se videti na

p r r d s t a v a m aa n t i a k i hg r i k i h g e m a .N a n e k i m a i e u o i a v a j u p o d s e c a n j a
na
arhajske forme, na drugim 1eizrai.en snaZan realizam, dok ve6ina ima
naglaienumekotu u obradi, a radenesu u poludragom kamenju: granatu,
berilu, topazr, aharu, karneolu i sardoniksu. Staklo je 6esto .tpottiblj"n".ro.
Saiuvan je podatak da je Pirgotel, zvani6ni graverAleksandraVelikog,
izradivao mnoge geme. Na jednoj, na kojoj je predstavljen mladi6 kako navla6i
nazuvke (knemide), prrkazan je lik Aleksandra.
. Geme pronadenena tlu Italije takode su bile pod helenistiikim uticajima.
Teme su najdeS6ebile grike: ratnici, heroji, konjanici, razne religiozne
cerem_onije,.ali
i popularne erorskescene.Geme na italskom tlu, ipak, stilski su
se razlikovale - na trji-a se jasno moi.e zapaziti etrurska tradiclija.
... Za pr.ouiavanjei upoznavanjegrckog porrreraveoma je znaiajnapojava
l r k o v av l a d a r an a n o v c u . K r a j e m V v e k a p r e n . e . p r - v ip u t s u s e p o j a v i l i l i k o v i
persiiskih"satrapa,Sto je kasnijepostalo.praksau mnog.imazijsklm.
kralievinama,re smo tako u mogucnosti da pratimo originalne grike portrete
na novcu, 6ak puna dva veka. Nlipre su se pojavili portreti AlJksandia
Velikog, a,zatim i njegovih naslednika.Medu najlepseprimerke grike
portretrstrkena novcu nesumnjivo se mogu uvrstiri: portrer Fileteraiz
Pergamona(oko 343-263.g. pre n.e.), Antioha I Sotera(324-261.g. pre n.e.),
kralja Sirije, Perseja,kralja Makedonije (213-162.g. pre n.e.;, narodito
Futidema I (22-187. g. pre n.e.) i Antimaha I iz Biktrije (190-180g. pre n.e.),
kao i Mitridata III, kiala Ponta (220-185.g. pre n.e.)..Moglo bi se"re6ida je'
d o s t i g n u tn a j v i S n
i i v o r e a l i s t i 6 k o gi z r a L a va n j au p r e d s t a v l j a n j u
lime,bio
l J u o s K o lgr K an a n o v c u .
Iako su rimska osvajanjaGr6ke okoniana 146. godine pre n.e., Atini i

ffin'nnil*

nekolicini grdkih gradovabilo ie dozvoljeno kovanje novca. Griko noviarstvo

d-efinitivnose.ugasilo.ustanovljenjem
Rimske Imperije, 30. godina pre n.e.
Koliko ie tradicija helenistiikog vremenadugo Ziveladokazuie zlaran srarersa
Aleksandrovim imenom, koji su bili usvojili makedonski kraijevi, a bio je
prisutan i u rimskom,periodu. Tako je.rimski konzul Flaminin 192. godine pre
n.e. koristio Aleksandrov sraterna koji je utisnuo svoje ime i svoi portret.
Mnogi griki umetnici koji su stvarali na italskom kopnu u.e-erio- su
primili uticaje ka.snogerrurskog.porrrerisania.
Drugi ne'manje va2anuricaj je
ustaljenapraksa izrade posmrtnih maski u obliku io5tanih otisaka sa
pokojnikovog lica. Veoma se iesto ovaj momenat navodi kao presudanu
oblikovanju realistiikog karakterarepublikanskogporrrera. Midutim, moramo
uzeti u obzir bitnu dinjenicu da je helenistiika koncepcija u vreme Rimske
f'epublike bila z.aistadominantna na iiravom italskom prostoru ukljuiujuci i
Etruriju. Podsetimo se samo na portrere lokalnih .trrr.ikih maistora.6iie se
fizionomije bitno. razlikuiu od giikih. Ti portreti su ve6 u I veku pre n.e.
slabije zastupljeni i nisu imali znaiajnrji udeo u formiranju kasnorepublikansko
nmskog portreta.
. Gr6_keskulpture, a posebno portreti znaiajnljih lidnosti, mehaniiki su
kopirali gr6ki umetnici-skulptoii, koji su bili u iluzbi Rima sve do kraja II i
podetka I veka pre n.e. Naroaito su bila poznata dva umetnika: pasitel'i
Arkesilaj iz I veka pre n.e., kako saopstavaPlinije (Gaiws plinius secwndus,
23/24-79. g. pre n.e.). Zahvaljuju1i toj aktivnosti, saiuvana su od zaborava
mnoga znatajnadela gr6ke portretistike i iesto se malo razlikulu od originala.
Kasnije izvanredne serije portreta na rimskom novcu svakako su bile"
i n s i p i r a s a n ge r : k i p p o r t r e t i m ai p r e d s t a v l j a j up o s e b n op o g l a v l i eu u p o z n a v a n j
rlmske Dortretrstrke.

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Maska iz Trebeni5taod zlatnog lima rad je svakakodoma6egmajstora i

otisnuta je sa lika ilirskog kneia, sa teznjom da ovekoveii piko;nika. Nadena
i e u p o z n a t o jn e k r o p o l i , i h e m a t i z o v a n a
. 6i i
ie idosta povrino obradenaO
obrve nisu tipi6ne, usne su tanke i srisnute,dok je brada izral.enata6kastim
ispupdenjima. Predstavu lica karakteriie izraziti naturalizam. Po likovnim
vrednostima, pored nedostataka,karakterizacrjalicajedinstvena je ne samo na
naiem tlu ve6 i na ostalim evropskim podrudjima. Jedina, ali 6isio formalna
analogrja,jesu maske iz Mikene, madi je e.ridentnavelika hronoloska distanca.
Ovaf obiiaj oblaganjadelova lfudskog tela srran je Mikencima, pa se moZe
p o m i 5 l j a t in a . p o s r e d a ne g i p a t s k u
i t i c a l n a P e l o p o n e zp, o s r e d s t u o - K r i t a . I
pored mno_gihotvorenih pitania u vezi sa pojavom zlalnih maski u Trebeniitu,
istoinomediteranski uticaji svakako su primarni i posredno su doprineli
prenoSenju starijih egipatskih uzora. Mlska iz Trebeniita je pretela potonjih
p o r t r e t a n a n a S e mt l u s k r a j a v l v e k a p r e n . e . ,o d n o s n oi z 5 2 o . g o d i n ep . e n . e .
(kat. 1). Medu mnogim nalazimaiz Nbvog Pazaraizdvajase cilibar raznolike
obrade u razliiitim oblicima. Pored mitolJskih scenaizvedenih urezivaniem.
postoje sve5teniceili kore, obradeneu punoj plasrici.Medutim, posebno su
zan.imliivenekolike maske ljudskog liki. Ukupno je otkriveno sestmaski, od
kojih samo dve imaju izraziti kara[ter arhajske jonske plastike. Po stilskim
odlikama, uzori su im griki radovi.pronadeniu' juZnojitaliji. Realistiinija
obrada nekih maski (kat.3, 4,5)u[azuje na ro da se njihovaizradamoLe
pripisati doma6im maisto.rima,iako su radenepo grdkim uzorima. I pored
iasnogsdlskog manira arhajskeumetnosri,kod njih se mo2e ustanoviti
realistidkanota u obradi. (kat.2).
Ljudski lik se takode pbja"ljuje krajem gvozdenog doba, na fibulama sa
predstavom maski oko 500. godine pre .r.e. u nalaziira iz Vinice i Vrebca.
Medutim, mnogo su znadajniji nalaii obradenih Zenskih glava radenih u
6ilibaru, iz Kompolja (kat. 6, 7). Svojim stilskim karakteristikama jasno.
svedoie o posrednom grikom uticaiu, preko Spine i Adrije, na reritoriji
Poznata_analogiiaie jedna perla iz Ceioze u grobu 1,00,zatim drugaiz
hnoa*.
Marcabota kod Bolonfe i tre6a iz Falkonare s kraia Vii podetka V veka pre"

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Glava iene
Stucco
Vis (Issa)
iII ili II vek pre n e .
A r h e o l o 5 k im u z e j , S p l i t

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Head of a woman
Clay
Vis (Issa)
J r d o r 2 n d c e n t u r yB . C .
ArchaeologicalMuseum, Split

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n.e. Uporeduju6i glave iz Kompolja (kat. 8) sa navedenim analogijama,

mozemo ustanoviti bliske veze izmeclu Japoda i arhaiskog grdkog sveta' a
italsko do bilo je samo posrednik preko koga su se ovi uticaji i odvijali. To je,
u stvari, period domina-ije EtruraCa na severnom italskom Prostoru' ali u isto
vreme i po6etak gr6ke kolonizaclje, kada Fokejci osnivaju Spinui Adriju, a _
njihov uiicaj se proSiruje dolinom Poa, naro6ito u Picenumu. Jedan primerak
glave od 6ilibara, po na6inu obrade kose i odiju, pod uticaiem je keltsk-ih :uzora,
zakoje postoje paralele ,t nalazimaiz nekropole u Belmonte Picenu s kraja V
veka pre n.e. Ovaj primerak svedodi i o kontaktima Japoda sa Keltima, koji su
ostvarivani i pre poznate keltske invazrje.
Na grikim nadgrobnim reljefima iesto se rr'ogu zapaziti odredene
individualne karakteristike na licu umrlog. Ti spomenici su, po pravilu,
obliku hrama in antis, sa redovnom pojaiom opraitanja od fok-ojnika koji sedi
na stolici (diphros.).,
doLnajbliZi stoje. Veoma testo.likovi su predstavljenisa
rzrazennn osecan;rma.To se moZe uoditi na nadgrobnoj steli iz Crnobukija, u
Makedoniji, koja je izradena po uzoru na pomenuto atiike leljefe' Najblizi
uzori su stela Damasistrat6itAtine i stela Thraseasi Euandrija izHagiia
Trijade. Realistibkim tretmanom rzrazalica na steli iz Crnobukija narodito se
istiie sluSkinja i de6ak, a titava kompozicija je van uobi6ajeneikonografske
forme atiikih stela. Zenska figura ima ionsku tuniku (epiblema), sa
analogijamana statui Sapfo iz Vile Albani u Rimu i na vazi slikara Pasiadesau
Britanskom muzeju u Lbndonu. Stela iz Crnobukija pripada IV veku pre n.e.,
postpartenonskom odnosno prehelenisdikom periodu (Li. P opovi(,, Zia a
antiha, YII/2, 1,957,252.)
Reljefna plotaiz Trogira verovatno je deo nekakvog nadgrobnog spomenika
(kat.9). O6uvana je predstava L.enekoia sedi na stolici. U desnoi ruci drZi
5tap, koji ulazi\t sud oblika izduLenog pehara. Preko glave ie prebaien plait, a
profil je veoma izrai.en. Stilski je bliska predstavamana jonskim nadgrobnim
ipomenicima, odnosno steli iz Tenosa. U Dalmaciji nije bilo slidnih na\azai
pretpostavljase da je u Trogir done5enaiz Male Azije ili sa egejskihostrva.
Vremenski se mo2e odrediti da je radenakrajem II ili podetkom I veka Pre n.e.
Antidka lssa (danainje ostrvo Vis) jedno je od najznatajnijih arheoloSkih
nalaziita u naSoj zemlji. O vremenu od IV do krajal veka pre n.e., istorijski
izvori i epigrafski spomenici jasno svedodeo njenom opStem znataiu, a u isto
vreme o Zavidnom itupniu kuiture i umetnosti. Issa je osnovana neposredno
pre Pbarosa, koji su oinovali egejski Parani 385/384.'g. pre n.e-, i ona
predstavlja uzoi najstarijeg urbinistitkog jezgra za kainge gradove na
jadranskoj obali. Pored pJznatih nadgro-bnilistela, grdkih hllenistidkih vaza,
glave Afrodite od bronze, nakita i osialog, veoma su zna6ajni i mu5ki i Zenski
portreti, izradeni u tehnici stwcco(gips pome5an sa peskom), kao i terakote.
Portreti se odlikuju jasno rzrai.enim ekspresionizmom, bez izrai.avanj.a
individualnih crta'nalicu, ali i bez bilo kakvog atributa boZanstava.(kat. 11,
l2). Navodimo i jednu glavu identiinih karakteristikamuski Portret_sabujnom
bradom i kcisom,'(kat. 1O),ali u kreinjaku, kao i primerak Zenskeglave sa
veoma karakteristidnimizrazom lica; moZda je u pitanju pokojnica (kat 13). I'
nakraju, joi jedna terakota, koja je verovatno pripadala ve6oj statueti, sa
bogato obradenom frizurom i sa briljenom u kosi (kar.I4).
Muiki portreti imaju zajednidku odliku: bujna kosa i brada, dosta briZljivo
obradene. Ti portreti imaju svoje uzore u nalazima iz |ui.ne Italije (Sicilija i
Tarent), a 6esio se mogu zapaziti i sliinosti sa teatarskim maskama iz tog
vremena (IV i III vek pre n.e.). Portreti sa Visa mogu se datirati - druga
polovina III i podetak II veka pre n.e. Glava od kreinjaka iz zbirke Dojmi na
Visu, sa nedov'oljno jasnim likom izbuljenim oiima (eksoftalmija), rusti6no je
obradena. Usiljen osmeh asocira na arhajski naEin prikazivania. Kosa pada sa
obe strane inaznatenaje kosim urezima. MiSljenja o njoj su razlitita, te se
procenjuje da je to provincijska koncepcija arhajskeumetnosti' ili posledica
itrurskih uticaja. Po naSemmiSljenju, ied je o etrurskoj proveninenciji, ali se ne
moi.eblii.e datirati (B. Gabridevie, Viiki spomenici,1958, 1O; M' Nikolanci,

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VHAD, LXVIII, 1.97

6, 1,02.).
Na osnovu podataka and6kih istoriiara i pisaca,iz istoriiskih izvora
saznajemoda ji postojalasamo jedna ilirska kral.jevina-drLava
od kraja V veka
pre n.e. do 158. godine pre n.e. Iz tog perioda, koji je bio ispunjen burnim
istorijskim dogadajima, poznate su takode i mnoge lidnosti. Imena ilirskih
kraljeva niZu se od Sirha (Syrrhas), Bardila (Bardylis) i Graba (Grabos), preko
Monunija (Monownios),Mitilija (Mytilios), Pleurata (Pleuratos) sina Bardila i
Agrona (Agron), pa sve do Skerdilaida (Sherdilaidas),PIeurata(Pleuratos),sina
Skerdilaidai Gencija (Genthios).Pored ostatakamaterijalnekulture, izuzerno je
znatajan i novac, koji je pouzdana potvrda istorijskih izvora, a ujedno
osvetljava dogadaje koji su se zbili na na5em tlu neposredno pre rimskih
osvajanja.(F. Papazoglu, Godiinjab ANUBIH % Centar za balkanoloika
ispitivanja 3, 1.967,1.23).
Na ilirskom prestolu 280. godine pre n.e. nalazi se Monunije, sa atributima
kralja. Niegovo ime nalazi se na jednoj moneti iz Dirahiona (Dyrrachion),
Durazzo, 5to pokazuje da je dri.ao i luku Epidamn (Epidamnws),Drat. Nadena
je i jedna tetradrahma (veoma 6est tip u Makedoniji i Trakiji) iz vremena
Aleksandrai dijadoha.Na aversu:glava nadesno,sa lavljom koZom, a na
reversu: Zevs na prestolu, sa atributima i legendom Ievo BASILEOS
MONOYNIO)2. Na osnovu podataka Pompeja Troga (Pompeius Trogws)iz
vremena cara Avgusta, sazna:1emo
da je Monunije sa Lizimahovim sinom
Ptolemejemratovao proriv PtolemejaKerauna,sina Filadelfovog,kada .jeovaj
u s p e od a p r e u z m em a k e d o n s k p
i r e s t o .V r l o j e v e r o v a t n od a j e M o n u n i j e k a o
ilirski vladar, bio jedan od vojnih komandanata Aleksandra Velikog. Kao
dokaz moZe se navesti jedan neilirski 51em(sadau Berlinu), na kome se
zapai.ajufrigijske kape, identiine onima koje su nosili griki vojnici, a koje su
prtkazane na Aleksandrovom sarkofagu u Carigradu. Posebno ie znataian na
hovcu sam lik Monunija, u vidu mladeg mu5karca, orlovskog nosa i sa lavljom
protomom u liku Herakla (preko glave). Ovaj ilirski vladar, sin Bardila ili
Graba, vladao je oko 300. godine pre n.e., a posvedo6enje 280. godine pre n.e.
(D. Rendi6-Mio6evi6, Ggdiinjab ANUBIH, XIX, Centar zabalk. ispit. 17,97.
T. I-N.; F. Papazoglu,Ziva antiba, XXII 1971,1.77.Ista,Historia XIV,
Wiesbaden,1965,2.).
Gencije, Pleuratov sin (180-168.g. pre n.e.), doSaoje na delo ilirske
kraljevine u vreme znaEajnljrhistorijskih dogadaja, odnosno drugog
makedonskog rata, kada Pleurat postaje saveznik Rimljana. Ilirska drZava se
nalaztlana prostoru severno od Drima i Ljeia, obuhvataju6i plemenske
zajedniceoko Skadarskogjezera i risanskog zaliva. Gencije je u tre6em
makedonskom ratu, izmedu Rimljana i kralja Persija, bio na njegovoj strani.
Gencijeva prestonica nalaztla se u Skadru (Scodra).Spadaoje u veoma
obrazovaneljude svog vremena i bio je naklonjen gr6koj kulturi i civilizaciji.
Majka mu je bila Grkinja i zvala se Euridika. Za vreme njegove vladavine
zaoitravaju se odnosi sa Rimljanima, zbog gusarenja raznrh ilirskih plemena po
Jadranu. Poslanike iz Rima, na 6elu sa Lucijem Duronijem, rimskim pretorom,
Gencije nije ni primio, jer je on sam destobio vinovnik gusarskihpohoda.
Uskoro stiZe i poslanstvo sa Visa (1ssa),sa Zalbom da Genciie odrLava
prijateljskeueze sa kraljem Persejem.Kao velt diplomata i politiiar u tre6em
makedonskom ratu, SaljeRimljanima 54 broda u Drat. (Epydamnos) otektjuti
rezukat bitke. Posle pobede, Persej Saljesvoje poslanike Genciju i zahteva da
pristupi Makedoncima. Taktidkim igrama i diplomatskim manevrima odbija
predlog, odekuju6i materi;'alnupodrSku. Poito je nije dobio, odlazi u LjeS
(Lissos),gde zapoiinje otvoren sukob sa Rimljanima. IJ neravnopravnoj borbi,
Lucije Anicije je okoniao sukob. Tada je Gencije bio zarobljen sa bratom
Karavantijem u Medunu (Meteon), kao i njegovi sinovi i supruga. Godina 168.
pre n.e. se smatra krajem Ilirske Kraljevine. Na osnovu podataka Livija (Titus
Livius - 59. g. pre n.e. - 17. g. n.e.) Rimljani su doZiveli pravi trijumf. Navodi
se, na primer, podatak da je Lucije Anicije zaplenio 19 tovara srebra, 13000
denara i 120000komada ilirskog srebrnog novca. Rimski konzul je izvrSio i

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prvu podelu i organizaciju rimskog ilirika na tri dela'

Gencijev novac kovan je u Skadru i karakteristiial ie po predstavi kape.na
glavi (peihasosili kausija). zanimljivo je da se taj. oblik kape nalazi na situlama
i, V"3" i Smarjete i na japodskim nalazima u Lici. To svedo6i da kapa niie bila
privilegiia ilirskih vladari, kao 5to je bilo prrkazano na Gencijevom novcu, ve6
je bila-deo no5nje,odnosno znak dostojanstva.Takode se nalazi i na
spomenicima materiialne kulture, u vidu heroiziranih doma6ih likova, koii su
iLjednatavanisa gr6kim boZanstvima. (D. Rendi6-Mioievi6, Godiinja.h ?1yy9g
diuitaa BIH III, Ceflrar za balk. ispitivan:1a,1', 1965, 77.; Isti, Vjesnih AMZ, 3,
VI-VII, 1972-1973,253,T.I-VIII.; Isti, Numizmatiibe aijesti, HND, XX, 31,
1 , 9 7 39, , T . I - I I . ) .
posle pada Gencija pod suverenitetRima, ilirskim krajevima vladao je Balej
(Ballaiosi, o kome mofemo suditi na osnovu saiuvanog ngvca..Ostava novca iz
Metkovi6a (Narona), kao i pojedinaini nalazi duZ jadranske obale, svedo6eo
razviienoi ekonomici u II viku pre n.e. Novac je kovan u Risnu i na Flvaru.
Primerak.novcanadenogu Trogiru (kat 27) je lik Baleja,sa orlovskim nosem,
stilizovanom bradom i f,osom kLia pokriva celu glavu i pada prema vratu. O
samoj liinosti Baleja nezna se *nogo. Mnogi autori se slaZuda je on vladao
p o s l e G e n c i j a ,o d n o s n o i z m e d u 1 6 7 " - 1 3 5g.. ! t . n . . ' N e k o v r e m e b o r a v i o i e .u
se i
Sk"dr,t, a pieito.rica je bila Risan (RhizoQ. Pod njegovom vlaS6u.nalazi
Faros (Phiros), s kojim se sukobio sredinom II veka pre n.e' Na bronzanom
.rovcrl iz Vrbanja na Hvaru, lik je veoma sli6an Baleievom liku. To je skoro
identidna muika glava kao na emisijama od srebra, sa istim nadinom obrade, ali
sa izvesnom kruto56u, 5to je verovatno rezultat nedovoljne ve5tine zanathje,
reza(a kalupa. I pored roga, svi ti likovi na novcu iz ove ostave imaju zais_t3
predsianomBaleja' (D' Rendi6-Mio6evi6,Arcb' Iwg',Y,
neito zaiednidko^sa
MCMLXIV, 83, T. i-II.;t. Marovi6, Godiinjak ANUBIH, XIII, Centar za
balk. ispitivanja,L1, 1976,231,T, IV-VIL)' Na k-rajunavodimo j nov.acplemena
Daorsa^(Daorsoi),tiji je centar verovatno bio u Oianovi6ima, gde je i naden
novdi6 ri llndrki- likom. Smatra se da je ro portrer odredene liinosti, moZda
plemenskog prepozira, u periodu izmedu Gencijeve i Balejevevladavine.
Zanimljiva-'1i poj""" kape tta glavi (petasosili kausija), o 6emu smo govo.rili.u
prethodnom tikstu. Novac Diorsa kouan je neposrednoposle propasri ilirske
dri.ave, 168. godine pre n.e., a najve6iuspon Daorsa bio je u ranim decenijama
I veka p.. .t.J. Pored ovog primerka, u nekropoli u Gostilju (79 i 90) nadena
su ioi dva novii6a. (Di. Basler,GZM, n. s. XXVI, 1971,333')'
Helenistiika kulturi u umetnost bile su prisutne i u naiim krajevima, a
posebno i na portretimaizranog rimskog perioda, odnosno u I i II veku n.e. u
balmaciji i Mikedoniji. Ne samo li6nost, nien izraz, likovna predstava i
karakter'lika ve6 su uvek primetne stilske osobenosti helenistiikog poimania
umetnosti. To trajanje svedodi o nienoj nesumniivoj snazi izrai'avanja i
vitalnosti duha.
Meclu portretima koii su otkriveni u Solinu (Salona)!7!vai.a.seportret . ,.
starijeg-oskarca (pesnikaili filozofa), koii se ne moze bliZe identifikovad, ali
je svaliakou pitanjl kopija prema grdkom uzoruiz sredineIV veka pre n.e., a
nasraoje u I viku n.e. (kat. 86). Dve [lave - telamonisapredstaramaAleksandra
sve bitne odlike.liinosti, a uzor
(III) V;[kog (326-323.g. pie n.e.).-izraLavaiu
,^ iith je p6"n t^ Lizip6vi starua. Prva glava ie iz prve polovine I veka n.e.
Porte Cezareje.i
1kat. +Sj. brrrg" glava nadena je u Solinu kao deo ukrasj tzv.
nekog ptolemeiskogprinca. Ova rimsk-akopiia takode
i-"rm ie da p"red"stavlia
ie iz vremenacara Hadritana(Publius Aelius Hadrianus, l'17-138.g' n'e')
kopijama
rimskim
medu
pt.ihod.toistakli,
tekstu
ikat. 109t. Kao Sto smo u
grakih oiisinala naj6e56er,] bn portreri znatajnlh lidnosti i filozofa. I ovaj
irimerak L Solina'1kat.141) moZe se uporediti sa iuvenim po.rtretima
'antiikoe
pesnika Eshrla(525/524456. g. pre n.e.). ova glava ie s kraia II i
pocetka"lil veka n.e. Znatainogantiikog fllozofa S.okrata(4.69-399.g. pre n.e.)
l.r, orrrorru izvora_ izradio jJsam Lizip. Mnoge kopije otkrivene su
prvenstveno na italskom tlu, a isto tako i na ostili- prostorima do kojih ie

ltsl

Glava mladi6a
Bronza
Novi Dojran
III vek pre n. e.

Muzeji Makedonije,Skopje
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Head of a youth
Bronze
Novi Dojran
3rd centurv B. C.
Museums of Macedonia,Skopje

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dopirala helenistidkaumetnost. Portret iz zbirke Danieli (sada u Zadru)

odgovaraportretima koji su nastalioko 330. godine pre n.e',.a obrada samog
lika i detaiji uvode nas u hadrijanskorazdoblje izpwe polovine II veka n.e.
(kat. 110). Portret fllozofa, naden u Dalmaciji, podse6ana Sokratovog uIenika
Aristipa Starijeg(oko 435-oko 360. g. pre n.e.), a u nekim detaljimaposeduje
izvesne odlike Sokratorrih portreta. Oiigledna je inspiracija grikim originalom
iz IV veka pre n.e., a vremenski je odreden u trajansko-hadrijanski period,
odnosno, u prvu polovinu II veka n.e. (kat. 111).Manja bronzanaglavatz
DrniSa preditavlji Euripida (485?-406?.g. pre n.e.) jednog od-klasika gr6ke
tragediji. Po uzoru na Lizipone radove i radove niegovih sledbenika, ova
r.piik"';. nastalau vreme Antonina u II veku n.e.'(l<at.142).
Medu rimskim portretima - kopijama na kojima je veoma upeiadjiv
helenistiiki uticaj, na prvo mesto treba staviti bistu Eshina (Aeshi.nes,389-314.
g. pre n.e.) otkrivenu u Bitolju (Heraclea Lyncestis) koju ie u Britanskom
muzeju preneo \f. M. Leake, 1839. godine, gde se i danas nalazi..To ie ve.oma
uspeSanportret u obliku herme, sa riuZevnom glavom, lepo-oblikovanim licem
i naglaienom bradom, brkovima i kosom. Ve6 1780. godine bila je otkrivena
Dortretna herma sa natpisom AESHINES i danas se nalazi u Vatikanu. Na
br.rornntog otkri6a i niSeg primerka mogla je biti identifikovana i mramorna
rt"tn" gorro.nika, koja.je nadena u teatru u Herkulanumu, a sada se nalazi u
Nacionalnom muzeju u Napuliu. Inade, sam Eshin spada u izuzetno zanimljive
li6nosti. Karijeru je'zapoteo kao obiian pisar, zatim ie bio glumac, a proslavio
se i kao sjajan advokat^.Kao pristalica Fiiipa II Makedonskog (359-336. g. pte
g. pre n.e').
n.e.) oitro je istupao protiv Demostena(Demostbenes,384-322.
Godine 330.. pre-n.e.^bio je izgnan iz Atine. Neko vreme Liveo,ie na Rodosu,
a umro je na Samosu.U vreme kad je ustanovljena vlast makedonskih careva
nad grdkim gradovima smatra se da je Eshinu bila podignlta statua, ali.to nije
dokalano. Zanimljiv je i podatak Hristodora da se u Zeuksipijevim termama u
Konstantinopolju mogla videti bronzana statua Eshina. Po svojim stilskim
odlikama nadabista spada u vanredne rimske kopije izvremena hadrijanovog
klasicizma,odnosno iz prve polovine II veka n.e. (kat. 112).
Statuau prirodnoj ueliditti,podignuta u iast Tita Flavija Oresta, gradanina
Herakleje Lincestis (nitolj), je-sa bizom i natpisom. U tekstu se navodi da ie
on bio .tgleina li6nost ovog grada i daie dva puta bio prvosve5tenik.-Glavaje
predstavfena realistidki, sa-bujno- kosom i biadom i brkovima u.vidu blago
povijenog luka. Ova statua je otkrivena na rimskom Portiku, zajedno sa
bstalim vbtivnim spomenicima sa poietka II veka n.e. (kat: 113). Glava
Menandra pronadenale takode u Herakleji Linkestis kraj Bitolja, a saduvanie
samo njen gornji deo. Kosa ie u obliku rastresitihPramenova,koji.padaju na
6elo, ispod"kogr tu duboke usadeneoii, koje uprauo i dopultaiu id-entifikaciiu
da je re6 o Menandru (Menandros, 342/41'-292/90,g. pre n.e.), Atinjaninu,.
osnivaiu nove komedije. Rimska replika poznatog helenisti6kogprototipa iz
III veka pre n.e., koja fe nastalapod uticajem Lizipa ili Lizipovskog tiPa
helenistidkihprindeva,potiie s kraja I i podetka II veka n.e. (kat. 114).
Medu portretima koji su otkriveni u Makedoniji posebno mesto zauzimaju
dva po.trita iz eepigova (Stybena). Bista Filoksena-predstavljaioveka
mislioca, sa neSto hladniiim izrazom lica ali sa izvanrednom obradom kose i
brade: izuzetan primerak u stilu hadrijanskog akademizma iz pwe polovine II
veka n.e. (kat. 1i5). Drugi portret, takocleiz Capigova,jeste poprsje starijeg
ioveka dosta odsutnog pogleda. Kosa je sa lepo obradenim kovrdZama, brada
je bujna sa naglaSenim"iop'u5te.ti- brkovima. Na levom ramenu je ogrta6. . IJtvrdeno je di je red o isioj osobi, odnosno o Titu Flaviju Orestu iz Herakleje
Linkestis, s tom razlikom 5to y'eova statua iz zreliieg doba odnosno iz
antoninskos perioda i moZe se datovati u sredinu II veka n.e. (kat. 116).
Padom S"kid.a(Scodra)prestalaie da postoji Makedonija, koja postaie
rimska provinciia.'Prvu orfanizaciiu rimikog Ilirika izvriio je Lucije Anicije
kao konzul, a prvu uprauu"nad tliiikom imao ie Cezar (Gaius Julius Caesar,
'1f,044.
g. pre n.e.). U njegovo ime upravljao je P. Vatinije (Pwblius Vatiniws,

Literatura
J. Babelon, Le portrait dans l'Antiquite
d'apres les monnaies, Paris 1950.
J. J. Bernoulli, Griechiscbe lkonograpbie,
Miinchen 1901.
M. Bieber. Tbe Sculptur,eof the Hellenistic Age,
N e w Y o r k 1 9 5 5a n d 1 9 6 1 .
E. Buschor, Das hellenistiscbe Bildnishunst,
Miinchqn 1949.
R. Delbrrick, Antihe Portriits, Bonn 1912.
G. Hafner, Spilthellenistische Bildnisplastik.
leryyrh einer schaftlichen Gliedirung,
Berlin 1954.
A. Hekler, Bildnishunst d.er Griechen und
Riimer, Stuttgart 19 12.
R. P. Hinks, Greeh and Roman Portrait
Sculpture, London 1,935 and 1976.
L. Laurenzi, Rittrati greci, Firenze 1947.
E. Pfuhl, Die An[Anpe priecbischer
Bildnishunst, MiincFen t922.
V. Poufsen, Les portraits grecs, Copenhague
1954.
G. Y. A. Richter, Handbooh of Greek Art,
London and New York 1969.
<-a-a-,
Portraits oftbe Greehs,3 vols, London 1971.
C. Seltman, Greek Coins, Oxford 1955.

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tribun 59. godine n.e.), 6ime je definitivno uspostavljenavlast Rima.

Nova umetniika shvatanja.suizraziti realiiam, mada je gr6ki portret i dalje
zasrupljensa detaljima,koji.ukazujuna stariietradicije.To iu, pr" ,u.g",
Klaslclzampa, caK, I arhilzrralsce torme.
osnovna odlika nasegda je proZimanje antiike kulture i umetnosti sa
doma6im stvaralastvom.-uvek frisutan, ziv i kreativan duh antike u sferi
duhovne inercije bi6e osr-edoien i u kasniiim umetniikim tokovima.

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Didrahma Filipa II Makedonskog

Srebro
359-336. godine pre n. e.
Arheolo5ki muzej, Zagreb

Greekand HellenisticPortraiture
Ljubi5aB. Popovic

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Tetradrahma Aleksandra III

Velikog Makedonskog
Srebro
3 3 6 - 3 2 3 . g o d i n ep r e n . e .
ArheoloSki muzej, Zagreb

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Tetradrahma Ptolomeja I Sotera

Srebro
323-285. godine pre n. e.
ArheoloSki mnzej, Zagreb

120l

Tetradrahma kralja Demetrija

Poliorketa
Srebro
306-283. godine pre n. e.
Arheoloiki muzej, Zagreb

F6l

Didrachm of Philip II of Macedonia

Silver
359-336 B. C.
Osijek
Archaeological Museum, Zagreb

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Tetradrachm of Alexander III the

Great of Macedonia
Silver
336-323 B. C.
ArchaeologicalMuseum, Zagreb

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Tetradrachm of Ptolemy I Soter

Silver
323-285 B. C.
Archaeological Museum, Zagreb

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Tetradrachm of King Demetrius

Poliorcetes of Macedonia
Silver
306-283B. C.
ArchaeologicalMuseum, Zagreb

T H e p o n t R R I T a s a n a r t f o r m i m p l i e sa n a u t h e n t i cu n d e r s t a n d i n qo f t h e
individual as a un.iquehuman being. The first stimuli for the m""ki.,gof
portraits among the Greeks did noi spring from religiousmorives,a-sin Egypt,
but trom the admiration for the human values,i.e. for physical and intelleiiual
prowess. The first achievementsin this-respecrdate from ihe archaic period. It
was then that the inherited tradition of the Egyptian frontality and rigid figures
was gradually abandoned. The human body iai represented*ith gr"iter Jkill,
its anatomy b.ecameb-errerknown, and there appeaied the first hinis of free
movement. The art of. Egypt and Mesopotamii demanded that the rype, not
the individual should beiepresented.
]^he.Greek archaic art did not'jrodrrce
genuine.portraits..
It represintedmerely the rypical, generalforms of man, and
t h e . p a r t l c u l a n s a t l owna s l r m l t e dt o t h e m o s t c o n s p i c u o u se x t e r n a fl e a t u r e s ,
such as the coiffure and the beard. The only diffeience between deities ancl
men was that men had shorter hair. on the other hand, the sraruesof girls
from the mature archaicperiod, those rigid figures with the typical orjoic
smile, h.aveinscriptionsindicating which-godd-ess
they *.r. d.ii.rted to. In
short, the representarions
of figures_inthis period, as seenin kouroi and korae,
d r d , n o t g o b e y o n d t h e _ m a r k i n go f t h e m o s t g e n e r a lf e a t u r e sT. o w a r d s t h e e n d
ol the archaicperiod the Greek arristsmasteiedthe anaromy of the human
b o d y a n d a l s o b e g a nt o a p p l y n e w i d e a si n p o r t r a i t u r e .
The Greek art-of the 5th century did noi achievegenuineportraits. The
world view of the people,of that epoch.was characteiizedby a ronging for
beauty and harmony, ald rhey instinctively rejectedelemenisthrea*tenlng
to
dlsrupt the concept of the typical. During the persian\wars artistsdid n6t seek
to reveal and preserveparticular forms: this is best seenin the portraits of
bearded st.rategi,whose helmets show that they are intrepid wjrriors, but
whose only personalfeatureis the twisted mouth.
Some intimation of the individualizedportrait may be noticed on the statue
of
,Aristogeitones,which was placed in the Athenian igor^ in 477/76 B. C., and
w h r c h l s k n o w n t o u s t h r o u g h s e v e r aR
l o m a n c o p i e s .T h e p o r t r a i t o f
ThemistoclesG.
B.C.),
{rom
the
,..orrd quarrer of th. Sth cenrury
2??-46?
B. C., is very striking, in spite of the traces of archaic influence in the
treatment of the face.The increasingiyfr-equenrartemprsar realism,borh in
sculpture and in painting (on the vaies of the time) ole.e, ho*euer, ousred our
q/.th^enew tendencytowards idealization,introduced by phydias (c. 490 B.
C.), Polycletzs(the latter half of the 5th century B. C.),'and other
contemporary a-rtists.In spite of rhat, the interest in the presentationof
characterand of particular traits is evident in the portraits of Anacreon (572487 B. C.), Mihiades (c. 550-488
B.c.) and Peri.cles
(c.495420 B.c.), as well as in the earliestexamplesof
cameosand coins - e. g. in.the representarions
of Tissaphernes
(end if ,h" sth
a n d r h e b e g i n n i n go f t 6 e 4 t h . . n t u r y B . c . ) a n d p h a r a h b a z u s( i l 3 _ 3 t o B . c . ) .
I heseportraits combine the typical and the individual in a way which gives
them a specialcharm.
The pbrtraits dating from the 4rh century B. C. onwards are more
individualized.This is particularly seenin rhe portraits of Herodotus (4g4430
l. Cr) and Thucidides (c. 460400 B. C.), the two greatesthistorians of the
ciassicalworld, of Lysias (c.455-380 B.'c.), the fairous orator, and in the
portraits of the two great philosophers,Plato (c.429-347 B. c.) and socrates
(469-.399B. c.)..The aurhor of the original portraits of thesetwo philosophers
may have been the celebratedsculptorZysippus. Litercry sources t.ll .rr th"t

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the statesmanand orator Lycurgus (end of the 4th century B. C.) placed, on
t h e o c c a s i o no f t h e 1 i O t h O l y m p i c G a m e s( c . 3 4 0 - 3 3 0 B . C . ) t h e b r o n z e
statuesoI AescbyLus
(525/24456 B. C.), Sophocles(496406 B. C.) and
Ewripides (c. 480-405 B. C.) in the Athenian theatre. All three portraits have
been identified by means of Roman copies from Lateran and Naples.
The most common form in which the human figure was representedin
Greek art was the statue - the portrait, i.e. the entire human figure with all the
traits of its individualitv. The inscriotionsthat have been oreseivedon simole
low postamentsindicate that the statueswere kept, especiilly in Hellenistic
times, in places used for various public activities. There also appearedthe
tendency, at a comparatively early date, to represent the head separatelyin a
new form - the so-called herm. Originally it representedgod Hermes, but
later, as the herm becamedissociatedfrom its religious purpose, it became
simply the representation of a man. Herms were commonly placed as a
decorativeelementon simple pillars. They were usually pliced in halls-herms,
near the pool. In the frescoesfrom Pompeii (the house of Marcws Lucretiws
Frontus),'hermsare decorativeelementsbf the landscape.The well-known and
import4nt herms found at lVelschbillig (now in the museum of Trieres) were
part of the decoration of a Roman villa. Finallv. the last form of the oortrait at
i h e b e g i n n i n go f t h e H e l l e n i cp e r i o d w a s r h e b u s t . [ t c a m e i n r o b e i n g a s a
result of practical considerations.By shortening the frequently awkward form
of the herm, a tectonic form was obtained which proved more suitable and
continued to be used. Hellenistic artists never returned to the naturalistic
representation
of the human body as the Romans did.
'If
we view Greek portraiture in the context of the other achievementsof
Greek art, we shall notice that at the end of the 5th century B. C. it tended to
move from the typical to the particular and personal. The artists strove not
only to master and perfect the natural forms. but also to exDressa completelv
,r.- ,.r-rr. of the irregular, the transient and the ugly. They^particularly rongtt
to differentiate physiognomies and expressions,and to reveal individual
psychologicaltraits. In other words, the idealsof harmonious beauty and
measurewere no longer considered as pre-eminent - the main aim of the
s c u l p t o rw a s t o t e p r e i " n t i n h i s f i g u r e st h e a c t i v i t y o f t h e s o u l , w h i c h w a s a l s o
the aestheticideal advocatedby Socrdtes.
The ideas o{ Isocrates(436-338 B. C.) concerning the great empire were
implemented partly by Philip II of Macedonia (359-336 B. C.) and completely
by his successorAlexander the Great (336-323B C.). The extensiveconquests
of Alexander and contacts with other peoples, cultures and civilizations
resulted in mutual influences and cross-fertilization unknown up to that time.
This phenomenonhas been called Hellenism in the history of art. It primarily
-""ni the diffusion of Greek art outside the Greek islands and mainland, and
its founder was Aristoteles'sdisciple Alexander the Great. His appearanceon
the historical scenemarks the befinning of the Hellenistic period. The great
sculptor Lysippus was also active in Alexander's lifetime. The concept.of
Hellenism, differing from Hellenic implies a new spirit which altered the
ourlook of Greek artists. It particularlv stimulated the development of realistic
sculpture. The world beleniites inrte"d of bel6n appearsfor th" first time in the
Bible,Jews; adopted the Greek languageand Gree-kcivilization as a contrast to
their own civilization and the Hebraic language.
The knowledge of foreign countries, cultures and languagesbroadened the
horizons of the Greeks of ihe Hellenistic period. Scholarshipand philosophy
began to flourish. In art, the study of other peoples led to the representation of
their particular traits. We know that the Greeks of the classicalperiod regarded
all other peoplesas barbarians.Hellenistic art representedthe Gauls, Negroes,
Italics and others with sympathy and understanding. Slaves,fishermen,
shepherdsand peasants-ak. theit first appeara.""l.t Greek art in the
Hellenistic period. They are shown with i surprising naturalism,which makes
Hellenistic irt clearly distinct from the idealismof the classicalperiod. The

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study of nature contributed to the development of portraiture. The artists of

this period show a new interesr in the chiracter and particular traits of the
individual.
One of the most important literary forms in the early Hellenistic period was
the New Comedy, with Menander fiist of all, in the lat! 4th century B. C.,
which reflects thi'increased interesr in the deitiny of the ordinary man. The
comedies of this time are based on the contrasr 6.t*...r old age ind vouth. the
beautiful and the ugly, the strong and the weak. In other worIs, in aidition to
beauty, which was the main preocupation of the classicalart, new motifs and
models, unknown up to that-period, beganro artracrthe interestof the artists.
In sculpture this interest led to a realistic conception of the human figure. This
conception was mosr perfectly expressedby Lysippus, who made alirge
number ol statuesand portraits. His colossalbronze statue of Heracles, which
was in Tarent, is described 6y Niheta Ahominatbo.sfrom Hona (1150-iZtO; i"
these words t His breast and iboulders are broad; bis bair is tbici, buttock.sfat,and arms mwscular.There can be no doubt that Lysippus, with his profound
interest in natural forms and individual traits, coniri6uted most to the
development of realistic portraitrrre. FIis numerous works include a portrait of
Socrateswhich was in Athens (the heads of Socrateswhich are in the museums
in vatican, Rome and Paris today were modelled after that portrait), a head of
Selewcws-I
Nicator (c. 358-2SO_B.
C.;,_kno*n to us through^alater fopy in
bronze from Herculanum, and severalportraits of Alexan-derthe Greit,
Alexander had such a high opinion of Lysippus'sart rhat he would allow no
one else to make portraits of him. The famous herm Azara (now in the
I ouvre) and_somerepresentationsof Alexander on coins were undoubtedly
inspired by' Ly sippus's works.
Tracing the further development of portraiture from the last third of the 4th
century B. C. onward, we notice again an increasedinterest in the individual.
During the 3rd and 2nd centuries B. C. a number of splendid statues-portraits
was made. They include Demostltenes(384-322 U. C.); Polyewctes,Epicwre
(342/41.-271/70
B. C.), Chrysippws(c.280-205 B. C.) and imaginaryHomer. The
portrait of Homer is in fact made in a way similar to that thJ poeis of the
classicalworld representedimaginary beings: the majority of his porrrairs
represent in fact any poet, and the only example which is thoughi ro represenr
Hbmer himself, no* ln Munich, has very pronounced individuil trairs.'
Greek sculptors of the Hellenistic periol frequently moved from place to
place, and did not stay long in any of the-. In ipite of that, *e have reliable
ividence of the existen.. oi schoois headed by eirinent sculptors of the time.
The Athenian school was closest to the classiial traditions, the school of Delos
was especially good at portraiture, the Cyrenian school mostly copied earlier
sculptures, and-the school of Sykion was'famous for its sculpiures'of stone and
bronze.
The contemporary gems also display the characteristicfeatures of the
sculpture of the Hellenistic period. Some contain archaizing elemenrs,orhers
are marked by a powerful realism, and most of them are modelled in a subtle
way. They
-"d. of semi-preciorr, .torr., - beryl, topaz, agate,sardonyx and
"rewas also frequently used. It is known that Pyrgoteles,an engraver
others. Glass
in the service of Alexander the Grear, made a number of gems. One of thim,
showing a youth putting on his cnemidae, has Alexander'i featu.es.
The gems found in the territory of Italv also show traces of Hellenistic
influenci. The subjectsare usuallf Greekiwarriors, heroes,horsemen,various
religious ceremoniesand popular eroric scenes.The gems produced in Italy
were neverthelessstylistically distinct becausethey were influenced by the
Etruscan tradition, too.
The appearanceof the heads of rulers on coins is of great importance for
the study of Greek portraiture. The first coins of this type repesentedPersian
satraps and were struck at the end of the 5th century B. C. Later they became
common in many Asian kingdoms, so that we are able to study original Greek

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portraits on coins over a period of two hundred years.The first portraits that
The most
ippeared were those of Alexander the Great and his successors.
biiutifui examplesof Greek coin portraiture include representationsof
Pbiletaerusof Pergamum (c. 3$-263 B. C.), Antiochus I Soter,king of Syria
(324-261B. C.), King Perseusof Macedonia(213-162B. C.), Eutbyde.musI
(222-187B.C.), Antimachus 1of Bactria (190-180 B. C.) and Mithridates III
of Pontus. These coins may be said to representthe highest achievementsin
t h e r e a l i s t i cr e p r e s e n t a t ; o n ' ot hf e h u m a n T i g u . . .
Although the Roman conquestof Greeci was completedin 146 B. C.,
Athens and a few other Greek cities were grantedpermissionto coin their own
money. The coinagein Greecefinally ceasedwith the establishmentof the
Roman Empire inJo g. C. But the tradition of the Hellenistic times lived
long, as is ihown by the golden stater with Alexander'sname, which was
adopted by Macedoniankings and was still current in the Roman period. Thus,
the i{oman consul Flaminiuiused, in 197 B. C., Alexander'sstater upon which
he impressedhis own name and portrait.
The numerous Greek artists who worked in Italy gradually feli under the
influenceof late Etruscanportraiture. Another equally important influencewas
the practice of the making of waxen death-masks.This custom is often
menlioned as the factor which contributed most to the realisticcharacterof
Republicanportraiture. We must remember,however, that the Hellenistic
conceptionwas dominant in the entire territory of Italy, including Etruria, in
the time of the Roman Republic. One should be only reminded of the portraits
of local Etruscanmasrers.which are quite distinct from Greek portraits. These
p o r t r a i t sl o s t t h e i r i m p o r t a n c ea l r e a d y ' i nt h e l s t c e n t u r y B . C . a n d t h e y d i d
not influencethe late Republicanportraiture to any significantdegree.
Until the end of the 2nd century and the beginning of the 1st century B. C.
many Greek sculptorswho were in the serviceof Rome merely copied Greek
sculptures,especiilly portraits of eminent men. Among them, Pasitelesand
Arcisilaus, who lived ln the 1st century B. C., were especiallywell known, as
Pliniws (GaiwsPLiniusSecundus,23/24*79 B C.) tells us. It is thanks to the
activity of theseartiststhat many important works of Greek portraiture have
been rescuedfrom oblivion in copieswhich are frequently little inferior to the
originals.
The later brilliant portraits on Roman coins were certainly inspired by
Greek.modeisand representa separatechapter in the history of Roman
Portralture.
, e may mention
T u r n i n g t o t h e p o r t r a i t sf o u n d i n t h e t e r r i t o r y o [ Y u g o s l a v i aw
first thJ -"sk oT gold foil from TrebeniSte.Ii is undJubtediy the work of a
native maste.
was made from an impression from the face of an Illyrian
"nd-it
orince. with the
aim to immortalize the deceased.The mask was found in a
well-known cemetery and it is schematizedand treated in a rather superficial
way. The eyesand eyebrows are not typical, the lips are thin and tigfit, and the
beard is representedwith dot-lika protrusions. The face is characterizedby a
marked naturalism.In spite of some deficiencies,the characterizationof the
face is unique as regards its artistic quality not only in Yugoslavia, but aiso in
Europe. The only, thoLrghpurely formal analogy can be found in the
chronologicallydistant masksfrom Mycenae.The custom of covering parts of
the human body in this way was alien to the Myceneans)so that it is not
improbable that here we have a caseof Egyptian influence reaching
Peloponesusvia Crete. In spite of the fact that many problems in connection
with the appearanceof golden masks at TrebeniSteare still unsolved, it may be
said that influences from the easternMediterranean were of primary
importance in this respect and that they contributed directly to the diffusion of
Egyptian models. The'mask from Trebeni5teis a precursor'of some later
poitraits found in Yugoslavia,such as the one shown here (cat..1),which dates
lrom 520 B. C. Among the rich finds from Novi Pazar especiallynoteworthy

-7

are.the objects made of amber. They include incised mythological scenesand

sculpturesin the round showing korae or priestesses.
Particularly interesting
are, however, severalmasks of the human Tace.Out of a total of six masks ihat
have been discovered,only two have the unmistakablefeaturesof archaicIonic
sculpture.Their stylistic traits show that their models were Greek works
found in southern-Italy.The more realisticcharacterof some masks (cat. 3,4,
5)_indicates
that they were probably made by native masrers,although they
follow Greek modeis. A ceitain realisticnor; in rhe trearmentof the"facemav
be detectedin them in spite of the fact that they display clear stylistic features
of the archaic art (cac 2j.
The human face also appearson some fibulae found at Vinica and Vrebac,
w h i c h d a t ef r o m r h e e n d o i t h e I r o n A g e , i . e . c . 5 0 0 B . C . F a r m o r e i m p o r t a n r
a r e , h o w e v e r ,f e m a l eh e a d sm a d e o [ a m - b e frr o m K o m p o l j e ( c a t .6 , 7 ) . T h e i r
stylistic featuresrepresentclear evidenceof indirect Greek influencereaching
"
this region via Spina and Adria in the territory of the Iapodes. The known
analogiesinclude a bead found in Grave 100 ar Cerrosa,another from
Marzabotto near Bologna, and a third from Falconara,dating from the end of
the 6th and the beginning of the 5th cenrury. If we compare"theheadsfrom
Kompolje (cat. 8) with thesefinds, we shall seethat there existedcloserelations
betweenthe Iapodes and the archaic Greek world and that Italia was only a
mediator in the transmissionof theseinfluences.That was in fact the period of
the domination of the Etruscansin northern Italy. but it was aiso the-time of
the beginning of Greek colonization. It was in this period that the Phocians
founded Spina and Adria and extendedtheir influence along the Po valley,
especiallyin Picenum. An amber head shows tracesof Celtic influencein the
triatment of the hair and the eyes.Analogous examples,dating from the end of
the 5th century, have been found in the cemeteryat Belmonte Picen.This
shows that the Iapodeshad contactswith the Celts even before the
wellknown Celtic invasion.
The imagesof the deceasedon Greek sepulchralreliefsfrequently show some
individualizedfeatures.These monuments ire as a rule in the form of a temole
in antis and show the deceasedseatedon a chair (diphros),while his nearesr
relatives are standing. The figures frequently e"press emotions. This can be
seenon the sepulchial stelafrom Crnbbuki'in Macedonia,which is modelled
upon such Attic reliefs.Its closestanalosiesare rhe stelaof Damistrat6from
Aihens, and the stelaof Thraseasand Eiandria from Haeia Triada. The
composition of the stelafrom Crnobuki departsfrom thJ usual iconographic
forms of classicalstelae.Of the figures representedon it, especiallystiiking are
the serving-maid and the boy, whose facial features and expressionsare
presentedin a very realisticway. The female figure has an Ionic tunic
(epiblema) similar'to that on the statue of Saph"ofrom Villa Albani in Rome
and on a vasepaintedbv Pasaidei,now in the British Museum in London. The
stelabelongsto the 4th cenrury B. C., i.e. to the post-Parthenonand
pre-Hellenisticperiod (Lj. Popovi6, Ziaa antika, VII/2, 1'957,252).
A relief slab found at Trogir was probably paft of a sepulchral monument
(cat. 9). The fragment shows a seatedwoman. She holds in her right hand a staff
which'is placedlnto a vesselresemblingan elongatedbeaker.She"hasa cloak and
her profile is clearlv indicated.The slab is stvlisticallvverv closeto Ionic
sepulchral -o.r.r-"rrtr, such as the stela from Thenos. No similar finds have
been discoveredin Dalmatia and this slab is supposedto have been brought
from Asia Minor or the Aesean islands. It datei-from the end of the 2nd-or the
beginning of the 1st ..ntn.1i B. C.
Classicallssa (modern Vis) is one of the most important archaelogicalsites
in Yugoslavia. There is clear evidenceof its importance and of the high level of
its culture and art in historical sourcesand epigraphic monuments from the 4th
to the end of the lst century B. C. lssa was founded shortly before Pharos by
the Aegean Paranesin 385/84 B. C. It representeda model urban settlement,
which was imitated by the later towns on the easternAdriatic coast. In

vases' abronze head of

addition to sepulchralstelae,Greek-Helle-nistic
include impor:^\\ s!(cco and terraL'o
i
fil;i;;
Aphrodite
i"*.ll..yi';h;
c ,i t h o u t i n d i v i d u a lf e a t u r e s
a i t s .T h e s ep o r r r a r l sa r e e x P r e s s r o n i s t iw
c o r t a p o r t r "nd

in a similar
headscul.ptured
ili. rn"ie is also.a

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b e a r da n d h a i r .
s t v l e i n l i m e s r o n et . . , . - i o . t . l r i s a m a l e p o r t r a i t w i t h a r h i c k
-.ry.
which
head,
*orrh mentioning is a'female
T.pj:::l,rr.
1,";,h;.;";irri,
p i " b + y q a r 1o t . a
d e c e a s e pd e r s o nt . r , . i j i . n t o t h " r " t " . . " - . o t t a . w h i c h Y i :
and with ivy in
fairly large Statuette,rePresentsa Person wrth a rich coiffure
t'-^i-i-r"
h e h a i r ( c a t .1 4 ) .
the thick hair
-"f. po.i."it, have some features in common, such as
modelled on the finds
are
portraits
These
L;;tJ.
,"J*..i.rtty'represent;;
i".""9. a"d th'r" are.alsosome points of
'Ihe
i,rty lsi.itf
f;;;;;;;h
".,d
-rlks from the 4th and 3rd ie.ttrry B.C'
resemblancewith the ifr"""iJ
or-the
Vis -"U U" dated into the second half of the 3rd century
.,.,.,."1r, from',rr.l"i-j."*.y

headwith theindistinctface
e.c. Thelimestone
#ffiil';f
in vis' is
collection
Doimi
the
lrom
;;e';;;;i";'i"* .u"t r."r-piioto-iot,
archaic
o
f
o
n
e
r
e
m
i
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s
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o
r
c
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s
t
y
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e
'
;;,1;;r;.i
;.;;,;;i;;
ao*" on borhsidesandis markedby oblique,
Trr. r-'r,,.]"tir
,;Hil;.
archarc
i,-ilr b;;. .,ra.iorrslyinterpreted as.a.p rovincial version,ot
i;;iii;;;"
l
i
k
e
l
y . t h a ti t i s
m
o
s
t
s
e
e
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t
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l
i
.
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t
r
u
s
c
a
n
o
f
i
m
i
t
a
t
i
o
n
s c u l p t u r e so r a s a n
with
dated
howe-v-er'
which cannot be'
E;';'.;;;.;',.''.,'..,
;;;;;';i
1968' 1O;M' Nikolanci' WHAD'
orecision(B. Gabri6ev:rt',-W';hiipomenici'

1976,102).
LxvItt,
"-

referencesin classicalhistoriansand other writers, that

W;fu;*,'f.o5th t"ntut{,1:9-.t^o-,
, h . . . . r ; r * d o n l y o n e l l l y r i a n s t a t ef r o m t h e e n d o f t h e
e
v
e
n
t sa n d w e a l s o k n o w
d
r
a
m
a
t
i
c
.
h
i
s
t
o
r
i
c
a
l
o
f
t
u
t
t
*
r
J
1 ' ; ; ' B . C . - n h i sp e r i o d
Grabos,
Bardylis,
of a'numbef ;i lliy.lr" kings, from Syrr.has,
;;.,
;h;
'u'J"))-i"t,
Slee-rdilaidas'
A,c:,?"
ind
son)
9
'itrrro,ro, Mytitios. itrr,loiLt rgo'dyiit.'t
/o th. remainsof-IIIyrian material culture,
^ndbrntbior.-ir
"JaiI.n
which not only
very importr.rt .rrid".r.. ."",f* ptti.,a is provided by coinage'

."Jf;.#ii'.

6"i Ar" siredsiight on th" eve"tswhichtook

hi;.;iJi;;..r,

the Roman conquests

oir.. i" the Yugoslav regions,sh-ortly.b.efore
3,
ispitivanja,

iF. prp-;;;n,"ciit;"i|';kijBii,

J
(r)

rF)
'-)
r-

F
rrl
F

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F

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v, c..',". zabalkanoloika

1.967.
""t" 123). the Illyrian starewas ruledby Monounios;
who had the
isa,s.c.
(Durazzo),
Dyrrhacion
from
is found on-a'coin
,,U1"*, -f ki.,g. fii.
is alsothe
""-.
There
(Dra6).
"
Epidamnws
.f
p.rt
which implies,h., n. iro*h"iiifr.
fr.omthe
Thrace)
and
Macedonia
i'.,
common
(a
very
rype
fi;J;i;'i;;."a.".frthe
to
turned
head
a
shows
.nib;"ao.nis. The obverse
timeof Alexander
with
Zeus
enthroned
represents
reverse
.i*iri *li[-, ii."-rt-, a"d 1!e
BASILEOSMONOYNIOY'
to th"''l"li.i t l* the insc'ription
tellsus that
""J,
Augustus'
",?.it",.,
Emperor
of
*ho-*-tt in the time
TroPus,
Pomoeius
agalnst
war
waged
Ptole.my.'
son
I
ysimachus's
Moiounios,tJg.the.with
in taking
ptolemyKeraunos,PhilrdJph"r's son,and that the'latter"succeeded
Illyrian
the
as
Monownlos
that
It is very probable
over the Macedonianthror-re'.
a
proof
As
Great.
the
Alexander
of
ruler was one of ,fr. -liii"iy
"o-*"rid.r,helmet1n9wil,Ferlin) which features
,..",io"-r-"'o.,-Illyri".r
may
of this we
and with the caps
;a.",ii"i'*iif-,ift"rl worn.byGreeksoldiers
Ff-.'.u*i""-.rp.
un iosis
in'
constantinople.
sarcophagus
ru."r.a.r;,
.Mono
;;i.:;;;J:;

;#;*;i;

;; ;;;;;'*

nose
,t'. io.''i of"afairtv.vou,ng
f'1,*i'1,'Jooked

and a lion protome;;h;l;;tf

Ht""lti

(on hii head)' This Illyrian ruler'

E^riii;t ii Cro'bot,reigned.9'300 B'c'' and there,arefurther

;#,l,.;i
to him l.r iso B.C. (D."Rendi6-Mioievi{Godiinjak.ANUBIH,;4IX,
references
antiha'XXII' 1971'
C.n,r, za balk.itpit. ii,97, T. I,--lV-';.F',Papazoglu'.Zitta
2)'
1965'
Wiesbaden'
HistoriaXIV,
l77.The same
Illyrian
"rriho.
B.C-) to th_e
on of iilrroros's son Genthios(18.0-168
The successi
Second
the
in
events
thronetook place ,h. ,i-. of importanthistorical
",
Macedonian.War,in*t,i.t'PlewratoswasanallyoftheRomans'Thelllyria

:
2

-/

stateoccupied the areanorth of the Drim river and LjeS and included the tribal
communities round Lake Skadarand the Bay of Risan. In the Third
MacedonianWar, waged berweenthe Romans and King Persews,Genthios
sided with Perseus.G"enthios'scapital was in Skadar (Siodra). He was a learned
man who favoured Greek culture and civilization. His mother was a Greek and
her name was Ewridice.During his rule the relationsof Illvria with Rome
becamestrainedbecauseof thJ piratical raids of the Illyrians on rhe Adriatic.
Genthios did not even deign to-receivea Roman mission headedby Lucius
Duronius, a Roman praetor, for he himself frequently organized piratical
incursions.Soon after that event a mission from Issa came ro complain of
Genthios's friendly relations with King Persews.As a skilful diplomat and
statesman,he sent, during the Third MacedonianWar, 54 ships to Dra6
(Epydamnos) to help the Romans, and awaited rhe outcome of the battle.
Persewsobtained victory, and sent his emissariesto Gentbios,asking him to
side with the Macedonians.By tacticaldevicesand diplomatic maneouvres
G e n t h i o sp l a y e d f o r t i m e , h o p i n g t o o b t a i n m a r e r i a ls u p p o r r .A s h e d i d n o r g e r
i t , h e w e n l t o L y e S( L y s s o s )-,h e i e h e b e g a na n o p . n . o n f l ; . t w i t h r h e R o m a " n s .
He was defe_ated,
fighting againstg..rt o?dr, by Lucius Annicius and captured,
together with his biothei C-aravaitiws,his sons and his wife, at Medun
(Meteo-n).The year 168 B.C. is taken to mark the end of the Illyrian kingdom.
According to Titus Liviws (59 B.C.-17 A.D.), the Romans achieveda
triumphant victory. LuciwsAnniciwsis said to have taken 19 loads of silver,
13.000denarsand 120.OOO
Illyrian silver coins. This Roman consul was also
the first to divide Illyricum into three parts.
Gentbios'scoins were struck in Scoira anC Lyssosand their characteristic
detail is the representation of a cap (petasosor cawsia)on rhe head of the ruler.
It is interestin[ ihat this form of iap also appearson.situlas from Va6e and
Smarjeta,and on-some finds fromJapod in Lika. This shows that the cap was
not a privilege of the illyrian ruler, as shown on rhe coins of Gentbios,6ut a
part of the costume or a sign of rank. Ve find it also on heroized native
figures, which were identified with Greek deities (D. Rendi6-Miodevi6.,
Godiinjak nauinog drwitaa BIH III, Centar zabalk. ispitivanja,1,,1,965,77.;
Istt, Vjesnik AMZ, 3, VI-VII, 1972-1973,253,7.I-VIII.; Isti, Numizmatiibe
o i j e s t iH N D , X X , 3 1 , 1 . 9 7 3 , 9 T
. . I-II).
After Genthlos'sfall, the Illyrian regionswere ruled by Balaios,of whose
appearancewe may qet some idea from his coins. The hoard of coins from
Mitkovii (Narona') ind individual finds from various other placeson the
Adriatic coast tesrify to a flourishing economy in these parts' in the 2nd
century B.C. The coins were struck in Risan and Hvar. An examplefound at
Tlogjr \c4. 27) shows Balaios with a hooked nose, stylized beard and the hair
which falls down. \7e know little of Balaios's personality. Many authors agree
that he reigned after Genthios,i.e. between 167 and 135 B.C. He lived forsome time in Skadar, and his capital was Risan (Rhizon). Pharos, with which
he came into conflict in the middle of the 2nd centurv b.C.. *.i also under
his rule.
The bronze coins from the hoard at vrbanj on the island of Hvar show a
figure very similar to that of Balaios. It is an almost identical male head as that
on Balaios'ssilver coins. The treatmentis the same,but rhe reDresenrarion
on
the bronze coins is somewhatrigid, probably becauseof the inferior skill of
the craftsmanwho cut the_die(D.-Rendi6-Miodevi6,Arch. Iug., MCMLXIV,
83, T. i-II.; I. Marovi6, God.iinjahANUBIH, XIII, Centar iabalk.
ispitivanja, 1L, 1976,231, T, IV-VII).
. Finally, we should menrion a coin with human figure, found at oianovici,
which was probably the main serrlemenrof the tribe"of ihe Daorsae.The
Iig,ureis thought ro represenrthe portrait of a particular person, perhapsof the
ribal praepositusin rhi period betweenthe reigns of Geithios aid Bakios. rr is
interesting that this figure, too, wears the 'cap (petasotor cawsia)menrioned
above. The coin of the Daorsae was struck soon after the fall oi the Illvrian

F]

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statein 168 B.C. The Daorsaewere particularly prosperousin the early

decadesof the 1st century B.C. Two more coins^weri fouttd in the cemeteryat
G o s t i l i ( G r a v e s7 9 a n d 9 0 ) . ( D i . B a s l e r ,G Z M , N . S . X X V I , 1 9 7 L , 3 3 3 ' )
Heilenistic influence is also apparentin the portraits dating from the early
Roman period, i.e. the 1st and 2.td ce.rtrl.iesB.C., found in Dalmatia and
Macedonia.It is evident not only in the characterand expressionof the person
represented,but also in the style of the portraits. This shows the vitality of
s p i r i t a n d v i g o u r o f e x p r e s s i o no f H e l l e n i s t i ca r 1 .A m o n g t h e p o r t r a i t s
discoveredin Solin lSilona) especiallynoteworthy is the portrait of an elderly
man (a poet or a philosopher)who cannot be identified with precision.The
p o t t r ) i , ' i s u n d o u b t e d l ya c o p y , m a d e i n t h e l s t c e n t u r y B . C . , o f a 4 t h c e n t u r y
tl.eek model (cat. 86). Two-heads (telamones)representingAlexander the
Grear express'allthe essentialtraits of Alexander'scharacterand were modelliid
a{ter Lyiippws's well-known statue. The first head is from the first half of 1st
..nt.r.y A.D. 1."t. a8). The other was found in Solin as part of the decoration
of the-so-calledPorta Caesareaand it is thought to rePresenta Ptolomaeic
prince. This Roman copy also datesfrom the Hadrianian times (cat. 109).
I As -entioned ea.liei, the Roman copiesof Greek originals are mostly portraits of philosophersand other eminent persons.An-examplefrom Solin
f c a t l 4 l ) m a y b e c o m p a r e dw i t h t h e f a m o u s ' p o r t r a i t so f A e s c h y l u s( 5 2 5 / 2 4 - 4 5 6
b.C.;. fnir fead is from th. end of the 2nd or the beginning of the 3rd
century A.D. Lysippzs sculptured a portrait of the famous classical
philosopher soiraies (469_399 B.c.), basinghimself on historical and literary
io,:r.es, and many copiesof this portrait have been discoverednot only in
Italv. but in all the otirer resions io which the influence of Hellenistic art
extended. The portrait frorn*the Danieli collection (now in Zadar) ,corresponds
to the portraitimade c.330 B.C., and the treatment of some detailsand the
figure itself is typical of the Hadrianian times, i.e. of the first half of the 2nd
c e n t u r yA . D . ( c a t . 1 1 0 ) .
The portrait of a philosopher found in Dalmatia resemblesSocrates's
disciple^,rlstippwsSinior.lc. +lS-c. 360.B.C.), and_some o{ its detailshave
polnrs rn common wrth the portraits of Socrates.It was obviously inspired by
iome Greek original from the 4th century B.C., and it belongsto the TrajanicHadrianian period, i.e. to the first half of the 2nd century A.D. (cat 111).
The small bronze head found at DrniS representsEuripides(c. 485/480-406
B.C.), one of the classicsof Greek tragedy. The sculpturi is modelled after the
works of Lysippus and his followers and datesfrom the 2nd century A.D'
(cat. 1,42).
The most outstandingRoman portrait showing tracesof Hellenistic
B.C,fwhich was discoveredin
influenceis the bust of Aeschines-(38g_314
BircIj (Heraclea Lyncestls).In 1839 W. M. Leake took it to the British
M u s e u m ,w h e r e i i i s k e p t t o d a y . I t i s a v e r y g o o d p o r t r a i t w i t h a m a n l y h e a d
and a finely modelled fi.., prorroucedbe"td,"-ouitaches and hair. A portrait
herm inscribed AESHINES, now in Vatican, was discovered in 1780. On the
basis of that herm and the bust found in Bitoli it was possible to identify a
marble statue of this orator. It was found in the theatre in Herculanum and it
is now in the National Museum of Naples. It may be added that Aeschines
an ordinary
himself was a very interestingpersonality.He beganhis career_as
scribe, Iater he became an actoi and finally achievedfame as a lawyer. Being an
adherentof Philip II of Macedonia(326-366 B.C.), he severelydenounced
DemosthenesQe4-nz B.C.) In 330 B.C. he was exiled from Athens and lived
for a time in Rhodos. He died on the island of Samos.It is supposed,though
not establishedfor certain, that a statue was erected in his honour in the dme
of the Macedonian supremacy over Greek cities. Crbystodorus mentions that a
bronze statueof Aeschineswas exhibited in Zeuxipiai's baths in
Constantinople.According to its stylistic features,the-bust found at Bitoli
belongsto the best Romai copiesmade in the time of Hadrianian classicism,
i.e. in the first half of the 2nd century A.D. (cat 112).

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:::::::::::::::::=::::::::::::::::::::::::::::
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::::::::::::::::.::::::::::.].::.::::=:...::::
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_
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.-

-4

A life-size statue erected in honour of Titus Flaaius Orestes,a citizen of

Heraclea Lyncestis, has a base and an inscription. The text says that he was a
distinguished citizen of that town and that he served twice as the high priest.
The head is presented in a realistic manner, with thick hair and beard, and the
moustache in the form of a slightly bent arch. This statue was discovered in
the Roman portico, together with some votive monuments from the beginning
of the 2nd century A.D. (cat. 113).
Another find from Heracles Lyncestis is a head of Menander. Only its upper
part has been preserved. The hair is in the form of locks which fall upon the
iorehead,and ihe eves are deep-set.It is on the basisof them that thi head
was identified as repres"tttingMenander (342/41-2gl/90 B.C.), the founder of
the New Comedy. It is a Roman copy of a well-known Hellenistic prototype
from the 3rd century B.C., which was inspired by the portraits of Hellenistic
princes of the Lysippian type and dates from the end of the 1st century A.D.
qnd the beginning of the 2nd century A.D. (cat. 114).Two portraits from
eepigovo (Stybeira) rank among the outstanding portraits fbund in Macedonia.
The bust of Philoxenesrepresentsa thinker, a man with a rather cold
expression,but with a splendid treatment of the hair and the beard. It
representsa fine examole of the Hadrianian academismfrom the first half of
th; 2nd century A.D.lcat. 11a).The orher portrait is the bust of an elderly
man with a far-away look. The locks, the thick beard and the drooping
moustache are comDetently represented.It has been establishedthat it
representsthe same person, i. i. Titus Flaoius Orestes from Heraclea Lyncestis,
the only difference being that this statue shows.him in his more advancedage,
for it was made in the Antonine 'period, or more precisely about the middle of
t h e 2 n d c e n t u r yA . D . ( c a t . 1 1 5 )
After the fall of Scodra, Macedonia ceasedto exist and became a Roman
province. The Roman Illyricum was first organized by consul Luciws Anniciws
ind it was first ruled by'Gaius Julius Caesailtoo-++'n.C.). The province was
governed in his name by Publiws Vatinius (tribune in 59 A.D.). This marked
the definitive establishmentof the Roman rule in the territory of Yugoslavia.
Realism became the basic approach in art, although the influence of Greek
portraiture lingered on in details based on the earlier traditions of classicaland
archaizing art.
The permeation of the classicalculture and art with the native creative spirit
has always been a feature of the artistic activity in the territory of Yugoslavia.
Consequently, the influence of the vital and fertilizing spirit of classical
antiquity was felt in this region in the later periods as well.

Gr5ki in helenisti6niportret
Ljubi5aB. Popovic

F.l
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F

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,(,)
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Po;au poRTRETAoznabtle dojemanje bistva osebnosti. pri Grkih spodbude

za predstavlianie
po.rtretovniso izviraleiz religioznihrazlogov,kot je bilo to pri
Egipianih, ampak iz obiudovanja ilove5kih-vrednot oziioma relesnihin
duhovnih odlik. Prvi doseZkisegajov arhajskoobdobje: obvladanoje
predstavljanje iloveSkega telesa, razjasnjenaanatomskavpraianja, pojavljajo se
z n a k i s v o b o d n e j s e ggai b a , o d s t o p as e o d p o d e d o v a n et r a d i c i j ee g i p i a n s k e '
frontalnosri otrploiti. V egipiinski in mezopotamskiu-.,noiti je bilo
.in
predstavlianjetipovr_nepa posr-eznika, praviio. Arhajska grska umetnosr ni
u s t v a r r l a . p o r r r e r cal.o v e k a j e p r e d s t a v l j a l saa m o v t i p i t n i h , g l a v n i ho b l i k a h ;
omejevala se je na najbolj izstopajo6e zunanje oblike, kakrsii sta priieska in
brada. Razlika med boZanstvomin 6lovekom je bila v rem, da je imel ilo,iek
krajSelase. Po.drugi s.traniso na kipih dekletlz zrelegaarhajskegaobdobja, ki
so otrplega videza in imajo znatilni arhajski nasmeh,napisi,'ki piieajo kaieri
b o g i n i i s o p o s v e 6 e n is. k r a t k a ,u m e t n i i k e " p r e d s t a vpeo d o b i z t e [ a o b d o b j a n a
k u r o s i h i n k o r a h s o s e g i b a l ev o k v i r i h n i l u o t , is p l o s n i ho b r i s o v ]o b k o n c u
arhaiskegaobdobfa je giskl umetnik obvladal anatomijo 6loveikegatelesa,
istoiasno pa so pri portretiranju zaieli upo5revaunova spoznanta.
C r 5 k a u m e t n o s tV s t o l . p l . | : i r . n i r i z v i l a r e s n i t n e g a ' p o r t r . i r p
. o g l e dn a
svet;'e bil pri ljudehtega obdobja.usmerjenk lepoti in"haimoniji in nigonsko
so.zavratali vse pos.ebnosti,ki bi lahko rabile okvire tipiinega. ivled peizijskimi
vojnami si umetniki osebnostnih oblik niso prizadevaliodkr'ivati i.r oh.aniati,
o tem najbolje.prica.p
j o. o r t r e t si r r a r e g o vk, a t i r i h i e l a d e k a Z e j o ,d a g r ez a '
p o m e m b n ev o l a k e ,i z k r i v l j e n au s r ap a s o e d i n i z n a k o s e b n e g a .
Portreti iz V in IV stol. pr. n. 3t., pa tudi tisti, ki so bili tzdelani pozneje,
se odlikujejo po vse boli iziazitr individualizaciji.O tem priiajo stevilni piimeri
iz regaiasa. Predvs.- ro to portreti Herodota
Porlretgy pomembnih ose_bnoqti
(484.-4.30pr..n.
in
Tukidida
(okrog
460-4OOpr. n. 5t.), dveh najve6jih
.5t.)
antidnih,zgodovinarjev,.porem Lisija (okrog 445-J8O pr. n. St.), znanega
govornika in navsezadnji portreta dveh velikih mislecev - platona (okr"oga29?!7 p\..",5t) in Sokraa (469-399 pr. n. it.), ki jim je morda ustvaril znlani
kipar,Lizip. NalpogostefSl gbJlk.a-p;rtretav'grski umetnosti ie bil kip oziroma
i l o v e k o v a p o d o b a z v s e m ii n d i v i d u a l n i m ip o s e b n o s t m io. h r a n i e n i n i n i s i n a
enostavnih.nizkihpodstavkih (postamentih)pri6ajo, da so bili kipi postavljeni
na kraiih kier so potekale razli3neslouesnosti,posebejv 6asuhelenizma.
Ob drugih umltniskih doseZkih grike umetnosti ugota.'ljamo, da je za gr5ko
portretno umetnosr ob koncu V stol. pr. n. 5t. znaiilno spreminjanjepri "
prikazovanju in sicer od tipidnega k oiebnemu. Taksna piizadevanjarb bil,
usmeqena v sprejemanjein izpopolnjevanje naravnih oblik, pa tudi k
popolnoma novem vrednotenjunepravilnega,trenutnegain grdeea.Takina
odkritia se posebejnanasajona rarlikovanj"efiziogno-ij" ir.""r",ikrati tudi na
psihiine.lastn.osri.
Z drugimi besedami:ustaljenii?eal harmini6nelepote in mer
kot najviSii ideal ne veljivei. Glavna kiparjevanaloga je, da s svoyimikip;
predstavidejavnostduie; tak5no estetskozahtevo ie'postavilSokrat.
.Sokratove ideje (56-338 pr. n. 5t.) o velikem imperiju je zaiel uresniievati
Filip II, kralj Makedonrje (369-336 p'r. n.5t.), uresnieilih je njegov naslednik
A l e k s a n d e rI I I V e l i k i , ( 3 3 6 - 3 2 3 p t . n . S t . ; .V e l i k a A l e k s a n d r o v a " o s v a j a n j a ,
spoznavanje.drugih narodov, kuliur in civilizacij - vse ro je povzrodiio dotlej
nezna.nemedsebojnevplive in prepletanja. Ta pojav v umetnbsti se imenuje
helenizem, kar pomeni predvseh sirjenjb grike umetnosti zunaj grikih otokou
in. kopnega._?ig.g9"
uremeljiteljpa je Aristotelov (384-322 pr. n. it.) uienec
Aleksanderveliki, s katerim se helenistiino obdobje zaLeni'a.
Aleksandrovo

./

r,

obdobje je hkrati obdobje velikega kiparja Lizipa. Pojem helenisti6ni v

primerjavi s helenskim ozna6uje nov duh in i.e na zadetku bistveno spreminja
'
poglede grSkih umetnikov, kar se posebejnanaia na realizem,ki se zadenja
uveljavljati v tem 6asu. Nobenega dvoma ni, da je k temu najve6 prispeval
Lizip, ki je poglobil zanimanje za narayo in individualizem, kar je privedlo do
velikega razcveta realistidnegaportreta. To potrjujejo Stevilnadela, med
katerimi opozarjamo samo na najpomembnejia:Sokratov portret, ki je bil
postavljen v Atenah (po tem ogledu so izdelane glave, ki se zdaj nahajajo
v muzejih v Vatikanu, Rimu in Parizu), potem glava SeleukaI. Nikatorja
(okrog 358-280 pr. n. 5t.), katere tip prepoznamo v bronasti glavi iz
Herkulaneuma in navsezadnje,nekaj portretov Aleksandra Velikega.
Aleksander je bil tako navduSennad Lizipovimi deli, da je ukaza| da lahko Ie
on izdeluje njegove podobe. Znano Azarjevo hermo (ki je zdaj v Louvru), pa
tudi predstavitve na denarju je nedvomno navdihnila Lizipova umetnost.
GiSki kiparji helenistiinegaobdobja so kot igralci pogosr; Ziveli v razliinih
krajih in v nobenem od njih niso pretirano dolgo zadri.evali.Poleg tega
obstajajotudi zanesljivipodatki o posameznih5olah,ki so jim svoj peiat
najpogostejedajali pomembni kiparji tistega6asa.Po klasi6nihtradicijah se je
najbolj odlikovala atenskaSola;medtem ko je deloika Soladoseglaizjemne
uspehepri izdelovanjuportretov, je kirenska mojstrsko nadaljevalakopiranje
starejiih kiparskih del, sikionska Solapa je :uLivalaZe veliko poprej pridobljeno
slavo pri izdelovanju bronastih in kamnitih kipov.
Za-preu(evanjein spoznvanjegrSkegaportreta je zelo pomembno pojavljanje
podob vladarjevna denarju. Ob koncu V stoi. pr. n. 5t. so se prvi6 pojavile
podobe perzijskih satrapov,kar je kasnejepostalapraksa v Stevilnihazijskih
kraljevinah in zato lahko sporemljamo originalne gr5ke portrete na denarju kar
celi dve stoletji. Najprej so se pojavili portreti Aleksandra Velikega, potem pa
portreti njegovih naslednikov.Med najlepSeprimerke grikega portretriranjana
denarju je nedvomno mogoie uvrstiti: portret Fileterjaiz Pergamona(okrog
343-263 pr. n. 5t.), Antioha I Soterja(324-261,pr. n. 5t.), kralja Sirije,
Perzeja,kralja Makedooije (213-162 pr. n.5t.), posebejEutidema I (222-187
p r . n . 5 t . ) i n A n t i m a h a I i z B a k t r i j e ( 1 9 0 - 1 8 0p r . n . 5 t . ) , p a t u d i M i t r i d a t a I I I ,
kralja Ponta (220-185 pr. n. 5t.). Lahko bi rekli, da je bila s tem doseZena
najvi5ja raven realistiinega izraLanja pri predstavljanju Eloveike podobe na
denarju. Grike kipe, 5e posebejportrete pomembnejSihosebnosti,so
mehanidno kopirali gr5ki kiparji, ki so sluZili Rimu, in sicer vse do konca II in
zatetek I stol. pr. n.5t. Posebeiznanasta bila dva umetnika: Pasitelin
Arkesilaj iz I siol. pr. n. 5t. kot poroia Plinij (Gaius Plinius Secundus,
23/24-79 pr. n. 5t.). Po zaslugi te dejavnosti so bila iztrganapozabi Stevilna
pomembna dela grike portretistike, ki se pogosto malo razlikujejo od
ongrnarov.
Poznejie izjemne seriieportretov na rimskem denariu so vsekakor
navdahniii griki portreti in predstavljaloposebno poglavjepri spoznavanju
nmsKe DortretrstlKe.
Trebeni5kamaskaje delo domaiega mojstra in je odtisnjenas podobe
ilirskega kneza. Njen namen je bil ovekoveiiti pokojnika. Za predstavitev
obraza ie znadilen izrazit naturalizem. Gre za enkraten primerek na celotnem
evropskem obmodju. Trebeni5ka maska je predhodnica poznejiih portretov, ki
so nastajalina naiih tleh od konca VI stol. pr. n. 5t. oziromaiz 52Qpr. n. 5t.
(kat. 1.). Iz ilirsko gr5keganajdiS6aNovi Pizar izhaja tudi nekaj jantirnih
m a s k s i l o v e i k o p o d o b o . P o l e gz g l e d o v a npj o a r h a i s k oi o n s k i p l a s t i k i( k a t . 3 , 4 ,
(kat.2). Dve predstavitviZenskih glai iz
5) je opaziti tudi'izrazit realize"m
Kompolja pritata o grikem vplivu z italskega ozemlja na Japode in sicer prek
gr5kih kolonij Spine in Adrije. To potrjujejo analogije s konca VI in zadetka
V stol. pr. n. 5t., kar hkrati pomeni tudi dokaj izrazit griki vpliv v naiih krajih
(Lika, Dalmacrja),(kat. 6,7).
Nagrobna stela iz Crnobukija (Makedonija) je izdelana po zgledu antiinih
reliefov, njen pravi vzor je stelaDamasistrateiz Aten. Gre za uprizoritev

F.l

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slovesaod pokojnika, ki obi6ajno sedi na stolu, medtem ko drugi stojijo.

osebe so upodobljene realistidno z znatajskimi posebnostmi, zlisti sluZabnica
in dedek sredi IV stol. pr. n..5t. oziroma.predhelenistiinoobdobje. Drugi
relief.iz Trogirja je del nagrobnika s preditavitvijo sededeZenske'zlepiri
profilom in plaS6emtez gIavo.Podobna je jonskim nagrobnikom in je bila v
Trogir verjetno prineSenaiz tujine (kat. 9).
Antiina Issa (danainji Vis) je eno na5ih najpomembnej5iharheoloikih
najdi56.-odk-oncaIV do konca I stol. pr. n. 5t. Poleg Stevilnihnajdb je bilo
najdenih tudi nekaj porrrerov, narejenihv tehniki siwcco(mavecpome6an
s peskom). Portreti so izrazito ekspresionistiini(kat. 11, 13).
\tj omenimo 5e moSki portret .z bujno brado iz apnenca(kat. 10), porem
iensko glavo, verjetno podobo pokojnice (kat. 13) in-terakoto z lepo obd.l"no
prig:sko (kat._1a).Ti portreti so iz drugepolovice III in zadetkaIIitol. pr. n. it.
Zgodovinski viri izpridujeio, da je od konca V stol. pr. n. 5t. do letal68
pr. n. 5t. obstajalasarnoe.railirska kraljevina-drZava.Med Stevilnimi
osebnostmi smo jih izbrali samo nekaj, katerih podobe so ohranjene na novcih
in nam lahko sluZijo kot odliEni dokazi v zvezi s portreri na jugoslovanskem
o_zeq]iu.Tako vemo, da je bil 280 pr. n. 5t. na ilirskem prestolu Monunij
(Bardilov ali Grabov sin), s kraljevikimi atributi. Njegovo ime najdemo na
novcu iz Dirahiona (Dyrrachion), vemo pa tudi, da j zasedelie pristanii6e
Epidamn (Epidamnus).-Polegtega ga imamo z^ enegaod vojaikih poveljnikov
je Ce".lj
AleksandraVelikega.Druga"prai tiko po-.-bna o"sebnost
(Genthios), 180-168 pt. ttl 5t-,,Pleuratov sin je na6elovaldri.avi med'drugo in
tretjo makedonskovojno med Rimljani in kraljem Perzejem.Spadalje mid
zelo izobr.a21.91judisvojegaiasa in je bil nakionjen gr5iii kulturi; nj.gout
7e.na.jebila Gilinja, ime ji je bilo Euridika. V neenakopravnem boji i
Rimljani, ki ga je vodil Lucij Anicij, je bil Gencij z braiom Karavantijem
v Medunu (Meteon) ujet. Novec z Gencijevim portretom je bil kovan v Skadru
( S c o d r a )i n L j e 5 u( L i s s o s ) ,n j e g o v az n a c i l n o s jt e p o k r i v a l o ,k i g a s r e i a n ot u d i
n a s i t u l a hi z Y a i i n S m a r j e t ep, a t u d i n a j a p o d s k i hn a j d b a h i i t i . v e r j e t n o j e
"
bila del no5e kot znak dostojansrvain ni blla izkliuino povezana
z
vladarskimi privilegiii.
za Genctjemje pod rimskim gosposrvomvladal Balej (Ballaios),o kareremse
ne ve veliko, vendir je.njegovo.vladavino treba postaviti'med leta 167-135 pr.
n. it'_Niegova prestolnicaje bil Risan (Rhizon), pod njegovo oblast pa
1esodit
tudi.Faros (Pharos),s katerim se je sredi II stol. pr. n.'it. spopadel.Frimerek
Balejevogakovanca,najdenegav Trogirju (kat 27,28),kai.i kraljevo podobo
s poudarjenim orlovskim noiom. Bronasti kovanci z Baieievopodobo so bili
najdeni tudi v V_rbnjgna oroku Hvaru. Na novcih plemenaDiorsov (Daorsoi)
se tako kot na..Genci.jevih
kovancih pojavlja pokrivilo (petasosali kausija).Ta'
dena.r.sokovali 3e po propadu ilirski drL.ave-168
pr. .r.'it. srediite Daorsov
so bili oSanici v Bbsni, kjer so bili novci najdeni. Podobna novca sta bila
najdena5.ev.gro.bovihSt. Zg in 90 na nekropoli v Gostilju.
Helenistiina kultura rn umernosr le p'sorna tudi na iugoslovanskem
o z e m l j u , i e p o s e b e jn a p o r t r e t i h z g o d n j e g ar i m s k e g ao b d J b j a ( l i n l l s t o l .
ry. St.) v Dalmaciji in Mikedoniii. Na teh"portretih"sozaznavanenavzoce
p o s e b n o s th
i e l e n i s t i i n e g pa o j m o v a n j au m e t n o s t i .
Naj zainem.o z opisovanjem portretov izDalmacije. portret starej5ega
m o s k e g ai z S o l i n a( S a l o n a f) e b i i ( p o z g l e d up o r r r e r ai z I V s t o l . p . . n . i t . )
i z d e l a nv I s t o l . n . s t . ( k a t . 8 a ) . E n a g l a v aA l l k s a n d r a I I I V e l i k e g as o d i v '
to obdobje(kat.48), drugapa predstarilja
ptolemejskega
princa,prai tako iz 6asa
c e s a r i aH a d r i j a n a( l - 1 , 7 - 1 3 8n.. S t . )- ( k a t . t O e ; .N a i i m s k i h k b p i j a h s o p o g o s r o
p r e d s t a v l i e nfi l o z o f i , n . p . . rn. a p o f t r e t u i z S o l i n a( k a t . l ] 8 ) , k i g a j e m o g o l e
p r i m e r j a t is p o r t r e t i p e s n i k " A i ; h i l a s k o n c a I I i n z a i e t k a i I I r r 5 l . ' r , .s , .
sokratov porrrer iz 7 adraje tudi iz casaHadri janovega vladanjaoziroma iz
prv^epolovice II stoletja n. 5t. (kat. 1oz). Portret filozofa izDalmacije spominja
na Sokratovegauienca Aristipa Starejsega,
vendar ima tudi odlike Sokratovih'
portretov. Navdihnil ga je original iz IY stol. pr. n. it. nastalpa je

Ipryipolovici II;t9]. n_.5t.(kat. 108).Manjia bronastaglavicapredstavl;'a

Evripida, ene.gaod klasikov grike tragedije.Izdelana je p'o rrroru Lizipovih del
rn del njegovih uiencev in sicer v dasuAntoninove dinaitije v II stol. n. 5t.
(kat.139).
-kopijami, ki so bili najdeni na dana5njemozemlju
_ - Y.4 rimskimi portreti
M a k e d o n i j e ,o m e n j a m on , p . u e - m e s t uA j s h i n o v d o p r s n i k i p ( A e s h i n e s ,
3 8 9 - 3 1 4 p r . n . 5 t . ) , o d k r i t i A l S , L i s e d a n e sn a h a ' 1r a
r ' B r i t a n s f e mm u z e j u .T a
i z j e m n i p o r t l e l l m a l e p o o b l i k o v a n og l a v o ,p o u d a r j e n ob r a d o , b r k e i n i a s e .
P o s v o fi h s t i l s k i h p o s e b n o s t i hs o d i v i a s h a d r i j a n s k e gkal a s i c i z m ao z i r o m a
v.prvo polovico Iitoletjal. 5t. (kat. 109). Kipv narivni velikosti iz Bitole je
bil
v iast Titu Flaviju orestu in je^bil najden pri vhodu (porticoj
_postavljen
v.Heraclejo Linkestis. Kip datirajo v zatetek II stol. n. ii. 1kat. 110). Glavaiz
Bitole predstavlja Menandra, zatetnika nove atenske komedije (Menandros je
Zivel od 342/41 do 291/90.pr.n. 5t.). Portret je primer rimske kopije pod
L i z i p o v i m v p l i v o m i . n s o d i ' v 6 a sk o n c a I i n z a d e i k aI I s t o l . n . ; t . i L r t J t t t , ) .
Dva portreta sta iz cepigova (Styberra).Prvi je doprsni kip mislecaFiloksena
s stroZjimi potezami obraza, vendar z izredno dognano obielavo las in brade
v -s t i l u h a d r i j a n s k e gaak a d e m i z m
a i z p r v e p o l o u i c JI I s t o l . n . S t . ( k a t . 1 l 2 ) .
D r u g i d o p r s n i k i p - i e u p o d o b i t e vs t a r e j i e g ac l o v e k az l e p o i z d e l a n i m il a s m i i n
kodri. Gre zaTka Flavija Oresta, vendar je portret iz ireleiie dobe oziroma iz
antoninskegaobdobja in ga je mogoie datiraii v sredino II stol. n. St.
(kat.113).
S padcem Skadra (Scodra) je povezan konec makedonske driave.
Makedonija.je,postalarimska provinca. Prvo organizacijorimskegaIlirika je
lry*.I Lucij Anicij kot konzul, prvo upravo na? Ili.iko- pa je i"melCezar
(Gaius Julius Caesar,IOO-44 pr.-n. 5t.)-V njegovem imenu'ga'je upravljal
P. vatinij (Publius vatinius, tribun, 59 pr. n. it.), s iimer j."biia rimska oblast
dokon6no vzpostavltena.
Novo umetniSko pojpg.vanje je izraziti realizem. Toda griki porrret je bil ie
naprej navzo,t,z deta)li, ki kaZejo na starej5otradicijo, pred--vsem'na
klasicizem
in celo na arhaizirane oblike.
Glavna posebnost naiega ozemlja je prepletanje antiine kulture in umetnosri
z domaio ustvarjalnostjo-Vselef nauzolt,iiv in ustvarialen antiini duh na
obmodju duhovne inercije se bo izpriial tudi v pozn.jii umetniikih tokovih.

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HaperleHaxeJreHr,r3aM,
rrrro rrpeA cd sHa.ru rurrperre Ha rpqKara yMerHocr
HaABopoA rpqKr,rre ocrpoBu r{ KorrHoro, a Hejsnu ocHoBorroJro)<Hr,rK
e Arexcanqap Benr.rxn, yqeHuK Ha Apucroren (384-322 r. r. H. e.), co vnja
nepr4oq.Enoxara ua ArexcaHAap BoeAHo
uojaea 3anoqHyBaxeJreHrlcrr,rqKr,ror
e rr eloxa ua Jllr3un, roJreM cKyJllrop. flolluor xeJleHr,rcrr,rqKr,r,
3a pa3Jrr{Ka
oA xeJIeHcKH,o3HarlyBaHoB Ayx, H eeIie Ha rroqeroKor 6uruo ro MeHyBa
rrorJreAor Ha rpqKr,rre yMerHurlu, ruro oco6eHo ce oAHecyBaHa peaJrr,r3Mor
rrrro 3arrorrHyBaBo roj nepuog. Coceu e crlrypHo AeKa 3a roa HajMHory
rrpr,rAoHecyBa
Jluun, npo4na6ouynajfu,rro r,rHTepecoT
3a npupoAara
v LrHAr'rBIdAyaJrLr3MOT,
nOpTpeT.
rUTOAOBeAyBaAO lpoqyT Ha peaJrr,rCTr4r{KUOT
Oaa ro norBpAyBaarMHory AeJra,oA KoH rr{ rasgaojynaveuajruavajuure:
rroprperor Ha CoKpar, ruro 6ur [ocraBeH no Aruna (cnopeg onoj npuuep ce
n:pa6orenu r{ rJraBr,ITeruro AeHec ce Haofaar Bo My3er,rreno Baurcau, Puu
n flapus), rroroa rJraBr{reHa Cereyr n Huxarop (oxony 358-280 r. n. u. e.)
vuj run ro nperro3HaBaMe
Bo 6ponseuara rJraBaoA XepxynaHyu n, na
rpajo'r, HeKoJrKyrroprpern Ha AreKcaHgap Benraxu. Arercaugap 6ral rolxy
BooAyrrreBeHoA AeJrara na Jlrnglrn rrrro HapeAHncaMo roj ga rlr r,r3pa6oTyBa
HeroBr4reJrr4KoBr4.
flpovyeHara xepMa Aeapa (cera ro JIy"p), KaKo r,r
[percraBr,rre Ha MoHerlr, 6eg counenue ce r.rHcnr,Ipilpanvr
oA yMeluHocra Ha
JIusun.
lpvrure cKyJrrrrop[ oA xeJreHr{crr4qKr,ror
nep[oA, KaKo H aprr,rcrrrre, qecTo
npecrojynane Bo pa3HraMecra, He 3aApx(yBaji<uce Bo HlreAHoMecTo
nperepaHo [oJrro. tr{ norpaj roa, nocrojar rrpoBepeHr,r
[oAaror{u 3a oAAeJTHH
cKyJr[TopHoA
rrrKoJrr{,Ha Kor{ cnoj nevar uajvecro r{M AaBaJrerlcTaKHaTrITe
Toa BpeMe. Co xlacuqsrrre rpaAr{qun Hajrvtrory ce oAJIHKyBaarnHcKara
yc[ecH Bo
[rKoJra, [oAeKa AeJrocKaTa[IKoJIa nocTlIfHaJIaH3BoHpeAHI{
lr:pa6orrara Ha rroprperu, Kr4peHcKaraIIrKorIaMaJcropcKl,Ifo cneqena
rUXOla ia
Kotn{pa}beToHa nocTapl{TecKyJIrITopcKuAeJIa,a cI,IKI'IOHCKaIa
yxuBana yrrrre rropaHo creKHaTara craBa no lrspa6orxara Ha cKyJr[TypHBo
KaMeHu 6pousa.
3a upoyvynarue u.3alo3HaBarbeHa rpr{Knor rroprper :navajHa e lr
nojaaara Ha Jrr,rKoBr.tre
Ha BnaAapr.rreHa MoHerr,r.Ilpra rpajor Ha V ser n. H.
e. 3a rrpB nar ce nojanynaar JurKoBr,rre
Ha lepcrrcKure carpaQn, urro
IIOAOIIHaCTaHyBarrpaKTr{KaBOMHOfy a3VICKLT
KpaJreBCTBa,
IIa TaKa CMeBO
MO)KHOCT
OpKfrrHaJrHI,rTe
rpr{Kn rropTpeTr.lHa MoHeTr4[ypu
Aa rr4 CJreAr4Me
TIoJIHLI
ABa BeKa. Hajnanpeg ce nojanyeaar noprperr,rre na AlexcaHgap
Beruru, a fioroa rc Ha HeroBr.rreHacneAHr4qr.r.
Meiy najy6anr,rreupnMepr,rHa
rpqKaTa rropTpeTr,rcTr{Ka
Ha MoHeTLrceKaKo MoxaT Aa ce HapeAaT:[opTpeToT
na (Durerep og fleprauon (orony 343-263 r. n. H. e.), uoprpeu4re Ha
AHu.rox u Corep (324-261 r. rr. H. e.), noprperor Ha Kparror ua Cupraja
flepcej, KpaJrHa Maxe4oHuja (213-162 r. rr. H. e.), oco6eHo rroprperor Ha
Eyrr.r4eu I (222-187 r. r. H. e.) u Anrul,rax I og Earrpuja (190-180 r.
n. n. e.). KaKo r.rroprper Ha KpaJror Murpugar III, xpan Ha noHr (220-185

r. Ir. H. e.). Eu Mo)KeJroAa ce Kaxe AeKa co roa e Aocrr,rrnaro uajnucoKoTo

HIIBOBO peaII,TCTUqKOTO
ll3pa3yBalbeBO npeTcTaByBar+,eTo
Ha rroBeqKr,roT
JInK
HA MOHETI{.

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rl
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fpvxure cKyJrlrrypll, a oco6eno [oprperr,rre Ha rro3HaMeHr,rrr{

Jrlrr{Hocrr4,
6utre lrexanrrrrKu KouupaHr,roA crpaHa Ha rprtKr.{TeyMerHrrrlr4cKyJrnropn, Kor{
6lrrte so clyx6a na Puu cd 4o rpajor na II r{ rrorreroKor na I BeK rr. H. e.
Oco6eso 6une noguaru qnajqa yMerHr.rqu:flacurel u Apreculaj og I ner
rI. H. e., c[opeA coo[rureHlrero na flluHue (Gaius Plinius Secundus,
23124-:79..
ce og ra6opan
I. ".) Enarogapej(r{ Ha oBaa aKrr{BHocr, corryBaHr4
MHOry3HarraJHr,r
AeJraoA rpr{KaTa rropTpeTr{cTuKau qecTo MHory MaJrKyce
pa3nr,rKyBaaToA opr,rrHHaJroT.
flogoqHa, H3BoHpeAHr4Te
cepuu iloprperr,r Ha MoHerr,rceKaKo 6r,rJre
r.rHcrrlrpapHr.r
oA rpqKr,rre noprperr.r r,rrrle npercraByBaar noce6no nouanje
BO 3ano3HaBalbeToHa pr,rMcKaTa
rropTpeTrrcTr,rKa.
Macrata og Tpe6eur,urrra e AeJroHa AoMarxeHrtrajcrop r{ e orr,rcHara oA
JIIIKoTHa eAeHHJrr,rpcKr,r
KHe3co xel6a uoxojHr,rxor Aa ce oBeKoBequ.
flpercraaara Ha Jrr{qero ja xaparrepvsupa !r3pa3r,rrHarypaJrr{3au.Ona
e eAI{HcrBeHrrpr,rMepoK
Ha rleJroro eBpo[cKo nogpavje. Macrara oq
Tpe6euurura e [perxoAHr,rKHa noAoqHexunre rroprperr{ oA HaueBo
uogpavje o4 rpajor Ha VI eex r. H. e., oAHocHoon 520 roAr{Han. H. e. (xar.
1). Bo r,uu,rpcKo-rprrKr{or
HaoA og Honu flasap orKpr{eHr{ce r4 HeKoJrKy
MacKI,Ico rroBeqKr.rJrr,rKBo i<unu6ap. floxpaj nnujaHrajara oq apxajcxo
joncxara [JracrrrKa(xar. 3, 4,5) ce:a6elexyna ]r n3pa3rir peaJrr43aM
(rar.2). fine.re ilpercraBr.rHa )<eHcKurJraBr4oA Kovrnor cBeAoqar 3a
rpr{Koro nnujauue oA r{TancKoTonogpavje Ha Ja[oAa npeKy rprrKure
KoJroHr{r{Cndsa u Agpuja. Osa ro rrorBpAyBaar r.raHaJrorur.rreoA xpajor na
VI u no.reroKoT Ha V ner rr. H. e. ruro BoeAHorrpercraByBa r,rlr3pa3uTo
rprrKo uujaHrae Bo Harrrr{reKpaeBr.r(Jlnxa, flanuaquja), (rar. 6, 7).
Hagrpo6nara creJra oq IIpno6yxu (Maregonnja) e nsrpaAeHano yrJreAHa
pelje$u, a Br4crr4HcKr{or
aHTur{Kr4Te
[pr.rMepe creJrara na fianrnclrcTpare oA
Arnna. Toa e cqeua Ha npocryBarbe co rroKojuuror roj o6uvuo ceAHHa
croJr, a Apyrr{Te crojar. JIU<osr4Tece peaJrr.rcrtr.rxu
o6pa6oreHr.tco
KapaKTepHrroco6r,rHuoco6eno raj clyrnuxnre u raj Aerero. Onaa crela
npuuara Ha rreprroAor og IV BeK rr. H. e., oAHocHoHa npe[xeJreHucrrlqKr4or
rrepr4oA.Egen gpyr pelje$ og Tporup e Aen oA eAeHHaArpo6eHcnolreHlrr
co npercraBa Ha x(eHa rxro ceAr{co y6an npo$ul H HaMerKa[peKy rJraBa.
Onoj perje$ e 6rr,r3oKgo joHcxnre uagrpo6uu croMeHr.{qrru no Tporup
e AoHeceHanepojarno oA HeKoe Apyro Mecro (rar. 9).
Anru.{ra lssa (generueu Buc) e eAeHoA Harur{TeHaj:nauajnra apxeoJrorrrKr.r
JroKaJrrdrerr.r
og rpajor ua IV go rpajor na I sex n.n.e. floxpaj 6pojurare
HaoAr{,nponajgeurace r{ HeKoJrKynoprperr{ r{ Bo rexHr{Kastucco (rvnc
Ia3MeruaH
co necox). floprperure ce ocJrlrKyBaarco H3pa3eHeKcnpecr4oHr,r3aM
(rar. 11, 72). Ylcro raKa, oBAe rpe6a Aa ce HaBeAeIr MarIKHor noprper co
6yjna 6paga oA BapoBHHK(xar. 10), noroa xeHcKa rJraBa,nepojarHo Jrr{KHa
uexoja uorojunqa (rar 13) rr eAHarepaKora co y6ano o6pa6orena Spuaypa
(rar. 14). Oeraenoprperr.r ce oA BTopara rrJroBrlHana III n noqeroror ua II
BCK II.H.E.

Og ncropucKr{Te u3Bopr{ Ao3HaBMeAeKa rrocroeJro caMo eAHo r,rJrr{pcKo

KpaJrcrBo-np)KaBa
o[ xpajor Ha V ner n.H.e. Ao 168 roglrHa n.u.e. Og
6pojnure JrrirrHocruoq6panue caMo HeKoJrKyrrun JrrlKoBr{Ha MoHerH ce
corlyBaHr.l,a MoxaT Aa Hr,rAaAaTrr3BoHpeAHu
Bo BpcKa co nopTpeTr,rTe
AoKa3r,r
Ha rJroro Ha Jyroclaruja. Taxa Hr{ e rro3Har r{ rro[aroKor AeKa Ha HJrr{pcKr{oT
rrpecron so 280 roArrHarr.H.e., ce HaofaJrMonynue co arpn6yru Ha Kpalr.
Herosoro r{Me ro HaofaMe Ha eAHaMoHera og flupaxuoa (Dyrrachion), a
r{cro raKa 3HaeMeI.I AeKa rroA HefoBa eracT 6uro r4 npr,{cTaHr4rxreroElr{AaMH
(Epidamnus). Ce cuera gera roj 6ranra egen oA BoeHr.rreKoMaHAaHrlIHa
Arercaugap Benraxr,r.Onoj unupcKr{ BJraAearr,
cr{H Ha Eapgur ranu fpa6
BJraAeeJr
oKoJry300 rol. rr.H.e., a e [ocBeAorreHBo 280 roq. u,u.e.

Apyra r{cro raKa :uavajua Jrr4rrHocre lenque, 180-168 r. r.H.e. Toj e cr.tr
ua fheypar, roj 6lrn Ha r{eJroHa Ap)KaBaraBo BpeMeHa BTopara r,rrperara
MaKeAoHcKanojna uefy Puujaunre r.rKpaJror llepcej . Cnafan BO rpyrara Ha
MHory o6pa:onanu nyfe na cBoero BpeMeu 6ul narloHer KoH rprrKara
KyJrrypa, HeroBara xeua 6ula fpruHra rr ce Br4KaJra
Eypr.rguxa.Bo
HepaMHonpanHa6op6a co Plrujauure ruro ja npegnogen Jlyqne Anuque,
lenque, 3aeAHoco HeroBr4or6par Kapanasrne 6ute 3apo6eHr4no Megyua
(Meteon). Moserure co Jrr4KorHa lenque ce KoBaHrrao Cragap (Scodra) u
eo Jbeur (llssos), a oBI4eMoHerI{ ce KapaKTeprrcrr{r{Hrr
rro Kanara Ha rJraBara
(petasosunn kausija). Onoj o6;rur Ha Kara ro cpe(anave w:aa crryrrr{Teol
Ba.ra u Illuapjer, KaKo r{ na janoqcxure HaoAr{eo IIr4Ka. BepojarHo roa
6uro ger oq Hocujara KaKo 3HaKHa AocrouHcrBo r{ He 6uno nonp:ano co'
r4cKryqurerHara rrpr,rBr,rn
erraj a Ha Br aAeaqor.
flo fenque, nog cyBepeHr.rrerHa Prau elageen Banej (Ballaios) 3a Koro He
ce 3Haee_
MHory, Ho HeroBoro BJraAeerLe
rpe6a Aa ce cMecrr.rBo rreprroAor
uefy 167-135 roguua rpeA H.e. Herona rpecroJrHr,rHa6uta pucau iRhizon), a
rroA HeroBa n;racr 6un u Qapoc (Pharos) co Kora ce cyApr.rJr
KoH cpeAr4Hara
Ha BTopHor BeK [peA u.e. flpurrlepoKor oA MoHerr4Teua Ealeu rrrro e
nponajgeHno Tporup (rar.27 ,28) e nur co HarnaceHoprroBcKr4
soc. tr4crorara
6pou:enra MoHerr4co Jrr,rKorna Ea;rej ce nponajgeHvrvHa Xnap r,rno Bp6ar+,.
Ha rronerure Ha rrJreMero[aopclr (Daorsoi) r4cro raKo ce nojanyna rana
(petasosulu kausija) KaKo rl Ha MoHerr4rena feuque. Oeue MoHerrr ce
KoBaHr4no [ponacra Ha rrJrr{pcKaraAp>t<aBa
no 168 roA. rrpeA H.e., a
qeHTapor 6Iar eo Oruanonra(u ro Bocua, KaAe rxro ce npoHajgeHr4oBlre
Ir^oHeTl.llorpaj oeoj npur'aepoKBo HeKporoJrara so locruJb no rpo6oalrre
79 u 90 ce nponajgeHr.ryrxre ABe HAeHTurrHr4
MoHerr,r.
Xenenucru.rKara KyJrrypa 14yMerHocr e [pr4cyrHa Ha rJloro Ha
Jyrocnaauja a oco6eno Ha rroprperr,rre oA paHr{or pr.rMcKH
nep}roA (I ra II nex
H. e.). Bo,flallaaquja n Maregouuia rvroxcar
Aa ce Booqar ceKora[r
3acrarreHrrre crurrcKtr oco6enocru Ha xeJrrrHr,rcrur{KorocQa(ame ua
yMe'THOCTa.

Ke sano-rueMeco noprperrrre oA fianuaqraja. Eqen noprper Ha nocrap

Ma>Ko[ Colr.ru (Salona) e l.r:pa6oren crropeAeAeHnprrMepoS vereprnor aer
lpeA H.e., Bo npBr,rorBeK Ha Harrraraepa (xar. 86.). [ee rrtasu co Jrr.rKoT
Ha
Anexcarrgap III Benraxra.flpnara uraBa e oA paHo xaqpr,rjancxnor repnog
(xar 48), a Bropara [percraByBa HeKoj nronouejcru.rpnnq r4cro raKa oA
BpeMeroHa r{ap XagpujaH (177-138 r. n.n.e.) (rar. 109). Ha pr,rrracxrare
qecro ce cpe(anaar flpercraB[ ua
Konr,rr4
Quno:oSr4 KaKo urro e noprperor
oq Conuu (rar 141), xoj lroxe Aa ce cnopegr4co [oprperrrre Ha noeror
Ecxun. Osaa rrasa e oq xpajor na II u [oireroKor ua III nex o[ H.e.
lloprperor na Corpar og 3agap e ucro raKa oA xaqpujaucxr.ror rrepr.ro[,
oAHocHooA rpBara rroJroBr4Ha
Ha II eex oA H.e. (xar. 110). Egeu noprper ua
Sr.rnoao$ og lamraaquja norceryta na CorparoBr{or yrreHuKApucrnu
rlocraprroT, Ho rrMa r,rKapaKTepr4crr,rKn
Ha CoKparoBr4Te[oprperr{.
Llucnupa4ujara e go6ueHa oA oprr4HarroroA IV nex npeA H.e., a onoj
noprper e co3AaAeHBo npBara roJroBuHaoq II aer n.e. (xar lll). kI ua
xpajor (e ja cuorr,reHeMe
MaJrara6poH3aHauraBa oA lpnraur rrrTo ro
npercraByBa Eypunug, eAeHoA KJracr{rJr{Te
Ha rpqKara rparequja. Onaa
rJraBae r43pa6oreHarro yrneAoT na Jlusr4nosr,rreAeJIar{ Aenara Ha HeroBr{Te
cle46enuqlr Bo BpeMero na qlruacrrajaralaa AHroHuH so II ner og n.e. (xar
t42\.
Mefy pnrvrcxlrTerropTpeTrl - Korurlr, npoHaj4enr.rHa AeHerxHaTa
repu:ropuja na Maregoulrja, Ha npBo Mecro e.lucrara na Ecxun (Aeshines)
389-314 roAuHa rpeA H.e. rrrro e orKpr,reua1839 rogr.rua,a AeHecce Haofa so
Epurancruor rray:ej.Toa e HsnoHpeAeHnoprper co y6ano o6lr.xynaHa rlana
co HarJraceHa6paga, vycra(u r{ Koca. IIo ceozre crnJrcKtroAJrrlKtrcnafa Bo
BpeMero Ha xaqpr,rjaHcKr4or
KJracflrlr,r3aM,
oAHocHoBo rrpBara [oJroBr{Haol
lpBnor BeK oA H.e. (rar I12). Craryara Bo npr4poAHaroJreMr{Ha,r,rcToTaKa

i:i;,.,

llllti

og Bnrona, e HanpaBena Bo rrecr na Tnro Qnanuj Opecr n e npouajgeHa Bo

rroprr,rKor na Xepaxrea Jlunxecrnc. Osaa crarya e Aarl{paHa Bo loqeroKor
Ha.II sex npeA H.e. (rar 113). fnasara-na Mexan4ep og Eurola, oAHocHo
nejaunnor ropeH AeJr[onyrrrra NgeuruQnxaquja Ha ocHoBarlor Ha HoBara
arr,rHcKaxoueguja - Menangep (Menandros) xoj xuaeen Bo nepl{ogot trlefy
342141-291190roguua rpeA H.e. Osa e plIMcKa perIJII{KaHanpaBeHanoA
nnnjanue sa Jlugun lr noreKHyBa og xpajor sa I u [oqeroKor ua II rer og
x.e. (rar 114). U na xpajor Aa crroMeHeMeABa noprperu oA r{ennroso
co Heurro nocryAeH
(Styberra). flpruor e 6ncra na @unoxceH MI,tcJIHTeJIor
o6pa6orxa Ha Kocaral{ 6pa4ara Bo crltJlor Ha
H3pa3, Ho co Lr3BoHpeAHa
xaqpujaxcxuor aKaAeMH3aM
oA npBara noJIoBlIHaxa II sex oA H.e. (xar 115).
Bropnor noprper, r.rcro raKa og 9ennroao, e nonpcje Ha nocrap rIoBeK co
y6ano o6pa6orena xoca. Ce pa6oru ga Tnro @nasro Opecr, cauo uro onoj
rIepItOA}l MOXe
loprper e oA no3peJrnor rrepuoA oAHocHo oA aHToHI{HCKI',IOT
Aa ce Aarr,rpaBo cpeAnHaraHa II ser oA H.e. (xar 116).
Co nafanero Ha Cxagap npecraHa Aa nocrorr aHTIrqKaMaxegouraja n raa
craHyBa pr,rMcKanponnnqr,rja. flpea opranusaqnja Ha plIMcKI{Lllnpnr r,r3Bprrnr
Jlyqre Annque KaKo KoH3yJr,a npBa yrrpaBa nag llaupuxor HMaIIre Lleaap
(Gaius Julius Caesar,100-44 roq. n.n.e.). Bo Heroso rMe ynpalyBarl
fr. Barnnuje (Publius Vatinius, rpr.r6yno 59 r') uno npercraByBa
4eQunnrunuo BocrlocraByBarbeHa pl{McKara BJIacr.
Hosnre yMeTH[rrKu cQa*arra ce co [or{gpa3eH peiln}I3aM, HaKo rpqKuor
nopTper n noHaTaMy e 3acTarryBaHco AeT:urHKoH yKaxyBaaT Ha nocTapnTe
rpaAr.rquu. flpeg cd, Toa e KJIacHrIlr3Mor,na AypI{ lr apxalmupavxu Qopuu.
Ocnonua oAnI{Ka Ha HarrreBorJro e MeIIIaBe Ha aHTHqKara KyJITypa
H yMerHocr co AoMarrrHoro rBoperxrso. Cerorau flpncycrHr.ror r{ Kpearr{BeH
Ayx Ha aHTnKara no cSepara Ha AyxoBrrara unepuuja (e 6nge nocBeAorreH
r{ Bo noAorIHHTeyMerH[fIKH TeKoBU.

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