Monday, December 31, 2018

Austria 2018 - Austrian Heraldry (Coat of Arms of Austria)

Technical Details:
Date of Issue: 01 January 2018
Designer: Anita Kern
Printer: Joh. Enschedé
Process: Offset
Width: 25.0 mm
Height: 25.0 mm
Gum: Self Adhesive
Number in Set :14
Perforations: 13 by 13
Stamp Issuing Authority: Osterreich Post AG

Printer: Joh Enschedé Security Printers

0.10 Euro - Austria's Heraldry - Coat of Arms of Vorarlberg
0.12 Euro - Austria's Heraldry - Coat of Arms of Salzburg (State)
0.80 Euro - Austria's Heraldry - Coat of Arms of Bregenz
0.80 Euro - Austria's Heraldry - Coat of Arms of Styria
0.80 Euro - Austria's Heraldry - Coat of Arms of Klagenfurt
0.80 Euro - Austria's Heraldry - Coat of Arms of Salzburg (City)
0.90 Euro - Austria's Heraldry - Coat of Arms of Lower Austria
0.90 Euro - Austria's heraldry - Coat of Arms of Vienna
1.35 Euro - Austria's Heraldry - Coat of Arms of Graz
1.35 Euro - Austria's Heraldry - Coat of Arms of Upper Austria 
1.80 Euro - Austria's Heraldry - Coat of Arms of Burgenland
2.70 Euro - Austria's Heraldry - Coat of Arms of Tyrol
2.70 Euro - Austria's Heraldry - Coat of Arms of Sankt Pölten
4.20 Euro - Austria's Heraldry - Coat of Arms of Carinthia

Austria 2017 - Austrian Heraldry (Coat of Arms of Austria)

Technical Details:
Date of Issue: 01 January 2017
Designer: Anita Kern
Printer: Joh. Enschedé
Process: Offset
Width: 25.0 mm
Height: 25.0 mm
Number in Set :15
Perforations 13 by 13
Stamp Issuing Authority: Osterreich Post AG
Printer: Joh Enschedé Security Printers

About Self-adhesive definitive stamps - Heraldry Austria

What could be a more suitable means to represent the federal provinces of Austria on a stamp in graphic form than to use the already extant ancient graphic codes? The coats of arms of the nine federal provinces of Austria, which can trace their origins back to the 12th century, when, during the many battles that took place in the Middle Ages, the heralds, themselves dressed in a tabard visible from afar, had the job of distinguishing friend and foe by their coats of arms and flags and reporting on the outcome of the battle (Peter Diem). To reproduce these coats of arms 1:1, as was last done on the commemorative stamp issued in 1976, for example, would not do justice to today?s modern Austria. The definitive stamp series ?Austria?s heraldry? shows the coats of arms of Austria?s provinces in a graphic reproduction. The designer for this series, Anita Kern, chose sections which enable her to give unusual views and insights. As in a close up, she ?zooms in? on the coats of arms in order to make unfamiliar details visible and, at the same time, to do justice to this stamp series. This opens up a wealth of images and new perspectives. So, for example, on a green 68 cent stamp, one sees the red-horned Styrian panther?s head spewing out fire, or on a gold (yellow in print) 25 cent additional stamp, the red-clawed black lion?s paw from the coat of arms of Salzburg. Whether it be heraldic figures or the Montfort banner of Vorarlberg, with their strong colours and shapes all of the details from the coats of arms have a mostly ornamental, sometimes geometric effect. The original shapes of the elements from the coats of arms have not been changed, and the correct heraldic colouring, the ?tinctures? and ?metals?, have been retained. By contrast, in the shades of the colours the overall effect of the stamp as a printed item was taken into account. The coats of arms, which hail from the feudal traditions of Europe, have been heavily influenced by the Habsburg era and, in addition to historic and geographic features, also depict religious motifs such as the Montfort church flag depicted in the coat of arms of Vorarlberg. The provincial coats of arms can generally be traced back to those noble families which, by appointment of the Emperor, were the rulers and feudal lords of the particular province. After the fall of the monarchy in 1918, and again in 1945, the coats of arms were either redesigned or changed. Taking account of this cultural heritage, visual symbols of feudalism such as the imperial eagle, prince?s and duke?s crowns, ermine and knight?s helmets for tournaments have been retained in the Republic of Austria to this day. However, through the ?zooming in?, seeing them through an imaginary magnifying glass, these elements and what they signify have been reclaimed. The names of the individual stamps are made up from a combination of the heraldic designation of the heraldic figures depicted and the name of the relevant federal province. This naming system both helps the viewer to attribute the elements to the coat of arms as a whole and teaches the vocabulary of heraldry.

0.25 Euro - Austria's Heraldry - Salzburg Coat of Arms - Lion's Paw
0.68 Euro - Austria's Heraldry - Lower Austrian Coat of Arms - Eagle's Head
0.68 Euro - Austria's Heraldry - Styrian Coat of Arms - Panther's Head
0.68 Euro - Austria's Heraldry - Tyrolean Coat of Arms - Eagle's Head
0.68 Euro - Austria's Heraldry - Burgenland Coat of Arms - Eagle's Head
0.80 Euro - Austria's Heraldry - Carinthian Coat of Arms - Lion
0.80 Euro - Austria's Heraldry - Lower Austrian Coat of Arms - Eagle
1.25 Euro - Austria's heraldry - Upper Austrian coat of arms
1.25 Euro - Austria's Heraldry - Salzburg Coat of Arms - Lion's Head
1.70 Euro - Austria's Heraldry - Burgenland Coat of Arms - Eagle in Fight
1.75 Euro - Austria's Heraldry - Tyrolean Coat of Arms - Eagle's Claw
2.10 Euro - Austria's Heraldry - Styrian Coat of Arms - Panther's Paw
2.50 Euro - Austria's Heraldry - Vorarlberg Coat of Arms - Flag Rings
2.50 Euro - Austria's Heraldry - Viennese Coat of Arms
4.00 Euro - Austria's Heraldry - Vorarlberg Coat of Arms consisting of Longitudinal Strips

Sunday, December 30, 2018

Aruba 2008 - Cultural Year

Aruba 2009 - Aruban Carnival Costumes

Aruba 2013 - Married Dresses

Designed by: Stephanie Croes

A Marriage dress is the clothing worn by a bride during a wedding ceremony. Color, style and ceremonial importance of the dress can depend on the religion and culture of the wedding participants.

Victorian Marriage Dress (Brown & Green)
The Victorian era of British history was the period of Queen Victoria’s reign (1837-1901). The marriage dress during this period was characterized by different choices of lace, colors and detail fabrics. A large amount of fabric was used to cover hoops to create a full skirt look. A small bodice was used to create a small upper body silhouette for the bride. Long sleeves were used along with gloves covering the fragile hands of the bride-to-be, letting only a small portion of the wedding finger uncovered to fit the ring. Colors used during this era represented the mood and the future of the marriage. The color green represented the thought of shame to be seen on the first night of her honeymoon indicating her purity on her wedding night. The jewelry used during this Victorian Era usually large pieces diamonds and gemstones to reflect the status of the rich and nouveau riche.

Modern Victorian Inspired Marriage Dress (Grey)
A Victorian wedding is about class, grace and an immense amount of romanticism captured in every baroque detail. The extravagant amount of fabric, ruffles, layers, laces and accessories makes the bride feels like a queen on her wedding day. The small bodice usually covered with pearls and crystals gives the marriage dress a royal look, portraying wealth and prosperity. The colors used in today’s modern era varies from white, to different tones of gray and beige to create a modern less stereotyped meaning for the color of the marriage dress. The jewelry used nowadays is characterized by big pieces of diamond look a-like gemstones with a fashionable touch to compliment the overall look of the marriage dress.

Indian Marriage Dress (Red)
The wedding Sari is the traditional marriage dress for Indian women. The traditional color of the wedding Sari is red. The red color represents good luck and auspiciousness. The Sari fabric is traditionally silk and is traditionally detailed by gold embroidery. Gold is mostly used to complete the prosperous of the bride and the family prosperity of the 2 uniting families. Jewelry is a must to compliment and complete the perfect bridal look in Indian culture. Among different jewelry used is the Shringaar Patti. The Shringaar Patti is a kind of tiara, usually in gold, which adorns the forehead of the bride. It is placed along her hairline and has a circular plaque in the middle, which hangs below the hairline (on the forehead).

Modern Indian inspired Marriage Dress (Pink/ One Shoulder)
The wedding Sari that is the traditional marriage dress for Indian women has evolved in colors, fabrics and details creating a more simple and minimalist look for the bride-to-be. The color red has evolved from red to different tones of pink, beige and maroon. The detailed gold embroidery has evolved from detailed golden laces and ribbons to the simple reflection of light on the silk fabric of the modern Indian inspired marriage dress. The jewelry used to compliment and complete the look of the bride-to-be is the simpler version of the Shringaar Patti; the Maang Tikka. The Maang Tikka is a shortened version of the Shringaar Patti. It is a string with a centerpiece attached to one end and a hook to the other. The bride wears it in the center of her hair.

Western Marriage Dress (Light Brown)
The western marriage of the early 70’s and 80’s was usually white. The color white represented both the sexual purity of the bride as her right choice of her groom. The veil covering her face was to be removed until after exchanging vows and the rings to seal the marriage with a passionate kiss. The marriage dresses in western world usually had an A-line, covering most of the body of the bride to create a classic look. The use of Tiara complimented and completed the overall look of the bride-to-be with jewelry consisting of different gemstones and metals.

Modern Western inspired Marriage Dress (White/ Grey Gothic Dress)
The modern western marriage dress evolved from the plain white color to different tones of grey, beige and pastel colors. The color of the dress is nowadays chosen with a more fashionable outlook with the whole wedding theme in mind. The color black has become an asset in accessorizing gothic themed marriage dresses. The accessories used to compliment and complete the marriage dress may vary from different shapes of necklaces ranging from simple minimalist to baroque.

Aruba 2014 - 60th Aruban Carnival


Designed by: Rudberth Wolff

The Aruban Carnival is a several number of week’s long celebration that delights and unites the entire island with colorful festive street parties known as “jump-ups” and spectacular parades with luxuriously costumed groups of people.

In Aruba, Carnival was born in 1954 as a series of small street festivals. The Tivoli Club, Aruba’s oldest private social club, was the first to have a pre Lent celebration in Oranjestad in February 1944. The Allied victory of World War II was commemorated by an Aruba Festival - a large parade in San Nicolas comprised largely of Caribbean-English immigrants who came to Aruba to work at the Lago Oil Refinery. The first steel and brass bands debuted a few years later and small parades sprouted here and there.

In 1955, various clubs and districts were brought together for the first public Aruba Carnival with the first official Carnival queen. The traditional Grand Parades were organized in 1957. On November 11, 1966, (11/11/66) at 11:11 am, Stichting Arubaanse Carnaval (SAC), Carnival’s organizing body, was founded. Each year, the Carnival season officially begins at this precise moment. Ever since 1981, Tivoli has produced the Lighting Parade, a twinkling nighttime extravaganza.

Following the Lighting Parade are the Children’s Parades, the Pajama Party called Jouvert Morning, the Grand Carnival Parade in San Nicolas and the exciting finale - the Grand Carnival Parade in Oranjestad. The midnight burning of the King Momo, a life-size effigy, signals the end of the Aruba Carnival season on Shrove Tuesday, the night before Ash Wednesday and the beginning of Lent. This tradition symbolizes the burning of the Spirit of Carnival that will rise again when the next season begins.

The origins of Aruba Carnival are found thousands of years ago. The word is derived from the Latin carne vale, meaning farewell to flesh, referring to the time when many Christians gave up food, drink and unacceptable behavior for Lent.

In 2014, Aruba will celebrate its 60th Carnival with its different activities during the month of January and February, culminating with the Grand Carnival Parade on Sunday, March 2nd.

Aruba 2016 - National Symbols of Aruba

Designed by: Nigel Matthew

National Symbols of Aruba stamps:

500c - Coat of Arms
Understanding our Weapon
A Coat of Arms is a symbol of union and entity, both locally and internationally 

The aloe plant
The aloe plant represents the first source of wealth and industry of our country.

The Hooiberg
The Hooiberg symbolizes our island rising out of the sea.
The green color is the color of joy that we have experienced since our autonomy.
The wavelike lines symbolize our sea.

Two shaking hands
Two shaking hands stand for the good relations of Aruba with the rest of the world, in political, economic and cultural areas.
The red color symbolizes our generous nature, our simplicity and work value to strengthen these relations.

The gear-wheel
The gear-wheel symbolizes the helm indicating the right turn to the industry, which is the main life source of our island.

The cross
The white cross serves to divide the shield into four quarters and symbolizes devotion and faith.

The lion
On top of the Shield there is a lion in red that stands for power, generosity and the bond with the Kingdom of the Netherlands.

The laurel branches
Below the Shield laurel branches are depicted, which are traditional symbols of peace, joy and friendship.

500c - Flag 
Since 1955 the island has had an official Coat of Arms and a song that most people regarded as the National Anthem of Aruba, but we still lacked a Flag.

On January 21, 1976, preparations began, through public participation in a contest, to design the Flag. A total of 693 designs were received. Most participants were schoolchildren. Their wish was to see a star with four points, and for several reasons. There was also a preference for colored stripes or signs, both in horizontal and in vertical direction.
Since the Flag of Aruba officially came into existence on March 18, 1976, along with the official Anthem ‘Aruba Dushi Tera’, and since Aruba on January 1, 1986, received the ‘Status Aparte’, which is the position of an autonomous country within the Kingdom of the Netherlands, the Flag of the country Aruba along with the National Anthem and the Coat of Arms was embedded in the law on October 17, 1991 (AB 1991 no. 101), ( effective AB 1991 no. 118) and includes the official colors of yellow, blue, white and red. This law has since then been valid for and applicable to the official Flag of Aruba.

The color blue represents the immense sea that surrounds Aruba. Yellow is the color of abundance and the horizontal lines represent the solidity of same.

Yellow represents the current industry and tourism as its main sources of income and the gold- and aloe industry from the industrial past. Yellow also stands for the trees and plants of Aruba that bloom yellow such as the 'kibrahacha’, ‘brazil’, ‘bonchi di strena', 'curahao', 'tuturutu' and 'wanglo’.

The color red represents the four points of a compass and symbolizes the origin of the people from all wings of heaven. It also represents the old industry of Brazil wood and it is a tribute to the blood of the Indians that was shed in 'Rooi Frances’ for the freedom of Aruba.
The color white that borders the red star symbolizes the beautiful white beaches and the purity of the Aruban people.

500c - National Anthem
The National Anthem of Aruba is called ‘Aruba Dushi Tera’. The history of the song that became our National Anthem dates back from 1951.
Two well-known musicians, the late Rufo Wever and Juan Chabaya ‘Padu’ Lampe, have composed this song and they have taken the typical rhythm and melody of Aruba on a record.

They have different numbers put on the record and ensured that many compositions should not be lost from that period.
Until now we consider them, two highly respected people of our Aruban music. Most people still love to listen to their music.
In 1952, these musicians have composed our National Anthem. They have felt the need to compose a song expressing the love of the people for our island in order to arouse the feeling of homeland of everyone.

The musical and singing group ‘The Trupialen’, led by Frère Alexius, has included this song in their repertoire, which became increasingly popular.
The popularity of the song was even bigger in 1954 when at the instigation of Frère Alexius, the song on a 78rpm vinyl record was recorded by Radio Kelkboom, sung by ‘The Trupialen’ and on piano by Padu Lampe.

In a very spontaneous manner began other private entities to use this song on special occasions. In the 70s of last century, the Government appointed a committee set up consisting of Maybeline Arends-Croes, Rufo Odor, Padu Lampe, the late Eddy Bennett, the late Hubert 'Lio' Booi and the late Rufo Wever.

The committee made a recommendation unanimously on February 25, 1976 for ‘Aruba Dushi Tera 'as Anthem in the rhythm of waltz.
Hubert 'Lio' Booi, with his inspiration to the final verse added the sentence: ‘... may God guide her (Aruba) and retained her love for freedom.’ With this phrase he has praised the cordiality of the Aruban people and her love for freedom.

On March 16, 1976, the Island of Aruba, adopted the 'Aruba Dushi Tera' as the official Anthem of Aruba. On March 18, 1976, during an official ceremony at the Wilhelmina Stadium (now Stadion Guillermo Prospero Trinidad), the 'Aruba Dushi Tera' was declared the National Anthem.

The National Anthem was produced by a choir led by Maybeline Arends-Croes with accompaniment of the Philharmonic Orchestra of Aruba under the leadership of Joy Kock.

Aruba 2018 - Aruban Culture

Designed by: Stan Kuiperi

90c: Celebrations - Dera Gai (Bury the Rooster)
This stamp represents one of the main celebrations of Aruban culture, the Dia di San Juan (Saint John the Baptist Day) on June 24. An ancient pagan native harvest celebration, it was allowed to continue by the Catholic missionaries who combined it with the Roman Catholic calendar to coincide with Saint John’s Day.

Over the centuries, the Saint John’s Day celebration on Aruba developed in a unique way. Farmers would save harvest material and would burn this ceremoniously on the eve of June 24 and on Saint John’s Day itself. Pires throughout the island would serve as a means of symbolic purification and as offerings to the local spirits to ensure good crops and plentiful harvests the next time around.

Tradition required that at the end of Saint John’s Day a live rooster was buried in the ground in the center of an open outdoor space with only its head remaining above ground. Currently, the live rooster has for obvious reasons been replaced by a rooster effigy or in some cases by a large, half-buried calabash fruit.
During the following Baile di Dera Gai (Bury the rooster dance), adult males named Juan (John) are selected and spun around by female dancers dressed in yellow, red and black, taking first turns dancing blindfolded and trying to hit – or sacrifice - the rooster with a meter-long wooden stick. Failing three times would make the dancer lose his turn to another candidate, while winners receive a prize, often in the form of an alcoholic drink.
On the eve of June 24, the smell of burning fires all over the island reminds one that ancient customs are still honored and practiced on Aruba.

130c: Traditions-Aloe.
This stamp focuses on the role of the Aloe plant in the Aruban culture.
The design shows a young aloe plant of the Aruban Aloe Vera species, tied to a red ribbon and hung upside-down above a doorway of an Aruban house.

The older generation in Aruban used this as a good luck charm for the home. It was believed that the aloe plant warded off negative energy and brought good things – such as health – to the home. Although this tradition is not as widespread as before, many Aruban houses still have aloe plants planted at the house entrance. This serves the same purpose and belief that aloe plants have at least strong medicinal powers that protect those who believe.

220c : Folkloric Dress
As a reference to Aruba’s cultural past, local women often wear Aruban folkloric dresses at the occasion of dance events, music presentations, culinary festivals and other traditional cultural events. While the actual wide, ruffled, multi-layered and multi-colored dresses clearly have an Iberian, Central and South American origin, through the years, Aruban designers have added their own touch to the garment in the form of multiple layers, bright plain colors and printed textiles. Cotton cloth is widely used, although more shiny textiles are gaining ground for maximum stage effect as the dress is mostly used by traditional dance groups that perform on numerous occasions at events all over the island. Accessories such as head, neck and waist scarfs vary for each group and each dress design.

The stamp design depicts a folkloric dress inspired by the Aruban flag, borrowing its blue background, yellow stripes, and red and white star colors for the accessory scarf. Since March 18th had become Aruba's National Flag Day, and since in 1986 Aruba’s Status Aparte (Separate Status as an autonomous country in the Dutch Kingdom) became a reality, many folkloric groups introduced a flag-inspired design for their performance costumes. This new political and social situation had an empowering effect on Aruban culture. The use of national symbols such as the flag became a way to express Aruban identity and demonstrate one’s patriotism, including through the performing arts.

420c: Typical Aruban Food
Aruba’s gastronomy is a consequence of its geographical position in the Caribbean Sea, its nearness to the entire American continent, and its historic cultural ties to the European continent.

A very small, windy and sundrenched island, it offers very little in the form of rich soil, rainfall and agricultural space. So throughout the centuries the population turned to the sea as a rich source of protein food, the surrounding waters abounding with many types of edible fish.

This has made the Aruban fish meal - or the “catch of the day” - one of the oldest dishes and a persistent local favorite despite the presence of so many varied dishes from different cultures. This particular culinary stamp design depicts a hearty meal with grilled Lutjanus Purpureus, the famous Caribbean Red Snapper. The red snapper is usually caught in the waters immediately surounding the island by local fishermen in small fishing boats.

The colorful dish is served in a simple - but large - plate and is also a treat for the eye. The grilled fish, lightly sprinkled with lemon, is accompanied by other traditional servings such as a portion of funchi, a local polenta which is sometimes also fried, and pan bati, a baked cornmeal side serving of native origin and found on most Aruban dinner tables. Depending on taste, the funchi and pan bati servings can nowadays also be replaced by white rice and mashed or fried potatoes. But the rich protein and starch dish is only complete when served with a tasty crioyo (authentic) sauce basically made of fried tomatoes, onions, vinegar, and salt, some thick slices of golden-fried plantain, and a healthy vegetable salad with tomatoes, lettuce, cucumbers, and carrots, everything with a little dash of local papaya hot sauce. Bon apetit!

Curacao 2014 - 200th Anniversary of the Kingdom of the Netherlands

Technical Details:
Issue Date: 14 January 2014
Designer: André van Hoop
Printer: Johan Enschede Security Printers, Haarlem, the Netherlands
Process: Offset
Colours: 4
Size: 36 mm x 26 mm
Values: 150c, 200c, 250c, 300c, 350c

About 200th Anniversary of the Kingdom of the Netherlands
The Kingdom of the Netherlands is celebrating 200 years. The celebrations marking the bicentenary will be held from 2013 to 2015. The Kingdom of the Netherlands is a sovereign state and constitutional monarchy with territory in Western Europe and in the Caribbean. The four parts of the kingdom, Aruba, Curaçao, the Netherlands and Sint Maarten, are referred to as countries and participate on a basis of equality as partners in the kingdom.

The majority of the constituent country of the Netherlands is located in Europe, with the exception of its three special municipalities (Bonaire, Sint Eustatius, and Saba) that are located in the Caribbean.The constituent countries of Aruba, Curaçao and Sint Maarten are located in the Caribbean as well.

To celebrate this special occasion CPOST International emits a stamp series consisting of five stamps depicting images of:

150c Coat of Arms of the Dutch Heraldy
200c The Dutch Crown
250c Dutch Coat of Arms
300c Dutch Horn 
350c The Dutch Lion

Curacao 2014 - 200th Anniversary of the Kingdom of the Netherlands

Technical Details:
Issue Date: 19 January 2015
Designer: Richmond Gijsbertha
Printer: Johan Enschede Security Printers Haarlem, the Netherlands
Process: Offset
Colours: 4
Size: 36 mm x 26.1 mm

Values: 65c. 119c, 177c. 183c, 305c, 434c

About Carnival
Related to the 45th Carnival anniversary of Curacao, Cpost international has released a series of six (6) stamps.

Curacao Carnival is one of the largest and most important cultural events in the Caribbean which brings together more than 40 ethnic groups. beginning early in January with the Tumba Festivaland ending the day before Ash Wednesday.

Carnival is a celebration in a class of its own. It more or less takes full possession of the wholecommunity through competitions in Tumba Festival in which the best of the island's musicianscompete to have their creations selected as the official Carnival parade song. The winner of thecompetition becomes “Rei di Tumba” (King of Tumba).

Competitions in beauty pageants, private and public parties and street parades during the firstweeks of the year climax in an extravagant parade during the weekend, the grand parade.

Carnival ends with the ritual burning of the straw “Rei Momo" representing the elements thatmust be cleansed and destroyed before Spring begins.

The artwork on the stamps are Carnival costumes and masks of among others the teen parade,the horse parade and the grand parade.

Chile 2016 - Indigenous People, Selk'nam

Technical Details:
Date of Issue: 29 December 2016
Size: 24 mm x 36 mm

Perforation: 13½
Printing: Offset Lithography
Print Run: 200,000
Printer: Casa de Moneda
Designer: Mauricio Navarro
Color: 4 Pantone

This postal issue is based on photographs of the German priest and anthropologist Martin Gusinde, who witnessed the decline of the men of Tierra del Fuego, already decimated by the aggressive contact with Western civilization and on the verge of extinction.

Between 1918 and 1924, Gusinde carried out four expeditions to Tierra de Fuego, conducting a thorough study of the culture of the Solk'snam, Yámanas and Kaweskar. During his travels, Gusinde vigorously denounced the extermination of the Patagonian peoples by settlers, ranchers and white adventurers, took hundreds of photographs and field notes on daily life and the rites and ceremonies of these ethnic groups, and gathered a large collection of objects ethnographic.

The Onas celebrated rites of male initiation during which the elders revealed the tribal secrets to the young or Klóketen. Such an initiatory rite was called Hain and it took place around the age of 18, giving young people the category of adults. The rites were based on a myth that told how in a mythical time women kept dominated men disguising themselves as spirits and how Sol discovered the position; For that reason, all the women, except his wife Luna, were murdered and since then, the men appropriated the deception and continued to represent it to dominate the women in turn.

10 Chilean Peso - Selk'nam Tanu (The Enigmatic)
It represented his authority, acting as messenger and witness of what was happening in the Hain. It exhibited an extraordinary figure. He wore paintings that symbolized one of the four heavens. Very tall, its body was almost rectangular in width, the upper part had a conical shape. The structure, held by men, was made with moored bows covered with guanaco skin and filled with reeds, herbs and leaves. Only the calves and the feet of the "actor" showed up. In mythical times, the woman who presented it was transformed into a small whale, reason from the underworld inside the Hain men whistle. She walked on her back, taking side steps with a slowness, fighting with the heavy load of her dress, always accompanied by an old man to guide her and prevent her from stumbling.

20 Chilean Peso - Selk'nam Halaháches (Kotaix, Clown With Horns)
Called Halaháches by women and Kotaix by men, it is in a sense the opposite of Xalpen (female underground spirit, of great importance in the Hain ceremony). It is a male spirit of heaven. It takes the supremacy away from Xalpen. When the Hain appears, she immediately returns to the depths of the earth. Sometimes, in the midst of Xalpen's outbursts, the men begin to call him, seconded by the women who sing his name to welcome him because they know that by introducing himself he will make Xalpen disappear. In turn prepare a number of snowballs to throw them as it has a changing character and can kill men. Halaháches is grotesque and inspires fear, but if he is in good spirits it is comical. When he leaves Hain with a great leap, the audience sees a being with long horns, rather thick, which turn quickly, bellicose and grim. Horns according to mythology, are the mythical ancestor that played this role and was transformed into a fish with horns. He holds his chin with his left hand and his elbow raised, while clutching a long stick with the other he describes semicircles in sweeping movements. It advances with wide lateral jumps separating the leg, with the torso inclined forward and the knees a little flexed. The body is white and has red stripes, with its mask fitted to the head and neck. The chin is never released and never varies its posture or its fixed gaze. It happens continuously from one side to the other and, in its lateral jumps, it always moves with the right arm. It is agile to dodge the snowballs thrown by women. Unlike Xalpen, Halaháches annihilates men in full view of the public on stage. He is killing them two at a time. Giving them deadly blows with a club. He pulls out of Hain, dragging them in pairs to his future victims and kills them in the midst of an onslaught of snow shells and female cries.Finished the task, drag them back to the ceremonial hut, where the small Olum will act quickly his miracles.

30 Chilean Peso - Selk'nam Matan (Kill. Dancer Spirit)
Matan is the great dancer of Hain. When he descends from heaven he is enthusiastically acclaimed by the public and even more when he executes his amazing vertical jumps. It is presented with four drawings, painted differently, representing each of the "heavens" (cardinal points). A shaman precedes Matan to announce his arrival to the women, who rush to the edge of the stage acclaiming his name. Matan enters with a big jump. The women ask him to come closer to them, he captivates everyone present.

50 Chilean Peso - Selk'nam Shoort Jóichik (Dynamic Spirit)

Shoort is the most dynamic spirit of Hain, and the most feared by women. His wife is Xalpen, with whom he lives the land. The only spirit that acts every day (weather permitting); and he is also the only spirit that is interested in the camp between women and children. It appears with different attributes, sometimes of two. There are seven "main shoorts", for each of the seven posts of the ceremonial hut and therefore each of the seven "heavens" of territorial filiation and lineage of each selknam and haush. There are eight denominations that are attributed to the Shoort, according to the time of the day it is presented. So, if he does it in the early afternoon, his attire will represent the time lapse that the sun travels in the sky in that trance. To each of the Shoort corresponds an individual name and a drawing with distinctive paint. In all cases it will be adorned with circles drawn with chalk. The painting of the mask is a complement to body painting. Formerly the mask could be conical, as in most other spirits; but in 1923 it resembled a pointed cap that encircled his head and neck.

The spirit of the Shoort was of stone, the one who presented it should not give signs of breathing. It always appears with the fists closed, the back of the hand turned outwards. When he leaves the Hain and when he enters again, he stops, looks at the audience and makes the same gesture: he raises his arms with his fists upwards as if to flex his biceps. The movements are rigid and sharp enough to intimidate the public. Before Shoort leaves Hain for his daily visit to the camp, the men announce it with songs. The women then, with the exception of the mothers of the Kloketen-the only ones that the spirit treats with consideration, stay in their huts and hide themselves covering themselves with guanaco skins. When Shoort arrives, he is always accompanied by a Shaman who does not separate from his side, perhaps to confer greater authority on him. If there is snow on the ground, the shaman will discreetly cover the footsteps of the "spirit" as it advances, since it can not leave traces of human feet.

Not all Shoort go directly to the camp: the one who does it is required a great training and aptitude. As he moves between women and children, he can not afford the slightest carelessness, since any gesture that revealed his status as a man would betray "the secret". These visits bring moments of great tension for the women, it comes to threaten them and punish them if they have not maintained the behavior of a submissive wife, hard-working and industrious.

If for any reason, a man is not satisfied with the behavior of his wife, he entrusts it to Shoort in Hain's hut. In the next visit to the camp, the spirit will seek it, perhaps only try to intimidate her by shaking the hut or throwing a basket while she huddles under a guanaco cloak. It may be that he pokes her with a stick, or that he hits her with greater fury and, in the worst case, comes to knock him down. Accommodates the punishment to what the husband or other men have told him, as well as his own opinion or state of mind.

When Shoort leaves the camp, the women - the mothers of the Klóketen ahead - rush towards the edge of the meadow. They sing, to say goodbye. Before entering the Hain again, Shoort flexes the biceps and then disappears on one side with a great leap forward throwing his feet back as if plunging into the ground.

100 Chilean Peso - Selk'nam Kulan (The Unfaithful Wife)
Kulan is the "fatal woman" of Hain. Interesting character in a patriarchal society that tried to control women, she made love with anyone. Hidden in the woods, stalks those who are your liking and seduces them. He often takes his lovers to heaven for several days, forcing them to maintain uninterrupted sexual relations with her. To maintain the vigor of these men, feed them with emperor penguin eggs, birds that always accompany it. Sr often presents in Hain, always at night, only sometimes men announce their descent from the skies by singing. On the stage he wears a conical mask, commonly painted red, with a white stripe that goes from the tip of his head to the genitals he has covered by a loincloth. Her delicate breasts (stuffed leather bags) barely hint. Because she is young and thin, she is personified by a klóketen. Once the men do not serve their purpose, he returns them to their camp, the men come back staggering, sprinkled with penguin dung. They never remember what happened to them when they were in heaven. Reason why their wives do not ask them questions, they have limited themselves to singing a song to encourage her to return and release the men. The husband of the lusty Kulan is Koshménk "the cuckold"

1000 Chilean Peso - Selk'nam Ulen (Elegant Male Jester)
Male spirit of the northern sector of the Island of Tierra del Fuego. Fast and agile as the wind, visible only partially demonstrating its surprising speed. The body of dark red color and on it horizontal white lines, leaving short intermediate sections. Vertically from the neck through the navel drops a white line. The mask is lighter red with three white lines on top. His participation in the Hain ceremony is more theatrical than ritual, that is, more profane than sacred.

Argentina 2016 - Coat of Arms of the Argentinian Provinces

Technical Details:
Date of Issue: 07 July 2016
Perforation: 14

10 Argentine Pesos - National Coat of Arms
10 Argentine Pesos - Corrientes
10 Argentine Pesos - Chaca
10 Argentine Pesos - Formosa
10 Argentine Pesos - Misiones
10 Argentine Pesos - Catamarca
10 Argentine Pesos - Jujuy

10 Argentine Pesos - Autonomous City of Buenos Aires
10 Argentine Pesos - Buenos Aires
10 Argentine Pesos - Córdoba
10 Argentine Pesos - Entre Ríos
10 Argentine Pesos - La Pampa 
10 Argentine Pesos - Santa Fe
10 Argentine Pesos - La Rioja
10 Argentine Pesos - Salta
10 Argentine Pesos - Santiago del Estero
10 Argentine Pesos - Tucumán
10 Argentine Pesos - Mendoza
10 Argentine Pesos - San Juan
10 Argentine Pesos - San Luis

10 Argentine Pesos - Chubut
10 Argentine Pesos - Neuquén
10 Argentine Pesos - Río Negro
10 Argentine Pesos - Santa Cruz
10 Argentine Pesos - Tierra del Fuego, Antarctica & South Atlantic Islands

Argentina 2017 - Traditional Ponchos

Technical Details:
Date of Issue: 23 August 2017
Width: 34.0 mm
Height: 44.0 mm
Denomination: 16.00 Argentine Pesos + 16.00 Argentine Pesos 
Number in Set:  4
Layout/Format: Sheet of 20
Perforations: 14 by 14
Stamp Issuing Authority: Correo Oficial de la Republica Argentina SA
Printer: Letra Viva SA, Buenos Aires

16 ARS + 16 ARS - Ponchos - Pilagá Poncho - Chaco
16 ARS + 16 ARS - Ponchos - Cayucán's Poncho - La Pampa
16 ARS + 16 ARS - Ponchos - Poncho de 60 Listas - Litoral
16 ARS + 16 ARS - Ponchos - Andean Poncho - Catamarta

A poncho is an outer garment designed to keep the body warm. Ponchos have been used by the Native American peoples of the Andes since pre-Hispanic time and are now considered typical South American garment.

Maps of Argentina Ponchos

Saturday, December 29, 2018