Jajce - svjedočanstvo o sukcesiji ljudskih pregnuća/Jajce - a Testimony to Successive Human...

JAJCE – SVJEDOЧANSTVO O SUKCESIJI QUDSKIH PREGNU]A

361 baŠtina - BA[TINA - HERITAGE


JaJCE – a tEStiMOnY tO SUCCESSiVE HUMan EnDEaVOURS

Qiqana [EVO/Ljiljana ŠEVO

Istorijsko gradsko podru~je Jajca predstavqa izvanredan i jedinstven spoj graditeqskog i prirodnog nasqe|a, koji je u visokom stepenu sa~uvao svoju autenti~nost i cjelovitost. U ovom neponovqivom zajedni{tvu qudskih pregnu}a koja svjedo~e o brojnim i razli~itim vremenskim epohama, wihovoj sukcesiji, me|usobnom dopuwavawu i harmonizovawu s jedne strane i oblika koje je gradila priroda u beskraju svoje raznolikosti, u fascinantnim pojavnim fenomenima vode, vazduha i tla, susreli su se objekti sakralne i fortifikacione arhitekture sa sedrenim gromadama Varo{nice, stambena i zdawa memorijalnog karaktera sa pe}inama u sedri, a mostovi i mlinovi sa koritima Vrbasa i Plive i sa vodopadom.

Istorijsko gradsko podru~je Jajca ~ini prostorno i topografski zaokruènu cjelinu. Dvije komponente kqu~ne su za formirawe slike grada. To su uloga morfologije terena i prirodnih pojava – rijeka, vodopada, kaskada, stijena od sedre. Druga komponenta je me|usobna proètost prirodnog i qudskom rukom oblikovanog. U Jajcu je element prirodne datosti veoma snaàn – dominantan – tako da se qudska intervencija u “dramati~noj scenografiji”

The historic area of Jajce is an extraordinary and unique combination of architectural and natural heritage, which has preserved to a high degree its authenticity and coherence. In this unique integration of human endeavour that bears witness to numerous and various ages, their succession, complementarity and harmonization on the one hand, and the forms built by nature in its infinite diversity on the other, in the fascinating phenomena of the emergence of water, air, and soil, structures of religious and fortification architecture met with the Varošnica tufa cliffs, residential and memorial buildings with tufa caves, bridges and water mills with the rivers Vrbas and Pliva watercourses and the waterfall.

Jajce’s historic urban area is a spatially and topographically self-contained ensemble. Two components are crucial for the formation of the image of the town: the role of the morphology of the terrain, and natural phenomena – rivers, waterfalls, cascades, tufa rocks. The other component is the intermingling of the natural world and the products of human intervention. In Jajce, the element of natural conditions is very powerful – indeed, dominant – so that man’s intervention in the “stage set” designed by nature merely fits into what could be called the genius loci.

The most powerful element of the town’s


362baŠtina - BA[TINA - HERITAGE

zadatoj prirodom samo uklapa u ono {to bi moglo da se nazove genius loci.

Najsna`niji element slike grada je svakako vodopad, koji je kroz istoriju razvoja strukture grada postao i mjesto sa dominantnim zna~ewem – neka vrsta sredi{ta, okosnice. Jedinstvenost istorijskog gradskog podru~ja Jajca umnogome se moè definisati upravo kroz tu ~iwenicu – da elementi prirodnog nasqe|a diktiraju ukupnu vizuelnu senzaciju cjeline. Pozicija vodopada u sredi{tu naseqa i wegova uloga fokusa u strukturi, bi}u i razvoju grada ~ine Jajce tako posebnim (slike 1, 2 i 3).

Naredni element koji defini{e Jajce kao izvanredan primjer prirodno-graditeqske cjeline je kontinuiranost materijalnih tragova qudskog djelovawa visokog civilizacijskog nivoa i istorijskog zna~aja u razdobqu od praistorije do savremenog doba.

Tre}i faktor koji doprinosi sloènosti i bogatstvu strukture grada predstavqa neprekinutost urbanog razvoja – kontinuitet, preklapawe i su~eqavawe stratuma razli~itih epoha.

Posebnost, jedinstvenost cjeline, iskazuje se i u elementima koji tu cjelinu grade. Budu}i da najstariji tragovi qudskog djelovawa na podru~ju Jajca mogu da se datuju u vrijeme prelaza iz doba upotrebe kamena u doba upotrebe metala, o ~emu svjedo~e tragovi eneolitskog naseqa sa Varo{nica, kerami~ki materijal iz bronzanog doba i nalazi iz latenskog perioda, otkriveni na vi{e mjesta na podru~ju grada, zakqu~uje se da geostrate{ki poloàj grada, kao prelaza s jedne na drugu stranu Vrbasa, opravdava pretpostavku postojawa i praistorijskog, a ne samo kasnoanti~kog utvr|ewa na mjestu sredwovjekovne fortifikacije koja u osnovi i ima oblik kasnoanti~ke utvrde (castellum).1

U antici je podru~je Jajca dijelilo sudbinu plemenskog saveza Mezeja, definitivno

1) BOJANOVSKI Ivo, “Bosna i Hercegovina u anti~ko doba”, Aka-demija nauka i umjetnosti BiH, Monografije, tom LXVI, Sarajevo, 1988, 292.

image is indubitably the waterfall, which has become the most significant site throughout the history of the development of the urban structure – its centre, its backbone.

This is what dictates the uniqueness of the historic town of Jajce– the features of the natural heritage dictate the overall visual sensation of the whole. The location of the waterfall in the centre of the town and its role as the focal point in the structure, identity and development of the town are what make Jajce so special.(illus. 1, 2 and 3)

The next factor that defines Jajce as an extraordinary example of a natural and built ensemble is the continuity of material evidence of human activity of a high civilizational level and historical significance from prehistoric to modern times.

A third factor that contributes to the complexity and richness of the urban structure is the matchlessness of its urban development – the continuity, overlapping and confrontation of strata from various ages.

The particularity, the uniqueness of the ensemble is expressed in the elements that constitute the ensemble. Since the oldest traces of human activity in the area of Jajce can be dated to the time of transition from the use of stone to the use of metal, as is evidenced by the traces of a Neolithic settlement on Varošnice, pottery from the Bronze Age and finds from the La Tène period from several sites in the town, one may conclude that the geostrategic position of the town, as a crossing-point from one bank of the Vrbas to the other bank, justifies the hypothesis of the existence of a prehistoric fort, and not only of one dating from late antiquity,on the site of the mediaeval fort, which basically has the form of a late antique fortress (castellum).1

In ancient times, the Jajce area shared the destiny of the Mesea tribal union, who were finally conquered and incorporated into the Roman Empire after the defeat of the Illyrian-Pannonian uprising in 6-9 AD. An altar to the god Jupiter Depulsor,

1) BOJANOVSKI Ivo, “Bosna i Hercegovina u antičko doba”, BiH Acad-emy of Sciences and Art, Monographs, vol. LXVI, Sarajevo, 1988, 292.



pokorenih i u sastav Rimskog carstva ukqu~enih nakon sloma ilirsko-panonskog ustanka 6-9. godine. Od rimskih spomenika kulta i religije tu je `rtvenik boànstva Jupitera depulsora – predstavnika dràvne religije i vlasti.2

Reprezenti neke vrste autohtone religije – “interpretatio romana” doma}eg romanizovanog stanovni{tva - su kultni reqef sa likovnim prikazima Silvana i pet nimfa, unutar arhitektonske kompozicije u obliku pro~eqa hrama iz Careva Poqa kod Jajca, te reqef Silvana i nimfe iz Jajca.

Dobro poznato i dobro o~uvano svetili{te boga Mitre, sa scenom `rtvovawa bika, urezanom u stijeni i obojenom, sa skulpturom kautopatesa, `rtvenikom posve}enim nepobjedivom bogu Mitri i jo{ pet `rtvenika bez natpisa, svjedo~i da je od kraja 1. do sredine 4. vijeka, a mo`da i kasnije, na podru~ju Jajca po{tovano orijentalno boànstvo Mitre. Nalaz reqefa istog boànstva tako|e sa prikazom tauroktonije iz sela Mile nedaleko od Jajca to dodatno potvr|uje. Ovo orijentalno boànstvo slavili su uglavnom vojnici iz isto~nih provincija Rimskog carstva, {to svjedo~i da je wihovo prisustvo ovdje bilo sna`no i dugotrajno.

Me|u tragove anti~ke pro{losti koje u Jajcu moèmo valorizovati kao izuzetne, treba ubrojati i dio anti~ke nekropole u blizini Bawalu~ke (Papaz) kapije, datovane u 4. vijek, sa zidanim grobnicama.

Premda u osnovnoj kategoriji prepoznatqivi u {irem prostornom i vremenskom kontekstu, pomenuti anti~ki spomenici u Jajcu pokazuju posebnost u pogledu kulturno-istorijskih uticaja koji su dolazili sa razli~itih strana na ove prostore i na taj na~in u~inili ovu ba{tinu unikatnom.

2) Ovom bogu je, najvjerovatnije, bio posve}en hram u Brdu kod Jajca, obnovqen na po~etku 3. vijeka. PA[KVALIN Veqko, “Kultovi u anti~ko doba na podru~ju Bosne i Hercegovine”, Glasnik Zemaqskog muzeja, Arheologija, Sarajevo 1963, 139; BOJANOVSKI I, nav. dj, 293.

representative of the state religion and authority, survives as evidence of the Roman cult and religious monuments.2

Evidence of the indigenous religion – the “interpretatio romana” of the local Romanized population – is to be found in a cult relief with depictions of Sylvan with five nymphs within an architectural composition in the the form of a temple front, from Carevo Polje near Jajce, and a relief depicting Sylvan and nymphs from Jajce itself.

The well-known and well-preserved sanctuary of the god Mithras with a scene of the tauroctony or bull sacrifice, carved in the living rock and painted, with a sculpture of Cautopates, an altar dedicated to the invincible god Mithras and another five altars with no inscriptions, are evidence that from the end of the 1st to the mid-4th century, or even later, the Oriental deity Mithras was venerated in the Jajce area. Relief finds of the same deity, also depicting the tauroctony, from the village of Mile near Jajce provide further evidence for this assertion. This Oriental deity was worshipped mainly by soldiers from the Eastern Provinces of the Roman Empire, which is evidence of their powerful and long-lasting presence here.

Among the traces of the ancient past which may be regarded as being exceptional in Jajce, one should also include part of the ancient necropolis in the vicinity of the Banjaluka (Papaz) Gate, dated to the 4th century, with tombs made of stone.

Although recognizably belonging to a basic category within a broader spatial and temporal context, these ancient monuments in Jajce are distinct in terms of the cultural-historical influences that reached this region from different parts of the world, and thus made this heritage unique.

Unlike the depictions of Sylvan with nymphs, especially those from the area of ancient Greece, which suggest a composition in which the figures are located in front of a cave, the Jajce reliefs of Sylvan and

2) Very likely, the temple in a hill near Jajce was dedicated to this god, reconstructed early in the 3rd century: PAŠKVALIN Veljko, “Kultovi u antičko doba na području Bosne i Hercegovine”, Glasnik Zemaljskog muz-eja, Arhaeology, Sarajevo 1963, 139; BOJANOVSKI I., op. cit., 293.



Za razliku od prikaza Silvana sa nimfama, naro~ito onih s podru~ja stare Gr~ke, koji podrazumijevaju kompoziciju u kojoj se likovi smje{taju ispred pe}ine/spiqe, reqefi Silvana i nimfi iz Jajca predstavqeni su unutar arhitektonske kompozicije pro~eqa hrama. Ovakav na~in predstavqawa otkriva aktivniji uticaj anti~ke umjetnosti rimskih podunavskih provincija i svjedo~i o geografskom prostoru Jajca u razdobqu antike – o wegovoj poziciji pod uticajem Salone kao najja~eg kulturnog sredi{ta provincije Dalmacije.

Reqef Mitre tauroktonosa u Jajcu tako|e nosi karakteristike obrade rimske provincijske umjetnosti. U kontekstu izu~avawa vawskih kulturnih uticaja, prikaz Mitre tauroktonosa u Jajcu postaje zna~ajan, jer se scena ne odvija u ambijentu pe}ine, nego unutar trougla, zapravo pod zabatom – ~istim elementom arhitekture, koji je supstitut pro~eqa hrama, to jest adekvatan onom pro~equ hrama unutar kojeg je i reqef Silvana i nimfi iz Careva Poqa kod Jajca.3 To govori kako Mitrini reqefi sa prikazom tauroktonije u ambijentu pe}ine pripadaju italskom kultnom krugu, a scene Mitrine tauroktonije unutar

3) PAШKVALIN V, nav. dj, napomena 28.

nymphs are inside the architectonic composition of a temple front. This reveals the more active influence of the ancient art of the Roman Danubian provinces and bears witness to the geographical area of Jajce in ancient times – to its position under the influence of Salona as the most powerful centre of the Province of Dalmatia.

The relief of Mithras Taurocton in Jajce also reveals characteristic touches of Roman provincial art. In the context of the study of external cultural influences, the depiction of Mithras Taurocton in Jajce becomes significant since the scene is not taking place in a cave, but inside a triangle, under a gable – a purely architectural element which is a substitute for the temple front, i.e. it corresponds to the front of the temple inside which is the relief of Sylvan and nymphs from Carevo Polje near Jajce.3 This shows that the Mithras reliefs with depictions of the tauroctony in a cave setting belong to the Italic cult circle, while the scene of the Mithraic tauroctony on a gable as an architectural element is influenced by Hellenic sepulchral and cult art.4

3) V. PAŠKVALIN, op. cit., note 28.

4) PAŠKVALIN Veljko, “Grad Jajce i njegovo bliže područje pri kraju antike i na početku kasne antike s osobitim obzirom na kršćanstvo”, in: Proceedings of the scientific symposium commemorating the 600th anniversary

Sl. 1 - Ppipodne qepote Jajca – vodoпad i Plivska jezepaIllus. 1 - The natural beauty of Jajce – the waterfall and Pliva lakes



arhitektonskog elementa zabata stoje pod uticajem helenisti~ke sepulkralne i kultne umjetnosti.4

Ne samo u praistorijskom i anti~kom, nego i u sredwovjekovnom kontekstu, Jajce, u cjelini svoje prirodno-graditeqske nerazdvojivosti i u wenim pojedinostima, predstavqa zna~ajnu etapu u istoriji civilizacije. Romani~ke i goti~ke karakteristike prepli}u se na jaja~kim zdawima, jednako kao i razli~iti uticaji sa sjevera i juga Evrope, interpretirani razli~ito{}u izvo|ewa doma}ih i stranih majstora angaòvanih na wihovoj gradwi.

Jednostavna osnova i niski bedemi, ne {iri od jednog metra, koji su odlikovali romani~ko utvr|ewe u Jajcu, u 15. vijeku se pretvaraju u ra{irenu osnovu, sa ve}im brojem kula, pove}anom visinom bedema, sa poja~awima/kontraforima i zaobqenom glavnom kulom. Forma goti~kog luka ponavqa se na vratima i prozorima gra|evina.

Na osnovu poznatog arheolo{kog materijala i pisanih izvora moè se zakqu~iti

4) PAШKVALIN Veqko, “Grad Jajce i wegovo bliè podru~je pri kraju antike i na po~etku kasne antike s osobitim obzirom na kr{}anstvo”, u: Zbornik radova sa znanstvenog simpozija u povodu 600. obqet-nice spomena imena grada Jajca, Jajce 1396-1996, Jajce, 2002, 23.

In its entire environment in which the natural and the built are inseparable, as well as in all their details, Jajce represents a significant stage in the history of civilization, not only in the prehistoric and antique periods, but also in the mediaeval context. Romanesque and Gothic features intermingle in the buildings of Jajce, as do different influences from the north and the south of Europe, interpreted in the diverse executions of the local and foreign master craftsmen engaged in their construction.

In the 15th century the simple plan and low walls, no thicker than one metre, which characterized the Romanesque fortress in Jajce, took the form of an extended plan, with a larger number of towers and higher walls, with buttresses and a circular main tower. The Gothic arch features repeatedly in the doors and windows of the buildings.

On the basis of the known archaeological material, and from written sources, one may conclude that here, due to its characteristic historical and cultural-geographical position between the Mediterranean and central Europe, independent modifications of style occurred, such as are unknown in the artistic practice of other parts of Europe. Here the forms present in the Alpine and Pannonian areas

of the mention of the name Jajce, Jajce 1396-1996, Jajce, 2002, 23.



da je ovdje, zbog karakteristi~nog istorijskog i kulturno-geografskog poloàja izme|u mediteranske i centralne Evrope do{lo do samostalnih modifikacija stila kakve nisu poznate u umjetni~koj praksi drugih dijelova Evrope – ovdje se prepoznaju oblici prisutni u alpskim i panonskim oblastima, kao i umjetni~ki jezik jadranske obale.5

Чiwenica da su lokalni majstori radili uporedo sa stranim i da su na u~ewe zanata odlazili u razvijenije sredine izvan Bosne doprinijela je prihvatawu i asimilovawu razli~itih uticaja ~ija je kompleksnost vidqiva u realizaciji objekata i artefakata sredwovjekovne provenijencije u Jajcu. Za razliku od drugih bosansko-hercegova~kih gradova, koji su bili uglavnom orijentisani prema Dubrovniku, Jajce je imalo veoma razvijene veze sa Zadrom, Splitom i Trogirom (odakle su uvoèni so i vino). Veze sa sredwoevropskim radionicama su dosta dug vremenski period odràvane posredno – preko Dubrovnika.

Od posebne je va`nosti, u nauci ve} zabiqeèna, ali jo{ nedovoqno prou~ena i prezentovana, konstatacija o umjetni~kom uticaju Jurja Dalmatinca, najzna~ajnijeg graditeqa goti~ko-renesansne tradicije na {irem ju`noslovenskom podru~ju, u oblikovawu sredwovjekovnih gra|evina u Jajcu. Ve} je P. An|eli} konstatovao da je Jajce “po intenzitetu klesarske djelatnosti i opsegu radova na ~elu svih bosanskih gradova i kulturnih centara sredweg vijeka. Pomnija analiza do sada prona|enih ulomaka arhitektonske plastike iz Jajca i wegove bliè okolice pokazala bi {ta se sve ima pripisati Jurju ili wegovim u~enicima.”

Ipak, najzanimqivije {to se desilo u sredwovjekovnom Jajcu (kao i na {irem prostoru Bosne) je stil koji je nastao u susretu sjevernih i mediteranskih formi, sa elementima lokalnog podnebqa i narodne, prije svega klesarske tradicije. Sa sigurno{}u se zna da je u Jajcu u

5) MIKULI] Planinka, “Elementi gotike u sakralnoj arhitek-turi Jajca”, u: Zbornik radova sa znanstvenog simpozija u povodu 600. obqetnice spomena imena grada Jajca, Jajce 1396-1996, Jajce, 2002, 65.

may be recognized, as well as the artistic language of the Adriatic coast.5

The fact that local master craftsmen worked in tandem with foreign craftsmen, and that they went to more developed countries outside Bosnia to learn their craft, contributed to the acceptance and assimilation of various influences whose complexity is visible in the realization of the buildings and artefacts of mediaeval origin in Jajce. Unlike other Bosnian-Herzegovinian towns, which were mostly Dubrovnik-oriented, Jajce had well-developed relations with Zadar, Split and Trogir (from which salt and wine were imported). Relations with mediaeval workshops were indirectly maintained for quite a long period – via Dubrovnik.

Especially important, as scholarship has already noted, but still insufficiently studied and expounded, is the claim concerning the artistic influence of Juraj Dalmatinac, the most significant master builder in the Gothic-Renaissance tradition in the shaping of mediaeval buildings in Jajce, in the wider South Slavic territory. P. Anđelić has previously noted that “in the intensity of stonemasonry work and the scope of works [Jajce] was ahead of all other Bosnian towns and cultural centres in the Middle Ages. A more careful analysis of the fragments of architectural sculpture found to date in Jajce and its immediate environs would reveal what is to be attributed to Juraj or his students.”

However, the most interesting feature of mediaeval Jajce (as in the wider area of Bosnia) is the style that resulted from the encounter of northern and Mediterranean forms, with elements of local atmosphere and folk traditions, primarily that of stonemasonry. There is no doubt that in the 15th century a stonemason’s workshop was in operation and that its master craftsmen built the crypt chapel – better-known as the Catacombs – and the famous Jajce royal portal. It should also be emphasized that the wealth of styles was enriched by the activity of

5) MIKULIĆ Planinka, “Elementi gotike u sakralnoj arhitekturi Jajca”, u: Proceedings of the scientific symposium commemorating the 600th anniver-sary of the Jajce name mention, Jajce 1396-1996, Jajce, 2002, 65.



15. vijeku radila klesarska radionica i weni su majstori gradili grobnu kapelu – poznatiju pod nazivom katakombe – i slavni jaja~ki kraqevski portal. Tako|e treba da se naglasi da je stilsko bogatstvo uve}ano djelovawem u~enika Andrije Ale{ija koji su kraqevsku palatu gradili po uzoru na venecijanske kasnogoti~ke palate.

Mnogi elementi arhitekture i skulpture u Jajcu imaju odlike sredwoevropske gotike. Na primjer, svod katakombi ima odre|ene sli~nosti u formi sa svodovima u crkvi Svetog Zenona u Veroni, te je mogu}e pretpostaviti postojawe nekog dalmatinskog uzora pri wegovoj gradwi.6

O raznovrsnosti i bogatstvu sredwovjekovnog stvarala{tva u Jajcu svjedo~i isprepletenost rada razli~itih klesarskih radionica. Djelovawe doma}e graditeqsko-klesarske radionice moè da se prati od 13. do druge polovine 15. vijeka. Weni proizvodi, iako rusti~ni, potvr|uju obrazovawe majstora u dalmatinskom zale|u. U prvoj polovini 15. vijeka, paralelno sa doma}om, djelovala je jo{ jedna radionica, ~ije se karakteristike vide na crkvi Svete Marije, sa odlikama gotike kontinentalnog tipa. Od sredine 15. vijeka u Jajcu je vidqiva prisutnost radionice majstora Andrije Ale{ija, ~ije su realizacije na nivou visokih umjetni~kih ostvarewa, i na koncu, pred kraj 15. i u prvim decenijama 16. vijeka u Jajcu djeluju umjetnici-klesari iz ugarskog kasnogoti~kog kruga.7

U 15. i 16. vijeku u umjetni~kim ostvarewima u Jajcu latentno je prisutan duh renesanse – prepoznatqiv u nekim elementima arhitekture i plastici zvonika crkve Svetog Luke i nekim kapitelima goti~ko-renesansnog manira, ~ije porijeklo moè da se traì u Ale{ijevoj radionici.8

U ru{evinama crkve Svete Marije prona|eni su ostaci skulpture – ruka sa

6) MIKULI] P, nav. dj, 67.

7) BASLER \uro, “Klesarski majstori i radionice u sredwovjekovnom Jajcu”, Zbornik kraji{kih muzeja, I, Bawa Luka, 1962, 98-108.

8) MIKULI] P, nav. dj, 68.

Andrija Aleši’s students, who built the royal palace on the model of a Venetian late-Gothic palace.

Many architectural and sculptural elements in Jajce have features of the central-European Gothic. For example, the vault of the Catacombs has certain similarities of form with the vaults of St Zeno in Verona; it is possible therefore to assume the existence of a Dalmatian model for its construction.6

The versatility and richness of mediaeval creativity in Jajce is attested by the overlap between the work of different masons’ workshops. The activity of a local builder’s and stone-mason’s workshop can be traced from the 13th to the second half of the 15th century. Its products, although rustic, confirm that the craftsmen were trained in the Dalmatian hinterland. In the first half of the 15th century, in tandem with the local workshop, another workshop was active. Its characteristics, with some elements of continental Gothic, can be seen in St Mary’s Church. Visible in Jajce, from the mid-15th century, was the presence of Andrija Aleši’s workshop, whose creations were high artistic achievements. Eventually, late in the 15th century and in the first decades of the 16th century, stone masons from the Hungarian late-Gothic circle were active.7

In the 15th and 16th centuries the spirit of the Renaissance was latently present – recognizable in some elements of the architecture and plastic art of St Luke’s Bell-tower, and some capitals in the Gothic-Renaissance manner, whose origin may be sought in Aleši’s workshop.8

Remains of a sculpture – a hand holding a candlestick – were found in the ruins of St Mary’s Church, which reveals that the church was decorated with sculptures and mouldings. Two capital fragments decorated with acanthus leaves found in the south town wall, fragments of a stone window frame decorated with a twisted band motif and double dentate ornament, a column capital decorated with

6) MIKULIĆ P., op. cit., 67.

7) BASLER Đuro, “Klesarski majstori i radionice u srednjovjekovnom Jajcu”, Zbornik krajiških muzeja, I, Banja Luka, 1962, 98-108.

8) MIKULIĆ P., op. cit., 68.



svije}wakom – {to dokazuje da je crkva bila ukra{ena djelima izra|enim u punoj plastici. Dva fragmenta kapitela ukra{ena akantovim listom, otkrivena u zidu ju`nog gradskog bedema, potom fragmenti kamenog okvira prozora ukra{eni motivom tordirane vrpce i dvostrukim zup~astim ukrasom, kapitel stuba dekorisan floralnim motivom, te stub sa motivom akantusa,9 potvr|uju da je sredwovjekovna skulptura koja je krasila gra|evine Jajca spadala me|u jedinstvene i izvanredne primjere stvarala{tva, koje je obiqe`ilo jednu etapu evropske istorije.

Freske u kompleksu crkve Svete Marije bile su sa~uvane u fragmentima prizemnih zona. Na sjevernom zidu dio oslikanog sokla sa~uvao je fragmente velike kompozicije Posqedweg suda – prikaz gre{nika me|u plamenim jezi~cima pakla. Aktovi gre{nika su kasnogoti~kog sklopa, kao i fragment glave an|ela. Zbog velikog stepena o{te}enosti te{ko je govoriti

9) Svi pomenuti fragmenti ~uvaju se u Zemaqskom muzeju u Sarajevu.

a floral motif, and a column with an acanthus motif,9 confirm that the mediaeval sculptures decorating the buildings of Jajce were unique and outstanding examples of the creativity that marked one stage of European history.

The frescoes in the complex of St Mary’s church survived in fragments at ground-floor level. On the north wall, part of the painted socle retained fragments of the great composition of the Last Judgment – depicting sinners in the flames of hell. The nude bodies of the sinners are of late Gothic form, as is the fragment of the head of an angel. The damage is so severe as to make it difficult to say anything meaningful about the way the figures were modelled, but this entire fresco is assumed to date from the early or first half of the 15th century. Despite the fragmentary nature of the few surviving areas of the fresco, there is no reason to doubt the Gothic stylistic character of the ensemble, or the likelihood that it was painted by master craftsmen

9) All mentioned fragments are kept in the National Museum in Sarajevo.

Sl. 2 - Panopama тvp|ave i okolnih objekaтa, пo~etak XX vijekaIllus. 2 - Panorama of the fort and surrounding properties, early 20th century



o na~inu modelovawa figura, a vrijeme nastanka ove cjeline zidnog slikarstva pretpostavqa se u po~etak ili prvu polovinu 15. vijeka. Bez obzira na usitwenost i skroman broj ulomaka ne treba da se dovodi u pitawe goti~ki stilski karakter ovog ansambla, uz veliku vjerovatno}u za pretpostavku o primorskim majstorima kao wegovim autorima.10

Jedinstvenu pojavu u sredwovjekovnom graditeqstvu Evrope predstavqa grobna kapela – kripta – poznata pod nazivom Katakombe (premda, izuzev subterenskog pozicionirawa, nema ni{ta zajedni~ko sa ranohri{}anskim grobnicama). Evropski sredwi vijek, od karolin{kog razdobqa do pozne gotike, poznaje podzemnu sakralnu konstrukciju, naj~e{}e pogrebne namjene. Gradwa kripti {irom Evrope od 9. do 15. vijeka uslovqena je uvijek postojawem “gorwe” vidqive nadzemne

10) MAZALI] \, “Stari grad Jajce”, Glasnik Zemaqskog muzeja, Sara-jevo, 1952; KAJMAKOVI] Z, “Zidno slikarrstvo u Bosni i Her-cegovini”, Sarajevo, 1971, 86-90; KUJUNЏI} Ј., “Sredwovjekovne crkve u Jajcu”, Dobri pastir, sv. I-IV, godina XXI-XXII, Sarajevo 1972.

from the coastal regions.10

A unique phenomenon in European mediaeval architecture is the mausoleum chapel – the crypt – known as the Catacombs (although, except for its underground location, it has nothing in common with the early Christian tombs of the same name). The European Middle Ages, from Carolingian times to the late Gothic, saw the construction of underground religious edifices, usually for funerary purposes. The construction of crypts throughout Europe from the 9th to the 15th centuries was always dictated by the existence of the “upper” visible religious building above ground. The uniqueness of the Jajce Catacombs lies precisely in the fact that this underground building has no “upper” church. On the basis of an analysis of the area in which it lies, it is clear that there was no plan to erect a building above ground when work

10) MAZALIĆ Đ., ”Stari grad Jajce”, Glasnik Zemaljskog muzeja, Saraje-vo,1952; KAJMAKOVIĆ Z., ”Zidno slikarstvo u Bosni i Hercegovini”, Sarajevo 1971, 86-90; KUJUNDžIĆ J., ”Srednjovjekovne crkve u Jajcu”, Dobri pastir, sv. I-IV, godina XXI-XXII, Sarajevo 1972.



sakralne gra|evine. Unikatnost jaja~kih Katakombi leì upravo u ~iwenici da ova podzemna gra|evina nema “gorwu” crkvu, a na osnovu analize prostora na kojem se nalazi, o~ito je da nadzemna konstrukcija od po~etka gradwe kripte nije bila planirana. Susre}emo se, tako, u Jajcu sa jedinstvenom pojavom gradwe podzemne, u stijenu uklesane, grobnice, koja sadrì sve elemente prostora neophodnog za obavqawe liturgije.

Godine 1463. osnovana je Jaja~ka banovina, {to je zna~ilo slabqewe kulturnih veza sa Dalmacijom i udaqavawe od primorskih uzora. S druge strane, ja~aju veze sa Ugarskom i stoga i uticaji gotike kontinentalnog tipa postaju prisutniji. To dokazuju fragmenti doprozornika i dovratnika sa kraja 15. i po~etka 16. vijeka na kojima je naj~e{}i ukrasni motiv vrpca sa vertikalnim preplitawem.

Za vrijeme otomanske dominacije (1527-1878) grad dobija kona~an oblik. Crkva Svete Marije sa zvonikom Svetog Luke od osmanskog osvajawa sluè kao xamija Sulejmana II. Premda su perimetralni zidovi tvr|ave oja~ani, a kule preina~ene u bastione, sredwovjekovna fortifikacija ne doìvqava su{tinske izmjene strukture. Ono {to Jajce ~ini posebnim me|u gradovima u Bosni je ~iwenica da otomanska uprava i novi na~in i ritam ìvota islamizovanog stanovni{tva u gradu, nisu prouzrokovali radikalnu promjenu gradskog koncepta. Prostorna organizacija grada nije dobila elemente orijentalne organizacije, ve} je sa~uvala sredwovjekovnu {emu sa tri zone razli~itog sadràja. Najvi{u zonu predstavqa citadela i amfiteatralno poloèna uska stambena zona ispod we, opasana bedemom. To je dio sa kraqevskim dvorcem, koji pored stambene ima i neke javne funkcije. Drugu zonu ~ini jugozapadni dio platoa sa crkvom Svete Marije i zvonikom Svetog Luke (xamija Sulejmana II), grobqem i podzemnom kapelom (Katakombe), te posebnom kulom za wihovu odbranu. Tre}a zona je podgra|e, gdje su oko trgovi{ta organizovane ku}e zanatlija i trgovaca.

U koncepciji grada dominirala je wegova

began on the church.In Jajce, therefore, we encounter the unique phenomenon of the construction of an underground tomb, carved out of rock, bearing all the elements of a space necessary for the liturgy.

The Banate of Jajce was established in 1463, which meant a loosening of the cultural ties with Dalmatia and a departure from coastal models. On the other hand, ties with Hungary became stronger, and consequently the influence of continental Gothic was increasingly present. This is proved by the fragments of window and door frames from the late 15th and early 16th centuries, on which the most common ornament is a vertically-twisted band.

The town assumed its final shape during the Ottoman period (1527-1878). After the Ottoman conquest St Mary’s Church with St Luke’s Bell-tower were used as the Mosque of Suleyman II. Although the perimeter walls of the fortress were reinforced, and towers were converted into bastions, the mediaeval fortifications did not undergo any essential structural changes. What makes Jajce special among the towns of Bosnia is the fact that Ottoman rule and the new way and rhythm of life of the Islamized population in the town did not bring about any radical changes to the concept of the town. The town’s layout was not altered by the introduction of elements of Oriental organization, but rather preserved its mediaeval layout with three zones of differing content. The highest zone was the citadel, with below it a narrow residential zone, laid out amphitheatre-style, surrounded by a wall. This is the part of the town that contained the royal palace, and which had certain public functions in addition to the purely residential. The second zone consists of the southwestern part of the plateau with St Mary’s Church and St Luke’s Bell-tower (the Mosque of Suleyman II), a cemetery and the subterranean chapel (Catacombs), and a special tower for their defence. The third zone is the outlying quarter, where craftsmen’s and merchants’ houses are located.

The conception of the town was dominated by its natural conditions – the confluence of two rivers and the central position of the waterfall. Priority strategic reasons and the fact that mediaeval Jajce



prirodna datost – u{}e dviju rijeka i centralna pozicija vodopada. Prioritetni strate{ki razlozi i ~iwenica da je sredwovjekovno Jajce bilo jedna od najve}ih i najrazvijenijih ovda{wih urbanih aglomeracija, dodatno su doprinijeli o~uvawu sredwovjekovne organizacije grada. Orijentalni elementi – ~ar{ija kao javni i mahale kao stambeni dijelovi – uklopqeni su u ve} postoje}u {emu fortifikacije. Zadràna je sredwovjekovna mreà saobra}ajnica, a sredwovjekovni trg je blago preoblikovan u ~ar{iju sa nizovima du}ana od drveta. Zate~eni objekti javne namjene su adaptirani za drugu funkciju – jedna crkva se koristi kao xamija, druga se pretvara u gradski hamam – ali prostorna organizacija i arhitektonski akcenti su zadràni. Dodatno, u osmanskom razdobqu Jajce nije predstavqalo zna~ajno vojno niti ekonomsko upori{te, {to je doprinijelo izvjesnoj stagnaciji u razvoju grada od po~etka 16. do posqedwe ~etvrtine 19. vijeka.

U periodu austrougarske vladavine (1878-1918) nastaje industrijska zona, na desnoj obali Plive i lijevoj obali Vrbasa. Ona donekle doprinosi stvarawu novog izgleda grada i unosi neke nove elemente u wegovu urbanizaciju. Slika se bogati objektima novog stilskog izraza u duhu evropskog istoricizma. Uprkos tim promjenama, nije do{lo do naru{avawa osnovne, u antici utemeqene, a u sredwem vijeku definisane, urbane matrice grada. Strmi ~etvorostre{ni krov kao element stila, kao i vertikalna ra{~lawenost objekta i bjelina gorwe etaè objekta, zadràni su kao odre|uju}a karakteristika graditeqske kompozicije. Razvoj grada u austrougarskom i periodu dviju Jugoslavija tolerantno je uvaàvao fokuse – vodopad, sakralne objekte kao akcente u prostoru, trgova~ki i kulturni centar na mjestu sredwovjekovnog trga i osmanske ~ar{ije. “Pitoma slika feudalnog grada” sa wenom hijerarhijom arhitektonskih volumena, uklopqenih u rasko{an prirodni ambijent, ostali su dokaz kontinuiteta razvoja Jajca.

Na podru~ju Jajca tragovi qudskog ìvota registrovani su prije vi{e od ~etiri hiqade

was one of the largest and the most developed urban agglomerations here additionally contributed to the preservation of the town’s mediaeval organization. Oriental elements – the čaršija as the public arena and the mahala as the residential quarters – fitted into the pre-existing scheme of the fortifications. The mediaeval street network was retained, and the mediaeval square was generally reshaped into the čaršija with rows of wooden shops. The public structures already there were adapted for other functions – one church was used as a mosque, another was transformed into the town’s public bath-house – but the spatial organization and architectonic accents were retained. Furthermore, in Ottoman times Jajce was not a significant military or economic centre, which contributed to a certain stagnation in the development of the town from the early 16th century to the last quarter of the 19th century.

During the Austro-Hungarian period (1878-1918), the industrial zone was created on the right bank of the Pliva and the left bank of the Vrbas. To some extent, it contributed to the creation of a new image of the town and introduced some new elements into its urbanization. The image was enriched by structures in a new stylistic expression, in the spirit of European historicism. Despite such changes, there was no disruption to the basic urban matrix established in ancient times and defined in the Middle Ages. The steep hipped roof as an element of style, as well as the vertical stratification of the buildings and the whiteness of the upper floor, has been retained as a determining feature of architectural composition. The town’s development in the Austro-Hungarian period and the period of the two Yugoslavias tolerantly acknowledged the foci – the waterfall, religious structures as accents in space, the trade and cultural centre on the site of the mediaeval square and the Ottoman čaršija. “The gentle image of a mediaeval town” with its hierarchy of architectural volumes, fitted into the magnificent natural environment, has remained as witness to the continuity of Jajce’s development.

Traces of human habitation have been recorded in the Jajce area from over four thousand years ago. In



Sl. 3 - IndexIllus. 3 - Index



godina. Kao i danas i u starijim epohama podru~je Jajca svoju ekonomsku i politi~ku mo} zasnivalo je na prirodnim resursima i na strate{kom poloàju. Zna~aj koji ima savremeno Jajce imala su i naseqa koja su se sukcesivno smjewivala na wegovom mjestu u praistoriji, antici, sredwem vijeku, vremenu osmanske dominacije, austrougarskom razdobqu i vremenu prve i druge Jugoslavije.

Istorijsko gradsko podru~je Jajca je izuzetan primjer harmonizovane integracije arhitektonskih, klesarskih i slikarskih ostvarewa iz stilski razli~itih sukcesivnih perioda. Svaka epoha reprezentovana je tipi~nim artefaktima i zdawima, od kojih svaki, ~esto, predstavqa remek-djelo. Tako urbana fizionomija uvjerqivo govori pri~u o svom istorijskom razvoju.

Sasvim posebnim na~inom kojim se prostorno razvijalo, Jajce ilustruje jedinstven i poseban na~in evolucije graditeqstva i urbanog koncipirawa kroz mnoga stoqe}a.

Pet kqu~nih perioda kulturnog i politi~kog razvoja – antika, sredwi vijek, doba osmanske dominacije, doba austrougarske vladavine i vrijeme prve i druge Jugoslavije – izuzetnom potpuno{}u ilustrovani su arheolo{kim i graditeqskim nasqe|em Jajca. Objekti fortifikacionog, javnog, ekonomskog, sakralnog i stambenog karaktera izvanredni su primjeri u svojoj vrsti i ìvo su svjedo~anstvo o zna~ajnim etapama u qudskoj istoriji.

Sukcesija i prelazni oblici socijalnog i kulturnog razvoja jasno su vidqivi u svakom aspektu istorijskog gradskog podru~ja. Wegova ukupna slika obiluje neponovqivom atmosferom i nabojem pitoresknosti. Stoga Jajce predstavqa izvanredan primjer prirodno-graditeqskog i istorijskog ansambla, a wegova ukupnost i pojedinosti nesumwivo obiqeàvaju zna~ajnu etapu u qudskoj istoriji.11

11) Tekst je nastao kao obrazloèwe kriterijuma C IV - “Predstavqa izvanredan primjer tipa gra|evine, arhitektonske ili tehnolo{ke cjeline ili pejzaà koji predstavqa zna~ajan stadijum (zna~ajne sta-dije) u qudskoj istoriji” (UNESCO, kriterijumi za upis na Listu svjetske ba{tine).

olden times, as now, the Jajce area based its economic and political power on its natural resources and strategic position. The settlements that succeeded one another on the site of Jajce in prehistory, ancient times, the Middle Ages, the period of Ottoman dominance, the Austro-Hungarian period and the time of the first and second Yugoslavia, had the same importance that modern Jajce enjoys.

The historic town of Jajce is an outstanding example of harmonious integration between architectural, stonemasonry and artistic achievements from stylistically different periods. Each age is represented by its own typical artefacts and structures, each of which was often a masterpiece. The urban image thus tells a convincing story about its historical development.

In its distinctive spatial development, Jajce illustrates a unique and special mode of evolution of building and urban concentration over many centuries.

Five key periods of cultural and political development – antiquity, the Middle Ages, the period of Ottoman domination, the period of Austro-Hungarian rule, and the time of the first and second Yugoslavia – are illustrated with exceptional fullness by Jajce’s archaeological and architectural heritage. Its fortifications, and its buildings of a public, commercial, religious and residential character, are outstanding examples of their kind and living evidence of major stages of human history.

Successive and transitory forms of social and cultural development are clearly visible in each aspect of the historic town. Its overall image abounds in its own unique atmosphere and picturesqueness. This is why Jajce is an extraordinary example of a natural, architectural and historical ensemble, and its entirety and details undoubtedly mark a significant historical phase. 11

11) This article originated an explanation for Criterion IV: “to be an out-standing example of a type of building, architectural or technological ensem-ble or landscape which illustrates (a) significant stage(s) in human history” (UNESCO, Criteria for inscription on the World Heritage List).



BIBLIOGRAFIJA/bibLiOGRaPHY

BASLER Ђuro, Klesarski majstori i radionice u sredwovjekovnom Jajcu, Zbornik kraji{kih muzeja, I, Bawa Luka, 1962.

BOJANOVSKI Ivo, Bosna i Hercegovina u anti~ko doba, Akademija nauka i umjetnosti BiH, Monografije, tom LXVI, Sarajevo, 1988.

KAJMAKOVIЋ Zdravko, Zidno slikarstvo u Bosni i Hercegovini, Sarajevo 1971.KUJUNЏIЋ Juraj, Sredwovjekovne crkve u Jajcu, Dobri pastir, sv. I-IV, godina XXI-XXII, Sarajevo

1972.MAZALIЋ Ћoko, Stari grad Jajce, Glasnik Zemaqskog muzeja, Sarajevo,1952. MIKULIЋ Planinka, “Elementi gotike u sakralnoj arhitekturi Jajca”, u: Zbopnik padova sa znansтvenog

simpozija u пovodu 600. obqetnice sпomena imena gpada Jajca, Jajce 1396-1996, Jajce, 2002.PAШKVALIN Veqko, “Grad Jajce i wegovo bli`e podru~je pri kraju antike i na po~etku kasne

antike s osobitim obzirom na kr{}anstvo”, u: bopnik padova sa znansтvenog simpozija u пovodu 600. obqetnice sпomena imena gpada Jajca, Jajce 1396-1996, Jajce, 2002.

PAШKVALIN Veqko, “Kultovi u anti~ko doba na podru~ju Bosne i Hercegovine”, Glasnik Zemaqskog muzeja, Arheologija, Sarajevo 1963.

Jajce - svjedočanstvo o sukcesiji ljudskih pregnuća/Jajce - a Testimony to Successive Human...

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