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.

Izloba je ostvarena sredstvima
Ministarstva kulture Republike Hrvatske,
Grada Dubrovnika i Hrvatskog restauratorskog
zavoda.
The exhibition has been funded by the
Ministry of Culture of the Republic
of Croatia, City of Dubrovnik and Croatian
Conservation Institute.
Izlobu organiziraju Dubrovaki muzeji i Hrvatski The exhibition is organized by the Dubrovnik Museums and
restauratorski zavod u suradnji s Muzejom Mimara i the Croatian Conservation Institute in cooperation with the
Institutom Yunus Emre. Mimara Museum and Yunus Emre 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
Strunjak za Iznik / Expert in Iznik pottery
e-mail: nurhanatasoy@yahoo.com
Jurica Bezak
Hrvatski restauratorski zavod, Zagreb
/ Croatian Conservation Institute
Odjel za podvodnu arheologiju
/ Department for Underwater Archaeology
e-mail: jbezak@h-r-z.hr
Pavle Dugonji
neovisni istraiva / independent researcher
vanjski suradnik Hrvatskog restauratorskog zavoda
/ associate of the Croatian Conservation Institute
e-mail:pdugonjic@inet.hr
Anita Ivankovi
Arheoloki muzej u Zagrebu
/ Archaeological Museum in Zagreb
e-mail:anita.ivankovic11@gmail.com
Liljana Kovai
Dubrovaki muzeji, Dubrovnik - Arheoloki muzej
/ Dubrovnik Museums - Archaeological museum
e-mail: liljana.kovacic@dumus.hr
Igor Mihajlovi
Hrvatski restauratorski zavod, Zagreb
/ Croatian Conservation Institute
Odjel za podvodnu arheologiju
/ Department for Underwater Archaeology
e-mail: imihajlovic@h-r-z.hr
Igor Miholjek
Hrvatski restauratorski zavod, Zagreb
/ Croatian Conservation Institute
Odjel za podvodnu arheologiju
/ Department for Underwater Archaeology
e-mail: imiholjek@h-r-z.hr
Vesna Zmai Kralj
Hrvatski restauratorski zavod, Zagreb
/ Croatian Conservation Institute
Odjel za podvodnu arheologiju
/ Department for Underwater Archaeology
e-mail: vzmaic@h-r-z.hr
Maa Vukovi-Biru
Hrvatski restauratorski zavod, Zagreb
/ Croatian Conservation Institute
Odjel za restauriranje kopnenih arheolokih nalaza
/ Department for Conservation of Archaeological finds
e-mail: mbvukovic@h-r-z.hr
11
 predgovor foreword I T
zloba Iznik osmanska keramika iz dubine Jadrana, koja
je tijekom 2015. godine predstavljena u Muzeju Mimara,
izazvala je veliku pozornost publike i meunarodne strune
javnosti. Prvi put izloena, dragocjena graa svjedoila je o
zlatko hasanbegovi zlatko hasanbegovi velikome i jo do kraja neistraenome bogatstvu jadransko-
ga podmorja, u povijesti sjecitu vanih plovnih putova.
Ministar kulture The Minister of Culture
Zahvaljujui kontinuiranim arheolokim istraivanjima, koja
provode Odjel za podvodnu arheologiju Hrvatskoga restau-
Mario Braun Mario Braun ratorskog zavoda, Meunarodni centar za podvodnu arheo-
Ravnatelj Hrvatskog restauratorskog zavoda Director of the Croatian Conservation Institute logiju u Zadru te arheolozi konzervatorskih odjela i filozof-
skih fakulteta u suradnji s Ministarstvom kulture Republike
Hrvatske, kao krovnom institucijom za zatitu kulturne
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.
Izloba kojom se predstavljaju arheoloki nalazi
s lokaliteta na pliini Sv. Pavao kod otoka Mljeta, gdje je
Pavica Vila Pavica Vila
pronaen potopljeni trgovaki brod s kraja 16. stoljea koji
Ravnateljica Dubrovakih muzeja Director of the Dubrovnik Museums je prevozio teret vrijednoga keramikog posua iz turskoga
grada Iznika, korak je prema cjelovitoj interpretaciji me-
unarodnih veza euroazijske pomorske trgovine Sredoze-
mljem, u kojoj je obala istonoga Jadrana imala veliku ulogu.
Prezentacijom ovoga vrijednog dijela hrvatske
kulturne batine, prepoznavanjem i vrjednovanjem njezi-
noga kulturnog kapitala u kontekstu odriva i drutveno
odgovornoga razvoja, snano povezujemo kulturu s drugim
podrujima, posebno turizmom, gospodarstvom, naobraz-
bom.
Izloba u Dubrovakim muzejima ima veliko zna-
enje za Ministarstvo kulture. U instituciji kojoj je graa
povjerena na trajno uvanje te daljnju zatitu i obradbu, ona
pronalazi svoj budui stalni dom.
Zahvaljujem svima koji su omoguili ovu izlobu,
ponajprije kustosima Dubrovakih muzeja, Hrvatskomu
restauratorskom zavodu te Institutu Yunus Emre.
dr.sc. zlatko hasanbegovi
Ministar kulture
12
he exhibition Iznik Ottoman Ceramics from the
Depths of the Adriatic, which was presented in the
Mimara Museum in 2015, excited a great deal of attention
from both the general public and the discipline worldwide.
Shown for the first time, this invaluable material bore testi-
mony to the great and still not entirely explored richness of
the seabed of the Adriatic, which was at the intersection of
numerous navigation routes during the course of history.
Thanks to ongoing archaeological investigations
that are carried out by the Underwater Archaeology Depart-
ment of the Croatian Conservation Institute, the Inter-
national Centre for Underwater Archaeology in Zadar, as
faculties of humanities in collaboration with the Ministry
of Culture of the Republic of Croatia, the umbrella organisa-
tion for the protection of the cultural heritage, Croatia has
become a place of reference in the research into, preserva-
tion and presentation of the underwater cultural heritage.
The exhibition, which presents archaeological finds
from the site of the Sv. Pavao shoals off Mljet Island, where
a sunken merchantman of the 16th century carrying a cargo
of valuable ceramic ware from the Turkish city of Iznik was
discovered, is a step toward an integrated interpretation of
the international connections of Eurasian maritime trade
in the Mediterranean, in which the eastern shores of the
Adriatic had a major role.
Through the presentation of this valuable part of
the Croatian cultural heritage, the recognition and evalua-
tion of its cultural capital in the context of sustainable and
socially accountable development, we are strongly connect-
ing culture with other areas, particularly with tourism, the
economy and education.
The exhibition in Dubrovnik Museums is of great
importance for the Ministry of Culture. In the institution to
which the material has been confided for permanent keep-
ing and further protection and study, it has found its future
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
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
atraktivan kao to je danas vidljivo, kada je istraivanje dolo
u svoju zavrnu fazu. S druge strane, jo se manje vjerojatnim
inilo da e se ubrzo nakon pronalaska skulpture Apoksiomena,
u podmorju kod Malog Loinja, nai jo jedan svjetski znaa-
jan podvodni arheoloki lokalitet u Hrvatskoj. Prezentacija
tih nalaza omoguava njihovu promociju i izlaganje a time i
formiranje novih i trajnih kulturnih vrijednosti. Veliki broj ve
registriranih podvodnih arheolokih lokaliteta na otoku Mljetu,
njihova brojnost i vremenska raznolikost nesumnjivo otvaraju
raznolike mogunosti njihove prezentacije. Nakon istraivanja
i interpretiranja lokaliteta te restauriranja arheolokih nalaza
koje tamo nalazimo, otvaraju nam se nove mogunosti kao to
je izgradnja novog muzeja i logistike toke za budua podvod-
na arheoloka istraivanja ime bi se ujedno i dodatno obogatio
turistiki sadraj otoka Mljeta i proirila atraktivnost Nacional-
nog parka. To otvara nove mogunosti Hrvatskome restaura-
torskom zavodu kao javnoj restauratorskoj ustanovi koja preu-
zima aktivnu ulogu formiranja drugih djelatnosti i svojevrsnog
producenta muzeoloko-turistike djelatnosti. Zavod je i po
svojem ustroju i po svojim strunim mogunostima spreman
za takve nove izazove, od istraivanja, preko formiranja mree
meunarodnih suradnika do oblikovanja izlobi te traenja
alternativnih izvora financiranja za nastavak radova.
U tim proirenjima funkcije i djelovanja kljuno je i
neizbjeno da financiranje Ministarstva kulture postane trajni
stabilni izvor kojim se generiraju nune participacije fondov-
skog financiranja. Time e se ujedno poticati i razvijati suradnja
domaih i stranih ustanova, poticati partnerstvo, povezivanje
i nadograivanje djelatnosti izmeu ustanova i partnera za
budue jo uspjenije i kvalitetnije djelovanje.
Izloba Iznik osmanska keramika iz dubine Jadrana,
otvorena od 15. srpnja do 30. rujna 2016. godine u itnici Rupe u
Dubrovniku, nastavak je prve izlobe koja je 2015. godine prika-
zana u Muzeju Mimara u Zagrebu, sa eljom da se naa bogata
podvodna kulturna batina predstavi javnosti. S obzirom na to
bogatstvo, povijesnu i kulturnu vrijednost, veseli nas da e se
sljedea izloba u tom nizu odrati u Istanbulu.
Mario Braun,
ravnatelj Hrvatskog restauratorskog zavoda
14
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-
cant, and so attractive as we see them today, when the research
is in its final phase. On the other hand, it seemed even less like-
ly that, so soon after the discovery of the Apoksiomenos statue
in the waters of Mali Loinj, there would be another archaeo-
logical site of global importance in Croatia. The presentation of
these finds enables their promotion and exhibition, and with
it, the formation of all new permanent cultural values. A large
number of already registered underwater archaeological sites
on the island of Mljet, their great number and the diversity of
time periods they belong to, open, without a doubt, a num-
ber of different possibilities for their presentation. After the
research and interpretation of the site, and the conservation
of the recovered finds, new possibilities open, like the building
of new museums and a logistical point for future underwater
archaeological research which will additionally enrich the tour-
istic offer of the island of Mljet and augment the attractiveness
of the National Park. It opens new possibilities to the Croatian
Conservation Institute as a public conservation institution
that takes on an active role in forming other activities and
the role of the producer of museological and tourist activities.
The Institute is, by its organization and professional abilities,
ready for such new challenges, from research and forming an
international network of associates, to organizing exhibitions
and finding alternative ways of funding the continuation of its
work.
It is crucial that, in the expansions of the function and
activities, the funding of the Ministry of Culture becomes a
solid and permanent source of necessary participation in finan-
cial funds. That will also encourage and develop cooperation
between national and foreign institutions, encourage partner-
ship, connections and upgrades of activities between institu-
tions and partners for successful and more quality research in
the future.
The exhibition Iznik Ottoman Ceramics from the
Depths of the Adriatic will be open from July 15 to September
30, 2016, in the Rupe Granary in Dubrovnik, and is a continua-
tion of the first exhibition in a series presented in 2015 in the
Mimara Museum in Zagreb, produced in the desire to present
the wealth of the Croatian underwater cultural heritage. Be-
cause of this richness, and its historical and cultural value, we
are very glad that the next in the series of exhibitions will be
shown in Istanbul.
Mario Braun,
Director of the Croatian Conservation Institute
K ad je Hrvatski restauratorski zavod predloio da zajedniki
pripremimo izlobu Iznik osmanska keramika iz dubi-
ne Jadrana kako bismo javnosti pokazali arheoloke nalaze
brodoloma na pliini Sveti Pavao kraj otoka Mljeta, rado smo se
odazvali. Jer rije je o iznimnom podvigu hrvatskih podvodnih
arheologa i restauratora, ali i o kulturno-povijesno i umjetniki
vrlo vrijednoj grai koja je obogatila hrvatsku kulturnu batinu. well as a culturally, historically and artistically valuable materi-
Od pamtivijeka su plovni putovi Sredozemnog mora
omoguavali ive doticaje razliitih naroda, kultura i vjera. Ali i
ivu trgovinu u kojoj su ponekad i umjetnine bila roba. Krajem
16. stoljea, u vrijeme pobjedonosnog bujanja atlantske plovid-
be nakon otkria Amerike, na Sredozemlju su i dalje prevlast na
moru zadrale Genova i Venecija, a uz njih i flota Osmanskog
Carstva. Posebno se na Jadranskom moru odvijala intenzivna
trgovaka plovidba pa su venecijanski brodovi uestalo prola-
zili plovnim pravcima prema bogatim lukama Sjeverne Afrike
i Azije, pogotovu prema Istanbulu, prijestolnici Osmanskog
Carstva.
I tako se na pola puta izmeu dva velianstvena pomor-
ska portala, Venecije kao vrata Europe i Istanbula kao vrata Azi-
je, potopio brod. Meu raznovrsnim predmetima arheolokog
nalaza dosta ih je europskih ali jo vie osmanskih. Uglavnom
su to luksuzne posude izraene u oslikanoj keramici poznatoj
kao keramika iz Iznika, namijenjenoj imunijoj europskoj kli-
jenteli. Ta je keramika, nazvana po turskome gradu u zapadnoj
Anatoliji u kojem su se od druge polovice 15. do 17. stoljea, s
vrhuncem u 16. stoljeu, proizvodile glasovite keramike ploi-
ce za oblaganje damija i keramike posude, glavna graa nae
izlobe.
Njenom ostvarenju pomogli su mnogi pa mi je zado-
voljstvo zahvaliti Ministarstvu kulture Republike Hrvatske
na pokroviteljstvu i financijskoj potpori. Gradu Zagrebu i
sponzorima takoer na financijskoj potpori, te medijskim
pokroviteljima. Hrvatsko turskoj udruzi prijateljstva, TINA
(Turkish Institute of Nautical Archaeology) i Institutu Yunus
Emre. Dubrovakim muzejima koji e ubudue skrbiti o ovoj
grai kao svojem muzejskom inventaru te dakako Hrvatskom
restauratorskom zavodu na sjajnoj suradnji. Zahvaljujem svim
poduzeima, obrtima, pojedincima, bili oni vanjski suradnici ili
djelatnici Muzeja Mimara, na pojedinim doprinosima u ostvare-
nju izlobe.
Tugomir Luki
Ravnatelj Muzeja Mimara
(do 21. studenoga 2015.)
W hen the Croatian Conservation Institute suggested a
joint exhibition Iznik Ottoman pottery from the
depths of the Adriatic Sea, that would reveal archaeological
finds from the Sveti Pavao shallows on Mljet to the general
public, we were happy to respond. This is indeed an exception-
al exploit of underwater archaeologists and conservators, as
al that enriched Croatian cultural heritage.
Since the beginning of time, the maritime routes across
the Mediterranean have enabled contacts between different
peoples, cultures, and religions. They also enabled trade, which
sometimes included artworks as trading goods. At the end of
the 16th century, in the times of the victorious rise of cross-At-
lantic trade after the discovery of America, the Mediterranean
was still dominated by Genoa and Venice, as well as the Otto-
man fleet. The Adriatic Sea in particular was an area of intensive
maritime trade, and Venetian ships often sailed across maritime
routes towards rich harbors in North Africa and Asia, especially
towards Istanbul, the capital of the Ottoman Empire.
Half way between these great two maritime portals:
Venice at the gates of Europe and Istanbul at the gates of Asia, a
ship sunk. Among the various finds archaeologists recovered,
there were a lot of European artifacts, but even more of them
were Ottoman mostly luxurious elaborately decorated vessels
from Iznik, intended for rich European clientele. Pottery, which
is the main material displayed in this exhibition, was made in
Iznik, an Ottoman town in western Anatolia which produced
the famous ceramic wall tiles used for tiling mosques, as well
as ceramic vessels from the second half of the 15th to the 17th
century, peaking in the 16th century.
The realization of this exhibition was enabled by many,
so I am pleased to thank the Ministry of Culture of the Republic
of Croatia for sponsorship and financial support, the City of
Zagreb and other sponsors for their financial support, as well
as media sponsors. To the Croatian-Turkish Friendship Society
TINA (Turkish Institute of Nautical Archaeology) and the Yunus
Emre Institute. To the Dubrovnik Museums that will continue
to take care of this material as part of their museum inventory,
and, of course, the Croatian Conservation Institute for their
great cooperation. We thank all companies, businesses, individ-
uals, whether they are associates or employees of the Mimara
Museum for their individual contribution to the realization of
this exhibition.
Tugomir Luki
Director of the Mimara Museum
(until November 21, 2015)
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-
dio pronaeni materijal, obogativi pritom umnogome fundus
Muzeja, u kojem se danas uva i predstavlja bogata podvodna
batina Republike Hrvatske. Meu prikupljenom arheolo-
kom graom potrebno je istaknuti nekoliko najvanijih nalaza.
Primjerice, ostatci antikog brodoloma na rtu Glavat na Mljetu
jedinstveno su podvodno nalazite na Sredozemlju po koliini
izvaenoga sirovog stakla i olovnih ingota, a druga dva potonu-
la broda u podmorju istoga otoka, kasnoantiki u uvali Sobra i
bizantski na rtu Stoba, iznjedrila su jedinstvene tipove amfora
za prijevoz vina, ulja i usoljene ribe te keramikog i staklenog
posua, proizvedenoga u Siriji i Egiptu. Najstariji dosad prona-
eni primjerci opreme za navigaciju i brodskog naoruanja na
hrvatskom Jadranu otkriveni su meu ostatcima novovjekov-
nog brodoloma iz 16. stoljea u uvali Suura na otoku ipanu.
Pomorski muzej, zajedno s Arheolokim muzejom Dubrova-
kih muzeja, i danas je ukljuen u nekoliko istraivanja brodo-
lom na dubrovakom podruju, koje sustavno provodi Odjel
za podvodnu arheologiju Hrvatskoga restauratorskog zavoda,
pa tako i u istraivanje jednoga od najvrjednijih novovjekovnih
nalazita potonulih brodova u hrvatskom podmorju lokaliteta
pliina Sveti Pavao kod otoka Mljeta, o kojem je ovdje rije. U
njemu mjerodavni muzeji Dubrovakih muzeja sudjeluju od
samoga poetka, pridonosei atribuiranju i datiranju nalaz i
brodolom. Tako je struna ekspertiza Arheolokoga muzeja u
Dubrovniku ustanovila da ostatci trgovakog broda potjeu iz
druge polovine 16. stoljea te da je prevozio luksuznu orijental-
nu trgovaku robu, namijenjenu zapadnom tritu. Viegodi-
nja zatitna istraivanja koja su uslijedila, a koja je u razdoblju
od 2007. do 2014. provodio Odjel za podvodnu arheologiju
Hrvatskoga restauratorskog zavoda s vanjskim suradnicima,
otkrila su iznimno bogat i vrijedan arheoloki materijal na
ostatcima potpuno sauvanoga brodoloma, to je umnogome
pridonijelo kvaliteti istraivanja i njegovoj interpretaciji. Nalazi
koji su nakon vaenja i dokumentiranja postali muzejskom
graom Pomorskoga muzeja u Dubrovniku, omoguit e tako
cjelovitiju i kompleksniju prezentaciju velike dubrovake po-
morske povijesti.
Uz predmete koji se odnose na inventar i opremu
broda te brodsko naoruanje, muzejski fundus obogaen je i je-
dinstvenim nalazom veega broja cjelovito sauvanoga stolnog
posua, koje pripada skupocjenoj i nadaleko cijenjenoj iznikoj
proizvodnji. Rije je o visokokvalitetnoj glaziranoj osmanskoj
keramici, koju je bogata klijentela sa Zapada kupovala u 16. sto-
ljeu. Njezini su nalazi danas malobrojni i raritetni, a vrlo rijetki
16
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
expertly and scientifically processed the uncovered material
enriching the fund of the Museum that now cares for and
exhibits Croatias rich underwater heritage. It is important to
point out a few finds among the recovered artifacts that are
considered most significant. For example, the Roman ship-
wreck at Cape Glavat on Mljet represents a unique underwa-
ter site in the Mediterranean due to the amount of raw glass
and lead ingots recovered from the site, while the other two
sunken ships at the seabed of the same island, the shipwreck
from the period of Late Antiquity in the Sobra bay and the
Byzantine shipwreck at Cape Stoba, yielded unique types of
amphorae used for transport of wine, oil and salted fish, as well
as pottery and glass vessels manufactured in Syria and Egypt.
So far the oldest examples of navigation equipment and ships
ordnance in the Adriatic were discovered among the remains
of a Post- Medieval shipwreck from the 16th century in the Bay
of Suura near the island of ipan.
Even today, the Maritime Museum, along with the
Archaeological Museum of the Dubrovnik Museums, is in-
volved in a number of researches on shipwrecks systematically
conducted by the Department of Underwater Archaeology of
the Croatian Conservation Institute, including the research on
the one ship in question, one of the most valuable Post-Medi-
eval shipwreck sites in the Croatian waters - the Sveti Pavao
shallows. The museums of competent jurisdiction of the Du-
brovnik Museums have participated in this research from the
very beginning, contributing to the attribution and dating of
the finds and the shipwreck. That way, based on the scientific
expertise made by the Archaeological Museum in Dubrovnik,
it was determined that the shipwreck belongs to the second
half of the 16th century and that it was shipping luxury ori-
ental trading goods intended for the western market. In the
years of rescue excavations that followed, conducted by the
Department for Underwater Archaeology and their associates
from 2007 to 2014, yielded exceptionally rich and valuable
archaeological finds from the completely preserved remains of
the shipwreck, which greatly contributed to the quality of re-
search and the interpretation. The finds that were given to the
Maritime Museum in Dubrovnik, after they were recovered
and documented, will enable an integral and more complex
presentation of Dubrovniks great maritime history.
Along with artefacts pertaining to the ships inventory, equip-
ment and ordnance, the Museums collection was enriched
by a unique find of fully preserved tableware belonging to the
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
Hrvatskoj, pa se mljetski nalazi mogu drati najvanijima, jer je
rije o cjelovitim ili gotovo cjelovitim primjercima. Zbog svoje
iznimnosti i reprezentativnosti, odabrani su za sredinju temu
ove izlobe.
Na posljetku, vano je istaknuti da ulomci pronaeni
u arheolokim istraivanjima na podruju povijesne jezgre Du-
brovnika svjedoe o prisutnosti raritetne produkcije iz Iznika
i u ovom gradu u vrijeme najvee popularnosti te kreativnoga
vrhunca ove keramike u 16. stoljeu, to se moe objasniti
intenzivnim trgovakim kontaktima Dubrovnika s Osmanskim
Carstvom, ali i visokom razinom kulture ivljenja ovoga grada
dravice, koji je, osobito u razdoblju svojega najveeg procvata,
u 15. i 16. stoljeu, stajao uz bok drugim vanim centrima na
Sredozemlju.
Dubrovaki muzeji, kao suorganizatori izlobe i vla-
snici izloene grae, svim sudionicima u projektu najiskrenije
zahvaljuju na suradnji.
Ljubazno zahvaljuju Ministarstvu kulture na svesrdnoj
potpori projektu.
Posebnu zahvalnost upuuju Odjelu za podvodnu
arheologiju Hrvatskoga restauratorskog zavoda u Zagrebu i
voditelju projekta Igoru Miholjeku, zajedno sa suradnicima, na
predanom viegodinjem istraivanju te trudu u pripremi i
organizaciji izlobe.
Ne manje zahvale duguju Odjelu za restauriranje
podmorskih arheolokih nalaza Hrvatskoga restauratorskog
zavoda u Zadru na restauraciji i rekonstrukciji nalaz te ronila-
kom klubu Ronilakog centra Medveak Sava iz Zagreba na
visokoj razini svijesti o batini i brzom reagiranju.
Zahvalnost na suradnji takoer upuuju suradnicima
Dipartimento di Scienze dellAntichit e del Vicino Oriente
Sveuilita Ca Foscari iz Venecije, Institutu Yunus Emre, Turki-
sh Institute of Nautical Archaeology, kao i Muzeju Mimara.
Pavica Vila
Ravnateljica Dubrovakih muzeja
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
rare, and the few examples in the market reach exceptionally
high prices. In Croatia, the largest amount of fragments of this
kind of pottery has been found in Dubrovnik, with only a few
specimens in northeast Croatia, so the finds from Mljet can be
considered most significant because they are parts of whole or
almost whole vessels. The fact that they are exceptional and
representative made them the central subject of this exhibi-
tion.
Lastly, it is important to point out that the fragments
found in archaeological excavations in the historical core of
Dubrovnik prove that the rare Iznik production in this town
was present when its popularity was great, at the peak of
its production in the 16th century, which can be explained
through intensive trade contacts between Dubrovnik and the
Ottoman Empire, as well as through a high level of culture
of living of this town-state which, especially in the era of its
greatest bloom, in the 15th and 16th centuries, stood side by
side with other significant centres on the Mediterranean.
The Dubrovnik Museums, as co-organisers of the exhibition
and owners of the exhibits, are sincerely grateful to all project
participants for their cooperation.
We kindly thank the Ministry of Culture for their
wholehearted support in this project.
Special thanks is due to the Department of Under-
water Archaeology of the Croatian Conservation Institute in
Zagreb and the head of the project, Igor Miholjek, along with
his associates for their years of dedicated research and effort in
preparing and organising the exhibition.
Many thanks are due also to the Department for Res-
toration of Underwater Archaeological Finds of the Croatian
Conservation Institute in Zadar for the restoration and recon-
struction of the fins and also the Sava-Medveak diving club
from Zagreb for their high level of heritage awareness and
prompt reaction.
Thanks for their collaboration are also due to asso-
ciates from the Dipartamente di science dellAntichita e del
Vicino Oriente, Universita ca Foscari, Venice, the Yunus Emre
Institute, the Turkish Institute of Nautical Archaeology and the
Mimara Museum.
Pavica Vila
The director of Dubrovnik Musemus
17
 Keramika iz The Arts of
Prouavanje primjeraka keramike iz Iznika na ovom bro-
dolomu ukazuje, to je moda najvanije, kako je keramika
iz Iznika dolazila na europske dvorove i ina kuanstva ne
samo kao dar veleposlanika ili stranih putnika iz Osmanskog
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
novih nalaza in the Light of
pojanjava zato se na pojedinim primjercima keramike iz
Iznika koji su naeni u zbirkama europskih plemia nalaze
grbovi odreenih obitelji. iroka lepeza uzoraka te bogat-
stvo prikaza svakoga uzorka u ovoj zbirci pokazuju irinu
uvod
New Findings umjetnike kreativnosti keramike iz Iznika. Upravo je u
tome iznimna vanost nalaza s ovoga brodoloma za proua-
vanje povijesti iznike keramike.
Na brodolomu su pronaeni tipini primjerci klasi-
ne iznike keramike. S druge strane nailazimo i na velian-
stvene primjerke te na izuzetne detalje. Tako na primjerku
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,
ali nam prizivaju u sjeanje jedan drugi stil iz 16. stoljea.
Nurhan Atasoy Listovi na ovom primjerku podsjeaju na one u djelima
April, 2014 Karamemija, umjetnika koji je oslikao Antologiju Sulejmana
Velianstvenog, napisanu ezdesetih godina 16. stoljea. Ka-
ramemi je unio inovativne uzorke u otomansku umjetnost
oslikavanja. ini se da prikaz lia na kat. br. 4 odraava
Karamemijev utjecaj. Uzorak s kat. br. 6. na prvi pogled
djeluje tipino, ali ima zanimljive detalje. Primjerak kat. br. 7.
podsjea na radove slikara ahkulua koji je, takoer, stvarao
za sultana Sulejmana Velianstvenog.
Na tanjuru pod kat. br. 11. nailazimo na izvanredan
ukras, a primjerci pod kat. br. 25, 4 i 5. se mogu shvatiti kao
skupina zbog slinih prikaza lia.
Na posudi kat. br. 26. je prisutan vrlo tipian rub
kakav je poznat u keramici iz Iznika. Unato tomu, u sredi-
njem su dijelu vidljivi pokuaji ilustriranja potpuno novim
ornamentalnim stilom. Slino tomu, i na kat. br. 29. se
javljaju ilustracije u novom stilu.
Primjerci kat. br. 27.- 31., 33. i 34. takoer tvore
zasebnu skupinu. Jedan se te isti motiv wheatsheaf, koji je,
zapravo vrlo slian motivu rumi, naizmjenino upotrebljava.
Primjerak pod kat. br. 42. ukraen je prekrasnim
medaljonom koji predstavlja sredinji ornament kompozi-
cije, ali kakav nije uobiajen za keramiku iz Iznika. Kao kon-
trast tomu oko medaljona je rasporeena kompozicija koja
se sastoji od uobiajenih uzoraka tradicionalne umjetnosti
keramike iz Iznika. Isto je vidljivo i na kat. br. 43-45.
18
The most important conclusion that we can draw from the
studies of znik pottery found on this shipwreck is the fact
that znik pottery was not carried to European courts and
households only through ambassadors or foreign travellers
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
European peninsula by sea trade. This fact enables scholars
to understand the reasons behind the examples of znik
pottery found in the collections of European nobility, and
which are decorated with the Coat of Arms that represents
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
in the arts of znik pottery. For these reasons, the material
found on this shipwreck is extremely important for the
study of znik pottery.
The shipwreck contains typical examples of clas-
sic znik pottery. However, we find exceptional examples
and extraordinary details. Cat. no. 4 has extraordinary and
extremely beautiful illustrations of leaves in the saz style,
which is not common in znik pottery, but it brings to mind
other sixteenth-century artistic influences. These leaves
are similar to the ones that we come across in the artistic
production of Karamemi - an artist who illuminated the An-
thology of Kanuni Sultan Sleyman I an anthology produced
in the 1560s. Karamemi brought innovative designs to the
Ottoman art of illumination. The depiction of the leaves on
cat. no. 4. seems to have been influenced by Karamemi. The
dish under cat. no. 6. seems quite typical at first sight, yet
there are interesting details. Dish under cat. no. 7. resem-
bles the works of the painter ahkulu who was also active
during the reign of Kanuni Sultan Sleyman I.
The dish under cat. no. 11. has striking ornamenta-
tion. Specimens under cat. no. 25., 4. and 5 can be grouped
together because they show similar depictions of leaves.
The cat. no. 26. has a very typical border found on
znik pottery. However, the central part displays attempts
of illustrating a completely new ornamental style. Similarly,
on the cat. no. 29, a new style is practiced as well.
Cat. no. 27.- 31., 33. and 34. also form a group. The
same motif, the wheatsheaf, is used in alternating compo-
sitions. The weathsheaf pattern is actually very similar to
the Rumi motif.
The cat. no. 42. is ornamented with an extraordi-
nary medallion. The medallion illustrated in the central
19
 Slikanje na kat. br. 46 koje prikazuje dva pauna
suelice okrenuta ne susreemo esto u iznikoj keramici,
ali je krajnje uobiajen uzorak na iznikim zidnim ploica-
ma. Iako je primjerak kat. br. 47 oteen, naziru se krajevi
repova dvaju pauna.
Vrevi (kat. br. 12.-16.) su tipini i tradicionalni
primjerci iznike keramike. Ipak, na njima je i neto vrlo
neobino, a to je da na svim primjercima ove skupine glavni
uzorak s tijela svake posude prelazi na njezin vrat. Tako se
uzorci koji ukraavaju tijelo posude nastavljaju na vratu to
je vrlo neuobiajeno u tradicionalnoj iznikoj keramici.
Na poklopcima (kat. br. 17-22.) nalazimo motiv kola
sree. Iako je kolo sree est uzorak na keramici iz Iznika, u
ovim je primjercima motiv potpuno pojednostavljen te se s
obzirom na apstrakcije i transformacije ini vjerojatnim da
svjedoimo roenju posve novoga uzorka. Poklopci kat. br.
17. i kat. 20. su vrlo slini primjerci, a na kat. br. 18. je upotri-
jebljen isti motiv, ali vrlo neorganizirano.
Polukruna zdjelica (kat. br. 48) je prilino impre-
sivan primjerak. U sredinjem se dijelu ovog umjetnikog
djela nalazi medaljon na kakav ne nailazimo igdje drugdje.
To je vjerojatno stoga to je ovaj medaljon koji osnauje
cijelu kompoziciju grb neke europske obitelji. Najvjerojatni-
je je ove primjerke naruila obitelj koja je poslala svoj grb u
iznike radionice. Isti se grb nalazi i na kat. br. 50. dok se na
rubovima kompozicije nalaze kineski oblaci naslikani stilom
slobodne ruke. Na primjerku kat. br. 51 nalazi se isti takav
uzorak, a rubovi su ostavljeni praznima. I na primjerku kat.
br. 52. je vidljiv isti uzorak okruen svicima koji su, ponovno,
naslikani stilom slobodne ruke. Na primjercima kat. br. 51 i
53. vidljivi su motivi intemani na granici ruba to ukazuje na
to da pripadaju istoj skupini.
Keramika iz Iznika s ovoga brodoloma vrlo je vana i vjeru-
jem da e biti detaljnije prouena.
20
part of the composition is not common in znik pottery. In
contrast, the composition surrounding the medallion is
ornamented with common patterns of the traditional arts
of znik pottery. The same observation is valid for cat. no.
43-45.
The cat. no. 46 shows two peacocks facing each
other; a motif we do not come across in znik pottery, but
is a very common pattern on znik wall tiles. Though cat.
no. 47 is broken, we can still observe the end parts of the
peacocks tails.
The jugs (cat. no. 12.-16.) are typical and traditional
examples of znik pottery, but one aspect is quite unusual.
In all these examples, the main pattern employed on the
body of each vessel is carried on to the neck. Thus, the
patterns ornamenting the body continue onto the neck as
well, which is a very uncommon feature in traditional znik
pottery.
The lids (cat. no. 17-22) all display the wheel of for-
tune in their composition. Although the wheel of fortune is
a very common pattern appearing on znik pottery, in these
particular examples the motif has been totally simplified,
and it seems that a completely new pattern was being devel-
oped by employing such abstractions and transformations.
Lids under cat. no. 17. and 20. are very similar examples. The
cat. no. 18. employs the same pattern, but in a completely
disorganized manner.
The hemispherical bowl (cat. no. 48) is quite a strik-
ing example. There is a medallion in the centre of this piece
of art which is not found anywhere else. This is probably
due to the fact that the medallion empowering the com-
position contained the Coat of Arms of a European family.
These were most likely commissioned by a family which
must have sent their coat of arms to znik workshops. The
cat. no. 50 bears the same coat of arms, and has Chinese
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.
 O nalazima On the finds of
Dubrovnik je nepresuan izvor brojnih istraivakih i znan-
stvenih tema. Pri arheolokim istraivanjima koja su pret-
hodila obnovi njegove povijesne jezgre, pronaen je znatan
broj glasovite keramike iz osmanskog Iznika. Uz nalaze
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
u Hrvatskoj, Croatia, trade
spoznajama, jedini grad u Hrvatskoj u kojem se u renesansi
u veim koliinama koristilo izniko stolno posue. Neko
liko je ulomaka pronaeno i pri istraivanju srednjovje-
kovnoga grada Ruice, blizu Orahovice. U radu se, takoer,
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,
importu na along the
kojemu je plaala naknadu za slobodu i zatitu svojih politi-
kih i ekonomskih interesa. Budui da je navedeni brodolom
doivio mletaki brod, prikazana je i pomorska trgovina
izmeu Venecije i Osmanskog Carstva. Vrste posua i stol-
Jadranu, s Adriatic with a
nog pribora, te namirnic i razliita jela dubrovake kuhinje,
doaravaju djeli svakidanjice renesansnoga Dubrovnika.
Znaenje Dubrovnika u pomorskoj trgovini
posebnim special look on na Sredozemlju
Kao pomorska drava, Dubrovnik se rano uklopio u opi ra-
zvoj srednjovjekovne trgovine, koja je prolazila Jadranskim
osvrtom na Dubrovnik
morem i Sredozemljem, a teite joj je bilo na posrednikoj
trgovini izmeu balkanskog zalea i razvijenih talijanskih,
levantinskih, panjolskih i drugih potroakih mjesta. Ve
u 12. stoljeu potvreno je postojanje uzajamnih ugovora
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
mnogima drugima radi ostvarivanja trgovakih povlastica i
liljana Kovai oslobaanja od plaanja raznih pristojba. Najstarija poznata
isprava sa zaleem, odnosno Bosnom, povelja je iz 1189.,
kojom ban Kulin potvruje ugovor o miru i prijateljstvu s
Dubrovnikom, dajui dubrovakim trgovcima povlastice,
a graanima slobodu kretanja i boravka. To je bio uvod u
dubrovaku trgovinu s Bosnom, osobito trgovinu rudnim
bogatstvom (Brkovi 1990: 52). Iz toga razdoblja datiraju i
trgovaki kontakti s Albanijom, Makedonijom, Tesalijom, s
Egiptom i Sirijom, Tunisom i Berberijom. U posljednjoj se
etvrtini 12. stoljea dubrovaki trgovci spominju i u Alek-
sandriji. Trgovake veze s Antalijom i Egiptom krajem 13. i
poetkom 14. stoljea dokazive su nalazom novca Ikonijskog
sultanata, Ilkhanidske drave i Mamelukog sultanata na
22
Dubrovnik is an inexhaustible source of research and sci-
entific topics. Archaeological excavations which preceded
the restoration of the historic city core yielded a significant
number of pottery finds from the Ottoman town of Iznik.
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,
Dubrovnik was, according to recent discoveries, the only
town in Croatia which used greater amounts of this kind
of pottery during the Renaissance. A couple of fragments
were found during the excavations of the medieval town of
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
its relations with powerful European forces and the Otto-
man Empire, to which it paid atonements for freedom and
protection of its political and economic interests. Since we
are dealing with a sunken Venetian ship, maritime trade be-
tween Venice and the Ottoman Empire was also discussed
in the paper. The forms of vessels and table utensils, as well
as types of victuals and dishes typical of the Dubrovnik
cuisine recreate a small part of everyday life in Dubrovnik
during the Renaissance.
The significance of Dubrovnik in maritime trade on the
Mediterranean
As a naval republic, Dubrovnik very early became part of the
general development of medieval trade passing through the
Adriatic Sea and the Mediterranean, and was at the centre
of the intermediary trade between the Balkan hinterland
and the developed Italian, Levantine, Spanish and other
consumer centres. The contracts signed by Dubrovnik with
towns along the Adriatic coast date as early as the 12th cen-
tury, along with the ones made with Italian cities of Molfet-
ta (1148), Pisa (1169), Ravenna (1188), Ancona, Bari (1201), as
well as with the Papal States and many others, and all with
the intent of gaining trade privileges and getting absolution
from paying various taxes. The oldest known document
signed with the hinterland, i.e. Bosnia, is a charter from
1189, in which the governor Kulin confirms a contract of
peace and friendship with Dubrovnik, granting the
merchants privileges, and its citizens the freedom of travel
and residence. This was the start of Dubrovniks trade
with Bosnia, especially when dealing with its ores (Brkovi
1990: 52). Trade contacts with Albania, Macedonia, Thessaly,
Egypt and Syria, Tunis and the Barbary Coast also date from
23
 lokalitetu benediktinskog samostana sv. Marije od Katela
(Ilki i Topi 2013: 12).
Iako je 13. stoljee bilo poetak dugotrajne mletake
vlasti u Dubrovniku (1205.1358.), grad se razvio u meuna-
rodno pomorsko, trgovako, prometno, tranzitno i brodo-
graevno sredite. To je stoljee obiljeeno razvojem institu-
cija i pravnog sustava u svrhu zatite i sigurnosti obavljanja
trgovakih i nautiko-lukih komercijalnih poslova unutar
grada, kao i u meunarodnom prometu. U Dubrovniku je
tako 1395. potpisan jedan od najstarijih ugovora o pomor-
skom osiguranju, dok ga je Genova imala 1347., a Pisa 1384.
godine. Godine 1313. normiran je nadzor ukrcavanja tereta
na brodove, a 1341. posebnim zakonskim propisima odreu-
je se crta najveega ukrcaja tereta. Takav se propis u povi-
jesti pomorstva i brodarstva zapadnih zemalja spominje tek
u 17. i 18. stoljeu. Krajem 14. stoljea Dubrovani prvi u svi-
jetu izglasavaju poseban zakonski propis o subvencioniranju
brodarstva za gradnju velikih trgovakih brodova, a jo prije
(1377.) donosi se propis o karanteni i epidemiolokoj zatiti,
to pomorcima i trgovcima donosi sigurnost u trgovakom
poslovanju (Lueti 1997: 1113, 2223). Zakon o pomorskom
osiguranju iz 1568., Ordo super assecuratoribus, najstariji je u
svijetu. U 14. stoljeu Dubrovnik je veletrgovaki i veleluki
grad s vlastitom trgovakom organizacijom svojih proizvo-
da i posrednikom tranzitnom trgovinom izmeu Istoka i
Zapada. Dubrovaki su brodovi najvie plovili u takozvanoj
slobodnoj trgovini, tj. prevozili su tue terete izmeu
stranih luka, jer im je to donosilo najvie dobiti (Lueti 1997:
38). Pretpostavlja se da je Republika tada imala 180 brodova
ukupne nosivosti 36.500 kola (tal. carro, oko 20 hektolita-
ra ita, to je priblino 56.810 tona), na kojima je plovilo
5500 pomoraca i 200250 kapetana (Kozlii 1993: 178). Za
usporedbu, trgovaka mornarica Mletake Republike 1567.
iznosila je 33.000 tona nosivosti, Genove 28.000 tona, dok
je najvee francusko pomorsko sredite Marseille imao
samo 4000 tona nosivosti (Lueti 1997: 41).
O razgranatosti pomorsko-trgovake i diplomatske
mree govori i 50 do 60 konzulata diljem Sredozemlja (Miti
1971: 165). Krajem 16. i u prvim desetljeima 17. stoljea du-
brovaka novana ulaganja u inozemstvu iznosila su vie od
698.000 dubrovakih dukata.
Dubrovnik izmeu Osmanskog Carstva
i Mletake Republike
Teritorijalno i vojno beznaajna Dubrovaka Republika
svoju samostalnost, suverenost i gospodarski razvoj posti-
gla je zahvaljujui vanjskoj politici, djelotvornoj diplomaciji
24
that period. In the last quarter of the 12th century mer-
chants from Dubrovnik are mentioned in Alexandria. The
connections with Antalya and Egypt at the end of the 13th
century are attested by finds of currency from the Iconian
Sultanate, Ilkhanid State and the Mamluk Sultanate on the
site of the Benedictine monastery of St. Maria of Katela
(IIlki and Topi 2013: 1-2).
Although the 13th century marked the beginning
of the long Venetian rule in Dubrovnik (1205-1358), the city
developed into an international seafaring, trade, transport,
transit and shipbuilding centre. This was a century marked
by the development of institutions and the legal system
with the purpose of protecting and safely conducting trade
and seaborne commercial affairs within the city and on an
international level . The oldest contract of marine insur-
ance in Dubrovnik was signed in 1395, with Genova signing
one in 1347, and Pisa in 1384. In 1313, the surveillance of
loading ship cargo was standardized, and in 1341 a separate
legal act was isssued prescribing the line of maximal load.
That kind of regulation is not mentioned in the history of
seafaring and shipbuilding in the West until the 17th and
18th centuries. At the end of that century, the people of Du-
brovnik were the first in the world to vote and issue a legal
act on subsidizing shipbuilding for large merchant vessels
and, even earlier, an act on quarantine and epidemiological
protection, guaranteeing merchants and seafarers safety
while conducting business of trade (J. Lueti 2007: 22-23).
The marine insurance contract, Ordo super assecuratoribus,
from 1568, is the oldest document of the sort in the world.
In the 14th century, Dubrovnik was a town with a huge
trade business containing a large port with well organized
trading products, and also acted as an intermediary trading
and transition point between the East and West. Its ships
mostly dealt with the, so called, free trade, i.e. they trans-
ported foreign cargo between foreign ports because it was
most profitable (Lueti 2007: 38).. It is estimated that the
Republic had aproximatly 180 ships with a capacity of 36
5000 carts (Ital. carro, about 20 hectoliters, which is about
58 810 tons), with 5 500 sailors and between 200 and 250
captains (Kozlii 1993: 178). In comparison, the merchant
navy of the Republic of Venice in 1567 had the barring
capacity of 33 000 tons, the one from Genova 28 000 tons,
and the greatest French navy centre, Marseille, only 4000
tons (Lueti 2007: 41).
The outspread of trade and diplomatic network is
attested to by the 50 to 60 consulates postioned along the
Mediterranean (Miti 1971: 165). At the end of the 16th and
i zatiti monih drava, Ugarsko-Hrvatskog Kraljevstva,
Osmanskog Carstva, Papinske Drave, panjolske i Napulj-
skog kraljevstva.
Od 1482. du cijeloga kopnenog teritorija poinje
graniiti s Osmanskim Carstvom (Hercegovaki sandak).
Povijest odnosa izmeu male aristokratske drave i rastue
imperije poinje jo za Mehmeda Osvajaa, kada, u svrhu
zatite svojih politikih i ekonomskih interesa, Dubrovnik
poinje plaati naknadu ili hara, koji se od 1481., za vla-
davine miroljubivog sultana Bajezida II., ustalio na 12.500
zlatnika na godinu. U 17. stoljeu taj je iznos bio jednak
koliini od oko 42 kg zlata (Kunevi 2010: 190). Dubrovnik
je od takvoga tributarnog odnosa imao veliku ekonomsku
korist, jer je dobio ogromno podruje kao trite za svo-
ju posredniku ulogu izvoznika sirovine i uvoznika robe.
Dubrovaki su poklisari na osmanskom teritoriju kupovali
velike koliine ita uz najniu izvoznu carinu od samo 2%,
a u zaleu, u Bosni, neograniene koliine stoke. S druge
strane, Dubrovnik nije predstavljao nikakvu vojnu prijetnju,
poput, primjerice, Venecije. Osmanlijama su trebali vjeti i
sposobni dubrovaki trgovci i dubrovaka luka za izvoz robe
u zapadne zemlje, te gotovi i luksuzni proizvodi iz tih zema-
lja, kao i vanjskopolitike informacije. Zapadnim velesilama
trebale su, pak, obavjetajne usluge dubrovake diplomacije
o suprotnoj strani za kreiranje vanjske politike, dubrovaka
neutralna luka, te dubrovaki brodovi i dubrovaki trgovci,
koji su uivali povlastice po cijelomu Osmanskom Carstvu.
Zbog toga su sve sudionice podupirale postojanje, nezavi-
snost i neutralnost Dubrovake Republike.
Incidenti na moru i kopnu bili su, meutim, gotovo
svakidanji. Tijekom 16. stoljea dubrovaka je diploma-
cija uspijevala isposlovati fermane o zatiti dubrovake
trgovine i trgovaca, a posebno je vaan bio ferman iz 1530.,
kojim Hajredin Barbarossa zabranjuje svojim gusarima da
pljakaju dubrovake brodove. Poslije rata prve Svete lige
1550., u velikim trgovakim gradovima Turske carine su za
dubrovaku trgovinu poveane na 4%, i ta je uredba ostala
nepromijenjena (Popovi 1973: 387). Lokalni turski slubeni-
ci, ali i sama Porta, ovisno o ekonomsko-politikoj situaciji,
pljakali su dubrovake karavane, trgovce i brodove, uvodili
posebne namete, povremeno zabranjivali izvoz svih namir-
nica (jasak), a stalni su se sukobi vodili i oko prodaje soli, jer
je Dubrovnik imao monopol na njezinu prodaju osmanskim
podanicima iz svojih solana u Stonu. Poslije smrti Barbaro-
sse, u drugoj polovini 16. stoljea, dubrovaka je pomorska
trgovina postala opasna i neizvjesna, a ujedno su rasle i
pretenzije bosanskih paa prema dubrovakom teritoriju.
in the first decades of the 17th century, Dubrovniks finan-
cial investments abroad amounted to 698 000 Dubrovnik
ducats.
Dubrovnik between the Ottoman Empire and the Re-
public of Venice
The territorially and military-wise insignificant Republic
of Dubrovnik obtained independence, sovereignty and
economic growth through its external policies, efficient
diplomacy, and protection given by powerful states like the
Kingdom of Croatia and Hungary, the Ottoman Empire, the
Papal State, Spain, and the Kingdom of Naples.
Since 1482, it shared a border with the Ottoman
Empire along its entire mainland territory (the Eyalet of
Herzegovina). The historic relations between the small aris-
tocratic state and the growing empire began during the rule
of Mehmed the Conqueror, when, with the purpose of pro-
tecting its political and economic interest, it started paying
a fee, or kharaj, which stabilized in 1481 during the reign of
the peaceful Sultan Bayezd II to 12.500 golden coins per an-
num. In the 17th century, that amount equalled around 42
kilograms of gold (Kunevi 2010: 190). Dubrovnik greatly
profited from this tributary relationship, since it obtained a
large trading area, where it had a role as an intermediary in
exporting raw materials, and importing commodities. Am-
bassadors from Dubrovnik bought large amounts of grain
on the territory of the Ottoman Empire, with the lowest
export custom of merely 2%, and did the same in the hin-
terlands of Bosnia, where they bought unlimited amounts
of cattle. On the other hand, Dubrovnik did not represent
a military threat like, for example, Venice. The Ottomans
needed the skilful and capable merchants from Dubrovnik,
as well as the Dubrovnik harbour, for exporting goods to
the western countries and bringing finished luxurious prod-
ucts, as well as finished products and information on for-
eign affairs. Naturally, the powerful western states needed
the information on their competitors, which Dubrovniks
diplomats could provide, in order to create their external
policies. They also needed a neutral port, and the ships and
merchants from Dubrovnik who enjoyed privileges in the
entire Ottoman Empire. This is why all sides encouraged
the survival, independence, and neutrality of
the Republic of Dubrovnik.
However, incidents at sea, and on the mainland hap-
pened almost daily. During the 16th century, Dubrovniks
diplomacy succeeded in getting fermans protecting Du-
brovniks trade and merchants, and a very significant
25
Dubrovake kolonije u kopnenom zaleu oslabjele su otva-
ranjem splitske luke 1592., preko koje se naveliko poinje
izvoziti iz Bosne (Popovi 1973: 388).
Najvei neprijatelj Dubrovnika bila je Republika
Venecija (Mletaka Republika), mona pomorska sila koja
je imala iste gospodarske ciljeve. Uz Dalmaciju, teila je
osvojiti i Dubrovnik ne bi li preuzela njegovu trgovinu po
Jadranu i Sredozemlju. No zbog zatite panjolske, Papinske
Drave i Turske, Mleani se nisu usudili vojno napasti Du-
brovnik, a nisu imali snage osnovati kolonije u europskom
dijelu Osmanskog Carstva i tako konkurirati dubrovakoj
trgovini. Venecija je ipak poduzimala brojne diplomatske
akcije, pijuniranje, stalne tube, pljaku i otimanje dubro-
vakih brodova, ukljuujui i kratku okupaciju dubrovakog
teritorija otoka Lastova, ne bi li oslabila, odnosno elimini-
rala dubrovaku trgovinu. Vano je istaknuti kako, unato
antagonizmu, trgovina izmeu ovih dviju drava nije nikada
prestajala.
Trgovina izmeu Osmanskog Carstva i Mletake
Republike
Kolanje materijalnih dobara izmeu Venecije i Osmanskog
Carstva odvijalo se, uz trgovinu, i diplomatskim putem te
hodoaima u Svetu zemlju. Budui da je izmjena darova
bila osnova protokola, venecijanski su diplomatski pred-
stavnici darivali sultana i osmanske velikodostojnike, izme-
u ostaloga, skupocjenim tkaninama i odjeom, te sirom
parmezanom koji se koristio jedino na osmanskom dvoru. U
luksuzne darove ubrajaju se jo krzna, glazbeni instrumenti
i zlatni predmeti, a vrhunac je, prema sauvanim podatcima,
bila kaciga kruna u vrijednosti od nevjerojatnih 144.400
dukata, koju su venecijanski zlatari 1532. izradili za sultana
Sulejmana (Howard 2007: 142149). Napete politike situaci-
je obino su rezultirale i skupim darovima, odnosno narud-
bama poput prozorskih stakala i ukraenih konatih tapeta.
Od poetka 16. stoljea rastao je broj osmanskih trgovaca u
Veneciji, no njihovo je skladite sa smjetajem Fondaco dei
Turchi uspostavljeno tek 1575., a poetkom sljedeeg stoljea
za tu je svrhu bila odreena palaa, koja je prije pripadala
vojvodi od Ferrare (Howard 2007: 155). U Veneciju su iz
Osmanskog Carstva uz velike koliine ita stizali i predmeti
umjetnikog obrta, sirova svila, pamuk, svilene tkanine, vu-
neni moher, tkanine od devine dlake, tepisi, koe, konjska
oprema, oruje dekorirano arabeskama, keramika Iznika i
razni kurioziteti, pa ak i arapski konji. Osobito je bila vana
trgovina zainima. Iz Venecije su se izvozile velike koliine
stakla, luksuzne tkanine, zlatarski radovi, naoale, papir, sa-
26
ferman was issued in 1530, by which Hayeddin Barbarossa
forbade his pirates to attack Dubrovniks ships. After the
war with the First Holy League in 1550, large merchant
towns in the Ottoman Empire raised customs for the
Dubrovnik Republic to 4%, and that decree remained
unchanged (Popovi 1973: 387). Local Ottoman officials and
Porta itself, depending on the economic and political situ-
ation, pillaged Dubrovniks caravans and ships, introduced
special taxes, and occasionally forbade the export of all
jasak groceries. Conflicts also frequently arose over the salt
trade, because Dubrovnik had a monopoly on the trade of
salt between their salt pans in Ston and Ottoman cities. Af-
ter Barbarossas death in the second half of the 16th century,
Dubrovniks sea trade became dangerous and unsteady, and arhivski su dokumenti vrlo oskudni. Jedan je od rijetkih
the aspirations of Bosnian pashas towards Dubrovniks
territory rose. Dubrovniks colonies in the hinterlands were
weakened by the opening of the port in Split in 1592, which
started increasing export from Bosnia (Popovi 1973: 388).
Dubrovniks greatest enemy was the Republic of
Venice, a powerful naval force which had the same eco-
nomic goals. Along with conquering Dalmatia, Venice had
aspirations towards the territory of Dubrovnik, in order to
take over its trade on the Adriatic and the Mediterranean.
However, due to the protection given to the Republic of
Dubrovnik by Spain, the Papal State and the Ottoman Em-
pire, the Venetians did not dare attack Dubrovnik with their
army, and did not possess the power to establish colonies
on the European part of the Ottoman Empire which could
rival Dubrovniks trade. Nevertheless, they undertook
many diplomatic actions, spied, constantly filed complaints,
robbed and stole Dubrovniks ships, and even shortly occu-
pied its territory on the island of Lastovo in order to weak-
en, that is, to prevent Dubrovniks trade. It is important to
mention that, despite all the antagonism, trade between
these two states never ceased.
Trade between the Ottoman Empire and the Republic of
Venice
The circulation of material goods between Venice and
the Ottoman Empire was conducted through trade, but
also through diplomacy and pilgrimages to the Holy Land.
Since the exchange of gifts was basic protocol, the Vene-
tian ambassadors presented the Sultan and the Ottoman
noblemen with expensive fabrics, clothes, and parmesan
cheese, which were used only at the Court. Luxurious
presents included furs, musical instruments and golden
items, and the peak was, according to the preserved data,
pun, satovi. Iako se u Veneciji uglavnom koristilo bezbojno
ili slabo kolorirano prozorsko staklo, muranski su staklari
tada razvili iroku paletu boja. Prozori Sulejmanove damije
bili su ukraeni muranskim okruglim viebojnim staklom,
umetnutim u okvire poput mozaika. Veliki je vezir Meh-
med-paa Sokolovi 1569. poslao dva crtea staklenih lampa
za damije, u prirodnoj veliini, koje su muranski staklari
trebali izraditi u tehnici reticello. Narudba je iznosila 900
komada (Howard 2007: 157158).
U 16. stoljeu u Veneciju se uvozi keramika iz Iznika.
Inventar venecijanskog kolekcionara Andree del Brezza iz
1587. ukljuivao je i 32 komada toga posua (Howard 2007:
164). Iako je iznika keramika bila privlana Europljanima,
dokaza za to poiljka ploic habsburkog veleposlanika,
namjetenoga u Istanbulu, prema Veneciji, u vrijednosti od
100 dukata. Mletaka inventarna lista iz 1587. navodi samo
30 komada iznike keramike (Mack 2002: 109).
U Izniku su se krajem 16. stoljea proizvodili i tanju-
ri s grbovima europskih vladara, a ini se da je jedan takav
primjerak, naen u Izniku, pripadao obitelji Spingarolli de
Dessa iz Dalmacije (Passos Leite i Quieroz Ribero 2000: 65).
Glasovita radionica Maestra Ludovica (aktivna od 1515. do
1526.) proizvodila je serije bijelog posua dekoriranoga ko-
baltnoplavim ornamentima, poznatijima kao alla porcellana.
Umjetnici su takve ornamente, poput onih na kineskom
porculanu, mogli vidjeti i na iznikoj keramici sa spiralnim
stilom turake. Iznike su radionice osim svojih glasovitih
tanjura velikog promjera s rubom nalik listu, foliated, koji se
rezao runo, proizvodile i tanjure tipa tondino, to je izvorno
bio talijanski izum s poetka 16. stoljea, a u izniku proi-
zvodnju ulazi u razdoblju od 1525. do 1530. godine. Osobito
su bili omiljeni tanjuri s gore spomenutim ukrasom. Iznika
keramika koja je pronaena u damiji Selima II. u Edirni,
takoer je bila inspirirana venecijanskim staklom u ukrasnoj
tehnici vetro a fili (Howard 2007: 168).
Venecija je Jadransko more drala svojim morem, i
stoga ga je zvala Golfo di Venezia. U poetku se tako nazivalo
tek podruje izmeu ua rijeke Pad i Akvileje, no taj se
naziv potom proirio do linije Pula Ancona, a poetkom
15. stoljea, kada Ladislav Napuljski prodaje Zadar, Novigrad
i Pag, Mletaka je Republika zagospodarila Dalmacijom i
Jadranom. U tom podruju nisu smjeli ploviti vojni brodovi,
a trgovaki su brodovi morali imati dozvole, slijedei strogo
plovidbene rute i plaajui Veneciji carinu. U 15. je stoljeu i
sultan otkrio ekonomsku vanost Jadranskog mora. Iz 1403.
datira prijateljski ugovor izmeu osmanske i venecijanske
a helmet-crown made by Venetian goldsmiths for Sultan
Suleiman in 1532 with an estimated value of 144 400 ducats
(Howard 2007: 142-149). Tense political situations usually
included expensive gifts, that is, orders of new window
panes and decorated leather wall papers. The number of
Ottoman merchants in Venice grew from the beginning of
the 16th century, but their furniture warehouse, Fondaco
dei Turchi, was not founded until 1575. At the beginning of
the next century, the palace formerly owned by the duke of
Ferrara served the same purpose (Howard 2007:155). Along
with large amount of wheat, objects of applied arts, raw silk,
cotton, silk cloths, wool mohair, camel hair fabrics, rugs,
leather, horse gear, weapons decorated with arabesques,
pottery from Iznik, and different extraordinary items, even
Arabian horses arrived from the Ottoman Empire to Venice.
The spice trade was especially important. Venice exported
large amounts of glass, luxurious fabrics, the works of gold-
smiths, eyeglasses, paper, soap, and watches. Even though
transparent or mildly coloured glass was used in Venice, the
glass workers in Murano already developed a wide palette of
colours. The windows of Suleimans mosque were deco-
rated with round polychrome Murano glass inserted into
frames like mosaics. In 1569, the Grand Vizier Mehmed-pa-
sha Sokolovi sent life-size blueprints for two glass mosque
lamps, which the Murano glassmakers had to make in the
reticello technique. He ordered 900 pieces (Howard 2007:
157-158).
In the 16th century, Venice imported pottery from
Iznik. The inventory of a 1578 Venetian collector, Andrea del
Brezzo, included 32 pieces of this kind of pottery (Howard
2007: 164). Although these ceramic products were engaging
to Europeans, the archival records are scarce. One of the ex-
amples is a shipment of tiles worth 100 ducats made by the
Hapsburg ambassador in Istanbul which was sent to Venice.
The Venetian inventory list from 1587 lists only 30 pieces of
Iznik pottery (Mack 2002: 109).
At the end of the 16th century, Iznik produced
plates depicting the coats of arms of European rulers, and
it seems that one such plate belonged to the Spingarolli
de Dessa family from Dalmatia (Passos Leite and Quieroz
Ribero 2000: 65). The famous workshop of Maestro Ludovi-
co (in business from 1515-1526) made series of white vessels
decorated with cobalt blue ornaments known by the name
of alla porcellana. The artists saw these kinds of decorations
on Chinese porcelain, as well as on Iznik pottery of the
turake spiral style. The workshops in Iznik, apart from
their leaf-like rim (foliated), which was hand cut, produced
27
mornarice. Oni su Jadransko more drali zaljevom nazivali
su ga Ak Deni, u prijevodu Bijelo more, to je u poetku bio
naziv za Mramorno more. Kada 1479. od Venecije preuzi-
maju prevlast nad Egejskim morem, isti naziv proiruju na
njega, a poslije su tako nazivali cijelo Sredozemlje. Karto-
graf Piri Reis u 16. stoljeu koristi naziv Venedik Krfezi kada
govori o podruju izmeu Korule i Vojvodstva od Ferrare
na drugoj obali, to se vjerojatno odnosilo na prisutnost ne-
zavisne Dubrovake Republike (Pedani 2008: 156). Osman-
ski trgovci poinju ploviti Jadranom u 15. stoljeu, nakon
osvajanja Albanije, Srbije te Bosne i Hercegovine. Trguju s
Venecijom i Anconom. Iako je izmeu tih drava dolazilo
do ratova, trgovina nikada nije prestajala. Tijekom 16. i 17.
stoljea vrijedio je mirovni spo-razum, prema kojem izmeu
Krfa i Venecije nitko nije smio tetiti trgovakim brodovi-
ma, osobito ne venecijanskima. Unato tomu, trgovinu je
ometala mona nazonost gusara, zbog kojih su velike ma-
terijalne tete, te gubitke u robi, brodovima i ljudima trpjeli
dubrovaki teritorij i dubrovaki brodovi, ali i dalmatinska
obala i otoci. Venecijanske brodove napadali su uskoci, koji
su bili podloni Habsburkoj Monarhiji.
O broju osmanskih trgovaca u Veneciji govori ar-
hivski zapis iz 1570., u vrijeme rata tzv. Svete lige, kada je u
Veneciji bilo zadrano 75 osmanskih i 97 idovskih trgovaca,
a tri godine poslije, nastupanjem mira, njihov se broj jo
poveao. Nain funkcioniranja trgovine i novanih iznosa
ilustrira primjer trgovca elebija Mehmeda Reisa, zabiljeen
1573., poslije spomenutoga rata, a koji je vjerojatno bio uklju-
en u trgovinu prije rata, kao i tijekom njega, kada se ona
prekidala samo privremeno. Trgovao je izmeu Istanbula,
Venecije i Kandije, ponajprije svilenom i vunenom odjeom,
koom, no bavio se i novanim transakcijama. Njegova
osoba za kontakt u Veneciji bio je jedan od poznatih tamo-
njih trgovaca Lorenzo Girardi, kojega u pismu oslovljuje
kao amico carrisimo signor Lorenzo. Obojica trguju preko
agenata, a tada su to obino bili lanovi obitelji. Mehmed a-
lje Lorenzu robu u Veneciju preko svojeg ovjeka. Girardi
ima Mehmedovo odobrenje da se u njegovu korist pojavljuje
pred venecijanskim vijeem i trguje u njegovo ime bez po-
srednika. Kako bi dodatno zatitio svoje interese, Mehmed u
Veneciju alje i svojega agenta, kojemu nareuje da u vene-
cijanskom notarijatu prijavi da mu Lorenzo Girardi nita ne
duguje i da ima ovlasti trgovati u njegovo ime. Agent ima
jo i potvrdu od kadije iz Istanbula da su podatci vjerodo-
stojni. Prema Mehmedovoj procjeni, porez od samo njegove
trgovine Veneciji je godinje donosio vie od 2000 dukata
(Dursteler 2002: 113). U tu unosnu trgovinu bili su ukljueni
28
plates of the tondino type, originally an Italian invention
from the beginning of the 16th century which entered the
Iznik production between about 1525 and 1530. Plates with
the above mentioned decorations were especially popular.
Additionally, Iznik pottery found in the mosque of Selim II
in Edirne was inspired by Venetian glass decorated done in
the vetro a fili technique (Howard 2007: 168).
Venice considered the Adriatic Sea as its own, and
called it Golfo di Venezia. At first, that name was used for
the area between the Po Valley and Aquileia, and then the
name spread to the Pula-Ancona area, and, at the beginning
of the 15th century, when Ladislaus of Naples sold Zadar,
Novigrad and Pag, the Republic of Venice ruled Dalmatia
and the Adriatic. That area was off limits to naval ships, and
merchant vessels had to have licences and strictly follow
maritime routes, as well as pay customs to Venice. In the
15th century, the Sultan discovered the importance of the
Adriatic Sea. The friendly contract between the Ottoman
and Venetian navy was signed in 1403. They regarded the
Adriatic Sea as a bay, and called it Ak Deni, the White Sea, a
name formerly used for the Sea of Marmara. When they
took the Aegean Sea from Venice in 1479, the Ottomans
expanded this name so it would include their newly con-
quered area, and later used it to refer to the entire Medi-
terranean. The 16th century cartographer, Piri Reis, used
the name Venedik Krfezi when speaking about the area
between the island of Korula and the Duchy of Ferrara on
the opposite coast, which probably implied the presence
of the independent Republic of Dubrovnik (Pedani 2008:
156). The Ottoman merchants began to sail the Adriatic
in the 15th century, after the conquest of Albania, Serbia,
and Bosnia and Herzegovina. They traded with Venice and
Ancona. Although these Republics waged wars, the trade
never stopped. During the 16th and the 17th centuries, a
peace treaty was signed between Corfu and Venice, and no
one was allowed to compromise merchant ships, especially
Venetian ones. Despite that, the trade was disrupted by a
powerful presence of pirates, which caused great damage
to the territory of Dubrovnik, the Dalmatian coast and
islands through loss of merchandise, ships, and men. Ve-
netian ships were attacked by uskoks who answered to the
Hapsburg Monarchy.
The number of Ottoman merchants in Venice is
attested to by an archive record from 1579, in the times of
the so called Holy League, when 75 Ottoman and 97 Jew-
ish merchants were detained in Venice. Three years later,
when peace ensued, their number grew. The way trade
i osmanski visoki dravni slubenici, pa ak i veliki vezir.
Tako su 1598. dva uspjena venecijanska trgovca u Istanbulu
primila 190.680 aka od agenta velikog vezira Ibrahima, koje
su morali uruiti njegovu partneru u Veneciji Pasqualinu
Leoniju, za isporuku svilene odjee slubenicima Porte
(Dursteler 2002: 121). Drugi je primjer visoki dunosnik Re-
sul Aa, koji je trgovao svilom, voskom i papirom, a robu je
slao uglavnom karavanama u Split, a zatim brodom u Vene-
ciju. Zabiljeen je i incident, kada mu je u Jadranu opljakan
brod, a Venecijanci su mu iz straha da to ne prouzroi prijet-
nju trgovini nadoknadili tetu, i jo pogubili venecijanskog
dragomana. Tada se govorilo da je vrijednost njegove robe u
Veneciji iznosila 8000 dukata (Dursteler 2002: 114).
Stolno posue i kulinarstvo renesanse s osvrtom na
Dubrovnik
Svaka je epoha ljudske povijesti dala svoj doprinos razvoju
stolnog posua i pribora, a oblici su odraavali opi likovni
izraz razdoblja u kojem su nastali.
Renesansa je tako najkreativnije razdoblje u gradi-
teljstvu, umjetnosti i knjievnosti. Humanizam u sredite
vrijednosti stavlja ovjeka, potie stjecanje novih znanja,
slobodan i kreativan duh. Razvoj manufaktura, trgovine,
zemljoradnje i velika pomorska otkria utjecali su na pobolj-
anje prehrane, a jelo i pie postali su izvor uitka.
Bogati stale u svoju kuhinju unosi nove namirnice,
kojih s proirenjem trgovine ima sve vie. Uvoze se zaini s hand to his partner in Venice, Pasqualin Leoni, for a ship-
Istoka, bademi, eer, ria i patlidani stiu iz maurske kuhi-
nje, a pojavljuju se i slatkii. Jelovnici sveanih gozbi postaju
sloeni i pretrpani, a redoslijed jela za dananje je pojmo-
ve dosta neobian. Raznovrsnost jela uvjetovala je veliku
raznovrsnost u oblicima stolnog i kuhinjskog posua. Osim
skupocjenoga srebrnog posua, muranskog stakla i posua
od kositra, najvie je u uporabi keramiko posue. Prema
sauvanim prikazima, uoava se da se do 15. stoljea na stolu
istodobno koristi keramiko, stakleno, metalno i drveno
posue. Najvie je keramikih vreva i zdjelica, koje su se
mogle upotrijebiti i za pie. Na sredini stola bile su vee
zdjele ili tanjuri, iz kojih se hrana uzimala prstima. Postu-
pno se uvodi pribor za jelo, lica i no sa iljastom otricom
za nabadanje mesa. Vilica je, pak, dobila dananju funkciju
u 16. stoljeu. U dalmatinskim su gradovima u oporuka-
ma zabiljeeni ostakljeni ormari za kvalitetno posue, tzv.
credenziere, stolovi ukraeni intarzijama, stolnjaci i ubrusi.
Od sredine 16. stoljea govori se o servisima, a osobito se ta-
njuri klasificiraju prema jelu, odnosno vrsti mesa. Tanjuri od
majolike i kositra raznih veliina brojni su u svim kuama.
functioned and the amount of money in circulation is illus-
trated by the example of merchant elebi Mehmeda Reiss
recorded from 1573. He started trading after the aforemen-
tioned war, and probably even during the war, when trade
was occasionally interrupted. He primarily traded silk and
woollen clothes between Istanbul, Venice and Kandia, but
he also conducted monetary transactions. His contact was
one of Venices distinguished merchants, Girardi, whom he
addresses in his letters as amico carrisimo signor Lorenzo.
They both traded through agents, who, at that time, were
usually family members. Mehmed sent Lorenzo merchan-
dise to Venice through his man. Girardi had his approval to
appear in front of the Council in Venice on his behalf, and
to conduct business in his name without an intermediary.
To additionally protect his interests, Mehmed sent his agent
to Venice and ordered him to report to the Venetian Notary
Public that Lorenzo Girardi owes him nothing, and that he
may do business on his behalf. The agent had a certificate
from the quadi of Istanbul proving that the data was valid.
According to Medmeds assessment, only taxes raised from
his trade provided Venice with more than 2000 ducats
(Dursteler 2002: 113). Ottoman high state officials, and even
the Grand Vizier, were included in this lucrative trade. An
example of this happened in 1589 when two successful
Venetian merchants in Istanbul received 190 680 akes from
the agent of the Grand Vizier Ibrahim, which they had to
ment of silk clothes to the officials of Porta (Dursteler 2002:
121). A second example is that of the high official Resul Aa
who traded in silk, wax and paper, and who sent his goods
by caravan to Split, and then shipped them to Venice. An-
other incident was noted when one of his ships was looted
at sea, and the Venetians, in fear of losing the business, paid
his damages and also had the Venetian dragoman executed.
At the time, his merchandise in Venice was estimated at
8000 ducats (Dursteler 2002:114).
Table ware and cuisine in the Renaissance with respect
to Dubrovnik
Each period in human history contributed to the development
of table ware and utensils, and their forms reflected the gener-
al artistic expression of the period in which they were made.
The Renaissance was the most creative period in archi-
tecture, art, and literature. The value of man became the
centre of humanism which also incited the acquisition of
new knowledge and supported the free and creative spirit.
Developments in manufacture, trade, agriculture, and the
29
 Tako jedna zadarska obitelj ima 64 majolika i 60 kositrenih
tanjura. Posebno se spominju tanjuri za kopune (kastrirane
pijetlove), tanjuri za ubruse, podmetai za ae te drveni
pladnjevi. Posude za pripremanje jela od ribe nazivaju se
brodetto, a zeleni keramiki lonii za spremanje zaina go-
ruice mostarda (Bezi-Boani 1996: 284285). Kuhinjske su
lice i vilice bile mjedene, one kvalitetne od srebra, a noevi
su uvijek imali eljeznu otricu i drku od srebra ili bjelo-
kosti. Poseban se no rabio za rezanje pruta i sira. Za pie
su se koristili vrevi od majolike i kositra te ae od stakla
i kristala. U Dubrovniku je pronaeno mnotvo majolikih
vreva te staklenih aa, osobito onih s nogom.
Kulinarstvo renesansnog razdoblja sauvano je u
brojnim knjigama recepata i prirunicima za posluivanje
jela. Motiv hrane prisutan je i u mnogim djelima najveega
dubrovakog knjievnika renesanse komediografa Marina
Dria. Namirnice i jela koje Dri spominje prikazuju sva-
kidanji dubrovaki ivot. Jedenje je povezano s uitkom, ali
hrana postaje i sredstvo diferencijacije i instrument politi-
ke moi. Bogati na svojim trpezama imaju teletinu, divlja,
perad i kopune, a u iznimnim prilikama kavijar, te u Du-
brovniku zabranjeni marcipan, to je naziv za kola punjen
smjesom badema i eera (Ivanievi 2011: 1518).
U Dubrovniku je poznat i svadbeni kola okruglog
oblika tartara, te mantala, koja se i danas priprema od
ukuhanog mota s kvalitetnim peninim branom, pinjo-
lima i zainima (Stojan 2007: 181). Uz meso se dosta koristio
sir, koji se proizvodio u okolici i uvozio. Slani su sir jeli na
dugim putovanjima, a prodavale su ga uglavnom ene. U
povijesti je zabiljeeno ime jedne od njih, ivane Milai-
ce, koja ga je prodavala kod Orlandova stupa (Stojan 2007:
46). Na gozbi koja je 1757. prireena u Gruu za visokoga
turskog dunosnika kapidi-bau bili su poslueni: teletina,
bravetina, kokoi, ptice, riba, jezik te talijanski sir. Dubro-
vake redovnice sv. Marije pripremile su predjela i torte
od jaja, mlijeka, skorupa i ruine vodice, a glavna su jela tri
dana pripremala dva kuhara i tri pomonika. Bogati su se
sladili desertnim vinom, glasovitom malvasijom, kojom su
se darivali osmanski dostojanstvenici, te likerom od rua
rozolinom. Za siromane su bili usoljeno i dimljeno meso,
iznutrice, juhe od soiva, kupusa, srdele i prikle. Osobite
poslastice bile su kobasice salice, mortadela i elatina. Dri
spominje i nekoliko tipova ugostiteljskih objekata votarije,
tovjerne, taberne, koji su nudili hranu i pie, a u nekima se
moglo i prenoiti (Ivanievi 2011: 925). Istraivanje u vrtu
dananje osnovne kole u sreditu povijesne jezgre Dubrov-
nika otkrilo je najvei broj ulomaka kamenoga namjetaja i
30
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,
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
The privileged class introduced new ingredients SEDES VRNARIA SIVE LAVACRUM SIVE ABACUS MEN- marcipan, a cake forbidden in Dubrovnik, made of a mixture
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).
panded. They imported spices from the East, almonds, and In Dubrovnik, we know of the round wedding
sugar, rice and eggplants, along with candy, from Moorish Orijentalni proizvodi u Dubrovniku cake, the tartara, and must cake, the mantala, which is
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
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
standards. The diversity of the dishes caused the diversity uope orijentalnog podrijetla. meat, locally produced cheese was used and exported. Salty
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
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
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
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
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,
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
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
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
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
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
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,
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,
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).
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
mid-sixteenth century, table ware, especially plates, was orahovine 3 dukata (Han 1958: 125). elatina. Dri mentions a few types of eating establish-
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
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
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
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
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
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
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
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
were called mostarda (Bezi-Boani 1996: 284-285). Kitch- vi-Hadi-Pei 1984: 121123). Meu dubrovakim nalazima LAVACRUM SIVE ABACUS MENSAE COMMODA MULTA
en spoons and forks were made of brass, those of higher identificiran je jedan ulomak zahvaljujui ostatku uglate DAMUS (Menalo 2004: 253-280).
quality were made of silver, the knives always had an iron ruke, koji vjerojatno odgovara tomu tipu, a ukraen je na-
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
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
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-
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
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
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
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.
many works of Dubrovniks greatest Renaissance author inventaru dubrovakog trgovca Smilia, koji je poslovao u They wore parts of Turkish national costumes, caps, scarves
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-
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
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
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-
31

Sl. 1 Ulomak bokala, Iznik, posljednja etvrtina 16. st., Dubrovaki muzeji
Fig. 1 Fragment of a jug, last quarter of the 16th century, Dubrovnik
Museums
de Josepho prijatelju krojau Pieru de Marinu, a u kojem mu
javlja da se na brodu kapetana Giovannija Colende, koji plovi
za Dubrovnik, nalazi kopa sa 88 majolikih tanjura, zdjela,
zdjelica i bokala. To je ujedno i najvea koliina posua. Jo
se jednom spominje 14 tanjura srednje veliine, a veinom
manji broj, od jednoga do najvie 7 komada. Po tome bi se
moglo zakljuiti da je to posue bilo daleko skuplje od isto-
dobnoga talijanskoga. Takvo to da se naslutiti i iz podatka
da u kui vlastelina Luka Zamanje godinu dana prije razor-
nog potresa postoje samo tri takva velika tanjura i bokal
(Han 1958: 123).
Nalazi iznike keramike u Dubrovniku
Dubrovnik se izgraivao stoljeima, a razne nedae, poput
kuge, potresa i stalne prijetnje osvajanjem njegova teritorija,
prouzroile su ruenja, pregraivanja i prenamjene objekata
i pojedinih prostornih cjelina, te nestajanja pojedinih obi-
telji. Pogotovo je katastrofalne razmjere imao potres 1667.
godine, praen poarom, koji je poruio katedralu i veinu
crkvenih objekata, teko otetio sjedite vlasti Kneev dvor,
poruio stambene etvrti i odnio polovinu stanovnika. Tako
su nestajali i oprema kua, pokretnine, predmeti umjetni-
kog obrta i kuanski predmeti koji su stizali razgranatom
32
96). In the first half of the 16th century these were used as
blankets (coperta), like the one from the house of Lukarevi
mentioned in 1501 made of silk and embroidered with gold
thread. The price of such a blanket with flowers made of
small golden leaves was estimated at 12 ducats. In compari-
son, a red coloured gilded chest from Venice was priced at 2,
and an oak wood bed at 3 ducats (Han 1958: 125).
Archive records rarely list the types of pottery ves-
sels and their origin, and more often mention metal ware
like copper pans, bowls, plates, platters, water jugs, and
coffee ewers. More expensive items were made of silver, for
example platters for serving food and knives with a small
chain (Bajalovi-Hadi-Pei 1984: 121-123). A rare type of
pitchers is called the marap (named mastrappa in docu-
ments from Dubrovnik), with no mention of the material
it was made of (Bajalovi-Hadi-Pei 1984: 121-123). Among
the finds from Dubrovnik, one fragment was identified
thanks to the remains of an angular handle, probably be-
longing to this type of pitcher, decorated with a naturalistic
flower motif (fig.1.) (Kovai 2012: 78, cat.no.12). More data
on ceramic vessels originates from the 17th century, naming
mostly Istanbul as the place of origin, because that is where
the items were purchased, and only rarely Iznik. In 1651 in
Rijeka Dubrovaka in Ombla, plates and jugs were record-
ed which came from Istanbul and Tunisia. Clay platters
from Tunisia were recorded in the inventory of a house of
the Lovro, a barber from Lopud who was, according to the
inventory list from Smili, a merchant from Dubrovnik
trading in Budim. Pottery from Iznik was used with other
vessels, and the ships inventory also includes a jug and two
plates alla Turchese (Han 1958: 123). The biggest shipment
of Iznik pottery was recorded in a letter from 1603, when
Giovani de Josepho, a barber, went from Dubrovnik to
Istanbul to visit his friend, a tailor by the name of Pier di
Marino. In the letter he writes about a ship captained by
Giovanni Colenda sailing towards Dubrovnik and carrying
88 majolica plates, bowls, small bowls, and jugs. That is also
the biggest recorded amount of vessels. Additionally, re-
cords mention 14 middle-sized plates, but more often refer
to a smaller number, seven pieces at most. Based on all this,
we can conclude that these vessels were more expensive
than Italian ware. This is additionally attested to by the fact
that the nobleman Luka Zamanja had only three large plates
and one jug of this type in his house a year prior to the
earthquake (Han 1958: 123).
kopnenom i pomorskom trgovinom ovoga grada drave sa
Sredozemljem i Osmanskim Carstvom.
Kao najei nalazi brojnih arheolokih istraivanja
unutar stare jezgre Dubrovnika pojavljuju se keramiki
ulomci, koji se odnose na kuhinjsko i stolno posue kakvo
se uvozilo uglavnom iz Italije, rjee iz Osmanskog Carstva
i jo rjee iz panjolske. Nalazi obuhvaaju razdoblje od 14.
do poetka 20. stoljea, a najveim su dijelom proizvodi ra-
dionikih sredita 15., 16. i prve polovine 17. stoljea, to je i
doba velikoga gospodarskog uspona Dubrovake Republike.
Gotovo sva kasnosrednjovjekovna i novovjekovna kerami
ka proizvodnja zastupljena je u nalazima u Dubrovniku.
Prema uobiajenoj podjeli, razlikujemo keramiku s prozir-
nom glazurom invetriata, i onu s neprozirnom glazurom
smaltata. Brojniji su otvoreni oblici, a najzastupljenije su
manje, duboke zdjelice, jer su jela obinog puka veinom
bila juna, to jest kaasta.
Najbrojniji su nalazi stolne keramike primjerci tali-
janske gravirane keramike, ceramica graffita, ali ne zaostaje
ni luksuzno majoliko posue cvjetne gotike i renesanse,
ukraeno brojnim dekorativnim motivima, od kojih su
najljepi oni s povijesnim i biblijskim scenama. Odlikuje ih
intenzivan kolorit i istanan osjeaj za polutonove.
Meu tim se nalazima bojom, sastavom i kvalitetom
smjese neusporedive tvrdoe, te izborom motiva i svjei-
nom boja, s dominacijom kobaltnoplave i koraljnocrvene,
istie produkcija osmanskoga grada Iznika. Iako su nalazi te
keramike esto usitnjeni, pa uvijek ne doputaju odreiva- pottery with a clear glaze, invetriata, and pottery with an
nje tipa posude, prevladavaju otvoreni oblici, najvie tanjuri,
potom zdjelice ili alice, zdjele na nozi, rjee bokali. Kineske
su alice u sredinje osmanske pokrajine donosili hodoa-
snici na povratku iz Meke. Njihov se uvoz iz Kine proirio u
16. i 17. stoljeu, emu je najvie pogodovala navika ispijanja
kave koja je povezana s prihvaanjem egzotinih proizvoda,
iako se tada u Kini kava nije pila. U drugoj polovini 16. sto-
ljea, usprkos protivljenju osmanske vlasti, uivanje u kavi
proirilo se u sve dijelove Carstva, sve do Balkana (Rumelije).
Mleani se nisu okoristili trgovinom tom namirnicom, jer je
Europa upoznala kavu tek krajem 17. stoljea (Faroqhi 2009:
73). Ukrasni dezeni dubrovakih nalaza daju potpunu pro-
dukciju Iznika, poevi od ranoga plavo-bijelog stila Baba
Nakka (1475.1520.), to je vrijeme tehnike i umjetnike colours dominated by cobalt blue and coral red. Although
izvrsnosti bez premca u islamskom svijetu, pa do 17. stoljea,
koje se raspoznaje po sastavu keramikog tijela te glazuri
koja sadrava neistoe, po bojama koje su prelivene preko
kontura crtea te po crvenoj boji koja postaje uto-smea ili
smea.
Finds of Iznik pottery in Dubrovnik
Dubrovnik was built over centuries, and different adversi-
ties like the plague, numerous earthquakes and the constant
threat of loss of territory, caused demolitions, expansions
and adaptations of buildings and complexes of buildings,
as well as the disappearance of certain families. The earth-
quake in 1667 was disastrous, and was followed by a fire
which demolished the Cathedral and most sacral buildings,
heavily damaged the Rectors Palace, tore down residential
quarters and took the lives of half of the citizens. House
utensils, furniture, artworks and household items which
arrived to this state-town through sea- and land-trade from
the Mediterranean and the Ottoman Empire were also
destroyed.
The most common finds on numerous archaeolog-
ical excavations in the old core of Dubrovnik were frag-
ments of pottery kitchen- and table-ware imported mostly
from Italy, more seldom from the Ottoman Empire, and
quite rarely from Spain.
The finds were dated to a period between the 14th
and the beginning of the 20th century, and mostly included
products made in workshop centres active in the 15th, the
16th, and the first half of the 17th century, a time of great
economical growth of the Dubrovnik Republic. Almost all
pottery production of the Medieval and post-Medieval peri-
od is represented in the finds from Dubrovnik.
The usual classification of finds differentiates
opaque glaze, smaltata. There are numerous open forms,
and most of them, because the food was mostly soup-like,
that is, gruel, fall into the category of deep small bowls.
The most numerous finds of table ware are examples of
Italian incised pottery, ceramic garffita, but also majolica
vessels of floral Gothic and Renaissance styles, decorated
with numerous motifs, the most beautiful ones portraying
historic and biblical scenes. They are distinguished by in-
tensive colours, and a heightened sense of colour transition
and semitones.
Among the finds, Iznik pottery stands out due to its
colour, composition, and the quality of the exceptionally
hard blend, the choice of motifs, and the freshness of the
these finds are often fragmented and cannot be associated
with a vessel form, open forms prevail, mostly including
plates, small bowls or cups, bowls on a foot, and the occa-
sional jug. Chinese cups were brought to central Ottoman
regions by pilgrims on their way from Mecca. Their import
33
 Sl. 2, 2a Ulomci
umivaonika,
po. 16. st., Iznik,
Dubrovaki muzeji
Fig. 2, 2a
Fragments of a
basin, beginning of
the 16th century,
Dubrovnik
Museums
Kuriozitet je da su u Dubrovniku iz ranog razdoblja iznike
proizvodnje pronaeni ulomci velike posude polukrunog
oblika, promjera oko 45 cm i stope od 20 do 28 cm (sl. 2, 2a).
Najvjerojatnije je rije o umivaoniku, iako jo nije do kraja
razjanjena funkcija te posude. Takva forma nije zabiljeena
u osmanskim dokumentima. Moe ju se nai tek na mini-
jaturama s prikazom sveanih gozbi, na kojima su takve
posude bile postavljene izmeu tanjura, to upuuje na
to da su sluile za pranje ruku poslije jela. Na ilustraciji s
prikazom proroka Muhameda pri ritualnom pranju, sluga
izlijeva vodu iz vra iznad metalne posude takvog oblika,
pa joj stoga autori velike studije o Izniku dodjeljuju takvu
namjenu. Rijetki su sauvani primjerci iz prve polovine 16.
stoljea, a s obzirom na bogat i sloen ukras na obje strane i
cijenu od 100 aka, koja je zabiljeena na jednom cjenovni-
ku, takve si je posude mogla priutiti samo otomanska elita.
Odlikuje ju sloeni crte kvalitetne izvedbe, karakteristine
za stil Baba Nakka. Uzori su oblika posuda i dekoracija iz
toga razdoblja kineski plavo-bijeli porculan iz 14. i 15. stolje-
a te osmanske metalne forme. Dekorirana je kombinacijom
osmanske arabeske, kineskog lotosa i sloenim motivom
uzla trodimenzionalnog izgleda, nalik tkanju, koji se kao
motiv koristio kratko.
34
from China spread in the 16th and 17th century, owing
mostly to the consummation of coffee, which is associated
with the acceptance of exotic products, even though we
must mention that coffee was not consummated in China at
the time. In the second half of the 16th century, despite the
opposition from the Ottoman government, drinking coffee
spread to all parts of the Empire, all the way to the Balkans
(Rumelia). The Venetians did not benefit from the trade
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-
ed in Ottoman documents, only on miniatures depicting
ceremonial feats which show this vessel between the plates,
implying that it could have been used for washing hands
after the meal. On an illustration of the prophet Mohamed
performing his ritual washing, a servant pours water from a
jug above a metal vessel of such form, so the authors of the
great study of Iznik ascribed this function to the fragment
they found. Rare examples can be dated to the first part of
the 16th century, and, considering the rich and elaborate
decoration on both sides, as well as the price of a hundred
akes recorded on one price list, only the Ottoman elite
could afford it. It has an elaborate quality drawing, typical
for the Baba Nakka style (14751520). The vessel forms and
decorations of that period had role models in Chinese blue
and white porcelain of the 14th and 15th centuries, as well
as in Ottoman metal vessels. These were decorated with a
combination of the Ottoman arabesque, the Chinese lotus,
and a complex three dimensional knot resembling a weave
which was used for a short period of time.
The decoration was applied on a blue opaque sur-
face, and, vice versa, with a cobalt blue drawing on a white
surface under a shiny glaze. The creation of the knot is
ascribed to an unknown artist who was called the Master
Sl. 3, 4, 4a Umivaonici, po. 16.
st., Victoria & Albert Museum,
London (iz N. Atasoy-J. Raby,
1989., 92-93)
Fig. 3, 4, 4a Basins, beginning
of the 16th century, Victoria &
Albert Museum, London (taken
from: N. Atasoy-J. Raby, 1989,
92-93)
Dekoracija je izvedena na kobaltnoplavoj, neprozir- of the Knot. The other side of the find is dominated by a
noj podlozi, i obratno, kobaltnoplavim crteom na bijeloj big stylized lotus flower on thin scrolls. That kind of lotus
pozadini ispod briljantne glazure. Kreiranje uzla pripisuje flower was a creation of a gifted individual who was desig-
se nepoznatom umjetniku, koji je dobio nadimak Umjetnik nated The Master of the Lotuses. A couple of examples
uzla. S vanjske strane dominira veliki, stilizirani lotosov of washbasins decorated in this way were dated to around
cvijet na tankim viticama. Takav je lotos kreacija anonimno- 1520, which is also the datation of the Dubrovnik find. The
ga nadarenog pojedinca, koji je dobio nadimak Umjetnik lo- motif on the interior of the vessel is identical to a complete-
tosa. Nekoliko se primjeraka tako dekoriranog umivaonika ly preserved example from the Victoria and Albert Museum,
datira u oko 1520., ime je i datacija dubrovakog primjerka dated to around 1510 (fig. 3, 4, 4a) (Atasoy and Raby 1989: 93).
poblie oznaena. Motiv u unutranjosti posude identian A fragment of a small bowl a on ring like foot found in the
je cjelovitom primjerku iz Muzeja Victoria and Albert, Benedictine monastery of Saint Mary of Katela is also from
datiranomu u oko 1510. godinu (sl. 3, 4, 4a) (Atasoy i Raby this early period (Miloevi and Topi 2010: 153).
1989: 93). Iz toga ranog razdoblja potjee i ulomak zdjelice A reconstructed jug and a base shard of a small bowl
na prstenastoj nozi, koji je pronaen tijekom istraivanja are examples of the imitation of oriental forms and decora-
benediktin-skog samostana sv. Marije od Katela (Miloevi tive motifs at the time of increased demand for these items
i Topi 2010: 153). in the West (fig. 5, 6). Both vessels have very thin walls of
Rekonstruirani bokal i ulomak dna zdjelice primjer merely 0.2cm in width on the rim, and up to 0.4cm at the
su imitacije orijentalnih oblika i ukrasnih motiva u vrijeme base. The pottery is of straw yellow colour, and the bowl
poveane potranje tih predmeta na Zapadu (sl. 5, 6). Oba covered with an opaque slip is typical for the Italian majol-
predmeta imaju vrlo tanke stijenke, od samo 0,2 cm na rubu ica berettina. The inscription in Arab at the bottom is done
oboda do 0,4 cm debljine pri dnu. Keramika je u presjeku in cobalt blue. The jug has a typical Ottoman form, and the
slamnato ute boje, a zdjelica je sa sivoplavim neprozirnim decoration is divided into zones. The colours include navy
premazom, karakteristinim za talijansku majoliku berettinu. blue, emerald green, and black, but also some watery and
35
 Sl. 5, 6 Bokal i ulomak zdjelice,
Italija (?), po. 17. st.,
Dubrovaki muzeji
Fig. 5, 6 Jug and a fragment of a
small bowl, Italy (?), beginning of
the 17th century,
Dubrovnik Museums
Arapski je natpis na dnu izveden kobaltnoplavom bojom.
Bokal je tipino osmanske forme, kao i dekoracija podijelje-
na na pojaseve. Boje su tamnoplava, smaragdnozelena i crna,
ali vodenaste i bez sjaja. Prema svemu sudei, proizvedeni
su u Italiji, a kvaliteta upuuje na to da su bili namijenjeni
irokoj potronji. Italija je od kraja 16. stoljea i cijelo 17.
stoljee proizvodila posue s viebojnim slikanim ukrasom,
poznatim pod nazivom majolika candiana. Bila je to imitacija
cvjetnog naturalizma Iznika, s tom razlikom da talijanski
majoliari nikada nisu uspjeli proizvesti crvenu boju.
Jo jedna keramika koja se istie motivima i bojom
jest ona podrijetlom iz panjolske. Svoju je popularnost i
skupocjenost stekla zahvaljujui neprozirnom, kositrenom
premazu, na koji se nanosio crte bojama nastalima na os-
novi metalnih oksida. Njezina je posebnost sloena tehnika
apliciranja metalnog lustra kao dekorativnog elementa
kojim se oponaalo skupocjeno posue od plemenitih me-
tala, a kakvo je Kuran zabranjivao za svakidanju uporabu.
To posue, kao i ploice za poploivanje podova azulejos,
stizali su vjerojatno u Dubrovnik posredstvom dubrovakih
i katalonskih trgovaca, jer je dubrovaka diplomacija rano
uspostavila trgovinu s Katalonijom, pa se ve u prvim deset-
ljeima 14. stoljea spominju katalonski brodovi i trgovci u
dubrovakoj luci. Tijekom 15. stoljea gospodarski i politiki
36
matt ones. All things considered, based on their quality, the
vessels were probably made in Italy and were intended for
widespread use. From the end of the 16th, and all through
the 17th century, Italy produced pottery with painted
polychrome decorations known as majolica candiana, which
was an imitation of Izniks flower naturalism. The masters
of majolica, however, never managed to produce the colour
red.
Other pottery which stands out because of its
motifs and colours originated from Spain, and reached its
popularity and market price thanks to the opaque tin slip
onto which the drawing was applied with colours made of
metal oxides. Its main feature is the complex technique
of applying metal lustra as a decorative element, by which
the potters strived to imitate vessels made of precious
metals, forbidden for daily use by the Quran. These vessels,
as well as tiles for paving floors (azulejos), were most prob-
ably brought to Dubrovnik by merchants from Dubrovnik
and Catalonia, because Dubrovniks diplomats established raznih poslova boravili u Dubrovniku.
trade with Catalonia very early on, and Catalonian ships
and merchants were mentioned in Dubrovniks harbour as
early as the first decades of the 14th century. During the
15th century, economic and politic relations intensified,
and Dubrovnik started importing Sicilian wheat, as well as
odnosi su se intenzivirali, a Dubrovnik je uz sicilijansko ito Catalonian wool in order to continue its efficient cloth man-
uvozio i katalonsku vunu za svoju djelotvornu manufaktu- ufacture. The most important exports were silver and lead,
ru sukna. Najvaniji su izvozni proizvodi srebro i olovo, no but merchants from Catalonia obtained the prized Alex-
katalonski su trgovci u Dubrovniku nabavljali i cijenjeni andrian flax and salt in Dubrovnik as well. Spanish pottery
aleksandrijski lan i sol. panjolska keramika u Dubrovnik je could have also come to Dubrovnik via Venice, Liguria and
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
Osim u Dubrovniku, prema dosad objavljenim radovima o Finds of Iznik pottery in Croatia
nalazima kasnosrednjovjekovne i novovjekovne keramike, According to recently published papers on the Late Medie-
iznika keramika nije naena u dalmatinskim gradovima. val and Medieval pottery, apart from Dubrovnik, Iznik pot-
Iznimka je srednjovjekovni grad Ruica kraj Orahovice u Vi- tery was found in no other city in Dalmatia. The exception
rovitiko-podravskoj upaniji, gdje je u istraivanjima otkri- being the medieval town of Ruica near Orhovica in Virovit-
veno samo nekoliko ulomaka (Radi i Boji 2004: 214215). ica-Podravina County where only a couple of fragments was
Budui da su nalazi te keramike i u Dubrovniku malobrojni found (Radi and Boji 2004, 2014-2015). Since the finds of
u odnosu na keramiku brojnih manufaktura na Apeninskom this kind of pottery in Dubrovnik are scarce in comparison
poluotoku, moe se zakljuiti da su u 16. stoljeu, zlatnom to the finds from the workshops on the Apennine Peninsula,
dobu Dubrovake Republike, izniko posue mogla kupiti we may conclude that in the 16th century, the golden age of
samo vlastela. Poznati kao pragmatini i tedljivi, Dubrov- the Dubrovnik Republic, only noblemen could afford these
ani se nisu razmetali kupnjom takvoga posua, koje je vessels. Known as pragmatic and prudent, they did not
zasigurno bilo skupo ako je poznato da se ono, uz kineski flaunt the acquisition of this ware, which must have been
porculan, koristilo i u sultanovoj palai. Iz popisa imetka expensive if we take into account that it was used in the
osmanske vojnike elite dolazi manji broj komada, a samo su Sultans palace along with Chinese porcelain (Atasoy and
rijetki imali kineski porculan (Atasoy i Raby 1989: 14). Osim Raby 1989: 14). Apart from being traded, individual pieces
trgovinom, pojedinani komadi sigurno su dolazili i kao da- must have come as gifts from numerous representatives
rovi brojnih predstavnika carske vlasti koji su radi obavljanja of the Imperial rule who stayed in Dubrovnik in order to
conduct their business. After the earthquake in 1667 and
Poslije potresa 1667. i obnove grada, zapoelo je the restoration of the town, a new artistic era began the
novo umjetniko razdoblje baroka, koje je donijelo promje- Baroque, which brought about a change in fashion. With it,
nu modnih izriaja. Time se znatno umanjila potreba za the need for oriental items in applied arts decreased.
orijentalnim predmetima umjetnikog obrta.
37
 Podvodna Underwater
Poetkom 15. stoljea Venecija iri svoju dominaciju na
Jadranu i osvaja veinu gradova na istonoj obali. Cres, Osor,
Trogir i Split osvajaju silom, dok se Hvar, Bra i Vis predaju
bez otpora. U Koruli ivi preteno romansko stanovnitvo
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
istraivanja excavations of
Dubrovaka Republika, uz visoku cijenu slobode koju plaa
Osmanskom Carstvu, ostaje neosvojena sve do dolaska
Napoleona u 19. stoljeu. Nakon skoro stoljetne dominaci-
je Venecije Jadranom, krajem 15. i poetkom 16. stoljea u
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
pliini Sveti in the Sveti
flota ne predstavlja pravu opasnost, no za njegove vladavine
i vladavine Selima II. Turci odluuju zagospodariti Meditera-
nom i Jadranom.
Jadran je u 16. stoljeu poprite veih i manjih po-
Pavao Pavao shallows
morskih bitaka u kojima jaaju pomorske sile Osmanskog
Carstva i panjolske, a slabi Mletaka Republika. Kako je
time naruena mirna plovidba i trgovina, europske zemlje
odluuju se udruiti i organizirati kransku flotu poznatiju
kao Sveta Liga. Vie stotina raznih brodova predvoenih
Igor Miholjek Igor Miholjek
Don Juanom Austrijskim kree iz Messine i 7. listopada 1571.
sukobljava se s otomanskom flotom od preko 250 brodova
usidrenom pored Lepanta u dananjoj Grkoj. Lepantska
bitka najvea je i najvanija pomorska bitka u Mediteranu
ikada. Pobjedu je, uz strane gubitke u ljudstvu i u brodovi-
ma na obje strane, slavila kranska Sveta Liga. U Bitci kod
Lepanta sudjelovali su i brodovi istarskih i dalmatinskih gra-
dova (sl. 7). Nakon te bitke osmanska flota vie nikada nije
ulazila u Jadran, te Venecija vraa svoju prevlast u Jadranu i
ponovo uspostavlja trgovinu izmeu Istoka i Zapada (Tali-
jani 1989: 88-98).
Najnovije otkrie brodoloma iz 15. stoljea s teretom
venetske keramike i 13 eljeznih sidara na otoku Visu samo
potvruje da hrvatsko podmorje jo nije istraeno. U po-
sljednjih etrdeset godina podvodni arheolozi u Hrvatskoj
istraivali su manji broj novovjekovnih brodoloma, da bi se u
posljednjih nekoliko godina istraivanja intenzivirala. Danas
moemo slobodno zakljuiti da su istraivanja brodoloma iz
perioda od 15. do 18. stoljea postala vana tema znanstvenih
istraivanja. To moemo zahvaliti spletu sretnih okolnosti to
jest uestalijim prijavama novih brodoloma, ali prije svega
predanom radu, te napretku metoda i tehnologija istraiva-
nja. Do otkria brodoloma Sveti Pavao na Mljetu najpozna-
tiji brodolomi iz druge polovice 16. stoljea bili su oni kod
38
At the beginning of the 15th century Venice spread its dom-
inance on the Adriatic and conquered most of the cities on
the eastern coast. Cres, Osor, Trogir and Split were taken by
force, while Hvar, Bra and Vis surrendered without resis-
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
in Boka Kotorska: Perast, Kotor and Bar suffered the same
fate. Only the Republic of Dubrovnik, with a high price of
liberty it paid to the Ottoman Empire, remained uncon-
quered until Napoleons arrival in the 19th century. After
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
of the Ottoman Empire on land, the need for dominance at
sea appeared. Up until the rule of Suleiman the Magnificent,
the Ottoman fleet posed no real threat, but during his, and
the reign of Selim II, the Ottomans decided to take over the
Mediterranean and the Adriatic.
In the 16th century, great and small battles took
place on the Adriatic, which empowered the Ottoman Em-
pire and Spain, and weakened the Republic of Venice. When
sailing and trade were disrupted, the European countries
decided to join and organize a Christian fleet, known as
the Holy League. Several hundreds of different ships led
by Don John of Austria sailed from Messina on October 7,
1571, and clashed with the Ottoman fleet of over 250 ships
which were anchored near Lepanto in todays Greece. The
Battle of Lepanto that took place on that day is the greatest
and the most important battle on the Mediterranean in
history. The victory, with huge losses in men and ships on
both sides, was won by the Christian Holy League. Ships
from Istrian and Dalmatian towns took part in the Battle of
Lepanto (fig. 7.). After the battle, the Ottoman fleet never
entered the Adriatic, so Venice took back its dominance
over the Adriatic and reinstated trade between the East and
the West (Talijani 1989: 88-98).
The latest discovery of a 15th century shipwreck
with a cargo of Venetian pottery and 13 iron anchors on the
island of Vis only confirms that Croatian waters are still un-
explored. During the last forty years, underwater archaeol-
ogists in Croatia excavated a small number of post-Medieval
shipwrecks, only to intensify the research in the last couple
of years. Today, we can say with certainty that the research
of shipwrecks dated to the period between the 15th and the
18th century is an important subject in academic research.
This is due to a series of fortunate circumstance, that is, to
39
 Sl. 7. Lepanska bitka, fotografija
karte iz Zaviajnog muzeja
grada Rovinja
Fig. 7. The Battle of Lepanto,
photo taken in the Rovinj
Native Museum
otoia Gnalia (Raduli 1970: 4-7) i otoka ipana (Kisi 1979:
73-98), a iz 17. je stoljea najpoznatiji brodolom kod Dre-
vina u Koloepskom kanalu blizu Dubrovnika (Kisi 1982:
143-163). U vie se navrata istraivalo brodolom iz 17.st. kod
otoia Bisage u Kornatima (Brusi 1986: 473 490). Brod je
bio dobro naoruan sa 7 topova a prevozio je kineski porcu-
lan dinastije Ming (1368- 1644.) i Qing (1644-1912.). Jo dva
brodoloma pronaena su u Dubrovakom akvatoriju, blizu
Brseina (Jurii, Mihajlovi 2010: 103-113) i ispred Cavtata,
a trei na pliini Mijoka blizu Murtera. Prema izvaenim
dijelovima topova, brodolom se kod Brseina vjerojatno
dogodio krajem 16. stoljea (Ridella 2011: 39-56) ili kasnije, a
nalazite ispred Cavtata potjee iz razdoblja Napoleonskih
ratova. Brodolom kod pliine Mijoka blizu Murtera potjee,
prema nalazima slinima materijalu pronaenom kod Gna-
lia, s poetka 17. stoljea (Zmai 2009: 430-442). Od dva
brodoloma iz 16. stoljea sa slinim teretom jedan se nalazi
na junoj strani otoka Korule (Radi Rossi 2001: 227-236),
a drugi kod otoka Bieva (Radi 1990: 213-227). Brodovi su
prevozili raznoliki teret poluproizvoda od mjedi. U podmor-
ju Lastova takoer je pronaen brodolom iz 16. stoljea. No-
vovjekovni brodolomi nisu rijetkost u hrvatskom podmorju,
ali ih se rijetko pronalazi u ovako netaknutom stanju i uz to
rijetko govorimo o sustavno istraivanim novovjekovnim
brodolomima (sl. 8).
the fact that reports of new shipwrecks have become more
common, and primarily due to dedicated work and the
progress of research methods and technologies. Until the
discovery of the Sveti Pavao shipwreck on Mljet, the most
famous shipwrecks from the second half of the 16th cen-
tury were the ones found near the islet of Gnali (Raduli
1970: 4-7) and the island of ipan (Kisi 1979:73-98), and,
from the 17th century, the most important wreck is Drevine
in the channel of Koloep near Dubrovnik (Kisi 1982:143- Sl. 8. Karta Jadrana s pozicijama novovjekovnih brodoloma PIRI REIS
163). The 17th century shipwreck near the islet of Bisage
in the Kornati archipelago was excavated on a number of
occasions (Brusi 1986: 473 490). The ship was well armed,
with 7 artillery pieces and a cargo of Chinese porcelain dat-
ed to the Ming (1368-1644) and Qing (1644-1912) dynasties.
Two more sites were found in the Dubrovnik underwater
area, one near Brseine (Jurii, Mihajlovi 2010: 103-113) and / islet of Bisaga, Kornati archipelago
one in front of Cavtat. A third ship was found near the Mi-
joka shallows close to the island of Murter. According to the
retrieved cannon parts, the shipwreck near Brseine can be
dated to the end of the 16th century (Ridella 2011: 39-56) or
later, and the site in front of Cavtat to the time of the Napo-
leonic wars. The shipwreck near the Mijoka shallows near
Murter can, based on material which is similar to one part
of the material found at Gnali, be dated to the beginning of
the 17th century (Zmai 2009: 430-442). Similar cargo was
(s doputenjem "The Walters Art Museum")
Fig. 8. Map of the Adriatic with positions of post- Medieval shipwrecks-
PIRI REIS (with the permission of the Walters Art Museum)
1. Otoi Gnali, Biograd
/ islet of Gnali, Biograd
2. Otoi Bisaga, otoje Kornati
/ Sveti Pavao shallows,
3. Pliina Mijoka, otok Murter
/ Mijoka shallows, Murter Island
4. Otoi Greben, otok Vis
/ islet Greben, Island of Vis
5. Uvala Labotovo, otok Vis
/ Labotovo bay, Island of Vis
6. Otok Bievo/ island of Bievo
7. Otoi Otoac, otok Korula / islet
of Otoac, island of Korula
8. Rt Cuf, otok Lastovo
/ Cape Cuf, island of Lastovo
9. Pliina Sveti Pavao, otok Mljet
depth of 40 and 42 m, except for two artillery pieces which
island of Mljet
10. Uvala Brseine, Dubrovnik
/ Brseine Bay, Dubrovnik
11. Uvala Suura, otok ipan
/ Suura Bay, island of ipan
12. Drevine, Koloepski kanal
/ Drevine, Koloep Channel
13. Rt Ratac, otok Koloep
/ Cape Ratac, island of Koloep
found on two 16th-century shipwrecks, one on the south-
ern side of the island of Korula (Radi Rossi 2001: 227-236)
and one near the island of Bievo (Radi 1990: 213-227). The
ships were transporting various cargos of brass semi-prod-
ucts. A post-Medieval shipwreck from the 16th century
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
the Ministry of Culture and the Department for Underwa-
ter Archaeology of the Croatian Conservation Institute, and
they organised rescue excavations held the following year
(fig. 9.).
The goal of the first research campaign was to draw
a draft of the site and take photographs of the situation at
the site. Due to the great value of bronze artillery pieces and
other preserved objects it was decided that all objects that
were documented could be raised to the surface, in order to
prevent devastation (fig. 10.). The sea bottom lowers to the
depth of 46 m forming cascades; the rocks, overgrown with
vegetation, are followed by a sandy bottom which forms a
mild slope towards a deeper region. The biggest concentra-
tion of finds is visible on the last two cascades. The concen-
tration of finds covers approximately 50 m2, between the
were found 10 m east of the main assemblage, at a depth
of 37 m. The remains of the ships construction and the
anchors lie at the depth between 38 and 46 m. In order to
precisely document the site it was necessary to place seven
orientation points. They were named using letters from A
to G (see the big plan of the site, Plan 1). These points were
used to measure the position of the finds using triangula-
tion, so each find was given an exact position, depth and
relation to other finds. After the finds were documented
41
 Sl. 9. Karta Mljeta s
pozicijom brodoloma Sveti
Pavao, (preuzeto iz: Piri
Reis, The Book of Bahriye,
Istanbul 2013, 103)
Fig. 9. Map of Mljet with the
location of the Sveti Pavao
shipwreck (taken from: Piri
Reis, The Book of Bahriye,
Istanbul 2013, 103)
Otok Mljet nalazi se 22 nautike milje sjeverozapadno od
Dubrovnika. Ronjenje je u moru oko otoka Mljeta zabra-
njeno osim ako ga odobri Ministarstvo kulture koje izdaje
posebne dozvole u te svrhe. Ronilaki klub Sava-Medveak
dobio je dozvolu za svoj ronilaki kamp uz obavezu prijave
svih nalaza u vodama oko otoka Mljeta. Klub je organizirao
kamp na junom dijelu otoka u kolovozu 2006. Ostaci nala-
zita naeni su tijekom urona koji je vodio Jurica Bezak na
junoj strani otoka oko 200 m od obale. Obavijestio je Mini-
starstvo kulture i Odjel za podvodnu arheologiju Hrvatskog
restauratorskog zavoda te je ve sljedee godine organizira-
no zatitno istraivanje (sl. 9).
Cilj prve istraivake kampanje bio je izrada skice
i fotografija situacije na nalazitu. Zbog velike vrijednosti
pronaenog naoruanja i ostalih predmeta, odlueno je da
e predmeti koji su dokumentirani biti izvaeni ne bi li se
sprijeila devastacija (sl. 10). Morsko se dno sputa na dubinu
od 46 m u kaskadama. Stijene su obrasle, a nakon njih slijedi
pjeskovito dno oblikujui blagu kosinu u dubinu. Najvea
koncentracija nalaza vidljiva je na zadnje dvije kaskade.
Nalazi se proteu na oko 50 m2, na dubini izmeu 40 i 42
metra. Jedino su dva topa naena 10 metara istono od
glavne koncentracije nalaza, na dubini od 37 metara. Ostaci
brodske konstrukcije i sidara nalaze se na dubini od 38 do
42
and photographed with their associated number, they were
brought up to the surface so they could be individually doc-
umented and drawn. Smaller objects were put into nets and
carefully taken up to the surface, and artillery pieces were
taken out individually using an airlift (fig. 11.).
The first excavations lasted four days, included 33
dives conducted by the team, and during which 37 objects
were documented and retrieved from the seabed. Excava-
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-
tion grid was placed, using points fixed in the previous
campaign (fig. 12.). This allowed for a precise measuring of
both various finds and the site. In this research phase 51
objects were documented and recovered from the seabed.
Nine limestone shots were found (fig. 13.) along with one
small lead shot which was found inside the sand layer at the
bottom of the trench. This shows the ship was armed not
only with artillery pieces but also with harquebuses. Metal
objects were also found at the site, including a copper food
warmer with a horizontally hammered relief band below
the rim. Other items include a bronze convex pan of a pan
balance (libbra), measuring 6.2 cm in diameter, with three
small hanging holes, a lock cartridge measuring 14x6 cm; a
glass bead measuring 10 mm in diameter and a large num-
ber of animal bones. An iron anchor, found at the depth
of 37 m and 25 m north of Sector 1, i. e. the area with the
highest concentration of finds (Plan 2) was also documented Plan 1. - Plan nalazita na
and named Sector 3 (Plan 1). It was 2.20 m long with a tilt pliini Sveti Pavao,
on top, measuring 60 cm in diameter. The lower part of the sva etiri sektora
Plan 1. - Plan of the site in the
anchor was buried in the sand and only one arm could be
Sveti Pavao shallows,
seen protruding from the seabed. Considering the fact that all four sectors
the site was found intact, it was necessary to maintain the
conditions that preserved the ships hull during all under-
water investigations (digging, documentation, etc.)
43

Plan 2. - Plan nalazita na pliini Sveti Pavao, Sektor 1
Plan 2. - Plan of the site in the Sveti Pavao shallows, Sector 1
44
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-
skom dnu. Na svakodnevnim brifinzima prije svake roni-
lake akcije dodjeljivala su se generalna zaduenja ronioca
i iznosio se plan ronjenja, a na kraim su se brifinzima prije
45
 Sl. 13. Dokumentiranje topovskih
kugli in situ
Fig. 13 Documentation of the
shots in situ
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
zaduenja.
Za razliku od prethodne godine, kada se za mjerenje
koristila metoda triangulacije, 2008 godine postavljena je
dokumentacijska mrea (sl. 12), koristei prethodno uvre- 2008 campaign lasted for 6 days during which 54 dives
ne toke. Ovo je doputalo preciznu izmjeru nalaza i samog
nalazita. U ovoj je fazi istraivanja iz mora dokumentiran i
izvaen 51 predmet. Pronaeno je devet kugli od vapnenca
(sl. 13), i jedna mala olovna kugla, pronaena u sloju pijeska
na dnu sonde, to ukazuje da je brod bio naoruan ne samo
topovima, ve i arkebuzama. Na morskom su dnu pronaeni
i metalni predmeti poput bakrene posude za odravanje to-
pline hrane s horizontalno iskucanom reljefnom trakom is-
pod oboda. Ostali predmeti ukljuuju bronanu konveksnu
pliticu za vagu (libbra) promjera 6,2 cm, s tri rupe za vjeanje;
bravu dimenzija 14 x 6 cm, staklenu perlu promjera 10 mm
i veliki broj ivotinjskih kostiju. eljezno sidro naeno je na
dubini od 37 m, 25 m sjeverno od Sektora 1. Odnosno od po-
druja s najveom koncentracijom nalaza (Plan 2.), te je i ono
dokumentirano i nazvano Sektor 3. (Plan 1.). Dugo je 2,20 m,
dok je ukupna irina krakova 140 cm. Donji dio sidra bio je
zakopan u pijesku i jedan se krak jedva mogao vidjeti kako
viri iz pijeska. Imajui na umu da je nalazite naeno neta-
knuto, bilo je nuno sauvati uvjete koji bi ouvali stanje
46
Therefore, additional attention was given to the hull, with
an emphasis on documenting the wooden remains in order
to get a better image of the ship itself, its function and
details about the unfortunate capsizing of the vessel. The
i njegovog nesretnog potonua. Istraivanja 2008. trajala
were made. It is important to mention seven large Iznik
plates put one on top of each other, and several bowls
packed for transportation, confirming the hypothesis that
the ship contained oriental commercial cargo intended for
the western market.
The 2009 excavations continued towards the north-
ern area of the excavation field. The excavations enclosed
an area of 44 m2. 75 items were documented and retrieved
from the seabed during this research phase, including three
additional stone shots of the same diameter - 9.5 cm, and
fragments of at least five green glass bottles. According
to the shape of the rim and neck, we can conclude there
were at least three types of glass bottles of various sizes
and shapes onboard. One bilateral wooden comb was also
found. Pottery makes up most of the finds, and it can be
divided into two categories. The first category consists of
the ships simply-shaped kitchenware of western and ori-
ental origin, and the ships cargo, the luxurious, elaborately
decorated Iznik pottery, falls into the second category. Parts
trupa broda tijekom svih podvodnih istraivanja (kopanje,
dokumentacija i dr.). Stoga je posebna pozornost posveena
trupu, s posebnom brigom za dokumentaciju ostataka drva
kako bi se dobila bolja slika samoga broda, njegove funkcije
the stone cascade (fig. 14.). This campaign lasted for 6 days
su 6 dana i tada su obavljena 54 urona. Vano je spomenuti
sedam velikih iznikih tanjura,naslaganih jedan na drugoga
i nekoliko zdjela sloenih za transport, to potvruje pret-
postavku da je brod prevozio orijentalni trgovaki teret
namijenjen zapadnom tritu .
Istraivanja 2009. godine nastavila su se na sjever-
nom dijelu iskopa. Istraivanje je obuhvatilo podruje od
44 m2. U ovoj je fazi istraivanja dokumentirano i izvaeno
na povrinu 75 predmeta. Naene su jo tri kamene kugle
istog promjera (9,5 cm), te ulomci barem pet staklenih boca.
Prema obliku oboda i vrata moe se zakljuiti da je na brodu
bilo barem tri tipa boca razliitih veliina i oblika. Naen je i
jedan dvostrani drveni ealj. Najvei dio nalaza ini kerami-
ka koja se moe podijeliti u dvije kategorije. U prvu katego-
riju spada kuhinjska keramika jednostavnog oblika zapad-
nog ili orijentalnog podrijetla. Drugu kategoriju sainjava
brodski teret luksuzne i bogato ukraene iznike keramike.
Nekoliko se nalaza, drveni koloturnik i mjedeni provodnik
za kolotur, pripisuje brodskoj opremi. Nadalje, u pijesku na
Sl. 15. Osmanske ake i taliri
europskog porijekla
pronaeni zajedno
Fig. 15. Ottoman akche and
European talers found together
of the ships equipment were also recovered, a brass square
coak and a wooden heart (deadeye). Furthermore, eighth
bronze artillery pieces with an iron breech holder, an iron
yoke and a peg were found at the bottom in the sand below
and included 54 dives.
Material recovered in the 2010 campaign is related
to the material found in previous campaigns. One of the
more interesting objects is a small bronze ships bell with
the year MDLXVII (1567) shown in relief. Two silver talers
together with 40 akches were also found (fig. 15.). The
Ottoman akches are extremely important for the dating of
this shipwreck. In fact, the recovered akches belong to four
different sultans: Sultan Selim I (1512-1520), Sultan Suleiman
I (1520-1566), Sultan Selim II (1566-1574) and Sultan Murad
III (1574-1595). Since sultan Murat III began minting the
coins in 1574, we can be sure that the ship could not have
sunk before that year. (see cat. no. 125-128 and T. VII, VIII)1
In this research stage ten archaeological trenches
were dug (fig. 16.), covering an area of 40 m2, and 88 objects
1Uvrteno s doputenjem autora (Garo Krkman).
/ Used with permission from the author (Garo Krkman).
47

Sl. 16. Iskop mamut- sisaljkama
Fig. 16. Excavations with
underwater dredgers
dnu ispod kamenih kaskada pronaen je osmi top sa elje-
znom komorom za barut te eljeznom vilicom-nosaem (sl.
14). Istraivanje je trajalo 6 dana i obavljena su 54 urona.
Materijal, pronaen za istraivanja 2010., povezan
je s materijalom iz prethodnih kampanja. Jedan od zanimlji-
vijih predmeta je malo bronano brodsko zvono s natpisom
godine MDLXVII (1567.) u reljefu. Naena su i dva srebrna
talira s 40 aki (sl. 15). Osmanske su ake iznimno vane za
datiranje ovog brodoloma. Naime, pronaene ake pripa-
dale su etvorici sultana: Selimu I. (1512. - 1520.), Sulejmanu
I. (1520. -1566.), Selimu II. (1566. -1574.) i Muradu III. (1574.-
1595.). Budui da sultan Murad III. nije poeo kovati novac
prije 1574., znamo da brod nije mogao potonuti prije te
godine. (vidi k. br. 125-128 i T. VII, VIII)1
Te je godine iskopano deset arheolokih sondi to
odgovara podruju od oko 40 m2 (sl. 16). U ovoj fazi istrai-
vanja pronaeno je i dokumentiran 88 predmeta. Predmeti
su veinom nalazi keramike, izniki tanjuri i posude razlii-
tog oblika, vrevi i manja luksuzna keramika. Stakleni i me-
talni predmeti, kao i ivotinjske kosti, manje su zastupljeni.
1 Uvrteno s doputenjem autora (Garo Krkman).
/ Used with permission from the author (Garo Krkman).
48
were retrieved from the seabed and subsequently docu-
mented. Most of the recovered material consists of pot-
tery finds, Iznik plates and vessels of various size, jugs and
smaller luxurious pottery. Only a small amount of animal
bones was recovered, as well as a small number of objects
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
and included 147 dives.
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,
which began in 2010, was also continued in cooperation
with our Italian colleagues . Fifteen planks and six frames
were documented using photogrammetry. During the
cleaning of the ships remains, a seventh frame was found
as well as the mast step and new parts of the planking (fig.
17.). The hull was thoroughly photographed, as well as every
important detail of it. One frame with a futtock and one
plank were airlifted to the surface. The plank was returned
to its original position immediately after taking a sample for
a dendrochronological analysis. The frame with the futtock
was carried to the base where it was drawn in 1:1 scale, and
special attention was given to documenting the connection
between the frame and futtock. The frame with the futtock
was also returned to its original position after the process
of documentation was finished. The remains of the ships
hull, covering an area of 6x4 meters, was researched and
documented, and the results showed that the total length of
the ship could be estimated to around 24 meters. The keel-
son was also documented along with the mast step, which
proves that the central axis of the ship was preserved. It
is interesting to mention that the ship was built using the
double-hull technique, which ensures better hull integrity,
while the way in which the planks were connected points
to a Venetian origin of the ship. The campaign lasted for ten
Te je godine zapoela i suradnja s timom podvodnih arhe-
ologa iz Italije, pod vodstvom Carla Beltramea s odsjeka
Dipartimento di Studi Umanistici, sveuilita Ca Foscari
u Veneciji. Talijanski se tim pridruio istraivanju kako bi
kompletno dokumentirao drvenu oplatu broda. Kolege sa
sveuilita Ca Foscari nainili su fotomozaik. Dokumentira-
li su 15 dasaka oplate i 6 rebara (otprilike 24 m2). Istraivanja
2010. trajala su 13 dana, za kojih je obavljeno 147 urona.
Istraivanja u Sektoru 1. nastavljena su 2011. Sektor
1. proiren je prema istoku, zapadu i jugu. Dokumentirano
je sveukupno 46 nalaza na brodolomu. Pronaeni ulom-
ci tanjura pripadali su tanjurima naenim u prethodnim
kampanjama. Nalazi pripadaju luksuznoj iznikoj keramici.
Sektor 2. s ostacima brodske oplate nalazi se istono od
Sektora 11. Dokumentiranje drvene konstrukcije zapoeto
2010. nastavilo se u suradnji s kolegama iz Italije. Petnaest
dasaka oplate i est rebara dokumentirano je fotogrametri-
jom. Tijekom ienja ostataka broda pronaeno je sedmo
rebro, postolje jarbola i novi dijelovi oplate (sl. 17). Oplata
je temeljito fotografirana kao i svaki njezin vaan detalj.
Jedno je rebro i rebreni nastavak podignut na povrinu, a s
njima jo jedna daska oplate. Daska oplate vraena je natrag
na svoje mjesto nakon to je iz nje uzet uzorak za dendro-
kronoloku analizu. Rebro i rebreni nastavak odneseni su
Sl. 17. Pogled na nalazite: Sektor
2 s ostacima brodskog trupa i
Sektor 1 sa brodskim teretom
Fig. 17. View of the site: Sector 2
and the remains of the ships hull
and sector 1 with the ships cargo
days and included 94 dives.
Due to extremely bad weather conditions and
strong southern wind, the 2012 campaign only lasted for
four days during which the team was able to make 29 dives.
The deeper part of the site, at the depth of around 46 m,
was surveyed with a small Remotely Operated Vehicle
(ROV). The Video Ray was taken to the site by the Italian
team and subsequently caught sight of two iron anchors
3,45 x 2,10 and 3,80 x 2,23 m in dimensions. The position
of the anchors has been known since 2006 when the site
was discovered, but they were not documented until the
2012 campaign. The first anchor was placed perpendicularly
across the second one and was partially buried in the sand.
This part of the site received the designation Sector 4. A
stone cylinder with measuring 160 cm in length and 50 cm
in diameter was found in the same sector, just a few meters
above the anchors, at a depth of 44 m. It had a rectangular
slot on its sides (the two holes of the slot follow the axle of
the cylinder). A similar but smaller object was found during
the 2010 campaign, also at the depth of 44 m, but closer to
Sector 2. The function of these items is still unknown.
Underwater archaeological excavations are ex-
tremely complex and demanding in terms of organisation.
The great depth of the shipwreck additionally complicates
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
Trgovaki brod koji je svoje putovanje zavrio na pliini
Sveti Pavao nosio je bogat orijentalni teret namijenjen
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
grada Iznika Ottoman town
pokroviteljstvu osmanskoga dvora u razdoblju od 1480. do
1670. godine bile centar proizvodnje glaziranih keramikih
predmeta poput zidnih obloga, obrednih predmeta i luksu-
znoga stolnog posua. Za sultana Sulejmana Velianstvenog
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
Murada III. (1574. - 1595.) U drugoj polovici 16. stoljea ova je
vesna zmai kralj keramika postala popularna i u Europi, stoga se kao skupo-
cjena roba dopremala brodovima u velike trgovake centre
poput Dubrovnika, Venecije i Genove.
Brodolom kod pliine Sveti Pavao i zbirka iznikog
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
pomorske trgovine ovim posuem od Bospora prema eu-
ropskom tritu i vrlo iscrpan pokazatelj kakvim se oblicima
posuda trgovalo te koji su ukrasi i motivi bili traeni na Za-
padu krajem 16. stoljea. Zbirka ujedno predstavlja rezultate
podvodnih istraivanja provedenih tijekom est arheolokih
kampanja u periodu od 2007. do 2012. godine, prilikom kojih
je s dna izvaeno preko 300 pokretnih arheolokih nalaza,
od kojih 60 predstavlja trgovaki teret iznikoga stolnog
posua. Rije je o posuu za serviranje hrane, poput zdjela
i vreva, te o posuu iz kojeg se jelo, tanjurima i zdjelicama.
Najzastupljenije su, sa esnaest primjeraka, velike zdjele za
serviranje hrane (kat. br. 1, 2, 3, 4, 5, 6, 7, 8, 9, 23, 24, 33, 34,
35, 46, 47 ). Istu namjenu imalo je est zdjela na nozi (kat.
br. 25, 26, 27, 28, 29, 37) i kupolasti poklopac, koji je pripa-
dao dubokoj zdjeli na nozi (kat. br. 36). Devet vreva sa est
pripadajuih poklopaca predstavljaju posude za natakanje
tekuine (kat. br. 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22), dok je
trinaest plitkih tanjura s tankim obodom (kat. br. 10, 11, 30,
31, 32, 38, 39, 40, 41, 42, 43, 44, 45) i est polukrunih zdjeli-
ca predstavljalo posue iz kojeg se jelo (kat. br. 48. 49, 50, 51,
52, 53).
Osim iznikog posua brod je prevozio i tekui teret
u staklenim bocama poznatim kao demiane od kojih su
ostala sauvana samo grla te ulomci trbuha i dna. Tijekom
istraivanja pronaeni su ulomci od vie desetaka boca od
zelenoga stakla (kat. br. 54 62). Na osnovu grla od debljeg
52
Introduction
The merchantman that ended its journey in the shallows
of Sveti Pavao was carrying a rich oriental cargo intended
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-
tronage of the Ottoman court in the period between 1480
and 1670, were the centre of production of glazed ceramic
objects such as wall tiles, ritual artefacts and luxury table
ware. During the reign of Sultan Suleiman the Magnificent
(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-
1595). In the second part of the 16th century this pottery
became popular in the Europe, and was shipped in major
market centres such as Dubrovnik, Venice and Genoa.
The shipwreck at the Sveti Pavao shallows and the
collection of ceramic pottery shown in the Iznik - Otto-
a unique example of maritime trade of this pottery from
the Bosporus towards the European markets and a compre-
hensive indicator of vessel forms on the market and deco-
rations and motifs in demand in the West at the end of the
16th century. The collection also represents the results of
underwater research conducted in six archaeological cam-
paigns from 2007 to 2012, during which over 300 artefacts
were recovered, 60 of which represent Iznik table ware car-
go. The cargo consisted of vessels meant for serving food
such as dishes and jugs, and vessels meant for dinning such
as plates and small bowls. The most numerous form were,
counting sixteen items, large dishes meant for serving food
(cat. no. 1, 2, 3, 4, 5, 6, 7, 8, 9, 23, 24, 33, 34, 35, 46, 47 ). Six
dishes on a foot, served the same purpose (cat. no. 25, 26, 27,
28, 29, 37) as did the dome-like lid which was part of a deep
dish on a foot (cat. no. 36). Nine jugs with six matching lids
represent vessels meant for pouring liquids (cat. no. 12, 13,
14, 15, 16, 17, 18, 19, 20, 21, 22), while thirteen shallow plates
with a thin rim (cat. no. 10, 11, 30, 31, 32, 38, 39, 40, 41, 42, 43,
44, 45) and six hemispherical small bowls represent vessels
meant for dining (cat. no. 48. 49, 50, 51, 52, 53).
Apart from Iznik pottery, the ship was transporting liq-
uid cargo in glass bottles known as demijohns, as shown
by retrieved necks and fragments of bellies and bottoms.
During the excavations, fragments of several dozen bottles
made of green glass were recovered (cat. no. 54 62). Based
on fragments of thick necks with beaded rims, and thin
53

Sl. 18. Pliina Sveti Pavao: dio tereta
iznikog posua in situ
Fig. 18. Sveti Pavao shallows: a part
of the cargo of Iznik pottery in situ
stakla s prstenastim obodom, tankih ulomaka koji su pripa-
dali irokom tijelu i dna konkavnog oblika moe se pretpo-
staviti da su boce bile obloene pruem poput tradicional-
nih demiana, pletenih boca za prijenos i uvanje tekuine.
Prue se zbog organskog sastava razgradilo na morskome
dnu, a staklena su se tijela prilikom potonua razbila.
Najvei dio pokretnih nalaza i svi primjerci iznikog
posua bili su pronaeni u Sektoru 1., u centralnom dijelu
lokaliteta na dubini od 40 do 45 metara. Svi nalazi u sek-
toru ukazuju da je rije o dijelu trupa broda s natkrivenim
prostorom namijenjenom posadi i putnicima, brodskoj
kuhinji i skladitu za trgovaki teret, municiju i ostale
brodske potreptine. Dok su ostali pokretni nalazi leali
na dnu bez odreenog reda, iznike su posude pronaene
jednim dijelom sloene jedna u drugoj, na nain kako su bile
transportirane (Sl. 18.) ili su pak bile ispremijeane s ostalim
materijalom (Zmai Kralj 2004: 65). Ambalaa se zbog svog
organskog sastava nije sauvala, no tragovi drveta u sloju
ukazuju na drvene sanduke. Arheoloki sloj u sektoru bio je
pijesak tamne, masne konstitucije ispremijean s ostacima
raspadnutoga drveta i korodiranog eljeza, tako da su i kera-
miki predmeti unutar njega bili prekriveni tankim filmom
masne crne ai zbog raspadanja eljeznih predmeta u
neposrednoj blizini. Na pojedinim predmetima neistoa je
54
Sl. 19. Pliina Sveti Pavao:
dokumentacija iznike posude in situ
Fig. 19. Sveti Pavao shallows:
documentation of an Iznik dish in situ
fragments of wide bodies and concave bottoms, we can
assume that the bottles were sheathed with brushwood like
traditional demijohns - braided bottles used for transport-
ing and storing liquids. The brushwood disintegrated due to
its organic composition and the large glass bodies with thin
walls broke when the ship sunk.
Most movable finds and all finds of Iznik pottery
were located in Sector 1, the central part of the site, at the
depth of between 40 to 45 meters. All finds in this sector
indicate that it was part of the ships hull with a covered
space intended for the crew and passengers, the galley and
the storage space for the commercial cargo, ammunition
and other ship supplies. While the rest of the movable finds
was lying at the bottom in no specific order, some vessels
from Iznik were found stacked on top of each other, in the
manner in which they were transported (fig. 18) (Zmai Kralj
2004: 65). The packaging, due to its organic composition,
was not preserved, but traces of wood in the layer indicate
wooden crates. The archaeological layer in the sector was
dark greasy sand mixed with remains of decomposing wood
and corroded iron, so the ceramic objects in them were
covered with a thin layer of greasy black soot, the result of
the decomposition of iron objects in their vicinity. In sever-
al objects the impurities reached the layer under the glaze
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,
konzervacije i restauracije. S obzirom da je brodolom pro- documentation, conservation and restoration. Considering
naen u potpuno netaknutom stanju, moe se pretpostaviti the fact that the ship was found completely intact, it is safe
da gotovo svi ulomci razbijenih keramikih predmeta lee to assume that almost all fragments of the ceramic objects
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
istraivanja. conserved only after the completion of all research.
Proizvodnja grada Iznika Production in the town of Iznik
Grad Iznik, antika i bizantska Niceja (Nicaea, ), The town of Iznik, Roman and Byzantine Nicaea ()
smjeten je na istoimenom jezeru u sjeverozapadnoj Anato- is situated on a lake of the same name in north-western
liji, stotinjak kilometara udaljen od Istanbula (sl. 20.) Prema Anatolia, about a hundred kilometres from Istanbul (fig.
Strabonu grad je utemeljen 316. pr. Kr. na obali jezera Aska- 20). Strabo states that the town was founded in 316 BCE on
nia i nazvan Antigoneia prema utemeljitelju Antigonu (Anti- the shores of Lake Askania, also called Antigonea after its
gonos), jednom od nasljednika Aleksandra Velikog. Neto ka- founder Antigonus (Antigonos), one of the heirs of Alexan-
snije zauzima ga Lizimah (Lysimakhos) i naziva Nikaia u ast der the Great. Somewhat later it was taken by Lysimachus
svoje ene Nike (Kirmizi 2004: 2). U rimsko i bizantsko doba (Lysimakhos) and called Nikaia after Lysimachus wife Nike
bio je jedan od vodeih gradova provincije Bitinije, poznat (Kirmizi 2004: 2). During the Roman and Byzantine Empire
kao mjesto odravanja crkvenih koncila 325. i 787. godine. it was one of the leading cities in the province of Bithynia,
Prijestolnicom Rum Selcuk dinastije postaje 1075. to i ostaje known for the two Ecumenical councils in 325 and 787 CE.
sve do 1331. godine kada ga osvaja Orhan, sin Osmana te It became the capital of the Rum Seljuk Dynasty in 1075 and
postaje osmanski grad Iznik (Sl. 21.). Na svom vrhuncu grad kept that title until 1331 when it was conquered by Orhan,
je imao i do 30 tisua stanovnika, dok je krajem 15. stoljea the son of Osman, when it became the Ottoman town of
samo tranzitno mjesto na putu u istonu Anatoliju i sirijske Iznik (fig. 21). At its peak it had up to 30 thousand town
provincije (Atasoy, Raby 1989: 19-20). Zahvaljujui bogatstvu dwellers, while at the end of the 15th century it became
prirodnih sirovina potrebnih za proizvodnju keramike, Iznik a mere transit place on the route to eastern Anatolia and
je imao i raniju tradiciju proizvodnje keramike koja se moe the Syrian provinces (Atasoy, Raby 1989: 19-20). Due to the
pratiti kroz bizantsko i selduko razdoblje. Starija tradicija wealth of natural resources necessary for the production
odraava se u keramici crvenkaste boje peenja, a moe se of pottery, Iznik had a long tradition of pottery production,
55
 Sl. 20. Karta istonog Mediterana
s trgovakim lukama i osmanskim
keramikim centrima (preuzeto iz:
Piri Reis, The Book of Bahriye, 41.
The map of Mediterranean Sea)
Fig. 20. Map of the Eastern
Mediterranean with trade ports
and Ottoman ceramic centres
(taken from: Piri Reis, The
Book of Bahriye, 41.The map of
Mediterranean Sea)
Sl. 21. Grad Iznik oko 1537,
minijatura Matraki Nasuha,
Istanbul University Library, inv.
no. T.5964, fol. 14b. (preuzeto iz:
Atasoy, Raby 1989: fig. 6)
Fig. 21. The town of Iznik, around
1537, miniature by Matraki
Nasuh, Istanbul University
Library, inv. no. T.5964, fol. 14b.
(taken from: Atasoy, Raby 1989:
fig. 6)
podijeliti u tri glavne skupine: sgraffito keramiku bizantskih
i seldukih keramiara, slip keramiku koja odraava vezu iz-
meu selduke i osmanske keramike i tzv. Miletus ware 15.
stoljea (Bilgi 2009: 23), koja je prethodila iznikoj, kvarcnoj
keramikci bijelog tijela. Miletsku grupu keramike karakte-
rizira kobaltnoplava ili rjee ljubiasta dekoracija izvedena
na bijeloj engobi kojom se premazivala samo unutranjost
posude crvenog tijela (sl. 22). Najei su oblici bili zdjele i
tanjuri, a motivi su raeni prostoruno, najee u cvjetnim,
zrakastim i geometrijskim motivima koji su naizmjenino
kombinirani nalik onima na metalnom posuu (Parker 1965:
160; Bilgi 2009: 23). Ova keramika bila je iroko rasprostra-
njena po maloj Aziji i Egeji, a brojni primjerci pronaeni su
na podruju Mileta, Ktahye, Konye, Silifke, Burse, Ankare
i Istanbula. Naziv joj je nadjenuo F. Sarre prema brojnim
ulomcima pronaenima za istraivanja antikog grada Mile-
ta, radi ega je zakljuio da se tu i proizvodila (Sarre 1930-31:
20-23), sve dok se kasnijim istraivanjima keramikih pei
u Izniku nije utvrdilo da je ipak rije o iznikoj proizvodnji
(Bilgi 2009: 23).
Sljedea faza proizvodnje keramike u radionicama
grada Iznika javlja se u drugoj polovici 15. stoljea usvaja-
njem nove tehnologije u proizvodnji kvarcne, silikatne ili
56
which can be traced to the Byzantine and Seljuk times. The
ancient tradition is reflected in pottery that was reddish af-
ter firing, and can be divided into three main groups: sgrafit-
to pottery of the Byzantine and Seljuk potters, slip-pottery
that reflects the connection of the Seljuk and Ottoman
pottery, and the so called Miletus ware of the 15th century
that precedes the white-bodied Iznik fritware (Bilgi 2009:
23). The Miletus group is characterised by a cobalt blue or,
less commonly, purple decoration on a white underglaze
that was used to cover only the interior of the red body of
the vessel (fig. 22). The most common forms were bowls and
plates, the motifs were done freehandedly, and mostly con-
sist of floral, radial and geometrical motifs combined alter-
nately, like motifs on metal vessels (Parker 1965: 160; Bilgi
2009: 23). This pottery was widely distributed in Asia Minor
and the Aegean, and numerous examples were found in the
area of Miletus, Kthaya, Konya, Silfika, Bursa, Ankara and
Istanbul. The pottery was named by F. Sarrem who conclud-
ed, judging by the numerous fragments found during the
research of ancient Miletus, that the pottery was produced
there (Sarre 1930-31: 20-23), while later research on ceramic
kilns in Iznik showed that they were in fact made in Iznik
(Bilgi 2009: 23).
Sl. 22. Miletska grupa
keramike, Iznik, 15.
stoljee (preuzeto iz:
Bilgi 2009:
cat. no. 3),
Fig. 22 Miletus ware,
Iznik, 15th century (taken
from: Bilgi 2009:
cat. no. 3)
tzv. fritta keramike bijelog i vrstog tijela, poznatije pod na-
zivom fritware ili stonepaste (Denny 2004: 49). Iako osman-
ski keramiari tada ve proizvode zidne obloge od keramike
bijelog tijela u cuerda seca tehnici1 i oblau njima graevine u
Edirni i Bursi, pravi razlog inovacije u izradi stolnog posua
lei u opinjenosti bijelo-plavim kineskim porculanom. Ki-
neski porculan, tvri i otporniji od stakla, bijelog staklastog
sjaja te ljuturasta loma, stoljeima je bio sinonim za luksuz
i eleganciju. U pokuajima otkrivanja formule za njegovu
izradu perzijski keramiari pronalaze vrstu, bijelu smje-
su, kakvoom i izgledom nalik porculanu, koja se poinje
primjenjivati ve od 12. stoljea. Princip izrade ove kerami-
ke bijelog tijela opisuje Abl Qsim, lan slavne perzijske
obitelji lonara Abu Tahir iz Kashana, u perzijskom rukopisu
iz 1301. godine, i navodi sastav smjese od mljevenog kvarca,
staklene frite i bijele gline u omjeru 10:1:1 (Allan 1973: 111-
120; Atasoy, Raby 1989: 50).
Proizvodi se iznikih radionica po sastavu nisu
puno razlikovali od islamske keramike proizvodnje iz Abl
1 Cuerda Seca je anatolijska tehnika proizvodnje keramikih ploica,
ukraena upotrebom tankih traka voska kako bi se razgraniile glazure
razliitih boja prilikom peenja. Osmanlije su cuerda seca tehniku usvojili
ve u 14. stoljeu.
The next phase of pottery production in Iznik
workshops began during the second half of the 15th century
with the adoption of new technology in the production of
quartz silicate, or the so called fritta pottery, with a white
firm body known as fritware or stonepaste (Denny 2004:
49). Although Ottoman pottery makers have already been
making wall tiles made from ceramics with a white body in
cuerda seca technique1 and were using them to tile buildings
in Edirna and Bursa, the true reason for the innovation in
the production of that kind of tableware lies in the fasci-
nation with white and blue Chinese porcelain. Harder and
more resistant than glass, with a white vitreous shine and
a chonchoidal fracture, Chinese porcelain was a symbol of
luxury and elegance for centuries. While trying to uncover
the formula for its production, the Persian potters discov-
ered a firm white mixture similar to porcelain in quality and
appearance, which came into use in the 12th century. The
principle of making this white-bodied pottery is described
by Ab l Qsim, a member of a famous Persian family of
potters Abu Tahir from Kashan, in a Persian manuscript
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).
The products of Iznik workshops did not differ
greatly from the Islamic pottery production described in
the manuscript of Ab l Qsim, but did, in certain seg-
ments, substantially technologically surpass it. With the ba-
sic ingredients, a mixture of grinned quartz sand - silica (sili-
cum dioxide), crumbled glass paste - frit (sodium carbonate),
a fine, well purified white clay with a small amount of iron
was added, that made the bodys texture smooth and white.
The innovation was lead that was added to the mixture and,
in combination with the rest of the ingredients, lowered
the melting point (Atasoy, Raby 1989: 52; Kovai 2010: 35).
Considering that the quartz mixture lacked elasticity, the
larger vessels were hard to shape on a potters wheel in one
piece, so they were made in separate segments that were
joined after drying with a mixture of the same compound.
The segments were most probably made with a mould
attached to the potters wheel, while the parts, such as the
foliated rim, were molded by hand after they were partially
dried. In order to get a brilliant white surface for painting
1 Cuerda seca was Anatolian technique of ceramic tiles production,
decorated with thin bands of waxy resist maintain color separation
between glazes during firing. It seems that the Ottomans adopted this
technique as early as the 14th century.
57
Qsimovog rukopisa, no u odreenim su je segmentima
tehnoloki bitno nadmaili. Uz osnovne sastojke, mjeavinu
zdrobljenog kvarcnog pijeska, silica (silicijev dioksid), i smrv-
ljene staklene smjese, frit (natrijev karbonat), dodavala se
fina, dobro proiena bijela glina s manjim udjelom eljeza, with outstanding drawing and painting mastery. The motifs
zbog ega je tijelo bilo fine teksture i bijele boje. Inovaciju je
predstavljalo dodavanje olova u smjesu to je u kombinaciji
s ostalim sastojcima sniavalo toku taljenja (Atasoy, Raby
1989: 52; Kovai 2010: 35). Budui da je kvarcnoj smjesi ne-
dostajalo elasticiteta, vee je posude bilo teko oblikovati na
keramikom kolu u jednom komadu, stoga su se izraivale u
odvojenim segmentima i nakon suenja lijepili smjesom sli-
nog sastava. Segmenti su se gotovo sigurno izvodili pomou
kalupa privrenih za kolo, dok su dijelovi poput valovitog
oboda, nakon djelominog suenja, bili runo oblikovani.
Kako bi se dobila briljantno bijela podloga za slikanje nalik
kineskom porculanu na keramiko bi se tijelo dodatno na-
nosio tanki premaz (engoba) sastava slinog poetnoj smjesi,
no bez imalo udjela eljeza i neistoa. Keramika se potom
suila na suncu te oslikavala u zavidnoj crtakoj i slikarskoj
vjetini. Motivi na keramikim zidnim oblogama iscrtava-
ni su pomou matrica kreiranih u dvorskim dizajnerskim
radionicama nakkahane, dok bi se detalji izvodili rukom
(Atasoy, Raby 1989: 58). ini se da je u ranijem razdoblju na
isti nain tretirano i posue, sve do druge etvrtine 16. sto-
ljea, kada se poinje osjeati sve slobodnija i individualnija
kreacija iznikih keramiara.
Pri oslikavanju su se upotrebljavale mjeavine ra-
znih pigmenata i staklene frite. Osnovna boja - plava, koja se
do 1530. godine koristila samostalno, te se zadrala do kraja
iznike proizvodnje, dobivala se iz kobaltnog oksida. Tir-
kizna, prva boja koja se pojavila uz kobaltnoplavu, dobivala
se iz bakrenog oksida. Iz iste se osnove izvodila i maslinasto-
zelena boja, koja se uz ljubiastu dobivenu iz oksida manga-
na, poinje upotrebljavati od 1540-ih. U drugoj polovici 16.
stoljea uvodi se nova, koraljno crvena boja izuzetnog sjaja.
Rije je o gustom premazu od gline izrazito crvene boje
zbog velikog postotka eljeznog oksida. Za razliku od drugih
boja nije se nanosila potezom kista, ve poput voska cjevi-
com u debelom, reljefnom sloju (Atasoy, Raby 1989: 58). Ra-
nija uporaba ove boje zabiljeena je u bizantskoj keramikoj
tradiciji od 10. do kasnog 13. stoljea, a prvi datirani primjer
na iznikoj keramici javlja se na keramikim oblogama zi-
dova Sulejmanove damije i grobnice njegove ene Hasseki
Hrrem izgraene oko 1556. godine. U srednjovjekovnoj i
renesansnoj Europi ova je boja bila poznata pod nazivom
armenska crvena (bolus Armenus, Armenian bole), a osim u de-
58
that resembles Chinese porcelain, the ceramic body was
coated with a thin slip, with a compound similar to the
original mixture, but with no traces of iron or other impu-
rities. The pottery was then dried in the sun and painted
on ceramic wall tiles were drawn with stencils created in
the designer workshops of the Court, nakkahane, while
the details were painted by hand (Atasoy, Raby 1989: 58). It
seems that in the early period the same was done on vessels,
up to the second quarter of the 16th century when free and
more individualized creations can be seen on the works of
Iznik potters.
Mixtures of various pigments and glass frit were
used for painting. The basic blue colour, used exclusively
until 1530 which remained in use until the end of Iznik
production, was obtained from a cobalt oxide. Turquoise,
the first colour introduced, along with cobalt blue, was
obtained from a copper oxide. Olive green obtained from
the same basis was used from the 1540s, along with purple
obtained from a manganese oxide. In the second half of
the 16th century, a new colour was introduced coral red,
with an exceptional glow. It was a thick slip made of clay of
exceptionally red colour due to the high percentage of iron
oxide. Unlike other colours, it was not applied by a brush,
but like wax, with a small tube in a thick, relief layer (Atasoy,
Raby 1989: 58). The earlier use of this colour was recorded
in the Byzantine pottery tradition from the 10th to the 13th
century, and the first datable example in Iznik pottery is
found on ceramic wall tiles from the walls of Suleimans
mosque and the tomb of his wife Hasseki Hrrem, built
around 1556. In Medieval and Renaissance Europe this co-
lour was known by the name Armenian red (bolus Armenus,
Armenian bole), and, apart from its decorative purpose, it
was also used in medicine (Atasoy, Raby 1989: 59; Kovai
2012: 59). Somewhat later, as a contrast to bright red, emer-
ald green was introduced, that was obtained from a copper
oxide with a larger percentage of iron oxide. In the begin-
ning of Iznik production, the outlines of the drawing were
done exclusively in cobalt blue, and in the second quarter
of the 16th century a greenish gray colour was introduced,
while in the second half of the 16th century black was used
for the same purpose, obtained from a chromium base, and
applied in thin precise lines similar to the outlines on the
illustrations on illuminated manuscripts (Denny 2004: 49;
Kovai 2012: 58).
The painting was followed by coating with a trans-
parent glaze made from a lead oxide, silicon dioxide, soda
korativne svrhe upotrebljavala se i kao medikament (Atasoy,
Raby 1989: 59; Kovai 2012: 59). Kao kontrast arko crvenoj,
neto kasnije se uvodi i smaragdno zelena boja, dobivena iz
bakrenog oksida s veim udjelom eljeznog oksida. U poet-
ku iznike proizvodnje vanjske konture crtea izvodile su se
iskljuivo u kobaltno plavoj boji, u drugoj etvrtini 16. stolje-
a uvodi se sivozelenkasta boja, da bi se u drugoj polovici 16.
stoljea u iste svrhe poela koristiti crna boja, dobivena na
bazi kroma, a nanosila se u vrlo tankim, preciznim linijama
nalik konturama na ilustracijama u iluminiranim rukopisi-
ma (Denny 2004: 49; Kovai 2012: 58).
Nakon oslikavanja slijedilo je prekrivanje prozir-
nom glazurom od olovnog oksida, silicijevog dioksida,
sode i kositrenog oksida, a keramici je davala sjajni izgled
porculana. Peenje se odvijalo u kupolastim peima s dvije
komore i odvojenim ognjitem, na temperaturi od 850 ili
900 do 1200C (Maury 2008: 69). Slina izrada keramike u
Osmanskom Carstvu prisutna je ve od poetka 15. stoljea
i u drugim keramiarskim centrima poput Edirne i Ktahye
(sl. 20.), no usavravanjem ove sloene tehnologije uz brojne
druge faktore, radionice Iznika nadmaile su proizvodnju
drugih centara i preuzele vodeu ulogu.
Oblici iznike keramike
Radionice Iznika su po nalogu dvora proizvodile keramike
glazirane zidne obloge za oblaganje sakralnih graevina,
monumentalnih palaa, biblioteka i grobnica te obredne
predmete koji su dizajnom bili usklaeni sa zidnim oblo-
gama, upotpunjavajui tako interijere ovih zdanja. Izrada
stolnog posua pod nazivom n ili Iznik inisi (Atasoy, small ring-like foot and a wide foliated rim shaped like an
Raby 1989: 23), bila je tek sekundarna djelatnost koja se po-
stupno razvijala iz najranijih formi, usko vezanih uz sakral-
nu arhitekturu. U 16. stoljeu izniko stolno posue postaje
sve omiljenije, ne samo u okviru dvora i osmanske elite, ve
i u irem puku te se stoga i repertoar oblika postepeno iri.
Tome je pridonijela i popularnost ovog posua u Europi,
zbog ega izniki keramiari u skladu sa zahtjevima novog
trita uvode i neke europske oblike.
Zdjele za serviranje hrane (tabak) bile su najza-
stupljenije u iznikoj proizvodnji stolnog posua. Najee ing rim and a small foot.
su imale duboki recipijent zaobljene forme s ravnim dnom,
malu prstenastu nogu i iroki obod valovito oblikovanog
ruba nalik hrastovom listu (foliated) po uzoru na kineski por-
culan dinastije Ming (kat. br. 1, 2, 3, 6, 7, 24) ili pak ravni rub
(kat. br. 8, 9, 23, 35, 46, 47). Rjei su bili primjerci potpuno
zaobljene forme nalik plitici, blago uvuenog ravnog oboda
and tin oxide, which gave the pottery the shiny appearance
of porcelain. The firing was done in dome-like kilns with
two chambers and a separate fireplace, at the tempera-
ture from 850 or 900 to 1200C (Maury 2008: 69). Similar
production of pottery was present in the Ottoman Empire
from the beginning of the 15th century and in other pottery
centres such as Edirna and Kthaya (fig. 20), but by perfect-
ing this technique along with other factors, the workshops
in Iznik surpassed the production of other centres and took
the lead role in production.
Forms of Iznik Pottery
The workshops in Iznik were, by the order of the Court,
making glazed wall tiles used for tiling sacral buildings,
monumental palaces, libraries and tombs, as well as ritual
objects designed to match the wall tiles, completing the
interiors of this buildings. The production of tableware by
the name ini or Iznik ini (Atasoy, Raby 1989: 23), was mere-
ly a secondary craft which developed gradually from earlier
forms, tightly linked to sacral architecture. During the 16th
century, Iznik tableware became more and more popular,
not only with the Court and Ottoman elite, but with the
common people, so the repertoire of shapes gradually wid-
ened. The popularity of these vessels in Europe contributed
to that as well, so the Iznik potters, meeting the demands of
the new market, introduced some European forms.
Dishes used for serving food (tabak) were the most
common item in Iznik tableware production. Most often
they had a deep curved receptacle with a flat bottom, a
oak leaf (foliated), made after Chinese porcelain from the
Ming dynasty (cat. no. 1, 2, 3, 6, 7, 24) or a flat rim (cat. no. 8,
9, 23, 35, 46, 47). Rare examples had a completely rounded
form similar to a plate, with a slightly overt flat rim (cat. no.
4, 5). The dimensions of the dishes varied from 35 to 28 cm
in diameter, and, from the year 1570, dishes of similar forms
but smaller in dimensions started to appear. Two such
examples found in the ships cargo (cat. no. 33, 34) had the
diameter of merely 17.7 cm and a small receptacle, protrud-
A dish on a high foot - tazza (ayakli tabak/ts) of a
rounder form with a flat bottom, a higher ring-like or a con-
ic foot and a flat or a foliated rim is the only form in Iznik
production that has no prototype in Chinese or Islamic
forms. It is an original Ottoman vessel form that was used
in everyday life for serving food. The earlier examples were
59
(kat. br. 4, 5). Dimenzije zdjela su varirale od 35 do 28 cm u
promjeru, a od 1570. godine pojavljuju se zdjele sline forme
ali manjih dimenzija. Dva takva primjerka pronaena u te-
retu broda (kat. br. 33, 34) imala su promjer tek 17,7 cm, mali
zaobljeni recipijent, istaknuti ravni obod i malu noicu.
Zdjela na visokoj nozi - tazza (ayakli tabak/ts) zaobljene for-
me s ravnim dnom, viom prstenastom ili koninom nogom
te ravnog ili valovitog oboda jedini je oblik u iznikoj proi-
zvodnji bez prototipa u kineskim i islamskim oblicima. Rije
je o originalnom osmanskom obliku posude za svakodnev-
nu uporabu iznoenja hrane na stol. Raniji su primjerci bili
veih dimenzija2, dok u drugoj polovici 16. stoljea domini-
raju primjerci manjeg promjera (sl. 29). Svi poznati primjerci
tazza bili su ukraeni iskljuivo u plavobijeloj tehnici (kat.
br. 25, 26, 27, 28, 29, 37).
Duboke zdjele s poklopcem (kapakli kse/skre), po-
lukrune ili ovalne forme, s viom ili niom prstenastom no-
gom sluile su za serviranje djelomino tekuih jela poput
erbeta, kompota ili turije, stoga se moe pretpostaviti da
su bile sastavni dio servisa sa zdjelicama iz kojih se jelo (Ata-
soy, Raby: 45). Na brodolomu je do sada pronaen jedan po-
klopac polukrune forme promjera 28,6 cm s prstenastom
istakom na dnu radi uglavljivanja u donji recipijent (kat. br.
36). Poklopac nije cjelovit, ve mu nedostaje profilirani vrh
nalik manjoj kupoli s ruicom. Do sada nije pronaen donji
dio posude, no prema analognim primjercima3, poklopac je
pripadao dubokoj zdjeli na nozi.
Posude za natakanje (bardak) odnosno vrevi ili
bokali lukoviastog oblika, dugog vrata s jednom rukom i
prstenastom noicom pojavili su se oko 1510. godine i zadr-
ali u gotovo nepromijenjenom obliku do kraja proizvodnje
u 17. stoljeu (Atasoy, Raby 1989: 47; Kovai 2012: 56), ali u
razliitim dimenzijama i ukrasnim stilovima (kat. br. 12, 13,
14, 15, 16). Otvor vra pokrivao se malim poklopcem koni-
ne ili zaobljene forme s istaknutom ovalnom ili krunom
ruicom (kat. br. 17, 18, 19, 20, 21, 22).
Plitki se tanjuri (sahan) ravnog dna s tankim obodom
i prstenastom noicom bez prekida pojavljuju u dokumen-
tima od 16. do poetka 18. stoljea, no ini se da njihova ira
proizvodnja u Izniku zapoinje u zadnjoj treini 16. stolje-
a (Atasoy, Raby 1989: 44). U teretu broda pojavljuju se u
brojnim varijacijama, ukraeni u viebojnoj ili plavo-bijeloj
2 Raniji cjeloviti primjerak pohranjen u muzeju Metropolitan, datiran u
1525./35. g., promjera je 36 cm (Atasoy Raby 1989: 126).
3 Bilgi 2009, Omer M. Ko collection, Istanbul. br. 176.; Sadberk Hanim
Museum, Istanbul SHM 17770. br. 247.
60
of larger dimensions2, while the second half of the 16th cen-
tury is dominated by vessels of smaller diameters (fig. 29).
All known examples of tazza, were decorated exclusively in
the blue and white technique (cat. no. 25, 26, 27, 28, 29, 37).
Deep bowls with a lid (kapakli kse/skre) of a hemi-
spherical or oval form with a higher or lower ring-like foot
were used for serving partially liquid dishes such as sorbet,
compote or turu, so it can be assumed that they were a
part of a set of bowls used for dining (Atasoy, Raby: 45). To
this day, the shipwreck yielded one hemispherical lid 28.6
cm in diameter with a ring-like bulge used for attaching to
the lower part of a bowl (cat. no. 36). The lid is not whole; it
is missing a profiled dome-like tip with a small handle. To
the present day the bottom part of the vessel has not been
found, but according to analogous vessels3, the lid belonged
to a deep bowl on a foot.
Vessels meant for pouring fluids (bardak), jugs and
bulb-shaped pitchers with a long neck, a single handle and
a ring-like foot appeared around the year 1510, and their
shape remained unchanged until the end of the production
in the 17th century (Atasoy, Raby 1989: 47; Kovai 2012: 56),
but in different dimensions and decorative styles (fig. 27;
cat. no. 12, 13, 14, 15, 16). The mouth of the jug was covered
by a small lid of conic or rounded shape with a protruding
oval or circular handle (cat. no. 17, 18, 19, 20, 21, 22).
Shallow plates (sahan) with a flat bottom, a thin rim
and a ring-like foot appear continuously in documents from
the 16th to the 18th century, but it seems that their wide
use in iznik production began in the last third of the 16th
century (Atasoy, Raby 1989: 44). The ships cargo had many
variations of these vessels, decorated in polychromous or
blue and white technique, often with cabling or ruyi4 bor-
ders on a thin, flat rim (cat. no. 10, 11, 30, 31, 32, 38, 39, 40, 41,
42, 43, 44, 45).
Small bowls (skre, badya) used for serving liquid or
semi-liquid food, were of hemispherical shape, standing on
a small ring-like foot with a mildly opened, inverted or flat
rim. The shape and decoration in blue and white technique
point to a Chinese porcelain prototype. Although they were
made in different dimensions, the bowls from the ships
cargo were 12 to 13 cm in diameter and about 6 cm in height
2 An earlier completely preserved example from the Metropolitan Museum
dated between 1525 and 1535 is 36 cm in diameter (Atasoy Raby 1989, 126)
3 Bilgi 2009, mer M. Ko collection, Istanbul. Br.176.; Sadberk Hanim
Museum, Istanbul SHM 17770. br.247.
4 It was also decribed by some authors as a frieze with semi rosettes
(Atasoy Raby 1989)
tehnici, najee s rubnim prepletom ili frizom uzastopnih
ruyi motiva4 na tankom, ravnom obodu (kat. br. 10, 11, 30, 31,
32, 38, 39, 40, 41, 42, 43, 44, 45).
Zdjelice (skre, badya) iz kojih se jela tekua i djelomino
tekua hrana bile su polukrunog oblika na prstenastoj
noici s ravnim, blago rastvorenim ili uvuenim obodom.
Oblik i ukras u plavo-bijeloj izvedbi ukazuju da su proizale
iz kineskih porculanskih prototipa. Iako su se izvodile u vie
dimenzija, zdjelice iz tereta broda bile su promjera od 12 do
13 cm i visine oko 6 cm (kat. br. 48. 49, 50, 51, 52, 53).
Osim navedenih oblika zastupljenih u teretu broda,
proizvodili su se i drugi oblici poput predmeta religioznog
karaktera: svjetiljke (kandil), visei ornamenti krune i oval-
ne forme i velike zdjele na nozi koje su se upotrebljavale kao
bazeni za obredno pranje (ayakli leen/ayakl tasi). Od tipino
orijentalnih oblika javljaju se lonci ili upovi (kavanos) za
uvanje hrane, vrevi s dugim kljunom za izljev (ibrik), boce
za vodu (srahi) lukoviastog oblika i dugog vrata te zdjelice
za ispijanje kave (fincan).
Neki su oblici preuzeti od europskih prototipa,
poput tondina, talijanske zdjele malog, zaobljenog recipi-
jenta i irokog, gotovo vodoravnog oboda, te cilindrinog
kraga, marapa, s uglatom rukom, iji se oblik temelji na
drvenim ili konim originalima karakteristinim za srednju
Europu. Od netipinih oblika, iznike radionice proizvodile
su svijenjake (amdan), tintarnice i kutije za uvanje pera
(kalemdan, divit/devat) (Atasoy, Raby 1989: 48).
Stilovi i utjecaji
Nakon osvajanja Konstantinopola u vrijeme Mehmeda II.
Osvajaa (1451. - 1481.) poinje uspon, irenje i mo Osman-
skoga carstva. Utemeljenje nove prijestolnice zahtijevalo
je i novi osmanski stilski izriaj, koji bi se odraavao u
arhitektonskim zdanjima i u drugim umjetnikim granama
poput keramikog i metalnog posua, iluminiranih rukopi-
sa, reprezentativnog tekstila i drugih luksuznih predmeta.
Svrha ovog raskonog dvorskog stila bila je isticanje vladar-
ske moi, bogatstva i utjecaja, stoga se on morao razvijati
pod okriljem i povlasticama dvora. Glavna institucija koja
je diktirala nove trendove i kreirala dekorativne uzorke za
sve grane umjetnosti bila je dvorska dizajnerska radionica
nakkahane, u kojoj su radili Ehli Hiref (talentirani ljudi)
4 U literaturi se dekoracija u ovoj formi opisivala i kao friz s polurozetama
(Atasoy Raby 1989)
(cat. no. 48. 49, 50, 51, 52, 53).
Apart from the listed forms representing the ships cargo,
other forms of vessels were also made, like objects of sacral
character: lamps (kandil), hanging ornaments of circular and
oval form and large dishes on a foot, used as basins for ritual
washing (ayakli leen/ayakl tasi). From the typical oriental
shapes pots and jars (kavanos) for preserving food appear,
as well as jugs with a long spout (ibrik), bulb-shaped water
bottles (srahi) with a long neck and small bowls for drink-
ing coffee (fican).
Some shapes were taken from European prototypes,
such as tondino - an Italian dish with a small and rounded re-
ceptacle, and a wide almost horizontal rim and a cylindrical
ewer- marapa, with an angular handle, the shape of which
is based on wooden and leather originals characteristic of
Central Europe. From the atypical forms, Iznik workshops
made candlesticks (amdan), inkpots and pen holder boxes
(kalemdan, divit/devat) (Atasoy, Raby 1989: 48).
Styles and Influences
After the conquest of Constantinople in the times of
Mehmed the Conqueror (1451-1481) began the rise, the
expansion, and the power of the Ottoman Empire. The
founding of a new capital asked for a new Ottoman style,
which would be reflected in architecture and other artistic
branches such as pottery or metal ware, illuminated manu-
scripts, representative fabrics or other luxury objects. The
purpose of this sumptuous style was the emphasizing of im-
perial power, wealth and influence, in order for it to devel-
op under the auspice and privilege of the Court. The main
institution that dictated new trends and created decorative
patterns for all branches of art was the imperial designer
workshop, (nakkahane), employing talented men (Ehli Hiref)
led by the main artist of the Court (Baba Nakka - the father
of design) (Kovai 2012: 52).
That also instigated the development of ceramic
workshops and the production of high-quality local ce-
ramic products: ceramic wall tiles for new buildings, sacral
objects and luxury tableware, whose role was to match the
very popular and expensive blue painted Chinese porce-
lain, which was an irreplaceable part of the Ottoman court
protocol and was popular with the Ottoman elite. For the
production, the town of choice was Iznik, which had a long
tradition of pottery production, an abundance of natural
resources necessary for the production of ceramic bodies,
minerals for glaze and colours, wood for fuel and water
61
pod vodstvom glavnog dvorskog umjetnika Baba Nakka
(otac dizajna) (Kovai 2012: 52)
Iz istog je razloga bio potaknut razvoj keramikih
radionica i proizvodnja visoko kvalitetne domae keramike:
keramikih obloga za nova arhitektonska zdanja, liturgij-
skih predmeta i luksuznog stolnog posua koje je trebalo
konkurirati vrlo popularnom i skupom plavo oslikanom
kineskom porculanu, do tada nezamjenjivom u protokolu
osmanskoga dvora i uz to omiljenom u krugu osmanske
elite. Kao centar proizvodnje izabran je upravo grad Iznik
zbog duge tradicije keramike proizvodnje, obilja prirodnih
sirovina potrebnih za izradu keramikoga tijela, minerala za
glazure i boje, drva za gorivo kao i vodenih resursa, a ujedno
je grad bio i dovoljno blizu novoj prijestolnici (Denny 2004:
59). Proizvodnja Iznika se nesmetano razvijala pod okriljem
i povlasticama sultana, stoga su koliina i kvaliteta proi-
zvodnje kao i umjetniki stilovi slijedili zahtjeve i trendove
dvora. Nastojalo se proizvoditi prestino posue velikih
dimenzija, sloenog dizajna i kvalitetne izvedbe kako bi to
vie nalikovalo kineskom porculanu. Ipak oblici i dekoracija
keramikih predmeta odraavali su i druge utjecaje u kojima
se prepoznaje timuridska i turkmenska tradicija koju u Car-
stvo donose iranski umjetnici, dvorski majstori iz Herata i
Tabriza (Denny 2004: 36). Nju predstavlja bogato ukraeno
islamsko metalno posue i iluminirani rukopisi (Carswell
2006: 21-29) koji su utjecali na razvoj oblika i motiva izni-
koga posua, dok je u tehnolokom i konceptualnom smislu
najvie utjecala tradicija izrade keramikih obloga prekrive-
nih engobom, oslikanih u plavo-bijeloj dekoraciji i supstrat
ranije proizvodnje keramikoga posua. Jedan je dio proi-
zvodnje teio izravnom preuzimanju kineskih porculanskih
predloaka iz razdoblja Yuan i rane Ming dinastije 14. i 15.
stoljea, u karakteristinim oblicima i plavo-bijeloj dekora-
ciji, dok je drugi prilagodio pojedine kineske motive tada
prevladavajuem osmanskom dvorskom stilu (Denny 2004:
61). Dekorativne kompozicije su u veini predstavljale za-
jednitvo dvaju glavnih elemenata, rumy i hatayi. Etimoloki
rumi ili Rum znailo bi Novi Rim, Istono Rimsko Carstvo ili
Bizant (Akar 1988: 9), odnosno kraljevstvo Rum u Anatoliji,
a koje su dokinuli Selduci (Seluk). Motiv je islamskog po-
drijetla, a ini ga gusti splet izduljenih listova iljatih vrhova
u formi arabeske (Kovai 2012: 60). Drugu grupu usvojenih
motiva hatayi, Cathayan, u prijevodu iz Kine ine stilizira-
ni cvjetni kineski dekorativni motivi u vidu lotosovog cvije-
ta, krizantema i boura na vitiastim granama koji se esto
slikaju u kombinaciji s drugim kineskim motivima poput
radijalnih ruyi5 frizova, uzlova ili stiliziranog motiva zmaja,
62
resources, as was in close proximity to the capital (Denny
2004: 59). The production in Iznik developed with ease
under the auspice and privileges of the Sultan, so that the
amount and the quality of the production, as well as artistic
styles, followed the demands and trends of the court. They
strived towards producing prestigious tableware of large
dimensions, complex design and quality in order for it to
bare greater resemblance to Chinese porcelain. Neverthe-
less, the forms and decorations on these objects reflected
other influences, like the Timurid and Trkmen tradi-
tion brought to the Court by the Iranian artists - masters
from Herat and Tabriz (Denny 2004: 36). It is represented
by richly decorated Islamic metal ware and illuminated
manuscripts (Carswell 2006: 21-29) which influenced the
development of forms and motifs of Iznik pottery, while
in the technological and conceptual sense, the production
was greatly influenced by the production of glazed ceramic
wall tiles decorated in blue and white, as well as a substrate
of earlier pottery production. One part of the production
aspired towards direct acquisition of Chinese porcelain
patterns from the period of the Yuan and Ming dynasties of
the 14th and 15th centuries, in characteristic forms and blue
and white decoration while the other adapted the Chinese
motifs to the prevailing Ottoman court style (Denny 2004:
61). The decorative compositions mostly represent the unity
of two main elements, rumy and hatayi. Etymologically rumi
or Rum meant the New Rome, the Eastern Roman Empire
or the Byzantine Empire (Akar 1988: 9), that is the Rum
kingdom in Anatolia, which was repealed by the Seljuk. The
motif is of Islamic origin, comprised of thick scrolls of elon-
gated leaves with pointy tips in the form of an arabesque
(Kovai 2012: 60). The other group of motifs, hatayi, Cha-
tayan, meaning from China, is comprised of stylized floral
Chinese decorative motifs such as the lotus flower, chrysan-
themum and peony on convolute branches often painted
in combination with other Chinese motifs such as radial
ruyi5 friezes, knots and stylized dragon motifs, known as
the cloud band (tchi, i cloud)6 (Demirel 2003: 65). Although
these patterns were sometimes almost literally copied, the
artists in Iznik adopted them in a number of variants and
5 The motif with a triple end in a radial scheme - ruyi, represented the
sceptre in Chinese tradition. It is connected to wisdom and symbolized
long life and happiness. The stylized head of a sceptre became a popular
motif on Chinese porcelain (Passos Leite - Queiroz Ribeiro 2009: 81)
6 In earlier literature (Atasoy, Raby 1989) similar motifs were interpreted
as: chinese cloud, cloud band, tchi cloud or tchi band.
nazvanog jo i kineski oblaci ili thci trake6 (Demirel 2003:
65) Iako su ovi predloci ponekad gotovo doslovno kopirani,
majstori Iznika ih usvajaju u brojnim varijantama i razvijaju
u novom, osebujnom izriaju koji prerasta u jedinstven i
prepoznatljiv klasini izniki stil 16. i 17. stoljea.
Razvojne faze keramike proizvodnje Iznika
Tijekom 16. stoljea stil keramikih proizvoda Iznika po-
stepeno se mijenja to se odraava u pet dekorativnih faza
od kojih samo najranija nije zastupljena na posuu pro-
naenom na brodolomu. Pojedine faze ponekad je teko
jasno ralaniti, budui da se neki stilovi paralelno razvijaju,
uglavnom zbog dvorskih umjetnika, koji dolaze iz razliitih
kulturnih sredina i uvrijeene umjetnike stilove obogauju
novim idejama. Razvojne faze i stilovi iznikog posua data-
cijski se najee oslanjaju na dekoraciju keramikih obloga
na zidovima arhitektonskih zdanja jer su najee apsolutno
datirana i popraena bogatom arhivskom graom. Krono-
logija bazirana na arhitekturi uvjetovana je i nedostatnom
koliinom iznikoga materijala pronaenog u intaktnim
arheolokim cjelinama ili unutar apsolutno datiranih stra-
tigrafskih slojeva. Razlog tome su brojni razarajui poari i
potresi to su pustoili Istanbul, a pri emu je uniten velik
dio keramike grae. Drugi imbenik koji je doveo do izni-
mno male koliine iznikog posua na podruju Istanbula i
uope dananje Turske7 je opsesija Europljana orijentalnom
robom u 18. i 19. stoljeu. Europski su trgovci, putnici i
diplomati uz drugu orijentalnu robu iz Osmanskoga carstva
odnosili i izniko posue stvarajui tako bogate privatne
zbirke koje s vremenom postaju osnova zbirki iznike kera-
mike najveih suvremenih svjetskih muzeja (Atasoy, Raby
1989: 18)8
U 20. stoljeu u Turskoj sve vie raste svijest o
povijesnoj i kulturnoj batini, a tako i spoznaja o vrijednosti
iznike keramike kao predstavnika nacionalnog turskog
umjetnikog i stilskog izriaja, nastalog na vrhuncu moi
5 Motiv s trostrukim zavretkom u radijalnoj shemi ruyi, u kineskoj
tradiciji predstavlja ezlo. Vezan je uz mudrost, a simbolizira dug ivot
i sreu. Stilizirana glava ezla postaje omiljeni dekorativni motiv na
kineskom porculanu (Passos Leite - Queiroz Ribeiro 2009: 81).
6 U starijoj literaturi (Atasoy Raby 1989) ovaj se motiv interpretirao kao:
kineski oblaci (chinese cloud), trakasti oblaci (cloud band) i i oblaci (tchi
cloud) ili i traka (tchi band)
7 Najljepi su primjerci iznikog posua pronaeni izvan granica dananje
Turske, na podruju Damaska, Jeruzalema i Aleksandrije (Atasoy Raby
1989: 15).
developed them in a new, specific expression, which grew
into a unique classical Iznik style of the 16th and the 17th
century.
Development phases of the ceramic production in Iznik
During the 16th century, the style of Izniks ceramic
products gradually changed, which is reflected in the five
decorative phases from which only the earliest one is not
represented on the pottery found on the shipwreck. Cer-
tain phases cannot be clearly distinguished, and there is
often an overlap in dates, considering the fact that different
styles sometimes developed simultaneously, often be-
cause of innovative Court artists who came from different
cultural backgrounds and enriched the inveterate artistic
styles with new influences. The datation of developmental
phases and styles of Iznik pottery often relies on decora-
tion on ceramic wall tiles on buildings that often have an
absolute date and rich archival documentation. However,
the chronology based on architecture is conditioned by a
lack of Iznik finds discovered at intact archaeological sites
or within a stratigraphic layer with an absolute date. That
is due to the numerous disastrous fires and earthquakes
which, during the course of history, devastated Istanbul, de-
stroying a lot of ceramic material. Another factor that led to
the exceptionally small number of Iznik pottery in Istanbul
and the present day Republic of Turkey7 is the obsession
with oriental merchandise in Europe during the 18th and
19th centuries. The European merchants, travellers and
diplomats brought, among other goods from the Ottoman
Empire, Iznik pottery, thus creating rich private collections
which became the basis for the collections of Iznik pottery
in the largest museums today (Atasoy, Raby 1989, 18)8.
During the 20th century, the awareness about historical
and cultural heritage was at a rise in Turkey, as well as the
recognition of the value of Iznik pottery as a representation
of Turkeys national artistic style that shone the brightest
7 The finest examples of Iznik tableware were found outside the borders
of todays Turkey, on the territory of Damascus, Jerusalem and Alexandria
(Atasoy, Raby 1989, 15)
8 To the present day over 3000 whole examples of Iznik pottery have been
recorded, and they belong to the collections of the largest museums in the
world, such as the Metropolitan Museum of Art in New York, the Louvre in
Paris, the British Museum, Victoria & Albert Museum in London, Calouste
Gulbenkian Foundation in Lisbon, Benaki Museum of Islamic Art in Athens,
Museum of Islamic Art in Cairo, Museum fr islamiche Kunst in Berlin and
others, as well as in numerous private collections
63
Osmanskoga carstva. Na osnovu brojnih sustavnih i zatit-
nih istraivanja, posebno na podruju stare jezgre Istanbula
(Atasoy, Raby 1989:18)9 i grada Iznika (Kirmizi 2014:4-5)10 te
prikupljanjem predmeta iz cijeloga svijeta, nastaju velike
zbirke iznike keramike i na podruju Turske11. Na kerami-
koj grai objedinjenoj iz ovih zbirki zasnivalo se prouavanje
razvoja i kronologija proizvodnje te terminologija stilova i
oblika iznike keramike, do sada najiscrpnije obraenih u
djelu Nurhan Atasoy i Juliana Rabyja, pod nazivom Iznik:
The Pottery of Ottoman Turkey izdanoj u Londonu 1989.
godine.
Kako bi se lake pratio razvoj iznike keramike, kro-
noloki ju je mogue podijeliti u pet osnovnih dekorativnih
faza koje se nadalje mogu ralaniti na istovremene umjet-
nike stilove:
1. rana plavo bijela keramika - period Baba Nakka stila
(1480. 1530.);
2. eksperimentalni, prelazni period (1520. 1530./40.);
3. saz stil ili iluzija prirode - period umjetnika Shah
Kulua (1535. 1557.);
4. cvjetni naturalizam i polikromija - period umjetnika
Kara Memija (1557. - 1610.) i kasna plavo- bijela keramika
5. dekadencija stila i opadanje kvalitete iznikog posu-
a (1590-1680)
Rana plavo bijela keramika (1480.1530.)
Period Baba Nakka stila
Poetak razvoja iznike proizvodnje i prva razvojna faza stila
do sada nisu zabiljeeni u teretu broda. Najraniji su primjer-
ci nastali pod oitim pokroviteljstvom i povlasticama sulta-
8 Do danas je evidentirano preko 3000 cjelovitih primjeraka iznikog
posua, a pripadaju zbirkama najveih svjetskih muzeja poput
Metropolitan Museum of Art u New Yorku, Louvre (Muse du Louvre) u
Parizu, British Museum, Victoria&Albert Museum u Londonu, Calouste
Gulbenkian Foundation u Lisabonu, Benaki Museum of Islamic Art u Ateni,
Museum of Islamic Art u Kairu, Museum fr islamiche Kunst u Berlinu i u
drugima, kao i u brojnim privatnim zbirkama.
9 Arheoloka istraivanja na podruju Hipodroma, Sultanahmeta, Topkapi
palae, Sarahane, Yedikule, Aksaray, emberlita, Glhane i drugih
lokaliteta.
10 Istraivanja keramikih pei u gradu Izniku na lokalitetima: Rimski
teatar, Damija Orhana Imareta, Belediye Hamami, Klaslan, Nilfer Hatun
Imareti
11 Zbirka Topkapi Palace Museum u Istanbulu, inili Kk zbirka
Arheolokog muzeja u Istanbulu, Muzej u Izniku i Bursi te privatne zbirke
Sadberk Hanm Museum i mer Ko Collection u Istanbulu i dr.
64
at the peak of power of the Ottoman Empire. Based on
numerous systematic and rescue research carried out in
the old core of Istanbul9 (Atasoy, Raby 1989, 18) and Iznik
(Kirmizi 2014:4-5), and by collecting objects from all over
the world, big collections of Iznik10 pottery were created in
Turkey11. The pottery from these collections was the basis
for the studies on the development and chronology of the
production, as well as the terminology of styles and forms
of Iznik pottery that are for now most comprehensively
described in the works of Nurhan Atasoy nad Julian Raby
called Iznik: The Pottery of Ottoman Turkey, published in
London in 1989.
For easier tracking of the development of Iznik
ceramic production, it can be divided into five basic decora-
tive phases, which can then be split into contemporaneous
artistic styles:
1. EARLY BLUE AND WHITE CERAMIC - period of Baba Nakka
style (1480-1530);
2. EXPERIMENTAL OR TRANSITIONAL PERIOD (1520-1530/40)
3. SAZ STYLE OR THE ILLUSION OF NATURE - period of the
artist Shah Kulu (1535-1557)
4. FLORAL STYLE AND POLYCHROMY - period of the artist Kara
Memi (1557-1610) AND THE LATE BLUE AND WHITE POTTERY
5. DECLINE OF THE STYLE AND THE DECREASE IN QUALITY OF
IZNIK POTTERY (1590-1680)
Early blue and white ceramic (1480-1530)
Period of Baba Nakka style
The beginning of Iznik production and the first phase in the
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
form Mehmed the Conqueror (1451-1481), Bayezid II (1481-
1512) and Selim I (1512-1520), to the beginning of the rule
of Suleiman the Magnificent (1520-1566). The prevailing
forms are of sacral character: lamps, hanging ornaments,
foot dishes and jugs for ritual washing and tableware of
9 Archaeological research on the Hippodrome, Sultanhamet, the Tokapi
Palace, Sarahane, Yedikule, Aksaray, emberlita, Glhane and other sites
10 Research on pottery kilns in Iznik on the Roman theatre, Orhan Imaret
Mosque, Belediye Hamami, Klaslan, Nilfer Hatun Imareti
11 The collection of the Tokapi Palace Musrum in Istanbul, the inil Kk
collection of the Archaeological Museum in Istanbul, Museums in Iznik
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)
Collection in Istanbul etc. Fig. 23. The earliest phase of Iznik production: Baba Nakka style, Iznik circa 1480, ( from Atasoy, Raby 1989: 279)
65
na, poevi od Mehmeda II. Osvajaa (1451. - 1481.), Bayezida
II. (1481. - 1512.), Selima I. (1512. - 1520.) do poetka vladavine
Sulejmana Velianstvenog (1520. - 1566.). Od oblika prevla-
davaju predmeti sakralnog karaktera: svjetiljke, visei or-
namenti, zdjele i vrevi za obredno pranje te stolno posue
veih dimenzija poput zdjela i tanjura za posluivanje.
Oblike i dekoraciju crpili su iz uzora poput kineskog pla-
vo-bijelog porculana, islamskih metalnih formi omiljenih
na osmanskom dvoru i tradicije izrade keramikih obloga
prekrivenih engobom i oslikanih u plavo-bijeloj dekoraciji,
koju su u Carstvo donijeli iranski keramiari majstori iz
Tabriza (Atasoy, Raby 1989: 81). Slikana dekoracija izvodila
se u bijelim tonovima na plavoj pozadini ili u razliitim ni-
jansama kobaltnoplave boje na bijeloj pozadini ispod sjajne
glazure dok sloene dekorativne kompozicije predstavljaju
zajednitvo dvaju glavnih elemenata, rumy i hatayi (sl. 23).
Crte je minuciozan, precizan i vjeto osjenjen, gotovo
trodimenzionalan, a ine ga cvjetovi i pupoljci na tankim
peteljkama izmeu kojih se ispreplie lisna arabeska, uzlovi,
stilizirani zmajevi, ruyi frizovi i emse motivi nalik kartui.
Razliite kompozicije katkad su se nizale u zonama, a njih
su razdvajale dekorativne trake s osmanskim motivom
zencerek, nalik viestrukom prepletu u obliku lanca (Demirel
2003: 66) ili su se pak radijalno irile u motivu kola sree
te bile popraene kaligrafskim natpisom. Istovremeno s
rumy i hatayi stilom razvija se stil ukraavanja iluminiranih
knjiga (tezhip) koji uvodi i razvija glavni dvorski umjetnik
pod nazivom Baba Nakka (Bilgi 2009: 25). Budui da je
njegov stil imao veliki utjecaj na sve ostale grane umjetnosti
to su se razvijale pod okriljem dvora, tako se i keramika
ovog razdoblja naziva Baba Nakka ware (Atasoy, Raby
1989: 96). Prema 1510-im godinama stil vie nije tako minu-
ciozan, a motivi postaju vei i jednostavniji. Istovremeno se
prepoznaju i razliiti izriaji koje J. Raby prema osnovnim
karakteristikama naziva stil majstora uzlova (Master of the
Knots) i stil majstora lotosa (Master of the Lotuses) (Atasoy,
Raby 1989: 94-100). Prva faza iznike keramike datirana je
na osnovu oslikanih keramikih obloga na arhitektonskim
zdanjima vladarskoga groblja u Bursi, na grobnici Shehza-
de Mehmeda (sina Bayezida II.) iz 1506./07., na grobnici
Shehzade Ahmeda (brata Selima I.) iz 1513. i na devet lampi
iz grobnice Bayezida II. iz iste godine (Carswell 2006: 36-37;
Atasoy, Raby 1989: 90).
66
Sl. 24. Zdjele ukraene u turake spiralnom stilu, s ukrasom preuzetim
s kineskog porculana, Iznik, 16. stoljee
Fig. 24. Dishes decorated in turake spiral style, with decoration
adopted from Chinese porcelain, Iznik, 16th century
larger dimensions, like dishes and platters. The forms
and decorations were taken from Chinese blue and white
porcelain, Islamic metal forms popular with the Ottoman
Court and the tradition of making glazed wall tiles painted
in blue and white, brought to the Empire by the Iranian
pottery-masters from Tabriz (Atasoy, Raby 1989: 81). The
painted decoration was carried out in white tones on a blue
background or in different shades of cobalt blue on a white
background under a shiny transparent glaze, while complex
decorative compositions represent the unity of two main
elements - rumy and hatayi (fig. 23). The drawing is detailed,
precise and skilfully shaded, almost three-dimensional, and
is comprised of flowers and buds on thin stems with an
intertwining leaf arabesques, knots, ruyi friezes, stylized
dragon motifs and the emse, a cartouche-like motif. Differ-
ent compositions would sometimes thread in zones, sepa-
rated with decorative bands with the zencerek motif, resem-
bling a multiple-braided chain (Demirel 2003: 66), or would
radially spread in the wheel of fortune motif, sometimes
followed by a short calligraphic inscription. Parallel with
the rumy and hatayi style, a style of decorating illuminated
books (tehzip) was being developed, introduced and educed
by the main court artist called Baba Nakka (Bilgi 2009: 25).
Considering the fact that his style had a huge influence on
Eksperimentalni ili prijelazni period (1520. 1530./40.)
(Sl. 24)
Od poetka vladavine sultana Sulejmana Velianstvenog
1520., keramiari Iznika uvode promjene u tehnikom
i estetskom smislu. Osim motiva kreiranih u dvorskim
radionicama nakkahane, motivi se preuzimaju iz drugih
grana umjetnosti da bi ih majstori umjetnici kombinirali u
vlastitim dekorativnim shemama. Ovo razdoblje, koje traje
do 1530./40. godine, naziva se i eksperimentalni ili prelazni
period jer se istovremeno razvija vie stilistikih smjerova:
nastavak Baba Nakka stila, potom tzv. turake spiralni
stil (1525./50. 1600.), jaki utjecaj kineskog porculana (1530.
- 1620.), stil keramiara (the Potters style) i nagovijetaj saz
stila, koji je obiljeio sljedeu razvojnu fazu iznike proi-
zvodnje (Atasoy, Raby 1989:, 101-102). Uz druge inovacije, uz
kobaltnoplavu pojavljuje se i tirkizna boja i time zapoinje
viebojnost u ukraavanju.
Krajem 1520-ih godina pojavio se vrlo apstraktni stil
s minuciozno izvedenim ukrasom sastavljenim od fino izve-
denih spiralnih vitica obogaenih sljedovima sitnih rozeta
te listia u obliku zareza, polu krunica i S vitica, slikanih u
kobaltnoplavoj boji na bijeloj pozadini. Poetkom 20. sto-
ljea ta je grupa keramike nazvana Golden Horn ware zbog
brojnih ulomaka pronaenih prilikom iskopavanja lokaliteta
Sirkeci i Aksaray na podruju povijesne jezgre Istanbula
poznatoj kao Golden Horn. To su potkrijepili i povijesni
izvori u kojima se spominju keramike pei na Golden Hor-
nu 1604. i 1640. godine, a neki je povezuju i s keramikim
radionicama koje spominje Evliya elebi u svojem Putopi-
su Seyahatnama iz 17. stoljea (Bigli 2009: 27). Pokazalo se
da radionice na Golden Hornu nisu proizvodile glaziranu
i kvarcnu keramiku, a tezu o proizvodnji u Istanbulu opo-
vrgnula su i kasnija istraivanja keramikih pei u Izniku,
gdje je pronaen veliki broj slino ukraenih ulomaka. Iako
su istraivanja potvrdila da se ova keramika proizvodila u
Izniku, jedna boca, srahi, ukraena u istom stilu, iz zbirke
Godman Collection British Museuma, nosi natpis na armen-
skom u kojemu stoji da Biskup Ter Martiros 1529. godine
alje srahi izraen u Ktahyi kao votivni dar samostanu sv.
Bogorodice u Ankari (Bigli 2009: 28; Carswell 2006: 47). To
dokazuje da izrada keramike ovog stila nije bila ograniena
samo na proizvodnju Iznika te da se poetkom 16. stoljea
proizvodnja odvijala i u drugim keramiarskim centrima po-
put Ktahye, sve dok radionice Iznika nisu preuzele vodee
mjesto, zbog bolje povezanosti i blizine prijestolnici odakle
su se proizvodi distribuirali na ire trite (Carswell 2006: 48).
other branches of art developing under the Courts auspice,
the pottery was called the Baba Nakka ware (Atasoy, Raby
1989: 96).
Towards the 1510s, the style is no longer so detailed, and the
motifs become bigger and simpler. At the same time differ-
ent artistic expressions can be recognized, which J. Raby,
based on their characteristics, calls the style of the Master
of the Knots and the style of the Master of the Lotuses
(Atasoy, Raby 1989: 94-100). The first phase of Iznik pottery
is dated based on painted wall tiles on the buildings in the
royal cemetery in Bursa, the tomb of Shehzade Mehmed
(The son of Bayezid II) from 1506/7, the tomb of Shehzade
Ahmed (brother of Selim I) from 1513 and nine lamps from
the tomb of Bayezid II dated to the same year (Carswell
2006: 36-37; Atasoy, Raby 1989: 90).
Experimental or transitional period (1520-1530/40)
(fig. 24)
From the beginning of Sultan Suleiman the Magnificents
rule in 1520, the pottery makers in Iznik started introduc-
ing changes in both a technical and aesthetical sense. Apart
from the motifs created by Court workshops, nakkahane,
motifs were taken from other branches of art, and the arti-
sans combined them in their own creative ways. This peri-
od, which lasted until the 1530s - 1540s, is also called the ex-
perimental or the transitional period, because a number of
stylistic trends were being developed: the continuation of
the Baba Nakka period, the so called turake spiral style
(1525/50-1600), the strong influence of Chinese porcelain
(1530-1620), the Potters style and the first traces of the Saz
style which will mark the next phase in the development
of Iznik pottery (Atasoy, Raby 1989:, 101-102) Among other
innovations, the colour turquoise appears alongside cobalt
blue, marking the beginning of polychrome decoration.
An almost abstract style appeared at the end of the
1520s, which included detailed decorations composed of
meticulous spiral scrolls enriched with series of tiny ro-
settes and comma-shaped leafs, semicircles and S-scrolls,
painted in cobalt blue on a white surface. At the beginning
of the 20th century this group was called Golden Horn
ware due to a large number of fragments found during
excavations of the Sirkeci and Aksaray sites in the historic
core of Istanbul-the Golden Horn. It was substantiated by
historical sources that mention pottery kilns in Golden
Horn in 1604 and 1640, and the pottery was also connected
to the kilns mentioned by Evliya elebi in his Book of Trav-
67
Budui da se slini spiralni motivi javljaju na iluminiranoj
pozadini ture - vladarskog monograma sultana Sulejmana
Velianstvenog a ija je izrada bila povjerena vrhunskim
iluminatorima zvanima turake, J. Raby je preimenovala stil
u turake spiralni stil (Atasoy, Raby 1989: 108-113).
Keramika ukraena u ovom stilu doivjela je vrhu-
nac izmeu 1525. i 1550. godine, najee u obliku zdjela,
vreva, boca i bazena za obredno pranje, istui se velikim
dimenzijama, kvalitetnom i savrenom preciznou kod
izvedbe dekoracije i detalja. U skladu s opim razvitkom
iznike proizvodnje tijekom 30-ih te 40-ih godina 16. stolje-
a uz osnovnu kobaltnoplavu dekoraciju poinju se pojav-
ljivati detalji u tirkiznoj i konture u maslinastozelenoj boji
(Carswell 2006: 50). Zbog svoje gotovo grafike jednostav-
nosti i profinjenosti stil se nastavlja primjenjivati i kasnije te
u mnogobrojnim inaicama opstaje sve do kraja 16. stoljea.
Keramika ukraena u ovome stilu bila je prisutna na iro-
kom podruju Osmanskog carstva, du Anatolije, Egipta i
Rumelije (zapadni, balkanski dio Osmanskog carstva) i izvan
njega, to je potvreno s vie ulomaka pronaenih na po-
druju Dubrovnika, (Kovai 2012: 63,72,73; kat. br. 2, 3.), a
predstavlja i prvu osmansku keramiku za koju je poznato da
se izvozila u Italiju. Tijekom 2. polovice 16. stoljea keramika
u ovom stilu postaje sve popularnija na Zapadu, stoga je ve-
necijanski i enoveki trgovci uvoze prvenstveno za italsko
trite, a potom distribuiraju u ostale dijelove Europe ili
pak imitiraju na vlastitoj keramici u ligurijskim radionicama
majolike (Carswell 2006: 103) i na plavoj berettina majolici
(Kovai 2012: 63). S druge strane, podilazei novom tri-
tu, izniki majstori preuzimaju pojedine keramike oblike
talijanskog podrijetla, primjerice tondino tanjur, zaobljenog
manjeg recipijenta i irokog, gotovo vodoravnog oboda, koje
su esto ukraavali upravo u turake stilu.
U teretu broda pronaene su dvije zdjele s dekora-
cijom izvedenom u spiralnom turake stilu (sl. 24; kat. br. 1,
2). Zdjele su gotovo identine u proporcijama, dekoraciji i u
detaljima, stoga se moe pretpostaviti da su se predmeti u
ovom stilu izraivali serijski, uz pomo matrica i predloa-
ka iz dvorskih umjetnikih radionica. Velikih su dimenzija,
sloenog dizajna i kvalitetne izvedbe, to govori da su bile
namijenjene elitnoj klijenteli. Obje imaju duboko zaobljeno
tijelo poloeno na nisku prstenastu nogu i iroki obod s
valovito oblikovanim rubom. Oslikane su u kobaltnopla-
voj boji na bijeloj pozadini u izvrsnoj tehnikoj i estetskoj
maniri ispod sjajne, prozirne glazure. S unutarnje strane
dekoracija je koncipirana u zonama s centralnim krunim
poljem, ispunjenim grupom od sedam istovjetnih spirala
68
els (Seyahatnama) dated to the 17th century (Bigli 2009: 27).
Research has shown that workshops in Golden Horn never
produced glazed and fritta pottery, and the assumption that
it was produced in Istanbul was disproved by later research
on pottery kilns from Iznik, where a large number of sim-
ilarly decorated fragments were found. Although research
has shown that the pottery decorated in this style was made
in Iznik, one bottle, srahi, from the Godman collection of
the British Museum, was decorated in the same style and
bears an inscription in Armenian stating that Bishop Ter
Martiros sent the srahi made in Kthaya as a votive gift to
the monastery of the Holy Mother of God in Ankara (Bigli
2009, 28; Carswell 2006, 47). This vessel proves that this
style was not limited only to Iznik production, but that kind
of pottery was being made in other ceramic centres such
as Kthaya, until the workshops in Iznik took the leading
position, due to their closer connections and proximity to
the capital, from where their products were distributed to
the wider market (Carswell 2006, 48).
Given that similar spiral motifs appear on the illu-
minated background of the tura - the imperial monogram
of the Sultan Suleiman the Magnificent which was entrust-
ed to the chief illuminators called turake, J. Raby named
the style the turake spiral style (Atasoy, Raby 1989: 108-
113).
Pottery decorated in this style reached its peak
between 1525 and 1550, generally in the forms of dishes,
jugs, bottles and basins for ritual washing which stood out
because of their large dimensions, quality and perfectly
precise decorations and detail. In line with the general
development of the Iznik production in the 30s and 40s, de-
tails in turquoise and outlines in olive green begin to appear
alongside the basic cobalt blue (Carswell 2006: 50). Due to
its almost graphic simplicity and sophistication, the style
was applied in later periods and survived in the form of nu-
merous variations until the end of the 16th century. Pottery
decorated in this style was distributed over a wide area of
the Ottoman Empire, along Anatolia, Egypt and Rumelia
(the western part of the Ottoman Empire, encompassing
most of the Balkans) and beyond, as attested to by multi-
ple fragments found in the Dubrovnik area (Kovai 2012:
63,72,73; cat. no 2, 3.), It was also the first Ottoman pottery
known to be exported to Italy. During the second half of
the 16th century, pottery made in this style became more
and more popular in the West, so the merchants from Ven-
ice and Genoa imported it primarily for the Italian market,
and, from there, distributed it to other parts of Europe or
ukraenih sitnim rozetama, listovima i S viticama. Po sre-
ditu oblog bijelog cavetta nalazi se tanki stilizirani vjeni
rozeta, dok du oboda s valovitim rubom tee valoviti friz s
nizom zakrivljenih, listova i cvjetnih vjenia (Zmai Kralj
2014: 67-68). S vanjske strane cavetto je u potpunosti pre-
kriven dekoracijom cvjetnog prepleta izvedenog u duhu
prethodnog Baba Nakka stila, to potvruje nastavak i
odanost tradiciji dvorskog stila, kao i pripadnost proizvodnji
keramikih radionica Iznika (Atasoy, Raby 1989: 113). Iako je
brodolom datiran u zadnju etvrtinu 16. stoljea ini se da
dvije turake zdjele iz tereta broda, prema besprijekornoj
kvaliteti izrade, konceptu dekoracije te vanjskoj strani posu-
de ukraenoj u duhu Baba Nakka stila, pripadaju ranijem
razdoblju, u prvu polovicu 16. stoljea. Istovjetna zdjela valo-
vitog ruba, identinih dimenzija i gotovo jednake dekoracije,
datirana u 1530./40. godinu nalazi se u kolekciji CL David
u Copenhagenu, inv.no. 43/1973. (Atasoy, Raby 1989: 111, sl.
139).
Kako bi zadovoljili dvorsku naklonost prema plavo
oslikanom kineskom porculanu, keramiari Iznika poinju
proizvoditi keramiku s doslovno kopiranim oblicima i deko-
racijama s kineskog porculana. Omiljene predloke pred-
stavljao je porculan iz vremena Yuan i rane Ming dinastije 14.
i 15. stoljea, budui je u 15. stoljeu na dvorovima islamskih
vladara Bliskog istoka bio visoko cijenjen. Ondje je porcu-
lan u vidu trgovake robe ili diplomatskih poklona stizao u
velikom broju (Allan 1991: 52), sve do opsade Tabriza (1514.),
Damaska i Kaira12 (1517.) u vrijeme sultana Selima I. (1512. -
1520.), kada uz ostali ratni plijen dospijeva na osmanski
dvor i postaje nenadmano cijenjeno posue u krugovima
osmanske elite. Osnovni motivi i kompozicije na kineskom
porculanu koji su inspirirali dvorske umjetnike i keramiare
grada Iznika bili su: friz s uzburkanim valovima i cvjetnim
prepletom na obodu te prikaz cvjetnog prepleta, trsa vinove
loze s grozdovima i buketa lotosa u sredinjem ukrasnom
polju. Oni se u poetku shematski kombiniraju i primjenjuju
na odreenim oblicima posuda, dok ih u zadnjoj etvrtini
16. stoljea majstori umjetnici Iznika poinju prilagoavati
vlastitim kreacijama na osmanskim formama posua te uz
nove motive i boje (kat. br. 23, 27).
Najzastupljeniji motiv preuzet s porculana Yuan di-
nastije iz sredine 14. stoljea je dekorativni friz na irokom
12 Suvremeni izvori prenose da je nakon opsade Kaira preko tisuu deva
prenosilo ratni plijen u Istanbul, meu kojim je bilo na stotine komada
kineskog porculana od kojega su bili vredniji tek zlato, srebro i oruje (Allan
1991: 52).
imitated it on their own pottery in Ligurian majolica work-
shops (Carswell 2006: 103) and the blue berettina majolica
(Kovai 2012: 63). On the other hand, indulging the new
market demands, the Iznik potters embraced certain forms
of Italian descend, such as the tondino plate with a smaller
receptacle and a wide, almost horizontal rim, that was often
decorated in the turake style.
Two dishes decorated in the turake spiral style
were recovered from the ships cargo (fig. 24; cat. no. 1, 2).
The dishes are almost identical in proportions, decoration
and detail, so it can be assumed that the objects made in
this style were produced in series, with the help of stencils
and templates that came from the workshops of the Otto-
man Court. They are large, with a complex design and of
high-quality, which tells us that they were made for elite
clients. Both dishes have a deep rounded body set on a
low ring-like foot and a wide foliated rim, similar to Ming
dynasty porcelain. They have cobalt blue paint on a white
surface done in an excellent technical and aesthetic man-
ner under a shiny transparent glaze. The decoration on the
interior is conceptualized in zones with a central circular
field filled with a group of seven identical spirals decorated
with tiny rosettes, leaves and S-scrolls. In the centre of the
round white cavetto there is a small stylized wreath of tiny
rosettes, while an undulating frieze decorated with curved,
pointy leaves and flower garlands runs along the foliated
rim (Zmai Kralj 2014: 67-68). On the exterior, the cavetto
is completely covered with a decoration of flower scroll
painted in the preceding Baba Nakka style, which con-
firms the continuation and devotion to the tradition of the
Court style, as well as affiliation to Iznik pottery workshops
(Atasoy, Raby 1989: 113). Although the shipwreck was dated
to the last quarter of the 16th century, it seems that the two
turake dishes from the ships cargo, with their impeccable
quality, concept of decoration and the exterior decorated in
the Baba Nakka style, belong to an earlier period, the first
half of the 16th century. That is confirmed by a similar dish
with a foliated rim which has the same dimensions and an
almost identical decoration, dated to the 1530 or 1540 from
the CL David Collection in Copenhagen (inv. no. 43/1973)
(Atasoy, Raby 1989: 111, sl. 139).
To please the Courts fondness for the Chinese blue
painted porcelain, the potters in Iznik started producing a
group of pottery that almost completely adopted the forms
and decorations of Chinese porcelain. The favoured tem-
plate was the Yuan and the early Ming dynasty porcelain
of the 14th and the 15th centuries, which was held in high
69
obodu posuda u obliku uzburkanih valova koji se razbijaju
o stijene (kat. br. 3, 7, 8, 9, 23, 24, 25, 26, 35, 37, 46, 47). Ovaj
stilizirani, gotovo grafiki motiv predstavlja idealan okvir
za sredinji statini crte (Kovai 2012: 62). ine ga naiz-
mjenino postavljena bijela polja u obliku vala, grupe sitnih
spirala u predstavi morske pjene te trostruke kreste to po-
put triglifa ralanjuju friz. Ovaj je motiv na ranim iznikim
primjercima slikan kobaltnoplavom, gotovo naturalistiki,
nalik onima s kineskih predloaka. Tijekom vremena sve je
vie stiliziran i ukraen novim bojama, dok je na ponekim
kasnijim primjercima izveden nemarno, u gotovo neprepo-
znatljivoj formi (kat. br. 39).
Jedan od omiljenih predloaka preuzet s porculana
Ming dinastije ranog 15. stoljea je cvjetni preplet koji se naj-
ee pojavljuje na zdjelama irokog oboda u formi hrasto-
vog lista. Dekoracija u sredinjem ukrasnom polju pred-
stavlja preplet uvijenih grana s cvjetovima lotosa, boura,
rua, krizantema ili nara u profilu ili u vodoravnom pogledu.
Uokolo oblog cavetta redaju se istaknuta polja s malim cvjet-
nim aranmanima, a du oboda friz s cvjetnim vijencem ili
motivom uzburkanih valova.
Dekoracija s cvjetnim preletom nalazi se na plavobi-
jeloj zdjeli s malom noicom i irokim obodom u formi hra-
stova lista (kat. br. 3) koja je na brodolomu pronaena gotovo
u cijelosti. U sreditu ukrasnog polja nalazi se cvijet lotosa
okruen sa sedam cvjetova u bogatom prepletu. Na obodu je
friz s motivom uzburkanih valova, a s vanjske strane posude
jednostavan ukras sveden na niz naizmjenino postavljenih
pojedinanih intamani motiva i pupoljka. Cvjetni preplet
zadrao se u plavobijeloj izvedbi do kraja iznike proizvod-
nje, a primjenjivao se i na izvorno osmanskim oblicima, koji
nisu potjecali iz kineskog repertoara oblika (kat. br. 26, 27).
Sljedei model iz vremena Ming dinastije 15. stolje-
a koji je opinio majstore Iznika bila je zdjela s prikazom
vinovog trsa. Zdjela se izvodila u dvije varijante: oble forme
s irokim obodom u formi hrastovog lista ili s ravnim rubom
u obliku plitice (Atasoy Raby 1989: 121). U oba sluaja u
sredinjem ukrasnom polju dominirao je motiv s tri trsa i
grozda okrueni liem i viticama vinove loze. Oko sredi-
njeg prikaza, na cavettu se nalaze dekorativna polja s malim
cvjetnim aranmanima i obod u formi hrastovog lista s mo-
tivom uzburkanih valova, a u drugoj varijanti cvjetni preplet.
Ova kompozicija zadrava se i u kasnijoj proizvodnji Iznika
gotovo nepromijenjena, ali uz upliv novih boja. To je vidljivo
na ulomku zdjele iz tereta broda sa sredinjim prikazom vi-
novog trsa i grozdova (kat. br. 23), cvjetnim aranmanima na
cavettu te motivom uzburkanih valova na obodu i detaljima
70
regard by the 15th-century Islamic rulers in the Near East.
The porcelain was brought in large numbers as a trading
good or a diplomatic gift (Allan 1991: 52), to the siege of
Tabriz (1514), Damascus and Cairo (1517)12 during the rule of
Sultan Selim I (1512-1520) at the same time it arrived to the
Ottoman Court along with other spoils of war and became
equally valued among the Ottoman elite. The basic motifs
and compositions found on porcelain which inspired Court
workshops and potters from Iznik were: a border with a
rock and wavemotif and a flower scroll on the rim, and
presentation of the flower scroll, bunch of grapes and
a bouquet of lotus flowers on the central drawing. In the
beginning they were combined schematically and applied
on certain vessel types, while in the last quarter of the 16th
century, the artisans in Iznik started adapting them to their
own creations on Ottoman vessel forms with new motifs
and colours (cat. no. 23, 27).
The most common motif taken from the 14th cen-
tury Yuan dynasty porcelain is a decorative border on a wide
rim in the shape of waves crashing against rocks (cat. no. 3,
7, 8, 9, 23, 24, 25, 26. 35, 37, 46, 47). This stylized and almost
graphic motif represents the ideal frame for the static
central drawing (Kovai 2012: 62). It is made of alternating
white fields in the shape of wave, a group of tiny spirals in
the representation of the sea foam and a triple crest that
divides the frieze as a triglyph. On early Iznik vessels, this
motif was painted in cobalt blue, almost naturalistically, like
the one on the Chinese templates. In time it became more
stylized and was enriched with new colours, while the later
examples shows a sloppy, almost unrecognizable form (kat.
br. 39).
One of the popular templates taken from the Ming
dynasty porcelain of the early 15th century is the flower
scroll which appears mostly on dishes with a wide foliat-
ed rim. The motif in the central decoration field includes
a scroll of branches with flowers of lotus, peonies, roses,
chrysanthemum or pomegranate in vertical and horizontal
view. Accentuated fields with small flower bouquets run
around the round cavetto and a flower garland or the rock
and wave border flow along the rim.
Decoration with a flower scroll appears on a blue
and white dish on a small foot with a wide foliated rim
12 Contemporary sources state that almost nine thousand camels
transported the spoils of war after the siege of Cairo, including hundreds
of pieces of Chinese porcelain, the price of which was surpassed only by
that of gold, silver and weapons; Allan 1991, 52
izvedenim u smaragdnozelenoj boji koja u upotrebu dolazi
tek u drugoj polovici 16. stoljea (Atasoy, Raby 1989: 69, 89).
Zdjele sa sredinjim prikazom buketa lotosa ta-
koer su se izvodila u dvije varijante, sa irokim obodom u
formi hrastovog lista ili s ravnim rubom poput plitice. Sre-
dinje ukrasno polje ispunjava cvijet lotosa na stabljici, oko
kojega se ire pupoljci, cvjetovi i listovi. U jednoj varijanti na
cavettu zdjele oko centralnog prikaza se radijalno iri ruyi
friz, a na obodu se ponovno javlja motiv uzburkanih valova,
dok se u drugoj varijanti, na posudama u obliku plitice, oko
sredinjeg prikaza ponovno javlja cvjetni preplet. Poput
mnogih i ovaj motiv se u plavobijeloj izvedbi i u brojnim
interpretacijama zadrao sve do kraja iznike proizvodnje u
17. stoljeu (kat. br. 24, 25).
U 1520-im i 30-im godinama pojavit e se jo dva
dekorativna pravca bitna za daljnji razvoj iznike proizvod-
nje. U vrijeme kada tradicionalni kulturni i umjetniki
centri bliskog istoka Herat, Tabriz, Damask i Kairo dolaze
pod osmansku vlast, brojni dvorski umjetnici i obrtnici s
toga podruja slijevaju se u Istanbul i sa sobom donose nove
stilove i utjecaje. Jedan od njih, Shah Kulu zapoinje svoju
karijeru dvorskog umjetnika poetkom vladavine Sulejmana
Velianstvenog (1520. - 1566.) i uvodi smjernice novog stila
koji je obiljeilo sljedeu razvojnu fazu iznike keramike.
Druga bitna pojava je keramika oslikana u potpuno novom
duhu s jednostavno izvedenim motivima na posuu manjih
dimenzija. Sredinje kompozicije se izvode u vertikalnoj osi
s novim repertoarom cvijea: malim tulipanima, karanfilima
i zumbulima najee postavljenima simetrino u vazama
ili vrevima na malim stolovima. J. Raby ovaj stil naziva ke-
ramiarski stil ili Potters style (Atasoy, Raby 1989: 115-120),
kako bi neovisan duh keramiara u odnosu na konvencio-
nalnu dvorsku umjetnost. Iako je stil trajao relativno kratko
i nije bio zastupljen na keramikim oblogama monumental-
nih arhitektonskih zdanja, znaajan je jer otkriva odstupa-
nje od dizajna po diktatu dvora. Razvoju stila pridonijela je
dvorska sklonost luksuznom i skupom kineskom porculanu,
to je prisililo keramiare da sputanjem kvalitete i repre-
zentativnosti posua smanje cijene i tako otvore trite
novim kupcima (Bigli 2009, 28; Atasoy, Raby 1989: 118).
Saz stil ili iluzija prirode (1535. 1557.)
Period umjetnika Shah Kulua (sl. 25)
U drugoj etvrtini 16. stoljea javlja se dekorativni stil saz
ili hatayi, koji je obiljeio dvorsku umjetnost u vrijeme
vladavine sultana Sulejmana Velianstvenog. Saz stil je u
found at the shipwreck almost intact (cat. no. 3). The centre
of the decorative field has a lotus flower surrounded by
seven flowers in a rich scroll. The rim of the vessel is deco-
rated with the rock and wave border. On the exterior of the
dish the decoration is reduced to the series of alternating
individual intamani motifs and buds. The flower scroll
was applied in blue and white techniques to the end of Iznik
production, and it was applied on the original Ottoman
forms, that were not derived from the Chinese repertoire of
shapes (cat. no. 26, 27).
The next model from the Ming dynasty of the 15th
century that fascinated the artisans in Iznik was a dish with
a depiction of the bunches of grapes . The dish was made
in two variants: in the round form with a wide foliated
rim, or with a flat rim in a form of platter (Atasoy Raby
1989: 121). The central decoration field in both versions was
dominated by a motif of three vines and a bunch of grapes
surrounded by leaves and scrolls of vine. The cavetto had
decoration fields with small flower bouquets and a foliated
rim with the wave border, and in the second variant a flow-
er scroll around the central drawing. This composition was
kept in the later Iznik production with almost no changes
but with the appearance of new colours. This is shown on a
dish fragment from the ships cargo (cat. no. 23), which has
a central depiction of a bunch of grapes, flower bouquets on
the cavetto and the wave border on the rim as well as details
applied in emerald green, a colour that was not introduced
until the second half of the 16th century (Atasoy, Raby 1989:
69, 89).
The dish with a central motif of a bouquet of lotus
flowers was also made in two variants: with a wide foliated
rim or flat rim in the form of platter. The central decora-
tion field was filled with a lotus flower on a stem with buds,
flowers and small leaves expanding from it. One variant has
a ruyi frieze radially expanding around the central drawing,
and the wave border on the rim, while the second variant,
present on dishes in the form of a platter, has a flower scroll
around the central drawing. Like many others, this mo-
tif was also applied in blue and white and lasted, in many
interpretations, to the end of Iznik production in the 17th
century (cat. no. 24, 25).
Two more decorative trends relevant for the further
development of Iznik production appeared during the
1520s and the 1530s. At a time when traditional cultural and
art centers of the Near East - Herat, Tabriz, Damascus and
Cairo, came under Ottoman rule, numerous court artists
and craftsmen from that area came to Istanbul bringing
71
Sl. 25. Zdjele ukraene u Saz stilu,
period umjetnika Shah Kulua,
Iznik, 1530 - 1560
Fig. 25. Dishes decorated in the
Saz style period of the artist
Shah Kulu, Iznik, 1530 1560
osmansku umjetnost uveo Shah Kulu, umjetnik porijeklom
iz Bagdada nakon to je naobrazbu stekao na perzijskom
dvoru u Tabrizu kod slavnoga majstora Aqa Miraka. Nakon
to je prognan s perzijskog dvora, privremeno je boravio u
Amasyi u Anatoliji do 1520./21. godine. Potom dolazi na dvor
u Istanbul gdje vrlo brzo postaje ser-blk, voditelj skupine
slikara anatolijskog podrijetla.13 Vrhunac slave doivio je
1545. godine kada postaje nakabai, glavni dizajner dvorskih
dizajnerskih radionica nakkahane, u kojima je djelovao sve
do svoje smrti oko 1555. godine (Denny 2004: 33).
Stil je nazvan prema zakrivljenom i nazubljenom
listu saz koji u osmanskoj umjetnosti simboliki predstav-
lja mitsku arobnu umu, imaginarni svijet bogat florom
i faunom u kojemu se odraavaju odjeci amanskih vje-
rovanja Srednje Azije (Atil 1987: 24-33). Na turskom rije
saz oznaava i movarnu trsku, koja je izvorno sluila kao
kalem, orijentalno kaligrafsko pisalo (Denny 2004: 33-36). U
repertoar prikaza izvorno su bile ukljuene egzotine ptice,
divlja stvorenja poput lavova, kineskih zmajeva i drugih mit-
13 Do sredine 16. stoljea nakkahane se dijeli na dva razliita odjela,
Rumiyn skupinu umjetnika anatolijskog podrijetla i Ajemn skupinu
umjetnika koji nisu orijentalnog podrijetla kao to su majstori s franakog i
maarskog podruja.
72
new styles and influences. One of them, Shah Kulu, start-
ed his career as a court artist at the beginning of the rule
of Suleiman the Magnificent (1520-1566) and introduced
guidelines for the new style that marked the next phase of
Iznik pottery development. A second important phenom-
enon is a group of pottery decorated in a completely new
style including simpler motifs which appeared on smaller
vessels. The central compositions are made along a vertical
axis with a new repertoire of flowers: small tulips, carna-
tions and hyacinths placed symmetrically in vases or jugs
on small tables. J. Raby calls this the Potters style (Atasoy,
Raby 1989: 115-120), to accentuate the independent spirit of
the potters applying this type of decoration. Although the
style lasted for a relatively short time and was not repre-
sented on ceramic tiles on monumental architecture, it is
significant because it uncovers a deflection from the design
dictated by the Court. The development of this style was
contributed to by the Courts affinity towards luxurious
and expensive Chinese porcelain, which forced the potters
to lower the prices by reducing the quality and prestige of
the vessels and thus creating a market for new, buyers (Bigli
2009, 28; Atasoy, Raby 1989: 118).
skih bia ili pak krilati aneli peri, u kombinaciji s velikim
zakrivljenim i nazubljenim ili paperjastim liem i velikim
cvjetovima sloenih oblika. Prizori gotovo imaginarnog bilja
u saz stilu postali su najpopularnija dekorativna znaajka
nakon 1540-ih i primjenjuju se u svim granama dvorske
umjetnosti, na iluminiranim rukopisima, ukrasnim predme-
tima od zlata, srebra, kristala i ada, na vladarskom oruju
i oklopima, svilenim kaftanima vladarske obitelji, dekoru
i sagovima te na keramikim oblogama i stolnom posuu
(Atil 1987: 24-33).
Na iznikoj keramici ovaj inovativni stilski izriaj
pojavljuje se i ranije, no nakon 1540-ih postaje okosnica
osmanske likovne umjetnosti i osnova na kojoj e se for-
mirati klasini izniki stil. Karakteriziraju ga iluzionistika,
gotovo trodimenzionalna umjetnika ostvarenja i upotreba
ire palete boja. Uz kobaltnoplavu i tirkiznu uvodi se man-
ganskoljubiasta, maslinastozelena, blijedo siva te zelenka-
stocrna kojom se izvode konture crtea (Carswell 2006: 63).
Kompozicije na posuu mogu biti centralne, sa sredinjim
ukrasom koji predstavlja iluziju prirode s raznim biljem,
ponekad ukomponiranu s hatayi motivima. Istovremeno,
sve se vie primjenjuje vertikalni koncept sredinjeg deko-
rativnog polja s naturalistiki izvedenim buketima tulipana,
zumbula, ipka, artioke i rua koji proizlaze iz grma na dnu
ukrasnog polja. Sloena dekoracija s vanjske strane posude
iz ranijih faza (kat. br. 1, 2) svela se na slijed stiliziranih, naiz-
mjenino postavljenih rozeta, kitica cvijea i drugih jedno-
stavnih motiva (kat. br. 6, 7). Keramika ukraena u ovom
stilu nazivala se i damakom keramikom (Damascus ware)
zbog dekorativnih motiva i kompozicija slinih onima na
keramikim zidnim oblogama arhitektonskih zdanja u Da-
masku (Bigli 2009: 28; Maury 2008: 120). Kasnija istraivanja
keramikih pei u Izniku pokazala su da se radi o proizvo-
dima iznikih radionica. Kao u prethodnoj fazi, pojavljuje
se nekoliko suvremenih stilova. od kojih se tri razliita stila
mogu prepoznati na zdjelama iz terta broda (sl. 25).
Poetna plavotirkizna faza saz stila javlja se na
dvije gotovo identine zdjele oble forme, na maloj noici i
bez istaknutog oboda, poput plitice (sl. 25; kat. br. 4, 5). Za
razliku od prethodnih stilova gdje je oito prisutan horror
vacui, novi trend upuuje na ekonomino koritenje ukrasa.
Takoer se povrina cijele posude poinje tretirati kao jedin-
stvena, neprekinuta ukrasna ploha, bez odvojenih ukrasnih
zona (Zmai Kralj 2014: 70). Cenatralni motiv je veliki list
platane (chinar) s okruglim plodovima uokolo kojega je ras-
poreeno osam istovjetnih, manjih listova koji se izmjenjuju
s jednostrukim i dvostrakim viticama (kat. br. 4).
Saz style or the illusion of nature (1535-1557)
Period of the artist Shah Kulu (fig. 25)
In the second quarter of the 16th century a new decorative
style appeared which would mark Court art during the
reign of Sultan Suleiman the Magnificent - the Saz or
hatayi style. The Saz style was brought into Ottoman art
by Shah Kulu, an artist from Bagdad who was educated at
the Persian court in Tabriz by the famous master Aqa Mirak.
After he was exiled from the Persian court he temporarily
stayed in Amasya in Anatolia until 1520 or 1521, after which
he came to the court in Istanbul where he soon became
ser-blk, a leader of a group of artists of from Anatolia.13 The
peak of his fame was in 1545 when he became the nakabai,
the head designer in the imperial designer workshops, nak-
kaane, where he remained to his death around 1555 (Denny
2004: 33).
The style was named after the curved and serrated
leaf saz that, in Ottoman art, represented a mythical en-
chanted forest and imaginary world rich in flora and fauna,
reflecting the echoes of the shamanic beliefs of Central Asia
(Atil 1987: 24-33). In Turkish, the word saz means swamp
reed, which was used as a kalem - an oriental calligraphic
pen (Denny 2004: 33-36). The repertoire originally included
exotic birds, wild creatures such as lions, Chinese drag-
ons and other mythical creatures, or winged angels - peri,
combined with large curved and serrated or feathered
leaves and large composite flowers. Depictions of almost
imaginary plants in the Saz style became the most popular
decorative feature after the 1540s and were applied in all
branches of Court art, on illuminated manuscripts, decora-
tive objects made of gold, silver, crystal and jade, on impe-
rial weapons and armours, silk kaftans of the royal family,
decor and carpets, as well as on ceramic tiles and tableware
(Atil 1987: 24-33).
This innovative style appeared on Iznik pottery
earlier, but after the 1540s it became the framework for the
Ottoman visual arts and the ground on which the classical
Iznik style would begin to form. It is characterized by an
illusionistic, almost three-dimensional works of art and a
use of a wider palette of colours. Alongside cobalt blue and
turquoise, manganese purple, olive green, pale gray were
13 Up to the middle of the 16th century, the nakkahane were divided into two
different departments: the Rumiyn group of artists of Anatolian descent
and the Ajemn group who were not of oriental descent, including the artists
from the area of France and Hungary.
73
 Na vanjskoj povrini posude u naizmjeninom nizu pojav-
ljuju se stilizirani motivi zmaja. Druga zdjela (kat. br. 5)
je gotovo identina po obliku, dimenzijama i konceptu
dekoracije, no uz nekoliko razlika: sredinji je motiv lista
sada okruen sa est listova koji se izmjenjuju s stiliziranim
motivima zmaja i malim jednostrukim viticama, dok se s
vanjske strane izmjenjuje lie platane i vitiasti stilizirani
zmajevi.
U drugoj etvrtini esnaestog stoljea obnavlja
se repertoar ukrasa s naglaenim islamskim stilom i ara-
beskom, naslijeen iz poetne faze ukraavanja iznikog
posua. Prema potpisu umjetnika na oslikanoj lampi iz 1549.
godine, stil je nazvan umjetniki krug Muslija (the Circle of
Musli) ( Atasoy, Raby 1989: 1135-138). Lampu je sultan Sulej-
man Velianstveni namijenio svetitu Kupola na stijeni u
Jeruzalemu u sklopu obnove svetih mjesta Meke, Medine i
Jeruzalema, a danas se nalazi u British Museumu u Londonu
(Carswell 2006: 67). Ime istog umjetnika zabiljeeno je na
ulomku dna zdjele pronaene prilikom istraivanja kerami-
ke pei u Izniku, a spominje se i u povijesnim dokumentima
o sukobima iznikih keramiara (Bigli 2009: 28). Lampa je
ukraena u rumi - hatayi stilu s bogatim arabeskama ispre-
pletenima u vorove u kombinaciji sa stiliziranim motivima
zmaja, emse motivom u obliku kartua i cvjetnim moti-
vima, a istovjetni motivi ponavljaju se i na viseem orna-
mentu krune forme koji se danas nalazi u Benaki muzeju
u Ateni (Carswell 2006: 68). Sve znaajke stila ogledaju se
i na velikoj zdjeli iz tereta broda s oblim cavettom i irokim
obodom u formi hrastovog lista, izvedenoj uz primjenu
novih boja tirkizne, maslinasto zelene, zelenkasto crne i
mangansko ljubiaste (kat. br. 6). Sredinji motiv arabeske u
formi etverokrake zvijezde se gotovo zrcalno odraava na
etiri strane zdjele. Izmeu njih nalaze se etiri emse mo-
tiva ispunjena stilliziranim zmajevima te kitice cvijea. Niz
stiliziranih ljiljana i motiva tigrovih pruga - peleng na obodu
stapa se s ostalim motivima u jedinstvenu kompoziciju
koja zauzima cijelu povrinu posude. Vanjska strana cavetta
ukraena je naizmjeninim nizom rozeta i kiticama tulipana
(Zmai Kralj 2014: 70).
Sredinom 16. stoljea, od 1555. do 1560. godine, po-
javljuje se stil prijelaznog karaktera s brojnim elementima
sljedee faze, nazvan majstor zumbula (the Master of the
Hyacinths) (Atasoy, Raby 1989: 135-138), po dominantnom
cvijetu u cvjetnim aranmanima. Uz osnovne karakteri-
stike i stilske elemente grupe saz, poput upotrebe plave,
tirkizne, ljubiaste i maslinastozelene s tamnim obrisima,
pojavljuju se nove tendencije karakteristine tek za drugu
74
introduced, with greenish black used for the outlines of the
drawing (Carswell 2006: 63). The compositions on the ves-
sels are central with a decoration representing the illusion
of nature with various plants, sometimes combined with
hatayi motifs. At the same time, the vertical concept of the
central decorative field with naturalistically done bouquets
of tulips, hyacinths, rose hips, artichokes and roses that
emerge from a tuft at the bottom of the decoration field
was being applied more and more. Complex decorations
from the exterior of the vessel found in earlier phases
(cat. no. 1, 2) are reduced to a series of stylized, alternating
rosettes, bouquets and other, simpler, motifs (cat. no. 6,7).
Pottery decorated in this style was also called Damascus
ware due to the decorative motifs and compositions similar
to the wall tiles on buildings in Damascus (Bigli 2009: 28;
Maury 2008: 120). However, the recent research of the
ceramic kilns in Iznik showed that this type of pottery was
product of the Iznik workshops. Just like in the previous
phase, a several of styles co-existed in the same time, three
of which we can identify in the shipwreck cargo (fig. 25).
The initial blue and turquoise phase of the Saz
style appears on two almost identical round dishes on a
small foot and without an accentuated rim, like a platter
(fig. 25; cat. no. 4, 5). Unlike the preceding styles with the
obvious horror vacui, the new trend is economical in its use
of decoration. Also, the surface of the whole dish is treated
like a unique, continuous surface, without separate deco-
rative zones (Zmai Kralj 2014: 70). The cemtral motif is a
big oriental plane leaf (chinar) with round fruits and eight
identical smaller leaves surrounding it, alternating with
single or double scrolls (cat. no. 4). The exterior surface of
the dish is decorated with alternating motifs of stylized
dragons. The second dish (cat. no. 5) is almost identical in
shape, dimensions, and the concept of decoration, but with
a few differences; the central leaf motif is now surrounded
with six leaves alternating with stylized dragon motifs and
single scrolls, while smaller oriental plane leaves and styl-
ized dragons alternate on the exterior.
In the second quarter of the 16th century, the rep-
ertoire of decorations with an accentuated Islamic style and
the arabesque inherited from the initial decorative phase of
the iznik ceramic was being revived. Based on a signature
of an artist on a decorated lamp dated to 1549, the style was
called the Circle of Musli (Atasoy, Raby 1989: 1135-138). The
lamp was ordered by Sultan Suleiman the Magnificent for
the sanctuary Dome of the Rock in Jerusalem as a part of
the rebuilding process of holy places in Mecca, Medina and
polovicu 16. stoljea. Sredinji prizor s vertikalnom kom- Jerusalem, and is kept today in the British Museum in Lon-
pozicijom cvjetnog aranmana obuhvaa cijelu unutranju don (Carswell 2006: 67). The name of the same artist was re-
povrinu posude, po prvi put u kombinaciji s kineskim corded on a fragment of a bottom of a dish found during the
motivom uzburkanih valova na obodu. Ovaj inovativni stil excavations of a pottery kiln in Iznik, and it is mentioned
ogleda se na zdjeli s oblim cavettom i irokim obodom u for- in historical documents relating to the conflicts between
mi hrastovog lista (sl. 25; kat. br. 7). Sredinji prizor buketa potters in Iznik (Bigli 2009: 28). The lamp is decorated in
zumbula izveden u tirkiznoj, svijetloplavoj, ljubiastoj i ma- the rumi - hatayi style with rich arabesques intertwined
slinastozelenoj boji prostire se na cijelu unutranjost posude in knots in combination with scrolling bands of stylized
i uokviren je obodom s motivom uzburkanih valova. Vanjska dragons, emse motifs in the shape of cartouches and flower
strana posude ukraena je gotovo identino prethodnom motifs. The same motifs appear on a circular hanging orna-
primjerku (kat. br. 6), s naizmjeninim nizom rozeta i kiti- ment kept in the Benaki Museum in Athens (Carswell 2006:
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
mogunost primjene potpuno razliitih stilova na posuda- dish from the ships cargo with a round cavetto and a wide
ma izraenim u istoj radionici ili od ruke istog majstora. foliated rim, with application of new colours: turquoise,
Od 40-ih godina 16. stoljea proizvodnja iznikih olive green, greenish black and manganese purple (cat.
radionica sve se vie okree proizvodnji keramikih oblo- no. 6). The central arabesque motif, in the form of a four
ga za arhitekturu, zahvaljujui tradiciji cuerda seca tehnike pointed star, is almost mirrored on the four sides of the
(Carswell 2006: 73), koju u Istanbul donose perzijski majsto- dish. Around the central motif alternate the emse motifs
ri i arhitektu Sinanu, na ijim se ranim graevinama javljaju filled with scrolling bands of stylized dragons and bouquets
obloge s elementima i koloritom saz stila. Iako se ini da of rosettes. A border of stylized lilies and the peleng motif
se u poetku vie panje pridavalo izradi posua nego oblo- on the rim create with the central motifs a unique compo-
ga, za dekoraciju su se koristile iste matrice, no s primjenom sition occupying the entire surface of the dish. The exterior
manjeg raspona boja na oblogama (Atasoy, Raby 198: 218). side of the dish is decorated with an alternating series of
Datacija stila stoga se moe osloniti, osim na ve rosettes and bouquets of tulips (Zmai Kralj 2014: 70).
spomenutu lampu umjetnika Muslija iz 1549. godine i na In the middle of the 16th century, from 1555 to 1560,
brojna arhitektonska zdanja. U njih se ubraja kompleks s a style of a transitional character appeared, displaying ele-
damijom Selima I., narudba Sulejmana Velianstvenog ments of the next phase. The style was called after the dom-
te imaret posveen njegovoj eni Hasseki Hrem iz 1539. inant flower in the bouquet the Master of the Hyacinths
godine (Atasoy, Raby), a potom i poznata djela arhitekta Si- (Atasoy, Raby 1989, 135-138). The basic stylistic features and
nana, damija i grobnica njihovog sina ehzade Mehmeda iz the elements of the Saz group, the use of blue, turquoise,
1543./44. godine te portik damije Ibrahim Pae na Silvirka- purple and olive green with dark outlines, appear with the
piju iz 1551. godine (Necipolu 1990: 142-143). U istom stilu new tendencies characteristic for the decorative style of
ukraene su i keramike ploice izraene 1540-ih i 1550-ih, the second half of the 16th century. The central drawing
naknadno postavljene u Snet Odasi, u paviljonu Topkapi with a vertical composition of a flower bouquet occupies
palae te u interijeru hammama Yeni Kaplica u Bursi (Car- the entire surface of the vessel, with the Chinese wave
swell 2006: 73). motif on the rim, appearing in this combination for the first
time. This innovative style appears on dish with a round
Cvjetni naturalizam i polikromija (1557. - 1610.) cavetto and a wide foliated rim (cat. no. 7) with the central
Period umjetnika Kara Memija (sl. 26) scene of bouquet of hyacinths done in turquoise, light blue,
purple and olive green. A central scene occupies the entire
U drugoj polovici 16. stoljea Osmansko carstvo pod vlada- interior of the vessel, framed with the wave border around
vinom sultana Sulejmana Velianstvenog dostie politiki, the rim. The exterior of the dish is almost identical to (cat.
ekonomski i kulturni procvat. Pod okriljem dvora gradi se no. 6), with an alternating line of rosettes and bouquets of
veliki broj javnih monumentalnih arhitektonskih zdanja, a u tulips, which links them closely and possibly connects them
skladu s novim trendovima u arhitekturi koje zastupa glavni to the same workshop or artist.
dvorski arhitekt (mimarbai) Sinan, naruuju se ogromne During the 1540s, the production in Iznik work-
koliine keramikih obloga iz Iznika, ne vie u cuerda seca shops started leaning increasingly towards making ceramic
75
 Sl. 26. Posue ukraeno u
viebojnom cvjetnom stilu i
apstraktnim kompozicijama,
period umjetnika Kara Memija,
druga polovica 16. stoljea
Fig. 26. Pottery decorated in
the polychrome floral style and
abstract compositions, period
of the artist Kara Memi, Iznik,
second half of the 16th century
tehnici ve u iznikoj tradiciji glazirane kvarcne keramike.
Inovativni dekorativni motivi osmiljeni u dvorskim umjet-
nikim radionicama i kvaliteta izvedbe odraavaju se i na
iznikom stolnom posuu (Bigli 2009: 32).
Pokreta novog dekorativnog stila bio je Kara Memi,
uenik Shah Kulua i njegov nasljednik od 1557./58. na mjestu
glavnog dizajnera nakkahane, koji se ujedno proslavio
i kao slikar iluminiranih rukopisa sultana Sulejmana Veli-
anstvenog (Denny 2004: 41). Na osnovu prethodnog Saz
stila proizalom iz perzijske tradicije, Kara Memi razvija
klasini osmanski stil obiljeen cvjetnim naturalizmom. Stil
je nazvan etiri cvijeta - kfe, prema omiljenom cvijeu This includes the Sultan Selim complex with the Yavuz
uzgajanom u osmanskim vrtovima: tulipanu, karanfilu, rui
i zumbulu. Uz njih se nastavljaju pojavljivati lotos, krizante-
ma, bour i drvo ljive u cvatu, preuzeti s kineskih uzora, te
zakrivljeni list - saz, kozja krv, urice, potonice i drugo
poljsko cvijee, a kao sredinji vertikalni motiv esto se po-
javljuje i empres. Na iroku lepezu cvjetnih uzoraka, osim
domaih kultiviranih vrsta cvijea i drugog bilja, uvelike su
utjecali i crtei iz poznatih europskih herbarija 16. stoljea.14
No osim ukrasnog, cvjetni stil imao je i simboliko znaenje.
U osmanskom drutvu vrtovi su predstavljali duhovni i inte-
lektualni prostor, mjesta za vjerska uenja i kulturna okup-
ljanja obrazovane elite te openito drutvena okupljanja,
76
wall tiles for buildings, thanks to the tradition of the cuerda
seca technique (Carswell 2006: 73), brought to Istanbul by
the Persian potters from Tabriz and the architect Sinan,
whose early buildings were clad with tiles made with ele-
ments and colours of the Saz style. Although it seems that,
in the beginning, more attention was given to the produc-
tion of tableware than to that of wall tiles, the same stencils
were used for decorations, but with a diminished range
of colours used on the tiles (Atasoy, Raby 1989, 218). Along
with the aforementioned lamp made by the artist Musli in
1549, the datation of this style can rely on many buildings.
nezadovoljavajui, trag boje bio je neujednaen i djelomino
Selim Mosque, commissioned by Suleiman the Magnificent
and the imaret dedicated to his wife Hasseki Hrem dated
to 1539 (Carswell 2006, 73), along with the known works
of the architect Sinan, the mosque and tomb of their son
ehzade Mehmed dated to 1543 or 1544 and the portico of
the of the Hadim Ibrahim Pasha Mosque in Silivrikapi from
1551 (Necipolu 1990, 142-143). This style was also used on
wall tiles made in the 1540s and the 1550s, additionally put
in the Snet Odasi pavilion of the Tokapi palace and the in-
terior of the hammam of the Yeni Kaplica in Bursa (Carswell
2006, 73).
gozbe te razne sveanosti poput svadbi, ina obrezivanja i
drugih obreda (goston, Masters 2009: 272). Cvijee je evo-
ciralo kuranski opis raja i rajskog vrta te simboliziralo dug i-
vot i obilje. Tulipan, lle, anagram je muslimanskog imena za
Alaha, simbol njegove boanske manifestacije i izvora ivota
(Atasoy, Raby 1989: 223). Predstavljao je i vrlinu skromnosti
pred Bogom, a u poeziji obraz voljene osobe (Dash 2001: 20).
Karanfil, karanfil, je zbog dugog perioda cvatnje simbolizirao
snagu i dug ivot. Na brojnim portretima, osmanski sultani
i admirali u ruci dre karanfil, stoga se moe nagaati da je
ovaj cvijet imao i politiki smisao. U osmanskoj ljubavnoj
poeziji 16. stoljea zumbul, smbl, je metafora za kovre
voljene osobe, a u pojedinim vjerskim djelima predstavlja
proroka Muhameda. Rua je jedan od najistaknutijih simbo-
la islama te simbolizira boansku ljepotu i proroka Muhame-
da, dok je ruina voda imala posebno znaenje u vjerskim
obredima. Grane ljive u cvatu, karayemi, na prikazima Kara
Memija najee obuhvaaju ostalo cvijee, simbolizirajui
tako obilje, a esta pojava na keramikim oblogama grobnica,
mogla bi upuivati na njihovu imaginaciju raja. Simbolino
znaenje imalo je i drvo empresa, selvi takoer est prikaz
na keramikim oblogama grobnica i damija.
Kod osmanskih pjesnika ono je metafora za voljenu osobu,
a ujedno simbolizira potenje i estitost (Denny 2004: 190,
223). Kako bi iskazao vlastitu identifikaciju s novim stilom
punim simbolike, Sulejman Velianstveni je od glavnog
dvorskog dizajnera, Kara Memija naruio izradu velikog
vladarskog potpisa, tughru u novom cvjetnom i viebojnom
stilu, koja je neto poslije 1550. godine bila javno izloena
(Denny 2004: 41). Stil je obiljeen i uplivom novih boja,
prvenstveno koraljno crvene i neto kasnije smaragdnoze-
lene, a za vanjske konture crtea crne boje, poput tinte na
iluminiranim rukopisima. Koraljno crvena boja je u poetku
nanoena u tankom sloju kao i ostale boje, no rezultat je bio
century14. Apart from the decorative, the flower style had a
transparentan (Atasoy, Raby 1989: 221). Ova je boja po prvi
put upotrijebljena na lampi izraenoj za novu Sleymaniye
damiju, inauguriranu 1557. godine, koja se danas nalazi u
zbirci Victoria & Albert muzeja (Carswell 2006:76).
Kako bi se postigao pravi efekt poinje se koristiti crvena
boja u vidu gustog premaza (bole red, bollo armeno), koja se
14 Otto Brunfel: Herbarum vivae eicones, Strasburg 1530., ilustrirao Hans
Weiditz; Leonard Fuch: De historia stirpium, Basel 1542., ilustrirao Meyer
i Fllmaurer; Pieri Andrea Mattioli Di Pedacio Dioscoride Anazarbeo Libri
cinque Della historia, et materia medicinalepoznata i kao Discorsi u vie
izdanja od 1544. do 1552.g.; i drugi.
Floral style and polychromy (1557-1610)
Period of the artist Kara Memi (fig. 26)
The second part of the 16th century was a period when the
Ottoman Empire, under the reign of Sultan Suleiman the
Magnificent, reached its political, economic and cultural
height. Numerous monumental buildings were erected
under the patronage of the Court, and a large number of
wall tiles were being commissioned, in accordance with
the new trends in architecture initiated by the Courts chief
architect (mimarbai) Sinan. The tiles were no longer made
in the cuerda seca tehnique, but in the Iznik tradition of
the glazed fritta ceramic. The innovative decorative motifs
were designed in the art workshops of the Court and their
high-quality is reflected on Iznik table ware as well (Bigli
2009: 32).
The initiator of this new decorative style was Kara
Memi, a student of Shah Kulu and his heir from 1557/58 as
the chief designer of the nakkaane who was also known
as an illuminator of the manuscript of Suleiman the Mag-
nificent (Denny 2004: 41). On the basis of the preceding
Saz style that originated from the Persian tradition, Kara
Memi developed a classical Ottoman style marked with
flower naturalism. The style was called the four flowers -
kfe, after the favorite flowers cultivated in Ottoman
gardens: tulip, carnation, rose and hyacinth. The lotus, the
chrysanthemum, the peony and the blooming plum tree,
taken from the Chinese motifs repertoire, appear alongside
them, as do the curved leaf - saz, honeysuckle, the lily of
the valley, forget-me-nots and other field flowers, as well as
the cypress tree, often appear as the central vertical motif.
The wide array of flower patterns, were influenced by not
only cultivated sorts of flowers and other plants, but also
by drawings from famous European herbaria of the 16th
symbolic meaning. In Ottoman society the gardens repre-
sented a spiritual and intellectual space, a place for religious
teachings and cultural gatherings of the educated elite, and
a place of gathering in general, including feasts and cele-
brations such as weddings, circumcisions and other rituals
(goston, Masters 2009: 272). Flowers evoked the descrip-
14 Otto Brunfel: Herbarum vivae eicones, Strasburg 1530, illustrated by
Hans Weiditz; Leonard Fuch: De historia stirpium, Basel 1542, illustrated
by Meyer and Fllmaurer; Pieri Andrea Mattioli Di Pedacio Dioscoride
Anazarbeo Libri cinque Della historia, et materia medicinalealso known
as Discorsi in multiple editions from 1544 to 1552, etc.
77
u reljefnom sloju nanosila tankom cjevicom i nalikovala
vosku. Ova boja u drugoj polovici stoljea poinje domini-
rati na viebojnoj iznikoj keramici i polako istiskuje blije-
do ljubiastu boju iz prethodnog razdoblja. Istovremena
uporaba ove dvije boje pojavljuje se zadnji put na grobnici
Sulejmana Velianstvenog 1566./67. godine (Atasoy, Raby
1989: 230). S manganskoljubiastom iz upotrebe se povlai i
maslinastozelena, a krajem 60-ih godina 16. stoljea sve vie
je prisutna smaragdnozelena boja.
Biljni motivi i arke boje kombinirali su se u razno-
vrsnim shemama, od centralnih kompozicija koje se radijal-
no pruaju iz sredinjeg motiva do kompozicija izvedenih
u vertikalnoj osi. Najee su to bile razne kombinacije
cvjetnih aranmana prikazanih u simetrinom odnosu ili
slobodnom stilu, koji su proizlazili iz sredinjeg grma na dnu
prikaza. Cvjetovima se dodaje i empres kao sredinja os
vertikalne kompozicije. Na zdjelama s istaknutim obodom,
sredinji vertikalni prikazi bili su uokvireni frizom s kine-
skim motivom uzburkanih valova na obodu, koji se u ovoj
kombinaciji poinje prikazivati u prethodnoj fazi, a u ovoj
postaje uobiajen.
Posue ukraeno u ovom stilu nazivalo se i rodska
keramika zbog velike kolekcije od 600 primjeraka posu-
da, kupljene u 19. st. na otoku Rodosu za Muse de Cluny u
Parizu. Kasnija arheoloka istraivanja keramikih pei u
Izniku pokazala su da ova viebojna keramika ipak pripada
proizvodnji grada Iznika (Bigli 2009: 30-31).
Sve karakteristike ovog stila mogu se pratiti na
primjercima iznikog posua pronaenog na brodolomu
(sl. 26). Zdjela sa zakrivljenim cavettom i istaknutim, ravnim
obodom i malom, prstenastom nogom oslikana je u svijetlo-
plavoj, zelenoj, reljefno crvenoj boji s obrisima izvedenim
u crnoj boji (kat. br. 8). U sredinjem ukrasnom polju nalazi
se kompozicija cvjetnog aranmana, nainjenog od rua,
tulipana, zumbula, potonica i grana ljive u cvatu, a proizla-
zi iz sredinjeg grma na dnu prikaza. Uokolo oboda je friz s
uzburkanim valovima, dok je vanjska strana zdjele ukraena
nizom naizmjenino postavljenih rozeta i tulipana. on a lamp made for the Sleymaniye Mosque, inaugurated
Sljedea zdjela sline forme (kat. br. 9) u sredinjem polju
ima simetrinu cvjetnu kompoziciju. Unutar okvira s uzbur-
kanim valovima na obodu nalazi se biljka nalik plodu nara,
okruena je nazubljenim liem i granama ljive u cvatu te
uricama. Prikaz je oslikan u kobaltnoplavoj, smaragdno-
zelenoj i reljefnoj crvenoj boji s obrisima izvedenim crnom
bojom.
Dekoracija Kara Memija u cvjetnom, viebojnom
stilu nastavlja se primjenjivati i nakon smrti Sulejmana Ve-
78
tions of paradise in the Quran and the Garden of Paradise,
and symbolized long life and wealth. The tulip, lale, is an
anagram for the Islamic name for Allah, the symbol of His
divine manifestation and the source of life (Atasoy, Raby
1989: 223). It represented the virtue of humility before
God, and in poetry, the cheek of a loved one (Dash 2001:
20). The carnation, karanfil, symbolized strength and long
life, due to its long time of blooming. Ottoman sultans and
admirals were portrayed holding a carnation so it can be
presumed that this flower had a political meaning as well.
In Ottoman love poetry of the 16th century the hyacinth,
smbl, was a metaphor for the locks of a loved one, and
in certain religious works they represent the Prophet
Muhammad. The rose is one of the most prominent sym-
bols in Islam, symbolizing divine beauty and the Prophet
Muhammad, and rosewater had a special meaning during
religious rituals. The blooming plum tree branch, karayemi,
on Kara Memis description mostly includes other flowers,
symbolizing abundance, and their common use on ceramic
tiles in tombs may point to an imagination of heaven. The
next motif, the cypress tree - selvi, appears often in Iznik
art, especially on ceramic tiles on tombs and mosques, so it
could point to the same symbolic meaning. The Ottoman
poets use it as a metaphor for the loved one, as well as a
symbol of integrity and honesty (Denny 2004: 190, 223). To
show his own identification with the new style which was
highly symbolic, Suleiman the Magnificent ordered the
design of the imperial monogram - tughra, in the new flower
style from the chief court designer, Kara Memi, which was
displayed publicly a little after 1550 (Denny 2004: 41). The
style is marked by an influence of new colours: primarily
coral red and, a little later on, emerald green, and black for
the outline of the drawings, like ink on illuminated man-
uscripts. The coral red was at first used in a thin layer as
other colours, but the result was unsatisfactory, the colour
was uneven and partially transparent (Atasoy, Raby 1989:
221). The beginning of the use of this colour was recorded
in 1557, that is presently in the Victoria and Albert Musem
collection (Carswell 2006: 76). To reach the right effect the
artisans began to use red in a thick coating (bole red, bollo
armeno) applying it in a relief layer with a thin tube, giving it
the appearance of wax. This colour began to dominate the
polychrome Iznik pottery of the second half of the century,
pushing out the pale purple from the previous period, and
last simultaneous use of these two colours appears on the
tomb of Sultan Suleiman the Magnificent dated to 1566/67
lianstvenog, u vrijeme vladavine njegovih nasljednika Seli-
ma II. (1566. - 1574.) i Murada III. (1574. - 1595.). Nakon bitke
kod Lepanta 1571. godine poslovni i diplomatski kontakti
izmeu Osmanskog carstva i Europe su se vidno poboljali
to se odrazilo i na uestaliji izvoz iznike keramike i druge
orijentalne robe u Europu (Mack 2002: 109). irenje trgovi-
ne na novo trite i opa popularnost iznikog viebojnog
cvjetnog stila u carstvu doveli su do masovne proizvodnje
stolnog posua i sve veeg okretanja prema kupcima sred-
nje klase, dok je osmanska elita i dalje teila za kineskim
porculanom (Denny 2004: 173). Nove okolnosti utjecale
su na kvalitetu i oblike posua, dok se u dekoraciji sve vie
odraavaju individualni stilovi keramiara. U odnosu na
ranija razdoblja zdjele su manjih dimenzija, ali je repertoar
oblika vei. Uz zdjele za posluivanje, uestalije se proizvo-
de tanjuri s uskim obodom, posude na nozi - tazza, duboke
zdjele s poklopcem, polukrune zdjelice, krazi, boce, vei
i manji vrevi, tintarnice i kutije za uvanje pera. Kao jedan
od najeih oblika uvedenih u 1570-ima je plitki tanjur na
maloj prstenastoj nozi s uskim obodom na kojemu se naje-
e pojavljuje friz s nizom ruyi motiva, prepletom u obliku
lanca zencerek ili cik-cak ukras, kao potpuna stilizacija in-
tamani motiva (Atasoy, Raby 1989: 254). Tanjur plitke forme
s uskim obodom ukraen u viebojnom, cvjetnom stilu (kat.
br. 10) daje naslutiti da keramiari bez obzira na jednostavni-
je forme i manje dimenzija posua i dalje izrauju kvalitetne
i besprijekorno oslikane primjerke. Na sredinjem prikazu
odvojenog od oblog cavetta dvostrukim prstenom, prikaza-
na je simetrina kompozicija s crvenim ruama, tulipanima
plave boje s crvenim pjegama i drugim cvijeem te manjim
cvjetnim buketom u sreditu. Na uskom obodu tee friz ruyi
motiva na plavoj pozadini, dok je vanjska strana ukraena
naizmjeninim jednostrukim intamani i listolikim motivi-
ma.
Slina simetrina kompozicija i rub s ruyi frizom
primijenjeni su na velikom vru lukoviastog oblika, s koni-
nom nogom, blago ljevkastim vratom i zaobljenom rukom
(sl. 27; kat. br. 12). Dekoracija u kobaltno i svijetloplavoj,
zelenoj i reljefnoj crvenoj te obrisima izvedenim u crnoj boji
podijeljena je u dvije zone, na trbuh i vrat posude. U donjoj
veoj zoni est dekorativnih polja odvojeno je uvijenim
velikim listovima s izraenim crvenim rebrom i pernatim
zavrecima, motivom koji postaje omiljen poetkom 1670-
ih. Unutar ukrasnog polja izmjenjuju se rue koji proizlaze
iz grma na dnu prikaza i buketi crvenih cvjetova. Slina kon-
cepcija u pojednostavljenoj varijanti nalazi se u gornjoj zoni,
na vratu vra, koji se zavrava obodom s frizom ruyi motiva.
(Atasoy, Raby 1989: 230). Along with manganese purple,
olive green was also withdrawn from use, and by the end of
the 1560s, emerald green became more and more present.
Floral motifs and bright colours were combined in numer-
ous schemes: from central compositions which extend
radially from the central motif to compositions made along
the vertical axis. There were often different combinations
of flower bouquets painted symmetrically or in free com-
position, coming out of a central tuft at the bottom of the
drawing. A cypress tree was added to the flowers, making
the central axis of a vertical composition. On dishes with an
accentuated rim, the central vertical drawings were framed
by the Chinese wave border on the rim which came to use
in the previous phase and became common in this one.
The vessels decorated in this style were also called Rhodian
pottery, due to a large collection of over 600 vessels bought
in Rhodes and brought to Muse de Cluny in Paris in the 19th
century. Later, archaeological research on pottery kilns
from Iznik showed that this polychromous pottery should
be ascribed to Iznik production (Bigli 2009: 30-31).
All of the characteristics of this style can be seen on
the examples of Iznik table ware found at the shipwreck (fig.
26). The dish with a curved cavetto, an accentuated flat rim
and a small ring like foot was painted in light blue, green,
relief red with outlines applied in black (kat. br. 8). On the
central decoration field is composition of a flower bouquet
filled with roses, tulips, hyacinths, forget-me-nots and
blooming plum tree branches, coming out of a central tuft
at the bottom of the drawing in the combination with the
wave border on the rim. The exterior of the dish is decorat-
ed with a series of alternating rosettes and tulips.
The next dish of a similar form has a different
floral composition. (cat.no. 9). In the frame of the wave
border on the rim is a symmetrical composition with a
plant resembling a pomegranate, surrounded with serrated
leafs, blooming plums and lilies of the valley. The drawing
is painted in cobalt blue, emerald green and relief red with
outlines applied in black.
The decorations of Kara Memi in the floral, poly-
chromous style continue to be in use after the death of
Suleiman the Magnificent, during the rule of his heirs Selim
II (1566-1574) and Murad III (1574-1595). After the Battle of
Lepanto in 1571, the commercial and diplomatic contacts
between the Ottoman Empire and Europe improved, which
resulted in more frequent exports of Iznik pottery and oth-
er oriental goods to Europe (Mack 2002, 109). The spread
of trade on a new market and the general popularity of the
79
 Sl. 27. Vr ukraen u
viebojnom cvjetnom
stilu, period umjetnika
Kara Memija, druga
polovica 16. stoljea
Fig. 27. Jug decorated
in the polychrome
floral style, period of
the artist Kara Memi,
Iznik, second half of
the 16th century
Apstraktne kompozicije i polikromija
Na posuu zadnje etvrtine 16. stoljea se sve ee pojav- and the exterior is decorated with an alternating intamani
ljuju apstraktne kompozicije s intamani motivom, jednim
od najupeatljivijih ukrasnih motiva osmanske dvorske
umjetnosti. Prva pojava ovog motiva na iznikom posuu
se moe pratiti ve u 1. polovici 16. stoljea, no puno ea jug with a conical foot, a mildly funnel-shaped neck and a
uporaba vidljiva je od 1580-ih (Passos Leite, Queiroz Ribeiro
2009: 80). U budistikoj umjetnosti centralne i istone Azije
ovaj motiv simbolizira prosperitet i sreu. U osmanskoj
umjetnosti od 15. stoljea nadalje predstavlja simbol moi i
snage, to se odraava u obliku tri toke - intamani s leo- are separated with large folded leafs with a distinctive red
pardova krzna i dvije valovite linije peleng u vidu tigrovih
pruga (Bilgi 2009: 31). Ovaj se motiv u osmanskoj umjet-
nosti upotrebljava u svim granama dvorske umjetnosti, a
posebno se istie na svilenim kaftanima vladarske obitelji.
Prvobitno koriten kao simbol moi, intamani postepeno
postaje samo dekorativni motiv, a pojavljuje se samostalno
ili u kombinaciji s drugim motivima na iznikim zdjelama,
tanjurima i zatvorenim formama poput vreva. Apstrak-
tna kompozicija s intamani motivom javlja se na plitkom
tanjuru s uskim obodom (kat. br. 11). Sredinje ukrasno polje
krino je podijeljeno parom crvenih i zelenih peleng motiva
80
Iznik polychrome floral style in the Empire led to mass pro-
duction of tableware that became more oriented towards
middle class buyers, while the Ottoman elite continued
to aspire to Chinese porcelain (Denny 2004, 173). The new
circumstances are reflected in the quality and shape of the
tableware, while the individual styles of the potters are
increasingly visible in the decoration. In comparison to ear-
lier periods, dishes were smaller but the repertoire of the
shapes became larger. Along with big serving dishes, plates
with a narrow rim, dishes on a foot - tazza, deep bowls with
a lid, hemispherical bowls, ewers, bigger and smaller jugs,
ink jars and pen boxes were being produced more and more
often. One of the most common forms introduced during
the 1570s is the shallow plate on a small ring-like foot with a
narrow rim commonly decorated with a frieze with a series
of small ruyi motifs, chain-like motif zencerek, or zigzag
decoration, as a complete stylization of the intamani motif
(Atasoy, Raby 1989, 254) The shallow plate with a narrow
rim decorated in the polychrome floral style (cat. no. 10) im-
plies that the potters were still making high-quality vessels
with impeccable drawings, regardless of the simplification
of the form and the smaller dimensions of the vessels. The
central drawing, separated from the round cavetto with a
double ring, depicts a symmetrical composition of a bou-
quet of red roses and blue tulips with red dots, with a small-
er bouquet placed on the inside. A ruyi border is on the rim,
su identinu dekorativnu shemu s manjim odstupanjima u
and leaf-like motifs.
A similar symmetrical floral composition and a
ruyi border on the rim were applied on a large bulb-shaped
i stiliziranih biljnih motiva javlja se i na poklopcima vreva
rounded handle (fig. 27; cat. no. 12). The decoration in cobalt
and light blue, green and relief red and the outlines in
green are split into two zones, the belly and the neck of the
vessel. In the lower, bigger zone, the six decorative fields
motiva. Na est plitkih tanjura iz tereta broda od kojih se
rib and feathery ends, a motif that became popular during
the 1670s. Bouquets of roses coming from the same tuft
at the bottom of the drawing and bouquets of red flowers
alternate within the decoration field. A similar concept in a
simpler variant appears on the upper zone, on the neck of palmeta, uokvirene frizom ruyi motiva, koji se ponavlja i na
the jug, which ends with ruyi border on the rim.
Abstract compositions and polychromy
Abstract compositions with a intamani motif, one of the
most prominent decorative motifs in the Ottoman court
na kvadrate unutar kojih se nalaze kobaltnoplave intamani art, began to appear more and more on the vessels dated to
toke. Sline kompozicije pojavljuju se na kineskim porcu- the last quarter of the 16th century. The first appearance of
lanskim zdjelama Yuan dinastije 14. stoljea iz zbirke Topka- this motif on Iznik tableware can be traced to the first half
pi palae u Istanbulu, to pokazuje da dekoracija s kineskog of the 16th century, but a more common use is visible in the
porculana ima jak utjecaj na izniku keramiku kroz cijelo 16. 1580s (Passos Leite, Queiroz Ribeiro 2009: 80). The origin
stoljee (Passos Leite, Queiroz Ribeiro 2009: 80). Na uskom and symbolic meaning of intamani motif comes from the
obodu tanjura ponovno se pojavljuje friz ruyi motiva, dok Buddhist art of Central and East Asia, where it symbolizes
je vanjska strana ukraena nizom naizmjeninih listova i prosperity and luck. In the Ottoman art from the 15th cen-
intamani motiva. tury onwards it appears as a symbol of power and strength,
ini se da su intamani i peleng najee zastuplje- reflected in a form of three dots, intamani, of a leopards
ni motivi na vrevima lukoviastog oblika na koninoj ili fur and two wavy lines, peleng, of a tigers stripes (Bilgi
prstenastoj nozi s cilindrinim vratom i rukom S forme te 2009: 31). This motif is used in Ottoman art in all branches
koninim ili zaobljenim poklopcem s ruicom na vrhu. Na of court art, and is especially visible on silver kaftans of the
to ukazuju i nalazi s brodoloma, gdje je od osam naenih royal family. Initially used as symbol of power, the intam-
vreva njih pet bilo ukraeno intamani i peleng motivima u ani gradually became a mere decorative pattern, appearing
raznim kombinacijama. Dio vreva naen je samo u ulomci- alone or in combination with other motifs on Iznik dishes,
ma nedostatnima za restauraciju. Jedan primjerak, ukraen plates and closed forms like jugs. The abstract composi-
iskljuivo peleng motivom u razliitim kombinacijama boja, tion with a intamani motif appears on a shallow plate on a
uspjeno je sastavljen i restauriran (kat. br 14). Drugi, naen ring-like foot and a narrow rim from the ships cargo (cat.
u gotovo cjelovitom stanju, ukraen je dekoracijom u dvije no. 11). The central decoration field is divided crosswise
zone s trostrukim i jednostrukim intamani te peleng mo- into squares, with a pair of red and green peleng motifs in
tivima u svijetloplavoj, zelenoj i reljefno crvenoj boji (kat. the squares, with cobalt blue intamani dots inside. Similar
br. 13). Trbuh vra je od noice i od vrata odvojen horizon- compositions appear on Chinese porcelain dishes of the
talnim trakama ispunjenim stiliziranim preletom, a gotovo Yuan dynasty from the 14th century, from the collection of
cilindrini vrat zavrava obodnom trakom s nizom uzasto- the Tokapi Palace in Istanbul, which points to the fact that
pnih vitica. Dva vra pronaena samo u ulomcima imala Chinese decorations on porcelain influenced Iznik pot-
tery continuously throughout the entire the 16th century
detaljima. Trbuh vra (kat. br. 15) pronaen bez baze, oboda (Passos Leite, Queiroz Ribeiro 2009: 80). The narrow rim
i ruke ukraen je kombinacijom raznobojnih peleng motiva of the plate is again decorated with a ruyi border, while the
i rozeta u svijetloplavoj i crvenoj boji. Kombinacija intamani exterior is decorated with a series of alternating leaf and
intamani motifs.
konine i oble forme s malom ruicom na vrhu (kat. br. 17 - It seems that the intamani and peleng motifs are
22). more often found on closed forms of vessels, such as bulb-
Apstraktne kompozicije u viebojnom stilu izvodile shaped jugs on a conic or ring-like foot with a cylindrical
su se i u koncentrinoj formi irei se radijalno iz centralnog neck, an S-form handle, and a conic or rounded lid with a
small handle on the top. This is also indicated by the finds
dva nalaze u privatnoj zbirci, ponavlja se gotovo ista dekora- from the shipwreck, where five out of eight recovered
tivna shema u kombinaciji kobaltnoplave i reljefno crvene jugs were decorated with the intamani and peleng motifs
boje (kat. br. 42 - 45). Oko centralnog medaljona s moti- in different combinations. Some of the jugs were found so
vom kola sree i rozetom u sreditu, radijalno se iri est fragmented that they were beyond restoration. One jug,
that was successfully put together and restored has the
uskom obodu tanjura. Svi tanjuri su s vanjske strane ukrae- peleng motif decoration in different combinations of co-
ni naizmjeninim nizom intamani i listolikih motiva. lours (cat. no. 14). The other jug, found almost in whole was
Sljedei apstraktni motiv, kolo sree u vertikalnoj decorated in two zones in light blue, green and relief red in
izvedbi i viebojnom stilu, pojavljuje se na velikom vru abstract polychrome composition made of triple and single
lukoviastog oblika s prstenastom nogom i blago ljevkastim intamani and peleng motifs (cat. no. 13). The belly of the jug
vratom, pronaenom bez ruke (kat. br. 16). Dekoracija je is separated from the foot and the neck with horizontal
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
plavo bijelom stilu, Iznik, druga
polovica 16. stoljea
Fig. 28. Pottery decorated in late
blue and white style, Iznik, second
half of the 16th century
simboliko znaenje (Wenzel 1989: 162). Rajski vrt ispu-
njen zemaljskim i fantastinim stvorenjima bio je omiljena
tema koja se poistovjeivala s osmanskom simbolikom vrta.
Slina tema s harpijama pojavljuje se na vanjskoj stijenci
duboke zdjele iz Godman Collection British Museuma (inv.
no. G.1983.158) datirane u 1570./80. godinu (Atasoy, Raby
1989: 257, no. 544) i na sredinjem prikazu zdjele iz zbirke
Calouste Gulbenkian Museuma u Lisabonu (inv. no. 774) iz
1580./85. godine (Passos Leite, Queiroz Ribeiro 2009: 73,77,
no.43).
Kasni plavo bijeli stil
(sl. 28.)
U drugoj polovici 16. stoljea, posebno za vladavine Selima
II. i Murada III., unato tendencijama iznikih keramiara
ka viebojnoj keramici arkih boja, nastavljaju se proizvoditi
predmeti u plavo-bijeloj dekoraciji. Kompozicije se ponov-
no preuzimaju s kineskog porculana i ponekad izvode u
kombinaciji s originalno osmanskim motivima ili se pak u
islamskom duhu izvode u brojnim centralnim apstraktnih i
geometrijskih formama. Uz ovaj kasni plavo-bijeli stil domi-
nira oblik zdjele na visokoj nozi tzv. tazza, bez prototipa u
kineskim, perzijskim ili europskim oblicima. Rije je o origi-
84
chasing rabbits, lions or wolves fighting, and fantastic crea- nalnom osmanskom obliku posude za svakidanje iznoenje
tures. In the Ottoman art of the 16th century, a combina-
tion of the Courts flower style and depictions of animals is
unusual and appears only on objects made of silver and on
Iznik table ware, so it is very likely that the potters in Iznik
drew their inspiration from artistic objects made of metal,
mainly from the silver vessels made in the Balkans (Wenzel
1989: 161-162). The silver tableware that came to the Otto-
man Court through Dubrovnik or other trade centers as a
diplomatic gift16 and trading good is tightly linked to secular
use, for drinking wine and sorbet. Accordingly, most of
that tableware, as well as Iznik pottery decorated with
depictions of animals and mythical creatures is dated to the
rule of Selim I (1566-74) who ended the religious edict that
forbade the consummation of wine (Wenzel 1989: 163-164).
Two almost identical dishes painted in blue, turquoise and
red belong to a group with symmetrical depictions with
two crowned harpies standing on a base around a flower
vase, surrounded by branches of a fruit tree in bloom on
an emerald green background (cat. no. 46, 47). The central
16 In 1574, an artisan from Dubrovnik, Ivan Vitov, made silver vessels that
the Republic of Dubrovnik sent as a gift to the Sultan (Fiskovic 1949, 191)
Sl. 29. Posuda na nozi tazza ukraena u kasnom plavo
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
blue and white endured. Popular compositions were again
hrane na stol (Atasoy, Raby 1989, 45). Svi poznati primjerci,
pa tako i oni do sada pronaeni u teretu broda bili su ukra-
eni iskljuivo u plavo-bijeloj dekoraciji (sl. 29). Uz njih je
u upotrebi iroki raspon oblika, od veih i manjih zdjela
irokog oboda, vitiastog ili ravnog ruba, tanjura s tankim
obodom, dubokih zdjela s poklopcem i malih polukrunih
zdjelica nalik kineskim plavo bijelim min yao zdjelica-
ma. life for serving food (Atasoy, Raby 1989, 45). All the known
Kao i u prvoj polovici stoljea, kod oslikavanja po-
sua u upotrebi je iroki repertoar kineskih motiva i kom-
pozicija, ali sada su izniki keramiari inspirirani kineskim
porculanom kasnog 15. i ranog 16. stoljea (Atasoy, Raby
1989: 237). Motivi poput cvijeta lotosa i cvjetnog prepleta
pojavljuju se u novim izvedbama uz sve eu prisutnost
horror vacui. intamani motiv je na kasnom plavo-bijelom
posuu potpuno stiliziran i javlja se u obliku vie stiliziranih
trostrukih vitica koje tvore pozadinu sredinjeg prikaza (kat.
br. 24, 25), dok je peleng - motiv tigrovih pruga, sveden na
cik cak motiv na obodu plitkih tanjura i malih polukrunih
zdjelica (30, 31, 32, 41, 48, 49, 50, 51, 52, 53).
Motiv cvijeta lotosa na pozadini ispunjenoj
trostrukim viticama, popularan kod iznikih keramiara
1570-ih i 1580-ih, naen je na dva predmeta iz tereta broda.
composition is surrounded with a frieze of ruyi motifs, and
a wave border is on the wide rim. The crowned harpies sur-
rounded by blossom trees represent the personification of
the Gardens of Paradise, like female figures with a diadem
that bare the same symbolic meaning in the arts of the
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:
73,77, no.43).
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
taken from Chinese porcelain and were sometimes applied
in combination with original Ottoman motifs, or were done
in an Islamic fashion in numerous abstract and geometrical
central forms. Along with this late blue and white style, this
period is dominated by a dish with a high foot, the so called
tazza, the uniquely Ottoman ceramic form no prototypes
in Chinese, Persian or European vessels, used in everyday
examples, were decorated exclusively in blue and white
style (fig. 29). A wide range of forms was used alongside
them, mostly large and small dishes with wide straight rims,
plates with narrow rims, deep bowls with a lid and small
hemispherical bowls resembling Chinese blue and white
min yao bowls.
Just like in the first half of the century, a wide
repertoire of Chinese motifs and compositions is used for
the decoration, but now the Iznik potters are inspired by
Chinese porcelain of the late 15th and the early 16th century
(Atasoy, Raby 1989: 237). Motifs like the lotus flower and
the flower scroll are applied in new ways with a growing
presence of horror vacui. On the late blue and white pottery
the intamani motif is completely stylized and appears in
the shape of multiple stylized triple scrolls that form the
85
Na velikoj zdjeli zaobljene forme i irokog oboda s rubom
u formi hrastovog lista, u sredinjem se polju nalazi cvijet
lotosa na irokoj stabljici, nalik stablu, a iz koje proizlaze
grane s listovima (kat. br. 24). Pozadinu ine trostruke vitice
proizale iz intamani motiva. Slian motiv cvijeta lotosa
na debeloj stabljici iz koje izrastaju vitiaste grane s liem
pojavljuje se na porculanskim zdjelama Ming dinastije
kasnog 15. i ranog 16. stoljea (Maury 2008: 145). I na kine-
skim predlocima pozadina je ispunjena viticama, no one
su dio biljnog prepleta. Kako bi istakli glavni motiv, izniki
su majstori odvojili vitice od glavnog prikaza i sveli ih tek
na pozadinski motiv. Sredinje polje okrueno je frizom od
ruyi motiva, dok je iroki obod ispunjen motivom valova.
S vanjske je strane zdjela ukraena naizmjeninim nizom
jednostrukih intamani i rumy motiva.
Posuda na nozi tazza (kat. br. 25) ukraena je istim
motivom, stiliziranim do te mjere da gubi bilo kakvu vezu
s kineskim prototipovima. Sredinji motiv sveden je na
jednostavan cvijet iz kojeg se radijalno prua pet cvjetova
lotosa na tankim povijenim granama s pozadinom ispu-
njenom trostrukim viticama, a uokolo irokog oboda tee
friz stiliziranih valova. Vanjska strana posude podijeljena je
vertikalnim linijama na zone, od kojih je sredinja ukraena
naizmjeninim apstraktnim motivom i jednostrukim inta-
mani tokama.
Motiv cvijeta lotosa najsliniji kineskim uzorima,
ali bez iroke stabljike, prikazan je na zdjeli na nozi tazzi
(kat. br. 26) u shemi cvjetnog prepleta. U sredinjem prikazu,
krajnje stiliziran cvijet lotosa stoji samostalno, okruen pre-
pletom vitiastih grana i vegetativnim oblicima koji formom
podsjeaju na originalne kineske listove lotosa (Demirel
2013: 79-80). Na irokom je obodu friz s motivom valova,
dok je vanjska strana ukraena vitiastom horizontalnom
trakom uz gornji i donji rub izmeu kojih se izmjenjuju stili-
zirani motivi cvijeta i lista lotosa.
Gotovo isti prikaz prepleta, bez sauvanog sredi-
njeg motiva, nalazi se na ulomku tanjura uskog oboda s
rubnom trakom ukraenoj krajnje stiliziranim peleng i inta-
mani motivima, svedenima tek na jednostavan cik cak friz
ispunjen tokama (kat. br. 32). Identino izvedeni prepleti
te loija kvaliteta stjenke i glazure ukazuju da su ove dvije
posude proizale iz iste radionice.
Omiljeni se kineski motiv cvjetni preplet pojavlju-
je u brojnim kompozicijama i izvedbama uz novi osmanski
motiv, izduljeni i dvostrano nazubljeni list nalik klasu pe-
nice. Po ovom motivu cijela je skupina nazvana stil klasa
penice (the wheatsheaf style) (Atasoy, Raby 1989). Izvodio
86
background of the central drawing (cat. no. 24, 25), while
the peleng motif of the tigers stripes is reduced to a zigzag
border on the narrow rims of flat dishes and small hemi-
spherical bowls (cat. no. 30, 31, 32, 41, 48, 49, 50, 51, 52, 53).
The lotus flower motif in the background filled with triple
scrolls, popular with Iznik potters from 1570 to 1580, was
found on two objects from the ships cargo. On the large
dish of round form with a wide foliated rim the centre is
occupied by a lotus flower on a wide stem, resembling a
tree, with branches with leafs protruding from it (cat. no.
24). The background is made of triple scrolls derived from
the intamani motif. A similar motif of the lotus flower on
a thick stem with branches with leafs appears on porcelain
bowls of the Ming dynasty from the late 15th and early 16th
century (Maury, 2008, 145). The Chinese template also had a
background filled with scrolls, but they were a part of a veg-
etative scroll. To highlight the main motif the Iznik potters
separate the scrolls of the main drawing and reduce them
to a mere background motif. The central field is surrounded
by a frieze of ruyi motifs, while on the wide rim is the wave
border. The exterior of the dish is decorated with an alter-
nating series of intamani and ruyi motifs.
The dish on a foot - tazza (cat. no. 25) is decorated
with the same motif, but stylized to the point where it loses
all connection to the Chinese prototypes. The central motif
is reduced to a simple flower from which five lotus flowers
extend radially on thin twisted branches, and lies on a back-
ground filled with triple scrolls. Around the wide rim runs
a highly stylized wave border. The exterior of the vessel is
divided into zones with vertical lines, and the middle zone
is decorated with alternating abstract motifs and single
intamani dots.
The motif of the lotus flower that most resembles
Chinese models but does not have a wide stem is depicted
on a dish on a foot-tazza (cat. no. 26) in a scheme of a flower
scroll. The central depiction, the completely stylized lotus
flower stay alone surrounded by a scroll of undulate branch-
es and vegetation forms, which resemble the original
Chinese lotus leafs in form (Demirel 2013: 79-80). The wide
rim is decorated with the wave border, while the exterior is
decorated with a foliated horizontal band along the upper
and lower edge, with stylized motifs of lotus flowers and
leafs between them.
An almost identical depiction of a flower scroll,
without the preserved central motif, can be seen on a
fragment of a plate with a narrow rim. The rim is decorated
with band of highly stylized peleng and intamani motifs,
se iskljuivo u plavo-bijeloj tehnici u brojnim kombinacija-
ma, a najee u prepletu koji se u visokim lukovima i cvje-
tovima unutar njih nizao oko sredinje rozete ili medaljona.
Ovaj motiv izvodio se najee u kombinaciji uz kineski
bour sa sitnim, savinutim listiima, izduljenim pupoljcima
i listovima izvedenim u duhu Ming dinastije 15. stoljea te s
motivom u obliku oblaka. Iako se motiv dvostrano nazublje-
nog lista javlja ve u 60-im godinama 16. stoljea, ini se da
njegova puna afirmacija, u vidu dekorativnog stila, poinje
tijekom 1570-ih i nastavlja se sve do u 17. stoljee. Ovaj stil
moe se u brojnim varijantama pratiti na posuu iz tereta
broda (kat. br. 27, 28, 29, 30, 31, 33).
Posuda na nozi tazza s obodom u formi hrastovog
lista (kat. br. 27) pronaena je u jednom ulomku, na osnovu
kojega je uspjeno rekonstruiran gotovo cjelovit oblik po-
sude i dekoracija, osim sredinjeg cvjetnog motiva. Preplet
oko sredinjeg motiva sastavljen je od est cvjetova boura
iz kojih se simetrino pruaju polukrune grane sa zavre-
cima u obliku nazubljenog lista. Po dvije susjedne granice
spojene su motivom u obliku oblaka, a izmeu simetrinih
klasova nalaze se male stilizirane vaze s cvijeem. Obod i
vanjska strana posude ukraeni su istovjetnim prepletom u
kojem dominiraju motiv oblaka i nazubljenog lista.
Na manjoj zdjeli s koninom nogom i irokim
ravnim obodom pojavljuju se isti motivi izvedeni u neto
drugaijoj shemi shemi (kat. br. 28). Dekoracija se nie u
zonama poevi od sredinjeg medaljona s vegetabilnim
prikazom u obliku srca s cvjetovima fuksije, bobicama i dvo-
strano nazubljenim listovima. Uokolo njega je friz od ruyi
motiva, a du oboda tee preplet slian onome s prethodne
posude. Vanjska je stijenka ukraena naizmjeninim nizom
apstraktnih motiva i jednostrukih intamani toaka.
Na zdjeli istog oblika (kat. br. 29) ponavlja se she-
ma dekoracije po zonama. U sredinjem je medaljonu sada
simbolian prikaz kotaa sree, a uokolo njega ve vieni
preplet s motivima oblaka i nazubljenog lista. Na obodu je
friz s motivom valova i stijena, a s vanjske strane, podijelje-
ne na zone vodoravnim linijama, dvostruki niz naizmjeni-
nih intamani i trolisnih motiva.
Dva tanjura s tankim obodom na niskoj, prstenastoj
nozi ukraeni su u istom stilu kao i prethodne posude. Na
prvom je primjerku (kat. br. 30), u sredinjem medaljonu
cvijet boura na zakrivljenoj grani koja s dva izduljena, na-
zubljena motiva tvori oblik srca. Uokolo centralnog motiva
su brzim potezima kista izvedeni stilizirani ruyi motivi. Na
uskom obodu je friz od stiliziranih peleng motiva u vidu jed-
nostavne cik-cak dekoracije. Identino ukraen obod nalazi with the already seen scroll with motifs of clouds and ser-
reduced to a mere zigzag border filled with dots (cat. no. 32).
Identically done scrolls, as well as the inferior quality of the
vessel walls and the glaze, point to the fact that these two
vessels came from the same workshop.
The popular Chinese motif, the flower scroll,
appears in numerous compositions and designs, but com-
monly in the combination with the new Ottoman motif, the
elongated leaf serrated on two sides, resembling a sheaf of
wheat and the entire group was named after this motif the
wheatsheaf style (Atasoy-Raby 1989: 239). It was applied
exclusively in the blue and white technique in numerous
combinations, and usually in a scroll that threaded around
the central rosette or medallion in high arches and flowers
inside them. This motif was usually applied in combina-
tion with Chinese peony, small bent leafs, elongated buds
and leafs done in the spirit of the Ming dynasty of the 15th
century, and with a cloud-shaped motif. Although the motif
appeared in the 1560s, it seems that its full affirmation, in
terms of the style, began during the 1570s and continued on
to the 17th century. This style can, in numerous variants, be
followed on the vessels from the ships cargo (cat.no. 27, 28,
29, 30, 31, 33)
One fragment of a dish on a foot - tazza with a
foliated rim (cat. no. 27) was found, and based on that one
fragment almost the entire vessel was reconstructed, along
with the decoration, except for the central floral motif. The
scroll around the central motif is made of six peony flowers
which have semi-circular branches with protruding endings
in the shape of serrated leaves. Two by two neighboring
small branches are connected by a cloud-shaped motif, and
small stylized flower vases are placed between the sym-
metrical sheaves. The rim and the exterior of the dish are
decorated with an identical scroll dominated by a cloud and
serrated leaf motifs.
A smaller dish on a conical foot and a flat rim has
the same motifs applied in a different scheme (cat. no. 28).
The decoration is divided into zones starting with the
central medallion with a vegetative drawing in the shape of
a heart with fuchsia flowers, berries and leafs serrated on
two sides. Around it runs a frieze of ruyi motifs, and a scroll
similar to the one on the aforementioned vessel runs along
the rim. The exterior wall is decorated with an alternating
series of abstract motifs and single intamani dots.
A dish of a similar shape (cat. no. 29) repeats the
zone decoration scheme. The central medallion is now
occupied by a symbolic depiction of the wheel of fortune
87
se na sljedeem tanjuru s centralnom kompozicijom preple-
ta u sredinjem medaljonu. Oko sredinje rozete okruene
s osam srcolikih motiva tee preplet s motivima oblaka i
nazubljenog lista, nalik prepletima s prethodnih posuda
na nozi. Dekorativni elementi poput prepleta i sredinjih
motiva u stilu klasa penice, srcolike kompozicije i motivi,
te upotreba podjednake cik-cak dekoracije na obodnoj traci
tanjura, ukazuju na mogunost da su svi ovi predmeti pote-
kli iz iste radionice prepoznatljivog stila.
Dvije zdjele ireg oboda na maloj prstenaste nozi
(kat. br. 33, 34), za razliku od prethodnih predmeta, prona-
ene su u sitnim ulomcima zbog loe strukture tijela, tanje
stjenke ukaste boje te slabe glazure, popucale po povrini.
Dekoracija je izvedena upotrebom istih motiva, no u plavo-
sivoj boji i drugaijem stilu od prethodnih primjeraka, uka-
zujui na injenicu da ih je radila ista ruka u nakani da kopira
iznike originale, ili da je proizvodnju pojedinih radionica
zahvatila dekadencija i prije poetka 17. stoljea. Na prvoj se
zdjeli (kat. br. 33) oko sredinjeg medaljona sa stiliziranom
rozetom nalazi cvjetni preplet izveden u stilu klasa peni-
ce. Na obodu je preplet potpuno pojednostavljen i nehaj-
no izveden, dok je vanjska strana horizontalnim linijama
podijeljena na zone s nizom trolisnih motiva u srednjoj zoni.
Na drugoj je zdjeli (kat. br. 34) uokolo sredinjeg medaljona
izveden preplet u obliku lozice s trolisnim motivom koji se
ponavlja i na obodnoj traci u formi jednostavnog friza.
Uza iroki repertoar kineskih motiva s porculana
s kraja 15. i 16. stoljea, izniki keramiari 70-ih godina 16.
stoljea preuzimaju i jiajing motiv u formi etiriju cvjetnih
vaza radijalno rasporeenih oko sredinje rozete. Na plitkoj
zdjeli s uskim obodom (kat. br. 40) javlja se jiajing motiv u
neto izmijenjenoj formi. U sredinjem krunom polju oko
rozete nie se est karakteristinih vaza s cvijeem dok je na
obodu friz od polurozeta. Struktura posude, kvaliteta crtea
i loa glazura ponovno ukazuju na oiti utjecaj dekadencije
stila.
Na plavo-bijelom posuu zadnje etvrtine 16.
stoljea keramiari Iznika primjenjuju niz apstraktnih i
geometrijskih dekorativnih kompozicija to se u razliitim
radijalnim formama ire iz centralnog motiva. Pojavljuju se
motivi izvedeni u islamskom stilu poput arabeske nalik ka-
leidoskopu, ali ponovno u kombinaciji s kineskim motivima
poput cvijeta lotosa, ruyi frizova i kotaa sree. flat dish with a narrow rim (cat. no. 40) has the decoration
Tanjur s tankim obodom na niskoj, prstenastoj nozi
ukraen je apstraktnim kompozicijom u formi kola sree
koja se radijalno iri iz rozete unutar sredinjeg medaljona
(kat. br. 38). Friz ruyi motiva na uskom obodu uokviruje
88
rated leafs around it. The rim is occupied by a frieze with
a rock and wave motif, and on the exterior, separated into
zones with horizontal lines, a double series of alternating
intamani and trefoil motifs appears
Two dishes with thin rims on a low ring-like foot are
decorated in the same style as the aforementioned vessels.
On the first example (cat. no. 30), the central medallion is
occupied by a peony flower on a curved branch that forms
a heart shape with two elongated serrated motifs. A zigzag
decoration in the form of stylized peleng motifs runs along
the narrow rim.
An identical rim can be seen on the next dish with
an axial composition in the central medallion. A scroll with
motifs of clouds and serrated leafs resembling scrolls from
aforementioned vessels on a foot runs around the central
rosette, surrounded by eight heart-shaped motifs. Decora-
tive elements like scrolls and central motifs in the wheat-
sheaf style, heart shaped compositions and motifs, as well
as the use of the zigzag decoration on the rim, point to a
possibility that all the vessels came from the same work-
shop of a familiar style.
Two dishes with wide rims on a small ring-like foot
(cat. no. 33, 34), unlike aforementioned vessels, were found
heavily fragmented due to the bad and thin wall structure,
a drawing applied in blue and grey and the cracked glaze.
The decoration was applied with the use of the same motifs
but in a different style from the aforementioned vessels,
pointing to the fact that it was done by the same hand in an
attempt to copy Iznik originals, or that a workshop worked
during the decadence of style before the 17th century. On
the first dish (cat. no. 33), the central medallion with a
stylized rosette has a flower scroll done in the wheatsheaf
style. The rim is occupied by a simplified clumsily done
scroll; while horizontal lines divide the exterior into zones
with series of trefoil motifs in the middle zone. The second
dish (cat. no. 34) has a scroll in the shape of a small vine
with a trefoil motif, which is repeated on a loose band in the
form of a simple sequence.
Within the broad repertoire of Chinese porcelain
motifs from the end of the 15th and the 16th century, in the
1570s, the potters in Iznik adopt the jiajing - a motif of four
flower vases radially arranged around a central rosette. A
stopi i jednostavna dekoracija u vidu sredinjeg medaljona s
with the jiajing motif in a somewhat changed form. Six typ-
ical flower vases thread in the central circular field around
the rosette, while the rim is occupied by a rumy border. The
structure of the dish, the quality of the drawing, and the
sredinji prikaz, dok je vanjska strana podijeljena horizontal-
nim linijama na zone, od kojih je sredinja ukraena naiz-
mjenino postavljenim pupoljcima i jednostrukim intamani
motivima.
Zdjela na nozi tazza ukraena je u radijalnoj shemi
s velikom rozetom sastavljenom od osam palmeta kruno
postavljenih oko sredinjeg medaljona s cvijetom lotosa (kat.
br. 37). Obod posude je ispunjen motivom valova i stijena, a
vanjska strana podijeljena je horizontalnim linijama na zone,
od kojih je sredinja ukraena trolisnim i jednostrukim inta-
mani motivima.
Zaobljena zdjela irokog oboda s ravnim rubom (kat.
br. 35) oslikana je u tzv. stilu kaleidoskopa (Atasoy, Raby
1989: 245) s ukrasom rasporeenim po zonama. U sredi-
njem se polju iz lotosovog cvijeta radijalno iri osam ruyi
motiva na pozadini ispunjenoj sitnim viticama. Uokolo sre-
dinjeg polja nie se friz palmeta, a na obodu motiv valova
i stijena. S vanjske strane zdjela je ukraena naizmjeninim
nizom rozeta i apstraktnih motiva.
Gotovo isti koncept dekoracije ogleda se na poklop-
cu zdjele (kat. br. 36) iji donji recipijent do sada nije prona-
en. Poklopac polukrune forme zavrava prstenastom ista-
kom na dnu radi uglavljivanja u donji recipijent. Nedostaje
mu gornji profilirani dio s ruicom na vrhu. Sauvani dio po-
klopca s plavo-bijelom dekoracijom nalik onoj s prethodne
posude, ukazuje da se dekoracija radijalno irila iz sredinjeg
motiva na vrhu, a od ega je sauvana zona s velikim ruyi
motivima na pozadini ispunjenoj sitnim viticama. Uz rub
poklopca, uz usku borduru od kosih linija, tee niz manjih
ruyi motiva u formi obodnog friza. Oblik duboke zdjele
polukrune ili ovalne forme s viom ili niom prstenastom
nogom i pripadajuim poklopcem proizlazi iz islamskih i
osmanskih metalnih posuda naziva tombak. Sluile su za
serviranje djelomino tekuih jela poput erbeta, kompota
ili turije, stoga se moe pretpostaviti da su bile u kompletu
sa zdjelicama iz kojih se jelo (Atasoy, Raby 1989: 45).
U zbirci iznikog posua s brodoloma nalazi se est
zdjelica polukrunog oblika na prstenastoj noici s ravnim,
blago rastvorenim ili uvuenim obodom (kat. br. 48. 49, 50,
51, 52, 53). Od ostalih se predmeta iznike produkcije razli-
kuju izrazito tankom stijenkom i glazurom slabije kvalitete,
ispucanoj po povrini. Polukruni oblik na maloj prstenastoj
which only a zone with a frieze of ruyi motifs on a back-
cirkularnim motivom u obliku morskog vala, motivom kola
sree, zvijezdom ili cvijetom lotosa s unutarnje strane te s
vitiastim ili pak zrakastim motivima u formi kola sree
na vanjskoj stijenci, ukazuju da su proizale iz kineskih
low-quality glaze point to an obvious influence of the deca-
dence of the style.
On blue and white vessels of the last quarter of the
16th century, the potters in Iznik apply a series of abstract
and geometrical compositions that spread from the cen-
tral motif in different radial forms. New motifs done in
an Islamic fashion appear, like the arabesque, resembling
a kaleidoscope, but again in a combination with Chinese
motifs like the lotus flower, ruyi friezes and the wheel of
fortune.
A shallow dish with a narrow rim on a ring foot is
decorated with abstract compositions representing the
wheel of fortune, which radially spreads from a rosette
within the central medallion (cat. no. 38). A ruyi border on a
narrow rim frames the central drawing, while the exterior
is divided into zones and the central one is decorated in
alternating buds and single intamani motifs.
The dish on a foot - tazza is decorated in a radial
scheme with a big rosette composed of eight palmettes
circularly set around the central medallion with a lotus
flower (cat. no. 37). The rim of the dish is decorated with a
wave border, the exterior side is divided into zones by lines,
and the central zone is decorated with a trefoil and a single
intamani motif.
The round dish with a wide flat rim (cat. no. 35) was
painted in the so called kaleidoscope style (Atasoy, Raby
1989: 245), with a decoration arranged in zones. The central
field has a lotus flower with eight radially spreading ruyi
motifs and a background filled with small scrolls. A frieze
of palmettes threads around the central field, and the rim
is occupied by the wave border. The exterior of the bowl is
decorated with an alternating string of rosettes and abstract
motifs.
An almost identical concept of decoration can be
seen on the lid of a bowl (cat. no. 36), whose lower recepta-
cle has not yet been found. The hemispherical lid ends with
a ring-like protrusion on the bottom, which was used to
fix the lid to the lower receptacle. The profiled part with a
handle on top is missing. The preserved part of the lid with
a blue and white decoration, resembling the one on the
aforementioned dish, points to the fact that the decoration
was spreading radially from the central motif on top, from
ground of small scrolls was preserved. A ruyi frieze runs
along the edge of the lid, along the border of transverse
lines. The shape of the hemispherical or round bowl on a
high or a low foot with a matching lid comes from Islamic
89
plavo-bijelih min yao zdjelica, iz vremena Ming dinastije 15. i
16. stoljea (Zmai Kralj 2014: 78). Kao osmanski motiv, koji
ih vee uz izniku proizvodnju, javlja se potpuno stilizira-
ni intamani motiv u obliku tri tokice i cik-cak motiva na
dekorativnoj traci uz obod. Iako su se zdjelice slinog oblika
proizvodile u vie dimenzija, svi primjerci iz tereta broda
bili priblino istih dimenzija i male veliine, promjera od 12
do 13 cm i visine od 5.3 do 6 cm (Zmai Kralj 2014: 78).
Dekadencija stila i opadanje kvalitete Iznikog posua
U kolekciji iznikog posua iz tereta broda pronaeno je
vie predmeta koji su kvalitetom izrade i dekoracije oduda-
rali od ostalog luksuznog posua, poput malih, polukrunih
zdjelica (kat. br. 48. 49, 50, 51, 52, 53), manjih posuda loe
stijenke (kat. br. 33, 34), plitkih tanjura uskog oboda (39, 40,
41) i gotovo serijski proizvedenih tanjura (kat. br. 42, 43, 44,
45). Loa kvaliteta ovog posua, poglavito namijenjenog za
jelo, moe se objasniti injenicom da se u posebnim prili-
kama, poput javnih sveanosti17, javljala potreba za veom
koliinom posua. Da bi se zadovoljila potreba za ovako veli-
kim brojem posua koje se trebalo izraditi u kratko vrijeme,
pojedini oblici su se proizvodili u velikim serijama, izvedeni
u loijoj kvaliteti i kao takvi su se nalazili na tritu uz luk-
suznu robu. Dakako, ova masivna proizvodnja posua loije
strukture tijela, pojednostavljenog ili nemarno izvedenog
crtea i loe glazure predstavljala je poetak dekadencije
proizvodnje grada Iznika.
Krajem 16. i poetkom 17. stoljea posue grada
Iznika i u irem smislu postaje komercijalna roba i gubi
prvobitnu kvalitetu. Uzrok postupnom opadanju kvalitete
prvenstveno je poveana proizvodnja jeftinijih posuda za
trite i iroka distribucija izvan carstva ime radionice
gube reputaciju koju su imale na svojem vrhuncu. Tome u
prilog ide prestanak pokroviteljstva dvora kod proizvodnje
stolnog posua, to se odvijalo paralelno sa slabljenjem
moi Osmanskog Carstva. Nema vie novih poticaja s dvora,
dizajnerskih koncepcija, tehnika i boja koji bi potakli budui
razvoj, to e se puno jasnije odraziti sredinom 17. stoljea
kada dolazi do izrazitog pada broja keramikih radionica u
Izniku. Podatke o tome donosi turski putopisac Evlija elebi,
koji na poetku 17. stoljea svjedoi o postojanju preko 300
17 Registri vezani uz dvorsku riznicu i kuhinju, donose podatke o nabavci
541 komada iznikog posua, uz 397 posuda iz dvorske kuhinje, za uprilien-
je raskone proslave koja je trajala 52 dana i noi u ast obrezanja princa
Mehmeta, sina sultana Murada III., 1582. godine (Atasoy Raby 1989: 14).
90
and Ottoman metal vessels called tombak. They were used
for serving partially liquid dishes like sherbet, compote or
tursu, so we may assume that they came with a set of small
bowls from which the dish was eaten (Atasoy, Raby 1989: 45).
There are six hemispherical small bowls on a ring
foot and with a flat, mildly opened or indented rim in the
collection of Iznik vessels from the shipwreck (cat. no. 48.
49, 50, 51, 52, 53). They differ from the rest of Iznik pro-
duction with exceptionally thin walls and a glaze of lesser
quality which is cracked on the surface. The hemispherical
shape on a small ring-like foot, decorated with a central
medallion filled by the circular motifs, wheel of fortune
or a lotos flower on the interior and convolute or radial
motifs in the form of the wheel of fortune on the exterior,
point to the fact that they came from the Chinese blue and
white minyao small bowls dated to the Ming dynasty of the
15th and the 16th centuries (Zmai Kralj 2014: 78).The com-
pletely stylized intamani motif in the form of zigzag border
filled with three dots on the decorative band along the rim,
appears as an Ottoman motif connecting them to Iznik pro-
duction. Although bowls of similar shape were produced in
several dimensions, all the bowls from the cargo are almost
same in dimensions and of small size, measuring 12 to 13 cm
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
posua s brodoloma kod pliine the increased production of cheaper vessels intended for
The decadence of the style and the decline in the quality Sveti Pavao markets and wide distribution outside the Empire, which
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
peak. The end of the Courts patronage over the production
Pavao shallows
The collection of Iznik vessels from the ships cargo yielded of vessels, along with the decline of power of the Ottoman
a number of objects that differed from the rest of luxu- Empire, also contributed to that. There were no new incen-
rious tableware in quality and decoration, like the small tives from the Court, no designer concepts, no techniques
hemispherical bowls (cat.no. 48. 49, 50, 51, 52, 53), smaller or colours that would inspire future development. That
vessels with low-quality walls (cat. no. 33, 34), flat dishes was clearly reflected in the mid-17th century, when a strong
with narrow rims (cat. no. 39, 40, 41), and almost serially decrease in the number of ceramic workshops in Iznik
produced dishes (cat. no. 42, 43, 44, 45). The low quality of occurred. The information on these events was noted down
these vessels, manly intended for dining, can be explained by the Turkish writer Evliya elebi who stated that there
by the fact that on special occasions, like ceremonies17, had been over 300 workshops in Iznik at the beginning of
there was a need for a greater amount of such vessels. To the 17th century, and only nine were active in 1648. (Denny
please the need for such an amount in a short period of 2005; 43) At the beginning of the 18th century, production
time, particular forms were produced in large series and, as in Iznik loses all significance, and the lead in the produc-
such, were sent to the market along with luxurious goods. tion of pottery was taken over by other Ottoman ceramic
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
At the end of the 16th and the beginning of the on attaining 541 pieces of Iznik tableware, along with 397 vessels from
the courts kitchen, for the luxurious celebration that lasted for 52 days
17th centuries, vessels from Iznik became a commercial in honour of the circumcision of prince Mehmet, the son of Murad III in
commodity in a wider sense and lost their initial quality. 1582(Atasoy Raby 1989: 14)
91
 radionica u Izniku, dok ih 1648. g. djeluje tek devet (Denny
2005; 43). Poetkom 18. stoljea proizvodnja grada Iznika
gubi svaki znaaj, a vodstvo u proizvodnji keramikih pred-
meta preuzimaju drugi osmanski keramiki centri poput
Ktahye koja u 18. stoljeu dostie vrhunac. Pad u kvaliteti
vidljiv je na vie predmeta iz tereta broda koji prema stil-
skim znaajkama pripadaju zadnjoj etvrtini 16. stoljea
(kat. br. 39, 40, 41). Glatka bijela povrina postaje prljavo
bijela, smanjena je kvaliteta glazure, pigmenti gube sjaj ili se
prelijevaju za vrijeme peenja, a motivi su pojednostavljeni i
esto nespretno izvedeni.
Izniko je posue svojom privlanosti, izuzetnom
ljepotom i kvalitetom u drugoj polovici 16. stoljea privuklo
panju i europskog trita, a zbirka predstavljena na izlobi
Iznik osmanska keramika iz dubine Jadrana jedinstven
je primjer pomorske trgovine ovom luksuznom robom. I
danas iznika keramika ima veliku umjetniku i povijesnu
vrijednost, ne samo zbog svoje izuzetne ljepote nego i zbog
injenice da je do dananjih dana evidentirano oko 3000
cjelovitih primjeraka iznikog posua, koji pripadaju zbirka-
ma najveih svjetskih muzeja poput Metropolitan Museum
of Art u New Yorku, Louvre (Muse du Louvre) u Parizu,
British Museum, Victoria&Albert Museum u Londonu,
Calouste Gulbenkian Foundation u Lisabonu, Benaki Mu-
seum of Islamic Art u Ateni, Museum of Islamic Art u Kairu,
Museum fr islamiche Kunst u Berlinu i brojnim privatnim
zbirkama.
Kolekciju iznikog posua pronaenu u podmorju
otoka Mljeta ini jo znaajnijom injenica da je brodolom
pronaen u potpuno netaknutom stanju, stoga strunjaci-
ma i iroj javnosti prua mogunost stjecanja zaokruene
slike jednog povijesnog trenutka koji odlino ilustrira
materijalnu kulturu 16. stoljea, gospodarstvo i pomorsku
trgovinu Mediteranom u kojoj je veliku ulogu odigrala
istona jadranska pomorska ruta. S druge strane, umjetni-
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
centres such as Kthaya which reached its peak in the 18th
century. The decline in quality can be seen on a number of
objects from the ships cargo which can be dated to the last
quarter of the 16th century based on their stylistic features.
The smooth white surface is now in off-white colour, the
quality of the glaze decreases, the pigments lose their gloss
or are spilling out during firing, and the motifs are simpli-
fied and often clumsily applied (cat.no. 39, 40, 41).
Iznik tableware, with its allure, exceptional beauty
and quality drew the attention of the European market
in the second half of the 16th century, and the collection
presented on the exhibition Iznik- Ottoman pottery from
the depths of the Adriatic is a unique example of maritime
trade with this luxury ware. Even today the pottery made
in Iznik has great artistic and historical value, not only for
its exceptional beauty, but also because today only a limited
amount of this objects is preserved. The rare examples can
be found in the greatest world museums such as the Louvre
in Paris, the British Museum in London, the Topkap Palace
in Istanbul and many private collections.
The collection of Iznik tableware found at the
seabed in the waters around Mljet is even more important if
we take into account the fact that it was found completely
intact. This gives the scholars and the public a chance to
get a complete image of a historical moment, which bril-
liantly illustrates the material culture of the 16th century,
the economy and maritime trade in the Mediterranean in
which the eastern Adriatic maritime route played a huge
part. On the other hand, the artistic compositions, motifs
and colours on the ceramic objects from the shipwreck rep-
resent almost all phases in the development of Iznik pottery,
and the wide range of objects found in a closed archaeologi-
cal context like a shipwreck gives numerous possibilities for
dating and establishing chronological relations in studies of
Iznik pottery.
 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. 35. Dva sidra koja su najvjerojatnije bila smjetena na pramcu
Fig. 35. Two anchors that were most probably situated on the bow
of the ship
drveni koloturnici vjerojatno upotrebljavali na priponama
koje su drale jarbol uspravnim na bonim stranama broda.
Dokumentirana su i tri sidra od kovanog eljeza, koje je
prouio Fabrizio Ciacchella (Ciacchella 2014) (sl. 35). Veina
osobina sidara sa Svetog Pavla tipina je za 16. stoljee: izbo-
ena glava, izboenja za uglavljivanje preke u poprenom
poloaju okrenuta krakovima, kvadratni presjek, lopate u
obliku jednakostraninih trokuta (Curryer 1999). Najstariji
dokazi o pandama sidara dolaze sa sidara pronaenih na
olupini Balancera, venecijanskom brodu koji su panjolci
oteli u Siciliji, preimenovali ga u Trinidad Valencera i poslali
ga da se pridrui Nepobjedivoj armadi 1588. (Martin 1979).
Sidra sa Svetog Pavla mogla bi biti iz istog razdoblja ili malo
starija, budui da terminus post quem pada na godinu 1574.
(Beltrame, Gelichi, Miholjek 2014).
Naalost iskop i dokumentiranje brodske konstruk-
cije na ovoj dubini iziskuje znatna financijska sredstva pa je
shodno tome prouen samo navedeni manji dio broda (sl.
36). Na osnovu navedenih podataka nije mogue sa sigurno-
u utvrditi tip broda, ali usporedbom s drugim istraenim
brodovima iz 16. stoljea moemo pretpostaviti da je uku-
pna duina broda oko 24 metra.
Openito se brodovi koji su plovili Mediteranom u
turbulentnom i nasilnom 16. stoljeu mogu podijeliti u dvije
96
Sl. 36. Brodska
konstrukcija
nalazi se na
dubini od 37 do
42 metara
Fig. 36.
The ships
construction is
situated at the
depth of 37 to
42 meters
rigging such as forestays or shrouds (fig. 34). Judging by the
discovered elements, these heart blocks were probably used
on shrouds the function of which was to hold the mast up
from side to side. Three anchors made of wrought iron were
also documented, and subsequently studied by Fabrizio
Ciacchella (Ciacchella 2014) (fig. 35). Most of the features
of the Sveti Pavao anchors are typical of the 16th century:
the protruding head, the nuts in lateral position facing the
arms, the quadrilateral cross-sections, the triangular most
equilateral flukes (Curryer 1999). The most ancient evidence
for bills comes from the anchors retrieved from the Bal-
ancera wreck - a Venetian vessel taken by the Spaniards in
Sicily, renamed as Trinidad Valencera and sent to join the
Invincible Armada in 1588 (Martin 1979). The anchors found
at Sveti Pavao could be from the same period or even a little
older, the terminus post quem being 1574 (Beltrame, Gelichi,
Miholjek 2013).
Unfortunately, excavating and documenting a ship's
construction at this depth demand substantial financial
means, so only that small part of the ship was investigated
thus far (fig. 36). Based on the aforementioned date, we cannot
determine the type of ship with certainty, but by comparing it
to other researched shipwrecks dated to the 16th century, we
can assume that the length of the ship was about 24 meters.
grupe, kao brodovi pokretani primarno veslima te brodovi
na jedra. Brodovi na vesla ili galije doivjeli su svoj vrhunac u
15. stoljeu, no nakon toga njihovo znaenje opada. Po svojoj
namjeni i konstrukciji mogu se razlikovati trgovake galije,
iji je odnos duine i irine bio est naprama jedan, te lake
ratne galije iji je odnos bio osam naprema jedan (Lane 1973:
337-338). Trgovake galije su bile skupo ali i brzo prijevozno
sredstvo. Shodno tome bile su koritene za transport skupih
tereta koji su mogli opravdati troak putovanja. Nakon 1500.
godine njihov broj rapidno pada i postupno ih zamjenjuju
brodovi na jedra koji su radi manjeg odnosa irine i duine
nazivani oblim brodovima (round ships) (Lane 1973: 348).
Poboljane su navigacijske i plovidbene sposobnosti oblih
brodova kao i mogunost ukrcaja vie topova i tereta isti-
snuli trgovake galije. Meutim galije su se i dalje koristile
u ratne svrhe, prvenstveno radi sposobnosti manevriranja
na malom prostoru to je vidljivo iz Lepantske bitke 1571.g.
(Barbero 2010). Ciparski rat (1570.- 1573) i velika kuga dvije
godine poslije uzrokovali su prekid trgovine te brodograd-
nje (Lane 1973: 384). Trgovina je oivjela ve osamdesetih
godina to dokazuje i ovaj brodolom s ekskluzivnom robom.
Brodogradnja iz vie razloga, prvenstveno ekonomskih, nije
pratila trgovinu. Problem se pokualo rijeit poveanom
izgradnjom brodova tipa marciliana ije je cijena bila znatno
manja od karaka, a zahtijevali su i znatno manju posadu.
Ovi ekonominiji brodovi koji su bili posebno prilagoeni
Jadranskim lukama bili su niski, ravnoga dna te su imali
etvrtasta jedra (Lane 1973: 384-385). Gotovo je etvrtina
svih brodova koji su ostali zabiljeeni u spisima notara G.
Andrea Catti te Andrea Spinelli pripadala upravo tipu broda
marciliana (Tenenti 1959). Ovdje bi trebalo spomenuti jo
dva tipa trgovakih brodova koji su plovili Jadranom. Jedna
od uestalijih je bila cocca. Ovaj je brod imao jedan ili dva
jarbola s etvrtastim jedrom, a nastao je iz sjeveronoeurop-
skih uzora (Lueti 1984:197). Ve spomenuta karaka, koja
je naslijedila coccu, bio je veliki trgovaki brod naoruan
s tridesetak topova. Uobiajeno je bilo da ima tri jarbola s
glavnim etvrtastim jedrom te jednim ili dva latinska jedra
na krmi (Lueti 1984: 199). U tadanje je vrijeme Venecija
imala premo na cijelom Jadranu, koji su nazivali Golfo di
Venezia. Prevlast Serenissime protezala se od lagune pa sve
do zamiljene linije koja je spajala grad Santa Maria di Lueca
u Apuliji sa otokom Krfom. Svatko tko je uao u to podruje
bio je podloan njihovim zakonima. Niti jedan naoruani
strani brod nije mogao ondje ploviti, dok su trgovaki bro-
dovi morali imati putovnicu, slijediti zadani kurs od svoje
matine luke i natrag, te plaati carinu (Pedani 2008: 156).
Generally, ships that sailed the Mediterranean in the
turbulent and violent 16th century can be divided into two
groups: ships powered by oars and those powered by sails.
Ships powered by oars or galleys reached their peak in the
15th century, when their significance decreases. By their
purpose and construction they can be divided into mer-
chant galleys, which had a ratio of length to beam was six
to one and light warships, which had a ratio of eight to one
(Lane 1973: 337-338). Merchant galleys were an expensive
but fast means of transport, and they were used accord-
ingly for transport of expensive cargos that could justify
for the expense of the journey. After the year 1500 their
numbers rapidly decreased and they were being gradually
replaced by ships with sails that were, due to a smaller ratio
of length to beam, called round ships (Lane 1973: 348). The
improved navigational and sailing abilities of the round
boats, along with the possibility of loading more guns and
cargo on them, suppressed the merchant galleys. But galleys
were still used for war, mainly because they could be used
for manoeuvring in small spaces, as was seen in the Bat-
tle of Lepanto in 1571 (Barbero 2010). The War of Cyprus
(1570-73) and the great plague that followed two years later
caused a cease in trade and shipbuilding (Lane 1973: 384).
Trade was revived in the 1580s, proved by this ship with
exclusive goods. Shipbuilding, for many reasons, mainly
economical ones, did not follow the revival of trade. One
of the attempts of solving this problem was the increased
building of ships of the marciliana type, which cost less than
a carrack, and demanded a significantly smaller crew. These
economical ships, that were specially adapted to Adriatic
harbours were short, flat- bottomed and had quadrangular
sails (Lane 1973: 384-385). Almost a quarter of ships that re-
mained recorded in the writings of notaries G. Andrea Catti
and Andrea Spinelli were of the marciliana type (Tenenti
1959). Here we should mention two more types of merchant
ships that sailed the Adriatic. One of the more common was
the cocca. This ship had one or two masts with a quadrangu-
lar sail, and was made after north-European models (Lueti
1984:197). The already mentioned carrack, that inherited
the cocca, was a large sailing merchant ship armed with
about thirty pieces of artillery. It usually had three masts
with a main quadrangular sail and one or two lateens on the
stern (Lueti 1984:199). In that period, Venice had suprem-
acy over the Adriatic that they called Golfo di Venezia. At
that time the sovereignity of Serenissima spread from the
lagoon to the imaginary line which connected the town of
Santa Maria si Lueca in Apulia with the island of Kerkyra
97

Sl. 37. Brodski topovi in situ
Fig. 37. The ship's artillery pieces in situ
Koliko je plovidba po Jadranu na prijelazu iz 16. u 17. stoljee
bila opasna govori injenica da su u razdoblju izmeu 1592.
i 1609. godine Venecija i njeni trgovci izgubili oko 300 od
ukupno 1021 broda bilo gusarskim aktivnostima, nasukava-
njima ili havarijama. Podatak je jo zanimljiviji kada se uzme
u obzir injenica da ovaj broj ukljuuje arhivske dokumente
samo dva spomenuta venecijanska notara (Tenenti 1959). Jo
je jedan pokazatelj opasnosti plovidbe Jadranom i naorua-
nje broda potonulog kod pliine Sveti Pavao.
U prvih je est faza istraivanja i dokumentiranja na-
lazita Sveti Pavao (2007. - 2012.) pronaeno osam bronanih
topova (sl. 37). Sedam topova pripada okretnim topovima
98
Sl. 38. etiri moschetta i jedan smirilj prikupljeni 2007. g.
Fig. 38. Four moschetto type guns and an esmeril recovered in 2007
Tabla 1 Usporedba dimenzija pronaenih topova
Table 1 Comparison of the recovered guns dimensions
(Corfu). Everyone who crossed it had to obey their laws. No
foreign armed ship could sail that sea, while merchant ships
had to have a passport, follow the established course from
and to their home port, and pay customs (Pedani 2008: 156).
The dangers of sailing in the Adriatic at the turn of the 17th
century are attested by the fact that in the period between
1592 and 1609 Venice and her merchants lost around 300 of
their 1021 ships, whether to pirate activities, stranding or
accidents at sea. This information is all the more interesting
Sl. 39. Dekoracija na
vodeem dijelu cijevi
topa tipa petriere da
braga (kat. br. 64) u
usporedbi sa grbovima
na topovima s Gnalia
(b) i Varne (c), prema
Bishop - Smith, R., 2000
16th century swivel
guns in Spain, Greece,
Bulgaria and Cyprus
and two bronze pieces in
the Akbar Nama,
fig. 5, p. 6)
Fig. 39. Ornamentation on the chase of petriera da braga (cat. no.
64) with comparison of coat of arms from Gnali (b) and Varna
guns (c) after Bishop - Smith, R., 2000. 16th century swivel guns
in Spain, Greece, Bulgaria and Cyprus and two bronze pieces in the
Akbar Nama, fig. 5, p. 6)
sa sustavom punjenja odostraga, a jedan smiriljima s punje-
njem sprijeda (tabla 1). Dva skoro identina okretna topa bila
su velikog kalibra i pripadaju kategoriji pedrijera (perrier),
dok je ostalih pet manjeg kalibra i pripada tipu moschetta
(sl. 38). Svih sedam topova napravljeno je kombinacijom dva-
ju metala. Cijev je napravljena od lijevane bronce, a nosa
komore za barut od kovanog eljeza. Svih je osam topova
restaurirao Odjel za konzervaciju podvodnih nalaza pri Hr-
vatskom restauratorskom zavodu.
Najvea su dva topa naena do sada dvije skoro
identine pedrijere. Ornamenti i dekoracija su isti, jedina je
razlika vidljiva u oznaci teine. Na pedrijeri kat. br. 64 ure-
zan je broj 292, a na pedrijeri kat. br. 65 broj 330. Odgovara-
jua su leita za makul pronaena ali zbog uznapredovale with three five-petal flowers among them. Similar Renais-
korozije nisu bila vaena iz mora. U njih se stavljala pomina
komora za barut koja se pritisnula od stranji dio cijevi kroz
eljezni klin. eljezna je komora za barut bila privrena na
dva etvrtasta izboenja to su virila iz cijevi. Brojevi 292 i
330 ugravirani su blie komori za barut i ukazuju na teinu
topa u librama. Duina cijevi topa kat. br. 64 je 145 cm i
kalibra je 10,7 cm (oznaka teine 292). Top kat. br. 65 je dug
147 cm i kalibra je 10,1 cm (oznaka teine 330). Ova se mjera
odnosi samo na bronani dio topa to jest na cijev. Iznad
centralnog prstena ojaanja, na vodeem dijelu cijevi, nalaze
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.
The first six phases of excavation (2007-2012) and
documentation of the site of Sveti Pavao revealed eight
bronze artillery pieces (fig. 37). Seven were breech-loading
swivel guns, while one was a muzzle-loading esmeril (table
1). Two nearly identical swivel guns were of large calibre,
belonging to the category of the petriere (perrier) while the
remaining five were of smaller calibre, representing the
moschetto type (fig. 38). All these seven pieces were made
of a combination of two metals. The barrel was made of cast
bronze, and the chamber-holder of wrought iron. All eight
artillery pieces have been restored in the Department for
Conservation of Underwater Archaeological finds of the
Croatian Conservation Institute.
The largest guns found to date are two almost iden-
tical perriers. Ornamentation and decoration are the same,
the only difference being their weight mark. On perrier
cat. no. 64 there is an engraved number 292, and on perri-
er cat. no. 65, number 330. The corresponding stout iron
plate holders were found, in which the removable chamber
was inserted and forced against the rear part of the barrel
through an iron wedge, but were not taken out of the sea
due to an advanced stage of corrosion and decomposition.
The iron chamber holder was fixed to two rectangular lugs
protruding from the barrel. Close to the breech, the num-
bers 292 and 330 are engraved on the barrel, indicating their
weight in libras. The length of the barrel of the gun cat. no.
64 is 145 cm and its calibre is 10.7 cm (weight mark 292). The
gun cat. no. 65 measures 147 cm with a calibre of 10.1 cm
(weight mark 330). This is the length of the bronze part only,
the barrel. Above the central reinforce ring, on the chase,
there are four floral decorations shaped like acanthus leaves
sance decorations in the shape of an acanthus, widespread
in the whole Mediterranean region, can be seen on two
bronze sakers casted by Zuane Albergehetti which were
recovered from the Gnali shipwreck (Petricioli, 1970a: 9-16,
Morin, 2006: 95-97), as well as on three royal canones de batir
from one of the wrecks of the Spanish Armada, La Trinidad
Valencera (Martin 1988: 57-73). Venetian gun founders used
foliate bands composed of delicate acanthus leaves or pal-
mettes which they frequently placed just behind the muzzle
or just before the trunnions (Avery, 2011: 49). On the chase,
99
se etiri cvjetna ukrasa u obliku lia akantusa, izmeu kojih
su tri cvijeta s pet latica. Slini renesansni ukrasi u obliku
akantusa raireni su po itavom Mediteranu i nalazimo ih na
dva bronana sakra koje je izlio Zuane Alberghetti, a naeni
su na brodolomu kod Gnalia (Petricioli, 1970a: 9-16, Morin,
2006: 95-97), te na tri kraljevska opsadna topa (canones de
batir) s olupina panjolske Armade, La Trinidad de Valence-
ra (Martin 1988: 57-73). Venecijanski ljevai topova koristili
su listolike trake sastavljene od osjetljivog lia akantusa ili
palmeta i esto ih stavljali odmah iza usta cijevi ili odmah iza
svornjaka (Avery, 2011: 49). Na vodeem dijelu cijevi, ispod
usta obiju pedrijera s brodoloma Sveti Pavao, nalazi se ukras
dimenzija 29 x 20 cm. Reljefnim ukrasom dominira prazan
grb s lentom i lavlja glava bez krila (sl. 39). Na dvije od pedri-
jera slinog kalibra naenoj na brodolomu u blizini otoia
Gnalia blizu ibenika nalazi se slian grb (Petricioli 1970a:
9-16). Isti se grb javlja i na pedrijerama naenima 80-ih u
Crnome moru, blizu bugarske obale (Bishop-Smith 2000: 6),
te na jo jednoj izloenoj u Pomorskom muzeju u Istanbulu
(Beltrame, Morin 2014: 284). Zajednike su karakteristike
ovih pedrijera grbovi, kalibar i eljezna komora za barut.
Moe se pretpostaviti da su ili lijevani u istoj ljevaonici ili ih
je nainio isti ljeva. Budui da je iznos libre varirao ovisno
o dravi (monarhiji) u kojoj se naoruanje lijevalo, iznos libre
moe se izraunati vaganjem naoruanja i time ustanoviti
mjesto lijevanja oruja (Roth 1989b: 201). Usporedbe radi,
venecijanska libbra grossa odgovarala je teini od 0,477 kg,
talijanske su libre iznosile izmeu 0,301 kg (venecijanska
libbra sottile) i 0,368 kg (torinska libra), a libri iz Kastilje odgo-
varala je teina od 0,460 kg (Roth, 1989a: 61-66). Dubrova-
ka republika, kao nezavisna drava, zadrala je svoju teinu
libre od 0,358 kg (Bai 2004: 79-100). Teina izraena u
librama odgovarala je samo bronanim dijelovima pedrijera,
u ovom sluaju teini cijevi. Pedrijera kat. br. 64 s oznakom
teine 292 teka je 139 kg, to najbolje odgovara teini u
venecijanskoj jedinici libra grossa. Preciznije, 292 veneci-
janske libre iznose 139,3 kg. Pedrijera kat. br. 65 s oznakom
teine 330 tei 156 kg. Spomenuta teina u librama iznosi
157,4. Manja razlika u teini moe se pripisati istroenosti od
koritenja oruja. Prethodna je teina krivo navedena jer je
izmjerena tijekom restauracije (Mihajlovi, Miholjek, Pei:
49-57). Obje su pedrijere oruje raeno po narudbi budui
da se topovi lijevani za mletaku vladu lako raspoznaju po
zajednikim karakteristikama poput lava svetog Marka u
pozi moleca (glava, torzo i krila u okrugloj ili ovalnoj poza-
dini) ili andante (itavo tijelo s Biblijom) te rimskoj brojci X
kao oznaci Vijea desetorice, vijeu nadlenom za dravno
100
under the muzzle of both Sveti Pavao perriers, there is an
ornament of 29 x 20 cm. The relief ornament is dominat-
ed by an empty coat of arms with sashes, and an attached
wingless lion's head (fig. 39). One perrier of similar calibre
was discovered on a shipwreck in the vicinity of the isle of
Gnali, near ibenik, and displays the same coat of arms
(Petricioli 1970a: 9-16). The same coat of arms can be seen
on a perrier found in the 1980s in the Black Sea close to the
Bulgarian coast (Bishop-Smith 2000: 6) and on another one
displayed at the Naval museum in Istanbul (Ridella, pers.
comm.). The common features of all those perriers are the
coat of arms, their calibre and the breech-chamber made
of iron. It can be assumed that they were cast either in the
same foundry or by the same founder. Since the weight of
a libra varied depending on state (monarchy) in which the
artillery was cast, one can establish the weight of the libra
by weighing the artillery, and thus establish the state in
which particular artillery was cast (Roth 1989b: 201). For the
sake of comparison, the Venetian libbra grossa corresponded
to 0.477 kg, the Italian libras ranged from 0.301 kg (Venetian
libbra sottile) to 0.368 kg (libbra of Turin), and the libra used
in Castile was equivalent to 0.460 kg (Roth, 1989a: 61-66).
The Dubrovnik Republic, as an independent state, kept
its libra unit of weight (0.358 kg) (Bai 2004: 79-100). The
weight expressed in libras corresponded to the bronze part
of the perriers only in this case, the barrel. Perrier cat. no.
64 with the weight indication 292 weighs 139 kg, which best
corresponds to the weight of a Venetian libbra grossa. More
precisely, 292 Venetian libras equal 139.3 kg. Perrier cat. no.
65 with the weight indication 330 weighs 156 kg. Marked
weight in libras equals 157.40 kg. The small difference in
weight may be attributed to the wear of the guns. Previous
measure stands incorrect since it was done during resto-
ration (Mihajlovi, Miholjek, Pei: 49-57). Both perriers za usmjeravanje napravljeni su od eljeza. Dva topa nose
were commercial weapons because the guns casted for the
Venetian government are easily recognizable by the com-
mon features such as the presence of the Lion of San Marco,
both in moleca (head, torso and wings in a round or oval
background) or andante (complete body with the Gospel),
the presence of the roman digit X, logo of the Council of
Ten which was in charge of state artillery until 1586 (Morin
2011: 10). Another feature of Venetian ordnance in general
was the lack of lifting dolphins (handles on the dorsal part
of artillery used for moving and lifting) and the date of the
founding is also seldom present (Morin, 2009: 21). Accord-
ing to the classification of perriers casted and owned by
the Serenissima, such artillery pieces, firing 12 lb shots
naoruanje do 1586. godine (Morin 2011: 10). Jo jedna karak-
teristika venecijanskog naoruanja openito bio je izostanak
ruki za dizanje u obliku delfina (nalazile su se na stranjem
dijelu topa te se pomou njih top pomicao i podizao), a isto
tako rijetko na njima nalazimo datum lijevanja (Morin 2009:
21). Prema klasifikaciji pedrijera to ih je lijevala i posjedo-
vala Serenissima, takvi se topovi, koji ispaljuju kugle od 12
libri (mjera za kugle bila je libra sottile, odnosno 0,3012 kg),
kalibra oko 9,5 cm i cijevi duge 130 cm, nazivaju petriere da
braga. Ako je komora za barut bila napravljena od bronce,
nazivale su se petriere da mascolo (Morin 2006: 21). Dimenzije
i kalibar topova lijevanih po narudbi za privatne trgovake
brodove mogli su odstupati od standarda, ovisno o eljama
klijenata (Morin 2009: 28-29). Jo jedan dokaz, uz odgova-
rajuu teinu i prisutnost venecijanskog broda, moe biti
ukras s motivom lavlje glave na vodeem dijelu cijevi na obje
pedrijere, iako prikaz nije ni moleca ni andante. Odljev usta
cijevi (naroito zuba) ini se atipinim za venecijansku
artiljeriju, ali to je bilo naoruanje napravljeno po narud-
bi, prema eljama klijenata, to bi mogao biti sluaj s ovim
topovima. Njihova paralelna pozicija na morskom dnu (vidi
Plan 1) sugerira da su se nalazili na taktiki ranjivoj krmi na
kojoj su naoruani trgovaki brodovi (i ratni brodovi) obino
nosili svoje najvee i najbolje naoruanje (Guilmartin 1982:
143).
Druga se skupina naoruanja sastoji od pet slinih
okretnih topova (kat. br. 66-70) kalibra s varijacijom od 4,1
do 4,4 cm, stoga ih ne moemo nazvati pedrijerama ve
smiriljima s punjenjem odostraga. Svi su primjerci sloenih
topova, nainjeni od bronce i eljeza. Napravljeni su isto
kao i dvije vee pedrijere. Svih pet topova ima bronanu
cijev s dva simetrina izboenja za privrivanje leita items on a Venetian ship, besides the corresponding weight,
makul (ili braga). Komora za barut (ili mascolo), vilica i ruica
potpis ljevaa. Top kat. br. 68 ima potpis T* C* na vodeem
dijelu cijevi to znai da ju je lijevao Tommaso di Conti, lan
slavne venecijanske obitelji ljevaa topova (sl. 40). Tomma-
so je umro 1540. tako da je top, moschetto da braga, prema
venecijanskoj klasifikaciji topova (Morin 2008: 28), mogao
biti napravljen 20-ih ili 30-ih godinama 16. stoljea (Avery
2011: 26). Moschetto da braga bio je top kalibra oko 4,5 cm,
ispaljivao je kugle od jedne libre i obino je bio dug jedan
metar (Morin 2009: 28). Bronani dio topa (cijev) kat. br. 68
s brodoloma Sveti Pavao dug je 86 cm i kalibra je 4,1 cm. Po-
red utora za bragu ugravirana je oznaka teine od 92 veneci-
janske jedinice libra grosso. Naznaena teina iznosi 43,88
kg, a prava teina topa je 43,30 kg. Budui da ne nosi oznake
Sl. 40. Moschetto da braga ljevaa
Tommasa di Contia (prije 1540.
godine), kat. br. 68
Fig. 40. Moschetto da braga of
the founder Tommaso di Conti
(before 1540), cat. no. 68
(measure for the shots was libbra sottile = 0.3012 kg), with a
calibre of approximately 9.5 cm and a barrel about 130 cm
long, were called petriere da braga; if the chamber holder was
made of bronze they were called petriere da mascolo (Morin
2006: 21). The dimensions and the calibre of commercially
casted pieces for private merchant ships could differ from
the standard depending on the clients wishes (Morin 2009,
28-29). Another proof of the Venetian provenance of these
could be the ornamentation with the motive of lions head
on the chase of both perriers, although not in moleca or an-
dante. Muzzle mouldings (especially the teeth) seem quite
atypical of Venetian artillery, but these were commercial
weapons which were made according to a clients wish, and
this could be the case for these guns. Their parallel position
on the seabed (see Plan 1) suggest that they were mounted
at the stern, a tactically vulnerable location where armed
merchantmen (and sailing warships) usually carried their
biggest and best ordnance from the earliest days (Guilmar-
tin 1982: 143).
The second artillery group consist of five similar
swivel guns (cat. nos. 66-70) with their calibre ranging
from 4.1 to 4.4 cm, so we cannot call them perriers but
breech-loading esmerils. All were composite guns made
101
 Sl. 41 Moschetto da braga s from bronze and iron. Their construction is the same as that
potpisom *L*F* i dijelom eljeznog of the two larger perriers. All five guns have barrels made
zatvaraa, kat. br. 70 of bronze with two symmetrical ribs to which a stout iron
Fig. 41. Moschetto da braga with plate holder (or braga) was attached. The removable cham-
the inscription *L*F* and a part of ber (or mascolo, visible on the gun far right), swivel and
the chamber holder, cat. no. 70
tiller were all made from iron. Two of the guns bear sig-
nature of the founder. Gun cat. no. 68 bears the signature
*T* C* on the chase which means that it was casted by the
Tommaso di Conti, a member of the famous Venetian gun
founder family (fig. 40). Tommaso died in 1540, so the gun, a
moschetto da braga in the Venetian gun classification (Mo-
rin 2006: 21), could have been made in the 1520s or 1530s
(Avery, 2011: 26). Moschetto da braga was a gun with a calibre
of around 4.5 cm, fired 1 lb shots and was usually one meter
long (Morin, 2009: 28). The bronze part of the gun (the bar-
rel) cat. no. 68 from Sveti Pavao wreck is 86 cm long with a
calibre of 4.1 cm. Next to the slot for the braga, the weight
mark of 92 Venetian libre grosse is engraved. Marked weight
equals 43.88kg, and the real weight is 43.30 kg. Since it does
not have signs of a state owned gun, it is obviously commer-
cial. Another commercial gun of this founder was recovered
in the waters around the Palagrua archipelago in 1988,
along with a gun recovered a year earlier casted by Camillo
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
jedan top napravljen po narudbi ovog ljevaa pronaen u Both guns bear the coat of arms of the Gritti family of Ven-
podmorju oko Palagrue 1988. godine, zajedno s topom na- ice (Beltrame , 2011: 14). In the Askeri museum in Istanbul
enim godinu dana ranije a koji je lijevao Camilo Alberghetti there are another six muzzle loading guns made by Tomaso
(Orli 1988: 42-42, Radi Rossi 2011: 68-70). Oba topa nose di Conti, but made for Government use (Beltrame, Morin,
grb venecijanske obitelji Gritti (Beltrame 2011: 14). U Vojnom 2014: 78, 84, 134, 166, 230, 231). The Di Conti and Alberghet-
muzejuu Istanbulu nalazi se est topova s punjenjem spri- ti families were the most respected gun founders employed
jeda, rad Tommasa di Contija, ali napravljenih za upotrebu by the state which often encouraged competition in order
Drave (Beltrame, Morin 2014: 78, 84, 134, 166, 230, 231). to produce the best quality products at the best price. By
Obitelji di Conti i Alberghetti bile su najistaknutiji ljevai the second quarter of the 16th century, these two dynasties
koje je zapoljavala drava, a poticalo ih se i na nadmeta- dominated the production of artillery in Venice which last-
nje ne bi li osigurali najkvalitetnije proizvode po to boljoj ed for three hundred years (Avery, 2011: 46). Gun cat. no. 70
cijeni. Do druge etvrtine 16. stoljea ove su dvije dinastije is the only gun which (besides the muzzle-loading esmeril)
dominirale proizvodnjom naoruanja u Veneciji dugoj vie does not have an engraved weight mark. It bears the signa-
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
top, osim smirilja s punjenjem sprijeda, bez oznake teine. (fig. 41). The length of the bronze barrel is 86 cm, and the
Nosi potpis stanovitog L F, ljevaa iji identitet jo nije ot- length of preserved stout iron plate holder is another 30 cm
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
uvanog leita za makul, bez dijela ruice za usmjeravanje, an iron yoke and a peg are also preserved. The bronze barrel
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
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-
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
cijanske jedinice libra grossa odgovara teini od 34,34 kg. again closest to the mentioned Venetian libra. The weight of
Stvarna teina je 33,75 kg, to je opet najblie spomenutoj the other two guns is also close to the Venetian libra grossa.
102
teini u venecijanskim librama. Stvarna teina sljedea dva
topa takoer je najblia izraunu u venecijanskoj jedinici li-
bra grossa. Stvarna je teina topa kat. br. 67, duine cijevi 89
cm i kalibra 4,1 cm, 37,40 kg, s naznaenom teinom 77 to
iznosi 36,73 kg. Top kat. br. 69 s naznaenom teinom 66
to je jednako 31,48 kg je u stvarnosti teak 31,80 kg. Duljina
cijevi ovog topa je 87 cm, a kalibar mu je 4,4 cm. Budui da
stvarna teina ova zadnja tri topa, s punjenjem straga, najbo-
lje odgovara venecijanskoj libri i topovi su morfoloki slini,
moemo pretpostaviti da su porijeklom iz Venecije. Moe ih
se isto tako opisati i kao moschetto da braga. Odreivanje
porijekla pedrijere kat. br. 70 je vei izazov. Iako morfologija
topa nalae venecijansko podrijetlo, odsustvo oznake teine
i potpis nepoznatog ljevaa navode na oprez.
Za restauracije topa kat. br. 68 u komori za punje-
nje pronaen je drveni ep. Drveni epovi u topovima na
punjenje odostraga koriteni su za odvajanje baruta od kugle
te kako bi zapeatili usta. Kasnije se upotrebljavaju samo za
zapeaivanje usta kao zatita (Hildred, Wood, Gale 2011:
463-464). Materijal identificiran kao laneno platno naen je
u cijevi topa kat. br. 66, blizu komore. Vjerojatno je bio dio
brtvila. Brtvilo je obino bilo od materijala poput jute, sjena
i drveta a dralo je barut i kuglu na mjestu prilikom punjenja
to se pune sa stranje strane pronaeno za istraivanja na
brodolomu Mary Rose, a niti jedan nije zabiljeen na topo-
vima s punjenjem s prednje strane (Hildred, Wood, Gale
2011: 475-476). Predloen je kao slijed punjenja topova od
kovanog eljeza na punjenje sa stranje strane pronaenih
na brodolomu Mary Rose barut, brtvilo, drveni ep, platno i
onda kugla (Hildred, Wood, Gale 2011: 463-465).
Top kat. br. 71 je jedini pronaeni primjerak koji se
punio sprijeda te isto tako spada u kategoriju smirilja. Naj-
manji komadi naoruanja s kuglom teine od 0,5 do 1 libre
nazivali su se smirilji (eng. esmeril; tal. smeriglo). Smirilji su
mogli biti konstruirani na nain da se pune s prednje, ili pak
sa stranje strane, i esto su postavljani na vilicu-nosa, te su
osim kompaktnih kugli ispaljivali i olovne kugle sa elje-
znom kockom u sebi (Ridella 2007: 8). Izvaen smirilj je dug
120 cm i promjera je 4,6 cm. Presjek smirilja je poligonalan
s dvanaest uglova. Uglovi teku neprekidno od stranjeg
prstena do usta bez ikakvih ojaanja. Jednostavna i neukra-
ena rupa za fitilj, izrezana astragalom, relativno je velikog
promjera (1,4 cm), to sugerira da je top bio due u upotrebi
pa je dolo do troenja rupe. Smirilj nema nikakve reljefne
dekoracije da pomogne u odreivanju njegova porijekla. Za
restauracije je u cijevi pronaena korodirana kugla promjera
Gun cat. no. 67 (length of the barrel 89 cm, calibre 4.1 cm)
has the real weight of 37.40 kg, with a marked weight of
77, which equals 36.73 kg. Gun cat. no. 69, with a marked
weight of 66, equalling 31.48, has the real weight of 31.80
kg. The length of the barrel of the latter is 87 cm, and it has
a calibre of 4.4 cm. Since the real weight of these last three
breech-loaders best corresponds to the Venetian libra, and
since they are morphologically very similar, we can assume
that their origin is Venetian. They can also be classified as
moschetti da braga. Determining the provenance of perrier
cat. no. 70 is more challenging. Although its morphology
suggests a Venetian origin, the absence of a weight mark
and a signature of an unknown founder suggest caution.
During the restoration of gun cat. no. 68, a wooden tampi-
on was found inside the breech chamber. Wooden tampi-
ons in breech loading guns were used to separate powder
from the shot thus sealing the chamber. Later, they had the
sole function of sealing the muzzle as a form of protection
(Hildred, Wood, Gale, 2011: 463-464). Material identified
as linen was found in the barrel of gun cat. no. 66, close to
the breech. This could be a part of the wad. Wads are made
from any material such as plug of tow, hay, and wood, and
are used to keep the powder and shot in position when the
gun is being charged (Blackmore 1976: 248). Only few wads
were found during the excavation of Mary Rose, and were
connected only to breech-loading guns, none were recorded
with muzzle-loading guns (Hildred, Wood, Gale, 2011:475-
476). The suggested sequence for wrought iron breech-load-
ers excavated from the Mary Rose shipwreck is: powder,
wad, wooden tampion, fibres, and the shot (Hildred, Wood,
Gale, 2011:463-465).
The gun cat. no. 71 is the only muzzle loading piece recov-
ered and can also be categorized as an esmeril. The smallest
piece of ordnance, which was used to fire shots of 0.5-1
libra were called esmerils (Ita: smeriglio, Cro: smirilj). These
weapons, which can be either muzzle or breech loaders,
were often placed on a swivel mount, and, as well as solid
shot, fired lead shots containing an iron cube (Ridella 2007:
8). The muzzle loading esmeril is 120 cm long, with a bore
diameter of 4.6 cm. The cross-section of the esmeril is
polygonal with twelve edges. The edges run continuously
from the base ring to the barrel muzzle, without any re-
inforces. The simple and unadorned fuse hole, cut by an
astragal, is of a relatively large diameter (1.4 cm), suggesting
that the gun was used for a longer period of time which
caused the fuse hole to wear. The esmeril does not display
any characteristic relief decorations that could be used to
103

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-
nje topova napunjenima za plovidbe bila ustaljena praksa u
to vrijeme (Konstam 1988: 17). Gotovo je nemogue odrediti
porijeklo ovog topa bez iga ljevaa, oznake teine ili grba,
ali ovaj primjerak poligonalnog presjeka s 12 uglova defini-
tivno nije venecijanski. Glavni su centri proizvodnje oruja
poligonalnog presjeka u Europi bili Francuska, Genova i
Engleska. Prema nekim karakteristikama poput cilindri-
nog gumba za usmjeravanje i astragala blizu usta mogue ga
je datirati u prvih par desetljea 16. stoljea (Ridella 2007:
5-38).
Uz pedrijere kat. br. 64 i 65 naeno je ukupno 18
kamenih kugli odgovarajueg kalibra (kat. br. 72). Njihova
teina varira izmeu 1,10 i 1,25 kg. Budui da ni eljezne a
ni olovne kugle nisu pronaene pretpostavlja se da su za
pedrijere upotrebljavane iskljuivo kamene kugle, dok su za
ostalo naoruanje, ukljuujui smirilj, upotrebljavane elje-
zne kugle. eljezne kugle, kao i komore za punjenje, propale
su se ubrzo nakon vaenja iz mora. Zanimljivo je da je za
istraivanja 2010. godine pronaena kamena kugla promjera
oko 14 cm. Pripada jo neotkrivenom komadu naoruanja
(kat. br. 73). Dva olovna taneta promjera 1,2 i 1,5 cm nae-
na su za istraivanja 2008. i 2009. godine (kat. br. 74 i 75).
Mogu se povezati s dvjema arkebuzama jo uvijek uprocesu
104
Sl. 44. Natpis godine na brodskom zvonu MDLXVII
Fig. 44 Latin numerals MDLXVII
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).
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
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-
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
practice at the time (Konstam 1988: 17). It is almost impossi- (Guilmartin 1984). 17th century. In comparison, a typical harquebus in the 16th
ble to determine origin of this gun without the presence of century weighted 5 kg or less and had a bore diameter of
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).
commercial polygonal piece with 12 edges is definitely not
Venetian. Main centres of production of polygonal artillery Bronano brodsko zvono (kat. br. 76) jedan je od najznaajni- 2. Ships bell
in Europe were France, Genoa and England. By some char- jih nalaza brodske opreme u est sezona podvodnih istrai-
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-
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
the 16th century. (Ridella 2007, 5-38). sauvano bez veih oteenja. Ve neposredno nakon vae- during six campaigns of underwater research. The bell was
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
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
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-
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
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
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
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-
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
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,
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
(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
105
dam a najvie dvadeset i osam godina prije potonua. Zvono
je s lokaliteta brodoloma kod pliine Sveti Pavao relativno
malih dimenzija. Visina zvona s alkom za vjeanje iznosi
19,6 cm, promjer oboda otvora je 14,8 cm a teina 1,446 kg
(sl. 43). Zvono je ukraeno nizom izboenih krunih linija
u formi paralelnih debljih i tanjih nizova prstena koji istiu
prijelaze izmeu glavnih konstruktivnih dijelova zvona - gla-
ve, ramena, trbuha i zvunog luka ( Tabla 1). Na ramenu se,
omeeno s dva trostruka niza prstena, nalazi natpisno polje
na kojemu je ispisana 1567. godina. Latinski broj MDLXVII
izveden je reljefno du polovice dijametra natpisnog polja
s velikim razmakom izmeu pojedinih znamenki (Sl. 44.).
Detaljnom analizom stilskih karakteristika otkriveno je i
porijeklo zvona s olupine.
U zbirci pomorskog povijesnog muzeja u Vene-
ciji nalazi se zvono koje je 1597. godine izlio Zuanbattista
del Ton (Avery 2011:241, fig. 7.32). Usporeujui oba zvona
uoljiva je velika slinost u formi, izvedbi natpisa s godinom
lijevanja te u odreenoj mjeri u rasporedu ukrasnih prstena.
Slova koja oznauju znamenke godina na zvonima imaju
obiljeja istog tipa fonta i meusobno su podjednako raz-
maknuta. Navedene podudarnosti dokazuju venecijansko
porijeklo brodskog zvona s olupine koje je najvjerojatnije
i izlio Zuanbattista del Ton koji je bio imigrant porijeklom
iz Istre a u Veneciji je radio kao visoko specijalizirani ljeva
(Avery 2011:61).
Treba napomenuti da se i nekoliko crkvenih zvona s
podruja dubrovake biskupije pripisuje ovom ljevau (Sje-
kavica 2013: 569). Spoznaje o zvonu dodatno su proirila i la-
boratorijska ispitivanja kemijskog sastava metala (Mudronja
2013). Analizom bronce ustanovljeno je da se legura sastoji
od 67,9 % bakra, 28,5 % kositra, 1,8 % olova , 0,3 % nikla, 1,4
% eljeza, i 0,05% sumpora. Za kvalitetu je zvona najvaniji
omjer bakra i kositra. Prema sauvanim receptima nekoliko
venecijanskih ljevaa taj odnos varirao je od 83 % bakra i 17
% kositra do 74 % bakra i 26 % kositra (Avery 2011:79). Tako iz
sastava legure, ponajprije zbog velikog postotka kositra, sa-
znajemo da je brodsko zvono bilo skupo i zanatski kvalitet-
no izraeno. Naime, u povijesnim izvorima postoji podatak
da je sredinom 16. stoljea kositar bio od 40 do 45 % skuplji
od bakra (Avery 2011:79). Vei postotak kositra zvonu daje
zvuniji ton ali je legura takvog sastava tvra i krhkija te se
ne moe doraivati kad se ohladi (Avery 2011:79).
Iako su brodska zvona bila neizostavni dio opreme
svakog veeg broda njihovi su nalazi na lokalitetima novo-
vjekovnih brodoloma u podmorju istone obale Jadrana izra-
zito rijetki. Brodska zvona su do sada pronaena samo na
106
narrowed down to the period between 1574 and 1595, based Sl. 45. Oprema brodske kuhinje
on the deciphered inscriptions on two Ottoman akches of Fig. 45. Equipment of the galley
Sultan Murad III (Krkman 2014: 137).
Based on the inscription on the bell, containing
the year it was cast and the akches, we revealed that the
Venetian merchant ship sailed for at least seven, and at
most twenty eight years before it sank. The bell from the
shipwreck site in the shallows of Sveti Pavao is relatively
small. The height of the bell with the crown is 19.6 cm, and
the diameter of the sound bow is 14.8 cm. The bell weighs
only 1,446 kg (fig. 43). The bell is decorated with a series
of moulding wires formed in a series of thicker and thin-
ner rings. The moulding wires accentuate the transitions
between the main constructional parts of the bell: the head,
the shoulder, the waist and the sound bow (Pl. 1.) On the
shoulder, bordered by two triple series of rings, runs the
inscription field with the year 1567. The Latin numerals
MDLXVII are made in relief, along the half of the girth of
the inscription field, with great gaps between the figures
(fig. 44). A detailed analysis of the style and characteristics
revealed the origin of the bell found in the shipwreck. The
collection of the Naval History Museum in Venice features
a bell which was cast by Zuanbattista del Ton in 1579 (Avery
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
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
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
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).
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
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-
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
that was most probably cast by Zuanbattista del Ton. He na novovjekovnim brodovima. Adriatic. Ship bells were found only at a shipwreck dated
was as immigrant of Istrian descent who worked as a highly in the 16th and the 17th century in the Saladinac bay on the
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-
It is interesting to mention that a couple of bells wreck at Drevine in the Koloep Canal dated to the 17th and
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
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
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
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
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
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.
requirement for the quality of a bell is the ratio of copper noga ivota na mletakom trgovakom brodu iz 16. stoljea.
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
casters, that ratio varied from 83% Cu : 17% Sn to 74% Cu : posade budui da najvei broj ovih nalaza spada u predmete
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
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-
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
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
107
 Sl. 46. Crte posude za
odravanje topline hrane iz 16. st
(preuzeto iz: B. Scappi, 1570)
Fig. 46. Drawing of a food
warmer from the 16th century
(taken from: B. Scappi, 1570)
Sl. 47. Dio posude za odravanje
topline hrane
Fig. 47. Part of the food warmer
Sl. 48. Crte tave za prenje jaja
iz 16. st. (preuzeto iz:
B. Scappi, 1570)
Fig. 48. Drawing of a pan used
for frying eggs from the 16th
century (taken from B. Scappi,
1570)
Sl. 49. Uloak tave
za prenje jaja
Fig. 49. Insert of the pan
used for frying eggs
tu. Plovidbeni put iz Venecije i prema njoj iao je uz istonu
obalu Jadrana zbog povoljnih maritimnih uvjeta, brojnih
otoka i luka koje pruaju zaklon i mogunost opskrbe (Pryor
1992: 93-94). Iz svjedoanstava putnika i hodoasnika koji
su plovili iz Venecije prema Levantu saznajemo da su se
na istonoj obali Jadranskog i Jonskog mora brodovi naje-
e zaustavljali u Puli, Zadru, Dubrovniku, Krfu i Modonu
(Gluzman 2010: 275-288). U ovim lukama brodovi su mogli
nadopuniti zalihe vode i hrane ili popraviti oteenja.
Brodska kuhinja
Na lokalitetu brodoloma pronaen je niz metalnih i kera-
mikih posuda te nekoliko predmeta od drveta i kamena
koji su sa sigurnou pripadali opremi brodske kuhinje (sl.
45). est je posuda i nekoliko fragmenata oboda (kat. br.77,),
ruki i dna posuda za pripremu i posluivanje hrane izrae-
no od bakrenih legura. Na prvi pogled veina njih se bitno
ne razlikuje od standardnih tipova kotlova, tava i zdjela
kakvi se esto pronalaze na lokalitetima srednjovjekovnih i
novovjekovnih brodoloma. Dva nalaza, dio posude za odra-
vanje topline hrane (kat. br. 78) i dio tave za prenje jaja (kat.
br. 79) izdvajaju se od ostalih jer potvruju porijeklo broda, a
i do sada nisu nikada pronaeni na venecijanskim novovje-
kovnim brodolomima. Konstrukcija su i oblik ovih posuda
108
shipwreck, we are able to make a realistic reconstruction
of one part of everyday life on a Venetian merchant ship
from the 16th century. This primarily refers to the galley
and the crews diet, being that most of the finds fall into
the category of items used in food preparation and serving.
The organisation of food on board, the selection of supplies
and equipment was a prerequisite for successful travel on
long-term merchant voyages from Venice to destinations on
the Levant. The maritime route from and to Venice spread
along the eastern coast of the Adriatic because of its good
maritime conditions, numerous islands and harbours that
provide shelter and supplies (Pryor 1992: 93-94). From the
testimonies of travellers and pilgrims who sailed from Ven-
ice towards the Levant, we find that the ships sailing along
the eastern Adriatic coast and the Ionian Sea most often
stopped at Pula, Zadar, Dubrovnik, Corfu and Modon (Glu-
zman 2010: 275-288). These harbours could provide ships
with water and food supplies, as well as provide repairs.
ship galley
This shipwreck site yielded numerous metal and ceram-
ic vessels, several objects made of wood and stone, all
of which can be unequivocally attributed to the galleys
inventory (fig.45.). Six vessels and several fragments of
neuobiajeni i rijetki. Njihova je funkcija otkrivena zahvalju-
jui crteima u knjizi Bartolomea Scappia Opera di Barto-
lomeo Scappi, cuoco secreto di Papa Pio V divisa in sei libri
koja je izdana 1570. godine u Veneciji. U knjizi se, uz brojne
recepte za pripremanje jela, kao prilog prikazuju i raznovr-
sne kuhinjske posude i pribor. Posuda se za odravanje topli-
ne hrane, prema crteu u knjizi (Scappi 1570: tab. 17) zvala
se Schalda vivande con le sue piastrelle, sastojala od tri
dijela: bikonine posude i dvije podloke ili poklopca (sl. 46).
Na lokalitetu je pronaen samo gornji dio bikonine posu-
de (sl. 47). Posuda je izraena tehnikom iskucavanja od dva
sloja bakrenog lima kako bi duple stjenke due zadravale
toplinu. Ispod oboda otvora ukraena je reljefno iskucanim
motivom konopca a na dnu su ostale sauvane etiri zakovi-
ce kojima je bila privrena za donji dio koji je sauvan tek
djelomino na mjestu spoja (Tabla 2). I od druge je posude,
opisane u Scappijevoj knjizi (Scappi 1570: tab. 8) kao Padella
p fare oui fritolate(sl. 48), pronaen samo uloak u kojemu
su se prila jaja (sl. 49). Iako je uloak tave teko oteen con le sue piastrelle, and was made in three parts, a bicon-
korozijom na njemu se jasno vidi sedam pravilnih poluku-
glastih udubljenja za jaja promjera 6,5 cm i dubine 2,7 cm
(Tabla 3). Ovakav se specifian tip posua izuzetno rijetko
pojavljuje kao nalaz na brodolomima. Za sada je mogue us-
porediti posudu za odravanje topline sa slinom posudom
s uvene olupine Vasa (Matz, Hammarskiold 2001: 209). One
su znaajne ne samo kao dosad nepoznati tipovi brodskog
kuhinjskog posua iz 16. stoljea ve i kao nalazi koji ukazu- bottom of the vessel. The rivets connected the bottom part
ju na razlike izmeu lanova posade po drutvenom polo-
aju. Takve posude nisu bile namijenjene svim lanovima
posade ve samo privilegiranim pojedincima viega statusa,
najvjerojatnije bogatim trgovcima ili kapetanima. U istu
kategoriju moemo uvrstiti i nalaz kositrenog vra (kat. br.
80), jedine pronaene posude koja je sluila za ispijanje pia.
Prema stilskim karakteristikama ovakav tip pripada skupini
tzv. hanzeatskih vreva koji su se proizvodili u sjevernim
gradovima Njemake (Kisi 1979: 94). Kositreni su se vre-
vi esto upotrebljavali na brodovima u 16. stoljeu o emu similar vessel found on the famous Vasa shipwreck (Matz,
svjedoe nalazi na olupinama Mary Rose (Weinstein 2005:
435 fig 11.14, 436 fig. 11.16), El Gran Grifon (Martin 1972: 68)
te u hrvatskom podmorju na olupini kod ipana (Kisi 1979:
73-98, fig. 29).
Hrana se za posadu pripremala u uobiajenim tipo-
vima onodobnog brodskog kuhinjskog posua. Najvanije
mjesto meu njima pripada bakrenom kotlu (kat. br. 81) u
kojemu se pripremala veina obroka (sl. 50.). Funkcija kotla
dokazana je i laboratorijskom analizom metala. U leguri koja
se sastoji od 99% bakra pronaeni su tragovi kositra kojim se
rims (cat. no.77), handles and bases of vessels used for food
preparation and serving were made of copper alloys. At first
glance, most of them do not differ from standard types of
cauldrons, pans and bowls often found on Medieval and
post-Medieval shipwreck sites. Two finds, part of a vessel
used for warming food (cat. no. 78) and part of a pan used
for frying eggs (cat. no. 79), stand out from the rest of the
assemblage because they attest to the ships origin, and be-
cause these types of vessels have not been found on Vene-
tian and late-Medieval shipwrecks to this day. The construc-
tion and the shape of these vessels are rare and unusual.
Their function was discovered with the help of a drawing in
a book written by Bartolomeo Scappi Opera di Bartolomeo
Scappi, cuoco secreto di Papa Pio V divisa in sei libri, pub-
lished in 1570 in Venice. The book, along with numerous
recipes, includes depictions of numerous kitchen vessels
and utensils. The food warmer, according to the drawing in
the book (Scappi 1570: tab. 17), was called Schalda vivande
ical vessel, and two shims or lids (fig.46.). Only the upper
part of the biconical vessel was found at the site (fig.47.).
The vessel was made using the technique of hammering
from two layers of copper sheets, so that the double walls
could retain heat for longer. Under the rim, the vessel
was decorated with a rope motif made using the repouss
technique, and additional four rivets were preserved on the
of the vessel with the base, which was only partially pre-
served at the joint (Pl. 2.). From the other vessel described
by Scappi in his book Padella p fare oui fritolate (fig.48.),
(Scappi 1570: tab. 8), only a part of a vessel used for frying
eggs was found (fig.49.). Although it was heavily corroded,
seven even hemispherical dents for eggs, 6.5cm in diame-
ter and 2.7cm deep, were clearly visible (Pl. 3.). This specific
form of vessel is an exceptionally rare find on shipwrecks.
For now, the food warmer is comparable only to a find of a
Hammarskiold 2001: 209). They are significant not only
as a formerly unknown vessel from the galleys inventory,
but also as finds which signal that class differences exited
between crew members. These vessels were not used by all
members of the crew, but only for privileged ones of higher
status, most probably rich merchants or captains. The pew-
ter flagon (cat. no. 80) can also be assigned to this category,
and is also the only discovered vessel which was used for
drinking. According to its characteristics, the vessel belongs
to the Hanseatic jugs group which was made in the towns
109

Sl. 50. Brodski kotao
Fig. 50. Ships cauldron
u 16. stoljeu premazivala unutranjost kuhinjskog posu-
a jer sam bakar daje neugodan okus hrani i tekuinama
(Moore 1998:100). Time je iskljuena mogunost da je sluio
za taljenje smole kojom se popravljala oplata broda. Kotao je
izraen tehnikom iskucavanja kojom su dvije ploe bakre-
nog lima debljine 2 do 3 mm oblikovane preko drvenog ka-
lupa u stijenke i polukuglasto dno. Tako dobiveni segmenti
meusobno su spojeni nizom zakovica promjera 20 mm (Ta-
bla 4). Kotao je visok 27 cm, promjer na djelomino izobli-
enom otvoru varira od 41 do 45 cm a radni volumen iznosi
20 litara. Na dvije nasuprotne strane ispod oboda nalaze
se 4 zakovice koje su jedini tragovi ataa i ruki koje nisu
sauvane. Kuhinjskom posuu pripadaju jo i dvije bakrene
posude, tava i poklopac. Tava za peenje (kat. br. 82) promje-
ra 25 cm je sudei prema poziciji rupa za zakovice na jednoj
strani (Tabla 5,4) imala drvenu drku koja je bila umetnuta
u poseban nosa koji se nije ouvao. Poklopac se prema
promjeru otvora od 28 cm ne moe povezati s do sada pro-
naenim posudama niti s fragmentima oboda. To ukazuje da
je broj kuhinjskih posuda sigurno bio vei ali i na mogunost
da e ih se pronai u novim istraivanjima. Izvan prostora
na kojemu je leala veina kuhinjskih posuda pronaena je
jo jedna posuda (kat. br. 83) koju je teko tono interpreti-
rati i sa sigurnou pripisati brodskoj kuhinji (sl. 51). Posuda
110
Sl. 52. Drvena drka noa
Fig. 52. Knife handle made of wood
Sl. 51. Bakrena posuda nepoznate funkcije
Fig. 51. Copper vessel, function unknown
of northern Germany (Kisi 1979: 94). Pewter flagons were
often used on ships in the 16th century, as attested to by the
finds from the Mary Rose (Weinstein 2005: 435 fig 11.14, 436
fig. 11.16), and El Gran Grifon (Martin 1972: 68) shipwreck,
and from a wreck near the island of ipan in Croatian wa-
ters (Kisi 1979: 73-98, fig. 29).
The food for the crew was prepared in vessels which
are commonly found in the galleys dated to those times.
The most important role in the galley was held by a copper
cauldron (cat. no. 81) used for the preparation of most meals
(fig.50.). The function of the cauldron was confirmed by
laboratory analysis of the metal. The alloy contained 99% of
copper, and showed traces of tin which was used in the 16th
century for coating the interior of kitchen vessels because
pure copper gave the food and liquids an unpleasant taste
(Moore 1998:100). The alloys content excludes the possibil-
ity that the cauldron was used for melting resin used to fix
the hull of the ship. The cauldron was made by hammering
two 2-3mm thick copper plates which were shaped using a
wooden mould inserted into the walls of the vessel and its
hemispherical base. The segments were then joined to-
gether using a series of rivets 20mm in diameter (Plate 4.).
The cauldron is 27cm high, with a diameter ranging from
41 to 45cm on the partially deformed rim, and its volume
Sl.53. Kameni brus
Fig. 53. Stone hone
Sl. 54. ivotinjske kosti
Fig. 54. Animal bones
je visoka 11 cm, promjer otvora iznosi 35 cm a njegov 2 cm
irok rub je vodoravno presavijen prema vanjskoj strani
(Tabla 5, 5). Njezina se funkcija ne moe odrediti na temelju
oblika. Mogla je sluiti kao kuhinjska zdjela ali i kao lavor za
umivanje. Slina nedoumica postoji i za nekoliko nalaza koji
se mogu interpretirati kao osobni premeti ili kao kuhinjski
pribor. Rije je o dvjema drvenim drkama i dva kamena
brusa. Za jednu drku (sl. 52, kat. br. 84) duine 10 cm koja se
sastoji od dva dijela s etiri zakovice koje su je privrivale
uz sjeivo s velikom sigurnou moemo tvrditi da je bila
dio noa. Druga je drka (kat. br. 85) duine 8,2 cm izraena
od perforiranog komada drva u koji je najvjerojatnije bio
utaknut neki alat ili no. Jedan je kameni brus (kat. br. 86)
duine 19,8 cm, kvadratnog presjeka 2 x 2,5 cm, sauvan u
cijelosti (sl. 53.) dok je od drugog preostao samo manji fra-
gment. Rekonstrukciju brodske kuhinje i prehrane znaajno
upotpunjuju i proiruju i arheozooloki i arheobotaniki na-
lazi. Analiza kotanih ostataka ivotinja (sl. 54) otkriva neke
zanimljive podatke o prehrani i izboru namirnica na brodu.
Od 80 pronaenih kotanih ostataka najvei broj pripada
govedima (kat. br. 87, 88) a manji svinjama i divljim svinjama
(kat. br. 89) (Trbojevi Vukievi 2014: 147-149). Posebno je
interesantan broj od ak 64 fragmenta repnih kraljeaka
goveda na kojima nisu pronaeni tragovi rezanja i obrade.
is 20 litres. There are four rivets on two opposite sides of
the rim, as well as traces of lugs and handles which are not
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
separate bearing which was not found, as attested to by the
position of the rivet holes on one side (Plate 5, 4). The lid,
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.
We find a similar dilemma with several other finds which
can be interpreted as personal objects or as kitchen items: a
find of two wooden handles and two hones. One 10 cm long
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
a part of a knife. The other handle (fig. 53, cat. no. 84) is 8.2
cm long. It is made out of a single perforated piece of wood,
and was most likely a part of a tool or a knife. One hone (cat.
no. 86), 19.8 cm in length, with a square section of 2x2.5cm,
was completely preserved (fig. 53), while only a small frag-
ment of the other was recovered. The reconstruction of the
galley and the crews diet is significantly extended and ex-
panded when zooarchaeological and archaeobotanical finds
are included. The analysis of animal remains (fig. 54) reveals
interesting information about the diet and the selection
of supplies used on the ship. From the 80 bones that were
recovered, most come from domestic cattle (cat. no. 87, 88)
and a smaller portion came from pigs and boars (cat. no.
89), (Trbojevi Vukievi 2014: 147-149). The 64 fragments
of cows tail vertebra recovered which showed no traces
of cutting or processing are particularly interesting. They
imply that cow tails were probably salted and dried before
being transported as ingredients for preparing different
kinds of soups and stews. The archaeobotanical finds, ten
wooden logs 30-40 cm long, and three pine cones (cat. no.
90), were all found in one area of the site, and were probably
used for maintaining the fire under the cauldron. Bricks
or any remains of a bricked furnace were not found at the
site, therefore we can assume that the galley had some kind
111
Ova injenica ukazuje na mogunost da su se govei repovi,
najvjerojatnije usoljeni i osueni, prevozili kao namirnica
za pripremanje raznih vrsta juha ili variva. Arheobotaniki
se nalazi sastoje od deset cjepanica duine 30-40 cm i tri
eera (kat. br. 90). Pronaeni su koncentrirani na jednom
mjestu i najvjerojatnije su sluili za loenje vatre ispod kotla.
Budui da na lokalitetu nisu naene opeke, odnosno tragovi
zidane pei u koju je bio ugraen kotao, moemo pretposta-
viti da je brodska kuhinja venecijanskog broda imala neki
oblik jednostavnog loita iznad kojega je visio kotao. Nalazi
su cjepanica na novovjekovnim brodolomima izuzetno rijet-
ki. Do sada su moda jedini nalazi tog tipa dokumentirani na
brodolomu engleskog broda Mary Rose (Dobs 2009:129).
Tragovi trgovakih aktivnosti
O trgovakim aktivnostima na brodu osim osmanske kera-
mike i stakla te kovanog novca, svjedoe i dva nalaza pred-
meta koji su se upotrebljavali u trgovini. Najzanimljiviji je
nalaz male olovne plombe (kat. br. 91) koja je jedini trag robe
zapadnog porijekla koju je brod prevozio na Levant. Olovne
plombe su se u vrijeme srednjeg i novog vijeka upotrebljava-
le kao oznake kvalitete i porijekla proizvoda. U veini slua-
jeva plombe koje su pronaene u arheolokim iskapanjima
povezuju se s proizvodima od tekstila (Terzer 2006: 112).
Olovna plomba s lokaliteta promjera 16-18 mm ima tragove
igova na obje strane. Na jednoj strani u igu krunog oblika
reljefno je otisnut kri jednakih stranica, a na drugoj se
raspoznaje znak u obliku jednostavne petlje (sl. 55). Iako ove
oznake za sada ne moemo povezati s odreenom vrstom
robe ili proizvoaem pretpostavljamo da je plomba oznaa-
vala tekstil. Pretpostavka se temelji na injenici da je tekstil
bio jedan od proizvoda koji se iz Venecije izvozio prema
odreditima na istoku. Iz sauvanih arhivskih spisa vene-
cijanskih notara u kojima se navodi teret brodova koji su
stradali na moru od 1592. do 1609. (Tenenti 1959) vidljivo je
da su svila, saten i damast esto bili dio tereta. U hrvatskom
su podmorju olovne plombe pronaene na dva lokaliteta,
dvije na olupini u Koloepskom kanalu kod Dubrovnika
(Kisi 1982: 157) i pet na olupini Gagliana grossa kod Gna-
lia (Terzer 2006: 112-114, fig.1-4). Drugi nalaz koji svjedoi
o trgovakim aktivnostima jest plitica vage (kat. br. 92), (sl.
56). Na maloj plitici promjera 6,2 cm vidljive su tri rupice
za vjeanje na mehanizam vage (Tabla 6,9). Plitica je bila
dio precizne vage koja se upotrebljavala za mjerenje teine
plemenitih metala, najvjerojatnije raznovrsnog srebrnog i
zlatnog novca koji je bio u upotrebi u trgovakoj razmjeni na
Mediteranu. Takve su vage esto bile dio brodskog inventara
112
of a simple fireplace above which the cauldron was hung.
The finds of logs are especially rare on late-Medieval ship-
wrecks. For now, perhaps the only finds of this kind were
documented on the English Mary Rose shipwreck (Dobs
2009:129).
Traces of trade activities
Trading activities on the ship are attested to by Ottoman
pottery, glass and currency, but also by two items used in
trade. The most interesting find is a small lead seal (cat. no.
91), the only trace of merchandise of western origin shipped
to the Levant. Lead seals were used in the Middle and Late
Middle Ages as marks of quality and to mark the products
origin. In most cases, the seals found on archaeological
excavations are associated with textile products. The lead
seal from the site is 16-18 mm in diameter, and has traces
of stamps on both sides. On one side, a relief cross with
identical hands inside a circular stamp was imprinted, and
a mark of a simple loop is visible on the other side (fig. 55).
Although these markings cannot be connected to a specific
commodity or a manufacturer at this time, we may assume
that the stamp was used on textile. This assumption is
based on the fact that textile was a commodity transported
from Venice to destinations in the East. From the preserved
archive records of Venetian clerks naming the cargo of the
ships which sunk between 1592 and 1609 (Tenenti 1959), it
is evident that silk, satin and damask were often a part of a
ships cargo. Lead seals were found on two sites in Croatian
waters, two on a shipwreck in the Koloep Canal near Du-
brovnik (Kisi 1982: 157), and five on the Gagliana grossa Tijekom est godina istraivanja na lokalitetu su pronaena
wreck near Gnali (Terzer 2006: 112-114, fig.1-4). The second
find proving trading activities is the pan of a balance scale
(cat. no. 92, fig. 56.). Three holes used for hanging the scale
mechanism are visible on the small, 6.2cm in diameter, pan
(Plate 6,9). It was a type of precise scale used for weighing
precious metals, probably silver and gold currency used in
trading on the Mediterranean. These scales were often parts
of the inventory on merchant ships, as attested to by finds
from the Mijoka shipwreck dated to the beginning of the
17th century (Zmai 2009: 439), and from the 16th century
Gagliana grossa shipwreck near Gnali (Filep et al. 2013:
161, fig.137-140).
Ship candlesticks
During the six years of research, only three partially pre-
served parts of candlesticks were recovered from the site.
The small number of finds implies that they were not
Sl. 55. Olovna plomba
Fig. 55. Lead seal
Sl. 56. Plitica vage
Fig. 56. Pan of a balance scale
trgovakih brodova o emu svjedoe nalazi s olupine broda s
poetka 17. stoljea na lokalitetu Mijoka (Zmai 2009: 439) i
nalazi s olupine Gagliana grossa iz 16.stoljea kod Gnalia number and position on the site allowed certain vessels to
(Filep et al. 2013: 161, fig.137-140).
Brodski svijenjaci
be differentiated into items of Ottoman (eastern) origin (cat.
samo tri djelomino sauvana dijela svijenjaka. Ovako mali
broj nalaza ukazuje da nisu predstavljali trgovaku robu
ve da su bili dio brodskog inventara. Svi su nalazi dijelovi
stolnih svijenjaka i najvjerojatnije su se upotrebljavali za
osvjetljavanje unutarnjih prostorija. Dva nalaza pripadaju
podnojima (kat. br. 93, 94) a jedan nozi svijenjaka (kat. br.
95). Na osnovi ovih nalaza mogue je rekonstruirati nain na
koji su se svijenjaci izraivali. Na mjedenoj se nozi, ukrae-
noj s pet profiliranih prstena i nizom tankih paralelnih vodo-
ravnih linija na vrhu sauvao komadi spojnog vijka (Tabla
6,6). Na manjem je podnoju (kat. br. 93) koje se sastoji od
dva zalemljena dijela vidljiv dodatno obraen otvor promje-
ra 1 cm. Ovi tragovi ukazuju da su osnovni konstruktivni
elementi svijenjaka meusobno spajani sistemom vijaka i
navoja. Iako na nalazima nema oznaka proizvoaa uspored-
bom s nalazima na brodolomu kod Gnalia (Filep et al. 2013:
49, fig.10) moemo pretpostaviti da i mljetski svijenjaci po-
tjeu iz njemakih proizvodnih centara (Petricioli 1970b: 33).
shipped as a trading commodity, but were parts of the ships
inventory. All finds belonged to table candlesticks, and
were probably used to light the interior of the ship. Two
finds were parts of bases (cat. no. 93, 94), and one was the
middle part of a candlestick (cat. no. 95). Based on these
finds it is possible to reconstruct the way the candlesticks
were made. A brass foot, decorated with five profiled rings
and a series of thin parallel horizontal lines, has part of the
connecting bolt preserved (Plate 6,6). The smaller base (cat.
no.93,), made out of two soldered parts, had an additionally
processed hole 1 cm in diameter. These traces imply that
the basic constructive elements of the candlestick were
joined together by a system of bolts and threads. Although
there are no markings of the manufacturer, based on the
comparison with the shipwreck at Gnali (Filep et al. 2013:
49, fig.10), we can assume that the candlesticks from Mljet
originated from German production centres (Petricioli
1970b: 33).
4. Other pottery finds
The shipwreck located on the Sveti Pavao site
yielded numerous finds, many of which are pottery frag-
ments. Even though their stay within the salty environment
resulted in various degrees of damage to their surface, their
be reconstructed. The reconstructed items are simple in
shape and most of them were not elaborately decorated.
According to the place of their production, the vessels can
no. 104, 115-121), and items which originate from western
workshops (mostly Venetian workshops or workshops of
northern Italy; cat. no. 96-103, 105-114, 122). (Miholjek, 2008: 11)
The Ottoman finds are represented by jugs with
two handles, with an elongated cylindrical neck, an out-
ward-facing rim and an oval body ending in a flat base (its
shape resembling the shape of an amphora; cat. no. 115-119).
These types of vessels are dated to the first half of the 16th
century. (Hayes, 1992: 292, no. J3, fig. 126). The other type
of jugs is represented by a jug with one handle and a narrow
spout (ibrik type), with visible remains of green glaze on the
inside of the vessel, and on the upper part of its body. These
jugs represent a characteristic Ottoman product of the 16th
century. (Hayes, 1992: 292, fig. 106; Biki, 2003: 47) An inter-
esting find worth mentioning is a small ceramic recipient
with a pedicle on a platter (cat. no. 104), probably of eastern
origin. Examples similar to this one were produced under
the influence of Chinese porcelain, and are characterized
113
4. Ostali keramiki nalazi
Na lokalitetu Sveti Pavao otkriven je velik broj nala-
za od kojih najvei broj predstavlja ulomke keramikih po-
suda. Iako je boravak u slanom okruenju rezultirao raznim
stupnjevima oteenja povrine ulomaka, njihova brojnost i
poloaj na nalazitu omoguili su rekonstruiranje pojedinih
posuda. Rekonstruirani su predmeti jednostavnih oblika i
veinom nisu bogato ukraeni, a prema mjestu proizvodnje
mogue je razlikovati predmete osmanskog porijekla (kat.
br. 104, 115-121) i predmete iz zapadnih radionica (uglavnom
venetskih, ili radionica sjeverne Italije; kat. br. 96-103, 105-
114, 122) (Miholjek 2008: 11).
Osmanski materijal pratimo preko vreva s dvjema
rukama, izduenog cilindrinog vrata s rubom izvijenim
prema van i ovalnim tijelom koje zavrava ravnim dnom
(izgledom podsjeaju na amforu; kat. br. 115-119). Ovakvi su
tipovi posuda datirani u prvu polovicu 16. stoljea (Hayes
1992: 292, no. J3, fig. 126). Drugi tip vreva predstavlja vr
s jednom rukom i suenim izljevom (tip ibrik), s vidljivim
ostacima zelene glazure u unutranjosti i na gornjem dijelu
tijela vra (kat. br. 120). Ovakvi vrevi predstavljaju karakte-
ristian osmanski proizvod 16. stoljea (Hayes 1992: 292, fig.
106; Biki 2003: 47). Zanimljiv nalaz koji valja istaknuti jest
maleni recipijent sa stapkom na irokom tanjuriu (kat. br.
104), a vjerojatno je istonog porijekla. Ovakvi su primjeri
nastali pod utjecajem kineskog porculana, a karakteristini
su po svijetlozelenoj glazuri koja je u ovom sluaju oteena
dugotrajnim izlaganjem moru.
Materijal iz zapadnih radionica mogue je pratiti
preko zdjelica, zdjela, tanjura i vreva, a na njima je vidljiva
tehnika engobiranja i glaziranja. Primarna je svrha tehnike
glaziranja zatita povrine posude, to je vidljivo iz glazure
koja vrlo rijetko prekriva cjelokupnu vanjsku stijenku posu-
de. Materijal je mogue razlikovati prema obliku, dimenziji i
boji. Najee su zastupljene kalotaste zdjelice jednostavne
profilacije i zdjele koninog i kalotastog oblika, no zastuplje-
ni su i tanjuri glazirani smeom ili zelenom glazurom, a
rijetko su ukraeni sgraffito tehnikom (kat. br. 102). Pojedi-
ne su posude, zdjelice, ukraene plavim motivom (kat. br.
106, 114) dobivenim kapanjem pigmenta na engobu (ukras a
macculazione) a na istima su takoer vidljivi ostaci trokrakih
podloaka koritenih prilikom peenja kako se predmeti ne
bi slijepili jedan za drugi (Gusar 2007: 178, 187, 191). Prona-
en je i vr (utura) s jednom plosnatom stranom trbuha,
identian vru pronaenom na brodolomu kod ipana (kat. such flower decorations are positioned on opposite sides
br. 122) (Kisi 1979: 99, sl. 26). Naalost, posude su cilindri-
114
by a light green glaze (which is, in this case, damaged due to
the long term exposure to seawater).
Pottery from the western workshops is represented
by small bowls, bowls, plates and jugs, which display the
technique of applying clay slip and the glazing technique.
Glazing is primarily used to protect the surface of the
vessel, which is obvious by the glaze which rarely extends
the complete outer surface of the vessel. The items can be
differentiated by shape, dimensions and colour: hemispher-
ical small bowls with a simple profile and hemispherical
or conical bowls are the most common find, but we also
find plates coated with a brown or green glaze, and a few
of them are decorated using the sgraffito technique (kat.
br. 102). Certain vessels (small bowls) are decorated with a
blue motif (cat. no. 106, 114), applied by spilling the pigment
onto the surface of the vessel (decoration a macculazione).
These vessels also bear marks of tripods, used to divide the
vessels during the burning process, to prevent the vesels
from sticking togeather. (Gusar, 2007, 178, 187, 191) A jug
(canteen), identical to the jug found on the shipwreck near
ipan, with a flattened part of the body was also found, (kat.
br. 122). (Kisi, 1979: 99, sl. 26) Unfortunately, the cyllindri-
cal vessels (albarelo, 15th - 16th century) used for conserving
food were found in fragments that could not be used to
reconstruct a complete vessel.
A vessel which stands out among the other ceramic
material with its dimensions, decoration and motif is a bowl
with a central motif which depicts a man playing a lute,
attributed to the Renaissance engraved pottery typical of
the last quarter of the 15th century (cat. no. 96). The pottery
of this period often depicts human or animal forms, and in-
troduces new techniques of decoration and ornamentation,
as well as new pottery forms. These vessels, amatoria (lat.
amatorius: of a lover, in love), were given at engagements or
weddings. They are decorated with motifs hinting love and
virtue, and have a complex depiction at the centre of the
vessel which is usually turned to the left. The rim is decorat-
ed with a ribbon with incised motif of crosses. The central
motif depicts a man playing a lute in a garden with an inter-
twining fence and two trees in the background. The garden
and the fence represent a symbol of love and pleasure. Two
trees represent a follow-up motif of the garden, and it was
customary to depict one of the trees abundant with leaves,
and the other one parched, as symbols of youth and old age,
of life and death. The flowers symbolize happiness, and two
of the vessel, and a third one in the middle of the central
nog tijela (albarelo, 15. - 16. st.), koje su sluile za uvanje
namirnica, pronaene u ulomcima koji nisu omoguili pot-
punu rekonstrukciju.
Posuda koja se svojom dimenzijom, dekoracijom i
motivima istie od navedenog keramikog materijala, zdjela
ukraena urezanim motivom sviraa na lutnji, pripada rene-
sansnoj graviranoj keramici karakteristinoj za posljednju
etvrtinu 15. stoljea (kat. br. 96). U navedenom su periodu
na keramici ee prikazivani ljudski ili ivotinjski prikazi, a
javljaju se i nove tehnike dekoracije, ukrasa i oblika. Ova-
kve su se posude tzv. amatorie (lat. amatorius: ljubavniki,
zaljubljen) poklanjale prilikom zaruka ili svadbe. Ukraene
su motivima koji aludiraju na ljubav i vrline, sa sloenim pri-
kazom na sredini posude koji je u pravilu okrenut na lijevu
stranu. Rub je zdjele ukraen trakom s urezanim krinim
motivom. Centralni motiv prikazuje sviraa lutnje u vrtu
s isprepletenom ogradom i dva stabla u drugom planu. Vrt
i ograda predstavljaju simbol ljubavi i uitka. Motiv dvaju
stabala pratei je element vrta, a uobiajeno su prikazana
dva stabla, prvo stablo bogato liem i drugo osueno, kao
simboli mladosti i starosti ili ivota i smrti. Prikaz cvijea
simbolizira sreu, a dva su takva cvjetna motiva postavljena
na oprenim stranama posude dok se trei nalazi u sredini
centralnog motiva. Dojmu dubine pridonosi zeleno oslikana
pozadina s tokatim ukrasom (Bradara 2006: 25). S obzirom
na dataciju ovakvih primjera, ova zdjela predstavlja jedan
od najstarijih keramikih nalaza na brodolomu kod pliine
Sveti Pavao.
Razlike u oblicima posuda, slabija kvaliteta izrade i
ukraavanja podupiru pretpostavku prema kojoj je navede-
no posue pripadalo posadi broda. Vjerojatno je koriteno
u brodskoj kuhinji i nije sluilo za daljnju distribuciju tj.
trgovinu. Sl. 57. Ulomak amatorie prije vaenja
Fig. 57 Fragment of the amatoria vessel before raising to the surface
Sl. 58. Posuda in situ, prije vaenja
Fig. 58 Vessel in situ, before extraction
motif. The painted green surface with dotted decorations
contributes to the appearance of depth on the depiction.
(Bradara, 2006, 25) The bowl represents one of the oldest
pottery finds from Sveti Pavao shipwreck.
Differences in vessel shapes, the lower quality of
production and decoration support the assumption which
states that the aforementioned vessels belonged to the
ships crew. It was probably used in the galley and was not
meant for further distribution, i.e. trade.
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
velik broj cjelovitih i fragmentiranih keramikih predmeta.
Predmeti su pripadali razliitim tipovima keramikoga
posua. Velik je broj posua pripadao talijanskoj engobiranoj
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
keramikih and restoration
turske keramike (urkovi, 2014: 159). Konzerviranje
je i restauriranje velikoga broja keramikih posuda
visoke zanatske kvalitete bio vrlo opsean i zahtjevan
proces. Radovi su vreni u vie faza od desaliniziranja i
nalaza s of the pottery preliminarnih istraivanja do toniranja rekonstruiranih
dijelova.
Nalazi su odmah po vaenju iz mora upueni na
brodoloma finds from the
desalinizaciju koja se provodila periodinim izmjenama
vode u posebnim kadama uz redovita mjerenja
koncentracije klorida prilikom svake izmjene vode.
Desalinizacija je zavrila kada su postignute minimalne
Sveti Pavao Sveti Pavao
konstantne vrijednosti. Predmeti su tada izvaeni da se
osue (urkovi, 2014: 158-159, Cronyn, 2005: 157).
Razliito zateeno stanje predmeta posljedica
je razlike u kvaliteti keramikoga materijala i glazure te
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
shipwreck
ali i usitnjeni predmeti na kojima u potpunosti nedostaje
maa Vukovi Biru glazura. Oteenja su uzrokovana djelovanjem mora,
morskih organizama te spojevima nastalima zbog korozije
eljeza. Produkti su korozije eljeza prodrli duboko u
oteenu glazuru i poroznu strukturu keramike ostavljajui
maa Vukovi Biru crvene naslage ili bojei povrinu u crno (Cronyn, 2005: 180-
181) te izazvali najveu tetu od svih reaktanata (urkovi,
2014: 159).
Predmeti su nakon desalinizacije, preliminarnih
istraivanja i razvrstavanja ulomaka fotografirani i
dokumentirani. Nakon toga se zapoelo njihovim ienjem.
Kalcifikacije s predmeta su uklonjene mehaniki, skalpelom
te ultrazvunim dlijetom (Buys, Oakley, 2007: 91). Zbog
bojazni od djelovanja na glazuru i slabu strukturu keramike
izbjegavala se upotreba kiselina (Buys, Oakley, 2007: 89-
90, 98). Za uklanjanje naslaga eljeznih soli upotrebljavao
se vodikov peroksid jaine od 15 do 20 % (Cronyn, 2005:
148; Hamilton, 1999: 15; Buys, Oakley, 2007: 98). Naalost
ni tom metodom nije bilo mogue ukloniti sve naslage.
Predmeti su nakon ienja dobro isprani pod tekuom
i demineraliziranom vodom kako bi se uklonili ostatci
kemijskih sredstava.
122
A large number of pottery finds was sent to conservation,
entire vessels, as well as fragments.
The finds were distributed into different groups of ceramic
vessels; a large number belonged to Italian underglazed
coated pottery, Ottoman underglazed coated pottery,
Ottoman coarse pottery, but also to fine glazed pottery
produced in the famous production centre of the finest
Ottoman ceramics Iznik (urkovi, 2014: 159). The
conservation of these high quality vessels was an extensive
and demanding process, and it was done in phases, from
desalinization and preliminary research, to the toning of
reconstructed parts.
Immediately after their recovery from the sea, the
finds were sent for desalinization during which the water in
the tanks was periodically changed with regular measuring
of chloride concentration after every changing. After the
minimal constant values were reached the desalinization
was completed and the artefacts were then extracted for
drying (urkovi, 2014: 158-159, Cronyn, 2005: 157).
The artefacts were in different conditions depended
on the quality of the ceramic body and glaze, and the
microenvironment they were in at the site for centuries.
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
was caused by the processes in the sea, sea organisms and
the compounds produced by degradation of metal objects.
The products of corrosion pierced deep into the damaged
glaze and the porous structure of the pottery, leaving
red sedimentary deposits and painting the surface black
(Cronyn, 2005: 180-181), as well as causing the greatest
damage (urkovi, 2014: 159).
After desalinization and the sorting of the artefacts,
each was photographed and documented, followed by the
process of cleaning. The calcification was mechanically
removed from the artefacts using a scalpel and an ultrasonic
needle (Buys, Oakley, 2007: 91). Due to the fear of affecting
the glaze and the weak structure of the pottery, the use
of acids was avoided (Buys, Oakley, 2007: 89-90, 98). The
removal of the layers of metal salts was conducted by a
15-20% hydrogen peroxide solution (Cronyn, 2005: 148;
Hamilton, 1999: 15; Buys, Oakley, 2007: 98). Unfortunately,
not even that method enabled the complete removal of all
sedimentary deposits, because they had already penetrated
deep into the porous structure of the pottery. After they
were cleaned, the artefacts were washed under both
running and demineralised water to remove any chemical
residue.
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. 61. Nanoenje gipsa
Fig. 61. Application of plaster
Veina je predmeta konsolidirana to zbog
osjetljivosti keramikog materijala to zbog ostataka glazure
koja bi se mogla oljutiti. Predmeti koji su bili vrlo osjetljive
keramike strukture jo su prilikom ienja konsolidirani
umakanjem u 5 % otopinu akrilne disperzije (K9, Kremer)
ne bi li keramiko tijelo upilo konsolidant i ovrsnulo te
se time sprijeilo daljnje osipanje materijala. Predmeti
jae strukture keramikog materijala premazivani su 2,5 %
otopinom akriloidnoga konsolidanta otopljenoga u acetonu
(Paraloid B72, C.T.S) (Cronyn, 2005: 152; Buys, Oakley, 2007:
100-105).
Nakon konsolidiranja strukture i povrine
keramikog materijala i glazure moglo se pristupiti
lijepljenju ulomaka. Pravilno je lijepljenje mogue samo
ako su bridovi loma potpuno isti od ostataka neistoa
i kalcifikata (Cronyn, 2005: 152-154). Ulomci su se spajali
na lomovima to je blie i tonije mogue kako bi se
izbjegle kasnije deformacije oblika posude. Na nekim su
ulomcima rubovi bili prilino uniteni pa su i spojevi esto
bili neujednaeni. Za lijepljenje ulomaka se upotrebljavalo
sintetiko ljepilo Mecosan L-TR (URL1) koje je posebno
namijenjeno lijepljenju arheoloke keramike.
Na keramikim predmetima koji su bili potpuniji
dijelovi koji nedostaju rekonstruirani su jednostavnim
124
Most of the artefacts were consolidated because of the
sensitivity of ceramic material or the remains of the glaze
that could peel off. The artefacts which displayed greater
ceramic structure sensitivity during the cleaning were
consolidated by submergence in a 5% acrylic dispersion
solution (K9, Kremer) so that the ceramic body would
absorb the consolidant in order to solidify and prevent
further material dispersal. The artefacts with stronger
ceramic structure were coated with a 2.5% acryloid
consolidant solution dissolved in acetone (Paraloid B72,
C.T.S) (Cronyn, 2005: 152; Buys, Oakley, 2007: 100-105).
After the structure and surface of ceramic material and
glaze were consolidated, the gluing of the fragments began.
Proper gluing is only possible if the edges of the fracture are
completely clean from dirt and calcification sedimentary
deposits (Cronyn, 2005: 152-154). The fragments were
combined at the points where they broke, as precisely
as possible to avoid potential vessel deformations. Some
of the shards had significantly damaged edges, and the
pottery was dispersing so the joins were often uneven. The
fragments were merged with a synthetic adhesive, Mecosan
L-TR (URL1), developed especially for gluing archaeological
pottery finds.
Sl. 62. Bojanje podloge Sl. 63. Oslikavanje
Fig. 62. Painting of the vessels surface Fig. 63. Painting
uzimanjem otiska forme u plastelinu koji je predstavljao On better preserved artefacts, the missing pieces were
podlogu za nanoenje gipsa. Predmeti kojima je nedostajala reconstructed by means of simple imprint transfer on
veina ulomaka rekonstruirani su izradom kalupa na plasticine, which represented the base for the application of
lonarskom kolu. Prije nanoenja gipsa povrina je plaster. The artefacts which were missing most parts were
keramikih predmeta bila zatiena lateks mlijekom kako reconstructed by constructing a mould used on a potters
gips ne bi uao u pore keramike i zaprljao povrinu. Gips se wheel. Before the plaster, the surface of the ceramic objects
u to veoj mjeri obraivalo metalnim alatkama u mokrom was protected with latex milk, in order to prevent the
stanju. Nakon suenja ureivalo ga se posebno oblikovanim plaster from entering the pores of the ceramic vessels and
turpijicama i brusnim papirom i to uglavnom obodi i noice staining the surface. The plaster was intensively processed
zdjela i tanjura koji se nisu mogli u potpunosti oblikovati with metal tools while wet. After drying it was processed
na vlanom gipsu. Spoj je gipsanog dijela i keramikog with especially formed small rasps and sandpaper, mostly
tijela nakon suenja gipsa ojaan nanoenjem akrilne on rims and small feet of vessels which could not be fully
disperzije u rubove spojeva. Izgubljene su ruke vreva moulded on wet plaster. The junction of the plaster parts
rekonstruirane prema analognim nalazima u literaturi tako and the ceramic body was strengthened after drying
da su modelirane na posudi u plastelinu. Nakon toga je by applying an acrylic dispersion into the junction. The
nainjen gipsani kalup, a zatim odlivena ruka koja idealno missing handles were reconstructed according to analogies
nalijee na postojee lomove. U pojedinim je sluajevima from studies. First, they were modelled out of plasticine
zbog male kontaktne povrine gipsa i originala, a time i vee on the vessel itself, after which a plaster mould was made,
mogunosti odvajanja ruke, spoj ojaan osovinom od mjedi which enabled the casting of a handle that perfectly
promjera i debljine 1 mm. matched the fractures. In specific cases, due to the small
Nakon rekonstrukcije dijelova koji nedostaju contact surface of the cast and the original, and with
slijedila je rekonstrukcija lijepe i zahtjevne dekoracije. Gips the possible detachment of the handle, the junction was
je bojan akrilnim bojama. Za svaki se predmet posebno strengthened by a brass axis 1mm in diameter and 1mm
mijeala temeljna boja za nijansu svjetlija od osnovne thick.
125

Sl. 64. Poklopac prije ujednaavanja nijansi
Fig. 64. A lid before the matching of nuances
boje keramikoga tijela. Prije oslikavanja savjetovalo se s
dostupnom literaturom te se pomno prouavala dekoracija
kako bi se to bolje utvrdio nain poteza i nijansa boje
oslikanoga predmeta. Slikani su motivi rekonstruirani samo
ako je bilo mogue pouzdano utvrditi njihov izgled, i to zbog
vizualno-estetskog dojma kod integracije rekonstruiranih
povrina s originalnima (Buys, Oakley, 2007: 144). Ukrasni
su motivi slikani pratei originalnu dekoraciju na predmetu
tako da budu to preciznije usklaeni s izvornim bojama
i potezima. Razliitost u nijansama podloge i dekoracije
usklaena je sjenanjem kistom i prskanjem vrlo
razrijeenom bojom. Boja i oslikavanje su nakon suenja
zatieni premazom 2% otopinom Paraloida B72.
Prilikom svih navedenih radova potivale su se
suvremene teorije konzervacije koje odreuju visoka etika
naela, zahtijevaju potovanje istinske prirode predmeta,
minimalnu intervenciju i to veu reverzibilnost (Caple
2000; Muoz Vias 2005).
Keramike predmete s brodoloma Sveti Pavao
Mljet konzervirali su i restaurirali djelatnici Odjela
za restauriranje arheolokih nalaza i biveg Odjela za
restauriranje podvodnih arheolokih nalaza Hrvatskoga
restauratorskog zavoda, Maa Vukovi Biru, Mihael Golubi
i Martina urkovi.
126
Sl. 66. Vr prije i nakon
restauracije
Fig. 66. Jug before and after
restoration
Sl. 67. Zdjela na nozi prije
Sl. 65. Poklopac poslije ujednaavanja nijansi i nakon restauracije
Fig. 65. A lid after the matching of nuances Fig. 67. Vessel before
and after restoration
After the reconstruction of the missing parts was complete, minimal intervention and the possibility of reversing the
the reconstruction of the beautiful and demanding applied processes (Caple 2000; Muoz Vias 2005).
decoration began. The plaster was painted using acrylic The conservation and restoration of the pottery from the
paint. The colour for the surface of every artefact was Sveti Pavao- Mljet shipwreck was done by the employees
mixed a shade lighter than the one on the ceramic of the Department for Conservation of Archaeological
body. Before painting, available papers and studies were Finds, and the former Department for Conservation
consulted, and the decorations were studied in detail in of Underwater Archaeological Finds of the Croatian
order to precisely determine the types brush strokes and Conservation Institute, Maa Vukovi Biru, Mihael
the shades of colours on specific finds. The painted motifs Golubi, and Martina urkovi.
were reconstructed only in those cases where it was
possible to determine their features, in order for the visual
and aesthetic impressions to match the original surface
(Buys, Oakley 2007:144). The decoration was applied to
the surface by following original decorations found on the
artefact with great precision and matching the original
colours of the decoration and brush strokes. The differences
in shades, as well as the nuances of the painted decoration
were matched by spraying diluted paint. The paint and the
decoration were protected by a layer of 2% Paraloid B72
solution.
During the processing of the material, all modern
theories of conservation that are prescribed by high ethical
standards were followed, because conservation should be
done with respect towards the true nature of the item, with
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
buketom u stilu Majstora
zumbula
Turska, Iznik, 1555.-1560.
Kvarcna keramika,oslikana
kobaltno plavom, maslinasto
zelenom i mangansko
ljubiastom bojom sa
zelenkasto crnim obrisima na
bijeloj podlozi ispod prozirne
glazure
Visina: 6.5 cm;
promjer: 35.2 cm
Inv. br. Hrz 62/08
Dish decorated with a floral
bouquet in the Master of the
Hyacinths style
Turkey, Iznik, 1555-1560
Fritware, underglaze painting
in cobalt blue, olive green
and manganese purple with
outlines in greenish black, over
a white siliceous slip coating
Height: 6.5 cm;
diameter: 35.2 cm
Inv. no. Hrz 62/08
136
Zdjela oslikana cvjetnim
buketom u stilu Kara Memija
Turska, Iznik, 1560.-1565.
Kvarcna keramika, oslikana u
svijetloplavoj, zelenoj i reljefno
crvenoj s obrisima izvedenim
u crnoj boji na bijeloj podlozi
ispod prozirne glazure
Visina: 7.6 cm; promjer: 35 cm
Inv. br. Hrz 61/08
Dish decorated with a floral
bouquet in the style of Kara
Memi
Turkey, Iznik,circa 1560-1565
Fritware, underglaze painting
in pale blue, green and relief
red with outlines in black, over
a white siliceous slip coating
Height: 7.6 cm;
diameter: 35 cm
Inv. no. Hrz 61/08
137
 9 10
Zdjela oslikana simetrinom Tanjur oslikan simetrinom
cvijetnom kompozicijomu cvijetnom kompozicijomu
stilu Kara Memija stilu Kara Memija
Turska, Iznik, 1570.-1575. Turska, Iznik, 1560.-1575.
Kvarcna keramika, oslikana Kvarcna keramika, oslikana
u kobaltno plavoj smaragdno u kobaltno plavoj maslinasto
zelenoj i reljefno crvenoj s zelenoj i reljefno crvenoj s
obrisima izvedenim u crnoj obrisima izvedenim u crnoj
boji na bijeloj podlozi ispod boji na bijeloj podlozi ispod
prozirne glazure prozirne glazure
Visina: 4.6 cm; Visina: 3.2 cm;
promjer: 28 cm promjer: 20.4 cm
Inv. br. Hrz 42/11 Inv. br. Hrz 244/10
Flat dish decorated with a
symmetrical floral
composition in the style of
Kara Memi
Turkey, Iznik, 1560-1575
Fritware, underglaze painting
in cobalt blue, olive green
and relief red with outlines in
black, over a white siliceous
slip coating
Height: 3.2 cm;
diameter: 20.4 cm
Inv. no. Hrz 244/10
11
Tanjur oslikan u apstraktnoj Flat dishdecorated with
kompoziciji s intamani abstract compositions with
motivom the intamani motif
Turska, Iznik, 1580.-1585. Turkey, Iznik, 1580-1585
Kvarcna keramika, oslikana Fritware, underglaze
u kobaltno plavoj, zelenoj i paintingin cobalt blue, green
reljefno crvenoj s obrisima and relief red with outlines in
izvedenim u crnoj boji na black,over a white siliceous
bijeloj podlozi ispod prozirne slip coating
glazure Height: 2.9 cm;
Visina: 2.9 cm; diameter: 19.5 cm
promjer: 19.5cm Inv. no. Hrz 34/11
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.
Kvarcna keramika, oslikana
u kobaltno plavoj, maslinasto
zelenoj i reljefno crvenoj s
obrisima izvedenim u crnoj
boji na bijeloj podlozi ispod
prozirne glazure
Visina: 29 cm;
promjer tijela: 19 cm
Inv. br. Hrz 40/07
Turska, Iznik, 1580.-1585.
Kvarcna keramika, oslikana
u svijetlo plavoj, zelenoj i
reljefno crvenoj s obrisima
izvedenim u crnoj boji na
bijeloj podlozi ispod prozirne
glazure
Visina: 20 cm;
promjer tijela: 15 cm
Inv. br. Hrz 200/10
Turkey, Iznik, 1580-1585
Fritware, underglaze painting
in light blue, green and relief
red with outlines in black, over
a white siliceous slip coating
Height: 20 cm;
diameter of body: 15 cm
Inv. no. Hrz 200/10
Turska, Iznik, 1580-1585
Kvarcna keramika, oslikana
u svijetlo plavoj, zelenoj i
reljefno crvenoj s obrisima
izvedenim u crnoj boji na
bijeloj podlozi ispod prozirne
glazure
Visina: 20 cm;
promjer tijela: 14.2 cm
Inv. br. Hrz 99/09
Turkey, Iznik, 1580.-1585.
Fritware, underglaze painting
in light blue, green and relief
red with outlines in black, over
a white siliceous slip coating
Height: 20 cm;
diameter of body: 14.2 cm
Inv. no. 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
Vr oslikan kombinacijom
peleng motiva i rozeta u
apstraktnom viebojnom stilu
Turska, Iznik, 1580.-1585.
Kvarcna keramika, oslikana u
svijetlo plavoj, zelenoj i reljefno
crvenoj s obrisima izvedenim u
crnoj boji na bijeloj podlozi
ispod prozirne glazure
Visina: - cm;
promjer tijela: 13 cm
Inv. br. Hrz 75/08
142
Jug decorated with a
combination of peleng motifs
and rosettes in the abstract
polychrome style
Turkey, Iznik, 1580-1585
Fritware, underglaze painting
in light blue, green and relief
red with outlines in black, over
a white siliceous slip coating
Height: - cm;
diameter of body: 13cm
Inv. no. Hrz 75/08
16
Viebojni vr
Turska, Iznik, 1580.-1590.
Kvarcna keramika, oslikana
u kobaltno plavoj, zelenoj i
reljefno crvenoj s obrisima
izvedenim u crnoj boji na
bijeloj podlozi ispod prozirne
glazure
Visina: 25.5 cm;
promjer tijela: 16.3 cm
Inv. br. Hrz 15/11
Polychrome jug
Turkey, Iznik, 1580-1590
Fritware, underglaze painting
in blue, green and relief red
with outlines in black,over a
white siliceous slip coating
Height: 25.5 cm;
diameter of body: 16.3 cm
Inv. no. Hrz 15/11
17
Konini poklopac vra Cone shape lid of a jug
Turska, Iznik, 1560.-1585.
Kvarcna keramika, oslikana
kobaltno plavom bojom s
crnim obrisima na bijeloj
podlozi ispod prozirne glazure
Visina: 3.8 cm;
promjer: 7.8 cm
Inv. br. Hrz 128/09
18
Konini poklopac vra Cone shape lid of a jug
Turkey, Iznik, 1560-1585 Turska, Iznik, 1560.-1585.
Fritware, underglaze painting Kvarcna keramika, oslikana
in cobalt blue with outlines in svijetlo plavom bojom s crnim
black, over a white siliceous obrisima na bijeloj podlozi
slip coating ispod prozirne glazure
Height: 3.8 cm; Visina: 4 cm; promjer: 7.9 cm
diameter: 7.8 cm Inv. br. Hrz 129/09
Inv. no. Hrz 128/09
Turkey, Iznik, 1560-1585
Fritware, underglaze painting
in pale blue with outlines in
black, over a white siliceous
slip coating
Height: 4 cm;
diameter: 7.9 cm
Inv. no. Hrz 129/09
143
19
Zaobljeni poklopac vra
Turska, Iznik, 1560.-1585.
Kvarcna keramika, oslikana
u kobaltno plavoj, tirkiznoj i
crnoj boji na bijeloj podlozi
ispod prozirne glazure
Visina: 4.1 cm;
promjer: 8.6 cm
Inv. br. Hrz 134/09
144
Dome shaped lid of a jug
Turkey, Iznik, 1560-1585
Fritware, underglaze painting
in cobalt blue, turquoise and
black, over a white siliceous
slip coating
Height: 4.1 cm;
diameter: 8.6 cm
Inv. no. Hrz 134/09
20
Konini poklopac vra
Turska, Iznik, 1560.-1585.
Kvarcna keramika, oslikana u
kobaltno plavoj, zelenoj i crnoj
boji na bijeloj podlozi ispod
prozirne glazure
Visina: 3.5 cm;
promjer: 8.6 cm
Inv. br. Hrz 206/10
Cone shape lid of the jug
Turkey, Iznik, 1560-1585
Fritware, underglaze painting
in cobalt blue, green and black
over a white siliceous slip
coating
Height: 3.5 cm;
diameter: 8.6 cm
Inv. no. Hrz 206/10
21
Zaobljeni poklopac vra
Turska, Iznik, 1560.-1585.
Kvarcna keramika, oslikana
u kobaltno plavoj, tirkiznoj i
crnoj boji na bijeloj podlozi
ispod prozirne glazure
Visina: 4 cm; promjer: 8.4 cm
Inv. br. Hrz 211/10
Dome shaped lid of a jug
Turkey, Iznik, 1560-1585
Fritware, underglaze painting
in cobalt blue ,turquoise and
black over a white siliceous slip
coating
Height: 4 cm;
diameter: 8.4 cm
Inv. no. Hrz 211/10
22
Konini poklopac vra Cone shape lid of a jug
Turska, Iznik, 1560.-1585. Turkey, Iznik, 1560-1585
Kvarcna keramika, oslikana Fritware, underglaze painting
u kobaltno plavoj, tirkiznoj i in cobalt blue, turquoise and
crnoj boji na bijeloj podlozi black over a white siliceous slip
ispod prozirne glazure coating
Visina: 3.2 cm; Height: 3.2 cm;
promjer: 7.7 cm diameter: 7.7 cm
Inv. br. Hrz 235/10 Inv. no. Hrz 235/10
145
23
Zdjela ukraena motivom
vinovog trsa i grozdova,
utjecaj kineskog porculana
Turska, Iznik, 1560.-1600.
Kvarcna keramika
oslikana kobaltnoplavom i
smaragdnozelenom bojom, s
obrisima u crnoj boji, na bijeloj
podlozi ispod prozirne glazure
Visina: 5.5 cm;
promjer: 33.8 cm
Inv. br. Hrz 97/08
146
Dish with the bunches of
grapes motif inspired by cvijeta lotosa u kasnom
Chinese porcelain designs
Turkey, Iznik, 1560-1600
Fritware, underglaze
painting in cobalt blue and
emerald green with otlines in
black,over a white siliceous
slip coating
Height: 5.5 cm;
diameter: 33.8 cm
Inv. no. Hrz 97/08
24 25 26
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
lotus flower motif in the kasnom plavo bijelom stilu the late blue and white style cvjetnim prepletom u aflower scroll in the late
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, 1575.-1580. Turkey, Iznik, 1575-1580 Kvarcna keramika oslikana Fritware, underglaze painting Turska, Iznik, 1570-1585 Turkey, Iznik, 1570-1585
Kvarcna keramika oslikana Fritware, underglaze painting kobaltnoplavom bojom na in cobalt blue over a white Kvarcna keramika oslikana Fritware, underglaze painting
kobaltnoplavom bojom na in cobalt blue over a white bijeloj podlozi ispod siliceous slip coating kobaltnoplavom bojom na in cobalt blue over a white
bijeloj podlozi ispod siliceous slip coating prozirne glazure Height: 6.7 cm; bijeloj podlozi ispod siliceous slip coating
prozirne glazure Height: 6.9 cm cm; Visina: 6.7 cm; diameter: 18.5 cm prozirne glazure Height: 5.7 cm;
Visina: 6.9 cm; diameter: 35 cm promjer: 18.5 cm Inv. no. Hrz 23/07 Visina: 5.7 cm; diameter: 18.6 cm
promjer: 35 cm Inv. no. Hrz 13/11d Inv. br. Hrz 23/07 promjer: 18.6 cm Inv. no. Hrz 262/10
Inv. br. Hrz 13/11d Inv. br. Hrz 262/10
147
 27 28
Zdjela na nozi s bourima i Zdjela na nozi oslikana u
motivom klasa penice plavo-bijelom stilu klasa
penice
Turska, Iznik, 1570.-1585.
Kvarcna keramika oslikana Turska, Iznik, 1570.-1585.
kobaltnoplavom bojom na Kvarcna keramika oslikana
bijeloj podlozi ispod kobaltnoplavom bojom na
prozirne glazure bijeloj podlozi ispod
Visina: 9 cm; promjer: 28 cm prozirne glazure
Inv. br. 39/07 Visina: 5.6 cm;
promjer: 17.8 cm
Inv. br. Hrz 04/11
Dish on a foot decorated
in the blue and white
wheatsheaf style
Turkey, Iznik, 1570-1585
Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 5.6 cm;
diameter: 17.8 cm
Inv. no. Hrz 04/11
29
Zdjela na nozi oslikana u Dish on a foot decorated
plavo-bijelom stilu klasa in the blue and white
penice wheatsheaf style
Turska, Iznik, 1570.-1585. Turkey, Iznik, 1570-1585
Kvarcna keramika oslikana Fritware, underglaze painting
kobaltnoplavom bojom na in cobalt blue over a white
bijeloj podlozi ispod siliceous slip coating
prozirne glazure Height: 5.6 cm;
Visina: 5.6 cm; diameter: 17.8 cm
promjer: 17.8 cm Inv. no. Hrz 06/11
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
Zdjela oslikana u plavo-
bijelom stilu klasa penice
Turska, Iznik, 1580.-1585.
Kvarcna keramika oslikana
sivoplavom bojom na bijeloj
podlozi ispod prozirne glazure
Visina: 3.7 cm;
promjer: 17.7 cm
Inv. br. Hrz 52/08
152
Dish decorated in the blue
and white wheatsheaf style prepletom u kasnom plavo
Turkey, Iznik, 1580-1585
Fritware, underglaze painting
in greyish blue over a white
siliceous slip coating
Height: 3.7 cm;
diameter: 17.7 cm
Inv. no. Hrz 52/08
34 35 36
Zdjela ukraena cvjetnim Dish decorated with a Zdjela ukraena u stilu Dish decorated in the Poklopac duboke zdjele Lid of a deep bowl decorated
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 Turska, Iznik, 1575.-1580. Turkey, Iznik, 1575-1580 Turska, Iznik, 1575.-1580. Turkey, Iznik, 1575-1580
Kvarcna keramika oslikana Fritware, underglaze painting Kvarcna keramika oslikana Fritware, underglaze painting Kvarcna keramika oslikana Fritware, underglaze painting
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
bijeloj podlozi ispod siliceous slip coating bijeloj podlozi ispod siliceous slip coating bijeloj podlozi ispod slip coating
prozirne glazure Height: 3.7 cm; prozirne glazure Height: 6.8 cm cm; prozirne glazure Height: - cm;
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
153
37
Zdjela na nozi s radijalnom
sredinjom kompozicijom u
plavo-bijelom stilu
Turska, Iznik, 1580.-1585.
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod
prozirne glazure
Visina: 5.8 cm;
promjer: 20 cm
Inv. br. Hrz 238/10
154
Dish on a foot decorated with
a radial central composition
in the blue and white style
Turkey, Iznik, 1580-1585
Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 5.8 cm;
diameter: 20 cm
Inv. no. Hrz 238/10
38
Plitka zdjela oslikana
motivom kola sree u
plavo-bijelom stilu
Turska, Iznik, 1580.-1585.
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod
prozirne glazure
Visina: 3.6 cm; promjer: 19 cm
Inv. br. Hrz 113/09
Flat dish decorated with
thewheel of fortune motif motivom cvijeta lotosa u
in the 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 113/09
39
Plitka zdjela oslikana
kasnom plavo bijelom stilu
Turska, Iznik, 1580.-1585.
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod prozirne
glazure
Visina: 3.6 cm; promjer: 19 cm
Inv. br. Hrz 240/10
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
155
40
Plitka zdjela ukraena
motivom jiajing u plavo-
bijelom stilu
Turska, Iznik, 1570.-1590.
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod prozirne
glazure
Visina: 2.5 cm;
promjer: 18.3 cm
Inv. br. Hrz 234/10
156
Flat dish decorated with the
jiajing motif in the blue and
white style
Turkey, Iznik, 1570-1590
Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 2.5 cm;
diameter: 18.3 cm
Inv. no. Hrz 234/10
41
Plitka zdjela ukraena u
plavo-bijelom stilu
Turska, Iznik, 1570.-1590.
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod prozirne
glazure
Visina: 2.5 cm;
promjer: 19.2 cm
Inv. br. Hrz 12/11
Flat dish decorated in the
blue and white style
Turkey, Iznik, 1570-1590
Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 3 cm;
diameter: 19.2 cm
Inv. no. Hrz 12/11
42
Plitka zdjela sa sredinjom
radijalnom kompozicijom u
viebojnom stilu
Turska, Iznik, 1580.-1585.
Kvarcna keramika oslikana
kobaltnoplavom i reljefno
crvenom bojom na bijeloj
podlozi ispod prozirne glazure
Visina: 2.1 cm; promjer: 18 cm
Inv. br. Hrz 241/10
Flat dish with decorated with
central radial composition in
the polychrome style
Turkey, Iznik, 1580-1585 Turska, Iznik, 1580.-1585.
Fritware, underglaze painting
in cobalt blue and relief
redover a white siliceous slip
coating
Height: 2.1 cm;
diameter: 18 cm
Inv. no. Hrz 241/10
43
Plitka zdjela s radijalnom
sredinjom kompozicijom u
viebojnom stilu
Turkey, Iznik, 1580-1585
Kvarcna keramika oslikana
kobaltnoplavom i reljefno
crvenom bojom na bijeloj
podlozi ispod prozirne glazure
Visina: 2.5 cm;
promjer: 18.2 cm
Inv. br. Hrz 24/11
Flat dish with decorated with
a radial central composition
in the polychrome style
Fritware, underglaze painting
in cobalt blue and relief
redover a white siliceous slip
coating
Height: 2.5 cm;
diameter: 18.2 cm
Inv. no. Hrz 24/11
157
44
Plitka zdjela sa radijalnom
sredinjom kompozicijom u
viebojnom stilu
Turska, Iznik, 1580.-1585.
Kvarcna keramika oslikana
kobaltnoplavom i reljefno
crvenom bojom na bijeloj
podlozi ispod prozirne glazure
Visina: 2.4 cm;
promjer: 19.2 cm
Inv. br. Hrz 02/11
158
Flat dish decorated with a
radial central composition in
the polychrome style
Turkey, Iznik, 1580-1585
Fritware, underglaze painting
in cobalt blue and relief
redover a white siliceous slip
coating
Height: 2.4 cm;
diameter: 19.2 cm
Inv. no. Hrz 02/11
45
Plitka zdjela sa sredinjom
radijalnom kompozicijom u
viebojnom stilu
Turska, Iznik, 1580.-1585.
Kvarcna keramika oslikana
kobaltnoplavom i reljefno
crvenom bojom na bijeloj
podlozi ispod prozirne glazure
Visina: 2.2 cm;
promjer: 17.7 cm
Inv. br. Hrz 03/11
Flat dish decorated with a
radial central composition in
the polychrome style
Turkey, Iznik, 1580-1585
Fritware, underglaze painting
in cobalt blue and relief red
over a white siliceous slip
coating
Height: 2.2 cm;
diameter: 17.7cm
Inv. no. Hrz 03/11
46
Zdjela oslikana s dvije
okrunjene harpije
Turska, Iznik, 1580.- 1585.
Kvarcna keramika, oslikana
u kobaltno plavoj, tirkiznoj,
smaragdno zelenoj i reljefno
crvenoj s obrisima izvedenim
u crnoj boji na bijeloj podlozi
ispod prozirne glazure
visina: 5.5 cm; promjer: 28.6 cm
Inv. br. Hrz 13/11a
Dish decorated with two
crowned harpies
Turkey, Iznik, 1580- 1585
Fritware, underglaze painting
in cobalt blue, turquoise,
emerald green and relief red
with outlines in black, over a
white siliceous slip coating
Height: 5.5 cm;
diameter: 28.6 cm
Inv. no. Hrz 13/11a
47
Zdjela oslikana s dvije
okrunjene harpije
Turska, Iznik, 1580.- 1585.
Kvarcna keramika, oslikana
u kobaltno plavoj, tirkiznoj,
smaragdno zelenoj i reljefno
crvenoj s obrisima izvedenim u
crnoj boji na bijeloj podlozi
ispod prozirne glazure
visina: 4.6 cm; promjer: 28.6 cm
Inv. br. Hrz 13/11b
Dish decorated with two
crowned harpies
Turkey, Iznik, 1580- 1585
Fritware, underglaze painting
in cobalt blue, turquoise,
emerald green and relief red
with outlines in black, over a
white siliceous slip coating
Height: 4.6 cm;
diameter: 28.6 cm
Inv. no. Hrz 13/11b
159
48
Polukruna zdjelica ukraena
u plavo-bijelom stilu
Turska, Iznik, druga polovica
16. stoljea
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod
prozirne glazure
Visina: 5.7 cm;
promjer: 12.6 cm
Inv. br. Hrz 53/08
160
Hemispherical bowl
decorated in the blue and
white style
Turkey, Iznik, second half of
the 16th century
Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 5.7 cm;
diameter: 12.6 cm
Inv. no. Hrz 53/08
49
Polukruna zdjelica ukraena
u plavo-bijelom stilu
Turska, Iznik, druga polovica
16. stoljea
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod
prozirne glazure
Visina: 5.7 cm;
promjer: 12.2 cm
Inv. br. Hrz 63/08
Hemispherical bowl
decorated in the blue and
white style
Turkey, Iznik, second half of
the 16th century
Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 5.7 cm;
diameter: 12.2 cm
Inv. no. Hrz 63/08
50
Polukruna zdjelica ukraena Hemispherical bowl
u plavo-bijelom stilu
Turska, Iznik, druga polovica
16. stoljea
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod
prozirne glazure
Visina: 6.1 cm;
promjer: 12.2 cm
Inv. br. Hrz 64/08
51
Polukruna zdjelica ukraena Hemispherical bowl
decorated in the blue and u plavo-bijelom stilu
white style
Turska, Iznik, druga polovica
Turkey, Iznik, second half of 16. stoljea
the 16th century Kvarcna keramika oslikana
Fritware, underglaze painting kobaltnoplavom bojom na
in cobalt blue over a white bijeloj podlozi ispod
siliceous slip coating prozirne glazure
Height: 6.1 cm; Visina: 5.3 cm; promjer: 12 cm
diameter: 12.2 cm Inv. br. Hrz 108/09
Inv. no. Hrz 64/08
decorated in the blue and
white style
Turkey, Iznik, second half of
the 16th century
Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 5.3 cm;
diameter: 12 cm
Inv. no. Hrz 108/09
161
52
Polukruna zdjelica ukraena
u plavo-bijelom stilu
Turska, Iznik, druga polovica
16. stoljea
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod prozirne
glazure
Visina: 6 cm; promjer: 12.5 cm
Inv. br. Hrz 08/11
162
Hemispherical bowl
decorated in the blue and
white style
Turkey, Iznik, second half of
the 16th century
Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 6 cm;
diameter: 12.5 cm
Inv. no. Hrz 08/11
53
Polukruna zdjelica ukraena
u plavo-bijelom stilu
Turska, Iznik, druga polovica
16. stoljea
Kvarcna keramika oslikana
kobaltnoplavom bojom na
bijeloj podlozi ispod prozirne
glazure
Visina: 6.1 cm; promjer: 13 cm
Inv. br. Hrz 68/11
Hemispherical bowl
decorated in the blue and
white style
Turkey, Iznik, second half of
the 16th century
Fritware, underglaze painting
in cobalt blue over a white
siliceous slip coating
Height: 6.1 cm;
diameter: 13 cm
Inv. no. Hrz 68/11
54
Grlo boce od zelenog stakla
s izljevom i uljebljenim
ukrasom na tijelu
Turska, druga polovica 16. st.
Staklo
Visina: 15.8 cm, promjer grla
(sredina): 3.2 cm, promjer
izljeva: 7.5 cm, debljina stijenke
trbuha: 1.6 mm, debljina
stijenke izljeva: 3 mm
inv. br. Hrz 209/10
Neck of a green glass bottle
decorated with ribbing on
the body
Turkey, second half of the Visina: 15.1 cm, promjer grla
16th century
Glass
Height: 15.8 cm, diameter
of the neck (middle): 3.2 cm,
diameter of the rim: 7.5 cm,
wall thickness (belly): 1.6 mm,
wall thickness (rim): 3 mm
inv. no. Hrz 209/10
55
Grlo boce od zelenog stakla Neck of a green glass bottle
Turska, druga polovica 16. st. Turkey, second half of the
Staklo 16th century
Glass
(sredina): 3.32 cm, promjer Height: 15.1 cm, neck
izljeva (vanjski): 6.1 cm, deblj. diameter (middle): 3.32 cm,
stijenke (trbuh): 1.4 mm, deblj. rim diameter (exterior): 6.1 cm,
stijenke (izljev): 7 mm wall thickness (belly): 1.4 mm,
inv. br.: Hrz 21/07 wall thickness (rim): 7 mm
Inv. no.: Hrz 21/07
163
56
Grlo boce od zelenog stakla
Turska, druga polovica 16. st.
Staklo
Visina: 16.3 cm, promjer grla
(sredina): 3.5 cm, promjer
izljeva (vanjski): 5.57 cm, deblj.
stijenke (trbuh): 1 mm, deblj.
stijenke (izljev): 6.3 mm
inv. br.: Hrz 9/07
164
Neck of a green glass bottle
Turkey, second half of the
16th century
Glass
Height: 16.3 cm, neck
diameter (middle): 3.5 cm, rim
diameter (exterior): 5.57 cm,
wall thickness (belly): 1 mm,
wall thickness (rim): 6.3 mm
Inv. no.: Hrz 9/07
57
Grlo boce od zelenog stakla
Turska, druga polovica 16. st.
Staklo
Visina: 12.2 cm, promjer grla
(sredina): 2.4 cm, promjer
izljeva (vanjski): 4.25 cm, deblj.
stijenke (trbuh): 1.4 mm, deblj.
stijenke (izljev): 4 mm
inv. br.: Hrz 198/10
Neck of a green glass bottle
Turkey, second half of the
16th century
Glass
Height: 12.2 cm, neck
diameter (middle): 2.4 cm, rim
diameter (exterior): 4.25cm,
wall thickness (belly): 1,4 mm,
wall thickness (rim): 4 mm
Inv. no.: Hrz 198/10
58 59
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
Staklo 16th century Staklo 16th century
Visina: 17 cm, promjer grla Glass Visina: 15.5 cm, promjer grla Glass
(sredina): 3.55 cm, promjer Height: 17 cm, neck diameter (sredina): 3.5 cm, promjer Height: 15,5 cm, neck
izljeva (vanjski): 6 cm, debljina (middle): 3.55 cm, rim diameter izljeva (vanjski): 6 cm, deblj. diameter (middle): 3.5 cm, rim
stijenke (trbuh): 1.7 mm, deblj. (exterior): 6 cm, wall thickness stijenke (trbuh): 1.4 mm, deblj. diameter (exterior): 6 cm, wall
stijenke (izljev): 6 mm (belly): 1.7 mm, wall thickness stijenke (izljev): 8 mm thickness (belly): 1.4 mm, wall
Inv. br.: Hrz 268/10 (rim): 6 mm inv. br.: Hrz 201/10 thickness (rim): 8 mm
Inv. no.: Hrz 268/10 Inv. no.: Hrz 201/10
165
60
Grlo boce od zelenog stakla
Turska, druga polovica 16. st.
Staklo
Visina: 15 cm, promjer grla
(sredina): 3 cm, promjer
izljeva (vanjski): 5.55 cm, deblj.
stijenke (trbuh): 1.5 mm, deblj.
stijenke (izljev): 4 mm
Inv. br.: Hrz 10/07
166
Neck of a green glass bottle
Turkey, second half of the
16th century
Glass
Height: 15 cm, neck diameter
(middle): 3 cm, rim diameter
(exterior): 5.55 cm, wall
thickness (belly): 1.5 mm, wall
thickness (rim): 4 mm
Inv. no.: Hrz 10/07
61
Grlo boce od zelenog stakla
Turska, druga polovica 16. st.
Staklo
Visina: 15.1 cm, promjer grla
(sredina): 3.24 cm, promjer
izljeva (vanjski): 6.05 cm, deblj.
stijenke (trbuh):2.3 mm, deblj.
stijenke (izljev): 5 mm
Inv. br.: Hrz 42/08
Neck of a green glass bottle
Turkey, second half of the 16th
century
Glass
Height: 15.1 cm, neck diameter
(middle): 3.24 cm, rim diameter
(exterior): 6.05 cm, wall
thickness (belly): 2.3 mm, wall
thickness (rim): 5 mm
Inv. no.: Hrz 42/08
62
Grlo boce od zelenog stakla
Turska, druga polovica 16. st.
Staklo
Visina: 14.5 cm, promjer grla
(sredina): 3.6 cm, promjer
izljeva (vanjski): 6.1 cm, deblj.
stijenke (trbuh):2 mm, deblj.
stijenke (izljev): 7 mm
Inv. br.: Hrz 12/07
63
Neck of a green glass bottle Drveni koloturnik Wooden heart
Turkey, second half of the Drvo i eljezo Wood and iron
16th century cca 23x14 cm cca 23x14 cm
Glass Inv. br.: Hrz 180/09 Inv. no.: Hrz 180/09
Height: 14.5 cm, neck
diameter (middle): 3.6 cm, rim
diameter (exterior): 6.1 cm,
wall thickness (belly): 2 mm,
wall thickness (rim): 7 mm
Inv. no.: Hrz 12/07
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)
Venecija, 16. stoljee
Bronca
66.
Duina: 147 cm,
promjer: 18 cm, teina: 156 kg
Inv. br.: Hrz 3/07
67.
66. Top - smirilj (tip
moschetto da braga)
Venecija, 16. stoljee
Bronca
68. Duina: 87 cm,
promjer: 9.5 cm,
teina: 33.75 kg
Inv. br.: Hrz 1/07
69. 67. Top - smirilj (tip
moschetto da braga)
Venecija, 16. stoljee
Bronca
70. Duina: 89 cm,
promjer: 9.9 cm,
teina: 37.4 cm
Inv. br.: Hrz 4/07
(type petriere da braga)
Venice, 16th century
Bronze
Length: 147 cm,
diameter: 18 cm, weight: 56 kg
Inv. br.: Hrz 3/07
66. Artillery piece - esmeril
(type moschetto da braga)
Venice, 16th century
Bronze
Length: 87 cm,
diameter: 9.5 cm,
weight: 33.75 kg
Inv. no.: Hrz 1/07
67. Artillery piece - esmeril
(type moschetto da braga)
Venice, 16th century
Bronze
Length: 89 cm,
diameter: 9.9cm,
weight: 37.4 kg
Inv. no.: Hrz 4/07
69. Top - smirilj (tip 69. Artillery piece - esmeril
moschetto da braga) (type moschetto da braga)
Venecija, 16. stoljee Venice, 16th century
Bronca Bronze
Duina: 87 cm, Length: 87 cm,
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
70. Top - smirilj (tip 70. Artillery piece - esmeril
moschetto da braga) (type moschetto da braga)
Venecija (?)16. stoljee Venice (?), 16th century
Bronca Bronze
Duina: 86.5 cm, Length: 86.5 cm,
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
71. Top - smirilj 71. Artillery piece - esmeril
Francuska (?), 16. stoljee France (?), 16th century
Bronca Bronze
Duina: 120 cm, Length: 120 cm,
promjer: 11.6 cm, diameter: 11.6 cm,
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,
teina: izmeu 1100 i 1250 g
Inv. br.: Hrz 70/08, 72/08,47/
08,71/08,77/08,84/08,78/08,76
/08,41/08, 202 /10, 37/07, 105,
123 /09, 46/11
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
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
and 1250 g Inv.br.: Hrz 258/10 Inv.no.: Hrz 258/10
Inv. no.: Hrz 70/08, 72/08,47
/08,71/08,77/08,84/08,78/08,7
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
Ulomak vra (tip
Hanzeatski vr)
Sjeverna Njemaka,
16. stoljee
Kositar, lijevanje
Visina: 22.5 cm, promjer dna:
15.5 cm, promjer otvora: 10 cm
Inv. br.: Hrz 25/07
81 82 83
Fragment of a pewter flagon Brodski kotao Ships cauldron Tava Frying pan Posuda Copper alloy vessel
(type: Hanseatic jug)
16. stoljee 16th century 16. stoljee 16th century 16. stoljee 16th century
Northern Germany, Bakar, iskucavanje Copper, hammering Bakrena slitina, iskucavanje Copper alloy, hammering Bakrena slitina, iskucavanje Copper alloy, hammering
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,
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,
Height: 22.5 cm, bottom zapremnina (cca): 20 l volume: approx. 20 l Funkcija: nepoznata base diameter: approx. 18.cm
diameter: 15.5 cm, mouth Inv. br.: Hrz 14/07 Inv. no.: Hrz 14/07 (zdjela ili lavor) Function: unknown
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

180 181
96
Amatoria
Italija, posljednja etvrtina 15.
stoljea
Keramika; zdjela kalotastog
oblika, irokog izvijenog
ruba prema van, na niskoj
prstenastoj stopi ukraena
graviranim (sgraffito) ukrasom.
Izraena od proiene gline,
crvene boje peenja. Rub zdjele
ukraen trakom s urezanim
krinim motivom. Centralni
motiv prikazuje sviraa
lutnje koji se nalazi u vrtu s
isprepletenom ogradom i dva
stabla u drugom planu. Zeleno
oslikana pozadina s tokatim
ukrasom.
Visina: 7.6 cm;
promjer: 33.8 cm
Inv. br. Hrz 17/07
182
Amatoria
Italy, last quarter of the 15th
century
Pottery; hemispherical bowl
with a flanged rim, on a short
circular foot, decorated with
sgraffito technique. Made out
of purified clay. The rim is
decorated with a ribbon with
incised motif of crosses. The
central motif depicts a man
playing a lute in a garden with
an intertwining fence and two
trees in the background. Green
painted background with
dotted decoration.
Height: 8.3 cm;
diameter: 27.8 cm
Inv. no. Hrz 219/10
97
Zdjela
Italija, 16. st.
Keramika; zdjela koninog
oblika, zaobljenog i pojaanog
ruba i ravnog, prstenasto
naglaenog dna. Izraena
od proiene gline, crvene
boje peenja. Glazirana
svijetlozelenom glazurom na
unutarnjoj strani posude i na
rubu s vanjske strane (vrlo loe
ouvana glazura). S unutarnje
strane, na rubu i tijelu
posude, ukraena izduenim
motivima nepravilnih traka,
a u sredini motivom cvijeta
maslinastozelene boje.
Vis: 8.3 cm; promjer: 27.8 cm
Inv. br. Hrz 219/10
Bowl
Italy, 16th century
Pottery, a conical bowl, with
rounded rim and a circular
foot. Made out of purified
clay, red after firing. Light
green glaze on the inside of
the vessel and on the part of
the outer surface (glaze poorly
preserved). Inside surface
of the bowl decorated with
elongated irregular ribbons,
with an olive green flower
motif in the middle.
Height: 8.3 cm;
diameter: 27.8 cm
Inv. no. Hrz 219/10
98
Zdjela
Italija, 16. st.
Keramika; Rekonstruirana
zdjela kalotastog oblika i
ravnog, prstenasto naglaenog
dna. Izraena od proiene of purified clay, ochre after
gline, oker boje peenja. Na
sauvanom ulomku slabo
primjetljiva plava (?) glazura s
tragovima maslinasto zelenog
ukrasa. Glazirana na unutarnjoj
strani i pri rubu na vanjskoj
strani posude.
Visina: 7.7 cm; promjer: 29 cm
Inv. br. Hrz 29/07
Bowl
Italy, 16th century
Pottery; reconstructed
hemispherical bowl with a flat,
accentuated bottom. Made out
firing. Blue glaze (?) with traces
of olive green decoration
barely visible on the preserved
fragment. Glaze on the interior
and on along the rim on the
exterior of the vessel.
Height: 7.7 cm;
diameter: 29 cm
Inv. no.: Hrz 29/07
99
Zdjela Bowl
Italija, 16. st. Italy, 16th century
Keramika; rekonstruirana Pottery; reconstructed
zdjela kalotastog oblika na hemispherical bowl on a small
niskoj prstenastoj stopi. ring like foot. Made out of
Izraena od proiene gline, purified clay, red and ochre
crvene i oker boje peenja. after firing. Green glaze on
Zelena glazura na unutarnjoj the interior and exterior (just
i vanjskoj (neposredno ispod under the rim) of the vessel.
ruba) povrini posude. Height: 12 cm;
Visina: 12 cm; promjer: 25 cm diameter: 25 cm
Inv. br. Hrz 51/08 Inv. no. Hrz 51/08
183
100
Tanjur
Italija, 16. st.
Keramika; rekonstruirani
tanjur koninog oblika na
niskoj prstenastoj stopi,
s rubom izvijenim prema
van. Izraen od proiene red after firing. Traces of white
gline, crvene boje peenja.
Na unutarnjoj strani posude
vidljivi tragovi bijele glazure
i slikanog ukrasa (par linija u
plavoj boji koje vjerojatno idu
ukrug posude ispod kojih se
nalazi neodreeni motiv
u istoj boji).
Visina: 6.2 cm;
promjer: cca 29 cm
Inv. br. Hrz 20/07
184
Plate
Italy, 16th century
Pottery; reconstructed
hemispherical plate on a small
ring like foot and an everted
rim. Made out of purified clay,
oker boje peenja. Gusta
glaze and painted decoration
visible on the interior (a couple
of blue lines that were probably
running around the whole
vessel with an unidentified
motif in the same colour
under them).
Height: 6.2 cm;
diameter: cca 29 cm
Inv. no. Hrz 20/07
101
Tanjur
Italija, 16. st.
Keramika; rekonstruirani
tanjur koninog oblika na
niskoj prstenastoj stopi.
Izraen od proiene gline, clay, ochre after firing. Thick
greenish brown glaze covers
zelenosmea glazura prekriva
unutranjost posude i vanjski
dio ispod ruba posude.
Visina: 5 cm; promjer: 17 cm
Inv. br. Hrz 150/09
Plate
Italy, 16th century
Pottery; reconstructed
conical plate on a ring like
foot. Made out of purified
na niskoj prstenastoj stopi.
Izraen od proiene gline,
the interior of the vessel and
the part under the rim
on the exterior.
Height: 5 cm; diameter: 17 cm
Inv. no. Hrz 150/09
102
Tanjur
Italija, 16. st.
Keramika, rekonstruirani
tanjur kalotastog oblika,
naglaeno izvijenog ruba,
out if purified clay, red after
crvene boje peenja. Ukraen
(sgraffito) ukrasom ispod
zelene glazure na unutarnjoj
povrini posude. Ukras ine
iroke urezane linije ispod ruba
posude. Ispod ruba se nalaze
urezani motivi ovalnog are placed under the rim, and
oblika, a centru posude
podjednostavljeni motiv
cvijeta.
Visina: 4.5 cm;
promjer: 18.5 cm
Inv. br. Hrz 19/07
103
Plate Tanjur Plate
Italy, 16th century Italija, 16. st. Italy, 16th century
Pottery; reconstructed Keramika; tanjur koninog Pottery; hemispherical plate
hemispherical plate, oblika s stepeniastim with a cascading transition
accentuated everted rim. On prijelazom prema stanjenom towards the thin rim, on a
a small ring like foot. Made rubu, na niskoj prstenastoj small ring like foot. Made out
stopi. Raen od proiene of purified clay, light red after
firing. Decorated with sgraffito gline, svjetlo crvene boje firing. Traces of a green glaze
decoration under a green glaze peenja. Na unutarnjoj povrini visible on the interior surface
on the interior of the vessel. uoljivi tragovi zelene glazure. Height: 4.2 cm;
The decoration is composed of Visina: 4.2 cm; diameter: 17.3 cm
incised lines under the rim of promjer: 17.3 cm Inv. no. Hrz 28/07
the vessel. Incised oval motifs Inv. br. Hrz 28/07
the centre is occupied by a
simplified flower motif.
Height: 4.5 cm;
diameter: 18.5 cm
Inv. no. Hrz 19/07
185
104
Stalak za svijeu (?)
Turska, 16. st.
Keramika; maleni recipijent
sa stapkom na irokom
tanjuriu (svijenjak ?),
istonog porijekla. Raen
od proiene gline, oker
boje peenja. Glaziran
svijetlozelenom glazurom po
uzoru na kineski porculan
(celadon).
Visina: 6 cm; promjer: 13.3 cm
Inv. br. Hrz 43/08
186
Candlestand (?)
Turkey, 16th century
Pottery; small receptacle
with a pedicle on a wide
plate (candlestick?), eastern
provenance. Made out of
purified clay, ochre after firing.
Coated with a light green
glaze like Chinese porcelain
(celadon).
Height: 6 cm;
diameter: 13.3 cm
Inv. no. Hrz 43/08
105
Zdjelica
Italija, 16. st.
Keramika; zdjelica kalotastog
oblika na niskoj prstenastoj
stopi. Izraena od proiene Made out of purified clay with
gline s primjesama organskog
materijala, oker i crvene
boje peenja. Zelena glazura
uoljiva u tragovima na
unutarnjoj povrini i s vanjske
strane ispod ruba posude.
Visina: 6,2 cm; promjer: 15 cm
Inv. br. Hrz 11/07
Small bowl
Italy, 16th century
Pottery; small hemispherical
bowl on a low ring like foot.
vrlo niskoj prstenastoj stopi.
organic admixtures, ochre and
red after firing. Traces of green
glaze visible on the interior
and the part below the rim
under the exterior
of the vessel.
Height: 6.2 cm;
diameter: 15 cm
Inv. no. Hrz 11/07
106 107
Zdjelica Small bowl Zdjelica Small bowl
Italija, 16. st. Italy, 16th century Italija, 16. st. Italy, 16th century
Keramika; rekonstruirana Pottery; reconstructed small Keramika; zdjelica kalotastog Pottery; small hemispherical
zdjelica kalotastog oblika na hemispherical bowl on a small oblika i prstenasto naglaenog bowl on an accentuated ring
ring like foot. Made out of dna. Izraena od proiene like bottom. Made out of
Izraena od proiene gline, purified clay, red after firing. gline, oker boje peenja. Cijela purified clay, ochre after firing.
crvene boje peenja. Glazirana Coated with a light blue glaze. je posudica glazirana The entire vessel is coated with
svjetloplavom glazurom. Na The interior of the vessel smeom glazurom. a brow glaze.
unutarnjoj povrini ukraena decorated with a dark blue Visina: 6.7 cm; promjer: 13 cm Height: 6.7 cm;
tamnoplavim mrljastim smudged decoration. A white Inv. br. Hrz 67/08 diameter: 13 cm
ukrasom. Na vanjskoj povrini band placed under the rim Inv. no. Hrz 67/08
posude ispod samog ruba runs on the entire exterior part
nalazi se bijela traka koja ide of the vessel.
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
187
108 109 110 111
Zdjelica Small bowl Zdjelica Small bowl Zdjelica Small bowl Zdjelica Small bowl

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

188 189
112
Zdjelica
Italija, 16. st.
Keramika; zdjelica kalotastog
oblika, jednostavnog ruba
na niskoj prstenastoj stopi.
Izraena od proiene gline,
oker boje peenja. Glazirana
smeom glazurom na
unutarnjoj povrini i na veem
dijelu vanjske povrine. Na
unutarnjoj povrini posude
su vidljivi tragovi ukrasa
izvedeni zelenom bojom te
tragovi trokrakih podloaka
koji su koriteni kao podmetai
prilikom peenja.
Visina: 5.9 cm;
promjer: 13.2 cm
Inv. br. Hrz 163/09
190
Small bowl
Italy, 16th century
Pottery; small hemispherical
bowl with a simple rim, on a
low ring like foot. Made out
of purified clay, ochre after
firing. Coated with a brown
glaze on the interior and most
of the exterior. Traces of
green decoration visible in the
interior, as well as imprints of
tripods used as stands during
firing.
Height: 6.4 cm;
diameter: 15.3 cm
Inv. no. Hrz 163/09
113
Zdjelica
Italija, 16. st.
Keramika; zdjelica kalotastog
oblika, jednostavnog ruba na
prstenastoj stopi. Izraena od
proiene gline, oker boje purified clay, ochre after firing.
peenja. Glazirana crnom
glazurom, vidljive vrlo sitne
bijele tokice.
Visina: 4.4 cm;
promjer: 9.6 cm
Inv. br. Hrz 112/09
Small bowl
Italy, 16th century
Pottery; small hemispherical
bowl with a simple rim, on a
low ring like foot. Made out of
prema van, prstenastog
Coated with a black glazed,
with visible small white dots.
Height: 4.4 cm;
diameter: 9.6 cm
Inv. no. Hrz 112/09
114
Zdjelica
Italija, 16. st.
Keramika; rekonstruirana
zdjelica kalotastog oblika,
naglaeno izvijenog ruba
low ring like foot. Made out of
dna. Izraena od proiene
gline, crvene boje peenja.
Cijela posudica je glazirana
svijetloplavom glazurom. Na
unutarnjoj povrini je ukraena
tamnoplavim mrljastim
ukrasom, a uoljivi su i tragovi
trokrakih podloaka koji
su koriteni kao podmetai
prilikom peenja.
Visina: 4.2 cm;
promjer: 16.1 cm
Inv. br. Hrz 215/10
115
Small bowl Vr Jug
Italy, 16th century Turska, prva polovica 16. st. Turkey, first half of the 16th
Pottery; reconstructed small Keramika; vr iji oblik century
hemispherical bowl with an podsjea na oblik amfore s Pottery; jug ith two handles,
accentuated everted rim, on a dvjema rukama, izduenim with a shape resembling that
cilindrinim, narebrenim of an amphora, elongated
purified clay, red after firing. vratom i rubom izvijenim cylindrical ribbed neck and an
The entire bowl is coated with prema van. Vretenasto tijelo everted rim. The tapered body
a light ble glaze. The interior zavrava ravnim dnom. Izraen ends with a flat bottom. Made
is decorated with a smudged od proiene gline, crvene out of purified clay, red
dark blue decoration, with boje peenja. after firing.
visible imprints of tripods used Visina: 27.2 cm; Height: 27.2 cm; diameter of
as stands during firing. promjer otvora: 8.8 cm the mouth: 8.8 cm
Height: 4.2 cm; Inv. br. Hrz 145/09 Inv. no. Hrz 145/09
diameter: 16.1 cm
Inv. no. Hrz 215/10
191
116
Vr
Turska, prva polovica 16. st.
Keramika; vr s izduenim
cilindrinim, narebrenim
vratom, i rubom izvijenim
prema van (oblik podsjea na
oblik amfore). Vretenasto tijelo
zavrava ravnim dnom. Izraen
od proiene gline, crvene
boje peenja. Rekonstruirana
je jedna ruka i dio
otvora posude.
Visina: 27 cm;
promjer otvora: 9 cm
Inv. br. Hrz 38/07
192
Jug
Turkey, first half of the 16th
century
Pottery; jug with two handles,
with an elongated cylindrical
ribbed neck and an everted
rim (shape resembles that of
an amphora). The tapered body
ends with a flat bottom. Made
out of purified clay, red after
firing. One handle and a part of
the mouth reconstructed.
Height: 27 cm;
diameter of the mouth: 9 cm
Inv. no. Hrz 38/07
117
Vr
Turska, prva polovica 16. st.
Keramika; vr s izduenim
cilindrinim, narebrenim
vratom, i rubom izvijenim
prema van (oblik podsjea na
oblik amfore). Vretenasto tijelo
zavrava ravnim dnom. Izraen
od proiene gline, crvene
boje peenja. Rekonstruiran
dio otvora posude.
Visina: 27.5 cm;
promjer otvora: 9 cm
Inv. br. Hrz 16/07
118 119
Jug Vr Jug Vr Jug
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
century Keramika; vr s izduenim century Keramika; vr s izduenim century
Pottery; jug with two handles, cilindrinim, narebrenim Pottery; jug with two handles, cilindrinim, narebrenim Pottery; jug with two handles,
with an elongated cylindrical vratom, i rubom izvijenim with an elongated cylindrical vratom, i rubom izvijenim with an elongated cylindrical
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
rim (shape resembles that oblik amfore). Vretenasto tijelo rim (shape resembles that of oblik amfore). Vretenasto tijelo rim (shape resembles that of
of an amphora). The tapered zavrava ravnim dnom. Izraen an amphora). The tapered body zavrava ravnim dnom. Izraen an amphora). The tapered body
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
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
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
reconstructed. veinski dio otvora posude je is covered in incrustation, tijela posude. handle and most of the body
Height: 27.5 cm; rekonstruiran. most of the mouth was Visina: -- cm; was reconstructed.
diameter of the mouth: 9 cm Visina: 27.5 cm; reconstructed. promjer otvora: -- cm Height: 27.5 cm;
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
193
120
Vr
Turska, 16. st.
Keramika; vr okruglog oblika
s jednom rukom, duguljastog
vrata, ravnog dna sa cjevastim
izljevom na trbuhu posude (tip
ibrik). Izraen od proiene of the vessel (type ibrik). Made
gline, crvene boje peenja.
Rub i cjevasti izljev nisu u
potpunosti ouvani. Glaziran
svjetlozelenom glazurom
na unutarnjoj povrini i na
vanjskoj povrini do poetka
trbuha posude.
Visina: 26.5 cm;
promjer dna: 10 cm
Inv. br. Hrz 15/07
194
Jug
Turkey, 16th century
Pottery; round shaped jug
with one handle, elongated
neck and a flat bottom, and a
tube shaped spout on the belly
dna. Raen od proiene
out of purified clay, red after
firing. The rim and the tube
shaped spout were not entirely
preserced. Coated with a light
green glaze on the interior, and
to the beginning of the belly on
the exterior.
Height: 26.5 cm;
diameter of the bottom: 10 cm
Inv. no. Hrz 15/07
121 122
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 Italija, 16. st. motiv palminog lia na Italy, 16th century leaves on the upper part of the
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
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.
(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
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
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, 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
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
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
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
linije. incised with lines. suprotnoj strani. Grlo i otvor glazura. and the mouth of the canteen the interior of the vessel.
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
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
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
linije promjera 8.5 cm. Oko Inv. br. hrz 248/10 with 8.5 cm in diameter. Inv. no. Hrz 248/10
195
123
Talir
Njemaka, 16. st. (1544-1545)
Talir Johanna Friedricha
I i Moritza Saksonskog. Na
aversu: poprsje Johanna
Friedricha I okrenutog prema
desno s maem u desnoj ruci.
Natpis na latinskom jeziku:
JOHAN.F.(grb).ELE.DUX(grb).
SAX.BV(grb)R.MAG(D)Z(grb);
Johannes Fridericus, elector
dux Saxoniae, Burggravius
Magdeburgensis (Elektor
Johann Friedrich, vojvoda
Saske i burgrof (njem.
Burggraf) Magdenburga.
Na reversu: Oklopljeno
poprsje Moritza okrenuto
prema desno. Natpis na
latinskom jeziku: MAVRI(TI).D
(grb) VX.SAX.(grb) FI.IUS
15(grb)46ANB(grb); Mauritius,
Dux Saxoniae, fieri iussit
1546 Annaburgensis (Moritz,
Saksonski vojvoda, naruio je
(ovaj novac) 1546 u Annabergu).
Promjer: 4.1 mm,
teina: 28.11 g
196
Taler
Germany, 16th century (1544-
1545)
Taler of Johann Friedrich
I and Moritz of Saxony.
Obverse: the bust of Johann
Friedrich I turned to the right
with a sword in the right
arm. The Latin inscription
is: IOHAN.F.(arms).ELE.
DUX(arms).SAX.BV(arms)
R.MAG(D)Z(arms); Johannes
Fridericus, elector dux
Saxoniae, Burggravius
Magdeburgensis (Elector
Johann Friedrich, Duke of
Saxony and Burgrave (german
Burggraf) of Magdeburg.;
reverse: the armoured bust of
Moritz turned to the right. The
inscription is: MAVRI(TI).D
(arms) VX.SAX. (arms) FI.IVS
15 (arms) 46ANB (arms);
Mauritius, Dux Saxoniae, fieri
iussit 1546 Annaburgensis
(Moritz, duke of Saxony,
ordered (this coins) 1546 in
Annaberg)
Diameter: 4.1 mm,
weight: 28.11 g
124
Talir
Njemaka, 16. st. (1559) Germany, 16th century (1559)
Talir Johanna Friedricha II
i njegove brae. Na aversu:
poprsje Johanna Friedricha II
na titu, okrenut prema desno
sa ezlom u lijevoj ruci. Natpis
na latinskom jeziku: MO:NO
(grb) FRATRV (grb) M:DVC
(grb) :SAXO (grb); Moneta
Nova Fratrum Duces Saxoniae
(Nova valuta brae saksonskih
vojvoda). Na reversu:
Oklopljeno poprsje Johanna
Wilhelma i Johanna Friedricha
III. Natpis na latinskom jeziku:
LANTG: (grb) THVRI: (grb)
ET.MAR (grb) :MISN: (grb);
Lantgravii Thuringiae et
Markgravii Misoniae (Vojvoda
Tiringije i markgrof Misonije).
Promjer: 4 mm,
teina: 24.47 g
125-128
Taler
9. Sultan Selim Shah I bin
Taler of Johann Friedrich II
and his brothers. Obverse:
the bust of Johann Friedrich
II in shield turned to right
with a sceptre in the left
arm. The Latin inscription is:
MO:NO (arms) FRATRV (arms)
M:DVC (arms) :SAXO (arms);
Moneta Nova Fratrum Duces
Saxoniae (New Currency of
brothers Dukes of Saxony).
Reverse: the armoured busts
of Johann Wilhelm und Johann
Friedrich III. The inscription
is:LANTG: (arms) THVRI:
(arms) ET.MAR (arms) :MISN:
(arms); Lantgravii Thuringiae
et Markgravii Misoniae
(Landgrave of Thuringia and
Margrave of Misonia).
Diameter: 4 mm,
weight: 24.47 g
125. Aka sultana Selima I.
9th Sultan Selim Shah I bin
Bayezid II, 1512-1520.
Srebni novac. Na aversu:
Sulta(n) Selim Sha(h) bin
Bayezid (Han). Nas reversu:
Azze (n)asrh duribe (Kos)
tantiniyye 918
Promjer: 11.5 mm,
teina: 0.66 g.
Inv. br.: Hrz 152/1
126. Aka sultana Sulejmana
Velianstvenog
10. Sultan Sleyman bin Selim
Shah I, 1520-1566
Srebrni novac. Na aversu:
Sul)tan Suleyman Shah bin
Selim Shah. Na reversu: Azze
nasrh Duribe Kratova
Promjer: 11 mm, teina: 0.42 g
Inv. br. Hrz 217/8
127. Aka sultana Selima II.
11. Sultan Selim II bin
Sleyman I, 1566.-1574.
Srebrni novac. Na aversu:
Sultan Selim bin Sleyman
Han. Na reversu: Azze nasrh
duribe Sidrekapsi 974
Promjer: 12 mm,
teina: 0.68 g
Inv. br.: Hrz 217/10
128. Aka sultana Murada III.
12. Sultan Murad III. bin Selim
II, 1574.-1595.
Srebrni novac. Na aversu:
Sultan Murad bin Selim Han.
Na reversu: (Azze nasrh)
duribe Novaberd(e) sene 982
Promjer: 14.5mm,
teina:0.68 g
Inv. br.: Hrz 217/7
125. Akche of Sultan Selim I
Bayezid II, 1512-1520
Sliver coin. Obverse: Sulta(n)
Selim Sha(h) bin Bayezid (Han).
Reverse: Azze (n)asrh duribe
(Kos)tantiniyye 918
Diameter: 11.5 mm,
weight: 0.66 g
Inv. no.: Hrz 152/1
126. Akche of Sultan
Suleiman the Magnificent
10th Sultan Sleyman bin
Selim Shah I, 1520-1566
Sliver coin. Obverse: Sul)tan
Suleyman Shah bin Selim Shah.
Reverse: Azze nasrh Duribe
Kratova
Diameter:11 mm,
weight: 0.42 g
Inv. no. Hrz 217/8
127. Akche of Sultan Selim II
11th Sultan Selim II bin
Sleyman I, 1566-1574
Silver coin. Obverse: Sultan
Selim bin Sleyman Han.
Reverse: . Azze nasrh duribe
Sidrekapsi 974
Diameter: 12 mm,
weight: 0.68 g
Inv. no.: Hrz 217/10
128. Akche of Sultan Murad
III
12th Sultan Murad III. bin
Selim II, 1574-1595
Silver coin. Obverse:
Sultan Murad bin Selim Han.
Reverse: (Azze nasrh)duribe
Novaberd(e) sene 982
Diameter: 14.5mm,
weight: 0.68 g
Inv. no.: Hrz 217/7
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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