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HTMLText_90F0A800_FFEE_C57A_41E8_97DBFCA6C98E.html = Ovaj impresivni stećak u obliku sljemenjaka s lokaliteta Klisa u Donjim Bakićima kod Olova jedan je od najoriginalnijih spomenika srednjovjekovne Bosne. Njegova najznačajnija karakteristika je to što je cijela površina ukrašena arhitektonskim motivom brvana, čime spomenik vjerno oponaša izgled tradicionalne drvene kuće brvnare. Ovakav prikaz "vječne kuće" direktna je materijalizacija srednjovjekovnog poimanja groba kao trajnog boravišta pokojnika na njegovoj plemenitoj baštini.
Na snimku se vide čeona i bočna strana koje precizno repliciraju konstrukciju krovnih greda i zidova. U pozadini se uočava još jedan značajan sljemenjak sa nekropole Dopasci kod Kladnja, poznat po raskošnim biljnim i spiralnim motivima. Zajedno, ovi spomenici ilustriraju bogatstvo klesarskih škola olovskog i kladanjskog kraja, koje su vješto pretvarale teški krečnjak u simulaciju drvene arhitekture i delikatne biljne ornamentike.
Ovaj izuzetni stećak s lokaliteta Stepen u Cernici kod Gacka predstavlja jedan od najvažnijih historijskih izvora za područje istočne Hercegovine. Spomenik je bogato ukrašen figuralnim predstavama, ali njegova najveća vrijednost leži u opširnom i precizno urezanom natpisu na južnoj bočnoj strani. Tekst je pisan bosanskom ćirilicom (bosančicom) i otkriva nam dragocjene podatke o rodoslovu i autorstvu samog spomenika.
Iz natpisa saznajemo da je ovo spomenik Vignja, sina Vukosava Pliščića, pripadnika lokalne vlastele iz 15. stoljeća. Posebno je značajan spomen Saracina Vukosalića kao pisara natpisa, što je rijedak primjer imenovanja umjetnika ili dijak-pisara u tom periodu. Cernica je u srednjem vijeku bila važan trgovački i administrativni centar, a ovaj stećak svojom monumentalnošću i natpisom svjedoči o pismenosti, porodičnom kontinuitetu i visokom stepenu zanatstva koje je cvjetalo u regiji Gacka.
Ovaj izuzetno bogato ukrašeni stećak u obliku stuba potiče sa nekropole Tekija kod Bratunca. Spomenik predstavlja vrhunac umjetničkog izražaja istočnobosanskih klesarskih radionica, a specifičan je po tome što je dekorisan sa sve četiri strane. Najveću pažnju privlači upečatljiv motiv ljudske figure sa podignutim rukama, što je ikonografski prikaz poznat kao orans (molitveni stav).
Osim centralne figure, površine stuba ispunjene su bogatim reljefima koji uključuju tordirane vrpce, bordure i geometrijske ukrase. Ovakva gustoća ornamenata ukazuje na visoki društveni status pokojnika, vjerovatno pripadnika lokalnog plemstva. Stub iz Tekije je ključni spomenik za razumijevanje sepulkralne umjetnosti Podrinja, gdje se kroz spoj kršćanske simbolike i autohtonih elemenata izražavala moć i identitet srednjovjekovne vlastele na njihovoj "plemenitoj baštini".
Ovaj monolitni stećak u obliku stuba s lokaliteta Opravdići kod Srebrenice predstavlja vrhunac klesarske tradicije istočne Bosne. Stubovi su specifična, kasnosrednjovjekovna forma, a ovaj primjerak se izdvaja monumentalnošću i jasno definiranim simboličkim programom.
Centralni ornament spomenika čini velika ljudska figura, čiji položaj ruku sugerira autoritet ili molitveni stav. Simbolički okvir upotpunjuju motivi križa i rozete.
Spomenik je dragocjen izvor za proučavanje socijalne stratifikacije srednjovjekovnog Podrinja, jer ovakvi unikatni prikazi često obilježavaju grobove istaknutih pojedinaca. Precizna izrada motiva svjedoči o vještini lokalnih majstora koji su vješto spajali geometrijske i figuralne elemente, stvarajući jedan od najprepoznatljivijih spomenika u lapidariju Zemaljskog muzeja.
Ovaj monumentalni sljemenjak s lokaliteta Barevište kod Mokrog (Široki Brijeg) predstavlja jedan od najznačajnijih spomenika zapadne Hercegovine. Stećak je izuzetno bogato ukrašen na svim stranama figuralnim predstavama koje uključuju motive lova, kola i viteških igara, što odražava visoki društveni status i kulturni horizont tadašnjeg plemstva. Njegova posebna vrijednost leži u natpisu na bosanskoj ćirilici urezanom na jednoj od užih strana.
Natpis spominje izvjesnog Vitka, naglašavajući da je sahranjen na svojoj „plemenitoj baštini“. Ovaj termin je ključan za razumijevanje srednjovjekovnog bosanskog prava, jer označava punu i nasljednu svojinu nad zemljom. Spoj raskošne likovne naracije i pravne terminologije u natpisu čini ovaj spomenik neprocjenjivim svjedočanstvom o identitetu, porodičnom ponosu i društvenom poretku srednjovjekovne bosanske države, gdje je grob služio kao trajna potvrda vlasništva nad zemljom predaka.
Ovaj monumentalni sljemenjak s lokaliteta Opličići kod Čapljine predstavlja vrhunac klesarske vještine kasnog srednjeg vijeka u Hercegovini. Njegova najistaknutija karakteristika su trostruko urezane arkade s oštrim lukovima koje krase sve četiri uspravne plohe spomenika. Unutar svake arkade vješto je isklesan motiv ljiljana u visokom reljefu, što spomeniku daje izuzetnu plastičnost i eleganciju, simbolizirajući plemićki status i čistoću.
Natpis na spomeniku otkriva da je on pripadao Radoju Bogčiniću, ali i dragocjen podatak o autorstvu: stećak je izradio čuveni majstor Grubač. Grubač je jedan od rijetkih imenovanih klesara čiji se prepoznatljiv stil—karakterističan po preciznim arhitektonskim formama i motivima ljiljana—može pratiti na više lokacija. Ovaj spomenik je ključan za razumijevanje umjetničkog kontinuiteta i postojanja razvijenih zanatskih radionica u donjem toku rijeke Neretve.
Ovaj monumentalni sljemenjak s nekropole Dopasci kod Kladnja predstavlja vrhunac dekorativnog stila koji je cvjetao u široj regiji gornjeg toka rijeke Drinjače. Spomenik je prepoznatljiv po svojoj izuzetno bogatoj i gustoj ornamentici koja prekriva njegove plohe. Dominantni motivi uključuju spirale i dvojne spirale, koje se u srednjovjekovnoj umjetnosti često tumače kao simboli cikličnosti prirode i vječnog kretanja.
Posebno je značajan motiv grožđa, odnosno vinove loze, koji je na ovom spomeniku izveden s velikom preciznošću. U ikonografiji stećaka, grožđe nosi snažnu eshatološku simboliku, asocirajući na plodnost, obilje i kršćansku simboliku "istinskog trsa". Ovako raskošna dekoracija, spojena s masivnošću sljemenjaka, jasno ukazuje na visoki društveni i ekonomski status pokojnika, dok majstorska izrada svjedoči o postojanju vrsnih klesarskih radionica na području srednjovjekovnog Kladnja koje su kamen pretvarale u živopisnu likovnu naraciju.
Ovaj prikaz fokusiran je na čeonu stranu monumentalnog sljemenjaka iz Donjih Bakića kod Olova, koji svojom formom vjerne imitacije kuće brvnare predstavlja vrhunac arhitektonskog oblikovanja u kamenu. Lijevo od njega nalazi se raskošni sljemenjak sa nekropole Dopasci kod Kladnja, koji je prepoznatljiv po gustoj mreži dekorativnih elemenata. Na njemu dominiraju motivi spirala, dvojnih spirala i grožđa, koji simboliziraju vitalnost, plodnost i eshatološku nadu u vječni život, što je karakteristično za umjetnički izraz šire okoline Kladnja.
Desno se nalazi stećak iz Tekije kod Bratunca, čija vitka forma stuba i figuralne predstave pružaju upečatljiv kontrast masivnim oblicima iz centralne Bosne. Ova tri spomenika zajedno čine jedinstvenu kompoziciju koja posjetiocu omogućava poređenje različitih klesarskih stilova i regionalnih varijacija—od stroge arhitektonske preciznosti Olova do bujne ornamentike Kladnja i figuralne naracije istočne Bosne.
Ovaj stećak u obliku krstače potiče s lokaliteta Simijova kod Bileće. Krstača predstavlja kasniju fazu razvoja sepulkralne umjetnosti srednjovjekovne Bosne i Hercegovine, kada tradicionalni oblici (ploče i sanduci) ustupaju mjesto eksplicitnijoj kršćanskoj simbolici. Spomenik je bogato ukrašen, s jasnom podjelom dekorativnih programa: zapadna strana je rezervisana za figuralne predstave, dok se na istočnoj strani nalazi natpis uokviren dekorativnim ornamentima.
Natpis na bosanskoj ćirilici precizno identificira pokojnika, navodeći da je ovo „krst Cvjetka Dragišića“. Spoj figuralne naracije i epigrafike na ovom spomeniku svjedoči o kontinuitetu klesarske tradicije, ali i o prilagođavanju novim religijskim i društvenim trendovima s kraja 15. i početka 16. stoljeća. Krstača Cvjetka Dragišića jedan je od najočuvanijih primjera ovog tipa u lapidariju Zemaljskog muzeja, ističući se elegancijom forme i preciznošću klesarskog rada.
Ovaj stećak u obliku krstače potiče s lokaliteta Simijova kod Bileće. Krstača predstavlja kasniju fazu razvoja sepulkralne umjetnosti srednjovjekovne Bosne i Hercegovine, kada tradicionalni oblici (ploče i sanduci) ustupaju mjesto eksplicitnijoj kršćanskoj simbolici. Spomenik je bogato ukrašen, s jasnom podjelom dekorativnih programa: zapadna strana je rezervisana za figuralne predstave, dok se na istočnoj strani nalazi natpis uokviren dekorativnim ornamentima.
Natpis na bosanskoj ćirilici precizno identificira pokojnika, navodeći da je ovo „krst Cvjetka Dragišića“. Spoj figuralne naracije i epigrafike na ovom spomeniku svjedoči o kontinuitetu klesarske tradicije, ali i o prilagođavanju novim religijskim i društvenim trendovima s kraja 15. i početka 16. stoljeća. Krstača Cvjetka Dragišića jedan je od najočuvanijih primjera ovog tipa u lapidariju Zemaljskog muzeja, ističući se elegancijom forme i preciznošću klesarskog rada.
Ovaj stećak u obliku sanduka potiče s čuvenog lokaliteta Radmilovića Dubrava kod Bileće, koji je poznat po izuzetno visokom kvalitetu umjetničke obrade kamena. Spomenik je bogato ukrašen na svim vertikalnim stranama figuralnim predstavama, ali se kao centralni i najznačajniji motiv ističe predstava kola. Kolo je na ovom stećku prikazano s velikom pažnjom na detalje, prikazujući figure u ritmičnom pokretu koje se drže za ruke, što simbolizira društvenu koheziju i zajedništvo srednjovjekovne zajednice.
Osim što predstavlja tradicionalni narodni ples, motiv kola u sepulkralnoj umjetnosti često nosi dublja eshatološka značenja, povezujući se s ritualima ispraćaja pokojnika i vizijom onostranog života. Bogatstvo reljefa i preciznost klesarskog rada na ovom sanduku svjedoče o postojanju jedne od najznačajnijih klesarskih škola u istočnoj Hercegovini, koja je kroz dinamične figuralne scene uspjela ovjekovječiti život i običaje plemstva tog vremena.
Ovaj visoki sanduk s lokaliteta Radmilovića Dubrava kod Bileće jedan je od najmonumentalnijih spomenika u lapidariju Zemaljskog muzeja. Karakteriše ga izrazita visina i izuzetno bogat dekorativni program koji prekriva sve njegove plohe. Najistaknutiji motivi su arkade koje uokviruju bočne strane, dajući spomeniku arhitektonsku čvrstinu, te upečatljiva predstava konjanika. Motiv konjanika u ikonografiji stećaka direktno upućuje na vitešku kulturu i visoki društveni status pokojnika, simbolizirajući njegovu moć i dostojanstvo.
Natpis na spomeniku otkriva da je on pripadao Vukši Dubčeviću, članu istaknute lokalne porodice. Preciznost kojom su izvedeni reljefi, od sitnih ornamentalnih bordura do dinamične figure konjanika, svjedoči o vrhunskom majstorstvu bilećkih klesara. Ovaj spomenik nije samo nadgrobno obilježje, već i vizuelni dokument koji spaja porodičnu historiju s univerzalnim simbolima srednjovjekovnog plemstva, čineći ga nezaobilaznim predmetom istraživanja sepulkralne umjetnosti istočne Hercegovine.
This chest-shaped stećak (sanduk) originates from the renowned Radmilovića Dubrava site near Bileća, famous for the exceptionally high quality of its artistic stonework. The monument is richly decorated on all vertical sides with figurative depictions, but the most significant and central motif is the representation of a kolo (a traditional circle dance). On this stećak, the kolo is depicted with great attention to detail, showing figures in rhythmic motion holding hands, symbolizing the social cohesion and unity of the medieval community.
Beyond representing a traditional folk dance, the kolo motif in sepulchral art often carries deeper eschatological meanings, linking it to funerary rituals and visions of the afterlife. The richness of the relief and the precision of the stonemasonry on this chest-shaped monument testify to the existence of one of the most significant carving schools in eastern Herzegovina, which, through dynamic figurative scenes, succeeded in immortalizing the life and customs of the nobility of that era.
This cross-shaped stećak (krstača) originates from the Simiova site near Bileća. The krstača represents a later stage in the evolution of medieval Bosnian sepulchral art, where traditional forms (slabs and chests) began to transition toward more explicit Christian symbolism. The monument is richly decorated with a clear division of decorative programs: the western side is reserved for figurative depictions, while the eastern side features an inscription combined with decorative ornaments.
The inscription in Bosnian Cyrillic precisely identifies the deceased, stating that this is the "cross of Cvjetko Dragišić." The fusion of figurative narration and epigraphy on this monument testifies to the continuity of the stonemasonry tradition, as well as its adaptation to new religious and social trends of the late 15th and early 16th centuries. The cross of Cvjetko Dragišić remains one of the best-preserved examples of this type in the National Museum's lapidarium, distinguished by its elegant form and the precision of its craftsmanship.
This cross-shaped stećak (krstača) originates from the Simiova site near Bileća. The krstača represents a later stage in the evolution of medieval Bosnian sepulchral art, where traditional forms (slabs and chests) began to transition toward more explicit Christian symbolism. The monument is richly decorated with a clear division of decorative programs: the western side is reserved for figurative depictions, while the eastern side features an inscription combined with decorative ornaments.
The inscription in Bosnian Cyrillic precisely identifies the deceased, stating that this is the "cross of Cvjetko Dragišić." The fusion of figurative narration and epigraphy on this monument testifies to the continuity of the stonemasonry tradition, as well as its adaptation to new religious and social trends of the late 15th and early 16th centuries. The cross of Cvjetko Dragišić remains one of the best-preserved examples of this type in the National Museum's lapidarium, distinguished by its elegant form and the precision of its craftsmanship.
This exceptional stećak from the Stepen site in Cernica near Gacko is one of the most important historical sources for the region of eastern Herzegovina. The monument is richly decorated with figurative depictions, but its greatest value lies in the extensive and precisely carved inscription on its southern side. The text is written in Bosnian Cyrillic (bosančica) and reveals precious data regarding genealogy and the authorship of the monument itself.
The inscription tells us that this is the monument of Viganj, son of Vukosav Pliščić, a member of the local nobility from the 15th century. Of particular significance is the mention of Saracin Vukosalić as the scribe of the text, a rare instance of naming the artist or scribe (dijak) during this period. In the Middle Ages, Cernica was a vital commercial and administrative hub; this stećak, with its monumentality and text, stands as a testament to the literacy, family continuity, and high level of craftsmanship that flourished in the Gacko region.
This impressive ridged stećak (sljemenjak) from the Klisa site in Donji Bakići near Olovo is one of the most original monuments of medieval Bosnia. Its most significant feature is the entire surface decorated with an architectural log-cabin motif, through which the monument faithfully mimics the appearance of a traditional wooden house. This depiction of the "eternal home" is a direct materialization of the medieval concept of the grave as a permanent dwelling for the deceased on their noble heritage.
The view captures the front and side faces, which precisely replicate the construction of roof beams and log walls. In the background, another significant ridged stećak from the Dopasci necropolis near Kladanj is visible, renowned for its lavish floral and spiral motifs. Together, these monuments illustrate the richness of the Olovo and Kladanj stonemasonry schools, which skillfully transformed heavy limestone into simulations of wooden architecture and delicate vegetal ornamentation.
This monolithic stećak in the form of a pillar from the Opravdići site near Srebrenica represents the pinnacle of the stonemasonry tradition of eastern Bosnia. Pillars are a specific, late-medieval form of these monuments, and this specimen stands out due to its monumentality and clearly defined symbolic program.
The central ornament of the monument features a large human figure, whose hand positioning suggests authority or a prayerful stance. The symbolic framework is completed by cross and rosette motifs.
The monument is a valuable source for studying the social stratification of the medieval Drina Valley region (Podrinje), as such unique depictions often mark the graves of prominent individuals. The precise execution of the motifs testifies to the skill of local masters who skillfully combined geometric and figurative elements, creating one of the most recognizable monuments in the lapidarium of the National Museum.
This monumental ridged stećak (sljemenjak) from Opličići near Čapljina represents the pinnacle of late medieval stonemasonry skill in Herzegovina. Its most striking feature is the triple-incised arcades with pointed arches that adorn all four vertical sides of the monument. Within each arcade, a lily motif is skillfully carved in high relief, lending the monument exceptional plasticity and elegance while symbolizing noble status and purity.
The inscription on the monument reveals that it belonged to Radoje Bogčinić, but also provides a precious detail regarding its authorship: the stećak was crafted by the famous Master Grubač. Grubač is one of the few named stonecutters whose distinct style—characterized by precise architectural forms and lily motifs—can be traced across several sites. This monument is vital for understanding the artistic continuity and the existence of highly developed craft workshops in the lower Neretva river valley.
This monumental ridged stećak (sljemenjak) from the Barevište site near Mokro (Široki Brijeg) is one of the most significant monuments of western Herzegovina. The stone is richly decorated on all sides with figurative depictions, including scenes of hunting, the kolo dance, and knightly tournaments, reflecting the high social status and cultural milieu of the medieval nobility. Its exceptional value lies in the inscription in Bosnian Cyrillic carved onto one of its narrower sides.
The inscription commemorates a man named Vitko, explicitly stating that he was buried on his "noble heritage" (plemenita baština). This term is vital for understanding medieval Bosnian law, as it denotes full and hereditary ownership of land. The fusion of lavish visual narration and formal legal terminology in the inscription makes this monument an invaluable witness to the identity, family pride, and social order of the medieval Bosnian state, where the grave served as a permanent claim to the ancestral lands.
This monumental ridged stećak from the Dopasci necropolis near Kladanj represents the pinnacle of the decorative style that flourished in the broader region of the upper Drinjača river. The monument is distinguished by its exceptionally rich and dense ornamentation covering its surfaces. The dominant motifs include spirals and double spirals, which in medieval art are often interpreted as symbols of natural cyclicity and eternal movement.
Of particular significance is the grape or grapevine motif, executed on this monument with great precision. In the iconography of stećci, grapes carry strong eschatological symbolism, associated with fertility, abundance, and the Christian symbolism of the "True Vine." Such lavish decoration, combined with the massiveness of the ridged shape, clearly indicates the high social and economic status of the deceased. Furthermore, the master craftsmanship testifies to the existence of skilled stonemasonry workshops in the medieval Kladanj area that transformed stone into a vivid visual narrative.
This richly decorated stećak in the form of a pillar originates from the Tekija necropolis near Bratunac. The monument represents the peak of artistic expression from Eastern Bosnian stonemasonry workshops and is unique for being ornately carved on all four sides. The most captivating feature is the striking motif of a human figure with raised arms, an iconographic depiction known as the orans (prayer stance).
Beyond the central figure, the pillar's surfaces are filled with rich reliefs, including twisted ribbons, decorative borders, and geometric ornaments. Such a high density of ornamentation indicates the elevated social status of the deceased, likely a member of the local nobility. The Tekija pillar is a crucial monument for understanding the sepulchral art of the Podrinje region, where the fusion of Christian symbolism and indigenous elements expressed the power and identity of medieval lords on their "noble heritage."
This tall chest-shaped stećak (visoki sanduk) from the Radmilovića Dubrava site near Bileća is one of the most monumental monuments in the National Museum's lapidarium. It is characterized by its significant height and an exceptionally rich decorative program covering all its surfaces. The most prominent motifs are the arcades that frame the sides, lending the monument an architectural solidity, and a striking depiction of a horseman. In stećci iconography, the horseman motif directly alludes to knightly culture and the high social status of the deceased, symbolizing power and dignity.
The inscription on the monument reveals that it belonged to Vukša Dubčević, a member of a prominent local family. The precision of the reliefs—ranging from intricate ornamental borders to the dynamic figure of the horseman—testifies to the superior craftsmanship of the Bileća stonecutters. This monument is not merely a gravestone but a visual document that fuses family history with the universal symbols of medieval nobility, making it an essential subject for the study of eastern Herzegovinian sepulchral art.
This view focuses on the front side of the monumental ridged stećak from Donji Bakići near Olovo, which, through its faithful imitation of a log cabin, represents the pinnacle of architectural shaping in stone. To its left stands the lavish ridged stećak from the Dopasci necropolis near Kladanj, distinguished by a dense network of decorative elements. It is dominated by motifs of spirals, double spirals, and grapes, symbolizing vitality, fertility, and the eschatological hope for eternal life—features characteristic of the artistic expression of the broader Kladanj region.
To the right is the stećak from Tekija near Bratunac, whose slender pillar form and figurative depictions provide a striking contrast to the massive shapes of central Bosnia. Together, these three monuments form a unique composition that allows the observer to compare diverse stonemasonry styles and regional variations—from the strict architectural precision of Olovo to the lush ornamentation of Kladanj and the figurative narration of eastern Bosnia.
Zbirka stećaka u Zemaljskom muzeju Bosne i Hercegovine predstavlja jednu od najreprezentativnijih i najbolje očuvanih kolekcija ovog naslijeđa pod zaštitom UNESCO-a. U botaničkom vrtu muzeja smješteno je deset spomenika, pažljivo prenesenih s različitih lokacija poput Olova, Kladnja i Bileće, kako bi se prikazali vrhunci srednjovječnog bosanskog klesarstva.
Kolekcija obuhvata potpunu tipološku evoluciju, od ploča i sanduka do monumentalnih sljemenjaka. Ovi spomenici su remek-djela ikonografije, ukrašeni simboličkim motivima poput slijepih arkada, solarnih rozeta, ljiljana, te svjetovnih prikaza lova i kola.
Mnogi primjerci sadrže natpise na bosanskoj ćirilici, čuvajući imena pokojnika i majstora kovača, poput čuvenog Grubača. Ovaj lapidarij nudi jedinstven komparativni uvid u regionalne stilove, služeći kao ključni centar za proučavanje srednjovjekovnog društvenog identiteta i „plemenite baštine“ bosanskog kraljevstva.
Ovaj impresivni stećak u obliku sljemenjaka s lokaliteta Klisa u Donjim Bakićima kod Olova jedan je od najoriginalnijih spomenika srednjovjekovne Bosne. Njegova najznačajnija karakteristika je to što je cijela površina ukrašena arhitektonskim motivom brvana, čime spomenik vjerno oponaša izgled tradicionalne drvene kuće brvnare. Ovakav prikaz "vječne kuće" direktna je materijalizacija srednjovjekovnog poimanja groba kao trajnog boravišta pokojnika na njegovoj plemenitoj baštini.
Na snimku se vide čeona i bočna strana koje precizno repliciraju konstrukciju krovnih greda i zidova. U pozadini se uočava još jedan značajan sljemenjak sa nekropole Dopasci kod Kladnja, poznat po raskošnim biljnim i spiralnim motivima. Zajedno, ovi spomenici ilustriraju bogatstvo klesarskih škola olovskog i kladanjskog kraja, koje su vješto pretvarale teški krečnjak u simulaciju drvene arhitekture i delikatne biljne ornamentike.
Ovaj izuzetni stećak s lokaliteta Stepen u Cernici kod Gacka predstavlja jedan od najvažnijih historijskih izvora za područje istočne Hercegovine. Spomenik je bogato ukrašen figuralnim predstavama, ali njegova najveća vrijednost leži u opširnom i precizno urezanom natpisu na južnoj bočnoj strani. Tekst je pisan bosanskom ćirilicom (bosančicom) i otkriva nam dragocjene podatke o rodoslovu i autorstvu samog spomenika.
Iz natpisa saznajemo da je ovo spomenik Vignja, sina Vukosava Pliščića, pripadnika lokalne vlastele iz 15. stoljeća. Posebno je značajan spomen Saracina Vukosalića kao pisara natpisa, što je rijedak primjer imenovanja umjetnika ili dijak-pisara u tom periodu. Cernica je u srednjem vijeku bila važan trgovački i administrativni centar, a ovaj stećak svojom monumentalnošću i natpisom svjedoči o pismenosti, porodičnom kontinuitetu i visokom stepenu zanatstva koje je cvjetalo u regiji Gacka.
Ovaj izuzetno bogato ukrašeni stećak u obliku stuba potiče sa nekropole Tekija kod Bratunca. Spomenik predstavlja vrhunac umjetničkog izražaja istočnobosanskih klesarskih radionica, a specifičan je po tome što je dekorisan sa sve četiri strane. Najveću pažnju privlači upečatljiv motiv ljudske figure sa podignutim rukama, što je ikonografski prikaz poznat kao orans (molitveni stav).
Osim centralne figure, površine stuba ispunjene su bogatim reljefima koji uključuju tordirane vrpce, bordure i geometrijske ukrase. Ovakva gustoća ornamenata ukazuje na visoki društveni status pokojnika, vjerovatno pripadnika lokalnog plemstva. Stub iz Tekije je ključni spomenik za razumijevanje sepulkralne umjetnosti Podrinja, gdje se kroz spoj kršćanske simbolike i autohtonih elemenata izražavala moć i identitet srednjovjekovne vlastele na njihovoj "plemenitoj baštini".
Ovaj monolitni stećak u obliku stuba s lokaliteta Opravdići kod Srebrenice predstavlja vrhunac klesarske tradicije istočne Bosne. Stubovi su specifična, kasnosrednjovjekovna forma, a ovaj primjerak se izdvaja monumentalnošću i jasno definiranim simboličkim programom.
Centralni ornament spomenika čini velika ljudska figura, čiji položaj ruku sugerira autoritet ili molitveni stav. Simbolički okvir upotpunjuju motivi križa i rozete.
Spomenik je dragocjen izvor za proučavanje socijalne stratifikacije srednjovjekovnog Podrinja, jer ovakvi unikatni prikazi često obilježavaju grobove istaknutih pojedinaca. Precizna izrada motiva svjedoči o vještini lokalnih majstora koji su vješto spajali geometrijske i figuralne elemente, stvarajući jedan od najprepoznatljivijih spomenika u lapidariju Zemaljskog muzeja.
Ovaj monumentalni sljemenjak s lokaliteta Barevište kod Mokrog (Široki Brijeg) predstavlja jedan od najznačajnijih spomenika zapadne Hercegovine. Stećak je izuzetno bogato ukrašen na svim stranama figuralnim predstavama koje uključuju motive lova, kola i viteških igara, što odražava visoki društveni status i kulturni horizont tadašnjeg plemstva. Njegova posebna vrijednost leži u natpisu na bosanskoj ćirilici urezanom na jednoj od užih strana.
Natpis spominje izvjesnog Vitka, naglašavajući da je sahranjen na svojoj „plemenitoj baštini“. Ovaj termin je ključan za razumijevanje srednjovjekovnog bosanskog prava, jer označava punu i nasljednu svojinu nad zemljom. Spoj raskošne likovne naracije i pravne terminologije u natpisu čini ovaj spomenik neprocjenjivim svjedočanstvom o identitetu, porodičnom ponosu i društvenom poretku srednjovjekovne bosanske države, gdje je grob služio kao trajna potvrda vlasništva nad zemljom predaka.
Ovaj monumentalni sljemenjak s lokaliteta Opličići kod Čapljine predstavlja vrhunac klesarske vještine kasnog srednjeg vijeka u Hercegovini. Njegova najistaknutija karakteristika su trostruko urezane arkade s oštrim lukovima koje krase sve četiri uspravne plohe spomenika. Unutar svake arkade vješto je isklesan motiv ljiljana u visokom reljefu, što spomeniku daje izuzetnu plastičnost i eleganciju, simbolizirajući plemićki status i čistoću.
Natpis na spomeniku otkriva da je on pripadao Radoju Bogčiniću, ali i dragocjen podatak o autorstvu: stećak je izradio čuveni majstor Grubač. Grubač je jedan od rijetkih imenovanih klesara čiji se prepoznatljiv stil—karakterističan po preciznim arhitektonskim formama i motivima ljiljana—može pratiti na više lokacija. Ovaj spomenik je ključan za razumijevanje umjetničkog kontinuiteta i postojanja razvijenih zanatskih radionica u donjem toku rijeke Neretve.
Ovaj monumentalni sljemenjak s nekropole Dopasci kod Kladnja predstavlja vrhunac dekorativnog stila koji je cvjetao u široj regiji gornjeg toka rijeke Drinjače. Spomenik je prepoznatljiv po svojoj izuzetno bogatoj i gustoj ornamentici koja prekriva njegove plohe. Dominantni motivi uključuju spirale i dvojne spirale, koje se u srednjovjekovnoj umjetnosti često tumače kao simboli cikličnosti prirode i vječnog kretanja.
Posebno je značajan motiv grožđa, odnosno vinove loze, koji je na ovom spomeniku izveden s velikom preciznošću. U ikonografiji stećaka, grožđe nosi snažnu eshatološku simboliku, asocirajući na plodnost, obilje i kršćansku simboliku "istinskog trsa". Ovako raskošna dekoracija, spojena s masivnošću sljemenjaka, jasno ukazuje na visoki društveni i ekonomski status pokojnika, dok majstorska izrada svjedoči o postojanju vrsnih klesarskih radionica na području srednjovjekovnog Kladnja koje su kamen pretvarale u živopisnu likovnu naraciju.
Ovaj prikaz fokusiran je na čeonu stranu monumentalnog sljemenjaka iz Donjih Bakića kod Olova, koji svojom formom vjerne imitacije kuće brvnare predstavlja vrhunac arhitektonskog oblikovanja u kamenu. Lijevo od njega nalazi se raskošni sljemenjak sa nekropole Dopasci kod Kladnja, koji je prepoznatljiv po gustoj mreži dekorativnih elemenata. Na njemu dominiraju motivi spirala, dvojnih spirala i grožđa, koji simboliziraju vitalnost, plodnost i eshatološku nadu u vječni život, što je karakteristično za umjetnički izraz šire okoline Kladnja.
Desno se nalazi stećak iz Tekije kod Bratunca, čija vitka forma stuba i figuralne predstave pružaju upečatljiv kontrast masivnim oblicima iz centralne Bosne. Ova tri spomenika zajedno čine jedinstvenu kompoziciju koja posjetiocu omogućava poređenje različitih klesarskih stilova i regionalnih varijacija—od stroge arhitektonske preciznosti Olova do bujne ornamentike Kladnja i figuralne naracije istočne Bosne.
Ovaj stećak u obliku krstače potiče s lokaliteta Simijova kod Bileće. Krstača predstavlja kasniju fazu razvoja sepulkralne umjetnosti srednjovjekovne Bosne i Hercegovine, kada tradicionalni oblici (ploče i sanduci) ustupaju mjesto eksplicitnijoj kršćanskoj simbolici. Spomenik je bogato ukrašen, s jasnom podjelom dekorativnih programa: zapadna strana je rezervisana za figuralne predstave, dok se na istočnoj strani nalazi natpis uokviren dekorativnim ornamentima.
Natpis na bosanskoj ćirilici precizno identificira pokojnika, navodeći da je ovo „krst Cvjetka Dragišića“. Spoj figuralne naracije i epigrafike na ovom spomeniku svjedoči o kontinuitetu klesarske tradicije, ali i o prilagođavanju novim religijskim i društvenim trendovima s kraja 15. i početka 16. stoljeća. Krstača Cvjetka Dragišića jedan je od najočuvanijih primjera ovog tipa u lapidariju Zemaljskog muzeja, ističući se elegancijom forme i preciznošću klesarskog rada.
Ovaj stećak u obliku krstače potiče s lokaliteta Simijova kod Bileće. Krstača predstavlja kasniju fazu razvoja sepulkralne umjetnosti srednjovjekovne Bosne i Hercegovine, kada tradicionalni oblici (ploče i sanduci) ustupaju mjesto eksplicitnijoj kršćanskoj simbolici. Spomenik je bogato ukrašen, s jasnom podjelom dekorativnih programa: zapadna strana je rezervisana za figuralne predstave, dok se na istočnoj strani nalazi natpis uokviren dekorativnim ornamentima.
Natpis na bosanskoj ćirilici precizno identificira pokojnika, navodeći da je ovo „krst Cvjetka Dragišića“. Spoj figuralne naracije i epigrafike na ovom spomeniku svjedoči o kontinuitetu klesarske tradicije, ali i o prilagođavanju novim religijskim i društvenim trendovima s kraja 15. i početka 16. stoljeća. Krstača Cvjetka Dragišića jedan je od najočuvanijih primjera ovog tipa u lapidariju Zemaljskog muzeja, ističući se elegancijom forme i preciznošću klesarskog rada.
Ovaj stećak u obliku sanduka potiče s čuvenog lokaliteta Radmilovića Dubrava kod Bileće, koji je poznat po izuzetno visokom kvalitetu umjetničke obrade kamena. Spomenik je bogato ukrašen na svim vertikalnim stranama figuralnim predstavama, ali se kao centralni i najznačajniji motiv ističe predstava kola. Kolo je na ovom stećku prikazano s velikom pažnjom na detalje, prikazujući figure u ritmičnom pokretu koje se drže za ruke, što simbolizira društvenu koheziju i zajedništvo srednjovjekovne zajednice.
Osim što predstavlja tradicionalni narodni ples, motiv kola u sepulkralnoj umjetnosti često nosi dublja eshatološka značenja, povezujući se s ritualima ispraćaja pokojnika i vizijom onostranog života. Bogatstvo reljefa i preciznost klesarskog rada na ovom sanduku svjedoče o postojanju jedne od najznačajnijih klesarskih škola u istočnoj Hercegovini, koja je kroz dinamične figuralne scene uspjela ovjekovječiti život i običaje plemstva tog vremena.
Ovaj visoki sanduk s lokaliteta Radmilovića Dubrava kod Bileće jedan je od najmonumentalnijih spomenika u lapidariju Zemaljskog muzeja. Karakteriše ga izrazita visina i izuzetno bogat dekorativni program koji prekriva sve njegove plohe. Najistaknutiji motivi su arkade koje uokviruju bočne strane, dajući spomeniku arhitektonsku čvrstinu, te upečatljiva predstava konjanika. Motiv konjanika u ikonografiji stećaka direktno upućuje na vitešku kulturu i visoki društveni status pokojnika, simbolizirajući njegovu moć i dostojanstvo.
Natpis na spomeniku otkriva da je on pripadao Vukši Dubčeviću, članu istaknute lokalne porodice. Preciznost kojom su izvedeni reljefi, od sitnih ornamentalnih bordura do dinamične figure konjanika, svjedoči o vrhunskom majstorstvu bilećkih klesara. Ovaj spomenik nije samo nadgrobno obilježje, već i vizuelni dokument koji spaja porodičnu historiju s univerzalnim simbolima srednjovjekovnog plemstva, čineći ga nezaobilaznim predmetom istraživanja sepulkralne umjetnosti istočne Hercegovine.
This chest-shaped stećak (sanduk) originates from the renowned Radmilovića Dubrava site near Bileća, famous for the exceptionally high quality of its artistic stonework. The monument is richly decorated on all vertical sides with figurative depictions, but the most significant and central motif is the representation of a kolo (a traditional circle dance). On this stećak, the kolo is depicted with great attention to detail, showing figures in rhythmic motion holding hands, symbolizing the social cohesion and unity of the medieval community.
Beyond representing a traditional folk dance, the kolo motif in sepulchral art often carries deeper eschatological meanings, linking it to funerary rituals and visions of the afterlife. The richness of the relief and the precision of the stonemasonry on this chest-shaped monument testify to the existence of one of the most significant carving schools in eastern Herzegovina, which, through dynamic figurative scenes, succeeded in immortalizing the life and customs of the nobility of that era.
This cross-shaped stećak (krstača) originates from the Simiova site near Bileća. The krstača represents a later stage in the evolution of medieval Bosnian sepulchral art, where traditional forms (slabs and chests) began to transition toward more explicit Christian symbolism. The monument is richly decorated with a clear division of decorative programs: the western side is reserved for figurative depictions, while the eastern side features an inscription combined with decorative ornaments.
The inscription in Bosnian Cyrillic precisely identifies the deceased, stating that this is the "cross of Cvjetko Dragišić." The fusion of figurative narration and epigraphy on this monument testifies to the continuity of the stonemasonry tradition, as well as its adaptation to new religious and social trends of the late 15th and early 16th centuries. The cross of Cvjetko Dragišić remains one of the best-preserved examples of this type in the National Museum's lapidarium, distinguished by its elegant form and the precision of its craftsmanship.
This cross-shaped stećak (krstača) originates from the Simiova site near Bileća. The krstača represents a later stage in the evolution of medieval Bosnian sepulchral art, where traditional forms (slabs and chests) began to transition toward more explicit Christian symbolism. The monument is richly decorated with a clear division of decorative programs: the western side is reserved for figurative depictions, while the eastern side features an inscription combined with decorative ornaments.
The inscription in Bosnian Cyrillic precisely identifies the deceased, stating that this is the "cross of Cvjetko Dragišić." The fusion of figurative narration and epigraphy on this monument testifies to the continuity of the stonemasonry tradition, as well as its adaptation to new religious and social trends of the late 15th and early 16th centuries. The cross of Cvjetko Dragišić remains one of the best-preserved examples of this type in the National Museum's lapidarium, distinguished by its elegant form and the precision of its craftsmanship.
This exceptional stećak from the Stepen site in Cernica near Gacko is one of the most important historical sources for the region of eastern Herzegovina. The monument is richly decorated with figurative depictions, but its greatest value lies in the extensive and precisely carved inscription on its southern side. The text is written in Bosnian Cyrillic (bosančica) and reveals precious data regarding genealogy and the authorship of the monument itself.
The inscription tells us that this is the monument of Viganj, son of Vukosav Pliščić, a member of the local nobility from the 15th century. Of particular significance is the mention of Saracin Vukosalić as the scribe of the text, a rare instance of naming the artist or scribe (dijak) during this period. In the Middle Ages, Cernica was a vital commercial and administrative hub; this stećak, with its monumentality and text, stands as a testament to the literacy, family continuity, and high level of craftsmanship that flourished in the Gacko region.
This impressive ridged stećak (sljemenjak) from the Klisa site in Donji Bakići near Olovo is one of the most original monuments of medieval Bosnia. Its most significant feature is the entire surface decorated with an architectural log-cabin motif, through which the monument faithfully mimics the appearance of a traditional wooden house. This depiction of the "eternal home" is a direct materialization of the medieval concept of the grave as a permanent dwelling for the deceased on their noble heritage.
The view captures the front and side faces, which precisely replicate the construction of roof beams and log walls. In the background, another significant ridged stećak from the Dopasci necropolis near Kladanj is visible, renowned for its lavish floral and spiral motifs. Together, these monuments illustrate the richness of the Olovo and Kladanj stonemasonry schools, which skillfully transformed heavy limestone into simulations of wooden architecture and delicate vegetal ornamentation.
This monolithic stećak in the form of a pillar from the Opravdići site near Srebrenica represents the pinnacle of the stonemasonry tradition of eastern Bosnia. Pillars are a specific, late-medieval form of these monuments, and this specimen stands out due to its monumentality and clearly defined symbolic program.
The central ornament of the monument features a large human figure, whose hand positioning suggests authority or a prayerful stance. The symbolic framework is completed by cross and rosette motifs.
The monument is a valuable source for studying the social stratification of the medieval Drina Valley region (Podrinje), as such unique depictions often mark the graves of prominent individuals. The precise execution of the motifs testifies to the skill of local masters who skillfully combined geometric and figurative elements, creating one of the most recognizable monuments in the lapidarium of the National Museum.
This monumental ridged stećak (sljemenjak) from Opličići near Čapljina represents the pinnacle of late medieval stonemasonry skill in Herzegovina. Its most striking feature is the triple-incised arcades with pointed arches that adorn all four vertical sides of the monument. Within each arcade, a lily motif is skillfully carved in high relief, lending the monument exceptional plasticity and elegance while symbolizing noble status and purity.
The inscription on the monument reveals that it belonged to Radoje Bogčinić, but also provides a precious detail regarding its authorship: the stećak was crafted by the famous Master Grubač. Grubač is one of the few named stonecutters whose distinct style—characterized by precise architectural forms and lily motifs—can be traced across several sites. This monument is vital for understanding the artistic continuity and the existence of highly developed craft workshops in the lower Neretva river valley.
This monumental ridged stećak (sljemenjak) from the Barevište site near Mokro (Široki Brijeg) is one of the most significant monuments of western Herzegovina. The stone is richly decorated on all sides with figurative depictions, including scenes of hunting, the kolo dance, and knightly tournaments, reflecting the high social status and cultural milieu of the medieval nobility. Its exceptional value lies in the inscription in Bosnian Cyrillic carved onto one of its narrower sides.
The inscription commemorates a man named Vitko, explicitly stating that he was buried on his "noble heritage" (plemenita baština). This term is vital for understanding medieval Bosnian law, as it denotes full and hereditary ownership of land. The fusion of lavish visual narration and formal legal terminology in the inscription makes this monument an invaluable witness to the identity, family pride, and social order of the medieval Bosnian state, where the grave served as a permanent claim to the ancestral lands.
This monumental ridged stećak from the Dopasci necropolis near Kladanj represents the pinnacle of the decorative style that flourished in the broader region of the upper Drinjača river. The monument is distinguished by its exceptionally rich and dense ornamentation covering its surfaces. The dominant motifs include spirals and double spirals, which in medieval art are often interpreted as symbols of natural cyclicity and eternal movement.
Of particular significance is the grape or grapevine motif, executed on this monument with great precision. In the iconography of stećci, grapes carry strong eschatological symbolism, associated with fertility, abundance, and the Christian symbolism of the "True Vine." Such lavish decoration, combined with the massiveness of the ridged shape, clearly indicates the high social and economic status of the deceased. Furthermore, the master craftsmanship testifies to the existence of skilled stonemasonry workshops in the medieval Kladanj area that transformed stone into a vivid visual narrative.
This richly decorated stećak in the form of a pillar originates from the Tekija necropolis near Bratunac. The monument represents the peak of artistic expression from Eastern Bosnian stonemasonry workshops and is unique for being ornately carved on all four sides. The most captivating feature is the striking motif of a human figure with raised arms, an iconographic depiction known as the orans (prayer stance).
Beyond the central figure, the pillar's surfaces are filled with rich reliefs, including twisted ribbons, decorative borders, and geometric ornaments. Such a high density of ornamentation indicates the elevated social status of the deceased, likely a member of the local nobility. The Tekija pillar is a crucial monument for understanding the sepulchral art of the Podrinje region, where the fusion of Christian symbolism and indigenous elements expressed the power and identity of medieval lords on their "noble heritage."
This tall chest-shaped stećak (visoki sanduk) from the Radmilovića Dubrava site near Bileća is one of the most monumental monuments in the National Museum's lapidarium. It is characterized by its significant height and an exceptionally rich decorative program covering all its surfaces. The most prominent motifs are the arcades that frame the sides, lending the monument an architectural solidity, and a striking depiction of a horseman. In stećci iconography, the horseman motif directly alludes to knightly culture and the high social status of the deceased, symbolizing power and dignity.
The inscription on the monument reveals that it belonged to Vukša Dubčević, a member of a prominent local family. The precision of the reliefs—ranging from intricate ornamental borders to the dynamic figure of the horseman—testifies to the superior craftsmanship of the Bileća stonecutters. This monument is not merely a gravestone but a visual document that fuses family history with the universal symbols of medieval nobility, making it an essential subject for the study of eastern Herzegovinian sepulchral art.
This view focuses on the front side of the monumental ridged stećak from Donji Bakići near Olovo, which, through its faithful imitation of a log cabin, represents the pinnacle of architectural shaping in stone. To its left stands the lavish ridged stećak from the Dopasci necropolis near Kladanj, distinguished by a dense network of decorative elements. It is dominated by motifs of spirals, double spirals, and grapes, symbolizing vitality, fertility, and the eschatological hope for eternal life—features characteristic of the artistic expression of the broader Kladanj region.
To the right is the stećak from Tekija near Bratunac, whose slender pillar form and figurative depictions provide a striking contrast to the massive shapes of central Bosnia. Together, these three monuments form a unique composition that allows the observer to compare diverse stonemasonry styles and regional variations—from the strict architectural precision of Olovo to the lush ornamentation of Kladanj and the figurative narration of eastern Bosnia.
Zbirka stećaka u Zemaljskom muzeju Bosne i Hercegovine predstavlja jednu od najreprezentativnijih i najbolje očuvanih kolekcija ovog naslijeđa pod zaštitom UNESCO-a. U botaničkom vrtu muzeja smješteno je deset spomenika, pažljivo prenesenih s različitih lokacija poput Olova, Kladnja i Bileće, kako bi se prikazali vrhunci srednjovječnog bosanskog klesarstva.
Kolekcija obuhvata potpunu tipološku evoluciju, od ploča i sanduka do monumentalnih sljemenjaka. Ovi spomenici su remek-djela ikonografije, ukrašeni simboličkim motivima poput slijepih arkada, solarnih rozeta, ljiljana, te svjetovnih prikaza lova i kola.
Mnogi primjerci sadrže natpise na bosanskoj ćirilici, čuvajući imena pokojnika i majstora kovača, poput čuvenog Grubača. Ovaj lapidarij nudi jedinstven komparativni uvid u regionalne stilove, služeći kao ključni centar za proučavanje srednjovjekovnog društvenog identiteta i „plemenite baštine“ bosanskog kraljevstva.
Zemaljski muzej Sarajevo (National Museum)
Sarajevo, Bosnia and Herzegovina
The artificial necropolis with stećci is today an integral part of the collection of the National Museum of Bosnia and Herzegovina in Sarajevo. Over the last hundred years, some of the most representative stećci have been relocated from various sites in Bosnia and Herzegovina to the Museum, thereby saving them from potential damage or destruction.
There are 37 stećci here in total, with the largest number located in the botanical garden, 10 in the garden in front of the museum, 2 in the medieval exhibition, and 4 next to the ethnology department. All the stećci (except those next to the ethnology department) are richly decorated, many contain epitaphs, and they largely reflect the complete area of the distribution of stećci as well as the most significant characteristics of stećci, such as their shapes and ornamentation. Among them, it is essential to highlight the renowned stećak from zgošća near Kakanj, which may represent the greatest achievement of medieval sepulchral art related to stećci, as well as some of the largest in size, such as the monuments from Lađevina near Rogatica, which weigh around 20 tons.
Unfortunately, this relocation of stećci from their original locations to the museum has had negative consequences as well. The monuments now find themselves in a different natural and climatic environment, which certainly affects their state of preservation. Furthermore, they are exposed to significantly greater anthropogenic influences, especially various pollutants encountered in an urban environment.
Zemaljski muzej Sarajevo (National Museum)
Sarajevo, Bosnia and Herzegovina
Vještačka nekropola sa stećcima danas je sastavni dio kolekcije Zemaljskog muzeja Bosne i Hercegovine u Sarajevu. Tokom posljednjih stotinu godina, neki od najreprezentativnijih stećaka premješteni su s raznih lokacija u Bosni i Hercegovini u Muzej, čime su spašeni od potencijalnog oštećenja ili uništenja.
Ovdje se nalazi ukupno 37 stećaka, od kojih se najveći broj nalazi u botaničkom vrtu, 10 u vrtu ispred muzeja, 2 u srednjovjekovnoj izložbi i 4 pored etnološkog odjeljenja. Svi stećci (osim onih pored etnološkog odjeljenja) su bogato ukrašeni, mnogi sadrže epitafe i uveliko odražavaju cjelokupno područje rasprostranjenosti stećaka, kao i najznačajnije karakteristike stećaka, poput njihovih oblika i ornamenata. Među njima je bitno istaknuti poznati stećak iz Zgošće kod Kaknja, koji možda predstavlja najveće dostignuće srednjovjekovne sepulkralne umjetnosti vezane za stećke, kao i neke od najvećih po veličini, poput spomenika iz Lađevine kod Rogatice, koji teže oko 20 tona.
Nažalost, ovo premještanje stećaka sa njihovih prvobitnih lokacija u muzej imalo je i negativne posljedice. Spomenici se sada nalaze u drugačijem prirodnom i klimatskom okruženju, što svakako utiče na njihovo stanje očuvanosti. Nadalje, izloženi su znatno većim antropogenim utjecajima, posebno raznim zagađivačima koji se susreću u urbanom okruženju.
The collection of stećci at the National Museum of Bosnia and Herzegovina is among the most prestigious assemblages of this UNESCO-protected heritage. Located in the museum’s botanical garden, these ten monuments were carefully relocated from diverse regions—such as Olovo, Kladanj, and Bileća—to represent the peak of medieval Bosnian craftsmanship.
The collection showcases a complete typological evolution, featuring slabs, chests, and ridged monuments. These stones are masterpieces of iconography, adorned with symbolic motifs including blind arcades, solar rosettes, lilies, and secular scenes like hunting and the kolo dance.
Many specimens feature inscriptions in Bosnian Cyrillic, preserving the names of the deceased and master stonecutters like Grubač. This lapidarium offers a unique comparative view of regional styles, serving as a vital center for the study of medieval social identity and the "noble heritage" of the Bosnian Kingdom.
A view of the stećci in front of the
National Museum of BiH in Sarajevo.
Zemaljski muzej Sarajevo (National Museum)
Sarajevo, Bosnia and Herzegovina
The artificial necropolis with stećci is today an integral part of the collection of the National Museum of Bosnia and Herzegovina in Sarajevo. Over the last hundred years, some of the most representative stećci have been relocated from various sites in Bosnia and Herzegovina to the Museum, thereby saving them from potential damage or destruction.
There are 37 stećci here in total, with the largest number located in the botanical garden, 10 in the garden in front of the museum, 2 in the medieval exhibition, and 4 next to the ethnology department. All the stećci (except those next to the ethnology department) are richly decorated, many contain epitaphs, and they largely reflect the complete area of the distribution of stećci as well as the most significant characteristics of stećci, such as their shapes and ornamentation. Among them, it is essential to highlight the renowned stećak from zgošća near Kakanj, which may represent the greatest achievement of medieval sepulchral art related to stećci, as well as some of the largest in size, such as the monuments from Lađevina near Rogatica, which weigh around 20 tons.
Unfortunately, this relocation of stećci from their original locations to the museum has had negative consequences as well. The monuments now find themselves in a different natural and climatic environment, which certainly affects their state of preservation. Furthermore, they are exposed to significantly greater anthropogenic influences, especially various pollutants encountered in an urban environment.
The collection of stećci at the National Museum of Bosnia and Herzegovina is among the most prestigious assemblages of this UNESCO-protected heritage. Located in the museum’s botanical garden, these ten monuments were carefully relocated from diverse regions—such as Olovo, Kladanj, and Bileća—to represent the peak of medieval Bosnian craftsmanship.
The collection showcases a complete typological evolution, featuring slabs, chests, and ridged monuments. These stones are masterpieces of iconography, adorned with symbolic motifs including blind arcades, solar rosettes, lilies, and secular scenes like hunting and the kolo dance.
Many specimens feature inscriptions in Bosnian Cyrillic, preserving the names of the deceased and master stonecutters like Grubač. This lapidarium offers a unique comparative view of regional styles, serving as a vital center for the study of medieval social identity and the "noble heritage" of the Bosnian Kingdom.
A view of the stećci in front of the National Museum of BiH in Sarajevo.