Albanian Art

The article on Pirro, who offered to readers today, is a translation that aims to present the public a sense of his forgotten. Qualities and military role that it has military and political history. Caught hard and so absurd after qëmtimit his home, or even trying to return a wealth of global property nationalist debate, pyrrhic little known figure of what the modern world estimates. Author Nicola Zotti is in military occupation, but also show many historical culture, but also its stilistikën writing. Noticeable that in all trajtesën his summary, he uses the term Pirro, avoiding ndajshtesën of Epirit. This is because history is just a man with this name and that of world history, especially military admits it to recognize the merits of a politician and ushtaraku such disdain by refusing to discuss the pseudo-scientific debate on ethnic origin, which has no essential role. To explain this, not just writing in word, but all literature recognizes Pirro as a representatives of the three largest art military helenistik, Philip of Macedonia and supports Hanibalit. For more author atribuon he credited the military planning support diplomacy as an instrument equal. Thus, a strategist who seeks the war in the context of a project and that the investigation provides diplomatic metodikën peace. A man who started with the model of Alexander the Great and career closed with a product, which brought inspirimin the mythical hero of the study table in genuine military, while leaving behind us a project and a vision that was realized, as is known, only from Rome.
When the Balkans aimed Mediterranean empire. Dealing between Helene and Roman world. Pirro’s Epirit, strategu the first in modern history. Planner and visionary, Pirro was a hero rather than a statesman, who reformed the military art
Pirro (318 p.k-272 p.k). Plutarku, Polibi, Dionizi of Halikarnasit, Pauzania and Justini; all sources that have arrived so far to figure pyrrhic combine to pass information to and consult admirimin tough for his ambitions. Likewise, the general idea that De goal back a man who has greater ambition than talent show to be a criminal. Certainly this can not be said for Pirro; his great ambition was fueled by human quality, so great. Helena sovereign must be ambitious; weighed on the shadow of Alexander the Great and his acquisition as a model was an unavoidable necessity. I shkëlqyeri and mprehti Plutark, observes that, however, Pirro imitonte not Alexander the Great in external appearance, but in its essence. Some of the descendants of the Macedonians, were tending to mimicking the action, such as bias of the head in one hand, as Alexander, even though they did not receive injuries that force the hero to take such a view not natural. Pirro, meanwhile, urged him to imitonte achievement and military conquest and probably follow that this effort with personal courage. In more than one occasion, he decided the fate of the battle, while they personally intervened this dealing was crucial. But Pirro had, even though it was easy to have a character better than Alexander the Great; was less disponuar for confrontation and eksese and nothing shfaqej as half divine. Pirro stood much closer to our modern understanding. More so than a leading state hero. He was able to express and formulate strategies geopolitical as well as qualitative complex, a project designed to be must bring Pirro domination in the Mediterranean. They proved able to rationalize its military doctrine in a work that has been lost, but in antiquity brought the consolidation of his reputation beyond his military successes. His yard became a center of advanced strategic studies “whether to use a term of our days. Thus, in addition to his important works were written by CINET Thesaljoti, The pyrrhic and Alexander, his son. He directed his attention towards the Western Mediterranean. Dominonte Kartagjena in this area, but, except for her, there lulëzonin also numerous colonies of Helene as rich as can be supported by its forces fighting her, but also to a local power getting rapid increase that was Rome . Step, provided the Pirro zbarkonte in Italy to help Tarentin (Taranto today) against Rome. Colony would finance the war, as sanite tribes, including those threatened by the Roman ekspansionizmi, would serve as additional troops for the army epirotase. With faded Roman aggressiveness, Pirro would benefit from the lack of stability sicilian endemic to the island gëlltitur, a step needed to develop this crucial confrontation, with the Kartagjenën. And after its remains world. To not create the idea that this was a project megaloman, ekzagjerimit fruit of the military mentality one of many konkusitatorëve history, adding that Pirro should have a strategic vision of complete and sophisticated diplomacy in which the objectives will be clear had a role almost equal to the fight. Diplomacy is not seen as a useful tool, a hall and dinakërish fraud in military service requirements, but the primary instrument available to its projects. How all this went, all they know: the Romans were testified as a bone too hard to be broken, even by Pirro. Such would be the Romans, even many years later for imituesin his best, in the context of school leaders helenistikë, Hanibalin, who elaborated his huazoi and busting strategy and disposal of Rome, through its isolation from italikë allies. Exclusion of exceptional and unique is that Rome, however, should be understood, and this ability to understand the fault as well as for Pirro to Hanibalin. Both were confident on the basis of its capacity and tactical, which were very large, but, however, does not suffice to establish supremacy and hegemony over the “Rome System. A system based on internal political consensus and the strong diplomatic relations with the outside, cream on a homogeneous solid and morally, on an army of citizens, whose number was so skilled as to afford the mercenary helenistikë. Pyrrhic victory against Rome, in fact is even more based on political background than what was achieved against Hanibalit. Pirro estimated the opponent does not. He believes his elephants and his apparatus very kolauduar and related military downplayed the ability of resistance to a social and civil system, which was so different from that helenistik, apparently as indestructible as to waterproof.
Here’s what shows in what Plutarku CINET Thesaljoti Ambassador pyrrhic, made in Rome:
“… Received the analysis and consideration, by observing the manner of the Romans living. He tried to understand what were the virtues and qualities of their form of government, by talking to the most righteous of Romans. All these showed his pyrrhic, in particular, showed how the Senate had seemed to him as a consensus among many kings. Regarding the people, feared that the result of a hydra Lernës (mythological monster that shumëfishoheshin heads who was killed by Herakliu), as consul had already collected a number two times greater than those available in the battle Previous (in Heraklea) and so were willing to hold weapons. ” Diplomacy was invented and Cineas goals were excellent, but between Rome and culture helenistike distance was still too large.
Will be victorious, more precisely the Romans, who would think to fill this space: the invasion of Tarentit, which constituted and its first expansion, will arrive in Rome Liv Androniku, which emanate Latin literature.

DURRES-monuments included in the guide for local and foreign tourists in Durres are subject to a review concerning the state of their physical needs and intervention. Division of Monuments in Durres has been completed on the eve of opening the season with a map full of information regarding the current status of archeology and historical monuments and objects involved in the tourist guide. Director Edlira Tërpi has indicated that by the end of this year in archaeological monuments made subject visit will be invested 17.2 million lek for reconstruction, rehabilitation and maintenance items siege. “In cooperation with the Institute of Monuments of Culture is working to expand the number of monuments, which passed under the protection and maintenance of the state and in turn a part of them have gained the right to be restored,” the director has indicated . Division of Monuments in Durres, which includes care management of these facilities by Rrogozhine to Kruje, was able to convince the ministry to dehiscent some funds for such. Claims of this branch have said that several projects are under implementation, the other phase of the investment. With the Albanian state funds will be restored depot salt, Bazilika of Arapaj is among the most visited along with the amphitheater are most attractive for visitors and for this reason are also part of the restoration. Bazilika Arapaj has benefited 500 thousand lek restoration and addition will have a recreational environment and green wreath of siege. The list of monuments that will be completed this year are the restoration Bazilika of Gjuricaj, Amphitheater of Durres, Torre Venetian, Fatahut mosque and the restoration of Kalasë of Rodonit. Asfaltimi of roads, construction of tourist villages, laying network drinking water along the coast in Durres from the border with Lezhën by Spille has increased interest tourist groups to visit these monuments scattered throughout.

The new biennial feature in a new archaeological park in Adrianopol is presented during the international scientific conference entitled “Archadrin”, which was organized in the premises of the District Council of Gjirokastra.

Project on the archaeological park of Adrianopolit, is being carried out thanks to a collaboration with the region of Market, University of Macerates (Italy), Italian Embassy in Tirana, Gjirokastra District Council, Institute of Archeology, Tirana, regional directorate for cultural district Gjirokastra, University “Eqrem Çabej” of Gjirokastra, the association “Dante Alighieri (Italy), the association” Horizont “and the lower Dropullit municipality.

Specialists monuments of culture, management of local institutions, who have supported this project, have referred to the history of the archaeological zone Adrianopolit, and excavation project Archadrin.

The Italian archaeological mission for the Italian side, Roberto Perna, has estimated a maximum bilateral co-operation. “These scientific conferences are very important because through them we have the opportunity to show what we do specifically, which have passed the stage and what steps will throw yet concretely. I would like to assess the willingness and cooperation shown by all institutions that are partners of our project “Archadrin”, – has said the newspaper “Metropol” Roberto Perna.

The conference was one of the scientific activities planned in the first phase of the project “Archadrin”, which focuses on several aspects: the restoration of archaeological finds in Adrianopol, Cataloging of archaeological and cultural assets in the valley Drinos, and establishment of laboratory Archeology of the University “Eqrem Çabej” of Gjirokastra.

Draft

Project Coordinator, Theodor Bilushi, has confirmed that this project is intended to rise and organization of the archaeological park Adrianopolit, located near the valley Drinos, Sofratikë in the village, municipality Dropullit be lower, about 15 kilometers from the city of Gjirokastra , in the direction of south. “The territory of the Valley Drinos is full of archaeological riches of a great importance, which should be known to proceed with the planning instruments that will be finalized with tutelimin and evaluation of this tourist area,” – explains the Bilushi.

According to him, the objective of the project is Structuring of the park, in order to become a tool for assessment and tutelimi all around the territory. Objectives envisaged can be achieved by realizing a range of activities.

“During the last two years the Theater Adrianopolit have been digging and luckily found many objects are important,” – says Bilushi, underlining that during the winter season in the area flooding causes damage to various structures, which have been discovered from excavations.

Adrianopoli

The ancient city Adrianopolit already made a point of reference for archaeologists, who during these last two years have been issued in light of historical value. Digging has made it possible individualizimin of several monumental buildings of character that dokumentojnë some of the main phases of life in this urban area. In particular stratigrafitë earlier were excavated in some depth in the north of saxhos, in the eastern sector are characterized by stratification and dust levels in the clay of a dark and dense dust layer, as well as ceramics, arising from a recent channel. During studies gjeosizmike and gjeoradar missions conducted in the period 2006-2007 has been achieved in confirmed lines of extension of the city at 350 meters east-west direction and 400 meters north-south direction in the theater as a reference point. Realization of the archaeological map of the Valley Drinos is conducted through rikonicioneve field, which have made it possible individualizimin for the first time many siteve value, given by a repertori bibliographic conducted based on the works of professor Budinës as and unknown elements.

At the same time these sites are skeduar with GIS techniques through GPS satellite rilevimit. Besides the implementation of a file alfanumerike and photographic documentation is also a graphic documentation, giving gentplaneve important for each monument.

Drinos Valley and east of the urban site Adrianopolit seems related to the beginning of II century AD, when perhaps one of the sites of the valley is reorganized. During this time the city had a Adrianopolit intensive construction activity to continue without continuity solution, where monumental buildings and suffer modifications and restoration, which preserve both the functional and possibly planimetrikë. Digging dokumentojnë a subsequent intense urban transformations, including the realization of a building thought to have character sakral (holy). For this Procopi reminds us changing the name “Justinianopol” during the rule of Justinianit. Research dokumentojnë that the city continues to live after the VII century AD, when the city is still possible episkopale center, although it should be noted adapt and monumental urban plant, already a memory shkëlqimit earlier.

Artists participating are just students who have graduated in Multimedia and others are on the verge of protection degree
An exhibition titled completely separate “profile 042″ was in bloom yesterday environments gallery “Kumi”. Were students of the Academy of Arts, who this time in an environment unlike those we have seen so far brought their works to the public with photographs and instilacione. In this exhibition of new students have worked under the leadership of the atelierit multimedia pedagogut the Faculty of Arts Vladimir Myrtezait optical and with the help of curators and Miliada Hysenaj Klodjan Alldervishi. The exhibition is regarded as an initiative to help young students, for those towards the end of studies or for those who just have time to have graduated. “Profil042″ is the new initiative between young artists and the historical tradition of photography Albanian. An interesting initiative to profile a famous tradition of mjeshtërisë with a tradition still not very well known in the media of photography that happens today.
This first edition we hope to create a bed art event which will be the continuation of a tradition more than in the search for new public spaces for artists to enhance the mediation of new opportunities in all of its display in trench his research as an important element in the lives of artists, the exhibition shows pedagogu Vladimir Myrtezai. In this exhibition of art students have presented in this gallery environments ideas and their positions in relation to new media of photography and video. “The main impetus of the collaboration that made this interesting students of the Academy to awake in a certain way by a kind letargjia and konsumizmi public and to gray attacked this disinterest in consumer environments. In the street, in cafes, etc. in the urban space, with the intention that the artist goes to the public, following further pedagogu of multimedia Myrtezai.
According to him, the initiative has become evident now through multiple operators and supporters of the arts to realize this idea and how to increase more strongly all forms of interventionist artists, using all the spaces and forms of media in one form by demokratizuar expression and making the intervention as part of their normal development and ndërkomunikimit between them. In this exhibition have presented the work of their 11 students, two of whom were later evaluated and priced. According pedagogut Myrtezai: “This product art in general is an important part of art school and in particular the atelierit multimedia and because specifikës and its format should be indicated and the consumer found the work of art eventi like this.
Artists who participate in numerous student who have just done the degree in multimedia and others are on the verge of protection at the Academy of Arts degree. All the issues come from the numerous developments in the atelier and take the form of their influence to more open to the public and why not take and an assessment of their public. A key element of the exhibition is the old tradition of photography, which joins the picture today with a completely new face model, interpretation and philosophising. They fotografojnë the first thing that makes viewing eu impressed not bring a lead to reality, but trying to bring through kuadratit that fotografojnë, concepts that drive the Albanian society. “Says the other pedagogu.
Furthermore he adds that an element with an interest in a way and helps to create appropriate strategies to help artists and is leaving the cheap and in a sense take students from an act of healing on their product which that will extend and further to increase the skills competition in the management of spaces of their new art. The new curator Claude Miliada Hysenaj Alldervishi and come with a new experience in the management of their product. Young artists who presented their work came with a portfolio of artistic works. Was presented to the public works by Iva Seferi, Elda floor, Anisa Kazazi, Andon Ziu, Elton Gurakuqi, Briken Rozhani, Entela Hoxha, Miliada Hysenaj, Klodjan Alldervishi Anjeza Dyrmishi, Silver Niksic Dritan Mesareja etc..
The jury of this art intervention was composed of journalists, photographers, artists who finally split the two trophy in media photography and video media. Petrit Kumi, Hamza naiad, Fabjola Haxhillari, Thoma Thomai, were members of the jury. The first edition of “profile 042″ is an initiative of young artists of the Academy of Fine Arts gallery with “Kumi”.

“120 years of art and sculpture in Albania picturës” stands open to the public
Muzeale Line at the National Gallery of Art these days has had an influx of visitors, who visit its facilities. Çeljes Following this line, and many works are exhibited, which previously were not in these facilities. “Line muzeale particular, which remains open for several days on the premises of the new National Gallery of Arts, has attracted recently, the attention of visitors not only Albanians, but also foreign ones, to make known its employees. Several days ago, this institution has emerged before artdashësve kryeqytetas, with a new face with new ambition, but especially in this day is inaugurating the new lines muzeale under the name “120 years of art and sculpture pikturës from Albania end of the century. by the end of XIX century. XX. By employees GKA learned that not only new facilities and modern history in particular containing Thumbnails displayed in the line muzeale have attracted a large number of visitors, who belong to all ages, while these days can GKA be visited falas.Që years from’90, when the fall of communism and the entry of democracy in our country, every piece of art, which had to do with dictatorship was removed or destroyed in the National Gallery of Arts, meanwhile, hundreds of works implementation basements remain socialist institution. Finally the construction of this line muzeale paintings banned the “democracy” such as those with an Albanian communist leaders banned and paintings of communism, created in the same period with the first, are on display in the permanent pavijonin exposure inaugurated these days in the GKA. Besides paintings, the rooms have exposed sculptures, where the history, distinguishes between a half-body (nudo) of the author Janaq PACO. This work was made the property of GKA on 5 May 1964 and until the year’74 was full. Precisely in that year, the League of Writers and Artists of Albania and Security State forced sculptor PACO Janaq to all violated the spirit of modern works, as can not be allowed any influence of foreign art works implementation socialist. At the same time, was also broken nudoja already halfway exhibited in GKA. By Rubens Shima director, this is described as a historic moment for the National Gallery of Arts. This line includes a period of nearly 120, years starting from year 1883, annually holds picture ’sister Sound’ Kole of Idromenos and running by early 2000, indicating that the path described in the visual arts to get Albania at the beginning of the XXI century. But this particular line of permanent exhibitors is that it comes as a new structure for art historical Albanian, which is not based on the old formula of “Socialist realism, Renaissance – art 90 years after”, but builds on a new concept sections partitions of the disbursed pikturës and sculpture in our country. Are conceived six sections that follow are structured Albanian history of art. The first section, titled “the content of pikturës in the Albanian towns” summarizes artifaktet first Albanian pikturës and sculpture, divided by two so-called period of “Art of the Renaissance and Independence” and grouped by authors and works that mark the beginnings of a pictorial secular country. The second section, titled “Realistic Paintings and drawings of the School” (1930-1950) summarizes the authors’ works and the first educated in the schools of art of neighboring countries, but also evidenton a historic moment as the opening of the school of art Tirana in 1931. The third section “Paintings / sculptures and academic topic picture with historical (1950 – 1986)” trying to penetrate the nature of an art to complete the technical achievements that made the function of politics and power, producing the typical historical picture that accompanies Socialist period of implementation. This section tries to make a switch to soften the realistic paintings inherited from the years’40, pikturës towards implementation of the Socialist that begins in the years’60 to continue until the end of’80 years. “Socialist realism, Building the New Human Models (1960-1986)” section is the following which deliberately focuses on the most crucial aspect of this art, the construction of ‘new man’ and përçimit socialist propaganda. For the first time, National Gallery devotes a whole room of the so-called paintings formaliste the years’70, the fifth section, titled “Pictures Formaliste the implementation Socialist (1969-1974)”, which tries to shed light and bring the details an important aspect in our culture as it is called “liberalism of the years’70,” which reflected the developments in the visual arts. The last section “Paintings and sculptures moderniste (1989-2001)” with nëntemën “elements pikturës moderniste in the years 1960-70″, trying to document changes in the Albanian art, which come with the collapse of socialism, to come to a pictorial moderniste, held during the decade 1990-2000.

Found the first pictures of Michelangelo’s, conducted at age 12-13-year-old. A work of art, believed to be the first paintings of Michelangelo’s, completed when he was age 12 or 13-year-old was taken from a museum in Texas, by drawing attention of other major galerive. “The Kimbell Art Museum”, based in Fort worth, has paid an undisclosed much for “The Torment of St. Anthony.” Although the origin of pikturës has been discussed for a long time, the opinion of experts is faltering in recent months, about the view that in fact this is the earliest pictures of known masterly. Works in oil and temper, with a paintbrush plepi size 47cm x 34cm, dates back to the year 1487 or’88. At that time, Michelangelo had become friends with an assistant in the workshop of Domenico Ghirlandaio in Florence, where it is known that there is a copy print of St. Anthony, the masterly German named Martin Schongauer. Dissent was focused on it, if this painting was created by the hand of Michelangelo’s or if it was produced by other artists in the workshops. If confirmed as the work of Michelangelo’s lost, her embezzlement by Kimbell will përmblidhte a tremendous blow to the museum. Would make the painting “Torment of St. Anthony” one of four known paintings created by Michelangelo, both of which are in the “National Gallery” in London and the fourth in the “Uffizi” of Florence. Potentially, provides new data about how Michelangelo arrived sistemonte paletën of colors that was used in “Kapelën Sistine” Vatican. “This is a painting that will be studied for years to come,” said Eric Lee, director at the Kimbell. Pictures of St. Anthony describes cold face and white hair, being harassed by përbindëshat. It is based on gravurën of Schongauer it, but differs from it in several ways, begotten most experts now believe that its origin is vetëtuar. For example, among përbindëshave are images similar to the fish. A masterly early biographer wrote that Michelangelo has visited a fish market, while pikturonte work, so accurately portrayed on the scaly fish. Moreover, evidence that the incline of the interpretation of Michelangelo’s have been discovered in the last year, when pictures were restored to the “Metropolitan Museum of Art in New York. Layers of mud and papastërtive were removed to reveal the original colors of the oils, while modern technologies include skanimet infra red and X-ray revealed brendësinë, artist changes that were made during the implementation of the act. Interiors have convinced Lee to the board of the Kimbell and the pictures could not have been produced by a copy of the workshop, but must be original creation. “The Torment of St. Anthony” was purchased since 1905 by a British private koleksionues, which could keep him until last summer, when it was made by museum specialists to study. Works was sold by Sotheby’s for only two million dollars, a surprising transaction, whether it is Michelangelo’s – for a commercial art center in New York, who was convinced that was the work of masterly. Metropolitan Museum, as he finished the restoration, was also convinced, but had failed to find a value price, between the financial crisis this year.

Belongs III or IV century AD and was discovered in the waters of the Ionian north of Saranda. It is a relict archaeological composed of large amphoras, thought to come from North Africa and was discovered only two days earlier expeditions by the Albanian-American Archeology underwater, which has started the new season of research in Albanian waters. Coordinator of this project, Auron tare, not hesitant to call this a fantastic relict archaeological discovery, and adds that is guarded quite well. “The archaeologists thought that this relict archaeological site is probably the most beauty and most cautious sometimes found in the waters of the Mediterranean”, – says tare. After the excavation that will occur in the future, thought that the data obtained will bring new meaning on the contacts of residents of South Ilirisë with the Mediterranean cultures.

This discovery is the seventh in a list of important revelations do this joint expedition, which started 3 vëjet earlier collaboration as the foundation of American “RPM Nautical Foundation and Archeology navale branch of the Albanian Institute of Archeology Dr Co . Jeff by the American Royal and dr. Adrian Anastasi from the Albanian side.

This expedition is also detailed recent measurements of the sea, by establishing for the first time maps of underwater sea Albanian assets, giving the possibility of identifying the archaeological property.

High Technology “Multibeam” and use the bot in great depth, this expedition is using, and the results of its radhitin it in one of the three most important expeditions in the Mediterranean, according to experts of foreign Archeology navale. American and world media have devoted to the expedition a great attention because of its discoveries in Albania is open a new chapter in the revelations of Archeology underwater.

Albanian-American expedition will cooperate for the first time archaeologists with Montenegrin, doing research in the waters of Montenegro. In this way, for the first time there will be a collaboration of specialists Archeology navale to search the depths iliro-Dalmatian coast.

“The Coca Thunderer” in the end will return to Albania. After much media noise tratativash the head of the Thunderer Ascleptusit, stolen from Albania in 1991 could be placed again at the Museum of Butrinti. This return will be done through a formal ceremony on May 15, except where the present Albanian state authorities and representatives from the Ministry of Culture, will be two Albanian footballers Igli tare and Lorik Cana, who some time ago have paid Rome also bracket of 20 thousand Euros for the return of this statuesque.

Director of Cultural Heritage in the Ministry of Culture, Olsi Lafe claims court proceedings for the return of the head of the Thunderer in Albania are terminated immediately upon payment of the sum of 20 thousand Euros to Albanian footballers, which has procedures for Speed returns statujes helenistike in the country of origin.

Explaining the history of the theft of the head Ascleptusit, the ancient god of medicine, Lafe rrëfen that stolen from the museum Butrinti in 1991, the statue is shituar later, in 1996-en, at an auction in a regular home auctions an italian citizen in London.

This information is made only after dituar in Italy in the early years of cultural heritage in 2000 carabinieri arrived Seize this subject, which was published in the magazine and website as it was shown in an emission televised live. Thus carabinieri arrived to identify the magazine, to find the author of the article, who had carried photographs and then the holder object that had emerged in the magazine. In this way they managed to italian citizen, a collection known especially for koleksionistëve in the districts of Italy, who had bought the object in 1996 through a regular auction in London in about a 20 thousand Euro (the amount in pounds in the respective course then). But even though carabinieri began court proceedings against an Italian citizen in criminal court and court of Rome, the criminal court case against citizens ceased, as the result object is not stolen from him. Only civil court suspended the transfer of further building or change its ownership, blocking object in the house amabjentet an Italian citizen, with the obligation that the Albanian state to recognition of the natural right of ownership, while buyers in good faith under the legal terms statues belonged to an Italian citizen.

The issue reached the stage when italian citizen spoke publicly at our embassy in Rome he was willing to return the object the Republic of Albania, but against his payment in the amount paid from 20 thousand Euros according to the regular bill. Precisely at this moment the Albanian Embassy in Rome payment is made by footballers and tare Cana. “This payment is made for the return of a heritage building in the good of Albania and in their land. They went to pay volunteers to make a donation and to award it in the form of a check italian citizens, so that the transition becomes easier and faster but at Albania “, comments Lafe, not wishing to speak more to this point, why no payment was made earlier by the Ministry of Culture.

On the other hand, the chief cabinet MTKRS’s Flamur Shehu, explains that the payment of 20 thousand Euros made by two citizens and tare Cana will be done by the state, although against two footballers is not given any more in this lead. It is important that practically, head of the Thunderer “is owned 100 per cent in administration and now in defense of the Albanian state and will return to the Museum of Butrinti. “State Attorney’s Office has proposed that our Ministry is ready to complete procedures for finding the form of discolored as traded in 1996 and the statue to find the origin of this theft of our building heritage. This is a process separate from the return of the object in Albania and will continue for a whole other legal proceedings, which will be in the legal competence of the Ministry of Albania and advocate state, “concludes Lafe.

Short description …

Hellenic sculptures that holds the inventory number 60, has long curly hair, which completely cover the ears. The eyes have the shape of a bajameje and eyebrows are engraved very clearly. Eyebrows are fair and less dependent down, while the lips are closed completely. Whiskers are above and fill their distance from the lips NOSE, then hinge down by wobbly. Face is filled by a curly beard and the intense. Stolen in 1991 in Butrint, located in Italy. Is damaged in the forefront in the nose, and whiskers on the left of the beard.

Bibliography: Dh.Budina “Butrinti pararomak” Butroti, 1988, f.93, Tab.XII / 4.

THE ILLYRIANS ………
The origins of the Albanian people are not definitely known, but data drawn from history and from linguistic, archaeological, and anthropological studies have led to the conclusion that Albanians are the direct descendants of the ancient Illyrians and that the latter were natives of the lands they inhabited. Similarly, the Albanian language derives from the language of the Illyrians, the transition from Illyrian to Albanian apparently occurring between the 4th and 6th centuries AD. Illyrian culture is believed to have evolved from the Stone Age and to have manifested itself in the territory of Albania towardthe beginning of the Bronze Age, about 2000 BC. The Illyrians were not a uniform body of people but a conglomeration of many tribes that inhabited the western part of the Balkans, from what is now Slovenia in the northwest to (and including) the region of Epirus, which extends about halfway down the mainland of modern Greece. In general, Illyrians in the highlands ofAlbania were more isolated than those in the lowlands, and their culture evolved more slowly–a distinction that persisted throughout Albania’s history. In its beginning, the kingdom of Illyria comprised the actual territories of Dalmatia, Croatia, Bosnia and Herzegovina, Montenegro, with a large part of modern Serbia. Shkodra (Scutari) was its capital, just as it is now, the most important center of Northern Albania. The earliest known king of Illyria was Hyllus (The Star) who is recorded to have died in the year 1225 B.C. The Kingdom, however, reached its zenith in the fourth century B.C. when Bardhylus (White Star), one of the most prominent of the Illyrian kings, united under scepter the kingdoms of Illyria, Molossia (Epirus*) and a good part of Macedonia. But its decay began under the same ruler as a result of the attacks made on it by Philip of Macedon, father of Alexander the Great. In the year 232 B.C. the Illyrian throne was occupied by Teuta, the celebrated Queen whom historians have called Catherine the Great of Illyria. The depredations of her thriving navy on the rising commercial development of the Republic forced the Roman Senate to declare war against the Queen. A huge army and navy under the command of of Santumalus and Alvinus attacked Central Albania, and, after two years of protracted warfare, Teuta was induced for peace (227 B.C.) The last king of Illyria was Gentius, of pathetic memory. In 165 B.C. he was defeated by the Romans and brought to Rome as a captive. Henceforth, Illyria consisting of the Enkalayes, the Taulantes, the Epirotes, and the Ardianes, became a Roman dependency. She was carved out into three independent republics the capitals of which were respectively Scodar (Shkoder), Epidamnus (Durres) and Dulcigno (todays’ Ulqin in Montenegro). Authors of antiquity relate that the Illyrians were a sociable and hospitable people, renowned for their daring and bravery at war. Illyrian women were fairly equal in status to the men, even to the point of becoming heads of tribal federations. In matters of religion, Illyrians were pagans who believed in an afterlife and buried their dead along with arms and various articles intended for personal use. The land of Illyria was rich in minerals–iron, copper, gold, silver–and Illyrians became skillful in the mining and processing of metals. They were highly skilled boat builders and sailors as well; indeed, their light, swift galleys known as liburnae were of such superior design that the Romans incorporated them.

THE GREEKS……..
From the 8th to the 6th century BC the Greeks founded a string of colonies on Illyrian soil, two of the most prominent of which were Epidamnus (modern Durr?s) and Apollonia (near modern Vlor?). The presence of Greek colonies on their soil brought the Illyrians into contact with a more advanced civilization, which helped them to develop their own culture, while they in turn influenced the economic and political life of the colonies. In the 3rd century BC the colonies began to decline and eventually perished. Roughly parallel with the rise of Greek colonies, Illyrian tribes began to evolve politically from relatively small and simple entities into larger and more complex ones. At first they formed temporary alliances with one another for defensive or offensive purposes, then federations and, still later, kingdoms. The most important of these kingdoms, which flourished from the 5th to the 2nd century BC, were those of the Enkalayes, the Taulantes, the Epirotes, and the Ardianes. After warring for the better part of the 4th century BC against the expansionist Macedonian state of Philip II and Alexander the Great, the Illyrians faced a greater threat from the growing power of the Romans. Seeing Illyrian territory as a bridgehead for conquests east of the Adriatic, Rome in 229 BC attacked and defeated the Illyrians, led by Queen Teuta, and by 168 BC established effective control over Illyria.
THE ROMAN EMPIRE…..
The Romans ruled Illyria–which now became the province of Illyricum–for about six centuries. Under Roman rule Illyrian society underwent great change, especially in its outward, material aspect. Art and culture flourished, particularly in Apollonia, whose school of philosophy became celebrated in antiquity. To a great extent, though, the Illyrians resisted assimilation into Roman culture. Illyrian culture survived, along with the Illyrian tongue, though many Latin words entered the language and later became a part of the Albanian language. Christianity manifested itself in Illyria during Roman rule, about the middle of the 1st century AD. At first the new religion had to compete with Oriental cults–among them that of Mithra, Persian god of light–which had entered the land in the wake of Illyria’s growing interaction with eastern regions of the empire. For a long time it also had to compete with gods worshiped by Illyrian pagans. The steady growth of the Christian community in Dyrrhachium (the Roman name for Epidamnus) led to the creation there of a bishopric in AD 58. Later, episcopal seats were established in Apollonia, Buthrotum (modern Butrint), and Scodra (modern Shkodr?). By the time the empire began to decline, the Illyrians, profiting from a long tradition of martial habits and skills, had acquired great influence in the Roman military hierarchy. Indeed, several of them went on from there to become emperors. From the mid-3rd to the mid-4th century AD the reins of the empire were almost continuously in the hands of emperors of Illyrian origin: Gaius Decius, Claudius Gothicus, Aurelian, Probus, Diocletian, and Constantine the Great.
THE BYZANTINE EMPIRE…..
When the Roman Empire divided into east and west in 395, the territories of modern Albania became part of the Byzantine Empire. As in the Roman Empire, some Illyrians rose to positions of eminence in the new empire. Three of the emperors who shaped the early history of Byzantium (reigning from 491 to 565) were of Illyrian origin: Anastasius I, Justin I, and–the most celebrated of Byzantine emperors–Justinian I. In the first decades under Byzantine rule (until 461), Illyria suffered the devastation of raids by Visigoths, Huns, and Ostrogoths. Not long after these barbarian invaders swept through the Balkans, the Slavs appeared. Between the 6th and 8th centuries they settled in Illyrian territories and proceeded to assimilate Illyrian tribes in much of what is now Slovenia, Croatia, Bosnia and Herzegovina, and Serbia. The tribes of southern Illyria, however–including modern Albania–averted assimilation and preserved their native tongue. In the course of several centuries, under the impact of Roman, Byzantine, and Slavic cultures, the tribes of southern Illyria underwent a transformation, and a transition occurred from the old Illyrian population to a new Albanian one. As a consequence, from the 8th to the 11th century, the name Illyria gradually gave way to the name, first mentioned in the 2nd century AD by the geographer Ptolemy of Alexandria, of the Albanoi tribe, which inhabited what is now central Albania. From a single tribe the name spread to include the rest of the country as Arbri and, finally, Albania. The genesis of Albanian nationality apparently occurred at this time as the Albanian people became aware that they shared a common territory, name, language, and cultural heritage. (Scholars have not been able to determine the origin of Shqip?ria, the Albanians’ own name for their land, which is believed to have supplanted the name Albania during the 16th and 17th centuries. It probably was derived from shqipe, or “eagle,” which, modified into shqipria, became “the land of the eagle.”) Long before that event, Christianity had become the established religion in Albania, supplanting pagan polytheism and eclipsing for the most part the humanistic world outlook and institutions inherited from the Greek and Roman civilizations. But, though the country was in the fold of Byzantium, Albanian Christians remained under the jurisdiction of the Roman pope until 732. In that year the iconoclast Byzantine emperor Leo III, angered by Albanian archbishops because they had supported Rome in the Iconoclastic Controversy, detached the Albanian church from the Roman pope and placed it under the patriarch of Constantinople. When the Christian church split in 1054 between the East and Rome, southern Albania retained its tie to Constantinople while northern Albania reverted to the jurisdiction of Rome. This split in the Albanian church marked the first significant religious fragmentation of the country.
Medieval culture

In the latter part of the Middle Ages, Albanian urban society reached a high point of development. Foreign commerce flourished to such an extent that leading Albanian merchants had their own agencies in Venice, Ragusa (modern Dubrovnik, Croatia), and Thessalonica (now Thessaloniki, Greece). The prosperity of the cities also stimulated the development of education and the arts. Albanian, however, was not the language used in schools, churches, and official government transactions. Instead, Greek and Latin, which had the powerful support of the state and the church, were the official languages of culture and literature. The new administrative system of the themes, or military provinces created by the Byzantine Empire, contributed to the eventual rise of feudalism in Albania, as peasant soldiers who served military lords became serfs on their landed estates. Among the leading families of the Albanian feudal nobility were the Thopias, Balshas, Shpatas, Muzakas, Aranitis, Dukagjinis, and Kastriotis. The first three of these rose to become rulers of principalities that were practically independent of Byzantium.

One of the first written evidences of the use of the word ” Albanoi ” as the name of an Illyrian tribe in what is now north-central Albania goes back to the 130 A.D., in a work of Tolomeo. Albanopolis of the Albani, a place located on the map of Ptolemy (3.12.20) and also named on an ancient family epitaph at Scupi, which has been identified with the Zgërdhesh hill-fort near Kruja in northern Albania. Moreover, Arbanon is just likely to be the name of a district – the plain of the Mat has been suggested – rather than particular place. An indication of movement from higher altitudes in a much earlier period has been detected in the distribution of place-names ending in -esh that appears to derive from the latin -enisis or -esis, between the Shkumbin and the Mat, with a concentration between Elbasan and Kruja.

The term Albanoi may have been slowly spread to other Illyrian tribes until its usage became universal among all the Albanian people. According to the Albanian scholar Faïk bey Konitza, the term “Albania” did not displace “Illyria” completely until the end of the fourteenth century. The word “Alba” or “Arba” seems to be connected with the town Arba (modern Rab, Croatia), in prehistoric times inhabited by the Illyrian Liburnians, first mentioned in 360 BC. The root of the name comes from Illyrian Arb (”dark”, “green”, “wooded”) and is simply transposed into antique names of Arba, Arva, Arbia which are mentioned by the cartographers of the time.

The derivation of the name Albania is of considerable antiquity, dating back perhaps to the pre-Celtic alb (hill), from whence Alps, or possibly from the Indo-European albh (white), from whence albino and Albion. Approximately a millennium after, some Byzantine writers use the words “Albanon” and “Arbanon” to indicate the region of Kruja. Under the Angiò, in the XIII century, the names “Albania “and “Albanenses” indicate the whole country and all the population, as it is demonstrated by the works of many ancient Albanian writers such as Budi, Blanco and Bogdano. We first learn of Albanians in their native land as the Arbanites of Arbanon in Anna Comnenas‘ account (Alexiad 4) of the troubles in that region caused in the reign of her father Alexius I Comneus (1081- 1118) by the Normans. In ‘History’ written in 1079-1080, Byzantine historian Michael Attaliates was first to refer to the Albanoi as having taken part in a revolt against Constantinople in 1043 and to the Arbanitai as subjects of the duke of Dyrrachium. The Italo-Albanians and the Albanian minorities (still present in Greece) have been called in different ways with the passing of the years: Arbënuer, Arbënor, Arbëneshë, Arbreshë. There seems to be no doubt that the root Alb- or Arb- is earlier than Shqip-, from which the modern name of the state (Shqipëria) derives, a name which appears only in the time of the Turkish invasions. The Albanian name of the country, Shqipëria, translates into English as “Land of the Eagles”, hence the two-headed bird on the national flag and emblem, and because of the large presence of these animals in the mountainous zones of Albania.