Rogić, Dragana

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  • Rogić, Dragana (5)
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Author's Bibliography

Architectural Space in the Wall Painting of the Roman Tomb in Brestovik

Nikolić, Emilija; Rogić, Dragana; Anđelković Grašar, Jelena

(Belgrade : Institute of Archaeology, 2018)

TY  - CHAP
AU  - Nikolić, Emilija
AU  - Rogić, Dragana
AU  - Anđelković Grašar, Jelena
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/410
AB  - Previous scientific research of the Roman tomb in the village of Brestovik, on the
Danube near Belgrade, was focused on its architectural structure. The painted decoration
is described in detail only in the work of Mihailo Valtrović, who recorded
what he saw during excavations at the end of the 19th century. Although there is an
assumption that all the rooms of the tomb were once painted, today the decoration
exists only in the room with graves, and in a very poor state of preservation.
Discussed in this paper is the treatment of space in the wall painting of the tomb,
with the use of imitations of architectural techniques and elements. Apart from the
imitation of the opus sectile technique on the walls of the tomb, as well as the coffered
ceiling painted on its vault, special attention will be devoted to the three-dimensional
presentation of the beams on the walls, since in the ancient painting in the territory
of today’s Serbia, it has been found only in the tomb in Brestovik.
PB  - Belgrade : Institute of Archaeology
T2  - Vivere Militare Est : From Populus to Emperors - Living on the Frontier
T1  - Architectural Space in the Wall Painting of the Roman Tomb in Brestovik
EP  - 268
SP  - 195
VL  - 2
ER  - 
@inbook{
author = "Nikolić, Emilija and Rogić, Dragana and Anđelković Grašar, Jelena",
year = "2018",
abstract = "Previous scientific research of the Roman tomb in the village of Brestovik, on the
Danube near Belgrade, was focused on its architectural structure. The painted decoration
is described in detail only in the work of Mihailo Valtrović, who recorded
what he saw during excavations at the end of the 19th century. Although there is an
assumption that all the rooms of the tomb were once painted, today the decoration
exists only in the room with graves, and in a very poor state of preservation.
Discussed in this paper is the treatment of space in the wall painting of the tomb,
with the use of imitations of architectural techniques and elements. Apart from the
imitation of the opus sectile technique on the walls of the tomb, as well as the coffered
ceiling painted on its vault, special attention will be devoted to the three-dimensional
presentation of the beams on the walls, since in the ancient painting in the territory
of today’s Serbia, it has been found only in the tomb in Brestovik.",
publisher = "Belgrade : Institute of Archaeology",
journal = "Vivere Militare Est : From Populus to Emperors - Living on the Frontier",
booktitle = "Architectural Space in the Wall Painting of the Roman Tomb in Brestovik",
pages = "268-195",
volume = "2"
}
Nikolić, E., Rogić, D.,& Anđelković Grašar, J.. (2018). Architectural Space in the Wall Painting of the Roman Tomb in Brestovik. in Vivere Militare Est : From Populus to Emperors - Living on the Frontier
Belgrade : Institute of Archaeology., 2, 195-268.
Nikolić E, Rogić D, Anđelković Grašar J. Architectural Space in the Wall Painting of the Roman Tomb in Brestovik. in Vivere Militare Est : From Populus to Emperors - Living on the Frontier. 2018;2:195-268..
Nikolić, Emilija, Rogić, Dragana, Anđelković Grašar, Jelena, "Architectural Space in the Wall Painting of the Roman Tomb in Brestovik" in Vivere Militare Est : From Populus to Emperors - Living on the Frontier, 2 (2018):195-268.

Painted Decoration from a Viminacium Tomb

Rogić, Dragana

(Belgrade : Institute of Archaeology, 2018)

TY  - CHAP
AU  - Rogić, Dragana
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/409
AB  - This paper addresses the technological and iconographic aspects of the wall painting
of tomb 3130. The tomb differs from most tombs with preserved wall painting in Viminacium
by its vaulted architectural construction. During the conservation of the
wall painting in 2017, significant technological and iconographic conclusions were
reached. An attempt was made to identify the stone panels of the lateral sides and the
motifs on the frontal sides of the tomb by iconographic interpretation.
PB  - Belgrade : Institute of Archaeology
T2  - Vivere Militare Est : From Populus to Emperors - Living on the Frontier
T1  - Painted Decoration from a Viminacium Tomb
EP  - 193
SP  - 163
VL  - 2
ER  - 
@inbook{
author = "Rogić, Dragana",
year = "2018",
abstract = "This paper addresses the technological and iconographic aspects of the wall painting
of tomb 3130. The tomb differs from most tombs with preserved wall painting in Viminacium
by its vaulted architectural construction. During the conservation of the
wall painting in 2017, significant technological and iconographic conclusions were
reached. An attempt was made to identify the stone panels of the lateral sides and the
motifs on the frontal sides of the tomb by iconographic interpretation.",
publisher = "Belgrade : Institute of Archaeology",
journal = "Vivere Militare Est : From Populus to Emperors - Living on the Frontier",
booktitle = "Painted Decoration from a Viminacium Tomb",
pages = "193-163",
volume = "2"
}
Rogić, D.. (2018). Painted Decoration from a Viminacium Tomb. in Vivere Militare Est : From Populus to Emperors - Living on the Frontier
Belgrade : Institute of Archaeology., 2, 163-193.
Rogić D. Painted Decoration from a Viminacium Tomb. in Vivere Militare Est : From Populus to Emperors - Living on the Frontier. 2018;2:163-193..
Rogić, Dragana, "Painted Decoration from a Viminacium Tomb" in Vivere Militare Est : From Populus to Emperors - Living on the Frontier, 2 (2018):163-193.

'Grobnica sa kupidonima' iz Viminacijuma - prilog proučavanju konstrukcije, ikonografije i stila

Anđelković-Grašar, Jelena; Nikolić, Emilija; Rogić, Dragana

(Arheološki institut, Beograd, 2013)

TY  - JOUR
AU  - Anđelković-Grašar, Jelena
AU  - Nikolić, Emilija
AU  - Rogić, Dragana
PY  - 2013
UR  - http://rai.ai.ac.rs/handle/123456789/194
AB  - Fresko oslikana grobnica G-160, poznata je kao 'Grobnica sa kupidonima', zbog predstave kupidona na istočnom zidu. Otkrivena je 2003. godine na viminacijumskoj nekropoli 'Pirivoj', gde se i danas prezentuje javnosti in situ. Konstrukcija grobnice ima trapezni presek. U okviru analize konstrukcije grobnice, u ovom, kao i u ostalim fresko oslikanim grobnicama, vidimo geometrije koje su bliske idealnom slučaju upisivanja trapeznog preseka u jednakokraki trougao sa uglom od 72°. Ove geometrije mogu biti povezane sa zlatnim presekom, što naglašava mogućnost njegovog postojanja i u okviru slikarstva jedne grobnice. Čeoni zidovi grobnice G-160 (zapadni i istočni) imaju oblik trapeza, dok su podužni, iskošeni zidovi (severni i južni) u obliku pravougaonika. Freske zapadnog zida nisu sačuvane, ali u okviru tumačenja ikonografije i simetrije, mogući zaključak je da su prikazivale portrete pokojnika. Istočni zid sadrži scenu sa kupidonima, kalatosom, girlandama i cvetom. Južni i severni zid imaju isti raspored polja i scena i, u odnosu na zapadni zid, postavljeni su u simetriji leve i desne ruke, odnosno kao u ogledalu. Među motivima ovih zidova su paunovi, ptice interpretirane kao golubice/prepelice/jarebice, vinova loza i scena sa prinošenjem darova (sluškinja na južnom i sluga na severnom zidu). Prema analogijama, a u okviru konteksta prostora grobnice, ovi motivi su jasna aluzija na raj i drugi život, kojem pokojnici pristupaju vođeni kupidonima i obezbeđeni darovima slugu. Eklektički manir slikanja, ukazuje na majstore lokalne radionice, koji su za uzor koristili dominirajuće stilove prekonstantinske i konstantinske umetnosti, što slikarstvo ove grobnice stavlja u sam početak IV veka.
AB  - The tomb G-160, known as the 'Tomb with Cupids', was discovered in 2003, during the excavations at the Pirivoj - Viminacium necropolis. The tomb has a trapezial section, characteristic for Viminacium tombs of the late antique period, and its interior was painted using the fresco technique. Scenes and motives are set on all four walls of the tomb. Since the western wall is damaged, the tomb is named after the depiction of cupids on the eastern wall. The wealth of the iconographic repertoire, together with an analysis of the geometry and symmetry, allowed the reconstruction of the conceptual context and it can be concluded that the tomb was dedicated to Venus, or Dionysus. The tomb painting could be dated to the beginning of the 4th century, owing to the analysis of the style, which combines an eclectic Eastern expressionism, classicism and illusionism of the Constantine era.
PB  - Arheološki institut, Beograd
T2  - Starinar
T1  - 'Grobnica sa kupidonima' iz Viminacijuma - prilog proučavanju konstrukcije, ikonografije i stila
T1  - 'Tomb with cupids' from Viminacium: A contribution to research of construction, iconography and style
EP  - 100
IS  - 63
SP  - 73
DO  - 10.2298/STA1363073A
UR  - conv_755
ER  - 
@article{
author = "Anđelković-Grašar, Jelena and Nikolić, Emilija and Rogić, Dragana",
year = "2013",
abstract = "Fresko oslikana grobnica G-160, poznata je kao 'Grobnica sa kupidonima', zbog predstave kupidona na istočnom zidu. Otkrivena je 2003. godine na viminacijumskoj nekropoli 'Pirivoj', gde se i danas prezentuje javnosti in situ. Konstrukcija grobnice ima trapezni presek. U okviru analize konstrukcije grobnice, u ovom, kao i u ostalim fresko oslikanim grobnicama, vidimo geometrije koje su bliske idealnom slučaju upisivanja trapeznog preseka u jednakokraki trougao sa uglom od 72°. Ove geometrije mogu biti povezane sa zlatnim presekom, što naglašava mogućnost njegovog postojanja i u okviru slikarstva jedne grobnice. Čeoni zidovi grobnice G-160 (zapadni i istočni) imaju oblik trapeza, dok su podužni, iskošeni zidovi (severni i južni) u obliku pravougaonika. Freske zapadnog zida nisu sačuvane, ali u okviru tumačenja ikonografije i simetrije, mogući zaključak je da su prikazivale portrete pokojnika. Istočni zid sadrži scenu sa kupidonima, kalatosom, girlandama i cvetom. Južni i severni zid imaju isti raspored polja i scena i, u odnosu na zapadni zid, postavljeni su u simetriji leve i desne ruke, odnosno kao u ogledalu. Među motivima ovih zidova su paunovi, ptice interpretirane kao golubice/prepelice/jarebice, vinova loza i scena sa prinošenjem darova (sluškinja na južnom i sluga na severnom zidu). Prema analogijama, a u okviru konteksta prostora grobnice, ovi motivi su jasna aluzija na raj i drugi život, kojem pokojnici pristupaju vođeni kupidonima i obezbeđeni darovima slugu. Eklektički manir slikanja, ukazuje na majstore lokalne radionice, koji su za uzor koristili dominirajuće stilove prekonstantinske i konstantinske umetnosti, što slikarstvo ove grobnice stavlja u sam početak IV veka., The tomb G-160, known as the 'Tomb with Cupids', was discovered in 2003, during the excavations at the Pirivoj - Viminacium necropolis. The tomb has a trapezial section, characteristic for Viminacium tombs of the late antique period, and its interior was painted using the fresco technique. Scenes and motives are set on all four walls of the tomb. Since the western wall is damaged, the tomb is named after the depiction of cupids on the eastern wall. The wealth of the iconographic repertoire, together with an analysis of the geometry and symmetry, allowed the reconstruction of the conceptual context and it can be concluded that the tomb was dedicated to Venus, or Dionysus. The tomb painting could be dated to the beginning of the 4th century, owing to the analysis of the style, which combines an eclectic Eastern expressionism, classicism and illusionism of the Constantine era.",
publisher = "Arheološki institut, Beograd",
journal = "Starinar",
title = "'Grobnica sa kupidonima' iz Viminacijuma - prilog proučavanju konstrukcije, ikonografije i stila, 'Tomb with cupids' from Viminacium: A contribution to research of construction, iconography and style",
pages = "100-73",
number = "63",
doi = "10.2298/STA1363073A",
url = "conv_755"
}
Anđelković-Grašar, J., Nikolić, E.,& Rogić, D.. (2013). 'Grobnica sa kupidonima' iz Viminacijuma - prilog proučavanju konstrukcije, ikonografije i stila. in Starinar
Arheološki institut, Beograd.(63), 73-100.
https://doi.org/10.2298/STA1363073A
conv_755
Anđelković-Grašar J, Nikolić E, Rogić D. 'Grobnica sa kupidonima' iz Viminacijuma - prilog proučavanju konstrukcije, ikonografije i stila. in Starinar. 2013;(63):73-100.
doi:10.2298/STA1363073A
conv_755 .
Anđelković-Grašar, Jelena, Nikolić, Emilija, Rogić, Dragana, "'Grobnica sa kupidonima' iz Viminacijuma - prilog proučavanju konstrukcije, ikonografije i stila" in Starinar, no. 63 (2013):73-100,
https://doi.org/10.2298/STA1363073A .,
conv_755 .
2

Wreath: Its use and meaning in ancient visual culture

Rogić, Dragana; Anđelković-Grašar, Jelena; Nikolić, Emilija

(Univerzitet u Novom Sadu - Filozofski fakultet - Centar za empirijska istraživanja religije, Novi Sad, 2012)

TY  - JOUR
AU  - Rogić, Dragana
AU  - Anđelković-Grašar, Jelena
AU  - Nikolić, Emilija
PY  - 2012
UR  - http://rai.ai.ac.rs/handle/123456789/160
AB  - Kružni aranžman od cveća i lišća naziva se vencem. Venac je najčešće bio nošen na glavi, a bio je predstavljan i u umetnosti: u arhitektonskoj ili slikanoj dekoraciji, u skulpturi, na novcu ili upotrebnim predmetima. Prvobitno, venci su bili pravljeni od svežeg bilja. Vremenom su dobijali različite ukrase, a kasnije su često bili pravljeni i od drugih materijala. Kada su bili od zimzelenog lišća ukazivali su na večnost i trijumf, a korišćeni su u sportskim i cirkuskim igrama. Pored darivanja simboličkog pobedničkog venca, pobednicima Olimpijskih, Pitijskih i Istamijskih igara su ukazivane velike časti i nagrade, poput doživotnog izdržavanja, dok su filozofi bili nagrađivani samo palminim grančicama i vencima. U kontekstu pobede, venac je ovenčavao i glave rimskih imperatora, koje je često nagrađivala sama boginja Viktorija, u likovnom obrascu koji će kasnije postati osnova krunisanja u okviru vladarskih ikonografija. Stekavši značajnu simboličku ulogu, već svojom primenom u svakodnevnom životu antičkog čoveka, venac je postao i jedan od omiljenih motiva zagrobne umetnosti, gde je obezbeđivao trijumf nad smrću. Bilo da kruniše vojnika ili običnog čoveka, učestvujući u funkciji antičke heroizacije ili u životu hrišćanskog vernika, on predstavlja pobedonosni znak izabranih, nagrađenim vencem slave. Tako je postao i neizostavan element Hristovog monograma, koji u palminom ili lovorovom vencu, za vernike predstavlja vrhunac eshatološke ideje o pobedi nad smrću i vaskrsenjem. Tokom svog daljeg razvoja, venci su pravljeni od plemenitih metala, ukrašavani dragim kamenjem, te određene vrste kruna, vode direktno poreklo iz forme venca, tako i dalje podsećajući moćne vladare srednjeg veka da su svoju zemaljsku vlast primili od Boga koji je na nebu. Da se u podsvesti ljudi neke ideje i koncepti ne menjaju vekovima, a nasleđe ostaje duboko utkano u ono od čega smo svi arhetipski sazdani, pokazuje i mnoštvo narodnih običaja sačuvanih do danas, u kojima je venac taj koji označava ljubavnu sreću, zdravlje, zaštitu i uvek pobedu. .
AB  - Wreath is one of frequently used motives, both in funerary and decorative arts. This paper addresses these two aspects. Primarily, the paper deals with the visual identity of this motif in painting, mosaic, sculpture and relief, its functions and meaning as a utilitarian object, but also in the wider symbolic context, as an instrument of sovereign ideology. The basic idea is in the interpretation of pagan and Christian symbolism of the wreath, and inheritance of the role it had during different periods of time, where its meaning has been retained up to the present. The question that paper opens is the transformation of wreath to the crown, namely the extent to which the crown from it was developed. .
PB  - Univerzitet u Novom Sadu - Filozofski fakultet - Centar za empirijska istraživanja religije, Novi Sad
T2  - Religija i tolerancija
T1  - Wreath: Its use and meaning in ancient visual culture
EP  - 358
IS  - 18
SP  - 341
VL  - 10
UR  - conv_301
ER  - 
@article{
author = "Rogić, Dragana and Anđelković-Grašar, Jelena and Nikolić, Emilija",
year = "2012",
abstract = "Kružni aranžman od cveća i lišća naziva se vencem. Venac je najčešće bio nošen na glavi, a bio je predstavljan i u umetnosti: u arhitektonskoj ili slikanoj dekoraciji, u skulpturi, na novcu ili upotrebnim predmetima. Prvobitno, venci su bili pravljeni od svežeg bilja. Vremenom su dobijali različite ukrase, a kasnije su često bili pravljeni i od drugih materijala. Kada su bili od zimzelenog lišća ukazivali su na večnost i trijumf, a korišćeni su u sportskim i cirkuskim igrama. Pored darivanja simboličkog pobedničkog venca, pobednicima Olimpijskih, Pitijskih i Istamijskih igara su ukazivane velike časti i nagrade, poput doživotnog izdržavanja, dok su filozofi bili nagrađivani samo palminim grančicama i vencima. U kontekstu pobede, venac je ovenčavao i glave rimskih imperatora, koje je često nagrađivala sama boginja Viktorija, u likovnom obrascu koji će kasnije postati osnova krunisanja u okviru vladarskih ikonografija. Stekavši značajnu simboličku ulogu, već svojom primenom u svakodnevnom životu antičkog čoveka, venac je postao i jedan od omiljenih motiva zagrobne umetnosti, gde je obezbeđivao trijumf nad smrću. Bilo da kruniše vojnika ili običnog čoveka, učestvujući u funkciji antičke heroizacije ili u životu hrišćanskog vernika, on predstavlja pobedonosni znak izabranih, nagrađenim vencem slave. Tako je postao i neizostavan element Hristovog monograma, koji u palminom ili lovorovom vencu, za vernike predstavlja vrhunac eshatološke ideje o pobedi nad smrću i vaskrsenjem. Tokom svog daljeg razvoja, venci su pravljeni od plemenitih metala, ukrašavani dragim kamenjem, te određene vrste kruna, vode direktno poreklo iz forme venca, tako i dalje podsećajući moćne vladare srednjeg veka da su svoju zemaljsku vlast primili od Boga koji je na nebu. Da se u podsvesti ljudi neke ideje i koncepti ne menjaju vekovima, a nasleđe ostaje duboko utkano u ono od čega smo svi arhetipski sazdani, pokazuje i mnoštvo narodnih običaja sačuvanih do danas, u kojima je venac taj koji označava ljubavnu sreću, zdravlje, zaštitu i uvek pobedu. ., Wreath is one of frequently used motives, both in funerary and decorative arts. This paper addresses these two aspects. Primarily, the paper deals with the visual identity of this motif in painting, mosaic, sculpture and relief, its functions and meaning as a utilitarian object, but also in the wider symbolic context, as an instrument of sovereign ideology. The basic idea is in the interpretation of pagan and Christian symbolism of the wreath, and inheritance of the role it had during different periods of time, where its meaning has been retained up to the present. The question that paper opens is the transformation of wreath to the crown, namely the extent to which the crown from it was developed. .",
publisher = "Univerzitet u Novom Sadu - Filozofski fakultet - Centar za empirijska istraživanja religije, Novi Sad",
journal = "Religija i tolerancija",
title = "Wreath: Its use and meaning in ancient visual culture",
pages = "358-341",
number = "18",
volume = "10",
url = "conv_301"
}
Rogić, D., Anđelković-Grašar, J.,& Nikolić, E.. (2012). Wreath: Its use and meaning in ancient visual culture. in Religija i tolerancija
Univerzitet u Novom Sadu - Filozofski fakultet - Centar za empirijska istraživanja religije, Novi Sad., 10(18), 341-358.
conv_301
Rogić D, Anđelković-Grašar J, Nikolić E. Wreath: Its use and meaning in ancient visual culture. in Religija i tolerancija. 2012;10(18):341-358.
conv_301 .
Rogić, Dragana, Anđelković-Grašar, Jelena, Nikolić, Emilija, "Wreath: Its use and meaning in ancient visual culture" in Religija i tolerancija, 10, no. 18 (2012):341-358,
conv_301 .

Astragal und eiförmige motive auf Stuckdekor der Wandmalerei Sirmiums

Rogić, Dragana; Nikolić, Emilija; Jesretić, Miroslav

(Arheološki institut, Beograd, 2011)

TY  - JOUR
AU  - Rogić, Dragana
AU  - Nikolić, Emilija
AU  - Jesretić, Miroslav
PY  - 2011
UR  - http://rai.ai.ac.rs/handle/123456789/156
AB  - Im Laufe archäologischer Ausgrabungen 1977 kamen in Sremska Mitrovica, auf
   der Fundstelle Nr. 56, in einem Gebäude, dessen Grundriss und Typ nicht
   festgestellt werden konnten, neben anderen Funden auch mehrere Fragmente an
   Stuckdekoration zutage. In dieser Studie werden ihre Elemente parallel zu
   ähnlichen Motiven, die auf anderen in Sirmium gefundenen Wandmalereien
   auftreten, betrachtet.
PB  - Arheološki institut, Beograd
T2  - Starinar
T1  - Astragal und eiförmige motive auf Stuckdekor der Wandmalerei Sirmiums
EP  - 221
IS  - 61
SP  - 205
DO  - 10.2298/STA1161205R
UR  - conv_763
ER  - 
@article{
author = "Rogić, Dragana and Nikolić, Emilija and Jesretić, Miroslav",
year = "2011",
abstract = "Im Laufe archäologischer Ausgrabungen 1977 kamen in Sremska Mitrovica, auf
   der Fundstelle Nr. 56, in einem Gebäude, dessen Grundriss und Typ nicht
   festgestellt werden konnten, neben anderen Funden auch mehrere Fragmente an
   Stuckdekoration zutage. In dieser Studie werden ihre Elemente parallel zu
   ähnlichen Motiven, die auf anderen in Sirmium gefundenen Wandmalereien
   auftreten, betrachtet.",
publisher = "Arheološki institut, Beograd",
journal = "Starinar",
title = "Astragal und eiförmige motive auf Stuckdekor der Wandmalerei Sirmiums",
pages = "221-205",
number = "61",
doi = "10.2298/STA1161205R",
url = "conv_763"
}
Rogić, D., Nikolić, E.,& Jesretić, M.. (2011). Astragal und eiförmige motive auf Stuckdekor der Wandmalerei Sirmiums. in Starinar
Arheološki institut, Beograd.(61), 205-221.
https://doi.org/10.2298/STA1161205R
conv_763
Rogić D, Nikolić E, Jesretić M. Astragal und eiförmige motive auf Stuckdekor der Wandmalerei Sirmiums. in Starinar. 2011;(61):205-221.
doi:10.2298/STA1161205R
conv_763 .
Rogić, Dragana, Nikolić, Emilija, Jesretić, Miroslav, "Astragal und eiförmige motive auf Stuckdekor der Wandmalerei Sirmiums" in Starinar, no. 61 (2011):205-221,
https://doi.org/10.2298/STA1161205R .,
conv_763 .