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Military iconography from 3rd - 5th century AD in the territory of Illyricum

dc.contributor.advisorVujović, Miroslav
dc.contributor.otherCvijetić, Jelena
dc.contributor.otherGolubović, Snežana
dc.creatorMrđić, Nemanja
dc.date.accessioned2020-07-03T10:04:22Z
dc.date.available2020-07-03T10:04:22Z
dc.date.issued2015-11-26
dc.identifier.urihttps://nardus.mpn.gov.rs/handle/123456789/4249
dc.identifier.urihttp://eteze.bg.ac.rs/application/showtheses?thesesId=2264
dc.identifier.urihttps://fedorabg.bg.ac.rs/fedora/get/o:10120/bdef:Content/download
dc.identifier.urihttp://vbs.rs/scripts/cobiss?command=DISPLAY&base=70036&RID=526273175
dc.description.abstractVojna ikonografi ja čini jedan od osnovnih stubova rimske propagande. Imperatori i princepsi su u fokusu kada je potrebno poistovetiti jednu fi guru sa vojskom, ali čitav niz drugih predstava koji se vezuje za umetnička dela poput mozaika, fresaka, reljefa na novcu, javnim i privatnim spomenicima, iluminacija u rukopisima otvara jedan sasvim drugi svet uređenog sistema prikazivanja vojske, oružja pa i samog neprijatelja. Studija je usredsređena na prostor kasnoantičkog prostora Ilirika od početka vladavine Dioklecijana do kraja V veka. Analizirani su svi dostupni izvori i poređeni sa nalazima oružja i opreme. U rad su uključeni i brojni analogni nalazi i predstave sa cele teritorije carstva. Paralelno su analizirani carska ikonografi ja, kao vojna ikonografi ja centralne ličnosti u carstvu i ikonografi ja same vojske, jedinica i rodova. Rešenja za pojedinačne probleme tražena su i istorijskim izvorima ili vojnim raspravama. Ikonografski elementi praćeni su u četiri osnovna pravca: u okvirima carske ikonografi je kada imperator kao pojedinac personifi kuje vojsku, opšte ikonografi je vezane za vojsku u celini i vojnike kao pojedince. Poslednji pravac se ogleda u ikonografi ji oružja i opreme i njihovim direktnim analogijama. Od posebnog značaja su paralele iluminacija u rukopisima koji su ofi cijelna dokumenta carstva, pre svega Noticija Dignitatum sa predmetima, oružjem ili opremom. Dekorativne šeme na štitovima koje su prikazane na stranama dokumenta iako osporavane našle su potporu u nalazima ili umetničkim delima sa cele teritorije carstva. Kroz rukopise se dodatno može pratiti diferencijacija u ikonografi ji između mobilnih (comitatenses) i pograničnih jedinica (limitanei). Tokom kasne antike uočen je viši stepen brutalnosti u scenama koje se prikazuju, pre svega na novcu, ali i u simbolici jedinica, koja se odslikava predstavama glava nabijenim na kolac i okviru dekorativnih šema na štitovima. Pad discippline među vojnicima na koji mnogi antički pisci ukazuju ogleda se u svim segmentima vojne ikonografi je. Većina scena na privatnim spomenicima, ali i velik broj onih na javnim prikazuje vojnike koji se bore bez oklopa, a veoma često i bez šlema. Ovakva situacija među trupama za posledicu je imala neke od najtežih poraza u rimskoj istoriji. Praćeni su procesi varvarizacije vojske, tranformacija simbola i insignija kao i upliva hrišćanske simbolike u tradicionalnu rimsku ikonografi ju. Evolucija, pojavljivanje novih i gubljenje insignija takođe je ukazalo na promenu karaktera koji je vodio ka gubljenju identiteta jedinica. Stari zodijački simboli legija su nestali, dok spektar raznovrsnih dekorativnih šema sada biva daleko raznovrsniji, ali sa minimalnim uplivom hrišćanskih uticaja. Gubljenje identiteta oseća se i na predstavama koje treba da simbolišu poraženog neprijatelja. Sve češće trofeji nose karakteristike rimskog oružja i opreme, a ne poraženog neprijatelja. Kasnoantička vojna ikonografi ja na kraju čini spoj tradicionalnog rimskog koje je uspelo da opstane i pored snažnog upliva niza varvarskih, a potom i hrišćanskih elemenata. Morala je da evoluira u okvirima carstva koje se transformisalo na svim osnovama, ali je uspelo da zadrži prepoznatljivost, pa čak i paganske elemente u vreme i pod uslovima koji su naizgled tako nešto činili neverovatnimsr
dc.description.abstractMilitary iconography is one of the pillars of Roman propaganda. Emperors and their sons were in focus when one fi gure had to be identifi ed with the army. But a number of other depictions on works of art like mosaics, wall paintings, reliefs on coins, public and private monuments, illuminations in manuscripts reveals one completely different world of strictly defi ned schemes for presenting army, weapons and even enemy. This study is focused to the area of late roman Illyricum from the beginning of rule of Emperor Diocletian until the end of 5th century. All available sources were analyzed and compared with fi nds of weapons and military equipment. Many fi nds from all areas of the Empire were also included into comparison. Imperial iconography, as the iconography of the most prominent soldiers fi gure, as well as the iconography of the army, units and corpses well analyzed in parallel process. Solutions for some problems were traced among historical sources and ancient military manuals. Elements of iconography were followed in four directions: in the matters of the imperial iconography – when emperor personifi es entire army, general iconography related to the army in total and soldiers as individuals. Last analyze was related to the weapons and military equipment as well as their analogies. Illuminations in manuscripts were treated with special importance, as the offi cial documents of the Empire (predominantly Notitia Dignitatum) and these were compared with different objects, weapons or equipment. Shield patterns that are painted among the pages of documents although often disputed found its direct confi rmation in fi nds and works of art from all around the Empire. Through manuscripts it was possible to differ mobile troops (comitatenses) and stationary frontier units (limitanei) In late antiquity elevated level of brutality in all the scenes was noted, mainly in coin reverses, but also among the shield patterns of some units that used heads on sticks as their shield emblem. Lack of discipline among soldiers was mentioned by many ancient scholars and it can be seen in all segments of the military iconography. In majority of portraits on private funerary monuments, and among the imperial monuments also soldiers were depicted without their armor and helmets. This situation among the troopers caused high casualty rates and resulted in some of the greatest defeats in Roman history. Process of barbarization of the army was also observed, transformation of symbols and insignia as well as infl uence of Christian symbols into the traditional Roman iconography. Evolution of the old symbols, appearance of new one and loss of some most important insignia all proved the loss of identity of troops in total. Old zodiac symbols of legions disappeared, while shield patters becomes more divers, but keeping Christian infl uence to the minimum. Loss of troop’s identity also can be seen in depictions of the defeated enemy. Trophies carried by victorious romans are assembled of roman and not barbarian arms and equipment. At the end late roman iconography makes the mixture of traditional roman that managed to survive despite strong infl uences of barbarian and then Christian elements. It had to evolve in the circumstances when the entire Empire had to be transformed on all basis, but preserved its visual identity and even some pagan elements in the age of Christianity what makes it so remarkableen
dc.formatapplication/pdf
dc.languagesr
dc.publisherУниверзитет у Београду, Филозофски факултетsr
dc.rightsopenAccessen
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.sourceУниверзитет у Београдуsr
dc.subjectvojna propagandasr
dc.subjectvojna propagandaen
dc.subjectrimsko carstvosr
dc.subjectrimsko carstvoen
dc.titleVojna ikonografija od III do V veka na prostoru Ilirikasr
dc.titleMilitary iconography from 3rd - 5th century AD in the territory of Illyricumen
dc.typedoctoralThesisen
dc.rights.licenseBY-NC-ND
dcterms.abstractВујовић, Мирослав; Цвијетић, Јелена; Голубовић, Снежана; Мрђић, Немања; Војна иконографија од ИИИ до В века на простору Илирика; Војна иконографија од ИИИ до В века на простору Илирика;
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/27642/Nemanja_Mrdjic_referat_FZF-28095.pdf
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/27641/Disertacija33.pdf
dc.identifier.fulltexthttps://nardus.mpn.gov.rs/bitstream/id/27641/Disertacija33.pdf
dc.identifier.fulltexthttps://nardus.mpn.gov.rs/bitstream/id/27642/Nemanja_Mrdjic_referat_FZF-28095.pdf
dc.identifier.rcubhttps://hdl.handle.net/21.15107/rcub_nardus_4249


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