Culture of ancient Illyria
Ceramics as a typical element is characterized by the extensive use of shapes with two handles protruding from the edge as well as decoration with geometric motifs.
The local metallurgy produced various types of weapons on the basis of Aegean prototypes with an elaboration of artistic forms.
Spiritual culture is also expressed by a burial rite with mounds (tumuli) in which a rich material of archaeological artifacts has been found.
In ancient sources, the term "Illyrian" is applied to a wide range of tribes settling in a large area of southeastern Europe, including Ardiaei, Autariatae, Delmatae, Dassareti, Enchelei, Labeatae, Pannonii, Parthini, Taulantii and others (see list of ancient tribes in Illyria).
Symbols are depicted in every variety of ornament and reveal that the chief object of the prehistoric cult of the Illyrians was the Sun,[11][12] worshipped in a widespread and complex religious system.
[12] Illyrian deities were mentioned in inscriptions on statues, monuments, and coins of the Roman period, and some interpreted by Ancient writers through comparative religion.
The Roman deity of wine, fertility and freedom Liber was worshipped with the attributes of Silvanus, and those of Terminus, the god protector of boundaries.
Tadenus was a Dalmatian deity bearing the identity or epithet of Apollo in inscriptions found near the source of the Bosna river.
Aecorna or Arquornia was a lake or river tutelary goddess worshipped exclusively in the cities of Nauportus and Emona, where she was the most important deity next to Jupiter.
[19] Arrian records the chieftain Cleitus the Illyrian as sacrificing three boys, three girls and three rams just before his battle with Alexander the Great.
The rich spectrum in religious beliefs and burial rituals that emerged in Illyria, especially during the Roman period, may reflect the variation in cultural identities in this region.
[21] Nicetas (c. 335–414) was Bishop of Remesiana, (present-day Bela Palanka, Serbia), which was then in the Roman province of Dacia Mediterranea.
[22] According to reliable sources of archaeo-musicology, including those British, French and Italian, Nicetas has written, “I am Dardanian” (Latin: “Dardanus sum”).
They contain the expression "communion of saints" about the belief in a mystical bond uniting both the living and the dead in a certain hope and love.
His list of writings is extensive, and beside his Biblical works, he wrote polemical and historical essays, always from a theologian's perspective.
This focus stemmed from his close patron relationships with several prominent female ascetics who were members of affluent senatorial families.
On the contrary, encourage her by commendation..."[32] The Drilon-Mati-Glasinac culture is an archaeological culture, which first developed during the Late Bronze Age and Early Iron Age in the western Balkan Peninsula in an area which encompassed much of modern Albania to the south, Kosovo to the east, Montenegro, southeastern Bosnia and Herzegovina and parts of western Serbia to the north.
It consists of settlements usually built below hillforts along the Lezhë (Praevalitana)-Dardania and Via Egnatia road networks which connected the Adriatic coastline with the central Balkan Roman provinces.
The population of Komani-Kruja represents a local, western Balkan people which was linked to the Roman Justinianic military system of forts.
The development of Komani-Kruja is significant for the study of the transition between the classical antiquity population of Albania to the medieval Albanians who were attested in historical records in the 11th century.
[34][35][36] During the Bronze Age, a number of Illyrian and Ancient Greek tribes started to emerge itself on the territory of Albania and established several artistic centers at the same time.
The use of mosaic became widespread in Illyria and Ancient Greek colonies within the Illyrian coast on the Adriatic and the Ionian Sea.
The earliest examples of mosaic flooring date to the ancient period are housed in Apollonia, Butrint, Tirana, Lin, and Durrës.
[47][46] The 9 m2 (97 sq ft) mosaic is elliptical in shape and depicts a woman's head on a black background, surrounded by flowers and other floral elements.
Daunian pottery was mainly produced in the regional production centers of Ordona and Canosa di Puglia, beginning around 700 BC.
Messapian pottery was made by the Messapii, an ancient people inhabiting the heel of Italy since around 1000 BC, who migrated from Crete and Illyria.
The pottery was painted only in brown and black and was characterized by geometrical ornaments, swastikas, diamonds, and horizontal and vertical lines.
[42][51] The beginnings of architecture in ancient Illyria dates back to the middle Neolithic Age with the discovery of prehistoric dwellings in Dunavec and Maliq.
Cities within Illyria were mainly built on the tops of high mountains surrounded by heavily fortified walls.
Although there are prehistoric and classical structures, which effectively begins with constructions from the Illyrians such as in Byllis, Amantia, Phoenice, Apollonia, Butrint and Shkodër.
