| Abstract | Kasna antika može se razmatrati kao koncepcija koja pod tim pojmom želi razjasniti burnost kulturoloških i političkih događanja rimskog svijeta unutar općenitih okvira 3. i 7. stoljeća. Jedno od stajališta za promatranje tih zbivanja jest i materijalna kulturna baština poput mozaika. Riječ je o grani umjetnosti koja u vremenskom odsječku kasne antike prvenstveno služi svrsi izražajnog sredstva kršćanskih zajednica u vidu vizualnog predočenja bogoslovlja te kao slikovna vodilja u misterij kršćanske vjeroispovijesti i bogoslužja. U pogledu istočne obale Jadrana i nekadašnje provincije Dalmacije već obalni dio raspolaže nizom arheoloških lokaliteta s kasnoantičkim podnim mozaicima kršćanske tematike u različitim stanjima istraženosti i očuvanosti. Poznati mozaici uklopljeni su obično u interijer bazilike kao osnovne sakralne kasnoantičke građevine i predstavljaju svojevrstan ritmički obrazac liturgije. Bazilikalni prostor i mozaičke cjeline uklopljene u njega u međuodnosu su te u raspravi o kršćanskim simbolima na mozaicima ne mogu se tumačiti bez razumijevanja arhitekture baziliklanog sklopa čiji su sastavni dio. Reprezentativni primjeri takva jedinstva slike i prostora mogu se naići u antičkom Solinu. Kao sjedište nekadašnje rimske provincije Dalmacije Salona je bila i žarište djelovanja vlastite mozaičke škole-radionice. Iako su neka od drugih središta također imala vlastitu proizvodnju, jedino je Salona nudila naobrazbu na zanatskoj i akademskoj razini uz postojeću proizvodnju. Salonitanski majstori-mozaičari ostavili su žig na sveukupnoj kasnoantičkoj mozaičkoj produkciji provincije. Svakako nisu zanemariva mozaička dostignuća drugih lokaliteta poput onih u Starom Gradu na Hvaru, Zadru, Baškoj na Krku i drugih. Kao što je učestao slučaj u arheologiji, gotovo svaki od obrađenih lokaliteta trpi od nepoznanica proizašlih iz nepotpune istraženosti ili izgubljenosti materijala. Usprkos poznatim poteškoćama vezanih uz struku uz gotovo svaki lokalitet iznesen u ovom radu može se iščitati priča složena u kockicama svakoga mozaičkog poda. |
| Abstract (english) | The Late Antiquity period can be regarded as a concept that tries to elucidate the tumultuous cultural and political affairs of the Roman world during the time frame between the 3rd and 7th century. One approach to observing these events is through material cultural heritage, such as mosaics. When speaking of mosaics, one is talking about an art form that, during the period of Late Antiquity, primarily the Christian communities used. They were utilized as a means of visual expression for their theology and as a visual guide towards the mystery of the Christian faith and liturgy. With regard to the eastern Adriatic coast and the Roman province of Dalmatia, its coastal area in its own right is rich with archaeological sites containing Late Antiquity floor mosaics in different stages of research and preservation. Furthermore, the studied mosaics are ordinarily embedded into the interior of basilical complexes, and they, so to speak, represent a form of rhythmical template for liturgy. In addition, it is worth noting that the basilica was the principal form of sacral architecture in Late Antiquity. The mosaics and the space they occupy in the basilica need to be viewed in conjunction with each other. Correspondingly, in order to grasp the symbolic nature of the visual representations on the mosaics, one has to acquire an understanding of the architectural space of the basilical complex itself. Such exemplary cases of basilical complexes with preserved mosaics can be found in the city of Solin. While once known as Salona and the capital of the Roman province of Dalmatia, it was the at the same time the base of operations of a mosaic academy-workshop. Although some other cities produced their own mosaic tiles, Salona solely offered education on an artisanal and academic level for its craftsmen alongside its own production. As a result, the mosaic craftsmen of Salona left their mark on the overall Late Antiquity mosaic production in the province. Nonetheless, there is an abundance of other archeological sites, such as Stari Grad on the island of Hvar, Zadar, Baška on the island of Krk, and others, that offer equally distinguished mosaic achievements. As is usual in archaeology, almost all the researched sites suffer from the same unknowns that originate from lost material or incomplete research. All things considered, in the case of almost all the presented sites in this paper, one can piece together a story that itself is pieced together in the tiles of every mosaic floor. |
