Adnan Busuladzic-Umjetnost Antickih Mozaika Na Tlu BiH

ZEMALJSKI MUZEJ BOSNE I HERCEGOVINE
1. februar 1888. 1. februar 2008.

ADNAN BUSULADI
UMJETNOST ANTIKIH MOZAIKA
NA TLU BOSNE I HERCEGOVINE
ANCIENT MOSAICS IN THE TERRITORY
OF BOSNIA AND HERZEGOVINA
Pokrovitelj izlobe
Gospodin Gavrilo Grahovac, ministar kulture i sporta Federacije Bosne i Hercegovine.
Exhibition sponsored by
H. E. Gavrilo Grahovac, Ministry of Culture and Sports of the Federation of Bosnia and Herzegovina
Umjetnost antikih mozaika

na tlu Bosne i Hercegovine
Ancient Mosaics in the Territory

of Bosnia and Herzegovina
Izdava
Zemaljski muzej Bosne i Hercegovine
Publisher
National Museum of Bosnia and Herzegovina
Za izdavaa
Dr. sci. Aia Softi
For the publisher

Aia Softi, Ph.D.
Glavni i odgovorni urednik

Mr. sci. Lidija Fekea
Chief Editor
Lidija Fekea, M.A.
Recenzenti
Prof. dr. Enver Imamovi, prof. dr. Ljiljana evo
Reviewers
Prof. Enver Imamovi, Ph.D., Prof. Ljiljana evo, Ph.D.
Prijevod na engleski
Spomenka Beus, prof.
Translated into English by

Spomenka Beus, prof.
Konzervatorsko restauratorski radovi

Mr. Esad Veskovi, Borivoj ua, Hamo Karkelja,
Jusuf Gado, mr. Azra Beevi-arenkapa.
Preservation and conservation by

Esad Veskovi, M.A., Borivoj ua, Hamo Kerkelja, Azra Beevi arenkapa, M.A., Jusuf Gado.
Tehnika postavka izlobe

Suad Zorlak, Mirsad Brdari, Safet Fetahovi,
Samir Avdi, Senad Krajina, Andrijana Pravidur,
Anis Hasanbegovi, Ernis ljivo, Kemal Pervan,
Zdenko Kovaevi, Damir Lazzari.
Exhibition designers
Suad Zorlak, Mirsad Brdari, Safet Fetahovi,
Samir Avdi, Senad Krajina, Andrijana Pravidur,
Anis Hasanbegovi, Ernis ljivo, Kemal Pervan,
Zdenko Kovaevi, Damir Lazzari.
Foto
(T. I sl. 3, 4, T. XXVII, sl. 2, T. XXXII, T. XXXIII, sl.
1 i 2, T. XXXV, T. XXXVII, sl. 1 i 2, T. XXXVIII, T.
XLII, sl. 1, T. XLVI, sl. 1 i 2, T. XLVII, T. XLVIII, T.
XLIX, T. ) Adnan ahbaz
Photographs
(T. I fig. 3, 4, T. XXVII, fig. 2, T. XXXII, T. XXXIII,
fig. 1 and 2, T. XXXV, T. XXXVII, fig. 1 and 2, T.
XXXVIII, T. XLII, fig. 1, T. XLVI, fig. 1 and 2, T.
XLVII, T. XLVIII, T. XLIX) Adnan ahbaz
Tehniki urednik
Mahir Sokolija
Technical Editor
Mahir Sokolija
Idejno rjeenje korica kataloga

Tatjana Mijatovi
Cover page design

Tatjana Mijatovi
tampa
Bemust
Printer
Bemust
Tira
300 primjeraka
Printed in
300 copies
ADNAN BUSULADI
UMJETNOST ANTIKIH MOZAIKA

NA TLU BOSNE I HERCEGOVINE
ANCIENT MOSAICS IN THE TERRITORY
OF BOSNIA AND HERZEGOVINA
Zemaljski muzej Bosne i Hercegovine

Sarajevo, 2008.
Uvod
Introduction
ozaik predstavlja umjetnost iji su sastavni dijelovi kockice (tesere) koje tvore
cjelinu izvedenu na osnovu skice ili nacrta. Pod
izradom mozaika se podrazumijeva postavljanje kockica ili komadia razliitog oblika i
materijala (kamen, staklo, mramor, keramika)
na podlogu (zidnu, stropnu ili najee podnu), koja je unaprijed pripremljena sa bukom, ljepilom ili smolom.
Mozaik, kao i mnogi drugi segmenti umjetnosti, na poetku nije bio ni stilski ni tehniki usavren. Njegova trajnost i znaaj ovisila
je o vjetini i iskustvu majstora mozaiara.
Mozaik je u izvedbenom smislu vrlo komplicirana likovna tehnika koja podrazumijeva
timski rad, baziran na raspodijeli poslova koji
se izvode prema tano odreenim pravilima i
jasno ustanovljenom redoslijedu poteza.
Historijat istraivanja rimskih mozaika u
Bosni i Hercegovini moe se pratiti u dva perioda. Prvi period predstavljao je vrijeme austrougarske vladavine (1878.1914.). Kao rezultat navedenih istraivanja na podruju Stoca1, Domavie2 i Ilide3 dolazi do otkria prvih
mozaika u Bosni i Hercegovini.
Drugi, znatno bogatiji period odnosio se na
vrijeme nakon Drugog svjetskog rata. Velika
i sistematska istraivanja rimskih lokaliteta u
Viiima kod apljine4, Paniku kod Bilee5,
Putoviima kod Zenice6, te nastavak istraivanja na skupini rimskih graevina na Ilidi
kod Sarajeva7 rezultirali su novim otkriima.
Najvei broj ovih mozaika otkriven je na loka1

4

5

6

7

2
3
osaic is a work of art composed of small

pieces, tesserae, creating a picture or an
ornament based on a sketch or a design.
The mosaic technique implies placing of
tesserae or pieces of different form and materials (stone, glass, marble, ceramics) onto
a base (wall, ceiling, or, most frequently,
floor), that is already prepared by mortar,
glue or resin.
Mosaic, like many other works of art, was
not originally perfect either by its style or
technique. Its durability and value depended
on the skill and experience of a craftsman. The
mosaic is, in terms of its production, a very
complicated technique which implies a team
work based on distribution of tasks following
precise rules and well established sequence of
actions.
The history of studies in Roman mosaic in
Bosnia and Herzegovina includes two periods.
The first period dates back to the Hapsburg rule
(1878 1914). The field studies on the localities
of Stolac1, Domavia2 and Ilida3 resulted in the
discoveries of the first mosaics in Bosnia and
Herzegovina.
The second period, much affluent, was
the one after the World War II. The extensive
and systematic field research of Roman villas
in Viii nearby apljina4 and Panik, nearby
Bilea5, as well as in Putovii, nearby Zenica6
and the continued field studies at Ilida, Sarajevo7, resulted in studies published. Most of
the mosaics were found at the localities of
. Truhelka 1893., 284, F. Fiala C. Patsch 1895., 272, F. Fiala

1897., 170.
V. Radimsky 1896., 210.
J. Kellner 1897., 131.
I. remonik 1965., 170.
I. remonik 1976., 72.
V. Pakvalin 1968., 154.
E. Paali 1959., T. IV sl. 2, 3, 4.
. Truhelka 1893, 284, F. Fiala C. Patsch 1895, 272, F. Fiala

1897, 170.
2
V. Radimsky 1896, 210.
3
J. Kellner 1897, 131.
4
I. remonik 1965, 170.
5
I. remonik 1976, 72.
6
V. Pakvalin 1968, 154.
7
E. Paali 1959, T. IV fig. 2, 3, 4.
1
Umjetnost antikih mozaika na tlu Bosne i Hercegovine
litetima Viia i Panik. Na polju istraivanja

lokaliteta sa antikim mozaicima, te u oblasti
njihove naune analize i valorizacije najistak
nutije mjesto pripada dr. Irmi remonik, ija
studija, publicirana 1984. godine, predstavlja
nezaobilaznu i do sada neprevazienu referencu u ovom domenu.8
Viii and Panik. In the area of field research

of the localities with the ancient mosaics and
their scientific analysis and evaluation, the
most distinguished position is occupied by
Irma remonik, Ph.D. Her study, published
in 1984, is still the referential point which cannot be contested in this domain.8
I. remonik 1984.
I. remonik 1984.
Tehnika izrade mozaika
Mosaic techniques
ajstariji podatak o izradi mozaika vezuje se za vladavinu cara Dioklecijana

(284.305.), za kojeg je napisan edictum de
pretiis. Njime se odreuju dnevnice umjetnika, majstora i pomonih radnika. Voa
cjelokupnog procesa izrade, nazivan pictor
imaginarius, osmiljavao je i slikao nacrt.
Njegov nacrt i ideju prilagoavao je i poveavao u zadane gabarite pictor parietarius.
Calcis coctor je mijeao materijal za podlogu.
Lapidarius structor je pripremao materijal.
Tessellarius je izvodio jednostavnije, a musavarius izraivao kompliciranije dijelove
mozaika.9
Sos iz Pergamona (II stoljee stare ere),
jedan od najveih antikih umjetnika, izumio je teseru i pronaao nain izrade embleme. Tesera je osnovni konstruktivni ele
ment mozaika, kvadratinog, pravougaonog, trougaonog ili nekog drugog oblika.
Tesera nije vea od 2 cm. Emblema je umetak napravljen u radionici koji je zatim fiksiran i uokvirivan, te na kraju postavljan u
cjelinu poda. Detaljan nain izrade mozaika
nalazimo kod Plinija Starijeg i Vitruvija. S
obzirom da se mozaik najee nalazio na
podu, zbog ega je bio izloen intenzivnom
koritenju i gaenju, morao je biti vrst, elastian, sa kvalitetno izvedenom drenaom.
To se postizalo postavljanjem vie slojeva,
najee tri. Prvi sloj, statumen, je bio nosivi
i drenani, drugi, rudus, je pravljen od vapna i lomljenog kamena, trei, nucleus, sastavljan je od mljevene opeke i vapna. Zavrni sloj pravljen je od mjeavine vapna i
pucolana (vulkanski pepeo koji se mijeao
sa vapnom) i u njega su se polagale tesere
(kockice). Nakon zavretka, pod se fugirao
he oldest data about the mosaic techniques

date back to the rule of the emperor Diocletian (284 305), when edictum de pretiis was written. It regulates the daily fees of artists, craftsmen and workers. The head of the entire process
of the production was a pictor imaginarius, who
provided and painted the conceptual design of
the mosaic. His design was then adapted and enlarged according to the planned size by a pictor
parietarius. A calcis coctor was in charge of mixing the materials for the base. A lapidarius structor prepared the material. A tessellarius made the
less complicated parts, and a musavarius worked
on the complex parts of the mosaic.9
Sos from Pergamon (2nd century BC), was
one of the greatest ancient artists who invented the tesserae and discovered how to
make emblems. Tessera is the basic structural element of a mosaic which may have in a
square, rectangular, triangular or some other
form. Tessera is never larger than 2 cm. The
emblems are insertions pre manufactured in
the workshop, fixed and framed and eventually placed onto the floor within the entire
mosaic composition. The details of the mosaic
techniques can be found in Plinius Secundus
Maior and Vitruvius. Since the mosaics were
on floors and consequently exposed to intense
wear-and-tear conditions, they had to be solid,
flexible and made with high quality drainage.
All this implied works in several layers, mainly three. The first layer, statumen, was used
as a support and drainage construction, the
second, rudus, was made of lime and broken
stones, and the third, nucleus, of ground brick
and lime. The final layer was made of the mixture of lime and volcanic ash into which the
tesserae (small pieces, usually cubes) would be
M. Farneti 1993., 83.
M. Farneti 1993, 83.
smjesom mramornog brana, vapna i pijeska

a potom brusio.
Vremenom su nastale razliite tehnike
izrade podova. Meu njima najzastupljeniji
su slijedei:
laid. Once finished, the flooring was pointed

up joints done a mixture of marble powder,
lime and sand and then made smooth.
Different techniques of flooring developed
with time. The most frequent ones are the following:
Pod od oblutaka
Floors made of pebbles
Javio se jo u periodu IV stoljea stare ere.

Dostupnost kamenih oblutaka uvjetovala je
da ove podnice budu masovno izraivane
diljem svijeta (Grka, Engleska, Irska, panija, Portugal, Amerika, Kina), kroz dugi niz
stoljea. Pod od oblutaka izraivan je do XIX
stoljea.10
This type of flooring dates back to the 4th

century BC. Easy access to pebbles made
this type of floorings very popular worldwide (Greece, England, Ireland, Spain, Portugal, America, China) for many centuries.
The pebbled floors persisted until the 19th
century.10
Pod od lomljene terakote
Floors made of broken terracotta
Najraniji primjeri ovakvog poda iz Kartage datirani su u periodu od IV do II stoljea

stare ere. Dobivali su se mijeanjem keramikog otpada, crijepa i vapna. Ovakva smjesa,
pored radnih povrina, cisterni i sl., sluila je
i kao podloga za mozaike.
The oldest examples of this type of flooring date back to the period from the 4th to the
2nd century BC found in Carthage. They were
made by mixing ceramic waste, tiles and lime.
The same mixture, besides being used for
working surfaces, tanks, etc., was also used
as a base for mosaics.
Cementni pod
Razliito dozirane smjese vapna pomijeanog sa pijeskom predstavljale su ovu vrstu podnica. Boje ovog poda dobijale su se
dodavanjem odreenih materijala, kao to je
mramorno brano, lomljena opeka ili ugljena
praina.11
Cement floors
This flooring is made of the mixture of
lime and sand, in different proportions. Adding different materials, like marble powder,
broken bricks or coal dust helped in achieving various colours.11
Pod od opeke
Floor made of tiles
Za oblaganje terasa, dvorita i drugih prostorija koriten je nain izrade poda od opeke. To je uglavnom podrazumijevalo oblik
riblje kosti. Razliito rezani geometrijski
oblici koriteni su sve do kraja II stoljea stare ere.12
The terraces, yards and other rooms often

had flooring made of tiles mainly laid in a
fish-bone pattern. Geometrical forms cut in
different ways stayed in use until the end of
the 2nd century BC.12
M. Garevi 2006., 220.

M. Garevi 2006., 220.
12
G. Becatti 1961., 255.
M. Garevi 2006, 220.

M. Garevi 2006, 220.
12
G. Becatti 1961, 255.
10
10
11
11
Ancient Mosaics in the Territory of Bosnia and Herzegovina
Pod od nepravilnih komada
Floors made of irregular pieces

of stone or marble
Ovaj pod pravljen je od nepravilnih fragmenata kamena ili mramora koji su se postavljali na cementnu podlogu. Pod od nepravilnih komada najvie se upotrebljavao od
sredine II stoljea stare ere pa sve do kraja I
stoljea.13
The technique implies irregular pieces

of stone or marble placed into a cement
base. Such floorings predominated since
mid 2nd century BC till the end of 1 st century. 13
Mramorni pod
Marble floor
Mramorni pod, ili podna intarzija, izraivan je od ploica ili komadia mramora razliite veliine i motiva, floralnog, geometrijskog
ili figuralnog karaktera.14
The marble floor or floor intarsia implied

a floor made of tiles or small pieces of marble
of different size and the motifs varying from
floral, geometrical to figurative.14
Pod od tesera
Floor made of tesserae
Ovakva vrsta podnica podrazumijevala je

sve vrste monokromnih i polikromnih mozaika, koji su se pravili od kamenih ili mramornih tesera, povrine 22 cm.15
This type of flooring implies all types of

monochrome and polychrome mosaics made
of stone or marble tesserae size 2 2 cm.15
Asarotos oikos untidy room
Asarotos oikos nepospremljena soba
According to Plinius Secundus Maior,

this type of floor was invented by Sos from
Pergamon in the 2 nd century BC. Asarotos
oikos was used in triclinia (Roman dining
hall).
Prema Pliniju Starijem, ovu vrstu poda

izumio je Sos iz Pergamona u II stoljeu stare
ere. Asarotos oikos se upotrebljavao u triklinijima (rimska blagovaonica).
Floor made of rectangular tesserae with

the design of a weaved basket
Pod od pravokutnih tesera

u stilu pletene koare
U sklopu ove vrste podnice razlikuju se
dvije grupe. U prvu grupu spada pod sa pravokutnim teserama koje su bile organizirane
u grupama dvije po dvije, ili tri po tri opus
figlinum.
Druga grupa izraivana je od monokromnih ili polikromnih tesera opus pseudofiglinum. Ovaj metod je prakticiran u periodu od
II do I stoljea stare ere u Italiji.
This type of floors includes two groups.

One group is the flooring made of rectangular tesserae placed in groups with two
tesserae in each, or sometimes three, opus
figlinum.
The other group was made of monochrome
or polychrome tesserae, opus pseudo figlinum.
The method was used in Italy in the period
from the 2nd to the 1 st century BC.
13
M. Farneti 1993., 153.

M. Farneti 1993., 152.
15
I. R. Fiorentini 1994., 20.
13
14
14
M. Farneti 1993, 153.

M. Farneti 1993, 152.
15
I. R. Fiorentini 1994, 20.
Umjetniki podni mozaik
The artistic floor mosaics
Pod ovom vrstom podnice se podrazumijevao mozaik napravljen od kamenih tesera u

tehnici opus tessellatum. Ova tehnika se izvodila
slaganjem mozaikih djelia kvadratne povrine, dimenzija najee 11 cm, sa veoma malim razmakom izmeu, tako da su fuge gotovo
neprimjetne. Postupno su se uvodili mozaiki
paneli i nepokretni pseudo-emblemati. Od sredine I stoljea se uvode i staklene tesere.16
This type of flooring implies mosaics made

of stone tesserae in opus tessellatum technique.
The technique consisted of placing the square
mosaic pieces, most frequently the size of 11
cm, with very small space between individual
pieces, resulting in almost invisible tuck-points.
Gradually, the mosaic panels and fixed pseudoemblematas were introduced. Glass tesserae
were also introduced by mid 1st century.16
Nain polaganja tesera
Tesserae placing technique
Prilikom izrade antikih mozaika u prvom ili

drugom sloju buke izvodila se skica sinopijom.
Sinopija je bojeni pigment od zemljanog crvenkastog okera koji se upotrebljavao za prenos nacrta
grubih kontura budueg mozaika. Ovakav metod sluio je kao radni vodi uz pomou kojeg su
polagane tesere i razmjetani motivi na mozaiku
koji je nastajao. Rimski mozaici, za razliku od sta
rijih izvedbi, bili su zbijeniji i kompaktniji. Pritom,
oni su bili prenosivi i, nakon postavljanja, oko njih
su pravljeni jednostavni ornamentalni ukrasi.
Vremenom, zavisno od veliine, oblika i
prvenstveno naina postavljanja tesera proizale su razliite tehnike opusi. Ovisno o
mjestu i nainu izrade mozaika razvile su se
i razliite metode. Antiki mozaik poznaje direktnu i indirektnu metodu.
Direktna metoda sastoji se u direktnom postavljanju tesera u svjeu buku na pod. Pri
ovome se odabere boja, veliina i nagib tesera,
ovisno o izvoru svjetlosti.
Indirektna metoda podrazumijevala je umetanje emblemata koji su se prethodno izraivali u radionicama.
Kod znatnog broja antikih mozaika uoena su odstupanja i nepravilnosti koje ukazuju
da nisu raeni direktnom metodom. Greke
su se deavale kada se mozaik montirao u dijelovima, a to nije moglo biti vidljivo dok se
ne bi skinula tkanina sa lica mozaika nakon
postavljanja in situ. Greke su mogle nastati
i prekrajanjem mozaika kako bi se uklopio u
prostoriju manjih dimenzija.17
When ancient mosaics were made, there was

a sketch done in sinopis in the first or second
layer of the mortar. Sinopis is red pigment obtained from sinopite which was used to transfer
the rough sketch of the future mosaic design.
The method was a kind of guide how to place
tesserae and distribute ornaments. Roman mosaics, unlike those that preceded them, were
more compact. Moreover, they were movable,
and once they had been placed, there were simple ornaments made framing them.
Different techniques, opuses, developed
with time, depending on size, form and, primarily the tesserae placement technique. The
ancient mosaic recognizes two methods: direct and indirect one.
The direct method is when tesserae are
placed directly on a layer of fresh mortar on the
floor. The tesserae are selected by colour, size
and gradient, depending on the source of light.
Indirect method implies insertion of emblematas pre manufactured in workshops.
Many of the ancient mosaics were found inconsistent and with irregularities which show
that they were not made by applying direct
method. Faults occurred when the parts of the
mosaic were assembled, which could not be
seen before the cloth from the obverse of the
mosaic had been removed in situ. Some of the
errors could have arisen due to retailoring of the
mosaic in order to fit it into a smaller room.17
M. Garevi 2006, 221 and 222.
M. Garevi 2006, 226-229.
M. Garevi 2006., 221 i 222.

M. Garevi 2006., 226229.
16
16
17
17
10
Vrste materijala
Materials
a izradu mozaika od samih poetaka najee se upotrebljavao kamen. Osnovni

razlog lei u odlikama kamena (otpornost,
vrstoa, postojanost u svim vremenskim pri
likama).18 Pored toga, zahvalan je za poliranje
i bruenje. Najvei antiki kamenolomi nalazili
su se u Grkoj, Maloj Aziji, Libiji, Egiptu, Maroku i Italiji.19
Staklo se kao materijal za izradu mozaikih
povrina dokazano koristi od IV stoljea stare
ere na Levantu, u Siriji, Palestini i junoj Italiji.
U helenistikom periodu viebojno mozaiko
staklo Plinije Stariji naziva vitrum. U Rimu se
od poetka I stoljea poinje proizvoditi obojeno prozirno i neprozirno staklo, rezano u
kockice ili tapie. Ovako proizvedeno staklo
sluilo je za nijansiranje.20 Najvee mozaike
staklene intarzije naene su u blizini Korinta
u rimskoj vili nadomak Tarragone.21
Keramika se u rimskom periodu upotrebljavala uglavnom u vidu samoskog porculana.22
U izradi mozaika poseban znaaj se pridavao
kvaliteti vezivne podloge. Od njene kvalitete
i svojstava ovisila je dugovjenost mozaika. U
dugotrajnom procesu koritene su razliite tehnologije, pri emu se nastojao dobiti to bolji metod. Tako su Sumerani upotrebljavali bitumenske smole, Egipani gips, a Grci prirodne smole.
Rimljani su, koristei sva navedena iskustva,
dobili hidraulino vezivo, nazvavi ga cementum. Ova smjesa je mjeavina gaenog vapna sa
mljevenom opekom i pucolanom. Detaljan opis
dobijanja ove smjese nalazimo kod Vitruvija u
njegovom djelu De architectura (libri decem).23
rom the very beginning, stone was most

frequent material used in making mosaics. This can be easily explained by the basic
characteristic of stone (resistance, strength, and
stability and weather resistance).18 Moreover,
it is easy to cut and polish. The largest quarries
in the ancient time were those in Greece, Asia
Minor, Libya, Egypt, Morocco and Italy.19
There is evidence that glass was already
used for mosaics in the 4th century BC on Levant, in Syria, Palestine and in the south of Italy. Plinius Secundus Maior, in the Hellenistic
era, named polychrome mosaic glass vitrum.
In Rome, the production of stained opaque,
or translucent, glass cut into tesserae or sticks
started with the 1st century. Glass, produced
in this way, was used to obtain shades.20 The
largest glass intarsias were found nearby Corynth, in a Roman villa close to Tarragona.21
In ancient Rome, the ceramics that was used
was predominantly the porcelain from Samos.22
The quality of the base was considered especially important. Its binding and other qualities affected the durability of mosaic. Various
technologies were applied in the long process,
all aimed at obtaining the best methods possible. The Sumerians used bituminous resins, the
Egyptians plaster, while the Greeks used natural
resin. The Romans, however, building on all the
previous experiences, obtained hydraulic binding and named it cementum. It was a mixture
of slack-lime with ground bricks and volcanic
ash. Vitruvius, in his book De architectura (libri
decem) elaborates this technology in detail.23

20

21

22

23

18
18
19
M. Farneti 1993., 61.

M. Garevi 2006., 233.
W. Oakeshott 1977., 10.
J. Price 2000., 218.
M. Farneti 1993., 177.
M. Garevi 2006., 241.

20

21

22

23

19
11

M. Garevi 2006, 233.
W. Oakeshott 1977, 10.
J. Price 2000, 218.
M. Farneti 1993, 177.
M. Garevi 2006, 241.
Historijat razvoja
mozaike umjetnosti
Development
of the mosaic art
d davnina mozaik je predstavljao posebnu umjetnost. Tehnika ukraavanja podova i zidova sitnim kockicama poznata je jo
od prije tri hiljade godina stare ere. Tako su
u Mezopotamiji glinene polikromne unjie
umetali u buku, tvorei razliite geometrijske
uzorke. U neto kasnijem razdoblju javljaju se
u Asiriji prikazi religioznih, ivotinjskih i prikaza iz svakodnevnog ivota. Iz tog perioda
potiu vrlo impresivni primjerci inkrustacija
u egipatskim grobnicama ili djelii ukrasnih
predmeta. U prvom periodu rije je bila o intarzijama u kamenu ili drvetu, dok se ukraavanje podova i zidova javlja kasnije.24 Nakon
perzijske okupacije srednje Azije (546. godine
stare ere) razvija se mozaik od oblutaka. Kao
vrlo efektna, jeftina i pristupana tehnika poeo se upotrebljavati u Pelli u V stoljeu stare
ere. U II stoljeu stare ere, pronalaskom elemenata oblika kockica, dogodio se veliki preokret u izradi i obliku mozaike umjetnosti.
Glavna sredita za izradu mozaika postaju
gradovi Pergamon, Delos, Aleksandrija i Sirakuza. Iz ovih gradova izrada mozaika se iri
po itavom Mediteranu. Osnovne promjene u
procesu izrade u ovom periodu odnosile su
se na uvoenju novih materijala, prvenstveno
staklenih pasta. Mijenja se i mjesto ugradnje
jer se mozaici poinju, pored podova, izraivati i na zidovima, a vremenom se mijenja i
boja pozadine koja od bijele preko plave prelazi u ton zlatne boje.25
Stara tradicija oblaganja podnih povrina
dovela je do pokuaja da se izrade mozaici od
oblutaka. Prethodnike ovakvih podnica treba
traiti u jednostavnim utabanim podovima
ver since the ancient times mosaic was

considered to be a special art. The technique of decorating floors and walls with
small pieces has existed since three thousand
years BC. In Mesopotamia, small clay coneshaped pieces were placed into mortar, thus
creating various geometrical patterns. In the
period that followed, in Assyria, the representations of the scenes from religious, animal or everyday life appeared. Very impressive examples of encrustations/marquetry in
Egyptian tombs or fragments of decorative
objects date from that period. In the former
mentioned period, those were wood or stone
marquetries, whereas floor or wall decorations appeared only later.24 After the Persian
occupation of Central Asia (in 546 BC) mosaics made of pebbles developed. As an impressive, cheap and readily available technique,
it was first applied in Pella in the 5th century
BC. In the 2nd century BC, the invent of cube
shaped elements, marked a turn in the way
mosaics were made, which was reflected in
their form as well. Pergamon, Delos, Alexandria and Syracuse became new centres were
mosaic were made. From these centres, the
mosaics spread all over the Mediterranean
territories. The essential changes in the process of making mosaics during this period
were owe to the introduction of new materials, primarily the glass pastes. They were no
longer exclusively placed on floor, now they
were placed onto the walls as well. The colour
of the background also changed with time,
which from white to blue turned into golden
shades.25
I. remonik 1984., 13.

M. Garevi 2006., 7 i 10.
I. remonik 1984, 13.

M. Garevi 2006, 7 and 10.
24
24
25
25
12
od gline i vapna koji nisu imali estetskih pretenzija. Plinije Stariji nimalo ne sumnja da je
mozaik izum Grka.26 Iz dvorita, mozaik postupno prelazi u zatvorene kune prostorije,
irei se i na javne zgrade, hramove. Najstariji
poznati mozaik od oblutaka, datiran u VIII
stoljee stare ere, otkriven je u gradu Gordiji
u Turskoj.27
Osjetan napredak u razvoju mozaike
umjetnosti dogaa se u vrijeme Aleksandra
Makedonskog (356.323. g. stare ere). Kao
mecena slavnim umjetnicima Lizipu, Pamfilu, Filofenu te pojedinima iz mlae generacije
(Apolodoru, Gnosisu i drugima), Aleksandar
Makedonski daje poticaj usavravanju izrade
mozaika.28
Iz elje da se motivi na mozaicima prikau to preciznije, poetkom IV stoljea
stare ere poeli su se sjei obluci na manje
komade.29
Najvaniji iskorak u razvoju mozaine
umjetnosti predstavlja izum tesere (opus qua
dratum tessera kocke). Ovakva promjena
zapoinje sa helenistikim periodom. Usprkos izumu nove tehnike, mozaik od oblutaka
zadrao se sve do I stoljea stare ere. Poetak
koritenja mozaikih ploica oblika tesere
(kockice) znaio je unaprjeenje u predstavljakom i uope likovnom kontekstu time je
poveana paleta boja, dok je povrina postala
ravnija a mozaik sve precizniji u odnosu na
umjetnikovu skicu.30 Glavna karakteristika
grko-helenistikih mozaika je izgled koji podsjea na tepih. Pod uticajem slikarstva javljaju
se i embleme manji centralni dijelovi koji se
ugrauju u sredinji dio mozaike povrine.
Ovaj sredinji panel je pravljen od najfinijeg i
najsitnijeg materijala. Bordure su inili neto
vee kockice, dok je ostatak mozaika oblagan
komadiima vapneneca ili mramora.31 Emblema je predstavljala najskuplji dio mozaika koji
je raen u radionici i in situ postavljan u prostoriji. Razvojem ovakvog naina izrade mozaika
The tradition of panelling floor surfaces led

to the first attempts of making pebble mosaics.
The antecedents can be found in simple trodden
floors made of clay and lime with no aesthetic
aspirations. Plinius Secundus Maior had no
doubts in his belief that mosaic was a Greek invent.26 Gradually, the mosaic moves from yards
to closed rooms, and spreads to public facilities
and temples. The oldest known mosaic made of
pebbles was the Greek mosaic found in Gordia,
Turkey dating back to the 8th century BC.27
Visible progress in the development of
mosaic art took place during the rule of Alexander the Great (356 323 BC). As a patron to
many famous artists Lisip, Pamfilos, as well
as those belonging to a younger generation
(Appolodoros, Gnosis and others), Alexander
the Great supported all the efforts in development of mosaic art.28
By the beginning of the 4th century BC29, the
aspirations to provide as realistic presentations,
resulted in cutting pebbles into smaller pieces.
The major breakthrough, however, was the invent of tesserae (opus quadratum), or small pieces in a shape of a cube. This change started with
the Hellenistic period. Nevertheless, the pebble
mosaic, despite the new technique invented,
maintained till the 1st century BC. The first use
of tesserae was a progress in representative and
generally figurative context. The palette of colours became richer, the surface smoother, and
in general, the mosaic became more precise in
regard to the sketch made by the artist.30 The
main characteristic of the Greek-Hellenistic mosaics is their resemblance to carpets. Emblems
smaller pieces built into the central part of
the surface of mosaic, reflected the influence
of painting. This central panel was made of
the finest and smallest pieces. The borders,
however, were made of somewhat larger pieces, and the remaining part of the mosaic was
done in lime stone or marble.31 Emblems were
the most expensive part and were pre manu-

28

29

30

31

26
26
27
G. F. Pascarelli 2000., 12.

C. Dauphin 1997., 2.
J. G. Padley 1998., 309.
A. Ovadiah 1980., 73.
P. Fisher 1971., 42.
H. Stern 1975., 45.

28

29

30

31

27
13
G. F. Pascarelli 2000, 12.

C. Dauphin 1997, 2.
J. G. Padley 1998, 309.
A. Ovadiah 1980, 73.
P. Fisher 1971, 42.
H. Stern 1975, 45.
nastala je nova tehnika opus vermiculatum, ija

je osnovna karakteristika koritenje sitnih tesera veliine od 1 do 4 mm.32 Ovom tehnikom, uz
pomo jednog ili vie redova tesera, iscrtava se
kontura, koja je u kontrastu u odnosu na pozadinu. Mozaici postaju jedna vrsta slike u kamenu. irom svijeta postaje pomodarski trend
oponaanja ivota u Grkoj. Zbog mozaika
i gostinske sobe postaju vee i ukraavaju se
ovom tehnikom od stropa do poda.
U rimskom periodu, prema pisanju Vitruvija, uz kiparstvo i slikarstvo, izrada mozaika
postaje sastavni dio arhitekture. Najznaajniju ulogu u irenju ove umjetnosti imali su tzv.
putujui mozaiari. Ovi majstori su sa sobom
nosili knjigu uzoraka sa razliitim motivima,
koji su bili preuzeti sa razliitih predmeta
(vaza, arhitekture i sl.). Nekada su se po narudbi izraivali mozaici sa razliitim motivima.33 Umetanjem razliitih raznobojnih nepravilnih komadia mramora nastala je nova
tehnika opus segmentatum. Ova mozaika tehnika koristila je kombinirane male i krupne
tesere za izradu geometrijskih motiva. Potie od tehnike ukraavanja podova u kojoj se
opeka kombinira sa komadiima svjetlucavog
kamena.34 U kontekstu podjele rimske umjetnosti (slikarstva i kiparstva) i izrada mozaika
kao vida umjetnikog izraaja se moe podijeliti na nekoliko hronolokih faza: republikansko-helenistika, monokromna, cvjetna i
polikromna.35
Izvorno istonjaka tehnika opus setile poinje se u Rimu iriti poetkom I stoljea stare ere, a posebno se poinje cijeniti u doba
Carstva. Rije je o mozainoj tehnici u kojoj
se umjesto sitnih kocki tesera, koriste krupniji komadi, namjenski oblikovani/sjeeni. U
ovoj tehnici upotrebljavan je materijal vapnenih kriljaca, vulkanskog kamenja, keramike,
dok su u najveem broju sluajeva to bile viebojne mramorne ploe iste debljine, koje su
oblikovale jednostavne motive na principu
kontrasta. Naglim razvojem urbanih naselja u
factured in the workshop to be placed later

on in situ. The newly developed technique is
known as opus vermiculatum, characterized
by minute tesserae size 1 to 4 mm.32 The technique, applying one or more rows of tesserae,
enables for outlining the contours which is in
contract with the background. Thus mosaics
became a kind of painting made in stone. In
general, the way of living in Ancient Greece,
becomes a trend. Drawings rooms became
larger and decorated ceiling- to- floor by mosaics.
In Roman era, based on Vitruvius, mosaics
had become an integral part of architecture,
together with sculpture and painting. The
major role in spreading this art was played
by so-called travelling mosaicists. They carried with themselves a book of samples with
different motifs copied from various objects,
vases, architecture, etc. Sometimes the mosaics were made to order.33 Opus segmentatum
was a new technique that developed inserting irregular pieces of marble in various colours. The method consisted of combining
small and large tesserae to obtain geometrical motifs. It has its origin in the technique
of decorating floors by combining tiles with
pieces of flickering stones.34 In the context
of Roman art (painting and sculpture) the
development of mosaic art can be divided
into few chronological phases: republicanHellenistic, monochrome, floral and polychrome.35
The originally oriental technique, opus setil,
was first applied in Rome by the beginning
o the 1st century BC, to become very popular
in the Empire period. This technique implies
use of larger pieces, purposefully cut, that replaced the earlier use of tesserae. The materials used were lime stone, volcanic rock, ceramics, and in most cases, polychrome marble
plates of the same thickness, that were easy to
combine creating diverse motifs bay contrasting them. The outburst of urban development

34

35

32
32
33
W. Daszewski 1985., 82.

M. Garevi 2006., 2425.
A. Crovato 1994., 19.
G. F. Pascarelli 2000., 29.

34

35

33
14
W. Daszewski 1985, 82.

M. Garevi 2006, 24 25.
A. Crovato 1994, 19.
G. F. Pascarelli 2000, 29.
doba Carstva raste i potreba za izradom mozaika. Zbog lakeg naina izvedbe, sve popularniji postaje monokromni mozaik, koji nastaje ritmizacijom crnih i bijelih tesera. Izrada
ovih mozaika postaje jeftinija i bra, a sam
in pravljenja proisticao je kao plod stilistike
shematizacije.36
36
during the Empire led to a larger demand for

mosaics. The monochrome mosaic gained in
popularity owe to the easy way of making by
placing black and white tesserae in a rhythmic manner. These mosaics were cheaper and
faster to make, and the act of creation resulted
from stylized patterns.36
M. Farneti 1993., 38.
36
15
Antiki mozaici sa prostora

Bosne i Hercegovine
Ancient mosaics in the territory

lmost 50 different mosaics have been

found in the territory of Bosnia and Herzegovina.37 Most of the finds resulted from the
archaeological field studies on many localities
(Viii38, Panik39, Stolac40, Ilida41, PutoviiOgraje42, Sarajevo43 and Domavia44).
The major locality, with 15 mosaics, preserved as whole or in fragments, is the one
in Viii nearby apljina. Many of the mosaics in Viii belong to the group of the oldest
samples of this art in Bosnia and Herzegovina. Unlike the majority of monochrome mosaics of the same type, the mosaics found in
Viii are distinguished by the tesserae made
of grey-blue carbonate material found in the
close vicinity of the locality itself. This is the
reason why these mosaics have softer and
lighter colours. Besides black-and-white mosaics, quite a few of polychrome mosaics were
found with blue, red and yellow and light red
colours. The motifs themselves are very interesting, with geometrical and mythological
a prostoru Bosne i Hercegovine do danas

je otkriveno postojanje skoro 50 razliitih
mozaika.37 Najvei broj ovih mozaika otkriven
je kao rezultat arheolokih istraivanja razliitih lokaliteta (Viii38, Panik39, Stolac40, Ilida41,
Putovii Ograja42, Sarajevo43 i Domavia44).
Najznaajniji lokalitet sa 15 cijelih ili frag
mentiranih mozaika otkriven je na lokalitetu
Viii kod apljine. Mnogi od mozaika iz Viia
se mogu datirati u grupu najstarijih primjeraka ove vrste umjetnosti na tlu Bosne i Hercegovine. Za razliku od veine monokromnih mozaika ove vrste, viiki primjerci umjesto mrkih posjeduju sivo-plave karbonatne kocke iz
neposredne okolice. Zbog toga su ovi mozaici
njenijih i svjetlijih tonova. Pored crno-bijelih,
konstatiran je i znatan broj viebojnih mozaika
na kojima je uoeno prisustvo plave, crvene,
Detaljnu analizu izrade, kompozicije, komparacije i detalja
ukrasnih motiva mozaika u Bosni i Hercegovini dala je u
svojoj studiji o mozaicima I. remonik 1984.
38
I. remonik 1965., 170173. Rije je o jednoj od najveih vila
na prostorima Bosne i Hercegovine.
39
I. remonik 1974., 7280. Na lokalitetu Panik kod Bilee
takoer je istraena vila.
40
. Truhelka 1893., 291293, F. Fiala C. Patsch 1895., 273
275, F. Fiala 1897., 170, V. Atanackovi Sali 1979., 16.
Mozaici kod Stoca su otkriveni u rimskim vilama u sklopu
veeg antikog naselja.
41
I. Kellner 1897., 137140. E. Paali 1959., 123 i 128 T. IV 2, 3, 4.
Na lokalitetu urbanog naselja Aqua S... na Ilidi kod Sarajeva,
u vie vremenskih etapa, vrena su arheoloka istraivanja
razliitih objekata koja su pripadala navedenom naselju. Tom
prilikom, u objektima vile urbane, hospicija, kao i drugih prateih objekata pronaen je i odreen broj mozaika.
42
V. Pakvalin 1968., 154, isti 1990., 53 i 54. Na lokalitetu Putovii kod Zenice je otkriven objekat koji je definiran kao
rimska terma. Objekat je proao vie graevinskih faza. U
prvoj fazi objekat je bio vila, dok je u drugoj fazi objekat
pretvoren u termu.
43
D. Sergejevski 1947., 1623. Navedeni objekat je najvjerovatnije bio starokranska crkva.
44
V. Radimsky 1896., 211 i 223. Na lokalitetu velikog urbanog,
rudarskog i privrednog sredita, pronaeni su ostaci dva
mozaika u objektu terme koja je pripadala ovom naselju.
37
Detailed description of the technique, composition and

comapartive analysis of details can be found in the study on
mosaics by I. remonik 1984.
38
I. remonik 1965, 170 173. It is one of the largest villas in
the territory of Bosnia and Herzegovina.
39
I. remonik 1974, 72 80. The villa at the locality Panik,
Bilea was also studied.
40
. Truhelka 1893, 291 293, F. Fiala C. Patsch 1895, 273
275, F. Fiala 1897, 170, V. Atanackovi Sali 1979, 16. The
mosaics from Stolac were discovered in the Roman villas
within a larger complex of an ancient settlement.
41
I. Kellner 1897, 137 140. E. Paali 1959, 123 and 128. At the locality of the urban settlement Aqua S.... at Ilida, Sarajevo, the
archeaological excavations and field studies of the settlement
were undertaken in several phases. A number of mosaics was
found in the urban villa, hospitalium and other facilities.
42
V. Pakvalin 1990, 53 and 54. Most probably the building
was an early Christian church.
43
D. Sergejevski 1947, 16 23, E. Paali 1959, T. IV fig. 2, 3, 4.
Two mosiacs in the building used as thermae were found on
the site of once large urban, mining and economic centre.
44
V. Radimsky 1896, 211 and 223.
37
16
representations prevailing. The concept followed when making the mosaics in Viii indicates two basic patterns: one with the central motif and another, with the repetition of
one motif or the combination of several motifs.
The mosaic found in the corridor with the motif of intersecting circles (catalogue, No. 14, T.
XIII) distinguishes itself among the black-andwhite mosaics. In another similar room, there
is a mosaic with network of hexagons honeycomb motif (catalogue, No. 2, T. II).
One mosaic, with the fish as a central motif, distinguishes itself among other mosaics
with central motifs. The fish is on a plate and
surrounded by a motif of scales concentrically placed. The rims of the circle and the
square are in the form of a rope, whereas the
outer border is composed of intersecting circles. The circles are done in blue and white
tesserae (catalogue, No. 15, T. XIV).
The pattern of another mosaic, with two
fish in the central part, offers more details.
The whole surface of the mosaic is of rectangular form. The central circle is divided into
eleven concentric rows of rhombi. In the centre, there is a motif with two fish. The border
is made of ivy and lined up triangles (catalogue, No. 4, T. IV).
The mosaic No. 16 (T. XV) has an eightarm star with elongated arms around which
there are squares, and the border at the outside, made of a line of rhombi (catalogue, No.
16, T. XV).
On one mosaic there are stylized motifs of
a shell or a fan, filled with a pattern of leaves
and canthari and squares around the star
(catalogue, No. 16, T. XV).
The mosaic in Viii has the combination
of geometrical and floral elements. Its colours
are more abundant and its pattern is composed of semicircles and quarters of circles
with floral motifs, rimmed by a rope (catalogue, No. 3, T. III).
The mosaic with central motif of a rhomb
in the centre, of which there is a square, can
also be categorized as a mosaic with central
motifs. The halves of the eight-arm stars are
ute i svijetlocrvene boje. Vrlo interesantni

su i sami motivi na mozaicima iz Viia. Dominirajui prikazi odnose se na geometrijske
i mitoloke motive. Sama koncepcija izrade
mozaika u Viiima pokazuje da su koritena dva osnovna sistema: shema sa centralnim
motivom i shema sa reanjem jednog motiva
ili kombinacija vie motiva. Od crno-bijelih
mozaika istie se primjerak otkriven u hodniku koji posjeduje motiv krugova koji se sijeku
(red. br. 14, T. XIII). U drugoj prostoriji sline
namjene nalazi se motiv mree estorokuta
pelinje sae (red. br. 2, T. II).
Meu mozaicima sa centralnim motivom
izdvaja se mozaik sa ribom u sredinjem dijelu. Riba je prikazana na pladnju, a oko ribe je
motiv krljuti u jedanaest koncentrinih redova. Okvir kruga i kvadrata ini pletenica, dok
vanjski okvir ine krugovi koji se sijeku. Ovi
krugovi izvedeni su bijelim i plavim kockicama (red. br. 15, T. XIV).
Vie raznobojnih detalja prua shema drugog mozaika u ijem se centralnom dijelu nalazi
prikaz dvije ribe. Cjelokupan mozaik smjeten
je u formi pravougaonika. Krug u centralnom
polju podijeljen je u jedanaest koncentrinih
redova rombova. U centralnom dijelu je navedeni prikaz dvije ribe. Okvir ini brljanova
loza i niz trokuta (red. br. 4, T. IV).
Na mozaiku red. br. 16 (T. XV) nalazi se
prikaz osmokrake zvijezde izduenih rombinih krakova oko koje su kvadrati, kao i vanjski okvir od niza rombova. Stilizacija motiva
koljke ili lepeze, ispunjen veinom dvobojnim motivima sa shematski izraenim listovima i kantarosima u kvadratima oko zvijezde zastupljen je na ovom primjeru mozaika
(red. br. 16, T. XV).
Jedan od mozaika iz Viia je kombiniranog geometrijsko floralnog karaktera. Bogatijih je boja, sa uzorkom polukrugova i etvrtine krugova sa biljnim motivima, uokviren
pletenicama (red. br. 3, T. III).
U mozaike sa centralnim motivom uvrtava se i onaj u ijem centru je motiv romba
upisan u kvadrat. Du kvadrata smjetene su
polovine osmokrakih zvijezda. U centralnom
17
flanking the square. In the central part, the

rhomb, there is a motif of a leaf (catalogue,
No. 10, T. IX, fig. 1 and 2).
Very interesting mosaics are those with
repeated geometrical motifs. This group includes also mosaics with a network of circles (catalogue, No. 13, T. XII), a network of
squares bordered by ropes (catalogue, No. 7,
T. VII), as well as those with repeated fourleaf rhomboid stars (catalogue, No. 12, T. XI).
The abundance of motifs and the form specific for dining-rooms, and T shaped dining
room, distinguish the mosaic in the triclinium
in Viii. The mosaic is composed of two richly
decorated fields. The motifs of infinite meanders and rhombi prevail in one part, while in
the other, there are motifs of hexagons, fourarm stars and squares. The border is made
of ivy, ropes and crescent shields (catalogue,
No. 9, T. VIII, fig. 1 and 2).
Those richly decorated mosaics from
Viii, belonging to the group with lining up
motifs, include the one with a hexagon in its
centre. There are six more hexagons placed
around the central one, which are bordered
by a rope and with six-petal rosettes in their
centres. The outside border is made of a line
of rhombi, with the motifs of scales and dolphins in the inside. In the corners, there are
leaves and canthari, with ivy growing out of
them (catalogue, No. 11, T. X, fig. 1 3).
Another mosaic from the same group has infinite rosettes and intersecting circles in its corners. The dolphins are placed at the side. The
main border around the circle is made of a hearshaped rope (catalogue, No. 6, T. VI, fig. 1 3).
The above mosaics from Viii vary in their
decorations, motifs, technique and patterns. By
composition and motifs they create a special
group of mosaics from the Roman province of
Dalmatia. Based on the comparative analysis,
they can be dated to mid 2nd century.
The locality of Panik, nearby Bilea, occupies the second position based on its significance and number of mosaics described. There
are 9 mosaics found in the locality, which
have been preserved whole or in fragments.
dijelu rombu nalazi se motiv lista (red. br.

10, T. IX, sl. 1 i 2)
Vrlo interesantan mozaik predstavlja sistem ponavljanih geometrijskih motiva. U
ovu grupu mogu se uvrstiti mozaici sa mreom poredanih krugova (red. br. 13, T. XII),
mreom poredanih kvadrata uokvirenih pletenicama (red. br. 7, T. VII), kao i ponavljanih
etverolisnih rombinih zvijezda (red. br. 12,
T. XI).
Bogatstvo motiva i oblik specifian za go
stinske sobe i terpezarije u vidu slova T
izdvajaju na posebno mjesto mozaik iz prostorije triklinija u Viiima. Sastoji se od dva
bogato ukraena polja. U jednom dijelu dominiraju motivi beskonanog meandra i rombova, dok su u drugom motivi estorokuta,
etverokrake zvijezde i kvadrata. Okvir ine
brljani, pletenice i polumjeseasti titovi
(red. br. 9, T. VIII, sl. 1 i 2).
Meu bogatije mozaike iz Viia, koji spadaju u grupu primjeraka sa reanjem motiva
je i primjerak koji u centralnom dijelu ima estorokut. Oko njega je poredano jo est estorokuta. Uokvireni su pletenicom, a u njihovom centru se nalaze estolatine rozete.
Vanjski okvir je sastavljen od reda rombova,
dok unutranji ima motiv krljuti i delfina.
U uglovima su prikazi listova i kantarosa iz
kojeg izlazi brljanova loza (red. br. 11, T. X,
sl. 13).
Na drugom mozaiku iz iste grupe prikazani su u uglovima beskonane rozete i krugovi
koji se sijeku. Delfini su postavljeni sa strane. Glavni okvir kruga ini srcolika pletenica
(red. br. 6, T. VI, sl. 13).
Navedeni mozaici iz Viia su po svojoj
ornamentici, motivima, tehnici izrade i shematizaciji raznoliki. Po kompoziciji i izboru
motiva predstavljaju posebnu grupu mozaika
iz rimske provincije Dalmacije. Prema komparativnoj analizi, mozaici iz Viia se mogu
datirati u sredinu II stoljea.
Drugi po znaaju i broju istraenih mozaika je lokalitet Panik kod Bilee. Na tom
lokalitetu je pronaeno 9 mozaika cijelih ili
fragmenata. U odnosu na veliki graevinski
18
kompleks koji je istraen, mozaici su ouvani

samo u prostorijama banje i dijelu stambenih
prostorija. U jednoj od navedenih prostorija
pronaen je oteeni mozaik sa prikazom
Orfeja.45 Ovaj mozaik se sastoji od dva dijela.
U jednom dijelu nalazi se centralna figura Orfeja, dok je u duguljastom polju portret Muze.
Mozaik sa Orfejem pripada tipu mozaika sa
centralnom shemom. Orfej se nalazi u osmerokutu koji je nastao ukrtanjem dvaju kvadrata. Okvir je ukraen motivom pletenice i
plastinih vijugavih traka (red. br. 43, T. XLV,
T. XLVI, T. XLVII, T. XLVIII, T. XLIX).
Povrina sa prikazom muze popunjena je
viestruko isprepletenom pletenicom. Muza
Kaliopa46 odjevena je u zelenu tuniku sa perjem na glavi kao ukrasom a to je atribut
koji se pojavljuje u kasnoj antici (red. br. 43,
T. XLVI).
Na ovom velikom mozaiku, pored Orfeja
koji dominira, kao i prikaza Kaliope, nalaze
se i predstave leoparda i ptica, te bogata vegetacija (red. br. 43, T. XLVIII).
Meu geometrijskim mozaicima u Paniku
postoje i primjerci sa centralnom shemom,
kao i oni koji se definiraju u grupu mozaika
sa ponavljanjem motiva. Za razliku od prethodnog mozaika, ovi su dvobojni u bijeloj i
plavosivoj boji. Na dva mozaika konstatiran
je motiv sa linearnim meandrom u obliku kria, koji se sijee u obliku svastike, popunjavajui cijelu povrinu mozaika (red. br. 37, T.
XXXIX, red. br. 38, T. XL).
U prostoriji do mozaika sa Orfejem otkriven je geometrijski mozaik sa medaljonom u
centru, koji je potpuno uniten. Oko medaljona je vrlo irok geometrijski okvir u kome do-
The mosaics have been preserved only in the

bath facility and a part of living area within
the entire complex. In one of the rooms, the
damaged mosaic representing Orpheus has
been found45. The mosaic is composed of two
parts. In one part, there is a central figure of
Orpheus, whereas the oblong part contains a
portrait of a Muse. The mosaic with Orpheus
belongs to the type of mosaics with central
pattern. Orpheus is placed within an octagon
created by crossing two squares. The border
is decorated by twisted ropes and relief winding straps (catalogue, No. 43, T. XLV, T. XLVI,
T. XLVII, T. XLVIII, T. XLIX).
The field with the Muse is filled by multithreaded rope. Calliope46 dressed in green tunica has feathers as a head decoration, which
appears in late antiquity (catalogue, No. 43,
T. XLVI).
The large mosaic is occupied, along with Orpheus who dominates and Calliope, by the representations of a leopard and birds, and bountiful vegetation (catalogue, No. 43, T. XLVIII).
The geometrical mosaics in Panic include
also both those with central pattern and those
that are defined as mosaics with repeated
motifs. Unlike the former mentioned mosaic, these are made in two colours white
and grey-blue. The two mosaics found have
a motif of a linear cross-like meander that is
crossed in a form of a swastika thus filling the
entire surface of the mosaic (catalogue, No.
37, T. XXXIX, No. 38, T. XL).
In the room next to the mosaic with Orpheus, there is a geometrically shaped mosaic
with a medallion in its centre, totally devastated. The medallion has a wide geometrical
Orfej je najuveniji mitski pjeva, svira i pjesnik, sin Traanina Eagra.Prema nekim predanjima rodila ga je muza
Kaliopa, Klia ili Polihimnija. Prve pouke o pjevanju je dobio
od Kaliope ili Apolona. Zbog njegove pjesme i svirke ptice su kruile iznad njegove glave, ribe su iskakale iz vode,
sve ivotinje skupljale su se kraj njegovih nogu, a drvee je
prilazilo da ga zatiti od sunca. Na mozainoj umjetnosti je
esto prikazivan u drutvu ivotinja i drvea. Ovakav motiv
je bio omiljen u kranskoj ikonografiji, gdje je Orfej shvaan
kao personifikacija Krista.
46
Kaliopa je bila najotmjenija od svih muza, Zeusova i Mnemosinina ki. Smatrana je predstavnicom umjetnosti, osobito pjesnitva i epske poezije. Sa Eagrom je rodila tri sina
Orfeja, Lina i Kimateona.
45
Orpheus, the most famous mythological singer, player and

a poet, was a son of the Thrakian Eagros. The legend has
it that he was given birth by the Muse, Calliope. Clio or
Polyhymnia. He received the first instructions in singing by
Calliope or Appolo. Fascinated by his music, birds followed
him, fish jumped out of the water, and the beasts curled
down at his feet. The trees bent down to protect him against
the sun. Orpheus was frequently represented accompanied
by animals and surrounded by trees. This was a favourite
motif in Cristian iconography, which interpreted Orpheus
as the impersonification of Christ.
46
Calliope was a daughter of Zeus and Mnemosi and was considered to be the protectrice of art, poetry in particular. She
had three sons with Eagros Orpheus, Linos and Kimateon.
45
19
border dominated by squares, rectangles, indented strap, rope and scales. (catalogue, No.
39, T. XLI).
Next to this room, there is a corridor with
the mosaic decorated by a cheque-board motif, which is also damaged. The border consists of a series of cascade triangles, whereas
in the centre there is a heart-shaped twisted
rope (catalogue, No. 40, T. XLII, fig. 1 and 2).
The mosaic with a central pattern in a shape
of a square filled by triangles belongs to the
same group as the preserved two coloured mosaic from Panik (catalogue, No. 42, T. XLIV).
In one part of the room with the Orpheus
mosaic there is a fragment of the mosaic with
ambivalent motifs. The mosaic does not have a
white base, it became a background included
into the motif turning it into black-and white
ornaments. This type of motifs is known as
ambivalent. It has been recognized as the only
known mosaic with this type of representation found so far in the territory of Bosnia and
Herzegovina (catalogue, No. 44, T. L).
The most recent mosaics from the locality
in Panik include the fragment with octagon
and square pattern. In the centre of the hexagon there is an inundated rosette in blue colour. The fragment was found in the memorial
building at Crkvina in Panik. Based on the
studies of the building in which it was found,
the mosaic can be dated to the first half of the
6th century (catalogue, No. 48, T. LIII, fig. 2).
As a result of studies of the locality Aqua
S.... at Ilida, Sarajevo in 1893 as well as those
in the period from1950 to1959, 12 mosaics were
found. The mosaic with eight-arm star distinguishes itself by its motif. The arms are double
rimmed. The square fields in the corners are
decorated by canthari, stylized wine, squares
and rectangles. Based on the analysis of the
motifs and the composition it is possible to
categorize it among the group of mosaics with
pseudo pattern with a central motif (catalogue,
No. 19, T. XVII). In the adjacent rooms, there
were two more mosaics found. One of them
is preserved in fragments only with squares
within which there are parallelograms placed.
minira kvadrat, pravokutnici, zupasta traka,

pletenica i motiv krljuti (red. br. 39, T. XLI).
Uz prostoriju sa mozaikom iji je medaljon
oteen nalazi se susjedna prostorija hodnik, gdje je pronaen mozaik ukraen motivom ahovskog polja, takoer oteen. Okvir
ovoga mozaika se sastoji od niza stepeniastih trouglova, a u sredini je srcolika pletenica
(red. br. 40, T. XLII, sl. 1 i 2).
Ouvanom dvobojnom mozaiku iz Panika
moe se pripisati i primjerak sa centralnom
shemom u obliku kvadrata, koji je popunjen
nizovima trouglova (red. br. 42, T. XLIV).
U jednom od krakova prostorije sa mozai
kom Orfeja pronaen je i fragment mozaika
iji ornament ima shemu ambivalentnih motiva. U tom mozaiku ne postoji bijela osnova,
nego se ona ukljuuje u motiv, tako da postoje i crni i bijeli ornamenti. Takve motive ornamente nazivamo ambivalentnim. Moe se
konstatirati da je to do danas jedini mozaik
ovakvog prikaza na prostorima Bosne i Hercegovine (red. br. 44, T. L).
Meu najmlae datirane mozaike sa lokaliteta Panik uvrtava se fragment mozaika
sa shemom osmerokuta i kvadrata. U centru
osmougaonika nalazi se virovita rozeta u plavoj boji. Ovaj primjerak pronaen je u memorijalnoj graevini na Crkvini u Paniku. Na
temelju analize graevine u kojoj je naen,
mozaik se moe datirati u prvu polovinu VI
stoljea (red. br. 48, T. LIII, sl. 2).
Kao rezultat istraivanja lokaliteta Aqua
S.... na Ilidi kod Sarajeva 1893. godine kao
i od 1950. do 1959. otkriveno je postojanje 12
mozaika. Po svom geometrijskom motivu izdvaja se mozaik sa osmokrakom zvijezdom.
Krakovi su dvostruko uokvireni. Kavadratna
polja u uglovima su razliito ukraena prikazima kantarosa, stilizirane loze, kvadrata
i pravougaonika. Analizom motiva i kompozicije ovoga mozaika moe se definirati
pripadnost grupi mozaika lanih shema sa
centralnim motivom (red. br. 19, T. XVII). U
susjednim prostorijama istog objekta naena su dva mozaika. Jedan mozaik ouvan je
fragmentirano sa prikazom kvadrata u koje
20
The field inside is decorated by a meander

made of twisted ropes intersecting in the form
of a cross. The square fields are bordered by
ropes (catalogue, No. 17, T. XVI, fig. 1 and 2).
The other mosaic has been preserved in
fragments only. There is still a visible motif
of four peltas, facing one another, and creating thus a parallelogram. The inner border is
made of a double stranded rope. The ropes
are done in lighter colour against a dark background (catalogue, No. 18, T. XVI, fig. 3).
The best preserved mosaics from Ilida
include the mosaic that could be categorized
as those with central motif. The decoration
consists of a spherical rhomb, surrounded by
the surface that is divided up into four elliptic
and four trapezoid fields. These parts are bordered by a so-called infinite twisted rope. The
mosaic is also decorated by dolphins, fish and
pedum. In the central part, there is a nymph
(catalogue, No. 20, T. XVIII).
Four more fragmented mosaics have been
found on the locality of Ilida. The characteristic these mosaics share is the presence of
square fields within which there are figurative
representations of birds, theatre masques, traditional geometric motifs, rosettes, Gordian
knot, fields filled by lined up triangles, border
in a form of twisted ropes, etc. (catalogue, No.
21, T. XIX, fig. 1 and 2, T. XX, fig. 1 and 2).
The field studies in the period from 1950 to
1959 in the villa and hospitalium discovered
mosaics with geometrical motifs of concentric
squares in black-and-white technique (catalogue,
No. 26, T. XXVI, fig. 1 and 2), the motif with the
surface is divided up into squares, with a square
placed inside and the diagonal arms growing
out (catalogue, No. 25, T. XXV, fig. 1 and 2).
In the perystile, there is a fragmented mosaic found which could be categorized into
the group with pseudo pattern with a central
motif and a square, flanked by an octagon on
each side. The space surrounding the octagon is divided up into square and rhomboid
fields among which there is a motif of an infinite twisted rope. In one corner, there is still
preserved, hardly visible though, a motif of a
fish (catalogue, No. 24, T. XXIV, fig. 1 and 2).
su upisani poloeni paralelogrami. Unutranje polje je ukraeno meandrom od pletenica

koje se sijeku u obliku kria. Kvadratna polja
imaju okvir od pletenica (red. br. 17, T. XVI,
sl. 1 i 2).
Drugi mozaik je takoer ouvan fragmentarno. Na njemu je vidljiv motiv etiri pelte
nasuprot postavljene, tvorei pritom paralelogram. Unutranji okvir ini dvostruka pletenica. Pletenice su svjetlijih boja na tamnijoj
osnovi (red. br. 18, T. XVI, sl. 3).
Meu najbolje ouvane mozaike na Ilidi
moe se uvrstiti primjerak koji pripada tipu
sa centralnim motivom. Ukras se sastoji od
sfernog romba, oko kojeg je prostor podijeljen u etiri eliptina i etiri trapezoidna polja. Navedeni dijelovi su uokvireni motivom
tzv. beskonane pletenice. Na mozaiku su jo
vidljivi prikazi delfina, ribe i peduma. U centralnom dijelu nalazi se prikaz nimfe (red. br.
20, T. XVIII).
Na lokalitetu Ilida konstatirano je postojanje jo etiri fragmentirana primjerka mozaika. Zajednika karakteristika ovih mozaika je postojanje etvrtastih polja u kojima se
nalaze figuralne predstave ptica, pozorinih
maski, klasinih geometrijskih motiva, rozeta, Gordijevog vora, polja ispunjenog nizom
trokuta, okvira u vidu pletenica i sl. (red. br.
21, T. XIX, sl. 1 i 2, T. XX, sl. 1 i 2).
Istraivakim radovima koji su se odvijali
u periodu od 1950. do 1959. godine u objektima vile i hospicija otkriveno je postojanje
mozaika sa geometrijskim motivima koncentrinih kvadrata u crno-bijeloj tehnici (red. br.
26, T. XXVI, sl. 1 i 2), motivom povrina podijeljenih u kvadrate, sa kvadratom u centru iz
kojeg izlaze dijagonalni kraci (red. br. 25, T.
XXV, sl. 1 i 2).
U peristilnoj zgradi pronaen je fragmentaran mozaik koji se svrstava u grupu mozaika sa lanom shemom centralnog motiva i
kvadrata oko kojeg je sa svake strane po jedan
osmerokut. Oko osmerokuta prostor je podijeljen u kvadratna, trapezasta i rombina polja
izmeu kojih je motiv beskonane pletenice.
U jednom uglu je ostao ouvan teko vidljiv
motiv ribe (red. br. 24, T. XXIV, sl. 1 i 2).
21
Na Ilidi je otkriven i mozaik sa zanim

ljivo izvedenim prikazom Amora na morskom lavu.47 Spomenuti motiv svrstava mozaik u grupu sa lanom shemom centralnog
motiva. Amor se nalazi u sfernom rombu
zaobljenih uglova. Prikaz ilustrira detalj scene thiasosa, tj. vjenanja Tetide48 i Posejdona
(red. br. 22, T. XXI, sl. 13).49
Drugi mozaik sa Ilide sa istom temom
thiasosa je primjerak na kome je vidljiv
motiv morske zmije. Pored ovog centralnog motiva, vidljivi su i ukrasni detalji srcolike i beskonane pletenice, duplog krstastog meandra i jajolikog ornamenta (red. br.
23, T. XXII, sl. 1 i 2, T. XXIII, sl. 1 i 2). Mozaik ima ive i bogate boje jer je u njegovoj
izradi upotrebljavan materijal od staklenih
tesera.
Mozaici sa Ilide datiraju se na kraj II i III
stoljee.
Prema motivima i stepenu ouvanosti posebno se izdvajaju mozaici iz Stoca. Od do
sada otkrivenih sedam stolakih mozaika,
po svojoj izvedbi i motivu istie se mozaik sa
prikazom Minotaura.50 Vrata i tornjevi dati su
shematski, oko centralne scene Minotaura.
Poprsje Minotaura dato je u tonovima bijele, sive i crne boje. Plastinost ovog mozaika
postignuta je nijansama sivih boja i pravcem
redanja kocki. U svim segmentima mozaik
Minotaura odslikava rad iskusnog majstora
iz sredine III stoljea (red. br. 35, T. XXXVI, sl.
1 i 2, T. XXXVII, sl. 1 i 2).
Visoka razina umjetnikog dometa potvrena je i otkrivanjem drugih mozaika na razliitim antikim objektima u Stocu. Mozaik
sa prikazom personifikacije godinjih doba,
The mosaic has a very interesting representation of Cupid47 on a sea-lion, according

to which the mosaic could be classified in the
group with the pattern of pseudo central motifs. The Cupid is placed in the spherical rhomb
with rounded angles. This representation illustrates a detail fro the thiasos scene, i.e. the wedding scene of Thetis48 and Poseidon49(catalogue,
No. 22, T. XXI, fig. 1 3).
The other mosaic from Ilida, with the same
theme of thiasos has a visible motif of a sea snake.
Along with this motif there are also visible decorative elements in the form of a heart-shaped
and infinite twisted rope, double cross-like meander and an egg-shaped ornament (catalogue,
No. 23, T. XXII, fig. 1 and 2, T. XXIII, fig. 1 and 2).
The mosaic is made in bright and rich colours,
because of the glass tesserae were used.
Mosaics from Ilida date back to the end of
the 2nd and the 3rd century.
The mosaics from Stolac deserve special
attention due to their motifs and the state of
preservation. The mosaic with Minotaur by its
motif and technique distinguishes itself from
the seven mosaics that have been found in Stolac.50 The doors and the towers are schematically
represented, around the central scene with Minotaur. The Minotaurs bust is done in white,
grey and black colour. The plastic effect is obtained through nuances of all colours used and
the direction in which the tesserae are placed.
The mosaic with Minotaur, in all its aspects, reflects the superior work by an experienced author from mid 3rd century (catalogue, No. 35, T.
XXXVI, fig. 1 and 2, T. XXXVII, fig. 1 and 2).
Other mosaics in buildings dating from
ancient time in Stolac also show high level of
Amor ili Eros, staro boanstvo prirode, koje pomou ljubavne enje obezbjeuje neprekidno stvaranje i stalnu obnovu
svijeta.
48
Tetida, Nerejeva i Doridina ki, majka najslavnijeg grkog
junaka Ahila. Zeus i Posejdon su htjeli da se oene Tetidom.
49
Posejdon, Kronov i Rejin sin, jedan od dvanaest olimpijskih
bogova.
50
Prema legendi, Minotaur je plod ljubavi Pasifaje, ene kralja
Krete Minosa, i bika koga je bog Posejdon poslao Minosu
da ga rtvuje. Minos je nakon roenja Minotaura zatvorio
u labirint. S obzirom da su Atenjani morali rtvovati po sedam djevojaka i mladia Minotauru, heroj Tezej je izvrio
pothvat prodiranja u labirint i ubistva udovita.
47
Cupid or Eros, ancient god of nature, who through love and

longing ensure continuous development and restoration of
the world.
48
Thetis, daughter of Nereus and Doris, mother of the most
famous Greek hero, Achilles. Both Zeus and Poseidon wanted to marry Thetis.
49
Poseidon, the son of Chronos and Rhea, one of twelve gods
from Olympus.
50
The legend has it that Minotaur was born out of love between Pasiphae, the wife of Minos, king of Creta and the
bull Poseidon sent to Minos. When Minotaur was born. Minos incarcarated him in the labirynth. Since the Athenians
had to sacrifice seven young girls and men to Minotaur,
Theseus went into the labirynth and killed the monster.
47
22
artistry. The mosaic with the personification

of the four seasons, of which only half of the
spring and winter scenes have been preserved
reaffirms the above statement. The square field
has inside itself two irregular rhombi creating
an octagon. The border is made of cross-like
meanders, inundated strap and twisted rope
motifs (catalogue, No. 33, T. XXXIV, fig. 1 3).
The group of richly decorated mosaics from
Stolac include a mosaic with central motif of an
octagon with another octagon within it. The space
between them is divided up into the squares and
hexagons. The border is made of twisted rope.
On both sides of the central ornament, there are
two narrow fields with rhomb motif. The rhombi have squares resting on all the four sides. The
images of a tiger, leopard, lion, boar and ibex
have been preserved. The quality in making the
above animals indicates involvement of more
craftsmen. The tiger, for example, is done in an
excellent manner, whereas the same quality is
absent in case of the boar (catalogue, No. 32, T.
XXXI, T. XXXII, T. XXXIII, fig. 1 and 2).
In the same building there were three more
geometrical mosaics found, which have not been
preserved as whole. One of the mosaics must
have had a square surface that was divided up by
diagonally placed triangles into four fields filled
by smaller triangles (catalogue, No. 30, T. XXIX).
The second mosaic has for its pattern a square
field filled diagonally by lines of small squares
and the border is made of squares connected by
lines (catalogue, No. 29, T. XXVIII, fig. 1 and 2).
The third mosaic has diagonal undulating lines
which, through intersecting, create squares with
convex or concave sides (catalogue, No. 31, T.
XXX). In the building with the four seasons mosaic there is also much better preserved another,
the fourth geometrical mosaic. The motif on this
mosaic is made of a circle symmetrically divided
into smaller concentric circles filled by spherical
triangles (catalogue, No. 34, T. XXXV).
The mosaics discovered in Stolac include
the one with a preserved detail of a dolphin
and a lobster, which have not been published
yet. The found mosaic had white, black and
red tesserae (catalogue, No. 36, T.XXXVIII).
od kojih je sauvana samo polovica sa motivom proljea i zime, potvrda je gore iznesene injenice. U etverokutno polje unesena
su dva nepravilna romba koja ine osmorokut. Okvir mozaika predstavljen je motivima
krstastog meandra, valovite trake i pletenica
(red. br. 33, T. XXXIV, sl. 13).
U grupu bogatijih mozaika iz Stoca uvrtava se i primjerak mozaika sa centralnim
motivom osmerokuta u koji je upisan osmerokut, a prostor izmeu njih podijeljen je u
etverokute i esterokute. Okvir sainjavaju
pletenice. Na obje strane centralne slike nalaze se dva uska polja sa motivom romba na
koji se na sve etiri strane naslanjaju kvadrati. Ouvane su predstave tigra, leoparda, lava, vepra i kozoroga. Kvalitet izrade
navedenih ivotinja ukazuje na intervencije razliitih majstora. Tako je tigar izraen
kvalitetno, dok je vepar oblikovan izrazito
loe (red. br. 32, T. XXXI, T. XXXII, T. XXXIII,
sl. 1 i 2).
Istoj zgradi pripadaju i tri geometrijska
mozaika koja nisu ouvana u cijelosti. Na jednom mozaiku postojalo je etvrokutno polje,
koje je dijagonalno postavljenim trokutima
dijeljeno u etiri polja ispunjena redovima
manjih trokutova (red. br. 30, T. XXIX). Drugi mozaik ima uzorak kvadratnog polja popunjenog dijagonalnim nizovima malih kvadrata, a okvir se sastojao od niza kvadrata
povezanih linijama (red. br. 29, T. XXVIII, sl.
1 i 2). Trei mozaik imao je valovite dijagonalne linije koje presijecanjem ine etverokute ulegnutih i ispupenih strana (red. br.
31, T. XXX). U objektu u kojem je mozaiki
prikazan motiv godinjih doba nalazi se i
bolje ouvan, etvrti mozaik geometrijskog
karaktera. Motiv ovog mozaika sainjava
krug podijeljen na koncentrine krugove
popunjene sfernim trokutima (red. br. 34, T.
XXXV).
U primjerke koji su otkriveni u Stocu,
ubraja se do danas nepubliciran ouvani detalj delfina i jastoga. Mozaik je raen bijelim,
crnim, sivim i crvenim teserama (red. br. 36,
T. XXXVIII)
23
Analogijom, kao i analizom pronaenog materijala navedene stolake mozaike

mogue je datirati u period III i IV stoljea.
Mozaici iz Stoca, meu do sada pronaenim primjercima na tlu Bosne i Hercegovine, svrstavaju se u likovna ostvarenja sa
najbogatijom dekoracijom i najsolidnijom
tehnikom izvedbom.
Na lokalitetima Putovii Ograje, Sarajevo i Domavia otkriven je manji broj mozaika,
uglavnom fragmentiranih.
Monokromni crno-bijeli stil, karakteristian za italske mozaike I i II stoljea,
zastupljen je fragmentom mozaika iz Putovia kod Zenice. Plastinost je postignuta
linijom koju ine bijele kocke koje su dale
oblik figure. Zbog slabe podloge ouvao se
fragmentirani prikaz sa vidljivim sandalama, hipokampom i delfinom (red. br. 1, T.
I, sl. 14).51
Meu najkasnije nalaze mozaika klasine
epohe u Bosni i Hercegovini spadaju mozaici iz Domavie kod Srebrenice. Istraena
su dva objekta, opina i banja, a mozaici su
pronaeni u vrlo fragmentiranom obliku u
banji. Na jednom se nalazi prikaz arhitekture, jedini do sada otkriveni prikaz ove vrste
u naim krajevima. Najvjerovatnije se radi
o portiku sa kapitelima, frizom ukraenim
kvadratnim poljima i gredama tavanice (red.
br. 45, T. LI).
Drugi mozaik iz Domavie ima centralnu
shemu i destruirani etverokutni medaljon
u sredini. Oko njega su dva iroka okvira sa
geometrijskim motivima u vidu etverokrake
zvijezde koju ine rombovi, meu ije su krakove upisani etverokuti. U etverokutima
se nalaze mnogobrojni prikazi Solomonovog
vora, pelte, svastike i rozete. Ovi motivi su
raeni raznim kombinacijama dijagonalno,
rombino, u vidu ahovskog polja i sl. (red.
br. 46, T. LII).
Mozaici iz Domavie datiraju se na kraj III
i IV stoljee.
Pored naselja Aquae S... na Ilidi, odakle potie vie mozaika, na prostoru Sara-
Based on the study into the found material

and analogy, the above mosaics found in Stolac
can be dated back to the period of the 3rd and
the 4th century. The mosaics from Stolac, among
other finds so far in the territory of Bosnia and
Herzegovina, are certainly most lavishly decorated and can boast with superior technique.
A smaller number of mosaics, mainly fragmented, have been found in the localities of
Putovii Ograje, Sarajevo and Domavia.
The monochrome black-and-white style,
characteristic for Italic mosaics from the 1st
and the 2nd century, is present on a preserved
fragment of the mosaic from Putovii nearby
Zenica. The plasticity has been achieved by a
line made of white pieces shaping the figure.
Owe to the rather poor base, the figure with
still visible sandals and the hippocampus and
the dolphin has been preserved in fragments
only51 (catalogue, No. 1, T. I, fig. 1 4).
The most recent finds from the classical epoch in Bosnia and Herzegovina include the mosaics from Domavia, Srebrenica. Two buildings
have been investigated; the municipality building and thermae, and the found mosaics in the
thermae were in a very fragmented condition.
One of them has a representation of architecture, the exclusive example found so far in our
territory. Most probably it was a portico with
capitals and a frieze decorated by square fields
and ceiling beams (catalogue, No. 45, T. LI).
The other mosaic from Domavia has a central pattern and a destroyed square-shaped
medallion in the centre. There are two wide
borders around it, with geometrical motifs in
the form of a four-armed star made of rhombi.
In between the arms there are rhombi placed.
In the squares there are numerous representations of Solomons knots, peltas, swastikas and
rosettes. The motifs are made in various combinations, diagonal, rhomboid or in a form of a
chequer-board, etc. (catalogue, No. 46, T. LII).
The mosaics from Domavia date from the
end of the 3rd and the 4th century.
Besides Aquae S..., the settlement at Ilida,
where many mosaics were found, there is yet
V. Pakvalin 1990., 5354 sa literaturom.
V. Pakvalin 1990, 53 54 with refernce literature.
51
51
24
jeva pronaen je jo jedan mozaik koji je

otkopan na lokalitetu Carina istono od
Zemaljskog muzeja Bosne i Hercegovine.
Mozaik je dodatnim ukopavanjima u najveoj mjeri oteen. Ouvan je fragmentirani dio sa motivom geometrijske sheme.
Navedeni motiv se sastojao od niza izmijenjenih izduenih i etvrtastih rombova u
bijeloj i plavoj boji sa kriem u sredini (red.
br. 47, T. LIII, sl. 1). Analogijom sa slinim
primjercima moe se datirati u period kasne antike, nastao u starokranskom kontekstu.
Periodu kasne antike, osobito V i VI stoljea, mogu se pridodati mozaici iz Japre i
Crkvine u Paniku. Primjercima iz Japre su
bile obloene zidne plohe proelja bazilike.
S obzirom na intenzivno vaenje kamena
iz ovih kasnoantikih objekata, mozaici su
potpuno uniteni. Pronaene su samo tesere
od sivog kamena, peene zemlje i stakla koje
ukazuju na njegovo postojanje. Jedan dio
staklenih kocki imao je i uloke od zlata.52
Fragmentirano sauvan mozaik sa lokaliteta
Crkvine u Paniku posjeduje shemu ponavljanih geometrijskih motiva. Ovo su jedini
tragovi do sada koji ukazuju na postojanje
mozaine umjetnosti na tlu Bosne i Hercegovine u periodu V i VI stoljea i oba pripadaju
sakralnoj arhitekturi.
52
another mosaic found on the locality of Carina,

east from the building of the National Museum
of Bosnia and Herzegovina. The mosaic has been
damaged to a great extent as a consequence of
additional covering by earth. A fragmented part
with a motif of a geometrical pattern has been
preserved. The motif must have been composed
of a series of alternating oblong and square rhom
bi, in white and blue colour, with a cross in the
middle (catalogue, No. 47, T. LIII, fig. 1). Throu
gh analogy with other similar examples, it can be
dated back to the period of late ancient Roman
period within early Christian social context.
The mosaics from Japra and Crkvina in
Panik could be ascribed to the period of the
late ancient Roman Period, i.e. 5th and the 6th
century. The mosaics from Japra were used as
wall decorations on the front of the basilica.
The mosaics, however, have been totally devastated as a consequence of intense taking of
stones. Only the tesserae of grey stone, baked
clay and glass have been found. A part of glass
pieces had insertions in gold.52 The mosaic
from Crkvina in Panik has also been preserved
in fragments only. It has a pattern of repeated
geometrical motifs. These have been the only
traces indicating the existence of mosaic art in
the territory of Bosnia and Herzegovina in the
period from the 5th to the 6th century and both
of them belong to the sacral architecture.
. Basler 1977., 146.
. Basler 1977, 146.
52
25
Zakljuak
Conclusion
a temelju rezultata dosadanjih istraivanja, mozaici sa prostora dananje

Bosne i Hercegovine mogu se u najveoj
mjeri datirati u period od II do IV stoljea.
Izuzetak predstavljaju samo tri primjerka
koja se datiraju neto kasnije, a stavljaju se u
kontekst starokranske prisutnosti na ovim
prostorima.
Po nainu izrade, u kojem dominira crno-bijela tehnika, dva primjerka (iz okoline Zenice i iz Viia kod apljine) mogu se datirati
kao najstariji primjerci iz I stoljea.
Od II stoljea poinju se izraivati geometrijski i figuralni mozaici u vie boja. Iz ovog
perioda potiu u najveem broju mozaici iz
Viia.
Popularizacija i irenje izrade rimskih
mozaika poinje sa III stoljeem. Od tog perioda dominiraju prikazi sa pojedinanim
likovima.
Vrlo su razliiti i sadraji figuralnih prikaza. Preovladavaju floralni i mitoloki motivi
sa scenama pantere, personifikacije godinjih
doba, hipokampa, Minotaura, Neptuna, ribe,
delfina, morskog thiasosa (svadbene povorke), zmije, nimfi, Kaliope i Orfeja.
Zastupljeni su i geometrijski motivi sa velikim brojem kvadrata, pravougaonika, koncentrinih krugova, trouglova, meandra, razliitih
linija, polukrugova, beskonanih pletenica, valovitih traka, rombova, jajolikih i srcolikih ornamenata i slino.
Od IV stoljea dolazi do opadanja mozaike umjetnosti. Ova vrsta umjetnike produkcije zastupljena je u Bosni i Hercegovini sa
samo dva primjerka iz Domavie.
Mozaici sa lokaliteta Carina u Sarajevu,
Crkvina u Paniku i veoma oteeni fragmenti iz Japre svjedoe o postojanju moza-
ased on the results of the studies so far, the

mosaics in the territory of the present Bosnia and Herzegovina can be largely dated as
belonging to the period from the 2nd to the 4th
century. The only exceptions are the three mosaics that are somewhat more recent and can be
dated within the context of early Christianity.
By the technique, with black-and white colours prevailing, the two mosaics, from the area
nearby Zenica and from Viii, apljina, could
be dated as the oldest examples belonging to
the 1st century.
Making of mosaics with geometrical and
figurative elements started with the 2nd century.
Most of the mosaics from Viii date back to
this period.
Roman mosaics became more popular and
widely spread with the 3rd century. This period marked the onset in the representations
of individual figures.
The content of figurative representations is
of a versatile nature. Floral and mythological
motifs prevail, including scenes with panthers,
personifications of four seasons, hippocampus, Minotaur, Neptune, fish, dolphins, thiasos, snakes, nymphs, Calliope and Orpheus.
The geometrical motifs are represented as
well: numerous squares, rectangles, concentric
circles, triangles, meanders, various lines, semicircles, infinite twisted ropes, inundated strips,
rhombi, egg or heart-shaped elements, etc.
The decline of mosaic art started in the 4th
century. The production in Bosnia and Herzegovina is represented by two mosaics from
Domavia only. The mosaics from this period in
Bosnia and Herzegovina are represented only
by two examples from Domavia. The mosaics
from the locality of Carina in Sarajevo, Crkvina
in Panik and highly damaged fragments from
26
ike produkcije na tlu Bosne i Hercegovine

u starokranskoj funkciji, u periodu VVI
stoljea.
Najjae sredite mozaikog stvaralatva
u provinciji Dalmaciji je bilo u glavnom gradu Saloni. Pored Salone, znaajne radionike
centre iz kojih su dolazili majstori koji su izraivali mozaike na prostoru Viia, Stoca, Panika, Ilide i Domavie predstavljaju gradovi
Epidaur i Narona.
S obzirom na veliku udaljenost i prostranstvo unutranjosti provincije Dalmacije, moe
se pretpostaviti da je barem jedna takva radionica pokrivala potrebe mozaikog stvaralatva u unutranjosti, pri emu bi poloaj i status naselja Aqua S... mogao odgovarati takvoj
radionici.53
53
Japra testify on the existence of mosaic production in the territory of Bosnia and Herzegovina
in the context of early Christianity, belonging
to the period from the 5th to the 6th century.
The most oustanding mosaic centre in the
province of Dalmatia was in its capital Salona.
Epidaurus and Narona, were two other centres,
whose whorkshops were visited by craftsmen
from Viii, Stolac, Panik, Ilida and Domavia.
Given the great distances and the large
inland territory belonging to the province of
Dalmatia, it can be assumed that there must
have been at least one workshop to satisfy the
needs of inland mosaic production. It is quite
likely that the settlement in Aqua S... may
have had such a workshop owe to its geographical position and status.53
B. Matuli 2000., 211.
B. Matuli 2000, 211.
53
27
**
KATALOG
CATALOGUE
**
**
Kataloke jedinice su u najveoj mjeri preuzete iz knjige Mozaici i zidno slikarstvo rimskog doba u Bosni i Hercegovini autorice
dr. Irme remonik. U katalokom opisu su navedeni novi podaci i literatura koja je o temi mozaika na tlu Bosne i Hercegovine
u meuvremenu publicirana, kao i nadopune.
**
Most of the catalogue units have been taken from the book Mozaici i zidno slikarstvo rimskog doba u Bosni and Hercegovini
[Roman Mosaics and Frescoe Painting in Bosnia and Herzegovina] by Irma remonik, Ph.D. The catalogue descriptions, however, list new data and references on the subject of mosaics in Bosnia and Hrezegovina published in the meantime, as well as the
most recent additional data.

PUTOVII
kod Zenice, lokalitet Ograje, terme (T. I, sl. 14)
PUTOVII,
Zenica, locality Ograje, thermae (T. I, fig. 1 4)
1. OBJEKAT C, terme
1. BUILDING C, thermae
Ouvanost: samo fragmenti

Boja: crna i bijela
Literatura: V. Pakvalin 1968., 154, I. remonik 1984., 111, V. Pakvalin 1990., 53/54 i T.
IX sl. 2 i 4.
Nalazi se: prikaz Hipokampa i sandala na
lokalitetu, prikaz delfina u Muzeju u Zenici
State of preservation: fragments only

Colour: black and white
References: V. Pakvalin 1968, 154, I. remo
nik 1984, 111, V. Pakvalin 1990, 53/54 and T.
IX fig. 2 and 4.
The fragments representing the hippocampus and
the sandals are at the locality.
The fragment with the dolphin is in the collection of
the Museum in Zenica.
U rimskim termama prilikom arheolokih

iskopavanja 1967. godine, naeni su fragmenti
dva mozaika. U veoj hipokaustnoj prostoriji
ouvao se dio mozaika sa prikazom hipokampa. Hipokamp je crne boje, a detalji su izvedeni
bijelim kockama linearno i stilizirano.
Drugi fragment, u stilu crnih figura, naen je
u manjoj hipokaustnoj prostoriji. Od njega je sauvan samo dio sa prikazom nogu u sandalama.
Redom bijelih kocki date su konture potplata
sandala i kaii koji idu od prsta prema tabanu.
Mozaici, vjerovatno, pripadaju I stoljeu.
Trei fragment ima ouvan prikaz delfina. Izraen je od bijelih i sivocrnih kocki. I ovaj primjerak
pripada I stoljeu.
During the archaeological excavations in 1967,

the fragments of two mosaics were found. A part of
the mosaic representing a hippocampus has been
preserved in the larger hypocausts room. The hippocampus is in black colour, with the details in white
tesserae placed linearly and in a stylized manner.
The other fragment, in the style of black figures,
was found in the smaller hypocausts room. Only
the part representing legs in sandals has been preserved. The line of white tesserae borders the soles
of the sandals and the toe-to-foot-soles straps. The
mosaics, most probably, date from the 1st century.
The third fragment has a preserved image of a
dolphin. It is made of white and grey-black pieces.
It also belongs to the 1st century.
VIII
kod apljine, lokalitet Kuita, rimska vila
VIII,
apljina, locality Kuita, Roman villa.
OBJEKAT B (peristilna graevina)
BUILDING B (peristyle)
2. PROSTORIJA 1 (T. II)
2. ROOM 1 (T. II)
Veliina: 3,52,20 m
Ouvanost: dobra
Boja: bijela i sivoplava
Literatura: I. remonik 1965., 170, sl. 4 Plan I i
II, I. remonik 1984., 111.
Nalazi se: na lokalitetu
Size: 3, 52, 20 m
State of preservation: good
Colour: white and grey-blue
References: I. remonik 1965, 170, fig. 4 Plan I
and II, I. remonik 1984, 111.
The mosaic is at the locality.
Povrina mozaika pokrivena je mreom etougaonika u ijoj su sredini srcoliki listovi proiz
voljno okrenuti gore i dolje. Pripada sredini II
stoljea.
The surface of the mosaic is covered by a network of hexagons with heart-shaped leaves in the
centre, with their faces randomly turned upwards
or downwards. It dates from the mid 2nd century.
31

3. PROSTORIJA 2 (T. III)
3. ROOM 2 (T. III)
Veliina: 3,53,5 m
Ouvanost: oteen u sredini
Boja: crvena, svijetlocrvena, uta, plavosiva i
bijela
Literatura: I. remonik 1965., 171, T. XVI, I.
remonik 1984., 111/112.
Size: 3,53,5 m
State of preservation: damaged in its central part
Colour: red, pale red, yellow, blue-grey and
white
References: I. remonik 1965, 171, T. XVI, I.
remonik 1984, 111/112
Centralni motiv mozaika je krug koji je upisan

u etverokut. Povrina etverokuta podijeljena
je beskonanom pletenicom u centralni krug,
polukrugove du strana etverokuta i etvrtine
krugova u uglovima. Izmeu centralnog kruga i dijelova kruga smjeteni su sferni rombovi
(konkavnih strana) u koje su upisani etverokuti sa srcolikim listom u sredini. U centralni krug
upisana je osmokraka zvijezda sa romboidnim
krakovima, a izmeu krajeva krakova zvijezda
i kruga naizmjenino se redaju rombovi i kvadrati. Krakovi zvijezda imaju dvostruke crvene
ili plave okvire, a jezgro je crveno. U kvadratima
su rombovi ije strane ine nizovi kvadratia, a u
rombovima su dva niza kvadratia postavljenih
u obliku kria. Polukrugovi du strana uokvireni
su nizom vuijih zuba, a u polju je biljka dugih i
uskih listova crvene, plave i ute boje. etvrtine
krugova oiviene su nizom trouglova, a u polju je
cvijet sa tri latice.
The central motif in the mosaic is a circle within a square. The surface of the square is separated
by an infinite rope into a central circle, semicircles
flanking the sides of the square and quarters of the
circles at the angles. Between the central circle and
the parts of the circle, there are spherical rhombi (with concave sides), with squares and heartshaped leaves in the centre. The central circle has
an eight-point star, with rhomboid arms and with
rhombi and squares alternating between the end of
the star arms and the circle. The arms are with double red or blue frames, whereas the parts are red.
The rhombi with sides in small squares are placed
within the squares. Within the rhombi, there are
two lines of small squares placed to form a cross.
The semicircles are rimmed by indented line, while
in field there is a plant with long and narrow leaves
in red, blue and yellow colour. The quarters of the
circles are rimmed by triangles, and in the central
field there is a flower with three petals.
4. PROSTORIJA 3 (T. IV, sl. 1 i 2)
4. ROOM 3 (T. IV, fig. 1 and 2)
Veliina: 3,54,5 m
Ouvanost: dobra
Boja: crvena, uta, plavosiva i bijela
Literatura: I. remonik 1965., 170, T. XV, I.
remonik 1984., 112.
Size: 3, 54,5 m
State of preservation: well preserved
Colours: red, yellow, blue grey and white
References: I. remonik 1965, 170, T. XV, I.
remonik 1984, 112
Mozaik je trodijelan, a srednje etverokutno

polje sadri krug oivien pletenicom. Sa obje strane centralnog etverokuta sa krugom nalazi se po
jedno usko polje sa dva reda krugova koji se sijeku.
Segmenti krugova su plavi, a u centru su crveni ili
uti rombovi. Centralni krug je podijeljen u jedanaest krugova koncentrino poredanih rombova,
koji se prema centru smanjuju, a naizmjenino su
plavi, crveni, uti i svijetlocrveni. U centru kruga
je uti tanjir sa drkama (oblik odgovara tanjirima
sigilata iz Rajncaberna (Reinzabern) iz polovine II
The mosaic has three parts, and the central

square shaped surface contains a circle rimmed by
a twisted rope. There is one narrow section with
two rows of intersecting circles. The segments of
the circles are blue, with red or yellow rhombi in
the centre. The central circle is divided up into
eleven circles within which there are concentrically arranged rhombi, reducing towards the centre
and alternating in blue, red, yellow and pale red
colour. There is a yellow plate with handles (corresponding by its form to the Reinzabern sigillata
32

stoljea). Tanjir je dat u geometrijskoj stilizaciji i
na njemu su poloene dvije ribe, koje su po obradi
vie dekorativne. Glavni dio tijela je tamnocrvene
boje, krge su plaviaste, a donji dio tijela svijetlocrven. Okvir oko mozaika ini brljanova loza u
plavoj boji, a vanjski okvir niz plavih stepeniastih
trouglova. Pripada polovini II stoljea.
plates dating from the mid 2nd century). The plate

is geometrically stylized with two fish of a decorative nature placed on it. The body is dark red, the
gills blue, whereas the belly of the fish is pale red.
The blue ivy runs around the mosaic with a row
of step-like triangles. The mosaic dates from the
mid 2nd century.
5. HODNICI 5 i 19 (T. V, sl. 1)
5. CORRIDORS 5 and 19 (T. V, fig. 1)
Veliina: 3,700,70 m
Ouvanost: dobra
Boja: sivoplava i bijela
Literatura: I. remonik 1965., 170, sl. 6, I. re
monik 1984., 112.
Size: 3,700,70 m
Colour: grey-blue and white
References: I. remonik 1965, 170, fig. 6, I.
remonik 1984, 112
Jednostavni bijeloplavi mozaici u hodnicima 5

i 19 imaju motiv kojeg ine dva reda plavih kriia
u polju uokvirenom jednostavnom linijom. Mozaici pripadaju polovini II stoljea.
Simple white-blue mosaics in corridors 5 and

19 are decorated by two rows of blue crosslets
within a plane rimmed by a simple line. The mosaics date from mid 2nd century.
6. PROSTORIJA 8 (T. VI, sl. 13)
6. ROOM 8 (T. VI, fig. 1 3)
Veliina: 3,51,70 m
Ouvanost: dobra
Boja: sivoplava, crvena, uta, svijetlocrvena
Literatura: I. remonik 1965., 172/3, T. XVIII, 2
i XX, 2 i 4, I. remonik 1984., 112/113.
Size: 3,51,70 m
Colours: grey- blue, red, yellow, pale red
References: I. remonik 1965, 172/3, T. XVIII, 2
and XX, 2 and 4, I. remonik 1984, 112/113
Spada u grupu mozaika na kojima se ponavljaju geometrijski motivi. Sadri polovinu sheme
motiva sedam esterokuta upisanih u krug, koja
se pojavljuje i u prostoriji 17. Svaki od esterokuta zasebno je uokviren pletenicom. Prvi okvir oko
polukruga ini zupasta traka, a oko njega je okvir
sa jajolikim motivom (Eierstaba), koji nastaje presijecanjem polukrugova, a vanjski glavni okvir ini
srcolika pletenica (Kelchflechtband) u bijeloj, crvenoj ili utoj boji. U esterokutima su rozete povijenih krakova. Centar rozete ine koncentrini krugovi (plavi, bijeli, crveni i bijeli), dok su krakovi
rozete bijelim krugovima podijeljeni u pojaseve
raznih boja. U jednom uglu paralelograma mozai
ka je beskonana rozeta sa naizmjenino plavim,
crvenim i utim krakovima, a u drugom krug u
koji su upisana etiri kruga koji se sijeku i u centru
ine trostranu rozetu. Krugovi su obojeni crveno i
plavo. Oko oba ova motiva je sa svake strane del-
The mosaic belongs to the group with repeated

geometrical motifs. It includes half of the pattern
of seven hexagons within a circle, which also appears in room 17. Each of the hexagons is rimmed
by a twisted rope. The semicircle is first rimmed
by an indented strap to be followed by a frame
with egg-shape motif (Eierstab), which is materialized through the semicircles that are intersecting
and bordered from the outside by a heart-shaped
(Kelchflechtband) in white, red or yellow colour. Inside the hexagons there are rosettes with bent arms.
The centre of the rosette is made of concentric circles (blue, white, red), whereas the arms of the rosettes are separated by white circles into the straps
in different colours. In one corner of the mosaic
parallelogram there is an infinite rosette with alternating blue, red and yellow arms, and in the other,
a circle with four other circles that intersect creating
a trilateral rosette in the centre. The circles are in
33

red and blue. Both of the motifs have a dolphin on
each side, whose heads are looking in the direction
of the motifs. The outside rim is composed of simple blue motifs made of alternating rectangles and
squares with a four-leaf rosette with heart-shaped
petals. The mosaic dates from the mid 2nd century.
fin okrenut glavom prema motivu. Vanjski okvir

ima jednostavne plave motive koji su sastavljeni
od naizmjeninih etverokuta sa upisanim pravougaonicima i kvadrata sa etverolisnom rozetom srcolikih latica. Mozaik potie iz sredine II
stoljea.
7. PROSTORIJA 10 (T. VII)
7. ROOM 10 (T. VII)
Veliina: 2,402,40 m
Ouvanost: dobra
Boja: sivoplava, crvena, uta, bijela
Literatura: I. remonik 1965., 171, T. XIX, I.
remonik 1984., 113.
Size: 2,402,40 m
Colours: grey-blue, red, yellow, white
References: I. remonik 1965, 171, T. XIX, I.
remonik 1984, 113
Mozaik pripada tipu ija je karakteristika ponavljanje geometrijskih motiva. Podijeljen je beskonanom pletenicom, koja je bijele, crvene ili ute
boje na plavoj osnovi, u dvadeset i pet kvadrata.
U kvadrate je naizmjenino upisana etverolisna
rozeta ili sferni romb u crvenoj ili utoj boji. Samo
jedno polje ima okvir zupaste trake a u njemu je
plavi romb sa bijelim kvadratom u centru. Ovaj
mozaik je takoer iz sredine II stoljea.
This mosaic belongs to the type that is characterized by repetition of geometrical motifs. It is divided
up into twenty five squares by an infinite rope, which
is white, red or yellow against the blue background.
The squares bear a four-leaf rosette or a spherical
rhomb in red or yellow, which alternate. There is
only one field rimmed by indented strips with a blue
rhomb inside. The rhomb has a white square in its
centre. The mosaic dates from the mid 2nd century.
8. CORRIDORS 12 and 14 (T. V, fig. 2)
8. HODNICI 12 i 14 (T. V, sl. 2)
Size: 80,70 m
Colours: grey-blue and white
References: I. remonik 1965 170, fig. 7, I.
remonik 1984, 113
Veliina: 80,70 m
Ouvanost: dobra
Literatura: I. remonik 1965. 170, sl. 7, I. re
monik 1984., 113.
The mosaics, in these long and narrow corridors, are with grey-blue motifs, square by their
shape. There are diagonal arms growing from the
corners in a form of small squares. The mosaics in
corridors 12 and 14 date from mid 2nd century.
Mozaici u ovim dugim i uskim hodnicima imaju sivoplave motive reda kvadrata iz ijih uglova
izlaze dijagonalni kraci u vidu niza malih kvadrata. Mozaici u hodnicima 12 i 14 su iz sredine II
stoljea.
9. ROOM 13 (T. VIII, fig. 1 and 2)
9. PROSTORIJA 13 (T. VIII, sl. 1 i 2)
Size: diagonal arm 6,602,10 m, and the axial

4,503,50 m
State of preservation: minor damage in some
parts
Colours: grey-blue, red, yellow, white
References: I. remonik 1965, 171/2, Tab. XVII
and XX, I. remonik 1984, 113
Veliina: popreni krak 6,602,10 m, osovinski

4,503,50 m
Ouvanost: mjestimino manje oteen
Literatura: I. remonik 1965., 171/2, Tab. XVII
i XX, I. remonik 1984., 113.
34

The mosaic is T-shaped and composed of a narrow diagonal and the main axial part. The main part
is made of repeated geometrical motifs. The hexagonal decoration, rimmed by a rope against the blue
background, alternates with a four-arm star and
squares. The hexagons have six-arm rosettes with red
and yellow petals, whereas the squares contain motifs
in a shape of a calyx, Salomons knot, and four-leaf
rosettes with heart-shaped leaves. The mosaic is, as
usual, rimmed by a rope against the blue background,
with a line of blue rope forming at the same time the
exterior frame to the diagonal part of the mosaic.
The ornament in the diagonal part of the mosaic
is in grey-blue colour only and contains a continuous
line of swastikas bordering the sides of vertical and
horizontal rhombi. Inside, the rim is composed of ivy
tendrils. The mosaic dates from mid 2nd century.
Mozaik je oblika slova T i sastoji se iz uskog

poprenog i glavnog osovinskog dijela. Glavni dio
ini tip mozaika sa ponavljanim geometrijskim
motivima. Motiv esterokuta, uokviren pletenicom na plavoj osnovi, izmjenjuje se sa motivom
etverokrake zvijezde i kvadratima. U esterokute
je upisana estolisna rozeta crvenih i utih latica,
a u kvadrate motivi cvjetne aice, Solomonovog
vora, etverolisne rozete sa srcolikim listovima.
Okvir mozaika ini uobiajena pletenica na plavoj
osnovi, a vanjski okvir niz plavih pelti koje su istovremeno vanjski okvir poprenog dijela mozaika.
Ornament na poprenom dijelu mozaika, izveden samo u sivoplavoj boji, sastoji se od neprekidnih svastika koje uokviruju strane vertikalnih
i horizontalnih rombova. Unutarnji okvir ovom
dijelu ini motiv vitice brljanove loze. Mozaik je
iz sredine II stoljea.
10. ROOM 16 (T. IX, fig. 1 and 2)
10. PROSTORIJA 16 (T. IX, sl. 1 i 2)
Size: 3,203,20 m
Colour: grey-blue, red, yellow, white
References: I. remonik 1965, 171, fig. 13, T.
XIX, 2, I. remonik 1984, 113/114
Veliina: 3,203,20 m
Ouvanost: dobra
Literatura: I. remonik 1965., 171, sl. 13, T. XIX,
2, I. remonik 1984., 113/114.
It belongs to the type of mosaics with a characteristic pseudo central pattern, because its motif is
repeated on larger mosaics. In the centre of a square
surface there is a rhomb rimmed by a rope. In the
centre of the rhomb, there is a yellow leaf. On all four
sides of the square there are halves of eight-arm stars,
and the squares placed in between the arms. The
arms of the stars are divided up into the four rhombi
of different colours: white, red, yellow. The squares
are diagonally divided into four trapezoid and four
triangular areas, alternating in white, red and yellow
colour. The corners of the mosaic are decorated by ivy
spirals. The inner border of the mosaic is in a form of
a double rope, which is also in grey-blue, red and yellow colours. The external border is made of two rows
of peltas place to the sides of the border so that they
touch in the arc sections. The motif is in grey-blue colour. The mosaic dates from mid 2nd century.
Spada u tip mozaika sa pseudo centralnom

shemom jer se njegov motiv ponavlja na veim
mozaicima. U sredini kvadratnog polja mozaika
upisan je romb uokviren pletenicom. U centru
romba je motiv utog lista. Na stranicama kvadrata smjetene su polovine osmokrakih zvijezda,
a meu njihovim kracima su kvadrati. Kraci zvijezda podijeljeni su u etiri romba koji su razliito
obojeni: bijelo, crveno, uto. Kvadrati su dijagonalama podijeljeni u etiri trapezasta i etiri trokutasta polja, naizmjenino bijela, crvena i uta. Uglovi
mozaika ukraeni su spiralno uvijenim brljanom.
Unutarnji okvir mozaika ini dvostruka pletenica
koja je takoer sivoplave, crvene i ute boje. Vanjski okvir ine dva reda pelti poloenih uz strane
okvira tako da se dodiruju lukovima. Motiv je u
sivoplavoj boji. Mozaik je iz sredine II stoljea.
11. PROSTORIJA 17 (T. X, sl. 13)
11. ROOM 17 (T. X, fig. 1 3)
Veliina: 4,54,5 m
Ouvanost: dosta dobra
Boja: sivoplava, uta, crvena, bijela
Size: 4,54,5 m
State of preservation: rather well preserved
Colour: grey-blue, yellow, red, white
35

Literatura: I. remonik 1965., 172/173, T. XVIII,
1 i XX, 3, I. remonik 1984., 114.
References: I. remonik 1965, 172/173, T. XVIII,

1 and XX, 3, I. remonik 1984, 114
Mozaik pripada shemi ponavljanih geometrijskih motiva, i to sedam esterokuta u krugu, kako
je to izvedeno i na mozaiku u prostoriji 8. Od mozaika prostorije 8 razlikuje se po tome to svaki esterokut nije posebno uokviren pletenicom, nego
su svi zajedno obuhvaeni beskonanom pletenicom. Unutarnji okvir esterokuta ini zupasta
traka. Motivi rozeta povijenih krakova isti su kao i
u prostoriji 8, a kraci su koncentrinim krugovima
podijeljeni u pojaseve raznih boja. Centralni krug
sa esterokutima upisan je u kvadratno polje, u
ijim su uglovima naizmjenino smjeteni motivi
kantarosa i srcolikog lista iz kojih izlazi brljanova
loza. Unutarnji okvir ovom etverokutnom polju
ine etverokuti i pravougaonici koji se naizmjenino redaju. U pravougaonicima su, uz dvije strane
mozaika, antitetski postavljeni delfini, uz druge
dvije niz motiva krljuti. U etverokutima su etverolisne rozete i sferni rombovi. Vanjske okvire
ini, prvo, uska traka sa nizom plavih trouglova,
stepeniastih strana, a zatim niz plavih rombova.
Potie iz sredine II vijeka.
The mosaic belongs to those with a pattern of geometrically repeated motifs, i.e. there are seven hexagons in a circle. The same pattern is present in room 8
as well, the difference being that the hexagons are not
individually bordered by a rope, but rather rimmed
by an infinite rope. The internal border of the hexagon is made of indented band. The rosette with bent
arms is the same as in room 8, whereas the arms are
divided, by concentric circles, into straps of different
colours. The central circle with hexagons is placed
within a square field in the corners of which there are
motifs of canthari and heart-shaped leaves and the
ivy growing out of them. The rims inside the square
field are composed of squares and rectangles, succeeding one another. Within the rectangles, against
the two sides of the mosaic, there are dolphins facing
one another, while along the other two sides there is
a series of motifs with scales. The squares contain the
four-leaf rosettes and spherical rhombi. The outside
borders are made of narrow strips of blue triangles
with cascade sides, to be succeeded by a line of blue
rhombi. It dates from mid 2nd century.
12. ROOM 18 (T. XI)
12. PROSTORIJA 18 (T. XI)
Size: 34,10 m
State of preservation: damaged in its central part
References: I. remonik 1965, 172, T. XVII, 2, I.
remonik 1984, 114
Veliina: 34,10 m
Ouvanost: oteen u sredini
Literatura: I. remonik 1965., 172, T. XVII, 2, I.
remonik 1984., 114.
The mosaic has the pattern of repeated geometrical motifs, i.e. four-arm stars with rhomb shaped arms
inside which there are squares. The arms are, like in
room 23, presented by two concentric blue borders.
Spherical rhombi, or the four triangles with cascading
sides in the centre of the interior square, decorate the
interior surfaces of the squares. In the squares inside
the central square surface there are spherical rhomb
like motifs or the four triangles flanking the central
square. The mosaic dates from mid 2nd century.
Mozaik ima shemu sa ponavljanjem geometrijskih motiva, i to etverokrake zvijezde rombinih

krakova, meu kojima su kvadrati. Kao i kod prostorije 23, krakovi su rijeeni sa dva koncentrina plava okvira. U kvadratima su motivi sfernih
rombova, ili etiri trougla stepeniastih strana poredani oko strana u centru upisanog etverokuta.
I ovaj mozaik je iz sredine II stoljea.
13. PROSTORIJA 20 (T. XII)
13. ROOM 20 (T. XII)
Veliina: 2,52,5 m
Ouvanost: dosta dobra
Size: 2,52,5 m
State of preservation: preserved rather well
36

Literatura: I. remonik 1965., 171, sl. 8, I. re
monik 1984., 114.

remonik 1984, 114
Spada meu jednostavnije mozaike sa ponavljanim geometrijskim motivima. Kvadratno polje

mozaika ispunjeno je krugovima koji se sijeku, a
tako nastali segmenti su plave boje. U centru
krugova su crveni i uti sferni rombovi. Unutarnji okvir mozaika ini uobiajena pletenica u tri
boje, a vanjski niz sivoplavih trouglova stepeniastih strana. Mozaik potie takoer iz sredine
II stoljea.
The mosaic belongs to those with rather simple

pattern containing repeated geometrical motifs.
The square surface of the mosaic is filled with intersecting circles, and the segments created in that
way are done in blue colour. The centres of the
circles are red and yellow spherical rhombi. The
border at the inner side of the mosaic is the usual
rope in three colours, while at the outer side, it is a
line of grey-blue triangles with cascade sides. This
mosaic also dates from mid 2nd century.
14. HODNIK 21 (T. XIII, sl. 1 i 2)

Veliina: 4,601,20 m
Ouvanost: dobra
Literatura: I. remonik 1965., 170, sl. 5, I.
remonik 1984., 114/115.
14. CORRIDOR 21 (T. XIII, fig. 1 and 2)

Size: 4,601,20 m
Colour: grey-blue and white
remonik 1984, 114/115
Kao i u ostalim hodnicima i u ovom je motiv samo u sivoplavoj boji, i to motiv krugova
koji se sijeku dok su segmenti plavi. Ovaj motiv se na naim mozaicima esto upotrebljava i
u nusprostorijama i na okvirima. Iz polovine je
II stoljea.
Like in other corridors, the motif on this mosaic,

i.e. the intersecting circles, is in grey-blue colour only,
while the segments are in blue colour. This motif is
very frequent on our mosaics, both in utility rooms
and on the borders. It dates from mid 2nd century.
15. PROSTORIJA 22 (T. XIV)
15. ROOM 22 (T. XIV)
Veliina: 33 m
Ouvanost: dobra
Boja: svijetloplava, crvena, uta, bijela
Literatura: I. remonik 1965., 170, T. XV, 2, I.
remonik 1984., 115.
Size: 33 m
Colours- light-blue, red, yellow, white
References: I. remonik 1965, 170, T. XV, 2, I.
remonik 1984, 115
Mozaik ima shemu sa centralnim motivom

kruga u ijem je sreditu uta posuda sa ribom,
(isti motiv kao u prostoriji 3). Krug je popunjen
koncentrinim redovima motiva ljusaka, koje
se idui prema centru smanjuju. Jedna polovina ljuski je sivoplava, a druga bijela. Krug ima
trostruki okvir prvi je u vidu zupaste trake,
drugi ima jajoliki motiv koji je nastao presijecanjem polukrugova, a trei je uobiajena pletenica. Pletenica uokviruje i kvadratno polje
mozaika. Uglove etverokuta ispunjavaju tri
The pattern is composed of a centrally placed

circle with a dish with fish in the middle (the same
motif as in room 3). The circle is filled with concentric rows of scales, gradually reducing towards the
centre. One half of the scales is grey-blue, and the
other white. The circle has a triple border, the first
in a form of indented strip, and the second with an
egg-shaped motif resulting from circles that intersect, and the third one the usual rope. The rope also
borders the square field of the mosaic. The corners of
37

niza plavih trouglova. Vanjski okvir mozaika
sadri niz krugova koji se sijeku, a tako nastali
segmenti su plave boje (isti motiv kao na prethodnom mozaiku hodnika 21). Iz sredine je II
stoljea.
this square surface are filled by three rows of blue triangles. The outer border of the mosaic contains a line
of intersecting circles, the resulting segments made in
blue colour (the same motif as on the previous mosaic
in corridor 21). It dates from mid 2nd century.
16. PROSTORIJA 23 (T. XV)
16. ROOM 23 (T. XV)
Veliina: 4,54,5 m
Ouvanost: slaba
Literatura: I. remonik 1965., 171, T. XVI, 2, I.
remonik 1984., 115.
Size: 4,54,5 m
State of preservation: inferior
Colour: grey-blue red, yellow, white
References: I. remonik 1965, 171, T. XVI, 2, I.
remonik 1984, 115
Mozaik ima centralnu shemu slinu mozaiku

prostorije 2. Kvadrat je podijeljen beskonanom
pletenicom u centralni krug, polukrugove uz
strane kvadrata i etvrtine krugova u uglovima. U centralni krug je upisana ista osmokraka
zvijezda iji kraci imaju dvostruki plavi okvir
i crveno obojeni centar. U kvadratima, meu
krakovima zvijezda, je sferni romb, a u rombovima etverolisna rozeta. Bogatije su ukraeni
sferni rombovi izmeu kruga i polukrugova. U
centar je upisan kvadrat. U kvadratima su naizmjenino uti listovi i kantarosi. Odsjeci i polovine krugova imaju, meutim, samo motiv u
sivoplavoj boji, i to bijelih i sivih zraka, koji se
zavravaju polukrugovima i predstavljaju geometrijsku stilizaciju motiva koljke. Prvi okvir
polja mozaika je pletenica, drugi niz trouglova
stepeniastih strana, a trei niz rombova. Dva
vanjska okvira su u sivoplavoj boji. Iz sredine je
II stoljea.
The central pattern is very similar to that on the

mosaic in room 2. The square is divided by an infinite rope into the central circle, the semicircles next
to the sides of the square and quarters of circles in
the corners. The central circle has the same eightarm star whose arms have double blue rim and
the centre in red colour. In the squares between the
arms there are spherical rhombi, and within each
rhomb, there is a four-leaf rosette. The spherical
rhombi between the circle and semicircles have
richer decoration. In the centre, there is a square.
Within the squares, the yellow leaves and canthari
alternate. The segments and the semicircles, however, are only decorated by grey-blue beams ending in semicircles and representing a stylized motive of a shell. The first rim around the central field
in the mosaic is a rope, the second a row of triangles with cascade sides, and the third one a row
of rhombi. The two external rims are in grey-blue
colour. The mosaic dates from mid 2nd century.
ILIDA KOD SARAJEVA

Mozaici iskopani 1893. godine
ILIDA, SARAJEVO
Mosaic excavated in 1893
17. GRUPA GRAEVINA I (T. XVI, sl. 1 i 2)
17. GROUP OF BUILDINGS I (T. XVI, fig. 1 and 2)
Veliina: 2,761,94 m (ouvanog dijela)

Ouvanost: samo djelimina
Boja: nijanse sive do crne, crvena, uta, bijela
Literatura: J. Kellner 1897., 137, T. LVIII, fig. 8a,
I. remonik 1984., 115/116.
Nalazi se: Zemaljski muzej Bosne i Hercegovine.
Size: 2,761,94 m (of the preserved part)

State of preservation: in part only
Colours: shades of grey to black, red, yellow, white
References: J. Kellner 1897, 137, T. LVIII, fig. 8a,
I. remonik 1984, 115/116
The fragments are in the collection of the National
Museum of B-H in Sarajevo.
38

Od mozaika je ouvano neto manje od jedne
treine i dio lijevog gornjeg ugla na kome se jo
vide vrlo grube popravke. Samo uz uu stranu
mozaika postoji okvir ukraen redom kvadrata
u koje su upisana etiri pravougaonika. Motiv
je izveden crnim kockama. Okvir mozaika ini
niz crnih rombova sa bijelim kriom u sredini.
Polje mozaika ispunjeno je motivom meandra
oblika kria sainjenog od pletenica. Meandar
okruuju kvadratna polja uokvirena pletenicom
u kojima je motiv Gordijevog vora ili kvadrata
sa crnim uglovima i krugom u sredini. Pletenice su naizmjenino od utih, crvenih i bijelih, te
bijelih, crvenkastih i utih redova kocki na crnoj
osnovi. I kvadrati i meandar su uokvireni uskim
ramovima od tri reda kocki, (bijelih, crnih, bijelih). Polje oko slike mozaika nije, kao to je to
uobiajeno, od bijelih kocki, nego od sivkastih
do mrkih i bijelih kocki, koje su nasumce nabacane. Raen je inae briljivo i precizno, a potie
iz IIIII stoljea.
The only preserved parts include less than one third

of the mosaic and a part of the upper left corner, with
very rough mending still visible. Only along the narrower side of the mosaic there is the border decorated
by a line of squares with four rectangles in them. The
motif is in black pieces. The border is made of a series
of black rhombi with white crosses in the middle. The
central surface of the mosaic is filed with the motif of
cross-like meander made of twisted ropes. The meander is surrounded by square fields rimmed by a rope
with the Gordian knot or by squares with black corners and a circle in the middle. The ropes alternate in
yellow, red and white colour and white, reddish and
yellow series of tesserae on the black base. Both the
squares and the meander have a narrow rim made
of three rows of tesserae (white, black, white). The
field around the image picture is not made of white
pieces, which is the usual fashion, but of greyish to
black and white tesserae that are randomly placed.
Generally, it is made very meticulously and precisely and dates back to the 2nd 3 rd century.
18. GROUP OF BUILDINGS I (T. XVI, fig. 3)
18. GRUPA GRAEVINA I (T. XVI, sl. 3)

Veliina: irina bordure 0,46 m
Ouvanost: samo fragment jednog ugla
Boja: uta, siva, svijetlo i tamnocrvena, bijela
Literatura: J. Kellner 1897., 137, T. LIX, fig. 8b, I.
remonik 1984., 116.
Size: the border 0.46 m wide

State of preservation: only a fragment of one
corner
Colours: yellow, grey, light and dark red, white
References: J. Kellner 1897, 137, T. LIX, fig. 8b,
I. remonik 1984, 116
The mosaic is in the collection of the National Museum of B-H in Sarajevo.
Ouvao se okvir jednog ugla mozaika i uz

njega dio motiva kruga. I mozaik i krug uokvireni su pletenicom u dvije boje bijelocrvenom, i
bijeloutom. Drugi okvir mozaika ini dvostruka pletenica, jedan krak je bijelo-uto-siv, drugi
bijel-svjetlocrven-tamnocrven. Vanjski okvir ini
niz grupa od po etiri pelte crne boje, poredane
u obliku izduenog etverokuta. Pripada IIIII
stoljeu.
The border of one corner of the mosaic and a

part of the circle have been preserved. Both the mosaic and the circle are rimmed by a rope in two colours white and red, and white and yellow. There
is also another border made of a double-stranded
rope, one strand is white-yellow-grey and the other
one is white-light-red-dark red. The outside border
is made of s series of groups with four black peltas
in each which are lined up in a form of an elongated
square. It belongs to the 2nd and 3rd century.
19. GRUPA GRAEVINA I (T. XVII)
19. GROUP OF BUILDINGS I (T. XVII)
Veliina: 1,901,90 m
Ouvanost: oteen lijevi ugao
Boja: smea, crna, bijela
Literatura: J. Kellner 1897., 1378, T. LX, fig. 8c,
I. remonik 1984., 116.
Size: 1,901,90 m
State of preservation: left corner damaged
Colours: brown, black, white
References: J. Kellner 1897, 137-8, T. LX, fig. 8c,
I. remonik 1984, 116.
39

It belongs to the type of mosaics with pseudo
central pattern. Within a simple border there is an
eight-arm star. The arms of the star have double
borders, with a rectangle in the centre, or the centre
which is divided into four rhombi coloured in an
alternating fashion. The squares in the corners are
decorated by vases, while within the square there
are rectangles and diagonal rows of squares. One
corner is damaged. The triangles between the arms
are double rimmed, with a central black triangle.
The decorative elements are black, placed onto a
brownish-white base, and the surface surrounding
the mosaic is in white-brown colour with darker
scattered pieces. It belongs to the 2nd 3rd century.
Mozaik pripada tipu sa pseudocentralnom

shemom. U jednostavni crni okvir upisana je
osmokraka zvijezda. Krakovi zvijezda imaju dvostruki okvir, a u centar je upisan pravougaonik
ili je centar podijeljen u etiri romba naizmjenino obojena. Kvadrati u uglovima mozaika imaju
motiv vaze, u kvadrat upisane pravougaonike i
dijagonalno postavljene redove etverokuta, dok
je jedan ugao oteen. Trouglovi meu krakovima
imaju dvostruki okvir, a u centar je upisan crni
trougao. Motivi su u mrkoj boji na smekastobijeloj podlozi. I prostor oko mozaika je bijelo-smee
boje sa tamnijim razasutim kockicama. Pripada
IIIII stoljeu.
20. GROUP OF BUILDINGS IV (T. XVIII)
20. GRUPA GRAEVINA IV (T. XVIII)
Size: 2,282,28 m
State of preservation: only one quarter preserved
Colours: black, greenish, yellow, red, white
References: J. Kellner 1897, 138-9, T. LXI, fig. 8d,
I. remonik 1984, 116/117, M. H. eman
2000, 146 and 147.
Veliina: 2,282,28 m
Ouvanost: samo polovina ouvana
Boja: crna, zelenkasta, uta, crvena, bijela
Literatura: J. Kellner 1897., 1389, T. LXI, f. 8d,
I. remonik 1984., 116/117, M. H. eman
2000., 146 i 147.
The square field of the mosaic is divided up by

an infinite rope into four elliptic medallions in the
corners among which there are trapezoid fields,
whereas the central part of the mosaic is occupied
by a spherical rhomb. The rope is made of small
black, white and red tesserae on a black base. The
fields are additionally rimmed by narrow yellow or
red lines, and the central field has somewhat wider
frame made of rows of yellow, red, black and green
tesserae. The elliptic medallions are decorated with
the figures of fish in a white setting. Only two lateral trapezoid fields have been preserved in parts.
The trapezoid field with yellow base is decorated
by a black palmetta, and the preserved half of the
other one with yellowwhite base is decorated by a
semicircle made of black, white and red tesserae on
which there is a vase and a dolphin at the left side.
In the central field, against the yellowish-white base,
there is a bust, quite likely of a mythological character. There are flowers in the hair of the bust and it is
lightly dressed. The other attributes surrounding the
bust are not clear and could not be determined. The
mosaic is bordered by a line of rhombi that are made
of one row of black tesserae with a black cube in the
centre. The surface around the image in the mosaic
is made of limestone tesserae in different shades of
green and yellow. It belongs to the 2nd 3rd century.
etvrtasto polje mozaika izdijeljeno je beskonanom pletenicom u etiri elipsasta medaljona

u uglovima meu kojima su trapezasta polja,
dok sredinu mozaika zaprema sferni romb. Pletenica je od sitnih crnih, bijelih i crvenih kocki
na crnoj osnovi. Polja su uokvirena jo uskim
utim ili crvenim linijama, dok srednje polje ima
iri ram od redova utih, crvenih, crnih i zelenih
kocki. U elipsastim medaljonima bijele osnove
nalaze se predstave ribe. Od bonih trapezastih
polja ouvana su djelimino samo dva. Trapezasto polje sa utom osnovom ima motiv crne
palmete, a ouvana polovina drugog, utobijele
osnove, ima motiv polukruga od crnih, bijelih i
crvenih kocki na kojem stoji vaza, dok je lijevo
od nje delfin. U centralnom polju, na ukastobijeloj osnovi je poprsje, vjerovatno mitolokog
karaktera. Poprsje je sa predstavom cvijea u
kosi i lagano je odjeveno. Atributi oko poprsja
su nejasni i nisu se mogli odrediti. Okvir mozaika ini niz rombova koji su izvedeni jednim
redom crnih kocki sa crnom kockom u centru.
Pojas oko centralnog motiva mozaika ine kocke krenjaka raznih nijansi tamnije zelene i ute
boje. Pripada IIIII stoljeu.
40

21. GRUPA GRAEVINA V (T. XIX, sl. 1 i 2,
T. XX, sl. 1 i 2)
21. GROUP OF BUILDINGS V (T. XIX, fig. 1

and 2, T. XX, fig. 1 and 2)
Veliina: 3,853,60 m
Ouvanost: sauvana su etiri fragmenta mozaika
Boja: crna, crvena, svijetlocrvena, uta, plavi
asta, zelena, smea, ljubiasta
Literatura: J. Kellner 1897., 139140, T. LXII,
LXIII, LXIV, fig. 8e1, e2, e3, e4, I. remonik
1984., 117, M. H. eman 2000., 149.
Size: 3, 853, 60 m
State of preservation: four fragments of the
mosaic have been preserved
Colours: black, red, pale red, yellow, bluish,
green, brown, purple
References: J. Kellner 1897, 139-140, T. LXII,
LXIII, LXIV, fig. 8e1, e2, e3, e4, I. remonik
1984, 117, M. H. eman 2000, 149.
Pojas oko mozaika je gotovo jednobojan, sivobijel sa tri strane, dok je uz etvrtu stranu slike
okvir (8e1), koji je ukraen nizom kvadrata koji su
podijeljeni u pravougaonike i kvadrate. Kvadrati
imaju ukras kvadrata i rombova u sredini. Koliko
se po ouvanim fragmentima moe suditi, mozaik
je bio podijeljen pletenicom u veliko centralno polje i na dva reda manjih kvadratnih polja oko njega
(8e2, e3, e4). Unutarnji red kvadratnih polja sadri
likovne prikaze ptica, maski, repa ribe, a vanjski
red geometrijske motive, kao to su Gordijev vor,
zvijezda sa etiri kraka od pelti, etverokraka rozeta u krugu, beskonana pletenica, polje ukraeno nizom trouglova poredanih oko centra, nizom
kvadrata koji ine romb, kvadrat izdijeljen na kvadrate i pravougaonike. U srednjem velikom polju
ouvane su noge i rep najvjerovatnije lava. Osnova
pletenice je plaviasta, a pletenice su bijeloukastocrvene i ljubiastobijele. Ptice su crvene, bijele,
zelene i crne boje. Pripada IIIII stoljeu.
The surface surrounding the mosaic is almost

monochrome, greyish-blue at three sides, whereas the
fourth side has a border (8e1) which is decorated by
line of squares divided up into rectangles and squares.
The squares are decorated by other squares and the
rhombi in the middle. Judging by the preserved fragments, the mosaic must have been divided up by a
twisted rope into a large central field and two rows of
smaller square fields surrounding it (8e2, e3, e4). The
inner row of square fields contain representations of
birds, masks, fish tails, while the outer row is decorated by geometrical motifs, like Gordian knot, four-arm
star made of peltas, four-arm rosette in a circle, infinite rope, decorated by triangles placed around the
centre, a line of squares creating a rhomb, a square
divided into smaller squares and rectangles. There
are legs and a tail preserved, most probably those of
a lion. The twisted ropes are white-greyish-red and
purple-white bluish against the bluish background.
The birds are red, white, green and black. The mosaic
belongs to the 2nd 3rd century.
ILIDA KOD SARAJEVA

Mozaici iskopani od 1950. do 1959. godine
ILIDA , SARAJEVO
Mosaics excavated in the period 1950-1959
22. OBJEKAT A, PROSTORIJA 21 (T. XXI, sl. 1 i 2)
22. BUILDING A, ROOM 21 (T. XXI, fig. 1 and 2)
Veliina: 810 m
Ouvanost: dobra
Boja: ne postoje podaci
Literatura: Fasti Archeologici VI, 1951 (1953).,
457 sl. 169171, E. Paali 1959, 123, T. II,
I. remonik 1984., 117/118, M. H. eman
2000., 145 i 151.
Size: 810 m
Colour: no data
References: Fasti Archeologici VI, 1951 (1953),
457 fig. 169-171, E. Paali 1959, 123, T. II,
I. remonik 1984, 117/118, M. H. eman
2000, 145 and 151.
41

Mozaik je iskopao dr. N. Andrijaevi 1949/50.
god., a osim slika ne postoje nikakvi podaci o mozaiku (nije sauvana analiza materijala, opis i sl.)
Od mozaika je sauvana samo slika centralnog
motiva, po kojoj moemo suditi da je polje mozaika bilo podijeljeno beskonanom pletenicom u
centru na sferni romb zaobljenih uglova, a na njegova ulegnua se u uglovima mozaika naslanjaju
elipse uokvirene pletenicom. U sfernom rombu
prikazan je Amor, koji jae na morskom lavu. To
je dio scene povorke tritona, nereida, morskih nemani, hipokampa, Amora i drugih, koji potiu od
grke scene thiasosa. Morskog lava je neto tee
prepoznati, jer mu je prikaz grive vrlo stiliziran,
zadnji dio tijela je zmijolik kao i u drugih morskih
nemani. Prikazan je u jakom pokretu, isturenog
prednjeg tijela i sa uzdignutim nogama kao da pliva, dok je zmijoliki dio tijela zavinut. Na leima
stoji Amor sa krilima i vodi ga na uzdi. U predstavama zaokreta tijela i kod morskog lava i Amora javljaju se greke umjetnik vie nije dorastao
komplikovanijim predstavama pokreta tijela, to
je odlika opadanja tehnike u III stoljeu. Isto tako
i unutarnji detalji formi su nejasni i neprirodni,
usljed neumjenosti majstora. Pripada prvoj treini III stoljea.
The mosaic was excavated by dr. N. Andrijaevi

in 1949/50, and apart from the photographs there is
no other data about it. The photograph of the central decoration is all that has been preserved from
the mosaic, which makes it possible to conclude
that the central field of the mosaic was divided up
by an infinite rope, into the central spherical rhomb
with rounded corners where the ellipses rimmed
by ropes rest on the concave parts. In the spherical rhomb, there is a Cupid riding a sea lion. It is a
part of the pageant scene of Tritons, Nereidae, sea
monsters, hippocampus, Cupids and others from
the Ancient Greek scene of thiasos. The sea lion is
somewhat difficult to be recognized, because of his
rather stylized mane and the serpent-like back, like
the one that other sea monsters have. He is represented in a fierce movement, with his chest projected, his legs as if swimming, while his serpent-like
body is twisted. There is a Cupid with wings standing on his back, holding the reins. It is evident that
the artist was not sufficiently skilful to represent
bodies in movement there are some errors both
in portraying Cupids body and that of the sea lion,
which are characteristic for declining technique in
the 3rd century. Likewise, the interior details of the
forms are unclear and unnatural, again owe to the
inferior artistry of the author. The mosaic belongs
to the firs third of the 3rd century.
23. OBJEKAT A, PROSTORIJA 22 (T. XXII, sl. 1

i 2, T. XXIII, sl. 1 i 2)
23. BUILDING A, ROOM 22 (T. XXII, fig. 1

and 2, T. XXIII, fig. 1 and 2)
Veliina: cca 55 m
Ouvanost: dobra
Boja: ne postoje podaci
Literatura: Fasti Archeologici VI, 1951 (1953).,
457 sl. 169171 E. Paali 1959., 123, I.
remonik 1984., 118, M. H. eman 2000.,
150.
Size: ca 55 m
Colour: no data
References: Fasti Archeologici VI, 1951 (1953),
457 fig. 169-171 E. Paali 1959, 123, I.
remonik 1984, 118, M. H. eman 2000,
150.
Do prostorije sa mozaikom thiasosa je drugi

mozaik sa predstavom morske zmije. I ovdje shema mozaika ostaje nejasna jer je snimljen samo
centralni dio. Na slici se vidi da je polje sa predstavom zmije uokvireno duplim meandrom, koji
obuhvata duguljasta pravougaona polja ispunjena
viestrukom pletenicom. Lijevo od ovog je drugo
etverokutno polje od kojeg se vidi samo ugao
okvira koji ine srcolika pletenica i plastini jajoliki ukras. Spada meu rijetke trodimenzionalne
motive na naim mozaicima. Mozaik pripada prvoj
treini III stoljea.
Next to the room with the thiasos mosaic, there

is another mosaic with the sea snake, but this is
where the patterns are indiscernable because it was
only the central part that was captured. The photograph reveals the field with the snake rimmed
by a double meander, encompassing oblong fields
filled with multi-stranded rope. To the left, there is
another square field. Only the corner of the border
is visible and is made of a heart-shaped rope and
a plastic egg-shaped decoration. It belongs to rare
42

three-dimensional motifs on our mosaics. The mosaic belongs to the first third of the 3rd century.
The indented border framing the central part,
as well as the contours of the double meander
with a rectangular field filled by multi-stranded
twisted rope, indicate that this mosaic must have
had another scene representing mythological
creatures wit a goat head and the front legs and
the floral circle placed centrally.
Zupasti okvir oko centralnog prikaza kao i

konture duplog meandra sa pravougaonim poljem
ispunjenim viestrukom pletenicom, upuuje na
zakljuak da ovom mozaiku pripada i jo jedna
scena na kojoj su prikazana mitoloka zmijolika
bia sa kozijom glavom i prednjim nogama i floralnim krugom u sredini.
24. OBJEKAT A, PROSTORIJA 13
(T. XXIV, sl. 1 i 2)
24. BUILDING A, ROOM 13 (T. XXIV, fig. 1

and 2)
Veliina: cca 66,70 m

Ouvanost: loa
Boja: mrka, crvena, ruiasta, smea, bijela
Literatura: E. Paali 1959., 123, T. III, 1, 2, I.
remonik 1984., 118, M. H. eman 2000.,
145.
Size: ca 66,70 m
Colours: black, red, pink, brown, white
References: E. Paali 1959, 123, T. III, 1, 2, I.
remonik 1984, 118, M. H. eman 2000,
145
Mozaik je otkriven prilikom istraivanja

1955./56. godine Centralni medaljon je potpuno uniten, a oteen je i na obodima. U medaljonu se naziru tragovi neke predstave, to bi,
po miljenju istraivaa, mogao biti Gorgoneon.
Mozaik lei na podlozi od krenog maltera sa
dosta primjesa istucane cigle. Shema mozaika je
sa lanim centralnim motivom kvadrata, oko kojeg se nalazi sa svake strane po jedan osmerokut.
Mozaik je neprekidnom pletenicom podijeljen u
centralno etverokutno polje i etiri osmerokuta
sa strane, a u uglovima su etverokutna, trapezasta i rombina polja. U jednom etverokutnom
polju ouvan je trag prikaza ribe, dok su trepezasta polja ukraena sa dva niza rombova ili sa dva
niza trouglova. Rombina polja imaju dvostruki
okvir, ili su podijeljena u etiri naizmjenino obojena romba, kao i rombini krakovi zvijezda na
Ilidi i u Viiima. iroki dvobojni okvir oko mozaika nije pravilan. Sa june strane mozaika je iri
okvir ispunjen motivom mrkog linearnog meandra u obliku kria koji uokviruje kvadratna polja.
Sa sjeverne, istone i zapadne strane je okvir sa
nizom rozeta koje ine etiri pelte postavljene u
krugu oko centra u kome su unakrst postavljeni
kvadratii. Oko ovog okvira je ui okvir. Sastoji se od dijagonalnih redova sitnih polikromnih
kocki bez nekog odreenog motiva. I na ovom
mozaiku uobiajeno bijelo polje oko slike mozaika nije isto bijelo, nego je nainjeno od bijelih i
mrkih kocki, nasumce nabacanih. Mozaik je iz III
stoljea.
The mosaic was discovered in the explorations

in 1955/56. The central medallion is completely destroyed, damaged on the edges as well. Traces of
the scene can be hardly discerned in the medallion,
that, according to the archaeologist, could be a Gorgon. The mosaic is laid on the base made of lime
mortar and fragmented bricks. The pattern has a
pseudo central motif of a square, with an octagon
on each side. An infinite rope divides the mosaic
into the central square field with four octagons on
each side, whereas in the corners there are square,
trapezoid and rhomboid fields. A motif of a fish has
been preserved in traces in one square field, while
the trapezoid fields are decorated by two rows of
rhombi or triangles. The rhomboid fields are double
rimmed or divided up into four alternately coloured
rhombi, like the rhomb-shaped star arms at Ilida
and Viii. The wide border in two colours around
the mosaic is irregular. To the south, the wider part
of the border is decorated by linear cross-like meander framing the square fields. To the north, east
and west, the frame has a line of rosettes creating
four peltas placed in a circle around the centre,
which, in turn, has little squares placed crosswise.
This frame is bordered by another one composed
of diagonal lines of polychrome tesserae with no
special pattern. The usual white field around the
image in the mosaic is not white but made of white
and dark tesserae randomly scattered. The mosaic
dates back to the 3rd century.
43

25. OBJEKAT C HOSPICIJ, PROSTORIJA 6
(T. XXV, sl. 1 i 2)
25. BUILDING C HOSPITALIUM 6 (T. XXV,

fig. 1 and 2)

Ouvanost: djelimina
Boja: mrka i bijela
Literatura: E. Paali 1959., 128, T. IV, 3, I.
remonik 1984., 118/119.
Size: ca 53,80 m
State of preservation: in parts only
Colours: black and white
References: E. Paali 1959, 128, T. IV, 3, I.
remonik 1984, 118/119
Mozaik je iskopan u periodu od 1956.1958.

Podloga mozaika je od krea sa zdrobljenom
opekom, a kocke su bile utisnute u sloj finog
maltera. Mozaik je geometrijski sa kockama veih dimenzija. Povrina je prekrivena mreom
mrkih kvadrata, koji u centru imaju kvadrat iz
ijih strana izlaze dijagonalni kraci od niza kocki, motiv koji nalazimo i u Viiima. Vanjski
okvir mozaika je jednostavna linija. Mozaik je iz
IIIIV stoljea.
The mosaic was excavated in the period 1956-1958.

The base is made of lime with ground bricks, and
the pieces are impressed into the layer of fine mortar.
The mosaic is of a geometrical shape, and the pieces/
tesserae are large in size. The surface is covered by a
net of black squares with another square inside out
of which diagonal beams made of series of tesserae
run. The same motif is found in Viii as well. The
outer border of the mosaic is a simple line. The mosaic dates back to the 3rd-4th century.
26. HOSPICIJ, PROSTORIJA 7 (T. XXVI,

sl. 1 i 2)
26. HOSPITALIUM, ROOM 7 (T. XXVI, fig. 1

and 2)
Veliina: 53,80 m
Ouvanost: ouvan samo djelimino
Boja: mrka, bijela
Literatura: E. Paali 1959., 128, T. IV, 4, I.
remonik 1984., 119.
Size: 53,80 m
State of preservation: preserved in parts only
Colour: black, white
remonik 1984, 119
Iskopan je tokom istraivanja u periodu od

1956. do 1958. Mozaik je prekriven mreom mrkih
etverokuta koji su podijeljeni u kvadrate i pravougaonike, motiv koji imitira kasete stropa. U centru kvadrata je romb stepeniastih strana. Mozaik
je iz IIIIV stoljea.
The mosaic was excavated during the explorations in the 1956 1958 period. It is covered by a net
of black squares that are divided into the squares
and rectangles, the motif imitating the casings. In the
centre of the square there is a rhomb with cascade
sides. The mosaic dates back to the 3rd 4th century.
27. HOSPICIJ PROSTORIJA 2b (T. XXVII)
27. HOSPITALIUM ROOM 2b (T. XXVII)
Veliina: 53,5 m
Ouvanost: zapadni dio veoma oteen
Boja: mrka i bijela
Literatura: E. Paali 1959., 128, T. IV, 2, I. re
monik 1984., 119.
Size: 53,5 m
State of preservation: the west part significantly damaged
remonik 1984, 119
Iskopan je tokom istraivanja u periodu od

1956. do 1959. godine. Ne postoje podaci o geometrijskim motivima mozaika. Spominje se
samo motiv dvaju antitetski postavljenih del-
Excavated in the explorations in the 1956 1959

period. There is no data about the geometrical
motifs in the mosaic. Only one dolphin, out of the
44

two, has been preserved. The dolphins are done
in black colour and face each other; the details
are done in lines made of tiny pieces. The mosaic
dates back to the 3rd 4th century.
fina, od kojih se samo jedan potpuno ouvao.

Delfini su mrke boje sa detaljima ucrtanim bijelim linijama i od sitnih su kocaka. Mozaik je
iz IIIIV stoljea.
28. HOSPICIJ PROSTORIJE 3a i 3c
28. HOSPITALIUM ROOMS 3a and 3c
Literatura: E. Paali 1959., 128, I. remonik

1984., 119.
References: E. Paali 1959, 128, I. remonik

1984, 119
Djelimino su se ouvali i mozaici u prostorijama 3a i 3c hospitalijuma. Spominje se samo da

njihovi geometrijski ornamenti podsjeaju na one
u prostorijama 6 i 7. Ne postoji blii opis tih motiva, nego se napominje da e se obraditi poto se
zavre istraivanja.
The mosaics in rooms 3a and 3c of the hospitalium have been partly preserved. Their geometrical
ornaments, similar to those in rooms 6 and 7, are
all that is mentioned. There is no clear description
of the ornaments, annotating that they will be dealt
with once the explorations have been completed.
STOLAC
STOLAC
29. OBJEKAT 6, PROSTORIJA 1 (T. XXVIII, sl.

1 i 2)
29. BUILDING 6, ROOM 1 (T. XXVIII, fig. 1

and 2)
Veliina: 4,404,90 m
Ouvanost: vrlo dobra
Boja: crna i bijela
Literatura: . Truhelka 1893., 291, sl. 50, 1, V.
Atanackovi-Sali 1979., 16, I. remonik
1984., 119.
Nalazi se: jedan fragment u Zemaljskom muzeju
Bosne i Hercegovine.
Size: 4,404,90 m
State of preservation: very well preserved
References: . Truhelka 1893, 291, fig. 50, 1, V.
Atanackovi-Sali 1979, 16, I. remonik
1984, 119.
A fragment of the mosaic belongs to the collection of
the National Museum of B-H in Sarajevo.
Mozaik je iskopan 1892. godine. Pokriven je

mreom rombova ije su strane od niza crnih kocki, a sredina je obiljeena malim rombom. Okvir
mozaika ini niz kvadrata povezanih meu sobom linijom. U centru kvadrata su mali geometrijski motivi sfernih etverouglova, rombova stepeniastih strana i ahovskih polja u obliku romba.
Pripada III stoljeu.
The mosaic was excavated in 1892. It is covered

by a net of rhombi the sides of which are made of a
line of black tesserae, whereas the middle is marked
by a small rhomb. The border is made of the series
of squares interlinked by a line. In the centre of the
square, there are small geometrical motifs of spherical
rectangles, rhombi with cascade sides and chess fields
in the shape of a rhomb. It belongs to the 3rd century.
30. OBJEKAT 6, PROSTORIJA 2 (T. XXIX)
30. BUILDING 6, ROOM 2 (T. XXIX)
Veliina: cca 4,803,80 m

Ouvanost: samo djelimina
Boja: crna i bijela
Size: ca 4,803,80 m
State of preservation: in parts only
Colours: black and white
45

1984., 119/120.
References: . Truhelka 1893, 291, fig. 50, 2, V.

1984, 119/120.
Mozaik je iskopan 1892. godine. etverokutno

polje mozaika podijeljeno je dijagonalama od redova veih trouglova na etiri trougla, koji su popunjeni redovima manjih trouglova. Motiv centra
mozaika se nije ouvao. Okvir mozaika ini niz
kvadrata u koji su upisani pravougaonici oko kvadrata u centru, to esto nalazimo na naim mozaicima. Pripada III stoljeu.
The mosaic was excavated in 1892. The square field

of the mosaic is diagonally divided up by the lines of
larger triangles into the four triangles that are, in turn,
filled by lines of smaller triangles. The decoration in
the centre has not been preserved. The border of the
mosaic is made of a row of squares with rectangles
around the central square, which is quite common on
our mosaics. It belongs to the 3rd century.
31. OBJEKAT 6, PROSTORIJA 3 (T. XXX)
31. BUILDING 6, ROOM 3 (T. XXX)
Veliina: 5,403,80 m
Ouvanost: ouvan je samo dio ruba mozaika
Boja: crna, bijela
1984., 120.
Size: 5,403,80 m
State of preservation: only a part of the edge of
the mosaic has been preserved
Colours: black, white
References: . Truhelka 1893, 292, fig. 50,3, V.
1984, 120.
Mozaik je iskopan 1892. godine. Polje mozaika

prekriveno je mreom valovitih linija postavljenih
dijagonalno, tako da presijecanjem ovih linija nastaju etverokuti sa dvije ulegnute i dvije ispupene strane. U sredini etverokuta su mali sferni
paralelogrami. Okvir mozaika ini jednostavna
tamna linija. Pripada III stoljeu.
The mosaic was excavated in 1892. The field of

the mosaic is covered by a net of undulating lines
placed diagonally, creating squares with two convex and two concave sides at the intersections. In
the middle of the square, there are small spherical
parallelograms. The border of the mosaic is made
as simple dark line. It belongs to the 3rd century.
32. OBJEKAT 6, PROSTORIJA 4 (T. XXXI,

T. XXXII, T. XXXIII, sl. 1 i 2)
32. BUILDING 6, ROOM 4 (T. XXXI, T. XXXII,

T. XXXIII, fig. 1 and 2)

Ouvanost: srednje polje i jedna strana mozaika su uniteni
Boja: crvena, crna, ruiasta, svijetlosiva i
mrkosiva, bordo, ukasta, svijetlosmea
i mrkosmea
Literatura: . Truhelka 1893., 2923, T. III, V.
1984., 120/121.
Nalazi se: vie fragmenata u Zemaljskom mu
zeju Bosne i Hercegovine
Size: ca 63,80 m
State of preservation: the central field and one
side of the mosaic have been destroyed
Colours: red, black, pink, light grey and dark
grey wine-red, yellowish, light brown and
dark brown
References: . Truhelka 1893, 292-3, T. III, V.
1984, 120/121
Few fragments are in the collection of the National
Mozaik je iskopan 1892. godine. Ima centralnu shemu, i to osmerokut u koji je upisan
The mosaic was excavated in 1892. It has a

central pattern, the octagon with a smaller one in46

side it. Thus created narrow strip is divided up
into four squares. The division into the fields is
made by an infinite twisted rope. Based on the
data in the publication, the squares included representations of birds, the hexagons with a horse
inside, a lion, a bear and a jumping panther. Only
the wolf and the boar have been preserved in the
triangles. However, the drawing does not have
all these animals, nor are they distributed in the
same way. In the National Museum of Bosnia and
Herzegovina, there are only the fragments of the
mosaic representing a tiger, a leopard jumping, a
lion, boar and an ibex. The leopard and the ibex
were never mentioned in the publication, which
raises some doubts concerning the publication.
The representations of the tiger, in the tesserae in
different shades of red with black stripes, and of
the leopard, in the shades of light red, light blue
and dark brown tint with black spots are certainly
better in terms of the technique. Less successful are
the lion in yellowish-grey and reddish tint, with a
greyish mane, and the boar, with unnatural form
in light-grey and dark-grey, yellowish and pinkish
tint, while the contours of the body are wine-red
and dark-grey. The ibex is given in grey, yellowish
and reddish tints. The central medallion, where
there was supposed to have been a floral ornament,
is completely destroyed. However, numerous animals around the central medallion indicate an image of Orpheus. The pattern of concentric hexagons
is rare and, quite likely, of a Mediterranean origin.
The mosaic next to the central square field has
a narrow field on each side and consequently, it
is composed of three parts. In narrow fields, the
rhombi surrounded by four squares alternate with
hexagons decorated with stars. In the centre, there
is a square. A wide and richly decorated border
with cross-like meander made of ropes, frames
the square fields with versatile motifs, like a chess
field, Solomons knot, triangles aiming in different
directions, series of rhombi, squares with parallelograms around the squares. In the centre, between
the two lines of triangles, there are two lines of
squares. On each side of the border, there is also
a narrow field with a motif imitating the ceiling
cassettes (square divided into parallelograms and
squares). Some of the geometrical motifs indicate
casual distribution of elements, and on the ropes,
the grey tesserae are sometimes placed instead of
the dark ones, which, again, indicates inconsistence of workmanship. The mosaic dates back to
the 3rd century.
manji osmerokut. Ovako nastao uski pojas podijeljen je u etiri etverokuta. Ova podjela na
polja izvedena je neprekidnom pletenicom. Po
podacima u publikaciji u etverokutima su bile
predstave ptica, u esterokutima konj, lav, medvjed i panter u skoku, a u trouglovima se sauvao samo vuk i vepar. Na crteu ne nalazimo
sve navedene ivotinje niti tako rasporeene. U
Zemaljskom muzeju Bosne i Hercegovine postoje samo fragmenti mozaika, i to sa predstavama
tigra, leoparda u skoku, lava, vepra i kozoroga.
Pojavljuju se, prema tome, leopard i kozorog,
koji se u publikaciji ne spominju, to znai da je
opis u publikaciji upitan. Bolje radove predstavljaju tigar, u nijansama crvenih kocki sa crnim
prugama, i leopard, u nijansama svijetlocrvenih, svijetloplavih i mrkosivih tonova sa crnim
pjegama. Slabije je uspio lav u ukastosivim
i crvenkastim tonovima sa sivkastom grivom,
zatim vepar neprirodno prikazanih oblika svijetlosivih i tamnosivih, ukastih i ruiastih tonova, a konture tijela su bordo i mrkosive. Shematski je prikazan i kozorog sivih, ukastih i
crvenkastih tonova. Sredinji medaljon, u kome
je, pretpostavlja se, bio motiv cvijea, potpuno
je uniten. Mnotvo ivotinja rasporeenih oko
centralnog medaljona prije bi upuivao na prikaz Orfeja u centru. Ova shema koncentrinih
esterokuta je rijetka i vrlo vjerovatno mediteranskog porijekla.
Mozaik uz centralno kvadratno polje ima i
po jedno usko polje sa svake strane, te je trodijelan. U uskim poljima se izmjenjuju rombovi
okrueni sa etiri kvadrata i esterokuti ukraeni zvijezdama, a u sredini polja je kvadrat. Oko
mozaika je irok i bogat okvir meandra u obliku
kria od pletenica, koji uokviruje etverokutna
polja sa razliitim motivima, kao to su ahovsko polje, Solomonov vor, razliito usmjereni
trouglovi, nizovi rombova, motiv kvadrata sa
upisanim paralelogramima oko etverokuta.
U centru, a izmeu dva niza trouglova, nalaze
se dva niza kvadrata. Uz ovaj okvir je sa obje
strane jo po jedno usko polje sa motivom koji
oponaa kasete tavanica (kvadrat podijeljen na
paralelograme i kvadrate). Na geometrijskim
motivima se ponegdje opaa nehat u rasporedu
motiva, a na pletenicama, umjesto crnomrkih
kocki djelimino se pojavljuju i sive, to pokazuje nedosljednost u izvoenju. Mozaik pripada
III stoljeu.
47

33. OBJEKAT 9, PROSTORIJA A
(T. XXXIV, sl. 13)
33. BUILDING 9, ROOM A

(T. XXXIV, fig. 1 3)

Ouvanost: ouvana samo polovina mozaika,
centar uniten
Boja: crvena, uta, crna, zelenkastomrka, zelena, siva, nijanse crvene, plava
Literatura: F. Fiala C. Patsch 1895., 2735, sl.
87, T. VIII i IX, V. Atanackovi-Sali 1979.,
16, I. remonik 1984., 121.
Nalazi se: dijelovi su u Zemaljskom muzeju
Bosne i Hercegovine
Size: ca 3,83,2 m
State of preservation: only one half of the mosaic has been preserved, the centre has been
destroyed
Colours: red, yellow, black, dark green, green,
grey, shades of red, blue
References:F. Fiala and C. Patsch 1895, 273-5,
fig. 87, T. VIII and IX, V, Atanackovi-Sali
1979, 16, I. remonik 1984, 121
Few fragments are in the collection of the National
Mozaik je iskopan 1893. godine. U etverokutno polje mozaika upisana su dva etverokuta
koji sijekui se, ine osmerokraku zvijezdu. Jedan
etverokut ima okvir pletenice, a drugi plastinu
valovitu traku. Dok je centralno polje potpuno
uniteno, u uglovima kvadrata sauvala su se
enska poprsja koja predstavljaju personifikacije
proljea i zime, to se sigurno moe odrediti po
uobiajenim atributima. Personifikacija proljea ima vijenac cvijea na glavi, a ispod je kratki prozirni veo koji pada do ramena pokrivajui
kosu. Na vratu ima ogrlicu. Lice je dato prirodnim ukastorumenim bojama, oi i obrve date
su mrkim kockama, a vijenac raznim nijansama
zelene, crvene i plave boje. Rad je vrlo dobar, sa
finim nijansiranjem postignuta je plastinost, dok
je vijenac prikazan impresionistiki. Personifikacija zime je umotana u bijeli ogrta koji pokriva i
glavu. Na glavi je naturalistiki prikazan vijenac
od trske u zagasito zelenim bojama, koje i inae preovladavaju na prikazu. Lice je dato neto
zagasitijim crvenkastim tonovima. Obrve, oi i
sjene su mrke boje.
Oko etverokutnog polja mozaika je najprije
okvir zupaste trake, a zatim meandra u obliku
kria kojeg ine pletenica koji uokviruje etvrtasta polja sa motivom pletenica, niza rombova i
niza trouglova. Mozaik je iz kraja II ili poetka
III stoljea.
The mosaic was excavated in 1893. The square

field has two intersecting squares that create a star
with eight arms. One square is rimmed by a twisted
rope, the other by a plastic wavy band. The central
field has been destroyed. However, in the corners
of the squares there are female busts preserved,
representing personifications of spring and winter,
which can be ascertained by the usual attributes.
The personification of spring has a wreath of flowers on the head, with a short transparent veil covering the hair, falling onto the shoulders. There is a
necklace around the neck as well. The face is natural in beige-pink colours, while the eyes and the
eyebrows are made of dark tesserae. The wreath is
done in different shades of green, red and blue. The
workmanship is very good, and the refined shading
results in plasticity. The wreath itself is represented
in an impressionistic manner. The personification
of winter wears a white cloak covering the head as
well. A naturalistic representation of the wreath of
reeds in dull shades of green matches the prevailing tint of the representation. The face is in somewhat dark shades of red. The eyebrows, eyes and
shadows are in dark brown colour.
The square field is first framed by an indented
rim, to be followed by a cross-like meander made
of a rope around the square fields with twisted rope
motifs, rhombi and triangles. The mosaic belongs to
the end of the 1st or the beginning of the 2nd century.
34. OBJEKAT 9, PROSTORIJA B (T. XXXV)
34. BUILDING 9, ROOM B (T. XXXV)
Veliina: 3,803,80 m
Ouvanost: vrlo dobra
Boja: bijela i mrka (uta i crvena u uglovima)
Literatura: F. Fiala i C. Patsch 1895., 273, sl. 88,
I. remonik 1984., 121.
Size: 3,803,80 m
State of preservation: very well preserved
Colours: white and black (yellow and red in
corners)
48

References: F. Fiala and C. Patsch 1895, 273, fig.
88, I. remonik 1984, 121
In the collection of the National Museum of B-H in
Sarajevo.
Nalazi se: Zemaljski muzej Bosne i Hercegovine

Mozaik je iskopan 1893. godine. Ima centralni
motiv kruga koji je podijeljen na koncentrine krugove od niza bijelih i mrkih sfernih trouglova koji
se prema centru smanjuju. U centru je etverolisna
rozeta. U uglovima etverokuta su naizmjenino
motivi ahovskog polja i nizova krljuti sa bijelo
i mrko obojenim polovinama. Okvir ini motiv linearnog meandra u koji su upisani etverokuti sa
sfernim rombovima u sredini. I ovdje boje kocki
nisu apsolutno iste umjesto bijelih ima i sivkastih, a mrkocrne kocke su esto mrkosmee, to
znai da postoje razne nijanse i mrkih i svijetlih
boja. Mozaik je iz III stoljea.
The mosaic was excavated in 1893. Its central decoration is in the form of a circle that is divided up into
concentric circles of white and black spherical triangles reducing towards the centre. There is a four-leaf
rosette in the centre. In the corners, the chequer-board
motif alternates with lines of scales in white and black
coloured halves alternate. The border is composed of
a linear meander with squares inside which there are
spherical rhombi placed centrally. The colour of the
tesserae is not absolutely clear here either, and sometimes instead of the white pieces, the greyish ones
are placed, and the black pieces are frequently dark
brown, which implies deliberate use of nuances. The
mosaic dates back to the 3rd century.
35. OBJEKAT 14, PROSTORIJA A (T. XXXVI,

sl. 1 i 2, T. XXXVII, sl. 1 i 2)
35. BUILDING 14, ROOM A (T. XXXVI, fig. 1

and 2, T. XXXVII, fig. 1 and 2)
Veliina: 168 m
Ouvanost: samo etvrtina mozaika
Boja: crna, razne nijanse sive i smee, zagasito
ukasta, bijela
Literatura: F. Fiala 1897., 170, sl. 911 V.
1984., 121/122.
Nalazi se: prikaz Minotaura i labirinta je u Zemaljskom muzeju Bosne i Hercegovine
Size: 168 m
State of preservation: only one quarter of the
mosaic has been preserved
Colours: black, different shades of grey and brown,
deep shade of yellowish, white References: F.
Fiala 1897, 170, fig. 9-11, V. Atanackovi-Sali
1979, 16, I. remonik 1984, 121/122.
The scene with Minotaur and the labyrinth is in the collection of the National Museum of B-H in Sarajevo.
Iskopan je prilikom istraivanja u periodu od

1894. do 1895. godine. Priblino u sredini polja
mozaika, pokrivenog motivom linearnog meandra
oblika kria, nalazi se medaljon sa bistom Minotaura oko koga je prikazan labirint. Minotaur je prikazan kao snaan mukarac sa rogovima na glavi.
Labirint je etverokutne osnove sa ucrtanim beskonanim stazama koje oteavaju izlaz iz ovog spleta
staza. Oko labirinta je prikazan zid utvrenja sa kulama u uglovima i kapijama u sredini zidova. Utvrenje je dato bez perspektive, rasprostrtih zidova, a
shematski su date kule i vrata. Poprsje je, naprotiv,
odline izrade, u sivosmeim i mrkim tonovima sa
finim prelazima koji daju plastinost prikazu. Mozaik je iz polovine III stoljea.
It was excavated in during the explorations during the 1894 -1895 period. Close to the middle of the
central field covered by the linear cross-like meander ornament, there is a medallion with a Minotaur
bust surrounded by a labyrinth. Minotaur is represented as a strong male with horns. The labyrinth
has a square basis with infinite maze of passages.
It has a wall with fortifications and towers in the
corners, while the gates are placed in the middle of
the walls. The fortification is represented without
a perspective, with stylized towers and gates. The
bust is, however, an excellent piece of work, made
in grey-brownish and tawny shades with refined
tinting adding to the plastic impression. The mosaic dates back to the 3rd century.
36. (T. XXXVIII)
36. (T. XXXVIII)
Veliina ouvanog dijela: 64 cm49 cm.

Ouvanost: ouvan dio prikaza
Size of the preserved fragment: 6449 cm

State of preservation: Only a fragment of the scene
49

Boja: bijela, crna, crvenkasta, siva
Nepubliciran
Nalazi se: Zemaljski muzej Bosne i Hercegovine
Colours: White, black, grey and reddish

Unpublished
In the collection of the National Museum of B-H
in Sarajevo
Dio mozaika za kog se ne znaju poblie okolnosti pronalaska. Dominira prikaz delfina i u
gornjem uglu jastoga. Najvjerovatnije je iz sredine III stoljea.
The fragment for which there is no detailed

data on its discovery. The scene with a dolphin,
and in the upper corner, a lobster, dominate. Most
probably it dates back to mid 3rd century.
PANIK KOD BILEE,

lokalitet Crkvina
PANIK, BILEA,
locality Crkvine
OBJEKAT I
BUILDING I
37. PROSTORIJA 1 (T. XXXIX)
37. ROOM 1 (T. XXXIX)
Veliina: 66 m
Ouvanost: samo polovina
Boja: sivoplava, bijela
Literatura: I. remonik 1974., 72, sl. 9, T. IV, 2,
I. remonik 1984., 122.
Size: 66 m
State of preservation: only one half has been
preserved
Colours: grey-blue, white
References: I. remonik 1974, 72, fig. 9, T. IV,
2, I. remonik 1984, 122
Mozaik je iskopan 1967. godine. U prostoriji 1 je ouvana samo polovina geometrijskog

mozaika. Cijelu povrinu mozaika pokriva
motiv sivoplavih dvostrukih meandara koji se
sijeku u vidu svastike. Iz zadnje je treine III
stoljea.
The mosaic was excavated in 1967. In room

1 there is only one half of the mosaic preserved.
The whole surface of the mosaic is covered with
a grey-blue motif of double meanders crossed in
the form of a swastika. It belongs to the last third
of the 3rd century.
38. PROSTORIJA 3 (T. XL)
38. ROOM 3 (T. XL)
Veliina: 2,603 m
Ouvanost: ouvao se samo jedan ugao mozaika
Literatura: I. remonik 1974., 734, sl. 10
T. IV, 1, Plan II i III, I. remonik 1984.,
122.
Size: 2,603 m
State of preservation: only one corner of the
mosaic has been preserved
References: I. remonik 1974, 73-4, fig. 10 T. IV,
1, Plans II and III, I. remonik 1984, 122
The mosaic was excavated in 1967. Its surface is decorated by meanders intersecting in
a form of a swastika. The colour is grey-blue.
The mosaic dates back to the last third of the
3rd century.
Mozaik je iskopan 1967. godine. Povrina je

ukraena jednostrukim meandrima koji se sijeku
u vidu svastike u sivoplavoj boji. Mozaik je iz zadnje treine III stoljea.
50

39. PROSTORIJA 17 (T. XLI)
39. ROOM 17 (T. XLI)
Veliina: 33,20 m
Ouvanost: dobra
Boja: svijetloplava, crvena, bijela
Literatura: I. remonik 1974., 734, sl. 10, T.
IV, 1, Plan II, III, I. remonik 1984., 122.
Size: 33,20 m
Colours: light blue, red, white
References: I. remonik 1974, 73-4, fig. 10, T.
IV, 1, Plans II, III, I. remonik 1984, 122.
Mozaik je iskopan 1967. godine. Ima centralnu

shemu sa medaljonom u sredini, koji je potpuno
uniten, a vjerovatno je i u njemu bio prikaz nekog poprsja. Medaljon je uokviren prvo pletenicom, zatim irokim okvirom od pet redova motiva
krljuti sa naizmjenino obojenim bijelim i plavim
polovinama. Oko ovog okvira je opet okvir od
pletenice plave i crvene boje, a onda jo okvir od
zupaste trake. Niz kvadrata ini vanjski okvir u
kojem su oko centralnog kvadrata upisana etiri
paralelograma. Svi ovi motivi su u sivoplavoj boji,
samo pletenica ima primjese crvene boje. Mozaik
je iz zadnje treine III stoljea.
The mosaic was excavated in 1967. It has a central pattern with a medallion in the middle, which
is totally destroyed, quite likely once representing
a bust. The medallion is rimmed first by a rope,
then a wide border of five rows of scales with
halves alternately coloured white and blue. This
frame has yet another border made of a blue and
red rope, and another border of an indented band.
A series of squares creates the external frame, with
four parallelograms inside the central square. All
the motifs are in grey-blue colour, except for the
rope which has some shades of red. The mosaic
dates from the last third of the 3rd century.
40. ROOM 19 (T. XLII, fig. 1 and 2)
40. PROSTORIJA 19 (T. XLII, sl. 1 i 2)

Veliina: 173 m
Ouvanost: ouvani su samo okvirni dijelovi
Boja: sivoplava, crvena, bijela
Literatura: I. remonik 1974., 74, sl. 12 T. IV, 4,
Plan II, III, I. remonik 1984., 123.
Nalazi se: jedan fragment u Zemaljskom muzeju Bosne i Hercegovine
Size: 173 m
State of preservation: only the parts of the border have been preserved
Colour: grey-blue, red, white
References: I. remonik 1974, 74, fig.12 T. IV,
4, Plan II, III, I. remonik 1984, 123.
A fragment of the mosaic belongs to the collection of
the National Museum of B-H in Sarajevo.
Iskopan je 1967. godine. Mozaik prostorije izduene osnove, koja je bila neka vrsta predsoblja,
ukraen je motivom ahovskog polja u crvenoj,
plavoj i bijeloj boji. Ima irok okvir du ijih stranica je niz trouglova stepeniastih strana. Izmeu
njih je srcolika pletenica na plavoj osnovi. Centralni dio mozaika je potpuno uniten, a ouvala su
se samo oba kraja. Mozaik je iz zadnje treine III
stoljea.
Excavated in 1967. The mosaic in the long

room, which was a kind of a hall, is decorated by
a chequer-board motif in red, blue and white colour. There is a wide border with a line of triangles with cascade sides running along it. Between
them, there is a heart-shaped rope on a blue base.
The central part of the mosaic has been devastated,
only the two ends have been preserved. The mosaic dates back to the last third of the 3rd century.
41. HODNIK 25 (T. XLIII)
41. CORRIDOR 25 (T. XLIII)
Veliina: 3,801 m
Ouvanost: dobra
Literatura: I. remonik 1974., 75, sl. 13, T. IV,
6, Plan II, III, I. remonik 1984., 123.
Size: 3,801 m
References: I. remonik 1974, 75, fig. 13, T. IV,
6, Plans II, III, I. remonik 1984, 123
51

Iskopan je 1967. godine. Mozaik uskog hodnika ima ve esto kod nas zastupljen motiv reda
kvadrata u koji su oko kvadrata u centru upisana
etiri pravougaonika. Mozaik je iz zadnje treine
III stoljea.
Excavated in 1967. The mosaic in the narrow

corridor has the already familiar decoration composed of the line of squares with four rectangles
around the central squares. The mosaic dates back
to the last third of the 3rd century.
42. PROSTORIJA 26 (T. XLIV)
42. ROOM 26 (T. XLIV)
Veliina: 3,403,40 m
Ouvanost: dobra
Literatura: I. remonik 1974., 76, sl. 14 T. IV, 3,
Plan II, III, I. remonik 1984., 123.
Size: 3,403,40 m
References: I. remonik 1974, 76, fig. 14 T. IV,
3, Plans II, III, I. remonik 1984, 123
Iskopan je 1967. godine. Dvobojan je geometrijski mozaik sa centralnom shemom. etverokutni

centralni dio mozaika podijeljen je sredinom redom veih trouglova u etiri kvadratna polja koja
su ispunjena sa etiri reda manjih pravokutnih
trouglova. U centru mozaika je etverokut sa motivom Solomonovog vora. Unutarnji okvir mozaika ine dva meandra koji se ukrtaju u vidu svastika, a polja meu njima ukraena su sa po tri ili
etiri mala kriia. Vanjski okvir ima motiv jednostavnog meandra. U sredini polja meandra nalaze
se vrlo sitni motivi kria sa dijagonalno ukraenim krakovima, rozete u vidu etiri srcolika lista,
romb sa ahovskim poljima i romb stepeniastih
strana. Mozaik je iz zadnje treine III stoljea.
Excavated in 1967. It is a two-colour geometrical

mosaic with a central pattern. The square central part
of the mosaic is divided up into four square fields by
a line of large triangles. The fields are filled with four
rows of small right-angled triangles. In the centre of
the mosaic there is a square with a motif of Salomons
knot. The border from the inside of the mosaic is
made of two meanders crossing in a form of swastika,
and the fields between them are decorated by three
or four crosslets. The external border is decorated by
a simple meander. In the centre of the meander field
there are tiny diagonal crosses, rosettes in the form of
four heart-shaped leaves, and a rhomb with chequerboard fields and a rhomb with cascade sides. The mosaic dates back to the last third of the 3rd century.
43. CROSS-SHAPED ROOM (16)
(T. XLV, T. XLVI, fig. 1 and 2, T. XLVII, T.
XLVIII, T. XLIX)
43. PROSTORIJA OSNOVE U OBLIKU KRIA

(16) (T. XLV, T. XLVI, sl. 1 i 2, T. XLVII, T.
XLVIII, T. XLIX)
Size: 4,56 m
State of preservation: the southern half preserved
Colours: grey-blue, shades of red and green,
yellow, brown, shades of grey to black
References: I. remonik 1974, 77, fig. 15, T. VI,
1, 2, 3, T. V, 1, 2: Plans II, III, I. remonik
1984, 123/125.
The fragment with the scene representing Orpheus
with the bull, snake, tree and the bird, Calliope,
and the fragment of the braided pattern around
Calliope and the segment with the birds, tiger
and an ibex belong to the collection of the National Museum of B-H in Sarajevo.
Veliina: 4,56 m
Ouvanost: ouvana juna polovina
Boja: sivoplava, nijanse crvene i zelene boje,
uta, smea, nijanse sive do mrke boje.
Literatura: I. remonik 1974., 77, sl. 15, T. VI,
1, 2, 3, T. V, 1, 2: Plan II, III, I. remonik
1984., 123/125.
Nalazi se: prikazi Orfeja sa bikom, zmijom,
drvetom i pticom, prikaz Kaliope i fragment
pletera oko Kaliope, dijelovi pletera kao i
strana sa pticama, tigrom i kozorogom su u
Zemaljskom muzeju Bosne i Hercegovine
Iskopan je 1967. godine. Jedini je mozaik sa
figuralnom predstavom u vili. Samo u jugozapadnom kraku krstoobrazne prostorije sauvan
Excavated in 1967. It is the only mosaic with

figures found in the villa. Only in the south-east
52

part of the cross-shaped room, there is a geometrical mosaic preserved in fragments.
The central mosaic is composed of two parts: a
square field with the central figure of Orpheus and
an elongated field in front of him, with a medallion
in the middle and a bust of the Muse. Both mosaics
are connected, first by a border of a heart-shaped
twisted rope and then by a wide border decorated
by right-angled triangles with cascade sides arranged by fours in a group thus closing the square.
The narrow border on the outside is decorated by a
chequer-board field rimmed by simple lines.
The square field with Orpheus is first bordered
by an indented strap and then by a double-stranded
twisted rope. The central field has two squares inside it, which, by crossing, create an eight-arm star
with an octagon in the centre. The octagon is decorated by the motif of the top of a tent (Zeltdachband,
Awning). One square with the star is bordered by
a rope, and the other one, by an inundating strap
which is the only geometrical motif with the three
dimensional effect on the mosaic. The arms of the
star also had geometrical motifs. In the two arms,
there is still preserved Salomons knot, and one
field is divided into white and blue triangles.
The figure of Orpheus is devastated, as well
as the upper left corner of the medallion. What
is left of Orpheus head is only a part of Phrygian
cap. Orpheus is represented sitting on a reddish
rock dressed in a green tunica, with a red belt and
wrapped in a red cloak. He is turning to the right
and only his right arm holding a lyre is visible.
The arm is holding three green crosses one below
another. The folds on his tunica are given in several
shades of green. The cloak is wrapped around his
back and legs. The folds are stylized in shades of
dark-brown and red, reddish and bright-red, and
the rims are underlined by a line of darker tesserae.
The reddish-brown colour prevails on the entire
mosaic. Apart from Orpheus, there is also a part
of the tree and its crown preserved, in the nuances
of green, grey-green and pink colour. Next to the
tree, the legs of an animal can be discerned. On the
right to Orpheus, there is a disproportionally small
bull in the shades of red and grey colour. A snake
hovers over the bull, turned towards Orpheus. The
snake is in reddish and grey colours.
In the upper right corner, there is a bush similar
to the acanthus, out of which, on the left side, a vine
grows. The vine is made of a series of green and red
tesserae with stylized star-shaped red, yellow and
pink flowers. There is a bird sitting on the vine. Its
head is represented in a naturalistic way and the
je vrlo fragmentarno mozaik sa geometrijskim

motivom.
Centralni mozaik se sastoji iz dva dijela: kvadratnog polja sa centralnom figurom Orfeja i duguljastog polja ispred njega, sa medaljonom u sredini u kome je poprsje muze. Oba mozaika vezana
su meu sobom, prvo okvirom srcolike pletenice,
zatim irim okvirom sa motivom ravnostranih
trouglova stepeniastih strana poredanih po etiri u grupe tako da zatvaraju kvadrat. Vanjski uski
okvir ima motiv ahovskog polja uokvirenog jednostavnim linijama.
Kvadratno polje sa predstavom Orfeja uokvireno je prvo zupastom trakom, a zatim
dvostrukom pletenicom. U ovo centralno polje
upisana su dva kvadrata tako da se sijeku i ine
osmokraku zvijezdu u ijem je centru osmerokut uokviren rijetkim motivom atorskog krova
(Zeltdachband, Awning). Okvir jednog kvadrata zvijezde je pletenica, a drugog valovita plastina traka koja je jedini geometrijski motiv sa
efektom trodimenzionalnosti ovog mozaika. U
krakovima zvijezda bili su takoer geometrijski
motivi. U dva kraka se ouvao Salamonov vor,
a u jednom je polje izdijeljeno u bijele i plave
trouglove.
Figura Orfeja je oteena, a uniten je gornji
lijevi ugao medaljona. Od Orfejeve glave vidi se
jo samo dio frigijske kape. Prikazan je kako sjedi na crvenkastoj stijeni u zelenoj tunici sa crvenim opasaem i ogrnut crvenim platem. Okrenut je nadesno tako da se vidi samo desna ruka
kojom dri liru. Na njoj su tri zelena znaka kria
jedan ispod drugog. Nabori na tunici dati su u
nekoliko nijansi zelene boje. Ogrta je prebaen
preko lea i nogu. Nabori su dati stilizirano redovima nijansi od tamnosmee i crvene, crvenkaste i svijetlocrvene boje, a rubovi su podvueni tamnijim redom kocki. Na cijelom mozaiku
preovladava crvenkastosmea boja. Uz lik Orfeja sauvan je dio stabla i kronje u nijansama
zelene, sivozelene i ruiaste boje. Uz drvo se
vide noge neke ivotinje. Desno od Orfeja prikazan je nesrazmjerno maleni bik u nijansama
crvene i sive boje. Iznad bika lebdi zmija okrenuta prema Orfeju, a izraena je u crvenkastim
i sivim tonovima.
U gornjem desnom uglu prikazan je grm
slian akantu, iz kojeg lijevo izrasta loza sastavljena od niza zelenih i crvenih kocki sa
zvjezdoliko stiliziranim cvijeem crvene, ute
53

wings are highlighted by parallel rows of tesserae
leaving a decorative impression. The bird is presented in the shades of light, bright and dull green
and grey-green colour; wine red, yellow colours and
the contours of the wings and the body are outlined
by red tesserae. To the right from the acanthus bush,
there is a plant growing out with three red leaves,
with another bird sitting on it. The birds back is reddish, and the belly is greenish, while the green wing
is embroidered by a line of red tesserae. Evidently,
the colours of the vegetation and the birds do not
truly reflect those found in nature.
The lower corner to the south has a tree with
a panther to the right and an ibex chased by a
leopard, to the left. The leopard is presented in
the shades of wine-red, red, pink, greyish-red and
yellow colours and the spots are dark grey. The
ibex is done in the shades of red, grey and green.
The tree is pictured in an impressionistic manner.
The crown of the tree creates a body, greenish at
the edges, while in the centre the crown is made of
randomly scattered yellow, red and green tesserae.
The trunk is made of green and grey tesserae.
This casual approach to colours is present on geometrical motifs as well. While in Viii, for example,
there is a consistency in using colours the twisted
ropes are always blue, red and yellow; the infinite
rope on the Orpheus mosaic is inconsistent in colours
and irregular alternations of the red, light-red and
yellow colour. The same applies to the border around
the bird motif, which is made of three rows of tesserae, one red, the second pink and the third yellow. This
indicated greater freedom in selecting colours and departure from traditional rules and symmetry.
The narrow field with the medallion representing the Muse is also bordered by indented strips. The
whole field is occupied by a multi-stranded twisted
rope motif. The Muse in the medallion is presented
in a green tunica, with dark, grey and bright-green
feather on the head. In the lower right corner, there
is a diptych characterizing the Muse as one from the
epic and literature, Calliope. The folds on the green
tunica are not given in a plastic fashion and their
direction is indicated by lines of darker tesserae, as
well as the contours of the wavy hair. The face is no
longer in natural shades of beige and pink, but rather
in reddish-grey and yellow colours. The illuminated
surfaces on the face are in greyish nuances, and the
mouth, eyes and eyebrows, as well as the shaded
parts of the face, are in red and wine-red colours.
The colours, the red in particular, are not bright and
clear, but rather dull and misty. The mosaic belongs
to the last third of the 3rd century.
i ruiaste boje. Na lozi sjedi ptica sa naturalistiki prikazanom glavom, dok krila naznaena
paralelnim redovima kocki djeluju vie ornamentalno. Data je u nijansama svijetle, tamne,
jarke i prljavozelene boje kao i sivozelene, bordo, ute, a konture tijela i krila su od crvenih
kocki. Desno iz grma akanta izlazi stabljika sa
po tri crvena lista, na njoj sjedi druga ptica crvenkastih lea i zelenkastog trbuha, a zeleno
krilo je oivieno redom crvenih kocki. Oito,
da boje vegetacije i ptica ne odgovaraju uvijek
onima u prirodi.
U donjem junom uglu prikazano je drvo,
desno od njega panter, a lijevo kozorog koga
goni leopard. Leopard je dat u nijansama bordo,
crvene, ruiaste, sivkastocrvene i ute boje, a
pjege su mrkosive. Kozorog je izraen u nijansama crvene, sive i zelene boje. Predstava drveta
izmeu ovih ivotinja data je impresionistiki.
Kronja ini masu koja je po rubovima zelenkasta, a sredite je od nasumce nabacanih crvenih,
utih i zelenih kocaka, dok je stablo od zelenih
i sivih kocki.
Ova ovlanost u izboru boja vidi se i na geometrijskim motivima. Dok se, naprimjer, u Viiima vrlo dosljedno za pletenice upotrebljavaju iste
boje (plava, crvena i uta), kod beskonane pletenice na mozaiku Orfeja nedosljedno i nepravilno
se izmjenjuju crvena, svijetlocrvena i uta boja.
Isto tako i od okvira oko motiva ptica, koji se sastoje od tri reda kocki, jedan je dio crvene, drugi
roza a trei ute boje. To pokazuje slobodniji izbor
boja i udaljavanje od klasinih kanona pravilnosti
i simetrije.
Usko polje sa medaljonom sa predstavom
muze ima takoer okvir zupaste trake. Cijelo
polje prekriveno je motivom viestruke pletenice. Muza u medaljonu je prikazana u zelenoj
tunici, sa mrkim, sivim, i jarkozelenim perjem
na glavi. U donjem desnom uglu prikazan je
diptih koji je karakterie kao muzu eposa i literature Kaliopu. Nabori na zelenoj tunici nisu
dati plastino, nego je njihov pravac naznaen
linijama tamnih kocki a isto tako i konture valovite kose. Lice vie nije dato u prirodnim nijansama okerruiaste, nego crvenkastosivom
i utom bojom. Osvijetljene povrine lica su u
sivkastim nijansama, a usta, oi i obrve, kao
i osjeneni dijelovi lica, crvene i bordo boje.
Boje, osobito crvena, nisu jasne i svijetle nego
vie mutne i zagasite. Mozaik je iz zadnje treine III stoljea.
54

44. PROSTORIJA 16 A (T. L)
44. ROOM 16 A (T. L)
Veliina: 4,52 m
Ouvanost: samo jedan ugao
Literatura: I. remonik 1974., 7980, sl. 16 T.
IV, 5, Plan II, III, I. remonik 1984., 125.
Size: 4,52 m
State of preservation: only one corner preserved
References: I. remonik 1974, 79-80, fig. 16 T.
IV, 5, Plans II, III, I. remonik 1984, 125
Iskopan je 1967. godine. Ovaj geometrijski

mozaik je jedini do sada naeni mozaik u Bosni i Hercegovini sa ambivalentnim motivom,
to znai da na ovom mozaiku ne postoji bijela
osnova ona je ukljuena u motiv, tako da imamo i plavosive i bijele motive. iroki okvir motivu ine dvije zupaste trake, uz koje su nizovi
polukrugova vezani po sredini uskim elipsama,
izmeu kojih ostaju bijeli sferni estouglovi sa
stepeniastim rombovima u sredini. Centralno
polje mozaika podijeljeno je nizom rombova u
14 kvadratnih polja, u koja su upisani rombovi
podijeljeni sa etiri trake, koje dijele etverokut
u brojne manje plave i bijele trouglove i kvadrate. Meu dvobojnim mozaicima, po svojim gusto nanesenim i raznovrsnim motivima, ovaj je
sigurno jedan od najljepih do sada otkrivenih
geometrijskih mozaika. Pripada zadnjoj treini
III stoljea.
Excavated in 1967. This geometrical mosaic is the

only mosaic with ambivalent motif found in Bosnia
and Herzegovina. This means that there is no white
base it is included in into the motif, resulting in
blue-grey and white motifs. The wide border running along the motif is made of two indented straps
with series of semicircles next to it. The semicircles
are tied by narrow ellipses in the middle, leaving
white hexagons with cascade rhombi in the middle. The central field of the mosaic is divided up by
a series of rhombi into 14 square fields, with rhombi inside, and divided by four strips that divide the
square into numerous small blue and white triangles and squares. Among the two-colour geometrical mosaics found, this one distinguishes itself by
its densely distributed and versatile motifs. It belongs to the last third of the 3rd century
DOMAVIA (Sase, Srebrenica)

The thermae building
DOMAVIA (Sase kod Srebrenice)

Zgrada banje
45. ROOM 4 (T. LI)

Size: ca 6,54,20 m
Colours: green, red, yellow, blue, white
References: V. Radimsky 1896, 211, T. III, I.
remonik 1984, 125
45. PROSTORIJA 4 (T. LI)

Ouvanost: dobra
Boja: zelena, crvena, uta, plava, bijela
Literatura: V. Radimsky 1896., 211, T. III, I.
remonik 1984., 125.
The mosaic was excavated in 1892/93. It represents an architectural motif of a colonnade on one
skirt which, most probably, should have been be a
portico in front of a building. Over the columns there
is a frieze decorated by square fields. This is topped
by the ceiling beams that are represented by wider
and narrower strips of white, green, red, yellow and
blue colour. The beams start from the middle and
spread radially to the right and to the left, covering
Mozaik je iskopan 1892/93. godine. Prikazuje

arhitekturni motiv niza stubova na jednom soklu, koji bi trebalo, vjerovatno, da predstavljaju niz stupova portika pred jednom zgradom.
Iznad stupova je friz ukraen kvadratnim poljima (metopama). Iznad toga su prikazane grede
tavanice koje su date irim i uim trakama bijele,
55

the apse part of the room. Since there is no perspective in this representation, the details are difficult to
determine. It dates back to the 3rd 4th century.
zelene, crvene, ute i plave boje. One polaze od

sredine radijalno desno i lijevo i pokrivaju apsidalni dio prostorije. Kako je prikaz bez perspektive, to je teko odrediti njegove detalje. Pripada
IIIIV stoljeu.
46. ROOM 18 (T. LII)

Size: ca 7,67,6 m
State of preservation: only in parts
Colours: dark grey, blue-grey, reddish, redbrown, yellow and white
References: V. Radimsky 1896, 223, T. IV, I.
remonik 1984, 125/126
46. PROSTORIJA 18 (T. LII)

Ouvanost: djelimina
Boja: mrkosiva, plavosiva, crvenkasta, crvenosmea, uta i bijela
Literatura: V. Radimsky 1896., 223, T. IV, I.
remonik 1984., 125/126.
It was excavated in 1892/3. The mosaic has a

medallion in its centre, which has been totally devastated. The wide first border around the medallion has a pattern of repeated geometrical motifs,
i.e. the four-arm stars; the arms are in a form of a
rhomb with the squares in between them. The arms
are with two concentric blue borders, the inner one
sometimes yellow. The squares are decorated by
numerous geometrical motifs like Salomons knot,
pelta, swastika, four-leaf rosette, diagonal cross,
rhomb with cascade sides, chequer-board, heartshaped rosettes, circles with coloured segments,
squares with diagonal arms growing out of their
corners, spherical rhomb and the combination of
all the above motifs. There are so many motifs and
only very few of them are repeated. They are distributed randomly, without any special order or symmetry, which results in a distracting and colourful
impression. The border on the outside is not even
in by either a pattern or size. On three sides, there
is a geometrical motif of the network of squares diagonally divided up into the three multicoloured
triangles within which the bluish-grey, white, dark
grey and reddish colour repeat. The colours in the
triangles within the squares are also distributed
randomly and asymmetrically. The fourth side of
the border has the motif of combined inundating
lines and peltas in dark-grey colour. The peltas are
placed both at the peak and the bottom of the undulating lines, facing one another. In the middle
of this field there is an oblong square filed, almost
totally devastated, with a scene of water and fish
hardly discernable. The space surrounding the mosaic, which is usually made in white tesserae, is, in
one corner, made of blue tesserae, and on the two
sides, of dark-grey tesserae. The mosaic dates back
to the 3rd 4th century.
Iskopan 1892/93. godine. Mozaik ima medaljon u centru koji je potpuno uniten. iroki
prvi okvir oko medaljona ima shemu ponavljanja geometrijskih motiva, i to etverokrakih
zvijezda sa rombinim krakovima, meu kojima su etverokuti. Krakovi su dati sa dva
koncentrina plava okvira, a unutarnji okvir je
ponekad ut. etverokuti su ukraeni brojnim
geometrijskim motivima, kao to su Solomonov vor, pelta, svastika, etverolisna rozeta,
dijagonalni krst, rombovi stepeniastih strana,
ahovsko polje, rozete sa srcolikim listovima,
krugovi sa obojenim segmentima, etverokut
iz ijih uglova izlaze dijagonalni kraci, sferni
romb i kombinacije ovih motiva. Motivi su tako
brojni da se samo mali broj ponavlja. Rasporeeni su nasumce, bez reda i simetrije, to stvara
vrlo nemiran i arolik utisak. Vanjski okvir nije
sa svih strana jednak i iste irine. Sa tri strane
ima geometrijski motiv mree etverokuta koji
su dijagonalama podijeljeni na etiri raznobojna trougla, a u njima se ponavlja plaviastosiva, bijela, tamnosiva i crvenkasta boja. Boje u
trouglovima kvadrata rasporeene su isto tako
proizvoljno i bez simetrije. etvrta strana okvira ima motiv kombinovan od valovnica i pelti
tamnosive boje. Pelte su smjetene u vrh i na
dnu valovnica, i to tako da su okrenute jedna
prema drugoj. U sredini ovog polja je duguljasto etvrtasto polje gotovo sasvim uniteno, u
kojem se naziru predstava vode i ribe. Prostor
oko mozaika, koji je obino od bijelih kocki,
uraen je sa jedne strane od plaviastih kocki,
a sa dvije strane od tamnosivih kocki. Mozaik
pripada IIIIV stoljeu.
56

SARAJEVO, lokalitet Carina
SARAJEVO, locality Carina
47. GRAEVINA NA NEKROPOLI

(T. LIII, sl. 1)
47. BUILDING ON THE NECROPOLE

(T. LIII, fig. 1)
Veliina: ne postoje podaci

Ouvanost: loa
Boja: mrkosmea, bijela i sivoplava
Literatura: D. Sergejevski 1947., 1623, sl. 7 i 8,
I. remonik 1984., 126.
Size: no data available

Colours: dark brown, white and grey-blue
References: D. Sergejevski 1947, 16-23, fig. 7
and 8, I. remonik 1984, 126
Mozaik je spomenut u navedenom radu bez

vee analize. Nije ouvana nikakva dokumentacija niti precizniji podaci. Uz sjeverni zid jedne
zgrade ouvan je fragment geometrijskog mozaika sa njegove periferne strane. Motiv ini
ponavljanje izduenih etvrtastih rombova na
tamnosmeoj osnovi, naizmjenino bijelih i svijetloplavih. Izrada mozaika je dosta neprecizna
i ovlana, kocke nisu pravilne i jednake veliine,
to upuuje na opadanje tehnolokih vjetina u
kasnoj antici. Nalazi se na slaboj podlozi i mjestimino se vide zakrpe od maltera. Pripada IVVI
stoljeu.
There are no details mentioned in the analysis

in the present paper. No documentation, or more
precise data have been preserved.
Next to the wall in the north, there is a fragment of the geometrical mosaic. The motif consists of repeated elongated square rhombi against
the dark-brown base. The rhombi alternate in
white and light-blue colour. The workmanship is
rather imprecise and superficial; the tesserae are
irregular and uneven, which indicates the decline
of technique in the late Antiquity. It is placed on
an inferior base and patches of mortar are visible
here and there. It belongs to the 4th 6th century.
PANIK kod Bilee,

lokalitet Crkvina
PANIK, Bilea,
locality Crkvina
48. MEMORIJALNA GRAEVINA (T. LIII, sl. 2)
48. MEMORIAL BUILDING (T. LIII, fig. 2)
Veliina: sauvan samo fragment

Ouvanost: loa
Boja: crvena, plava i bijela
Literatura: M. Popovi 1973., 351, T. III, 3, I.
remonik 1984., 126.
Size: only a fragment preserved

Colours: red, blue and white
References: M. Popovi 1973, 351, T. III, 3, I.
remonik 1984, 126
The fragment of the mosaic is at the locality.
Iskopan je 1968. godine. Ima shemu sa ponavljanjem geometrijskih motiva, i to osmougaonika i

kvadrata crvene boje, a u centru osmougaonika je
rozeta povijenih krakova u plavoj boji. I ovi motivi
su nehajno izvedeni. Kocke se ne redaju po linearnoj shemi, nego po konturama slika i formi. Mozaik je iz VI stoljea.
Excavated in 1968. Its pattern is composed of

repeated geometrical motifs, i.e. the octagons and
the squares in red colour. In the centre of the octagon, there is a rosette with bending arms in blue
colour. The motifs are done in a casual manner. The
tesserae are not placed following a linear scheme,
but rather follow the contours of the images and
the forms. It dates back to the 6th century.
57
**
**
**
TABELE
TABLES
Prilikom kompletiranja tabli, za mozaike koji se nalaze zatrpani na lokalitetu ili su devastirani, koritena je dostupna terenska i
arhivska graa. Zbog toga su u table dijelom uvrtene rekonstrukcije i crnobijele fotografije.
** The available filed and archive materials were used in completing the tables for the mosaics that are in site filled up or devastated.
The tables, consequently, partly include reconstructions and black-and-white photographs.
Tabla I
Putovii (prema V. Pakavlin)
61
Tabla II
Viii, rekonstrukcija (prema I. remonik)
62
Tabla III
63
Tabla IV
Viii, mozaik (prema I. remonik)

64
Tabla V

65
Tabla VI
Viii, detalj mozaika

(prema I. remonik)
Viii, detalj mozaika

(prema I. remonik)
Viii, rekonstrukcija
(prema I. remonik)
66
Tabla VII
67
Tabla VIII

68
Tabla IX
Viii, detalj mozaika (prema I. remonik)

69
Tabla X
Viii, detalj mozaika (prema I. remonik)

70
Tabla XI

71
Tabla XII
72
Tabla XIII
Viii, rekonstrukcija
(prema I. remonik)

73
Tabla XIV
74
Tabla XV
75
Tabla XVI
Ilida, detalj mozaika (prema I. Kellner)

76
Tabla XVII
Ilida, mozaik (prema I. Kellner)
77
Tabla XVIII
Ilida, mozaik (prema I. Kellner)
78
Tabla XIX

79
Tabla XX

80
Tabla XXI
Ilida, detalj mozaika (prema dokumentaciji Kantonalnog zavoda u Sarajevu)
Ilida, rekonstrukcija (prema M. H. eman)

81
Tabla XXII
Ilida, detalj mozaika (prema M. H. eman)
Ilida, rekonstrukcija (prema M. H. eman)

82
Tabla XXIII
Ilida, mozaik (prema I. remonik)
Ilida, rekonstrukcija detalja (prema M. H. eman)

83
Tabla XXIV
Ilida, rekonstrukcija (prema I. remonik)
Ilida, detalj mozaika (prema E. Paali)

84
Tabla XXV
Ilida, mozaik (prema E. Paali)

85
Tabla XXVI
Ilida, mozaik (prema E. Paali)

86
Tabla XXVII
Ilida, detalj mozaika (prema E. Paali)
87
Tabla XXVIII
Stolac, Rekonstrukcija (prema . Truhelka)
Stolac, detalj mozaika

88
Tabla XXIX
Stolac, rekonstrukcija (prema . Truhelka)
89
Tabla XXX

90
Tabla XXXI

91
Tabla XXXII
Stolac, mozaik
92
Tabla XXXIII
Stolac, detalj
Stolac, detalj
93
Tabla XXXIV
Stolac, detalj mozaika zima i proljee (prema F. Fiala C. Patsch)
Stolac, rekonstrukcija (prema I. remonik)

94
Tabla XXXV
Stolac, mozaik
95
Tabla XXXVI
Stolac, rekonstrukcija (prema F. Fiala)
Stolac, detalj mozaika sa prikazom Minotaura (prema F. Fiala)

96
Tabla XXXVII
Stolac, detalj mozaika (labirint)

97
Tabla XXXVIII
98
Tabla XXXIX
Panik, rekonstrukcija (prema I. remonik)
99
Tabla XL
100
Tabla XLI

101
Tabla XLII
Panik, detalj mozaika

102
Tabla XLIII
103
Tabla XLIV
104
Tabla XLV

105
Tabla XLVI
Panik, muza Kaliopa i detalj okvira oko muze

106
Tabla XLVII

107
Tabla XLVIII

108
Tabla XLIX
109
Tabla L

110
Tabla LI
Domavia, rekonstrukcija (prema W. Radmisky)

111
Tabla LII
Domavia, rekonstrukcija (prema W. Radmisky)
112
Tabla LIII
Sarajevo, mozaik (prema D. Sergejevski)
Panik, rekonstrukcija (prema M. Popovi)

113
KORITENA LITERATURA
BIBLIOGRAPHY
115

ATANACKOVI
SALI V.
1979.
Antiki Diluntum u svjetlu novih arheolokih istraivanja.

Tribunia V, Trebinje, 1979.
ANAMALI S.
ADHAMI S.
1974.
BASLER .
1977.
Rimski metalurki pogon i naselje u dolini Japre. Glasnik Zemaljskog muzeja, n. s. A XXX XXXI, Sarajevo, 1977.
BECATTI G.
1961.
Scavi di Ostia IV: Mosaici e pavimenti marmorei. 2 voll. Instituto Poligrafico dello Stato, Roma, 1961.
CROVATO A.
1994.
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118
SADRAJ
CONTENTS
Uvod 5 Introduction
Tehnika izrade mozaika 7 Mosaic techniques
Pod od oblutaka 8 Floors made of pebbles
Pod od lomljene terakote 8 Floors made of broken terracotta
Cementni pod 8 Cement floors
Pod od opeke 8 Floor made of tiles
Pod od nepravilnih komada 9 Floors made of irregular pieces of stone or marble
Mramorni pod 9 Marble floor
Pod od tesera 9 Floor made of tesserae
Asarotos oikos nepospremljena soba 9 Asarotos oikos untidy room
Pod od pravokutnih tesera 9 Floor made of rectangular tesserae
u stilu pletene koare with the design of a weaved basket
Umjetniki podni mozaik 10 The artistic floor mosaics
Nain polaganja tesera 10 Tesserae placing technique
Vrste materijala 11 Materials
Historijat razvoja mozaike umjetnosti 12 Development of the mosaic art
Antiki mozaici sa prostora 16 Ancient mosaics in the territory
Bosne i Hercegovine
Zakljuak 26 Conclusion
Katalog 29 Catalogue
Tabele 59 Tables
Koritena literatura 115 Bibliography
Realizaciju izlobe finansijski su omoguili

Federalno ministarstvo kulture i sporta i BH Telecom.
The exhibition has been realized with the financial support of the
Federal Ministry of Culture and Sport and BH Telecom.
CIP Katalogizacija u publikaciji

Nacionalna i univerzitetska biblioteka
Bosne i Hercegovine, Sarajevo
738.5(497.6)652
BUSULADI, Adnan
Umjetnost antikih mozaika na tlu Bosne i Hercegovine = Ancient mosaics
in the territory of Bosnia and Herzegovina / Adnan Busuladi ; [prijevod na
engleski, translated into English by Spomenka Beus]. Sarajevo : Zemaljski
muzej Bosne i Hercegovine = National Museum of Bosnia and Herzegovina,
2008. 118 str. : ilustr. ; 26 cm
Tekst uporedo na bos. i engl. jeziku. Bibliografija: str: 115-118. Bibliografske i
druge biljeke uz tekst
ISBN 978-9958-502-05-7
COBISS.BH-ID 16245510

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ZEMALJSKI MUZEJ BOSNE I HERCEGOVINE

1. februar 1888. 1. februar 2008.

Umjetnost antikih mozaika

Ancient Mosaics in the Territory

For the publisher

Glavni i odgovorni urednik

Translated into English by

Konzervatorsko restauratorski radovi

Preservation and conservation by

Tehnika postavka izlobe

Idejno rjeenje korica kataloga

Cover page design

UMJETNOST ANTIKIH MOZAIKA

Zemaljski muzej Bosne i Hercegovine

osaic is a work of art composed of small

. Truhelka 1893., 284, F. Fiala C. Patsch 1895., 272, F. Fiala

. Truhelka 1893, 284, F. Fiala C. Patsch 1895, 272, F. Fiala

Umjetnost antikih mozaika na tlu Bosne i Hercegovine

litetima Viia i Panik. Na polju istraivanja

Viii and Panik. In the area of field research

Tehnika izrade mozaika

ajstariji podatak o izradi mozaika vezuje se za vladavinu cara Dioklecijana

he oldest data about the mosaic techniques

M. Farneti 1993., 83.

M. Farneti 1993, 83.

Umjetnost antikih mozaika na tlu Bosne i Hercegovine

smjesom mramornog brana, vapna i pijeska

laid. Once finished, the flooring was pointed

Floors made of pebbles

Javio se jo u periodu IV stoljea stare ere.

This type of flooring dates back to the 4th

Pod od lomljene terakote

Floors made of broken terracotta

Najraniji primjeri ovakvog poda iz Kartage datirani su u periodu od IV do II stoljea

Floor made of tiles

The terraces, yards and other rooms often

M. Garevi 2006., 220.

M. Garevi 2006, 220.

Ancient Mosaics in the Territory of Bosnia and Herzegovina

Pod od nepravilnih komada

Floors made of irregular pieces

The technique implies irregular pieces

The marble floor or floor intarsia implied

Floor made of tesserae

Ovakva vrsta podnica podrazumijevala je

This type of flooring implies all types of

Asarotos oikos nepospremljena soba

According to Plinius Secundus Maior,

Prema Pliniju Starijem, ovu vrstu poda

Floor made of rectangular tesserae with

Pod od pravokutnih tesera

This type of floors includes two groups.

M. Farneti 1993., 153.

M. Farneti 1993, 153.

Umjetnost antikih mozaika na tlu Bosne i Hercegovine

Umjetniki podni mozaik

The artistic floor mosaics

Pod ovom vrstom podnice se podrazumijevao mozaik napravljen od kamenih tesera u

This type of flooring implies mosaics made

Nain polaganja tesera

Tesserae placing technique

Prilikom izrade antikih mozaika u prvom ili

When ancient mosaics were made, there was

M. Garevi 2006., 221 i 222.