Stećak
Stećak | |
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form of stećak (9%), they are usually the most elaborately and richly decorated ones. | |
Europe and North America |
Appearing in the mid 12th century, with the first phase in the 13th century, the custom of cutting and using stećci tombstones reached its peak in the 14th and 15th century, before being discontinued in the very early 16th century during the Ottoman conquest of Bosnia and Herzegovina.[1] They were a common tradition amongst Bosnian, Catholic and Orthodox Church followers alike,[3] and were used by both Slavic and the Vlach populations.[4][5]
On the territory of Bosnia and Herzegovina, all found individual and stećaks grouped in necropolises are considered immovable heritage and most are already inscribed on one of the lists of the
Etymology
The word itself is a contracted form of the older word *stojećak, which is derived from the South Slavic verb stajati (engl. stand).[9] It literally means the "tall, standing thing".[10] In Herzegovina they are also called as mašeti / mašete (Italian massetto meaning "big rock", or Turkish meşhet/mešhed meaning "tombstone of a fallen hero"[nb 1]), in Central and Western Bosnia as mramori / mramorje / mramorovi (marble), while in Serbia and Montenegro as usađenik (implantation). On the stećci inscriptions they are called as bilig (mark), kamen bilig (stone mark), kâm / kami / kamen (stone), hram (shrine), zlamen (sign), kuća (house), raka (pit), greb/grob (grave).[11][10][12][13] In 1495 lectionary they are recorded as kamy (stone).[14][15]
Although under the name stećak is meant high monolithic standing stones (i.e. sanduk and sljemenjak form), in the 20th century the word stećak was accepted in science as general term, including for plate tombstones (i.e. ploče).[9][16] The original reference to the word stećak itself is uncertain and seems to be modern invention as it can only be traced from the note by Ivan Kukuljević Sakcinski from 1851,[17] dictionary by Vuk Karadžić from 1852 (in the first edition from 1812 the term did not exist), although he contradicted himself as the commoners from Zagvozd called them starovirsko ("of the old faith"),[18] dictionary by Bogoslav Šulek from 1860 and so on,[19] while academic dictionaries mention it only from 1956/58.[20] It is considered that the term was usually used in East Herzegovina and in the area of Stari Vlah in Serbia.[18] Until the very early 20th century there was wandering in terminology, and some scholars proposed general terms like nadgrobni biljezi (gravestone markers) and mramorje (marble) to be more appropriate.[9]
The term stećak is uncommon in regional dialects and without etiological value,[10] and semantically incorrect and contradicting as it derives from the verb "to stand", while the chest-type to which it refers predominantly is laid down, while another sub-type of pillars and crosses is the one predominantly upright; this upright or standing sub-type does not amount even 5% of the overall number of stećci; in the original stećci inscriptions they are most often called as kami (meaning "stone" regardless of the form), thus some scholars proposed the term kamik (pl. kamici) for all forms of headstones, while stećak would mean only the upright sub-type.[21] The term kamik is more close to the original meaning and sometime is used instead of stećak in professional literature.[22]
The stećci area or cemetery folk names show respect and admiration for their dimensions, age or representations: Divsko groblje (Giants’ cemetery), Mašete (big stones), Mramori/Mramorje (marble blocks), Grčko groblje (Orthodox cemetery), Tursko groblje (Muslim cemetery), Kaursko groblje (Giaour’s cemetery).[23][6]
Characteristics
Definition
They are characteristic for the territory of present-day Herzegovina, central Bosnia and Podrinje in Bosnia and Herzegovina, and Dalmatia in Croatia, and some minor parts of Montenegro, Kosovo and Western Serbia, Northwestern Bosnia, and Croatia (Lika and Slavonia[24]).[25][26][27]
Stećci are described as horizontal and vertical tombstones, made of stone, with a flat or gable-top surface, with or without a pedestal.
For instance, in Bosnia and Herzegovina, according to UNESCO, "about 40,000 chests, 13,000 slabs, 5,500 gabled tombstones, 2,500 pillars/obelisks, 300 cruciform tombstones and about 300 tombstones of indeterminate shape have been identified. Of these, more than 5,000 bear carved decorations".[13]
The chronology established by Marian Wenzel assumes they developed from the plate headstones, the oldest one dating back to 1220 (the first were probably erected sometime in the mid-12th century[1]), the monumental ones emerged somewhere around 1360, those with visual representations around 1435–1477, and that total production ended circa 1505.[30][31] However, some consider that it lasted until the late 16th century, with rare examples that continued until the 18th century.[32] Stećci in the form of chest (sanduk) and ridge/saddle-roofed (sljemenjak) do not seem to have appeared before the middle or the end of the 14th century (1353-1477[33]), while the remaining two basic forms – the upright pillar (stup) and cross (krstača / križina), no earlier than mid-15th century. In the case of the latter, upright or standing forms could be influenced by the nišan – the upright monolithic stones on top of the Muslim (Turkish) graves, which had already emerged by the end of the 14th century in conquered parts of Macedonia and Serbia.[25][34] This form is predominantly found in Serbia and Eastern Bosnia.[32]
The initial stage of their development, which included simple recumbent plates or slabs isn't specific for the region, but it is of broad West Mediterranean origin, and as such the term stećak (implying the chest and ridge form) is misleading for all tombstone forms. The slabs were typical for a kind of burial in the West Mediterranean world of the 14th and 15th centuries, which had a special method of production and ornamentation in the Balkans, customized according to the stonemasonry skills and microenvironment.[35][36][37] They were initially made by the feudal nobility who wanted to affirm individual's prestige and power, sometimes also decorated with their coat of arms,[37] while later this tradition was embraced and adopted by other social classes like the Vlachs who experienced social-economical growth and almost exclusively built them from the mid-15th century on.[38][39]
Decorations
"I have for long lain here, and for much longer shall I lie"; "I was born into a great joy and I died into a great sorrow"; "I was nothing then, I am nothing now"; "You will be like I, and I can not be like you"; "May he who topples this stone be cursed"
A fraction of stećci (384
The most remarkable feature is their decorative motifs roughly divided in six groups which complement each other: social symbols, religious symbols, images of posthumous kolo, figural images, clear ornaments, and unclassified motifs (mostly symbolic, geometrical, or damaged).[46] Many of them remain enigmatic to this day; spirals, arcades, rosettes, vine leaves and grapes, lilium, stars (often six-pointed) and crescent Moons are among the images that appear. Figural images include processions of deer, horse, dancing the kolo, hunting, chivalric tournaments, and, most famously, the image of the man with his right hand raised, perhaps in a gesture of fealty.[31][47]
A series of visual representations on the tombstones can not be simplistically interpreted as real scenes from the life, and symbolic explanation is still considered by the scholarship.
Of all the animals, the deer is the most represented, and mostly is found on stećci in Herzegovina.[56] According to Dragoslav Srejović, the spread of Christianity did not cause the disappearance of old cult and belief in sacred deer.[57] Wenzel considered that it led the deceased to the underworld.[48] Historian Šefik Bešlagić synthesized the representations of deer: sometimes accompanied by a bird (often on the back or horns), cross or lilium, frequently are shown series of deer or doe, as well with a bow and arrow, dog and hunter(s) with a spear or sword (often on a horse). It is displayed in hunting scenes, as well some kolo processions led by a man who is riding a deer.[58] There scenes where deer calmly approach the hunter, or deer with enormous size and sparse horns.[50] Most of the depictions of "deer hunting" are facing west, which had the symbolic meaning for death and the otherworld. In the numerous hunting scenes, in only one a deer is wounded (the stećak has some anomalies), indicating an unrealistic meaning. In the Roman and Parthian-Sasanian art, hunted animals are mortally wounded, and the deer is only one of many, while on stećci is the only hunted animal.[59]
The motifs of kolo (in total 132
The vast regional, but scarce (usually only one) in-graveyard distribution mostly in the center or some notable position of cross-type stećci (križine), and their almost exclusively ornament of the crescent Moon and stars, could indicate cemetery label for specific (pagan) religious affiliation. The symbolism of the Moon and stars (Sun), which are often found on them, could be traced to a combination of pagan and Christian beliefs, [63] six-pointed star represent Venus (in Slavic mythology called Danica) and with Moon could represent "astral marriage",[64] or even Mithraism which had old Mazdakism belief that the dead body goes to the Moon and souls to the Sun,[65] while some considered a connection between astral symbols with the position of celestial bodies at the time of death of the deceased.[66]
Carving
They were carved by kovač / klesar (smith, mason; in the sense of Latin faber, "master"[46]), while the inscriptions, probably as a template, were compiled by dijak / pisar (pupil, scribe). Until now are known 33 personal names of masons, among whom most notable is Grubač due to quality and being both a mason and scribe. He made four stećci in Boljuni and four stećci in Opličići near Stolac.[67] The most notable scribe was Semorad who also worked around Stolac. It is considered that the masons studied the craft in Dalmatia and Ragusa, and from them those in hinterland.[68]
Stećci were mostly carved out of huge blocks, mostly of
Stećci in Bosnia and Herzegovina can be roughly divided on two stonemasonry schools Herzegovian (sarcophagi with arcades, figurative scenes, a wealth of motifs) and East Bosnian (sarcophagi in the form of chalets, floral motives).
In Croatia supposedly were two workshops, one in Cista Velika, and second in Čepikuće.[68] Local characteristic of stećci in the territory around Cetina river in Croatia is their rare ornateness, of which only 8-10% have simple decoration.[72][73] Those from upper Cetina are smaller and by type and style relate to those from Knin and Livno, while those from mid Cetina are more monumental.[74] Specific plate stećci were found in village Bitelić which are decorated with identical geometric ornament, not found in Dalmatia nor in Bosnia and Herzegovina, however by the nature of ornament and surface treatment is considered possible connection with several monuments near Church of St. Peter in Nikšić, Montenegro.[72][75]
In Montenegro could have existed around Nikšić, while in Glisnica and Vaškovo in Pljevlja Municipality. According to Bešlagić, in Serbia seemingly were no specific centers yet the masons arrived from Bosnia and Herzegovina.[68]
Origin
There are different and still inconclusive theories on their cultural-artistic, religious and ethnic affiliation.
Religion
Since the middle of the 19th century, specifically since the 1875 thesis by
Since the mid-20th century many scholars like Marian Wenzel,[88] once the world's leading authority on the art and artifacts of medieval Bosnia and Herzegovina,[89] concluded that the stećci tombstones were a common tradition amongst Catholic, Orthodox and Bosnian Church followers alike.[90][3] Wenzel's conclusion supported other historians' claims that they reflect a regional cultural phenomenon rather than belonging to a particular religious faith.[85][91] Sometime the inscriptions/motifs do reveal the confessional affiliation of necropolis/deceased to one of the three Church organizations in medieval Bosnia and Zachlumia.[92][93] This interconfessionality of stećci is one of their most remarkable features, and indicates high degree of Christianization of medieval Bosnian community.[93] However, it is considered that there is not enough basis to be perceived as exclusively Christian.[94]
Christian Gottlob Wilke sought origins of the symbolic motifs in the old Mediterranean spirituali and religious concepts. Đuro Basler in the artistic expression saw some parallels in late Romanesque art, while in symbolic motifs three components; pre-Christian, Christian and Manichaean (i.e. Bogomil).[76] Bešlagić asserted that those who have raised and decorated them were not completely Christianized because they practiced the old custom of putting attachments with the dead, and many artefacts made of metals, textiles, ceramics and skin, coins, earrings of silver, gilded silver and solid gold have been found in graves beneath stećci.[95] The customs like placing coin in the mouth (Charon's obol),[69] and placing drinking vessel near graves and heads, are from antique time.[95] Tomb pits were mostly used for one burial, but sometimes were for two and more. Based on one stećak inscription in Montenegro, Bešlagić argued that there was a pre-Christian custom of re-burial, in which the bones were washed and returned to the pit.[96]
Ethnic origin
The ethnic identity of the stećci has not yet been fully clarified. Until now the most dominant, but still not fully accepted,
Bešlagić and others related them to formation of Bosnian Kingdom and especially
Some other scholars proposed unconvincing theories; Ivo Pilar (1918) ideologically argued Croatian origin of medieval Bosnia,[103] later Dominik Mandić considered them to be part of the ritual of burial by the pagan Croats from the Red Croatia, Ante Škobalj similarly argued the Croatian theory.[100] Non-monumental around Cetina were identified with Croats while monumental with migrating Vlachs.[104] Vaso Glušac ideologically argued Serbian-Orthodox origin of both Bosnian Church and stećci,[105] while Vladislav Skarić considered they have represented Old Slavic "eternal home", and that initially were built from wood.[76] Vladimir Ćorović pointed out that the "Old Slavs have not used monoliths or larger blocks of stone to make their apartments, let alone for the grave signs. Even the less for their writing or decorations".[56]
Vlachs
The "autochthonous" Vlach theory was proposed by Bogumil Hrabak (1956) and Marian Wenzel (1962). However, the theory is much older and was first proposed by Arthur Evans in his work Antiquarian Researches in Illyricum (1883).[16] While doing research with Felix von Luschan on stećak graves around Konavle considered that a large number of skulls weren't of Slavic origin yet similar to older "Illyrian" peoples, as well noted that Dubrovnik memorials recorded those parts to be inhabited by the Vlachs until the 15th century.[16] A study of inscriptions on the tombstones showed that individuals from Vlach tribes (like Vlahovići, Pliščići, Predojevići, Bobani, and Drobnjaci) were also buried beneath stećak graves.[106]
Hrabak was the first scholar to connect the historical documents and their relation to the persons mentioned on rare inscriptions on the stećci. In 1953 he concluded that the smith-stonemason Grubač from Boljun necropolis near Stolac built stećak of Bogovac not later than 1477, and that most of the monuments of Herzegovinian Vlachs, and not only Herzegovinian and not only Vlachs,[39] could be dated to the second half of the 15th century.[16] Wenzel in one of her studies researched sixteen stećci with similar dating and historically known persons. She noted the possibility that initially the stone monuments as such could have been introduced by the feudal nobility in the mid-14th century, which tradition was embraced by the Vlach tribes who introduced figural decoration.[16][39] The termination of the stećci production Wenzel related to the Ottoman invasion and new social circumstances, with the transition of Vlachs and near Slavs to Islam resulting with loss of tribal organization and characteristics of specific ethnic identity.[107][31][108]
Benac concluded that the distribution of the stećci in the lands at the right Cetina riverbank, in the parts of Dalmatian
The occurrence of stećci in the Cetina county is related to the
Anthropological research in 1982 on skeletons from 108 stećak graves (13-14th century) from Raška Gora near
Legacy
One of their enigmas is the fact they were not mentioned in local and foreign medieval documents. Franciscan chronicles which recorded many unusual things, like Turkish cemetery, did not mention them.
Since the second half of the 19th century, stećci are seen as a symbol of Bosnia and Herzegovina,[85] being objects of South Slavic ideological ethno-national building myths and ownership,[129] as well different opinions on their archaeological, artistic and historical interpretation.[6] The breakup of Yugoslavia and Bosnian War (1992–1995) caused a resurgence of Bosnian, Croatian and Serbian nationalism, in which all three ethnic groups tried to appropriate them as part of their own culture exclusively. Paradoxically, none of these groups in Bosnia and Herzegovina, (Bosniaks, Bosnian Serbs and Bosnian Croats), originally remember them in their collective consciousness, leaving them to deteriorate in nature or to human carelessness and destruction which at least halved the number.[130] This attitude alone implies how such appropriation is based on an ideological construct.[131] According to Marian Wenzel one of the three pervasive ethno-national ideological constructs, specifically the thesis about Bogomil origin of stećci, dates as far back as the last decade of the 19th century when it has been put forward by Austria-Hungarian bureaucracy, namely by a member of the Hungarian parliament Janos von Asboth, in correlation with similar thesis on origin of Muslim inhabitants of Bosnia and Herzegovina as descendants of Bogomils.[132][133] Such distortion of history will later attract criticism by scholars like Wenzel, who stated that through this particular example Austria-Hungarian authority practically delivered stećci "as a gift to Muslims, emphasizing their inheritance rights to the land and implying that the later Christians, comparatively, were the 'newcomers'".[133][134] During the war of the 1990s this theory will again have its resurgence in media and public discourse, seeking historical-political legitimacy in which Islamization of local Bosnia and Herzegovina populace was not only caused by Ottoman occupation but also by ingrained religious idiosyncrasy, epitomized in Bogomilsm, thus affirming ethnic and confessional difference between Bogomil population and population of Catholic and Orthodox confession.[135] However, it did not make a significant influence on scientific thinking or scholarship and comparative research in Bosnia and Herzegovina, nor elsewhere.[136]
Europe's first public presentation of the gravestones is attributed to Polish-born Russian immigrant and Yugoslav diplomat, Alexander Soloviev (1890–1971). He apparently wrote about them in the accompanying prospectus of Paris exhibition "Medieval art of the people of Yugoslavia" (1950).[80] The first regional public presentation was held in 2008 at Klovićevi Dvori Gallery, and represented an example of encouraging public dialogue between four nations.[137] They have influenced different art forms and were an inspirational theme for sculptors, painters, poets, filmmakers, writers and photographers.[6]
Notable stećci
Stećci are commonly concentrated in groups: in cemeteries of individual families with few specimens, in cemeteries of whole families with approximately 30 up to 50 specimens, big necropolis of rural
- It is considered that the oldest known stećak is that of Grdeša, a 12th-century župan of Trebinje.[139][140]
- It is considered that the oldest known stećak with inscription is that of Marija, wife of priest Dabiživ, with inscribed number and presumed year-date 1231, from Vidoštak near Stolac.[139]
- Ikavian.[141]
- The two ridge stećci which belonged to Jerko Kustražić and his wife Vladna from the mid 15th century, in Cista near Imotski, and Split, Croatia[142]
- The ridge stećak of Vlkoj Bogdanić (son of Radmil) who died in battle in the mid 15th century, made by mason Jurina, in Lovreć, Croatia[142]
UNESCO locations
Gallery
-
Radimljanecropolis, Bosnia and Herzegovina
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Radimlja, Bosnia and Herzegovina
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Umoljani, Bosnia and Herzegovina
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Dugo polje, Bosnia and Herzegovina
-
Morine, Bosnia and Herzegovina
-
Velike Grebenice, Bosnia and Herzegovina
-
Sarajevo, Bosnia and Herzegovina
-
Neum, Bosnia and Herzegovina
-
Velimlje, Montenegro
-
Cetinje, Montenegro
-
Klenak, Montenegro
-
Mramorje, Serbia
-
Somewhere in Dalmatia, Croatia
-
Somewhere in Dalmatia, Croatia
Notes
- ^ Turkish word meşhed means a monument erected to Islamic dead martyr şehid. The issue with the derivation is that stećci are attributed to, for Islam, infidel Christians and Bogomils, term mašet can also be derived from Turkish maşatlik meaning "non-Muslim cemetery", term mašet is of male while mašeta is of female gender, which is specific for Muslims.[11]
- Beograd at the day of Pentecost.[51] The etymological and cultural relation of jelen (deer), Ljelja and Ljeljo which are children of Perun, as well flower ljiljan (lilium) also called as perunika is still to be confirmed.[61] Ivo Pilar noted that the use of name Ljeljen for hills in toponymy of Herzegovina and Eastern Bosnia is common.[62]
See also
References
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- ^ Lovrenović 2013, pp. 52, 72, 176, 307.
- ^ a b Trako 2011, pp. 71–72, 73–74.
- ^ a b c d "Examination of nominations of cultural properties to the World Heritage List". UNESCO. 2016. Retrieved 20 March 2017.
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- ^ a b c Kužić 1999, p. 176.
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- ^ a b Trako 2011, p. 72.
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- ^ a b Milošević 1991, pp. 54, 62.
- Sources
- Horvat, Anđela (1963). "Prilog rasprostranjenju stećaka u Liki i Baniji". Prilozi Povijesti Umjetnosti U Dalmaciji (in Serbo-Croatian). 15 (1). Split: Književni krug Split i Konzervatorski odjel u Splitu: 26–35.
- Bešlagić, Šefik (1982). Stećci – kultura i umjetnost (in Serbo-Croatian). Sarajevo: Veselin Maleša.
- Zorić, Damir (1984). "Prinos problematici stećaka. U povodu knjige Šefik Bešlagić, Stećci – kultura i umjetnost, Sarajevo 1982". Radovi (in Serbo-Croatian). 17 (1). Zagreb: Institute of Croatian History: 207–211.
- Milošević, Ante (1991). Stećci i Vlasi: Stećci i vlaške migracije 14. i 15. stoljeća u Dalmaciji i jugozapadnoj Bosni [Stećci and Vlachs: Stećci and Vlach migrations in the 14th and 15th century in Dalmatia and Southwestern Bosnia] (in Croatian). Split: Regionalni zavod za zaštitu spomenika kulture.
- ISBN 0-8147-5520-8.
- Purgarić-Kužić, Branka (1995). "Dosadašnja istraživanja o stećcima". Radovi (in Serbo-Croatian). 28 (1). Zagreb: Institute of Croatian History: 242–253.
- Cebotarev, Andrej (1996). "Review of Stećci and Vlachs: Stećci and Vlach migrations in the 14th and 15th century in Dalmatia and Southwestern Bosnia". Povijesni prilozi [Historical Contributions] (in Croatian). 14 (14). Zagreb: Croatian Institute of History.
- Kužić, Krešimir (1999). "A Contribution to the Knowledge of Medieval Agricultural Implements and Other Country Tools According to Their Images on Standing Tombstones of Dalmatian Hinterland". Ethnologica Dalmatica (in Croatian and English). 8 (1). Ethnographic Museum Split: 175–185.
- Kužić, Krešimir (2001). "Zašto bi trebalo terminom "kamik" zamijeniti termin "stećak"?" [Why we should change the term “stećak” (literally: standing tomb-stone) with the term “kamik” (literally: stone)]. Historical Contributions (in Croatian and English). 20 (20). Zagreb: Croatian Institute of History: 259–272.
- Milošević, Ante (2004). "Stećci – chi li fece e quando?" [Stećci – who made them and when?]. Hortus Artium Medievalium (in Italian). 10. Zagreb: International Research Center for Late Antiquity and Middle Ages: 187–202. .
- Bulog, Josip (2007). "Prilog poznavanju kamika Vrgorske krajine" [Contribution to the Understanding of kamici in the Vrgorac Area]. Povijesni prilozi [Historical Contributions] (in Croatian). III (34). Zagreb: Croatian Institute of History: 389–420.
- ISBN 978-0863565038.
- Mužić, Ivan (2009). "Vlasi i starobalkanska pretkršćanska simbolika jelena na stećcima". Starohrvatska Prosvjeta (in Croatian). III (36). Split: Museum of Croatian Archaeological Monuments: 315–349.
- Trako, Redžo (2011). "Stećci: Božanska igra brojki i slova" [Stećci: Divine game of numbers and letters]. Socijalna Ekologija (in Croatian). 20 (1). Zagreb: Croatian Sociological Society, Institute of Sociology at Faculty of Philosophy, University of Zagreb: 71–84.
- ISBN 978-9533035468.
- Milošević, Ante (2013). "O problematici stećaka iz dalmatinske perspektive" [About the issue of Stećci from the Dalmatian perspective]. Godišnjak (in Croatian). 42. ISSN 2232-7770.
- Kurtović, Esad (2013). "Vlasi i stećci" [Vlachs and stećci]. Radovi (in Bosnian) (16). Sarajevo: Filozofski fakultet.
- Kurtović, Esad (2015). "Vlasi Drobnjaci i stećci (Crtica o Nikoli Raškoviću i njegovim nasljednicima)" [Drobnjaci Vlachs and stećci (A remark about Nikola Rašković and his heiress)]. Godišnjak (in Bosnian) (44). Sarajevo: ANUBiH: 303–316.
- Buturovic, Amila (2016). Carved in Stone, Etched in Memory: Death, Tombstones and Commemoration in Bosnian Islam since c. 1500. Routledge. ISBN 978-1317169567.
Further reading
- ISBN 0-8147-5520-8.
- Bešlagić, Šefik (1971). Stećci i njihova umjetnost (in Serbo-Croatian). Sarajevo: Zavod za izdavanje udžbenika.
- Bešlagić, Šefik (1980). "19th Century Documentation of Medieval Grave Monuments in the Makarska Coastal Area using the Examples of Mijat Sabljar and fra Lujo Marun". Contributions to the History of Art in Dalmatia (in Croatian and English). 21 (1). Split: Literary Circle of Split: 638–647.
- Milošević, Ante (1982). "Kasnosrednjovjekovna nekropola sa stećcima pod Borinovcem u Trilju" [Late Medieval Necropolis with "Stećci" under Borinovac at Trilj]. Starohrvatska Prosvjeta (in Croatian). III (12). Split: Muzej hrvatskih arheoloških spomenika: 185–199.
- ISBN 978-9958107511.
- Kurtović, Esad (2005). "Natpis na stećku kneza Pokrajca Oliverovića iz Vrhpolja – Pitanja datiranja" [Inscription on the Stećak of Prince Pokrajac Oliverovic from Vrhpolje – The issue of setting the date of origin]. Baština (in Bosnian and English) (1). Sarajevo: Komisija za očuvanje nacionalnih spomenika: 371–380.
- Tomasović, Marinko (2007). "19th Century Documentation of Medieval Grave Monuments in the Makarska Coastal Area using the Examples of Mijat Sabljar and fra Lujo Marun". Starohrvatska Prosvjeta (in Croatian and English). III (34). Split: Museum of Croatian Archaeological Monuments: 421–436.
- Alduk, Ivan (2011). "Kovač iz Gorske Župe" [Kovač of Gorska Župa]. Contributions to the History of Art in Dalmatia (in Croatian and English). 42 (1). Split: Literary Circle of Split: 161–186.
- Alduk, Ivan (2012). "Nadgrobne ploče kod Sv. Jure na Kozjaku" [Tombstones Near the Church of St. George on Mount Kozjak]. Tusculum (in Croatian and English). 5 (1). Split: 115–122.
- Kurtović, Esad (2012). "Prilog kontekstualizaciji i dataciji stećaka u Starom Slanom kod Trebinja" [A Contribution to the Contextualization and Dating of Stećci in Staro Slano near Trebinje]. Godišnjak (in Bosnian) (41). Sarajevo: S2CID 131461305.
External links
- UNESCO (2016). "Stećci Medieval Tombstones Graveyards".
- Croatian Encyclopaedia (2011). "Stećci".