Publ. Astron. Obs. Belgrade No.

75 (2003), 337 - 342

Poster

THE PHENOMENON OF ASTRAL MOTIFS ON LATE MEDIAEVAL TOMBSTONES

V. MIJATOVIC, S. NINKOVIC and D. VEMIC Astronomical Observatory, Volgina 7, 11160 Belgrade 74, Serbia and Montenegro Email vesna@aob.bg.ac.yu Email sninkovic@aob.bg.ac.yu Abstract. The authors study astral motifs present on some mediaeval tomb-stones found in present-day Serbia and Montenegro and in the neighbouring countries (especially in Bosnia and Herzegovina). The authors discern some important astral motifs, explain them and present a short review concerning their frequency.

1. INTRODUCTION This paper treats a group of astral motifs appearing as a decorative element in the period of late Middle Ages on tombstones of the Central Balkan Region. The present authors want to specify several astral symbols and to indicate various models used in their presentation. The available material can be found in the literature concerning the necropolis covering the entire territory enclosing the tomb-stones called steci c including Bosnia and Herzegovina, Montenegro, Dalmatia and also in the literature concerning the necropolis within a greater area of Serbia. It should be emphasized that the notion of steak is considered in the present paper in its broadest meaning c - as a mediaeval tombstone (Zeevi, 1996). c c 2. TERRITORIAL OCCURRENCE AND DATING It is generally accepted that steci are a special cultural and artistic kind among c tomb varieties, characteristic of the territories of Serbian and Bosnian mediaeval states. One meets several variants of these monuments being accepted afterwards in a basic form, or in a variant of this basic form, which largely depended on the area or on the taste and possibilities of the inhabitants. They are characterized by a large assortment of motifs whereby many of them are not original because in all ages they contain the same universal and out of time symbolism concerning the eternal theme of afterlife. One can indicate a large group of steci motifs, the main and segment c ones, encountered through their modalities over almost entire period of steci exisc tence, but also at signicantly later epochs. There are various theories treating the origin time, duration and vanishing of these monuments. It has been largely accepted that the time of their originating covers the interval from the late XIII to the XVI centuries (Mileti, 1982). c 337

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Table 1: Basic forms of astral pictures Group Basic motif 1) circle Variant simple, with rays, with inscribed point or little cross plastic or engraved, twisted, concentric combined with another motif or sole, twisted with dierent number and shape of limbs, free or closed within a circle, stylized plastic, with oblique engravements

astral motifs (pictures of Sun, Moon, of a star)

2) circular garland (ring) 3) crescent 4)star (rosette)

5) knob

3. ASTRAL MOTIFS Although it is dicult to determine precisely and rigorously which motifs belong to this presentation group, it could be said that above all this group involves signs basically meaning celestial bodies - the Sun, the Moon, stars. In the symbolic sense astral motifs involve folk-beliefs and the cult of the deceased (Erdeljan, 1996). Astral motifs as bearers of old beliefs appear at some tombstones also after the Middle Ages (Dudi, 1995). Observed as a group this type appears as the most frequent motif c extending at the same time over most of the territory with steci. Belagis division c s c of astral pictures into ve basical motifs - circle, circular garland (ring), crescent, star (rosette) and knobs is acceptable because it comprises all the motifs found in the steak area (Belagi, 1982). The basic motifs within this group have their 19 c s c subtypes (Belagi, 1982), but considering that any complete systematization and s c classication of them is still absent the number of variants can exceed this amount. In the present paper this division will be accepted because within its frameworks one can roughly put most of the signs concerning astral motifs covering an exceptionally large territory. 4. CIRCLE It is thought that the circle on a steak represents the Sun. It is given most frequently c as a plastic circular surface of dierent sizes and it can be sole (more rarely) or combined with other astral motifs (most frequently crescent) or, in the framework of other motifs. In some cases such a circle contains a point in its centre (Kaludjerovii, Hrte, c Donje Stitare) or a small cross (Kobilja Glava near Skender Vakuf, Tolisavac, Velika Zupa, Duevo, Gradac, Hrte). Circle motifs with rays on plates from Di (Je, 2001) c c z are exceptional ones. In some cases the circle can be engraved, imprinted by using a shallow cannelure. It has been found in all shapes of tombstones, but much more rarely than the crescent and star. The territorial distribution is such that the circle is found mostly in central, western and in some parts of eastern Bosnia, in Herzegovina in the surroundings of Nevesinje and Litica. It is very rare in the surroundings of s 338

THE PHENOMENON OF ASTRAL MOTIFS ON LATE MEDIAEVAL TOMBSTONES

Kalinovik and in Podrinje, as well as in necropolis in western Serbia. It has not been found in the areas of Trebinje, Ljubinje, Stoc and Ljubuki in Herzegovina and in the s immediate surroundings of Duvno in western Bosnia. 5. CIRCULAR GARLAND (RING) In the opinion of most of authors the circular-garland motif, like the circle, represents the Sun (Belagi, 1982). There are also alternative interpretations. Nada Miletis s c c opinion, according to which this motif directly is related to the rite itself should certainly, be, mentioned (Mileti, 1982). In describing this motif it is said that it c is a shallow plastic part of a circle in the form of a circular belt. Sometimes within it can be a smaller, also plastic, concentric circle. In some cases it is realized by engraving in a stone. It has been found sole, but most often followed by other motifs. The most frequent case is its combining with other astral pictures (star, more rarely crescent), with cross and in complex scenes with gure pictures. Combined with astral motifs it is most often presented to surround individual ones or a whole number of rosettes - stars. Quite rarely it surrounds the crescent (Hum near Trebinje). The picture of small circular garlands surrounding a circle (Moremilj near Viegrad) is s s also interesting. Its appearance in the framework of the cross picture, where it is given in two variants, is specic. In the rst one it surrounds a cross, while in the second one the cross limbs end in the form of circular garlands (surroundings of Kalinovik, Hodovo near Stoc, Buje and Hrte in western Serbia). As a part of gural pictures the c circular garland bears a more complex symbolism. It can be given over the heads of human gures with hands up (Radimlja) or, however, in one lifted hand of the human picture. A special symbolism is to be assigned to the circular garland if it is in the hand of folk-dance leader representing a Serbian folk-dance on steci. This motif has c been found at all forms of tombstones and its territorial occurrence is frequent. It has been mostly reported in the surroundings of Kalinovik, Stoc, Litica, Nevesinje and s Kupres. A relatively small number has been found in necropolis in western Serbia. 6. CRESCENT The crescent is a motif often used in numerous and various artistic works of many peoples. As a motif, the application of which on steci has been interpreted in dierent c ways, it is very frequent and, perhaps, one of most frequently occurring (Belagi, s c 1982). It is logical that this motif symbolises death and at the same time the hope for resurrection (Wilke, 1924). Its basic form is an arch in dierent positions (with peak downwards, upwards or sidewards). It is always realized plastically, sometimes twisted. Its several variants have been reported: with ends continuing into small circles or rosettes (the variant not found in Serbia), as the basement of a cross, as a handle of a stick (Litica). In some cases the crescent is realized in such a way that s a double spiral detaches from it (Vlasenica) or surrounded by a garland (Hum near Trebinje). Sometimes it also appears in a pair. It has been found in all basic shapes of steci (without cross and high chest) and there it occupies dierent places. The c frequent appearance of the crescent on the upper surfaces of slemenjaks is interesting. It has been rarely met sole, most frequently it is followed by a star-rosette and cross. Besides to the rosette it is among the most frequent motifs. It is especially frequent in eastern Bosnia, middle Podrinje, in the areas closer to the Neretva valley and 339

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in western Herzegovina. It has been also found in western Serbia, especially in its north-western part, being as a motif completely absent on tombs of south-western Serbia. 7. STAR-ROSETTE This motif involves shapes of a star and of a kind of rosette and also of a similar ower picture so that sometimes it is dicult to establish which motif is implied. The star is among the motifs most frequently met on tombs. It is realized mainly plastically, but it can be also engraved. It is most frequently followed by other astral motifs (crescent, Sun) and cross. This picture has several variants. It can be free or closed inside a circle with various numbers (four, ve, six and eight) and shape of rays. The rays can be stressed by double lines or given in a twisted form when the star picture is converted into a rotating disc (symbol of Sun). The star is often stylized by adding circle lines, angles and arches acquiring thus characteristics of an ornament rather than of a symbol. As for the territory, this motif is characteristic of all large areas with tombstones. A high number of these symbols has been found in Herzegovina, western, central and eastern Bosnia (the most near Olovo). It is a rare phenomenon in Montenegro (in Zabljak surroundings), while in western and south-western Serbia only a relatively small number with less variants has been found. It is completely absent in the necropolis of upper Podrinje. 8. KNOBS The knob is a plastic, convex, circular motif, met as an ornament on various shapes of steci. It has been assumed in the literature that the knob should belong to astral c motifs because it symbolises the Sun (Belagi, 1982). Its Solar character is also s c indicated by the fact that in many cases it was engraved together with the crescent and the star, as well as the presence of oblique engravements on its upper surface (resembling a star). Within the group of astral motifs it is the least frequent one. Its territorial occurrence is non-uniform. It is more characteristic of Bosnia than of Herzegovina. it is most frequently met in Ludmer and in some parts of central Bosnia, in the surroundings of Kalinovik and Kupres. It is very rarely met in eastern Bosnia. As a motif it is completely unknown in the territory of Serbia. 9. CONCLUSION The present authors conclude that astral motifs are very often present on mediaeval tombstones found in the territories of present-day states of Serbia, Bosnia and Herzegovina and Montenegro. Among these astral motifs there are some very important ones. Three sorts of astral motifs are specied: Solar, Lunar and starry ones. In order to determine precisely the role of astral motifs at tombstones precise systematization and classication of the mentioned motifs is needed. The authors emphasize that not all of them have equal territorial distribution and frequency. In any case the importance of astral motifs in the study of mediaeval culture for a part of Southern-Slav population is indisputable.

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Figure 1: A group of astral motifs on the late mediaeval tombstones - steci (from c Belagi, 1982) s c 341

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Acknowledgements. One of the authors (SN) performs his research in this eld in the framework of Project 1471 History of Astronomy among Serbs nanced by the Ministry for Science, Technologies and Development of the Republic of Serbia. References
Belagi, S.: 1982, Steci - kultura i umjetnost, Sarajevo. s c c Dudi, N.: 1995, Stara groblja i nadgrobni belezi u Srbiji, Beograd. c Erdeljan, J.: 1996, Srednjovekovni nadgrobni spomenici u oblasti Rasa, Beograd. Je, Z.: 2001, Nekropola Dii, prilog poznavanju srednjovekovnih nadgrobnih spomenika, z c Saoptenja XXXII-XXXIII, Beograd, 136-145. s Mileti, N.: 1982, Steci, Beograd. c c Zeevi, E.: 1996, Srednjovekovni nadgrobni spomenici u zapadnoj Srbiji, steci, magistarski c c c rad u rukopisu, Beograd. Wilke, G.: 1924, Uber die Bedeuntung einiger Symbole an den Bogumilengrbern, GZM a XXXVI, Sarajevo, 27-38.

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