Vojna ikonografija od III do V veka na prostoru Ilirika
Military iconography from 3rd - 5th century AD in the territory of Illyricum
Doktorand
Mrđić, NemanjaMentor
Vujović, MiroslavČlanovi komisije
Cvijetić, JelenaGolubović, Snežana
Metapodaci
Prikaz svih podataka o disertacijiSažetak
Vojna 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 ok...virima 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 neverovatnim
Military 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 manua...ls.
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 remarkable