An Etruscan bone box from south-west Serbia and the problem of Late Archaic imports in the central Balkan area
Rastko VASIC
Izvleček
Koščena škatlica iz knežje gomile v Atenici pri Čačku, okrašena ob strani s prizorom boja med levom in jelenom v plitvem reliefu in na pokrovu s figuro ležečega leva, je najverjetneje etruščanskega izvora. Škatlice podobne velikosti, oblike in okrasa so bile namreč najdene v velikem številu v Etruriji, od koder so se razširile po vsem Sredozemlju. Avtor omenja redke etruščanske najdbe iz notranjosti Balkana in sklepa, da so škatlico prinesli v Atcnico grški trgovci skupaj z drugimi južnoitalskimi in grškimi predmeti. Veliko število grških in južnoitalskih predmetov na osrednjem Balkanu v zadnji tretjini 6. in prvi tretjini 5. st. pr. n. š. pojasnjuje s specifičnimi okoliščinami, med katerimi omenja politično in ekonomsko krepitev domačih knezov in njihovo povečano zanimanje za tuje blago, pa tudi zgodovinska dogajanja (spopadi Grkov s Perzijci in Kartaginci) ter potrebo po iskanju novih in premalo izkoriščenih tržišč. Nazadnje je govor o enem izmed problemov, na katere opozarja ta import - o razmerju med grško poznoarhajsko in domačo geometrično umetnostjo na osrednjem Balkanu.
Abstract
The bone box from a princely tumulus at Atenica near Čačak, decorated in low relief with a fight of a lion and a stag sidelong and with a prone lion figure on the cover, is most probably of Etruscan origin. A large number of boxes of comparable size, shape and ornamentation have been found in Etruria; from that area they spread all over the Mediterranean world. Mentioning scanty Etruscan finds in the interior of the Balkans the author concludes that the box reached Atenica, along with other south Italic and Greek objects, through the agency of Greek merchants. The occurrencc of a great number of Greek and south Italic objects in the Central Balkans, in the last third of the 6th and the first third of the 5"' centuries B.C., is accounted for by specific circumstances: the growth of political and economic power of local princes and their increasing interest in foreign goods, as well as some historical events, like conflicts of the Greeks with the Persians and Carthaginians and the necessity of searching for new and insufficiently exploited markets. Finally, one of the problems brought forward by this import is discussed: the relationship of Greek Late Archaic and local geometric arts in the Central Balkans.
The excavations carried out some thirty years ago in the village Atenica near Čačak in south-west Serbia uncovered two princely mounds with cremation graves and the remains of a complex burial rite.1 Among numerous grave goods, many of which were damaged by fire, there was a number of imported objects: a clay jug, fragments of bronze vessels (probably a crater with roll-handles and one or two basins on tripods), amber beads in the shape of bird, animal and human heads, applications of gilded silver in the form of a boar, palmette, bees etc. Particularly interesting are parts of a small box, of which only some bone plaques are preserved (fig. 1). Beside several rectangular unornamented plaques, a fragmented composition with a lion attacking a deer finished in low relief also belonged to the box. Two preserved fragments of the lower part of the composition are 6,6 and 4,3 cm long so that the length of the entire plaque could have originally been some 12-13 cm (fig. 2). A small figurine of a lion, 4,5 cm long, also of bone and found together with the bone plaques, belonged most probably to the same box (fig. 3).2
Although the symplegma of lion and deer is basically an oriental motif which spread from the east to Greece
and even further to the west, one can suppose on sufficient grounds that the bone box from Atenica represents an Etruscan product. Namely, this type of box of similar dimensions, covered with plaques of bone or ivory with carved figures and compositions of various contents, and having lids showing figures of birds and lions, is found in relatively large numbers in Central Italy.
L. Pollak in the beginning of the century was the first to write in more detail about this type of jewelry and he supposed on the basis of three plaques found on Cyprus, that it represents a Cypro-Italic product created under Oriental influences. Although these influences played a crucial part in the forming of our boxes, later investigations and new finds showed undoubtedly that they are Etruscan products, originating in a workshop near Vulci in the Late Archaic period. Recently Marina Martelli made a particular study of this question.4 She collected a great number of boxes or their fragments - remains of the Atenica example were not included in this list - and clearly demonstrated that the greatest number comes from Etruria and its colonies in Emilia and Campania, from where they spread over the Mediterranean, being found up to
■ :' VM.
Fig. 1: The unornamented bone plaques of the box from Atenica (Photo Archaeological Institute. Beograd). SI. 1: Neornamentisane koštanc pločice kutije iz Atenice (foto Arheološki institut. Beograd).
now in South Italy (Velia, Paestum. Locri). in Apulia (Ruvo), on Sardinia (Nora, Tharros), Malta, Delos, Rhodos (Ialisos) and Cyprus. According to the stylistic characteristics of the figural representations. Martelli divided these boxes in four groups which vary chronologically to a certain extent.'1 Two older groups are characterised by carefully carved forms, sometimes with calligraphic precision, usually showing banquets, processions of men and women, bigae with winged horses, hunting scenes, then birds, deers, lions and other animals. Their style as well as the themes chosen show that one should look for the impulse leading to their appearance on the west coast of Asia Minor. The finds of the older of these two earlier groups are concentrated exclusively in Etruria and dated approximately between 540 and 520 B. C. The second group, whose finds reached South Italy, Malta and Rhodes, is placed in the last quarter of the 6lh century B. C. Two more recent groups, the third and fourth, represent a period of decadence, precision and purety of
line disappear, the drawing becomes superfluous and unsure, the themes are mostly confined to the repetition of human and animal heads and figures (rabbits, volves, bulls). Boxes of these two groups are found in Etruria as well as on Delos and Cyprus and placed chronologically to the first decades of the 5th century.
Without wishing to enter in more detail into the problem of these boxes, we want to underline that the parts of the bone box from Atenica undoubtedly belong to these Etruscan works. This is seen from the form and the size of the box, the ornamental frame of the composition, the technique of finish, the stylistic characteristics, details and the motif represented, as well as the figure of a lion on the box which was often represented on the lid. Comparing our example with the material which Martelli displays, one could point out as parallels the plaque from Orvieto where two lions are attacking a deer, today in the National Museum of Copenhagen,6 and the plaque with the same motif from an unknown site.7 Both plaques are
Fig. 2: The relief composition of the box from Atenica (Photo Archaeological Institute, Beograd). SI. 2: Reljcfna kompozicija sa kutije iz Atenice (foto Arheološki institut. Beograd).
close to the piece from Atenica in the motif and the finish of details - hoofs, paws, legs etc. However, the ivory plaques from a grave in Orvieto, uncovered towards the end of the last century, are of particular importance as parallels to the fragment from Atenica (fig. 4, 5).s One of them represents two youths hunting a deer where the deer's pose, position of the legs and finish of the hoofs are very similar to the deer on the relief from Atenica. The box from Orvieto also has a lying lion on the lid, similar to the Atenica lion (fig. 6). All the cited analogies belong to the earliest group dated between 540 and 520 B. C. One should say that the style and the finish of the relief from Atenica are also close to other finds of the first and second group, while on the other hand they show significant differences when compared with the superfluous finish of bulls and deers of the third and the fourth group. Some similarities with these last groups can be seen only in certain details, e. g. the floral motif along the right edge of the relief from Atenica appears on the plaque from Certosa which belongs to the third group,9 but also on the plaques from an unknown site and Orvieto both belonging to the second group."1 This element was obviously not crucial for the precise chronological determination of the plaques.
On the basis of these parallels it seems to us that the box from Atenica should be placed at the end of the first or the beginning of the second group and dated around 520 B. C.
The appearance of this Etruscan box in the interior of the Balkans, the earliest example of this kind found outside Etruria, rises a number of questions all of which cannot be completely answered.
On the territory of Yugoslavia Etruscan import appears mostly in the north-west, in Istria and Slovenia, where Italic influences were strong and the material culture was italicised to a high degree during the 7lh and the 6th centuries B. C." Among the most significant Etruscan pieces one could cite a bronze tripod from Novo mesto which has direct parallels in Vetulonia in the second half of the 7lh century12 and a bronze oinochoe of plump form from Most na Soči, dated to the first half of the 6th century and made, according to some opinions, in Vulci.13 A series of bronze fans in Istria. made under direct Etruscan influence, belongs to this last period.14 From the middle of the 6th century Etruscan imports are not so numerous in this area but their influence is present later on. It is shown not only through the acceptance of many Italic forms of Etruscan origin, but also in the development of Carniolan and Histrian variant of Situla art whose many elements were formed in the Etruscan artistic tradition.15 The figural sculpture from Nesactium in Istria, which recent opinion regards as sepulchral sculpture, is dated to the end of the 6" century and also has parallels in Etruria."'
Italic elements appear frequently in the east Adriatic and in adjacent areas, and here also the Etruscan influence certainly played a prominent part.17 However, Etruscan imports dated before the 5lh century are not found in great number. A bucchero cantharos from Vis is dated to the first half of the 6th century,18
Fig. 3: The bone figure of a lion from the box from Atenica (Photo Archaeological Institute, Beograd). SI. 3: Koštana figura lava sa kutijc iz Atcnice (foto Arheološki institut, Beograd).
while a single find of a bronze figurine from Studenci near Ljubuški in Hercegovina is probably an Etruscan piece from the end of the 6th century.19 Here one should perhaps mention that in the hinterland, in the prehistoric settlement Pod by Bugojno in central Bosnia, in a layer belonging, according to B. Covič, to the beginning of the 6th century, a bowl with letters incised around the rim was found. The letters might represent a copy of an Etruscan-Umbrian inscription which was probably carved on some bronze vessel.20
In the central Balkan area, which embraces east Bosnia, Serbia, north Montenegro and Yugoslav Macedonia and represents our main field of interest here, Italic and Etruscan influence is weak and the imports are scarce. It is possible that some bronze vessels from east Bosnia and south-west Serbia, which date to the 7th and the first half of the 6th centuries, found in the princely mounds in Glasinac and Pilatoviči, are imported from Italy and not from Greece, when we bear in mind the frequent appearance of these forms (fluted bowls and basins with bossed rims) on the Apennine peninsula.21 It is corroborated indirectly by the find of an Egyptian scarab in Pilatoviči, in the same mound but allegedly in another grave, which probably reached south-west Serbia from Italy and not from Egypt.22 A different case is represented by a bronze male figurine found by chance in Smederevo in Serbia which seems to have been produced in an Etruscan workshop in north Italy in the second half of the 7th century B. C.23 Its appearance in the Danube region may be explained as a far reaching echo of Italic expansion towards the north and the north-east of the Apennines in the 7th century B. C. which left a number of traces behind.24
Later, in the 5th and the 4th centuries B. C., in the period of further italicisation of Slovenia and the east Adriatic coast, Etruscan elements appear frequently in these regions, but in the interior of the Balkans they are rare. Scyphoi from Pod, Čitluci on the Glasinac plateau and from Trebenište - Etruscan imitations of Attic pottery from the second half of the 5lh century - should be mentioned here.25 The spreading of bronze stamnoid situlae over the Balkan peninsula in the 4,h century, some of which were found in the south-east Adriatic and in Yugoslav Macedonia, is perhaps also connected with Etruria.26
All these data, even if they speak in favour of various relations between Etruria and the Balkan peninsula in general, do not indicate frequent and organised contact between the Etruscans and the interior of the Balkans, especially not with the central Balkan area which is in question here. Thus, we can suppose that the Etruscan box was imported to Atenica together with other Greek and south Italian products which appear in this region. The finds of Etruscan boxes of this type in south Italy from where many objects were imported to the Central Balkans, confirm this opinion. Also it matches M. Martelli's supposition that Greek merchants carried those boxes together with other Etruscan products to the east Mediterra-
27
nean.
These conclusions are fully corroborated by the picture given of the southern imports in the central Balkan area in the second half of the 6th and the first half of the 5th century B. C. They are many and varied, and come mainly from south Italy, Greece and Macedonia.28
A number of foreign objects from the interior of the Balkans is also known in the previous period from the first half of the 7th to the first half of the 6th century. They consist mainly of bronze vessels and a couple of helmets and greaves which were found in the chieftains' graves on the Glasinac plateau in east Bosnia (Ilijak, Brankoviči, Brezje, Osovo, Čitluci,
Potpečine)/y then in Pilatoviči by Užička Požega,30 Donja Dolina near Bosanska Gradiška31 and Kaptol near Slavonska Požega.32 It this wave one can also include a phiale from Sofronievo, in north-west Bulgaria.33 We mentioned before that some of the metal vessels may be Italic in origin, but the others, as well as helmets, are definitely Greek. The routes by which they reached remote areas in the Balkan hinterland are not easy to determine, but it is probable that Macedonia on one side, and the Greek colonies along the south-east Adriatic - Corcyra, Apollonia and Epidamnus - on the other, played a significant role in this. Greek pottery from this period is rare: some fragments found on the Glasinac plateau14 and a few vases from south Pelagonia (Saraj by Brod. Progon by Bukri, Visoji by Beranci) is almost all we can mention here with certainty.'1
In the second half of the 6th and the first half of the 5th centuries the situation changed a great deal and the import from Greece and south Italy increased noticeably (fig. 7). It consisted of metal vessels and arms, but also of pottery and jewelry mainly of gold and silver. Particular characteristic of this import are figuraly finished amber beads and plaques with representations of men. animals and birds. The most important site with this import is the princely necropolis in Trebenište near Lake Ohrid,36 whose thirteen very rich graves are well known in the literature. Here
Fig. 4: The banquet scene from the ivory box from Orvieto (Photo Soprintcndenza Archeologica per la Toscana, Firenze). SI. 4: Scena banketa sa kutije od slonovače iz Orvieta (foto Soprintcndenza Archeologica per la Toscana, Fircnca).
Fig. 5: The hunting scene from the ivory box from Orvieto (Photo Soprintcndenza Archeologica per la Toscana, Firenze). SI. 5: Scena lova sa kutije od slonovačc iz Orvicta (foto Soprintcndenza Archeologica per la Toscana. Firenca).
several dozen metal vessels of various forms and sizes are found, many with figural decoration, then ten helmets, parts of greaves, shields and swords, an enormous quantity of gold and silver jewelry including golden masks and sandals, as well as pottery and clay figurines. In the Ohrid region one should mention also the necropolis in Radolište,37 part of which belonged to the end of the 6lh and the first half of the 5th century (pottery, jewelry and metal vessels) as well as the handle of an amphora from Donja Bjelica.38 At the site of Sveti Ilija near the village Delagoždi, also in the Ohrid district, two graves from the same period have been recently excavated containing weapons, helmet, Greek pottery, a bronze olpe and jewelry.38'1 In Pelagonia the most important find is a princely grave in Beranci-Petilep39 with jewelry, pottery and bronze vessels, then pottery and jewelry from Beranci-Crkvište,4" pottery and arms from Progon by Bukri,41 pottery from Saraj and Bcla Crkva by Brod,42 helmet from Rečica43 and two bronze goats from Trap44 probably parts of a vessel. In the Vardar valley imported pottery was found at several sites around Gevgelija and Valandovo, and in Demir Kapija,45 fragments of bronze vessels (a bronze goat and a handle with a lion head) come from Gevgelija and Stobi,41' whilcswords and jewelry are discovered in the surrounding of Gevgelija and Valandovo.47 Pottery and swords appear also around Štip further to north-east.48 North of the Ohrid region, bronze figurines are
found in Tetovo49 - a running maenad together with fragments of greaves, probably from a destroyed grave, in Prizren - a running girl,50 and in Janjevo - a mirror handle in the form of a youth.51 In Pečka banja52 imported pottery, jewelry and arms are found in the rich indigene graves, while similar objects (pottery, swords) are discovered in the necropolis Romaja by Prizren, in Široko by Suva Reka54 and in Gornje Gadimlje by Lipljan.55 In south-west Serbia the princely mound from Novi Pazar is of particular importan-ce5f' where Greek bronze vessels, pottery and gold and silver jewelry were found, together with an enormous amount of amber beads with figural shapes. Then a
Fig. 6: The ivory figure of a lion from the box from Orvieto (Photo Soprintcndenza Archeologica per la Toscana. Firenze). SI. 6: Figura lava od slonovače sa kutije iz Orvicta (foto Soprintcndenza Archcologica per la Toscana, Firenca).
recently uncovered treasure from Kruševica near Ra-ška,'17 north of Novi Pazar, should be mentioned with gold and silver jewelry, a clay scyphos and a bronze jug. We have already spoken about Atenica near Čačak. Fragments of pottery and bronze vessels (semicircular handles and a lying lion, probably parts of a hydria) from the princely mound in Pilatoviči belong to this period.vS The Glasinac plateau19 provided some arms, pottery, jewelry and fragments of bronze vessels from this period, while a clay jug and amber beads representing a horseman and animals in relief were
found in a grave in Lisijevo Polje near Ivangrad, in Montenegro.""
The bronze vessels, decorated in many cases with figural motifs, come for the greatest part from south Italy and north-west Greece, while only a few pieces can be connected directly with Corinth or Laconia.61 A number of bronze and silver vessels, mainly without figural decoration, come probably from Macedonia.62 The arms, which consist for the most part of helmets of the so-called "Illyrian" type, were at first, it seems, imported to the interior of the Balkans from the
Fig. 7: Distribution map of the Late Archaic imports in the central Balkan area (only the Yugoslav finds are marked). SI. 7: Karta rasprostranjenja kasnoarhajskog importa na području centralnog Balkana (navedeni su samo nalazi iz Jugoslavije).
Thessaloniki region and west Chalcidice. Later, these helmets were made in some workshop in the south-east Adriatic, judging by their appearance in great number in the south Adriatic and its hinterland in the 5th and 4th centuries.63 Pottery, mostly Attic and its imitations, and gold and silver jewelry most probably came via Macedonia, or they were in part the work of Macedonian craftsmen who were staying in the courts of indigene princes.64 The amber beads finished in the form of human and animal heads and figures have parallels only in Italy.65
Judging by the distribution of imports from this period, the route from Macedonia towards the interior of the Balkans led along the future Via Egnatia and not through the valleys of the Vardar and Morava. One of the roads from north-west Greece headed through south-east Albania towards Lake Ohrid and further north to Kosovo and south-west Serbia, while another passed along the coast from Corcyra to Apol-lonia and Epidamnus. The latter was important also for contacts with South Italy from where the wares travelled to Macedonia but also directly via Epidamnus and Apollonia to Serbia and Bosnia. The Etruscan origin of the box from Atenica, which was formerly believed to be a Ionian product which reached Serbia via the Danube from the Greek colonies on the Black Sea, now poses the question of the existence of a Danube route in this period. It is certainly exaggerated to say that no Greek influence came via the Danube to the Central Balkans in the second half of the 6th and the first half of the 5lh centuries but it was doubtless of much lesser importance than the other routes mentioned above.
The considerable increase of foreign import in the central Balkan area in the last third of the 6lh and the first third of the 5lh centuries seems to be connected with two factors at this moment. On one side, the political and economical development of some Balkan tribal groups and the rise to power of a tribal aristocracy. keen on breaking the gentile relationship, prepared favourable ground for increased interest in foreign and luxurious wares. It is no longer a question of bronze vessels and helmets - the objects which were most likely a century ago to impress the barbarian chieftains in the distant Balkan mountains whose main interest was how to rob their neighbours or make peace with them when it was necessary. The situation changed, the frontiers between the Balkan tribes and the Greeks approached, the relationships became more complex, the desires and needs of the local princes became more refined. The enormous quantity of gold and silver jewelry in their graves, some of which was probably the work of Greek or Macedonian artisans and some of local craftsmen, shows clearly the change of thought and taste and the considerable increase in strength and wealth of tribal rulers.
The other is the historical moment. The new situation in the Near East and the Persian menace, together probably with the troubles with the Carthaginians and Etruscans in the western Mediterranean, forced the Greeks to seek new commercial routes and new unexploited markets, perhaps also possible mili-
tary allies at particular moments. The interior of the Balkans, especially the west part of the central Balkan area, unsufficiently explored and not fully exploited commercially, with warlike tribes and their ambitious chiefs, offered good opportunities in this sense.
This influx of imports, however, lasted only a limited period of time. It is interesting to point out, and this is certainly not pure coincidence, that in the sixties of the 5th century B. C., at the time of the final Greek victories over Persia and the beginning of Athenian control of the Thracian coast, the first rich graves with local and in particular Greek objects appear in south Thrace, in Duvanlij,66 while at the same time the numerous Greek import ceases to arrive in the central Balkan area. Apparently the political and commercial situation in the Mediterranean and in the Balkans did change - throughout the second half of the 5th and the entire 4th century silver and bronze vessels as well as Greek arms are abundant in Thrace67 - and historical events corroborate these archaeological data.
From the end of the first half of the 5th century onwards the import is rare in east Bosnia and Serbia. An occasional piece of armoury or a fragmented vase was all that this area offered for more than fifty years.68 The grave goods from mound V in Čitluci on the Glasinac plateau are the only exception. They consist of two bronze jugs, a bronze strainer and two Etruscan imitations of Attic scyphoi69 - a kind of a delayed despatch which perhaps arrived by the ancient commercial route, judging by the parallels in Trebeni-šte, in so-called "poor" graves from the second half of the 5th century.
In Yugoslav Macedonia the events took a somewhat different turn and signs of a strong Hellenisation in south Pelagonia and in the Vardar valley, down stream from Stobi, can be noticed in the 5lh century.71 From the end of the 5th and in the 4lh century these trends began to spread northwards along the valleys of the Vardar and Morava: Greek and Macedonian pottery and metal are found in great quantity in several settlements around Skopje and even further north in Krševica near Vranje. 7~
In east Bosnia, Serbia and in the Danube region under this influence from the south one meets fragments of Greek pottery and its rough imitations, as well as jewelry, imported or imitated.73 A good example of this influence are so-called "Scharnier" fibulae which reached the Danube region from Macedonia only at the end of the 5lh or in the beginning of the 4th century although they appeared originally in the south towards the end of the 6th century.74 The local workshops in the Central Balkans needed a period of time to accept these fibulae and modify them according to their taste and possibilities. The Celtic invasion prevented a stronger development of this Hellenic influence, although the southern wares appear in this region in the following centuries up to the Roman conquest of the Balkan peninsula.75
How strong and numerous the influx of foreign imports was in the central Balkan area at the turn of the 6lh and 5lh centuries B.C. can be judged by comparison with the contemporary imports in the east
Adriatic and its hinterland. Pottery, particularly Attic, is relatively abundant along the coast, but metal objects are rare.7'1 In the hinterland, Pod by Bugojno provided fragments of pottery and bronze vessels,77 while Greek greaves and swords are found in Sanski most and an "Illyrian" helmet in Putičevo near Travnik. s Helmets from Gorica by Ljubuški and Bublin by Imotski in Hercegovina79 and a panoply (helmet, greaves, swords) from a warrior grave in Kličevo near Nikšič can be ascribed also to this period.80 Yet, there have been no rich graves of powerful chiefs found which could match the wealth of Novi Pazar and Atenica, and no gold and silver jewelry is noted before the middle of the first half of the 5 century. From this period, however, onwards, Greek and Italic pottery is found in larger quantity, as well as jewelry, and in particular "Illyrian" helmets which were probably produced somewhere on the south Adriatic. All that indicates the beginning of a slow and systematic Hellenisation of the east Adriatic coast which reached its climax in the following centuries, and was noticeable also in the hinterland.
The Greek and south Italian imports in the central Balkan area at the turn of the 6 and 5th centuries B. C. pose many questions which demand long and thorough analysis of various aspects. We shall briefly touch one of these problems, connected in some way with the appearance of an Etruscan bone box in Atenica. This is the question of Late Archaic art in these remote Balkan regions.
The majority of sites from the last third of the 6lh and the first third of the 5lh centuries with Greek and Italic imports, contained objects with figural representations of Late Archaic art - human and animal figures
and even compositions, as was the case in Atenica, either on vases and metal vessels or on weapons and jewelry. These creations were not always the highest artistic achievements, but at many occasions one could say that they reached a satisfactory standard. In any case local craftsmen were able to acquaint themselves with the figural way of artistic expression and had possibilites to accept and develop this trend. However, in the entire local art production of the central Balkan area no wish or attempt can be noticed towards imitation of these figural forms with the creation of a kind of rough and primitive figural expression.
The answer to this question may lie probably in the fact just mentioned. Figural trends were current for a short time in an area which was too immature and unexperienced to understand and accept them having had no time to prepare itself in this direction. The impact was too short and too strong, there was no transitional period which would be necessary to transform primitive and undeveloped artistic thought about the representation of the figure into a clear and visible anthropomorphic expression.
Perhaps the answer also lies partly in the deep roots of local geometric art traditions which were guarded jealously and consistently so that the Balkan craftsmen successfully rejected the temptations from outside and remained steadfast to their primary ideas and conceptions. The gold and silver jewelry, particularly in Novi Pazar and Atenica, based its ornamentation on pronounced geometry - circles, triangels, rhombs, trapezoids - which through its strong and primitive finish is the best illustration of the local artistic spirit and its real needs. It seems to me that no composition of a lion attacking a deer, or anything similar, could at
Fig. 8: A silver belt of the Mramorac type, allegedly found in Vinča (Photo National Museum, Beograd). SI. 8: Srebrni pojas tipa Mramorac. navodno naden u Vinči (foto Narodni muzej, Beograd).
Fig. 9: A detail of the same belt (Photo National Museum. Beograd). SI. 9: Detalj istog pojasa (foto Narodni muzej, Beograd).
this moment influence these local trends and change their way of thinking and creating.
Wishing to demonstrate the possibilities of indigene artisans in this period and the degree of their readiness to accept foreign influence, as well as the readiness of their clientele in the Central Balkans to understand and appreciate it, we point out as the best example the silver belts of the type Mramorac, named after the village in Serbia where they were first discovered (fig. 8; 9).82 These belts, between 80 and 120 cm long, are decorated with an embossed ornament which combines broad bands that frame the surface and divide
it into triangles and trapezoids, with meanders and palmettes adapted to the local needs and successfully incorporated into the geometric scheme. In spite of certain roughness and primitivism in the finish, the composition is clear, interesting and alive, without repetition, monotony and exaggeration. These belts represent the highest artistic achievements which the central Balkan area was able to offer in this moment and at the same time they point out the extent to which the local art was ready to accept Greek and Italic influence.
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Rev. arch., 26 ff. ZOTOVIČ. M. 1985. Arheološki i etničkiproblemi bronzanog
i gvozdenog doba zapadne Srbije. - Diss, et monogr. 26. ŽIŽIČ, O. 1979, Grobovi ilirskih ratnika - Kličevo kod Nikšiča. - In: Sahranjivanje kod Ilira, 206 ff.
1	Djuknič, Jovanovič 1965. Djuknič. Jovanovič 1966.
2	Djuknič, Jovanovič 1965, 10 ff, pl. 12: 4, 8; 22: 1-3.
3	Pollak 1906.
4	Martelli 1985.
5	Martelli 1985. 208 ff.
6	Martelli 1985, fig. 12.
7	Martelli 1985. fig. 18.
8	Martelli 1985, fig. 21-23.
9	Martelli 1985. fig. 46.
10	Martelli 1985, fig. 31-32.
11	Gabrovec 1966. Comp. Gabrovec 1987a, 1987b, 1987c.
12	Gabrovec 1968.
13	Vitri 1980.
14	Mihovilič 1980.
15	Lučke, Frey 1962. Frey 1969. Bonfantc 1981. Etc.
16	Fischer 1984.
17	Batovič 1976. Peroni 1976.
18	Nikolanci 1966. 107 f., pl. 18: 3.
19	Vego 1954. Antička bronza 1969, 106, fig. 153.
20	Čovič 1964. Šalabalič 1967. For the reccnt dating to the beginning of the 6"' century, comp. Čovič 1987, 493, 523.
a Vasic 1983, 186 f.
22	Zotovič 1985, 93 ff., pl. 32: 1-2.
23	Milleker 1900, 68, fig. 9 a-c. Baity 1961, 36, 45. pl. 5.
24	Aigner-Foresti 1980.
25	Čovič 1987. 498, pl. 51: 6 (Pod). Fiala 1895, 139, fig. 36 (Čitluci). Lahtov. Kastclic 1957, 42. pl. 18: 10 (Trebenište). Comp. Parovič-Pcšikan 1982-1983,71.
26	Boucher 1973, 85 ff.
27	Martelli 1985. 237 f. Comp. Boardman 1980. 208.
28	Comp. Popovič 1975. Frey 1984. Parovič-Pcšikan 1964. Lisičar 1973. Vučkovič-Todorovič 1973. Batovič 1984. Vasič 1984. Vasič 1982. Vasič 1983. Čovič 1983.
29	Benac, Čovič 1957. pl. 18: 1^1; 23: 1, 8, 9; 28: I, 2; 30: 5-7. Also, Vasič 1983. Čovič 1983.
30	Zotovič 1985, 91, pl. 32: 12.
31	Fiala I899b, 152, pl. 9. Truhclka 1904, 95, fig. 69. Also Marič 1964 , 37, pl. II: 10; 12: 2.
32	Vcjvoda, Mimik 1971, pl. 5. 7. 13. Comp. Vinski-Gaspa-rini 1987. 193 ff., fig. 12: 1, 10. II; pl. 19: 1, 2, 5.
33	Nikolov 1965. 176, fig. 5.
34	Parovič-Pcšikan 1960, 26 f.
35	Mikulčič 1966, 24, 27 f.
36	Filow, Schkropil 1927. Vulič 1930. Vulič 1932. Vulič I933a. Vulič 1933b. Vulič 1934. Lahtov, Kastelic 1957. Popovič 1956a. Comp. Vasič 1987b.
37	Popovič 1956b.
38	Vulič 1933b, 479, fig. 18.
38a Bitrakova-Grozdanova 1987.
39	Mikulčič 1966, 37 f., fig. 19c, 20. 21. Comp. Vasič I987a, pl. 74-75.
40	Mikulčič 1966, 37, fig. 19 f. h.
41	Mikulčič 1966. fig. 16; 19a.
42	Mikulčič 1966, fig. 15; 19 d. g.
43	Lahtov 1965.
44	Mikulčič 1966, 38 (without illustration).
45	Georgicv 1984, 60 ff.
46	Filow, Schkropil 1927, 54, fig. 53. Antička bronza 1969, 75. No. 50.
47	Georgiev 1984 . 64 ff.
48	Vasič 1982. 15. fig. 3. Garašanin M.. Garašanin D. 1956. fig. 24-27.
49	Vulič 1933b, 480. fig. 19-20. Popovič 1975, fig. 2. Comp. Vasič 1982. 12, fig. 2.
50	Lamb 1929, 97 f., pl. 33a.
51	Popovič 1975, 78, fig. 3.
52	Unpublished. Comp. Kcltoi 1983, fig. IV; 29.
53	Djurič. Glišič, Todorovič 1975. pl. 2: 1/12, 5/9; 4: 5/7; 8: 9/18.
54	Dašič 1957, pl. 3; 4; 6: 1.
55	Parovič-Pešikan 1978.
56	Mano-Zisi. Popovič 1969. Popovič 1975.
57	Srcjovič. Vukadin 1988.
58	Zotovič 1985, 96 f. (without illustration).
59	Benac. Čovič 1957, pl. 40: 1. Parovič-Pešikan 1960, 27. Čovič 1983, 150 f. Čovič 1987. pl. 64: 1.
60	Srcjovič. Markovič 1980-1981, pl. 5; 6: 2.
61	Filow, Schkropil 1927. 101 ff. Payne 1931. 109 f. Voko-topoulou 1975, 182. Rolley 1982, 87 ff.
',2 Sindos 1985.
63	Sindos 1985. For "Illyrian" helmets in Yugoslavia, comp. Marovič 1976. Vasič 1982.
64	Comp. Sindos 1985. Also. Amandry 1953. Amandry 1963.
65	Comp. Strong 1966, 24 ff.
66	Filow 1934. For the reccnt redating of the Duvanlij mounds, Alexandrescu 1976.
67	Comp. Gold dcr Thraker 1980. Rogozen 1986.
68	For the helmets from Trstenik and Ražana dated to the middle of the 5lh ccntury, Popovič 1975, fig. 45; 46. Comp. also Vasič 1982-1983.
69	Fiala 1893, 139, fig. 34-37. Comp. Čovič 1983, 151.
70	Lahtov, Kastelic 1957, pl. 6: 26; 18: 10.
71	Mikulčič 1966, 47 ff. Also, Vučkovič-Todorovič 1956. Vučkovič-Todorovič 1961.
72	Mikulčič 1982. Mikulčič, Jovanovič 1966.
73	Comp. Stojič 1986, pl. 35: 6, 10. Also, Vinski 1951.
74	Vasič 1985.
75	Zotovič 1985, I (K) ff., pl. 33-36 (Krajčinoviči).
76	Lisičar 1973. Nikolanci 1966.
77	Čovič 1983, 152 f.
78	Fiala 1899a. 66, 118, fig. 9, pl. 2; 3. Fiala 1899b, 151. pl. 8.
79	Truhclka 1902. 7, fig. 3; 4. Marovič 1976, 297, fig. 9.
Žižič 1979, fig. 1-6. sl The rich graves from Plana, Kačanj and Ljubomir near Bileča, with arms, jewelry and pottery arc particularly inte-
resting in this sense. Comp. Truhclka 1901. Marič 1959. Marič 1977. Atanackovič-Salčič 1977. 82 Comp. Vasič 1988.
Etrurska koštana kutija iz jugozapadne Srbije i problem kasnoarhajskog importa na centralnom Balkanu
Saietak
Pre nekih tridesetak godina u selu Atenici kod Čačka u jugozapadnoj Srbiji otkrivena su dva kneževska tumula sa spaljenim grobovima i složenim pogrebnim ritualom.1 Medu brojnim prilozima, od kojih je večina stradala u vatri, ističe se više importovanih predmeta: glineni krčag, fragmenti bron-zanih posuda, čilibarske perle u obliku ptičjih, životinjskih i ljudskih glava, aplike od pozlačenog srebra u formi vepra, palmete i pčela itd. Posebno su zanimljivi delovi koštanc kutije od koje je sačuvano nekoliko pravougaonih pločica u fragmen-tima (sl. 1). Na jednoj od njih prikazana je kompozicija sa lavom koji napada jelena u plitkom reljefu. Dva sačuvana fragmenta donjeg dela kompozicije dugački su 6.6 i 4.5 cm tako da je prvobitna dužina cele pločice iznosila 12 do 13 cm (sl. 2). Istoj kutiji je verovatno pripadala i figura ležečeg lava, dugačka 4,5 cm, takodc od kosti (sl. 3).2
Iako je simplegma lava i jelena u osnovi orijentalni motiv koji se sa istoka raširio u Grčku i na zapadni Mediteran, može se sa dosta razloga pretpostaviti da koštana pločica iz Atenice predstavlja etrurski proizvod. Naime u centralnoj Italiji nadene su ovakve kutije sličnih dimenzija u velikom broju. pokrivcnc pločicama od kosti ili slonovačc sa urezanim figurama i kompozicijama različitog sadržaja i poklopcima sa figurama ptica ili lavova.
O ovoj vrsti nakita prvi je početkom ovog veka opširnijc pisao L. Polak koji je pretpostavio na osnovu tri pločicc sa Kipra. da je reč o kiparsko-italskim proizvodima. nastalim pod orijcntalnim uticajima.1 Mcdutim. i pored činjcnice da je orijentalni uticaj bio presudan u njihovom nastajanju, kasnija istraživanja su pokazala da su kutije etrurski proizvod, potekao u jednoj radionici blizu Vulčija u kasnoarhajskom periodu. Nedavno je Marina Marteli4 načinila katalog ovih kutija i njihovih fragmenata - ostaci kutije iz Atenice nisu uključeni u ovu listu - i jasno pokazala da največi broj kutija potiče iz Etrurijc i njenih kolonija u Emiliji i Kampaniji. Odavdc su se kutije raširile po čitavom Mcditcranu i do sada su nadene u južnoj Italiji (Vclija, Pestum, Lokri), Apuliji (Ruvo), na Sardiniji (Nora, Taros), na Malti, na atinskom Akropolju. Delosu, Rodosu i Kipru. Na osnovu stila Martclijeva je podelila kutije u četiri grupe koje se hronološki doneklc razlikuju/ Dve starijc grupe se odlikuju brižljivo izrezanim oblicima i obično prikazuju bankete, proccsijc ljudi i žena, bige sa krilatim konjima, scene lova, zatim pticc, jelene, lavove i druge životinjc. Način izvodenja i teme ukazuju na direktne veze sa zapadnom obalom Male Azije. Nalazi starijc od ovc dve grupe konccntrisani su na Etruriju i datovani približno izmedu 540 i 520 g. pre n. c. Druga grupa koja se raširila do južne Italije, Malte i Rodosa stavlja se u poslednju četvrtinu VI veka pre n. e. Dve mlade grupe, treča i četvrta, predstavljaju period dckadencije. preciznost i čistota linije više ne postoje, crtež je nesiguran, teme su ograničenc na ponavljanje ljudskih i životinjskih glava i figura. Ovc dve grupe nadene su u Etruriji kao i na Delosu i Kipru i datuju se u prve dekade V veka pre n. c.
Delovi koštanc kutije iz Atenice nesumnjivo pripadaju ovim etrurskim delima. To se vidi po obliku i veličini kutije, ornamentu koji uokviruje kompoziciju. tehnici obradc, stilskim karakteristikama, detaljima, prikazanom motivu i, najzad, figuri lava sa poklopca kutije. Uporcdujuči naš komad sa materijalom koji daje Martclijeva. mogu se ukazati paralele sa pločicom iz Orvieta gdc dva lava napadaju jelena,6 i pločicom sa istim motivom sa nepoznatog nalazišta.7 Obe pločicc su slične ateničkoj kako po motivu tako po prikazivanju detalja - kopita, kandži, nogu itd. Od posebne važnosti su i pločicc od slonovačc otkrivene krajem prošlog veka u jednom
grobu u Orvietu.s Jedna od njih prikazuje dva mladiča u lovu na jelena gdc je jelenova poza veoma slična pozi jelena na ateničkoj kutiji. Kutija iz Orvieta ima i ležečeg lava na poklopcu, veoma sličnog ateničkom lavu (sl. 6). Sve pomenutc analogije pripadaju najstarijoj grupi kutija datovanoj izmedu 540 i 520 g. pre n. e. Treba reči da je stil i obrada ateničke pločicc uopšte bliža kutijama prve i druge grupe dok sa kutijama treče i četvrte grupe veza postoji jedino u prikazu pojedinih detalja - floralnog motiva9 koji se, medutim, javlja i u drugoj grupi.1"
Na osnovu svega ovoga kutiju iz Atenice bi trebalo staviti u kraj prve ili početak druge grupe, odnosno najverovatnije oko 520 g. pre n. e.
Pojava ove etrurske kutije u unutrašnjosti Balkana, najsta-rijeg primerka ove vrste nakita van Etrurijc, postavlja više pitanja.
Na teritoriji Jugoslavije etrurski import se javlja najviše na severozapadu. u Istri i Sloveniji, gde su postojali jaki italski uticaji i tokom VII i VI veka materijalna kultura bila je u dobroj meri italizovana." Medu najznačajnijim etrurskim ko-madima ističemo bronzani tripod iz Novog mesta koji ima direktne paralele u Vetuloniji u drugoj polovini VII veka12 i bronzanu ojnohou iz Svete Lucije (Most na Soči), datovanu u prvu polovinu VI veka i načinjenu, po nekim mišljenjima. u Vulčiju.13 Istom periodu pripadaju i bronzanc lepezc iz Istre, nastale pod direktnim etrurskim uticajcm.14 Od sredine VI veka etrurski proizvodi nisu tako brojni ali je etrurski uticaj i dalje prisutan. To se vidi kako u prihvatanju mnogih italskih oblika ctrurskog porekla, tako i u razvoju istarske i dolenjske varijante situlske umetnosti čiji su mnogi elementi nastali u etrurskoj umetničkoj tradiciji.1 Figuralna skulptura iz Nezak-cija u Istri, datovana u kraj VI veka, takodc ima paralele u Etruriji.16
Italski elementi su česti na istočnom Jadranu i ovde je etrurski uticaj takodc igrao značajnu ulogu.' Mcdutim. etrurski import stariji od V veka nije tako brojan. Beležimo bukero kantaros sa Visa, datovan u prvu polovinu VI vckals i bronzanu figurinu iz Studenaca kod Ljubuškog u Hercegovini, verovatno etrurski komad s kraja VI veka.1'1 Treba možda pomenuti da jc u unutrašnjosti, u naselju Pod kod Bugojna, u sloju s početka VI veka nadena zdela sa slovima urezanim oko oboda. Slova možda predstavljaju kopiju etrursko-umbrij-skog natpisa koji se nalazio na nekom bronzanom sudu.2"
Na području ccntralnog Balkana koji obuhvata istočnu Bosnu. Srbiju, scvernu Crnu Goru i našu Makedoniju. italski i etrurski uticaji su slabi i importovani predmeti su retki. Mogučc jc da su neke bronzanc posude iz istočne Bosne i jugozapadne Srbije, koje datuju u VII i prvu polovinu VI veka, nadene u kneževskim tumulima na Glasincu i u Pilato-vičima, uvezene iz Italije a ne Grčkc kada imamo u vidu čestu pojavu ovih formi (narebrcnc zdele i bazeni sa iskucanim obodom) na Apeninskom polnostmi. 1 To jc indirektno potvr-deno nalazom egipatskog skarabeja u Pilatovičima, u istoj humei sa bronzanim posudama, koji je u jugozapadnu Srbiju stigao verovatno iz Italije a ne iz Egipta." Drugačiji jc slučaj sa bronzanom muškom figurinom nadenom u okolini Smcdc-reva na Dunavu koja je mogla biti načinjena u nekoj etrurskoj radionici u scvcrnoj Italiji u drugoj polovini VII veka.2' Njena pojava u Podunavlju se može objasniti kao jedan od odjeka italskc ekspanzije ka severu i scveroistoku od Apenina u Vil veku pre n. c.2
Kasnijc, u V i IV veku. u vreme dalje italizacije Slovenije i istočnog Jadrana, etrurski elementi su česti u ovim regionima ali su u unutrašnjosti Balkana retki. Pominjcmo skifosc iz
Poda kod Bugojna. Čitluka na glasinačkom platou i Trcbeništa
-	etrurske imitacije atičke keramike iz druge polovinc V veka." Moguču vezu sa Etrurijom pokazuje i širenje bronzanih stamnoidnih situla preko Balkanskog poluostrva u IV veku. kakve su nadene na jugoistoku Jadrana i u Makedoniji.26
Sve ovo govori u prilog različitim vezama Etrurije i Balkana uopšte ali ne indicira neki čest i organizovan kontakt izmedu Etruraca i unutrašnjosti Balkana, naročito centralnog Balkana
0	kome je ovde najviše reč. Stoga prctpostavljamo da je etrurska kutija u Atcnicu stigla zajedno sa drugim grčkim i južnoitalskim proizvodima koji se javljaju na ovom prostoru. Nalazi etrurskih kutija u južnoj Italiji, odakle su mnogi predmeti stigli do centralnog Balkana, potvrduju ovo mišljenje. Ono se podudara sa pretpostavkom Marine Marteli da su grčki trgovci raširili ove kutije zajedno sa drugom ctrurskom robom po istočnom Mediteranu."'
Ovi zaključci se u potpunosti podudaraju sa slikom o južnom importu na centralnom Balkanu krajem VI i početkom V veka pre n. e., koji je brojan i različit i stižc mahom iz južne Italije, Grčke i Makedonije.2S
Jedan broj stranih predmeta poznat je iz unutrašnjosti Balkana i u prethodnom periodu. od prve polovine VII do prve polovine VI veka pre n. e. Oni se sastoje od bronzanog posuda i odbrambenog oružja - šlemova i knemida - koji su nadeni u grobovima lokalnih kneževa na Glasincu u istočnoj Bosni (Ilijak. Brankoviči, Brezje. Osovo, Čitl uci. Potpečine)." zatim u Pilatovičima kod Užičke Požegc,3" u Donjoj Dolini kod Bosanske Gradiškc.31 i Kaptolu kod Slavonske Požegc.32 Medu ovaj import bi se mogla ukjučiti i bronzana fiala iz Sofronijeva u severoistočnoj Bugarskoj.33 Pomenuli smo da su neke posude mogle biti poreklom italske, ali su ostale, kao i šlemovi, svakako grčke. Kojim su putem ovi predmeti došli do unutrašnjosti Balkana, nije lako odrediti ali se može pretpostaviti da su Makedonija na jednoj. i grčke kolonije na južnom Jadranu - Korkira. Apolonija i Epidamnos- na drugoj strani igrale u tome značajnu ulogu. Grčka keramika iz ovog perioda retko se nalazi u unutrašnjosti Balkana: nekoliko fragmenata sa glasinačke visoravni34 i nekoliko vaza u južnoj Pelagoniji (Saraj kod Broda. Progon kod Bukrija, Visoji kod Beranaca) su jedini nalazi koje možemo navesti sa sigurnoš-ču.35
U drugoj polovini VI i prvoj polovini V veka situacija sc bitno menja i broj importovanih predmeta iz južne Italije i Grčke sc značajno povečava (si. 7). On sc sastoji od mctalnog posuda i oružja, ali i od keramike i nakita pretežno zlatnog
1	srebrnog. Posebna karakteristika ovog importa su figuralno obradena zrna i pločicc od čilibara sa predstavama ljudi, životinja i ptica. Najznačajnije nalazište sa ovim importom je kneževska nekropola kod Trcbeništa u bližini Ohrida.36 čijih su trinaest veoma bogatih grobova dobro poznati u literaturi. Ovde jc nadeno nekoliko desetina bronzanih posuda različite forme i veličine, mnoge sa figuralnom dckoracijom, zatim deset šlemova, delovi knemida. štitova i mačeva, ogromna količina srebrnog i zlatnog nakita, uključujuči zlatne maske i sandale, kao i keramika i terakote. Sa ohridskog područja treba pomenuti i nekropolu u Radolištu.3 čiji jedan dco pripada kraju VI i prvoj polovini V veka (keramika, nakit i bronzane posude) kao i dršku jedne amforc iz Donje Bjelice.38 Na nalazištu Sveti llija kod sela Dclagožda, takode kod Ohrida, otkrivena su nedavno dva groba iz ovog istog perioda sa ilirskim šlemom. grčkom keramikom i bronzanom olpom.3s' U Pelagoniji je najznačajniji nalaz kneževski grob iz Bcranaca-Petilep sa nakitom, keramikom i bronzanim posudem, zalim keramika i nakit iz Bcranaca-Crkvište,4" keramika i oružje iz Progona kod Bukrija.'" keramika iz Saraja i Bele Crkvc kod Broda,42 šlem iz Rečice4 i dva bronzana jarca iz Trapa, verovatno delovi nckog suda.44 U vardarskoj dolini importo-vana keramika je nadena na nekoliko lokaliteta oko Devdclije i Valandova. i u Demir Kapiji,4 delovi bronzanih posuda (jarac i drška sa lavljom glavom) nadeni su u Dcvdcliji i Stobima46 dok su mačevi i nakit otkriveni u okolini Devdclije i Valandova.47 Dalje na scvcroistoku keramika i mačevi sc javljaju u okolini Štipa.4K
Severno od Ohrida bronzane figurine su nadene u Tctovu"
-	figura menade sa fragmentima knemida, verovatno iz unište-nog groba -, u Prizrcnu5" i Janjevu/1 Importovana keramika, nakit i oružje nadeni su u bogatim grobovima u Pečkoj Banji "
dok su keramika i mačevi otkriveni i u Romaji kod Prizrena, Širokom kod Suve rekeM i Gornjem Gadimlju kod Lipljana^ na Kosovu. U jugozapadnoj Srbiji kneževski tumul iz Novog Pazara je od posebnog značaja: ovde su nadeni bronzani sudovi, keramika i zlatni i srebrni nakit kao i velika količina figuralno obradenog čilibara/6 Nedavno otkriveno blago iz Kruševice kod Raške, severno od Novog Pazara, sadrži srebrni i zlatni nakit, skifos i bronzani krčag.5' O nalazima iz Atenice kod Čačka več je govoreno. U kneževskom tumulu u Pilatovičima nadeni su fragmenti keramike i bronzanog posuda (polukružne drške i ležeči lav, verovatno delovi hidrije)."'* Sa glasinačkog platoa poliče nešto oružja. keramike, nakita i delova bronzanog posuda59 dok Zemljani krčag i čilibarska zrna u obliku konjanika i životinja u reljefu su nadeni u jednom grobu u Lisijevom Polju kod Ivangrada u Crnoj Gori.6"
Bronzane posude, ukrašene u mnogim slučajevima figuralnim elementima, importovane su največim delom iz južne Italije i severozapadne Grčke, dok se samo nekoliko komada može direktno vezati za Korint ili Lakoniju.6' Jedan broj bronzanog i srebrnog posuda. bez figuralnih ukrasa, potiče verovatno iz Makedonije.62 Oružje koje se najčešče sastoji od šlemova tzv. ilirskog tipa uvezeno jc u prvi mah. kako izgleda, iz oblasti Soluna i zapadnog Halkidika. Kasnije. sudeči po brojnosti ovih šlemova na južnom Jadranu i njegovom zaledu u V i IV veku, ovi šlemovi su verovatno pravljeni u nekoj radionici na jugoistočnoj obali Jadrana.63 Keramika, najčešče atička i njene imitacije, kao i zlatni i srebrni nakit stigli su najverovatnije preko Makedonije ili su bili delom načinjeni od strane makedonskih zanatlija u radionicama pri dvorovima domačih kneževa.64 Čilibarska zrna obradena u obliku ljudskih i životinjskih glava i figura imaju paralele samo u Italiji.65
Sudeči po rasprostranjenju importa u ovom periodu, put iz Makedonije ka unutrašnjosti Balkana vodio je duž buduče Vie Egnatie a nc dolinama Vardara i Morave. Jedan od puteva iz severozapadne Grčke vodio je kroz jugoistočnu Albaniju prema Ohridskom jezeru i dalje Drimom ka Kosovu i jugozapadnoj Srbiji, a drugi obalom od Krfa do Apolonijc i Drača. Ovaj poslednji je bio važan i za kontakte sa južnom Italijom odakle sc roba kretala ka Makedoniji ali takode preko Epi-damna do Srbije i Bosne. Etrursko poreklo koštanc kutije iz Atenice, za koju sc prvobitno verovalo da jc jonski proizvod koji jc stigao u Srbiju Dunavom iz grčkih kolonija na Crnom moru. dovodi u izvesnu sumnju postojanje dunavskog puta u ovom periodu. Bilo bi svakako preterano da se tvrdi da nikakav grčki uticaj sa Crnog mora nije u drugoj polovini VI i prvoj polovini V veka stizao ovim putem. ali jc njegova uloga bila znatno manja nego ostalih, več pomenutih puteva.
Značajno povečanje stranih predmeta na centralnom Balkanu u poslednjoj trečini VI i prvoj trcčini V veka stoji, kako se čini. u zavisnosti od dva činioca. S jedne strane. politički i ekonomski razvoj nekih plemenskih grupa na Balkanu i povečanje moči plemenske aristokratije pripremili su povoljno tlo za povečan interes za stranu i finu robu. Sada više nije reč o bronzanom posudu i šlemovima - predmetima koji su jedan vek ranijc mogli da impresioniraju lokalne poglavice u dalekim balkanskim brdima -, situacija se prilično izmenila. granice su sc približile, odnosi postali složeniji, želje i potrebe lokalnih voda rafinovanijc. Ogromna količina zlata i srebra u njihovim grobovima jasno pokazuje promenc u mišljenju i ukusu i značajno povečanje snage i bogatstva plemenskih glavešina. Na drugoj strani su istorijska kretanja. Nova situacija na istoku i persijska pretnja. zajedno sa sukobima sa Kartaginjanima i Etrurcima nazapadnom Mediteranu. naterali su Grke da traže nove trgovačke puteve i nova neiskoriščena tržišta. možda čak i moguče vojne saveznike u odredenim trenucima. Unutrašnjost Balkana, posebno zapadni dco centralnog balkanskog područja, nedovoljno istražen i trgovački nepotpuno obraden, sa ratobornim plemenima i njihovim ambicioznim vodama, pružala jc u tom smislu dobre mo-gučnosti.
Ova poplava importa trajala je, medutim, samo ograničeno vreme. Zanimljivo je da se kaže, i to verovatno nije čista koincidencija, da sc šesdesetih godina V veka. u vreme konačnih grčkih pobeda nad Persijancima i početka atinske kontrole tračke obale, javljaju u južnoj Trakiji prvi bogati grobovi sa grčkim importom, pre svega u Duvanliju, istovre-meno kada brojni grčki import prestaje da stižc na područje
centralnog Balkana. Očigledno se politička i trgovačka situacija na Mediteranu i na Balkanu promenila - u drugoj polovini V i tokom čitavog IV veka srebrno i bronzano posude i grčko oružje se javlja u Trakiji u velikom broju67 - pri čemu se istorijski izvori podudaraju sa ovim arheološkim podacima.
Od sredine V veka pre n. e. importovani predmeti su retki u istočnoj Bosni i Srbiji. Komad oružja ili fragmentovana vaza bi bilo sve što se ovde našlo tokom više od 50 godina."" Jedini izuzetak su grobni priloži iz tumula V u Citlucima na Glasincu koji sadrže dva bronzana krčaga. bronzanu cediljku i dve etrurske imitacije atičkih skifosa.6l) Ovi predmeti su najvero-vatnije do Bosne stigli starim trgovačkim putem, sudeči po paralelama u Trebeništu, u tzv. siromašnim grobovima iz druge polovine V veka.7"
U jugoslovenskoj Makedoniji dogadaji su se nešto drugačije odvijali: u V veku se zapaža jaka helenizacija južne Pelagonije i Vardarske doline, južno od Stobija.'1 Od kraja V veka i tokom IV veka ovi trendovi su se širili na sever dolinom Vardara i Morave: grčka i makedonska keramika i metalni predmeti nadeni su u večoj količini u nekoliko naselja oko Skoplja i dalje na sever u Krševici kod Vranja.72
Pod ovim južnim uticajima javljaju se u istočnoj Bosni, Srbiji i Podunavlju fragmenti grčke keramike i njene imitacije, kao i nakit, importovan ili podražavan.7. Primer ovih uticaja su tzv. šarnirske fibule koje su iz Makedonije stigle u Podunavlje tek krajem V ili početkom IV veka iako su se na jugu javile i bile u široj upotrebi več krajem VI veka pre n.e. 4 Lokalne radionice u unutrašnjosti Balkana su potrebovale jedan vremenski period da prihvate i prilagode ove fibule svome ukusu i mogučnostima. Keltska invazija početkom III veka sprečila je dalji razvoj helenskih uticaja mada se južni import sreče na ovom području i u kasniiim vekovima sve do rimskog osvajanja Balkanskog poluostrva.
Koliko je bio brojan grčki import na području centralnog Balkana krajem VI i početkom V veka može se oceniti poredenjem sa importovanim predmetima na istočnom Jadranu i njegovom zaledu u to vreme. Keramika, najviše atička. jc česta pri obali ali su metalni predmeti retki. 6 U zaledu. u Podu kod Bugojna su nadeni fragmenti keramike i bronzanog posuda.'7 grčke knemide i mačevi potiču iz Sanskog mosta i jedan šlem iz Putičeva kod Travnika/* Šlemovi iz Gorice kod Ljubuškog i Bublina kod Imotskog7' i kompletno naoružanjc iz jednog groba iz Kličeva kod Nikšiča8" pripadaju verovatno ovom periodu. Ipak. ne nailazi se na bogate grobove močnih poglavica koji bi se mogli uporediti sa Novim Pazarom ili Atenicom. i nema zlatnog i srebrnog nakita pre sredine prve polovine V veka pre n. e. Od ovog perioda, mcdutim. grčka i italska keramika nadena je u večim količinama kao i nakit i šlemovi. koji su po svemu sudeči bili proizvodeni u to vreme negde na južnom Jadranu.8' Sve to ukazuje na početak laganc i sistematske helcnizacije istočne obale Jadrana koja jc doživela svoj vrhunac u sledečim stolečima, zahvatajuči takodc i njeno zaledc.
Grčki i italski import na centralnom Balkanu krajem VI i početkom V veka postavlja više pitanja koja zahtevaju dugu i sveobuhvatnu analizu različitih aspekata. Ovde čemo se zadržati samo na jednom od tih pitanja, problemu kasnoarhaj-ske umetnosti u unutrašnjosti Balkana.
Največi deo lokaliteta sa grčkim i italskim importom poslednje trečine VI i prve trečine V veka sadržali su predmete sa figuralnim predstavama kasnoarhajske umetnosti, kako na vazama i metalnom posudu tako i na oružju i nakitu. Ovi proizvodi nisu bili najviše umetničke krcacijc ali su u mnogim slučajevima dostizali zadovoljavajuči standard. Lokalni maj-stori su u svakom slučaju bili u mogučnosti da se upoznaju sa figuralnom umetnošču i prihvate i razviju ovaj trend. Medutim, nigde na centralnom Balkanu ne sreče se ni želja ni pokušaj da se podražava figuralna umetnost i stvori neka vrsta grube i primitivne figuralne predstave.
Odgovor na ovo pitanje leži verovatno u činjenici koju smo pomenuli. Figuralni trendovi su bili prisutni suviše kratko vreme na području koje je bilo nezrelo i neiskusno da ih razume i prihvati. Uticaj je trajao kratko i bio suviše snažan, nije bilo prelaznog perioda, potrebnog da se nerazvijena umetnička misao o figuralnoj predstavi transformira u jasnu i vidljivu antropomorfnu ekspresiju.
Odgovor možda leži i u dubokim korenima lokalne geometrijske tradicije u umetnosti na ovom prostoru. Geometrijska umetnost je negovana konstantno i gotovo ljubomorno pa su balkanske zanatlije mogle da se uspešno odupru spoljnim iskušenjima i ostanu verni domačim idejama i htenjima. Zlatni i srebrni nakit u Novom Pazaru i Atenici zasniva svoju dckoraciju na naglašenoj geometriji - krugovima, trouglima, rombovima, trapezima - koja najbolje odajc lokalni umetnički duh i njegove stvarne potrebe. Čini se da u tom trenutku nikakva kompozicija sa lavom koji napada jelena niti išta slično nije moglo da utiče na lokalne umetničke težnje i promeni njihov način mišljenja i stvaranja.
Želeči da pokažemo mogučnosti domačih radionica u tom periodu i stepen njihove spremnosti da prihvate strani uticaj, kao i spremnost njihove klijentele da ga razume i prihvati. donosimo ovde kao najbolji primer velike srebrne pojascve tipa Mramorac, nazvane po selu gdc su prvo bili otkriveni (sl. S; 9J.82 Ovi pojasevi, dugi izmedu 80 i 120cm, ukrašeni su iskucanim ornamentima koji kombinuju široke trake koje uokviruju površinu i dele jc na trougle i trapeze, sa meandrima i palmelama prilagodenim lokalnim potrebama i uspešno ukomponovanim u geometrijsku šemu. Uprkos izvesnoj grubo-sti i primitivizmu izvodenja, kompozicija jc jasna, zanimljiva i živa, bez ponavljanja, monotonije ili preterivanja. Ovi pojasevi predstavljaju najviša umetnička dostignuča koja je centralni Balkan bio u stanju da ponudi u tom trenutku i istovremeno pokazuju do koje je mere lokalna umetnost bila spremna da prihvati grčke i italskc uticajc.
Dr. Rastko Vasič Arheološki institut Knez Mihajlova 35 YU-11000 Beograd