TY  - CHAP
AU  - Anđelković Grašar, Jelena
PY  - 2023
UR  - http://rai.ai.ac.rs/handle/123456789/1509
AB  - Located at the crossroads of different civilizations, the territory of the Central Balkans displays rich and diverse cultural, social, and religious heritage. The geopolitical complexity of the region shaped every aspect of its material culture and is also evident in the versatile types of visual representations of imperial women. Usually based on the archetype of the divine heiress and intended for imperial propaganda, the most common female imperial image types include an empress as paired ruler, an independent sovereign, and a religious figure evocative of a maternal or virginal ideal. Rooted in historical stereotypes of noble women and based on the archetype of the divine one, empress image types influenced representations of ordinary women and, as such, they constructed the idea of a prototype which it was desirable to imitate.
PB  - Brill
T2  - Type and Archetype in Late Antique and Byzantine Art and Architecture
T1  - Type and Archetype in Late Antique Empress imagery in the Central Balkans
EP  - 42
SP  - 15
DO  - 10.1163/9789004537781_003
ER  - 

@inbook{
author = "Anđelković Grašar, Jelena",
year = "2023",
abstract = "Located at the crossroads of different civilizations, the territory of the Central Balkans displays rich and diverse cultural, social, and religious heritage. The geopolitical complexity of the region shaped every aspect of its material culture and is also evident in the versatile types of visual representations of imperial women. Usually based on the archetype of the divine heiress and intended for imperial propaganda, the most common female imperial image types include an empress as paired ruler, an independent sovereign, and a religious figure evocative of a maternal or virginal ideal. Rooted in historical stereotypes of noble women and based on the archetype of the divine one, empress image types influenced representations of ordinary women and, as such, they constructed the idea of a prototype which it was desirable to imitate.",
publisher = "Brill",
journal = "Type and Archetype in Late Antique and Byzantine Art and Architecture",
booktitle = "Type and Archetype in Late Antique Empress imagery in the Central Balkans",
pages = "42-15",
doi = "10.1163/9789004537781_003"
}

Anđelković Grašar, J.. (2023). Type and Archetype in Late Antique Empress imagery in the Central Balkans. in Type and Archetype in Late Antique and Byzantine Art and Architecture
Brill., 15-42.
https://doi.org/10.1163/9789004537781_003

Anđelković Grašar J. Type and Archetype in Late Antique Empress imagery in the Central Balkans. in Type and Archetype in Late Antique and Byzantine Art and Architecture. 2023;:15-42.
doi:10.1163/9789004537781_003 .

Anđelković Grašar, Jelena, "Type and Archetype in Late Antique Empress imagery in the Central Balkans" in Type and Archetype in Late Antique and Byzantine Art and Architecture (2023):15-42,
https://doi.org/10.1163/9789004537781_003 . .

TY  - JOUR
AU  - Gavrilović Vitas, Nadežda
AU  - Anđelković Grašar, Jelena
PY  - 2023
UR  - http://rai.ai.ac.rs/handle/123456789/1439
AB  - During the archaeological excavations in the north-eastern part of thermae at Constantine the Great’s villa in Mediana in 2022 campaign, in the layer of debris two fragments of marble relief with the presentation of Nike/Victoria standing on the globe were discovered. The fine grain white marble used for the icon with its exquisite modelling suggests that the icon was made from expensive marble by the hands of a skilful artisan in the 2nd or the 3rd century. The fact that the relief was discovered in the area of an imperial residential complex relates it to other known Central Balkan finds with Victoria’s representations, discovered in Galerius’ imperial domain Felix Romuliana and Moesia Superior’s capital Viminacium. All these mythological objects can be dated into the period of the 3rd and the 4th century, attesting that the goddess’ symbolism did not lose any of its popularity in the period of Late Antiquity – on the contrary, it announced the transformation of the goddess into an angel and later on, as the one who blessed the emperors during their coronation. Thus, the question of Victoria’s different roles (goddess or personification) again rises, gaining a new meaning in the early Byzantine period.
PB  - Beograd : Arheološki institut
T2  - Starinar
T1  - Nike/Victoria representations in Late Antique Central Balkans
EP  - 141
SP  - 121
VL  - LXXIII
DO  - 10.2298/STA2373121G
ER  - 

@article{
author = "Gavrilović Vitas, Nadežda and Anđelković Grašar, Jelena",
year = "2023",
abstract = "During the archaeological excavations in the north-eastern part of thermae at Constantine the Great’s villa in Mediana in 2022 campaign, in the layer of debris two fragments of marble relief with the presentation of Nike/Victoria standing on the globe were discovered. The fine grain white marble used for the icon with its exquisite modelling suggests that the icon was made from expensive marble by the hands of a skilful artisan in the 2nd or the 3rd century. The fact that the relief was discovered in the area of an imperial residential complex relates it to other known Central Balkan finds with Victoria’s representations, discovered in Galerius’ imperial domain Felix Romuliana and Moesia Superior’s capital Viminacium. All these mythological objects can be dated into the period of the 3rd and the 4th century, attesting that the goddess’ symbolism did not lose any of its popularity in the period of Late Antiquity – on the contrary, it announced the transformation of the goddess into an angel and later on, as the one who blessed the emperors during their coronation. Thus, the question of Victoria’s different roles (goddess or personification) again rises, gaining a new meaning in the early Byzantine period.",
publisher = "Beograd : Arheološki institut",
journal = "Starinar",
title = "Nike/Victoria representations in Late Antique Central Balkans",
pages = "141-121",
volume = "LXXIII",
doi = "10.2298/STA2373121G"
}

Gavrilović Vitas, N.,& Anđelković Grašar, J.. (2023). Nike/Victoria representations in Late Antique Central Balkans. in Starinar
Beograd : Arheološki institut., LXXIII, 121-141.
https://doi.org/10.2298/STA2373121G

Gavrilović Vitas N, Anđelković Grašar J. Nike/Victoria representations in Late Antique Central Balkans. in Starinar. 2023;LXXIII:121-141.
doi:10.2298/STA2373121G .

Gavrilović Vitas, Nadežda, Anđelković Grašar, Jelena, "Nike/Victoria representations in Late Antique Central Balkans" in Starinar, LXXIII (2023):121-141,
https://doi.org/10.2298/STA2373121G . .

TY  - CHAP
AU  - Vojvoda, Mirjana
AU  - Anđelković Grašar, Jelena
PY  - 2022
UR  - http://rai.ai.ac.rs/handle/123456789/477
AB  - Војни логор у Виминацијуму настао је
највероватније већ почетком 1. века н. е. када
Римљани продиру у овај део Подунавља. Војна
организација на Дунаву била је по својој при-
лици истовремена са оснивањем провинције
Мезије, које се датује у 15. годину н. е. Тежња
Римљана за успостављањем легијских логора
на Дунаву, чиме су добили сигурнију границу,
била је мотивисана потребом да се заштите
римске области на југу Балкана од пљачкаш-
ких похода са севера. Покоравање слободних
племена између провинције Македоније и Ду-
нава трајало је током последње три деценије 1.
века пре н. е. и завршило се постепеним поме-
рањем легија из Македоније на север и осни-
вањем провинције Мезије, која се простирала
од Саве до Црног мора. Врло брзо се показало
да је провинција сувише велика да би се могла
ефикасно штитити и због тога је 86. године н.
е. подељена на две: Горњу и Доњу Мезију.
AB  - The legionary fort in Viminacium was
most likely established at the beginning of the
1st century CE, as the Romans reached this part
of the Danube Valley. It seems that organising
the military on the Danube occurred simultaneously
with the establishment of the province
of Moesia, in the year 15 CE. The Romans’ tendency
to establish legionary forts on the Danube
and to obtain a border that would be more
secure was motivated by the need to protect the
Roman provinces in the south of the Balkans
from plunderers from the north. Subordinating
free tribes that used to dwell between the province
of Macedonia and the Danube occurred
over the three final decades of the 1st century
BCE and ended with a gradual movement of legions
from Macedonia towards the north and
the establishment the province of Moesia. This
stretched from the river Sava to the Black Sea. It
soon became apparent that the province was too
big to be effectively controlled and, as a result,
in the year 86 CE, it was divided into two parts:
Upper and Lower Moesia.
PB  - Beograd : Arheološki institut
T2  - Vivere in vrbe Viminacium
T1  - Viminacijum – istorijat i istraživanja
VL  - 1
UR  - https://hdl.handle.net/21.15107/rcub_rai_477
ER  - 

@inbook{
author = "Vojvoda, Mirjana and Anđelković Grašar, Jelena",
year = "2022",
abstract = "Војни логор у Виминацијуму настао је
највероватније већ почетком 1. века н. е. када
Римљани продиру у овај део Подунавља. Војна
организација на Дунаву била је по својој при-
лици истовремена са оснивањем провинције
Мезије, које се датује у 15. годину н. е. Тежња
Римљана за успостављањем легијских логора
на Дунаву, чиме су добили сигурнију границу,
била је мотивисана потребом да се заштите
римске области на југу Балкана од пљачкаш-
ких похода са севера. Покоравање слободних
племена између провинције Македоније и Ду-
нава трајало је током последње три деценије 1.
века пре н. е. и завршило се постепеним поме-
рањем легија из Македоније на север и осни-
вањем провинције Мезије, која се простирала
од Саве до Црног мора. Врло брзо се показало
да је провинција сувише велика да би се могла
ефикасно штитити и због тога је 86. године н.
е. подељена на две: Горњу и Доњу Мезију., The legionary fort in Viminacium was
most likely established at the beginning of the
1st century CE, as the Romans reached this part
of the Danube Valley. It seems that organising
the military on the Danube occurred simultaneously
with the establishment of the province
of Moesia, in the year 15 CE. The Romans’ tendency
to establish legionary forts on the Danube
and to obtain a border that would be more
secure was motivated by the need to protect the
Roman provinces in the south of the Balkans
from plunderers from the north. Subordinating
free tribes that used to dwell between the province
of Macedonia and the Danube occurred
over the three final decades of the 1st century
BCE and ended with a gradual movement of legions
from Macedonia towards the north and
the establishment the province of Moesia. This
stretched from the river Sava to the Black Sea. It
soon became apparent that the province was too
big to be effectively controlled and, as a result,
in the year 86 CE, it was divided into two parts:
Upper and Lower Moesia.",
publisher = "Beograd : Arheološki institut",
journal = "Vivere in vrbe Viminacium",
booktitle = "Viminacijum – istorijat i istraživanja",
volume = "1",
url = "https://hdl.handle.net/21.15107/rcub_rai_477"
}

Vojvoda, M.,& Anđelković Grašar, J.. (2022). Viminacijum – istorijat i istraživanja. in Vivere in vrbe Viminacium
Beograd : Arheološki institut., 1.
https://hdl.handle.net/21.15107/rcub_rai_477

Vojvoda M, Anđelković Grašar J. Viminacijum – istorijat i istraživanja. in Vivere in vrbe Viminacium. 2022;1.
https://hdl.handle.net/21.15107/rcub_rai_477 .

Vojvoda, Mirjana, Anđelković Grašar, Jelena, "Viminacijum – istorijat i istraživanja" in Vivere in vrbe Viminacium, 1 (2022),
https://hdl.handle.net/21.15107/rcub_rai_477 .

TY  - CHAP
AU  - Tapavički-Ilić, Milica
AU  - Nikolić, Emilija
AU  - Anđelković Grašar, Jelena
PY  - 2022
UR  - http://rai.ai.ac.rs/handle/123456789/1521
AB  - Viminacium was one of the most important Roman legionary fortresses along the Danube and the capital of the Roman province Moesia Superior. Today it is the archaeological site in Serbia with necropolises considered to be among the largest discovered until today from the Roman period. From 2006, all discovered remains on the site have been presented within Viminacium Archaeological Park. The material and immaterial heritage of the site were presented in accordance with the modern methods in the field of cultural heritage protection, among which the interpretation was one of the most important. Special attention was paid to the popularization of the site which resulted in the growth of the cultural and, specifically, archaeological tourism in Serbia. With promotion of Viminacium in Europe and the world, Roman heritage in Serbia gained the opportunity to be recognized as a part of the global cultural heritage. Finally, the importance of the touristic potentials and the true value of the site have been recognized by the local community whose members are employed in the Park. Every year the touristic capacity of the Park grows, and it is enriched with new structures dedicated to various activities. Following the modern age and digital revolution, the visit to Viminacium Archaeological Park is also possible by virtual tour.
PB  - Springer, Cham.
T2  - Handbook of Cultural Heritage Analysis
T1  - Managing the Archeological Park and Open-Air Museum Viminacium (Serbia)
EP  - 2107
SP  - 2073
DO  - 10.1007/978-3-030-60016-7_72
ER  - 

@inbook{
author = "Tapavički-Ilić, Milica and Nikolić, Emilija and Anđelković Grašar, Jelena",
year = "2022",
abstract = "Viminacium was one of the most important Roman legionary fortresses along the Danube and the capital of the Roman province Moesia Superior. Today it is the archaeological site in Serbia with necropolises considered to be among the largest discovered until today from the Roman period. From 2006, all discovered remains on the site have been presented within Viminacium Archaeological Park. The material and immaterial heritage of the site were presented in accordance with the modern methods in the field of cultural heritage protection, among which the interpretation was one of the most important. Special attention was paid to the popularization of the site which resulted in the growth of the cultural and, specifically, archaeological tourism in Serbia. With promotion of Viminacium in Europe and the world, Roman heritage in Serbia gained the opportunity to be recognized as a part of the global cultural heritage. Finally, the importance of the touristic potentials and the true value of the site have been recognized by the local community whose members are employed in the Park. Every year the touristic capacity of the Park grows, and it is enriched with new structures dedicated to various activities. Following the modern age and digital revolution, the visit to Viminacium Archaeological Park is also possible by virtual tour.",
publisher = "Springer, Cham.",
journal = "Handbook of Cultural Heritage Analysis",
booktitle = "Managing the Archeological Park and Open-Air Museum Viminacium (Serbia)",
pages = "2107-2073",
doi = "10.1007/978-3-030-60016-7_72"
}

Tapavički-Ilić, M., Nikolić, E.,& Anđelković Grašar, J.. (2022). Managing the Archeological Park and Open-Air Museum Viminacium (Serbia). in Handbook of Cultural Heritage Analysis
Springer, Cham.., 2073-2107.
https://doi.org/10.1007/978-3-030-60016-7_72

Tapavički-Ilić M, Nikolić E, Anđelković Grašar J. Managing the Archeological Park and Open-Air Museum Viminacium (Serbia). in Handbook of Cultural Heritage Analysis. 2022;:2073-2107.
doi:10.1007/978-3-030-60016-7_72 .

Tapavički-Ilić, Milica, Nikolić, Emilija, Anđelković Grašar, Jelena, "Managing the Archeological Park and Open-Air Museum Viminacium (Serbia)" in Handbook of Cultural Heritage Analysis (2022):2073-2107,
https://doi.org/10.1007/978-3-030-60016-7_72 . .

TY  - CHAP
AU  - Vojvoda, Mirjana
AU  - Anđelković Grašar, Jelena
PY  - 2022
UR  - http://rai.ai.ac.rs/handle/123456789/667
AB  - The legionary fort in Viminacium was
most likely established at the beginning of the
1st century CE, as the Romans reached this part
of the Danube Valley. It seems that organising
the military on the Danube occurred simultaneously
with the establishment of the province
of Moesia, in the year 15 CE. The Romans’ tendency
to establish legionary forts on the Danube
and to obtain a border that would be more
secure was motivated by the need to protect the
Roman provinces in the south of the Balkans
from plunderers from the north. Subordinating
free tribes that used to dwell between the province
of Macedonia and the Danube occurred
over the three final decades of the 1st century
BCE and ended with a gradual movement of legions
from Macedonia towards the north and
the establishment the province of Moesia. This
stretched from the river Sava to the Black Sea. It
soon became apparent that the province was too
big to be effectively controlled and, as a result,
in the year 86 CE, it was divided into two parts:
Upper and Lower Moesia.
PB  - Beograd : Arheološki institut
T2  - Vivere in vrbe Viminacivm Vol. 1
T1  - Viminacium – History and Research
T1  - Виминацијум - историјат истраживања
EP  - 19
SP  - 9
UR  - https://hdl.handle.net/21.15107/rcub_rai_667
ER  - 

@inbook{
author = "Vojvoda, Mirjana and Anđelković Grašar, Jelena",
year = "2022",
abstract = "The legionary fort in Viminacium was
most likely established at the beginning of the
1st century CE, as the Romans reached this part
of the Danube Valley. It seems that organising
the military on the Danube occurred simultaneously
with the establishment of the province
of Moesia, in the year 15 CE. The Romans’ tendency
to establish legionary forts on the Danube
and to obtain a border that would be more
secure was motivated by the need to protect the
Roman provinces in the south of the Balkans
from plunderers from the north. Subordinating
free tribes that used to dwell between the province
of Macedonia and the Danube occurred
over the three final decades of the 1st century
BCE and ended with a gradual movement of legions
from Macedonia towards the north and
the establishment the province of Moesia. This
stretched from the river Sava to the Black Sea. It
soon became apparent that the province was too
big to be effectively controlled and, as a result,
in the year 86 CE, it was divided into two parts:
Upper and Lower Moesia.",
publisher = "Beograd : Arheološki institut",
journal = "Vivere in vrbe Viminacivm Vol. 1",
booktitle = "Viminacium – History and Research, Виминацијум - историјат истраживања",
pages = "19-9",
url = "https://hdl.handle.net/21.15107/rcub_rai_667"
}

Vojvoda, M.,& Anđelković Grašar, J.. (2022). Viminacium – History and Research. in Vivere in vrbe Viminacivm Vol. 1
Beograd : Arheološki institut., 9-19.
https://hdl.handle.net/21.15107/rcub_rai_667

Vojvoda M, Anđelković Grašar J. Viminacium – History and Research. in Vivere in vrbe Viminacivm Vol. 1. 2022;:9-19.
https://hdl.handle.net/21.15107/rcub_rai_667 .

Vojvoda, Mirjana, Anđelković Grašar, Jelena, "Viminacium – History and Research" in Vivere in vrbe Viminacivm Vol. 1 (2022):9-19,
https://hdl.handle.net/21.15107/rcub_rai_667 .

TY  - CHAP
AU  - Anđelković Grašar, Jelena
AU  - Jevtović, Ljubomir
PY  - 2022
UR  - https://doi.org/10.18485/arhe_iahip.2022
UR  - http://rai.ai.ac.rs/handle/123456789/609
AB  - Today, the valorization of cultural heritage is seen as a complex process, which is primarily based on an interdisciplinary approach, greatly surpassing the known concepts of protection, presentation or interpretation. Certainly, the foundations of adequate valorization of cultural heritage should primarily be shaped by knowledge about it, and formal education must necessarily be seen as one of the basic carriers of information and the initial phase of continuous work on developing awareness of the importance of heritage. Therefore, the first valuation of heritage is inextricably linked to the knowledge gained in schools, at the first place - primary, and more importantly in the secondary. From all the above, it follows that it is necessary to make cultural, and especially archaeological heritage, as accessible as possible for the educational system through an appropriate methodological approach and modern tools, as well as examples of good practice, whether on an international, national or local level. On the other hand, in order to achieve this kind of synergy, the interpretation of cultural heritage in all three mentioned segments plays a very important role. It enables the development of teaching methodologies through non-formal learning and the application of practical knowledge formed through the use of various educational tools, while through examples of good practice it develops a sense of acceptance (adoption) and evaluation of heritage in local environments. This type of dialogue between formal education and interpretation of cultural heritage is one of the topics researched by the TRAME project - Tracce di memoria from the Erasmus + program, and on this occasion the main results of the project will be presented.
PB  - Belgrade : Serbian Archaeological Society
PB  - Belgrade : Institute of Archaeology
T2  - Integration of archaeological heritage interpretation into practice: concepts and case studies
T1  - Interpretation of Cultural Heritage and Formal Education: ‘’TRAME’’ Erasmus+ Project Serbia Participation
EP  - 76
SP  - 63
DO  - https://doi.org/10.18485/arhe_iahip.2022.ch6
ER  - 

@inbook{
author = "Anđelković Grašar, Jelena and Jevtović, Ljubomir",
year = "2022",
abstract = "Today, the valorization of cultural heritage is seen as a complex process, which is primarily based on an interdisciplinary approach, greatly surpassing the known concepts of protection, presentation or interpretation. Certainly, the foundations of adequate valorization of cultural heritage should primarily be shaped by knowledge about it, and formal education must necessarily be seen as one of the basic carriers of information and the initial phase of continuous work on developing awareness of the importance of heritage. Therefore, the first valuation of heritage is inextricably linked to the knowledge gained in schools, at the first place - primary, and more importantly in the secondary. From all the above, it follows that it is necessary to make cultural, and especially archaeological heritage, as accessible as possible for the educational system through an appropriate methodological approach and modern tools, as well as examples of good practice, whether on an international, national or local level. On the other hand, in order to achieve this kind of synergy, the interpretation of cultural heritage in all three mentioned segments plays a very important role. It enables the development of teaching methodologies through non-formal learning and the application of practical knowledge formed through the use of various educational tools, while through examples of good practice it develops a sense of acceptance (adoption) and evaluation of heritage in local environments. This type of dialogue between formal education and interpretation of cultural heritage is one of the topics researched by the TRAME project - Tracce di memoria from the Erasmus + program, and on this occasion the main results of the project will be presented.",
publisher = "Belgrade : Serbian Archaeological Society, Belgrade : Institute of Archaeology",
journal = "Integration of archaeological heritage interpretation into practice: concepts and case studies",
booktitle = "Interpretation of Cultural Heritage and Formal Education: ‘’TRAME’’ Erasmus+ Project Serbia Participation",
pages = "76-63",
doi = "https://doi.org/10.18485/arhe_iahip.2022.ch6"
}

Anđelković Grašar, J.,& Jevtović, L.. (2022). Interpretation of Cultural Heritage and Formal Education: ‘’TRAME’’ Erasmus+ Project Serbia Participation. in Integration of archaeological heritage interpretation into practice: concepts and case studies
Belgrade : Serbian Archaeological Society., 63-76.
https://doi.org/https://doi.org/10.18485/arhe_iahip.2022.ch6

Anđelković Grašar J, Jevtović L. Interpretation of Cultural Heritage and Formal Education: ‘’TRAME’’ Erasmus+ Project Serbia Participation. in Integration of archaeological heritage interpretation into practice: concepts and case studies. 2022;:63-76.
doi:https://doi.org/10.18485/arhe_iahip.2022.ch6 .

Anđelković Grašar, Jelena, Jevtović, Ljubomir, "Interpretation of Cultural Heritage and Formal Education: ‘’TRAME’’ Erasmus+ Project Serbia Participation" in Integration of archaeological heritage interpretation into practice: concepts and case studies (2022):63-76,
https://doi.org/https://doi.org/10.18485/arhe_iahip.2022.ch6 . .

TY  - CHAP
AU  - Nikolić, Emilija
AU  - Anđelković Grašar, Jelena
PY  - 2021
UR  - http://rai.ai.ac.rs/handle/123456789/550
AB  - U periodu od 11. septembra do 15. septembra 2018. godine u Pragu je održana peta godišnja ceremonija dodele nagrada pod imenom „Živa Award 2018 – Award for the Best Slavic Museum“, uorganizaciji Foruma slovenskih kultura (Forum of Slavic Cultures). Upravo je Arheološki park Viminacijum bio dobitnik jedne od prestižnih nagrada ove godine, odnosno priznanja pod imenom „Special Recognition for Leadership“,
PB  - Beograd : Arheološki institut
T2  - Arheologija u Srbiji. Projekti Arheološkog instituta u 2018. godini
T1  - Arheološki park Viminacijum i Živa Award 2018
EP  - 325
SP  - 317
UR  - https://hdl.handle.net/21.15107/rcub_rai_550
ER  - 

@inbook{
author = "Nikolić, Emilija and Anđelković Grašar, Jelena",
year = "2021",
abstract = "U periodu od 11. septembra do 15. septembra 2018. godine u Pragu je održana peta godišnja ceremonija dodele nagrada pod imenom „Živa Award 2018 – Award for the Best Slavic Museum“, uorganizaciji Foruma slovenskih kultura (Forum of Slavic Cultures). Upravo je Arheološki park Viminacijum bio dobitnik jedne od prestižnih nagrada ove godine, odnosno priznanja pod imenom „Special Recognition for Leadership“,",
publisher = "Beograd : Arheološki institut",
journal = "Arheologija u Srbiji. Projekti Arheološkog instituta u 2018. godini",
booktitle = "Arheološki park Viminacijum i Živa Award 2018",
pages = "325-317",
url = "https://hdl.handle.net/21.15107/rcub_rai_550"
}

Nikolić, E.,& Anđelković Grašar, J.. (2021). Arheološki park Viminacijum i Živa Award 2018. in Arheologija u Srbiji. Projekti Arheološkog instituta u 2018. godini
Beograd : Arheološki institut., 317-325.
https://hdl.handle.net/21.15107/rcub_rai_550

Nikolić E, Anđelković Grašar J. Arheološki park Viminacijum i Živa Award 2018. in Arheologija u Srbiji. Projekti Arheološkog instituta u 2018. godini. 2021;:317-325.
https://hdl.handle.net/21.15107/rcub_rai_550 .

Nikolić, Emilija, Anđelković Grašar, Jelena, "Arheološki park Viminacijum i Živa Award 2018" in Arheologija u Srbiji. Projekti Arheološkog instituta u 2018. godini (2021):317-325,
https://hdl.handle.net/21.15107/rcub_rai_550 .

TY  - JOUR
AU  - Anđelković Grašar, Jelena
AU  - Mladenović, Mladen
AU  - Gavrilović, Ana
AU  - Grujić, Danica
AU  - Đerković, Predrag
AU  - Perić, Peđa
AU  - Ilić, Ivan
PY  - 2021
UR  - http://rai.ai.ac.rs/handle/123456789/1313
AB  - The Roman Festival in Ptuj aims to connect the local community and visitors with the Roman heritage and present a part of Roman life that includes the army, gladiatorial fights, conflicts with the Barbarians, traditional Roman food, craftsmen, etc. Within the project “Sadike na prihodnost” supported by the Erasmus + programme, some educational activities were organised during the event. This was a good opportunity for the creation of specific and thematically defined archaeological workshops, which were used as a good educational approach in communication between professionals and the wider public. Visitors were also able to get acquainted with the skills required for the slingshot used by Roman soldiers, through a practical workshop that students prepared. In such a way it can be said that the project results contributed to a widening educational approach towards the Ptuj public and the local community.
PB  - Beograd: Centar za nove tehnologije Viminacium: Arheološki institut
T2  - 135 Archaeology and Science 17, 2021
T1  - Archaeology Workshops as an Educational Approach in Communication with the Public – Case Study Roman Games in Ptuj
DO  - https://doi.org/10.18485/arhe_apn.2021.17.8
ER  - 

@article{
author = "Anđelković Grašar, Jelena and Mladenović, Mladen and Gavrilović, Ana and Grujić, Danica and Đerković, Predrag and Perić, Peđa and Ilić, Ivan",
year = "2021",
abstract = "The Roman Festival in Ptuj aims to connect the local community and visitors with the Roman heritage and present a part of Roman life that includes the army, gladiatorial fights, conflicts with the Barbarians, traditional Roman food, craftsmen, etc. Within the project “Sadike na prihodnost” supported by the Erasmus + programme, some educational activities were organised during the event. This was a good opportunity for the creation of specific and thematically defined archaeological workshops, which were used as a good educational approach in communication between professionals and the wider public. Visitors were also able to get acquainted with the skills required for the slingshot used by Roman soldiers, through a practical workshop that students prepared. In such a way it can be said that the project results contributed to a widening educational approach towards the Ptuj public and the local community.",
publisher = "Beograd: Centar za nove tehnologije Viminacium: Arheološki institut",
journal = "135 Archaeology and Science 17, 2021",
title = "Archaeology Workshops as an Educational Approach in Communication with the Public – Case Study Roman Games in Ptuj",
doi = "https://doi.org/10.18485/arhe_apn.2021.17.8"
}

Anđelković Grašar, J., Mladenović, M., Gavrilović, A., Grujić, D., Đerković, P., Perić, P.,& Ilić, I.. (2021). Archaeology Workshops as an Educational Approach in Communication with the Public – Case Study Roman Games in Ptuj. in 135 Archaeology and Science 17, 2021
Beograd: Centar za nove tehnologije Viminacium: Arheološki institut..
https://doi.org/https://doi.org/10.18485/arhe_apn.2021.17.8

Anđelković Grašar J, Mladenović M, Gavrilović A, Grujić D, Đerković P, Perić P, Ilić I. Archaeology Workshops as an Educational Approach in Communication with the Public – Case Study Roman Games in Ptuj. in 135 Archaeology and Science 17, 2021. 2021;.
doi:https://doi.org/10.18485/arhe_apn.2021.17.8 .

Anđelković Grašar, Jelena, Mladenović, Mladen, Gavrilović, Ana, Grujić, Danica, Đerković, Predrag, Perić, Peđa, Ilić, Ivan, "Archaeology Workshops as an Educational Approach in Communication with the Public – Case Study Roman Games in Ptuj" in 135 Archaeology and Science 17, 2021 (2021),
https://doi.org/https://doi.org/10.18485/arhe_apn.2021.17.8 . .

TY  - CONF
AU  - Tapavički-Ilić, Milica
AU  - Anđelković Grašar, Jelena
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/746
AB  - In this paper, the authors present Viminacium, an archaeological site from the Roman Era that was turned into an 
archaeological open-air museum. Ever since it was opened in 2006, this open-air museum was visited by an always in creasing number of guests. Expert guides offer a unique experience of storytelling directly on the site, that contributes 
to the visitors’ overall experience.
PB  - University of Zagreb Faculty of Humanities and Social Sciences
C3  - МetArh, 6th scientific conference Methodology and Archaeometry, Zagreb
T1  - Storytelling - Is there a better method of archaeological site interpretation?
EP  - 133
SP  - 125
VL  - 6
DO  - https://doi.org/10.17234/METARH.2019.9
ER  - 

@conference{
author = "Tapavički-Ilić, Milica and Anđelković Grašar, Jelena",
year = "2020",
abstract = "In this paper, the authors present Viminacium, an archaeological site from the Roman Era that was turned into an 
archaeological open-air museum. Ever since it was opened in 2006, this open-air museum was visited by an always in creasing number of guests. Expert guides offer a unique experience of storytelling directly on the site, that contributes 
to the visitors’ overall experience.",
publisher = "University of Zagreb Faculty of Humanities and Social Sciences",
journal = "МetArh, 6th scientific conference Methodology and Archaeometry, Zagreb",
title = "Storytelling - Is there a better method of archaeological site interpretation?",
pages = "133-125",
volume = "6",
doi = "https://doi.org/10.17234/METARH.2019.9"
}

Tapavički-Ilić, M.,& Anđelković Grašar, J.. (2020). Storytelling - Is there a better method of archaeological site interpretation?. in МetArh, 6th scientific conference Methodology and Archaeometry, Zagreb
University of Zagreb Faculty of Humanities and Social Sciences., 6, 125-133.
https://doi.org/https://doi.org/10.17234/METARH.2019.9

Tapavički-Ilić M, Anđelković Grašar J. Storytelling - Is there a better method of archaeological site interpretation?. in МetArh, 6th scientific conference Methodology and Archaeometry, Zagreb. 2020;6:125-133.
doi:https://doi.org/10.17234/METARH.2019.9 .

Tapavički-Ilić, Milica, Anđelković Grašar, Jelena, "Storytelling - Is there a better method of archaeological site interpretation?" in МetArh, 6th scientific conference Methodology and Archaeometry, Zagreb, 6 (2020):125-133,
https://doi.org/https://doi.org/10.17234/METARH.2019.9 . .

TY  - CHAP
AU  - Anđelković Grašar, Jelena
AU  - Rogić, Dragana
AU  - Nikolić, Emilija
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/708
AB  - During Late Antiquity the territory of present day Serbia was part of the Roman Empire and was included in the prefecture of Illyricum.  This area is well-known not only as the homeland of several Roman Emperors, but as a border territory on the Danube limes situated on the crossroads of important ancient communication routes that enabled the encounters of various cultures, cults and religious beliefs coming from east and west. Tombs and graves with wall paintings have been discovered in several Roman necropoleis at Viminacium, belonging to the period between the 3rd and 4th century. These sepulchral paintings represent an exceptional body of evidence regarding the artistic tendencies and achievements in the Roman provinces, since monumental painted art is usually not preserved due to the destruction of its architectural supports.  However, discovered fragments testify that painted decoration also existed in both private residences and public buildings of at Viminacium, such as the baths or the amphitheatre, during the periods preceding Late Antiquity, when there was also an active artistic production in funerary painting. This paper will analyse some of the most popular and widely represented motifs, in order to trace various influences on their iconography and style as well as certain compositional solutions. Graves and tombs were sacred spaces in Roman culture, and masonry funerary structures with wall paintings were no exception. Their architectural structure and painted decoration testify to the social status, often also the origin and religious thoughts of the deceased. This space was important for the deceased due to its meaning as eternal dwelling in the world of death, as well as for their living loved ones during the subsequent ritual practices.
PB  - Oxford: Oxbow Books
T2  - A Globalised Visual Culture?: Towards a Geography of Late Antique Art
T1  - Act locally, think globally: Late antique funerary painting from the territory of present-day Serbia
EP  - 90
SP  - 63
DO  - 10.2307/j.ctv13pk7vx.6
ER  - 

@inbook{
author = "Anđelković Grašar, Jelena and Rogić, Dragana and Nikolić, Emilija",
year = "2020",
abstract = "During Late Antiquity the territory of present day Serbia was part of the Roman Empire and was included in the prefecture of Illyricum.  This area is well-known not only as the homeland of several Roman Emperors, but as a border territory on the Danube limes situated on the crossroads of important ancient communication routes that enabled the encounters of various cultures, cults and religious beliefs coming from east and west. Tombs and graves with wall paintings have been discovered in several Roman necropoleis at Viminacium, belonging to the period between the 3rd and 4th century. These sepulchral paintings represent an exceptional body of evidence regarding the artistic tendencies and achievements in the Roman provinces, since monumental painted art is usually not preserved due to the destruction of its architectural supports.  However, discovered fragments testify that painted decoration also existed in both private residences and public buildings of at Viminacium, such as the baths or the amphitheatre, during the periods preceding Late Antiquity, when there was also an active artistic production in funerary painting. This paper will analyse some of the most popular and widely represented motifs, in order to trace various influences on their iconography and style as well as certain compositional solutions. Graves and tombs were sacred spaces in Roman culture, and masonry funerary structures with wall paintings were no exception. Their architectural structure and painted decoration testify to the social status, often also the origin and religious thoughts of the deceased. This space was important for the deceased due to its meaning as eternal dwelling in the world of death, as well as for their living loved ones during the subsequent ritual practices.",
publisher = "Oxford: Oxbow Books",
journal = "A Globalised Visual Culture?: Towards a Geography of Late Antique Art",
booktitle = "Act locally, think globally: Late antique funerary painting from the territory of present-day Serbia",
pages = "90-63",
doi = "10.2307/j.ctv13pk7vx.6"
}

Anđelković Grašar, J., Rogić, D.,& Nikolić, E.. (2020). Act locally, think globally: Late antique funerary painting from the territory of present-day Serbia. in A Globalised Visual Culture?: Towards a Geography of Late Antique Art
Oxford: Oxbow Books., 63-90.
https://doi.org/10.2307/j.ctv13pk7vx.6

Anđelković Grašar J, Rogić D, Nikolić E. Act locally, think globally: Late antique funerary painting from the territory of present-day Serbia. in A Globalised Visual Culture?: Towards a Geography of Late Antique Art. 2020;:63-90.
doi:10.2307/j.ctv13pk7vx.6 .

Anđelković Grašar, Jelena, Rogić, Dragana, Nikolić, Emilija, "Act locally, think globally: Late antique funerary painting from the territory of present-day Serbia" in A Globalised Visual Culture?: Towards a Geography of Late Antique Art (2020):63-90,
https://doi.org/10.2307/j.ctv13pk7vx.6 . .

TY  - CONF
AU  - Anđelković Grašar, Jelena
AU  - Nikolić, Emilija
AU  - Tapavički-Ilić, Milica
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/800
AB  - In 2006, upon the remains of the Roman city and legionary fortress of Viminacium, the Viminacium
 Archaeological Park was established. Since it was the first archaeological park in Serbia providing visitors with necessary facilities, the team of researchers faced a lot of newly emerged challenges, commonly described with the term “cultural heritage management”. In the last decade, excavations and physical protection of the ancient monuments were gradually joined by their presentation and promotion, considered equally important processes for the overall protection of Viminacium significance. All the efforts led to an increased public awareness of the cultural importance of this ancient city, which has been indicated by the ever-growing number of visitors from all over the world, but also with the engagement of the members of the local community as park employees, as well as consumers of cultural heritage who actively participate in the promotion of Viminacium. Today, local authorities and touristic organizations realize that they have to offer something internationally recognized in their own region, being proud as a part of the global community sharing global heritage.
PB  - Edizioni Quasar di S. Tognon s.r.l., Roma (Italia)
C3  - Roma e il mondo Adriatico. Dalla ricerca archeologica alla pianificazione del territorio. I. Carte archeologiche, gestione del patrimonio e parchi archeologici. Atti del convegno, Macerata (18-20 Maggio 2017)
T1  - Viminacium Archaeological Park as an Instrument of Integration of the Local Community into the Protection of Cultural Heritage
EP  - 270
SP  - 259
UR  - https://hdl.handle.net/21.15107/rcub_rai_800
ER  - 

@conference{
author = "Anđelković Grašar, Jelena and Nikolić, Emilija and Tapavički-Ilić, Milica",
year = "2020",
abstract = "In 2006, upon the remains of the Roman city and legionary fortress of Viminacium, the Viminacium
 Archaeological Park was established. Since it was the first archaeological park in Serbia providing visitors with necessary facilities, the team of researchers faced a lot of newly emerged challenges, commonly described with the term “cultural heritage management”. In the last decade, excavations and physical protection of the ancient monuments were gradually joined by their presentation and promotion, considered equally important processes for the overall protection of Viminacium significance. All the efforts led to an increased public awareness of the cultural importance of this ancient city, which has been indicated by the ever-growing number of visitors from all over the world, but also with the engagement of the members of the local community as park employees, as well as consumers of cultural heritage who actively participate in the promotion of Viminacium. Today, local authorities and touristic organizations realize that they have to offer something internationally recognized in their own region, being proud as a part of the global community sharing global heritage.",
publisher = "Edizioni Quasar di S. Tognon s.r.l., Roma (Italia)",
journal = "Roma e il mondo Adriatico. Dalla ricerca archeologica alla pianificazione del territorio. I. Carte archeologiche, gestione del patrimonio e parchi archeologici. Atti del convegno, Macerata (18-20 Maggio 2017)",
title = "Viminacium Archaeological Park as an Instrument of Integration of the Local Community into the Protection of Cultural Heritage",
pages = "270-259",
url = "https://hdl.handle.net/21.15107/rcub_rai_800"
}

Anđelković Grašar, J., Nikolić, E.,& Tapavički-Ilić, M.. (2020). Viminacium Archaeological Park as an Instrument of Integration of the Local Community into the Protection of Cultural Heritage. in Roma e il mondo Adriatico. Dalla ricerca archeologica alla pianificazione del territorio. I. Carte archeologiche, gestione del patrimonio e parchi archeologici. Atti del convegno, Macerata (18-20 Maggio 2017)
Edizioni Quasar di S. Tognon s.r.l., Roma (Italia)., 259-270.
https://hdl.handle.net/21.15107/rcub_rai_800

Anđelković Grašar J, Nikolić E, Tapavički-Ilić M. Viminacium Archaeological Park as an Instrument of Integration of the Local Community into the Protection of Cultural Heritage. in Roma e il mondo Adriatico. Dalla ricerca archeologica alla pianificazione del territorio. I. Carte archeologiche, gestione del patrimonio e parchi archeologici. Atti del convegno, Macerata (18-20 Maggio 2017). 2020;:259-270.
https://hdl.handle.net/21.15107/rcub_rai_800 .

Anđelković Grašar, Jelena, Nikolić, Emilija, Tapavički-Ilić, Milica, "Viminacium Archaeological Park as an Instrument of Integration of the Local Community into the Protection of Cultural Heritage" in Roma e il mondo Adriatico. Dalla ricerca archeologica alla pianificazione del territorio. I. Carte archeologiche, gestione del patrimonio e parchi archeologici. Atti del convegno, Macerata (18-20 Maggio 2017) (2020):259-270,
https://hdl.handle.net/21.15107/rcub_rai_800 .

TY  - JOUR
AU  - Gavrilović, Dragana
AU  - Anđelković Grašar, Jelena
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/922
AB  - Research on Roman funerary painting is inevitably associated with the
reminiscences of real-life events – customs, practices and rites, and shaped by
the overall concept of the philosophy of death and artistic traditions. In the
case of provincial funerary painting, specific, local interpretations have been
noticed so far that often lead toward a simplification of the known patterns and
developed models, as well as the stronger influence of symbolism. Because of
this local comprehension of artistic solutions and pictorial content, scenes with
figural motifs of servants depicted with various gifts to the deceased need to
be elaborated and explained through the lens of a dual perspective on funeral
rites of the time. The basis for this research are scenes from the territory of
today’s Serbia, which are compared to ichnographically or symbolically rendered
scenes mostly known from the Eastern Mediterranean.
PB  - Resita :  Muzeul Banatului Montan
T2  - Banatica
T1  - Funeral banquet, procession or an offering scene – a few remarks on Roman provincial painting
EP  - 296
IS  - 30
SP  - 271
VL  - 1
UR  - https://hdl.handle.net/21.15107/rcub_rai_922
ER  - 

@article{
author = "Gavrilović, Dragana and Anđelković Grašar, Jelena",
year = "2020",
abstract = "Research on Roman funerary painting is inevitably associated with the
reminiscences of real-life events – customs, practices and rites, and shaped by
the overall concept of the philosophy of death and artistic traditions. In the
case of provincial funerary painting, specific, local interpretations have been
noticed so far that often lead toward a simplification of the known patterns and
developed models, as well as the stronger influence of symbolism. Because of
this local comprehension of artistic solutions and pictorial content, scenes with
figural motifs of servants depicted with various gifts to the deceased need to
be elaborated and explained through the lens of a dual perspective on funeral
rites of the time. The basis for this research are scenes from the territory of
today’s Serbia, which are compared to ichnographically or symbolically rendered
scenes mostly known from the Eastern Mediterranean.",
publisher = "Resita :  Muzeul Banatului Montan",
journal = "Banatica",
title = "Funeral banquet, procession or an offering scene – a few remarks on Roman provincial painting",
pages = "296-271",
number = "30",
volume = "1",
url = "https://hdl.handle.net/21.15107/rcub_rai_922"
}

Gavrilović, D.,& Anđelković Grašar, J.. (2020). Funeral banquet, procession or an offering scene – a few remarks on Roman provincial painting. in Banatica
Resita :  Muzeul Banatului Montan., 1(30), 271-296.
https://hdl.handle.net/21.15107/rcub_rai_922

Gavrilović D, Anđelković Grašar J. Funeral banquet, procession or an offering scene – a few remarks on Roman provincial painting. in Banatica. 2020;1(30):271-296.
https://hdl.handle.net/21.15107/rcub_rai_922 .

Gavrilović, Dragana, Anđelković Grašar, Jelena, "Funeral banquet, procession or an offering scene – a few remarks on Roman provincial painting" in Banatica, 1, no. 30 (2020):271-296,
https://hdl.handle.net/21.15107/rcub_rai_922 .

TY  - JOUR
AU  - Gavrilović-Vitas, Nadežda
AU  - Gavrilović-Vitas, Nadežda
AU  - Anđelković-Grašar, Jelena
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/347
AB  - Među retkim rimskim nadgrobnim spomenicima sa mitološkim predstavama iz Gornje Mezije izdvaja se spomenik od sivog krečnjaka iz Stojnika, i to po ikonografskoj sceni - jedinstvenoj na prostoru rimskih provincija centralnog Balkana - koja prikazuje Herkulovo spasavanje Hesione od morskog čudovišta ketosa. U pitanju je nadgrobna stela arhitektonskog tipa, sa trougaonim zabatom, mitološkom scenom predstavljenom u edikuli i sa natpisnim poljem. Funerarni spomenik je bogato dekorisan različitim motivima, a iz teksta natpisa saznaje se da je posvećen Senima mrtvih zbog smrti Publija Elija Viktorinusa, veterana kohorte II Aurelije nove. Spomenik su podigli njegova supruga Aurelija Rufina i njihov sin Publije Elije Akucianus. Kohorta II Aurelija nova bila je jedna od šest kohorti koje su pred kraj drugog veka osnovane u cilju čuvanja rudnika u oblasti Šumadije, i to regrutovanjem uglavnom lokalnog stanovništva, kome je najverovatnije pripadao i preminuli Publije Elije Akucianus. S obzirom na to da su arheološka istraživanja potvrdila postojanje vojnog logora na prostoru Stojnika, kao i postojanje bolnice za vojnike kohorte II Aurelije nove u pomenutoj oblasti, pretpostavlja se da je ova kohorta bila zadužena za bezbednost kako rudničke eksploatacije olova, srebra, zlata i gvožđa, tako i rudara iz oblasti Stojnika. Nadgrobni spomenik sadrži nekoliko ikonografskih scena različite sadržine: u sredini trougaonog zabata prikazani su ženska figura koja stoji i desno od nje pas koji pije iz suda (?), odnosno sud, u sredini scene, sa panterom desno od njega (usled nedostatka gornjeg dela scene i uticaja atmosferalija, nemoguće je izvršiti sigurnu identifikaciju motiva u sredini zabata). U spoljnim uglovima trougaonog zabata predstavljena su dva morska čudovišta, s dugim ribljim repom, kako prednjim nogama stoje na ljudskim lobanjama (?). Ispod trougaonog zabata je tanak friz, a ispod njega je predstavljena edikula sa mitološkom scenom. U centru scene prikazana je mlada naga (ili polunaga) devojka, sa rukama prikovanim za pozadinu (stena?), dok je s njene leve strane prikazan nag muškarac, naglašene muskulature, pored čije se leve noge nalazi batina, koji u rukama ima luk iz kojeg odapinje strelu ka morskom čudovištu što je predstavljeno iz profila sa devojčine desne strane. Morsko čudovište ketos naginje se gornjim delom tela i prednjim nogama prema devojci u nameri da joj naudi. Ispod ove mitološke scene nalazi se friz sa predstavom lova, u kojoj su prikazani jelen (pas?) i dva divlja vepra. Ispod friza se nalazi udubljeno polje sa natpisom, flankirano stubovima sa kapitelima, a ispod njega je prazno polje. Iako Herkulovo oružje u ikonografskoj predstavi spasavanja Hesione nije batina što se nalazi pored njega, već luk sa strelama - luk kao oružje boga pojavljuje se na prvoj do sada poznatoj predstavi Herkulovog spasavanja Hesione iz 7. veka pre n.e. (korintski krater), kao i na još svega tri reljefa sa prostora drugih rimskih provincija. Mitološka predstava Herkulovog spasavanja Hesione od morskog čudovišta pripada njegovim doživljajima nakon pohoda na Amazonke. Pošto deo njegovog obećanja datog bogovima Apolonu i Posejdonu nije ispunjen, na trojanskog kralja Laomedona i Troju poslato je morsko čudovište, a jedini način da se ono umiri bilo je žrtvovanje Laomedonove kćeri Hesione. Laomedon obećava onome ko mu spase kćer svoje besmrtne konje, te Herkul odlazi da se suoči s morskim čudovištem, koje ubija a Hesionu spasava od sigurne smrti. Mit o Herkulu i Hesioni spada u alegorijske priče o pobedi nad smrću i zadobijanju besmrtnog života nakon smrti putem vrline. One su upravo zbog svoje simbolike bile omiljene na rimskim nadgrobnim spomenicima. Herkul, koji je predstavljao jedno od omiljenih vojnih božanstava, zaštitnika rudara i rudnika, ali takođe i boga sa htonskom dimenzijom, bio je, zahvaljujući svom životu i hrabrim delima, idealan primer za smrtnike koji su nastojali da sebi obezbede istu sudbinu poput Herkulove u kontekstu života nakon smrti zasluženog hrabrošću, moralom i časnošću. Eshatološka, a moguće i soteriološka, simbolika nadgrobnog spomenika iz Stojnika dodatno je podvučena predstavom u trougaonom zabatu, motivima morskih čudovišta u spoljnim uglovima zabata i scenom lova u frizu između mitološke scene u edikuli i natpisnog polja spomenika. Pretpostavka je da se u centralnoj predstavi unutar zabata, u prikazu žene sa psom, može prepoznati jedna od htonskih boginja koja je poštovana na rudničkom prostoru Stojnika - DEA Orkija ili Tera Mater, ili pak to da je impliciran dionizijski htonski kontekst, ukoliko je predstavljen sud sa panterom desno od njega. Predstave lova poznate su pak sa sedam nadgrobnih spomenika u Gornjoj Meziji i simbolizuju hrabrost i vrlinu pokojnika putem kojih on dostiže besmrtnost u životu posle smrti. Mitološka predstava Herkulovog spasavanja Hesione bila je u periodu rimske vladavine naročito popularna na nadgrobnim spomenicima iz severnih provincija, a pretpostavlja se da je taj tip predstava u Gornju Meziju dospeo iz Donje Panonije, gde je bio dobro poznat i omiljen, naročito među vojnicima. Mitološka predstava sa nadgrobnog spomenika iz Stojnika ima geografski najbližu analogiju u scenama sa bočnih strana izgubljenog sarkofaga Maksimijane Elije iz Siska, kao što je ikonografski slična predstavama sa reljefa iz Dalfingena i sceni sa nadgrobnog spomenika iz Halštata. Na osnovu stilskih karakteristika, nadgrobni spomenik iz Stojnika datuje se u period od 171. do 200. godine n.e. i predstavlja za sada jedinu predstavu Herkulovog spasavanja Hesione od morskog čudovišta sa prostora rimske provincije Gornje Mezije.
AB  - The research of this study is dedicated to a unique iconographical scene in the territory of the Central Balkan Roman provinces, of Hercules rescuing Hesione from a sea-monster (ketos), depicted on a funerary monument found in 1931 at the site of Stojnik, in the vicinity of Belgrade, antique Singidunum, and now displayed in the lapidarium of the National Museum in Belgrade. The funerary monument was erected for the deceased, a veteran of cohors II Aurelia nova, Publius Aelius Victorinus, by his wife Aurelia Rufina and their son Publius Aelius Acutianus. The rich iconography of the monument makes it a very important example of funerary art in the period from the end of the 2nd and the beginning of the 3rd century - the eschatological symbolism of the presented scenes and motifs is more than clear and underlines not only the hope of the deceased's family for his eternal and blessed life after death, but also the deceased's victory over death and presents him as a symbol of courage and virtue. The architectural scheme of the monument, along with its iconography, suggests strong artistic influences from Noricum and both the Pannonian provinces, while the the mythical tale of Hercules and Hesione was chosen, it is argued, not only because Hercules was one of the most favoured gods in the Roman army, but also because he was a protector of miners and mines.
PB  - Arheološki institut, Beograd
T2  - Starinar
T1  - Sa one strane groba - predstava Herkulovog spasavanja Hesione - primer nadgrobnog spomenika iz Stojnika
T1  - A message from beyond the grave: Hercules rescuing Hesione on a Stojnik funerary monument
EP  - 125
IS  - 70
SP  - 111
DO  - 10.2298/STA2070111G
ER  - 

@article{
author = "Gavrilović-Vitas, Nadežda and Gavrilović-Vitas, Nadežda and Anđelković-Grašar, Jelena",
year = "2020",
abstract = "Među retkim rimskim nadgrobnim spomenicima sa mitološkim predstavama iz Gornje Mezije izdvaja se spomenik od sivog krečnjaka iz Stojnika, i to po ikonografskoj sceni - jedinstvenoj na prostoru rimskih provincija centralnog Balkana - koja prikazuje Herkulovo spasavanje Hesione od morskog čudovišta ketosa. U pitanju je nadgrobna stela arhitektonskog tipa, sa trougaonim zabatom, mitološkom scenom predstavljenom u edikuli i sa natpisnim poljem. Funerarni spomenik je bogato dekorisan različitim motivima, a iz teksta natpisa saznaje se da je posvećen Senima mrtvih zbog smrti Publija Elija Viktorinusa, veterana kohorte II Aurelije nove. Spomenik su podigli njegova supruga Aurelija Rufina i njihov sin Publije Elije Akucianus. Kohorta II Aurelija nova bila je jedna od šest kohorti koje su pred kraj drugog veka osnovane u cilju čuvanja rudnika u oblasti Šumadije, i to regrutovanjem uglavnom lokalnog stanovništva, kome je najverovatnije pripadao i preminuli Publije Elije Akucianus. S obzirom na to da su arheološka istraživanja potvrdila postojanje vojnog logora na prostoru Stojnika, kao i postojanje bolnice za vojnike kohorte II Aurelije nove u pomenutoj oblasti, pretpostavlja se da je ova kohorta bila zadužena za bezbednost kako rudničke eksploatacije olova, srebra, zlata i gvožđa, tako i rudara iz oblasti Stojnika. Nadgrobni spomenik sadrži nekoliko ikonografskih scena različite sadržine: u sredini trougaonog zabata prikazani su ženska figura koja stoji i desno od nje pas koji pije iz suda (?), odnosno sud, u sredini scene, sa panterom desno od njega (usled nedostatka gornjeg dela scene i uticaja atmosferalija, nemoguće je izvršiti sigurnu identifikaciju motiva u sredini zabata). U spoljnim uglovima trougaonog zabata predstavljena su dva morska čudovišta, s dugim ribljim repom, kako prednjim nogama stoje na ljudskim lobanjama (?). Ispod trougaonog zabata je tanak friz, a ispod njega je predstavljena edikula sa mitološkom scenom. U centru scene prikazana je mlada naga (ili polunaga) devojka, sa rukama prikovanim za pozadinu (stena?), dok je s njene leve strane prikazan nag muškarac, naglašene muskulature, pored čije se leve noge nalazi batina, koji u rukama ima luk iz kojeg odapinje strelu ka morskom čudovištu što je predstavljeno iz profila sa devojčine desne strane. Morsko čudovište ketos naginje se gornjim delom tela i prednjim nogama prema devojci u nameri da joj naudi. Ispod ove mitološke scene nalazi se friz sa predstavom lova, u kojoj su prikazani jelen (pas?) i dva divlja vepra. Ispod friza se nalazi udubljeno polje sa natpisom, flankirano stubovima sa kapitelima, a ispod njega je prazno polje. Iako Herkulovo oružje u ikonografskoj predstavi spasavanja Hesione nije batina što se nalazi pored njega, već luk sa strelama - luk kao oružje boga pojavljuje se na prvoj do sada poznatoj predstavi Herkulovog spasavanja Hesione iz 7. veka pre n.e. (korintski krater), kao i na još svega tri reljefa sa prostora drugih rimskih provincija. Mitološka predstava Herkulovog spasavanja Hesione od morskog čudovišta pripada njegovim doživljajima nakon pohoda na Amazonke. Pošto deo njegovog obećanja datog bogovima Apolonu i Posejdonu nije ispunjen, na trojanskog kralja Laomedona i Troju poslato je morsko čudovište, a jedini način da se ono umiri bilo je žrtvovanje Laomedonove kćeri Hesione. Laomedon obećava onome ko mu spase kćer svoje besmrtne konje, te Herkul odlazi da se suoči s morskim čudovištem, koje ubija a Hesionu spasava od sigurne smrti. Mit o Herkulu i Hesioni spada u alegorijske priče o pobedi nad smrću i zadobijanju besmrtnog života nakon smrti putem vrline. One su upravo zbog svoje simbolike bile omiljene na rimskim nadgrobnim spomenicima. Herkul, koji je predstavljao jedno od omiljenih vojnih božanstava, zaštitnika rudara i rudnika, ali takođe i boga sa htonskom dimenzijom, bio je, zahvaljujući svom životu i hrabrim delima, idealan primer za smrtnike koji su nastojali da sebi obezbede istu sudbinu poput Herkulove u kontekstu života nakon smrti zasluženog hrabrošću, moralom i časnošću. Eshatološka, a moguće i soteriološka, simbolika nadgrobnog spomenika iz Stojnika dodatno je podvučena predstavom u trougaonom zabatu, motivima morskih čudovišta u spoljnim uglovima zabata i scenom lova u frizu između mitološke scene u edikuli i natpisnog polja spomenika. Pretpostavka je da se u centralnoj predstavi unutar zabata, u prikazu žene sa psom, može prepoznati jedna od htonskih boginja koja je poštovana na rudničkom prostoru Stojnika - DEA Orkija ili Tera Mater, ili pak to da je impliciran dionizijski htonski kontekst, ukoliko je predstavljen sud sa panterom desno od njega. Predstave lova poznate su pak sa sedam nadgrobnih spomenika u Gornjoj Meziji i simbolizuju hrabrost i vrlinu pokojnika putem kojih on dostiže besmrtnost u životu posle smrti. Mitološka predstava Herkulovog spasavanja Hesione bila je u periodu rimske vladavine naročito popularna na nadgrobnim spomenicima iz severnih provincija, a pretpostavlja se da je taj tip predstava u Gornju Meziju dospeo iz Donje Panonije, gde je bio dobro poznat i omiljen, naročito među vojnicima. Mitološka predstava sa nadgrobnog spomenika iz Stojnika ima geografski najbližu analogiju u scenama sa bočnih strana izgubljenog sarkofaga Maksimijane Elije iz Siska, kao što je ikonografski slična predstavama sa reljefa iz Dalfingena i sceni sa nadgrobnog spomenika iz Halštata. Na osnovu stilskih karakteristika, nadgrobni spomenik iz Stojnika datuje se u period od 171. do 200. godine n.e. i predstavlja za sada jedinu predstavu Herkulovog spasavanja Hesione od morskog čudovišta sa prostora rimske provincije Gornje Mezije., The research of this study is dedicated to a unique iconographical scene in the territory of the Central Balkan Roman provinces, of Hercules rescuing Hesione from a sea-monster (ketos), depicted on a funerary monument found in 1931 at the site of Stojnik, in the vicinity of Belgrade, antique Singidunum, and now displayed in the lapidarium of the National Museum in Belgrade. The funerary monument was erected for the deceased, a veteran of cohors II Aurelia nova, Publius Aelius Victorinus, by his wife Aurelia Rufina and their son Publius Aelius Acutianus. The rich iconography of the monument makes it a very important example of funerary art in the period from the end of the 2nd and the beginning of the 3rd century - the eschatological symbolism of the presented scenes and motifs is more than clear and underlines not only the hope of the deceased's family for his eternal and blessed life after death, but also the deceased's victory over death and presents him as a symbol of courage and virtue. The architectural scheme of the monument, along with its iconography, suggests strong artistic influences from Noricum and both the Pannonian provinces, while the the mythical tale of Hercules and Hesione was chosen, it is argued, not only because Hercules was one of the most favoured gods in the Roman army, but also because he was a protector of miners and mines.",
publisher = "Arheološki institut, Beograd",
journal = "Starinar",
title = "Sa one strane groba - predstava Herkulovog spasavanja Hesione - primer nadgrobnog spomenika iz Stojnika, A message from beyond the grave: Hercules rescuing Hesione on a Stojnik funerary monument",
pages = "125-111",
number = "70",
doi = "10.2298/STA2070111G"
}

Gavrilović-Vitas, N., Gavrilović-Vitas, N.,& Anđelković-Grašar, J.. (2020). Sa one strane groba - predstava Herkulovog spasavanja Hesione - primer nadgrobnog spomenika iz Stojnika. in Starinar
Arheološki institut, Beograd.(70), 111-125.
https://doi.org/10.2298/STA2070111G

Gavrilović-Vitas N, Gavrilović-Vitas N, Anđelković-Grašar J. Sa one strane groba - predstava Herkulovog spasavanja Hesione - primer nadgrobnog spomenika iz Stojnika. in Starinar. 2020;(70):111-125.
doi:10.2298/STA2070111G .

Gavrilović-Vitas, Nadežda, Gavrilović-Vitas, Nadežda, Anđelković-Grašar, Jelena, "Sa one strane groba - predstava Herkulovog spasavanja Hesione - primer nadgrobnog spomenika iz Stojnika" in Starinar, no. 70 (2020):111-125,
https://doi.org/10.2298/STA2070111G . .

TY  - BOOK
AU  - Anđelković Grašar, Jelena
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/603
AB  - Testimonies of the visual and material culture dealing with the feminine imag-
ery belong to the period between the 4th and the beginning of the 7th century, usu-
ally known as Late Antiquity, although terminology can refer to the late Roman,
early Byzantine or early Christian periods. The term Late Antiquity is chosen be-
cause of the vast ancient heritage and the existence of a long legacy of Roman cults
which, together with Christianity, co-existed on the territory of the Roman frontier
– the Danube Limes and across the Central Balkans. The late antique Empire was
characterised by a society which, in a spiritual, religious and cultural sense, was
shaped by the values of ancient time that remained, yet within an atmosphere of
change, which could have been felt not only because of the political changes that
considered the state’s orientation towards the East, but also with the strong impact
of Christianity, which affected many spheres of ancient people’s lives. Thus, the
material presented in the study can be placed in the frame of the history of the late
antique material and visual culture, from the 4th to the beginning of the 7th century,
which is based upon the late Roman art that was adopted by the Christian religion.
The material presented and explored in the study originates from museum collec-
tions and archaeological sites from the territory of present day Serbia and is com-
pared with various analogies from major or provincial artistic centres across the
Roman Empire. The territory of present day Serbia during the Roman domination,
according to Diocletian’s administrative reforms, comprised the provinces of Vale-
ria, Pannonia Secunda, Dacia Ripensis, Dacia Mediterranea, Moesia Prima, Dar-
dania and Dalmatia, while during Constantine the Great’s reign this territory be-
longed to the newly established prefecture of Illyricum.
PB  - Beograd: Arheološki institut
PB  - Beograd: Evoluta
T1  - Femina Antica Balcanica
EP  - 285
UR  - https://hdl.handle.net/21.15107/rcub_rai_603
ER  - 

@book{
author = "Anđelković Grašar, Jelena",
year = "2020",
abstract = "Testimonies of the visual and material culture dealing with the feminine imag-
ery belong to the period between the 4th and the beginning of the 7th century, usu-
ally known as Late Antiquity, although terminology can refer to the late Roman,
early Byzantine or early Christian periods. The term Late Antiquity is chosen be-
cause of the vast ancient heritage and the existence of a long legacy of Roman cults
which, together with Christianity, co-existed on the territory of the Roman frontier
– the Danube Limes and across the Central Balkans. The late antique Empire was
characterised by a society which, in a spiritual, religious and cultural sense, was
shaped by the values of ancient time that remained, yet within an atmosphere of
change, which could have been felt not only because of the political changes that
considered the state’s orientation towards the East, but also with the strong impact
of Christianity, which affected many spheres of ancient people’s lives. Thus, the
material presented in the study can be placed in the frame of the history of the late
antique material and visual culture, from the 4th to the beginning of the 7th century,
which is based upon the late Roman art that was adopted by the Christian religion.
The material presented and explored in the study originates from museum collec-
tions and archaeological sites from the territory of present day Serbia and is com-
pared with various analogies from major or provincial artistic centres across the
Roman Empire. The territory of present day Serbia during the Roman domination,
according to Diocletian’s administrative reforms, comprised the provinces of Vale-
ria, Pannonia Secunda, Dacia Ripensis, Dacia Mediterranea, Moesia Prima, Dar-
dania and Dalmatia, while during Constantine the Great’s reign this territory be-
longed to the newly established prefecture of Illyricum.",
publisher = "Beograd: Arheološki institut, Beograd: Evoluta",
title = "Femina Antica Balcanica",
pages = "285",
url = "https://hdl.handle.net/21.15107/rcub_rai_603"
}

Anđelković Grašar, J.. (2020). Femina Antica Balcanica. 
Beograd: Arheološki institut..
https://hdl.handle.net/21.15107/rcub_rai_603

Anđelković Grašar J. Femina Antica Balcanica. 2020;:null-285.
https://hdl.handle.net/21.15107/rcub_rai_603 .

Anđelković Grašar, Jelena, "Femina Antica Balcanica" (2020),
https://hdl.handle.net/21.15107/rcub_rai_603 .

TY  - JOUR
AU  - Nikolić, Emilija
AU  - Anđelković-Grašar, Jelena
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/355
AB  - Iako je Viminacijum već godinama međunarodno poznato i priznato arheološko nalazište koje se nalazi na teritoriji sela Kostolac (Stari Kostolac), ali i turistički potencijal regiona Grada Požarevca i čitave Srbije, osvešćivanje o celokupnom kulturnom nasleđu ovog sela na nivou lokalne zajednice i šire javnosti deluje kao neizvestan i težak proces. Predeo sela Kostolac u severoistočnoj Srbiji i zaleđu Dunava važan je sa aspekta arheološkog nasleđa, ali i industrijskog nasleđa iz prethodna dva veka, koje je sačuvano kroz različite materijalne ostatke i nematerijalno nasleđe vezano za viševekovnu rudarsku aktivnost u ovom kraju. Ove godine obeležava se 150 godina od otvaranja podzemnog rudnika i početka eksploatacije uglja u selu Kostolac, što je u isto vreme i jubilej industrijalizacije moderne Srbije 1870. godine. Nažalost, suprotno važnosti ovog jubileja, građevine rudarske kolonije čiji su nekadašnji stanovnici bili učesnici i svedoci modernizacije i razvoja tadašnje države, potpuno su ruinirane i polako nestaju pred očima meštana i stručne javnosti, nakon zatvaranja podzemnog rudnika 1966. godine. Kasniji ubrzani razvoj savremenog površinskog kopa uglja "Drmno" i otvaranje termoelektrane "Kostolac B", pažnju privrede, pa tako i šire javnosti vezanu za eksploataciju uglja u ovom predelu, usmerio je u drugom pravcu, potpuno zanemarujući vrednost rudarskog nasleđa iz 19. veka u selu Kostolac, pa se prostor rudarske kolonije zaobilazi i u saobraćaju i dnevnoj komunikaciji. Takođe, mnogi duhovni elementi života stanovnika sela oblikovani su pod uticajem aktivnosti rudnika, a do danas nisu šire prepoznati kao vrednosti, iako predstavljaju veoma značajno nematerijalno nasleđe celog regiona. Ostaci stare rudarske kolonije u selu Kostolac predstavljaju vredno industrijsko nasleđe ne samo prostora Kostolca i Grada Požarevca, već i celokupne Srbije, jer prikazuju vezu materijalnog i nematerijalnog nasleđa: ostataka graditeljstva, eksploatacije prirodnih resursa sa rudarenjem, interkulturalnih dijaloga doseljenika rudara i njihovih porodica sa starosedeocima, verovanja i običaja, legendi i mitova. Autorke su ovim tekstom želele da ukažu i ponovo skrenu pažnju naučne i stručne javnosti, zvaničnika i institucija, na važnost rudarskog nasleđa ovog kraja, potrebu njegove zaštite i potencijal buduće prezentacije prostora rudarske kolonije sela Kostolac, u cilju socio-ekonomskog i kulturnog razvoja lokalne zajednice, dok ne bude kasno da se bilo šta učini.
AB  - In addition to Viminacium, an internationally recognized Roman archaeological site and park, there are many other elements of cultural heritage in the Kostolac village situated in northeastern Serbia near the Danube, which are almost unknown for most of the people in Serbia and beyond. This year, 2020, marks the 150th-anniversary of the opening of coal exploitation in the Kostolac village, and the official beginning of the industrialization of Serbia, determined by this event in 1870. Unfortunately, the remains of the buildings in the mining community which witnessed an important part of the modern development of the country are in a state of ruin and have been slowly disappearing after the closing of the underground coal exploitation in 1966, following the rapid development of modern strip mining and electric generation. Also, many spiritual elements in the life of Kostolac people connected to the mining are not widely recognized as values, although they represent the precious intangible heritage of this village and the whole region.
PB  - Belgrade: Center for new technologies Viminacium ; Institute of Archaeology
T2  - Archaeology and Science / Arheologija i prirodne nauke
T1  - Heritage we pretend not to see: An old mining community in the village of Kostolac, Serbia
T1  - Nasleđe pred kojim žmurimo - stara rudarska kolonija u selu Kostolac, Srbija
EP  - 178
IS  - 16
SP  - 149
DO  - 10.18485/arhe_apn.2020.16.10
ER  - 

@article{
author = "Nikolić, Emilija and Anđelković-Grašar, Jelena",
year = "2020",
abstract = "Iako je Viminacijum već godinama međunarodno poznato i priznato arheološko nalazište koje se nalazi na teritoriji sela Kostolac (Stari Kostolac), ali i turistički potencijal regiona Grada Požarevca i čitave Srbije, osvešćivanje o celokupnom kulturnom nasleđu ovog sela na nivou lokalne zajednice i šire javnosti deluje kao neizvestan i težak proces. Predeo sela Kostolac u severoistočnoj Srbiji i zaleđu Dunava važan je sa aspekta arheološkog nasleđa, ali i industrijskog nasleđa iz prethodna dva veka, koje je sačuvano kroz različite materijalne ostatke i nematerijalno nasleđe vezano za viševekovnu rudarsku aktivnost u ovom kraju. Ove godine obeležava se 150 godina od otvaranja podzemnog rudnika i početka eksploatacije uglja u selu Kostolac, što je u isto vreme i jubilej industrijalizacije moderne Srbije 1870. godine. Nažalost, suprotno važnosti ovog jubileja, građevine rudarske kolonije čiji su nekadašnji stanovnici bili učesnici i svedoci modernizacije i razvoja tadašnje države, potpuno su ruinirane i polako nestaju pred očima meštana i stručne javnosti, nakon zatvaranja podzemnog rudnika 1966. godine. Kasniji ubrzani razvoj savremenog površinskog kopa uglja "Drmno" i otvaranje termoelektrane "Kostolac B", pažnju privrede, pa tako i šire javnosti vezanu za eksploataciju uglja u ovom predelu, usmerio je u drugom pravcu, potpuno zanemarujući vrednost rudarskog nasleđa iz 19. veka u selu Kostolac, pa se prostor rudarske kolonije zaobilazi i u saobraćaju i dnevnoj komunikaciji. Takođe, mnogi duhovni elementi života stanovnika sela oblikovani su pod uticajem aktivnosti rudnika, a do danas nisu šire prepoznati kao vrednosti, iako predstavljaju veoma značajno nematerijalno nasleđe celog regiona. Ostaci stare rudarske kolonije u selu Kostolac predstavljaju vredno industrijsko nasleđe ne samo prostora Kostolca i Grada Požarevca, već i celokupne Srbije, jer prikazuju vezu materijalnog i nematerijalnog nasleđa: ostataka graditeljstva, eksploatacije prirodnih resursa sa rudarenjem, interkulturalnih dijaloga doseljenika rudara i njihovih porodica sa starosedeocima, verovanja i običaja, legendi i mitova. Autorke su ovim tekstom želele da ukažu i ponovo skrenu pažnju naučne i stručne javnosti, zvaničnika i institucija, na važnost rudarskog nasleđa ovog kraja, potrebu njegove zaštite i potencijal buduće prezentacije prostora rudarske kolonije sela Kostolac, u cilju socio-ekonomskog i kulturnog razvoja lokalne zajednice, dok ne bude kasno da se bilo šta učini., In addition to Viminacium, an internationally recognized Roman archaeological site and park, there are many other elements of cultural heritage in the Kostolac village situated in northeastern Serbia near the Danube, which are almost unknown for most of the people in Serbia and beyond. This year, 2020, marks the 150th-anniversary of the opening of coal exploitation in the Kostolac village, and the official beginning of the industrialization of Serbia, determined by this event in 1870. Unfortunately, the remains of the buildings in the mining community which witnessed an important part of the modern development of the country are in a state of ruin and have been slowly disappearing after the closing of the underground coal exploitation in 1966, following the rapid development of modern strip mining and electric generation. Also, many spiritual elements in the life of Kostolac people connected to the mining are not widely recognized as values, although they represent the precious intangible heritage of this village and the whole region.",
publisher = "Belgrade: Center for new technologies Viminacium ; Institute of Archaeology",
journal = "Archaeology and Science / Arheologija i prirodne nauke",
title = "Heritage we pretend not to see: An old mining community in the village of Kostolac, Serbia, Nasleđe pred kojim žmurimo - stara rudarska kolonija u selu Kostolac, Srbija",
pages = "178-149",
number = "16",
doi = "10.18485/arhe_apn.2020.16.10"
}

Nikolić, E.,& Anđelković-Grašar, J.. (2020). Heritage we pretend not to see: An old mining community in the village of Kostolac, Serbia. in Archaeology and Science / Arheologija i prirodne nauke
Belgrade: Center for new technologies Viminacium ; Institute of Archaeology.(16), 149-178.
https://doi.org/10.18485/arhe_apn.2020.16.10

Nikolić E, Anđelković-Grašar J. Heritage we pretend not to see: An old mining community in the village of Kostolac, Serbia. in Archaeology and Science / Arheologija i prirodne nauke. 2020;(16):149-178.
doi:10.18485/arhe_apn.2020.16.10 .

Nikolić, Emilija, Anđelković-Grašar, Jelena, "Heritage we pretend not to see: An old mining community in the village of Kostolac, Serbia" in Archaeology and Science / Arheologija i prirodne nauke, no. 16 (2020):149-178,
https://doi.org/10.18485/arhe_apn.2020.16.10 . .

TY  - JOUR
AU  - Anđelković-Grašar, Jelena
AU  - Nikolić, Emilija
PY  - 2019
UR  - http://rai.ai.ac.rs/handle/123456789/322
AB  - Asocijativni i inspirativni predeo kao kategorije kulturnih predela u oblasti zaštite kulturnog nasleđa omogućavaju da se za određen istorijski predeo vežu tragovi različitih vrsta umetnosti na čiji nastanak je predeo uticao, a koji nisu nužno hronološki uslovljeni. U ovom radu je prikazana interakcija predela i umetnosti/umetnika, na primeru arheološkog nalazišta Viminacijum nadomak Požarevca i svetski priznate slikarke Milene Pavlović Barili rođene u ovom gradu. U pismima koja je slala majci Danici, Milena je uvek sa najvećom ljubavi pisala o rodnom kraju i sa toplom emocijom se sećala detinjstva provedenog u njemu, što se zaključuje i na osnovu zapisanih majčinih sećanja. Period Mileninog likovnog stvaralaštva između 1932. i 1936. godine, Miodrag B. Protić nazvao je "linearnim", odnosno "parisko-rimskim" periodom, dok ga Jelica Milojković naslovljava kao "linearno-antički" period. Period je tematski najviše određen antičkim nasleđem, a tokom njega Milenina piktoralna poetika referira na antičku prošlost upotrebom motiva arhitektonskih elemenata, kao i skulptura ili ljudskih figura u formi skulptura, te kompozicijskim rešenjima koja za potku imaju mitološke obrasce. Obrazovanje koje je sticala u evropskim metropolama, posete velikim muzejima, kao i poznavanje savremenih umetničkih tokova metafizičkog realizma i nadrealizma, zasigurno su doprineli ovakvoj Mileninoj poetici. Ipak, tragom Mileninog pisma majci Danici iz 1943. godine i Protićevog zapažanja da je u detinjstvu mogla videti ostatke antičke arhitekture i umetnosti na području Požarevca bogatom arheološkim nalazištima, autorke ovog rada iznose mogućnost da je upravo Viminacijum mesto u čijem je materijalnom, ali i nematerijalnom nasleđu Milena našla motive i inspiraciju za dela nastala u periodu između 1932. i 1936. godine. Ovakav vid asocijativne veze u saglasnosti je sa konceptom nadrealizma koji je u ovom radu iskorišćen kao metod za povezivanje predela Viminacijuma i piktoralne poetike Milene Pavlović Barili. Shodno tome, određeni motivi Mileninih slika dobili su drugačiju interpretaciju koja na podsvesnom nivou sugeriše da ono što je umetnica videla u detinjstvu i mladosti kasnije u njenom slikarstvu izranja kao deo imaginarnog narativa.
AB  - Since the effects of a landscape go further than geography and beyond the time line, this paper questions the possibility that the Viminacium landscape, the archaeological area near the Danube in Serbia, inspired the art of the internationally recognised painter and poet Milena Pavlović Barilli. One can try to trace the relationship between Viminacium and Milena's art primarily in the motifs that are associated with Antiquity. Architectural elements, statues or human figures that resemble statues, as well as compositions that refer to the mythological patterns are an indicative part of Milena's pictorial poetics. The greatest influence of ancient material and immaterial heritage on Milena's art is visible in paintings and drawings from the 1930s.
PB  - Belgrade : Center for new technologies Viminacium ; Institute of Archaeology
T2  - Archaeology and Science / Arheologija i prirodne nauke
T1  - Milena Pavlović Barilli's pictorial poetics and Viminacium landscape
EP  - 97
IS  - 15
SP  - 77
UR  - https://hdl.handle.net/21.15107/rcub_rai_322
ER  - 

@article{
author = "Anđelković-Grašar, Jelena and Nikolić, Emilija",
year = "2019",
abstract = "Asocijativni i inspirativni predeo kao kategorije kulturnih predela u oblasti zaštite kulturnog nasleđa omogućavaju da se za određen istorijski predeo vežu tragovi različitih vrsta umetnosti na čiji nastanak je predeo uticao, a koji nisu nužno hronološki uslovljeni. U ovom radu je prikazana interakcija predela i umetnosti/umetnika, na primeru arheološkog nalazišta Viminacijum nadomak Požarevca i svetski priznate slikarke Milene Pavlović Barili rođene u ovom gradu. U pismima koja je slala majci Danici, Milena je uvek sa najvećom ljubavi pisala o rodnom kraju i sa toplom emocijom se sećala detinjstva provedenog u njemu, što se zaključuje i na osnovu zapisanih majčinih sećanja. Period Mileninog likovnog stvaralaštva između 1932. i 1936. godine, Miodrag B. Protić nazvao je "linearnim", odnosno "parisko-rimskim" periodom, dok ga Jelica Milojković naslovljava kao "linearno-antički" period. Period je tematski najviše određen antičkim nasleđem, a tokom njega Milenina piktoralna poetika referira na antičku prošlost upotrebom motiva arhitektonskih elemenata, kao i skulptura ili ljudskih figura u formi skulptura, te kompozicijskim rešenjima koja za potku imaju mitološke obrasce. Obrazovanje koje je sticala u evropskim metropolama, posete velikim muzejima, kao i poznavanje savremenih umetničkih tokova metafizičkog realizma i nadrealizma, zasigurno su doprineli ovakvoj Mileninoj poetici. Ipak, tragom Mileninog pisma majci Danici iz 1943. godine i Protićevog zapažanja da je u detinjstvu mogla videti ostatke antičke arhitekture i umetnosti na području Požarevca bogatom arheološkim nalazištima, autorke ovog rada iznose mogućnost da je upravo Viminacijum mesto u čijem je materijalnom, ali i nematerijalnom nasleđu Milena našla motive i inspiraciju za dela nastala u periodu između 1932. i 1936. godine. Ovakav vid asocijativne veze u saglasnosti je sa konceptom nadrealizma koji je u ovom radu iskorišćen kao metod za povezivanje predela Viminacijuma i piktoralne poetike Milene Pavlović Barili. Shodno tome, određeni motivi Mileninih slika dobili su drugačiju interpretaciju koja na podsvesnom nivou sugeriše da ono što je umetnica videla u detinjstvu i mladosti kasnije u njenom slikarstvu izranja kao deo imaginarnog narativa., Since the effects of a landscape go further than geography and beyond the time line, this paper questions the possibility that the Viminacium landscape, the archaeological area near the Danube in Serbia, inspired the art of the internationally recognised painter and poet Milena Pavlović Barilli. One can try to trace the relationship between Viminacium and Milena's art primarily in the motifs that are associated with Antiquity. Architectural elements, statues or human figures that resemble statues, as well as compositions that refer to the mythological patterns are an indicative part of Milena's pictorial poetics. The greatest influence of ancient material and immaterial heritage on Milena's art is visible in paintings and drawings from the 1930s.",
publisher = "Belgrade : Center for new technologies Viminacium ; Institute of Archaeology",
journal = "Archaeology and Science / Arheologija i prirodne nauke",
title = "Milena Pavlović Barilli's pictorial poetics and Viminacium landscape",
pages = "97-77",
number = "15",
url = "https://hdl.handle.net/21.15107/rcub_rai_322"
}

Anđelković-Grašar, J.,& Nikolić, E.. (2019). Milena Pavlović Barilli's pictorial poetics and Viminacium landscape. in Archaeology and Science / Arheologija i prirodne nauke
Belgrade : Center for new technologies Viminacium ; Institute of Archaeology.(15), 77-97.
https://hdl.handle.net/21.15107/rcub_rai_322

Anđelković-Grašar J, Nikolić E. Milena Pavlović Barilli's pictorial poetics and Viminacium landscape. in Archaeology and Science / Arheologija i prirodne nauke. 2019;(15):77-97.
https://hdl.handle.net/21.15107/rcub_rai_322 .

Anđelković-Grašar, Jelena, Nikolić, Emilija, "Milena Pavlović Barilli's pictorial poetics and Viminacium landscape" in Archaeology and Science / Arheologija i prirodne nauke, no. 15 (2019):77-97,
https://hdl.handle.net/21.15107/rcub_rai_322 .

TY  - JOUR
AU  - Anđelković Grašar, Jelena
AU  - Nikolić, Emilija
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/504
AB  - The perception of women in past centuries has often been based on preconceived ideas, models and patterns of behaviour, all of which formed stereotypes concerning women. Many stereotypes originated in the patriarchal environment and according to Christian moral principles. Not even ladies from imperial circles were spared of being labelled with diferent stereotypes, one of the most frequent being their modest provenance, and of being called harlots, courtesans or prostitutes. This perception was later taken to a new, deeper level in the centuries-long folk tradition, where women, often of foreign origin, from notable families or in high positions in the state, were considered cursed or guilty for something that a man was not supposed to be blamed for. These women were the objects of many legends and were often associated with demonic creatures and considered fairies or witches.
PB  - Center for New Technology Viminacium
PB  - Institute of Archaeology Belgrade
T2  - Archaeology and Science / Arheologija i prirodne nauke
T1  - Stereotypes as prototypes in the perception of women: a few remarks from history and folk tradition
T1  - Stereotipi kao prototipovi u percepciji žena: nekoliko primera iz istorije i narodne tradicije
EP  - 107
SP  - 89
VL  - 13
DO  - 10.18485/arhe_apn.2017.13.7
UR  - https://hdl.handle.net/21.15107/rcub_rai_504
ER  - 

@article{
author = "Anđelković Grašar, Jelena and Nikolić, Emilija",
year = "2018",
abstract = "The perception of women in past centuries has often been based on preconceived ideas, models and patterns of behaviour, all of which formed stereotypes concerning women. Many stereotypes originated in the patriarchal environment and according to Christian moral principles. Not even ladies from imperial circles were spared of being labelled with diferent stereotypes, one of the most frequent being their modest provenance, and of being called harlots, courtesans or prostitutes. This perception was later taken to a new, deeper level in the centuries-long folk tradition, where women, often of foreign origin, from notable families or in high positions in the state, were considered cursed or guilty for something that a man was not supposed to be blamed for. These women were the objects of many legends and were often associated with demonic creatures and considered fairies or witches.",
publisher = "Center for New Technology Viminacium, Institute of Archaeology Belgrade",
journal = "Archaeology and Science / Arheologija i prirodne nauke",
title = "Stereotypes as prototypes in the perception of women: a few remarks from history and folk tradition, Stereotipi kao prototipovi u percepciji žena: nekoliko primera iz istorije i narodne tradicije",
pages = "107-89",
volume = "13",
doi = "10.18485/arhe_apn.2017.13.7",
url = "https://hdl.handle.net/21.15107/rcub_rai_504"
}

Anđelković Grašar, J.,& Nikolić, E.. (2018). Stereotypes as prototypes in the perception of women: a few remarks from history and folk tradition. in Archaeology and Science / Arheologija i prirodne nauke
Center for New Technology Viminacium., 13, 89-107.
https://doi.org/10.18485/arhe_apn.2017.13.7
https://hdl.handle.net/21.15107/rcub_rai_504

Anđelković Grašar J, Nikolić E. Stereotypes as prototypes in the perception of women: a few remarks from history and folk tradition. in Archaeology and Science / Arheologija i prirodne nauke. 2018;13:89-107.
doi:10.18485/arhe_apn.2017.13.7
https://hdl.handle.net/21.15107/rcub_rai_504 .

Anđelković Grašar, Jelena, Nikolić, Emilija, "Stereotypes as prototypes in the perception of women: a few remarks from history and folk tradition" in Archaeology and Science / Arheologija i prirodne nauke, 13 (2018):89-107,
https://doi.org/10.18485/arhe_apn.2017.13.7 .,
https://hdl.handle.net/21.15107/rcub_rai_504 .

TY  - CHAP
AU  - Tapavički-Ilić, Milica
AU  - Anđelković Grašar, Jelena
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/467
AB  - COST je program koji finansira Evropska unija, a koji omogućava stručnjacima da osmisle
i kreiraju interdisciplinarne istraživačke mreže širom Evrope.Tokom 2016. godine, saradnici Arheološkog
instituta u Beogradu su se priključili jednoj COST - akciji, tačnije projektu ARKWORK
(sl. 1). Ovaj projekat se finansira preko tzv. COST šeme i predviđeno je da traje do kraja 2020. godine.
Na projektu učestvuju predstavnici iz ukupno 26 evropskih zemalja i isto toliko institucija,
uz rukovođenje grupe stručnjaka sa univerziteta u Upsali, Helsinkiju, Kopenhagenu, Viljnusu,
Glazgovu, Kelnu, Veneciji, kao i iz islandskog Arheološkog instituta i organizacije Horst Kultur
iz Nemačke.
PB  - Beograd : Arheološki institut
T2  - Arheologija u Srbiji : projekti Arheološkog instituta u 2016. godini
T1  - COST - akcija, projekat ARKWORK
EP  - 156
SP  - 155
UR  - https://hdl.handle.net/21.15107/rcub_rai_467
ER  - 

@inbook{
author = "Tapavički-Ilić, Milica and Anđelković Grašar, Jelena",
year = "2018",
abstract = "COST je program koji finansira Evropska unija, a koji omogućava stručnjacima da osmisle
i kreiraju interdisciplinarne istraživačke mreže širom Evrope.Tokom 2016. godine, saradnici Arheološkog
instituta u Beogradu su se priključili jednoj COST - akciji, tačnije projektu ARKWORK
(sl. 1). Ovaj projekat se finansira preko tzv. COST šeme i predviđeno je da traje do kraja 2020. godine.
Na projektu učestvuju predstavnici iz ukupno 26 evropskih zemalja i isto toliko institucija,
uz rukovođenje grupe stručnjaka sa univerziteta u Upsali, Helsinkiju, Kopenhagenu, Viljnusu,
Glazgovu, Kelnu, Veneciji, kao i iz islandskog Arheološkog instituta i organizacije Horst Kultur
iz Nemačke.",
publisher = "Beograd : Arheološki institut",
journal = "Arheologija u Srbiji : projekti Arheološkog instituta u 2016. godini",
booktitle = "COST - akcija, projekat ARKWORK",
pages = "156-155",
url = "https://hdl.handle.net/21.15107/rcub_rai_467"
}

Tapavički-Ilić, M.,& Anđelković Grašar, J.. (2018). COST - akcija, projekat ARKWORK. in Arheologija u Srbiji : projekti Arheološkog instituta u 2016. godini
Beograd : Arheološki institut., 155-156.
https://hdl.handle.net/21.15107/rcub_rai_467

Tapavički-Ilić M, Anđelković Grašar J. COST - akcija, projekat ARKWORK. in Arheologija u Srbiji : projekti Arheološkog instituta u 2016. godini. 2018;:155-156.
https://hdl.handle.net/21.15107/rcub_rai_467 .

Tapavički-Ilić, Milica, Anđelković Grašar, Jelena, "COST - akcija, projekat ARKWORK" in Arheologija u Srbiji : projekti Arheološkog instituta u 2016. godini (2018):155-156,
https://hdl.handle.net/21.15107/rcub_rai_467 .

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
UR  - https://hdl.handle.net/21.15107/rcub_rai_410
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",
url = "https://hdl.handle.net/21.15107/rcub_rai_410"
}

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.
https://hdl.handle.net/21.15107/rcub_rai_410

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.
https://hdl.handle.net/21.15107/rcub_rai_410 .

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,
https://hdl.handle.net/21.15107/rcub_rai_410 .

TY  - CHAP
AU  - Anđelković Grašar, Jelena
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/402
AB  - The ancient Romans valued portraiture as a means of communication and self-representation.
Men and women were commemorated in a variety of media, from
carved cameos, to gold glass medallions, to paintings and statuary. The tomb, was
the most common location for these portraits. This paper examines the portraits of
women from the late antique Balkans. It demonstrates how the portraits of women
communicated ideas about the person portrayed through iconographic markers,
such as hairstyle, gesture, or clothing. Often these markers of identity were borrowed
from empresses or from goddesses, so that one can speak of types that the artists
commonly deployed. Along with these empire-wide types and markers of qualities,
portraits from the Balkans also demonstrate local specificity.
PB  - Belgrade : Institute of Archaeology
T2  - Vivere Militare Est : From Populus to Emperors - Living on the Frontier
T1  - Image as a Way of Self-Representation, Association and Type Creation for Late Antique Women in the Central Balkans
EP  - 364
SP  - 333
VL  - 1
UR  - https://hdl.handle.net/21.15107/rcub_rai_402
ER  - 

@inbook{
author = "Anđelković Grašar, Jelena",
year = "2018",
abstract = "The ancient Romans valued portraiture as a means of communication and self-representation.
Men and women were commemorated in a variety of media, from
carved cameos, to gold glass medallions, to paintings and statuary. The tomb, was
the most common location for these portraits. This paper examines the portraits of
women from the late antique Balkans. It demonstrates how the portraits of women
communicated ideas about the person portrayed through iconographic markers,
such as hairstyle, gesture, or clothing. Often these markers of identity were borrowed
from empresses or from goddesses, so that one can speak of types that the artists
commonly deployed. Along with these empire-wide types and markers of qualities,
portraits from the Balkans also demonstrate local specificity.",
publisher = "Belgrade : Institute of Archaeology",
journal = "Vivere Militare Est : From Populus to Emperors - Living on the Frontier",
booktitle = "Image as a Way of Self-Representation, Association and Type Creation for Late Antique Women in the Central Balkans",
pages = "364-333",
volume = "1",
url = "https://hdl.handle.net/21.15107/rcub_rai_402"
}

Anđelković Grašar, J.. (2018). Image as a Way of Self-Representation, Association and Type Creation for Late Antique Women in the Central Balkans. in Vivere Militare Est : From Populus to Emperors - Living on the Frontier
Belgrade : Institute of Archaeology., 1, 333-364.
https://hdl.handle.net/21.15107/rcub_rai_402

Anđelković Grašar J. Image as a Way of Self-Representation, Association and Type Creation for Late Antique Women in the Central Balkans. in Vivere Militare Est : From Populus to Emperors - Living on the Frontier. 2018;1:333-364.
https://hdl.handle.net/21.15107/rcub_rai_402 .

Anđelković Grašar, Jelena, "Image as a Way of Self-Representation, Association and Type Creation for Late Antique Women in the Central Balkans" in Vivere Militare Est : From Populus to Emperors - Living on the Frontier, 1 (2018):333-364,
https://hdl.handle.net/21.15107/rcub_rai_402 .

TY  - JOUR
AU  - Milovanović, Bebina
AU  - Anđelković-Grašar, Jelena
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/290
AB  - Meduza ili Gorgona imala je tokom antičkog perioda u rimskoj vizuelnoj umetnosti zaštitnički, ali i izrazit dekorativni karakter. Nj eno poreklo treba tražiti među praistorijskim boginjama prirode, te stoga nije neuobičajena njena bliskost sa boginjama kao što su Boginja Majka, Rea, Kibela, Demetra ili materinska Artemida. Meduza je od arhajskog do kasnoantičkog perioda doživela brojne transformacije koje se mogu tretirati kao jedinstveni primerak evolucije lika. Demonsko biće široke glave sa naglašenom bradom, velikim ustima i isplaženim jezikom prerasta tokom helenističkog perioda u ženu izuzetne lepote sa diskretno naznačenim zmijama u kosi ili sa samo nagoveštenim rogovima na glavi. U pojedinim eshatološko-filozofskim pravcima različite je tumačena njena uloga. Prema orfičarima, Meduza se nalazila na vratima pakla i tretirana je u okviru mesečevog kulta. Prema pitagorejcima imala je ulogu da hrabri ljude na njihovom putu preko Okeana do ostrva Blaženih. Za stoičare, Meduza je bila personifikacija straha kojeg pobeđuje mitski junak Persej. Gorgonin pogled imao je za cilj da ubije pohotljive, životinjske nagone kod ljudi, dok je kod muškaraca obuzdavao njihovu muškost, ali nije imao efekta na žene. Tokom rimske epohe, u arhitektonskoj i sitnoj, zanatskoj umetnosti Meduza je isključivo predstavljana kao lepa žena sa diskretnim zmijama u kosi i s krilima na glavi. Najzastupljenija je na spomenicima funerarnog karaktera (stele i sarkofazi), na kojima je zadržala prvobitni karakter "one koja posmatra", štiti i zastrašuje sve potencijalne uništitelje groba. Glava Meduze na mozaiku iz ulaza u triklinijum vile sa peristilom u Medijani ima funkciju zaštite prolaza. Među predmetima sitne zanatske umetnosti, Meduza uglavnom krasi vojničku opremu (oklop) i oružje (umbo štita). U tim situacijama, lik Meduze imao je za cilj da štiti vojnika od svih nedaća, a pre svega od pogibije. Apotropejska moć Meduze bila je za Rimljane toliko značajna da je predstava glave Meduze postala deo nekakvog ličnog kulta, jer je nošena u okviru nakita, pa je često bila dekoracija kameja i gema na prstenju, naušnicama i medaljonima. Lik ljupke žene na nakitu namenjenom ženama ima jedno dodatno svojstvo, koje je pre svega vezano za zaštitu nežnog ženskog bića, jer, kao što se saznaje iz mita o Perseju, Meduza je zastrašivala muškarce, a nikako žene, te se stoga može tretirati i kao zaštitnica žena. U narodnoj tradiciji Srba zabeležene su dve legende zahvaljujući kojima je lik Meduze nastavio svoj vizuelni i simbolički život na zidovima pravoslavnih manastira Rukumija i Nimnik (kod Požarevca) - dva zabata nadgrobnih stela sa glavom Meduze upotrebljena su kao spolije na fasadama navedenih manastira. Biće apotropejskog karaktera je tako, preko narodne tradicije, prihvaćeno u hrišćanskom svetu kao trijumf pravde, pokajanja i kažnjavanja krivaca, usaglašavajući pagansko sa hrišćanskim religioznim idejama.
AB  - The motif of Medusa had significant importance in Roman visual culture, reflecting the comprehension of ancient people about this frightful being. Visual material from the territory of the Central Balkans suggests a widely known understanding and belief of the protective as well as apotropaic functions of Medusa. The motif of Medusa i.e. the Gorgoneion, was one of the well known and most represented motifs in architecture, funerary art and artiminori and a widely appreciated decoration of jewelry, signifying the importance of Medusa's protection for people, especially for women.
PB  - Arheološki institut, Beograd
T2  - Starinar
T1  - Ženska moć koja štiti - primeri apotropejskog i dekorativnog karaktera Meduze u rimskoj vizuelnoj kulturi na prostoru centralnog Balkana
T1  - Female power that protects: Examples of the apotropaic and decorative functions of the Medusa in Roman visual culture from the territory of the Central Balkans
EP  - 182
IS  - 68
SP  - 167
DO  - 10.2298/STA1767167M
ER  - 

@article{
author = "Milovanović, Bebina and Anđelković-Grašar, Jelena",
year = "2018",
abstract = "Meduza ili Gorgona imala je tokom antičkog perioda u rimskoj vizuelnoj umetnosti zaštitnički, ali i izrazit dekorativni karakter. Nj eno poreklo treba tražiti među praistorijskim boginjama prirode, te stoga nije neuobičajena njena bliskost sa boginjama kao što su Boginja Majka, Rea, Kibela, Demetra ili materinska Artemida. Meduza je od arhajskog do kasnoantičkog perioda doživela brojne transformacije koje se mogu tretirati kao jedinstveni primerak evolucije lika. Demonsko biće široke glave sa naglašenom bradom, velikim ustima i isplaženim jezikom prerasta tokom helenističkog perioda u ženu izuzetne lepote sa diskretno naznačenim zmijama u kosi ili sa samo nagoveštenim rogovima na glavi. U pojedinim eshatološko-filozofskim pravcima različite je tumačena njena uloga. Prema orfičarima, Meduza se nalazila na vratima pakla i tretirana je u okviru mesečevog kulta. Prema pitagorejcima imala je ulogu da hrabri ljude na njihovom putu preko Okeana do ostrva Blaženih. Za stoičare, Meduza je bila personifikacija straha kojeg pobeđuje mitski junak Persej. Gorgonin pogled imao je za cilj da ubije pohotljive, životinjske nagone kod ljudi, dok je kod muškaraca obuzdavao njihovu muškost, ali nije imao efekta na žene. Tokom rimske epohe, u arhitektonskoj i sitnoj, zanatskoj umetnosti Meduza je isključivo predstavljana kao lepa žena sa diskretnim zmijama u kosi i s krilima na glavi. Najzastupljenija je na spomenicima funerarnog karaktera (stele i sarkofazi), na kojima je zadržala prvobitni karakter "one koja posmatra", štiti i zastrašuje sve potencijalne uništitelje groba. Glava Meduze na mozaiku iz ulaza u triklinijum vile sa peristilom u Medijani ima funkciju zaštite prolaza. Među predmetima sitne zanatske umetnosti, Meduza uglavnom krasi vojničku opremu (oklop) i oružje (umbo štita). U tim situacijama, lik Meduze imao je za cilj da štiti vojnika od svih nedaća, a pre svega od pogibije. Apotropejska moć Meduze bila je za Rimljane toliko značajna da je predstava glave Meduze postala deo nekakvog ličnog kulta, jer je nošena u okviru nakita, pa je često bila dekoracija kameja i gema na prstenju, naušnicama i medaljonima. Lik ljupke žene na nakitu namenjenom ženama ima jedno dodatno svojstvo, koje je pre svega vezano za zaštitu nežnog ženskog bića, jer, kao što se saznaje iz mita o Perseju, Meduza je zastrašivala muškarce, a nikako žene, te se stoga može tretirati i kao zaštitnica žena. U narodnoj tradiciji Srba zabeležene su dve legende zahvaljujući kojima je lik Meduze nastavio svoj vizuelni i simbolički život na zidovima pravoslavnih manastira Rukumija i Nimnik (kod Požarevca) - dva zabata nadgrobnih stela sa glavom Meduze upotrebljena su kao spolije na fasadama navedenih manastira. Biće apotropejskog karaktera je tako, preko narodne tradicije, prihvaćeno u hrišćanskom svetu kao trijumf pravde, pokajanja i kažnjavanja krivaca, usaglašavajući pagansko sa hrišćanskim religioznim idejama., The motif of Medusa had significant importance in Roman visual culture, reflecting the comprehension of ancient people about this frightful being. Visual material from the territory of the Central Balkans suggests a widely known understanding and belief of the protective as well as apotropaic functions of Medusa. The motif of Medusa i.e. the Gorgoneion, was one of the well known and most represented motifs in architecture, funerary art and artiminori and a widely appreciated decoration of jewelry, signifying the importance of Medusa's protection for people, especially for women.",
publisher = "Arheološki institut, Beograd",
journal = "Starinar",
title = "Ženska moć koja štiti - primeri apotropejskog i dekorativnog karaktera Meduze u rimskoj vizuelnoj kulturi na prostoru centralnog Balkana, Female power that protects: Examples of the apotropaic and decorative functions of the Medusa in Roman visual culture from the territory of the Central Balkans",
pages = "182-167",
number = "68",
doi = "10.2298/STA1767167M"
}

Milovanović, B.,& Anđelković-Grašar, J.. (2018). Ženska moć koja štiti - primeri apotropejskog i dekorativnog karaktera Meduze u rimskoj vizuelnoj kulturi na prostoru centralnog Balkana. in Starinar
Arheološki institut, Beograd.(68), 167-182.
https://doi.org/10.2298/STA1767167M

Milovanović B, Anđelković-Grašar J. Ženska moć koja štiti - primeri apotropejskog i dekorativnog karaktera Meduze u rimskoj vizuelnoj kulturi na prostoru centralnog Balkana. in Starinar. 2018;(68):167-182.
doi:10.2298/STA1767167M .

Milovanović, Bebina, Anđelković-Grašar, Jelena, "Ženska moć koja štiti - primeri apotropejskog i dekorativnog karaktera Meduze u rimskoj vizuelnoj kulturi na prostoru centralnog Balkana" in Starinar, no. 68 (2018):167-182,
https://doi.org/10.2298/STA1767167M . .

TY  - JOUR
AU  - Николић, Емилија
AU  - Рогић, Драгана
AU  - Анђелковић Грашар, Јелена
PY  - 2017
UR  - http://rai.ai.ac.rs/handle/123456789/500
AB  - Motiv meandra poznat je u antičkoj, ali i srednjovekovnoj umetnosti. Karakterističan je za skulpturalnu i mozaičku dekoraciju, dok se u zidnom slikarstvu ređe sreće. Na prostoru današnje Srbije, meandar je oslikan u trodimenzonalnom prikazu u dva kasnoantička groba iz Beške i Viminacijuma. Cilj ovog rada je definisanje ovog prikaza i njegovih korelacija sa kontekstima u kojima se pojavljuje.
PB  - Београд : Српско археолошко друштво
T2  - Гласник Српског археолошког друштва
T1  - Мотив меандра и његови прикази на касноантичким зидним сликама у Србији
EP  - 216
SP  - 175
VL  - 33
UR  - https://hdl.handle.net/21.15107/rcub_rai_500
ER  - 

@article{
author = "Николић, Емилија and Рогић, Драгана and Анђелковић Грашар, Јелена",
year = "2017",
abstract = "Motiv meandra poznat je u antičkoj, ali i srednjovekovnoj umetnosti. Karakterističan je za skulpturalnu i mozaičku dekoraciju, dok se u zidnom slikarstvu ređe sreće. Na prostoru današnje Srbije, meandar je oslikan u trodimenzonalnom prikazu u dva kasnoantička groba iz Beške i Viminacijuma. Cilj ovog rada je definisanje ovog prikaza i njegovih korelacija sa kontekstima u kojima se pojavljuje.",
publisher = "Београд : Српско археолошко друштво",
journal = "Гласник Српског археолошког друштва",
title = "Мотив меандра и његови прикази на касноантичким зидним сликама у Србији",
pages = "216-175",
volume = "33",
url = "https://hdl.handle.net/21.15107/rcub_rai_500"
}

Николић, Е., Рогић, Д.,& Анђелковић Грашар, Ј.. (2017). Мотив меандра и његови прикази на касноантичким зидним сликама у Србији. in Гласник Српског археолошког друштва
Београд : Српско археолошко друштво., 33, 175-216.
https://hdl.handle.net/21.15107/rcub_rai_500

Николић Е, Рогић Д, Анђелковић Грашар Ј. Мотив меандра и његови прикази на касноантичким зидним сликама у Србији. in Гласник Српског археолошког друштва. 2017;33:175-216.
https://hdl.handle.net/21.15107/rcub_rai_500 .

Николић, Емилија, Рогић, Драгана, Анђелковић Грашар, Јелена, "Мотив меандра и његови прикази на касноантичким зидним сликама у Србији" in Гласник Српског археолошког друштва, 33 (2017):175-216,
https://hdl.handle.net/21.15107/rcub_rai_500 .

TY  - CONF
AU  - Anđelković Grašar, Jelena
AU  - Nikolić, Emilija
AU  - Rogić, Dragana
PY  - 2017
UR  - http://rai.ai.ac.rs/handle/123456789/791
AB  - The aim of the paper is to determine which pictorial elements and principles were dominant in the compositions of Viminacium paintings, based on preserved tomb frescoes. Many of the pictorial elements and principles used played a symbolic role in the content or narrative context. Since the painting of the above-ground structures of ancient Viminacium is preserved only as fragments, the similar use of line, space, and colour, or balance, rhythm, and proportion in tomb paintings could be useful for the future reconstruction and understanding of the particular styles of the artists who were based in Viminacium.
PB  - Peeters Publishers, Leuven - Paris - Bristol, CT
C3  - Context and Meaning. Proceedings of the Twelfth International Conference of the Association Internationale pour la Peinture Murale Antique, Athens, September 16-20, 2013.
T1  - Pictorial Elements and Principles in the Creation of the Ancient Image Using the Example of Viminacium Funerary Paintings
EP  - 521
SP  - 515
UR  - https://hdl.handle.net/21.15107/rcub_rai_791
ER  - 

@conference{
author = "Anđelković Grašar, Jelena and Nikolić, Emilija and Rogić, Dragana",
year = "2017",
abstract = "The aim of the paper is to determine which pictorial elements and principles were dominant in the compositions of Viminacium paintings, based on preserved tomb frescoes. Many of the pictorial elements and principles used played a symbolic role in the content or narrative context. Since the painting of the above-ground structures of ancient Viminacium is preserved only as fragments, the similar use of line, space, and colour, or balance, rhythm, and proportion in tomb paintings could be useful for the future reconstruction and understanding of the particular styles of the artists who were based in Viminacium.",
publisher = "Peeters Publishers, Leuven - Paris - Bristol, CT",
journal = "Context and Meaning. Proceedings of the Twelfth International Conference of the Association Internationale pour la Peinture Murale Antique, Athens, September 16-20, 2013.",
title = "Pictorial Elements and Principles in the Creation of the Ancient Image Using the Example of Viminacium Funerary Paintings",
pages = "521-515",
url = "https://hdl.handle.net/21.15107/rcub_rai_791"
}

Anđelković Grašar, J., Nikolić, E.,& Rogić, D.. (2017). Pictorial Elements and Principles in the Creation of the Ancient Image Using the Example of Viminacium Funerary Paintings. in Context and Meaning. Proceedings of the Twelfth International Conference of the Association Internationale pour la Peinture Murale Antique, Athens, September 16-20, 2013.
Peeters Publishers, Leuven - Paris - Bristol, CT., 515-521.
https://hdl.handle.net/21.15107/rcub_rai_791

Anđelković Grašar J, Nikolić E, Rogić D. Pictorial Elements and Principles in the Creation of the Ancient Image Using the Example of Viminacium Funerary Paintings. in Context and Meaning. Proceedings of the Twelfth International Conference of the Association Internationale pour la Peinture Murale Antique, Athens, September 16-20, 2013.. 2017;:515-521.
https://hdl.handle.net/21.15107/rcub_rai_791 .

Anđelković Grašar, Jelena, Nikolić, Emilija, Rogić, Dragana, "Pictorial Elements and Principles in the Creation of the Ancient Image Using the Example of Viminacium Funerary Paintings" in Context and Meaning. Proceedings of the Twelfth International Conference of the Association Internationale pour la Peinture Murale Antique, Athens, September 16-20, 2013. (2017):515-521,
https://hdl.handle.net/21.15107/rcub_rai_791 .

TY  - CHAP
AU  - Nikolić, Emilija
AU  - Anđelković Grašar, Jelena
AU  - Rogić, Dragana
PY  - 2017
UR  - http://rai.ai.ac.rs/handle/123456789/503
AB  - From 2015, the former capital of the Roman province of Moesia Superior, Viminacium, in present day Serbia, has been a part of the UNESCO World Heritage Tentative list within the multinational and single largest cultural heritage monument in Europe, ‘Frontiers of the Roman Empire – WHS FRE’. Will the possible future inscription to the World Heritage List bring recognition of Viminacium’s true significance? The hope of the Viminacium research team is for a better understanding of this site by international bodies, as well as scientists, state institutions, the
local community and visitors.
PB  - CALEIDOSCÓPIO – EDIÇÃO E ARTES GRÁFICAS, SA
T2  - Preserving Transcultural Heritage: Your Way or My Way? Questions on Authenticity, Identity and Patrimonial Proceedings in the Safeguarding of Architectural Heritage Created in the Meeting of Cultures
T1  - Viminacium. Research, Protection and Recognition
EP  - 583
SP  - 573
DO  - https://doi.org/10.30618/978-989-658-467-2_52
ER  - 

@inbook{
author = "Nikolić, Emilija and Anđelković Grašar, Jelena and Rogić, Dragana",
year = "2017",
abstract = "From 2015, the former capital of the Roman province of Moesia Superior, Viminacium, in present day Serbia, has been a part of the UNESCO World Heritage Tentative list within the multinational and single largest cultural heritage monument in Europe, ‘Frontiers of the Roman Empire – WHS FRE’. Will the possible future inscription to the World Heritage List bring recognition of Viminacium’s true significance? The hope of the Viminacium research team is for a better understanding of this site by international bodies, as well as scientists, state institutions, the
local community and visitors.",
publisher = "CALEIDOSCÓPIO – EDIÇÃO E ARTES GRÁFICAS, SA",
journal = "Preserving Transcultural Heritage: Your Way or My Way? Questions on Authenticity, Identity and Patrimonial Proceedings in the Safeguarding of Architectural Heritage Created in the Meeting of Cultures",
booktitle = "Viminacium. Research, Protection and Recognition",
pages = "583-573",
doi = "https://doi.org/10.30618/978-989-658-467-2_52"
}

Nikolić, E., Anđelković Grašar, J.,& Rogić, D.. (2017). Viminacium. Research, Protection and Recognition. in Preserving Transcultural Heritage: Your Way or My Way? Questions on Authenticity, Identity and Patrimonial Proceedings in the Safeguarding of Architectural Heritage Created in the Meeting of Cultures
CALEIDOSCÓPIO – EDIÇÃO E ARTES GRÁFICAS, SA., 573-583.
https://doi.org/https://doi.org/10.30618/978-989-658-467-2_52

Nikolić E, Anđelković Grašar J, Rogić D. Viminacium. Research, Protection and Recognition. in Preserving Transcultural Heritage: Your Way or My Way? Questions on Authenticity, Identity and Patrimonial Proceedings in the Safeguarding of Architectural Heritage Created in the Meeting of Cultures. 2017;:573-583.
doi:https://doi.org/10.30618/978-989-658-467-2_52 .

Nikolić, Emilija, Anđelković Grašar, Jelena, Rogić, Dragana, "Viminacium. Research, Protection and Recognition" in Preserving Transcultural Heritage: Your Way or My Way? Questions on Authenticity, Identity and Patrimonial Proceedings in the Safeguarding of Architectural Heritage Created in the Meeting of Cultures (2017):573-583,
https://doi.org/https://doi.org/10.30618/978-989-658-467-2_52 . .

TY  - JOUR
AU  - Tapavički-Ilić, Milica
AU  - Anđelković-Grašar, Jelena
PY  - 2017
UR  - http://rai.ai.ac.rs/handle/123456789/262
AB  - The former Roman city and the legionary fort Viminacium lie under the fields of the modern villages of Stari Kostolac and Drmno, at the right Mlava bank, some 15 km to the north of Požarevac in Eastern Serbia. Viminacium was the capital of the Roman province of Upper Moesia (Moesia Superior) and also an important military stronghold at the northern border of the empire. During pre-Roman times, this area was inhabited by a mixed population, consisting of Celts and of a native Illyrian ethnic group, called by a common name of Scordisci. During the 1st century AD, the Dacians also inhabited this area. Until now, among numerous Viminacium graves (some 14,000), nineteen graves were specified as carriers of either Celtic-Scordiscian or Dacian Late Iron Age tradition. This number is surely bigger but by now, only about a thousand graves were published. "S"-profiled bowls were considered main features of graves with a Celtic-Scordiscian tradition, while Dacian pots were considered main features of graves with a Dacian Late Iron Age tradition. The paper deals with the finds themselves, but also with possible gender determinations of the deceased buried in these graves and with their social and economic status within the Roman society of Viminacium.
PB  - Editura Universitatii Al. I. Cuza Iasi
T2  - Studia Antiqua et Archaeologica
T1  - Finds in the late iron age tradition from the Roman graves of Viminacium
EP  - 82
IS  - 1
SP  - 71
VL  - 23
UR  - https://hdl.handle.net/21.15107/rcub_rai_262
ER  - 

@article{
author = "Tapavički-Ilić, Milica and Anđelković-Grašar, Jelena",
year = "2017",
abstract = "The former Roman city and the legionary fort Viminacium lie under the fields of the modern villages of Stari Kostolac and Drmno, at the right Mlava bank, some 15 km to the north of Požarevac in Eastern Serbia. Viminacium was the capital of the Roman province of Upper Moesia (Moesia Superior) and also an important military stronghold at the northern border of the empire. During pre-Roman times, this area was inhabited by a mixed population, consisting of Celts and of a native Illyrian ethnic group, called by a common name of Scordisci. During the 1st century AD, the Dacians also inhabited this area. Until now, among numerous Viminacium graves (some 14,000), nineteen graves were specified as carriers of either Celtic-Scordiscian or Dacian Late Iron Age tradition. This number is surely bigger but by now, only about a thousand graves were published. "S"-profiled bowls were considered main features of graves with a Celtic-Scordiscian tradition, while Dacian pots were considered main features of graves with a Dacian Late Iron Age tradition. The paper deals with the finds themselves, but also with possible gender determinations of the deceased buried in these graves and with their social and economic status within the Roman society of Viminacium.",
publisher = "Editura Universitatii Al. I. Cuza Iasi",
journal = "Studia Antiqua et Archaeologica",
title = "Finds in the late iron age tradition from the Roman graves of Viminacium",
pages = "82-71",
number = "1",
volume = "23",
url = "https://hdl.handle.net/21.15107/rcub_rai_262"
}

Tapavički-Ilić, M.,& Anđelković-Grašar, J.. (2017). Finds in the late iron age tradition from the Roman graves of Viminacium. in Studia Antiqua et Archaeologica
Editura Universitatii Al. I. Cuza Iasi., 23(1), 71-82.
https://hdl.handle.net/21.15107/rcub_rai_262

Tapavički-Ilić M, Anđelković-Grašar J. Finds in the late iron age tradition from the Roman graves of Viminacium. in Studia Antiqua et Archaeologica. 2017;23(1):71-82.
https://hdl.handle.net/21.15107/rcub_rai_262 .

Tapavički-Ilić, Milica, Anđelković-Grašar, Jelena, "Finds in the late iron age tradition from the Roman graves of Viminacium" in Studia Antiqua et Archaeologica, 23, no. 1 (2017):71-82,
https://hdl.handle.net/21.15107/rcub_rai_262 .