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Friday, December 31, 2010

Laos - Traditional Dances 1969


10 Lao Kip -
15 Lao Kip - “Soukhib ordered to attack”
20k Lao Kip - “Thotsakan reviewing troops”
30k Lao Kip - “Nang Sida awaiting punishment”
40k Lao Kip - “Pharam inspecting his troops”
60k Lao Kip - “Hanuman about to rescue Nang Sida”
110k Lao Kip - “Soudagnou battling with Thotsakan” (air)
300k Lao Kip - “Pharam dancing with Thotsakkan”

Wednesday, December 29, 2010

Tokelau - Handicrafts 1982


0.10 NZD - Wood Carving
0.22 NZD - Bow-Drilling Sea Shell
0.34 NZD - Bowl Finishing
0.60 NZD - Basket Weaving

Monday, December 27, 2010

Dahomey - Traditional Dances



2 F - Danse Somba (Taneka Coco)
3 F - Glelede-Danse Nago (Pobe-Ketou)
10 F - Ateke-Danse du Baton (Paysbariba)
15 F - Ogbon-Danse Nago (Ouidah)
25 F - Danse des Sakpatassi (Abomey)
30 F - Danse des Nessouhouessi (Abomey)

2 F - Samba Dance (Taneka Coco)
3 F - Glelede - Nago Dance (Pobe-Ketou)
10 F - Atek-Dance Baton (Paysbariba)
15 F - Ogboni - Nago Dance (Ouidah)
25 F - Dance Sakpatassi (Abomey)
30 F - Dance Nessouhouessi (Abomey)

Tajikistan - National Coat of Arms 1994



The first emblem of independent Tajikistan in 1992-1993 was changed by the government of Emomalii Rahmon, which came to power at the end of 1992. The short-lived arms bore a striking resemblance to the Persian Lion and Sun used by Iran before the 1979 revolution.


Definitive Issue:
Date of issue: 22 February 1994
Designer: M. Mittelshtrass
Paper: coated
Printing process: offset
Perforation: No 34, 36, 38, 39 - frame 13 1/4; No 35, 37, 40, 41 - comb 13 1/4
Size: No 34-39 - 21 x 30 mm.; No 40, 41 - 27 x 40,50 mm
Sheet composition: No 34-37 - 50 (10 x 5) stamps; No 38, 39 - 30 (10 x 3) stamps; No 40, 41 - 32 (8 x 4) stamps
Printing run: No 34-35 - 500.000; No 36-37 - 250.000; No 38-39 - 150.000; No 40 - 76.800; No 41 - 25.600

Thursday, December 23, 2010

Cambodia - Best Wishes Dances, Apsara Dances 2008

Cambodia - Khmer Culture, The Reamker 2006


1000 Cambodian Riel - Jup Leak & Ream Leak
1400
Cambodian Riel - Preah Ream
1600
Cambodian Riel - Neang Seda
1900
Cambodian Riel - Krong Reap
2100
Cambodian Riel - Hanuman

Cambodia - Traditional Dances 2006


600 Cambodian Riel - Chhai Yaim Dance
1900 Cambodian Riel - Sacrifice of Buffalo Dance
2200 Cambodian Riel - Mouth Organ Dance
3500 Cambodian Riel - Rice Harvest Dance

Cambodia - Khmer Aspect 2006

Cambodia - Apsara Dances 2005

Wednesday, December 22, 2010

Algeria - Traditional Dances 1986


0.80 Algerian Dinar - Woman with shawl
2.40 Algerian Dinar - Woman with purple dress dancing
2.80 Algerian Dinar - Veiled sword dancer

Algeria - Traditional Dances 1994


3.00 Algerian Dinar - Algiers Dance
10.00 Algerian Dinar - Constantine Dance
12.00 Algerian Dinar - Alaoui Dance

Algeria - Traditional Dances 1999


5.00 Algerian Dinar - Chaoui Dance
10.00 Algerian Dinar - Targa Dance
24.00 Algerian Dinar - M'zab Dance

Sunday, December 19, 2010

Ghana - Ghanaian Women's Hairstyles (Hair Do) 1997


1000 Ghanaian Cedi - Dipo
1000 Ghanaian Cedi - Oduku with flowers
1000 Ghanaian Cedi - Dansinkran
1000 Ghanaian Cedi - Mbobom
1000 Ghanaian Cedi - Oduku with hair pins

1000 Ghanaian Cedi - African Corn Row
1000 Ghanaian Cedi - Chinese Raster
1000 Ghanaian Cedi - Chinese Raster with top knot
1000 Ghanaian Cedi - Corn Row
1000 Ghanaian Cedi - Mbakaa

Saturday, December 18, 2010

Uzbekistan - Uzbek Women National Suit 2000


Date of issue: 27th February 2001
Designer: I. Lysenko
Paper: ordinary
Printing process: offset
Perforation: comb.14 : 13 3/4
Size of a stamp: 30 x 42 mm
Size of the se-tenant strip of 6 (5 stamps + label): 180 x 42 mm
Sheet composition: 6 (1 x 6) se-tenant strips of 6
Printing run: 20.000

45 Uzbekistani Som - Woman in Uzbek national suit
50 Uzbekistani Som - Woman in Uzbek national suit
60 Uzbekistani Som - Woman in Uzbek national suit
90 Uzbekistani Som - Woman in Uzbek national suit
125 Uzbekistani Som - Woman and man in Uzbek national suits

Label. National ornament and inscription: "Uzbek national suit"

Uzbekistan - Uzbek Man National Suit 2008


Country/ Post: Uzbekistan
Date of Issue: 30 December 2008
Designer: Z. Gan, E. Kartsevich
Paper: chalky
Printing process: offset
Perforation: comb 14 : 13 3/4
Size of a stamp: 30 x 42 mm.
Size of a se-tenant strip of 5 (4 stamps + label): 150 x 42 mm.
Sheet composition: 6 (1 x 6) strips of 5.
Printing run: 15.000

Layout/Format: sheet of 4
Stamp issuing authority: JSC Uzbekistan Markasi

310 Uzbekistani Som - Men's Suits of Bukhara - "Joma" Bukhara XIX-XX Centuries
350 Uzbekistani Som - Men's Suits of Bukhara - "Yaktak" Bukhara XX Century
750 Uzbekistani Som - Men's Suits of Bukhara - Bukhara XIX Century
1250 Uzbekistani Som - Men's Suits of Bukhara - "Joma" Bukhara XIX-XX Century

Rwanda - African National Costumes 1968

Rwanda - African Headdresses 1969

Rwanda - African National Costumes 1970

Rwanda - African Headdresses 1970

Rwanda - National Culture 1973

Rwanda - African Headdresses (Africa Week) 1973

Rwanda - Traditional Costumes, Themabelga 1975

India - Rath Yatra Puri Festival 2010


A commemorative postage stamp on
12 July 2010
Denomination: INR 5.00

Puri Rath Yatra:

The biggest and the grandest of all festivals, the highlight is the sacred journey of the statues of the Lord Jagannath of Puri with brother Balabhadra and sister Subhadra from main temple to Gundicha Temple, where they remain for nine days. The mammoth wooden chariots carrying the three deities pulled by thousands of devotees, present a spectacular scene. The yatra (journey) begins on the second day of the lunar month (asadha).

The Rath Yatra is also known as Car Festival. An annual festival commemorates the journey of Krishna from Gokul to Mathura.It also symbolizes a journey to light from the dark, which commences on the 2nd day of the bright fortnight in the month of Asadha (June/July).

Lakhs of devotees converge to the city to join festivities lasting for nine days. In this journey, thousands haul the three huge rathas (chariots) carrying statues of Jagannath, his brother Balabhadra and sister Subhadra, down Grand road to the Gundicha Temple--just 2 km away in Puri, Orissa.

Puri Rathy Yatra--The chariot festival of Puri in Orissa, India. In the first phase of the rituals, the Chandan Yatra, the Chalanti Pratimas (moving statues) of the deities take a ceremonial ride in a boat in Narendra Tank for 21 consecutive days, after a refreshing bath in fragrant sandal wood (chandan) scented water.

This is followed by Snana Yatra, literally the festival of bath, in which the three are taken to Snana Badi, a bathing platform where the deities are ceremonially bathed with 108 pitchers of water. After which the gods are believed to convalesce inside the sanctum sanctorum and undergo treatment in which special ayurvedic medicine and some special liquid diet (sarapana) is offered to them. Closed to public view, during this period of 15 days, the pilgrims have to be satisfied with a darshan of images on the Pattachitra paintings hanged there.

The Ratha Yatra in Puri actually takes place during the full moon of the following month, Asadha (June/July) in a spectacular riot of colur and noise. Designed like a temple sanctuary, the immense chariots are draped with brightly colored clothes. Lord Jagannath's chariot, 13 m, is the tallest and has 16 wheels each 2 m in diameter. Subhadra has a yellow face and rides in a red chariot. Balabhadra has a white face and rides in a chariot with 14 wheels and 4 horses.

Loud gongs announce the boarding of the deities onto the chariots with the arrival of the Raja of Puri accompanied by bejeweled elephants. The Raja sweeps the chariot with a golden bloom, fulfilling his role as the sevaka (servant) of the gods, a gesture symbolizing humility and equality with all castes.

The procession is led by Balabhadra's chariot, followed by Subhadra’s with the Lord Jagannath's bringing up the rear, dragged by about 4000 honored devotees to their garden house, the Gundicha Ghar. On the way, deities are treated to special Cake, Podapitha offered at the shrine of goddess Aradhamsini (aunt or masi) of Lord Jagannath.

Once the chariots reach Gundicha Ghar of Mandir, the deities give darshan to devotees every day. After a rest of eight days, they return to Jagannath Temple with a similar procession. The festivities attract about 5-6 lakhs devotees to Puri each year.

After the festival, the raths are broken and bits are used for firewood in the kitchens or sold to pilgrims as relics. New chariots are made each year to rigid specifications of make laid down in temple's ancient manuals. The assembled multitudes from all over India, the cacophony of music and percussion and the decorated chariots provide an unforgettable experience. Stories from ancient times, about some fanatics throwing themselves under the massive wheels of the chariots to die a death in hope of attainment of eternal bliss, abound.

The Rath Yatra festival is based around the worship of Lord Jagannath (a reincarnation of Lords Vishnu and Krishna). It commemorates his annual visit to his aunt's home.
When is Rath Yatra Celebrated:
On the second day of the Shukla Paksha (waxing phase of moon or bright fortnight) Ashadh month, as per traditional Oriya Calendar. In 2010, Rath Yatra commences on July 13. It runs for 10 days. The main festivities occur on the first day.
Where is Rath Yatra Celebrated:
At the Jagannath temple in Puri, Orissa.
How is Rath Yatra Celebrated:

The exuberant Rath Yatra festival sees Lord Jagannath, along with his elder brother Balabhadra and sister Subhadra, venture out of their abode in the Jagannath temple. The three of them travel to their aunt's Gundicha Temple a short distance away, where they remain for seven days before returning.

The gods are transported on towering chariots, which have been made to resemble temples, giving the festival its name of Rath Yatra -- the Chariot Festival. Around one million pilgrims flock to this colorful event.
What Rituals are Performed During Rath Yatra:

The Rath Yatra is a community festival. People don't worship in their houses or fast.

Every year, three huge new chariots are made for the festival. The deities are bathed, dressed, and placed in their respective chariots. Amidst the beating of drums and gongs, and the blowing of conch shells, thousands of devotees pull the chariots through the streets to the Gundicha Temple. People come from far off places to take part in the event each year.

When the gods return, they're decorated and adorned with ornaments of pure gold, before being placed back inside the Jagannath temple on the tenth day.
An entertaining comic scene is enacted for onlookers, as part of the grand finale.
What Can Be Expected at the Rath Yatra Festvial:

The Rath Yatra festival is the only occasion when non-Hindu devotees, who aren't allowed inside the temple, can get their glimpse of the deities. A mere glimpse of Lord Jagannath on the chariot, or even to touch the chariot, is considered to be very auspicious.

The massive number of devotees that flock to the festival does pose a safety risk. Lives are often lost in the immense crowd, so extra care should be taken.

Interesting Information About Lord Jagannath:
The idol of Lord Jagannath doesn't have any arms and legs. Do you know why? It was carved out of wood by a carpenter after the Lord came to the King in a dream, and instructed him to get the idol made. Apparently, if anyone saw the idol before it was finished, the work would not progress any further. The King became impatient and took a peek. Hence, the idol not having arms and legs!


Friday, December 17, 2010

Macao - Traditional Folk Costumes 2010



Issue Name: Traditional Folk Costumes
Date of Issue: 30 November 2010
Designer: Lio Man Cheong

Stamps persheet: 16 and SS
Paper: Paper with Security Fibres
Size: 30 x 40 mm; 138 x 90 mm (Stamp size: 60 x 40 mm)
Perforation: 13¼ x 13¼
Printing: Offset Lithography
Printer: Cartor Security Printing, France

TRADITIONAL FOLK COSTUMES:
As the poem says, I'd like to borrow rosy from the sky and make them into the beautiful embroidery clothes. The Chinese costumes have a long history and constitute an integral part of the splendid Chinese culture, which can reflect the development progress of human history an show the advancement of human society. In ancient China, the emperors relied on the costume system to maintain the feudal hierarchy regimen. It reflected the social situations on political, economic, cultural, custom, aesthetic and religious issues in each era. SUch a costume-based political philosophy came to the end when Mr.Sun Yat Sen raised the four principles for dress making "hygienic, pratical, economic, and aesthetic". Since then, costume, which had become an integral part of people's life, got rid of the interference from the hierarchy system and political ethics and really connected with modern civilization. That is a monument in the history of Chinese costume.

1.50 Macao Patacas - Tangzhuang (Tang Suit):
It used to refer to Han costume in Tang Dynasty and later specially refers to a kind of traditional Chinese costume that the chinese living in overseas Chinatowns often wear and is opposite to Western-style suit. In early times, the Tang suit was reformed from a kind of Man costume in Qing Dynasty, mandarin jacket, which was featured with stand collar, front opening, connected sleeves and frogs and had four coverless pockets in the front. Such suit is often made of black gambiered canton gauze (also called as rust-coloured senshaw, black rubber silk fabric or watered gauze), which can absorb and evaporate sweat quickly and thus has the features of refreshing, dry, light, partical. It is especially popular among Southeast Asia Chinese and Cantonese. With even and balanced appearance, it's simple and tidy, fully meeting the introverted and sover characters of Chinese people. In the APEC 2001 in Shanghai, as the host, Chinese leaders invited the leaders of economic entities in Asia and Pacific region who came to attend the conference to wear the new-style "Peace and Celebration" Tang suits. The suits are made of environment-friendly and traditional tapestry satin and natural silk and the dyed with environment-friendly dyes in the patterns of peony, the national flower of China. Since then, such Tang suits and their variants get popular among Chinese people both in and out of the country and become a kind of fashionable suit for new year celebration.

2.50 Macao Patacas - Qipao:
The traditional full dress for Chinese woman. It was originated from the folk robe of women of the Eight Banners with loose sleeves and embroidery borders. In early Republic of China (ROC) era, it was gradually reformed into the new-style Qipao with loose robe and straight curves, becoming the latest fashion of women in the new year. In 1929, the goverment of ROC issued the Dress Ordinance, determining Qipao as one of the national dresses. The modern Qipao is featured with stand collars, tight waist, frogs and hi-cuts at both leg sides. It can better show the beautiful lines of oriental woman. Making them more elegant and adding more noble characters of art. When a woman wearing a Qipao stands still, she looks slim and graceful, while when she moves, she looks like a tree in the breeze, therefore, Qipao has become the most representative traditional costume of Chinese women. In the 18th century, Qipao was introduced into Vietnam and gradually developed into the local folk dress, Vietnam-style Qipao. The sisters Soong Qingling, the wife of Sun Yat Sen, and Soong Meiling, the wife of Chiang Kai Shek, took Qipao as their only full dress in all their lives. When visiting foreign countries, the wives of all leaders of mainland China, such as Liu Shaoqi, Jiang Remin, and Hu Jintao, mainly wear Qipao as the full dress.

3.50 Macao Patacas - Duanyichangqun (Blouse & Long Skirt):
One of the traditional costumes of Han women. Before Qin Dynasty, the costumes in China were all in a one-piece style with loose robe and long sleeves. After Han Dynasty, the two-pieces style "coat and dress" garment, which was divided into "upper and lower" parts, began to appear among Chinese women. What's more, such garment had "a simple upper part and a complex lower part", that is, the blouse was short and small while the dress was loose and big. In Tang Dynasty, it became the fashion for women to wear clothes with loose and low neckband and expose the upper half of their breasts. In Song, Yuan and Ming dynasties, the womes's dress recovered the old style. After Qing's entry and the enforcement of "Hair cutting and dress changing" policy, the traditional Han costumes were almost prohibited. Man women wore qipao while Han women still wore blouse and dress, but in different styles: tight sleeves and long dress,or loose robe and loose sleeves, or replacing dress with trousers. After the Xinhai Revolution in 1911, women got more opportunities for education. For women students in the ROC era, the typical dress was blouse with inclinedlapel and short sleeve, and pleated skirt covering the shanks, which was called as "the nNew Costume of Civilization". Since it had a simple and agile style, the women in the cities all dressed in the similar way, making it popular and fashionable women's dress at time.

4.00 Macao Patacas - Zhongsanzhuang (Chinese Tunic Suit):
Once honored as the "National Costume" by Chinese people. According to historic records, Mr.Sun Yat Sen personally guided the design of tunic suit by intergrating the features of traditional Chinese costumes and the mandarin-collar suits in Southeast Asia and Western-style suits with the principles of "suitable for hygiene, easy for movement, with better economic properties and a decent appearance". The design was finally decided in 1923. The tunic suit meets the standards of "decent, pratical, convenient, and economic" as raised by Mr.Sun Yat Sen. It's comfortable and pratical with the features of sobriety and majesty. The four pockets in the front of the suit stand for the Four Principles of our country (propriety, intergrity, honesty, and the sense of shame); the five fasteners on the front edge stand for Five Power Division (administration, legislation, jurisdiction, examination, and supervision); the three fasteners on the cuff stand for the Three People's Principles (nationalism, democracy, the people's livelihood); there is no tear on the back, which stands fot the great cause of peace and unification of the country; the turndown enclosed collars stand for the rigorous philosophy for state administration. Many famous figures such as Chiang Kai Shek, Mao Zedong, Zhou Enlai, and Deng Xiaoping, used to wear the tunic suit. The suit carries on a kind of culture, courtesy, national self-respect and pride.

Author: Kam Chung Tsz
Translation: C&C - Translation Center, Ltd

Saturday, December 11, 2010

Latvia - Mittens 2002


Mittens:
Date of issue: 2nd November 2002
Designer: A. Ozola-Jaunaraja
Paper: coated
Printing process: offset
Perforation: comb. 13 1/4 : 13 3/4
Size: 36 x 29 mm
Sheet composition: 30 (5 x 6) stamps
Printing run: 200.010

0.15 Latvian Santim - Mittens, Lettish traditional winter outdoor clothes

Latvia - Mittens 2003


Mittens:
Date of issue: 11th October 2003
Designer: A. Ozola-Jaunaraja
Paper: coated
Printing process: offset
Perforation: comb 14 : 13 3/4
Size: 36 x 29 mm
Sheet composition: 30 (5 x 6) stamps
Printing run: 2.000.010

0.15 Latvian Santim - Mittens and traditional Latvian clothes

Latvia - Mittens 2004


Mittens:
Date of issue: 6th November 2004
Designer: A. Ozola-Jaunaraja
Paper: coated
Printing process: offset
Perforation: comb 13 1/4 : 13 3/4
Size: 36 x 29 mm
Sheet composition: 30 (5 x 6) stamps
Printing run: 1.000.020

0.15 Latvian Santim - Mittens and traditional Latvian clothes

Latvia - Mittens 2005


Mittens:
Date of issue: 26th November 2005
Designer: Arta Ozola-Jaunaraja
Paper: chalky
Printing process: offset
Perforation: comb 13 1/4 : 13 3/4
Size: 36 x 29 mm
Sheet composition: 30 (5 x 6) stamps
Printing run: 900.000

0.20 Latvian Santim - Mittens and traditional Latvian clothes of southern Latgale

Latvia - Traditional Costumes 1993


Date of issue: 29 April 1993
Designer: Arta Ozola
Paper: coated
Printing process: offset
Perforation: comb. 13 : 13 1/4
Size: 29 x 36.5 mm
Size of the Souvenir Sheet: 103 x 88 mm
Sheet composition: 50 (10 x 5) stamps
Printing run: No 351 - 2.000.000; No 352 - 1.000.000; No 353 - 500.000; No 354 - 300.000; No 355, 356 - 200.000
Printing run
Souvenir Sheet: 50.000

Traditional Costumes:
0.05 Latvian Santim - Costume of Kuldiga
0.10 Latvian Santim - Costume of Alsunga
0.20 Latvian Santim - Costume of Lielvarde
0.50 Latvian Santim -
Costume of Rucava
1.00 Latvian Latu -
Costume of Zemgale
5.00 Latvian Latu -
Costume of Ziemellatgale

Latvia - Traditional Costumes 1995


Date of issue: 08 September 1995
Designer: Arta Ozola
Paper: coated
Printing process: offset
Perforation: comb. 13 : 13 1/4
Size: 29 x 36 mm
Size of the Souvenir Sheet: 100 x 70 mm
Sheet composition: 50 (10 x 5) stamps
Printing run: 500.000
Printing run
Souvenir Sheet: 50.000

Traditional Costumes:

0.08 Latvian Santim - Costume of Nica
1.00 Latvian Latu - Costume of Nica (SS)

Latvia - Traditional Costumes 1996



Date of issue: 18 May 1996
Designer: Arta Ozola
Paper: coated
Printing process: offset
Perforation: comb. 13 : 13 1/4
Size: 29 x 36 mm
Size of the Souvenir Sheet: 100 x 70 mm
Sheet composition: 50 (10 x 5) stamps
Printing run: 500.000
Printing run Souvenir Sheet: 50.000


Traditional Costumes:

0.08 Latvian Santim - Costume of Barta
1.00 Latvian Latu - Costume of Barta (SS)

Latvia - Traditional Costumes 1997


Date of issue: 03 April 1997
Designer: Arta Ozola
Paper: coated
Printing process: offset
Perforation: comb. 13 : 13 1/4
Size: 29 x 36 mm
Size of the Souvenir Sheet: 100 x 70 mm
Sheet composition: 50 (5 x 10) stamps
Printing run: 500.000
Printing run Souvenir Sheet: 100.000


Traditional Costumes:

0.10 Latvian Santim - Costume of Rietumvidzeme
1.00 Latvian Latu - Costume of Rietumvidzeme (SS)

Latvia - Traditional Costumes 1998


Date of issue: 09 May 1998
Designer: Arta Ozola
Paper: coated
Printing process: offset
Perforation: comb. 13 : 13 1/4
Size: 29 x 36 mm
Size of the Souvenir Sheet: 100 x 70 mm
Sheet composition: 50 (10 x 5) stamps
Printing run: 500.000
Printing run Souvenir Sheet: 50.000

Traditional Costumes:
0.10 Latvian Santim - Costume of Krustpils
1.00 Latvian Latu - Costume of Krustpils
(SS)

Guatemala - Municipal Arms 1979


1979 Municipal Arms:
0.08 Guatemalan Quetzal - National Coat of Arms
0.08 Guatemalan Quetzal - Alta Verapaz
0.08 Guatemalan Quetzal - Baja Verapaz
0.08 Guatemalan Quetzal - Chimal Tenango
0.08 Guatemalan Quetzal - Chiquimula
0.08 Guatemalan Quetzal - Escuintla
0.08 Guatemalan Quetzal - Flores (Peten)
0.08 Guatemalan Quetzal - Guatemala
0.08 Guatemalan Quetzal - Huehuetenango
0.08 Guatemalan Quetzal - Izabal
0.08 Guatemalan Quetzal - Jalapa
0.08 Guatemalan Quetzal - Jutiapa
0.08 Guatemalan Quetzal - Mazatenango
0.08 Guatemalan Quetzal - El Progreso
0.08 Guatemalan Quetzal - Quezaltenango
0.08 Guatemalan Quetzal - Quiche
0.08 Guatemalan Quetzal - Retalhuleu
0.08 Guatemalan Quetzal - Sacatepequez
0.08 Guatemalan Quetzal - San Marcos
0.08 Guatemalan Quetzal - Santa Rosa
0.08 Guatemalan Quetzal - Solola
0.08 Guatemalan Quetzal - Totonicapan
0.08 Guatemalan Quetzal - Zacapa

Upper Volta (Haute Volta), now as Burkina Faso - Coat of Arms 1977


10 F - Commune de Tenkodogo
20 F - Ville de Ouagadougou
65 F - Commune de Tenkodogo
100 F - Ville de Ouagadougou

Friday, December 10, 2010

Russia - History of Russian Cossacks 2010

History of Russian Cossacks:
Printing technique: offsetprint
Colour: multicolour
Chalk paper
Perforation: frame 12 : 12 ½
Size of stamp: 37х48,7 mm
Size of souvenir sheet: 160х100 mm
Circulation: 86 thousand souvenir sheets
Amount in souvenir sheet: 3 stamps

Since ancient times Cossack troops have fulfilled the function of the border guards, they have always been the main force of military campaigns beyond Eastern and Western borders of the State.
Don Cossacks are the first on seniority and the largest of the Cossack troops of the Russian Empire. The historical name is connected with the River Don (the Azov Sea basin). Don Cossack troop occupies separate territories of the modern Lugansk and Donetsk regions of Ukraine, Rostov, Volgograd and Voronezh regions and the republic of Kalmykia in the Russian Federation.
Kuban Cossacks are the Russian Cossacks of the Northern Caucasus, they occupy the territories of modern Krasnodar region, the western part of the Stavropol Territory, as well as the Republics of Adygea and Karachay-Cherkessia. The troop was officially established in 1860 on the basis of the Black Sea Cossack troop and part of the Caucasian linear Cossack army.
Terek Cossacks are the ethnic group of Cossacks, living along the rivers Terek, Sunzha, Assa, Kura, Malka on the north side of the Caucasus. Headquarters of the Terek Cossack army situates in Vladikavkaz.

The stamps depict:
1. Don Cossack men and women in traditional clothes of the end of XIX century.
2. Kuban Cossack men and women in traditional clothes of the end of XIX century.
3. Terek Cossack men and women in traditional clothes of the end of XIX century.
On the margins of the souvenir sheet are the banners of the three troops and symbols of the Russian Cossacks.

Russia - Folk Festivals 1991


Folk Festivals:
15 Kopek - Baptism (Christian religious holiday, Armenia)

15 Kopek - Women carrying dishes of wheat (Novruz holiday, Azerbaijan)
15 Kopek - Throwing garlands in water (Ivan Kupala summer holiday, Belorussia)
15 Kopek - Stick wrestling and dancing round decorated tree (New Year, Estonia) (horiz)
15 Kopek - Masked dancers (Berikaoba spring holiday, Georgia)
15 Kopek - Riders with goat skin (Kazakhstan) (horiz)
15 Kopek - Couple on horses (Kirgizia) (horiz)
15 Kopek - Couple leaping over flames (Ligo (Ivan Kupala) holiday, Latvia) (horiz)
15 Kopek - Family on way to church (Palm Sunday, Lithuania) (horiz)
15 Kopek - Man in beribboned hat and musicians (Plugusorul (New Year) holiday, Moldova)
15 Kopek - Sledge ride (Shrovetide, Russian Federation)
15 Kopek - Musicians on carpet and stilt-walkers (Novruz holiday, Tajikistan)
15 Kopek - Wrestlers (Harvest holiday, Turkmenistan) (horiz)
15 Kopek - Dancers and couple with lute and tambourine (Christmas, Ukraine) (horiz)
15 Kopek - Girls with tulips (Tulip holiday, Uzbekistan)

Russia - Folk Arts from Fedoskino 1977


The village of Fedoskino, situated 40 km north of Moscow on the picturesque banks of the Ucha River, is Russia's oldest center of lacquer miniature painting. At least half of the inhabitants of this village and the neighbouring ones are in one way or another connected with the traditional craft.

During that period N.M. Soloninkin, Y.V. Kaparayev, V.D. Lipitzkij, and A.I. Kozlov emerged as original artists, who turned to Russian tales, such as "The Scarlet Flower", "The Tale of Czar Saltan", and "The Snow Maiden", which was a new trend for the Fedoskino craft. Ever since that time Russian tales became a popular theme among Fedoskino artists, whose poetic images have lost none of their glamour.

4 Kopek - N.M. Soloninkin, *1945: "Welcome"
6 Kopek - Viktor D. Antonov (*1936): "Along the Road"
10 Kopek - Yuri V. Kaparajev, *1936: "Northern Light"
12 Kopek - A.I. Kozlov, *1932: "Tales of Czar Saltan" (from a fairy tale by A.S. Pushkin)
14 Kopek - Viktor D. Lipitzkij (1921-1994): "The Scarlet Flower"
16 Kopek - W.A. Namilov: "Summer Troika"

Thursday, December 9, 2010

Armenia - Armenian National Costumes 1998




Date of issue: 16 July 1998
Designer: R. Gevondyan
Paper: coated
Printing process: offset
Perforation: comb. 13 3/4 : 13 1/4
Size of a stamp: 26 x 36 mm
Size of a Miniature Sheet: 153 x 94 mm
Miniature Sheet composition: 10 (5 x 2) stamps
Printing run: 100.000 stamps or 10.000 Miniature Sheets
Michel catalogue numbers: 339-340


170 Armenian Dram - Costumes of region Ayrarat
250 Armenian Dram - Costumes of region Vaspurakan

Armenia - Armenian National Costumes 1999



Date of issue: 20 April 1999
Designer: R. Gevondyan
Paper: coated
Printing process: offset
Perforation: comb. 13 3/4 : 13 1/4
Size of a stamp: 26 x 36 mm
Size of a Miniature Sheet: 154 x 95 mm
Miniature Sheet composition: 10 (5 x 2) stamps
Printing run: 50.000 stamps or 5.000 Miniature Sheets


170 Armenian Dram - Costumes of region Karin 
250 Armenian Dram - Costumes of region Zangezour

Armenia - Armenian National Costumes 2001


National costume is a part of the culture, which has passed a long way of the development connected with the historical circumstances, geographical position of the country and climatic conditions. Costume, in its manner of execution, ornament, supplementary and decorations represents different fields of the applied arts and national trade such as: weaving, needle-work, jeweller's art and so on.


Date of issue: 27 September 2001
Designer: Rouben Ghevondyan
Paper: coated
Printing process: offset
Perforation: comb. 13 3/4 : 13 1/4
Size of a stamp: 26 x 36 mm
Size of a Miniature Sheet: 154 x 95 mm
Printing run: Klb. 443 - 10.000; Klb. 444 - 1.500
Michel catalogue numbers: Klb.443-Klb.444


50 Armenian Dram - Javakhch costume
250 Armenian Dram - Artzakh costume

Armenia - Armenian National Costumes 2006




Date of issue: 28 March 2006
Designer: R. Ghevondian
Paper: chalky
Printing process: offset
Perforation: comb 13 1/2 : 13 1/4
Size of a stamp: 25 x 42 mm
Size of the Miniature Sheet: 149 x 108 mm
Sheet composition: 10 (5 x 2) stamps
Printing run: 70.000 stamps or 7.000 Miniature Sheets
Michel catalogue numbers: 541-542


170 (D) Armenian Dram - Costumes of region Sassun
220 (D) Armenian Dram - Costumes of region Shatakh

Armenia - Armenian National Costumes 2007




Date of issue: 12 March 2007
Designer: R. Gevondjan
Paper: chalky
Printing process: offset
Perforation: comb 13 1/2 : 13 1/4
Size of a stamp: 25 x 42 mm
Size of the Miniature Sheet: 149 x 108 mm
Miniature Sheet composition: 10 (5 x 2) stamps
Printing run: 30.000 stamps or 3.000 Miniature Sheets


170 Armenian Dram - Costumes of Taron
230 Armenian Dram - Costumes of Shirak

French Polynesia - Traditional Costumes 1983


Issued date: 12 July 1983
15 French Polynesian - Chief from St. Christine
17 French Polynesian - Man from St. Christine
28 French Polynesian - Woman from St. Christine

French Polynesia - Traditional Costumes 1984



Issued date: 11 July 1984
34 French Polynesian - Tahitian Boy Playing Nose Flute
35 French Polynesian - Priest from Oei-Eitia
39 French Polynesian - Tahitian Woman and Her Son

French Polynesia - Traditional Costumes 1985


Issued date: 17 July 1985
38 French Polynesian - Tahitian Dancer
55 French Polynesian - Tahitian Couple
70 French Polynesian - Tahitian King

Moldova - Handicrafts 1999


Date of Issued: 07 August 1999
Process of Printing: offset
Perforation: 13 3/4: 14
Dimensions: 27.50 x 32.80 mm.
Sheet: 10 (5 x 2) stamp.
Printed by: "Bundesdruckerei" Germania.
Designer: Vladimir Siniţki.

Moldova - 2006

Tuesday, December 7, 2010

Ethiopia - Regional State Flags 2000


Ethiopia Flag Definitive, 2000, 10 values:

0.25 Ethiopian Santim - Harari, People National Regional State Flag
0.30 Ethiopian Santim - Oromia, Regional State Flag
0.50 Ethiopian Santim - Amhara, National Regional State Flag
0.60 Ethiopian Santim - Tigrai, National Regional State Flag
0.70 Ethiopian Santim - Benishangul Gumuz, National Regional State Flag
0.80 Ethiopian Santim - Somale, National Regional State Flag
0.90 Ethiopian Santim - Southern Nation, Nationalities, and People's Regional State Flag
0.95 Ethiopian Santim - Gambella, National Regional State Flag
1.00 Ethiopian Birr - Afar, National Regional State Flag
2.00 Ethiopian Birr - Federal Democratic Republic of Ethiopia Flag

The US stamp newspaper "Scotts Stamp Monthly," reports a set of stamps issued by Ethiopia in the year 2000, with 9 stamps total. These stamps depict the regional states of Ethiopia. In addition, the national flag is shown on the high value of this set.
Roger Moyer, 29 August 2001

There are some differences to what we have reported for each of the states individually from other sources:
1- All flags on stamps appear to be 2:1 (possibly it was done intentionally for the sake of uniformity)
2- Gambella is upside down then reported in FOTW (four bands:b-g-w-r), instead of r- w-g-b as shown here. At least the black star in over the white band.
3- The Afar flag shown here has the sabers less inclined, of lighter color, and more elongated, while the star is golden (not red) and straight up (not rotated to the fly).
Blas Delgado Ortiz, 29 August 2001

Not to say that one source is better than the other, but the stamps themselves are also issued by the government. The stamps in general are not always accurate, but most stamps are issued by the governments that sell them.
On the other hand, stamps are typically issued by an independent statal organism that, despite depending from the government, has (typically) authonomy in terms of stamp design. Of course, there are exceptions, and from what I know Ethiopia might even be one of those exceptions. In any case, I've seen so many inaccuracies in stamps, flagwise, that I'm quite reluctant to treat them as trustworthy sources. To me, stamps are more or less at the level of flag plates in encyclopaedias in what concerns reliability. Therefore I guess that caution is not unwise.
Jorge Candeias, 31 August 2001

The regions and chartered cities of Ethiopia, numbered alphabetically:

1. Addis Ababa
2. Afar
3. Amhara
4. Benishangul-Gumuz
5. Dire Dawa
6. Gambela
7. Harari
8. Oromia
9. Somali
10. Southern Nations, Nationalities, and People's Region
11. Tigray