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This dissertation represents the research of the identity of the 5th and 6th centuries in the area of the former Roman provinces (Savia, Sirmiensis, Dalmatia), that is, the research of the area of southern Pannonia and Dalmatia, with a special emphasis on the territory of the Republic of Croatia. Questions of identity, largely unexplored during the turbulent period of the great migration of peoples during the aforementioned two centuries, in archeology are most often based on opinions and conclusions about the ethnic identities of the newly settled population in the territory of the mentioned Roman provinces. The dissertation brings a view of identity research in general and is not limited exclusively to ethnic identity, but the problem of looking in-depth, following the sociological changes of individuals and groups within society, which is inevitably changing at a high speed due to the coexistence of the newly settled and indigenous population. The question to what extent objects of archaeological material culture can unequivocally testify to the identity of the bearer of material culture is considered. In this way, the dissertation presents interesting social phenomena that change the ethnic, social, economic and economic profile of the mentioned area. With an interdisciplinary approach to the scientific research of the non-Roman population of southern Pannonia and Dalmatia, the aforementioned phenomena can be more thoroughly observed, which in archeology can be reflected in the material culture that this population left in the cultivated areas during the 5th and 6th centuries. Certain, already existing, interpretations of archaeological material need to be re-examined and the maximum amount of possible data that the subject can provide with regard to the above categories should be exhausted. The research approach is inevitably interdisciplinary and, along with archaeology, it assumes the inclusion of other scientific disciplines that complement the archaeological conclusions. Special consideration is given to the relationship between written sources and researched objects of material culture, in terms of the relevant information we receive from one side and the other. The detailed study and presentation of most of the researched and published objects of the material culture of the non-Roman population in one place facilitate the work of researchers who, in the future, will interestingly delve into this period. The interpretation of the findings through the textual and pictorial part of the reconstruction opens this topic for further discussion about the possibilities of interpreting the identity of the non-Roman population of southern Pannonia and Dalmatia during the 5th and 6th centuries. The period of the mentioned two centuries marks the turbulences that took place at that time in the territory of the Roman Empire, which meant radical changes and the foundation of the establishment of Europe as we know it today. Ova disertacija predstavlja istraživanje identiteta 5. i 6. stoljeća na prostoru nekadašnjih rimskih provincija (Savia, Sirmiensis, Dalmatia), odnosno istraživanje područja južne Panonije i Dalmacije, s osobitim naglaskom na teritorij Republike Hrvatske. Pitanja identiteta, u velikoj mjeri neistraženih stoljeća turbulentnog razdoblja velike seobe naroda tijekom navedena dva stoljeća, u arheologiji se najčešće baziraju na donošenju mišljenja i zaključaka o etničkim identitetima novodoseljenog stanovništva na teritorij spomenutih rimskih provincija. Disertacija donosi pogled na istraživanje identiteta uopće te se ne ograničava isključivo na etnički identitet već problem sagledava dubinski, prateći sociološke promjene pojedinaca i skupina unutar društva koje se suživotom novodoseljenog i starosjedilačkog stanovništva neminovno mijenja velikom brzinom. Razmatra se pitanje u kojoj mjeri predmeti arheološke materijalne kulture mogu nedvosmisleno svjedočiti identitetu nositelja materijalne kulture. Na taj način, disertacija predstavlja zanimljive društvene fenomene koji mijenjaju etnički, socijalni, ekonomski i gospodarski profil navedenog područja. Interdisciplinarnim pristupom znanstvenom istraživanju nerimskog stanovništva južne Panonije i Dalmacije, mogu se temeljitije promatrati navedeni fenomeni koji se u arheologiji mogu odražavati u materijalnoj kulturi koju je to stanovništvo tijekom 5. i 6. stoljeća ostavilo na obrađivanim područjima. Pojedine, već postojeće, interpretacije arheološkog materijala potrebno je preispitati te iscrpiti maksimum mogućih podataka koji predmet može pružiti s obzirom na navedene kategorije. Pristup istraživanju neminovno je interdisciplinaran te, uz arheologiju, pretpostavlja uključivanje drugih znanstvenih disciplina koje nadopunjuju arheološke zaključke. Posebno se razmatra odnos pisanih izvora naspram istraženih predmeta materijalne kulture, u smislu relevantnih informacija koje dobivamo s jedne i s druge strane da bi se izbjegla česta situacija u prošlosti kada su se pisana vrela uzimala kao činjenice. Detaljno proučavanje te predstavljanja većine istraženih i objavljenih predmeta materijalne kulture nerimskog stanovništva na jednom mjestu, olakšavaju rad istraživača koji će, u budućnosti, interesno zadirati u ovo razdoblje. Interpretacija nalaza kroz tekstualni i slikovni dio rekonstukcija, otvara ovu temu za daljnju raspravu o mogućnostima interpretacije identiteta nerimskog stanovništva južne Panonije i Dalmacije tijekom 5. i 6. stoljeća. Razdoblje navedena dva stoljeća označava turbulencije koje su se u to vrijeme događale na teritoriju Rimskog Carstva, a koje su značile korjenite promjene i temelj uspostave Europe kakvu poznajemo danas.

The lack of a large amount of pottery sherds dating from the 1st to the middle of the 3rd century at the site of Our Lady of the Mountain indicates that the population did not live there permanently during that period. After the establishment of peace and the organization of the Roman administrative authority, the population no longer needed to live on the hilltop and moved to the valley where a settlement with a necropolis was organized. It is not possible to give a precise answer to the question about the function of the hilltop site after the population moved to the valley. The first possibility is that part of the population still remained on the hilltop and lived there in a small, rural settlement of wooden houses, of which almost nothing has been preserved, except perhaps a few post holes that were not destroyed by medieval and modern graves. If, however, the population of the hilltop had completely abandoned their residence there, the possibility of retaining a cult place there remains. There is no evidence that the Late La Tène or perhaps Early Roman building beside the Early Christian complex was used for housing, as no significant amount of pottery was found there. More specifically, regarding the Romanization period, no large amount of pottery was found that could confirm that the hilltop was used as a settlement. Nevertheless, the pottery that has been found and can be dated to that period belongs to fine pots that may not be the pinnacle of Roman pottery, but for a settlement geographically isolated and therefore less connected to the rest of the Romanized part of the Noric-Pannonian border area, those finds are quite significant, even in the fragmented state in which they are. Fragments of thin-walled pottery, slipware, so-called eggshell ware and face pots belong to this period. The complete absence of fragments of coarse pots of the Late La Tène period tradition with a surface combed with vertical, slanted or irregular strokes is also significant, and this situation may indicate that the hillfort was really only a cult area where offerings to pagan deities were brought in fine tableware. This could be confirmed by the face pot fragment that are sometimes associated with pre-Roman beliefs, as well as the positions where earlier Roman pottery was found. All fragments of thin-walled pottery, slipware, face pots, etc. were found in trenches around the present-day church and early Christian church complex, i.e. around a potential earlier pagan sanctuary. Of the coarser pots that can be attributed to the 1st and 2nd century, only very small fragments of a relatively fine fabric can be singled out with certainty, decorated with short strokes with a small comb that sometimes overlap. For the earlier Roman period in Lobor, the find of Trajan's sestertius is also significant, which, together with a bowl of thin-walled pottery of probably Siscian production, is one of the earliest finds at the site of Our Lady of the Mountain, although there is a possibility that it was in later use. If Trajan's coin from Lobor is indeed of a later date, the thin-walled pottery bowl is the earliest confirmed find of Roman pottery in Lobor. Although it is attributed to Siscian production, based on the discovery of one bowl, it cannot be claimed that the process of Romanization arrived from the south, especially since the Lobor area has been connected with the area northwest of it since at least the Late Bronze Age, if not earlier. As it seems according to the current state of research and the analysis of pottery, life returned to the hillfort to a greater extent in the second third or maybe even the second half of the 3rd century. It is possible that the return of the population to the hillfort did not take place during a shorter period, but the findings of pottery suggest that. The number of vessels that can be attributed to the time around the middle of the 3rd century is greater than the number of those dated to the 1st and 2nd century, and in addition, the distribution of fragments of this later ware is no longer concentrated around the present-day church, but extends to the northern plateau and the area along the northern rampart. There are several fragments of relief terrae sigillatae that can be attributed to the Rheinzabern workshops and dated to the second half of the 2nd or the first half of the 3rd century. The only fragment of a Faltenbecher type cup can be dated from the end of the 2nd to the third quarter of the 3rd century. In this later group of early Roman pottery, Pannonische Glanztonware fragments are the most numerous. Although the sherds were not found in a closed context, based on analogies they are dated from the first quarter of the 2nd to the end of the 3rd century. It is indicative that the group of tableware that is dated at the latest is also the most common of the earlier Roman pottery. The largest number of Roman coins found at the site of Our Lady of the Mountain in Lobor can be dated from the middle of the 3rd century onwards. Those include all Roman coins except for the aforementioned Trajan's sestertius and the perforated sestertius of Maximinus I of Thrace, which was obviously in secondary use in a later period. Taking into account the dating of the coins and the group of pottery that appeared in the middle or second half of the 3rd century and whose quantity also increased significantly after that period, primarily glazed pottery, it can be determined with considerable certainty that life returned to the late La Tène hillfort immediately after the middle of the 3rd century and that the Late Antique hilltop settlement in Lobor was established. It is not excluded that the refugial character of the position of the Lobor hillfort was used earlier, perhaps during the Marcomannic Wars, but there is no evidence for this so far. A large amount of tableware cannot be attributed to that time, and certain types, such as unglazed mortars, are completely missing. In addition, there are no finds of Roman coins or other objects that can certainly be attributed to that time and interpreted in favor of a shorter settlement during the uncertain times of the second half of the 2nd century. The significant increase in the amount of pottery and the presence of almost all groups of pottery from the middle of the 3rd century, which are facts that indicate the permanent character of the hilltop settlement in Late Antiquity, could be connected with the turbulent times of the so-called crisis of the 3rd century. The beginning of that crisis period can be connected to the latest dated fragments of tombstones found as spolia at the site of Our Lady of the Mountain, as well as the stelae of Marcus Cocceius Superianus and Valerius Lucilianus found in the center of today's Lobor. It seems that since that time, the deceased are no longer buried in the necropolis of the lower settlement in Lobor, but in a so far unknown location, probably closer to the hilltop settlement, and later next to the early Christian complex in the center of the hilltop settlement. The discovery of graves on the artificially formed elevation north of the shrine of Our Lady of the Mountain did not result in a sufficient amount of pottery fragments that could confirm the position as a Late Antique cemetery, despite the discovery of one bone comb and the foot of a glass cup. The number of pottery fragments is negligible and there are no diagnostic sherds. As it seems so far, the abandonment of the permanent settlement in the valley along the Rieka stream and the establishment of the hilltop settlement was probably not only connected with the threats to the Roman population from the barbarian groups from the other side of the Danube, but also with the general state of insecurity during a greater part of the 3rd century. Late Antique glazed pottery marks the period from the second half of the 3rd to the middle or second half of the 5th century. Although it represents only 2.57% of the Late Antique pottery sherds, which is not an unusual number for sites far from the major workshop centers on the Danube or in northern Italy, glazed pottery represents a group in which almost all basic types and methods of decoration are represented. The bowls, plates, cups, bowls with handles and jugs belong mostly to tableware and mortars to kitchenware. Decorative motifs include grooved single and combed horizontal lines, single and combed undulations, small triangular, rectangular and irregular motifs made by rouletting, notches and oval motifs made with a sharp or rounded object on the rim, notches made using the chattering technique, stamped concentric circles, modeled wavy rim, and sometimes there are combinations of two decorative motifs. The decoration was sometimes carried out by painting with a red slip in the form of flames and flower petals, and the exteriors of several glazed bowls were decorated with burnished horizontal lines. Mortars decorated with slip painting and bowls with burnished horizontal lines, as well as related examples of glazed pottery with an intense olive green or yellow green glaze combined with red slip without a pattern should probably be dated earlier, to the second half of the 3rd and the first half of the 4th century, and glazed pottery of simpler forms, duller glaze and slip color if it was applied, and generally glazed pottery of poor glaze quality could be dated to the later period of the second half of the 4th and the first half of the 5th century. No examples of glazed pottery have been identified that could be could be dated only to the second half of the 5 th or even the 6th century, which is also a problem with other groups of Late Antique pottery from Lobor. Considering the theory about local workshops of glazed pottery, which has not yet been confirmed by field research, it was not possible to determine the workshop origin of the glazed pottery from Lobor, but based on the variety of fabrics, firing techniques, glaze and slip colors and methods of decoration, it is very likely that this glazed pottery originates from several workshops that were probably not located in the immediate vicinity of the hilltop settlement in Lobor. If such a workshop had existed nearby, the glazed pottery from Lobor would have been much more uniform, and there would have probably been fragments of tableware sets that have not been recorded so far. According to that and on the basis of analogies from the NoricPannonian border area, the origin of the glazed pottery from Lobor should be sought at the regional level in several workshop centers or smaller workshops. Unlike glazed pottery, slipware cannot be associated only with Late Antiquity, as is evident from the finds of thin-walled pottery, and rare examples remain almost until the end of late antique hilltop settlement and represent some of the latest late antique objects found in Lobor. In addition to thin-walled pottery, this group of pottery also includes terra sigillata, Pannonische Glanztonware, but also vessels of late antique forms with slip in shades of red and gray, which for the most part correspond to the forms of late antique glazed pottery. Simple oil lamps with a handle also appear in this group. Some of the reduction-fired jugs with a dark gray slip are similar in forms to jugs with burnished decoration and simple reduction-fired jugs without slip or processed surface. Considering the correlation of this group, most of the slipware, apart from the earlier groups of the 2nd and 3rd century, should be dated from the second half of the 3rd to the middle or second half of the 5th century. Here, the group of shallow bowls or deep plates that imitate North African red slipped pottery, specifically the form Hayes 61a and its variant Hayes 61a trans. Although the fabric, firing technique and slip quality are completely different, the orm of some examples is completely identical to North African examples and should be dated from the middle of the 4th to the middle of the 5th century. Although they do not represent original North African products, they appeared in the Noric-Pannonian at the height of North African import to the area in the 4th and 5th century and certainly belong to regional production, probably from the northern Italy that had the most contact with overseas areas such as North Africa and the Eastern Mediterranean. Original North African and Eastern Mediterranean ware was recorded only around the end of the 5th century. An undecorated fragment of an ARSW conical bowl of the Hayes 87 or 88 form and a fragment of a North African oil lamp of the Hayes II/Atlante X form decorated with triangle and palmette motifs, as well as an undecorated fragment of an Eastern Mediterranean LRC form Hayes 3E bowl were found in Lobor. The North African sherds can be dated to the end of the 5th or the beginning of the 6th century, and the Eastern Mediterranean to the last quarter of the 5th and the first quarter of the 6th century. Given the small number of fragments of Mediterranean pottery and the fact that earlier forms, which would belong to the period of more intensive import to the Noric-Pannonian area, were not found, so far it should be assumed that they were personal property that was probably brought to Lobor at the beginning of the 6 th century, and not objects of trade between the Mediterranean and the Lobor area. Perhaps their find in Lobor was connected to the relocation of part of the population from the territory of Poetovio, or it was even connected with the withdrawal of part of the population from Noricum Ripense. If this was indeed the case, it would confirm the gathering and refugial role of the fortified hilltop settlement in Lobor, which at the beginning of the 6th century was obviously an important church center where the early Christian complex with a church and a baptistery and possibly other churches was expanded and renovated. The assumption was that the hilltop settlement in Lobor certainly gathered the population of today’s Zlatar valley in unsafe periods, the population which usually lived on farms and settlements similar to the villa in Gornja Batina. The finds of imported Mediterranean tableware confirm that the settlement in Lobor also received residents of probably higher ranks from the threatened settlements of Noric-Pannonian border area. Although early Christian motifs, which are otherwise common, were not preserved on the mentioned imported pottery due to the high degree of fragmentation, it cannot be ruled out that the pottery was brought as part of the household of the Bishop of Poetovio, who is sometimes associated with the construction of the early Christian complex in Lobor, and perhaps with his stay in to an unexplored building on the south side of the site of Our Lady of the Mountain. As for the later forms of imported Mediterranean pottery, they have not been found in Lobor so far, so the question about the end of life in the hilltop settlement cannot be answered solely on the basis of pottery finds. Burnished pottery and pottery with burnished decoration from Lobor belong to the 4th and 5th centuries. A smaller part of that group of pottery belongs to open-shaped vessels, mostly bowls, decorated exclusively with polished horizontal lines, often on both sides of the vessel, for which the closest analogies were found in the Danube area of the eastern Noricum Ripense. Based on these analogies, the dating of the Lobor specimens of this group is placed from the middle of the 4th to the middle of the 5th century. Another group of the pottery with burnished decoration can be connected with the Pannonian part of the Danube limes, where three groups appear based on technological, typological and decorative characteristics. By analyzing these characteristics, the examples from Lobor were placed in the first two groups and dated from the middle to the end of the 4th century in the case of the first group and to the last quarter of the 4th and the beginning of the 5th century in the case of the second group. No fragments were found that could be attributed to the third group. It is possible that, due to the distance from the Danube, the immediate danger and the influence of barbarian groups, with the presence of which the appearance and popularity of this group of pottery is at least partially connected, the dating of the pottery with burnished decoration from Lobor should be extended and that at least until the end of the 5th in the workshops from which this pottery was procured for the hilltop settlement in Lobor, the proven production technology known from older potters was used. It is certain that one cannot expect exactly the same fabrics as in the workshops on the Danube or other larger production centers in Pannonia, and the situation is similar as with glazed pottery and slipware. The variety of fabrics and firing techniques points to several workshops from which the population of Lobor procured pottery of this group. What is perhaps surprising about this group, which is linked to the influence of barbarian groups, is that in Lobor it was not found in combination with stamped pottery. Not a single fragment with stamped decoration typical for the 6th century has been found so far. According to the current state of research, this should mean that the Lobor area was not under the direct influence of the Lombards, although it is sometimes placed on the eastern edge of the so-called Pólis Norikón. Based on the absence of stamped pottery, it is not possible to determine whether this means that in the middle of the 6th century the hilltop settlement in Lobor was already abandoned or at least that the number of inhabitants was significantly reduced, or whether this only happened in the last quarter of the 6 th century, to which the burned layers in the baptistery and on the late antique rampart were dated. There are only a few items from Lobor that can be dated to the period between the latest dated form of pottery and the date of the burned layer. These are objects from grave 50 and a buckle part from a destroyed grave that can be dated to the first half of the 6th century and an S-fibula of the Várpalota-Vinkovci type dated to the second third of the 6th century. They may also be joined by fragments of imported Mediterranean vessels if they were really transferred from another settlement and remained in use for a longer time. The least amount of information about the late antique community in Lobor was provided by reduction- and oxidation-fired fine pottery. The types are related to those of the groups of glazed pottery, slipware and pottery with burnished decoration. Reduction-fired fine pottery is typologically more closely related to the pottery with burnished decoration, and oxidation-fired fine pottery to glazed pottery and slipware. This group includes interesting and rare examples of stamped pottery, which differ from the 6th century stamped pottery according to their fabrics and decorative motifs and clearly belong to an earlier time. There are two fragments of oxidation-fired jugs or pots with stamped concentric circles, which are a typical late antique motif, while another example is decorated in a more complicated way. It is a fragment of an oxidation-reduction fired vessel of large dimensions, which was decorated on the outside with a combination of a stamped rosette, arc motifs made by double rouletting and an applied twisted band. An analogy for this last example should probably be sought in the area of western Noricum Mediterraneum, but in the group of coarse pottery, which in that area is generally more elaborately decorated. Although one of the assumptions was that the final phase of life in the hilltop settlement in Lobor could be explained using the results of the analysis of coarse pottery, it shows that simple, long-lasting forms of pots, jugs, bowls and plates dominate, and of which no type can be exclusively dated to the second half of the 6th century. Pots with extended rims are by far the most common. The problem with dating and finding analogies is also represented by the fact that a large part of these pots and other vessels is undecorated. Decorated examples are dominated by simple decoration with grooved single and combed horizontal lines and single and combed wavy lines, and other decorative motifs are much less common. Another group of pottery that has not yet been found in Lobor, and is connected to groups of coarse pottery, is the so-called non-Roman pottery. These are biconical pots and deep bowls that are often decorated with wavy lines, and are known from the hilltop settlements of the Noric-Pannonian area. This pottery is also associated with the presence of Lombards in Noricum, so its absence in the hilltop settlement in Lobor is only a confirmation that there was no Lombard influence, at least as far as the production or distribution of pottery is concerned. In view of the found pottery with burnished decoration and typical late antique coarse vessels, one can only speculate about the probably indirect influence of barbarian groups, primarily Goths, from the end of the 4 th century. As for the spatial organization of the settlement based on the comparison of architectural remains and clusters of pottery sherds determined by means of quantitative analysis and calculation of the density of the number of sherds per square meter, it was determined that in Late Antiquity there was still a residential part of the settlement on the northern plateau and on the western plateau at least along the northern rampart. It seems that the Late La Tène earthen rampart on which the late antique wall was built provided sufficient protection from the strong northern wind. Based on the findings of terra sigillata, it can be assumed that the part of the plateau next to the northern rampart was already inhabited in the middle of the 3rd century, and considering the finds of a thin-walled ceramic bowl and an Eastern Mediterranean LRC bowl in the same area of the northern plateau outside of the enclosure wall, it can be assumed that buildings existed there even though they were not preserved. A ruin with Roman tegulae nearby could have belonged to that part of the settlement, where the third cluster of pottery sherds was recorded. As for the early Christian complex and the buildings in the immediate vicinity inside the enclosure wall, no late antique pottery sherds were found that could be attributed to the church inventory, but small remains of the building and the heating channel, which perished in a fire in the middle of the 5th century, were preserved partly located under the early Christian church. The majority of pottery finds in the so-called black layer can probably be associated with this building. The late antique ceramic vessels found in front of the facade of the present church should be connected to the wooden building west of the baptistery, which probably existed for some time together with the early Christian complex because it was bypassed by the drainage channel from the baptistery. The interpretation of the space inside the enclosure wall based on the pottery finds, which would indicate that those two buildings were equipped with a kitchen area, should still be taken with caution. This is the part of the site where the largest construction interventions were undertaken, as well as the most intensive burial of the deceased, and it is quite possible that the pottery finds come from disturbed layers and structures that were completely destroyed by later interventions, and all this especially considering the fact that inside the enclosure wall no significant clusters of pottery sherds were determined, neither in total nor by individual groups. Analyzes of traces of use show that in the hilltop settlement in Lobor, pottery was a valuable asset of the late antique population. The use of glazed mortars long after they were damaged and their original surface covered with grit and glaze was destroyed, as well as the repair of vessels of almost all groups (glazed, fine, rough), and not only the more luxurious products, prove that it was valuable enough and necessary to be used even after it has lost its original properties and quality. The recycling of pottery confirms that, after it’s use was really no longer possible, it was used as an additional resource in the settlement and was not completely discarded. In conclusion, it can be said that the fortified hilltop settlement in Lobor, founded as a permanent settlement around the middle of the 3rd century, according to the findings of late antique pottery, at least partially fits into the system of such settlements in the Noric-Pannonian border area. Despite the fortification, the ratio of pottery and other finds, especially those of a military nature, indicates that it was a civilian-type settlement that was transformed into a church center at the end of Late Antiquity. The representation of almost all groups of local, regional and imported late antique pottery confirms that the settlement was open to influences from other parts of the Roman Empire, especially from the north and west, despite the apparently isolated character of the settlement in Lobor, which was not located on important river or land routes and whose area was not mentioned in historical sources. In the middle of the 6th century, however, the settlement was closed against new influences, and the inhabitants probably practiced increasing self-sustainability and self-sufficiency in the last decades. An already abandoned settlement or a settlement with a significantly reduced number of inhabitants was burned according to analyzes around 580 AD, probably during the Avar-Slavic invasion. There are no more reliably dated pottery sherds from that time. Although the western parts of the Noric-Pannonian area saw the end of antiquity at the beginning of the 7th century, it seems that this end came a little earlier to the fortified hilltop settlement in Lobor. U doktorskom radu primarno je analizirano kasnoantičko keramičko posuđe s položaja Majka Božja Gorska i Pavlova pećina u Loboru. Ono je identificirano, klasificirano, katalogizirano i interpretirano u kontekstu njegovog nalaza unutar kasnoantičkog visinskog naselja i u svezi s njim. Osim kasnoantičkog, zabilježena je i manja količina ulomaka antičkog keramičkog posuđa koja dokazuje da taj položaj nije bio posve napušten ni tijekom razdoblja od 1. do 3. st. Unatoč tome, mnogo veća količina kasnoantičkog keramičkog posuđa od 3. do 6. st. potvrđuje da se revitalizacija kasnolatenske gradine, odnosno osnutak kasnoantičkog visinskog naselja u Loboru treba datirati nakon sredine 3. st. Najkasniji identificirani primjerci kasnoantičkog keramičkog posuđa mogu se datirati u prvu polovicu 6. st., a nisu pronađene posude koje bi se mogle sa sigurnošću datirati nakon toga vremena, unatoč tome što analize C14 pokazuju da je visinsko naselje spaljeno oko 580. god. Najveća količina ulomaka kasnoantičkog keramičkog posuđa može se datirati u 4. i prvu polovicu 5. st. Zabilježene su skupine uvoznog mediteranskog, regionalnog i lokalno proizvedenog keramičkog posuđa, a prema sadašnjem stanju istraživanja, nisu zabilježene skupine za koje bi se moglo sa sigurnošću tvrditi da su neromanskog podrijetla. Kasnoantičkom finom keramičkom posuđu pripisano je glazirano keramičko posuđe, posuđe s prevlakom, s uglačanim ukrasom i redukcijski i oksidacijski pečeno posuđe, a grubom sitnozrnato i krupnozrnato posuđe. Tipološko-kronološkom i kvantitativnom analizom ukupnog spektra kasnoantičkog keramičkog posuđa, kao i pojedinih skupina, daje se interpretacija prostornog uređenja visinskog naselja u Loboru, ali i dijela svakodnevnog života kasnoantičkog stanovništva noričko-panonskog graničnog područja, kojemu je pripadao loborski prostor, koji se odnosi na proizvodnju, distribuciju, korištenje i odbacivanje keramičkog posuđa.

The doctoral dissertation focuses on the determination of modernist features and sources of modernism in the figural sculpture of Kosta Angeli Radovani (1916–2002), as well as on the research into his entire artistic oeuvre. A systematic and complete monographic analysis of his sculptural oeuvre was carried out in the context of the local and international artistic scene of the time. Figurative sculpture (nude and portrait), medal design oeuvre, public sculpture, memorial monuments, drawing, and prints were explored. The dissertation brings an interpretation of his creative oeuvre, as well as new knowledge of his pedagogical contribution and his cultural and social involvement. An analysis and evaluation of memorial and intimate sculpture and methods of work, the definition of typology as well as the interpretation of nudes and portraits and formal analysis and valorization of his more important works were carried out. The works were systematized by type, technique, theme and compositional solutions, as well as by stylistic and morphological features. After collecting data on the works, and, where necessary, also on their attribution, dating and photography, a catalog of all known works of this artist was created for the first time. Then, we analyzed the modernity of his artistic approach to the traditional theme of nude and portrait, which he formed using traditional materials and shaping principles. All this led us to new knowledge about the artist's work and activity. At the beginning of the dissertation, we set up the hypotheses for the scientific research work: 1. Although he never abandoned the figuration and recognizability of the anthropomorphic motif—using traditional materials and shaping principles—on a formal and conceptual level, his style of shaping belongs to moderate modernism; 2. He introduces innovations in the representation of nudes and portraits; 3. In the field of shaping female nudes and portraits, he makes a significant contribution to Croatian post-war sculpture of modernism; 4. Kosta Angeli Radovani's version of modernism differs from the prevailing abstract expression that, in Croatia, was associated with the concept of post-war modernism (for some, it was not avant-garde or traditional enough); 5. During the formation of modernist expression, he assimilated numerous influences — the sculpture of European modernism, the influences of non-European cultures, and other types of "primitivisms" and archaisms. In the introductory chapters, the methodology, hypotheses, and objectives of the scientific research work are presented, as well as is an overview of earlier research and critical reviews of literature. Then, the socio-political context and its influence on the sculptor's formative period were analyzed. A thesis is presented about the unusually long formative period (1926– 1952), which was divided into two parts—conditioned by both the social and artistic as well as cultural context, and by life circumstances of Kosta Angeli Radovani. The first part of the formative period includes the childhood and the creation of student works, as well as studies at the Brera Academy in Milan. When he went to study in Milan, he left the original influences of classics, then French modern sculpture, Aristide Maillol in the nude, and Charles Despiau in the portrait. At that time, his approach to shaping and interest in the subjects of nude and portrait was directed by his professor, a post-Donatellian artist Francesco Messina, who taught sculpture guided by the syntagm, "Do not invent!". The Italian art was dominated by figuration, and Milan was the center of the artistic movement of the Novecento. He gained insights into recent phenomena by following the program of Milan's avant-garde Galleria il Milione, which exhibited abstraction, as well as by studying works of sculptors who introduced modernism into the shaping of traditional subjects of nude and portrait (Arturo Martini, Giacomo Manzù, Marino Marini). He assimilated further influences during his numerous student trips through Italy. He was particularly impressed by the art of Etruscans, ancient Egyptians, and other ancient civilizations, as well as by medieval heritage. Presented are the circumstances and direct influences that determined the formation of his artistic expression. The source of his specific modernism is also analyzed and interpreted. After completing his studies and returning to Zagreb, the second part of his formative period begins (1939–1952). He spends the war years in Zagreb, where he attends a specialization at the Academy of Fine Arts in Zagreb. Until 1945, the bulk of his oeuvre consists of female nudes, portraits, and drawings that show the sculptor's need to free himself from previous influences, searching for his own expression. In that period, there is an increasingly pronounced stylization and reduction of the representation. After the end of the war, Angeli Radovani adjusts to the socio-political circumstances of the time. Socialist realism was a politically and state imposed doctrine, so, in the artistic expression, there were changes in themes of representation and shaping. Angeli Radovani covers the then naked female body with clothes because the motif of the nude is contrary to new socialist morality. He shows figures in the context of labor and social responsibility. The volume is closed, and the selection of themes limited. Until the end of the 1940s, he models within the framework of a realistic style of shaping, while his portraits of national heroes are influenced by socialist realism. For his Portrait of Nada Dimić (Portret Nade Dimić; 1947) he won the third prize of the Committee for Culture and Art of the Government of Socialist Federative Republic of Yugoslavia in 1948. Angeli Radovani participates in two public competitions for monuments, which was a new theme in his sculptural oeuvre (a monument to the Croatian poet Silvije Strahimir Kranjčević and The Monument to the Uprising of the People of Drežnica [Spomenik ustanku naroda Drežnice], which won the second prize and was realized in the village of Drežnica in 1949). A new impetus for a shift in the manner of his expression arises during a study trip in 1950– 1951. He travels through Italy, France, Belgium, and Switzerland, studying the art of nonEuropean cultures, absorbing the power of their simple, cubic forms. This is the time when his formative period ends, and the phase of mature expression begins. He works and researches a lot to find his own expression. This leads him to refine his sculptural language and establish a new idea of sculpture that would surpass all previous symbolisms, classicisms, and academicisms. His first solo exhibition in 1952 was also the first solo exhibition of a sculptor after the Second World War. The free choice of the theme of representation (nude) and the way in which he stylized the nude and the portrait heralded changes. The exhibition arouses numerous reviews in the press as well as polemics. After the chapter in which the presence and reception of the mature and late oeuvre of Kosta Angeli Radovani was researched, the figural sculpture that gained its full expression in the mature period of his creation was also researched. He abandons idealization, narrativeness, and realism in the representation of the body, the representation is reduced, and the surface of the sculpture intentionally unpolished and unfinished, which evokes a tactile experience. On the surface, there are visible traces of shaping by fingers and palm, the signs of the sculptor's physical gesture. Anatomical arbitrariness is visible in the shaping of the elements of some sculptures. The sculptor does not shy away from deformations and ugliness in order to achieve an expressive, sometimes grotesque impression. The feet, hands, thighs, and buttocks are oversized, which points to the simplicity of "primitivist" forms. He draws inspiration from the creations of non-European cultures and from various archaisms. He increasingly applies stylization and the speech of the masses; the nudes are voluminous, and the need to investigate various sculptural problems results in the execution of numerous variations of the same theme. He is engaged in the research into various relations of compositional elements, such as figure and pedestal, the closedness and openness of the mass to space, the flatness and saliency of the volume of sculpture, the polishedness and roughness of surface, which in some works joins at sharp edges contrary to anatomical accuracy. In a special chapter, the sculptural cycle The Quince (Dunja; 19 variations, 1957–1986) is interpreted, with which he reaches the pinnacle of sculptural research, creating distinctive variants of a lush, mature female body. In some examples, he reduces certain parts of the body to round geometric bodies (cylinder, sphere), or stylizes them to the edge of abstraction. He never abandoned the recognition of the motif, which was his conscious choice. Until 1963 dominates the nude in standing position, but then the seated nude prevails, which intrigues him with immense possibilities of composing numerous variants while searching for a balance of elements. They are connected by the principle of building the mass from the core. He innovates the role of the pedestal, which he either abolishes or integrates into the sculptural solution (it is part of the cast, or he chooses a wooden stump, an iron rail, on which the figure is seated). By analyzing his mature sculptural oeuvre, we determined various formal and stylistic features in the manner of his shaping. In the nudes, we distinguish between three ways of modeling: round volumes and organic forms, then organic forms that he, in individual parts, cubizes and shapes with flat surfaces that are joined at sharp edges, and more radical modeling by decomposing round volumes through the process of geometrization and cubizing. The representation of female nude, as the dominant theme of the sculptor's work— viewed in the context of "primitivist" art—can also be interpreted as a symbol of natural cycles, the primordial, and the fertility. The commitment to depicting human figure stems from personal humanism, but also from the artistic climate that prevailed after the Second World War, and which, after the Holocaust and the era of the atomic bomb, aroused the interest of a group of artists while returning to the sources, the pre-cultural and the prerational. The portrait, which is the sculptor's second major theme, is explored in separate chapters. In addition to memorial portrait sculptures, he also modeled portraits of acquaintances and academicians, renowned personalities from Croatian culture, art, history, and science. He made portraits to order, but also on his own initiative, attracted by an interesting, unusual physiognomy or personality and achievements of the person he portrayed, and motivated by the desire to solve a new artistic problem. Already during his schooling he models portraits under the influence of academic realism and other influences. He gets rid of these influences with portraits created during the war, when he abandons description and idealization. After a short period of modeling portraits in the spirit of socialist realism, in the early 1950s comes a shift toward more modern expression. Important for finding his own expression was his knowledge of the portrait oeuvres of Marino Marini and Marcel Gimond. In the voluminous portrait oeuvre of Kosta Angeli Radovani, we determined the existence of two dominant stylistic and morphological approaches—in the first, the face is elongated, the surfaces follow the bones of the skull, and the surface of the face is furrowed with lines, with which he achieves expressiveness, while in the other approach, there is a reduction of descriptive elements to essential physiognomic features of the portrayed, the volumetric thickening, and a higher degree of geometric stylization, emphasized abstraction, and abandonment of psychologization. From this approach, with further stylization, he started to emphasize geometrization. He modeled some portraits in multiple versions, returning to them in various time periods as they were stimulating for him in his solving of certain sculptural problems. It is the shaping, which focuses on shaping phenomena and research of form—rather than on the similarity to the model—that the elements of modernism are most present. He strove to present the key physiognomic characteristics and the unique character of the portrayed in a synthetic manner and with reduced means. He created a unique gallery of portraits of unknown persons, but also of those working in the public, such as renowned art historians like Kruno Prijatelj, Ljubo Karaman, the archaeologist Grga Novak, academicians, musicians, directors, and other people from cultural, scientific, and public life. By choosing various physiognomies and characters, he went beyond the individual level, presenting a general, universal image of man. He also created a notable oeuvre of relief portraits in the medium of portrait medal. These are predominantly portraits of people from public, cultural, and scientific life, as well as academicians whom he was modeling from 1963 to 2000. He mostly adhered to the traditional circular shape of the portrait medal. The representation is on the obverse, while the reverse is empty. His most significant medal design achievement is the Rector's Chain (Rektorski lanac; 1969). For medals, he uses two modeling methods. In one group of works there is an emphasized geometric stylization and harder modeling, while in the other group, there is softer modeling, a greater degree of reduction and highlighting of the experience of a person's character, as well as organic forms. He is focused on a condensed representation of physiognomy and the transfer of the experience of the portrayed. He does not elevate it to a symbol, a sign, which is the case in the classic medal design approach, but freely interprets it. The excellence of the portrait is manifested in the use of minimal visual artistic elements with which he achieves maximum expression. In the consistent shaping of the portrait, we find his unique contribution to and significance in the corpus of Croatian medal production. We found that the elements of modernism are manifested in the terseness of representation and the reduction of details, as well as in the emphasized stylization. Special chapters are devoted to drawing and print, which, until now, have been a less wellknown and poorly analyzed part of his oeuvre. For Kosta Angeli Radovani, drawing was his favorite art technique. With the help of drawings, we can follow the development of his artistic thinking, as well as changes that occurred in various stages of his creation. He used drawing in a wide range of forms, from sketches, with which he developed his ideas for sculptures and the reflection of body in space, to drawing as an independent visual artistic discipline, a rounded work of art. At the same time, he uses various artistic possibilities of drawing by using line—as a legible trace of gesture and movement—as well as spots. He creates drawings that are characterized by lightness and refinement, but also by power that he achieves with a clean, strong line. He achieves a range of representations from flat—made with a clean line—to voluminous, which are created by shading with pencil, charcoal, watercolor, or some other visual art technique. In drawing, the representation experienced a greater degree of deformity than in sculpture, motivated by a greater need for experimentation, creative freedom, and the specific qualities of the visual art technique. In two drawings created in 1957, he reached the edge of abstraction by reducing the representation and by radical geometric stylization. With drawings he also created templates according to which to make prints. The most common motifs are portraits and nudes – from the intimacy of The Quince or female nudes in the artist's studio, to the vortex of eroticized bodies playing and dancing. In prints, the central motif is a group of figures with emphasized movements and gestures, while the most common themes of representation are the struggle for freedom and justice. Along with the line with which he describes the scene, he also uses pure colors for the representation of the background and the volume of figures. Modernist features can be found in the deformities and expressive lines used to create the representation, as well as in the terseness and stylization of the representation. Monumental solutions are a less well-known and, so far, an only partially analyzed segment of the sculptural oeuvre of Kosta Angeli Radovani. This research has shown that, as a creator or co-creator, he had sixteen realized and fifteen unrealized projects. A special group consists of portrait sculptures placed in public spaces or in interiors of public institutions, cultural, and school facilities. By analyzing the entire oeuvre, the typology of memorial sculpture was established. This comprises reliefs, memorial figures (solid sculpture), spatially and sculpturally complex memorial solutions, as well as portraits and busts of real persons. Realized and unrealized solutions are dealt with in separate chapters, and, within this broader division, solid sculpture, relief, and monumental portraits and busts created for public spaces constitute separate units. From his earliest memorial solutions, he collaborated with architects. The ratio of creative contribution of the sculptor and the architect depended on the character of work. In the case of more complex memorial solutions, the architect's part was more emphasized in the design of architectural elements, while the sculptor's contribution was more pronounced in the sculptural execution of relief. The involvement of the architect in the elaboration of the conceptual project shows a high degree of responsibility of the sculptor toward the intervention in public space, and the need for each segment of the planning and execution of the artwork to be at a high professional level. He created monuments dedicated to work, while one unrealized monument is dedicated to workers' self-management, which is a rarity among post-war monuments. In addition, in several executions he shows female figures, which is also found in a smaller number of postwar memorial solutions. In the realized monuments, we can see a stylistic and morphological range from realistic monumental figural works (Monument to the Uprising of the People of Drežnica [Spomenik ustanku naroda Drežnice; 1949]), reliefs with narrative representations, to monuments characterized by modernist features through the reduction of elements, geometric stylization, and cubic construction of volumes (Macedonian Woman [Makedonka, 1956–1961]; Monument to Vjekoslav Karas [Spomenik Vjekoslavu Karasu, 1974]). In the execution of reliefs with figural themes, he applies geometric stylization, and, in this area, also modernizes the representation of figures. The most significant and the only spatially and sculpturally complex memorial solution realized is the Memorial Park to the Shot (Spomenpark strijeljanih) at Šubićevac in Šibenik (1961–1984), which he realized in collaboration with Zdenko Kolacio. The modernistically refined geometrized architectural elements establish a symbolic relationship with the place of execution—with maximum respect for the natural environment—and are complemented with monolithic reliefs depicting fighters. With co-creator Zdenko Kolacio, he won the first prize for the Monument to the Victims of Fascism (Spomenik žrtvama fašizma) in Jajinci near Belgrade (1956). It is their most important unrealized project, and—despite its unquestionable quality and the award—the monument was not built according to the project. With its abstract geometric shapes and minimal means, respecting the spatial, natural, and historical context, their proposal, in its purity of conception, was ahead of its time. Had it been realized, we believe that it would have had a significant impact on the development of memorial production in the area of Yugoslavia, as well as beyond. In separate chapters we dealt with his social and pedagogical engagement, as well as his authorial work. Due to his erudition and authorial activity, Kosta Angeli Radovani is a unique phenomenon in the Croatian art scene. In addition to his comprehensive sculptural oeuvre, he was an essayist, pedagogue, and polyglot. He was also socially engaged, and stood out among his contemporaries for his erudition and broad education. He authored a large number of texts, essays, and reviews, in which he dealt with phenomena in the visual art scene and wrote about his meetings with artists. He published part of the texts in the 1985 book titled, A Sculpture without a Mane (Kip bez grive), while a large part of the remaining essays and diary entries was published posthumously in four books edited by Ive Šimat Banov. From 1939, he kept a diary, in which he describes his personal world, through which the wider artistic, cultural, and social context of the time is reflected. In 1958, he held the position of Chairman of the Croatian Association of Fine Artists. He was a long-time representative of the Union of Yugoslavian Associations of Fine Artists, and member of the Executive Committee of the International Association of Fine Artists. He was also one of the founders of Zagreb's Gallery Forum in 1969. He participated in various forms of popularization of modern art, and also made a significant pedagogical contribution. He founded the Department of Sculpture of the Academy of Applied Arts in Zagreb in 1949, where he worked as an associate professor from 1949 to 1954. He was elected full professor at the Sculpture Department of the Faculty of Fine Arts in Sarajevo in 1977, where he was active until his retirement in 1987. He also led the sculpture modeling class as guest professor at the renowned Salzburg International Summer Academy of Fine Arts in 1987, 1988, and 1991. From 1992 he was a full member at the Fine Arts Department of the Croatian Academy of Science and Arts. He was the winner of the City of Zagreb's Award for Fine Arts (1963), the Vladimir Nazor Annual Award for 1973 (1974), the Vladimir Nazor Award for Lifetime Achievement (1986), and was also awarded the Order of Danica Hrvatska with the Face of Marko Marulić (1998). At the beginning of the research, the hypotheses for the scientific research work were set up, and the research confirmed the initial assumptions. It was established that, although he never abandoned the figuration and recognizability of the anthropomorphic motif—using traditional materials and shaping principles—on a formal and conceptual level, his style of shaping belongs to moderate modernism. This form of modernism differs from the prevailing abstract expression, which, in Croatia, marked the stylistic emergence of post-war high modernism. The oeuvre of Kosta Angeli Radovani was not avant-garde enough for some art critics, while it was not traditional enough for the other part of the professional public. This research has shown that he introduced innovations in the representation of nudes and portraits, and that, in this area of shaping, he made a significant contribution to Croatian post-war modernist sculpture. This research further indicates that, when forming his modernist expression, he assimilated numerous influences—the sculpture of European modernism, the influences of non-European cultures, and other types of "primitivisms" and archaisms. The comprehensive research conducted encompassed all aspects of work and activities of this significant artist. The dissertation brings new knowledge that complements, expands, and enables a new perspective on some aspects of previous research as well as on his entire oeuvre. Kosta Angeli Radovani stylized the figure and portrait with his recognizable handwriting. He introduced innovations into the manner of treatment of surface, and into formal and compositional solutions. In addition, through inspiration from the original, the archetypal, "primitivist" stimuli that would influence the formation of his modernist expression, he created a unique and recognizable oeuvre that represents a significant contribution to the Croatian and European modernism of figurative sculpture. Doktorska disertacija Modernizam figuralne plastike Koste Angelija Radovanija bavi se utvrđivanjem modernističkih značajki i izvora modernizma figuralne plastike Koste Angelija Radovanija (1916. – 2002.), te istraživanjem njegova cjelokupna opusa. Provedena je sustavna i cjelovita monografska obrada kiparskog opusa u kontekstu onodobne nacionalne i međunarodne likovne scene, te je prvi put sastavljen katalog svih poznatih djela ovog umjetnika. Istraženi su akt i portret, medaljerski opus, javna skulptura, spomenička plastika, crtež i grafika, njegov spisateljski opus, pedagoški doprinos te kulturno-društveni angažman. Učinjena je analiza i vrednovanje spomeničke i komorne plastike i načina rada, definiranje tipologije kao i interpretacija akta i portreta te formalna analiza i valorizacija važnijih radova. Djela su sistematizirana po vrsti, tehnici, temi i kompozicijskim rješenjima, te stilskomorfološkim značajkama. Istraživanje je dovelo do nekoliko novih hipoteza o ovom kompleksnom opusu, počevši od teze o dugotrajnom formativnom razdoblju. Utvrđeno je da iako nikada nije napustio figuraciju i prepoznatljivost antropomorfnog motiva te se koristio tradicionalnim materijalima i oblikovnim načelima, na formalnoj i konceptualnoj razini njegov način oblikovanja pripada umjerenom modernizmu. Taj se oblik modernizma razlikuje od prevladavajućeg apstraktnog izraza koji je u Hrvatskoj obilježio stilsku pojavu poslijeratnog visokog modernizma. Opus Koste Angelija Radovanija za dio likovne kritike nije bio dovoljno avangardan, a za drugi dio stručne javnosti nije bio dovoljno tradicionalan. Istraživanje je pokazalo da je uvodio inovacije u prikaz akta i portreta, te da je u tom području oblikovanja ostvario značajan doprinos u hrvatskom poslijeratnom kiparstvu modernizma. Ovo istraživanje, među ostalim, upućuje na to da je pri formiranju modernističkog izraza asimilirao mnogobrojne utjecaje – kiparstvo europskog modernizma, utjecaje izvaneuropskih kultura i drugih vrsta »primitivizama« i arhaizama. Disertacija donosi nove spoznaje o radu i djelovanju autora koje nadopunjuju, proširuju, te omogućuju novi pogled na neke aspekte dosadašnjih istraživanja kao i na cjelokupan opus. Ostvario je jedinstven i prepoznatljiv opus koji predstavlja značajan doprinos hrvatskoj i europskoj modernističkoj figuralnoj plastici.

The main goal of this paper is to investigate what role did the crafts have in the past, and what that role is today. The paper will chronologically portray and study the development and importance of crafts throughout the history of the city with an emphasis on traditional and artistic crafts that are the main topic of the paper. Craft work has created the cultural tradition of Zagreb, which is today its heritage base and part of its identity. Accordingly, the aim of this paper is to give an overview of the craft legacy in the form of tangible and intangible cultural heritage. One of the goals is to determine the possibility of applying and developing cultural heritage in the function of tourism, and the systematic inclusion of craft tradition in creating and designing the tourist offer of Zagreb as a valuable resource for a unique tourist product. In accordance with the defined objectives, the paper will use data collected by consulting relevant scientific and professional literature, as well as those obtained by own research through mapping, surveying citizens and interviewing traditional craftsmen to create a more complete picture of today's business. Based on the obtained results, and considering the abovementioned, the possibilities for improvement and further development of the remaining traditional crafts, as well as their protection and revitalization are presented in this paper. Tradicionalni obrti, odnosno preciznije tradicijski i umjetnički obrti su predmet istraživanja ovog rada. Osnovni cilj rada je istražiti kakvu su ulogu imali obrti u razvoju grada nekada te koja je njihova uloga i potencijal u današnje vrijeme. U radu će se kronološki isportretirati i proučiti razvoj i značaj obrta kroz povijest grada s naglaskom na tradicijske i umjetničke obrte. Obrtnički rad je stvorio kulturnu tradiciju Zagreba koja je danas njegova baštinska osnova i dio identiteta. Sukladno tome, cilj rada je i dati osvrt na obrtničku ostavštinu u vidu materijalne i nematerijalne baštine. Jedan od ciljeva je utvrditi mogućnost primjene i razvoja kulturne baštine u funkciji turizma, te sustavnog uključivanja obrtničke tradicije u kreiranje i osmišljavanje turističke ponude Zagreba, kao vrijednog resursa za jedinstveni turistički proizvod. Sukladno definiranim ciljevima u radu će biti korišteni podaci prikupljeni konzultiranjem relevantne znanstvene i stručne literature, kao i oni dobiveni vlastitim istraživanjem putem kartiranja, anketiranja građana i intervjua s tradicijskim obrtnicima u svrhu stvaranja potpunije slike današnjeg poslovanja obrta. Na temelju dobivenih rezultata, a uzimajući u obzir gore navedeno, iznesene su mogućnosti za poboljšanje i daljnji razvoj preostalih tradicijskih obrta, kao i njihovu zaštitu i revitalizaciju.

Although for more than a century now the life and work of Ivan Meštrović (1883–1962) have been studied by numerous research scholars, both foreign and domestic, the classical component of his artistic work has never to date been interpreted, contextualised and brought together between the covers of a single work. In this research, this component has been identified formally and thematically in Meštrović’s sculpture, in his architecture, in the drawing, painting and printmaking that also constitute parts of his oeuvre, in his teaching at the Zagreb Academy of Fine Arts and in his writings about art. The classical component, which is considered to be one of the most important characteristics of the work of this artist and architect, is analysed in three main units, covering in terms of time the first two decades of the 20th century and the interwar and post-war phases. In the introductory part, after the chronological framework of the discussion of Meštrović’s art is established, the frame of reference for the concept of the classical component is addressed. It presumes the internalisation and reinterpretation of patterns of theme and composition from a number of periods of art history. Meant here are Antiquity (the period that extends from the appearance of writing in the 4th millennium BC, via the civilisations of Mesopotamia and Egypt down to the collapse of the Roman Empire), the Renaissance (in the oeuvre of Meštrović this mainly means invoking the art of Michelangelo Buonarroti) and the Neoclassicist period. Then the definition of terminology is addressed (archaism, the archaic and archaistic style, the influences of the Bronze Age and classicism as against Neoclassicism), as well as the determination of the chief comparative context, which is French modern sculpture. In addition, to reinforce the need for the study – in terms of the framework of the problem given – reference is made to recent domestic and international exhibition and publishing projects, and to texts in which modernism is redefined precisely in relation to the reinterpretation of the classical tradition. In the first two decades, the presence of classical elements is interpreted as one of the tendencies associated with the stylistic formations of Impressionism, Secession, Symbolism and Expressionism. Keeping up with references to classical culture can be discerned at the very beginnings of the artist’s engagement with sculpture, during the Vienna years (1900–1907), when Meštrović quite plainly advanced negative views about the tradition. In connection with the comparative context, the familiarity of Meštrović’s French critical fortune is expanded, that is, the reception of his participation at the most important exhibitions of the time in 1908 and 1909 (Salon d’Automne, Salon de la Société nationale des beaux-arts). The transition from rejection of the classical tradition to invocation of it, from the development of the lexis of (monumental) archaism to (monumental) neo-classicism is observed through a comparison with French sculptors, with Auguste Rodin, Antoine Bourdelle and Aristide Maillol, who had defined the relation of modern sculpture and Ancient and Renaissance art. Here Rodin’s invention of fragmentary sculpture and assemblage needs particularly to be picked out and attention drawn to the fact that Meštrović was the first Croatian sculptor to employ it. One result of the research into the problem was the introduction of the concept of utopian sculpture. It is derived from the conceptual and historical repercussions of the architecture of the sculpture of the Parthenon on European sculpture of the end of the 19th and the first half of the 20th century. The concept is interpreted with use of the St Vitus Day Temple (1908–1912) and, pursuant to the stylistic and ideological similarities, it is expanded to several other contemporary examples, mainly of Czech and French artists. The temple itself, and the Kosovo Cycle and the Prince Marko Cycle that belong to it, are described in detail and analysed in order to be able to distinguish the finer features of the appropriation of Ancient sculptural and architectural motifs, elements and symbolic meanings. The second decade of the last century was marked by the sculptor’s consideration of Ancient iconographic templates (Venera pudica) and motifs (women dancing) that enabled Meštrović to develop the theme of the female nude further. He also went on pondering the male nude in two directions – the archaic, heroic monumentalism (the monument Victor, Belgrade, 1913) and the anti-hero (for example, Pensive Youth, London, 1915). Subsequently in the thesis through all the periods and within all the units, there is a continued interpretation of reliefs and medals that prove to be particularly suitable for the depiction of the adoption of classical formal patterns, and for the reception of the then current stylistic tendencies (modernism). In the interwar Zagreb period (1922–1942), the classical component can be identified as the main determinant of the style, as the style itself, then (Neoclassicism). This stylistic tendency is perceptible in the monumental sculptural and architectural productions, which reflect the idea of power and stability, for which an ideal framework can be found in elements taken from Antiquity, the Renaissance and Neoclassicism. In the design of the nudes and works of religious topics, Meštrović often resorts to the repertoire of forms and themes that were established by Michelangelo. The focus of the research is on the importance of the sculptural workshop, its role in the transmission of knowledge, skills and the return to the sources of classical, Mediterranean culture. In the case of Meštrović, the problem of workshop is seen through the short-lasting workshops organised for the purpose of his monumental and architectural projects, then through the activity and formation of young sculptors in his studios, and through the organisation and reform of teaching at the Academy of Fine Arts in Zagreb, where he was president and professor. The characteristics of the phenomenon identified as “the return to order” correspond with the thesis of anti-modernism, which he programmatically formulated in essays about Michelangelo (Ivan Meštrović, “Michelangelo (an introduction to a study)” of 1926; Ivan Meštrović Conversations with Michelangelo, 2007; Ivan Meštrović, Michelangelo – essays of an artist about an artist, 2010) and embodied in his own works, which were supposed to be a model for the younger generation of artists and avert them from the destructive influences of the avant-garde. In these essays, he joined the string of French artists who in a similar way had engaged with the Italian sculptor (Rodin, Émile Bernard). It should be pointed out that antimodernism is not necessarily not-modern, that is, outside the currents of the time in which it came into being, which, among other things, is confirmed by Meštrović’s sensitivity to current artistic and political circumstances. In the context of Meštrović ’s reception of Michelangelo, it should be pointed out that in this thesis for the first time his long-lasting engagement with the theme of Moses (1915– 1952) and with portraits of Michelangelo, done in the media of sculpture and drawing is analysed and presented as a whole for the first time. In this part of the thesis, there is discussion of Meštrović’s monumental and architectural oeuvre, to which a particular quantitative impetus was imparted in the third and fourth decades of the century, during which Meštrović won his place as the main state sculptor of the Kingdom of the Serbs, Croats and Slovenes, later known as the Kingdom of Yugoslavia. Because of the closeness with political circles (with, for example, the Karađorđević and Masaryk families) and thanks to the success of his international exhibitions he had a large number of commissions for public sculpture in Croatia, other parts of Yugoslavia and in Europe, the USA and South America, Since these projects have been discussed in previous researches, the objective of the current investigation was to establish the typological development (the equestrian monument, for example, the motif of the winged goddess of victory, Nike) and his correlation with the classical tradition (for example, derivations of the architectural vocabulary of the ancient world, the variation of the ancient structure of temple and its adjustment to contemporary needs of a public and a personal purpose). Still, the dissertation includes some unknown facts and material related to the Speer Memorial of Denver, which was never brought to fruition (1934). The discussion is expanded to Croatian and European (Czech and Latvian) production of monuments, by the consideration of the influence of Meštrović’s public sculpture on the formation of the following generation of Croatian and Slovene sculptors (the defining of the Zagreb Sculpture School) and on the reception of Neoclassicism and monumentalism in the public sculpture of central and northern Europe. The last period of Meštrović’s life and work in Rome, Switzerland and the USA (1942– 1962) is seen as a recapitulation of the experience garnered up to that time. Stylistic derivations are recognised as mature Expressionism, realism and self-referential Neoclassicism. The latter inclination is a confirmation of the long duration of the classical tradition that is sketched out in the thematic stratum (mythology, religion) and in compositional self-referential and referential (Michelangelo, Rodin, Bourdelle) figurativeness. The interpretation is expanded to the phenomenon of eclecticism, that is, of the eclecticism of the pastiche, of eclectic monumentalism, which is attributed in this dissertation above all to his architectural designs (the Njegoš Mausoleum at Lovćen, 1924–1974) and to his sculptural productions in all periods. An eclectic approach to the tradition and to his own artistic past is the authentic expression of this artist. Accordingly, he is both polyvalent and complex (the opposition of modernism and anti-modernism) and is not comparable to other Croatian and European sculptors and architects. The thesis also introduces some little known (for instance, two sculptures on the topic of the slave of 1903) or completely unknown productions (for example, the drawing Source of Courage, 1906 (?) published in the journal Český svět in 1909). From the beginning of his career, from his days as a student in Vienna, right until the last, the American, period, it is possible to recognise and track, with complete clarity, the artist’s specific manner of referring to and reinterpreting classical (mythological, for example) subjects, as well as approaches to form and composition (for example, the different versions of the depiction of Aphrodite or Venus – Venera pudica, Aphrodite, Anadyomene and so on), from sources in Antiquity, which necessarily include not only Greek and Roman but also other ancient world traditions, as well as from the Renaissance and Neoclassicism. Hence this research too was oriented to the chronological coverage of stylistic appropriations of classical motifs, through all the phases of the artist’s work, Nevertheless, sometimes, for the sake of comprehensiveness and readability, a given subject will be covered together in a sub-chapter with productions from different periods (for example, the theme of Domagoj’s Archers, Venera Pudica, Moses, Pietà, the historical origins of memorial architecture and so on). Finally, although most of the works from the periods mentioned are universally known and have been presented in previous interpretations, until this research they were not discussed in a single place and contextualised through stylistic treatment and categorisation that covers stylistic and thematic formation, from ancient sources up to Neoclassicism. The research was founded mainly on works and documents kept in the Ivan Meštrović Museums (Meštrović Atelier in Zagreb, Meštrović Gallery in Split) but also on those to be found in other domestic and foreign museums, libraries, state and private archives. Prior research was crucial – that devoted to Ivan Meštrović, anti-modernism and that addressing the international context. Meštrović’s writings about Michelangelo, the publications he possessed, his collection of photographs and reproductions of Ancient and Renaissance art and architecture tell of his continued and dedicated study of historical periods, the lessons of which he deliberately incorporated into his own productions and adjusted to the current moment and visual style. This thesis shows that Meštrović’s classical, multi-faceted identity is a key determinant of his creative work, which cannot without it be interpreted integrally and contextualised within the framework of modern Croatian and European sculpture. Iako su rad i život Ivana Meštrovića (1883.–1962.) predmet brojnih izučavanja, klasična komponenta njegova stvaralaštva nije do sada bila protumačena i objedinjena. Ona se formalno i tematski prepoznaje u svim segmentima njegova umjetničkog, arhitektonskog, pedagoškog i esejističkog djelovanja, te se analizira u tri glavne cjeline, koje vremenski obuhvaćaju prva dva desetljeća 20. stoljeća, međuratno razdoblje i poslijeratnu fazu. Jedan je od rezultata istraživanja, koji se odnosi na prvu cjelinu, uvođenje pojma utopijske skulpture, izlučenog iz konceptualne i povijesne reperkusije Partenona na europsku skulpturu kraja 19. i prve polovice 20. stoljeća. On se tumači na primjeru Vidovdanskoga hrama. Francuski kipari pružaju glavni komparativni materijal na temelju kojeg se uočava Meštrovićeva transgresija od prihvaćanja načela fragmentarne skulpture i asamblaža, arhajskoga monumentalizma i neoklasicizma. U međuratnom razdoblju klasična komponenta prepoznaje se kao stil sâm (neoklasicizam). On je zamjetan na monumentalnim skulptorskim i arhitektonskim djelima, koja održavaju ideje moći i stabilnosti. Razdoblje „povratka redu“ korespondira s tezama antimodernizma, programatski formuliranima u esejima o Michelangelu Buonarrotiju. Posljednje razdoblje shvaća se kao rekapitulacija stečenog iskustva, iskazanog kroz zreli ekspresionizam, realizam, autoreferencijalni neoklasicizam i pastišni eklekticizam ili eklektički monumentalizam. Eklektički pristup tradiciji autentičan je umjetnikov iskaz; taj iskaz je kompleksan (opreka modernizam – antimodernizam) i neusporediv s drugim hrvatskim i europskim kiparima i arhitektima. Meštrovićev se klasični, mnogofasetni identitet potvrđuje kao ključna odrednica njegova opusa, bez koje ga je nemoguće cjelovito interpretirati i kontekstualizirati u okviru modernoga hrvatskog i europskog kiparstva. Iako je većina ostvarenja općepoznata, ona do ovog istraživanja nisu bila cjelovito objedinjena kroz kategorizaciju, koja sagledava stilsko i tematsko formiranje – od antičkih uzora do neoklasicizma.