IZNIK

osmanska keramika
iz dubine Jadrana

Ottoman pottery
from the depths
of the Adriatic

15. srpnja 30. rujna 2016.

15 July 30 September 2016

itnica Rupe / Rupe Granary

Dubrovnik, 2016.
 Izlobu organiziraju Dubrovaki muzeji i Hrvatski The exhibition is organized by the Dubrovnik Museums and
Izloba je ostvarena sredstvima The exhibition has been funded by the restauratorski zavod u suradnji s Muzejom Mimara i the Croatian Conservation Institute in cooperation with the
Ministarstva kulture Republike Hrvatske, Ministry of Culture of the Republic Institutom Yunus Emre. Mimara Museum and Yunus Emre Institute.
Grada Dubrovnika i Hrvatskog restauratorskog of Croatia, City of Dubrovnik and Croatian
zavoda. Conservation Institute.

The Dubrovnik Museums and the Croatian Dubrovaki muzeji

Dubrovaki muzeji i Hrvatski restauratorski zavod
Conservation Institute express their sincere gratitude Pred Dvorom 3, Dubrovnik
zahvaljuju svim institucijama i pojedincima koji su
to institutions and individuals for their contribution in www.dumus.hr
pripomogli pri ostvarenju izlobe.
the realization of this exhibition.

The exhibition was put on in the Mimara Museum from

Izloba je odrana u Muzeju Mimara od 18. svibnja
18 May to 13 September 2015
do 13. rujna 2015.

Hrvatski restauratorski zavod

N. Grkovia 23, Zagreb
www.h-r-z.hr

Muzej Mimara
Rooseveltov trg 5, Zagreb
www.mimara.hr

Medijski pokrovitelji/ Media Sponsors:

Institut Yunus Emre

Anafartalar Mahallesi Atatrk Bulvar
Sponzor/ Sponsor: Partneri - Promotori / Partners - promotors: No : 11 06050 Ulus / Ankara
www.yee.org.tr
 Prijevod na engleski / English translation Izloba / Exhibition Oblikovanje i likovni postav izlobe
Iva Stojevi Iznik osmanska keramika iz dubine Jadrana / Exhibition design and set up
Graham McMaster / Iznik Ottoman pottery from the depths Ivona Michl
of the Adriatic
Lektura / LANGUAGE EDITORS 15. srpnja 30. rujna 2016. Tehnika realizacija postava izlobe
Marijana Janji (hrvatski / Croatian) / 15 July 30 September 2016 / Technical realization of the exhibition set up
Ana uki (engleski / English) Nika Uhodi
Karmela Prosoli Pasko Burin
Organizacija izlobe / Exhibition organisation Nika evoi
Fotografije / Photographs Dubrovaki muzeji / Dubrovnik Museums Mio Lei
Robert Moskovi Hrvatski restauratorski zavod, Zagreb / Croatian Vinko Petrovi
Jerko Macura Conservation Institute, Zagreb
Igor Miholjek Marketing i pr / Marketing and pr
Pavle Dugonji Autori izlobe / Authors of the exhibition Ivana Uroevi
Jurica kudar Igor Miholjek
Maa Vukovi Biru Vesna Zmai Kralj Edukativni programi / Educational program
Aleksandra Pitea Orekovi
Katalog izlobe / Exhibition catalogue Crtei / Drawings Rekonstrukcija grae / Reconstruction
Iznik osmanska keramika iz dubine Jadrana Suzana ule of the exhibits
/ Iznik Ottoman pottery from the depths Anita Ivankovi Hrvatski restauratorski zavod, Odjel za restauriranje
of the Adriatic Martina Ronevi kopnenih nalaza, Zagreb / Croatian Conservation Institute,
Vesna Zmai Kralj Department for Conservation of Archaeological Finds,
Nakladnici / Publishers Zagreb
Dubrovaki muzeji / Dubrovnik Museums Oblikovanje kataloga, panoa i pozivnica Hrvatski restauratorski zavod, Odjel za restauriranje
Hrvatski restauratorski zavod, Zagreb / Croatian / Catalogue, panel and invitation card design podvodnih arheolokih nalaza, Zadar / Croatian
Conservation Institute, Zagreb Maja Dragani, Typonine, Zabok Conservation Institute, Department for Conservation
of Underwater Archaeological Finds, Zadar
Za nakladnike / For the publishers Zahvale / Acknowledgements Preparatorske radionice Dubrovakih Muzeja
Pavica Vila Anelko Vlai / Preparation Workshops of the Dubrovnik Museums
Mario Braun Rosana Zepp Renata Andjus
Martina urkovi
Urednici / Editors Tisak / Print Mihael Golubi
Igor Miholjek Stega-tisak d.o.o., Zagreb Antonija Jozi
Vesna Zmai Kralj Anita Jeli
Naklada / EDITION Mladen Mustaek
Autori tekstova / Authors of texts 500 Maa Vukovi Biru
Nurhan Atasoy
Jurica Bezak Inventarizacija muzejske grae
Pavle Dugonji ISBN: 978-953-7037-66-6 (Dubrovaki muzeji) / Inventarisation of the museums collection
Anita Ivankovi ISBN: 978-953-7389-21-5 (hrz) Dubrovaki muzeji / Dubrovnik Museums
Liljana Kovai
Igor Mihajlovi CIP zapis dostupan u raunalnom Skupnom katalogu Koordinator izlobe / Exhibition co-ordinator
Igor Miholjek hrvatskih knjinica pod brojem 560624029. Ana Kaznai Skuri
Maa Vukovi Biru
Vesna Zmai Kralj
sadraj / contents
11 Popis autora / List of contributors

12 Predgovor / Foreword
zlatko hasanbegovi, Mario Braun, tugomir luki,
Pavica Vila

18 Keramika iz Iznika u svjetlu novih nalaza

/ The Arts of znik Pottery in the Light of New Findings
Nurhan Atasoy

22 O nalazima keramike Iznika u Hrvatskoj, trgovini

i importu na Jadranu s posebnim osvrtom na Dubrovnik
/ On the finds of Iznik pottery in Croatia, trade and
import along the Adriatic with a special look on
Dubrovnik
Liljana Kovai

38 Podvodna arheoloka istraivanja brodoloma

na pliini Sveti Pavao
/ Underwater archaeological excavations of the
shipwreck in the Sveti Pavao shallows
Igor Miholjek

52 Teret keramike osmanskog grada Iznika

/ Pottery cargo from the Ottoman town of Iznik
Vesna Zmai kralj

94 Brod - konstrukcija, naoruanje, svakodnevni ivot

/ The ship - construction, ordnance, life on board
Igor Mihajlovi, Jurica Bezak, Pavle Dugonji,
Anita Ivankovi

122 Konzervacija i restauracija keramikih nalaza s

brodoloma Sveti Pavao
/ The conservation and restoration of the pottery finds
from the Sveti Pavao shipwreck
Maa Vukovi Biru

128 Katalog / Catalogue

203 Literatura / Bibliography

9
popis autora
/ list of contributors

Nurhan Atasoy Igor Mihajlovi

Strunjak za Iznik / Expert in Iznik pottery Hrvatski restauratorski zavod, Zagreb
e-mail: [email protected] / Croatian Conservation Institute
Odjel za podvodnu arheologiju
/ Department for Underwater Archaeology
Jurica Bezak e-mail: [email protected]
Hrvatski restauratorski zavod, Zagreb
/ Croatian Conservation Institute
Odjel za podvodnu arheologiju Igor Miholjek
/ Department for Underwater Archaeology Hrvatski restauratorski zavod, Zagreb
e-mail: [email protected] / Croatian Conservation Institute
Odjel za podvodnu arheologiju
/ Department for Underwater Archaeology
Pavle Dugonji e-mail: [email protected]
neovisni istraiva / independent researcher
vanjski suradnik Hrvatskog restauratorskog zavoda
/ associate of the Croatian Conservation Institute Vesna Zmai Kralj
e-mail:[email protected] Hrvatski restauratorski zavod, Zagreb
/ Croatian Conservation Institute
Odjel za podvodnu arheologiju
Anita Ivankovi / Department for Underwater Archaeology
Arheoloki muzej u Zagrebu e-mail: [email protected]
/ Archaeological Museum in Zagreb
e-mail:[email protected]
Maa Vukovi-Biru
Hrvatski restauratorski zavod, Zagreb
Liljana Kovai / Croatian Conservation Institute
Dubrovaki muzeji, Dubrovnik - Arheoloki muzej Odjel za restauriranje kopnenih arheolokih nalaza
/ Dubrovnik Museums - Archaeological museum / Department for Conservation of Archaeological finds
e-mail: [email protected] e-mail: [email protected]

11
 predgovor foreword I T
zloba Iznik osmanska keramika iz dubine Jadrana, koja he exhibition Iznik Ottoman Ceramics from the
je tijekom 2015. godine predstavljena u Muzeju Mimara, Depths of the Adriatic, which was presented in the
izazvala je veliku pozornost publike i meunarodne strune Mimara Museum in 2015, excited a great deal of attention
javnosti. Prvi put izloena, dragocjena graa svjedoila je o from both the general public and the discipline worldwide.
zlatko hasanbegovi zlatko hasanbegovi velikome i jo do kraja neistraenome bogatstvu jadransko- Shown for the first time, this invaluable material bore testi-
ga podmorja, u povijesti sjecitu vanih plovnih putova. mony to the great and still not entirely explored richness of
Ministar kulture The Minister of Culture
Zahvaljujui kontinuiranim arheolokim istraivanjima, koja the seabed of the Adriatic, which was at the intersection of
provode Odjel za podvodnu arheologiju Hrvatskoga restau- numerous navigation routes during the course of history.
Mario Braun Mario Braun ratorskog zavoda, Meunarodni centar za podvodnu arheo- Thanks to ongoing archaeological investigations
Ravnatelj Hrvatskog restauratorskog zavoda Director of the Croatian Conservation Institute logiju u Zadru te arheolozi konzervatorskih odjela i filozof- that are carried out by the Underwater Archaeology Depart-
skih fakulteta u suradnji s Ministarstvom kulture Republike ment of the Croatian Conservation Institute, the Inter-
Hrvatske, kao krovnom institucijom za zatitu kulturne national Centre for Underwater Archaeology in Zadar, as
Tugomir Luki Tugomir Luki batine, Hrvatska postaje referentno mjesto istraivanja, well as by archaeologists of conservation departments and
Ravnatelj Muzeja Mimara Director of the Mimara Museum uvanja i prezentacije podmorske kulturne batine. faculties of humanities in collaboration with the Ministry
Izloba kojom se predstavljaju arheoloki nalazi of Culture of the Republic of Croatia, the umbrella organisa-
s lokaliteta na pliini Sv. Pavao kod otoka Mljeta, gdje je tion for the protection of the cultural heritage, Croatia has
Pavica Vila Pavica Vila
pronaen potopljeni trgovaki brod s kraja 16. stoljea koji become a place of reference in the research into, preserva-
Ravnateljica Dubrovakih muzeja Director of the Dubrovnik Museums je prevozio teret vrijednoga keramikog posua iz turskoga tion and presentation of the underwater cultural heritage.
grada Iznika, korak je prema cjelovitoj interpretaciji me- The exhibition, which presents archaeological finds
unarodnih veza euroazijske pomorske trgovine Sredoze- from the site of the Sv. Pavao shoals off Mljet Island, where
mljem, u kojoj je obala istonoga Jadrana imala veliku ulogu. a sunken merchantman of the 16th century carrying a cargo
Prezentacijom ovoga vrijednog dijela hrvatske of valuable ceramic ware from the Turkish city of Iznik was
kulturne batine, prepoznavanjem i vrjednovanjem njezi- discovered, is a step toward an integrated interpretation of
noga kulturnog kapitala u kontekstu odriva i drutveno the international connections of Eurasian maritime trade
odgovornoga razvoja, snano povezujemo kulturu s drugim in the Mediterranean, in which the eastern shores of the
podrujima, posebno turizmom, gospodarstvom, naobraz- Adriatic had a major role.
bom. Through the presentation of this valuable part of
Izloba u Dubrovakim muzejima ima veliko zna- the Croatian cultural heritage, the recognition and evalua-
enje za Ministarstvo kulture. U instituciji kojoj je graa tion of its cultural capital in the context of sustainable and
povjerena na trajno uvanje te daljnju zatitu i obradbu, ona socially accountable development, we are strongly connect-
pronalazi svoj budui stalni dom. ing culture with other areas, particularly with tourism, the
Zahvaljujem svima koji su omoguili ovu izlobu, economy and education.
ponajprije kustosima Dubrovakih muzeja, Hrvatskomu The exhibition in Dubrovnik Museums is of great
restauratorskom zavodu te Institutu Yunus Emre. importance for the Ministry of Culture. In the institution to
which the material has been confided for permanent keep-
dr.sc. zlatko hasanbegovi ing and further protection and study, it has found its future
Ministar kulture lasting home.
I thank all who have made this exhibition possible,
above all the curators of Dubrovnik Museums, the Croatian
Conservation Institute and the Yunus Emre Institute.

dr.sc. zlatko hasanbegovi

Minister of Culture

12 13
K ada je prije 9 godina zapoelo istraivanje brodoloma na
pliini Sveti Pavao na otoku Mljetu nitko nije ni pretpo-
stavljao da e rezultat tog istraivanja biti tako znaajan ni tako
N ine years ago, when excavations of the shipwreck in the
Sveti Pavao shallows began on the island of Mljet, no one
even guessed that the result of that research will be so signifi-
K ad je Hrvatski restauratorski zavod predloio da zajedniki
pripremimo izlobu Iznik osmanska keramika iz dubi-
ne Jadrana kako bismo javnosti pokazali arheoloke nalaze
W hen the Croatian Conservation Institute suggested a
joint exhibition Iznik Ottoman pottery from the
depths of the Adriatic Sea, that would reveal archaeological
atraktivan kao to je danas vidljivo, kada je istraivanje dolo cant, and so attractive as we see them today, when the research brodoloma na pliini Sveti Pavao kraj otoka Mljeta, rado smo se finds from the Sveti Pavao shallows on Mljet to the general
u svoju zavrnu fazu. S druge strane, jo se manje vjerojatnim is in its final phase. On the other hand, it seemed even less like- odazvali. Jer rije je o iznimnom podvigu hrvatskih podvodnih public, we were happy to respond. This is indeed an exception-
inilo da e se ubrzo nakon pronalaska skulpture Apoksiomena, ly that, so soon after the discovery of the Apoksiomenos statue arheologa i restauratora, ali i o kulturno-povijesno i umjetniki al exploit of underwater archaeologists and conservators, as
u podmorju kod Malog Loinja, nai jo jedan svjetski znaa- in the waters of Mali Loinj, there would be another archaeo- vrlo vrijednoj grai koja je obogatila hrvatsku kulturnu batinu. well as a culturally, historically and artistically valuable materi-
jan podvodni arheoloki lokalitet u Hrvatskoj. Prezentacija logical site of global importance in Croatia. The presentation of Od pamtivijeka su plovni putovi Sredozemnog mora al that enriched Croatian cultural heritage.
tih nalaza omoguava njihovu promociju i izlaganje a time i these finds enables their promotion and exhibition, and with omoguavali ive doticaje razliitih naroda, kultura i vjera. Ali i Since the beginning of time, the maritime routes across
formiranje novih i trajnih kulturnih vrijednosti. Veliki broj ve it, the formation of all new permanent cultural values. A large ivu trgovinu u kojoj su ponekad i umjetnine bila roba. Krajem the Mediterranean have enabled contacts between different
registriranih podvodnih arheolokih lokaliteta na otoku Mljetu, number of already registered underwater archaeological sites 16. stoljea, u vrijeme pobjedonosnog bujanja atlantske plovid- peoples, cultures, and religions. They also enabled trade, which
njihova brojnost i vremenska raznolikost nesumnjivo otvaraju on the island of Mljet, their great number and the diversity of be nakon otkria Amerike, na Sredozemlju su i dalje prevlast na sometimes included artworks as trading goods. At the end of
raznolike mogunosti njihove prezentacije. Nakon istraivanja time periods they belong to, open, without a doubt, a num- moru zadrale Genova i Venecija, a uz njih i flota Osmanskog the 16th century, in the times of the victorious rise of cross-At-
i interpretiranja lokaliteta te restauriranja arheolokih nalaza ber of different possibilities for their presentation. After the Carstva. Posebno se na Jadranskom moru odvijala intenzivna lantic trade after the discovery of America, the Mediterranean
koje tamo nalazimo, otvaraju nam se nove mogunosti kao to research and interpretation of the site, and the conservation trgovaka plovidba pa su venecijanski brodovi uestalo prola- was still dominated by Genoa and Venice, as well as the Otto-
je izgradnja novog muzeja i logistike toke za budua podvod- of the recovered finds, new possibilities open, like the building zili plovnim pravcima prema bogatim lukama Sjeverne Afrike man fleet. The Adriatic Sea in particular was an area of intensive
na arheoloka istraivanja ime bi se ujedno i dodatno obogatio of new museums and a logistical point for future underwater i Azije, pogotovu prema Istanbulu, prijestolnici Osmanskog maritime trade, and Venetian ships often sailed across maritime
turistiki sadraj otoka Mljeta i proirila atraktivnost Nacional- archaeological research which will additionally enrich the tour- Carstva. routes towards rich harbors in North Africa and Asia, especially
nog parka. To otvara nove mogunosti Hrvatskome restaura- istic offer of the island of Mljet and augment the attractiveness I tako se na pola puta izmeu dva velianstvena pomor- towards Istanbul, the capital of the Ottoman Empire.
torskom zavodu kao javnoj restauratorskoj ustanovi koja preu- of the National Park. It opens new possibilities to the Croatian ska portala, Venecije kao vrata Europe i Istanbula kao vrata Azi- Half way between these great two maritime portals:
zima aktivnu ulogu formiranja drugih djelatnosti i svojevrsnog Conservation Institute as a public conservation institution je, potopio brod. Meu raznovrsnim predmetima arheolokog Venice at the gates of Europe and Istanbul at the gates of Asia, a
producenta muzeoloko-turistike djelatnosti. Zavod je i po that takes on an active role in forming other activities and nalaza dosta ih je europskih ali jo vie osmanskih. Uglavnom ship sunk. Among the various finds archaeologists recovered,
svojem ustroju i po svojim strunim mogunostima spreman the role of the producer of museological and tourist activities. su to luksuzne posude izraene u oslikanoj keramici poznatoj there were a lot of European artifacts, but even more of them
za takve nove izazove, od istraivanja, preko formiranja mree The Institute is, by its organization and professional abilities, kao keramika iz Iznika, namijenjenoj imunijoj europskoj kli- were Ottoman mostly luxurious elaborately decorated vessels
meunarodnih suradnika do oblikovanja izlobi te traenja ready for such new challenges, from research and forming an jenteli. Ta je keramika, nazvana po turskome gradu u zapadnoj from Iznik, intended for rich European clientele. Pottery, which
alternativnih izvora financiranja za nastavak radova. international network of associates, to organizing exhibitions Anatoliji u kojem su se od druge polovice 15. do 17. stoljea, s is the main material displayed in this exhibition, was made in
U tim proirenjima funkcije i djelovanja kljuno je i and finding alternative ways of funding the continuation of its vrhuncem u 16. stoljeu, proizvodile glasovite keramike ploi- Iznik, an Ottoman town in western Anatolia which produced
neizbjeno da financiranje Ministarstva kulture postane trajni work. ce za oblaganje damija i keramike posude, glavna graa nae the famous ceramic wall tiles used for tiling mosques, as well
stabilni izvor kojim se generiraju nune participacije fondov- It is crucial that, in the expansions of the function and izlobe. as ceramic vessels from the second half of the 15th to the 17th
skog financiranja. Time e se ujedno poticati i razvijati suradnja activities, the funding of the Ministry of Culture becomes a Njenom ostvarenju pomogli su mnogi pa mi je zado- century, peaking in the 16th century.
domaih i stranih ustanova, poticati partnerstvo, povezivanje solid and permanent source of necessary participation in finan- voljstvo zahvaliti Ministarstvu kulture Republike Hrvatske The realization of this exhibition was enabled by many,
i nadograivanje djelatnosti izmeu ustanova i partnera za cial funds. That will also encourage and develop cooperation na pokroviteljstvu i financijskoj potpori. Gradu Zagrebu i so I am pleased to thank the Ministry of Culture of the Republic
budue jo uspjenije i kvalitetnije djelovanje. between national and foreign institutions, encourage partner- sponzorima takoer na financijskoj potpori, te medijskim of Croatia for sponsorship and financial support, the City of
Izloba Iznik osmanska keramika iz dubine Jadrana, ship, connections and upgrades of activities between institu- pokroviteljima. Hrvatsko turskoj udruzi prijateljstva, TINA Zagreb and other sponsors for their financial support, as well
otvorena od 15. srpnja do 30. rujna 2016. godine u itnici Rupe u tions and partners for successful and more quality research in (Turkish Institute of Nautical Archaeology) i Institutu Yunus as media sponsors. To the Croatian-Turkish Friendship Society
Dubrovniku, nastavak je prve izlobe koja je 2015. godine prika- the future. Emre. Dubrovakim muzejima koji e ubudue skrbiti o ovoj TINA (Turkish Institute of Nautical Archaeology) and the Yunus
zana u Muzeju Mimara u Zagrebu, sa eljom da se naa bogata The exhibition Iznik Ottoman Ceramics from the grai kao svojem muzejskom inventaru te dakako Hrvatskom Emre Institute. To the Dubrovnik Museums that will continue
podvodna kulturna batina predstavi javnosti. S obzirom na to Depths of the Adriatic will be open from July 15 to September restauratorskom zavodu na sjajnoj suradnji. Zahvaljujem svim to take care of this material as part of their museum inventory,
bogatstvo, povijesnu i kulturnu vrijednost, veseli nas da e se 30, 2016, in the Rupe Granary in Dubrovnik, and is a continua- poduzeima, obrtima, pojedincima, bili oni vanjski suradnici ili and, of course, the Croatian Conservation Institute for their
sljedea izloba u tom nizu odrati u Istanbulu. tion of the first exhibition in a series presented in 2015 in the djelatnici Muzeja Mimara, na pojedinim doprinosima u ostvare- great cooperation. We thank all companies, businesses, individ-
Mimara Museum in Zagreb, produced in the desire to present nju izlobe. uals, whether they are associates or employees of the Mimara
Mario Braun, the wealth of the Croatian underwater cultural heritage. Be- Museum for their individual contribution to the realization of
ravnatelj Hrvatskog restauratorskog zavoda cause of this richness, and its historical and cultural value, we Tugomir Luki this exhibition.
are very glad that the next in the series of exhibitions will be Ravnatelj Muzeja Mimara
shown in Istanbul. (do 21. studenoga 2015.) Tugomir Luki
Director of the Mimara Museum
Mario Braun, (until November 21, 2015)
Director of the Croatian Conservation Institute
14 15
P omorski muzej Dubrovakih muzeja od 1972. godine sudje-
lovao je u nizu podvodnih arheolokih istraivanja brodo-
lom u dubrovakom podmorju, te struno i znanstveno obra-
T he Maritime Museum of the Dubrovnik Museums has
been taking part in a number of underwater archaeological
researches on the territory of Dubrovnik since 1972, and has
primjerci na tritu doseu iznimno visoke cijene. U Hrvat-
skoj je dosad pronaen velik broj ulomaka toga posua jedino
u Dubrovniku, uz samo nekoliko komada u sjeveroistonoj
expensive and widely esteemed Iznik production. The high
quality glazed Ottoman pottery was purchased by rich clients
from the West in the 16th century. These finds are scarce and
dio pronaeni materijal, obogativi pritom umnogome fundus expertly and scientifically processed the uncovered material Hrvatskoj, pa se mljetski nalazi mogu drati najvanijima, jer je rare, and the few examples in the market reach exceptionally
Muzeja, u kojem se danas uva i predstavlja bogata podvodna enriching the fund of the Museum that now cares for and rije o cjelovitim ili gotovo cjelovitim primjercima. Zbog svoje high prices. In Croatia, the largest amount of fragments of this
batina Republike Hrvatske. Meu prikupljenom arheolo- exhibits Croatias rich underwater heritage. It is important to iznimnosti i reprezentativnosti, odabrani su za sredinju temu kind of pottery has been found in Dubrovnik, with only a few
kom graom potrebno je istaknuti nekoliko najvanijih nalaza. point out a few finds among the recovered artifacts that are ove izlobe. specimens in northeast Croatia, so the finds from Mljet can be
Primjerice, ostatci antikog brodoloma na rtu Glavat na Mljetu considered most significant. For example, the Roman ship- Na posljetku, vano je istaknuti da ulomci pronaeni considered most significant because they are parts of whole or
jedinstveno su podvodno nalazite na Sredozemlju po koliini wreck at Cape Glavat on Mljet represents a unique underwa- u arheolokim istraivanjima na podruju povijesne jezgre Du- almost whole vessels. The fact that they are exceptional and
izvaenoga sirovog stakla i olovnih ingota, a druga dva potonu- ter site in the Mediterranean due to the amount of raw glass brovnika svjedoe o prisutnosti raritetne produkcije iz Iznika representative made them the central subject of this exhibi-
la broda u podmorju istoga otoka, kasnoantiki u uvali Sobra i and lead ingots recovered from the site, while the other two i u ovom gradu u vrijeme najvee popularnosti te kreativnoga tion.
bizantski na rtu Stoba, iznjedrila su jedinstvene tipove amfora sunken ships at the seabed of the same island, the shipwreck vrhunca ove keramike u 16. stoljeu, to se moe objasniti Lastly, it is important to point out that the fragments
za prijevoz vina, ulja i usoljene ribe te keramikog i staklenog from the period of Late Antiquity in the Sobra bay and the intenzivnim trgovakim kontaktima Dubrovnika s Osmanskim found in archaeological excavations in the historical core of
posua, proizvedenoga u Siriji i Egiptu. Najstariji dosad prona- Byzantine shipwreck at Cape Stoba, yielded unique types of Carstvom, ali i visokom razinom kulture ivljenja ovoga grada Dubrovnik prove that the rare Iznik production in this town
eni primjerci opreme za navigaciju i brodskog naoruanja na amphorae used for transport of wine, oil and salted fish, as well dravice, koji je, osobito u razdoblju svojega najveeg procvata, was present when its popularity was great, at the peak of
hrvatskom Jadranu otkriveni su meu ostatcima novovjekov- as pottery and glass vessels manufactured in Syria and Egypt. u 15. i 16. stoljeu, stajao uz bok drugim vanim centrima na its production in the 16th century, which can be explained
nog brodoloma iz 16. stoljea u uvali Suura na otoku ipanu. So far the oldest examples of navigation equipment and ships Sredozemlju. through intensive trade contacts between Dubrovnik and the
Pomorski muzej, zajedno s Arheolokim muzejom Dubrova- ordnance in the Adriatic were discovered among the remains Dubrovaki muzeji, kao suorganizatori izlobe i vla- Ottoman Empire, as well as through a high level of culture
kih muzeja, i danas je ukljuen u nekoliko istraivanja brodo- of a Post- Medieval shipwreck from the 16th century in the Bay snici izloene grae, svim sudionicima u projektu najiskrenije of living of this town-state which, especially in the era of its
lom na dubrovakom podruju, koje sustavno provodi Odjel of Suura near the island of ipan. zahvaljuju na suradnji. greatest bloom, in the 15th and 16th centuries, stood side by
za podvodnu arheologiju Hrvatskoga restauratorskog zavoda, Even today, the Maritime Museum, along with the Ljubazno zahvaljuju Ministarstvu kulture na svesrdnoj side with other significant centres on the Mediterranean.
pa tako i u istraivanje jednoga od najvrjednijih novovjekovnih Archaeological Museum of the Dubrovnik Museums, is in- potpori projektu. The Dubrovnik Museums, as co-organisers of the exhibition
nalazita potonulih brodova u hrvatskom podmorju lokaliteta volved in a number of researches on shipwrecks systematically Posebnu zahvalnost upuuju Odjelu za podvodnu and owners of the exhibits, are sincerely grateful to all project
pliina Sveti Pavao kod otoka Mljeta, o kojem je ovdje rije. U conducted by the Department of Underwater Archaeology of arheologiju Hrvatskoga restauratorskog zavoda u Zagrebu i participants for their cooperation.
njemu mjerodavni muzeji Dubrovakih muzeja sudjeluju od the Croatian Conservation Institute, including the research on voditelju projekta Igoru Miholjeku, zajedno sa suradnicima, na We kindly thank the Ministry of Culture for their
samoga poetka, pridonosei atribuiranju i datiranju nalaz i the one ship in question, one of the most valuable Post-Medi- predanom viegodinjem istraivanju te trudu u pripremi i wholehearted support in this project.
brodolom. Tako je struna ekspertiza Arheolokoga muzeja u eval shipwreck sites in the Croatian waters - the Sveti Pavao organizaciji izlobe. Special thanks is due to the Department of Under-
Dubrovniku ustanovila da ostatci trgovakog broda potjeu iz shallows. The museums of competent jurisdiction of the Du- Ne manje zahvale duguju Odjelu za restauriranje water Archaeology of the Croatian Conservation Institute in
druge polovine 16. stoljea te da je prevozio luksuznu orijental- brovnik Museums have participated in this research from the podmorskih arheolokih nalaza Hrvatskoga restauratorskog Zagreb and the head of the project, Igor Miholjek, along with
nu trgovaku robu, namijenjenu zapadnom tritu. Viegodi- very beginning, contributing to the attribution and dating of zavoda u Zadru na restauraciji i rekonstrukciji nalaz te ronila- his associates for their years of dedicated research and effort in
nja zatitna istraivanja koja su uslijedila, a koja je u razdoblju the finds and the shipwreck. That way, based on the scientific kom klubu Ronilakog centra Medveak Sava iz Zagreba na preparing and organising the exhibition.
od 2007. do 2014. provodio Odjel za podvodnu arheologiju expertise made by the Archaeological Museum in Dubrovnik, visokoj razini svijesti o batini i brzom reagiranju. Many thanks are due also to the Department for Res-
Hrvatskoga restauratorskog zavoda s vanjskim suradnicima, it was determined that the shipwreck belongs to the second Zahvalnost na suradnji takoer upuuju suradnicima toration of Underwater Archaeological Finds of the Croatian
otkrila su iznimno bogat i vrijedan arheoloki materijal na half of the 16th century and that it was shipping luxury ori- Dipartimento di Scienze dellAntichit e del Vicino Oriente Conservation Institute in Zadar for the restoration and recon-
ostatcima potpuno sauvanoga brodoloma, to je umnogome ental trading goods intended for the western market. In the Sveuilita Ca Foscari iz Venecije, Institutu Yunus Emre, Turki- struction of the fins and also the Sava-Medveak diving club
pridonijelo kvaliteti istraivanja i njegovoj interpretaciji. Nalazi years of rescue excavations that followed, conducted by the sh Institute of Nautical Archaeology, kao i Muzeju Mimara. from Zagreb for their high level of heritage awareness and
koji su nakon vaenja i dokumentiranja postali muzejskom Department for Underwater Archaeology and their associates prompt reaction.
graom Pomorskoga muzeja u Dubrovniku, omoguit e tako from 2007 to 2014, yielded exceptionally rich and valuable Pavica Vila Thanks for their collaboration are also due to asso-
cjelovitiju i kompleksniju prezentaciju velike dubrovake po- archaeological finds from the completely preserved remains of Ravnateljica Dubrovakih muzeja ciates from the Dipartamente di science dellAntichita e del
morske povijesti. the shipwreck, which greatly contributed to the quality of re- Vicino Oriente, Universita ca Foscari, Venice, the Yunus Emre
Uz predmete koji se odnose na inventar i opremu search and the interpretation. The finds that were given to the Institute, the Turkish Institute of Nautical Archaeology and the
broda te brodsko naoruanje, muzejski fundus obogaen je i je- Maritime Museum in Dubrovnik, after they were recovered Mimara Museum.
dinstvenim nalazom veega broja cjelovito sauvanoga stolnog and documented, will enable an integral and more complex
posua, koje pripada skupocjenoj i nadaleko cijenjenoj iznikoj presentation of Dubrovniks great maritime history. Pavica Vila
proizvodnji. Rije je o visokokvalitetnoj glaziranoj osmanskoj Along with artefacts pertaining to the ships inventory, equip- The director of Dubrovnik Musemus
keramici, koju je bogata klijentela sa Zapada kupovala u 16. sto- ment and ordnance, the Museums collection was enriched
ljeu. Njezini su nalazi danas malobrojni i raritetni, a vrlo rijetki by a unique find of fully preserved tableware belonging to the

16 17
 Keramika iz The Arts of
Prouavanje primjeraka keramike iz Iznika na ovom bro- The most important conclusion that we can draw from the
dolomu ukazuje, to je moda najvanije, kako je keramika studies of znik pottery found on this shipwreck is the fact
iz Iznika dolazila na europske dvorove i ina kuanstva ne that znik pottery was not carried to European courts and
samo kao dar veleposlanika ili stranih putnika iz Osmanskog households only through ambassadors or foreign travellers

Iznika u svjetlu Iznik Pottery Carstva nego je doista bila vrijedan trgovaki artefakt koji se
izvozio u Europu. U ovom je sluaju keramika iz Iznika bila
ukrcana na brod koji je plovio prema Europi. Ta injenica
to the Ottoman Empire, but that it was In fact a commodity
which was travelled to Europe via trade. In this particular
example, znik pottery was shipped out of znik to the

novih nalaza in the Light of

pojanjava zato se na pojedinim primjercima keramike iz European peninsula by sea trade. This fact enables scholars
Iznika koji su naeni u zbirkama europskih plemia nalaze to understand the reasons behind the examples of znik
grbovi odreenih obitelji. iroka lepeza uzoraka te bogat- pottery found in the collections of European nobility, and
stvo prikaza svakoga uzorka u ovoj zbirci pokazuju irinu which are decorated with the Coat of Arms that represents

uvod
New Findings umjetnike kreativnosti keramike iz Iznika. Upravo je u
tome iznimna vanost nalaza s ovoga brodoloma za proua-
vanje povijesti iznike keramike.
each family. Observing this collection, we can also state
that the repertoire of patterns and the richness of diverse
depictions of each pattern display the extent of creativity
Na brodolomu su pronaeni tipini primjerci klasi- in the arts of znik pottery. For these reasons, the material
ne iznike keramike. S druge strane nailazimo i na velian- found on this shipwreck is extremely important for the
stvene primjerke te na izuzetne detalje. Tako na primjerku study of znik pottery.
Nurhan Atasoy
Travanj 2014. introduction pod kat. br. 4. nalazimo iznimno lijepe ilustracije lia u
stilu saz. Takvi detalji nisu uobiajeni za keramiku iz Iznika,
The shipwreck contains typical examples of clas-
sic znik pottery. However, we find exceptional examples
ali nam prizivaju u sjeanje jedan drugi stil iz 16. stoljea. and extraordinary details. Cat. no. 4 has extraordinary and
Nurhan Atasoy Listovi na ovom primjerku podsjeaju na one u djelima extremely beautiful illustrations of leaves in the saz style,
April, 2014 Karamemija, umjetnika koji je oslikao Antologiju Sulejmana which is not common in znik pottery, but it brings to mind
Velianstvenog, napisanu ezdesetih godina 16. stoljea. Ka- other sixteenth-century artistic influences. These leaves
ramemi je unio inovativne uzorke u otomansku umjetnost are similar to the ones that we come across in the artistic
oslikavanja. ini se da prikaz lia na kat. br. 4 odraava production of Karamemi - an artist who illuminated the An-
Karamemijev utjecaj. Uzorak s kat. br. 6. na prvi pogled thology of Kanuni Sultan Sleyman I an anthology produced
djeluje tipino, ali ima zanimljive detalje. Primjerak kat. br. 7. in the 1560s. Karamemi brought innovative designs to the
podsjea na radove slikara ahkulua koji je, takoer, stvarao Ottoman art of illumination. The depiction of the leaves on
za sultana Sulejmana Velianstvenog. cat. no. 4. seems to have been influenced by Karamemi. The
Na tanjuru pod kat. br. 11. nailazimo na izvanredan dish under cat. no. 6. seems quite typical at first sight, yet
ukras, a primjerci pod kat. br. 25, 4 i 5. se mogu shvatiti kao there are interesting details. Dish under cat. no. 7. resem-
skupina zbog slinih prikaza lia. bles the works of the painter ahkulu who was also active
Na posudi kat. br. 26. je prisutan vrlo tipian rub during the reign of Kanuni Sultan Sleyman I.
kakav je poznat u keramici iz Iznika. Unato tomu, u sredi- The dish under cat. no. 11. has striking ornamenta-
njem su dijelu vidljivi pokuaji ilustriranja potpuno novim tion. Specimens under cat. no. 25., 4. and 5 can be grouped
ornamentalnim stilom. Slino tomu, i na kat. br. 29. se together because they show similar depictions of leaves.
javljaju ilustracije u novom stilu. The cat. no. 26. has a very typical border found on
Primjerci kat. br. 27.- 31., 33. i 34. takoer tvore znik pottery. However, the central part displays attempts
zasebnu skupinu. Jedan se te isti motiv wheatsheaf, koji je, of illustrating a completely new ornamental style. Similarly,
zapravo vrlo slian motivu rumi, naizmjenino upotrebljava. on the cat. no. 29, a new style is practiced as well.
Primjerak pod kat. br. 42. ukraen je prekrasnim Cat. no. 27.- 31., 33. and 34. also form a group. The
medaljonom koji predstavlja sredinji ornament kompozi- same motif, the wheatsheaf, is used in alternating compo-
cije, ali kakav nije uobiajen za keramiku iz Iznika. Kao kon- sitions. The weathsheaf pattern is actually very similar to
trast tomu oko medaljona je rasporeena kompozicija koja the Rumi motif.
se sastoji od uobiajenih uzoraka tradicionalne umjetnosti The cat. no. 42. is ornamented with an extraordi-
keramike iz Iznika. Isto je vidljivo i na kat. br. 43-45. nary medallion. The medallion illustrated in the central

18 19
 Slikanje na kat. br. 46 koje prikazuje dva pauna part of the composition is not common in znik pottery. In
suelice okrenuta ne susreemo esto u iznikoj keramici, contrast, the composition surrounding the medallion is
ali je krajnje uobiajen uzorak na iznikim zidnim ploica- ornamented with common patterns of the traditional arts
ma. Iako je primjerak kat. br. 47 oteen, naziru se krajevi of znik pottery. The same observation is valid for cat. no.
repova dvaju pauna. 43-45.
Vrevi (kat. br. 12.-16.) su tipini i tradicionalni The cat. no. 46 shows two peacocks facing each
primjerci iznike keramike. Ipak, na njima je i neto vrlo other; a motif we do not come across in znik pottery, but
neobino, a to je da na svim primjercima ove skupine glavni is a very common pattern on znik wall tiles. Though cat.
uzorak s tijela svake posude prelazi na njezin vrat. Tako se no. 47 is broken, we can still observe the end parts of the
uzorci koji ukraavaju tijelo posude nastavljaju na vratu to peacocks tails.
je vrlo neuobiajeno u tradicionalnoj iznikoj keramici. The jugs (cat. no. 12.-16.) are typical and traditional
Na poklopcima (kat. br. 17-22.) nalazimo motiv kola examples of znik pottery, but one aspect is quite unusual.
sree. Iako je kolo sree est uzorak na keramici iz Iznika, u In all these examples, the main pattern employed on the
ovim je primjercima motiv potpuno pojednostavljen te se s body of each vessel is carried on to the neck. Thus, the
obzirom na apstrakcije i transformacije ini vjerojatnim da patterns ornamenting the body continue onto the neck as
svjedoimo roenju posve novoga uzorka. Poklopci kat. br. well, which is a very uncommon feature in traditional znik
17. i kat. 20. su vrlo slini primjerci, a na kat. br. 18. je upotri- pottery.
jebljen isti motiv, ali vrlo neorganizirano. The lids (cat. no. 17-22) all display the wheel of for-
Polukruna zdjelica (kat. br. 48) je prilino impre- tune in their composition. Although the wheel of fortune is
sivan primjerak. U sredinjem se dijelu ovog umjetnikog a very common pattern appearing on znik pottery, in these
djela nalazi medaljon na kakav ne nailazimo igdje drugdje. particular examples the motif has been totally simplified,
To je vjerojatno stoga to je ovaj medaljon koji osnauje and it seems that a completely new pattern was being devel-
cijelu kompoziciju grb neke europske obitelji. Najvjerojatni- oped by employing such abstractions and transformations.
je je ove primjerke naruila obitelj koja je poslala svoj grb u Lids under cat. no. 17. and 20. are very similar examples. The
iznike radionice. Isti se grb nalazi i na kat. br. 50. dok se na cat. no. 18. employs the same pattern, but in a completely
rubovima kompozicije nalaze kineski oblaci naslikani stilom disorganized manner.
slobodne ruke. Na primjerku kat. br. 51 nalazi se isti takav The hemispherical bowl (cat. no. 48) is quite a strik-
uzorak, a rubovi su ostavljeni praznima. I na primjerku kat. ing example. There is a medallion in the centre of this piece
br. 52. je vidljiv isti uzorak okruen svicima koji su, ponovno, of art which is not found anywhere else. This is probably
naslikani stilom slobodne ruke. Na primjercima kat. br. 51 i due to the fact that the medallion empowering the com-
53. vidljivi su motivi intemani na granici ruba to ukazuje na position contained the Coat of Arms of a European family.
to da pripadaju istoj skupini. These were most likely commissioned by a family which
must have sent their coat of arms to znik workshops. The
Keramika iz Iznika s ovoga brodoloma vrlo je vana i vjeru- cat. no. 50 bears the same coat of arms, and has Chinese
jem da e biti detaljnije prouena. clouds illustrated in a freehand style on the borders of the
composition. The cat. no. 51 has the same pattern, but its
borders are undecorated. The cat. no. 52. also displays the
same pattern, but is surrounded by scrolls, yet again applied
freehandedly. The cat. no. 51 and 53 have intemani patterns
at the rim of the border, which is why they were placed in
the same group.

znik pottery found in this shipwreck is very important and

I believe that it will be studied by scholars in detail.

20
 O nalazima On the finds of
Dubrovnik je nepresuan izvor brojnih istraivakih i znan- Dubrovnik is an inexhaustible source of research and sci-
stvenih tema. Pri arheolokim istraivanjima koja su pret- entific topics. Archaeological excavations which preceded
hodila obnovi njegove povijesne jezgre, pronaen je znatan the restoration of the historic city core yielded a significant
broj glasovite keramike iz osmanskog Iznika. Uz nalaze number of pottery finds from the Ottoman town of Iznik.

keramike Iznika Iznik pottery in cjelovitih ili gotovo cjelovitih primjeraka koje je iznjedrio
brodolom kod otoka Mljeta, koji je povijesno oduvijek bio
dio njegovoga teritorija, Dubrovnik je, prema dosadanjim
Along with the finds of complete and almost complete
vessels found on the shipwreck at the island of Mljet, which
has been a part of its territory through the course of history,

u Hrvatskoj, Croatia, trade

spoznajama, jedini grad u Hrvatskoj u kojem se u renesansi Dubrovnik was, according to recent discoveries, the only
u veim koliinama koristilo izniko stolno posue. Neko town in Croatia which used greater amounts of this kind
liko je ulomaka pronaeno i pri istraivanju srednjovje- of pottery during the Renaissance. A couple of fragments
kovnoga grada Ruice, blizu Orahovice. U radu se, takoer, were found during the excavations of the medieval town of

trgovini i and import ukratko iznose i znaenje Dubrovake Republike u pomor-

skoj i kopnenoj trgovini na Balkanu i Sredozemlju te njezini
odnosi s monim europskim silama i Osmanskim Carstvom,
Ruica near Orhovica. This paper briefly discusses the sig-
nificance of the Dubrovnik Republic for land and maritime
trade in the Balkans and on the Mediterranean, as well as

importu na along the

kojemu je plaala naknadu za slobodu i zatitu svojih politi- its relations with powerful European forces and the Otto-
kih i ekonomskih interesa. Budui da je navedeni brodolom man Empire, to which it paid atonements for freedom and
doivio mletaki brod, prikazana je i pomorska trgovina protection of its political and economic interests. Since we
izmeu Venecije i Osmanskog Carstva. Vrste posua i stol- are dealing with a sunken Venetian ship, maritime trade be-

Jadranu, s Adriatic with a

nog pribora, te namirnic i razliita jela dubrovake kuhinje, tween Venice and the Ottoman Empire was also discussed
doaravaju djeli svakidanjice renesansnoga Dubrovnika. in the paper. The forms of vessels and table utensils, as well
as types of victuals and dishes typical of the Dubrovnik
Znaenje Dubrovnika u pomorskoj trgovini cuisine recreate a small part of everyday life in Dubrovnik

posebnim special look on na Sredozemlju

Kao pomorska drava, Dubrovnik se rano uklopio u opi ra-
zvoj srednjovjekovne trgovine, koja je prolazila Jadranskim
during the Renaissance.

The significance of Dubrovnik in maritime trade on the

osvrtom na Dubrovnik
morem i Sredozemljem, a teite joj je bilo na posrednikoj Mediterranean
trgovini izmeu balkanskog zalea i razvijenih talijanskih, As a naval republic, Dubrovnik very early became part of the
levantinskih, panjolskih i drugih potroakih mjesta. Ve general development of medieval trade passing through the
u 12. stoljeu potvreno je postojanje uzajamnih ugovora Adriatic Sea and the Mediterranean, and was at the centre

Dubrovnik liljana Kovai Dubrovnika s gradovima du hrvatske obale, te s talijanskim

gradovima Molfetom (1148.), Pisom (1169.), Ravennom (1188.),
Anconom (1199.), Barijem (1201.), Papinskom Dravom i
of the intermediary trade between the Balkan hinterland
and the developed Italian, Levantine, Spanish and other
consumer centres. The contracts signed by Dubrovnik with
mnogima drugima radi ostvarivanja trgovakih povlastica i towns along the Adriatic coast date as early as the 12th cen-
liljana Kovai oslobaanja od plaanja raznih pristojba. Najstarija poznata tury, along with the ones made with Italian cities of Molfet-
isprava sa zaleem, odnosno Bosnom, povelja je iz 1189., ta (1148), Pisa (1169), Ravenna (1188), Ancona, Bari (1201), as
kojom ban Kulin potvruje ugovor o miru i prijateljstvu s well as with the Papal States and many others, and all with
Dubrovnikom, dajui dubrovakim trgovcima povlastice, the intent of gaining trade privileges and getting absolution
a graanima slobodu kretanja i boravka. To je bio uvod u from paying various taxes. The oldest known document
dubrovaku trgovinu s Bosnom, osobito trgovinu rudnim signed with the hinterland, i.e. Bosnia, is a charter from
bogatstvom (Brkovi 1990: 52). Iz toga razdoblja datiraju i 1189, in which the governor Kulin confirms a contract of
trgovaki kontakti s Albanijom, Makedonijom, Tesalijom, s peace and friendship with Dubrovnik, granting the
Egiptom i Sirijom, Tunisom i Berberijom. U posljednjoj se merchants privileges, and its citizens the freedom of travel
etvrtini 12. stoljea dubrovaki trgovci spominju i u Alek- and residence. This was the start of Dubrovniks trade
sandriji. Trgovake veze s Antalijom i Egiptom krajem 13. i with Bosnia, especially when dealing with its ores (Brkovi
poetkom 14. stoljea dokazive su nalazom novca Ikonijskog 1990: 52). Trade contacts with Albania, Macedonia, Thessaly,
sultanata, Ilkhanidske drave i Mamelukog sultanata na Egypt and Syria, Tunis and the Barbary Coast also date from

22 23
 lokalitetu benediktinskog samostana sv. Marije od Katela that period. In the last quarter of the 12th century mer- i zatiti monih drava, Ugarsko-Hrvatskog Kraljevstva, in the first decades of the 17th century, Dubrovniks finan-
(Ilki i Topi 2013: 12). chants from Dubrovnik are mentioned in Alexandria. The Osmanskog Carstva, Papinske Drave, panjolske i Napulj- cial investments abroad amounted to 698 000 Dubrovnik
Iako je 13. stoljee bilo poetak dugotrajne mletake connections with Antalya and Egypt at the end of the 13th skog kraljevstva. ducats.
vlasti u Dubrovniku (1205.1358.), grad se razvio u meuna- century are attested by finds of currency from the Iconian Od 1482. du cijeloga kopnenog teritorija poinje
rodno pomorsko, trgovako, prometno, tranzitno i brodo- Sultanate, Ilkhanid State and the Mamluk Sultanate on the graniiti s Osmanskim Carstvom (Hercegovaki sandak). Dubrovnik between the Ottoman Empire and the Re-
graevno sredite. To je stoljee obiljeeno razvojem institu- site of the Benedictine monastery of St. Maria of Katela Povijest odnosa izmeu male aristokratske drave i rastue public of Venice
cija i pravnog sustava u svrhu zatite i sigurnosti obavljanja (IIlki and Topi 2013: 1-2). imperije poinje jo za Mehmeda Osvajaa, kada, u svrhu The territorially and military-wise insignificant Republic
trgovakih i nautiko-lukih komercijalnih poslova unutar Although the 13th century marked the beginning zatite svojih politikih i ekonomskih interesa, Dubrovnik of Dubrovnik obtained independence, sovereignty and
grada, kao i u meunarodnom prometu. U Dubrovniku je of the long Venetian rule in Dubrovnik (1205-1358), the city poinje plaati naknadu ili hara, koji se od 1481., za vla- economic growth through its external policies, efficient
tako 1395. potpisan jedan od najstarijih ugovora o pomor- developed into an international seafaring, trade, transport, davine miroljubivog sultana Bajezida II., ustalio na 12.500 diplomacy, and protection given by powerful states like the
skom osiguranju, dok ga je Genova imala 1347., a Pisa 1384. transit and shipbuilding centre. This was a century marked zlatnika na godinu. U 17. stoljeu taj je iznos bio jednak Kingdom of Croatia and Hungary, the Ottoman Empire, the
godine. Godine 1313. normiran je nadzor ukrcavanja tereta by the development of institutions and the legal system koliini od oko 42 kg zlata (Kunevi 2010: 190). Dubrovnik Papal State, Spain, and the Kingdom of Naples.
na brodove, a 1341. posebnim zakonskim propisima odreu- with the purpose of protecting and safely conducting trade je od takvoga tributarnog odnosa imao veliku ekonomsku Since 1482, it shared a border with the Ottoman
je se crta najveega ukrcaja tereta. Takav se propis u povi- and seaborne commercial affairs within the city and on an korist, jer je dobio ogromno podruje kao trite za svo- Empire along its entire mainland territory (the Eyalet of
jesti pomorstva i brodarstva zapadnih zemalja spominje tek international level . The oldest contract of marine insur- ju posredniku ulogu izvoznika sirovine i uvoznika robe. Herzegovina). The historic relations between the small aris-
u 17. i 18. stoljeu. Krajem 14. stoljea Dubrovani prvi u svi- ance in Dubrovnik was signed in 1395, with Genova signing Dubrovaki su poklisari na osmanskom teritoriju kupovali tocratic state and the growing empire began during the rule
jetu izglasavaju poseban zakonski propis o subvencioniranju one in 1347, and Pisa in 1384. In 1313, the surveillance of velike koliine ita uz najniu izvoznu carinu od samo 2%, of Mehmed the Conqueror, when, with the purpose of pro-
brodarstva za gradnju velikih trgovakih brodova, a jo prije loading ship cargo was standardized, and in 1341 a separate a u zaleu, u Bosni, neograniene koliine stoke. S druge tecting its political and economic interest, it started paying
(1377.) donosi se propis o karanteni i epidemiolokoj zatiti, legal act was isssued prescribing the line of maximal load. strane, Dubrovnik nije predstavljao nikakvu vojnu prijetnju, a fee, or kharaj, which stabilized in 1481 during the reign of
to pomorcima i trgovcima donosi sigurnost u trgovakom That kind of regulation is not mentioned in the history of poput, primjerice, Venecije. Osmanlijama su trebali vjeti i the peaceful Sultan Bayezd II to 12.500 golden coins per an-
poslovanju (Lueti 1997: 1113, 2223). Zakon o pomorskom seafaring and shipbuilding in the West until the 17th and sposobni dubrovaki trgovci i dubrovaka luka za izvoz robe num. In the 17th century, that amount equalled around 42
osiguranju iz 1568., Ordo super assecuratoribus, najstariji je u 18th centuries. At the end of that century, the people of Du- u zapadne zemlje, te gotovi i luksuzni proizvodi iz tih zema- kilograms of gold (Kunevi 2010: 190). Dubrovnik greatly
svijetu. U 14. stoljeu Dubrovnik je veletrgovaki i veleluki brovnik were the first in the world to vote and issue a legal lja, kao i vanjskopolitike informacije. Zapadnim velesilama profited from this tributary relationship, since it obtained a
grad s vlastitom trgovakom organizacijom svojih proizvo- act on subsidizing shipbuilding for large merchant vessels trebale su, pak, obavjetajne usluge dubrovake diplomacije large trading area, where it had a role as an intermediary in
da i posrednikom tranzitnom trgovinom izmeu Istoka i and, even earlier, an act on quarantine and epidemiological o suprotnoj strani za kreiranje vanjske politike, dubrovaka exporting raw materials, and importing commodities. Am-
Zapada. Dubrovaki su brodovi najvie plovili u takozvanoj protection, guaranteeing merchants and seafarers safety neutralna luka, te dubrovaki brodovi i dubrovaki trgovci, bassadors from Dubrovnik bought large amounts of grain
slobodnoj trgovini, tj. prevozili su tue terete izmeu while conducting business of trade (J. Lueti 2007: 22-23). koji su uivali povlastice po cijelomu Osmanskom Carstvu. on the territory of the Ottoman Empire, with the lowest
stranih luka, jer im je to donosilo najvie dobiti (Lueti 1997: The marine insurance contract, Ordo super assecuratoribus, Zbog toga su sve sudionice podupirale postojanje, nezavi- export custom of merely 2%, and did the same in the hin-
38). Pretpostavlja se da je Republika tada imala 180 brodova from 1568, is the oldest document of the sort in the world. snost i neutralnost Dubrovake Republike. terlands of Bosnia, where they bought unlimited amounts
ukupne nosivosti 36.500 kola (tal. carro, oko 20 hektolita- In the 14th century, Dubrovnik was a town with a huge Incidenti na moru i kopnu bili su, meutim, gotovo of cattle. On the other hand, Dubrovnik did not represent
ra ita, to je priblino 56.810 tona), na kojima je plovilo trade business containing a large port with well organized svakidanji. Tijekom 16. stoljea dubrovaka je diploma- a military threat like, for example, Venice. The Ottomans
5500 pomoraca i 200250 kapetana (Kozlii 1993: 178). Za trading products, and also acted as an intermediary trading cija uspijevala isposlovati fermane o zatiti dubrovake needed the skilful and capable merchants from Dubrovnik,
usporedbu, trgovaka mornarica Mletake Republike 1567. and transition point between the East and West. Its ships trgovine i trgovaca, a posebno je vaan bio ferman iz 1530., as well as the Dubrovnik harbour, for exporting goods to
iznosila je 33.000 tona nosivosti, Genove 28.000 tona, dok mostly dealt with the, so called, free trade, i.e. they trans- kojim Hajredin Barbarossa zabranjuje svojim gusarima da the western countries and bringing finished luxurious prod-
je najvee francusko pomorsko sredite Marseille imao ported foreign cargo between foreign ports because it was pljakaju dubrovake brodove. Poslije rata prve Svete lige ucts, as well as finished products and information on for-
samo 4000 tona nosivosti (Lueti 1997: 41). most profitable (Lueti 2007: 38).. It is estimated that the 1550., u velikim trgovakim gradovima Turske carine su za eign affairs. Naturally, the powerful western states needed
O razgranatosti pomorsko-trgovake i diplomatske Republic had aproximatly 180 ships with a capacity of 36 dubrovaku trgovinu poveane na 4%, i ta je uredba ostala the information on their competitors, which Dubrovniks
mree govori i 50 do 60 konzulata diljem Sredozemlja (Miti 5000 carts (Ital. carro, about 20 hectoliters, which is about nepromijenjena (Popovi 1973: 387). Lokalni turski slubeni- diplomats could provide, in order to create their external
1971: 165). Krajem 16. i u prvim desetljeima 17. stoljea du- 58 810 tons), with 5 500 sailors and between 200 and 250 ci, ali i sama Porta, ovisno o ekonomsko-politikoj situaciji, policies. They also needed a neutral port, and the ships and
brovaka novana ulaganja u inozemstvu iznosila su vie od captains (Kozlii 1993: 178). In comparison, the merchant pljakali su dubrovake karavane, trgovce i brodove, uvodili merchants from Dubrovnik who enjoyed privileges in the
698.000 dubrovakih dukata. navy of the Republic of Venice in 1567 had the barring posebne namete, povremeno zabranjivali izvoz svih namir- entire Ottoman Empire. This is why all sides encouraged
capacity of 33 000 tons, the one from Genova 28 000 tons, nica (jasak), a stalni su se sukobi vodili i oko prodaje soli, jer the survival, independence, and neutrality of
Dubrovnik izmeu Osmanskog Carstva and the greatest French navy centre, Marseille, only 4000 je Dubrovnik imao monopol na njezinu prodaju osmanskim the Republic of Dubrovnik.
i Mletake Republike tons (Lueti 2007: 41). podanicima iz svojih solana u Stonu. Poslije smrti Barbaro- However, incidents at sea, and on the mainland hap-
Teritorijalno i vojno beznaajna Dubrovaka Republika The outspread of trade and diplomatic network is sse, u drugoj polovini 16. stoljea, dubrovaka je pomorska pened almost daily. During the 16th century, Dubrovniks
svoju samostalnost, suverenost i gospodarski razvoj posti- attested to by the 50 to 60 consulates postioned along the trgovina postala opasna i neizvjesna, a ujedno su rasle i diplomacy succeeded in getting fermans protecting Du-
gla je zahvaljujui vanjskoj politici, djelotvornoj diplomaciji Mediterranean (Miti 1971: 165). At the end of the 16th and pretenzije bosanskih paa prema dubrovakom teritoriju. brovniks trade and merchants, and a very significant
24 25
Dubrovake kolonije u kopnenom zaleu oslabjele su otva- ferman was issued in 1530, by which Hayeddin Barbarossa pun, satovi. Iako se u Veneciji uglavnom koristilo bezbojno a helmet-crown made by Venetian goldsmiths for Sultan
ranjem splitske luke 1592., preko koje se naveliko poinje forbade his pirates to attack Dubrovniks ships. After the ili slabo kolorirano prozorsko staklo, muranski su staklari Suleiman in 1532 with an estimated value of 144 400 ducats
izvoziti iz Bosne (Popovi 1973: 388). war with the First Holy League in 1550, large merchant tada razvili iroku paletu boja. Prozori Sulejmanove damije (Howard 2007: 142-149). Tense political situations usually
Najvei neprijatelj Dubrovnika bila je Republika towns in the Ottoman Empire raised customs for the bili su ukraeni muranskim okruglim viebojnim staklom, included expensive gifts, that is, orders of new window
Venecija (Mletaka Republika), mona pomorska sila koja Dubrovnik Republic to 4%, and that decree remained umetnutim u okvire poput mozaika. Veliki je vezir Meh- panes and decorated leather wall papers. The number of
je imala iste gospodarske ciljeve. Uz Dalmaciju, teila je unchanged (Popovi 1973: 387). Local Ottoman officials and med-paa Sokolovi 1569. poslao dva crtea staklenih lampa Ottoman merchants in Venice grew from the beginning of
osvojiti i Dubrovnik ne bi li preuzela njegovu trgovinu po Porta itself, depending on the economic and political situ- za damije, u prirodnoj veliini, koje su muranski staklari the 16th century, but their furniture warehouse, Fondaco
Jadranu i Sredozemlju. No zbog zatite panjolske, Papinske ation, pillaged Dubrovniks caravans and ships, introduced trebali izraditi u tehnici reticello. Narudba je iznosila 900 dei Turchi, was not founded until 1575. At the beginning of
Drave i Turske, Mleani se nisu usudili vojno napasti Du- special taxes, and occasionally forbade the export of all komada (Howard 2007: 157158). the next century, the palace formerly owned by the duke of
brovnik, a nisu imali snage osnovati kolonije u europskom jasak groceries. Conflicts also frequently arose over the salt U 16. stoljeu u Veneciju se uvozi keramika iz Iznika. Ferrara served the same purpose (Howard 2007:155). Along
dijelu Osmanskog Carstva i tako konkurirati dubrovakoj trade, because Dubrovnik had a monopoly on the trade of Inventar venecijanskog kolekcionara Andree del Brezza iz with large amount of wheat, objects of applied arts, raw silk,
trgovini. Venecija je ipak poduzimala brojne diplomatske salt between their salt pans in Ston and Ottoman cities. Af- 1587. ukljuivao je i 32 komada toga posua (Howard 2007: cotton, silk cloths, wool mohair, camel hair fabrics, rugs,
akcije, pijuniranje, stalne tube, pljaku i otimanje dubro- ter Barbarossas death in the second half of the 16th century, 164). Iako je iznika keramika bila privlana Europljanima, leather, horse gear, weapons decorated with arabesques,
vakih brodova, ukljuujui i kratku okupaciju dubrovakog Dubrovniks sea trade became dangerous and unsteady, and arhivski su dokumenti vrlo oskudni. Jedan je od rijetkih pottery from Iznik, and different extraordinary items, even
teritorija otoka Lastova, ne bi li oslabila, odnosno elimini- the aspirations of Bosnian pashas towards Dubrovniks dokaza za to poiljka ploic habsburkog veleposlanika, Arabian horses arrived from the Ottoman Empire to Venice.
rala dubrovaku trgovinu. Vano je istaknuti kako, unato territory rose. Dubrovniks colonies in the hinterlands were namjetenoga u Istanbulu, prema Veneciji, u vrijednosti od The spice trade was especially important. Venice exported
antagonizmu, trgovina izmeu ovih dviju drava nije nikada weakened by the opening of the port in Split in 1592, which 100 dukata. Mletaka inventarna lista iz 1587. navodi samo large amounts of glass, luxurious fabrics, the works of gold-
prestajala. started increasing export from Bosnia (Popovi 1973: 388). 30 komada iznike keramike (Mack 2002: 109). smiths, eyeglasses, paper, soap, and watches. Even though
Dubrovniks greatest enemy was the Republic of U Izniku su se krajem 16. stoljea proizvodili i tanju- transparent or mildly coloured glass was used in Venice, the
Trgovina izmeu Osmanskog Carstva i Mletake Venice, a powerful naval force which had the same eco- ri s grbovima europskih vladara, a ini se da je jedan takav glass workers in Murano already developed a wide palette of
Republike nomic goals. Along with conquering Dalmatia, Venice had primjerak, naen u Izniku, pripadao obitelji Spingarolli de colours. The windows of Suleimans mosque were deco-
Kolanje materijalnih dobara izmeu Venecije i Osmanskog aspirations towards the territory of Dubrovnik, in order to Dessa iz Dalmacije (Passos Leite i Quieroz Ribero 2000: 65). rated with round polychrome Murano glass inserted into
Carstva odvijalo se, uz trgovinu, i diplomatskim putem te take over its trade on the Adriatic and the Mediterranean. Glasovita radionica Maestra Ludovica (aktivna od 1515. do frames like mosaics. In 1569, the Grand Vizier Mehmed-pa-
hodoaima u Svetu zemlju. Budui da je izmjena darova However, due to the protection given to the Republic of 1526.) proizvodila je serije bijelog posua dekoriranoga ko- sha Sokolovi sent life-size blueprints for two glass mosque
bila osnova protokola, venecijanski su diplomatski pred- Dubrovnik by Spain, the Papal State and the Ottoman Em- baltnoplavim ornamentima, poznatijima kao alla porcellana. lamps, which the Murano glassmakers had to make in the
stavnici darivali sultana i osmanske velikodostojnike, izme- pire, the Venetians did not dare attack Dubrovnik with their Umjetnici su takve ornamente, poput onih na kineskom reticello technique. He ordered 900 pieces (Howard 2007:
u ostaloga, skupocjenim tkaninama i odjeom, te sirom army, and did not possess the power to establish colonies porculanu, mogli vidjeti i na iznikoj keramici sa spiralnim 157-158).
parmezanom koji se koristio jedino na osmanskom dvoru. U on the European part of the Ottoman Empire which could stilom turake. Iznike su radionice osim svojih glasovitih In the 16th century, Venice imported pottery from
luksuzne darove ubrajaju se jo krzna, glazbeni instrumenti rival Dubrovniks trade. Nevertheless, they undertook tanjura velikog promjera s rubom nalik listu, foliated, koji se Iznik. The inventory of a 1578 Venetian collector, Andrea del
i zlatni predmeti, a vrhunac je, prema sauvanim podatcima, many diplomatic actions, spied, constantly filed complaints, rezao runo, proizvodile i tanjure tipa tondino, to je izvorno Brezzo, included 32 pieces of this kind of pottery (Howard
bila kaciga kruna u vrijednosti od nevjerojatnih 144.400 robbed and stole Dubrovniks ships, and even shortly occu- bio talijanski izum s poetka 16. stoljea, a u izniku proi- 2007: 164). Although these ceramic products were engaging
dukata, koju su venecijanski zlatari 1532. izradili za sultana pied its territory on the island of Lastovo in order to weak- zvodnju ulazi u razdoblju od 1525. do 1530. godine. Osobito to Europeans, the archival records are scarce. One of the ex-
Sulejmana (Howard 2007: 142149). Napete politike situaci- en, that is, to prevent Dubrovniks trade. It is important to su bili omiljeni tanjuri s gore spomenutim ukrasom. Iznika amples is a shipment of tiles worth 100 ducats made by the
je obino su rezultirale i skupim darovima, odnosno narud- mention that, despite all the antagonism, trade between keramika koja je pronaena u damiji Selima II. u Edirni, Hapsburg ambassador in Istanbul which was sent to Venice.
bama poput prozorskih stakala i ukraenih konatih tapeta. these two states never ceased. takoer je bila inspirirana venecijanskim staklom u ukrasnoj The Venetian inventory list from 1587 lists only 30 pieces of
Od poetka 16. stoljea rastao je broj osmanskih trgovaca u tehnici vetro a fili (Howard 2007: 168). Iznik pottery (Mack 2002: 109).
Veneciji, no njihovo je skladite sa smjetajem Fondaco dei Trade between the Ottoman Empire and the Republic of Venecija je Jadransko more drala svojim morem, i At the end of the 16th century, Iznik produced
Turchi uspostavljeno tek 1575., a poetkom sljedeeg stoljea Venice stoga ga je zvala Golfo di Venezia. U poetku se tako nazivalo plates depicting the coats of arms of European rulers, and
za tu je svrhu bila odreena palaa, koja je prije pripadala The circulation of material goods between Venice and tek podruje izmeu ua rijeke Pad i Akvileje, no taj se it seems that one such plate belonged to the Spingarolli
vojvodi od Ferrare (Howard 2007: 155). U Veneciju su iz the Ottoman Empire was conducted through trade, but naziv potom proirio do linije Pula Ancona, a poetkom de Dessa family from Dalmatia (Passos Leite and Quieroz
Osmanskog Carstva uz velike koliine ita stizali i predmeti also through diplomacy and pilgrimages to the Holy Land. 15. stoljea, kada Ladislav Napuljski prodaje Zadar, Novigrad Ribero 2000: 65). The famous workshop of Maestro Ludovi-
umjetnikog obrta, sirova svila, pamuk, svilene tkanine, vu- Since the exchange of gifts was basic protocol, the Vene- i Pag, Mletaka je Republika zagospodarila Dalmacijom i co (in business from 1515-1526) made series of white vessels
neni moher, tkanine od devine dlake, tepisi, koe, konjska tian ambassadors presented the Sultan and the Ottoman Jadranom. U tom podruju nisu smjeli ploviti vojni brodovi, decorated with cobalt blue ornaments known by the name
oprema, oruje dekorirano arabeskama, keramika Iznika i noblemen with expensive fabrics, clothes, and parmesan a trgovaki su brodovi morali imati dozvole, slijedei strogo of alla porcellana. The artists saw these kinds of decorations
razni kurioziteti, pa ak i arapski konji. Osobito je bila vana cheese, which were used only at the Court. Luxurious plovidbene rute i plaajui Veneciji carinu. U 15. je stoljeu i on Chinese porcelain, as well as on Iznik pottery of the
trgovina zainima. Iz Venecije su se izvozile velike koliine presents included furs, musical instruments and golden sultan otkrio ekonomsku vanost Jadranskog mora. Iz 1403. turake spiral style. The workshops in Iznik, apart from
stakla, luksuzne tkanine, zlatarski radovi, naoale, papir, sa- items, and the peak was, according to the preserved data, datira prijateljski ugovor izmeu osmanske i venecijanske their leaf-like rim (foliated), which was hand cut, produced
26 27
mornarice. Oni su Jadransko more drali zaljevom nazivali plates of the tondino type, originally an Italian invention i osmanski visoki dravni slubenici, pa ak i veliki vezir. functioned and the amount of money in circulation is illus-
su ga Ak Deni, u prijevodu Bijelo more, to je u poetku bio from the beginning of the 16th century which entered the Tako su 1598. dva uspjena venecijanska trgovca u Istanbulu trated by the example of merchant elebi Mehmeda Reiss
naziv za Mramorno more. Kada 1479. od Venecije preuzi- Iznik production between about 1525 and 1530. Plates with primila 190.680 aka od agenta velikog vezira Ibrahima, koje recorded from 1573. He started trading after the aforemen-
maju prevlast nad Egejskim morem, isti naziv proiruju na the above mentioned decorations were especially popular. su morali uruiti njegovu partneru u Veneciji Pasqualinu tioned war, and probably even during the war, when trade
njega, a poslije su tako nazivali cijelo Sredozemlje. Karto- Additionally, Iznik pottery found in the mosque of Selim II Leoniju, za isporuku svilene odjee slubenicima Porte was occasionally interrupted. He primarily traded silk and
graf Piri Reis u 16. stoljeu koristi naziv Venedik Krfezi kada in Edirne was inspired by Venetian glass decorated done in (Dursteler 2002: 121). Drugi je primjer visoki dunosnik Re- woollen clothes between Istanbul, Venice and Kandia, but
govori o podruju izmeu Korule i Vojvodstva od Ferrare the vetro a fili technique (Howard 2007: 168). sul Aa, koji je trgovao svilom, voskom i papirom, a robu je he also conducted monetary transactions. His contact was
na drugoj obali, to se vjerojatno odnosilo na prisutnost ne- Venice considered the Adriatic Sea as its own, and slao uglavnom karavanama u Split, a zatim brodom u Vene- one of Venices distinguished merchants, Girardi, whom he
zavisne Dubrovake Republike (Pedani 2008: 156). Osman- called it Golfo di Venezia. At first, that name was used for ciju. Zabiljeen je i incident, kada mu je u Jadranu opljakan addresses in his letters as amico carrisimo signor Lorenzo.
ski trgovci poinju ploviti Jadranom u 15. stoljeu, nakon the area between the Po Valley and Aquileia, and then the brod, a Venecijanci su mu iz straha da to ne prouzroi prijet- They both traded through agents, who, at that time, were
osvajanja Albanije, Srbije te Bosne i Hercegovine. Trguju s name spread to the Pula-Ancona area, and, at the beginning nju trgovini nadoknadili tetu, i jo pogubili venecijanskog usually family members. Mehmed sent Lorenzo merchan-
Venecijom i Anconom. Iako je izmeu tih drava dolazilo of the 15th century, when Ladislaus of Naples sold Zadar, dragomana. Tada se govorilo da je vrijednost njegove robe u dise to Venice through his man. Girardi had his approval to
do ratova, trgovina nikada nije prestajala. Tijekom 16. i 17. Novigrad and Pag, the Republic of Venice ruled Dalmatia Veneciji iznosila 8000 dukata (Dursteler 2002: 114). appear in front of the Council in Venice on his behalf, and
stoljea vrijedio je mirovni spo-razum, prema kojem izmeu and the Adriatic. That area was off limits to naval ships, and to conduct business in his name without an intermediary.
Krfa i Venecije nitko nije smio tetiti trgovakim brodovi- merchant vessels had to have licences and strictly follow Stolno posue i kulinarstvo renesanse s osvrtom na To additionally protect his interests, Mehmed sent his agent
ma, osobito ne venecijanskima. Unato tomu, trgovinu je maritime routes, as well as pay customs to Venice. In the Dubrovnik to Venice and ordered him to report to the Venetian Notary
ometala mona nazonost gusara, zbog kojih su velike ma- 15th century, the Sultan discovered the importance of the Svaka je epoha ljudske povijesti dala svoj doprinos razvoju Public that Lorenzo Girardi owes him nothing, and that he
terijalne tete, te gubitke u robi, brodovima i ljudima trpjeli Adriatic Sea. The friendly contract between the Ottoman stolnog posua i pribora, a oblici su odraavali opi likovni may do business on his behalf. The agent had a certificate
dubrovaki teritorij i dubrovaki brodovi, ali i dalmatinska and Venetian navy was signed in 1403. They regarded the izraz razdoblja u kojem su nastali. from the quadi of Istanbul proving that the data was valid.
obala i otoci. Venecijanske brodove napadali su uskoci, koji Adriatic Sea as a bay, and called it Ak Deni, the White Sea, a Renesansa je tako najkreativnije razdoblje u gradi- According to Medmeds assessment, only taxes raised from
su bili podloni Habsburkoj Monarhiji. name formerly used for the Sea of Marmara. When they teljstvu, umjetnosti i knjievnosti. Humanizam u sredite his trade provided Venice with more than 2000 ducats
O broju osmanskih trgovaca u Veneciji govori ar- took the Aegean Sea from Venice in 1479, the Ottomans vrijednosti stavlja ovjeka, potie stjecanje novih znanja, (Dursteler 2002: 113). Ottoman high state officials, and even
hivski zapis iz 1570., u vrijeme rata tzv. Svete lige, kada je u expanded this name so it would include their newly con- slobodan i kreativan duh. Razvoj manufaktura, trgovine, the Grand Vizier, were included in this lucrative trade. An
Veneciji bilo zadrano 75 osmanskih i 97 idovskih trgovaca, quered area, and later used it to refer to the entire Medi- zemljoradnje i velika pomorska otkria utjecali su na pobolj- example of this happened in 1589 when two successful
a tri godine poslije, nastupanjem mira, njihov se broj jo terranean. The 16th century cartographer, Piri Reis, used anje prehrane, a jelo i pie postali su izvor uitka. Venetian merchants in Istanbul received 190 680 akes from
poveao. Nain funkcioniranja trgovine i novanih iznosa the name Venedik Krfezi when speaking about the area Bogati stale u svoju kuhinju unosi nove namirnice, the agent of the Grand Vizier Ibrahim, which they had to
ilustrira primjer trgovca elebija Mehmeda Reisa, zabiljeen between the island of Korula and the Duchy of Ferrara on kojih s proirenjem trgovine ima sve vie. Uvoze se zaini s hand to his partner in Venice, Pasqualin Leoni, for a ship-
1573., poslije spomenutoga rata, a koji je vjerojatno bio uklju- the opposite coast, which probably implied the presence Istoka, bademi, eer, ria i patlidani stiu iz maurske kuhi- ment of silk clothes to the officials of Porta (Dursteler 2002:
en u trgovinu prije rata, kao i tijekom njega, kada se ona of the independent Republic of Dubrovnik (Pedani 2008: nje, a pojavljuju se i slatkii. Jelovnici sveanih gozbi postaju 121). A second example is that of the high official Resul Aa
prekidala samo privremeno. Trgovao je izmeu Istanbula, 156). The Ottoman merchants began to sail the Adriatic sloeni i pretrpani, a redoslijed jela za dananje je pojmo- who traded in silk, wax and paper, and who sent his goods
Venecije i Kandije, ponajprije svilenom i vunenom odjeom, in the 15th century, after the conquest of Albania, Serbia, ve dosta neobian. Raznovrsnost jela uvjetovala je veliku by caravan to Split, and then shipped them to Venice. An-
koom, no bavio se i novanim transakcijama. Njegova and Bosnia and Herzegovina. They traded with Venice and raznovrsnost u oblicima stolnog i kuhinjskog posua. Osim other incident was noted when one of his ships was looted
osoba za kontakt u Veneciji bio je jedan od poznatih tamo- Ancona. Although these Republics waged wars, the trade skupocjenoga srebrnog posua, muranskog stakla i posua at sea, and the Venetians, in fear of losing the business, paid
njih trgovaca Lorenzo Girardi, kojega u pismu oslovljuje never stopped. During the 16th and the 17th centuries, a od kositra, najvie je u uporabi keramiko posue. Prema his damages and also had the Venetian dragoman executed.
kao amico carrisimo signor Lorenzo. Obojica trguju preko peace treaty was signed between Corfu and Venice, and no sauvanim prikazima, uoava se da se do 15. stoljea na stolu At the time, his merchandise in Venice was estimated at
agenata, a tada su to obino bili lanovi obitelji. Mehmed a- one was allowed to compromise merchant ships, especially istodobno koristi keramiko, stakleno, metalno i drveno 8000 ducats (Dursteler 2002:114).
lje Lorenzu robu u Veneciju preko svojeg ovjeka. Girardi Venetian ones. Despite that, the trade was disrupted by a posue. Najvie je keramikih vreva i zdjelica, koje su se
ima Mehmedovo odobrenje da se u njegovu korist pojavljuje powerful presence of pirates, which caused great damage mogle upotrijebiti i za pie. Na sredini stola bile su vee Table ware and cuisine in the Renaissance with respect
pred venecijanskim vijeem i trguje u njegovo ime bez po- to the territory of Dubrovnik, the Dalmatian coast and zdjele ili tanjuri, iz kojih se hrana uzimala prstima. Postu- to Dubrovnik
srednika. Kako bi dodatno zatitio svoje interese, Mehmed u islands through loss of merchandise, ships, and men. Ve- pno se uvodi pribor za jelo, lica i no sa iljastom otricom Each period in human history contributed to the development
Veneciju alje i svojega agenta, kojemu nareuje da u vene- netian ships were attacked by uskoks who answered to the za nabadanje mesa. Vilica je, pak, dobila dananju funkciju of table ware and utensils, and their forms reflected the gener-
cijanskom notarijatu prijavi da mu Lorenzo Girardi nita ne Hapsburg Monarchy. u 16. stoljeu. U dalmatinskim su gradovima u oporuka- al artistic expression of the period in which they were made.
duguje i da ima ovlasti trgovati u njegovo ime. Agent ima The number of Ottoman merchants in Venice is ma zabiljeeni ostakljeni ormari za kvalitetno posue, tzv. The Renaissance was the most creative period in archi-
jo i potvrdu od kadije iz Istanbula da su podatci vjerodo- attested to by an archive record from 1579, in the times of credenziere, stolovi ukraeni intarzijama, stolnjaci i ubrusi. tecture, art, and literature. The value of man became the
stojni. Prema Mehmedovoj procjeni, porez od samo njegove the so called Holy League, when 75 Ottoman and 97 Jew- Od sredine 16. stoljea govori se o servisima, a osobito se ta- centre of humanism which also incited the acquisition of
trgovine Veneciji je godinje donosio vie od 2000 dukata ish merchants were detained in Venice. Three years later, njuri klasificiraju prema jelu, odnosno vrsti mesa. Tanjuri od new knowledge and supported the free and creative spirit.
(Dursteler 2002: 113). U tu unosnu trgovinu bili su ukljueni when peace ensued, their number grew. The way trade majolike i kositra raznih veliina brojni su u svim kuama. Developments in manufacture, trade, agriculture, and the
28 29
 Tako jedna zadarska obitelj ima 64 majolika i 60 kositrenih big discoveries overseas helped improve the diet, and food opreme kua, te keramike i stakla, a naen je i nadvratnik s instrument of political power. The rich ate veal, wild game,
tanjura. Posebno se spominju tanjuri za kopune (kastrirane and drink became a source of pleasure. natpisom koji poziva na sve pogodnosti stola: SIVE EGO SV poultry and capons, and, on special occasions, caviar and
pijetlove), tanjuri za ubruse, podmetai za ae te drveni The privileged class introduced new ingredients SEDES VRNARIA SIVE LAVACRUM SIVE ABACUS MEN- marcipan, a cake forbidden in Dubrovnik, made of a mixture
pladnjevi. Posude za pripremanje jela od ribe nazivaju se into their cuisine, the number of which grew as trade ex- SAE COMMODA MULTA DAMUS (Menalo 2004: 253280). of almonds and sugar (Ivanievi 2011: 15-18).
brodetto, a zeleni keramiki lonii za spremanje zaina go- panded. They imported spices from the East, almonds, and In Dubrovnik, we know of the round wedding
ruice mostarda (Bezi-Boani 1996: 284285). Kuhinjske su sugar, rice and eggplants, along with candy, from Moorish Orijentalni proizvodi u Dubrovniku cake, the tartara, and must cake, the mantala, which is
lice i vilice bile mjedene, one kvalitetne od srebra, a noevi cuisine. The menus of ceremonial feasts were complex U inventarima domova i oporukama od 16. stoljea pa sve do still prepared today from boiled must and quality wheat
su uvijek imali eljeznu otricu i drku od srebra ili bjelo- and abundant, and the courses were unusual for todays potresa 1667. nalaze se podatci o proizvodima osmanskog ili flower, pine nuts and spices (Stojan 2007: 181). Along with
kosti. Poseban se no rabio za rezanje pruta i sira. Za pie standards. The diversity of the dishes caused the diversity uope orijentalnog podrijetla. meat, locally produced cheese was used and exported. Salty
su se koristili vrevi od majolike i kositra te ae od stakla in the forms of table- and kitchenware. Apart from expen- Uvozili su se tepisi, prostirke, jastuci, vezeni stol- cheese was eaten on long journeys, and was sold mostly
i kristala. U Dubrovniku je pronaeno mnotvo majolikih sive silver vessels, Murano glass and pewter vessels, and njaci, pozlaene koe, rasvjetna tijela, kutije i kovezi, koji by women. The name of one ivana Milaica, a cheese
vreva te staklenih aa, osobito onih s nogom. ceramic vessels were mostly used. According to preserved mogu biti od skupocjenih materijala, obloeni ili raskono seller who worked near the Orlando column, was recorded
Kulinarstvo renesansnog razdoblja sauvano je u depictions, we see that ceramic, glass, metal and wooden ukraeni. U modi su bili i dijelovi turske nonje, kape, rupci (Stojan 2007: 46). At a feast organised in 1757 in Gru for a
brojnim knjigama recepata i prirunicima za posluivanje ware was used on the 15th century table at the same time. i puceta, te obine i luksuzne turske tkanine, poput skupo- high Turkish official, Kapiji-Bhashi, veal, mutton, hen, birds,
jela. Motiv hrane prisutan je i u mnogim djelima najveega The most common forms were ceramic jugs and small cjene kamoke, crvene ili zelene boje, koja je bila protkana fish, tongue, and Italian cheese were served. Nuns from the
dubrovakog knjievnika renesanse komediografa Marina bowls which could be used for serving drinks. Larger bowls zlatnom icom, s vegetabilnim i zoomorfnim motivima, Saint Mary monastery in Dubrovnik made appetizers and
Dria. Namirnice i jela koje Dri spominje prikazuju sva- and plates were placed in the middle of the table, and food a od koje su pripadnici plemstva u 15. stoljeu izraivali cakes using eggs, milk, cream and rose water, and the main
kidanji dubrovaki ivot. Jedenje je povezano s uitkom, ali was taken from them with hands. Gradually, cutlery was odjeu (Han 1958: 9596). U prvoj polovini 16. stoljea esto courses were made by two chefs and three assistants. The
hrana postaje i sredstvo diferencijacije i instrument politi- introduced - a fork, and a knife with a pointy blade used for su u uporabi pokrivai za krevete coperta. Tako se u kui rich enjoyed dessert wine, the infamous malvasia which was
ke moi. Bogati na svojim trpezama imaju teletinu, divlja, stabbing meat. The fork acquired its present function in the Lukarevi 1501. spominje svileni pokriva vezen zlatom, a given as a gift to Ottoman high officials, and rose liqueur,
perad i kopune, a u iznimnim prilikama kavijar, te u Du- 16th century. Last testaments from some Dalmatian towns 1539. jedan je takav pokriva s cvjetovima od zlatnih listia rozolina. The poor ate salted and smoked meat, entrails,
brovniku zabranjeni marcipan, to je naziv za kola punjen included cupboards with glass panes, credenziere, tables procijenjen na 12 dukata. Za usporedbu, crveno bojena i soups made from lentil, cabbage, sardines and prikla (fritter).
smjesom badema i eera (Ivanievi 2011: 1518). decorated with intarsia, table cloths and napkins. From the pozlaena krinja iz Venecije stajala je 2 dukata, a krevet od As special treats they ate sausages, salice, mortadela, and
U Dubrovniku je poznat i svadbeni kola okruglog mid-sixteenth century, table ware, especially plates, was orahovine 3 dukata (Han 1958: 125). elatina. Dri mentions a few types of eating establish-
oblika tartara, te mantala, koja se i danas priprema od classified according to the dish, that is, the kind of meat, U arhivskim se dokumentima rijetko navode vrste ments, votarije, tovjerne, and taberne, which served food and
ukuhanog mota s kvalitetnim peninim branom, pinjo- served in it. Plates of different sizes made of majolica and posuda i njihovo podrijetlo. ee se spominje metalno drinks, and in some of them one could even stay the night
lima i zainima (Stojan 2007: 181). Uz meso se dosta koristio pewter were a common household item. A family from Za- posue, poput bakrenih tepsija, zdjela, tanjura, pladnjeva, (Ivanievi 2011: 9-25). Excavations of the garden of todays
sir, koji se proizvodio u okolici i uvozio. Slani su sir jeli na dar had 64 plates made of majolica and 60 made of pewter. bokala za vodu ili ibrika za kavu. Skupocjeniji su primjerci primary school in the centre of the historic town core of
dugim putovanjima, a prodavale su ga uglavnom ene. U A special note was made about plates for capons (castrated bili od srebra, primjerice pladnjevi za posluivanje jela i no- the town yielded the greatest number of fragments of stone
povijesti je zabiljeeno ime jedne od njih, ivane Milai- roosters), plates for napkins, cup coasters, and wooden evi s laniem (Bajalovi-Hadi-Pei 1984: 121123). Rijedak furniture and house utensils, pottery and glass, also yielded
ce, koja ga je prodavala kod Orlandova stupa (Stojan 2007: platters. Vessels for preparing fish were called brodetto, je tip bokala marapa, koji se u dubrovakim dokumentima a transom with an inscription that which emphasizes all
46). Na gozbi koja je 1757. prireena u Gruu za visokoga and small green ceramic pots for making mustard spices spominje kao mastrappa, bez oznake materijala (Bajalo- benefits of the table: SIVE EGO SV SEDES VRNARIA SIVE
turskog dunosnika kapidi-bau bili su poslueni: teletina, were called mostarda (Bezi-Boani 1996: 284-285). Kitch- vi-Hadi-Pei 1984: 121123). Meu dubrovakim nalazima LAVACRUM SIVE ABACUS MENSAE COMMODA MULTA
bravetina, kokoi, ptice, riba, jezik te talijanski sir. Dubro- en spoons and forks were made of brass, those of higher identificiran je jedan ulomak zahvaljujui ostatku uglate DAMUS (Menalo 2004: 253-280).
vake redovnice sv. Marije pripremile su predjela i torte quality were made of silver, the knives always had an iron ruke, koji vjerojatno odgovara tomu tipu, a ukraen je na-
od jaja, mlijeka, skorupa i ruine vodice, a glavna su jela tri blade and a hilt made of silver or ivory, and a special knife turalistikim cvjetnim stilom (sl. 1) (Kovai 2012: 78, kat. br. Oriental products in Dubrovnik
dana pripremala dva kuhara i tri pomonika. Bogati su se was used to cut prosciutto and cheese. Drinks were served 12). Vie je podataka o keramikom posuu sauvano iz 17. In home records and last wills and testaments ranging from
sladili desertnim vinom, glasovitom malvasijom, kojom su in glass and crystal cups, as well as jugs made of majolica stoljea, a kao mjesto nastanka najee se navodi Istanbul, the 16th century to the earthquake in 1667, we find infor-
se darivali osmanski dostojanstvenici, te likerom od rua and pewter. Many fragments of majolica jugs and glass cups, jer su se predmeti tamo kupovali, a rijetko Iznik. Godine mation on Ottoman and oriental items. People imported
rozolinom. Za siromane su bili usoljeno i dimljeno meso, especially ones with a foot, were found in Dubrovnik. 1651. u Rijeci dubrovakoj u Ombli, zabiljeeni su tanjuri i carpets, mats, pillows, embroidered table cloths, gilded
iznutrice, juhe od soiva, kupusa, srdele i prikle. Osobite Renaissance cuisine was preserved in many recipe bokali iz Istanbula i Tunisa. I u inventaru kue brijaa Lovra hides, lamps, boxes and cases which were sometimes made
poslastice bile su kobasice salice, mortadela i elatina. Dri books and manuals for serving food. Food is mentioned in s Lopuda nalaze se zemljani pladnjevi iz Tunisa. Prema of precious materials, padded and richly decorated.
spominje i nekoliko tipova ugostiteljskih objekata votarije, many works of Dubrovniks greatest Renaissance author inventaru dubrovakog trgovca Smilia, koji je poslovao u They wore parts of Turkish national costumes, caps, scarves
tovjerne, taberne, koji su nudili hranu i pie, a u nekima se and comedy playwright, Marin Dri. The ingredients and Budimu, uz ostalo posue rabi se i izniko, jer se spominju and buttons, but also plain, as well as luxurious Turkish fab-
moglo i prenoiti (Ivanievi 2011: 925). Istraivanje u vrtu dishes described by Marin Dri provide an insight into ev- jedan bokal i dva tanjura alla Turchese (Han 1958: 123). Najve- rics like the expensive kamoka in red or green, woven with
dananje osnovne kole u sreditu povijesne jezgre Dubrov- eryday life in Dubrovnik. Eating was connected to pleasure, a se poiljka iznikog posua spominje u pismu iz 1603. go- golden wires, with vegetative and zoomorphic motifs, used
nika otkrilo je najvei broj ulomaka kamenoga namjetaja i and food became a means of differentiation as well as an dine, koje je iz Istanbula u Dubrovnik uputio brija Giovanni by 15th century noblemen for making clothes (Han 1958: 95-
30 31
 96). In the first half of the 16th century these were used as kopnenom i pomorskom trgovinom ovoga grada drave sa Finds of Iznik pottery in Dubrovnik
blankets (coperta), like the one from the house of Lukarevi Sredozemljem i Osmanskim Carstvom. Dubrovnik was built over centuries, and different adversi-
mentioned in 1501 made of silk and embroidered with gold Kao najei nalazi brojnih arheolokih istraivanja ties like the plague, numerous earthquakes and the constant
thread. The price of such a blanket with flowers made of unutar stare jezgre Dubrovnika pojavljuju se keramiki threat of loss of territory, caused demolitions, expansions
small golden leaves was estimated at 12 ducats. In compari- ulomci, koji se odnose na kuhinjsko i stolno posue kakvo and adaptations of buildings and complexes of buildings,
son, a red coloured gilded chest from Venice was priced at 2, se uvozilo uglavnom iz Italije, rjee iz Osmanskog Carstva as well as the disappearance of certain families. The earth-
and an oak wood bed at 3 ducats (Han 1958: 125). i jo rjee iz panjolske. Nalazi obuhvaaju razdoblje od 14. quake in 1667 was disastrous, and was followed by a fire
Archive records rarely list the types of pottery ves- do poetka 20. stoljea, a najveim su dijelom proizvodi ra- which demolished the Cathedral and most sacral buildings,
sels and their origin, and more often mention metal ware dionikih sredita 15., 16. i prve polovine 17. stoljea, to je i heavily damaged the Rectors Palace, tore down residential
like copper pans, bowls, plates, platters, water jugs, and doba velikoga gospodarskog uspona Dubrovake Republike. quarters and took the lives of half of the citizens. House
coffee ewers. More expensive items were made of silver, for Gotovo sva kasnosrednjovjekovna i novovjekovna kerami utensils, furniture, artworks and household items which
example platters for serving food and knives with a small ka proizvodnja zastupljena je u nalazima u Dubrovniku. arrived to this state-town through sea- and land-trade from
chain (Bajalovi-Hadi-Pei 1984: 121-123). A rare type of Prema uobiajenoj podjeli, razlikujemo keramiku s prozir- the Mediterranean and the Ottoman Empire were also
pitchers is called the marap (named mastrappa in docu- nom glazurom invetriata, i onu s neprozirnom glazurom destroyed.
ments from Dubrovnik), with no mention of the material smaltata. Brojniji su otvoreni oblici, a najzastupljenije su The most common finds on numerous archaeolog-
it was made of (Bajalovi-Hadi-Pei 1984: 121-123). Among manje, duboke zdjelice, jer su jela obinog puka veinom ical excavations in the old core of Dubrovnik were frag-
the finds from Dubrovnik, one fragment was identified bila juna, to jest kaasta. ments of pottery kitchen- and table-ware imported mostly
thanks to the remains of an angular handle, probably be- Najbrojniji su nalazi stolne keramike primjerci tali- from Italy, more seldom from the Ottoman Empire, and
longing to this type of pitcher, decorated with a naturalistic janske gravirane keramike, ceramica graffita, ali ne zaostaje quite rarely from Spain.
Sl. 1 Ulomak bokala, Iznik, posljednja etvrtina 16. st., Dubrovaki muzeji flower motif (fig.1.) (Kovai 2012: 78, cat.no.12). More data ni luksuzno majoliko posue cvjetne gotike i renesanse, The finds were dated to a period between the 14th
Fig. 1 Fragment of a jug, last quarter of the 16th century, Dubrovnik on ceramic vessels originates from the 17th century, naming ukraeno brojnim dekorativnim motivima, od kojih su and the beginning of the 20th century, and mostly included
Museums mostly Istanbul as the place of origin, because that is where najljepi oni s povijesnim i biblijskim scenama. Odlikuje ih products made in workshop centres active in the 15th, the
the items were purchased, and only rarely Iznik. In 1651 in intenzivan kolorit i istanan osjeaj za polutonove. 16th, and the first half of the 17th century, a time of great
de Josepho prijatelju krojau Pieru de Marinu, a u kojem mu Rijeka Dubrovaka in Ombla, plates and jugs were record- Meu tim se nalazima bojom, sastavom i kvalitetom economical growth of the Dubrovnik Republic. Almost all
javlja da se na brodu kapetana Giovannija Colende, koji plovi ed which came from Istanbul and Tunisia. Clay platters smjese neusporedive tvrdoe, te izborom motiva i svjei- pottery production of the Medieval and post-Medieval peri-
za Dubrovnik, nalazi kopa sa 88 majolikih tanjura, zdjela, from Tunisia were recorded in the inventory of a house of nom boja, s dominacijom kobaltnoplave i koraljnocrvene, od is represented in the finds from Dubrovnik.
zdjelica i bokala. To je ujedno i najvea koliina posua. Jo the Lovro, a barber from Lopud who was, according to the istie produkcija osmanskoga grada Iznika. Iako su nalazi te The usual classification of finds differentiates
se jednom spominje 14 tanjura srednje veliine, a veinom inventory list from Smili, a merchant from Dubrovnik keramike esto usitnjeni, pa uvijek ne doputaju odreiva- pottery with a clear glaze, invetriata, and pottery with an
manji broj, od jednoga do najvie 7 komada. Po tome bi se trading in Budim. Pottery from Iznik was used with other nje tipa posude, prevladavaju otvoreni oblici, najvie tanjuri, opaque glaze, smaltata. There are numerous open forms,
moglo zakljuiti da je to posue bilo daleko skuplje od isto- vessels, and the ships inventory also includes a jug and two potom zdjelice ili alice, zdjele na nozi, rjee bokali. Kineske and most of them, because the food was mostly soup-like,
dobnoga talijanskoga. Takvo to da se naslutiti i iz podatka plates alla Turchese (Han 1958: 123). The biggest shipment su alice u sredinje osmanske pokrajine donosili hodoa- that is, gruel, fall into the category of deep small bowls.
da u kui vlastelina Luka Zamanje godinu dana prije razor- of Iznik pottery was recorded in a letter from 1603, when snici na povratku iz Meke. Njihov se uvoz iz Kine proirio u The most numerous finds of table ware are examples of
nog potresa postoje samo tri takva velika tanjura i bokal Giovani de Josepho, a barber, went from Dubrovnik to 16. i 17. stoljeu, emu je najvie pogodovala navika ispijanja Italian incised pottery, ceramic garffita, but also majolica
(Han 1958: 123). Istanbul to visit his friend, a tailor by the name of Pier di kave koja je povezana s prihvaanjem egzotinih proizvoda, vessels of floral Gothic and Renaissance styles, decorated
Marino. In the letter he writes about a ship captained by iako se tada u Kini kava nije pila. U drugoj polovini 16. sto- with numerous motifs, the most beautiful ones portraying
Nalazi iznike keramike u Dubrovniku Giovanni Colenda sailing towards Dubrovnik and carrying ljea, usprkos protivljenju osmanske vlasti, uivanje u kavi historic and biblical scenes. They are distinguished by in-
Dubrovnik se izgraivao stoljeima, a razne nedae, poput 88 majolica plates, bowls, small bowls, and jugs. That is also proirilo se u sve dijelove Carstva, sve do Balkana (Rumelije). tensive colours, and a heightened sense of colour transition
kuge, potresa i stalne prijetnje osvajanjem njegova teritorija, the biggest recorded amount of vessels. Additionally, re- Mleani se nisu okoristili trgovinom tom namirnicom, jer je and semitones.
prouzroile su ruenja, pregraivanja i prenamjene objekata cords mention 14 middle-sized plates, but more often refer Europa upoznala kavu tek krajem 17. stoljea (Faroqhi 2009: Among the finds, Iznik pottery stands out due to its
i pojedinih prostornih cjelina, te nestajanja pojedinih obi- to a smaller number, seven pieces at most. Based on all this, 73). Ukrasni dezeni dubrovakih nalaza daju potpunu pro- colour, composition, and the quality of the exceptionally
telji. Pogotovo je katastrofalne razmjere imao potres 1667. we can conclude that these vessels were more expensive dukciju Iznika, poevi od ranoga plavo-bijelog stila Baba hard blend, the choice of motifs, and the freshness of the
godine, praen poarom, koji je poruio katedralu i veinu than Italian ware. This is additionally attested to by the fact Nakka (1475.1520.), to je vrijeme tehnike i umjetnike colours dominated by cobalt blue and coral red. Although
crkvenih objekata, teko otetio sjedite vlasti Kneev dvor, that the nobleman Luka Zamanja had only three large plates izvrsnosti bez premca u islamskom svijetu, pa do 17. stoljea, these finds are often fragmented and cannot be associated
poruio stambene etvrti i odnio polovinu stanovnika. Tako and one jug of this type in his house a year prior to the koje se raspoznaje po sastavu keramikog tijela te glazuri with a vessel form, open forms prevail, mostly including
su nestajali i oprema kua, pokretnine, predmeti umjetni- earthquake (Han 1958: 123). koja sadrava neistoe, po bojama koje su prelivene preko plates, small bowls or cups, bowls on a foot, and the occa-
kog obrta i kuanski predmeti koji su stizali razgranatom kontura crtea te po crvenoj boji koja postaje uto-smea ili sional jug. Chinese cups were brought to central Ottoman
smea. regions by pilgrims on their way from Mecca. Their import

32 33
 Sl. 2, 2a Ulomci from China spread in the 16th and 17th century, owing Sl. 3, 4, 4a Umivaonici, po. 16.
umivaonika, mostly to the consummation of coffee, which is associated st., Victoria & Albert Museum,
po. 16. st., Iznik, with the acceptance of exotic products, even though we London (iz N. Atasoy-J. Raby,
Dubrovaki muzeji 1989., 92-93)
must mention that coffee was not consummated in China at
Fig. 2, 2a Fig. 3, 4, 4a Basins, beginning
Fragments of a the time. In the second half of the 16th century, despite the
of the 16th century, Victoria &
basin, beginning of opposition from the Ottoman government, drinking coffee Albert Museum, London (taken
the 16th century, spread to all parts of the Empire, all the way to the Balkans from: N. Atasoy-J. Raby, 1989,
Dubrovnik (Rumelia). The Venetians did not benefit from the trade 92-93)
Museums of this merchandise because coffee was not introduced
to Europe until the 17th century (Faroqhi 2009: 73). The
decorative patterns on the finds from Dubrovnik reveal the
complete production of Iznik, starting from the early blue
and white Baba Nakka style (1475-1520) when the technical
and artistic work reached a point of excellence unparalleled
in the Islamic world, to the 17th century recognisable from
the compound of the ceramic body and glaze with impuri-
ties, colours spilled across the lines of the drawings, and the
colour red which became yellowish-brown and brown.
It is interesting to mention that fragments of a large hemi-
spherical bowl 45cm in diameter, and a 20-28cm foot from
an early period of Iznik production were found in Du-
brovnik (fig. 2, 2a).
It was most probably a wash basin, although its
function is not completely clear. The form was not record-
Kuriozitet je da su u Dubrovniku iz ranog razdoblja iznike ed in Ottoman documents, only on miniatures depicting Dekoracija je izvedena na kobaltnoplavoj, neprozir- of the Knot. The other side of the find is dominated by a
proizvodnje pronaeni ulomci velike posude polukrunog ceremonial feats which show this vessel between the plates, noj podlozi, i obratno, kobaltnoplavim crteom na bijeloj big stylized lotus flower on thin scrolls. That kind of lotus
oblika, promjera oko 45 cm i stope od 20 do 28 cm (sl. 2, 2a). implying that it could have been used for washing hands pozadini ispod briljantne glazure. Kreiranje uzla pripisuje flower was a creation of a gifted individual who was desig-
Najvjerojatnije je rije o umivaoniku, iako jo nije do kraja after the meal. On an illustration of the prophet Mohamed se nepoznatom umjetniku, koji je dobio nadimak Umjetnik nated The Master of the Lotuses. A couple of examples
razjanjena funkcija te posude. Takva forma nije zabiljeena performing his ritual washing, a servant pours water from a uzla. S vanjske strane dominira veliki, stilizirani lotosov of washbasins decorated in this way were dated to around
u osmanskim dokumentima. Moe ju se nai tek na mini- jug above a metal vessel of such form, so the authors of the cvijet na tankim viticama. Takav je lotos kreacija anonimno- 1520, which is also the datation of the Dubrovnik find. The
jaturama s prikazom sveanih gozbi, na kojima su takve great study of Iznik ascribed this function to the fragment ga nadarenog pojedinca, koji je dobio nadimak Umjetnik lo- motif on the interior of the vessel is identical to a complete-
posude bile postavljene izmeu tanjura, to upuuje na they found. Rare examples can be dated to the first part of tosa. Nekoliko se primjeraka tako dekoriranog umivaonika ly preserved example from the Victoria and Albert Museum,
to da su sluile za pranje ruku poslije jela. Na ilustraciji s the 16th century, and, considering the rich and elaborate datira u oko 1520., ime je i datacija dubrovakog primjerka dated to around 1510 (fig. 3, 4, 4a) (Atasoy and Raby 1989: 93).
prikazom proroka Muhameda pri ritualnom pranju, sluga decoration on both sides, as well as the price of a hundred poblie oznaena. Motiv u unutranjosti posude identian A fragment of a small bowl a on ring like foot found in the
izlijeva vodu iz vra iznad metalne posude takvog oblika, akes recorded on one price list, only the Ottoman elite je cjelovitom primjerku iz Muzeja Victoria and Albert, Benedictine monastery of Saint Mary of Katela is also from
pa joj stoga autori velike studije o Izniku dodjeljuju takvu could afford it. It has an elaborate quality drawing, typical datiranomu u oko 1510. godinu (sl. 3, 4, 4a) (Atasoy i Raby this early period (Miloevi and Topi 2010: 153).
namjenu. Rijetki su sauvani primjerci iz prve polovine 16. for the Baba Nakka style (14751520). The vessel forms and 1989: 93). Iz toga ranog razdoblja potjee i ulomak zdjelice A reconstructed jug and a base shard of a small bowl
stoljea, a s obzirom na bogat i sloen ukras na obje strane i decorations of that period had role models in Chinese blue na prstenastoj nozi, koji je pronaen tijekom istraivanja are examples of the imitation of oriental forms and decora-
cijenu od 100 aka, koja je zabiljeena na jednom cjenovni- and white porcelain of the 14th and 15th centuries, as well benediktin-skog samostana sv. Marije od Katela (Miloevi tive motifs at the time of increased demand for these items
ku, takve si je posude mogla priutiti samo otomanska elita. as in Ottoman metal vessels. These were decorated with a i Topi 2010: 153). in the West (fig. 5, 6). Both vessels have very thin walls of
Odlikuje ju sloeni crte kvalitetne izvedbe, karakteristine combination of the Ottoman arabesque, the Chinese lotus, Rekonstruirani bokal i ulomak dna zdjelice primjer merely 0.2cm in width on the rim, and up to 0.4cm at the
za stil Baba Nakka. Uzori su oblika posuda i dekoracija iz and a complex three dimensional knot resembling a weave su imitacije orijentalnih oblika i ukrasnih motiva u vrijeme base. The pottery is of straw yellow colour, and the bowl
toga razdoblja kineski plavo-bijeli porculan iz 14. i 15. stolje- which was used for a short period of time. poveane potranje tih predmeta na Zapadu (sl. 5, 6). Oba covered with an opaque slip is typical for the Italian majol-
a te osmanske metalne forme. Dekorirana je kombinacijom The decoration was applied on a blue opaque sur- predmeta imaju vrlo tanke stijenke, od samo 0,2 cm na rubu ica berettina. The inscription in Arab at the bottom is done
osmanske arabeske, kineskog lotosa i sloenim motivom face, and, vice versa, with a cobalt blue drawing on a white oboda do 0,4 cm debljine pri dnu. Keramika je u presjeku in cobalt blue. The jug has a typical Ottoman form, and the
uzla trodimenzionalnog izgleda, nalik tkanju, koji se kao surface under a shiny glaze. The creation of the knot is slamnato ute boje, a zdjelica je sa sivoplavim neprozirnim decoration is divided into zones. The colours include navy
motiv koristio kratko. ascribed to an unknown artist who was called the Master premazom, karakteristinim za talijansku majoliku berettinu. blue, emerald green, and black, but also some watery and

34 35
 Sl. 5, 6 Bokal i ulomak zdjelice, odnosi su se intenzivirali, a Dubrovnik je uz sicilijansko ito Catalonian wool in order to continue its efficient cloth man-
Italija (?), po. 17. st., uvozio i katalonsku vunu za svoju djelotvornu manufaktu- ufacture. The most important exports were silver and lead,
Dubrovaki muzeji ru sukna. Najvaniji su izvozni proizvodi srebro i olovo, no but merchants from Catalonia obtained the prized Alex-
Fig. 5, 6 Jug and a fragment of a
katalonski su trgovci u Dubrovniku nabavljali i cijenjeni andrian flax and salt in Dubrovnik as well. Spanish pottery
small bowl, Italy (?), beginning of
the 17th century, aleksandrijski lan i sol. panjolska keramika u Dubrovnik je could have also come to Dubrovnik via Venice, Liguria and
Dubrovnik Museums mogla stizati i preko Venecije, Ligurije i Pise. U Veneciji se Pisa. At the time, Venice produced only engraved pottery
tada proizvodila samo gravirana keramika s olovnom glazu- with a lead glaze, and had, in an attempt to protect its own
rom, te su Mleci, titei vlastitu proizvodnju, u vie navrata production, forbidden imports of foreign pottery on many
tijekom 15. stoljea zabranjivali uvoz strane keramike, osim occasions during the 15th century, with the exception of
one iz Valencije i Majorke. Genova, Savona i Pisa rano su that from Valencia and Majorca. Genoa, Savona and Pisa es-
uspostavile komercijalne odnose s Valencijom. Pronaeni tablished trade relations with Valencia early on. The recov-
arhiv toskanskog trgovca Francesca Datinija svjedoi da ered archive of a merchant from Toscana, Francesco Datini,
je on krajem 14. stoljea imao skladita u Valenciji, Barce- states that he had storage houses in Valencia, Barcelona and
loni i Majorci, i bio glavni dobavlja panjolske majolike za Majorca, and was the main supplier of Spanish majolica for
Sredozemlje i Europu. Prvih godina 15. stoljea robom ga the Mediterranean and Europe at the end of the 14th centu-
je opskrbljivao maurski keramiar iz Manisesa, imenom ry. During the first years of the 15th century, he acquired his
Asmet Zuleima (Bradara 2005: 93; Saccardo 2003.). Pojedi- merchandise through a Moor potter from Manises, called
nane komade posua mogle su donijeti i idovske izbjegli- Asmet Zuleima (Bradara 2005: 93; Saccardo 2003). Individ-
ce, koje su se poslije pada Granade doselile u Dubrovnik. U ual pieces of pottery could have been brought by Jewish
inventarima graana navode se i panjolski tepisi, pozlaene refugees who moved to Dubrovnik after the fall of Granada.
koe i svileni prekrivai, izraeni na maurski nain. The inventories of citizens also list Spanish carpets, gilded
hides, and silk covers made in a Moorish fashion.
Nalazi iznike keramike u Hrvatskoj
Arapski je natpis na dnu izveden kobaltnoplavom bojom. matt ones. All things considered, based on their quality, the Osim u Dubrovniku, prema dosad objavljenim radovima o Finds of Iznik pottery in Croatia
Bokal je tipino osmanske forme, kao i dekoracija podijelje- vessels were probably made in Italy and were intended for nalazima kasnosrednjovjekovne i novovjekovne keramike, According to recently published papers on the Late Medie-
na na pojaseve. Boje su tamnoplava, smaragdnozelena i crna, widespread use. From the end of the 16th, and all through iznika keramika nije naena u dalmatinskim gradovima. val and Medieval pottery, apart from Dubrovnik, Iznik pot-
ali vodenaste i bez sjaja. Prema svemu sudei, proizvedeni the 17th century, Italy produced pottery with painted Iznimka je srednjovjekovni grad Ruica kraj Orahovice u Vi- tery was found in no other city in Dalmatia. The exception
su u Italiji, a kvaliteta upuuje na to da su bili namijenjeni polychrome decorations known as majolica candiana, which rovitiko-podravskoj upaniji, gdje je u istraivanjima otkri- being the medieval town of Ruica near Orhovica in Virovit-
irokoj potronji. Italija je od kraja 16. stoljea i cijelo 17. was an imitation of Izniks flower naturalism. The masters veno samo nekoliko ulomaka (Radi i Boji 2004: 214215). ica-Podravina County where only a couple of fragments was
stoljee proizvodila posue s viebojnim slikanim ukrasom, of majolica, however, never managed to produce the colour Budui da su nalazi te keramike i u Dubrovniku malobrojni found (Radi and Boji 2004, 2014-2015). Since the finds of
poznatim pod nazivom majolika candiana. Bila je to imitacija red. u odnosu na keramiku brojnih manufaktura na Apeninskom this kind of pottery in Dubrovnik are scarce in comparison
cvjetnog naturalizma Iznika, s tom razlikom da talijanski Other pottery which stands out because of its poluotoku, moe se zakljuiti da su u 16. stoljeu, zlatnom to the finds from the workshops on the Apennine Peninsula,
majoliari nikada nisu uspjeli proizvesti crvenu boju. motifs and colours originated from Spain, and reached its dobu Dubrovake Republike, izniko posue mogla kupiti we may conclude that in the 16th century, the golden age of
Jo jedna keramika koja se istie motivima i bojom popularity and market price thanks to the opaque tin slip samo vlastela. Poznati kao pragmatini i tedljivi, Dubrov- the Dubrovnik Republic, only noblemen could afford these
jest ona podrijetlom iz panjolske. Svoju je popularnost i onto which the drawing was applied with colours made of ani se nisu razmetali kupnjom takvoga posua, koje je vessels. Known as pragmatic and prudent, they did not
skupocjenost stekla zahvaljujui neprozirnom, kositrenom metal oxides. Its main feature is the complex technique zasigurno bilo skupo ako je poznato da se ono, uz kineski flaunt the acquisition of this ware, which must have been
premazu, na koji se nanosio crte bojama nastalima na os- of applying metal lustra as a decorative element, by which porculan, koristilo i u sultanovoj palai. Iz popisa imetka expensive if we take into account that it was used in the
novi metalnih oksida. Njezina je posebnost sloena tehnika the potters strived to imitate vessels made of precious osmanske vojnike elite dolazi manji broj komada, a samo su Sultans palace along with Chinese porcelain (Atasoy and
apliciranja metalnog lustra kao dekorativnog elementa metals, forbidden for daily use by the Quran. These vessels, rijetki imali kineski porculan (Atasoy i Raby 1989: 14). Osim Raby 1989: 14). Apart from being traded, individual pieces
kojim se oponaalo skupocjeno posue od plemenitih me- as well as tiles for paving floors (azulejos), were most prob- trgovinom, pojedinani komadi sigurno su dolazili i kao da- must have come as gifts from numerous representatives
tala, a kakvo je Kuran zabranjivao za svakidanju uporabu. ably brought to Dubrovnik by merchants from Dubrovnik rovi brojnih predstavnika carske vlasti koji su radi obavljanja of the Imperial rule who stayed in Dubrovnik in order to
To posue, kao i ploice za poploivanje podova azulejos, and Catalonia, because Dubrovniks diplomats established raznih poslova boravili u Dubrovniku. conduct their business. After the earthquake in 1667 and
stizali su vjerojatno u Dubrovnik posredstvom dubrovakih trade with Catalonia very early on, and Catalonian ships Poslije potresa 1667. i obnove grada, zapoelo je the restoration of the town, a new artistic era began the
i katalonskih trgovaca, jer je dubrovaka diplomacija rano and merchants were mentioned in Dubrovniks harbour as novo umjetniko razdoblje baroka, koje je donijelo promje- Baroque, which brought about a change in fashion. With it,
uspostavila trgovinu s Katalonijom, pa se ve u prvim deset- early as the first decades of the 14th century. During the nu modnih izriaja. Time se znatno umanjila potreba za the need for oriental items in applied arts decreased.
ljeima 14. stoljea spominju katalonski brodovi i trgovci u 15th century, economic and politic relations intensified, orijentalnim predmetima umjetnikog obrta.
dubrovakoj luci. Tijekom 15. stoljea gospodarski i politiki and Dubrovnik started importing Sicilian wheat, as well as

36 37
 Podvodna Underwater
Poetkom 15. stoljea Venecija iri svoju dominaciju na At the beginning of the 15th century Venice spread its dom-
Jadranu i osvaja veinu gradova na istonoj obali. Cres, Osor, inance on the Adriatic and conquered most of the cities on
Trogir i Split osvajaju silom, dok se Hvar, Bra i Vis predaju the eastern coast. Cres, Osor, Trogir and Split were taken by
bez otpora. U Koruli ivi preteno romansko stanovnitvo force, while Hvar, Bra and Vis surrendered without resis-

arheoloka archaeological pa tako korulanski plemii priseu trajnu vjernost Veneciji.

Poslije osvajanja dalmatinskih gradova, ista sudbina zade-
sila je i bokokotarske gradove Perast, Kotor i Bar. Jedino
tance. Korula was mostly inhabited by Romanized people,
so Korulas noblemen swore permanent allegiance to Ven-
ice. After the Dalmatian cities were conquered, the towns

istraivanja excavations of
Dubrovaka Republika, uz visoku cijenu slobode koju plaa in Boka Kotorska: Perast, Kotor and Bar suffered the same
Osmanskom Carstvu, ostaje neosvojena sve do dolaska fate. Only the Republic of Dubrovnik, with a high price of
Napoleona u 19. stoljeu. Nakon skoro stoljetne dominaci- liberty it paid to the Ottoman Empire, remained uncon-
je Venecije Jadranom, krajem 15. i poetkom 16. stoljea u quered until Napoleons arrival in the 19th century. After

brodoloma na the shipwreck Jadranu se pojavljuje osmanska flota. irenjem Osmanskog

carstva na kopnu javlja se potreba za prevlasti i na moru.
Sve do dolaska sultana Sulejmana Velianstvenog osmanska
almost a century of Venetian domination on the Adriatic, at
the end of the 15th and the beginning of 16th centuries, the
Ottoman fleet appeared on the Adriatic. With the expansion

pliini Sveti in the Sveti

flota ne predstavlja pravu opasnost, no za njegove vladavine of the Ottoman Empire on land, the need for dominance at
i vladavine Selima II. Turci odluuju zagospodariti Meditera- sea appeared. Up until the rule of Suleiman the Magnificent,
nom i Jadranom. the Ottoman fleet posed no real threat, but during his, and
Jadran je u 16. stoljeu poprite veih i manjih po- the reign of Selim II, the Ottomans decided to take over the

Pavao Pavao shallows

morskih bitaka u kojima jaaju pomorske sile Osmanskog Mediterranean and the Adriatic.
Carstva i panjolske, a slabi Mletaka Republika. Kako je In the 16th century, great and small battles took
time naruena mirna plovidba i trgovina, europske zemlje place on the Adriatic, which empowered the Ottoman Em-
odluuju se udruiti i organizirati kransku flotu poznatiju pire and Spain, and weakened the Republic of Venice. When
kao Sveta Liga. Vie stotina raznih brodova predvoenih sailing and trade were disrupted, the European countries
Igor Miholjek Igor Miholjek
Don Juanom Austrijskim kree iz Messine i 7. listopada 1571. decided to join and organize a Christian fleet, known as
sukobljava se s otomanskom flotom od preko 250 brodova the Holy League. Several hundreds of different ships led
usidrenom pored Lepanta u dananjoj Grkoj. Lepantska by Don John of Austria sailed from Messina on October 7,
bitka najvea je i najvanija pomorska bitka u Mediteranu 1571, and clashed with the Ottoman fleet of over 250 ships
ikada. Pobjedu je, uz strane gubitke u ljudstvu i u brodovi- which were anchored near Lepanto in todays Greece. The
ma na obje strane, slavila kranska Sveta Liga. U Bitci kod Battle of Lepanto that took place on that day is the greatest
Lepanta sudjelovali su i brodovi istarskih i dalmatinskih gra- and the most important battle on the Mediterranean in
dova (sl. 7). Nakon te bitke osmanska flota vie nikada nije history. The victory, with huge losses in men and ships on
ulazila u Jadran, te Venecija vraa svoju prevlast u Jadranu i both sides, was won by the Christian Holy League. Ships
ponovo uspostavlja trgovinu izmeu Istoka i Zapada (Tali- from Istrian and Dalmatian towns took part in the Battle of
jani 1989: 88-98). Lepanto (fig. 7.). After the battle, the Ottoman fleet never
Najnovije otkrie brodoloma iz 15. stoljea s teretom entered the Adriatic, so Venice took back its dominance
venetske keramike i 13 eljeznih sidara na otoku Visu samo over the Adriatic and reinstated trade between the East and
potvruje da hrvatsko podmorje jo nije istraeno. U po- the West (Talijani 1989: 88-98).
sljednjih etrdeset godina podvodni arheolozi u Hrvatskoj The latest discovery of a 15th century shipwreck
istraivali su manji broj novovjekovnih brodoloma, da bi se u with a cargo of Venetian pottery and 13 iron anchors on the
posljednjih nekoliko godina istraivanja intenzivirala. Danas island of Vis only confirms that Croatian waters are still un-
moemo slobodno zakljuiti da su istraivanja brodoloma iz explored. During the last forty years, underwater archaeol-
perioda od 15. do 18. stoljea postala vana tema znanstvenih ogists in Croatia excavated a small number of post-Medieval
istraivanja. To moemo zahvaliti spletu sretnih okolnosti to shipwrecks, only to intensify the research in the last couple
jest uestalijim prijavama novih brodoloma, ali prije svega of years. Today, we can say with certainty that the research
predanom radu, te napretku metoda i tehnologija istraiva- of shipwrecks dated to the period between the 15th and the
nja. Do otkria brodoloma Sveti Pavao na Mljetu najpozna- 18th century is an important subject in academic research.
tiji brodolomi iz druge polovice 16. stoljea bili su oni kod This is due to a series of fortunate circumstance, that is, to

38 39
 Sl. 7. Lepanska bitka, fotografija found on two 16th-century shipwrecks, one on the south-
karte iz Zaviajnog muzeja ern side of the island of Korula (Radi Rossi 2001: 227-236)
grada Rovinja and one near the island of Bievo (Radi 1990: 213-227). The
Fig. 7. The Battle of Lepanto, ships were transporting various cargos of brass semi-prod-
photo taken in the Rovinj ucts. A post-Medieval shipwreck from the 16th century
Native Museum was also found in the waters around the island of Lastovo.
Although post-Medieval wrecks are not a rarity on the Cro-
atian seabed, they are seldom found in such an intact state,
and we can rarely talk about systematically investigated
post-Medieval wrecks (fig. 8.).
The island of Mljet is situated 22 nautical miles
north-west of Dubrovnik. Any type of SCUBA diving is
prohibited in the waters around the island of Mljet, except
diving activities which are strictly regulated by the Min-
istry of Culture that issues special permissions for those
purposes. The Sava-Medveak diving club was issued that
permission for their SCUBA diving camp, and was obligat-
ed to report any and all potential finds within the waters
around the islandof Mljet. The club held a diving camp on
the southern part of the island of Mljet during August 2006.
Remains of the site were found in the Sveti Pavao shallows
during a dive led by Jurica Bezak on the southern side of the
island of Mljet, around 200 m from the shore. He informed
otoia Gnalia (Raduli 1970: 4-7) i otoka ipana (Kisi 1979: the fact that reports of new shipwrecks have become more the Ministry of Culture and the Department for Underwa-
73-98), a iz 17. je stoljea najpoznatiji brodolom kod Dre- common, and primarily due to dedicated work and the ter Archaeology of the Croatian Conservation Institute, and
vina u Koloepskom kanalu blizu Dubrovnika (Kisi 1982: progress of research methods and technologies. Until the they organised rescue excavations held the following year
143-163). U vie se navrata istraivalo brodolom iz 17.st. kod discovery of the Sveti Pavao shipwreck on Mljet, the most (fig. 9.).
otoia Bisage u Kornatima (Brusi 1986: 473 490). Brod je famous shipwrecks from the second half of the 16th cen- The goal of the first research campaign was to draw
bio dobro naoruan sa 7 topova a prevozio je kineski porcu- tury were the ones found near the islet of Gnali (Raduli a draft of the site and take photographs of the situation at
lan dinastije Ming (1368- 1644.) i Qing (1644-1912.). Jo dva 1970: 4-7) and the island of ipan (Kisi 1979:73-98), and, the site. Due to the great value of bronze artillery pieces and
brodoloma pronaena su u Dubrovakom akvatoriju, blizu from the 17th century, the most important wreck is Drevine other preserved objects it was decided that all objects that
Brseina (Jurii, Mihajlovi 2010: 103-113) i ispred Cavtata, in the channel of Koloep near Dubrovnik (Kisi 1982:143- Sl. 8. Karta Jadrana s pozicijama novovjekovnih brodoloma PIRI REIS
were documented could be raised to the surface, in order to
a trei na pliini Mijoka blizu Murtera. Prema izvaenim 163). The 17th century shipwreck near the islet of Bisage (s doputenjem "The Walters Art Museum") prevent devastation (fig. 10.). The sea bottom lowers to the
dijelovima topova, brodolom se kod Brseina vjerojatno in the Kornati archipelago was excavated on a number of Fig. 8. Map of the Adriatic with positions of post- Medieval shipwrecks- depth of 46 m forming cascades; the rocks, overgrown with
dogodio krajem 16. stoljea (Ridella 2011: 39-56) ili kasnije, a occasions (Brusi 1986: 473 490). The ship was well armed, PIRI REIS (with the permission of the Walters Art Museum) vegetation, are followed by a sandy bottom which forms a
nalazite ispred Cavtata potjee iz razdoblja Napoleonskih with 7 artillery pieces and a cargo of Chinese porcelain dat- mild slope towards a deeper region. The biggest concentra-
1. Otoi Gnali, Biograd 8. Rt Cuf, otok Lastovo
ratova. Brodolom kod pliine Mijoka blizu Murtera potjee, ed to the Ming (1368-1644) and Qing (1644-1912) dynasties. / Cape Cuf, island of Lastovo
tion of finds is visible on the last two cascades. The concen-
/ islet of Gnali, Biograd
prema nalazima slinima materijalu pronaenom kod Gna- Two more sites were found in the Dubrovnik underwater 9. Pliina Sveti Pavao, otok Mljet tration of finds covers approximately 50 m2, between the
2. Otoi Bisaga, otoje Kornati
lia, s poetka 17. stoljea (Zmai 2009: 430-442). Od dva area, one near Brseine (Jurii, Mihajlovi 2010: 103-113) and / islet of Bisaga, Kornati archipelago / Sveti Pavao shallows, depth of 40 and 42 m, except for two artillery pieces which
brodoloma iz 16. stoljea sa slinim teretom jedan se nalazi one in front of Cavtat. A third ship was found near the Mi- 3. Pliina Mijoka, otok Murter island of Mljet were found 10 m east of the main assemblage, at a depth
na junoj strani otoka Korule (Radi Rossi 2001: 227-236), joka shallows close to the island of Murter. According to the / Mijoka shallows, Murter Island 10. Uvala Brseine, Dubrovnik of 37 m. The remains of the ships construction and the
a drugi kod otoka Bieva (Radi 1990: 213-227). Brodovi su retrieved cannon parts, the shipwreck near Brseine can be 4. Otoi Greben, otok Vis / Brseine Bay, Dubrovnik anchors lie at the depth between 38 and 46 m. In order to
prevozili raznoliki teret poluproizvoda od mjedi. U podmor- dated to the end of the 16th century (Ridella 2011: 39-56) or / islet Greben, Island of Vis 11. Uvala Suura, otok ipan precisely document the site it was necessary to place seven
ju Lastova takoer je pronaen brodolom iz 16. stoljea. No- later, and the site in front of Cavtat to the time of the Napo- 5. Uvala Labotovo, otok Vis / Suura Bay, island of ipan orientation points. They were named using letters from A
/ Labotovo bay, Island of Vis 12. Drevine, Koloepski kanal
vovjekovni brodolomi nisu rijetkost u hrvatskom podmorju, leonic wars. The shipwreck near the Mijoka shallows near to G (see the big plan of the site, Plan 1). These points were
6. Otok Bievo/ island of Bievo / Drevine, Koloep Channel
ali ih se rijetko pronalazi u ovako netaknutom stanju i uz to Murter can, based on material which is similar to one part 13. Rt Ratac, otok Koloep
used to measure the position of the finds using triangula-
7. Otoi Otoac, otok Korula / islet
rijetko govorimo o sustavno istraivanim novovjekovnim of the material found at Gnali, be dated to the beginning of / Cape Ratac, island of Koloep tion, so each find was given an exact position, depth and
of Otoac, island of Korula
brodolomima (sl. 8). the 17th century (Zmai 2009: 430-442). Similar cargo was relation to other finds. After the finds were documented
41
 Sl. 9. Karta Mljeta s and photographed with their associated number, they were
pozicijom brodoloma Sveti brought up to the surface so they could be individually doc-
Pavao, (preuzeto iz: Piri umented and drawn. Smaller objects were put into nets and
Reis, The Book of Bahriye, carefully taken up to the surface, and artillery pieces were
Istanbul 2013, 103)
taken out individually using an airlift (fig. 11.).
Fig. 9. Map of Mljet with the
location of the Sveti Pavao The first excavations lasted four days, included 33
shipwreck (taken from: Piri dives conducted by the team, and during which 37 objects
Reis, The Book of Bahriye, were documented and retrieved from the seabed. Excava-
Istanbul 2013, 103) tions of this kind require experienced divers with appro-
priate certificates for deep dives. Divers used the Enriched
Air Nitrox gas mixture with 26% of oxygen which allowed
longer bottom time and made the whole dive a lot safer .
The gas mixture during the decompression stops was again
Enriched Air Nitrox gas mixture with 80% of oxygen, or
in some cases pure oxygen (O2 100%). An additional safety
factor was added by putting one spare diving tank at the
bottom. Every day before the beginning of the diving oper-
ation, a briefing was carried out, where general assignments
for all divers were laid out and the diving plan was arranged.
Smaller briefings were carried out before every dive with
each diving group to confirm their tasks.
Unlike the previous year when triangulation was
used as the measuring technique, in 2008 a documenta-
Otok Mljet nalazi se 22 nautike milje sjeverozapadno od tion grid was placed, using points fixed in the previous
Dubrovnika. Ronjenje je u moru oko otoka Mljeta zabra- campaign (fig. 12.). This allowed for a precise measuring of
njeno osim ako ga odobri Ministarstvo kulture koje izdaje both various finds and the site. In this research phase 51
posebne dozvole u te svrhe. Ronilaki klub Sava-Medveak objects were documented and recovered from the seabed.
dobio je dozvolu za svoj ronilaki kamp uz obavezu prijave Nine limestone shots were found (fig. 13.) along with one
svih nalaza u vodama oko otoka Mljeta. Klub je organizirao small lead shot which was found inside the sand layer at the
kamp na junom dijelu otoka u kolovozu 2006. Ostaci nala- bottom of the trench. This shows the ship was armed not
zita naeni su tijekom urona koji je vodio Jurica Bezak na only with artillery pieces but also with harquebuses. Metal
junoj strani otoka oko 200 m od obale. Obavijestio je Mini- objects were also found at the site, including a copper food
starstvo kulture i Odjel za podvodnu arheologiju Hrvatskog warmer with a horizontally hammered relief band below
restauratorskog zavoda te je ve sljedee godine organizira- the rim. Other items include a bronze convex pan of a pan
no zatitno istraivanje (sl. 9). balance (libbra), measuring 6.2 cm in diameter, with three
Cilj prve istraivake kampanje bio je izrada skice small hanging holes, a lock cartridge measuring 14x6 cm; a
i fotografija situacije na nalazitu. Zbog velike vrijednosti glass bead measuring 10 mm in diameter and a large num-
pronaenog naoruanja i ostalih predmeta, odlueno je da ber of animal bones. An iron anchor, found at the depth
e predmeti koji su dokumentirani biti izvaeni ne bi li se of 37 m and 25 m north of Sector 1, i. e. the area with the
sprijeila devastacija (sl. 10). Morsko se dno sputa na dubinu highest concentration of finds (Plan 2) was also documented Plan 1. - Plan nalazita na
od 46 m u kaskadama. Stijene su obrasle, a nakon njih slijedi and named Sector 3 (Plan 1). It was 2.20 m long with a tilt pliini Sveti Pavao,
pjeskovito dno oblikujui blagu kosinu u dubinu. Najvea on top, measuring 60 cm in diameter. The lower part of the sva etiri sektora
Plan 1. - Plan of the site in the
koncentracija nalaza vidljiva je na zadnje dvije kaskade. anchor was buried in the sand and only one arm could be
Sveti Pavao shallows,
Nalazi se proteu na oko 50 m2, na dubini izmeu 40 i 42 seen protruding from the seabed. Considering the fact that all four sectors
metra. Jedino su dva topa naena 10 metara istono od the site was found intact, it was necessary to maintain the
glavne koncentracije nalaza, na dubini od 37 metara. Ostaci conditions that preserved the ships hull during all under-
brodske konstrukcije i sidara nalaze se na dubini od 38 do water investigations (digging, documentation, etc.)
42 43
 Sl. 10. Dokumentiranje nakon otkria lokaliteta
Fig. 10. Documentation after the discovery of the site

46 m. Kako bi nalazite bilo precizno dokumentirano bilo

je nuno postaviti sedam orijentacijskih toaka. Toke su
nazvane slovima od A do G (v. veliki plan nalazita, Plan 1.).
Ove su toke koritene za mjerenje pozicije nalaza pomou
triangulacije, tako da je svakom nalazu odreena pozicija,
dubina i odnos prema drugim nalazima. Nakon to su nalazi
dokumentirani i fotografirani s dodijeljenim brojem, izvae-
ni su na povrinu i tamo zasebno dokumentirani i nacrtani.
Manji su predmeti stavljeni u mreice i paljivo izneseni
na povrinu, dok su topovi vaeni jedan po jedan pomou
padobrana za dizanje tereta (sl. 11).
Prvo je istraivanje trajalo etiri dana, a izvedena su
33 urona i 37 predmeta je dokumentirano i izvaeno na po-
vrinu. Ovakva vrsta istraivanja zahtjeva iskusne ronioce s
odgovarajuim certifikatima za duboka ronjenja. Ronioci su Sl. 11. Podizanje topa pomou zranog padobrana
koristili mjeavinu plinova Enriched Air Nitrox s 26 % kisika Fig. 11. Raising of one of the artillery pieces
to im je omoguilo da due ostanu na dnu a samo ronjenje using an air lift
je bilo sigurnije. Za dekompresijske zastanke upotrebljavana
je takoer mjeavina Enriched Air Nitrox s 80 % kisika, a u
Sl. 12. Iskop i dokumentacijsko mreite
nekim sluajevima isti kisik (O2 100 %). Dodatni je faktor
Fig. 12. Excavations and the documentation grid
sigurnosti bila postavljena dodatna boca sa zrakom na mor-
Plan 2. - Plan nalazita na pliini Sveti Pavao, Sektor 1 skom dnu. Na svakodnevnim brifinzima prije svake roni-
Plan 2. - Plan of the site in the Sveti Pavao shallows, Sector 1 lake akcije dodjeljivala su se generalna zaduenja ronioca
i iznosio se plan ronjenja, a na kraim su se brifinzima prije

44 45
 Sl. 13. Dokumentiranje topovskih Sl. 15. Osmanske ake i taliri
kugli in situ europskog porijekla
Fig. 13 Documentation of the pronaeni zajedno
shots in situ Fig. 15. Ottoman akche and
European talers found together
Sl. 14. Dokumentiranje topa
podvodnom kamerom
Fig. 14. Documentation of an
artillery piece with an underwater
video camera

svakog urona sa svakom grupom ronioca zasebno utvrivala Therefore, additional attention was given to the hull, with trupa broda tijekom svih podvodnih istraivanja (kopanje, of the ships equipment were also recovered, a brass square
zaduenja. an emphasis on documenting the wooden remains in order dokumentacija i dr.). Stoga je posebna pozornost posveena coak and a wooden heart (deadeye). Furthermore, eighth
Za razliku od prethodne godine, kada se za mjerenje to get a better image of the ship itself, its function and trupu, s posebnom brigom za dokumentaciju ostataka drva bronze artillery pieces with an iron breech holder, an iron
koristila metoda triangulacije, 2008 godine postavljena je details about the unfortunate capsizing of the vessel. The kako bi se dobila bolja slika samoga broda, njegove funkcije yoke and a peg were found at the bottom in the sand below
dokumentacijska mrea (sl. 12), koristei prethodno uvre- 2008 campaign lasted for 6 days during which 54 dives i njegovog nesretnog potonua. Istraivanja 2008. trajala the stone cascade (fig. 14.). This campaign lasted for 6 days
ne toke. Ovo je doputalo preciznu izmjeru nalaza i samog were made. It is important to mention seven large Iznik su 6 dana i tada su obavljena 54 urona. Vano je spomenuti and included 54 dives.
nalazita. U ovoj je fazi istraivanja iz mora dokumentiran i plates put one on top of each other, and several bowls sedam velikih iznikih tanjura,naslaganih jedan na drugoga Material recovered in the 2010 campaign is related
izvaen 51 predmet. Pronaeno je devet kugli od vapnenca packed for transportation, confirming the hypothesis that i nekoliko zdjela sloenih za transport, to potvruje pret- to the material found in previous campaigns. One of the
(sl. 13), i jedna mala olovna kugla, pronaena u sloju pijeska the ship contained oriental commercial cargo intended for postavku da je brod prevozio orijentalni trgovaki teret more interesting objects is a small bronze ships bell with
na dnu sonde, to ukazuje da je brod bio naoruan ne samo the western market. namijenjen zapadnom tritu . the year MDLXVII (1567) shown in relief. Two silver talers
topovima, ve i arkebuzama. Na morskom su dnu pronaeni The 2009 excavations continued towards the north- Istraivanja 2009. godine nastavila su se na sjever- together with 40 akches were also found (fig. 15.). The
i metalni predmeti poput bakrene posude za odravanje to- ern area of the excavation field. The excavations enclosed nom dijelu iskopa. Istraivanje je obuhvatilo podruje od Ottoman akches are extremely important for the dating of
pline hrane s horizontalno iskucanom reljefnom trakom is- an area of 44 m2. 75 items were documented and retrieved 44 m2. U ovoj je fazi istraivanja dokumentirano i izvaeno this shipwreck. In fact, the recovered akches belong to four
pod oboda. Ostali predmeti ukljuuju bronanu konveksnu from the seabed during this research phase, including three na povrinu 75 predmeta. Naene su jo tri kamene kugle different sultans: Sultan Selim I (1512-1520), Sultan Suleiman
pliticu za vagu (libbra) promjera 6,2 cm, s tri rupe za vjeanje; additional stone shots of the same diameter - 9.5 cm, and istog promjera (9,5 cm), te ulomci barem pet staklenih boca. I (1520-1566), Sultan Selim II (1566-1574) and Sultan Murad
bravu dimenzija 14 x 6 cm, staklenu perlu promjera 10 mm fragments of at least five green glass bottles. According Prema obliku oboda i vrata moe se zakljuiti da je na brodu III (1574-1595). Since sultan Murat III began minting the
i veliki broj ivotinjskih kostiju. eljezno sidro naeno je na to the shape of the rim and neck, we can conclude there bilo barem tri tipa boca razliitih veliina i oblika. Naen je i coins in 1574, we can be sure that the ship could not have
dubini od 37 m, 25 m sjeverno od Sektora 1. Odnosno od po- were at least three types of glass bottles of various sizes jedan dvostrani drveni ealj. Najvei dio nalaza ini kerami- sunk before that year. (see cat. no. 125-128 and T. VII, VIII)1
druja s najveom koncentracijom nalaza (Plan 2.), te je i ono and shapes onboard. One bilateral wooden comb was also ka koja se moe podijeliti u dvije kategorije. U prvu katego- In this research stage ten archaeological trenches
dokumentirano i nazvano Sektor 3. (Plan 1.). Dugo je 2,20 m, found. Pottery makes up most of the finds, and it can be riju spada kuhinjska keramika jednostavnog oblika zapad- were dug (fig. 16.), covering an area of 40 m2, and 88 objects
dok je ukupna irina krakova 140 cm. Donji dio sidra bio je divided into two categories. The first category consists of nog ili orijentalnog podrijetla. Drugu kategoriju sainjava
zakopan u pijesku i jedan se krak jedva mogao vidjeti kako the ships simply-shaped kitchenware of western and ori- brodski teret luksuzne i bogato ukraene iznike keramike.
viri iz pijeska. Imajui na umu da je nalazite naeno neta- ental origin, and the ships cargo, the luxurious, elaborately Nekoliko se nalaza, drveni koloturnik i mjedeni provodnik 1Uvrteno s doputenjem autora (Garo Krkman).
knuto, bilo je nuno sauvati uvjete koji bi ouvali stanje decorated Iznik pottery, falls into the second category. Parts za kolotur, pripisuje brodskoj opremi. Nadalje, u pijesku na / Used with permission from the author (Garo Krkman).

46 47
 were retrieved from the seabed and subsequently docu- Sl. 17. Pogled na nalazite: Sektor
mented. Most of the recovered material consists of pot- 2 s ostacima brodskog trupa i
tery finds, Iznik plates and vessels of various size, jugs and Sektor 1 sa brodskim teretom
Fig. 17. View of the site: Sector 2
smaller luxurious pottery. Only a small amount of animal
and the remains of the ships hull
bones was recovered, as well as a small number of objects and sector 1 with the ships cargo
made of glass and metal. That year marked the beginning
of international cooperation, which included a team of
underwater archaeologists from Italy under the direction of
Carlo Beltrame from the Dipartimento di Studi Umanistici,
UniversitCa Foscari of Venice. The Italian team joined the
campaign with the goal of completely documenting the
ships wooden hull. Our colleagues from the Universit Ca
Foscari made a photo mosaic and a ground plan of a part of
the ships hull. They documented 16 planks and 6 frames
(approximately 24 m2). The 2010 campaign lasted for 13 days
Sl. 16. Iskop mamut- sisaljkama
Fig. 16. Excavations with and included 147 dives.
underwater dredgers The research in Sector 1 was continued in 2011.
Sector 1 was expanded to the east, west and south. A total
of 46 finds were documented on the site. It was discovered
that fragments of larger plates actually belonged to luxu-
rious Iznik plates found in previous research campaigns.
Sector 2, i.e. the remains of the ships hull, is located east of
Sector 1. Documentation of the ships wooden construction,
dnu ispod kamenih kaskada pronaen je osmi top sa elje- which began in 2010, was also continued in cooperation Te je godine zapoela i suradnja s timom podvodnih arhe- days and included 94 dives.
znom komorom za barut te eljeznom vilicom-nosaem (sl. with our Italian colleagues . Fifteen planks and six frames ologa iz Italije, pod vodstvom Carla Beltramea s odsjeka Due to extremely bad weather conditions and
14). Istraivanje je trajalo 6 dana i obavljena su 54 urona. were documented using photogrammetry. During the Dipartimento di Studi Umanistici, sveuilita Ca Foscari strong southern wind, the 2012 campaign only lasted for
Materijal, pronaen za istraivanja 2010., povezan cleaning of the ships remains, a seventh frame was found u Veneciji. Talijanski se tim pridruio istraivanju kako bi four days during which the team was able to make 29 dives.
je s materijalom iz prethodnih kampanja. Jedan od zanimlji- as well as the mast step and new parts of the planking (fig. kompletno dokumentirao drvenu oplatu broda. Kolege sa The deeper part of the site, at the depth of around 46 m,
vijih predmeta je malo bronano brodsko zvono s natpisom 17.). The hull was thoroughly photographed, as well as every sveuilita Ca Foscari nainili su fotomozaik. Dokumentira- was surveyed with a small Remotely Operated Vehicle
godine MDLXVII (1567.) u reljefu. Naena su i dva srebrna important detail of it. One frame with a futtock and one li su 15 dasaka oplate i 6 rebara (otprilike 24 m2). Istraivanja (ROV). The Video Ray was taken to the site by the Italian
talira s 40 aki (sl. 15). Osmanske su ake iznimno vane za plank were airlifted to the surface. The plank was returned 2010. trajala su 13 dana, za kojih je obavljeno 147 urona. team and subsequently caught sight of two iron anchors
datiranje ovog brodoloma. Naime, pronaene ake pripa- to its original position immediately after taking a sample for Istraivanja u Sektoru 1. nastavljena su 2011. Sektor 3,45 x 2,10 and 3,80 x 2,23 m in dimensions. The position
dale su etvorici sultana: Selimu I. (1512. - 1520.), Sulejmanu a dendrochronological analysis. The frame with the futtock 1. proiren je prema istoku, zapadu i jugu. Dokumentirano of the anchors has been known since 2006 when the site
I. (1520. -1566.), Selimu II. (1566. -1574.) i Muradu III. (1574.- was carried to the base where it was drawn in 1:1 scale, and je sveukupno 46 nalaza na brodolomu. Pronaeni ulom- was discovered, but they were not documented until the
1595.). Budui da sultan Murad III. nije poeo kovati novac special attention was given to documenting the connection ci tanjura pripadali su tanjurima naenim u prethodnim 2012 campaign. The first anchor was placed perpendicularly
prije 1574., znamo da brod nije mogao potonuti prije te between the frame and futtock. The frame with the futtock kampanjama. Nalazi pripadaju luksuznoj iznikoj keramici. across the second one and was partially buried in the sand.
godine. (vidi k. br. 125-128 i T. VII, VIII)1 was also returned to its original position after the process Sektor 2. s ostacima brodske oplate nalazi se istono od This part of the site received the designation Sector 4. A
Te je godine iskopano deset arheolokih sondi to of documentation was finished. The remains of the ships Sektora 11. Dokumentiranje drvene konstrukcije zapoeto stone cylinder with measuring 160 cm in length and 50 cm
odgovara podruju od oko 40 m2 (sl. 16). U ovoj fazi istrai- hull, covering an area of 6x4 meters, was researched and 2010. nastavilo se u suradnji s kolegama iz Italije. Petnaest in diameter was found in the same sector, just a few meters
vanja pronaeno je i dokumentiran 88 predmeta. Predmeti documented, and the results showed that the total length of dasaka oplate i est rebara dokumentirano je fotogrametri- above the anchors, at a depth of 44 m. It had a rectangular
su veinom nalazi keramike, izniki tanjuri i posude razlii- the ship could be estimated to around 24 meters. The keel- jom. Tijekom ienja ostataka broda pronaeno je sedmo slot on its sides (the two holes of the slot follow the axle of
tog oblika, vrevi i manja luksuzna keramika. Stakleni i me- son was also documented along with the mast step, which rebro, postolje jarbola i novi dijelovi oplate (sl. 17). Oplata the cylinder). A similar but smaller object was found during
talni predmeti, kao i ivotinjske kosti, manje su zastupljeni. proves that the central axis of the ship was preserved. It je temeljito fotografirana kao i svaki njezin vaan detalj. the 2010 campaign, also at the depth of 44 m, but closer to
is interesting to mention that the ship was built using the Jedno je rebro i rebreni nastavak podignut na povrinu, a s Sector 2. The function of these items is still unknown.
double-hull technique, which ensures better hull integrity, njima jo jedna daska oplate. Daska oplate vraena je natrag Underwater archaeological excavations are ex-
1 Uvrteno s doputenjem autora (Garo Krkman). while the way in which the planks were connected points na svoje mjesto nakon to je iz nje uzet uzorak za dendro- tremely complex and demanding in terms of organisation.
/ Used with permission from the author (Garo Krkman). to a Venetian origin of the ship. The campaign lasted for ten kronoloku analizu. Rebro i rebreni nastavak odneseni su The great depth of the shipwreck additionally complicates

48 49
u bazu i nacrtani u omjeru 1:1, pri emu je velika pozornost the research. Considering all six campaigns, the total num-
bila posveena spoju rebra i rebrenog nastavka. I oni su ber of working days was only forty-three. The site spreads
nakon dokumentiranja vraeni na svoju originalnu poziciju. across approximately 200 m2, and all four excavated and in-
Istraeno je i dokumentirano ukupno podruje 6 x 3,7 m vestigated sectors cover an area of about 100 m2. Thirty-one
ostataka trupa broda, te se temeljem dobivenih rezultata divers participated in all research campaigns, and 411 dives
moe pretpostaviti ukupna duina broda od 24 m. Takoer were made, with an average bottom time of 25 minutes. Al-
je dokumentirana kontrakobilica i postolje jarbola, to nam though, from the perspective of safety, these deep research
dokazuje da imamo sauvanu centralnu os broda. Zanimlji- projects are extremely dangerous, not one diving incident
vo je da je za gradnju trupa izabrano tehniko rjeenje od happened throughout the entire course of research. Since
dvostruke oplate radi jae konstrukcije, dok nain spajanja around 300 objects were retrieved during all archaeological
pojedinih elemenata upuuje na venecijansku gradnju. Istra- campaigns, we believe that future research and excavations
ivanje je trajalo deset dana i obavljeno je 94 urona. on the site will give a greater amount of valuable finds and
Zbog iznimno loih vremenskih uvjeta i jakog juga, information. The research carried out on the Sveti Pavao
istraivanje 2012. trajalo je tek etiri dana, te je obavlje- wreck from 2007 to 2012 is just the initial part of systemat-
no samo 29 urona. Dublji dio nalazita, dubine oko 46 m, ic excavations, and will be used in an attempt to obtain an
pregledan je ROV-om (Remotely Operated Vehicle). ROV overall view of the circumstances of this shipwreck, as well
proizvoaa Video Ray, koji je donio tim iz Italije snimio je as to provide knowledge about the production, the econom-
dva eljezna sidra dimenzija 3,45 x 2,10 m i 3,80 x 2,23 m. ic conditions, the commercial navigation routes and the
Pozicija sidara poznata je od 2006., od otkria nalazita, ali dangers of sailing during the turbulent period between the
nisu dokumentirana do istraivanja 2012. Prvo je sidro po- 15th and the 18th century.
stavljeno okomito preko drugog sidra i djelomino zakopa-
no u pijesak. Ovaj je dio nalazita nazvan Sektor 4. U istom
je sektoru naen kameni cilindar duine 160 cm i promjera
50 cm, samo nekoliko metara iznad sidra na dubini od 44m.
Imao je etvrtasti utor na obje strane cilindra (dva utora
slijede os cilindra). Slian, ali manji predmet, naen je za
istraivanja 2010. I on je naen na dubini od 44 m, ali blie
Sektoru 2. Funkcija ovih predmeta jo uvijek nije poznata.
Arheoloka su istraivanja iznimno sloena i za-
htjevna po pitanju organizacije. Velika dubina brodoloma
dodatno komplicira istraivanje. Imajui na umu svih est
kampanja, ukupno je bilo 43 radna dana. Nalazite je ra-
sprostranjeno na oko 200 m2, a sva etiri iskopana i doku-
mentirana sektora pokrivaju oko 100 m2. U istraivanjima
je sudjelovao trideset i jedan ronilac,obavljeno je 411 urona
s prosjenih 25 minuta provedenih na dnu. Iz perspektive
sigurnosti, iako su istraivanja na velikim dubinama izni-
mno opasna, tijekom istraivanja nije dolo niti do jednog
ronilakog udesa. Budui da je za svih arheolokih istrai-
vanja izvaeno oko 300 predmeta, vjerujemo da e budua
istraivanja na nalazitu otkriti jo veu koliinu vrijednih
nalaza i predmeta. Istraivanja od 2007. do 2012. samo su po-
etni dio sustavnog istraivanja kako bi se dobila ira slika o
okolnostima ovog brodoloma, uvid u proizvodnju, ekonom-
ske prilike, trgovake plovne putove i opasnosti u plovidbi u
turbulentnom razdoblju od 15. do 18. stoljea.

50
 Teret keramike Pottery cargo
Uvod Introduction

Trgovaki brod koji je svoje putovanje zavrio na pliini The merchantman that ended its journey in the shallows
Sveti Pavao nosio je bogat orijentalni teret namijenjen of Sveti Pavao was carrying a rich oriental cargo intended

osmanskog from the europskom tritu. U teretu broda, najbrojnije i najbolje sa-
uvano bilo je keramiko posue proizvedeno u osmanskom
gradu Izniku. Rije je o radionicama koje su zahvaljujui
for the European markets. The most numerous and best
preserved part of the ships cargo was pottery made in the
Ottoman town of Iznik. Their workshops, due to the pa-

grada Iznika Ottoman town

pokroviteljstvu osmanskoga dvora u razdoblju od 1480. do tronage of the Ottoman court in the period between 1480
1670. godine bile centar proizvodnje glaziranih keramikih and 1670, were the centre of production of glazed ceramic
predmeta poput zidnih obloga, obrednih predmeta i luksu- objects such as wall tiles, ritual artefacts and luxury table
znoga stolnog posua. Za sultana Sulejmana Velianstvenog ware. During the reign of Sultan Suleiman the Magnificent
vesna zmai kralj
of Iznik (1520. 1566.) keramika je proizvodnja u Izniku doivjela
vrhunac u kvaliteti izrade i dekoraciji, a isto se nastavilo i
za vladavine njegovih nasljednika Selima II. (1566. - 1574.) i
(1520-1566) the pottery made in Iznik reached its peak in
production quality and decoration, which continued during
the rule of his heirs, Selim II (1566-1574) and Murad III (1574-
Murada III. (1574. - 1595.) U drugoj polovici 16. stoljea ova je 1595). In the second part of the 16th century this pottery
vesna zmai kralj keramika postala popularna i u Europi, stoga se kao skupo- became popular in the Europe, and was shipped in major
cjena roba dopremala brodovima u velike trgovake centre market centres such as Dubrovnik, Venice and Genoa.
poput Dubrovnika, Venecije i Genove. The shipwreck at the Sveti Pavao shallows and the
Brodolom kod pliine Sveti Pavao i zbirka iznikog collection of ceramic pottery shown in the Iznik - Otto-
keramikog posua predstavljeni na izlobi Iznik osman- man pottery from the depths of the Adriatic exhibition are
ska keramika iz dubine Jadrana jedinstven su primjer a unique example of maritime trade of this pottery from
pomorske trgovine ovim posuem od Bospora prema eu- the Bosporus towards the European markets and a compre-
ropskom tritu i vrlo iscrpan pokazatelj kakvim se oblicima hensive indicator of vessel forms on the market and deco-
posuda trgovalo te koji su ukrasi i motivi bili traeni na Za- rations and motifs in demand in the West at the end of the
padu krajem 16. stoljea. Zbirka ujedno predstavlja rezultate 16th century. The collection also represents the results of
podvodnih istraivanja provedenih tijekom est arheolokih underwater research conducted in six archaeological cam-
kampanja u periodu od 2007. do 2012. godine, prilikom kojih paigns from 2007 to 2012, during which over 300 artefacts
je s dna izvaeno preko 300 pokretnih arheolokih nalaza, were recovered, 60 of which represent Iznik table ware car-
od kojih 60 predstavlja trgovaki teret iznikoga stolnog go. The cargo consisted of vessels meant for serving food
posua. Rije je o posuu za serviranje hrane, poput zdjela such as dishes and jugs, and vessels meant for dinning such
i vreva, te o posuu iz kojeg se jelo, tanjurima i zdjelicama. as plates and small bowls. The most numerous form were,
Najzastupljenije su, sa esnaest primjeraka, velike zdjele za counting sixteen items, large dishes meant for serving food
serviranje hrane (kat. br. 1, 2, 3, 4, 5, 6, 7, 8, 9, 23, 24, 33, 34, (cat. no. 1, 2, 3, 4, 5, 6, 7, 8, 9, 23, 24, 33, 34, 35, 46, 47 ). Six
35, 46, 47 ). Istu namjenu imalo je est zdjela na nozi (kat. dishes on a foot, served the same purpose (cat. no. 25, 26, 27,
br. 25, 26, 27, 28, 29, 37) i kupolasti poklopac, koji je pripa- 28, 29, 37) as did the dome-like lid which was part of a deep
dao dubokoj zdjeli na nozi (kat. br. 36). Devet vreva sa est dish on a foot (cat. no. 36). Nine jugs with six matching lids
pripadajuih poklopaca predstavljaju posude za natakanje represent vessels meant for pouring liquids (cat. no. 12, 13,
tekuine (kat. br. 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22), dok je 14, 15, 16, 17, 18, 19, 20, 21, 22), while thirteen shallow plates
trinaest plitkih tanjura s tankim obodom (kat. br. 10, 11, 30, with a thin rim (cat. no. 10, 11, 30, 31, 32, 38, 39, 40, 41, 42, 43,
31, 32, 38, 39, 40, 41, 42, 43, 44, 45) i est polukrunih zdjeli- 44, 45) and six hemispherical small bowls represent vessels
ca predstavljalo posue iz kojeg se jelo (kat. br. 48. 49, 50, 51, meant for dining (cat. no. 48. 49, 50, 51, 52, 53).
52, 53). Apart from Iznik pottery, the ship was transporting liq-
Osim iznikog posua brod je prevozio i tekui teret uid cargo in glass bottles known as demijohns, as shown
u staklenim bocama poznatim kao demiane od kojih su by retrieved necks and fragments of bellies and bottoms.
ostala sauvana samo grla te ulomci trbuha i dna. Tijekom During the excavations, fragments of several dozen bottles
istraivanja pronaeni su ulomci od vie desetaka boca od made of green glass were recovered (cat. no. 54 62). Based
zelenoga stakla (kat. br. 54 62). Na osnovu grla od debljeg on fragments of thick necks with beaded rims, and thin

52 53
 prodrla u sloj ispod glazure i nepovratno unitila povrinu and irreversibly destroyed the surface of the underglaze
engobe s ukrasom (Pei 2009:338). S druge strane, predme- with the decoration (Pei 2009:338). On the other hand,
ti pronaeni u prirodnim udubljenjima ispunjenima istim, the objects recovered from natural dents filled with pure,
rahlim pijeskom bili su djelomino prekriveni kalcitnim fine-grained sand were partially covered with calcification
naslagama, uobiajenim na predmetima s morskog dna ili su sedimentary deposits, common on objects found at the
pak naeni potpuno isti i bez ikakvih oteenja ili naslaga seabed, or were recovered perfectly clean with no damage
(Zmai Kralj 2004: 65). Uz pomo dokumentacijskog mrei- or sedimentary deposits (Zmai Kralj 2004: 65). The excava-
ta privrenog na dno, unutar kojeg se vrio iskop, izvo- tion was done within a documentation grid attached to the
dila se tlocrtna situacija lokaliteta i nacrtna dokumentacija seabed, which was used to create the ground plan and the
pokretnih predmeta, fotografiranih potom in situ (sl. 19) te layout of the movable finds that were photographed in situ
izvaenih s morskoga dna. Ovaj postupak omoguio je pozi- (fig. 19) and then recovered from the sea bottom. This proce-
cioniranje svih pokretnih nalaza unutar pojedinih kampanja dure enabled the positioning of all movable finds through-
istraivanja te na generalnom nacrtnom planu lokaliteta out different research campaigns, as well as on the ground-
(Plan 1, 2). Slijedila je obrada nalaza na kopnu, od postupka plan of the site (Plan 1, 2). The next stage was the processing
odsoljavanja, evidentiranja, identificiranja, dokumentiranja, of finds on land, including desalinization, identification,
Sl. 18. Pliina Sveti Pavao: dio tereta Sl. 19. Pliina Sveti Pavao: konzervacije i restauracije. S obzirom da je brodolom pro- documentation, conservation and restoration. Considering
iznikog posua in situ dokumentacija iznike posude in situ naen u potpuno netaknutom stanju, moe se pretpostaviti the fact that the ship was found completely intact, it is safe
Fig. 18. Sveti Pavao shallows: a part Fig. 19. Sveti Pavao shallows: da gotovo svi ulomci razbijenih keramikih predmeta lee to assume that almost all fragments of the ceramic objects
of the cargo of Iznik pottery in situ documentation of an Iznik dish in situ na morskome dnu. To je i potvreno u brojnim sluajevima lie within the layers at the sea bottom. This was confirmed
kada su ulomci iste posude bili pronaeni u razliitim eta- on numerous occasions when the fragments of the same
pama istraivanja te su naknadno objedinjeni i restaurirani. vessel were found in different campaigns and were sub-
Stoga e pojedini primjerci keramikih predmeta biti kona- sequently consolidated and conserved. Thus, individual
no sastavljeni i restaurirati tek nakon zavretka cjelokupnih examples of ceramic objects will be finally put together and
stakla s prstenastim obodom, tankih ulomaka koji su pripa- fragments of wide bodies and concave bottoms, we can istraivanja. conserved only after the completion of all research.
dali irokom tijelu i dna konkavnog oblika moe se pretpo- assume that the bottles were sheathed with brushwood like
staviti da su boce bile obloene pruem poput tradicional- traditional demijohns - braided bottles used for transport- Proizvodnja grada Iznika Production in the town of Iznik
nih demiana, pletenih boca za prijenos i uvanje tekuine. ing and storing liquids. The brushwood disintegrated due to
Prue se zbog organskog sastava razgradilo na morskome its organic composition and the large glass bodies with thin Grad Iznik, antika i bizantska Niceja (Nicaea, ), The town of Iznik, Roman and Byzantine Nicaea ()
dnu, a staklena su se tijela prilikom potonua razbila. walls broke when the ship sunk. smjeten je na istoimenom jezeru u sjeverozapadnoj Anato- is situated on a lake of the same name in north-western
Najvei dio pokretnih nalaza i svi primjerci iznikog Most movable finds and all finds of Iznik pottery liji, stotinjak kilometara udaljen od Istanbula (sl. 20.) Prema Anatolia, about a hundred kilometres from Istanbul (fig.
posua bili su pronaeni u Sektoru 1., u centralnom dijelu were located in Sector 1, the central part of the site, at the Strabonu grad je utemeljen 316. pr. Kr. na obali jezera Aska- 20). Strabo states that the town was founded in 316 BCE on
lokaliteta na dubini od 40 do 45 metara. Svi nalazi u sek- depth of between 40 to 45 meters. All finds in this sector nia i nazvan Antigoneia prema utemeljitelju Antigonu (Anti- the shores of Lake Askania, also called Antigonea after its
toru ukazuju da je rije o dijelu trupa broda s natkrivenim indicate that it was part of the ships hull with a covered gonos), jednom od nasljednika Aleksandra Velikog. Neto ka- founder Antigonus (Antigonos), one of the heirs of Alexan-
prostorom namijenjenom posadi i putnicima, brodskoj space intended for the crew and passengers, the galley and snije zauzima ga Lizimah (Lysimakhos) i naziva Nikaia u ast der the Great. Somewhat later it was taken by Lysimachus
kuhinji i skladitu za trgovaki teret, municiju i ostale the storage space for the commercial cargo, ammunition svoje ene Nike (Kirmizi 2004: 2). U rimsko i bizantsko doba (Lysimakhos) and called Nikaia after Lysimachus wife Nike
brodske potreptine. Dok su ostali pokretni nalazi leali and other ship supplies. While the rest of the movable finds bio je jedan od vodeih gradova provincije Bitinije, poznat (Kirmizi 2004: 2). During the Roman and Byzantine Empire
na dnu bez odreenog reda, iznike su posude pronaene was lying at the bottom in no specific order, some vessels kao mjesto odravanja crkvenih koncila 325. i 787. godine. it was one of the leading cities in the province of Bithynia,
jednim dijelom sloene jedna u drugoj, na nain kako su bile from Iznik were found stacked on top of each other, in the Prijestolnicom Rum Selcuk dinastije postaje 1075. to i ostaje known for the two Ecumenical councils in 325 and 787 CE.
transportirane (Sl. 18.) ili su pak bile ispremijeane s ostalim manner in which they were transported (fig. 18) (Zmai Kralj sve do 1331. godine kada ga osvaja Orhan, sin Osmana te It became the capital of the Rum Seljuk Dynasty in 1075 and
materijalom (Zmai Kralj 2004: 65). Ambalaa se zbog svog 2004: 65). The packaging, due to its organic composition, postaje osmanski grad Iznik (Sl. 21.). Na svom vrhuncu grad kept that title until 1331 when it was conquered by Orhan,
organskog sastava nije sauvala, no tragovi drveta u sloju was not preserved, but traces of wood in the layer indicate je imao i do 30 tisua stanovnika, dok je krajem 15. stoljea the son of Osman, when it became the Ottoman town of
ukazuju na drvene sanduke. Arheoloki sloj u sektoru bio je wooden crates. The archaeological layer in the sector was samo tranzitno mjesto na putu u istonu Anatoliju i sirijske Iznik (fig. 21). At its peak it had up to 30 thousand town
pijesak tamne, masne konstitucije ispremijean s ostacima dark greasy sand mixed with remains of decomposing wood provincije (Atasoy, Raby 1989: 19-20). Zahvaljujui bogatstvu dwellers, while at the end of the 15th century it became
raspadnutoga drveta i korodiranog eljeza, tako da su i kera- and corroded iron, so the ceramic objects in them were prirodnih sirovina potrebnih za proizvodnju keramike, Iznik a mere transit place on the route to eastern Anatolia and
miki predmeti unutar njega bili prekriveni tankim filmom covered with a thin layer of greasy black soot, the result of je imao i raniju tradiciju proizvodnje keramike koja se moe the Syrian provinces (Atasoy, Raby 1989: 19-20). Due to the
masne crne ai zbog raspadanja eljeznih predmeta u the decomposition of iron objects in their vicinity. In sever- pratiti kroz bizantsko i selduko razdoblje. Starija tradicija wealth of natural resources necessary for the production
neposrednoj blizini. Na pojedinim predmetima neistoa je al objects the impurities reached the layer under the glaze odraava se u keramici crvenkaste boje peenja, a moe se of pottery, Iznik had a long tradition of pottery production,
54 55
 Sl. 20. Karta istonog Mediterana Sl. 22. Miletska grupa The next phase of pottery production in Iznik
s trgovakim lukama i osmanskim keramike, Iznik, 15. workshops began during the second half of the 15th century
keramikim centrima (preuzeto iz: stoljee (preuzeto iz: with the adoption of new technology in the production of
Piri Reis, The Book of Bahriye, 41. Bilgi 2009: quartz silicate, or the so called fritta pottery, with a white
The map of Mediterranean Sea) cat. no. 3), firm body known as fritware or stonepaste (Denny 2004:
Fig. 20. Map of the Eastern Fig. 22 Miletus ware,
Mediterranean with trade ports 49). Although Ottoman pottery makers have already been
Iznik, 15th century (taken
and Ottoman ceramic centres from: Bilgi 2009: making wall tiles made from ceramics with a white body in
(taken from: Piri Reis, The cat. no. 3) cuerda seca technique1 and were using them to tile buildings
Book of Bahriye, 41.The map of in Edirna and Bursa, the true reason for the innovation in
Mediterranean Sea) the production of that kind of tableware lies in the fasci-
nation with white and blue Chinese porcelain. Harder and
Sl. 21. Grad Iznik oko 1537, more resistant than glass, with a white vitreous shine and
minijatura Matraki Nasuha, a chonchoidal fracture, Chinese porcelain was a symbol of
Istanbul University Library, inv.
luxury and elegance for centuries. While trying to uncover
no. T.5964, fol. 14b. (preuzeto iz:
Atasoy, Raby 1989: fig. 6) the formula for its production, the Persian potters discov-
Fig. 21. The town of Iznik, around ered a firm white mixture similar to porcelain in quality and
1537, miniature by Matraki appearance, which came into use in the 12th century. The
Nasuh, Istanbul University principle of making this white-bodied pottery is described
Library, inv. no. T.5964, fol. 14b. by Ab l Qsim, a member of a famous Persian family of
(taken from: Atasoy, Raby 1989: potters Abu Tahir from Kashan, in a Persian manuscript
fig. 6) from 1301, where he describes the compound made from
grinded quartz, glass frit and white clay in a 10:1:1 ratio (Al-
lan 1973: 111-120; Atasoy, Raby 1989: 50).
podijeliti u tri glavne skupine: sgraffito keramiku bizantskih which can be traced to the Byzantine and Seljuk times. The tzv. fritta keramike bijelog i vrstog tijela, poznatije pod na- The products of Iznik workshops did not differ
i seldukih keramiara, slip keramiku koja odraava vezu iz- ancient tradition is reflected in pottery that was reddish af- zivom fritware ili stonepaste (Denny 2004: 49). Iako osman- greatly from the Islamic pottery production described in
meu selduke i osmanske keramike i tzv. Miletus ware 15. ter firing, and can be divided into three main groups: sgrafit- ski keramiari tada ve proizvode zidne obloge od keramike the manuscript of Ab l Qsim, but did, in certain seg-
stoljea (Bilgi 2009: 23), koja je prethodila iznikoj, kvarcnoj to pottery of the Byzantine and Seljuk potters, slip-pottery bijelog tijela u cuerda seca tehnici1 i oblau njima graevine u ments, substantially technologically surpass it. With the ba-
keramikci bijelog tijela. Miletsku grupu keramike karakte- that reflects the connection of the Seljuk and Ottoman Edirni i Bursi, pravi razlog inovacije u izradi stolnog posua sic ingredients, a mixture of grinned quartz sand - silica (sili-
rizira kobaltnoplava ili rjee ljubiasta dekoracija izvedena pottery, and the so called Miletus ware of the 15th century lei u opinjenosti bijelo-plavim kineskim porculanom. Ki- cum dioxide), crumbled glass paste - frit (sodium carbonate),
na bijeloj engobi kojom se premazivala samo unutranjost that precedes the white-bodied Iznik fritware (Bilgi 2009: neski porculan, tvri i otporniji od stakla, bijelog staklastog a fine, well purified white clay with a small amount of iron
posude crvenog tijela (sl. 22). Najei su oblici bili zdjele i 23). The Miletus group is characterised by a cobalt blue or, sjaja te ljuturasta loma, stoljeima je bio sinonim za luksuz was added, that made the bodys texture smooth and white.
tanjuri, a motivi su raeni prostoruno, najee u cvjetnim, less commonly, purple decoration on a white underglaze i eleganciju. U pokuajima otkrivanja formule za njegovu The innovation was lead that was added to the mixture and,
zrakastim i geometrijskim motivima koji su naizmjenino that was used to cover only the interior of the red body of izradu perzijski keramiari pronalaze vrstu, bijelu smje- in combination with the rest of the ingredients, lowered
kombinirani nalik onima na metalnom posuu (Parker 1965: the vessel (fig. 22). The most common forms were bowls and su, kakvoom i izgledom nalik porculanu, koja se poinje the melting point (Atasoy, Raby 1989: 52; Kovai 2010: 35).
160; Bilgi 2009: 23). Ova keramika bila je iroko rasprostra- plates, the motifs were done freehandedly, and mostly con- primjenjivati ve od 12. stoljea. Princip izrade ove kerami- Considering that the quartz mixture lacked elasticity, the
njena po maloj Aziji i Egeji, a brojni primjerci pronaeni su sist of floral, radial and geometrical motifs combined alter- ke bijelog tijela opisuje Abl Qsim, lan slavne perzijske larger vessels were hard to shape on a potters wheel in one
na podruju Mileta, Ktahye, Konye, Silifke, Burse, Ankare nately, like motifs on metal vessels (Parker 1965: 160; Bilgi obitelji lonara Abu Tahir iz Kashana, u perzijskom rukopisu piece, so they were made in separate segments that were
i Istanbula. Naziv joj je nadjenuo F. Sarre prema brojnim 2009: 23). This pottery was widely distributed in Asia Minor iz 1301. godine, i navodi sastav smjese od mljevenog kvarca, joined after drying with a mixture of the same compound.
ulomcima pronaenima za istraivanja antikog grada Mile- and the Aegean, and numerous examples were found in the staklene frite i bijele gline u omjeru 10:1:1 (Allan 1973: 111- The segments were most probably made with a mould
ta, radi ega je zakljuio da se tu i proizvodila (Sarre 1930-31: area of Miletus, Kthaya, Konya, Silfika, Bursa, Ankara and 120; Atasoy, Raby 1989: 50). attached to the potters wheel, while the parts, such as the
20-23), sve dok se kasnijim istraivanjima keramikih pei Istanbul. The pottery was named by F. Sarrem who conclud- Proizvodi se iznikih radionica po sastavu nisu foliated rim, were molded by hand after they were partially
u Izniku nije utvrdilo da je ipak rije o iznikoj proizvodnji ed, judging by the numerous fragments found during the puno razlikovali od islamske keramike proizvodnje iz Abl dried. In order to get a brilliant white surface for painting
(Bilgi 2009: 23). research of ancient Miletus, that the pottery was produced
Sljedea faza proizvodnje keramike u radionicama there (Sarre 1930-31: 20-23), while later research on ceramic
1 Cuerda Seca je anatolijska tehnika proizvodnje keramikih ploica, 1 Cuerda seca was Anatolian technique of ceramic tiles production,
grada Iznika javlja se u drugoj polovici 15. stoljea usvaja- kilns in Iznik showed that they were in fact made in Iznik ukraena upotrebom tankih traka voska kako bi se razgraniile glazure decorated with thin bands of waxy resist maintain color separation
njem nove tehnologije u proizvodnji kvarcne, silikatne ili (Bilgi 2009: 23). razliitih boja prilikom peenja. Osmanlije su cuerda seca tehniku usvojili between glazes during firing. It seems that the Ottomans adopted this
ve u 14. stoljeu. technique as early as the 14th century.

56 57
Qsimovog rukopisa, no u odreenim su je segmentima that resembles Chinese porcelain, the ceramic body was korativne svrhe upotrebljavala se i kao medikament (Atasoy, and tin oxide, which gave the pottery the shiny appearance
tehnoloki bitno nadmaili. Uz osnovne sastojke, mjeavinu coated with a thin slip, with a compound similar to the Raby 1989: 59; Kovai 2012: 59). Kao kontrast arko crvenoj, of porcelain. The firing was done in dome-like kilns with
zdrobljenog kvarcnog pijeska, silica (silicijev dioksid), i smrv- original mixture, but with no traces of iron or other impu- neto kasnije se uvodi i smaragdno zelena boja, dobivena iz two chambers and a separate fireplace, at the tempera-
ljene staklene smjese, frit (natrijev karbonat), dodavala se rities. The pottery was then dried in the sun and painted bakrenog oksida s veim udjelom eljeznog oksida. U poet- ture from 850 or 900 to 1200C (Maury 2008: 69). Similar
fina, dobro proiena bijela glina s manjim udjelom eljeza, with outstanding drawing and painting mastery. The motifs ku iznike proizvodnje vanjske konture crtea izvodile su se production of pottery was present in the Ottoman Empire
zbog ega je tijelo bilo fine teksture i bijele boje. Inovaciju je on ceramic wall tiles were drawn with stencils created in iskljuivo u kobaltno plavoj boji, u drugoj etvrtini 16. stolje- from the beginning of the 15th century and in other pottery
predstavljalo dodavanje olova u smjesu to je u kombinaciji the designer workshops of the Court, nakkahane, while a uvodi se sivozelenkasta boja, da bi se u drugoj polovici 16. centres such as Edirna and Kthaya (fig. 20), but by perfect-
s ostalim sastojcima sniavalo toku taljenja (Atasoy, Raby the details were painted by hand (Atasoy, Raby 1989: 58). It stoljea u iste svrhe poela koristiti crna boja, dobivena na ing this technique along with other factors, the workshops
1989: 52; Kovai 2010: 35). Budui da je kvarcnoj smjesi ne- seems that in the early period the same was done on vessels, bazi kroma, a nanosila se u vrlo tankim, preciznim linijama in Iznik surpassed the production of other centres and took
dostajalo elasticiteta, vee je posude bilo teko oblikovati na up to the second quarter of the 16th century when free and nalik konturama na ilustracijama u iluminiranim rukopisi- the lead role in production.
keramikom kolu u jednom komadu, stoga su se izraivale u more individualized creations can be seen on the works of ma (Denny 2004: 49; Kovai 2012: 58).
odvojenim segmentima i nakon suenja lijepili smjesom sli- Iznik potters. Nakon oslikavanja slijedilo je prekrivanje prozir- Forms of Iznik Pottery
nog sastava. Segmenti su se gotovo sigurno izvodili pomou Mixtures of various pigments and glass frit were nom glazurom od olovnog oksida, silicijevog dioksida,
kalupa privrenih za kolo, dok su dijelovi poput valovitog used for painting. The basic blue colour, used exclusively sode i kositrenog oksida, a keramici je davala sjajni izgled The workshops in Iznik were, by the order of the Court,
oboda, nakon djelominog suenja, bili runo oblikovani. until 1530 which remained in use until the end of Iznik porculana. Peenje se odvijalo u kupolastim peima s dvije making glazed wall tiles used for tiling sacral buildings,
Kako bi se dobila briljantno bijela podloga za slikanje nalik production, was obtained from a cobalt oxide. Turquoise, komore i odvojenim ognjitem, na temperaturi od 850 ili monumental palaces, libraries and tombs, as well as ritual
kineskom porculanu na keramiko bi se tijelo dodatno na- the first colour introduced, along with cobalt blue, was 900 do 1200C (Maury 2008: 69). Slina izrada keramike u objects designed to match the wall tiles, completing the
nosio tanki premaz (engoba) sastava slinog poetnoj smjesi, obtained from a copper oxide. Olive green obtained from Osmanskom Carstvu prisutna je ve od poetka 15. stoljea interiors of this buildings. The production of tableware by
no bez imalo udjela eljeza i neistoa. Keramika se potom the same basis was used from the 1540s, along with purple i u drugim keramiarskim centrima poput Edirne i Ktahye the name ini or Iznik ini (Atasoy, Raby 1989: 23), was mere-
suila na suncu te oslikavala u zavidnoj crtakoj i slikarskoj obtained from a manganese oxide. In the second half of (sl. 20.), no usavravanjem ove sloene tehnologije uz brojne ly a secondary craft which developed gradually from earlier
vjetini. Motivi na keramikim zidnim oblogama iscrtava- the 16th century, a new colour was introduced coral red, druge faktore, radionice Iznika nadmaile su proizvodnju forms, tightly linked to sacral architecture. During the 16th
ni su pomou matrica kreiranih u dvorskim dizajnerskim with an exceptional glow. It was a thick slip made of clay of drugih centara i preuzele vodeu ulogu. century, Iznik tableware became more and more popular,
radionicama nakkahane, dok bi se detalji izvodili rukom exceptionally red colour due to the high percentage of iron not only with the Court and Ottoman elite, but with the
(Atasoy, Raby 1989: 58). ini se da je u ranijem razdoblju na oxide. Unlike other colours, it was not applied by a brush, Oblici iznike keramike common people, so the repertoire of shapes gradually wid-
isti nain tretirano i posue, sve do druge etvrtine 16. sto- but like wax, with a small tube in a thick, relief layer (Atasoy, ened. The popularity of these vessels in Europe contributed
ljea, kada se poinje osjeati sve slobodnija i individualnija Raby 1989: 58). The earlier use of this colour was recorded Radionice Iznika su po nalogu dvora proizvodile keramike to that as well, so the Iznik potters, meeting the demands of
kreacija iznikih keramiara. in the Byzantine pottery tradition from the 10th to the 13th glazirane zidne obloge za oblaganje sakralnih graevina, the new market, introduced some European forms.
Pri oslikavanju su se upotrebljavale mjeavine ra- century, and the first datable example in Iznik pottery is monumentalnih palaa, biblioteka i grobnica te obredne Dishes used for serving food (tabak) were the most
znih pigmenata i staklene frite. Osnovna boja - plava, koja se found on ceramic wall tiles from the walls of Suleimans predmete koji su dizajnom bili usklaeni sa zidnim oblo- common item in Iznik tableware production. Most often
do 1530. godine koristila samostalno, te se zadrala do kraja mosque and the tomb of his wife Hasseki Hrrem, built gama, upotpunjavajui tako interijere ovih zdanja. Izrada they had a deep curved receptacle with a flat bottom, a
iznike proizvodnje, dobivala se iz kobaltnog oksida. Tir- around 1556. In Medieval and Renaissance Europe this co- stolnog posua pod nazivom n ili Iznik inisi (Atasoy, small ring-like foot and a wide foliated rim shaped like an
kizna, prva boja koja se pojavila uz kobaltnoplavu, dobivala lour was known by the name Armenian red (bolus Armenus, Raby 1989: 23), bila je tek sekundarna djelatnost koja se po- oak leaf (foliated), made after Chinese porcelain from the
se iz bakrenog oksida. Iz iste se osnove izvodila i maslinasto- Armenian bole), and, apart from its decorative purpose, it stupno razvijala iz najranijih formi, usko vezanih uz sakral- Ming dynasty (cat. no. 1, 2, 3, 6, 7, 24) or a flat rim (cat. no. 8,
zelena boja, koja se uz ljubiastu dobivenu iz oksida manga- was also used in medicine (Atasoy, Raby 1989: 59; Kovai nu arhitekturu. U 16. stoljeu izniko stolno posue postaje 9, 23, 35, 46, 47). Rare examples had a completely rounded
na, poinje upotrebljavati od 1540-ih. U drugoj polovici 16. 2012: 59). Somewhat later, as a contrast to bright red, emer- sve omiljenije, ne samo u okviru dvora i osmanske elite, ve form similar to a plate, with a slightly overt flat rim (cat. no.
stoljea uvodi se nova, koraljno crvena boja izuzetnog sjaja. ald green was introduced, that was obtained from a copper i u irem puku te se stoga i repertoar oblika postepeno iri. 4, 5). The dimensions of the dishes varied from 35 to 28 cm
Rije je o gustom premazu od gline izrazito crvene boje oxide with a larger percentage of iron oxide. In the begin- Tome je pridonijela i popularnost ovog posua u Europi, in diameter, and, from the year 1570, dishes of similar forms
zbog velikog postotka eljeznog oksida. Za razliku od drugih ning of Iznik production, the outlines of the drawing were zbog ega izniki keramiari u skladu sa zahtjevima novog but smaller in dimensions started to appear. Two such
boja nije se nanosila potezom kista, ve poput voska cjevi- done exclusively in cobalt blue, and in the second quarter trita uvode i neke europske oblike. examples found in the ships cargo (cat. no. 33, 34) had the
com u debelom, reljefnom sloju (Atasoy, Raby 1989: 58). Ra- of the 16th century a greenish gray colour was introduced, Zdjele za serviranje hrane (tabak) bile su najza- diameter of merely 17.7 cm and a small receptacle, protrud-
nija uporaba ove boje zabiljeena je u bizantskoj keramikoj while in the second half of the 16th century black was used stupljenije u iznikoj proizvodnji stolnog posua. Najee ing rim and a small foot.
tradiciji od 10. do kasnog 13. stoljea, a prvi datirani primjer for the same purpose, obtained from a chromium base, and su imale duboki recipijent zaobljene forme s ravnim dnom, A dish on a high foot - tazza (ayakli tabak/ts) of a
na iznikoj keramici javlja se na keramikim oblogama zi- applied in thin precise lines similar to the outlines on the malu prstenastu nogu i iroki obod valovito oblikovanog rounder form with a flat bottom, a higher ring-like or a con-
dova Sulejmanove damije i grobnice njegove ene Hasseki illustrations on illuminated manuscripts (Denny 2004: 49; ruba nalik hrastovom listu (foliated) po uzoru na kineski por- ic foot and a flat or a foliated rim is the only form in Iznik
Hrrem izgraene oko 1556. godine. U srednjovjekovnoj i Kovai 2012: 58). culan dinastije Ming (kat. br. 1, 2, 3, 6, 7, 24) ili pak ravni rub production that has no prototype in Chinese or Islamic
renesansnoj Europi ova je boja bila poznata pod nazivom The painting was followed by coating with a trans- (kat. br. 8, 9, 23, 35, 46, 47). Rjei su bili primjerci potpuno forms. It is an original Ottoman vessel form that was used
armenska crvena (bolus Armenus, Armenian bole), a osim u de- parent glaze made from a lead oxide, silicon dioxide, soda zaobljene forme nalik plitici, blago uvuenog ravnog oboda in everyday life for serving food. The earlier examples were
58 59
(kat. br. 4, 5). Dimenzije zdjela su varirale od 35 do 28 cm u of larger dimensions2, while the second half of the 16th cen- tehnici, najee s rubnim prepletom ili frizom uzastopnih (cat. no. 48. 49, 50, 51, 52, 53).
promjeru, a od 1570. godine pojavljuju se zdjele sline forme tury is dominated by vessels of smaller diameters (fig. 29). ruyi motiva4 na tankom, ravnom obodu (kat. br. 10, 11, 30, 31, Apart from the listed forms representing the ships cargo,
ali manjih dimenzija. Dva takva primjerka pronaena u te- All known examples of tazza, were decorated exclusively in 32, 38, 39, 40, 41, 42, 43, 44, 45). other forms of vessels were also made, like objects of sacral
retu broda (kat. br. 33, 34) imala su promjer tek 17,7 cm, mali the blue and white technique (cat. no. 25, 26, 27, 28, 29, 37). Zdjelice (skre, badya) iz kojih se jela tekua i djelomino character: lamps (kandil), hanging ornaments of circular and
zaobljeni recipijent, istaknuti ravni obod i malu noicu. Deep bowls with a lid (kapakli kse/skre) of a hemi- tekua hrana bile su polukrunog oblika na prstenastoj oval form and large dishes on a foot, used as basins for ritual
Zdjela na visokoj nozi - tazza (ayakli tabak/ts) zaobljene for- spherical or oval form with a higher or lower ring-like foot noici s ravnim, blago rastvorenim ili uvuenim obodom. washing (ayakli leen/ayakl tasi). From the typical oriental
me s ravnim dnom, viom prstenastom ili koninom nogom were used for serving partially liquid dishes such as sorbet, Oblik i ukras u plavo-bijeloj izvedbi ukazuju da su proizale shapes pots and jars (kavanos) for preserving food appear,
te ravnog ili valovitog oboda jedini je oblik u iznikoj proi- compote or turu, so it can be assumed that they were a iz kineskih porculanskih prototipa. Iako su se izvodile u vie as well as jugs with a long spout (ibrik), bulb-shaped water
zvodnji bez prototipa u kineskim i islamskim oblicima. Rije part of a set of bowls used for dining (Atasoy, Raby: 45). To dimenzija, zdjelice iz tereta broda bile su promjera od 12 do bottles (srahi) with a long neck and small bowls for drink-
je o originalnom osmanskom obliku posude za svakodnev- this day, the shipwreck yielded one hemispherical lid 28.6 13 cm i visine oko 6 cm (kat. br. 48. 49, 50, 51, 52, 53). ing coffee (fican).
nu uporabu iznoenja hrane na stol. Raniji su primjerci bili cm in diameter with a ring-like bulge used for attaching to Osim navedenih oblika zastupljenih u teretu broda, Some shapes were taken from European prototypes,
veih dimenzija2, dok u drugoj polovici 16. stoljea domini- the lower part of a bowl (cat. no. 36). The lid is not whole; it proizvodili su se i drugi oblici poput predmeta religioznog such as tondino - an Italian dish with a small and rounded re-
raju primjerci manjeg promjera (sl. 29). Svi poznati primjerci is missing a profiled dome-like tip with a small handle. To karaktera: svjetiljke (kandil), visei ornamenti krune i oval- ceptacle, and a wide almost horizontal rim and a cylindrical
tazza bili su ukraeni iskljuivo u plavobijeloj tehnici (kat. the present day the bottom part of the vessel has not been ne forme i velike zdjele na nozi koje su se upotrebljavale kao ewer- marapa, with an angular handle, the shape of which
br. 25, 26, 27, 28, 29, 37). found, but according to analogous vessels3, the lid belonged bazeni za obredno pranje (ayakli leen/ayakl tasi). Od tipino is based on wooden and leather originals characteristic of
Duboke zdjele s poklopcem (kapakli kse/skre), po- to a deep bowl on a foot. orijentalnih oblika javljaju se lonci ili upovi (kavanos) za Central Europe. From the atypical forms, Iznik workshops
lukrune ili ovalne forme, s viom ili niom prstenastom no- Vessels meant for pouring fluids (bardak), jugs and uvanje hrane, vrevi s dugim kljunom za izljev (ibrik), boce made candlesticks (amdan), inkpots and pen holder boxes
gom sluile su za serviranje djelomino tekuih jela poput bulb-shaped pitchers with a long neck, a single handle and za vodu (srahi) lukoviastog oblika i dugog vrata te zdjelice (kalemdan, divit/devat) (Atasoy, Raby 1989: 48).
erbeta, kompota ili turije, stoga se moe pretpostaviti da a ring-like foot appeared around the year 1510, and their za ispijanje kave (fincan).
su bile sastavni dio servisa sa zdjelicama iz kojih se jelo (Ata- shape remained unchanged until the end of the production Neki su oblici preuzeti od europskih prototipa, Styles and Influences
soy, Raby: 45). Na brodolomu je do sada pronaen jedan po- in the 17th century (Atasoy, Raby 1989: 47; Kovai 2012: 56), poput tondina, talijanske zdjele malog, zaobljenog recipi-
klopac polukrune forme promjera 28,6 cm s prstenastom but in different dimensions and decorative styles (fig. 27; jenta i irokog, gotovo vodoravnog oboda, te cilindrinog After the conquest of Constantinople in the times of
istakom na dnu radi uglavljivanja u donji recipijent (kat. br. cat. no. 12, 13, 14, 15, 16). The mouth of the jug was covered kraga, marapa, s uglatom rukom, iji se oblik temelji na Mehmed the Conqueror (1451-1481) began the rise, the
36). Poklopac nije cjelovit, ve mu nedostaje profilirani vrh by a small lid of conic or rounded shape with a protruding drvenim ili konim originalima karakteristinim za srednju expansion, and the power of the Ottoman Empire. The
nalik manjoj kupoli s ruicom. Do sada nije pronaen donji oval or circular handle (cat. no. 17, 18, 19, 20, 21, 22). Europu. Od netipinih oblika, iznike radionice proizvodile founding of a new capital asked for a new Ottoman style,
dio posude, no prema analognim primjercima3, poklopac je Shallow plates (sahan) with a flat bottom, a thin rim su svijenjake (amdan), tintarnice i kutije za uvanje pera which would be reflected in architecture and other artistic
pripadao dubokoj zdjeli na nozi. and a ring-like foot appear continuously in documents from (kalemdan, divit/devat) (Atasoy, Raby 1989: 48). branches such as pottery or metal ware, illuminated manu-
Posude za natakanje (bardak) odnosno vrevi ili the 16th to the 18th century, but it seems that their wide scripts, representative fabrics or other luxury objects. The
bokali lukoviastog oblika, dugog vrata s jednom rukom i use in iznik production began in the last third of the 16th Stilovi i utjecaji purpose of this sumptuous style was the emphasizing of im-
prstenastom noicom pojavili su se oko 1510. godine i zadr- century (Atasoy, Raby 1989: 44). The ships cargo had many perial power, wealth and influence, in order for it to devel-
ali u gotovo nepromijenjenom obliku do kraja proizvodnje variations of these vessels, decorated in polychromous or Nakon osvajanja Konstantinopola u vrijeme Mehmeda II. op under the auspice and privilege of the Court. The main
u 17. stoljeu (Atasoy, Raby 1989: 47; Kovai 2012: 56), ali u blue and white technique, often with cabling or ruyi4 bor- Osvajaa (1451. - 1481.) poinje uspon, irenje i mo Osman- institution that dictated new trends and created decorative
razliitim dimenzijama i ukrasnim stilovima (kat. br. 12, 13, ders on a thin, flat rim (cat. no. 10, 11, 30, 31, 32, 38, 39, 40, 41, skoga carstva. Utemeljenje nove prijestolnice zahtijevalo patterns for all branches of art was the imperial designer
14, 15, 16). Otvor vra pokrivao se malim poklopcem koni- 42, 43, 44, 45). je i novi osmanski stilski izriaj, koji bi se odraavao u workshop, (nakkahane), employing talented men (Ehli Hiref)
ne ili zaobljene forme s istaknutom ovalnom ili krunom Small bowls (skre, badya) used for serving liquid or arhitektonskim zdanjima i u drugim umjetnikim granama led by the main artist of the Court (Baba Nakka - the father
ruicom (kat. br. 17, 18, 19, 20, 21, 22). semi-liquid food, were of hemispherical shape, standing on poput keramikog i metalnog posua, iluminiranih rukopi- of design) (Kovai 2012: 52).
Plitki se tanjuri (sahan) ravnog dna s tankim obodom a small ring-like foot with a mildly opened, inverted or flat sa, reprezentativnog tekstila i drugih luksuznih predmeta. That also instigated the development of ceramic
i prstenastom noicom bez prekida pojavljuju u dokumen- rim. The shape and decoration in blue and white technique Svrha ovog raskonog dvorskog stila bila je isticanje vladar- workshops and the production of high-quality local ce-
tima od 16. do poetka 18. stoljea, no ini se da njihova ira point to a Chinese porcelain prototype. Although they were ske moi, bogatstva i utjecaja, stoga se on morao razvijati ramic products: ceramic wall tiles for new buildings, sacral
proizvodnja u Izniku zapoinje u zadnjoj treini 16. stolje- made in different dimensions, the bowls from the ships pod okriljem i povlasticama dvora. Glavna institucija koja objects and luxury tableware, whose role was to match the
a (Atasoy, Raby 1989: 44). U teretu broda pojavljuju se u cargo were 12 to 13 cm in diameter and about 6 cm in height je diktirala nove trendove i kreirala dekorativne uzorke za very popular and expensive blue painted Chinese porce-
brojnim varijacijama, ukraeni u viebojnoj ili plavo-bijeloj sve grane umjetnosti bila je dvorska dizajnerska radionica lain, which was an irreplaceable part of the Ottoman court
2 An earlier completely preserved example from the Metropolitan Museum nakkahane, u kojoj su radili Ehli Hiref (talentirani ljudi) protocol and was popular with the Ottoman elite. For the
dated between 1525 and 1535 is 36 cm in diameter (Atasoy Raby 1989, 126) production, the town of choice was Iznik, which had a long
2 Raniji cjeloviti primjerak pohranjen u muzeju Metropolitan, datiran u 3 Bilgi 2009, mer M. Ko collection, Istanbul. Br.176.; Sadberk Hanim
1525./35. g., promjera je 36 cm (Atasoy Raby 1989: 126). Museum, Istanbul SHM 17770. br.247.
tradition of pottery production, an abundance of natural
3 Bilgi 2009, Omer M. Ko collection, Istanbul. br. 176.; Sadberk Hanim 4 It was also decribed by some authors as a frieze with semi rosettes 4 U literaturi se dekoracija u ovoj formi opisivala i kao friz s polurozetama resources necessary for the production of ceramic bodies,
Museum, Istanbul SHM 17770. br. 247. (Atasoy Raby 1989) (Atasoy Raby 1989) minerals for glaze and colours, wood for fuel and water
60 61
pod vodstvom glavnog dvorskog umjetnika Baba Nakka resources, as was in close proximity to the capital (Denny nazvanog jo i kineski oblaci ili thci trake6 (Demirel 2003: developed them in a new, specific expression, which grew
(otac dizajna) (Kovai 2012: 52) 2004: 59). The production in Iznik developed with ease 65) Iako su ovi predloci ponekad gotovo doslovno kopirani, into a unique classical Iznik style of the 16th and the 17th
Iz istog je razloga bio potaknut razvoj keramikih under the auspice and privileges of the Sultan, so that the majstori Iznika ih usvajaju u brojnim varijantama i razvijaju century.
radionica i proizvodnja visoko kvalitetne domae keramike: amount and the quality of the production, as well as artistic u novom, osebujnom izriaju koji prerasta u jedinstven i
keramikih obloga za nova arhitektonska zdanja, liturgij- styles, followed the demands and trends of the court. They prepoznatljiv klasini izniki stil 16. i 17. stoljea. Development phases of the ceramic production in Iznik
skih predmeta i luksuznog stolnog posua koje je trebalo strived towards producing prestigious tableware of large
konkurirati vrlo popularnom i skupom plavo oslikanom dimensions, complex design and quality in order for it to Razvojne faze keramike proizvodnje Iznika During the 16th century, the style of Izniks ceramic
kineskom porculanu, do tada nezamjenjivom u protokolu bare greater resemblance to Chinese porcelain. Neverthe- products gradually changed, which is reflected in the five
osmanskoga dvora i uz to omiljenom u krugu osmanske less, the forms and decorations on these objects reflected Tijekom 16. stoljea stil keramikih proizvoda Iznika po- decorative phases from which only the earliest one is not
elite. Kao centar proizvodnje izabran je upravo grad Iznik other influences, like the Timurid and Trkmen tradi- stepeno se mijenja to se odraava u pet dekorativnih faza represented on the pottery found on the shipwreck. Cer-
zbog duge tradicije keramike proizvodnje, obilja prirodnih tion brought to the Court by the Iranian artists - masters od kojih samo najranija nije zastupljena na posuu pro- tain phases cannot be clearly distinguished, and there is
sirovina potrebnih za izradu keramikoga tijela, minerala za from Herat and Tabriz (Denny 2004: 36). It is represented naenom na brodolomu. Pojedine faze ponekad je teko often an overlap in dates, considering the fact that different
glazure i boje, drva za gorivo kao i vodenih resursa, a ujedno by richly decorated Islamic metal ware and illuminated jasno ralaniti, budui da se neki stilovi paralelno razvijaju, styles sometimes developed simultaneously, often be-
je grad bio i dovoljno blizu novoj prijestolnici (Denny 2004: manuscripts (Carswell 2006: 21-29) which influenced the uglavnom zbog dvorskih umjetnika, koji dolaze iz razliitih cause of innovative Court artists who came from different
59). Proizvodnja Iznika se nesmetano razvijala pod okriljem development of forms and motifs of Iznik pottery, while kulturnih sredina i uvrijeene umjetnike stilove obogauju cultural backgrounds and enriched the inveterate artistic
i povlasticama sultana, stoga su koliina i kvaliteta proi- in the technological and conceptual sense, the production novim idejama. Razvojne faze i stilovi iznikog posua data- styles with new influences. The datation of developmental
zvodnje kao i umjetniki stilovi slijedili zahtjeve i trendove was greatly influenced by the production of glazed ceramic cijski se najee oslanjaju na dekoraciju keramikih obloga phases and styles of Iznik pottery often relies on decora-
dvora. Nastojalo se proizvoditi prestino posue velikih wall tiles decorated in blue and white, as well as a substrate na zidovima arhitektonskih zdanja jer su najee apsolutno tion on ceramic wall tiles on buildings that often have an
dimenzija, sloenog dizajna i kvalitetne izvedbe kako bi to of earlier pottery production. One part of the production datirana i popraena bogatom arhivskom graom. Krono- absolute date and rich archival documentation. However,
vie nalikovalo kineskom porculanu. Ipak oblici i dekoracija aspired towards direct acquisition of Chinese porcelain logija bazirana na arhitekturi uvjetovana je i nedostatnom the chronology based on architecture is conditioned by a
keramikih predmeta odraavali su i druge utjecaje u kojima patterns from the period of the Yuan and Ming dynasties of koliinom iznikoga materijala pronaenog u intaktnim lack of Iznik finds discovered at intact archaeological sites
se prepoznaje timuridska i turkmenska tradicija koju u Car- the 14th and 15th centuries, in characteristic forms and blue arheolokim cjelinama ili unutar apsolutno datiranih stra- or within a stratigraphic layer with an absolute date. That
stvo donose iranski umjetnici, dvorski majstori iz Herata i and white decoration while the other adapted the Chinese tigrafskih slojeva. Razlog tome su brojni razarajui poari i is due to the numerous disastrous fires and earthquakes
Tabriza (Denny 2004: 36). Nju predstavlja bogato ukraeno motifs to the prevailing Ottoman court style (Denny 2004: potresi to su pustoili Istanbul, a pri emu je uniten velik which, during the course of history, devastated Istanbul, de-
islamsko metalno posue i iluminirani rukopisi (Carswell 61). The decorative compositions mostly represent the unity dio keramike grae. Drugi imbenik koji je doveo do izni- stroying a lot of ceramic material. Another factor that led to
2006: 21-29) koji su utjecali na razvoj oblika i motiva izni- of two main elements, rumy and hatayi. Etymologically rumi mno male koliine iznikog posua na podruju Istanbula i the exceptionally small number of Iznik pottery in Istanbul
koga posua, dok je u tehnolokom i konceptualnom smislu or Rum meant the New Rome, the Eastern Roman Empire uope dananje Turske7 je opsesija Europljana orijentalnom and the present day Republic of Turkey7 is the obsession
najvie utjecala tradicija izrade keramikih obloga prekrive- or the Byzantine Empire (Akar 1988: 9), that is the Rum robom u 18. i 19. stoljeu. Europski su trgovci, putnici i with oriental merchandise in Europe during the 18th and
nih engobom, oslikanih u plavo-bijeloj dekoraciji i supstrat kingdom in Anatolia, which was repealed by the Seljuk. The diplomati uz drugu orijentalnu robu iz Osmanskoga carstva 19th centuries. The European merchants, travellers and
ranije proizvodnje keramikoga posua. Jedan je dio proi- motif is of Islamic origin, comprised of thick scrolls of elon- odnosili i izniko posue stvarajui tako bogate privatne diplomats brought, among other goods from the Ottoman
zvodnje teio izravnom preuzimanju kineskih porculanskih gated leaves with pointy tips in the form of an arabesque zbirke koje s vremenom postaju osnova zbirki iznike kera- Empire, Iznik pottery, thus creating rich private collections
predloaka iz razdoblja Yuan i rane Ming dinastije 14. i 15. (Kovai 2012: 60). The other group of motifs, hatayi, Cha- mike najveih suvremenih svjetskih muzeja (Atasoy, Raby which became the basis for the collections of Iznik pottery
stoljea, u karakteristinim oblicima i plavo-bijeloj dekora- tayan, meaning from China, is comprised of stylized floral 1989: 18)8 in the largest museums today (Atasoy, Raby 1989, 18)8.
ciji, dok je drugi prilagodio pojedine kineske motive tada Chinese decorative motifs such as the lotus flower, chrysan- U 20. stoljeu u Turskoj sve vie raste svijest o During the 20th century, the awareness about historical
prevladavajuem osmanskom dvorskom stilu (Denny 2004: themum and peony on convolute branches often painted povijesnoj i kulturnoj batini, a tako i spoznaja o vrijednosti and cultural heritage was at a rise in Turkey, as well as the
61). Dekorativne kompozicije su u veini predstavljale za- in combination with other Chinese motifs such as radial iznike keramike kao predstavnika nacionalnog turskog recognition of the value of Iznik pottery as a representation
jednitvo dvaju glavnih elemenata, rumy i hatayi. Etimoloki ruyi5 friezes, knots and stylized dragon motifs, known as umjetnikog i stilskog izriaja, nastalog na vrhuncu moi of Turkeys national artistic style that shone the brightest
rumi ili Rum znailo bi Novi Rim, Istono Rimsko Carstvo ili the cloud band (tchi, i cloud)6 (Demirel 2003: 65). Although
Bizant (Akar 1988: 9), odnosno kraljevstvo Rum u Anatoliji, these patterns were sometimes almost literally copied, the
a koje su dokinuli Selduci (Seluk). Motiv je islamskog po- artists in Iznik adopted them in a number of variants and 5 Motiv s trostrukim zavretkom u radijalnoj shemi ruyi, u kineskoj 7 The finest examples of Iznik tableware were found outside the borders
tradiciji predstavlja ezlo. Vezan je uz mudrost, a simbolizira dug ivot of todays Turkey, on the territory of Damascus, Jerusalem and Alexandria
drijetla, a ini ga gusti splet izduljenih listova iljatih vrhova i sreu. Stilizirana glava ezla postaje omiljeni dekorativni motiv na (Atasoy, Raby 1989, 15)
u formi arabeske (Kovai 2012: 60). Drugu grupu usvojenih kineskom porculanu (Passos Leite - Queiroz Ribeiro 2009: 81). 8 To the present day over 3000 whole examples of Iznik pottery have been
motiva hatayi, Cathayan, u prijevodu iz Kine ine stilizira- 5 The motif with a triple end in a radial scheme - ruyi, represented the 6 U starijoj literaturi (Atasoy Raby 1989) ovaj se motiv interpretirao kao: recorded, and they belong to the collections of the largest museums in the
ni cvjetni kineski dekorativni motivi u vidu lotosovog cvije- sceptre in Chinese tradition. It is connected to wisdom and symbolized kineski oblaci (chinese cloud), trakasti oblaci (cloud band) i i oblaci (tchi world, such as the Metropolitan Museum of Art in New York, the Louvre in
long life and happiness. The stylized head of a sceptre became a popular cloud) ili i traka (tchi band) Paris, the British Museum, Victoria & Albert Museum in London, Calouste
ta, krizantema i boura na vitiastim granama koji se esto motif on Chinese porcelain (Passos Leite - Queiroz Ribeiro 2009: 81) 7 Najljepi su primjerci iznikog posua pronaeni izvan granica dananje Gulbenkian Foundation in Lisbon, Benaki Museum of Islamic Art in Athens,
slikaju u kombinaciji s drugim kineskim motivima poput 6 In earlier literature (Atasoy, Raby 1989) similar motifs were interpreted Turske, na podruju Damaska, Jeruzalema i Aleksandrije (Atasoy Raby Museum of Islamic Art in Cairo, Museum fr islamiche Kunst in Berlin and
radijalnih ruyi5 frizova, uzlova ili stiliziranog motiva zmaja, as: chinese cloud, cloud band, tchi cloud or tchi band. 1989: 15). others, as well as in numerous private collections

62 63
Osmanskoga carstva. Na osnovu brojnih sustavnih i zatit- at the peak of power of the Ottoman Empire. Based on
nih istraivanja, posebno na podruju stare jezgre Istanbula numerous systematic and rescue research carried out in
(Atasoy, Raby 1989:18)9 i grada Iznika (Kirmizi 2014:4-5)10 te the old core of Istanbul9 (Atasoy, Raby 1989, 18) and Iznik
prikupljanjem predmeta iz cijeloga svijeta, nastaju velike (Kirmizi 2014:4-5), and by collecting objects from all over
zbirke iznike keramike i na podruju Turske11. Na kerami- the world, big collections of Iznik10 pottery were created in
koj grai objedinjenoj iz ovih zbirki zasnivalo se prouavanje Turkey11. The pottery from these collections was the basis
razvoja i kronologija proizvodnje te terminologija stilova i for the studies on the development and chronology of the
oblika iznike keramike, do sada najiscrpnije obraenih u production, as well as the terminology of styles and forms
djelu Nurhan Atasoy i Juliana Rabyja, pod nazivom Iznik: of Iznik pottery that are for now most comprehensively
The Pottery of Ottoman Turkey izdanoj u Londonu 1989. described in the works of Nurhan Atasoy nad Julian Raby
godine. called Iznik: The Pottery of Ottoman Turkey, published in
Kako bi se lake pratio razvoj iznike keramike, kro- London in 1989.
noloki ju je mogue podijeliti u pet osnovnih dekorativnih For easier tracking of the development of Iznik
faza koje se nadalje mogu ralaniti na istovremene umjet- ceramic production, it can be divided into five basic decora-
nike stilove: tive phases, which can then be split into contemporaneous
artistic styles:
1. rana plavo bijela keramika - period Baba Nakka stila
(1480. 1530.); 1. EARLY BLUE AND WHITE CERAMIC - period of Baba Nakka
2. eksperimentalni, prelazni period (1520. 1530./40.); style (1480-1530);
3. saz stil ili iluzija prirode - period umjetnika Shah 2. EXPERIMENTAL OR TRANSITIONAL PERIOD (1520-1530/40)
Kulua (1535. 1557.); 3. SAZ STYLE OR THE ILLUSION OF NATURE - period of the
4. cvjetni naturalizam i polikromija - period umjetnika artist Shah Kulu (1535-1557)
Kara Memija (1557. - 1610.) i kasna plavo- bijela keramika 4. FLORAL STYLE AND POLYCHROMY - period of the artist Kara
5. dekadencija stila i opadanje kvalitete iznikog posu- Memi (1557-1610) AND THE LATE BLUE AND WHITE POTTERY
a (1590-1680) 5. DECLINE OF THE STYLE AND THE DECREASE IN QUALITY OF
IZNIK POTTERY (1590-1680)
Rana plavo bijela keramika (1480.1530.)
Period Baba Nakka stila Early blue and white ceramic (1480-1530)
Period of Baba Nakka style
Poetak razvoja iznike proizvodnje i prva razvojna faza stila
do sada nisu zabiljeeni u teretu broda. Najraniji su primjer- The beginning of Iznik production and the first phase in the
ci nastali pod oitim pokroviteljstvom i povlasticama sulta- development of the style have not been recorded within
the ships cargo. The earliest examples were made under
the obvious patronage and privileges of the Sultan, starting
8 Do danas je evidentirano preko 3000 cjelovitih primjeraka iznikog form Mehmed the Conqueror (1451-1481), Bayezid II (1481-
posua, a pripadaju zbirkama najveih svjetskih muzeja poput 1512) and Selim I (1512-1520), to the beginning of the rule
Metropolitan Museum of Art u New Yorku, Louvre (Muse du Louvre) u
Parizu, British Museum, Victoria&Albert Museum u Londonu, Calouste
of Suleiman the Magnificent (1520-1566). The prevailing
Gulbenkian Foundation u Lisabonu, Benaki Museum of Islamic Art u Ateni, forms are of sacral character: lamps, hanging ornaments,
Museum of Islamic Art u Kairu, Museum fr islamiche Kunst u Berlinu i u foot dishes and jugs for ritual washing and tableware of
drugima, kao i u brojnim privatnim zbirkama.
9 Arheoloka istraivanja na podruju Hipodroma, Sultanahmeta, Topkapi
palae, Sarahane, Yedikule, Aksaray, emberlita, Glhane i drugih 9 Archaeological research on the Hippodrome, Sultanhamet, the Tokapi
lokaliteta. Palace, Sarahane, Yedikule, Aksaray, emberlita, Glhane and other sites
10 Istraivanja keramikih pei u gradu Izniku na lokalitetima: Rimski 10 Research on pottery kilns in Iznik on the Roman theatre, Orhan Imaret
teatar, Damija Orhana Imareta, Belediye Hamami, Klaslan, Nilfer Hatun Mosque, Belediye Hamami, Klaslan, Nilfer Hatun Imareti
Imareti 11 The collection of the Tokapi Palace Musrum in Istanbul, the inil Kk
11 Zbirka Topkapi Palace Museum u Istanbulu, inili Kk zbirka collection of the Archaeological Museum in Istanbul, Museums in Iznik
Arheolokog muzeja u Istanbulu, Muzej u Izniku i Bursi te privatne zbirke and Bursa, and in private collections Sadberk Hanm Museum, mer Ko Sl. 23. Najranija faza proizvodnje grada Iznika: Baba Nakka stil, Iznik oko 1480, (iz Atasoy, Raby 1989: fig. 279)
Sadberk Hanm Museum i mer Ko Collection u Istanbulu i dr. Collection in Istanbul etc. Fig. 23. The earliest phase of Iznik production: Baba Nakka style, Iznik circa 1480, ( from Atasoy, Raby 1989: 279)

64 65
na, poevi od Mehmeda II. Osvajaa (1451. - 1481.), Bayezida Eksperimentalni ili prijelazni period (1520. 1530./40.) other branches of art developing under the Courts auspice,
II. (1481. - 1512.), Selima I. (1512. - 1520.) do poetka vladavine (Sl. 24) the pottery was called the Baba Nakka ware (Atasoy, Raby
Sulejmana Velianstvenog (1520. - 1566.). Od oblika prevla- 1989: 96).
davaju predmeti sakralnog karaktera: svjetiljke, visei or- Od poetka vladavine sultana Sulejmana Velianstvenog Towards the 1510s, the style is no longer so detailed, and the
namenti, zdjele i vrevi za obredno pranje te stolno posue 1520., keramiari Iznika uvode promjene u tehnikom motifs become bigger and simpler. At the same time differ-
veih dimenzija poput zdjela i tanjura za posluivanje. i estetskom smislu. Osim motiva kreiranih u dvorskim ent artistic expressions can be recognized, which J. Raby,
Oblike i dekoraciju crpili su iz uzora poput kineskog pla- radionicama nakkahane, motivi se preuzimaju iz drugih based on their characteristics, calls the style of the Master
vo-bijelog porculana, islamskih metalnih formi omiljenih grana umjetnosti da bi ih majstori umjetnici kombinirali u of the Knots and the style of the Master of the Lotuses
na osmanskom dvoru i tradicije izrade keramikih obloga vlastitim dekorativnim shemama. Ovo razdoblje, koje traje (Atasoy, Raby 1989: 94-100). The first phase of Iznik pottery
prekrivenih engobom i oslikanih u plavo-bijeloj dekoraciji, do 1530./40. godine, naziva se i eksperimentalni ili prelazni is dated based on painted wall tiles on the buildings in the
koju su u Carstvo donijeli iranski keramiari majstori iz period jer se istovremeno razvija vie stilistikih smjerova: royal cemetery in Bursa, the tomb of Shehzade Mehmed
Tabriza (Atasoy, Raby 1989: 81). Slikana dekoracija izvodila nastavak Baba Nakka stila, potom tzv. turake spiralni (The son of Bayezid II) from 1506/7, the tomb of Shehzade
se u bijelim tonovima na plavoj pozadini ili u razliitim ni- stil (1525./50. 1600.), jaki utjecaj kineskog porculana (1530. Ahmed (brother of Selim I) from 1513 and nine lamps from
jansama kobaltnoplave boje na bijeloj pozadini ispod sjajne - 1620.), stil keramiara (the Potters style) i nagovijetaj saz the tomb of Bayezid II dated to the same year (Carswell
glazure dok sloene dekorativne kompozicije predstavljaju stila, koji je obiljeio sljedeu razvojnu fazu iznike proi- 2006: 36-37; Atasoy, Raby 1989: 90).
zajednitvo dvaju glavnih elemenata, rumy i hatayi (sl. 23). zvodnje (Atasoy, Raby 1989:, 101-102). Uz druge inovacije, uz
Crte je minuciozan, precizan i vjeto osjenjen, gotovo kobaltnoplavu pojavljuje se i tirkizna boja i time zapoinje Experimental or transitional period (1520-1530/40)
trodimenzionalan, a ine ga cvjetovi i pupoljci na tankim viebojnost u ukraavanju. (fig. 24)
peteljkama izmeu kojih se ispreplie lisna arabeska, uzlovi, Sl. 24. Zdjele ukraene u turake spiralnom stilu, s ukrasom preuzetim Krajem 1520-ih godina pojavio se vrlo apstraktni stil
stilizirani zmajevi, ruyi frizovi i emse motivi nalik kartui. s kineskog porculana, Iznik, 16. stoljee s minuciozno izvedenim ukrasom sastavljenim od fino izve- From the beginning of Sultan Suleiman the Magnificents
Razliite kompozicije katkad su se nizale u zonama, a njih Fig. 24. Dishes decorated in turake spiral style, with decoration denih spiralnih vitica obogaenih sljedovima sitnih rozeta rule in 1520, the pottery makers in Iznik started introduc-
su razdvajale dekorativne trake s osmanskim motivom adopted from Chinese porcelain, Iznik, 16th century te listia u obliku zareza, polu krunica i S vitica, slikanih u ing changes in both a technical and aesthetical sense. Apart
zencerek, nalik viestrukom prepletu u obliku lanca (Demirel kobaltnoplavoj boji na bijeloj pozadini. Poetkom 20. sto- from the motifs created by Court workshops, nakkahane,
2003: 66) ili su se pak radijalno irile u motivu kola sree larger dimensions, like dishes and platters. The forms ljea ta je grupa keramike nazvana Golden Horn ware zbog motifs were taken from other branches of art, and the arti-
te bile popraene kaligrafskim natpisom. Istovremeno s and decorations were taken from Chinese blue and white brojnih ulomaka pronaenih prilikom iskopavanja lokaliteta sans combined them in their own creative ways. This peri-
rumy i hatayi stilom razvija se stil ukraavanja iluminiranih porcelain, Islamic metal forms popular with the Ottoman Sirkeci i Aksaray na podruju povijesne jezgre Istanbula od, which lasted until the 1530s - 1540s, is also called the ex-
knjiga (tezhip) koji uvodi i razvija glavni dvorski umjetnik Court and the tradition of making glazed wall tiles painted poznatoj kao Golden Horn. To su potkrijepili i povijesni perimental or the transitional period, because a number of
pod nazivom Baba Nakka (Bilgi 2009: 25). Budui da je in blue and white, brought to the Empire by the Iranian izvori u kojima se spominju keramike pei na Golden Hor- stylistic trends were being developed: the continuation of
njegov stil imao veliki utjecaj na sve ostale grane umjetnosti pottery-masters from Tabriz (Atasoy, Raby 1989: 81). The nu 1604. i 1640. godine, a neki je povezuju i s keramikim the Baba Nakka period, the so called turake spiral style
to su se razvijale pod okriljem dvora, tako se i keramika painted decoration was carried out in white tones on a blue radionicama koje spominje Evliya elebi u svojem Putopi- (1525/50-1600), the strong influence of Chinese porcelain
ovog razdoblja naziva Baba Nakka ware (Atasoy, Raby background or in different shades of cobalt blue on a white su Seyahatnama iz 17. stoljea (Bigli 2009: 27). Pokazalo se (1530-1620), the Potters style and the first traces of the Saz
1989: 96). Prema 1510-im godinama stil vie nije tako minu- background under a shiny transparent glaze, while complex da radionice na Golden Hornu nisu proizvodile glaziranu style which will mark the next phase in the development
ciozan, a motivi postaju vei i jednostavniji. Istovremeno se decorative compositions represent the unity of two main i kvarcnu keramiku, a tezu o proizvodnji u Istanbulu opo- of Iznik pottery (Atasoy, Raby 1989:, 101-102) Among other
prepoznaju i razliiti izriaji koje J. Raby prema osnovnim elements - rumy and hatayi (fig. 23). The drawing is detailed, vrgnula su i kasnija istraivanja keramikih pei u Izniku, innovations, the colour turquoise appears alongside cobalt
karakteristikama naziva stil majstora uzlova (Master of the precise and skilfully shaded, almost three-dimensional, and gdje je pronaen veliki broj slino ukraenih ulomaka. Iako blue, marking the beginning of polychrome decoration.
Knots) i stil majstora lotosa (Master of the Lotuses) (Atasoy, is comprised of flowers and buds on thin stems with an su istraivanja potvrdila da se ova keramika proizvodila u An almost abstract style appeared at the end of the
Raby 1989: 94-100). Prva faza iznike keramike datirana je intertwining leaf arabesques, knots, ruyi friezes, stylized Izniku, jedna boca, srahi, ukraena u istom stilu, iz zbirke 1520s, which included detailed decorations composed of
na osnovu oslikanih keramikih obloga na arhitektonskim dragon motifs and the emse, a cartouche-like motif. Differ- Godman Collection British Museuma, nosi natpis na armen- meticulous spiral scrolls enriched with series of tiny ro-
zdanjima vladarskoga groblja u Bursi, na grobnici Shehza- ent compositions would sometimes thread in zones, sepa- skom u kojemu stoji da Biskup Ter Martiros 1529. godine settes and comma-shaped leafs, semicircles and S-scrolls,
de Mehmeda (sina Bayezida II.) iz 1506./07., na grobnici rated with decorative bands with the zencerek motif, resem- alje srahi izraen u Ktahyi kao votivni dar samostanu sv. painted in cobalt blue on a white surface. At the beginning
Shehzade Ahmeda (brata Selima I.) iz 1513. i na devet lampi bling a multiple-braided chain (Demirel 2003: 66), or would Bogorodice u Ankari (Bigli 2009: 28; Carswell 2006: 47). To of the 20th century this group was called Golden Horn
iz grobnice Bayezida II. iz iste godine (Carswell 2006: 36-37; radially spread in the wheel of fortune motif, sometimes dokazuje da izrada keramike ovog stila nije bila ograniena ware due to a large number of fragments found during
Atasoy, Raby 1989: 90). followed by a short calligraphic inscription. Parallel with samo na proizvodnju Iznika te da se poetkom 16. stoljea excavations of the Sirkeci and Aksaray sites in the historic
the rumy and hatayi style, a style of decorating illuminated proizvodnja odvijala i u drugim keramiarskim centrima po- core of Istanbul-the Golden Horn. It was substantiated by
books (tehzip) was being developed, introduced and educed put Ktahye, sve dok radionice Iznika nisu preuzele vodee historical sources that mention pottery kilns in Golden
by the main court artist called Baba Nakka (Bilgi 2009: 25). mjesto, zbog bolje povezanosti i blizine prijestolnici odakle Horn in 1604 and 1640, and the pottery was also connected
Considering the fact that his style had a huge influence on su se proizvodi distribuirali na ire trite (Carswell 2006: 48). to the kilns mentioned by Evliya elebi in his Book of Trav-

66 67
Budui da se slini spiralni motivi javljaju na iluminiranoj els (Seyahatnama) dated to the 17th century (Bigli 2009: 27). ukraenih sitnim rozetama, listovima i S viticama. Po sre- imitated it on their own pottery in Ligurian majolica work-
pozadini ture - vladarskog monograma sultana Sulejmana Research has shown that workshops in Golden Horn never ditu oblog bijelog cavetta nalazi se tanki stilizirani vjeni shops (Carswell 2006: 103) and the blue berettina majolica
Velianstvenog a ija je izrada bila povjerena vrhunskim produced glazed and fritta pottery, and the assumption that rozeta, dok du oboda s valovitim rubom tee valoviti friz s (Kovai 2012: 63). On the other hand, indulging the new
iluminatorima zvanima turake, J. Raby je preimenovala stil it was produced in Istanbul was disproved by later research nizom zakrivljenih, listova i cvjetnih vjenia (Zmai Kralj market demands, the Iznik potters embraced certain forms
u turake spiralni stil (Atasoy, Raby 1989: 108-113). on pottery kilns from Iznik, where a large number of sim- 2014: 67-68). S vanjske strane cavetto je u potpunosti pre- of Italian descend, such as the tondino plate with a smaller
Keramika ukraena u ovom stilu doivjela je vrhu- ilarly decorated fragments were found. Although research kriven dekoracijom cvjetnog prepleta izvedenog u duhu receptacle and a wide, almost horizontal rim, that was often
nac izmeu 1525. i 1550. godine, najee u obliku zdjela, has shown that the pottery decorated in this style was made prethodnog Baba Nakka stila, to potvruje nastavak i decorated in the turake style.
vreva, boca i bazena za obredno pranje, istui se velikim in Iznik, one bottle, srahi, from the Godman collection of odanost tradiciji dvorskog stila, kao i pripadnost proizvodnji Two dishes decorated in the turake spiral style
dimenzijama, kvalitetnom i savrenom preciznou kod the British Museum, was decorated in the same style and keramikih radionica Iznika (Atasoy, Raby 1989: 113). Iako je were recovered from the ships cargo (fig. 24; cat. no. 1, 2).
izvedbe dekoracije i detalja. U skladu s opim razvitkom bears an inscription in Armenian stating that Bishop Ter brodolom datiran u zadnju etvrtinu 16. stoljea ini se da The dishes are almost identical in proportions, decoration
iznike proizvodnje tijekom 30-ih te 40-ih godina 16. stolje- Martiros sent the srahi made in Kthaya as a votive gift to dvije turake zdjele iz tereta broda, prema besprijekornoj and detail, so it can be assumed that the objects made in
a uz osnovnu kobaltnoplavu dekoraciju poinju se pojav- the monastery of the Holy Mother of God in Ankara (Bigli kvaliteti izrade, konceptu dekoracije te vanjskoj strani posu- this style were produced in series, with the help of stencils
ljivati detalji u tirkiznoj i konture u maslinastozelenoj boji 2009, 28; Carswell 2006, 47). This vessel proves that this de ukraenoj u duhu Baba Nakka stila, pripadaju ranijem and templates that came from the workshops of the Otto-
(Carswell 2006: 50). Zbog svoje gotovo grafike jednostav- style was not limited only to Iznik production, but that kind razdoblju, u prvu polovicu 16. stoljea. Istovjetna zdjela valo- man Court. They are large, with a complex design and of
nosti i profinjenosti stil se nastavlja primjenjivati i kasnije te of pottery was being made in other ceramic centres such vitog ruba, identinih dimenzija i gotovo jednake dekoracije, high-quality, which tells us that they were made for elite
u mnogobrojnim inaicama opstaje sve do kraja 16. stoljea. as Kthaya, until the workshops in Iznik took the leading datirana u 1530./40. godinu nalazi se u kolekciji CL David clients. Both dishes have a deep rounded body set on a
Keramika ukraena u ovome stilu bila je prisutna na iro- position, due to their closer connections and proximity to u Copenhagenu, inv.no. 43/1973. (Atasoy, Raby 1989: 111, sl. low ring-like foot and a wide foliated rim, similar to Ming
kom podruju Osmanskog carstva, du Anatolije, Egipta i the capital, from where their products were distributed to 139). dynasty porcelain. They have cobalt blue paint on a white
Rumelije (zapadni, balkanski dio Osmanskog carstva) i izvan the wider market (Carswell 2006, 48). Kako bi zadovoljili dvorsku naklonost prema plavo surface done in an excellent technical and aesthetic man-
njega, to je potvreno s vie ulomaka pronaenih na po- Given that similar spiral motifs appear on the illu- oslikanom kineskom porculanu, keramiari Iznika poinju ner under a shiny transparent glaze. The decoration on the
druju Dubrovnika, (Kovai 2012: 63,72,73; kat. br. 2, 3.), a minated background of the tura - the imperial monogram proizvoditi keramiku s doslovno kopiranim oblicima i deko- interior is conceptualized in zones with a central circular
predstavlja i prvu osmansku keramiku za koju je poznato da of the Sultan Suleiman the Magnificent which was entrust- racijama s kineskog porculana. Omiljene predloke pred- field filled with a group of seven identical spirals decorated
se izvozila u Italiju. Tijekom 2. polovice 16. stoljea keramika ed to the chief illuminators called turake, J. Raby named stavljao je porculan iz vremena Yuan i rane Ming dinastije 14. with tiny rosettes, leaves and S-scrolls. In the centre of the
u ovom stilu postaje sve popularnija na Zapadu, stoga je ve- the style the turake spiral style (Atasoy, Raby 1989: 108- i 15. stoljea, budui je u 15. stoljeu na dvorovima islamskih round white cavetto there is a small stylized wreath of tiny
necijanski i enoveki trgovci uvoze prvenstveno za italsko 113). vladara Bliskog istoka bio visoko cijenjen. Ondje je porcu- rosettes, while an undulating frieze decorated with curved,
trite, a potom distribuiraju u ostale dijelove Europe ili Pottery decorated in this style reached its peak lan u vidu trgovake robe ili diplomatskih poklona stizao u pointy leaves and flower garlands runs along the foliated
pak imitiraju na vlastitoj keramici u ligurijskim radionicama between 1525 and 1550, generally in the forms of dishes, velikom broju (Allan 1991: 52), sve do opsade Tabriza (1514.), rim (Zmai Kralj 2014: 67-68). On the exterior, the cavetto
majolike (Carswell 2006: 103) i na plavoj berettina majolici jugs, bottles and basins for ritual washing which stood out Damaska i Kaira12 (1517.) u vrijeme sultana Selima I. (1512. - is completely covered with a decoration of flower scroll
(Kovai 2012: 63). S druge strane, podilazei novom tri- because of their large dimensions, quality and perfectly 1520.), kada uz ostali ratni plijen dospijeva na osmanski painted in the preceding Baba Nakka style, which con-
tu, izniki majstori preuzimaju pojedine keramike oblike precise decorations and detail. In line with the general dvor i postaje nenadmano cijenjeno posue u krugovima firms the continuation and devotion to the tradition of the
talijanskog podrijetla, primjerice tondino tanjur, zaobljenog development of the Iznik production in the 30s and 40s, de- osmanske elite. Osnovni motivi i kompozicije na kineskom Court style, as well as affiliation to Iznik pottery workshops
manjeg recipijenta i irokog, gotovo vodoravnog oboda, koje tails in turquoise and outlines in olive green begin to appear porculanu koji su inspirirali dvorske umjetnike i keramiare (Atasoy, Raby 1989: 113). Although the shipwreck was dated
su esto ukraavali upravo u turake stilu. alongside the basic cobalt blue (Carswell 2006: 50). Due to grada Iznika bili su: friz s uzburkanim valovima i cvjetnim to the last quarter of the 16th century, it seems that the two
U teretu broda pronaene su dvije zdjele s dekora- its almost graphic simplicity and sophistication, the style prepletom na obodu te prikaz cvjetnog prepleta, trsa vinove turake dishes from the ships cargo, with their impeccable
cijom izvedenom u spiralnom turake stilu (sl. 24; kat. br. 1, was applied in later periods and survived in the form of nu- loze s grozdovima i buketa lotosa u sredinjem ukrasnom quality, concept of decoration and the exterior decorated in
2). Zdjele su gotovo identine u proporcijama, dekoraciji i u merous variations until the end of the 16th century. Pottery polju. Oni se u poetku shematski kombiniraju i primjenjuju the Baba Nakka style, belong to an earlier period, the first
detaljima, stoga se moe pretpostaviti da su se predmeti u decorated in this style was distributed over a wide area of na odreenim oblicima posuda, dok ih u zadnjoj etvrtini half of the 16th century. That is confirmed by a similar dish
ovom stilu izraivali serijski, uz pomo matrica i predloa- the Ottoman Empire, along Anatolia, Egypt and Rumelia 16. stoljea majstori umjetnici Iznika poinju prilagoavati with a foliated rim which has the same dimensions and an
ka iz dvorskih umjetnikih radionica. Velikih su dimenzija, (the western part of the Ottoman Empire, encompassing vlastitim kreacijama na osmanskim formama posua te uz almost identical decoration, dated to the 1530 or 1540 from
sloenog dizajna i kvalitetne izvedbe, to govori da su bile most of the Balkans) and beyond, as attested to by multi- nove motive i boje (kat. br. 23, 27). the CL David Collection in Copenhagen (inv. no. 43/1973)
namijenjene elitnoj klijenteli. Obje imaju duboko zaobljeno ple fragments found in the Dubrovnik area (Kovai 2012: Najzastupljeniji motiv preuzet s porculana Yuan di- (Atasoy, Raby 1989: 111, sl. 139).
tijelo poloeno na nisku prstenastu nogu i iroki obod s 63,72,73; cat. no 2, 3.), It was also the first Ottoman pottery nastije iz sredine 14. stoljea je dekorativni friz na irokom To please the Courts fondness for the Chinese blue
valovito oblikovanim rubom. Oslikane su u kobaltnopla- known to be exported to Italy. During the second half of painted porcelain, the potters in Iznik started producing a
voj boji na bijeloj pozadini u izvrsnoj tehnikoj i estetskoj the 16th century, pottery made in this style became more group of pottery that almost completely adopted the forms
12 Suvremeni izvori prenose da je nakon opsade Kaira preko tisuu deva
maniri ispod sjajne, prozirne glazure. S unutarnje strane and more popular in the West, so the merchants from Ven- prenosilo ratni plijen u Istanbul, meu kojim je bilo na stotine komada and decorations of Chinese porcelain. The favoured tem-
dekoracija je koncipirana u zonama s centralnim krunim ice and Genoa imported it primarily for the Italian market, kineskog porculana od kojega su bili vredniji tek zlato, srebro i oruje (Allan plate was the Yuan and the early Ming dynasty porcelain
poljem, ispunjenim grupom od sedam istovjetnih spirala and, from there, distributed it to other parts of Europe or 1991: 52). of the 14th and the 15th centuries, which was held in high
68 69
obodu posuda u obliku uzburkanih valova koji se razbijaju regard by the 15th-century Islamic rulers in the Near East. izvedenim u smaragdnozelenoj boji koja u upotrebu dolazi found at the shipwreck almost intact (cat. no. 3). The centre
o stijene (kat. br. 3, 7, 8, 9, 23, 24, 25, 26, 35, 37, 46, 47). Ovaj The porcelain was brought in large numbers as a trading tek u drugoj polovici 16. stoljea (Atasoy, Raby 1989: 69, 89). of the decorative field has a lotus flower surrounded by
stilizirani, gotovo grafiki motiv predstavlja idealan okvir good or a diplomatic gift (Allan 1991: 52), to the siege of Zdjele sa sredinjim prikazom buketa lotosa ta- seven flowers in a rich scroll. The rim of the vessel is deco-
za sredinji statini crte (Kovai 2012: 62). ine ga naiz- Tabriz (1514), Damascus and Cairo (1517)12 during the rule of koer su se izvodila u dvije varijante, sa irokim obodom u rated with the rock and wave border. On the exterior of the
mjenino postavljena bijela polja u obliku vala, grupe sitnih Sultan Selim I (1512-1520) at the same time it arrived to the formi hrastovog lista ili s ravnim rubom poput plitice. Sre- dish the decoration is reduced to the series of alternating
spirala u predstavi morske pjene te trostruke kreste to po- Ottoman Court along with other spoils of war and became dinje ukrasno polje ispunjava cvijet lotosa na stabljici, oko individual intamani motifs and buds. The flower scroll
put triglifa ralanjuju friz. Ovaj je motiv na ranim iznikim equally valued among the Ottoman elite. The basic motifs kojega se ire pupoljci, cvjetovi i listovi. U jednoj varijanti na was applied in blue and white techniques to the end of Iznik
primjercima slikan kobaltnoplavom, gotovo naturalistiki, and compositions found on porcelain which inspired Court cavettu zdjele oko centralnog prikaza se radijalno iri ruyi production, and it was applied on the original Ottoman
nalik onima s kineskih predloaka. Tijekom vremena sve je workshops and potters from Iznik were: a border with a friz, a na obodu se ponovno javlja motiv uzburkanih valova, forms, that were not derived from the Chinese repertoire of
vie stiliziran i ukraen novim bojama, dok je na ponekim rock and wavemotif and a flower scroll on the rim, and dok se u drugoj varijanti, na posudama u obliku plitice, oko shapes (cat. no. 26, 27).
kasnijim primjercima izveden nemarno, u gotovo neprepo- presentation of the flower scroll, bunch of grapes and sredinjeg prikaza ponovno javlja cvjetni preplet. Poput The next model from the Ming dynasty of the 15th
znatljivoj formi (kat. br. 39). a bouquet of lotus flowers on the central drawing. In the mnogih i ovaj motiv se u plavobijeloj izvedbi i u brojnim century that fascinated the artisans in Iznik was a dish with
Jedan od omiljenih predloaka preuzet s porculana beginning they were combined schematically and applied interpretacijama zadrao sve do kraja iznike proizvodnje u a depiction of the bunches of grapes . The dish was made
Ming dinastije ranog 15. stoljea je cvjetni preplet koji se naj- on certain vessel types, while in the last quarter of the 16th 17. stoljeu (kat. br. 24, 25). in two variants: in the round form with a wide foliated
ee pojavljuje na zdjelama irokog oboda u formi hrasto- century, the artisans in Iznik started adapting them to their U 1520-im i 30-im godinama pojavit e se jo dva rim, or with a flat rim in a form of platter (Atasoy Raby
vog lista. Dekoracija u sredinjem ukrasnom polju pred- own creations on Ottoman vessel forms with new motifs dekorativna pravca bitna za daljnji razvoj iznike proizvod- 1989: 121). The central decoration field in both versions was
stavlja preplet uvijenih grana s cvjetovima lotosa, boura, and colours (cat. no. 23, 27). nje. U vrijeme kada tradicionalni kulturni i umjetniki dominated by a motif of three vines and a bunch of grapes
rua, krizantema ili nara u profilu ili u vodoravnom pogledu. The most common motif taken from the 14th cen- centri bliskog istoka Herat, Tabriz, Damask i Kairo dolaze surrounded by leaves and scrolls of vine. The cavetto had
Uokolo oblog cavetta redaju se istaknuta polja s malim cvjet- tury Yuan dynasty porcelain is a decorative border on a wide pod osmansku vlast, brojni dvorski umjetnici i obrtnici s decoration fields with small flower bouquets and a foliated
nim aranmanima, a du oboda friz s cvjetnim vijencem ili rim in the shape of waves crashing against rocks (cat. no. 3, toga podruja slijevaju se u Istanbul i sa sobom donose nove rim with the wave border, and in the second variant a flow-
motivom uzburkanih valova. 7, 8, 9, 23, 24, 25, 26. 35, 37, 46, 47). This stylized and almost stilove i utjecaje. Jedan od njih, Shah Kulu zapoinje svoju er scroll around the central drawing. This composition was
Dekoracija s cvjetnim preletom nalazi se na plavobi- graphic motif represents the ideal frame for the static karijeru dvorskog umjetnika poetkom vladavine Sulejmana kept in the later Iznik production with almost no changes
jeloj zdjeli s malom noicom i irokim obodom u formi hra- central drawing (Kovai 2012: 62). It is made of alternating Velianstvenog (1520. - 1566.) i uvodi smjernice novog stila but with the appearance of new colours. This is shown on a
stova lista (kat. br. 3) koja je na brodolomu pronaena gotovo white fields in the shape of wave, a group of tiny spirals in koji je obiljeilo sljedeu razvojnu fazu iznike keramike. dish fragment from the ships cargo (cat. no. 23), which has
u cijelosti. U sreditu ukrasnog polja nalazi se cvijet lotosa the representation of the sea foam and a triple crest that Druga bitna pojava je keramika oslikana u potpuno novom a central depiction of a bunch of grapes, flower bouquets on
okruen sa sedam cvjetova u bogatom prepletu. Na obodu je divides the frieze as a triglyph. On early Iznik vessels, this duhu s jednostavno izvedenim motivima na posuu manjih the cavetto and the wave border on the rim as well as details
friz s motivom uzburkanih valova, a s vanjske strane posude motif was painted in cobalt blue, almost naturalistically, like dimenzija. Sredinje kompozicije se izvode u vertikalnoj osi applied in emerald green, a colour that was not introduced
jednostavan ukras sveden na niz naizmjenino postavljenih the one on the Chinese templates. In time it became more s novim repertoarom cvijea: malim tulipanima, karanfilima until the second half of the 16th century (Atasoy, Raby 1989:
pojedinanih intamani motiva i pupoljka. Cvjetni preplet stylized and was enriched with new colours, while the later i zumbulima najee postavljenima simetrino u vazama 69, 89).
zadrao se u plavobijeloj izvedbi do kraja iznike proizvod- examples shows a sloppy, almost unrecognizable form (kat. ili vrevima na malim stolovima. J. Raby ovaj stil naziva ke- The dish with a central motif of a bouquet of lotus
nje, a primjenjivao se i na izvorno osmanskim oblicima, koji br. 39). ramiarski stil ili Potters style (Atasoy, Raby 1989: 115-120), flowers was also made in two variants: with a wide foliated
nisu potjecali iz kineskog repertoara oblika (kat. br. 26, 27). One of the popular templates taken from the Ming kako bi neovisan duh keramiara u odnosu na konvencio- rim or flat rim in the form of platter. The central decora-
Sljedei model iz vremena Ming dinastije 15. stolje- dynasty porcelain of the early 15th century is the flower nalnu dvorsku umjetnost. Iako je stil trajao relativno kratko tion field was filled with a lotus flower on a stem with buds,
a koji je opinio majstore Iznika bila je zdjela s prikazom scroll which appears mostly on dishes with a wide foliat- i nije bio zastupljen na keramikim oblogama monumental- flowers and small leaves expanding from it. One variant has
vinovog trsa. Zdjela se izvodila u dvije varijante: oble forme ed rim. The motif in the central decoration field includes nih arhitektonskih zdanja, znaajan je jer otkriva odstupa- a ruyi frieze radially expanding around the central drawing,
s irokim obodom u formi hrastovog lista ili s ravnim rubom a scroll of branches with flowers of lotus, peonies, roses, nje od dizajna po diktatu dvora. Razvoju stila pridonijela je and the wave border on the rim, while the second variant,
u obliku plitice (Atasoy Raby 1989: 121). U oba sluaja u chrysanthemum or pomegranate in vertical and horizontal dvorska sklonost luksuznom i skupom kineskom porculanu, present on dishes in the form of a platter, has a flower scroll
sredinjem ukrasnom polju dominirao je motiv s tri trsa i view. Accentuated fields with small flower bouquets run to je prisililo keramiare da sputanjem kvalitete i repre- around the central drawing. Like many others, this mo-
grozda okrueni liem i viticama vinove loze. Oko sredi- around the round cavetto and a flower garland or the rock zentativnosti posua smanje cijene i tako otvore trite tif was also applied in blue and white and lasted, in many
njeg prikaza, na cavettu se nalaze dekorativna polja s malim and wave border flow along the rim. novim kupcima (Bigli 2009, 28; Atasoy, Raby 1989: 118). interpretations, to the end of Iznik production in the 17th
cvjetnim aranmanima i obod u formi hrastovog lista s mo- Decoration with a flower scroll appears on a blue century (cat. no. 24, 25).
tivom uzburkanih valova, a u drugoj varijanti cvjetni preplet. and white dish on a small foot with a wide foliated rim Saz stil ili iluzija prirode (1535. 1557.) Two more decorative trends relevant for the further
Ova kompozicija zadrava se i u kasnijoj proizvodnji Iznika Period umjetnika Shah Kulua (sl. 25) development of Iznik production appeared during the
gotovo nepromijenjena, ali uz upliv novih boja. To je vidljivo 1520s and the 1530s. At a time when traditional cultural and
12 Contemporary sources state that almost nine thousand camels
na ulomku zdjele iz tereta broda sa sredinjim prikazom vi- transported the spoils of war after the siege of Cairo, including hundreds
U drugoj etvrtini 16. stoljea javlja se dekorativni stil saz art centers of the Near East - Herat, Tabriz, Damascus and
novog trsa i grozdova (kat. br. 23), cvjetnim aranmanima na of pieces of Chinese porcelain, the price of which was surpassed only by ili hatayi, koji je obiljeio dvorsku umjetnost u vrijeme Cairo, came under Ottoman rule, numerous court artists
cavettu te motivom uzburkanih valova na obodu i detaljima that of gold, silver and weapons; Allan 1991, 52 vladavine sultana Sulejmana Velianstvenog. Saz stil je u and craftsmen from that area came to Istanbul bringing
70 71
Sl. 25. Zdjele ukraene u Saz stilu, skih bia ili pak krilati aneli peri, u kombinaciji s velikim Saz style or the illusion of nature (1535-1557)
period umjetnika Shah Kulua, zakrivljenim i nazubljenim ili paperjastim liem i velikim Period of the artist Shah Kulu (fig. 25)
Iznik, 1530 - 1560 cvjetovima sloenih oblika. Prizori gotovo imaginarnog bilja
Fig. 25. Dishes decorated in the u saz stilu postali su najpopularnija dekorativna znaajka In the second quarter of the 16th century a new decorative
Saz style period of the artist
nakon 1540-ih i primjenjuju se u svim granama dvorske style appeared which would mark Court art during the
Shah Kulu, Iznik, 1530 1560
umjetnosti, na iluminiranim rukopisima, ukrasnim predme- reign of Sultan Suleiman the Magnificent - the Saz or
tima od zlata, srebra, kristala i ada, na vladarskom oruju hatayi style. The Saz style was brought into Ottoman art
i oklopima, svilenim kaftanima vladarske obitelji, dekoru by Shah Kulu, an artist from Bagdad who was educated at
i sagovima te na keramikim oblogama i stolnom posuu the Persian court in Tabriz by the famous master Aqa Mirak.
(Atil 1987: 24-33). After he was exiled from the Persian court he temporarily
Na iznikoj keramici ovaj inovativni stilski izriaj stayed in Amasya in Anatolia until 1520 or 1521, after which
pojavljuje se i ranije, no nakon 1540-ih postaje okosnica he came to the court in Istanbul where he soon became
osmanske likovne umjetnosti i osnova na kojoj e se for- ser-blk, a leader of a group of artists of from Anatolia.13 The
mirati klasini izniki stil. Karakteriziraju ga iluzionistika, peak of his fame was in 1545 when he became the nakabai,
gotovo trodimenzionalna umjetnika ostvarenja i upotreba the head designer in the imperial designer workshops, nak-
ire palete boja. Uz kobaltnoplavu i tirkiznu uvodi se man- kaane, where he remained to his death around 1555 (Denny
ganskoljubiasta, maslinastozelena, blijedo siva te zelenka- 2004: 33).
stocrna kojom se izvode konture crtea (Carswell 2006: 63). The style was named after the curved and serrated
Kompozicije na posuu mogu biti centralne, sa sredinjim leaf saz that, in Ottoman art, represented a mythical en-
ukrasom koji predstavlja iluziju prirode s raznim biljem, chanted forest and imaginary world rich in flora and fauna,
ponekad ukomponiranu s hatayi motivima. Istovremeno, reflecting the echoes of the shamanic beliefs of Central Asia
sve se vie primjenjuje vertikalni koncept sredinjeg deko- (Atil 1987: 24-33). In Turkish, the word saz means swamp
rativnog polja s naturalistiki izvedenim buketima tulipana, reed, which was used as a kalem - an oriental calligraphic
osmansku umjetnost uveo Shah Kulu, umjetnik porijeklom new styles and influences. One of them, Shah Kulu, start- zumbula, ipka, artioke i rua koji proizlaze iz grma na dnu pen (Denny 2004: 33-36). The repertoire originally included
iz Bagdada nakon to je naobrazbu stekao na perzijskom ed his career as a court artist at the beginning of the rule ukrasnog polja. Sloena dekoracija s vanjske strane posude exotic birds, wild creatures such as lions, Chinese drag-
dvoru u Tabrizu kod slavnoga majstora Aqa Miraka. Nakon of Suleiman the Magnificent (1520-1566) and introduced iz ranijih faza (kat. br. 1, 2) svela se na slijed stiliziranih, naiz- ons and other mythical creatures, or winged angels - peri,
to je prognan s perzijskog dvora, privremeno je boravio u guidelines for the new style that marked the next phase of mjenino postavljenih rozeta, kitica cvijea i drugih jedno- combined with large curved and serrated or feathered
Amasyi u Anatoliji do 1520./21. godine. Potom dolazi na dvor Iznik pottery development. A second important phenom- stavnih motiva (kat. br. 6, 7). Keramika ukraena u ovom leaves and large composite flowers. Depictions of almost
u Istanbul gdje vrlo brzo postaje ser-blk, voditelj skupine enon is a group of pottery decorated in a completely new stilu nazivala se i damakom keramikom (Damascus ware) imaginary plants in the Saz style became the most popular
slikara anatolijskog podrijetla.13 Vrhunac slave doivio je style including simpler motifs which appeared on smaller zbog dekorativnih motiva i kompozicija slinih onima na decorative feature after the 1540s and were applied in all
1545. godine kada postaje nakabai, glavni dizajner dvorskih vessels. The central compositions are made along a vertical keramikim zidnim oblogama arhitektonskih zdanja u Da- branches of Court art, on illuminated manuscripts, decora-
dizajnerskih radionica nakkahane, u kojima je djelovao sve axis with a new repertoire of flowers: small tulips, carna- masku (Bigli 2009: 28; Maury 2008: 120). Kasnija istraivanja tive objects made of gold, silver, crystal and jade, on impe-
do svoje smrti oko 1555. godine (Denny 2004: 33). tions and hyacinths placed symmetrically in vases or jugs keramikih pei u Izniku pokazala su da se radi o proizvo- rial weapons and armours, silk kaftans of the royal family,
Stil je nazvan prema zakrivljenom i nazubljenom on small tables. J. Raby calls this the Potters style (Atasoy, dima iznikih radionica. Kao u prethodnoj fazi, pojavljuje decor and carpets, as well as on ceramic tiles and tableware
listu saz koji u osmanskoj umjetnosti simboliki predstav- Raby 1989: 115-120), to accentuate the independent spirit of se nekoliko suvremenih stilova. od kojih se tri razliita stila (Atil 1987: 24-33).
lja mitsku arobnu umu, imaginarni svijet bogat florom the potters applying this type of decoration. Although the mogu prepoznati na zdjelama iz terta broda (sl. 25). This innovative style appeared on Iznik pottery
i faunom u kojemu se odraavaju odjeci amanskih vje- style lasted for a relatively short time and was not repre- Poetna plavotirkizna faza saz stila javlja se na earlier, but after the 1540s it became the framework for the
rovanja Srednje Azije (Atil 1987: 24-33). Na turskom rije sented on ceramic tiles on monumental architecture, it is dvije gotovo identine zdjele oble forme, na maloj noici i Ottoman visual arts and the ground on which the classical
saz oznaava i movarnu trsku, koja je izvorno sluila kao significant because it uncovers a deflection from the design bez istaknutog oboda, poput plitice (sl. 25; kat. br. 4, 5). Za Iznik style would begin to form. It is characterized by an
kalem, orijentalno kaligrafsko pisalo (Denny 2004: 33-36). U dictated by the Court. The development of this style was razliku od prethodnih stilova gdje je oito prisutan horror illusionistic, almost three-dimensional works of art and a
repertoar prikaza izvorno su bile ukljuene egzotine ptice, contributed to by the Courts affinity towards luxurious vacui, novi trend upuuje na ekonomino koritenje ukrasa. use of a wider palette of colours. Alongside cobalt blue and
divlja stvorenja poput lavova, kineskih zmajeva i drugih mit- and expensive Chinese porcelain, which forced the potters Takoer se povrina cijele posude poinje tretirati kao jedin- turquoise, manganese purple, olive green, pale gray were
to lower the prices by reducing the quality and prestige of stvena, neprekinuta ukrasna ploha, bez odvojenih ukrasnih
the vessels and thus creating a market for new, buyers (Bigli zona (Zmai Kralj 2014: 70). Cenatralni motiv je veliki list
13 Do sredine 16. stoljea nakkahane se dijeli na dva razliita odjela, 13 Up to the middle of the 16th century, the nakkahane were divided into two
2009, 28; Atasoy, Raby 1989: 118). platane (chinar) s okruglim plodovima uokolo kojega je ras-
Rumiyn skupinu umjetnika anatolijskog podrijetla i Ajemn skupinu different departments: the Rumiyn group of artists of Anatolian descent
umjetnika koji nisu orijentalnog podrijetla kao to su majstori s franakog i poreeno osam istovjetnih, manjih listova koji se izmjenjuju and the Ajemn group who were not of oriental descent, including the artists
maarskog podruja. s jednostrukim i dvostrakim viticama (kat. br. 4). from the area of France and Hungary.

72 73
 Na vanjskoj povrini posude u naizmjeninom nizu pojav- introduced, with greenish black used for the outlines of the polovicu 16. stoljea. Sredinji prizor s vertikalnom kom- Jerusalem, and is kept today in the British Museum in Lon-
ljuju se stilizirani motivi zmaja. Druga zdjela (kat. br. 5) drawing (Carswell 2006: 63). The compositions on the ves- pozicijom cvjetnog aranmana obuhvaa cijelu unutranju don (Carswell 2006: 67). The name of the same artist was re-
je gotovo identina po obliku, dimenzijama i konceptu sels are central with a decoration representing the illusion povrinu posude, po prvi put u kombinaciji s kineskim corded on a fragment of a bottom of a dish found during the
dekoracije, no uz nekoliko razlika: sredinji je motiv lista of nature with various plants, sometimes combined with motivom uzburkanih valova na obodu. Ovaj inovativni stil excavations of a pottery kiln in Iznik, and it is mentioned
sada okruen sa est listova koji se izmjenjuju s stiliziranim hatayi motifs. At the same time, the vertical concept of the ogleda se na zdjeli s oblim cavettom i irokim obodom u for- in historical documents relating to the conflicts between
motivima zmaja i malim jednostrukim viticama, dok se s central decorative field with naturalistically done bouquets mi hrastovog lista (sl. 25; kat. br. 7). Sredinji prizor buketa potters in Iznik (Bigli 2009: 28). The lamp is decorated in
vanjske strane izmjenjuje lie platane i vitiasti stilizirani of tulips, hyacinths, rose hips, artichokes and roses that zumbula izveden u tirkiznoj, svijetloplavoj, ljubiastoj i ma- the rumi - hatayi style with rich arabesques intertwined
zmajevi. emerge from a tuft at the bottom of the decoration field slinastozelenoj boji prostire se na cijelu unutranjost posude in knots in combination with scrolling bands of stylized
U drugoj etvrtini esnaestog stoljea obnavlja was being applied more and more. Complex decorations i uokviren je obodom s motivom uzburkanih valova. Vanjska dragons, emse motifs in the shape of cartouches and flower
se repertoar ukrasa s naglaenim islamskim stilom i ara- from the exterior of the vessel found in earlier phases strana posude ukraena je gotovo identino prethodnom motifs. The same motifs appear on a circular hanging orna-
beskom, naslijeen iz poetne faze ukraavanja iznikog (cat. no. 1, 2) are reduced to a series of stylized, alternating primjerku (kat. br. 6), s naizmjeninim nizom rozeta i kiti- ment kept in the Benaki Museum in Athens (Carswell 2006:
posua. Prema potpisu umjetnika na oslikanoj lampi iz 1549. rosettes, bouquets and other, simpler, motifs (cat. no. 6,7). cama tulipana, to ih dovodi u vrlo blisku vezu i ukazuje na 68). All of the characteristics of the style can be seen on a
godine, stil je nazvan umjetniki krug Muslija (the Circle of Pottery decorated in this style was also called Damascus mogunost primjene potpuno razliitih stilova na posuda- dish from the ships cargo with a round cavetto and a wide
Musli) ( Atasoy, Raby 1989: 1135-138). Lampu je sultan Sulej- ware due to the decorative motifs and compositions similar ma izraenim u istoj radionici ili od ruke istog majstora. foliated rim, with application of new colours: turquoise,
man Velianstveni namijenio svetitu Kupola na stijeni u to the wall tiles on buildings in Damascus (Bigli 2009: 28; Od 40-ih godina 16. stoljea proizvodnja iznikih olive green, greenish black and manganese purple (cat.
Jeruzalemu u sklopu obnove svetih mjesta Meke, Medine i Maury 2008: 120). However, the recent research of the radionica sve se vie okree proizvodnji keramikih oblo- no. 6). The central arabesque motif, in the form of a four
Jeruzalema, a danas se nalazi u British Museumu u Londonu ceramic kilns in Iznik showed that this type of pottery was ga za arhitekturu, zahvaljujui tradiciji cuerda seca tehnike pointed star, is almost mirrored on the four sides of the
(Carswell 2006: 67). Ime istog umjetnika zabiljeeno je na product of the Iznik workshops. Just like in the previous (Carswell 2006: 73), koju u Istanbul donose perzijski majsto- dish. Around the central motif alternate the emse motifs
ulomku dna zdjele pronaene prilikom istraivanja kerami- phase, a several of styles co-existed in the same time, three ri i arhitektu Sinanu, na ijim se ranim graevinama javljaju filled with scrolling bands of stylized dragons and bouquets
ke pei u Izniku, a spominje se i u povijesnim dokumentima of which we can identify in the shipwreck cargo (fig. 25). obloge s elementima i koloritom saz stila. Iako se ini da of rosettes. A border of stylized lilies and the peleng motif
o sukobima iznikih keramiara (Bigli 2009: 28). Lampa je The initial blue and turquoise phase of the Saz se u poetku vie panje pridavalo izradi posua nego oblo- on the rim create with the central motifs a unique compo-
ukraena u rumi - hatayi stilu s bogatim arabeskama ispre- style appears on two almost identical round dishes on a ga, za dekoraciju su se koristile iste matrice, no s primjenom sition occupying the entire surface of the dish. The exterior
pletenima u vorove u kombinaciji sa stiliziranim motivima small foot and without an accentuated rim, like a platter manjeg raspona boja na oblogama (Atasoy, Raby 198: 218). side of the dish is decorated with an alternating series of
zmaja, emse motivom u obliku kartua i cvjetnim moti- (fig. 25; cat. no. 4, 5). Unlike the preceding styles with the Datacija stila stoga se moe osloniti, osim na ve rosettes and bouquets of tulips (Zmai Kralj 2014: 70).
vima, a istovjetni motivi ponavljaju se i na viseem orna- obvious horror vacui, the new trend is economical in its use spomenutu lampu umjetnika Muslija iz 1549. godine i na In the middle of the 16th century, from 1555 to 1560,
mentu krune forme koji se danas nalazi u Benaki muzeju of decoration. Also, the surface of the whole dish is treated brojna arhitektonska zdanja. U njih se ubraja kompleks s a style of a transitional character appeared, displaying ele-
u Ateni (Carswell 2006: 68). Sve znaajke stila ogledaju se like a unique, continuous surface, without separate deco- damijom Selima I., narudba Sulejmana Velianstvenog ments of the next phase. The style was called after the dom-
i na velikoj zdjeli iz tereta broda s oblim cavettom i irokim rative zones (Zmai Kralj 2014: 70). The cemtral motif is a te imaret posveen njegovoj eni Hasseki Hrem iz 1539. inant flower in the bouquet the Master of the Hyacinths
obodom u formi hrastovog lista, izvedenoj uz primjenu big oriental plane leaf (chinar) with round fruits and eight godine (Atasoy, Raby), a potom i poznata djela arhitekta Si- (Atasoy, Raby 1989, 135-138). The basic stylistic features and
novih boja tirkizne, maslinasto zelene, zelenkasto crne i identical smaller leaves surrounding it, alternating with nana, damija i grobnica njihovog sina ehzade Mehmeda iz the elements of the Saz group, the use of blue, turquoise,
mangansko ljubiaste (kat. br. 6). Sredinji motiv arabeske u single or double scrolls (cat. no. 4). The exterior surface of 1543./44. godine te portik damije Ibrahim Pae na Silvirka- purple and olive green with dark outlines, appear with the
formi etverokrake zvijezde se gotovo zrcalno odraava na the dish is decorated with alternating motifs of stylized piju iz 1551. godine (Necipolu 1990: 142-143). U istom stilu new tendencies characteristic for the decorative style of
etiri strane zdjele. Izmeu njih nalaze se etiri emse mo- dragons. The second dish (cat. no. 5) is almost identical in ukraene su i keramike ploice izraene 1540-ih i 1550-ih, the second half of the 16th century. The central drawing
tiva ispunjena stilliziranim zmajevima te kitice cvijea. Niz shape, dimensions, and the concept of decoration, but with naknadno postavljene u Snet Odasi, u paviljonu Topkapi with a vertical composition of a flower bouquet occupies
stiliziranih ljiljana i motiva tigrovih pruga - peleng na obodu a few differences; the central leaf motif is now surrounded palae te u interijeru hammama Yeni Kaplica u Bursi (Car- the entire surface of the vessel, with the Chinese wave
stapa se s ostalim motivima u jedinstvenu kompoziciju with six leaves alternating with stylized dragon motifs and swell 2006: 73). motif on the rim, appearing in this combination for the first
koja zauzima cijelu povrinu posude. Vanjska strana cavetta single scrolls, while smaller oriental plane leaves and styl- time. This innovative style appears on dish with a round
ukraena je naizmjeninim nizom rozeta i kiticama tulipana ized dragons alternate on the exterior. Cvjetni naturalizam i polikromija (1557. - 1610.) cavetto and a wide foliated rim (cat. no. 7) with the central
(Zmai Kralj 2014: 70). In the second quarter of the 16th century, the rep- Period umjetnika Kara Memija (sl. 26) scene of bouquet of hyacinths done in turquoise, light blue,
Sredinom 16. stoljea, od 1555. do 1560. godine, po- ertoire of decorations with an accentuated Islamic style and purple and olive green. A central scene occupies the entire
javljuje se stil prijelaznog karaktera s brojnim elementima the arabesque inherited from the initial decorative phase of U drugoj polovici 16. stoljea Osmansko carstvo pod vlada- interior of the vessel, framed with the wave border around
sljedee faze, nazvan majstor zumbula (the Master of the the iznik ceramic was being revived. Based on a signature vinom sultana Sulejmana Velianstvenog dostie politiki, the rim. The exterior of the dish is almost identical to (cat.
Hyacinths) (Atasoy, Raby 1989: 135-138), po dominantnom of an artist on a decorated lamp dated to 1549, the style was ekonomski i kulturni procvat. Pod okriljem dvora gradi se no. 6), with an alternating line of rosettes and bouquets of
cvijetu u cvjetnim aranmanima. Uz osnovne karakteri- called the Circle of Musli (Atasoy, Raby 1989: 1135-138). The veliki broj javnih monumentalnih arhitektonskih zdanja, a u tulips, which links them closely and possibly connects them
stike i stilske elemente grupe saz, poput upotrebe plave, lamp was ordered by Sultan Suleiman the Magnificent for skladu s novim trendovima u arhitekturi koje zastupa glavni to the same workshop or artist.
tirkizne, ljubiaste i maslinastozelene s tamnim obrisima, the sanctuary Dome of the Rock in Jerusalem as a part of dvorski arhitekt (mimarbai) Sinan, naruuju se ogromne During the 1540s, the production in Iznik work-
pojavljuju se nove tendencije karakteristine tek za drugu the rebuilding process of holy places in Mecca, Medina and koliine keramikih obloga iz Iznika, ne vie u cuerda seca shops started leaning increasingly towards making ceramic
74 75
 Sl. 26. Posue ukraeno u gozbe te razne sveanosti poput svadbi, ina obrezivanja i Floral style and polychromy (1557-1610)
viebojnom cvjetnom stilu i drugih obreda (goston, Masters 2009: 272). Cvijee je evo- Period of the artist Kara Memi (fig. 26)
apstraktnim kompozicijama, ciralo kuranski opis raja i rajskog vrta te simboliziralo dug i-
period umjetnika Kara Memija, vot i obilje. Tulipan, lle, anagram je muslimanskog imena za The second part of the 16th century was a period when the
druga polovica 16. stoljea Alaha, simbol njegove boanske manifestacije i izvora ivota Ottoman Empire, under the reign of Sultan Suleiman the
Fig. 26. Pottery decorated in
(Atasoy, Raby 1989: 223). Predstavljao je i vrlinu skromnosti Magnificent, reached its political, economic and cultural
the polychrome floral style and
abstract compositions, period pred Bogom, a u poeziji obraz voljene osobe (Dash 2001: 20). height. Numerous monumental buildings were erected
of the artist Kara Memi, Iznik, Karanfil, karanfil, je zbog dugog perioda cvatnje simbolizirao under the patronage of the Court, and a large number of
second half of the 16th century snagu i dug ivot. Na brojnim portretima, osmanski sultani wall tiles were being commissioned, in accordance with
i admirali u ruci dre karanfil, stoga se moe nagaati da je the new trends in architecture initiated by the Courts chief
ovaj cvijet imao i politiki smisao. U osmanskoj ljubavnoj architect (mimarbai) Sinan. The tiles were no longer made
poeziji 16. stoljea zumbul, smbl, je metafora za kovre in the cuerda seca tehnique, but in the Iznik tradition of
voljene osobe, a u pojedinim vjerskim djelima predstavlja the glazed fritta ceramic. The innovative decorative motifs
proroka Muhameda. Rua je jedan od najistaknutijih simbo- were designed in the art workshops of the Court and their
la islama te simbolizira boansku ljepotu i proroka Muhame- high-quality is reflected on Iznik table ware as well (Bigli
da, dok je ruina voda imala posebno znaenje u vjerskim 2009: 32).
obredima. Grane ljive u cvatu, karayemi, na prikazima Kara The initiator of this new decorative style was Kara
Memija najee obuhvaaju ostalo cvijee, simbolizirajui Memi, a student of Shah Kulu and his heir from 1557/58 as
tako obilje, a esta pojava na keramikim oblogama grobnica, the chief designer of the nakkaane who was also known
mogla bi upuivati na njihovu imaginaciju raja. Simbolino as an illuminator of the manuscript of Suleiman the Mag-
znaenje imalo je i drvo empresa, selvi takoer est prikaz nificent (Denny 2004: 41). On the basis of the preceding
na keramikim oblogama grobnica i damija. Saz style that originated from the Persian tradition, Kara
Kod osmanskih pjesnika ono je metafora za voljenu osobu, Memi developed a classical Ottoman style marked with
tehnici ve u iznikoj tradiciji glazirane kvarcne keramike. wall tiles for buildings, thanks to the tradition of the cuerda a ujedno simbolizira potenje i estitost (Denny 2004: 190, flower naturalism. The style was called the four flowers -
Inovativni dekorativni motivi osmiljeni u dvorskim umjet- seca technique (Carswell 2006: 73), brought to Istanbul by 223). Kako bi iskazao vlastitu identifikaciju s novim stilom kfe, after the favorite flowers cultivated in Ottoman
nikim radionicama i kvaliteta izvedbe odraavaju se i na the Persian potters from Tabriz and the architect Sinan, punim simbolike, Sulejman Velianstveni je od glavnog gardens: tulip, carnation, rose and hyacinth. The lotus, the
iznikom stolnom posuu (Bigli 2009: 32). whose early buildings were clad with tiles made with ele- dvorskog dizajnera, Kara Memija naruio izradu velikog chrysanthemum, the peony and the blooming plum tree,
Pokreta novog dekorativnog stila bio je Kara Memi, ments and colours of the Saz style. Although it seems that, vladarskog potpisa, tughru u novom cvjetnom i viebojnom taken from the Chinese motifs repertoire, appear alongside
uenik Shah Kulua i njegov nasljednik od 1557./58. na mjestu in the beginning, more attention was given to the produc- stilu, koja je neto poslije 1550. godine bila javno izloena them, as do the curved leaf - saz, honeysuckle, the lily of
glavnog dizajnera nakkahane, koji se ujedno proslavio tion of tableware than to that of wall tiles, the same stencils (Denny 2004: 41). Stil je obiljeen i uplivom novih boja, the valley, forget-me-nots and other field flowers, as well as
i kao slikar iluminiranih rukopisa sultana Sulejmana Veli- were used for decorations, but with a diminished range prvenstveno koraljno crvene i neto kasnije smaragdnoze- the cypress tree, often appear as the central vertical motif.
anstvenog (Denny 2004: 41). Na osnovu prethodnog Saz of colours used on the tiles (Atasoy, Raby 1989, 218). Along lene, a za vanjske konture crtea crne boje, poput tinte na The wide array of flower patterns, were influenced by not
stila proizalom iz perzijske tradicije, Kara Memi razvija with the aforementioned lamp made by the artist Musli in iluminiranim rukopisima. Koraljno crvena boja je u poetku only cultivated sorts of flowers and other plants, but also
klasini osmanski stil obiljeen cvjetnim naturalizmom. Stil 1549, the datation of this style can rely on many buildings. nanoena u tankom sloju kao i ostale boje, no rezultat je bio by drawings from famous European herbaria of the 16th
je nazvan etiri cvijeta - kfe, prema omiljenom cvijeu This includes the Sultan Selim complex with the Yavuz nezadovoljavajui, trag boje bio je neujednaen i djelomino century14. Apart from the decorative, the flower style had a
uzgajanom u osmanskim vrtovima: tulipanu, karanfilu, rui Selim Mosque, commissioned by Suleiman the Magnificent transparentan (Atasoy, Raby 1989: 221). Ova je boja po prvi symbolic meaning. In Ottoman society the gardens repre-
i zumbulu. Uz njih se nastavljaju pojavljivati lotos, krizante- and the imaret dedicated to his wife Hasseki Hrem dated put upotrijebljena na lampi izraenoj za novu Sleymaniye sented a spiritual and intellectual space, a place for religious
ma, bour i drvo ljive u cvatu, preuzeti s kineskih uzora, te to 1539 (Carswell 2006, 73), along with the known works damiju, inauguriranu 1557. godine, koja se danas nalazi u teachings and cultural gatherings of the educated elite, and
zakrivljeni list - saz, kozja krv, urice, potonice i drugo of the architect Sinan, the mosque and tomb of their son zbirci Victoria & Albert muzeja (Carswell 2006:76). a place of gathering in general, including feasts and cele-
poljsko cvijee, a kao sredinji vertikalni motiv esto se po- ehzade Mehmed dated to 1543 or 1544 and the portico of Kako bi se postigao pravi efekt poinje se koristiti crvena brations such as weddings, circumcisions and other rituals
javljuje i empres. Na iroku lepezu cvjetnih uzoraka, osim the of the Hadim Ibrahim Pasha Mosque in Silivrikapi from boja u vidu gustog premaza (bole red, bollo armeno), koja se (goston, Masters 2009: 272). Flowers evoked the descrip-
domaih kultiviranih vrsta cvijea i drugog bilja, uvelike su 1551 (Necipolu 1990, 142-143). This style was also used on
utjecali i crtei iz poznatih europskih herbarija 16. stoljea.14 wall tiles made in the 1540s and the 1550s, additionally put
No osim ukrasnog, cvjetni stil imao je i simboliko znaenje. in the Snet Odasi pavilion of the Tokapi palace and the in- 14 Otto Brunfel: Herbarum vivae eicones, Strasburg 1530., ilustrirao Hans 14 Otto Brunfel: Herbarum vivae eicones, Strasburg 1530, illustrated by
Weiditz; Leonard Fuch: De historia stirpium, Basel 1542., ilustrirao Meyer Hans Weiditz; Leonard Fuch: De historia stirpium, Basel 1542, illustrated
U osmanskom drutvu vrtovi su predstavljali duhovni i inte- terior of the hammam of the Yeni Kaplica in Bursa (Carswell i Fllmaurer; Pieri Andrea Mattioli Di Pedacio Dioscoride Anazarbeo Libri by Meyer and Fllmaurer; Pieri Andrea Mattioli Di Pedacio Dioscoride
lektualni prostor, mjesta za vjerska uenja i kulturna okup- 2006, 73). cinque Della historia, et materia medicinalepoznata i kao Discorsi u vie Anazarbeo Libri cinque Della historia, et materia medicinalealso known
ljanja obrazovane elite te openito drutvena okupljanja, izdanja od 1544. do 1552.g.; i drugi. as Discorsi in multiple editions from 1544 to 1552, etc.

76 77
u reljefnom sloju nanosila tankom cjevicom i nalikovala tions of paradise in the Quran and the Garden of Paradise, lianstvenog, u vrijeme vladavine njegovih nasljednika Seli- (Atasoy, Raby 1989: 230). Along with manganese purple,
vosku. Ova boja u drugoj polovici stoljea poinje domini- and symbolized long life and wealth. The tulip, lale, is an ma II. (1566. - 1574.) i Murada III. (1574. - 1595.). Nakon bitke olive green was also withdrawn from use, and by the end of
rati na viebojnoj iznikoj keramici i polako istiskuje blije- anagram for the Islamic name for Allah, the symbol of His kod Lepanta 1571. godine poslovni i diplomatski kontakti the 1560s, emerald green became more and more present.
do ljubiastu boju iz prethodnog razdoblja. Istovremena divine manifestation and the source of life (Atasoy, Raby izmeu Osmanskog carstva i Europe su se vidno poboljali Floral motifs and bright colours were combined in numer-
uporaba ove dvije boje pojavljuje se zadnji put na grobnici 1989: 223). It represented the virtue of humility before to se odrazilo i na uestaliji izvoz iznike keramike i druge ous schemes: from central compositions which extend
Sulejmana Velianstvenog 1566./67. godine (Atasoy, Raby God, and in poetry, the cheek of a loved one (Dash 2001: orijentalne robe u Europu (Mack 2002: 109). irenje trgovi- radially from the central motif to compositions made along
1989: 230). S manganskoljubiastom iz upotrebe se povlai i 20). The carnation, karanfil, symbolized strength and long ne na novo trite i opa popularnost iznikog viebojnog the vertical axis. There were often different combinations
maslinastozelena, a krajem 60-ih godina 16. stoljea sve vie life, due to its long time of blooming. Ottoman sultans and cvjetnog stila u carstvu doveli su do masovne proizvodnje of flower bouquets painted symmetrically or in free com-
je prisutna smaragdnozelena boja. admirals were portrayed holding a carnation so it can be stolnog posua i sve veeg okretanja prema kupcima sred- position, coming out of a central tuft at the bottom of the
Biljni motivi i arke boje kombinirali su se u razno- presumed that this flower had a political meaning as well. nje klase, dok je osmanska elita i dalje teila za kineskim drawing. A cypress tree was added to the flowers, making
vrsnim shemama, od centralnih kompozicija koje se radijal- In Ottoman love poetry of the 16th century the hyacinth, porculanom (Denny 2004: 173). Nove okolnosti utjecale the central axis of a vertical composition. On dishes with an
no pruaju iz sredinjeg motiva do kompozicija izvedenih smbl, was a metaphor for the locks of a loved one, and su na kvalitetu i oblike posua, dok se u dekoraciji sve vie accentuated rim, the central vertical drawings were framed
u vertikalnoj osi. Najee su to bile razne kombinacije in certain religious works they represent the Prophet odraavaju individualni stilovi keramiara. U odnosu na by the Chinese wave border on the rim which came to use
cvjetnih aranmana prikazanih u simetrinom odnosu ili Muhammad. The rose is one of the most prominent sym- ranija razdoblja zdjele su manjih dimenzija, ali je repertoar in the previous phase and became common in this one.
slobodnom stilu, koji su proizlazili iz sredinjeg grma na dnu bols in Islam, symbolizing divine beauty and the Prophet oblika vei. Uz zdjele za posluivanje, uestalije se proizvo- The vessels decorated in this style were also called Rhodian
prikaza. Cvjetovima se dodaje i empres kao sredinja os Muhammad, and rosewater had a special meaning during de tanjuri s uskim obodom, posude na nozi - tazza, duboke pottery, due to a large collection of over 600 vessels bought
vertikalne kompozicije. Na zdjelama s istaknutim obodom, religious rituals. The blooming plum tree branch, karayemi, zdjele s poklopcem, polukrune zdjelice, krazi, boce, vei in Rhodes and brought to Muse de Cluny in Paris in the 19th
sredinji vertikalni prikazi bili su uokvireni frizom s kine- on Kara Memis description mostly includes other flowers, i manji vrevi, tintarnice i kutije za uvanje pera. Kao jedan century. Later, archaeological research on pottery kilns
skim motivom uzburkanih valova na obodu, koji se u ovoj symbolizing abundance, and their common use on ceramic od najeih oblika uvedenih u 1570-ima je plitki tanjur na from Iznik showed that this polychromous pottery should
kombinaciji poinje prikazivati u prethodnoj fazi, a u ovoj tiles in tombs may point to an imagination of heaven. The maloj prstenastoj nozi s uskim obodom na kojemu se naje- be ascribed to Iznik production (Bigli 2009: 30-31).
postaje uobiajen. next motif, the cypress tree - selvi, appears often in Iznik e pojavljuje friz s nizom ruyi motiva, prepletom u obliku All of the characteristics of this style can be seen on
Posue ukraeno u ovom stilu nazivalo se i rodska art, especially on ceramic tiles on tombs and mosques, so it lanca zencerek ili cik-cak ukras, kao potpuna stilizacija in- the examples of Iznik table ware found at the shipwreck (fig.
keramika zbog velike kolekcije od 600 primjeraka posu- could point to the same symbolic meaning. The Ottoman tamani motiva (Atasoy, Raby 1989: 254). Tanjur plitke forme 26). The dish with a curved cavetto, an accentuated flat rim
da, kupljene u 19. st. na otoku Rodosu za Muse de Cluny u poets use it as a metaphor for the loved one, as well as a s uskim obodom ukraen u viebojnom, cvjetnom stilu (kat. and a small ring like foot was painted in light blue, green,
Parizu. Kasnija arheoloka istraivanja keramikih pei u symbol of integrity and honesty (Denny 2004: 190, 223). To br. 10) daje naslutiti da keramiari bez obzira na jednostavni- relief red with outlines applied in black (kat. br. 8). On the
Izniku pokazala su da ova viebojna keramika ipak pripada show his own identification with the new style which was je forme i manje dimenzija posua i dalje izrauju kvalitetne central decoration field is composition of a flower bouquet
proizvodnji grada Iznika (Bigli 2009: 30-31). highly symbolic, Suleiman the Magnificent ordered the i besprijekorno oslikane primjerke. Na sredinjem prikazu filled with roses, tulips, hyacinths, forget-me-nots and
Sve karakteristike ovog stila mogu se pratiti na design of the imperial monogram - tughra, in the new flower odvojenog od oblog cavetta dvostrukim prstenom, prikaza- blooming plum tree branches, coming out of a central tuft
primjercima iznikog posua pronaenog na brodolomu style from the chief court designer, Kara Memi, which was na je simetrina kompozicija s crvenim ruama, tulipanima at the bottom of the drawing in the combination with the
(sl. 26). Zdjela sa zakrivljenim cavettom i istaknutim, ravnim displayed publicly a little after 1550 (Denny 2004: 41). The plave boje s crvenim pjegama i drugim cvijeem te manjim wave border on the rim. The exterior of the dish is decorat-
obodom i malom, prstenastom nogom oslikana je u svijetlo- style is marked by an influence of new colours: primarily cvjetnim buketom u sreditu. Na uskom obodu tee friz ruyi ed with a series of alternating rosettes and tulips.
plavoj, zelenoj, reljefno crvenoj boji s obrisima izvedenim coral red and, a little later on, emerald green, and black for motiva na plavoj pozadini, dok je vanjska strana ukraena The next dish of a similar form has a different
u crnoj boji (kat. br. 8). U sredinjem ukrasnom polju nalazi the outline of the drawings, like ink on illuminated man- naizmjeninim jednostrukim intamani i listolikim motivi- floral composition. (cat.no. 9). In the frame of the wave
se kompozicija cvjetnog aranmana, nainjenog od rua, uscripts. The coral red was at first used in a thin layer as ma. border on the rim is a symmetrical composition with a
tulipana, zumbula, potonica i grana ljive u cvatu, a proizla- other colours, but the result was unsatisfactory, the colour Slina simetrina kompozicija i rub s ruyi frizom plant resembling a pomegranate, surrounded with serrated
zi iz sredinjeg grma na dnu prikaza. Uokolo oboda je friz s was uneven and partially transparent (Atasoy, Raby 1989: primijenjeni su na velikom vru lukoviastog oblika, s koni- leafs, blooming plums and lilies of the valley. The drawing
uzburkanim valovima, dok je vanjska strana zdjele ukraena 221). The beginning of the use of this colour was recorded nom nogom, blago ljevkastim vratom i zaobljenom rukom is painted in cobalt blue, emerald green and relief red with
nizom naizmjenino postavljenih rozeta i tulipana. on a lamp made for the Sleymaniye Mosque, inaugurated (sl. 27; kat. br. 12). Dekoracija u kobaltno i svijetloplavoj, outlines applied in black.
Sljedea zdjela sline forme (kat. br. 9) u sredinjem polju in 1557, that is presently in the Victoria and Albert Musem zelenoj i reljefnoj crvenoj te obrisima izvedenim u crnoj boji The decorations of Kara Memi in the floral, poly-
ima simetrinu cvjetnu kompoziciju. Unutar okvira s uzbur- collection (Carswell 2006: 76). To reach the right effect the podijeljena je u dvije zone, na trbuh i vrat posude. U donjoj chromous style continue to be in use after the death of
kanim valovima na obodu nalazi se biljka nalik plodu nara, artisans began to use red in a thick coating (bole red, bollo veoj zoni est dekorativnih polja odvojeno je uvijenim Suleiman the Magnificent, during the rule of his heirs Selim
okruena je nazubljenim liem i granama ljive u cvatu te armeno) applying it in a relief layer with a thin tube, giving it velikim listovima s izraenim crvenim rebrom i pernatim II (1566-1574) and Murad III (1574-1595). After the Battle of
uricama. Prikaz je oslikan u kobaltnoplavoj, smaragdno- the appearance of wax. This colour began to dominate the zavrecima, motivom koji postaje omiljen poetkom 1670- Lepanto in 1571, the commercial and diplomatic contacts
zelenoj i reljefnoj crvenoj boji s obrisima izvedenim crnom polychrome Iznik pottery of the second half of the century, ih. Unutar ukrasnog polja izmjenjuju se rue koji proizlaze between the Ottoman Empire and Europe improved, which
bojom. pushing out the pale purple from the previous period, and iz grma na dnu prikaza i buketi crvenih cvjetova. Slina kon- resulted in more frequent exports of Iznik pottery and oth-
Dekoracija Kara Memija u cvjetnom, viebojnom last simultaneous use of these two colours appears on the cepcija u pojednostavljenoj varijanti nalazi se u gornjoj zoni, er oriental goods to Europe (Mack 2002, 109). The spread
stilu nastavlja se primjenjivati i nakon smrti Sulejmana Ve- tomb of Sultan Suleiman the Magnificent dated to 1566/67 na vratu vra, koji se zavrava obodom s frizom ruyi motiva. of trade on a new market and the general popularity of the
78 79
 Sl. 27. Vr ukraen u Iznik polychrome floral style in the Empire led to mass pro- na kvadrate unutar kojih se nalaze kobaltnoplave intamani art, began to appear more and more on the vessels dated to
viebojnom cvjetnom duction of tableware that became more oriented towards toke. Sline kompozicije pojavljuju se na kineskim porcu- the last quarter of the 16th century. The first appearance of
stilu, period umjetnika middle class buyers, while the Ottoman elite continued lanskim zdjelama Yuan dinastije 14. stoljea iz zbirke Topka- this motif on Iznik tableware can be traced to the first half
Kara Memija, druga to aspire to Chinese porcelain (Denny 2004, 173). The new pi palae u Istanbulu, to pokazuje da dekoracija s kineskog of the 16th century, but a more common use is visible in the
polovica 16. stoljea
circumstances are reflected in the quality and shape of the porculana ima jak utjecaj na izniku keramiku kroz cijelo 16. 1580s (Passos Leite, Queiroz Ribeiro 2009: 80). The origin
Fig. 27. Jug decorated
tableware, while the individual styles of the potters are stoljee (Passos Leite, Queiroz Ribeiro 2009: 80). Na uskom and symbolic meaning of intamani motif comes from the
in the polychrome
floral style, period of increasingly visible in the decoration. In comparison to ear- obodu tanjura ponovno se pojavljuje friz ruyi motiva, dok Buddhist art of Central and East Asia, where it symbolizes
the artist Kara Memi, lier periods, dishes were smaller but the repertoire of the je vanjska strana ukraena nizom naizmjeninih listova i prosperity and luck. In the Ottoman art from the 15th cen-
Iznik, second half of shapes became larger. Along with big serving dishes, plates intamani motiva. tury onwards it appears as a symbol of power and strength,
the 16th century with a narrow rim, dishes on a foot - tazza, deep bowls with ini se da su intamani i peleng najee zastuplje- reflected in a form of three dots, intamani, of a leopards
a lid, hemispherical bowls, ewers, bigger and smaller jugs, ni motivi na vrevima lukoviastog oblika na koninoj ili fur and two wavy lines, peleng, of a tigers stripes (Bilgi
ink jars and pen boxes were being produced more and more prstenastoj nozi s cilindrinim vratom i rukom S forme te 2009: 31). This motif is used in Ottoman art in all branches
often. One of the most common forms introduced during koninim ili zaobljenim poklopcem s ruicom na vrhu. Na of court art, and is especially visible on silver kaftans of the
the 1570s is the shallow plate on a small ring-like foot with a to ukazuju i nalazi s brodoloma, gdje je od osam naenih royal family. Initially used as symbol of power, the intam-
narrow rim commonly decorated with a frieze with a series vreva njih pet bilo ukraeno intamani i peleng motivima u ani gradually became a mere decorative pattern, appearing
of small ruyi motifs, chain-like motif zencerek, or zigzag raznim kombinacijama. Dio vreva naen je samo u ulomci- alone or in combination with other motifs on Iznik dishes,
decoration, as a complete stylization of the intamani motif ma nedostatnima za restauraciju. Jedan primjerak, ukraen plates and closed forms like jugs. The abstract composi-
(Atasoy, Raby 1989, 254) The shallow plate with a narrow iskljuivo peleng motivom u razliitim kombinacijama boja, tion with a intamani motif appears on a shallow plate on a
rim decorated in the polychrome floral style (cat. no. 10) im- uspjeno je sastavljen i restauriran (kat. br 14). Drugi, naen ring-like foot and a narrow rim from the ships cargo (cat.
plies that the potters were still making high-quality vessels u gotovo cjelovitom stanju, ukraen je dekoracijom u dvije no. 11). The central decoration field is divided crosswise
with impeccable drawings, regardless of the simplification zone s trostrukim i jednostrukim intamani te peleng mo- into squares, with a pair of red and green peleng motifs in
of the form and the smaller dimensions of the vessels. The tivima u svijetloplavoj, zelenoj i reljefno crvenoj boji (kat. the squares, with cobalt blue intamani dots inside. Similar
central drawing, separated from the round cavetto with a br. 13). Trbuh vra je od noice i od vrata odvojen horizon- compositions appear on Chinese porcelain dishes of the
double ring, depicts a symmetrical composition of a bou- talnim trakama ispunjenim stiliziranim preletom, a gotovo Yuan dynasty from the 14th century, from the collection of
Apstraktne kompozicije i polikromija quet of red roses and blue tulips with red dots, with a small- cilindrini vrat zavrava obodnom trakom s nizom uzasto- the Tokapi Palace in Istanbul, which points to the fact that
er bouquet placed on the inside. A ruyi border is on the rim, pnih vitica. Dva vra pronaena samo u ulomcima imala Chinese decorations on porcelain influenced Iznik pot-
Na posuu zadnje etvrtine 16. stoljea se sve ee pojav- and the exterior is decorated with an alternating intamani su identinu dekorativnu shemu s manjim odstupanjima u tery continuously throughout the entire the 16th century
ljuju apstraktne kompozicije s intamani motivom, jednim and leaf-like motifs. detaljima. Trbuh vra (kat. br. 15) pronaen bez baze, oboda (Passos Leite, Queiroz Ribeiro 2009: 80). The narrow rim
od najupeatljivijih ukrasnih motiva osmanske dvorske A similar symmetrical floral composition and a i ruke ukraen je kombinacijom raznobojnih peleng motiva of the plate is again decorated with a ruyi border, while the
umjetnosti. Prva pojava ovog motiva na iznikom posuu ruyi border on the rim were applied on a large bulb-shaped i rozeta u svijetloplavoj i crvenoj boji. Kombinacija intamani exterior is decorated with a series of alternating leaf and
se moe pratiti ve u 1. polovici 16. stoljea, no puno ea jug with a conical foot, a mildly funnel-shaped neck and a i stiliziranih biljnih motiva javlja se i na poklopcima vreva intamani motifs.
uporaba vidljiva je od 1580-ih (Passos Leite, Queiroz Ribeiro rounded handle (fig. 27; cat. no. 12). The decoration in cobalt konine i oble forme s malom ruicom na vrhu (kat. br. 17 - It seems that the intamani and peleng motifs are
2009: 80). U budistikoj umjetnosti centralne i istone Azije and light blue, green and relief red and the outlines in 22). more often found on closed forms of vessels, such as bulb-
ovaj motiv simbolizira prosperitet i sreu. U osmanskoj green are split into two zones, the belly and the neck of the Apstraktne kompozicije u viebojnom stilu izvodile shaped jugs on a conic or ring-like foot with a cylindrical
umjetnosti od 15. stoljea nadalje predstavlja simbol moi i vessel. In the lower, bigger zone, the six decorative fields su se i u koncentrinoj formi irei se radijalno iz centralnog neck, an S-form handle, and a conic or rounded lid with a
snage, to se odraava u obliku tri toke - intamani s leo- are separated with large folded leafs with a distinctive red motiva. Na est plitkih tanjura iz tereta broda od kojih se small handle on the top. This is also indicated by the finds
pardova krzna i dvije valovite linije peleng u vidu tigrovih rib and feathery ends, a motif that became popular during dva nalaze u privatnoj zbirci, ponavlja se gotovo ista dekora- from the shipwreck, where five out of eight recovered
pruga (Bilgi 2009: 31). Ovaj se motiv u osmanskoj umjet- the 1670s. Bouquets of roses coming from the same tuft tivna shema u kombinaciji kobaltnoplave i reljefno crvene jugs were decorated with the intamani and peleng motifs
nosti upotrebljava u svim granama dvorske umjetnosti, a at the bottom of the drawing and bouquets of red flowers boje (kat. br. 42 - 45). Oko centralnog medaljona s moti- in different combinations. Some of the jugs were found so
posebno se istie na svilenim kaftanima vladarske obitelji. alternate within the decoration field. A similar concept in a vom kola sree i rozetom u sreditu, radijalno se iri est fragmented that they were beyond restoration. One jug,
Prvobitno koriten kao simbol moi, intamani postepeno simpler variant appears on the upper zone, on the neck of palmeta, uokvirene frizom ruyi motiva, koji se ponavlja i na that was successfully put together and restored has the
postaje samo dekorativni motiv, a pojavljuje se samostalno the jug, which ends with ruyi border on the rim. uskom obodu tanjura. Svi tanjuri su s vanjske strane ukrae- peleng motif decoration in different combinations of co-
ili u kombinaciji s drugim motivima na iznikim zdjelama, ni naizmjeninim nizom intamani i listolikih motiva. lours (cat. no. 14). The other jug, found almost in whole was
tanjurima i zatvorenim formama poput vreva. Apstrak- Abstract compositions and polychromy Sljedei apstraktni motiv, kolo sree u vertikalnoj decorated in two zones in light blue, green and relief red in
tna kompozicija s intamani motivom javlja se na plitkom izvedbi i viebojnom stilu, pojavljuje se na velikom vru abstract polychrome composition made of triple and single
tanjuru s uskim obodom (kat. br. 11). Sredinje ukrasno polje Abstract compositions with a intamani motif, one of the lukoviastog oblika s prstenastom nogom i blago ljevkastim intamani and peleng motifs (cat. no. 13). The belly of the jug
krino je podijeljeno parom crvenih i zelenih peleng motiva most prominent decorative motifs in the Ottoman court vratom, pronaenom bez ruke (kat. br. 16). Dekoracija je is separated from the foot and the neck with horizontal
80 81
 human figures appear
izvedena u dvadeset vertikalnih arkada u smaragdnozelenoj bands filled with a stylized scroll, and the cylindrical neck repertoar ivotinjskih likova, uz uvijek prisutnu simboliku as well. Animals and my
tures in late phase of thical crea-
i svijetloplavoj boji, ispunjenih granama bijelih cvjetova ends with a scrolls band. The two fragmented jugs had an rajskog vrta, javlja u tradiciji izrade srebrnog posua na po- Iznik pottery are comm
on vessels such as bottl on ly applied
i ruyi motivima u reljefno crvenoj boji. Uz obod nalazi se almost identical decorative scheme with small variations druju balkanskih zemalja (Atasoy, Raby 1989: 258). Openi- es with tall neck, jugs
cylindrical pitchers wi an d ewers,
dekorativna traka s jednostrukim prepletom uglate forme in details. A jug belly found without a base, rim or handle, to tradicija ivotinjske ikonografije u osmanskoj proizvodnji th a square handle, dis
the large basins for rit hes and on
tzv. zencerek - motivom izvedenim u crvenoj i plavoj boji. was decorated with a combination of the peleng motif and metalnih i keramikih predmeta datira od sredine 14. i 15. ual washing (Atasoy, Ra
Animal figures like lio by 1989: 258).
Vr identine forme i dimenzija te gotovo iste dekoracije, rosettes (cat. no. 15). The same combination of the intamani stoljea i vee se uz luksuzno srebrno i pozlaeno posue ns, crowned monkey
birds, gazelles, does an s, rab bits, dogs,
datiran u 90-e godine 16. stoljea nalazi se u muzeju Gezira and stylized vegetative motif appears on conical and dome izraeno u Srbiji, Bosni i u Dubrovakoj Republici, tada va- d deer were depicted
or in combination wi ind ivi dually
u Kairu (inv. no. 324) (Atasoy, Raby 1989: 258, 259; sl. 558), i shape lids with knob, which presumably belonged to these nom pomorskom i trgovakom centru. Ovi ukrasni stilovi th fantastic creatures
griffins, mermaids, ph such as dragons,
najvjerojatnije pripada proizvodnji iste keramike radionice. jugs (cat. no. 17-22). razvijaju se svaki za sebe pod raznim utjecajima15 (Fiskovi, oenixes, simurghs, tw
and crowned harpies o-headed eagles
Abstract compositions in the polychrome style 1973: 179; Wenzel 1989: 159-165), do u osmansko razdoblje . They were depicted
motion, in a continuou sta tically or in
Prikazi ivotinja i mitskih fantastinih stvorenja were applied in a concentric form that spread radially from kada se u odreenoj mjeri isprepliu u mjeavini sjeverno s procession, in fight
chase, like hunting sce sce nes or in a
the central motif on the round decoration field. The six balkanskih stilova i dubrovake tradicije obrade metala u nes. The outlines of th
usually done as a black e an imals were
ivotinje se prvi put pojavljuju na iznikim zdjelama 1520-ih shallow plates from the ships cargo, two of which are in a tehnici izboenog iskucavanja s neprekinutim povorkama line with details in blu
red on an emerald gre e an d relief
i 30-ih godina u vrijeme vladavine Sulejmana Velianstve- private collection, display an almost identical decorative ivotinja, pasa koji progone zeeve, borbi lavova ili vukova i en or turquoise backgro
in a naturalistic fashio un d, or rarely
nog, imitirajui prikaze ivotinja s kineskog porculana Yuan scheme in the combination of cobalt blue and relief red (cat. fantastinih ivotinja. U osmanskoj umjetnosti 16. stoljea n, with numerous detai
colours (Passos Leite ls in bright
dinastije 14. Stoljea (Atasoy, Raby 1989: 121). Nakon toga se no. 42 - 45). Six palmete-like motifs spread radially, form- kombinacija dvorskog cvjetnog stila i prikaza ivotinja nije - Queiroz Ribeiro 2009
along with the familia , 73). On the rim,
rijetko pojavljuju, sve do 1570-ih i 80-ih, za vladavine Sulej- ing a rosette around the central medallion in the form of uobiajena i javlja se iskljuivo na srebrnim predmetima r rock and wave motif
- the zencerek, the zigza , a square scroll
manovih nasljednika Selima II. (1566. 1574.) i Murada III. wheel of fortune. The narrow rim of the plate is decorated i iznikom stolnom posuu, stoga je vrlo vjerojatno da su g border, or a frieze of
procession or chasing animals in a
(1574. 1595.) kada se repertoar motiva na iznikoj kerami- with a ruyi border and the same motif, in a simplified vari- izniki keramiari inspiraciju crpili upravo u umjetnikim each other start to ap
The symbolism of thes pe ar.
ci proiruje, a njihovi uzori dolaze i iz drugih sredina. Uz ant, frames the central field. All plates had a series of single predmetima od metala, poglavito srebrnog posua proizve- Classical Antiquity, Ch e characters comes fro
inese, Indian, Persian m
cvjetne i apstraktne motive poinju se pojavljivati brodovi intamani dots and leaf-like motifs on the exterior. denog na Balkanu (Wenzel 1989: 161-162). Srebrno posue iz tradition in many ico and Christian
na otvorenom moru, arhitektonski prikazi, ivotinjski likovi Another abstract motif the wheel of fortune Dubrovnika i drugih trgovakih centara dolazi na osmanski nographical expressio
particular cultures an ns, adapted to
i mitska fantastina bia, a neto kasnije, u 17. stoljeu i appears on a big polychrome bulb-shaped jug on a ring-like dvor u svojstvu diplomatskih poklona16 i trgovake robe, a d regions, so it was no
mine their source (Pa t easy to deter-
ljudski likovi. ivotinjski i mitski likovi u ovoj fazi iznike foot with a mildly funnel-shaped neck found without a usko je vezano uz svjetovnu uporabu ispijanja erbeta i vina. ssos Leite - Queiroz Ri
Still, it has to be point beiro 2009, 73).
keramike se najee izvode na posudama poput boca s handle (cat. no. 16). The body is divided into twenty vertical Shodno tome, najvie takvog posua kao i iznikog posua ed out that the same
imal creatures, with th repertoire of an-
visokim vratom, lukoviastim vrevima ili bokalima, cilin- arcades arranged alternately in blue and green, containing sa ivotinjskim i mitskim scenama datacijski se vee uz e ubiquitous symboli
of Paradise, can be fou c of the Garden
drinim kriglama s etvrtastom rukom, zdjelama i velikim branches of blossom in white and ruyi motifs in relief red. vladavinu Selima I. (1566. - 1574.) koji ukida vjerski edikt nd in the tradition of
in the Balkan countri silver vessels
bazenima za obredno pranje (Atasoy, Raby 1989: 258). i- Around the rim there is a decorative band with the zencer- zabrane konzumacije vina (Wenzel 1989: 163-164). es (Atasoy, Raby 1989
the tradition of anim : 258). Generally,
votinjski likovi poput lavova, okrunjenih majmuna, zeeva, ek a motif in the form of an angular chain painted in red Dvije gotovo identine zdjele izvedene u plavoj, al iconography in the
duction of metal and Ottoman pro-
pasa, ptica, gazela, srna i jelena prikazivali su se samostalno and blue. The analogue exampe of a jug, dated to the 1790s, tirkiznoj i crvenoj boji pripadaju skupini sa simetrinim ceramic objects is dated
of the 14th and the 15t to the middle
ili u kombinaciji s fantastinim stvorenjima poput zmajeva, is now in the Gezira Museum in Kairo (inv. no. 324) (Atasoy prikazom dvije okrunjene Harpije koje stoje na postamen- h century, and it is tie
silver and gilded vesse d to luxurious
grifona, sirena, feniksa, simurga, dvoglavih orlova i okru- Raby 1989, 258, 259; sl. 558), and is the most probably a tu oko cvjetne vaze, okruene granama voke u cvatu na ls made in Serbia, Bosn
Republic of Dubrovnik ia and the
njenih harpija. Likovi su prikazivani statino ili u pokretu, product of the same workshop). smaragdno zelenoj pozadini (kat. br. 46, 47). Sredinji prikaz , an important naval an
at the time. These de d trade centre
u neprekidnim povorkama, scenama borbe ili meusobnoj okruen je frizom od ruyi motiva, a uokolo irokog oboda corative styles develop
under various influenc 15 ed separately
potjeri, nalik scenama iz lova. Obrisi ivotinja su se u osnovi Depictions of animals and mythical creatures tee friz uzburkanih valova. Okrunjene harpije ohruene es (Fiskovi,1973, 179
159-165) until the Otto ; Wenzel 1989,
izvodili crnom linijom uz detalje u plavoj i reljefno crvenoj vokama u cvatu predstavljaju personifikaciju rajskog vrta, man era, when they for
mix of the northern Ba m a certain
boji na smaragdnozelenoj ili tirkiznoj pozadini, ili rjee u Animals appear for the first time on Iznik pottery in the poput enskih likova s dijademom koje u umjetnosti balkan- lkan styles and Dubrov
tion of processing me niks tradi-
naturalistikom stilu, uz brojne detalje u arkim bojama 1520a and 30s, during the reign of Suleiman the Magnifi- skih zemalja i na dubrovakom srebrnom posuu nose isto tal using the techniqu
with the motif of a co e of hammering
(Passos Leite, Queiroz Ribeiro 2009: 73). Na obodu se, uz cent, imitating depictions of animals from Yuan dynasty ntinuous procession
of animals, dogs
ve poznati motiv uzburkanih valova, primjenjivao uglati Chinese porcelain of the 14th century (Atasoy, Raby 1989:
15 U Bosni se osjeaju impulsi maarske gotike, zapadnoeuropske
preplet - zencerek, cik cak ukras ili pak neprekinuti friz 121). After that, they rarely appear, up until the 1570s and renesanse i orijentalni utjecaji koje donose Osmanlije, a ivotinje se
ivotinja u povorci ili u meusobnom lovu. 1580s, during the reign of his heirs Selim II (1566-1574) prikazuju statino u zasebnim poljima poput vitica ili arkada. U Srbiji 15 Bosnia was influenced by the gothic period in Hungary, the Renaissance
Simbolika ovih likova proizlazi iz antike, kineske, and Murad III (1574-1595) when the repertoire of motifs prevladavaju bizantski tradicionalni elementi, dok je dubrovaka tradicija in Western Europe and the oriental influences brought by the Ottomans.
indijske, perzijske i kranske tradicije u raznim ikono- on Iznik tableware expands and their role models come obrade metala u tehnici izboenog iskucavanja pod jakim utjecajem The animals are depicted stationary in separate fields like scrolls or
italske renesanse s motivima slobodne povorke, meusobnog lova ili trka arcades. In Serbia, the Byzantine traditional elements prevail, while
grafskim izriajima prilagoenima odreenim kulturama from other backgrounds. Boats at open sea, architecture, ivotinja. Dubrovniks tradition of metal processing in the hammering technique is
i religiji, stoga nije lako odrediti njihov izvor (Passos Leite, animals and mythical creatures begin to appear along with 16 Godine 1574. dubrovaki majstor Ivan Vitov izradio je srebrne zdjele koje heavily influenced by the Italian Renaissance with motifs of processions,
Queiroz Ribeiro 2009: 73). Ipak, treba istaknuti da se isti floral and abstract motifs, and later on, in the 17th century, Dubrovaka Republika alje na dar sultanu u Tursku (Fiskovi 1949: 191). chase or animal races

82 83
Sl. 28. Posue ukraeno u kasnom composition is surrounded with a frieze of ruyi motifs, and
plavo bijelom stilu, Iznik, druga a wave border is on the wide rim. The crowned harpies sur-
polovica 16. stoljea rounded by blossom trees represent the personification of
Fig. 28. Pottery decorated in late the Gardens of Paradise, like female figures with a diadem
blue and white style, Iznik, second
that bare the same symbolic meaning in the arts of the
half of the 16th century
Balkan countries and on Dubrovniks silver vessels (Wenzel
1989: 162). The Gardens of Paradise filled with earthly and
fantastic creatures was a popular theme that was identi-
fied with the Ottoman symbolism of the garden. A similar
theme with harpies appears on the exterior of a deep dish
from the Godman Collection of the British Museum (inv.
no. G.1983.158) dated to 1570/80 (Atasoy, Raby 1989: 257, no.
544) and the central depiction of the dish from the collec-
tion of the Calouste Gulbenkian Museum in Lisbon (inv. no.
774) dated to 1580/85 (Passos Leite, Queiroz Ribeiro 2009:
Sl. 29. Posuda na nozi tazza ukraena u kasnom plavo 73,77, no.43).
bijelom stilu, Iznik, druga polovica 16. stoljea
Fig. 29. A dish on a high foot - tazza decorated in the late
blue and white style, Iznik, second half of the 16th century
The late blue and white style
(fig. 28)

In the second half of the 16th century, especially during the

rule of Selim II and Murad III, despite a general tendency
of iznik potters to favor a bright polychromy, the taste for
simboliko znaenje (Wenzel 1989: 162). Rajski vrt ispu- chasing rabbits, lions or wolves fighting, and fantastic crea- nalnom osmanskom obliku posude za svakidanje iznoenje blue and white endured. Popular compositions were again
njen zemaljskim i fantastinim stvorenjima bio je omiljena tures. In the Ottoman art of the 16th century, a combina- hrane na stol (Atasoy, Raby 1989, 45). Svi poznati primjerci, taken from Chinese porcelain and were sometimes applied
tema koja se poistovjeivala s osmanskom simbolikom vrta. tion of the Courts flower style and depictions of animals is pa tako i oni do sada pronaeni u teretu broda bili su ukra- in combination with original Ottoman motifs, or were done
Slina tema s harpijama pojavljuje se na vanjskoj stijenci unusual and appears only on objects made of silver and on eni iskljuivo u plavo-bijeloj dekoraciji (sl. 29). Uz njih je in an Islamic fashion in numerous abstract and geometrical
duboke zdjele iz Godman Collection British Museuma (inv. Iznik table ware, so it is very likely that the potters in Iznik u upotrebi iroki raspon oblika, od veih i manjih zdjela central forms. Along with this late blue and white style, this
no. G.1983.158) datirane u 1570./80. godinu (Atasoy, Raby drew their inspiration from artistic objects made of metal, irokog oboda, vitiastog ili ravnog ruba, tanjura s tankim period is dominated by a dish with a high foot, the so called
1989: 257, no. 544) i na sredinjem prikazu zdjele iz zbirke mainly from the silver vessels made in the Balkans (Wenzel obodom, dubokih zdjela s poklopcem i malih polukrunih tazza, the uniquely Ottoman ceramic form no prototypes
Calouste Gulbenkian Museuma u Lisabonu (inv. no. 774) iz 1989: 161-162). The silver tableware that came to the Otto- zdjelica nalik kineskim plavo bijelim min yao zdjelica- in Chinese, Persian or European vessels, used in everyday
1580./85. godine (Passos Leite, Queiroz Ribeiro 2009: 73,77, man Court through Dubrovnik or other trade centers as a ma. life for serving food (Atasoy, Raby 1989, 45). All the known
no.43). diplomatic gift16 and trading good is tightly linked to secular Kao i u prvoj polovici stoljea, kod oslikavanja po- examples, were decorated exclusively in blue and white
use, for drinking wine and sorbet. Accordingly, most of sua u upotrebi je iroki repertoar kineskih motiva i kom- style (fig. 29). A wide range of forms was used alongside
Kasni plavo bijeli stil that tableware, as well as Iznik pottery decorated with pozicija, ali sada su izniki keramiari inspirirani kineskim them, mostly large and small dishes with wide straight rims,
(sl. 28.) depictions of animals and mythical creatures is dated to the porculanom kasnog 15. i ranog 16. stoljea (Atasoy, Raby plates with narrow rims, deep bowls with a lid and small
rule of Selim I (1566-74) who ended the religious edict that 1989: 237). Motivi poput cvijeta lotosa i cvjetnog prepleta hemispherical bowls resembling Chinese blue and white
U drugoj polovici 16. stoljea, posebno za vladavine Selima forbade the consummation of wine (Wenzel 1989: 163-164). pojavljuju se u novim izvedbama uz sve eu prisutnost min yao bowls.
II. i Murada III., unato tendencijama iznikih keramiara Two almost identical dishes painted in blue, turquoise and horror vacui. intamani motiv je na kasnom plavo-bijelom Just like in the first half of the century, a wide
ka viebojnoj keramici arkih boja, nastavljaju se proizvoditi red belong to a group with symmetrical depictions with posuu potpuno stiliziran i javlja se u obliku vie stiliziranih repertoire of Chinese motifs and compositions is used for
predmeti u plavo-bijeloj dekoraciji. Kompozicije se ponov- two crowned harpies standing on a base around a flower trostrukih vitica koje tvore pozadinu sredinjeg prikaza (kat. the decoration, but now the Iznik potters are inspired by
no preuzimaju s kineskog porculana i ponekad izvode u vase, surrounded by branches of a fruit tree in bloom on br. 24, 25), dok je peleng - motiv tigrovih pruga, sveden na Chinese porcelain of the late 15th and the early 16th century
kombinaciji s originalno osmanskim motivima ili se pak u an emerald green background (cat. no. 46, 47). The central cik cak motiv na obodu plitkih tanjura i malih polukrunih (Atasoy, Raby 1989: 237). Motifs like the lotus flower and
islamskom duhu izvode u brojnim centralnim apstraktnih i zdjelica (30, 31, 32, 41, 48, 49, 50, 51, 52, 53). the flower scroll are applied in new ways with a growing
geometrijskih formama. Uz ovaj kasni plavo-bijeli stil domi- Motiv cvijeta lotosa na pozadini ispunjenoj presence of horror vacui. On the late blue and white pottery
nira oblik zdjele na visokoj nozi tzv. tazza, bez prototipa u 16 In 1574, an artisan from Dubrovnik, Ivan Vitov, made silver vessels that trostrukim viticama, popularan kod iznikih keramiara the intamani motif is completely stylized and appears in
kineskim, perzijskim ili europskim oblicima. Rije je o origi- the Republic of Dubrovnik sent as a gift to the Sultan (Fiskovic 1949, 191) 1570-ih i 1580-ih, naen je na dva predmeta iz tereta broda. the shape of multiple stylized triple scrolls that form the
84 85
Na velikoj zdjeli zaobljene forme i irokog oboda s rubom background of the central drawing (cat. no. 24, 25), while se iskljuivo u plavo-bijeloj tehnici u brojnim kombinacija- reduced to a mere zigzag border filled with dots (cat. no. 32).
u formi hrastovog lista, u sredinjem se polju nalazi cvijet the peleng motif of the tigers stripes is reduced to a zigzag ma, a najee u prepletu koji se u visokim lukovima i cvje- Identically done scrolls, as well as the inferior quality of the
lotosa na irokoj stabljici, nalik stablu, a iz koje proizlaze border on the narrow rims of flat dishes and small hemi- tovima unutar njih nizao oko sredinje rozete ili medaljona. vessel walls and the glaze, point to the fact that these two
grane s listovima (kat. br. 24). Pozadinu ine trostruke vitice spherical bowls (cat. no. 30, 31, 32, 41, 48, 49, 50, 51, 52, 53). Ovaj motiv izvodio se najee u kombinaciji uz kineski vessels came from the same workshop.
proizale iz intamani motiva. Slian motiv cvijeta lotosa The lotus flower motif in the background filled with triple bour sa sitnim, savinutim listiima, izduljenim pupoljcima The popular Chinese motif, the flower scroll,
na debeloj stabljici iz koje izrastaju vitiaste grane s liem scrolls, popular with Iznik potters from 1570 to 1580, was i listovima izvedenim u duhu Ming dinastije 15. stoljea te s appears in numerous compositions and designs, but com-
pojavljuje se na porculanskim zdjelama Ming dinastije found on two objects from the ships cargo. On the large motivom u obliku oblaka. Iako se motiv dvostrano nazublje- monly in the combination with the new Ottoman motif, the
kasnog 15. i ranog 16. stoljea (Maury 2008: 145). I na kine- dish of round form with a wide foliated rim the centre is nog lista javlja ve u 60-im godinama 16. stoljea, ini se da elongated leaf serrated on two sides, resembling a sheaf of
skim predlocima pozadina je ispunjena viticama, no one occupied by a lotus flower on a wide stem, resembling a njegova puna afirmacija, u vidu dekorativnog stila, poinje wheat and the entire group was named after this motif the
su dio biljnog prepleta. Kako bi istakli glavni motiv, izniki tree, with branches with leafs protruding from it (cat. no. tijekom 1570-ih i nastavlja se sve do u 17. stoljee. Ovaj stil wheatsheaf style (Atasoy-Raby 1989: 239). It was applied
su majstori odvojili vitice od glavnog prikaza i sveli ih tek 24). The background is made of triple scrolls derived from moe se u brojnim varijantama pratiti na posuu iz tereta exclusively in the blue and white technique in numerous
na pozadinski motiv. Sredinje polje okrueno je frizom od the intamani motif. A similar motif of the lotus flower on broda (kat. br. 27, 28, 29, 30, 31, 33). combinations, and usually in a scroll that threaded around
ruyi motiva, dok je iroki obod ispunjen motivom valova. a thick stem with branches with leafs appears on porcelain Posuda na nozi tazza s obodom u formi hrastovog the central rosette or medallion in high arches and flowers
S vanjske je strane zdjela ukraena naizmjeninim nizom bowls of the Ming dynasty from the late 15th and early 16th lista (kat. br. 27) pronaena je u jednom ulomku, na osnovu inside them. This motif was usually applied in combina-
jednostrukih intamani i rumy motiva. century (Maury, 2008, 145). The Chinese template also had a kojega je uspjeno rekonstruiran gotovo cjelovit oblik po- tion with Chinese peony, small bent leafs, elongated buds
Posuda na nozi tazza (kat. br. 25) ukraena je istim background filled with scrolls, but they were a part of a veg- sude i dekoracija, osim sredinjeg cvjetnog motiva. Preplet and leafs done in the spirit of the Ming dynasty of the 15th
motivom, stiliziranim do te mjere da gubi bilo kakvu vezu etative scroll. To highlight the main motif the Iznik potters oko sredinjeg motiva sastavljen je od est cvjetova boura century, and with a cloud-shaped motif. Although the motif
s kineskim prototipovima. Sredinji motiv sveden je na separate the scrolls of the main drawing and reduce them iz kojih se simetrino pruaju polukrune grane sa zavre- appeared in the 1560s, it seems that its full affirmation, in
jednostavan cvijet iz kojeg se radijalno prua pet cvjetova to a mere background motif. The central field is surrounded cima u obliku nazubljenog lista. Po dvije susjedne granice terms of the style, began during the 1570s and continued on
lotosa na tankim povijenim granama s pozadinom ispu- by a frieze of ruyi motifs, while on the wide rim is the wave spojene su motivom u obliku oblaka, a izmeu simetrinih to the 17th century. This style can, in numerous variants, be
njenom trostrukim viticama, a uokolo irokog oboda tee border. The exterior of the dish is decorated with an alter- klasova nalaze se male stilizirane vaze s cvijeem. Obod i followed on the vessels from the ships cargo (cat.no. 27, 28,
friz stiliziranih valova. Vanjska strana posude podijeljena je nating series of intamani and ruyi motifs. vanjska strana posude ukraeni su istovjetnim prepletom u 29, 30, 31, 33)
vertikalnim linijama na zone, od kojih je sredinja ukraena The dish on a foot - tazza (cat. no. 25) is decorated kojem dominiraju motiv oblaka i nazubljenog lista. One fragment of a dish on a foot - tazza with a
naizmjeninim apstraktnim motivom i jednostrukim inta- with the same motif, but stylized to the point where it loses Na manjoj zdjeli s koninom nogom i irokim foliated rim (cat. no. 27) was found, and based on that one
mani tokama. all connection to the Chinese prototypes. The central motif ravnim obodom pojavljuju se isti motivi izvedeni u neto fragment almost the entire vessel was reconstructed, along
Motiv cvijeta lotosa najsliniji kineskim uzorima, is reduced to a simple flower from which five lotus flowers drugaijoj shemi shemi (kat. br. 28). Dekoracija se nie u with the decoration, except for the central floral motif. The
ali bez iroke stabljike, prikazan je na zdjeli na nozi tazzi extend radially on thin twisted branches, and lies on a back- zonama poevi od sredinjeg medaljona s vegetabilnim scroll around the central motif is made of six peony flowers
(kat. br. 26) u shemi cvjetnog prepleta. U sredinjem prikazu, ground filled with triple scrolls. Around the wide rim runs prikazom u obliku srca s cvjetovima fuksije, bobicama i dvo- which have semi-circular branches with protruding endings
krajnje stiliziran cvijet lotosa stoji samostalno, okruen pre- a highly stylized wave border. The exterior of the vessel is strano nazubljenim listovima. Uokolo njega je friz od ruyi in the shape of serrated leaves. Two by two neighboring
pletom vitiastih grana i vegetativnim oblicima koji formom divided into zones with vertical lines, and the middle zone motiva, a du oboda tee preplet slian onome s prethodne small branches are connected by a cloud-shaped motif, and
podsjeaju na originalne kineske listove lotosa (Demirel is decorated with alternating abstract motifs and single posude. Vanjska je stijenka ukraena naizmjeninim nizom small stylized flower vases are placed between the sym-
2013: 79-80). Na irokom je obodu friz s motivom valova, intamani dots. apstraktnih motiva i jednostrukih intamani toaka. metrical sheaves. The rim and the exterior of the dish are
dok je vanjska strana ukraena vitiastom horizontalnom The motif of the lotus flower that most resembles Na zdjeli istog oblika (kat. br. 29) ponavlja se she- decorated with an identical scroll dominated by a cloud and
trakom uz gornji i donji rub izmeu kojih se izmjenjuju stili- Chinese models but does not have a wide stem is depicted ma dekoracije po zonama. U sredinjem je medaljonu sada serrated leaf motifs.
zirani motivi cvijeta i lista lotosa. on a dish on a foot-tazza (cat. no. 26) in a scheme of a flower simbolian prikaz kotaa sree, a uokolo njega ve vieni A smaller dish on a conical foot and a flat rim has
Gotovo isti prikaz prepleta, bez sauvanog sredi- scroll. The central depiction, the completely stylized lotus preplet s motivima oblaka i nazubljenog lista. Na obodu je the same motifs applied in a different scheme (cat. no. 28).
njeg motiva, nalazi se na ulomku tanjura uskog oboda s flower stay alone surrounded by a scroll of undulate branch- friz s motivom valova i stijena, a s vanjske strane, podijelje- The decoration is divided into zones starting with the
rubnom trakom ukraenoj krajnje stiliziranim peleng i inta- es and vegetation forms, which resemble the original ne na zone vodoravnim linijama, dvostruki niz naizmjeni- central medallion with a vegetative drawing in the shape of
mani motivima, svedenima tek na jednostavan cik cak friz Chinese lotus leafs in form (Demirel 2013: 79-80). The wide nih intamani i trolisnih motiva. a heart with fuchsia flowers, berries and leafs serrated on
ispunjen tokama (kat. br. 32). Identino izvedeni prepleti rim is decorated with the wave border, while the exterior is Dva tanjura s tankim obodom na niskoj, prstenastoj two sides. Around it runs a frieze of ruyi motifs, and a scroll
te loija kvaliteta stjenke i glazure ukazuju da su ove dvije decorated with a foliated horizontal band along the upper nozi ukraeni su u istom stilu kao i prethodne posude. Na similar to the one on the aforementioned vessel runs along
posude proizale iz iste radionice. and lower edge, with stylized motifs of lotus flowers and prvom je primjerku (kat. br. 30), u sredinjem medaljonu the rim. The exterior wall is decorated with an alternating
Omiljeni se kineski motiv cvjetni preplet pojavlju- leafs between them. cvijet boura na zakrivljenoj grani koja s dva izduljena, na- series of abstract motifs and single intamani dots.
je u brojnim kompozicijama i izvedbama uz novi osmanski An almost identical depiction of a flower scroll, zubljena motiva tvori oblik srca. Uokolo centralnog motiva A dish of a similar shape (cat. no. 29) repeats the
motiv, izduljeni i dvostrano nazubljeni list nalik klasu pe- without the preserved central motif, can be seen on a su brzim potezima kista izvedeni stilizirani ruyi motivi. Na zone decoration scheme. The central medallion is now
nice. Po ovom motivu cijela je skupina nazvana stil klasa fragment of a plate with a narrow rim. The rim is decorated uskom obodu je friz od stiliziranih peleng motiva u vidu jed- occupied by a symbolic depiction of the wheel of fortune
penice (the wheatsheaf style) (Atasoy, Raby 1989). Izvodio with band of highly stylized peleng and intamani motifs, nostavne cik-cak dekoracije. Identino ukraen obod nalazi with the already seen scroll with motifs of clouds and ser-
86 87
se na sljedeem tanjuru s centralnom kompozicijom preple- rated leafs around it. The rim is occupied by a frieze with sredinji prikaz, dok je vanjska strana podijeljena horizontal- low-quality glaze point to an obvious influence of the deca-
ta u sredinjem medaljonu. Oko sredinje rozete okruene a rock and wave motif, and on the exterior, separated into nim linijama na zone, od kojih je sredinja ukraena naiz- dence of the style.
s osam srcolikih motiva tee preplet s motivima oblaka i zones with horizontal lines, a double series of alternating mjenino postavljenim pupoljcima i jednostrukim intamani On blue and white vessels of the last quarter of the
nazubljenog lista, nalik prepletima s prethodnih posuda intamani and trefoil motifs appears motivima. 16th century, the potters in Iznik apply a series of abstract
na nozi. Dekorativni elementi poput prepleta i sredinjih Two dishes with thin rims on a low ring-like foot are Zdjela na nozi tazza ukraena je u radijalnoj shemi and geometrical compositions that spread from the cen-
motiva u stilu klasa penice, srcolike kompozicije i motivi, decorated in the same style as the aforementioned vessels. s velikom rozetom sastavljenom od osam palmeta kruno tral motif in different radial forms. New motifs done in
te upotreba podjednake cik-cak dekoracije na obodnoj traci On the first example (cat. no. 30), the central medallion is postavljenih oko sredinjeg medaljona s cvijetom lotosa (kat. an Islamic fashion appear, like the arabesque, resembling
tanjura, ukazuju na mogunost da su svi ovi predmeti pote- occupied by a peony flower on a curved branch that forms br. 37). Obod posude je ispunjen motivom valova i stijena, a a kaleidoscope, but again in a combination with Chinese
kli iz iste radionice prepoznatljivog stila. a heart shape with two elongated serrated motifs. A zigzag vanjska strana podijeljena je horizontalnim linijama na zone, motifs like the lotus flower, ruyi friezes and the wheel of
Dvije zdjele ireg oboda na maloj prstenaste nozi decoration in the form of stylized peleng motifs runs along od kojih je sredinja ukraena trolisnim i jednostrukim inta- fortune.
(kat. br. 33, 34), za razliku od prethodnih predmeta, prona- the narrow rim. mani motivima. A shallow dish with a narrow rim on a ring foot is
ene su u sitnim ulomcima zbog loe strukture tijela, tanje An identical rim can be seen on the next dish with Zaobljena zdjela irokog oboda s ravnim rubom (kat. decorated with abstract compositions representing the
stjenke ukaste boje te slabe glazure, popucale po povrini. an axial composition in the central medallion. A scroll with br. 35) oslikana je u tzv. stilu kaleidoskopa (Atasoy, Raby wheel of fortune, which radially spreads from a rosette
Dekoracija je izvedena upotrebom istih motiva, no u plavo- motifs of clouds and serrated leafs resembling scrolls from 1989: 245) s ukrasom rasporeenim po zonama. U sredi- within the central medallion (cat. no. 38). A ruyi border on a
sivoj boji i drugaijem stilu od prethodnih primjeraka, uka- aforementioned vessels on a foot runs around the central njem se polju iz lotosovog cvijeta radijalno iri osam ruyi narrow rim frames the central drawing, while the exterior
zujui na injenicu da ih je radila ista ruka u nakani da kopira rosette, surrounded by eight heart-shaped motifs. Decora- motiva na pozadini ispunjenoj sitnim viticama. Uokolo sre- is divided into zones and the central one is decorated in
iznike originale, ili da je proizvodnju pojedinih radionica tive elements like scrolls and central motifs in the wheat- dinjeg polja nie se friz palmeta, a na obodu motiv valova alternating buds and single intamani motifs.
zahvatila dekadencija i prije poetka 17. stoljea. Na prvoj se sheaf style, heart shaped compositions and motifs, as well i stijena. S vanjske strane zdjela je ukraena naizmjeninim The dish on a foot - tazza is decorated in a radial
zdjeli (kat. br. 33) oko sredinjeg medaljona sa stiliziranom as the use of the zigzag decoration on the rim, point to a nizom rozeta i apstraktnih motiva. scheme with a big rosette composed of eight palmettes
rozetom nalazi cvjetni preplet izveden u stilu klasa peni- possibility that all the vessels came from the same work- Gotovo isti koncept dekoracije ogleda se na poklop- circularly set around the central medallion with a lotus
ce. Na obodu je preplet potpuno pojednostavljen i nehaj- shop of a familiar style. cu zdjele (kat. br. 36) iji donji recipijent do sada nije prona- flower (cat. no. 37). The rim of the dish is decorated with a
no izveden, dok je vanjska strana horizontalnim linijama Two dishes with wide rims on a small ring-like foot en. Poklopac polukrune forme zavrava prstenastom ista- wave border, the exterior side is divided into zones by lines,
podijeljena na zone s nizom trolisnih motiva u srednjoj zoni. (cat. no. 33, 34), unlike aforementioned vessels, were found kom na dnu radi uglavljivanja u donji recipijent. Nedostaje and the central zone is decorated with a trefoil and a single
Na drugoj je zdjeli (kat. br. 34) uokolo sredinjeg medaljona heavily fragmented due to the bad and thin wall structure, mu gornji profilirani dio s ruicom na vrhu. Sauvani dio po- intamani motif.
izveden preplet u obliku lozice s trolisnim motivom koji se a drawing applied in blue and grey and the cracked glaze. klopca s plavo-bijelom dekoracijom nalik onoj s prethodne The round dish with a wide flat rim (cat. no. 35) was
ponavlja i na obodnoj traci u formi jednostavnog friza. The decoration was applied with the use of the same motifs posude, ukazuje da se dekoracija radijalno irila iz sredinjeg painted in the so called kaleidoscope style (Atasoy, Raby
Uza iroki repertoar kineskih motiva s porculana but in a different style from the aforementioned vessels, motiva na vrhu, a od ega je sauvana zona s velikim ruyi 1989: 245), with a decoration arranged in zones. The central
s kraja 15. i 16. stoljea, izniki keramiari 70-ih godina 16. pointing to the fact that it was done by the same hand in an motivima na pozadini ispunjenoj sitnim viticama. Uz rub field has a lotus flower with eight radially spreading ruyi
stoljea preuzimaju i jiajing motiv u formi etiriju cvjetnih attempt to copy Iznik originals, or that a workshop worked poklopca, uz usku borduru od kosih linija, tee niz manjih motifs and a background filled with small scrolls. A frieze
vaza radijalno rasporeenih oko sredinje rozete. Na plitkoj during the decadence of style before the 17th century. On ruyi motiva u formi obodnog friza. Oblik duboke zdjele of palmettes threads around the central field, and the rim
zdjeli s uskim obodom (kat. br. 40) javlja se jiajing motiv u the first dish (cat. no. 33), the central medallion with a polukrune ili ovalne forme s viom ili niom prstenastom is occupied by the wave border. The exterior of the bowl is
neto izmijenjenoj formi. U sredinjem krunom polju oko stylized rosette has a flower scroll done in the wheatsheaf nogom i pripadajuim poklopcem proizlazi iz islamskih i decorated with an alternating string of rosettes and abstract
rozete nie se est karakteristinih vaza s cvijeem dok je na style. The rim is occupied by a simplified clumsily done osmanskih metalnih posuda naziva tombak. Sluile su za motifs.
obodu friz od polurozeta. Struktura posude, kvaliteta crtea scroll; while horizontal lines divide the exterior into zones serviranje djelomino tekuih jela poput erbeta, kompota An almost identical concept of decoration can be
i loa glazura ponovno ukazuju na oiti utjecaj dekadencije with series of trefoil motifs in the middle zone. The second ili turije, stoga se moe pretpostaviti da su bile u kompletu seen on the lid of a bowl (cat. no. 36), whose lower recepta-
stila. dish (cat. no. 34) has a scroll in the shape of a small vine sa zdjelicama iz kojih se jelo (Atasoy, Raby 1989: 45). cle has not yet been found. The hemispherical lid ends with
Na plavo-bijelom posuu zadnje etvrtine 16. with a trefoil motif, which is repeated on a loose band in the U zbirci iznikog posua s brodoloma nalazi se est a ring-like protrusion on the bottom, which was used to
stoljea keramiari Iznika primjenjuju niz apstraktnih i form of a simple sequence. zdjelica polukrunog oblika na prstenastoj noici s ravnim, fix the lid to the lower receptacle. The profiled part with a
geometrijskih dekorativnih kompozicija to se u razliitim Within the broad repertoire of Chinese porcelain blago rastvorenim ili uvuenim obodom (kat. br. 48. 49, 50, handle on top is missing. The preserved part of the lid with
radijalnim formama ire iz centralnog motiva. Pojavljuju se motifs from the end of the 15th and the 16th century, in the 51, 52, 53). Od ostalih se predmeta iznike produkcije razli- a blue and white decoration, resembling the one on the
motivi izvedeni u islamskom stilu poput arabeske nalik ka- 1570s, the potters in Iznik adopt the jiajing - a motif of four kuju izrazito tankom stijenkom i glazurom slabije kvalitete, aforementioned dish, points to the fact that the decoration
leidoskopu, ali ponovno u kombinaciji s kineskim motivima flower vases radially arranged around a central rosette. A ispucanoj po povrini. Polukruni oblik na maloj prstenastoj was spreading radially from the central motif on top, from
poput cvijeta lotosa, ruyi frizova i kotaa sree. flat dish with a narrow rim (cat. no. 40) has the decoration stopi i jednostavna dekoracija u vidu sredinjeg medaljona s which only a zone with a frieze of ruyi motifs on a back-
Tanjur s tankim obodom na niskoj, prstenastoj nozi with the jiajing motif in a somewhat changed form. Six typ- cirkularnim motivom u obliku morskog vala, motivom kola ground of small scrolls was preserved. A ruyi frieze runs
ukraen je apstraktnim kompozicijom u formi kola sree ical flower vases thread in the central circular field around sree, zvijezdom ili cvijetom lotosa s unutarnje strane te s along the edge of the lid, along the border of transverse
koja se radijalno iri iz rozete unutar sredinjeg medaljona the rosette, while the rim is occupied by a rumy border. The vitiastim ili pak zrakastim motivima u formi kola sree lines. The shape of the hemispherical or round bowl on a
(kat. br. 38). Friz ruyi motiva na uskom obodu uokviruje structure of the dish, the quality of the drawing, and the na vanjskoj stijenci, ukazuju da su proizale iz kineskih high or a low foot with a matching lid comes from Islamic
88 89
plavo-bijelih min yao zdjelica, iz vremena Ming dinastije 15. i and Ottoman metal vessels called tombak. They were used
16. stoljea (Zmai Kralj 2014: 78). Kao osmanski motiv, koji for serving partially liquid dishes like sherbet, compote or
ih vee uz izniku proizvodnju, javlja se potpuno stilizira- tursu, so we may assume that they came with a set of small
ni intamani motiv u obliku tri tokice i cik-cak motiva na bowls from which the dish was eaten (Atasoy, Raby 1989: 45).
dekorativnoj traci uz obod. Iako su se zdjelice slinog oblika There are six hemispherical small bowls on a ring
proizvodile u vie dimenzija, svi primjerci iz tereta broda foot and with a flat, mildly opened or indented rim in the
bili priblino istih dimenzija i male veliine, promjera od 12 collection of Iznik vessels from the shipwreck (cat. no. 48.
do 13 cm i visine od 5.3 do 6 cm (Zmai Kralj 2014: 78). 49, 50, 51, 52, 53). They differ from the rest of Iznik pro-
duction with exceptionally thin walls and a glaze of lesser
Dekadencija stila i opadanje kvalitete Iznikog posua quality which is cracked on the surface. The hemispherical
shape on a small ring-like foot, decorated with a central
U kolekciji iznikog posua iz tereta broda pronaeno je medallion filled by the circular motifs, wheel of fortune
vie predmeta koji su kvalitetom izrade i dekoracije oduda- or a lotos flower on the interior and convolute or radial
rali od ostalog luksuznog posua, poput malih, polukrunih motifs in the form of the wheel of fortune on the exterior,
zdjelica (kat. br. 48. 49, 50, 51, 52, 53), manjih posuda loe point to the fact that they came from the Chinese blue and
stijenke (kat. br. 33, 34), plitkih tanjura uskog oboda (39, 40, white minyao small bowls dated to the Ming dynasty of the
41) i gotovo serijski proizvedenih tanjura (kat. br. 42, 43, 44, 15th and the 16th centuries (Zmai Kralj 2014: 78).The com-
45). Loa kvaliteta ovog posua, poglavito namijenjenog za pletely stylized intamani motif in the form of zigzag border
jelo, moe se objasniti injenicom da se u posebnim prili- filled with three dots on the decorative band along the rim,
kama, poput javnih sveanosti17, javljala potreba za veom appears as an Ottoman motif connecting them to Iznik pro-
koliinom posua. Da bi se zadovoljila potreba za ovako veli- duction. Although bowls of similar shape were produced in
kim brojem posua koje se trebalo izraditi u kratko vrijeme, several dimensions, all the bowls from the cargo are almost
pojedini oblici su se proizvodili u velikim serijama, izvedeni same in dimensions and of small size, measuring 12 to 13 cm
u loijoj kvaliteti i kao takvi su se nalazili na tritu uz luk- in diameter and 5.3 to 6 cm in height (Zmai Kralj 2014: 78). Sl. 30. Trgovaki teret iznikog The cause of the gradual decline in quality is primarily
suznu robu. Dakako, ova masivna proizvodnja posua loije posua s brodoloma kod pliine the increased production of cheaper vessels intended for
strukture tijela, pojednostavljenog ili nemarno izvedenog The decadence of the style and the decline in the quality Sveti Pavao markets and wide distribution outside the Empire, which
crtea i loe glazure predstavljala je poetak dekadencije of Iznik vessels Fig. 30. The cargo of Iznik pottery made the workshops lose the reputation they had at their
from the shipwreck in the Sveti
proizvodnje grada Iznika. peak. The end of the Courts patronage over the production
Pavao shallows
Krajem 16. i poetkom 17. stoljea posue grada The collection of Iznik vessels from the ships cargo yielded of vessels, along with the decline of power of the Ottoman
Iznika i u irem smislu postaje komercijalna roba i gubi a number of objects that differed from the rest of luxu- Empire, also contributed to that. There were no new incen-
prvobitnu kvalitetu. Uzrok postupnom opadanju kvalitete rious tableware in quality and decoration, like the small tives from the Court, no designer concepts, no techniques
prvenstveno je poveana proizvodnja jeftinijih posuda za hemispherical bowls (cat.no. 48. 49, 50, 51, 52, 53), smaller or colours that would inspire future development. That
trite i iroka distribucija izvan carstva ime radionice vessels with low-quality walls (cat. no. 33, 34), flat dishes was clearly reflected in the mid-17th century, when a strong
gube reputaciju koju su imale na svojem vrhuncu. Tome u with narrow rims (cat. no. 39, 40, 41), and almost serially decrease in the number of ceramic workshops in Iznik
prilog ide prestanak pokroviteljstva dvora kod proizvodnje produced dishes (cat. no. 42, 43, 44, 45). The low quality of occurred. The information on these events was noted down
stolnog posua, to se odvijalo paralelno sa slabljenjem these vessels, manly intended for dining, can be explained by the Turkish writer Evliya elebi who stated that there
moi Osmanskog Carstva. Nema vie novih poticaja s dvora, by the fact that on special occasions, like ceremonies17, had been over 300 workshops in Iznik at the beginning of
dizajnerskih koncepcija, tehnika i boja koji bi potakli budui there was a need for a greater amount of such vessels. To the 17th century, and only nine were active in 1648. (Denny
razvoj, to e se puno jasnije odraziti sredinom 17. stoljea please the need for such an amount in a short period of 2005; 43) At the beginning of the 18th century, production
kada dolazi do izrazitog pada broja keramikih radionica u time, particular forms were produced in large series and, as in Iznik loses all significance, and the lead in the produc-
Izniku. Podatke o tome donosi turski putopisac Evlija elebi, such, were sent to the market along with luxurious goods. tion of pottery was taken over by other Ottoman ceramic
koji na poetku 17. stoljea svjedoi o postojanju preko 300 Of course, this mass production of low-quality vessels also
represented the beginning of the decadence of production
in Iznik. 17 Registers tied to the royal treasury and kitchen bring the information
17 Registri vezani uz dvorsku riznicu i kuhinju, donose podatke o nabavci At the end of the 16th and the beginning of the on attaining 541 pieces of Iznik tableware, along with 397 vessels from
541 komada iznikog posua, uz 397 posuda iz dvorske kuhinje, za uprilien- the courts kitchen, for the luxurious celebration that lasted for 52 days
je raskone proslave koja je trajala 52 dana i noi u ast obrezanja princa 17th centuries, vessels from Iznik became a commercial in honour of the circumcision of prince Mehmet, the son of Murad III in
Mehmeta, sina sultana Murada III., 1582. godine (Atasoy Raby 1989: 14). commodity in a wider sense and lost their initial quality. 1582(Atasoy Raby 1989: 14)

90 91
 radionica u Izniku, dok ih 1648. g. djeluje tek devet (Denny centres such as Kthaya which reached its peak in the 18th
2005; 43). Poetkom 18. stoljea proizvodnja grada Iznika century. The decline in quality can be seen on a number of
gubi svaki znaaj, a vodstvo u proizvodnji keramikih pred- objects from the ships cargo which can be dated to the last
meta preuzimaju drugi osmanski keramiki centri poput quarter of the 16th century based on their stylistic features.
Ktahye koja u 18. stoljeu dostie vrhunac. Pad u kvaliteti The smooth white surface is now in off-white colour, the
vidljiv je na vie predmeta iz tereta broda koji prema stil- quality of the glaze decreases, the pigments lose their gloss
skim znaajkama pripadaju zadnjoj etvrtini 16. stoljea or are spilling out during firing, and the motifs are simpli-
(kat. br. 39, 40, 41). Glatka bijela povrina postaje prljavo fied and often clumsily applied (cat.no. 39, 40, 41).
bijela, smanjena je kvaliteta glazure, pigmenti gube sjaj ili se Iznik tableware, with its allure, exceptional beauty
prelijevaju za vrijeme peenja, a motivi su pojednostavljeni i and quality drew the attention of the European market
esto nespretno izvedeni. in the second half of the 16th century, and the collection
Izniko je posue svojom privlanosti, izuzetnom presented on the exhibition Iznik- Ottoman pottery from
ljepotom i kvalitetom u drugoj polovici 16. stoljea privuklo the depths of the Adriatic is a unique example of maritime
panju i europskog trita, a zbirka predstavljena na izlobi trade with this luxury ware. Even today the pottery made
Iznik osmanska keramika iz dubine Jadrana jedinstven in Iznik has great artistic and historical value, not only for
je primjer pomorske trgovine ovom luksuznom robom. I its exceptional beauty, but also because today only a limited
danas iznika keramika ima veliku umjetniku i povijesnu amount of this objects is preserved. The rare examples can
vrijednost, ne samo zbog svoje izuzetne ljepote nego i zbog be found in the greatest world museums such as the Louvre
injenice da je do dananjih dana evidentirano oko 3000 in Paris, the British Museum in London, the Topkap Palace
cjelovitih primjeraka iznikog posua, koji pripadaju zbirka- in Istanbul and many private collections.
ma najveih svjetskih muzeja poput Metropolitan Museum
of Art u New Yorku, Louvre (Muse du Louvre) u Parizu, The collection of Iznik tableware found at the
British Museum, Victoria&Albert Museum u Londonu, seabed in the waters around Mljet is even more important if
Calouste Gulbenkian Foundation u Lisabonu, Benaki Mu- we take into account the fact that it was found completely
seum of Islamic Art u Ateni, Museum of Islamic Art u Kairu, intact. This gives the scholars and the public a chance to
Museum fr islamiche Kunst u Berlinu i brojnim privatnim get a complete image of a historical moment, which bril-
zbirkama. liantly illustrates the material culture of the 16th century,
the economy and maritime trade in the Mediterranean in
Kolekciju iznikog posua pronaenu u podmorju which the eastern Adriatic maritime route played a huge
otoka Mljeta ini jo znaajnijom injenica da je brodolom part. On the other hand, the artistic compositions, motifs
pronaen u potpuno netaknutom stanju, stoga strunjaci- and colours on the ceramic objects from the shipwreck rep-
ma i iroj javnosti prua mogunost stjecanja zaokruene resent almost all phases in the development of Iznik pottery,
slike jednog povijesnog trenutka koji odlino ilustrira and the wide range of objects found in a closed archaeologi-
materijalnu kulturu 16. stoljea, gospodarstvo i pomorsku cal context like a shipwreck gives numerous possibilities for
trgovinu Mediteranom u kojoj je veliku ulogu odigrala dating and establishing chronological relations in studies of
istona jadranska pomorska ruta. S druge strane, umjetni- Iznik pottery.
ke kompozicije, motivi i boje na keramikim predmetima iz
tereta broda predstavljaju gotovo sve razvojne faze proi-
zvodnje iznike keramike, a tako iroka lepeza predmeta
pronaena u zatvorenoj cjelini poput brodoloma daje brojne
mogunosti za datiranje i uspostavljanje kronolokih odno-
sa u prouavanju iznike keramike.

92
 Brod The ship
Sl. 31. Dokumentirani ostaci brodske konstrukcije
Fig. 31. Documented remains of the ships
construction

Sl. 32. Ostaci postolja jarbola

1. Brod i topovi 1. The Ship and the Ordnance Fig. 32. Remains of the mast step

igor mihajlovi igor mihajlovi Sl. 33. Brodska konstrukcija: dvostruki sloj oplate
Fig. 33. Ships construction: the double layer of
planking
2. Brodsko zvono 2. Ships bell
jurica Bezak jurica Bezak Sl. 34. Drveni koloturnik, kat. br. 63
Fig. 34. Wooden heart, cat. no. 63
3. Predmeti iz brodskog inventara 3. Objects from the ships inventory
jurica Bezak jurica Bezak

4. Ostali keramiki nalazi 4. Other pottery finds

pavle dugonji, anita ivankovi pavle dugonji, anita ivankovi

1. Brod i topovi 1. The Ship and the Ordnance

Istraivanje je i dokumentiranje brodske konstrukcije The documentation and research of the ship's construc-
provedeno 2010. i 2011. g. u suradnji s profesorom Carlom tion were done in 2010 and 2011 in cooperation with the
Beltrameom i njegovim timom sa sveuilita Ca Foscari iz Universit Ca' Foscari in Venice. Remains of the ships
Venecije. Ostaci brodske konstrukcije nalaze se na pjea- construction are located on a sandy slope not far from the
noj padini nedaleko glavne koncentracije nalaza. Iskopom s main concentration of finds. Excavations with a suction
mamut-sisaljkama otkriven je dio konstrukcije dimenzija 6 dredger uncovered a part of the ship's construction that
x 3,7 metara (sl. 31). Dokumentirano je oko 15 madira (dasaka measured 6x3.7 m (fig. 31). About 15 hull planks, ten floor
oplate) u dva sloja, deset rebara na koje se nastavljaju rebre- timbers which are joined to the futtocks and the mast step
ni nastavci te postolje jarbola (sl. 32). Posebno je zanimljiva were documented (fig. 32). The double layer of planking
dvostruka gradnja oplate(7,8 + 5 cm), izraene od pitomog (7.5+5 cm) made out of stone pine (Pineus pinea) is particular-
bora (Pinus pinea), jer do sada ovakav nain gradnje nije zabi- ly interesting because this construction technique has not
ljeen u Mediteranu (Beltrame, Mihajlovi, Miholjek 2015: u yet been recorded in the Mediterranean (Beltrame, Miha-
tisku) (sl. 33). Openito postoje dva objanjenja ovakve grad- jlovi, Miholjek 2015: in press) (fig. 33). Generally, there are
nje. Ili je rije o strukturalnom rjeenju radi vee vrstoe two explanations for this kind of construction. It is either a
broda ili je vanjski sloj sluio kao zatita pravog, unutar- structural solution for strengthening the ship, or the outer
njeg sloja od vanjskih utjecaja kao to je crvotoina (taredo layer was used to protect the actual inner layer from out-
navalis). U ovom sluaju zasigurno je rije o strukturalnoj side influences such as naval shipworms (Taredo navalis). In
komponenti to se vidi po debljini slojeva oplate te injenici this case it must have been a structural component, which
da brod nije imao kobilicu (Beltrame 2014: 45-52). Prona- is evident from the thickness of the hull layers and the
ena su i tri koloturnika, tipina za brodove iz 16. stoljea, fact that the ship had no keel (Beltrame 2014: 45-52). Three
a upotrebljavala su se za snast na priponama (sartijama) ili wooden hearts, typical for ships from the second half of the
oputama (sl. 34). Prema pronaenim elementima ovi su se 16th century, were also found. They were used on standing
94 95
 Sl. 36. Brodska grupe, kao brodovi pokretani primarno veslima te brodovi Generally, ships that sailed the Mediterranean in the
konstrukcija na jedra. Brodovi na vesla ili galije doivjeli su svoj vrhunac u turbulent and violent 16th century can be divided into two
nalazi se na 15. stoljeu, no nakon toga njihovo znaenje opada. Po svojoj groups: ships powered by oars and those powered by sails.
dubini od 37 do namjeni i konstrukciji mogu se razlikovati trgovake galije, Ships powered by oars or galleys reached their peak in the
42 metara
iji je odnos duine i irine bio est naprama jedan, te lake 15th century, when their significance decreases. By their
Fig. 36.
ratne galije iji je odnos bio osam naprema jedan (Lane 1973: purpose and construction they can be divided into mer-
The ships
construction is 337-338). Trgovake galije su bile skupo ali i brzo prijevozno chant galleys, which had a ratio of length to beam was six
situated at the sredstvo. Shodno tome bile su koritene za transport skupih to one and light warships, which had a ratio of eight to one
depth of 37 to tereta koji su mogli opravdati troak putovanja. Nakon 1500. (Lane 1973: 337-338). Merchant galleys were an expensive
42 meters godine njihov broj rapidno pada i postupno ih zamjenjuju but fast means of transport, and they were used accord-
brodovi na jedra koji su radi manjeg odnosa irine i duine ingly for transport of expensive cargos that could justify
nazivani oblim brodovima (round ships) (Lane 1973: 348). for the expense of the journey. After the year 1500 their
Poboljane su navigacijske i plovidbene sposobnosti oblih numbers rapidly decreased and they were being gradually
brodova kao i mogunost ukrcaja vie topova i tereta isti- replaced by ships with sails that were, due to a smaller ratio
snuli trgovake galije. Meutim galije su se i dalje koristile of length to beam, called round ships (Lane 1973: 348). The
u ratne svrhe, prvenstveno radi sposobnosti manevriranja improved navigational and sailing abilities of the round
na malom prostoru to je vidljivo iz Lepantske bitke 1571.g. boats, along with the possibility of loading more guns and
(Barbero 2010). Ciparski rat (1570.- 1573) i velika kuga dvije cargo on them, suppressed the merchant galleys. But galleys
godine poslije uzrokovali su prekid trgovine te brodograd- were still used for war, mainly because they could be used
Sl. 35. Dva sidra koja su najvjerojatnije bila smjetena na pramcu nje (Lane 1973: 384). Trgovina je oivjela ve osamdesetih for manoeuvring in small spaces, as was seen in the Bat-
Fig. 35. Two anchors that were most probably situated on the bow
godina to dokazuje i ovaj brodolom s ekskluzivnom robom. tle of Lepanto in 1571 (Barbero 2010). The War of Cyprus
of the ship
Brodogradnja iz vie razloga, prvenstveno ekonomskih, nije (1570-73) and the great plague that followed two years later
pratila trgovinu. Problem se pokualo rijeit poveanom caused a cease in trade and shipbuilding (Lane 1973: 384).
drveni koloturnici vjerojatno upotrebljavali na priponama rigging such as forestays or shrouds (fig. 34). Judging by the izgradnjom brodova tipa marciliana ije je cijena bila znatno Trade was revived in the 1580s, proved by this ship with
koje su drale jarbol uspravnim na bonim stranama broda. discovered elements, these heart blocks were probably used manja od karaka, a zahtijevali su i znatno manju posadu. exclusive goods. Shipbuilding, for many reasons, mainly
Dokumentirana su i tri sidra od kovanog eljeza, koje je on shrouds the function of which was to hold the mast up Ovi ekonominiji brodovi koji su bili posebno prilagoeni economical ones, did not follow the revival of trade. One
prouio Fabrizio Ciacchella (Ciacchella 2014) (sl. 35). Veina from side to side. Three anchors made of wrought iron were Jadranskim lukama bili su niski, ravnoga dna te su imali of the attempts of solving this problem was the increased
osobina sidara sa Svetog Pavla tipina je za 16. stoljee: izbo- also documented, and subsequently studied by Fabrizio etvrtasta jedra (Lane 1973: 384-385). Gotovo je etvrtina building of ships of the marciliana type, which cost less than
ena glava, izboenja za uglavljivanje preke u poprenom Ciacchella (Ciacchella 2014) (fig. 35). Most of the features svih brodova koji su ostali zabiljeeni u spisima notara G. a carrack, and demanded a significantly smaller crew. These
poloaju okrenuta krakovima, kvadratni presjek, lopate u of the Sveti Pavao anchors are typical of the 16th century: Andrea Catti te Andrea Spinelli pripadala upravo tipu broda economical ships, that were specially adapted to Adriatic
obliku jednakostraninih trokuta (Curryer 1999). Najstariji the protruding head, the nuts in lateral position facing the marciliana (Tenenti 1959). Ovdje bi trebalo spomenuti jo harbours were short, flat- bottomed and had quadrangular
dokazi o pandama sidara dolaze sa sidara pronaenih na arms, the quadrilateral cross-sections, the triangular most dva tipa trgovakih brodova koji su plovili Jadranom. Jedna sails (Lane 1973: 384-385). Almost a quarter of ships that re-
olupini Balancera, venecijanskom brodu koji su panjolci equilateral flukes (Curryer 1999). The most ancient evidence od uestalijih je bila cocca. Ovaj je brod imao jedan ili dva mained recorded in the writings of notaries G. Andrea Catti
oteli u Siciliji, preimenovali ga u Trinidad Valencera i poslali for bills comes from the anchors retrieved from the Bal- jarbola s etvrtastim jedrom, a nastao je iz sjeveronoeurop- and Andrea Spinelli were of the marciliana type (Tenenti
ga da se pridrui Nepobjedivoj armadi 1588. (Martin 1979). ancera wreck - a Venetian vessel taken by the Spaniards in skih uzora (Lueti 1984:197). Ve spomenuta karaka, koja 1959). Here we should mention two more types of merchant
Sidra sa Svetog Pavla mogla bi biti iz istog razdoblja ili malo Sicily, renamed as Trinidad Valencera and sent to join the je naslijedila coccu, bio je veliki trgovaki brod naoruan ships that sailed the Adriatic. One of the more common was
starija, budui da terminus post quem pada na godinu 1574. Invincible Armada in 1588 (Martin 1979). The anchors found s tridesetak topova. Uobiajeno je bilo da ima tri jarbola s the cocca. This ship had one or two masts with a quadrangu-
(Beltrame, Gelichi, Miholjek 2014). at Sveti Pavao could be from the same period or even a little glavnim etvrtastim jedrom te jednim ili dva latinska jedra lar sail, and was made after north-European models (Lueti
Naalost iskop i dokumentiranje brodske konstruk- older, the terminus post quem being 1574 (Beltrame, Gelichi, na krmi (Lueti 1984: 199). U tadanje je vrijeme Venecija 1984:197). The already mentioned carrack, that inherited
cije na ovoj dubini iziskuje znatna financijska sredstva pa je Miholjek 2013). imala premo na cijelom Jadranu, koji su nazivali Golfo di the cocca, was a large sailing merchant ship armed with
shodno tome prouen samo navedeni manji dio broda (sl. Unfortunately, excavating and documenting a ship's Venezia. Prevlast Serenissime protezala se od lagune pa sve about thirty pieces of artillery. It usually had three masts
36). Na osnovu navedenih podataka nije mogue sa sigurno- construction at this depth demand substantial financial do zamiljene linije koja je spajala grad Santa Maria di Lueca with a main quadrangular sail and one or two lateens on the
u utvrditi tip broda, ali usporedbom s drugim istraenim means, so only that small part of the ship was investigated u Apuliji sa otokom Krfom. Svatko tko je uao u to podruje stern (Lueti 1984:199). In that period, Venice had suprem-
brodovima iz 16. stoljea moemo pretpostaviti da je uku- thus far (fig. 36). Based on the aforementioned date, we cannot bio je podloan njihovim zakonima. Niti jedan naoruani acy over the Adriatic that they called Golfo di Venezia. At
pna duina broda oko 24 metra. determine the type of ship with certainty, but by comparing it strani brod nije mogao ondje ploviti, dok su trgovaki bro- that time the sovereignity of Serenissima spread from the
Openito se brodovi koji su plovili Mediteranom u to other researched shipwrecks dated to the 16th century, we dovi morali imati putovnicu, slijediti zadani kurs od svoje lagoon to the imaginary line which connected the town of
turbulentnom i nasilnom 16. stoljeu mogu podijeliti u dvije can assume that the length of the ship was about 24 meters. matine luke i natrag, te plaati carinu (Pedani 2008: 156). Santa Maria si Lueca in Apulia with the island of Kerkyra
96 97
 if we take into account the fact that this number includes
the archived documents of only the two aforementioned
notaries (Tenenti 1959). Another indicator of the dangers of
sailing through the Adriatic is the artillery of the ship that
sank in the Sveti Pavao shallows.
Sl. 39. Dekoracija na
The first six phases of excavation (2007-2012) and
vodeem dijelu cijevi
topa tipa petriere da
documentation of the site of Sveti Pavao revealed eight
braga (kat. br. 64) u bronze artillery pieces (fig. 37). Seven were breech-loading
usporedbi sa grbovima swivel guns, while one was a muzzle-loading esmeril (table
na topovima s Gnalia 1). Two nearly identical swivel guns were of large calibre,
(b) i Varne (c), prema belonging to the category of the petriere (perrier) while the
Bishop - Smith, R., 2000 remaining five were of smaller calibre, representing the
16th century swivel moschetto type (fig. 38). All these seven pieces were made
guns in Spain, Greece, of a combination of two metals. The barrel was made of cast
Bulgaria and Cyprus
bronze, and the chamber-holder of wrought iron. All eight
and two bronze pieces in
the Akbar Nama,
artillery pieces have been restored in the Department for
fig. 5, p. 6)
Conservation of Underwater Archaeological finds of the
Sl. 37. Brodski topovi in situ Sl. 38. etiri moschetta i jedan smirilj prikupljeni 2007. g. Fig. 39. Ornamentation on the chase of petriera da braga (cat. no. Croatian Conservation Institute.
Fig. 37. The ship's artillery pieces in situ Fig. 38. Four moschetto type guns and an esmeril recovered in 2007 64) with comparison of coat of arms from Gnali (b) and Varna The largest guns found to date are two almost iden-
guns (c) after Bishop - Smith, R., 2000. 16th century swivel guns tical perriers. Ornamentation and decoration are the same,
in Spain, Greece, Bulgaria and Cyprus and two bronze pieces in the the only difference being their weight mark. On perrier
Akbar Nama, fig. 5, p. 6) cat. no. 64 there is an engraved number 292, and on perri-
er cat. no. 65, number 330. The corresponding stout iron
sa sustavom punjenja odostraga, a jedan smiriljima s punje- plate holders were found, in which the removable chamber
njem sprijeda (tabla 1). Dva skoro identina okretna topa bila was inserted and forced against the rear part of the barrel
su velikog kalibra i pripadaju kategoriji pedrijera (perrier), through an iron wedge, but were not taken out of the sea
dok je ostalih pet manjeg kalibra i pripada tipu moschetta due to an advanced stage of corrosion and decomposition.
(sl. 38). Svih sedam topova napravljeno je kombinacijom dva- The iron chamber holder was fixed to two rectangular lugs
ju metala. Cijev je napravljena od lijevane bronce, a nosa protruding from the barrel. Close to the breech, the num-
komore za barut od kovanog eljeza. Svih je osam topova bers 292 and 330 are engraved on the barrel, indicating their
restaurirao Odjel za konzervaciju podvodnih nalaza pri Hr- weight in libras. The length of the barrel of the gun cat. no.
vatskom restauratorskom zavodu. 64 is 145 cm and its calibre is 10.7 cm (weight mark 292). The
Najvea su dva topa naena do sada dvije skoro gun cat. no. 65 measures 147 cm with a calibre of 10.1 cm
identine pedrijere. Ornamenti i dekoracija su isti, jedina je (weight mark 330). This is the length of the bronze part only,
razlika vidljiva u oznaci teine. Na pedrijeri kat. br. 64 ure- the barrel. Above the central reinforce ring, on the chase,
Koliko je plovidba po Jadranu na prijelazu iz 16. u 17. stoljee Tabla 1 Usporedba dimenzija pronaenih topova zan je broj 292, a na pedrijeri kat. br. 65 broj 330. Odgovara- there are four floral decorations shaped like acanthus leaves
bila opasna govori injenica da su u razdoblju izmeu 1592. Table 1 Comparison of the recovered guns dimensions jua su leita za makul pronaena ali zbog uznapredovale with three five-petal flowers among them. Similar Renais-
i 1609. godine Venecija i njeni trgovci izgubili oko 300 od korozije nisu bila vaena iz mora. U njih se stavljala pomina sance decorations in the shape of an acanthus, widespread
ukupno 1021 broda bilo gusarskim aktivnostima, nasukava- (Corfu). Everyone who crossed it had to obey their laws. No komora za barut koja se pritisnula od stranji dio cijevi kroz in the whole Mediterranean region, can be seen on two
njima ili havarijama. Podatak je jo zanimljiviji kada se uzme foreign armed ship could sail that sea, while merchant ships eljezni klin. eljezna je komora za barut bila privrena na bronze sakers casted by Zuane Albergehetti which were
u obzir injenica da ovaj broj ukljuuje arhivske dokumente had to have a passport, follow the established course from dva etvrtasta izboenja to su virila iz cijevi. Brojevi 292 i recovered from the Gnali shipwreck (Petricioli, 1970a: 9-16,
samo dva spomenuta venecijanska notara (Tenenti 1959). Jo and to their home port, and pay customs (Pedani 2008: 156). 330 ugravirani su blie komori za barut i ukazuju na teinu Morin, 2006: 95-97), as well as on three royal canones de batir
je jedan pokazatelj opasnosti plovidbe Jadranom i naorua- The dangers of sailing in the Adriatic at the turn of the 17th topa u librama. Duina cijevi topa kat. br. 64 je 145 cm i from one of the wrecks of the Spanish Armada, La Trinidad
nje broda potonulog kod pliine Sveti Pavao. century are attested by the fact that in the period between kalibra je 10,7 cm (oznaka teine 292). Top kat. br. 65 je dug Valencera (Martin 1988: 57-73). Venetian gun founders used
U prvih je est faza istraivanja i dokumentiranja na- 1592 and 1609 Venice and her merchants lost around 300 of 147 cm i kalibra je 10,1 cm (oznaka teine 330). Ova se mjera foliate bands composed of delicate acanthus leaves or pal-
lazita Sveti Pavao (2007. - 2012.) pronaeno osam bronanih their 1021 ships, whether to pirate activities, stranding or odnosi samo na bronani dio topa to jest na cijev. Iznad mettes which they frequently placed just behind the muzzle
topova (sl. 37). Sedam topova pripada okretnim topovima accidents at sea. This information is all the more interesting centralnog prstena ojaanja, na vodeem dijelu cijevi, nalaze or just before the trunnions (Avery, 2011: 49). On the chase,
98 99
se etiri cvjetna ukrasa u obliku lia akantusa, izmeu kojih under the muzzle of both Sveti Pavao perriers, there is an naoruanje do 1586. godine (Morin 2011: 10). Jo jedna karak-
su tri cvijeta s pet latica. Slini renesansni ukrasi u obliku ornament of 29 x 20 cm. The relief ornament is dominat- teristika venecijanskog naoruanja openito bio je izostanak
akantusa raireni su po itavom Mediteranu i nalazimo ih na ed by an empty coat of arms with sashes, and an attached ruki za dizanje u obliku delfina (nalazile su se na stranjem
dva bronana sakra koje je izlio Zuane Alberghetti, a naeni wingless lion's head (fig. 39). One perrier of similar calibre dijelu topa te se pomou njih top pomicao i podizao), a isto
su na brodolomu kod Gnalia (Petricioli, 1970a: 9-16, Morin, was discovered on a shipwreck in the vicinity of the isle of tako rijetko na njima nalazimo datum lijevanja (Morin 2009:
2006: 95-97), te na tri kraljevska opsadna topa (canones de Gnali, near ibenik, and displays the same coat of arms 21). Prema klasifikaciji pedrijera to ih je lijevala i posjedo-
batir) s olupina panjolske Armade, La Trinidad de Valence- (Petricioli 1970a: 9-16). The same coat of arms can be seen vala Serenissima, takvi se topovi, koji ispaljuju kugle od 12
ra (Martin 1988: 57-73). Venecijanski ljevai topova koristili on a perrier found in the 1980s in the Black Sea close to the libri (mjera za kugle bila je libra sottile, odnosno 0,3012 kg),
su listolike trake sastavljene od osjetljivog lia akantusa ili Bulgarian coast (Bishop-Smith 2000: 6) and on another one kalibra oko 9,5 cm i cijevi duge 130 cm, nazivaju petriere da
palmeta i esto ih stavljali odmah iza usta cijevi ili odmah iza displayed at the Naval museum in Istanbul (Ridella, pers. braga. Ako je komora za barut bila napravljena od bronce,
svornjaka (Avery, 2011: 49). Na vodeem dijelu cijevi, ispod comm.). The common features of all those perriers are the nazivale su se petriere da mascolo (Morin 2006: 21). Dimenzije
usta obiju pedrijera s brodoloma Sveti Pavao, nalazi se ukras coat of arms, their calibre and the breech-chamber made i kalibar topova lijevanih po narudbi za privatne trgovake
dimenzija 29 x 20 cm. Reljefnim ukrasom dominira prazan of iron. It can be assumed that they were cast either in the brodove mogli su odstupati od standarda, ovisno o eljama
grb s lentom i lavlja glava bez krila (sl. 39). Na dvije od pedri- same foundry or by the same founder. Since the weight of klijenata (Morin 2009: 28-29). Jo jedan dokaz, uz odgova-
jera slinog kalibra naenoj na brodolomu u blizini otoia a libra varied depending on state (monarchy) in which the rajuu teinu i prisutnost venecijanskog broda, moe biti
Gnalia blizu ibenika nalazi se slian grb (Petricioli 1970a: artillery was cast, one can establish the weight of the libra ukras s motivom lavlje glave na vodeem dijelu cijevi na obje Sl. 40. Moschetto da braga ljevaa
9-16). Isti se grb javlja i na pedrijerama naenima 80-ih u by weighing the artillery, and thus establish the state in pedrijere, iako prikaz nije ni moleca ni andante. Odljev usta Tommasa di Contia (prije 1540.
Crnome moru, blizu bugarske obale (Bishop-Smith 2000: 6), which particular artillery was cast (Roth 1989b: 201). For the cijevi (naroito zuba) ini se atipinim za venecijansku godine), kat. br. 68
te na jo jednoj izloenoj u Pomorskom muzeju u Istanbulu sake of comparison, the Venetian libbra grossa corresponded artiljeriju, ali to je bilo naoruanje napravljeno po narud- Fig. 40. Moschetto da braga of
(Beltrame, Morin 2014: 284). Zajednike su karakteristike to 0.477 kg, the Italian libras ranged from 0.301 kg (Venetian bi, prema eljama klijenata, to bi mogao biti sluaj s ovim the founder Tommaso di Conti
ovih pedrijera grbovi, kalibar i eljezna komora za barut. libbra sottile) to 0.368 kg (libbra of Turin), and the libra used topovima. Njihova paralelna pozicija na morskom dnu (vidi (before 1540), cat. no. 68
Moe se pretpostaviti da su ili lijevani u istoj ljevaonici ili ih in Castile was equivalent to 0.460 kg (Roth, 1989a: 61-66). Plan 1) sugerira da su se nalazili na taktiki ranjivoj krmi na
je nainio isti ljeva. Budui da je iznos libre varirao ovisno The Dubrovnik Republic, as an independent state, kept kojoj su naoruani trgovaki brodovi (i ratni brodovi) obino
o dravi (monarhiji) u kojoj se naoruanje lijevalo, iznos libre its libra unit of weight (0.358 kg) (Bai 2004: 79-100). The nosili svoje najvee i najbolje naoruanje (Guilmartin 1982: (measure for the shots was libbra sottile = 0.3012 kg), with a
moe se izraunati vaganjem naoruanja i time ustanoviti weight expressed in libras corresponded to the bronze part 143). calibre of approximately 9.5 cm and a barrel about 130 cm
mjesto lijevanja oruja (Roth 1989b: 201). Usporedbe radi, of the perriers only in this case, the barrel. Perrier cat. no. Druga se skupina naoruanja sastoji od pet slinih long, were called petriere da braga; if the chamber holder was
venecijanska libbra grossa odgovarala je teini od 0,477 kg, 64 with the weight indication 292 weighs 139 kg, which best okretnih topova (kat. br. 66-70) kalibra s varijacijom od 4,1 made of bronze they were called petriere da mascolo (Morin
talijanske su libre iznosile izmeu 0,301 kg (venecijanska corresponds to the weight of a Venetian libbra grossa. More do 4,4 cm, stoga ih ne moemo nazvati pedrijerama ve 2006: 21). The dimensions and the calibre of commercially
libbra sottile) i 0,368 kg (torinska libra), a libri iz Kastilje odgo- precisely, 292 Venetian libras equal 139.3 kg. Perrier cat. no. smiriljima s punjenjem odostraga. Svi su primjerci sloenih casted pieces for private merchant ships could differ from
varala je teina od 0,460 kg (Roth, 1989a: 61-66). Dubrova- 65 with the weight indication 330 weighs 156 kg. Marked topova, nainjeni od bronce i eljeza. Napravljeni su isto the standard depending on the clients wishes (Morin 2009,
ka republika, kao nezavisna drava, zadrala je svoju teinu weight in libras equals 157.40 kg. The small difference in kao i dvije vee pedrijere. Svih pet topova ima bronanu 28-29). Another proof of the Venetian provenance of these
libre od 0,358 kg (Bai 2004: 79-100). Teina izraena u weight may be attributed to the wear of the guns. Previous cijev s dva simetrina izboenja za privrivanje leita items on a Venetian ship, besides the corresponding weight,
librama odgovarala je samo bronanim dijelovima pedrijera, measure stands incorrect since it was done during resto- makul (ili braga). Komora za barut (ili mascolo), vilica i ruica could be the ornamentation with the motive of lions head
u ovom sluaju teini cijevi. Pedrijera kat. br. 64 s oznakom ration (Mihajlovi, Miholjek, Pei: 49-57). Both perriers za usmjeravanje napravljeni su od eljeza. Dva topa nose on the chase of both perriers, although not in moleca or an-
teine 292 teka je 139 kg, to najbolje odgovara teini u were commercial weapons because the guns casted for the potpis ljevaa. Top kat. br. 68 ima potpis T* C* na vodeem dante. Muzzle mouldings (especially the teeth) seem quite
venecijanskoj jedinici libra grossa. Preciznije, 292 veneci- Venetian government are easily recognizable by the com- dijelu cijevi to znai da ju je lijevao Tommaso di Conti, lan atypical of Venetian artillery, but these were commercial
janske libre iznose 139,3 kg. Pedrijera kat. br. 65 s oznakom mon features such as the presence of the Lion of San Marco, slavne venecijanske obitelji ljevaa topova (sl. 40). Tomma- weapons which were made according to a clients wish, and
teine 330 tei 156 kg. Spomenuta teina u librama iznosi both in moleca (head, torso and wings in a round or oval so je umro 1540. tako da je top, moschetto da braga, prema this could be the case for these guns. Their parallel position
157,4. Manja razlika u teini moe se pripisati istroenosti od background) or andante (complete body with the Gospel), venecijanskoj klasifikaciji topova (Morin 2008: 28), mogao on the seabed (see Plan 1) suggest that they were mounted
koritenja oruja. Prethodna je teina krivo navedena jer je the presence of the roman digit X, logo of the Council of biti napravljen 20-ih ili 30-ih godinama 16. stoljea (Avery at the stern, a tactically vulnerable location where armed
izmjerena tijekom restauracije (Mihajlovi, Miholjek, Pei: Ten which was in charge of state artillery until 1586 (Morin 2011: 26). Moschetto da braga bio je top kalibra oko 4,5 cm, merchantmen (and sailing warships) usually carried their
49-57). Obje su pedrijere oruje raeno po narudbi budui 2011: 10). Another feature of Venetian ordnance in general ispaljivao je kugle od jedne libre i obino je bio dug jedan biggest and best ordnance from the earliest days (Guilmar-
da se topovi lijevani za mletaku vladu lako raspoznaju po was the lack of lifting dolphins (handles on the dorsal part metar (Morin 2009: 28). Bronani dio topa (cijev) kat. br. 68 tin 1982: 143).
zajednikim karakteristikama poput lava svetog Marka u of artillery used for moving and lifting) and the date of the s brodoloma Sveti Pavao dug je 86 cm i kalibra je 4,1 cm. Po- The second artillery group consist of five similar
pozi moleca (glava, torzo i krila u okrugloj ili ovalnoj poza- founding is also seldom present (Morin, 2009: 21). Accord- red utora za bragu ugravirana je oznaka teine od 92 veneci- swivel guns (cat. nos. 66-70) with their calibre ranging
dini) ili andante (itavo tijelo s Biblijom) te rimskoj brojci X ing to the classification of perriers casted and owned by janske jedinice libra grosso. Naznaena teina iznosi 43,88 from 4.1 to 4.4 cm, so we cannot call them perriers but
kao oznaci Vijea desetorice, vijeu nadlenom za dravno the Serenissima, such artillery pieces, firing 12 lb shots kg, a prava teina topa je 43,30 kg. Budui da ne nosi oznake breech-loading esmerils. All were composite guns made

100 101
 Sl. 41 Moschetto da braga s from bronze and iron. Their construction is the same as that teini u venecijanskim librama. Stvarna teina sljedea dva Gun cat. no. 67 (length of the barrel 89 cm, calibre 4.1 cm)
potpisom *L*F* i dijelom eljeznog of the two larger perriers. All five guns have barrels made topa takoer je najblia izraunu u venecijanskoj jedinici li- has the real weight of 37.40 kg, with a marked weight of
zatvaraa, kat. br. 70 of bronze with two symmetrical ribs to which a stout iron bra grossa. Stvarna je teina topa kat. br. 67, duine cijevi 89 77, which equals 36.73 kg. Gun cat. no. 69, with a marked
Fig. 41. Moschetto da braga with plate holder (or braga) was attached. The removable cham- cm i kalibra 4,1 cm, 37,40 kg, s naznaenom teinom 77 to weight of 66, equalling 31.48, has the real weight of 31.80
the inscription *L*F* and a part of ber (or mascolo, visible on the gun far right), swivel and iznosi 36,73 kg. Top kat. br. 69 s naznaenom teinom 66 kg. The length of the barrel of the latter is 87 cm, and it has
the chamber holder, cat. no. 70
tiller were all made from iron. Two of the guns bear sig- to je jednako 31,48 kg je u stvarnosti teak 31,80 kg. Duljina a calibre of 4.4 cm. Since the real weight of these last three
nature of the founder. Gun cat. no. 68 bears the signature cijevi ovog topa je 87 cm, a kalibar mu je 4,4 cm. Budui da breech-loaders best corresponds to the Venetian libra, and
*T* C* on the chase which means that it was casted by the stvarna teina ova zadnja tri topa, s punjenjem straga, najbo- since they are morphologically very similar, we can assume
Tommaso di Conti, a member of the famous Venetian gun lje odgovara venecijanskoj libri i topovi su morfoloki slini, that their origin is Venetian. They can also be classified as
founder family (fig. 40). Tommaso died in 1540, so the gun, a moemo pretpostaviti da su porijeklom iz Venecije. Moe ih moschetti da braga. Determining the provenance of perrier
moschetto da braga in the Venetian gun classification (Mo- se isto tako opisati i kao moschetto da braga. Odreivanje cat. no. 70 is more challenging. Although its morphology
rin 2006: 21), could have been made in the 1520s or 1530s porijekla pedrijere kat. br. 70 je vei izazov. Iako morfologija suggests a Venetian origin, the absence of a weight mark
(Avery, 2011: 26). Moschetto da braga was a gun with a calibre topa nalae venecijansko podrijetlo, odsustvo oznake teine and a signature of an unknown founder suggest caution.
of around 4.5 cm, fired 1 lb shots and was usually one meter i potpis nepoznatog ljevaa navode na oprez. During the restoration of gun cat. no. 68, a wooden tampi-
long (Morin, 2009: 28). The bronze part of the gun (the bar- Za restauracije topa kat. br. 68 u komori za punje- on was found inside the breech chamber. Wooden tampi-
rel) cat. no. 68 from Sveti Pavao wreck is 86 cm long with a nje pronaen je drveni ep. Drveni epovi u topovima na ons in breech loading guns were used to separate powder
calibre of 4.1 cm. Next to the slot for the braga, the weight punjenje odostraga koriteni su za odvajanje baruta od kugle from the shot thus sealing the chamber. Later, they had the
mark of 92 Venetian libre grosse is engraved. Marked weight te kako bi zapeatili usta. Kasnije se upotrebljavaju samo za sole function of sealing the muzzle as a form of protection
equals 43.88kg, and the real weight is 43.30 kg. Since it does zapeaivanje usta kao zatita (Hildred, Wood, Gale 2011: (Hildred, Wood, Gale, 2011: 463-464). Material identified
not have signs of a state owned gun, it is obviously commer- 463-464). Materijal identificiran kao laneno platno naen je as linen was found in the barrel of gun cat. no. 66, close to
cial. Another commercial gun of this founder was recovered u cijevi topa kat. br. 66, blizu komore. Vjerojatno je bio dio the breech. This could be a part of the wad. Wads are made
in the waters around the Palagrua archipelago in 1988, brtvila. Brtvilo je obino bilo od materijala poput jute, sjena from any material such as plug of tow, hay, and wood, and
along with a gun recovered a year earlier casted by Camillo i drveta a dralo je barut i kuglu na mjestu prilikom punjenja are used to keep the powder and shot in position when the
dravnog naoruanja, oito je napravljen po narudbi. Jo je Alberghetti (Orli, 1988: 42-42, Radi Rossi, 2011: 68-70). topa (Blackmore 1976: 248). Samo ih je nekoliko s topova gun is being charged (Blackmore 1976: 248). Only few wads
jedan top napravljen po narudbi ovog ljevaa pronaen u Both guns bear the coat of arms of the Gritti family of Ven- to se pune sa stranje strane pronaeno za istraivanja na were found during the excavation of Mary Rose, and were
podmorju oko Palagrue 1988. godine, zajedno s topom na- ice (Beltrame , 2011: 14). In the Askeri museum in Istanbul brodolomu Mary Rose, a niti jedan nije zabiljeen na topo- connected only to breech-loading guns, none were recorded
enim godinu dana ranije a koji je lijevao Camilo Alberghetti there are another six muzzle loading guns made by Tomaso vima s punjenjem s prednje strane (Hildred, Wood, Gale with muzzle-loading guns (Hildred, Wood, Gale, 2011:475-
(Orli 1988: 42-42, Radi Rossi 2011: 68-70). Oba topa nose di Conti, but made for Government use (Beltrame, Morin, 2011: 475-476). Predloen je kao slijed punjenja topova od 476). The suggested sequence for wrought iron breech-load-
grb venecijanske obitelji Gritti (Beltrame 2011: 14). U Vojnom 2014: 78, 84, 134, 166, 230, 231). The Di Conti and Alberghet- kovanog eljeza na punjenje sa stranje strane pronaenih ers excavated from the Mary Rose shipwreck is: powder,
muzejuu Istanbulu nalazi se est topova s punjenjem spri- ti families were the most respected gun founders employed na brodolomu Mary Rose barut, brtvilo, drveni ep, platno i wad, wooden tampion, fibres, and the shot (Hildred, Wood,
jeda, rad Tommasa di Contija, ali napravljenih za upotrebu by the state which often encouraged competition in order onda kugla (Hildred, Wood, Gale 2011: 463-465). Gale, 2011:463-465).
Drave (Beltrame, Morin 2014: 78, 84, 134, 166, 230, 231). to produce the best quality products at the best price. By Top kat. br. 71 je jedini pronaeni primjerak koji se The gun cat. no. 71 is the only muzzle loading piece recov-
Obitelji di Conti i Alberghetti bile su najistaknutiji ljevai the second quarter of the 16th century, these two dynasties punio sprijeda te isto tako spada u kategoriju smirilja. Naj- ered and can also be categorized as an esmeril. The smallest
koje je zapoljavala drava, a poticalo ih se i na nadmeta- dominated the production of artillery in Venice which last- manji komadi naoruanja s kuglom teine od 0,5 do 1 libre piece of ordnance, which was used to fire shots of 0.5-1
nje ne bi li osigurali najkvalitetnije proizvode po to boljoj ed for three hundred years (Avery, 2011: 46). Gun cat. no. 70 nazivali su se smirilji (eng. esmeril; tal. smeriglo). Smirilji su libra were called esmerils (Ita: smeriglio, Cro: smirilj). These
cijeni. Do druge etvrtine 16. stoljea ove su dvije dinastije is the only gun which (besides the muzzle-loading esmeril) mogli biti konstruirani na nain da se pune s prednje, ili pak weapons, which can be either muzzle or breech loaders,
dominirale proizvodnjom naoruanja u Veneciji dugoj vie does not have an engraved weight mark. It bears the signa- sa stranje strane, i esto su postavljani na vilicu-nosa, te su were often placed on a swivel mount, and, as well as solid
od tri stotine godina (Avery 2011: 46). Top kat. br. 70 je jedini ture of one L F, a founder whose identity is not yet defined osim kompaktnih kugli ispaljivali i olovne kugle sa elje- shot, fired lead shots containing an iron cube (Ridella 2007:
top, osim smirilja s punjenjem sprijeda, bez oznake teine. (fig. 41). The length of the bronze barrel is 86 cm, and the znom kockom u sebi (Ridella 2007: 8). Izvaen smirilj je dug 8). The muzzle loading esmeril is 120 cm long, with a bore
Nosi potpis stanovitog L F, ljevaa iji identitet jo nije ot- length of preserved stout iron plate holder is another 30 cm 120 cm i promjera je 4,6 cm. Presjek smirilja je poligonalan diameter of 4.6 cm. The cross-section of the esmeril is
kriven (sl. 41). Duina bronane cijevi je 86 cm, a duina sa- (without the part of the tiller). The calibre is 4.2 cm. Parts of s dvanaest uglova. Uglovi teku neprekidno od stranjeg polygonal with twelve edges. The edges run continuously
uvanog leita za makul, bez dijela ruice za usmjeravanje, an iron yoke and a peg are also preserved. The bronze barrel prstena do usta bez ikakvih ojaanja. Jednostavna i neukra- from the base ring to the barrel muzzle, without any re-
je 30 cm. Kalibra je 4,2 cm. Sauvan je takoer i dio eljezne of gun cat. no. 66 is 87 cm long, with a calibre of 4.3 cm. The ena rupa za fitilj, izrezana astragalom, relativno je velikog inforces. The simple and unadorned fuse hole, cut by an
vilice. Cijev topa kat. br. 66 duga je 87 cm i kalibra je 4,3 cm. marked weight is 72 libras, and if we use Venetian libra gros- promjera (1,4 cm), to sugerira da je top bio due u upotrebi astragal, is of a relatively large diameter (1.4 cm), suggesting
Naznaena teina je 72 libre, a ako je preraunamo iz vene- sa, this equals 34.34 kg. The real weight is 33.75 kg, which is pa je dolo do troenja rupe. Smirilj nema nikakve reljefne that the gun was used for a longer period of time which
cijanske jedinice libra grossa odgovara teini od 34,34 kg. again closest to the mentioned Venetian libra. The weight of dekoracije da pomogne u odreivanju njegova porijekla. Za caused the fuse hole to wear. The esmeril does not display
Stvarna teina je 33,75 kg, to je opet najblie spomenutoj the other two guns is also close to the Venetian libra grossa. restauracije je u cijevi pronaena korodirana kugla promjera any characteristic relief decorations that could be used to

102 103
 Sl. 44. Natpis godine na brodskom zvonu MDLXVII
Fig. 44 Latin numerals MDLXVII

Sl. 42. Brodsko zvono in situ Sl. 43. Brodsko zvono s natpisom godine
Fig. 42. Ships bell in situ Fig. 43. Ships bell inscribed with the year

4 cm. Dostupni arheoloki podaci ukazuju na to da je dra- identify its origin. During the restoration, a corroded iron konzervacije. Arkebuze su bile oruje s punjenjem s prednje during the 2008 and 2009 campaigns (cat. no. 74 and 75).
nje topova napunjenima za plovidbe bila ustaljena praksa u shot of 4 cm in diameter was discovered in the barrel. The stranei sustavom napinjanja matchlock u upotrebi od 15. These shots can be connected to two harquebuses which
to vrijeme (Konstam 1988: 17). Gotovo je nemogue odrediti available archaeological evidence indicates that keeping the do 17. stoljea. Za usporedbu, tipine arkbuze u 16. stoljeu are still being restored. Harquebus is a muzzle-loading fire-
porijeklo ovog topa bez iga ljevaa, oznake teine ili grba, cannons loaded while the ship was sailing was the common teile su 5 kg ili manje i imale promjer oko 1,5 cm (0,6 ina) arm with a matchlock which was used from the 15th to the
ali ovaj primjerak poligonalnog presjeka s 12 uglova defini- practice at the time (Konstam 1988: 17). It is almost impossi- (Guilmartin 1984). 17th century. In comparison, a typical harquebus in the 16th
tivno nije venecijanski. Glavni su centri proizvodnje oruja ble to determine origin of this gun without the presence of century weighted 5 kg or less and had a bore diameter of
poligonalnog presjeka u Europi bili Francuska, Genova i a founders mark, a weight mark or a coat of arms, but this 2. Brodsko zvono around 1.5 cm (0.60 of an inch) (Guilmartin, 1984).
Engleska. Prema nekim karakteristikama poput cilindri- commercial polygonal piece with 12 edges is definitely not
nog gumba za usmjeravanje i astragala blizu usta mogue ga Venetian. Main centres of production of polygonal artillery Bronano brodsko zvono (kat. br. 76) jedan je od najznaajni- 2. Ships bell
je datirati u prvih par desetljea 16. stoljea (Ridella 2007: in Europe were France, Genoa and England. By some char- jih nalaza brodske opreme u est sezona podvodnih istrai-
5-38). acteristics, such as the cylindrical button and an astragal vanja. Zvono je izvaeno iz gustog sloja pijeska na dubini od The ship bronze bell (cat. no. 76) is one of the most sig-
Uz pedrijere kat. br. 64 i 65 naeno je ukupno 18 close to muzzle, it could be dated to the first few decades of 43 m (sl. 42) te je zahvaljujui anaerobnim uvjetima ostalo nificant finds among the ships equipment discovered
kamenih kugli odgovarajueg kalibra (kat. br. 72). Njihova the 16th century. (Ridella 2007, 5-38). sauvano bez veih oteenja. Ve neposredno nakon vae- during six campaigns of underwater research. The bell was
teina varira izmeu 1,10 i 1,25 kg. Budui da ni eljezne a Next to perriers cat. no. 64 and 65, a total of 18 stone shots nja na zvonu je bio jasno raspoznatljiv latinski broj MDLXVII unearthed from a layer of thick sand at the depth of 43
ni olovne kugle nisu pronaene pretpostavlja se da su za were found, corresponding to the perriers calibre (cat. i niz ukrasnih prstena. Natpis MDLXVII (1567) oznauje m (fig.42) and, thanks to anaerobic conditions, remained
pedrijere upotrebljavane iskljuivo kamene kugle, dok su za no. 72). Their weight varies between 1.10 and 1.25 kg. Since godinu lijevanja zvona i ono to je za istraivanje brodoloma preserved with no significant damage. Almost immediate-
ostalo naoruanje, ukljuujui smirilj, upotrebljavane elje- iron or lead shots were not found, we could suggest that najvanije otkriva najvjerojatniju godinu porinua broda. ly after the extraction, the Latin numerals MDLXVII were
zne kugle. eljezne kugle, kao i komore za punjenje, propale they used only stone shots. The rest of the artillery pieces, Time je ujedno ustanovljena godina prije koje se brodo- clearly visible on the bell, along with rows of moulding
su se ubrzo nakon vaenja iz mora. Zanimljivo je da je za including esmeril, used iron shots. Iron shots, as well as lom nije mogao dogoditi. Vrijeme je brodoloma kasnije na wires. The inscription MDLXVII (the year 1567) marks the
istraivanja 2010. godine pronaena kamena kugla promjera removable chambers collapsed soon after they were recov- temelju deifriranih natpisa na akama otomanskog sultana year of the casting of the bell and, which is more import-
oko 14 cm. Pripada jo neotkrivenom komadu naoruanja ered from the sea. Interestingly, during the excavation in Murada III. sueno na razdoblje izmeu 1574. i 1595., tj. raz- ant for shipwreck researchers, the most probable year for
(kat. br. 73). Dva olovna taneta promjera 1,2 i 1,5 cm nae- 2010, a stone shot with an average diameter of 14 cm was doblje sultanove vladavine (Krkman 2014: 137). the launching of the ship. It established the starting date,
na su za istraivanja 2008. i 2009. godine (kat. br. 74 i 75). found. It belongs to a so far undiscovered piece of artillery Godina lijevanja na zvonu i godine na akama otkri- that is, the date before which the shipwreck could not
Mogu se povezati s dvjema arkebuzama jo uvijek uprocesu (cat. no. 73). Two lead shots of 1.2 and 1.5 cm were recovered vaju i da je venecijanski trgovaki brod plovio najmanje se- have occurred. Later on, the datation of the shipwreck was

104 105
dam a najvie dvadeset i osam godina prije potonua. Zvono narrowed down to the period between 1574 and 1595, based Sl. 45. Oprema brodske kuhinje
je s lokaliteta brodoloma kod pliine Sveti Pavao relativno on the deciphered inscriptions on two Ottoman akches of Fig. 45. Equipment of the galley
malih dimenzija. Visina zvona s alkom za vjeanje iznosi Sultan Murad III (Krkman 2014: 137).
19,6 cm, promjer oboda otvora je 14,8 cm a teina 1,446 kg Based on the inscription on the bell, containing
(sl. 43). Zvono je ukraeno nizom izboenih krunih linija the year it was cast and the akches, we revealed that the
u formi paralelnih debljih i tanjih nizova prstena koji istiu Venetian merchant ship sailed for at least seven, and at
prijelaze izmeu glavnih konstruktivnih dijelova zvona - gla- most twenty eight years before it sank. The bell from the
ve, ramena, trbuha i zvunog luka ( Tabla 1). Na ramenu se, shipwreck site in the shallows of Sveti Pavao is relatively
omeeno s dva trostruka niza prstena, nalazi natpisno polje small. The height of the bell with the crown is 19.6 cm, and
na kojemu je ispisana 1567. godina. Latinski broj MDLXVII the diameter of the sound bow is 14.8 cm. The bell weighs
izveden je reljefno du polovice dijametra natpisnog polja only 1,446 kg (fig. 43). The bell is decorated with a series
s velikim razmakom izmeu pojedinih znamenki (Sl. 44.). of moulding wires formed in a series of thicker and thin-
Detaljnom analizom stilskih karakteristika otkriveno je i ner rings. The moulding wires accentuate the transitions
porijeklo zvona s olupine. between the main constructional parts of the bell: the head,
U zbirci pomorskog povijesnog muzeja u Vene- the shoulder, the waist and the sound bow (Pl. 1.) On the
ciji nalazi se zvono koje je 1597. godine izlio Zuanbattista shoulder, bordered by two triple series of rings, runs the
del Ton (Avery 2011:241, fig. 7.32). Usporeujui oba zvona inscription field with the year 1567. The Latin numerals
uoljiva je velika slinost u formi, izvedbi natpisa s godinom MDLXVII are made in relief, along the half of the girth of
lijevanja te u odreenoj mjeri u rasporedu ukrasnih prstena. the inscription field, with great gaps between the figures
Slova koja oznauju znamenke godina na zvonima imaju (fig. 44). A detailed analysis of the style and characteristics
obiljeja istog tipa fonta i meusobno su podjednako raz- revealed the origin of the bell found in the shipwreck. The
maknuta. Navedene podudarnosti dokazuju venecijansko collection of the Naval History Museum in Venice features
porijeklo brodskog zvona s olupine koje je najvjerojatnije a bell which was cast by Zuanbattista del Ton in 1579 (Avery
i izlio Zuanbattista del Ton koji je bio imigrant porijeklom 2011:241, fig. 7.32). The comparison of the two bells shows a lokalitetu brodoloma iz 16/ 17. stoljea kod uvale Saladinac pensive than copper (Avery 2011:79). The higher percentage
iz Istre a u Veneciji je radio kao visoko specijalizirani ljeva great similarity in form, the implementation of the inscrip- na otoku Bievu (Radi 1990:224) i na lokalitetu brodoloma of tin in the bell gives a sonorous tone, but an alloy of such
(Avery 2011:61). tion with the year, and, to a certain extent, the layout of Drevine iz 17./18. stoljea u Koloepskom kanalu (Kisi 1982: composition is harder, more fragile, and cannot be honed
Treba napomenuti da se i nekoliko crkvenih zvona s the moulding wires. The letters representing the numbers 149). Zvono s lokaliteta Sveti Pavao izdvaja se po tome to je when the cooling process is done (Avery 2011:79).
podruja dubrovake biskupije pripisuje ovom ljevau (Sje- of the year on both bells exhibit similar font features and jedino brodsko zvono s natpisom godine lijevanja. Ono ne Although ship bells were an integral part of the equipment
kavica 2013: 569). Spoznaje o zvonu dodatno su proirila i la- are spaced in the same way. The aforementioned analogies samo da otkriva niz vrijednih informacija o samom brodolo- on any larger ship, they are quite rarely found on archaeo-
boratorijska ispitivanja kemijskog sastava metala (Mudronja prove the Venetian origin of the ship bell from the wreck, mu ve i upotpunjuje dosadanje spoznaje o tipovima zvona logical sites from the post-Medieval period in the eastern
2013). Analizom bronce ustanovljeno je da se legura sastoji that was most probably cast by Zuanbattista del Ton. He na novovjekovnim brodovima. Adriatic. Ship bells were found only at a shipwreck dated
od 67,9 % bakra, 28,5 % kositra, 1,8 % olova , 0,3 % nikla, 1,4 was as immigrant of Istrian descent who worked as a highly in the 16th and the 17th century in the Saladinac bay on the
% eljeza, i 0,05% sumpora. Za kvalitetu je zvona najvaniji specialised caster in Venice (Avery 2011:61). 3. Predmeti iz brodskog inventara island of Bievo (Radi 1990:224), and on the site of a ship-
omjer bakra i kositra. Prema sauvanim receptima nekoliko It is interesting to mention that a couple of bells wreck at Drevine in the Koloep Canal dated to the 17th and
venecijanskih ljevaa taj odnos varirao je od 83 % bakra i 17 from the Diocese of Dubrovnik are also attributed to this Tijekom est godina istraivanja novovjekovnog brodoloma the 18th century (Kisi 1982: 149). The bell from the Sveti
% kositra do 74 % bakra i 26 % kositra (Avery 2011:79). Tako iz caster (Sjekavica 2013: 569). The studies of this bell were ex- pronaeni su brojni predmeti koji su pripadali brodskom Pavao site is significant because it is the only one with the
sastava legure, ponajprije zbog velikog postotka kositra, sa- panded by a laboratory examination of the chemical compo- inventaru. Najee je rije o upotrebnim predmetima koji inscribed year of its casting. It not only uncovers a series of
znajemo da je brodsko zvono bilo skupo i zanatski kvalitet- sition of the metal (Mudronja 2013). The analysis of bronze su se upotrebljavali na brodu ili prilikom trgovakih aktiv- valuable information about the shipwreck itself, but also
no izraeno. Naime, u povijesnim izvorima postoji podatak established that the alloy was made of 67.9% Cu, 28.5% Sn, nosti. Zahvaljujui njima, u mogunosti smo etiri stoljea enhances previous knowledge on the types of ship bells
da je sredinom 16. stoljea kositar bio od 40 do 45 % skuplji 1.8% Pb, 0.3% Ni, 1.4% Fe, and 0.05% S. The most important nakon potonua realistino rekonstruirati dio svakodnev- from the post-Medieval period.
od bakra (Avery 2011:79). Vei postotak kositra zvonu daje requirement for the quality of a bell is the ratio of copper noga ivota na mletakom trgovakom brodu iz 16. stoljea.
zvuniji ton ali je legura takvog sastava tvra i krhkija te se and tin. According to preserved recipes of a few Venetian To se prvenstveno odnosi na brodsku kuhinju i prehranu 3. Objects from the ships inventory
ne moe doraivati kad se ohladi (Avery 2011:79). casters, that ratio varied from 83% Cu : 17% Sn to 74% Cu : posade budui da najvei broj ovih nalaza spada u predmete
Iako su brodska zvona bila neizostavni dio opreme 26% Sn (Avery 2011:79). The alloy composition, primarily due namijenjene pripremi i posluivanju hrane. Organizacija je In the six years of research on this post-Medieval shipwreck
svakog veeg broda njihovi su nalazi na lokalitetima novo- to the high percentage of tin, shows that the ships bell was prehrane na brodu, izbor potrebne opreme i namirnica bio numerous artefacts from the ships inventory were recov-
vjekovnih brodoloma u podmorju istone obale Jadrana izra- expensive and of high quality. In fact, the historical sources preduvjet za uspjenu plovidbu na dugotrajnim trgovakim ered. They are mostly utilitarian objects used on the ship
zito rijetki. Brodska zvona su do sada pronaena samo na state that in the mid-16th century tin was 40-45% more ex- putovanjima iz Venecije prema nekom odreditu na Levan- itself or for trade. Thanks to them, four centuries after the

106 107
 Sl. 46. Crte posude za neuobiajeni i rijetki. Njihova je funkcija otkrivena zahvalju- rims (cat. no.77), handles and bases of vessels used for food
odravanje topline hrane iz 16. st jui crteima u knjizi Bartolomea Scappia Opera di Barto- preparation and serving were made of copper alloys. At first
(preuzeto iz: B. Scappi, 1570) lomeo Scappi, cuoco secreto di Papa Pio V divisa in sei libri glance, most of them do not differ from standard types of
Fig. 46. Drawing of a food koja je izdana 1570. godine u Veneciji. U knjizi se, uz brojne cauldrons, pans and bowls often found on Medieval and
warmer from the 16th century
recepte za pripremanje jela, kao prilog prikazuju i raznovr- post-Medieval shipwreck sites. Two finds, part of a vessel
(taken from: B. Scappi, 1570)
sne kuhinjske posude i pribor. Posuda se za odravanje topli- used for warming food (cat. no. 78) and part of a pan used
Sl. 47. Dio posude za odravanje ne hrane, prema crteu u knjizi (Scappi 1570: tab. 17) zvala for frying eggs (cat. no. 79), stand out from the rest of the
topline hrane se Schalda vivande con le sue piastrelle, sastojala od tri assemblage because they attest to the ships origin, and be-
Fig. 47. Part of the food warmer dijela: bikonine posude i dvije podloke ili poklopca (sl. 46). cause these types of vessels have not been found on Vene-
Na lokalitetu je pronaen samo gornji dio bikonine posu- tian and late-Medieval shipwrecks to this day. The construc-
Sl. 48. Crte tave za prenje jaja de (sl. 47). Posuda je izraena tehnikom iskucavanja od dva tion and the shape of these vessels are rare and unusual.
iz 16. st. (preuzeto iz: sloja bakrenog lima kako bi duple stjenke due zadravale Their function was discovered with the help of a drawing in
B. Scappi, 1570) toplinu. Ispod oboda otvora ukraena je reljefno iskucanim a book written by Bartolomeo Scappi Opera di Bartolomeo
Fig. 48. Drawing of a pan used
motivom konopca a na dnu su ostale sauvane etiri zakovi- Scappi, cuoco secreto di Papa Pio V divisa in sei libri, pub-
for frying eggs from the 16th
century (taken from B. Scappi, ce kojima je bila privrena za donji dio koji je sauvan tek lished in 1570 in Venice. The book, along with numerous
1570) djelomino na mjestu spoja (Tabla 2). I od druge je posude, recipes, includes depictions of numerous kitchen vessels
opisane u Scappijevoj knjizi (Scappi 1570: tab. 8) kao Padella and utensils. The food warmer, according to the drawing in
Sl. 49. Uloak tave p fare oui fritolate(sl. 48), pronaen samo uloak u kojemu the book (Scappi 1570: tab. 17), was called Schalda vivande
za prenje jaja su se prila jaja (sl. 49). Iako je uloak tave teko oteen con le sue piastrelle, and was made in three parts, a bicon-
Fig. 49. Insert of the pan korozijom na njemu se jasno vidi sedam pravilnih poluku- ical vessel, and two shims or lids (fig.46.). Only the upper
used for frying eggs glastih udubljenja za jaja promjera 6,5 cm i dubine 2,7 cm part of the biconical vessel was found at the site (fig.47.).
(Tabla 3). Ovakav se specifian tip posua izuzetno rijetko The vessel was made using the technique of hammering
pojavljuje kao nalaz na brodolomima. Za sada je mogue us- from two layers of copper sheets, so that the double walls
tu. Plovidbeni put iz Venecije i prema njoj iao je uz istonu shipwreck, we are able to make a realistic reconstruction porediti posudu za odravanje topline sa slinom posudom could retain heat for longer. Under the rim, the vessel
obalu Jadrana zbog povoljnih maritimnih uvjeta, brojnih of one part of everyday life on a Venetian merchant ship s uvene olupine Vasa (Matz, Hammarskiold 2001: 209). One was decorated with a rope motif made using the repouss
otoka i luka koje pruaju zaklon i mogunost opskrbe (Pryor from the 16th century. This primarily refers to the galley su znaajne ne samo kao dosad nepoznati tipovi brodskog technique, and additional four rivets were preserved on the
1992: 93-94). Iz svjedoanstava putnika i hodoasnika koji and the crews diet, being that most of the finds fall into kuhinjskog posua iz 16. stoljea ve i kao nalazi koji ukazu- bottom of the vessel. The rivets connected the bottom part
su plovili iz Venecije prema Levantu saznajemo da su se the category of items used in food preparation and serving. ju na razlike izmeu lanova posade po drutvenom polo- of the vessel with the base, which was only partially pre-
na istonoj obali Jadranskog i Jonskog mora brodovi naje- The organisation of food on board, the selection of supplies aju. Takve posude nisu bile namijenjene svim lanovima served at the joint (Pl. 2.). From the other vessel described
e zaustavljali u Puli, Zadru, Dubrovniku, Krfu i Modonu and equipment was a prerequisite for successful travel on posade ve samo privilegiranim pojedincima viega statusa, by Scappi in his book Padella p fare oui fritolate (fig.48.),
(Gluzman 2010: 275-288). U ovim lukama brodovi su mogli long-term merchant voyages from Venice to destinations on najvjerojatnije bogatim trgovcima ili kapetanima. U istu (Scappi 1570: tab. 8), only a part of a vessel used for frying
nadopuniti zalihe vode i hrane ili popraviti oteenja. the Levant. The maritime route from and to Venice spread kategoriju moemo uvrstiti i nalaz kositrenog vra (kat. br. eggs was found (fig.49.). Although it was heavily corroded,
along the eastern coast of the Adriatic because of its good 80), jedine pronaene posude koja je sluila za ispijanje pia. seven even hemispherical dents for eggs, 6.5cm in diame-
Brodska kuhinja maritime conditions, numerous islands and harbours that Prema stilskim karakteristikama ovakav tip pripada skupini ter and 2.7cm deep, were clearly visible (Pl. 3.). This specific
Na lokalitetu brodoloma pronaen je niz metalnih i kera- provide shelter and supplies (Pryor 1992: 93-94). From the tzv. hanzeatskih vreva koji su se proizvodili u sjevernim form of vessel is an exceptionally rare find on shipwrecks.
mikih posuda te nekoliko predmeta od drveta i kamena testimonies of travellers and pilgrims who sailed from Ven- gradovima Njemake (Kisi 1979: 94). Kositreni su se vre- For now, the food warmer is comparable only to a find of a
koji su sa sigurnou pripadali opremi brodske kuhinje (sl. ice towards the Levant, we find that the ships sailing along vi esto upotrebljavali na brodovima u 16. stoljeu o emu similar vessel found on the famous Vasa shipwreck (Matz,
45). est je posuda i nekoliko fragmenata oboda (kat. br.77,), the eastern Adriatic coast and the Ionian Sea most often svjedoe nalazi na olupinama Mary Rose (Weinstein 2005: Hammarskiold 2001: 209). They are significant not only
ruki i dna posuda za pripremu i posluivanje hrane izrae- stopped at Pula, Zadar, Dubrovnik, Corfu and Modon (Glu- 435 fig 11.14, 436 fig. 11.16), El Gran Grifon (Martin 1972: 68) as a formerly unknown vessel from the galleys inventory,
no od bakrenih legura. Na prvi pogled veina njih se bitno zman 2010: 275-288). These harbours could provide ships te u hrvatskom podmorju na olupini kod ipana (Kisi 1979: but also as finds which signal that class differences exited
ne razlikuje od standardnih tipova kotlova, tava i zdjela with water and food supplies, as well as provide repairs. 73-98, fig. 29). between crew members. These vessels were not used by all
kakvi se esto pronalaze na lokalitetima srednjovjekovnih i Hrana se za posadu pripremala u uobiajenim tipo- members of the crew, but only for privileged ones of higher
novovjekovnih brodoloma. Dva nalaza, dio posude za odra- ship galley vima onodobnog brodskog kuhinjskog posua. Najvanije status, most probably rich merchants or captains. The pew-
vanje topline hrane (kat. br. 78) i dio tave za prenje jaja (kat. This shipwreck site yielded numerous metal and ceram- mjesto meu njima pripada bakrenom kotlu (kat. br. 81) u ter flagon (cat. no. 80) can also be assigned to this category,
br. 79) izdvajaju se od ostalih jer potvruju porijeklo broda, a ic vessels, several objects made of wood and stone, all kojemu se pripremala veina obroka (sl. 50.). Funkcija kotla and is also the only discovered vessel which was used for
i do sada nisu nikada pronaeni na venecijanskim novovje- of which can be unequivocally attributed to the galleys dokazana je i laboratorijskom analizom metala. U leguri koja drinking. According to its characteristics, the vessel belongs
kovnim brodolomima. Konstrukcija su i oblik ovih posuda inventory (fig.45.). Six vessels and several fragments of se sastoji od 99% bakra pronaeni su tragovi kositra kojim se to the Hanseatic jugs group which was made in the towns
108 109
 is 20 litres. There are four rivets on two opposite sides of
Sl.53. Kameni brus the rim, as well as traces of lugs and handles which are not
Fig. 53. Stone hone preserved. Two copper vessels - a pan and a lid are also a
part of the galleys inventory. The frying pan (cat. no. 82),
25cm in diameter, had one wooden handle inserted into a
Sl. 54. ivotinjske kosti
Fig. 54. Animal bones separate bearing which was not found, as attested to by the
Sl. 52. Drvena drka noa position of the rivet holes on one side (Plate 5, 4). The lid,
Fig. 52. Knife handle made of wood 28cm in diameter, cannot be ascribed to the recovered ves-
sels or rim fragments, which indicates that the number of
vessels in the galleys inventory must have been bigger, and
that there is a possibility of finding other vessels in future
research. Outside the area where most of the galley vessels
were found, another vessel (cat. no. 83) was recovered. It is
hard to accurately interpret this vessel (fig.51.) and ascribe it
to the galley with certainty. The vessel is 11cm high, is 35cm
in diameter, and has a 2cm wide horizontally buckled rim
(Plate 5,5). The function of the vessel is hard to determine.
It could have served as a kitchen bowl or as a washbasin.
Sl. 50. Brodski kotao We find a similar dilemma with several other finds which
Fig. 50. Ships cauldron can be interpreted as personal objects or as kitchen items: a
Sl. 51. Bakrena posuda nepoznate funkcije find of two wooden handles and two hones. One 10 cm long
Fig. 51. Copper vessel, function unknown
handle (cat. no. 84) was composed of two parts with four
rivets which tied it to a blade, so it is safe to say that it was
u 16. stoljeu premazivala unutranjost kuhinjskog posu- of northern Germany (Kisi 1979: 94). Pewter flagons were je visoka 11 cm, promjer otvora iznosi 35 cm a njegov 2 cm a part of a knife. The other handle (fig. 53, cat. no. 84) is 8.2
a jer sam bakar daje neugodan okus hrani i tekuinama often used on ships in the 16th century, as attested to by the irok rub je vodoravno presavijen prema vanjskoj strani cm long. It is made out of a single perforated piece of wood,
(Moore 1998:100). Time je iskljuena mogunost da je sluio finds from the Mary Rose (Weinstein 2005: 435 fig 11.14, 436 (Tabla 5, 5). Njezina se funkcija ne moe odrediti na temelju and was most likely a part of a tool or a knife. One hone (cat.
za taljenje smole kojom se popravljala oplata broda. Kotao je fig. 11.16), and El Gran Grifon (Martin 1972: 68) shipwreck, oblika. Mogla je sluiti kao kuhinjska zdjela ali i kao lavor za no. 86), 19.8 cm in length, with a square section of 2x2.5cm,
izraen tehnikom iskucavanja kojom su dvije ploe bakre- and from a wreck near the island of ipan in Croatian wa- umivanje. Slina nedoumica postoji i za nekoliko nalaza koji was completely preserved (fig. 53), while only a small frag-
nog lima debljine 2 do 3 mm oblikovane preko drvenog ka- ters (Kisi 1979: 73-98, fig. 29). se mogu interpretirati kao osobni premeti ili kao kuhinjski ment of the other was recovered. The reconstruction of the
lupa u stijenke i polukuglasto dno. Tako dobiveni segmenti The food for the crew was prepared in vessels which pribor. Rije je o dvjema drvenim drkama i dva kamena galley and the crews diet is significantly extended and ex-
meusobno su spojeni nizom zakovica promjera 20 mm (Ta- are commonly found in the galleys dated to those times. brusa. Za jednu drku (sl. 52, kat. br. 84) duine 10 cm koja se panded when zooarchaeological and archaeobotanical finds
bla 4). Kotao je visok 27 cm, promjer na djelomino izobli- The most important role in the galley was held by a copper sastoji od dva dijela s etiri zakovice koje su je privrivale are included. The analysis of animal remains (fig. 54) reveals
enom otvoru varira od 41 do 45 cm a radni volumen iznosi cauldron (cat. no. 81) used for the preparation of most meals uz sjeivo s velikom sigurnou moemo tvrditi da je bila interesting information about the diet and the selection
20 litara. Na dvije nasuprotne strane ispod oboda nalaze (fig.50.). The function of the cauldron was confirmed by dio noa. Druga je drka (kat. br. 85) duine 8,2 cm izraena of supplies used on the ship. From the 80 bones that were
se 4 zakovice koje su jedini tragovi ataa i ruki koje nisu laboratory analysis of the metal. The alloy contained 99% of od perforiranog komada drva u koji je najvjerojatnije bio recovered, most come from domestic cattle (cat. no. 87, 88)
sauvane. Kuhinjskom posuu pripadaju jo i dvije bakrene copper, and showed traces of tin which was used in the 16th utaknut neki alat ili no. Jedan je kameni brus (kat. br. 86) and a smaller portion came from pigs and boars (cat. no.
posude, tava i poklopac. Tava za peenje (kat. br. 82) promje- century for coating the interior of kitchen vessels because duine 19,8 cm, kvadratnog presjeka 2 x 2,5 cm, sauvan u 89), (Trbojevi Vukievi 2014: 147-149). The 64 fragments
ra 25 cm je sudei prema poziciji rupa za zakovice na jednoj pure copper gave the food and liquids an unpleasant taste cijelosti (sl. 53.) dok je od drugog preostao samo manji fra- of cows tail vertebra recovered which showed no traces
strani (Tabla 5,4) imala drvenu drku koja je bila umetnuta (Moore 1998:100). The alloys content excludes the possibil- gment. Rekonstrukciju brodske kuhinje i prehrane znaajno of cutting or processing are particularly interesting. They
u poseban nosa koji se nije ouvao. Poklopac se prema ity that the cauldron was used for melting resin used to fix upotpunjuju i proiruju i arheozooloki i arheobotaniki na- imply that cow tails were probably salted and dried before
promjeru otvora od 28 cm ne moe povezati s do sada pro- the hull of the ship. The cauldron was made by hammering lazi. Analiza kotanih ostataka ivotinja (sl. 54) otkriva neke being transported as ingredients for preparing different
naenim posudama niti s fragmentima oboda. To ukazuje da two 2-3mm thick copper plates which were shaped using a zanimljive podatke o prehrani i izboru namirnica na brodu. kinds of soups and stews. The archaeobotanical finds, ten
je broj kuhinjskih posuda sigurno bio vei ali i na mogunost wooden mould inserted into the walls of the vessel and its Od 80 pronaenih kotanih ostataka najvei broj pripada wooden logs 30-40 cm long, and three pine cones (cat. no.
da e ih se pronai u novim istraivanjima. Izvan prostora hemispherical base. The segments were then joined to- govedima (kat. br. 87, 88) a manji svinjama i divljim svinjama 90), were all found in one area of the site, and were probably
na kojemu je leala veina kuhinjskih posuda pronaena je gether using a series of rivets 20mm in diameter (Plate 4.). (kat. br. 89) (Trbojevi Vukievi 2014: 147-149). Posebno je used for maintaining the fire under the cauldron. Bricks
jo jedna posuda (kat. br. 83) koju je teko tono interpreti- The cauldron is 27cm high, with a diameter ranging from interesantan broj od ak 64 fragmenta repnih kraljeaka or any remains of a bricked furnace were not found at the
rati i sa sigurnou pripisati brodskoj kuhinji (sl. 51). Posuda 41 to 45cm on the partially deformed rim, and its volume goveda na kojima nisu pronaeni tragovi rezanja i obrade. site, therefore we can assume that the galley had some kind

110 111
Ova injenica ukazuje na mogunost da su se govei repovi, of a simple fireplace above which the cauldron was hung. Sl. 55. Olovna plomba shipped as a trading commodity, but were parts of the ships
Fig. 55. Lead seal
najvjerojatnije usoljeni i osueni, prevozili kao namirnica The finds of logs are especially rare on late-Medieval ship- inventory. All finds belonged to table candlesticks, and
za pripremanje raznih vrsta juha ili variva. Arheobotaniki wrecks. For now, perhaps the only finds of this kind were were probably used to light the interior of the ship. Two
se nalazi sastoje od deset cjepanica duine 30-40 cm i tri documented on the English Mary Rose shipwreck (Dobs finds were parts of bases (cat. no. 93, 94), and one was the
eera (kat. br. 90). Pronaeni su koncentrirani na jednom 2009:129). middle part of a candlestick (cat. no. 95). Based on these
mjestu i najvjerojatnije su sluili za loenje vatre ispod kotla. finds it is possible to reconstruct the way the candlesticks
Budui da na lokalitetu nisu naene opeke, odnosno tragovi Traces of trade activities were made. A brass foot, decorated with five profiled rings
zidane pei u koju je bio ugraen kotao, moemo pretposta- Trading activities on the ship are attested to by Ottoman Sl. 56. Plitica vage and a series of thin parallel horizontal lines, has part of the
viti da je brodska kuhinja venecijanskog broda imala neki pottery, glass and currency, but also by two items used in Fig. 56. Pan of a balance scale connecting bolt preserved (Plate 6,6). The smaller base (cat.
oblik jednostavnog loita iznad kojega je visio kotao. Nalazi trade. The most interesting find is a small lead seal (cat. no. no.93,), made out of two soldered parts, had an additionally
su cjepanica na novovjekovnim brodolomima izuzetno rijet- 91), the only trace of merchandise of western origin shipped processed hole 1 cm in diameter. These traces imply that
ki. Do sada su moda jedini nalazi tog tipa dokumentirani na to the Levant. Lead seals were used in the Middle and Late the basic constructive elements of the candlestick were
brodolomu engleskog broda Mary Rose (Dobs 2009:129). Middle Ages as marks of quality and to mark the products joined together by a system of bolts and threads. Although
origin. In most cases, the seals found on archaeological there are no markings of the manufacturer, based on the
Tragovi trgovakih aktivnosti excavations are associated with textile products. The lead comparison with the shipwreck at Gnali (Filep et al. 2013:
O trgovakim aktivnostima na brodu osim osmanske kera- seal from the site is 16-18 mm in diameter, and has traces 49, fig.10), we can assume that the candlesticks from Mljet
mike i stakla te kovanog novca, svjedoe i dva nalaza pred- of stamps on both sides. On one side, a relief cross with originated from German production centres (Petricioli
meta koji su se upotrebljavali u trgovini. Najzanimljiviji je identical hands inside a circular stamp was imprinted, and 1970b: 33).
nalaz male olovne plombe (kat. br. 91) koja je jedini trag robe a mark of a simple loop is visible on the other side (fig. 55).
zapadnog porijekla koju je brod prevozio na Levant. Olovne Although these markings cannot be connected to a specific 4. Other pottery finds
plombe su se u vrijeme srednjeg i novog vijeka upotrebljava- commodity or a manufacturer at this time, we may assume
le kao oznake kvalitete i porijekla proizvoda. U veini slua- that the stamp was used on textile. This assumption is The shipwreck located on the Sveti Pavao site
jeva plombe koje su pronaene u arheolokim iskapanjima based on the fact that textile was a commodity transported yielded numerous finds, many of which are pottery frag-
povezuju se s proizvodima od tekstila (Terzer 2006: 112). from Venice to destinations in the East. From the preserved trgovakih brodova o emu svjedoe nalazi s olupine broda s ments. Even though their stay within the salty environment
Olovna plomba s lokaliteta promjera 16-18 mm ima tragove archive records of Venetian clerks naming the cargo of the poetka 17. stoljea na lokalitetu Mijoka (Zmai 2009: 439) i resulted in various degrees of damage to their surface, their
igova na obje strane. Na jednoj strani u igu krunog oblika ships which sunk between 1592 and 1609 (Tenenti 1959), it nalazi s olupine Gagliana grossa iz 16.stoljea kod Gnalia number and position on the site allowed certain vessels to
reljefno je otisnut kri jednakih stranica, a na drugoj se is evident that silk, satin and damask were often a part of a (Filep et al. 2013: 161, fig.137-140). be reconstructed. The reconstructed items are simple in
raspoznaje znak u obliku jednostavne petlje (sl. 55). Iako ove ships cargo. Lead seals were found on two sites in Croatian shape and most of them were not elaborately decorated.
oznake za sada ne moemo povezati s odreenom vrstom waters, two on a shipwreck in the Koloep Canal near Du- Brodski svijenjaci According to the place of their production, the vessels can
robe ili proizvoaem pretpostavljamo da je plomba oznaa- brovnik (Kisi 1982: 157), and five on the Gagliana grossa Tijekom est godina istraivanja na lokalitetu su pronaena be differentiated into items of Ottoman (eastern) origin (cat.
vala tekstil. Pretpostavka se temelji na injenici da je tekstil wreck near Gnali (Terzer 2006: 112-114, fig.1-4). The second samo tri djelomino sauvana dijela svijenjaka. Ovako mali no. 104, 115-121), and items which originate from western
bio jedan od proizvoda koji se iz Venecije izvozio prema find proving trading activities is the pan of a balance scale broj nalaza ukazuje da nisu predstavljali trgovaku robu workshops (mostly Venetian workshops or workshops of
odreditima na istoku. Iz sauvanih arhivskih spisa vene- (cat. no. 92, fig. 56.). Three holes used for hanging the scale ve da su bili dio brodskog inventara. Svi su nalazi dijelovi northern Italy; cat. no. 96-103, 105-114, 122). (Miholjek, 2008: 11)
cijanskih notara u kojima se navodi teret brodova koji su mechanism are visible on the small, 6.2cm in diameter, pan stolnih svijenjaka i najvjerojatnije su se upotrebljavali za The Ottoman finds are represented by jugs with
stradali na moru od 1592. do 1609. (Tenenti 1959) vidljivo je (Plate 6,9). It was a type of precise scale used for weighing osvjetljavanje unutarnjih prostorija. Dva nalaza pripadaju two handles, with an elongated cylindrical neck, an out-
da su svila, saten i damast esto bili dio tereta. U hrvatskom precious metals, probably silver and gold currency used in podnojima (kat. br. 93, 94) a jedan nozi svijenjaka (kat. br. ward-facing rim and an oval body ending in a flat base (its
su podmorju olovne plombe pronaene na dva lokaliteta, trading on the Mediterranean. These scales were often parts 95). Na osnovi ovih nalaza mogue je rekonstruirati nain na shape resembling the shape of an amphora; cat. no. 115-119).
dvije na olupini u Koloepskom kanalu kod Dubrovnika of the inventory on merchant ships, as attested to by finds koji su se svijenjaci izraivali. Na mjedenoj se nozi, ukrae- These types of vessels are dated to the first half of the 16th
(Kisi 1982: 157) i pet na olupini Gagliana grossa kod Gna- from the Mijoka shipwreck dated to the beginning of the noj s pet profiliranih prstena i nizom tankih paralelnih vodo- century. (Hayes, 1992: 292, no. J3, fig. 126). The other type
lia (Terzer 2006: 112-114, fig.1-4). Drugi nalaz koji svjedoi 17th century (Zmai 2009: 439), and from the 16th century ravnih linija na vrhu sauvao komadi spojnog vijka (Tabla of jugs is represented by a jug with one handle and a narrow
o trgovakim aktivnostima jest plitica vage (kat. br. 92), (sl. Gagliana grossa shipwreck near Gnali (Filep et al. 2013: 6,6). Na manjem je podnoju (kat. br. 93) koje se sastoji od spout (ibrik type), with visible remains of green glaze on the
56). Na maloj plitici promjera 6,2 cm vidljive su tri rupice 161, fig.137-140). dva zalemljena dijela vidljiv dodatno obraen otvor promje- inside of the vessel, and on the upper part of its body. These
za vjeanje na mehanizam vage (Tabla 6,9). Plitica je bila ra 1 cm. Ovi tragovi ukazuju da su osnovni konstruktivni jugs represent a characteristic Ottoman product of the 16th
dio precizne vage koja se upotrebljavala za mjerenje teine Ship candlesticks elementi svijenjaka meusobno spajani sistemom vijaka i century. (Hayes, 1992: 292, fig. 106; Biki, 2003: 47) An inter-
plemenitih metala, najvjerojatnije raznovrsnog srebrnog i During the six years of research, only three partially pre- navoja. Iako na nalazima nema oznaka proizvoaa uspored- esting find worth mentioning is a small ceramic recipient
zlatnog novca koji je bio u upotrebi u trgovakoj razmjeni na served parts of candlesticks were recovered from the site. bom s nalazima na brodolomu kod Gnalia (Filep et al. 2013: with a pedicle on a platter (cat. no. 104), probably of eastern
Mediteranu. Takve su vage esto bile dio brodskog inventara The small number of finds implies that they were not 49, fig.10) moemo pretpostaviti da i mljetski svijenjaci po- origin. Examples similar to this one were produced under
tjeu iz njemakih proizvodnih centara (Petricioli 1970b: 33). the influence of Chinese porcelain, and are characterized
112 113
4. Ostali keramiki nalazi by a light green glaze (which is, in this case, damaged due to nog tijela (albarelo, 15. - 16. st.), koje su sluile za uvanje
the long term exposure to seawater). namirnica, pronaene u ulomcima koji nisu omoguili pot-
Na lokalitetu Sveti Pavao otkriven je velik broj nala- Pottery from the western workshops is represented punu rekonstrukciju.
za od kojih najvei broj predstavlja ulomke keramikih po- by small bowls, bowls, plates and jugs, which display the Posuda koja se svojom dimenzijom, dekoracijom i
suda. Iako je boravak u slanom okruenju rezultirao raznim technique of applying clay slip and the glazing technique. motivima istie od navedenog keramikog materijala, zdjela
stupnjevima oteenja povrine ulomaka, njihova brojnost i Glazing is primarily used to protect the surface of the ukraena urezanim motivom sviraa na lutnji, pripada rene-
poloaj na nalazitu omoguili su rekonstruiranje pojedinih vessel, which is obvious by the glaze which rarely extends sansnoj graviranoj keramici karakteristinoj za posljednju
posuda. Rekonstruirani su predmeti jednostavnih oblika i the complete outer surface of the vessel. The items can be etvrtinu 15. stoljea (kat. br. 96). U navedenom su periodu
veinom nisu bogato ukraeni, a prema mjestu proizvodnje differentiated by shape, dimensions and colour: hemispher- na keramici ee prikazivani ljudski ili ivotinjski prikazi, a
mogue je razlikovati predmete osmanskog porijekla (kat. ical small bowls with a simple profile and hemispherical javljaju se i nove tehnike dekoracije, ukrasa i oblika. Ova-
br. 104, 115-121) i predmete iz zapadnih radionica (uglavnom or conical bowls are the most common find, but we also kve su se posude tzv. amatorie (lat. amatorius: ljubavniki,
venetskih, ili radionica sjeverne Italije; kat. br. 96-103, 105- find plates coated with a brown or green glaze, and a few zaljubljen) poklanjale prilikom zaruka ili svadbe. Ukraene
114, 122) (Miholjek 2008: 11). of them are decorated using the sgraffito technique (kat. su motivima koji aludiraju na ljubav i vrline, sa sloenim pri-
Osmanski materijal pratimo preko vreva s dvjema br. 102). Certain vessels (small bowls) are decorated with a kazom na sredini posude koji je u pravilu okrenut na lijevu
rukama, izduenog cilindrinog vrata s rubom izvijenim blue motif (cat. no. 106, 114), applied by spilling the pigment stranu. Rub je zdjele ukraen trakom s urezanim krinim
prema van i ovalnim tijelom koje zavrava ravnim dnom onto the surface of the vessel (decoration a macculazione). motivom. Centralni motiv prikazuje sviraa lutnje u vrtu
(izgledom podsjeaju na amforu; kat. br. 115-119). Ovakvi su These vessels also bear marks of tripods, used to divide the s isprepletenom ogradom i dva stabla u drugom planu. Vrt
tipovi posuda datirani u prvu polovicu 16. stoljea (Hayes vessels during the burning process, to prevent the vesels i ograda predstavljaju simbol ljubavi i uitka. Motiv dvaju
1992: 292, no. J3, fig. 126). Drugi tip vreva predstavlja vr from sticking togeather. (Gusar, 2007, 178, 187, 191) A jug stabala pratei je element vrta, a uobiajeno su prikazana
s jednom rukom i suenim izljevom (tip ibrik), s vidljivim (canteen), identical to the jug found on the shipwreck near dva stabla, prvo stablo bogato liem i drugo osueno, kao
ostacima zelene glazure u unutranjosti i na gornjem dijelu ipan, with a flattened part of the body was also found, (kat. simboli mladosti i starosti ili ivota i smrti. Prikaz cvijea
tijela vra (kat. br. 120). Ovakvi vrevi predstavljaju karakte- br. 122). (Kisi, 1979: 99, sl. 26) Unfortunately, the cyllindri- simbolizira sreu, a dva su takva cvjetna motiva postavljena
ristian osmanski proizvod 16. stoljea (Hayes 1992: 292, fig. cal vessels (albarelo, 15th - 16th century) used for conserving na oprenim stranama posude dok se trei nalazi u sredini
106; Biki 2003: 47). Zanimljiv nalaz koji valja istaknuti jest food were found in fragments that could not be used to centralnog motiva. Dojmu dubine pridonosi zeleno oslikana
maleni recipijent sa stapkom na irokom tanjuriu (kat. br. reconstruct a complete vessel. pozadina s tokatim ukrasom (Bradara 2006: 25). S obzirom
104), a vjerojatno je istonog porijekla. Ovakvi su primjeri A vessel which stands out among the other ceramic na dataciju ovakvih primjera, ova zdjela predstavlja jedan
nastali pod utjecajem kineskog porculana, a karakteristini material with its dimensions, decoration and motif is a bowl od najstarijih keramikih nalaza na brodolomu kod pliine
su po svijetlozelenoj glazuri koja je u ovom sluaju oteena with a central motif which depicts a man playing a lute, Sveti Pavao.
dugotrajnim izlaganjem moru. attributed to the Renaissance engraved pottery typical of Razlike u oblicima posuda, slabija kvaliteta izrade i
Materijal iz zapadnih radionica mogue je pratiti the last quarter of the 15th century (cat. no. 96). The pottery ukraavanja podupiru pretpostavku prema kojoj je navede-
preko zdjelica, zdjela, tanjura i vreva, a na njima je vidljiva of this period often depicts human or animal forms, and in- no posue pripadalo posadi broda. Vjerojatno je koriteno
tehnika engobiranja i glaziranja. Primarna je svrha tehnike troduces new techniques of decoration and ornamentation, u brodskoj kuhinji i nije sluilo za daljnju distribuciju tj.
glaziranja zatita povrine posude, to je vidljivo iz glazure as well as new pottery forms. These vessels, amatoria (lat. trgovinu. Sl. 57. Ulomak amatorie prije vaenja
koja vrlo rijetko prekriva cjelokupnu vanjsku stijenku posu- amatorius: of a lover, in love), were given at engagements or Fig. 57 Fragment of the amatoria vessel before raising to the surface
de. Materijal je mogue razlikovati prema obliku, dimenziji i weddings. They are decorated with motifs hinting love and
boji. Najee su zastupljene kalotaste zdjelice jednostavne virtue, and have a complex depiction at the centre of the Sl. 58. Posuda in situ, prije vaenja
profilacije i zdjele koninog i kalotastog oblika, no zastuplje- vessel which is usually turned to the left. The rim is decorat- Fig. 58 Vessel in situ, before extraction
ni su i tanjuri glazirani smeom ili zelenom glazurom, a ed with a ribbon with incised motif of crosses. The central
rijetko su ukraeni sgraffito tehnikom (kat. br. 102). Pojedi- motif depicts a man playing a lute in a garden with an inter- motif. The painted green surface with dotted decorations
ne su posude, zdjelice, ukraene plavim motivom (kat. br. twining fence and two trees in the background. The garden contributes to the appearance of depth on the depiction.
106, 114) dobivenim kapanjem pigmenta na engobu (ukras a and the fence represent a symbol of love and pleasure. Two (Bradara, 2006, 25) The bowl represents one of the oldest
macculazione) a na istima su takoer vidljivi ostaci trokrakih trees represent a follow-up motif of the garden, and it was pottery finds from Sveti Pavao shipwreck.
podloaka koritenih prilikom peenja kako se predmeti ne customary to depict one of the trees abundant with leaves, Differences in vessel shapes, the lower quality of
bi slijepili jedan za drugi (Gusar 2007: 178, 187, 191). Prona- and the other one parched, as symbols of youth and old age, production and decoration support the assumption which
en je i vr (utura) s jednom plosnatom stranom trbuha, of life and death. The flowers symbolize happiness, and two states that the aforementioned vessels belonged to the
identian vru pronaenom na brodolomu kod ipana (kat. such flower decorations are positioned on opposite sides ships crew. It was probably used in the galley and was not
br. 122) (Kisi 1979: 99, sl. 26). Naalost, posude su cilindri- of the vessel, and a third one in the middle of the central meant for further distribution, i.e. trade.
114 115
 Tabla 1. Brodsko zvono s Tabla 2. Dio posude za
natpisom godine odravanje topline hrane
Plate 1. Ships bell and the Plate 2. Part of the food warmer
inscription with the year

116 117
 Tabla 4. Brodski kotao
Tabla 3. Uloak tave Plate 4. Ships cauldron
za prenje jaja
Plate 3. Insert of the pan used for
frying eggs

118 119
 Tabla 6. Noga svijenjaka,
Tabla 5. Tava, Bakrena posuda Podnoja svijenjaka, Plitica vage
Plate 5. Frying pan, Copper vessel Plate 6. MIddle part of a
candlestick, Bases of candlesticks,
Pan of a balance scale

7
6

8 9

120 121
 Konzerviranje The
Na konzervatorsko-restauratorsku obradu pristigao je A large number of pottery finds was sent to conservation,
velik broj cjelovitih i fragmentiranih keramikih predmeta. entire vessels, as well as fragments.
Predmeti su pripadali razliitim tipovima keramikoga The finds were distributed into different groups of ceramic
posua. Velik je broj posua pripadao talijanskoj engobiranoj vessels; a large number belonged to Italian underglazed

i restauriranje conservation glaziranoj keramici, turskoj engobiranoj glaziranoj keramici,

gruboj turskoj keramici, ali i fino glaziranoj keramici koja
je nastala u gradu Izniku poznatom po proizvodnji najfinije
coated pottery, Ottoman underglazed coated pottery,
Ottoman coarse pottery, but also to fine glazed pottery
produced in the famous production centre of the finest

keramikih and restoration

turske keramike (urkovi, 2014: 159). Konzerviranje Ottoman ceramics Iznik (urkovi, 2014: 159). The
je i restauriranje velikoga broja keramikih posuda conservation of these high quality vessels was an extensive
visoke zanatske kvalitete bio vrlo opsean i zahtjevan and demanding process, and it was done in phases, from
proces. Radovi su vreni u vie faza od desaliniziranja i desalinization and preliminary research, to the toning of

nalaza s of the pottery preliminarnih istraivanja do toniranja rekonstruiranih

dijelova.
Nalazi su odmah po vaenju iz mora upueni na
reconstructed parts.
Immediately after their recovery from the sea, the
finds were sent for desalinization during which the water in

brodoloma finds from the

desalinizaciju koja se provodila periodinim izmjenama the tanks was periodically changed with regular measuring
vode u posebnim kadama uz redovita mjerenja of chloride concentration after every changing. After the
koncentracije klorida prilikom svake izmjene vode. minimal constant values were reached the desalinization
Desalinizacija je zavrila kada su postignute minimalne was completed and the artefacts were then extracted for

Sveti Pavao Sveti Pavao

konstantne vrijednosti. Predmeti su tada izvaeni da se drying (urkovi, 2014: 158-159, Cronyn, 2005: 157).
osue (urkovi, 2014: 158-159, Cronyn, 2005: 157). The artefacts were in different conditions depended
Razliito zateeno stanje predmeta posljedica on the quality of the ceramic body and glaze, and the
je razlike u kvaliteti keramikoga materijala i glazure te microenvironment they were in at the site for centuries.

Mljet Mljet raznolikim utjecajima mikro okoline na samom nalazitu

tijekom vie stoljea. Tu su se nalazili predmeti od vrlo
kvalitetnog keramikog materijala s ouvanom glazurom
Some of them were of high quality ceramic material with a
preserved glaze and scarce sedimentary deposits, and some
were fragmented with no glaze. The damage on the vessels

shipwreck
ali i usitnjeni predmeti na kojima u potpunosti nedostaje was caused by the processes in the sea, sea organisms and
maa Vukovi Biru glazura. Oteenja su uzrokovana djelovanjem mora, the compounds produced by degradation of metal objects.
morskih organizama te spojevima nastalima zbog korozije The products of corrosion pierced deep into the damaged
eljeza. Produkti su korozije eljeza prodrli duboko u glaze and the porous structure of the pottery, leaving
oteenu glazuru i poroznu strukturu keramike ostavljajui red sedimentary deposits and painting the surface black
maa Vukovi Biru crvene naslage ili bojei povrinu u crno (Cronyn, 2005: 180- (Cronyn, 2005: 180-181), as well as causing the greatest
181) te izazvali najveu tetu od svih reaktanata (urkovi, damage (urkovi, 2014: 159).
2014: 159). After desalinization and the sorting of the artefacts,
Predmeti su nakon desalinizacije, preliminarnih each was photographed and documented, followed by the
istraivanja i razvrstavanja ulomaka fotografirani i process of cleaning. The calcification was mechanically
dokumentirani. Nakon toga se zapoelo njihovim ienjem. removed from the artefacts using a scalpel and an ultrasonic
Kalcifikacije s predmeta su uklonjene mehaniki, skalpelom needle (Buys, Oakley, 2007: 91). Due to the fear of affecting
te ultrazvunim dlijetom (Buys, Oakley, 2007: 91). Zbog the glaze and the weak structure of the pottery, the use
bojazni od djelovanja na glazuru i slabu strukturu keramike of acids was avoided (Buys, Oakley, 2007: 89-90, 98). The
izbjegavala se upotreba kiselina (Buys, Oakley, 2007: 89- removal of the layers of metal salts was conducted by a
90, 98). Za uklanjanje naslaga eljeznih soli upotrebljavao 15-20% hydrogen peroxide solution (Cronyn, 2005: 148;
se vodikov peroksid jaine od 15 do 20 % (Cronyn, 2005: Hamilton, 1999: 15; Buys, Oakley, 2007: 98). Unfortunately,
148; Hamilton, 1999: 15; Buys, Oakley, 2007: 98). Naalost not even that method enabled the complete removal of all
ni tom metodom nije bilo mogue ukloniti sve naslage. sedimentary deposits, because they had already penetrated
Predmeti su nakon ienja dobro isprani pod tekuom deep into the porous structure of the pottery. After they
i demineraliziranom vodom kako bi se uklonili ostatci were cleaned, the artefacts were washed under both
kemijskih sredstava. running and demineralised water to remove any chemical
residue.
122 123
 Sl. 59. Skidanje kalcifikacije
ultrazvunim dlijetom
Fig. 59 . Removal of calcification
with an ultrasonic needle

Sl. 60. Skidanje kalcifikacije

vodikovim peroksidom
Fig. 60 Removal of sedimentary
deposits using hydrogen peroxide

Sl. 62. Bojanje podloge Sl. 63. Oslikavanje

Fig. 62. Painting of the vessels surface Fig. 63. Painting

Sl. 61. Nanoenje gipsa

Fig. 61. Application of plaster

Veina je predmeta konsolidirana to zbog Most of the artefacts were consolidated because of the uzimanjem otiska forme u plastelinu koji je predstavljao On better preserved artefacts, the missing pieces were
osjetljivosti keramikog materijala to zbog ostataka glazure sensitivity of ceramic material or the remains of the glaze podlogu za nanoenje gipsa. Predmeti kojima je nedostajala reconstructed by means of simple imprint transfer on
koja bi se mogla oljutiti. Predmeti koji su bili vrlo osjetljive that could peel off. The artefacts which displayed greater veina ulomaka rekonstruirani su izradom kalupa na plasticine, which represented the base for the application of
keramike strukture jo su prilikom ienja konsolidirani ceramic structure sensitivity during the cleaning were lonarskom kolu. Prije nanoenja gipsa povrina je plaster. The artefacts which were missing most parts were
umakanjem u 5 % otopinu akrilne disperzije (K9, Kremer) consolidated by submergence in a 5% acrylic dispersion keramikih predmeta bila zatiena lateks mlijekom kako reconstructed by constructing a mould used on a potters
ne bi li keramiko tijelo upilo konsolidant i ovrsnulo te solution (K9, Kremer) so that the ceramic body would gips ne bi uao u pore keramike i zaprljao povrinu. Gips se wheel. Before the plaster, the surface of the ceramic objects
se time sprijeilo daljnje osipanje materijala. Predmeti absorb the consolidant in order to solidify and prevent u to veoj mjeri obraivalo metalnim alatkama u mokrom was protected with latex milk, in order to prevent the
jae strukture keramikog materijala premazivani su 2,5 % further material dispersal. The artefacts with stronger stanju. Nakon suenja ureivalo ga se posebno oblikovanim plaster from entering the pores of the ceramic vessels and
otopinom akriloidnoga konsolidanta otopljenoga u acetonu ceramic structure were coated with a 2.5% acryloid turpijicama i brusnim papirom i to uglavnom obodi i noice staining the surface. The plaster was intensively processed
(Paraloid B72, C.T.S) (Cronyn, 2005: 152; Buys, Oakley, 2007: consolidant solution dissolved in acetone (Paraloid B72, zdjela i tanjura koji se nisu mogli u potpunosti oblikovati with metal tools while wet. After drying it was processed
100-105). C.T.S) (Cronyn, 2005: 152; Buys, Oakley, 2007: 100-105). na vlanom gipsu. Spoj je gipsanog dijela i keramikog with especially formed small rasps and sandpaper, mostly
Nakon konsolidiranja strukture i povrine After the structure and surface of ceramic material and tijela nakon suenja gipsa ojaan nanoenjem akrilne on rims and small feet of vessels which could not be fully
keramikog materijala i glazure moglo se pristupiti glaze were consolidated, the gluing of the fragments began. disperzije u rubove spojeva. Izgubljene su ruke vreva moulded on wet plaster. The junction of the plaster parts
lijepljenju ulomaka. Pravilno je lijepljenje mogue samo Proper gluing is only possible if the edges of the fracture are rekonstruirane prema analognim nalazima u literaturi tako and the ceramic body was strengthened after drying
ako su bridovi loma potpuno isti od ostataka neistoa completely clean from dirt and calcification sedimentary da su modelirane na posudi u plastelinu. Nakon toga je by applying an acrylic dispersion into the junction. The
i kalcifikata (Cronyn, 2005: 152-154). Ulomci su se spajali deposits (Cronyn, 2005: 152-154). The fragments were nainjen gipsani kalup, a zatim odlivena ruka koja idealno missing handles were reconstructed according to analogies
na lomovima to je blie i tonije mogue kako bi se combined at the points where they broke, as precisely nalijee na postojee lomove. U pojedinim je sluajevima from studies. First, they were modelled out of plasticine
izbjegle kasnije deformacije oblika posude. Na nekim su as possible to avoid potential vessel deformations. Some zbog male kontaktne povrine gipsa i originala, a time i vee on the vessel itself, after which a plaster mould was made,
ulomcima rubovi bili prilino uniteni pa su i spojevi esto of the shards had significantly damaged edges, and the mogunosti odvajanja ruke, spoj ojaan osovinom od mjedi which enabled the casting of a handle that perfectly
bili neujednaeni. Za lijepljenje ulomaka se upotrebljavalo pottery was dispersing so the joins were often uneven. The promjera i debljine 1 mm. matched the fractures. In specific cases, due to the small
sintetiko ljepilo Mecosan L-TR (URL1) koje je posebno fragments were merged with a synthetic adhesive, Mecosan Nakon rekonstrukcije dijelova koji nedostaju contact surface of the cast and the original, and with
namijenjeno lijepljenju arheoloke keramike. L-TR (URL1), developed especially for gluing archaeological slijedila je rekonstrukcija lijepe i zahtjevne dekoracije. Gips the possible detachment of the handle, the junction was
Na keramikim predmetima koji su bili potpuniji pottery finds. je bojan akrilnim bojama. Za svaki se predmet posebno strengthened by a brass axis 1mm in diameter and 1mm
dijelovi koji nedostaju rekonstruirani su jednostavnim mijeala temeljna boja za nijansu svjetlija od osnovne thick.

124 125
 Sl. 66. Vr prije i nakon
restauracije
Fig. 66. Jug before and after
restoration

Sl. 67. Zdjela na nozi prije

Sl. 64. Poklopac prije ujednaavanja nijansi Sl. 65. Poklopac poslije ujednaavanja nijansi i nakon restauracije
Fig. 64. A lid before the matching of nuances Fig. 65. A lid after the matching of nuances Fig. 67. Vessel before
and after restoration

boje keramikoga tijela. Prije oslikavanja savjetovalo se s After the reconstruction of the missing parts was complete, minimal intervention and the possibility of reversing the
dostupnom literaturom te se pomno prouavala dekoracija the reconstruction of the beautiful and demanding applied processes (Caple 2000; Muoz Vias 2005).
kako bi se to bolje utvrdio nain poteza i nijansa boje decoration began. The plaster was painted using acrylic The conservation and restoration of the pottery from the
oslikanoga predmeta. Slikani su motivi rekonstruirani samo paint. The colour for the surface of every artefact was Sveti Pavao- Mljet shipwreck was done by the employees
ako je bilo mogue pouzdano utvrditi njihov izgled, i to zbog mixed a shade lighter than the one on the ceramic of the Department for Conservation of Archaeological
vizualno-estetskog dojma kod integracije rekonstruiranih body. Before painting, available papers and studies were Finds, and the former Department for Conservation
povrina s originalnima (Buys, Oakley, 2007: 144). Ukrasni consulted, and the decorations were studied in detail in of Underwater Archaeological Finds of the Croatian
su motivi slikani pratei originalnu dekoraciju na predmetu order to precisely determine the types brush strokes and Conservation Institute, Maa Vukovi Biru, Mihael
tako da budu to preciznije usklaeni s izvornim bojama the shades of colours on specific finds. The painted motifs Golubi, and Martina urkovi.
i potezima. Razliitost u nijansama podloge i dekoracije were reconstructed only in those cases where it was
usklaena je sjenanjem kistom i prskanjem vrlo possible to determine their features, in order for the visual
razrijeenom bojom. Boja i oslikavanje su nakon suenja and aesthetic impressions to match the original surface
zatieni premazom 2% otopinom Paraloida B72. (Buys, Oakley 2007:144). The decoration was applied to
Prilikom svih navedenih radova potivale su se the surface by following original decorations found on the
suvremene teorije konzervacije koje odreuju visoka etika artefact with great precision and matching the original
naela, zahtijevaju potovanje istinske prirode predmeta, colours of the decoration and brush strokes. The differences
minimalnu intervenciju i to veu reverzibilnost (Caple in shades, as well as the nuances of the painted decoration
2000; Muoz Vias 2005). were matched by spraying diluted paint. The paint and the
Keramike predmete s brodoloma Sveti Pavao decoration were protected by a layer of 2% Paraloid B72
Mljet konzervirali su i restaurirali djelatnici Odjela solution.
za restauriranje arheolokih nalaza i biveg Odjela za During the processing of the material, all modern
restauriranje podvodnih arheolokih nalaza Hrvatskoga theories of conservation that are prescribed by high ethical
restauratorskog zavoda, Maa Vukovi Biru, Mihael Golubi standards were followed, because conservation should be
i Martina urkovi. done with respect towards the true nature of the item, with

126 127
 Katalog Catalogue

128 129
 1 2
Zdjela ukraena spiralnom Zdjela ukraena spiralnom
turake dekoracijom turake dekoracijom

Turska, Iznik, 1530.-1540. Turska, Iznik, 1530.-1540.

Kvarcna keramika oslikana Kvarcna keramika oslikana
kobaltno plavom bojom na kobaltno plavom bojom na
bijeloj podlozi ispod prozirne bijeloj podlozi ispod prozirne
glazure glazure
Visina: 7.1 cm; Visina: 7.1 cm;
promjer: 35.2 cm promjer: 35.2 cm
Inv. br. Hrz 60/08 Inv. br. Hrz 35/11

Dish with turake spiral Dish with turake spiral

style decoration style decoration

Turkey, Iznik, 1530-1540 Turkey, Iznik, 1530-1540

Fritware, underglaze painting Fritware, underglaze painting
in cobalt blue over a white in cobalt blue over a white
siliceous slip coating siliceous slip coating
Height: 7.1 cm; Height: 7.1 cm;
diameter: 35.2 cm diameter: 35.2 cm
Inv. no. Hrz 60/08 Inv. no. Hrz 35/11

130 131
 3 4
Zdjela ukraena motivom Zdjela ukraena liem
cvjetnog prepleta, utjecaj platane iz plavo-tirkizne faze
kineskog porculana Saz stila

Turska, Iznik,1570.-1580. Turska, Iznik, 1530.-1540.

Kvarcna keramika oslikana Kvarcna keramika, oslikana
kobaltno plavom bojom na kobaltno plavom i tirkiznom
bijeloj podlozi ispod prozirne bojom na bijeloj podlozi ispod
glazure prozirne glazure
Visina: 5.5 cm; visina: 5.6 cm;
promjer: 29 cm promjer: 33.7 cm
Inv. br. Hrz 55/08 Inv. br. Hrz 58/08

Dish with a flower scroll Dish with oriental plane leafs

composition inspired by from the blue and turquoise
Chinese porcelain design phase of the Sazstyle

Turkey, Iznik, 1570-1580 Turkey, Iznik, 1530-1540

Fritware, underglaze painting Fritware, underglaze painting
in cobalt blue over a white in cobalt blue and turquoise
siliceous slip coating over a white siliceous slip
Height: 5.5 cm; coating
diameter: 29 cm Height: 5.6 cm;
Inv. no. Hrz 55/08 diameter: 33.7 cm
Inv. no. Hrz 58/08

132 133
 5 6
Zdjela ukraena liem Zdjela ukraena u stilu
platane iz plavo-tirkizne faze umjetnikog kruga Muslija
Saz stila u formi arabeske

Turska, Iznik, 1530.-1540. Turska, Iznik, 1530.-1540.

Kvarcna keramika, oslikana Kvarcna keramika, oslikana
kobaltno plavom i tirkiznom kobaltno plavom, tirkiznom,
bojom na bijeloj podlozi ispod maslinasto zelenom i
prozirne glazure mangansko ljubiastom bojom
Visina: 5.9 cm; sa zelenkasto crnim obrisima
promjer: 33.9 cm na bijeloj podlozi ispod
Inv. br. Hrz 59/08 prozirne glazure
Visina: 7.5 cm;
promjer: 35.4 cm
Inv. br. Hrz 65/08
Dish with oriental plane leafs
from the blue and turquoise
phase of the Saz style
Dish decorated in the
Turkey, Iznik, 1530-1540 circle of Musli style with
Fritware, underglaze painting arabesque motifs
in cobalt blue and turquoise
over a white siliceous slip Turkey, Iznik, 1530-1540
coating Fritware, underglaze painting
Height: 5.9 cm; in cobalt blue turquoise, olive
diameter: 33.9 cm green and manganese purple
Inv. no. Hrz 59/08 with outlines in greenish
black, over a white siliceous
slip coating,
Height: 7.5 cm;
diameter: 35.4 cm
Inv. no. Hrz 65/08

134 135
 7 8
Zdjela oslikana cvjetnim Zdjela oslikana cvjetnim
buketom u stilu Majstora buketom u stilu Kara Memija
zumbula
Turska, Iznik, 1560.-1565.
Turska, Iznik, 1555.-1560. Kvarcna keramika, oslikana u
Kvarcna keramika,oslikana svijetloplavoj, zelenoj i reljefno
kobaltno plavom, maslinasto crvenoj s obrisima izvedenim
zelenom i mangansko u crnoj boji na bijeloj podlozi
ljubiastom bojom sa ispod prozirne glazure
zelenkasto crnim obrisima na Visina: 7.6 cm; promjer: 35 cm
bijeloj podlozi ispod prozirne Inv. br. Hrz 61/08
glazure
Visina: 6.5 cm;
promjer: 35.2 cm
Inv. br. Hrz 62/08 Dish decorated with a floral
bouquet in the style of Kara
Memi

Dish decorated with a floral Turkey, Iznik,circa 1560-1565

bouquet in the Master of the Fritware, underglaze painting
Hyacinths style in pale blue, green and relief
red with outlines in black, over
Turkey, Iznik, 1555-1560 a white siliceous slip coating
Fritware, underglaze painting Height: 7.6 cm;
in cobalt blue, olive green diameter: 35 cm
and manganese purple with Inv. no. Hrz 61/08
outlines in greenish black, over
a white siliceous slip coating
Height: 6.5 cm;
diameter: 35.2 cm
Inv. no. Hrz 62/08

136 137
 9 10 11
Zdjela oslikana simetrinom Tanjur oslikan simetrinom Flat dish decorated with a Tanjur oslikan u apstraktnoj Flat dishdecorated with
cvijetnom kompozicijomu cvijetnom kompozicijomu symmetrical floral kompoziciji s intamani abstract compositions with
stilu Kara Memija stilu Kara Memija composition in the style of motivom the intamani motif
Kara Memi
Turska, Iznik, 1570.-1575. Turska, Iznik, 1560.-1575. Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585
Kvarcna keramika, oslikana Kvarcna keramika, oslikana Turkey, Iznik, 1560-1575 Kvarcna keramika, oslikana Fritware, underglaze
u kobaltno plavoj smaragdno u kobaltno plavoj maslinasto Fritware, underglaze painting u kobaltno plavoj, zelenoj i paintingin cobalt blue, green
zelenoj i reljefno crvenoj s zelenoj i reljefno crvenoj s in cobalt blue, olive green reljefno crvenoj s obrisima and relief red with outlines in
obrisima izvedenim u crnoj obrisima izvedenim u crnoj and relief red with outlines in izvedenim u crnoj boji na black,over a white siliceous
boji na bijeloj podlozi ispod boji na bijeloj podlozi ispod black, over a white siliceous bijeloj podlozi ispod prozirne slip coating
prozirne glazure prozirne glazure slip coating glazure Height: 2.9 cm;
Visina: 4.6 cm; Visina: 3.2 cm; Height: 3.2 cm; Visina: 2.9 cm; diameter: 19.5 cm
promjer: 28 cm promjer: 20.4 cm diameter: 20.4 cm promjer: 19.5cm Inv. no. Hrz 34/11
Inv. br. Hrz 42/11 Inv. br. Hrz 244/10 Inv. no. Hrz 244/10 Inv. br. Hrz 34/11

Dish decorated with

a symmetric floral
composition in the style of
Kara Memi

Turkey, Iznik, 1570-1575

Fritware, underglaze painting
in cobalt blue, emerald green
and relief red with outlines in
black, over a white siliceous
slip coating
Height: 4.6 cm;
diameter: 28 cm
Inv. no. Hrz 42/11

138 139
 12 13 14
Veliki vr oslikan viebojnim Viebojni vr oslikan Polychrome jug decorated Vr oslikan peleng motivom Jug decorated with peleng
cvjetnim ukrasom u stilu apstraktnim intamani with the abstract intaman u apstraktnom viebojnom motifs in the abstract
Kara Memija motivom imotif stilu polychrome style

Turska, Iznik, 1575.-1580. Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585 Turska, Iznik, 1580-1585 Turkey, Iznik, 1580.-1585.
Kvarcna keramika, oslikana Kvarcna keramika, oslikana Fritware, underglaze painting Kvarcna keramika, oslikana Fritware, underglaze painting
u kobaltno plavoj, maslinasto u svijetlo plavoj, zelenoj i in light blue, green and relief u svijetlo plavoj, zelenoj i in light blue, green and relief
zelenoj i reljefno crvenoj s reljefno crvenoj s obrisima red with outlines in black, over reljefno crvenoj s obrisima red with outlines in black, over
obrisima izvedenim u crnoj izvedenim u crnoj boji na a white siliceous slip coating izvedenim u crnoj boji na a white siliceous slip coating
boji na bijeloj podlozi ispod bijeloj podlozi ispod prozirne Height: 20 cm; bijeloj podlozi ispod prozirne Height: 20 cm;
prozirne glazure glazure diameter of body: 15 cm glazure diameter of body: 14.2 cm
Visina: 29 cm; Visina: 20 cm; Inv. no. Hrz 200/10 Visina: 20 cm; Inv. no. Hrz 99/09
promjer tijela: 19 cm promjer tijela: 15 cm promjer tijela: 14.2 cm
Inv. br. Hrz 40/07 Inv. br. Hrz 200/10 Inv. br. Hrz 99/09

Large jug decorated

with polychrome floral
composition in the style of
Kara Memi

Turkey, Iznik, 1575-1580

Fritware, underglaze painting
in cobalt and light blue,
emerald green and relief red
with outlines in black, over a
white siliceous slip coating
Height: 29 cm;
diameter of body: 19 cm
Inv. no. Hrz 40/07

140 141
15 16 17 18
Vr oslikan kombinacijom Jug decorated with a Viebojni vr Polychrome jug Konini poklopac vra Cone shape lid of a jug Konini poklopac vra Cone shape lid of a jug
peleng motiva i rozeta u combination of peleng motifs
apstraktnom viebojnom stilu and rosettes in the abstract Turska, Iznik, 1580.-1590. Turkey, Iznik, 1580-1590 Turska, Iznik, 1560.-1585. Turkey, Iznik, 1560-1585 Turska, Iznik, 1560.-1585. Turkey, Iznik, 1560-1585
polychrome style Kvarcna keramika, oslikana Fritware, underglaze painting Kvarcna keramika, oslikana Fritware, underglaze painting Kvarcna keramika, oslikana Fritware, underglaze painting
Turska, Iznik, 1580.-1585. u kobaltno plavoj, zelenoj i in blue, green and relief red kobaltno plavom bojom s in cobalt blue with outlines in svijetlo plavom bojom s crnim in pale blue with outlines in
Kvarcna keramika, oslikana u Turkey, Iznik, 1580-1585 reljefno crvenoj s obrisima with outlines in black,over a crnim obrisima na bijeloj black, over a white siliceous obrisima na bijeloj podlozi black, over a white siliceous
svijetlo plavoj, zelenoj i reljefno Fritware, underglaze painting izvedenim u crnoj boji na white siliceous slip coating podlozi ispod prozirne glazure slip coating ispod prozirne glazure slip coating
crvenoj s obrisima izvedenim u in light blue, green and relief bijeloj podlozi ispod prozirne Height: 25.5 cm; Visina: 3.8 cm; Height: 3.8 cm; Visina: 4 cm; promjer: 7.9 cm Height: 4 cm;
crnoj boji na bijeloj podlozi red with outlines in black, over glazure diameter of body: 16.3 cm promjer: 7.8 cm diameter: 7.8 cm Inv. br. Hrz 129/09 diameter: 7.9 cm
ispod prozirne glazure a white siliceous slip coating Visina: 25.5 cm; Inv. no. Hrz 15/11 Inv. br. Hrz 128/09 Inv. no. Hrz 128/09 Inv. no. Hrz 129/09
Visina: - cm; Height: - cm; promjer tijela: 16.3 cm
promjer tijela: 13 cm diameter of body: 13cm Inv. br. Hrz 15/11
Inv. br. Hrz 75/08 Inv. no. Hrz 75/08

142 143
19 20 21 22
Zaobljeni poklopac vra Dome shaped lid of a jug Konini poklopac vra Cone shape lid of the jug Zaobljeni poklopac vra Dome shaped lid of a jug Konini poklopac vra Cone shape lid of a jug

Turska, Iznik, 1560.-1585. Turkey, Iznik, 1560-1585 Turska, Iznik, 1560.-1585. Turkey, Iznik, 1560-1585 Turska, Iznik, 1560.-1585. Turkey, Iznik, 1560-1585 Turska, Iznik, 1560.-1585. Turkey, Iznik, 1560-1585
Kvarcna keramika, oslikana Fritware, underglaze painting Kvarcna keramika, oslikana u Fritware, underglaze painting Kvarcna keramika, oslikana Fritware, underglaze painting Kvarcna keramika, oslikana Fritware, underglaze painting
u kobaltno plavoj, tirkiznoj i in cobalt blue, turquoise and kobaltno plavoj, zelenoj i crnoj in cobalt blue, green and black u kobaltno plavoj, tirkiznoj i in cobalt blue ,turquoise and u kobaltno plavoj, tirkiznoj i in cobalt blue, turquoise and
crnoj boji na bijeloj podlozi black, over a white siliceous boji na bijeloj podlozi ispod over a white siliceous slip crnoj boji na bijeloj podlozi black over a white siliceous slip crnoj boji na bijeloj podlozi black over a white siliceous slip
ispod prozirne glazure slip coating prozirne glazure coating ispod prozirne glazure coating ispod prozirne glazure coating
Visina: 4.1 cm; Height: 4.1 cm; Visina: 3.5 cm; Height: 3.5 cm; Visina: 4 cm; promjer: 8.4 cm Height: 4 cm; Visina: 3.2 cm; Height: 3.2 cm;
promjer: 8.6 cm diameter: 8.6 cm promjer: 8.6 cm diameter: 8.6 cm Inv. br. Hrz 211/10 diameter: 8.4 cm promjer: 7.7 cm diameter: 7.7 cm
Inv. br. Hrz 134/09 Inv. no. Hrz 134/09 Inv. br. Hrz 206/10 Inv. no. Hrz 206/10 Inv. no. Hrz 211/10 Inv. br. Hrz 235/10 Inv. no. Hrz 235/10

144 145
23 24 25 26
Zdjela ukraena motivom Dish with the bunches of Zdjela ukraena motivom Dish decorated with the Zdjela na nozi ukraena u Dish on a foot decorated in Zdjela na nozi ukraena Dish on a foot decorated with
vinovog trsa i grozdova, grapes motif inspired by cvijeta lotosa u kasnom lotus flower motif in the kasnom plavo bijelom stilu the late blue and white style cvjetnim prepletom u aflower scroll in the late
utjecaj kineskog porculana Chinese porcelain designs plavo bijelom stilu late blue and white style kasnom plavo bijelom stilu blue and white style
Turska, Iznik, 1570-1580 Turkey, Iznik, 1570-1580
Turska, Iznik, 1560.-1600. Turkey, Iznik, 1560-1600 Turska, Iznik, 1575.-1580. Turkey, Iznik, 1575-1580 Kvarcna keramika oslikana Fritware, underglaze painting Turska, Iznik, 1570-1585 Turkey, Iznik, 1570-1585
Kvarcna keramika Fritware, underglaze Kvarcna keramika oslikana Fritware, underglaze painting kobaltnoplavom bojom na in cobalt blue over a white Kvarcna keramika oslikana Fritware, underglaze painting
oslikana kobaltnoplavom i painting in cobalt blue and kobaltnoplavom bojom na in cobalt blue over a white bijeloj podlozi ispod siliceous slip coating kobaltnoplavom bojom na in cobalt blue over a white
smaragdnozelenom bojom, s emerald green with otlines in bijeloj podlozi ispod siliceous slip coating prozirne glazure Height: 6.7 cm; bijeloj podlozi ispod siliceous slip coating
obrisima u crnoj boji, na bijeloj black,over a white siliceous prozirne glazure Height: 6.9 cm cm; Visina: 6.7 cm; diameter: 18.5 cm prozirne glazure Height: 5.7 cm;
podlozi ispod prozirne glazure slip coating Visina: 6.9 cm; diameter: 35 cm promjer: 18.5 cm Inv. no. Hrz 23/07 Visina: 5.7 cm; diameter: 18.6 cm
Visina: 5.5 cm; Height: 5.5 cm; promjer: 35 cm Inv. no. Hrz 13/11d Inv. br. Hrz 23/07 promjer: 18.6 cm Inv. no. Hrz 262/10
promjer: 33.8 cm diameter: 33.8 cm Inv. br. Hrz 13/11d Inv. br. Hrz 262/10
Inv. br. Hrz 97/08 Inv. no. Hrz 97/08

146 147
 27 28 29
Zdjela na nozi s bourima i Zdjela na nozi oslikana u Dish on a foot decorated Zdjela na nozi oslikana u Dish on a foot decorated
motivom klasa penice plavo-bijelom stilu klasa in the blue and white plavo-bijelom stilu klasa in the blue and white
penice wheatsheaf style penice wheatsheaf style
Turska, Iznik, 1570.-1585.
Kvarcna keramika oslikana Turska, Iznik, 1570.-1585. Turkey, Iznik, 1570-1585 Turska, Iznik, 1570.-1585. Turkey, Iznik, 1570-1585
kobaltnoplavom bojom na Kvarcna keramika oslikana Fritware, underglaze painting Kvarcna keramika oslikana Fritware, underglaze painting
bijeloj podlozi ispod kobaltnoplavom bojom na in cobalt blue over a white kobaltnoplavom bojom na in cobalt blue over a white
prozirne glazure bijeloj podlozi ispod siliceous slip coating bijeloj podlozi ispod siliceous slip coating
Visina: 9 cm; promjer: 28 cm prozirne glazure Height: 5.6 cm; prozirne glazure Height: 5.6 cm;
Inv. br. 39/07 Visina: 5.6 cm; diameter: 17.8 cm Visina: 5.6 cm; diameter: 17.8 cm
promjer: 17.8 cm Inv. no. Hrz 04/11 promjer: 17.8 cm Inv. no. Hrz 06/11
Inv. br. Hrz 04/11 Inv. br. Hrz 06/11

Dish on a foot decorated

with peonies and the
wheatsheaf motif

Turkey, Iznik, 1570-1585

Fritware, underglaze painting
in cobalt blue over a siliceous
white slip coating
Height: 9 cm;
diameter: 28 cm
Inv. no. Hrz 39/07

148 149
 30 31 32
Plitka zdjela s prikazom Plitka zdjela oslikana u plavo- Flat dish decorated in the Plitka zdjela ukraena Flat dish decorated with a
boura u plavo-bijelom stilu bijelom stilu klasa penice blue and white wheatsheaf cvjetnim prepletom u flower scroll in the late
klasa penice style kasnom plavo bijelom stilu blue and white style
Turska, Iznik, 1570.-1585.
Turska, Iznik, 1570.-1585. Kvarcna keramika oslikana Turkey, Iznik, 1570-1585 Turska, Iznik, 1570.-1585. Turkey, Iznik, 1570-1585
Kvarcna keramika oslikana kobaltnoplavom bojom na Fritware, underglaze painting Kvarcna keramika oslikana Fritware, underglaze painting
kobaltnoplavom bojom na bijeloj podlozi ispod in cobalt blue over a white kobaltnoplavom bojom na in cobalt blue over a white
bijeloj podlozi ispod prozirne glazure siliceous slip coating bijeloj podlozi ispod siliceous slip coating
prozirne glazure Visina: 2.5 cm; Height: 2.5 cm; prozirne glazure Height: 3.2 cm;
Visina: 2.4 cm; promjer: 18.6 cm diameter: 18.6 cm Visina: 3.2 cm; diameter: 20 cm
promjer: 18.5 cm Inv. br. Hrz 02/12 Inv. no. Hrz 02/12 promjer: 20 cm Inv. no. Hrz 255/10
Inv. br. Hrz 242/10 Inv. br. Hrz 255/10

Flat dish decorated with a

peony in the blue and white
wheatsheaf style

Turkey, Iznik, 1570-1585

Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 2.4 cm;
diameter: 18.5 cm
Inv. no. Hrz 242/10

150 151
33 34 35 36
Zdjela oslikana u plavo- Dish decorated in the blue Zdjela ukraena cvjetnim Dish decorated with a Zdjela ukraena u stilu Dish decorated in the Poklopac duboke zdjele Lid of a deep bowl decorated
bijelom stilu klasa penice and white wheatsheaf style prepletom u kasnom plavo flower scroll motif in the kaleidoskopa u plavo bijeloj kaleidoscope style in the ukraen u plavo bijeloj in the blue and white
bijelom stilu late blue and white style tehnici blue and white technique tehnici technique
Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585
Kvarcna keramika oslikana Fritware, underglaze painting Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585 Turska, Iznik, 1575.-1580. Turkey, Iznik, 1575-1580 Turska, Iznik, 1575.-1580. Turkey, Iznik, 1575-1580
sivoplavom bojom na bijeloj in greyish blue over a white Kvarcna keramika oslikana Fritware, underglaze painting Kvarcna keramika oslikana Fritware, underglaze painting Kvarcna keramika oslikana Fritware, underglaze painting
podlozi ispod prozirne glazure siliceous slip coating kobaltnoplavom bojom na in cobalt blue over a white kobaltnoplavom bojom na in cobalt blue over a white kobaltnoplavom bojom na in cobalt blue over a siliceous
Visina: 3.7 cm; Height: 3.7 cm; bijeloj podlozi ispod siliceous slip coating bijeloj podlozi ispod siliceous slip coating bijeloj podlozi ispod slip coating
promjer: 17.7 cm diameter: 17.7 cm prozirne glazure Height: 3.7 cm; prozirne glazure Height: 6.8 cm cm; prozirne glazure Height: - cm;
Inv. br. Hrz 52/08 Inv. no. Hrz 52/08 Visina: 3.7 cm; diameter: 17.7 cm Visina: 6.8 cm; diameter: 35.2 cm Visina: - cm; promjer: 28.6 cm diameter: 28.6 cm
promjer: 17.7 cm Inv. no. Hrz 233/10 promjer: 35.2 cm Inv. no. Hrz 09/11 Inv. br. Hrz 119/09 Inv. no. Hrz 119/09
Inv. br. Hrz 233/10 Inv. br. Hrz 09/11

152 153
37 38 39
Zdjela na nozi s radijalnom Dish on a foot decorated with Plitka zdjela oslikana Flat dish decorated with Plitka zdjela oslikana
sredinjom kompozicijom u a radial central composition motivom kola sree u thewheel of fortune motif motivom cvijeta lotosa u
plavo-bijelom stilu in the blue and white style plavo-bijelom stilu in the blue and white style kasnom plavo bijelom stilu

Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585 Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585 Turska, Iznik, 1580.-1585.
Kvarcna keramika oslikana Fritware, underglaze painting Kvarcna keramika oslikana Fritware, underglaze painting Kvarcna keramika oslikana
kobaltnoplavom bojom na in cobalt blue over a white kobaltnoplavom bojom na in cobalt blue over a white kobaltnoplavom bojom na
bijeloj podlozi ispod siliceous slip coating bijeloj podlozi ispod siliceous slip coating bijeloj podlozi ispod prozirne
prozirne glazure Height: 5.8 cm; prozirne glazure Height: 3.6 cm; glazure
Visina: 5.8 cm; diameter: 20 cm Visina: 3.6 cm; promjer: 19 cm diameter: 19 cm Visina: 3.6 cm; promjer: 19 cm
promjer: 20 cm Inv. no. Hrz 238/10 Inv. br. Hrz 113/09 Inv. no. Hrz 113/09 Inv. br. Hrz 240/10
Inv. br. Hrz 238/10

Flat dish decorated with the

lotus flower motif in the
late blue and white style

Turkey, Iznik, 1580-1585

Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 3.6 cm;
diameter: 19 cm
Inv. no. Hrz 240/10

154 155
40 41 42 43
Plitka zdjela ukraena Flat dish decorated with the Plitka zdjela ukraena u Flat dish decorated in the Plitka zdjela sa sredinjom Flat dish with decorated with Plitka zdjela s radijalnom Flat dish with decorated with
motivom jiajing u plavo- jiajing motif in the blue and plavo-bijelom stilu blue and white style radijalnom kompozicijom u central radial composition in sredinjom kompozicijom u a radial central composition
bijelom stilu white style viebojnom stilu the polychrome style viebojnom stilu in the polychrome style
Turska, Iznik, 1570.-1590. Turkey, Iznik, 1570-1590
Turska, Iznik, 1570.-1590. Turkey, Iznik, 1570-1590 Kvarcna keramika oslikana Fritware, underglaze painting Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585 Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585
Kvarcna keramika oslikana Fritware, underglaze painting kobaltnoplavom bojom na in cobalt blue over a white Kvarcna keramika oslikana Fritware, underglaze painting Kvarcna keramika oslikana Fritware, underglaze painting
kobaltnoplavom bojom na in cobalt blue over a white bijeloj podlozi ispod prozirne siliceous slip coating kobaltnoplavom i reljefno in cobalt blue and relief kobaltnoplavom i reljefno in cobalt blue and relief
bijeloj podlozi ispod prozirne siliceous slip coating glazure Height: 3 cm; crvenom bojom na bijeloj redover a white siliceous slip crvenom bojom na bijeloj redover a white siliceous slip
glazure Height: 2.5 cm; Visina: 2.5 cm; diameter: 19.2 cm podlozi ispod prozirne glazure coating podlozi ispod prozirne glazure coating
Visina: 2.5 cm; diameter: 18.3 cm promjer: 19.2 cm Inv. no. Hrz 12/11 Visina: 2.1 cm; promjer: 18 cm Height: 2.1 cm; Visina: 2.5 cm; Height: 2.5 cm;
promjer: 18.3 cm Inv. no. Hrz 234/10 Inv. br. Hrz 12/11 Inv. br. Hrz 241/10 diameter: 18 cm promjer: 18.2 cm diameter: 18.2 cm
Inv. br. Hrz 234/10 Inv. no. Hrz 241/10 Inv. br. Hrz 24/11 Inv. no. Hrz 24/11

156 157
44 45 46 47
Plitka zdjela sa radijalnom Flat dish decorated with a Plitka zdjela sa sredinjom Flat dish decorated with a Zdjela oslikana s dvije Dish decorated with two Zdjela oslikana s dvije Dish decorated with two
sredinjom kompozicijom u radial central composition in radijalnom kompozicijom u radial central composition in okrunjene harpije crowned harpies okrunjene harpije crowned harpies
viebojnom stilu the polychrome style viebojnom stilu the polychrome style
Turska, Iznik, 1580.- 1585. Turkey, Iznik, 1580- 1585 Turska, Iznik, 1580.- 1585. Turkey, Iznik, 1580- 1585
Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585 Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585 Kvarcna keramika, oslikana Fritware, underglaze painting Kvarcna keramika, oslikana Fritware, underglaze painting
Kvarcna keramika oslikana Fritware, underglaze painting Kvarcna keramika oslikana Fritware, underglaze painting u kobaltno plavoj, tirkiznoj, in cobalt blue, turquoise, u kobaltno plavoj, tirkiznoj, in cobalt blue, turquoise,
kobaltnoplavom i reljefno in cobalt blue and relief kobaltnoplavom i reljefno in cobalt blue and relief red smaragdno zelenoj i reljefno emerald green and relief red smaragdno zelenoj i reljefno emerald green and relief red
crvenom bojom na bijeloj redover a white siliceous slip crvenom bojom na bijeloj over a white siliceous slip crvenoj s obrisima izvedenim with outlines in black, over a crvenoj s obrisima izvedenim u with outlines in black, over a
podlozi ispod prozirne glazure coating podlozi ispod prozirne glazure coating u crnoj boji na bijeloj podlozi white siliceous slip coating crnoj boji na bijeloj podlozi white siliceous slip coating
Visina: 2.4 cm; Height: 2.4 cm; Visina: 2.2 cm; Height: 2.2 cm; ispod prozirne glazure Height: 5.5 cm; ispod prozirne glazure Height: 4.6 cm;
promjer: 19.2 cm diameter: 19.2 cm promjer: 17.7 cm diameter: 17.7cm visina: 5.5 cm; promjer: 28.6 cm diameter: 28.6 cm visina: 4.6 cm; promjer: 28.6 cm diameter: 28.6 cm
Inv. br. Hrz 02/11 Inv. no. Hrz 02/11 Inv. br. Hrz 03/11 Inv. no. Hrz 03/11 Inv. br. Hrz 13/11a Inv. no. Hrz 13/11a Inv. br. Hrz 13/11b Inv. no. Hrz 13/11b

158 159
48 49 50 51
Polukruna zdjelica ukraena Hemispherical bowl Polukruna zdjelica ukraena Hemispherical bowl Polukruna zdjelica ukraena Hemispherical bowl Polukruna zdjelica ukraena Hemispherical bowl
u plavo-bijelom stilu decorated in the blue and u plavo-bijelom stilu decorated in the blue and u plavo-bijelom stilu decorated in the blue and u plavo-bijelom stilu decorated in the blue and
white style white style white style white style
Turska, Iznik, druga polovica Turska, Iznik, druga polovica Turska, Iznik, druga polovica Turska, Iznik, druga polovica
16. stoljea Turkey, Iznik, second half of 16. stoljea Turkey, Iznik, second half of 16. stoljea Turkey, Iznik, second half of 16. stoljea Turkey, Iznik, second half of
Kvarcna keramika oslikana the 16th century Kvarcna keramika oslikana the 16th century Kvarcna keramika oslikana the 16th century Kvarcna keramika oslikana the 16th century
kobaltnoplavom bojom na Fritware, underglaze painting kobaltnoplavom bojom na Fritware, underglaze painting kobaltnoplavom bojom na Fritware, underglaze painting kobaltnoplavom bojom na Fritware, underglaze painting
bijeloj podlozi ispod in cobalt blue over a white bijeloj podlozi ispod in cobalt blue over a white bijeloj podlozi ispod in cobalt blue over a white bijeloj podlozi ispod in cobalt blue over a white
prozirne glazure siliceous slip coating prozirne glazure siliceous slip coating prozirne glazure siliceous slip coating prozirne glazure siliceous slip coating
Visina: 5.7 cm; Height: 5.7 cm; Visina: 5.7 cm; Height: 5.7 cm; Visina: 6.1 cm; Height: 6.1 cm; Visina: 5.3 cm; promjer: 12 cm Height: 5.3 cm;
promjer: 12.6 cm diameter: 12.6 cm promjer: 12.2 cm diameter: 12.2 cm promjer: 12.2 cm diameter: 12.2 cm Inv. br. Hrz 108/09 diameter: 12 cm
Inv. br. Hrz 53/08 Inv. no. Hrz 53/08 Inv. br. Hrz 63/08 Inv. no. Hrz 63/08 Inv. br. Hrz 64/08 Inv. no. Hrz 64/08 Inv. no. Hrz 108/09

160 161
52 53 54 55
Polukruna zdjelica ukraena Hemispherical bowl Polukruna zdjelica ukraena Hemispherical bowl Grlo boce od zelenog stakla Neck of a green glass bottle Grlo boce od zelenog stakla Neck of a green glass bottle
u plavo-bijelom stilu decorated in the blue and u plavo-bijelom stilu decorated in the blue and s izljevom i uljebljenim decorated with ribbing on
white style white style ukrasom na tijelu the body Turska, druga polovica 16. st. Turkey, second half of the
Turska, Iznik, druga polovica Turska, Iznik, druga polovica Staklo 16th century
16. stoljea Turkey, Iznik, second half of 16. stoljea Turkey, Iznik, second half of Turska, druga polovica 16. st. Turkey, second half of the Visina: 15.1 cm, promjer grla Glass
Kvarcna keramika oslikana the 16th century Kvarcna keramika oslikana the 16th century Staklo 16th century (sredina): 3.32 cm, promjer Height: 15.1 cm, neck
kobaltnoplavom bojom na Fritware, underglaze painting kobaltnoplavom bojom na Fritware, underglaze painting Visina: 15.8 cm, promjer grla Glass izljeva (vanjski): 6.1 cm, deblj. diameter (middle): 3.32 cm,
bijeloj podlozi ispod prozirne in cobalt blue over a white bijeloj podlozi ispod prozirne in cobalt blue over a white (sredina): 3.2 cm, promjer Height: 15.8 cm, diameter stijenke (trbuh): 1.4 mm, deblj. rim diameter (exterior): 6.1 cm,
glazure siliceous slip coating glazure siliceous slip coating izljeva: 7.5 cm, debljina stijenke of the neck (middle): 3.2 cm, stijenke (izljev): 7 mm wall thickness (belly): 1.4 mm,
Visina: 6 cm; promjer: 12.5 cm Height: 6 cm; Visina: 6.1 cm; promjer: 13 cm Height: 6.1 cm; trbuha: 1.6 mm, debljina diameter of the rim: 7.5 cm, inv. br.: Hrz 21/07 wall thickness (rim): 7 mm
Inv. br. Hrz 08/11 diameter: 12.5 cm Inv. br. Hrz 68/11 diameter: 13 cm stijenke izljeva: 3 mm wall thickness (belly): 1.6 mm, Inv. no.: Hrz 21/07
Inv. no. Hrz 08/11 Inv. no. Hrz 68/11 inv. br. Hrz 209/10 wall thickness (rim): 3 mm
inv. no. Hrz 209/10

162 163
56 57 58 59
Grlo boce od zelenog stakla Neck of a green glass bottle Grlo boce od zelenog stakla Neck of a green glass bottle Grlo boce od zelenog stakla Neck of a green glass bottle Grlo boce od zelenog stakla Neck of a green glass bottle

Turska, druga polovica 16. st. Turkey, second half of the Turska, druga polovica 16. st. Turkey, second half of the Turska, druga polovica 16. st. Turkey, second half of the Turska, druga polovica 16. st. Turkey, second half of the
Staklo 16th century Staklo 16th century Staklo 16th century Staklo 16th century
Visina: 16.3 cm, promjer grla Glass Visina: 12.2 cm, promjer grla Glass Visina: 17 cm, promjer grla Glass Visina: 15.5 cm, promjer grla Glass
(sredina): 3.5 cm, promjer Height: 16.3 cm, neck (sredina): 2.4 cm, promjer Height: 12.2 cm, neck (sredina): 3.55 cm, promjer Height: 17 cm, neck diameter (sredina): 3.5 cm, promjer Height: 15,5 cm, neck
izljeva (vanjski): 5.57 cm, deblj. diameter (middle): 3.5 cm, rim izljeva (vanjski): 4.25 cm, deblj. diameter (middle): 2.4 cm, rim izljeva (vanjski): 6 cm, debljina (middle): 3.55 cm, rim diameter izljeva (vanjski): 6 cm, deblj. diameter (middle): 3.5 cm, rim
stijenke (trbuh): 1 mm, deblj. diameter (exterior): 5.57 cm, stijenke (trbuh): 1.4 mm, deblj. diameter (exterior): 4.25cm, stijenke (trbuh): 1.7 mm, deblj. (exterior): 6 cm, wall thickness stijenke (trbuh): 1.4 mm, deblj. diameter (exterior): 6 cm, wall
stijenke (izljev): 6.3 mm wall thickness (belly): 1 mm, stijenke (izljev): 4 mm wall thickness (belly): 1,4 mm, stijenke (izljev): 6 mm (belly): 1.7 mm, wall thickness stijenke (izljev): 8 mm thickness (belly): 1.4 mm, wall
inv. br.: Hrz 9/07 wall thickness (rim): 6.3 mm inv. br.: Hrz 198/10 wall thickness (rim): 4 mm Inv. br.: Hrz 268/10 (rim): 6 mm inv. br.: Hrz 201/10 thickness (rim): 8 mm
Inv. no.: Hrz 9/07 Inv. no.: Hrz 198/10 Inv. no.: Hrz 268/10 Inv. no.: Hrz 201/10

164 165
60 61 62 63
Grlo boce od zelenog stakla Neck of a green glass bottle Grlo boce od zelenog stakla Neck of a green glass bottle Grlo boce od zelenog stakla Neck of a green glass bottle Drveni koloturnik Wooden heart

Turska, druga polovica 16. st. Turkey, second half of the Turska, druga polovica 16. st. Turkey, second half of the 16th Turska, druga polovica 16. st. Turkey, second half of the Drvo i eljezo Wood and iron
Staklo 16th century Staklo century Staklo 16th century cca 23x14 cm cca 23x14 cm
Visina: 15 cm, promjer grla Glass Visina: 15.1 cm, promjer grla Glass Visina: 14.5 cm, promjer grla Glass Inv. br.: Hrz 180/09 Inv. no.: Hrz 180/09
(sredina): 3 cm, promjer Height: 15 cm, neck diameter (sredina): 3.24 cm, promjer Height: 15.1 cm, neck diameter (sredina): 3.6 cm, promjer Height: 14.5 cm, neck
izljeva (vanjski): 5.55 cm, deblj. (middle): 3 cm, rim diameter izljeva (vanjski): 6.05 cm, deblj. (middle): 3.24 cm, rim diameter izljeva (vanjski): 6.1 cm, deblj. diameter (middle): 3.6 cm, rim
stijenke (trbuh): 1.5 mm, deblj. (exterior): 5.55 cm, wall stijenke (trbuh):2.3 mm, deblj. (exterior): 6.05 cm, wall stijenke (trbuh):2 mm, deblj. diameter (exterior): 6.1 cm,
stijenke (izljev): 4 mm thickness (belly): 1.5 mm, wall stijenke (izljev): 5 mm thickness (belly): 2.3 mm, wall stijenke (izljev): 7 mm wall thickness (belly): 2 mm,
Inv. br.: Hrz 10/07 thickness (rim): 4 mm Inv. br.: Hrz 42/08 thickness (rim): 5 mm Inv. br.: Hrz 12/07 wall thickness (rim): 7 mm
Inv. no.: Hrz 10/07 Inv. no.: Hrz 42/08 Inv. no.: Hrz 12/07

166 167
64-71 64-71
64. Top - pedrijera (tip 64. Artillery piece - perrier 68. Top - smirilj (tip 68. Artillery piece
64. petriere da braga) (type petriere da braga) moschetto da braga) - esmeril (type moschetto
da braga)
Venecija, 16. stoljee Venice, 16th century Venecija, 16. stoljee,
Bronca Bronze Tommaso di Conti Venice, 16th century,
Duina: 145.5 cm, Length: 145.5 cm, Bronca Tommaso di Conti
promjer: 18 cm, diameter: 18 cm, Duina: 86 cm, Bronze
teina: 139 kg weight: 139 kg promjer: 10.2 cm, Length: 86 cm,
Inv. br.: Hrz 2/07 Inv. br.: Hrz 2/07 teina: 43.3 kg diameter: 10.2 cm,
65. Inv. br.: Hrz 5/07 weight: 43.3 kg
Inv. no.: Hrz 5/07

65. Top - pedrijera (tip 65. Artillery piece - perrier

petriere da braga) (type petriere da braga) 69. Top - smirilj (tip 69. Artillery piece - esmeril
moschetto da braga) (type moschetto da braga)
Venecija, 16. stoljee Venice, 16th century
Bronca Bronze Venecija, 16. stoljee Venice, 16th century
66.
Duina: 147 cm, Length: 147 cm, Bronca Bronze
promjer: 18 cm, teina: 156 kg diameter: 18 cm, weight: 56 kg Duina: 87 cm, Length: 87 cm,
Inv. br.: Hrz 3/07 Inv. br.: Hrz 3/07 promjer: 8.3 cm, diameter: 8.3 cm,
teina: 31.8 kg weight: 31.8 kg
Inv. br.: Hrz 7/07 Inv. no.: Hrz 7/07
67.
66. Top - smirilj (tip 66. Artillery piece - esmeril
moschetto da braga) (type moschetto da braga)
70. Top - smirilj (tip 70. Artillery piece - esmeril
Venecija, 16. stoljee Venice, 16th century moschetto da braga) (type moschetto da braga)
Bronca Bronze
68. Duina: 87 cm, Length: 87 cm, Venecija (?)16. stoljee Venice (?), 16th century
promjer: 9.5 cm, diameter: 9.5 cm, Bronca Bronze
teina: 33.75 kg weight: 33.75 kg Duina: 86.5 cm, Length: 86.5 cm,
Inv. br.: Hrz 1/07 Inv. no.: Hrz 1/07 promjer: 10.6 cm, diameter: 10.6 cm,
teina: 40.75 kg weight: 40.75 kg
Inv. br.: Hrz 8/09 Inv. no.: Hrz 8/09
69. 67. Top - smirilj (tip 67. Artillery piece - esmeril
moschetto da braga) (type moschetto da braga)
71. Top - smirilj 71. Artillery piece - esmeril
Venecija, 16. stoljee Venice, 16th century
Bronca Bronze Francuska (?), 16. stoljee France (?), 16th century
70. Duina: 89 cm, Length: 89 cm, Bronca Bronze
promjer: 9.9 cm, diameter: 9.9cm, Duina: 120 cm, Length: 120 cm,
teina: 37.4 cm weight: 37.4 kg promjer: 11.6 cm, diameter: 11.6 cm,
Inv. br.: Hrz 4/07 Inv. no.: Hrz 4/07 teina: 57.1 kg weight: 57.1 kg
Inv. br.: Hrz 6/07 Inv. no.: Hrz 6/07

71.

168 169
72 73 74 75
Kamene topovske kugle Stone shots Kamena topovska kugla Stone shot Tane Shot Tane Shot

Kamen, vapnenac Limestone Vapnenac Limestone Olovo Lead Olovo Lead

Promjer: 10 cm, Diameter: 10 cm, Promjer: 14 cm, Diameter: 14 cm, Promjer: 1.8 cm, teina: 16 g Diameter: 1.8 cm, weight: 16 g Promjer: 1.5 cm, teina: 27 g Diameter: 1,5 cm, weight: 27 g
teina: izmeu 1100 i 1250 g weight: between 1100 teina: 4500 g weight: 4500 g Inv. br.: Hrz 48/08 Inv. no.: Hrz 48/08 Inv. br.: Hrz 133/09 Inv. no.: Hrz 133/09
Inv. br.: Hrz 70/08, 72/08,47/ and 1250 g Inv.br.: Hrz 258/10 Inv.no.: Hrz 258/10
08,71/08,77/08,84/08,78/08,76 Inv. no.: Hrz 70/08, 72/08,47
/08,41/08, 202 /10, 37/07, 105, /08,71/08,77/08,84/08,78/08,7
123 /09, 46/11 6/08,41/08, 202 /10, 37/07, 105,
123 /09, 46/11

170 171
76 77 78 79
Brodsko zvono s natpisom Ships bell with a relief Ulomak oboda posude Rim fragment of a vessel Posuda za odravanje Food warmer Uloak tave za prenje jaja Insert for frying eggs,
godine u reljefu inscription of the year topline hrane part of a pan
it was cast 16. stoljee 16th century Venetian, 16th century Venecija, 16. stoljee
Venecija, 1567. godina Bakar, iskucavanje Copper, hammering Venecija, 16. stoljee Copper, hammering Bakar, iskucavanje Venetian, 16th century
Bronca, lijevanje Venice, 1567 Promjer: 27.5 cm Diameter: 27,5 cm Bakar, iskucavanje Height: 10 cm, diameter: Visina: 5 cm, promjer: 23.5 Copper, hammering
Visina: 19.6 cm, promjer Bronze, casting Inv. br.: Hrz 18/07 Inv. no.: Hrz 18/07 (dva sloja lima) 20 cm, volume: 0.65 lit., cm, 7 polukuglastih umetaka, Height: 5 cm, diameter: 23,5 cm,
(zvunog luka): 14.8 cm, Height: 19.6 cm, diameter Visina: 10 cm, promjer: 20 cm, decoration: rope motif promjer : 6.5 cm, 7 hemispherical sockets,
teina: 1.446 kg (sound bow): 14.8 cm, volumen: 0.65 lit, Inv.no.: Hrz 46/08 dubina: 2.7 cm diameter: 6,5 cm, depth: 2,7 cm
Inv. br. : Hrz 224/10 weight: 1.446 kg dekoracija: motiv konopca Inv. br.: Hrz 13/07 inv. no.: Hrz 13/07
Inv. no.: Hrz 224/10 Inv. br.: Hrz 46/08

172 173
80 81 82 83
Ulomak vra (tip Fragment of a pewter flagon Brodski kotao Ships cauldron Tava Frying pan Posuda Copper alloy vessel
Hanzeatski vr) (type: Hanseatic jug)
16. stoljee 16th century 16. stoljee 16th century 16. stoljee 16th century
Sjeverna Njemaka, Northern Germany, Bakar, iskucavanje Copper, hammering Bakrena slitina, iskucavanje Copper alloy, hammering Bakrena slitina, iskucavanje Copper alloy, hammering
16. stoljee 16th century Visina: 27 cm, Height: 27 cm, Visina: 5 cm, promjer: 25 cm Height: 5 cm, diameter: 25 cm Visina: 11 cm, promjer oboda: Height: 11 cm,
Kositar, lijevanje Pewter, casting promjer oboda: 41 45 cm, rim diameter: 41 45 cm, Inv.br.: Hrz 227/10 Inv. no.: Hrz 227/10 35 cm, promjer dna: cca 18 cm rim diameter: 35 cm,
Visina: 22.5 cm, promjer dna: Height: 22.5 cm, bottom zapremnina (cca): 20 l volume: approx. 20 l Funkcija: nepoznata base diameter: approx. 18.cm
15.5 cm, promjer otvora: 10 cm diameter: 15.5 cm, mouth Inv. br.: Hrz 14/07 Inv. no.: Hrz 14/07 (zdjela ili lavor) Function: unknown
Inv. br.: Hrz 25/07 diameter: 10 cm Inv. br.: Hrz 5/11 (bowl or wash-basin)
Inv. no.: Hrz 25/07 Inv. no.: Hrz 5/11

174 175
84 85 86 87
Drka noa Knife handle Drka alata Tool handle Brus Hone Kosti goveda Cattle bones

16. stoljee 16th century 16. stoljee 16th century 16. stoljee 16th century Kraljeci goveih repova Caudal vertebrae (fragments
Drvo i metal Wood and metal Drvo Wood Kamen Stone Inv. br.: Hrz 220/10 of cattle tail bones)
Duina: 10, irina: 2.1 cm Lenght:10, width: 2.1 cm Duina: 8.2, Lenght: 8.2, Duina: 19,8 cm, Length: 19,8 cm, Inv. no.: Hrz 220/1
Inv. br.: Hrz 204/10 Inv. no.: Hrz 204/10 max. irina: 2.2 cm max width: 2.2 cm irina: 2 x 2.5 cm width: 2 x 2.5 cm
Inv. br.: Hrz 229/10 Inv. no.: Hrz 229/10 Inv. br.: Hrz 156/09 Inv. no.: Hrz 156/09

176 177
88 89 90 91
Kosti goveda Cattle bones Kljova divlje svinje Wild boar tusk eeri bora Pine cones Olovna plomba Lead seal

Rog goveda Cattle cornual process Lijeva kljova divlje svinje Left canine teeth (tusk) Drvo Wood 16. stoljee 16th century
Inv. br.: Hrz 04/12 Inv. no.: Hrz 04/12 Inv. br.: Hrz 149/09 Inv. no.: Hrz 149/09 Inv. br.: Hrz 69/08, 192/10, Inv. no.: Hrz 69/08, 192/10, Olovo, lijevanje Lead, casting
254/10 254/10 Oznake: na jednoj strani Marks: impressed stamps;
igom otisnut motiv kria one side with a motif of a cross
u krugu, na drugoj motiv in a circle; other side with a
jednostavne petlje simple loop
Promjer: 16-18 mm, Diameter: 1618 mm,
debljina: 2 mm; teina: 4 g thickness: 2 mm, weight.: 4 g
Inv. br.: Hrz 28/11 Inv. no.: Hrz 28/11

178 179
92 93 94 95
Plitica za vagu Pan of a balance scale Ulomak baze svijenjaka Fragment of a candlestick Ulomak baze svijenjaka Fragment of a candlestick Noga svijenjaka Middle part of a candlestick
base base
16. stoljee 16th century 16. stoljee, Njemaka 16. Stoljee, Njemaka 16. Stoljee, Njemaka 16th century, Germany
Bakrena slitina, iskucavanje Copper alloy, hammering Bakrena slitina, iskucavanje, 16th century, Germany Mjed, lijevanje 16th century, Germany Mjed, lijevanje Brass, casting
Visina: 1.7 cm, Height: 1.7 cm, lemljenje Copper alloy, hammering, Promjer: 17 cm Brass, casting Visina: 19.4 cm, Height: 19.4 cm,
promjer: 6.2 cm diameter: 6.2 cm Visina: cca 5 cm, soldering Inv. br.: Hrz 35/07 Diameter: 17 cm promjer: cca 3.5 cm diameter: cca 3.5 cm
Inv. br.: Hrz 68/08 Inv. no.: Hrz 68/08 promjer: 9.4 cm Height: cca 5 cm, Inv. no.: Hrz 35/07 Inv. br.: Hrz 168/09 Inv. no.: Hrz 168/09
Inv. br.: Hrz 32/07 diameter: 9.4 cm
Inv. no.: Hrz 32/07

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Amatoria Amatoria Zdjela Bowl Zdjela Bowl Zdjela Bowl

Italija, posljednja etvrtina 15. Italy, last quarter of the 15th Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century
stoljea century Keramika; zdjela koninog Pottery, a conical bowl, with Keramika; Rekonstruirana Pottery; reconstructed Keramika; rekonstruirana Pottery; reconstructed
Keramika; zdjela kalotastog Pottery; hemispherical bowl oblika, zaobljenog i pojaanog rounded rim and a circular zdjela kalotastog oblika i hemispherical bowl with a flat, zdjela kalotastog oblika na hemispherical bowl on a small
oblika, irokog izvijenog with a flanged rim, on a short ruba i ravnog, prstenasto foot. Made out of purified ravnog, prstenasto naglaenog accentuated bottom. Made out niskoj prstenastoj stopi. ring like foot. Made out of
ruba prema van, na niskoj circular foot, decorated with naglaenog dna. Izraena clay, red after firing. Light dna. Izraena od proiene of purified clay, ochre after Izraena od proiene gline, purified clay, red and ochre
prstenastoj stopi ukraena sgraffito technique. Made out od proiene gline, crvene green glaze on the inside of gline, oker boje peenja. Na firing. Blue glaze (?) with traces crvene i oker boje peenja. after firing. Green glaze on
graviranim (sgraffito) ukrasom. of purified clay. The rim is boje peenja. Glazirana the vessel and on the part of sauvanom ulomku slabo of olive green decoration Zelena glazura na unutarnjoj the interior and exterior (just
Izraena od proiene gline, decorated with a ribbon with svijetlozelenom glazurom na the outer surface (glaze poorly primjetljiva plava (?) glazura s barely visible on the preserved i vanjskoj (neposredno ispod under the rim) of the vessel.
crvene boje peenja. Rub zdjele incised motif of crosses. The unutarnjoj strani posude i na preserved). Inside surface tragovima maslinasto zelenog fragment. Glaze on the interior ruba) povrini posude. Height: 12 cm;
ukraen trakom s urezanim central motif depicts a man rubu s vanjske strane (vrlo loe of the bowl decorated with ukrasa. Glazirana na unutarnjoj and on along the rim on the Visina: 12 cm; promjer: 25 cm diameter: 25 cm
krinim motivom. Centralni playing a lute in a garden with ouvana glazura). S unutarnje elongated irregular ribbons, strani i pri rubu na vanjskoj exterior of the vessel. Inv. br. Hrz 51/08 Inv. no. Hrz 51/08
motiv prikazuje sviraa an intertwining fence and two strane, na rubu i tijelu with an olive green flower strani posude. Height: 7.7 cm;
lutnje koji se nalazi u vrtu s trees in the background. Green posude, ukraena izduenim motif in the middle. Visina: 7.7 cm; promjer: 29 cm diameter: 29 cm
isprepletenom ogradom i dva painted background with motivima nepravilnih traka, Height: 8.3 cm; Inv. br. Hrz 29/07 Inv. no.: Hrz 29/07
stabla u drugom planu. Zeleno dotted decoration. a u sredini motivom cvijeta diameter: 27.8 cm
oslikana pozadina s tokatim Height: 8.3 cm; maslinastozelene boje. Inv. no. Hrz 219/10
ukrasom. diameter: 27.8 cm Vis: 8.3 cm; promjer: 27.8 cm
Visina: 7.6 cm; Inv. no. Hrz 219/10 Inv. br. Hrz 219/10
promjer: 33.8 cm
Inv. br. Hrz 17/07

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100 101 102 103
Tanjur Plate Tanjur Plate Tanjur Plate Tanjur Plate

Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century
Keramika; rekonstruirani Pottery; reconstructed Keramika; rekonstruirani Pottery; reconstructed Keramika, rekonstruirani Pottery; reconstructed Keramika; tanjur koninog Pottery; hemispherical plate
tanjur koninog oblika na hemispherical plate on a small tanjur koninog oblika na conical plate on a ring like tanjur kalotastog oblika, hemispherical plate, oblika s stepeniastim with a cascading transition
niskoj prstenastoj stopi, ring like foot and an everted niskoj prstenastoj stopi. foot. Made out of purified naglaeno izvijenog ruba, accentuated everted rim. On prijelazom prema stanjenom towards the thin rim, on a
s rubom izvijenim prema rim. Made out of purified clay, Izraen od proiene gline, clay, ochre after firing. Thick na niskoj prstenastoj stopi. a small ring like foot. Made rubu, na niskoj prstenastoj small ring like foot. Made out
van. Izraen od proiene red after firing. Traces of white oker boje peenja. Gusta greenish brown glaze covers Izraen od proiene gline, out if purified clay, red after stopi. Raen od proiene of purified clay, light red after
gline, crvene boje peenja. glaze and painted decoration zelenosmea glazura prekriva the interior of the vessel and crvene boje peenja. Ukraen firing. Decorated with sgraffito gline, svjetlo crvene boje firing. Traces of a green glaze
Na unutarnjoj strani posude visible on the interior (a couple unutranjost posude i vanjski the part under the rim (sgraffito) ukrasom ispod decoration under a green glaze peenja. Na unutarnjoj povrini visible on the interior surface
vidljivi tragovi bijele glazure of blue lines that were probably dio ispod ruba posude. on the exterior. zelene glazure na unutarnjoj on the interior of the vessel. uoljivi tragovi zelene glazure. Height: 4.2 cm;
i slikanog ukrasa (par linija u running around the whole Visina: 5 cm; promjer: 17 cm Height: 5 cm; diameter: 17 cm povrini posude. Ukras ine The decoration is composed of Visina: 4.2 cm; diameter: 17.3 cm
plavoj boji koje vjerojatno idu vessel with an unidentified Inv. br. Hrz 150/09 Inv. no. Hrz 150/09 iroke urezane linije ispod ruba incised lines under the rim of promjer: 17.3 cm Inv. no. Hrz 28/07
ukrug posude ispod kojih se motif in the same colour posude. Ispod ruba se nalaze the vessel. Incised oval motifs Inv. br. Hrz 28/07
nalazi neodreeni motiv under them). urezani motivi ovalnog are placed under the rim, and
u istoj boji). Height: 6.2 cm; oblika, a centru posude the centre is occupied by a
Visina: 6.2 cm; diameter: cca 29 cm podjednostavljeni motiv simplified flower motif.
promjer: cca 29 cm Inv. no. Hrz 20/07 cvijeta. Height: 4.5 cm;
Inv. br. Hrz 20/07 Visina: 4.5 cm; diameter: 18.5 cm
promjer: 18.5 cm Inv. no. Hrz 19/07
Inv. br. Hrz 19/07

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Stalak za svijeu (?) Candlestand (?) Zdjelica Small bowl Zdjelica Small bowl Zdjelica Small bowl

Turska, 16. st. Turkey, 16th century Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century
Keramika; maleni recipijent Pottery; small receptacle Keramika; zdjelica kalotastog Pottery; small hemispherical Keramika; rekonstruirana Pottery; reconstructed small Keramika; zdjelica kalotastog Pottery; small hemispherical
sa stapkom na irokom with a pedicle on a wide oblika na niskoj prstenastoj bowl on a low ring like foot. zdjelica kalotastog oblika na hemispherical bowl on a small oblika i prstenasto naglaenog bowl on an accentuated ring
tanjuriu (svijenjak ?), plate (candlestick?), eastern stopi. Izraena od proiene Made out of purified clay with vrlo niskoj prstenastoj stopi. ring like foot. Made out of dna. Izraena od proiene like bottom. Made out of
istonog porijekla. Raen provenance. Made out of gline s primjesama organskog organic admixtures, ochre and Izraena od proiene gline, purified clay, red after firing. gline, oker boje peenja. Cijela purified clay, ochre after firing.
od proiene gline, oker purified clay, ochre after firing. materijala, oker i crvene red after firing. Traces of green crvene boje peenja. Glazirana Coated with a light blue glaze. je posudica glazirana The entire vessel is coated with
boje peenja. Glaziran Coated with a light green boje peenja. Zelena glazura glaze visible on the interior svjetloplavom glazurom. Na The interior of the vessel smeom glazurom. a brow glaze.
svijetlozelenom glazurom po glaze like Chinese porcelain uoljiva u tragovima na and the part below the rim unutarnjoj povrini ukraena decorated with a dark blue Visina: 6.7 cm; promjer: 13 cm Height: 6.7 cm;
uzoru na kineski porculan (celadon). unutarnjoj povrini i s vanjske under the exterior tamnoplavim mrljastim smudged decoration. A white Inv. br. Hrz 67/08 diameter: 13 cm
(celadon). Height: 6 cm; strane ispod ruba posude. of the vessel. ukrasom. Na vanjskoj povrini band placed under the rim Inv. no. Hrz 67/08
Visina: 6 cm; promjer: 13.3 cm diameter: 13.3 cm Visina: 6,2 cm; promjer: 15 cm Height: 6.2 cm; posude ispod samog ruba runs on the entire exterior part
Inv. br. Hrz 43/08 Inv. no. Hrz 43/08 Inv. br. Hrz 11/07 diameter: 15 cm nalazi se bijela traka koja ide of the vessel.
Inv. no. Hrz 11/07 ukrug posudice. Height: 4.3 cm;
Visina: 4.3 cm; diameter: 15.7 cm
promjer: 15.7 cm Inv. no. Hrz 114/09
Inv. br. Hrz 114/09

186 187
108 109 110 111
Zdjelica Small bowl Zdjelica Small bowl Zdjelica Small bowl Zdjelica Small bowl

Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century
Keramika; rekonstruirana Pottery; reconstructed small Keramika; rekonstruirana Pottery; reconstructed small Keramika; rekonstruirana Pottery; reconstructed small Keramika; rekonstruirana Pottery; reconstructed small
zdjelica kalotastog oblika hemispherical bowl on a low zdjelica kalotastog oblika, hemispherical bowl, slightly zdjelica kalotastog oblika, hemispherical bowl with a zdjelica kalotastog oblika, hemispherical bowl with a
na niskoj prstenastoj stopi. ring like foot. Made out of blago izvijenog ruba prema everted rim, on a low ring like stanjenog ruba, na niskoj thin rim, on a low ring like blago izvijenog ruba prema slightly everted rim, on a low
Izraena od proiene purified clay, ochre after firing. van, na niskoj prstenastoj stopi. foot. Made out of purified clay, prstenastoj stopi. Izraena od foot. Made out of purified clay, van, na niskoj prstenastoj ring like foot. Made out of
gline, oker boje peenja. Green glaze on the interior of Izraena od proiene gline, light red after firing. Green proiene gline, oker boje ochre after firing. A decoration stopi. Raena od proiene purified clay, ochre after firing.
Zelena glazura na unutarnjoj the vessel and under the rim svjetlo crvene boje peenja. glaze on the interior and the peenja. Na bijeloj glazuri na in dark brown and dark yellow gline, oker boje peenja. Zelena Green glaze on the interior and
povrini posude i na vanjskoj on the exterior. Imprints of Zelena glazura na unutarnjoj rim part of the exterior. unutarnjoj povrini posude on a white glaze glazura na unutarnjoj povrini the part just below the rim on
neposredno ispod ruba. Na tripods used as a stand during povrini posude i na vanjskoj Height: 6.6 cm; nalazi se ukras u tamnosmeoj on the interior. posude i vanjskoj povrini the exterior of the vessel.
unutarnjoj su povrini posude firing visible on the exterior. neposredno ispod ruba. diameter: 15 cm i tamnoutoj boji. Height: 7.6 cm; posude, neposredno ispod Height: 6.4 cm;
vidljivi tragovi trokrakih Height: 6.6 cm; Visina: 6.6 cm; promjer: 15 cm Inv. no. Hrz 169/09 Visina: 7.6 cm; promjer: 16 cm diameter: 16 cm ruba. diameter: 15.3 cm
podloaka koriteni kao diameter: 14 cm Inv. br. Hrz 169/09 Inv. br. Hrz 88/08 Inv. br. Hrz 88/08 Visina: 6.4 cm; Inv. no. Hrz 100/09
podmetai prilikom peenja. Inv. no. Hrz 34/07 promjer: 15.3 cm
Visina: 6.6 cm; Inv. br. Hrz 100/09
promjer: 14 cm
Inv. br. Hrz 34/07

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112 113 114 115
Zdjelica Small bowl Zdjelica Small bowl Zdjelica Small bowl Vr Jug

Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century Turska, prva polovica 16. st. Turkey, first half of the 16th
Keramika; zdjelica kalotastog Pottery; small hemispherical Keramika; zdjelica kalotastog Pottery; small hemispherical Keramika; rekonstruirana Pottery; reconstructed small Keramika; vr iji oblik century
oblika, jednostavnog ruba bowl with a simple rim, on a oblika, jednostavnog ruba na bowl with a simple rim, on a zdjelica kalotastog oblika, hemispherical bowl with an podsjea na oblik amfore s Pottery; jug ith two handles,
na niskoj prstenastoj stopi. low ring like foot. Made out prstenastoj stopi. Izraena od low ring like foot. Made out of naglaeno izvijenog ruba accentuated everted rim, on a dvjema rukama, izduenim with a shape resembling that
Izraena od proiene gline, of purified clay, ochre after proiene gline, oker boje purified clay, ochre after firing. prema van, prstenastog low ring like foot. Made out of cilindrinim, narebrenim of an amphora, elongated
oker boje peenja. Glazirana firing. Coated with a brown peenja. Glazirana crnom Coated with a black glazed, dna. Izraena od proiene purified clay, red after firing. vratom i rubom izvijenim cylindrical ribbed neck and an
smeom glazurom na glaze on the interior and most glazurom, vidljive vrlo sitne with visible small white dots. gline, crvene boje peenja. The entire bowl is coated with prema van. Vretenasto tijelo everted rim. The tapered body
unutarnjoj povrini i na veem of the exterior. Traces of bijele tokice. Height: 4.4 cm; Cijela posudica je glazirana a light ble glaze. The interior zavrava ravnim dnom. Izraen ends with a flat bottom. Made
dijelu vanjske povrine. Na green decoration visible in the Visina: 4.4 cm; diameter: 9.6 cm svijetloplavom glazurom. Na is decorated with a smudged od proiene gline, crvene out of purified clay, red
unutarnjoj povrini posude interior, as well as imprints of promjer: 9.6 cm Inv. no. Hrz 112/09 unutarnjoj povrini je ukraena dark blue decoration, with boje peenja. after firing.
su vidljivi tragovi ukrasa tripods used as stands during Inv. br. Hrz 112/09 tamnoplavim mrljastim visible imprints of tripods used Visina: 27.2 cm; Height: 27.2 cm; diameter of
izvedeni zelenom bojom te firing. ukrasom, a uoljivi su i tragovi as stands during firing. promjer otvora: 8.8 cm the mouth: 8.8 cm
tragovi trokrakih podloaka Height: 6.4 cm; trokrakih podloaka koji Height: 4.2 cm; Inv. br. Hrz 145/09 Inv. no. Hrz 145/09
koji su koriteni kao podmetai diameter: 15.3 cm su koriteni kao podmetai diameter: 16.1 cm
prilikom peenja. Inv. no. Hrz 163/09 prilikom peenja. Inv. no. Hrz 215/10
Visina: 5.9 cm; Visina: 4.2 cm;
promjer: 13.2 cm promjer: 16.1 cm
Inv. br. Hrz 163/09 Inv. br. Hrz 215/10

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Vr Jug Vr Jug Vr Jug Vr Jug

Turska, prva polovica 16. st. Turkey, first half of the 16th Turska, prva polovica 16. st. Turkey, first half of the 16th Turska, prva polovica 16. st. Turkey, first half of the 16th Turska, prva polovica 16. st. Turkey, First half of the 16th
Keramika; vr s izduenim century Keramika; vr s izduenim century Keramika; vr s izduenim century Keramika; vr s izduenim century
cilindrinim, narebrenim Pottery; jug with two handles, cilindrinim, narebrenim Pottery; jug with two handles, cilindrinim, narebrenim Pottery; jug with two handles, cilindrinim, narebrenim Pottery; jug with two handles,
vratom, i rubom izvijenim with an elongated cylindrical vratom, i rubom izvijenim with an elongated cylindrical vratom, i rubom izvijenim with an elongated cylindrical vratom, i rubom izvijenim with an elongated cylindrical
prema van (oblik podsjea na ribbed neck and an everted prema van (oblik podsjea na ribbed neck and an everted prema van (oblik podsjea na ribbed neck and an everted prema van (oblik podsjea na ribbed neck and an everted
oblik amfore). Vretenasto tijelo rim (shape resembles that of oblik amfore). Vretenasto tijelo rim (shape resembles that oblik amfore). Vretenasto tijelo rim (shape resembles that of oblik amfore). Vretenasto tijelo rim (shape resembles that of
zavrava ravnim dnom. Izraen an amphora). The tapered body zavrava ravnim dnom. Izraen of an amphora). The tapered zavrava ravnim dnom. Izraen an amphora). The tapered body zavrava ravnim dnom. Izraen an amphora). The tapered body
od proiene gline, crvene ends with a flat bottom. Made od proiene gline, crvene body ends with a flat bottom. od proiene gline, crvene ends with a flat bottom. Made od proiene gline, crvene ends with a flat bottom. Made
boje peenja. Rekonstruirana out of purified clay, red after boje peenja. Rekonstruiran Made out of purified clay, red boje peenja. Povrina posude out of purified clay, red after boje peenja. Rekonstruirani su out of purified clay, red after
je jedna ruka i dio firing. One handle and a part of dio otvora posude. after firing. Part of the mouth je prekrivena inkrustom, a firing. The surface of the vessel dio otvora, jedna ruka i veina firing. Part of the mouth, one
otvora posude. the mouth reconstructed. Visina: 27.5 cm; reconstructed. veinski dio otvora posude je is covered in incrustation, tijela posude. handle and most of the body
Visina: 27 cm; Height: 27 cm; promjer otvora: 9 cm Height: 27.5 cm; rekonstruiran. most of the mouth was Visina: -- cm; was reconstructed.
promjer otvora: 9 cm diameter of the mouth: 9 cm Inv. br. Hrz 16/07 diameter of the mouth: 9 cm Visina: 27.5 cm; reconstructed. promjer otvora: -- cm Height: 27.5 cm;
Inv. br. Hrz 38/07 Inv. no. Hrz 38/07 Inv. no. Hrz 16/07 promjer otvora: 9.2 cm Height: 27.5 cm; Inv. br. Hrz 115/09 diameter of the mouth: 9.2 cm
Inv. br. Hrz 162/09 diameter of the mouth: 9.2 cm Inv. no. Hrz 115/09
Inv. br. Hrz 162/09

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120 121 122
Vr Jug Vr Jug Vr njega se nalazi i slikani ukras Jug A greyish blue decoration
izveden sivoplavom bojom: surrounds it: motif of palm
Turska, 16. st. Turkey, 16th century Turska, 16. st. Turkey, 16th century Italija, 16. st. motiv palminog lia na Italy, 16th century leaves on the upper part of the
Keramika; vr okruglog oblika Pottery; round shaped jug Keramika; okrugli vr s uskim Pottery; round shaped jug Keramika; utura s dvije gornjem dijelu posude te due Pottery, canteen with two vessel, long and short lines
s jednom rukom, duguljastog with one handle, elongated recipijentom, dvjema rukama with a narrow receptacle, two ruke koje spajaju vrat i i krae linije oko ostatka kruga. handles that connect the around the rest of the circle.
vrata, ravnog dna sa cjevastim neck and a flat bottom, and a (jedna je rekonstruirana), handles (one reconstructed), trbuh posude, naglaene Unutar kruga istom bojom neck and the belly, and an A motif of a net applied in the
izljevom na trbuhu posude (tip tube shaped spout on the belly ravnog, prstenasto naglaenog a flat accentuated ring like prstenaste stope. Izraena je izveden motiv mree, a accentuated ring like foot. same colour is placed inside
ibrik). Izraen od proiene of the vessel (type ibrik). Made dna. Raen od proiene bottom. Made out of purified od proiene gline, tamne uoene su i nepravilne toke Made out of purified clay, the circle, with visible irregular
gline, crvene boje peenja. out of purified clay, red after gline, oker boje peenja. Na clay, ochre after firing. The oker boje peenja. Posuda ili krune mrlje tamnosmee ochre after firing. The vessel dots or circular smudges in
Rub i cjevasti izljev nisu u firing. The rim and the tube spoju ruke i trbuha je utisnuto joint of the handle and the je okruglog oblika s ravnom boje. Glazirana je svijetlosivom is round with a flat surface on dark brown. It was coated
potpunosti ouvani. Glaziran shaped spout were not entirely plitko udubljenje. Na najirem belly has a shallow imprint. plohom na jednoj strani i glazurom na vanjskoj povrini, one side and an accentuated with a light grey glaze on the
svjetlozelenom glazurom preserced. Coated with a light dijelu trbuha nalaze se urezane The widest part of the belly is naglaenim ispupenjem na dok na unutarnjoj nije prisutna bulge on the other. The neck exterior, with no coating on
na unutarnjoj povrini i na green glaze on the interior, and linije. incised with lines. suprotnoj strani. Grlo i otvor glazura. and the mouth of the canteen the interior of the vessel.
vanjskoj povrini do poetka to the beginning of the belly on Visina: 26 cm; Height: 26 cm; uture su rekonstruirani. Na Visina: 13.3 cm bez were reconstructed. The side Height: 13.3 cm without the
trbuha posude. the exterior. promjer ruba: 6.5 cm diameter of the bottom: 10 cm ispupenoj strani posude rekonstruiranog dijela; with the bulge has a circle reconstructed part; diameter
Visina: 26.5 cm; Height: 26.5 cm; Inv. br. Hrz 38/11 Inv. no. Hrz 38/11 nalazi se krug od dvije urezane promjer dna: 8.5 cm made with two incised lines, of the bottom: 10 cm
promjer dna: 10 cm diameter of the bottom: 10 cm linije promjera 8.5 cm. Oko Inv. br. hrz 248/10 with 8.5 cm in diameter. Inv. no. Hrz 248/10
Inv. br. Hrz 15/07 Inv. no. Hrz 15/07

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123 124 125-128
Talir Taler Talir Taler 125. Aka sultana Selima I. 125. Akche of Sultan Selim I

Njemaka, 16. st. (1544-1545) Germany, 16th century (1544- Njemaka, 16. st. (1559) Germany, 16th century (1559) 9. Sultan Selim Shah I bin 9th Sultan Selim Shah I bin
Talir Johanna Friedricha 1545) Talir Johanna Friedricha II Taler of Johann Friedrich II Bayezid II, 1512-1520. Bayezid II, 1512-1520
I i Moritza Saksonskog. Na Taler of Johann Friedrich i njegove brae. Na aversu: and his brothers. Obverse: Srebni novac. Na aversu: Sliver coin. Obverse: Sulta(n)
aversu: poprsje Johanna I and Moritz of Saxony. poprsje Johanna Friedricha II the bust of Johann Friedrich Sulta(n) Selim Sha(h) bin Selim Sha(h) bin Bayezid (Han).
Friedricha I okrenutog prema Obverse: the bust of Johann na titu, okrenut prema desno II in shield turned to right Bayezid (Han). Nas reversu: Reverse: Azze (n)asrh duribe
desno s maem u desnoj ruci. Friedrich I turned to the right sa ezlom u lijevoj ruci. Natpis with a sceptre in the left Azze (n)asrh duribe (Kos) (Kos)tantiniyye 918
Natpis na latinskom jeziku: with a sword in the right na latinskom jeziku: MO:NO arm. The Latin inscription is: tantiniyye 918 Diameter: 11.5 mm,
JOHAN.F.(grb).ELE.DUX(grb). arm. The Latin inscription (grb) FRATRV (grb) M:DVC MO:NO (arms) FRATRV (arms) Promjer: 11.5 mm, weight: 0.66 g
SAX.BV(grb)R.MAG(D)Z(grb); is: IOHAN.F.(arms).ELE. (grb) :SAXO (grb); Moneta M:DVC (arms) :SAXO (arms); teina: 0.66 g. Inv. no.: Hrz 152/1
Johannes Fridericus, elector DUX(arms).SAX.BV(arms) Nova Fratrum Duces Saxoniae Moneta Nova Fratrum Duces Inv. br.: Hrz 152/1
dux Saxoniae, Burggravius R.MAG(D)Z(arms); Johannes (Nova valuta brae saksonskih Saxoniae (New Currency of
Magdeburgensis (Elektor Fridericus, elector dux vojvoda). Na reversu: brothers Dukes of Saxony).
Johann Friedrich, vojvoda Saxoniae, Burggravius Oklopljeno poprsje Johanna Reverse: the armoured busts 126. Aka sultana Sulejmana 126. Akche of Sultan
Saske i burgrof (njem. Magdeburgensis (Elector Wilhelma i Johanna Friedricha of Johann Wilhelm und Johann Velianstvenog Suleiman the Magnificent
Burggraf) Magdenburga. Johann Friedrich, Duke of III. Natpis na latinskom jeziku: Friedrich III. The inscription
Na reversu: Oklopljeno Saxony and Burgrave (german LANTG: (grb) THVRI: (grb) is:LANTG: (arms) THVRI: 10. Sultan Sleyman bin Selim 10th Sultan Sleyman bin
poprsje Moritza okrenuto Burggraf) of Magdeburg.; ET.MAR (grb) :MISN: (grb); (arms) ET.MAR (arms) :MISN: Shah I, 1520-1566 Selim Shah I, 1520-1566
prema desno. Natpis na reverse: the armoured bust of Lantgravii Thuringiae et (arms); Lantgravii Thuringiae Srebrni novac. Na aversu: Sliver coin. Obverse: Sul)tan
latinskom jeziku: MAVRI(TI).D Moritz turned to the right. The Markgravii Misoniae (Vojvoda et Markgravii Misoniae Sul)tan Suleyman Shah bin Suleyman Shah bin Selim Shah.
(grb) VX.SAX.(grb) FI.IUS inscription is: MAVRI(TI).D Tiringije i markgrof Misonije). (Landgrave of Thuringia and Selim Shah. Na reversu: Azze Reverse: Azze nasrh Duribe
15(grb)46ANB(grb); Mauritius, (arms) VX.SAX. (arms) FI.IVS Promjer: 4 mm, Margrave of Misonia). nasrh Duribe Kratova Kratova
Dux Saxoniae, fieri iussit 15 (arms) 46ANB (arms); teina: 24.47 g Diameter: 4 mm, Promjer: 11 mm, teina: 0.42 g Diameter:11 mm,
1546 Annaburgensis (Moritz, Mauritius, Dux Saxoniae, fieri weight: 24.47 g Inv. br. Hrz 217/8 weight: 0.42 g
Saksonski vojvoda, naruio je iussit 1546 Annaburgensis Inv. no. Hrz 217/8
(ovaj novac) 1546 u Annabergu). (Moritz, duke of Saxony,
Promjer: 4.1 mm, ordered (this coins) 1546 in
teina: 28.11 g Annaberg) 127. Aka sultana Selima II. 127. Akche of Sultan Selim II
Diameter: 4.1 mm,
weight: 28.11 g 11. Sultan Selim II bin 11th Sultan Selim II bin
Sleyman I, 1566.-1574. Sleyman I, 1566-1574
Srebrni novac. Na aversu: Silver coin. Obverse: Sultan
Sultan Selim bin Sleyman Selim bin Sleyman Han.
Han. Na reversu: Azze nasrh Reverse: . Azze nasrh duribe
duribe Sidrekapsi 974 Sidrekapsi 974
Promjer: 12 mm, Diameter: 12 mm,
teina: 0.68 g weight: 0.68 g
Inv. br.: Hrz 217/10 Inv. no.: Hrz 217/10

128. Aka sultana Murada III. 128. Akche of Sultan Murad

III
12. Sultan Murad III. bin Selim 12th Sultan Murad III. bin
II, 1574.-1595. Selim II, 1574-1595
Srebrni novac. Na aversu: Silver coin. Obverse:
Sultan Murad bin Selim Han. Sultan Murad bin Selim Han.
Na reversu: (Azze nasrh) Reverse: (Azze nasrh)duribe
duribe Novaberd(e) sene 982 Novaberd(e) sene 982
Promjer: 14.5mm, Diameter: 14.5mm,
teina:0.68 g weight: 0.68 g
Inv. br.: Hrz 217/7 Inv. no.: Hrz 217/7
196 197
 T. 7 / Pl. 7 T. 8 / Pl. 8

Osmanske ake Osmanske ake

Ottoman akce Ottoman akce

198 199
200 201
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the Calouste Gulbenkian Museum, Lisbon, 53-88. Ridella 2011- Ridella, R. G., 2011, Genoese ordnance aboard galleys
and merchantment in 16th century, in C. Beltrame and R. G.
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Ribeiro, M., 2009, Iznik Pottery and Tiles in the Calouste Europe Between the 15th and the 17th Century, Oxford 2011, 3956
Gulbenkian Colection, Lisbon

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