TY  - JOUR
AU  - Popović, Ivana M.
AU  - Gavrilović Vitas, Nadežda M.
PY  - 2023
UR  - http://rai.ai.ac.rs/handle/123456789/1482
AB  - In the year of 2017, the National Museum of Serbia bought a marble statue of
Hercules, found near Ruma, in Srem, at the tripoint of the villages of Budanovci, Dobrinci and Sibac. In the Roman period, this area belonged to the wider city territory of an important centre – Bassianae. The statue is preserved up to the knees, while the lower parts of the statue’s legs are missing. It can be presumed, on the basis of the preserved attributes, that the statue represents the eleventh Labour of the hero-god Hercules, since he is shown with apples from the Garden of the Hesperides. This particular Labour hasn’t been frequently depicted in Roman sculptural repertoire and the statue from Bassianae represents a unique complete figural composition in the territory of the Roman provinces in today’s Serbia so-far.
PB  - Београд : Народни музеј Србије
T2  - Zbornik Narodnog Muzeja Srbije
T1  - Marble Statue of Hercules from the territory of Bassianae
EP  - 181
SP  - 165
VL  - XXVI-1
DO  - 10.18485/znms_arh.2023.26.1.7
ER  - 

@article{
author = "Popović, Ivana M. and Gavrilović Vitas, Nadežda M.",
year = "2023",
abstract = "In the year of 2017, the National Museum of Serbia bought a marble statue of
Hercules, found near Ruma, in Srem, at the tripoint of the villages of Budanovci, Dobrinci and Sibac. In the Roman period, this area belonged to the wider city territory of an important centre – Bassianae. The statue is preserved up to the knees, while the lower parts of the statue’s legs are missing. It can be presumed, on the basis of the preserved attributes, that the statue represents the eleventh Labour of the hero-god Hercules, since he is shown with apples from the Garden of the Hesperides. This particular Labour hasn’t been frequently depicted in Roman sculptural repertoire and the statue from Bassianae represents a unique complete figural composition in the territory of the Roman provinces in today’s Serbia so-far.",
publisher = "Београд : Народни музеј Србије",
journal = "Zbornik Narodnog Muzeja Srbije",
title = "Marble Statue of Hercules from the territory of Bassianae",
pages = "181-165",
volume = "XXVI-1",
doi = "10.18485/znms_arh.2023.26.1.7"
}

Popović, I. M.,& Gavrilović Vitas, N. M.. (2023). Marble Statue of Hercules from the territory of Bassianae. in Zbornik Narodnog Muzeja Srbije
Београд : Народни музеј Србије., XXVI-1, 165-181.
https://doi.org/10.18485/znms_arh.2023.26.1.7

Popović IM, Gavrilović Vitas NM. Marble Statue of Hercules from the territory of Bassianae. in Zbornik Narodnog Muzeja Srbije. 2023;XXVI-1:165-181.
doi:10.18485/znms_arh.2023.26.1.7 .

Popović, Ivana M., Gavrilović Vitas, Nadežda M., "Marble Statue of Hercules from the territory of Bassianae" in Zbornik Narodnog Muzeja Srbije, XXVI-1 (2023):165-181,
https://doi.org/10.18485/znms_arh.2023.26.1.7 . .

TY  - CHAP
AU  - Gavrilović Vitas, Nadežda
PY  - 2023
UR  - http://rai.ai.ac.rs/handle/123456789/1481
AB  - The existence and practice of the cult of the god Mithras, as well as the existence of mithraea, have been confirmedin the localities on Danube Limes in Lower Pannonia and Upper Moesia. In this paper, an update of already known and published epigraphic and archaeological monuments will be presented, along with the new findings its interpretation in the local, regional context, with the emphasis on the iconography of the monuments, which in some monuments exhibits certain not often seen traits and details (like for example attribute of pedum or attribute of flagellum carried by dadophores). We shall discuss the possible ways of diffusion of the cult and locations of
the workshops and try to resolve some of the questions about dedicants’ identity, in the light of the hypothesis established in earlier literature that the main carriers of the cult were soldiers and military personnel in Roman army on Danube Limes in Lower Pannonia and Upper Moesia. We will also emphasize the significance of certain iconographic particularities characteristic for the Mithras’ cult in the territories of the Central Balkans’ Roman provinces which can be perceived also in some of the material found in Limes localities and try to interpret them in the light of other, so far known analogies in other Roman provinces.
PB  - Belgrade : Institute of Archaeology
T2  - Proceedings of the 24th International Congress of Roman Frontier Studies, Limes XXIIII, 2nd - 9th September 2018 Viminacium Belgrade, Serbia. Vol. 1
T1  - The Cult of God Mithras on Roman Danube Limes in Pannonia Inferior and Moesia Superior
EP  - 633
SP  - 625
UR  - https://hdl.handle.net/21.15107/rcub_rai_1481
ER  - 

@inbook{
author = "Gavrilović Vitas, Nadežda",
year = "2023",
abstract = "The existence and practice of the cult of the god Mithras, as well as the existence of mithraea, have been confirmedin the localities on Danube Limes in Lower Pannonia and Upper Moesia. In this paper, an update of already known and published epigraphic and archaeological monuments will be presented, along with the new findings its interpretation in the local, regional context, with the emphasis on the iconography of the monuments, which in some monuments exhibits certain not often seen traits and details (like for example attribute of pedum or attribute of flagellum carried by dadophores). We shall discuss the possible ways of diffusion of the cult and locations of
the workshops and try to resolve some of the questions about dedicants’ identity, in the light of the hypothesis established in earlier literature that the main carriers of the cult were soldiers and military personnel in Roman army on Danube Limes in Lower Pannonia and Upper Moesia. We will also emphasize the significance of certain iconographic particularities characteristic for the Mithras’ cult in the territories of the Central Balkans’ Roman provinces which can be perceived also in some of the material found in Limes localities and try to interpret them in the light of other, so far known analogies in other Roman provinces.",
publisher = "Belgrade : Institute of Archaeology",
journal = "Proceedings of the 24th International Congress of Roman Frontier Studies, Limes XXIIII, 2nd - 9th September 2018 Viminacium Belgrade, Serbia. Vol. 1",
booktitle = "The Cult of God Mithras on Roman Danube Limes in Pannonia Inferior and Moesia Superior",
pages = "633-625",
url = "https://hdl.handle.net/21.15107/rcub_rai_1481"
}

Gavrilović Vitas, N.. (2023). The Cult of God Mithras on Roman Danube Limes in Pannonia Inferior and Moesia Superior. in Proceedings of the 24th International Congress of Roman Frontier Studies, Limes XXIIII, 2nd - 9th September 2018 Viminacium Belgrade, Serbia. Vol. 1
Belgrade : Institute of Archaeology., 625-633.
https://hdl.handle.net/21.15107/rcub_rai_1481

Gavrilović Vitas N. The Cult of God Mithras on Roman Danube Limes in Pannonia Inferior and Moesia Superior. in Proceedings of the 24th International Congress of Roman Frontier Studies, Limes XXIIII, 2nd - 9th September 2018 Viminacium Belgrade, Serbia. Vol. 1. 2023;:625-633.
https://hdl.handle.net/21.15107/rcub_rai_1481 .

Gavrilović Vitas, Nadežda, "The Cult of God Mithras on Roman Danube Limes in Pannonia Inferior and Moesia Superior" in Proceedings of the 24th International Congress of Roman Frontier Studies, Limes XXIIII, 2nd - 9th September 2018 Viminacium Belgrade, Serbia. Vol. 1 (2023):625-633,
https://hdl.handle.net/21.15107/rcub_rai_1481 .

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  - JOUR
AU  - Gavrilović Vitas, Nadežda
AU  - Dan, Dana
PY  - 2022
UR  - http://rai.ai.ac.rs/handle/123456789/1541
AB  - In the border zone between the Roman provinces of Upper Moesia and Thrace a sanctuary dedicated to Zeus and Hera, defined by the toponymic epithet Souideptenoi, was discovered on the Belava mountain, near Turres (today’s Pirot). The sanctuary presumably encompassed a temenos, an altar and two smaller temples, oriented east-west, with the entrance on the eastern side.
Unfortunately, illegal excavations were conducted on the area of the sanctuary by thieves, who stole the small reliefs offered to the deities venerated in the sanctuary, of which the authors of this paper could obtain the data of 31 fragmented votive plates, most of them inscribed. A variety of iconographic schemas, especially the standing divine couple or Zeus and Hera in quadriga,
as well as the combination of three onomastics stocks (Thracian, Greek and Latin) illustrate the diversity of traditions and the cultural interferences at work during imperial times. It can be presumed that the sanctuary dedicated to Zeus and Hera Souideptenoi existed from the 2nd to the end of the 3rd or the beginning of the 4th century.
PB  - Belgrade : Institute of Archaeology
T2  - Starinar
T1  - Zeus and Hera Souideptenoi: The Sanctuary at Belava Mountain near Turres/Pirot
EP  - 215
SP  - 181
VL  - 72
DO  - 10.2298/STA2272181G
ER  - 

@article{
author = "Gavrilović Vitas, Nadežda and Dan, Dana",
year = "2022",
abstract = "In the border zone between the Roman provinces of Upper Moesia and Thrace a sanctuary dedicated to Zeus and Hera, defined by the toponymic epithet Souideptenoi, was discovered on the Belava mountain, near Turres (today’s Pirot). The sanctuary presumably encompassed a temenos, an altar and two smaller temples, oriented east-west, with the entrance on the eastern side.
Unfortunately, illegal excavations were conducted on the area of the sanctuary by thieves, who stole the small reliefs offered to the deities venerated in the sanctuary, of which the authors of this paper could obtain the data of 31 fragmented votive plates, most of them inscribed. A variety of iconographic schemas, especially the standing divine couple or Zeus and Hera in quadriga,
as well as the combination of three onomastics stocks (Thracian, Greek and Latin) illustrate the diversity of traditions and the cultural interferences at work during imperial times. It can be presumed that the sanctuary dedicated to Zeus and Hera Souideptenoi existed from the 2nd to the end of the 3rd or the beginning of the 4th century.",
publisher = "Belgrade : Institute of Archaeology",
journal = "Starinar",
title = "Zeus and Hera Souideptenoi: The Sanctuary at Belava Mountain near Turres/Pirot",
pages = "215-181",
volume = "72",
doi = "10.2298/STA2272181G"
}

Gavrilović Vitas, N.,& Dan, D.. (2022). Zeus and Hera Souideptenoi: The Sanctuary at Belava Mountain near Turres/Pirot. in Starinar
Belgrade : Institute of Archaeology., 72, 181-215.
https://doi.org/10.2298/STA2272181G

Gavrilović Vitas N, Dan D. Zeus and Hera Souideptenoi: The Sanctuary at Belava Mountain near Turres/Pirot. in Starinar. 2022;72:181-215.
doi:10.2298/STA2272181G .

Gavrilović Vitas, Nadežda, Dan, Dana, "Zeus and Hera Souideptenoi: The Sanctuary at Belava Mountain near Turres/Pirot" in Starinar, 72 (2022):181-215,
https://doi.org/10.2298/STA2272181G . .

TY  - BOOK
AU  - Gavrilović Vitas, Nadežda
PY  - 2021
UR  - http://rai.ai.ac.rs/handle/123456789/1540
AB  - The monograph "Ex Asia Minor et Syria. Religions in the Roman Central Balkans" investigates the cults of Asia Minor and Syrian origin in the Roman provinces of the Central Balkans. The author presents, analyzes and interprets all hitherto known epigraphical and archaeological material which attests to the presence of Asia Minor and Syrian cults in that region, a subject which is yet to be the object of a serious scholarly study. Thus the book both reviews previously known monuments and artefacts, many of which are now missing or are destroyed, and adds new finds, exploring their social and geographical context from all possible angles, and focusing on the thoughts and beliefs of the dedicators and devotees of the particular cult in question. New conclusions are presented in a scientific framework, taking account of the latest theoretical developments.
PB  - Archaeopress Publishing Ltd. Oxford
T1  - Ex Asia et Syria : Oriental Religions in the Roman Central Balkans
UR  - https://hdl.handle.net/21.15107/rcub_rai_1540
ER  - 

@book{
author = "Gavrilović Vitas, Nadežda",
year = "2021",
abstract = "The monograph "Ex Asia Minor et Syria. Religions in the Roman Central Balkans" investigates the cults of Asia Minor and Syrian origin in the Roman provinces of the Central Balkans. The author presents, analyzes and interprets all hitherto known epigraphical and archaeological material which attests to the presence of Asia Minor and Syrian cults in that region, a subject which is yet to be the object of a serious scholarly study. Thus the book both reviews previously known monuments and artefacts, many of which are now missing or are destroyed, and adds new finds, exploring their social and geographical context from all possible angles, and focusing on the thoughts and beliefs of the dedicators and devotees of the particular cult in question. New conclusions are presented in a scientific framework, taking account of the latest theoretical developments.",
publisher = "Archaeopress Publishing Ltd. Oxford",
title = "Ex Asia et Syria : Oriental Religions in the Roman Central Balkans",
url = "https://hdl.handle.net/21.15107/rcub_rai_1540"
}

Gavrilović Vitas, N.. (2021). Ex Asia et Syria : Oriental Religions in the Roman Central Balkans. 
Archaeopress Publishing Ltd. Oxford..
https://hdl.handle.net/21.15107/rcub_rai_1540

Gavrilović Vitas N. Ex Asia et Syria : Oriental Religions in the Roman Central Balkans. 2021;.
https://hdl.handle.net/21.15107/rcub_rai_1540 .

Gavrilović Vitas, Nadežda, "Ex Asia et Syria : Oriental Religions in the Roman Central Balkans" (2021),
https://hdl.handle.net/21.15107/rcub_rai_1540 .

TY  - CHAP
AU  - Gavrilović Vitas, Nadežda
PY  - 2021
UR  - http://rai.ai.ac.rs/handle/123456789/1537
AB  - The presence of people of Oriental origin, mainly from Asia Minor, has been epigraphically and archaeologically confirmed in the territories of the Central Balkan Roman provinces since the end of the 1st cent. AD. Soldiers of Asia Minor and Syrian provenance lived during and after their service mostly in
larger centres, while many civilians (merchants, artisans, administrative personnel, mining personnel, etc.) lived and worked in different Central Balkan cities and left material traces of their origin and social and economic status. The majority of Oriental people were soldiers, mining personnel, tradesmen, artisans,
priests, freedmen, and slaves. The important elements in determining with more accuracy the Oriental origin of dedicants are the iconographical motifs on their monuments, types of funerary praxis, and grave goods. The iconography particularly points to the context and symbolism in question, which could be apotropaic, soteriological, eschatological, etc.
PB  - Rahden/Westf.: Leidorf
T2  - People Abroad. Proceedings of the XVI International Colloquium on Roman Provincial Art
T1  - Ex Asia Minor: Orientals on Votive and Funerary Monuments from the Central Balkan Roman Provinces
EP  - 286
SP  - 271
UR  - https://hdl.handle.net/21.15107/rcub_rai_1537
ER  - 

@inbook{
author = "Gavrilović Vitas, Nadežda",
year = "2021",
abstract = "The presence of people of Oriental origin, mainly from Asia Minor, has been epigraphically and archaeologically confirmed in the territories of the Central Balkan Roman provinces since the end of the 1st cent. AD. Soldiers of Asia Minor and Syrian provenance lived during and after their service mostly in
larger centres, while many civilians (merchants, artisans, administrative personnel, mining personnel, etc.) lived and worked in different Central Balkan cities and left material traces of their origin and social and economic status. The majority of Oriental people were soldiers, mining personnel, tradesmen, artisans,
priests, freedmen, and slaves. The important elements in determining with more accuracy the Oriental origin of dedicants are the iconographical motifs on their monuments, types of funerary praxis, and grave goods. The iconography particularly points to the context and symbolism in question, which could be apotropaic, soteriological, eschatological, etc.",
publisher = "Rahden/Westf.: Leidorf",
journal = "People Abroad. Proceedings of the XVI International Colloquium on Roman Provincial Art",
booktitle = "Ex Asia Minor: Orientals on Votive and Funerary Monuments from the Central Balkan Roman Provinces",
pages = "286-271",
url = "https://hdl.handle.net/21.15107/rcub_rai_1537"
}

Gavrilović Vitas, N.. (2021). Ex Asia Minor: Orientals on Votive and Funerary Monuments from the Central Balkan Roman Provinces. in People Abroad. Proceedings of the XVI International Colloquium on Roman Provincial Art
Rahden/Westf.: Leidorf., 271-286.
https://hdl.handle.net/21.15107/rcub_rai_1537

Gavrilović Vitas N. Ex Asia Minor: Orientals on Votive and Funerary Monuments from the Central Balkan Roman Provinces. in People Abroad. Proceedings of the XVI International Colloquium on Roman Provincial Art. 2021;:271-286.
https://hdl.handle.net/21.15107/rcub_rai_1537 .

Gavrilović Vitas, Nadežda, "Ex Asia Minor: Orientals on Votive and Funerary Monuments from the Central Balkan Roman Provinces" in People Abroad. Proceedings of the XVI International Colloquium on Roman Provincial Art (2021):271-286,
https://hdl.handle.net/21.15107/rcub_rai_1537 .

TY  - JOUR
AU  - Gavrilović-Vitas, Nadežda
PY  - 2021
UR  - http://rai.ai.ac.rs/handle/123456789/370
AB  - The cult of the goddess Fortuna has been attested on the territory of Roman provinces in the Central Balkans with numerous votive monuments, sculptures, votive reliefs, statuettes and on glyptics. The goddess was particularly popular among the army, but also venerated by administrative personnel, merchants, freedmen, slaves and women. The epithets of the goddess imply that she was honoured by her devotees as in other Roman provinces – mainly as the goddess of good luck and chance, but also as the protectress of transport, business, routes and perhaps in bathing facilities. Fortuna was usually worshipped alone, but her pairing with the Egyptian goddess Isis as the syncretistic deity Isis-Fortuna and her relationship with Genii, are confirmed in different Central Balkans localities. The goddess Fortuna’s sanctuaries can be presumed in the vicinity of Ulpiana, Niš, near Kumanovo and probably in Viminacium, while her cult lasted from the 2nd to the last decades of the 3rd century.
PB  - Arheološki institut, Beograd
T2  - Starinar
T1  - The cult of goddess fortuna in the roman central Balkans
EP  - 180
IS  - 71
SP  - 163
DO  - 10.2298/STA2171163G
ER  - 

@article{
author = "Gavrilović-Vitas, Nadežda",
year = "2021",
abstract = "The cult of the goddess Fortuna has been attested on the territory of Roman provinces in the Central Balkans with numerous votive monuments, sculptures, votive reliefs, statuettes and on glyptics. The goddess was particularly popular among the army, but also venerated by administrative personnel, merchants, freedmen, slaves and women. The epithets of the goddess imply that she was honoured by her devotees as in other Roman provinces – mainly as the goddess of good luck and chance, but also as the protectress of transport, business, routes and perhaps in bathing facilities. Fortuna was usually worshipped alone, but her pairing with the Egyptian goddess Isis as the syncretistic deity Isis-Fortuna and her relationship with Genii, are confirmed in different Central Balkans localities. The goddess Fortuna’s sanctuaries can be presumed in the vicinity of Ulpiana, Niš, near Kumanovo and probably in Viminacium, while her cult lasted from the 2nd to the last decades of the 3rd century.",
publisher = "Arheološki institut, Beograd",
journal = "Starinar",
title = "The cult of goddess fortuna in the roman central Balkans",
pages = "180-163",
number = "71",
doi = "10.2298/STA2171163G"
}

Gavrilović-Vitas, N.. (2021). The cult of goddess fortuna in the roman central Balkans. in Starinar
Arheološki institut, Beograd.(71), 163-180.
https://doi.org/10.2298/STA2171163G

Gavrilović-Vitas N. The cult of goddess fortuna in the roman central Balkans. in Starinar. 2021;(71):163-180.
doi:10.2298/STA2171163G .

Gavrilović-Vitas, Nadežda, "The cult of goddess fortuna in the roman central Balkans" in Starinar, no. 71 (2021):163-180,
https://doi.org/10.2298/STA2171163G . .

TY  - CHAP
AU  - Gavrilović Vitas, Nadežda
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/1535
AB  - In the city territory of Antique Remesiana, in 1979, near the southern necropolis of the city, a marble votive icon with a representation of a Reclining Hercules was found. The presentation of the reclining god, with a lion skin on his left shoulder and a club in his right hand is so far unique in the territory of the Roman province of Moesia Superior and represents Hercules in a way that he was frequently represented in marble statuary, bronze statuettes, reliefs and coins in other Roman provinces. Through the iconographical analysis of the representation of the Reclining Hercules, a close connection between him and the god Dionysus, as with the river-god images, has been underlined. This close connection implies certain characteristics of the god Hercules in this type of iconographical representation, close to the scenes and symbolism the god Dionysus encompassed in the connection with his triumph over death and gaining immortality in the afterlife, through taking part in a funeral banquet.
The fact that the marble icon of the Reclining Hercules was found near the southern necropolis of the antique city of Remesiana, could point to a possible small sanctuary of the god or a temple of some other deity (Dionysus?), 3rd in which the votive icon of the Reclining Hercules also stood. The icon is dated to the century.
PB  - Belgrade : Institute of Archaeology
T2  - Illyricvm Romanvm : Studiola in Honorem Miloje Vasić
T1  - Votive Relief with a Representation of a Reclining Hercules from Bela Palanka (Remesiana)
EP  - 79
SP  - 70
UR  - https://hdl.handle.net/21.15107/rcub_rai_1535
ER  - 

@inbook{
author = "Gavrilović Vitas, Nadežda",
year = "2020",
abstract = "In the city territory of Antique Remesiana, in 1979, near the southern necropolis of the city, a marble votive icon with a representation of a Reclining Hercules was found. The presentation of the reclining god, with a lion skin on his left shoulder and a club in his right hand is so far unique in the territory of the Roman province of Moesia Superior and represents Hercules in a way that he was frequently represented in marble statuary, bronze statuettes, reliefs and coins in other Roman provinces. Through the iconographical analysis of the representation of the Reclining Hercules, a close connection between him and the god Dionysus, as with the river-god images, has been underlined. This close connection implies certain characteristics of the god Hercules in this type of iconographical representation, close to the scenes and symbolism the god Dionysus encompassed in the connection with his triumph over death and gaining immortality in the afterlife, through taking part in a funeral banquet.
The fact that the marble icon of the Reclining Hercules was found near the southern necropolis of the antique city of Remesiana, could point to a possible small sanctuary of the god or a temple of some other deity (Dionysus?), 3rd in which the votive icon of the Reclining Hercules also stood. The icon is dated to the century.",
publisher = "Belgrade : Institute of Archaeology",
journal = "Illyricvm Romanvm : Studiola in Honorem Miloje Vasić",
booktitle = "Votive Relief with a Representation of a Reclining Hercules from Bela Palanka (Remesiana)",
pages = "79-70",
url = "https://hdl.handle.net/21.15107/rcub_rai_1535"
}

Gavrilović Vitas, N.. (2020). Votive Relief with a Representation of a Reclining Hercules from Bela Palanka (Remesiana). in Illyricvm Romanvm : Studiola in Honorem Miloje Vasić
Belgrade : Institute of Archaeology., 70-79.
https://hdl.handle.net/21.15107/rcub_rai_1535

Gavrilović Vitas N. Votive Relief with a Representation of a Reclining Hercules from Bela Palanka (Remesiana). in Illyricvm Romanvm : Studiola in Honorem Miloje Vasić. 2020;:70-79.
https://hdl.handle.net/21.15107/rcub_rai_1535 .

Gavrilović Vitas, Nadežda, "Votive Relief with a Representation of a Reclining Hercules from Bela Palanka (Remesiana)" in Illyricvm Romanvm : Studiola in Honorem Miloje Vasić (2020):70-79,
https://hdl.handle.net/21.15107/rcub_rai_1535 .

TY  - CHAP
AU  - Gavrilović Vitas, Nadežda
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/1534
AB  - Archaeological excavations led in 1962. year in the locality Brza Palanka (Egeta), yielded remains of an object in which interior, cult objects connected to the cult of Syrian god Jupiter Dolichenus, were found. Their variety, together with subsequently discovered triangular votive plate of Jupiter Dolicheus, which was also a part of the cult mobiliar from Brza Palanka, confirm the existence of a dolicheneum in the locality, but not identified with the discovered object, which due to its dimensions and structure, could have only served as a sacrarium of Dolichenus’ cult. The analysis of military units which were stationed in Brza Palanka, archaeological remains of the three forts from different periods in the locality and various cult objects which were dis covered in Dolichenus’ sacrarium, led us to the conclusion that dolicheneum in Brza Palanka (Egeta) was probably most prominent sanctuary of the god in this part of Danube Limes region, during the period from the 2nd to the end of the 3rd century.
PB  - Zagreb : Arheološki muzej u Zagrebu
T2  - Monumenta Marmore Aereue Perenniora : zbornik radova u čast Anti Rendiću-Miočeviću
T1  - Dolicheneum and Dolichenus' Cult Objects from the Locality Brza Palanka - Egeta
EP  - 223
SP  - 204
UR  - https://hdl.handle.net/21.15107/rcub_rai_1534
ER  - 

@inbook{
author = "Gavrilović Vitas, Nadežda",
year = "2020",
abstract = "Archaeological excavations led in 1962. year in the locality Brza Palanka (Egeta), yielded remains of an object in which interior, cult objects connected to the cult of Syrian god Jupiter Dolichenus, were found. Their variety, together with subsequently discovered triangular votive plate of Jupiter Dolicheus, which was also a part of the cult mobiliar from Brza Palanka, confirm the existence of a dolicheneum in the locality, but not identified with the discovered object, which due to its dimensions and structure, could have only served as a sacrarium of Dolichenus’ cult. The analysis of military units which were stationed in Brza Palanka, archaeological remains of the three forts from different periods in the locality and various cult objects which were dis covered in Dolichenus’ sacrarium, led us to the conclusion that dolicheneum in Brza Palanka (Egeta) was probably most prominent sanctuary of the god in this part of Danube Limes region, during the period from the 2nd to the end of the 3rd century.",
publisher = "Zagreb : Arheološki muzej u Zagrebu",
journal = "Monumenta Marmore Aereue Perenniora : zbornik radova u čast Anti Rendiću-Miočeviću",
booktitle = "Dolicheneum and Dolichenus' Cult Objects from the Locality Brza Palanka - Egeta",
pages = "223-204",
url = "https://hdl.handle.net/21.15107/rcub_rai_1534"
}

Gavrilović Vitas, N.. (2020). Dolicheneum and Dolichenus' Cult Objects from the Locality Brza Palanka - Egeta. in Monumenta Marmore Aereue Perenniora : zbornik radova u čast Anti Rendiću-Miočeviću
Zagreb : Arheološki muzej u Zagrebu., 204-223.
https://hdl.handle.net/21.15107/rcub_rai_1534

Gavrilović Vitas N. Dolicheneum and Dolichenus' Cult Objects from the Locality Brza Palanka - Egeta. in Monumenta Marmore Aereue Perenniora : zbornik radova u čast Anti Rendiću-Miočeviću. 2020;:204-223.
https://hdl.handle.net/21.15107/rcub_rai_1534 .

Gavrilović Vitas, Nadežda, "Dolicheneum and Dolichenus' Cult Objects from the Locality Brza Palanka - Egeta" in Monumenta Marmore Aereue Perenniora : zbornik radova u čast Anti Rendiću-Miočeviću (2020):204-223,
https://hdl.handle.net/21.15107/rcub_rai_1534 .

TY  - CHAP
AU  - Gavrilović Vitas, Nadežda
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/1542
AB  - Although many epigraphical and archaeological monuments of Syrian origin in the territory of Central Balkans’ Roman provinces from the period of Roman reign have been discovered in the past, monuments from Palmyra are rare. Therefore, the three monuments of Palmyrene origin from National Museum in Belgrade, are even more important, because they represent valuable
examples of Palmyrene funerary art from the Roman period. On two monuments, the very elite of Palmyrene society is represented – two Palmyrene priests dressed in their characteristic clothes with modius on their heads, while the third monument represents a funerary loculus stela of a young girl holding a bird (probably a dove) and grapes. The analysis of the iconography and stylistic
traits of the monuments showed that they can be dated to the period of the 2nd-3rd century, during which (particularly during the reign of the Severan dynasty) the imigrants of Oriental origin came in several migration waves to Central Balkans’ Roman provinces and inhabited bigger centres, including Singidunum, where they had their enclave.
PB  - Zagreb : Filozofski fakultet Sveucilišta u Zagrebu, Arheološki zavod Odsjeka za arheologiju FF press
T2  - Studia Honoraria Archaeologica : Zbornik radova u prigodi 65. rodjendana prof. dr. sc. Mirjane Sanader
T1  - Palmyrene Funerary Sculptures from Singidunum
EP  - 137
SP  - 125
UR  - https://hdl.handle.net/21.15107/rcub_rai_1542
ER  - 

@inbook{
author = "Gavrilović Vitas, Nadežda",
year = "2020",
abstract = "Although many epigraphical and archaeological monuments of Syrian origin in the territory of Central Balkans’ Roman provinces from the period of Roman reign have been discovered in the past, monuments from Palmyra are rare. Therefore, the three monuments of Palmyrene origin from National Museum in Belgrade, are even more important, because they represent valuable
examples of Palmyrene funerary art from the Roman period. On two monuments, the very elite of Palmyrene society is represented – two Palmyrene priests dressed in their characteristic clothes with modius on their heads, while the third monument represents a funerary loculus stela of a young girl holding a bird (probably a dove) and grapes. The analysis of the iconography and stylistic
traits of the monuments showed that they can be dated to the period of the 2nd-3rd century, during which (particularly during the reign of the Severan dynasty) the imigrants of Oriental origin came in several migration waves to Central Balkans’ Roman provinces and inhabited bigger centres, including Singidunum, where they had their enclave.",
publisher = "Zagreb : Filozofski fakultet Sveucilišta u Zagrebu, Arheološki zavod Odsjeka za arheologiju FF press",
journal = "Studia Honoraria Archaeologica : Zbornik radova u prigodi 65. rodjendana prof. dr. sc. Mirjane Sanader",
booktitle = "Palmyrene Funerary Sculptures from Singidunum",
pages = "137-125",
url = "https://hdl.handle.net/21.15107/rcub_rai_1542"
}

Gavrilović Vitas, N.. (2020). Palmyrene Funerary Sculptures from Singidunum. in Studia Honoraria Archaeologica : Zbornik radova u prigodi 65. rodjendana prof. dr. sc. Mirjane Sanader
Zagreb : Filozofski fakultet Sveucilišta u Zagrebu, Arheološki zavod Odsjeka za arheologiju FF press., 125-137.
https://hdl.handle.net/21.15107/rcub_rai_1542

Gavrilović Vitas N. Palmyrene Funerary Sculptures from Singidunum. in Studia Honoraria Archaeologica : Zbornik radova u prigodi 65. rodjendana prof. dr. sc. Mirjane Sanader. 2020;:125-137.
https://hdl.handle.net/21.15107/rcub_rai_1542 .

Gavrilović Vitas, Nadežda, "Palmyrene Funerary Sculptures from Singidunum" in Studia Honoraria Archaeologica : Zbornik radova u prigodi 65. rodjendana prof. dr. sc. Mirjane Sanader (2020):125-137,
https://hdl.handle.net/21.15107/rcub_rai_1542 .

TY  - CHAP
AU  - Gavrilović Vitas, Nadežda
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/1536
AB  - The cults of Aesculapius and Hygieia belonged to those of the most favoured deities in the Roman Central Balkan provinces. The so-far known epigraphic and archaeological material attests their popularity in the northern, eastern and southern parts of the territory, which can be partly explained by the favouring of the cults in neighbouring Thrace, but also with the fact that soldiers, as one of the main devotees of Aesculapius and Hygieia, were responsible for the spread of their cults. The religious association of the god Aesculapius with Jupiter Dolichenus confirms their mutual iatric dimension in the 3rd century, while shrines of Aesculapius can be assumed in Prizren and Constantine’s villa with peristyle, in Mediana. The veneration of iatric cults in the territory of the Central Balkans lasted until the end of Antiquity, attested by epigraphic and archaeological monuments from the first half of the 4th century.
PB  - Belgrade : Serbian Archaeological Society
T2  - Ancient Cult in Balkans through Archaeological Findings and Iconography
T1  - The Cults of Aesculapius and Hygieia in Central Balkan's Roman Provinces
EP  - 83
SP  - 65
UR  - https://hdl.handle.net/21.15107/rcub_rai_1536
ER  - 

@inbook{
author = "Gavrilović Vitas, Nadežda",
year = "2020",
abstract = "The cults of Aesculapius and Hygieia belonged to those of the most favoured deities in the Roman Central Balkan provinces. The so-far known epigraphic and archaeological material attests their popularity in the northern, eastern and southern parts of the territory, which can be partly explained by the favouring of the cults in neighbouring Thrace, but also with the fact that soldiers, as one of the main devotees of Aesculapius and Hygieia, were responsible for the spread of their cults. The religious association of the god Aesculapius with Jupiter Dolichenus confirms their mutual iatric dimension in the 3rd century, while shrines of Aesculapius can be assumed in Prizren and Constantine’s villa with peristyle, in Mediana. The veneration of iatric cults in the territory of the Central Balkans lasted until the end of Antiquity, attested by epigraphic and archaeological monuments from the first half of the 4th century.",
publisher = "Belgrade : Serbian Archaeological Society",
journal = "Ancient Cult in Balkans through Archaeological Findings and Iconography",
booktitle = "The Cults of Aesculapius and Hygieia in Central Balkan's Roman Provinces",
pages = "83-65",
url = "https://hdl.handle.net/21.15107/rcub_rai_1536"
}

Gavrilović Vitas, N.. (2020). The Cults of Aesculapius and Hygieia in Central Balkan's Roman Provinces. in Ancient Cult in Balkans through Archaeological Findings and Iconography
Belgrade : Serbian Archaeological Society., 65-83.
https://hdl.handle.net/21.15107/rcub_rai_1536

Gavrilović Vitas N. The Cults of Aesculapius and Hygieia in Central Balkan's Roman Provinces. in Ancient Cult in Balkans through Archaeological Findings and Iconography. 2020;:65-83.
https://hdl.handle.net/21.15107/rcub_rai_1536 .

Gavrilović Vitas, Nadežda, "The Cults of Aesculapius and Hygieia in Central Balkan's Roman Provinces" in Ancient Cult in Balkans through Archaeological Findings and Iconography (2020):65-83,
https://hdl.handle.net/21.15107/rcub_rai_1536 .

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  - JOUR
AU  - Gavrilović-Vitas, Nadežda
AU  - Gavrilović-Vitas, Nadežda
PY  - 2020
UR  - http://rai.ai.ac.rs/handle/123456789/342
AB  - Tokom građevinskih radova u samom centru Beograda, antičkog Singidunuma, godine 1932. pronađen je monumentalni rimski spomenik. Na tri strane spomenika prikazane su ikonografske predstave rimske svečane žrtvene procesije, dok je četvrta strana, na kojoj su se nalazili natpisno polje i natpis, na žalost, oštećena do neprepoznatljivosti. Na zadnjoj, široj strani spomenika, nasuprot onoj na kojoj se nalazio natpis, predstavljene su dve muške figure, u stojećem položaju, sa različitim ritualnim predmetima u rukama i s koničnim kapama, tesno priljubljenim uz glavu, koje imaju vrpce za vezivanje ispod brade. U pitanju su sveštenici nižeg reda koji su pomagali glavnom svešteniku prilikom prinošenja žrtve - tzv. tutulati (tutulati), od kojih jedan u desnoj ruci drži krčag za vino, dok mu se u levoj ruci nalazi posuda za libaciju ili nošenje žrtvenih ponuda - patera (patera). Na njegovom levom ramenu nalazi se predmet sa resama, sličan peškiru - tzv. mantele (mantele), odnosno peškir za brisanje ruku što ga je sveštenik nižeg ranga dodavao glavnom svešteniku tokom prinošenja žrtve. Drugi sveštenik nižeg reda drži obema rukama otvorenu kutiju za tamjan - tzv. aceru (acerra), ornamentisanu figuralnom predstavom, verovatno vučice koja doji Romula i Rema. Na levoj bočnoj strani spomenika (u odnosu na zadnju stranu sa predstavom dvojice sveštenika) nalazi se scena čoveka koji vodi bika. U pitanju je sluga odnosno viktimarijus (victimarius), čiji je posao bio da vodi žrtvenu životinju i brine o njenom ponašanju, da je ubije tokom samog rituala žrtvovanja i da potom iseče njeno telo na komade. Viktimarijus vodi bika levom rukom, dok u desnoj ruci drži sekiru kojom će ga ubiti prilikom žrtvovanja. Na desnoj bočnoj strani spomenika prikazan je viktimarijus sa žrtvenim nožem, odnosno kultrarijus (cultrarius), koji nož drži u desnoj ruci, dok levom rukom vodi ovna. Na leđima obe žrtvene životinje prikazana je ritualna traka dorsuale (dorsuale), koja je označavala posvećenje životinje u ritualne svrhe. Analiza i interpretacija monumentalnog spomenika iz Singidunuma pokazale su da je u pitanju arheološki spomenik jedinstvene ikonografije sa prostora rimske provincije Gornje Mezije, s obzirom na to da su predstavljene scene svečane žrtvene procesije. Izuzetan značaj oltara ogleda se u tome što su dvojica sveštenika nižeg reda, pomagača glavnom svešteniku, prikazana na jednoj od širih strana spomenika. To samo dodatno osnažuje hipotezu da je u pitanju bila važna ritualna svečanost koja je, verovatno, priređena u čast vrhovnog rimskog boga Jupitera, genija imperatora ili predaka rimskog cara. Najbližu geografsku analogiju predstavlja scena žrtvene procesije sa žrtvenika iz Aserije, dok se druge analogije mogu pronaći na reljefu dve žrtve iz Luvra i bareljefu iz Sabrate u Libiji. Može se pretpostaviti da je spomenik iz Singidunuma sa predstavama svečane žrtvene procesije bio votivni oltar koji se nalazio u prostoru hrama posvećenog bogu Jupiteru ili, manje verovatno, nekom od drugih značajnih rimskih bogova, blizu pretpostavljenog rimskog foruma u Singidunumu, gde je i pronađen. Monumentalni spomenik iz Singidunuma datuje se u vreme od druge polovine 2. veka do početka 3. veka.
AB  - A monumental altar was found in the very centre of Belgrade, ancient Singidunum, in 1932, with iconographic scenes of the sacrificial procession for a ritual animal sacrifice - immolatio. The scenes depict the procession of sacrificial animals to the altar known as pompa, by the victimarii, but also represent priests of a lower rank (flamines minores), with ritual utensils like a wine-pitcher, patera and acerra, used for the ritus of purification which precedes the sacrifice and for ritual acts during the sacrifice. The altar from Singidunum represents a unique monument with the described iconography in the territory of Moesia Superior and it has only been published in catalogue form to date, never fully analysed or interpreted. Through the analysis of its iconography, typology, function, geographically closest analogies and possible context of its finding, new conclusions regarding the praxis of public ritual sacrifice are brought to light related to the period from the second half of the 2nd century to the first decades of the 3rd century in Singidunum, one of the main centres of Moesia Superior.
PB  - Arheološki institut, Beograd
T2  - Starinar
T1  - Monumentalni spomenik iz Singidunuma sa predstavama žrtvene procesije - Pompa et immolatio
T1  - Monumental altar from Singidunum with scenes of a sacrificial procession: Pompa et immolatio
EP  - 109
IS  - 70
SP  - 95
DO  - 10.2298/STA2070095G
ER  - 

@article{
author = "Gavrilović-Vitas, Nadežda and Gavrilović-Vitas, Nadežda",
year = "2020",
abstract = "Tokom građevinskih radova u samom centru Beograda, antičkog Singidunuma, godine 1932. pronađen je monumentalni rimski spomenik. Na tri strane spomenika prikazane su ikonografske predstave rimske svečane žrtvene procesije, dok je četvrta strana, na kojoj su se nalazili natpisno polje i natpis, na žalost, oštećena do neprepoznatljivosti. Na zadnjoj, široj strani spomenika, nasuprot onoj na kojoj se nalazio natpis, predstavljene su dve muške figure, u stojećem položaju, sa različitim ritualnim predmetima u rukama i s koničnim kapama, tesno priljubljenim uz glavu, koje imaju vrpce za vezivanje ispod brade. U pitanju su sveštenici nižeg reda koji su pomagali glavnom svešteniku prilikom prinošenja žrtve - tzv. tutulati (tutulati), od kojih jedan u desnoj ruci drži krčag za vino, dok mu se u levoj ruci nalazi posuda za libaciju ili nošenje žrtvenih ponuda - patera (patera). Na njegovom levom ramenu nalazi se predmet sa resama, sličan peškiru - tzv. mantele (mantele), odnosno peškir za brisanje ruku što ga je sveštenik nižeg ranga dodavao glavnom svešteniku tokom prinošenja žrtve. Drugi sveštenik nižeg reda drži obema rukama otvorenu kutiju za tamjan - tzv. aceru (acerra), ornamentisanu figuralnom predstavom, verovatno vučice koja doji Romula i Rema. Na levoj bočnoj strani spomenika (u odnosu na zadnju stranu sa predstavom dvojice sveštenika) nalazi se scena čoveka koji vodi bika. U pitanju je sluga odnosno viktimarijus (victimarius), čiji je posao bio da vodi žrtvenu životinju i brine o njenom ponašanju, da je ubije tokom samog rituala žrtvovanja i da potom iseče njeno telo na komade. Viktimarijus vodi bika levom rukom, dok u desnoj ruci drži sekiru kojom će ga ubiti prilikom žrtvovanja. Na desnoj bočnoj strani spomenika prikazan je viktimarijus sa žrtvenim nožem, odnosno kultrarijus (cultrarius), koji nož drži u desnoj ruci, dok levom rukom vodi ovna. Na leđima obe žrtvene životinje prikazana je ritualna traka dorsuale (dorsuale), koja je označavala posvećenje životinje u ritualne svrhe. Analiza i interpretacija monumentalnog spomenika iz Singidunuma pokazale su da je u pitanju arheološki spomenik jedinstvene ikonografije sa prostora rimske provincije Gornje Mezije, s obzirom na to da su predstavljene scene svečane žrtvene procesije. Izuzetan značaj oltara ogleda se u tome što su dvojica sveštenika nižeg reda, pomagača glavnom svešteniku, prikazana na jednoj od širih strana spomenika. To samo dodatno osnažuje hipotezu da je u pitanju bila važna ritualna svečanost koja je, verovatno, priređena u čast vrhovnog rimskog boga Jupitera, genija imperatora ili predaka rimskog cara. Najbližu geografsku analogiju predstavlja scena žrtvene procesije sa žrtvenika iz Aserije, dok se druge analogije mogu pronaći na reljefu dve žrtve iz Luvra i bareljefu iz Sabrate u Libiji. Može se pretpostaviti da je spomenik iz Singidunuma sa predstavama svečane žrtvene procesije bio votivni oltar koji se nalazio u prostoru hrama posvećenog bogu Jupiteru ili, manje verovatno, nekom od drugih značajnih rimskih bogova, blizu pretpostavljenog rimskog foruma u Singidunumu, gde je i pronađen. Monumentalni spomenik iz Singidunuma datuje se u vreme od druge polovine 2. veka do početka 3. veka., A monumental altar was found in the very centre of Belgrade, ancient Singidunum, in 1932, with iconographic scenes of the sacrificial procession for a ritual animal sacrifice - immolatio. The scenes depict the procession of sacrificial animals to the altar known as pompa, by the victimarii, but also represent priests of a lower rank (flamines minores), with ritual utensils like a wine-pitcher, patera and acerra, used for the ritus of purification which precedes the sacrifice and for ritual acts during the sacrifice. The altar from Singidunum represents a unique monument with the described iconography in the territory of Moesia Superior and it has only been published in catalogue form to date, never fully analysed or interpreted. Through the analysis of its iconography, typology, function, geographically closest analogies and possible context of its finding, new conclusions regarding the praxis of public ritual sacrifice are brought to light related to the period from the second half of the 2nd century to the first decades of the 3rd century in Singidunum, one of the main centres of Moesia Superior.",
publisher = "Arheološki institut, Beograd",
journal = "Starinar",
title = "Monumentalni spomenik iz Singidunuma sa predstavama žrtvene procesije - Pompa et immolatio, Monumental altar from Singidunum with scenes of a sacrificial procession: Pompa et immolatio",
pages = "109-95",
number = "70",
doi = "10.2298/STA2070095G"
}

Gavrilović-Vitas, N.,& Gavrilović-Vitas, N.. (2020). Monumentalni spomenik iz Singidunuma sa predstavama žrtvene procesije - Pompa et immolatio. in Starinar
Arheološki institut, Beograd.(70), 95-109.
https://doi.org/10.2298/STA2070095G

Gavrilović-Vitas N, Gavrilović-Vitas N. Monumentalni spomenik iz Singidunuma sa predstavama žrtvene procesije - Pompa et immolatio. in Starinar. 2020;(70):95-109.
doi:10.2298/STA2070095G .

Gavrilović-Vitas, Nadežda, Gavrilović-Vitas, Nadežda, "Monumentalni spomenik iz Singidunuma sa predstavama žrtvene procesije - Pompa et immolatio" in Starinar, no. 70 (2020):95-109,
https://doi.org/10.2298/STA2070095G . .

TY  - BOOK
PY  - 2019
UR  - http://rai.ai.ac.rs/handle/123456789/1334
AB  - Godina 2017. bila je posebno važna saradnicima Arheološkog instituta jer se u njoj, pored svih ostalih aktivnosti kojima smo bili posvećeni, obeležavalo 70 godina postojanja i rada naše kuće. Osim svečane akademije održane u zgradi SANU, to je podrazumevalo i izdavanje prigodne
publikacije u kojoj su sažeta dostignuća našeg instituta, kao i domaćinstvo XL Skupštini i godišnjem skupu Srpskog arheološkog društva. Taj trud nas je osnažio u uverenju da je značajno da sabiramo i prezentujemo rezultate koje ostvarimo u toku svake godine. Stoga je ova, sedma po redu sveska zbornika "Arheologija u Srbiji", koja se uz poslovično zakašnjenje odnosi upravo na 2017. godinu, uz uobičajene izveštaje sa iskopavanja i rekognosciranja i prikaz stručnog i naučnog rada na određenim problemima opremljena i opširnim uvodnim izveštajima o radu na četiri matična projekta Arheološkog instituta. Uz ostalo, ti izveštaji, sačinjeni po ugledu na godišnjake velikih evropskih instituta, sadrže i kompletnu bibliografiju učesnika na projektima i ažurne podatke o kongresima, konferencijama i radionicama na kojima su izlagali.
PB  - Beograd : Arheološki institut
T2  - Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini
T1  - Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini
EP  - 204
SP  - 1
UR  - https://hdl.handle.net/21.15107/rcub_rai_1334
ER  - 

@book{
editor = "Bugarski, Ivan, Filipović, Vojislav, Gavrilović Vitas, Nadežda",
year = "2019",
abstract = "Godina 2017. bila je posebno važna saradnicima Arheološkog instituta jer se u njoj, pored svih ostalih aktivnosti kojima smo bili posvećeni, obeležavalo 70 godina postojanja i rada naše kuće. Osim svečane akademije održane u zgradi SANU, to je podrazumevalo i izdavanje prigodne
publikacije u kojoj su sažeta dostignuća našeg instituta, kao i domaćinstvo XL Skupštini i godišnjem skupu Srpskog arheološkog društva. Taj trud nas je osnažio u uverenju da je značajno da sabiramo i prezentujemo rezultate koje ostvarimo u toku svake godine. Stoga je ova, sedma po redu sveska zbornika "Arheologija u Srbiji", koja se uz poslovično zakašnjenje odnosi upravo na 2017. godinu, uz uobičajene izveštaje sa iskopavanja i rekognosciranja i prikaz stručnog i naučnog rada na određenim problemima opremljena i opširnim uvodnim izveštajima o radu na četiri matična projekta Arheološkog instituta. Uz ostalo, ti izveštaji, sačinjeni po ugledu na godišnjake velikih evropskih instituta, sadrže i kompletnu bibliografiju učesnika na projektima i ažurne podatke o kongresima, konferencijama i radionicama na kojima su izlagali.",
publisher = "Beograd : Arheološki institut",
journal = "Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini",
title = "Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini",
pages = "204-1",
url = "https://hdl.handle.net/21.15107/rcub_rai_1334"
}

Bugarski, I., Filipović, V.,& Gavrilović Vitas, N.. (2019). Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini. in Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini
Beograd : Arheološki institut., 1-204.
https://hdl.handle.net/21.15107/rcub_rai_1334

Bugarski I, Filipović V, Gavrilović Vitas N. Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini. in Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini. 2019;:1-204.
https://hdl.handle.net/21.15107/rcub_rai_1334 .

Bugarski, Ivan, Filipović, Vojislav, Gavrilović Vitas, Nadežda, "Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini" in Arheologija u Srbiji: Projekti Arheološkog instituta u 2017. godini (2019):1-204,
https://hdl.handle.net/21.15107/rcub_rai_1334 .

TY  - JOUR
AU  - Gavrilović-Vitas, Nadežda
AU  - Milošević-Jevtić, Gordana
PY  - 2019
UR  - http://rai.ai.ac.rs/handle/123456789/306
AB  - Prva arheološka iskopavanja na prostoru niške Tvrđave započeta su posle Drugog svetskog rata, a nov zamah dobila su tokom 80-ih i 90-ih godina prošloga veka kada su i otkriveni delovi antičkog grada u centralnom delu Tvrđave kod Arsenala, ispred Hamama, uz jugozapadni bedem i na prostoru "Gradskog polja" (delovi bedema vizantijskog utvrđenja sa delom ulice konstatovani su kod Džamije, kod Jagodinmalske kapije i na centralnom platou Tvrđave). Pored otkrivanja dela ulice sa tremovima, ulice sa delom kanalizacije, objekta pod svodovima, bazilike, javnih termi i hrama boga Asklepija, prilikom radova 1987. godine na pešačkoj stazi na prostoru "Gradskog polja" (na oko 300 m severozapadno od centralnog platoa Tvrđave, između turske Tvrđave i kompleksa tehničkih fakulteta) otkriven je severni deo veće antičke građevine (16 m h 31 m po izveštaju arheologa Tonija Čerškova iz 1987. godine), sa centralnom oktogonalnom prostorijom (oktogon upisan u kvadratnu osnovu), sa čije su se istočne i zapadne strane nalazile po dve manje prostorije. Građevina je orijentisana u pravcu sever-jug i u svim njenim prostorijama konstatovani su ostaci mozaika, fresko-slikarstva, arhitektonske plastike i podnog grejanja (u jednoj prostoriji su otkriveni i tragovi zidnog grejanja), dok su se u centralnoj oktogonalnoj prostoriji nalazile i niše za smeštaj skulptura (u nišama su pronađeni tragovi crvene boje i bele bordure, što potvrđuje da su i one bile oslikane). U centralnoj i severozapadnoj prostoriji građevine su konstatovani i grobovi iz srednjovekovnog perioda (izveštaj Tonija Čerškova), kao i brojni nalazi fragmenata keramike, životinjskih kostiju, stakla (posuda), veći broj koštanih žetona i fragmenata oplate, delovi arhitektonske plastike i oruđa za obradu kože i vune. Građevina sa oktogonom je opredeljena u period Maksimina Daje - na osnovu nalaza novčića u severnom zidu prostorije III. Posle duže pauze, od skoro 30 godina, tokom 2016. godine obavljena su arheološka iskopavanja sondažnog tipa na prostoru južne škarpe iskopa iz 1987, 1988. i 2012. godine (južno od krajnje jugoistočne prostorije građevine), koja su, na osnovu geofizičkih snimanja preduzetih 2017. na širem delu lokaliteta "Gradsko polje" radi utvrđivanja gabarita građevine, godine 2018. nastavljena. S obzirom na ograničena finansijska sredstva koja su dobijena, odlučeno je da se na osnovu postavljene kvadratne mreže u cilju povezivanja otkrivene arhitekture i nalaza sa novom arhitekturom i nalazima (kvadrati dim. 5 m h 5 m) paralelno iskopava u dva sektora - sektoru 1, odnosno prostoru gde je po rezultatima geofizičkih snimanja očekivan kraj spoljnog zapadnog zida građevine i sektoru 2, odnosno prostoru južno od ulaza u oktogonalnu prostoriju građevine. Iskopavanja u sektoru 1 potvrdila su pretpostavku ranijih istraživača o veličini južnog dela građevine (kvadrat A5 u sektoru 1 je otvoren južno od ulaza na zapadnom zidu 8), te su iskopavanja u 2018. godini vođena do nivelete vizantijskog sloja (kompaktna zemlja crvenkasto-žućkaste boje, zapravo sloj podnica kuće iz srednjeg veka), u kome je ujedno u južnom uglu kvadrata A5 (uz zid br. 8) otkriveno i ognjište (peć) od opeka. Srednjovekovna kuća nije u celosti otkrivena (njen severni kraj), ali se na osnovu stratigrafske situacije može pretpostaviti da ona svojim gabaritom prati orijentaciju kvadrata A4, odnosno raspon antičkih zidova. Kuća u kvadratu A5 ne predstavlja usamljen slučaj na prostoru građevine sa oktogonom, jer se i u zapadnom profilu kvadrata, kao i na južnom profilu na istoj niveleti vidi sloj kompaktne crvenkasto-žute zemlje, odnosno sloj podnica srednjovekovnih kuća iz perioda 11-12. veka, kada su u doba vizantijske vlasti obnavljani kasnoantički episkopski centri. Prethodno rečeno potvrđuju i brojni fragmenti srednjovekovne kuhinjske keramike lokalnog porekla. Iskopavanja u sektoru 2 (kvadrati V1, S1 i D1) nastavljena su na popločanom prostoru ispred ulaza na južnoj strani u centralnu oktogonalnu prostoriju u kvadratima konstatovanim i tokom ranijih istraživanja, kao i na prostoru prema južnom profilu kvadrata D1 i prema kvadratu S1. Način gradnje zidova i podova u prostorijama II (prostorija ispred ulaza u centralnu oktogonalnu prostoriju) i VIII (prostorija istočno od prostorije II i južno od prostorije VI) potvrđuju karakteristike gradnje dokumentovane u prethodnim istraživanjima građevine sa oktogonom, sa različitim tehnikama zidanja kamenom i opekom (opus vitatum ili opus mixtum). Za konstrukciju dovratnika, niša i kod spoljnih uglova građevine koristi se isključivo opeka različitih formata (opus latericium). Istraživanjima obavljenim u 2018. godini utvrđena je i hronologija gradnje otkrivenog dela građevine sa oktogonom: najstariji građevinski horizont pripada periodu graditeljske aktivnosti careva Licinija i Konstantina Velikog i taj je horizont predstavljen nivoom poda od opeka u prostoriji II, kao i podom od masivnih komada kamenih ploča zelene boje u prostoriji VIII i delom stupca u južnom profilu iskopa. U drugom građevinskom horizontu, preko poda od opeka položen je pod od kamenih ploča ređanih u pravilnim redovima i, možda, mozaik u istočnom delu prostorije II. Sloj maltera sačuvan na jednoj od kamenih ploča zelene boje u prostoriji VIII ukazuje na moguću izradu završnog kvalitetnijeg poda u toj prostoriji. Podovi od opeka u prostoriji II i pod od masivnih kamenih ploča zelene boje u prostoriji VIII mogli bi biti najstariji građevinski horizont, ali i samo potfaza u postavljanju dekorativnog poda od kamena i mozaika u tim prostorijama. Najveće promene u drugoj građevinskoj fazi ogledaju se u rekonstrukciji ulaznog dela u centralnu oktogonalnu prostoriju, gde je najveća pažnja graditelja bila usmerena ka reprezentativnosti izgleda ulaznog pročelja u severni deo građevine sa oktogonom. Ulazni prostor biva naglašen postavljanjem glavnog stepeništa sa dva simetrično postavljena ili rekonstruisana zidana postamenta što su međusobno povezana kamenim stepenikom u rasponu ukupne širine rezalita (7 m). Polukružne niše oslikane fresko-slikarstvom i sa skulpturama dodatno su naglašavale opšti utisak monumentalnosti i raskoši građevine. U prostoriji II je tokom istraživanja u 2018. godini otkriven i zid orijentacije SZ-JI, od krupnijeg lomljenog, priglačanog kamena, negde i sa opekom (unutrašnjost zida je izrađena od sitnijeg i krupnijeg lomljenog kamena i opeke, sa malterom belo-sive boje koji u sastavu ima krupniji kamen i šljunak), u skoro tri pravilna horizontalna reda, koji svojim pravcem negira kasnoantičku arhitekturu i svakako pripada mlađoj fazi ranovizantijskog perioda. Arheološki materijal u oba sektora što su istraživana u 2018. godini sastoji se uglavnom od fragmenata staklenih posuda, arhitektonske plastike, životinjskih kostiju i brojnih fragmenata srednjovekovne keramike u kvadratu A5 i kasnoantičke i ranovizantijske keramike u sektoru 2. Prostori oktogonalne forme, u rimskoj arhitekturi poznati od 1. veka (u funkciji svečanih trpezarija, nimfeuma, peristila, delova privatnih i javnih kupatila itd.), postaju naročito popularni u 4. veku, kada je forma oktogona, usled simbolike koju broju osam pripisuju hrišćanski pisci, bila naročito omiljena za prostore baptisterijuma. Međutim, u slučaju građevine sa oktogonom na lokalitetu "Gradsko polje" može se s priličnom sigurnošću pretpostaviti da je centralna oktogonalna prostorija predstavljala salu za audijenciju, u čijim su se trougaonim isečcima postavljale duboke niše koje su omogućavale jednostavniji prelaz u kupolni završetak, olakšavale težinu zidne mase i unutrašnjem uređenju davale razuđen karakter osnove. Bočne prostorije su mogle biti deo oficijelnog ambijenta ili privatne odaje, a prostorija II je predstavljala deo dvorišta, na koji su sa zapadne i istočne strane bile postavljene poluotvorene ili zatvorene prostorije. Prelaz između dvorišta i centralno nadvišene oktogonalne prostorije bio je naglašen reprezentativnim ulazom sa dve niše i prilaznom konstrukcijom sa stepeništem i zidanim postamentima. Raskoš i monumentalnost građevine sa oktogonom dodatno su naglašavali zidovi ukrašeni arhitektonskom plastikom od mermera, fresko-slikarstvom i mozaicima, koji svojim motivima, kompozicijama i tehnikama izvođenja predstavljaju direktnu analogiju mozaicima iz peristila Konstantinove vile na Medijani. Direktnu arhitektonsku analogiju predstavlja i vila sa oktogonom na Medijani, složene i razuđene osnove u kojoj dominira zapadni deo oktogona sa dubokom apsidom na zapadu (vila je takođe bila dekorisana fresko-slikarstvom, mozaicima i skulpturama), čija je gradnja vezana za organizaciju carskog domena i Konstantinove vile na Medijani. Kao luksuzan javni objekat građevina sa oktogonom na lokalitetu "Gradsko polje" bila je deo gradske četvrti smeštene u severozapadnom delu antičkog utvrđenog grada, u kome je korespondiralo više zgrada javne namene kao što su javne terme otkrivene u blizini i drugi objekti koji su služili za privremeni boravak visokih dostojanstvenika, članova carske porodice i careva.
AB  - After three decades of exploring and excavating the so-called building with octagon at the locality of "Gradsko polje" in Niš, new archaeological research has been conducted. The main goal of the new excavations was, based on a previously led geophysical survey, to determine the dimensions of the western part of the building and to continue the exploration of the approach in front of the room with octagon. Despite modest finances and the short duration of the excavations, this year's archaeological research has allowed us to conclude that the building with octagon had at least three building phases, starting with the beginning of the 4th century and was in use until the 6th century. Also, a clear stratum of Middle Age houses, dating to the 11th-12th century, was also confirmed in this year's excavations, along with many fragments of ceramics belonging to the same period. This paper discusses in detail the archaeological and architectural results obtained from the new excavations led in 2018.
PB  - Beograd : Arheološki institut
T2  - Starinar
T1  - Građevina sa oktogonom na lokalitetu "Gradsko Polje" u Nišu (Naissus) - nova arheološka istraživanja
T1  - Building with octagon from the locality of "Gradsko Polje" in Niš (Naissus): New archaeological excavations
EP  - 272
IS  - 69
SP  - 247
DO  - 10.2298/STa1969247G
ER  - 

@article{
author = "Gavrilović-Vitas, Nadežda and Milošević-Jevtić, Gordana",
year = "2019",
abstract = "Prva arheološka iskopavanja na prostoru niške Tvrđave započeta su posle Drugog svetskog rata, a nov zamah dobila su tokom 80-ih i 90-ih godina prošloga veka kada su i otkriveni delovi antičkog grada u centralnom delu Tvrđave kod Arsenala, ispred Hamama, uz jugozapadni bedem i na prostoru "Gradskog polja" (delovi bedema vizantijskog utvrđenja sa delom ulice konstatovani su kod Džamije, kod Jagodinmalske kapije i na centralnom platou Tvrđave). Pored otkrivanja dela ulice sa tremovima, ulice sa delom kanalizacije, objekta pod svodovima, bazilike, javnih termi i hrama boga Asklepija, prilikom radova 1987. godine na pešačkoj stazi na prostoru "Gradskog polja" (na oko 300 m severozapadno od centralnog platoa Tvrđave, između turske Tvrđave i kompleksa tehničkih fakulteta) otkriven je severni deo veće antičke građevine (16 m h 31 m po izveštaju arheologa Tonija Čerškova iz 1987. godine), sa centralnom oktogonalnom prostorijom (oktogon upisan u kvadratnu osnovu), sa čije su se istočne i zapadne strane nalazile po dve manje prostorije. Građevina je orijentisana u pravcu sever-jug i u svim njenim prostorijama konstatovani su ostaci mozaika, fresko-slikarstva, arhitektonske plastike i podnog grejanja (u jednoj prostoriji su otkriveni i tragovi zidnog grejanja), dok su se u centralnoj oktogonalnoj prostoriji nalazile i niše za smeštaj skulptura (u nišama su pronađeni tragovi crvene boje i bele bordure, što potvrđuje da su i one bile oslikane). U centralnoj i severozapadnoj prostoriji građevine su konstatovani i grobovi iz srednjovekovnog perioda (izveštaj Tonija Čerškova), kao i brojni nalazi fragmenata keramike, životinjskih kostiju, stakla (posuda), veći broj koštanih žetona i fragmenata oplate, delovi arhitektonske plastike i oruđa za obradu kože i vune. Građevina sa oktogonom je opredeljena u period Maksimina Daje - na osnovu nalaza novčića u severnom zidu prostorije III. Posle duže pauze, od skoro 30 godina, tokom 2016. godine obavljena su arheološka iskopavanja sondažnog tipa na prostoru južne škarpe iskopa iz 1987, 1988. i 2012. godine (južno od krajnje jugoistočne prostorije građevine), koja su, na osnovu geofizičkih snimanja preduzetih 2017. na širem delu lokaliteta "Gradsko polje" radi utvrđivanja gabarita građevine, godine 2018. nastavljena. S obzirom na ograničena finansijska sredstva koja su dobijena, odlučeno je da se na osnovu postavljene kvadratne mreže u cilju povezivanja otkrivene arhitekture i nalaza sa novom arhitekturom i nalazima (kvadrati dim. 5 m h 5 m) paralelno iskopava u dva sektora - sektoru 1, odnosno prostoru gde je po rezultatima geofizičkih snimanja očekivan kraj spoljnog zapadnog zida građevine i sektoru 2, odnosno prostoru južno od ulaza u oktogonalnu prostoriju građevine. Iskopavanja u sektoru 1 potvrdila su pretpostavku ranijih istraživača o veličini južnog dela građevine (kvadrat A5 u sektoru 1 je otvoren južno od ulaza na zapadnom zidu 8), te su iskopavanja u 2018. godini vođena do nivelete vizantijskog sloja (kompaktna zemlja crvenkasto-žućkaste boje, zapravo sloj podnica kuće iz srednjeg veka), u kome je ujedno u južnom uglu kvadrata A5 (uz zid br. 8) otkriveno i ognjište (peć) od opeka. Srednjovekovna kuća nije u celosti otkrivena (njen severni kraj), ali se na osnovu stratigrafske situacije može pretpostaviti da ona svojim gabaritom prati orijentaciju kvadrata A4, odnosno raspon antičkih zidova. Kuća u kvadratu A5 ne predstavlja usamljen slučaj na prostoru građevine sa oktogonom, jer se i u zapadnom profilu kvadrata, kao i na južnom profilu na istoj niveleti vidi sloj kompaktne crvenkasto-žute zemlje, odnosno sloj podnica srednjovekovnih kuća iz perioda 11-12. veka, kada su u doba vizantijske vlasti obnavljani kasnoantički episkopski centri. Prethodno rečeno potvrđuju i brojni fragmenti srednjovekovne kuhinjske keramike lokalnog porekla. Iskopavanja u sektoru 2 (kvadrati V1, S1 i D1) nastavljena su na popločanom prostoru ispred ulaza na južnoj strani u centralnu oktogonalnu prostoriju u kvadratima konstatovanim i tokom ranijih istraživanja, kao i na prostoru prema južnom profilu kvadrata D1 i prema kvadratu S1. Način gradnje zidova i podova u prostorijama II (prostorija ispred ulaza u centralnu oktogonalnu prostoriju) i VIII (prostorija istočno od prostorije II i južno od prostorije VI) potvrđuju karakteristike gradnje dokumentovane u prethodnim istraživanjima građevine sa oktogonom, sa različitim tehnikama zidanja kamenom i opekom (opus vitatum ili opus mixtum). Za konstrukciju dovratnika, niša i kod spoljnih uglova građevine koristi se isključivo opeka različitih formata (opus latericium). Istraživanjima obavljenim u 2018. godini utvrđena je i hronologija gradnje otkrivenog dela građevine sa oktogonom: najstariji građevinski horizont pripada periodu graditeljske aktivnosti careva Licinija i Konstantina Velikog i taj je horizont predstavljen nivoom poda od opeka u prostoriji II, kao i podom od masivnih komada kamenih ploča zelene boje u prostoriji VIII i delom stupca u južnom profilu iskopa. U drugom građevinskom horizontu, preko poda od opeka položen je pod od kamenih ploča ređanih u pravilnim redovima i, možda, mozaik u istočnom delu prostorije II. Sloj maltera sačuvan na jednoj od kamenih ploča zelene boje u prostoriji VIII ukazuje na moguću izradu završnog kvalitetnijeg poda u toj prostoriji. Podovi od opeka u prostoriji II i pod od masivnih kamenih ploča zelene boje u prostoriji VIII mogli bi biti najstariji građevinski horizont, ali i samo potfaza u postavljanju dekorativnog poda od kamena i mozaika u tim prostorijama. Najveće promene u drugoj građevinskoj fazi ogledaju se u rekonstrukciji ulaznog dela u centralnu oktogonalnu prostoriju, gde je najveća pažnja graditelja bila usmerena ka reprezentativnosti izgleda ulaznog pročelja u severni deo građevine sa oktogonom. Ulazni prostor biva naglašen postavljanjem glavnog stepeništa sa dva simetrično postavljena ili rekonstruisana zidana postamenta što su međusobno povezana kamenim stepenikom u rasponu ukupne širine rezalita (7 m). Polukružne niše oslikane fresko-slikarstvom i sa skulpturama dodatno su naglašavale opšti utisak monumentalnosti i raskoši građevine. U prostoriji II je tokom istraživanja u 2018. godini otkriven i zid orijentacije SZ-JI, od krupnijeg lomljenog, priglačanog kamena, negde i sa opekom (unutrašnjost zida je izrađena od sitnijeg i krupnijeg lomljenog kamena i opeke, sa malterom belo-sive boje koji u sastavu ima krupniji kamen i šljunak), u skoro tri pravilna horizontalna reda, koji svojim pravcem negira kasnoantičku arhitekturu i svakako pripada mlađoj fazi ranovizantijskog perioda. Arheološki materijal u oba sektora što su istraživana u 2018. godini sastoji se uglavnom od fragmenata staklenih posuda, arhitektonske plastike, životinjskih kostiju i brojnih fragmenata srednjovekovne keramike u kvadratu A5 i kasnoantičke i ranovizantijske keramike u sektoru 2. Prostori oktogonalne forme, u rimskoj arhitekturi poznati od 1. veka (u funkciji svečanih trpezarija, nimfeuma, peristila, delova privatnih i javnih kupatila itd.), postaju naročito popularni u 4. veku, kada je forma oktogona, usled simbolike koju broju osam pripisuju hrišćanski pisci, bila naročito omiljena za prostore baptisterijuma. Međutim, u slučaju građevine sa oktogonom na lokalitetu "Gradsko polje" može se s priličnom sigurnošću pretpostaviti da je centralna oktogonalna prostorija predstavljala salu za audijenciju, u čijim su se trougaonim isečcima postavljale duboke niše koje su omogućavale jednostavniji prelaz u kupolni završetak, olakšavale težinu zidne mase i unutrašnjem uređenju davale razuđen karakter osnove. Bočne prostorije su mogle biti deo oficijelnog ambijenta ili privatne odaje, a prostorija II je predstavljala deo dvorišta, na koji su sa zapadne i istočne strane bile postavljene poluotvorene ili zatvorene prostorije. Prelaz između dvorišta i centralno nadvišene oktogonalne prostorije bio je naglašen reprezentativnim ulazom sa dve niše i prilaznom konstrukcijom sa stepeništem i zidanim postamentima. Raskoš i monumentalnost građevine sa oktogonom dodatno su naglašavali zidovi ukrašeni arhitektonskom plastikom od mermera, fresko-slikarstvom i mozaicima, koji svojim motivima, kompozicijama i tehnikama izvođenja predstavljaju direktnu analogiju mozaicima iz peristila Konstantinove vile na Medijani. Direktnu arhitektonsku analogiju predstavlja i vila sa oktogonom na Medijani, složene i razuđene osnove u kojoj dominira zapadni deo oktogona sa dubokom apsidom na zapadu (vila je takođe bila dekorisana fresko-slikarstvom, mozaicima i skulpturama), čija je gradnja vezana za organizaciju carskog domena i Konstantinove vile na Medijani. Kao luksuzan javni objekat građevina sa oktogonom na lokalitetu "Gradsko polje" bila je deo gradske četvrti smeštene u severozapadnom delu antičkog utvrđenog grada, u kome je korespondiralo više zgrada javne namene kao što su javne terme otkrivene u blizini i drugi objekti koji su služili za privremeni boravak visokih dostojanstvenika, članova carske porodice i careva., After three decades of exploring and excavating the so-called building with octagon at the locality of "Gradsko polje" in Niš, new archaeological research has been conducted. The main goal of the new excavations was, based on a previously led geophysical survey, to determine the dimensions of the western part of the building and to continue the exploration of the approach in front of the room with octagon. Despite modest finances and the short duration of the excavations, this year's archaeological research has allowed us to conclude that the building with octagon had at least three building phases, starting with the beginning of the 4th century and was in use until the 6th century. Also, a clear stratum of Middle Age houses, dating to the 11th-12th century, was also confirmed in this year's excavations, along with many fragments of ceramics belonging to the same period. This paper discusses in detail the archaeological and architectural results obtained from the new excavations led in 2018.",
publisher = "Beograd : Arheološki institut",
journal = "Starinar",
title = "Građevina sa oktogonom na lokalitetu "Gradsko Polje" u Nišu (Naissus) - nova arheološka istraživanja, Building with octagon from the locality of "Gradsko Polje" in Niš (Naissus): New archaeological excavations",
pages = "272-247",
number = "69",
doi = "10.2298/STa1969247G"
}

Gavrilović-Vitas, N.,& Milošević-Jevtić, G.. (2019). Građevina sa oktogonom na lokalitetu "Gradsko Polje" u Nišu (Naissus) - nova arheološka istraživanja. in Starinar
Beograd : Arheološki institut.(69), 247-272.
https://doi.org/10.2298/STa1969247G

Gavrilović-Vitas N, Milošević-Jevtić G. Građevina sa oktogonom na lokalitetu "Gradsko Polje" u Nišu (Naissus) - nova arheološka istraživanja. in Starinar. 2019;(69):247-272.
doi:10.2298/STa1969247G .

Gavrilović-Vitas, Nadežda, Milošević-Jevtić, Gordana, "Građevina sa oktogonom na lokalitetu "Gradsko Polje" u Nišu (Naissus) - nova arheološka istraživanja" in Starinar, no. 69 (2019):247-272,
https://doi.org/10.2298/STa1969247G . .

TY  - JOUR
AU  - Gavrilović-Vitas, Nadežda
PY  - 2019
UR  - http://rai.ai.ac.rs/handle/123456789/328
AB  - Romanisation of the Central Balkans began with the Roman conquest in the 1stcentury, upon which tribal communities were organized into administrative units. The fact that the boundaries of pre-Roman tribal territories didn't correspond in total with the areas of the newly formed Roman provinces, led to frequent influences from neighbouring provinces and the blending of Roman art with local traits in the artistic sphere. Although in the 1stcentury different types of sculpture (cult, monumental and honorary) were present, throughout the whole period of the Roman reign cult sculptures and statues were the most numerous. Tracing the development of the art in the territory of Central Balkans' Roman provinces, it is clear that the northern parts were more under the Roman influence as the consequence of indigenous population more readily adapting to the process of Romanisation, while the southern parts of the Central Balkans area were more influenced by the Greek culture with which they were in contact from as early as the middle of the 7thcentury B.C. Sculptures, statues and reliefs were modelled upon Roman art canons, copying classical Greek and Hellenistic art, in bigger centres like Ratiaria, Singidunum, Viminacium, Naissus, Scupi etc. and localities along the Danube limes. At the same time, in the interior of the Central Balkans' provinces, works of art were manufactured upon Roman canons but with local traits. These were mainly recognized in the simplicity, frontality and linearity of the art works. This is particularly visible in the western and south-western parts of the aforementioned territory, as in some of the localities in eastern parts of the area. During the 2ndand the 3rdcenturies, beside skilful artisans from Greece, Asia Minor and the Mediterranean, who came and worked in bigger centres, local workshops also produced different kinds of artworks, copying Roman types in a more or less successful way. During the 3rdcentury particularly, different cultural and artistic influences met and blended, often transcending the administrative borders of the provinces, thus the forthcoming iconographic syncretism was present in the 4thcentury as well. From the end of the 3rd and during the 4thcentury, rich aristocrats, local elite and emperors ordered high quality works for decorating their estates and villas, following aesthetic criteria established in other eastern and western provinces. In the art works from that period, beside certain schematism and linearity in the modelling, a blending of similar iconographic details is emphasized as the presence of local artistic traits. Therefore, the continuance of manufacturing of the sculpture by copying classical Greek works of art and of the locally produced works of art with traits of indigenous material cultures is present until the end of the Roman reign.
PB  - Saint Petersburg State University
T2  - Actual Problems of Theory and History of Art
T1  - Переступая рубеж: значение границ между провинциями центральных Балкан для римского искусства
T1  - Beyond the borders: The significance of frontiers between central Balkans' Roman provinces in the context of Roman art
EP  - 107
IS  - 5
SP  - 98
VL  - 9
DO  - 10.18688/AA199-1-10
ER  - 

@article{
author = "Gavrilović-Vitas, Nadežda",
year = "2019",
abstract = "Romanisation of the Central Balkans began with the Roman conquest in the 1stcentury, upon which tribal communities were organized into administrative units. The fact that the boundaries of pre-Roman tribal territories didn't correspond in total with the areas of the newly formed Roman provinces, led to frequent influences from neighbouring provinces and the blending of Roman art with local traits in the artistic sphere. Although in the 1stcentury different types of sculpture (cult, monumental and honorary) were present, throughout the whole period of the Roman reign cult sculptures and statues were the most numerous. Tracing the development of the art in the territory of Central Balkans' Roman provinces, it is clear that the northern parts were more under the Roman influence as the consequence of indigenous population more readily adapting to the process of Romanisation, while the southern parts of the Central Balkans area were more influenced by the Greek culture with which they were in contact from as early as the middle of the 7thcentury B.C. Sculptures, statues and reliefs were modelled upon Roman art canons, copying classical Greek and Hellenistic art, in bigger centres like Ratiaria, Singidunum, Viminacium, Naissus, Scupi etc. and localities along the Danube limes. At the same time, in the interior of the Central Balkans' provinces, works of art were manufactured upon Roman canons but with local traits. These were mainly recognized in the simplicity, frontality and linearity of the art works. This is particularly visible in the western and south-western parts of the aforementioned territory, as in some of the localities in eastern parts of the area. During the 2ndand the 3rdcenturies, beside skilful artisans from Greece, Asia Minor and the Mediterranean, who came and worked in bigger centres, local workshops also produced different kinds of artworks, copying Roman types in a more or less successful way. During the 3rdcentury particularly, different cultural and artistic influences met and blended, often transcending the administrative borders of the provinces, thus the forthcoming iconographic syncretism was present in the 4thcentury as well. From the end of the 3rd and during the 4thcentury, rich aristocrats, local elite and emperors ordered high quality works for decorating their estates and villas, following aesthetic criteria established in other eastern and western provinces. In the art works from that period, beside certain schematism and linearity in the modelling, a blending of similar iconographic details is emphasized as the presence of local artistic traits. Therefore, the continuance of manufacturing of the sculpture by copying classical Greek works of art and of the locally produced works of art with traits of indigenous material cultures is present until the end of the Roman reign.",
publisher = "Saint Petersburg State University",
journal = "Actual Problems of Theory and History of Art",
title = "Переступая рубеж: значение границ между провинциями центральных Балкан для римского искусства, Beyond the borders: The significance of frontiers between central Balkans' Roman provinces in the context of Roman art",
pages = "107-98",
number = "5",
volume = "9",
doi = "10.18688/AA199-1-10"
}

Gavrilović-Vitas, N.. (2019). Переступая рубеж: значение границ между провинциями центральных Балкан для римского искусства. in Actual Problems of Theory and History of Art
Saint Petersburg State University., 9(5), 98-107.
https://doi.org/10.18688/AA199-1-10

Gavrilović-Vitas N. Переступая рубеж: значение границ между провинциями центральных Балкан для римского искусства. in Actual Problems of Theory and History of Art. 2019;9(5):98-107.
doi:10.18688/AA199-1-10 .

Gavrilović-Vitas, Nadežda, "Переступая рубеж: значение границ между провинциями центральных Балкан для римского искусства" in Actual Problems of Theory and History of Art, 9, no. 5 (2019):98-107,
https://doi.org/10.18688/AA199-1-10 . .

TY  - JOUR
AU  - Gavrilović-Vitas, Nadežda
PY  - 2019
UR  - http://rai.ai.ac.rs/handle/123456789/305
AB  - Tokom arheoloških iskopavanja na lokalitetu Glamija - Rtkovo 1982. godine pronađen je u jugozapadnom uglu zida rimske fortifikacije, kao spolija, votivni spomenik posvećen božanstvima Jupiteru Dolihenu i DEA Siriji. Dedikant spomenika je izvesni Julijus Apolinaris, sveštenik kulta božanskog para, čije ime Apolinaris implicira njegovo orijentalno poreklo, ali predstavlja i često ime poštovalaca kulta Jupitera Dolihena, verovatno izvedeno iz imena boga Apolona koji je i epigrafski i skulpturalno potvrđen kao član Dolihenove božanske zajednice. Posvete Jupiteru Dolihenu i DEA Siriji izuzetno su retke. Osim spomenika iz Glamije, poznata su još samo dva spomenika sa teritorije celog Rimskog carstva na kojima se izražava pošta božanskom paru. Prvi spomenik je pronađen u Apulumu i posvećen je Jupiteru Dolihenu i sirijskoj boginji, uz čije ime stoji i ime kartaginske vrhovne boginje Celestis, što ne čudi ako se ima u vidu da su te dve boginje često bile izjednačavane usled istovetnih ikonografskih i kultnih karakteristika. Drugi spomenik potiče iz Rima i posvećen je Jupiteru Dolihenu i Junoni Doliheni asirijskoj, gde epitet "asirijska" zapravo predstavlja arhaičan termin istoga značenja kao "sirijska". Udruživanje Jupitera Dolihena sa DEA Sirijom zasnovano je zapravo na starijem modelu božanskog para lokalnog boga Dolihe, Hadada i sirijske boginje Atargatis, čiji se kultni centar nalazio u Hijerapolisu. Otkriće votivne stele sa predstavom para najznačajnijih sirijskih božanstava u svetilištu boga Jupitera Dolihena, na lokalitetu Duluk Baba Tepesi u Dolihi 2007. godine, dovelo je do saznanja o neprekidnom kultnom kontinuitetu božanstava od perioda gvozdenog doba pa sve do perioda rimske dominacije. Tada lokalni bog Dolihe biva sinkretizovan sa vrhovnim rimskim bogom Jupiterom u obličju Jupitera Dolihena, a lokalna boginja Dolihe, srodna boginji Atargatis, biva poistovećena sa vrhovnom rimskom boginjom Junonom u liku Junone Dolihene. Budući da je spomenik iz Glamije posvetio sveštenik kultova Jupitera Dolihena i DEA Sirije, otvara se pitanje o prisustvu i ulozi sirijskog sveštenstva na prostoru dunavskog limesa provincije Gornje Mezije i rimskih provincija centralnog Balkana. Za razliku od kulta DEA Sirije, koji je potvrđen još samo na teritoriji Skupa, dedikacije Jupiteru Dolihenu poznate su od strane još nekoliko sveštenika, i to sa lokaliteta kao što su Arčar (Ratiaria), Vidin, Kličevac pored Viminacijuma (Viminacium) i Karataš (Diana). Pored vojske, trgovaca, robova i oslobođenika koji su predstavljali glavne nosioce orijentalnih kultova, sirijski sveštenici su svakako bili prisutni u centrima gde su kultovi sirijskih božanstava potvrđeni i gde su postojali njihovi vojni i civilni poštovaoci, a koji su bili aktivni učesnici u svečanim procesijama i ritualnim banketima održavanim u čast božanstava. Činjenica da je spomenik iz Glamije posvetio sveštenik koji je bio izuzetan znalac teologije i ritualnih radnji božanstava u čiju čast se i podiže spomenik, kao i to da ga posvećuje boginji DEA Siriji, a ne Junoni Doliheni, paredri Jupitera Dolihena, jasno implicira ne samo njegovo orijentalno poreklo već i konzervativnost i privrženost tradiciji i običajima otadžbine božanskog para. Otkriće spomenika unutar rimske fortifikacije na lokalitetu Rtkovo - Glamija takođe upućuje na mogućnost da je sveštenik Julijus Apolinaris istovremeno bio u aktivnoj vojnoj službi ili da je pak bio možda veteran, što nije bio redak slučaj širom Rimskog carstva, kao što potvrđuju natpisi sa spomenika Jupitera Dolihena iz Rima, Karnuntuma itd. S obzirom na to da je na lokalitetu Rtkovo - Glamija podignuto manje utvrđenje, u kojem nisu potvrđeni drugi kultovi niti svetilište ijednog božanstva, kao i da je votivni spomenik Jupitera Dolihena i DEA Sirije pronađen kao spolija u zidu starijeg utvrđenja iz 4. veka, postavlja se pitanje o mogućnosti prenošenja spomenika s nekog drugog obližnjeg lokaliteta na kome su kultovi sirijskih božanstava bili poznati. U tom slučaju bi kao pretpostavljeni lokaliteti odakle je spomenik mogao biti prenesen došli u obzir najpre Drobeta i Karataš (Diana), gde je potvrđen ne samo kult sirijskih božanstava već i postojanje svetilišta sa sveštenicima koji su brinuli o svečanostima i ritualnim radnjama izvođenim u čast DEA Sirije i Jupitera Dolihena, čija popularnost doživljava vrhunac u periodu vladavine dinastije Severa, da bi već tokom druge polovine 3. veka spomenici posvećeni božanstvima postali retki. Ipak za sada, u svetlu trenutnih saznanja, mogućnost prenošenja spomenika Julijusa Apolinarisa sa nekog drugog obližnjeg lokaliteta na lokalitet Glamija ostaje samo u domenu pretpostavke.
AB  - In 1982, during archaeological excavations in the Danube Limes, a funerary stela was found in the locality of Glamija I (in the village of Rtkovo), inside the Roman fortress, dedicated to Jupiter Dolichenus and DEA Syria. The dedicant is the priest of the divine couple. The monument from Glamija I represents one of only a few monuments dedicated to Jupiter Dolichenus and DEA Syria, particularly since the dedication is made by the priest of the gods. This paper discusses the question and role of Syrian priesthood in the territory of the Danube Limes and the Central Balkan Roman provinces, in the context of the cults of Jupiter Dolichenus and DEA Syria, along with the hypotheses regarding the possible sanctuaries of the deities, their worshippers and the period when their cults existed in the aforementioned territories.
PB  - Arheološki institut, Beograd
T2  - Starinar
T1  - Sirijsko sveštenstvo na teritoriji dunavskog limesa Mezije Superior - nadgrobni spomenik Jupitera Dolihena i Dea Sirije iz Glamije I
T1  - Syrian priesthood in the territory of Danube limes of Moesia Superior: Funerary monument dedicated to Jupiter Dolichenus and Dea Syria from Glamija I
EP  - 246
IS  - 69
SP  - 231
DO  - 10.2298/STa1969231G
ER  - 

@article{
author = "Gavrilović-Vitas, Nadežda",
year = "2019",
abstract = "Tokom arheoloških iskopavanja na lokalitetu Glamija - Rtkovo 1982. godine pronađen je u jugozapadnom uglu zida rimske fortifikacije, kao spolija, votivni spomenik posvećen božanstvima Jupiteru Dolihenu i DEA Siriji. Dedikant spomenika je izvesni Julijus Apolinaris, sveštenik kulta božanskog para, čije ime Apolinaris implicira njegovo orijentalno poreklo, ali predstavlja i često ime poštovalaca kulta Jupitera Dolihena, verovatno izvedeno iz imena boga Apolona koji je i epigrafski i skulpturalno potvrđen kao član Dolihenove božanske zajednice. Posvete Jupiteru Dolihenu i DEA Siriji izuzetno su retke. Osim spomenika iz Glamije, poznata su još samo dva spomenika sa teritorije celog Rimskog carstva na kojima se izražava pošta božanskom paru. Prvi spomenik je pronađen u Apulumu i posvećen je Jupiteru Dolihenu i sirijskoj boginji, uz čije ime stoji i ime kartaginske vrhovne boginje Celestis, što ne čudi ako se ima u vidu da su te dve boginje često bile izjednačavane usled istovetnih ikonografskih i kultnih karakteristika. Drugi spomenik potiče iz Rima i posvećen je Jupiteru Dolihenu i Junoni Doliheni asirijskoj, gde epitet "asirijska" zapravo predstavlja arhaičan termin istoga značenja kao "sirijska". Udruživanje Jupitera Dolihena sa DEA Sirijom zasnovano je zapravo na starijem modelu božanskog para lokalnog boga Dolihe, Hadada i sirijske boginje Atargatis, čiji se kultni centar nalazio u Hijerapolisu. Otkriće votivne stele sa predstavom para najznačajnijih sirijskih božanstava u svetilištu boga Jupitera Dolihena, na lokalitetu Duluk Baba Tepesi u Dolihi 2007. godine, dovelo je do saznanja o neprekidnom kultnom kontinuitetu božanstava od perioda gvozdenog doba pa sve do perioda rimske dominacije. Tada lokalni bog Dolihe biva sinkretizovan sa vrhovnim rimskim bogom Jupiterom u obličju Jupitera Dolihena, a lokalna boginja Dolihe, srodna boginji Atargatis, biva poistovećena sa vrhovnom rimskom boginjom Junonom u liku Junone Dolihene. Budući da je spomenik iz Glamije posvetio sveštenik kultova Jupitera Dolihena i DEA Sirije, otvara se pitanje o prisustvu i ulozi sirijskog sveštenstva na prostoru dunavskog limesa provincije Gornje Mezije i rimskih provincija centralnog Balkana. Za razliku od kulta DEA Sirije, koji je potvrđen još samo na teritoriji Skupa, dedikacije Jupiteru Dolihenu poznate su od strane još nekoliko sveštenika, i to sa lokaliteta kao što su Arčar (Ratiaria), Vidin, Kličevac pored Viminacijuma (Viminacium) i Karataš (Diana). Pored vojske, trgovaca, robova i oslobođenika koji su predstavljali glavne nosioce orijentalnih kultova, sirijski sveštenici su svakako bili prisutni u centrima gde su kultovi sirijskih božanstava potvrđeni i gde su postojali njihovi vojni i civilni poštovaoci, a koji su bili aktivni učesnici u svečanim procesijama i ritualnim banketima održavanim u čast božanstava. Činjenica da je spomenik iz Glamije posvetio sveštenik koji je bio izuzetan znalac teologije i ritualnih radnji božanstava u čiju čast se i podiže spomenik, kao i to da ga posvećuje boginji DEA Siriji, a ne Junoni Doliheni, paredri Jupitera Dolihena, jasno implicira ne samo njegovo orijentalno poreklo već i konzervativnost i privrženost tradiciji i običajima otadžbine božanskog para. Otkriće spomenika unutar rimske fortifikacije na lokalitetu Rtkovo - Glamija takođe upućuje na mogućnost da je sveštenik Julijus Apolinaris istovremeno bio u aktivnoj vojnoj službi ili da je pak bio možda veteran, što nije bio redak slučaj širom Rimskog carstva, kao što potvrđuju natpisi sa spomenika Jupitera Dolihena iz Rima, Karnuntuma itd. S obzirom na to da je na lokalitetu Rtkovo - Glamija podignuto manje utvrđenje, u kojem nisu potvrđeni drugi kultovi niti svetilište ijednog božanstva, kao i da je votivni spomenik Jupitera Dolihena i DEA Sirije pronađen kao spolija u zidu starijeg utvrđenja iz 4. veka, postavlja se pitanje o mogućnosti prenošenja spomenika s nekog drugog obližnjeg lokaliteta na kome su kultovi sirijskih božanstava bili poznati. U tom slučaju bi kao pretpostavljeni lokaliteti odakle je spomenik mogao biti prenesen došli u obzir najpre Drobeta i Karataš (Diana), gde je potvrđen ne samo kult sirijskih božanstava već i postojanje svetilišta sa sveštenicima koji su brinuli o svečanostima i ritualnim radnjama izvođenim u čast DEA Sirije i Jupitera Dolihena, čija popularnost doživljava vrhunac u periodu vladavine dinastije Severa, da bi već tokom druge polovine 3. veka spomenici posvećeni božanstvima postali retki. Ipak za sada, u svetlu trenutnih saznanja, mogućnost prenošenja spomenika Julijusa Apolinarisa sa nekog drugog obližnjeg lokaliteta na lokalitet Glamija ostaje samo u domenu pretpostavke., In 1982, during archaeological excavations in the Danube Limes, a funerary stela was found in the locality of Glamija I (in the village of Rtkovo), inside the Roman fortress, dedicated to Jupiter Dolichenus and DEA Syria. The dedicant is the priest of the divine couple. The monument from Glamija I represents one of only a few monuments dedicated to Jupiter Dolichenus and DEA Syria, particularly since the dedication is made by the priest of the gods. This paper discusses the question and role of Syrian priesthood in the territory of the Danube Limes and the Central Balkan Roman provinces, in the context of the cults of Jupiter Dolichenus and DEA Syria, along with the hypotheses regarding the possible sanctuaries of the deities, their worshippers and the period when their cults existed in the aforementioned territories.",
publisher = "Arheološki institut, Beograd",
journal = "Starinar",
title = "Sirijsko sveštenstvo na teritoriji dunavskog limesa Mezije Superior - nadgrobni spomenik Jupitera Dolihena i Dea Sirije iz Glamije I, Syrian priesthood in the territory of Danube limes of Moesia Superior: Funerary monument dedicated to Jupiter Dolichenus and Dea Syria from Glamija I",
pages = "246-231",
number = "69",
doi = "10.2298/STa1969231G"
}

Gavrilović-Vitas, N.. (2019). Sirijsko sveštenstvo na teritoriji dunavskog limesa Mezije Superior - nadgrobni spomenik Jupitera Dolihena i Dea Sirije iz Glamije I. in Starinar
Arheološki institut, Beograd.(69), 231-246.
https://doi.org/10.2298/STa1969231G

Gavrilović-Vitas N. Sirijsko sveštenstvo na teritoriji dunavskog limesa Mezije Superior - nadgrobni spomenik Jupitera Dolihena i Dea Sirije iz Glamije I. in Starinar. 2019;(69):231-246.
doi:10.2298/STa1969231G .

Gavrilović-Vitas, Nadežda, "Sirijsko sveštenstvo na teritoriji dunavskog limesa Mezije Superior - nadgrobni spomenik Jupitera Dolihena i Dea Sirije iz Glamije I" in Starinar, no. 69 (2019):231-246,
https://doi.org/10.2298/STa1969231G . .

TY  - BOOK
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/1227
AB  - Pred nama je šesta sveska zbornika "Arheologija u Srbiji", treća u redakciji potpisanog uredništva.
Kao i prethodne dve, i ova se izdaje u elektronskom obliku, pa je zbornik tako postao prva serijska publikacija Arheološkog instituta koja nije u štampanoj formi. Poput prethodnih godišnjaka Arheološkog instituta, i ova sveska sadrži izveštaje sa iskopavanja i prikaze naučnog rada na određenim problemima, kao i rezultate učešća saradnika Arheološkog instituta u međunarodnim
projektima.
PB  - Beograd : Arheološki institut
T2  - Arheologija u Srbiji : Projekti Arheološkog instituta u 2016. godini
T1  - Arheologija u Srbiji: Projekti Arheološkog instituta u 2016. godini
EP  - 156
SP  - 1
UR  - https://hdl.handle.net/21.15107/rcub_rai_1227
ER  - 

@book{
editor = "Bugarski, Ivan, Gavrilović Vitas, Nadežda, Filipović, Vojislav",
year = "2018",
abstract = "Pred nama je šesta sveska zbornika "Arheologija u Srbiji", treća u redakciji potpisanog uredništva.
Kao i prethodne dve, i ova se izdaje u elektronskom obliku, pa je zbornik tako postao prva serijska publikacija Arheološkog instituta koja nije u štampanoj formi. Poput prethodnih godišnjaka Arheološkog instituta, i ova sveska sadrži izveštaje sa iskopavanja i prikaze naučnog rada na određenim problemima, kao i rezultate učešća saradnika Arheološkog instituta u međunarodnim
projektima.",
publisher = "Beograd : Arheološki institut",
journal = "Arheologija u Srbiji : Projekti Arheološkog instituta u 2016. godini",
title = "Arheologija u Srbiji: Projekti Arheološkog instituta u 2016. godini",
pages = "156-1",
url = "https://hdl.handle.net/21.15107/rcub_rai_1227"
}

Bugarski, I., Gavrilović Vitas, N.,& Filipović, V.. (2018). Arheologija u Srbiji: Projekti Arheološkog instituta u 2016. godini. in Arheologija u Srbiji : Projekti Arheološkog instituta u 2016. godini
Beograd : Arheološki institut., 1-156.
https://hdl.handle.net/21.15107/rcub_rai_1227

Bugarski I, Gavrilović Vitas N, Filipović V. Arheologija u Srbiji: Projekti Arheološkog instituta u 2016. godini. in Arheologija u Srbiji : Projekti Arheološkog instituta u 2016. godini. 2018;:1-156.
https://hdl.handle.net/21.15107/rcub_rai_1227 .

Bugarski, Ivan, Gavrilović Vitas, Nadežda, Filipović, Vojislav, "Arheologija u Srbiji: Projekti Arheološkog instituta u 2016. godini" in Arheologija u Srbiji : Projekti Arheološkog instituta u 2016. godini (2018):1-156,
https://hdl.handle.net/21.15107/rcub_rai_1227 .

TY  - CHAP
AU  - Gavrilović Vitas, Nadežda
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/1563
AB  - During the period of Roman rule in the Central Balkan Roman provinces,
among other oriental cults, like the Syrian cult of Sol Invictus or the Persian cult of
Mithras, Asia Minor deities and theologies were considerably favoured. Epigraphic and archaeological evidence confirms the existence of the cults of Magna Mater, Attis, Iuppiter Dolichenus, Sabazius, Iuppiter Turmasgades, Iuppiter Melanus, Men and Artemis of Ephesus. However, in the eastern parts of the Central Balkan Roman provinces, certain religious syncretism is emphasized, which can be connected to the strong Thracian influence in the mentioned territory. This paper examines the ways and the degree to which Thracian culture penetrated the religious beliefs and funerary rites of the population that inhabited the eastern parts of the Central Balkans in Antiquity.
PB  - Sofia : National Archaeological Institute with Museum, Bulgarian Academy of Sciences
T2  - Proceedings of the First International Roman and Late Antique Thrace Conference “Cities, Territories and Identities” (Plovdiv, 3rd – 7th October 2016)
T1  - Thracian Influence in Asia Minor Mystery Cults in the Eastern Parts of the Roman Provinces in the Central Balkans
EP  - 230
SP  - 221
UR  - https://hdl.handle.net/21.15107/rcub_rai_1563
ER  - 

@inbook{
author = "Gavrilović Vitas, Nadežda",
year = "2018",
abstract = "During the period of Roman rule in the Central Balkan Roman provinces,
among other oriental cults, like the Syrian cult of Sol Invictus or the Persian cult of
Mithras, Asia Minor deities and theologies were considerably favoured. Epigraphic and archaeological evidence confirms the existence of the cults of Magna Mater, Attis, Iuppiter Dolichenus, Sabazius, Iuppiter Turmasgades, Iuppiter Melanus, Men and Artemis of Ephesus. However, in the eastern parts of the Central Balkan Roman provinces, certain religious syncretism is emphasized, which can be connected to the strong Thracian influence in the mentioned territory. This paper examines the ways and the degree to which Thracian culture penetrated the religious beliefs and funerary rites of the population that inhabited the eastern parts of the Central Balkans in Antiquity.",
publisher = "Sofia : National Archaeological Institute with Museum, Bulgarian Academy of Sciences",
journal = "Proceedings of the First International Roman and Late Antique Thrace Conference “Cities, Territories and Identities” (Plovdiv, 3rd – 7th October 2016)",
booktitle = "Thracian Influence in Asia Minor Mystery Cults in the Eastern Parts of the Roman Provinces in the Central Balkans",
pages = "230-221",
url = "https://hdl.handle.net/21.15107/rcub_rai_1563"
}

Gavrilović Vitas, N.. (2018). Thracian Influence in Asia Minor Mystery Cults in the Eastern Parts of the Roman Provinces in the Central Balkans. in Proceedings of the First International Roman and Late Antique Thrace Conference “Cities, Territories and Identities” (Plovdiv, 3rd – 7th October 2016)
Sofia : National Archaeological Institute with Museum, Bulgarian Academy of Sciences., 221-230.
https://hdl.handle.net/21.15107/rcub_rai_1563

Gavrilović Vitas N. Thracian Influence in Asia Minor Mystery Cults in the Eastern Parts of the Roman Provinces in the Central Balkans. in Proceedings of the First International Roman and Late Antique Thrace Conference “Cities, Territories and Identities” (Plovdiv, 3rd – 7th October 2016). 2018;:221-230.
https://hdl.handle.net/21.15107/rcub_rai_1563 .

Gavrilović Vitas, Nadežda, "Thracian Influence in Asia Minor Mystery Cults in the Eastern Parts of the Roman Provinces in the Central Balkans" in Proceedings of the First International Roman and Late Antique Thrace Conference “Cities, Territories and Identities” (Plovdiv, 3rd – 7th October 2016) (2018):221-230,
https://hdl.handle.net/21.15107/rcub_rai_1563 .

TY  - JOUR
AU  - Gavrilović-Vitas, Nadežda
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/291
AB  - Prilikom građevinskih radova 1999. godine na izgradnji kolektora za kanalizaciju u Skelanima (Municipium Malvesatium) slučajno je pronađen fragment mermerne skulpture. Sada smeštena u prostorijama Narodne biblioteke u Srebrenici, skulptura predstavlja očuvani deo torza ptice, prikazane u ljudskoj veličini, čije desno stopalo sa plivajućom kožom počiva na levoj ženskoj butini, ispod koje pada naborana tkanina. Leđa ptice počivaju na osloncu u vidu stuba, koji se nastavlja iznad i ispod figure ptice. Na donjem delu torza ptice prikazana je mala, dečja šaka. Fragment mermerne skulpture iz Municipium Malvesatium-a predstavlja jedan od tri glavna ikonografska tipa antičkih predstava Lede i Zevsa, prerušenog u labuda, u trenutku Zevsovog zavođenja Lede, a u prisustvu deteta Erosa. Ovaj tip ikonografskih predstava pojavljuje seu helenističkom periodu, a tokom rimske vladavine zadobija zavidnu popularnost i biva predstavljan kako u skulpturi, reljefima, statuama, fresko-slikarstvu i na mozaicima, tako i u predmetima male forme, kao što su lampe, ogledala, geme itd. Skulptoralni fragment iz Municipium Malvesatium-a analogan je ikonografski i stilskirimskim skulpturama iz Arheološkog muzeja u Veneciji, Arheološkog muzeja u Dionu i Muzeja umetnosti u San Antoniu, mada ima znatnih sličnosti i sa predstavom sa sarkofaga iz nekropole sa lokaliteta Bet Še'arim i sarkofaga Heroda Atikusa iz Atine. Analiza stilskih karakteristika skulpture kao i način modelovanja ukazuju na rad lokalnog majstora, datovan u period od polovine 2. veka do polovine 3. veka. S obzirom na oslonac prikazan iza labudovih leđa, a uzimajući u obzir i pomenute analogne primerke, najverovatnije je da je skulptura Lede i labuda iz Municipium Malvesatium-a predstavljala deo nameštaja, odnosno da je ukrašavala nogu stola.
AB  - A fragmented marble sculpture was found during the construction works on the canalization collector in Skelani (Municipium Malvesatium). The sculpture presents a life-size bird's torso with his right webbed foot placed on a female's left thigh, part of a folded cloth and a child-like hand placed on the lower part of the bird's torso. It was identified as a mythological scene favoured in antiquity, of Leda and Zeus in the guise of the swan, at the moment of Zeus' seduction of Leda. This sculptural fragment holds even greater significance in the comprehension of Roman provincial art, since to date, it represents a unique example of this iconographic type, not only in sculpture, but in any other work of art in the territory of the Central Balkans.
PB  - Arheološki institut, Beograd
T2  - Starinar
T1  - Leda i labud - nova mermerna skulptura iz Skelana (Municipium Malvesatium)
T1  - Leda and the Swan: New marble sculpture from Skelani (Municipium Malvesatium)
EP  - 166
IS  - 68
SP  - 151
DO  - 10.2298/STA1767151G
ER  - 

@article{
author = "Gavrilović-Vitas, Nadežda",
year = "2018",
abstract = "Prilikom građevinskih radova 1999. godine na izgradnji kolektora za kanalizaciju u Skelanima (Municipium Malvesatium) slučajno je pronađen fragment mermerne skulpture. Sada smeštena u prostorijama Narodne biblioteke u Srebrenici, skulptura predstavlja očuvani deo torza ptice, prikazane u ljudskoj veličini, čije desno stopalo sa plivajućom kožom počiva na levoj ženskoj butini, ispod koje pada naborana tkanina. Leđa ptice počivaju na osloncu u vidu stuba, koji se nastavlja iznad i ispod figure ptice. Na donjem delu torza ptice prikazana je mala, dečja šaka. Fragment mermerne skulpture iz Municipium Malvesatium-a predstavlja jedan od tri glavna ikonografska tipa antičkih predstava Lede i Zevsa, prerušenog u labuda, u trenutku Zevsovog zavođenja Lede, a u prisustvu deteta Erosa. Ovaj tip ikonografskih predstava pojavljuje seu helenističkom periodu, a tokom rimske vladavine zadobija zavidnu popularnost i biva predstavljan kako u skulpturi, reljefima, statuama, fresko-slikarstvu i na mozaicima, tako i u predmetima male forme, kao što su lampe, ogledala, geme itd. Skulptoralni fragment iz Municipium Malvesatium-a analogan je ikonografski i stilskirimskim skulpturama iz Arheološkog muzeja u Veneciji, Arheološkog muzeja u Dionu i Muzeja umetnosti u San Antoniu, mada ima znatnih sličnosti i sa predstavom sa sarkofaga iz nekropole sa lokaliteta Bet Še'arim i sarkofaga Heroda Atikusa iz Atine. Analiza stilskih karakteristika skulpture kao i način modelovanja ukazuju na rad lokalnog majstora, datovan u period od polovine 2. veka do polovine 3. veka. S obzirom na oslonac prikazan iza labudovih leđa, a uzimajući u obzir i pomenute analogne primerke, najverovatnije je da je skulptura Lede i labuda iz Municipium Malvesatium-a predstavljala deo nameštaja, odnosno da je ukrašavala nogu stola., A fragmented marble sculpture was found during the construction works on the canalization collector in Skelani (Municipium Malvesatium). The sculpture presents a life-size bird's torso with his right webbed foot placed on a female's left thigh, part of a folded cloth and a child-like hand placed on the lower part of the bird's torso. It was identified as a mythological scene favoured in antiquity, of Leda and Zeus in the guise of the swan, at the moment of Zeus' seduction of Leda. This sculptural fragment holds even greater significance in the comprehension of Roman provincial art, since to date, it represents a unique example of this iconographic type, not only in sculpture, but in any other work of art in the territory of the Central Balkans.",
publisher = "Arheološki institut, Beograd",
journal = "Starinar",
title = "Leda i labud - nova mermerna skulptura iz Skelana (Municipium Malvesatium), Leda and the Swan: New marble sculpture from Skelani (Municipium Malvesatium)",
pages = "166-151",
number = "68",
doi = "10.2298/STA1767151G"
}

Gavrilović-Vitas, N.. (2018). Leda i labud - nova mermerna skulptura iz Skelana (Municipium Malvesatium). in Starinar
Arheološki institut, Beograd.(68), 151-166.
https://doi.org/10.2298/STA1767151G

Gavrilović-Vitas N. Leda i labud - nova mermerna skulptura iz Skelana (Municipium Malvesatium). in Starinar. 2018;(68):151-166.
doi:10.2298/STA1767151G .

Gavrilović-Vitas, Nadežda, "Leda i labud - nova mermerna skulptura iz Skelana (Municipium Malvesatium)" in Starinar, no. 68 (2018):151-166,
https://doi.org/10.2298/STA1767151G . .

TY  - CHAP
AU  - Gavrilović Vitas, Nadežda M.
PY  - 2018
UR  - http://rai.ai.ac.rs/handle/123456789/398
AB  - Among different spheres of daily life led by Roman soldiers in the forts along the
Danube Limes, one of the important ones was the sphere of spiritual culture, beliefs
and religion. Although with the process of Romanisation, the official pantheon of
Roman deities was introduced to the indigenous population, with the building and
development of the defence frontier system on the Danube and Roman legions and
auxiliary units who were stationed there, came soldiers of different origin and provenience,
who brought with them their own religious beliefs and deities. Epigraphic
and archaeological monuments found in the Danube Limes localities testify to the
degree of acceptance or resistance of the autochthonous inhabitants towards different
Roman, Hellenised and Oriental cults and show some very interesting examples of
syncretism of the mentioned cults with unknown, indigenous gods and goddesses.
PB  - Belgrade : Institute of Archaeology
T2  - Vivere Militare Est : From Populus to Emperors - Living on the Frontier
T1  - Roman Religion and Cults on the Danube Limes in Serbia
EP  - 196
SP  - 169
VL  - 1
UR  - https://hdl.handle.net/21.15107/rcub_rai_398
ER  - 

@inbook{
author = "Gavrilović Vitas, Nadežda M.",
year = "2018",
abstract = "Among different spheres of daily life led by Roman soldiers in the forts along the
Danube Limes, one of the important ones was the sphere of spiritual culture, beliefs
and religion. Although with the process of Romanisation, the official pantheon of
Roman deities was introduced to the indigenous population, with the building and
development of the defence frontier system on the Danube and Roman legions and
auxiliary units who were stationed there, came soldiers of different origin and provenience,
who brought with them their own religious beliefs and deities. Epigraphic
and archaeological monuments found in the Danube Limes localities testify to the
degree of acceptance or resistance of the autochthonous inhabitants towards different
Roman, Hellenised and Oriental cults and show some very interesting examples of
syncretism of the mentioned cults with unknown, indigenous gods and goddesses.",
publisher = "Belgrade : Institute of Archaeology",
journal = "Vivere Militare Est : From Populus to Emperors - Living on the Frontier",
booktitle = "Roman Religion and Cults on the Danube Limes in Serbia",
pages = "196-169",
volume = "1",
url = "https://hdl.handle.net/21.15107/rcub_rai_398"
}

Gavrilović Vitas, N. M.. (2018). Roman Religion and Cults on the Danube Limes in Serbia. in Vivere Militare Est : From Populus to Emperors - Living on the Frontier
Belgrade : Institute of Archaeology., 1, 169-196.
https://hdl.handle.net/21.15107/rcub_rai_398

Gavrilović Vitas NM. Roman Religion and Cults on the Danube Limes in Serbia. in Vivere Militare Est : From Populus to Emperors - Living on the Frontier. 2018;1:169-196.
https://hdl.handle.net/21.15107/rcub_rai_398 .

Gavrilović Vitas, Nadežda M., "Roman Religion and Cults on the Danube Limes in Serbia" in Vivere Militare Est : From Populus to Emperors - Living on the Frontier, 1 (2018):169-196,
https://hdl.handle.net/21.15107/rcub_rai_398 .

TY  - CHAP
AU  - Gavrilović, Nadežda
PY  - 2017
UR  - http://rai.ai.ac.rs/handle/123456789/1544
AB  - During archaeological research in 1932, a rectangular base with remnants of a group of sculptures was discovered in the area of the thermae in Mediana. Two pairs of human feet, the paws of a four-legged animal, a ram’s head, a tree and a rock may be recognized among the remnants of the sculpture. Previous
studies resulted in the hypothesis that the marble composition might present some of the scenes from the myth of Dionysus. It was determined through several analogies that the group of sculptures presented an atypical representation of Drunken Dionysus with Satyr, because of the rare position of the satyr compared to the deity and the detail of the satyr’s foot laid on the ram’s head. It is assumed that there was some mix-up of elements from the iconography of the gods Dionysus and Sabazios in the sculpture from Mediana, and the sculpture was most likely brought to Mediana at some point after the reconstruction of the villa with a peristyle. The manner of modelling the sculpture refers to the second half of the 2nd century AD as the period of its origins, with some reservation that a later dating is also possible.
PB  - Belgrade : University, Faculty of Philosophy
T2  - Ante Portam Auream : Studia in Honorem Professoris Aleksandar Jovanović
T1  - The Marble Group Depicting Drunken Dionysus with Satyr from Mediana
EP  - 203
SP  - 193
UR  - https://hdl.handle.net/21.15107/rcub_rai_1544
ER  - 

@inbook{
author = "Gavrilović, Nadežda",
year = "2017",
abstract = "During archaeological research in 1932, a rectangular base with remnants of a group of sculptures was discovered in the area of the thermae in Mediana. Two pairs of human feet, the paws of a four-legged animal, a ram’s head, a tree and a rock may be recognized among the remnants of the sculpture. Previous
studies resulted in the hypothesis that the marble composition might present some of the scenes from the myth of Dionysus. It was determined through several analogies that the group of sculptures presented an atypical representation of Drunken Dionysus with Satyr, because of the rare position of the satyr compared to the deity and the detail of the satyr’s foot laid on the ram’s head. It is assumed that there was some mix-up of elements from the iconography of the gods Dionysus and Sabazios in the sculpture from Mediana, and the sculpture was most likely brought to Mediana at some point after the reconstruction of the villa with a peristyle. The manner of modelling the sculpture refers to the second half of the 2nd century AD as the period of its origins, with some reservation that a later dating is also possible.",
publisher = "Belgrade : University, Faculty of Philosophy",
journal = "Ante Portam Auream : Studia in Honorem Professoris Aleksandar Jovanović",
booktitle = "The Marble Group Depicting Drunken Dionysus with Satyr from Mediana",
pages = "203-193",
url = "https://hdl.handle.net/21.15107/rcub_rai_1544"
}

Gavrilović, N.. (2017). The Marble Group Depicting Drunken Dionysus with Satyr from Mediana. in Ante Portam Auream : Studia in Honorem Professoris Aleksandar Jovanović
Belgrade : University, Faculty of Philosophy., 193-203.
https://hdl.handle.net/21.15107/rcub_rai_1544

Gavrilović N. The Marble Group Depicting Drunken Dionysus with Satyr from Mediana. in Ante Portam Auream : Studia in Honorem Professoris Aleksandar Jovanović. 2017;:193-203.
https://hdl.handle.net/21.15107/rcub_rai_1544 .

Gavrilović, Nadežda, "The Marble Group Depicting Drunken Dionysus with Satyr from Mediana" in Ante Portam Auream : Studia in Honorem Professoris Aleksandar Jovanović (2017):193-203,
https://hdl.handle.net/21.15107/rcub_rai_1544 .

TY  - BOOK
AU  - Vasić, Miloje
AU  - Milošević, Gordana
AU  - Gavrilović Vitas, Nadežda
AU  - Crnoglavac, Vesna
PY  - 2016
UR  - http://rai.ai.ac.rs/handle/123456789/1539
AB  - Constantine's Villa at Mediana is a monography about the administrative-residential complex of Roman emperor Constantine the Great at Mediana in Niš (antique Naissus). The monograph is based on the newest archaeological results of excavations and research conducted in the area of a large villa with peristyle, thermae and antique gate.
PB  - Niš: The National Museum Niš
T1  - Constantine's Villa at Mediana
UR  - https://hdl.handle.net/21.15107/rcub_rai_1539
ER  - 

@book{
author = "Vasić, Miloje and Milošević, Gordana and Gavrilović Vitas, Nadežda and Crnoglavac, Vesna",
year = "2016",
abstract = "Constantine's Villa at Mediana is a monography about the administrative-residential complex of Roman emperor Constantine the Great at Mediana in Niš (antique Naissus). The monograph is based on the newest archaeological results of excavations and research conducted in the area of a large villa with peristyle, thermae and antique gate.",
publisher = "Niš: The National Museum Niš",
title = "Constantine's Villa at Mediana",
url = "https://hdl.handle.net/21.15107/rcub_rai_1539"
}

Vasić, M., Milošević, G., Gavrilović Vitas, N.,& Crnoglavac, V.. (2016). Constantine's Villa at Mediana. 
Niš: The National Museum Niš..
https://hdl.handle.net/21.15107/rcub_rai_1539

Vasić M, Milošević G, Gavrilović Vitas N, Crnoglavac V. Constantine's Villa at Mediana. 2016;.
https://hdl.handle.net/21.15107/rcub_rai_1539 .

Vasić, Miloje, Milošević, Gordana, Gavrilović Vitas, Nadežda, Crnoglavac, Vesna, "Constantine's Villa at Mediana" (2016),
https://hdl.handle.net/21.15107/rcub_rai_1539 .

TY  - BOOK
AU  - Petković, Sofija
AU  - Gavrilović Vitas, Nadežda
AU  - Miladinović-Radmilović, Nataša
AU  - Ilijić, Bojana
PY  - 2016
UR  - http://rai.ai.ac.rs/handle/123456789/532
AB  - Римско утврђење и насеље на левој обали Белог
Тимока, у атару селу Равне, на 10 km северно од
Књажевца, идентификовано је систематским археолошким
истраживањима као Тiтасит Minus (карта 1).
Археолошким истраживањима, која трају од 1975.
године, утврђено је да се ради о административном
центру горњомезијске рудне области Territoria
metallorum, која је заузимала североисточни део провинције
Горње Мезије, односно касније провинције
Приобалну и Средоземну Дакију (Dacia Ripensis,
Dacia Mediterranea). Утврђење је настало још крајем I
. .
века н.е, а напуштено Је после хунске инвазиЈе у
Подунавље, средином V века (сл. 1). Око утврђеног
административног, рударско-металуршког и занатског
седишта временом се формирало урбано насеље
са јавним купатилима, градским вилама, радионицама,
храмовима и некрополама. Неки од ових
објеката су констатовани археолошким ископавањима,
док се о другима зна посредно преко откривених
скулптура и епиграфских споменика. На основу
ових потоњих, узиданих у бедеме и грађевине током
реконструкција у касноантичком периоду, од средине
III до прве половине V века, утврђено је и постојање
велике некрополе у II и III веку. 1 Она је лоцирана, на
основу рекогносцирања терена на потесу Ширина,
који се налази између утврђења на истоку, Ропинског
потока на северу, брда Слог на западу и Зубановог
потока на југу (план 1). С друге стране, делови
касноантичке некрополе истражени су на десној обали
Ропинског потока, северозападно од утврђења и на
источној падини брда Слог.
AB  - S ystematic archaeological research identified the Roman
fortification and settlement on the left bank: of the Beli
Тimok as Тiтасит Minus (Мар 1) in the village of Ravna,
north ofКnjazevac.Archaeological excavations, which started
in 1975, identified it as the administrative center ofthe Upper
Moesia mining region of Territoria metallorum, which occupied
the northeastem part of the province, later provinces of
Dacia Ripensis andDacia Mediterranea. The fort was built at
the end of the 1 st century A.D. and was abandoned after the
Hun invasion in the Morava Basin, in the mid-5th century (Fig.
1). In time, the urban settlement with puЫic baths, urban villas,
workshops, temples and necropolises arose around the fortified
center of administration, metallurgy and trade. Some of
these objects were discovered in archaeological excavations
while the others were identified indirectly through sculptures
and epigraphs. The latter, who were built into ramparts and
buildings during the reconstruction in the Late Roman period,
from the middle of the 3rd to the first half of the 5th century,
confirmed the existence of а large necropolis dating from the
2nd and 3rd centuries. 161 It was located Ъу field survey conducted
over the stretch ofSirina, located between the fortification
to the east, Ropinski potok to the north, the Slog hill to the
west and Zubanov brook to the south (Plan 1 ). On the other
side, parts ofthe Late Roman necropolis were investigated on
the right bank: ofthe Ropinski brook, northwest ofthe fortification, and on the eastem slope of the Slog hill. During three
campaigns of protective archaeological excavations, brought
about Ьу the reconstruction of the local road Ravna-Debelica
ftom 1994 to 1996, а section ofthe multi-layered Late Roman
and Early Medieval necropolis was explored on the left side of
the road, on the eastem slope of the Slog hill. One hundred
forty graves were discovered, 72 ofwhich contained 75 individuals
ftom the Late Roman period (Plan 2). The results ofthe
protective archaeological excavations on the necropolis of
Slog were puЫished in а separate monograph. 162 Rescue excavations
ofthis necropolis were continued in 2013-2014.163
PB  - Београд : Археолошки институт
PB  - Књажевац : Завичајни музеј
T1  - Погребни ритуал и Дионисов култ у Равни (Timacum Minus)
T1  - Funeral ritual and the cult of Dionysus in Ravna (Timacum Minus)
UR  - https://hdl.handle.net/21.15107/rcub_rai_532
ER  - 

@book{
author = "Petković, Sofija and Gavrilović Vitas, Nadežda and Miladinović-Radmilović, Nataša and Ilijić, Bojana",
year = "2016",
abstract = "Римско утврђење и насеље на левој обали Белог
Тимока, у атару селу Равне, на 10 km северно од
Књажевца, идентификовано је систематским археолошким
истраживањима као Тiтасит Minus (карта 1).
Археолошким истраживањима, која трају од 1975.
године, утврђено је да се ради о административном
центру горњомезијске рудне области Territoria
metallorum, која је заузимала североисточни део провинције
Горње Мезије, односно касније провинције
Приобалну и Средоземну Дакију (Dacia Ripensis,
Dacia Mediterranea). Утврђење је настало још крајем I
. .
века н.е, а напуштено Је после хунске инвазиЈе у
Подунавље, средином V века (сл. 1). Око утврђеног
административног, рударско-металуршког и занатског
седишта временом се формирало урбано насеље
са јавним купатилима, градским вилама, радионицама,
храмовима и некрополама. Неки од ових
објеката су констатовани археолошким ископавањима,
док се о другима зна посредно преко откривених
скулптура и епиграфских споменика. На основу
ових потоњих, узиданих у бедеме и грађевине током
реконструкција у касноантичком периоду, од средине
III до прве половине V века, утврђено је и постојање
велике некрополе у II и III веку. 1 Она је лоцирана, на
основу рекогносцирања терена на потесу Ширина,
који се налази између утврђења на истоку, Ропинског
потока на северу, брда Слог на западу и Зубановог
потока на југу (план 1). С друге стране, делови
касноантичке некрополе истражени су на десној обали
Ропинског потока, северозападно од утврђења и на
источној падини брда Слог., S ystematic archaeological research identified the Roman
fortification and settlement on the left bank: of the Beli
Тimok as Тiтасит Minus (Мар 1) in the village of Ravna,
north ofКnjazevac.Archaeological excavations, which started
in 1975, identified it as the administrative center ofthe Upper
Moesia mining region of Territoria metallorum, which occupied
the northeastem part of the province, later provinces of
Dacia Ripensis andDacia Mediterranea. The fort was built at
the end of the 1 st century A.D. and was abandoned after the
Hun invasion in the Morava Basin, in the mid-5th century (Fig.
1). In time, the urban settlement with puЫic baths, urban villas,
workshops, temples and necropolises arose around the fortified
center of administration, metallurgy and trade. Some of
these objects were discovered in archaeological excavations
while the others were identified indirectly through sculptures
and epigraphs. The latter, who were built into ramparts and
buildings during the reconstruction in the Late Roman period,
from the middle of the 3rd to the first half of the 5th century,
confirmed the existence of а large necropolis dating from the
2nd and 3rd centuries. 161 It was located Ъу field survey conducted
over the stretch ofSirina, located between the fortification
to the east, Ropinski potok to the north, the Slog hill to the
west and Zubanov brook to the south (Plan 1 ). On the other
side, parts ofthe Late Roman necropolis were investigated on
the right bank: ofthe Ropinski brook, northwest ofthe fortification, and on the eastem slope of the Slog hill. During three
campaigns of protective archaeological excavations, brought
about Ьу the reconstruction of the local road Ravna-Debelica
ftom 1994 to 1996, а section ofthe multi-layered Late Roman
and Early Medieval necropolis was explored on the left side of
the road, on the eastem slope of the Slog hill. One hundred
forty graves were discovered, 72 ofwhich contained 75 individuals
ftom the Late Roman period (Plan 2). The results ofthe
protective archaeological excavations on the necropolis of
Slog were puЫished in а separate monograph. 162 Rescue excavations
ofthis necropolis were continued in 2013-2014.163",
publisher = "Београд : Археолошки институт, Књажевац : Завичајни музеј",
title = "Погребни ритуал и Дионисов култ у Равни (Timacum Minus), Funeral ritual and the cult of Dionysus in Ravna (Timacum Minus)",
url = "https://hdl.handle.net/21.15107/rcub_rai_532"
}

Petković, S., Gavrilović Vitas, N., Miladinović-Radmilović, N.,& Ilijić, B.. (2016). Погребни ритуал и Дионисов култ у Равни (Timacum Minus). 
Београд : Археолошки институт..
https://hdl.handle.net/21.15107/rcub_rai_532

Petković S, Gavrilović Vitas N, Miladinović-Radmilović N, Ilijić B. Погребни ритуал и Дионисов култ у Равни (Timacum Minus). 2016;.
https://hdl.handle.net/21.15107/rcub_rai_532 .

Petković, Sofija, Gavrilović Vitas, Nadežda, Miladinović-Radmilović, Nataša, Ilijić, Bojana, "Погребни ритуал и Дионисов култ у Равни (Timacum Minus)" (2016),
https://hdl.handle.net/21.15107/rcub_rai_532 .

TY  - JOUR
AU  - Gavrilović-Vitas, Nadežda
AU  - Milošević-Jevtić, Gordana
AU  - Crnoglavac, Vesna
PY  - 2016
UR  - http://rai.ai.ac.rs/handle/123456789/254
AB  - In the course of archaeological investigations of the villa with peristyle in
   2010 and 2011, a room of circular plan in the north-western segment of the
   villa and to the north of room w-24, was discovered. The room had annexes in
   the east and west and is analogous to the stibadium A discovered in the
   north-eastern section of the villa. Further investigations of the room called
   stibadium B revealed that the stibadium walls were decorated with a facing of
   marble slabs and the floor was covered with exceptionally well preserved high
   quality mosaic. Archaeological excavations in 2015 defined completely the
   system of floor and wall heating. The mosaic floors in stibadium B are
   conserved. The area to the west of the stibadium has also been explored and a
   channel with the remains of a lead water pipe was discovered there. The
   terrain to the north of the northern wall of the villa with peristyle was
   also levelled.
PB  - Arheološki institut, Beograd
T2  - Starinar
T1  - Stibadium B of villa with peristyle at Mediana
EP  - 102
IS  - 66
SP  - 81
DO  - 10.2298/STA1666081G
ER  - 

@article{
author = "Gavrilović-Vitas, Nadežda and Milošević-Jevtić, Gordana and Crnoglavac, Vesna",
year = "2016",
abstract = "In the course of archaeological investigations of the villa with peristyle in
   2010 and 2011, a room of circular plan in the north-western segment of the
   villa and to the north of room w-24, was discovered. The room had annexes in
   the east and west and is analogous to the stibadium A discovered in the
   north-eastern section of the villa. Further investigations of the room called
   stibadium B revealed that the stibadium walls were decorated with a facing of
   marble slabs and the floor was covered with exceptionally well preserved high
   quality mosaic. Archaeological excavations in 2015 defined completely the
   system of floor and wall heating. The mosaic floors in stibadium B are
   conserved. The area to the west of the stibadium has also been explored and a
   channel with the remains of a lead water pipe was discovered there. The
   terrain to the north of the northern wall of the villa with peristyle was
   also levelled.",
publisher = "Arheološki institut, Beograd",
journal = "Starinar",
title = "Stibadium B of villa with peristyle at Mediana",
pages = "102-81",
number = "66",
doi = "10.2298/STA1666081G"
}

Gavrilović-Vitas, N., Milošević-Jevtić, G.,& Crnoglavac, V.. (2016). Stibadium B of villa with peristyle at Mediana. in Starinar
Arheološki institut, Beograd.(66), 81-102.
https://doi.org/10.2298/STA1666081G

Gavrilović-Vitas N, Milošević-Jevtić G, Crnoglavac V. Stibadium B of villa with peristyle at Mediana. in Starinar. 2016;(66):81-102.
doi:10.2298/STA1666081G .

Gavrilović-Vitas, Nadežda, Milošević-Jevtić, Gordana, Crnoglavac, Vesna, "Stibadium B of villa with peristyle at Mediana" in Starinar, no. 66 (2016):81-102,
https://doi.org/10.2298/STA1666081G . .